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Samuel French Acting Edition
Vanities: The Musical
Book by
Jack Heifner
Based on his play
Music & Lyrics by

David Kirshenbaum
SAMUELFRENCH.COM SAMUELFRENCH.CO.UK
Copyright © 2018 by Jack Heifner and David Kirshenbaum
All Rights Reserved
VANITIES: THE MUSICAL is fully protected under the copyright laws

of the United States of America, the British Commonwealth, includ-
ing Canada, and all member countries of the Berne Convention for
the Protection of Literary and Artistic Works, the Universal Copyright
Convention, and/or the World Trade Organization conforming to the
Agreement on Trade Related Aspects of Intellectual Property Rights. All
rights, including professional and amateur stage productions, recitation,
lecturing, public reading, motion picture, radio broadcasting, television
and the rights of translation into foreign languages are strictly reserved.
ISBN 978-0-573-70098-9
www.SamuelFrench.com
www.SamuelFrench.co.uk
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Each title is subject to availability from Samuel French, depending
upon country of performance. Please be aware that VANITIES: THE
MUSICAL may not be licensed by Samuel French in your territory.
Professional and amateur producers should contact the nearest Samuel
French office or licensing partner to verify availability.
CAUTION: Professional and amateur producers are hereby warned that

VANITIES: THE MUSICAL is subject to a licensing fee. Publication of
this play(s) does not imply availability for performance. Both amateurs
and professionals considering a production are strongly advised to apply
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MUSIC USE NOTE
Licensees are solely responsible for obtaining formal written permission
from copyright owners to use copyrighted music in the performance of
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obtained by the licensee, then the licensee must use only original music
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Please contact the appropriate music licensing authority in your territory
for the rights to any incidental music.
IMPORTANT BILLING AND CREDIT REQUIREMENTS

If you have obtained performance rights to this title, please refer to your
licensing agreement for important billing and credit requirements.
VANITIES: THE MUSICAL premiered Off Broadway at Second Stage
Theater under artistic director Carole Rothman, in association with
Junkyard Dog Productions Inc., Kenny and Marleen Alhadeff, Jayson
Raitt, Ambassador Theater Group, Dallas Summer Musicals, Remmel T.
Dickinson/Linda and Bill Potter, and Sharon Rosen/the Raleigh Rally/
Davelle LLC on July 16, 2009 in New York City. It was directed by Judith
Ivey. The cast was as follows:
MARY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Lauren Kennedy
JOANNE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sarah Stiles
KATHY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anneliese van der Pol
CHARACTERS
MARY
JOANNE
KATHY
SONG LIST
Mystery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALL
I Don’t Wanna Miss a Thing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALL
An Organized Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALL
I Can’t Imagine. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALL
Mystery II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALL
An Organized Life (reprise) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALL
Fly into the Future . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MARY
Cute Boys with Short Haircuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . .KATHY
Let Life Happen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALL
Mystery III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALL
The Same Old Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOANNE
An Organized Life (reprise II) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .KATHY
Friendship isn’t What it Used to Be. . . . . . . . . . . . . . . . . . . . . . . . . . . ALL
Mystery IV. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALL
I Don’t Wanna Miss a Thing (reprise) . . . . . . . . . . . . . . . . . . . . . . . . ALL
Letting Go . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALL
Prologue
The women are getting dressed at their vanities.
(Before the show starts, three women and

three vanities with makeup mirrors appear.
All costume changes are made in view of the
audience. The actors rarely leave the stage.)
(We find KATHY, MARY, and JOANNE seated
at their mirrors. They are all dressed in
stylish lingerie. They are about to take us on
a journey. They look into their mirrors and
reflect.)
[MUSIC NO. 01 “MYSTERY”]
KATHY. JOANNE. MARY.
LIPSTICK…
POWDER…
MASCARA…
EYEBROW
PENCIL…
LIP GLOSS…
ROUGE…
EYELINER…
POWDER PUFF…
NAIL POLISH…
TWEEZER…
BLUSH…
EYE SHADOW…
MOISTURIZER…
EYELASH
CURLER…
BRONZER…
7
8 VA N I T I E S : T H E M U S I C A L

LIP BALM…
HAIR
DIFFUSER…
EYELASH
GLUE…
HAIR GEL…
HAIR
CONDITIONER…
BOBBY PINS…
WAX AND
CREAMS…
CONCEALER…
ALL.
FOUNDATION.
KATHY.
NOT SO VERY LONG AGO WHEN THE WORLD WAS NEW,
PEOPLE NEVER SAW THEMSELVES WITH ANY CLEAR-EYED
VIEW.
JOANNE.
A FACE UPON A FROZEN LAKE…
MARY.
OR FLOWING IN A BROOK…
JOANNE & MARY.
WAS USUALLY OUR ONLY GLIMPSE AT
KNOWING HOW WE LOOK.
ALL.
THEN SOMEONE MADE A MIRROR,
AND AT LAST WE THOUGHT WE SAW WHO WE WERE.
SOMEONE MADE A MIRROR,
AND THE UNIVERSE BEGAN TO STIR.
SUCH A MYSTERY, BUT FINALLY WE COULD SEE.
WE FOUND OURSELVES WITH OUR OWN REFLECTIONS,
ASKING…WHAT WILL THEY THINK OF ME?
(They’re not in the gym yet, but are putting
on their cheerleading outfits and wigs while
the set for Scene One assembles. The lighting,
VA N I T I E S : T H E M U S I C A L 9
staging, and orchestration should suggest

a sudden transition [MUSIC NO. 01A
“TRANSITION TO 1963”] from the framing
device to our story – from a timeless musical
style to a real period sixties girl-group sound
– and from three women at their vanities
putting on their façades to face the world, to
three young women now ready to face that
world, as well as each other. Either way, there
is an explosion of music and the play begins.)
[MUSIC NO. 02 “I DON’T WANNA MISS A
THING”]
KATHY.
ISN’T IT AMAZING I CAN FEEL THIS GREAT,
LIKE THE WHOLE WORLD’S WAITING ON ME.
MARY.
WHEN I SNAP MY FINGERS, PEOPLE ALL KOW-TOW,
AND I GUESS THAT’S HOW IT WAS MEANT TO BE.
KATHY.
MY FUTURE’S CLEAR,
SO I’M AIMING STRAIGHT AHEAD.
JOANNE.
’CAUSE IT’S ALL GUARANTEED
I WILL GET WHAT I NEED,
LIKE MY PARENTS ALWAYS SAID.
ALL.
I’M TELLING YOU…
OH-OH, I DON’T WANNA MISS A THING.
NO-OH, I KNOW I CAN HAVE IT ALL.
WHOA-OH, I WANT THE AMERICAN DREAM…
IT’S WHAT MOM AND DAD BOTH PROMISED,
SO I’LL HAVE IT ON A STRING.
I’LL BE LIVING IN BLISS,
AND I DON’T WANNA MISS A THING.
KATHY.
EV’RY DAY IS CHRISTMAS FOR THE WHOLE YEAR LONG,
AND THERE’S NOTHING WRONG ABOUT THAT.
MARY.
I GET ALL I ASK FOR, FROM A TEDDY BEAR
TO A TROLL DOLL WEARING A PILLBOX HAT.
JOANNE.
AS FOR MY GOALS,
THERE’S NO SECRET IN MY SEARCH…
BE A MOTHER AND WIFE
FOR THE REST OF MY LIFE,
WITH A FEW SHORT BREAKS FOR CHURCH.
ALL.
SO SING IT NOW…
NO-OH, I’M NOT GONNA BE DENIED.
AND I’LL HAVE THE PERFECT HUSBAND
AND THE PERFECT DIAMOND RING.
HE’LL BE MINE WITH A KISS,
’CAUSE I DON’T WANNA MISS A THING.
JOANNE. CHORUS.
I WANNA HAVE A COUPLE OOH
KIDS.
MARY.
I WANNA JOIN A COUNTRY OOH
CLUB.
KATHY.
I WANNA LIVE JUST LIKE A OOH
QUEEN.
JOANNE.
LIKE MISS AMERICA.
I WANNA BAKE A CASSEROLE.
KATHY.
I WANNA MAKE A JELLO MOLD.
MARY. JOANNE & KATHY.
I WANNA COOK, BUT LA LA LA LA…
NEVER CLEAN…
ALL.
LA LA LA LA LA.
JOANNE. (Overlapping.)
I WANT A MAN TO CHERISH ME.
MARY. (Overlapping.)
I WANT A MAN TO RAVISH ME.
KATHY. (Overlapping.)
I WANT A MAN WHO’S ORGANIZED.
JOANNE. (Overlapping.)
I WANT A MAN.
KATHY.
A MAN WHO’LL STICK TO MY ROUTINE…
ALL.
EXACTLY AS I TELL HIM…
(Clapping.)
NO-OH, I AIN’T GONNA MISS THE BUS.
AND TOGETHER WE WILL GRAB IT,
AND TOGETHER WE WILL SING.
NOTHING’S BETTER THAN THIS…
NOTHING’S BETTER THAN THIS…
AND I DON’T WANNA MISS, I DON’T WANNA MISS…
NO, I DON’T WANNA MISS A THING…
I DON’T WANNA MISS A THING!
(The girls jump and yell at the end of the song
– as if ending a cheer.)
Scene One
A Gymnasium, a Small Town in Texas – Fall, 1963
(The three girls are practicing for the pep

rally. There is a set of bleachers onstage with
books and lunch bags on it. The characters
are dressed as cheerleaders with blue skirts,
white blouses, and gold sweaters with a blue
and gold “T” for Tigers on them. They have
paper pom-poms in their hands. As the song
ends, the girls line up onstage. KATHY is a
woman on a mission and is no-nonsense in
her approach.)
KATHY. Okay – we’ve only got a few minutes to finish this
pep rally rundown – so listen up! First we do the fight
song, then, “Give me a T.”
MARY. We always do “Give me a T” after the fight song.
Let’s do it the other way around.
KATHY. That wouldn’t make any sense. We have to do the
fight song first or else they won’t be excited enough for
“Give me a T.”
JOANNE. Well, let’s do it like we’ve always done it. I don’t
want to change it. It’s hard enough as it is. If we move
it around then it’ll get all sloppy and what would that
look like?
KATHY. Okay, I’ve decided after the fight song we go right
into “Give me a T.” Hit it!
ALL. (They go into the cheer.) Give me a T!
(They all echo what the crowd will say back
to them after each letter.)
T.
13
(MARY does the cheer wrong. JOANNE notices

but KATHY does not.)
ALL. Give me an I! I.
Give me a G! G.
Give me an E! E.
Give me an R! R.
Give me an S! S.
Put ’em all together and what have you got?
TIGERS! Yay!
(They all jump and yell.)
JOANNE. You all aren’t together. Now I want to know, is it
pom-pom up on “Put ’em all together” or not?
KATHY. I put my pom-pom up.
MARY. Me, too.
JOANNE. (Looking at MARY.) Well, “somebody” had their
pom-pom down. At the pep rally last week I just know
you both had your pom-poms down and I had mine
up. It made it look like I was all wrong, when I was
right.
KATHY. Mary, it’s pom-pom up on “Put ’em all together”
and down on “What have you got.” Okay?
MARY. Okay.
JOANNE. Okay. But you don’t have to tell me, I always do
that.
MARY. Remember at last week’s game when that guy
shouted for us to shut-up? He said he couldn’t keep
his mind on the game for all we were doing.
KATHY. That’s because you started yelling, “Push him back,
push him back, way back,” when we had the ball. There
we all were telling the other team to push ours back.
JOANNE. I’ve just never been so embarrassed.
MARY. Okay. I was wrong, but you could have told me. I
don’t know anything about football.
JOANNE. When we have the ball yell something like, “Get
that point,” or, “Do it again, do it again, harder, harder.”
KATHY. “Get that point” is when we kick the ball through

the two posts. Not for a touchdown.
MARY. When do we do, “Block that kick, block that kick?”
KATHY. Okay, now let me make this clear. When we kick,
we yell, “Get that point,” and when they kick, we yell,
“Block that kick.” And when they have the ball, we yell,
“Get that ball.”
MARY. What do we yell when we have the ball?
KATHY. You yell…well, you yell something encouraging
like…like, “Go! Go!”
JOANNE. Or, “Go all the way, all the way.”
MARY. You can’t yell, “Go all the way” on a football field.
What will people think? (Laughs.)
JOANNE. Now, Mary, enough of that!
KATHY. We’ve got to finish this pep rally run-down and
move on to other things. Did you get someone to do
the invocation before the game?
JOANNE. Me? Our minister did it last week.
KATHY. I know our minister did it, but we can’t have a
Baptist every week.
JOANNE. I guess I could call the Jehovah Witnesses and ask
them if they’ll pray at the game if we let them hand
out their little books?
MARY. Well, tell ’em to make it short. Nobody listens anyway.
KATHY. And we need to make an announcement that all
the creeps who sit in the card section tonight have got
to do their job.
JOANNE. (With disgust.) All those girls with glasses and
pimples.
MARY. All those boys with glasses and pimples.
ALL. Creeps.
KATHY. Those cards were a mess last week, and if they
aren’t gonna flip ’em right, they should go sit in the
band section where they belong.
JOANNE. I died when they spelled out “Yea Team” and it
turned out to be “Yea Meat”!
KATHY. What does the team think when they look to the
stands for encouragement and see a huge sign reading
“Yea Meat”?
MARY. I don’t know, but it makes sense to me. The whole
team is good enough to eat.
JOANNE. Mary!
KATHY. It’s the band’s fault. They play at the worst times
and never look to see what we are doing. Sometimes
they start “The Baby Elephant Walk” right in the
middle of our yells.
MARY. How many girls in the band have ever been elected
to anything in this school?
KATHY. Zero.
MARY. Zilch.
JOANNE. Goose egg. The girls in the band are the worst.
MARY. So how do we get all the losers in this school to pay
more attention to us?
[MUSIC NO. 03 “AN ORGANIZED LIFE”]
KATHY. It’s lack of spirit, I tell you. I love that team…out
there hitting and getting themselves killed for the
school. Sometimes I think all those students in the
stands just want to have a good time.
JOANNE. We’re out there screaming and crying and most
of the people are down at the snack bar getting French
fries. It makes me feel stupid.
KATHY. That’s why we’ve got to work harder and make
them care.
EVERYTHING IN LIFE DEPENDS ON GOOD PREPARATION.
CHEERLEADERS NEED TO LIVE UP TO DEMANDS.
IF WE’RE NOT EFFECTIVE, THEN WE HAVE TO WORK
HARDER,
KNOW OUR ROUTINES LIKE THE BACK OF OUR HANDS.
WE NEED TO DRILL THEM ALL,
SO THAT THE JOB GETS DONE.
WE NEED TO RUN THESE CHEERS,
SO WE CAN CHEER EACH RUN.
WE NEED TO ROUSE THE CROWD,

BUT NEVER CROWD THE TEAM.
AND THEN THE TEAM WILL LOVE US
AND THE CROWD WILL CHEER US
AND THE WORLD WILL KNOW THAT WE’RE AS PERFECT AS
WE SEEM.
AND THERE,
YOU’VE GOT AN ORGANIZED FRIDAY EVENING.
YOU’VE GOT YOUR VARSITY GAME OF FOOTBALL.
YOU’VE GOT US THERE ON THE SIDELINES,
HELPING THEM WIN.
THEN WE’LL GO WITH OUR GUYS TO SOME PERFECT
SETTING,
FINISH THE NIGHT WITH A LITTLE PETTING,
AND THAT’S HOW YOU BEGIN
TO HAVE AN ORGANIZED LIFE.
Now, we’ve got to get on to the rest of the plans. We’ve
got to decide on the theme for the football dance. It’s
less than a month away.
MARY. The themes for the football dance are always so
corny.
KATHY. Well, I was thinking about “Over the Rainbow.”
JOANNE. I think that sounds more like the prom. Shouldn’t
the “football” dance have something to do with
“football”?
KATHY.
LISTEN NOW, I’M SORRY, BUT I KNOW WHAT I’M DOING…
“OVER THE RAINBOW” IS WHAT IT WILL BE.
JOANNE.
I DUNNO, I SORTA THINK WE NEED SOMETHING BETTER.
KATHY.
“OVER THE RAINBOW” SOUNDS PERFECT TO ME!
JOANNE.
WE’LL NEED SOME BIG BALLOONS.
MARY. No…
I THINK BALLOONS ARE SQUARE.
JOANNE. Maybe.
KATHY.
WE’LL DECORATE THE GYM.
In lots of colors…!
(JOANNE and MARY get more interested in the
idea of lots of colors.)
JOANNE.
I KNOW WHAT SHOES I’LL WEAR.
What are you gonna wear?
MARY.
I’LL BUY A TIGHT BLUE DRESS.
JOANNE.
I’LL GET A NEW HAIRSTYLE.
KATHY.
I’LL MAKE A BIG HUGE RAINBOW
OUT OF CHICKEN WIRE
AND I’LL STUFF IT FULL OF COLORED KLEENEX BY THE
MILE.
AND THEN…
ALL.
WE’LL HAVE AN ORGANIZED NIGHT OF DANCING.
WE’LL HAVE OUR “OVER THE RAINBOW” OUTFITS.
WE’LL BE IN CHARGE OF THE PUNCH BOWL,
SETTING THE TRENDS.
WE’LL BE GIRLS WHO THE REST OF THE KIDS ADMIRE…
KATHY.
…THANKS TO SOME PLANNING AND CHICKEN WIRE.
ALL.
FOREVER THREE BEST FRIENDS…
KATHY.
WHO LIVE AN ORGANIZED…
JOANNE & MARY. KATHY.
WHO LIVE AN
ORGANIZED… WHO LIVE AN ORGANIZED
LIFE
(Imparting her wisdom to the others, in a
spoken “Supremes”-style music setting, while
the others sing back-up.)
KATHY. MARY & JOANNE.

Life is full of drama. OOH, DRAMA.
Life is full of dreams OOH, OOH, PROMISES.
and promises.
But it’s up to you to OOH.
make it through
and pass each test. YOU CAN MAKE IT.
I know…
I know we can run this I KNOW…
high school.
We can show those OOH…WE CAN SHOW
doubting Thomases. THEM.
So simply – AAH…
follow me… AAH…
and we can be the best. AAH…THE BEST.
KATHY.
NOW WHEN THE DANCE IS DONE,
THEY PICK THE FOOTBALL QUEEN.
JOANNE.
I REALLY HOPE IT’S YOU.
I’m sure you’ll get it, Mary.
MARY.
I DON’T KNOW WHAT YOU MEAN.
I hope you get it.
JOANNE.
NO NO, I HOPE IT’S YOU.
MARY. Oh, come on.
JOANNE.
IF NOT, I’LL SLIT MY THROAT.
KATHY.
THERE’S ONLY ONE THING CERTAIN –
ONE OF US WILL GET IT!
(Meaning herself.)
BUT TO JUST MAKE CERTAIN, WE SHOULD MAYBE FIX THE
VOTE.
AND SO,
WE NEED TO ORGANIZE ALL OUR BOYFRIENDS.

WE NEED TO INFLUENCE ALL THEIR TEAMMATES.
WE NEED TO THROW THEM A PARTY,
THAT’S HOW THIS GOES.
SINCE WE KNOW THAT THE TEAM CONTROLS ALL THE
VOTING,
NOTHING IS WRONG WITH SOME SELF-PROMOTING.
ELECTIONS GO TO THOSE WHO HAVE AN ORGANIZED…
JOANNE. MARY.
WHO HAVE AN
ORGANIZED… WHO HAVE AN
ORGANIZED LIFE.
ALL.
SO NOW, WE HAVE AN ORGANIZED COURSE OF ACTION
TO HELP US ORGANIZE OUR ADVANTAGE,
TO STAY IN CHARGE OF OUR CLASSMATES,
PULLING THE STRINGS.
POPULARITY’S YOURS IF YOU GO AND WIN IT.
KATHY.
HOW IT ALL ENDS DEPENDS HOW YOU BEGIN IT.
ALL.
AND PREPARATION BRINGS
THE JOY OF ORGANIZED LIFE.
KATHY.
TAKE CARE OF LITTLE THINGS –
ALL.
YOU’LL HAVE AN ORGANIZED LIFE!
KATHY. Now that’s Coke party on December thirteenth,
dance on the fourteenth and we’ve got everything
planned for the pep rally this afternoon and the game
tonight.
MARY. Did ya’ll do your English?
KATHY. I couldn’t read that Silas Marner.
JOANNE. When I found out that George Eliot was a woman,
I got all confused.
MARY. Kathy, can I borrow your math? Just the answers.
I did all the problems but never got any answers. I’ll
copy yours.
KATHY. (Gets the paper from her notebook.) I don’t know if

they’re right. I got them from Gary. He does geometry
better than me.
MARY. (Copying the answers into her notebook.) What’s the
date?
KATHY. Friday.
MARY. Of course it’s Friday or we wouldn’t be having a
football game tonight. It’s Friday, November what?
KATHY. Twenty-second.
JOANNE. Where y’all going after the game?
MARY. That’s according to whether we win or lose. If we
lose, I’ll probably go home. If we win, Jim will want to
go parking and score another touchdown.
JOANNE. (Covering her shock.) I can’t imagine how anyone
could lose their self-respect. If I wasn’t a virgin, I’d
hate myself.
KATHY. Amen.
(KATHY and JOANNE look at MARY.)
MARY. I just worry what Jim will try next. When we started
dating, I let him kiss me. Then we went steady and
I let him kiss and touch me lightly…on the top only.
Next he gave me his football letter jacket to wear. So
I let him rub up against me, but all clothes on, mind
you. Now he’s giving me his football jersey. I guess he
can put his hand under my bra. But with every gift, I
give in a little more. He’s got more gifts lined up than
I’ve got parts to give.
JOANNE. (Gasps.) You can’t give in…what do you do after
you finally give in?
MARY. (Frustrated and a bit angry.) I just know sometimes
when our boyfriends drop us off, they go right over
and pick up that trashy Brenda Blair.
KATHY. Isn’t it funny I used to like her – but the minute she
became a majorette, her reputation went downhill.
JOANNE. I don’t know why becoming a twirler automatically
makes a girl easy.
MARY. It’s hard enough to keep boys down to petting and
necking without Brenda putting other ideas in their

heads.
KATHY. The ideas are already in their heads. Brenda just
puts them in their hands.
JOANNE. Ted’s not like Jim. He’s true to me.
KATHY. So is Gary.
MARY. He’s not true. (Falsely sincere.) I didn’t want to
tell you, but I know for a fact that he’s been out with
Brenda.
KATHY. (Angry.) You can’t stand that Jim plays around, so
you want me to believe that Gary does, too. Well, he
doesn’t.
MARY. (Angry, too.) Gary went out with her last week.
KATHY. Where? You just tell me where?
MARY. Last Thursday night Jim and I saw them at the
drive-in. Gary’s car was parked in front of us. They
kept popping up and down, jumping from the front
seat to the back and they didn’t watch a minute of the
movie. I know it was Brenda.
KATHY. It wasn’t Brenda!
MARY. Looked just like her.
KATHY. It wasn’t Brenda!
MARY. Nobody else but trashy Brenda would carry on like
that at the drive-in.
KATHY. It wasn’t Brenda. Last Thursday night Gary went
to the drive-in with me!
(JOANNE gasps, MARY laughs…then this
erupts into an argument.)
JOANNE. On a school night?
KATHY. Mary, I thought your mother wouldn’t let you go to
the drive-in?
MARY. She won’t. And if you tell her, I’ll never speak to you
again!
JOANNE. None of us are allowed at the drive-in.
KATHY. You said you were going to the library.
MARY. You said you were going to her house to study

Spanish.
JOANNE. I don’t even take Spanish.
MARY. You were spying on me!
KATHY. I didn’t even know you were there!
JOANNE. Stop it you two! I’ve got a clever idea…let’s come
to my house after the game and you all can stay over
for a slumber party!
(They continue to argue with one another.)
MARY. (Furious.) I can’t stay over. My mother says until
my grades come up I have to stay home. She can’t
understand that I don’t have time to care about grades.
KATHY. You have to care. We’ll never get into college if our
grades are bad. Have you mailed your application?
MARY. No. Have you?
KATHY. Let’s all mail them at the same time. Let’s all meet
at the post office and mail them at the same time.
(She writes this on her list.)
JOANNE. I can’t even fill mine in. Where it says course of
study at the university I just had to leave it blank.
MARY. I want to study psychology. I’d like to figure out
what makes my mother tick. When I have the gang
over, she runs around the pool drunk in her bra trying
to be the life of the party.
JOANNE. Then she falls in the water and the boys have to
fish her, then her bra, out.
MARY. Who wants to be around an old lady trying to act
young? She’s almost forty.
KATHY. I think I’ll stick with P.E. at college. I guess I can
teach P.E.
JOANNE. Teach? Ugh! I just couldn’t take it.
KATHY. Well, it’s not like teaching anything else. All you
have to do is play games. I already know all the games.
JOANNE. You all make me feel awful. There’s just nothing I
want to study. I want to go to college, but I sure don’t
care to learn anything.
MARY. I think college will be a blast. I can’t wait to get away

from my mother. I won’t miss her one minute.
JOANNE. I can’t stand the idea of a new school with new
people.
[MUSIC NO. 04 “I CAN’T IMAGINE”]
MARY. What if they all hate us?
JOANNE. What if Gary, Jim and Ted don’t go with us?
KATHY. What if we don’t get into the same sorority?
JOANNE. What if we’re nothing?
SINCE WE STARTED SENIOR YEAR, THERE’S ONE THING

ON MY MIND…
WHAT HAPPENS WHEN THE THREE OF US LEAVE HIGH
SCHOOL FAR BEHIND?
WHAT IF I DON’T GET ADMITTED AND BOTH OF YOU DO?
OR IF ALL THAT THEY HAVE LEFT IS A DORM ROOM FOR
TWO?
I WOULD NOT GET BY. NO, I THINK I’D DIE,
IF I CAN’T SHARE COLLEGE WITH YOU.
I CAN’T IMAGINE, I CAN’T IMAGINE,
NOT HAVING BOTH OF YOU THERE AT MY SIDE.
I CAN’T IMAGINE, NO, I CAN’T IMAGINE,
NOT BEING WITH YOU THE REST OF THE RIDE.
YES I KNOW I’D STILL HAVE TED,
WHO’S IN MY HEAD AND HEART.
BUT YOU ARE THE MOST IMPORTANT THING IN MY LIFE.
ALL.
I CAN’T IMAGINE US EVER BEING APART.
KATHY. What if we don’t all get to be cheerleaders there?
JOANNE. Oh, I hope you are. You’ve been head cheerleader
from elementary school until now.
KATHY. All I’ve ever wanted to do is be a cheerleader.
MARY. And you have been.
KATHY. Well, we’ve got to have a plan. There’s so much to
think about. Boyfriends. Sororities. (Gasps.)
ONE THING JUST OCCURRED TO ME THAT FILLS ME UP
WITH FEAR.
WHAT HAPPENS IF THAT BRENDA BLAIR IS STILL AROUND

NEXT YEAR?
MARY.
WHAT IF EVERY GIRL IS PRETTY AND LOOKS LIKE A STAR?
JOANNE.
OR IF EVERY GIRL HAS MONEY AND DRIVES HER OWN
CAR?
ALL.
CAN WE PLAY THE GAME WHEN IT’S NOT THE SAME
AS IT IS RIGHT HERE WHERE WE ARE?
I CAN’T IMAGINE, I CAN’T IMAGINE,
NOT BEING POPULAR ALL MY LIFE THROUGH.
PEOPLE WON’T LOVE US WHATEVER WE DO.
MARY.
ALL LIFE LONG, WE’VE BEEN ADORED,
WHICH MAKES ME SORTA PROUD.
SINCE THAT IS THE MOST IMPORTANT THING IN THIS
LIFE…
ALL.
I CAN’T IMAGINE JUST BEING ONE OF THE CROWD.
JOANNE.
RIGHT NOW WE’RE FINE.
RIGHT HERE WE’RE GREAT.
OUR WORLD IS HOW IT’S SUPPOSED TO BE.
I KEEP IN LINE,
MY PATH IS STRAIGHT,
’CAUSE I HAVE BOTH OF YOU CLOSE TO ME…
JOANNE. KATHY.
RIGHT NOW WE’RE HURRYING INTO THE
FINE. FUTURE,
RIGHT HERE WE’RE BUT NOT LETTING GO OF
GREAT. THE PAST.
OUR WORLD IS HOW IT’S
SUPPOSED TO BE.
I KEEP IN LINE, TAKING ACCOUNT OF
WHAT MATTERS
MY PATH IS STRAIGHT, AND MAKING IT LAST…

’CAUSE I HAVE BOTH OF
YOU
CLOSE TO ME…
JOANNE. KATHY. MARY.

RIGHT NOW HURRYING IMAGINE
WE’RE FINE. INTO THE WHERE
WE
RIGHT HERE FUTURE ARE…
WE’RE
GREAT. BUT NOT IMAGINE
LETTING GO WHAT
COMES
OUR WORLD IS OF THE PAST. NEXT…
HOW
IT’S SUPPOSED TAKING
TO BE. ACCOUNT
OF
I KEEP IN LINE, WHAT
MATTERS,
MY PATH IS AND MAKING
STRAIGHT, IT LAST…
’CAUSE I HAVE
BOTH OF
YOU CLOSE TO
ME…
MARY & JOANNE.
I CAN’T IMAGINE…
KATHY. Uh-uh!
MARY & JOANNE.
KATHY. No!
ALL.
EVERYTHING’S PERFECT THE WAY IT IS HERE.
HOW IT COULD BE ANY DIFFERENT NEXT YEAR.
WHO WE ARE, THE THINGS WE DO,

TOOK FOUR YEARS TO ARRANGE.
NOW THIS IS THE MOST IMPORTANT TIME IN MY LIFE.
JOANNE.
MARY & JOANNE.
OH, I CAN’T IMAGINE…
ALL.
NO, I CAN’T IMAGINE, WHY IN THE WORLD IT SHOULD
CHANGE…!
(The school bell rings. The girls grab their
pom-poms.)
KATHY. Okay, let’s make this pep rally the best of the year!
JOANNE. We’ve got to get those kids to care about the team!
KATHY. We’ve got a minute or two, so let’s run through
“Two, Four, Six” right into “Fight, Fight, Fight.” Hit it!
ALL. Two, four, six, eight,
Who do we appreci…
(The school intercom comes on and the voice
of the principal is heard. The girls stop mid-
yell.)
INTERCOM. May I have your attention please? Students,
we want all of you to report to your homeroom
immediately.
KATHY. What’s he talking about?
INTERCOM. I repeat, go to your homeroom.
MARY. Oh, darn, I hate homeroom.
INTERCOM. We have a report, and only a report, that…
excuse me…
JOANNE. I’ll bet someone stole something from the
lunchroom again. This school is full of thieves.
INTERCOM. Students, I am sad to announce the President
has been shot.
JOANNE. The president of the student counsel has been
shot?
KATHY. Oh, my God. MARY. Oh, no.

INTERCOM. The President was gunned down in Dallas.
JOANNE. Dallas? I just saw him in algebra.
INTERCOM. If this report is true, classes will be dismissed
for the rest of the day.
KATHY. What about the pep rally?
INTERCOM. In any case the football game will take place as
planned this evening.
ALL. Oh – thank God.
(The relief they feel is short-lived as the three
women stop and look at one another. They
suddenly realize that something larger and
more serious has happened, but they do not
know how to deal with this sudden change in
their perfect world.)
Transition – 1963-1968
(Music begins. The lights fade on the play-

ing area. The mirror lights slowly come up as
the characters drop their 1963 demeanor and
return to the framing device of their vanities
to change for Scene Two.)
[MUSIC NO. 06 “MYSTERY II”]
JOANNE.
GAZING IN THE MIRROR,
THROUGH THE LOOKING GLASS AND INTO YOUR HEART.
MARY.
WAKING WITH THE MIRROR,
LEARNING EV’RY DAY’S A BRAND NEW START.
KATHY.
THAT’S THE MYSTERY,
IS HOW YOU FIND YOUR WAY…
JOANNE.
HOW YOU FIND YOUR WAY…
MARY.
HOW YOU FIND YOUR WAY…
ALL.
OR SOON YOU’RE SPINNING IN ALL DIRECTIONS,
ASKING…WHO WILL I BE TODAY?
KATHY. MARY. JOANNE.
REVLON…
MAX FACTOR…
CLINIQUE…
CHANEL…
HELENA
RUBENSTEIN…
L’OREAL…
COVER GIRL…
ESTÉE LAUDER…
MAYBELLINE…
MARY KAY…
(The three of them make final adjustments to

their appearance at the vanities; the lights go
out on the vanities and back up on the play-
ing area, and we are back in the world of the
story, in 1968.)
Scene Two
A Sorority House in Dallas – Spring, 1968
(JOANNE wears a skirt and a blue blazer

with the sorority emblem on it. KATHY wears
shorts and a sorority sweatshirt. Only MARY
is onstage at the beginning. She is in her robe
looking through her closet.)
KATHY. (Entering.) Mary, would you stop going through
your closet – it’s time for our officers’ meeting?
(KATHY is still business-like, but something
else is bothering her. She tries to be her old
self, but her heart isn’t in it.)
MARY. I’ve got my French class tonight, so I figure if I dress
“French” and go “oui, oui” a lot, the professor will think
I understand what he’s saying.
KATHY. (Yelling to the offstage area.) Joanne, get in here.
There’s a lot to be done.
JOANNE. (Rushing in.) Sorry, I was on the phone. My
mother wants me to hurry up with the plans for my
wedding. She says it’s the only thing she’s looked
forward to since the day I was born.
KATHY. Okay, let’s get started. What are we going to do
about all these rush applications?
MARY. (Holding up two dresses on hangers in front of
JOANNE.) This one or this one?
JOANNE. That one’s cute.
MARY. I don’t want to look cute. I want to look French.
KATHY. There’s a whole group of awful girls whose great-
grandmothers were Kappas, so we’ve got to pledge
them. Hopefully they’ll drop out in training if we’re
rough enough.
JOANNE. I need to know, do you think it’s right to make it
hard on some pledges just because we hate them?
KATHY. There’s one thing no one on this campus does and
that’s joke about a Kappa. I’m gonna make sure before

we graduate that the next group of girls fit the image.
JOANNE. We’ll be cruel at rush. I won’t even consider a girl
who’s liable to break the house rules. This is the best
house on campus, and if we start letting girls wear
jeans to dinner and smoke, then Kappa is finished.
MARY. What does smoking have to do with it? I smoke.
JOANNE. I know and I wish you’d stop. It’s totally unladylike.
MARY. For God’s sake, Joanne, right now this whole place is
so oppressive most of the members are scared to death.
We ought to relax the silly out-of-date regulations and
let the girls loose.
JOANNE. I don’t think this sorority is a place for girls who
want to be loose.
KATHY. We simply need girls like us, who are friendly and
shop at Neiman Marcus.
JOANNE. No flower children. No drugs or guitar players.
KATHY. It’s our responsibility as officers to leave Kappa as
we found it – the best sorority on campus.
JOANNE. We’re the tops.
MARY. But you know the song, “The times they are
a-changing?” Well, they are.
JOANNE. Well, I don’t think the times they are “a-changing.”
I think the world is just in a crazy phase.
MARY. It’s past time when we could take girls and cram
them into an image. It’s not important!
KATHY. It’s our last semester, Mary. We can’t change Kappa
now. The best we can do is see that we get some good
girls to continue on after us.
MARY. I’m just not so sure it’s important for girls to be
“good girls.” I think we ought to let them grow up and
be women.
JOANNE. Well that’s silly. All girls grow up to be women
anyway. What else would they grow up to be?
MARY. I don’t know, Joanne. Ducks?
KATHY. (Losing her cool completely.) We’ve got to get
organized! Let’s discuss spring. Spring is an S.O.B.!

(MARY and JOANNE are startled.)
JOANNE. Okay, let’s discuss the S.O.B.
KATHY. Mary?
MARY. Sure, let’s.
(MARY starts reading a magazine.)
KATHY. I figure if Kappa can win Carnival skit and the
Olympics it’ll be a first. Sing Song is the bummer.
[MUSIC NO. 07 “AN ORGANIZED LIFE
(REPRISE 1968)”]
JOANNE. Do we need a theme?
KATHY. Most of the groups do medleys from Broadway
shows.
JOANNE.
IF WE’RE DOING BROADWAY, HOW ABOUT OKLAHOMA?
KATHY.
RODGERS AND HAMMERSTEIN’S NOT WHERE IT’S AT.
FIDDLER ON THE ROOF WILL BE OFF LIMITS FOR CERTAIN.
THE JEWISH SORORITY ALWAYS DOES THAT.
JOANNE.
THERE’S ALWAYS CABARET.
KATHY. Too German.
JOANNE.
LET’S DO THE KING AND I.
KATHY. Too Chinese.
JOANNE.
WELL, WEST SIDE STORY’S GOOD.
KATHY. Too Puerto Rican.
JOANNE.
AND I DON’T SING THAT HIGH.
KATHY. We need an American show.
JOANNE.
NOW, BYE BYE BIRDIE’S GREAT.
KATHY. Too controversial.
JOANNE. Huh?
KATHY.
WHEN BIRDIE GOES TO WAR.
JOANNE. Oh, let’s not do anything about the war. Let
Lyndon Johnson do something about the war.
MARY. (Excitedly, cutting off music.) What about Hair? It’s
a New York show that’s a big hit. I’ve heard the record.
It’s about peace and love and sunshine.
JOANNE. Great! We can all wear matching evening gowns
and groovy hairstyles!
KATHY. Sunshine…
(Resuming music, right where she left off.)
I’LL HAVE A GREAT BIG SUN
THAT’S MADE OF CHICKEN WIRE,
AND I’LL STUFF IT FULL OF COLORED KLEENEX LIKE
BEFORE.
AND THERE,
WE HAVE OUR MUSICAL PICKED FOR SING SONG.
KATHY & JOANNE.
WE’LL HAVE OUR SCENERY AND OUR COSTUMES.
ALL.
WE’VE GOT IT DOWN TO A SCIENCE,
PLAYING OUR ROLES.
KATHY.
JUST LIKE EVERYTHING ELSE, ALL IT TAKES IS PLANNING.
JOANNE.
BELTING OUT HAIR LIKE YOU’RE CAROL CHANNING.
KATHY.
AS LONG AS YOU’VE GOT GOALS…
ALL.
YOU’VE GOT AN ORGANIZED LIFE.
KATHY. So it’s spring rush, Hair, Carnival and the Olympics
– those are the four big events before we graduate.
MARY. Graduation…at last.
KATHY.
AT LAST…
JOANNE. Then my wedding…at last.

KATHY.
I THINK WE’VE ORGANIZED OUR SEMESTER…
JOANNE. Have you two ordered the dresses?
(KATHY and MARY look at one another and
then make up excuses.)
MARY. Is this meeting over?
JOANNE. You haven’t ordered the dresses?
KATHY. (Making a note.)
WE NEED TO ORDER THE WEDDING DRESSES.
JOANNE. You two had better get those bridesmaid dresses.
How could you put that off? The biggest event of my
life and you can’t find the time?
(KATHY and MARY decide to confront her with
the truth.)
MARY. Frankly, Joanne, we don’t care much for the color.
JOANNE. How can you say that?
MARY. When you said your colors were green and white, we
pictured something like avocado…not liiiiime green.
KATHY. Why did you ever choose those colors? The sorority
colors are blue and baby blue.
MARY. And the high school colors were blue and gold.
KATHY. It only makes sense to use…
KATHY & MARY. Blue.
JOANNE. (Upset and a bit defensive.) Green is better for
weddings. It makes it easier for teas and showers
because you can serve all sorts of green things…
cucumber sandwiches, green salad, green grapes, lime
sherbet. There’s no such thing as blue sherbet.
MARY. I guess blue food is a turn-off.
JOANNE. Well, of course. When I was deciding on a color, I
told Ted that I felt rotten about not using blue. I mean,
he loves blue, too. But I thought it would be easier to
deal with lime. And he said, “Blue or lime, who cares?
Big fuckin’ deal.”
MARY. (Trying to be comforting.) Boys don’t care about

color.
KATHY. I suppose we’d better plan a shower. Somewhere
between Sing Song and graduation, Mary and I should
throw a shower. (Back to her notepad.)
JOANNE. Oh, that’s so sweet, but you all don’t have to.
KATHY. Well, we’ve got to have a theme.
MARY. “Over the Rainbow! Over the Rainbow!”
(MARY and JOANNE laugh.)
KATHY. (Sudden inspiration.) What about a green and
white shower?
MARY. Liiiiiiiime green!
KATHY. Everybody has to bring something that’s green or
white.
JOANNE. Like my chosen colors.
MARY. That’s just dumb enough to work.
KATHY. We can have it in the garden. That’s green already.
And I’ll do big wedding bells out of chicken wire.
MARY. And stuff ’em with white Kleenex!
KATHY. Well, natch.
(They laugh.)
[MUSIC NO. 08 “FLY INTO THE FUTURE”]
JOANNE. That’s neat.
KATHY. (Writing it down.) Then it’s settled. That’s one
more thing to do this semester.
MARY. (To herself.)
THERE SHE GOES AGAIN, LOOK AT CHATTY KATHY…
KEEPING TRACK OF LIFE WITH HER PAPER AND PEN.
JOANNE. You’d better go down and get those bridesmaid
dresses. Put that at the top of your list. If they sell
them to somebody else, I’ll have a heart attack.
MARY. (To herself.)
THEN THERE’S POOR JOANNE, DESPERATE TO MARRY…
BRINGING UP HER WEDDING AGAIN AND AGAIN.
KATHY. Okay, we’ll go down right after classes tomorrow.

JOANNE. Promise?
MARY. (To herself.)
THIS WOULD BE MY WORLD, THIS IS WHAT I’M IN FOR.
YEARS OF PLANNING PARTIES AND BEING A WIFE.
“SING SONG.” “LIIIIIME GREEN.”
I DON’T WANNA BE MEAN, BUT THIS ISN’T MY SCENE,
AND I FEEL LIKE I NEED SOMETHING BIGGER FROM LIFE.
KATHY. Mary said she needed to go downtown anyway and
pick up her plane ticket to Rome.
JOANNE. But why Rome? I don’t think they have anything
in Rome that we don’t have right here in Dallas.
MARY. (All to herself, in her own private world.)
GROWING UP WAS STIFLING, ’CAUSE I WAS NEVER FREE.
SCHOOL IS GETTING STALE, AND I’M SICK OF THIS
SORORITY.
THINK I NEED SOME DISTANCE, A PLACE TO DISAPPEAR.
SO IT’S ADIOS AND AWAY I GO,
AND I’M KINDA SCARED BUT THE MOMENT’S HERE
TO FLY INTO THE FUTURE…
GONNA ROLL, GONNA RIDE, SO THAT NO ONE CAN FIND
ME.
I’M FLYING INTO THE FUTURE…
MOVING ON WITH MY LIFE, AND LEAVING ALL THIS
BEHIND ME.
FREE FROM TEXTBOOKS, FREE FROM TEXAS,
FREE FROM FOLKS WHO GIVE ME FLAK.
I’M GONNA FLY INTO THE FUTURE…
TIME TO FLY, AND I’LL NEVER LOOK BACK.
I COULD GRAB MY PENCIL AND MAKE SOME LITTLE PLAN.
I COULD BE A HOUSEWIFE AND SETTLE DOWN TO SERVE
A MAN.
I COULD TAKE A JOB WITH MY BACHELOR’S DEGREE.
BUT I THINK I’LL GO TO THE COLOSSEUM
AND TAKE SOME BACHELORS HOME WITH ME
AND FLY INTO THE FUTURE…
WHERE THERE’S NO ONE TO BOSS ME OR JUDGE HOW I’M
LIVING.
THERE’S ONLY ME IN MY FUTURE…

PLUS A COUPLE ITALIAN BOYS WHO LIKE WHAT I’M
GIVING.
NO COMMITMENTS, NO CONDITIONS,
NO CONNECTIONS THAT CAN LAST,
NOT WHEN I FLY INTO THE FUTURE…
ONCE I FLY, I’LL BE THROUGH WITH MY PAST.
MAMA IS A COWARD. MAMA IS A DRUNK.
MAMA SLEEPS WITH HOWARD WHEN SHE GETS IN A
FUNK.
HOWARD’S KINDA CREEPY. HOWARD’S KINDA CRUDE.
HOWARD’S REALLY FAT AND WALKS AROUND IN THE
NUDE.
DAD RAN OFF WITH JULIE. MAMA HATES HIS GUTS.
HE’S OKAY, BUT TRULY MY WHOLE FAM’LY IS NUTS.
MAMA DOESN’T LIKE ME. I DON’T EVEN TRY,
WHICH IS WHY I JUST GOTTA SAY GOODBYE…
AND FLY INTO THE FUTURE…
I’LL BE UP IN THE SKY, SOON AS BRANIFF CAN TAKE ME,
AND FLY ME INTO THE FUTURE…
WHERE THE FREEDOM I FIND IS GONNA MAKE ME OR
BREAK ME.
NO RESTRICTIONS, NO RELATIONS,
NO RIDICULOUS DEMANDS.
WATCH MARY FLY INTO THE FUTURE…
WATCH HER FLY…
SEE HER FLY…
AND WE’LL SEE WHERE SHE LANDS.
AND WE’LL SEE WHERE SHE LANDS.
…AND WE’LL SEE WHERE SHE LANDS!
JOANNE. Mary?
KATHY. Mary?
JOANNE. What about Brian? You’re pinned.
MARY. Brian? Who cares? He’s a convenience. Isn’t it
amazing how you and Ted have stayed together all
this time? I’ve changed my boyfriends as often as I’ve
switched my sweater sets.
JOANNE. It’s not that amazing. When you go with someone

for six years, then naturally you marry them.
KATHY. I went with Gary for six and then he married
someone else.
(MARY shoots JOANNE a look – this subject is
off-limits.)
If we’d made it to seven then I guess we’d be planning
a double wedding.
JOANNE. Have you heard from Gary lately?
KATHY . Since when do married guys phone their
ex-girlfriends?
JOANNE. Oh, you’re so brave. I don’t know what I would
have done if after six years Ted had dropped me and
married someone else. I would have slit my wrists.
MARY. I jumped for joy when Jim and I finally split. After
we got to college, we got bored with each other. Blame
it on sex.
JOANNE. Ooh, I don’t want to hear about it.
MARY. The pill changed my life.
(To JOANNE.) Why don’t you get some?
JOANNE. Since when does a virgin need the pill?
MARY. Sad but true.
KATHY. I haven’t had the need to take it since Gary got
married. He was my first and last.
MARY. I can’t believe you two.
JOANNE. Well, I’m not interested in sex.
MARY. Does Ted know that?
JOANNE. All I know is that I’m getting married after six
years of not giving in. That’s more than you can say.
KATHY. It doesn’t make any difference. After five years of
going with Gary we started “doing it.” All the sixth year
we slept together and I thought it was the best. Then
right before New Year’s, he calls me and says he’s met
someone new. Within a month they were married.
JOANNE. But that girl is a creep. I’ll never understand why
he married her. She wasn’t even in a sorority. You must

have done something wrong.
KATHY. (Upset and defensive.) Oh, I did. I kept pouring
pills down myself to keep from getting pregnant – I
took those pills because Gary wanted me to – then he
goes out, she gets knocked up, and he marries her.
JOANNE. What?
KATHY. I found out she was pregnant.
JOANNE. You never told us this. We’re your best friends and
you never told us.
MARY. I knew.
(This is a slip-up and MARY realizes it
immediately. She looks helplessly at KATHY.)
JOANNE. You did?
(To KATHY…hurt.) It’s awful that you felt you could tell
Mary but couldn’t tell me? Why?
KATHY. (Angry at herself.) Joanne, I’m such an idiot.
[MUSIC NO. 09 “CUTE BOYS WITH SHORT
HAIRCUTS”]
I was trying not to get pregnant so Gary wouldn’t
“have” to marry me, when all I really wanted was to be
pregnant and married. I was “smart” and lost him. She
was “stupid” and got him. Now I see that she was very,
very smart and I am the one who is so totally stupid.
MARY. You’ll get over him.
KATHY. When?
SEEMS LIKE ONE OF THOSE WHERE-DID-I-GO-WRONG
DAYS,
CAN’T-STOP-CRYING AND I-GUESS-I’M-NOT-SO-STRONG
DAYS.
LOST THE ONLY GUY I EVER HAD.
IT’S BEEN ONE OF THOSE SEEMS-LIKE-I’VE-BEEN-
SCARRED YEARS,
CAN’T-GET-OUT-OF-BED AND LIFE-IS-KIND-OF-HARD
YEARS.
NO ONE EVER MADE ME FEEL SO SAD.
NOW ALL I SEE ARE CUTE BOYS WITH SHORT HAIRCUTS,

WALKING BY IN A BLUR…
AND ALL I SEE IS HIM AND ME,
THE WAY WE ALWAYS WERE.
THAT’S HOW IT GOES WHEN CUTE BOYS WITH SHORT
HAIRCUTS
SET YOUR SENSES ASTIR.
HE SAYS HE’S TRUE,
THEN DITCHES YOU FOR HER.
WHEN YOU FIND A MAN, YOU DON’T WANNA SHARE HIM,
BUT THERE’S ALWAYS SOMEONE THINKING SHE CAN
SNARE HIM,
LAYING OUT THE PERFECT LITTLE TRAP.
YOU CAN PLAY IT SAFE, SURE YOU’VE GOT A SMART PLAN.
SOON IT’S JUST ANOTHER LOVE-CAN-FALL-APART PLAN.
GUESS SOMETIMES WE ALL COULD USE A MAP…
TO STEER US THROUGH THE CUTE BOYS WITH SHORT
HAIRCUTS,
IN A MAZE OF THEIR OWN…
AND HERE I AM, A LITTLE LAMB
WHO’S LOST AND ALL ALONE,
OUTNUMBERED BY THE CUTE BOYS WITH SHORT
HAIRCUTS,
SITTING HIGH ON SOME THRONE.
I’M HERE BELOW,
UNSEEN AND SO UNKNOWN.
THERE WAS A TIME WHEN EVERYONE WOULD NOTICE
ME,
BEFORE WHATEVER STRENGTH I HAD WAS GONE.
I’D DIE FOR THINGS TO BE THE WAY THEY USED TO BE,
BUT NOTHING STOPS THE WORLD FROM MOVING ON…
AND NOTHING STOPS THE CUTE BOYS WITH SHORT
HAIRCUTS
WHO SURROUND ME EACH DAY…
I’M NOT SO GRAND, OR IN DEMAND,
OR “PRETTY” LIKE THEY SAY.
NOT PRETTY LIKE THE CUTE BOYS WITH SHORT
HAIRCUTS,
WITH THE GAMES THAT THEY PLAY,

THE GAMES OF ALL THE CUTE BOYS WITH BROAD
SHOULDERS,
LOVING ALL THEY SURVEY.
AND LOVING BEING CUTE BOYS WITH LOW VOICES
AND LOW MORALS,
AND NO INTEREST.
CUTE BOYS WITH SHORT HAIRCUTS
NEVER LOOKING MY WAY.
SO HERE I SIT,
AND THAT’S HOW IT WILL STAY.
THANKS TO SHATTERED TRUST…
AND SOME SLIGHT DISGUST…
NO MORE CUTE BOYS WITH SHORT HAIRCUTS,
AND I GUESS THAT’S JUST OKAY.
JOANNE. Poor Kathy. Here my life is going along exactly as
I planned and yours, Kathy, is just a mess.
MARY. You’ll meet new men. I never thought once about
Jim after we broke up. We even get together and do
it now and then for old times’ sake. It doesn’t mean a
thing. I was over him in a flash.
JOANNE. But you didn’t love him. Not the way we love Gary
and Ted.
MARY. I’ll bet I did. We just got tired of each other faster.
JOANNE. If Ted ever gets tired of me, I’ll kill him.
MARY. If he hasn’t gotten tired of you by now, I don’t
suppose he ever will.
KATHY. (Lost in her own thoughts.) I haven’t even thought
about a place to live after graduation.
JOANNE. Why not get an apartment next door to us? Ted
wants a place near Law School.
KATHY. I don’t see much sense in staying in Dallas. I’m not
going to graduate school.
JOANNE. Well, Ted has to. If he doesn’t stay in school, he’ll
get drafted. If he went to Vietnam, I’d die.
KATHY. I guess I have to start looking for a job.
JOANNE. Oh, if I wasn’t getting married, I’d be so scared.

I’d have to get a job. There I’d be with a degree in
music. What would I do with it?
MARY. I s can’t believe you ended up in music.
JOANNE. Thank God I ended up in something. I just kept
taking classes in the Music Department. I’d always
go to registration and stand around trying to decide
what to take. The tables for science and English and
everything else were always so crowded. I didn’t know
what to do. And every time I’d pass by the Music
Department table, there wouldn’t be a line. So I’d sign
up for a few more music courses. Finally I had all the
credits for a degree. I never wanted to study music.
MARY. And me, with the world’s messiest room, ends up in
interior design.
JOANNE. Kathy’s the only one who knew what she wanted
and got it – a degree in P.E.
KATHY. I guess I’ll teach.
JOANNE. You should. You’re so good at organizing.
MARY. They can just keep my degree. I don’t know any
more about arranging furniture than I did four years
ago. They’d say, “Mary, what color would you do a
room in?” And I’d think of the worst two colors and
say, “I’d do the walls black and the furniture liiiiime
green.” They began to think of me as avant-garde.
Little did they know, I didn’t give a damn.
KATHY. Remember when we were little girls and people
would ask us what we wanted to be when we grew up?
MARY. Sure, I wanted to be a nurse, then a stripper, then a
psychologist.
JOANNE. I always wanted to be a wife. Just a wife and
mother.
KATHY. But what else?
MARY. We all wanted to be pretty.
JOANNE. I think the two of you are pretty. Me, I’m just
attractive.
MARY. And popular.

JOANNE. We are popular. We were high school cheerleaders
and now we’re sorority girls. Whew…we’ve done it all!
We ran the gamut!
MARY. Okay, we’ve told you what we wanted to be – now
you tell us.
KATHY. I can’t.
JOANNE. There you go with those secrets again. I’ll bet
you wanted to be elected cheerleader in college. You
should have been.
KATHY. I mean I can’t tell you what I want anymore because
I don’t know. What will I do?
JOANNE. You’ll teach. Cheer up! Let’s all get out and go
somewhere. I’d kill for a pizza.
(They begin to get ready to go out. MARY
finishes dressing. JOANNE does her makeup.
KATHY is more reluctant but is going along –
trying to lift her own spirits. She gathers her
papers and notebook.)
MARY. Don’t you have to meet Ted?
JOANNE. He told me to get lost this afternoon. He’s going
to some kind of demonstration. I told Ted I didn’t
understand why he had to get involved. The Viet Cong
aren’t bombing the campus.
MARY. I protested when they started closing the student
center snack bar at midnight. It had always stayed
open until one.
JOANNE. That was a good cause. It directly affected you.
But Ted says that the war bothers his conscience, that
he can’t stand the needless killing of women and chil-
dren, and I said, “Ted, for heaven’s sake control your
conscience, you don’t even know those people.”
MARY. You didn’t say that.
JOANNE. Of course I did. Don’t be stupid.
KATHY. I’m glad I’m not going to be around to see the
destruction of this campus.
JOANNE. It’s the flower children. Pot…everywhere I look I

smell pot. I don’t want the Kappa house to turn into a
hippie commune.
MARY. Hippies couldn’t afford this house, Joanne.
JOANNE. What we need is an interesting activity calendar
for this spring. Enough social events to keep the girls’
minds off current events.
KATHY. We’ll rush those pledges like we’ve never rushed
before.
JOANNE. We’re losing ten good girls, including ourselves, at
graduation. We need ten more perfect people to fill in.
Keep Kappa forty strong.
KATHY. Ten noble women. That’s what KKG is all about.
Noble, noble women with the key to the kingdom of
God. (She starts the solemn pledge as if hanging on to
a raft for dear life.) I’m a noble, noble woman…
KATHY & JOANNE. (Joining her.) With the key to the
kingdom of God.
ALL. (MARY joins them.) Kappa the key,
Kappa the kingdom,
Gamma of God.
(All feeling a bit lost – the next section is
simple and honest.)
JOANNE. Kappa Kappa Gamma.
KATHY. I don’t want to see it end. I’m scared.
MARY. It’s easy to be scared.
KATHY. Are you?
MARY. Scared? Why do you think I’m going to Europe?
KATHY. To see the world?
MARY. To avoid it. I’m running scared.
KATHY. I wish I could run.
MARY. I wish you could, too. But you, Kathy, have always
done what’s right. I can’t.
KATHY. I really hate my life.
JOANNE. How dare you talk like that – it’s been fun.
[MUSIC NO. 10 “LET LIFE HAPPEN”]

MARY. For once stop planning. Don’t think about it.
JOANNE. I agree, Kathy. Mary’s right. Don’t think. I’ve
always found it better not to think.
MARY.
YOU LIKE TO STAY PROTECTED. I NEVER COULD.
I TEND TO IMPROVISE MY WAY.
IF LIFE FEELS UNDIRECTED, SOMETIMES THAT’S GOOD.
ONE TRICK THAT I’VE PERFECTED:
EMBRACE THE UNEXPECTED.
LET LIFE HAPPEN AS YOU GO…
SIMPLY FOLLOW WITH THE FLOW…
LOOSEN UP AS MUCH AS YOU CAN.
LET LIFE HAPPEN, RELAX, AND THAT IS THE KEY.
I LET LIFE HAPPEN, AND WATCH WHAT HAPPENS TO ME.
YOU LET LIFE HAPPEN, AND THEN YOU’RE FINALLY FREE.
SOMETIMES IT’S BETTER NOT TO PLAN.
JOANNE.
YOUR STRESS IS LEGENDARY. YOUR NERVES ARE TIGHT.
SO LISTEN WELL TO WHAT WE SAY.
THOUGH CHANGE IS ALWAYS SCARY, SOMETIMES IT’S
RIGHT.
JUST TAKE A TIP FROM MARY.
LET THINGS BE ARBITRARY.
LET LIFE HAPPEN OFF-THE-CUFF…
LIFE’S ALREADY HARD ENOUGH…
AND IT ALL GOES BY IN A WINK.
MARY.
MARY & JOANNE.
SOMETIMES IT’S BETTER NOT TO THINK
ALL ABOUT EVERY SLIGHT MISGIVING,
EVERY MINOR CONCERN AND DOUBT YOU’VE EVER HAD,
ALL THE THINGS YOU ORGANIZE ON A LIST.
HOW THE HELL CAN YOU CALL THAT LIVING?

IF YOU DON’T GIVE IT UP IT’S GONNA DRIVE YOU MAD,
AND YOU’LL BE SURPRISED AT ALL THAT YOU’VE MISSED…
MARY.
SO THAT’S OUR MEMORANDUM… FORGET YOUR FEAR.
YOU NEED TO TRUST US FROM TODAY.
JOANNE.
WE DO SO WELL IN TANDEM, AND WE’LL BE HERE.
THE FATES ARE MOSTLY RANDOM.
DON’T TRY TO UNDERSTAND ’EM.
MARY.
LET LIFE HAPPEN, THAT’S THE TRICK…
JOANNE.
YOU’LL BE HAPPY DOUBLE-QUICK…
MARY & JOANNE.
STOP OBSESSING, JUST WAIT AND SEE.
JOANNE.
MARY & JOANNE.
SOMETIMES IT’S BETTER JUST TO BE.
ALL.
LET LIFE HAPPEN AS YOU GO…
SIMPLY FOLLOW WITH THE FLOW…
LOOSEN UP AS MUCH AS YOU CAN.
MARY & JOANNE.
KATHY.
I’LL LET LIFE HAPPEN, AND WATCH WHAT HAPPENS TO
ME.
ALL.
MARY.
SOMETIMES IT’S BETTER NOT TO PLAN OR TO KNOW
WHERE YOUR LIFE’S GONNA GO.
JOANNE.
LET IT ROLL, LET IT RIDE,
’TIL THERE’S NOWHERE TO HIDE.
ALL.
THERE’S A LOT THAT’S AT STAKE,
AND TOGETHER WE’RE MAKING A VOW…
NO EXCUSES…
LET LIFE HAPPEN…
RIGHT NOW!
RIGHT NOW!
RIGHT NOW!
[MUSIC NO. 12 “MYSTERY III”]

(Music begins as the lights fade on the playing
area and the mirror lights slowly come up so
the characters can change for Scene Three.)
MARY.
LOOKING PAST THE MIRROR…
TRYING NOT TO JUDGE YOUR FACE AND YOUR HAIR.
JOANNE.
TURNING FROM THE MIRROR…
THINKING LESS ABOUT THE CLOTHES YOU WEAR.
KATHY.
IT’S A MYSTERY.
WE LEARN IT YEAR BY YEAR…
JOANNE & MARY.
LEARN IT YEAR BY YEAR…
ALL.
TAKE TINY STEPS AND MAKE COURSE CORRECTIONS,
ASKING…WHERE DO I GO FROM HERE?
MARY. KATHY. JOANNE.
PUCCI… GUCCI…
FIA RUCCI…
RALPH CALVIN KLEIN…
LAUREN…
MARY QUANT…
GIVENCHY… YVES SAINT-
LAURENT…
CASSINI…
HALSTON BALENCIAGA… LAURA ASHLEY
Scene Three
The Terrace of a Penthouse Apartment –
Late Summer, 1974
(There are chairs, a table, and a chaise

onstage. A tea cart holds a bottle of champagne
in a cooler, glasses, a tea service, and assorted
party food. Offstage is the apartment and
the front door. KATHY is dressed in slacks
and a blouse. The door buzzer is heard. As
KATHY exits to greet JOANNE, we hear them
screaming. They enter. JOANNE is dressed in
a “Laura Ashley”-type dress. They speak as
they step into the playing area.)
JOANNE. I didn’t think I’d ever find this place. I looked
and looked. Every time I drive into the city I get lost.
I didn’t bring your phone number – so when I tried to
call for directions, I discovered you’re not in the book.
KATHY. Unlisted.
JOANNE. Well, it’s not in the book. So I parked the car
downtown by Ted’s office and got a cab. The driver got
me here. I wish I knew Spanish. I thought I’d die.
KATHY. But you got here.
JOANNE. Finally. Oh, Kathy, you look good. You really do.
KATHY. So do you.
JOANNE. Oh, I do not. I look the same.
KATHY. Want some tea or champagne?
JOANNE. Oh, dear. I don’t know. If I get drunk this
afternoon I’ll never be able to get back to the country,
pick up the kids by five and fix dinner before Ted gets
home – although half the time he calls to say he’ll be
late. I guess you’d better give me tea. Ted sends his
love.
(KATHY pours the tea.)
KATHY. How sweet.
JOANNE. One teaspoon.

KATHY. I meant… Oh skip it.
JOANNE. Thank you.
KATHY. How are the kids?
JOANNE. Oh, they’re big. They grow up right before your
eyes. But little Kathy always asks about her big Aunt
Kathy.
KATHY. I hope to see her soon.
JOANNE. You know you can come to the country anytime.
It’s an open invitation. We just asked and asked you to
come but you never did.
KATHY. I’ll come soon.
JOANNE. And last year’s Christmas card came back address
unknown. I got so worried. I’m so glad you got in
touch. Finally. We wondered where you were.
KATHY. I’ve moved a lot.
JOANNE. Anyway, you must come for Labor Day weekend.
Ted and Little Kathy want you to, and you’ve never
even seen Ted Jr. and Little Mary.
(JOANNE pulls a wallet with some photographs
out of her purse.)
KATHY. God, it has been a long time.
JOANNE. Ted Jr.’s three and Little Mary’s one now.
KATHY. And Little Kathy must be five. One every two years.
JOANNE. One more and that’s all. I’ve got one boy to go. So
only three more months and it’ll be time to start again.
(The door buzzer is heard again offstage.)
KATHY. Mary.
(KATHY heads out and JOANNE follows.)
JOANNE. Oh, I can’t wait. Kathy, don’t run so fast. I’ll get
lost.
KATHY. You won’t get lost.
(They both exit. Sounds of screams are heard
offstage. MARY enters, followed by JOANNE and
KATHY. MARY is dressed in a bold, expensive

outfit. Her hair should either be wild or in a
turban. She carries a Henri Bendel shopping
bag and several other bags. They all begin to
speak as they enter the garden.)
MARY. I’ll be damned. I’ll be double god damned. Kathy, I
can only stay a minute.
JOANNE. Oh, this is too much. Just look at you.
KATHY. You look terrific.
JOANNE. It’s the outfit. I’d never have the nerve.
MARY. Kathy, I am sorry I’m so late but I had to…
(She’s interrupted several times during the
following.)
JOANNE. Don’t worry about it. I was late, too.
MARY. Good. Anyway, I missed my hair appointment. I
threw a fit. They threw a fit. I zipped through Bendel’s,
something caught my eye, tried it on…
JOANNE. And you bought it!
MARY. Yes, I bought it. It’s a Chloe. Do you like Chloe?
JOANNE. I don’t know what to say.
MARY. Just pick up a Vogue, dear. They’ll tell you what to
say. So, here I am now with all these silly bundles.
Busy, busy!
KATHY. I’m so glad you both came. We’ve got a lot of
catching-up to do.
MARY. (Suddenly noticing the apartment.) Oh, Kathy,
how’d you luck into this drop-dead place?
JOANNE. It’s so nice. Views like this must be hard to come
by.
MARY. (Looks around the terrace.) Honey, everybody and
his dog wants a fuckin’ penthouse apartment.
JOANNE. Kathy, could I switch to champagne?
KATHY. Mary?
MARY. Vodka martini on the rocks with a twist.
KATHY. We have tea or champagne.
MARY. Oh, for God’s sake, for a moment I forgot I wasn’t

in a bar. Of course, this is a tea party. I’ll take cham-
pagne.
(KATHY hands them both a glass of cham-
pagne. She only drinks tea herself. They sip
and sit.)
KATHY. So, how have you girls been?
JOANNE. Oh, fine and dandy.
MARY. Just fine.
JOANNE. Do you still have your little art shop?
MARY. Gallery.
JOANNE. Well, how’s the little gallery?
MARY. Big.
JOANNE. We got a couple of invitations to your shows but
Ted’s busy all the time. I never get in. He comes into
the office, but I never get in.
MARY. How is Teddy?
JOANNE. Fine. After we moved east, I was worried he was
going to go back to school. He wanted to drop his
corporate law and go into criminal. Boy, was I relieved
when he didn’t. I hated the thought of him being
around convicts all the time.
MARY. I guess you sleep better now.
JOANNE. Well, with the kids and the house there’s not much
time for sleep. I’m just always on the run. We have a
huge old house that we’ve done from top to bottom. I
wish you could see it. I did my own decorating. Me…a
decorator!
MARY. I’ll bet it’s as cute as a bug’s ear.
JOANNE. Oh, it is. Six bedrooms. One for us, one for guests
and four for the kids.
MARY. I thought you had three?
JOANNE. How did you know that? Last time I saw you I
had one and a half.
MARY. Um…Kathy told me.
KATHY. I did? I haven’t seen you since…

MARY. Sure you did.
KATHY. More champagne?
MARY. I thought you’d never ask.
JOANNE. Just a tiny drop. Oh, Kathy, this is so nice. Leave
it to you to finally arrange some way of getting us all
together. After three years.
MARY. Three years.
JOANNE. Well, actually, over three since I’ve seen Kathy,
and four since I saw you last.
MARY. Four years.
KATHY. Ten years since high school.
JOANNE. Seniors ’64.
KATHY. Six since college.
MARY. Jesus, time flies.
[MUSIC NO. 13 “THE SAME OLD MUSIC”]
JOANNE. I’d given up hope. I just never thought we’d all be
in New York.
MARY. You live in Connecticut.
JOANNE. Well, yes, but I’m close. Did you ever think when
we were girls we’d all be sitting here together in New
York City?
KATHY. It never crossed my mind.
JOANNE.
WELL, THIS IS AWFUL NICE.
(To MARY.)
I’M GLAD YOU’RE FLYING HIGH, DOING WELL, SITTING
PRETTY.
(To KATHY.)
AND THIS IS PARADISE,
A GARDEN IN THE SKY WITH A VIEW OF THE CITY.
(Taking everything in.)
IT TOOK US LONG ENOUGH, BUT HERE WE ARE TODAY,
AND WE’VE GOT SO MUCH STUFF TO SAY.
WE’RE SINGING THE SAME OLD MUSIC,

FEELING THAT OLD-TIME SPIRIT,
PROVING THAT TIME HAS LEFT US JUST THE SAME.
AND IF YOU THINK WE’RE AGING,
BETTER NOT LET ME HEAR IT.
HONEY, YOU KNOW THAT ISN’T WHY I CAME.
I’M NOT THE TYPE FOR SLOWING DOWN AND FEELING
SAD.
I’M HOLDING OUT AND HANGING ON TO WHAT WE HAD.
SO PLAY ME THAT SAME OLD MUSIC,
THROW ME THAT OLD-TIME SPIRIT,
SHOW ME THAT TIME HAS KEPT US IN THE GAME.
Kathy, why did you decide to live here? I’ll bet it’s
because you are single. New York must be wonderful
for single girls. Isn’t that right, Mary?
MARY. It’s an absolute haven for horny girls.
(JOANNE laughs and then continues.)
JOANNE.
AND LOOK AT WHAT WE’VE GOT.
SO MANY THINGS TO SHARE COULDN’T WAIT ANY
LONGER.
AND WE’VE BEEN THROUGH A LOT.
A LITTLE WEAR AND TEAR, BUT WE’RE GOOD, EVEN
STRONGER.
YOU VANISHED BIT BY BIT… YOU DISAPPEARED FROM
SIGHT…
BUT WE CAME OUT OF IT ALL RIGHT.
MAKING THAT OLD-TIME MAGIC,
PROVING THAT TIME IS EASY TO RESIST.
WHEN YOU SEE FOLKS GET OLDER,
ISN’T THAT KIND OF TRAGIC?
DOESN’T IT MAKE YOU WANNA SLIT YOUR WRIST?
THANK GOD WE’RE LOOKING GOOD, ALL CHIC AND
DRESSED TO KILL.
I ONLY WISH THAT WE WERE BACK IN HIGH SCHOOL
STILL.
BUT PLAY ME THAT SAME OLD MUSIC,

SUMMON THAT OLD-TIME MAGIC,
AND I KNOW TIME WILL VANISH IN THE MIST.
Do you hear from any of the Kappas? I was so good
about going to the alumni meetings until we moved to
Greenwich. Do you still keep up?
KATHY. Not really.
JOANNE. Well, I miss all of it; but I’ll swear, I don’t have
the time. I get the Kappa newsletter and it just sits
there until I finally throw it away.
MARY. I don’t even give mine time to sit.
JOANNE. You read it right away?
MARY. Cover to cover.
JOANNE. (After an awkward laugh.)
LOVING THAT OLD-TIME LAUGHTER,
PROVING THAT TIME HAS KEPT US IN THE PINK.
THIS IS THE PERFECT ENDING,
HAPPILY EVER AFTER.
FUNNY HOW OLD FRIENDS ALWAYS MAKE YOU THINK.
IT’S NICE TO SIP CHAMPAGNE – THAT’S SOMETHING TED
FORBIDS.
IT’S NICE TO SPEND A COUPLE HOURS WITHOUT MY KIDS.
SO GIMME THAT SAME OLD MUSIC.
GIMME THAT OLD-TIME LAUGHTER.
GUESS I HAVE TIME FOR ONE MORE TINY DRINK.
AND RING OUT THE SAME OLD MUSIC,
BRING OUT THE OLD-TIME SPIRIT,
SHOW ME THAT TIME WON’T CHANGE US, NOT ONE BIT –
NOT ONE –
NOT ONE BIT –
(Woozy.)
Whoa –
(Stumbles.)
Oh shit.
(Soldiering on.)
NO, SING ME THAT SAME OLD MUSIC.
ALL OF US NEED TO HEAR IT.
IF THERE WAS EVER A TIME…
WELL, THIS IS IT!
GIMME THE SAME OLD MUSIC…
YEAH, THIS IS IT!
JOANNE. The last time I saw you, you were with some guy.
MARY. No kidding.
JOANNE. Thanksgiving 1970. That’s right, you had just
gotten back from your trip. What was his name?
Alfredo, Ricardo…it ended with an “O.”
MARY. Oh, Alonzo.
JOANNE. What ever happened to him?
MARY. I give up.
JOANNE. I thought you might have married him or
something.
MARY. Just the something.
JOANNE. Who do you see now? Are you engaged? In love?
What?
KATHY. She means, what’s the dirt, Mary?
MARY. Oh, the dirt is…Mary shacked up with Alonzo for a
while.
JOANNE. Then what?
MARY. Then made-out with dozens of others for the next
few years.
JOANNE. Nice men?
MARY. Mostly men.
JOANNE. Oh.
MARY. And now Mary’s doing it with the best in a long line
of budding artists. He’s built and blonde and almost
twenty.
JOANNE. Oh, my God.
KATHY. And he does stuff for your gallery?
MARY. That’s right. I exhibit him.
JOANNE. What does he do?

MARY. Pricks.
JOANNE. What?
MARY. He does pricks in neon.
JOANNE. (This takes a moment to sink in, then she quickly
changes the subject.) Oh, for heaven’s sake. Kathy,
could I have more champagne?
(She takes another drink.)
I’ll bet you throw a lot of parties, Kathy.
KATHY. What makes you think that?
JOANNE. You were always so good at entertaining. We
would never have had a single party if it hadn’t been
for you. You planned them all.
MARY. You know, Kathy, I’m surprised. This is so simple.
No tea party theme. No giant chicken-wire teacups.
(MARY and JOANNE laugh…KATHY does not.)
I don’t know why I’ve never thought of it before. I
should exhibit you at my gallery. With your talent I
could build an entire show around you, “Erotic Visions
in Chicken Wire.”
(MARY laughs.)
KATHY. Okay, you’ve gotten great mileage out of my chicken
wire and Kleenex. Always have. Now, drop it.
MARY. I don’t seem to know when to stop, do I?
JOANNE. The boys used to say that about you.
(She laughs. MARY does not.)
KATHY. Let’s just relax and talk.
(JOANNE is feeling the effect of the cham-
pagne.)
JOANNE. I am relaxed. I’m letting my hair down for the
first time in years.
MARY. My dear, your hair…
KATHY. (Cutting her off.) Mary.
MARY. Sorry.
(A pause.)
JOANNE. (To KATHY.) Do you teach close by?
KATHY. I don’t teach anymore.
JOANNE. Why?
KATHY. I got tired of it. I was…
JOANNE. (Cutting her off.) Oh, I tell you, I get so tired of
working.
MARY. Jesus, you work?
JOANNE. I’m a homemaker. That’s a big job. And guess
what? You’re going to die! I direct the junior choir at
church. I work for Jesus. I finally found a way to use
my music.
(MARY and JOANNE laugh.)
MARY. I could die.
JOANNE. Can you believe it? We’re twenty-eight. Soon we’re
going to be… (Searching for the answer.) twenty-nine,
then thirty. Oh, how I’d like to be silly and laugh and
act dopey. I can’t stand having to be grown up and
mature.
MARY. Mature? You?
JOANNE. Of course, Mary, you always thought you were
more “mature” than us.
MARY. No mature person would have done what I did in
Europe. I hated my mother for making me come back.
I suppose she never dreamed a graduation trip would
last two years. She cut off my “funds” and my “fun.”
JOANNE. Well, two years is enough time to be away. I’ll bet
you were homesick.
MARY. I have never been homesick. I thought I’d finally
teach her a lesson when I came back. I was spouting
French and smoking hash. I looked like a cross
between Brigitte Bardot and Dennis Hopper. So I ran
to New York. Called a few rich men I’d met in Europe
and convinced them to set me up in a gallery.
KATHY. But why did you choose to have a gallery of erotic

art?
MARY. What else would an exhibitionist choose?
JOANNE. Last time I was home I ran into your mother and
she said you were running a Hallmark Card Shop!
(JOANNE and KATHY laugh.)
MARY. (Angry.) Let her tell her friends I’m running a card
shop.
JOANNE. It’s certainly “nicer” than saying, “My daughter
sells porn.”
MARY. I do hate, however, that all those bitches back home
think I work for Hallmark. It’s one of those great
companies they look up to – like Avon or Tupperware.
(Pause, as MARY goes for more champagne.)
How about some champagne, Kathy?
KATHY. I don’t drink anymore.
MARY. Why would anyone stop drinking?
KATHY. I woke up too many mornings not knowing what
I’d done.
MARY. That’s exactly why I drink.
JOANNE. (She doesn’t get what MARY is talking about.) How
about you, Kathy? Ever go home?
KATHY. No.
JOANNE. I’ll bet you go back to teaching someday.
KATHY. I’ll bet I don’t.
JOANNE. Was the work too hard?
KATHY. No. I did everything right. All my planning.
Perfectly organized lessons. I arranged pep rallies and
was sponsor for the cheerleaders.
JOANNE. (Excited.) Did you teach them some of our old
yells?
KATHY. I tried. Every day I appeared in a gym suit and tried
to teach the value of pep. My girls weren’t interested in
being peppy, but they sure loved laughing at me.
JOANNE. So you quit?

KATHY. I felt ridiculous.
MARY. Then I’m glad you quit.
JOANNE. You didn’t look for another job?
KATHY. No, but I spent a couple of years hanging out at
every singles bar and then every therapy group on the
East Side. Finally, I couldn’t step foot out of the house
anymore.
JOANNE. So you did nothing?
KATHY. Nothing but sit around this apartment and this
terrace day and night.
MARY. I can’t imagine you sitting still for a minute.
KATHY. I learned how.
[MUSIC NO. 14 “AN ORGANIZED LIFE
(1973)”]
I read. I made a list of all those books I never read in
college. You know, the ones they assign you and you
never read? They’re really good. Much more interesting
than the CliffsNotes.
ONE BY ONE, I MADE MY WAY THROUGH ALL THE GREAT
WRITERS…
NOVELS I ONLY HAD SEEN ON A SHELF.
THEN I CAME OUT HERE EACH NIGHT AND LOOKED AT
THE HEAVENS…
ANYTHING JUST TO GET OUT OF MYSELF.
Silly, but I don’t ever remember seeing the stars until I
began to hang out here for hours on end.
JOANNE. What did you think about?
KATHY. Death, eternity, even God. Another list. I wanted
some miracle to tell me what it was I wanted.
I SAT AROUND ALL DAY
WITHOUT THE SLIGHTEST CLUE.
IT SHOULDN’T SOUND SO SAD.
IT’S WHAT I HAD TO DO.
’CAUSE I HAD WORKED SO LONG
AND I HAD TRIED SO HARD.

AND I WAS SO DEMANDING, I WAS SO RELENTLESS,
ALWAYS IN CONTROL AND NEVER LETTING DOWN MY
GUARD.
AND IF THAT’S HOW YOU ORGANIZE YOUR EXISTENCE,
YOU HAVE AN ORGANIZED NERVOUS BREAKDOWN.
YOU GET STRUNG OUT AND NEUROTIC,
MESSED IN THE HEAD.
(To MARY.)
IT’S WHAT YOU TRIED TO TELL ME WAY BACK IN COLLEGE.
CALL IT A BITTERLY HARD-WON KNOWLEDGE…
THERE’S SOMETHING TO BE SAID
FOR SIMPLY LIVING YOUR LIFE.
JOANNE. Did you get your miracle?
KATHY. No, Joanne. The truth is if I’d learned to play the
piano or paint a picture or have just one original
thought, then maybe I wouldn’t have cared so much
about what other people thought of me. But I really
didn’t learn a damn thing in all our early years other
than how to be very, very popular.
MARY. Well, maybe the unpopular girls didn’t learn a damn
thing either.
KATHY. I was a noble, noble girl without a single cause.
MARY. Oh, God, don’t get into causes, Kathy. I said to hell
with causes the night McGovern lost. (Laughing.) But
I let out a cheer last week when Nixon resigned.
JOANNE. I didn’t. So, Mary, I assume you consider yourself
“a liberated woman”? A bra burner?
MARY. (Laughing.) I did burn my bra once! I staged the
whole thing. One night at a gallery opening I whipped
off my bra, threw it in a wastebasket and sent it up in
flames. The crowd loved it!
KATHY. And that liberated you?
MARY. (Annoyed.) Christ, it was a joke. Remember jokes?
JOANNE. You all make life sound so awful. I don’t want my
kids to know about hate and causes and brassieres.
There’s no need. I won’t let them know.
KATHY. Then they’ll grow up like us.

JOANNE. I’m glad I grew up when I did. We were involved.
Pep rallies and dances – school activities – and
everyone liked us…
KATHY. Did they?
JOANNE. We were happy then and I’m happy now.
KATHY. Mary, are you happy?
MARY. I own my own business. I need no one. Erotic art
may not be noble, but it bought my freedom.
JOANNE. And I know that’s important to you, Mary. To be
free.
MARY. You bet ya.
JOANNE. And now that you are, what are you going to do?
MARY. Do?
JOANNE. Yeah. On your tombstone is it going to say, “Here
lies Mary. She was free”?
MARY. On my tombstone? Don’t write me off yet, Joanne.
I’m very much alive.
JOANNE. But life is to be shared with someone who’ll love
and care for you.
(To KATHY.) There’s no point in being alone…
(To MARY.) Or hopping from bed to bed. That leads
nowhere. It’s not too late for either of you to find a
husband. There’s a lot to be said for marriage.
MARY. Like what?
JOANNE. Children. Precious, darling, adorable children.
MARY. I’ll just let you have the children, Joanne. You
can do the propagating for all of us. I’ll stick with
pornography. Less obscene.
JOANNE. I would never let my kids see pornography.
MARY. I don’t sell it to kids.
JOANNE. I even stopped taking the National Geographic
because of all the naked Africans in it.
MARY. Your poor children.
JOANNE. Well, they’re mine and I’ll do what’s best for them
because they’re mine.

MARY. Then, for goodness’ sake, don’t let them near a
National Geographic. They just might learn something
about geography, if they’re not beating off with the
Africans.
JOANNE. (The alcohol lets her say what she really believes.)
I don’t know how you can take any pride in selling
filth. Ted wanted to see your shows, but I didn’t want
to. I’d be embarrassed.
MARY. Well, that’s you, Joanne.
JOANNE. (Lashing out.) No decent woman would sell trash.
MARY. (Fighting back.) It’s a business. If a guy’s got five
dollars to throw away on a sexual fantasy, he goes
to a porno house or dirty bookstore. If he’s got five
thousand, he comes to me.
JOANNE. But when we were growing up we used to laugh
at smut.
MARY. I still laugh at it. Yesterday I sold a sculpture.
Twenty-five hundred dollars for a six-foot neon
erection. Now that’s funny.
JOANNE. What would you do with it? You can’t very well
put it in the living room. Not with children around.
MARY. We don’t all have children. Would you shut up about
those fucking children?
JOANNE. I have beautiful children. You don’t know the joy
of motherhood.
MARY. I know the relief of abortion.
JOANNE. (Upset.) Mary, how could you?
MARY. By choice.
JOANNE. It’s not the same. Ted said it wouldn’t be. He said
I shouldn’t come.
MARY. Is Ted always right?
JOANNE. I thought we’d still have something in common.
KATHY. We do.
JOANNE. Tell me we all want the same things. That deep
down inside we’re just the same.
KATHY. (Strongly, this is what she believes.) Probably.

But I’ve got to believe, Joanne, that some people can
change.
MARY. What did you change into, Kathy, an art collector?
Who did that sculpture?
KATHY. I forget.
MARY. And these glasses…are they Waterford?
KATHY. I guess.
MARY. They’re Baccarat. Kathy, whose apartment is this?
KATHY. Belongs to a friend.
MARY. A lover?
KATHY. A friend.
JOANNE. It’s not yours?
KATHY. No.
MARY. You’ve got good taste. Good taste in friends.
JOANNE. Where do you live?
KATHY. Here.
MARY. But it’s not yours?
KATHY. No.
JOANNE. I’m confused.
MARY. (To JOANNE.) Kathy’s obviously not going to tell us
the story so don’t be confused. Let’s not pry.
KATHY. There’s nothing to tell. This is not my apartment in
the sense that I own it. I don’t. This is my apartment
in the sense that I live here. I do.
MARY. Kept?
KATHY. (A bit taken aback.) Not everybody uses sex to get
what they want, Mary.
MARY. So what did you want to get together and talk about?
Your fuckin’ “new-agey” enlightenment about life?
JOANNE. (Not happy with what she is hearing.) Champagne.
Give me champagne.
[MUSIC NO. 15 “ARGUMENT”]
MARY. Fill ’er up, Kathy.
JOANNE. (To MARY.)

YOU ACT ALL FINE,
LIKE YOU’RE SO GREAT,
BUT YOU GOT MEANER AND NASTIER.
I DRAW THE LINE,
SO GET THIS STRAIGHT,
YOU’RE NOT THE PERSON I THOUGHT YOU WERE.
JOANNE. KATHY.
THE THINGS YOU SAY GROWING WAS BOUND TO
BE PAINFUL.
ARE THINGS I HATE, THAT MUCH WAS NEVER
IN DOUBT.
AND NOW I’VE FINALLY SOMETIMES IT HURTS TO
DISCOVER
BEGUN TO SEE, WHAT LIFE IS ABOUT…
THAT EVERY DAY
SINCE WE WERE EIGHT,
HOW MUCH YOU’VE
ALWAYS MADE FUN OF
ME.
JOANNE. KATHY. MARY.

NOW I CALMLY JOANNE,
SHOULD ACCEPTING YOU’VE
GO. THE GONE
IT’S GETTING FUTURE, TOO FAR…

LATE.
I HOPE LIKE AND SAYING WHAT SHIT
HELL I FAREWELL WILL
CAN YOU
FIND MY CAR. TO THE PAST. SAY NEXT?
SINCE YOU LEARNING THAT
DON’T
KNOW,
I SURE WON’T EVERYTHING
WAIT CHANGES,
FOR YOU TO AND NOTHING

NOTICE CAN LAST.
HOW BLIND
YOU ARE.
MARY. (Getting angry.)
I CAN’T IMAGINE,
MARY.
HOW YOU CAN LIVE
WITH YOUR
HEAD IN THE SAND. KATHY.
I CAN’T IMAGINE, MARY.
NO, I CAN’T IMAGINE, STOP IT.
ALL OF THESE YEARS PLEASE LET IT GO.
AND YOU
STILL DON’T
UNDERSTAND.
JOANNE.
I CAN’T IMAGINE,
I CAN’T IMAGINE
ANYONE BEING AS SELFISH AS YOU.
KATHY. Joanne…
JOANNE.
MARY. What?
JOANNE.
KATHY. Stop!
JOANNE.
HOW YOU LOST HOLD OF THE GIRL THAT I KNEW.
JOANNE. MARY.
WHO WE ARE, I KEEP MY EYE ON THE
FUTURE.
THE THINGS WE DO, I KNOW MY CONSCIENCE
IS
THEY DON’T JUST CLEAR.

DISAPPEAR.
AND YOU DON’T HAVE THERE’S NOTHING I
ONE REGRET.
IMPORTANT THING IN
YOUR LIFE!
JOANNE & MARY.
I CAN’T IMAGINE
HOW YOU CAN LOOK IN THE MIRROR.
JOANNE.
WELL, KATHY, THANKS FOR THIS. I HAD FUN SEEING YOU.
MARY. Not much of a tea party, was it?
JOANNE.
IF I THOUGHT YOU DIDN’T CARE, I DON’T KNOW WHAT I’D
DO…
MARY. Probably get drunk.
JOANNE. (Cutting music off.) Oh, you shut up! Just go
ahead and make fun of me! I won’t end up old and
lonely like you. I don’t need a neon prick for kicks.
MARY. Not with Ted around. He’s pretty good in bed.
KATHY. Mary!
JOANNE. (Stunned.) If I believed that I’d kill you. But since
I don’t – I’ll ignore it. Goodbye, Kathy. And Mary – go
fuck yourself!
(She starts to leave, then returns.)
MARY. Tell Teddy “hello” for me.
JOANNE. I’m going home right now to change Little Mary’s
name!
(JOANNE starts out again.)
KATHY. I’ll get you a cab.
MARY. Joanne…
JOANNE. I can get my own damn cab.
(She leaves to go to the front door and KATHY
starts after her. JOANNE exits. KATHY returns
and is angry.)
KATHY. How long?

MARY. A couple of years. He came to the gallery. Teddy
always stops by when he needs something erotic.
KATHY. Why did you?
MARY. I guess it was the last act of sharing.
KATHY. Jealousy, maybe? Because Joanne got her fantasy
from beginning to end?
MARY. She can have it. What about you – once upon a time
you wanted marriage more than anything?
KATHY. And the longer I’ve waited for it to happen, the less
it mattered. Besides, what I’ve ended up with is better
for me because for once I didn’t plan it.
MARY. You mean you got all of this without a list?
KATHY. Yes. I met someone who said “stop” – come sit on
my terrace, no strings attached, and figure out what
you want to do with your life.
MARY. And did you?
KATHY. I only figured out what I don’t want, but I see now
neither you nor Joanne can understand anything I’m
talking about.
MARY. What I really don’t understand is why in the hell
you asked us here?
KATHY. I thought, at the very least, we might share a few
laughs.
MARY. (Laughs and then is almost sad.) Isn’t it funny how
things…oh, nothing.
KATHY. (Dismissing her.) Nothing but funny.
MARY. (Dismissing her sadness.) Oh, well…
(Quickly gathering her things.) Gotta run. Ciao!
(She goes to exit the house, turns, and pauses.)
Love you.
(She exits out the front door.)
[MUSIC NO. 16 “FRIENDSHIP ISN’T WHAT
IT USED TO BE”]
(As music starts, the apartment begins to

disappear, but the three women are still in
costume.)
KATHY.
THREE PRETTY GIRLS IN A SCHOOLYARD,
PLAYING GAMES AND MAKING NOISE.
YOU WOULD THINK THEY HAD BEEN BEST FRIENDS
FOREVER,
TALKING ALGEBRA AND BOYS.
WE WERE EACH OF US AFTER THE BIG BRASS RING,
SO WE SWORE WE’D NEVER BE APART.
AND IF IT RANG A LITTLE FALSE,
WE KNEW WE SAID IT FROM THE HEART.
LAUGHING, DANCING,
OFF ON A SPREE…
NO ONE KNEW WHAT THE YEARS WOULD BRING,
BUT FRIENDSHIP ISN’T WHAT IT USED TO BE.
(The apartment having vanished, a spotlight
finds MARY in limbo somewhere on a street in
New York City.)
MARY.
THREE COLLEGE GIRLS AT THE MOVIES,
FALLING HARD FOR STEVE MCQUEEN.
YOU WOULD THINK THAT THEY HAD SO MUCH IN
COMMON
IF YOU STUMBLED ON THE SCENE.
NOW WE PEEL BACK THE LAYERS OF TEENAGE TIES
AND A LOT OF WHAT WE SHARED IS GONE.
WE LEFT EACH OTHER FAR BEHIND,
AND NEVER NOTICED WE MOVED ON.
LIFE FLOWS, TIME FLIES,
SPIRITS ROAM FREE…
NO ONE SAYS IT AND NOTHING DIES,
BUT FRIENDSHIP ISN’T WHAT IT USED TO BE.
JOANNE. (Lights up on her, also somewhere on a New York
City street.)
WOULDN’T YOU KNOW,
SOME OF US GROW,
SOME OF US STAY THE WAY WE ARE.

AND LOVE BURNS OUT
AFTER MAKING IT SO FAR…
(All three women, still their characters, are
now lost in limbo.)
KATHY.
THREE WOMEN STUCK AT A CROSSROADS,
AT A LOSS TO RECONNECT.
YOU WOULD THINK THEM A MESS OF CONTRADICTIONS…
AND FOR ONCE YOU’D BE CORRECT.
MARY.
IT’S APPARENT THAT NONE OF US MADE THE GRADE.
WELL, AT LEAST NOT IN THE WAY WE PLANNED.
JOANNE.
BUT HOW WE LOST OUR COMMON GROUND
IS WHAT I’LL NEVER UNDERSTAND.
YEARS RACE…
MARY.
LIVES CHANGE…
KATHY.
MAKES SENSE TO ME…
ALL.
WHY THE HELL SHOULD IT FEEL SO STRANGE?
ALL RELATIONSHIPS REARRANGE…
AND THE FACT IS, SOME FRIENDS DON’T FADE…
KATHY.
SOME, YOU NEVER SEE.
MAKE YOUR PEACE WITH THE CHOICES MADE…
JOANNE.
FACE THE FACT THAT YOU’VE BEEN BETRAYED…
MARY.
SWALLOW HARD AT THE PRICE YOU’VE PAID…
ALL.
’CAUSE FRIENDSHIP ISN’T WHAT IT USED TO BE.
(The women go back to their vanities, and

prepare for Scene Four. The tempo of this
transition is significantly slower.)
[MUSIC NO. 17 “MYSTERY IV”]
HAIR DYE…
HIGHLIGHTS…
CROW’S FEET…
STRETCH
MARKS…
EILEEN FISHER
BENGAY…
GLASSES…
TUMMY TUCK…
ELECTROLYSIS…
METAMUCIL…
(The lights once again fade on the vanities
as their costume change is complete. MARY
assumes her position for Scene Four. Music
ends.)
Scene Four
A Small Texas Town – Winter, 1990
(The lights come up on a coffin. The lid is

open but the audience cannot see into it.
MARY stands next to the coffin. She is dressed
in black. JOANNE enters upstage. She sees
MARY, pauses, and then MARY turns and lets
out a scream, which surprises JOANNE and
makes her scream, too.)
MARY. (Not believing her eyes.) You scared the life out of
me!
JOANNE. I’m sorry.
MARY. Joanne, I never expected to see you today.
JOANNE. Kathy called and told me, and Dallas isn’t that far
away. I’m sorry about your mom.
(Short, awkward pause.)
It’s been years.
MARY. Years. I never stop asking Kathy how you are.
JOANNE. (Short pause.) I sat outside in my car for the last
hour wondering whether to come in or not. For the
longest time, I wondered what I’d say when I saw you
again. It took five pages to list all of Ted’s girlfriends in
my divorce papers. I left you out. I figured you didn’t
deserve to be among a bunch of strippers…although
you always wanted to be one.
MARY. Of all my mistakes, hurting you was my dumbest
one.
JOANNE. But it was sweet that you offered to come visit
when Kathy put me in rehab.
MARY. I wanted to help when you…moved back to Dallas.
JOANNE. I know, but I was too stubborn to let you.
MARY. I tried sending cards, flowers, presents…
JOANNE. I did like the voodoo doll with the pins. Can you
still feel the pricks?
MARY. Ouch! I was wrong, Joanne.

JOANNE. Me, too. About a lot of things. But I needed to
come here today, offer my sympathy and to say “thank
you.”
MARY. Thank me?
JOANNE. You opened my eyes, Mary, to something I didn’t
want to see…but, in time, I realized what a mess I was.
MARY. I’m sorry, Joanne. What else can I say, except I’ve
truly missed you.
JOANNE. Do you need a hug?
MARY. Very much.
(They hug and KATHY enters upstage. She is
in black also. She crosses down to them.)
KATHY. I can’t believe my eyes. What the hell are you two
doing making out in the funeral home? I sincerely
hope this means you’ve buried the hatchet.
JOANNE. Do you need a hug, too?
KATHY. I most certainly do.
(They all hug.)
MARY. Thank you for coming. I don’t really have a family
anymore.
JOANNE. Yes, you do.
KATHY. Here, have a Kleenex. And no wisecracks, Mary,
because I’m not planning to stuff any chicken wire.
Not today. God, I haven’t been back to this town in
years.
JOANNE. You’ve certainly been everywhere else. Why are
you in Montana?
KATHY. It’s big sky country. Lots of stars. Lots of time to
myself.
JOANNE. I’m getting a lot of things off my chest today so I
really must say…Kathy, you’ve turned out to be totally
weird.
KATHY. I’ll accept that as a compliment.
MARY. (To JOANNE.) I hear you have a new husband.
JOANNE. I do – Three months and two days ago, I threw

caution to the wind and eloped to Las Vegas. Bob may
not be a rich lawyer, but he’s the number-one Buick
salesman in Dallas.
MARY. And how are the kids?
JOANNE. Thankfully, both of the girls are Kappas. But Ted,
Jr. just informed me he’s moving out of the fraternity
house and in with some friend who is ten years older
and owns his own advertising business. I think he’s
decided to play for “a different team.” Nothing shocks
me anymore. I have the two of you to thank for that.
KATHY. We’re here for a wake, ladies…so maybe it’s time to
pay our respects.
MARY. Let’s get this over with – look at Mom and then go
get a burger or something?
KATHY. It’s strange there’s no one here but us.
MARY. I guess she didn’t have a friend left in the world,
except Jack Daniels.
(Looking in the coffin. KATHY and JOANNE
gather beside her. They pause for a moment –
all sort of sad.)
JOANNE. I can’t remember ever seeing her without a drink
in her hand.
MARY. Should we have her hold one?
KATHY. She might look more like herself.
(The three can’t help laughing a little.)
JOANNE. We shouldn’t laugh.
MARY. I wished her dead all my life and now I can’t imagine
life without her. It feels so strange.
KATHY. Let’s get outta here. Okay?
JOANNE. Okay.
MARY. Okay.
(They move to the powder room area as the
funeral home disappears.)
MARY. Wait, I need to stop in the little girl’s room and fix
my face.
JOANNE. Can you fix mine while you’re at it? I keep
slathering on the wrinkle cream.
(A large mirror frame flies in and the women
stand behind it, facing the audience.)
KATHY. (To MARY.) How’s London?
MARY. I’m opening my new “old masters gallery” there. But
the big news is that I’ve met a man.
KATHY. That’s news?
MARY. – So I’m afraid, Joanne, you won’t be the only one of
us to ever tie the knot.
JOANNE. What? You’re getting married?
MARY. Simon just asked me. He drove me to the airport
last night and said, “I know your mother just died, but
will you think about marrying me?” And I said, “Hell,
I’d think about marrying you even if my mother hadn’t
died.”
(They all scream like the girls they once were
and hug.)
KATHY & JOANNE. Congratulations!
MARY. I’ll need both of you pushing me down the aisle.
Please come.
JOANNE. What are your chosen colors?
MARY. Black. You can wear what you have on.
(They laugh and hug again.)
So, Kathy, how’s the new novel coming?
[MUSIC NO. 17A “I DON’T WANNA MISS A
THING (REPRISE)”]
JOANNE. Oh, Lord – I can’t believe you’re writing another
one. Some people said the first one was a tale that
could never have happened, but I felt like I was
peeking through a keyhole at myself.
MARY. Yes, how clever to name your tragic heroines Kathy,
Mary and Joanne. Three not-so-smart girls from

Texas. Sound familiar?
KATHY. Well, it sold well.
JOANNE. That’s because I bought all the copies so no one
would read it.
KATHY. And the next one is, and don’t laugh – it’s about my
search for answers.
JOANNE. Oh, God…Kathy, so you still haven’t figured out
what you were looking for?
KATHY. Not yet. But today I’ve found the two most
important people I’ve been missing.
KATHY.
OH – OH I DON’T WANNA MISS A THING.
JOANNE.
THAT’S RIGHT, OUR FUTURE IS STARTING NOW.
MARY.
COULD BE IT’S NOT THE AMERICAN DREAM.
KATHY.
BUT WHEN EXPECTATIONS FAIL US,
WE CAN’T FAIL EACH OTHER TOO.
NOW THERE’S ONE THING I KNOW:
I’M NEVER LETTING GO OF
[MUSIC NO. 18 “LETTING GO”]
YOU…
NOT YOU.
(The mirror disappears and we are now
outside under the Texas sky.)
KATHY.
THIS IS WHERE WE MET, WHEN OUR LIVES WERE JUST
BEGINNING.
AND THE GAME’S NOT OVER YET, BUT I’M NOT OBSESSED
WITH WINNING.
THERE’S A SCRAPBOOK OF OUR SENIOR YEAR. I’LL KEEP IT
IN MY MIND.
’CAUSE I’M TAKING EVERY SOUVENIR AND LEAVING THEM
BEHIND.
I’M LETTING GO OF MY PAST,

LETTING GO OF MY PLANS, AND I’M HAPPY AT LAST.
I’M LETTING GO OF MY PEN,
LETTING GO OF MY LIST, YEAH, I’LL SAY IT AGAIN.
I’M LETTING GO THOSE CRAZY THINGS I USED TO DO.
BUT THE ONE THING I KNOW IS I’M NEVER LETTING GO
OF YOU.
JOANNE. Should we drive around and look at our old
hangouts?
MARY. God, who would have thought after so many years
we’d be back in the same hick town trying to figure out
what the fuck to do?
HERE WE ARE ONCE MORE IN THE TOWN WHERE FIRST
WE STARTED.
BUT I’M CALMER THAN BEFORE, PLUS A BIT MORE OPEN-
HEARTED.
JOANNE.
’CAUSE THE SIXTIES AND THE SEVENTIES WERE OVER
LONG AGO.
NOW WHEN SOMETHING MAKES ME ILL AT EASE, I NEVER
LET IT SHOW…
MARY.
I’M LETTING GO OF MY DOUBT,
’CAUSE IT GOT IN MY WAY, AND I FIGURED IT OUT.
JOANNE.
I’M LETTING GO OF MY VIEWS,
LETTING GO OF MY KIDS, THEY CAN BE WHAT THEY
CHOOSE.
I’M LETTING GO WHAT I WAS TAUGHT WAS ALWAYS TRUE.
ALL.
AND THE ONE THING I KNOW IS I’M NEVER LETTING GO
OF YOU.
MARY.
I’M LETTING GO THE GIRL I WAS. GOODBYE WITH LOVE
AND KISSES!
KATHY.
I’M LETTING GO OF HOW I THOUGHT MY PATH WAS CLEAR.
JOANNE.
I’M LETTING GO ALL PRECONCEPTIONS AND ALL
PREJUDICES.
ALL.
I’M LETTING GO OF ALWAYS LOOKING IN THE MIRROR…!
(They’re dancing together, looking only
forward.)
AND THE SOUNDTRACK OF A CENTURY WILL STILL KEEP
PLAYING ON…
AND THE FEELINGS SHARED BY YOU AND ME ARE NEVER
REALLY GONE.
NO NO, NO, NO NO!
I’M LETTING GO MY BELIEF THAT I NEED TO LOOK GOOD.
AND WHAT A RELIEF…!
I’M LETTING GO OF MY FEAR THAT MY TIME’S RUNNING
OUT,
’CAUSE THE FUTURE IS HERE.
I’M LETTING GO OF ALL THE THINGS I ALWAYS KNEW.
KATHY.
NOW THE ONE THING I KNOW IS I’M NEVER LETTING GO –
JOANNE.
NEVER LETTING GO –
MARY.
NEVER LETTING GO –
ALL.
NO NO NO!
I’M NEVER LETTING GO OF YOU…
YOU… YOU…
THERE’S NO MYSTERY…
YOU’RE MY HISTORY…
I’M NEVER LETTING GO…
OF YOU!
End of Play
Vanities:
The Musical
Book
Jack Heifner
Music and Lyrics

David Kirshenbaum
Piano/Conductor
Copyright © 2014 by David Kirshenbaum
All Rights Reserved.
SAMUELFRENCH.COM
SAMUELFRENCHLONDON.CO.UK
Piano-Conductor VANITIES

1
Mystery
Orchestrations by LYNNE SHANKEL
(h = 85)(Guitar delay dictates tempo - q delay)
#
HARP (with a lot of washiness) (sounds 8vb) / HARP (loco)+PIZZ. STGS. / HARP (w/ washiness) (loco)
& C .. ∑ ∑ ∑ ∑ ..
1 2 3 4
F
? # C .. œ. Œ Ó œ. Œ Ó œ. Œ Ó œ. Œ Ó ..
(Harp-loco)
+Gtr.
ggg w w w w
(Harp sounds 8vb)
# 5 gg w w w w
+Tri.
&
6 7 8
? # œ. Œ œ. Œ œ. Œ œ. Œ œ. Œ œ. Œ œ. Œ œ. Œ
#9 Ó ∑
& Ó Ó Œ
ACTRESS WHO PLAYS KATHY: 10 11 ACTRESS WHO PLAYS JOANNE: 12 ACTRESS WHO PLAYS MARY:
œ œ #œ œ œ
Lip - stick... Pow - der... Mas -
# œ.
& œ Œ Ó ∑ # œœ. Œ Ó ∑
(Harp + Pizz Stgs.)
? # œ. Œ œ. Œ œ. Œ œ. Œ œ. Œ œ. Œ œ. Œ œ. Œ
+Gtr.
# 13 Ó ∑ j
ACTRESS WHO PLAYS KATHY:
∑
& j
14 15 16
Nœ bœ œ Nœ œ œ œ œ
# b œœ. œœ.
ca - ra... Eye - brow pen - cil...
& Œ Ó ∑ Œ Ó ∑
?# œ. Œ œ. Œ œ. Œ œ. Œ œ. Œ œ. Œ œ. Œ œ. Œ
Pno.-Cond. —2— Mystery Vanities
# 17
Ó ∑
ACTRESS WHO PLAYS MARY:
˙
ACTRESS WHO PLAYS MARY: ACTRESS WHO PLAYS JOANNE:
& ˙
18 19 20
œ œ œ œ œ œ #œ œ
Lip gloss... Eye lin - er... Nail pol - ish...
#
Ó ∑ Œ ∑
&
œ œ
˙ œ #œ
Rouge... Pow - der puff...
CELESTE (sounds 8va)/HARP (washy) (loco)
# # www www
www www
(Celeste sounds 8va)
&
+Vibes
œ. œ. œ. œ. œ. œ. œ. œ.
A/G
?# Œ Œ Œ Œ Œ Œ Œ Œ
(Harp)
# 21 ACTRESS WHO PLAYS JOANNE:

& Nœ bœ Ó ∑
˙
24 ACTRESS WHO PLAYS MARY:
nœ bœ œ
22 23
œ œ œ œ
Twee - zer... Eye shad - ow... Eye - lash curl - er.
#
Ó Œ ∑ ∑
ACTRESS WHO PLAYS JOANNE:
& œ aœ Nœ œ œ œ
œ
Blush... Moist - ur - iz - er...
# b www www ww ww
& w w
b5
œ. œ. œ. œ. œ. œ. œ. œ.
Am G
# 25
& ∑ ∑
26 ACTRESS WHO PLAYS MARY: 27 28
œ œ œ œ œ œ #œ œ œ œ œ œ
#
Hair dif - fus - er... Lip con - di - tion - er...
Ó Ó
& ˙. ˙ #œ œ
œ ˙ ˙
#
Bronz - er... Eye - lash glue...
& Ó Œ ˙
œ œ w œ w
Lip balm... Hair gel...
# œ œ œ ˙ ˙.
œ ˙ ˙.
Fl.
& Œ Œ
P
#
& www www # www www
œ. œ. œ. œ. œ. œ. œ. œ.
G2 A2/G
# 29 Ó Œ bœ Œ aœ Ó ∑
& nœ œ œ
30 31 32
Con - ceal er... Foun -

œ
da - tion.
# Œ aœ Ó ∑
& Nœ Aœ œ
˙ ˙ œ
Bob - by pins... Foun - da - tion.
# Œ Œ Œ aœ Ó ∑
& œ œ nœ bœ œ
Wax and creams.... Foun -
œ
da - tion.
# œ bœ ˙ w
& ∑ ∑
# b www www ∑ ∑
&
b5
?# œ. Œ œ. Œ œ. Œ œ. Œ œ. Œ œ. Œ œ. Œ œ. Œ
Am7
# 33
j œ œj j j Œ j œ œj Ó
KATHY:
&
34 35 36
œ œ œ œ œ œ œ œ œ œ œ œ ˙
Not so ver - y long a - go, when the world was new,
# Vibes
& ww ˙˙ b ˙˙ ww ww
w ˙ ˙ w w
PIANO (loco) / CELESTE (Sounds 32va)
#
(Piano)
& œ œ œ n œ œj œ œj œ
œ œ œ œ˙ œ œ
b˙ œ œ œ n œ œj œ œj œ
œ œ œ œ˙ œ œ
b˙
G G7 C/G C m/G G G7 C/G C m/G
? # gg w ˙ œ bœ ggg ˙
(Celeste sounds 8va)
ggg w ˙ ggg w ˙
gg ˙
œ bœ gg w ˙
# 37
& j œ œj j j j j
œ œ œj œj œ œj
‰ j
38 39 40 JOANNE:
œ œ œ œ œ œ œ œ. œ ˙. œ
peo - ple nev - er saw them - selves with an - y clear - eyed view. A
# œ œ
‰ J nœ œ œ œ œ
Fl.
& ww
w n ˙˙˙ ˙˙˙ n www
P
# j œ œjœ
& œ œ œ n œ œj œ œœ œ˙œ
œ œ œ œœ œ
˙ nœ
œ
œœ œj nœ n wœw œ œ œ œ œ œ
œ ˙ J œ
J ‰
G G7 C sus4 C F b
?# ∑ ∑ ∑ ∑
F 2/E
# 41
j j j ‰ j j ‰ j
ALL:
& œ œ œj œ j jœ j
42 MARY: 43 44
œ œ œ œ œ œ œ œ œ œ œ œ ˙. œ
face up - on a fro - zen lake, or flow - ing in a brook was
w ˙ œ œ bœ nœ œ w œ œ œ œ œ œ
# ‰ J
&
F 3
#
& œ œ œ n œ œj œ œj œ
œ œ œ œ˙ œ
b˙ œ œ œ œ n œ œj œ œj œ
œ œ œ œ˙ œ œ
b˙
F
? # gg w ˙ bœ gg w
G G7 C/G C m/G G G7 C/G C m/G
gg w œ ggg w ‰ œ œ œ œ œ
g ˙ bœ J œ
+Bs.
œ
# 45 j
& j œ œj j
œ # œ œj œ
‰ j j j jœ œ w
46 47 48
œ œ œ œ œ Nœ œ œ œ
u - sual - y our on - ly glimpse at know - ing how we look.
# ˙. œœ œ œ œ ˙ w
J J ∑
&
# œ j
PIANO
œ œ˙œ œ œ œ # œœ œ
& œ œ œ œj ‰ œœœ #œ N N œœ N œ œ œ ˙ œœ
œ œ œ ˙
˙. J
œ œ
E m7 A 7sus 4 A7 C/D
?# œ Œ œ Œ Œ Œ œ Œ œ Œ œ Œ œ Œ
# 49. ..
& . ∑ Ó Œ
ALL:
50
œ
Then
œ. >˙ .
# . œ œ œ œ œ œ œ aœ œ œ œ œ œ œ œ œ .
2nd x only
& . .
P F
. >
# œœœœ ˙˙˙˙ ....
R.H. 2nd x
œ
& .. œ œ œ œ
œ œ œ ..
œ œ.
R.H. 1st x
œ œ >˙ .
D 7sus 4
? # .. œœ œ œ œœ œ
..
Œ Œ
# 51 Œ Œ
& j j
52 53 54
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
some - one made a mir - or, and at last we thought we saw who we were.
SUITCASE E.P. (loco) + CELESTE (sounds 8va)/ARCO STGS. (sounds 15ma)
# ˙. œœ # œœœ www b ˙˙ .. œœ œœ w
(E.P. + Celeste)
& ˙˙ .. œ œ w ˙. œœ ww
subito P
G2 A/G C m/G G2
?# ww #w Nw ˙
(Stgs. sound 8va)
w b w ˙
w
# 55ALL: j n œ œj j
& Œ œ œ œ œ Œ
56 57 58
œ œ œ œ œ œ œ œ œ œ œ œ bœ œ J
œ ˙
Some - one made a mir - ror, and the u - ni - verse be - gan to stir.
# œ œ bœ œ nœ œ œ œ J
∑ ∑ J J
Fl.
& J
# œœœ # œœœ www œ œœ ˙

&
.
˙˙˙ .. œ bœ œ œ œ œ bœ œ b œ ˙
œ w œ
G2 A/G Cm/G G
?# ww #w N˙ j
w b ˙˙ ˙˙˙ b œœ .. œœ ˙˙
œ. œ ˙
# 59 ALL:
˙ ˙ œ ‰ œj œ n œ j œ j Œ
& œ œ œ œ ˙ œ
60 61 62
œ œ
Such a mys - ter - y... but fin - 'lly we could see. We
# www n œœœ .. œ œœœ ˙˙˙ n www œ œ œœ ˙˙

PIANO
& J b œœ .. œ ˙
J
+Gtr. (picked) b
B maj7 E bmaj7
?# w nw bw
bw
# j
MARY:
& Nœ œ œ œ œ œ œ œ œ œœ œ œ ˙ ww
63 64 65 JOANNE: 66
#œ.
# j
found our - selves with our own re - flect - tions, ask - ing...
& ∑ ∑ œ ˙ ˙
KATHY:
#œ. ˙
œ
ask - ing...
# œ œ œ Nœ œ
& ∑ ∑ Ó Œ œ œ #œ œ œ œ
Fl.
P 7
# N www œœœ œ œœ œœ œ œœœ œ œœ œœ œ

& w www œ œ œ œ
A m7 G 2/B #
Ó #w
A 2/C
?# ˙
w Nw #w ˙ #˙
# 67
Molto Rall
Ó PColla Voce j U
& ˙˙ œ Œ œ ‰ w
68 69
Ó œ œ œ
What will they think of me...?
# P j U
& Ó œ Œ œ ‰ w
˙ œ œ œ
What will they think of me...?
w U̇
#
& K · Ó ∑
Ó
F Bell Tree
# ˙ U˙
& œœ œ œ œ ˙˙ ˙˙˙ Ó ∑
U
? # Œw
˙ w
D 7sus 4
œ ∑
Segue

1A
Transition to 1963
# 41 > œ̆ œ̆ >œ 4
w
‰ j œ œ ‰ b œJ œ œ œ. Œ ‰ J ‰ J
Gtr.
& 4 œ œ
2 3
fl fl œ œ œ >
F
#
& 44 ∑ ∑ ∑ ∑
+Drums
F
C/G Cm/G
?# 4 ∑ ∑ ∑ ∑
4 œ œ œ œ ‰ b œJ œ œ œ œ ‰ Jœ ‰ Jœ w
‰ œ œ œ Œ
fl fl J > > . >
fl
Bs.
#5 > œ̆ œ̆ >œ 8
w ###
& œ œ ‰ jœ œ œ ‰ b œJ œ œ œ. Œ ‰ J ‰ J
6 7
fl fl œ œ >
# ∑ ∑ ∑ ∑ ###
&
C/G Cm/G
?# ∑ ∑ ∑ ∑ ###
œ œ ‰ œ œ œ œ œ ‰ b Jœ œ œ œ œ Œ ‰ Jœ ‰ Jœ œ œ œ œ œ œ
fl fl J > > . fl > œ œ
fl
### 9
‰ œj ‰ œj ‰ œj œ œ
T. Sax
& ‰ j ‰ j œ Œ ˙
10 11 12
œ œ œ œ nœ œ œ œ fl fl Í>
fl fl œ œ œ > . > . f
f
### ‰ œœj ‰ n œœj
ROCK ORGAN
& ∑ ∑ œœœ Œ ˙˙˙ .. œœœ

Gtr. cont... w/ Leslie
œ œ .
fl fl >
~~~~~
~~~~
~~~~~~
~~~~~
Ó Œ
PLAY
? ###
D/A Dm/A
∑ ∑ ∑
~
~~~~~~
œ œ ‰ n œJ œ œ œœ œ
‰ œ œ œ Œ ‰ œJ ‰
œ œ J > > . œ œ œ œ œ œ
fl fl J œ œ œ
fl fl >
-8-
Piano-Conductor —2—Transition to 1963 Vanities
# # # 13 j j ####
& œ œ ‰ j ‰ j œ Œ ‰ œ ‰ œ œ œ nœ œ œ œ œ bœ #
14 15 16
fl fl œ œ n >œ œ œ œ. fl fl >
œ œ œ > .
### ∑ ∑ j j ####
& œœœ Œ ‰ œœœ ‰ n œœœ ˙˙˙ ˙˙˙ #
fl >
~~~~
fl
~~
~~~~~
~~~~~~
~~~~~~
? ### ˘ ˘ Ó Ó Œ
A
####
~~~~~
∑ ∑
D/A Dm/A
~~~~~~
~~~~~~
œ œ ‰ œ œ n œJ œ œ œœ #
~~~~~
œ œ
~~~~
œ œ œ ‰ Œ ‰ J ‰
œ œ J > > . fl œ œ œ œ œ œ œ œ œ
fl J
fl fl >
#### ˘ . >
Fill
& # Nœ œ̆ ‰ j ‰ j
nœ œ œ œ œ
œ̆ œ œ œ œ ‰ Jœ ’ ’ ’ ’
17 18 19 20
œ œ >
œ œ œ > . >
#### œ œ Ó ‰ j œœ œœ ‰ œœœ̆ ‰ n œœœ ˙˙ ˙˙
& # œ̆ œ̆ ˙ ˙
œ œ œ œ. n >œ œ œ œ. J J
~~~~~~~~~~
~~~~~
>
~~~
fl fl
~~~
~~~~~~
E/B Em/B
? #### ∑ ∑ ∑ ∑
~~~~~~~
#
~~~~~~
œ
‰ ‰ J ‰ œ
œ œ œ œ ‰ n œJ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ fl J
fl fl J > > . fl fl >
## ˘ . > nnnn
& # ## Nœ œ̆ ‰ j ‰ j œ œ̆ œ œ œ œ ‰ Jœ w n
21 22 23 24
œ œ œ œ . n >œ œ œ œ
œ >
>
#### œœ œœ nnnn
& # ~~~~œœœ œœ Ó
œ ‰ j œ̆ œ̆ ‰ œœœ̆ ‰ n œœœ ˙˙
˙
˙˙
˙ n
fl fl œ œ n œ œ œ œ. J J
> . > ~~~~~~~~~~
~~
~~~~~
E/B Em/B
~~~~~
? #### ∑ ∑ ∑ ∑ nnnn
~~~~~~~~
# œ n
~~~~~
‰ ‰ J ‰ œ
œ œ œ œ œ œ œ ‰ n œJ œ œ œ œ œ œ œ œ œ œ œ œ œ
fl J
fl fl J > > . fl fl >
& N œ^ œ^ Ó ∑
#### ##
#
25 26
ƒ
#### ##
& NN œœ œ
œ
Ó ∑ #
~~~~~~
fl fl
~~~
~~~
b ˘œ #### ##
~~~
? ∑ œ. ‰ œ œ
+Gtr., Bs.
Nœ j
œ
~~~
>
œ
J #
~~~
Nœ œ Ó
fl fl -9-
## # a œ^ œ^ ## N œ^ œ^ bbb A œ^ œ^ ####
& # ## # Ó ∑ Ó Ó
27 28 29 30
#### ## a œ œ Ó ∑ ## N œ œ bbb A œ œ Ó ####

& # aœ œ Ó Aœ œ
Nœ œ
~
fl fl fl fl
~~~~
~~
fl fl
~~~
~~~~~
~~~~
~~~~
? #### ## > ####
~~~~
∑ ## ∑
~~~~
# œ œ. ‰ œj n œJ œ œ œ Ó bbb
~~~~
~~~~
Ó > Nœ œ N˙ Aœ œ Ó
~~~~
aœ œ
Ó
fl fl fl fl fl fl
2x
# # 31
& # # .. N œ ..
Gtr.
œ œ œ œ œ œ œ
32
œ nœ œ œ œ œ œ
F
#### . N w w
ORGAN (Slightly mellow, no Leslie)
& . ..
P
? # # # # .. ∑ ∑ ..
Nœ œ œ œ œ œ œ œ
œ
2x
# # # #33 .
T. Sax
& . œ œ œ œ œ œ œ œ .. b
34
F
# # # # . (no Leslie) j j .. b
& . œœ .. œ œœ .. œœ ˙˙ ˙
œ. n œœ œ. œ ˙ n ˙˙
# PE
? # # # .. ∑ ∑
E7 A/E Am/E
.. b
œ œ œ œ œ œ œ œ
œ
.. # # # # # #
Gtr. T. Sax
& b .. N œ œ œ b œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ
34A 34B 34C 34D
œ œœ œ bœ œ œœ œ
F F
j j .. .. œ . œj œ . j .. # # # # # #
& b .. œœ .. b œœ œœ .. œœœ
œ. œ œ.
˙˙
˙
˙
b ˙˙ œœ .. b œœ œœ .. œœ
œ
˙˙
˙
˙
b ˙˙
B b/F B bm/F B b/F B bm/F
? b .. ∑ ∑ .. .. ∑ ∑ .. # # # # #
F F7 F F7
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #
-10-
2x
## #
& # ##
Gtr.
.. a œ œ œ œ œ œ œ œ ..
35 36
f
#### # . j œœ
j
˙˙ œ ..
& # . œœ .. œ
n œœ œœ .. œ ˙ n œœ
œ. œ. œ
F F# F #7
# Bm/F #
? # # # # # .. ∑ ∑
B/F
..
# aœ œ œ œ œ œ œ œ
œ
Vamp
#### # #
T. Sax
& # .. œ œ œ œ œ œ œ œ . ## #
?.
37 38
f
#### # . œ . j j
œœ œœ .. œœ ˙˙ .. # # # #
+Leslie
& # . œœ .. ˙
nœ œ. œ ˙ n ˙˙
f
F# F #7
# #
? # # # # # .. ∑ ∑ .. # # # #
B/F Bm/F
#
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
>˙ >˙ >˙ >˙

? #### 39 40
Í Í Í Í
#### ˙˙ ˙˙˙
B3
& ˙ ˙˙ ˙ ˙
sub. p
? #### ∑ ∑
A/B
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
-11-
VANITIES
Piano-Conductor
(Seattle)
2
I Don't Wanna Miss A Thing
# # # # 45 .
& 4 . ∑ ∑ ∑ Ó œ œ œ œ ..
KATHY:
6 7 8
Is - n't it a -
## >œ
‰ œj
& # # 44 .. ‰ j ..
Ten Sx
Œ ‰ j
œ œ œ. œ> œ. >
œ œ œ œ œ ‰ œj >œ œ. œ
> w
.
~~~~
ƒ f fl Í F
#### 4 . œ Œ
B3
Ó j j j ..
& 4 . œ œœ ‰ ‰ œœ œœ œœ œœœ Œ œœœ œœœ ‰ n œœœ
(+ Leslie)
www
œ œ œ œ
~~~~ ~ ~
ƒ
f > fl > . Í>
? # # # # 44 .. >œ œ. œ œ œ œ ..
E A Am
‰ œJ œ œ. œ œ œ j J J
+Gtr., Dr.
œ J œ. œ œ. nœ
œ
fl
Bs.
####9 j j j j
œ œ ‰ œ œ Œ
MARY:
& œœ œ œœ œœ œœ œ œ œ œ œ œ œ œ
10 11 12
œ œ
maz - ing I can feel this great, like the whole world's wait - ing on me. When I snap my
##
& ## ∑ ∑ ∑ ∑
####
LIGHT GIRL GROUP ORGAN/CASTANETS/UPRIGHT PIANO
& œœœ Œ Ó
Organ
ww ww www
w w
Gtr cont. fl
>
E A B7sus4 Castanets
? #### ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ ¿ ¿Ó
œ ¿
Shaker
œ
œ œ Ó
œ.
J
œ œ œ. œ œ œ œ. œ œ fl œ
J J fl
Piano-Conductor -2- I Don't Wanna Miss A Thing Vanities
# # # # 13 ‰ j j j j j j
& œ œ œ œ œ œ œ œœ œ œ œ œœ œ œ œ œ œ ˙
14 15 16
œ œ œ
fin - gers, peo - ple all
####
kow - tow, and I guess that's how it was meant to be.
& ∑ ∑ ∑ Ó ‰ j
œ œ #œ
####
& ww ww ww # ww
w w w w
# # #
? ####
E E/G A F 7/A
∑ ∑ ∑ ∑
Bs. cont.sim.
# # # # 17
& Œ œ n œj n œ j Œ œ œ œj n œ œj Œ ‰
KATHY: JOANNE:
18 19 20
œ œ nœ œ œ œ œ œ
My fu - ture's clear so I'm aim - ing straight a - head. 'Cause it's all
##
& ## nw n˙.
Œ
nw
‰ œj œ
œ œ
Œ
> > > fl fl fl fl
Í Í Í f ƒ
####
& ∑ ∑ ∑ ∑
? #### ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿¿ ¿¿¿ Œ

‘ ‘
(Castanets)
œ
>
œ œ
Œ
. J
# # # # 21
Bs.
& œœ œ œ œœ œ œ
œœ œœ œ œ œ œ œ œj œ œj œ ‰ j
22 23 24
œ œ œ œ
> ^
guar - an - teed I will get what I need, like my par - ents al - ways said. I'm tell - ing you...
##
& ## Œ ‰ j ‰ œ œ
J
Ó
˙
w
> >. œ
fl
œ #œ œ nœ
fl > . fl
Í Í F
# # # # (Organ) ˘œ œ>œœ œ>œœ
& ww www œœ œœ # œœœ œœœ ‰ œœ ‰ J Ó
w œ œ > . J
fl fl
F #m7 # # # B7sus4
‰ j
? #### j
E/G A Dr fill
œ
F /A
œœ
‰ œ œ Ó
(Piano)
‰ j
œ œ œ
œ œ #œ œ œ œ œ
œ nœ aœ œ œ œ > > > . >
+Bs.
> >
# # # # 25
& Œ œœ œœ ‰ j Œ œœ œœ ‰ j
ALL:
œ œ
26 27 28
M
J
K
œ. œ œ œ œ œ œ œ œ œ. œ œ œ œœ œ œ œ
Oh - oh, I don't wan - na miss a thing. No - oh, I know I can have it all.
##
& ## w
Œ
w
Œ
> ˙. > ˙.
◊
œœ. ˘œœ œœ. ˘œœ

UPRIGHT PIANO/B3 (8va)
# # # # œœ œœ. œœœ. œœœ̆ œœ. œœœ. œœœ̆ œœ. œœœ̆ œœ. œœ. œœ. œœ œœ. œœ œœ. œœ. œœ œœ. œœ. œœ œœ. œœ œœ. œœ. œœ. œœ œœ.
(B3 sounds 8va)
& œ̆ œ œ œ œ œ nœ œ œ œ̆ œ œ̆ œ œ œ̆ œ œ œ̆ œ œ̆ œ œ nœ œ œ œ̆ œ
? # # # # www >œ ˙ www >œ œ n œœ

A Am E A Am
œœ œœ
E
œ̆ ‰ n œœ ˙˙ œ̆ ‰ n œœ œœ œ
J J
# # # # 29 Œ œ
& œœ œœ ‰ j œ œ œ œ œ œ œ ˙ ˙˙˙ ˙˙ ‰œ œ œ
30 31 32
. œ œ ˙
^ ^ ^
Whoa - oh, I want the A - mer - i - can Dream. It's what
##
& ## jŒ ‰ j Œ œ nw
‰ j Œ
œ œ œ aœ > œ œ œ œ
>. œ œ fl fl fl
œœœ. œœœ̆ œœœ. œœœ. œœœ̆ œœœ. a ˘œœœ œœœ̆ œœœ̆ œœœ̆ œœœ̆
fl
˘œ œ.
# # # # œœœ̆ œœ. œœœ. œœœ̆ œœœ. œœœ. œœœ̆ œœ. œœœ̆ œœœ. œœœ. œœœ̆ œœœ. œœœ. œœœ̆ œœ.
œ n œœ œœ
& œ œ Œ
C #m
w œœ œœ œœ œœœ . œ. # >˙˙ œœ
B
? # # # # ww œ
E D
œ̆ ‰ Jœ œ ‰ œj n œ œ. # œ œ
r œ ˙ œ̆ Œ
.
Í f
# # # #33
œ œ œj œ ‰ œj œ
& œ j œ œ j j
34 35
####
Mom and Dad both pro - mised, So I'll have it on a string.
& ∑ ∑ ∑
# # # # ‰ œ œ œ. œ. . œœ. œ. œœ. ˘œ
.œ œ œ ‰ œ . .
œ œ œ œ ‰ œ . . .
œ
œ œ œ # œœ
& œ
F
C #m7 f F #9
? #### ∑ ∑ ∑
E A
# # # #36
& ‰ ‰ j œ œ œ œ j œ j
œ œ œ œ œ
37 38
˙ œ œ œ œ œ œ
I'll be liv - ing in bliss, and I don't wan - na miss a thing.
####
‰ Œ Ó
solo
& j jœ œ œ
. > n œ. n œ œ
œ. # œ > > w ~~~~~~~~~~ œ
>
####
& ∑ ∑ ∑
#
œœœ̆
A/B
? #### ww
F m7
∑ w Œ Ó
F f
# # # # 39
œ Œ Ó
& ∑ ∑ Ó œ œ œ œ
40 41 42 KATHY:
#### j
Ev - 'ry day is -
& Ó ‰ j œ œ. ‰ >œ œ œ œ œ ‰ j ‰ œj
œ œ œ. >
œ œ. >œ œ. w
fl Í> F
#### ‰ œ œ œ œ œ ‰ œœ œ œ œ
œ œœ ‰ œJ œ
œ n œœ ˙˙ ..
& Ó œ ‰ œ Œ
Gtr. solo
J œ œ J œ
J
˙.
p fE Í
ƒ œ~~ j j j
? # # # # œ~ ~ Œ Ó
(B3 sounds 8va) A
œœ ‰ ‰ œœ œœ œœ œœœ Œ œœœ œœœ ‰ n œœœ www

Am
œ œ œ œ > . >
> fl
# # # # 43 j j j j
œ œ ‰ œ œ Œ
MARY:
& œœ œ œœ œ œ œ œ œ œœ œ œœ œœ
44 45 46
œ œ
Christ - mas for the whole year long, and there's noth - ing wrong a - bout that. I get all I
#### ∑ ∑ ∑ ∑
&
####
LIGHT GIRL GROUP ORGAN/CASTANETS/RHODES + CELESTE 8vb
& ww ww www œœœ Œ Ó

w w
F E A fl
>
B7sus4
? #### Œ ¿¿¿ Ó
Shaker
¿ ¿ ¿¿ ¿ ¿ ¿ ¿ ¿ ¿¿¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
Castanets
œ &
œ œ
J œ. œ œ œ œ. œ œ
œ. œ œ J J
Bs.
# # # # 47 ‰ j j j j j j
& œ œ œ œ œ œœœœ œœ œ œ œœœ œ œ œ ˙
48 49 50
œ œ œ
ask for, from a ted - dy bear to a troll doll wear - ing a pill - box hat.
# ##
& # ∑ ∑ ∑ Ó ‰ j
œ œ #œ
√
(Rhodes + Celeste 8vb)
#### #œ œ
& ∑ ∑ ∑ Œ ‰ J œ #œ œ
#
F #7
####
E E/G A
& ww Œ ?
(Organ)
ww www ˙˙ ..
w w #˙.
# # # # 51
& Œ œ n œj n œ j Œ œ œ œj n œ œj Œ ‰
JOANNE: 52 53 54
œ nœ nœ œ œ œ
œBe œa moth
As for my goals, there's no se - cret in my search... -
##
& ## n w> n˙.
Œ
nw
‰ œj œ
œ œ
Œ
> > fl fl fl fl
f
# # # # (√)
ƒ
& ∑ ∑ ∑
w
>
? #### ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿¿ ¿¿¿ Œ
C G D A
‘ ‘
(Castanets)
Œ
œ. œ œ
J
V.S.
# # # # 55
& œ œœ œ œ œ œ œ œ œ‰ j œ œ
œœ œ œ œ œ œ œ œœ œ
56 57 58 ALL:
œ œ
^
- er and wife for the rest of my life, with a few short breaks for church. So sing it now...
##
& ## w ˙.
Œ ∑ Œ œ Ó
> f
Í
œœ.
UPRIGHT PNO./FAST STGS.(15ma)/
ww œœ. n œœœ. Œ œœœ

CHIME (4 octaves higher)
# # # # www w œ Œ #œ
(Pno.)
& ‰ J œ Ó
# # P ffl
œœ œ œ
(Stgs. 15ma)
? #### œ. Œ # œ. ‰ Jœ.
F m7 E/G B7sus4
Œ Œ
(Rhodes + Celeste 8vb)
?
&
œ œ œ
œ nœ aœ œ œ œ œ
fl
+Bs.
+ Chime 4 octaves
higher
# # # # 59 Œ œœœ
& œœ ‰ j œ œ œ œ œ œ œ Œ œœœ œœ ‰ j œ œ œ œ œ
60 61 62
. œ œ . œ œ œ œ
Oh - oh, I don't wan-na miss a thing. No - oh, I'm not gon-na be de-nied.
## >
œ̆ ‰ œ œ. ‰ œ
>
œ̆ ‰ œ œ. ‰ œ
& ## Œ
J J
œ̆ Œ Ó Œ
J J
œ̆ Œ Ó
f
# # # # œœœ̆ œœœ. œœœ. œœœ̆ œœœ. œœœ. œœœ̆ œœ. œœ œœ. œœ. ˘œœ œœ. œœ. œœ œœ. œœ œœ. œœ. œœ œœ. œœ. œœ œœ. œœ œœ. œœ. ˘œœ œœ. œœ. œœ œœ.
& œ œ̆ œ œ n œ œ œ œ̆ œ œ̆ œ œ œ̆ œ œ œ̆ œ œ̆ œ œ nœ œ œ œ̆ œ
w œœœ̆ n œœœ œœœ œ œ œ œ www

œœœ̆ n œœœ œœœ œ œ œ œ
A A Am
? # # # # ww
E Am E
‰ J ‰ J

# # # # 63
& Œ œœ. œœ ‰ j œœ ˙ ˙˙˙ ˙˙ ‰
œ œœ
64 65 66
œ œ œ œ œ œ œ œ ˙
Whoa - oh, I want the A - mer - i - can Dream... And I'll
#### >
‰ œj œ
& Œ œ̆ ‰ œ œ. ‰ œ œ̆
œ ‰ j
J J > œ nœ aw
nœ œ #œ œ œ Í
>
>
˘œ œ œ œ œ
# # # # œœ œœœ. œœœ. œœœ̆ œœ. œœœ. œœœ̆ œœœ. œœœ̆ œœœ. œœ. œœ œœ. œœ. œœ œœ. n ˘œœœ œœ. œœ. œœ œœ. œœ. œœ œœ.
PIANO/B3 (Sounds 8va)
œ̆ œ œ œ̆ œ œ œ̆ œ œ œ œ̆ œ œ œ̆ œ a œœ œœ̆ œœ̆ œœ̆ œœ̆ Œ

&
C #m
Í f
ww œœ .. œœ œœ œ >˙ œ
˙˙˙
E
# w œ.
D
? ## # œ œ œœ n ˙˙˙ a ˙˙ œœ̈ Œ
B (Organ gliss)
~~~
# # # # 67 j
œ œ œj œ œj ‰ œj œ j œ ˙˙
& œ œ œ œ œœœ œœ ‰
68 69 70
œ œ œ ˙ œ œœ
have the per - fect hus - band, and the per - fect dia - mond ring. He'll be mine
#### ∑ ∑ Ó Œ
>
‰ Jœ œ œ. >œ œ. n œj ‰ ‰ j
&
solo
> œ
f >
Í
# # # # ‰ œ œ œ. œ. œ. œ œ. œœ.
œ . . œ œ. œ œ œ. . . œ. œœ œœ >œœ >œœ >œœ >œœ # ˘œœ
& œ ‰ œœ œ ‰ œ œ œ #œ œ # œ œ œ œ ‰ ‰ œœ
FE J J
# #
w Gtr cont fuller www ˙˙ >œœ ˙˙˙ œœœ >œœ
Organ - sounds 8va) A C m7 F 9
? # # # # ww ˙ Œ ‰ # Jœ #
J ‰ ‰ œJ
~~~
# # # #71 j j
& œ œ ‰ j œ œ œ œ œ œ
72
œ œ œ œ œ
with a kiss, 'cause I don't wan - na miss a thing.
#### Œ Ó
& Œ
œ
>
Í f fl
#### ∑ œœœ̆ Œ Ó
&
# f A/B
œœœ̆
? # # # # www
F m7
(Leslie off)
Œ Ó
# # # # 73
Œ
JOANNE:
& œ œ œ
MARY:
œ œ œ œ œ œ œ œ œ œ œ œ
74 75 76
œ œ œ œ
I wan - na have a cou - ple kids. I wan - na join a coun - try club.
####
& Œ Œ
M
K
˙˙ .. ww J
K
˙˙ .. ww
Ooh Ooh
##
& ## Œ Ó ∑ Œ Ó ∑
F flœ œ
fl
#### >
& Û̆ ‰ j Œ ‰ j Œ Û ‰ Œ ‰ Œ
(no chords) (no chords)
œ œ. œ. œ œ. j j
Gtr. + Bs. œ œ. œ. œ œ.
#
E
F >œ (Leslie off) >œ

B3 (Sounds 8va) C m7
? #### œœ œœ
Œ Ó ∑ Œ Ó ∑
# # # # 77
Œ œ œ œ œj œ œj Œ œ œ œ œ œœ œ
KATHY:
&
JOANNE:
œ œ
78 79 80
˙
I wan - na live just like a queen. Like Miss A - mer - i - ca.
####
& Œ Œ Ó ‰ œ ‰ œ œ ‰ œ ‰ œ œ
MARY: MARY KATHY:,
J
˙˙ .. œœ œ œ
M
Ooh wop La la la la
La la la la
Drs
#### Œ ¿‰ ‰ ¿j ¿
Castanets
¿
& Œ Ó Œ Ó ¿ ¿
j ‰ j
œ œ >œ œ œ >œ œ
fl œ F flœ > fl œ
fl > >
fl
####
& Û̆ ‰ j Œ Û̆ Œ Ó ‰ ‰
(no chords)
j j
œ >œ œ œ >œ œ
œ œ. œ œ fl
# p flE
fl fl ˘œ
œœ ˘œ œ œ ˘œ ˘œ œ œ
A/B
œ j j
F m7
? # # # # œœ̆ Œ œ̆ œ
‹œ ‹œ
Ó Œ Ó œ ‰ œJ œ
‹œ œ œ ‰ œJ œ
‹œ
f
# # # # 81
& Œ œ Œ œ
JOANNE: KATHY:
82 83 84
œ œ œ œ
I wan - na bake a cas - se - role. I wan - na make a Jel - lo mold.
####
& Œ Œ
M ˙˙ .. ww J
M
˙˙ .. ww
K
Ooh Ooh
##
& ## Œ Ó ∑ Œ Ó ∑
œ œ
fl fl
####
&
(no chords)
Û̆ ‰ j Œ ‰ j Œ ‰ Œ ‰ Œ
(no chords)
œ œ. œ. œ œ. œ j j
> œ œ. œ. œ œ.
F #
>œ >œ
E C m7
? # # # # œœ Œ Ó ∑
œœ
Œ Ó ∑
V.S.
Piano-Conductor -10-I Don't Wanna Miss A Thing Vanities
# # # # 85 j j #### #
Œ œ œ ‰ œ œj œ œ Ó ∑
(to 97)
˙ #
MARY:
& œ œ
86 87 88
I wan - na cook, but nev - er clean.
#### j j #### #
& Œ Œ Ó ‰ œ œ œ œ œ #
ALL:
J
˙˙ .. œœ œ œ œ œ œ
K
^
Ooh wop La la la la la La la la la la
## #### #
& ## Œ Ó Œ Ó ∑ ‰ j #
> fl
fl fl Í
#### #### #
& Û̆ ‰ j Œ Û̆ Œ Ó ∑ ∑ #
(no chords)
œ œ. #
#
B7sus4 C 7sus4
f
F m7 A/B A/B
œœœ̆ j j >
##
? #### ‰ œœœ ‰ œœœ œœœ œœœ œ ‹ œ œ ˙ .œœœ œœœ œœ œœœ œœ̆œœ # # # #
3
Œ Ó œœ Œ Ó
‰ J œ
&
œ +Bs. . . fl fl
fl . . . fl fl
# # # # # 97 Œ
& # œ Œ œ
JOANNE:
KATHY:
œ œ
98 99 100
œ œ
#### #
I want a man to cher - ish me. I want a man who's or - gan - ized.
& # ∑ Œ œ Œ œ
MARY: JOANNE:
œ œ œ œ œ œ œ œ œ œ
I want a man to rav - ish me. I want a
## #
& # ## œ Œ Ó Ó ‰ j œ Œ Ó Ó ‰ j
f fl œ> œ œ fl œ> œ œ
F f F
w w w w
STGS. (Sounds 8vb) / PIANO (loco) / B3 (Sounds 15va)
#### #
(Stgs. 8vb)
& #
# #
f F
#### #
D m
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
(Piano)
& # œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœœ œœœ œœœ œœœ œœ
. . . . . œœ œ œœœ œ œ. œ. œœ œœ œ. œ œ. œ. œœ
fl fl fl fl . . fl . . fl . fl . . fl fl . fl . fl fl .
# # # # # 101Œ œ œ œj œ œ ˙ Œ ‰œ nœ œ œ œ nœ nœ #
& # œ
KATHY:
œ
ALL: 104
œ
102 103
J J
#### # #
A man who'll stick to my rou - tine Ex - act - ly as I tell him.
& # œ Œ Ó ∑ ∑ ∑
^
man.
## # #
& # ## œ Œ Ó Œ Ó Œ
nœ
Œ Ó
fl œ œ œ
fl aœ
>
Í ƒ
w >œ >œ >œ >œ >œ >œ >œ n n n œ˘œœ ¿
ROCK PIANO
#### # ∑ ‰ œœœ œœœ œœœ œœœ œœœ œœœ œœœ n œ Œ Œ #

& # J
~~~~~~~~~~
# F ƒ
Gliss. ~~~~
#
˘œ
G m7
# # # # # œœ œ œœ ‰ œj œ œ œ œ œ œ
B/C D7sus4
œœ œœ œœ œœ œœ œœ Œ Ó #
& # œ œœ. œ. Œ Ó
?
œ œ. œ. œ œ. œ nœ
fl fl fl œ œœœœœœ
>>>>>>> nœ
fl
# 105 Œ œœ œ ‰ j 106
Œ œœœ œœ ‰ j œ œ œ œ œ œ œ
107
& œ œœ
108
œ œ
Oh oh, I don't wan - na miss a thing. No no, I ain't gon - na miss the bus.
#
& Œ Ó Ó Œ Œ Ó Ó Œ
nœ œ œ œ œ œ
f fl
#
& ∑ ∑ ∑ ∑
f
~~~~
G~li~~~
?# Œ Ó
ss. ~~
+ Gtr, Bs
Ó Œ Œ Ó Ó Œ
œ œ œ
œ
œ œ
~
œ fl
fl
# 109Œ œœ œ ‰ j 110 ˙˙˙ ˙˙ ..

& œ œœ œ œ ˙ Œ
œ œ œ œ œ œ ˙.
111 112
Whoa whoa, I want the A - mer - i - can Dream...
# Œ Ó ∑ Ó Œ ‰ œJ
dirty solo
&
Gtr. (no 3rd)
œ n œœ œœ œœ œœ œœ œœ œœ œœ ƒ
fl cresc.
>œ >œ >œ >œ >œ >œ >œ >œ

(Piano)
# œœ œœ œœ œœ œœ œœ œœ œœ
& ∑ ∑ ∑
F
?#
D7
∑
(Drums cont.)
Œ Ó
œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
fl
>>>>>>>>
Bs.
#113 Ó ‰ œj œ œ
& œ œ œ œj œ j
œ œ œ
‰ œj œ œ
114 115
œ
And to - geth - er we will grab it, and to -
# œ œ. >œ œ. b œ œ
^ Œ Ó ‰ j
~~~
~ Œ
& œ œ œ œ œ. œ œ
> >
>œ >œ >œ >œ >œ >œ >œ >œ ˘œ ˘œ ˘œ ˘œ ˘œ ˘œ ˘œ

# œ œœ œœ œœ œœ œœ œœ œœ œœ œœ. œœ œœ. œœ. œœ œœ. œœ œœœ. œœœ. œœ œœœ. œœœ. œœ œœœ. œœ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ
f ƒ
‰ œj ‰ œj
j
C
?#
G/B
œ œ œ. œ œ
œ œ œ œ œ œ œ œ œ œ. œ œ œ. œ œ œ œ #œ
œ œ œ œ œ œ œ œ â > > > > œ œ #œ
> > > > > > > > > > >
# 116œ j œœ ˙˙
œ œ œ œœœ
J
‰ œœ œ œ ˙ Ó ‰
M
& œ ˙ œ œ œ œ œ œ
K 117 118 119
J
>œ
~~ ^
geth - er we will sing.
œ œ œ>
Noth-ing's bet - ter than this.... Noth - ing's bet
# œ ˙
& Œ ‰ j ~~~~~~~ œ Œ ’ ’ ’ ‰
J
Gtr. solo
œ œ œ œ ˙
> .
fl Í> ƒ
# ˘œœ œœ. ˘œœœ œœ. œœ. ˘œ œœ. œ>œœ œœ ˘œœ ˘œœ ˘œœ ˘œœ
& œœ œœ œ œœ œœ
œœ
œ œœ œ œ œ œ œ #œ Œ
œ œ œ œ œ œœ œœ ‰ œj ‰ œj œœ
j
œœ ‰ œœ ‰ œœ
j
œœ œœ œœ œœ œœ œœ œœ œœ
F â œ œ
fl > > fl > >
j
Em7 A7sus4 A7
?# ‰ j ‰ œj j
Am7 cresc. poco a pocoG/B
œ œ œ œ œ œ œ œ œ Œ œ. œ œ œ œ. œ œ œ
œ œ œ > œ œ œ œ œ
â fl fl fl fl fl
#120 œ œ œ œ œ œ œ
& œ œ œ œ ˙ Ó Œ
121 122
œ
ter than this... and I don't wan - na miss, I don't
# j
^ ^
& Ó Œ ‰ œ œ œ. >œ ˙ œ Œ Œ
> œ œ
f Í ƒ
>œ œ >
# b œ >œ >œ œ >œœ >œœ >œœ
j
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3
An Organized Life
Warn: KATHY: It's the band's fault.
MARY: So how do we get all the losers in this school to pay more attention to us? (music in as Kathy speaks)
With Precision & Energy q = 148

KATHY: That's why we've got to work harder
#### 2 1 . 44 ‰
and make them care (go on)
..
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2 3 KATHY: 4
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Ev - ery - thing in life de - pends on good prep - a - ra - tion.
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Cheer - lead - ers need to live up to de - mands.
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Piano-Conductor —2— An Organized Life Vanities
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If we're not ef - fec - tive, then we have to work hard - er,
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know our rou - tines like the back of our hands. We need to drill them
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all, so that the job gets done. We need to run these
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cheers, so we can cheer each run. We need to rouse the
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crowd, but nev - er crowd the team And then the
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team will love us and the crowd will cheer us and the world will know that we're as per-fect as weseem.And
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there, you've got an or - gan - ized Fri - day eve - ning. You've got your var - si - ty game of
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2 . . # 44
JOANNE: Shouldn't the "football" dance have something to do with "football"? (go on)
& ∑ ∑ ∑ 4 . ∑ .
47 48 49
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last x only
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soli
&
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# # # # 452 KATHY:
D
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Lis - ten now, I'm sor - ry, but I know what I'm do - ing... "O - ver the Rain - bow" is what
## 4
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(Cel. 8va+Pno.)
Ó Œ Ó
CELESTE (Sounds 8va)+PIANO (loco) / CLARINET / PIANO
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(Clar.)
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55 56 JOANNE: 57
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it will be. I dun - no, I sort of think we need some - thing bet - ter.
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KATHY: JOANNE:
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58 59 60
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"O - ver the Rain - bow" sounds per - fect to me! We'll need some big bal -
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7
CELESTE (loco) / PIANO
#### ∑ ∑ 2 4
(Piano)
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. . . œ. . œ-
. œ-
# # # # 4 61 MARY:
E
& # 4 œ Œ Ó ‰ Œ Ó ‰
62 63 JOANNE: 64 KATHY:
loons. No... I think bal - loons are square. Maybe... We'll dec - or - ate the
#### œ̈ . œ. . œœ
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66 JOANNE: MARY:
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65 67 68
gym. In lots of colors... I know what shoes I'll wear. What are you gonna wear? I'll buy a tight blue
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JOANNE: KATHY:
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69 70 71 72
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dress. I'll get a new hair - style. I'll make a
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42
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big huge rain-bow made of chick - en wi - re and I'll stuff it full of colored Klee-nex by the mile. And
# ## 4 œn œ # #
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√-
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(Cel. loco)
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RHODES
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ALL:
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78 79 80 3
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then... We'll have an or - gan - ized night of danc - ing. We'll have our "O - ver the Rain - bow"
## N œ. œœœœ œ̈
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82 83 84
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out - fits. We'll be in charge of the punch bowl, set - ting the trends, we'll be
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CELESTE (loco)+ORCH. BELLS (Sounds 8va) / CELESTE (loco) / PIANO (loco)
##
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ˙ ˙˙ ˙˙˙˙
(Piano)
- . . - . . - . - . . - . . - . n ˙˙ ˙ ˙ œœ œœ
Am6/C
œ- œ-
B7sus4
? ## œ Œ Ó Ó Œ œ n˙. œ
(Piano)
˙ œ œ
œ œ- œ- œ-
>
# # 85 j j j ‰ j j
œ # œ œ œ œ ‰ œj
KATHY:
& œ œ œ œ œœ œ œ œ œ œ œ œ œ œ
86 87 88 ALL:
œ œ œ œ œ
girls who the rest of the kids ad - mi - re... Thanks to some plan - ning and chick - en wi - re. For -
œ. (Cel.+Bells)
## œœ
(Cel.)
& œœ Œ Œ ‰ j j j j Œ œœ Œ œœœ Œ Œ œœœœ

œœ œœ œ œœ œœ œœ .. œ
œ œ œ œ œ œ. p
fl > > # fl
Em7 A7sus4 A7/G F m7 B7sus4
? ## Œ Ó ‰ œj Œ ‰ jŒ j
œ œ œ œ œ œ œ ‰Œ Œ œ
œ œ œ œ œ. œ-
œ fl > > >
fl
‰◊
JOANNE & MARY:
Ó Ó
...who live an or - gan - ized...
# # 89 j œ œ nœ œ œ
& œ œ j j
nœ œ œ j n œ œ bbbbbb
‰ œ œ œ nœ œ œ
90 91
KATHY: KATHY:
ev - er three best friends, who live an or - gan - ized... ...who live an or - gan - ized
# > >
& # ‰ n Jœ œ ‰ œj j ‰ ‰ œj Œ j ‰ œj Œ bbbbbb
T. Sax
Œ ‰ Œ
J > >œ > œ> ‰ >
œ
>
f
# j j j j ‰ ‰ œj Œ j ‰ ‰ œj Œ bbbbbb
& # n œœ œ n œœœ œœœ œ œ
j Œ
œœœ œœœ œœœ œœœ œœœ
œœ
> nœ œ # œœœ n œœœ > > > >
> > >
fF2 G7sus4 E7 A7sus4
? ## j j j ‰ œj Œ j j j j j
nœ œ œ ‰ #œ œ œ ‰ ‰ œ Œ œ Œ œ ‰ œ bbbbbb
nœ œ œ #œ œ œ œ œ œ œ œ
> > > > > > > > >
b b b b 92 Ó
b j j
KATHY:
& b A˙ ˙˙ œœ œœ .. n œœ .. œœ œœ n œœ œœ
93 94 95
JOANNE & MARY:

n ˙˙ n ww
life. Ooh, Dra - ma, Ooh, ooh, pro - mi - ses,
HARPSICHORD (Sounds 15vb)+ORCH. BELLS (Sounds 8vb) / PIANO
√ √
(Harpsi.+Bells)
œœ Ó nœ œ Œ œ œ œÓ Œ
Œ ‰ œ œœ œÓ n œ œœœ .. œ
3
b œœœ œœœ œœœ œœœ n www œœ n œœœ œœ

(Piano) solo
& b bbbb w œœœ

œœ
œ w
n œœ œœ œœ œœ œœ œœ œ œœ œ ..
www Œ ‰ œœœ J nœ J
œ
J
p
G bMaj7
b b 3
B b7
w w
A /G Fm7
? bb b b ww w
(Piano)
bb w w
Piano-Conductor —10—An Organized Life Vanities
b j j œ. bbb
& b bbbb Ó ˙˙
j
œ œ œ œœ œ .
œ œ
96 97 98 99
n ww n ww
Ooh You can make it
bb
& b b bb ∑ ∑ ∑ Ó Œ œ A œ œ œ œ bbb
Fl.
P
(√)
5
œ Œ √
STGS+PIANO / HARPSICHORD (Sounds 8va)+ORCH. BELLS (Sounds 32va)
œœœ œœœ Óœœœ œœ œœœ Ó nœ œ œ Œ œ œ Óœ œœ œ j j

n œœœ ‰ œœœ œœœ œœœ ...
(Stgs.+Pno.)
bb b b b œœ w
n ww n œœ œœ œœ œœ n œœœ bbb
& b
Œ ‰ œœœ œ w Œ ‰ œœœ œ œ œ œ.
G bMaj7 A b/G b Ab P Bb
? b b b ww w œ Œ
3 Fm7
bbb w w ww œ Ó bbb
b j œœ œœ œœ ..
&bb Ó Œ œœ n œœ ˙˙ Ó n ww n œœ n œœ
100 101 102 103
J J
>œ n œ. >œ .
I know... Ooh We can show them.
œ œ œ̆
b œ.
‰ œ œ
n˙. œ n˙. œ œ Nœ œ ‰ J ‰
& bb
˘ ˘œ >œœ .
3
b www n ww ww n œœœ œ .
n œœ ..
b
& b w w œ ‰ ‰ œœ ‰
J J
E bMaj7
>œ n œ >œ >œ .
œ œ n˙. n˙.
F Dm7 F G F
G
? b ˙ œ œ œ ‰ J ‰
(Bells+Harpsi.)
bb œ
bbb j #### 2 44
add KATHY:
& œœ œœ ˙˙ œœ œœ Jœœ ˙˙ ‰ # 4
KATHY:
˙˙ .. œœ œœ ˙˙ ..
104 105 106 107 108
œ œ œ aœ œ
œ œ̆ œ̆ >œ œ œ œ̈
Now when the dance is
>
Aah, aah, aah, the best
>œ œ. Jœ ####
& bbb ∑ Ó Œ ‰ œj œ œ̆ ‰ Œ # 42 ∑ 44
>
F poco a poco cresc.
3
f
œ¨
STGS.+PIANO / PIANO
˙˙ ... œœ œœ
RHODES (Very Bell-y)(Sounds 8vb) / PIANO (loco)
œœ œ >
œœ. ‰ œœœœ ˙˙˙ œœœ
(Stgs.+Pno.)
˙ œœ œ œ œœ œ œ> j >œ #### 2

bbb œ œ ‰œ
œ ˙ Œ œœ 44
(Piano)
& œ œ J # 4 a œœ œ-
fl a œ-
F Í f p
b b
poco a poco cresc.
j œj j œ
Fm7 Gm7 A Maj7 B 7sus4
? bb ˙ œ ˙ œ‰ j j # # # # 42 œ œ 4
(Piano)
b ˙ ‰ œœ ‰ œ ‰œ ‰œ ‰ œ‰ Œ
(Piano)
˙ ˙ œ œ œœœœ # œ- œ 4
J J œ œœœœ œ -
>>> >
# # # # 4109
H
& # 4 œ Œ Ó ‰ Œ Ó ‰
110 111 112 JOANNE:
#### œ. œ.
done, they pick the foot - ball queen. I real - ly hope it's
& # 44 J ‰ ‰ J Ó ∑ œ. ‰ ‰ œ. Ó ∑
J J
p
# # # # 4 œ>œœ œ>œœ Ó œœ- œœ
+Tri.
& # 4 œ. œ. Ó œ œ- œœœ œœœ Ó Ó œœ œœ

> œ. œ. > œ- œ-
? # # # # 44 œ Œ Ó Ó œ œ œ Œ Ó Ó œ œ
# œ œ- œ œ- œ-
> œ- >
#### Œ Ó ‰ Œ Ó ‰
& #
114 MARY: 116 JOANNE:
œ
113 115
you. I'm sure you'll get it, Mary I don't know what you mean. I hope you get it. Oh no, I hope it's
√>
œ>œœ
(Rhodes 8vb)
œœœ
#### œ. œ. Ó Ó œœ- œœ
& # œ œ- n n œœœ œœœ Ó Ó a œœ œœ
œ-
> œ. œ. > œ-
? #### œ Œ Ó Ó œ œ nœ Œ Ó Ó aœ œ
# œ œ- nœ a œ- œ-
> œ- >
#### Œ Ó
U JOANNE:
‰ Œ Ó 24 KATHY:
‰ j 44
& # œ
MARY:
œ
117 118 119 120
you. Oh come on If not, I'll slit my throat! There's on - ly
œ. œ̆
#### U
flutter
& # ∑ ∑ æ J Ó 42 ∑ 44
Í ç
√>
œ>œœ
(Rhodes 8vb)
œœœ . .
#### œ œ U - U
# Ó Ó œœœ œœœœ
n œœœ œœœ Ó 42 ∑ 44
+Gtr.
& œ- > œ. œ. >

F #7sus4 E2/G # F
? #### U œ œ n >œ U
#
œ
œ
Œ Ó Ó
œ- œ- nœ Œ Ó 42 ∑ 44
>
# # # # 4121 U
A Tempo
œ " œ Œ Ó Œ
& # 4 œ œ œ œ œ œ œ œ
122 123
œ œ
one thing cer - tain: One of us will get it! But to
#### œ œ œ œ̆ œ œ œ œ̆ U
& # 44 Œ œœœœ " Œ Œ œ œ œ œ " Œ ∑
F 7
f F 7
f
#### 4 œœœ j " j " U

& # 4 a œœœ
œ œ œœœ ‰ Œ œœ
œœ
œœ
œœ
œœ ‰ Œ
œ-
∑
-
sub. f
#
? # # # 44 " U
# j j ‰ Œ j j ‰"Œ ∑
œ. œ œ œ. œ œ
œ. œ œ œ. œ œ
> >
# # # # 124 ##
& # nœ
125
œ œ œ œ œ nœ œ œ œ œ
nœ
just make cer - tain, we should may - be fix the vote. And
#### Œ Ó Œ Ó ##
& #
n n œœ. œ n n n œœ. œ
p
? #### Œ Ó Œ Ó ##
G2 A7sus4
# nœ nœ
n œ. n œ.
# # 126
I
& œ Œ ‰ œ œ œ œ ‰ œ œ œ œ
127 3 128 129 3
so, we need to or - gan - ize all our boy - friends. We need to in - flu - ence all their
## j ‰ ‰ N Jœ. Ó j ‰ ‰ Jœ. Ó
& N œ. ∑ œ. ∑
p
j ‰ ‰ œœœ Ó j ‰ ‰ œœœ Ó
PIZZ. STGS.
## ∑ ∑
œœœ œœœ
+Gtr.
& J J
p
œ œ
? ## œ ‰ ‰ Ó J ∑ J
œ ‰ ‰ Ó ∑
J J
# # 130 ‰ Œ Œ
& œ œ œ œ
3
œ œ œ
131 132 133
œ œ œ œ œ œ #œ œ œ
3
œ
œ.
team - mates. We need to throw them a par - ty, that's how this goes. Since we
# j
& # œ. ‰ ‰ J Ó ∑ ∑ ∑
## j ‰ ‰ œœœ
PIANO
& œœ J Ó ∑ ˙ ˙˙˙˙
œ n ˙˙- ˙˙
-̇ -̇ -̇˙
œ j F
Am
? # # œj ‰ ‰ J Ó
B7sus4
¿ ¿
Drs.
Ó ‰ n˙ ˙ ˙ œ œ
# # 134
& œ œ œ œ œœ œ j ‰ œ œ œœ œ œ œ ‰
œ œ œj
135 136 137
œ œ œ œ œ œ #œ œ
know that the team con - trols all the vot - ing, noth - ing is wrong with some self - pro - mot - ing. E -
#
& # ∑ Ó ‰ œj ‰ œj Œ Ó œ̆ Œ Ó
T. Sax
œ
> > fl
#
& # œœ Œ Ó j
œœœ œ œœœ œœœ œœœ ..
Œ œœ Œ œœœ
j
œœœ # œ œœœ œœœ œœœ ..
œ œ
fl > >. # fl > > >.
f Em7 cresc. A7sus4 A7 F m7 B7sus4
? ## Œ Ó j j
œ œ ‰ œ Œ œ œ
‰ jŒ
œ œ œ ‰ œ Œ œ
œ œ œ
œ fl >œ œ
> œ
>
fl
# # 138 139 Ó ‰ nœ œ Ó ####
JOANNE:(8vb) ...who have an or - gan - ized...
œ n œ œj œ j œ œ œ
& œ œ œ œ œ n œ œœ œ œ nœ œ œ
140
œ œ ‰ œ
lec - tions go to those
who have an or - gan - ized... MARY: ...who have an or - gan - ized
# > > ####

œ ‰ œj
j j
& # Œ ‰ n Jœ ‰
J
Œ œ ‰ ‰ œj Œ œ ‰ ‰ œj Œ œ
> > > > >
# j ‰ ‰ œj Œ ‰ œj Œ ####
& # œœ œ n œœœ œœœj œ j Œ
œœœ
j‰
œœœ
n œœœœ
n œœ œœ œœ œœ
> n œ œ # œœœ > œ
> > œ
>
œ
> > >
#
? ## j ‰ j Œ j j j j ####
F2 G7sus4 E7/G A7sus4
‰ œ œ œ œ ‰ ‰ œ Œ œ Œ œ Œ
nœ œ œ #
nœ œ œ #œ œ œ œ œ œ œ
> > > > > > > > >
# # # # 141
J
& œ œ œ ‰
ALL: 3
œ œ œ œ œ œ
142 143
life. So now, we have an or - gan - ized course of ac - tion to help us
#### ˙
& œ̆ Œ Ó ∑ ? Œ œ
p
MARCATO STGS.+CELESTE / MAPPED STGS. / HARD ELEC. PIANO (loco+8vb)+ROCK PIANO (loco+8vb)
(Marc. Stgs.+Cel.)
œœ œœœ œœœ œœœ œ œœ œœœ œœœ œœœ œ œœ œœœ œœœ œœœ œ

#### œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ
œ ‰ ‰ œ Œ œ ‰ œ ‰ ‰ œ Œ œ ‰ œœœ ‰ ‰ œœœ Œ œ
œœœ ‰
J J J J J J
(Mapped
Stgs.) J J J
j j j j j j
E2 Esus4
? # # # # () j j j
(String Trigger ONLY)
œ ‰ ‰ ()
œ Œ œ ‰ œ ‰ ‰ ()
œ Œ œ ‰ œœ ‰ ‰ ()
œœ Œ œœ ‰
œ œ œ œ œ œ
() () ()
(El.+Rock Pno. > > > > > > > > >
() ()
loco+8vb)
# # # # 144
‰ œ
3
& œ œ œ œ œ œ œ
3
œ œ œ œ œ
145 146
œ œ
or - gan - ize our ad - van - tage, to stay in charge of our class - mates,
w a˙ w
? #### Œ œ
&
p
.j
œœ œœœ œœœ œœœ œ œœ œœœ œœœ œœœ œ œœ œœœ œœœ œœ ‰
#### œ œ œ œ œ œœ œ œ œ œ œœ œ œ
& œ
œ œ
œ œ œ œ œ œ ‰
œœœ ‰ ‰ œœœ Œ œ
œœœ ‰ œ ‰ ‰ œ Œ œ ‰ œ ‰ ‰ œ Œ œ
œ J J J J J J
J J J
j j j j j j
B
? #### j j j ‰
œœ ‰ ‰ ()
œœ Œ œ
œ
œ ‰ ‰ ()
œ
() œ Œ
œ
œ ‰
œ
() œ ‰ ‰ ()
œ
() œ Œ
œ
œ ‰
œ
()
> > >

() ()
# # # #147 œœœ
Œ œ œœ # œœœ œœ Œ
3
& n œœ œ œ
148
œ œ
pull - ing the strings. Pop - u -
# ##
& # n˙ ˙ ˙. œ
>
F
####
PIANO
& œ œœ œœ œœ ˙˙ ˙˙˙ œ
n œœ. œ. œ. œ. ˙ ˙˙ œœœ œœ
# â â
? #### n œ .
Bm6 C 7sus4
j œ œ. j œ
loco n œ . œ œ œ. œ œ.
# # # # 149 j j j ‰ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ œœ œœ œœ œœ œœ
150 151 KATHY:
lar - i - ty's yours if you go and win it. How it all ends de - pends
## >
‰ œ ‰ œ-
& ## œ Œ Ó Ó
J J
œ̆ Œ Œ
fl œ
f F
#### ~~ œœœ ˙˙˙ ˘ œœ œœ^ œj œœ œ œœ œ

GOSPEL ORGAN / ROCK PIANO
œœœ
j
& ~~~ Œ Ó ‰ J œ œ œ
~~~ J
(Organ)
~~~
œ.
# #
3
B7sus4 B7 G m7
? #### ‰ œj œ
F m7
‰ j œ ‰ œj œ
(Rock Pno.)
# # # #152 œ œ œ œ œ. ˙ Œ
& œ J
153 ALL:
œ
how you be - gin it. And
####
& Œ Ó nœ œ œ #œ ‰ œ.
œ > >
fl P
˘
œœœœ
# # # # () Œ Ó ‰
& # œœœ œœœ œœœ œœ œœ ..
# P >œ >œ .
C 7sus4
C #7
# C #7/E #
? ####
B/D
œ Œ Ó ‰
œ œ œ œ œ #œ.
fl > >
# # # # 154
K
œ n œ œj œ j ˙
KATHY:
& œ ww Œ
œ œ œ œ nœ œ œ # ˙˙
155 156 157
œ w œ
prep - a - ra - tion brings the joy of or - gan - ized life. Take
## j
& ##
j
œ. n œ ‰ œ ‰ œj Ó ‰ Œ
> > > œ. ˙ ˙.
f ˙ Í
F
# # # # n œœ ..
n >œœ >œ œj
& n œ ‰ # œœœ ‰ n œœœ
œ. Œ œœœ ‰ œj Œ ˙˙ ˙˙
˙
w
# ww
J J > œ œœ ˙
f F
G2 A7sus4 F #7/A # B7sus4 B/C # #
C 7
? #### j œ
j ‰ œ
jŒ
œ œ ˙. ˙.
nœ nœ œ œ #œ ˙. œ ˙. œ
nœ œ œ #œ œ œ œ œ
# # # # 158 œ nœ j j ‰
ALL:
& œ œ œ œ œ nœ œ œ
159 160
œ w œ
care of lit - tle things... You'll have an or - gan - ized
## j ^
& ## nœ. nœ ‰ j
œ ‰ œj ˙ œ- œ- œ- œ- œ ‰
J
Œ Ó
> > >
f Í ƒ
j
#### œ n œ œj œ
j
œ œœœ ‰
& n œœœ œœ www Œ Ó
œœ œœ # œœ >
œ
F ƒ
G2 A7sus4
# #
F /A B7sus4
? #### j œ
j
j
œ ‰ Œ Ó
nœ œ œ #œ
nœ nœ œ œ #œ œ œ œ œ œ œ œ œ œ œ
# # # # 161
& ∑ ww www
162 163 164
w
life.
##
& ## Ó ‰ jœ œ œ œ œ j ‰ jœ
solo
œ œ œ œ ˙ ˙ œ œ
œ œ. f
f
3
RHODES (Sounds 15vb)+CELESTE (Sounds 8vb) / ROCK PIANO+MARC. STGS. / ROCK PIANO
√ œ œ œ œ œ œ œœœ œœœ œ œ
(Rhodes 15vb+Cel. 8vb)
#### œ œ œ œ œ œ œœ œœ œ œœ œ ˙
&
sub. p
j j j j
E2 E/D A2 Am
? #### œ . œ œ œ nœ.
(Rock Pno.)
œ œ œ œ. œ œ œ nœ. œ œ œ
œ. œ œ œ nœ. œ œ œ œ. œ œ œ nœ. œ œ œ
# # # #165
& ∑ ∑
166
#### ˙ Ó
& aœ œ nœ
> nœ nœ
ƒ œ
>
#### œœ ˙˙-
(Rock Pno.+Marc. Stgs.)
œœ ˙˙ Ó
& œœ œ- n œœ nœ #œ
- > nœ >
ƒ #
B/C E A2 C E
? #### œ nœ Ó
œ ˙ > nœ œ
œ- œ- -̇ œ
>

4
I Can't Imagine
Warn: KATHY: I guess I can teach P.E.
JOANNE: I can't stand the idea of a new school with new people. (music in)
Early 60's Girl Group, A La Supremes q »¡£• JOANNE:

(Dialogue Vamp) What if we're nothing? (go on)
b 4 ˙. b˙ œ œ
& b b 4 .. Œ ˙. Œ Œ w ..
1 Bells 2 3 4
P
CLASSIC RHODES / VIBES (Sounds 8va)
b
& b b 44 .. ˙˙ œœ œœ n œœœ ˙˙˙ œœœ œ n œœ b b œœœ ˙˙˙ ..
(Rhodes)
œœ œœ œœ ˙˙ .. Œ
˙ œœ œ bœ œ ˙.
P
Eb F/E b F /E b Eb
˜
n ˙˙ ..
Œ b A ˙˙˙
? b 44 .. Œ ˙˙˙ ... œœ œœ ww ..
Œ
(Vibes 8va)
bb ˙. œœ wœ
œ ‰ œJ ‰ n œJ œ œ
Bs.
> â â >
A
& bbb jœ œ
j
œ œ œ œj j
JOANNE: 6 7
œ œ œ œ
5
œ œ nœ œ œ Aœ œ
Since we start - ed sen - ior year, there's one thing on my mind...
b ˙. b˙ œ œ
& bb Œ ˙. Œ Œ
b
&bb ˙˙ œœ œœ n œœ ˙˙ œœ n œœ b œœ ˙˙ œœ œ œ
˙ œ œ œ ˙ œ œ bœ ˙ œ b œ œ œœ
Eb b Eb
˜ b
.
Œ n ˙˙˙ .. Œ b A ˙˙˙
œœ œœ
? bb Œ ˙˙˙ ...
F/E F /E
b œ œ
-43-
Piano-Conductor —2— I Can't Imagine Vanities
b j j
&bb Œ Œ ‰ j j jœ œ œ
9 10
œ œ œ œ
8
œ œ œ nœ œ œ
What hap - pens when the three of us leave
b ˙.
& bb w Œ ˙. Œ
b
& b b ˙˙ .. Œ ˙˙ œœ œœ n œœ ˙˙ œ nœ bœ
˙. ˙ œ œ œ ˙ œœ œ œ b œœ
Eb b ˜ b
? bb ww ˙˙ .. n ˙˙ ..
F/E F /E
b wœ Œ ˙. Œ ˙.
œ ‰ œJ ‰ n œJ œ œ
Gtr., Bs.
> â â >
b j j
&bb œ bœ œ ‰
12
œ œ ˙ œ
11
œ œ
high school far be - hind? What if I
b b˙ œ
& bb Œ œ w
b
ROCK PIANO / BALLAD ORGAN (8vb)
&bb ˙˙ œœ œœ œœ ˙˙ .. ‰ j
(Piano)
˙ œ bœ œ ˙. œœ
œ
Eb
? bb A˙ œœ œœ ˙˙ .. ‰(Piano) j
b ˙˙
Cm7
b Œ œ œ ˙œ . œ
bœ ‰ œ œ œ
J œ œ
â > >
& bbb ‰
œ bœ œ œ
14
œ œ œ œ
13
œ œ œ œ œ nœ œ
don't get ad - mit - ted and both of you do? Or if all
b j j
&bb œ Œ ‰ Œ ‰
+ Gtr
œœ œœ œœœ œœœ œœœ œœœ

œ > > >
>
A b2
˘ Œ ‰ ˘ Œ ‰
Cm7 F7sus4
? bb j j
b œ œœ
+ Drs
œ ‰ œ œ œ
œœ ‰
œ
J œ œœ
œ fl œ œ œ œ fl
J >
> -44-
b
&bb bœ œ j j Œ
œ œ
15 16
b
that they have left is a dorm room for two?
&bb œ Œ ‰ j Ó
œœ œœœ œ
n œœ œœœ n œœœ
> > >
? bb ˘ Œ ‰ ˘
j &‰
F7
b œœ
+ Tenor
œœ ‰ œ œœ œœ œ œ
œ
fl
œ
J > œ nœ œ œ
fl
b b b17 Œ j j j j
& œ #œ œ œ nœ œ œ nœ œ œ
18
bœ
I would not get by. No, I think I'd die,
b
& bb
Tenor
˙. œ œ ˙. œ œ
> > >
Í Í Í
b ˙˙˙ .. œœ œœœ ˙˙ .. œœ œœœ
(Organ - sounds 8vb)
&bb . œ ˙. œ
P Fm7 E b/G b
b
A
&bb ‰ j j j j
œœœ ‰ œœ ‰ œœ ‰
(Piano) (Gtr. & Bs. cont. sim.)
A œœœ
œœœ œœ œœ œœœœ
. œ œ œ œ >
> fl
b j j
&bb œ œ Œ
19 20
if I can't share col - lege with you.
b ä ä
& bb ‰ œ
J
œ œ̆
˙ œ œ nœ œ ˙
F
b ˙. œœœ œ>œœ ˘œ
& b b ˙˙ .. œœœ œœ Ó
b F
b j j ‰ œœj œœj ‰
&bb œ ‰
œœœœ ‰
B 7sus4
?
œœœ œœœœ œœœ œœœ œœœ
œœ œœ
fl > fl > >
-45-
b
B
&bb ‰ Œ ‰ Œ bœ œ œ œ œ
œ œ œ
21 22 23
œ œ œ bœ œ œ œ œ bœ œ
I can't i - mag-ine, I can't i - mag-ine, not hav - ing both of you there
& bbb Ó Œ
œ bœ ˙. œ œ ˙. œ bœ
> > >
F Í Í Í
b
RHODES / ORCH BELLS (sounds 8va)
& b b ˙. œœ b œœœ ˙˙ .. œœ œœ ˙˙ .. œœ œœ
(Rhodes)
˙˙ .. œ ˙. œ œ ˙. œ bœ
F
? b ˙. œ œ ˙. œ œ ˙. œ œ
bb
(Rhodes)
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
. . . . . . . . . . . . . . . . . . . . . . . .
bb b24 Œ ‰ œ œ ‰ œj
& œ œ œ œ œ œ œ œ bœ œ Œ
25 26
œ œ bœ œ
j j j j
at my side. I can't i - mag - ine, no, I can't i - mag-ine,
Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰
bbb
Gtr. (8vb)
& Ó ‰ œ nœ œ ˙ œ œ
˙ œ ‰ Œ Œ b˙. œ œ
J
P > Í>
Íj
b j Ó (Orch. Bells) Œ ‰ b œœ ˙˙ .. œœ œœ
& b b ˙˙˙ œœ ‰ Œ ˙˙ b œœ ˙˙ .. œœ
œ Œ ˙ œœœ œœ
Eb D b/E b A b/E b
(Rhodes)
? bb j‰ Œ
b ˙œ œ œ œ
œ
œ œ œ œ
˙.
œ œ ˙.
œ œ
. . . . . . . . . . . . . . . . . . . . . . . .
b bb Œ
& œ bœ œ œ œ œ œ
27 28
œ œ œ œ œ œ
j j j j
not be - ing with you the rest of the ride.
Œ ‰ Œ ‰ Œ ‰ Œ ‰
& bbb œ œ œ œ
˙. œ bœ ˙. Œ
>Í
b j
& b b ˙˙˙˙ ... œœ
œœ
b œœ ˙˙ œœ ‰ Œ
. b œœ ˙˙ œœ
J
A bm/E b
j
? bb
b ˙œ .
œ œ ˙ œ ‰ Œ
. . . . . . . . -46- . . . . . . . .
b j j
&bb j œ œ Nœ œ j œ œ œ œ œ œ
29 30 31
Yes I know I'd still have Ted, who's in my head and heart.
bbb
Gtr
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ
> > > > > > > > > >
bb ‰ j‰ j ‰ j‰ j ‰ j‰ j
ROCK PIANO
& b œ œœ œœ œœ œœ
œœ œœ œœœ œœœ œ œœœ b œœœ
œœ œ œ œ œœ œ nœ œ n œœœ œ bœ
fl > fl > b5
˘ Cm7/B b Fm7 /A b
Œ ‰ j ˘ >
? bb ‰ œj Œ ‰ b œj
Cm7 F /A
b œ œœ œ œ œ œ Œ nœ œ
œ ‰ J œ œ
Bs. continues simile
b j
&bb ‰ j œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
32 33 34
œ œ œ J œ
But you are the most im - por - tant thing in my life.
b ‰ j ˘j
œ b œœ œœ ‰ Œ ‰ j
Tenor
& bb œ ˙. œ >œ ˙. Œ
œ bœ œ Ó >
> f
F fl
j
‰ œœj
j j
bbb Œ œœœ .. œœœ œœœ .. j
œœ œœœ œœœœ
b œœœ œœœœ œœœ
œ
+ Gtr
& b œœœœœœœ œœœ b œœ œ

œ œ œ .. œ œ ..
> fl Db
? bb > ˘ j j œ
Cm7
b œ œ Œ ‰ bœ œ. j œ
œ œ œ
bœ bœ. bœ œ. œ
bb b35 ‰ #œ Œ
& bœ œ
ALL:
œ #œ #œ œ œ
36
œ œ œ œ œ
>
I can't i - mag - ine us ev - er be - ing a - part.
b ∫œ.
& bb b˙ ‰ œ Œ Ó
f fl
b j j
& b b b ∫ ˙˙˙ œœœ œœœ ... œœœ ‰ Œ Ó
∫˙ œ œ. œ
C b7
b
j
B 7sus4
? bb j
b bœ bœ œ ‰ Œ Ó
bœ. œ œ
-47-
b
KATHY: There's so much to think about. Boyfriends. Sororities. (go on)
& b b .. ˙ Ó ∑ ∑ ∑ .. b
37
3x
38 39 40
1st x only
BELLS (Sounds 8va) / CLASSIC RHODES / VIBES (Sounds 8va)
b
(Rhodes)
& b b .. ˙˙ œœ œœ n œœ ˙˙ œœ n œœ b œœ ˙˙ œœ œœ œœ ˙˙ .. Œ .. b
œ ˙ œœ bœ ˙ œ bœ œ
P˙ œ œ ˙.
E b + HH offbeats F/E b
˜ b
F /E Eb
? b .. Œ ˙˙ ... n˙. ˙ œœ œœ ww
Œ ˙˙ .. Œ b ˙˙
(Vibes 8va)
œœ . b
bb ˙ wœ œ nœ œ œ &.
w ˙. œ œ w œ ‰ J ‰ J
>
> â â
Bs
j
C
j
&b jœ œ œ œ œ j
41 KATHY:
œ œ œ œ Aœ
42 43
œ œ nœ œ œ œ
One thing just oc - curred to me that fills my brain with fear...
˙. ˙. b˙ œ nœ
&b Œ Œ Œ
(Bells 8va)
F G/F
˜
G /F F
+ Triangle (8th notes)
&b ˙˙ œœ œœ n œœ ˙˙ œœ n œœ b œœ ˙˙ œœ œ
œ b œ œ œœœ
(Rhodes)
˙ œ œ œ ˙ œ œ bœ ˙
Bs. cont.
j j j
&b Œ Œ ‰ j j j jœ œ œ
œ œ œ œ œ
44 45 46
œ œ nœ œ œ
w
What hap - pens if that Bren - da Blair is
˙. n˙.
&b Œ Œ
Œ
F G/F
& b ˙˙˙ ... ˙˙ œœ œœ n œœ ˙˙ œœ n œœ b œœ

œ ‰ Jœ ‰ n Jœ œ œ ˙ œ œ œ ˙ œ œ bœ
œ
(Gtr. & Bs.)
> â â > Bs cont. simile
Gtr out
-48-
j j j
œ œ œj
& b œ œ bœ ‰ œ œ œ œ œ œ bœ œ œ
MARY:
˙
47 48 49
œ œ
still a - round next year? What if ev - 'ry girl is pret - ty and looks
b˙ œœ ˙
ROCK PIANO / GOSPEL ORGAN
&b Œ Œ ‰ œj Œ ‰ œj
(Piano)
œœ œœ
+ Gtr
œœ œ œ œœ
> >
B b2
˘ Œ ‰ j
G o/F
‰ œj
F Dm7
+ Drs
& b ˙˙˙ œœ œœ œœ ˙˙ .. ?b œ œ œœ œ
(Piano)
œ bœ œ ˙. J ‰ œ
J
œ œ œ œ œ
œ ‰ œ œ
â fl J œ
Bs, Gtr
> + Tenor > >
&b ‰ œ œ œ Œ
JOANNE:
œ œ œ œ bœ œ œ œ
50 51 52
like a star...? Or if ev - 'ry girl has mon - ey and drives her own car...?
& b œœ œœœ Œ ‰ œj œ œœœ Œ ‰ œj œœœ œ Ó

œ œœ œœ n œœ œ
nœ
> > > > >
˘ Œ ‰ ˘ Œ ‰ ˘
?b
G7sus4 G7
j j
œ œœ œ&‰
+ Tenor
œ œ œ œœ œœ œ œœ œ œ
œ œœ œ
‰ J
#œ œ œ
‰ œ
œ fl > fl J > œ
> P

-49-
j j
&b Œ œ œ œ œ œ œ œ œ œ œ œ
53 KATHY: 54
Can we play the game when it's not the same
j j
&b Œ œ #œ œ nœ œ œ œ œ
JOANNE:
œ #œ nœ
&b Œ
MARY:
J J
& b
Tenor
˙. œ œ ˙. œ œ
> >
P Í Í
˙˙ .. œœ œœ ˙˙ . œœ œœ
.
(Organ)
&b
P
b
cresc. poco a poco
j j j j
F /A
&b ‰ œœœ ‰ ‰ œœ ‰
Gm7 B
A œœœ
œœœ œœ œœ œœ œœœœ
(Piano)
. œ œ œ œ >
> fl
&b œ j j œ œ Œ
55 56
j j
as it is right here where we are...?
&b œ œ œ œ œ œ œ œ œ œ Œ
œ œ
&b œ œ œ œ œ œ œ œ œ œ œ œ Œ
J J
^j
ä ä
& b œ œ. œ ‰ œ œ œ̆
˙. œ > J
Í F
>œ œœ >œ >œ ˘œ
˙˙ .. œœ œœ œ œœ œœ œœ
& b Ó
F
j j j
& b œœ ‰ œœœœ ‰ ‰ ?
C7sus4
œœœœ œœœ œœœ œœœ œœœ œœœœ œœœœ

œ
œœ
fl > fl > > >
-50-
D
&b ‰ Œ ‰ Œ
œ œ œ
bœ œ œ œ œ
57 58 59
œ œ œ œ œ bœ œ œ œ œ
I can't i - ma - gine I can't i - ma - gine not be ing pop u lar all
&b ‰ œ œ Œ ‰ œ œ Œ
œ œ œ
bœ œ œ œ œ
œ bœ œ œ bœ œ
I can't i - mag - ine, I can't i - mag -ine, not be - ing pop - u - lar all
&b ‰ œ œ œ œ œ Œ ‰ œ œ œ œ œ Œ
œ œ œ
bœ œ œ œ œ
I can't i - ma - gine I can't i - ma- gine. not be ing pop u lar all
& b Œ ˙ œ bœ ˙. œ œ ˙. œ bœ
Í > > >
Í Í Í
b œœ œœœ ˙˙˙ ... œœœ b œœœ
&b ∑ Ó Œ
GOSPEL ORGAN / HARDER RHODES (sounds 8va)
œ
(Organ)
sub. p
? b ˙˙ .. œœ b œœœ ˙˙˙ .. œœœ œœ ˙˙ .. œœ œœ
(Rhodes- sounds 8va)
˙œ . œ . œ ˙. œ bœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
. . . . . . . . . . . . . . . . . . . . . . . .
+ Gtr (8va)
&b œ œ œ œ Œ ‰ œ œ b œ œ ‰ œj ‰ b œj œ Œ
60 61 62
œ œ œ œ
‰ œ œ œ œ œ ‰ b œj ‰ b œj œ œ œ œ Œ
my life through. I can't i - ma - gine, no, I can't i - ma - gine,
&b œ œ œ œ Œ
&b œ œ œ œ Œ ‰ œ œ œ œ œ ‰ Jœ ‰ œJ œ œ œ œ Œ
& b ˙ œ
j ‰ Œ Œ ˙ œ bœ ˙. œ œ
> >
Í Í Í
˙˙˙ j bœ œ œ œ œ ˙˙ œœ b œœœ ˙˙ .. œœ œœ
˙.
œ
& b ˙ œ œ œ
j
(Gtr add chords on offbeats)
? b ˙˙˙ œœ ‰ Œ œœ b œœœ ˙˙˙ .. œœœ œœ

cresc.
œ Œ ˙˙ . œ
œ œ œ œ œ œ œ œ œ œ œ˙ œ œ œ œœ œ œ œ œ œ œ œ œ œ
. . . . . . . . . . . . . . . . . . . . . . . .
-51-
Piano-Conductor —10—I Can't Imagine Vanities
&b œ œ bœ œ œ œ œ œ œ œ œ œ Œ
63 64
œ
peo - ple won't love us what - e - ver we do.
&b œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
œ œ œ œ œ œ œ bœ œ bœ œ œ œ
&b Œ
& b ˙. œ bœ ˙.
Œ ?
>
Í
˙˙˙ ... œœœ b œœœ ˙˙˙ ~~~~
˙ ~~~~~~~~~
DRIVE ORGAN (sonds 8vb) / HARDER RHODES
& b
(patch change
at end of gliss)
? b ˙˙˙ ... œœ œ ˙˙
(Organ)
œ b œœ ˙ Ó &
. . . . . . . . . . . . . . . .
j j
&b j
œ œ œ œ Nœ œ œ œ ‰ œ
65 MARY: 66
œ œ
˘ .
All life long, we've been a - dored, which
Œ Œ ‰ j j
? b œ œ œ Œ Œ ‰ œ
Tenor
œ œ œ
‰ J
Bs. œ œ
√
Bs. continues simile
w wœ
(Organ - sounds 8vb)
& b œœ
> > > >>
Gtr
> > >
˘œ œœ >œœ œœ œ œ œœ b œœ œœ œ œœ
œœ œ j
œ œœ
Dm7/C
œœ œœ œœ œ œ
Dm7
&b Œ œ ‰ ‰
(Rhodes)
F J J
-52-
&b œ œ œ ‰ j œ œ œ
œ œ œ
67 68
œ œ
makes me sor - ta proud. Since
that is the most
œ
? b j œ œ̆ J
nœ Œ Œ ‰ bœ ‰ J J ‰ Œ ‰ &
> f F
(√) ˘ j
wœ œœ œœ Œ ‰ œ
&b œ œ œ œ œ œ bœ bœ
œ œ œ œ œ œ œ bœ œ bœ œ Ó
> fl
> > b
Gm7 /B b
>
b
œœ n ˘œœœ >œœ œœ œœœ œœœ
5
œœœ
G /B E
œœ b œ œ œ œ b œ œ̆ j
& b œ ‰ œ ‰ J Œ ‰ b œœœ
J œ
j œ œ
&b œ œ œ œ œ œ œ œ œ Œ
69 70
J
im - por - tant thing in this life...
& b ˙. œ œ ˙ ‰
œ
j œ œ
>
(√)
˙. œ œ ˙
&b Ó
>
b
j j j
E Dm7
œœœ œœœ .. j
& b œœœ ...
+ Gtr
œ œœœ œœ œœœ
œ Œ ?
œ. b œœœ œ œœœ œ œ ..

-53-
&b ‰ Œ bœ œ œ
KATHY:
œ œ bœ œ œ œ œ
71 72
Nœ œ œ
I can't i - ma - gine just be - ing one of the crowd.
&b ‰ bœ œ œ Œ bœ œ
JOANNE:
œ œ œ œ œ œ
œ œ
&b ‰ bœ œ œ œ œ Œ bœ œ œ
MARY:
œ œ œ œ œ
& b œ b >œ ~~~ N œ¨ Œ ‰ œ- œ^

> ~~~~
~~ œ J
œ
fl fl
(√)
>˙ Big accents # >˙ œ>œœ j
Big accents
&b J ‰ Œ ‰ œ
œœœ œœœœ
(Rhodes)
œ œ
> >
b
j
D 7 C7sus
? b bœ œ j ‰ œ œ j ‰ œ ‰ Œ ‰
+ Dr fill
œ œ
> > bœ > > œ œ > œ >
+Gtr. & Bs. > > > >
j j
E
&b Œ œ œ
JOANNE:
œ œ œ j œ œ œ j
73 74
nœ œ bœ
Right now - we're fine. Right here - we're great.
& b ˙. œ nœ ˙. œ bœ
Bells
˙˙-̇ .. œœ n œœœ- œœœ b b œœœ-

CLASSIC RHODES / TREM. STGS. (sounds 8vb)
˙˙˙ ..
&b .
(Rhodes)
œ œ ˙ .. œ œ
sub. p b5
. . . . . . . . . . . . . . . .
F G/F Gm7 /F
(Rhodes)
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b
Gtr
∑ ∑
-54-
j
&b bœ œ œ œ j Nœ œ œ œ
75 76
œ œ œ œ œ
Our world is how it's sup - posed to be.
& b ˙. œ œ w
˙˙ . œœ œœ- ww
& b ˙˙ ... œœ œœ ww
b5
. . . . . . . . . . . . . . . .
?
Gm7 /F F
b
∑ ∑
j j
&b Œ œ œ œ œ j œ œ œ œ j
77 78
nœ œ bœ
I keep in line, my path is straight,
& b ˙. œ nœ ˙. œ bœ
-̇ .
˙ œœ n œœœ- ˙˙˙ .. œœœ b b œœœ-
& b ˙ .. œ œ ˙ .. œ œ
b5
+ HH offbeats
.
F
. . . . . . .
G/F . . . . . . . . /F
?b
Gm7
∑ ∑
j
&b bœ œ œ œ j Nœ œ œ œ
79 80
œ œ œ œ œ
'cause - I have both of you close to me.
& b ˙. œ œ w
˙˙˙ .. œœœ œœ ˙˙ ..
&b ˙ .. œ œœ
-
˙˙ .. Œ
b5
. . . . . . . F.
ä ä >
?b
Gm7 /F
œ œ œ œ œ œ œ œ œ ‰ j ‰ j
œ œ nœ œ &
∑ + Bs
∑
-55-
j
&b œ œ œ Œ ‰ j
KATHY:
œ œ œ œ œ œ œ.
81 82
œ
Hur - ry - ing in - to the fu - ture, but
j j
&b Œ œ œ
JOANNE:
œ œ œ j œ œ œ j
nœ œ bœ
√
w w
b w (Trem Stgs. 8vb) w
&
- - -
˙˙ .. œœ n œœœ ˙˙˙ ... œœœ
b b œœœœ
(Rhodes) + Congas
&b ˙. œ œ ˙. œ
. . . . . . . . . . . . . . . .
Gtr. & Bs.
&b œ œ bœ œ œ œ œ nœ ˙ Ó
83 84
j
not let - ting go of the past.
&b bœ œ œ œ
œ
j
œ œ œ
Nœ œ œ œ
œ
(√)
w w
w w
&b
-
˙˙˙ ... œœœ œœ ww
b
& ˙. œ œœ ww
. . . . . . . . . . . . . . . .
-56-
œ œ nœ j
&b œ œ œ œ œ œ œ j œ œ bœ
85 86
œ
Tak - ing ac - count of what mat - ters, and mak - ing it
j j
nœ œ bœ
(√)
w w
& b w w
b5
- -
cresc. poco a poco
-
G /F Gm7 /F
.. ˙˙˙ ...
F
˙ œœ n œœœ œœœ
b ˙
& ˙. œœ œœ œ ˙. œ œœœ b b œœœœ
œ œ œœ œ œ œ
œœ
œ œ œ œ n œœœ œ œ œ
œ
œ œ
. . > . . . > . . . > . . . > .
&b ˙. Œ ∑
87 88
last.
j
&b bœ œ œ œ j
œ
Nœ œ œ œ
œ œ œ œ
j
&b ∑ Ó Œ ‰
MARY:
œ
(√)
w w I -
& b w w
F F
-
˙˙˙ ... œœœ œœ ˙˙ .. Œ
&b ˙. b œœœ
œœœ œœ ˙˙ ..
œœ œ œ œ nœ œ
œ œ œ œ œ œ œ œ J J J
J â â >
. . > . . . > . Gtr. & Bs. (8vb)
-57-
j
&b œ œ œ œ œ œ œ œ œ Œ ‰ j
89 90
œ. œ
j j
Hur - ry - ing in - to the fu - ture, but
nœ œ bœ
&b ˙ ˙ ˙ ˙
mag - ine where we
& b
˙. œ nœ ˙. œ bœ
P > >
w w
w w
&b
- - -
˙˙ .. œœ n œœœ ˙˙˙ ... œœœ
&b ˙œ . œ œ œ œ œ œœ ˙. œ œ œ œ œ œœ b b œœœœœ
œ œ œ
. . > . . > .
Gtr. (8vb) & . . . > . . . >
Bs. (15vb)
&b œ œ bœ œ œ œ œ nœ ˙ Ó
91 92
j
not let - ting go of the past.
&b bœ œ œ œ œ
j
œ œ œ
Nœ œ œ œ
œ
j
&b ˙. Œ Ó Œ ‰ œ
are... I -
& b j ‰
˙. œ œ ˙. œ
>
w w
w w
&b
-
˙˙˙ ... œœœ œœ ww
&b ˙ œ. œ œ œ œ œœ
œœœ wwœ œ œ œ œ œ
œ œ œ
. > . . . . . . . . .
> . .
-58-
j
&b œ œ œ œ œ œ œ œ œ j œ œ bœ
93 94
œ œ
j j
Tak - ing ac - count of what mat - ters, and mak - ing it
nœ œ bœ
˙ ˙
&b ˙ ˙
mag - ine what comes
& b j ‰ ‰ j ‰ j j ‰ ‰ j ‰ j
œ œ œ œ œ nœ œ bœ
cresc. poco a poco> > > > > >
w w
w w
&b
- - -
˙˙ .. œœ n œœœ ˙˙˙ ... œœœ
&b ˙œ . œ œ œ œ œ œœ ˙. œ œ œ œ œ œ b b œœœœ
œ
œ œ œ œ
. . > . . . . . > . . . .
> >
bœ w #
& b ˙.
96
œ
95
j #
last.
&b bœ œ œ œ j
œ bœ Nœ œ œ œ
œ œ œ
œ w #
& b ˙. œ
next...
j #
& b j ‰ ‰ j ‰ œ ˙. œ
œ œ œ > fl
> >
˙ Í
˙ >œœ ˙˙˙ ... >œ #
b Œ b
‰ œœ œœœ ‰
ROCK PIANO
& ˙.
J
~~~
J
~~~
f >
j
~
˙˙˙ j
&b ˙œ
?Œ .‰ œ ‰ bœ ‰ œ
j ‰ j œj ‰ #
œ œ œ œ œœ bœ œ œ
œ œ
> œ œ
> >
. .
>
. . . >
>
-59-
# 97 Ó
F
& Œ ¿ ¿ Ó Œ ¿
KATHY: 98
#
Uh - uh! No!
‰ Œ ‰ Œ
MARY & JOANNE:
& œ œ œ nœ œ œ œ œ nœ œ
I can't i - mag - ine, I can't i - mag - ine...
#
& œ̈ œ̈ Œ j ‰ Œ
œ œ œ œ œ
ƒ > > > > >
Í Í
# >œ œœ > > ˘ > >
& œœ œ̆ Œ œ n Œ
œœ œœœ
œœ n œœ œœœ œœ
œ œ œ
ƒ
+ Gtr.
G F /G C /G
?#
nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
> > > > > > > > > > > > > > > >
# 99
œ œ œ bœ œ œ œ œ œ œ œ œ Œ ‰
ALL:
& œ œ œ œ œ œ ‰ nœ
100 101 KATHY:
#
Ev - 'ry - thing's per - fect the way it is here. I can't i - ma - gine, no
& ∑ ∑ ‰ œ œ nœ œ ‰ œ
JOANNE:
œ
#
I can't i - ma - gine, no,
& ∑ ∑ ‰ œ œ œ œ œ ‰ œ
MARY:
I can't i - ma - gine, no,

#
& ˙. ‰ j Œ œ nœ
˙. œ bœ œ œ œ >
Í > fl
Œ fœ
# >
œ œ n œœ œœœ
w ˙.
Û Û̆ ‰ Û ‰ Û
& œœ œœ Œ œœœ b œœœ œœ œ œœ ## œœ œ œ J J
œ œ œ œ
fl > >
∑
(comp)
?#
C/G Cm/G F /G
G
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ ‰
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ fl œ œ
> > > > > > > > > > > > > > > > J J
>
-60-
# 102
& ‰ n œj œ œ œ œ Œ Œ
103 104
œ œ œ œ œ œ œ bœ œ bœ œ œ
#
‰ œj œ n œ œ Œ
I can't i - ma - gine, how it could be a - ny - dif - ferent next year.
bœ œ œ œ œ œ œ œ Œ
& œ œ œ œ œ
#
I can't i - ma - gine, how it could be a - ny dif - ferent next year.
& ‰ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
J
I can't i - ma - gine, how it could be a - ny dif - ferent next year.
#
& œ nœ Œ œ ˙. œ bœ ˙
‰ j
fl > œ œ œ
F
# Û > >
& Û̆ ‰ Û ‰ Û Û Û̆ ‰ Û ‰ Û Û Û̆ ‰ œ œ œ
œ
J J J J > >œ >œ
∑ ∑ ∑
C/G Cm/G
?#
œ ‰ ‰ œ ‰ ‰ ’ ’ ’ ’
œ œ fl œ œ œ fl œ œ
J J J J
>
# 105 j j j j
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
106 107
œ
# j j
Who we are, the things we do, took four years to ar range.
& j œ œ œ œ j œ œ œ œ œ œ
œ œ œ œ œ œ
# j j
& j œ œ œ œ j œ œ œ œ œ œ
œ œ œ œ œ œ
# Œ Ó
&
˙. œ œ w œ
fl
# ˙œ .
f
‰ b œj
& œœ œœ œœ œ œœœ wœ œœ œœ œœ œ Œ Œ
œ˙ . œ œJ œw # œœœ n œœ
J >
A /C # b5
?# j j
Em7/D
œ œ
Em7
œ œ Œ Œ ‰
Am7 /C
j
œ. œ œ. œ #œ nœ
>
-61-
# 108 j
& œ ‰ œj œ œ œ n œ j
œ nœ œ œ œ œ œ œ œ œ ˙
109 110
# j
Now this is the most im - port - ant time in my life.
& œ ‰ œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
J
#
& œ ‰ œj œ œ œ œ œ œ œ œ œ
J
œ
J
œ œ œ œ ˙
j ^ ^ ^ ^
# ‰ œ œj ‰ Œ ‰ œ Ó ‰ œ ‰ œJ Ó ‰ œj œ œ
& J J
â â â â
# j j œj
& ‰ b œœœ œœœ ‰ Œ œ
‰ n œœ Ó œ
‰ n œœ ‰ œœ Ó ‰ œj œ œœ
Tutti
œ œ œ œ œ œœ œœ œœ
> > > > > > > >
> j Em7j j
?# ‰ œ œ ‰ Œ ‰ nœ ‰ nœ ‰ œ
F2
Ó Ó ‰ œ œ œ
œ œ nœ nœ œ œ œ œ
> > J > > > > >
G
# 111 j œ œ œ œ œ bœ bœ œ œ
‰ bœ œ
JOANNE:
& œ N œ J
112
J J
# j
œ b œ b œj œ
I can't i - ma - gine, oh, I can't i - ma - gine, no,
& Ó Œ ‰ bœ œ bœ œ
MARY:
J
#
Oh, I can't i - ma - gine, no,
∑ Ó Œ ‰ N œj
KATHY:
&
No,
# > j j j
& bœ ‰ Œ ‰ j ‰ Ó ‰ bœ ‰ nœ
J bœ bœ > >
> >
# j b >œœœ n œ>œœ
& b œœ ‰
b œ Œ ‰ b œœœ ‰ b bb œœœœ Ó b
‰ bœ ‰ nœ
bœ œ >
> >
E b7 sub.F A b7
? # b œj ‰ >
‰ bb œœ
>
‰ nn œœ
Am7sus4
Œ ‰ œ ‰ bœ Ó
bœ œ
> > bœ
>
-62-
# 113 œ œ Nœ œ œ. œ œ œ
& ‰ J bœ œ œ œ
114
J
# ‰ œ N œ N œj œ . œ œ œ
I can't i - ma - gine, why in the world it should
& œ bœ œ œ œ
J
# ‰
j j œ œ œ bœ œ
& œ œ Nœ œ œ. œ œ
# ~~~~ œ̈
& Ó ‰ ~~~~~~~~ Œ Ó
œ
>. ƒ
~ œ>œ
~ ~ ~
&
# Ó
‰ œœœ ... ~~~~~~ œœœ ‰ Œ Ó
œœ .. J
?# Ó j
D7sus4
‰ œ ‰ Œ Ó
Dr fill
œ. &
œ. œ
>
# 115 œ. bœ.
Œ œ #œ ˙ œ. nœ ˙ œ ˙ Ó
MARY:
& J
116 117 118
J J
# j j
change
Œ œ œ. œ ˙ œ. œ ˙ œ. œ ˙ Ó
JOANNE:
& J
#
change
Œ ˙. œ. j Ó
& w ˙ œ ˙
KATHY:
^
change
#
& Œ œ̆ œ œ œ œ œ œ ‰ b œ œ. œ œ œ œ œ b œ œ œ. œ œ. jÓ
> fl J > >
ƒœ
f
Í
√ ˘œ
œœœ œ œœœ N œœ œœ œœ œœ œœ œœ œœ >œœ œœ
# œœ œœ œœ œœ œœ œœ œœ # œœœ
# œœ œœ œœ œœ œœ œœ œœ n œœ œœ ..
ROCK PIANO / ORGAN / ROCK PIANO
œ œ œ œ œ œ œb œ b œœœœœœœ œ œ. JÓ
(Piano)
&
P Í ƒ
+ Gtr solo
# œœœ # œœœ ˙˙˙ .. œœœ n b œœ ˙˙ .. œœ ‰

& Œ ˙˙˙ . œ ˙. œ
? ‰ jœ œ Ó
(Organ) (Piano)
J œ
œ œœ
> > fl
-63-

6
Mystery II
Warn: INTERCOM: "The President was gunned down in Dallas."
ALL: Thank God. (music in)

(h= 85)
bb b C 1 . ..
Vamp
& b . ∑ ∑ ∑ ∑ ∑
2 3 4 5
b
& b b b C .. ∑ .. ∑ ∑ ∑ ∑
HARP (Sounds loco) + CELESTE (Sounds 8va)/HARP WITH WASHINESS
œ œ œ bœ œ œ œ
œ œ œ œ œ œ œœœ œ œœœœœœ
b œ bœ œ œ œ
& b b b C .. ..
(Harp + Celeste)
∑ J J J J
F
? b b b C .. —
Triangle
..
œ Œ Ó œ Œ Ó œ Œ Ó œ Œ Ó
(Harp)
b œ Œ Ó
+ Gtr.
Ped Ped Ped Ped
bb
&bb ∑ ∑ ∑ ∑
6 7 8 9
b
& b bb Œ
Cl.
œ œ œ œ œ œ œ œ ˙ w ˙.
P
b ggg w w w w
& b bb
+Vibes
gg w w w w
? bb b Œ Ó Œ Ó Œ Ó Œ Ó
b œ. œ. œ. œ.
-64-
Piano-Cond. —2— Mystery II Vanities
bb b 10 ∑ ∑ ∑ ∑
& b
11 12 13
bbbb Œ
Cl.
& œ
œ œ œ œ w w ˙.
P
b gg w w w w
& b bb gg w
g w w w
? bb b Œ Ó Œ Ó Œ Ó Œ Ó
b œ. œ. œ. œ.
bb
&bb œ œ œ œ œ œ œ œ Ó Ó Œ j j j j
14 15 16 17
Gaz - ing in the mir - ror, through the look - ing glass and in -
bbbb ∑ ∑
Cl.
& nw bw
P
b
& b bb
w n www ww b ww
Vibes
ww w ww w
P
b b b b b
subito
? bb b
œ. Œ Ó Œ Ó œ. Œ Ó Œ Ó
A B /A D m/A
b œ. œ.
& bbbb Œ ∑ ∑
21 ACTRESS WHO PLAYS MARY:
œ œ
18 19 20
- to your heart. Wak - ing with the mir -
b
& b bb w w w ∑
b
& b bb
w w w w
ww ww ww ww
b A 2 b
? bb b
A
b œ. Œ Ó œ. Œ Ó œ. Œ Ó œ. Œ Ó
-65-
bb b 22
& b œ Ó Ó j b œ œj j
œ œ œ ˙
œ œ bœ œ
23 24 25
œ œ œ œ J
- ror... Learn - ing ev - 'ry day's a brand new start.
b
& b bb ∑ ∑ ∑ ∑
bb n www n www
&bb
w w
w w b ww ww
b b
B /A b b
D m/A A b
? bb b Œ Ó
b œ. œ. Œ Ó œ. Œ Ó œ. Œ Ó
b
& b bb ∑ ∑ ˙ ˙ œ œ œ œ ‰ œj
26 27 28 29
That's the mys - ter - y, is
b
& b bb w ˙ Ó ∑ ∑
Gtr. picked
bb Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û
& bb œ jœ j œ œ œ ˙ w ˙. Œ
œ œ bœ œ Nœ œ Cl.
b
CELESTE / PIANO
& b bb ∑ Ó œœœœ
œœ œœ b œœœ .. œ œœœ ˙˙˙
(Piano)
œœ œ œœ œ J
G b(addB)
+Cym.
Ó
? bb b
F m7
œ œ b˙. œ
b œ. Œ Ó ˙. œ
Bs.
œ Œ Ó w bw
.
V.S.
-66-
bb b 30 œ
& b bœ œ œ œ w w w
31 32 33
how you find your way.
b
& b bb ∑ œ bœ
œ œ œ w w
how you find your way.
b
& b bb ∑ ∑
œ œ bœ œ œ w
How you find your way.
bb Û Û Û Û Û Û Û Û ·w ·w ·
& bb
Gtr.
˙ ˙
Cl.
√
b — œ œ œ bœ œ œ œ œ
& b b b b b wwww
Triangle
(Celeste)
w www wwww
b www w
C bMaj7 B bm7
. . . .
bœ Œ Ó bœ Œ Ó bœ Œ Ó bœ Œ Ó
? bb b
Bs.
b ∑ ∑ ∑ ∑
bb b b 34 ˙ Œ œ
& Nœ œ œ œ œ œ œ œ œ œ œŒ œ ˙
35 36 37
nœ. J
b
Or soon you're spin - ning in all di - rec - tions ask - ing
& b bb ˙ Œ œ Nœ œ œ œ œ œ œ œ œ œ œŒ œ ˙
nœ. J
Or soon you're spin - ning in all di - rec - tions ask - ing...
b
& b bb ˙ Œ œ Nœ œ œ œ œ œ œ œ œ œ œŒ œ ˙
nœ. J
Or soon you're spin - ning in all di - rec - tions ask - ing
w œœ
b
& b bb œ œ œ œ œœ œœ œ œ œ œœ Ó Œ œ œ nœ œ œ
Fl.
œ œ œ
(√) 7
œœœ˙
Gtr.
bbbb œ œœ œ œœ œœ œ œœ œœœ œ œ œœ œœ œ œ
œ œ
(Piano)
&
∑
. b b bÓ
? bb b
bœ Œ Ó ˙
B m7 A 2/C
nw
B 2/D
b w w
∑ Bs. cont.
-67-
b U U
Colla Voce
& b bb ˙ ˙ Ó œ œ œ
38 39 40
˙ œ œ œ
Who will I be to -
b Ó U U
& b bb ww ˙˙ œ œ œ
ACTRESSES WHO PLAYS MARY / JOANNE:
Ó œ œ œ
Who will I be to -
œ w U̇.
œ œ œ œ U
& bbbb Œ
U.
˙˙
b b b b œœœ œ œœ œœ œœ ˙ ˙˙˙˙ ... U
& œ œ œ œ œ
œ ˙ Œ
B b/D E b 7sus 4
U̇.
+Bell Tree
nw Œ œ ˙ U
? bb b ˙ n˙ w Œ
b
bb b b ..41 w w ∑ ∑ ..
&
42 43 44
day...?
b
& b b b .. w w ∑ ∑ ..
day...?
b
& b b b .. ∑ ∑ ∑ ∑ ..
b
& b b b ..
HARP (w/washiness)
∑ ∑ ∑ ∑ ..
. œ. œ. œ. œ. œ. œ. œ.
? b b .. œ Œ Œ Œ Œ Œ Œ Œ Œ ..
bb
P
-68-
b b b 45 ∑ Ó Œ Œ Ó ∑
& b
46 47 48
œ nœ
b
Clin - ique...
& b bb Ó Œ Ó ∑
œ œ œ nœ œ œ œ œ œ œ
Max Fac - tor... Hel - en - a Ru - bin - stein...
bb bACTRESS WHO PLAYS

Ó ∑ Œ Œ ∑
& b
KATHY:
œ œ œ nœ
Rev - lon... Cha - nel...
Fl. œ œ œ
bb ‰ J nœ
& bb œ. Œ œ. Œ œ. Œ œ. Œ œ. Œ œ. Œ Œ
Gtr. Gtr. cont.
CELESTE (Sounds loco)/1968 RHODES)
b
& b bb ∑ Œ ‰ œJ œ œ œ w ww
(Rhodes)
n ww w
Vibes cont.
∑ P ∑ wÓ w
? bb
(Rhodes)
bb Ó Œ ‰
œ œ Œ Ó Œ ‰
œ œ Œ Ó
Bs. J - J -
. .
b
& b bb Aœ bœ
∑ ∑ ∑
49 50 51 52
˙
b
L'Or - e - al...
& b bb ∑ ∑
œ œ œ œ w
b
& b bb
Es - tee Lau - der....
∑ bœ œ ∑
˙ œ œ ˙
Cov - er Girl... May - bel - line
b bw w w w
& b bb
π
b
& b bb
w ww ww
b www b ww w w
b
wÓ w w w
A
? bb b Œ ‰ œ Œ Ó
b J
œ
. -
-69-
bb
Repeat and fade
&bb ∑ œ œ .. ∑ ..
˙ w
53 54 55 56
Mar - y Kay...
bb .. ..
&bb ∑
w w w
bb .. ..
&bb ∑
w w w
bb .. œ ..
& bb œ Œ œ Œ ‘ ‘ Œ œ Œ
. . . .
√
(Celeste)
Gtr. cont.
b œ œ ˙ w
& b b b www ww œ
w
œ ˙ w .. ∑ ..
? bb b w w w .. ∑ ..
b
-70-

7
An Organized Life (1968)
(q = 142) Orchestrations by LYNNE SHANKEL
# # # # 514 .
KATHY: Most of the groups do medleys from
..
Vamp
& # 4 . ∑
Warn: MARY: But you know the song, Broadway shows. (go on)
"The Times They Are A Changing"?
Well, They are.
# # # # 4 . j ‰ ‰ œ>œœ
MARY: Sure, let's. CELESTE (sounds 8vb)/HARPSICHORD
& # 4 . œœ Ó ..
Harpsichord
KATHY: I figure (music in)
œ J
p >
? # # # # 44 .. œj ‰ Œ Œ ‰ ..
Harpsichord
# #œ œ
# # # # 53 ‰JOANNE:
D +Bs.
& # j ‰ œ œ œ
55 KATHY:
œ œ œ œ œ
54
If we're do - ing Broad - way, how a - bout O - kla - ho - ma? Rod - gers and Ham - mer - stein's not
## . . œ.
& # ## Œ ‰ œJ Ó Œ ‰ œJ Ó Œ ‰ J Ó
Flute
p
√œ. √ √
#### j ‰ ‰ n œœœœ. Ó j ‰ ‰ œœœœ. Ó
(Celeste 8vb)
& # œœj ‰
(Cel. 8vb) cont......
‰ œœ Ó œ œœœ
œ. J n œœ. œ J œ. J
? # # # # œj ‰ ∑ ∑
B2
Œ Ó
+Gtr. B7sus4 E2/B
# > œ
Œ Ó
œ
Œ Ó
Bs., Gtr.œ œ
# # # # 56 . .
& # œ œ œ œ œ Œ ‰
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57 58
#### œ. .
‰ œJ œ.
where it's at. Fid - dler On The Roof will be off - lim - its for cer - tain. The
& # Œ ‰ J Ó Œ Ó Œ ‰ J Ó
√œ. √œ. √
#### j œ j ‰ œœ Ó j ‰ ‰ n œœœœ. Ó
& # œœ ‰ ‰ n œœ Ó œœœ ‰ œ
n œœ. J .
J n œœ. œ J
? #### œ ∑ j
œ ‰ Œ Ó ∑
Em/B B2(no3) B7sus4
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œ
.
Bs., Gtr. cont.
Piano-Cond. —2— An Organized Life (1968) Vanities
# # # # 59 2 4
& # œ œ œ œ ‰ 4 4
60 JOANNE: 61
œ
#### œ.
Jew - ish so - ror - i - ty al - ways does that. There's al - ways Cab - a -
# Œ ‰ J Ó ∑ 2 ∑ 4
& 4 4
#### √œ.
j œ
# œœ ‰ ‰ œœ Ó j ‰ ‰ œj Ó 2 œœ 4
PIANO
& 4 a œœ œ- 4
œœ
.
J n œœœ œœ
œ soli -
œ
# . >
F /G #
# #
+Gtr
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E2/B F m7 A/B B/D
# œ 4 œ 4
œ +Bs œ
œ
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# # # # 462
E
& # 4 œ Œ Ó ‰ Œ Ó ‰
63 JOANNE: 64 65 JOANNE:
>j
KATHY: KATHY:
ret. Too German. Let's do The King and I. Too Chinese. Well, West Side Stor - y's
#### œ̆ ‰ Œ œ ‰ Œ Ó
& # 44 J Ó ∑ ∑
œœ ‰ Œ Ó
P Xylo. J
# # # # 4 œœœ̆ œœ œœ
& # 4 Œ Ó Ó œ œ œœœ Œ Ó Ó œœ œœœ
. œ
P E2 C #m7 B/D # F #7sus4 F /G # B/D
# #
? # # # # 44 Œ Ó Ó Œ Ó Ó
# œ œ œ œ
œ œ œ œ
œ œ œ œ.
fl
# # # # 66
& # œ Œ Ó ‰ Œ Ó
67 JOANNE: 68
KATHY:
œ œ œ œ œ œ KATHY: We need
>
good. Too Puerto Rican. And I don't sing that high. an American show.
j
#### œ̆ œ ‰ Œ Ó
& # J ‰ Œ Ó ∑ n œœ
J ‰ Œ Ó
#### œ
Xylo.
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& œ œ n n œœ. œ Œ Ó
P E2 # #
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C m7 B/D G2
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fl
# # # # 69 ‰ JOANNE: Œ Ó ‰
& # œ
KATHY:
œ
70 71
œ œ œ œ œ KATHY: Too controversial.

œ œ œ œ
#### œ. œ.
Now, Bye Bye Bir - die's great. JOANNE: Huh? When Bir - die goes to
& # ∑ J ‰ ‰ J Ó ∑
#### œœ. œœœ œœœ

& # Ó œœ œœ œ Œ Ó Ó œ œ
œ- œ-
# # # # #
? ####
B/D E2 F 7sus4 E 2/G
# Ó
F /G
Œ Ó Ó
aœ œ œ œ œ
a œ- œ- œ. œ œ
# # # # 72 . Cut On Cue
Œ ∑ .. UÓ ‰
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73 78 KATHY:
œ JOANNE: Oh, let's not do anything about the war. Let

œ œ œ
war. Lyndon Johnson do something about the war. I'll have a
## U
& # ##
1st x only MARY: What about Hair? (on downbeat)
.. œ̆ ‰ Œ Ó ∑ .. Ó Ó
J
F MARY: It's a New York show that's a big hit.
I've heard the record.
CELESTE (sounds 8vb)/HARPSICHORD (sounds 8vb)/PIANO (loco) It's about peace and love and sunshine.
> n œ>œœ œœœ œœœ œœœ

JOANNE: Great! We can all wear
# # # # . n œœœJ ‰ œJœœ ‰ œœœJ ‰ œJœœ ‰

Harpsichord 8vb matching evening gowns and groovy
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hairstyles.
Ó
KATHY: Sunshine...
& # .
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‰ j j‰ Œ Œ ‰ œj n œj ‰ Œ U
œ œ. . .. Ó Ó
Piano
# nœ
Gtr.
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Œ ‰ J Œ Ó
nœ
# # # # 79
F
& # œ œ œ œ œ œ
80
œ œ œ œ œ œ
œ >˙
great big sun that's made of chick - en wi - re, and I'll
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f €
#### (Celeste 8vb)œ-
œœ œœ.
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Piano
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B2/D
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>
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82 ALL:
œ œ œ œ œ nœ œ œ œ œ nœ
n œ.
stuff it full of col - ored Klee - nex like be - fore. And
## nœ œ œ nœ ##
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F
#### ##
HARPSICHORD
& # j ‰ Œ Œ j ‰
œœ
n n œœœ œ ˙˙
-̇
n œ
n n œœ œœ
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nœ ‰ Œ Œ ‰
G2 A7sus4
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nœ. œ œ œ nœ œ
> > >
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84 85
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3
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N œ.
there, we have our mu - si - cal picked for "Sing Song". We'll have our
# œ̆
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f
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Nœ œ ‰ œJ Ó
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fl fl
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Bs.
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3
œ
3 87 88
œ œ œ œ œ œ
sce - ner - y and our cos - tumes. We've got it down to a sci - ence,
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f
j
7
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A/C
∑ œ Ó Œ œ ‰
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fl fl
# #89
& Œ Œ œ œ œ œ œ œ œ œ
KATHY:
œ œ
90 91
œ œ #œ œ œ
3
play - ing our roles. Just like ev - 'ry - thing else, all it takes
# w œ nœ œ œ œ œ ˙. œ œ̆
& # œ œ Œ Ó
Gtr.
# # n œœ- œœœ-
CELESTE (loco) + ORCH. BELLS (sounds 8va)/PIANO
˙˙ œœ ˙˙
Piano
& œ œ œ œœœ œœ œœ œœ œœ œœ œ œ
-̇ -̇ œ. œ œ œ œ œ œ œœ
Am6/C >
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Piano B7sus B7sus4 Em7
jœ ˙ œ j
A7sus4
nœ. œ œ ˙ œ œ. œ œ œ >œ
# #92 j j
j j j ‰ œ œ œ œ œ œ œ œ œ œ ‰ œj
JOANNE:
&
93 94 KATHY:
œ œ œ œ œ œ #œ
is plan - ning... Belt - ing out Hair like you're Car - ol Chan - ning... As
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‰ œJ ‰ œJ
#œ#œ
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Distortion
J
Œ ‰ fl Œ Ó
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-
œ
Gtr.
# œ
(Cel. + Bells 8va)
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Piano
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œ. œ. œ. œ œ œ
> > > >.
F #m7 f
- - .
? # # ‰ œJ ‰ Jœ ‰ œ j
A7sus4 A7
‰ œj j
B7sus4 B7
‰ j j ‰ œ. ‰ œ œ œ.
œ œ.
œ- œ œ œ œ œ.
fl > >
# #95 j j j
& œ œ j j
ALL:
nœ œ œ nœ
96
œ œ nœ œ œ œ œ
n œ^ œ^ œ^
long as you've got goals... you've got an or - gan - ized
#
& # Œ ‰ J ‰ J ‰ J ∑
## j j j j Œ j
& œœ œ n œœœ œœœ œœ œ œœœ ‰ Œ j ‰
œœ
n œœ nœ œ # œœ n œœœ œ œ
> > ># > >
>
? ## j j j j ‰ j Œ ‰ j
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F2 G7sus4 E/G A7sus4
nœ nœ œ œ #œ œ œ
nœ œ œ #œ œ œ œ
> > > > > >
# #97
G
.. .. .. Ó ..
Safety
& Œ Ó ∑ ∑ Œ
98 99 100 Vocal last X only
œ KATHY: So it's spring rush, Hair, Carnival and the Olympics -- those œ
. . .
# .. œ. œ œ œ. œJ ‰ Œ
life. are the four big events before we graduate. At
& # ∑ ∑ .. .. ∑ ..
MARY: Graduation... at last.
P
j >œ œ œ >œ œ Piano
## œ œ œœ œœ œœ œœ
CLARINET/HARPSICHORD/PIANO Harpsichord
& j‰ Œ ‘ .. œœœ œœœ œœœ œœ œœœ ‰ Œ .. .. J ‰ Œ ..

Cl.
œœ œœ œœ œœ œœ > >
œ. œ. œ. œ. œ.
? ## ∑ ∑ .. ∑ .. .. ∑ ..
JOANNE: Have you
two ordered the dresses?
##
Safety
. ..
MARY: Is this
& Œ Ó Ó ‰
œ . œ œ œ œ œ
Ó
103 meeting over?
œ
101 102 KATHY: 3 104
JOANNE: Then my wedding ...at last œ œ œ

œ
œ.
last... I think we've or - gan - ized our se - mes - ter...
## .. ..
& Œ ‰ J Ó ‘ ‘ ‘
. .
CLASSIS RHODES/CELESTE (Sounds 8va)
## j ‰ ‰ œœœ Ó j ‰ ‰ œœœ Ó
(Cel. 8va)
.. ..
Rhodes
& œœœ J ‘ ‘ œœœ J

. .
D2
? ## œ ‰ Œ
Dsus4
Ó .. .. œ ‰ Œ Ó
Rhodes
J ‘ ‘ J
# # 105
Safety
& .. Ó ‰ .. œ œ œ .. Ó ..
Vocal last x only
106 3 107
œ œ œ œ œ œ
JOANNE: You haven't
ordered the dresses? œ
# œ.
We need to or - der the wed - ding dress - es...
& # .. Œ ‰ J Ó .. ∑ .. ∑ ..
# # . j ‰ ‰ œœœ. Ó .. ∑ .. ∑ ..
& . œœœ J
.
decresc.
? # # .. œ ‰ Œ Ó .. ∑ .. ∑ ..
J

8
Fly Into The Future
Thoughtfully, Not Fast q =126

b 41
A
b
Warn: KATHY: What about a green and white shower?
& b 4 ∑
œ. n œ>œœ
KATHY: Well, natch. (music in) PIZZ. STGS.
b 4 œ œ
&bb 4 ‰ J Ó
+Flute
P E b.2 >œ
b
œ ‰
F2/E
? b b 44 J Ó
b
Vamp, vocal last x
b
& b b .. ‰ j .. Œ
3 MARY: 4 5
œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ
œ. >œœ œ. >œœ œ. œ >œ
There she goes a - gain, look at chat - ty Kath - y... keep - ing track of life with her
œ œ n œ œ n œ œ
b
& b b .. ‰ J Ó .. œ ‰ J Ó
œ
‰ Jœ Ó
E b2 F2/E b E b2 F2/E b E b2 B b2/D
œ. >œ œ. >œ œ. >œ
? b b .. ‰ J Ó .. ‰ J Ó ‰ J Ó
b
b Ó
JOANNE:... I'll have a heart attack.
&bb bœ œ œ œ
‰ j Œ
6 7 8
œ œ œ œ œ œ œ œ œ œ bœ œ
b œœ. >œ
n œ>œœ n œ>œœ
pa - per and pen. Then there's poor Jo - anne, des - per - ate to mar - ry...
. .
b œœ œœ U œœœ œœœ
&bb ‰ J Ó ‰ J Ó ‰ J Ó
b A b/C b F2/E b b F2/E b
b œ. >œ U œ. >œ œ. >œ

D 2 E 2 E 2
? bb ‰ J Ó ‰ J Ó ‰ J Ó
b
Piano-Cond. —2— Fly Into The Future Vanities
b U
JOANNE: Promise?
&bb œ œ œ
Ó
9 10
œ œ œ œ œ bœ
œ œ
b œœ. >œ
bring - ing up her wed - ding a - gain and a - gain.
.
œœœ œ>œœ œœ U
b œœ
&bb ‰ J Ó ‰ J Ó
b B b2/D b A b/C
œ. >œ .
bœ >œ U
E 2 D 2
? b ‰ J Ó ‰ J Ó
bb
b j
&bb œ œ œ œ œ
‰ j œ œ b œ œ ‰ j
œ œ œ œ œ j
11 12 13
œ œ œ œ œ œ
j j j
This would be my world, This is what I'm in for. Years of plan - ning par - ties and
b œ œ œ
& b b N œœœ ‰ œœ Ó œœœ ‰ œœ Ó œœ ‰ œœ Ó
PIANO
. . œ.
> > >
E b/G E b/G E b/G
œ. >
‰ Jœ Ó œ. > œ. >
? bb ‰ œJ Ó ‰ Jœ Ó
F m7
+Bs pizz
b
Colla Voce
j U "
&bb œ œ œ œ œ Œ œ. œ œ Œ ˙ œ
14 15 16
œ œ
be - ing a wife? "Sing Song". "Liiiime green". I don't
b U "Œ
& bb ∑ ∑
Cl.
˙ œ
F f fl
SOFT RHODES + CELESTE (sounds 8va)/CLARINET/BS.CLAR.
j œœ .. .
bbb b œœœ UÓ U "Œ
(Rhodes +
œœ œ
‰ n œœœ Ó œ.
(Clar.)
&
Cel. 8va)
œ. > J b˙ œ.
E b/B b Db D b/A b Ab
A b2
. > U U̇
? bb œ ‰ n Jœ Ó
œ̆ " Œ
F/A
b œ Ó
(Bs. Cl.)
b œ nœ nœ
> > Bs slide (arco)
b
B
&bb œ œ œ œ œ œ œ œ œ œ œ
17 18
œ œ œ
wan - na be mean, but this is - n't my scene, and I
b j
PIANO + STRING PAD/PIANO
&bb j
(Piano)
œœ .. œœ ˙˙ œœœ ... œœ ˙˙
œ- . œ- ˙ - œ- ˙
E b/G A b2
? bb j j
(Piano) F m7 F/A
b œ- . œ- ˙ œ- . n œ- ˙
+Bs pizz
b ####
Poco Rit.
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Œ œ
19 20
œ
feel like I need some - thing big - ger from
b ####
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Cl.
˙ b˙ ˙
F
˙˙ b˙ ˙˙˙ ####
(Pno. + Stg. Pad)
b ∫ ˙˙
&bb ˙ Ó
b b bo b b
####
E /B E /B
? bb
B 7sus4
w Ó
+ Cym roll
b
˙
Steady at first, more and more driving q =126
#### . Vamp 3x's
∑ ..
.
(to 25)
& nw
21 22
( )
JOANNE: But why Rome? I don't think they have anything in Rome
that we don't have right here in Dallas. (go on)
life.
#### .
HARD ELECTRIC PIANO/FAST STGS. (sounds 8vb) 3rd x only
. Œ ‰ # œj n œœ. n œœ ..
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(Piano) cool, easy
&
n n œœ.
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. . > > F
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E m7
Œ ‰ ∑ ..
(Piano)
œ. œ œ œ œ
> Ó Œ
(Bass 3rd x only)
# # # # 25 Œ
& œ œ nœ
26
œ œ. nœ œ œ œ nœ œ œ œ
Grow - ing up was stif - ling, 'cause I was nev - er free.
#### ∑
& n˙. œ œ
Cl.
> >
Í F
####
& ∑
nœ œ œ œ œœ
n œ. œ. œ. œ
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Œ ‰ j ∑
E m7
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>
# # # # 27
+Elec. Bs.
j
& œ œ nœ œ œ nœ œ œ ‰
28
œ œ. nœ œ œ œ œ œ
School is get - ting stale, and I'm sick of this sor - or - i - ty.
##
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# # # # 29 ‰
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30
Think I need some dis - tance, a place to dis - ap - pear. So it's
#### Œ Ó
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fl
####
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b œœ œœ N œœœ
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# # # # 31
& œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ
32
a - di - os and a - way I go, and I'm kind - a scared but the mo - ment's here to
#### Œ Ó
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P f
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œ- œ- œ- # œ- œ
œ
# # # # 33
C
& a˙ œ œ œ œ œ œ œ ‰
34 35
fly in - to the fu - ture... gon - na roll, gon - na ride, so that no
#### Œ Ó
+Gtr. Wah Wah - Hendrix in the distance
Œ Ó Œ Ó
& œœ œ œœœ
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fl fl
p # fl
F #7
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A
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>
# # # # 36 j
& ‰ œ œ œ œ œ œ œ Œ
œ œ œ œ œ œ. œ œ œ
37 38
œ œ
one can find me. I'm fly - ing in - to the fu - ture... mov - ing
#### j j j
œœ ‰ ‰ n œœ œœ œœœ ...
& Œ œœ Ó Œ œ Ó
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# # #
#
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> > > > œ. œ.
# # # # 39 j
& œ œ œ œ œ œ œ œ œ.
40
œ œ œ œ œ
on with my life, and leav - ing all this be - hind me.
# ##
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Clar.
j œ œ
œ
p
#### Œ Ó j ‰ j j
& ‰
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n œ. œ. œ > > > >

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# # # # 41 ‰ nœ j ‰ j ‰ nœ j
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42
####
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j ‰ Œ Œ ‰ j Ó ‰ j Œ
& n œ. œ. n œ.
F
#### j ‰ j
& n œ Œ Œ ‰ œœœ Ó ‰ n œœj Œ
n n n œœœœ œ. n n œœ
. .
? #### j j ‰ œj Œ
Am7
nœ ‰ Œ Œ ‰
C2
œ Ó
n œ. œ. œ.
# # # # 43
& Œ Œ
aœ œ œ œ nœ œ œ œ œ œ œ œ
44 45
œ œ
folks who give me flak. I'm gon - na fly in - to the fu -
##
& ## aœ. œ
j
œ œ ∑ ∑
fl
#### j j ‰
& œœœœ ... œ œœœœ œ Ó Œ Nœ Œ œœ Ó
. # œœœ n œœ. œ n a œœ
>
œ
# - #
? #### j
F 7sus4 B 7sus4 C m7
j œ ‰ Ó Œ Œ Ó
œ. œ œ n œ- œ. œ.
# # # # 46
& œ œ œ Œ w ‰ nœ œ œ œ œ
3
œ œ
47 48
f œ œ
√
- ture... Time to fly, and I'll nev - er look back.
#### œœ ..
(Fast Stgs. 8vb)
œœ œœ n œœ
œ œ˘œœ
Œ n œœ .. œ œ
& œœ Ó J
œ Œ Ó
# œœ
fl
F #7
? #### Œ Ó j j j j Œ Ó
FMaj7 B 7sus4
œ. œ. nœ œ œ œ œ œ œ
nœ œ œ œ œ œ œ
> > > > > >
# # # # 49
D Faster q =124
Œ Ó ∑
(to 53)
& œ
50
#### Ó ^
Tenor Sax (8vb)
^
& ‰ ‰ ‰ ‰ n œœ œœ
Full-on Hendrix w/ Distortion & Wah
œ nœ œ bœ bœ œ nœ œ > >
J J J
f J
####
Gtr.
Œ ‰ œ ˙ ˙ ~~~~~~~~~
B3
& J
+ Leslie
~~
P
~~~~~
~~~~
f
~~~~~
B7(#9b13) Huge
~~~~
? ####
Gliss
‰ ‰ ‰ ‰ ˙
~~~~
j j j j
~~~~
nœ œ bœ œ œ nœ œ
œ â â >
â
Bs
# # # # 53
E
& Œ
œ œ nœ
54
œ œ. nœ œ œ œ nœ œ œ œ
#### >œ
I could grab my pen - cil and make some lit - tle plan.
& Œ Œ ‰ j Œ Ó
fast fall
F # œ Nœ
fl
>
#### œœœœ̆ œœœœ ....
B3 (Sounds 8vb)/ROCK PIANO + CLAVICHORD
Œ j ‰ Œ ‰ Œ j ‰ ‰ J ≈ J
(B3)
&
(Rock Pno. + Clav.)
nn œœ a œœ œ n œœ
P E˘m7 fl (Rock Pno. + Clav.) r
fl
? ####
sub.
Œ Œ ≈ œ ‰
A7
. . Œ Œ ≈ r‰
œ œ œ œ œ #œ n œœ œ œ
~~~
œ œ œ nœ
œ nœ #œ œ œ œ
~
œ . œ œ
> . nœ #œ
. > .
Bs
. > >
>
# # # # 55 j ‰
& œ œ nœ œ . œ œ nœ œ œ
56
b n n >œœœ
I could be a house - wife and set - tle down to serve a man.
#### j ‰ Œ ‰ Œ j ‰ Œ ‰
(Piano)
&
~~~
nœ a œœ œ œ n œœ # œ
~~~
nœ nœ
~
. . fl fl
≈ œr ‰
E m7
. . Œ
œ œ Œ Œ Œ ≈ r‰
A7
? ####
œ nœ œ œ #œ N œœ œ œ
œ œ œ œ nœ œ #œ œ
œ œ œ
œ > .
+Ten. Sx
> .
# # # # 57 ‰
& œ œ œ nœ œ. œ œ œ œ œ œ nœ œ œ œ œ
58
I could take a job with my bach - e - lor's de - gree. But I
#### Œ j ‰ Œ ‰ Œ j
œœ ‰
& Œ ‰
œ
bœ b œœ n œ œ
fl fl œ œ
. . . . Œ
cresc. poco a poco
Œ Œ ≈ r‰ Œ ≈ r ‰
C7
? ####
E/B
nœ œ ≈ œ œ ≈ œ nœ œ œ œn œ
nœ. #œ. œ œ œ œ œ œ œ
J
# # # # 59
& œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œœ œ œ œ œ œ
60
√>
think I'll go to the Col - os - se - um and take some bach - e - lors home with me and
#### nœ
& j ‰ ‰ œœœ Œ
(B3)
# œœ œœ œœ œœ n œœ œœ œœ œœ œœœœ J œœœœ
œ œ.
fl . fl . fl . fl f >
# # F #/A #
? ####
F 7
‰ ‰ Œ
E/G Am B 7sus4 B7sus(b13)
œ œ œ œ. œ œ. #œ œ. œ œ &
fl . fl fl fl œ œ œ
œ
# # # # 61
F
& a˙ œ œ œ œ ‰
œ œ œ œ
62
œ œ
fly in - to the fu - ture... where there's no
#### ‰ j œ ˙ œ œ
Sop. Sax.
& œ œ œ œ ˙
F
˙˙ .. œœ œœ œœ .. # œœœ ˙˙
#### ˙. œ œ œ. ˙
(B3 sounds 8vb)
& J
F C #m7 Rhythm cont. sim. # #
####
F 7sus4 F 7
& œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ # œœœ œœ
œ
< < < < < < < <
# # # # 63 j ‰ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ.
œ œ
64 65
one to boss me or judge how I'm liv - ing. There's on - ly me in my fu -
##
& ## ∑ ∑ ‰ œj œ œ ˙
#### ˙˙ .. œœ œœ
∑ ∑ ˙. œ œ
&
# #
####
B 7sus4 B 7sus4/A E 2/G C m7
& œœœ œœœ œœœ œœœ œœ œœ n œœœ œœ œœ

œ
œœ
œ
œœ
œ
œœ
œ
œ. œ. œ. œ. œ. œ. . œ. < < < <
# # # # 66 Œ j
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
67 68
œ œ
- ture... plus a cou - ple I - tal - ian boys who like what I'm giv - ing.
## œ œ œ œ ˙ œ̈
& ## Œ Ó ∑
f
œœœ .. œ ˙ ww
#### . # œœœ ˙˙˙
Œ ‰ J
~~~~
& J
# # F
#
####
F 7sus4 F 7 D2 A 2/C
?
& œœ œœ œ œ
N œœœœ
œœ œœ œœ œœœ œœœ œœœ œœœ
œ œ # œœ œœ œ.œ œ.œ œ.œ œ. œ. œ. œ.
< < < < .
# # # # 69 ‰ j ‰ j j 71
& nœ œ œ œ œ œ œ œ œ ‰ nœ œ aœ œ œ œ nœ œ
70
No com - mit - ments, no con - di - tions, no con - nec - tions that can last.
#### ¨ >œ . >œ

& nœ Œ Œ ‰ œj œ nœ Ó œ œ̆
fl > J
f˘
œ
#### n n œœ
ROCK PIANO + CLAVICHORD
j
&
n n nn œœœœ
œ œœœ œœœ
n n nn œœœœ
œ œœœ œœœ œœœ œœ . œ œ œ
œœ œœ œœ œœ œœ # œœœ œœœ n œœœ
. . . . . . . œœ ...
#
? ####
C2
‰ nœ ‰ ‰ j
A m7 F 7sus4 B 7sus4
Tutti
nœ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ
nœ œ œ œ fl œ œ > > > > > >
â â
# # # # 72
& Œ Œ œ œ œ œ œ Œ
3
œ œ œ œ œ
73 74
œ œ œ
œ^
Not when I fly in - to the fu - ture... Once I
#### Œ Ó ‰ a œj œ œ ˙ œ œ œ œ ˙
&
ƒ F
####
& Œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ
œ œ n œœœœ œœ œœ
œ- œ- - >
œ œ
>
œ œ œ œ œ œ œ œ œ œ # œœ œœ œœ œœ
# > # > >
C # m7 F #7
? #### Œ Œ ‰ j‰ j Œ ‰ j
G 7+5 F 7sus4
œ œ â â > > >
œ œ
# # # # 75 > >
& w ‰ nœ œ œ œ œ
76
œ œ
N œ^
fly, I'll be through with my past.
## n œ. œ.
& ## œ œ œ œ œ
Œ Ó
nœ œ œ œ
F f
#### n œœ œœœ
& œ œœœ œœ œœ œ Œ Ó
n n œœœ œ œœ
< < >
< <
? ####
B 7sus4
j j j j Œ Ó
FMaj7
> > > > > >
# # # # 77
G
& Ó nœ Œ nœ Œ
78 79
œ nœ œ œ œ œ nœ œ œ œ nœ œ œ
Ma - ma is a cow - ard. Ma - ma is a drunk. Ma - ma sleeps with
####
TREMOLO STRINGS/ARCO STRINGS/BOTTLE PIANO
&
(Bottle Piano)
nœ œ œ œ nœ œ œ œ
n œ. œ. œ. œ. n œœ. œœ
.
œœ
.
œœ
. n œ. œ. œ. œ.
#
? ## # œ.
A7
Œ Ó Œ Ó œ Œ Ó
E m7 (Bottle Piano) E m7
œ.
+Bs.,
Drs
# # # # 80
& nœ œ œ nœ œ œ œ Œ nœ œ Œ
81 82
œ œ œ nœ œ œ œ nœ œ œ
How - ard when she gets in a funk. How - ard's kind of creep - y. How - ard's kind of
#### Œ œ #œ œ n ˘œ œ œ
& Œ Ó Œ #œ
p F P
œœ n n œœ # # œœ
#### ∑ Œ
&
(Trem. Stgs.)
n œœ. œœ
.
œœ
.
œœ
. F
·.
E m7
Œ
? ####
A7
Œ Ó
A7 (Bottle Piano) susp cym.
œ. &
n n œœ. œœ. œœ.
œœ
. n œœ. œœ œœ
. .
œœ
.
# # # # 83
& nœ Œ nœ œ
œ œ
84
œ nœ œ œ œ œ nœ œ
crude. How - ard's real - ly fat and walks a - round in the nude.
## n ˘œ n œœ
& ## Œ Ó œ œ nœ #œ
Gtr.(Wah) Sop. Sx
F P
n ˘œœ
####
Œ Ó Œ n # œœ n œœ # œœ
(Arco Strings)
&
f P
#### Œ susp cym. · .
E m7 A7
¿ ?
&
n n œœ.
œœ œœ œœ
. . . n œœ. œœ
.
œœ
.
œœ
.
# # # # 85
H
& Œ œ Œ œ Œ
86 87
œ œ
>
#### Œ
Dad ran off with Ju - lie. Ma - ma hates his guts. He's o - kay, but
œ œœ Œ. œ Œ. œœ Œ.
& Œ j aœ j j
œ œ. â œ œ. fl œ
fast Wa-WA
âf P f P f P
#### œ. a œ˙ . nœ #œ œ
STGS + CLARINET / BOTTLE PIANO
& œ Œ Ó Œ œ̆ Œ Ó
(Stgs. + Clar.)
f
# #
? #### > Œ œ Ó > Œ aœ Ó > Œ Ó
F m7 B7 F m7
(Bottle Piano)
œ œ
œ ‰ J ‰ Jœ ‰ ‰ J ‰ J ‰ œ ‰ J ‰ œJ ‰
œ œ
œ œ
J œ œ
J œ J
Bs
# # # # 88
& œ œ œ œ œ œ œ Œ œ œ Œ
89 90
>œ >œ
tru - ly my whole fam - 'ly is nuts. Ma - ma does - n't like me. I don't ev - en
#### Œ.
quick fall
Œ Ó Œ Ó
Ten. Sx quick fall
&
œ. a œœ œ
j
f
fl P
f
#### Œ aœ nœ #œ œœ̆
& ˙. œ œ œœ
a œ. œ œ. . N a œœ. a œœ. œ œœ. œœ
.
#
? #### > Œ Ó
B7
F m7
Œ ‰ j Œ ‰ j
B7
œ œ œ. œ
aœ œ
J
œ ‰ ‰ J ‰
œ œ œ > œ
J œ œ œ
œ Accel. > > œ œ
# # # # 91 > >
& œ œ œ œ œ œ œ œ b
œ œ
92
œ œ
œ^ œ^
try, which is why I just got - ta say good - bye and
## œ
& ## Œ Œ
œ œ œ b
Í>
√
B3 (sounds 8vb) / ROCK PIANO
#### œœœ
& œœ œœœ b
(B3 sounds 8vb)
œœ œ œœ œœ œ œ
. a œ. œ . œ. f
#
? ####
B7sus4
b
F m7
œ. œ.
(Rock Piano)
œ
œœœœ œœœœ œœœœ
œ œ œ œ & œœœ œœœ
œœœ œ- œ-
œ œ œ œ > > > >
> > > >
I Driving half-time feel q =130
& b N˙ œ œ œ œ œ œ œ ‰
93 94 95
fly in - to the fu - ture... I'll be up in the sky, soon as Bran -
œ ˙ œ œ œ > > >

& b Œ. œ bœ œ œ œ ‰ Û ‰ Û ‰ Û
Gtr. solo
J œ
fl J J J
ƒ
(√)
˙˙ .. ˘œ
& b ˙.
œœ œœœ
œ œœœ ... œ ˙
n œœ ˙˙ A œœ Œ Ó
J
ƒ
+Ten. Sx
ƒ
D m7 G7 b
&b
C 7sus4 C 7sus4/B
œœ œœ œ œ œœ œœ œ
œœœœœ
œ
œœœœœ œœœ œœ œœ œ œœ œ
œœ œœ œœœ œœœ œœ œœ œœœ œœœœ œœœ œœœ
œ
A œœœ œœœ œœœ œœœ œœœ
œœœœ œœœ œœ
fl . . . fl . . . . œ.œ n œœ œœ
. .
œœ
. . œ. œ. œ. œ . œ. œ
fl > fl fl fl
j ‰ œ œ œ œ œ œ œ
&b œ œ œ œ œ œ. œ œ œ Œ
96 97 98
œ œ
- iff can take me, and fly me in - to the fu - ture... where the
>œ
& b Û Û Û̆ ‰ œj œ œ ‰ Jœ ˙ œ bœ
Gtr. solo
œ œ œ œ œ
Ten. Sx
> œ
(√) ww
&b Ó ‰ w ∑
œ. f
F 2/A A 7+5 D m7 G7
&b œ œœ œœ œœ œœ œ œœ œœ œœ œ
œœ œ. œœœ
# œœœœ œœœœ œœœœ œœœœ œœœœ œœ œœ œœ œœœ œœ œœ œœ œœœœ œœœ œœœœœ œœœœœ n œœœœ œœ œœ
œœ œœ
œ
œœœ
œœ
œœ
. . . . . . . œ.œ
fl . fl . . fl fl fl . . > . . . .
&b œ œ œ œ œ œ œ
j
œ œ œ œ œ œ. ‰ bœ j
œ œ œ ‰ œj
99 100 101
œ
free - dom I find is gon - na make me or break me. No re - stric - tions, no
>˙ > > > œ̆ >

& b ‰ Û Û Û ‰ ‰ Û ≈œœœœœœœ Œ Œ ‰ b Jœ
Alto Sax.
J J J f ƒ f
(√) > ˘œ >
&b Œ ‰ b œœœ ˙˙˙ œœ
œ Œ Ó b œœ
b Œ Œ ‰ œœœ
J J
~
fl
~~~
~~~
b b
~~~
E 2 B b 2/D
&b
D 2
b b bb œœœœœ
œ œœ œœœœ œœœœ œœœœ
œœœœ œœœœ
œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ
A œœœ œ.œ œœ œ.œ œ.œ œ.œ œ œ. œ. œ œ. œœœœ œœœ
œ. œœœœ - œ- œ- œ-
fl . . fl fl fl fl .
j
&b œ œ œ œ ‰ bœ œ Nœ œ œ œ bœ œ Œ œ
102 103 104
œ œ
re - la - tions, no ri - di - cu - lous de - mands... Watch Ma - ry
œ b ˘œ >œ . > œ̆
& b Ó nœ
J
œ Œ
œ œ œ
F
(√) ˘œ >œ . >œ ˘œ
œ j œ œœ
&b
œ
œ b œœ
b ‰ œ œ œœ .. n œœ œ b œœ ∑
J
B b m7
j
G 7sus4 C 7sus4 A 7+5
& b b b b œœœœ œœœœ œœœ

œœ
œœœ
œœ œœœ .. œœ œœ œ Œ
œ A œœœ
b œ- œ- œœ ... n œœœ œœœ b œœœ œ
- - œ œ œ
J
&b Œ œ œ œ œ œ œ œ œ Œ w
3
œ
105 106 107
œ
fly in - to the fu - ture... Watch her fly...
>œ œ. œ bœ
& b ‰ Œ Ó Œ ‰ J Ó
bœ œ œ
f ß P
(√)
œœœ ...
ww œ ˙
& b w n œœ ˙˙ ˙. b œœ
J
f F
D m7 G 7sus4 G7 b
œœ b œœœ
G7
&b
G Maj7
œœ œœ œ œ œœ œœ œœ œœ œœ œœ œœ
œœœœœ
œœ œœ œœ œœ
œœ œœ œœœ œœœ œœ œœ œœ œœœ œœœ œœœ n œœœ œœœ œœœ œœœ œœœ b œœœ
œ
œœœ
œ
œœ œ
fl . . . fl . . . . . . . . . .
fl
&b ˙ Œ bœ bœ w ‰ j bœ œ œ œ œ
108 3 109 110
œ œ
w œ̈
See her fly... and we'll see where she lands
& b œ œ œ œ œ̆ œ̆ Œ Ó
œ œ œ œ œ
f F ƒ
(√) ˘œ
b www >
& b w œœ Œ Ó
Í ƒ
w >
& b b www œœ œœœ œœœœ Œ Ó ?
C 7sus4
œœœ œœœ œœ œ
œ œ
4/4 Feel - Driving
&b ˙ Ó ‰ j bœ œ œ œ œ ˙ Ó
111 112 113
œ œ
^j œ^
and we'll see where she lands
& b Œ bœ œ œ ‰ œ ∑ Œ bœ œ œ ‰ J
f fl > . fl > . ß
wœ œ œ œ œ œ œ œœ w wœ œ œ œ
B3 (loco) / ROCK PIANO
&b b œœ œœ œœ œœ œœ œœ œœ œœ
b b œœœœ œœœœ œœœ œœœ œœœ œœœ œœœ œœœ
b œœ œœ œœ œœ
b œœ œœ œœ œœœœ
(B3)
sub. p fl . fl . . fl . fl . . . fl . fl . fl F fl . fl . . fl . fl
B b9
B b9
? ‰ b œj ‰ œj ‰ b œj ‰ œj
F m7 cresc. poco a poco
b œ. j j j
F m7
œ œ œ œ bœ nœ œ œ
œ œ b œ >œ œ. œ œ b œ >œ
fl fl > œ œ b >œ nœ
fl fl >
(Rock Piano)
>
& b
114
‰ œ œ bœ œ œ œ
115
œ ˙. 116
w
^ ‰ b œj ˙ .
and we'll see where she lands...
& b ∑ Œ œ œ bœ œ œ
f
j
wœ œœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœ wœ œ œœ œœœœ ˙ . œ
& b b œ œœ œœ œ b œœ œœ
b œœ
œ
œœ
œ
œœ
œ œ
œœ
œ b œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ ‰
. . . fl . fl . fl fl . fl . . . flfl . . . fl . fl J.
ƒ F m7 B b9
?b œ. j j j ‰ bœ œ ˙ œ œ
œ œ bœ nœ œ œ œ
œ. œ œ œ b œ >œ ˙ œ œ
œ œ b >œ nœ
fl fl
> >
>
&b
117
w 118
˙ Ó
n œ^ >œ ~~~
>œ b >œ œ ~~~ ¨
& b bœ bœ nœ œ bœ œ nœ ~~
œ œ
ƒ ß ç
b >œ >œ >œ >œ œœ
ROCK PIANO
& b bb œœœ
œœ œœ œœ œœ œœ œœ œœ b N œœœ œœœ œœœ œœ Œ
œ. œ. b œ œ. œ. œ. œ. œ
~~~~
> > ƒ b9 ç
F b
~~~~
A b7
? b b œj ¨
~~~~
‰ b œj œ œ
F(no3)
‰ Œ
E 7
œ œ œ
C7
œ œ œ œ œ
~~~
bœ œ œ œ >
> bœ œ œ > > > œ
> > >

9
Cute Boys With Short Haircuts
Warn: JOANNE: But that girl is a creep. I'll never understand
why he married her.
KATHY: Joanne, I'm such an idiot. (music in)

Sweetly, sadly, with hesitation q»¡™º
####1 4 .
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-92-
Piano-Conductor —2— Cute Boys With Short Haircuts Vanities
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guess - I'm-not - so - strong days. Lost the on-ly guy I ev - er had.
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It's been one of those seems - like - I've - been - scarred years,
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No one ev - er made me feel so sad. Now all I see are
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Poco piu mosso
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find a man, you don't wan - na share him,
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play it safe, sure you've got a smart plan...
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Soon it's just an - oth - er "Love - can - fall - a - part" plan.
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cute boys with short hair - cuts, in a maze of their
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cute boys with short hair - cuts, sit - ting high on some
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throne. I'm here be - low, un - seen and so un - known.
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-99-
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Piu mosso (q = 144)
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was a time when ev - 'ry - one would
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-100-
—10— Cute Boys With Short Haircuts Vanities
# # # #77 j j
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no - tice me, be - fore what - ev - er strength
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die for things to be the way they used to be,
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-101-
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but noth - ing stops the world from mov - ing on...
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cute boys with short hair - cuts who sur - round me each
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day... I'm not as grand, or in de - mand, or
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"pret-ty" as they say. Not pret - ty like the cute boys with
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short hair - cuts, with the games that they play. The games of all the
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cute boys with broad shoul - ders, lov - ing all they sur -
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vey. And lov-ing be - ing cute boys with low voic - es, and
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low mor - als, and no in - t'rest.––
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no vib.
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112
Freely, In Tempo
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3
& œ. œ
113 114 115
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Cute boys with short hair - cuts, nev-er look-ing my way. So
## w
& ## ∑ ∑ ˙ ˙
Ob.
p P
j j j
CELESTE+HARP / HARP
Celeste - sounds 8va
#### œ œ. j œ œ œ. ˙ ˙˙
(Celeste + Harp) Harp - loco
wœ . œ œw. ˙ w
n n ww
soli w/ Bells
& w
P
? ####
(Celeste)
œœ
œ ˙
œœœ ˙ œœ
œ ˙ n nn www
œ œ œ
# # # #116
& j œ œj œ ‰ j œ œ œ œ Ó œ œ
117 118 119
w
œ œ œ
here I sit, and that's how it will stay. Thanks to
## ˙
& ## ∑ ˙ w w ã
p
#### ww ˙˙ œ ˙œ
æ· Sus. cym
ww ww
Gtr. solo
œ
PIANO
œ
& w ˙ œ
œ ˙˙ œ œ ww ww
w
? # # # # a ww ˙˙ # ˙˙ Œ œ œ œ
w ˙ #˙ w w
-105-
# # # #120 j j Ó œ. j Ó
& œ ˙ œ œ ˙ œ œ
121 122 123
œ œ œ
shat - tered trust... and some slight dis - gust... No more
#### ¿ Œ Ó ww www
w ∑ # ww
Tri. Vibes
ã w
p
#### ww www
HARP
& www www # ww w

Vibes
w w
P P
? #### ∑ ∑ ∑ ∑
# # # #124 U" U
œ œ œ œ œ œ ‰œœ ˙ Œ œ
3
& œ. œ. ˙ ˙
125 126 127
J œ J
cute boys with short hair - cuts, and I guess that's just o -
#### ˙˙ ˙ ˙ U
∑ ∑ ˙˙ # ˙˙˙ N ˙˙˙ Ó
Vibes
ã &
Uw
#### w ww
˙ ˙ ˙ U
˙ Ó
Vibes
& N ww ˙ ˙
w
Uw p
ww ˙ U
? #### w w ˙ #˙
Ó &
# # # # 128
A Tempo Poco Rit.
& ∑ ∑
129 130 131
w w
kay.
#### œ. œ œ. œ. œ œ œ œ
J œ J ∑ ∑
Ob.
& J
p
U
˙
#### œ œ œ œ3 œ ˙
Celeste
(solo)
∑ ∑ Œ Ó
CELESTE / HARP
&
U
#### ˙ ˙ Ó
‰ œ œ œ ˙
Harp
‰ œ œ œ ˙ ? ˙
&
w w Ó œ
-106- Bs.
.

10
Let Life Happen
Warn: ALL: Kappa the key, Kappa the kingdom, Gamma of God.
JOANNE: How dare you talk like that - it's been fun. (music in as Mary speaks)
Late 60s pop, Bacharach Bossa

b b 41
&bbb 4 ∑ ∑ ∑ ∑
2 3 4
bb 4 œ. >œ œ. >
& bbb 4 ∑ ∑ Œ ‰ J œ ˙ Ó
Fl.
F
√ (Organ 15vb) nœ œ œ
60's JAZZ ORGAN (Sounds 15vb) / GRAND PIANO ( Not too grand...) / TRIGGERED HARP GLISS
bb ˙ ‰ œJ n œ œ œ
& b b b 44
j
nœ w ˙ w
j nœ j
nœ
P
Fm7 b b
A /B
bb
& b b b 44 ‰ j Œ ‰ j Ó
(Piano)
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ
œ. œ- œ œ.
>
œ œ œ. œ. œ. œ œ œ. n œœ œ n œ.
bb
JOANNE:...I've always found it better not to think.
&bbb ∑ ∑ ∑ ∑
5 6 7 8
.
bbbb Œ œ. œ- n œ. ‰ Jœ n œ.
‰ J ‰ J
œ œ œ w ∑
& b
(√) j ˙ (D b, C, B b, E b, F, G, A b)
Harp Gliss.
w ˙ nœ w ˙ ( ˙ ) ~~~
& bbbb b
~~
F
Fm7 A /B b b B 9b
b
& b bbb ‰ j Œ ‰ j ?
(Harp Trigger)
˙
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ ˙˙ ..
œ. œ- œ œ. œ œ œ. œ. œ. œ- œ œ. œ n œœ. ˙.
()
> >
Piano-Conductor —2— Let Life Happen Vanities
b
& b bbb Œ Œ j j Ó
MARY:
9 10 11 12
œ œ œ œ œ œ œ ˙
You like to stay pro - tec - ted. I nev - er could.
w w œ
nœ œ œ
(Organ 15vb)
& bbbb b ∑ Ó
P
Fm7 A /Bb b b
B 9
F
? bb b ∑ ∑ ∑ ∑
bb
b
& b bbb Œ
œ œ œ œ œ œ œ w ∑
13 14 15 16
œ œ œ
I tend to im - pro - vise my way.
.
bbbb ∑ ∑ Œ œ. œ- n œ. ‰ œJ n œ.
‰ J ‰ J
œ œ
œ
& b
˙
60's JAZZ ORGAN (Sounds 8vb) / GRAND PIANO / TRIGGERED HARP GLISS
Aw ˙ œ
j
w
bb
(Piano)
&bbb œ œ œ nœ œ
solo
œ œ œ
b
E m7 b b
G /A b
D Maj7 F C7
? bb b ∑ ∑ ∑ Ó
(Harp Trigger)
bb ˙
b
& b bbb Œ j Œ
œ œ œj œ
j Ó
17 18 19 20
œ œ œ œ œ œ œ œ. œ ˙
If life feels un - di - rect - ed, some - times that's good.
b
& b bbb w ∑ ∑ ∑
œ œ
b
& b b b b ww nœ œ
(Organ 8vb)
˙˙ Ó ∑ Ó
b b b
w ˙
Fm7 A /B B 9
? bb b w ˙ Ó ∑ ∑
(Piano)
bb &
b
& b bbb Œ j Œ j b
œ œ œ œ œ. œ œ œ œ nœ œ œ nœ.
21 22 23 24
œ œ œ
œ nœ nœ œ
One trick that I've per - fect - ed: Em - brace the un - ex - pect - ed.
bb ‰ œ nœ nœ
& bbb ∑ ∑ ∑
J
b
F
ww ˙˙ ˙˙ n ww ˙. œœ
w ˙ w n ˙˙ ..
& bbbb b ˙ œ̆ b
E m7 b b b
G /A Gm7 b
B /C
bb
& b b b œ œ œj œ . œœ ..
j
œœ œœ œ œ n œœ œœ
j
œœ œœ .. n œœœ œœœ œœœ œœœ b
œœ œœ œœ œœ .. œ. œ œ œ œ. œ œ œ. œ œ
.
j j
&b Œ œ œ œ œ œ œ œj œ œ œ Œ œ œ œ œ œ œ œj œ œ œ
25 26 27 28
Let life hap - pen as you go... Sim - ply fol - low with the flow...
œ̆ N >˙ . œ̆ >˙ .
& b Ó ‰ œ œ œ Ó ‰ œ œ œ
J J
˘œ > . ˘œ
cresc. poco a poco
>˙ .
b N œœ ˙˙˙ ..
N
∑ N œœ ˙˙ .. ∑
&
F
FMaj7 B 6 b b
B /C FMaj7 B 6b b
B /C
j j
& b N N œœœ œœ œœœ œœœ œœœ œœ .. œœ œœ œœ œ
œœœ œœœ œœœ œœ .. œœ œœ
Nœ œ œœ .. œ œ œœœ œœ œœ œœ .. œ œ œœœ
&b Œ œ œ œ œ œ œ œ œ œ œ w Ó Nœ œ
29 30 31 32
# œ. œ. œ- œ. œ. œ ˙
Loo - sen up as much as you can. Let life
œ̆ >˙ .
& b ∑ Œ Ó
f
˘œ œœœ √
N œœ >˙ .
˙˙ ..
˙œ ..
œ. œœ œœ # # www ˙˙˙ N œœ œœ
&b J œ œ
FMaj7 b
B 6 B b/C DMaj7 Dm /C
&b œœ j
œœ .. œœœ œœœ œ
œœ œœœ œœœ œœœ œœœ œœ .. œœœ # #œwœœ œœœ ‰ œœ ‰ œœ ˙œœ # œœ ‰ n œœœ œœ
œ œ œ œ
J J J
&b œ œ ‰ œ œ œ 43 œ œ œ œ ‰ j 42 œ œ 44
33 34 35
J œ œ
hap - pen, re - lax, and that is the key. I let life
(√)
œœœ̆ œœœ >œœ œ. >œ œ œœ
& b Œ J ‰ ‰ œ 43 œœ .. œœ Œ 42 œœ œ 44
J J
b
B Maj7 C/B b Am7 Dm7 /C
& b ˙˙ œœœ ‰
œœ
j 43 œ .. j
œœ Œ 42 œ œ
44
˙ œ œœ . œ ˙˙
b 4
& 4 œ ‰ œ œ 34 ‰ j 2 44
œ œ œ œ œ œ 4 œ œ
36 37 38
J œ œ
hap - pen, and watch what hap - pens to me. You let life
(√)
œ œœœ >œœ >œ œœ
4 œœ̆ 3 œ. 2 œ 4
b
& 4 Œ
J ‰ ‰ œ 4 œœ .. œœ Œ
J 4 œœ œ 4
J
b
4 j 3 j 2 4
& b 4 ˙˙ œœœ ‰ œœ 4 œœ .. œœ Œ 4 œ˙ œ 4
˙ œ œ. œ ˙
b 4439 œ œ œ œ œ
& œ ‰ œJ œ ˙ Œ
40 41
œ œ œ œ
hap - pen, and then you're fi - nal - ly free. Some - times it's
œœ ˙ ˙
& b 44 Ó Œ œœœœœ ∑
7 F
(√)
4 œœœ œœœ œ nœ œ
j
ww
‰ J
#œ
& 4 J ‰ Œ
b J ‰ Œ Ó w
b b
j
B Maj7 C/B Am7 Dm7 Gm9
j
& b 44 ˙˙ œœœ ... œœœ ˙˙˙ ˙˙ œœ œœ œœ œœ ‰ œœ
˙ ˙ œ. œ œ œ. œ
>
b
& œ œ
j œ œ œ œ w ∑ bbbbb
42 43 44
J
œ- œ. œ. œ. œ œ
bet - ter not to plan.
œ
& b ∑ Œ œ. ‰ J ‰ J ‰ J bbbbb
F
(√) j
˙˙ .. œœ >œ
& b www ˙. œ œœ ‰ œœ ˙˙˙ ...
œ bbbbb
>
C7sus4 C7
j ‰ œœj ˙˙ ..
& b œœ œœ Œ œœ œœœ œœœ ‰ œœœ bbbbb
?
(Harp Trigger)
œœ œœ ˙
œ œ. œ. œ. œ . Ó œ ˙.
b
& b bbb Œ Œ
œ œ œj œ œ
j Ó
45 JOANNE: 46 47 48
œ œ œ œ œ œ œ œ œ ˙
Your stress is leg - end - ar - y, Your nerves are tight.
b œ œ œ
& b bbb w ∑ ∑ Œ œ œ
œ nœ
P
√ œ
nœ œ œ
(Organ 2 oct. lower)
b
60's JAZZ ORGAN (Sounds 3 Octaves lower) / GRAND PIANO / MAPPED HARP GLISS
& b bbb ∑ ∑ ∑ Ó
Fm7 A /Bb b b
B 9
? bb b ∑ ∑ ∑ ∑
bb
b
& b bbb Œ œ w ∑
49 50 51 52
œ œ œ œ œ œ œœ œ
So lis - ten well to what we say.
œ œ œ nœ bœ nœ bœ . .
b
& b bbb
w ˙ œ ‰ œ >œ ‰ œJ >œ ˙ ˙
J
F
(√)
6
Aw ˙ œ
j ˙ w
b
& b bbb ∑
b
E m7 b b
G /A b
D Maj7 C7
? bb b ∑ ∑ ∑ Ó
(Harp Trigger)
bb ˙
b
& b bbb Œ j Œ
œ œ œj œ
j Ó
53 54 55 56
œ œ œ œ œ œ œ œ. œ ˙
Though change is al - ways scar - y, some - times it's right.
b
& b bbb w ∑ ∑ ∑
√ œ
œ œ œ
(Piano)
bb ‰ œj œ œ œœ w ˙ nœ œ
&bbb ∑
quasi solo
j
nœ
P (Piano) b b b
œœ- œ .. .œ œœ- œ œ ˙˙ ..
‰ œœ . œœ ‰ œœJ ‰ n œœ
Fm7 A /B B 9
? bb b ∑ Œ œ œ ˙. Œ
bb J &
b 57
& b bbb Œ œ j
œ œ.
Œ œ œ œ
j
œ nœ œ œ nœ. b
58 59 60
œ œ œ œ œ
Just take a tip from Mar - y, Let things be ar - bi - trar - y.
bb ‰ œJ n œ n œ œ nœ nœ œ b
& bbb ∑ ∑ ∑
F
(√)
Aw ˙ œ n œj œ b œ œ n ˙˙ ˙˙ n >œœœ ... œœ
b ˙ ˙ œ̆
& b bbb J Ó b
E m7b b b
G /A Gm7 B /C b
b
& b bbb œœœ œœœ
j
œœœ œœœ .. œœœ ..
j
œœœ œœœ
j
n œœœ œœ œœ œœ b
. . . œ œ œ n œœœ. œœœ œœ œœ ..
œ œ. œ œ œ œ œ
j j
&b Œ œ œ œ œ œ œ œj œ œ œ Œ œ œ œ œ œ œ œj œ œ œ
61 62 63 64
Let life hap - pen off - the - cuff... Life's al - read - y hard e - nough...
œ̆ N >˙ . œ̆ >˙ .
& b Ó ‰ œ œ œ Ó ‰ œ œ œ
J J
60's JAZZ ORGAN (Sounds 8vb) / GRAND PIANO
˘œ > . ˘œ >˙ .
(Organ 8vb)
b N œœ ˙˙˙ ..
N
∑ N œœ ˙˙ .. ∑
&
F FMaj7 b
B 6 b
B /C FMaj7 B 6 b b
B /C
& b N N œœ œ œ œ œ œœ .. j œœ œ œœ .. j
(Piano)
œœ œœ œœœ œœœ œœœ œœ œœ

N œœ œœ œœ œœ œœ œœ .. œ œ œœœ œœ œœ œœ .. œ œ œœœ
&b Œ œ œ œ œ œ œ œ œ œ œ w Ó Nœ œ
65 66 67 68
.
# œ. œ. œ- œ. œ œ ˙
And it all goes by in a wink. Let life
œ̆ >˙ .
& b ∑ Œ Ó
f
˘œ n N œœœ œœ
b N œœ
>˙ .
˙˙ ..
˙œ ..
œ. œœ œœ œœœ #w
# ww
˙˙
˙ œ
& J
FMaj7 b
B 6 b
B /C DMaj7 Dm7 /C
&b œœ œ œœ .. j œ
œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ ˙œœ # œœ ‰ n œœœ
œœ .. # #œwœœ œœœ ‰ œ ‰ œ
œœ œœ œ œ
œœ
J J J
&b œ ‰ œ œ 43 œ œ ‰ j 42 œ œ 44
MARY:
œ œ œ œ
69 70 71
J œ œ

& b Œ
J ‰ ‰ œ 43 œœ .. œœ Œ 42 œœ œ 44
J J
b
j 3 j 2 4
& b ˙˙ œœœ ‰
œœ 4 œ .. œœ Œ 4 œ œ 4
˙ œ œœ . œ ˙˙
& b 44 œ 34 2 44
MARY & JOANNE:
œ ‰ œ œ œ œ œ œ œ ‰ j 4 œ œ
72 73 74
J œ œ
œœœ̆ œœœ >œœ >œ œœ

4 3 œ. 2 œœœ 4
b
& 4 Œ J ‰ ‰ œ 4 œœ .. œœ Œ
J 4 œ 4
J
b
& b 44 ˙˙ 43 œœ ..
j
œœœ ‰
œœ
j œœ Œ 42 œ˙ œ 44
˙ œ œ. œ ˙
& b 44 75 œ ‰ œ
œ J œ œ œ œ œ ˙ Œ j
œ œ œ œ œ œ bbb
76 77 78
œ œ œ œ J
hap - pen, and then you're fi - nal - ly free. Some - times it's bet - ter not to think
4
& b 4 ∑ ∑ ∑ Ó ‰ j œ bbb
A. Sax
œ œ >
F .
œœœ œœœ
B3 (Sounds 15vb) / ROCK PIANO
j bbb
& b 44 J ‰Œ ‰ ‰ ˙˙
(Piano)
œ ˙˙ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

(Piano)
J œœ ˙ ˙ w
N œœœ œœœ œœœ œœœ ... œ œ œ œ œ œ œ >œ
J F
b
B Maj7 C/B b Am7 Dm7 Gm9 C7sus4 b
& b 44 ˙˙
j
E Maj7
œœœ ... ? ˙ j œ œ œ œ œ œ œ œ bbb

(Piano) (Piano)
œ ˙ œ. œ œ œ bœ
˙ œ œ œ œ œ œ œ >
bbb j j 83
œ œ œ œ œ œ 42 œ œ œ 44
Bridge
& œ œœ œœ œœ œœ œœ œœ œ œœ œœ œ Œœ œ œ œ œ
79 80 81 82
œ œ œ œ œ œ œœ œ œ œ œœ œ
Œ J . J J
^j ^j
all a - bout ev - 'ry slight mis - giv - ing, ev - 'ry mi - nor con - cern and doubt you've ev - er had.
b
& bb œ. œ Ó Ó ‰ j œ œ. œ Ó ∑ 42 Œ œ̆ 44
œ œ . >
~~~~
b
& b b wœ œ œ œ œ œ j
œœœ œœœ ... œœ œœ wœ œ œ œ œ œ j‰ œj œœ œœ
‰ 42 œœ œœ 44
œœ œœ œœ œœ œœ œœ œ œ œœ œœ œœ œœ œœ œœœ œœ œ œ œ œ œ.
> < < > > œ>
A b/B b A b6 E bMaj7
b A /B b
b
? bb œ ‰ j ‰ j j j ‰ j ‰ j œ ‰ j ‰ œj‰ j 42 44
A Maj7
b œ œ œ œ œ . œ œ >œ . œ œ œ œ > œ œ
œ œ œ.
> >
b b b 4 84 Œ ∑ b
& 4 œœ œœ œœ œœ œœ œ œœ œœ œœ œœ ww
85 86 87
^j
ev - 'ry time you or - gan ize on a list.
b
& b b 44 œ. œ Ó ∑ ‰ j œ œ œ œ œ nœ œ œ nœ
œ b
> œ nœ œ œ œ
F
√ ˙˙ ˙˙
(B3 15vb)
b ˙˙˙ ˙
& b b 44 wœ œ œ œ j ˙˙ ˙ b
œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ ... ˙
œ œ < < >
E bMaj7 A b6
Gm7
b
? b b 44 ‰ j ‰ j j j b
œ œ >œ .
B /C
b œ œ œ œ œ. & œœw œœ œœ œœ .. œœ ˙˙ ..
œ œ œ œ œ ˙.
J .
Œ j j 92
&b Œœ œ œ œ œ œœ œ œœ œœ . œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 42 œœ œœ œœ 44
88 89 90 91
œ œ œ œ œ Œ
J J J
^j
œ^ ~~~~Ó
How the hell can you call that liv - ing? If you don't give it up, it's gon - na drive you mad.
>œ . >œ . >
& b Ó ‰ œj œ œ. œ Ó Ó Œ ‰œ 2
4 œ œ̆ 4
4
J J
√
˙ >œœ >œœ œœ >œœ >œœ œœ œœ
N ˙˙ œœ .. œ >œœœ >œœœ
&b Ó Œ œJ ‰ ‰ Jœ ‰ œJ œ. œ
J Ó ‰ Jœ Œ ‰J 42
œ œ̆ 4
4
~~~~
~~~~
B b6 B b/C B bMaj7 B b/C

~
FMaj7 FMaj7
&b Œœ j j 42 œœ 4
œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ... œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ‰ œj ‰ œœœ œœ œœœ 4
< < > > œ > > .
& b 44 93 Œ œ œœ œœ œœ œœ œ œœ œœ œœ œœ Œ ˙. ˙ Ó bbbbb
94 95 96
>œ . ^j
And you'll be sur - prised at all that you've missed.
& b 44 œ Ó ∑ ∑ ∑ bbbbb
(√)
60's JAZZ ORGAN (Sounds 3 Octaves lower) / GRAND PIANO / MAPPED HARP GLISS
>œœ .. >œœ √
œ bœ œ b b
œ. œ Ó N œ œ
& b 44 J ∑ ∑ œ
‰ J œ bbb
FMaj7 b
B 6 b
B /C
& b 44 œœ œœ bbbbb
(Piano)
œœ œœ œœ œœœ ˙˙ ˙ ˙ ˙˙
œ œ œœœ œœœ œœœ œœœ œ œœ œ
œ œ
˙
˙ n ˙˙˙ b ˙˙ ˙
bbbb b Œ Œ j Ó
MARY:
& œ œ œj œ
97 98 99 100
œ œ œ œ œ œ œ œ œ œ ˙
So that's our mem - o - ran - dum... For - get your fear.
b œ œ œ
& b bbb ∑ ∑ ∑ Œ œ œ
Fl.
œ nœ
(√w) √ œ
nœ œ œ
b
& b bbb ∑ ∑ Ó
b b
A /B B b9
b
& b b b b ww ∑ ∑ ∑
Fm7
?
w
Piano-Conductor —10—Let Life Happen Vanities
b
& b bbb Œ œ w ∑
101 102 103 104
You need to trust us from to - day.
œ œ œ nœ bœ nœ bœ . .
b
& b bbb w ˙ œ ‰ œ >œ ‰ œJ >œ ˙ ˙
J
F
(√)
6
Aw ˙ œ
j ˙ w
bb
&bbb ∑
E m7b G /A b b b
D Maj7 C7
? bb b ∑ ∑ ∑ Ó
(Harp Trigger)
bb ˙
b j
& b bbb Œ j œ. Œ j Ó
JOANNE:
œ œ
105 106 107 108
œ œ œ œ œ œ œ œ œ œ ˙
We do so well in tan - dem, and we'll be here.
bb w
& bbb ∑ ∑ ∑
√ œ
œ œ œ nœ œ œ
(Piano)
b ‰ œj œ œ
& b bbb ∑ w ˙
quasi solo
œ nœ
j
P b b b
œœ- œœ ... .œœ œœ- œœ œœ ˙˙ ..
Fm7 A /B B 9
œ œ
(Piano)
? bb ∑ Œ ‰ œ œ ‰ œJ ‰ n œ ˙. Œ
bbb J &
bb j
&bbb Œ j
œ œ.
Œ œ œ œ œ nœ œ œ nœ. b
109 110 111 112
œ œ œ œ œ œ
œ nœ nœ œ b
The fates are most - ly ran - dom. Don't try to un - der - stand 'em.
b ‰ Jœ n œ n œ
& b bbb ∑ ∑ ∑
F
(√)
œ bœ œ
œ n >œœœ ... œœ
j
Aw ˙ nœ
n ˙˙˙ ˙˙ œ̆
bb ˙ J Ó
&bbb b
E m7b G /Ab b Gm7 B /C b
b
& b bbb œœœ œœœ
j
œœœ œœœ .. œœœ ..
j
œœœ œœœ
j
n œœœ œœ œœ œœ b
. . . œ œœ n œœ œœ
œ. œ
œœ œœ ..
œ œ. œ œ œ œ œ
j j
œ œ œj œ œ œ œ œ œj œ œ œ
MARY:
&b Œ œ œ œ œ Œ œ
JOANNE:
œ œ œ
113 113A 114 115
Let life hap - pen, that's the trick. You'll be hap - py dou - ble - quick.
œ̆ N >˙ . œ̆ >˙ .
œ œ œ œ
& b Ó ‰ œ
J
Ó ‰ œ
J
60's JAZZ ORGAN (Sounds 8vb) / GRAND PIANO
˘œ > . ˘œ >˙ .
(Organ 8vb)
b N œœ ˙˙˙ ..
N
∑ N œœ ˙˙ .. ∑
&
F FMaj7 B 6 b b
B /C FMaj7 b
B 6 b
B /C
& b N N œœ œ œ œ œ j œœ œ j
œœ .. œœ ..
(Piano)
œœœ œœœ œœœ œœœ œœœ œœœ œœœ

N œœ œœ œœ œœ œœ œœ .. œœœ œœ œœ œœ .. œœœ
Œ MARY & JOANNE: j j

&b œ œ œ œ œœ œœ œœ œœ œœ œœ # ww Ó Nœ œ
116 117 118 119 JOANNE:
Œ œ œ œ œ
J J
œ̆ >˙ . # œ. œ. œ- œ. œ. œ ˙
Stop ob - sess - ing, just wait and see. Let life
& b ∑ Œ Ó
f
˘œ >˙ . ˙œ .. œœœ # # www ˙˙˙ n N œœœ œœœ
b N œœ ˙˙ .. œ. œœ œœ
& J
FMaj7 b
B 6 B b/C DMaj7 Dm7 /C
&b œœ œ œœ .. j œ
œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ ˙œœ # œœ ‰ n œœœ œœ
œœ .. # #œwœœ œœœ ‰ œœ ‰ œœ
œ œ œ œ J
J J
&b œ ‰ œ œ 43 œ œ ‰ j 42 œ œ 44
MARY:
œ œ œ œ
120 121 122
J œ œ

& b Œ J ‰ ‰ œ 43 œœ .. œœ Œ 42 œœ œ 44
J J
b
& b ˙˙ œœœ ‰ œœ
j 43 œ .. j
œœ Œ 42 œ œ
44
˙ œ œœ . œ ˙˙
4 34 2 44
MARY & JOANNE:
&b 4 œ œ ‰ œ œ œ œ œ œ œ
‰ j
œ 4 œœ œœ
123 124 125
J œ
44 œœœ̆ œœœ >œœ œ. >œ œ œœ

& b Œ J ‰ ‰ œ 43 œœ .. œœ Œ 42 œœ œ 44
J J
b
4 j 3 j 2 4
& b 4 ˙˙ œœœ ‰
œœ 4 œ .. œœ Œ 4 œ œ 4
˙ œ œœ . œ ˙˙
4 ‰ j
b
& 4 œœ œœ œœ œ œ œ œ ˙˙ Œ
œœ
126 127 128
‰ J œœ œ œ œ œ œ œ œ
hap - pen, and then you're fi - nal - ly free. Some - times it's
œœœ œœœ j
& b 44 ‰ Œ ‰ ‰ ˙˙ œœ œœ Œ œœ
(Piano)
J J œœœ ˙˙˙ ˙ œ œ œ
b
B Maj7 C/B b Am7 Dm7
& b 44 ˙˙ œœœ ... ? j ˙

(Piano)
œ ˙ w
˙
#
& œj œ
b œ œ œ Œ ˙. ˙ Ó
129 130 131
J
bet - ter just to be...
j #
& b ∑ ‰ j œ œ. œ œ̆ œ̆
A. Sax
œ œ. œ.
œ œ œ. >
F Í
√ ˘œ
>œ ˙
B3 (loco) / TIMPANI
˙˙˙ ... œœœ œœ ˙˙ œœœ #

& b œœœ œœ ‰ œœ .. Œ
œ œ.
? ? œj œ œ œ œ œ œ ~~~~~~ #
gliss.
b w & ˙
˙˙˙ œœœœ ...
. œ œ œ œ œ œ œ
> fl >
(Timp.)
# 132 Œ j j
œœ œ œœj œœ œœ œœ œœ œ œœj œœ œœ œœ
ALL:
& œœ œœ œœ œœ Œ œœ œœ œœ œœ
133 134 135
œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
K
J
M
œ^
Let life hap - pen, as you go... Sim - ply fol - low with the flow...
# œ̆ >˙ ~
& Œ Ó Ó ‰ j ~~~~ Œ Ó ‰ j œ œ
œ œ œ. œ .
~~~~
f
~
j‰
# ~~wœ œ œ œ œ œ œ œ wœ œ œ œ wœ œ œ œ œ œ œ œ œœ˙ . œœ œœ œœ œ
Overdrive
& ~ œ œ œ œ œ œ œ œ œ œœœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œœ œœ œœ
. . . . . . . . . . . . . . . . J‰
. . . . . . . . . ... . . .
GMaj7 C6 C/D GMaj7 C/D C6 C/D
?#
(Timp.-- both
Œ Ó Ó Œ Œ Ó Ó Œ ‰
sound as E)
œ œ œ œœ
> > >
# 136 j j
Œ œœ œœ œœ œœ œœ œ œœœ œœœ œœœ œœœ w Ó œ
MARY & JOANNE:
& # # ww Nœ
137 138 139
œ œ œ œ œ œ
^j
Loo - sen up as much as you can. Let life
# Œ
>˙ œ̆ >œ .
Ó ‰ j
^
& œ bœ nœ œ b œ. œ Ó
œ # œ b flœ n >œ # œ. . >
fl fl f
F
j
# >˙ .
˙˙ .. wwœ . œ ˙ # # ˙˙˙ ... œœ # >œœ œœ # # ˘œœ
& Œ œ œ œ œ Ó
~
~~~
GMaj7 C6 C/D EMaj7 Huge gliss!
?# ˙
œ Œ Ó œ ˙
~~~
œ.
(Organ)
~~~
œ œ œ
(Timp)
> œ œ œ œ œ œ > œ
fl fl fl fl fl fl fl
Organ peds.
#140 œ
& œ ‰ œ œ œ 43 œ œ œ œ ‰ j 42 œ œ 44
KATHY: 142
œ
141
J œ
^
hap - pen, re - lax, and that is the key. I'll let life
#
& œ Œ Ó 43 ∑ 42 œ œ 44
fl fl
F
ä äœ
# œœœ̆ œœœ >œœ œ .. >œ
24 œœœ œœ
& Œ J ‰ ‰ œ
J 43 œœ . œœ Œ
J
44
CMaj7 D/C Bm7 Em7
?# Œ ‰ j 43 j Œ 42 œ 44
œ œ œ œ. œ œ
> > > > â â
# 4143 œ ‰ œ 34 ‰ j 2 44
& 4 œ œ œ œ œ œ œ œ 4 œ œ
ALL: 145
œ
144
^
# 4 œ Œ Ó 3 ∑ 2 4
& 4 4 4 œ œ 4
f fl fl
F
œœœ >œœ >œ ä äœ
# 4 œœœ̆ 34 œœœ ... 24 # œœœ œœ
w/ Leslie, no overdrive
& 4 Œ ‰ ‰ œ œœ Œ 44
J
~~~~~
J J
~~~~~~~
CMaj7 D/C Bm7 Em7 A9
? # 44 Œ ‰ 43 j Œ 42 44
j
œ œ œ œ. œ #œ œ
> > > > â â
# 4146 œ ‰ œ œ
œ J œ 42 œ œ œ 44 www ˙˙˙ Ó
147
& 4 œ
148 149
^
hap - pen, and then you're fi - nal - ly free.
# 4 ‰ œj œ œ. œ̆ œ̆
& 4 œ Œ Ó 42 ∑ 44 ‰ j œ œ œ
f œ. œ œ. œ . . > F f
F
√+Leslie ~~~~~~~~~~~
>œ äœ
(B3 15vb) œ ˙˙˙ œœ
B3 (Sounds 15vb) / ROCK PIANO (Sounds 8va)
# 4 œœ œœœ̆ > œ
& 4 œ̆ Œ ‰ œœœ œœ
42 œ
œœ
œ
44 Ó Œ ‰ J Œ
J
~
~~~~~
j j j
~~~~~
CMaj7 D/C Bm7 Em7 (Rock Pno. 8va)
? # 44 œœ œ œœ œœ œœ .. œœ œœ
Œ ‰ j 42 44 Œ œœ ‰ œœœ ‰ œœ œœ œœ .. œœ œœ
œ œ œ œ œ fl > > â â
fl fl
# 150 Œ j
& œ œ Jœ œ œ œ œœœ œ œ œ œ œ œ œ œ Œ
MARY: 151 152 153 JOANNE:
œ œ œ œ œ
œ^
Some - times it's bet - ter not to plan or to know where your life's gon - na go. Let it
# Œ Ó ∑ j
& ˙. œ œ œ. œ Ó
ƒ > > fl fl
f
(√)
˘œ
œ
# œœ ww ww
(no Leslie) (+ Leslie)
& Œ Ó ∑ w w
F j j j
C/D cresc. poco a poco
? # Û̆ >Û >
Am9 C
Û Û. Û̆ Û Û Û. œœœ .. œœœ œœœ .. œœœ œœœ .. œœœ ‰ œ œ œ

J J œ .. œ œ .. œ œ .. œ J
fl
# 154
& œ œœ œ œœ œ œ œ œ œ œ Œ Nœ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ
155 ALL: 156 157
#
roll let it ride 'till there's no - where to hide. There's a lot that's at stake and to - ge - ther we're mak - ing a
& œ̆ Ó ∑ ∑
˙. œ œ œ. J
> >
Í f
(√) ˘œ n œœ-
w œœ .. œ ww www
# ww œ. # œœ #œ w
& J Œ
#9
>œ ˘œ >œ .
? # œœœ œ œœœ œœœœ œ œ œœœœ
œœ
Bm7sus4 E7sus4 E7 E7 Am7 FMaj7
œ œ œ œœ œ œ # œœœ Œ N N œœ œœœ œœœ ‰ œœœœ .... œœœ œœœ ‰ œœœ ..

.
#œ aœ œ œ
fl > fl >
# 158 w
& ww Ó œ ˙
159 160
œ b˙
œ^ œ^
vow. No ex - cu - ses...
# œ œ œ Ó ∑
& ˙ œ
>
Í f
(√)
œ˘œœ œ˘œœ ˘œ œœ. ˘œ ˘œ ˘œ
(more percussive)
# www œœ œœ. œœ œ œ
œ œ Ó œ œ ‰ œJ ‰ œJ
&
f
F
˘œ ˘œ b
D7sus4 cresc.poco a poco
j œœ œœœ
œ
C/D E Maj7
? # œœœ ... œœœ œœœ œœœ Ó œœ œœ œœ

œ. œ œ œ œ b œ œ œ œ
> > >
# 161 ˙˙
& Ó œ œ b˙ ˙ Ó
162 163
œ^
Let life hap - pen right
# œ
& ∑ œ œ œ œ Œ Ó
œ œ œ
f
F
(√)
˘œ ˘œ äœ ˘œ ˘œ œœ. œœ. ˘œ ˘œ œ œ
# ‰ œœ ‰ œœ œ
œ œœ œœ œ œ
œ
œ ‰ œœ ‰ œœ œœœ ~~~
& J J J J Œ
~ ~ ~ ~ ~~~
~~
b f D7sus4
œœ ˘œ
œœœ
A Maj7
? # œœ œ œ b œœœ œ
œ œ œ
œ bœ œ œ œ œ œ œ œ œ œ Œ Ó
# 164
& ww œœ Œ Œ œœ ww Ó Œ
165 166 167
w œ œ w œ
now. Right now. Right
# > > > > >œ .

& Œ œ œ œ. œ œ ‰ œj œ œ œ Œ œ œ œ. œ ‰ œj œ œ œ̆
J > . > fl J >
ƒ
(√) >˙˙ . >˙˙ .
œœ >œ œ œœ œœ >œ œ œœ
# ˙ .. œ̆ ‰ ‰ œœ œœ œ̆ ˙ .. œ̆ ‰ ‰ œœ œœ œ̆
& Œ J J Œ J J
ƒ
GMaj7
C6 C/D GMaj7 C6 C/D
?# Œ ’ ’ ’ Û. Û Û Û ’ ’ ’ ’ Û. Û Û Û
J J
# 168 ww ww
& w w
169
now!
&
# >œ œ œ œ̆ ‰ œ^ ‰ œ^
J ‰ œ^ ‰ œ^
J
>œ œ̆
J J
(√)
ww ww
# w w
&
˘œ ˘œ ˘œ ˘œ ˘œ ˘œ ˘œ ˘œ ˘œ ˘œ
GMaj7 FMaj7 GMaj7 FMaj7 GMaj7 FMaj7 GMaj7 FMaj7
œ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? # œœ œ œ œ ‰ œ ‰ œ ‰ œ ‰ œ œ œ &
# 170 w
& ww ∑
171
# >œ œ œ œ̆ >œ œ^ ^
& Œ Œ Ó
œ
(√)
œœ^
ß
œœœ̆ œœœ̆ œœœ̆ œœœ̆ ~~
# ~~~ œ
& Œ ‰ J ∑
ß ß
˘œ ˘œ
GMaj7 FMaj7 GMaj7 G(no3)
#
& œœœœ œœ
œœ œœ
œœ
œœ
œœ Œ œœ œœ ? Œ œ
Ó
fl fl fl fl œ
fl
Applause, Segue
No. 11
NO #11 - CUT
& 44 ∑ ∑ ∑
∑ ∑ ∑ ∑
4
&
∑ ∑ ∑ ∑
8
&
∑ ∑ ∑ ∑
12
&
∑ ∑ ∑ ∑
16
&
∑ ∑ ∑ ∑
20
&
∑ ∑ ∑ ∑
24
&
∑ ∑ ∑ ∑
28
&
-123-

12
Mystery III
(h= 85)
b .. ..
&b C ∑ ∑ ∑ ∑
1 2 3 4
b
HARP (Sounds loco) + CELESTE (Sounds 8va/HARP WITH WASHINESS
&b C ∑ ∑ .. ∑ ∑ ..
P
? bb C .. œ ..
(Harp)
œ. Œ Ó œ. Œ Ó Œ Ó œ. Œ Ó
+Gtr.
.
w ww 7 w ww
bb 5 ww .. ww
Vibes
& w w ..
6 8
b œ œ œ œ ˙ .. w ˙
&b œ
œ œ œ ..
(Harp (loco) + Celeste (sounds 8vb)
? bb Œ Ó Œ Ó .. œ Œ Ó Œ Ó ..
œ. œ. . œ.
ww ww ww ww
b ww ww ww
& b w œ
9 10 11 12
œ œ œ œ
P
Cl.
ggg w w w w
& bb gg w w w w
? bb Œ Ó Œ Ó Œ Ó Œ Ó
œ. œ. œ. œ.
-124-
Piano-Cond. —2—Mystery III Vanities
Steady, A Tempo - Maybe A Bit Slower q = 156
bb 13 j jj j
œ œ œ Ó Ó Œ
& œ œ œ œ œ
14 15 16
œ œ œ œ œœ œ œ
Look - ing past the mir - ror, try - ing not to judge your face
bb n www
w ww b ww
& ww ww
Vibes
w w
b
B 2 C/B b b b b
? bb
E m/B B 2
œ. Œ Ó œ. Œ Ó œ. Œ Ó œ. Œ Ó
b
&b Œ ∑ ∑ œ œ œ
17 18 19 20
and your hair. Turn - ing from the mir -
b w w w w
&b ww ww ww ww
b
B 2
? bb Œ Ó Œ Ó Œ Ó Œ Ó
œ. œ. œ. œ.
b j
&b œ Ó ∑ Ó Œ œ bœ œ bœ œ
21 22 23 24
œ œ œ œ œ J
- ror... Think - ing less a - bout the clothes
b n www ww ww w
&b w ww ww
b ww
? bb Œ Ó
œ. œ. Œ Ó œ. Œ Ó œ. Œ Ó
-125-
bb 25 œ œ œ ˙ w ∑ ∑
& J
26 27 28
J
you wear.
(Harp + Celeste)
œ œ bœ œ œ œ œ œ œ bœ œ œ œ
b J J
&b J J
? b œ Œ Ó Œ Ó Œ Ó Œ Ó
b . œ. œ. œ.
bb 29 ∑ ∑ ∑ ∑
&
30 31 32
bb œ œ œ b œ œj œ j œ œ œ œ œ œ œ œ œ b œ œj œ j œ œ œ ˙
Cl.
& œ œ œ œ
ggg ˙ ggg ˙ ggg ˙ ggg w

bb ggg ww
˙ gg ˙ gg w
˙ gg ˙ gg ˙
& gg
P cresc.
. . . . . . . . Œ
? bb
œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œœ œ
Bs. w w w ˙
bb ˙ ˙ œ œ œ œ Œ Ó Œ ‰ œ
&
33 34 35
J
It's a mys - ter, y... we
bb ggg | œ œ œ ˙
Gtr.(arp) Bells
&
b b œœœ ... œœ ˙˙
œ ˙
& b œœœœ
œœ b www
œ œœ œ J
F P
b
? bb ˙ . œ œ bw œ.
Gm7 A
bw œ ˙ ?
w & J
-126-
b œ bœ jœ œ
&b œ œ w w ˙ Œ œ
36 37 38 39
J
learn it year by year. Take
bb ∑ œ bœ Œ œ
ACTRESSES WHO PLAY JOANNE/MARY:
& œ œ œ b ww ˙˙
Learn it year - by year. Take
b
& b ∑ ∑
Cl.
œ jœ j œ œ bœ ˙
œ œ bœ œ bœ bœ
P
b œ ww ww
& b b œœœœ œ œœœ b œœœ œ œ œ w w
œ œ œ œ
F
D bMaj7 æ̃ b
Ó bw w
? bb b w bw
Cym G Maj7
bb 40 œœœœ œ
& Nœ œ œ œ œœ œ œ ˙
nœ. J
ww
41 42 43
ti - ny stepsand make course - cor - rec - tions ask - ing...
b œœœœ œ
&b Nœ œ œ œ œœ œ œ ˙
nœ. J
˙ ˙
b œ
ti - ny stepsand make course - cor - rec - tions ask - ing...
œœ œ œ œ œ
œ œ œ œœ œ œ œ œ nœ œ œ
Cm7 B 2/D
b œ œ œ œ œ
& b œ œ Ó Œ
Fl.
œ œ
Gtr. cresc. F 7
b œœ œ œœ œœ œœœ œ œ œœ œœ œ œ œœœ œ œ œœ œœ œ œ
œ œ
(Piano)
&b œ œ œ
b
æ
B 2/D
æ Ó
C 2/E
˙ nC/E
w
? bb w̃ w̃ nw ˙ n˙
Cym
-127-
P
œ Uœ Uœ
Rall. Colla Voce
bb ∑ .. w w ..
3x's
& œ œ œ
44 45 46 47
P
œ Uœ Uœ
Where do I go from
b
& b ˙˙ Ó œ œ œ .. w w ..
œ Uœ Uœ
Where do I go from
b .. w ..
&b ˙ Ó œ œ œ w
w ˙.
bb .. —www
Tri.
w ..
& Ó · Œ ww
Gtr.
bb œœ œ œ ˙˙˙˙ ˙˙˙˙ ....

Bell Tr
& Œ .. ∑ ∑ ..
œ
˙ ˙.
? b b Œw œ
F 7sus 4
Œ .. œ- . œ∑. ∑ ..
J Ó - .
œ. œ Ó
J
Bs
bb ∑ ∑
& œ œ
48 49 50 51
œ œ œ nœ ˙
bb
Fi - a ruc - ci... Mar - y Quant...
& Ó ∑ Ó œ Ó
œ œ nœ ˙
Guc - ci... Cal - vin Klein...
b
&b Ó ∑ œ Ó Œ
œ œ nœ ˙ œ
Puc - ci Ralph Lau - ren... Gi -
n www www
WURLITZER
bb www www
(+Gtr.)
&
b b
w w w w
+Drs. B 2 C/B
? bb
(Rhythm)
œ- . œ. - œ. œ
J Ó
œ.
.
œ Ó
J Œ ‰ œJ œ. œ Ó
J J
-128-
b
&b Ó Œ
œ b˙.
∑ ∑ Ó
52 53 54 55 56
œ œ œ
b
Cas - si - ni... Lau - ra
&b ∑ Ó Œ
œ œ ˙
∑ ∑
œ
Yves Saint - Lau - rent.
b
&b œ b˙.
∑ ∑
œ œ
Ó ∑
b b www ww ww ww ww
ven - chy... Hal - ston...
& b w w w w
b
w w w w w
Cmb5 B Cmb5
? bb
œ. œ œ. œ
J Œ ‰ Jœ œ. œ Ó
J Œ ‰ Jœ
œ. ‰ Œ ‰ œ. œ Ó
J œ J
J
Repeat & Fade
b .. ..
&b Ó ∑ ∑ ∑ ∑
61
œ œ
57 58 59 60
Ash - ley
b .. ..
&b ∑ Ó Œ œ œ œœ œœ œ ˙ Ó ∑
Ba - len - ci - a - ga...
b .. ..
&b ∑ ∑ ∑ ∑ ∑
bb ww ww ww ww
.. ∑ ..
Gtr.
& w w w w
b
? bb w w w w
B
.. jÓ ..
œ Ó œ Ó œ Œ
‰
œ. œ. œ. œ. œ Ó œ. œ
J J J œ J
J
-129-
13
The Same Old Music


Warn: KATHY: I did? I haven't seen you since...
13
MARY: Sure you did.
The Same Old Music

KATHY: Six since college. Orchestrations by LYNNE SHANKEL
MARY: Jesus, time flies. (music in)
70's Pop, a la Carole King (in Two) h = 84

√
#### 1 œ bœ bœ n ˙˙
RHODES (sounds 8vb) / PIANO
C ∑ ∑ œ bœ ˙ ?
(straight 8ths)
&
2 (Rhodes) 3 4
œ ˙
p
ww w b ˙˙˙ b ˙˙ n ˙˙
E2 G7 C7 F7 Bm7 A/B
? # # # # (Piano)
C w w n ww b˙ n N ˙˙
˙˙˙
˙
+Bs.
####
Gtr (Elec.)
∑ ∑ Œ œ œ œ
œ œ
solo
& nœ
5 6 7 8
œ œ œ
P
ww ww œ bœ bœ œ n ˙˙ ˙˙˙
? # # # ww
# nw œ bœ n ˙˙
N
(Piano)
? ####
E(add2) G7 C7 F7
n˙
A/B
˙
Bm7
˙˙ . N˙ n˙
#œ œ
n˙ ˙
˙
Vamp JOANNE:..Did you ever think when we were girls we'd all be sitting here together in New York City?
##
& ## .. ..
KATHY: It never crossed my mind. (go on) 10
∑
9 1st x only
? # # # # .. ˙ẇ ˙˙ ˙ẇ ˙˙ ..
? # # # # .. ..
E(add2)
w w
Piano-Conductor —3— The Same Old Music Vanities
# # # # 11
A
& Œ ‰ j j j Œ j‰
JOANNE: 12 13
œ œ œ œ œ œ nœ œ œ œ œ œ
œ œ œ
w
? # # # # œœœ œœœ œœ œœ œœ œœ
Well, this is aw - ful nice. I'm glad you're fly - ing high, do - ing
œ œ œ œ œ nœ œ œ
#
? ####
E2 G m7 G2
w nw
+Drs
# # # # 14
& Œ ‰ j j œ j Œ ‰ j
15 16
nœ œ œ œ œ œ œ œ œ œ œ œ œ
well, sit - ting pret - ty. And this is par - a - dise, a
#### Ó œ ∑
& w
Bells
œ
P
wœ
? # # # # n ˙˙˙ œœ n œ œ œœ œ œœœ œ
œœ
œ œ
œœ
œ
#
? ####
G2/A E2 G m7
˙ w w
˙
# # # # 17
& œ œ
18
? # # # # œœœ œœ ˙ œ
gar - den in the sky with a view of the cit - y.
œ œ œ ˙˙ œ œ
# #
? ####
A2 F 7/A
w #w
# # # # 19 j
& Œ ‰ j jœ nœ œ œ œ œ œ
20 21
nœ œ nœ œ œ œ œ œ
b n œœœ œœœ b n œœœ œœ œ œ
n œœœ œ œ
œœ
It took us long e - nough, but here we are to - day,
? #### œ œ œ œ œ
E2/B
Ó Œ
? ####
C7
œ
nw n œ˙ . n œ ˙ nœ n ˙w.
Bs Clar.
nœ
# # # # 22 Ó Œ ‰ j œj œ j j j
& ˙ nœ œ œ
œ œ
23 24
œ œ œ
and we've got so much stuff to say.
#### Œ œ Ó
& œ œ œ
Gtr.
w ˙
œœ œœ œœœœ œœœ # œœœœ œœœ

? # # # œœ
# œ œ œ œ œ œ œ
# #
? ####
E2/B
w F 7sus4 F 7
˙. œ ˙. œ ˙ ˙
# # # # 25
Accel.
& w Œ œ
26
œ œ œ
˙˙
˙˙˙˙ ˙˙˙˙
We're sing - ing the
#
? ## # N ˙ ˙
+Gtr. (rhythm
˙˙˙
? ####
B7sus4 B7 Light Dr. fill
> > > > > > > >
Light Dixieland Feel,
# # # # 27
B
With a 70's Pop Twist (h = 94)
j Œ j
& ˙ œ. œ œœ œ œ œ
˙ œ. œ œœ Œ œ œ œ
28 29 30
same old mu - sic, feel - ing that old - time spir - it, prov - ing that
. œ˘œœ # œœœ œœ # œœ. œœ

HONKY TONK PIANO / PIANO
? # # # # ˙˙˙˙ œœœœ̆ œ œœœ œœœ œ œœœ œœœ ˙˙˙

œ. œœ œ œ œ.
(swing 8ths)
˙ œ œ
(Piano)
# #
Tutti
F E2
? # # # # (Piano) Œ
F 7sus4 F 7
Œ Œ Œ Œ Œ
œ œ œ œ œ œ > œ œ
+Bs Clar
> > > > >
# # # # 31 œ œ n œj œ j Ó Ó
& n˙ œ œ œ
32 33 34
˙ œ ˙
> >
>˙˙ œœœœ œœœœ ‰ œ>œœ ‰ j
time has left us just the same. And if you
# n
? ## # ˙ ˙ œœœ œ j j
J & œœ œœ œœ ‰ œœ ‰ œœ œœ œœ ‰ œœ ..
œ œ œ. œ œ œ œ. œ.
> > >
? #### œ œ nœ
œ Œ œ Œ œ Œ Œ Œ
A7 B7sus4 E
œ œ œ œ œ nœ
œ > > œ œ
> œ œ > > >
# # # # 35 j j
& ˙ œ. œ œ œ Œ œ œ œ ˙ œ. œ œœ Œ œ œ œ
36 37 38
œœ # ˘œœ
think we're ag - ing, bet-ter not let me hear it. Hon-ey, you
####
>
n œœ œ
>œ
œ
>œ œœ >œ œ œœ. œœ œ œœ œ # œœ
œ œ
œ œœœ J œ ‰œ œ œ Ó
(Honky-Tonk)
& ‰ J ‰J
# # #
? ####
C m7
F 7sus4
Œ
œ Œ
Œ œ Œ Œ Œ
F 7
œ œ œ
œ > œ œ œ œ œ œ œ
> > œ > œ œ
> >
# # # # 39
n œ œ œj œ œ
j Ó ∑
& n˙ ˙
40 41 42
˙
know that is - n't why I came.
## j >.
& ## ∑ ∑ Œ œ # œ. ‰ n œ Œ ˙
Bs Clar
œ > >
fl
F
#### > j
Û Œ œ #œ ‰ nœ Œ ˙.
light comp.
& ’ ’ ’ ’ ’ ’ ’ ’ œ ˙
> ‹ œ. # >œ >.
? ####
A7 B7sus4
œ Œ œ Œ œ Œ œ œ œ Œ Ó Œ œ
œ > œ œ œ œ #œ
> > >
# # # # 43
Œ œ j j j Ó
& œ œœ œ œ œ œ œj
44 45 46
œ œ œ œœ ˙
I'm not the type for slow-ing down and feel-ing sad.
##
& ## w w w
∑
P
#### (Piano) (straight 8ths)
j
& œ œ
œœœ œ œœ œœ œ œœœ œ œœ œœ œ œœœ œ œ œœ œœ œ œ # œœ œ œ œ œ # œœ ..
P# œ œ œ œ
C #m2/B G #7
? # # # # (Piano)
C m2 A2
œ œ œ ˙ #œ #œ
˙ œ ˙ œ ˙ œ ˙ #œ #œ
# # # # 47 Œ
& œ œ œj œ œj j œ œj œ œ œ œ œ
œ œ
48 49 50
œ œ œ œœ œ
œ¯ # œ¯ œ¯
I'm hold - ing out and hang-ing on to what we had. So play me that
#### Ó Ó Ó
(Honky-Tonk)
Œ œ #œ œ
& ˙˙˙ ˙˙˙ ˙˙˙
˙ ˙ ˙
F C #m2 > # > > G #7
? # # # #Gtr Û
C m2/B A2
Û Û Û Û Û Û Û Û Û (Piano)
œ. ˙ . œ œ œ œ
> œ. ˙ . œ. ˙ . œ œ œ œ
> > > > > >
# # # # 51 j j
& ˙ œ. œ œ œ Œ ˙ œ.
œ œ œ œ
52 53
same old mu - sic, throw me that old - time spir -

# ## ˙.
& # ∑ ∑ Œ
Cl.
F
>œœ > > > > >œœ > >
#### œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œœ œ œ œœ
(swing 8ths)
& ‰ J ‰ J
F #
? ####
E6 F 7sus4
Œ Œ Œ Œ Œ
œ œ œ œ œ
œ œ œ >
œ > œ œ >
> >
# # # # 54 œ j j
& œ œ Œ œ œ œ n˙ œ nœ œ
55 56
˙ œ
- it, show me that time has kept us in the game.
## œ
& ## œ œ œ nœ œ œ œ w œ Œ Ó
f fl
>œœ >œœ ˙ √
#### # œ œ œ œ œ œ n ˙˙ ~~~~ ss~. ~~~~~ œ̆
li~
& ˙ ~~~ Œ Ó
G
F #7
> >
B7sus4
? ####
A7
Œ œ Œ œ Œ Ó
œ œ œ œ
œ œ œ Œ œ
> > > V.S.
# # # #57 .
Tempo 1 (h = 84)
& . w ∑ ∑ ∑ ..
58 59 60
√
#
## # . œ bœ bœ n ˙˙ ..
RHODES (sounds 8vb) /PIANO
. ∑ ∑ œ bœ ˙
(straight 8ths)
&
(Rhodes 8vb)
œ ˙
ww ww b ˙˙˙ b˙ n ˙˙
E2 Bm7
˙˙
#
? # # # .. ww b ˙˙
(Piano) G7 C7 F7 A/B
nw n N ˙˙ ˙˙ ..
JOANNE: New York must be a wonderful for single girls. Isn't that right, Mary?
MARY: It's an absolute haven for horny girls.
#### .
Vamp JOANNE: [Uncomfortable laughter.] (go on)
. ? ..
&
61 (Piano) 62
˙ẇ ˙˙ ˙ẇ ˙˙
? # # # # .. ..
E(add2)
w w
# # # # 63 Œ
C
& ‰ j jœ j Œ ‰ j
64 65
œ œ œ œ œ œ œ nœ œ œ œ œ œ
œ
wœ œ œœ œœ œ œœ œ
? # # # œœ
# œœ œ n œœ
And look at what we've got. So man - y things to share could - n't
œ œ œ œ œ
#
? ####
E2 +Drs G m7 G2
w˙ . w nw
œ œ ˙. œ ˙. nœ
# # # # 66
Bs
& Œ ‰ j j œ j Œ ‰ j
67 68
nœ œ œ œ œ œ œ œ œ œ
wait an - y long - er.
œ œ
And we've been through a lot.
œ
A
##
& ## Ó œ œ œ ˙ œ
Gtr solo-esque
œ œ œ ˙ œ œ œ œ
F
wœ
? # # # # n ˙˙˙ œœ n œ œ œœ œ œœœ œ
œœ
œ œ
œœ
œ
#
? ####
G2/A E2 G m7
˙ œ
w˙ . w
˙ ˙ œ
œ œ ˙. œ
# # # # 69
& œ œ
70
lit - tle wear and tear, but we're good, e - ven strong - er.
# ##
& # w w
˙ œ
? # # # # œœœ œ
œœ œ ˙˙ œ œ
œ &
# #
? ####
A2 F 7/A
w #w
˙. œ #˙. œ
# # # # 71 Œ
& ‰ j œj œ n œj j
œ œ j j œ œj œ œ
72 73
nœ œ œ nœ œ œ
√
You van-ished bit by bit... You dis - ap - peared from sight...
#### aœ œ œœ œ
œ œ œ
(Rhodes)
&
b n œœœ œ œœœ
œ b n œœœ œ ˙˙
? #### nw ˙. Œ
C7 (Piano)
n œœœœ œ œœ
&
œ œ
# # # # 74 j
& ˙ Ó Œ ‰ j œj œ nœ œ œ œ œ
75 76
œ œ
but we came out of it al -
####
∑ ~~~~~ ˙
Cl.
& w ˙ ~~~~~~~~~
(√) F
œ ˙
## # œ
# œœ ˙
&
(Piano)
œœœ œœœ
# œœœœ
œœœ
p œ œ œ œ œ
#
F #7
####
F 7sus4
?
&
(Piano)
œœ œœ ˙. œ ˙ ˙
œœ œ œ œ
Piano-Conductor —10—The Same Old Music Vanities
# # # # 77
Accel.
& w Œ œ
78
œ œ œ
right. We're sing - ing the
#### >.
˙ œ
>
œ Œ œ œ
& nœ œ œ œ
Í f F
#### ˘œ
HONKY TONK PIANO / PIANO
Œ œ̆ œ œ
&
(swing 8ths)
œ
(Honky-Tonk)
N ˙˙˙˙ ˙˙ œ œ
˙˙ +Banjo
? ####
B7
B7sus4
(Piano)
> > > > > > > >
# # # # 79
D
j j
Poco Piu Mosso h = 96
& ˙ œ. œ œœ Œ œ œ œ ˙ œ. œ œ œ Œ œ œ œ
80 81 82
same old mu - sic, mak-ing that old - time mag - ic, prov-ing that
## ˙ œ >œ ˙ œ >œ
& ## œ Œ œ œ nœ œ œ
œ œ œ œ œ nœ œ œ
œ
F
œœ œ œœ œ œœ œœ # œj ˘˙˙ œœ # >œœ œ œ
‹œ #œ œ œ œ œ œ
Solo fill (Dixieland)
#### w œ œ œ
& w ‰J ‰ J
æ
# #
? #### Œ Œ Œ Œ Œ Œ
E2 F 7sus4 F 7
œ > œ œ œ > œ œ
> > > >
# # # # 83 œ n œj œ j
& n˙ œ Ó Ó
œ œ œ
84 85 86
˙ œ ˙
time is eas - y to re - sist. When you see
## ˙ ‰ j œ̆ b œ œ. ‰ œj
& ## ˙ œ̈ Œ Ó ˙
œ >
˘œ f
#### n œœ œœ œœ œ n œœ œ >œœ œœ. >œœ ˙ œ¯
& Œ ‰ J œ
œ ‰J ˙ Ó Œ œ œœ œ
œ <
<
? #### œ œ
œ Œ œ Œ Œ Œ Œ nœ
B7sus4 E
œ œ
A7
> œ œ œ œ œ œ nœ
œ > œ œ > > >
>
# # # # 87 j j
& ˙ œ. œ œœŒ œœ œ ˙ œ. œ œœ Œ œ œœ
88 89 90
folks get old - er, is - n't that kind of trag - ic? Does-n't it
# ##
& # Œ
œ œ œ œ œ œ œ nœ œ ˙. œ #œ
Œ Ó
< < < < < > œ
F >
œœ œ œœ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œœ œ œœ œ œ
#### œ œ œ œ #œ œ œ œ œ œ œ œ
& ‰J ‰J
# F # #
? ####
C m7 F 7sus4 F 7
œ Œ œ Œ œ Œ œ œ Œ Œ Œ
œ > œ œ œ œ œ œ œ
> > œ > œ œ
> >
# # # # 91
& n˙ n œ œ œj œ œj ˙ Ó ∑
92 93 94
˙
make you wan - na slit your wrist?
#### ∑ Ó ~~~~~~~~~~~~~~~~œœ œ # œ. ‰ n œj Œ
>.
˙
˙˙ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ
Banjo (slide) Cl.
&
n ˙ ~~~ œ > >
fl F
f
#### light comp.
>
Û Œ œ # œ ‰ n œj Œ ˙ .
& ’ ’ ’ ’ ’ ’ ’ ’ œ ˙
> ‹ œ. # >œ >.
A7
Œ
? ####
B7sus4
·æ.
Cym.
œ Œ œ Œ œ Œ œ œ œ Œ Ó ∑
œ > œ œ œ
> > >
V.S.
# # # # 95 j
& Œ œ œ œj Ó
96 97 98
œ œ œ œ œ œ œ œ œœ ˙
####
Thank God we're look-ing good, all chic and dressed to kill.
& w w ∑ ∑
P
# # # # PIANO (straight 8ths) j
& œ œ œ
œœœ œ œœ œœ œ
œ œ
œœœ œ œœ
œ
œœ œ
œ
œ œ # œœ œ œ œ œ # œ ..
C #m2 C #m2/B G #7
? #### œ
A2
œ œ ˙ #œ #œ
˙ œ ˙ œ ˙ œ ˙ +Bs.# œ #œ
# # # # 99 Œ j
& œ œ œ œ œ j œ œ œ œ œ
100 101 102
œ^
I on - ly wish that we were back in high school still, but play me that
## ~
& ## ˙ ~~~~~~~
wÓ œ œ w œ œ ˙ œœ œ Œ ˙ ~~~
œ œ Ó œ œ Ó œ f
F
Gtr
#### Ó ~ ~
Ó Ó ˙ ~~~~~~
(Piano) (Honky-Tonk)
& ˙˙˙ ˙˙˙ ˙˙˙

˙ ˙ ˙ # ˙˙˙
F C #m2 > # > > -#
? # # # # +Drs
C m2/B A2 G 7
(Piano)
œ œ œ œ
œ. ˙ . œ. ˙ . œ ˙. œ œ œ œ
> > > > > >
# # # # 103 j j
& ˙ œ. œ œ œ Œ œ œ œ
˙ œ. œ
104 105
~
# # # # ~~~~ w
same old mu - sic, sum-mon that old - time mag -
œ œ œ œ Œ ˙.
& nœ œ œ œ
F
œ œ œœ œ œ œ œ œ
#### ‹ œ œ œ œ œ œ œ œ ‹œ œ œ œ œ œ œ œ œ ‹œ œ œ œ œ œ
(swing 8ths)
(Honky-Tonk)
&
~
#
~~~
F(Piano)
? ####
E2 F 7sus4
Œ Œ Œ Œ Œ
œ œ œ œ œ
œ œ œ >
œ > œ œ >
> >
# # # # 106 œ j j
& œ œ Œ n˙ œ nœ œ
œ œ œ
107 108
˙ œ
- ic, and I know time will van - ish in the mist.
# ## œ œ œ̈
& # œ œ nœ
œ œ œ n˙ ˙ Œ Ó
f
œ œ
#### ‹ œ œ œ œ œ œ œ œ œ >œ n >œ >œ œ˘œœ
& œ nœ œ œ Œ Ó
œ
> f
#
F 7
? #### Œ Œ Œ Œ Ó
A7 B7sus4
œ œ œ œ œ &
œ œ œ œ > œ
> > >
# # # # 109.
Tempo 1 (h = 84)
& . w ∑ ∑ ∑ ..
110 111 112
€
#### . œ bœ bœ œ
RHODES (sounds 15vb) / PIANO
& . ∑ ∑
(Rhodes sounds 15vb) (straight 8ths)
n ˙˙ ˙ ..
œ bœ ˙
####
E2 G7 C7 F7
Bm7
.. ? ..
A/B
&
(Piano)
ww w b ˙˙˙ b ˙˙ n ˙˙
ww n ww b˙ n N ˙˙
˙˙˙
˙
√
Vamp Cue to exit vamp: MARY: Cover to cover.
ẇ ˙ẇ
Vamp
#### . .. .. ˙ ˙˙ ˙˙
MARY: I don't even give mine time to sit. (go on)
& . ..
113 (Piano) 115
114 116
˙ẇ ˙˙ ˙ẇ ˙˙ (Rhodes sounds 15vb)
? # # # # .. .. w w
& ..
..
E(add2) E2
(Piano)
w w
+Bs Clar
# # # # 117
E
& Œ " ˙ œ.
j "
œ œ Œ œ œ œ
œ œ œ œ
118 119
œ
(√)
We're sing - ing the same old mu - sic, lov - ing that
U˙
# # # # ˙˙˙ "
HONKY TONK PIANO (sounds 15vb) HONKY TONK PIANO(loco) & CELESTE (sounds 8va) / HONKY TONK PIANO
œ "Ó
(Toy Pno.+Cel.)
& Ó œœœ œœœ œœœ œ œœœ

œ. œ. œ. œ œœ œ œ.œ
p
√
œ. œ. "
+Dr (rims)
# # # # U̇ " œ.
E2
& Ó ? Œ ‰ œ œ Ó
(Toy Piano)
J
+Bs Clar
# # # # 120 j "
& ˙ œ. œ œ œ Œ œ œ œ
n˙
121 122
˙
old - time laugh - ter, prov - ing that time has
# # # # œœ œœœœ œœœœ œ œœœ œ "Ó

& œ.œ œ # œœ œ # œœ. n œœœœ œœœ
œ.
œœœ
œ. œ
. . .
F #7sus4 F #7
? # # # # œ. œ. œ.
œ.
‰ Jœ œ œ.
A7
Œ "Ó Œ Œ
# # # # 123 j Ó "
Rall.
& œ œ nœ œ j Ó
œ œ œ
124 125
œ ˙
kept us in the pink. This is the
#### œ nœ œ œ U˙
& ∑ Œ œ bœ œ ‰ œ ˙ Ó
Gtr
æJ æ
√
#### œœ. n b œœ œœ. #œ U̇˙
œœœ Œ Ó
(Honky-Tonk sounds 15vb)
‰ œ ‰ Jœ " Ó
& œ J
>
> U "
? #### œ
B7sus4
Œ Ó ∑ Ó Ó
E
# # # # 126 j " j "

& ˙ œ. œ œ œ Œ œ œ œ ˙ œ. œ œ œ Œ œ œ œ
127 128 129
per - fect end - ing, hap - pi - ly ev - er af - ter. Fun-ny how
####
œœœ "Ó œœ # œœ " Ó
(Toy Piano & Cel.)
& œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ # œœœ œ œ œ.
œ. œ. œ. œ œ . œ. œ. œ. œ
# # #
œ.
œ. ‰ Jœ œ
C m7
œ. "Ó œ. Œ
F 7sus4 F 7
#
? ## # œ. ‰ œJ œ œ. "Ó
(Toy Piano) +Bs Clar
# # # # 130
A tempo (h = 96)
j j Ó
& n˙ nœ œ œ œ ˙
131 132
˙ œ
√
old friends al - ways make you think,..
œ # œ. .
#### œ ‹ œ ‰ # n œœ
HONKY TONK PIANO (sounds 15vb) / RHODES / PIANO
n ˙˙˙˙ ˙˙˙ n ˙˙˙˙ ˙˙˙ Œ œ.

(Rhodes) (Honky15vb)
& J
- -̇ - -̇
A7
? ####
(Rhodes)
w w (Piano)
˙ ˙
˙ ˙
> >
# # # # 133 j
& ∑ Œ j
œ œ œ œ
134 135
œ œ œ œ œ
It's nice to sip cham - pagne– That's
#### n >œ œ. >

Œ œ. œ œ œ œ ‰ Jœ w w
Sop. Sx
&
f F P
# # # # PIANO n >œ >œ œœj
(straight 8ths)
œœœ
& Œ œ n œœ œœ # œœœ œœ œ œ œœœ œ œœ œœ œ œ
œ J > œ œ œ œ œ œ œ
f
#
? #### Œ
C7
nœ œ a˙ œ
B C m2
œ œ
œ nœ œ a˙ œ ˙ œ
> > >
# # # # 136
& Ó Œ
œ œ
137 138
œ œ œ œ œ ˙ œ œ
some - thing Ted for - bids. It's nice to spend
# ##
& # ∑ ‰ j œ œ œ wÓ œ œ
œ #œ œ œ
P
#### j
Gtr
& œ œ œ
œ œ # œœ œ œ œ œ # œ .. œœœ œ œœ œœ œ
œ œ
G #7 C #m2
? #### œ
A2
œ ˙ #œ #œ
˙ œ ˙ #œ #œ ˙ œ
# # # # 139 j j ‰ œj œ œ œ
& œ j œ œ œj œ œ œ
140 141
œ œ œ œ œ
#### Œ œ̈ Ó
a cou - ple hours with - out my kids. So gim - me that
& wÓ ˙ œ. ‰ ˙˙
œ œ
lide
Ó
Gtr s
cresc. œ œ #˙
>œ >œ ‹ >œ >œ

HONKY TONK PIANO + XYLO (sounds 8va) / PIANO
####
(swing 8ths)
˘œ
œœœ œ œ œœ Ó
Œ œ œ ‹œ œ
() ()
()()
& œ
(Honky + Xylo) ()
œœ œ œ œœ œœ œ œ .
C #m2/B
#
#
? ## # j
œ Ó Œ
A2 G 7 (Piano)
œ œ œ œ
˙ œ œ. œ œ œ
fl > >
# # # # 142 j j
& ˙ œ. œ œ œ Œ œ œ œ ˙ œ. œ œœ Œ œ œ œ
143 144 145
same old mu - sic. Gim-me that old - time laugh - ter. Guess I have
## ˙. œ œ œ œ ˙. œ œ œ œ
& ##
Big Bend Big Bend
Œ nœ œ œ œ Œ nœ
Sop. Sx
œ œ œ
f
œ œ œœ œ œ œ œ œ œ œ
#### ‹ œ œ œ œ œ œ œ œ ‹œ œ œ œ œ œ œ œ œ ‹œ œ œ œ œ œ ‹œ œ œ œ œ œ œ œ
&
F
# #
? #### Œ Œ Œ Œ Œ Œ
E6 F 7sus4 F 7
œ > œ œ œ > œ œ
> > > >
# # # # 146 œ j j œ #### #
& n˙ œ nœ œ #
œ œ œ
147 148
˙ œ œ
~
#### ˙ ~~~~~~~~~~~~~~ #### #
time for one more ti - ny drink. And ring out the
& ∑ ∑ Œ œ̈ #
œ^.
ƒ f
nœ #œ nœ #œ
#### ∑ œ. œ nœ #œ nœ #œ #### #
& œœ Œ Ó Œ #
p
#
sub.
œ.
+Siren Whistle
? #### #### #
B7sus4
Œ Ó Œ Ó Œ œ
A7 E B/C
œ #
œ œ œ œ
> fl œ œ
F Go Nuts! > >
# # # # # 149 j j
(Dixieland madness)
& # ˙ œ. œ œœ Œ œ œ œ ˙ œ. œ œœ Œ œ œ œ
150 151 152
same old mu - sic, bring out the old - time spir - it, show me that
## # w ˙ w w
& # ## ‹˙
>œœ >œœ >œœ >œœ >œœ œœ > # œ >œœ œ >œœ œ >œœ >œœ >œœ
#### # ‹œ œ œœ œ œ ‹œ œ >
œ œ œ œ œ œ #œ œ œ œ
& #
ƒ #
# œ>œœ >
œœœœ
>
œœœœ
>
œœœœ
> >œœ >
? #### # œ # œœœœ œœ # œœœœ
G 7
œ
F 2
# œ œ œ œ œ
œ œ œ œ œ >
> > > > > > > >
# # # # #153 œ œ j j œ œ
& # n˙ ˙ nœ œ œ œ Œ
154 155
n >œ œ œ >œ œ œ >œ œ ^

time won't change us, not one bit–– not one––
## #
& # ## œ̈ œ̈ Ó Œ œ Ó
ß
œœ œœ œœ >œœ
#### # œ n œ œ œ œ œ>œœ œœ n >œ œ > œ>œœ
& # œ œ œ ‰ œœ Œ œ Ó
J
> > # F #
? #### # n œœœœ œœœœ Ó Œ Ó
œ œ
B7 C 7sus4 F (nochord)
# œ œ
œ œ œ œ
> œ > > œ
> >
# # # # # 156 œ œ 3 4
& # Œ nœ 4 Œ Œ 4
157
¿
not one bit.
^
(woozy) Whoa...
# ## # 3 ¿ 4
& # # Œ Ó Œ Œ
Vibraslap
œ 4 4
ß
#### #
^ ^ ^
œ œ 3 4
(Honky + Xylo)
& # Œ ∑
œ
œœ
œ
œœ a œn œœœ 4 4
# #
(Piano)
? #### #
43
Œ Ó Œ Œ 44
F sus4/C
#
œ œ
œ œ
> >
# # # # # 1584 j
& # 4 Œ Œ Œ œ nœ œ œ a˙ œ. œ œœ Œ œ œœ
159 160 161
¿ n¿
No, sing me that same old mu - sic. All of us
#### #
# 44 ∑
Sop Sax
^œ. œ œ œ œ nœ #œ Œ
>˙ œ̆ œ̆ œ̆ Ó
&
(headache) Oh, shit.
#### # 4 Ó Œ nœ j
& # 4 Œ Ó ˙ œ. œ œœ Œ Ó
KAZOO (PLAY!!--NOT A PATCH)
~~ œ
>œœ >œœ >œœ >œœ >œœ
#### # 4 n œœœ. ~~~~~~~~
‹œ œ œ œ œ œ ‹œ œ œ >œ œœ
œ Œ Ó Ó ˙~~~~~
& # 4
ƒ
f # œ>œœ > > >
? # # # # # 44 n œ.
#
œ œœœœ œœœœ œœœœ
Dr. fill
Œ Ó œ
C 7sus4 F 2
# œ œ
œ œ. ˙ œ œ
œ ˙ œ œ œ œ
> > > > >
# # # # # 162 j Œ
& # ˙ œ. œ œ œ œ œ
163
œ
3
need to hear it. If there was
## # >˙ œ̆
& # ## Œ œ̆ œ̆ Ó
#### # j
& # ˙ œ. œ œ œ Œ Ó
>œœ >œœ >œœ >œœ >œœ
#### # œ> # œ œ œ œ œ œ #œ œ œ œ
& #
G #7 >œœ >œœ >œœ
? #### # # œœ œœ # œœ
# œ œ
œ œ œ œ
œ œ œ > œ
> > > >
# # # # # 164
& # nœ.
j
œ œ œ w w Œ œ n œj œ œj
165 166 167
ev - er a time... well, this is it.
## # ^ >. a œ¨
& # ## œ.
j
œ œ œ
˙ œ ‰
J œ nœ nœ œ œ
œ #œ ‹œ Œ Ó
Í f ƒ
n >œ >œ >˙ ˘œ
œ œ >œ n œ œ a œ
#### # nœ œ œ ˙ œ #œ ‹œ
Ó œ œ œ Œ Ó
& #
ƒ
C #7sus4 C# #
> > Í
n œœœœ œœœœ
B7 C 7
? #### # Ó œ Œ Ó
# œ
œ
œ ˙æ œ œ œ œ œ
> œ ˙ œ œ œ œ >
> > > > >
# # # # # 168
G
Ó j
& # w œ œ œ a˙ œ. œ œœ ˙.
169 170 171
Gim-me the same old mu - sic...
## #
& # ## ∑ ∑ ∑ ∑
#### # j j
œœ Œ Ó Œ Ó
KAZOO (PLAY!!--NOT A PATCH)
& # ˙ œ. œ ˙ œ. œ œœ
>œœ >œœ >œœ >œœ >œœ œ > > >œœ >œ >œ
#### # ‹œ œ œ œ œ œ ‹ œ œ œ >œ œ >œ # œ œœ œ œ œœ œ œ œ #œ œ œ œ œ œ
& #
ƒ F #2 > > > >
#
>œœ >œœ >œœ
œœ œœœœ œœœœ œœœœ
G 7
? #### # œ œ # œœ œœ # œœ
# œ œ œ
œ œ œ œ œ > >œ
> œ > œ > > >
> >
# # # # # 172
& # ∑ Œ œ n œj œ œj œ Œ Ó ∑
173 174 175
^
œ. # >œ n œ œ^.
Yeah, this is it!
## # >œ ˙
& # ## ∑ ∑ ‰ Jœ ‰ J Œ
solo
f ƒ
#### # >
& # ∑ ∑ ‰ j œ. # œ n œ. ‰ œj ∑
slide
œ >
f
œœ œœ œœ >œ
#### # œ n œ œ œ œ œœœ̆ œœœ
& # Œ Ó ∑ Ó Œ
ƒ
# #
? #### #
B7 C 7sus4 F
# œ œ œ œ œ Œ Ó ∑ Ó Œ
œ œ œ œ œ œ
> > > > > œ
>

14
An Organized Life (1973)
Warn: KATHY: No, but I spent a couple of years hanging out in every singles bar
and then every therapy group on the East Side Orchestrations by LYNNE SHANKEL
MARY: I can't imagine you sitting still for a minute.
Slowly, gingerly, very freely (not fast) q»app.100

KATHY: I learned how. (music in)
4
& 4 .. ..
KATHY: They’re really good.
∑ ∑
1 Much more interesting than the Cliffs Notes. 2
CE:LESTE (Sounds loco) + HARP (Sounds 8vb)/SOFT RHODES (Sounds 8va)
& 44 .. ww b ww ..
(Rhodes 8va)
w b ww
C 2(no3)
? 44 .. ww ww
C 7sus 4
..
(Rhodes 8va)
+Vibes
& ‰ œ œ œ œ œ œ œ œ œ œj œ
‰
3 KATHY: 4 5
œ
œ œ œ
One by one, I made my way through all the great writ - ers... nov - els I on - ly had seen
& www b ww ww
b ww w
F 2/C
? ww www
C 7sus 4
ww
C 2(no3)
Œ ‰
& œ œ œ œ œ œ œ œ œ œj œ ‰
6 7 8
on a shelf. Then I came out here each night and
√
looked at the heav - ens...
Ó Œ œ
ww b ww
(Cel. + Harp)
& www œ œ
j
w b ww
? b ww ww ww
F m/C C 2(no3) C 7sus 4
Piano-Conductor —2— An Organized Life (1973) Vanities
& œ œ œ œ Œ
9
œ œ œ
10
œ œ œ œ œ
œ
(√) w
an - y - thing just to get out of my - self.
œ w b˙
j
& ˙˙
b ˙˙ ˙
B b/C
ww ˙
F 2/C
? ˙
G m7
w ˙ ˙
KATHY: Silly, but I don’t ever remember seeing the stars until I began to sit out here for hours on end.
& .. ..
JOANNE: What did you think about?
∑ ∑
11 3x KATHY: Death, eternity, even God. Another list. 12
& .. w www
..
ww
? .. w ..
F2
w
C 2/E
w w
KATHY: I wanted some miracle to tell me what it was I wanted.
42
∑ Ó ‰ 44
&
13 14 15
œ œ œ œ œ
I sat a - round all
42
∑ ∑ œ œ 44
&
Cl.
˙ Uw PIANO
˙˙ ww
42
Ó œœ 44
Vibes
& œœ
www œ œ
www u
? U œ
42 44
G/A C/E
œ
F2 C 2/E
ww w
w +Bs.
»
Piu mosso q
416
&4 œ Œ Ó ‰ Œ Ó ‰
120
œ œ œ œ œ
17 18 19
œ œ œ œ œ œ
day with - out the slight - est clue. It should - n't sound so
4 w ˙ œ œ w ˙
& 4 Œ ‰ œJ œ œœ w Œ ‰ œ œ œœ w
œ œ
J
4 wœ
œ œ œœ œ œœ œ
œ œ œ œ œœ œœ wœ
Gtr.
&4 œ œ œ œœ œ œ œ œœ œœ
œ œœ œ œœ œ
œ
œ œ œ œ œ
F F2
? 4 Œ. j œ ˙ Œ. j œ ˙ œ œ
D m7 C/E G/A C/E
œ œ œ œ
G 7sus 4
4 w œ œ w ˙ œ œ
˙ œ œ
& œ Œ Ó ‰ Œ Ó ‰
œ œ œ œ œ
20 21 22 23
œ œ œœ œ œ
sad. It's what I had to do. 'Cause I had worked so
w œ œ œ ˙ œ œ w ˙ œ
& œ w bœ œ œ œ
Œ ‰ J Œ ‰ J œ w
wœœ œ œœ œ œœ
œ œ œ œ œœ œ œ œœ œœ b b wœœ œ œœ œ œœ bœ n œœ œœœ
&
œ œ œ œb œ œœ œ
A b2
Œ. j Œ . b œj œ b œ ˙ n+Cym
œ rollœ
G/A C/E
œ œ œ ˙
F2
? œ œ
D m7 C/E
w ˙ bw b˙ nœ œ
œ œ
& œ Œ Ó ‰
œ œ œ œ œ Œ Ó 42
24 25 26
œ
long and I had tried so hard.
w ˙ œ œ
& œ w w œ bœ 42
Œ Nœ œ Œ œ
wwœœ œœ œœ œ œ œœ
+Bells
& œ œ œ œ œ œ œ œ œ œœœ œ b wœœ œ œœ œ œœ 2

4
œ œ œ
b
j œ
? Œ. j œ ˙ œ Œ.
F2 G 7sus 4 F 2/A
œ
B 2
œ œ œ œ 42
w ˙ œ œ bw
, ,
2
&4 ‰ j
27
4
4
28
œ œ œ œ œ œ
29
œ œ œ œ œ œ
œ œ œ
And I was so de - mand - ing, I was so re - lent - less, al - ways
2 ˙ 4 ∑ ∑
& 4 ˙ 4
4 U U
PIANO + TOUCH STRGS
2 œ. ‰
&4 œ. 4 ww ww
w w
+Cl's,Gtr.
˙ U
C 2/E
44 U
D m7
?2 w w
4 ˙ ww w
w
+Bs.
bbb
Colla Voce
& œ Œ Ó Œ
bœ bœ œ œ œ œ
30 31 32
œ œ œ œ bœ
in con - trol and nev - er let - ting down my guard. SOFT RHODES And
b b bœœœ œœœ œœœ œ ˙˙˙ bbb

solo
&
b b ww-ww b b b ww-w
A b2 B b 7sus 4
? bw w - b ww
b w- bw bbb
B
& bbb œ Œ ‰ œ œ œ œ ‰
3
33 34 35
œ
if that's how you or - gan - ize your ex - ist - ence, you have an
j j
Vibes
œœ ˙˙ ww œœœ ˙˙˙
b Œ. œ ˙ ww Œ.
&bb www ww www
E b2 E b sus4
p
? bb ww ww ww
b
bb 36 ‰
& b œ œ œ œ œ œ œ œ
3
œ
3
œ œ œ œ œ
37 38
œ
or - gan - ized ner - vous break - down. You get strung out and neu - rot - ic,
j
ww œ ˙ w
bb ww Œ. œœ ˙˙ ww
& b ww ww w
w
B b/D
? b w w w
bb w w w
b
&bb Ó œ nœ œ œ Œ œ œ œ œ œ œ œ œ œ
39 3 40 41
messed in the head. It's what you tried to tell me way

PIANO + TOUCH STGS.
b b ˙˙ wwww
&bb ˙
b ˙˙ ˙ ww
+Cl.
w w
B b m6/D b C 7sus 4
Œ
F m7
? bb b w œ ˙ w
b w w
b b42 j ,
& b j j ‰ œ œ œ œ œ nœ œ j j j j
œ œ œ œ œ œ nœ œ œ œ
43 44
œ
back in col - lege. Call it a bit - ter - ly hard - won know - ledge... There's
b
&bb ˙˙˙ œœœ œœœ ww ˙˙˙ n ˙˙˙
œœœ œ œ w
B b 7sus 4 B b7 G m7 C 7sus 4 C7
? bb ẇ ww
b œ œ œ w
b j
Dictated
&bb œ œ bœ œ j
œ œ œ œ œ bœ œ œ
45 46
œ
some - thing to be said for sim - ply liv - ing your
b j j j
&bb œ
b œœ ... b œœ œœ œœ œœ ww
œ œ œ w
G b2 A b 7sus 4
B b 7sus 4
j j
F/A
? b œ œ œ œ w
b b b b œœ .. œ œ nœ œ w &
J
Repeat & Fade KATHY: ...But I really didn't learn a damn thing in all our early years other than how
b
Under Dialogue be very, very popular. (music out)
& b b .. Œ Ó ∑ ..
47
œ
48
life.
b ww
bb b . www b ww
RHODES
& . ..
b
,Vibes ,
b
Gtr. (Tri.)
b
E 2(no3) E 7sus 4
& b b .. ww ww ..

15
Argument (Scene 3)
Warn cue:
MARY: Kathy's obviously not going to tell us the story so don't be confused. Let's not pry.
JOANNE: Champagne. Give me champagne. (music in)
Privately Reflective, But With A Light Staccato Pulse, (q=148)

MARY: Fill'er up, Kathy.
b b1 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& b 4 ∑ ∑ ∑ ∑
Gtr. 2 3 4
E b F/E b F /E
o b E b
ARCO STGS (sounds 8vb) / SOFT RHODES (sounds 8va) + CELESTE (sounds 8va)
b b 4 >˙˙ .. œœ n >œœ ww b >˙˙˙˙ ... œœœ >œ ww

(Rhodes + Cel 8va)
b
& 4 ˙. œ œ w . œ œœ w
p
b b5 Œ
b œ œ œj œ œ œ œj œ b œ œ œj œ
JOANNE:
& j j j
6 7
nœ œ bœ œ œ
You act all fine, like you're so great, but you got mean -
>˙ . œœ n >œœœ w b >˙˙ .. œœ >œœ

b ˙˙ .. œ œ www ˙˙ .. œœ œ
&bb
Vibes
b b o b b
Gtr. cont. sim.
b b >˙˙ .. œœ >œ ww b >˙˙˙˙ ... œœœ >œ

E F/E F /E E
& b ˙. œ n œœ w . œ œœ
b
&bb Nœ œ œ œ Œ œ œ œj œ j œ œ œj œ j
8 9 10
œ œ œ nœ œ bœ
- er and nas - ti - er. I draw the line, so get this straight,
ww >˙ . œœ n >œœœ w
bbb w ˙˙ .. œ œ www
&
Vibes
b b
b w >˙ . œœ >
n œœœ
ww
E F/E
& b b ww ˙˙ .. œ w
Piano-Conductor —2— Argument (Scene 3) Vanities
b j
&bb bœ œ œ œ j Nœ œ œ
11 12
œ œ œ œ œ
œ
you're not the per - son I thought you were.
b >˙˙ .. œœ >œ ww
bbb ˙˙ .. œœ œœ w
&
o b b
b b >˙˙ .. œœ >œ ww
F /E E
b
& b ˙˙ .. œœ œœ w
b b13 Œ
b œ œ œj œ œ œ œj œ b œ œ œj œ
JOANNE:
& j j j
14 15
nœ œ bœ œ œ
The things you say are things I hate, and now I've fin -
b j Ó
&bb œ œ œ œ œ œ œ œ
KATHY:
œ œ. œ œ bœ œ œ œ œ nœ
Grow - ing was bound to be pain - ful. That much was nev - er in doubt.
>˙ . > b >˙˙ .. >œ

œœ n œœœœ w
www
œ
œœœ
bbb
Vibes
˙˙ .. œ ˙˙ .. œœ
&
√
(Stgs 8vb) w w w
b w w w
&bb
b b o b b
+Bs. Cl. (8vb)
E F/E F /E E
bb b >˙˙ .. œœ >
n œœœ ww b >˙˙˙˙ ... œœœ >œ
œœ
(Rhodes + Cel)
& ˙. œ w . œ
b
&bb Nœ œ œ œ Œ œ œ œJ œ j œ œ œJ œ j
16 17 18
œ œ œ œ œ œ
b
- 'lly be - gun to see, that ev - 'ry day since we were eight,
&bb ˙ Ó j j
œ œ œ œ œ œ œ œ œ œ œ œ œ
bœ
Some - times it hurts to dis - cov - er what life is a -
ww
& b bb w
∑ ∑
(√) >˙ . >œ
w ˙˙ .. œœ ww
œ n œœ w
& bbb w
b b
b w >˙ . œœ >œ ww
E F/E
& b b ww ˙˙ .. œ n œœ w
b j
&bb bœ œ œ œ j Nœ œ œ
19 20
œ œ œ œ œ œ
b
how much you've al - ways made fun of me.
&bb ˙.
Œ ∑
bout...
bbb ∑ Ó Œ ‰ j
MARY:
& œ
(√)>
Jo -
b ˙˙˙˙ .... œœœ >œ ww

b œ œœ w
&bb
o b b
b b b >˙˙ .. œœœ >œ ww
F /E E
& b ˙˙ .. œ œœ w
b 21 Œ
b
& b œ œ œj œ j
j
œ œ œ œ j
j
bœ œ œ œ j
JOANNE: 22 23
nœ œ bœ œ œ
b j
Now I should go. It's get - ting late. I hope like hell
&bb œ œ œ œ œ œ œ œ Œ ‰ j
KATHY:
œ œ. œ œ œ bœ œ œ œ œ nœ
Calm - ly ac - cept - ing the fu - ture, and say - ing fare - well to the past.
bb b MARY: Œ
& ˙ ˙ ˙ ˙ ˙.
(√) > >
anne, you've gone too far...
> >
˙˙ .. œœ n œœ ww b ˙˙˙˙ .... œœœ œœ
b bb ˙ . œ œ w œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b b o b b
Gtr. (8va)
> >
Shaker
> E F/E
>
F /E E
b ˙. œœ n œœ ww b ˙˙˙˙ ... œœœ œœ

& b b ˙˙ .. Œ
œ
‰ œ w œ Ó . bœ Œ
œ‰ œ
œ œ
œ œ œ œ œ œ œ J
J
Bs. Cl.
b
&bb Nœ œ œ œ Œ œ œ œj œ j œ œ œj œ j
24 25 26
œ œ œ nœ œ bœ
b
I can find my car. Since you don't know, I sure won't wait
&bb ˙ Ó œ œ nœ œ j j
œ œ œ œ bœ
3
œ œ œ œ œ
Learn - ing that ev - 'ry - thing chang - es, and noth - ing can
b ˙
&bb ∑ Œ œ œ œ ˙
(√) >
What shit will you say
>
ww ˙˙ .. œœ n œœ ww
b bb w ˙. œ œ w
& œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ
nœ œ œ œ œ œ œ œ
b b
b b ww> ˙˙ .. œœ n œœ ww
E F/E
& b w ˙. œ‰ œ w
w œ Œ œ Ó
œ œ œ œ œ
J

b j
&bb bœ œ œ œ j œ œ w b
27 28 29
œ œ œ œ b œ œ œ
b bw w
for you to no - tice how blind you are.
&bb w
b
last.
b
&bb w w w b
. . . . . . . .
b œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ
next...?
b
& bb ∑ ∑ b
(√)> . . . . . . . .
b wwww www b œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ
ROCK PIANO + HARD E.P. / ROCK PIANO
b w
&bb b
loco
Aœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
F
F /E b
o
b b b ww> Ó
b wwww> ? bœ
(Rock Piano)
b ww œ œ
& b œ œ œ bb œœ b
+Gtr., Bs. > > >
b˙. w w
œ œ >
&b ∑ ∑ ∑
30 31 32
&b ‰ œj œ b œ œ Œ ‰ œj œ b œ œ Œ bœ œ œ œ œ
MARY:
œ œ œ œ œ
I can't i - ma -gine, I can't i - ma -gine, how you can live with your head
> >
& b Û̆ Œ Œ ‰ Û
J
∑ Û̆ Œ Œ ‰ Û
J
Gtr.,
Bs.
œ. œ. œ. œ. œ. . œ. b œœ.
œ b œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. b œœœ.
& b n œ œœ œœ œœ œœ
œ œ œœ b œ
œ
Rock Pno. + Hard E.P.
f sub. F b b b
F(addB) E /F B Maj7/F B m6/F
?b (Rock Piano)
Œ Œ ‰ j ∑ Œ Œ ‰ j
œ œ œ œ
œ œ œ œ
> > > >
&b ∑ ∑ ∑
33 34 35
&b ∑ Œ ‰ j Ó
KATHY:
œ œ œ œ œ
Ma - ry, stop it.
&b œ œ œ œ œ Œ ‰ œj œ ‰ j
œ œ œ œ bœ œ Œ
œ bœ œ œ
in the sand. I can't i - ma - gine, no, I can't i - ma - gine,
j ^ >
& b Ó ‰ bœ œ œ Ó Œ ‰ Û ∑
Ten. Sax
> J
b
.
œ
œ œœœ. œœœ. œœœ. œœœ. b >œ >œ >œ œ
œ
. œ
œ
. œ
œ
. œ
œ
. œ
œ
. œ
œ
. . b œœ.
œ
œ b œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ.
& b œœ œ œ œ œ bœ œ œ nœ œ œ œ œ œ œ b œ
f F(addB) b
E /F
?b Ó ‰ j Ó Œ ‰ j ∑
bœ œ œ œ
b œ œ >œ œ
>
> >
j œ j # 3
&b Œ œ œ œ Œ Ó 4
36 37
œ
Please let it go....
j j # 3
&b œ œ œ bœ œ œ œ œ œ œ bœ œ œ 4
all of these years and you still don't un - der - stand.
>j œœ
œ # 3
& b Û Œ Œ ‰ Û Û
b ‰œ œœ œ
œ œ 4
fl >œ œœ ‰ J
œ
Ten. Sax J
œ
>J
. v
Í> F > f
œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. b œœœ. . œœœ. œœœ. œœœ. œœœ. œœœ. >œ
b
& œ œ œ œ œ œ œ œ b œœœœ œ œ œ œ œ ‰ œœ
n # 3
4
J
f
b b b
?b # 43
B Maj7
‰ œj
B m6/D
Œ Œ ‰ j ‰
G(no3)
œ j
bœ œ bœ b œ >œ
fl > > > œ
>
+Bs
# 383 JOANNE:
j
& 4 ‰ œ œ œ nœ œ
4 ‰ œj œ n œ œ Œ bœ œ œ œ œ
4 œ œ œ
39 40
œ
I can't i - ma -gine, I can't i - ma -gine an - y - one be - ing as self -
# 3 4
& 4 ∑ 4 ∑ ∑
# 3 4
& 4 œ Œ Œ 4 ∑ ∑
˘œ > > >œœ

# 3
& 4 ∑ 44 # œœ Œ Œ œœœœœ N œœœ Œ Œ b
‰ œœ
Tutti
n œœ J
f
G7(addC#) C/G Cm/G
? # 43 ∑ 44 Œ Œ Œ Œ ‰ œj
œ œ œ
œ œ œ œ
fl fl fl fl
# 41œ j ‰ œj œ n œ œ Œ
43 ‰ œ œ œ n œ œ
œ œ œ œ Œ 44
&
42 43
œ
- ish as you. I can't i - ma - gine, I can't i - ma -gine,
# Ó ‰ ¿j ¿ j
43 ∑ 44 Ó Œ
& ¿ ‰
KATHY:
Jo -anne... Stop!
#
43
∑ ∑ 44 Œ Ó
MARY:
& ¿
What?
˘œ
ARCO STGS (sounds 8va) / ROCK PIANO + HARD E.P. / ROCK PIANO
#
‰ n # œœœœ 43 44 # œwœ œœœœ
(Stgs 8va)
& Ó Œ ∑ n œœ
J Œ Œ
(Rock Piano + E.P.)
> >
G7(addC#)
˘ >
Drs.
?# Ó 3 ¿ ¿ ¿ ¿ ¿ ¿ 44
(Rock Piano)
‰ j 4 Œ Œ
bœ œ œ œ œ œ œ œ œ œ œ
b œ œ >œ œ œ œ œ œ œ œ œ
Bs.
> > Bs.
fl . . . . . fl .
# œ
& œ œ bœ œ œ œ œ œ œ œ œ Œ
44 45
œ
how you lost hold of the girl that I knew.
# bœ œ œ
∑ Ó ‰
Ten. Sax
& J
F
j
ROCK PIANO + HARD E.P. / ROCK PIANO
# N wœ b œœ ˙ b œ
‰ bœ œ œ
(Rock Piano + E.P.)
& œ œ
>
Œ Œ ‰ J Ó > >œ œ
>
>
> j
C/G Cm/G
?# Ó Œ ‰ œj Ó ‰ œ œ
(Rock Piano)
œœ œœ b œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ bœ
fl . . . . . . fl . . . . . > > >
Half Time Feel

# 46 JOANNE: j j œ œj œ ‰ œ j j
& œj œ œ œ œ œ œ œ œ œ
47 48
œ J œ
Who we are, the things we do, they don't just dis - ap - pear.
# j
& ‰ œJ œ œ œ œ œ œ œ œ. Ó ‰ œj œ œ œ œ œ œ
MARY:
œ^
I keep my eye on the fu - ture... I know my con -science is clear.
# > œ. J
& w ˙. œ ‰ ˙
J
Í Í f
# j
Em2
& ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ œœœ ... œœœ

w b œœ
# o
F
Em2 Em2/D Em/C A 7/C
?#
cresc.
w w #˙. œ nœ
w #˙. œ nœ
# 49 j
‰ œj œ œ œ œ œ œ
4/4 Feel
& œ œ œ œ œ œ œ œ œ œ Œ
51
J
50
# j
And you don't have one im - port - ant thing in your life!
Œ Œ ‰ œ j Œ
& œ œ. œ œ nœ œ œ œ œ œ
j j
There's noth - ing I re - gret.
#
& ‰ œœ œœœ
œ Œ œ
‰ n œœ Ó Œ œ
n œœœ
œ
œœ Œ ‰ œj œ œœ
Tutti
b œœ œœ œ œ
> > > œ >œ >
>
j
F2(no3)
?# ‰ Œ ‰ j Ó Œ Œ ‰ œ œ
j nœ nœ œ
œ œ œ œ œ
œ œ nœ nœ œ > > œ
> > > >
# 52 ‰ b œ œ n
& œ œ œ Œ bœ œ œ œ œ
53
J œ œ œ
# n
I can't i - ma - gine how you can look in the mirror.
& ‰ bœ œ œ œ œ Œ bœ œ œ œ œ
J œ œ œ
œ˘œœ œ˘œœ
I can't i - ma - gine how you can look in the mirror.
# œœœ œœœ œœœ n

& bœ Œ ‰ œ œ œ œ Œ Ó
J
j
?# Œ ‰ b œ œ œ œ Œ Ó n
bœ œ œ œ œ
bœ fl
fl
MARY: Not much
j
of a tea party,
& œ œ œ œ # œj œ œ œ ‰ œ œ œ œ j Ó
was it?
œ J Nœ
54 55 56 57
J œ ˙
Well, Kath - y, thanks for this. I had fun see - ing you.
√˙- ˙˙- ˙˙- ˙˙- - ˙˙- ˙˙- ˙˙-

E.P. (sounds 8vb) + PIANO (sounds 8vb) / ICY PIANO (sounds 8va) / ARCO STGS (sounds 8va)
b ˙˙
(E.P. + Pno. 8vb)
˙˙
& ˙ ˙ ˙ ˙ ˙ ˙ ˙
sub. p
w
# www N www
ww
(Stgs 8va)
? w w
j œ œ œ ‰ œj 61 œ œ œ œ œ
& ∑ œ œ œ œ #œ J
58 59 60
J J
(√œ.) √-
˙- ˙- - ˙˙-
If I thought you did - n't care, I don't know what I'd do...
œœ solo ˙
˙˙ ˙˙- ˙ ˙ b ˙˙
& Œ Ó ˙ ˙ ˙ ˙ ˙
p
f >œ w w w
Sax, Gtr.,
j j>
? #œ œ œ # ww n ww
Bs., Dr.
‰ bœ œ w &
bœ #œ œ œ J
> >
MARY: Probably get drunk. JOANNE'S yell cuts off MUSIC
& w Ó b¿ b¿ ¿ ¿ Œ Ó
62 63 64
(√) w
˙˙˙˙
Oh you shut up!
b ww . . . >
& w N œœœ œœœ œœœ œœœ ∑
Gtr.
Ó
F f
(Icy Pno. + Marc. Stgs (8vb)
& b œœ. œ œœœ œœœ œœœ b œœœ œœœ œœœ ..

H.H. roll
‰ ? ∑
P
. . . < < >.
F f

16
Friendship Isn't What It Used To Be
Warn: KATHY: I thought at the very least, we might share a few laughs
CUE - MARY:: Oh, well ... Gotta run. Ciao! Love you. (music in)
Smoothly, Folk-Pop (Not Fast) q = 132
b b 41 ∑ ∑ ∑ C
& 4
2 3
b œ œ ˙ œ œ ˙
& b 44 œ œ bœ bœ ˙ C
Gtr.
œ œ bœ b œ
F
œ. œœ ˙˙ j
bb 4 œ . œ. œ ˙ b œœ ..
SOFT EL. & GRAND PNO.
œ. b œ œ˙
œ œ
& 4 J œ ˙ J C
J
( )
G m add9 F/E b Eb b b
D /C Cb
? b b 44 w w bw C
b
&b C ∑ ∑ ∑ ∑
4 5 6 7
œ Nœ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b
& b C Nœ œ œ œ œ œ œ œ
P
b ‰ œj ˙
& b C wŒ ‰ œœ ˙˙
w
Œ ‰ œœ ˙˙ Œ Œ ‰ œj ˙
J J œ ˙ œœ ˙˙
b
‰ œ ˙ ‰ #œ ˙ ‰ ‰Nœ ˙
Gm D/G E /G F/G
? b C Œ Œ Œ œ ˙ Œ
b w J w J w J w J
+Bs.
Piano-Conductor —2— Friendship Isn't What It Used To Be Vanities
A
b
&b Œ œ
8 KATHY: 9 10
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Three pret - ty girls in a school - yard, play - ing games and mak - ing noise.
œ œ œ œ œ œ œ œ œ #œ œ œ œ œ Nœ œ œ œ œ œ
b œ œ œ
& b
b j
& b wŒ ‰ œœ ˙˙ w
Œ ‰ œœ ˙˙ Œ ‰ œœ ˙˙
œ ˙
J J b
‰ œ ˙ ‰ #œ ˙ Œ ‰
Gm D B
? b Œ Œ œ ˙
b w J #w J Nw J
b j j
&b Œ Œ œ œ œ œ œ
11 12 13
You would think they had been best friends for - ev - er, talk - ing
œœ œœ A œ œœ
b nœ œ œ œ œ œ œ œ œœ œ œœ œ œ ˙
œ œ ˙˙
& b œ
b ‰ œœj ˙˙ j ‰ œj ˙
&b Œ
nœ ˙
Œ ‰
œœ ˙˙˙
œ Œ
œ ˙
Œ ‰ j
C F7sus4 F7
? bb œ ˙ ‰ œ ˙ ‰ œ œ ˙
nw œ J w J
w
b
&b Œ Œ œ œ œ œ œ œ œ œ
14 15 16
al - ge - bra and boys. We were each of us af - ter the big
b œœ .. ‰œœ Óœœ œœ
& b œ œ ‰ j j
Cl.
œ œ œ œ bœ œ œ œ œ œ. œ ˙
P F
b j j œ œ ˙
& b œœ .. Œ
+Gtr.
œœ ˙˙ œœ œœ .. ˙˙ œ ˙
œ. œ ˙ œ bœ. ˙
E b2
A b/B b Bb
B b2
? b œ œ
b œ œ
w œ œ œ œ w
>
b b 17 j œ œ œ œj œ j
& œ œ œj œ Œ ‰ j
18 19 20
brass ring, so we swore we'd nev - er be a - part. And if it rang a lit - tle false,
b
& b œ. j
œ ˙ n˙ #˙ w ∑
b j
& b œœœ ... œœ ˙˙ ˙ www
œ ˙ n ˙˙ # ˙˙˙ A N wwww
Dm7 Gm7 Am7 D7 E b2 Cm7(add2)
? b j ˙ w
b œ ˙ ˙
œ. w
b œ b œ œ œj œ j
&b Œ ‰ j œ w ∑
21 22 23 24
œ œ œ œ
we knew we said it from the heart.
b
& b ∑ œ w œ Œ
œ #œ
bœ œ œ
P
b œ
&b ww b ww
w
www ˙˙
˙ œ # œ œ
w
B b2/D A b2
#
‰ j œ œ œj P
cresc. poco a poco F7sus4 F D/F
? bb œ œ.
w bw w ˙ #˙
B
b j
& b œ. œ œ Œ œ. œ œ Œ œ. j œ Œ
25 26 27 28
J œ œ ˙.
Laugh - ing, danc - ing, off on a spree...
b j ,
& b œ. œ ˙ œ. œ ˙ j
J œ. œ œ œ w
F P
b j j
& b œœ .. œœ ˙˙ œ.
œ.œ ˙ œ .
j
b œ . b œ œ˙
œ œ N N ww
œ ˙ J w
F Gm9 Gm
F/E b E b D b/C b C b B b2
? bb ˙ ‰ œj œ œ ˙ ‰ b œj b œ b œ ˙ ‰ j œ Nœ Nœ œ œ
w w bw œ œ ˙
w
b j
&b Œ
œ œ œj
œ œ
œ œ œ œ ˙
29 30 31 32
No one knew what the years would bring, but friend - ship is - n't what it used to be.
bb ∑ ∑ œ ˙ w
Gtr.
&
œ œ œ
b j
&b œœ .. œœ ˙˙˙
œ œœ .. j
œœ ˙˙ œœ .. j www
œ. œ. œ ˙ œ. œœ ˙˙
P œ ˙
E b2 F/G Gm
˙
Cm7sus4
? b ˙ ˙
b ˙ ˙ ˙ ˙ ˙
˙ ˙
L'istesso tempo
b
&b ∑ ∑ ∑
33 34 35 36
w
j j j j
b Œ ‰ œœ ˙˙ Œ ‰ # œœœ ˙˙˙ Œ ‰ œœœ ˙˙˙ Œ ‰ œœ ˙˙
& b w œ ˙ w w w œ ˙
P
bb œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ
GRAND PIANO
œ œ œ œ œ œ Nœ œ œ œ œ œ
& œ œ œ œ
Gm D/G b
E /G F/G ˙˙
? bb ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
bb
C
Œ
MARY:
& œ
37 38 39
Three col - lege girls at the mov - ies, fall - ing hard for Steve Mc - Queen.
j j j
Œ ‰ œœ ˙˙ Œ ‰ # œœœ ˙˙˙ Œ ‰ N œœœ ˙˙˙
b œ ˙
& b w #w Nw
bb œ œ œ œ œ œ œ œ
wœ
Nœ œ œ œ œ œ œ
w wœ
#œ œ œ œ œ œ œ
Bells
&
˙˙ # b
G
# ˙˙ D/F
˙˙ N ˙˙ ˙˙
B /F
? b ˙ #˙ ˙ N˙ ˙ n˙
b
b Œ Œ j j
&b œ œ œ œ œ
40 41 42
j
You would think that they had so much in com - mon if you
b Œ ‰ n œœœ ˙˙˙
& b nw ∑ ∑
w
œ nœ œ œ œ œ œ œ œœ A œ œœ œ œœ œ œœ œ œ œ
bb œ œ œ œ œ œ
+Gtr.
& œ œ
C/E Cm7sus4 F7sus4 F7
? bb ˙ ˙ ˙ ˙ ˙
˙
+Bs.
b
&b j j Œ Œ œ œ œ œ œ œ œ œ
43 44 45
stum - bled on the scene. Now we peel back the lay - ers of teen -
bb ∑ ‰ œ
J œ bœ œ œ œ œ. œ ˙
Cl.
& œ J
P
b œ œ œœ œœ œ œœ œœ œœ .. ˙˙ œ. œ ˙
&b œ J bœ. ˙ œ. Nœ ˙
J
b B b7sus4 B b7 b F/E b
œ œ
B 2 E 2
? bb
˙ ‰ j œ œ œ
œ œ. ‰ œj œ œ ˙ ‰ œj œ œ
œ ˙ w
Bs (arco)
b b 46 j j Œ ‰
& œ œ j
47 48
- age ties and a lot of what we shared is gone. We left each
b œ. œ ˙ ˙
& b J ˙ w
b œœ . j
b œ ˙ ˙
& . œ ˙ n ˙˙ # ˙˙˙˙ A N wwww
E b2
j
Dm7 Gm7 Am7 D7
? bb ˙
œ ˙‰ n œj œ œ
‰ œj œ ‰ œj œ œ ˙ œ. œ
œ. J ˙ ˙ w
b j j j j j
& b œJ œ œ œ œ j Œ ‰ j œ bœ œ œ œ œ
49 50 51
œ œ œ œ œ J
oth - er far be - hind, and nev - er no - ticed we moved on.
b
&b
lead / drive
œœ œœ œœ œœ œœ œœ œœ œœ œœ
b A b2
j ‰ j œ œ
Cm7sus4 B /D
? bb œ œ œ. œ œ œ bœ. j œ
w œ œ bœ Ó
w b˙
b
&b w ∑
52 53
bb œ œ nœ #œ œ œ œ
6
∑ Ó œ
Fl.
& #œ œ œ
F 5
œ #œ œ
& bb œœœ wœ œ œ œ œ
Cym.roll
˙˙˙˙ ....
#
j
F7sus4 F D/F
? bb œ Ó ˙
œ. œ
w ˙ #œ
D
b j
& b œ. œ œ Œ œ. œ œ Œ œ. j œ Œ
54 55 56 57
J œ œ ˙.
Life flows, time flies, spir - its roam free...
œ. œ ˙ œ. œ ˙ , œ.
bb J J œ œ œ w
& J
f
STRING PAD (Sounds 15vb)/PIANO
€
Stgs. 15vb
bb œœ .. œ ˙
œ ˙ œ.
œ.
œ ˙ bœ. j
bœ œ œ N N www
& J œ ˙ œ. œ œ œ
f J
F/E b E b b b Cb b
j j j
Gm9 Gm D /C
? bb œ œ . j œœœ
B 2
‰ œj œ œ œ œ . ‰ jb œ b œ œ œ. ‰ j œ Nœ N œ œ œ & œœœ ...

Piano
w w bœ œ
bw w
Ped. Ped. Ped. Ped.
b
&b j œ œj œ j œ œj ˙ Œ j j
58 59 60 61
œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ
,
No one says it but some - ing dies, and friend - ship is - n't what it used to be.
b œ. œ ˙ œ. œ ˙
& b J J ∑ ∑
F
√
w œœ .. œœ ˙˙ www ˙
bb ww œ. œ ˙ ˙˙˙ ˙˙
& J
E b2 #
œœ .. j œœ .. œj
bb ˙˙˙
Gm7 Cm F7sus4 D7/F
œœ ˙˙
Piano (loco)
& œ. ˙˙˙ œ œ
œ ˙ œ . œœ œœœ œ œ œ œ œ # œ œœ œ
E
j
& bb ‰œ œœ œ œ ‰ œ œœ œ œ j
œ ‰ œ œ œ œ bœ œ œ œ œJ œ œJ 44
JOANNE:
œ
62 63 64 65
œ J
Would - n't you know, some of us grow, some of us stay the way we are.
b œ. œ œ œ 44
& b ∑ ∑ ∑
Cl.
J
F
(√)
b www ww w œ œ œ
& b w b www b œœ .. n œœ œœ œ 44
J
F Gm Dm7 Fm7 Ab F Bb
b j 44
& b œœœ œœ œœ œ œœœ œ . œœ œœ Ó
œ œ œ œ œ b œœœ œ b œœ . nœ œ œœ
b 664
Molto Rit.
jœ j
b
& 4 œ ‰ j œ œ œ Œ œ œ nœ œ œ œ Ó C
67 68 69
œ œ bœ ˙
E b2
b
And love burns out af - ter mak - ing it so far...
B m add 4
b w
& b 44 œ œ œ œ ˙ bw
bœ œ œ œ ˙
w ∑ C
P p
(√) w
Gtr.
b ww
& b 44 C
Piano (loco)
b www n ww b ww
b P p
B bm(add4)
b 4 w
E 2
&b 4 C
?
w
C7 F7sus4
www bw w
F
b b C70 Œ
& œ
KATHY: 71 72
Three wome - n stuck at a cross - roads, at a loss to re - con - nect.
b C wwww- -
SOFT RHODES
b b www
solo
& w
P # b
w w w
Gm D/F B 7/F
? b C w #w Nw
b
b j ,
&b Œ Œ j œ œ œ
œ œ
73 74 75
You would think them a mess of con - tra - dic - tions, and for
b b wwww w˙
& w w ˙
? b b n ww w ww
C2/E Cm7(add4) F7sus4 F7
b
&b Œ Œ œ œ œ œ œ œ œ œ
76 77 MARY: 78
once you'd be cor - rect. It's app - ar - ent that none of us made
bb j ‰ œœj
PIANO
j
+Gtr.
& œœ .. œœ ˙˙ œœ œ œ
œ bœ œ œœ .. w N œ ˙˙
œ
B b2 B bsus4 B b7 E b2 F/E b
? b b wŒ ‰ œj œ œ
‰ j œ œ œ œ ‰ œj œ œ ˙
+Bs.
œ w
b b 79 j j Œ ‰
& œ œ j
80 81 JOANNE:
the grade. Well, at least not in the way we planned. But how we
b
&b œœ .. j
œœ ˙˙ n ˙˙ # ˙˙˙ A N wwww
œ. ˙ ˙
Dm7 Gm7 b
? bb ‰ j œ œ ˙ ‰ œj œ ‰ œj œ œ ˙
Am7 D7 E 2
‰ jœ
œ. œ œ ˙
J ˙ nœ ˙ ˙. œ
b j j b œ œ œj œ j
& b œJ œ œ œ œ j Œ ‰ j œ œ
82 83 84
œ œ œ œ œ
lost our com - mon ground is what I'll nev - er un - der - stand.
b w
& b ∑ ‰ œ œ œ
Cl.
j
œ œ œ œ
F
b
& b www b ww
+Kbd.2
ww w
w
B b/D A b2
poco a poco cresc.
j
j bœ œ œ œ j
Cm7sus4
? bb ‰ j œ œ œ œ œ œ w ‰
bw œ œ
bring out
œ
w
b
&b w w ∑
85 86 87
b œ ‰ œ œ œ œJ œ œ w ˙ œ
& b J ‰ J œ
J œ #œ œ
F f
b œ
&b ww www wœ œ œ # œ
w w œ œ
D/F #
? b ‰ œj b œ œ œ œ œ ‰ j œ œ œj j Ó
F7sus4 F
œ ˙ œ
b bw w œ œ œ œ #œ
G
bb œ . j
MARY:
œ œ Œ œ œ Œ Œ Œ
JOANNE:
œ.
KATHY:
& œ œ œœ
88 89 90 91
J ˙.
Years race, lives change, makes sense to me...
b w œ. œ ˙
& b J bw w
ƒ
œœ .. bb wœœ . w
STRINGS (Sound 8vb)/PIANO
b w œœ ˙˙ œœ ˙˙ b œœ ˙˙ N N ww
& b œœ .. .
Stgs 8vb
J œ. œ ˙ J
J
ƒ Gm9 b Eb b b Cb
b
B 2
? b ‰ œj œ œ ˙
F/E D /C
‰ œj œ œ ˙ ‰ b œj b œ b œ ˙ ‰ j œ Nœ Nœ œ œ
Piano (loco)
b w w bw wœ œ
Piano-Conductor —10—Friendship Isn't What It Used To Be Vanities
& bb j œ j œ œ œ œ œ
ALL:
œ œ œ œ œ ˙
92 93 94
œ œ œ œ œ
Why the hell should it feel so strange? All re - la - tion - ships
& bb j j
Piano (loco)
œœ .. œœœ ˙˙˙ œœ ..
œ. œœ ˙˙ wœ w
œ. œ ˙ . nœ ˙
E b2
J
‰ œj œ œ
F/G Gm
? bb ‰ j œ œ ˙
C7sus4 C7
œ ˙. ˙ œ
w ˙. œ
j
Rall.
b ‰ # œj œ œœ œœj œœ .. 44
&b j
œ œ n œ ˙˙˙
œœ # ˙˙ Ó
95 96 97
œ œ œ œ œ.
K
J
M
re - ar - range... And the fact is,
b œ œ n œ #œ œ œ œ 4
6
& b ∑ ∑ Ó œ
Fl.
#œ œ œ 4
F 5
FAST STGS+PIANO / PIANO
b Ó j 44
&b ‰ j # œœ œœ œœ œœ œœ œ.
Fast Stgs+Pno.
œœœœ œ œ œœ œ œ œœ œ ww œ œ œœ ..
# ww # œ œ œ œ œJ
#
‰ j j
D7sus4 D7 C/E D7/F
? b Œ
b œ ‰ œj œ n œ # ˙ œ œ œ n œ œ #œ. 4
4
w œ œ w œ œ œ nœ œ #œ.
Piano
j
H Poco meno tempo (q = 112)
b 4 .
& b 4 œœœ .. œœœ œœœ Œ œœœ ... œœœ œœœ Œ Œ œ Œ
KATHY:
œ
98 99 100 101
J ˙.
bœ œ
some friends don't fade - some you nev - er see...
œ. œ ˙ œ. œ ˙
b
& b 44
J J ∑ ∑
ƒ
œœ .. œœ ˙˙ œ. œ ˙
b
& b 44 œ. œ ˙ œœ .. œœ ˙˙ b ww N N ww
J J w w
sub. P
ƒ Gm9 Gm j F/E b Eb D b/C b B b2
+Mark Tr.
j
? b b 44 ‰ œ œ œ œ œ . ‰ œ œ œ œ œ. ¿
‰ œ Nœ Nœ ˙
Tri.
w w bw w
Piano-Conductor —11—Friendship Isn't What It Used To Be Vanities
bb j j
JOANNE:
& œ œ œ œ jœ œ ˙ œ œ œ œ jœ œ ˙
102 103 104 105
Make your peace with the choi - ces made... face the fact that you've been be - trayed
b
& b œ ˙˙ œ ˙ œ ˙˙
Gtr.
œ œ œ œ ˙ œ œ œ œ œ œ œ ˙ œ œ œ œ
F œ
j
bb œœ . œ ˙
PIANO
& ww . œ ˙ ww w
w w ww
P E b2 B b/D
poco a poco decresc.
Gm7
? bb
Cm7sus4
w w w
+Bs.
w
,
Poco Rit.
bb j
Colla Voce
bœ b˙ Œ j
MARY:
& j œ
ALL:
œ œ
106 107 108 109
œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ
swal - low hard at the price you've paid... 'cause friend - ship is - n't what it used to be.
U
w Hw
top voice
b
& b œ
œœ ˙˙ | H
œ œ p P
Ó b bb ˙˙˙ U
& bb ∑ ∑
ww b bb wwww
ww π
E b2 p G b2
? bb w bw ¿ U∑ ∑
bw
Tri.
w
Nu
w
Bs.
U
bb
A Tempo Poco Rit.
Œ ∑ " 113 ∑
&
110 111 112
w ˙.
œ. j j j U
œ œœ ˙˙ œ. œœ ˙˙ œ.
Fl.
b œ b œ b œœ ˙˙
& b œ œ œ œ
" K|
Gtr.
b œ
bœ u P
F
Gtr.
bb œ . œ ˙ U̇
SOFT ELEC. PIANO
bœ.
CLARINET
J œ. œ ˙ bœ "
+GRAND PIANO
& J J ww
F w
B b2
∑ ∑ U
? b w w j " w
b & œ. bœ ˙
w
Applause segue

17
Mystery IV
Steady, A Tempo - Maybe A Bit Slower q = 156
#
& C .. ..
3 x's
∑ ∑ ∑ ∑
1 2 3 4
? # C .. . Œ Ó . Œ Ó . Œ Ó . Œ Ó ..
œ œ œ œ
Bs.
# w ww ww
CHAPEL ORGAN
& w ∑
5 6 7 8
w w w
P
?# . Œ Ó . Œ Ó . Œ Ó . Œ Ó
œ œ œ œ
#9 Ó #˙ w w ∑
&
10 11 12
˙˙ ww ww
?# . Œ Ó . Œ Ó . Œ Ó . Œ Ó
œ œ œ œ
# 13 w w w ∑
& b ww
14 15 16
ww ww
?# . Œ Ó . Œ Ó . Œ Ó . Œ Ó
œ œ œ œ
-177-
Piano-Conductor —2— Mystery IV Vanities
# 17 w
Vibes
w
& ∑ ww ww ∑
18 19 20
# —
Tri.
& ∑ Œ Ó ∑ ∑
?# . Œ Ó . Œ Ó . Œ Ó . Œ Ó
œ œ œ œ
# 21KATHY: Ó Ó ∑ ∑
&
22 JOANNE: 23 24
œ œ œ œ
Hair - dye... High - lights...
# — Œ Ó
Tri.
& ∑ ∑ ∑ ∑
# ∑ ∑
&
ww ww
?# . Œ Ó . Œ Ó . Œ Ó . Œ Ó
œ œ œ œ
# 25MARY:
& #˙ ∑ ∑ ∑
26 27 28
˙
Crow's feet...
# — Œ Ó
Tri.
& ∑ ∑ ∑ ∑
# ∑ ∑
&
# www www
?# . Œ Ó . Œ Ó . Œ Ó . Œ Ó
œ œ œ œ
-178-
# 29 ∑ ∑ ∑
&
KATHY:
30 31 32
N˙ b˙
Stretch marks...
# ˙
∑ ∑ Ó
Vibes
& ˙ ˙
# ∑ ∑
& b www www
?# . Œ Ó . Œ Ó . Œ Ó . Œ Ó
œ œ œ œ
# 33
j ∑ ∑ Ó
JOANNE:
& j
34 35 36
œ œ œ œ œ œ ˙
Ei - leen Fish - er... Ben -
# w w ∑ ∑
&
# w ww
& ww ∑ ∑
w
?# . Œ Ó . Œ Ó . Œ Ó . Œ Ó
œ œ œ œ
# 37
& ∑
38 39 40
w w w
Gay...
#
∑ ∑ ∑
KATHY:
& ˙ ˙
Glass - es...
# — Œ Ó
Tri.
˙
Oboe
& ∑ ∑ Ó ˙ ˙
P
#
& www www www www
Vibes
?# . Œ Ó . Œ Ó . Œ Ó . Œ Ó
œ œ œ œ
-179-
# 41
∑ j Œ ∑ Ó
MARY:
& j
42 43 44 KATHY:
#œ œ œ œ œ œ
Tum - my tuck... E - lec -
# —w Œ Ó w
Tri.
& ∑ ∑
# w
# ww
w
ww
w
ww
˙
˙˙
& Ó
?# . Œ Ó . Œ Ó . Œ Ó . Œ Ó
œ œ œ œ
# 45
& Œ ∑ ∑ ∑
46 47 48
Nœ bœ œ œ
trol - y - sis...
# — Œ Ó
Tri.
∑ ∑ Ó b˙
Oboe
& ˙ ˙
P
# ∑ b www www www
&
?# . Œ Ó . Œ Ó . Œ Ó . Œ Ó
œ œ œ œ
# 49 j
Repeat and fade
.. ..
JOANNE:
& ∑ ∑ œ œ œ œ œ Ó ∑
50 51 52 53
. ˙
Met - a - mu - cil...
# .. ..
& ∑
w w w w
niente
w w w w
# .. ..
&
ww ww ww ww ∑
www www www www
?# . Œ Ó . Œ Ó . Œ Ó . Œ Ó .. . Œ Ó ..
œ œ œ œ œ
-180-
17A
I Don't Wanna Miss A Thing (Reprise)

Warn: JOANNE: What? You're getting PDUULHG?
MARY: So, Kathy, how's the new novel coming? (music in)
Freely, under dialogue

MARY: Yes how clever...
# # # # C 1 solo j j jœ j
HARP +Vibes
Ó œœœœ2 œ œ œ œ œw œ œ œ œ œ œœœœ
& # ww œ ww œ œ œ œ
œ ˙ww
3 4 5
w
π
B2/D # F #7sus4
ww w ww
B2 E2
? #### C ∑ w w
#
‰ j j j
KATHY: Well, it sold well.
#### œ œ j
œw œ
j
œ œ œ œ
j
œw œ
j
œ œ œ œ œ œ œ ˙
& # ww œ œ
6 7 8 9
w w #w
B2/D # C #/E #
ww w w w
B2 E2
? #### w w #w
#
KATHY: And the next one... JOANNE: Oh, God...

#### ∑ ∑ ∑ Ó Œ
#
Cl.
&
10 11 12 13
œ œ
π
#### j j œ œj n œ œœj j
WURLITZER
& # Œ œ n œ n œ œœ œœ .. ‰ n œœ œœ œ ˙˙ œœ ‰ Œ
nœ n œ œ œ œ nœ œ
G2 π D2 A2 E2
œ ˙
? #### nœ ˙ œ nœ
Gtr.
nœ nœ œ ˙ œ œ
œ ˙
# nw œ nœ nœ nœ wœ
nwœ
Bs. nw
-181-
Piano-Conductor —2— I Don't Wanna Miss A Thing (Reprise) Vanities
KATHY: Not yet.
#### U
& # j j Œ
14 15 16 17
œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.
#### ∑ ∑ ∑
U
∑
& #
C m7
# B E C
# #
F 7sus4
? #### U
+Gtr. (chords)
# w ˙ œ. œ
j
w
w
Sweetly (h= 60)
####
& # Œ ‰ j Œ ‰ j
18 KATHY: 19 20 JOANNE: 21
œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Oh - oh,
œI don't wan - na miss a thing. That's right,
œ
our fu - ture is start - ing now.
## w
& # # # ww ww œ . nœ ˙ ww ww œ . nœ ˙
J w J
P
w w w w
B E/B Em/B B E/B Em/B
? ####
#
+Bs.
####
# Œ ‰ j Ó ‰ j
MARY:
&
22 23 24 25 KATHY:
œ œ œ œ œ œ œ œ œ w œ œ
œ
Could be it's not the A - mer - i - can Dream. But when
####
# nw
Oboe
& w w w
P
#### ww
& # www w n wwww www
w
F #7sus4/B F #7sus4
w ww Œ œ wwœ # ˙ .
œ nœ
B A2
? ####
# w nw
-182-
Piano-Conductor —3— I Don't Wanna Miss A Thing (Reprise) Vanities
# # # # 26
Piu mosso (h= 68)
& # ‰ j j ‰
œ œ œ œj j œ œ œj
27 28 29
œ œ œ œ œ œ œ ˙ œ œ
œ œ œ
ex - pec - ta - tions fail us, we can't fail each oth - er too. Now there's one
##
& # ## w w w ˙. œ ‰
J
P
ARCO STRINGS (light pad)
#### j
& # ww ˙
ww ˙ w
w œ
˙ ˙˙ .. œœ ‰
œ œ œ
œ
P œ
# #
#
Gtr.
˙. œ
C 7sus4
? #### w
E2 G m
w J ‰
B2/D
# w
# # # # 30 ‰
& # j
31
œ
thing I know–– I'm nev - er let - ting go of
####
& # ww ww
p
C #m7 F #7sus4
? #### w w
#
Segue
-183-

18
Letting Go
B Late 80s pop rock, not fast q = 160
b b 39 4 ∑ ∑ Ó Œ
KATHY:
& b 4 w
40 41 42
you.
œ
Not
√ >
B3 (sounds 8vb) / ROCK PIANO
j j j >> > œ œ‰
œœ œœœ̆ œœœ œœœ ‰ œœœ
b œ œ œœ œœ œœ
& b b 44 Œ œœ œœ œœ ‰ œœ œœ ‰ ‰
œœ œœ œ .. œœ œœœ ...
(B3 8vb)
œ œ œ œ œ œ œ œ J J
+Rhythm fl > > > fl > > > > >
F Eb Ab Bb B b7sus4
b b b 4 (Rock Piano) ?
& 4 œœœ www
+Gr., ˙˙ .. œœœ œœœ ˙˙ .. œœ œœœ ˙˙ .. œœ
Bs. ˙ . ˙. œ ˙. œ œ w
b
&bb ˙ Ó ∑ ∑ ∑
43 44 45 46
you...
b
& bb Œ œ ‰ j ‰ j œ œ
Ten. Sx.
œ œ œ œ œ œ œ w
f
fl > œ >œ œ fl > œ > fl fl
√
(Digibells) j œ œ œ œ
‰œ œ
DIGIBELLS (sounds 8vb) / ROCK PIANO
& bbb œ
(Piano)
˙˙˙ .. œœœ œœœ ˙˙ .. œœ œœœ ˙˙ .. œœ œœœ wwww

. ˙. œ ˙. œ œ
E b2 b b b b
? bb
A /E B B 7sus4
b w
(Piano)
w w w œ œ
w w w w˙.
>
Piano-Conductor —2— Letting Go Vanities
b 47
C
b
& b j j Œ ‰
KATHY:
œ œ œ œ œ œ
48 49
This is where we met, when our lives were just be - gin -
b
&bb ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j
Gtr.
b b b b b b b
˙˙ .. œœ œœ ˙˙ .. œœ œœœ
E 2
œ
? b b P˙˙˙ ... œœœ œœ
A /E B /E B 7sus 4/E
œ ˙. œ
(Rock Piano)
˙. œ
b
b j
&bb ‰ j ‰
œ œ œ
51 52
50
œ œ œ œ ˙
√ œ œ œ
- ning. And the game's not o - ver yet, but I'm not
bb ‰ œ œ œ
b œ
Digibells (sounds loco)
& J
(Piano)
˙˙˙ .. œœœ œœœ ˙˙ .. œœ œœœ

Gtr. cont. sim.
. ˙. œ
˙˙ .. E b2 A b/E b B b/E b
? bb ˙ .
b ‰ j
‰ œœ w œ œ w
Bs.
J
b b b53 j ‰
& œ œ j j j œ œ œ
54
œ œ œ œ œ
œ œ
ob - sessed with win - ning. There's a scrap -
b œœ
& b b ˙. œœ ˙˙ œ
Œ
˙˙ .. œœœ œœ ˙˙ fl
E b2
? bb ˘
b w j œ Œ &
œœ . œ œ
œœ œ
b j
D
&bb œ œ œ œ œ œ œ ˙ ‰ j œ œ œ œ œ j
55 56 57
œ œ
- book of our sen - ior year. I'll keep it in my mind.
œœ.
DIGIBELLS (sounds 15vb) /
bb
œœ œœ. >œœ œœ œœ
ROTARY B3 (sounds 8vb) / ROCK PIANO (loco) +Ten. Sx.
& b ∑ Ó œ œ œ œ œ œ̆ ‰ Ó
(B3 8vb)
J
F m7 b bE /B B bF G m7 C m7
b ‰ œj œ ‰ œj
& b b ˙˙ ... œœ œœ ˙˙ .. ˙˙ ..
(Piano)
˙˙ . ˙. ˙. œœ
b j j
&bb ˙ ‰ œ œ œ œ œ œ œ œ œ œ œ œ ‰ j
58 59 60
œ
√
'Cause I'm tak - ing ev - 'ry sou - ven - ir and
œ œ œ œ̆ .
˙˙˙ .. œœœ œœœ
b ww
J
(Digibells 15vb)
&bb ‰ Œ w
(Organ)
b b
cresc. poco a poco
b
D 2 A 2/C
& b b ˙. Œ
b ˙˙˙ ...
œœœ œœ ww
˙˙ .. œ w
bb b61 j j ∑
& œ œ œ œ w
62 63
œ
>˙ . œœ œ>œœ
leav - ing them be - hind.
b ˙˙ ..
& bb œ ‰ j œ ∑
œœœ œœœ œœœ œœœ œ.œ
f
(√)
bb b b www
>˙ .
˙˙ .. œœ œ>œœ j œ.
& œ ‰ œœœ œœœ œœœ œœœ œœ
b b b
B 7sus4 f
b
A m/C
&bb w œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ? ∑

b ww >
&
b j
E
&bb Œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ
64 65 66
œ
I'm let - ting go of my past, let - ting go of my plans, and I'm hap -
DIGIBELLS+SYNTH PAD (sounds 8vb)/
√
ROCK PIANO
b >
‰ œœœ ˙˙ .. œœ œœœ www
Digibells+
&bb Ó Œ ˙. œ œ
Synth Pad
w
J >
E b2 f E b2/G A b2 b
B 7sus4
b b (Piano)
& b ˙˙ ..
˙˙˙ .. œœœ œœœœ ˙˙ ..
œœ œœ
œœ œ ˙˙˙ .. œœœ œœœ
. .
b j j
&bb œ œ œ œ œ Œ Œ œ œ œ œ œ œ œ œ œ œ œ
67 68 69
œ
- py at last. I'm let - ting go of my pen, let - ting go
(√)
bb b ‰ œ œ œ. œœ œœ. œœ. œœ ˙.
˙. ‰ œœœ ˙˙ .. œœ œœœ
& J ˙. œ œ
J
b
E 2 E b2/G
b
&bb w œœ ˙˙ .. œœ œœ
ww ˙˙˙ ..
.
œœœ œœ ˙˙ .. œœ œ
b
&bb œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ œ œ œ œ
70 71 72
J J
of my list, yeah, I'll say it a - gain. I'm let - ting go
(√) √
B3 (Full Leslie) (Sounds 8vb) / FUNKY 80's CLAV + Leslie (fast)
˙˙ .. œœ œœ
b ˙. œœœ œœœ ˙˙˙ ..
& b b ˙˙˙ ... ˙ ..
(B3 8vb)
œ œ nœ
~~
~~i~ss.
~~~Gl
A b2 b Gm7
j j
B 7sus4 Cm7
b
(Clav.)
& b b ˙. ∑ œœ œœ ‰ œœ ‰ œœœ
Gtr. solo fills
?
œœœ œœœ
& œ- œ œ
˙˙ . fl > >
.
b j j
&bb œ œ œ œ œ œ œ œ Aœ œ ˙ Œ
73 74 75
œ œ œ
(√~~~~~~~~~
)
those cra - zy things I used to do. But the
bb ww ˙.
˙.
œ nœ
œ œ ˙˙ œœ̆
Œ
& b
j
œœ.
F7sus4 F7
b œ œ œœœ œœœ œœ
n œœœœ
œœ œœ œœœ œœ ‰ œœœ œ œœœ œœœ œœ
& b b œœœ œ. œ œ ‰ œ œœ n œœœ œœ Œ ?
> > > fl œ. J œ. . œ. œ.
fl
b j
&bb bœ œ œ œ œ œ œ œ œ j
bœ œ
76 77
œ œ
one thing I know is I'm nev - er let - ting go of you.
b b b(Clav.) Œ Œ Œ Ó
b œœœœ
+Ten. Sx.
& b bb œœœœ œœ
œ
C b/D b b
? bb Œ Œ Œ Ó
B m7
b bœ œ œ
V.S.
b
F
&bb ∑ ∑ ∑
78 79 80 81
b j j
& bb Œ ‰ ‰ œ œ ‰
Gtr.Clean, w/ chorus
œ œ j œ œ j œ œ œ œ œ
P œ œ œ œ œ œ œ.
b
SUITCASE E.P.
& b b ˙˙ .. œœ œœ ˙˙ ... œœ œœ ˙˙ .. œœ œœ ww
˙. œ œ ˙ œ œ ˙. œ œœ ww
E b2 A b/E b B b/E b B b7sus4/E b
P
? bb w w w w
b œ œ œ. œ œ. œ ˙ œ. œ œ. œ œ. œ œ
. J J J J J J œ œ
Bs.
b
& bb Œ ‰ j ‰ j œ œ Œ b
82 83 84 85
œ œ œ œ œ œ œ œ ˙.
œ œ œ œ
b
& b b ˙˙ .. œœ œœœ ˙˙˙ ... œœ œœœ ˙˙˙ .. œœ
œ œœ ˙˙ .. Œ b
˙. œ œ . œœ ˙˙ ..
E b2 A b/E b B b/E b b b
Œ
B 7sus4/E
? bb w w w ˙.
b œ b
. œ œ. œ œ. œ ˙ œ. œ œ. œ ˙. œ œ
J J J J J
C
j
&b j Œ ‰ œ œ œ œ œ œ
86 MARY:
œ œ œ œ
87 88
œ œ œ œ œ
Here we are once more in the town where first we start -
& b j j j j ∑
Gtr.
‰ ‰ ‰ ‰
Gtr. cont. sim.
DIGIBELLS (sounds 8vb) / ROCK PIANO
&b ∑ ∑ ∑
b
P F 2 (Rock Piano)
˙˙ .. œœ œœœ
C/F
œœ œœ
B /F
.
? b ˙˙˙ .. œœœ œœœ ˙˙ ..
C 7sus 4/F
˙. œ œ ˙. œ
œ. ‰ ‰ œ œ œ ‰ œ
J œ œ
œ œ œ J
J J
Bs. cont. sim.
&b ‰ j j ‰
89 90 91
œ œ œ œ œ ˙
√ œ œ
- ed. But I'm smart - er than be - fore, plus a bit
Digibells (sounds loco) œ

œ œ œ œ
&b ‰ J
(Piano)
˙˙˙ ... œœœ œœ ˙˙ .. œœ œœ

œ ˙. œ œ
˙ B b/F
? ˙˙ ...
‰ j
F2 F2 C/F
b œ w w
j
&b œ œ ‰ œ œ œ œ œ œ
JOANNE:
j j j œ œ œ œ
92 93 94
œ œ œ œ œ
more o - pen - heart - ed. 'Cause the 'six - ties and the 'sev -
˙. œ >œ
Quasi solo-
& b ∑ Ó Œ œ œ
Alto Sx. Sanborn-esque
F
˘œ
DIGIBELLS (sounds 15vb) /
& b ˙˙ .. œœ Œ ∑
ROTARY B3 (sounds 8vb) / ROCK PIANO (loco)
˙. œœœ œœœœ ˙˙
˙˙
‰ œœj
G m7 F/C
?b Œ ˙˙ ..
F2
j œ
(Piano)
w œ. & ˙˙ ..
œ fl œ
j j
&b œ œ ˙ ‰ j œ œ œ œ œ œ ˙ Œ œ œ
95 96 97
œ
- en - ties were o - ver long a - go. Now when
œ bœ œ ˙ >œ >œ >œ

& b œ ‰ œ. ‰ ‰ J ∑
J J J
√
~~~~~
œ œ œ œ̆
œœ œœœ. œœ. >œœ œœœ œœœ̆
œ œ œ ‰ J
(Digibells 15vb)
&b Ó J ‰ Ó
Œ
(B3 8vb)
C
F A m7 D m7
& b œœ ˙˙˙ ... ˙˙˙ ... ‰ œj ˙˙ .. Œ

œ œœ ˙.
j j
&b œ œ œ œ œ œ œ œ œ ‰ j œ œ œ œ œ
98 99 100
œ
(√)
some - thing makes me ill at ease, I nev - er let it
(Organ) ˙ . œ œ ww w
b ˙˙ .. œœ œœ w b ww
&
b b b b
cresc. poco a poco
E 2 B 2/D B m/D
& b b ˙˙˙ ... œœ œœ

œ œ ww w
b ww
?
w
&b w ∑
101 102
(√)
show...
j œœ.
&b Œ œœœ œœœ Œ œœœ œœœ ‰ œœœ œ œ œœœ œœ
+Alto Sx.
œ œ œ œ
+Gr.
> > > >
?b Œ Œ œ Œ Ó &
+Bs.
œ œ œ œ œ
j
H
j
MARY:
&b Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
103 104 105
I'm let - ting go of my doubt, 'cause it got in my way, and I fig -
DIGIBELLS+SYNTH PAD (sounds 8vb)/
√> >
ROCK PIANO
˙˙ ..
‰ œœœ
œœ œœœœ wwww
Digibells+
&b Ó Œ ˙. œ
Synth Pad
J
F2 F 2/A B b2 C7sus4
&b
(Piano) Gtr. & Bs. cont. as before
˙˙˙ ... œœœ œœ ˙˙ .. œœœœ œœœ ˙˙˙ ... œœœ œœœ

œœ ˙˙ ..
j j
&b œ œ œ œ œ Œ Œ
JOANNE:
106 107 108
- ured it out. I'm let - ting go of my views, let - ting go

> > œ bœ œ ˙.
& b Œ ‰ j œ œ. œ. œ ˙. œ œ
Alto Sx.
œ.
(√)
. œ œ. œ. œ
œ ˙. ˙˙ ..
& b ‰ œJ
œ œ œ œ œ ˙. ‰ œœœ ˙.
œœ œœœ
œ œ
J
F2 F 2/A
&b w œœ ˙˙ ..
ww ˙˙˙ ... œœœ œœ ˙˙ .. œœœœ œœœ
&b œ œ œ œ œ Œ Œ œ œ œ œ
MARY + JOANNE:
109 110 111
J J
œ^ ‰ >œ
of my kids, they can be what they choose. I'm let - ting go
œ >œ œ
& b œ œ œ œ Œ ∑ Œ J
F
(√) √ ˙˙ .. œœ œœ
B3 (Full Leslie) (Sounds 8vb) / FUNKY 80's CLAV + Leslie (fast)
˙˙ ... . ~ ~
& b ˙ œœœœ œœœœ ˙˙˙˙ ... œ ~G~~~
~ s.
˙.
(B3 8vb)
lis
B b2
Tutti
j j
Am7 Dm7
Gtr. solo fill
&b ∑ œœ œœ ‰ œœœ ‰ œœœ

(Clav.)
?
C7sus4
œœœ œœœ œ- œ
&
˙˙˙ ... fl > >
j Aœ j
&b œ œ œ œ œ œ Œ
ALL:
œ œ œ œ ˙ œ œ
112 113 114
>˙ . >
What I was taught was al - ways true And the
œ~~~ œ
& b Œ Ó nœ œ n œ œ œ œ̆ Œ
Í Í f
(√~~~~~~~~~
)
ww ˙˙ .. œœ n œœ ˙˙ œœ̆
&b Œ
> > ˘ . . œœœ. œœœ. ˘œ

œœœ œœœ œœœ ‰ œœœœ œœœœ œœœ œ. ‰ œœœ œ. n œœœœ œœœ œ
G7sus4 G7
œœ œ œœ
& b œœœ n œœ Œ ?
œ. J œ œ œ œ
> J
j j
&b
(to 133)
bœ œ œ œ œ œ œ œ œ œ bœ œ œ
115 116
b ˘œ
one thing I know is I'm nev - er let - ting go of you.
b ˘œ
& b Œ Œ bœ Œ Ó
fl
& b b b œœœ Œ Œ œ Œ Ó
(Clav.)
œœ b œœœ
bœ œ
D b/E b
?b Œ Œ Œ Ó
C m7
bœ œ œ
j
K
j j œ
j ‰ œj œ
&b Œ œ œ
MARY:
133 134 135
œ œ œ
> >
I'm let - ting go the girl I was, good - bye with love
˙. œ œ ˙. œ œœ ww
Alto Sx.
& b ˙. œ œ ˙. œ
Gtr. (solo over vocal)
j
ROCK PIANO
& b œœœœ œ œœ
œ
œœ ‰ œœ
œ œ
œœ
œ
œœ
œ
œœ
œ
œ œ
œ œ
> > > œ œ œ
B b2 b
?b .
C/B Am7
˙ œ œ w œ. j œ
˙. œ > œ. œ œ
j j j
&b œ œ Œ œ œ œ j œ
KATHY:
œ œ œ œ œ
136 137 138
œ œ œ
>
and
^j kiss
‰
- es I'm let - ting go of how I thought
b œ˙ . œ ˙. œ ˙.
& b œ œœj œœ œœ
˙.
œ œ
‰ œ œ œ œ œ
Í f F J
>
œœ œœ j
& b b œœœ œœœ œœœ œœœ œœ ‰ œœ œœ œœ
œœ œ œ œ œ œ œ œ œ
œ œ œ œ > > >
B b2 b
j
?b œ ˙
Fm7 C/B
œ. œ ˙ ˙. œ œ w
œ. > ˙. œ >
>
œ j
&b œ œ œ œ œ ˙ Ó
139 140
J
. . >
my path was clear.
˙ œ œ œ œ ˙. Œ
& b œ œ œ œ œ œ œ
œ œ
œ œ œ
œ œ œ œ œ œ
FAST STGS (sounds 8vb) / ROCK PIANO (loco)
œ œ
& b œœœ œ œ œœ .. ‰
(Fast Stgs.)
œ œ œ
œ.
>
?b
Am7 /E
œ.
Dm7 /F
j œ & œ. œœ
(Piano)
œ. œœ .. œœ
œ
œ. œ œ >. > >
j j
L
&b Œ œ œ œ œ œ œ œ œ œ œ œ œ
141 JOANNE: 142 143
œ œ
w w w
I'm let - ting go all pre - con - cep - tions and all
&b
sub. F
G7sus4 G7 G7sus4
& b ˙˙˙ œ œ
œ n œœœ œœ nœ œ œ
œ œœœ
œœœ œ œ œ
Rhythm cont.
˙ œ nœ œ œ œ
> >
j j j
&b œ œ Œ œ œ œ œ œ œ œ
ALL:
œ œ œ œ œ
144 145 146
J
rpej - u - dic - es I'm let - ting go of al - ways
& b ∑
Alto Sx.
˙. œ œ ˙ ˙
P >
w ˙˙ œœ .. œœ ˙˙ ˙˙˙
˙ œ. œ ˙
&b J
P
G7 B b/C C
œœ œœ œœ
& b n œœœ œ
œœ
œ œ
œœ
œœ œ
œœ
&b œ œ Œ œ œ œ ˙ Ó
147 147A 147B
look - ing in the mir - ror...!
& b œ̈ Œ Ó œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ.
f
√
œœ
B3 (Full Leslie) / ROCK PIANO
& b œ̆ Œ Ó wœ . ˙
(B3)
œ. œœ œœ .. œœ ˙˙ ˙
f J Ó
B b/C
J
˘œ
& b œœœ Œ Ó ? w w
w w JOANNE:
œœœ
# œœœ
MARY:
&b Ó ‰ œœ
148 149 KATHY:
And the sound -
& b ‰ j œ ˙
˙ œ œ œ œ œ #œ >
> fl f ßp
Í f
# >œœœ œœœ
B3 (Full Leslie) / ROCK PIANO (Sounds 16va) / ROCK PIANO (Sounds loco+8va)
œ œ œœ
&b œ œ œ œ œ Œ ‰ Œ
(B3)
œ̆ œ œ
J
?b œ œ œ œ œ Œ ‰ j
(Rock Pno loco+8va)
œ œ œ œ œ #œ ˙
> > fl V.S.
œ œœ œœ œœ œœ œœ œ ˙ j j
M
& b œœ œ œ œ œ œ œœ ˙˙ ‰ j œœ œœ œœ œœ œœ
œ
150 151 152
œ œ œ œ œ
˘j ˘j ‰ ˘j
Alto Sx. ^ ^ ˘
^ ^
- track of a cen - tu - ry will still keep play - ing on...
œ œ ‰ Œ œ ‰ œj ˙ . ‰ œ
& b œ œ œ
Û Û ‰ œ œ œ œ Û Û Û ‰ Û Û Û ‰ œ œ œ
J J J
f fl fl > fl > > fl fl >
Rhythm
˙˙ .. œœ œœ ˙˙ .. œœ œœ >œœ j
˙. œ œ̆ ˙. œ̆ œ̆ œ œ
&b Œ ‰
J
‰ œœ
f
˘ . ˘ œœ. œœ. œœ. œœ. >œœ œœ. œœ œœ. œœ.
? b œœœ œœœœ œœœœ œœ œœ. œœ. œœ.
(Rock Pno 16va)
œœ œœ œœ œœ œ œ œœ œœ œœœ œœ œœ œœœ œœœ œœ

œ œ œ̆ œ œ œ œ œœ œ œœ œ œœ œœ œ. œ. œœ
fl . fl . . >
155 j j
& b ˙˙˙ ‰ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ
œ œ
œœœ œœœ œœœ ‰ j
153 154
œ
>
‰ œJ œ œ œ œ œ œ
And the feel - ings shared by you and me are
& b ˙. œ œ ˙ ‰ j œ
œ œ
œœ œ œœ œœœ œ œœ œ œ œ œœœ œ œœ œœ œ œ
Rhythm cont.
& b www œ œ œ œ œ œ œ œ
? b œœ œœ œœ œœ œœ œœ œœ œœ b œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
œœ œœ œœ œœ œœ œœ œœ œœ œ œ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ. œ. œ. œ
. fl . . . . . fl fl fl
j j œj œ #
(to 175
&b œ œ œ œ œ www œœœ œœœ ‰ n œœœ ‰ œœ ‰ œœ

156 157 158
J J
>œ >œ >œ >œ #
nev - er real - ly gone. No no no no no!
b˙
& b ˙ Œ Œ ∑
f
w > >œ > > j œj >œ #
& b b ww Œ œœœœ œœœ Œ œœœœ œœœœ œœœ œœœ ‰ n œœœ ‰ œœ ‰ œœ
B3
f > > > > J

ƒ
? b b œœœ œœ œœ j j
œœœ œœœ œœœ œœœ œœœ œ œ ‰ œ ‰ œ ‰ œj #
C7sus4
œ. œœ. œœ. œ œ Œ œ œ Œ
œ. œ. œ. œ. œ. œ œ œ œ œ œ œ œ
> > > > > > > > œ
>
# 175Œ
O
j œ œ œ œ œ œ œ œ œ œ œ œ ‰ j
œ œ
ALL:
& œ œ
176 177
J œ
I'm let - ting go my be - lief that I need to look good. And
# j j j
œ œ œ ‰
& Ó Œ ‰ œœ
œ
Ó Œ ‰ œ
œœ
Ó Œ œœ
œ
> > fl
j j
?# Ó ‰ œj
+Gr., G2/B C2
Œ Ó Œ ‰ œ Ó Œ œ ‰
Bs.
œ œ œ
> > >
# 178œ œ œ j
& œ œ Œ Œ œ œ œ œ œ œ œ œ œ œ œ œ
179 180
J
what a re - lief...! I'm let - ting go of my fear that my time's
# Ó ‰ j Œ Ó ∑
& œ œ œ œ
> fl
ƒ
# ˘œ j j j
~ ~ œ œ œ œ
& Ó ‰ i~ss~~~ œ Œ Œ ‰ œœ Ó ‰ œœ ‰ œ
œ . ~~~~~ œ œ œœ
.
> > >

G l
>
?# Ó ‰ œj ‰ œj ‰ œj
G2 G2/B C2
‰ œ œ œ œ Œ Œ Ó
> > > > > >
>
# 181 j œ
& œ œ œ œ ‰ œ œ œ œ œ œ œ Œ
182
run - ning out, 'cause the fu - ture is here.
# j
Ó Œ ‰ œ œ Ó ‰ j œ
ROCK PIANO
&
œœ œ œ
>
?# Ó j j
D7sus4
Œ ‰ œ Ó ‰ œ œ
œ œ œ
>
j j
Funky Half-time Feel
# 183 œœ œœ œœ œœ œœ œœ œœ œœ œœ N œœ
j
& Œ œ œ œ œ œ œœœ œœ œœœ œœœ œœœ
184 185
J œ œ œ œ œ
M
J
K
I'm let - ting go of all the things I al - ways knew.
# j
& ‰ œj ‰ œ w ˙. œ œ
˙ > > > fl
Í f
# œ j œ. ‰ j œœ # œj n œœœ œœ # œœ # œj œœ œœ n œœ b œ œ
& œœ # œ œ œ œ œ œœ œ œœœ œœœ œœœ œœ
> œ œ œ œ œ œœ
#
?# ˙
Bm7 Em7 A7sus4
‰ j
A7
˙ œ ˙ ˙
˙ fl œ ˙
# 186
4/4 Feel JOANNE:
˙˙˙ Œ bœ œ œ œ œ œ œ œ œ œ nœ bœ œ
KATHY:
& œ œ
187 188
Now the one thing I know is I'm nev - er let - ting go– nev - er
# > ˘ ˘
& ‰ bœ œ œ œ œ bœ Œ Œ œ œ Œ Œ bœ
J fl fl
F
#
b bb œœœœ Œ
& ˙˙˙ ’ ’ Œ œœ n œœœ Œ Œ b b œœœ
˙ œ > bœ
> > >
E b/F F/E b E b/A b
?# Œ Œ Œ Œ
˙ ˙ nœ œ bœ bœ
nœ œ bœ bœ
> > > >
# 189 œ œ œ œ bALL:
œ œ
& bœ œ œ bœ bœ Ó
MARY: 190 191 ALL:
b˙
let - ting go– nev - er let - ting go– no no no... I'm
# Ó œ̆ Œ Œ
>
bœ œ bœ b ˘œ Œ Ó
&
F f
#
Ó n b œœœœ Œ Œ b b b œœœ b œœœ œœ
b bb œœœœ
& Œ Ó
b œ- œ- b œœ-
> fl
D bmaj7 Gb A b/G b Gb
f
Cm7
?# Œ Œ bœ Œ Œ Œ Ó
bœ bœ œ œ œ œ œ
> bœ œ œ œ œ
> > > > > œ
fl
# 192 ˙
& ˙ b˙ ˙ ˙ b˙
193 194
nev - er let - ting go of

# ˘
& w w bœ Œ Ó
P f
#
& w n www n ww
b b ww n ww
P F
F
f
D m7
?# ˙ œ
˙ ˙ n˙ ˙ ˙ œ œ
˙ n˙ ˙ ˙ > œ
P
Œ > >
# 195J N ww ˙œœ .
& KM w œœ n œœ ˙˙ b www
196 197
>œœ >œœ >œœ > >œ

n œœ œœ n bb œœœœ
you, you,
# œ œ œ œ œ œ œ œ œ œœ
& œ œ œ œ œ œ œ œ œ œ
G G/F F B b
?# œ nœ
˙ œ n˙ œ b˙ œ
˙ n˙ b˙ œ
> > >
# 198 ˙ . Œ
& b b œœ œœ œœ œœ N www wœœ œœ n œœ ˙˙
198A 198B
Œ
you.
# >
& Ó Œ œ œ bœ œ
œ̆ Œ Ó œ ‰ ‰ œj ˙
Alto Sx.
J
ƒ Í>
>
>œœ >œœ >œœ >œœ
# bbb œœœ œ œ œ
œ œ
œ œ nœ œ œ œ œ
& œ œ
b
E sus4 G G/F F
?# ‰ j œ nœ
b˙ œ nœ ˙ œ n˙ œ
b˙ œ nœ ˙ n˙
> > > > >
# 198C w Œ
b ww b ˙œ . œœ œœ œœ N˙ ˙
&
+Bells
198D 199
bœ Œ
œ^
you. Three's no
# >
& œ Œ Ó bœ ‰ œj œ œ œ bœ œ Œ Ó
fl> >
> >œ >œœ >œœ
# n bb œœœœ œ œœ œ bb œœ œ >œœ œ
& œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ
B b E bsus4
G
sub. F
?# ‰ j Œ Œ
b˙ œ
b˙ œ nœ œ. œ.
b˙ œ b˙ œ nœ
> > > >
# 200
œ œ œ œ Œ n b ˙˙˙ ˙˙
& b bb œœœ œœ œœ ˙˙
201 202
˙ œ œ ˙
M
J
K
mys - ter - y... You're my his - to - ry.

# ∑ ∑ Ó ‰ bœ œ
& J œ
> >œœ > >œ
# œœ n œœ œ n bb œœœœ œ bœ œ
b b œœ
œœ œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b E bsus4
G/F F B
?# Œ Œ Œ Œ œ œ œ œ
œ. œ. œ. œ. œ œ œ œ
# 203 Œ j Œ
& œ œ j œ ˙ w ˙
204 205 206
Nœ œ œ œ
^
I'm ne - ver let - ting go of
# > > > >
& N˙. œ œ ˙ ‰ œ ‰ œJ œ œ œ œ œ œ œ ‰ œ
J fl fl fl .
F f Í>
DIGIBELLS (loco)+B3 (Sounds 8va)+FAST STGS (loco) /
ROCK PIANO (loco) / B3 (15ma) ROCK PIANO (Sounds 16va)+B3 (Sounds 8va)
>œœ >œœ >œ >œ >œœ œ>œœ œ>œœ œ>œœ œ œ œ œ

+ FAST STGS (32va)
>œœ œœ œœ œœ œœ œœ œœ
Digibells+
# œœ œœ œœ œœ œ œ œœœ œ
Stgs+B3
œ‰ œ œ œœ
(Piano)
œ œœ œ ‰ J œ œ œ‰ œ
& J J
F
>˙˙ . >œ œœ >œœœ œœœ ... œ>œœ
(B3 15ma + Stgs 32va)
œœœ ˙˙ .. ww
˙ ..
G C/G D/G D7sus4/G
?# œœ ˙. œ w JÓ
# 207
& MJK www www www
208 209
^ ^ œ^
you.
&
# œ^ Œ ‰ œj œ Ó ‰ œj œ Ó ‰ œJ œ
œ œ
^
f ƒ
œœ^ ^ œœ^ ^ œœœœœ
# œ œ œ œ œ œœœ œ œ œ œ œ œœœ
& Œ ‰ Œ ‰ Ó ‰
>œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ
(Rock Pno 16va+B3 8va)
? # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

19
Bows
Driving Rock
œ œ œ œ œ
# # 4A . œ œ nœ œ œ œ œ
œ œ œ .. # # # #
Gtr.
& 4 .
1
# .. # # # #
ROCK ORGAN (w/ Full Leslie)
j
& # 44 .. ˙œœ .. œœ . œœ ˙˙ œ Œ
n œœ œ .. œ ˙ b œœ
J
~~~
~~~~
f
~~~
~~~
Ó Œ
~~~~
? # # 44 .. ∑ .. # # # #
~~~~
œœ
~~~~
œ
Bs.
. . . . . . .
## œ̆ #
& # # .. œ œ œ n œ œ œ œ œ
Alto Sax
œ œ œ œ œ œj ‰ .. nw n˙ Œ
2 3 4 5
> > œ Í>

> f
# ## j ˙˙ nn ˘œœœ #
& # .. ~~~˙œœ .. œ.
n œœ œœ ..
œœ
œ
˙˙
˙
œ
n œœ
Œ .. n˙ n ˙˙ ˙ nœ Œ
J
~~~
~~~~~~
~~~~
Ó Œ >
C/D
? # # # # .. ∑ .. ∑ #
~~~~~~~~
Œ nœ Ó
~~~~
œœ
~~~~
œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ
œ
. . . . . . .
fl fl
#6
Gtr.
œ œ œ œ œ œ œ œ >œ >œ . œ œ œ œ œ œ œ >œ
& Œ ‰ Jœ ‰ ‰ œJ
7 8 9
f 3 3
ROCK PIANO
#
comp
Û̆ Û̆ ‰ Û. Û̆ Û̆ ‰ Û. Û̆ Û̆ ‰ Û.
sim.
& ’ ’ ’ ’
f G C/G
?#
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
-202-
Piano-Conductor —2— Bows Vanities
>œ . œ œ œ œ œ œ œ œ œ #œ œ œ̆
# 10 ‰ Jœ
& ‰ Œ Œ Ó
11 12 13
3 3
B3
# Û Œ œœœ œœœ
solo
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
fl fl
D/G Dm6/F E7sus4
?# ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Û Œ Ó
# > >œ ~~
& ∑ Ó ‰ œJ œ œ ~~~ Œ Ó
14 15 16
# œ œ œ œœ œœ œœ œ j œœ œœ œœ œœ œœ œœ œ
& œœ œœ œœ œ œ œ œœ œœœ œœœ ‰ œœœ ‰ œœœ ... œ œ œ œ œ œ œœ
> > > . > > > >
~~~
~~~~
Ó Œ
~~~~
?# ∑ œ ∑
‰ œ #œ œ ‰ œ ‰ œ ~~~~ ‰ œ #œ
œ œ œ œ J J œ œ œ œ œ
J J
# 17 >œ œ. ˘ j j
& ∑ ‰ bœ ‰ œ ‰ œ ∑
18 19
J fl fl
f
# j j œœ ‰ œj ‰ œj ‰ j
& œœœ # œœœ ‰ œœœ ‰ œœœ œ n b œœœ
œ. œœ # œœ œ
n œœ
‰ j
œ œ œ
bœ œ œ
> . > > > fl fl fl
˘j ˘j ˘j ˘j
?# ∑ bœ ‰ ‰ œ ‰ #œ ‰ œ ∑
œ ‰ œ ‰ œ ‰ #œ ‰ œ
J bœ. J J J
œ.
fl fl fl fl
# >
& Œ œ œ œ. ‰ Jœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
20 21 22 23
fl > > >

~~~
~
# ~~ œœ .. œœ ˙˙ .. œœ œ ˙. œ >œœ
OVERDRIVE ORGAN
& Ó ~~~~~~ œ . œ ˙. œ œœ ˙˙ .. œœ œœ Ó Œ œœœ̆

J
f
˙. œ œ ˙. œ >œ
C C/D
?# ∑ Ó ‰ œ Œ
J
-203-
# >
& Œ œ œ œ. ‰ Jœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ~~ Œ
24 25 26 27
fl > > > ~~
# ˙˙ .. œœ >œ ˙˙ .. œœ œœ ˙˙ . œœ œ>œœ
œœ
Overdrive
˙ .. ‰ j œœ
ROCK PIANO
& ˙. œ ˙. œ œ œ œ Ó
œ
~~
~~~~
fG
>œ ˙. œ œ ˙. œ >œ j
G/B C C/D
?# Ó Œ ‰ J Ó ‰ œ œ
Organ
œ œ
j
Vocals optional if no vocals, give the melody to Sax; if vocals tacet Sax
# 28 jN œ j
Œ œœ œœ œœœ
œ œ œœœ œœœ œœœ œ œ œ œ ˙˙˙ Œ œ œ
ALL:
œœœ œœ œœœ œœ œœ œœ œœœ

KATHY:
& œ œ
29 30 31
J
I'm let - ting go of all the things I al - ways knew. Now the
# œ̆ œ œ ‰ œ œ œ > œ. ‰ œj
& Œ J œ œ œ œ œ œ ˙ Œ œ œ
fl fl >
# œ j œ. ‰ j œœ j œœ œœœ # œœ # œj œœ œœ n œœ b œ œ œ
& œœ # œ œ œ # œ n œ œ œœ œœœ œœœ œœœ œœ ˙˙ ’ ’
> œ œ œ œ #
œ œœ ˙˙
?# ˙
Bm7 Em7 A7sus4
‰ j
A7
˙ œ ˙ ˙ ˙ ˙
˙ fl œ ˙
# 32
bœ œ œ œ œ œ œ œ œ œ nœ bœ œ bœ œ œ œ œ œ œ bœ bœ œ bœ
JOANNE: MARY:
&
ALL:
33 34 35
one thing I know is I'm nev - er let - ting go– nev - er let -ting go– nev - er let -ting go– no no no...
# ˘ > >œ œ œ œ b >œ

& bœ œ œ œ œ œ œ œ œ œ nœ bœ œ bœ œ œ. b œ. œ bœ
. >
#
& b bb œœœœ Œ Œ œ n œœœ Œ Œ b b œœœ Ó œ
n b œœœ Œ Œ b b b œœœ b œœœ œœ
œœ bœ b œ- œ- b œœ
> > > > > -
E b/F F/E b E b/A b D bmaj7 Gb A b/G b G b
?# Œ Œ Œ Œ bœ Œ Œ bœ Œ Œ
nœ œ bœ bœ bœ œ œ œ œ
nœ œ bœ bœ > bœ œ œ œ œ
> > > > > > > > >
-204-
# 36 ˙
& Ó ˙ b˙ ˙ b˙
ALL:
n˙
37 38 39
b˙
I'm nev - er let - ting go of
# œ
& Ó b˙ ˙ b˙ N˙ n˙ b˙ Œ
#
b bb œœœ
& œ Œ Ó w n www n ww
b b ww n ww
fl
f P F f
F D m7
Cm7
?# Œ Ó ˙ œ
œ ˙ ˙ n˙ ˙ ˙ œ œ
œ ˙ n˙ ˙ ˙ > œ
fl > >
# 40 w www www
& N ww
41 42
you.
# > œ^
& w w ˙ ‰ œJ œ
^
DIGIBELLS (loco)+B3 (Sounds 8va)+FAST STGS (loco) /
œœœ^ ^ ^ œœœœœ
ROCK PIANO (Sounds 16va)+B3 (Sounds 8va)
œ œ œ œ œœœ œ œ œ œ œœœ
Digibells+
#
Stgs+B3
& Œ ‰ Ó ‰ Ó ‰
>œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ
(Rock Pno 16va+B3 8va)
?# œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
-205-

20
Exit Music
b 4 ∑ ˙.
1 Ten. Sx œ b >œ 2
˙. bœ >œ
& 4
A
F Í Í
4 ‰ œœœ œœœ œ b œ œœœ Œ œœ œœ œ b œœ œœœ Œ

DRIVE ORGAN
&b 4 ∑
J
‰ œ œ œ
J
E b/F
> >
Û Û Û Û
Drum fill F
? b 44
Gtr.
Û Û̆ Û Û Û Û Û Û̆ Û Û Û Û
∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
. . . . . . . . . . . . . . . .
˙. œ b >œ ˙ œ ‰ Œ œ b >œ
& b Ó Œ
3 4 5
J
Í F Í
.
œ œ œj b œ œœ œ œ b œœ œ˙ œ œ œ œ œœ œœ œ œœ œ b b >œœ
œ˙ œœ ... ˙˙ ... ‰ œJ œ œœ œ œœ ‰ œ
& b ˙˙ œœ Œ
J
J
b B b m/F
?b ∑ ∑ ∑
B /F F
Rhythm cont. sim.
. . . . . . . . . . . . . . . . . . . . . . . .
˙. b œ >œ ˙. œ b >œ ˙ œ ‰ Œ
& b
6 7 8
J
Í Í .
œœ b b œœ œœ œ œœ œœ œ œ œ bœ
j œœ œ œ b œœ œ˙ œ œ œ œ
&b œ œ œ œ œ Œ œ˙˙ œœ ... œœ ˙˙ ... Œ
˙
J
b B b m/F
?b ∑ ∑ ∑
B /F
. . . . . . . . . . . . . . . . . . . . . . . .
-206-
Piano-Conductor —2—Exit Music Vanities
j ˘ Œ ‰ >j
‰ j
12
& b j œ‰ œ œ œ œ œ
Tenor solo
œ œ œ œ œ >œ >œ œ œ œ œ œ œ
9 10 11
œ œ. > œ œ
fl
œ
> > > J
j
Gtr. solo
&b ww n ˙˙ .. œœœ b œœœ œœœ œœœ œœœ Œ ‰ œœ

Gospel Organ
ww w ˙. œ bœ œ bœ œ bœ
w fl >
F b5 f Eb
/B b
? >
Dm7/C G /B Gm7
Œ ‰ bœ
Dm7
b ∑ ∑ ∑ Ó
œ. œ œ œ œ. œ œ œ
J
J J nœ. œ œ œ bœ œ œ œ
J fl
>
& b œ œ œ œj œ œ œ œ œ œ œ Œ ‰ b œj œ œ œ œ. Œ œ œœ œ œ #
13 14 15 16
J > œ œ œ
j œj j j j #
&b Ó ‰ b œœœ ‰ œœ Ó ‰ jœ œ b œœ j ‰ b œœœ j ‰ œ
œœœ ‰ Œ ‰ œœœ œœœœ ‰
œ
> > œ bœ œ œ œ œ
> > >
b œ œ ~~~~
~~~~
D b7
~~
> > j >> >> j
‰ œj œj ‰ #
Dm7 C 7sus4
?b Ó ‰ b œJ ‰ œ Ó ‰œ œ bœ œ j‰ œ œ j‰ œ ‰Œ
+ Dr fill
J œ bœ œ > > >

> >
# 17 œ̆ œ̆ >œ >œ >œ >

& Œ œ Œ œ w ˙. ‰ Jœ
18 19 20
˙. œ bœ
f F f
# œ
‰ œœ
œœ œ n œœ œœ œ œ œ
‰ n œœœ œœœ œ n œœœœ œœœ Œ œœ œ œœ bb œœœœ œœœ œ œ b œœœ œœœ œ b œœ œœ œœœ
ROCK PIANO
& œ œŒ œœ œ œœœ œ œ œ œœ œœ œ Œ
œ nœ
~~
J œ
ƒ J
~~~~
~~~l~iss.
~~~~ G
?#
G F/G C/G C m/G
nœ œ œ œ œ œ œ œ œ œ œœ œ œœœ œœœ œ œœœ œ œœ œœ œœœœ

nœ œ œ œ œ œ œ œ œ œ œœ œ œœœ œœœ œ œœœ œ œœ œœ œœœœ
>>>> >>>> > > >> > >>> >>> > >>> > >> >> >>>>
-207-
# œ ˘œ̆ 23
Œ Œ ‰ j
24
& œ nœ
21 22
œ nœ œ ˙. œ bœ ˙ œ œ œ
> fl F
œ >œœ
œ
# œ
‰ œœ
œœ œ n œœ œœœ Œ n œœ œœ œœ
‰ œœ œœ œ n œœœœ œœ Œ œœ œ œœ bb œœœœ œœ œ œ œœ
œœ œ b œœ
œœ œ œ œ n œ n œ œœ
œœ œ œ n œ œ
& œ œ nœ J œ œœ œ œ œ
J
?#
G C/G C m/G
œœœœ œœœœ œ œ œœ œ œœœ œœœ œ œœœ œ œœœœ œœ œœ

œœœœ œœœœ œ œ œœ œ œœœ œœœ œ œœœ œ œœœœ œœ œœ
>>>> >>>> > > >> > >>> >>> > >>> > >>>> >> >>
# 25 Gtr.jsolo j j j ˘
& œ˙ . œ œ œ œ œ œ œ œ œ œŒ œ œ œ
26 27
œ œ œ Ó
œ
œœ œ w
# œœ j
& œœ ‰ œj ‰ œœ œœw œœ œœ œœ œ Œ Œ ‰ b œj
œ œœ w # œœœ n œœ
fl > b5
#
?# j j
œ œ
E m7 E m7/D A 2/C Am7 /C
œ œ Œ Œ ‰ j
œ. œ œ. œ #œ nœ
>
# ‰ j œ œ œ œ j œ œ œ
& œ œ œ œ œ œ œ œ œ ˙
28 29 30
J
# j j j œj
‰ b œœ œœ ‰ Œ œ
‰ n œœ Œ. œ œ
n œœœ ‰ œœœ ‰ œœœ Ó ‰ œj œ œœ
+Sx.
& œœ œœ œœ
œœ œœ œ >
> > > > > > > >
> j j j j
F2 E m7
?# ‰ œ œ ‰ Œ ‰ nœ Œ. nœ ‰ œ ‰ œ Ó ‰ œ œ œ
œ œ nœ nœ œ œ œ œ œ
> > J > > > > > >
Poco Rall.
&
# 31 ‰ b œ œ œ œ œ ‰ œJ œ œ œ b œ b >œ œ. ‰ >œJ œ œ œ œ œ œ. œ̈ Œ Ó bbb
32 33 34
J J
œ>œ
# b œj ‰ Œ ‰ b œœ b >œœœ n œ>œœ ~
~ œ~
& b œœ œœ ‰ b bb œœœœ Ó b
‰ bœ ‰n œ Ó ‰ œœœ ... ~ ~ œJœ ‰ Œ Ó bbb
bœ > > œœ ..
b > A b7 A m7 (a dd4)
subito p ƒ j Dr. fill
j > >œ
D 7sus 4
? # bœ ‰ Œ ‰ œ b œ n
bbb
E 7
‰ bœ Ó ‰ bœ ‰ nœ Ó ‰ œ. œ‰Œ Ó
bœ œ bœ œ. œ
> > > >
-208-
C "Let Life Happen", a la Burt Bacharach, A Bit Brighter
b
& bb ∑ ∑ ∑ ∑
35 36 37 38
b
60's JAZZ ORGAN / TIMPANI
&bb Œ ‰ j Œ
œ œ œj œ. # œj œ
j Ó
(Organ)
œ œ œ œ œ œ. œ œ ˙
< < <
Gm7F B b/C
? b ∑ ∑
C9
bb Û. Û ˜ Û. Û ˜ ∑ ∑
J J
>œ n œ. œ̆ n ˘œ œ œ
œ. œ œ
bbb
Fl.
& ∑ ∑ Œ œ̆ ‰ J ‰ J ‰ J
39 40 41 solo 42
F
b
&bb Œ œ œ œ œ œ œ œ œ. ‰ œj
∑
< < < w
Fm7 A b/B b E bMaj7 D7
? bb ∑ ∑ ∑ ∑
b
b 43 w j j j j
& bb j ‰ j j œ ‰ œj œ œ
44 45 46
b
&bb Œ œ œ œ œ œ œ.
‰ j
œ œ
Œ œ œœ‰ j j
œ . #œ œ ˙
Ó
< < <
Gm7 B b/C C9
? bb ∑ ∑ ∑
b
œ.œ œ œ œ nœ
J
b œ n œ # œ œ nœ nœ œ #
& bb ∑ ∑ ∑ ‰ J
47 48 49 50
F
b #
&bb Œ œ
œ œ œ œ œ ‰ >œ .
Œ œ œ œ œ n œ œ ‰ # œj n œ
< < < > < < < > >
Fm7 A b/B b Am7 C/D
? bb ∑ ∑ Ó œ
Œœ (Timp)
œ #
b J
œ. œ œ.
J
œ
J œ. œ
-209-
œ̆ N >˙ . œ œ̆ >˙ . œ
# 51 Ó ‰ œ œ Ó ‰ œ œ
&
52 53 54
J J
# j j j j
Œ œœ œœ œœ .. œœ œ ‰ œœ œœ œœ œœ Œ œœ œœ œœ .. œœ œ ‰ œœ œœ œœ œœ
(Organ)
& œ œ œ. œ œ œ œ œ œ. œ œ œ. œ œ œ œ œ œ.
> > > . > > > > . >
?# > Œ Ó > > >
GMaj7 C6 C/D D7sus4 GMaj7 C6 C/D D7sus4
Ó Œ Œ Ó Ó Œ
(Timp)
œ œ œ œ
œ̆ >˙ . .
# 55 # œ. œ. œ- œ. œ œ ˙
58
& ∑ Œ Ó
56 57
f
# j
& Œ œœ œœ œœ .. œœ œ œœ œœ œ œœ w œœ Œ n œ œ
œ œ œ. œ . œ œ œ # # ww œ < <
> > >
?# > Œ
GMaj7 C6 C/D D7sus4 EMaj7 Em7 /D
Ó ∑ ∑ ∑
œ
# ∑ 43 ∑ 42 ∑ 44
60 61
&
59
#
43
œœ œ ‰ œJ œœ 2 44
&
œ œ œ. œœ œœ œ œ œœœ ‰ œj 4 œ œ
> > œ œ > fl fl
D/C
> Em/D
?# 43 42 44
CMaj7 Bm7 Em7
j œ j ‰ j
œ. œ œ œ œ. œ œ œ œ
# 62
& 44 43 42
∑ ∑ ∑ 44
63 64
#
& 44 43
œœ œ ‰ Jœ œœ 2 44
œ œ. œœ œœ œ œ œœ ‰ œj 4 œ œ
œ > œ œ œ fl fl
> > >
D/C Em/D
? # 44
43 42
44
CMaj7 Bm7 Em7
j œ j ‰ j
œ. œ œ œ œ. œ œ œ œ
-210-
# 654 ∑ ∑ ∑ Ó ‰ j œ b
& 4
66 67 68 Alto Sx
œ œ. >
F
# 4
œ œ ‰ œ œœ œ œœœ œœ œ œ
œœ œœ œœ œœ œœ œœ œœ œœ b
ROCK PIANO
& 4 œœ Jœ > œ œœ ˙˙ w
>
˙ N œœœ œœœ œœœ œœœ ... œœ œœ œœ œœ œœ œœ œœ œœ
>
D/C Bm7 Em7 J D7sus FMaj7
?# 4 j œœ œœœœ œœ b
CMaj7
∑ ∑
Am9
4 œ. œ œ
œ œ œ œ œ œ œ œ n >œ
^j ^j
E
2
& b œ. œ Ó Ó ‰ j œ. œ Ó ∑ 4
69 70 71 72
œ œ œ. >
~~~~~
&b j j
42
wœ
œœ œœœ œœœ œœœ œœœ œœœ
œœœ œœœ œœœ œœœ .. wœ œ œ œ œ œ œœ œœ ‰ œj ‰ œœœ
œœ œœ œœ œœ œœ œœ
< < >. >
œ œ œ
> >
F B b6 B b/C B bMaj7 B b/C
?b œ j j ‰ j ‰ j œ ‰ j ‰ œj ‰ j
‰ j ‰ j œ. œ œ œ. 42
FMaj7
œ œ œ œ > œ œ œ œ > œ œ
> >
^j
& b 42 Œ œ̆ 44 œ. œ Ó ∑ ‰ j œ n œ œ #
œ œ œ œ
73 74 75 76 77
œ œ œ # œ
> œ nœ œ œ
F
#
B-3 / TIMPANI
˙˙
& b 42
4 wœ œ œ œ œ j ˙˙
œœœ œœœ 4 œ œ ˙˙˙ ˙
(B-3)
œ. œœ œœ œœ œœ œœ œœœ œœ œœ œœ œœœ ...

œ ˙˙ ˙
< < > ˙
b B b/C
C/D
j œ . œj œj œ .
Am7
? b 42 44 #
B 6
‰ j ‰ w
FMaj7
œ
(B-3)
œ œœ œ > w
œ œ.
œ^ Ó ^
F
# >œ . >œ . >

‰ œj œ œ. ‰ Jœ 42 œ œ̆ 44
78
& Ó œ Ó Ó Œ
79 80 81 82
J J
~~~~~
f
œ œ >œ >œ >œ
~
# œœœ œœ œ œ œœ œ œœœ œœ œ œ œ̆
Œ Œ ‰ J ‰ J 42 44
solo
&
GMaj7 CMaj7
> > > >

C6 C/D GMaj7 C/D
?# Œ Û. Œ Û. Û. Û ‰ Û. . Œ Û Œ Û Û ‰ Û ‰ Û ‰ Û 42 Û Û̆ 44
(+Comp)
-211-
J J J
# 834 ###
∑ ∑ ‰ j œ œ œ. œ œ̆ œ̆
& 4 œ œ œ. œ œ. . >
84 85 86
J
F Í
# 4 œ œ œ̆ œ̆ œ œ. >œ œ œ œ ˙ >œ ~~~~~~~~~
˙ ˘œ
œœ ###
& 4 Œ w Œ ‰ œœœ ˙˙˙ œ Œ
~~~~
~~~
J
~~~~~~
~~~~
~ ~~
~~~ss~.
~~~~
œ œ
A7sus4 D/E
? # 4 Œ Û. Œ Û. Û. ‰ Û. ###
GMaj7 C6
~~~~Gli
D7sus4
~~~~~~
Ó ˙ œ̆ œ
~~~~
4 ˙
J œ
~
Timp.
>
# # # 87 œ^ >œ œ >œ . >œ œ >œ .
G
j j
œ œ ‰ œ œ œ œ Œ œ œ ‰ œ œ œ œ
soli
&
88 89 90
J > . > fl J > . > fl

j
### wœ œ œ œ œ œ œ œ wœ œ œ œ œ œ œ œ wœ œ œ œ œ œ œ œ ˙œ . œ œ œ œ œ œœ ‰
Overdrive
& œœœœœœœœ œœœœ œœœœ œœœœœœœœ œœœœ œœœ

J‰
~~s~. ~
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
~~~G~lis
? ###
AMaj7 D6 D/E AMaj7 D6 D/E (Timp.-- both
œ Œ Ó Ó Œ œ Œ Ó Ó Œ ‰
sound as E)
> œ > œœ
>
&
### Œ
>œ œ >œ . œ̆ œ. >œ œ œ œ œ #œ œ œ # œ. œ^ n œ œ̆
œ # œ # flœ a >œ a œ. . >
91 92 93 94
J fl fl
fl fl f
j F
### >˙ . wwœ . œ ˙ # # ˙˙˙ ... œœ # >œœ œœ # # ˘œœ ROCK PIANO
& Œ ˙˙ .. œ œ œ œ Ó
~~~
#
~~
~~
~~~
~~~~~G~li~s~s~. ~~
~~~liss.
AMaj7 D6 D/E F Maj7

~~~ G
? ### œ. œ ˙
œ Œ Ó Œ
(Organ)
J œœ œœ œ œœ œ œ œ œ
~~~
> Organ peds.fl fl fl fl fl fl > fl

(Timp)
### >œ > >œ >

& œ ‰ Jœ œ œ. œ 43 œ œ œ œ ‰ j
œ 4
2 œ œ̆ 44 œ ‰ Jœ œ œ. œ 43
95 96 97 98
> . > >

fl
###
& œœ œœ œœœ ‰ œœj 43 œœ œœ œœœ Œ 42 œœ œœœ 44 œœ œœ œœœ ‰ œœj 43
œ œ œ œ œ > œ œ œ œ œ
> fl > â â# > fl >
~~~~~
E/D C #m7 # #
~~~~~G~li~ss.
? ### ‰ œj
E/D C m7
43 42 œ œ 44
43
DMaj7 F m7 F m/E DMaj7
jœ jœ
œ. œ œ œ œ œ œ œ -212- œ
â âœ œ. œ œ œ
# # # 993 j 1002 4 >œ > >

.œ œ œ œ œ
œ ‰ œ̆ œ ‰ œJ œ 2 4
102
& 4 œ œ œ œ 4 œ 4 4 4
solo 101
. >
fl
F
### 3 2 4 œ œ ‰ œj 42 œœ 4
& 4 œœ œœ œœ Œ 4 # œœœ œœ 4 œœ œœ œœ
œ œœ œœ œ 4
œ œ >œ œ œœ œ
> fl >
F #m7 #
? ### 3 j 2 4 2 œ 4
‰ œ 4 #œ œ jœ
B9 DMaj7 E/D C m7
4 œ 4 4 4
œ œ œ #œ œ œ. œ œ œ œ œ
# # # 1034 ^
& 4 œ œ ‰ j œ Œ Ó ∑
104 105 106
œ œ
œ œ. œ . œ. > œ œ œ. flœ fl
F Í F f ƒ
### 4 Œ œœ ‰ œœj ‰ œœj j >
Û̆ Û Û Û .
>
Û̆ Û Û Û .
& 4 œœ œœ .. œœœ œœœ
œœ œœ œœ œœ œœ .. œœ œœ J J
F #m7 fl
> > â â
j > >
Bm7
? # # # 44 ‰ j ‰ œ œ. jœ œ Û̆ Û Û Û . Û̆ Û Û Û .
œ œ œ œ œ. œ œ œ J J
œ > â â
# # # 107 j œ̆
& œ Ó J Ó
108 109 110
˙. œ œ œ. ˙. œ œ œ.
> > fl fl > >
Í f Í f
### j j j j
& œœœ .. œœœ œœœ .. œœœ œœœ .. œœœ ‰ œ œ œ œœœ œ œœœ œœœ œ œœœ œœœ œ # œœœ Œ N N œœ
œ .. œ œ .. œ œ .. œ œ œ œ œ œ œ œ œ #œ aœ
F fl Bsus4/C #
fl #
Bsus4/F # F #7 F 7(#9)
˘
D/E D
? ### œ Œ
cresc. poco a poco
œ œ œ œ œ
## œ^ œ^ œ œ œ
œ
& # Œ Ó Œ Ó ˙ Ó œ
111 112 113 114
> œ
fl fl
Í
˘œ ˘œ F
### j œœœ œœœ Ó
& œœœ œœœ ‰ œœœ .. œœ œœ ‰ œœ .. œœœ .. œœœ œœœ œœœ
œ œ œ .. œœ œœ œœ .. œ .. œ œ œ
> fl > > fl > > > >
f
E7sus4
? ###
Bm7
D/E
‰ œ. ‰ œ. Ó
GMaj7
˙ n˙ j
> > œ. œ œ œ œ œ
> > > œ œ
fl fl
-213-
### j n >œ . j >

& œ. Œ œ œ̆ œ ˙ Ó ˙
115 116 117 118
> nœ ˙ œ >
>
Í fl
f Í Í
### j j j j
œœ ‰ œj ‰ j
B3 / ROCK PIANO (more percussive)
œ œ œ
œœ œ ‰ œœ ‰ œœ œ
‰œ ‰ œœ œœ œœ œ œ œœ œœ œœ Œ
œœ œœ œœ œœ œœ œ
(B3)
& œ. œ œ œ œ œ œ œ œ. œ œ œ
~
. .
~~s~s.~
fl fl fl fl fl fl â fl b fl fl fl fl ˙
~~~~Gli
FFMaj7
f E7sus4
B Maj7
? # # # (Piano) j j
cresc.poco a poco
j j j j
nœ. œ œ. œ nœ. œ œ. œ bœ. œ œ. œ œ ˙.
nœ. œ œ. œ nœ. œ œ. œ bœ. œ œ. œ fl ˙ .
>
# # 119 >œ j >œ œ >œ . >œ œ. j
& # Œ œ œ. œ œ ‰ œ œ œ œ Œ ‰ œ œ œ œ
120 121 122
J > . > fl J > fl

ƒ
### > j j > j j
& Œ ˙˙˙ ... œœ ‰ ‰ œœ œœ
œ œ œ
œœ
œ Œ ˙˙˙ ... œœ ‰ ‰ œœ œœ
œ œ œ
œœ
œ
~~
fl > fl fl > fl
~~~G~l~is~s.
? ### j j
AMaj7 D6 D/E AMaj7 D6 D/E
œ. œ œ œ j œ. œ œ œ j
œ. œ œ œ œ. œ œ œ
# # # 123 ‰ j‰ j
^ ^ ‰
^ ^ ^ ^
& j ‰ œj œ ‰ j‰ j ‰ j ‰ œj œ
124 125 126
> fl fl > fl > fl fl > fl
ƒ
### j j
& œœ œœ œœ œœ ‰ œj ‰ œœ ‰ œœj ‰ œœ œœ œœ œœ
œœ
œœ
œœ œœ œœ ‰
œœ
œœ ‰ œœœ ‰ œœœ ‰ œœœœ œœœœ œœœ
œ œ œ œ œœ œ œ œ œ œ œœ œœ œ œ fl fl œ
fl fl fl fl fl fl fl fl fl fl fl fl fl fl fl fl fl fl
? ###
AMaj7
œ œ nœ œ ‰ œ ‰ œ ‰ nœ ‰ œ œ œ œ œ nœ œ ‰ œ ‰ œ ‰ nœ ‰ œ œ œ
œ œ nœ œ œ œ nœ œ œ œ œ œ nœ œ œ œ nœ œ œ œ
fl fl fl fl fl fl fl fl fl fl fl fl fl fl fl fl fl fl fl fl
### ^ ^ 128 ‰ ^j ‰ ^j ^
& ‰ j ‰ j œ œ œ œ Œ œ œ ∑
127 129 130
œ œ œ œ œ œ œ œ œ œ > fl >
> fl > fl
˘œ ˘œ ˘œ ˘œ ˘œ ˘œ ˘œ ˘œœ ˘œ ˘œ ˘œ ˘œ ˘œ ˘œ
### œœ œœ œœ œœ ‰ œ ‰ œœ œœ œœ ˘œ œœ œœ
& œ œ œ œ œœ œ ‰ œœœ ‰ œœ œ œœ œœ
œ
œœ
œ
œœ œœ Œ
œ ∑
fl œ
? ### ^
AMaj7
œ œ nœ œ ‰ œ ‰ œ ‰ nœ ‰ œ œ œ œ œ nœ œ ‰ œ œ Œ Ó
AMaj7 GMaj7 A(no3)
œ œ nœ œ œ œ nœ œ œ œ œ œ nœ œ œ œ œ œ
fl fl fl fl fl fl fl fl fl fl fl fl fl fl > fl fl œ
-214-

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4".

Vanities: The Musical

Music & Lyrics by

VANITIES: THE MUSICAL is fully protected under the copyright laws

FOR PRODUCTION ENQUIRIES

CAUTION: Professional and amateur producers are hereby warned that

IMPORTANT BILLING AND CREDIT REQUIREMENTS

(Before the show starts, three women and

KATHY. JOANNE. MARY.

staging, and orchestration should suggest

(The three girls are practicing for the pep

(MARY does the cheer wrong. JOANNE notices

KATHY. “Get that point” is when we kick the ball through

WE NEED TO ROUSE THE CROWD,

KATHY. MARY & JOANNE.

WE NEED TO ORGANIZE ALL OUR BOYFRIENDS.

KATHY. (Gets the paper from her notebook.) I don’t know if

necking without Brenda putting other ideas in their

MARY. You said you were going to her house to study

MARY. I think college will be a blast. I can’t wait to get away

SINCE WE STARTED SENIOR YEAR, THERE’S ONE THING

WHAT HAPPENS IF THAT BRENDA BLAIR IS STILL AROUND

MY PATH IS STRAIGHT, AND MAKING IT LAST…

JOANNE. KATHY. MARY.

WHO WE ARE, THE THINGS WE DO,

KATHY. Oh, my God. MARY. Oh, no.

(Music begins. The lights fade on the play-

(The three of them make final adjustments to

A Sorority House in Dallas – Spring, 1968

(JOANNE wears a skirt and a blue blazer

that’s joke about a Kappa. I’m gonna make sure before

organized! Let’s discuss spring. Spring is an S.O.B.!

JOANNE. Then my wedding…at last.

MARY. (Trying to be comforting.) Boys don’t care about

KATHY. Okay, we’ll go down right after classes tomorrow.

THERE’S ONLY ME IN MY FUTURE…

JOANNE. It’s not that amazing. When you go with someone

he married her. She wasn’t even in a sorority. You must

NOW ALL I SEE ARE CUTE BOYS WITH SHORT HAIRCUTS,

WITH THE GAMES THAT THEY PLAY,

JOANNE. Oh, if I wasn’t getting married, I’d be so scared.

MARY. And popular.

JOANNE. It’s the flower children. Pot…everywhere I look I

[MUSIC NO. 10 “LET LIFE HAPPEN”]

HOW THE HELL CAN YOU CALL THAT LIVING?

[MUSIC NO. 12 “MYSTERY III”]

(There are chairs, a table, and a chaise

JOANNE. One teaspoon.

KATHY. MARY is dressed in a bold, expensive

MARY. Oh, for God’s sake, for a moment I forgot I wasn’t

KATHY. I did? I haven’t seen you since…

WE’RE SINGING THE SAME OLD MUSIC,

BUT PLAY ME THAT SAME OLD MUSIC,

JOANNE. What does he do?

KATHY. But why did you choose to have a gallery of erotic

JOANNE. So you quit?

AND I HAD TRIED SO HARD.

KATHY. Then they’ll grow up like us.

because they’re mine.

KATHY. (Strongly, this is what she believes.) Probably.

JOANNE. (To MARY.)

JOANNE. KATHY. MARY.

IT’S GETTING FUTURE, TOO FAR…