C
MAN #1
MAN #2
MAN #3
WOMAN #1
WOMAN #2
COMPANY
2 . P u t t i n g I t To g e t h e r .........................................................................................................................3
3 R i c h A n d H a p p y .............................................................................................................................7
8 S o o n e r o r L a t e r S e q u e n c e ( S o o n e r o r L a t e r ; I ’ m C a l m ; I m p o s s i b l e ; A h , B u t U n d e r n e a t h ) .................................................................................................................... 1 7
2 1 B a c k I n B u s i n e s s 5 2
2 2 R i c h A n d H a p p y A n d S t o n e d ( R i c h A n d H a p p y # 2 ) 5 3
2 3 . M e d l e y A L i t t l e N i g h t M u s i c ( L o v e Ta k e s Ti m e ; R e m e m b e r ? ;
I n P r a i s e O f Wo m e n ; P e r p e t u a l A n t i c i p a t i o n ; T h e S u n Wo n ’ t S e t ) 5 5
2 4 G a m e S e q u e n c e P a r t 1 ( W h a t Wo u l d We D o Wi t h o u t Yo u ? ) 6 0
2 5 . G u n S o n g ....................................................................................................................................... 6 2
2 6 G a m e S e q u e n c e P a r t 2 ( A L i t t l e P r i e s t ) 6 5
3 4 G e t t i n g M a r r i e d To d a y 7 7
3 8 . O l d F r i e n d s / F i n a l e ( M e r r i l y We R o l l A l o n g ) .............................................................................. 8 4
3 9 N e w B o w s 8 5
MAN #1
7 E v e r y b o d y O u g h t To H a v e a M a i d 1 3
9 . H e l l o , L i t t l e G i r l ........................................................................................................................... 2 3
1 3 H a v e I G o t a G i r l F o r Yo u 2 8
1 4 P r e t t y Wo m e n 2 9
1 7 . C o u n t r y H o u s e .............................................................................................................................. 4 0
3 0 S o r r y - G r a t e f u l 7 1
3 2 I C o u l d D r i v e a P e r s o n C r a z y 7 3
3 6 . B e i n g A l i v e .................................................................................................................................... 8 1
MAN #2
7 E v e r y b o d y O u g h t To H a v e a M a i d 1 3
1 3 . H a v e I G o t a G i r l F o r Yo u ............................................................................................................ 2 8
1 4 P r e t t y Wo m e n 2 9
1 5 N o w 3 1
1 6 B a n g ! 3 4
2 9 L i v e A l o n e A n d L i k e I t 7 0
3 3 M a r r y M e a L i t t l e 7 5
3 6 B e i n g A l i v e 8 1
1 . I n v o c a t i o n A n d I n s t r u c t i o n s To T h e A u d i e n c e .............................................................................1
5 M e r r i l y We R o l l A l o n g ( M e r r i l y F r a g m e n t # 1 ) 1 2
7 E v e r y b o d y O u g h t To H a v e a M a i d 1 3
1 2 . M e r r i l y We R o l l A l o n g ( M e r r i l y F r a g m e n t # 2 ) ........................................................................... 2 8
1 5 N o w 3 1
1 6 B a n g ! 3 4
1 8 . M e r r i l y We R o l l A l o n g ( M e r r i l y F r a g m e n t # 3 ) ........................................................................... 4 9
3 2 I C o u l d D r i v e a P e r s o n C r a z y 7 3
3 5 M e r r i l y We R o l l A l o n g ( M e r r i l y F r a g m e n t # 4 ) 8 1
WOMAN #1
1 0 M y H u s b a n d T h e P i g 2 5
11 E v e r y D a y a L i t t l e D e a t h 2 6
1 7 C o u n t r y H o u s e 4 0
1 9
3
3 2 I C o u l d D r i v e a P e r s o n C r a z y 7 3
3 6 B e i n g A l i v e 8 1
3 7 L i k e I t Wa s 8 3
WOMAN #2
6 . L o v e l y ............................................................................................................................................ 1 3
9
1 6 . B a n g ! .............................................................................................................................................. 3 4
2 8 T h e M i l l e r ’ s S o n 6 8
3 2 I C o u l d D r i v e a P e r s o n C r a z y 7 3
3 6 . B e i n g A l i v e .................................................................................................................................... 8 1
MUSICIANS
2 P u t t i n g I t To g e t h e r .........................................................................................................................3
(The stage is empty. MAN #3’s VOICE is heard over the loudspeaker. As his speech comes to a close, MAN #3 ENTERS, his voice blending in with the voice coming from the loudspeaker. He addresses the AUDIENCE)
M A N # 3
Good evening, ladies and gentlemen, and welcome Patrons are respectfully reminded that the use of cameras or sound or video recording equipment in this theatre is strictly forbidden. Please do not sit in the aisles, as in the event of any emergency, you will be trampled to death. Patrons fitted with hearing aids are requested not to turn up their levels too high, lest they set up feedback in patrons fitted with pacemakers
Please do not crinkle your programs incessantly, or fidget uncontrollably in your seats, or make little clicking noises with your tongue
D O N ’ T
S AY,
(Whispers to an imaginary neighbor)
“ W H AT ? ”
S T I L L D O N ’ T
S AY,
(Baffled and louder)
“ W H AT ? ” I
( M A N # 3 )
D U R I N G A PA U S E , P L E A S E ,
L O T S O F A P P L A U S E , P L E A S E
I F W E D O N ’ T G E T A H A N D ,
Y O U ’ L L H AV E TO S TA N D
F O R O N E T H AT ’ S C A N N E D
(Looks up at the loudspeaker, which emits loud obnoxious canned LAUGHTER and APPLAUSE, which go on longer than necessary)
D O N ’ T G O ,
(Recognition)
“ O H ” W H E N E V E R T H E R E ’ S A S O N G Y O U K N O W. A N D W H E N Y O U H E A R T H E V E R S E , D O N ’ T W H I S P E R L O W, “ T H E Y C U T T H AT O U T O F TO W N , I S AW T H E S H O W
I D O N ’ T R E C A L L T H E T E M P O B E I N G Q U I T E T H AT S L O W “
A N D P L E A S E
R E F R A I N
F R O M E AT I N G S W E E T S I N C E L L O P H A N E
T H O U G H I T ’ S N O T A R I S TO P H A N E S ,
P L E A S E D O N ’ T F U S S
A N D W H E N Y O U H E A R C A C O P H O N I E S , W E L L , D O N ’ T B L A M E U S
I F W E S H O U L D WA X S AT I R I C A L ,
D O N ’ T TA K E I T W R O N G
A N D I F, B Y A S U D D E N M I R A C L E , A T U N E S H O U L D A P P E A R T H AT ’ S LY R I C A L , D O N ’ T H U M A L O N G .
D O N O T T H R O W F O O D , P L E A S E , T I L L W E C O N C L U D E , P L E A S E .
D O N O T A L L U D E , P L E A S E , TO “ TA L E N T G O N E
( M A N # 3 )
A P R E M AT U R E D E PA RT U R E M AY S E E M S M A RT,
B U T WA I T F O R T H E F I N A L E ( W H I C H I S B R I L L I A N T ) , T H E N D E PA RT
(After a moment, unruffled)
B U T F I R S T W E S TA RT
P U T T I N G I T TO G E T H E R # 2 P u t t i n g I t T o g e t h e r ( C o m p a n y, M u s i c i a n s ) M A N # 1
(ENTERS)
B I T B Y B I T,
P U T T I N G I T TO G E T H E R
P I E C E B Y P I E C E
O N LY WAY TO M A K E A W O R K O F A RT
E V E RY M O M E N T M A K E S A C O N T R I B U T I O N ,
E V E RY L I T T L E D E TA I L P L AY S A PA RT
H AV I N G J U S T T H E V I S I O N ’ S N O S O L U T I O N ,
E V E RY T H I N G D E P E N D S O N E X E C U T I O N :
P U T T I N G I T TO G E T H E R
T H AT ’ S W H AT C O U N T S . W O M A N # 2
(ENTERS)
O U N C E B Y O U N C E , P U T T I N G I T TO G E T H E R . . .
B I T B Y B I T
(ENTERS)
N O T E B Y N O T E , W O R K I N G O N (Stentorian)
P R O J E C T I O N
(Inhaling deeply)
M A N # 2
(MAN #1 and WOMAN #2 smile coolly)
M A N # 1 P
(WOMAN #1 ENTERS and takes her position, but her SPOTLIGHT leaves her in half-shadow; she looks up toward the invisible operator)
(Oh-so-sweetly)
(SPOTLIGHT obliges)
(LIGHT brightens and widens; WOMAN #1 turns to AUDIENCE)
(Snapping fingers, hyper-jazzy)
(Smiles dazzlingly UPWARD)
(LIGHTS go out briefly on WOMAN #2, and perhaps the others as well)
M E N
N O T E A S Y
E V E RY W O R D , E V E RY L I N E ,
L L
E V E RY G L A N C E , E V E RY M O V E M E N T
Y O U I M P R O V E A N D R E F I N E ,
T H E N R E F I N E E A C H I M P R O V E M E N T . . .
B I T B Y B I T,
P U T T I N G I T TO G E T H E R .
P I E C E B Y P I E C E , W O R K I N G O U T T H E V I S I O N N I G H T A N D D AY W H AT I T TA K E S I S T I M E A N D P E R S E V E R A N C E ,
D E A L I N G W I T H D E TA I L S A L O N G T H E WAY: M A N # 2
D E A L I N G W I T H P R O D U C E R S ’ I N T E R F E R E N C E , W O M A N # 1
WA I T I N G F
( A L L )
B I T B Y B I T,
PA RT B Y PA RT,
F I T B Y F I T,
S TA RT B Y S TA RT,
S T R I D E B Y S T R I D E ,
K I C K B Y K I C K ,
G L I D E B Y G L I D E ,
S H T I K B Y S H T I K ,
S I D E B Y S I D E
B Y S I D E
B Y S I D E
B Y S I D E
B Y S I D E
A N D T H AT I S T H E S TAT E O F T H E A RT !
(The performers become characters at a noisy cocktail party in the living room of an expensive penthouse duplex in an urban high-rise building. MAN #1 and WOMAN #1 are the hosts, a married couple celebrating their twenty-fifth wedding anniversary. MAN #2 is a young colleague from MAN #1’s publishing firm. WOMAN #2 is a maid hired for the evening. MAN #3 is a mischievous and somewhat mysterious uninvited guest who occasionally comments on the action throughout the evening)
M A N # 1
(To MAN #2, as WOMAN #2 serves [N.B.: WOMAN #2 EXITS and ENTERS throughout, serving drinks, carrying the unseen guests’ coats, etc.)
(BABBLE from invisible GUESTS)
(To MAN #2)
(OFFSTAGE BABBLE)
# 3 R i c h A n d
p p y ( C o m p a n y )
Party!
(To someone OFFSTAGE LEFT)
(Turns back to MAN #2 with an empty smile)
(To MAN #3)
(Spoken, waving OFFSTAGE RIGHT with false enthusiasm)
(Spoken, also waving to someone)
(Spoken, also waving)
(Spoken, waving to others)
(Sung)
(OFFSTAGE BABBLE)
( W O M A N # 1 )
I S AY, “ L E T I T N E V E R S TO P ! ”
(OFFSTAGE BABBLE)
M A N # 1 & W O M A N # 1
I T ’ S O U R T I M E C O M I N G T H R O U G H , A L L O U R D R E A M S C O M I N G T R U E W O M A N # 1
G O R G E O U S H O U S E
G O R G E O U S W I F E
M A N # 1
M A N # 1 & W O M A N # 1
W H O WA N T S A N Y M O R E F R O M L I F E ?
S K I E S A R E B E A M I N G ,
F U T U R E B R I G H T A N D P R O S P E C
B E S T O F A L L , Y O U D O N ’ T S TO P D R E A M I N G
J U S T B E C A U S E Y O U ’ R E R I C H A N D FA M O U S A N D T
(Plus many other VOICES, if possible)
off)
(To MAN #1, spoken sotto voce)
(Sung)
(Spoken, waving to the person in question, loudly) CONGRATULATIONS!
(Sung)
(Sung, to WOMAN #1 and perhaps MAN #2)
(Toasts him)
(Looking off again)
(Overlapping)
(Spoken, waving off)
HI!
(Sung)
Y !
(EXITS again, RE-ENTERS sometime during the following)
L o v e l y ( W o m a n # 2 )
W O M A N # 2
(Making a grand entrance down the stairs with a bottle of champagne, pouring it for MAN #1, MAN #2 and MAN #3)
L O V E LY,
A L L I A M I S L O V E LY,
L O V E LY I S T H E O N E T H I N G I C A N D O .
W I N S O M E ,
W H AT I A M I S W I N S O M E ,
R A D I A N T A S I N S O M E
D R E A M C O M E T R U E . O H , I S N ’ T I T A S H A M E ?
I C A N N E I T H E R S E W
N O R C O O K N O R R E A D O R W R I T E M Y N A M E
B U T I ’ M H A P P Y
M E R E LY B E I N G L O V E LY,
F O R I T ’ S O N E T H I N G I C A N G I V E TO Y O U .
(Sings soprano obbligato)
N O W
V
M A N # 3
E V E RY B O D Y O U G H T TO H AV E A L U R K I N G G I R L M A N # 2
TO P U T T E R A R O U N D T H E H O U S E . M A N # 1
E V E RY B O D Y O U G H T TO H AV E A M A I D . M A N # 2 & M A N # 3
E V E RY B O D Y O U G H T TO H AV E A M A I D
M A N # 1
E V E RY B O D Y O U G H T TO H AV E A M E N I A L , M A N # 3
C O N S I S T E N T LY C O N G E N I A L
M A N # 1 & M A N # 2 A N D Q U I E T E R T H A N A M O U S E . M A N # 1 , M A N # 2 , M A N # 3
O H ! O H ! W O U L D N ’ T S H E B E D E L I C I O U S , M A N # 2 & M A N # 3
T I D Y I N G U P T H E D I S
I
M A N # 1 , M A N # 2 , M A N # 3
TO O F F E R Y O U T H E S O RT O F H E L P
Y O U N E V E R G E T F R O M A S P O U S E M A N # 1
F L U T T E R I N G U P T H E S TA I RWAY, M A N # 2
S H U T T E R I N G U P T H E W I N D O W S , M A N # 3
C L U T T E R I N G U P T H E B E D R O O M , M A N # 1
B U T T E R I N G U P T H E M A S T E R , M A N # 1 , M A N # 2 , M A N # 3
P U T T E R I N G A L L A R O U N D
T H E H O U S E !
M A N # 1 , M A N # 2 , M A N # 3
O H ! O H !
T H I N K O F H E R AT T H E D U S T B I N ,
‘ S P E C I A L LY W H E N S H E ’ S J U S T B E E N
T R A I P S I N G A B O U T
M A N # 1 & M A N # 2
O H ! O H !
M A N # 1 , M A N # 2 , M A N # 3 W O U L D N ’ T S H E B E D E L I G H T F U L , M A N # 2 & M A N # 3
L I V I N G I N , M A N # 1
G I V I N G O U T
M A N # 2 & M A N # 3
E V E RY B O D Y O U G H T TO H AV E A M A I D M A N # 1
E V E RY B O D Y O U G H T TO H AV E A M A I D ,
(Sung)
( M A N # 1 , M A N # 2 , M A N # 3 )
A N D Q U I E T E R T H A N A M O U S E
O H ! O H ! W O U L D N ’ T S H E B E S O N I M B L E , F I D D L I N G W I T H H E R T H I M B L E , M E N D I N G A G O W N ? O H ! O H ! W O U L D N ’ T
, M A N # 2
C L E A N I N G U P, M A N # 1
L E A N I N G D O W N . . . M A N # 1 , M A N # 2 , M A N # 3 E V E RY B O D Y O U G H T TO H
A N D , E V E N I F Y O U G R U M B L E , B E
A S G R A C E F U L A S A G R O U S E ! M A N # 2 W R I G G L I N G I N T H E A N T E R O O M , M A N # 1
J I G G L I N G I N T H E L I V I N G R O O M , M A N # 3 G
(Four bars “party vamp ” [‘’Rich And Happy”], during which WOMAN #1 begins serving hors d’oeuvres and the others mime party chatter,
Pause. MAN #1 looks sexily at WOMAN #2, who returns the look, which WOMAN #1 notices
Four more bars, during which WOMAN #1, under the pretext of passing the tray, blocks their view of each other Pause WOMAN #2 turns her attention to MAN #2 MAN #1 notices this. ALL freeze)
(To herself)
(To himself)
(Four more bars of “Rich And Happy” vamp. Party resumes. WOMAN #1 smiles ever more brightly as she continues serving Pause WOMAN #2 continues looking at MAN #2. Man #1 notices this.
Four more bars MAN #2 looks nervously down at his glass Pause WOMAN #2 looks over at MAN #1; WOMAN #1 notices this)
A N # 2
(To himself)
(Overlapping)
(Overlapping)
(Two bars of “Sooner Or Later”: steady but not too slow)
(To herself but directed at MAN #2)
(To himself)
I ’ M C A L M , I ’ M C A L M ,
I ’ M P E R F E C T LY C A L M ,
M A N # 2
I ’ M U T T E R LY U N D E R C O N T R O L .
I H AV E N ’ T A W O R RY, W H E R E O T H E R S W O U L D H U R RY,
I S T R O L L
(Two bars “Sooner Or Later” vamp, during which MAN #2 casually strolls away from WOMAN #2, who immediately turns to MAN #1)
W O M A N # 2
(As MAN #1 nervously glances over at WOMAN #1)
S O O N E R O R L AT E R Y O U ’ R E G O N N A D E C I D E
S O O N E R O R L AT E R T H E R E ’ S N O W H E R E TO H I D E
B A B Y, I T ’ S T I M E , S O W H Y WA S T E I T I N C H AT T E R ?
L E T ’ S S E T T L E T H E M AT T E R
B A B Y, Y O U ’ R E M I N E O N A P L AT T E R ,
I A LWAY S G E T M Y
(To herself furious)
I ’ M C A L M , I ’ M C O O L ,
A G I B B E R I N G F O O L
W O M A N # 1
I S S O M E T H I N G I N E V E R B E C O M E ! W H E N T H U N D E R I S R U M B L I N G
A N D O T H E R S A R E C R U M B L I N G , I H U M
(Forces herself to hum as she serves hors d’oeuvres to MAN #3. Four bars “Ah, But Underneath” vamp)
M A N # 3
(Watching WOMAN #1 as she goes about the room)
S H E S E E M S S M A RT, TA RT, D RY A S A M A RT I N I
A H , B U T U N D E R N E AT H . . .
S H E ’ S A L L S O U L , H E A RT,
S O M E T H I N G B Y P U C C I N I
A H , B U T U N D E R N E AT H
I N T H E D E P T H S O F H E R I N T E R I O R
A R E F E A R S T H AT S H E ’ S I N F E R I O R
( M A N # 3 )
(Advancing on MAN #2 again, as “Sooner Or Later” resumes)
(The ice trembling in his glass)
(Advancing on MAN #3)
I F Y O U ’ R E O N M Y L I S T, (Wiggles her fingers surreptitiously at MAN #1) I T ’ S J U S T A Q U E S T I O N O F W H E N . W O M A N # 1 W H Y D I D S H E WAV E AT H I M T H AT WAY ? W O M A N # 2
MAN #3, but waving at MAN #2)
(Overlapping) W H Y D I D S H E WAV E AT H I M ? M A N # 2
(Overlapping)
H Y D I D S H E WAV E AT H I M ?
(Overlapping)
I ’ M C O U N T I N G TO T E N :
(Sexily counts the hors d’oeuvres WOMAN #1 offers her or just counts, looking back and forth between MAN #1 and MAN #2.
Spoken, sotto voce)
(Sung)
(Spoken, as MUSIC builds to a climax) F O U R , F I V E , S I X , S E V E N , E I G H T, N I N E M A N # 3
Party!
(Suddenly, the vamp to “Impossible”, in bright tempo) M A N # 1
(Sung, looking at WOMAN #2 and MAN #2)
(Looking at WOMAN #2 and MAN #1)
(Looks over at MAN #1)
H I M ?
I M P O S S I B L E !
(Two bars “Sooner Or Later” vamp) W O M A N # 2
(To MAN #1)
(To MAN #2)
(To MAN #3)
(To MAN #1)
(To MAN #2)
(Shifting her focus to all three men)
(Overlapping)
(Overlapping)
(Overlapping)
(To AUDIENCE) Watch
(To himself, watching WOMAN #2)
( M A N # 1 )
(SMACKS his lips, then to WOMAN #2)
H E L L O , L I T T L E G I R L , W H AT ’ S Y O U R R U S H ?
Y O U ’ R E M I S S I N G A L L T H E F L O W E R S
T H E S U N W O N ’ T S E T F O R H O U R S ,
TA K E Y O U R T I M E .
M O T H E R S A I D ,
“ S T R A I G H T A H E A D , ”
N O T TO D E L AY
O R B E M I S L E D .
W O M A N # 2
M A N # 1
B U T S L O W, L I T T L E G I R L ,
H A R K ! A N D H U S H
T H E B I R D S A R E S I N G I N G S W E E T LY.
Y O U ’ L L M I S S T H E B I R D S C O M P L E T E LY,
Y O U ’ R E T R AV E L I N G S O F L E E T LY.
(Devours her with his eyes, mutters to himself)
G R A N D M O T H E R F I R S T,
T H E N M I S S P L U M P W H AT A D E L E C TA B L E C O U P L E :
U T T E R P E R F E C T I O N
O N E B R I T T L E , O N E S U P P L E
(To WOMAN #2)
O N E M O M E N T, M Y D E A R ! W O M A N # 2
M O T H E R S A I D , “ C O M E W H AT M AY, F O L L O W T H E PAT H A N D N E V E R S T R AY. ” M A N # 1
J U S T S O , L I T T L E G I R L A N Y PAT H
S O M A N Y W O RT H E X P L O R I N G .
J U S T O N E W O U L D B E S O B O R I N G
A N D L O O K W H AT Y O U ’ R E I G N O R I N G . . . (To himself)
T H I N K O F T H O S E C R I S P,
A G I N G B O N E S ,
Oh, hello darling!
My husband the pig The
N D I A M
E V E RY D AY A L I T T L E D E AT H
I N T H E PA R L O R , I N T H E B E D ,
I N T H E C U RTA I N S , I N T H E S I LV E R ,
I N T H E B U T TO N S , I N T H E B R E A D .
E V E RY D AY A L I T T L E S T I N G
I N T H E H E A RT A N D I N T H E H E A D
E V E RY M O V E A N D E V E RY B R E AT H ,
A N D Y O U H A R D LY F E E L A T H I N G ,
B R I N G S A P E R F E C T L I T T L E D E AT H .
H E S M I L E S S W E E T LY, S T R O K E S M Y H A I R ,
S AY S H E M I S S E S M E .
I W O U L D M U R D E R H I M R I G H T T H E R E
B U T F I R S T I D I E .
H E TA L K S S O F T LY O F H I S WA R S
A N D H I S H O R S E S A N D H I S W H O R E S , I T H I N K L O V E ’ S A D I RT Y B U S I N E S S ! W O M A N # 2
S O D O I !
S O D O I . . . W O M A N # 1
(Overlapping) I ’ M B E F O R E H I M O N M Y K N E E S A N D H E K I S S E S M E
N D I D O .
W O M A N # 2
M E N A R E S T U P I D , M E N A R E VA I N , W O M A N # 1
L O V E ’ S D I S G U S T I N G , L O V E ’ S I N S A N E , W O M A N # 1 & W O M A N # 2
A H U M I L I AT I N G B U S I N E S S !
W O M A N # 2
O H , H O W T R U E !
A H , W E L L
W O M A N # 1
E V E RY D AY A L I T T L E D E AT H , W O M A N # 2
E V E RY D AY A L I T T L E D E AT H , W O M A N # 1
I N T H E PA R L O R , I N T H E B E D , W O M A N # 2
O N T H E L I P S A N D I N T H E E Y E S , W O M A N # 1
I N T H E C U RTA I N S ,
I N T H E S I LV E R ,
W O M A N # 1
I N T H E B U T TO N S , I N T H E B R E A D .
W O M A N # 2
I N T H E M U R M U R S , I N T H E PA U S E S ,
I N T H E G E S T U R E S ,
I N T H E S I G H S
W O M A N # 1
E V E RY D AY A L I T T L E S T I N G
W O M A N # 2
E V E RY D AY A L I T T L E D I E S , W O M A N # 1
I N T H E H E A RT A N D I N T H E H E A D .
MAN #2, trying to deflect his attention from WOMAN #2)
M A N # 1
H AV E I G O T A G I R L
F O R Y O U !
WA I T T I L L Y O U M E E T
H E R !
H AV E I G O T A G I R L
F O R Y O U , B O Y !
H O O , B O Y !
M A N # 2
H AV E I G O T A G I R L
F O R Y O U !
WA I T T I L L Y O U M E E T
H E R !
H AV E I G O T A G I R L
F O R Y O U , B O Y !
T H E N W H AT D O Y O U WA N T TO G E T M A R R I E D F O R ? W H AT D O Y O U L I K E , Y O U L I K E A N E X C U R S I O N TO R O M E ,
S U D D E N LY TA K I N G O F F TO E X P L O R E ?
W H AT D O Y O U L I K E , Y O U L I K E H AV I N G M E A L S C O O K E D AT H O M E ?
T H E N W H AT D O Y O U WA N T TO G E T M A R R I E D F O R ? W H AT D O Y O U WA N T TO G E T M A R R I E D F O R ? M A N # 2
W H AT D O Y O U WA N T TO G E T M A R R I E D F O R ?
#
P R E T T Y W O M E N
FA S C I N AT I N G
S I P P I N G C O F F E E , D A N C I N G . . .
P R E T T Y W O M E N
A R E A W O N D E R ,
P R E T T Y W O M E N ,
S I T T I N G I N T H E W I N D O W O R
S TA N D I N G O N T H E S TA I R ,
S O M E T H I N G I N T H E M
M A N # 2
C H E E R S T H E A I R
A H , P R E T T Y W O M E N . . . M A N # 1
S I L H O U E T T E D
S TAY W I T H I N Y O U
G L A N C I N G
S TAY F O R E V E R . . .
B R E AT H I N G L I G H T LY . . .
M A N # 2
M A N # 1
M A N # 2
M A N # 1
M A N # 2
P R E T T Y W O M E N
M A N # 1 & M A N # 2
P R E T T Y W O M E N !
M A N # 2
B L O W I N G O U T T H E I R
C A N D L E S O R
C O M B I N G O U T T H E I R H A I R . . .
E V E N W H E N T H E Y L E AV E
T H E Y S T I L L A R E
T H E R E .
T H E Y ’ R E T H E R E .
M A N # 1
B L O W I N G O U T T H E I R
C A N D L E S ,
C O M B I N G O U T T H E I R H A I R . . .
T H E N T H E Y L E AV E
E V E N W H E N T H E Y L E AV E Y O U
A N D VA N I S H , T H E Y S O M E H O W
C A N S T I L L R E M A I N
T H E R E W I T H Y O U ,
T H E Y ’ R E W I T H Y O U .
M A N # 1 & M A N # 2
A H , P R E T T Y W O M E N
M A N # 2
AT T H E I R M I R R O R S . . . M A N # 1
I N T H E I R G A R D E N S
L E T T E R - W R I T I N G
M A N # 2
M A N # 1
F L O W E R - P I C K I N G . . . M A N # 2
W E AT H E R - WAT C H I N G . . . M A N # 1 & M A N # 2
P R O O F O F H E AV E N A S Y O U ’ R E L I V I N G
P R E T T Y W O M E N , S I R !
M A N # 2
P R E T T Y W O M E N , H E R
P R E T T Y W O M E N ,
H E R E ’ S TO
P R E T T Y W O M E N !
# 1 5 N o w
M A N # 1
P R E T T Y W O M E N , Y E S !
P R E T T Y W O M E N , S I R !
P R E T T Y W O M E N ,
P R E T T Y W O M E N , S I R ,
P R E T T Y W O M E N !
( M a n # 3 , M a n # 2 )
(MAN #2 prepares to seduce WOMAN #2, his thoughts sung by MAN #3) M A N # 3 N O W,
( M A N # 3 )
N O W B M I G H T A R O U S E H E R ,
B U T L E T U S A S S U M E
I T R I P O N M Y T R O U S E R
L E G C R O S S I N G T H E R O O M .
H E R H A I R G E T T I N G TA N G L E D ,
H E R S TAY S G E T T I N G S N A P P E D ,
M Y N E RV E S W O U L D B E J A N G L E D ,
M Y E N E R G Y S A P P E D .
R E M O V I N G H E R C L O T H I N G
C O U L D TA K E M E A L L D AY
A N D H E R S U B S E Q U E N T L O AT H I N G
W O U L D K E E P M E AT B AY,
W H I C H E L I M I N AT E S B
A N D W H I C H L E AV E S U S W I T H A . . .
N O W,
I N S O FA R A S A P P R O A C H I N G I T,
W H AT W O U L D B E C H A R M I N G
B U T H AV E I T S E F F E C T ?
N O W,
T H E R E A R E T W O WAY S O F B R O A C H I N G I T:
A , T H E D I S A R M I N G
A N D B , T H E D I R E C T
S AY
T H AT I S E T T L E O N B , TO W I T,
A F E S T I V E LY
L E C H E R O U S M O O D : A , I C O U L D S AY S O M E T H I N G R A C Y O R S I T
S U G G E S T I V E LY,
B , I N T H E N U D E
T H AT M I G H T B E E F F E C T I V E ,
M Y B O D Y S A L L R I G H T
B U T N O T I N P E R S P E C T I V E
A N D N O T I N T H E L I G H T,
M Y C A S H M E R E K I M O N O
W O U L D H I D E W H AT I S W R O N G .
I F O N LY I ’ D K N O W N ,
( M A N # 3 )
I ’ D H AV E B R O U G H T I T A L O N G .
I ’ D S AY S O M E T H I N G R A C Y
O R E V E N O B S C E N E ,
E X C E P T S H E ’ S S O S PA C Y
S H E ’ D T H I N K I T WA S C L E A N .
W H I C H L E AV E S T H E D I S A R M I N G ,
I N O T H E R W O R D S L I Q U O R
A L O T L E S S A L A R M I N G
A N D C E RTA I N LY Q U I C K E R ,
T H O U G H V O D K A A N D W H I S K E Y
C A N G E T I N T H E WAY
B Y M A K I N G T H I N G S R I S K Y
I N S T E A D O F R I S Q U É
W H I C H E L I M I N AT E S A .
N O W,
W I T H M Y M E N TA L FA C I L I T I E S
H O P E L E S S LY M I R E D
I N R E C I TAT I V E
N O W,
T H O U G H T H E R E A R E P O S S I B I L I T I E S
L E F T, I ’ M S O T I R E D
I M I G H T A S W E L L L E AV E
B O W A S I M U S T
TO A D J U S T
M Y O R I G I N A L P L A N , H O W
S H A L L I S TAY A S B L A S É
A S I U S U A L LY C A N ? M A N # 2
W H E N N O W I WA N T Y O U M O R E T H A N E V E R ?
N O W O R N E V E R
M A N # 2 & M A N # 3
N O W !
3 4
# 1 6 B a n g !
(Spoken)
( M a n # 3 , M a n # 2 , W o m a n # 2 )
M A N # 3
B A N G !
(Sung)
M A N # 2
T H E WA R C O M M E N C E S ,
T H E E N E M Y AWA I T S
I N Q U I V E R I N G E X P E C TA N C Y.
T H E P O O R D E F E N S E S ,
T H E P E N E T R A B L E G AT E S
H O W T E R R I B L E TO B E A W O M A N !
T H E T I M E I S H E R E ,
T H E G A M E I S T H E R E ,
T H E S M E L L O F F E A R ,
L I K E M U S K , P E RVA D E S T H E A I R .
T H E B U G L E S O U N D I N G ,
T H E P I S TO L S T E A D Y,
T H E B L O O D I S P O U N D I N G ,
TA K E A I M A N D R E A D Y . . .
B A N G !
T W E N T Y M I N U T E S S M A L L TA L K ,
T H I RT Y AT T H E M O S T
B A N G !
T W O O R T H R E E TO P O U R T H E S C H N A P P S
B A N G ! B A N G ! B A N G !
H A L F A M I N U T E TO P R O P O S E
T H E N E C E S S A RY TO A S T,
B A N G !
T H E T U N I C O P E N S ,
B A N G !
T H E T R O U S E R S FA L L ,
B A N G !
T H E F O E I S H E L P L E S S ,
B A C K A G A I N S T T H E WA L L .
B A N G !
A N H O U R A N D A Q U A RT E R O V E R A L L , A N D B A N G ! W O M A N # 2
T W E N T Y M I N U T E S TO A R R A N G E
B A N G !
S M A N # 2
W O M A N # 2
C A N I G E T AWAY W I T H M O R E ?
M A N # 2
B A N G ! B A N G ! B A N G !
B A N G ! W O M A N # 2
A F I T O F VA P O R S M A N # 2
B A N G !
W O M A N # 2 N O , T H AT ’ S TO O Q U A I N T, M A N # 2
A N
!
B A N G !
W O M A N # 2
B A N G ! B A N G !
M A N # 2
W O M A N # 2
B A N G ! B A N G ! B A N G ! B A N G !
M A N # 2
T H E B AT T L E R A G E S .
W O M A N # 2
B A N G !
M A N # 2
W H AT E V E R G R O U N D I G A I N
I F O RT I F Y R E M O R S E L E S S LY
W O M A N # 2
B A N G ! B A N G !
T H E F O E E N G A G E S
B A N G !
M A N # 2
W O M A N # 2
M A N # 2
B Y S H I F T I N G T H E T E R R A I N
H O W P I T I F U L TO B E A W O M A N .
W O M A N # 2
B A N G !
AT TA C K ,
B A N G !
R E T R E AT,
B A N G !
M A N # 2
W O M A N # 2
M A N # 2
W O M A N # 2
L AY B A C K ,
B A N G !
R E F O R M .
B A N G ! B A N G !
O U T F L A N K ,
B A N G !
D E P L E T E ,
B A N G !
M A N # 2
W O M A N # 2
M A N # 2
W O M A N # 2
M A N # 2
W O M A N # 2
M A N # 2
W O M A N # 2
M A N # 2
M O V E U P A N D T H E N R E S TO R M
W O M A N # 2
B A N G ! B A N G !
M A N # 2
T H E S I E G E S U C C E E D I N G , W O M A N # 2
B A N G !
M A N # 2
T H E T I M E G R O W S S H O RT E R , W O M A N # 2
B A N G !
M A N # 2 S H
B A N G !
W O M A N # 2
I G I V E N O Q U A RT E R . . .
M A N # 2
M A N # 2 & W O M A N # 2
B A N G !
F O R AY AT T H E E L B O W,
M A N # 2
S A LV O AT T H E K N E E !
M A N # 2 & W O M A N # 2
B A N G !
F U S I L L A D E S AT B R E A S T
M A N # 2
A N D T H I G H !
M A N # 2 & W O M A N # 2
B A N G ! B A N G ! B A N G !
M A N # 2
T H E N W H E N S H E ’ S E X H A U S T E D , W O M A N # 2
B A N G !
A F R E S H S O RT I E !
B A N G !
M A N # 2
W O M A N # 2
M A N # 2
I TA S T E T H E C O N Q U E S T, W O M A N # 2
B A N G !
T H E TA S T E I S S W E E T.
M A N # 2
B A N G ! B A N G !
W O M A N # 2
M A N # 2
S H E L AY S H E R A R M S D O W N ,
W E L C O M I N G D E F E AT
W O M A N # 2
B A N G ! B A N G !
B O T H S I D E S , C O N T E N T,
M A N # 2
W O M A N # 2
B A N G !
S E C U R E
B A N G !
P O S I T I O N S .
M A N # 2
W O M A N # 2
M A N # 2
W O M A N # 2
B A N G ! B A N G ! B A N G !
M A N # 2
A L L PA S S I O N S P E N T,
W O M A N # 2
B A N G !
D I S C U S S
B A N G !
C O N D I T I O N S
H O W T E R R I B L E ,
M A N # 2
W O M A N # 2
M A N # 2
(As MAN #2 and WOMAN #2 repair to a room upstairs, WOMAN #1 ENTERS, drinking. MAN #1 is opening wine for dinner)
(Spoken)
I F Y O U L I K E .
W O M A N # 1
M A N # 1
W O M A N # 1
W H AT W O U L D Y O U L I K E ?
M A N # 1
W O M A N # 1 W O U L D Y O U L I K E O N E ?
W O M A N # 1
S W E L L
(Sung)
(Spoken)
(Sung)
M A N # 1
W H AT E V E R M A K E S Y O U H A P P Y W O M A N # 1
Y E S , W E L L . . . M A N # 1
N
?
W H AT K I N D ?
(Spoken)
W O M A N # 1
K I N D ?
(Sung)
M A N # 1
W O M A N # 1
(Sung)
(Spoken)
Y O U C H O O S E
M A N # 1
L O O K , I T ’ S Y O U R I D E A , A C O U N T RY H O U S E
W O M A N # 1
O H , F O R G E T I T
A N D A G O O D O N E .
O H .
M A N # 1
W O M A N # 1
M A N # 1
I F T H AT ’ S W H AT M A K E S Y O U H A P P Y
W O M A N # 1
H A P P Y . . .
(Sung)
(Sung)
M A N # 1
C O M PA R AT I V E LY H A P P Y.
M A N # 1 & W O M A N # 1
A L L R I G H T, W H E R E ?
I D O N ’ T C A R E .
T H AT ’ S N O T FA I R .
W E L L , T H E N ,
W O M A N # 1
S O M E W H E R E B Y T H E S E A
M A N # 1
W O M A N # 1
M A N # 1
M A N # 1
S O M E W H E R E I N T H E W O O D S
M A N # 1
B Y T H E S E A , T H E N
W O M A N # 1
D O N ’ T A G R E E J U S T TO A G R E E
M A N # 1
L O O K , I T ’ S A L L T H E S A M E TO M E .
W O M A N # 1
Y E S , I K N O W.
M E A N I N G ?
O H , L E T I T G O
M A N # 1
W O M A N # 1
M A N # 1 & W O M A N # 1
L O O K , A S L O N G A S W E ’ R E TO G E T H E R . . .
(MUSICAL INTERLUDE)
M A N # 1
H O W A B O U T A T R I P A B R O A D ?
W O M A N # 1
L E T ’ S . M A N # 1 W E H AV E N
. W O M A N # 1
N O T F O R A G E S
M A N # 1
TA K E A S H I P A B R O A D , G E T AWAY
W O M A N # 1
J U S T T H E T W O O F U S
M A N # 1
A C H A N C E TO B E TO G E T H E R . W O M A N # 1 (Spoken) T H AT ’ S T H E P O I N T
(Sung)
(Sung)
M A N # 1 & W O M A N # 1
A S L O N G A S I T ’ S TO G E T H E R
W O M A N # 1
I T ’ S W H AT W E N E E D , A T R I P A B R O A D . M A N # 1 W H E R E TO ?
W O M A N # 1 TO ?
M A N # 1
TO L O N D O N , PA R I S ?
W O M A N # 1
S O M E W H E R E N E W.
U P TO Y O U .
M A N # 1
W O M A N # 1
‘ R O U N D T H E W O R L D !
M A N # 1
N O , R E A L LY
W O M A N # 1
‘ R O U N D T H E W O R L D W O N ’ T D O ?
M A N # 1 W H E R E ?
W O M A N # 1
L E T ’ S N O T G E T I N TO T H AT O N E A G A I N .
“ I F T H AT W O U L D M A K E M E H A P P Y. ” M A N # 1
W O M A N # 1 (Spoken)
I T J U S T M I G H T
I F T H AT W O U L D M A K E Y O U H A P P Y
N O , R E A L LY, F I N E ,
I F T H AT W O U L D M A K E Y O U H A P P Y.
(Sung)
(Sung) N A M E T H E D AY M A N # 1
J U S T N O T M AY W O M A N # 1 (Spoken) W H Y ? M A N # 1 (Sung)
(Sung)
(Spoken) S O ? W O M A N # 1 (Spoken) S O ? M A N # 1 (Sung)
(Sung)
N # 1
N O , A N D Y O U C A N ’ T A F F O R D TO B E B O R E D W I T H Y O U R B O A R D , C A N Y O U ? M A N # 1
(Spoken)
(MUSICAL INTERLUDE) W O M A N # 1
(Sung) H O W A B O U T A F R I E N D LY S H R I N K ? M A N # 1
(Sung) W H AT ?
W O M A N # 1 Y O U WA N T TO S E E A F R I E N D LY S H R I N K ? M A N # 1 W H Y M E ? W O M A N # 1 U S .
(Spoken) W H AT ?
A N
(Spoken)
(Sung)
J O K E :
(Spoken) N I C E J O K E (MUSICAL INTERLUDE. Sung) H
(Spoken)
(Sung)
(Sung)
(Spoken)
(Sung)
(Sung)
W H Y N O W ?
M A N # 1
W O M A N # 1
W E N E E D S O M E T H I N G W E C A N S H A R E
M A N # 1
W E N E E D A I R
W O M A N # 1
W E N E E D S O M E T H I N G
A N
M AY B E S AY I N
I T ’ S A D E A L
F O R A C H A N G E .
Y O U G O F I R S T.
M A N # 1
W O M A N # 1
M A N # 1
W O M A N # 1 A F T E R Y O U M A N # 1
Ah ... well, that’s a weight off my mind.
(MUSICAL INTERLUDE)
M A N # 1
(Spoken)
(Sung)
(Sung)
(Spoken)
) (During the following, ALL assemble at the table)
(WOMAN #1, by now quite drunk, stares at MAN #1, The ACTION FREEZES)
( W O M A N # 1 )
C O U L D I WAV E T H E Y E A R S AWAY
W I T H A Q U I C K G O O D B Y E ?
H O W D O Y O U W I P E T E A R S AWAY
W H E N Y O U R E Y E S A R E D RY ?
S W E E T H E A RT, L O V E R ,
C O U L D I R E C O V E R ,
G I V E U P T H E J O Y S I H AV E K N O W N ?
N O T TO F E T C H Y O U R P I L L S A G A I N
E V E RY D AY AT F I V E ,
N O T TO G I V E T H O S E D I N N E R S F O R T E N
E L D E R LY M E N
F R O M T H E U N
H O W C O U L D I S U RV I V E ?
C O U L D I L E AV E Y O U
A N D Y O U R S H E LV E S O F T H E W O R L D ’ S B E S T B O O K S
A N D T H E E V E N I N G S O F M A RT Y R E D L O O K S ,
C RY P T I C S I G H S ,
S U L L E N G L A R E S F R O M T H O S E I N J U R E D E Y E S ?
L E AV E T H E PAT S O N T H E H E A D , P E C K S O N T H E C H E E K ,
D U T I F U L L O V E M A K I N G O N C E A W E E K ?
L E AV E T H E L I E S I L L - C O N C E A L E D
A N D T H E W O U N D S N E V E R H E A L E D
A N D T H E G A M E S N O T W O RT H W I N N I N G
A N D WA I T, I ’ M J U S T B E G I N N I N G !
W H AT, L E AV E Y O U , L E AV E Y O U ?
H O W C O U L D I L E AV E Y O U ?
W H AT W O U L D I D O O N M Y O W N ?
P U T T I N G T H O U G H T S O F Y O U A S I D E
I N T H E S O U T H O F F R A N C E , W O U L D I T H I N K O F S U I C I D E ?
D A R L I N G , S H A L L W E D A N C E ?
C O U L D I L I V E T H R O U G H T H E PA I N
O N A T E R R A C E I N S PA I N ?
W O U L D I T PA S S ? I T W O U L D PA S S .
C O U L D I B U RY M Y R A G E
W I T H A B O Y H A L F Y O U R A G E
I N T H E G R A S S ? B E T Y O U R A S S ,
B U T I ’ V E D O N E T H AT A L R E A D Y O R D I D N ’ T Y O U K N O W, L O V E ?
T E L L M E , H O W C O U L D I L E AV E W H E N I L E F T L O N G A G O , L O V E ?
C O U L D I L E AV E Y O U ?
Y E S W I L L I L E AV E Y O U ? W I L L I L E AV E Y O U ?
Guess! (Passes out)
# 2 0 E n t r ’ a c t e ( O r c h e s t r a )
# 2 1 B a c k I n B u s i n e s s ( C o m p a n y )
L L
Y E S T E R D AY I T S E E M E D T H E W O R L D WA S A B O U T TO E N D , D I D N ’ T I T ?
L
Y E S T E R D AY D I S A S T E R WA I T E D A R O U N D T H E B E N D
W E L L , M Y F R I E N D ,
S P R I N G I S H E R E .
B A C K I N B U S I N E S S , A N D A I N ’ T I T G R A N D ?
L E T T H E G O O D T I M E S R O L L
Y E S T E R D AY T H I N G S W E R E O U T O F H A N D ,
N O W T H E Y ’ R E U N D E R C O N T R O L
B Y E - B Y E B L U E S , S O L O N G A D V E R S I T Y,
H A P P I N E S S , H E L L O ! M A N # 1 & M A N # 2 ,
H E L L O !
H E L L O !
W O M A N # 2
K E E P T H E S TAT U S Q U O
P E R M A N E N T LY S O !
A L L
B A C K A G A I N L I K E A B O O M E R A N G ,
S A M E O L D S TA N D , S A M E O L D G A N G ,
B A C K I N B U S I N E S S W I T H A B A N G !
L E T T H E G O O D T I M E S R O L L !
Y E S T E R D AY I T S E E M E D W E N E V E R W O U L D S M I L E A G A I N , M A N # 3
D I D N ’ T I T ? A L L
D I D N ’ T M AT T E R W H AT W E V E N T U R E D O R H O W
(The PERFORMERS become the CHARACTERS again. It is after dinner, and they are slouched around the living room, full of food and drink.
Many VAMPS, during which there is much body shifting, clearing of throats, sighing, sipping, etc.
WOMAN #2 occasionally bursts into a fit of giggles. WOMAN #1 stares into her glass. In sum, THEY are stoned.
After an interminable number of slow, sodden VAMPS)
(More VAMPS, more activity)
(More VAMPS)
(Chirpily, to MAN #1)
(No response, to OTHERS)
(Trails off, tries to regain lost ground)
(Spoken, seductively to MAN #2)
I . . .
(Spoken, a bit uncomfortable)
I
(Spoken, waggles her fingers to WOMAN #1; cheerfully)
(Spoken)
(Gradually sobering up, THEY SING about the problems of love and sexual attraction)
N R E
W O M A N # 1
A N D L O V E I S A L E C T U R E
O N H O W TO C O R R E C T Y O U R
M I S TA K E S .
M A N # 1
T H E O L D D E S E RT E D B E A C H T H AT W E WA L K E D
R E M E M B E R ?
R E M E M B E R ?
W O M A N # 1
M A N # 1
T H E C A F É I N T H E PA R K W H E R E W E TA L K E D
R E M E M B E R ?
R E M E M B E R ?
W O M A N # 1
M A N # 1
T H E T E N O R O N T H E B O AT T H AT W E C H A RT E R E D , B E L C H I N G “ T H E B A RT E R E D B R I D E ”
W O M A N # 1 & M A N # 1
A H , H O W W E L A U G H E D ,
A H , H O W W E C R I E D , W O M A N # 1
A H , H O W Y O U P R O M I S E D A N D
A H , H O W Y O U L I E D . M A N # 1
T H AT D I L A P I D AT E D I N N
R E M E M B E R , D A R L I N G ?
T H E P R O P R I E T R E S S ’ G R I N ,
A L S O H E R G L A R E .
Y E L L O W G I N G H A M O N T H E B E D
R E M E M B E R , D A R L I N G ?
A N D T H E C A N O P Y I N R E D , N E E D I N G R E PA I R ?
I T H I N K Y O U W E R E T H E R E
M A N # 2
C A PA B L E ,
P L I A B L E
W O M E N , W O M E N
M A N # 1 & M A N # 3
M A N # 1 , M A N # 2 , M A N # 3
U N D E M A N D I N G
M A N # 3
M A N # 2
A N D R E L I A B L E , M A N # 1
K N O W I N G T H E I R P L A C E
M A N # 3
I N S U F F E R A B L E
Y E S , B U T G E N T L E
M A N # 2
T H E I R W E A K N E S S E S A R E I N C I D E N TA L
M A N # 3
A F U N C T I O N A L
B U T O R N A M E N TA L
R A C E .
D U R A B L E ,
S E N S I B L E
W O M E N , W O M E N
M A N # 1
M A N # 1 , M A N # 2 , M A N # 3
M A N # 1
M A N # 2
M A N # 1 , M A N # 2 , M A N # 3
M A N # 3
V E RY N E A R LY I N D I S P E N S A B L E
M A N # 2
C R E AT U R E S O F G R A C E M A N # 1 & M A N # 2
G O D K N O W S T H E F O O L I S H N E S S A B O U T T H E M , B U T I F W E H A D TO D O W I T H O U T T H E M , M A N # 1 , M A N # 2 , M A N # 3
, M A N # 3
I F P U R E R , M A N # 1 , M A N # 2 , M A N # 3
P L A C E
R E M E M B E R
W O M A N # 1
T H E F U N N Y L I T T L E G A M E S T H AT W E P L AY E D
R E M E M B E R ?
R E M E M B E R ?
M A N # 1
W O M A N # 1
T H E U N E X P E C T E D K N O C K O F T H E M A I D
R E M E M B E R ? M A N # 1
R E M E M B E R ? W O M A N # 1 T
A N D , O H , S O V E RY F R A N K M A N # 1 & W O M A N # 1 A H , H O W W E L A U G H E D . A H , H O W W E D R A N K W O M A N # 1 I A C Q U
( W O M A N # 1 )
T H E C O N D I T I O N O F T H E R O O M
W H E N W E W E R E T H R O U G H
O U R I N V E N T I O N S W E R E U N I Q U E
R E M E M B E R , D A R L I N G ?
I WA S L I M P I N G F O R A W E E K ,
Y O U C A U G H T T H E F L U . . .
I ’ M S U R E I T WA S Y O U
W O M A N # 2
P E R P E T U A L A N T I C I PAT I O N I S
G O O D F O R T H E S O U L
B U T I T ’ S B A D F O R T H E H E A RT
I T ’ S V E RY G O O D F O R P R A C T I C I N G
S E L F - C O N T R O L
I T ’ S V E RY G O O D F O R
M O R A L S ,
B U T B A D F O R M O R A L E .
I T ’ S V E RY B A D
I T C A N L E A D TO
G O I N G Q U I T E M A D .
I T ’ S V E RY G O O D F O R
R E S E RV E A N D
L E A R N I N G TO D O
W H AT O N E S H O U L D .
I T ’ S V E RY G O O D
P E R P E T U A L A N T I C I PAT I O N ’ S
A D E L I C AT E A RT:
P L AY I N G A R O L E ,
A C H I N G TO S TA RT,
K E E P I N G C O N T R O L
W H I L E FA L L I N G A PA RT
(WOMAN #1 begins to HUM underneath)
P E R P E T U A L A N T I C I PAT I O N I S
G O O D F O R T H E S O U L
(MAN #1, MAN #2 and MAN #3 begin to HUM underneath)
B U T I T ’ S B A D F O R T H E
H E A RT
L O V E C O M E S F I R S T
A L L
(As OTHERS HUM)
STOPS)
(Two bars slow VAMP of “Rich And Happy,” as before)
(Looking at MAN #1 as he offers to light her cigarette; heavily ironic, punctuated by CHORDS)
(MAN #1 lights her cigarette; two more bars of “Rich And Happy”)
M A N # 1
(To OTHERS, ignoring the dig, punctuated by CHORDS, as above)
? W O M A N # 2
O O H M A N # 2
I K N O W. W O M A N # 2
W H AT ? M A N # 2
C H A R A D E S
(Steely smile)
I D O N ’ T T H I N K S O .
O M A N # 1
A N # 2 M O N O P O LY ? M A N # 1
(To OTHERS)
D R I N K S ? M A N # 2
O K AY, S C R A B B L E
N O C L U E
W O M A N # 2
(Brightly, as the OTHERS look at her in dismay)
Colonel Mustard in the Parlor with the Candlestick?
(Shrugs, takes a drag on a joint which has gone out CHORDS resume)
(Blank looks)
(More blank looks)
(Pulls a gun from his pocket)
(Leans over and points it at WOMAN #2)
(It’s a lighter, which relights her joint.
PAUSE, during which ALL look at each other contemplatively)
(Hands the lighter to WOMAN #1)
(Clicks the lighter)
(Pulling a gun out of a pocket of his jacket)
(Cocks the gun)
(To MAN #2)
(To ALL)
(To WOMAN #1)
the gun to MAN #2)
the gun)
through her purse)
(Pulls out a lipstick, drops it back)
S H I T, W H E R E I S I T ?
( W O M A N # 2 )
A N Y WAY,
(Continuing to fish)
I T ’ S J U S T A . 3 8
(Pulls out a hairbrush)
B U T
(Drops it back)
I T ’ S A G U N
Y O U C A N M A K E A S TAT E M E N T
(Pulls out a shoe)
W R O N G
W I T H A G U N
E V E N I F Y O U FA I L
I T T E L L S ‘ E M W H O Y O U A R E ,
W H E R E Y O U S TA N D .
T H I S O N E WA S O N S A L E
I T N O , N O T T H E S H O E , W E L L , A C T U A L LY T H E S H O E WA S , TO O .
(Drops it back in, fishes again)
N O , T H AT ’ S N O T I T
S H I T, I H A D I T H E R E
G O T I T !
(Pulls gun out, waves it around)
Y E A H ! T H E R E I T I S ! A N D A L L Y O U H AV E TO D O
I
(Gun goes off)
H I T,
C A N M A N # 2
(As OTHERS HUM)
S L O W T H E M D O W N
(As OTHERS HUM)
(As OTHERS HUM)
(As OTHERS HUM)
(Two more bars of “Rich And Happy” VAMP, followed by CHORDS, as before)
(Looks at MAN #1)
(To MAN #2)
(During this, MAN #3 has torn five pieces of paper from a telephone pad on the table or taken five blank cards from a cardcase in his pocket HE starts handing them out, the first to MAN #2. “A Little Priest” begins)
(Spoken, looking at the proffered card)
(Sung)
(Sung)
(Giving a card to each person)
(Sung, writing)
(Spoken)
(Sung)
(PAUSE, then sung)
(Looks around)
M A N # 1
(Sung)
W H AT ’ S T H E G A M E ?
M A N # 3
T H AT ’ S A L L T H E R E I S TO I T
W O M A N # 1
O H , F U C K I T, L E T ’ S D O I T
(VAMP continues relentlessly underneath for a long while, as ALL write busily After a number of hesitations and retrievals for improvements, ALL surrender the cards to MAN #3, who suddenly brings out a black felt-tip pen, obliterates the initials on each and shuffles the questions, spreading the cards face down on a table; as MAN #3 does this, the OTHERS react in protest)
A N # 3
A N # 2
WA I T, W H AT T H E H E L L ?
M A N # 1
H O W C A N W E T E L L ? W O M A N # 2 W H O K N O W S W H AT ’ S W H E R E ? M A N # 3 I T D O E S N ’ T M AT T E R TO W H O M T H E Y ’ R E A D D R E S S E D . M A N # 1
WA I T, H O L D T H E P H O N E
M A N # 2
H E Y, I F I ’ D K N O W N !
W O M A N # 1
S TO P T H AT ’ S N O T FA I R . . .
M A N # 3 W H AT ’ S E V E N B E T T E R , I H O P E Y O U ’ L L N O T E , Y O U M AY E N D U P W I T H T H E Q U E S T I O N Y O U W R O T E
(Looks of bemusement, as with a gesture MAN #2 invites WOMAN #2 to pick a card)
W O M A N # 2
I guess I’ll go first.
# 2 7 G a m e S t i n g (
(Takes a card and reads)
“Whom in this room would you like to marry (if you could)?” But I wrote this for someone else!
M A N # 3
Nevertheless, you have to answer it yourself. W O M A N # 2
Whom in this room would I like to marry?
)
( W O M A N # 2 )
A N D A G I R L O U G H T TO C E L E B R AT E W H AT PA S S E S B Y
O R I S H A L L M A R RY T H E B U S I N E S S M A N ,
F I V E FAT B A B I E S A N D L O T S O F S E C U R I T Y.
F R I D AY N I G H T S , I F W E T H I N K W E C A N , W E ’ L L G O D A N C I N G .
M E A N W H I L E
I T ’ S A P U S H A N D A F U M B L E
A N D A T U M B L E I N T H E S H E E T S
A N D I ’ L L F O O T T H E H I G H L A N D FA N C Y,
A D I P I N T H E B U T T E R
A N D A F L U T T E R W I T H W H AT M E E T S M Y E Y E
I T ’ S A V E RY S H O RT F E T C H
F R O M T H E P U S H A N D T H E W H O O P
TO T H E S Q U I N T A N D T H E S TO O P A N D T H E M U M B L E
I T ’ S N O T M U C H O F A S T R E T C H
TO T H E C R I B S A N D T H E C R O U P
A N D T H E B O S O M S T H AT D R O O P A N D G O D RY
I N T H E M E A N W H I L E , T H E R E A R E M O U T H S TO B E K I S S E D
B E F O R E M O U T H S TO B E F E D ,
A N D T H E R E ’ S M A N Y A T RY S T
A N D T H E R E ’ S M A N Y A B E D
TO B E S A M P L E D A N D S E E N
I N T H E M E A N W H I L E
A
(Takes a card; reads)
“Are you sorry you got married?” But I’m not married! M A N # 3
All right, are you sorry you ’ re not married? M A N # 2
L I V E A L O N E A N D L I K E I T, F R E E
(Reading his card)
“Are you sorry you got married?”
That’s the same question I got!
What a coincidence!
Isn’t it?
“Are you sorry you got married?”
( M A N # 1 )
R E A R R A N G E D
Y O U ’ R E S O R RY- G R AT E F U L ,
R E G R E T F U L - H A P P Y,
W H Y L O O K F O R A N S W E R S W H E R E N O N E O C C U R ?
Y O U A LWAY S A R E W H AT Y O U A LWAY S W E R E ,
W H I C H H A S N O T H I N G TO D O W I T H ,
A L L TO D O W I T H H E R
Y O U ’ R E A LWAY S S O R RY,
Y O U ’ R E A LWAY S G R AT E F U L ,
Y O U H O L D H E R , T H I N K I N G , ‘ ’ I ’ M N O T A L O N E ”
Y O U ’ R E S T I L L A L O N E .
Y O U D O N ’ T L I V E F O R H E R ,
Y O U D O L I V E W I T H H E R ,
Y O U ’ R E S C A R E D S H E ’ S S TA RT I N G TO D R I F T AWAY
A N D S C A R E D S H E ’ L L S TAY
G O O D T H I N G S G E T B E T T E R ,
B A D G E T W O R S E .
WA I T I T H I N K I M E A N T T H AT I N R E V E R S E
Y O U ’ R E S O R RY- G R AT E F U L ,
R E G R E T F U L - H A P P Y, W H Y L O O K F O R A N S W E R S W H E R E
Y O U ’ L L A LWAY S B E W H AT Y O U A LWAY S W E R E , W H I C H H A S N O T H I N G TO D O W I T H , A L L TO D O W I T H H E R .
N O T H I N G TO D O W I T H , A L L TO D O W I T H H E R W O M A N # 1
I hate games. (MAN #3 harasses WOMAN #1 with cards)
Oh, come here!
(Takes a card and looks at MAN #3)
Who are you?
(Reads the card)
“Whom were you thinking about the day you got married?”
(Smiles coolly) Me!
his card)
(Gleefully enjoying the havoc he causes)
D O O - D O O D O O - D O O .
( M A N # 1 )
I S C R A Z Y.
I ’ M A T R O U B L E D P E R S O N ,
I ’ M A T R U LY C R A Z Y P E R S O N
M Y S E L F !
W H E E !
(Overlapping) Stop already!
(Overlapping) Jesus!
(Overlapping) Next!
(Overlapping) I’m hungry! M A N # 3
D O O - D O O D O O - D O O D O O
D O O - D O O D O O - D O O
E X
I ’ M C R A Z Y,
I ’ M A L O V E LY P E R S O N ,
I ’ M A M O V I N G , D E E P LY M A L A D J U S T E D ,
N E V E R TO B E T R U S T E D C R A Z Y P E R S O N M Y S E L F !
I A G R E E . M A N # 1
Y O U W I N ! W E G I V E U P !
Right I think we can officially declare—whatever your name is—the winner M A N # 2
Wait! Before we declare a winner, I want to answer again
C RY, B U T N O T TO O O F T E N , P L AY, B U T N O T TO O R O U G H
( M A N # 2 )
K E E P A T E N D E R D I S TA N C E ,
S O W E ’ L L B O T H B E F R E E .
T H AT ’ S T H E WAY I T O U G H T TO B E
I ’ M R E A D Y !
M A R RY M E A L I T T L E ,
D O I T W I T H A W I L L .
M A K E A F E W D E M A N D S
I ’ M A B L E TO F U L F I L L .
WA N T M E M O R E T H A N O T H E R S ,
N O T E X C L U S I V E LY
T H AT ’ S T H E WAY I T O U G H T TO B E .
I ’ M R E A D Y !
I ’ M R E A D Y N O W !
Y O U C A N B E M Y B E S T F R I E N D
I C A N B E Y O U R R I G H T A R M .
W E ’ L L G O T H R O U G H A F I G H T O R T W O
N O H A R M , N O H A R M .
W E ’ L L L O O K N O T TO O D E E P,
W E ’ L L G O N O T TO O FA R
W E W O N ’ T H AV E TO G I V E U P A T H I N G ,
W E ’ L L S TAY W H O W E A R E .
R I G H T ?
O K AY, T H E N , I ’ M R E A D Y !
I ’ M R E A D Y N O W !
S O M E O N E , M A R RY M E A L I T T L E ,
L O V E M E J U S T E N O U G H
WA R M A N D S W E E T A N D E A S Y,
J U S T T H E S I M P L E S T U F F.
K E E P A T E N D E R D I S TA N C E
S O W E ’ L L B O T H B E F R E E
T H AT ’ S T H E WAY I T O U G H T TO B E .
I ’ M R E A D Y !
M A R RY M E A L I T T L E ,
B O D Y, H E A RT A N D S O U L
PA S S I O N AT E A S H E L L ,
B U T A LWAY S I N C O N T R O L
I
I
Now shall we declare a winner?
Yes!
Not just yet. (To WOMAN #1)
You didn’t actually read your question correctly I know, because I wrote it. I didn’t ask “Whom were you thinking of the day you got married,” I asked “What were you thinking of”
What was I thinking?
( W O M A N # 1 )
TO C H E R I S H A N D TO K E E P Y O U ,
TO H O N O R Y O U F O R E V E R .
TO D AY I S F O R A M Y, M Y H A P P I LY S O O N - TO - B E W I F E . ”
M
E R PA U L ? Y O U K N O W, T H E M A N I ’ M G O N N A M A R RY, B U T I ’ M N O T B E C A U S E I W O U L D N ’ T R U I N A N Y O N E A S W O N D E R F U L A S H E I S
T H A N K Y O U A L L
F O R T H E G I F T S A N D T H E F L O W E R S
T H A N K Y O U A L L ,
N O W I T ’ S B A C K TO T H E S H O W E R S
D O N ’ T T E L L PA U L ,
B U T I ’ M N O T G E T T I N G M A R R I E D TO D AY
B L E S S T H I S D AY, T R A G E D Y O F L I F E , H U S B A N D Y O K E D TO W I F E .
T H E H E A RT S I N K S D O W N A N D F E E L S D E A D ,
T H I S D R E A D F U L D AY
L I S T E N E V E RY B O D Y,
L O O K , I D O N ’ T K N O W W H AT Y O U ’ R E WA I T I N G F O R . A W E D D I N G , W H AT ’ S A W E D D I N G ?
I T ’ S A P R E H I S TO R I C R I T U A L
W H E R E E V E RY B O D Y P R O M I S E S F I D E L I T Y F O R E V E R , W H I C H I S M AY B E T H E M O S T H O R R I F Y I N G
W H E R E S U D D E N LY H E ’
( W O M A N # 1 )
T H E R E , I ’ M N O T G E T T I N G M A R R I E D
A N D D O N ’ T T E L L PA U L ,
B U T I ’ M N O T G E T T I N G M A R R I E D TO D AY !
G O C A N ’ T Y O U G O ?
W H Y I S N O B O D Y L I S T E N I N G ?
G O O D B Y E ! G O A N D C RY
AT A N O T H E R P E R S O N ’ S WA K E
I F Y O U ’ R E Q U I C K , F O R A K I C K , Y O U C O U L D P I C K U P A C H R I S T E N I N G ,
B U T P L E A S E , O N M Y K N E E S , T H E R E ’ S A H U M A N L I F E AT S TA K E !
L I S T E N E V E RY B O D Y, I ’ M A F R A I D Y O U D I D N ’ T H E A R ,
O R D O Y O U WA N T TO S E E A C R A Z Y L A D Y
FA L L A PA RT I N F R O N T O F Y O U ?
I T I S N ’ T O N LY PA U L W H O M AY B E R U I N I N G H I S L I F E , Y O U K N O W, W E ’ L L B O T H O F U S B E L O S I N G O U R I D E N T I T I E S
I T E L E P H O N E D M Y A N A LY S T A B O U T I T
A N D H E S A I D TO S E E H I M M O N D AY,
B U T B Y M O N D AY I ’ L L B E F L O AT I N G
I N T H E H U D S O N W I T H T H E O T H E R G A R B A G E .
I ’ M N O T W E L L ,
S O I ’ M N O T G E T T I N G M A R R I E D
Y O U ’ V E B E E N S W E L L ,
B U T I ’ M N O T G E T T I N G M A R R I E D
C L E A R T H E H A L L , ‘ C A U S E I ’ M N O T G E T T I N G M A R R I E D .
T H A N K Y O U A L L ,
B U T I ’ M N O T G E T T I N G M A R R I E D . A N D D O N ’ T T E L L PA U L ,
B U T I ’ M N O T G E T T I N G M A R R I E D TO D AY.
B L E S S T H I S B R I D E , TO TA L LY I N S A N E , S L I P P I N G D O W N T H E D R A I N , A N D B L E S S T H I S D AY I N O U R H E A RT S
A S I T S TA RT S TO R A I N . . .
“ TO D AY I S F O R “
G O , C A N ’ T Y O U G O ?
L O O K , Y O U K N O W
I A D O R E Y O U A L L ,
B U T W H Y WAT C H M E D I E
( W O M A N # 1 )
L I K E E L I Z A O N T H E I C E ?
L O O K , P E R H A P S
I ’ L L C O L L A P S E
I N T H E A P S E
R I G H T B E F O R E Y O U A L L ,
S O TA K E B A C K T H E C A K E ,
B U R N T H E S H O E S A N D B O I L T H E R I C E !
L O O K , I D I D N ’ T WA N T TO H AV E TO T E L L Y O U ,
B U T I M AY B E C O M I N G D O W N W I T H H E PAT I T I S
A N D I T H I N K I ’ M G O N N A FA I N T,
S O I F Y O U WA N N A S E E M E FA I N T,
I ’ L L D O I T H A P P I LY,
B U T W O U L D N ’ T I T B E F U N N I E R
TO G O A N D WAT C H A F U N E R A L ?
S O T H A N K Y O U F O R T H E
T W E N T Y- S E V E N D I N N E R P L AT E S A N D
T H I RT Y- S E V E N B U T T E R K N I V E S A N D
F O RT Y- S E V E N PA P E R W E I G H T S A N D
F I F T Y- S E V E N C A N D L E H O L D E R S . . . O N E M O R E T H I N G , I A M N O T G E T T I N G M A R R I E D !
O T H E R S
A M E N
A S I ’ V E S A I D ,
W O M A N # 1
I ’ M N O T G E T T I N G M A R R I E D ! O T H E R S
A M E N .
S T U F F Y O U R R I N G !
W O M A N # 1
I ’ M N O T G E T T I N G M A R R I E D O T H E R S
A M E N .
W E D I S D E A D !
W O M A N # 1
I ’ M N O T G E T T I N G M A R R I E D .
F O R B E I N G A L I V E M A N # 2
M A K E M E A L I V E , M A N # 1
M A K E M E A L I V E . M A K E M E C O N F U S E D , M O C K M E W I T H P R A I S E ,
L E T M E B E U S E D , VA RY M Y D AY S .
B U T A L O N E W O M A N # 1 M A K E M E C O N F U S E D , M A N # 1
I S A L O N E , W O M A N # 1 & W O M A N # 2 M O C K M E W I T H P R A I S E M A N # 1 N O T A L I V E M A N # 2 L E T M E B E U S E D , W O M A N # 1 VA RY M Y D AY S . W O M A N # 2 & M A N # 2
B E I N G A L I V E , M A N # 1 , W O M A N # 1 , M A N # 2 , W O M A N # 2 B E I N G A L I V E M A N # 1
(Echoed by OTHERS)
S O M E B O D Y C R O W D M E W I T H L O V E , S O M E B O D Y F O R C E M E TO C A R E , S O M E B O D Y L E T M E C O M E T H R O U G H , I ’ L L A LWAY S B E T H E R E
B E I N G A L I V E , M A N # 2
B E I N G M A N # 1 , W O M A N # 2 A L I V E # 3 7 L i k e I t W a s ( W o m a n # 1 )
(Taking WOMAN #1 in his arms)
(To WOMAN #2)
( M A N # 3 )
W H Y M A K E I T TO U G H
B Y G E T T I N G G R U M P Y ?
P L E N T Y O F R O A D S TO T RY.
W O M A N # 1 , W O M A N # 2
S O M E R O A D S A R E S O F T
A N D S O M E A R E B U M P Y,
S O M E R O A D S Y O U R E A L LY F LY
S O M E R O A D S A R E R O U G H
A N D L E AV E Y O U J U M P Y,
W H Y M A K E I T TO U G H
B Y G E T T I N G G R U M P Y ?
P L E N T Y O F R O A D S TO T RY
S O M E R O A D S Y O U R E A L LY F LY
A L L
M A N # 1 , M A N # 2 , M A N # 3
O N E
T R I P, A L L Y O U G E T I S
O N E Q U I C K R I D E ,
L O O K A R O U N D A B I T.
O N E Q U I C K R I D E
T H R O U G H T H E
C O U N T RY S I D E , S TAY O N T H E T R A C K
N E V E R L O O K B A C K .
N E V E R L O O K B A C K
N E V E R L O O K B A C K
N E V E R L O O K B A C K .
N E V E R L O O K B A C K !
N E V E R L O O K . . .
Y E S T E R D AY I S D O N E ,
S E E T H E P R E T T Y C O U N T RY S I D E !
M E R R I LY W E R O L L A L O N G , R O L L A L O N G , B U R S T I N G W I T H D R E A M S !
T R AV E L I N G ’ S T H E F U N , F L A S H I N G B Y T H E C O U N T RY S I D E , E V E RY B O D Y M E R R I LY, M E R R I LY,
S I N G ‘ E M Y O U R S O N G !
R O L L I N G A L O N G , R O L L I N G A L O N G , R O L L I N G A L O N G ! # 3 9 N e w B o w s ( C o m p a n y )
B U T U S , O L D F R I E N D , W H AT ’ S TO D I S C U S S , O L D F R I E N D ?
H E R E ’ S TO U S W H O ’ S L I K E U S ?
D A M N F E W !
# 4 0 E x i t M u s i c ( O r c h e s t r a )
AC T 1
1 . I n v o c a t i o n A n d I n s t r u c t i o n s To T h e A u d i e n c e ............................................1
2 . P u t t i n g I t To g e t h e r ..........................................................................................5
3 R i c h A n d H a p p y 1 2
4 . A f t e r R i c h A n d H a p p y .................................................................................. 1 9
5 . M e r r i l y F r a g m e n t # 1 ..................................................................................... 2 0
6 L o v e l y 2 1
7 E v e r y b o d y O u g h t To H a v e A M a i d 2 3
8 . S o o n e r O r L a t e r S e q u e n c e ............................................................................ 2 8
9 H e l l o L i t t l e G i r l 3 5
1 0 M y H u s b a n d T h e P i g 3 8
11 . E v e r y D a y A L i t t l e D e a t h ..............................................................................
1
1
1 4 P r e t t y Wo m e n 5 0
1 5 . N o w ............................................................................................................... 5 3
1 6 B a n g ! 5 8
1 7 C o u n t r y H o u s e 6 4
1 8 . M e r r i l y F r a g m e n t # 3 ..................................................................................... 7 3
1 9 . C o u l d I L e a v e Yo u ? ....................................................................................... 7 4 AC T 2
2 0 E n t r ’ a c t e 7 9
2 1 . B a c k I n B u s i n e s s ............................................................................................ 8 0
2 2 . R i c h A n d H a p p y A n d S t o n e d ....................................................................... 9 0
2 3 M e d l e y A L i t t l e N i g h t M u s i c 9 1
2 4 G a m e S e q u e n c e P a r t 1 1 0 0
2 5 . G u n S o n g ..................................................................................................... 1 0 1
2 6 G a m e S e q u e n c e P a r t 2 1 0 6
2 7 G a m e S t i n g 1 0 9
2 8 . T h e M i l l e r ’ s S o n .......................................................................................... 11 0
2 9 . L i v e A l o n e A n d L i k e I t ................................................................................ 11 6
3 0 S o r r y - G r a t e f u l 11 8
3 1 S w e e t P o l l y P l u n k e t t 1 2 1
3 2 . I C o u l d D r i v e A P e r s o n C r a z y .................................................................... 1 2 2
3 3 M a r r y M e A L i t t l e 1 2 7
3 4 G e t t i n g M a r r i e d To d a y 1 3 2
3 5 . M e r r i l y F r a g m e n t # 4 ................................................................................... 1 3 8
3 6 . B e i n g A l i v e .................................................................................................. 1 3 9
3 7 L i k e I t Wa s 1 4 4
3 8 . F i n a l e A c t I I ................................................................................................. 1 4 6
3 9 . N e w B o w s .................................................................................................... 1 5 0
4 0 E x i t M u s i c 1 5 1
# 1 — I n v o c a t i o n A n d I n s t r u c t i o n s T o T h e A u d i e n c e
# 1 — I n v o c a t i o n A n d I n s t r u c t i o n s T o T h e A u d i e n c e
# 1 — I n v o c a t i o n A n d I n s t r u c t i o n s T o T h e A u d i e n c e
# 1 — I n v o c a t i o n A n d I n s t r u c t i o n s T o T h e A u d i e n c e
