MERRILY WE ROLL ALONG Libretto Vocal Book (englisch) by Musik und Bühne

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LIBRETTO VOCAL BOOK

Music and Lyrics by Stephen Sondheim Book by George Furth

Based on the Original Play by George Kaufman and Moss Hart. Originally Directed on Broadway by Harold Prince. Originally Produced on Broadway by Lord Grade, Martin Starger, Robert Fryer and Harold Prince in Association with Ruth Mitchell and Harold Haines.

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Table Of Contents

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ACT ONE

PROLOGUE ..........................................................................................................................................1 #1 Overture (Orchestra)..........................................................................1 #2 Merrily We Roll Along (Company) ..........................................................................2

SCENE ONE..........................................................................................................................................7 #3 That Frank (Company) ..........................................................................7 #3A Incidental (Onstage Piano)................................................................. 18 #3B Incidental (Onstage Piano)................................................................. 23 #3C Incidental (“Good Thing Going”) (Onstage Piano)................................................................. 26 #4 Transition 1 (Company) ........................................................................29

SCENE TWO........................................................................................................................................31 #5 Old Friends –– Like It Was (Mary, Charley)................................................................. 33 #6 Franklin Shepard, Inc. (Charley)........................................................................... 41 #6A Transition 2 (Company) ........................................................................48

SCENE THREE....................................................................................................................................50 #7 Old Friends (Mary, Frank, Charley)......................................................55 #7A Growing Up –– Part 1 (Franklin) ......................................................................... 67 #7B Growing Up –– Part 2 (Gussie) ............................................................................. 69 #7C Transition 3 (Company) ........................................................................70

SCENE FOUR ..................................................................................................................................... 71 #8 Not A Day Goes By (Beth)................................................................................75 #9 Now You Know (Scotty, Mary, Tyler, Charley, Frank, Joe, Jerome, K.T., Company) ......................................................................... 79

ACT TWO #10

Entr’acte

(Orchestra)........................................................................ 86

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SCENE ONE........................................................................................................................................ 86 #10A Act 2 –– Opening (Gussie) ............................................................................ 86 #11 It’s A Hit (Joe, Frank, Mary, Beth, Charley) ...................................... 90 #11A Transition 4 (Company)........................................................................ 98

SCENE TWO ..................................................................................................................................... 100 #12 The Blob –– Part 1 (Company)...................................................................... 100 #12A The Blob –– Part 2 (Company, Gussie) .......................................................... 103 #12B The Blob –– Part 2 (Underscore) (Onstage Piano) .............................................................. 106 #12C Growing Up (Gussie) .......................................................................... 110 #12D The Blob –– Part 3 (Company)...................................................................... 111 #13 Good Thing Going (Charley, Frank) ............................................................. 114 #13A The Blob –– Part 4 (Charley, Frank, Dory, Gussie, Joe, Guests)....................... 115 #13B Transition 5 (Company)...................................................................... 118

SCENE THREE ................................................................................................................................. 120 #14 Bobby and Jackie and Jack (Charley, Frank, Beth, Pianist) ........................................ 120 #14A Bobby and Jackie and Jack Playoff (Onstage Piano) .............................................................. 126 #15 Not A Day Goes By –– Act 2 (Beth, Mary, Frank)........................................................ 133 #15A Transition 6 (Tyler, Dory)................................................................... 135

SCENE FOUR ................................................................................................................................... 136 #16 Opening Doors (Charley, Frank, Mary, Joe, 1st Girl, Beth)....................... 136 #16A Transition 7 (Beth, Frank Jr., Mrs. Spencer) ........................................ 152

SCENE FIVE ..................................................................................................................................... 153 #17 Our Time –– Part 1 (Frank, Charley) ............................................................. 154 #17A Our Time –– Part 2 (Frank, Charley) ............................................................. 156 #17B Our Time –– Part 3 (Company)...................................................................... 160 #18 Bows (Orchestra, Company)...................................................... 162 #19 Exit Music (Orchestra)...................................................................... 162 #19A Exit Music (Orchestra)...................................................................... 162

Characters

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FRANKLIN SHEPARD CHARLEY KRINGAS MARY FLYNN TYLER TERRY SCOTTY DORY RU JEROME K.T. MEG KINCAID BUNKER GUSSIE CARNEGIE TV NEWSMAN TV NEWSWOMAN MAKE-UP ARTIST STAGE MANAGER JOE JOSEPHSON FRANK JR. JUDGE PHOTOGRAPHER BETH MR. SPENCER PIANIST MRS. SPENCER 1ST GIRL GUESTS CROWD

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Songs By Character #8 Not A Day Goes By....................................................... 75 #11 It’s A Hit ................................................................... 90 #14 Bobby and Jackie and Jack ........................................120 #15 Not A Day Goes By –– Act 2..................................... 133 #16A Transition 7........................................................... 152 #16 Opening Doors ......................................................... 136

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Beth

#5 Old Friends –– Like It Was........................................... 33 #6 Franklin Shepard, Inc...................................................41 #7 Old Friends ..................................................................55 #9 Now You Know............................................................79 #11 It’s A Hit ................................................................... 90 #13 Good Thing Going ................................................... 114 #13A The Blob –– Part 4 ................................................115 #14 Bobby and Jackie and Jack ........................................120 #16 Opening Doors ......................................................... 136 #17 Our Time –– Part 1................................................. 154 #17A Our Time –– Part 2............................................... 156 #17B Our Time –– Part 3............................................... 160

Company

#2 Merrily We Roll Along ....................................................2 #3 That Frank ....................................................................7 #4 Transition 1................................................................. 29 #6A Transition 2............................................................... 48 #7C Transition 3 ..............................................................70 #9 Now You Know............................................................79 #11A Transition 4............................................................. 98 #12 The Blob –– Part 1................................................... 100 #12A The Blob –– Part 2 ................................................103 #12D The Blob –– Part 3 ............................................... 111 #13B Transition 5........................................................... 118 #17B Our Time –– Part 3............................................... 160 #18 Bows ........................................................................162

Dory

#13A The Blob –– Part 4 ................................................115 #15A Transition 6........................................................... 135

Frank

#7 Old Friends ..................................................................55 #7A Growing Up –– Part 1............................................... 67 #9 Now You Know............................................................79 #11 It’s A Hit ................................................................... 90 #13 Good Thing Going ................................................... 114 #13A The Blob –– Part 4 ................................................115 #14 Bobby and Jackie and Jack ........................................120

Charley

#15 Not A Day Goes By –– Act 2..................................... 133 #16 Opening Doors ......................................................... 136 #17 Our Time –– Part 1................................................. 154 #17A Our Time –– Part 2............................................... 156 #17B Our Time –– Part 3............................................... 160 #16A Transition 7........................................................... 152

Guests

#13A The Blob –– Part 4 ................................................115

Gussie

#7B Growing Up –– Part 2............................................... 69 #10A Act 2 –– Opening..................................................... 86 #12A The Blob –– Part 2 ................................................103 #12C Growing Up ..........................................................110 #13A The Blob –– Part 4 ................................................115

Jerome

#9 Now You Know............................................................79

Joe

#9 Now You Know............................................................79 #11 It’s A Hit ................................................................... 90 #13A The Blob –– Part 4 ................................................115 #16 Opening Doors ......................................................... 136

K.T.

#9 Now You Know............................................................79

Mary

#5 Old Friends –– Like It Was........................................... 33 #7 Old Friends ..................................................................55 #9 Now You Know............................................................79 #11 It’s A Hit ................................................................... 90 #15 Not A Day Goes By –– Act 2..................................... 133 #16 Opening Doors ......................................................... 136 #17B Our Time –– Part 3............................................... 160

Mrs. Spencer

#16A Transition 7........................................................... 152

Pianist

#14 Bobby and Jackie and Jack ........................................120

Scotty

#9 Now You Know............................................................79

Tyler

#9 Now You Know............................................................79 #15A Transition 6........................................................... 135 #16 Opening Doors ......................................................... 136

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Frank Jr.

1st Girl

CHRONOLOGY ACT ONE Bel Air, California –– 1976

(Frank, Mary: 40 years old)

SCENE TWO:

NBC Studio, New York City –– 1973

(Frank, Mary, Charley: 37)

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SCENE ONE:

SCENE THREE:

Frank’s Apartment, New York City –– 1968

(Frank, Mary, Charley: 31)

SCENE FOUR:

Manhattan Courthouse, New York City –– 1967

(Frank, Mary, Charley: 30)

ACT TWO

Alvin Theatre, New York City –– 1964

SCENE TWO:

Gussie and Joe’s Brownstone, New York City –– 1962 (Frank, Mary, Charley: 25)

SCENE THREE:

The Downtown Club, New York City –– 1960

(Frank, Mary, Charley: 23)

SCENE FOUR:

New York City –– 1957-1959

(Frank, Mary, Charley: 20-22)

SCENE FIVE:

A Rooftop On 110th Street, New York City –– 1957 (Frank, Mary, Charley: 20)

SCENE ONE:

(Frank, Mary, Charley: 27)

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To Dennis Aspland and Sarah Douglas

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Merrily We Roll Along

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ACT ONE PROLOGUE Overture

(Orchestra)

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(The stage is in darkness, covered in front by a scrim. The ORCHESTRA starts to play the overture. When “Good Thing Going” begins, a LIGHT comes up on FRANKLIN SHEPARD, seated at a piano behind the scrim, DOWNSTAGE LEFT. HE is a handsome, self-possessed man of about forty, dressed in an elegant tuxedo. He plays along with the ORCHESTRA, but it is clear that he is playing for himself. It is also clear that he is an extremely accomplished and deeply expressive player. The ORCHESTRA segues into the vamp of “Merrily We Roll Along", and as the COMPANY ENTERS, FRANKLIN stops playing, looks at his hands, then stares ruminatively into the middle distance.

As the number (“Merrily We Roll Along”) progresses, we see slides projected onto the scrim, slides which tell us the story we are about to see: photos of FRANKLIN SHEPARD, MARY FLYNN and CHARLEY KRINGAS each at the age of eight, then at their individual high schools and colleges, followed by a variety of things such as: the three of them posing for humorous pictures in amusement-palace booths; their initial successes as writers; FRANKLIN’S marriage and divorce; reviews, Variety articles, gossip columns, the newspaper accounts of the breakup of FRANKLIN’S and CHARLEY’S partnership; FRANKLIN’S movie career; CHARLEY’S Pulitzer Prize; etc., leading finally to a huge slide of a formal invitation which coincides with the end of the number and which reads: YOU ARE CORDIALLY INVITED TO A PARTY AT THE HOME OF FRANKLIN SHEPARD TO CELEBRATE THE PREMIERE OF HIS LATEST MOTION PICTURE “DARKNESS BEFORE DAWN” 1740 BELLAGIO DRIVE BEL AIR, CALIFORNIA OCTOBER 4, 1976

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Act I Prologue During the course of the show, we will see these slides again, projected during the transitions between scenes, matching and illustrating each appropriate time and event.

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MUSIC continues underneath) #2

Merrily We Roll Along

(Company)

COMPANY (EXCEPT FRANK) (Variously) YESTERDAY IS DONE. SEE THE PRETTY COUNTRYSIDE. MERRILY WE ROLL ALONG, ROLL ALONG, BURSTING WITH DREAMS. TRAVELLING’S THE FUN, FLASHING BY THE COUNTRYSIDE, EVERYBODY MERRILY, MERRILY CATCHING AT DREAMS, ROLLING ALONG… ROLLING ALONG… ROLLING ALONG…

GROUP I DREAMS DON’T DIE, SO KEEP AN EYE ON YOUR DREAM,

GROUP II AND BEFORE YOU KNOW WHERE YOU ARE, THERE YOU ARE.

GROUP I TIME GOES BY AND HOPES GO DRY, BUT YOU STILL CAN TRY FOR YOUR DREAM. GROUP I

TEND YOUR DREAM…

GROUP II

(Overlapping) HOW DOES IT HAPPEN? GROUP I DREAMS TAKE TIME…

Merrily We Roll Along

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GROUP II (Overlapping) ONCE IT WAS ALL SO CLEAR. GROUP I

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TIME GOES BY…

GROUP II (Overlapping) HOW CAN YOU GET SO FAR OFF THE TRACK? WHY DON'T YOU TURN AROUND AND GO BACK? GROUP I

BEND YOUR DREAM…

GROUP II (Overlapping) HOW DOES IT HAPPEN? WHERE IS THE MOMENT? GROUP I

WITH THE ROAD…

GROUP II

(Overlapping) HOW CAN YOU MISS IT? ISN'T IT CLEAR? HOW CAN YOU LET IT SLIP OUT OF GEAR?

ALL HOW DID YOU EVER GET THERE FROM HERE? GROUP I

YOU ROLL.

GROUP II

(Overlapping) HOW DOES IT HAPPEN?

GROUP III HOW DOES IT HAPPEN? GROUP I YOU JUST ROLL.

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Act I Prologue GROUP II (Overlapping) ONCE IT WAS ALL SO CLEAR. GROUP III

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(Overlapping) ISN’T IT ALWAYS CLEAR?

GROUP I

EVERYBODY ROLL,

GROUP II HOW DOES IT START TO GO?

GROUPS II, III DOES IT SLIP AWAY SLOW

ALL SO YOU NEVER EVEN NOTICE IT’S HAPPENING? CHARLEY HOW DID YOU GET TO BE HERE?

ALL EXCEPT CHARLEY WHAT WAS THE MOMENT?

MARY HOW DID YOU GET TO BE HERE?

MARY, CHARLEY PICK YOURSELF A ROAD. GET TO KNOW THE COUNTRYSIDE. SOON ENOUGH YOU’RE MERRILY, ALL

MERRILY PRACTICING DREAMS.

DREAMS THAT WILL EXPLODE, WAKING UP THE COUNTRYSIDE, MAKING YOU FEEL MERRILY, MERRILY, WHAT CAN GO WRONG ROLLING ALONG?

Merrily We Roll Along

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SOME ROADS ARE SOFT AND SOME ARE BUMPY. SOME ROADS YOU REALLY FLY. SOME RIDES ARE ROUGH AND LEAVE YOU JUMPY. WHY MAKE IT TOUGH BY GETTING GRUMPY? PLENTY OF ROADS TO TRY.

GROUP I ONE TRIP. ALL YOU GET IS ONE QUICK RIDE. LOOK AROUND A BIT — ONE QUICK RIDE THROUGH THE COUNTRYSIDE. STAY ON THE TRACK. NEVER LOOK BACK. NEVER LOOK BACK. NEVER LOOK BACK. NEVER LOOK BACK. NEVER LOOK BACK. NEVER LOOK —

GROUP II SOME ROADS ARE SOFT AND SOME ARE BUMPY. SOME ROADS YOU REALLY FLY. SOME RIDES ARE ROUGH AND LEAVE YOU JUMPY. WHY MAKE IT TOUGH BY GETTING GRUMPY? PLENTY OF ROADS TO TRY. SOME ROADS YOU REALLY FLY.

ALL HOW DID YOU GET TO BE HERE? WHAT WAS THE MOMENT?

HOW DID YOU GET TO BE HERE?

BENDING WITH THE ROAD, GLIDING THROUGH THE COUNTRYSIDE. MERRILY WE ROLL ALONG, ROLL ALONG, CATCHING AT DREAMS. DREAMS THAT WILL EXPLODE, WAKING UP THE COUNTRYSIDE, EVERYBODY MERRILY, MERRILY, SING ’EM YOUR SONG, ROLLING ALONG! ROLLING ALONG! ROLLING ALONG! ROLLING A —

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N Page 6 Act I Prologue

END OF PROLOGUE

Merrily We Roll Along

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SCENE ONE (The MUSIC becomes loud and lively.

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FRANKLIN, shaken out of his reverie, rises and climbs a staircase to a landing where he stands in the shadows and watches, while simultaneously the members of the COMPANY turn to each other and begin chatting animatedly — THEY are now FRIENDS and GUESTS at a party in FRANK’S BEL AIR HOME.

DOWNSTAGE is a patio with bar and, just OFFSTAGE, a swimming pool. UPSTAGE under the balcony are French doors leading to the inside of the house, through which we can see some of the GUESTS drinking and dancing. The rest are DOWNSTAGE on the patio. THEY are all in their thirties and forties, rich, successful and happy. MARY FLYNN, a fat, disheveled, once-pretty 40-year old woman sits at the bar, drunk and getting drunker. During the course of the play SHE will become ten pounds thinner in each successive scene. A slide over the proscenium reads: “BEL AIR, CALIFORNIA 1976”)

That Frank

(Company)

GUEST (TYLER) (To another GUEST) I SAID, “FRANK, THIS PICTURE IS A WATERSHED…”

GUEST (TERRY) (To another GUEST) I SAID, “FRANK, ONE DAY YOU’LL RUN MY STUDIO…”

GUEST (SCOTTY) (To DORY) I SAID, “FRANK, WILL YOU LISTEN TO THAT RESPONSE?”

GUEST (DORY) I SAID, “FRANK REALLY KNOWS WHAT THE PUBLIC WANTS.” TYLER (To a different GUEST) I SAID, “FRANK, THIS PICTURE IS A WATERSHED…”

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Act I Scene 1 MARY (At the bar, indicating her glass as she raises it to RU, a handsome young man) Know what I’m having?

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What?

MARY

Not much fun.

FRANK (Stepping out of the shadows on the balcony, raising a glass, calling down to EVERYONE with exaggerated cheerfulness) PARTY! GROUP I

THAT FRANK —

JEROME THE GUY IS TOO MUCH — FRANK

Hey, the party’s inside!

GROUP II

THAT FRANK —

FRANK

You like the picture?

TERRY

THE PLATINUM TOUCH.

FRANK

How about more Champagne? (EXITS to get Champagne)

SCOTTY HE HAS TASTE, HE HAS TALENT — TERRY IS HE THE BEST?

Merrily We Roll Along

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TYLER PLUS A FINE HEAD FOR BUSINESS. K.T.

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THE MAN IS BLESSED. ALL

THAT FRANK!

(FRANK RE-ENTERS, pouring Champagne. MUSIC continues under)

RU (To MARY) I wrote the screenplay for Frank’s movie.

MARY

Your secret’s safe with me.

(FRANK sees MEG hurrying toward him. Avoiding being alone with her, HE turns to pour for TYLER’S group as she joins him)

FRANK Oh Tyler, I want you to meet Meg, the star of my movie. My old friend Tyler here is the man who invented the telephone answering machine. TYLER And people are living in fear I’ll invent something else.

(THEY shake hands; FRANK moves on to pour for the next group, leaving MEG talking to TYLER) GROUP I

THAT FRANK —

(To MARY) So what do you do?

JEROME

HE’S FULL OF ADVICE. MARY I drink.

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Act I Scene 1 GROUP II THAT FRANK — RU

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No, what do you really do? ALL

AND GOD, IS HE NICE!

MARY

I really drink.

K.T.

WHAT A FRIEND —

MEG

WHAT A HOST —

BUNKER AND HIS WORK IS GREAT!

TERRY HAS A WIFE WHO IS GORGEOUS — MEN

A SON WHO’S STRAIGHT.

ALL HE’S THE TYPE YOU COULD EASILY LEARN TO HATE, THAT FRANK! FRANK

(To the GUESTS) WHO SAYS, “LONELY AT THE TOP?” (BABBLE up, then down)

I SAY, “LET IT NEVER STOP!”

(BABBLE again, up then down)

IT’S OUR TIME COMING THROUGH, ALL OUR DREAMS COMING TRUE. WORKING HARD,

Merrily We Roll Along

Page 11

GETTING RICH, BEING HAPPY — THERE’S A SWITCH! GROUP I

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THAT SMILE —

BUNKER

Don’t you miss writing music?

GROUP I HE’S HOT BUT HE’S COOL. FRANK

That was the old Frank Shepard.

GROUP II

WHAT STYLE —

JEROME

This guy’s the American dream!

MEG (Looking OFFSTAGE) AND WHAT A GREAT POOL!

GROUP I IF YOU HAD NO IDEA WHAT CHARISMA MEANT —

GROUP II AND YOU JUST CAN’T BE JEALOUS, HE’S SUCH A GENT — ALL HE’S THE KIND OF A MAN THAT YOU CAN’T RESENT, THAT FRANK!

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Act I Scene 1 (MUSIC out.

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Under the following, snatches of LOW BABBLE and background MUSIC or PIANO emanate from the slightly visible OFFSTAGE party room, from and into which GUESTS continue to ENTER and EXIT) MEG

(Approaching FRANK) Franklin?

FRANK (Nervous; to avoid her, HE changes direction and crosses to MARY) Oh, Meg, this is Mary Flynn. (Sincerely) Mary is my deepest, closest, best friend in all the world. We go way back. MARY

But seldom forward.

MEG Actually, Franklin gave me the novel you wrote and I read it over and over. MARY

Didn’t you get it the first time?

FRANK

(Loudly, to the GUESTS) Hey, gang, we got this orchestra and dancing inside.

(MUSIC resumes, as FRANK EXITS)

TYLER I SAID “FRANK, YOU’RE COMING DOWN TO MEXICO…” JEROME I THINK FRANK IS MOVING BACK TO PARAMOUNT… MARY (To the AUDIENCE) THESE ARE THE MOVERS, THESE ARE THE SHAPERS, THESE ARE THE PEOPLE THAT FILL THE PAPERS.

GROUP I … MEXICO…

Merrily We Roll Along

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MARY THESE ARE THE FRIENDS OF FRANK.

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GROUP II … MOVING BACK TO PARAMOUNT… MARY EACH ONE A PERFECT BLANK.

ALL WHEN YOU SEE A MOVIE THAT SUCCESSFUL, WHAT CAN YOU SAY? (To FRANK) Congratulations! FRANK

THANK YOU!

(FRANK joins a group and, with his back to us, has them all laughing with an animated and hilarious story)

MARY THESE ARE THE MOVERS, THESE ARE THE SHAPERS, THESE ARE THE PEOPLE THAT GIVE YOU VAPORS…

FRANK (Crossing, to MARY) TWENTY YEARS AGO, WHO’D HAVE GUESSED, WHO’D HAVE GUESSED WE’D BE STANDING HERE? GOD, WE WOULD HAVE BEEN SO IMPRESSED! NOW WE’RE HERE WITH THE MOST — GROUP I

… MEXICO…

FRANK — BRILLIANT MINDS ON THE COAST. GROUP II … MOVING BACK TO PARAMOUNT…

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Act I Scene 1 FRANK AND NOTICE WHO IS THEIR HOST. GROUP I

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… MEXICO… GROUP II

BEAUTIFUL, FRANK!

GROUP I … ACAPULCO, MEXICO…

GROUP II

BEAUTIFUL, FRANK!

ALL WHEN YOU’VE MADE A MOVIE THAT SUCCESSFUL, WHERE DO YOU GO? FRANK

Uhhh — Paramount!

(MUSIC continues under.

FRANK, turning and crossing, holds up his pinkie to MARY) “Here’s to us.” MARY

(Holds up her pinkie) “Who’s like us?”

FRANK, MARY

(Clasping pinkies) “Damn few.”

FRANK

Thanks pal, for flying out.

MARY Thanks pal, for the ticket. I got a letter from Frankie. FRANK Well, at least my son writes to you.

Merrily We Roll Along

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MARY To thank me for coming to his graduation. FRANK

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He didn’t invite me. MARY

He didn’t invite me either.

FRANK

How is Frankie?

MARY He asked the same thing about you. Oh, Frank, why don’t the two of you —

K.T. (Interrupting as she crosses to FRANK) Frank, I am beginning my broadcast, “Where Franklin Shepard goes I go, because that is where the ‘A’ list goes.” (Smiles, moves away) MARY I just figured out what the ‘A’ stands for… (FRANK, smiling, leaves her)

JEROME (Stopping FRANK) Now I heard a reliable rumor that you’re selling the Malibu house? FRANK You don’t want it. The place doesn’t even have a pool. MARY

(Too loudly) No pool!?!

(MUSIC stops.

EVERYONE stares)

In my rat’s hole in New York the john is terminally busted and the kitchen should be condemned. But no pool!?! (Shouts) TRASH IT!!

Page 16

Act I Scene 1 (Flings out her arms, spilling liquid from her drink; FRANK crosses back to her)

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FRANK Let’s have some coffee, Mary. (Takes her arm and moves STAGE RIGHT) ALL

POOR FRANK —

MARY

I never drink coffee.

ALL HE HANDLED THAT WELL.

MARY

Caffeine isn’t good for you.

GROUP II

THAT FRANK —

FRANK Look, I’m aware this was just a formula movie. JEROME

HE’S LOYAL AS HELL.

FRANK

But my next picture. You wait. (FRANK crosses D.L.)

MARY

I gave up waiting.

ALL HE’S POLITE AND CONSIDERATE, RAIN OR SHINE — MARY (Brightly, lifting her glass, to TERRY at the bar) IT BEGAN WHEN I TASTED COMMUNION WINE — ALL THAT FRANK.

Merrily We Roll Along

Page 17

FRANK (To GUESTS) WHO SAYS, “MUSTN’T GO TOO FAR”?

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(BABBLE up, then down) I SAY, “LOOK AT WHERE WE ARE!” (BABBLE up, then down)

IT’S OUR TIME, COMING THROUGH — I SAY, “GOOD, ME AND YOU!” I SAY, “ROLL!” I SAY, “RIDE!” (Gesture toward inside house) I SAY, “HEY, THERE’S FOOD INSIDE!” ALL

THAT FRANK —

TERRY

Frank’s movie was fun!

ALL YOU’D THINK HE’D RELAX.

TYLER Frank knows what the public wants!

ALL

NOT FRANK —

BUNKER

Frank understands commercial!

ALL HE’S LAYING NEW TRACKS.

K.T. (Indicating MEG, who blushes) And Frank made a star! ALL IF YOU HAD NO IDEA WHAT CHARISMA MEANT —

Page 18

Act I Scene 1

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

AND YOU JUST CAN’T BE JEALOUS, HE’S SUCH A GENT — HE’S THE KIND OF A MAN COULD BE PRESIDENT, THAT FRANK! THAT FRANK! THAT FRANK!

#3A

Incidental

(Onstage Piano)

(MUSIC stops)

MEG

(Crossing to FRANK) Oh, Frank —

(FRANK, noticing GUSSIE ENTERING U.S.L. DOOR and watching them, moves quickly away. MEG, sensing something’s wrong stops, remaining at a distance)

— tonight I saw a falling star. I was running across the lawn and right there in front of me…

FRANK (Loudly, for all to hear) And what do we see in front of us? A rising star. Because no matter what the critics say about this picture, they’re certain to love you. GUSSIE They’re certain to. No matter what they say about the picture. (Rich, haughty, a Broadway star, used to an attention denied her on this coast, SHE comes DOWNSTAGE) MARY

(To no one) The plot thins.

FRANK

Meg, you know my wife, Gussie.

MEG Everybody who has ever been to a Broadway show knows Gussie Carnegie. GUSSIE The hem of your garment.

Merrily We Roll Along

Page 19

SCOTTY (To MEG, indicating all the LIGHTS below them from FAR L to FAR R) I say by tomorrow all of that is going to be at your feet.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

GUSSIE

Scotty. That’s the Valley.

FRANK (To GUSSIE, after a brief awkward pause) Have you been inside all this time? GUSSIE It’s customary when you give a party to attend it. FRANK

Did you sing?

GUSSIE

No one asked.

(GUSSIE EXITS U.R. DOOR. FRANK crosses away to avoid MEG again, but SHE follows close behind him) MEG

Franklin —

FRANK

(Quietly, warning her)

MEG

(Lowering her voice) You’re ignoring me.

Later.

FRANK

Yes, I am.

MEG

I’ve got feelings.

FRANK And I’ve got a wife. MEG I love you so much.

Page 20

Act I Scene 1 FRANK And I love you. (He crosses UPSTAGE, away from her) TYLER

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(Loudly) Anyway, I’m off. Tomorrow I fly to New York.

BUNKER Oh, while you’re there do not miss that new Charles Kringas play. (MUSIC stops.

FRANK stops. Noisy ad lib. conversation stops)

That is the only show in years that actually deserves its Pulitzer Prize. I say, in every generation there is one playwright who — (The silence and the stares indicate that obviously he has said something wrong)

Oh, my God. What did I say?

MARY Don’t you know that in this joint you must never, ever mention the name — (Shouts) CHARLES KRINGAS! FRANK

(Crossing to her)

Mary.

MARY (Ignoring him, loudly) See, Charley, Frank and I once were these devoted, inseparable friends. GUSSIE Would anyone care to come inside?

MARY Up until that famous television interview when Charley, in front of — FRANK Mary, goddamn it, that’s enough.

Merrily We Roll Along

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GUSSIE Mary, I’ve warned you.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

JEROME (ENTERS, carrying pages) Hey, the house numbers are in from the East coast!

SCOTTY (ENTERING with JEROME, shoots a fist high in the air) And it went through the roof! (Excitement, BABBLE throughout the room) FRANK So we don’t have to save the bottles for deposits. SCOTTY

(To MEG) And you, listen. (Reading) “The surprise of ‘Darkness Before Dawn’, is Meg Kincaid, a starry-eyed find.”

TYLER (Raising his glass; loud, to get everyone’s attention) To Franklin Shepard, who I’ve known ever since we started out together back in a crummy little Greenwich Village saloon.

JEROME (Also raising his glass) To Frank Shepard. Congratulations to the client every lawyer dreams of. Forty years old, a hit in New York, now a hit in Hollywood, married to this Broadway legend, surrounded by the people who work for him, by his money… (ALL laugh) MARY

Oh, are we making speeches? (Raises her glass) To Franklin Shepard, the producer. The man who has everything. And fat, drunk and finished, I would rather be me any day. (There is an awful SILENCE)

TERRY Look at the time. I’ve got to get to bed.

Page 22

Act I Scene 1 MARY (Bitchily, implyinghe’s gay) He’ll wait. GUSSIE

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Get out of here, drunk.

FRANK

Gussie!

GUSSIE

(To FRANK) Get that fat sot out of here.

FRANK (Having crossed to MARY; very quietly) Mary, may I take your glass? MARY (Very loudly) No, big shot. You may not take my glass!

(Pulling away, SHE falls down hard, knocking over the entire bar with a loud and awful CRASH. As the guests gasp, she struggles up from the floor, then falls again)

Oh no. Now I won’t be invited back.

(RU helps HER up and walks her UPSTAGE)

Listen, please — now don’t all feel you have to leave just because I’m leaving. (SHE trips and RU grabs her. She squirms away from him, and turns to face the room on the stair landing)

But first, attention. I said, (Shouting) ATTENTION!!

(The guests, shocked, stop and listen)

I have something I must say. You listening? You are all junk. (SHE turns to FRANK, pointing) And you — you deserve them.

Merrily We Roll Along

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(SHE turns, falls down once more, and EXITS crawling. RU follows her) TYLER

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(After a brief pause) Damn sad. TERRY

Isn’t she somebody?

DORY

No, she’s a critic.

#3B

Incidental

(On-stage piano)

JEROME

She wrote a best-seller once.

GUSSIE I would never have believed it. She’s finally out of Frank’s life. FRANK

And the loss is unbearable.

(As MEG, TYLER and SCOTTY have been helping clean up at the bar, MEG lets out a sudden scream, clutching her hand, which is bleeding) SCOTTY

What happened?

DORY She cut her hand on a piece of glass. MEG

It’s nothing. It’ll stop.

FRANK

(To the others) Meg’s cut her hand rather badly.

(GUSSIE moves away, next to TERRY) MEG

Honestly, it’s nothing.

Page 24

Act I Scene 1

FRANK Ru, somebody, go get something. Get some iodine. (RU EXITS)

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

TERRY (To GUSSIE) See, when you’re young and the star, how the slightest thing and you’re everybody’s focus. GUSSIE

Bitch.

(Crossing away)

MEG It’s stopping. I’m just going to let it air.

(MEG runs out. FRANK has an impulse to follow her, but sees GUSSIE and doesn’t. GUSSIE has caught the moment however, and her eyes connect with FRANK’S for a second before HE moves away)

SCOTTY (Too brightly, to FRANK and GUSSIE) You two certainly do know how to bring down a curtain. RU (ENTERING with the iodine) I’ve got the iodine. Where’s the patient?

FRANK She’s down at the foot of the lawn.

GUSSIE

Doing her fawn imitation.

RU (Starts to EXIT, but turns back to FRANK) Mr. Shepard? FRANK

(Distracted)

Frank. RU Before I go, I just want to know —

Merrily We Roll Along

Page 25

(Smiling) how do I get to be you?

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

FRANK The worst vice in the world is “advice,” so I don’t give any. (RU starts to EXIT)

Hey…

(RU stops, turns back) don’t just write what you know. (Points to his head) Write what you know. (Points to his heart) Now get out of here.

(RU EXITS. FRANK and GUSSIE stand alone. PIANO MUSIC continues underneath. GUESTS are visible inside, dancing and enjoying the party. FRANK turns to leave)

GUSSIE ‘The worst vice is ‘advice’?’ Did you get that off a tee-shirt, Frank? FRANK

I’m sorry, what’s wrong?

GUSSIE You and that little punchboard are what’s wrong.

FRANK Please, please don’t do this. We’ve got a party going on in there.

GUSSIE You may have betrayed me but you’re not going to humiliate me.

FRANK Gussie, when are you going to let it go? I never said you were too old for the part. The studio said you were too old for the part.

GUSSIE To think I divorced a husband who worshipped the ground I walked on to marry a pitiful excuse for a man like you.

Page 26

Act I Scene 1

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

FRANK (Sighs) I’ve made only one mistake in my life. But I made it over and over and over. That was saying ‘yes’ when I meant ‘no’. Forgive me. (HE turns U.S.) GUSSIE Don’t you dare walk away from me, mister.

FRANK All right. You want to know if it’s true? It’s true. But what you’d never understand is she is sensitive, she cares, she’s an inspiration. She is the raft that keeps me from drowning. (MUSIC ends and the GUESTS inside applaud. New MUSIC begins)

#3C

Incidental (“Good Thing Going”) (On-stage piano) GUSSIE

Pathetic. (SHE crosses D.R.) After all these years I have to hand it to Charley Kringas. That driven little runt was always the one smart enough to read your label. FRANK And I envy Charley Kringas every day of my life.

GUSSIE Oh, hilarious, this coming from a man whose work isn’t remembered by the time audiences reach the parking lot.

FRANK I swear, if I could go back to the beginning, if I could somehow be starting over with Charley, writing shows, trying to change the world, I’d give all this up like that. GUSSIE You’ve lied to yourself so long you probably believe that.

FRANK Do you really not see that I’m ashamed of all this? That I am as sick of myself as you are? That I just try to keep acting like it all matters. To not let people see how much I hate my life, how much I wish the God damn thing was over —

Merrily We Roll Along

Page 27

RU (ENTERING with a reluctant MEG) I found her running along the lawn, singing.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

FRANK (Recovering, handing RU the iodine) Oh sorry. Here.

RU (To MEG) Now stand still and let me put some iodine on that hand. JEROME (Entering U.C. with DORY) My significant other and I want to say good-night. MEG (Having the iodine applied by RU) Ow, ow!

GUSSIE (Crossing down to RU and MEG) Meg, my husband was just telling me that you’re the starry-eyed slut who keeps him from drowning. FRANK

Gussie, stop it!

GUSSIE Absolutely, Frank, I will stop it. But maybe she won’t be so starry-eyed now! (GUSSIE grabs the iodine from RU and throws it directly into MEG’S eyes. MEG screams, covering her face with her hands. The others rush to surround her; all of the following dialogue is simultaneous)

There’s my toast to you, Frank!

MEG

(Overlapping) My eyes! My eyes!

GUSSIE (Overlapping) And may you always get all that you deserve!

Page 28

Act I Scene 1 JEROME (Overlapping) Frank, call the hospital! Call the hospital and tell them there’s been a terrible accident!

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

MEG

(Overlapping) Oh, my God!

DORY (Overlapping) Tell them to send an ambulance here fast!

GUSSIE

(Overlapping) He was sleeping with her, Dory!

TYLER (Overlapping) We can’t wait for an ambulance, Frank. Put her in my car. RU (Overlapping) We need water, Mr. Shepard! Water and cloths! MEG

(Overlapping) Oh, please! Somebody help!

JEROME (Frantically, leading MEG out) Frank, the police must be notified at once! TYLER

(Overlapping) There’s a phone in the car, Frank.

JEROME Frank, Frank, hurry! We have to move!

GUSSIE (Following the exiting GUESTS, screaming at FRANK who stands there frozen) You said we were finished, Frank? Well, now we’re finished. You and her and me and every God damn thing is finished!

Merrily We Roll Along

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(EXITS) FRANK

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(Alone, turns, screams) WHYYYY??!! #4

Transition 1

(Company)

COMPANY (Variously) HOW DID YOU GET TO BE HERE? WHAT WAS THE MOMENT? HOW DID YOU GET TO BE HERE?

GROUP I DREAMS DON’T DIE, SO KEEP AN EYE ON YOUR DREAM, OR BEFORE YOU KNOW WHERE YOU ARE, THERE YOU ARE, ROADS MAY WIND AND YOU MAY FIND WHAT YOU’VE LEFT BEHIND IS YOUR DREAM. TEND YOUR DREAM… GROUP II HOW DOES IT HAPPEN?… GROUP I

DREAMS TAKE TIME…

GROUP II ONCE IT WAS ALL SO CLEAR. GROUP I

TIME GOES BY…

GROUP II HOW CAN YOU GET SO FAR OFF THE TRACK? WHY DON’T YOU TURN AROUND AND GO BACK? BEND YOUR DREAM… HOW DOES IT HAPPEN? WHERE IS THE MOMENT? WITH THE ROAD… WHEN DID THE ROAD BEHIND DISAPPEAR? WHERE DID YOU LET THINGS SLIP OUT OF GEAR?

Page 30

Act I Scene 1 ALL HOW DID YOU EVER GET TO BE HERE?…

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

SOLO NINETEEN SEVENTY-FIVE… SOLO NINETEEN SEVENTY-FOUR… SOLO NINETEEN SEVENTY-THREE...

END OF SCENE ONE

Merrily We Roll Along

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SCENE TWO

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(The slide reads: NBC STUDIO 1973. We are backstage at a TV news broadcast in progress. Far UPSTAGE a TV NEWSMAN and TV NEWSWOMAN sit behind a desk, reporting the evening news. A makeup area is DOWNSTAGE LEFT and an interview area is being set up on a platform STAGE RIGHT We get a sense of the general frantic floor activity of a live TV broadcast as a MAKE-UP ARTIST, FLOOR MONITOR (RU), and STAGE MANAGER and others are all bustling about. Gradually we hear the sound of Frank Sinatra singing “Good Thing Going” playing in the background and soon fading out)

TV NEWSWOMAN And that was Frank Sinatra singing “Good Thing Going” from the Broadway and film hit “Musical Husbands.” The composers of that show, Franklin Shepard and Charles Kringas, are here in our studio tonight and we’ll be meeting and talking with them. But first the news. Hal? TV NEWSMAN The lead-in story from tonight’s edition of “News From New York.” Today our nation is at long last celebrating the cease-fire in Vietnam. The tragic death toll there now having cost nearly forty-six thousand American lives. Judy? TV NEWSWOMAN On the local front — Mayor Abe Beame…

(Lights down and sound fades out as RU turns to direct the ENTERING MARY to the make–up area. This MARY is very happy, very excited)

MAKE-UP ARTIST (Holding up a hand mirror to CHARLEY KRINGAS, a bespectacled, easily agitated man seated in the make-up chair) Well, Mr. Kringas, what do you think? CHARLEY (Lowering mirror) I think my worst nightmare has come true. I look like Richard Nixon. MARY

Charley, Charley.

Page 32

Act I Scene 2 (MARY hugs him) CHARLEY Mary, do not speak to me.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(MARY removes her hands)

This whole goddamn thing is your fault. I don’t know why in Christ’s name I ever let you talk me into this humiliation. RU (ENTERING with beverage tray, handing MARY a drink) Here’s the drink you ordered, Miss Flynn. CHARLEY (Taking the drink from MARY) Mary, how thoughtful. MARY

Charley, c’mon, I need a drink.

CHARLEY One drink. What would you like? MARY

A bottle of vodka and a straw.

(CHARLEY hands MARY the drink. RU EXITS)

Where’s Frank? (Drinks)

CHARLEY Oh, Frank. Probably off signing to score another movie. Or closing a record deal… I can only tell you where Frank never is…that’s with me, working on our show.

MARY Well, when I called K.T. to set up this interview, I made it very clear that all you two guys were here to talk about was your next show and how long you both have been working on it. CHARLEY Grow up, Mary. Since Frank married Gussie, the only ‘working’ he knows is ‘working the room.’

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Page 33

MARY And just where did he learn that, Charley? Off on that goddamn yacht is where. And who was it who sent him off on that goddamn yacht, huh?

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

CHARLEY I say to hell with Frank. I’ve started a play all on my own. And if Frank doesn’t show up in the next thirty seconds, me, I am walking right out that door. (Looks at watch)

MARY Charley, I know Frank. If you connect with him again, if you commit the guy today publicly, I promise you, by tomorrow you two are going to be back together working again. You gotta help save him, Charley.

Old Friends –– Like It Was

(Mary, Charley)

(CHARLEY looks at watch: time’s up; HE gets up and starts to EXIT. MARY stops him with her hand as well as with the song’s first line, as MUSIC begins)

HEY, OLD FRIEND, WHAT DO YOU SAY, OLD FRIEND? MAKE IT OKAY, OLD FRIEND. GIVE THE OLD FRIENDSHIP A BREAK.

WHY SO GRIM? WE’RE GOING ON FOREVER. YOU, ME, HIM, TOO MANY LIVES ARE AT STAKE.

FRIENDS THIS LONG HAS TO MEAN SOMETHING’S STRONG, SO IF OUR OLD FRIEND’S WRONG, SHOULDN’T AN OLD FRIEND COME THROUGH? IT’S US, OLD FRIEND — WHAT’S TO DISCUSS, OLD FRIEND? HERE’S TO US, WHO’S LIKE US?

(She puts her pinkie finger up. After a beat, Charley links his pinkie to hers) CHARLEY

DAMN FEW.

Page 34

Act I Scene 2

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

MARY CHARLEY, WHY CAN’T IT BE LIKE IT WAS? I LIKED IT THE WAY THAT IT WAS, CHARLEY — YOU AND ME, WE WERE NICER THEN.

WE WERE NICE, KIDS AND CITIES AND TREES WERE NICE, EVERYTHING… I DON’T KNOW WHO WE ARE ANY MORE, AND I’M STARTING NOT TO CARE. LOOK AT US, CHARLEY, NOTHING’S THE WAY THAT IT WAS. I WANT IT THE WAY THAT IT WAS — HELP ME STOP REMEMBERING THEN.

DON’T YOU REMEMBER? IT WAS GOOD, IT WAS REALLY GOOD. HELP ME OUT, CHARLEY, MAKE IT LIKE IT WAS.

Come on. It was so much better, Charley. The three of us.

CHARLEY And you come on — we’re not the three of us any more, Mary. Now we’re one and one and one.

MARY

CHARLEY, NOTHING’S THE WAY THAT IT WAS. I WANT IT THE WAY THAT IT WAS. GOD KNOWS, THINGS WERE EASIER THEN. TROUBLE IS, CHARLEY, THAT’S WHAT EVERYONE DOES: BLAMES THE WAY IT IS ON THE WAY IT WAS — ON THE WAY IT NEVER EVER WAS. (MARY downs the drink)

CHARLEY Jesus, Mary. After all these years. You’re still in love with the guy.

Merrily We Roll Along

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MARY (Shrugs) You gotta help save me then, Charley. K.T.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(ENTERING D.R.) Charley? Frank? We’re on a commercial break, then it’s us. Follow me. CHARLEY

Frank isn’t here.

K.T. (Panicked) He isn’t here? Where the hell is Frank?

(FRANK, GUSSIE, JEROME, TERRY are all hurried in by RU and the MAKE-UP ARTIST. ALL hug. RU EXITS. TERRY and JEROME move U.S. and confer, whispering)

FRANK Frank is here. And Frank is sorry. But ever since Gussie and I got married, life is this series of meetings, meetings, meetings. (Crosses to CHARLEY, hugs him) Hey, pal. CHARLEY

Hey, pal. Long time, no see.

FRANK Oh, and I’ve missed you, buddy. And Mary. Oh, God, Mary. (Hugs MARY. Stands back to look) You look wonderful. Lost a little weight? MARY A hundred eighty pounds. He still calls, though.

K.T. Please, Frank, Frank — in the chair. And Charley, you come with me.

(As K.T. and CHARLEY cross to the interview area, FRANK sits in the make-up chair, and is made up)

GUSSIE (Stopping K.T.) K.T., I think I saw my ex-husband hovering around outside. Could you see to it that nobody is allowed in? He’s become the eternal sponge.

Page 36

Act I Scene 2 K.T. Got it. Charley, move, please — we gotta go…

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(CHARLEY and K.T. continue to interview platform; MAKE-UP EXITS with cart) RU Excuse me, Mrs. Shepard. I know this is inappropriate. But I wrote a filmscript, “Darkness Before Dawn,” that is so perfect for you. GUSSIE

It is inappropriate, give it to me.

(RU gives it to GUSSIE and crosses around platform to CHARLEY, hooking up his microphone)

I’ve accepted that if I don’t want people handing me scripts then I can never go out. Frank, did you tell Mary about closing the three–picture deal? MARY

Oh, no.

FRANK But, please let me be the one to tell Charley. I’m waiting to choose the exact moment. MARY

Oh, God.

GUSSIE I’ve explained to Frank, you compose a Broadway show you’re something in New York. But you produce a movie, you’re something all over the world. (K.T. scurries back to the make-up area) K.T.

Frank, we’re up. We got to move.

MARY

Oh, hell.

Merrily We Roll Along

Page 37

(They head for the interview area. GUSSIE turns to follow them when JOE JOSEPHSON, a seedy-looking man in his late 50’s, ENTERS D.L. During the following, we can see RU cross to K.T. and whisper in her ear)

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

JOE

Gussie?

(SHE turns)

Hi, Gussie.

GUSSIE

Oh, Joe.

JOE

You look great.

GUSSIE You caught me in the middle, Joe.

JOE I was just hoping maybe you could spare a hundred or so. GUSSIE

Joe, Joe. I — (Surrenders. Into purse. Hands him money) You can’t keep doing this to me, Joe. Now this is the last time.

JOE I’m lining up backers for my next play —

GUSSIE (Backing away) Excuse me, Joe. They’re waiting for me. I’m sorry.

(SHE turns and EXITS into the control room OFFSTAGE. JOE, after a beat shuffles off in another direction)

TV NEWSMAN And now our evening’s top news story: Today the Supreme Court made its final ruling legalizing abortion. The court stated, “Abortion should be a decision between a woman and her physician.” A longtime controversy now ended. Judy?

Page 38

Act I Scene 2 (We hear a few bars of Sinatra singing “Good Thing Going”; RU has been attaching Frank’s microphone)

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

TV NEWSMAN For those who have tuned in late, we are hearing Frank Sinatra singing the hit song by Franklin Shepard and Charles Kringas, our next guests, live from New York. (Lights up on the interview platform where FRANK, CHARLEY and K.T. have been chatting, laughing, having a reunion)

K.T. Oh, and Frank, I cannot thank you enough for this favor. FRANK Favor? After what you did for me during my divorce — ! CHARLEY

That’s why we’re here.

K.T.

Oh, and how’s your son?

FRANK

(Taking out wallet) Want to see a picture?

K.T. No. But do that on the air and I’ll coo and I’ll tear and I’ll carry on like a mad thing. People love cheap sentiment. And I understand congratulations are in order. I hear you’ve signed a three-picture deal to produce movies. (Mimes applauding FRANK) FRANK

(Uncomfortable) Where’d you hear that?

K.T. Oh, I have my spies. Now, don’t worry. I understand that I’m not supposed to bring it up on the air. CHARLEY (Containing rage) I think you weren’t supposed to bring it up in front of me. K.T. Oh? Oh.

Merrily We Roll Along

Page 39

FRANK Charley, I was waiting for the exact moment to tell you. But see, it doesn’t change our plan. It’s only two or three months at a time.

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CHARLEY (Overlapping) Frank, it’s always two or three months at a time. FRANK I haven’t even signed the contract yet.

CHARLEY (Overlapping) Do you know how long I’ve sat and waited for you to finish this project? K.T. (Overlapping) Guys, hold it for one second, can ya? (Looking at watch) We’re just about on —

FRANK Charley, I have a son to support. I have an ex-wife draining me. What happens if we finish this show, we get it on, and they say it’s no good?

CHARLEY Frank, I have four kids to support. And I don’t give a rat’s ass what “they” say. If I say it’s good. If you say it’s good. That’s what’s important. That’s all that’s important. K.T. (Overlapping) Okay, fellows, we’re just about to start.

CHARLEY He only knows it’s good if it makes a fucking fortune!

K.T. (The “On The Air” sign lights up. Quickly smiling into the camera) Hi. We’re back. And welcome to “Today in New York’s” Celebrity Spot. And here next to me we have two brilliantly talented people. The gentleman on my right is —

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Act I Scene 2 (A delay as FRANK, sitting smiling into the camera, is suddenly shocked to find K.T. is waiting for him)

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FRANK Oh. Uh — Franklin Shepard. I almost forgot. K.T. (Looking at, then pointing to Charley) And — ?

CHARLEY (Also frozen by the camera) And he is. Why should he lie. And I have no idea who I am.

FRANK This is my great friend and even greater collaborator, Charley Kringas.

K.T. They are the songwriters for “Musical Husbands,” both the show and the movie. They also wrote — (Hand over heart) “Sweet Sorrow”…and their newest collaboration will be called “Take A Left,” but more about that later. CHARLEY

Apparently much later.

K.T. (Throughout, K.T. directs all her questions to FRANK) And you recently married the star of those shows, Gussie Carnegie, did you not? FRANK

Yes, that’s correct.

CHARLEY

(Feeling left out) And I’m married to Evelyn.

K.T. Now all of Broadway says you two are the next Rodgers and Hammerstein, Lerner and Loewe — CHARLEY — Irving and Berlin.

Merrily We Roll Along

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K.T. Let’s start at the beginning. You’re both from Chicago and you both went to the same school and the same college.

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CHARLEY No. Me, Columbia. Him, Julliard.

K.T. So your entire life you’ve been very, very close friends? CHARLEY

Until today.

FRANK Like all partners we have had fights and other commitments, but the magic is only there when it’s me and Charley. Charley and me. K.T.

(To camera) I love it. (To FRANK) Now, how do you two work together?

Franklin Shepard, Inc.

(Charley)

CHARLEY

Oh, may I answer that?

K.T.

Please.

CHARLEY

How do we work together? Sure.

HE GOES — (HE mimes an arpeggio on an imaginary piano) AND I GO — (Mimics typing, the clicking keys sounding in the orchestra) AND SOON WE’RE HUMMING ALONG — HMMM-HMMM-HMMM — AND THAT’S CALLED WRITING A SONG — HMMM-HMMM-HMMM — THEN HE GOES — (On the “piano”) AND I GO —

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Act I Scene 2

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(On the “typewriter”) AND THE PHONE GOES DRRRRRING! AND HE GOES — (Mimicking FRANK’S intense business calls into an imaginary phone) “MUTTER MUTTER MUTTER MUTTER, YES, JEROME, MUTTER NO, JEROME, MUTTER MUTTER MUTTER MUTTER”— (To K.T.) THAT’S HIS LAWYER, JEROME — (Back into the “phone”) “MUTTER MUTTER MUTTER MUTTER MUTTER DO IT, JEROME…” (Hangs up “phone”) — CLICK — “SORRY, CHARLEY —” (Arpeggio on “piano”) SO I GO — (On the “typewriter”) AND SOON WE’RE TAPPING AWAY — HMMM-HMMM-HMMM — (Mimicking an intercom) BZZZ! “SORRY, CHARLEY.” BZZZ! (To K.T.) IT’S THE SECRETARY — BZZZ! ON THE INTERCOM… (As FRANK) “YES, MISS BZZZ…” (Nasal, as the Secretary) “IT’S A MESSENGER.” (As FRANK) “THANKS, MISS BZZZ, WILL YOU TELL HIM TO WAIT? WILL YOU ORDER THE CAR? WILL YOU CALL UP THE BANK? WILL YOU WIRE THE COAST? WILL YOU —” DRRRRING! “SORRY, CHARLEY…” (Into “phone” again) MUTTER MUTTER MUTTER MUTTER SELL THE STOCK MUTTER BUY THE RIGHTS MUTTER MUTTER MUTTER MUTTER MUTTER —” BZZZ!

Merrily We Roll Along

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(Into “phone”) “LET ME PUT YOU ON ‘HOLD’…” BZZZ! “YES, MISS BZZZ…” “IT’S THE INTERVIEW…” “THANKS, MISS BZZZ, WILL YOU TELL HIM TO WAIT? WILL YOU WIRE THE CAR? WILL YOU ORDER THE COAST? WILL YOU SEND UP THE BANK?…”

AND THE TELEPHONES BLINK AND THE STOCKS GET SOLD AND THE REST OF US HE KEEPS ON “HOLD”. AND HE’S INTO MAKING MOVIES. AND HE’S NOW A CORPORATION. RIGHT? SO I PLAY AT HOME WITH MY WIFE AND KIDS AND I WAIT TO HEAR THE MOVIE BIDS. AND I’VE GOT A LITTLE SAILBOAT. AND I’M INTO MEDITATION. RIGHT?

HE FLIES OFF TO CALIFORNIA. I DISCUSS HIM WITH MY SHRINK. THAT’S THE STORY OF THE WAY WE WORK, ME AND FRANKLIN SHEPARD, INC. (HE laughs)

I’m surprised at how much I like this. I promise to be honest. If you promise to handle the lawsuit.

K.T. (Uncomfortable, turns quickly to FRANK) Now, when you do work together, I’ve always been curious, which generally comes first — the words or the music? CHARLEY

(Glancing at FRANK) Generally, the contract.

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Act I Scene 2

K.T. (To CHARLEY) Oh, that sounds like you think making money is a bad thing for an artist. CHARLEY

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MONEY? (Arpeggio in orchestra) DID I SAY MONEY? (Arpeggio again; music resumes) NO, I LIKE MONEY A LOT — HMMM-HMMM-HMMM — I MEAN IT’S BETTER THAN NOT — HMMM-HMMM-HMMM — BUT WHEN IT’S — (Grunts like a pig and starts grabbing imaginary money) MONEY — (Grunt, grunt) MONEY — (Snorts, gathering money like a manic, drooling octopus) WHEN YOU’RE INTO — (Snort) MONEY — (Lightly) AND YOU SHOULD BE… (Plays an imaginary arpeggio, then gestures to FRANK; MUSIC continues under)

Listen, Frank does the money thing very well. But you know what? There are other people who do it better. And Frank does the music thing very well. And you know what? No one does it better. STILL THE TELEPHONES BLINK AND THE BUZZERS BUZZ AND I REALLY DON’T KNOW WHAT HE DOES, BUT HE MAKES A TON OF MONEY, AND A LOT OF IT FOR ME. RIGHT? SO I THINK “OKAY” AND I START A PLAY AND HE SOMEHOW KNOWS, ’CAUSE RIGHT AWAY IT’S DRRRRING! (Into “phone” again, as FRANK) “HIYA, BUDDY,

Merrily We Roll Along

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N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

WANNA WRITE A SHOW? GOT A GREAT IDEA, WE’LL OWN ALL THE RIGHTS WITH A TWO-WEEK OUT AND A TURNAROUND ON THE GUARANTEE PLUS A GROSS PERCENT OF THE BILLING CLAUSE —”

AND THERE I AM IN CALIFORNIA, TALKING DEALS AND TURNING PINK, BACK IN BUSINESS, AND I MEAN JUST THAT, BACK WITH FRANKLIN SHEPARD, INC.

VERY SNEAKY HOW IT HAPPENS, MUCH MORE SNEAKY THAN YOU THINK. START WITH NOTHING BUT A SONG TO SING, NEXT YOU’RE FRANKLIN SHEPARD — (MUSIC suddenly stops)

Wait, one second, wait. I’m getting in too deep here. K.T. (Very anxious to change the subject) Franklin, let me ask you —

CHARLEY (Interrupting, stopping her) See, Frank and I are not that kind of close. The way we used to be. K.T.

Now, Frank —

CHARLEY (Interrupting her again) And friendship is like a… garden. You have to water it and tend it and care about it. And you know what? I miss it and I want it back. Look — (MUSIC resumes quietly) NOTHING PERMANENT HAS HAPPENED, JUST A TEMPORARY KINK. FRIENDSHIP’S SOMETHING YOU DON’T REALLY LOSE… (MUSIC stops again; to camera)

Page 46

Act I Scene 2 Ladies and gentlemen, don’t let me lose the greatest composer any lyricist ever had. Phone him, write him, stop him on the street. You’ll recognize him. He’s the one going through his checkbook —

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(FRANK gets up to leave, but is stopped both by K.T. and his attached microphone)

— and tell that man to get back to his piano.

(MUSIC resumes quietly again, but growing gradually louder and more frantic)

VERY SNEAKY HOW IT HAPPENS, EVERY DAY YOU’RE ON THE BRINK. FIRST THE PRIZES, THEN THE INTERVIEWS… (Looking around, realizing where HE is; in mock astonishment to cover his embarrassment)

OH MY GOD, I THINK IT’S HAPPENED! STOP ME QUICK BEFORE I SINK. ONE MORE TRIUMPH THAT I CAN’T REFUSE — (To camera again) In case you didn’t notice, this is my first time on TV. And my last!

NO, HERE’S THE POINT, WHATEVER HAPPENS, THEN WE’LL ALL GO HAVE A DRINK — (Gestures in FRANK'S direction) THAT’S THE GUY I LOVE, THE FELLA WHO’S INSIDE (Into “phone”) “MUTTER MUTTER MUTTER MUTTER QUICK, JEROME, GET THE PRESIDENT, THERE’S A CRAZY MAN ON MY TV SCREEN…” INSIDE — BZZZ! BZZZ! DRRRING! — INSIDE FRANKLIN SHEPARD — (To camera) Just write him care of Any Bank, U.S.A. — INC.! K.T. Now let’s take a commercial break. (“On The Air” sign goes out) Oh thanks, guys. Jesus Christ.

Merrily We Roll Along

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(SHE EXITS) FRANK That was a real slaughter, Charley. Congratulations.

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CHARLEY

Frank —

FRANK Oh, I think you said enough. I know for years you’ve been attacking me and constantly putting me in the position of having to defend myself. But that — see, I don’t know why anyone would want to so humiliate and betray the guy who is his oldest friend in the world like that. But I do know you’re never going to have the opportunity to do it again. You’re goddamn out of my life, Charley. CHARLEY

I’m sorry —

FRANK You’re sorry! After you publicly mock and ridicule and belittle me when, man, I swear I would lay down my life for you. CHARLEY

If you’d just let me —

FRANK Shut up! Charley, all these years I have loved you no matter what you did, but I guess because I don’t live my life like you or the way you’d like me to, you had to shoot me down and watch me bleed. Well, I like my life, so please you just get the hell out of it. (Starts to leave) MARY (ENTERING quickly, stopping FRANK) Guys, hey. What do you say the three of us go out for a humongous drink and talk? We need to talk. GUSSIE (ENTERING with JEROME and TERRY) Oh, Frank, Frank. Are you all right? CHARLEY Frank, can we go talk?

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Act I Scene 2

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FRANK (To the others, ignoring CHARLEY, fighting for control, really hurt) You know, there is this tribe in Africa that when one of its members does something cruel or evil, or betrays them, they never see him again. They simply — just never see him. They never talk to him, or look at him, or acknowledge him in any way. For them, he is dead. Absolutely and irrevocably dead. (Starts to walk away) CHARLEY (A hand on FRANK’S shoulder, to stop him) Frank? Let me explain what —

(FRANK stops and shrugs the hand off, then without turning around continues to walk away. CHARLEY talks as he grabs FRANK’S arm)

Can I explain what all that came out of?

(FRANK swings around, shoving CHARLEY, sending him sprawling to the floor. CHARLEY gets up and lunges at FRANK)

MARY (As the TWO MEN go at each other, until finally separated and backed OFFSTAGE by the OTHERS) Frank! Charley! Stop it! Charley, Frank! No!! No!! No!!

(FRANK EXITS first, after which CHARLEY is let go. HE stands brushing his clothes, finally turns and bows to MARY with arms outstretched, indicating ‘satisfied?’ then turns and EXITS opposite side of stage. After a despairing pause, MARY EXITS)

#6A

Transition 2

(Company)

COMPANY (Variously) SOME ROADS ARE SOFT AND SOME ARE BUMPY, SOME ROADS YOU REALLY FLY. SOME RIDES ARE ROUGH AND LEAVE YOU JUMPY, WHY MAKE IT TOUGH BY GETTING GRUMPY? PLENTY OF ROADS TO TRY. SOLO NINETEEN SEVENTY-TWO…

Merrily We Roll Along

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SOLO NINETEEN SEVENTY-ONE… GROUP I

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ONE TRIP. ALL YOU GET IS ONE QUICK RIDE. LOOK AROUND A BIT — ONE QUICK RIDE THROUGH THE COUNTRYSIDE. STAY ON THE TRACK.

GROUP II SOME ROADS ARE SOFT AND SOME ARE BUMPY. SOME ROADS YOU REALLY FLY. SOME ROADS ARE ROUGH AND LEAVE YOU JUMPY. WHY MAKE IT TOUGH BY GETTING GRUMPY? PLENTY OF ROADS TO TRY…

SOLO

NINETEEN SEVENTY…

GROUP SOME ROADS YOU REALLY FLY… SOLO

NINETEEN SIXTY-NINE…

ALL HOW DOES IT START TO GO, DOES IT SLIP AWAY SLOW SO YOU NEVER EVEN NOTICE IT’S HAPPENING? NINETEEN SIXTY-EIGHT…

END OF SCENE TWO

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Act I Scene 3 SCENE THREE (Slide: 1968.

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(A gorgeous, ultra-modern, split-level apartment on Central Park West with a fabulous New York view in the background. One UPSTAGE door leads to the front hall, another to the bedroom hallway. A door STAGE LEFT leads to the kitchen.

FRANK is talking on the phone, open suitcases and trunks, souvenirs, crates on the floor next to him. As the LIGHTS come up, we see that he is dressed in a shirt and shorts)

FRANK (Into phone hurriedly) You say ‘she is not there’? Is she expected back? (Doorbell rings)

You don’t expect — I’m sorry, my front doorbell is ringing. (Covers the phone and calls) The door is open. (Into phone) One more time, please. You don’t expect her back until — ? (Listening) — until after the theatre?

(A nine-year old FRANK JR. ENTERS from the front hall)

No. No message. Wait, yes, would you tell her —

FRANK JR.

(Doing vaudeville pose)

Ta-da!

(FRANK now sees his son, immediately hangs up, runs to him, gets down on his knees, hugging and kissing him. As HE talks, he lifts him up, with FRANK JR. wrapping his arms and legs around his father; throughout the following scene, FRANK holds, touches and strokes his son lovingly whenever possible)

Frankie, oh my Frankie! My God! I don’t believe my eyes. Oh, did your daddy miss you! And look at how big you got! Give Daddy a love. Bigger. Bigger. Bigger. FRANK JR. (As FRANK hugs him) Daddy, we saw your boat. But we didn’t see you.

Merrily We Roll Along

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(MARY and CHARLEY ENTER, posing like a vaudeville team) MARY, CHARLEY

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Ta-da! (THEY run over to FRANK. All three scream, kiss, laugh and lock in a three-way hug, huddling and jumping up and down together)

CHARLEY What’s amazing is that we’re not all still waiting at that dock to surprise you. ‘Was our face red.’ FRANK First class doesn’t get off at the dock. We had this big ramp at the prow and a Captain who leads you right into your limousine. CHARLEY Oh, of course. Silly us. Now you should have known that, Mary. (Both are staring at FRANK’S pantless legs)

FRANK (To FRANK JR.) Why didn’t you tell me I have no pants on? (Starts a search for his pants)

CHARLEY We got Beth to send Frankie from Houston.

FRANK JR. Daddy, I have the thirty-two postcards all over my wall. My favorites are the alligator and the Panama Canal. CHARLEY (Opens one of the trunks and looks deep into it, the lid concealing him from both FRANK JR. and us) Oh look, he brought Frankie an alligator back. What a nice little —

(HE begins to scream and resist an imaginary alligator which attacks him repeatedly, each time pulling him deeper and deeper into the trunk. The others laugh as he finally disappears completely into the trunk)

FRANK (As CHARLEY flings FRANK’S pants out of the trunk) Oh thanks, Uncle Charley.

Page 52

Act I Scene 3 (Putting on pants) That’s bound to give someone here real nice dreams.

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MARY Start with the trip, and then I want a Sherpa guide to show me this gargantuan apartment.

FRANK Well, I owe it all to you guys for making me go. I didn’t do anything that wasn’t rich. Rich living, rich food, rich people.

CHARLEY Well, poor Evelyn, my poor wife, who never comes in from our poor house in the poor country, poor thing, is dropping off our four poor children at her poor mother’s… FRANK

Got it, Charley.

CHARLEY … where they’re expecting Frankie, and then… then Evelyn is meeting the three of us at — MARY

(To CHARLEY) Wait, wait, wait! (To FRANK) Where? Where? You’ll never guess where?

FRANK

The Downtown Club.

MARY

(Disappointed) Charley!

(CHARLEY points to himself; he’s innocent)

FRANK Let me think. A smoky, dingy Greenwich Village dive or the homecoming party at the Colony Club? Hmm. What a choice! CHARLEY Oh Frank, sorry. You must give me a list of what’s ‘in’ and what’s ‘out.’ You know how important all of that is to me.

Merrily We Roll Along

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FRANK Oh, wait. Wait, wait, wait. (FRANK takes out wrapped book and manila envelope from trunk) Presents. I forgot presents. (To FRANK JR. — handing him gifts) This is for Aunt Mary and that’s for Uncle Charley. (As FRANK JR. distributes them)

Oh. son, about forty of yours are right now up in the air between Gibraltar and Texas. But, trust me, they are absolutely worth the wait. MARY (Having unwrapped her gift) It’s my book. In Spanish.

FRANK I bought it in Valparaiso, Chile, where there it was in all these store windows.

CHARLEY (Taking his gift from FRANK JR. and opening it) Oh, Mary, tell Frank the story of how success has affected you. Okay, I’ll start. Mary has joined the enemy. MARY

Charley!

MARY Charley, shut your mouth and open your present.

CHARLEY (To FRANK JR.) Frankie, tell Aunt Mary how many kids in your class say, “When I grow up I want to be a drama critic.”

CHARLEY

I did.

MARY

What is it?

CHARLEY (To FRANK) What is it?

Page 54

Act I Scene 3

FRANK It’s an option agreement. We have been offered a small fortune to do a movie version of “Musical Husbands.”

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CHARLEY (Sits on the trunk) Frankie, take this over to Daddy and say very clearly, “There isn’t enough money in the universe…” (FRANK JR. crosses to CHARLEY who hands him the envelope)

FRANK You’re welcome, Charley. I appreciate the gratitude. Thanks very much. FRANK JR. (Arriving at FRANK, handing him the envelope) ‘There isn’t enough money in the universe…’

FRANK (Interrupting) Sweetheart, you want to put that on the bed for Uncle Charley?

(FRANK JR. EXITS towards the bedroom with the envelope)

MARY (Following FRANK JR. with the flight bag) And you gotta brush your teeth, wash your face, get out your pajamas… whatever the hell kids do. (EXITS) FRANK (Loud) Charley, I am thirty-one years old. Beth wiped me out with the divorce. I’ve got a son to consider. So forgive me, Charley, if I happen to need money.

CHARLEY (Louder) Then let’s us do the work and the money will come. Frank, we cannot keep making our stuff the other thing we do! MARY (Appearing at the bedroom door, holding the boy’s pajamas, quieting them, indicating FRANK JR. OFFSTAGE) Shhhh. Guys! Not now!

Merrily We Roll Along

Page 55

(She disappears into the bedroom hallway) FRANK Charley, I am telling you we can make a statement with this movie.

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CHARLEY Nurse! Doctor! Guard! Attendant! Matron! Anybody! Help! FRANK

Trust me!

CHARLEY

No, you trust me!

FRANK

Charley, listen —

CHARLEY Frank, Frank, you listen. You listening? No, no, no! Never, ever, no!!

Old Friends

(Mary, Frank, Charley)

MARY (RE-ENTERS to the shouting, loudly calls out) HEY!!

(MUSIC; THEY turn to MARY as she quietly, charmingly, pointedly, lifts her pinky finger)

HERE’S TO US —

FRANK (After a beat, raising his pinky) WHO’S LIKE US?

CHARLEY (Grudging pause, then raises his pinky) DAMN FEW.

FRANK (Intimate and warm, to CHARLEY) HEY, OLD FRIEND ARE YOU OKAY, OLD FRIEND? WHAT DO YOU SAY, OLD FRIEND, ARE WE OR ARE WE UNIQUE?

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Act I Scene 3

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TIME GOES BY, EVERYTHING ELSE KEEPS CHANGING. YOU AND I, WE GET CONTINUED NEXT WEEK. MOST FRIENDS FADE OR THEY DON’T MAKE THE GRADE. NEW ONES ARE QUICKLY MADE AND IN A PINCH, SURE, THEY’LL DO. BUT US, OLD FRIEND, WHAT’S TO DISCUSS, OLD FRIEND? HERE’S TO US — WHO’S LIKE US? DAMN FEW! CHARLEY

(Softening) SO, OLD FRIEND, FILL ME IN SLOW, OLD FRIEND. START FROM HELLO, OLD FRIEND — I WANT THE WHEN, WHERE AND HOW. (Including MARY) OLD FRIENDS DO TEND TO BECOME OLD HABIT — NEVER KNEW HOW MUCH I MISSED YOU TILL NOW.

ALL THREE MOST FRIENDS FADE OR THEY DON’T MAKE THE GRADE, NEW ONES ARE QUICKLY MADE, SOME OF THEM WORTH SOMETHING, TOO. BUT US, OLD FRIENDS — WHAT’S TO DISCUSS, OLD FRIENDS? FRANK TELL YOU SOMETHING: GOOD FRIENDS POINT OUT YOUR LIES, WHEREAS OLD FRIENDS LIVE AND LET LIVE.

MARY GOOD FRIENDS LIKE AND ADVISE, WHEREAS OLD FRIENDS LOVE AND FORGIVE.

Merrily We Roll Along

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FRANK AND OLD FRIENDS LET YOU GO YOUR OWN WAY —

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CHARLEY (Pointedly, but pleasantly) HELP YOU FIND YOUR OWN WAY —

MARY (To CHARLEY) LET YOU OFF WHEN YOU’RE WRONG — FRANK

IF YOU’RE WRONG —

CHARLEY WHEN YOU’RE WRONG —

MARY (Hastily) RIGHT OR WRONG, THE POINT IS: OLD FRIENDS SHOULDN’T CARE IF YOU’RE WRONG — FRANK SHOULD, BUT NOT FOR TOO LONG — CHARLEY

(Edgily) WHAT’S TOO LONG?

FRANK

IF YOU’RE WRONG —

CHARLEY WHEN YOU’RE WRONG —

MARY (Quickly) THE THING IS: OLD FRIENDS DO LEAVE THEIR BRANDS ON YOU, BUT OLD FRIENDS SHOULDN’T COMPETE.

FRANK OLD FRIENDS DON’T MAKE DEMANDS ON YOU —

Page 58

Act I Scene 3 CHARLEY SHOULD MAKE DEMANDS ON YOU —

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

FRANK WELL, DON’T MAKE DEMANDS YOU CAN’T MEET. CHARLEY WELL, WHAT’S THE POINT OF DEMANDS YOU CAN MEET?

MARY WELL, THERE’S A TIME FOR DEMANDS, WHETHER YOU MEET THEM OR NOT… (These next lines are delivered loudly and simultaneously as music continues under)

MARY Guys, fellas, boys, buddies, c’mon. You gotta talk to each other, not over, not around, not through each other. To each other, understand?

CHARLEY You are never wrong. Never. The last time you admitted you were wrong was one cold Tuesday back in Chicago in December 1954… FRANK If you were right, I would be the first to admit it. But with you, there is no other side. There’s only your way and the wrong way.

ALL THREE

HEY, OLD FRIENDS, HOW DO WE STAY OLD FRIENDS? WHO IS TO SAY, OLD FRIENDS, HOW AN OLD FRIENDSHIP SURVIVES? ONE DAY CHUMS HAVING A LAUGH A MINUTE, ONE DAY COMES AND THEY’RE A PART OF YOUR LIVES.

NEW FRIENDS POUR THROUGH THE REVOLVING DOOR — MAYBE THERE’S ONE THAT’S MORE, IF YOU FIND ONE, THAT’LL DO. BUT US, OLD FRIENDS — WHAT’S TO DISCUSS, OLD FRIENDS? —

Merrily We Roll Along

Page 59

HERE’S TO US! WHO’S LIKE US?…

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

TWO OLD FRIENDS, FEWER WON’T DO, OLD FRIENDS — GOTTA HAVE TWO OLD FRIENDS HELPING YOU BALANCE ALONG: FRANK ONE UPBRAIDS YOU FOR YOUR FAULTS AND FANCIES, MARY

ONE PERSUADES YOU

CHARLEY THAT THE OTHER ONE’S

ALL THREE

WRONG.

MOST FRIENDS FADE OR THEY DON’T MAKE THE GRADE, NEW ONES ARE QUICKLY MADE, PERFECT AS LONG AS THEY’RE NEW.

BUT US, OLD FRIENDS — WHAT’S TO DISCUSS, OLD FRIENDS? — HERE’S TO US! WHO’S LIKE US? (In elaborate harmony obviously practiced over the years) DAMN FEW!

GUSSIE (ENTERING with JOE) Oh, anguish, I hate it when I’ve missed everything. JOE

The wife here, she misses nothing.

GUSSIE I had no idea the gang would be dropping in. My understudy’s been going on the last few weeks and Joe insisted, as a courtesy, I must see her. But first I insisted that Joe must see Frank’s new apartment. Have you ever seen that disaster he was living in?

Page 60

Act I Scene 3 MARY I decorated it.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

GUSSIE I am calling the Surgeon General tomorrow to have him cut out my tongue. MARY (To herself, as she turns crossing away) Promises.

GUSSIE (Going brightly to CHARLEY) Look, Joe. It’s Charles. Now we can call the night a success.

CHARLEY Hi, Gussie. I didn’t hear a doorbell.

GUSSIE I bet that’s because I didn’t ring one. I never do when I have keys. I’m decorating this pad. The price was right. Free. Here. (SHE moves to each one, giving them each a different color swatch from her large bag) I picture all the furniture in here the hues of anemones. See… (Crosses to CHARLEY and gives swatch) a chair, (Crosses to FRANK and gives swatch) a chair, (Crosses to JOE and gives swatch) a footstool, (Crosses to MARY and gives swatch) and a sofa. (MARY frowns) Oh, I should have a brain transplant. I forgot we bought this teeny, tiny, housewarming nothing. Some awesomely expensive Champagne. I’ll open it. (Slight pause) “Do.” (Slighter pause) All right, I will. MARY

Let me go check inside.

CHARLEY Always nice to see you, Joe. And your wife.

Merrily We Roll Along

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(MARY and CHARLEY EXIT to the bedroom hallway)

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

GUSSIE Joe, precious, there are glasses in the kitchen. And it’s Frank’s house, so he can do the honors. (Hands FRANK the Champagne) Mushi-mushi, darling. We have a curtain to make! JOE Home one day and already she’s ordering me around. (JOE EXITS into the kitchen) GUSSIE

How nice to see the old gang.

(THEY stand far apart, both facing front. GUSSIE lowers her voice, takes out her compact and repairs her make-up; FRANK begins to open the Champagne as they talk)

Can they see us?

FRANK

Yes.

GUSSIE I didn’t even unpack. I made up my mind. I’m leaving Joe.

FRANK (Stops opening the Champagne) He’ll be destroyed.

GUSSIE Or I will be. I’ll call you when I arrive at the theatre. FRANK

I’m supposed to go out.

GUSSIE Oh, please, please, you’ve got to wait for my call. FRANK

Gussie — GUSSIE I’m desperate.

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Act I Scene 3 FRANK (A pause. Then) I’ll wait for your call. GUSSIE

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Consider yourself kissed.

(MARY, CHARLEY, and JOE RE-ENTER)

JOE You got this guy everything anyone could ever want in a kitchen except for glasses. FRANK Here, I’ll get them. They’re still packed. (HE EXITS, handing the Champagne bottle to JOE)

GUSSIE (Still looking in her compact) Oh, eek, look at me. That means ‘don’t.’ I’m going to the little boy’s room to repair. (GUSSIE EXITS) JOE

It’s real first-class Champagne.

MARY

I don’t drink.

JOE

What, never?

MARY Well, hardly ever. I am a very excessive personality. Too much coffee, too much cigarettes, too much food… CHARLEY

Too much Frank.

(MARY turns away)

JOE Is Frank the only person in the world who doesn’t know you’re in love with him? (MARY raises a hand for him to stop. JOE then points in the direction of FRANK and GUSSIE) And how many people know about those two?

Merrily We Roll Along

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CHARLEY (After exchanging a shocked glance with MARY) Oh, there must be one or two — who don’t.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

JOE I decided not to know. She’s now Broadway’s hottest star and the guy he’s hot, too… obviously in more than one sense. I say let ’em get it out of their systems. As long as, please God, she don’t leave me. MARY I think Frank’s being gone the last eight months put an end to it. JOE (Opens Champagne bottle) Gussie flew over and joined the cruise, you know. CHARLEY

What?

MARY We had no idea Gussie was on the cruise.

GUSSIE (RE-ENTERING) It will never cease to amaze me how everyone in this town knows everything I do. It was only for the last two weeks.

FRANK (ENTERS with tray of glasses, hands it to GUSSIE) Okay. Pretend these are Champagne glasses. (JOE fills the glasses)

GUSSIE (Passing the tray) You’ve got yours. Now, Charley. Just one, Joe. Mary? MARY

No, thank you.

GUSSIE Oh, that’s right, you never do. Well, more for us. (Raises her glass in a toast to FRANK) To our genius.

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Act I Scene 3

JOE (Steps forward) Thank you. It’s always nice to be appreciated.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(THEY drink) Okay, Gus, curtain, curtain, we got a curtain.

GUSSIE Oh, pooh. But one minute late, God, every column. JOE

So, Frank? We see you after?

MARY

Frank’s coming with us.

GUSSIE

Oh?

FRANK Actually what I should do is stay here and get organized. MARY

You’re kidding, aren’t you?

GUSSIE Oh, Mary, now let’s all let Franklin get himself settled in. Goodnight, Mr. All-WorkAnd-No-Play. And everybody’s favorite, Charley.

JOE

Don’t you guys stay strangers now.

(GUSSIE and JOE EXIT to the front hallway) CHARLEY

Goodnight. (Goes OFF to the bedroom)

MARY

You’re really not coming?

FRANK Mary, I can’t leave. Not right now. Just accept that, will you?

Merrily We Roll Along

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MARY Please, Frank. Please.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(FRANK shakes his head ‘no.’ A moment, then MARY picks up the Champagne bottle) Here’s to us. (MARRY drinks from the bottle)

FRANK

Mary!

MARY (Calls to CHARLEY) Okay, Charley, let’s drop Frankie off and go have ourselves one hell of a time. (MARY carrying the Champagne bottle, EXITS. CHARLEY ENTERS, carrying an overnight bag over his shoulder, a little boy’s coat and the sleeping FRANK JR.)

CHARLEY I’ll be down in a minute. (Putting FRANK JR. on piano) Get rid of Gussie, Frank.

FRANK (Putting the coat on the sleeping FRANK JR.) Gussie’s none of your business, Charley.

CHARLEY But you are. Get rid of this pathetic life.

FRANK Charley, I love success. I love having two out of two shows hit. Moving up in the world. (A pause. Then) I need some time to think.

CHARLEY Then begin by thinking about joining Mary and me tonight. Frank, there’s something going on with Mary. She hasn’t written one word since her book took off. Frank, she needs us. She needs both of us. FRANK (Laying his head on his son’s head, being close) I made a promise I’d wait for a phone call. I have to. I promised.

Page 66

Act I Scene 3 CHARLEY Wait for her phone call and get out of it once and for all. Then meet us. FRANK

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I’ll be there. CHARLEY

You know, I love you.

FRANK

I love you.

CHARLEY

I missed you.

FRANK

I missed you.

CHARLEY And I want us to get back working together.

FRANK Get out of here before the both of us start wailing.

CHARLEY (CHARLEY raises FRANK JR.’S arm, operating it up and down like a puppet and doing a ventriloquist’s voice) “Goodnight, pop. And listen to Uncle Charley because he’s never wrong.” (CHARLEY hits a bass note on the piano and EXITS, carrying FRANK JR.)

FRANK (Crosses to the piano and answers CHARLEY’S notes, then goes up to the front hallway) I’ll see you in just a little bit. (Shouting to the departing CHARLEY) I miss him already.

Merrily We Roll Along #7A

Growing Up –– Part 1

Page 67

(Frank)

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(FRANK returns DOWNSTAGE, passing the piano and stops to close the lid, idly noodling an arpeggio on it. HE pauses, sits on the bench and continues noodling. Soon the noodling becomes the vamp for “Good Thing Going”)

FRANK THANKS, OLD FRIENDS… KEEP REMINDING ME… FRANK’S OLD FRIENDS ALWAYS SEEM TO COME THROUGH. FRANK WILL, TOO... (Orchestra enters) SO, OLD FRIENDS, NOW IT’S TIME TO START GROWING UP, TAKING CHARGE, SEEING THINGS AS THEY ARE. FACING FACTS, NOT ESCAPING THEM, STILL WITH DREAMS, JUST RESHAPING THEM. GROWING UP. (Hits a dissonance with both hands. Fondly) CHARLEY IS A HOTHEAD, CHARLEY WON’T BUDGE. CHARLEY IS A FRIEND.

CHARLEY IS A SCREAMER, CHARLEY WON’T BEND. CHARLEY’S IN YOUR CORNER. MARY IS A DREAMER, MARY’S A FRIEND. MARY IS A NUDGE.

MARY IS A PURIST, CHARLEY’S A JUDGE. CHARLEY IS A DROPOUT, EVERYTHING’S A “COP-OUT.” WHY IS IT OLD FRIENDS DON’T WANT OLD FRIENDS TO CHANGE? EVERY ROAD HAS A TURNING, THAT’S THE WAY YOU KEEP LEARNING:

Page 68

Act I Scene 3 (Noodles with one hand)

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

SO, OLD FRIENDS, DON’T YOU SEE WE CAN HAVE IT ALL, MOVING ON, GETTING OUT OF THE PAST? SOLVING DREAMS, NOT JUST TRUSTING THEM, TAKING DREAMS, READJUSTING THEM, GROWING UP, GROWING UP.

TRYING THINGS, BEING FLEXIBLE, BENDING WITH THE ROAD, ADDING DREAMS WHEN THE OTHERS DON’T LAST. GROWING UP, UNDERSTANDING THAT GROWING NEVER ENDS. LIKE OLD DREAMS — SOME OLD DREAMS — LIKE OLD FRIENDS.

(HE continues to play for a moment, then becomes aware of GUSSIE standing at the doorway. He stops playing) GUSSIE

Don’t stop.

FRANK

I thought you were going to call.

GUSSIE I said I had a headache and had the car bring me back here.

FRANK I have plans, Gussie. I’m going to meet Mary and Charley. And there is something I have to say to you. I think it’s — GUSSIE (Interrupting) Frank, I did it. I sent the driver back to take my things to a hotel.

Merrily We Roll Along

Page 69

FRANK Gussie, don’t. No. You can’t do that! We’ve already destroyed one marriage. I could never live with you leaving Joe for me. GUSSIE

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I’m leaving him for me.

FRANK But why? Why suddenly? Why tonight?

GUSSIE

I saw tonight I could lose you.

FRANK

My friends are waiting.

#7B

Growing Up –– Part 2

(Gussie)

GUSSIE Your friends will be there for you tomorrow. I need you tonight. (MUSIC under) LIFE IS KNOWING WHAT YOU WANT, DARLING. THAT’S THE ONLY THING TO KNOW. AS I TOLD YOU MOONS AGO, DARLING, NOTHING WRONG WITH WANTING.

NOTHING WRONG WITH WANTING ME, DARLING, ALSO NOTHING WRONG WITH NOT, THOUGH IT’S ONLY FAIR THAT YOU SHOULD BE AWARE THAT I WANT YOU A LOT. (Moving slowly towards him)

GROWING UP MEANS ADMITTING THE THINGS YOU WANT THE MOST. CAN’T PURSUE EVERY POSSIBLE LINE. FOLDING TENTS, MAKING CHOICES, IGNORING ALL OTHER VOICES, INCLUDING MINE… YOU’RE DIVINE…

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Act I Scene 3 (FRANK moves away a bit)

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

YOU DECIDE ON WHAT YOU WANT, DARLING, NOT ON WHAT YOU THINK YOU SHOULD. NOT ON WHAT YOU WANT TO WANT, DARLING, NOT FROM FORCE OF HABIT. ONCE IT’S CLEARLY UNDERSTOOD, DARLING, BETTER GO AND GRAB IT. THINGS CAN SLIP AWAY FOR GOOD, DARLING, WHAT IS IT YOU REALLY…

(THEY embrace, then kiss. GUSSIE crosses toward the bedroom. FRANK follows, stopping at the phone. GUSSIE stands in the hallway as he dials 411)

FRANK May I have the number of the Downtown Club?

#7C

Transition 3

(Company)

(GUSSIE EXITS)

COMPANY

YESTERDAY IS DONE. SEE THE PRETTY COUNTRYSIDE. MERRILY WE ROLL ALONG, ROLL ALONG, GATHERING DREAMS.

TRAVELLING’S THE FUN, FLASHING BY THE COUNTRYSIDE… EVERYBODY MERRILY, MERRILY FOLLOWING DREAMS, ROLLING ALONG… ROLLING ALONG… ROLLING ALONG… ROLLING ALONG…

END OF SCENE THREE

Merrily We Roll Along

Page 71

SCENE FOUR (The slide reads: “MANHATTAN COURTHOUSE 1967”) JUDGE

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(VOICE-OVER) In the case of Shepard vs. Shepard, after serious consideration I have made a decision to close this courtroom to both the press and the public. After a one hour recess we will reconvene behind closed doors with the next subpoenaed witness. This court is now adjourned. (We hear the sound of a gavel.

Lights up on the steps of a COURTHOUSE. The year is 1967. A REPORTER [K.T.] is waiting, impatient and angry, when a PHOTOGRAPHER with a flash camera hurries in)

K.T. You missed the star going in. Stay close. We’ll try to grab her coming out. PHOTOGRAPHER I left the minute the Peace March broke. Whattaya got?

K.T. Composer’s wife who wants every last cent plus the kid. This cat’s gonna be lucky if they let him keep his clothes.

PHOTOGRAPHER I thought you got something hot.

K.T. After the judge reads the deposition of the star witness and suddenly closes the courtroom to the public, trust me, I got something hot. (The courthouse doors open and JOE, with GUSSIE wearing sunglasses and scarves to conceal her, ENTERS, moving hastily DOWNSTAGE, as if towards a taxi)

GUSSIE (To JOE, crossing) It’s an innocent little friendship that’s been blown totally out of proportion. JOE (Crossing) You’re a big star. You gotta know better.

Page 72

Act I Scene 4 K.T. Hold it, Miss Carnegie. Why were you subpoenaed?

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

JOE Oh, financial records, percentage, chasserie… (GUSSIE pokes JOE; they continue to EXIT, but K.T. and the PHOTOGRAPHER block their way)

K.T. Miss Carnegie, how are you two involved in this scandal? JOE

We are not involved.

GUSSIE (Pulling JOE away, avoiding the PHOTOGRAPHER) And it is not a scandal. We have no comment. K.T.

(Blocking them again) Can you tell us why you are subpoenaed to testify today?

JOE My wife and me, we are Mr. Shepard’s best friends I guess is why.

GUSSIE (Pokes JOE to stop him. Pulls him along. To K.T.) Do you not understand that we have no comment?! (GUSSIE pushes K.T.’S microphone away as THEY finally EXIT) K.T. (To the PHOTOGRAPHER) And the public knows ‘no comment’ means ‘guilty as hell.’

(JEROME, CHARLEY and MARY ENTER from the courthouse, followed by SCOTTY and TYLER, K.T. and the PHOTOGRAPHER hurry to the steps. JEROME, seeing, the press whispers to CHARLEY, who goes back inside)

K.T. Any statement for the press, counselor?

JEROME I have no statement.

Merrily We Roll Along

Page 73

(To his group) Stay with me.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

K.T. I understand Gussie Carnegie is scheduled to testify this afternoon in a closed courtroom. JEROME

That’s what we understand.

K.T.

Why?

JEROME

We have no idea.

(CHARLEY drifts back out)

K.T. Maybe Mr. Shepard could explain. Isn’t Mr. Shepard coming out? JEROME Mr. Shepard just left by a side exit.

PHOTOGRAPHER

(To K.T.) I know that exit.

(THEY EXIT STAGE LEFT)

JEROME (Looks around for more press, then) Go get him, Charley.

(CHARLEY signals through the courthouse doors to FRANK, who ENTERS pale, exhausted, frantic)

CHARLEY Frank, this has gone on long enough.

MARY We all think you should get out of this any way you can. CHARLEY Give Beth whatever she wants.

Page 74

Act I Scene 4 FRANK

Charley, she wants everything.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

JEROME I warned you in the beginning, Frank, ‘settle for whatever but settle.’ A woman charging ‘abandonment of a wife and child’ … Come on.

FRANK Beth wants to move back to Houston with my son. And I’ll never allow that. Never. CHARLEY You know what they’re planning to do today, Frank. JEROME With Beth sitting there with your kid on her lap. MARY Stop it now, Frank. Walk away. Take a trip.

CHARLEY

Save yourself all this pain.

FRANK

I cannot just lose my family.

TYLER Frank, I’ve taken that yacht. Come on the cruise. Get away. Get some rest.

CHARLEY Go, Frank, go. We all want you out of this. Go. Get away.

MARY And when you get back you can stay with me.

FRANK

I can’t live without my son.

(BETH, a feminine, strong and tense woman in her late 20s, ENTERS from the courthouse, together with MR. SPENCER, her father, and FRANK JR., her son. THEY start to EXIT STAGE LEFT. The boy stares back at FRANK as they cross)

Beth!

Merrily We Roll Along

Page 75

(BETH continues walking, ignoring him. FRANK screams at the top of his lungs) BEEEEEETH!

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

JEROME

Frank, don’t make it worse.

FRANK

I’m not going to give up, Jerome.

BETH (At the EXIT STAGE LEFT, to MR. SPENCER) Daddy, wait for me. MR. SPENCER

Don’t be a fool, Elizabeth.

BETH

I said ‘wait.’ (Bends down and kisses FRANK JR.) Mommy will be right back. You go with Grandpa. MR. SPENCER Your mother would turn over in her grave.

FRANK JR. (Looking back as HE is pulled OFFSTAGE by MR. SPENCER, calling) Daddy! Daddy! Daddy! Daddy! (HE keeps repeating the call into the distance) BETH (Waiting until JEROME EXITS STAGE RIGHT) I want you to give up, Frank. FRANK

It’s not life without my son —

BETH You’re not going to like what you hear this afternoon.

Not A Day Goes By

(Beth)

(MUSIC begins underneath) I’m not out to hurt you, Frank. But I’ll hurt you if I have to.

Page 76

Act I Scene 4 FRANK How is Frankie?

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

BETH How do you think he is, Frank? All I keep thinking is ‘I could have stopped it.’ I was warned about Gussie. I could have stopped it. FRANK

Do you still love me?

BETH

Did you sleep with her, Frank?

FRANK

(Insistently) Do you still love me?

BETH (Quietly at first) NOT A DAY GOES BY, NOT A SINGLE DAY BUT YOU’RE SOMEWHERE A PART OF MY LIFE AND IT LOOKS LIKE YOU’LL STAY.

AS THE DAYS GO BY, I KEEP THINKING, WHEN DOES IT END? WHERE’S THE DAY I’LL HAVE STARTED FORGETTING? (With increasing fury) BUT I JUST GO ON THINKING AND SWEATING AND CURSING AND CRYING AND TURNING AND REACHING AND WAKING AND DYING AND NO, NOT A DAY GOES BY, NOT A BLESSED DAY BUT YOU’RE STILL SOMEHOW PART OF MY LIFE, AND YOU WON’T GO AWAY. (Raging) SO THERE’S HELL TO PAY, AND UNTIL I DIE, I’LL DIE DAY AFTER DAY AFTER DAY AFTER DAY AFTER DAY AFTER DAY AFTER DAY

Merrily We Roll Along

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TILL THE DAYS GO BY! TILL THE DAYS GO BY! TILL THE DAYS GO BY!

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(Quietly again) Did you sleep with Gussie?

FRANK

I love you, Beth.

BETH Did you want that kind of life so much you went with her? FRANK

I’ll always love you.

BETH

But did you?

FRANK

(Looks away. Then)

Yes.

BETH (Puts out her hand and steps toward him) Frank, I want us to —

(Suddenly FRANK JR. runs ONSTAGE toward FRANK, with MR. SPENCER running in after him)

FRANK JR.

Daddy! Daddy! Daddy! (BETH pulls him back to send him to his grandfather so that she and FRANK can talk) BETH No, Frankie, no. You’re to stay with —

FRANK

(Holding onto FRANK JR.) He’s my child, too!

Page 78

Act I Scene 4 (K.T. and the PHOTOGRAPHER have quickly moved in and suddenly there is a flash as he shoots a picture of this momentary struggle. FRANK and BETH stop, shocked. FRANK wheels around to the PHOTOGRAPHER)

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Get out of here!

(CHARLEY, MARY, JEROME and the others come rushing back in)

BETH (Holding FRANK JR.’S hand, EXITS with him and MR. SPENCER) I can’t live like this! FRANK

Beth, wait!

(The PHOTOGRAPHER takes another shot of FRANK calling after the EXITING BETH. FRANK turns on him)

I said get out of here!

(FRANK pushes the PHOTOGRAPHER, THEY scuffle and FRANK shoves him down on the ground)

Are you satisfied?

PHOTOGRAPHER

It’s my job, man.

FRANK

Then go find a decent one, man.

CHARLEY Hey, take it easy. Calm down, buddy. Cool off.

(The PHOTOGRAPHER gets up and crosses to the steps)

K.T. I’ll kill those photos, genius. But you owe me one.

(K.T. also crosses to the steps as CHARLEY leads FRANK back to the group)

MARY Listen to Charley and me, Frank. We want you to get away.

Merrily We Roll Along

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FRANK Just hold me close, Mary. All I want to do is get back to work.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

CHARLEY You’re in no shape to write, pal. Go off with Tyler for a while. FRANK

I don’t want to go away.

SCOTTY I’m your agent and I’m telling you now is not the time to work. MARY I love you, Frank. And Charley loves you. Listen to us. TYLER

Living well is the best revenge!

Now You Know

(Scotty, Mary, Tyler, Charley, Frank, Joe, Jerome, K.T., Company)

(MUSIC)

SCOTTY SO YOU’VE MADE A MISTAKE, SO YOU’RE SINGING THE BLUES, SO YOU’LL TAKE SOME TIME, GO VISIT SOME PLACES —

MARY YOU’VE GOT TO BE SOMEWHERE WHERE THERE’S NOTHING TO REMIND YOU — RIGHT? TYLER WHAT YOU NEED IS A BREAK — I’LL ARRANGE A NICE CRUISE, YOU’LL RELAX A BIT AND SEE SOME NEW FACES…

CHARLEY, MARY YOU’VE GOT TO DO SOMETHING — ONLY NEVER LOOK BEHIND YOU.

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Act I Scene 4 CHARLEY, MARY, TYLER RIGHT?

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SCOTTY, TYLER (Enthusiastically to the others) BEST THING THAT EVER COULD HAVE HAPPENED — (MARY and CHARLEY shoot them a look) FRANK

(Pleasant, dead)

Right.

JOE SO YOU’LL SIT IN THE SUN, YOU’LL COME BACK WITH A TAN, THEN WE’LL DO THAT SHOW YOU’VE ALWAYS BEEN TALKING —

SCOTTY THE SIDE IS RETIRED, SO WE START ANOTHER INNING — RIGHT? TYLER ON A BOAT IS SUCH FUN —

JEROME YOU’LL COME BACK A CHANGED MAN — TYLER I’VE HAD LOTS OF GUESTS AND NO ONE’S SQUAWKING.

CHARLEY, MARY FEELS LIKE AN ENDING, BUT IT’S REALLY A BEGINNING — RIGHT?

SCOTTY BEST THING THAT EVER COULD HAVE HAPPENED, I SAY, BEST THING THAT EVER COULD HAVE HAPPENED —

Merrily We Roll Along

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TYLER (Overlapping) BEST THING THAT EVER COULD HAVE HAPPENED — JOE

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(Overlapping) ONE MORE THING NOT TO THINK ABOUT…

JEROME (Overlapping) IT WAS ALL GETTING MUCH TOO COMPLICATED — FRANK

(Interrupting, edgily)

Right!

(Pause, then MARY steps forward angrily) MARY

ALL RIGHT, NOW YOU KNOW: LIFE IS CRUMMY. WELL, NOW YOU KNOW.

I MEAN, BIG SURPRISE: PEOPLE LOVE YOU AND TELL YOU LIES. BRICKS CAN TUMBLE FROM CLEAR BLUE SKIES. PUT YOUR DIMPLE DOWN, NOW YOU KNOW. OKAY, THERE YOU GO — THAT’S THE SUM OF IT, NOW YOU KNOW.

IT’S CALLED FLOWERS WILT, IT’S CALLED APPLES ROT, IT’S CALLED THIEVES GET RICH AND SAINTS GET SHOT, IT’S CALLED GOD DON’T ANSWER PRAYERS A LOT, OKAY, NOW YOU KNOW. OKAY, NOW YOU KNOW, NOW FORGET IT. DON’T FALL APART AT THE SEAMS. IT’S CALLED LETTING GO YOUR ILLUSIONS,

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Act I Scene 4 AND DON’T CONFUSE THEM WITH DREAMS. IF THE GOING’S SLOW, DON’T REGRET IT AND DON’T LET’S GO TO EXTREMES.

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IT’S CALLED, WHAT’S YOUR CHOICE? IT’S CALLED, COUNT TO TEN. IT’S CALLED, BURN YOUR BRIDGES, START AGAIN. YOU SHOULD BURN THEM EVERY NOW AND THEN OR YOU’LL NEVER GROW! BECAUSE NOW YOU GROW. THAT’S THE KILLER IS, NOW YOU GROW.

ALL RIGHT, NOTHING’S FAIR, AND IT’S ALL A PLOT, AND TOMORROW DOESN’T LOOK TOO HOT — RIGHT, YOU BETTER LOOK AT WHAT YOU’VE GOT: (Pause, then smiling as FRANK doesn’t respond) OVER HERE, HELLO? (HE looks at her, smiles for the first time)

OKAY, NOW YOU KNOW. RIGHT?

JOE SO YOU’LL FIND A NEW GAL —

SCOTTY, JOE SO YOU’LL WRITE A NEW PLAY —

JEROME, SCOTTY, JOE IN A MONTH OR TWO, YOU’RE GOING TO THANK US.

MARY YOU MAY HAVE MISSED ONE ROAD, BUT THERE’S PLENTY MORE TO FOLLOW. RIGHT?

Merrily We Roll Along

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TYLER WE’LL GO THROUGH THE CANAL, UP THE COAST TO L.A. YOU’LL COME SEE THE PLACE I’M BUILDING AT TRANCAS. CHARLEY YOU HANG AROUND HERE, PAL, AND YOU’RE ONLY GONNA WALLOW. RIGHT? ALL

RIGHT!

SCOTTY, K.T., BUNKER BEST THING THAT EVER COULD HAVE HAPPENED! MARY

(Overlapping) I MEAN, YOU’LL COME BACK, I MEAN, WHAT’S THE FUSS?

CHARLEY I MEAN, SEA AND SUN AND COMFORT PLUS.

CHARLEY, MARY I MEAN, AFTER ALL, YOU’VE STILL GOT US.

ALL (Variously, overlapping) BEST THING THAT EVER COULD HAVE HAPPENED! IT WAS ALL GETTING MUCH TOO COMPLICATED… BEST THING THAT EVER COULD HAVE HAPPENED! FRANK

RIGHT! YOU’VE GOTTA LET GO, GOTTA DO IT FROM SCRATCH, TAKE A LONG DEEP BREATH, GO BACK TO YOUR SOURCES. A LITTLE VACATION, WHICH IS ALL ABOUT FORGETTING — RIGHT?

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Act I Scene 4 ALL RIGHT! FRANK

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RIGHT! (To CHARLEY) THEN WE’LL DO A NEW SHOW — NO, WE’LL DO A WHOLE BATCH — MAYBE ONE THAT’S ALL ABOUT DIVORCES! I MEAN, A DIVORCE COURT — WHAT A FASCINATING SETTING! RIGHT? ALL

RIGHT!

FRANK

RIGHT!

ALL (Variously, overlapping) BEST THING THAT EVER COULD HAVE HAPPENED… BEST THING THAT EVER COULD HAVE HAPPENED… I SAY, BEST THING THAT EVER COULD HAVE HAPPENED… IT’S YOUR TIME, YOUR TIME… YESTERDAY IS DONE. SEE THE PRETTY COUNTRYSIDE. SOON ENOUGH YOU’RE MERRILY, MERRILY ROLLING ALONG… ROLLING ALONG… SO YOU’LL SIT IN THE SUN, YOU’LL COME BACK WITH A TAN, IN A MONTH OR TWO, YOU’RE GOING TO THANK US. IT’S YOUR TIME… IT’S YOUR TIME… (THE COMPANY has assembled to send FRANK off on TYLER’S yacht) ALL (In unison) WHAT’S YOUR CHOICE? IT’S CALLED, COUNT TO TEN.

Merrily We Roll Along

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IT’S CALLED BURN YOUR BRIDGES, START AGAIN. YOU SHOULD BURN THEM EVERY NOW AND THEN OR YOU’LL NEVER GROW!

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BECAUSE NOW YOU GROW. LIFE’S A KILLER, SO NOW YOU GROW.

MARY YOU’RE RIGHT, NOTHING’S FAIR, AND IT’S ALL A PLOT, AND TOMORROW DOESN’T LOOK TOO HOT —

ALL RIGHT, YOU BETTER LOOK AT WHAT YOU’VE GOT: (Variously, overlapping) OVER HERE, HELLO? OVER HERE, HELLO? NOW YOU KNOW! NOW YOU KNOW! RIGHT! RIGHT! RIGHT! RIGHT! NOW YOU KNOW!

(FRANK is now on the ship next, to BUNKER, wearing a yachting cap and waving goodbye to the crowd)

END OF ACT ONE

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Act II Scene 1 ACT TWO Entr’acte

(Orchestra)

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#10

SCENE ONE

#10A Act 2 –– Opening

(Gussie)

(During the entr’acte, the lights slowly come up on GUSSIE, pacing back and forth on an empty stage, dressed in a sexy evening gown)

GUSSIE (Apparently thinking of FRANK) HE’S ONLY A BOY… WHY DO I THINK HE LOVES ME? MAYBE HE LOVES WHAT I CAN DO FOR HIM. MAYBE HE THINKS THAT I’LL COME THROUGH FOR HIM. MAYBE THE MOON IS CHEESE!

AND YET MAYBE, MAYBE SOMETHING REAL IS HAPPENING HERE… BUT BABY, YOU’RE A BABY, AND THE MAN I’M MARRIED TO NEEDS ME NEAR… OKAY, THE MOON IS CHEESE! (Suffering a little too much) AND I LOVE THE GUY I SHOULDN’T, AND I DON’T THE ONE I SHOULD. AH, BUT LOVE IS BLIND, AND I GO FOR THE KIND THAT I FINALLY FIND IS NO GOOD…

(Suddenly belting to a strip beat, the pacing turns into a musical comedy strut and we realize that we’re watching her perform in a show — she might even be joined by a couple of Male Dancers here)

IT STARTED OUT LIKE A SONG, IT STARTED QUIET AND SLOW, WITH NO SURPRISE, AND THEN ONE MORNING I WOKE TO REALIZE

Merrily We Roll Along

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WE HAD A GOOD THING GOING. (Moving UPSTAGE as if to an audience at the back wall, her voice fading)

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IT’S NOT THAT NOTHING WENT WRONG…

(She EXITS UPSTAGE and we are now in an alley outside the stage door of the Alvin Theatre in New York. It is opening night of “Musical Husbands.” The slide reads: ALVIN THEATER 1964.

JOE JOSEPHSON, chewing a cigar and continually checking his watch, ENTERS and paces rapidly back and forth in front of the stage door. His look races between the door and stage right, where suddenly LOUD VOICES are heard as CHARLEY, MARY, BETH and FRANK, with five-year old FRANK JR. asleep in his arms, ENTER, talking loudly)

JOE (Quieting them) Shhh. Shhhh.... You got an opening night inside or did you forget? FRANK We’re sorry. We’re very sorry, but something amazing happened.

JOE I’ll say amazing. When suddenly, right before the eleven o’clock number, this whole pack of you jumps right up out of your seats, turns and races straight up the center aisle like a bunch of meshugginas.

CHARLEY It was Evelyn. She suddenly, just like that, she went into labor.

MARY And being Evelyn she wouldn’t tell us until her pains were only five minutes apart. We just a second ago got her into a cab. JOE

(To CHARLEY) Then what the hell are you doing here?

CHARLEY My wife would not let me into the cab!

FRANK Evelyn refused to let Charley miss our first opening night.

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Act II Scene 1 CHARLEY Look! She even brought a tape recorder to record the applause. JOE

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From your mouth to God’s ear. FRANK Now the very second the applause is over, Charley — I have the cab waiting — so you, Beth and I will fly to that hospital in record time, I promise. (BETH hurries out STAGE LEFT behind the theatre) JOE

(Listening at the door) They’re quiet.

FRANK

Very quiet.

MARY When an audience is quiet like that it means they’re really concentrating. (The three MEN turn and look at her; she shakes her head)

Shut up, Mary.

JOE We should go back in for the closing. (Turns, looks up to God) I didn’t mean ‘the closing.’

BETH (RE-ENTERING, to the SPENCERS, taking FRANK JR., pointing off) Here Momma, now that cab with the meter running right there, that is for Charley. So you and Daddy take that one right behind it.

FRANK (Kissing the sleeping FRANK JR.) And I’ll see you very soon, little bit, and I’ll tell you every single thing that happened. Oh, I wanted him to be here opening night. BETH Frank! Now he’s been here opening night. Momma, hurry. And we both thank you very much and we both love you very much. Now hurry.

Merrily We Roll Along

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MR. SPENCER (EXITING with MRS. SPENCER, carrying FRANK JR.) I don’t understand why in hell any human being in his right mind would ever, ever live in New York City.

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BETH, CHARLEY, FRANK, MARY (Overlapping with MR. SPENCER) … ever, ever live in New York City. FRANK

Charley? Let’s do another show.

BETH

Yeaaaaaaa!

MARY And then another and then another and then another… JOE

And I’ll produce it.

CHARLEY Wait a minute, wait a minute. Joe, you’ll produce “Take A Left?”

JOE I say first get yourselves a couple of hits to show that you can make money. Then, then you can do that political flop to show them you got integrity. Me, I’ve got such an idea for you guys. So commercial. First you’ll hate it, then you’ll love it. BETH Frank, you know I never say anything. But I am going to say this. For me. For me, just do one more for Joe, and then you can go do “Take A Left.”

FRANK I know the kind of music I want to write. I also know it’s hard on you right now, but Beth, I’m asking you to trust me. BETH

And I’m asking you to trust me.

MARY Beth. Guys. Right now is the time you gotta do your own stuff.

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Act II Scene 1

BETH You don’t have a child, Mary. And you just had yourself a best seller. So, of course, that’s all very easy for you to say.

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MARY Oh, Beth, believe me. Success ain’t all it’s cracked up to be. FRANK I think Charley and I will handle success very well. CHARLEY Yeah, look how well we’ve handled failure.

#11

It’s A Hit

(Joe, Frank, Mary, Beth, Charley)

(Enormous APPLAUSE from inside as JOE opens the stage door. CHARLEY turns on his tape recorder; MUSIC starts)

JOE LISTEN TO THAT! (Another roar of APPLAUSE from inside) WILL YOU LISTEN TO THAT! (And another)

FRANK DO YOU KNOW WHAT THAT MEANS? LET ME TELL YOU WHAT THAT MEANS — WAIT, NO, ANYONE WHO EVEN THINKS IT, DON’T SAY IT, YOU’LL JINX IT —

(OVATION from CHARLEY’S tape)

CHARLEY

LISTEN TO THAT!

(OVATION from inside as JOE opens the stage door)

JOE DID YOU LISTEN TO THAT?

(Another OVATION as JOE EXITS into the theater)

FRANK DOES THAT MAKE YOU FEEL PROUD? WELL, FEEL MORE THAN JUST PROUD —

Merrily We Roll Along

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OKAY, WAIT, I’LL TEMPT FATE AND I’LL STATE IT OUT LOUD:

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(OVATION as CHARLEY opens the stage door for a moment and they all bask in the sound) THAT’S THE SOUND OF A — (As the music starts to build in speed and excitement) HIT! IT’S A HIT! GANG, I THINK THIS IS IT! NO MORE WRITING CLEVER LITTLE SHOWS FOR THOSE BASEMENT SALOONS, NO MORE PROCLAMATIONS FROM THE PROS THAT “YOU CAN’T HUM THE TUNES”—

CHARLEY NO MORE SNEAKING IN AT INTERMISSION TO THE PLAYS YOU WISH YOU COULD AFFORD — MARY OR PRODUCERS HAVING YOU AUDITION WHENEVER THEY’RE BORED — CHARLEY

AND WHO’LL SAY RIGHT AWAY AS YOU PLAY THE FIRST CHORD:

“Boys, boys, it’s very, very — what is the word? ‘Interesting.’ And if I had even the slightest belief any audiences would come, I would do it in a minute. (Cups hand to mouth to call the next songwriter) Next! ALL

WE’RE A HIT! WE’RE A HIT!

(Ovation as JOE RE-ENTERS)

JOE STANDING UP — THE WHOLE BIT!

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Act II Scene 1 FRANK NO MORE COACHING THOSE SOPRANOS WITH VOICES LIKE BEES —

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CHARLEY NO MORE SECONDHAND PIANOS WITH SIX BROKEN KEYS —

MARY NO MORE AGENTS GIVING YOU OPINIONS AS THEY TURN YOU OVER TO THEIR MINIONS — ALL

JUST FOR THESE GUARANTEES WE SHOULD PLEASE THANK THE LORD IT’S A HIT! IT’S A HIT!

BETH WILL MY FOLKS HAVE A FIT! AFTER ALL OF THAT BALONEY THEY’VE MADE ME GO THROUGH, ALL THAT, ‘HONEY, NOT THAT HE’S A PHONY, BUT WHAT DOES HE DO?’ WILL THEIR FACES BE STONY WHEN THEY SEE ON THEIR SONY SOMEONE HANDING THE PHONY THE TONY AWARD!

FRANK ‘I would like to begin by thanking all the hundreds of people who have turned down every show I have ever written so that I could win tonight for this one.’ (OVATION as CHARLEY opens the stage door)

Thank you!

FRANK LISTEN TO THAT! WILL YOU LISTEN TO THAT? TELL ME, IS THAT A NOISE OR IS THAT A NOISE?

Merrily We Roll Along

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THAT IS A NOISE WE’VE BEEN WAITING THE WHOLE OF OUR LIVES TO HEAR!

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BETH (Overlapping) LISTEN TO THAT! DID YOU LISTEN TO THAT? HONEY, IS THAT A NOISE OR IS THAT A NOISE? THAT IS THE LOVELIEST NOISE FOR A BREADWINNING WIFE TO HEAR! FRANK (Overlapping) LISTEN TO THAT, WILL YOU LISTEN TO THAT! I CAN’T STAND IT! MARY

(Overlapping) LISTEN TO THAT! THAT’S OBSCENE!

MARY, JOE (Overlapping) THAT IS A NOISE, THAT IS REALLY A — LISTEN TO THAT! WILL YOU LISTEN TO THAT? GOLLY, I CAN’T — LISTEN TO THAT! WILL YOU LISTEN TO THAT? CHARLEY (Simultaneously) LISTEN TO THAT! FELLAS, THAT IS A NOISE, THAT IS REALLY A NOISE! I CAN’T STAND IT! WILL YOU LISTEN TO THAT! WILL YOU LISTEN TO THAT! BETH (Simultaneously) LISTEN TO THAT! DID YOU LISTEN TO THAT?

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Act II Scene 1 I CAN’T STAND IT! DID YOU LISTEN TO THAT! LISTEN TO THAT! WILL YOU LISTEN TO THAT!

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FRANK

(Simultaneously) LISTEN TO THAT! THAT IS THE NOISE I’VE BEEN WAITING MY LIFE TO HEAR! LISTEN TO THAT! WILL YOU LISTEN TO THAT! WILL YOU LISTEN TO THAT! ALL THAT’S THE SOUND OF AN AUDIENCE LOSING ITS MIND! IT’S THE POPE ON HIS BALCONY BLESSING MANKIND! JOE FOLKS, IT’S “FUNNY GIRL,” “FIDDLER” AND “DOLLY” COMBINED! ALL

IT’S A HIT! IT’S A HIT! IT’S A PALPABLE HIT!

FRANK, CHARLEY IF IT ONLY EVEN RUNS A MINUTE AT LEAST IT’S A WEDGE, IT’S THE THEATER AND WE’RE REALLY IN IT, NOT JUST ON THE EDGE! JOE (To FRANK and CHARLEY) IF YOUR SPIRITS EVER NEED IMPROVING, YOU CAN DROP IN ANY NIGHT FOR FREE!

FRANK BUT THE THING THAT’S POSITIVELY MOVING — CHARLEY YOU COULD HAVE FOOLED ME —

Merrily We Roll Along

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FRANK, CHARLEY IS WE’RE STILL OLD FRIENDS! NOTHING CAN KILL OLD FRIENDS!

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FRANK, CHARLEY, MARY WHERE THERE’S A WILL, OLD FRIENDS DON’T NEED SUCCESS TO SURVIVE! TRIO, BETH AND US, OLD FRIENDS, WHAT’S TO DISCUSS, OLD FRIENDS? ALL WE’VE GOT A SUREFIRE GENUINE WALKAWAY BLOCKBUSTER LINES DOWN TO BROADWAY BOFFOLA SENSATIONAL BOX OFFICE LALAPALOOZA GARGANTUAN — HIT!

(OVATION as THEY open the door again)

IT’S A HIT!

(And again)

IT’S A HIT! IT’S A HIT! IT’S A HIT! IT’S A HIT!

JOE This is the moment everybody lives for. Now we go in and we fake being modest. (EXITS into the theater)

CHARLEY No, no. I’m having a baby.

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Act II Scene 1 FRANK We’re coming. MARY

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Me, too. BETH

What about the opening party?

CHARLEY

You two go to the party. (Hands the tape recorder to FRANK, starts to EXIT, turns back) Frank, I’ll do one more for Joe Josephson. But just one more. FRANK (Puts tape recorder down at the side of the stage) One more. And then it’s our time.

(FRANK, CHARLEY, MARY and BETH huddle and jump) CHARLEY

One more.

(THEY hug. BETH cheers. CHARLEY, EXITING STAGE LEFT, to MARY)

Come on.

MARY

In a minute.

BETH (After CHARLEY EXITS, to FRANK) Frank, I was there for Evelyn’s last baby and I want to be there for this one, too. But you go on ahead. FRANK No, honey, absolutely not. No, no, no.

BETH Yes, yes, yes. I am so proud of you. If I don’t see you at the hospital, I’ll see you at home. (A slight pause) Oh, I love you so much.

Merrily We Roll Along

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(SHE kisses him and pushes him into the theater. HE EXITS through the stage door and RE-ENTERS UPSTAGE where he is visible backstage through the scrim wall)

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MARY (Stopping BETH) Beth, with Gussie there, I urge you to go with Frank. BETH (Moving) Sometimes you have to trust, Mary.

MARY

(Stopping her again) And sometimes you don’t.

BETH I would never want a man I couldn’t trust.

(BETH EXITS STAGE LEFT, with MARY following. JOE comes upon FRANK ENTERING from behind the scrim)

JOE Hey, Big Man! You got a ride to this fancy–schmancy party? FRANK I can only stay one or two minutes.

GUSSIE (ENTERING, seeing them, calling down from a level above) Oh, was that not why we do all this? Was that not just heaven? JOE I gotta go make nice with the backers. You two take our car. (EXITING, calling to GUSSIE) I won’t be able to afford this Big Man now, you watch!

GUSSIE Oh, what a blessing it’s been to find another pure artist. So often I have just wanted to thank you. But Franklin Shepard, I think there has been a conspiracy to keep you from me. FRANK Miss Carnegie, I owe you so much.

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Act II Scene 1 GUSSIE Didn’t I tell you a few years ago, it’s Fate that brought us together. (Kisses the single rose, throws it down to FRANK)

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Now you, all you have done these past months is work, work, work. Tonight let me show you how divine it is to be number one. Everyone is waiting to meet the man of the hour. (GUSSIE EXITS downstairs as FRANK starts to EXIT in another direction. Then HE remembers CHARLEY'S tape recorder, crosses over, picks it up, starts to EXIT again, but stops. He stands still CENTER STAGE and presses the ‘Play’ button. the APPLAUSE sounds. FRANK closes his eyes tightly, swallows, then bows to his imaginary audience before he runs off)

#11A Transition 4

(Company)

COMPANY (Variously) DREAMS DON’T DIE, SO KEEP AN EYE ON YOUR DREAM, ’CAUSE BEFORE YOU KNOW WHERE YOU ARE, THERE YOU ARE. TIME GOES BY AND DREAMS GO DRY, BUT YOU CAN’T GIVE UP ON YOUR DREAMS… SOLO

GROUP I SOME ROADS ARE EASY ––

TEND YOUR DREAMS...

SOLO

DREAMS TAKE TIME...

GROUP I SOME ROADS ARE ALL UPHILL. SOLO TIME GOES BY.

GROUP II SOME ROADS YOU PLOD ALONG

Merrily We Roll Along

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WITH A WILL. SOME ROADS YOU TRAVEL JUST FOR THE THRILL. SOLO

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BEND YOUR DREAMS ––

GROUP III SOME RIDES ARE BREEZY. SOLO

WITH THE ROAD.

GROUP III SOME RIDES ARE FULL OF JIGGLES AND BUMPS. ALL

CAN’T LET IT GET YOU DOWN IN THE DUMPS. DON’T LET IT GET YOU DOWN IN THE DUMPS!

SOLO

NINETEEN SIXTY-FOUR…

SOLO NINETEEN SIXTY-THREE… SOLO

NINETEEN SIXTY-TWO…

END OF SCENE ONE

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Act II Scene 2

SCENE TWO #12

The Blob –– Part 1

(Company)

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(GUSSIE and JOE’S brownstone on Sutton Place, complete with piano and cocktail pianist. Door panels UPSTAGE lead to an adjoining greenhouse. A huge PARTY is going on. The slide reads “SUTTON PLACE 1962”) GUESTS (GROUP I)

(Solos variously) HAVE YOU SEEN — ? HOW WAS IT — ? YOU’RE NOT SERIOUS! DO YOU MEAN — ? THAT DOES IT! YOU’RE NOT SERIOUS!

GROUP II (Overlapping) DARLING! WE BOUGHT THE MOST — ! DARLING! WE HAD THE BEST — ! DARLING! WE SAW THE FIRST — DARLING! WAS THAT THE WORST — ?

GROUP III (Overlapping) DID YOU READ — ? IT’LL NEVER — ! WE SAW THE FIRST — ! WHAT THEY NEED — ! DID YOU EVER — ! WAS THAT THE WORST — ? IT’S THE —

ALL GUESTS

BEST — ! IT’S THE FIRST — ! IT’S THE FINEST — ! IT’S THE LATEST — ! IT’S THE LEAST — !

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N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

IT’S THE WORST — ! IT’S THE ABSOLUTELY LOWEST — ! IT’S THE GREATEST — ! IT’S THE SINGLE — ! IT’S THE ONLY — ! IT’S THE PERFECT — ! IT’S THE — GROUP I

HI!

GROUP II

DREADFUL!

GROUP III

FABULOUS!

(Loud BABBLE fading under dialogue as FRANK and BETH ENTER) BETH

Frank! Frank!

(FRANK looks at her. SHE points to someone OFFSATGE)

It’s the Mayor. God.

FRANK

(Impatient) I know. I know.

BETH (Gasps. Gasps again) Frank! Look! She’s my favorite actress. (Points OFFSTAGE again, very excited) FRANK

(Wanting her to stop this) I see. I see.

BETH

But did you see who she’s with?

FRANK (Embarrassed) Beth, I’m not looking for celebrities. I’m looking for Charley.

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Act II Scene 2

BETH Well, Frank, you can do both. I never saw so many famous people.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(Suddenly SHE lets out a loud squeal, points UPSTAGE and all the blasé GUESTS stop and look UPSTAGE) ALL

WHAT? WHO? WHERE?

(The GUESTS see the ENTERING CHARLEY, at whom they stare in disappointment)

OH…

(The CROWD turns away. Very loud BABBLE, continuing more softly under the dialogue; MUSIC continues under throughout the scene, except when noted) CHARLEY

(Crossing to FRANK) What did he say?

FRANK I haven’t talked to him yet. But it’s obvious he didn’t invite us here because we’d fit in so well. I’m more sure than ever that he wants to option our show. CHARLEY I’m sure, too. But let’s not be too sure. (Showing his inner pockets filled with pastries) I just have the pastry concession, you’re the one who’s supposed to handle the business.

FRANK I’m handling it, Charley. You watch. All this time we’ve put into our writing, it is finally going to pay off.

BETH I don’t care what he asks, you just say ‘yes.’ All I want is for us to be rich as long as we’ve been poor. FRANK (Quieting her) Beth, there are a lot of sophisticated people here.

Merrily We Roll Along

Page 103

BETH (Teasing) Oh, God. If I’d known that, I would have worn earrings.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

FRANK (Seeing something across the room) Come on. Let’s go.

CHARLEY

What’s going on?

FRANK Those people over there. They’re smoking marijuana.

BETH I’ve smelled that before. In the Village. I thought it was autumn.

#12A The Blob –– Part 2

(Company, Gussie)

FRANK

Come on.

GUESTS

(In small groups) DARLING! WE SAW THE NEW — ! DARLING! WE HAD THE MOST —! BAD, WAS IT GOOD? IT’S THE BIGGEST! HE’S A GENIUS! WELL, HE CAN’T — BUT HE USED TO! IT’S THE DUMBEST — SHE’S A GENIUS! IT’S THE — !

FRANK (Spotting GUSSIE, puts his hand out) Hi. I don’t know if you remember me. I’m Franklin Shepard. That’s Charley Kringas, who writes my lyrics.

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Act II Scene 2 (GUSSIE gives CHARLEY a big hug, squashing all the pastries)

And this is Beth. My wife, Beth.

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GUSSIE Remember you? You’re the reason we’re giving this bash. According to our accountant, anyway. (To BETH) Do you write songs too? BETH No, right now I’m the family breadwinner.

GUSSIE You don’t mind if I kidnap him, do you?

(Without waiting for a reply, GUSSIE whisks FRANK to one side. CHARLEY EXITS to clean up all the pastry mess from GUSSIE’S hug)

I have invited the richest and the most influential people in this town tonight. Not one of whom is as rich or influential as you’re going to be. I call them the Blob. They absorb everything. MEET THE BLOB, THE BODIES YOU READ ABOUT. THE ONES WHO KNOW EVERYONE THAT EVERYONE KNOWS. GROUP III

HI!

GROUP I

DREADFUL!

GROUP II

FABULOUS!

GUSSIE

MEET THE BLOB. NOT MANY AND YET —

GUESTS (To each other) OH. RIGHT…

Merrily We Roll Along

Page 105

GUSSIE — YOU NEVER SEE ONE — GUESTS

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WHAT? NO!

GUSSIE

THEY COME AS A SET.

GUESTS

WHO? — HIM?

GUSSIE AND WE’RE IN THEIR DEBT —

GUESTS BUT WHAT DID YOU THINK?

GUSSIE ’CAUSE, HONEYBUNCH, THEY WRITE THE BOOKS AND PUT ON THE SHOWS AND RUN THE SALOONS AND DESIGN THE CLOTHES. THEY KEEP US NATIVES ON OUR TOES. GROUP III

GROUP II

WARHOL!

ALBEE!

GROUP I

KUROSAWA!

GUSSIE THEN THEY READ THE BOOKS AND GO TO THE SHOWS AND SWAMP THE SALOONS, WEARING ALL THE CLOTHES… WHAT YOU MIGHT CALL A GLUT, BUT THEY’RE THE MOST IMPORTANT PEOPLE

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Act II Scene 2 IN THE MOST IMPORTANT CITY IN THE MOST IMPORTANT COUNTRY IN THE YOU-KNOW-WHAT! GROUP III

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HEAVY!

GROUP II

MILTOWN!

GROUP I

GESTALT!

(PARTY NOISE. GUSSIE brings FRANK back to his friends)

#12B The Blob –– Part 2 (Underscore) (Off-stage piano)

GUSSIE (Grabbing two wine glassesfrom a passing WAITER) Beth, darling, you don’t have any hooch.

(Turning to give a glass to BETH, GUSSIE in her haste, or perhaps deliberately to get rid of her, spills it all down the front of BETH'S dress)

Oh, no. I’m going to open my veins. (GUSSIE turns to find JOE)

BETH

It’s okay. (Quietly, to Frank) It better be. Since now I own it.

GUSSIE Joe. Joe. Hurry up. We have a gigantic catastrophe. (To BETH) Oh, this is scandalous.

(JOE leaves a Group, crossing over, leaning in to kiss GUSSIE'S cheek. She pulls away in irritation)

Joe, take this gorgeous person up to my closet and she is going to choose some rag of mine. Move, Joe, please. I am paralyzed with shame. JOE Did you talk to my wife? We got something in mind. Maybe for Broadway.

Merrily We Roll Along

Page 107

GUSSIE Joe, if you don’t hurry I am going to throw myself down the garbage disposal. Now move!

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(JOE EXITS, BETH hurrying to stay close behind to conceal the spot. To FRANK)

Your new songs are just beautiful.

FRANK (Taking out some lead sheets) I brought over some newer ones.

GUSSIE

(Laughing) You’re wonderful.

FRANK I just admire people like you so much. You seem to know everyone and do everything.

GUSSIE Yes, I do. One day I just made myself up. Now I never change. Instead I change the people around me. (Behind FRANK'S back SHE has waved SCOTTY over) Scotty! (As SCOTTY hurries to her) Precious, this is your new client, Franklin Shepard. SCOTTY You can give me a holler tomorrow. Or I can yell on you. (Indicating phone to ear) I’m in the book. FRANK

(Indicating phone to ear) So am I.

GUSSIE See, look how much you two have in common. (Throws SCOTTY a kiss; moving away with FRANK) I just found you an agent.

(GUSSIE and FRANK cross UPSTAGE through a Door Panel; GUSSIE opens the door to the greenhouse and they ENTER. When she

Page 108

Act II Scene 2 shuts the door behind her, the PARTY SOUNDS and MUSIC stop, though the party continues in pantomime)

Joe gave me this greenhouse as a wedding present. He has a tendency to worship me.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

FRANK

It’s great.

GUSSIE If you like it, take it home. I married Joe because he liked me and I liked this life. I married the one before him because, well I believed him when he said he could write. And the first one? Well, I don’t think first ones really count, do you? FRANK This greenhouse seems as out of place in New York as I do. GUSSIE

(Meaning more) Only at first, darling. Now I find it the best thing about this dump. How old are you?

FRANK Twenty-five. Which doesn’t bother me. Then I think, “I’m a quarter of a century” and I panic. There’s so much I want to do and I can’t get started. I can’t — (Stops himself)

GUSSIE Here’s something I do when I want to get to know somebody very well, very fast. It’s a game. I tell you something honest about me and you answer me right away with something honest about you. I call it ‘Trading Hostages.’ I’m not very happy. (Pause) Go on. ‘I’m not very happy.’ FRANK

I’m very happy.

GUSSIE Hmm. I’m inches away from the top.

FRANK I’m miles away from the top. Make that hundreds of thousands of miles away. GUSSIE Performing is my life.

Merrily We Roll Along

Page 109

FRANK Composing is my life.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

GUSSIE Success is not happening fast enough. FRANK

Success is not happening at all.

GUSSIE

I’ve been in five Broadway shows.

FRANK I’ve seen the second act of every one.

GUSSIE Someone’s cheating. I’ve done five Broadway shows. FRANK

Me, I can’t get started. I can’t —

GUSSIE

My first love is singing.

FRANK

My first love is music.

GUSSIE

My second love is acting.

FRANK

My second love is music.

GUSSIE I believe it’s Fate that brought us together. (A pause) Anyhoo, I did all those Broadway shows, most which didn’t last as long as this conversation, and Joe has just optioned a vehicle that can change my life. And yours. We both want you and your partner to do the score. (Big smile. FRANK doesn’t smile back) Do I see disappointment on that sweet face?

FRANK We were hoping he wanted to do “Take A Left.” The show Charley and I auditioned for him.

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Act II Scene 2 GUSSIE

Oh no, darling, not at all.

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FRANK It’s just that we’ve been working on it for three years. GUSSIE Well, you can do this one much faster. But he wants me to make sure you understand we want it fast, loud and funny.

#12C Growing Up

(Gussie)

I need a hit. What do you say? (No reply. A long beat. MUSIC begins underneath, slow and sinuous. GUSSIE sings quietly, with understanding) LIFE IS KNOWING WHAT YOU WANT, DARLING, THAT’S THE THING YOU HAVE TO KNOW. YOU’LL GET EVERYTHING YOU WANT, DARLING, HAVE A LITTLE PATIENCE.

CLIMBING MOUNTAINS CAN BE SLOW, DARLING, TAKE IT EASY AS YOU CLIMB. I’D SAY YOU’RE A WINNER, ALSO A BEGINNER — ONE STEP AT A TIME.

GROWING UP, IT’S WHAT THEY CALL GROWING UP. IT’S WHEN WE’RE ALL STARTING OUT AND STARTING TO SWAY. GROWING UP, YOU HATE THE DELAY, BUT AFTER TODAY YOU’LL BE ON YOUR WAY. SO WHAT DO YOU SAY?… HMMM? (MUSIC continues underneath)

FRANK (A long, painful, agonizing decision. Then quietly) Okay.

Merrily We Roll Along

Page 111

GUSSIE Now this is not a show about subtle and it’s not big on depth. It’s flash, bam, curtain. It’s fun, it’s opulent, it’s Broadway. FRANK

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(Unhappy)

Okay.

(FRANK closes his eyes very tightly and swallows)

GUSSIE (SHE smiles, turning to leave) What was that? A second thought? FRANK

(Surprised by her presence) Oh, that’s just something I do when I want to hold onto a moment. I close my eyes very tight and I swallow. Like I take a picture that I can treasure. GUSSIE (Not understanding at all, smiles) You’re a treasure.

(THEY cross UPSTAGE, EXIT the Greenhouse, and RE-ENTER the party. The loud BABBLE and MUSIC burst upon them)

#12D The Blob –– Part 3

(Company)

GUESTS (As before) IT’S THE BEST, IT’S THE FIRST, IT’S THE FINEST, IT’S THE LATEST, IT’S THE LEAST, IT’S THE WORST, IT’S THE ABSOLUTELY LOWEST, IT’S THE GREATEST, IT’S THE SINGLE, IT’S THE ONLY, IT’S THE PERFECT, IT’S THE…

GUSSIE (Sitting on the piano keys, her rump bouncing up and down, to get attention) Shhhh. Shhhhh. Now I want everyone who hasn’t drunk, smoked or gorged too much to hurry over here. Chop chop.

Page 112

Act II Scene 2 (As the GUESTS start to gather around the piano, SHE heads back to FRANK. BETH, pushing her way through the GUESTS, is modeling one of GUSSIE’S dresses for FRANK)

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

BETH Frank! Oh, Frank, will you look at this — !

FRANK Oh, honey, it’s beautiful. (To MARY, who has ENTERED close behind) Mary, where have you been? MARY I had to borrow a dress. From the guy upstairs.

(FRANK laughs, kisses MARY on the cheek)

GUSSIE (To BETH) Oh, darling, it looks wonderful on you. Keep it. I’m too fat to wear it anyway.

BETH Oh, Gussie, this is our friend Mary Flynn. Mary’s a copy editor, but real soon she’s going to have her first book coming out. MARY (To GUSSIE) I’m sorry I’m late. So glad you didn’t wait.

BETH Mary, Charley and Frank are these totally inseparable friends.

FRANK Well, I have to separate for a minute. I’ve got to go find Charley.

GUSSIE (Stopping him) Oh, no. I’ve got plans for you. (To MARY) Mary Flynn, would you be as sweet as you look and go get him Charley. Thank you this much.

Merrily We Roll Along

Page 113

(Kisses her finger and puts it on MARY'S nose. As the smiling GUSSIE turns to BETH, MARY follows her with clawed hands, then crosses away to find CHARLEY)

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Your husband is the most talented composer I’ve ever heard. I hope it’s all right that I’m crazy about him. BETH

(Smiling back, happily) I hope it’s all right, too.

(THEY share a big, girlish laugh, as the GEUSTS jabber away. GUSSIE crosses and sits up and down on piano keys again quieting the crowd)

GUSSIE All right, quiet everybody. Please quiet. Listen now, because one day you are going to be able to say, “I was there when.” (MARY brings CHARLEY over)

I have next to me the most exciting composer ever, ever, ever, and he is going to play a song he’s written, and when he finishes you are all going to want to swallow poison, because there will be nothing more to live for.

(From the brief exchange which follows between FRANK and CHARLEY, which we see but do not hear, it is clear FRANK welcomes this opportunity and that CHARLEY has, at best, mixed feelings about it)

So find a place to park it, fermez all those bouches, and I am honored to now present Franklin Shepard and Charles… some funny name… (GUSSIE makes a face, curtseys, and pretends to shoot herself for forgetting) Anyway, this song is from a little show that they want to do, that we hope will be in a big show we want to do. CHARLEY In a big show? Frank, what the hell is she talking about? FRANK

Later. Sing.

Page 114 #13

Act II Scene 2 Good Thing Going

(Charley, Frank)

(FRANK starts to play the intro on the piano)

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

CHARLEY (Rattled and nervous at first, but gradually becoming calmer and more confident as he receives encouraging glances and signs from MARY and BETH and a sense that the listeners are enthralled) IT STARTED OUT LIKE A SONG. WE STARTED QUIET AND SLOW, WITH NO SURPRISE. AND THEN ONE MORNING I WOKE TO REALIZE WE HAD A GOOD THING GOING. IT’S NOT THAT NOTHING WENT WRONG: SOME ANGRY MOMENTS, OF COURSE, BUT JUST A FEW. AND ONLY MOMENTS, NO MORE, BECAUSE WE KNEW WE HAD THIS GOOD THING GOING.

AND IF I WANTED TOO MUCH, WAS THAT SUCH A MISTAKE AT THE TIME? YOU NEVER WANTED ENOUGH — ALL RIGHT, TOUGH, I DON’T MAKE THAT A CRIME.

(A few wordless bars, during which HE and FRANK exchange a warm and happy look)

AND WHILE IT’S GOING ALONG, YOU TAKE FOR GRANTED SOME LOVE WILL WEAR AWAY. WE TOOK FOR GRANTED A LOT, BUT STILL I SAY: IT COULD HAVE KEPT ON GROWING, INSTEAD OF JUST KEPT ON. WE HAD A GOOD THING GOING, GOING, GONE.

Merrily We Roll Along

Page 115

(Much APPLAUSE and OOHING and AHHING follows)

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

GUSSIE (Leading the applause, yelling) Wait, wait, wait! Keep them there. We want to hear it again. Tell them. Wouldn’t you all just like to live your entire life to that music? Down, everybody, down, down, down. They’re going to do it again. One mo’ time! (Said as SHE moves around organizing PEOPLE, so they can see better) CHARLEY

Frank, no. Say ‘no.’

MARY

Charley’s right.

BETH

They loved it.

FRANK

They thought we were great.

CHARLEY And you know what true greatness is? It’s knowing when to get off. FRANK

I’ll sing with you. Come on.

#13A The Blob –– Part 4

(Charley, Frank, Dory, Gussie, Joe, Guests)

(THEY start again, clearly to CHARLEY’S discomfort)

CHARLEY, FRANK IT STARTED OUT LIKE A SONG. WE STARTED QUIET AND SLOW, WITH NO SURPRISE. AND THEN ONE MORNING I WOKE TO REALIZE —

DORY (To two other guests, stage whisper) I SAID, ‘JOE, — THIS SHOW WILL BE A WATERSHED.’

CHARLEY, FRANK

WE HAD A GOOD THING GOING.

Page 116

Act II Scene 2 GUSSIE SHHH!

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CHARLEY, FRANK IT’S NOT THAT NOTHING WENT WRONG: SOME ANGRY MOMENTS —

SCOTTY DID YOU HEAR — ? — OF COURSE,

CHARLEY, FRANK

GUEST NO KIDDING –– !

2ND GUEST YOU’RE NOT SERIOUS!

BUT JUST A FEW,

MARY

SHH!

GUEST CHARLEY, FRANK AND ONLY MOMENTS,

JOE (Loudly humming along out of tune) DADADADADA —

GUESTS IT’S A CLEAR CASE OF TAMMANY POLITICS…

CHARLEY, FRANK NO MORE, BECAUSE WE KNEW —

(CHARLEY and FRANK continue singing, but the GUESTS’ attention gradually splinters; THEY start singing to each other, gradually ignoring FRANK and CHARLEY)

CHARLEY, FRANK –– WE HAD A THING GOOD THING GOING. GUESTS

(Simultaneously, variously) WE WERE STUCK IN THE TUNNEL TILL HALF PAST SIX!

CHARLEY, FRANK AND IF I WANTED TOO MUCH

Merrily We Roll Along

Page 117

WAS THAT SUCH A MISTAKE AT THE TIME?

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GUESTS (Simultaneously, variously) IT’S A SHOW THAT’LL MURDER ’EM IN THE STICKS. DID YOU READ — ? IT’LL NEVER — ! WHAT WE NEED — ! DID YOU EVER — ! TILL HALF PAST SIX! IT’S A CLEAR CASE OF TAMMANY POLITICS… DID YOU READ — ? IT’LL NEVER — ! THEY JUST DON’T MIX! WHAT WE NEED — ! DID YOU EVER — ! TILL HALF — CHARLEY, FRANK (Simultaneously) YOU NEVER WANTED ENOUGH –– ALL RIGHT, TOUGH ––

GUSSIE SHHHHHHHHHHHHHH! (The NOISE stops completely for a minute, as a shouting FRANK and CHARLEY self-consciously lower their voices) FRANK, CHARLEY I DON’T MAKE THAT A CRIME…

(There is a loud LAUGH from one group of GUESTS. CHARLEY slams down his music on the piano and EXITS as FRANK, MARY and BETH hurry after him, leaving the GUESTS, who don’t notice)

GROUP I DARLING! WE SAW THE NEW — DARLING! WE HAD THE MOST — BAD, WAS IT GOOD? IT’S THE BIGGEST, HE’S A GENIUS!

GROUP II

DID YOU READ — ? IT’LL NEVER — THEY JUST DON’T MIX. WHAT WE NEED —

Page 118

Act II Scene 2

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

WELL, HE CAN’T — DID YOU EVER — BUT HE USED TO! TILL HALF PAST SIX! IT’S THE DUMBEST, IT’S A SHOW SHE’S A GENIUS! THAT’LL MURDER ‘EM IT’S THE BEST, IN THE STICKS… IT’S THE FIRST, IT’S A CLEAR CASE HE’S A GENIUS! OF TAMMANY –– POLITICS… IT’S THE LEAST, SHE’S A GENIUS! IT’S THE ABSOLUTELY LOWEST! THEY’RE A GENIUS! ALL

IT’S THE GREATEST IT’S THE SINGLE IT’S THE ONLY IT’S THE PERFECT IT’S THE ONE IT’S THE REAL IT’S THE TRUE IT’S THE FINAL IT’S THE…

#13B Transition 5

(Company)

COMPANY TRAVELLING’S THE FUN, FLASHING BY THE COUNTRYSIDE. MERRILY WE ROLL ALONG, ROLL ALONG, CATCHING AT DREAMS. YESTERDAY IS DONE. SEE THE PRETTY COUNTRYSIDE, EVERYBODY MERRILY, MERRILY… NINETEEN SIXTY-ONE…

SOME ROADS ARE EASY, SOME RIDES ARE BREEZY, SOME ROADS THE RIDE GETS OUT OF CONTROL, GRINDS TO A HALT AND ENDS IN A HOLE, SOME ROADS YOU STALL BEFORE YOU CAN ROLL…

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Merrily We Roll Along Page 119

END OF SCENE TWO

Page 120

Act II Scene 3

SCENE THREE #14

Bobby and Jackie and Jack

(Charley, Frank, Beth, Pianist)

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(The set has become The Downtown Club, a small night club — checkered tablecloths, candles in Chianti bottles, where FRANK, BETH, CHARLEY and a PIANIST are performing their act to a very sparse AUDIENCE which includes JOE JOSEPHSON and GUSSIE. The slide reads: THE DOWNTOWN CLUB 1960) CHARLEY

NINETEEN SIXTY…

BETH

IT’S NINETEEN SIXTY…

FRANK AND GOSH, WHAT A SWELL YEAR IT’S BEEN! ALL THREE

SO MANY BLESSINGS, SUCH WONDERS IT HAS BROUGHT, YOU HARDLY KNOW WHERE TO BEGIN: THERE’S XEROX AND LASERS, THE TWIST AND THE “PILL,” A CITY IN BRAZIL…

BETH …THAT NO ONE WANTS TO FILL…

ALL THREE KHRUSHCHEV STOPPED SCREAMING AND LIBRIUM CAME IN. CHARLEY AND NIXON DIDN’T WIN.

ALL THREE GOODBYE THEN TO IKE AND THE BRASS, TO YEARS THAT WERE COZY BUT CRASS. FRANK IT’S TRUE IKE WAS ICKY,

Merrily We Roll Along

Page 121

CHARLEY BUT BETTER HIM THAN DICKY —

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ALL NOW MEET THE FIRST FIRST FAMILY WITH CLASS EN MASSE.

(THEY exit behind a rain curtain. The pianist plays an Irish jig and they reappear with Kennedy wigs and accoutrements. FRANK and CHARLEY now sing in broad Harvard accents, BETH in whispers) CHARLEY

THERE’S BOBBY —

BETH

AND JACKIE —

FRANK

AND JACK —

ALL THREE AND MYRIADS MORE IN THE BACK: THERE’S ETHEL AND TEDDY AND PAT ALONE, CHARLEY

PLUS EUNICE

BETH

AND PETER

FRANK

AND JEAN

PIANIST

AND JOAN

CHARLEY AND WHAT’S-HIS-NAME — ? BETH

STEPHEN.

FRANK AND HOLD THE PHONE — THE ONE IN THE ARMY —

Page 122

Act II Scene 3 BETH, CHARLEY ONE IN THE ARMY? FRANK

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

CAPTAIN… MAJOR… CHARLEY

SARGENT!

FRANK

THAT’S IT!

ALL THREE SO MANY CARDS IN THE PACK. YOU WANT TO KNOW HOW TO KEEP TRACK? WELL, ONE IS GOOD-LOOKING AND YOUNG AND RICH WHILE ONE IS GOOD-LOOKING AND YOUNG AND RICH, THE REST ARE GOOD-LOOKING AND YOUNG AND RICH — THERE ISN’T A LOT THAT THEY LACK, NOT BOBBY AND JACKIE AND JACK AND ETHEL AND TED AND EUNICE AND PAT AND JOAN AND STEVE AND PETER AND JEAN AND SARGE — THERE’S PROBABLY DOZENS OF OTHERS AT LARGE, GOD KNOWS — AND JOE AND ROSE.

(CHARLEY plays a tin whistle while FRANK and BETH dance. BETH’S parents, MR. and MRS. SPENCER ENTER DOWNSTAGE, speak to the WAITER [TYLER] and sit at an empty table)

ALL THREE WE’RE BRINGING BACK STYLE TO THE WHITE HOUSE. BETH I’M PAINTING IT BEIGE FOR A START.

ALL THREE WE’RE MAKING IT INTO A CULTURAL LIGHTHOUSE

Merrily We Roll Along

Page 123

CHARLEY FOR GLAMOUR BETH

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AND BEAUTY FRANK

AND ART.

BETH EVENINGS OF THE BUDAPEST PLAYING VIVALDI AND MUNCH DOING BITS OF RAVEL. I’LL GET LEONTYNE PRICE TO SING HER MEDLEY FROM “MEISTERSINGER” AND MARGOT FONTEYN TO DANCE “GISELLE.” CHARLEY

Together?

BETH WON’T IT BE PERFECTLY SWELL?

FRANK WE’LL HAVE BERNSTEIN PLAY NEXT ON THE BECHSTEIN PIANO — CHARLEY AND AUDEN READ POEMS AND STUFF.

AND GALINA — (Making a lot of the pronunciation) — VISHNEVSKYA,

BETH

FRANK, CHARLEY

GESUNDHEIT!

BETH THE RUSSIAN SOPRANO — JUST PRONOUNCING HER NAME IS REFRESHING ENOUGH!

ALL THREE WE’RE BRINGING BACK STYLE TO THE WHITE HOUSE, WITH CASUAL CULTURE THE RULE.

Page 124

Act II Scene 3 FRANK LET’S HAVE TEBALDI —

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

CHARLEY (Nods) SHE MAKES A GUY FEEL GOOD. BETH

AND OLEG CASSINI —

(As FRANK and CHARLEY and PIANIST look at her)

WELL, I THINK HE’S REAL GOOD.

CHARLEY AND HOW ABOUT HEIFETZ? BETH

AND CALLAS!

FRANK

AND GIELGUD!

ALL THREE AND LATER WHEN EVERYTHING’S COOL, WE’LL PUSH THEM ALL INTO THE POOL.

(Another Irish jig. The BOYS toss a football at each other while BETH takes pictures of them; CHARLEY jumps on FRANK’S back)

FRANK O.K., Bobby. I’ll make you Attorney General. Just get off my back. CHARLEY

WITH BOBBY

BETH

AND JACKIE

FRANK

AND JACK,

ALL THREE THE WHITE HOUSE IS UNDER ATTACK.

Merrily We Roll Along

Page 125

FRANK EIGHT YEARS IS THE LIMIT BUT EIGHT WILL DO,

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

CHARLEY BY THEN THERE’LL BE BOBBY — PIANIST

— AND TEDDY, TOO —

BETH OR PETER OR STEPHEN —

FRANK, CHARLEY, PIANIST (To BETH) OR EVEN YOU — BETH

OOH! — AND THEN THERE’S THE COLONEL — FRANK, CHARLEY

COLONEL?

BETH

MAJOR?

FRANK, CHARLEY

MAJOR?

BETH

YOU KNOW!

FRANK

SARGENT.

BETH

YES…

ALL THREE DOZENS TO TAKE UP THE SLACK IF ANYTHING GOES OUT OF WHACK.

FRANK AND SOME DAY ELECTIONS WILL BE UNKNOWN

Page 126

Act II Scene 3 BETH ’CAUSE EACH OF OUR KIDS WILL ASCEND THE THRONE

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

CHARLEY AND THEIR KIDS HAVE MORE KIDS WITH KIDS OF THEIR OWN — FRANK — IT’S SORT OF A FAMILY KNACK —

ALL THREE TILL MOST OF THE NATION’S MADE UP OF RELATIONS OF BOBBY AND JACKIE AND JACK AND ETHEL AND TED AND EUNICE AND PAT AND JOAN AND STEVE AND PETER AND JEAN AND SARGE AND JOE AND ROSE AND ROWS AND ROWS AND ROWS AND ROWS AND ROWS AND ROWS — THE DECADE IS STARTING ANEW, (Crossing their fingers) AND MAYBE THE COUNTRY IS, TOO.

#14A Bobby and Jackie and Jack Playoff (On-stage piano)

(The PERFORMERS bow left and right. BETH and CHARLEY EXIT behind the rain curtain)

FRANK (As Master of Ceremonies) Ladies and gentlemen, the cast of our revue, “Frankly Frank,” now in its fifth successful, not quite record-breaking month, thanks you for coming to the Upstairs Room at the Downtown Club, where we do two shows every night. With the exception of tonight. (CHARLEY runs across the stage with a “Just Married” sign, from which drag the old shoes and tin-cans tied to it, indicating FRANK is getting married tonight)

Cut that out. Anyway, please come back and bring a friend. Or come back and make a friend. Or just come back and be a friend. Thank you.

Merrily We Roll Along

Page 127

(FRANK EXITS BACKSTAGE. The lights come up on TYLER crossing to JOE JOSEPHSON, who sits next to a much younger GUSSIE)

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

TYLER Excuse me, but I got really excited when I saw your name on the reservation list, Mr. Josephson. Me, I’m just a waiter here. Well, actually, I’m holding down three different jobs, but only until I can get my invention launched. See, I have invented a brand new machine that can answer your telephone if you’re not at home. Or even if you are. But somehow I just cannot get all the investors I need.

JOE Kid, kid, I’m sorry, but there are answering services with operators already that, guess what, do exactly for people what you want this vercockte machine here to do. TYLER Mr. Josephson, I’m looking for only four thousand dollars and for that I will right now sign a contract giving you fifty percent of the return.

JOE Whoooa. I live in a penthouse, kid, not in an asylum. Now I will invest my last red cent you come up with a sound idea, something like this new 3D movie process. (To GUSSIE, as TYLER gathers his papers, puts JOE’S check on the table and EXITS S.L.)

When the hell am I ever going to meet a waiter who’s just a waiter?

MARY (Crossing to the SPENCERS, who are clearly not happy) Hello, Mr. and Mrs. Spencer. I’m Mary Flynn. Frank and Beth’ll be out in less than a minute. (MARY sits) I bet you’re excited about the wedding. MRS. SPENCER

‘Excited’ is not the word.

MARY You cannot imagine how important Frank is going to be someday. MR. SPENCER

No, we can’t. MRS. SPENCER Do you work in the show business too?

Page 128

Act II Scene 3

MARY I’m just a fan. But I have never heard music like Frank’s. MR. SPENCER

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Us neither. MARY

(Letting that pass) I work for “Look” magazine.

MRS. SPENCER See, now there’s a steady, secure job. MARY

I hate it.

MRS. SPENCER Well, maybe that’s why they call it ‘work.’

(MARY joins them now in sitting in silence. FRANK and BETH emerge from backstage, holding hands and silently wish each other luck. Then BETH crosses to HER PARENTS as FRANK crosses to JOE JOSEPHSON)

FRANK Mr. Josephson, do you remember me? I’m Frank Shepard. Our whole cast is just overwhelmed is what they are, that an important man like you would actually come down to see our little revue.

JOE And you recall Shirley Molinsky here? Now Gussie Carnegie? She fixed the nose, she fixed the clothes, she fixed the name, and take a look what was underneath all that. GUSSIE Oh you. I used to work part time as his secretary to pay for classes. FRANK We’ve all seen and admired you on stage so much.

JOE A big talent wasted in little shows, up until me. But you boys must be doing something right, because the fiancée here is going through one hell of a divorce and you guys made her laugh. GUSSIE Joe, Joe, Joe.

Merrily We Roll Along

Page 129

(Hits JOE, then to FRANK) I thought it was just peaches.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

FRANK Oh, see, us, we’re usually light years better. But everybody was just, God, so nervous that the two of you were here. And this is a pretty nervous night for me, anyway. I’m getting married. JOE

Is it the girl in the show?

FRANK

(Nodding) Beth —

JOE You’re awfully young. Marry in haste, repent in Reno.

FRANK I’m twenty-three. The guy who does the lyrics is my age and he’s got a baby alrea — (CHARLEY joins FRANK)

Excuse me, Mr. Josephson, you remember Charley Kringas from the time we auditioned for you? My collaborator?

CHARLEY Yeah, I collabor him and he collabors me. (CHARLEY proceeds to wilt as no one laughs) JOE

(Getting ready to leave) Mazeltov. Your stuff’s getting more commercial, which is good because, trust me, if you’re going to get married you’re going to need bucks. But ask me, I say unless the girl is pregnant, get out of it. (CHARLEY and FRANK look at each other, then CHARLEY looks down and FRANK looks away. After watching them for a tense moment, JOE gets it and drops his smile)

Have a good wedding. GUSSIE (Crossing to FRANK) I don’t forget talented people, Hank.

Page 130

Act II Scene 3 FRANK

Frank.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(GUSSIE kisses her index finger, puts it on Frank’s nose, EXITS with JOE) CHARLEY Frank, you know unless you really want to you don’t have to. FRANK

I want to, Charley.

(MARY leaves BETH, who has been miming arguing with her parents and crosses to FRANK and CHARLEY)

MARY Frank, if there’s any truth at all that we turn out like our parents, you’re in big trouble. FRANK Mary, do you think I’m making a wrong decision? MARY If you really want to know what I —

BETH (Arriving; interrupting) Frank, now don’t faint, but my parents want to speak with us before the ceremony.

(MARY and CHARLEY standing between them, simultaneously back up, leaving FRANK and BETH alone)

Frank, I’m not pregnant.

FRANK

What?

BETH Do you still want us to get married?

FRANK

Do you? BETH Before, my reason was the baby. Now my reason is you.

Merrily We Roll Along

Page 131

FRANK And my reason is you. BETH

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I am pregnant. FRANK

Beth!

BETH

I just wanted to be sure.

(THEY cross to the SPENCERS)

MRS. SPENCER

Elizabeth.

BETH

Momma, how do I look?

MRS. SPENCER Your father and I just want to say one thing, Elizabeth. BETH Momma, you’ve said it all. For two days.

MRS. SPENCER The man doesn’t even have a real job! (To FRANK) My daughter told me she was going back to being a legal secretary just to support you. BETH Momma, now I told you that in private!

FRANK Mrs. Spencer, what I want to do with my life isn’t to play in this club. I want to write music. And to be able to do that I play here, I accompany singers at auditions, I play for dance classes, I do arrangements, I do anything I can so I can just keep on writing music. MR. SPENCER Boy, we’re prepared to give you two thousand dollars right here, right now.

Page 132

Act II Scene 3 BETH

Daddy!

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

MR. SPENCER Just call this sorry excuse for a wedding off. FRANK Mr. Spencer, Beth and I are getting married. We hope it’s with your blessing, but we are getting married. CHARLEY

(Crossing in) The minister just got here.

BETH

Where’s Evelyn?

MRS. SPENCER Who’s Evelyn? The minister, I suppose.

CHARLEY Evelyn is my wife. She’s way in the back of the room. See, often they have to stop weddings right in the middle because of her sobbing. Which I try not to take personally. BETH

Let’s start.

MRS. SPENCER

Elizabeth?

(Stopping BETH, taking off a ring)

Here’s Grandma’s ring.

BETH

Oh, thank you, Momma. (Hugging MRS. SPENCER, then hugging MR. SPENCER) Daddy.

(BETH and FRANK cross into positions. THE SPENCERS are left alone) MRS. SPENCER

Well, at least he’s not black.

Merrily We Roll Along

Page 133

(The MINISTER, who is black, walks through the rain curtain) MR. SPENCER And at least she’s not pregnant.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(MRS. SPENCER sees the MINISTER and does a huge ‘take’)

MINISTER My dear friends, good evening. Before the marriage vows, Frank and Beth have each asked to speak. Frank?

#15

Not A Day Goes By –– Act 2

(Beth, Mary, Frank)

(MUSIC under)

FRANK Beth, I am so happy to be marrying you in the very place where I met you and grew to love you. And I would like very much to thank our dear, close friends for being with us on this, the most important moment in both of our lives. MINISTER

Beth?

BETH

(Turns to FRANK) NOT A DAY GOES BY …

(LIGHT on MARY crossing to DOWNSTAGE table) MARY

NOT A SINGLE DAY …

MARY, BETH BUT YOU’RE SOMEWHERE A PART OF MY LIFE AND IT LOOKS LIKE YOU’LL STAY. FRANK, MARY

AS THE DAYS GO BY, I KEEP THINKING, WHEN DOES IT END?

BETH THAT IT CAN’T GET MUCH BETTER MUCH LONGER. BUT IT ONLY GETS BETTER AND STRONGER AND DEEPER AND NEARER

Page 134

Act II Scene 3 FRANK, BETH AND SIMPLER AND FREE-ER AND RICHER AND CLEARER… TRIO

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

AND NO, NOT A DAY GOES BY,

MARY

NOT A BLESSED DAY ––

BETH, MARY BUT YOU SOMEWHERE COME INTO MY LIFE AND YOU DON’T GO AWAY. TRIO

AND I HAVE TO SAY, IF YOU DO, I’LL DIE.

FRANK, BETH I WANT DAY AFTER DAY AFTER DAY AFTER DAY

FRANK, BETH, MARY

I’LL DIE

TRIO

DAY AFTER DAY AFTER DAY AFTER DAY AFTER DAY TILL THE DAYS GO BY,

(FRANK puts wedding ring on BETH’S finger)

FRANK, BETH TILL THE DAYS GO BY, (FRANK and BETH kiss) MARY

TILL THE DAYS GO BY!

Merrily We Roll Along

Page 135

(The LIGHTS fade and go out) #15A Transition 6

(Tyler, Dory) SOLO I

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

HOW DOES IT HAPPEN? ONCE IT WAS ALL SO CLEAR. HOW DID YOU GET SO FAR OFF THE TRACK? WHY CAN’T YOU TURN AROUND AND GO BACK? SOLO II

HOW DOES IT HAPPEN? WHERE IS THE MOMENT? WHEN DID THE ROAD BEHIND DISAPPEAR?

SOLO I WHERE DID YOU LET THINGS SLIP OUT OF GEAR? BOTH HOW DID YOU EVER GET TO BE HERE? NINETEEN FIFTY-NINE…

END OF SCENE THREE

Page 136

Act II Scene 4

SCENE FOUR #16

Opening Doors

(Charley, Frank, Mary, Joe, 1st Girl, Beth)

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(The slide reads: NEW YORK CITY 1957-1959. CHARLEY is at a table with a portable electric typewriter; FRANK is at a piano, pencil in mouth, manuscript paper spread in front of him) CHARLEY

(Types)

FRANK (Picks out a phrase on the piano)

CHARLEY

(Types)

FRANK (Plays the phrase, changing two notes)

CHARLEY (Types, a bit more energetically; the MARGIN BELL rings; HE returns the carriage, rolls it up, starts to read what he has written) FRANK

(Changes another note)

CHARLEY

(Grunts in displeasure)

FRANK

(Tries another note)

CHARLEY

(Rolls the carriage down)

FRANK (Tries another note, getting desperate)

CHARLEY (X’s out what he has written)

FRANK (Tries the phrase again, changes another note, finally slams his fist down in the bass and throws the pencil down in disgust. MUSIC under. The following lines are spoken)

Merrily We Roll Along

Page 137

FRANK HOW’S IT GOING? CHARLEY

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

GOOD. YOU? FRANK

FAIR.

CHARLEY

YEAH, TELL ME.

(The PHONE RINGS; FRANK answers) FRANK

CHINESE LAUNDRY.

(LIGHT on MARY at her desk, phoning) MARY

HI.

FRANK

(To CHARLEY) MARY.

CHARLEY

SAY HELLO.

MARY

(Sings) I THINK I GOT A JOB.

FRANK

(Spoken) WHERE?

MARY

TRUE ROMANCES.

FRANK

POSING? MARY THANK YOU, WRITING CAPTIONS.

Page 138

Act II Scene 4 FRANK WHAT ABOUT THE BOOK?

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

MARY WHAT ABOUT THE BOOK? FRANK NOTHING, ARE YOU WORKING ON THE BOOK? MARY

YES…

FRANK

GOOD.

MARY

NO…

FRANK

(Admonishing) MARY —

MARY RIGHT, I KNOW, YES, ME AND BALZAC... CHARLEY

(Types)

FRANK

(Adds a chord to the tune)

MARY (Types slowly, looking up at the carriage after each letter) CHARLEY

(Types with enthusiasm)

FRANK

(Tries two chords)

CHARLEY (Rolls the carriage up and reads) FRANK (Tries another chord combination)

Merrily We Roll Along

Page 139

MARY (Types)

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

CHARLEY (Rolls the carriage down and starts X’ing out what he has written as MARY continues typing)

FRANK (Plays the phrase with two new chords, then whistles it while writing it down) MARY (Reads what she has written, groans, slumps in despair) CHARLEY

(Slumps in despair)

FRANK (Sighs, puts the pencil down, slumps)

(MARY, FRANK and CHARLEY cross DOWNSTAGE, each in a separate light)

CHARLEY I FINISHED THE ONE-ACT. FRANK

I GOT AN AUDITION —

MARY

I STARTED THE STORY.

FRANK

— REHEARSAL PIANIST.

CHARLEY SO WHERE ARE WE EATING? MARY I’M MOVING TO PLAYBOY.

FRANK THE PUBLISHER CALLED ME. CHARLEY I’M DOING A REWRITE.

Page 140

Act II Scene 4 MARY MY PARENTS ARE COMING. FRANK

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I SAW “MY FAIR LADY.” CHARLEY I REWROTE THE REWRITE. FRANK

I SORT OF ENJOYED IT.

MARY I THREW OUT THE STORY.

CHARLEY I’M MEETING AN AGENT.

ALL WE’LL ALL GET TOGETHER ON SUNDAY.

WE’RE OPENING DOORS, SINGING, “HERE WE ARE!” WE’RE FILLING UP DAYS ON A DIME. THAT FARAWAY SHORE’S LOOKING NOT TOO FAR. WE’RE FOLLOWING EVERY STAR. THERE’S NOT ENOUGH TIME!

(MUSIC continues under; the stage becomes alive with activity: CHARLEY being interviewed by an AGENT; FRANK playing the same bars of rehearsal music over and over while DANCERS rehearse; MARY meeting a musician on a subway. FRANK suddenly gets an idea, plays his phrase in the middle of the “rehearsal” and writes it down excitedly, then crosses, as do CHARLEY and MARY) FRANK

I CALLED A PRODUCER.

CHARLEY I SENT OFF THE ONE-ACT.

Merrily We Roll Along

Page 141

MARY I STARTED THE STORY.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

FRANK HE SAID TO COME SEE HIM. CHARLEY I DROPPED OUT OF COLLEGE. MARY

I MET THIS MUSICIAN.

FRANK I’M PLAYING A NIGHTCLUB.

CHARLEY THEY’RE DOING MY ONE-ACT. MARY I’M WORKING FOR REDBOOK.

FRANK I REWROTE THE BALLAD. MARY

I FINISHED THE STORY.

CHARLEY WE STARTED REHEARSALS.

MARY I THREW OUT THE STORY AND THEN THE MUSICIAN, I’M MOVING TO POPULAR SCIENCE. ALL

WE’RE OPENING DOORS, SINGING, “LOOK WHO’S HERE!” BEGINNING TO SAIL ON A DIME. THAT FARAWAY SHORE’S GETTING VERY NEAR! WE HAVEN’T A THING TO FEAR — WE HAVEN’T GOT TIME!

Page 142

Act II Scene 4

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(ALL THREE throw themselves simultaneously into activity as MUSIC continues under; CHARLEY and MARY type ferociously while FRANK whistles and hums as he tries out a different vamp for his tune. After a bit, HE hits a chord triumphantly, turns, and looks over at CHARLEY as MARY picks up her phone and starts to dial) FRANK

(Spoken) HOW’S IT COMING?

CHARLEY

GOOD. YOU?

FRANK

DONE.

CHARLEY

ONE MINUTE…

(The PHONE RINGS)

FRANK

(FRANK answers) HAMBURG HEAVEN…

MARY

HI.

FRANK

CHARLEY

SAY HELLO.

(To CHARLEY) MARY.

MARY

(Sings) I GOT ANOTHER JOB.

FRANK

(Spoken) WHERE?

MARY CHIC.

Merrily We Roll Along

Page 143

FRANK WHAT’S THAT?

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

MARY A BRAND NEW CONCEPT: POP-UP PICTURES.

FRANK WHAT ABOUT THE BOOK? MARY WHAT ABOUT THE BOOK?

FRANK DID YOU GIVE THE PUBLISHER THE BOOK? MARY

YES…

FRANK

GOOD…

MARY

NO…

FRANK

(Admonishing) MARY…

MARY

LOOK, I NEVER —

CHARLEY (Ripping the paper out of the typewriter) FINISHED! FRANK

(Into phone) LET ME CALL YOU BACK.

MARY

RIGHT.

Page 144

Act II Scene 4 (SHE hangs up; LIGHT out on her) CHARLEY

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(Coming to FRANK) THIS IS JUST A DRAFT. FRANK

RIGHT.

CHARLEY

PROBABLY IT STINKS.

FRANK

RIGHT.

CHARLEY I HAVEN’T HAD THE TIME TO DO A POLISH… FRANK

WILL YOU SING?

CHARLEY

RIGHT!

WHO WANTS TO LIVE IN NEW YORK? WHO WANTS THE WORRY, THE NOISE, THE DIRT, THE HEAT? WHO WANTS THE GARBAGE CANS CLANGING IN THE STREET? SUDDENLY I DO.

(During the following, JOE JOSEPHSON is wheeled in by his SECRETARY [GUSSIE] and starts to listen judiciously, as GUSSIE waits behind the chair; FRANK and CHARLEY are auditioning for him; CHARLEY sings, as FRANK accompanies him)

THEY’RE ALWAYS POPPING THEIR CORK —

I’ll fix that line —

THE COPS, THE CABBIES, THE SALESGIRLS UP AT SAKS. YOU GOTTA HAVE A REAL TASTE FOR MANIACS — SUDDENLY I DO!

Merrily We Roll Along

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

JOE (Interrupting them, all smiles) THAT’S GREAT! THAT’S SWELL! THE OTHER STUFF AS WELL. IT ISN’T EVERY DAY I HEAR A SCORE THIS STRONG BUT FELLAS, IF I MAY, THERE’S ONLY ONE THING WRONG: (To FRANK'S tune) THERE’S NOT A TUNE YOU CAN HUM. THERE’S NOT A TUNE YOU GO BUM-BUM-BUM-DI-DUM — YOU NEED A TUNE TO GO BUM-BUM-BUM-DI-DUM — GIVE ME A MELODY!

Page 145

WHY CAN’T YOU THROW ’EM A CRUMB? WHAT’S WRONG WITH LETTING ’EM TAP THEIR TOES A BIT? I’LL LET YOU KNOW WHEN STRAVINSKY HAS A HIT — GIVE ME SOME MELODY! OH, SURE, I KNOW, IT’S NOT THAT KIND OF SHOW. BUT CAN’T YOU HAVE A SCORE THAT’S SORT OF IN BETWEEN? LOOK, PLAY A LITTLE MORE, I’LL SHOW YOU WHAT I MEAN…

(FRANK resumes at the piano)

CHARLEY (Overselling) WHO WANTS TO LIVE IN NEW YORK? I ALWAYS HATED THE DIRT, THE HEAT, THE NOISE. BUT EVER SINCE I MET YOU, I — JOE (Shaking his head, still smiling) LISTEN, BOYS, MAYBE IT’S ME, BUT THAT’S JUST NOT A HUM-MM-MM-MM-MM-MM-MM-ABLE MELODY!

Page 146

Act II Scene 4

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

WRITE MORE, WORK HARD, LEAVE YOUR NAME WITH THE GIRL. LESS AVANT GARDE — LEAVE YOUR NAME WITH THE GIRL. JUST WRITE A PLAIN OLD MELODEE-DEE-DEE-DEE-DEE-DEE… (HE is humming “Some Enchanted Evening” — incorrectly) DEE-DEE-DEE-DEE-DEE-DEE…

(GUSSIE wheels JOE off S.R. FRANK and CHARLEY stand DOWNSTAGE dejectedly for a moment; MARY joins them)

CHARLEY THEY’RE STOPPING REHEARSALS, THEY RAN OUT OF MONEY… MARY

WE LASTED ONE ISSUE. MY BOOK WAS REJECTED…

FRANK THE NIGHTCLUB WAS RAIDED. I HAVE TO START COACHING… MARY MY PARENTS ARE COMING.

CHARLEY THEY SCREWED UP THE LAUNDRY. FRANK MY WALLET WAS STOLEN. MARY

I SAW THE MUSICIAN.

CHARLEY

WE’RE BEING EVICTED.

MARY I’M HAVING A BREAKDOWN.

ALL WE’LL ALL GET TOGETHER ON SUNDAY.

Merrily We Roll Along

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

THEY’RE SLAMMING THE DOORS, SINGING, “GO, AWAY!” IT’S LESS OF A SAIL THAN A CLIMB. THAT FARAWAY SHORE’S FARTHER EVERY DAY. WE’RE LEARNING TO RICOCHET… WE STILL HAVE A LOT TO SAY… (A beat)

Page 147

FRANK YOU KNOW WHAT WE’LL DO?

CHARLEY

(Spoken) WHAT?

FRANK

(Sings) WE’LL DO A REVUE.

CHARLEY

(Spoken) WHAT?

MARY

WHAT?

FRANK (Sings) WE’LL DO A REVUE OF OUR OWN! MARY

(Spoken) WHAT?

CHARLEY

WHERE?

MARY

WHY?

CHARLEY WHEN?

Page 148

Act II Scene 4 FRANK NOT JUST SONGS BUT STORIES, SCENES, PIANO PIECES, MIME — CHARLEY

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

YEAH!

MARY

(Pantomiming a sign) “FRANKLY FRANK”…

FRANK (Sings) A SHOWCASE OF OUR OWN!

CHARLEY

(Spoken) WHERE?

FRANK (As the scene changes to the audition) THE CLUB’S REOPENING.

MARY WE’LL WRITE A LOT OF NEW STUFF — CHARLEY REWRITE OLD STUFF —

FRANK WHAT ABOUT THE GIRL?

CHARLEY WHAT ABOUT THE GIRL?

FRANK ONLY THAT WE’RE GONNA NEED A GIRL. CHARLEY

WELL, MARY —

MARY THANKS, I DON’T PERFORM EXCEPT AT DINNER.

Merrily We Roll Along

Page 149

(During the above, TWO GIRLS hold rehearsal copies of music, ready to audition. The FIRST GIRL starts, singing shrilly and off-key as a pianist accompanies her)

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

FIRST GIRL WHO WANTS TO LIVE IN NEW YORK? WHO WANTS THE WORRY, THE NOISE, THE DIRT, THE HEAT? WHO WANTS THE GARBAGE CANS CLANG —

I can sing higher!

FRANK Thank you for coming. Next eight, please.

SECOND GIRL (BETH) THEY’RE ALWAYS POPPING THEIR CORK — FRANK

Up a tone.

BETH — THE COPS, THE CABBIES, THE SALESGIRLS UP AT SAKS —

FRANK (Exchanging a look of approval with MARY and CHARLEY) Up a tone.

BETH — YOU GOTTA HAVE A REAL TASTE FOR MANIACS — FRANK

Thank you. You’re hired.

BETH

(Offers her hand) I’M BETH.

FRANK

I’M FRANK.

BETH I REALLY THOUGHT I STANK.

Page 150

Act II Scene 4 MARY (Offers her hand) I’M MARY. CHARLEY

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(Offers his hand) CHARLEY.

FRANK

BY THE WAY, I’M TOLD WE OPEN SATURDAY. (Pause)

OTHERS

WHAT?!

MARY

YOU’RE NOT SERIOUS!

CHARLEY

NOBODY’S READY!

FRANK APPARENTLY SOMEBODY CANCELED A BOOKING. CHARLEY THE SONGS AREN’T FINISHED.

MARY AND WHAT ABOUT COSTUMES?

BETH AND HOW DO I LEARN ALL THESE NUMBERS?

FRANK I’LL BRING YOU THE COPIES OF EVERYTHING LATER THIS EVENING.

BETH (Simultaneously) OKAY, BUT I’LL HAVE TO HAVE ALL OF THE MUSIC AND SATURDAY I’VE GOT TO SING AT A WEDDING. OH GOD, IS THERE DANCING, ’CAUSE I’M NOT A DANCER…

Merrily We Roll Along

Page 151

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

CHARLEY (Simultaneously) NOT TO MENTION I STILL HAVEN’T FINISHED THE SYNANON SONG OR THE KENNEDY NUMBER, AND WHAT’LL WE DO ABOUT GETTING PUBLICITY, RUN AROUND TOWN PUTTING STICKERS ON WINDOWS?…

FRANK (Simultaneously) YOU DON’T HAVE TO, WE’LL SEGUE THE END OF IT INTO THE DANCE WE CUT OUT — NO, WE’LL USE IT BUT NOT WITH THE LONG INTRODUCTIONS… MARY

(Simultaneously) AND HAVE WE DECIDED OR NOT ON THE RESTAURANT SKETCH? I NEED TWO OR THREE DAYS AT THE LEAST TO REPLACE IT… ALL WE’LL WORRY ABOUT IT ON SUNDAY!

WE’RE OPENING DOORS, SINGING, “HERE WE ARE!” WE’RE FILLING UP DAYS ON A DIME. THAT FARAWAY SHORE’S LOOKING NOT TOO FAR. WE’RE FOLLOWING EVERY STAR — THERE’S NOT ENOUGH TIME!

WE’RE BANGING ON DOORS, SHOUTING, “HERE AGAIN!” WE’RE RISKING IT ALL ON A DIME. THAT FARAWAY SHORE’S LOOKING NEAR AGAIN. THE ONLY THING LEFT IS WHEN. WE KNOW WE SHOULD COUNT TO TEN — WE HAVEN’T GOT TIME! WE HAVEN’T GOT TIME!

Page 152

Act II Scene 4

#16A Transition 7

(Beth, Frank Jr., Mrs. Spencer)

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

BETH, FRANK JR. BENDING WITH THE ROAD GLIDING THROUGH THE COUNTRYSIDE. MERRILY WE ROLL ALONG, ROLL ALONG, CATCHING AT DREAMS.

BETH, FRANK JR., MRS. SPENCER DREAMS THAT WILL EXPLODE, WAKING UP THE COUNTRYSIDE, EVERYBODY MERRILY, MERRILY, SING ‘EM YOUR SONG, ROLLING ALONG! BETH, FRANK JR.

ROLLING ALONG!

FRANK JR.

ROLLING ALONG!

END OF SCENE FOUR

Merrily We Roll Along

Page 153

SCENE FIVE (The time is five-thirty AM, just before dawn on New York City’s 110th Street. We are on the rooftop of an old tenement building.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

FRANK is in his Army uniform, sitting reading a script. It is very cool. When FRANK hears the sound of CHARLEY coming he tucks the play in the rear of his belt and looks out over the city. The slide reads: A ROOFTOP ON 110th STREET 1957)

CHARLEY (Having just woken up; binoculars on a strap around his neck) What are you doing up on the roof? FRANK

I dunno. I just came up here.

CHARLEY Well, you could have told a person. FRANK

You were asleep.

CHARLEY (Looks at watch) The alarm just went off. You see anything? FRANK

Uh-uh.

CHARLEY

Is something wrong?

FRANK

No.

CHARLEY What are you doing up here so early?

FRANK I couldn’t sleep. (Takes out the plays) Charley, I read your two plays last night. They were so wonderful I couldn’t sleep.

Page 154

Act II Scene 5

CHARLEY I thought you were mad. I have to tell all the people who stay over to always wake me whenever they think I’m wonderful.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

FRANK I tossed and turned and kept thinking about wasting these last two years in the Army. Then to come back and read your plays — CHARLEY Wasting? What about that music you played for me? Talk about wonderful. FRANK

Really?

CHARLEY Yes! Frank, you don’t just write what you know… (Points to his head) … you write what you know. (Points to his heart)

FRANK Okay, this play — “Pretty Politics?” About the Senate pages. What do you think about making it into a musical? CHARLEY

Go on.

FRANK I got a better title — “Take A Left.”

CHARLEY

That’s a better title?

FRANK

I think it’s important.

#17

Our Time –– Part 1

(Frank, Charley)

(MUSIC under) Musicals are popular. They’re a great way to state important ideas. Ideas that could make a difference. Charley, we can change the world. SOMETHING IS STIRRING, SHIFTING GROUND… IT’S JUST BEGUN.

Merrily We Roll Along

Page 155

EDGES ARE BLURRING ALL AROUND, AND YESTERDAY IS DONE.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

FEEL THE FLOW, HEAR WHAT’S HAPPENING: WE’RE WHAT’S HAPPENING. DON’T YOU KNOW? WE’RE THE MOVERS AND WE’RE THE SHAPERS. WE’RE THE NAMES IN TOMORROW’S PAPERS. UP TO US, MAN, TO SHOW ’EM… IT’S OUR TIME, BREATHE IT IN: WORLDS TO CHANGE AND WORLDS TO WIN. OUR TURN COMING THROUGH, ME AND YOU, MAN, ME AND YOU!

(MUSIC continues under. MARY ENTERS: very young, in slippers and pajamas, with rollers in her hair, carrying binoculars. SHE sees the two men and with an “Oh” starts back inside) CHARLEY

Hi!

FRANK

(To MARY) Hi! It’s just about time.

MARY We just wanted to see. My roommate and — excuse me. (Turns abruptly and hurriedly EXITS) CHARLEY She’s probably from Barnard. Barnard girls are dippy. FRANK

What time is it now?

CHARLEY Quarter to six. You ever think about getting married? FRANK No.

Page 156

Act II Scene 5 CHARLEY

Me either. (Shrugs) When I’m a lot older, maybe. (Frank, Charley)

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

#17A Our Time –– Part 2 (MUSIC)

FRANK

FEEL HOW IT QUIVERS, ON THE BRINK…

CHARLEY

WHAT?

FRANK EVERYTHING! GIVES YOU THE SHIVERS, MAKES YOU THINK THERE’S SO MUCH STUFF TO SING! AND YOU AND ME, WE’LL BE SINGING IT LIKE THE BIRDS, ME WITH MUSIC AND YOU THE WORDS, TELL ‘EM THINGS THEY DON’T KNOW!

BOTH UP TO US, PAL, TO SHOW ’EM.

OUR TIME, BREATHE IT IN: WORLDS TO CHANGE AND WORLDS TO WIN. OUR TURN, WE’RE WHAT’S NEW, ME AND YOU, PAL, ME AND YOU! FEEL THE FLOW, HEAR WHAT’S HAPPENING: WE’RE WHAT’S HAPPENING! LONG AGO ALL WE HAD WAS THAT FUNNY FEELING, SAYING SOMEDAY WE’D SEND ’EM REELING, NOW IT LOOKS LIKE WE CAN!… CHARLEY SOME DAY JUST BEGAN.

Merrily We Roll Along

Page 157

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

BOTH IT’S OUR HEADS ON THE BLOCK. GIVE US ROOM AND START THE CLOCK — OUR TIME COMING THROUGH, ME AND YOU, PAL, ME AND YOU! ME AND YOU!

(MUSIC fades under. CHARLEY looks up to see MARY, rollers out and a robe over her pajamas in the doorway)

MARY I didn’t mean to be so overdressed before. Am I too late? FRANK

No, not at all. Just about now.

MARY

My roommate is coming up, too.

CHARLEY I’m Charley Kringas and this is Frank Shepard. MARY

I’m Mary Flynn.

CHARLEY We just took the apartment on five.

FRANK (Interrupting, trying to get her to stay) I’m not officially moved in until I’m discharged from the army next week.

CHARLEY Frank just got a weekend pass to help us move in. A lot to move in. A typewriter, two mattresses and a piano. MARY (Surprised, to FRANK) Are you the one playing the piano the last two days? FRANK (To CHARLEY) We’re evicted.

Page 158

Act II Scene 5

MARY Oh, no. You’re wonderful. Sincerely wonderful. FRANK

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

I’m sincerely grateful. MARY I even came up here on the roof to hear you better. (Awkward; blushing) I tell everything, then go home and suffer. (To CHARLEY, teasing) Are you sincerely wonderful, too? CHARLEY

I write.

FRANK

He is…

CHARLEY

Me Columbia. Him Julliard.

MARY

That’s what I want to do. Write. (To FRANK) How does anybody compose music though? To me that is the gift of gifts.

FRANK I just met the girl I ought to marry. Did anybody ever tell you, you say all the right things? MARY

Never. But I really want to know.

FRANK Well, writing music is not about words. It’s about sounds and feelings and… To me, music is about everything. (CHARLEY mockingly laughs and points at FRANK) MARY

Anyway, it’s so creative. FRANK If I didn’t have music, I’d die.

Merrily We Roll Along

Page 159

CHARLEY Some day Frank is going to be a very important composer. MARY He is.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(To FRANK) I think you already are.

(Suddenly MARY'S roommate runs in, her hair in pin-curls, wearing her robe) MARY’S ROOMMATE

Mary, are you — (Sees them all) Oh! You’re with guys! (Squealing, she turns and runs out)

MARY

Evelyn! Evelyn!

(MARY turns to them)

That was Evelyn.

CHARLEY (Checking his watch) We better look now. It’s supposed to be right now. (CHARLEY and MARY look through their binoculars) FRANK

CHARLEY I hope we didn’t miss it. It should come right over…

See anything?

(HE looks and spots it)

There! There it is!

MARY

I see it!

FRANK Where?

Page 160

Act II Scene 5

MARY (Giving FRANK her binoculars and pointing) There it is. There. FRANK

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

It’s just phenomenal.

MARY

Phenomenal.

CHARLEY

Don’t you wish it was ours.

FRANK

It’s everybody’s.

MARY

Do you call it, Sputnik — (short “u”) or Sputnik? (long “u”)

CHARLEY

You call it a miracle. God.

(FRANK gives the binoculars to MARY; she and CHARLEY look through them)

FRANK We’ve got to be the luckiest people who ever lived. (Reverentially, HE closes his eyes tightly and swallows, ‘taking a picture’) After this moment… This moment that the three of us are sharing here together… Nothing’s ever going to be the way is was, not ever again. Do you guys realize that now we are going to be able to do anything? I mean anything we ever dreamed of. What a time to be starting out. What a time to be alive.

#17B Our Time –– Part 3

(Frank, Charley, Mary, Company)

(MUSIC begins. During the following, the rest of the COMPANY drifts on, singly and in pairs, dressed in pajamas, bathrobes, hastily thrown-on coats, etc., some with binoculars, some not, but all coming to witness the birth of a new era in the sky)

SOMETHING IS STIRRING, SHIFTING GROUND… IT’S JUST BEGUN.

Merrily We Roll Along

Page 161

CHARLEY EDGES ARE BLURRING ALL AROUND, AND YESTERDAY IS DONE.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

MARY

FEEL THE FLOW, HEAR WHAT’S HAPPENING:

MARY, CHARLEY, FRANK WE’RE WHAT’S HAPPENING. DON’T YOU KNOW? WE’RE THE MOVERS AND WE’RE THE SHAPERS. WE’RE THE NAMES IN TOMORROW’S PAPERS. UP TO US NOW TO SHOW ’EM… ALL IT’S OUR TIME, BREATHE IT IN: WORLDS TO CHANGE AND WORLDS TO WIN. OUR TURN COMING THROUGH, ME AND YOU, PAL, ME AND YOU!

FRANK, CHARLEY, MARY YEARS FROM NOW, WE’LL REMEMBER AND WE’LL COME BACK, BUY THE ROOFTOP AND HANG A PLAQUE: “THIS IS WHERE WE BEGAN BEING WHAT WE CAN.” ALL IT’S OUR HEADS ON THE BLOCK. GIVE US ROOM AND START THE CLOCK. OUR DREAMS COMING TRUE, ME AND YOU, PAL, ME AND YOU! ME AND YOU! ME AND YOU! ME AND YOU! ME AND YOU! ME AND YOU! ME AND YOU! ME AND YOU!

Page 162

Act II Scene 5

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(The LIGHTS come up stronger on FRANK, who puts a hand out for CHARLEY to shake. Suddenly, instead, FRANK raises his pinky finger for CHARLEY to link his pinky finger to it. CHARLEY does. Then FRANK indicates MARY should join in, and MARY links her pinky finger to theirs. It is a bond of friendship.) #18 Bows #19 Exit Music #19A Exit Music

THE END

(Orchestra, Company) (Orchestra) (Orchestra)

Vocal

Merrily We Roll Along

—2—

Merrily We Roll Along Moderato

j j œœ ‰ œœ ‰ œœ œœ ‰ œœj 2 œ œ œ œ œ

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∑

j j œœ ‰ œœ ‰ œœ œœ ‰ œœj 4 Œ ‰ œœj Ó œ œ œ œ œ œ

SOLO 1:

Ó œ œ

œ œ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

∑

Yes - ter - day is

See the pret - ty

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SOLO 6:

œ œ œ œ œ œ

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(Revised 1/95)

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GROUP 2:

SOLO 3:

at dreams… 25

(GROUP 1)

œ œ œ

19 ALL SIX:

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goes

by and

hopes

∑

you are.

(6/28/02)

Vocal

—3—

∑

Merrily We Roll Along 35

∑

j j & b ‰ œj ‰ œ ‰ œ œ

SOLO 7:

#œ

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N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(GROUP 1)

∑

dry,

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(SOLO 7)

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51 ALL:

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Vocal

—4—

1) # (GROUP w

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N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

G R O U P 2

Merrily We Roll Along

Once

does it hap - pen?

How

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∑

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roll!

j œ œ œ œJ œ œ œ œ œ # œ œ œ œ

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j 64 j j # œœj ‰ œœj ‰ œœ œœ ‰ œj 63 ‰ CHARLEY: 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 & œ J ∑ ∑ How did you get to be here?

CHARLEY: #65 ALLœEXCEPT œ œ œ Œ ‰ œ & J

j j 67 MARY: œœ ‰ œœ ‰ œœ œœ ‰ œœj ‰ j œ œ œ œ œ œ œ

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∑

What was the mo-ment?

# 68

∑

œœ œ J

‰

œœ œ J

‰

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‰

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MARY & CHARLEY:

Pick

your - self

Vocal 70

—5—

Merrily We Roll Along

(MARY & CHARLEY) 71

œ œ œ œ

road,

get

to know the

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coun - try - side.

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e - nough you're

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

# 74

ALL:

mer - ri - ly,

œ œ œ œ œ œ

œ œ œ œ

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mer - ri - ly,

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prac - tic - ing dreams,

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# 82

the

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∑

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of roads

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∑

Vocal

—6—

Merrily We Roll Along

#### ˙

(GROUP 1)

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N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

# # # # (GROUP 2) j œ œ œ œ œ &

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4 106 j ‰ Œ Ó 4 œ

4 4

Œ #œ œ œ œ

107

back,

nev - er look

œ Œ Ó

Someroads you real - ly fly.

1) 109 110 111 # # # # (GROUP œ œ œ ‰ # œ œ ‰ # œ œ ‰ # œ œ & œ œ œ ‰ # œJ œ œ œ œ J œ œ J œ J nev - er look

back,

the

108

back,

j œ

Stay

44 j œ œ œj œ œ >œ

∑

coun -

nev - er look

back,

nev - er look back,

nev - er look…

nnnnbb b b bb

Vocal 112

b & b bbbb

—7—

j j j œœ œœ œœ œœ œ œ ‰ œ ‰ œ œ ‰ œœ 113

∑

Merrily We Roll Along

GROUP:

‰ œJ œ œ œ œ œ œ How did you get

j œœ ‰ œœ

∑

be here?

117 œœ ‰ œœj ‰ œœ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

b b b b 115‰ œ œ œ œ œ Œ b & b J

j j j œœ œœ œœ œœ œ 114 œ ‰ œ ‰ œ œ ‰ œœ

116

What was the mo - ment?

b b b b 118œœj b & b œœ

j œœ œœ

‰

∑

œœ œœ

∑

œœ œœ

How did you get

j œœœ œ

‰

œ œ œ œ œ œ œ J to

be here?

ALL:

119

Bend -

ing

with

the

120

b & b bbbb

121

122

œ œ œ œ

road,

gliding through the

b & b bbbb œ œ œ œ œ œ 124

125

roll a - long, roll a - long,

coun - try - side.

œ œ œ œ

œ œ ˙.

123

126

œ œ œ œ

Mer - ri - ly

127

œ œ œ œ

Dreams that will ex -

catch - ing at dreams!

128

b & b bbbb

129

œ œ œ œ

plode,

wak - ing up the

b & b bbbb œ œ œ œ œ œ

132

mer - ri - ly,

133

mer - ri - ly

130

œ œ œ Ó

137

Roll - ing

a - long!

œ œ œ œ

Ev - 'ry - bo - dy

134

œ œ œ œ

135

sing 'em your song,

bbb b w b & b

coun - try - side!

œ œ œ œ

136

b b b 139Ó b & bb

131

Roll - ing

a - long!

138

a - long!

140

141

Roll - ing

(Babble)

œ J

‰

Vocal

Merrily We Roll Along

—8—

That Frank

Moderato (h = 72)

j œœ ‰ œœœ

TYLER and SCOTTY enter.

f Babble. & C œœœ œœœ œœœj œœœ œœœj œ œ œ œ œ ∑

j ‰ j œœ œœ œœ œ œ œœ ∑ œ œ

œœ œœœ

œœœ œœ

j œœ œœœ œœ œœ

j œœœ 4 ‰ œœ

œœ œœ

j œœœ œœ œœ œœ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

‰ œ œœ œ

6 F Babble. j j ‰ j j & œœœ œœœ œœœ œœœ œœœ œœ œœ ‰ œœ œœ œœ œœ œœ œœ œ œ œ œ œ ∑ ∑ 5

∑

RU enters.

œœ œœœ

œœœ œœ

∑

j etc. œœœ 8 œœ Ó

j œœ œœœ œœ œœ

TYLER:

œ œ

I said,

j j j f Babble.∑ œ œ œ œ œ œJ œ œ œj ‰

& Pœ Babble. œ

"Frank, this

picture

& Pœ Babble. œ

j œ œ

j j œ œ ‰ f Babble.∑ œ œ œ J œ œj

"Frank, one

P & œ 17

day you'll run

Babble. (SCOTTY)

"Frank,

will

you

lis - ten

KATE enters.

that

œ J

I said,

j œ

sponse?"

DORY:

TYLER:

œ œ I

œ œ œ œ œ œ

"Frank real - ly knowswhat the pub

(Revised 1/95)

œ œ J

œ œ

SCOTTY:

∑

(DORY)

œ œ

I said,

N &

TERRY:

stu - di - o…"

∑

wa - ter-shed…"

j œ œ

said,

j œ œ

j œ

"Frank, this

pic - ture

∑

lic wants."

(6/28/02)

Vocal

—9—

(TYLER)

& œj œ 22

œ œ œ j ‰ J œ wa

RU:

ter - shed…"

What?

Oh.

MARY:

∑

¿ ¿ ¿ ¿ ¿ ¿ Œ

j ¿ ¿.

Not much

fun.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

That Frank

Knowwhat I'm hav

ing?

JEROME enters.

œœ œœœ

œœœ œœ

(Babble)

& œ œ

Óœ œ œ œ œ œ

FRANK:

œœ œœ J

Par - ty!

∑

œœ œœ œœ ‰ œœ œœJ ‰ œœ J

œœ J

∑

œœ œœ

∑

j œœ œœœ œœ œœ

j œœœ 28 ‰ œœ

∑

œœ œœ

j œœ Ó œœœ

∑

GROUP 1:

That

29 (GROUP 1)

œ Œ

‰

j œ œ œ œ œ

JEROME:

Frank…

guy

is too

∑

(GROUP 2)

˙.

GROUP 2:

That

FRANK: How about champagne?

‰

œ j œ œ œ

The

pla

TERRY:

ti - num

œ Œ

∑

touch.

∑

œ œ

SCOTTY:

œ Œ

much.

FRANK: You like the picture?

& &

The

He has

Frank…

TERRY:

& Ó

(SCOTTY)

œ œ œœ J

Is he

& œ œ œ œ œŒ taste, he has talent.

the

j j œ œ Œ

‰

best?

KT:

œ œ œ œ J

The man

TYLER:

œ œ

œ œ œ œ œ Œ

Plus a

fine head for bus-'ness.

ALL:

j j œ œ ‰ œ

is blessed.

That

ALL:

That

Vocal

—10—

That Frank

(Cue Out) TYLER: And people live in fear I'll invent something else.Vamp—vocal last time

(ALL)

œ Œ

43 44 ∑ .. Ó œœ œœœ œœ œœœ œœœ œ œ

∑

œ ..

That

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Frank…

GROUP 1:

∑

(GROUP 1)

œ Œ

JEROME:

He'sfull

of ad

œ œ œ œ

œ Œ

∑

vice.

∑

Œ ˙.

GROUP 2:

∑

Frank…

That

RU: No, what do you really do?

MARY: I really drink.

∑

Œ œ œ KT:

What a

(GROUP 2)

œ Œ

ALL:

œ œ œ œ

Frank…

And,God

œ Œ

∑

nice.

(KT)

friend!

‰

BUNKER:

And

his

work

MEG:

What

55 (TERRY)

œ J

host!

wife

who

gor - geous,

œ œ œ œ œ œ

type

you could eas - i - ly learn

& œ

j j œ œ Œ

‰

great!

57 (ALL)

œ J

TERRY:

Has

& œ

& Ó

MEN:

ALL:

He's

son

œ œ œJ œ J to

hate,

œ J

œ that

œ J

who's

straight.

œ Œ Ó Frank!

œ J

the

‰

∑

Vocal

—11—

FRANK:

j œ œ

Who

says,

"Lone - ly

& ˙

#˙

say

œ œ J

j œ œ

the

(Babble)

œ Œ Ó

∑

top?"

(Babble)

j œ œ

ver

œ Œ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

That Frank

#˙

our

time

"Let it

#œ œ œ œ J J

(FRANK)

Work-ing hard,

j œ œj œ #œ

It's

j #œ #œ all

œ œ J

our

dreams

j #œ #œ œ œ J com - ing

j #œ œ #œ œ.

get - ting rich,

∑

stop!"

com - ing through,

j œ œj œ & #œ 73

be - ing

∑

hap - py,

true.

œ œ #œ

there's a

∑

switch!

GROUP 1:

Œ nœ

That

BUNKER: Don't you miss writing music?

(GROUP 1)

œ Œ

FRANK: That was the old Frank Shepard.

œ œ

œ œ œ

smile,

he's hot

but he's

œ Œ

cool.

GROUP 2:

Œ ˙.

What

JEROME: This guy's the American Dream. (GROUP 2)

œ Œ

MEG:

œ œ œ

style…

(GROUP 1)

& œ

had

(GROUP 2)

& œ

just

œ œ

Andwhat

a great

dea

what

char - is

can't

jeal - ous,

he's

such

Œ œ œ

GROUP 1:

pool!

œ J

œ Œ

œ J

If you

j œ

meant,…

œ J

gent…

(GROUP 2)

‰

And

‰

ALL:

He's

you

œ the

Vocal

—12—

That Frank

Vamp—vocal last time 89 (ALL)

œ œ ‰ œ J J

& œ œ œ œ œ œ œ œJ œ 90

a man that you can't

re - sent,

.. œ Œ 91

that

.. œ

TYLER:

Frank.

I said,

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

kind

(Cue Out) "There's an orchestra and dancing inside."

(TYLER)

j j j œ œ œ œ œ œJ œ œ œ 94

"Frank, you're

97 (JEROME)

& œ

Frank

101

com-ing down

to Mex

j j œ œ œ

j œ œ

mov - ing back

∑

JEROME:

œ œ

i - co…"

œ œ œ J œ

I think

œœ œœ œœœ œœ œ

∑

j œœ ‰ œœj œ œœœ œœ œœ œ œ

j j œœ œœœ œœœ 100‰ œœ œœ œœ œœ œœ

∑

bbbb

Par - a - mount…

102 104 j ‰ 103 œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Jœ œ œ J J œ

bbbb

MARY:

These are the mov - ers,

105 bbbb Ó

(MARY)

these are the shap - ers,

106

‰ œ œ œj œ

These are

IC N

bbb œ b &

œ œœ J

Each one

MARY:

These are the mov - ers,

111

∑

œ œ

per - fect blank…

ALL:

‰ œj œ œ œ œ

When you see a

FRANK:

112

∑

¿ ¿

Thank You.

œ œ œ J J

that suc - cess

b & b b b œ œ œ œ œJ œ . 113

110

fill the pap - ers.

Mov - ing back to Par - a - mount…

∑

mov - ie

‰ œ œ œj œ

‰ œj œ œ œ œ œ œ œ Ó

that

108

GROUP 2:

Mex - i - co…

(ALL)

107

the friends of Frank.

1: b b b GROUP œ œ b œ Ó &

b b 109 b & b

œ œ

theseare the peo - ple

114

ful,

œ œœœ J

œ.

what can you

say?

j œ œ œ. œ œ

these are the shap - ers,

¿ ¿ ¿ ¿ ¿¿ Œ Ó J J J

(to Frank)

Con - grat - u - la - tions.

œ œœ œ œ œœ J J

115

these are the peo - ple that

116

œ œ

give you vap - ors…

# nnnn## #

Vocal

—13—

That Frank

117

# # # # FRANK: j œ œj œ œ & œ œ Twen - ty years

j œ œ

118

a - go

119

œ œ Œ J

who'd have guessed,

120

who'd have guessed

œ œ œ œœœ J J

we'd be stand - ing here?

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

# # # #121 (FRANK) j j & œ œ œ œœ œ

œ ˙ J

j œ œ

####

God, we would have been

œ œ œ œœ œ J J

j œ œ œJ œ Œ

123

so im - pressed.

Now we'rehere

122

∑

124

with the

œ Œ Ó

most

∑

GROUP 1:

œ œ œ

Mex - i - co…

1) # # # # 125 (GROUP œ œ œ œ 126 Œ œ & œ œ J J

####

bril-liant minds

on the

coast

œ œ J

œ œ œ œ J

notice

who

127

and

GROUP 2:

∑

Œ ‰ j œ œ œ œ œ

Mov - ing back to

œ œ œ

is their

ten.

128

œ ŒÓ

host.

nnn#

ten.

nnn#

∑

Par - a - mount…

129

1) # (GROUP j & œ œœ ‰ Ó

Œ ‰ œj œ œ œ œ

130

Mex-i-co,

# Ó

œ œ œ œ

∑

# 133

∑

# œ œ œ œ œ J J

134

that suc - cess

Mex-i - co.

œ œ œ œ

Beau-ti-ful, Frank!

135

∑

‰ œj œ œ œ œ When

œ œ œ œ œ œ J J

(GROUP 2)

mov - ie

132

136

∑

ful, where

do you

go?

œ œ œ œ œ œ J J

ful, where

do you

go?

you'vemade a

‰ œj œ œ œ œ When

FRANK:

you'vemade a

¿ ¿ ¿

Par - a-mount.

(GROUP 1)

mov - ie

œœ œ

Beau - ti-ful, Frank!

Ac - a-pul - co,

(GROUP 2)

131

∑

n n n

Vocal

j j œœœ œœ œœ œœœ œœ 138Ó . œ œ œ & . ∑ 137

—14—

Stop vamp on: "No pool." Start on: FRANK: Let's have some coffee, Mary. MARY: I never drink coffee.

ALL:

That Frank

139

‰

Frank.

He han - dledthat

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Poor

j œ œ œ œ œ

140

œ Œ Ó

MARY: Caffeine isn't good for you.

FRANK: I'm aware this was just a formula movie.

142 GROUP 2:

141 (ALL)

œ Œ Ó

˙.

well.

143

That

œ Œ

j œ œ œ œ œ

JEROME:

144

‰

Frank.

He's

loy

FRANK: But my next picture—just wait. MARY: I gave up waiting. 145 (JEROME)

& œ Œ

146

f ALL: Œ œ œ

hell.

∑

147

∑

(MARY)

& œ

œ œ œ œ œ œ

150

œ œ J

gan when I tast - ed com - mun - ion

∑

œ œ œ œ œ œ œ

151

Who

says,

& ˙

#˙

say,

#˙

our

time

157

161

j œ œ

154

"Must - n't

œ œ J

158

"Look at

shine.

152

∑

ALL:

∑

œ Œ Ó

too

j œ œ

where

#œ œ œ œ Œ J J through,

∑

Frank!

(Babble)

j œ œ

162

com - ing

wine.

That

FRANK:

be -

j j œ œ ‰ Œ

œ œ J

and con- sid- er - ate rain

j j œ œ ‰ Œ

153

œ œ

MARY:

He's po - lite

149

148

∑

155

œ Œ Ó

156

∑

far?"

(Babble)

159

œ Œ Ó

160

are!"

j #œ #œ œ œ Œ J

163

say,

"Good,

It's

j #œ #œ œ œ Œ J

164

me and you!"

Vocal

—15—

j & #œ œ 165

(FRANK)

j œ œ

j #œ œ

166

I say, "Roll!"

j #œ œ #œ œ.

167

I say, "Ride!"

∑

say,

∑

œ œ #œ

168

"Hey, there's

food

∑

in - side!"

ALL:

Œ Nœ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

That Frank

That

169 (ALL)

œ Œ

170

œ œ œ œ

Frank.

173

You'd think

œ Œ

œ œ œ

Frank…

He's lay

had

œ œ œ œ œ œ

178

œ œ ‰ œ œ J J

180

& œJ œ a

gent…

œ Œ

IC N

183

i - dea what char - is

He's the

N˙.

184

Frank!

187

Frank!

kind

175

188

˙.

Not

œ Œ

Œ œ œ

176

If you

179

And you

man could be

185

œ Œ

œ œ œ œ œ œ

just

can't be

182

pres

œ œ œ œ œ

That

tracks.

meant,

172

j j œ œ ‰ œ œ

œ Œ

lax.

ing new

œ œ J

181

œ œ

177

& œ

171

he'd re

174

œ œ J

Frank!

œ œ ‰ bœ J J

i - dent,

186

jeal - ous, he's such

that

˙.

That

‰ œ.

190

That

œ ‰ Œ J

Frank!

Vocal

—16—

Merrily We Roll Along

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Incidental Tacet

Incidental (Good Thing Going) Tacet

(Revised 1/95)

(6/28/02)

Vocal

Merrily We Roll Along

—17—

4 j œœ ‰ œ

j œœ ‰ œ

œœœ

Transition 1j j œœ œ

‰

œœœ

∑

œœ œ

j œœ ‰ œ

‰

œœœ

œœ œ

‰

j œœœ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

b & b 44

∑

SOLO 1: 4 œ œ œ œ œ œ œ b &b ‰ J How did you get

∑

b & b œœ œ 7

j œ ‰

GROUP 1:

don't

∑

œ œ œ œ œ ‰ J Œ

œœ œ

die,

j œ

‰

∑

j œ ‰

j œ œ

eye

j œ ‰

‰

keep

œœ œ œ œ œ ‰ œœ ‰ œœ œœ ‰ œœœ J J J

How did you get to be here?

∑

13 (GROUP 1)

What was the mo - ment?

‰ œj œ œ œ

j œ ‰

Dreams

j j œœ ‰ œœ ‰ œœ œœ ‰ œœj œ œ œ œ œ

be here?

œœ œ œ œ ‰ œœ œœ ‰ œœœ ‰ J J J

j œ ‰

your

dream…

…or

be - fore

G R O U P 2

Œ b b œœ b b œœ œœ J

œœ n œœ J

you know

j œ bœ

where

∑

‰ b œœj b œœ b œ œ

you

(GROUP 1)

&b œ œ

∑

j œ œj œj œj œ œ œ œ œ

Roads may wind and you

(Revised 1/95)

may find

what you

‰

are, there

∑

you

∑

are.

Ó #œ œ SOLO 1:

Tend your

j œ œ œj œ œ œ

left be - hind

dream.

is your

j b œœ b œœ

˙ Ó

Vocal

—18—

Transition 1

(SOLO 1)

&b w

dream,

dreams take

GROUP:

&b œ

#œ

œ œ œJ œ .

#œ œ

time,

time goes

j œ œ œJ œ œ œ Œ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

How does it

hap-pen?

Once

&b w

it was all so

clear.

∑

#œ œ

by.

Bend your

j & b œ œ œ œJ œ œ œ # œ œ œ œ Œ How can you get so

far

œ œ œ œJ œ

off the track?

j œ œ #œ œ œ œ Œ

Why don't you turn a - round

and go back?

(SOLO 1)

&b w

dream,

(GROUP)

& b œ œ œ œJ œ .

(SOLO 2)

&b œ

with

the

did you let things slip

œ œ

road.

SOLO 2:

œ œ œJ œ

What is the mo-ment?

j 33 œ œ #œ œ

j Œ œ œ #œ œ œ œ

When did the road be - hind

out of gear?

œ œ œ œJ œ

How did you ev - er

dis-ap-pear?

j 35 œ œ #œ œ

get

U œ ˙

be here?

Where

œ œ œJ œ

œ œ œ œJ œ .

How does it hap-pen?

#œ

36 GROUP 1:

Nine - teen

&b Ó

œ bœ

œ œ

˙.

‰ j œ œ

sev - en - ty five…

Nine

GROUP 2:

‰ j œ œ œ Nine

teen

œ bœ

œ œ

sev - en - ty four…

œ œ

œ bœ

teen

sev - en - ty three…

U w

U ∑

Vocal

Merrily We Roll Along

—19—

Old Friends—Like It Was

Moderately—In 2 (h = 80)

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

# # 1C MARY: Œ Œ & œ œ Hey,

## 5

kay,

n˙

IC N

give

grim?

We're

him,

too

this

old

(Revised 1/95)

old

us,

œ.

friend.

who's

friend-ship

break.

for

are

some

Œ Ó

thing's

strong,

œ ˙

old friend

come

us?

few.

er.

∑

‰ j œ œ œ œ œ

stake.

dis

if our

Œ œ

through?

It's

cuss,

old

friend?

Moderato—In 4 (q = 112)

U CHARLEY: œ Œ œ 44 Damn

j œ œ œ œ

What's

œ nœ

should - n't an

U Œ

‰ j œ œ œ œ œ

wrong,

lives

œ ˙

to mean

make

man - y

has

friend,

‰ j œ œ œ œ œ

long

friend's

œ œ to

old

‰ j œ œ œ œ œ

go - ing

nœ.

say,

the old

j œ œ œ œ

do you

‰ œj œ œ œ

me,

us,

# # 30

n˙

# # 22

friend,

Friends

what

‰ j œ œ œ œ œ

You,

‰ j œ œ œ œ œ

friend,

old

Why

old

œ Œ

# # 13

Here's

nnbb

(6/28/02)

Vocal

—20—

Old Friends—Like It Was

b &b

MARY:

œ œ œ œ œ œ œ

œ ˙. Char - ley,

why can't it

j œ œ.

was.

Char-ley,

like it

œ œ œ œ œ œ œ

was?

liked it the way

j œ œ

j j œ œ œ œ œ œ

that it

j œ ˙

∑

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

b &b

you and

b & b œj œ œj ˙

We were nice,

kids and

don't know

were

nic - er

j n œ œj œ œ œ œ

b &b j j n œ œ œ œ #œ œ œ I

me,

cit

ies and

trees were nice, 50

œ œ œ œ œ nœ œ an - y - more,

j j œ œ œ ˙

who we are

then.

and I'm

j j œ nœ œ ˙

ev - 'ry - thing…

j n œ # œj œ œ œ œ

start-ing not

˙ œ #œ nœ

to care.

Look at us,

b &b

˙.

Char - ley,

no-thing's the way

b &b ˙

j œ œ.

was!

Help me

œ œ œ œ œ œ œ

that it

j bœ œ œ œ œ œ J

stop re - mem - ber-ing

was.

œ œ

œ œ œ

want it the way

œ œ

that it

Œ ‰ b œj œ œ œ

then.

Don't

you re

b & b nœ ˙.

j j Aœ œ œ œ œ œ

mem - ber?

b 64

It was good,

˙.

Char - ley,

bb nœ

j Aœ œ

∑

j œ ‰ ˙.

good.

œ nœ

Helpme out,

j ‰ bœ œ œ œ

∑

was.

j œ œ

∑

j œ œ

∑

nœ

real - ly

œ nœ œ œ

∑

71 bb ˙

it was

j j n œ ˙ œ œ

make it

˙.

j nœ ˙

∑

œ.

∑

‰

Vocal 74

b &b

—21—

MARY:

œ ˙.

œ œ œ œ œ œ œ no - thing's the way

that it

was.

œ œ œ

œ œ

want it the way

œ œ that it

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Char-ley,

Old Friends—Like It Was

b &b ˙

j œ œ.

was.

j bœ œ œ œ œ œ J

God knows,

thingswere eas

i - er

‰ b œj œ œ œ

then.

Trou - ble is,

b & b nœ ˙.

Char - ley,

86 bb

j j Aœ œ œ œ œ œ that's what ev

nev

œ œ

does:

the way it

A Tempo

was.

'ry - one

‰ j nœ œ œ œ œ

b 90 A Tempo b & w

Blames the way it

Ritard

was,

nœ œ

on the way it

œ œ

Ritard

nœ œ

100

U ∑

Vocal

Merrily We Roll Along

—22—

Franklin Shepard, Inc.

CHARLEY: May I answer that? How do we work together?

Rubato

#### 14 & 4 ¿

‰ ¿ j¿ ¿

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

CHARLEY:

####

goes…

And

A Tempo

œ œ œ œ œ

hum - ming

#### 6

a - long…

song…

# # & # # Ó

‰ j œ œ nœ

‰ œ

And I go…

####

and

hm…

Then

that's

called

goes…

bœ ‰ ‰ j œ bœ œ œ œ nœ bœ œ œ bœ œbœ J 6

Drrrr

¿ ¿¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

ing!

And he goes

# # # # 19

Mutter No,

Jer - ome… Mutter mutter mutter mutter…"That's his

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

law-yer, Jer-ome "Mutter

# # # # 15

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

IC &

mm…

# # # # 13

N &

œ J

And the phone goes

"Mutter mutter mutter mutter Yes, Jer-ome…

A Tempo

Rubato

j œ œ nœ

‰

And soon we're

> œ nœ

go…

œ J

œ œ œ œ œ

writ - ing

n>œ

œ J

‰ œj

œ nœ

I go…

A Tempo

œ œ œ œ œ tap - ping a - way…

(Revised 1/95)

mutter mutter mutter mutter

‰ œj

œ nœ

¿ ¿

Do it,

Jer - ome (click) Sor - ry,

‰ œj

And he goes…

œ nœ J mm

œ nœ

Char - ley…"

‰ œj

And I go…

œ J

hm…

œ nœ

Andsoonwe're

Bzzz!

"Sor - ry,

Char - ley."

(6/28/02)

Vocal

—23—

# # # # 21

≈

œ Bzzz!

####

The

sec -

nœ

¿ -

tar

y…

Bzzz!

the

¿ -

ter - com…

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Franklin Shepard, Inc.

"Yes

# # # # 24

¿ nœ œ

Miss Bzzz." "It's

a mes - sen - ger."

¿ ¿

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

"Thanks, Miss Bzzz. Will you tell him to wait? Will you

¿ ¿

¿ ¿ ¿ ¿

¿ ¿

24 25 ¿ ¿ ¿

or - der

the car?

Will you call up

the bank?

Will you

wi - re

the

coast?

¿ ¿

Will you…"

6 #### 4 bœ & 4 bœ œ œ bœ œ bœ J ‰ ¿ ¿ ¿ ¿

Drrrr

# # # # 28

ing!

"Sor - ry, Char - ley…

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

¿ ¿ ¿

¿ ¿

Mutter mutter muttermutter Sell

the stock.

Mutter

¿ ¿ ¿

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

Buy

the rights.

Mutter mutter mutter mutter mutter…" Bzzz! "Let me put you on hold…" Bzzz!

# # # # 30

nœ œ œ ¿ nœ œ

¿ ¿

"Yes, Miss Bzzz." "It's the

# # # # 32

in - ter - view…"

¿ ¿ ¿ ¿ ¿¿

¿ ¿

¿ ¿ ¿ ¿

"Thanks, Miss Bzzz. Will you tell

¿ ¿

¿ ¿ ¿ ¿ ¿ ¿

¿ ¿

¿¿

him

¿ ¿

to wait? Will you

j ¿ ‰ Œ

‰

wi - re the car? Will you or - der the coast? Will you send up the bank?…"

nnnnb

nœ œ

And the

&b œ œ œ

œ œ

tel - e- phonesblink and the stock gets

œ œ

sold and the

&b œ œ œ œ œ œ ‰ œ œ œ œ œ œ in - to mak-ingmov - ies

play

œ œ

rest

keeps

œ J

œ.

and he'snow a cor-por - a - tion.

home with my wife and

œ œ

kids and

œ œ

"hold" and he's

‰

Right?

œ œ

wait

hear

the

mov - ie

œ œ

bids and I've

Vocal

—24—

&b œ œ œ œ œ œ ‰ œ œ œ œ œ œ got a lit - tle sail - boat

and I'm in - to med - i

& œJ œ œJ œ œ œ œ

j œ œ.

œ J

œ.

ta - tion.

œ œ J

Right?

œ œ œ œ œ J

œ Œ Ó

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Franklin Shepard, Inc.

He flies

off

& œJ œ

to Cal - i

for - nia.

œ œœœœ J

That's the

stor

way we

y of the

dis - cuss

œ œ Œ 48 œ J

œ œ J

work,

him with my

œ œ œ œ œ œ.

shrink.

and Frank - lin Shep- ard,

####

j‰ Œ Ó œ

Inc.

TALK SHOW HOST: Oh, that sounds like you think making money is a bad thing for a artist.

(Dialogue)

####

U ∑

Rubato

‰ ¿ j¿ ¿

¿ ¿ Œ

Mon - ey?

####

A Tempo

œ œ œ œ œ

mon - ey

Did

# # # # 55

lot

œ œ œ œ œ

n>œ

œ J

bet - ter than not,

# # # # 57 Rubato ¿ & ¿

####

hm…

œ J

mm…

But

MON - EY (grunt,

grunt)

MON - EY

and

you

should

when

it's

When you're

j # œ œ

nœ nœ #œ œ œ

in - to

‰ UÓ

∑

be.

CHARLEY: Frank does the music thing very well. And you know what? No one does it better.

A Tempo (Dialogue)

it's

mean

Mon - ey (snort)

(snort)

No,

œ J

‰ œj œ nœ

¿ ¿ Œ

mon - ey?

IC N &

####

(grunt)

say

nœ

œ J

Vamp—vocal last time

.. Ó

nœ œ Still the

.. n n n n b

Vocal

—25—

Franklin Shepard, Inc.

&b œ œ œ

œ œ

tel - e - phonesblink and the buzz - ers

œ œ œ œ

œ œ

buzz and

‰

real - ly

don't know what

œ œ œ œ œ œ

œ œ

does, but he

‰

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

&b œ

œ œ œ œ œ œ œ

makes a

ton

think

of mon - ey,

and

œ œ

"o - kay," and I start

lot

# # œœ & b 24 œ œ œ œ œ J ‰ n # # 44 ¿ ¿

me.

œ œ

Right?

So I

some - how knows,'cause right

a - way

it's

¿ ¿ ¿ ¿ ¿ ¿ ¿

¿ ¿ ¿

œ œ

play, and

for

6 -

Drrrr

# # # # 73

"Hi - ya,

bud

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ i - dea,

we'll own all

¿ ¿ ¿ ¿

guar - an - tee

plus

two-week out

¿ ¿

¿ ¿ ¿ ¿

24 76 ¿

a gross

per-cent

the

j œ œ. Ó

# j j & 44 œ œ œ œ œ œ œ

dy, wan - na write a

there I

the rights

with

in Cal - i

for-nia,

j œ œ

talk - ing

and

Got

a turn - a - round

¿ ¿

And

j œ œ œ œ œ

deals

bus - 'ness, and I

mean just that,

& œJ œ œJ œ œ œ œ

Ver - y sneak - y how it

& œJ œ œJ œ œ œ œ 89

Start with noth - ing but a

j œ œ. Ó

back with Frank

hap - pens,

œ œ œ œ Œ song

to sing,

œ œ J

and turn - ing

œ œ J

lin Shep - ard,

œ œ œ œ œ J

much more sneak

the

œ Œ Ó

pink,

œ Œ Ó

Inc.

that you

œ Œ Ó

think.

92 j œ œ œ œ œ

next you're Frank

n n n # 44

bill - ing clause…"

82 83 # 81 j j j œ œ œ œ œ œ œ œ œ œJ œ Œ œJ œ œJ œ œ œ œ .

back in

show?

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

great

# # # # 75

ing!

lin Shep - ard…

(Dialogue)

U ∑

Vocal

—26—

Franklin Shepard, Inc.

CHARLEY: I miss it and I want it back.

Vamp—vocal last time

# j & .. œ œ

j œ œ œ œ œ

per

ma - nent has

j œ œ.

j j œ œ œ œ œ œ œ

hap - pened,

just

tem

po - ra - ry

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Noth - ing

CHARLEY: …and tell that man to get back to his piano.

# 96

œ Œ Ó

kink.

100

j œ œ

j œ œ œ œ œ

# 103

sneak

how

thing you don't

j œ œ.

Onemore

tri - umphthat

First

pri

zes,

then

the

j œ œ. Ó

117

& œ drink…

point,

you're on

the

œ œ J

in - ter - views…

j j œ œ œ œ œ œ œ

stop me quick

be - fore

109

œ Œ Ó

sink.

CHARLEY: In case you didn't notice…

111

what - ev - er

118

108

hap - pened,

œ œ œ œ œ J

here's the

j œ œ

105

107

j œ œ

can't

114

& œJ œ

day

# 110 j j & œ œ œ œ œ œ œ

lose…

ev' - ry

j œ œ

I think it's

œ ˙ J

j œ œ œ œ œ

j œ œ

j j œ œ œ œ œ œ œ

j œ œ

102

hap-pens,

the

U ∑

(Dialogue)

j œ œ

real - ly

Tempo Primo

Oh my God,

101

104

brink.

106

j œ œ œ œ œ

Friend - ship's some

Ver - y

j œ œ

œ œ J

That's the

115

œ œ J

112

113

∑

re - fuse…

j œ œ.

œ œ œ œ œ J I

No,

hap - pens,

guy

love, the

œ œ J

œ œ œ œ œ J

then we'll

all

œ œ J

œ ˙ J

116

119

fel - la

who's

go have

Vocal

—27—

Franklin Shepard, Inc.

120

˙ -

side.

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

"Mut - ter mut - ter mut - ter mut - ter

quick,

¿ ¿ ¿

¿ ¿

Jer - ome,

get the

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

121

¿ ¿ ¿

24 123 ¿ ¿

man

122

& ¿

¿ ¿ ¿

Pres

i - dent,

˙ & 44

IC N

cra - zy

125

side

#œ

Bzzz

œ ‰ #œ œ œ œ œ œ J 6

Drrrr

ing!

126

lin

Shep

ard,

128

∑

screen…"

129

j ‰

¿ ¿

CHARLEY: Just write to him care of Any Bank U.S.A!

127

Frank

there's a

124

¿ ¿ ¿ ¿

side

^œ J

Inc.

‰ Œ

Vocal

Merrily We Roll Along

—28—

Transition 2

Feroce (q = 144)

j 2 œœ ‰ œœœ œ œ œ

j œœ ‰ j œ œ œ œ bœ

œœ œ œ

j œœ œœ œ œ œ œ

j œœ ‰ j œ œ œ œ bœ

####

j œ œ œ œ

j œ

some

roads you real - ly

fly.

j 4 œœ ‰ œœœ œ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

# 4 1 œœ œœ œœj œœ & 4 œœ œœ œœ œœ ∑ GROUP:

#### f œ &

Some

j œ œ œ œ œ œ

#### 8 Œ #˙ #˙

# # # # 13

# # & # #

Some

rides are rough and

leave

œ J

make

tough

get

14 SOLO 1:

one… fGROUP # # # # ˙ 1: &

One fGROUP 2: #### œ œ & Some

(Revised 1/95)

Nine - teen

sev - en - ty

œ.

œ J

roads are soft and

œ J

œ.

ting

grump

two…

œ œ œ

Nine - teen

sev - en - ty

‰œ œ œ œ œ J

j œ

j j j œ œ œ œ œ. are bump

you get is

œ J

∑

all

trip,

some

jump

SOLO 2:

j j œ œ œ.

you

try.

‰

∑

j œ œ

œ.

j œ œ œ

œ J

œ œ œ

of roads

œ œ œ œ œ œ œ

(SOLO 2)

j œ

(GROUP)

####

are bump

∑

Plen - ty

some

j œ œ œ œ

∑

# # # #11 n œ

∑

j j j 6 j œ œ œ œ œ œ.

roads are soft and

Why

∑

œ.

one

quick

j œ œ œ œ

some

roads you real - ly

œ J

ride.

j œ fly.

(6/28/02)

Vocal (GROUP 1)

—29—

# # œ & # # J‰ œ œ œ œ œ 19

Look a - round a bit.

# # & # # œ

(GROUP 2)

œ œ J

One

œ J

quick

ride

j œ œ œ œ

j œ

rides are rough and

leave

œ œ J

nœ J

through the

coun -

˙ j œ œ

j j œ œ œ.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Transition 2 21

Some

# # # # 22 ˙

œ J

#### nœ

Why

make

try

œ J

tough

side.

#### 4 & 4

IC N

Stay

œ J

get

ting

grump

the

78 œ 7 8

Nine

teen

sev - en

ty…

∑

4 4

∑

track.

(GROUP 2)

Plen - ty

roads

j œ œ

Some roads

# # # # 4 ALL: & 4 œ 29

How

you

real

j œ œ œ œ

œ œ

try.

start

œ œ œ œ

so you nev - er ev - en

F œ œ

œ œ œ

Nine - teen

six

go?

nine…

∑

fly.

j œ

cresc.

does

SOLO 2:

∑

2) # # # # 4 (GROUP j & 4 œ œ

∑

# # # # 4 26 & 4

# # # # 31

78 œ J

SOLO 1:

1) # # # # 4 (GROUP j & 4 œ ‰

jump

œ J

#### 4 & 4

78 23 œ

œ J

you

Does

œ œ œ œ œ œ œ

no - tice it's hap

pen-ing?

œ #œ

a - way

slip

slow,

ƒ j j # œœœ œœœ œœœ œœœ œœœ

Nine - teen

six - ty - eight…

Vocal

Merrily We Roll Along

—30—

Old Friends

CHARLEY: …You listening? No, no, no! Never, ever… No!

Ad Lib.

MARY:

CHARLEY:

Moderato (h = 84)

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

# & 44

Hey!!

# & 44

Here's

∑

œ Ó

Damn

FRANK:

# 11

old

œ Œ œ Œ

say,

# 27

Most

friends

œ Œ œ Œ

quick

bœ.

and

œ Œ œ Œ

kay,

us,

old

œ.

friend,

else

keeps

tin - ued

get con

and

do you

nique?

chang

make

the

grade.

Œ œ

cuss,

old

New

they'll

∑

j œ œ œ œ

œ.

ing.

next week.

pinch, sure,

dis

What

j œ œ œ œ

what's

œ nœ

they don't

j œ œ œ œ

œ œ œ œ J

# & ˙

friend?

œ œ Œ œ

are

'ry-thing

fade

œ.

old

j œ ‰ œ œ œ œ

œ Œ œ Œ

œ.

made

(Revised 1/95)

j œ œ œ œ

are

b˙

by,

You

œ œ œ œ J

goes

you

œ.

# 19 b ˙

are

friend,

∑

j œ ‰ œ œ œ œ

old

Time

friend,

few.

like us?

j œ ‰ œ œ œ œ

œ Ó

Who's

Hey,

Œ bœ

us…

# FRANK: œ Œ œ Œ &

ones are

˙.

do.

But

Ritard

˙ friend?

˙ Here's

(6/28/02)

Vocal

—31—

# 35

œ to

us…

U Œ œ

Who's

us?

A Tempo

Damn

∑

few.

A Bit Bouncier

CHARLEY:

j œ œ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

U Œ

Old Friends

So,

œ Œ œ Œ

# 43

old

friend,

œ Œ œ Œ

lo,

œ.

old

fill

œ.

friend,

slow,

j œ œ œ

the

want

œ Œ œ Œ

œ.

old

friend…

Start

˙.

œ ˙

when, where,

and

from

hel -

how.

# & ˙

Old

# 51

friends

b˙

Nev

ALL 3:

# 59

friends

quick

tend

come

old

knew

how

missed you

œ Œ œ Œ

much

fade

don't

they

made,

some

till

worth some

bit…

œ Œ Ó

j œ ‰ œ œ œ œ

grade.

them

now.

the

Nœ œ nœ œ

make 61

œ œ œ J

j œ ‰ œ œ œ œ

N˙

bœ.

œ Œ œ Œ

œ œ œ œ J

j œ ‰ œ œ œ

œ Œ œ Œ

Most

œ.

New

thing

ones are

˙.

too.

But

# & ˙ 67

us,

œ.

old

friends,

j œ œ œ œ

what's

to dis

FRANK:

cuss,

old

œ.

j œ œ œ œ œ

friends? Tell

####

you some - thing:

Più Mosso (q = 132)

####

Good friends

# # # # 71 MARY: & ˙ ˙ Good friends

œ œ œ œ œ œ œ

point out your lies,

where - as

old

friends

Œ œ œ œ œ œ

live and let live.

j nnnnbb b œ œ ‰ œ b b œ FRANK:

œ œ œ œ œ œ œ like and ad - vise,

where - as

old friends

œ œ

love and forgive.

And

Vocal 75

—32— (FRANK)

bbbb

b ˙

old

friends

œ œ

let

you

CHARLEY:

b & b bbb

your own

way…

80 MARY:

way…

Let

Aœ œ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

œ œ

Old Friends

Help

b & b bbb

you find

81 (MARY)

your own

b & b bbb

Rightor

# # # # (MARY) ˙ &

CHARLEY:

Old

# # # # 86

friends

n't

care

when you're

œ œœ œ

####

for too

long…

∑

If you're

CHARLEY:

# nnnnn## #

‰ œj œ œ

The thing is,

What's too long…

n###

MARY:

wrong…

œ œ

wrong…

FRANK:

Should, but not

# nnnnn## #

nœ

should

when you're

wrong…

nœ

off

wrong, the point

you're wrong… When you're

you

œ œ œ œ œ œ

wrong…

FRANK:

Aœ

n###

œ œj ‰ Œ

When you're wrong…

# # # (MARY) & ˙ ˙ Old

# # # 92

friends

leave

œ œ œ œ œ

(MARY)

should-n't com-pete.

# # # 95 Ó

###

Should make

de - mands

their brands

FRANK:

Old

friends

CHARLEY:

‰

(FRANK)

j œ

Well,

œ on

œ you…

you,

but

old

friends

œ œ œ œ œ œ œ

don't make de - mands

don't make

de - mands

∑

you

you…

can't

Vocal

—33—

Old Friends

# # # (FRANK) Œ & œ

∑

MARY:

meet.

Well,

(CHARLEY)

œ œ œ œ œ œ œ

there's a

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

###

Well,

what's

# # # 100

de - mands

you can

wheth-er

meet?

Rall.

œ œ œ œ Ó

101

you

nnnbb b b

102

meetthem or not…

Più Mosso (h = 100)

104

bbbb

ALL 3:

œ Œ œ Œ

Hey,

old

108

say,

112

old

b & b bb ˙

day

comes

and

œ.

j œ œ œ œ

through the re

New

friends

pour

125

124

one

that's

b ˙ & b bb

us,

old

stay

friends?

œ œ œ œ J

œ.

œ œ #œ œ J

107

an old

nœ.

b & b bb ˙

how

ing

œ ˙

friend-ship

sur

118

more,

laugh

part

œ.

ing

126

œ ˙

you find

ute,

119

your lives.

j œ œ œ œ

œ.

door…

one, that

min

123

vives? 115

volv

˙.

111

Who

Aœ Aœ bœ œ

they're a

j œ œ œ œ

œ.

old

114

122

j œ œ œ œ

œ Œ œ Œ

110

hav

day

121

do we

chums,

117

n˙

106

j œ œ œ œ

œ.

one

b & b bb

how

friends,

116

109

b & b bb n˙

j œ œ œ œ

œ.

113

One

120

105

friends,

b & b bb œ Œ œ Œ

point

œ œ œ œ œ œ œ œ

time for de-mands,

the

CHARLEY: Look, if he was right…

'll

be there's

˙.

do.

But

127

May

128

129

Ritard

131 bbbb ˙

friends?

œ.

œ J

friends, 132

what's

Meno Mosso

Here's

us!

130

dis 133

Who's

cuss,

˙ us?

old

nnnn##

Vocal 134

###

135

Two

old

# # # 138

j œ œ œ œ

œ.

er won't

do,

old

œ.

j œ œ œ œ

140

friends,

help - ing you

œ.

œ œ œ œ J

139

two

old

136

friends,

Old Friends

few

137

j œ œ œ œ

œ.

friends.

œ ˙

bal - ance

Got

ta have

141

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

—34—

Poco Con Moto (h = 112)

142

# # # FRANK: ˙

# # # MARY: n˙

143

One

braids

146

###

one

per

œ œ ‰ Œ J J

suades

you

∑

Most

# # # 154

œ.

j œ œ œ œ

friends

fade

155

quick

œ.

per

us,

old

friends,

# # # 162 Molto Rubato & œ ˙. # # # 166

# # & #

163

what's

145

fan

+FRANK:

œ nœ

cies,

149

make

the

156

œ ˙

fect as

long

to dis

Who's

167

they're

cuss,

old

New

161

new.

But

˙˙

friends?

Here's

165

us?

Damn

169

ones are

˙.

157

˙˙

˙.

j œ œ œ œ

œ.

grade.

168

153

˙˙

160

one's wrong.

164

us!

152

j œ œ œ œ J

œœ ..

159

oth - er

j œ œ œ œ

made,

˙˙

and

theydon't

158

### ˙ ˙ &

faults

long.

Wrong.

That the

151

‰ œJ œ

# # # ALL 3: ˙ ˙ &

148

CHARLEY:

150

for your

nœ.

147

n˙

you

144

œœ

few!

œœ few!

˙˙

œœ

˙˙

wœ

˙.

Vocal

Merrily We Roll Along

—35—

Growing Up—Part 1

FRANK: I miss him already.

Rall.

44 6

∑

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

b & b 44

Larghetto—Poco Rubato

b & b œœ œœ œœ œœ ∑

œœ œœ œœ œœ

FRANK:

10 œ œ œ œ œ . ‰ œj œ œ œ œ œ œ œ œ œ œ

∑

(whistle)

b 12 ‰ j œ œ œ b & œ œ J

œ J

œ.

nœ œ

œ œ

bœ œ

Frank'sold

friends

al-ways seem

to come

re-mind - ing me…

23 bb

friends,

through…

œ œ œ œ

now

time

it's

œ œ œ œ

œ œ œ œ œ œ

Tak - ing charge,

see - ing things as they

œ œ

A Tempo (h= q )

b & b bbbb C œ

Char - ley

(Revised 1/95)

j œ œj œ Œ œ Molto Rall.

œ œ

IC N

old

still with dreams,

Keep

∑

Frankwill

too…

œ œ

So,

œ œ œ œ œ

A Tempo

b &b

œ œ œ œ

just

œ Œ Ó

re - shap

œ nœ

hot head.

start

up.

nœ œ œ œ bœ œ œ œ œ œ Fac-ing facts,

ing them.

grow - ing

œ œ

are.

œ œ œ œ

œ bœ a

Thanks, old friends…

œ J

(whistle)

15 bb

∑

not es - cap - ingthem,

Rall.

œ Œ œ œ

bbbbbb C

Growing up.

64 26 Nœ œ œ bœ Ó

Char - ley won'tbudge.

(6/28/02)

Vocal

—36—

b & b bbbb C Nœ œ œ bœ œ 27

Char - ley

Growing Up—Part 1

∑

Nœ œ œ bœ œ nœ Œ

a friend.

b & b bbbb Nœ œ œ bœ Ó

œ œ œN œ b œ œ Œ

a scream-er,

j œ

nnnnnn#

‰ Ó

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Char - ley

Char-ley won'tbend.

œ œ œ nœ œ

Mar - y

#œ

∑

Char-ley's in your cor - ner.

aœ œ œ nœ Ó

a dream-er,

Mar - y's

aœ œ œ nœ œ Œ

a friend.

Mar - y

∑

a nudge.

38 39 40 # 37 œ œ Œ œ Ó Œ & aœ œ nœ œ #œ œ œ aœ nœ œ œ œ œ aœ nœ œ Œ aœ œ nœ

Mar-y is a pur - ist,

Why

Char-ley's a judge.

#œ

nœ aœ

old

friends

∑

# 43 w

Char-ley is

‰

don't

IC N

way

#œ #œ œ nœ œ nœ Œ

So,

# # # 51

old

a "cop-out."

j œ Œ

nœ

old

friends

has

turn - ing,

road

Ritard

∑

œ nœ

∑

youkeep learn - ing.

A Tempo # (q= h )

## 4 & 4 œ œ

‰

ev-'ry-thing's

œ œ J

64 45 # œ œ J

Ev - 'ry

# 46 j œ # œ œ œ œ œ œ œ & J

want

change?

that's the

j nœ

a drop - out,

œ nœ Œ

œ œ

friends,

œ œ

don't you

œ œ œ œ

see

can

œ œ

have it

œ œ

œ œ œ œ

mov - ing

on,

get - ting

out

the

˙ past?

### 4 4

œ ˙

all,

Vocal

# # # 55

œ œ

Solv-ing dreams,

not just

œ œ

Growing Up—Part 1 54

œ œ œ œ trust

ingthem,

œ œ

œ œ œ œ

œ œ

tak-ing dreams,

re - ad - just

ingthem,

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

# # # 53

—37—

grow - ing

###

grow - ing

œ œ

œ œ œ

with

the road,

up.

things,

œ œ

œ œ œ œ

be - ing

flex

œ œ

i - ble,

bend-ing

œ œ

œ œ œ œ

add - ing

dreams

œ œ

œ œ Nœ œ œ œ

up,

un - der - stand

when

the

oth

ers

don't

last.

œ œ œ œ œ œ œ

ing that

growing

old

dreams,

some

old

A Tempo

nev

er ends.

œ œ

# # # 68 ‰

old

dreams,

friends.

j œ (whistles)

Poco Rit. & Dim.

up,

œ œ

Grow-ing

# # # 63

Try - ing

# # # 59

Vocal

Merrily We Roll Along

—38—

Growing Up—Part 2

FRANK: My friends are waiting.

∑

b & b b 44

∑

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(q = 144)

GUSSIE:

b &b b

Life

4 3 3 j 3 œ œ b œj œ b œj œ j Ó œ

j‰ nœ œ

is know - ing what

dar - ling.

6 bbb Œ

‰

you

want,

j œ œ

know.

8 bbb Œ

‰

####

j nœ œ

dar

ling,

That's the on - ly thing

told

3 j 3 œ œ j œ b œ œj œ

Nœ

not.

me,

dar - ling.

j 3 j 3 œ œ œ n œ œ # œj œ 3

j bœ œ 10

Thoughit's on - ly fair that

œ I

bœ

want

Tenderly

you

j œj ˙ œ œ

Grow - ing up

(Revised 1/95)

œ a

j bœ œ a

j œ

go,

# nnn## #

Œ bœ Ó œœ

∑

j 3 j 3 œ œ œ n œ œ # œj œ 3

Al - so noth - ing wrong with

nnnnb C

j j j œ Nœ œ #œ nœ œ œ 3

you should be

&b C

you moons

12 3 j 3 j 3 ‰ j œ œ nœ œ j j #œ œ nœ œ #œ œ œ

j 3 j 3 j j ‰ œ œ œ bœ œ bœ œ 3

noth - ing wrong with want - ing.

Noth - ing wrong with want-ing

# # # # 14 Œ

j œ œ

a-ware that

lot.

j œj œ œ œ œ œ

means ad - mit

ting the

j œ œ

j œ œ œ œ

things you want

the most.

(6/28/02)

Vocal

—39— (GUSSIE)

j œ ˙

j œ œ

Can't pur - sue 29

j œ œ

j œ œ œ œ

ev - 'ry

pos

∑

si - ble

j œ œj œ œ œ œ

line.

j œ œj ˙ œ

j œ œj œ œ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

j œ œj ˙ œ

Growing Up—Part 2

Fold - ing tents,

mak-ing choi - ces, ig

j œ ˙

j œ œ

clud - ing

∑

nor - ing

j œ œ

mine.

You're

& b œ œ œ b œ œj b œ . You

de - cide

&b Œ

all

oth - er

voi - ces, in -

œ ˙ J

∑

di - vine…

dar - ling,

what

& b œ œ œ œ b œj œ .

∑

not from force of

hab - it.

IC N

bet - ter

bœ.

j œ œ

good,

dar

ling,

and grab

you

want

∑

want,

you

real - ly

bœ.

j œ œ œ

stood,

dar

j œ bœ œ.

slip

a - way

nœ

dar - ling,

un - der

œ œ œ b œ œj b œ .

what

Things can

what you think you

œ œ œ œ b œj œ .

it.

( h = q ) A Tempo—Languidly

& b 44

not

Once it's clear - ly

& b œ œ œ œ bœ œ Œ

œ œ œ b œ œj b œ .

j œ bœ.

œ bœ

Not

nœ

want,

what you

should.

Poco Meno Mosso

ling,

for

hm?

8 Segue

Vocal

Merrily We Roll Along

—41—

Not a Day Goes By U

b 4 1 b b wwww b & 4

Uw b b www

U # n # n wwww

U # w # # n www

U n w n # # www

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

∑

b &b

∑

U # n n # wwww

∑

Slowly

U b ww b ww

∑

œ œ œ

by,

not

∑

sin - gle

day

œ œ œ ˙

œ œ œ

my life

44 16 œ

and it

∑

BETH:

∑

part of

U n w n www

U bw b www

b & b 64

∑

œ œ œ

Not

goes

day

œ œ œ

but you're some - where

looks like you'll stay.

œ œ œ

As the days

b &b

by,

b 22

curs - ing and cry - ing and

when does

end?

˙ œ œ

for - get - ting?

œ œ œ œ œ œ

(Revised 1/95)

keepthink - ing,

œ œ œ œ ˙

start - ed

b &b

œ œ œ I

œ œ œ

œ œ

But

just

and reach - ing

œ œ œ

œ œ

Where's the day

I'll have

think - ing

and sweat - ing

œ œ œ œ œ œ

turn - ing

wak - ing and

dy - ing and

and

(6/28/02)

Vocal

—42—

Not a Day Goes By

28 29

& w

not

bœ

day

goes

w by,

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

No,

bœ

& œ

34 6 &4

œ Nœ

not

bœ

bless - ed

44 35 œ

œ œ œ ˙.

œ œ

part

and you

day

life

won't

but

you're

still

a - way.

some - how

œ œ œ

So there's hell

& w

œ œ

pay,

& œ

day

and

ter

day

ter

day

ter

& w

by!

& œ

Till

the

Till

the

ter

day

till

the

days

by!

days

by!

U ˙

ter

days

die

I'll

day

die,

day

& œ

un - til

œ Nœ

Vocal

Merrily We Roll Along

—43—

Now You Know

TYLER: Living well is the best revenge!

SCOTTY:

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

# # # # 4 .1 & 4 .

Alla Marcia Vamp—vocal last time

& &

####

∑

(SCOTTY)

œ œ œ œ œ œ œ œ œ œ œ œ

made a mistake, so you're sing-ing the blues, so you'll

‰

you've

œ œ œ œ œ œ œ œ œ

take some time, go vis - it some plac - es…

∑

‰.

MARY:

j̊ œ

You've

& &

#### 5

∑

TYLER:

‰

œ œ

Whatyou

####

(MARY)

œ œ œ

got to

œ œ œ nœ œ œ œ

some-where

wherethere's noth-ing to

re - mind you…

¿ ‰ Œ J

Right?

8 # # # # 7 (TYLER) œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ

break, I'll ar-range a nice cruise,you'll re

∑

####

need is

lax

bit

and

see somenew fac - es…

‰.

CHARLEY & MARY:

#### 9

####

j̊ œ

You've

∑

(CHARLEY & MARY)

œ œ œ got

(Revised 1/95)

some - thing,

œ œ œ nœ œ œ œ but just nev - er look be

hind you…

+TYLER:

¿ ‰ J

Right?

(6/28/02)

Vocal

—44—

# # # # SCOTTY œ &œTYLER: œ œ œ œ & thing that

ev - er

˙.

could

œ J

have

œ.

hap - pened!

FRANK:

¿ J

‰

Right.

JOE:

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

####

Best

Now You Know

∑

‰

œ œ

So you'll

# # # # 14

#### &

∑

2 j̊ 4 œ

‰.

SCOTTY:

The

(JOE)

œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ

sit in the sun, you'll come back with a tan, then we'll

do that show you've al - ways been talk - ing.

# # # # 2 (SCOTTY) & 4 œ œ œ œ #### 2 & 4

nœ œ œ œ œ œ

side is re - tired,

so we start an - oth - er

∑

j œ

œ.

inn - ing…

∑

¿ ‰ J

Right?

‰

TYLER:

œ œ

On a

# # & # # 44 Œ

JEROME:

IC N

# # # # 4 (TYLER) & 4 œ œ œ boat it's

# # # # 2 22 n œ & 4

such

œ œ œ œ œ œ œ

œ 2 4

you'll come back a changed man…

œ ‰ J

fun…

Feels like an end - ing,

‰

œ œ

I've had

CHARLEY & MARY:

œ œ œ

∑

‰ œ œ œ œ œ œ ‰ J

œ œ œ nœ œ œ œ but it's real - ly

lots of guests and no one's squawk - ing

œ J œ.

gin - ning…

>¿ ‰ Œ J

Right?

4 4

Vocal

—45—

#### 4 & 4 œ 26

Now You Know

SCOTTY:

Best

#### 4 & 4 Ó

thing

that

ev - er

could have

j œ

œ.

hap - pened,

say,

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

TYLER:

Best

#### 4 & 4

# # # # 28

œ œ

best

thing that

#### œ œ

œ œ œ

er could have

get - ting much

IC # Ó

N &

One

thing

not

JEROME:

was

U MARY: n n # n C ≈ œ nœ All right, nnn# C

hap - pened!

U Ó

U ¿ ‰ Œ J

nnn# C

FRANK:

too

com - pli - cat - ed…

# C (MARY) & œ nœ œ ˙

have

Right!

U Ó

œ œ œ

nnn# C

L'istesso Tempo

could

j œ œ.

œ œ

all

hap - pened!

˙.

#### œ

JOE:

think a - bout…

∑

#### ˙ & &

that

∑

#### 4 & 4 &

thing

you know

‰

nœ œ

life

crum

œ œ

nœ œ ˙

my. Well,

now

you know.

j œ œ I

# 36

mean

big

nœ

sur - prise!

Peo

now

tell 39

œ Put

you

lies.

Bricks

your

dim

nœ

can

tum

ble

from

ple

love

nœ

ple down,

clear 41

nœ œ ˙

now

you know.

you

and

blue

‰

skies.

j œ œ O - kay,

Vocal

—46—

Now You Know

# (MARY) & œ nœ œ ˙

œ nœ œ œ œ œ

go…

That's the sum

œ nœ œ ˙

it,

‰ j œ œ

now you know.

It's

called

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

there you

# 46

nœ œ œ œ œ

flow - ers wilt,

# 49

get shot,

God

it's called

œ œ ˙

you

nœ œ œ

let - ting go

go - ing's

Œ œ œ œ nœ

œ œ

your il

prayers

˙.

rich

#œ

œ œ

fall

a - part

at the

œ #œ

aœ

lu - sions, and

don't con - fuse

don't re - gret it,

and

don't let's go

œ bœ œ œ œ œ

burn them ev - 'ry

It's called

count to ten.

œ Nœ œ œ œ œ now and

then

or you'll

kay,

œ #œ

œ Œ

the

œ œ

tremes.

It's called

œ bœ œ œ

It's called

dreams.

œ Œ œ œ

themwith

œ bœ œ œ œ œ

œ Œ

œ œ

to ex

œ œ

o - kay,

seams.

œ bœ œ œ

Nœ œ œ

and

œ œ œ

lot,

Œ œ œ œ nœ ‰ j œ #œ œ œ œ œ œ

slow,

what's your choice?

N˙

# 68

# 72

get

œ œ œ

ans - wer

now for - get it. Don't

nœ œ œ ˙

don't

thieves

nœ

nœ œ œ ˙

# 60

it's called

know.

now you know,

ap - ples rot,

called

nœ œ œ œ œ

# 52

now

œ nœ œ œ œ œ

saints

it's

œ bœ œ œ nœ œ

burn your brid - ges,

start

a-gain.

j j œ œ œ ˙

nev - er grow!

You should

œ œ Be - cause

Vocal 76

—47—

# (MARY) & œ nœ now

œ ‰

œ That's

nœ œ œ œ œ

the

now

kil

ler

is,

j œ œ

nœ

you

grow.

n œ œ œj œ

j œ

to -

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

you grow.

# 79 Ó

Now You Know

All right,

# 82

nœ

mor - row

# 85

what

# 88

here,

you've

j œ œ

look

nœ

too

hot…

it's

all

and

you

bet - ter

plot,

j œ

Right,

look

got:

O - ver

œ œ ˙

‰

j œ œ

hel - lo?

O - kay,

# (MARY) & œ œ œ ˙ #

and

now

noth - ing's fair,

does - n't

nœ œ œ œ œ

you know.

#### 4 4

∑

Right?

∑

#### 4 4

JOE:

œ œ

So you'll

# # & # # 44

‰.

2 j̊ 4 œ

MARY:

∑

You

# # & # # 44 œ œ œ œJ œ œ œ œ œ œJ œ œ +SCOTTY:

+JEROME:

find a new gal… So you'll write a new play, in a

# # # # 2 98 (MARY) & 4 œ œ œ œ

may have missed one road,

œ œ œ œ œ œ œ œ

month or two you're go - ing to thank us.

100

œ œ œ nœ œ œ œ but there's plen - ty more

j œ

101

œ.

fol - low.

TYLER:

¿ ‰‰ J œ œ

Right?

We'll go

Vocal

—48—

Now You Know

102

#### 4 & 4

103

∑

#### 4 & 4

‰.

2 j̊ 4 œ

CHARLEY:

You

(TYLER)

œ œ œ œ œ œ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

œ œ œ œ œ œ œ œ œ œ œ œ

through the can - al, up the coast to L. A. You'll come

# # # # 2 104 (CHARLEY) & 4 œ œ œ œ

105

hang a-round here,

108

& &

Best

that

####

œ œ œ œ œ nœ œ

pal,

and you're on - ly gon - na

KT, SCOTTY, BUNKER,

# # # # JOE œ & TYLER: œ

thing

109

could

∑

see the place I'm build-ing at Tran - cas.

106

j œ

œ.

¿ ‰ J

wal - low.

œ.

œ J

110

107

Right?

111

have

∑

MARY:

≈ œ œ

I mean

(KT, SCOTT, BUNKER, JOE & TYLER)

# # # # 112 ˙

####

œ nœ œ

(MARY)

114

I mean,

CHARLEY:

≈œ œ I

(KT, SCOTT, BUNKER, JOE & TYLER)

# # œ & # # J &

####

hap

œ.

115

∑

œ nœ œ œ

sea and sun and

com - fortplus.

what's the fuss?

∑

116

‰

œ nœ œ œ J

œœ œ

you'll come back,

####

113

mean,

117

118

∑

pened!

‰

CHARLEY & MARY:

mean,

nœ

ter

all,

œ you've

œ nœ œ Œ still

got us.

Vocal

—49—

Now You Know

119

# # # # GROUP œ 1: œ

120

thing that

ev - er

could

122

have

GROUP 2:

∑

121

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

# # & # #

Best

# # & # #

thing that

∑

œ.

#### œ

hap - pened!

#### œ & J

# # # # ƒœ

127

was

all

get - ting

much

# # # # ƒœ

thing that

#### ƒ œ &

Best

thing that

#### ƒ & œ

Best

thing that

Best

thing that

Best

œ œ œ

get - ting

all

œ œ

all

was

œ œ œ

much

ev - er

126

could have

was

much

too…

œ œ œ œ

too

com - pli - cat - ed

an - y - how…

could have

129

œ J

œ.

œ J

ev - er

hap - pened!

could have

œ.

œ œ œ œ

j œ œ.

ev - er

hap - pened!

could have

œ œ œ œ

j œ œ.

ev - er

hap - pened!

could have

∑

130

‰

hap - pened!

œ œ œ œ

com - pli - cat - ed…

∑

œ œ œ œ

GROUP 4:

œ œ

too

∑

128

ev - er

œ œ

hap - pened!

#### œ

thing that

125

œ.

∑

œ œ

124

have

∑

hap - pened!

∑

# # # # 123 œ & J

could

Best

# # & # #

ev - er

GROUP 3:

FRANK:

nœ œ

Right! You've

nnnnb

Vocal 131

—50—

Now You Know

(FRANK)

&b œ œ œ œ œ œ

œ œ œ

go, got-ta

133

œ œ

it fromscratch, take a

œ œ œ œ

134

long deepbreath, go

œ œ œ œ

back

œ œ

to yoursour - ces. A

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

got-ta let

132

(FRANK)

135

136

&b œ œ œ œ

œ œ œ œ œ œ œ

lit - tle va - ca - tion,

137

which is all

∑

138

¿ ‰ œ J

¿ J

a - bout for - getting…Right?

∑

œ œ

Right! Then we'll

GROUP:

∑

¿ J

‰

Right!

139

(FRANK)

&b œ œ œ do

140

œ œ œ

œ œ

a new show… No, we'll

141

œ œ

a whole batch, may-be

one that's all

(FRANK)

bœ œ œ œ œ b & bœ œ œ œ œ

144

mean, a di - vorce court,

145

what a fas- cin - at - ing

∑

œ œ œ ¿J ‰ œ

œ œ œ b œ œ œœ œœ œ œ œ bœ œ

143

œ œ œ œ

142

œ œ œ œ œ

bout di - vor - ces! I

146

set - ting! Right?

∑

¿ ‰ n # 44 J

Right!

‰ n # 44

GROUP:

∑

¿ Œ J

Right!

147

# 4GROUP 1: & 4 œ œ Best

thing

that

# & 44

could

have

Best

thing

that

w done.

j œ

œ.

hap - pened.

∑

# 149

148

GROUP 2:

150

could

have

j œ

œ.

Yes - ter - day

hap - pened.

œ.

j œ See

say,

the

pret -

Vocal

151

(GROUP 1)

œ œ

best

thing that

152

œ œ œ -

Now You Know

er could have

j œ

hap -

œ.

pened.

œ say,

(GROUP 2)

œ œ

˙.

œ œ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

—51—

coun - try - side.

# Œ

‰

Soon e - nough you're

GROUP 3:

œ œ

So you'll

& &

# 153 #

œœ œ œ œ œ

œ œ

sit in the sun, you'll come

back with

154

œ œ œ œ œ œ

best

thing

œ œ

mer - ri

that

ev - er could

have

œ œ. J

œ œ a

tan,

œ œ œ

ly,

mer - ri - ly

roll - ing

Œ Œ œ

your

time,

Roll

159

Dance

& C

j œœ b b œœœ ... œœ b œ .

Œ b n b œœœ bœ

j œœ n œœœ ... œœ œ .

#œ

∑

158

It's

your

time!

long!

j b bb œœœ ... N b œœœ œœœ b b œœœ b œ. bœ œ bœ

161

j b bb œœœ ... N b œœœ ˙˙˙ b œ. bœ ˙

∑

time!

j # œœ œœ # œœ œœ

your

œ. # œœœ ...

164

time!

160

long!

your

3 Œ ‰ ‰ œJ

ing

∑

# 163Œ # œœœ

It's

155

157

month or two you're

It's

œ œ œ

hap - pened.

go - ing to thank us.

156

# & œ œ œ œ

œ œ œ œ

œ œ

162

œœ ... œœ .

˙˙ ˙˙

∑

n œœœ œ

œ. # œœœ ...

165

j # œœ ˙˙ # œœ ˙˙

∑

‰

∑

˙˙ ˙˙

166

œœ .. œœ ..

∑

‰

nbb

Vocal

—52—

Now You Know

167

b &b

ALL:

bœ

your

choice?

It's

called

count

bœ

ten.

It's

called

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

What's

168

b &b

169

burn

170

bœ

your

brid - ges,

b 172 œ N œ

now

then

and

bœ

start

a - gain,

173

you'll

œ nœ

you should

œ œ J

œ ˙ J

nev - er

171

burn

bœ

œ Nœ

them

174

‰

'ry

j œ œ

grow!

Be - cause

175

b &b

176

œ bœ œ ˙

now you grow.

179 bb

Life's

(MARY)

kil

ler

and it's

177

so,

j œ œ

all

and to -

a plot,

∑

MARY:

178

œ bœ œ ˙

‰ jœ œ

now you grow.

œ bœ œ ‰

180

œ b œ œ ‰ œj œ

noth - ing's fair,

œ bœ œ œ œ

181

œ bœ œ œ

mor-row does - n't

∑

You're right,

182

‰ j œ

œ bœ œ Œ

look too hot…

∑

You

ALL:

‰ ¿

‰

Right!

183

bet - ter

look

(MARY) b &b œ œ

187

œ œ ˙

(MARY)

184

œ œ ˙

what you've

188

˙.

185

186

œ œ

got:

O - ver

189

190

GROUP 1:

‰ jœ œ

here, hel - lo?

∑

O - ver

œœ œœ œœ Ó

œœ œœ œ Ó œ œ œœ

Now you know,

now you know,

now you know.

GROUP 2:

Vocal

—53—

Now You Know

191

(GROUP 1) b œ œ œ &b œ here, hel -lo?

b &b Ó

œ œ œ Œ œ

192

Here, hel-lo?

œ œ œ Œ

194

Here, hel - lo?

Here, hel-lo?

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(GROUP 2)

œ œ œ

193

Œ ¿

Right!

b &b Œ œ

GROUP 3:

b &b

195

bœ.

j œ Ó

you

know

it!

œ œ œ œ

196

Here, hel - lo?

Œ b œœ

b &b

you

know

it!

Right!

∑

b œœœ œ

bœ b b œœœ n œœœ œ

∑

˙˙ ˙˙

ww ww

it!

Right!

œ œ œ Œ

198

Here, hel - lo?

Œ ¿

Right!

Œ b œœ

201

205

∑

know

Right!

∑

204

you

Now

¿ Œ ¿ Œ

Right!

j œ Ó

j œœ œœ ..

b œœ ..

j œœ Ó

you

know

it!

Right!

203

Right!

200

bœ.

œ œ œ

197

Œ ¿

b œœ ..

Œ ¿

Right!

Here, hel - lo?

j œœ œœ ..

¿ Œ ¿ Œ

j œ œ.

Now

j œœ Ó

Now

199

Œ œ

œ œ œ œ Œ

Right!

Here, hel - lo?

Right!

j œ œ.

Now

202

Right!

œ œ œ œ œ 206 ALL: œ œ œ ¿

∑

Right!

¿ ¿ Ó

Now youknow!

End of Act 1

Vocal

Merrily We Roll Along

—54—

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Entr'acte Tacet

10A

Act 2—Opening

Curtain rises, GUSSIE paces.

Vamp—gradually slower (vocal last time)

b & b C .. Ó Œ ‰ œj .. œ œ œ œ ˙ GUSSIE: 2

He's

b &b

on - ly

May - be

b &b œ

loves

what

œ Nœ œ œ œ

I'll

comethrough

for

∑

him…

œ œ œ œ œ œ

a boy…

œ œ œ

Why do

can

for him.

œ œ œ

May - be

moon

me?

œ œ œ

May - be

#œ nœ

the

think he loves

œ bœ œ œ œ œ I

œ ˙.

thinks

that

œ œ nœ

is cheese!

And yet

b &b

may - be,

b &b ˙

j j‰ Œ œ œ

may - be

some - thing

œ œ

real

17 18 j ‰ œ . j œ #œ j j œ #œ œ œ #œ œ œ nœ œ œ œ

œ.

(Revised 1/95)

by,you're a

ba - by,

and the

man I'm mar - ried to

hap

œ œ œ

pen - ing

here… But

n#### " Œ n œ œ #œ

needs me near…

(6/28/02)

Vocal

—55—

Act 2—Opening

Molto Rall.

# # # # (GUSSIE) j j & œ œ œ œ 20

O - kay,

(h = qk) Slow 4

cheese!

œ œ J

j œ œJ œ

œ œ œ

the guy

I should-n't

and

And

128

j œ œ.

œ œ œ

I should,

ah,

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

# # & # # 128 œ

the moon

love

œ œ J

don't

the one

# # # # 26 œ n œ œ œ œ œ œ œ & J œ nœ œ love

is blind and

# # & # # ‰

‰

j œ

start

for

the kind that

# # # # 32 ‰ ‰ &

# # # # 34 ‰

‰

# # # # 36 ‰

# # # # .38 . &

‰

j œ

out

j œ œ

j œ œ it

Grandioso

# # # # 30 ‰ ‰ &

start - ed

qui

j œ œ

And then

one morn - ing

and

j œ œ.

œ J

fin - al - ly

j œ

song,

j œ

It's

not

that

noth

j œ nœ.

with

sur - prise.

œ J

j œ œ œ

ing

j œ œ

œ.

no good…

œ.

thing

j œ

œ.

Rall.

woke

j œ

find

good

slow,

œ œ J

j œ œ

had

j œ

œ œ nœ œ nœ œ ˙.

but

nœ œ.

re - a - lize

œ.

˙.

ing.

j œ

went

wrong…

(Dialogue)

U ∑

Vocal

Merrily We Roll Along

—56—

It's a Hit U

# # # # 3 1 JOE: # 8 œ œ &

nœ nœ

œ œ

aœ œ

U FRANK: " ‰ nœ nœ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

œ œ

‰ "

Lis - ten

to that!

# # & # # # 38

Will

you

CROWD: U ¿ "‰ J

∑

lis - ten

to that!

‰

∑

(Ovation)

####

know

what

that

#### 9 # œ œ œ œ œ œ & &

####

means? Let

an - y - one who e - ven

∑

it,

œ œ œ

tell you what

that

œ nœ nœ

thinks

‰

(Ovation)

you

U ¿" ‰ J

means… Wait,

aœ œ œ say

∑

no,

Un n ‰ " n nnbbb

don't

nœ nœ

>¿ U " nnnn b

it, you'll

jinx

it.

∑

‰ ‰ J

nb b

(Ovation)

CHARLEY: b bb œ œ

œ œ

Lis - ten

b &b b

U JOE: " ‰ œ œ U ¿" ‰ J

that!

Did

∑

you

œ œ

lis - ten

‰

IC N

œ œ œ

make you feel

b b 22 œ b &

fate

and

I'll

& b

∑

proud? Well,

feel

bœ œ œ

state

∑

Does

∑

that

‰

(Ovation)

Ritard

U FRANK: ‰" œ œ U ¿" ‰ J

that?

(Ovation)

b &b b

out

œ œ œ

more than just

œ œ œ

proud… O - kay,

wait,

Molto Rit.

U p U U 24 œ ‰" ‰ nœ œ loud: That's the U ¿ " ‰ ∑

œ œ œ

I'll tempt

U U U

nœ nœ bœ

sound

∑

(Ovation)

(Revised 1/95)

(6/28/02)

VocalLargo Poco a Poco Accel. 27

—57—

It's a Hit

(FRANK)

b &b b œ

nœ

It's

nœ hit!

nœ

Gang,

œ nœ

this

think

nœ

it!

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

hit!

b 31 &b b œ œ œ œ œ œ writ - ing clev - er

lit - tle

shows

b &b b œ œ œ œ œ œ 35

pros

for

& b

those

loons,

j œ

‰

the

tunes."

base - ment

that

∑

œ nœ

pro - cla - ma - tions from the

nœ

"You

can't hum

∑

CHARLEY:

‰

nœ

b &b b

∑

(CHARLEY)

& b

in - ter

b &b b

‰

MARY:

nœ œ

du - cers hav - ing you

to the

plays you wish you could af

when

say

right

ev - er

∑

ford.

j œ

‰

they're

bored.

di - tion

∑

(CHARLEY)

∑

way

you

‰

play

the

first

pro -

j bœ ‰ ‰

œ œ œ œ œ œ

œ nœ œ

mis - sion

b &b b œ œ œ œ œ œ b &b b

∑

œ œ œ œ œ œ

sneaking in

∑

‰

CHARLEY:

And

who

œ.

chord:

Vocal

—58—

It's a Hit

Vamp

b &b b

∑

(CHARLEY)

bb œ b J &

.. ¿ .

CROWD:

.. ‰

‰

.. ‰

∑

nœ

We're

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

‰

MARY, FRANK & CHARLEY

(Ovation)

Più Mosso

b &b b œ

nœ œ

j nœ ‰ ‰

hit! We're a

hit!

∑

‰

b &b b

voic - es like

b &b b

FRANK:

nœ œ

JOE:

nœ œ

j œ ‰

nœ œ

∑

bit.

∑

‰ œ

œ œ œ œ

œ nœ œ

b &b b œ œ œ œ œ œ

se - cond hand pi - a - nos with

(MARY)

œ nœ œ

a - gents giv - ing you o

tees

should

nœ œ

j œ ‰ ‰

œ œ œ

six bro - ken

keys.

MARY:

‰

No more

CHARLEY:

b &b b

œ nœ œ

coach-ing those so - pra - nos with

j nœ ‰ ‰

up, the whole

‰

œ œ œ œ

bees.

∑

‰

No more

Stand-ing

b &b b œ œ œ

∑

these guar - an

pin - ions

as they

+FRANK & CHARLEY

œ œ œ œ œ œ

turn you o - ver to their

min - ions… Just for

œ nœ œ

œ nœ please thank

the

Lord.

It's

# nnn## #

Vocal 74

—59—

Ancora Più Mosso

####

(FRANK & CHARLEY) 75

œ #œ

It's

hit!

j #œ

‰

hit!

∑

‰

BETH:

‰

∑ œ

∑ #œ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

####

It's a Hit

# # # # (BETH) œ œ œ & 78

all

# # # # 82

that

bal

####

not that he's

fac - es

ston

# # # # 90

hand - ing

the

Will

folks

they've

œ #œ

have

made

but

#œ œ

when they

phon - y

the

ter

through,

all

that

#œ

Will

their

do?"

see

their

Son

œ.

Ton - y

what does

#œ

fit!

phon - y,

#œ

ney

#œ

œ œ œ œ œ œ

"Hon - ey,

#œ

œ y

#œ œ

some - one

nn##

ward!

Play 4 times

# # 94

FRANK: I would like to begin by thanking all the hundreds of people who have turned down…

∑

…every show I have ever written so that I could win tonight for this one.

# # 99

FRANK: Thank you.

103

Ï CROWD: U¿ . (Ovation)

U ∑

### 9 8 ### 9 8

Vocal

—60—

Agitato ( qk = 126 )

104

# # # 9 FRANK: & 8 œ œ œ œ ‰ ‰ œ

œ œ œ œ œ œ œ œ œ

105

106

œ œ œ œ ‰ ‰ œ œ

Willyou

lis - ten to that?

Tell me,

is that a noise, or is that a noise?

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Lis-ten to that!

It's a Hit

# # # 107 œ

That

noise we've been

wait - ing

the

108

j œ œ.

whole

our

lives

hear.

109

# # & # Œ.

(FRANK)

Œ. œ œ œ

Lis-ten to

# # & # œ œ œ œ ‰‰ œ œ

110

œ œ œ œ œœ œ

Lis-ten to that!

###

œ.

can't

that! Will you lis - ten to that?

BETH:

‰ ‰

œ œ œ œ

Did you

lis - ten to that?

Œ.

111

‰

œœ œ œ œ

œ œ œ œ

Hon - ey,

is that a noise, or is that a noise?

nnnbb

112

& &

###

œ.

stand

it!

Œ.

113

œ œ œ œ œ œ œ œ œ

That

the

lov - li - est noise for

∑

nnnbb

j œ œ.

bread - win - ning wife

hear.

114

b &b

IC N

b &b œ

Lis - ten

that!

‰

BETH:

Œ.

˙.

That's

∑

Œ.

∑

MARY:

b &b

115

∑

Lis - ten

Œ.

scene!

JOE:

Lis - ten

that!

‰

Fel - las,

Vocal

—61—

b &b œ 116

FRANK:

‰ Œ.

Lis - ten

that!

b &b œ

œ œ

j œ ‰ ‰

the

noise I've

œ.

œ nœ

œ nœ #œ

been wait - ing

œ.

Œ.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

117

That

(BETH)

It's a Hit

that,

did

you

MARY & CHARLEY:

That

(JOE) b &b œ œ

that

b & b nœ 118

life

lis - ten

bb nœ.

œ œ

noise that

b œ.

œ œ

real - ly

œ œ œ

119

Lis - ten

œ.

‰ œ œ

it!

Did you

that?

nœ

Will

Œ.

Lis - ten

IC N

lis - ten to that! f CHARLEY: # # œ œ œ œ & # #

f # # # # MARY: œ.

Lis - ten

stand

you

‰ ‰ œ œ

that!

Will

œ.

‰ œ œ

it!

Will

f # # # # (JOE) & œ œ œ œ lis - ten

Will

that!

you

‰ ‰ œ œ Will

you

# nn## #

Œ.

# nn## #

that, will

you

that?

œ.

can't

nœ.

œ.

j œ

stand

it!

Will

you

œ œ œ œ

121

lis - ten

that?

œ œ œ œ

lis - ten

that?

œ œ œ œ

lis - ten

that?

œ œ œ œ lis - ten

that?

# nn## #

‰ Œ.

120

‰ ‰ œ œ

Œ.

‰ œ œ œ œ œ œ

œ.

can't

‰

noise!

lis - ten

Œ.

‰

that!

œ œ œ nœ

Gol - ly

f # # # # (FRANK) œ œ œ œ &

œ.

that!

‰ ‰ œ œ

œ.

œ nœ

Lis - ten

œ œ

j œ nœ.

can't

a…

hear.

that?

real - ly

stand

œ œ

b nœ &b œ œ œ lis - ten

‰ œ

That's

‰ œ

That's

nœ

nnnnb 3 8

the

That's

‰ œ

nnnnb 3 8

the

That's

‰ œ

nœ

# nn## #

nœ

nnnnb 3 8

the 2

nœ the

nnnnb 3 8

Vocal 122

—62—

L'istesso Tempo ( qk = e )

& b 38

ALL:

123

nœ œ

sound of

œ œ œ

124

nœ œ

aud - i - ence

JOE:

125

los - ing its

126

œ œ œ

mind! It's the

127

nœ œ

Pope on

his

nœ œ

bal - co - ny

Rall.

œ" J nœ œ ALL:

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

œ œ œ

It's a Hit

128

129

bless-ing man

134

130

œ œ œ J

kind! Folks,it's

hit!

"Fun - ny Girl,"

135

nœ œ

"Fidd-ler," and

nœ

It's

136

nœ

hit!

Più Mosso—In 1

&b œ œ œ œ œ œ 138

on - ly

142

ev - en runs

139

nœ

It's

œ nœ

it,

∑

&b 146

140

144

not

nœ J

ble

it's

just

∑

147

∑

hit!

nœ

wedge,

it's

the

j œ

‰

the

edge.

∑

&b œ œ œ œ œ œ

‰

spir - its

148

∑

149

∑

ev - er need im

#œ

your

‰

FRANK:

150

#œ œ

prov - ing,

you can

drop in

œ œ œ œ œ œ

thingthat's pos - i - tive - ly

∑

151

‰

152

an - y night for

153

∑

‰

free!

FRANK & CHARLEY

…Is we're

mov - ing…

CHARLEY:

j œ

You

could

have fooled

œ J me…

the

j œ ‰ ‰

œ œ œ œ œ œ

œ #œ œ

Rall.

JOE:

But

(JOE)

FRANK & CHARLEY

Più Mosso

145

bined!It's

nœ

141

least

137

143

and we're real - ly

nœ œ

Accel.

pal

nœ

133

"Dol - ly" com

nœ

min - ute,

œ œ œ œ œ œ

thea - ter

nœ œ

132

Pesante—In 3

&b œ

131

‰

n##

Vocal A Tempo 154

###

—63—

It's a Hit

(FRANK & CHARLEY)

œ.

155

œ.

old

157

œ.

friends!

158

œ œ œ

Noth-ing can

159

œ.

kill

160

œ.

old

161

œ.

friends!

+MARY

œ œ

Where there's a

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

still

156

###

162

œ.

163

will,

# # œ. & #

164

œ.

old

170

171

us,

165

œ.

friends.

œ.

172

old

œ.

œ œ œ

167

Don't need suc

cess to sur

œ œ œ

174

œ.

173

friends,

166

what's to dis

œ.

œ œ J

169 +BETH

168

vive!

And

Ritard

175

cuss

œ.

176

old

177 ALL:

œ œ œ

œ.

friends?

We'vegot a

178

# # œ & # #œ

sure - fi

# # # 182 œ

lines

# # # 186 œ

190

gen

down

hit!

ine

way

boff

191

#œ

It's

196

#œ

It's

192

œ.

block - bus

#œ

sen

#œ

gar

#œ

It's

Uœ . œœ .. hit!

ter

#œ

sa - tion - al

gan

194

#œ

It's

œœ œ J

198

hit!

‰

#œ

193

197

185

189

loo

#œ

way

hit!

188

#œ

fice

184

#œ

181

walk

187

#œ

Broad

Rall.

hit!

180

#œ

### œ.

# # # 195# œ

183

box

179

#œ

It's

‰

Vocal

Merrily We Roll Along

—64—

11A

Transition 4 Dreamily (q = 100) SOLO:

b 41 b & 4 œ

j œ

don't

die,

keep

j œ œ

eye

your

j œ œ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de œ

j œ

Dreams

U ∑

b & b 44

b &b

∑

U w

dream.

U Œ

MAN & WOMAN:

bœ J

"Cause

b &b

be - fore

IC N

Time

œ J

you

know

œ J

œ bœ

where

∑

goes by and dreams

go dry,

you

œ bœ

are,

there

you are.

U #œ œ Ó

∑

U w

j œ œ œj œ œ œ

j j œ œ œ œ œ œ

j œ

but you

can't give up

on your

Tend your

dreams.

Più Mosso (SOLO)

œ Œ #œ œ

dream.

∑

b & b N œ N œ œj œ

GROUP:

œ œ œ œJ œ .

Some roads are eas - y.

(Revised 1/95)

Dreamstake

œ Œ #œ œ

time.

Time goes

œ œ œ œJ œ

Some roads are all

j œ

up - hill.

(6/28/02)

Vocal

—65—

13 (SOLO)

&b w

Transition 4

∑

#œ œ

by.

Bend your

j œ œ œ œJ œ œ œ # œ œ œ œ Œ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(GROUP) j b & œ œ œ œJ œ œ œ # œ œ œ œ Œ Some roads you plod a - long

with a will.

Some roads you trav - el just

for the thrill.

œ Œ #œ œ

dreams…

œ œ œJ œ .

Some roads are

j œ œ œ œJ œ œ œ # œ œ œ

breez - y.

Some roads are full of jig

j 22 œ Œ œ œ œ œ J œ œ #œ œ œ œ

GROUP:

it get you down

in the dumps.

(SOLO)

œ œ œ œJ œ 3

gles and bumps.

j 24 œ œ œ œ œ J œ œ #œ œ œ ˙

Don't let

it get youdown

inthedumps.

U w

∑

road…

(SOLO)

Can't let

with the

Nine - teen - six - ty - four,

∑

œ œ œ œJ œ 3

Nine - teen - six - ty - three,

∑

œ œ œ œJ œ 3

Nine - teen - six - ty - two…

U w

Vocal

Merrily We Roll Along

—66—

The Blob—Part 1 œ œœ œ

j œœ œœ

j œœ œœ œœ œœ

œœ œœ

j œ ‰ œœ œ

‰ œœœ œ

j œœ œœ œœ œœ

œ œœ œ

j œœ œœ

j œœ œœ œœ œœ

œœ œœ

f SOLO: Œ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de &C

∑

Haveyou

seen?…

& &

‰

j œ

œ.

How

was

it?…

j œ

œ.

That

does

it!

& œ

‰

seen?…

j œ

œ.

How

was

it?…

f SOLO: œ & œ Dar

œ J

not

ser

j œ

œ J

You're

not

ser

j œ

œ J

not

ser

i -

œ i

you

Have

you

ous!

you

∑

ling!

∑

f SOLO: œ œ We

(Revised 1/95)

i - ous!

j œ œ

j œ

You're

& Œ

j œ œ Ó

mean?…

You're

f SOLO: œ

j œ

bought

the

most!…

(6/28/02)

Vocal 11

—67—

j œ

œ.

That

does

it!

& &

j œ

‰

œ J

not

ser

Have

you

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

The Blob—Part 1

mean?…

You're

Dar

ous!

∑

ling!

∑

had

f SOLO: ‰ œ

the

best!…

Did

& œ

‰

seen?…

j œ

You're

& Œ & œ

Dar

j œ

œ.

How

was

it?…

œ J

not

ser

ous!

you

∑

ling!

∑

& œ

you

œ i

j œ

f SOLO: œ œ & Œ read?…

'll

œ J

nev - er!…

saw

‰

œ J Ó

saw

j œ

the

first!…

the

first!…

‰

j œ

What

they

Vocal

—68—

& &

œ.

That

does

it!

It's

the

j œ

j œ œ

œ J

You're

not

ser

i -

‰

j œ

It's

the

‰

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

j œ

The Blob—Part 1

mean?…

Dar

ling!

∑

œ J

Did

you

ev - er?…

need!…

‰

Was

that

had

œ J

the

worst?

the most!…

‰

œ J

ous!

j œ

It's

the

ALL:

œ œ œ

œ œ

best,

it's

& œ

ab - so - lute - ly

& œ

on - ly,

b & b 44

the

œ œ œ œ œ œ œ œ

fin - est

low - est,

it's

& œ

the first,

it's

the

per - fect,

it's the

the

it's

the…

œ œ œ

œ œ

least,

it's

the

sin - gle,

lat - est, it's the

great - est,

32 23 ¿

Hi!

the worst,

Fab-u-lous!

the

it's

the

ƒ ¿ ¿ Œ ¿ ¿ ¿ Œ

Dread-ful!

b b 44

Vocal 28

BETH: Frank… Frank…

Stage Piano ∑ b b

œœ œ

The Blob—Part 1

∑

œœ b œœ .. ‰ œ œ. œ œ #œ

œ œœ œ # œ œ n œœ J J

∑

b œœ Œ N œœ œœ œ nœ œ #œ œ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

—69—

b &b

∑

3 times

b & b ..

œœ œœ b œ œ #œ b œ Œ

Stage Piano

œœ œ

b & b œœ 45

∑

œ n œœ œœ œ œ # œ œ # œœ J J

U ∑

∑ ‰

œ œœ œ # œ œ n œœ J J

œœ œ œ #œ œ

∑ ‰ œ . 46

∑

b œœœ ... œ b œ # œ œ

∑

œœ .. œœ b œ. œ œ #œ œ ‰b œ.

ww ww

∑

BETH squeals.

∑

œœ .. œœ b œ. œ œ #œ œ ‰b œ.

œ n œœ œœ œ œ # œ œ # œœ J J

b & b n œœ

∑

œ n œœ œœ œ œ # œ œ # œœ J J

b œœ .. œ.

ALL:

What?

Who?

∑

Œ b œœ N œœ œœ œ nœ œ #œ œ

∑ ‰ œ . 48

œœ b œœœ ... œ b œ # œ œ

Œ ¿

Where?

Oh…

∑

œ n œœ œœ œ œ # œ œ # œœ J J

∑

œœ Œ n œœ œœ b œ œ œ #œ b œ

U ∑

Segue

Vocal

Merrily We Roll Along

—70—

12A

The Blob—Part 2 BETH: I thought it was autumn.

∑

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

b &b C

œ œœœ

œœ œœ

œœ œœ J

b3 œ œ Ó b & GROUP 1:

œ œœœ

œœ œœ J

∑

Dar - ling!

œœ œœ

‰

œ œœœ J

œ œ Ó

œœ œœ J

‰

œœ œœ

‰ œ œ J

Dar - ling!

GROUP 2:

∑

Œ œ œ œ œ œ We saw

The most…

∑

œ œ œ œ œ

the new!…

We had

the most…

∑

SOLO:

He's

ALL (in groups):

Bad,

was

good,

it's

the

big - gest.

9 bb

∑

She's

(ALL)

can't

but

used

to,

it's

the

b &b 11

& .. 15

3 times

b & b ..

Vamp

(Revised 1/95)

œ a

Well,

gen - ius!

dumb - est,

it's

the…

.. b b

GUSSIE: You don't mind if I kidnap him, do you? 17

gen - ius!

SOLO:

.. b b b b (6/28/02)

Vocal

—71—

Long Vamp—vocal last time

b & b b b ..

GUSSIE:

Meet

the

blob.

The Blob—Part 2

Œ œ

The

bod

œ œ œ œ œ

ies

you

œ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

b & b bb

œ œ œ

read

a - bout.

24 bbbb Œ

The ones

who know

ev - 'ry - one

(GUSSIE)

œ œ œ œ œ

That ev

b & b bb

∑

'ry - one

knows.

∑

GUESTS:

¿ ¿ Œ

Hi!

¿ ¿ ¿

Dread-ful!

Fab - u - lous!

b b b (GUSSIE) b & œ œ Meet

(GUSSIE)

& œ

the

& Œ

GUESTS:

Oh,

right.

bœ

you

nev

IC N

not

man

and

What?

No!

see

one.

set.

Who,

him?

¿ ¿ ¿ J

¿ ¿ ¿.

But, what do

you

think?

œ œ œ œ œ

nnnn

And we're

debt.

& ‰.

∑

& &

bœ œ œ œ œ

They come

blob,

yet,

& Œ

their

∑

'Cause,

hon

ey - bunch,

∑

Vocal

—72—

The Blob—Part 2

(GUSSIE)

& œj œ

they write

& œj œ 40

j œ œ

œ œ

the books

and

put

j œ œ

j œ œ the shows

œ œ

j œ œ

j œj œ œ

j œ

and run

the

sa - loons and

de -

j j œ œ œ

j œ

j œ œ

j œ ˙

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

j œ œ

sign

& &

the

clothes.

They keep

∑

GUESTS:

bee!

War

na - tives

our

j ¿ ¿

hol!

¿ J

(GUSSIE)

‰

j œ

Then

toes.

wa!

(GUSSIE)

& œj œ

they read

& œj œ 48

all

the

j œ œ

œ œ

the books

and

j œ œ

clothes…

& # œj N œ

IC N

you - know

#œ œ #œ

j Ó œ

what!

œ œ J

most im - por-tant peo - ple in the

What you

& #œ œ œ nœ œ

j œ œ

œ œ

the shows

and swamp

j œ œ

might call

glut.

#œ œ #œ

most im - por-tant cit - y

in the

55 GUESTS:

Heav

Mil - town!

the

#œ œ œ nœ œ

j œj œ œ

j œ œ

j œ

sa - loons wear - ing

‰ # œj Œ

œ #œ

But,

they're the

#œ œ œ nœ œ #œ œ #œ

most im - por - tant coun - try in the 56

Ges - talt!

12B

The Blob—Part 2 (Underscore) Tacet

Segue

Vocal

Merrily We Roll Along

—73—

12C

Growing Up—Act 2 GUSSIE: We want it fast, loud, and funny.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Allegro Non Troppo (q = 144)

U ‹˙

# # # # 41 U˙ & 4

GUSSIE: 3

∑

Life

#### 4

dar - ling.

j 3 j 3 j j ‰ œ œ œ nœ œ nœ œ

‰

#œ

is know - ing what

That's thething youhave

#### 7

3 j 3 j 3 j 3 œ œ nœ œ nœ œ j Ó œ

Climb

dar

ling,

j 3 œ œ b œj

j œ bœ œ

climb.

have

j œ

lit - tle

You'll get ev - 'ry-thing you

slow,

dar

I'd

sayyou're

a win - ner,

want,

nnnnb

∑

pa - tience.

‰ j œ nœ œ œ

j 3 j 3 j 3 œ œ nœ œ nœ œ j œ

3 j 3 œ œ œj n œ j œ œ

j 3 j 3 j œ œ bœ œ bœ œ

ing moun tains can

&b Œ

j #œ œ

know.

want,

Ó ‰ j Œ œ

you

j ‰ œ

ling,

j 3 j 3 œ œ œ b œ œ b œj œ 3

Take

it ea - sy as

j 3 j 3 j œ œ œ nœ bœ œ œ 3

al - so

you

bbbbbb C

begin - ner,

bb & b b bb C

œ bœ

one

(Revised 1/95)

step

œ a

time.

(6/28/02)

Vocal

—74—

Growing Up—Act 2

(GUSSIE) b b b j &b b b j œ œ œ ˙

œ œ œ œ œ it's what

they call

Œ œ œ œ œ œ

growing up.

It'swhen

we're all

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Growing up,

j j œ œ œ ˙

b & b bbbb

j œ ˙

j œ œ

start - ing

œ œ œ œ œ

out

and start

ing

∑

sway.

b & b bbbb

j œ œj ˙ œ

Grow-ing

up,

b & b bbbb w 32

day

you hate

Œ œ œ œ œ œ

the de

on your

Œ œ œ œ œ œ

lay,

œ œ œ œ œ

you'll be

but af

ter

So what

nnnnbb

œ nœ œ œ nœ

way.

do you

b &b

say?

b &b

Alto Sax—solo

œ œ ˙

∑

b &b œ

œ œ œ œ œ

∑

œ œ œ œ œ

∑

œ œ ˙

∑

b 48

∑

# Alto Sax & # w ∑

∑

œ œ

# nn #

Cut on: GUSSIE: You're a treasure.

œ bœ œ œ œ œ

∑

.. w 56

œ œ œ œ œ

∑

.. ∑ Segue

Vocal

Merrily We Roll Along

—75—

12D

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

The Blob—Part 3

& 44

œ œœ œ

j œœ œœ

j œœ œœ œœ œœ

œœ œœ

∑

j œ ‰ œœ œ

‰ œœœ œ

j œœ œœ œœ œœ

∑

œ œœ œ

j œœ œœ

j œœ œœ œœ œœ

œœ œœ

∑

ALL:

Œ œ œ

It's the

& .. œ

it's

the

first,

it's

the

it's

the

worst,

it's

best,

& œ

least,

& œ

it's

the

sin - gle,

the

it's

fin - est

it's

the

lat - est,

it's

low - est,

it's

the

so - lute - ly

on - ly,

it's

the

Cut on cue: When GUSSIE sits on the piano keys.

the

per - fect,

it's

the…

great - est,

(Revised 1/95)

(6/28/02)

Vocal

Merrily We Roll Along

—76—

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Good Thing Going

Larghetto (q = 72)

& b 44 œœ œœ œœ œœ ∑ 1

œœ œœ œœ œœ

∑

j œ œ œ #œ

and

with no

œ œ &b ‰ j œ œ œ J

We start - ed qui - et

woke

&b ‰

IC N

‰

re - al - ize:

œ.

course,

&b ‰

(Revised 1/95)

that

P œ J

had

‰

˙.

œ J

this

good

œ J

‰

œ œ. J

ing.

j œ

œ œ j œ œ œ J

Some an - gry

mo-ments,

j 17 œ . A œ œ œ œ bœ J

poco cresc.

and

j œ

œ œ j œ Nœ œ J

and then one morn - ing

good thing

œ œ j œ Nœ œ J

few

‰

poco cresc.

sur -prise,

no - thing went wrong.

j œ œ œ #œ

but just

had

œ œ œ œ j œ œ œ not

P j j œ œ œ œ œ

It's

slow,

œ. Aœ œ œ bœ J

p CHARLEY: 5 . ‰ j œ œ œ œ œ ˙. œ œ œ œ œ œ œ œ œ œ œ ∑ It start - ed out like a song. 4

j 7 œ. œ

on - ly mo - ments,

œ J

thing

more,

œ J

œ.

be - cause we knew

ing.

(6/28/02)

Vocal Strict Tempo, Non Più Mosso 20

And

œ I

want - ed

too

Good Thing Going 21

œ bœ

was

that

much,

such

mis - take

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

F bœ b ‰ & J

—77—

œ bœ œ œ

&b œ 25

all

the time?

don't

make

‰

that

&b ‰

you take for grant - ed

some

& b œ . A œJ œ œ b œ

lot

and still

love

f j 40 œ œ œ œ b ‰ œ J œ ˙. & J 39

instead of just kept

j b œ & œ. 43

go - ing…

ten.

on.

Poco Rit.

‰

w gone.

j œ

poco cresc.

œ œ j œ Nœ œ J

We took for grant - ed

œ J

grow

œ œ. J

‰ œ œ œ œ œ. J J We had

a goodthing

∑

ing,

œ œ. J

œ Œ

go-ing…

Poco Rit.

˙.

a - long,

œ œ J

could have kept

e - nough,

crime.

will wear a - way.

F ‰ œ œ J

say:

go - ing

j œ œ œ #œ

j 34 œ . œ

œ œ j œ œ œ J

want - ed

œ œ œ œ j œ œ œ

And while it's

nev - er

œ œ œ œ

‰ œ œ œ J You

right, tough,

A Tempo

U ∑

Vocal

Merrily We Roll Along

—78—

13A

The Blob—Part 4

Larghetto (q = 72)

& b 44 œœ œœ œœ œœ ∑

œœ œœ œœ œœ

. œ œ œ œœ œ œ œ œ

CHARLEY & FRANK:

˙.

œ œ j œ Nœ œ J

j œ

‰ j œ œ œœ œ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

∑

j œ œ œ #œ

and

with no

& b œ . A œJ œ œ b œ 9

woke

slow,

‰ j œ œ We

re - al - ize:

&b Ó

‰

had

‰

sur -prise,

and then one morn - ing

j œ

good

thing

DORY:

œ œ œ œ œ

œ œ

I said,

"Joe, this show will be

∑

It start-ed out like a song.

j 7 œ. œ

& b ‰ œj œ œ œJ œ

We start - ed qui - et

∑

œ J

œ œ. œ Œ J ing.

∑

œ œ œ œ

wa - ter - shed."

GUSSIE:

‰.

¿ J

∑

SH!

&b ‰

(CHARLEY & FRANK)

j œ

It's

not

that

(CHARLEY & FRANK)

& b ‰ œj œ œ

Some an - gry

&b Œ

‰

SCOTTY:

œ œ

Did you

&b Ó

œ J

thing

mo - ments,

‰ ‰.

wrong.

j̊ œ

j œ œ œ

≈

but

just

œ #œ a

few

Ó œ œ œ œ œ œ

You're

GUEST:

˙.

j œ œ

œ.

course,

2nd GUEST:

No kid - ding!

(Revised 1/95)

went

hear?…

‰

j œ

not

ser

i - ous!

MARY:

¿ ‰. J

GUEST:

SH!

¿ ‰. J (6/28/02)

Vocal

—79—

j œ

œ œ j œ Nœ œ J (CHARLEY & FRANK)

&b ‰

and on - ly

mo - ments,

JOE:

œ œ j œ œ œ J

œ.

Aœ J

more,

‰

cause

bœ knew

GROUP 1:

≈ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

&b ‰

The Blob—Part 4

da.

GUESTS:

&b Ó

‰ œœ It's a

& b ‰ œJ

had

clear case of Tam - man - y

œ J

this

good

thing

stuck in the tun - nel 'til half

pol

past

œ œ. J

tics.

ing.

œ œ ‰ J

&b œ œ œ œ œ œ œ œ œ

j̊ . bœ œ ‰

œ œ œ œ œ œ œ œ

were

∑

six.

GUESTS (variously):

&b Ó

‰ œ œ It's a

& FRANK) F (CHARLEY b œ œ ‰ J

And

read?…

'll

nev

er…

want

They

just

bœ

was

that

show that - 'll mur - der 'em in

(GUESTS)

œ œ œ œ œ œ œ œ œ bœ œ œ œ

need!…

Did

you

ev - er?…

'Til

too

bœ

don't

mix!…

such

half

much,

mis

bœ

past

six!…

What

the sticks. Did you

take

It's

œ a

Vocal

—80—

The Blob—Part 4

(CHARLEY & FRANK)

bœ

(GUESTS)

clear

case

Tam -

man - y

pol

the

bœ

time?

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

read?…

‰

'll

You

nev

nev - er…

ev - er?… 'Til

tics.

just

don't

half…

Did

you

GUSSIE:

SH!

What

all right, tough,

I don't make

∑

‰ œJ œ œ œ œ œ œ

e - nough,

mix!…

# # n # ##

crime.

∑

# n## ##

∑

They

that

want - ed

œ œ

p œ

œ œ œ œ

f œ J

need!… Did you

1: # # # # GROUP œ # œ Œ &

####

‰

œ œ œ œ œ

Dar - ling…

We saw

∑

the new…

‰

Dar - ling…

œ œ œ œ œ

We saw

the most

GROUP 2:

‰

œ œ

Did you

Vocal

—81—

# # # # 30 # œ &

The Blob—Part 4

(GROUP 1)

was

good.

It's

the

big - gest!… He's

read?…

'll

nev - er…

They

just

can't.

But

used

to!

It's

the

need!…

Did

you

ev - er?…

'Til

half

best!…

It's

the

first!…

gen - ius!

don't

mix!…

Well

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

(GROUP 2)

bad…

####

# # # # 31 œ # & &

####

# # # # 32 œ # & &

####

show

# # # # 33 œ # &

that - 'll

past

gen - ius!

mur - der

'em

It's

the

ab - so - lute - ly

case

Tam - man - y

pol

# œ

# # # # 34 ALL: # œ œ &

great - est.

It's

# # # # 35 œ # &

one.

It's

the

sin - gle.

real.

It's

the

gen - ius!

the least!…

the

sticks…

on - ly.

true.

It's

gen - ius!

It's

the

It's

the

She's

It's

tics…

the

It's

low - est!… They're

six!…

He's

What

dumb - est!… She's

gen - ius!

clear

####

per - fect.

It's

the

It's

the…

Segue the

the

fi -

nal.

Vocal

Merrily We Roll Along

—82—

Transition 5

Feroce (h = 72)

# ∑ & C œœœ œœœ œœœ œœœ ‰ œœœ 1

œ œ

œ J

∑œœ

œœ ‰ œœ

œ Ó œ J

œœ œ œ

œœ∑ œœ œ œ œ ‰ œœ œ œ œ J

œœ œ œ

Œ ‰ œj œ œ œ œ ALL:

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

13B

fun,

flash

œ œ œ œ œ œ

roll

Œ ‰ œj œ œ œ œ

a - long, roll

˙ Ó

catch-ing

Œ ‰ œj œ œ œ See

# 18

∑

# GROUP 1: & œ œ

œ œ œ œ

Yes - ter - day is

œ œ œ œ

Ev-'ry- bo- dy

œ œ œJ œ .

Some roads are

j œ œ

Mer - ri - ly

coun - try - side.

DUET:

œ œ œ œ

atdreams.

œ œ œ ˙.

the pret - ty

coun - try - side.

œ œ œ œ

œ œ ˙.

ing by the

a - long,

done.

Tra - vel - ing's the

eas - y,

œ œ œ œ œ œ

mer - ri - ly, mer - ri - ly…

œ œ œJ œ .

some

roads are breez - y,

∑

Nine - teen - six - ty - one…

# 21 (DUET) j 22 œ œ œ œ œ & œ œ nœ #œ œ œ Œ J

some roads the ride gets out

# 25

QUARTET:

of con-trol,

œ J

Some

roads

you

stall

(Revised 1/95)

∑

j 24 œ œ œ œJ œ œ œ n œ # œ

grinds to a halt and ends

j œ

24 26 œ

fore

24 Œ

œ œ

in a hole…

U œ

nbb 4 b 4

nœ

#œ

you

can

roll…

CHARLEY:

U j œ

nbb 4 b 4

Nine

Segue

‰

(6/28/02)

Vocal

Merrily We Roll Along

—83—

Bobby and Jackie and Jack

Rubato (q = 144)

bb 41 Ó b & 4

j œ œ œ œ

‰ œj

BETH: 2

‰

∑

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

nine - teen - six - ty… And

b j & b b 44 œ œ œ œ CHARLEY:

‰

j œ

‰

teen - six - ty… It's

gosh,

b b5 TRIO: b œ œ . œ œ œ œJ & J b j &b b œ œ

j œ œj œ

j œ

rox and

la - sers, the

twist

12 bbb

œ œ œ

‰

œ œ.

onewants to fill.Krush

b &b b œ 15

b &b b

œ œ

did - n't

œ.

j œ œ œ

Ike

was

ick - y,

b &b b

œ. nœ œ the

(Revised 1/95)

œ J

firstFirst Fam - 'ly

be-gin: There's

xe -

j œ

cit

j œ œj

‰

and

TRIO:

j œ

œ.

that

were

j œ

Lib

œ œ.

j œ

ri - um came in. And

Nix -

CHARLEY:

œ œ œ

œ.

then,

Ike and

j œ

but

crass.

It's

but

bet

ter

him

than

œœ )

j œ ( œ)

œœ )

with

class.

(

Dick - y…

œœ )

brass,

FRANK:

true

j œ

the

œ J

Bra - zil… That

j œ œ œ

co - zy

bye

CHARLEY:

(

pill,

years

ly knowwhere

and the

j nœ

8 j j œ œ œJ ˙ . ‰ œ

j œ œ

chev stoppedscream - ing

b &b b œ

BETH:

win. Good

‰

hard

it's been!

j 11 œ œ œ œ œ œ.

j œ œ

a swellyear

j œ œ.

œ ˙

it has brought, you

TRIO:

what

7 œ . œj œ œ . œ

œ œ œ œ

man - y blessings, such won - ders

j œ œ œ œ. œ œ J

FRANK:

TRIO:

Now

meet

œ J

U Ó

(Dialogue)

masse.

(6/28/02)

Vocal

—84—

Irish Jig (qk = 132)

b & b b 68

œ œ œ œ œ œ 27 œ œ œ œ œ œ 28 œ œ œ œ œ œ 29 œ œj

∑

œ œ œ œ œ œ

∑

‰ ‰ œ œ œ.

œ.

œ œ œ œ œ œ 31 œ œ œ œ œ

∑

‰ ‰ œ œ œ.

∑

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

32 bbb

Bobby and Jackie and Jack

∑

CHARLEY:

Œ.

‰ ‰ j œ

∑

There's

b &b b ‰ ‰

BETH:

j œ œ ‰ œ

Œ.

TRIO: 39

œ œ œ œ œ œ

And

my - ri - ads more in the

and Jack - ie…

b &b b

(CHARLEY)

FRANK:

Bob - by…

and

‰ ‰ ‰ j œ œ œ

and Ted - dy

b &b b

œ ‰ Œ.

and

Pat

‰

CHARLEY:

Œ.

‰ ‰ œ J

‰

Œ.

IC N

47 bbb

‰ ‰ ‰ œ J

and

one in

œ J

the Ar - my…

‰

and

Pe - ter…

‰

j œ œ

j œ

And

hold

∑

the Ar - my?

∑

FRANK:

j œ

∑

FRANK:

‰

and

‰

Eu - nice…

what's his name?

¿ ¿ ¿ ¿

One in

b &b b œ œ œ œ

48 CHARLEY & BETH:

∑

j œ œ

BETH:

Ste - phen.

CHARLEY:

Jean…

‰ œ

BETH:

and Joan…

There's

∑

a - lone,

plus

b &b b

back:

∑

j œ œ

∑

PIANIST: 44 b & b b ‰ ‰ œj œ

œ ‰ ‰ ‰ œ J

Jack.

b b 41 œ œ b & œ œ œ œ Eth - el

‰ ‰ j œ

j nœ

the phone… The

j ¿ Œ.

CHARLEY:

Sar - gent!

j ¿ ¿

FRANK:

Cap - tain, Ma - jor…

j Œ.

¿ That's

¿ it!

Vocal

—85—

b &b b

51 TRIO:

So man - y cards in

the

œ ‰ ‰ ‰ j œ

œ œ œ œ œ œ

pack.

œ œ œ œ œ œ

You

want to know how to keep

œ ‰ ‰ ‰ œ J track?

Well,

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

b &b b œ œ œ œ œ œ

Bobby and Jackie and Jack

one

b &b b

good - look - ing

j œ œ

œ J

and

The

young

rich.

b &b b œ œ œ œ œ œ 61

is - n't

b &b b œ 65

Ted

b &b b

IC N

b &b b

rest

are

and

While

œ œ œ œ œ œ

one

good - look - ing

and

young

63 œ ‰ ‰ ‰ œj œ œ œ œ œ œ

not

j œ nœ

j œ

Pat

and Joan

and

œ J

rich.

bœ

and Eu - nice and

œ œ œ.

œ.

oth - ers at large,

œ. Œ.

God

j œ

There

j œ œ œ œ

Jack

and Eth - el and

œ œj œ œ œ

Œ.

j œ œJ " ‰

Steve and Pe - ter and

and

and rich…

Bob - by and Jack - ie and

good - look - ing

bœ

j œ nœ

Jean

and Sarge…There's

j œ

‰ ‰ œj œ œj

knows…

And Joe and

FRANK plays tin whistle.

Œ.

Rose.

80 bbb

j œ œ œ œ

œ.

b &b b

lack,

prob - a - bly doz-ens of

young

lot that they

œ œ œ œ œ œ

and

j œ œ

∑

œœ œ œœœ

œ œ œ œ œ œ

œ œj . œ

œ œ œ œ œ œ

œœœ œ œ

∑

‰ ‰ œ œ œ.

œ œ œ

∑

‰ ‰ œ œ œ.

∑

TRIO: Œ . ‰ ‰ j b b b b b b 34 œ We're

Vocal

—86—

Bobby and Jackie and Jack

Poco Rubato (h. = 60)

(TRIO) b b 3 b &b b b 4 œ œ

œ back

style

the

BETH:

nœ

White - house.

I'm

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

bring - ing

œ œ

b & b bbbb

Aœ

paint - ing

b & b bbbb

œ nœ

b & b bbbb

for

œ.

œ J

∑

˙.

œ œ

beige

mak - ing

start.

œ nœ

cul - tur -

∑

TRIO:

We're

light - house,

∑

CHARLEY:

‰

œ J

for

b & b bbbb

BETH:

nœ

and

b & b bbbb

(BETH)

Aœ

102

b & b bbbb

nœ

Bud - a - pest

105

Münch

Rubato

b b b b 109œ n œ b & b

Le - on - tyne

nœ

˙.

and

Art.

œ œ œ nœ

bœ

ing

bits

110

œ. œ œ

Price

to sing

œ.

œ her

107

nœ

I'll

get

œ. œ œ

ten.

108

vel.

med - ley

from

nœ

And

˙.

œ nœ

111

104

val - di.

œ J

the

∑

103 ‰ œj œ

play - ing

106

ten.

nœ

101

100

∑

Eve - nings of

FRANK:

Glam - or…

b & b bbbb

Beau - ty…

Rall.

112

œ œ

Meis - ter-sing - er

and

Vocal

—87—

A Tempo

b b b 113b A œ b & b

(BETH)

Mar

got

Fon

CHARLEY: Together?

œ.

œ œ

teyn

to dance

114

115

˙.

116

∑

selle.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

b & b bbbb

Bobby and Jackie and Jack

117

nœ

Won't

b b b b 120 b & b 123

118

per

119

fect

˙.

swell?

122

FRANK:

We'll

have

Meno Mosso, Rubato

(FRANK) b œ œ. b b &b b b

nœ J

Bern - stein

play

b & b bbbb

œ.

œ J

the

124

∑

œAœ. J

125

nœ J

Bech-stein

∑

126

a - no…

∑

CHARLEY:

And

b & b bbbb

127

128

∑

129

∑

130

∑

U Œ

BETH:

œ œ

And Ga -

Au - den

b & b bbbb œ Aœ.

131 (BETH) b œ œ. b & b b bb

‰ œJ

read

po - ems

nœ J

Vish

b & b bbbb Aœ nœ

noun - cing

her

135

œ J

132

œ #œ

and

‰ n œJ

ten.

nev - skya,

nœ

136

name

ten.

∑

œ.

nœ J

Rus - sian

œ nœ

138

133

137

stuff.

the

fresh - ing

134

pra - no…

nough!

TRIO:

nœ We're

œ nœ

Just

pro -

nnnnnn#

Vocal 139

—88—

A Tempo

# (TRIO) & œ œ

œ.

j œ

style

the

bring - ing

# 143 & œ

140

back

nœ

144

141

142

bœ

White - house.

œ J

‰

145

With

˙.

146

∑

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Bobby and Jackie and Jack

#œ

cul

ture

the

rule.

Molto Rubato

147

# FRANK: & œ #œ.

j œ

Let's

have

148

149

#œ. leg

Cas

CHARLEY:

‰ œj

œ #œ œ œ

makes

153

œ.

#œ

ni…

Well

think

he's

∑

œ Nœ

guy

j œ

152

BETH:

And

She

j œ

bal - di…

∑

# 151 & œ

150

∑

feel

good.

154

∑

Nœ

real

good.

And

# 155

IC N

j #œ œ

œ.

how

157

a - bout

# (TRIO) œ & œ

lat

when

er,

160

161

and

'ry -

164

push

them

all

thing's

œ -

˙.

Giel - gud?

162

cool,

œ the

We'll

A Tempo (hk = 132)

TRIO:

And

FRANK:

Hei - fetz…

Cal - las…

158

Nœ

159

163

and

156

∑

165

pool!

" nbbb 6 8

Vocal L'istesso Tempo (qk = 132) 166

—89—

Bobby and Jackie and Jack

œ œ œ œ œ œ 167 œ œ œ œ œ œ 168 œ œ œ œ œ œ 169 œ œj

b & b b 68

∑

170

œ.

∑

FRANK: Okay, Bobby, I'll make you Attorney General. Just get off my back.

Vamp—vocal last time

œ œœ174 . ‰ ‰ œ œ œ.

‰

∑ CHARLEY:

.. Œ . ‰ ‰ j .. œ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

bbb

œ œ œ œ œ œ 173 ‰

œ œ œ œ œ œ 171 œ œ œ œ œ

172

∑

175

176

∑

With

177

b &b b ‰ ‰ j œ œ ‰ œ BETH:

178

Œ.

TRIO: 179

and Jack - ie…

b &b b

(CHARLEY)

œ œ

‰ ‰ ‰

181

and

Œ.

CHARLEY: 183

‰ ‰ œ J

jœ œ œ

years is the lim - it but

eight willdo…

185

Pe - ter or

b & b b Œ.

Ste-phen…

j œœ œ œ œ

(BETH)

b &b b ¿

(BOYS)

You

know!

j Œ.

Ma - jor?

b &b b

193

184

œ œ œ œ œ ‰

‰ ‰ œ J

190

‰ ¿.

Yes…

Œ.

BETH:

‰ ‰ œ J

‰ ‰ j œ

PIANIST:

j œ œ œ

and

Ted - dy, too.

œ J

And

thenthere's the Col - onel?

‰

∑

188

Œ.

‰

191

Ma - jor?

TRIO:

192

œ œ œ œ œ œ

Doz - ens

to take up the

j ¿ Œ.

j ¿ Œ ‰

∑

œ ‰ ‰ ‰ j œ

slack.

∑

Sar - gent. 194

œ œ œ œ œ œ of

whack.

Col - onel?

FRANK:

Œ.

ev - en you…

(TRIO)

an - y - thing goes out

Œ.

187 ‰ ‰ n œj œ œ œ œ

Œ.

186

‰ ‰ œj

189

tack.

then there'll be Bob-by…

‰

FRANK, CHARLEY & PIANIST:

b & b b Œ.

Eight

œ œ œ œ œ œ

b &b b œ œ œ œ œ ‰

un - der at

∑

b &b b

Whitehouse is

œ ‰ Œ.

Jack,

182

∑

œ œ œ œ œ œ

œ ‰ Œ.

j œ

Bob - by…

b &b b

The

FRANK:

180

‰ ‰ j œ

FRANK:

‰ ‰ ‰ œ J

And

195

œ œ œ œ œ œ

some - day

e - lec - tions will

Vocal

—90—

b &b b

j œ œ

BETH:

un-known…

'Cause

196 (FRANK)

œ be

œ œ œ œ œ œ

each of

our kids will

j œ œ

198

cend

199 bbb œ

their

kids

have

kids

with

kids

200

CHARLEY:

œ J

the throne…

And

œ "

FRANK:

own…

It's

j œ

ten.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

197

œ J

Bobby and Jackie and Jack

their

201

TRIO:

b b œ œ œ œ œ 202 œ ‰ ‰ ‰ j 203 œ œ œ b & œ œ œ œ œ sort of

a fam - i - ly

knack…

b &b b œ œ œ œ œ œ 205

206

Bob - by and Jack - ie and

b &b b

209

Steve

b &b b

212

rows

Pe - ter

and

j œ œ

j œ

and

rows

IC N

220

start - ing

‰

j œ

And

216

na - tion'smade

Ted

and Eu - nice and

j œ

Jean

and

Sarge

211

Pat

and Joan

and

Joe

and

Rose

and

j œ

and

rows…

The

and

rows

Œ.

218

œ.

j œ

217

˙.

j œ nœ

j œ œ

j œ

rows

bœ

j œ œ

214

re - la-tions of

208

j œ œ œ œ

j œ nœ

up of

bœ

rows

b &b b œ œ œ œ œ œ b & b b Œ.

and Eth - el and

213

the

207

œ œj œ œ œ

Jack

215

de - cade

most of

210

j œ œ

and

Till

œ œ œ œ œ œ

204

new.

may - be

the

221

222

coun - try

too.

‰

Œ.

14A

Bobby and Jackie and Jack Playoff Tacet

Vocal

Merrily We Roll Along

—91—

Not a Day Goes By—Act 2 U U

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

U 1 4 b b b ˙˙˙˙

&4 5

∑

Slowly

˙ b ˙˙˙

by,

not

œ œ œ

and it

(FRANK & MARY) 13

& w

by,

& œ

bet - ter

much long - er,

œ œ ˙

when does

œ œ œ

but

day

end?

on - ly

gets

œ œ œ

goes

the day

œ œ œ

œ œ

That

get much

can't

bet - ter

deep - er

and near - er

and strong - er

and

TRIO:

simp - ler

and free - er

Nœ œ œ œ œ œ

and

+FRANK:

& œ œ œ œ œ œ

FRANK & MARY:

œ œ

BETH:

goes

you'll stay.

keepthink - ing,

œ œ œ

Not

but you're some - where

looks

œ œ œ

day…

44 10 œ

œ œ œ

MARY & BETH:

sin - gle

œ ˙ œ part of my life

BETH:

∑

U Œ

œ œ œ

9 & 64 œ

∑

U n n n www w

MARY:

& w

n˙ n # # ˙˙˙

U b˙ b n ˙˙˙

and

rich - er

and clear - er

œ œ œ œ œ œ

and

# # (TRIO) w & No,

(Revised 1/95)

œ œ nœ bœ

not

day

goes

by,

MARY:

œ œ aœ bœ

not

bless - ed

(6/28/02)

Vocal

—92—

# # (MARY) w & 26

+BETH:

day

but

you

some

œ -

where

come

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

# # 6 28 & 4 œ

Not a Day Goes By—Act 2

44 29 œ œ œ ˙ 3

œ œ ˙.

in - to

œ œ

life

and you

don't

TRIO:

a - way.

œ œ œ

And

have

# # (TRIO) & w

œ Nœ œ œ

say,

& &

# # 35

I'll

day

af - ter

day

af - ter

∑

day

MARY:

ter

day

af - ter

ter

day

af - ter

FRANK & BETH:

want

œ œ œ œ œ œ

day

af - ter

ter

day

af - ter

œ œ

œ œ œ œ œ œ

I'll

day

die

af - ter

die,

day

# & # œ

day

till

the

day

till

the

day

af - ter

days

# # (TRIO) & w

FRANK & BETH:

by!

œ œ œ œ œ œ

# # 38

you

œ œ œ œ œ œ

day

# # 44

w by!

œ œ œ

Till

the days

MARY:

œ œ œ

Till

by!

∑

the days

U ∑

Segue

Vocal

Merrily We Roll Along

—93—

15A

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Transition 6 ∑

& b C œœ œ

œœ œ

œœ œ J

œ œœœ J

œœ œ

Once

was

all

j œ

off

does

track?

Why

can't

you

turn

œ œ œ œ Œ

hap - pen?

œ œ œJ œ

How

œ œ J

the

œ œ œJ œ .

clear.

& b œ #œ œ œ Ó

How

œ œ œJ œ

∑

TYLER:

j œ

did

you

get

j œ

far

œ #œ œ œ Ó

a - round

and

back?

DORY:

hap-pen?

Ó & b œ #œ œ œ

Where

How does

œ œ œ œ Œ

dis - ap - pear?

the mo - ment?

œ J

Where

did

you

let things

j 18 œ œ œ œ œ J œ œ #œ œ œ ˙

DORY & TYLER:

How did you ev - er

(Revised 1/95)

get

be here?

U w

When

j œ

did

the road

be - hind

Ó œ #œ œ œ

slip

out

j œ

œ œ œJ œ

of gear?

Dictated

U œ œ œ

Nine - teen - fif - ty - nine…

(6/28/02)

Vocal

Merrily We Roll Along

—94—

Opening Doors

Allegretto (q = 132)

[FRANK at Piano]

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

# 41 & 4

∑

œ œ œ œ ‰ j œ œ œ

∑

CHARLEY (at typewriter)

# 8 bœ œ

œ œ Ó

∑

# #

j ¿ ¿¿≈¿¿ ¿¿¿≈¿¿ ¿ ‰ Œ Ó

œ œ œ œ œ œ ∑

(Carriage (Bell) Return)

O ¿ ¿ .

¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿

(Reads)

(Grunts)

bœ œ j œ œ œ œ œ ∑

œ œ

∑

‰

nœ bœ

(Rolls carriage)

¿¿¿¿¿

‰ Ó

∑

(Xs out the line)

¿ ¿ ¿ ¿

¿ ¿ ¿ ¿ ¿. Ó

FRANK:

How's

∑

‰ jœ œ œ œ œ œ œ

∑

# j & 44 ¿ ¿ ¿ ≈ ¿ ¿ ¿ ¿ ¿ ≈ ¿ ¿ ¿ ‰ Œ Ó

∑

it go - ing?

¿ ‰ ¿ ‰ J J

Good.

∑

¿ ‰ Œ Œ J

¿ æ

(Phone)

Fair.

CHARLEY:

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

You?

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

¿ ¿ ¿ ¿ Œ

Chi - nese laun-dry.

¿ ¿ ¿ Œ

¿ ¿

Mar - y.

∑

Yeah, tell me.

∑

¿ ‰ Œ J

MARY:

Hi.

(Revised 1/95)

(6/28/02)

Vocal

# 14

∑

# ¿

Opening Doors

Where?

¿ ¿ Œ

∑

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

—95—

Say

hel - lo.

‰

# (FRANK) ¿ ¿ Œ

j œ œ

think

got

Pos-ing?

# & Œ

job.

(MARY)

¿ ¿ ¿ ¿

# 18 (FRANK) ¿ ¿ ¿ ¿ ¿ & J

¿ J

‰

work-ing on thebook?

‰

IC N

∑

CHARLEY (Types)

& & &

¿ ¿ ¿ ¿.

True

Ro - man

j ‰

¿ ¿¿≈¿¿ ¿ ¿¿≈¿¿

j Œ

book?

∑

No…

Mar - y…

(MARY)

ces.

Noth-ing, are you

‰ ¿ ¿ ¿ ¿

‰

¿ ¿ ¿ ¿

What a - bout the

Good.

Yes…

What a-bout the book?

Thank you. Writ - ing cap - tions.

¿ ¿ ¿ ¿ ¿ ‰ J

Right,

[FRANK at Piano]

œ œ œ œ ‰ jœ œ œ∑

j ¿ ‰ Œ

know, yes,

∑ ∑

and

Bal - zac…

∑ ∑

MARY (Types)

∑

¿ ¿ Œ ¿

Œ ¿ ¿ Œ

Vocal

# 24 #

∑

‰

Opening Doors 26

œ œ œ œ j œ œ œ ∑

∑

(Carriage Return)

j ¿ ‰ æO .

¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿

œ œ œ œ

¿ ¿ ¿ ¿ Ó

(Rolls carriage)

(Reads)

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

—96—

& &

∑

# 27

∑

# Ó &

(CHARLEY) (Rolls carriage)

(MARY) (Types)

j j œ œ # 30 N œœ ‰ ‰ # œœ Ó

[Orchestra]

& &

∑

(Xs out)

¿ ¿ ¿ ¿

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

j j œ œ N œœ #œ 31 ‰ ‰ œ Ó

(Groans)

j j œ œ N œœ #œ 32 ‰ ‰ œ Ó

∑

CHARLEY:

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

∑

Œ ‰ ‰ j œ 3

# MARY (Slumps)

∑

FRANK (Sighs and slumps)

∑

Vocal 33

# #

Opening Doors

3 3 3 ‰ ‰ œj œ œ œ œ œ ‰

Œ œ œ

3 3 3 ‰ ‰ œj œ œ œ œ œ ‰

I got an au - di-tion…

(CHARLEY) 3

Re-hear - sal pi - an-ist.

œ œ ‰ Ó

the

one - act.

‰ ‰ j œ 3

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

—97— FRANK:

fin-ished

MARY:

‰ ‰ j œ 3

& & &

# 35

‰ ‰ j œ 3

œ œ œ œ œ ‰ Ó

# 37 # #

# 39

œ œ ‰

& &

the

sto - ry.

œ œ œ œ œ‰ Ó

pub-lish-er called me.

3 3 ‰ ‰ œj œ œ œ œ

‰ ‰ j œ 3

œ œ

are

com - ing.

œ œ œ œ œ ‰ Œ threw out the stor - y.

œ œ ‰ Ó

the

re - write.

‰ ‰ 3

j œ

3 3 3 ‰ ‰ œj œ œ œ œ œ œ

j œ

‰ ‰ j œ 3

œ œ

re-wrote

œ œ ‰ Ó

‰

I sort of en-joyed it.

‰

3 3 3 ‰ ‰ œj œ œ œ œ œ ‰

I saw "My Fair La-dy."

re - write.

3 38 3 3 ‰ ‰ œj œ œ œ œ œ ‰ Œ

œ ‰

Play - boy.

I'm meet - ing an a - gent. We'll

start - ed

We'll

œ œ ‰ Ó

I'm do - ing

3 3 ‰ ‰ œj œ œ œ

par - ents

where are we eat-ing?

œ œ

I'm mov - ing

The

# #

‰ ‰

œ œ œ œ œ œ œ œ #œ œ œ œ

all get to - geth-er on Sun - day. We're o - pen - ing 3

œ œ œ œ œ œ œ œ #œ œ œ œ

all get to - geth-er on Sun - day. We're o - pen - ing 3

j œ

œ œ œ œ œ œ œ œ #œ œ œ œ

We'll

all get to - geth-er on Sun - day. We're o - pen - ing

Vocal 41

—98—

ALL:

œ œ. Œ

singing,

‰.

œ œ œ "Here we

are!"

j̊ œ œ œ œ We'refill- ing up

œ œ. Œ

days

on a

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

doors,

Opening Doors

# 44 ˙

‰.

dime.

& &

# 47 œ

ev - 'ry

star.

# 54 ˙

œ œ. œ œ.

œ œ

œ œ œ œ œ œ

œ œ

∑

IC &

e - nough

œ œ œ

not

too

œ œ

We'refol-low-ing

œ ‰ J

time!

œ. œ œ œ œ œ. œ œ œ œ ∑

œ œ

œ ≈ œ œ œ œ

far.

∑

‰.

˙ ˙

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 j̊ œ œ œ œ œ ∑œ œ

Piccolo/Trumpet 1

∑

There'snot

look - ing

∑

# & ˙

shore's

≈ œ œ œ œ

Thatfar a-way

œ Œ œ œ. œ

j̊ œ œ œ œ

œ œ

œ. œ.

∑

œ œ œ œ œ œ œ œ

FRANK (Whistles)

∑

œ œ œ œ ˙

∑

œ œ œ œ œ Œ œ œ œ œ ˙

∑

FRANK:

∑

j œ ‰ ‰ œj ˙

∑

Œ ‰‰ j œ 3

j œ ‰ ‰ œj ˙

∑

Vocal 61

—99—

Opening Doors

(FRANK)

œ œ œ œ œ ‰ Ó

3 3 3 ‰ ‰ œj œ œ œ œ œ ‰

called a pro - duc - er.

CHARLEY:

3 3 3 ‰ ‰ œj œ œ œ œ œ ‰

‰ ‰ j œ 3

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

He said to come see him.

I sent off

the one - act.

MARY:

& & &

‰ ‰ j œ 3

œ œ œ œ œ ‰ Ó

play - ing a night club.

3 3 3 n ‰ ‰ œj œ œ œ œ œ ‰ b b

dropped out of col - lege.

They're do - ing my one-act.

3 3 3 ‰ ‰ œj œ œ œ œ ‰ œ

∑

3 ‰ ‰ œj

œ œ œ œ œ ‰ Œ

work-ing for Red - book.

‰ ‰ œ œ œ œ œ œ ‰ J We start - ed re-hear - sals.

‰ ‰ œj

œ œ œ œ œ ‰ Œ

67 bb

∑

re - wrote the bal - lad.

nbb

I'm

‰ ‰ œ œ œ œ œ œ ‰ J I

b &b

‰ ‰ œ J

met this mu - si-cian.

nbb

œ œ œ œ œ ‰ Ó

b &b

the sto - ry.

start - ed

œ œ œ œ œ ‰ Ó

I'm

# #

‰ ‰ j œ I

# 63

fin - ished the stor - y.

‰ ‰ n œj œ œ œ

We're o - pen - ing

We're o - pen - ing 3

œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ nœ œ œ œ

threw out the stor - y and then the mu - si - cian, I'm

mov-ing to Pop - u - lar Sci - ence. We're o - pen - ing

Vocal

—100—

ALL:

œ œ. Œ

singing,

j̊ œ œ œ œ

‰.

"Look who's here!"

Be - gin-ing to

œ Œ œœ .

sail

ona

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

doors,

Opening Doors

b 72 ˙

j̊ œ œ œ œ

‰.

dime.

b &b

& &

thing

fear…

shore's

We have - n't

¿ ¿¿≈¿¿ ¿ ¿¿≈¿¿

ww w

got

j ¿ ‰ Œ

∑

& &

# #

j ‰

(Bell)

‰

FRANK:

j œ

œ.

Bum - bum

œ -

bu - bum - bum

‰

j œ

bum

˙ -

(Carriage Return)

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ æ¿

A Tempo

(Erases)

nn#

∑

j ¿ ¿ ¿ ¿ ¿ ‰ ¿ ¿

¿ ¿ ¿ ¿

‰ jœ œ œ œ œ œ œ

¿ ¿ ¿ ¿ ¿

Wehave-n't a

¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿

FRANK (Whistles)

∑

near!

time!

‰. œ œ œ œ J

MARY (Types)

œ œ œ

ver - y

Molto Meno Mosso

getting

œ œ œ œ J

‰.

CHARLEY (Types)

Thatfar - a-way

œ Œ œ œ. Œ

bum.

j ¿ ¿ ¿ ‰ Ó

Vocal

—101—

Opening Doors

(CHARLEY) (Types)

(Bell) 84

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

(MARY)

>¿

(Carriage Return)

¿ æ

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

¿ ¿

(Types)

‰

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

# 83

(Carriage Return) (Types)

∑

‰

(FRANK)

j œ œ.

La - da

& & &

# # #

¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿

>¿

(Carriage Return)

¿ æ¿

¿ æ

da-na

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

(Dials)

J ‰

j œ

‰

(Bell) (Carriage Return) (Types)

¿ ¿

nbb b b

∑

nbb b b

na.

bbbb

FRANK:

¿ ¿ ¿ ¿.

How's

it com - ing?

You?

One

min - ute…

Œ ¿ ¿ ¿ ¿ ¿¿ ¿ ¿ ¿ ¿¿

CHARLEY:

(Types)

MARY (Dials)

bb &b b

89 bbbb

¿ æ

æ ¿

¿ ¿

Ham - burg Hea - ven…

bb &b b b & b bb

∑

Mar - y.

∑ ¿ ¿¿ ¿¿ ¿¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Ó

¿ ¿

Œ ¿

¿¿

(Bell) (Carriage (Types) Return)

¿ æ

(To Charley)

¿ æ

(Phone)

Done.

j‰ j‰ Ó ¿ ¿ ¿¿¿¿ ¿ ¿ ¿ ¿ ¿¿¿¿¿¿¿¿ Good.

bbbb

œ Hi.

Say

hel - lo.

œ¿ ¿ œ¿ œ¿ Œ¿ ¿ ¿ ¿ ¿Ó Œ

‰

j œ œ I

got

¿ ¿

(Bell) (Carriage (Types) Return)

œ an

œ -

oth - er

Vocal

—102—

b & b bb Œ 91

(FRANK)

‰

Where?

j ‰

Opening Doors

∑

What's that?

(Bell) (Carriage Return) (Types)

(CHARLEY)

b & b bb ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

¿¿

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

(MARY) œ b b b b

job.

bb &b b

j ‰

‰

Chic.

j‰

¿ ¿ ¿ ¿ ¿

¿ ¿ ¿ ¿

What a - bout the book?

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

bb &b b

con - cept:

¿ ¿ ¿ ¿ ¿ J

¿ ¿ ¿ ¿ ¿

¿ ¿ ¿ ¿ ¿ ‰ J

‰

Œ ¿ ¿ ¿ ¿ ¿ ¿ J

b & b bb

¿ ¿ ¿ ¿ Œ

b & b bb

¿ J

‰ ¿j Œ

Yes…

No…

‰ ¿J

¿¿

‰ ¿J

Right.

¿ ‰ J

stinks.

∑

Right.

Ó ¿

Mar - y…

¿ ¿ ¿ ¿ ¿ ‰ ¿¿ ¿ ¿ J

Look, I nev-er…

Good.

This is just a draft. Prob - a-bly it

(MARY)

bb &b b

¿ ¿

Right.

Ó Ó

¿ ‰

b & b bb

¿ ‰ J

‰

‰ ¿J Œ

Let me call you back.

Fin - ished!

pic - tures.

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

(FRANK)

(CHARLEY)

pop - up

(Bell) (Carriage Return) (Types)

What a - bout the book?

bb &b b

Did you give the pub - lish - er the book?

b & b bb

‰

brand new

‰

Have - n't

had

the

time

pol - ish…

¿ J

Will

you

sing?

‰

‰ ¿

Right!

Vocal

—103—

Più Mosso, With a Swing (h = 92)

b & b bb ‰.

œ.

CHARLEY:

j̊ œ œ.

to live

in New

York?

j̊ œ œ.

‰.

100

œ Œ Ó

œ.

Who wants

œ œ.

the wor - ry, the

œ noise,

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Who wants

œ œ.

Opening Doors

b & b bb œ. 101

b & b bb œ. 103

œ œ.

œ œ

the

dirt,

the heat?

œ œ.

œ œ

b & b bb ‰.

ing

the street?

j̊ œ œ.

œ.

œ œ.

girls

112

b & b bb œ.

Sud

den - ly

114

b & b bb

great!

117

120

fel

115

the cab - bies,the

œ. œ œ. œ œ. œ œ for

116

The

is - n't ev - 'ry day

œ bœ.

las,

may,

œ œ. there's on

sales -

man

i - acs…

JOE:

That's

swell!

œ œ. if

111

taste

113

I hear

œ -

œ œ J

stuff

oth

œ. œ œ. œ œ. œ œ. œ

b & b bb œ.

a real

118

do!

That's

b & b bb œ

clang -

‰ . œj̊ œ . œ œ . œ œ . œ

Yougot - tahave

bage cans

Thecops,

do.

œ. œ œ. œ j̊ œ . œ œ

110

105

œ œ.

108

œ Œ Ó

(CHARLEY)

cork.

at Saks.

œ œ

107

‰.

109

the gar

œ œ œ œ

Sud - den-ly

They'real - wayspop - pingtheir

b & b bb œ. œ œ. œ œ. œ œ

Whowants

œ.

104

œ œ.

106

j̊ œ œ.

‰.

102

œ œ.

119

j œ œ

œ J

well.

‰ œj

score this strong.

nœ #œ J

nœ J

one

wrong:

121

thing

But,

Vocal

—104—

Opening Doors

122

b œ. œ œ. œ & b b b ‰ . œj̊ œ . œ (JOE)

There's not

a tune

youcan

œ.

bum

‰ . œj̊ œ . œ œ . œ œ . œ

124

hum.

There's not

‰.

a tune

œ.

you go

bum -

œ œ.

j̊ œ œ.

You need

a tune

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

b & b bb œ.

123

125

126

œ. œ -

di - dum.

bb & b b œ. œ œ. œ œ. œ œ 127

bum

130

b & b bb ‰.

di - dum.

œ œ.

youthrow

'em a

crumb?

me a

mel

131

o - dy!

‰.

j̊ œ œ.

b & b bb œ.

œ. œ

their

toes

b & b bb œ. œ œ. œ œ. œ œ 135

sky

has

‰.

134

œ œ

œ.

bit?

136

a hit.

tap

I'll

you

j œ œ œ œ œ œ

Give me some mel

œ.

œ. œ

know

when

Stra - vin -

œ J

137

IC N

sure,

b & b bb ˙ 141

But

(JOE)

b b 144 œ b . & b

play

œ œ. a

lit

know,

142

139

140

œ J

not

that

kind

it's

œ.

œ œ.

can't

youhave

a score

that'ssort

œ bœ.

œ œ.

tle more,

I'll show

you

dy!

j œ œ

143

j œ œ

in - be - tween?

nœ #œ J

145

what

Oh,

138

b & b bb

œ.

What's wrong with let - ting'em

j̊ œ œ. let

(JOE)

133

bum -

œ œ.

132

œ Œ Ó

j 129 œ ˙

j œ. œ œ. œ œ œ

Give

œ.

j̊ œ œ.

Whycan't

128

nœ J

mean…

œ J

show.

‰ œj

Look,

Vocal

—105—

146

CHARLEY:

b & b bb ‰.

j̊ œ œ.

œ œ.

to live

in New

York?

Who wants

‰ . œj̊ œ . œ œ . œ œ . œ

147

148

œ Œ Ó

al - wayshat - ed the

œ.

dirt,

nœ œ.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

b & b bb œ.

œ.

Opening Doors

149

œ œ.

the

151 œ. b b b b

œ œ

œ œ.

heat,

œ œ

j̊ œ œ.

‰.

150

the noise.

But ev

152

er since

met

153

∑

you…

∑

I…

b & b bb Œ

(JOE) bbbb œ œ that's

157

b & b bb œ.

just

Lis

ten, boys,

œ œ

not

more,

b b b 160œj ‰ b & nœ

work

b œ & b bb

nœ

mm - mm - mm

nœ

hard…

œ œ œ

156

mm - mm - mm

159

œ.

j œ

œ œ J

ma - ble

mel - o - dy.

œ œ. œ œ. œ œ.

Less

vant

garde…

œ œ . œ œ . œ œ . 162 j œ. œ œ ‰ œ œ œ

161

Just

164

Dee - dee - dee - dee - dee

But

leave your name with the girl.

write

plain

old

mel - o

165

166

∑

169

170

∑

dee…

168

j œ ‰ nœ œ œ. œ œ œ . .

me.

158

œ . œ œ œ œ œ5

it's

œ œ œ œ œ œ œ œ

dee - dee - dee - dee - dee

may - be

leave your name with the girl.

163

167 bbbb

œ œ œ

œ ˙

155

hum

œ œ. œ œ. œ œ.

Write

œ œ

JOE:

154

‰. nœ œ. J

dee…

Vocal

—106—

171

Opening Doors

CHARLEY:

bbbb

Œ ‰ ‰ œj

172

∑

They're

MARY:

b & b b b 24 Œ

stop - ping re - hear-sals, they ran out

of mon - ey.

173

‰ ‰ œj 44 œ œ œ œ œ œ œ œ œ œ œ ‰

174

175

FRANK:

24 Œ

‰ ‰ œj 44

176

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

œ œ œ œ œ œ œ œ œ œ œ ‰

b & b b b 24 ¿

Gourd

∑

(FRANK)

last - ed one is - sue, my bookwas re - ject - ed.

night club was raid - ed,

bbbb

b & b bb

178

∑

Gourd

have

start coach-ing…

∑

MARY:

‰ ‰ œj 3

FRANK:

‰ ‰ œj

CHARLEY:

3 3 ‰ ‰ œj œ œ œ œ œ ‰

180

∑

œ œ œ œ œ ‰ Ó

wal - let was stol - en.

3 ‰ ‰ œj

They screwed up the laun - dry.

b & b bb

(MARY) 3

We're

œ œ œ œ œ ‰ Ó

3 3 ‰ ‰ œj œ œ œ œ œ ‰ 3

I saw the mu - si - cian.

par - ents are com - ing.

181 bbbb Ó

bbbb

b & b b b 44

179

24 ¿

∑

3 3 3 177 b b 4 b œ b œ œ œ œ œ & 4 œ œ œ œ œ ‰

b & b b b 44

The

Gourd

182

We'll

œ œ œ œ œ ‰ Œ

be - ing e - vict - ed.

bb &b b Œ

all get to - geth-er on Sun - day. They're slam - ming the 3

‰ ‰ œj œ œ œ œ œ œ œ œ œ nœ œ œ 3

We'll

3 3 ‰ ‰ œj œ œ œ œ œ œ 3

‰ ‰ œj œ œ œ œ œ œ œ œ œ nœ œ œ 3

all get to - geth-er on Sun - day. They're slam - ming the 3

œ œ œ œ œ œ œ œ nœ œ œ œ

I'm hav - ing a break - down.We'll all get to - geth-er on Sun - day. They're slam - ming the

Vocal

—107—

183

b & b bb

ALL:

œ œ. Œ

doors, 186

singing,

j̊ œ œ œ œ

‰.

œ œ œ

j̊ œ œ œ œ

‰.

"Go

a - way!"

187

œ Œ œ œ. Œ

185

It's less of a

sail

œ œ. œ than a

œ œ œ

188

œ.

œ œ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

b & b bb

184

Opening Doors

climb.

b & b bb œ 189

Thatfar - a-way

do?

b & b bb Œ

We'lldo a re

192

¿ ‰ Ó J

j FRANK: œ . œJ œ œ œ 

lot

say…

193

We'lldo a re

We'relearn-ing to

You knowwhat we'll

‰. œ œ œ œ J

œ œ œ œ ten.˙

vue of ourown.

What?

day.

vue.

CHARLEY:

ev - 'ry

190

We still have a

‰. œ œ œ œ J

farth-er

œ œ œ œ

œ.

ri - co - chet…

b b b 191 œ b &

shore's

∑

What?

bbbb

∑

MARY:

∑

What?

194

bbbb

(CHARLEY)

Œ ¿

Not

just

songs

but

stor - ies,

∑

scenes,

oour

∑

Why?

a - no

bb &b b Ó

(FRANK)

When?

What?

196

Where?

(MARY)

b & b bb ¿

bbbb

195

∑

bb &b b

A Tempo

piec - es,

mime…

Yeah!

∑

197

j œ

‰

show - case

∑

"Frank - ly

j ‰

Frank!"

Vocal

—108—

(FRANK) bbbb œ ‰.

j̊ ¿ ¿

own.

Theclub's

re - op' - ning.

198

bb &b b

(CHARLEY)

199

∑ Ó

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Opening Doors

Where?

bb &b b

Re - write

‰.

(MARY)

¿ J

¿ ¿ ¿ ¿ ¿

We'll

j bb &b b ¿ ¿ ¿ ¿ ¿ ‰ 200

¿ ¿ ¿ ¿

lot

of new stuff…

201

j ¿ ¿ ¿ ¿ ¿ ‰ Ó

‰ ¿ ¿ ¿ ¿ ¿ Œ

girl.

‰ ¿j¿ ¿ Œ

What a - bout the girl?

bb &b b

stuff…

On - ly that we're gon - na need a

What a - bout the girl?

bb &b b Œ

write a

old

Well, Mar - y…

∑

¿ ¿

Thanks, I

(MARY) bbbb ¿ 202

don't

per

form

cept

din

nnnb

ner.

203

&b ‰

205

&b ‰

FIRST GIRL:

j œ

Who

wants

j œ

Who

wants

the

live

wor -

ry,

New

York?

the

noise,

204

j œ œ

dirt,

the

j œ œ

206

the

heat?

FRANK: Thank you for coming. Next eight please.

207

&b ‰

j œ œ

Who wants the

gar - bage cans clang…

j œ ‰ Œ

208

I can sing higher!

209

∑

210

∑

Vocal

—109—

211

Opening Doors

BETH:

&b ‰

j œ

their

cork.

tone.

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

j ‰

FRANK:

212

∑

They're

213

‰

(BETH)

al - ways

j œ

The

cops,

pop - ing

the

cab - bies,

215

### ‰ j œ œ œ œ & œ œ œ You got - ta have a

219

###

# # # (BETH) œ

‰

the

sales

220

I'm

Frank.

∑

‰

###

(FRANK)

# # & # œ

(MARY)

CHARLEY:

j œ œ

217

real

the

way,

Œ œ

i - acs…

I'm

œ.

Saks…

∑

œ J

###

218

∑

IC &

# # # 221

FRANK: Up a tone.

FRANK: Thank you. You're hired.

œ œ œj œ œ œ J for man

girls

216

Beth.

real taste

œ J

FRANK:

j œ œ

214

thought

œ nœ

told

222

I'm

‰

j œ

MARY:

I'm

stank.

o - pen

œ #œ

Sat - ur - day.

∑

Char - ley.

Mar - y.

Vocal 223

###

Opening Doors

(FRANK)

‰ ‰ œj

224

œ œ œ œ œ œ œ œ œœ œ ‰

Ap - par - ent - ly some - bod - y can - celled a book - ing.

œ J

(CHARLEY)

‰

œ œ œ œ œ ‰

‰ ‰ j œ 3

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

###

—110—

What?

###

No - bo - dy's read - y!

(MARY)

The

œ œ3 œ œ œ œ Ó

What? You're not

# # # (BETH) œ ‰ & J

∑

ser - i - ous!

∑

What?

# # # 225

###

& &

###

226

∑

I'll bring you the

œ œ œ œ œ ‰ Ó

∑

songs are - n't fin - ished.

3 3 ‰ ‰ œj œ œ œ œ œ ‰ 3

∑

And what a - bout cos - tumes?

###

# # # 227

###

‰ ‰ j œ

how do I learn all these num - bers? 3

‰ œ œ œ œ œ œ œ œ

cop-ies of ev-'ry - thing lat - er this eve - ning. 3

œ œ œ œ œ œ œ œ ‰ Œ

228

œ œ œ œ œ œ œ œ œ œ œ ‰

And

3 ‰ ‰ œj œ œ œ 3

You don't have to, we'll se - gue the 3

‰ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ

Not to men-tion I still have - n't fin - ished the

Sy - na - non song or the Ken - ne - dy num - ber, and

∑

3 j ‰ ‰ œ œ œ œ 3

And have we de -

3 ‰ ‰ œj

œ œ œ œ œ œ œ œ œ œ œ œ -

kay, but

I'll have to have al

of the mu - sic and

Vocal

—111—

# # # 229

(FRANK)

###

end

(CHARLEY)

the

dance

cut

out…

we'll

'll

bout

get

ting

pub

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

###

Opening Doors

what

###

cid (BETH)

not

# # # 230

tau

got

sing

wed

with

the

long

two

round

town

put

three

days

the

least

wor

ing,

'cause

I'm

not

danc

bout

Sun

bout

Sun

bout

Sun

bout

Sun

dows?

We'll

er…

We'll

#œ

day!

We're

pen

#œ

day!

We're

#œ

day!

We're

pen

ing-

pen

#œ

day!

We're

pen

ing

œ -

ing

We'll

tion… 3

We'll

it…

place

ding.

win

danc

there

wor

ers

duc

God,

stick

tro

wor

ting

wor

need

I've

not

day

but

sketch?

rant

use

ty,

IC N &

###

res

# # & # œ &

the

# # # 231

###

# # & # œ

run

ur 3

# # & # œ

###

Sat

(MARY)

ing

Vocal 232

###

ALL:

Œ œ œ. Œ

doors,

singing,

œ œ œ

233

"Here we

Opening Doors

are!"

Œ œ œ. Œ

days

on a

234

œ œ œ œ

œ.

We'refill-ing up

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

—112—

# # # 235 ˙

‰ . œj̊ œ œ œ

dime.

236

Thatfar - a-way

# # # 238œ

ev - 'ry

shore's

237

looking

239

œ œ œ œ

œ.

star…

œ Œ œ œ. Œ

There'snot e - nough

œ œ œ

not

www

too

œ.

far.

œ œ œ œ

We'refol-low-ing

####

‰ . œj̊ œ œ œ

˙˙˙

240

time!

We'rebanging on

241

####

œ œ. Œ

(ALL)

doors,

shouting

# # # # 244 ˙ # &

# # # #247 (ALL) # œ œ &

# # # # 249 www # &

time!

œ œ œ

"Here

‰ . œj̊ œ œ œ

dime.

left

242

a - gain!"

245

shore's

œ.

œ œ œ œ

when.

looking

˙˙ ˙

œœ .. œ. œ œ œ œ

Wehaven't got

251

œ œ œ

near

a - gain.

count

ten…

248

We know weshould

250

246

www

time!

www

252

œ œ. Œ

all

on a

œ.

œ œ œ œ

243

We'rerisk - ing it

œ œ. Œ

Thatfar - a-way

j̊ œ œ œ œ

‰.

œ.

The on - lything

œ œ œ œ

We have-n't got

253

∑

Vocal

Merrily We Roll Along

—113—

16A

Transition 7

Moderato

j j œœ ‰ œœ ‰ œœ œœ ‰ œœj 2 œ œ œ œ œ

j j œœ ‰ œœ ‰ œœ œœ ‰ œœj 4 Œ ‰ œœj Ó œ œ œ œ œ œ

BETH & FRANK JR:

j & Œ ‰œ œ œ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

? b 44

∑

œ œ

Bend - ing with the

˙ Ó

road.

œ œ œ

Glid - ingthrough the

coun - try - side.

roll

a - long, roll

&b ˙

catch - ing

Œ ‰ œj œ œ œ œ SOLO 2:

wak

SOLO 4:

ing

œ œ œ œ œ œ

IC w b & w

dreams that

your

will

ex -

Œ ‰ œj œ œ œ œ SOLO 3:

œ œ œ œ

coun - try - side…

œ œ œ œ

ri - ly

+MRS. SPENCER

at dreams,

œ œ œ

sing 'em

œ œ œ œ œ œ œ œ

roll - ing

'ry - bo - dy

œ œ œ œœ œ œ œ

song.

Roll - ing

a - long…

BETH & FRANK JR:

Œ ‰ œj œ œ œ œ SOLO 1:

Mer

up the

mer - ri - ly, mer - ri - ly,

œ œ œ œ

a - long,

plode,

œ œ œ œ

&b œ œ œ œ œ œ

œ œ J

œ J

œ œ J

w w

a - long…

œ œ œ œ J

roll - ing

w bœ bœ œ Œ J œ J œ œJ 3

(Revised 1/95)

œ œ œ œ

FRANK JR:

a-long…

U w œ bœ œ bœ œ œ bœ u

(6/28/02)

Vocal

Merrily We Roll Along

—114—

Our Time—Part 1 œ

Vamp—vocal last time

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

bbb 41 b & b 4

∑

3 FRANK: .. œ œ œ œ œ . œ Œ .

∑

Some - thing is stir

b & b bbb

j œ œ

Shift - ing

‰

ground.

Ed - ges are blur - ing

œ œ œJ ˙ J

Feel the flow,

b & b bbb

œ œ J

Don't you

j œ œ

It's

bbb 7 œ œ œ œ œ Œ b & b œ

b & b bbb

j œ

just

j œ ˙

know?

j œ œj œ ‰ j 9 œ œ œ œ œ œ œ œ

all

a - round

and

œ œ œ œ J J œ œ

œ œ J

We're

the

(Revised 1/95)

the names

to - mor-row's pap

yes - ter - day

mov

ers.

Œ Ó

is done.

j œ œj œ œ œ œ

j œ œ b œJ œ

We're what's hap - pen - ing.

œ œ œ œ J

b b b 18 œj œ b œ œ œ œj 19 j œ œ œ œ b & b œ J J J J . We're

ring.

be - gun.

hear what's hap - pen - ing:

œ ˙ J

ers

and

we're the

shap

ers.

Ritard

U j œ œ œ œ j 21 œ œ œ ˙ Œ œ J J

Up to us,

man, to

show'em…

(6/28/02)

Vocal

—115—

A Tempo

b & b bbb

∑

(FRANK)

œ.

œ ˙ J

our

time,

j œ ˙

œ œ J

breathe it

in:

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

It's

Our Time—Part 1

b & b bbb

j j œ œ œ œ œ

Worlds to change

and

b b b 30 œ b & b J

œ J

and

you,

bbbb

j œ œ œj ˙

worldsto win.

∑

œ J

and

you!

∑

j œ œ

œ ˙ J

Our

œ J

man,

œ.

turn

com-ing through,

j œ ˙

œ œ œJ ˙ J

˙.

j œ œ

∑

b & b b b b œj œ

j œ

b b b 40 œj œ b & b

j œ œ

b b b 43 j œ b & b œ

∑

j j œ œ œ.

∑

j œ œ

j bœ œ

j œ œ

j j œ œ œ

j œ

∑

j œ

j œ œ

j j bœ œ œ

Ritard

j œ

∑

U Œ

Segue

Vocal

Merrily We Roll Along

—116—

17A

Our Time—Part 2 œ

Vamp—vocal last time

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

bbb 41 b & b 4

∑

3 FRANK: .. œ œ œ œ œ œ Œ

∑

Feel how it quiv

j œ œ

b j & b bbb œ œ

On the

brink.

j œ œ œj ˙

Ev - 'ry - thing.

b & b bbb Ó

CHARLEY:

œ Œ

Gives you the shiv - ers,

∑

ers.

œ œ œ œ œ

œ Œ Ó

∑

What?

b & b bbb

j œ œ

(FRANK)

makes you

‰

think

there's

b & b b b b œJ œ you

and

b & b b b b œj œ

me with

b & b bbb

œ ˙ J

me,

sic and

know!

bbbb

∑

œ œ œ œ œ

much stuff

œ œ J

sing

ing

œ ˙ J

you the words.

Tell

'em

j œ

pal,

j œ œ œ œ

j œ

us,

pal,

the

birds,

things

they don't

Ritard

œ œ œ œ J

CHARLEY:

j œ ˙

œ œ œ œ J

œ œ J

us,

And

j œ œ

Œ Œ ‰ j œ

sing!

œ œ œ œ J

œ œ J

(Revised 1/95)

we'll

j œ œ œ œ

j œ

U œ ˙.

show 'em…

U œ ˙.

show 'em…

(6/28/02)

Vocal

—117—

bbbb

A Tempo

23 22

∑

Our Time—Part 2

œ.

FRANK & CHARLEY:

œ ˙ J

time,

breathe it

in:

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

Our

j œ ˙

œ œ J

b & b bbb

j œ œ

Worlds to

b & b bbb

œ J

we're what's

b & b bbb

and

œ J

Feel

the

flow,

FRANK:

‰

CHARLEY:

œ J

We're

what's

hap

bœ J

œ J

We're

what's

hap

b b b 36 œ b & b J

œ J

all

had

b & b b b b œJ

j œ

all

had

bb &b b b

you,

Feel

b b b 33 œ b & b J

œ œ J

œ ˙ J

pal,

and

you!

œ J

hear

what's

hap

œ J

the

flow,

hear

what's

hap

Long

was

œ was

Long

j œ

that

fun

j bœ

that

fun

bœ J

feel

j œ

feel

pen

ing:

pen

ing:

œ ˙ J

a - go

j œ œ

pen - ing!

œ œ J

pen - ing!

turn,

œ ˙ J

Our

œ œ J

and

œ.

win.

œ œ J

œ J

j œ ˙

worlds to

new.

b & b bbb

change

j œ œ

œ ˙ J

a - go

ing,

Vocal

—118—

(FRANK) 38 j b b & b b b œ œ b œJ œJ œ say - ing some

(CHARLEY)

j bœ œ

day

we'd

j œ

j j œ œ bœ

bœ œ J

œ œ œ. J J

send 'em

reel

œ œ œ J J

œ œ J

ing.

Now it

j œ œ b œJ œJ œ .

bœ œ J

looks

œ J

œ œ œ J J

œ J

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

b & b bbb

j œ

Our Time—Part 2

say - ing some

b b b 41 w b & b

day

we'd

send 'em

n˙

reel

ing.

Now it

looks

∑

can!

b & b bbb w

can!

bbbb

Some-day

∑

It's

b & b bbb

∑

It's

b 49 & b b b b œJ œ œJ œ œ Give us room

b & b bbb

and

j j œ œ œ œ œ

Give us room

and

œ œ œ œ œ 53 b b J &b b b J Me and you,

b & b bbb

pal,

œ œ œJ œ œ J

Me and you,

pal,

œ œ œ ˙ J J

œ.

just

œ ˙ J

our

heads

œ.

œ ˙ J

our

U w

j œ œ œ œ

œ œ J

heads

œ. œ ˙ J

be - gan.

œ œ J

œ ˙ J

the

block.

j œ ˙

œ œ J

the

block.

œ œ J

œ ˙ J

start the clock.

Our time…

com - ing through!

j œ œ œj ˙

œ. œ ˙ J

œ œ J

start the clock.

Our time…

com - ing through!

œ œ œ ˙ J J

me and you!

Me and you!

œ œ œ ˙ J J

me and you!

Me and you!

œ ˙ J

Rall.

∑ ∑

U ∑ U ∑

Vocal

Merrily We Roll Along

—119—

17B

Our Time—Part 3 œ

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de Vamp

b & b b b b 44 ..

∑

Vamp—vocal last time

stir - ring.

b 8 œ œ œ œ œ œ Œ & b bbb CHARLEY:

Shift - ing ground.

It's

Ed - ges are blur - ing

all

a - round

and

œ Œ Ó

Œ Ó

just be - gun.

10 j j œ œ œ œ ‰ œj œ œ œ œ œ œ

∑

j œ œj œ ‰ j 6 j j œ œ œ œ œ ˙

b œ œ œ œ œ Œ .. & b b b b .. œ Some - thing is

∑

FRANK:

yes - ter-day

is done.

bbbb

œ ˙ J

MARY:

b œJ œ

Feel the

œ œ J

flow,

b & b bbb ˙ 15

œ œ œ œ J

hear what's

Don't you

j œ

bœ J

we're

the

shap

bb &b b b

b & b bbb

j œ œ

mor - row's

(Revised 1/95)

pap

ers.

pen - ing:

ers.

j œ œ

œ œ J

j œ

bœ J

We're

the

names

œ œ œ J J

j œ

us,

now,

hap

pen - ing.

œ œ œ œ J

We're the

j œ œ œ œ

FRANK, MARY & CHARLEY:

We'rewhat's

know?

œ œ œ. J J

œ ˙ J

œ œ J

hap

mov

œ J

ers

and

j œ

U œ œ ˙.

Ritard

show 'em…

(6/28/02)

Vocal

—120—

bbbb

A Tempo 24

∑

ALL:

œ.

œ ˙ J

our

time,

j œ ˙

œ œ J

breathe it

in:

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

It's

Our Time—Part 3

b & b bbb

Worlds to

b & b b b b œJ 30

com - ing

bbbb

change

œ J

œ œ J

b & b bbb œ 36

and

œ ˙ J

you,

pal,

we'll

œ œ œ œ œ -

top and

œ œ J

hang

ber

œ ˙ J

you!

and

œ ˙ J

turn

œ œ J

œ œ œ œ J

re - mem

œ.

Our

œ œ J

and

win.

œ œ J

now,

the roof

worlds to

through,

j œ ˙

and

j œ ˙

j œ œ

we'll come back,

plaque:

œ œ J

"This is

œ œ œ œ J

where

buy

j œ œ

FRANK, MARY & CHARLEY:

Years from

j œ œ

b b b 39 w b & b

gan

34 41 œ œ J

be - ing

j œ

44 42 U w

what

can."

Ritard

Vocal 43

bbbb

—121—

Our Time—Part 3 45

∑

It's

our

heads

œ.

j œ

It's

our

heads

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

∑

œ J

COMPANY:

b & b bbb

œ.

b b b 46 œ œ b & b J on

the

b j & b bbb œ œ on

b b b 49 œ . b & b

Our

b & b bbb œ.

Our

the

j œ ˙

j œ œ

block.

Give

j œ ˙

j œ œ

block.

œ J

Give

dream…

œ œ J

com - ing

j œ œ

j œ ˙

dream…

com - ing

j œ œ

room

and

j œ œ

room

j œ œ

start

the

clock.

j œ ˙

j œ œ

and

œ ˙ J

j œ ˙

start

œ œ J

true!

j œ ˙

true!

the

and

œ œ J

you,

pal,

j œ œ

œ œ J

clock.

and

you,

pal,

b & b b b b œJ œ œJ ˙

Me and you!

b & b b b b œj œ œj ˙ Me and you!

b b b 56 œ œ œ ˙ b & b J J Me and you!

b & b b b b œj œ œj ˙ Me and you!

œ œ œ ˙ J J

Me and you!

j j œ œ œ ˙

Me and you!

œ œ œ ˙ J J

Me and you!

j j œ œ œ ˙

Me and you!

Vocal

Merrily We Roll Along

—122—

Bows b b b b 44

N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

b &b b C

b & b b b 44

bbbb

˙ ˙

œ œ. œ œ.

˙ ˙

‰.

∑

˙ ˙

œ œ

∑

œ j̊ œ œ œ œ œ œ œ

œ. œ.

‰.

∑

˙ ˙

‰.

∑

23 bb œ

(Revised 1/95)

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.

∑

nnbb

∑

œ j̊ œ œ œ œ œ œ œ

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Vocal 25

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N H U T R F VE Ü ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

—123—

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N H U T R VE FÜ ZU w MU R R R w A T w S I R U AN .m K IE FF S us U B Ü IC ik ND DU HR HT un B R U db Ü C N ue HN H GE hn E N e. de

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