L
I B R E T T O
V
O C A L
B
O O K
Music and Lyrics by Benj Pasek & Justin Paul Book by Peter Duchan
Based on the Warners Bros. Film and Screenplay by Bob Comfort NOTICE: DO NOT DEFACE!
Should you find it necessary to mark cues or cuts, use a soft black lead pencil only.
NOT FOR SALE
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MTI MUSIC LIBRARY
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All songs, music and lyrics by Benj Pasek and Justin Paul. Copyright © 2013 by DFIGHT LP and Justin Paul. All songs published by Pick in a Pinch Music (ASCAP) and breathelike music (ASCAP). International Copyright Secured. All Rights Reserved. Book by Peter Duchan. Copyright © 2013 by Peter Duchan. International Copyright Secured. All Rights Reserved.
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MUSIC THEATRE INTERNATIONAL
M USIC T HEATRE I NTERNATIONAL
421 West 54th Street New York NY 10019 (212) 541-4684 www.MTIShows.com
C H A R AC T E R S EDDIE BIRDLACE, U.S. Marine, Private First Class, careless & lost, from Buffalo, NY ROSE FENNY, diner waitress, dreamer BERNSTEIN, U.S. Marine, Private First Class, inexperienced, from Cleveland, OH BOLAND, U.S. Marine, Private First Class, handsome Southern cad MARCY, brash and crass, nearly toothless prostitute FECTOR, U.S. Marine, Private, not too bright STEVENS, U.S. Marine, Private First Class, cocky GIBBS, U.S. Marine, Private First Class, Midwestern MAMA RUTH TWO BEARS LOUNGE SINGER The following roles may be played by the actors playing FECTOR, STEVENS, GIBBS, MARCY, MAMA, RUTH TWO BEARS, and LOUNGE SINGER, doubling as indicated, or by other actors as desired: BUS PASSENGERS
PETE, played by LOUNGE SINGER
MARINES
SERGEANT, played by LOUNGE SINGER
PEGGY, played by MARCY
LIBRARIAN, played by RUTH TWO BEARS
PRAYING DRAG QUEEN, played by LOUNGE SINGER
DINER PATRON, played by LOUNGE SINGER
STEVENS’ PARTY DATE, played by GIBBS, as female, in cast of eleven
FECTOR’S PARTY DATE (SUZETTE), played by MAMA
CHIPPY, played by RUTH TWO BEARS
WAITER, played by LOUNGE SINGER
BIG TONY, played by LOUNGE SINGER
HIPPIES, played by the women of the Ensemble — iii —
P RO D U C T I O N N OT E S
DOGFIGHT is set in 1967 and, in memory, 1963. In 1967, Eddie Birdlace, recently discharged from the U.S. Marine Corps, rides a Trailways bus to San Francisco. As he recalls the last day/night he spent stateside before deploying four years earlier, the setting shifts and his memories come to life. Most of the action takes place in various locations in the city of San Francisco on November 21, 1963. BIRDLACE AND ROSE. In the second act of the musical, it is important that it takes a long time for Birdlace and Rose to grow comfortable and affectionate with each other. The tension between them should carry through all the way to their encounter in Rose’s bedroom and beyond. Seeing them fully relax into something resembling a typical romance would strip their relationship of its necessary tension. This is particularly important in the fancy restaurant and on the Golden Gate Bridge. We encourage you to take your time developing this relationship, allowing for nuance in a complex interpersonal situation. As Rose says, she doesn’t accept Birdlace’s dinner invitation because she is in love with him but because it becomes a measure of her self worth. This show is about the ways in which they change each other, not about a storybook romance. WALKING SEQUENCES. There are multiple scenes in which we follow characters in transit, as they walk through the city. In the original production at Second Stage Theatre, a turntable was used to facilitate this movement. If this scenic element is not possible or desired for your production, we encourage you to find interesting ways to help us feel the actors are moving during these sequences. ROSE’S GUITAR. If possible, the actor playing Rose should accompany herself on guitar when noted in the script and score. Simple strum chords are fine; Rose is a beginner. If the actor isn’t comfortable playing, Rose’s guitar passages are also cued in the guitar book of the orchestration. MARCY’S TEETH. Productions should portray Marcy’s bad teeth however possible. In the original production, the reveal of Marcy’s unattractive teeth was a visual trick. When Marcy claimed to be removing her good teeth, she was actually inserting a set of bad teeth. A little sleight of hand covered this action just fine. ACTOR DOUBLING. If staging the show with a cast of eleven, the actor playing GIBBS doubles as STEVENS’ female party date. He is not playing a drag queen; he is playing a woman. To avoid this becoming a confusing joke, it is recommended that the sequence be staged so the audience is not aware of this visual trick.
— iv —
WAR SEQUENCE SOUND CUE. A usable sound cue for the war sequence is provided with licensing materials. This is the cue that was used in the original Second Stage Theatre, created by Fitz Patton and Michael Starobin. In addition to containing the many elements of battle (gunfire, explosions, helicopters, etc) it also includes a timed drum sequence that provides the rhythmic track to match the spoken chants by the Three Bees in #17B – War Sequence (Part 2). Licensees are given full permission to utilize this track, if desired. However if the cue is not utilized, productions will need to create a similar drum sound that will provide the rhythmic/musical bed for the Marines’ chants.
— v —
1.
ACT 1
MUSICAL NUMBERS
Prelude: Take Me Back ...............................Rose, Birdlace, Ensemble (Pete) ..........1
1a. Before “Some Kinda Time”................................Boland, Bernstein, Birdlace ..........3 2.
Some Kinda Time ....................................................All Marines, (Sergeant) ..........4
3.
We Three Bees ....................................................Birdlace, Boland, Bernstein.........13
2a. Some Kinda Time (Playoff) ..................................................................................10 4.
Hey, Good-Lookin’ ......................................................Women, All Marines
.........................................................(Librarian, Praying Drag Queen, Alice).........14
4a. Hey Good Lookin’ (Playoff) .................................................................................20 4b. Give Way (At The Diner)......................................................................Rose.........21
5.
6.
Come to a Party......................................................................Birdlace, Rose.........25 Nothing Short of Wonderful ................................................................Rose.........30
6a. Transition To The Street........................................................................................33 7.
Come to a Party (Reprise) ........................Rose, Birdlace, Boland, Bernstein
...............................................................................................Fector, Stevens.........35
7a. Walk to a Party......................................................................................................37 7b. Nothing Short of Wonderful (Reprise) ................................................Rose.........40
7c. Before the Party ....................................................................................Rose.........42
8.
Blast Off .................................................................................Lounge Singer.........44
8a. That Face ...................................Lounge Singer, All Marines except Birdlace.........48
8b. It’s Just a Party ......................................................................Lounge Singer.........55 9.
It’s A Dogfight ..........................................................................Marcy, Rose.........58
9a. It’s Just a Party (Reprise) ......................................................Lounge Singer.........62
9b. Transition To Rose’s Room ...................................................................................62
10. Pretty Funny .........................................................................................Rose.........63
— vi —
ACT 2
11. Entr ’acte: Hey Good Lookin’ ..............................................................................66
12. Hometown Hero’s Ticker Tape Parade ....................................All Marines.........68
12a. Back to Rose ..........................................................................................................74 13. First Date, Last Night ............................................................Rose, Birdlace.........78
13a. Fancy Restaurant Music .......................................................................................81 13b. First Date, Last Night (Reprise) ............................................Rose, Birdlace.........87 14. Hometown Hero’s Ticker Tape Parade (Reprise) ...........Bernstein, Boland.........90
14a. Golden Gate Bridge ..............................................................................................93 15. Before It’s Over .....................................................................................Rose.........94
15a. After “Before It’sOver”.........................................................................................96
16. Give Way...............................................................................Ensemble, Rose.........97
17. Some Kinda Time (Reprise) ......................................................All Marines .......102
17a. War Sequence (Part 1) ...............................................................All Marines .......108
17b. War Sequence (Part 2) ...............................................................All Marines .......109 17c. Transition: Take Me Back ....................................................................................110
18. Come Back .......................................................................................Birdlace .......112
19. Finale: Take Me Back .....................................................................Ensemble .......114
20. Bows.....................................................................................................................115 21. Exit Music ............................................................................................................115
— vii —
AU T H O R S N OT E
Greetings! We’re delighted you’ve chosen to mount a production of our musical DOGFIGHT.
Hopefully you’ve had an opportunity to procure the cast recording from our Off-Broadway production at New York City’s Second Stage Theatre. While we encourage all artists to make the show their own, we feel the album is a wonderful way to experience the shape and energy of the show, a great tool for beginning to explore the material. We’ve also included in the script a few production notes that address questions you may have about performing the piece. In addition, we wanted to share a few of our general thoughts about the show here. We hope they might be helpful to you.
DOGFIGHT is a musical about the power of compassion and empathy in an unlikely context. Set on November 21, 1963, on the eve of the Kennedy assassination, the majority of the show takes place in the final hours of an age of American innocence that will quickly dissipate. A sense of American arrogance helps to fuel the entitled worldview embodied by our Vietnam-bound Marines, unaware of the dangers that lie ahead of them across the Pacific Ocean. This allows them to charge forward with a feeling of invincibility, void of consequence.
Though the contest the Marines hold is undoubtedly a cruel one, we try not to reduce these young men to evil characters. They are senseless and uneducated rather than heartless. It should be noted that the Dogfight was an actual tradition that took place in the Corps. We see this practice as an extended way of conditioning Marines to learn how to extirpate humanity from others. When they treat their dates as objects rather than people with feelings, it can be viewed as preparation for what comes next; they will soon be required to kill men in combat, unhampered by guilt or culpability.
It’s not until Rose shows Eddie her humanity that any of our Marines’ brazen and careless attitudes is challenged. Her deep wells of empathy and compassion unlock his own humanity and force him to challenge his assumption of “the other.”
Lastly, it should also be noted that it’s not our intention to make any of the women “ugly.” The only requirement is that the audience not identify the women chosen as conventionally attractive within the context of 1963 America. It's important not to present these women too broadly in the pursuit of cheap laughs. The Marines' lack of respect for the women shouldn't feel like the show's.
We thank you from the bottom of our hearts for helping bring new life to our show. It is very dear to us, and it is a great honor sharing it with you. We’re excited to see what you and your team create! Sincerely, Peter Duchan, Benj Pasek, and Justin Paul — viii —
D
— 1 —
O G F I G H T
ACT ONE. SCENE ONE.
(Lights reveal ROSE FENNY singing and playing her guitar. The “Prelude” exists in a time outside of time, a dreamy limbo where memories take human form.)
#1—Prelude: Take Me Back
[Rose, Birdlace, Ensemble]
(gently, like an echoing memory)
ROSE
DA DA DA DA
DA DA DA DA DA
DA DA DA DA
SOME KINDS OF TIME
ARE REAL qUICK TO LEAVE YOU
SOME KINDS OF TIME
YOU CAN’T DREAM AWAY
(EDDIE BIRDLACE appears, damaged, broken. He shares this dream-like space—but he and ROSE aren’t aware of and don’t acknowledge one another.) SOME KINDS OF TIME
ARE SET TO DECEIVE YOU
BIRDLACE / ROSE
SOME KINDS OF TIME REPEAT AND REPLAY
OH A SMELL, A SOUND
ROSE
CAN TAKE YOU BACK
BIRDLACE / ROSE
OH TAKE ME BACK
A SMELL, A SOUND
ROSE
A MEMORY YOU FOUND
CAN TAKE YOU BACK
(ENSEMBLE appears, helping us to transition from this dreamy limbo to the reality of the trailways bus.)
ENSEMBLE / BIRDLACE / ROSE
OH, TAKE ME BACK
— 2 —
D
TAKE ME BACK
O G F I G H T
BIRDLACE / ROSE
DA DA DA DA
ENSEMBLE
DA DA DA DA DA
DA DA DA DA
DA DA DA DA
DA DA DA DA
DA DA DA DA
(Eventually, we find BIRDLACE on a Trailways bus. ROSE disappears. It’s 1967. PASSENGERS sleep in a midnight hush. BIRDLACE looks out the window, lost in his own thoughts. He is clearly a severely damaged person, suffering from Post-Traumatic Stress Disorder. Even the simplest interaction seems difficult for him in this state. His seatmate, PETE, watches him, notices. He is older than BIRDLACE, past his prime. But PETE is good-natured and tries too hard to make conversation, attempting to cheer up this young man.)
PETE
You a Marine?
(BIRDLACE is momentarily startled out of his daze.)
I see you’re wearing the Eagle, Globe, and Anchor. Semper Fi, right? Vietnam? Yes, sir.
BIRDLACE PETE
I was an Army man myself—Korea.
(No response from BIRDLACE.)
This your first trip to Frisco?
(after a moment)
BIRDLACE
I been before—just once—back in ’63.
PETE
Make the trip about once a year. Still can’t stand this long bus ride. What are you, a Sergeant? Staff.
BIRDLACE
D
— 3 —
O G F I G H T
PETE
Good for you. I was working my way up to Corporal by the time I got out. Hey, that’s quite a tattoo you got. Bumblebees, right?
(BIRDLACE looks at the tattoo on his forearm: three bees.)
…Yeah. Three of ‘em.
BIRDLACE
(BOLAND and BERNSTEIN appear—either elsewhere or on the bus—not as passengers in 1967, but as they were, uniformed, in 1963.)
Do they do anything? They don’t fly?
PETE
BIRDLACE
No, sir.
PETE
I got one that dances.
(pats his belly)
This is no place to be showing off my belly, or else I’d let you see her moves. So what’re they supposed to mean?
BIRDLACE
(with effort)
Don’t mean nothing, sir. Just something we did, my buddies and me. There’s Boland ...
#1a—Before “Some Kinda Time”
SOME KINDA TIME
[Boland, Bernstein, Birdlace]
BOLAND
SOME KINDA HAZE
WHEN WE HIT IT HARD
AND LIT THE SKY ABLAZE
(“stein” rhymes with “fine”)
…and there’s Bernstein…
SOME KINDA TIME
SOME KINDA HUM
BIRDLACE
BERNSTEIN
AS IF SOMEBODY’S CALLIN’
— 4 —
D
…and me, I’m Birdlace.
O G F I G H T
BIRDLACE PETE
(gets it)
Oh, I get it. The Three Bees.
TO A YOUTH
PETE (under, fading out) Bet your bees can’t dance the hula, can they?
AND BETTER DAYS
She’s bigger than she used to be
BERNSTEIN / BOLAND
SOME KINDA TIME
SOME KINDA MAZE
OF BENDED TRUTH
though, that’s for sure.
BERNSTEIN / BIRDLACE / BOLAND
SOME KINDA TIME
CUT ALL OUR STRINGS
WE’LL BE KINGS FOR AN EVENING
WHAT D’YA SAY TO SOME KINDA TIME?
(A new rhythm and feeling take over. Muscular, punchy. Bright morning sun. The bus becomes a military bus, now filled with uniformed MARINES on their way to San Francisco. November 21, 1963. An explosion of energy. In addition to the overlapping dialogue below, all MARINES ad lib. Noisy, rowdy, boisterous energy.)
[All Marines]
#2—Some Kinda Time Ante up, ante up if you got it! Gonna be a big one. Twenty-six assholes so far.
BERNSTEIN BIRDLACE BERNSTEIN BOLAND
You’re gonna turn to stone when you take a look at my girl. Says who? Frisco, here we come!
BERNSTEIN BOLAND
D
O G F I G H T
(BIRDLACE, BOLAND, and BERNSTEIN stick together, forming their own close-knit sub-group in this unit.)
BIRDLACE
YOU BETTER CALL THE COPS AND GIVE ‘EM WARNING
SOUND A SIREN! BANG THE BELL!
BOLAND
BERNSTEIN BOLAND
A MEAN MARINE
ROLLS IN THIS MORNING
BOLAND / BIRDLACE
ON HIS WAY TO RAISE SOME HELL!
BERNSTEIN
NO SWEEPIN’ US OUT
BIRDLACE
OR KEEPIN’ US qUIET TRY IT!
THREE BEES BERNSTEIN
THROUGH THE GOLDEN GATE ACROSS THE WATER
SEE US COMIN’? HIT THE DIRT! LOCK YOUR DOOR
BIRDLACE THREE BEES BIRDLACE
AND HIDE YOUR DAUGHTER
BOLAND
WOULDN’T WANT HER GETTIN’ HURT! GOIN’ ALL IN
THREE BEES
— 5 —
— 6 —
D
O G F I G H T
(THREE BEES)
THROWIN’ A DOGFIGHT BIG NIGHT!
THE PARTY’S ON
WE GOT TILL DAWN
WE’LL BE HAVIN’ SOME KINDA TIME SOME KINDA TIME LIVIN’ IT LARGE
MAKIN’ NOISE
BECAUSE THE BOYS
ARE NOW IN CHARGE SOME KINDA TIME
CUT ALL OUR STRINGS
WE’LL BE KINGS FOR AN EVENING
GONNA BE HAVIN’ SOME KINDA TIME
(FECTOR, STEVENS, and GIBBS approach BIRDLACE, BOLAND, and BERNSTEIN on the bus. FECTOR is low man on the totem pole, does what he can to ingratiate himself to BIRDLACE and BOLAND, who seem to hold the power here.)
STEVENS
Ladies. I want you to meet Private Fector. Fecked her? I hardly knew her.
BERNSTEIN
(BOLAND swats BERNSTEIN, who is pleased with his dumb joke. MARINES laugh it up.) (cuts through the group’s noise)
FECTOR
Stevens tells me you guys are sponsoring a little get-together. The dogfight. I want in. You know the rules?
BIRDLACE FECTOR
The Marine with the ugliest date wins the pot. No lookers, no hookers, no retards.
BOLAND
D
O G F I G H T
GIBBS
So I can’t bring your mother.
(Rowdy laughter.)
BIRDLACE
You break the rules, you’re disqualified. You got that?
FECTOR
Loud and clear.
BERNSTEIN
You got the fifty bucks?
FECTOR
(offers a wad of cash)
Sure do.
BOLAND
Looks like an outstanding candidate to me. Out-fuckin’-standing!
(The MARINES get off the bus and prepare to take the city by storm, change into their civvies.)
BIRDLACE
WE’RE GONNA RUN THE STREETS AND FIND SOME TROUBLE
BERNSTEIN
ONE LAST NIGHT WE DON’T FORGET
FECTOR / STEVENS
DRINK SO DEEP WE’RE SEEIN’ DOUBLE
ALL MARINES
ONE LAST NIGHT WITH NO REGRET! ANYTHING GOES
FECTOR / GIBBS
BOLAND / STEVENS
SLOPPY AND BOOZIN’
CRUISIN’
(A flurry of loud, noisy, rambunctious horseplay from the MARINES—ad lib—then we focus on BIRDLACE.)
BIRDLACE
A BAND OF BROTHERS YOU’VE BEEN GIVEN
PRIDE YOU NEVER THOUGHT YOU’D FEEL
— 7 —
— 8 —
D
O G F I G H T
(BIRDLACE)
THE SHITTY LIFE THAT YOU WERE LIVIN’ BARELY SEEMS LIKE IT WAS REAL
‘CAUSE WHEN IT GETS ROUGH
YOUR BUDDIES’LL PULL YOU
RIGHT THROUGH
YOU GET THAT AND MORE
WHEN YOU JOIN THE CORPS
YOU’RE IN STORE FOR SOME KINDA TIME
(The rest of the MARINES join BIRDLACE, excitement building.) SOME KINDA TIME
ALL MARINES
DON’T THINK IT THROUGH
BIRDLACE / BOLAND
‘CAUSE YOUR GUT WILL TELL YOU WHAT
YA GOTTA DO
SOME KINDA TIME
ALL MARINES
CUT ALL OUR STRINGS
WE’LL BE KINGS FOR AN EVENING
DON’TCHA MISS OUT ON SOME KINDA TIME
(SERGEANT appears.) Ten-hut.
GIBBS
(MARINES snap into formation, immediately at attention. SERGEANT barks at them.)
SERGEANT
Shipping out tomorrow morning, 0500. It’s your last night. Have at ‘em, boys. Dismissed!
(He goes. Now the MARINES are on their own, dressed and ready, unstoppable. They reflect on what they will leave behind, what they are ostensibly traveling overseas to protect. Tough and sweet.) GOODBYE TO
CHILI FRIES
ALL MARINES
D
O G F I G H T
(ALL MARINES)
TO APPLE PIES
AND DINAH SHORE SO LONG TO
WAFFLE CONES
NEW TWILIGHT ZONES AND LESLEY GORE
FAREWELL TO
CHEVROLETS
TO WILLIE MAYS
THE CORNER STORE HATS OFF TO YOU
RED WHITE AND BLUE SO RAISE YOUR CUP
BIRDLACE / GIBBS / STEVENS
AND LIVE IT UP AND LIVE IT UP AND LIVE IT UP
BERNSTEIN BOLAND / FECTOR
AND LIVE IT UP
ALL MARINES
A WILD RIDE
ON MY LAST NIGHT STATESIDE
(MARINES descend upon the city, chugging beers at the first bar they see.) THE WHOLE DAMN TOWN IS OURS TO BORROW
NOTHIN’ STANDIN’ IN OUR WAY
THE WHOLE DAMN WORLD MIGHT CHANGE TOMORROW
SO WE GO FOR BROKE TODAY MAKIN’ IT COUNT
TAKIN’ THAT ONE SHOT
WE GOT
— 9 —
— 10 —
D
O G F I G H T
BERNSTEIN / FECTOR / GIBBS / STEVENS
YA JUST DON’T KNOW
WHERE THE NIGHT MIGHT GO HERE’S TO JFK
BIRDLACE / BOLAND
AND THE USA
ALL MARINES
SOME KINDA TIME
TAKE WHAT WE OWN
WITH A “WHAM, BAM, THANK YOU MA’AM”
YOUR BOYS HAVE GROWN SOME KINDA TIME
CUT ALL OUR STRINGS
WE ARE KINGS FOR AN EVENING
WHADDAYA SAY TO SOME KINDA
FECTOR / GIBBS / STEVENS TIME
THREE BEES
NO ONE’LL MIND A GOTTA GO FIND A
GONNA BE HAVIN’
ALL MARINES
LEAVIN’ BEHIND A
SOME KINDA TIME
(BUS DEPOT. MARINES exit, leaving BIRDLACE, BOLAND, and BERNSTEIN, who stick together. BIRDLACE is a natural leader and takes control of the situation. BERNSTEIN is a natural follower. BOLAND lets BIRDLACE take the reins—for now.)
#2a—Some Kinda Time (Playoff) (gets their attention)
All right, gang: fall in!
[Orchestra]
BIRDLACE
(BOLAND and BERNSTEIN immediately stand at attention.)
Roll call: Birdlace!
D
Boland! Bernstein!
O G F I G H T
BOLAND BERNSTEIN
(BOLAND and BERNSTEIN line up. BIRDLACE “inspects” them, straightening a collar here, a sleeve there. A parody of military precision. Barked orders, call and response.)
BIRDLACE
One question, men: are we assholes or Marines? Sir, assholes, sir!
BOLAND / BERNSTEIN BIRDLACE
Wrong! We’re Marines! And tonight we got a special mission! Sir, yes, sir!
BOLAND / BERNSTEIN BIRDLACE
Tell me, Bernstein, just what is that mission?! To get me laid, sir!
(Wrong answer.)
‘Scuse me?
BERNSTEIN
BIRDLACE BERNSTEIN
I want a handful of grade-A San Francisco tit, sir, and I want it now!
(BIRDLACE enlists BOLAND’s help getting BERNSTEIN back on track.)
Boland— Sir!
BIRDLACE BOLAND BIRDLACE
—will you kindly remind this bottom-feeding waste of oxygen: what were our orders?!
BOLAND
To find us some droolin’ and slobberin’ dogs, sir!
— 11 —
— 12 —
D
Attaboy.
O G F I G H T
BIRDLACE
(To the side, PEGGY, an attractive, buxom blonde, carries a large suitcase. She looks great but is very ditsy. BERNSTEIN gawks, eyes bulging.)
Target located, 10 meters. There will be distractions.
BERNSTEIN BIRDLACE
(BERNSTEIN approaches PEGGY, laying it on thick, largely clueless about women.) (stiff, put on)
BERNSTEIN
What seems to be the problem, Miss? Pardon?
(takes her suitcase, with effort)
Let me help you with that.
(flattered, flirtatious)
PEGGY
BERNSTEIN
PEGGY
Well, someone ate his spinach today, thank you! Are you boys with the armed forces?
(salutes, proud)
BERNSTEIN
United States Marines, reporting for duty. You make it sound so serious.
PEGGY
BERNSTEIN
Your protection is something I take very seriously.
BIRDLACE
(interrupts, takes PEGGY aside, away from BERNSTEIN)
It’s a shame we have to cut this meeting so short.
(BOLAND holds back BERNSTEIN, keeping him from PEGGY.)
BOLAND
You see, Miss, we’re on a special mission, classified as hell.
D
— 13 —
O G F I G H T
BIRDLACE
So you better go now—it ain’t safe here.
BOLAND
I’m sorry, that’s all we’re at liberty to say. Oh my. Well, good luck to you boys…
PEGGY
(She gives them a weak, winking salute, then goes. BERNSTEIN is frustrated by this missed opportunity.)
BERNSTEIN
Dammit, I couldda had her.
BIRDLACE
There’ll be other girls, after the dogfight.
BERNSTEIN
With a figure like that?
BIRDLACE
Frisco’s lousy with ‘em. Keep your head in the game. And the game ain’t over ‘til the fat lady barks.
BOLAND
We ain’t sending you over there a boy. You’ll get yours.
BIRDLACE
You’ll get more. ‘Cause we’re no ordinary, regular Marines. What are we?! Sir, the Three Fuckin’ Bees, Sir!
BOLAND
(BIRDLACE and BOLAND launch into their group’s upbeat song of friendship, hoping to get BERNSTEIN realigned with the mission.)
#3—We Three Bees (a cappella)
[Birdlace, Boland, Bernstein]
BIRDLACE / BOLAND WE THREE BEES HAVE A MIGHTY STING
(No response from BERNSTEIN. BIRDLACE and BOLAND try again, even more emphatic.) WE THREE BEES HAVE A MIGHTY STING
— 14 —
D
(acquiesces, unenthusiastic at first)
O G F I G H T
BERNSTEIN
BZZZZ
BZZZZ
BIRDLACE
AND WE COME PREPARED FOR ANYTHING BZZZZ
BZZZZ
(now he’s getting on board)
THREE BEES
BERNSTEIN
WE THREE BEES LIVIN’ SEMPER FI BZZZZ
THREE BEES
BZZZZ
THICK LIKE BLOOD AND WE’RE DO OR DIE BZZZZ
(music in)
BZZZZ
CAN’T YOU HEAR IT BOYS?
CAN’T YOU HEAR THAT NOISE?
COMIN’ COMIN’ COMIN’ COMIN’
BIRDLACE
WE THREE BEES ARE FOREVER YOUNG
THREE BEES
SO WATCH YOUR BACK OR YOU MIGHT GET STUNG
#4—Hey, Good-Lookin’ Happy hunting, boys.
[ Wo m e n , A l l M a r i n e s ]
BIRDLACE
(BIRDLACE, BOLAND, and BERNSTEIN separate, spread across the city in their search. WOMEN appear. Odd, quirky WOMEN. A flurry of energy. Other MARINES appear, chasing WOMEN, hunting for the perfect date. The MARINES are cocky and each rejection knocks them down a peg. There’s humor to be mined from their failures and lack of understanding women.)
D
O G F I G H T
ONE ENSEMBLE WOMAN
DOO DOOT DOOT DOOT DAH DOO DOOT
TWO ENSEMBLE WOMEN
DOO DOOT DOOT DOOT DAH DOO DOOT
THREE ENSEMBLE WOMEN
DOO DOOT DOOT DOOT DAH DOO DOOT DOOT
(During the song, MARINES direct their sung and spoken lines out, to unseen WOMEN.)
BERNSTEIN
HEY, GOOD-LOOKIN’
YOU’RE SO OUTTA SIGHT
I just had to stop and say hello.
HEY, GOOD-LOOKIN’
BOLAND
WHATCHA DOIN’ TONIGHT?
Don’t do it for me, do it for your country!
GIBBS
HEY, GOOD-LOOKIN’
HOW’S ABOUT A DATE?
(thinks his Spanish is impressive)
¿Dónde está la biblioteca?
FECTOR / STEVENS
HEY, GOOD-LOOKIN’
PICK YOU UP AROUND EIGHT
STEVENS
Hey! Where you runnin’ off to?
FECTOR
ALL MARINES (except BIRDLACE)
HEY, HEY, HEY, GOOD-LOOKIN’
WHAT’S A GUY TO DO?
SAY, SAY, SAY, GOOD-LOOKIN’
SEARCHED THE WHOLE WORLD THROUGH
I BEEN LOOKIN’ FOR YOU
(Another flurry of energy as MARINES chase unsuspecting WOMEN across the city.)
— 15 —
— 16 —
D
O G F I G H T
THREE ENSEMBLE WOMEN
DOO DOOT DOOT DOOT DAH DOO DOOT
DOO DOOT DOOT DOOT DAH DOO DOOT
(Suddenly, stillness amidst the chaos as we focus in on BIRDLACE’s search. He sits on a park bench next to an odd duck LIBRARIAN. He pushes aside the newspaper she’s reading, demands her attention. She is nervous, awkward, and uncomfortable. She doesn’t know how to handle this immature young man.)
BIRDLACE
Where is he?
LIBRARIAN
Who?
BIRDLACE
Your husband.
LIBRARIAN
I don’t have a husband.
BIRDLACE
So where’s your fiancé?
LIBRARIAN
I’m not engaged.
BIRDLACE
Boyfriend?
LIBRARIAN
No.
BIRDLACE
Wait a minute—a pretty thing like you—no husband, no fiancé, no boyfriend. Well, if you ain’t a lesbian, my name’s Eddie Birdlace.
(LIBRARIAN rejects him, annoyed. She escapes. Another flurry of energy, MARINES growing more desperate. Now the city seems increasingly overrun with MARINES chasing WOMEN.)
THREE ENSEMBLE WOMEN
DOO DOOT DOOT DOOT DAH DOO DOOT
DOO DOOT DOOT DOOT DAH DOO DOOT DOO HEY, GOOD-LOOKIN’
STEVENS
I’M BRAND NEW IN TOWN
D
— 17 —
O G F I G H T
BERNSTEIN
(bragging)
So there I am at lunch with Perry Como…
BOLAND
HEY, GOOD-LOOKIN’
DON’T GO TURNIN’ ME DOWN
FECTOR
(growing desperate)
And now the cancer’s spreading to my liver…
BERNSTEIN
HEY GOOD-LOOKIN’
GIBBS / STEVENS
WE COULD HAVE SOME FUN
HEY GOOD LOOKIN’
TOOK MY BREATH AWAY
FECTOR
BOLAND
HEY GOOD-LOOKIN’
HEY GOOD-LOOKIN’
YOU COULD BE THE ONE
BERNSTEIN / GIBBS / STEVENS HEY
YOU COULD MAKE MY DAY HEY
BOLAND / FECTOR
HEY, GOOD-LOOKIN’
HEY, GOOD-LOOKIN’
WHAT’S A GUY TO DO?
WHAT’S A GUY TO DO?
SAY,
SAY,
ALL MARINES (except BIRDLACE)
SAY, GOOD-LOOKIN’
SEARCHED THE WHOLE WORLD THROUGH
I BEEN LOOKIN’ FOR—
(We focus again on BIRDLACE’s search. Church pews. A large “woman” kneels, hands obscuring her face, veiled and dressed conservatively for church. Next to her, BIRDLACE kneels, just completing his own “prayer.”)
BIRDLACE
(laying it on thick, over-the-top sweetness)
I can’t believe it: it’s a miracle. I prayed for you and here you are. You’re everything I want in a girl.
— 18 —
D
PRAYING DRAG QUEEN
(basso)
And more. Fuck.
O G F I G H T
BIRDLACE ALL MARINES (except BIRDLACE)
HEY GOOD-LOOKIN’
GOT ME ON MY KNEES HEY GOOD-LOOKIN’
GOT ME BEGGIN’ YA PLEASE
(Now the vocal lines intersect and overlap. The MARINES aren’t speaking individually to visible potential dates but rather behaving as a group here, a theatrical representation of the specific acts. THREE ENSEMBLE WOMEN can be seen onstage or heard as offstage voices.)
BOLAND HEY GOODLOOKIN’
HEY GOODLOOKIN’
HEY GOOD-
LOOKIN’
HEY GOOD-
LOOKIN’
BERNSTEIN HEY GOOD-
LOOKIN’
HEY GOOD-
LOOKIN’
HEY GOOD-
LOOKIN’
HEY GOOD-
LOOKIN’
I THINK I
YOUR DAD
AT CHURCH
MR BAR-
SAW YOU
LAST SUNDAY
ATTENDED
MITZVAH
STEVENS
HEY GOODLOOKIN’
HEY GOODLOOKIN’
HEY GOOD-
LOOKIN’
HEY GOOD-
FECTOR
WOMEN
DOO DOOT
DOOT DOOT DAH DOO DOOT
HEY GOODLOOKIN’
HEY GOODLOOKIN’
DOO DOOT
DOOT DOOT DAH DOO DOOT
HEY GOODLOOKIN’
DOO DOOT
DOOT DOOT DAH DOO DOOT
HEY GOODLOOKIN’
HEY GOODLOOKIN’
LOOKIN’
HEY GOOD-
YOU AND ME
A SECOND
ME AND YOU
GIBBS
LOOKIN’
COUSIN
DOO DOOT
DOOT DOOT DAH DOO DOOT
DOO DOOT
DOOT DOOT DAH DOO DOOT
D
BERNSTEIN
(BOLAND)
I’M PRETTY
I’D BE THE
SURE
LUCKIEST GUY
— 19 —
O G F I G H T
(STEVENS) YOU AND ME BABY
(GIBBS)
(FECTOR)
BABY
THE KENNEDYS
WON’T YOU
THAT’S A FACT
(WOMEN)
DOO DOOT
DOOT DOOT DAH DOO DOOT
BABY WHERE
BABY WHERE
YOU AND
DOO DOOT
TO? DON’T BE
TO? DON’T BE
ME AND
DAH DOO
WAIT JUST
BABY WHERE
BABY WHERE
HONEY
TO? BABY
TO? BABY
YOU IS
YOU IS
HOLD ON!
YOU FOxY
HOLD ON!
LITTLE THING
YA RUNNIN’ SHY
WELL MAYBE I COULD GET
A MINUTE
NUMBER
WON’T YOU
GET YOUR
YA RUNNIN’
ALL I’M ASKIN’
BERNSTEIN
YA RUNNIN’
ME BABY
DOO
LET ME TAKE YOU OUT TONIGHT
DOO
DOOT DOOT DOOT
DOO DOOT
DOOT DOOT DAH DOO DOOT
ALL I’M ASKIN’
LET ME TAKE YOU OUT TONIGHT
BERNSTEIN / BOLAND / FECTOR / GIBBS / STEVENS
YOU AND
YA RUNNIN’
DOO
BERNSTEIN / BOLAND / FECTOR / GIBBS
YOU
SHY
LET ME TAKE YOU OUT TONIGHT
BERNSTEIN / BOLAND
ME
WOMEN
LET ME TAKE YOU OUT
ALL MARINES (except BIRDLACE)
HEY, HEY, HEY, GOOD-LOOKIN’
THREE MARINES
WHAT’S A GUY TO DO?
TWO MARINES WHAT’S A GUY TO DO?
HEY, HEY, HEY!
ALL MARINES (except BIRDLACE)
SAY, SAY, SAY, GOOD-LOOKIN’
SEARCHED THE WHOLE WORLD THROUGH
SEARCHED THE WHOLE WORLD THROUGH
AND I BEEN LOOKIN’ FOR
— 20 —
D
FOUR MARINES (including BIRDLACE)
O G F I G H T
TWO MARINES
YOU
YOU AND ME BABY
I BEEN LOOKIN’
DOO DOOT
DOOT DOOT
DAH DOO DOOT
FOR YOU
BABY WHERE YA
DOO DOOT
RUNNIN’ TO?
DAH DOO DOOT
I BEEN LOOKIN’
I BEEN LOOKIN’
DOOT DOOT
FOR YOU
FOR YOU
LOOKIN’ FOR YOU
WOMEN
ALL MARINES
(MARINES, so far unsuccessful, experience one final rejection.)
Shit!
#4a—Hey Good Lookin’ Playoff
[Orchestra]
D
O G F I G H T
— 21 —
ACT ONE. SCENE TWO.
(A typical diner. BIRDLACE’s search continues; time is running out. BIRDLACE flirts with MAMA while she works. A PATRON sits at the counter. In the corner, ROSE plays her guitar quietly, her back to us, unnoticed at first, working on a new composition. She is shy, tentative, and a wallflower but she’s not weak.) What can I get you?
MAMA
BIRDLACE
Haven’t had a good cup of coffee since before basic training. Bet a pretty thing like you could fix that.
MAMA
(unamused)
Coming right up…
(She moves away to fetch his order. BIRDLACE looks around the diner, desperate for any potential dates.)
#4b—Give Way (At The Diner)
[Rose]
ROSE
(quietly, lacking confidence, figuring out chords as she plays, struggling) A FLOWER BOWS TO AUTUMN CHILL
OCTOBER RIVER, FROZEN STILL
(BIRDLACE notices ROSE. Swivels in his seat to watch her.) GIVE WAY
GIVE WAY—
(approaches)
BIRDLACE
Wow.
(ROSE stops, turns. We see her for the first time. She is awkward, perhaps overweight, and not quite comfortable in her own skin, but she is lit from within. BIRDLACE tries to mask his desperation. ROSE could be his last shot at snagging a date. He works extra hard to seem appealing to her, feigning a wholesomeness that is unnatural to him.)
Please, don’t stop. You sound real good. Gee, thanks.
ROSE
— 22 —
D
O G F I G H T
BIRDLACE
What’s that song you’re playing? I just love that kind of music. You do?
ROSE
BIRDLACE
It’s all I listen to. Actually, that song reminds me a lot of…
(improvising, making it up on the spot)
…of Jim Swain’s music. You know what I mean? Swain? Oh wow, Jim Swain? …I don’t know him.
ROSE
BIRDLACE ROSE BIRDLACE
Well he’s just—you’ve heard of Dylan, right? Bob Dylan?
(ROSE laughs: of course she knows Dylan.)
Jim Swain’s music is a major influence on Dylan.
ROSE
I thought Woody Guthrie was Dylan’s influence.
BIRDLACE
Well, yeah. There’s Woody—and then there’s Jim Swain. In fact, I think Swain and Guthrie wrote some songs together. If I’m not mistaken.
ROSE
I always thought Woody wrote pretty much on his own.
BIRDLACE
Sometimes he did, he did, most definitely. But sometimes he would, you know, get together with Swain. In other words, Woody would write the words and Swain wrote the music. Other times, they’d switch and Swain wrote the words and Woody wrote the music. See what I’m saying? Like that famous song of his. You know the one I mean. “This Land Is Your Land?”
ROSE
D
O G F I G H T
— 23 —
BIRDLACE
(interrupting, pretending to finish her sentence, as if that’s what he meant all along,)
“This Land Is Your Land.” Exactly. Yeah, that was an original by Swain and Guthrie.
ROSE
I’ve got the sheet music upstairs. I don’t remember seeing his name.
BIRDLACE
He was a ghostwriter. Sometimes. In fact, most of the time. It’s funny, I feel like I still should’ve—
(interrupts)
ROSE
MAMA
A little help, Rose. Gotta get this place set up for tomorrow. Sorry, Mama.
ROSE
(MAMA hands ROSE a large bag of sugar, then tends to her own work elsewhere. ROSE turns to BIRDLACE.)
So…I gotta get back to work.
MAMA
Better drink up, soldier, we’re closing soon.
(ROSE begins moving from table to table, refilling sugar jars. BIRDLACE follows, overeager.)
BIRDLACE
You got a last name, Rose? I wanna look for you in the record store.
ROSE
(not pitiful, just a little self-deprecation)
You won’t find me. No one’s paying to hear me sing.
(She moves past him to refill another table’s sugar jar.)
That’ll change, trust me. You think so? Abso-fuckin’-lutely.
BIRDLACE ROSE BIRDLACE
— 24 —
D
(She’s surprised by his language.)
O G F I G H T
(BIRDLACE)
Hey, my apologies. I’m just a dumb jarhead—I’m not used to ladies being around.
(ROSE moves to another table. BIRDLACE reaches for the bag of sugar.)
Lemme help you with that.
ROSE
It’s okay.
(ROSE holds onto the bag, fills another glass jar. An awkward, momentary silence.)
What’s a jarhead?
BIRDLACE
Oh, that’s just what we call ourselves. I’m a Marine, see?
(BIRDLACE hands her his military I.D. card. She looks it over.)
It’s okay if we say it, but if a squid says it—you know, a sailor—then it’s fist city. But it’s all right if a woman says it.
ROSE
(reading his I.D. card)
Edward Baines Birdlace.
(She lets out a slight giggle, catches herself. Innocent, not unkind.)
Okay, okay, it’s not that funny. I’m sorry, it’s a nice name. Thanks. Gosh, you look so angry. Not angry. Just ready. Ready for what?
BIRDLACE ROSE BIRDLACE ROSE BIRDLACE ROSE BIRDLACE
Ready for…hell, for anything, I guess.
D
— 25 —
O G F I G H T
ROSE
Date of Birth, November 26, 1942. Tuesday’s your birthday.
BIRDLACE
Yup. The big two-one. bCouple more years and my age’ll match my I.q. Well, happy birthday, Birdlace, Eddie.
ROSE
(He smiles. She does too. A moment, then BIRDLACE goes for it, attempts to seal the deal.)
BIRDLACE
I better shove off soon. Gotta get to a party. A birthday party? Naw, just sort of a regular party.
ROSE
BIRDLACE
(He acts as if this bright idea has suddenly occurred to him.)
Say, maybe you’d like to go with me?
#5—Come to a Party
[Birdlace, Rose]
ROSE
A party—oh well I, actually, I’m still on the clock. I got a lot of sidework.
BIRDLACE
Don’t bullshit me, Rose, I’m a Marine. Marines are jerks. Everybody knows that. If you don’t wanna go just say so.
ROSE
No, I don’t think you’re—it’s just—I mean, I just met you.
BIRDLACE
(thinking on his feet, struggling to overcome her resistance, shifting tactics throughout) WELL, YOU KNOW MY BIRTHDAY NOW
SHOWED YOU MY MIDDLE NAME
SEE I’M AN OPEN BOOK, HAVE A LOOK
THIS AIN’T NO PICKUP GAME
(She reacts, shy. He runs with this tactic.)
I HEARD YOUR PRETTY VOICE THEN WE SAW EYE TO EYE
— 26 —
D
O G F I G H T
(BIRDLACE)
ON ALL THAT MUSIC STUFF NOT ON FLUFF
WE DIDN’T HAVE TO TRY NOW ISN’T THAT RARE?
THAT KINDA CONNECTION SO WHY NOT
COME TO A PARTY WITH ME? WHY NOT
COME TO THIS PARTY?
(BIRDLACE works to win her over, new ideas and details that will hopefully impress. She’s not yet convinced.) A FIVE-PIECE BAND
I’LL TAKE YOUR HAND, ROSE, AND TWIRL YOU AROUND
BUY YOU A DRINK
DON’T STOP TO THINK, SAY YES
COME TO A PARTY WITH ME JUST SAY YES
I dunno, Eddie.
ROSE BIRDLACE
My old man’s always saying, you can’t steal second base with your foot on first. Sometimes you gotta gamble, Rose. You can bet on me.
(He overcompensates, invents a history for her benefit.) BORN IN BUFFALO
TO HUMBLE CHRISTIAN FOLKS
MY OLD MAN RAISED ME RIGHT
REAL POLITE
NO TELLIN’ DIRTY JOKES A WALLY CLEAVER TYPE
ATE EV’RY BRUSSELS SPROUT
MY MAMA’S PRIDE ‘N JOY
GOLDEN BOY
D
O G F I G H T
(BIRDLACE)
YOUR AV’RAGE EAGLE SCOUT NOW LOOK IN THESE EYES
THEY AIN’T GONNA HURT YOU SO WHY NOT
COME TO A PARTY WITH ME? C’MON
IT’S JUST A PARTY
A GREAT ExCUSE
TO CUT IT LOOSE, ROSE,
Hey,
AND DO WHATCHA FEEL JUST FOR A NIGHT
NO HOLDIN’ TIGHT
LET GO
LET’S GO
COME TO A PARTY WITH ME
Gonna be a real nice time, c’mon, whaddaya say?
(flustered, torn, interrupting herself)
ROSE
IF I GO
WELL, YA KNOW
MA WOULD BE HERE ON HER OWN SHE WOULD DIE
I COULD LIE
I COULDN’T LIE TO MY— IF I GO
SHE WOULD KNOW
LOOK, I’M NOT READY
WE’RE CLOSING, AND EDDIE,
I’VE STILL GOTTA WORK
(BIRDLACE grabs a rag from her.)
C’MON, DON’T BE A JERK
GIVE IT BACK, EDDIE, STOP!
LOOK, I STILL GOTTA MOP
— 27 —
— 28 —
D
O G F I G H T
(ROSE)
PLUS I DON’T REALLY DRINK
SEE, I REALLY DON’T THINK I CAN
(BIRDLACE begins to “help” ROSE with chores, carelessly wiping surfaces, chairs— accomplishing little in terms of actual cleaning but more in terms of charming ROSE. He is running out of time; it’s now or never.)
BIRDLACE
ROSE
COME TO THIS
COME
LOOK, YOU CAN’T MISS
I CAN’T JUST GET UP
PARTY WITH ME THIS PARTY
AND GO
AND WHEN IT ENDS, ROSE
MAMA NEEDS ME
YOU’LL MEET MY FRIENDS
I’LL RACE YOU RIGHT HOME
AROUND
OR WHY CAP THE NIGHT? WE’LL GO GRAB A BITE
I’D LIKE TO BUT I—
TABLE FOR TWO
JUST ME AND YOU
Eddie, gimme that!
(BIRDLACE maneuvers, draws her close to him, flirting as hard as he can.) CANDLES AND WINE
HANDS INTERTWINE
MAMA
(interrupts)
I got work to do!
Rose!
(ROSE and BIRDLACE separate, just as electricity was building between them. MAMA speaks to BIRDLACE.)
It’s closing time now. Better run along.
(MAMA switches the sign to “CLOSED,” turns off most of the lights. BIRDLACE looks to ROSE. He heads to the door, giving it one last try.)
BIRDLACE
YOU’LL MISS OUT ON ONE HELLUVA TIME
SHOULD BE ONE ROUSIN’ PARTY
WELL, I’M GLAD WE MET
I GOTTA GET, ROSE,
D
O G F I G H T
(BIRDLACE)
BUT GOSH YOU SEEM SWELL
STILL, IT’S A SHAME
I THOUGHT, IF YOU CAME, WHO KNOWS?
MAYBE WE COULDA—
(lingers a moment…holding out hope she will stop him from leaving…then gives up, salutes)
Have a good night now.
(BIRDLACE moves towards the diner’s exit. ROSE watches him go, considers, torn. Time moves so slowly. Just as he’s about to make it out the door to the street, she shouts to him, stops him.)
ROSE
Eddie, wait! I’m going with you, okay? Just lemme run upstairs and change. Okay! Okay!
BIRDLACE ROSE
(She’s about to go, then)
Eddie, I’ve never—
(stops herself)
What kind of party is it? A party party. A dress up party?
(too good to be true)
Yeah, a dress up party. Okay!
BIRDLACE ROSE BIRDLACE
ROSE
(ROSE runs off, excited. BIRDLACE celebrates his success, shifting instantly from charming to callous.)
— 29 —
— 30 —
D
O G F I G H T
BIRDLACE
WHAT A GEM, WHAT A PICK IN A PINCH WHAT A GIRL FOR THIS PARTY YOU’LL WALTZ HER IN
YOU’RE SET TO WIN
ONCE YOU TWIRL HER AROUND
SHE’LL BE A SMASH
SCORE YA’ SOME CASH
(HE smirks, chuckles)
OFF TO A PARTY WITH YOU
(Music and focus shift to ROSE’S BEDROOM. Album sleeves cover the walls: Joan Baez, Pete Seeger, Malvina Reynolds, Bob Dylan, Woody Guthrie, Odetta. She is extremely excited—the energy she contained in BIRDLACE’s presence is unleashed. She tears through her closet, considering and rejecting dress after dress.)
#6—Nothing Short of Wonderful
[Rose]
ROSE
(feeling so many things: disbelief, surprise, fear, anticipation)
Oh my gosh! Oh my gosh! Oh my gosh!
OH MY GOSH, OH MY GOSH
HOLY COW, WHAT TO WEAR?
AND YOUR HAIR, WHAT A MESS,
PICK A DRESS, OH MY GOSH
ARE YOU MOURNING A DEATH?
TAKE A BREATH
WHAT A LOOK
I MISTOOK YOU FOR BUTTERNUT SqUASH
OH MY GOSH
KEEP IT SOFT, KEEP IT BRIGHT,
BE A GIRL, SOMETHIN’ PINK
DON’TCHA THINK? JUST A TOUCH
NOT TOO MUCH, HE LIKES YOU
JUST BE YOU, HE WON’T CARE WHATCHU WEAR!
I DON’T KNOW
SHOULD I GO WITH THE PINK OR THE BLUE?
WHAT TO DO
D
(gets lost in the fantasy)
O G F I G H T
— 31 —
(ROSE)
FOR SOMEONE WHO IS NOTHING SHORT OF WONDERFUL?
NOTHING SHORT OF WONDERFUL
(snaps back to reality: she has to get ready fast) JUST A GIRL, JUST A GUY
BUT IT’S HIM AND IT’S YOU
AND IT’S TRUE, WHAT YOU’VE HEARD,
LIKE A BIRD, HOW YOU LIFT
AND YOUR CHEST FEELS A PULL
LIKE YOU’RE FULL OF A JOY
‘CAUSE A BOY INTERRUPTED YOUR SHIFT
(gives into the fantasy once more)
LIKE SOMETHING NOTHING SHORT OF WONDERFUL NOTHING SHORT OF WONDERFUL
(MAMA enters. She is loving and concerned.) Rosie, what are you doing up here? He’s taking me to a party. Now? Which dress, Mama?
MAMA ROSE MAMA ROSE MAMA
Sweetie, you can’t accept a date the night of. Then you weren’t the first one he asked.
ROSE
Well I’m the one he got—and he doesn’t seem to mind. We don’t know him, Rose. Not yet.
MAMA ROSE
HE COULD BE NOTHING SHORT OF WONDERFUL
IT COULD BE NOTHING SHORT OF WONDERFUL
— 32 —
D
O G F I G H T
MAMA
Honey, slow down. What’s gotten into you?
(nervous, overwhelmed by possibilities)
ROSE
WHAT IF, WHEN WE’RE DANCING I’M CLUMSY
OUR FEET COLLIDE?
(dreamy, swept away by the fantasy)
WHAT IF, WHEN WE’RE DANCING HE DIPS ME
OUR LIPS MEET AND WE GLIDE
ACROSS THE ROOM AND IT FEELS NOTHING SHORT OF WONDERFUL?
NOTHING SHORT OF WONDERFUL
MAMA
Rose, be careful, you’re letting yourself—
ROSE
I will, Mama. Tell him I’ll be right down. Rose—really— Go!
MAMA ROSE
(MAMA acquiesces, goes.)
HURRY UP, HE WON’T WAIT,
HE CAN’T WAIT HALF THE NIGHT
EITHER WHITE, OR MAROON,
YOU’RE A LOON, YOU’RE A MESS
AND YOU THINK YOU MIGHT BUST
BUT YOU’VE JUST GOTTA CHOOSE
PICK THE SHOES
AND DECIDE ON THE DRESS AND YOU’LL BE NOTHING SHORT OF WONDERFUL
NOTHING SHORT OF WONDERFUL
D
— 33 —
O G F I G H T
(ROSE)
OH MY GOSH, OH MY GOSH ON A DATE, ON A DATE
BUT YOU CAN’T MAKE HIM WAIT NO YOU CAN’T MAKE HIM LATE AND YOUR ROOM IS IN HEAPS
AND YOU CAN’T SEE THE FLOOR
BUT YOU FINALLY GET WHAT
Oh my gosh.
A GIRDLE IS FOR OH MY GOSH
OH MY GOSH
OH MY GOSH
OH MY GOSH
(Having finally found the perfect dress, ROSE looks in the mirror, surprised to see a beautiful woman.) OH MY GOSH!
#6a—Transition To The Street
[Orchestra]
— 34 —
D
O G F I G H T
ACT ONE. SCENE THREE.
(Street corner. BOLAND and MARCY. She is tough and brassy, street smart and generally in control of a situation. He puffs on a cigarette, already at the end of his rope.)
BOLAND
So whaddaya say? You comin’ or what? Gimme a drag of that.
MARCY
BOLAND
I got one thing on my mind tonight, Marcy—and it’s winning that prize.
MARCY
What kinda grub they got at this place?
BOLAND
Who cares? Ain’t no blue plate special in the deal. You come along, you get the fifty bucks, that’s all.
MARCY
If I gotta put up with you all night, fifty bucks don’t sound like enough. I do better business down at the Kiwanis Club, and they at least buy me carnations.
BOLAND
All right, how’s this: you win me that prize, I’ll give you seventy-five.
MARCY
I ain’t got time for small peckers with small pockets. Gotta get a full night’s work in before Perry Mason.
BOLAND
Okay, okay: eighty bucks. And, remember, it’s our secret. You keep your trap shut or there ain’t gonna be a payday for neither one of us.
MARCY
You got any idea how lucky you are to find me? There ain’t more than a handful of girls out there can do what I do.
BOLAND
You are trying my patience, little lady. I’ll give you a hundred—not a penny more.
MARCY
With all you stand to take in? I deserve half. Half! You gotta be kidding me.
BOLAND
D
Not with my serious face on. You think you’re worth half the pot?
O G F I G H T
— 35 —
MARCY BOLAND MARCY
I know I am. And I know you’re gonna give it to me.
BOLAND
You‘re a fine one to be barkin’ orders. You’re talking to a United States Marine.
(big laugh)
MARCY
You think you got balls as big as the A-bomb, don’t ya? God’s gift to women, my ass. You wanna have a good time with me, you’re gonna give me half the dough— and a goddamn steak dinner. I am? ‘Cause I can guarantee I’ll win. Oh you can now? Darn tootin’. How’s that?
BOLAND MARCY BOLAND MARCY BOLAND
(She takes out her teeth, rendering her nearly toothless. BOLAND is shocked at first, then laughs, whoops.)
Half the money, right?
#7—Come to a Party (Reprise)
(it’s a deal)
MARCY
[ R o s e , B i r d l a c e , B o l a n d , B e r n s t e i n , F e c t o r, S t e v e n s ]
BOLAND
Ralphie Boland, you’re a goddamn genius. Shouldda asked for more…
MARCY
— 36 —
D
O G F I G H T
(ROSE appears at home, putting the finishing touches on her outfit. Elsewhere, we see MARINES preparing for the dogfight. BIRDLACE appears, waiting outside the DINER.)
ROSE
OFF TO A PARTY WITH HIM
LOOK YOU’RE OFF TO A PARTY
MARCY
(droll, unenthused, all in a night’s work) A FIVE-PIECE BAND
ROSE
HE’LL TAKE YOUR HAND
BOTH
AND HE’LL TWIRL YOU AROUND BUY YOU A DRINK DON’T STOP TO THINK JUST GO!
MARCY ROSE
MARCY & ROSE
OFF TO A PARTY WITH HIM
(MARCY and BOLAND exit. Elsewhere, ROSE exits.)
BERNSTEIN / GIBBS / FECTOR / STEVENS
OFF TO
COME TO
A PARTY
A PARTY
PERFECT DATE
SHE JUST
WITH ME FOR THIS PARTY THE ROOM
BIRDLACE
WITH ME CAN’T WAIT
FOR THIS PARTY
WILL STOP
AND JAWS
WILL DROP
ONCE THEY
LAY EYES
ON HER
HERE’S LOOKIN’ AT YOU
D
— 37 —
O G F I G H T
(BIRDLACE)
(BERNSTEIN / GIBBS / FECTOR / STEVENS)
PICKED FROM THE POUND I FIN’LLY FOUND
MY GIRL OFF TO
A PARTY
OFF TO
WITH ME
A PARTY
WITH ME
HERE’S TO
A PARTY WITH ME
(ROSE appears, now fully dressed and ready. She has gussied herself but her earnestness in doing so has only obscured what could be attractive about her.)
ROSE / MARINES (except BIRD / BOLAND)
OFF TO A PARTY
(When the song buttons, BIRDLACE and ROSE are alone, facing each other. A moment of uncertain quiet.) Wow. Yeah? Yeah, Rose.
BIRDLACE ROSE BIRDLACE ROSE
Thanks. I wasn’t sure about the dress. I mean, I love the color—but I haven’t worn it since my cousin’s wedding and I— We better head over.
#7a—Walk to a Party
BIRDLACE
[Orchestra]
(They walk. BIRDLACE leads a brisk pace. Awkward silence. BIRDLACE’s focus has shifted from wooing ROSE to getting to this party as quickly as possible. ROSE tries to make conversation, balancing the excitement of a first date with her tentative nature.)
— 38 —
D
O G F I G H T
ROSE
It’s so good to get away from the restaurant. You’re the first person all day I didn’t have to read the specials to.
(Beat.)
Wanna hear ‘em? Nah. C’mon, Rose, keep up.
BIRDLACE ROSE
So ... how long’ve you been with the Marines?
BIRDLACE
Almost five months now. But I’m just getting started.
ROSE
Five months. Must be hard to be so far away from home.
BIRDLACE
Gonna be a hell of a lot farther before they’re done with me. Where are you gonna be?
ROSE
BIRDLACE
Well, first, I’m off to Okinawa. But I’m aiming for this little country near India they call Vietnam.
(concerned)
Vietnam? But they’re fighting there.
ROSE
BIRDLACE
So? Kick a little ass, take a few names, be back in a couple of months.
ROSE
The way you talk it sounds like a buncha guys getting rowdy at a bar.
BIRDLACE
You got something against Marines, Rose?
ROSE
No, I just mean—well, you don’t seem worried.
BIRDLACE
Nothing to worry about. We’re going over there as advisors more than anything. Somebody’s gotta teach ‘em how to take care of the Commies.
D
Well, it sounds dangerous to me.
O G F I G H T
— 39 —
ROSE BIRDLACE
Rose, I got thirteen weeks of training under my belt.
(warm, compassionate)
Eddie, aren’t you scared at all?
ROSE
BIRDLACE
That’s a first class waste of time. Besides, I got a little extra protection. See:
(BIRDLACE pulls a Medal of Honor from his pocket. He shows her, proud.)
Is it—is this a real medal?
ROSE
BIRDLACE
Looks real, don’t it? My old man won it. Damn near took that beach all by himself. They’re still talking about it.
(returns the medal)
ROSE
It’s lovely. But I’d still be scared. I mean, I don’t know much about fighting. One day maybe I wanna join the Peace Corps, help out in some village or somewhere.
BIRDLACE
That’s chicken shit. Just a buncha Melvins looking for a reason not to shave. If you wanna change the world, Rose, you join the Marines and start shooting. Shooting changes things pretty quick.
ROSE
But you shoot at people and, what, you got people shooting back. I don’t know how that’s helping anything.
BIRDLACE
All I know is President Kennedy’s sending us across the big waters to make some changes, and he didn’t issue us no guitars. There’s talking and there’s doing—and there’s a pretty big difference.
ROSE
But why’s the doing always gotta be done the same way?
(changing the subject)
You know, you got real nice lips.
BIRDLACE
(ROSE is taken aback by the abrupt shift. They stop walking.)
— 40 —
D
O G F I G H T
ROSE
What?
#7b—Nothing Short of Wonderful (Reprise) BIRDLACE
You wearing any lipstick? Looks like it’s rubbing off there. Should I put some on? Yeah.
ROSE
BIRDLACE
(ROSE starts carefully applying the lipstick. BIRDLACE hovers.)
Let me try.
(She hands him the lipstick, unsure. He does it badly on purpose, crudely spreading color over her lips. As ROSE has started to express her point of view, BIRDLACE, unknowingly, finds a way to minimize her, avoiding, in any way he can, dealing with the fact that she is a human being with real feelings and opinions.)
Eddie—Eddie— Hold still.
ROSE
BIRDLACE ROSE
You’re supposed to put it on the lips—it’s all over!
(She stops him, still good-natured and unsuspecting)
You put lipstick on about as good as I do.
(She opens her compact, displeased by what she sees. She starts to fix what he’s done.) OH MY GOSH OH MY GOSH I CAN MAKE THIS ALRIGHT
‘CAUSE TONIGHT
IS MY FIRST...
(stops herself from making an embarrassing admission) WELL, TONIGHT SHOULD BE GREAT
[Rose]
D
— 41 —
(ROSE)
(she starts to let her guard down) You know…
O G F I G H T
I HAVE NOT REALLY GOTTEN TO DO THIS A LOT GO OUT WITH A GUY… ON A DATE
(ROSE takes a moment, stops fixing her face, opens up to BIRDLACE, honest and sweet.) WHO’D HAVE THOUGHT THIS MORNING THAT I’D BE…
THAT YOU’D APPEAR I’M JUST SO ExCITED
THAT I WAS INVITED
AND THAT…OH, EDDIE, I’M SO GLAD TO BE HERE
(As music plays, BIRDLACE turns away from her. Unsure exactly what he’s feeling— guilt, embarrassment—but acutely feeling it.)
So…how do I look?
Rose, maybe we shouldn’t— Birdlace!
BIRDLACE BOLAND
(BIRDLACE turns to see BOLAND and MARCY, approaching the club. BIRDLACE’s demeanor immediately changes, at attention in BOLAND’s presence.)
Boland.
BIRDLACE BOLAND
Fine woman you got there. I’ll be sure to include this in my report to the Inspector General. I’m Rose. This here’s Marcy. Charmed.
ROSE
BOLAND MARCY
— 42 —
D
O G F I G H T
BOLAND
(suggestive: he’s got the winning girl)
I think I may have finally found the one. Nice to meet you. The party’s inside. Come on, doll.
ROSE
BOLAND
#7c—Before the Party
[Rose]
(BOLAND and MARCY head inside. ROSE moves to follow but BIRDLACE stops her.) They seem friendly.
ROSE
BIRDLACE
Rose, this party’s really no big deal. We don’t have to go in there. No, I’d like to—
ROSE
BIRDLACE
We could go somewhere else, if you wanna grab a bite.
(Beat. ROSE reads the social cues.)
ROSE
Oh. If I embarrass you or something, if you don’t wanna be seen with me, you can just say so. No, that’s not it.
BIRDLACE
(genuine, even sweet)
Then what is it, Eddie? Tell me.
ROSE
(BIRDLACE can’t bring himself to admit the truth.)
You invited me to a party. I wanna go. JUST FOR A NIGHT
NO HOLDIN’ TIGHT
LET GO
D
Come on, jarhead.
(acquiesces)
Semper Fi, Do or Die.
O G F I G H T
(ROSE) BIRDLACE
(BIRDLACE offers his arm and leads her into the club as we transition into the Dogfight…)
— 43 —
— 44 —
D
O G F I G H T
ACT ONE. SCENE FOUR.
(THE NITE LITE, a low rent club. Scattered tables. A sleazy, showy, self-indulgent LOUNGE SINGER appears in spotlight. He knows exactly what’s going on at this party; he’s in on it. The small dance floor is occupied by MARINES and their DATES, who we see now for the first time.)
#8—Blast Off
[Lounge Singer]
LOUNGE SINGER
BABY TRASH THAT MASHED POTATO OH THE TWIST WILL NOT BE MISSED THAT WAS ‘62
GIVE ME SOMETHING NEW
A DANCE THAT DON’T ExIST YOUR ROCKET RIDE HAS JUST BEGUN
COUNT DOWN 5 4 3 2 1!
BLAST OFF
(The THREE BEES share a table with their dates: BIRDLACE and ROSE, BOLAND and MARCY, BERNSTEIN with his date, RUTH TWO BEARS, a Native American woman fresh off the reservation, preferably round-ish, deadpan and largely without interpretable expression. They’ve all been drinking. We pick up in the middle of a conversation, high energy.)
BERNSTEIN
No, no, no—see, in bootcamp you line up according to height. In ITR—
BOLAND
—that’s Infantry Training after bootcamp— —there it’s alphabetical order.
BERNSTEIN BOLAND
So we were always lining up together. Got to be pretty tight.
BERNSTEIN
They started calling us the Three Bees—and we stuck together ever since. Getting ourselves inked up later tonight to celebrate. Three fuckin’ Bees, for forever.
(Beat.)
BOLAND
D
O G F I G H T
MARCY
So you got to be friends from standing in line?
(She laughs heartily.)
Oh boy, I’m gonna need another drink.
(She snaps at BOLAND, who makes no move to help.) OOH
LOUNGE SINGER
START MOVIN’
LIKE YOU’RE GROOVIN’ ON THE MOON
YEAH YEAH YEAH
(A bit later. A bit drunker. BIRDLACE, particularly, drinks too much, an effort to avoid thinking about what he’s doing to ROSE by bringing her to this party.) (to MARCY)
You live around here?
BERNSTEIN
MARCY
What do you care? You ain’t coming over.
(loud)
Where’s our fuckin’ drinks?
BIRDLACE
ROSE
You guys really like to swear, don’t you. No, we like to drink.
BIRDLACE BOLAND
No big thing, Rose. It’s just words. After a while you don’t even hear it. Don’t mean shit.
(to BIRDLACE, their inside joke)
Buncha jarheads, right?
(loud)
ROSE
MARCY
Who do you have to fuck to get a drink in this place?
— 45 —
— 46 —
D
O G F I G H T
BOLAND
Hey now.
MARCY
(unapologetic)
I can’t afford to be shy at an open bar. How ‘bout you girls?
(to RUTH TWO BEARS)
You want another, honey—what’s your name?
(stone-faced, as always)
RUTH TWO BEARS
I’m Ruth Two Bears.
(proud of his catch)
BERNSTEIN
I met this fine lady over at the Transbay Terminal. All the way from Albuquerque.
ROSE
Well, I just wanna say how happy I am to have met you. All of you. I’m having a real nice time. If Eddie hadn’t’ve walked into the diner, I’d be home now, listening to my records.
BERNSTEIN
Oooh, whaddaya got? Four Seasons, Bobby Vee?
ROSE
No, not that kinda music. I’m talking about music that really says something, that has the power to bring people together. You ever heard of the song “We Shall Overcome?”
(BOLAND and BERNSTEIN can’t hold in their laughter.)
What? What’s so funny?
(doesn’t want ROSE to hear)
It’s nothing.
BIRDLACE
ROSE
Why are you laughing? Have you even heard the song? We heard it. Yeah, we goof on it all the time.
BOLAND
BERNSTEIN
D
— 47 —
ROSE
You goof on it? Forget it.
O G F I G H T
BIRDLACE BERNSTEIN / BOLAND
(to the tune of “We Shall Overcome”)
WE ALL WANT TO CO-O-OME… WE ALL WANT TO—
(assertive)
BIRDLACE
All right, all right, knock it off.
ROSE
That’s actually a pretty important song, you know. You shouldn’t be making fun of— How ‘bout another drink, Rose? Oh, I’m on my second already.
BIRDLACE ROSE BIRDLACE
It’s just a Mai Tai, it’s a child’s drink.
(an order)
Bottoms up.
(ROSE takes an acrid gulp.) (to ROSE)
MARCY
That’s it, honey, you’re gonna wanna be good and loose when he drags you out on the floor.
(excitement tempered by nervousness)
ROSE
We’re gonna dance, Eddie?
(BIRDLACE is silent, stiff—but boiling underneath.)
Oh you gotta—those are the rules.
MARCY
— 48 —
D
(tries to silence MARCY)
Angel face—
O G F I G H T
BOLAND
ROSE
Rules? Oh sure, they gotta—
(stopping MARCY)
MARCY BOLAND
Hell, you’re on a date, ain’t you? If he asks you out and he don’t take you dancing, he’s a right sonofabitch—that’s all Marcy’s saying. No, what I’m saying—
(harsh, shuts her up)
No one cares, Marcy, trust me. START MOVIN’
MARCY
BOLAND
LOUNGE SINGER
LIKE YOU’RE GROOVIN’ ON THE MOON
BLAST OFF!
(The song ends. Applause.)
Thank you, thank you.
(A slower, more romantic intro begins to play. LOUNGE SINGER smugly draws attention to it. The MARINES know what that means: the slow dance is the judging portion of the event. All MARINES are expected to present their dates for inspection.)
Here’s one for all you lovers in the crowd. Got some bewitching beauties in the house tonight. I wanna see ‘em all out here dancing. Cheek to cheek and heart to heart.
#8a—That Face
[ L o u n g e S i n g e r, A l l M a r i n e s e x c e p t B i r d l a c e ]
BOLAND
Gentlemen, I say we dance. Looks like about that time. Right, Eddie?
BIRDLACE
Rose and I’ll be there in a minute. She’s gotta finish her drink.
D
That’s okay. It’ll be here when I get—
O G F I G H T
— 49 —
ROSE
BIRDLACE
And I got another one coming.
BERNSTEIN
They’re starting the slow one. Let’s hit it, Birdlace.
BIRDLACE
(harsh, firm)
I said we’ll be right there. Move it. You better learn to take a fuckin’ command, Bernstein.
BOLAND
(a warning to BIRDLACE)
Hey. Let’s have fun out there, Marine.
(BERNSTEIN shakes it off, throws himself into the dogfight.)
BERNSTEIN
How about it, Miss Two Bears? You wanna show me how the shiksas shake it?
(RUTH TWO BEARS gets up, stoically heads to the dance floor. She has yet to crack a smile.)
I just hope she doesn’t start a fuckin’ thunderstorm.
(BOLAND and BERNSTEIN share a laugh as they take their places on the dance floor with their dates. BIRDLACE and ROSE sit in fraught, loaded silence.) YOU
LOUNGE SINGER
BORN ON A CLOUD
ANGEL SO FAIR
ANGEL SO FINE
(tentative)
Are you mad at me? No. For chrissakes. Well, you sure seem mad.
ROSE
BIRDLACE ROSE
— 50 —
D
O G F I G H T
BIRDLACE
I’m happier than a two-peckered owl.
(shouts, to unseen waiter)
Where’s my fuckin’ drink?
(ROSE recoils, confused.) YOU
LOUNGE SINGER
CLEAR IN A CROWD
ANSWER MY PRAYER SAY YOU’LL BE MINE
(FECTOR approaches, arm in arm with his extremely shy date, SUZETTE. They are both trashed, FECTOR so much so that he is surprisingly sweet with her, awkwardly affectionate.)
FECTOR
Hey, Birdlace. You gotta meet Suzette.
(drunk, cold)
BIRDLACE
Yeah, yeah.
ROSE
Hi, I’m Rose. We’re gonna cut a rug, right babe? Anything you like. Long as it makes you happy.
FECTOR SUZETTE FECTOR SUZETTE
I’m happy doing whatever you want. I want you to have a good time. I’ll have a good time dancing. After you.
FECTOR
SUZETTE FECTOR
D
O G F I G H T
— 51 —
SUZETTE
After you.
FECTOR
After you.
(They head to the dance floor together. Another silence as BIRDLACE drinks, numbing himself.)
We’re the only ones not dancing.
ROSE
BIRDLACE
Rose, you’re a nice girl. This is a fucked up place.
ROSE
Please, Eddie.
(Beat. BIRDLACE runs out of excuses.)
BIRDLACE
You want a dance? You asked for it. Semper Fi, Do or Die.
(BIRDLACE gives up, leads her to the dance floor. They join the other couples in a slow dance. ROSE tries to enjoy their dance. BIRDLACE is stiff and uncomfortable.)
LOUNGE SINGER
I SEE YOU STANDING THERE
I CAN ONLY STARE AND SIGH WHEN I SEE THAT FACE
THAT UNMISTAKABLE FACE TRAFFIC HALTS LOVERS WALTZ THAT FACE
THAT ALMOST BREAKABLE FACE
CHURCH BELLS CHIME
THERE’S NO TIME OR SPACE
WHEN I SEE THAT FACE OOOOH
OOOOH
(ROSE and BIRDLACE dance and talk as the LOUNGE SINGER concurrently sings.)
— 52 —
D
O G F I G H T
ROSE
How come you say that—Do or Die, Semper Fi—that stuff?
BIRDLACE
It’s a kinda motto. We say it whenever we got something hard to do, I guess.
(ROSE processes this, quickly reaching an unfortunate conclusion.)
ROSE
I’m hard to dance with?
BIRDLACE
What? Naw…you’re great.
(Feeling guilty, he suddenly pulls her close, pulls her into a real dance, more confident and sweeping as they go around the floor and the song comes back in full force.)
LOUNGE SINGER
IF YOU LOOKED AT ME LIKE I LOOK AT YOU
BABY, YOU WOULD KNOW
SO PLAIN TO SEE
THAT MY LOVE IS TRUE
MAKING ME SING WHOA-OH-OH-OH-OH
(MARINES parade their dates for LOUNGE SINGER, who is the judge of this dogfight. He holds up a numbered scorecard—1 through 10—to render his judgment of each MARINE’s date. Each MARINE takes his turn showing off his girl. It’s important, of course, that the girls not realize this is happening. BERNSTEIN goes first, showing off RUTH TWO BEARS.) YOU
GODDESS ABOVE
WHISPER THE WORDS
POETS WILL WRITE
BERNSTEIN
IT’S ABOUT TO GET UGLY YOU
LOUNGE SINGER
FILL ME WITH LOVE
MAKING THE BIRDS
SING THROUGH THE NIGHT
(LOUNGE SINGER holds up a scorecard with a large 8 on it. This is RUTH TWO BEARS’ score. BERNSTEIN is pleased with the result.)
D
WHOA
Whoa…
— 53 —
O G F I G H T
(LOUNGE SINGER) BERNSTEIN / BOLAND LOUNGE SINGER
BUT WHEN YOU’RE STANDING THERE
I CAN ONLY STARE AND SIGH OH
(FECTOR displays SUZETTE for LOUNGE SINGER to judge. Unaware eyes are on her, she takes a chance and plants a big, sloppy kiss on FECTOR. He is surprised. And pleased.)
LOUNGE SINGER WHEN I SEE THAT FACE
THAT UNMISTAKABLE FACE
STEVENS
WHAT A BUNCHA LOOKERS
BOLAND
GOT A DOGFIGHT
TRAFFIC HALTS
IN THE RING
LOVERS WALTZ
WOOF WOOF
BERNSTEIN / BOLAND WHAT A BUNCHA LOOKERS
BERNSTEIN
BABY
(STEVENS shows off his DATE for LOUNGE SINGER. She gets a 7.)
(LOUNGE SINGER)
BIG FOOT ALERT
THAT FACE
THAT ALMOST
BREAKABLE FACE CHURCH BELLS CHIME
THERE’S NO TIME
OR SPACE
STEVENS
(BERNSTEIN)
BEAST IN A SKIRT
BERNSTEIN / BOLAND OH MY GOD
LOOK AT ‘EM
STEVENS / FECTOR OH MY GOD LOOK AT ‘EM
(The MARINES notice FECTOR and SUZETTE drunkenly tonguing in a corner, wet and slobbery.)
— 54 —
D
(LOUNGE SINGER) WHEN I SEE THAT FACE
O G F I G H T
STEVENS
BOLAND
YOU SONOFABITCH
YOU ROPED A
NASTY ONE
HERE WE GO
BERNSTEIN
YOU SONOFABITCH
(BIRDLACE, hiding his growing shame, shows off ROSE. LOUNGE SINGER gives her a 6. Relieved, BIRDLACE dances her out of the spotlight.)
(STEVENS)
JESUS CHRIST
THAT FACE
LOUNGE SINGER
THUNDER THIGHS
(BERNSTEIN) HE’S BARELY
GOT HIM A SIx
BERNSTEIN
WHAT A CHICK
STEVENS
(BOLAND takes his turn, shows off MARCY.) WE’VE GOT ‘EM BEAT
BOLAND
(LOUNGE SINGER determines MARCY has earned a 6. BOLAND and MARCY are displeased with the result.) WITH A SWEET
LOUNGE SINGER
EMBRACE
WHEN I SEE
THAT…
(MARCY makes sure LOUNGE SINGER gets a good look at her foul teeth, even reacts audibly. Disgusted and impressed, he changes his verdict. He holds up the scorecard marked 10.) FACE
D
— 55 —
O G F I G H T
(MARCY’s score has won BOLAND the prize. The song ends. Applause. MARINES crowd BOLAND, the champ. Couples abandon the dance floor. Only BIRDLACE and ROSE remain.)
#8b—It’s Just a Party
[Lounge Singer]
ROSE
(queasy from her first time drinking a little too much)
Ohhh.
BIRDLACE
What’s wrong?
ROSE
I don’t feel so good.
(She rushes off to the bathroom, obviously on the verge of throwing up. LOUNGE SINGER moves on to the next song.)
LOUNGE SINGER
BABY HAVE ANOTHER DRINK
(At the bar, BERNSTEIN and STEVENS celebrate BOLAND’s victory.) Congratulations, you piece of shit. Thank you very much.
STEVENS BOLAND
BERNSTEIN
That mouth! Where the hell did you find her?
BOLAND
I’m afraid that’s above your pay grade, Gentlemen—and a long fuckin’ story. Carry on, assholes.
(BOLAND goes. STEVENS catches BIRDLACE.)
STEVENS
Birdlace, my man. How much you give that girl to drink? Rose?
(laughs)
BIRDLACE
BERNSTEIN
Holy Jeezus. She’s puking up her guts! That’s gotta be worth something. C’mon— honorable mention?
— 56 —
D
O G F I G H T
STEVENS
(holds out a small wad of cash, BIRDLACE won’t touch it)
Twenty-five bucks. She earned it. Here.
(STEVENS sets the money down on the bar.)
BERNSTEIN
Go on, take your money, before that blimp comes back from the kennel.
(BIRDLACE suddenly grabs BERNSTEIN by the collar.)
BIRDLACE
Why don’t you shut up for once in your life? I gotta swallow a steaming pile of your shit each and every day. I’m sick of it. Grow up.
(BIRDLACE tosses BERNSTEIN aside, exits, leaving the money. BERNSTEIN is shaken, hurt. Shoots STEVENS a look, pockets BIRDLACE’s prize money. The band plays and LOUNGE SINGER sings as we transition to the Ladies Room.) DANCIN’ FEET
LOUNGE SINGER
SUGAR SWEET
IT’S JUST A PARTY
WHOA-OH-OH-OH-OH
D
O G F I G H T
— 57 —
ACT ONE. SCENE FIVE.
(We find BOLAND and MARCY in the LADIES ROOM, picking up in the middle of an intense argument, hard in. Scene begins the moment the transition music buttons.)
BOLAND
Come on, Marcy, cut me some slack will ya? You ain’t been no picnic.
MARCY
Slack? No, you’ll find slack in the dictionary between shit and syphilis. You owe me half.
BOLAND
What about the cab fare? I paid for that.
MARCY
This ain’t the chaplain you’re talking to, Boland. You come to me for help, I help—for half the money. That was the deal. So don’t be giving me no shit about some cab.
BOLAND
I’m not giving you shit, you lousy slut. Take your goddamn money.
(Tosses cash on the floor, a few coins jangle. BOLAND goes.)
Stinkin’ jarheads. Gawd!
MARCY
(MARCY kneels down to gather her prize money. Toilet flushes, ROSE enters meekly from a stall. She’s heard all of it, but understands only a little. She instinctively moves to help MARCY.)
What’s wrong, Marcy?
ROSE
MARCY
He comes to me, he says, how’d you like to make a bundle and you don’t have to do nobody? So I say sure. I even offer not to wear my teeth. And why not? Free cocktails, free beer, and they gotta be polite. Those are the rules. What rules? Nevermind. No, Marcy, I’d like to hear.
ROSE
MARCY ROSE
(MARCY considers, looks towards where BOLAND just exited. She’s done playing along, decides to level with ROSE.)
— 58 —
D
O G F I G H T
MARCY
The rules of the dogfight. See, they each put in some money, like fifty, seventy, seventy-five bucks.
ROSE
Who does?
MARCY
The heroes, the Marines. And outta that, they rent the joint, pay for the food and the booze. And the rest goes for prize money. The thing that gets me is how great they think they look. Ha! You ever seen such a pack of pukes in your whole life?
(beginning to get it)
There’s prize money?
ROSE
MARCY
That’s right, honey. The ugliest girl wins a wad of dough for the guy who brung her. I’m the ugliest, so I win. Only, see, I ain’t really that ugly.
(pops in her teeth)
You gotta see me when I’m really dressed up.
#9—It’s A Dogfight (overwhelmed, unsure how to react)
[ M a r c y, R o s e ]
ROSE
Oh gosh, this is…
(looks to MARCY)
Marcy, you must feel terrible.
(thick-skinned, hardened)
MARCY
It’s not so bad. At least I got some cash. All you got was sick. SO SOME LITTLE PRICK
WITH A KNOB FOR A DICK
Please.
IS GONNA GET YOU DOWN? BOYS ARE THE SAME
AND THEY ALL GOT A GAME
SO FULLA SHIT THEIR EYES TURN BROWN
D
O G F I G H T
(MARCY)
DON’T ExPECT NOTHIN’
THAT’S HOW THEY’RE MADE
‘CAUSE TWO SWEATY BALLS
MEANS A LUSH IN A RUSH TO GET LAID
SEE IF I’M GETTIN’ SCREWED I’M AT LEAST GETTIN’ PAID AT THE DOGFIGHT DOGFIGHT
DOGFIGHT IN THE RING GOTTA LEARN IT FACE IT
HEAR IT
DING DING DING THEY ONLY PAY WHEN A LOAD IS BLOWN
SO YOU SIT AND STAY TILL YOU GET YOUR BONE AT THE DOGFIGHT
Marcy. My God. SO HE FED YOU A LINE
ROSE MARCY
TALKIN’ CANDLES AND WINE
Yeah…
BET HE SPREAD IT THICK BUT WHERE IS HE NOW?
GETTIN’ CASH FROM THE COW
WHILE THE COW’S IN THE CAN
ALL PUKIN’ SICK!
YOU TAKE YOUR MONEY
TAKE WHAT YOU MADE
IF YOU DON’T PLAY THE GAME
HE’LL BE GONE
YOU’RE A PAWN THAT HE PLAYED
‘CAUSE WE’RE ALL GETTIN’ FUCKED
SO WE BETTER GET PAID
— 59 —
— 60 —
D
AT THE DOGFIGHT
O G F I G H T
(MARCY)
DOGFIGHT
DOGFIGHT TAKE THE CROWN GOTTA CLAIM IT WIN IT
OWN IT AND DON’T BACK DOWN BETTER HOLD YOUR NOSE
WHEN YOU SWALLOW DIRT
IF YOU DON’T GET SOFT
THEN YOU WON’T GET HURT
AT THE DOGFIGHT
(MARCY moves to exit the bathroom. ROSE stops her, doesn’t accept her worldview.)
ROSE
HOW CAN YOU LET A PACK OF JERKS
TELL YOU THIS IS HOW THE WORLD WORKS?
(MARCY laughs at what she believes is ROSE’s naiveté.)
MARCY
HONEY, THEY GOTTA GET THEIR FIx TIME TO LEARN A FEW NEW TRICKS WHERE’S YOUR BARK?
LET’S SEE YOUR BITE
YOU LEARN TO BITE
MARCY
AT THE DOGFIGHT DOGFIGHT DOGFIGHT
IN THE RING
ROSE
HOW CAN YOU LET
SOME PACK OF JERKS TELL YOU THIS IS
HOW THE WORLD
WORKS?
WHO ARE THEY?
WHO ARE THEY?
THEY’RE THE DOGS
NO THEY’RE THE SLIMES WHO HURT NICE GIRLS
FOR REAL NICE TIMES
D
O G F I G H T
— 61 —
(ROSE)
AND YOU DON’T NEED SOME
WORTHLESS DIMES FROM
A DOGFIGHT DOGFIGHT
MARCY / ROSE
DOGFIGHT IN THE RING
MARCY
IT’S A DOGFIGHT DOGFIGHT DOGFIGHT
ROSE MARCY / ROSE MARCY
HEAR IT
DA DING DING DING
(ROSE and MARCY face off, challenging each other with their contrasting point of view. MARCY advocates accepting the boys’ behavior and adapting to it; ROSE refuses to stand for it. The bathroom dissolves and the club setting reappears around them.)
MARCY / ROSE
NO YOU CAN’T GIVE IN
AND YOU CAN’T PLAY DUMB
WHEN YOU GET THICK SKIN
THEN YOU’RE qUICK TO NUMB YOU LET THEM WIN
AND A DOG’S WHAT YOU BECOME
AT THE DOGFIGHT
AT THE DOGFIGHT
AT THE DOGFIGHT
(ROSE finds BIRDLACE at the bar and, on the button of the song, SLAPS him!) Hey!
(furious, hurt, unfettered)
BIRDLACE ROSE
Don’t hey me, don’t you dare hey me. You are a cruel, heartless, ignorant jerk. Who gave you the right to treat people like this? You have no feelings.
— 62 —
D
O G F I G H T
(ROSE)
You’re just a worthless excuse for a human being.
BOLAND
Hey that’s my buddy you’re talking to—
ROSE
Shut up you creep!
(to BIRDLACE)
Everything out of your mouth tonight has been just rotten, dirty lies. I hope you die, Eddie Birdlace. I hope there’s a war and you get killed, all of you, that’s what I hope.
(ROSE starts to go. BIRDLACE reaches for her, tries to stop her.)
Let go of me!
#9a—It’s Just a Party (Reprise) (ROSE rushes off.)
[Lounge Singer]
BERNSTEIN
God, what a bitch. Where’d you find her?
RUTH TWO BEARS
Jerk!
(She tosses her drink in BERNSTEIN’s face, storms off.)
LOUNGE SINGER
LEAVE YOUR WORRYIN’ BEHIND UNWIND
IT’S JUST A PARTY
YEAH
#9b—Transition To Rose’s Room
[Orchestra]
D
O G F I G H T
— 63 —
ACT ONE. SCENE SIX.
(ROSE arrives home, escapes to her bedroom. Elsewhere in the house, MAMA calls to her, checking in.)
#10—Pretty Funny
[Rose]
MAMA
Rose?
(ROSE works hard to hide her emotions, hold back her tears.)
ROSE
What?
MAMA
Back already? What kind of a party ends so early? I decided to come home. You have a good time? Yeah, it was nice. Goodnight, sweetie.
ROSE
MAMA ROSE MAMA
‘Night.
ROSE
(MAMA smiles warmly, disappears. ROSE is finally alone. Rejected dresses are scattered about the room. She considers the scene.) CLOSE THE WINDOW, DRAW THE CURTAIN
HIDE THE BRIGHT LIGHT OF THE MOON
HANG THE DRESSES, UGLY DRESSES
NO ONE LIKES MAROON
WIPE OFF ALL THAT STUPID LIPSTICK
RETURN THE EARRINGS TO THEIR CASE
MAKEUP WON’T MAKE ANY DIFFERENCE
IT’S STILL THE SAME OLD FACE
— 64 —
D
ISN’T IT FUNNY?
O G F I G H T
(ROSE)
ISN’T IT FUNNY?
ISN’T IT FUNNY YOU BELIEVED THAT IT WAS REAL?
PRETTY FUNNY
ALL DISASTERS HAVE AN UPSIDE YOU CAN FIND ONE IF YOU TRY
YOU WENT DANCING, YOU WERE DANCING
YOU WERE DANCING WITH A GUY ISN’T IT FUNNY? ISN’T IT FUNNY?
(But it’s not funny. She grows angry with herself.) AREN’T YOU FUNNY?
PATHETICALLY NAIVE
AND DESPERATE TO BELIEVE
YOU CAN ALWAYS FIND SOME GOOD
WELL YOU MISUNDERSTOOD
OR YOU’VE BEEN DREAMING
‘CAUSE PEOPLE ARE JUST CRUEL SHUT THE LIGHT OFF, TURN THE BED DOWN
NO MORE CRYING, DON’T YOU DARE
YOU’LL WAKE UP SOME TIME TOMORROW
AND FORGET TO EVEN CARE ISN’T IT FUNNY?
ISN’T IT FUNNY?
FOR A MOMENT, HE CONVINCED ME I COULD BE PRETTY
FUNNY
(ROSE has pushed all the dresses off the bed, onto the floor. She lies down, settling into bed.) (As the coda of the song plays out, we find BIRDLACE and PETE on the bus in 1967, as at the start of the show. BIRDLACE continues to stare out the window, lost in his own thoughts and memories. PETE stirs.)
D
O G F I G H T
PETE
You still up? Better try for some shut-eye, kid. Won’t be getting to Frisco ‘til morning.
(PETE turns away, resumes sleep. Lights fade on BIRDLACE as the bus barrels towards San Francisco in the dead of night.) END OF ACT ONE.
— 65 —
— 66 —
D
O G F I G H T
ACT TWO. SCENE ONE.
#11—Entr’acte: Hey Good-Lookin’
[Orchestra]
(After the “Entr’acte,” we find BIRDLACE and BERNSTEIN in an ARCADE, with accompanying ambient sounds. Later the same night. BERNSTEIN uses the coin-operated peepshow. BIRDLACE plays a shooting game, clearly agitated, boiling with an anger he can’t define and doesn’t know how to address. He slams the machine in frustration.)
BERNSTEIN
I’m telling you, they got this thing rigged. First it stops just when she’s about to take off her brassiere—now it shuts off when she’s this close to losing her panties!
BIRDLACE
(violent, involved in the shooting game)
Yeah, take it! Right between the eyes!
(deposits another coin)
BERNSTEIN
Come on, baby, it’s your friend Bernstein. Don’t break my heart now.
(BOLAND enters, holding two beers. He goes to BIRDLACE.)
Christ! Got you a beer. Sonofabitch!
(offering the beer)
Here. Marine.
(to the peepshow machine)
C’mon, c’mon, c’mon, c’mon.
(to the game)
BIRDLACE BOLAND BIRDLACE BOLAND
BERNSTEIN
BIRDLACE
Aw, fuck you, you goddamn sonofabitch! I’ll blow your fuckin’ head off!
(BOLAND notices BIRDLACE’s odd, intense behavior.)
D
O G F I G H T
BOLAND
Hey, what’s your problem? Pissed you got your ass kicked by a girl tonight?
BIRDLACE
(turns on BOLAND, suddenly charging)
The fuck you tryin’ to say, you miserable piece of shit?
BOLAND
Hey now, settle down.
BIRDLACE
(gets in his face)
I don’t got a fuckin’ problem. You do.
BOLAND
(alpha)
Hey. I’m just drinkin’ a beer. He’s just lookin’ at titties. Trying.
BERNSTEIN BOLAND
Trying. You need to stand down.
(BIRDLACE backs off.)
She really got under your skin, huh.
(convincing himself, rationalizing)
BIRDLACE
What do I care? Marines been throwing dogfights since they been defending the Constitution. That’s right, shake it off.
(it’s working)
BOLAND
BIRDLACE
My dad, your dad, all the fuckin’ dads. Attaboy!
(gives up on the peepshow)
Dammit!
BOLAND
BERNSTEIN
— 67 —
— 68 —
D
(renewed energy and swagger)
O G F I G H T
BIRDLACE
Enough with the machine. We gotta find you the real thing.
BOLAND
The time has come: Dickie Bernstein, you’re about to become a man.
BERNSTEIN
Finally.
(to BERNSTEIN)
BIRDLACE
Tonight, you pay for it.
#12—Hometown Hero’s Ticker Tape Parade
[All Marines]
(music beat)
When we come back ... they’re gonna be lining up.
(music beat)
Anything you want, on a silver fuckin’ platter. That’s what they promised us.
(music in)
You’re a goddamn U.S. Marine. You are un-fuckin’-stoppable!
(In trying to empower BERNSTEIN, BIRDLACE is really trying to re-arm himself, to shore himself up, build himself back up after the evening’s events.) NO-NAME SCHOOLBOY AWFUL GREEN
TRAINED, ORDAINED AS A MEAN MARINE
NOW THEY CAN’T FUCK WITH THE TOUGH YOUNG BUCK
CRADLIN’ AN M-FOURTEEN
(channeling the energy of a marching band) DA DAT DA DA
TEACH A GOOK TO HOLD A GUN
SERVE YOUR YEAR AND THEN YOU’RE DONE
HOMEWARD BOUND AND THE BOY GETS CROWNED
AS CLEVELAND’S NEW FAV’RITE SON
(That’s BERNSTEIN.)
AT THE HOMETOWN HERO’S TICKER TAPE PARADE
COTTON CANDY AND LEMONADE
D
O G F I G H T
THREE BEES
IT’S A HOMETOWN HERO’S TICKER TAPE PARADE
BIRDLACE
CAN’T GET THAT AT THE PENNY ARCADE DA DAT DA DA
DAT DA DA
DAT DA DA DA
(BOLAND and BERNSTEIN are on board, sharing in this fantasy, adding to it.) DA DAT DA DA
THREE BEES
DAT DA DA
DA DA DA
BIRDLACE
MAIN STREET BLOCKED ALL AFTERNOON
BERNSTEIN
A BAND ON HAND WITH A MARCHIN’ TUNE
BOLAND
YOUR NAME IS WAILED
BIRDLACE
THE BLIMP’S UNVEILED
BERNSTEIN
YOUR FACE ON A BIG BALLOON
(BERNSTEIN imagines the roaring crowd. It’s as if all three of them can hear it.) DA DAT DA DA
BOLAND
WATCHIN’ BUSTY
BLONDES COMPETE DRAWIN’ CLAWS
LIKE CATS IN HEAT
THREE BEES
BERNSTEIN / BIRDLACE AIN’T THAT SWEET OOH YEAH
BERNSTEIN
LET ‘EM FIGHT TO SPEND THE NIGHT
— 69 —
— 70 —
D
O G F I G H T
BERNSTEIN / BIRDLACE
BOLAND
AND STAIN UP
YEAH
THAT NICE WHITE SHEET
THREE BEES
AT THE HOMETOWN HERO’S TICKER TAPE PARADE
BIRDLACE
TELLIN’ TALES OF A BRAVE BRIGADE
THREE BEES
A HOMETOWN HERO’S TICKER TAPE PARADE
BERNSTEIN
IT’S YOUR TIME TO SHINE
BIRDLACE / BOLAND
TIME TO GET LAID
(That’s the plan. They lead BERNSTEIN to his fate.) DA DAT DA DA
THREE BEES
DAT DA DA
DAT DA DA DA
DA DAT DA DA
DAT DA DA
DA DA DA
(We find BIRDLACE, BOLAND, BERNSTEIN, FECTOR, and GIBBS in a prostitute’s dingy room. Milk crates as chairs. A “sleeping” area hidden, perhaps by a bed sheet hung up like a curtain. STEVENS emerges from the hidden room, having just had his turn, smug and self-satisfied.) Who’s next?
(BERNSTEIN salutes.)
How was it? Best she ever had.
STEVENS
BERNSTEIN STEVENS
(CHIPPY enters, donning a threadbare robe. She is tired. She’s had it with servicemen tonight.)
D
(formal, polite)
Good evening, I’m Bernstein.
O G F I G H T
BERNSTEIN
CHIPPY
Okay, listen sweetheart, I hate to do this, but I gotta change our plans. How do you mean?
BERNSTEIN CHIPPY
It’s been a long night. A girl can only take so much, you know. You kidding with this shit?
BOLAND CHIPPY
You don’t like it, there’s the fuckin’ door.
(slaps CHIPPY’s ass)
STEVENS
Make ‘em and break ‘em, what can I say?
BERNSTEIN
We’re United States Marines, Ma’am. Can’t you make a little exception? Not tonight.
(getting worked up)
CHIPPY
BERNSTEIN
But tonight’s all I got. I can’t go over there a—a—
(BOLAND gives BERNSTEIN a private word of encouragement. Then BERNSTEIN turns back to CHIPPY.)
I’m gonna do it if it kills me. Not with me, you ain’t.
(intervenes)
CHIPPY BIRDLACE
Let’s go, Bernstein, we’ll find you one who will.
BERNSTEIN
I’m ready now! C’mon, it’s not fair: we got money, we got plenty.
(BERNSTEIN crowds CHIPPY, in her face.)
— 71 —
— 72 —
D
It’s no big deal, just one more— Watch it, peanut.
O G F I G H T
(BERNSTEIN) CHIPPY
(Now, BERNSTEIN grabs her.)
Hey!
(BERNSTEIN is determined, unwilling to fail in front of his friends.)
BERNSTEIN
You give it out all the time, no problem. So, what, you think you can just jerk me around— Listen you little piece of—
(throws her towards the bed)
I’m not a little anything. Bernstein— Get your paws off— Hey— He asked you nice—
(pulls BERNSTEIN off her)
CHIPPY
BERNSTEIN
BIRDLACE CHIPPY BIRDLACE BOLAND BIRDLACE
Enough!
(Everyone freezes. CHIPPY surveys the room. Six MARINES. She’s obviously outnumbered.)
Okay. Okay.
(to BERNSTEIN)
Just you. Fifty bucks.
CHIPPY
D
BOLAND
(to BERNSTEIN, fraternal)
You take your time now. Semper Fi, Do or Die.
— 73 —
O G F I G H T
BERNSTEIN
(BERNSTEIN follows CHIPPY to the bed area. She closes the makeshift curtain for privacy. BOLAND turns to BIRDLACE, who is clearly shaken, angry. He has a new perspective on his friends now, starts to see their behavior for what it is.)
BOLAND
He’s gotta learn. That’s how it’s done. My dad, your dad, all the fuckin’ dads.
BOLAND
FECTOR / GIBBS / STEVENS
A HERO DON’T GET SOFT
DAT DA DA
A HERO DON’T RETREAT
DAT DA DA
HE’S GONNA GET HIS WAY
DAT DA DA
‘CAUSE HE WON’T ACCEPT DEFEAT
DAT DA DA
GUYS LIKE ME AND YOU
WE’RE HEROES THROUGH AND THROUGH
OH
DO OR DIE
DO OR DIE
SEMPER FI
BOLAND
SEMPER FI
YOU’RE A GODDAMN HERO
(BIRDLACE grabs his jacket, fed up, has to get out of there.)
Hey, where you goin’?! Birdlace!
(BIRDLACE runs off, leaves.)
BOLAND
FECTOR / GIBBS / STEVENS (in BERNSTEIN’s direction)
CAN’T YOU HEAR IT
YOU’RE A GODDAMN HERO!
BOYS?
CAN’T YOU HEAR IT
COMIN’ COMIN’
COMIN’ COMIN’
(A triumphant BERNSTEIN reemerges from behind the curtain. Mission accomplished.)
— 74 —
D
O G F I G H T
BERNSTEIN
I’M A GODDAMN HERO!
(As the song progresses, the MARINES will move beyond the confines of the prostitute’s den and into the street. They own the night.)
ALL MARINES (except BIRDLACE / BERNSTEIN) COMIN’ COMIN’ COMIN’
ALL MARINES (except BIRDLACE)
AT THE HOMETOWN HERO’S TICKER TAPE PARADE
(spitting out the following words, as if disgusted by the thought of those who don’t serve) NO CONFETTI FOR THE BOYS WHO STAYED
HOMETOWN HERO’S TICKER TAPE PARADE YOU WIN A WAR
YOU PICK A WIFE
YOU GET RESPECT
YOUR WHOLE DAMN LIFE YOU’RE A HOMETOWN HERO
WHO GETS A MOTHERFUCKIN’ TICKER TAPE PARADE! DA DAT DA DA
DAT DA DA DA DA DA
(The song ends with the MARINES triumphant and ready for anything, terrifyingly fearless.)
#12a—Back To Rose
[Orchestra]
D
O G F I G H T
ACT TWO. SCENE TWO.
(BIRDLACE is in the street outside the DINER. ROSE stands in the doorway, having just come downstairs. She is not pleased. BIRDLACE doesn’t know what to say. A lengthy silence before either one of them speaks. Tense, drawn out, no clear path forward from here.)
ROSE
I’m down here, Eddie. You got me out of bed. You woke up half the neighborhood. What do you want?
(He presents a single rose.)
A rose for a Rose.
BIRDLACE
(ROSE is silent, nearly seething.)
I thought you’d like it.
That’s all you got to say?
ROSE
(He can’t think of anything else. ROSE takes a moment to prepare her next statement. She delivers it carefully, directly.)
I just want you to know one thing, and it’s the only reason I came out here: you’re the ugly one, not me.
(BIRDLACE, not knowing how to respond, says nothing.)
You know that girl, Marcy? She said she won first prize.
(BIRDLACE acknowledges this, embarrassed.)
Your friend Boland didn’t find her—he hired her.
(disbelief)
Aw, come on.
(insistent)
BIRDLACE
ROSE
He hired her. I heard them fighting. He was trying to weasel her out of her share. He’s not only a moron and a cheat—he’s a cheapskate.
(now he believes it)
No shit.
BIRDLACE
— 75 —
— 76 —
D
O G F I G H T
(Beat. ROSE gathers the courage to ask this next question.) Did I win anything?
(lying as convincingly as possible)
ROSE
BIRDLACE
No. In fact, you were disqualified. Too pretty.
(ROSE shoots him a look: she doesn’t buy it.)
ROSE
And what about all those other girls? What about their feelings? Don’t they have feelings?
BIRDLACE
Hey, they didn’t know nothing about it. Besides, you’re different. How many jarheads in that shithole? And how many tried to talk their girl outta going? And before dancing too, ‘cause when you dance, that’s final judging.
ROSE
What are you saying, I should take that as a compliment? Yeah.
BIRDLACE ROSE
A compliment is when you say something nice about someone, not when you— I’m telling ya, it’s a compliment.
BIRDLACE ROSE
(barks at him, frustrated, the last straw)
There’s no such person as Jim Swain! He doesn’t even exist! You don’t know anything about music. You don’t know who Pete Seeger is or even Woody Guthrie. You don’t even know how to apologize. You think you know everything—but you don’t. Good night, Eddie.
(ROSE turns to go back inside.)
BIRDLACE
Hold it! Rose! Please! I know you’re sore—I feel rotten about it. Lemme make it up to you. You gotta believe me: I’m sorry. I wanna take you to dinner. Dinner? Is that your idea of a joke?
ROSE
D
O G F I G H T
BIRDLACE
I mean it, hey. I don’t care what you look like.
(stung, simply, he just doesn’t get it)
I wish you did.
ROSE
BIRDLACE
(tries to apologize but has no capacity for it and no experience communicating his feelings, growing frustrated as he falls short)
There’s lotsa shit I don’t know, Rose. I came all the fuck way back here, I don’t know why. I don’t know what the hell I’m doing, yapping at you like a goddamn idiot. I don’t know what’s the right thing to say—but I wanna be here with you, Rose, I know that. I just—I can’t help it.
(He waits for her response, but she’s silent, undecided.)
If you don’t want me around, just tell me to leave and I’m gone, okay? I’m fuckin’ outta here.
(Beat.)
(direct, firm)
You’re gonna stop swearing. Okay.
ROSE
BIRDLACE
(Pause. ROSE makes a decision. She can either return to her bedroom and feel bad about herself or she can take this risk, prove to herself and to BIRDLACE that he was wrong about her.)
Okay. Okay what?
ROSE
BIRDLACE ROSE
Okay, let’s go to dinner. But if this is some part of your stupid dogfight, I swear I’ll kill you.
BIRDLACE
No, Rose, it’s not. Promise. Just you and me at a nice joint, having a nice meal.
ROSE
And we won’t ever mention the dogfight again.
— 77 —
— 78 —
D
O G F I G H T
BIRDLACE
Roger that.
ROSE
And it’ll be just like going on a regular date, right?
BIRDLACE
Just two regular people on a regular date.
(They are awkward, uncomfortable. They may be agreeing to move forward but they still don’t understand each other. They are worlds apart.)
ROSE
Right.
BIRDLACE
Good.
ROSE
Okay.
BIRDLACE
Fine.
(BIRDLACE again offers ROSE the rose and this time she accepts. Awkwardly, hesitantly, their date begins. They walk. We hear their internal thoughts in song.)
#13—First Date, Last Night STREETLAMP
[Rose, Birdlace]
ROSE
DIM GLOW
A LIGHT TO BLANKET NIGHT
LIKE SUMMER SNOW
WELL, LET IT POUR
JUST COVER UP WHATEVER CAME BEFORE SEA BREEZE
BIRDLACE
WHIPS THROUGH
AND MAKES YOU DO SOME SHIT
YOU’D NEVER DO
TALKIN’ qUEER
WHY THE HELL ARE YOU STILL HERE?
(They don’t know how to connect or how to handle this situation.)
D
— 79 —
O G F I G H T
ROSE
BIRDLACE
AND WE GO
AND WE GO
BUM BUM BUM
BUM BUM BUM
BUM BUM BUM BUM BUM
BUM BUM BUM
BUM BUM BUM BUM BUM
BUM BUM BUM BUM BUM
BUM BUM
BUM BUM BUM BUM BUM
ROSE / BIRDLACE
DON’T KNOW WHY
I DECIDED TO COME
DON’T KNOW WHY I DECIDED TO COME
ROSE
MEET ME
HALFWAY
A TOUCH AND GO OF
DON’T KNOW WHAT TO SAY
DO WE TALK?
(BIRDLACE coughs.)
What?
BIRDLACE
Huh?
ROSE
DON’T ExPECT TOO MUCH JUST WALK
BLANK SLATE
BIRDLACE
BLANK STARE
YEAH YOU MADE HER CRY,
WHY DO YOU CARE?
WHAT TOOK HOLD?
LOOK AT HER
SHE LOOKS SO…
(About to express something potentially dismissive of ROSE, he looks at her and notices something.) COLD
(BIRDLACE gives ROSE his jacket. She is pleasantly surprised by the gesture.)
— 80 —
D
O G F I G H T
ROSE
BIRDLACE
AND WE GO
AND WE GO
BUM BUM BUM
BUM BUM BUM
BUM BUM BUM BUM BUM
BUM BUM BUM
BUM BUM BUM BUM BUM
BUM BUM BUM BUM BUM
BUM BUM
BUM BUM BUM BUM BUM
ROSE / BIRDLACE
DON’T KNOW WHY
I DECIDED TO COME
DON’T KNOW WHY I DECIDED TO COME
ROSE
TWISTING LEMONS INTO LEMONADE
ROSE
YOU’D BE SLEEPING
BIRDLACE
YOU’D BE DRUNK
BIRDLACE / ROSE
IF YOU HAD STAYED
AND YOU MIGHT MISS
ANY GOOD THAT COULD COME AFTER THIS
ROSE
FIRST DATE LAST NIGHT
BIRDLACE BIRDLACE / ROSE
NOT qUITE WHAT YOU PICTURED
BUT ALRIGHT
BIRDLACE
ROSE
SO TAKE HER OUT
GIVE HIM A SHOT
BIRDLACE / ROSE
‘CAUSE PEOPLE CAN
SURPRISE YOU OR NOT
D
— 81 —
O G F I G H T
ROSE
BIRDLACE
AND WE GO
AND WE GO
BUM BUM BUM
BUM BUM BUM
BUM BUM BUM BUM BUM
BUM BUM BUM
BUM BUM BUM BUM BUM
BUM BUM
BUM BUM BUM BUM BUM
BUM BUM BUM BUM BUM
BUM BUM
BUM BUM
(They end up at a very FANCY RESTAURANT. Ambient classical music. A snooty WAITER greets them.)
#13a—Fancy Restaurant Music
[Orchestra]
WAITER
Good evening. Do you have a reservation?
BIRDLACE
Uh, no…not like that should matter, seeing as there’s plenty of room.
WAITER
Yes, sir, there is—but we don’t seat patrons without a reservation.
BIRDLACE
Yeah, well, next time I’ll have my secretary call ahead. What’s for dinner?
WAITER
I’m afraid, without a reservation, it’s just not possible.
(growing louder)
BIRDLACE
I’m a United States Marine. Good enough to protect you but I ain’t good enough to eat your chow, that it?
WAITER
I’m going to have to ask you to lower your voice.
(even louder)
Not a fuckin’ chance.
(pulls BIRDLACE aside)
Eddie, what are you doing?
BIRDLACE
ROSE
(ROSE goes to the WAITER, thinking on her feet.)
— 82 —
D
O G F I G H T
(ROSE)
I’m real sorry about that, sir—and you don’t have to make any exceptions for us— it’s just—you see, it’s our wedding night.
(She acknowledges her non-wedding attire.)
I know, look at me. But we—well, we don’t have money for a dress you only wear once.
(BIRDLACE watches her in action.)
And it’s my fault, you know, ‘cause I wanted this night to be just perfect. A beautiful meal like the kind you make here. The two of us.
(She touches her belly.)
The three of us.
(She starts to “cry.”)
Oh, there I go again—I promised myself, no tears tonight. I’m sorry.
(She cries on BIRDLACE’s shoulder. He awkwardly comforts her. Stiff.) (gives in, reluctantly)
WAITER
Let me see if I can’t find you a table somewhere.
(to BIRDLACE, proudly)
ROSE
See? No black eyes or nothing.
(WAITER walks them to an empty table. ROSE looks around the restaurant.)
It’s so nice.
Here we are. I’ve never been here before.
WAITER ROSE WAITER
(forced smile, smarmy, feigned surprise)
Is that so?
(WAITER pulls out a chair for ROSE. BIRDLACE pulls out the other chair, offers it to ROSE. She accepts BIRDLACE’s offer.)
D
(loudly, laying it on thick)
Here, this is for you. A buck. That won’t be necessary.
O G F I G H T
— 83 —
BIRDLACE
WAITER BIRDLACE
You’re worth a buck—now, isn’t he, Rose? You’ve been so kind—you earned it.
(BIRDLACE stuffs the bill into WAITER’s jacket pocket.)
Thank you.
WAITER
(WAITER flees. BIRDLACE takes his seat. He picks up the menu, triumphant. ROSE is not pleased.)
You really showed him, huh.
ROSE
BIRDLACE
Wait ‘til I’m through with that prick: he won’t know whether to shit or go blind.
(drops her menu, giving up)
ROSE
Okay, Eddie, if you’re gonna spend the rest of the night trying to make that man miserable, I’m going home.
BIRDLACE
We came here to have a nice dinner. I’d like a little respect from the man, that’s all.
ROSE
We’ll have a nicer dinner if you just leave him be. What’s the point of spending all your time and energy trying to get even with everybody?
BIRDLACE
Because it feels great! It feels fuckin’ great. Especially when there’s an asshole getting in my—
ROSE
And what’s the point of every word out of your mouth being a curse word? I asked you a hundred times. You sound awful. How would you like it if I talked that way? Wouldn’t bother me.
BIRDLACE
(WAITER reappears, approaches the table.)
— 84 —
D
O G F I G H T
WAITER
(cautiously)
So? May I get you anything to—
ROSE
(as gruffly as she can manage, with some speed, actually enjoying the foul language)
Yes, goddammit, you can. I’ll have the fucking poached salmon, with the son-of-a-bitching rice, and some dirty bastard salad with a shitload of Roquefort dressing.
(Beat.)
Who knows what this asshole wants.
(WAITER is stunned. Turns to BIRDLACE.)
I’ll just take a fuckin’ beer. Yes, sir. Coming right up.
BIRDLACE WAITER
(WAITER escapes as fast as he can. BIRDLACE and ROSE can’t help but laugh.)
ROSE
That’s all you’re gonna have? A beer? But you must be starving.
(bravado)
BIRDLACE
Me? No way. I hadda cheeseburger last week.
(An awkward moment. She eyes him suspiciously.)
Whatchu looking at?
(not doe-eyed or overly sentimental)
ROSE
Nothing. I was just wondering what you’d look like with a real head of hair.
BIRDLACE
Well, not much better, that’s for sure. We got a saying: “Shot at ‘n’ missed. Shit at ‘n’ hit.” That’s me. ‘Specially with your eye all swollen.
ROSE
BIRDLACE
And it hurt too. You got a boxer for a dad? There’s guys in the corps can’t take a swing like that.
D
O G F I G H T
ROSE
(honest, simply put, but not letting him off the hook)
I didn’t mean what I said before, back at the party. I don’t want anything bad to happen to you. I was just mad. What you did made me real mad. I know. You deserved it.
BIRDLACE ROSE
(Beat. It felt good to say that to him.)
And my dad wasn’t a boxer, at least I don’t think. I don’t know much about him. He died in the war. You got his Purple Heart?
BIRDLACE ROSE
I don’t think so. I mean, if we do, I’ve never seen it. Mama doesn’t talk about him. I never even met him.
(Beat. BIRDLACE pulls the Medal of Honor from his pocket, hands it to ROSE.)
BIRDLACE
It’s not the same thing, but ... you can hold onto it. What? Eddie, no— Keep it.
ROSE
BIRDLACE ROSE
It’s important to you—it’s your father’s.
BIRDLACE
It’s nothing to me, okay? Only worth what I paid for it at that pawnshop back in Buffalo. No one’s giving my dad a prize for anything, Rose. Packed up and split when I was six, didn’t have the decency to even say goodbye. I’m sorry.
ROSE
BIRDLACE
I’m not. Only one looking out for you is you. At least I know it.
(Beat.)
Keep the medal. Or leave it for a tip. I don’t want it.
— 85 —
— 86 —
D
O G F I G H T
(WAITER delivers ROSE’s meal and BIRDLACE’s beer.)
WAITER
Here you are: poached salmon and rice pilaf. Oh, that’s beautiful, thank you. And a beer.
ROSE
WAITER ROSE
Look at it, Eddie. Looks too good to eat. That looks good, real good.
(backing away quickly)
Thank you.
(grabs knife and fork, digs in)
BIRDLACE WAITER
ROSE
This is—mmm.
(As she takes the first few bites, BIRDLACE watches her—watches her food. She notices.)
See, you are hungry! No sir, honest.
BIRDLACE ROSE
I work in a diner. I know a hungry look when I see one. Why didn’t you order something?
(considers her, then)
BIRDLACE
Because I couldn’t pay for it.
(ROSE is aghast.)
Don’t worry, I can pay for yours. And this.
(The beer.)
But that’s all ‘til payday.
(She considers him. Then she slides half her food onto the empty plate in front of him.)
D
#13b—First Date, Last Night (Reprise) Hey—what’s that for? Hey…
— 87 —
O G F I G H T
[Rose, Birdlace]
(BIRDLACE)
(She persists.)
Thanks.
(She smiles. He smiles. They still don’t understand each other but they’re taking baby steps towards it. Tension between them remains, still so much unspoken.) FIRST DATE LAST NIGHT
ROSE
BIRDLACE BOTH
NOT qUITE WHAT YOU PICTURED BUT ALRIGHT
SORTA STRANGE KINDA BIZARRE
ROSE BIRDLACE BOTH
BUT NOT A BIG DISASTER
SO FAR
AND WE GO
BUM BUM BUM BUM BUM
BUM BUM BUM
BUM BUM BUM BUM BUM
BUM BUM BUM BUM BUM
(Their dinner continues as we transition, shifting focus from restaurant to tattoo parlor.)
— 88 —
D
O G F I G H T
ACT TWO. SCENE THREE.
(BIG TONY’S TATTOO, a sleazy Tattoo Parlor. BIG TONY, a big lug with a deep voice, smokes a cigarette, hard at work on BOLAND’s arm. BERNSTEIN stands at the window, watches the street, antsy. They haven’t seen BIRDLACE in hours.)
BERNSTEIN
Almost a full hour late, the bum. Maybe he can’t find it or something.
(about his tattoo in progress)
BOLAND
Lookin’ good over here.
(BERNSTEIN approaches, checks it out.)
BERNSTEIN
It sure is, how about that. And it doesn’t hurt too much, does it? Nothin’ I can’t handle.
BOLAND
BERNSTEIN
‘Cause that’s a ticklish place. I was thinking it might be too tender. But it’s beautiful, just beautiful. That’s the handiwork of a real professional, you can tell. I mean, you are a professional, right? You got a license for this sorta thing?
BOLAND
Would you give it a rest, come on! After what you done tonight, you oughtta be all calmed down. You’re still revved up as ever.
(BOLAND’s tattoo is now complete.)
There ya go.
(admiring the tattoo)
BIG TONY BOLAND
Well, I’ll be: Ralphie Boland, new and improved.
BIG TONY
You’re up. Same thing on him, yeah? Bumblebee? Hell yeah. Did you sterilize that thing—
BOLAND
BERNSTEIN
D
BIG TONY
(sharp, final)
Park it.
(sits)
BERNSTEIN
Yes, sir. One more too. If he shows.
O G F I G H T
BOLAND BERNSTEIN
He’ll be here. He said he’s gonna and he wouldn’t lllll ...
(BIG TONY gets to work. BERNSTEIN can’t take the pain.)
…llllucky fuckin’ strike! Sonofabitch! You gotta do it so hard?
(BERNSTEIN leaps out of the chair, away from BIG TONY. BOLAND doesn’t have any more patience for BERNSTEIN’s antics. He’s already lost BIRDLACE tonight; he needs BERNSTEIN to toughen up and stay focused.)
You a Marine or a little girl or what?
BOLAND
BERNSTEIN
Hey, I’m cool, I just—I oughtta save the best for last, you know, let Birdlace take his turn first.
(certain)
Our friend Birdlace ain’t comin’.
BOLAND
BERNSTEIN
Don’t say that. Why would you say that?
BOLAND
‘Cause I ain’t blind. We’re supposed to have each other’s backs. We gotta count on each other. The fuck does he think he’s doing, running out on us? Now don’t you go soft on me too. You can’t take a fuckin’ tattoo, what the hell you gonna do when you got something real to be scared of? Get your ass over there. Now.
(BERNSTEIN sits, offers his arm to BIG TONY. BIG TONY resumes work. A silence. BERNSTEIN breaks it.)
BERNSTEIN
Hey, Boland? What is it we’re supposed to be scared of?
— 89 —
— 90 —
D
O G F I G H T
BOLAND
Huh?
#14—Hometown Hero’s Ticker Tape Parade (Reprise) You said. Something real?
[Bernstein, Boland]
BERNSTEIN
(Beat.)
You mean over there?
BOLAND
(reluctant to admit it, maybe even realizing it himself)
Yeah, guess I do.
(BERNSTEIN, perhaps without even realizing it, begins to pep talk BOLAND.)
It’s not such a big deal. ‘Course not.
BERNSTEIN BOLAND BERNSTEIN
I mean, it’s what we trained for, right? They gave us the gun and they taught us how to use it. If they forgot something ... well, we’ll learn it. You help me and I’ll help you, you know? Three fuckin’ bees. For forever.
(BERNSTEIN sings softly, occasionally wincing from the pain of BIG TONY’s work, but always intent on supporting BOLAND.) A HERO DON’T GET SOFT
A HERO DON’T RETREAT
HE’S GONNA GET HIS WAY
‘CAUSE HE WON’T ACCEPT DEFEAT
(BIG TONY finishes BERNSTEIN’s tattoo. BERNSTEIN and BOLAND compare their new bumblebees. Proud, forever bonded.)
BERNSTEIN / BOLAND
GUYS LIKE ME AND YOU
WE’RE HEROES THROUGH AND THROUGH
SEMPER FI
DO OR DIE
D
O G F I G H T
(BERNSTEIN / BOLAND)
YOU’RE A GODDAMN HERO YOU’RE A GODDAMN HERO
(Lights fade on the TATTOO PARLOR as music transitions us to…)
— 91 —
— 92 —
D
O G F I G H T
ACT TWO. SCENE FOUR.
(GOLDEN GATE BRIDGE. Well past midnight but still not yet dawn. BIRDLACE and ROSE stand by the railing, not quite halfway across the bridge, closer to the San Francisco side. They face east, towards the bay. They take in the sight. BIRDLACE is overwhelmed.) Wow. Oh man.
BIRDLACE ROSE
(indicates the view behind them)
You can see the Pacific on that side.
(the view in front of them)
And here’s the Bay.
BIRDLACE
(to the right, from where they stand)
And the whole city, jeez.
(BIRDLACE has started to climb the structure of the bridge until he stands, feet on the railing, looking out, invigorated.)
Careful, Eddie, what are you doing?
(shouts)
ROSE
BIRDLACE
Wake up, San Francisco! Get down from there. Come on up.
ROSE BIRDLACE
No way, are you crazy? It’s dangerous.
ROSE
BIRDLACE
Not if you know what you’re doing. It’s nothing.
(offers his hand)
Come here.
(She considers, then takes his hand. BIRDLACE pulls her up. She is scared.)
D
Oh my gosh. Eddie— I got you.
— 93 —
O G F I G H T
ROSE BIRDLACE
(She stands next to him on the railing, holding onto the structure of the bridge. He puts an arm around her to hold her in place, keep her safe.)
Don’t look down. I got you.
ROSE
BIRDLACE
(She takes in the sight. They observe together.)
ROSE
I’ve never seen it so clear. It’s usually pretty foggy.
(the view)
That’s something, huh. I thought you’d like it.
BIRDLACE
ROSE
#14a—Golden Gate Bridge
[Orchestra]
(Beat. They are physically closer than they’ve been so far—and they’re both aware of it. They stand together, somewhat stiffly, an awkward discomfort. Then, BIRDLACE sees something.)
BIRDLACE
Whoa, look at that beauty. Come tomorrow morning, that could be my ship.
(ROSE responds to this development not with anger but with compassionate acceptance and a bit of resignation.)
So it is tomorrow, Okinawa? First thing, yeah. I thought it might be.
ROSE
BIRDLACE ROSE
(Pause. Then ROSE starts to climb back down, off their perch. BIRDLACE follows.)
— 94 —
D
Hey, where are you going?
O G F I G H T
BIRDLACE ROSE
Eddie, why didn’t you tell me you’re leaving so soon?
BIRDLACE
I dunno…I guess, I didn’t think it was gonna matter.
ROSE
Of course it matters. You knew you were leaving—why’d you come back and invite me to dinner?
BIRDLACE
I dunno…I wanted to see you. I felt bad, okay. I don’t know what you want me to say. I don’t understand you. I guess I screwed this up too.
ROSE
BIRDLACE
(Beat. Nothing he says, it seems, will satisfy her. He doesn’t get it. He doesn’t get her.)
Why’d you come with me, Rose? Why?
Yeah—dinner. Why’d you say yes?
ROSE BIRDLACE
(The answer pours out of her. She had to. She had to prove him wrong. She had to prove it to herself.)
ROSE
If I didn’t, I’d just be what you thought I was. A lonely, pathetic, ugly fat girl. That’s all I’d be.
#15—Before It’s Over AN AWKWARD GIRL WITH HER GUITAR
KEEPIN’ TO HERSELF
FRIDAY NIGHTS ALONE
WITH THE RECORDS ON HER SHELF
A WAITRESS POURIN’ GINGER ALE AND COKE
SOMEONE YOU ASK OUT AS A JOKE
[Rose]
D
O G F I G H T
(ROSE)
I’VE BEEN THAT GIRL WHO FADES AWAY ACCEPTING WHAT I’VE GOT STUCK IN WHAT I AM
AND EVERYTHING I’M NOT
I’VE ONLY SEEN THIS TINY WORLD I’M IN WHERE I CAN ONLY BE WHAT I’VE BEEN SEE A WORLD
BEAUTIFUL AND STRANGE
SPINNIN’ OFF SOMEWHERE SAYIN’ “MEET ME THERE”
LOOK, LOOK HOW FAST IT RUNS AWAY
SINGIN’ “FOLLOW CLOSE
AND REACH FOR ME
SEE THAT YOU’VE GOT SO MUCH MORE TO BE
BEFORE IT’S OVER
BEFORE IT’S OVER”
(She continues with even more determination.)
I CAN’T GO WRITE ANOTHER SONG I’M TOO AFRAID TO PLAY
OR DREAM HOW THINGS COULD CHANGE
BUT ONLY SEE WHAT’S IN MY WAY
CAN’T GO BACK TO WHAT I WAS BEFORE
NOW THAT I CAN SEE SO MUCH MORE SEE A WORLD
BEAUTIFUL AND STRANGE
ON A ONE-WAY TRACK
AND IT WON’T COME BACK
LOOK, LOOK HOW FAST IT RUNS AWAY
SINGIN’ “FOLLOW CLOSE
AND REACH FOR ME
SEE THAT YOU’VE GOT SO MUCH MORE TO BE
BEFORE IT’S OVER”
I NEVER EVEN KNEW A WORLD WAS WAITING
SOMEHOW SOMETHING AWFUL MADE THAT WORLD APPEAR
MAYBE THIS SOUNDS CRAZY
— 95 —
— 96 —
D
O G F I G H T
(ROSE)
BUT I’M HAPPY THAT IT HAPPENED HAPPY THAT I CAME
HAPPY THAT I’M HERE
(These thoughts come as a surprise even to her, tempering any excitement or outward expression of the “happy” she describes. Instead, an awakening pride within her, a growing awareness of how much this night is changing her. BIRDLACE can’t take his eyes off her, starting to actually see her.) I CAN SEE A WORLD
BEAUTIFUL AND STRANGE CAN YOU SEE IT TOO?
IT’S SO CLOSE
DON’T LET IT GET AWAY
THERE’S SO MUCH TO DO
BEFORE IT’S OVER
(After the song, an awkward moment. Neither knows what to say.)
#15a—After “Before It’s Over”
[Orchestra]
So I guess you gotta go meet your friends.
(She is disappointed but sweet.)
I wish you weren’t leaving tomorrow.
(realizes)
Today.
BIRDLACE
(delicately, offering to stay with her)
As long as I’m back for formation in the morning, I’m okay. You sure? I thought—
ROSE
BIRDLACE
I’m sure. I’m with ‘em every day. I wanna spend my last night with you.
(genuinely)
I like you.
(Elsewhere, ENSEMBLE members appear, nowhere specific, possibly in shadow, gently encouraging this fledgling bond.)
D
— 97 —
O G F I G H T
#16—Give Way
[Ensemble, Rose]
FEMALE SINGER 1
A FLOWER BOWS TO AUTUMN CHILL
OCTOBER RIVER, FROZEN STILL
FEMALE SINGER 1 / MALE SINGER 1
GIVE WAY GIVE WAY
(Neither wants the night to end but neither knows what to say. ROSE makes a hesitant suggestion.)
ROSE
I could play you some of my records. They’re back at my place. We gotta be real quiet though ‘cause Mama’s gonna be sleeping—
BIRDLACE
Okay.
ROSE
Okay.
(ROSE leads him to her apartment. They are both nervous about taking this step.)
FEMALE SINGER 2
BUT THE SPARROW WITH HIS BROKEN WING BURROWS DOWN TO WAIT FOR SPRING
FEMALE SINGER 2 / MALE SINGER 2
GIVE WAY GIVE WAY
FEMALE SINGER 1 / FEMALE SINGER 2
SPARROW, SPARROW TOO AFRAID TO FLY
FEMALE SINGERS 1 & 2 / MALE SINGERS 1 & 2 SPARROW, SPARROW TOO PROUD TO TRY
AND HE’S OH SO FAR FROM HOME
(They end up in ROSE’S BEDROOM. She considers her record collection.)
ROSE
So what are you in the mood for? We could try the Kingston Trio—or, you’ve never even heard Odetta.
— 98 —
D
(teasing him)
O G F I G H T
(ROSE)
Oh look, Jim Swain.
(They laugh.)
And there’s always Woody. You know why he came up with “This Land Is Your Land?”
BIRDLACE
Didn’t even know the guy wrote it ‘til today. Why?
ROSE
‘Cause he was sick of hearing “God Bless America.” He thought it was a lie. Woody’s song is about people. And now you hear it all the time. Everybody knows it, all over the whole country.
BIRDLACE
So what are you doing making music all alone in your room?
(BIRDLACE picks up ROSE’s guitar, holds it as if it’s a rifle.)
Eddie, careful with that.
ROSE
BIRDLACE
I don’t know why you’re so afraid to play this for people.
ROSE
I’m not, I just ... I’m waiting for my hair to get a little longer ... I need time to work on my songs.
(offers her the guitar)
BIRDLACE
Sing something. Anything. Like that song you were playing before at the diner. That song’s not really finished. So play me what you got. I don’t wanna wake Mama.
ROSE
BIRDLACE ROSE BIRDLACE
One song, that’s all I’m asking. It’s my last night, Rose. Please, it’s just me.
(ROSE takes the guitar. She takes a deep breath, about to sing for her first audience. She begins tentatively, quietly.)
D
O G F I G H T
— 99 —
ROSE
A SPRING AND SUMMER SONG TOO BRIEF
THE STEADY TURN OF A FALLING LEAF
GIVE WAY
GIVE WAY
(As she sings, ROSE sheds some of her fear. Her voice grows stronger and louder as she approaches the chorus.) AND JUST BEFORE THE WINTER STORM
OFF TO SOMEWHERE SAFE AND WARM
GIVE WAY
GIVE WAY
(ROSE sings and strums confidently, proudly. She may even, for a moment, get lost in the music.) SPARROW, SPARROW
TOO AFRAID TO FLY
SPARROW, SPARROW
TOO PROUD TO TRY
AND HE’S OH SO FAR FROM HOME
(She finishes. BIRDLACE is genuinely impressed. He speaks quietly, in awe, struggling to find the right word.)
BIRDLACE
Rose—oh man, you’re—that was really— The song doesn’t have a bridge yet—
ROSE
(Awkwardly and impulsively, he kisses her. After the kiss, she carries on talking, picks up where she left off.)
—and the last verse is rotten. I think if I keep working on it—
(BIRDLACE kisses her again. This time, after, she is quiet. Some awkwardness.)
Maybe I should—I could change?
(She takes a long, unsexy nightgown off a hook, looks to BIRDLACE.)
Yeah?
BIRDLACE ROSE
Maybe you could…why don’t you turn the other way.
— 100 —
Okay, Rose, sure thing.
D
O G F I G H T
BIRDLACE
(He turns his back to her. She starts undressing. After a moment, he starts to unbutton his shirt. Stops.)
Hey, Rose?
(She freezes. He gestures she should turn around, making a twirling motion with his hand.)
It’s only fair. Oh. Okay.
ROSE
(She turns away from him. They undress with their backs to each other. BIRDLACE retrieves a condom from his wallet.)
Eddie?
(BIRDLACE nervously looks around for a place to stash the condom he’s holding.)
One sec.
BIRDLACE
(He stashes it awkwardly on her bed, under her teddy bear. It will have to do.)
Okay, I’m done over here.
ROSE
(She is fully dressed and ready in her long nightgown. He very quickly tears off his button down and pulls off his pants.)
Me too.
BIRDLACE
(He now wears boxers and an undershirt. They turn to face each other slowly.)
BIRDLACE
That’s a real pretty night…dress…thingy. Thanks.
ROSE
(She sits on the bed. He takes a deep breath, sits next to her. Silence. He kisses her. He can tell she is nervous. He is too and tries to hide it. He reaches for her, puts his hand on her waist. She pulls away.)
Is that—everything okay?
BIRDLACE
D
O G F I G H T
— 101 —
ROSE
Okay.
BIRDLACE
You sure?
(insecurity getting the best of her)
ROSE
It’s so bright in here. I’m just gonna…
(She starts turning off all the lamps in the room. The last one is right by the bed. She reaches for it. As the music reaches its climax, BIRDLACE grabs her wrist, stops her.)
I wanna see you.
BIRDLACE
(He pulls her onto the bed and into a deep kiss as the ENSEMBLE sings.) GIVE WAY
ENSEMBLE SINGERS
GIVE WAY GIVE WAY
GIVE WAY GIVE WAY
GIVE WAY
(The voices crescendo. Lights fade on their lovemaking.)
— 102 —
D
O G F I G H T
ACT TWO. SCENE FIVE.
#17—Some Kinda Time (Reprise)
[All Marines]
(The next morning, early. There’s a certain stillness in the air. Morning brings a different energy. BERNSTEIN and BOLAND, drunk and exhausted, stumble towards their destination.)
BERNSTEIN / BOLAND
SOME KINDA TIME
SOME KINDA HAZE
WHEN WE HIT IT HARD
AND LIT THE SKY ABLAZE SOME KINDA TIME
SOME KINDA HUM
AS IF SOMEBODY’S CALLIN’
(ROSE’S BEDROOM. ROSE sleeps. BIRDLACE stands, dressing in his uniform. Sober.)
BERNSTEIN / BOLAND
BIRDLACE
SOME KINDA TIME
SOME KINDA TIME
SOME KINDA SIGHT
SOME KINDA SIGHT
IT’S STRANGE
SOME KINDA NIGHT
HOW SOMETHING CHANGES
OVERNIGHT
SOME KINDA TIME
THREE BEES
SOME KINDA DRUM
LIKE THERE’S SOMETHING BEGINNING
(ROSE stirs.) Good morning. Hey.
ROSE BIRDLACE
D
You get any sleep? Barely. I guess I’m too riled up.
O G F I G H T
ROSE BIRDLACE ROSE
Today’s the day, huh. They make you wear the uniform all the way there?
BIRDLACE
I think now I pretty much wear it all the time.
ROSE
Ask me how my first date was.
(BIRDLACE smiles.)
It was nice. Yeah.
Was I all right? You were great.
BIRDLACE ROSE BIRDLACE
(Beat. BIRDLACE makes a shameful admission: he was a virgin too.)
Not that I got anything to compare it to.
(Beat. They lock eyes.)
I better go before your mom wakes up.
ROSE
(scribbles her address on a sheet of paper)
Here’s my address. When you get to where you’re going, Eddie, you’re gonna tell me how to get in touch. I wanna write you.
BIRDLACE
Me? Sure thing, Rose. Thanks. That’d be great.
(gives him the address)
Keep it safe.
ROSE
(He takes her address and kisses her softly, sweetly.)
— 103 —
— 104 —
D
O G F I G H T
BIRDLACE
GOODBYE
UP AT DAWN
GETTIN’ GONE
I’M ON MY WAY
(ROSE disappears as we leave ROSE’S BEDROOM.) GOODBYE
SHIPPIN’ OUT
IT’S ALL ABOUT
TO START TODAY GOODBYE
LEAVIN’ NOW
BUT DON’T KNOW HOW
(BIRDLACE ends up at the BUS DEPOT, where the rest of the MARINES wait, some already lining up in formation.)
ALL MARINES (except BIRDLACE) GOODBYE TO CHILI FRIES
BIRDLACE
TO SAY GOODBYE
TO APPLE PIES
AND DINAH SHORE
SO LONG TO WAFFLE CONES
NEW TWILIGHT ZONES
AND LESLEY GORE
BERNSTEIN / BOLAND
A WILD RIDE ON MY LAST NIGHT STATESIDE
(BOLAND and BERNSTEIN find BIRDLACE.)
BERNSTEIN
(annoyed with BIRDLACE, not hiding it)
Birdlace! There you are! Prodigal fuckin’ son.
BOLAND
(BIRDLACE’s attitude immediately changes; he snaps into his pompous, cocky persona. He furtively slides Rose’s address into his back pocket. BOLAND notices, even as they jostle one another and talk over each other.)
D
O G F I G H T
— 105 —
BERNSTEIN
Where the hell’ve you been, asshole?
(contrite)
I know— Deserter!
Better be a good story. I’m sorry— Traitor! Spit it out.
BIRDLACE
BERNSTEIN BOLAND BIRDLACE BERNSTEIN BOLAND BIRDLACE
Okay, okay, but you gotta keep it down ...‘cause she was married.
(total one-eighty)
BERNSTEIN
She was married?! You fuck! Don’t leave anything out.
BIRDLACE
We’re talking blonde, thirty-two, built like a—
BOLAND
Thirty-two? What are you, some kinda grandma-fucker?
BIRDLACE
If your grandma looked like this, you bet your ass.
BERNSTEIN
Well, we had a pisser of a time. And since we know how to report when we’re called, we got these too.
(BERNSTEIN rolls up a sleeve.)
BOLAND
Check it out. Bernstein got yours for you. You owe us a bee.
(BERNSTEIN shows him the tattoo. BIRDLACE studies it: two bees. He whistles his appreciation.)
— 106 —
Three fuckin’ bees.
(the tattoo)
D
O G F I G H T
BIRDLACE BERNSTEIN
C’mon, fellas. Gotta show ‘em our new ink.
(stops BOLAND)
BIRDLACE
Go on. We’re right behind ya.
(BERNSTEIN leaves them, joins the rest of the MARINES.)
What’s up?
BOLAND
BIRDLACE
That toothless sack you took to the party? I know it was a set up. The hell you talkin’— Don’t bullshit me, I’m sick of it. Who told you? I just know.
BOLAND
BIRDLACE BOLAND BIRDLACE
(BOLAND reaches into BIRDLACE’s back pocket, snatches the sheet of paper from ROSE.)
Hey—
What’s this? Gimme that.
BOLAND BIRDLACE BOLAND
(bursts out laughing when he reads it)
Well, I’ll be! You think this is gonna keep you safe and warm on the other side of the world?
(He tosses the note to BIRDLACE carelessly then speaks seriously but without fanfare or fuss, direct and clear.)
D
— 107 —
O G F I G H T
(BOLAND)
You want the straight shit, Birdlace? That stuff don’t matter where we’re going. This—
(his Three Bees tattoo)
This is ‘bout the only thing that does. That’s why you ain’t gonna spill about me fixing that fight ... and I ain’t gonna tell nobody ‘bout you spending the night with Rose. How’d we get to be so full of shit?
BIRDLACE BOLAND
That’s the thing about bullshit: you hit me with a little, I buy it. I hit you with a little, you eat it up. That don’t make us assholes. That makes us buddies.
(BOLAND moves on, grabs his duffel alongside BERNSTEIN, FECTOR, STEVENS, GIBBS and SERGEANT. BIRDLACE considers ROSE’s note, pulled in opposite directions by two powerful forces: his friends the MARINES, arranged in formation and doing rifle drills, and ROSE, in the form of her address, scrawled on a piece of paper.)
ALL MARINES (except BIRDLACE / SERGEANT) GOODBYE TO SUMMER HAZE
TO LAZY DAYS
BIRDLACE
SAY GOODBYE
SAY GOODBYE
SAY GOODBYE
ON YOUR FRONT LAWN
GOODBYE TO HIGH SCHOOL PALS
TO PRETTY GALS
WHO LEAD YOU ON
GOODBYE TO WHAT YOU THINK
‘CAUSE ONCE YOU BLINK
SAY GOODBYE
YOU’LL BE GONE
(Decision time: BIRDLACE weighs the lessons ROSE has taught him against the immediate camaraderie of his fellow MARINES. BOLAND’s words, expressed moments ago, ring in BIRDLACE’s ears. When they are overseas, what matters more?)
ALL MARINES & SERGEANT
HATS OFF TO YOU
RED WHITE AND BLUE
— 108 —
D
O G F I G H T
(As the MARINES sing “blue,” BIRDLACE tears up ROSE’s address and scatters the tiny pieces. This night in 1963 recedes. We see the MARINES in Vietnam. Marching proudly.)
#17a—War Sequence (Part 1)
[All Marines]
ALL MARINES & SERGEANT
GOODBYE TO
CHILI FRIES
TO APPLE PIES GOODBYE TO
CHEVROLETS
TO WILLIE MAYS
FECTOR / STEVENS / GIBBS / SERGEANT
THREE BEES
GOODBYE TO
WE THREE BEES
TO LAZY DAYS
AND WE COME PREPARED
HAVE A MIGHTY STING
SUMMER HAZE
FOR ANYTHING
GOODBYE TO
WE THREE BEES
TO PRETTY GALS
THICK LIKE BLOOD
CAN’TCHA HEAR IT BOYS?
CAN’TCHA HEAR IT BOYS?
LIVIN’ SEMPER FI
HIGH SCHOOL PALS
AND WE’RE DO OR DIE
CAN’TCHA HEAR THAT NOISE
CAN’TCHA HEAR IT?
ALL MARINES & SERGEANT
COMIN’ COMIN’ COMIN’ COMIN’?
(Silence. Everyone on the lookout, on edge, weapons pointed straight out, trained and ready for anything. Suddenly, chaos! Machine gunfire, exploding bombs, ringing in their ears, confusion. NOTE: This is where the provided WAR SEQUENCE sound cue can be utilized. NOTE: this confusion provides an opportunity for the actor playing BIRDLACE to apply the Three Bees tattoo he will show ROSE in the final scene.)
D
SERGEANT
Gooks two-hundred meters, front. Base of fire. Base of fire. Fector, Stevens: right flank. Gibbs: move left, move left. Go! Go! Down, down, down! Radio, radio!
— 109 —
O G F I G H T
MARINES
(variously, overlapping, ad lib) Contact, direct front. Get down! On your left. Enemy troops in the open. Push up. Watch your right. Rush! Suppressing fire. I’m up. Buddy rushes. NVA in the open. Where are they? He’s down, he’s down. Ammo! Corpsman up. Doc!
(The THREE BEES advance together, scared, trying to stay focused on the mission as all hell breaks loose around them.)
#17b—War Sequence (Part 2)
[All Marines]
THREE BEES
WE THREE BEES HAVE A MIGHTY STING
AND WE COME PREPARED FOR ANYTHING
WE THREE BEES LIVIN’ SEMPER FI
THICK LIKE BLOOD AND WE’RE DO OR DIE WE THREE BEES HAVE A MIGHTY STING
AND WE COME PREPARED FOR ANYTHING
(BOLAND is hit. He falls to ground, surely dead. BIRDLACE and BERNSTEIN push on, terrified, unrelenting.)
BERNSTEIN / BIRDLACE
WE THREE BEES LIVIN’ SEMPER FI
THICK LIKE BLOOD AND WE’RE DO OR DIE WE THREE BEES HAVE A MIGHTY STING
AND WE COME PREPARED FOR ANYTHING
WE THREE BEES LIVIN’ SEMPER FI
THICK LIKE BLOOD AND WE’RE DO OR DIE WE THREE BEES HAVE A MIGHTY STING
AND WE COME PREPARED FOR ANYTHING
(Now BERNSTEIN is hit. He stumbles, falls—a goner. BIRDLACE is alone. He presses on, fulfilling his duty, advancing.)
— 110 —
D
O G F I G H T
BIRDLACE
WE THREE BEES LIVIN’ SEMPER FI
THICK LIKE BLOOD AND WE’RE DO OR DIE WE THREE BEES HAVE A MIGHTY STING
AND WE COME PREPARED FOR ANYTHING
WE THREE BEES LIVIN’ SEMPER FI
THICK LIKE BLOOD AND WE’RE DO OR DIE WE THREE BEES HAVE A MIGHTY STING
AND WE COME PREPARED FOR ANYTHING
WE THREE BEES ARE FOREVER YOUNG
SO WATCH YOUR BACK OR YOU MIGHT GET STUNG
(Chaos all around him, BIRDLACE advances alone. Eventually a helicopter is heard overhead amidst the cacophony, signaling his rescue. The collage of sound becomes deafening until it cuts out completely and BIRDLACE snaps out of this nightmare and right into the next scene.)
#17c—Transition: Take Me Back
[Female Hippies]
D
O G F I G H T
— 111 —
ACT TWO. SCENE SIX.
(San Francisco, 1967. BIRDLACE starts, as if from a nightmare. He doesn’t quite shake it off. He may never.)
PETE
Welcome to San Francisco, kid.
(Their bus has arrived in San Francisco. They’ve disembarked and now stand in the DEPOT. PETE hands BIRDLACE his duffel. BIRDLACE takes in his surroundings.)
BIRDLACE
Don’t look a thing like what I remember.
PETE
Not much does.
(worried about BIRDLACE)
You know where you’re going? Staying with friends?
BIRDLACE
Don’t got any.
PETE
What about your bees?
(BIRDLACE looks at his Three Bees tattoo, gets lost in the thought. Beat. PETE backs off.)
Well…good luck to you.
(PETE leaves. BIRDLACE wanders San Francisco. HIPPIES pass. In the swirl of the city, BIRDLACE sees his friends BOLAND and BERNSTEIN everywhere he looks.) DA DA DA DA
FEMALE HIPPIE 1
DA DA DA DA DA
DA DA DA DA
(FEMALE HIPPIE 1 brushes past him.)
ADD FEMALE HIPPIE 2
DA DA DA DA
Excuse me—
BIRDLACE
FEMALE HIPPIES 1 & 2
DA DA DA DA DA
DA DA DA DA
— 112 —
D
O G F I G H T
(Again, BIRDLACE is dismissed by the woman whose help he solicits.)
ADD FEMALE HIPPIE 3
DA DA DA DA
DA DA DA DA DA
Can you help me out?
BIRDLACE
FEMALE HIPPIES 1, 2 & 3
DA DA DA DA
(Their voices fade…)
DA DA DA DA
DA DA DA DA
(BIRDLACE approaches FEMALE HIPPIE 1.)
BIRDLACE
Can you help—I’m looking for a diner—
(This FEMALE HIPPIE spits in his face, timed with the climax of the music. Silence, music out. BIRDLACE contains himself, wounded. He wipes his cheek with his shirt cuff, then rolls up his sleeve. He sees his Three Bees tattoo, which he got in memory of BOLAND and BERNSTEIN, after their deaths. Aching, he stares at it. BIRDLACE is broken, a shell of the man he was the last time he was in San Francisco. His song is labored; he sings his pain.)
#18—Come Back BLUE INK
SINKS IN
LIKE A GHOST
THAT WON’T WASH OFF YOUR SKIN IT STILL COMES BACK
IT STILL COMES BACK BEES FIGHT
BEES STING
WATCH THEM DIE
AND YOU CAN’T DO A THING THEY WON’T COME BACK
[Birdlace]
D
O G F I G H T
— 113 —
(BIRDLACE)
WHERE DO YOU GO?
I DON’T KNOW
I DON’T KNOW ANYMORE THERE IS NO BEFORE
ONLY NOW
THEY SCOFF, THEY SPIT
NO PARADE
ALL YOU GET IS SHIT WHEN YOU COME BACK WHEN YOU COME BACK REPEAT, REPLAY
EACH DEATH, EACH DAY
THERE’S A GUILT THAT YOU CAN’T SHAKE AWAY
FOR COMING BACK WHERE DO YOU GO?
I DON’T KNOW
I DON’T KNOW
I DON’T KNOW
HOW TO COME BACK COME BACK
COME BACK
COME BACK
COME BACK
(BIRDLACE has entered ROSE’s Diner. He sees ROSE.) COME BACK
(Their eyes meet. Recognition. Silence. Neither knows what to say, how to proceed. ROSE feels a million things: surprise, anger, relief, hurt—but she contains herself. She is older and wiser. And she immediately sees he is broken. His deterioration unnerves her. They speak carefully, slowly, accompanied by a melody, quiet at first. There is a wealth of unspoken feelings between them and much uncertainty.) Eddie.
ROSE
— 114 —
D
Hi, Rose.
O G F I G H T
BIRDLACE
(It takes ROSE a few moments to shake her surprise at seeing him and continue speaking to him.)
ROSE
I never heard from you. I didn’t know if you were alive or…
#19—Finale: Take Me Back Shot at and missed…
[Ensemble]
BIRDLACE
(Beat. BIRDLACE’s words linger.)
I’m sorry.
It’s okay. I stopped waiting. I’m okay.
ROSE
(BIRDLACE shows her his tattoos: three bees.)
BIRDLACE
I don’t know why them…why not me…
ROSE
(understands he’s lost his best friends, compassionate)
Oh, Eddie. I’m so sorry.
(BIRDLACE is unable to contain his erupting feelings, trying so hard to do so that he shakes, throbs with their intensity. ROSE sees.)
FEMALE SOLO
OH A SMELL
A SOUND
CAN TAKE YOU BACK
MALE SOLO
TAKE ME BACK
TAKE ME BACK
TAKE ME BACK
(Slowly, tentatively, ROSE goes to BIRDLACE, drawn by his evident need for compassion.)
FEMALE ENSEMBLE
OH TAKE ME BACK
A SMELL, A SOUND
A MEMORY YOU FOUND
CAN TAKE YOU BACK
MALE ENSEMBLE
OH TAKE ME BACK
TAKE ME BACK
TAKE ME BACK
TAKE ME BACK
D
TAKE ME BACK
O G F I G H T
— 115 —
ENSEMBLE
(BIRDLACE seems to collapse into ROSE’s arms, so much does he need her hug and compassion and forgiveness. Momentarily surprised, ROSE eventually embraces him, holds him. A deep, long hug. He hugs her with much feeling, cries on her shoulder, lets it all out, a great release. ROSE, warm and strong, generously allows him this moment. She extends him her tremendous empathy.) Welcome home.
ROSE
(End of play.)
#20—Bows
[Orchestra]
#21—Exit Music
[Orchestra]
1.
ACT 1
M U S I C A L N U M B E R S ( VO C A L B O O K )
Prelude: Take Me Back ...............................Rose, Birdlace, Ensemble (Pete) .......119
1a. Before “Some Kinda Time”................................Boland, Bernstein, Birdlace .......122 2.
Some Kinda Time ....................................................All Marines, (Sergeant) .......123
3.
We Three Bees ....................................................Birdlace, Boland, Bernstein .......131
2a. Some Kinda Time (Playoff).................................................................................130
4.
Hey, Good-Lookin’ ......................................................Women, All Marines
.........................................................(Librarian, Praying Drag Queen, Alice) .......132
4a. Hey Good Lookin’ (Playoff) ...............................................................................143 4b. Give Way (At The Diner)......................................................................Rose .......144
5.
Come to a Party......................................................................Birdlace, Rose .......145
6.
Nothing Short of Wonderful ................................................................Rose .......151
7.
Come to a Party (Reprise) ........................Rose, Birdlace, Boland, Bernstein
6a. Transition To The Street ......................................................................................157 ...............................................................................................Fector, Stevens .......158
7a. Walk to a Party ....................................................................................................161 7b. Nothing Short of Wonderful (Reprise) ................................................Rose .......162
7c. Before the Party ....................................................................................Rose .......164
8.
Blast Off .................................................................................Lounge Singer .......165
8a. That Face ...................................Lounge Singer, All Marines except Birdlace .......167
8b. It’s Just a Party ......................................................................Lounge Singer .......172 9.
It’s A Dogfight ..........................................................................Marcy, Rose .......173
9a. It’s Just a Party (Reprise) ......................................................Lounge Singer .......179
9b. Transition To Rose’s Room .................................................................................180
10. Pretty Funny .........................................................................................Rose .......181
— 116 —
ACT 2
11. Entr ’acte: Hey Good Lookin’ ............................................................................185
12. Hometown Hero’s Ticker Tape Parade ....................................All Marines .......186 12a. Back to Rose ........................................................................................................195 13. First Date, Last Night ............................................................Rose, Birdlace .......196
13a. Fancy Restaurant Music .....................................................................................202
13b. First Date, Last Night (Reprise) ............................................Rose, Birdlace .......203 14. Hometown Hero’s Ticker Tape Parade (Reprise) ...........Bernstein, Boland .......205
14a. Golden Gate Bridge ............................................................................................206
15. Before It’s Over .....................................................................................Rose .......207 15a. After “Before It’sOver” .......................................................................................211
16. Give Way...............................................................................Ensemble, Rose .......212 17. Some Kinda Time (Reprise) ......................................................All Marines .......217
17a. War Sequence (Part 1) ...............................................................All Marines .......221
17b. War Sequence (Part 2) ...............................................................All Marines .......223 17c. Transition: Take Me Back ....................................................................................225
18. Come Back .......................................................................................Birdlace .......226
19. Finale: Take Me Back .....................................................................Ensemble .......229
20. Bows.....................................................................................................................230 21. Exit Music ............................................................................................................231
— 117 —
— 118 —
D
O G F I G H T
D
— 119 —
O G F I G H T
1
PRELUDE - TAKE ME BACK Haunting, Folky q ROSE: (vox 2nd x only)
& 44 ..
= 76
(gently, like an echoing memory)
1
Da
da
‰
œ.
œ. œ œ œ. da
2
da
Da
5
&œ
da
œ œ œ œ œ
Some kinds of time
are real
8
Some
da
œ
œ #œ
dream
œ
œ
da
44
œ.
œ
Some
Ó
œ œ
to de-ceive
&˙
‰
&˙
‰
and
re
j œ œ œ.
and
re
15
-
-
œ
you
2 œ œ 4
you can't
!
10
Some
œ œ.
Ó
œ œ œ œ
œ œ œ
œ œ œ œ
œ œ œ
kinds of time
BIRDLACE:
16
œ ˙.
‰
-
!
j œ œ œ.
Œ ..
da
œ œ œ
13
set
da
kinds of time
Some
14
da
‰ œ œ. œ œ œ œ œ . œj
!
&
Da
quick to leave you
a - way
are
œ. œ œ œ œ œ ˙.
7
œ œ œ œ œ
kinds of time
4
‰ œ œ œ œ œ œ . œj
12
œ œ œ œ
Œ
œ. œ œ
9
11 ROSE:
&œ
da
6
œ œ œ œ
& 24 œ .
#œ œ. œ œ œ.
3
kinds of time
‰
ROSE:
œ
play
œ œ ˙. play
#1—Prelude—Take Me Back
Oh,
!
re - peat
re - peat
œ œ a smell,
# #
— 120 —
D
# & ˙. 17
&
20
‰
œ œ
˙.
18
œ œ
a sound
#
can
!
!
19
" œj .
œ œ ˙
œ take
you back
Oh,
Ó
Œ
œ. " J
BIRDLACE:
Oh,
#
& œ
œ œ œ œ. œ
‰
take me back
&
O G F I G H T
# œ
œ
œ
œ
21
œ.
œ œ œ. œ œ " œ œ œ œ œ œ œ œ œ. œ œ 22
A smell,
œ ˙
a sound,
a me - mo-ry
you
!
Œ
found
can
!
take me back
23
& & &
#
œ
j " œ.
œ œ ˙
take you back
#
Ó
Oh,
Œ
Ó
" Jœ .
M. ENSEMBLE:
BIRDLACE:
#
24
Œ
Oh,
" œj .
F. ENSEMBLE:
Oh,
œ . bœ œ œ ˙
take
œ. take
me
25
back
j œ œ b œœ ˙˙
(ens. splits)
me
me
˙˙
Œ
back
#1—Prelude—Take Me Back
˙
œ Take
Œ
back
œ . bœ œ œ ˙ take
˙
Ó
œ œ
n
me back
BIRDLACE:
œ
œ œ
Take
me back
n n
D
26
& ˙.
Œ
œ . #œ ˙ 27
(ROSE)
— 121 —
O G F I G H T
29
œ œ œ œ.
Da da da da
& ˙. &
M. & F. ENSEMBLE:
œ. œ. œ œ œ.
Da
da
&
Da
˙
Da
da
œ. œ œ œ. da
˙ & œ. œ œ œ.
34
da
da
da
da
!
da
da
!
Da
da
Œ
da da
da
!
33
‰ œœ .. # œœ œœ œœ œœ œœ ˙˙ ..
Œ
œ . #œ œ œ œ ˙ . ‰ œ . œ œ œœ œ œ ˙ .
Œ
Da
da
Da
36
!
!
32
œœ ..
da
da
œ. œ œ œ œ œ ˙.
da
#˙ œ. œ œ œ. ˙
da
Œ
œ œ
œœ ..
Da
35
œ.
# ˙˙ œ. œ œ œ.
Vamp (crossfade to #1A on cue)
& ..
da
da da
!
!
Da
M. ENSEMBLE:
Da
da
31
F. ENSEMBLE:
da
#œ œ. œ œ œ.
da
!
30
&
da
‰
Da
Ó
œ . #œ ˙
(BIRD)
Ó
‰ . œ œœœœœ ˙
28
!
#1—Prelude—Take Me Back
da
da
da
da
37
da
da
!
..
— 122 —
D
O G F I G H T
1a
BEFORE SOME KINDA TIME
Spare, ghost-like
U !
b & b b b b 44
1
2
U !
U !
3
4
U Ó
œ
œ œ œ
BOL:
œ
5
Steady
some kin - da haze
BIRDLACE: …and there’s Bernstein...
bb ˙ &b b b
7 œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ
Œ
6
when we hit
b œ Œ œ œ œ œ & b bbb
10
9
Some kin - da hum
it hard,
and lit
the sky
œ
8
œ œ œ œ
Œ
BERN:
a-blaze
Some kin - da time
BIRDLACE …and me, I’m Birdlace. PETE: Oh, I get it. The Three Bees.
œ œ œ b œ œ œ œ œ 11 œ . Jœ œ Œ
!
12
13
œœ œ œ œ
Ó
BOL/BER:
as if some - bo-dy's cal - lin'
Some kin - da time
PETE: (under the vocal, fading out) Bet your bees can’t dance the hula, can they? She’s bigger than she used to be though, that’s for sure.
b b b œœ b & b 14
œ œ œ œ
Œ
Some kin - da time
q = 72
Œ
œ œ œ n œœ
15
˙˙
Œ
some kin - da maze
b œ & b bbb
Œ
17
œ œ œ
THREE BEES:
œ
b & b b b b œJ œ . ning
œ
Œ
21
16
œ œ œ œ œ œ œ œ
to a youth
18
œ
œ
19
bœ
œ
œ
Whad - da - ya
q = 96
œ
œ œ œ bœ œ œ œ œ rit.
Cut all our strings,
With force
œ œ
of ben - ded truth, and bet - ter days
œ œ œ
Œ
Some kin - da time
20
œ œ bœ
we'll be kings
œ
œ
œ
œ
say
to
some
kin
#1a—Before Some Kinda Time
for an eve -
œ -
da
œ time?
Segue as One
D
— 123 —
O G F I G H T
2
SOME KINDA TIME Driving, with a steady motor
q = 96
b & b b b b 44 ˙
1
Ó
2
(time.)
bb &b b b Ó
3
Play 3x
..
œ œ bœ œ œ œ Œ !œ œ œ ‰ J 4
BIRD:
œ œ œ.
You bet-ter call the cops and give 'em warn - ing
œ b & b bbb
6
mean
œ bœ œ œ
œ œ œ
ma-rine
in
rolls
bb 5 œ b œJ ! œr >œ œ œ &b b b 4 œ œ sweep - in' us
b œ & b bbb 10
out,
œ bœ ‰
Gol - den Gate,
BIRD: bbb œ œ bœ œ b & b
12
Lock
your door
7 BIRD:
œ
this morn - ing
BIRD:
8
BOL/
œ œ œ.
or keep in' us
et,
the wat - er
BERN:
to raise
qui
a - cross
and hide
his way
œ œ œ.
œ œ œ.
your daugh - ter
Try
some hell!
œ
See
‰
it!
œ
us
13 BOL:
œ œ
Would-n't
#2—Some Kinda Time
œ œ ‰ bœ
com-in'?
œ œ œ.
want
her
No
œ
BERN:
œ
Through the
THREE BEES:
BIRD:
A
œ œ ‰ j 5 œ 4
œ œ œ œ œ œ
THREE BEES: 9
11
BOL:
Sound a si - ren! Bang the bell!
œ œ . nœ 4 œ 4 œ ˙
œ
œ
œ ‰ b œ œ œ ‰ . œR œ œœœ BERN:
5 BOL:
œ
œ œ œ
œ œ œ
On
..
Hit
œ œ
œ œ Œ the dirt!
œ Œ
get - tin' hurt!
45
— 124 —
14
D
bb 5> œ b œJ &b b b 4 œ œ THREE BEES:
Go - in' all
throw-in' a
b œ œ nœ ‰ œ bœ œ œ œ Œ & b bbb
16
ty's on,
we got
bb œ &b b b 19
œ
> œ œ œ
‰
in,
O G F I G H T
17
till dawn
Œ
œ
it
b & b bbb
are now
œ œ œ bœ œ œ œ œ we'll be kings
b ˙ & b bbb
27
Ó
night
˙
22
18
..
œ
œ œ. J
œ œ
œ
23
œ
26
- ning
"
bœ œ œ
œ
Gon-na be
..
29
œ œ
b >œ
Mak - in'
noise
œ œ œ
Œ
Some kind - a time
œ Œ
œ œ œ œ
Œ
Some kind-a time
"
30
œ
Cut all our strings,
œ
œ
œ
œ
hav - in' some kind - a
Vamp (On cue, jump after beat 2 or 4) 28
The par -
Œ
œ Œ œ
in charge
25
for an eve
20
‰ œ œ THREE BEES:
Œ
large
bb œ œ œ œ œ œ œ œ œ œœ œ &b b b
24
Big
bœ œ bœ œ œ œ œ œ
21
the boys
15
we'll be hav - in' some kind - a time
liv - in'
be-cause
nœ 4 œ œ œ 4
Dog - fight
œ œ œ
œ
œ.
œ
Ó
Œ
ƒ
œ time
BIRD: ! œ œ œ
We're gon - na
Heavier, half-time with swagger
b & b bbb 31
œ
run
œ bœ œ œ
the streets
and
œ œ œ
find
some
œ œ œ. trou - ble
32 BERN:
œ
One
#2—Some Kinda Time
œ
last
œ
night
œ bœ
œ œ Œ
we
for - get
don't
D
STEV/ FECT:
bb &b b b
33
œ
œ
Drink
so
bœ
deep we're
f GIBBS/ FECT: b b 5 œ œ œ b œœ b b J & b4
‰
35
An - y-thing goes,
## #œ
œ
36B
&
band
of
life
nœ
# & # 45 œ œ œ when it gets
:
œœ
STEV/ BOL:
œ œ œ
giv - en
œ œ œ
œ œ œ.
were
rough,
&
œ
œ
! œ œ œ œ
and more when you join
Œ
œ
One
your bud-dies 'll
the corps
œ œ # œœœ
41
Don't think it through
˙˙ ˙
pull
38
œ
œ
œ œ Œ
no
re-gret!
œ
œ
last night with
œœ .. œj n œ 36 œ 44 œ œ Ó cruis
Pride
œ
bare - ly
œ
nœ œ œ
œ.
you
œ œ
thought you'd
seems like
it
œ
feel
was real
#œ 4 œ œ ˙ 4 right
through
œ œ œ
39
The
r œ 45 'Cause
! œ œ œ
36G
You get that
œ Œ œ
You're in store for some kind - a time
BIRD/ BOL:
œ œ œœœ
ALL MARINES:
Some kind - a time
42 œ nœ œ œ œ œ œ œ œ œ œ œœ œ
Cause your gut
#2—Some Kinda Time
##
! œ
œ œ ‰.
œ
œ
œ
œ
Ó
A
you ne-ver
36E
nœ Œ !. R
BIRD:
36A
in'
œ œ œ
36C
œ.
-
nœ œ nœ œ œ
Œ
5 4
(A flurry of loud, noisy, rambunctious horseplay from the MARINES—ad lib— then we focus on BIRDLACE.)
liv - in'
# œ œ #œ ! œ œ nœ œ œ œ Œ & #
# # œœœ
œœ
you've been
37
40
34 ALL:
dou - ble
œ œ œ ‰
that you
36F
see - in'
œ œ œ
bro - thers
# œ œ nœ œ œ & #
œ œ œ ‰
slop-py and booz - in'
nœ œ
36D
shit - ty
œ œ
œ
— 125 —
O G F I G H T
will tell
you what
you got - ta do
— 126 —
43
&
D
## œ
œ œ œ
ALL:
Œ
œ
44
œ
O G F I G H T
œ œ œ # œœœ
Œ
Some kind - a time
œ .. œœ .
# œ œ. & # œ # œœ .. J
46
‰ n n œœ œœ œœ 47
ning
œœ
Don't-cha miss out
œœ
œœ
all
our strings,
œœ
œœ œœ
on some kind - a
œœ œ œ n œœ œœ œ œ œ œ nœ œ #œ we'll be kings
Vamp
.. ˙˙
48
..
Ó
œ J
œ.
œ J
œ.
ALL MARINES:
Good - bye
b &b ‰
52
So
# #œ & # ‰ œJ 54
to chi - li
œ œ
œœ ..
œ n œœ œœ
STEV/GIBBS/BIRD:
œœ J
œ
œœ ..
r œ œ œ
œ ‰.
51
fries
œ ‰
long - to waf-fle cones,
Fare - well
# & # ‰
œ œ
œ
to
j œ
53
new
œ
œ
œœ œœ ! œ 55 2 œ œ 4
to Chev-ro - lets,
to
pies,
œ œ
to
œ œ J
Wil-lie Mays,
œœ œœ œœ œœ œœ ! œ 24 œ œ
to Chev-ro - lets,
œ œ
Twi-light Zones,
FECT/BERN/BOL:
Fare - well
ap - ple
for an eve -
bb
"
49
time
Relax tempo, but accented and sharp
b &b ‰ 50
Cut
45
œ œ J
Wil-lie Mays,
#2—Some Kinda Time
œ
œ œ œ
and Di
œ œ œ
-
nah
œ
and Les - ley
œ œ Shore
œ œ
j œ œ
Gore
56 . œœ œ ˙ ! œR 44 œœ . œ œ œ ˙
the
cor - ner
store
! œR 44 œœ .. œœ œœ n œœ ˙˙ the
j œ œ
cor - ner
store
##
D
œ # & # ‰ J
57
œ
œ œ œ
off
to you
Double-time feel
Hats
œ # & # ‰ J
Hats
œ
œ
œ œj œ
58
‰.
to you
œ
œ
œ œj œ
r œ œ œ
‰.
red, white and blue
r œ œ œ
Moving forward, half-time feel
&
####
60
r œ œ #œ
And live it
up
œ ˙ ‰.
FECT/ BOL:
œ #œ œ R
And live
it
# ## w & # # w #### œ . & #
œ œ
# # œ & # ## œ
œ œ œ œ œ œ œ
wild
# # œ œ & # ## wild
œ œ œ.
œ œ œ.
####
œœ œœ œ
GIBBS/STEV/ BOL/BERN/FECT:
! œœ
live
BIRD:
And
œ. nœ .
j œ œ J
it
œ œ œ
! œ
up
62
up!
cup,
˙˙˙
œœ
61
63
and live it
And
BERN:
# ‰Ó .
˙˙
cup,
œ œ œ # œœ # # # # # R
STEV/GIBBS/ BIRD:
œ Ó
So raise your
# # # # ww & #
59
œ ‰.
So raise your
red, white and blue
œ œ œ
off
œ
— 127 —
O G F I G H T
live
œ œ
it
œœ up!
œ up!
r œ R
‰.
A
œ R
‰.
˙.
A
ride
on my last
on my last
64
Tempo primo 65
w
"
w
"
night state - side
œ œ œ œ œ œ œ ride
œ œ œ. œ œ œ.
night state - side
#2—Some Kinda Time
66
nnnn
n
"
nnnn
n
"
#
— 128 —
& Ó
67
D
Œ ‰. œ R
Train, straight ahead
>œ
68
ALL MARINES:
>œ > bœ œ
The whole damn town
70
&
>œ
>œ
> bœ
whole
damn
world
‰
Mak-in' it
74
&
œ
#œ
don't
know
bœ œ & F.
row
œœœ
œœ œ
œœ œ
one
shot
œ
œ
nœ
where
the
night
œ œ œ
œ œ
U.
A.
ALL MARINES:
œ ! œ œ K.
and the
œ œ œ ‰
S.
œ
Noth - in' stand - in'
71
œ
So
œœ .. œ.
œ œ œ œ
we go
j #œ nœ #œ œ we
œ
76
œ œ
œ œ Œ
go
œ
6 4
Œ
GIBBS/STEV/ BERN/FECT:
‰ œ œ
got
!
The
to-day
4œ 4 œ œœ œœ
might
#2—Some Kinda Time
our way
73
œ
Œ
in
for broke
œ
œ
œ ‰ . œR
œ bœ œ œ œ œ œ
69
to bor - row
-
œœ œœ œœ
œ
œ œ œ ‰
to - mor
tak - in' that
œ
75
J.
count,
œ
ours
œ
might change
b œœ 6 & 4 œœ œœ œœ œJ
œ
is
œ
œ
72
O G F I G H T
You just
œ
œ
Here's
to
BIRD/BOL:
œ
œ
Some kind - a
# œœœœ time
##
D
77
&
# # œœ
œ œ # œ # œœ
Œ
78
˙˙
Œ ! œ œ nœ
Take what we own
# & # œœ
Œ # œ œ œ œœ
&
## œ
Œ
Œ ! œ œ nœ
˙˙
81
Some kind - a time
# & # œ
Œ
œ œ
œ
œ œ
œ
œ
Œ
œ œ
œ
Œ
Some kind - a time
all
œ
œœ
our strings,
all
our boys - 've grown
œ œ œ œ œ œ œ
œ
82
œ œ œ #œ Cut
œ œ œ œ œ œ œ
œ
bam, thank you m'am,
œ œ œ Cut
œ
bam, thank you m'am,
With a wham,
œ œ œ
œ
79
With a wham,
Take what we own
80
— 129 —
O G F I G H T
our boys - 've grown
> > > ‰ Jœ œ n œœ œœ œ œ œ we are kings
for an eve -
we are kings
for an eve -
> > > ‰ Jœ œ n œ œ œ œ # œ
our strings,
THREE MARINES: 83
& &
# # œ œœ ˙˙ ##
Œ
84
ning
œ # œœ ˙˙
Œ
ning
# # œœœ ... &
86
&
##
j # œœœ œœœ J
nœ œ œ
œ
œ
Whad-da - ya
say
to
nœ œ œ
œ
œ
Whad-da - ya
say
to
Œ
87
œ
œ
œ
85
some kind - a
œ
œ
œ
œœœ
Œ
œœœ # # œœœ œœœ
œœœ
œ
œ
time?
œ œ œ
Ó
THREE BEES:
some kind - a
ß >œ > > > n œ œ œ œ œ #œ nœ œ œ
No-one - 'll mind a,
88
ww
89
"
Gon-na be hav - in' some kind - a time!
> œ œ œ œ n œ œ œ n œ œ >œ >œ > ß œ œ œ œ œ œ #œ œ got-ta go find a, leav-in' be - hind a,
Gon-na be hav - in' some kind - a time!
#2—Some Kinda Time
w
" Applause segue
— 130 —
D
O G F I G H T
SOME KINDA TIME - PLAYOFF TACET
#2a—Some Kinda Time - Playoff
2a
D
— 131 —
O G F I G H T
3
WE THREE BEES
# # # 4BIRD/BOL: œ œ œ œ œ œ œ œ & 4
1
We three bees have a migh - ty
# # # BERN: Œ & œ
œ
Bzz
# # # BERN: nœ & We
œ
three
bees
œœ
# œœ
like
blood
# # œ & # nœ
10
Thick
### 3 œ . & 4
12
Military
œ œ
#œ œ
nœ
&
# # # BIRD: œ œ
œ
We
bees
three
œ œ œ œ œ œ œ œ
3 BIRD/BOL:
sting
We three bees have a migh - ty
œ
6
œ
œ
œœ
œ œ
and we're do
13
œ œ nœ
#œ . nœ #œ
œ
for
a - ny - thing
9
œ œ
are for - e - ver
œ J
young
œ n n œœ
11
die
!
œœ œ
Œ
œœ œ
Œ
Œ
Bzz
œœ œ
œœ œ
Œ
œ
3 4
Œ
Bzz
œ
œ
œ
œ
œ
com - in' com - in' com - in' com - in'?
nœ " œR 34 THREE BEES: 16
So
U
Bzz
Bzz
14 4 œ #œ 4
œ
#œ
Œ
Bzz
œ œ
or
œœ œ
Bzz
THREE BEES:
Fi
Can't - cha hear that noise
œ
œ
nœ
œ
œ
œ
THREE
œ
G.P.
4
sting
7 BEES:
œ
li - vin' Sem - per
Can't - cha hear it boys?
15
!
And we come pre - pared
œ
8
U
G.P.
2
‰ œ œ œ BIRD:
5
Bzz
(Bernstein acquiesces, unenthusiastic at first)
(No response from Bernstein)
Military (q = 106) (a cappella)
watch
#3—We Three Bees
œ
œ
your
back
œ œ nœ
œ
or ya might
get
Segue as One
— 132 —
D
O G F I G H T
4
HEY, GOOD-LOOKIN'
Bluesy rock shuffle, swing e 's q
& b 44 œ
1
Œ
3 BEES:
Ó
2
= 170
!
!
2A
!
2B
(to 3)
stung
1 ENS. WOMAN:
& b œ.
3
Doo
j œ. Œ doot
3 ENS. WOMEN:
& b œœœ ...
7
Doo
11
&b œ
‰ œj ‰ œj ‰ œj bœ . . 4
doot
j œœœ Œ . doot
bœ
doot
dah doo
œ.
doot
j8 j j ‰ œœœ ‰ œœœ ‰ œœœ b œœœ . . doot
œ œ Œ
doot
œ
12
good - look - in'
You're
dah doo
j œœ Œ .
+ 1 ENS. WOMAN:
œœ ..
Doo
j6 j j ‰ œœ ‰ œœ ‰ œœ œ bœ . .
doot
œœœ .
œœœ
9
doot
doot
Œ
Ó
œœ .
doot
dah doo
doot
Ó
Œ
BERN:
10
doot
‰ œJ
Hey,
BERN: I just had to stop and say hello...
bœ so
œ
œ nœ
13
!
14
Ó
Œ
out - ta sight
‰ œ J
BOL:
Hey,
BOL: Don't do it for me, do it for your country!
&b œ
15
bœ
œ œ Œ
good - look - in'
œ &b
19
bœ
œ bœ Œ
good - look - in'
16
œ
œ
What - cha
œ œ œ œ
do - in'
bœ
bœ œ œ
How's
a - bout
20
17
!
18
Ó
Œ
to - night?
bœ nœ
‰ b Jœ
GIBBS:
Hey,
GIBBS: Donde esta la biblioteca? 21
a date?
#4—Hey, Good-Lookin’
!
22
Ó
Œ
‰ œ J
FECT/STEV:
Hey,
D
STEV: Hey! FECT: Where you runnin' off to?
& b œ bœ
œ œ Œ
23
24
Pick
Half-time feel
bb &b b
œ
œ œ Œ
œ
28
good - look - in'
b & b bb
31
œ
œ œ Œ
œ
good -look-in'
up a-round
eight
œ
œ œ œ
œ œ
a
to do?
œ
œ
&b œ
Œ
Ó
3 ENS. WOMEN:
j œ. Œ
guy
œ
Searched the whole
Bluesy Rock Shuffle
35
œ Œ Ó
you
What's
32
25
œ œ œ
œ
œ
good - look - in'
27
— 133 —
O G F I G H T
world
!
36
33
Doo
doot
doot
doot
dah doo
doot
˙.
& b ..
&b
!
!
42
3 ENS. WOMEN:
& b œœœ ...
Doo
j œœœ Œ . doot
!
doot
doot
..
!
44
œœœ .
dah doo doot
œœœ .. .
Doo
œ J
‰ Jœ Jœ œ
œ
œ
œ
say,
say,
œ œ œ
b
j œœœ Œ . doot
#4—Hey, Good-Lookin’
!
doot
œœ œ.
dah doo
doot
!
41
j j j ‰ œœœ ‰ œœœ ‰ œœœ b œœœ . . doot
34
Hey,
j j j ‰ œœœ ‰ œœœ ‰ œœœ œœ bœ . .
doot
40
43
Hey,
38
j œœ Œ œ.
Doo
œ bb J bb
I've been look-in' for
Vamp (On cue, jump after any beat 2 or 4 to m.41)
39
Œ
! œœ .. œ.
œ.
30
through
37
‰ œj ‰ œj ‰ œj bœ . .
Hey,
Say,
you!
& b œ.
ALL MARINES (EXCEPT BIRD):
‰ b œJ Jœ œ
Œ
w
29
œ J
œ œ J
26
45
Ó
Œ
# ‰ Jœ STEV:
Hey,
. ‰ œj ‰ œj ‰ œj œ œ ‰ Jœ . . doot
doot
dah doo doot
doo
— 134 —
46
&
# œ
D
bœ
œ œ Œ
good - look - in'
# & œ
bœ
œ œ Œ
51
good - look - in'
& &
bœ
I'm
brand
œ nœ
œ
new
!
48
49
# œ
bœ
œ
Don't
œ bœ Œ
œ
œ go
Hey,
55
œ
œ
œ
!
52
turn - in'
me down
nœ
bœ
œ
bœ nœ
We
could
have
some fun
good - look - in'
#
& &
#
!
Ó
# nœ Took
60
& &
‰ Jœ
Œ
in town
Ó
Œ bœ
œ
my
breath
#
‰
œ J
BOL/FECT: 58
Hey,
œ
bœ
! œ
bœ
# œ
You
œ œ Œ
œ bœ Œ
good - look - in'
59 FECT:
œ
You
Nœ
œ
œ
could
be
!
the
œ
one
!
a - way
! BOL:
‰ n Jœ
Œ
56
‰ n Jœ
good - look - in'
bœ nœ
Ó
BERN:
Hey,
GIBBS/STEV:
Œ
53
Hey,
57
Ó
BOL:
FECT (growing desperate): And now the cancer's spreading to my liver...
50
54
BERN (bragging): So there I am at lunch with Perry Como...
œ
47
O G F I G H T
61
bœ
j œ
œ
j œ
could
make
my
day
Œ
nœ J
GIBBS/STEV/BERN:
‰
Ó
#4—Hey, Good-Lookin’
Hey,
Œ
‰ nœ J
BOL/FECT:
‰
Hey,
‰
œ J
bb
œ J
bb
Hey,
Hey,
D
62
&
Half-time feel
œ nœ bb
œ œ Œ
63
good - look-in'
b œ nœ b &
œ œ
what's
œ
Œ
good - look-in'
66
&
œ bb œ
&b
b œœ
&
a
to
do?
œ
œ
a
œ
œ œ
guy
guy
œ
Rock out
bœ
œ œ Œ
# œ
Rock out again
bœ
œ bœ Œ
good - look-in'
œ
through
œ œ J
œ J
68
U !
G.P.
76
bœ
œ
œ nœ
Got
me
on
my knees
œ
bœ
Got
me
œ œ œ
œ œ
a guy
to do?
˙.
Œ
69
˙.
say,
œ œ ‰ Jœ ‰ Jœ
Ó
Say,
œ
œ
nœ
Œ
say,
bbb
œ œ œ
(to 74)
œ Aœ œ œ
I've been look-in' for
!
77
78
!
81
œ œ œ œ beg - gin'
œ ‰ Jœ
‰ Jœœ Œ
Œ
I've been look-in' for
through
œ
80
84
65
Say,
œ œ J
world
..
75
w
œ J
world
œ
Vamp (out on cue)
64
to What's
Searched the whole
good - look - in'
83
œ
œ œ œ
œ
good-look-in'
# œ & 44 79
œ
Searched the whole
œ œ Œ
b & b b .. 74
67
good-look-in'
œ
œ œ œ
what's
œ œ Œ
œ
œ
— 135 —
O G F I G H T
ALL MARINES (EXCEPT BIRD):
24 Œ
82
‰ Jœ
Hey,
#4 4
ALL MARINES (EXCEPT BIRD):
Ó
Œ
‰ n œJ
Hey,
85
ya please
#4—Hey, Good-Lookin’
!
86
Ó
Œ
‰ œJ
BOL:
Hey,
— 136 —
D
# œ bœ & 87
œ œŒ
88
Ó
O G F I G H T
‰ n Jœ
Œ
good - look-in'
& & & &
#
Ó
œ œ Œ
Œ
STEV: ‰ Jœ œ
!
# œ.
Doo
‰ n Jœ œ
Œ
Hey,
œ œŒ
Ó
‰ Jœ œ
Ó
j œ. Œ doot
doot
Hey,
good - look-in'
dah doo
Ó
nœ ‰ J
Ó
nœ ‰ J
œ
œ bœ Œ
œ.
œ.
GIBBS:
œ
Ó
good - look-in'
œ œŒ
doot
‰ Jœ
Œ
œ bœ Œ œ
Hey,
bœ
‰ œj ‰ œj ‰ œj n œ . . doot
œ
Œ
FECT:
Œ
90
Hey,
good - look - in'
Hey,
#
œ bœ Œ
good - look-in'
Ó
bœ
Œ
! 3 ENS. WOMEN:
œ
good - look -in'
Hey,
#
œ
Hey,
# Œ ‰ BERN: œ œ bœ & J Hey,
89
œ
œ bœ Œ
good - look-in'
‰ n œJ œ
Œ
Hey,
œ good -
!
good - look-in'
Doo
j œ. Œ doot
#4—Hey, Good-Lookin’
‰ œj ‰ œj ‰ œj n œ . . doot
doot
dah doo
œ.
doot
91
&
# œ
bœ
œ œŒ
92
Ó
D
O G F I G H T
Œ
‰ n Jœ
good - look-in'
&
# Œ
&
#
Ó
œ œ Œ
Œ
# œ bœ Œ
‰ œJ
œ
Ó
#
Ó
‰ Jœ œ b œ Hey,
Ó
#
œ. Doo
j œ. Œ doot
Œ
doot
Œ
œ
œ bœ Œ
œ
dah doo
œ.
doot
Ó
good - look-in'
Œ
œ œŒ
nœ ‰ J
‰ bœ J I
nœ ‰ J
œ
Ó
œ
œ bœ Œ
good - look-in'
‰ n Jœ œ
Œ
good - look-in'
‰ œj ‰ œj ‰ œj n œ . . doot
Ó
Hey,
Hey,
&
‰ n Jœ œ
Œ
œ œŒ
94
good - look-in'
good - look - in'
Œ
!
œ bœ Œ
Hey,
bœ
look-in'
&
Ó
œ
good - look-in'
Hey,
&
œ
Hey,
‰ Jœ œ b œ Hey,
93
— 137 —
Hey,
œ
œ bœ Œ
œ good -
!
good - look-in'
œ. Doo
j œ. Œ doot
#4—Hey, Good-Lookin’
‰ œj ‰ œj ‰ œj n œ . . doot
doot
dah doo
œ.
doot
— 138 —
95
&
D
# œ think
&
# Œ
œ
œ bœ œ œ
I
saw you at church
nœ
Your
&
#
œ
œ
dad
at
œ nœ œ œ ‰ J
96
last
Œ
# œ bœ Œ
Œ
‰
&
j œ A
# nw Ba
# œœ .. œ. Doo
ten - ded
nœ
œ œ
my
bar mitz
œ nœ œ œ ‰ J
Œ
œ
œ
sec - ond
œœ. Œ œ J
-
. ‰ œœœ J
doot
œ
œ
œ nœ
I'd
be
the luck -
œ bœ ˙ -
Œ
vah
œ nœ œ œ ‰ J
œ ‰ J
You and me
nœ œ Œ
Œ
cou - sin
w
doot
Œ
Me and you
look - in'
&
97
Sun - day
œ
bœ -
j j nœ œ œ .
œ J œ
You and me
&
O G F I G H T
ba -
‰ œj b œ œ œ the Ken - ne - dys
w
by
. ‰ œœœ ‰ œœœ n œœœ J J doot
dah doo
œœ. œ
won't
doot
Doo
#4—Hey, Good-Lookin’
œœ ... œ
œœ. Œ œ J
doot
. ‰ œœœ J
doot
D
# œ œ œ bœ Ó &
98
99
Œ
i - est guy
& &
# Ó
I'm pre - ty sure
œ
# œ
fact
you
. ‰ œœœ ‰ œœœ n œœœ J J doot
Œ
Œ
œ nœ œ œ ‰ J
dah doo
œœ. œ
œœ ... œ
doot
Doo
You and me
œœ. Œ œ J
doot
œ Ó J
thing
œ œ œ
Hold on!
Hold on!
#4—Hey, Good-Lookin’
Œ
j œ œ
j œ œ
Œ
shy
shy
œ nœ œ œ ‰ J
. ‰ œœœ J
doot
Wait
bœ œ J
Don't be
Œ
‰ bœ J
j nœ œ
Don't be
Ba - by where ya run - nin' to?
& nw #
lit - tle
œ œ œ œ œ bœ œ
#
&
xy
Ba - by where ya run - nin' to?
# ‰ bœ Ó J nœ œ That's a
œ œ œ
-
100
nœ œ œ œ œ œ bœ
Ó
by
&
Œ
fo
bœ œ J
œ
œ
nœ
You
bœ œ œ œ
— 139 —
O G F I G H T
Me and you
. ‰ œœœ ‰ œœœ n œœœ J J doot
dah doo
Œ œœ. œ doot
— 140 —
D
# & ‰
j œ
101
& & &
&
œ I
could
get
œ
nœ
œ
Œ
just
œ
œ
œ
œ
where
ya
œ
œ
where
ya
# œ œ
# œ
œ
Ba - by
&
œ
may - be
Ba - by
#
œ J
‰
You
# œœ .. œ.
a
nœ
œ
and
me
Let
# & w
102
your
run - nin'
œ
bœ
run - nin'
œ
œ
num
œ (STEV/ FECT:)
bœ to?
ber
bœ
œ won't
-
ney
n œœ
œœ
œœ
œœ
œœ b œœ
Ba - by
all
I'm
ask - in'
you
œœ
you
œœ
is
!
to?
œ J
œ
œ
ba
‰
nœ
Ho
œ ‰
Œ
-
˙.
-
œœ. œ J
œœ. œ J
‰
doot
Ó
by
‰
doot
œœ œœ œ nœ J
dah
doo
œœ. œ doot
BOL/
œ
me
3 ENS. WOMEN:
Doo
œ
doot
103 BERN:
& œ
bœ
min - ute
œœ. œ J
Doo
#
œ
œ
Well,
# nœ
nœ
O G F I G H T
œ
take
œ
you
104
nœ
out
˙.
œ œ œ
Œ
to - night
105 BERN:
b b œœ
Let
Œ
œœ
me
n œœ
take
bw Doo
#4—Hey, Good-Lookin’
œœ
you
b b œœ
106
out
˙.
œœ n œœ œœ
Œ
to - night
Œ
D
# #GIBBS: & œ œ
107
Let
&
#
œœ
Let
&
me
BOL/ BERN/FECT:
#
œœ
me
œ
œ
take
you
œœ
take
you
>œœ
>œœ
>œœ
to - night
Let
me
take
you
out!
œœ œœ œœ œœ
Œ
# >œœ
>œ œ
>œ œ
>œ œ
>œ œ
Let
me
take
you
out!
˙.
Œ
œ œ œ
out
out
nw
(3 ENS. WOMEN)
>œœ
THREE MARINES:
# >œœ
œ
108
œœ
— 141 —
O G F I G H T
Œ
STEV/ GIBBS: 109
to - night
œ œ œ ‰ Jœ Jœ œ
110
Hey,
Hey,
n œœ J
n
œ J
n
Hey,
‰ œj œj œ
TWO MARINES:
Hey,
!
Hey,
Hey,
!
Doo
111
&
Stay in Double-time, Full rock out
œœ
& œ
œœ œœ Œ
n œœ
112
good - look - in'
œ
œ
What's
œ œ Œ
œ œ œ
œ œ œ
a
to
guy
Ó
Œ
good - look - in'
œ & œ
œ œ œ ‰ œJ œJ œ
œ & œ
‰ œœ œœ œœ J J
114
do?
113
œw
Say,
say,
say,
Say,
say,
say,
œ J
115
œœ œ
œœ
œœ œœ
Œ
Hey,
‰ œœ J
œœ
œ
œ
œ whole
What's
œœ J
j j œ œ œ
‰
116
œœ
œœ
a
guy
good - look - in'
Searched
the
œ
œ
good - look - in'
Searched
the
whole
œ
œ œ Œ
œ
#4—Hey, Good-Lookin’
œ J œ J
Hey,
œœ
j œ œœ to
œ
Hey!
œœ
do?
œ J
world
through
world
through
œ
œ J
— 142 —
117
& &
D
˙
Ó
˙
&
###
&
###
121
œ
119
Searched the
whole
world
Searched the
whole
world
œ
FOUR MARINES:
Œ
œ > you!
œ œ œ œ. J
118
Ó
œ œ œ œ. J
‰ œœ œœ J
Ó
122
I been
œ nœ œ œ ‰ J
œ ‰ J
œ
# # # 3 ENS. œœ .. WOMEN:œœ. Œ œ. œ & J
. ‰ œœœ J
. ‰ œœœ ‰ J
TWO MARINES:
You and me
Doo
124
& & &
### ### ###
doot
œ œ ‰ œJ œ œ œ ‰ J
I been
. ‰ œœœ ‰ J doot
ba
doot
œœ œœ œœ œœ
I been
look-in' for you
œ œ œ œ
œ
-
by
doot
dah doo
doot
Doo
>œ
through
œœ œœ œœ œœ
### ###
been
>œ
look - in' for
and
I've
been
look - in' for
>œ >œ >œ
# ww
123
Ó
n œœ œœ œœ œœ œœ œ n œ œœ Ba - by where ya
œœ œœ œ nœ J
dah doo
œœ. œ
œœ .. œ.
doot
Doo
œœ Œ n œ œ œ œ nœ œ œ œ
126
œ
doot
>œ >œ >œ
I've
look - in' for you
œœœ. Œ ‰ œœœ. J J
n >œ
and
‰ Jœ
˙.
w œœœ .. .
+BIRD:
through
ww
œœœ.
j ‰ œ 120 >œ ‰ J
# ˙˙ ..
125
look-in' for you
œœœ œœ J nœ
O G F I G H T
œœ. Œ œ J
nœ œ œ œ
Look-in' for you
!
doot
#4—Hey, Good-Lookin’
. ‰ œœœ J
doot
Ó
127
Look-in' for you
Œ
run - nin' to?
¿ Œ
doot
128
!
Shit!
Ó
¿ Œ
!
Shit!
!
! Applause Segue
D
O G F I G H T
HEY, GOOD-LOOKIN'—PLAYOFF TACET
#4a—Hey, Good-Lookin’ - Playoff
— 143 —
4a
— 144 —
D
O G F I G H T
4b
GIVE WAY (At The Diner)
b U & b b 44 Ó
Œ
1
2
‰. r œ œ œ œ œ œ œ œ œ ROSE:
A
b 4 &b b 4 œ
4
œ
still
˙
flo-wer
‰
j œ Give
bows
5
œ
œ ‰ œj 34 œ œ œ œ œ œ œ œ . 3
to au - tumn chill,
œ
way
˙
Oc
-
! œj . Give
#4b—Give Way (At The Diner)
6
to - ber ri - ver
fro - zen
œ œ
Ó
way
œ œ
44
D
— 145 —
O G F I G H T
5
COME TO A PARTY
# & # 44 ..
Conversational
1
!
q = 96
Vamp (vocal last x)
.. .. Œ .
!
2
* (thinking on his feet, struggling to overcome her resistance, shifting tactics throughout)
3
‰.
j ¿
* BIRD:
r œ œ
Well,
4
&
##
œ œ œ Œ ‰. birth-day now
7
&
##
# œ & # œ
19
Ó
## œ œ ˙ .
See, I'm an
not on
fluff
w
16
rare?
2 ‰. r œ. 4 œ œ 12
We did-n't
Glassy
& b 44 œ œ n œ œ œ œ œ Œ a par - ty with me?
o-pen book, have a
then we
4 4 œ 13
have
œ œ
œ
Why not come
20
con - nec - tion
œ œ œ
to this
œ
œ
par - ty?
#5—Come To A Party
eye
look This ain't no
to eye
Now
is - n't that
18 2‰ " 4 œ nœ œ œ
So why
œ "
on all that
U j ‰ œ œ œ œ
to try
poco rit.
of...
saw
œ œ œ
17 Œ œ n œ œ œ ‰ . r œ . œj ˙ œ
That kind
my
œ. 9 œ œ œ . 10 œ œ œœ ‰ œ œœ œ œ œ œ œ
I heard your pret-ty voice
poco più mosso 15
to
mid-dle name
..
U " œ œ‰ œ œ œ œ" r œ œ
6
‰ œ œœ
œ ‰ œ nœ œ nœ ‰ Œ
mu-sic stuff,
&
8
you my
pick-up game
11
14
Showed
œ œ œŒ Ó
you know
œ œ œ œ œŒ ‰ j œ œ œ r œ œ œ œ œ 5
œ
œ
4 œ b4
not come
œ œ œ bœ bbbb
A five - piece band,
— 146 —
D
bb & b b œ " bœ œ
j œ bœ œ œ
b ˙. & b bb
‰.
21
I'll take your hand,
24
œ R
"Yes"
A tempo primo Vamp (vocal last x)
Œ
25
œ
Born
in
œ
&
####
Ate
#### œ œ œ ‰ œ œ œ œ. Œ &
34
37
&
#### œ œ ˙ .
gol den
poco più mosso
eyes,
Buf
just say "Yes"
-
38
boy
w
œ
r œ œ
‰.
œ œ Œ
fa - lo
to hum - ble
31 # j œ . œ œ œ ‰ . r œ ## # œ œ‰ œ œ œ‰ ‰ j œ œ œ œ
œ
j œ œ
‰
type
pride 'n joy,
.. œ
bbb
‰ œj œ œ
Ó
26
My old man raised me right, real po-lite,
nœ nœ #œ Œ
Clea-ver
30
28
œ
you a drink, don't stop to think, say
a par - ty with me,
BIRD:
b & b b œ œ œ Œ ‰ . œr œ œ
32
Buy
œ œ œ œ œ œ œ ˙ to
29
Chris-tian folks
23 j 22 . œ œœ œ œ " œœ œ œ œ ‰ œ œ. œ œ œ œ œ R
Rose and twirl you a-round
Come
b & b b .. Ó
27
O G F I G H T
œ
33
ev - 'ry
2 ‰. 4 35
no
œ œ
œ Œ
brus-sels
r œ œ
œ
Œ
j œ
‰
A Wal - ly
œ
sprout
My
4œ œ 4
poco rit.
36
Your av - 'rage
39
tel-lin' dir-ty jokes
#5—Come To A Party
‰ œ J
Ea - gle Scout
œ nœ œ J œ
they ain't
œ Œ
œ
ma - ma's
œ œ œ
Now look in these
j œ
gon - na
40
œ.
hurt
j œ ˙ you
D
41
&
####
Ó
œ nœ œ œ
So why
#
& œ œ
43
b & b œ.
45
do
œ
œ œ
just
œ
‰.
what-cha feel
b &b w
to
44
to
œ œ œ œ œ " œ œ œ J R
Hey, just
for
a night,
œ œ œ R
no
50
cut it
loose,
œ œ
œ
47
˙
it's
œ J
Rose,
and
poco rit.
Œ
go
œ œ Let's go
accel. 51
˙
œ
C' - mon,
hol - din' tight, let
œ œ œ œ œ
to
œ œ
r œ œ bœ œ nœ nœ J
bb œ . J
ex - cuse
‰
a par ty with me?
46
Come
Ó
!
e=q
a par - ty with me
Più mosso - with anticipation
b & b 34 Œ 52
j œ œ œ œ œ œ
œ œ
œ bœ
A great
" ¿
49
œ
r œ œ
‰.
œ œ
48
#
not come
a par - ty
œ œ
a bit more driving
42
‰
— 147 —
O G F I G H T
ROSE:
53
œ œ œ
If
I
b & b œj ‰ œ
Œ
go,
well,
56
own
b &b Œ
œ
57
œ
œ
Œ
She would die,
61
œ
œ
œ
she would know
œ
ya
œ
know,
58
œ œ œ
I could lie
62
œ
Look,
54
‰ œj œ
I'm not
œ
œ
Ma
would
œ bœ bœ I
63
œ
œ
œ
rea - dy
be
59
could - n't
œ
lie
‰ œj œ 64
55
œ
here
œ
œ
œ
on
60
Œ
her
œ œ œ
to
my
œ
‰ Jœ œ n œ
We're clos - ing,
#5—Come To A Party
œ
If I go,
65
and
œ
Ed - die, I've
3 4
— 148 —
D
b j &b œ œ
j œ œ
66
still
got
-
œ
back,
‰ œj œ
Œ
ta work,
Build (to m.78)
b &b œ
70
67
œ
b j & b œ bœ
don't real
œ
71
j œ œ
b &b
-
ly
Œ
75
Œ
drink
œ
œ
Look,
I
bœ
See
!
œ
bœ
to this par ty with me
Look,
‰ œj
œ J
œ œ
you can't
miss
81
nœ Rose,
Œ
ta
I'll
77
don't
73
œ
nœ
Œ
Œ
œ œ
œ œ
race
ya right
#5—Come To A Party
q=e
#4 4
can
‰ œj # 44
BIRD:
Come
and
œ
I
œ
œ
œ
bb
œ bœ
bb
go
œ
You'll meet my friends,
œ œ œ
needs
œ
œ
œ
I
"
this par - ty
œ.
Œ
think
can't just get up
œ œ
œ œ
plus
œ œ œ.
œ œ
Œ
mop,
bœ
œ
Œ
Give it
j œ œ
Ma - ma
œ J
69
jerk
!
œ
Ó
a
-
real - ly
79
# r & 44 œ n œ œ œ œ œ œ ‰ . œ œ œ
and when it ends,
j œ œ
got
I
b & b œJ " œr œ œ b œ
be
!
come
b &b ˙
œ
still
76
I
Driving
80
œ œ œ
don't
72
œ
#4 & 4 w 78
68
C - 'mon
Ed - die, stop!
74
O G F I G H T
home
me
œ
œ œ
a-round
‰
œ œ Or why
D
Build (to m.85)
b &b Œ
82
‰
œ œ œ œ.
I'd like
b œ &b œ
œ œ
cap
&b
84
but I...
œ œ œ œ
b
œ œ J
grab
dles
and wine,
a bite,
ta
!
&b
87
œ
œ
&b œ œ
poco rit. BIRD: freely
œ
" ¿j
rous - in' par - ty
& b œ.
91
gosh
œ œ œ
you
œ œ
seem swell
,
Well,
‰.
just
me
œ œ " œ J R
and you,
can -
U !
b
U !
b
G.P.
in - ter-twine...
Œ
œ
œ œ
for two,
"
88
œ œ
r œ œ
I'm glad
on
œ œ
rit.
r œ œ œ œ œ it's
U Œ œ œ œ œ œ
one hell - u - va time,
90
a shame
œ œ should be
Slow, but in tempo
‰.
we met,
92
Still,
colla voce
œ œ
You'll missout
89
ble
"
hands
Ó
-
œ œ " œ œ œ J R
85
" œ œ œ R
Slower than at first
œ œ
" œ R
! œ œ J
!
83
œ.
œ
to,
the night? We'll go
b œ &b œ
86
— 149 —
O G F I G H T
rœ œ
j œ œ œ œ
I got - ta get,
Rose,
j , r 93 U̇. œ œ œ œ œ œ " œ I thought, if
#5—Come To A Party
you came,
who knows,
œ one
j œ
but
Œ
— 150 —
&b œ
94
D
œ
&
##
&
##
96
œ
œ
May - be
œ
we
O G F I G H T
U Ó
‰
U !
G.P.
95
##
could - a
2
Tempo I
98
96-97
3
2
99-101
101A-101B
U Ó
Ó
" Ó
101C
Œ
#
(to 102)
œ œ œ
BIRD:
Not too bad
#
102
Colla voce
& œ
œ œ œ œ œ œ Œ for a pick in
œ
of
b &b œ œ œ
106
pinch
In time, but relaxed
b &b œ 104
a
œ œ
œ Œ
cut it
close
œ
œ
She can
work
for this
œ
œ
down
to
œ That
œ œ œ œ
be al - right I'm set
œ œ
for
œ œ to-night
œ
105
was
rall.
107
Ó
œ œ œ
Œ
œ
œ
103
‰.
par - ty
A lit - tle
œ œ œ
the
r œ œ bœ bb œ
‰
wire
dose
œ
œ
But she'll
‰ . Rœ œ œ œ œ œ œ œ ˙
(A big sigh, relief washes over him)
108
Off
to
a par - ty with you
Segue as one
#5—Come To A Party
D
— 151 —
O G F I G H T
NOTHING SHORT OF WONDERFUL
6
[DIRECT SEGUE FROM #5]
Light h
(BIRD) b &b C w
1
= 94
2
4
2-3
j ‰ ¿ ¿ ¿ ROSE:
Ó
(you)
5
&
####
&
####
!
#
6
Ó
‰ ¿j ¿ ¿
‰ œj # ‰ œj œ œ œ œ oh my gosh,
!
7
10
ho - ly cow,
8
‰ ¿j ¿ ¿
Ó
# ## j ‰ œj œ œ & # # ‰ œ œ œ oh my gosh!
&
####
# œj œ
Are you mour
j œ œ œ œ
you for but-ter-nut
œ
# # ‰ œj & # # # ‰ œj œ œ œ œ
be a girl,
21
8B
Ó
11
And your hair,
- ning a death?
17
‰ œj ‰ œj œ œ œ œ what a mess,
14
Take a breath!
‰ ¿j ¿ ¿
Ó
What a look,
!
18
‰ œj œ œ
some-thin' pink,
œ
pick a dress
‰ œj œ œ ‰ j œ œ œ
19
Ó
Oh my gosh!
‰ œj œ
‰ œj œ œ
Oh my gosh,
œ œ œ œ ‰ œj œ œ
13
squash
20
keep it bright,
‰ œj ‰ œj œ œ œ œ
Œ Ó
16
!
8A
Oh my gosh!
what to wear?
12
15
#
Oh my gosh!
Oh my gosh!
9
####
I mis-took
‰ œj œ œ
Keep it soft,
22
don't - cha think?
#6—Nothing Short Of Wonderful
‰ œj ‰ œj œ œ œ œ Just a touch,
not too much,
— 152 —
23
&
####
D
j # ‰ ¿j ¿ ¿ ‰ œ œ œ > > he likes you,
26
&
####
# œ
go
œ
œ
with
# ## & # # Ó
the
Œ
29
24
œ œ œ
just be you
œ
pink
or
the
‰ j j œ œ œ
who
ful?
No - thing
should I
‰ œj œ œ
Ó
28
31
is
j œ œ
j œ œ
Broader
no-thing
nœ
short
rit.
2 nœ 4 35
of
won
32
of
40
37-39
36
der
-
Ó
# # & # ## ‰
j œ œ
just
# # & # ## ‰
43
j œ
a
œ
œ
guy,
œ
what you've heard,
> œ
j œ œ
‰
but
‰
it's
j œ
like
42
j œ
‰
ful
‰
him
œ a
œ
and
œ
bird,
44
‰
> œ
j œ œ
ROSE:
it's
j œ
how
j œ
‰
you
œ
you
#6—Nothing Short Of Wonderful
and
œ
lift
‰
-
U nw
C
Just
41
3 4
won - der
œ -
do
œ
2 œ 4
œ
short
3
# # # # A tempo primo & # 37
œ œ
I don't know,
What to
j œ œ
C œj œ 34
œ Œ
blue?
j j œ œ œ.
for some-one
# ## & # # 34 ˙ .
!
œ
œ
‰ œj œ
25
what - chu wear!
27
30
33
œ œ œ œ œ
He won't care
œ
œ
O G F I G H T
j œ and
a
œ
it's
œ
œ
girl,
œ
true,
œ
your chest
D
45
&
####
# œ œ œ œ œ œ feels a pull
49
&
####
œ
œ
46
like you're full
#
œ œ œ œ ‰ j œ œ œ of
!
— 153 —
O G F I G H T
50
a joy
cause a boy
Œ
œ
Like
51
&
####
j # œ
j œ
Broader
œ
no - thing
54
&
####
# C œj
œ
no - thing
57
&
####
#
œ
short
52
of
j œ
œ
short
won
nœ
in - ter - rup - ted your shift
œ
some
-
der
2 nœ 4 -
-
thing
3 4˙
-
Œ
U nw
C
56
der
-
ful
Vamp (vocal last x)
.. Œ
69
57-68
ROSE: (last x)
œ
œ
He - could
71
&
####
Broader
j # œ
j œ
œ
no - thing
# # & # ## œ
74
It
could
œ
short
molto rit.
œ
œ
œ
be
of
C œj œ 75
no - thing
C
ful
œ
won
œ
53
12
A tempo primo
œ œ œ œ œ œ œ œ
-
55
of
(to 49)
œ
2 œ 4
œ
47
œ
2 œ 4
72
won
j œ œ
short
-
der
3 4˙
be
ful
nœ
76 U 2 nœ 4
of
won
#6—Nothing Short Of Wonderful
œ
Œ
73
-
..
(to 71)
U œ -
der
# -
C
— 154 —
77
#
D
Slower - espressivo h
& Cw
= 90
78
2
w
ful
# ROSE: & œj œ
j œ œ
81
What if,
when
# j & œ œ
What if,
79-80
œ œ
82
œ œ
86
œ
œ
we're dan
j œ œ
85
89
O G F I G H T
when
-
we're dan
#
& w
90
œ
œ
œ œ
Œ
cing
-
I'm clum
œ œ
Œ
œ
œ
cing,
œ
œ
œ
j œ
œ
no - thing
# j & Cœ œ
96
No - thing
####
100
&
short
j œ œ short
A tempo primo
#
!
won
molto rit.
24 b œ
101
œ
97
of
won
!
Œ
œ œ. J
œ
Œ
œ œ
88
-
der
102
C
98
j œ œ.
rit.
œ œ
and
œ
œ
and
it
Œ
34 ˙
we glide
œ feels
C
Œ
95
-
Œ
œ œ
œ
meet
92
œ der
œ
œ
col-lide?
our lips
U w
-
84
our feet
me,
91
œ œ
sy,
94
of
bœ
-
24 œ
bœ
œ
œ œ. J
the room
Slower, Dreamy like a music box
# j & œ
87
he dips
a - cross
93
83
ful?
U bw
####
U !
99
ful
!
103
Ó
‰
j œ œ
ROSE:
Hur - ry
#6—Nothing Short Of Wonderful
œ
up,
#
D
####
104
&
More drive
# ‰ œj œ
‰ œj œ œ œ
he won't wait,
he can't wait
# # ‰ œj œ œ & # # # ‰ œj œ œ
110
&
####
####
# œ
œ
and
œ
œ
noth - ing
short
j # ## & # #C œ œ
j œ œ
116
noth-ing
####
120
&
œ
de - cide
œ
&
j # œ
œ œ œ
you might bust
œ
on
the
Frantic
‰ j # ‰ œj œ œ œ œ œ on
a date,
112
œ
won
-
C œ.
œ
2 œ 4 117
118
won - der
Œ
œ
-
der
date!
-
œ ˙ J
œ
œ
you'll
be
C
ful,
‰ œj œ œ
˙
ful!
But you can't
Pick the shoes
Œ
poco accel. 119
‰ œj ‰ œj œ œ œ œ a
34 ˙
115
121
on
got - ta choose
And
24 œ
of
of
œ œ œ œ ‰ j œ œ œ
œ
dress
114
you're a loon,
109
!
œ
œ
œ
or ma-roon,
but you've just
111
œ
‰ œj ‰ œj œ œ œ œ
106
Ei - ther white
œ œ œ œ
108
œ
short
oh my gosh,
half the night
And you think
j œ
113
‰ œj ‰ œj œ œ œ œ
105
107
you're a mess!
— 155 —
O G F I G H T
Oh my gosh,
‰ œj œ
122
#6—Nothing Short Of Wonderful
j œ ‰ œ œ œ
make him wait,
no you can't
— 156 —
123
&
####
D
‰ œj œ # ‰ œj œ œ make him late!
126
&
####
####
128
&
# œ
#
œ œ
al - ly
accel. to end
œ
œ œ œ œ œ œ œ œ
124
And your room
nœ
œ
get
3
O G F I G H T
is in heaps
œ
œ
what
a
127
œ
gir
œ
-
Ó
131
128-130
and you can't
œ
dle
œ
is
&
####
Ó # ‰ œj œ œ oh my gosh,
134
U "Ó
see the floor,
‰
œ
for!
‰ œj œ œ
Oh my gosh,
133
œ œ œ œ ‰ j œ œ œ
125
‰ œj œ œ
Oh my gosh!
#6—Nothing Short Of Wonderful
j œ
Oh
but you fin -
œ
my
œ
gosh!
‰ œj ‰ œj œ œ œ œ
132
oh my gosh,
2 135-136
oh my gosh,
D
O G F I G H T
TRANSITION TO STREET TACET
#6a—Transition To Street
— 157 —
6a
— 158 —
D
O G F I G H T
7
COME TO A PARTY - REPRISE
Expectant q
& 44
1
= 96
!
Ó
2
‰.
Œ
r œ
ROSE:
Off
Safety (vocal last x)
3
& .. œ œ
to
b &b b 5
œ œ œ œ œ
r œ œ œ
a par ty with him
Look,
He'll take
your hand,
bb
off
j œ
don't
œ
stop to think, just
œ
a par - ty
A five - piece band,
twirl
you
r œ
‰.
MARCY:
œ œ œ œ
œ.
b œ œ œ bœ b b
MARCY:
œ
a-round
Buy
j‰ Œ Œ ‰ . œr œ œ œ œ œ œ œœ
˙˙
9
go!
Off
!
& b
r œ "
œ
œ œ
6
he'll
BOTH: 8
œ œ
to
and
b j r &b b œ œ œ œ " œ œ œ œ œ ROSE:
you a drink,
œ
4
BOTH:
" bœ œ
7
you're
..
œ b œ œj b œ
ROSE:
œ
‰.
!
to a par - ty with him
Ó
Œ
# # ‰ . # Rœ # # #
GIBBS/FECT/ STEV/BERN:
Off
10
&
####
More groove
‰.
# Œ
#œ œ #œ nœ œ œ œ œ ‰ R
BIRD:
Come
# # #œ œ & # ## œ nœ #œ œ œ Œ to
a par - ty with me,
11
to
a par - ty with me,
œ œ per-fect
œœœ œ œ œœ œ she just
œ œœ œ date
for this
can't wait
œ
œ
par - ty
#7—Come To A Party—Reprise
œ œ.
for this
œ J
##
par - ty
œ " œr
œ nœ ##
The room will stop,
D
# & # ˙
Ó
12
r œ nœ
# & # ‰.
and jaws
14
&
13
will drop
œ J
once
##
" Jœ .
Œ
œœ œœ œœ
œœ ..
they
lay
eyes
on
!
# œ & # œ
œœ from
œœ
œœ
œœ
"
the pound,
# & #
look - in'
œœ
œœ fin
œœ
œœ -
'lly found
!
17
at you
‰.
œœ œœ
her
œœ R
Picked
!
15
I
16
œ œ œ œ Œ
Here's
œœ œ
œ nœ œ J
— 159 —
O G F I G H T
œ
˙˙ ... ˙
my
girl
Ó
œ R
‰.
Off
Œ
(to 19)
" r 34 œ
‰
ROSE:
Off
&
##
&
## œ œ
‰.
Œ
to
œ œ œ R
Off
œ œ œ œ œ œ a par - ty with me,
to
œ œ œ œ œ
œ
‰.
a par - ty with me
‰.
œ R
here's
œ œ to
FECT/BERN: œ œ œ œ œ œ " œ 3 R 4
Cheers
œ œ œ œ œ œ a par - ty with me
#7—Come To A Party—Reprise
to
a par - ty
‰
Off
" œR 34
STEV/GIBBS:
Off
— 160 —
D
# 3 & #4œ œ
œ œ
# œ œ & # 34
œ œ
# 3 œ œ & #4
œ œ
19
to
to
to
# . & # ˙˙ .
a
a
a
par
par
par
œœ -
œœ
˙˙
21
˙˙ ..
œœ
˙˙ ..
˙˙ ..
œœ
˙˙ ..
˙˙ ..
ty!
œœ -
20
ty!
œœ -
œœ
O G F I G H T
ty!
44 ˙˙ ..
Œ
# ˙. & # ˙.
44 ˙˙ ..
Œ
# # ˙˙ ..
. 4 ˙. 4
Œ
22
&
23
#7—Come To A Party—Reprise
D
O G F I G H T
WALK TO THE PARTY TACET
#7a—Walk To The Party
— 161 —
7a
— 162 —
D
O G F I G H T
NOTHING SHORT OF WONDERFUL (REPRISE)
1
&
5
&
####
Reticent (h = 66)
!
C
####
!
2
U Ó
U Ó
U Ó
6
U Ó
!
3
!
7
8
U Ó
4
U Ó
U Ó
U ROSE: ‰ ¿ ¿ J Oh
Colla voce (h = 84)
### & 9
!
10
U Ó
‰
j ¿ ¿
Oh
13
&
###
œ œ œ œ
Ó
14
make this al - right
17
&
###
œ
œ
œ œ
Ó
Ó
# # & # Ó
15
‰ œj œ œ I have not
ROSE: You know…
Œ
22
23
œ œ œ œ œ œ ˙
go out
with a guy
Ó
my gosh
Œ
œ œ I
(she starts to let her guard down) 18
12
œ
-
###
¿
my gosh
can
(stops herself from making an embarrassing admission)
‰ j œ œ œ
Ó
'Cause to - night
night should be great
21
¿
‰ j œ œ œ
Ó
!
11
7b
16
Ó
Œ
is my first...
œ œ
Well, to -
19
œ œ œ œ œ œ œ œ œ œ œ œ Ó 20
real-ly got - ten to do
U Œ ‰ j œ œ œ
24
Slowly
!
on a date
#7b—Nothing Short Of Wonderful (Reprise)
this a lot
25
U !
##
D
26
&
##
Flowing, still conversational 27
aœ
œ œ œ
Who'd
30
&
##
have thought
œ
œ
just
# U & # Ó
œ
œ œ
so
35
Oh,
&
-
œ œ
Ed - die,
2 4
40
œ œ
ted
!
I'm
3 4
41
32
œ œ ˙
that I
so
Œ
28
‰ j œ œ 29
that I'd be...
j j œ œ œ
j œ œ
Slower, music box
!
-
‰ j œ œ Œ œ
Œ Œ
ning
˙
œ
ex - ci
Œ œ
34
##
this mor
h = 94
31
I'm
39
œ œ
— 163 —
O G F I G H T
j 36 œ œ. glad
!
œ œ
C
42
in - vi
j œ œ
œ
to be
here
!
œ
Ó
that you'd ap - pear
33
was
œ
2 4
-
ted
!
37
43
Œ œ œ
rit.
#7b—Nothing Short Of Wonderful (Reprise)
!
38
44
rit.
œ
and
œ
that...
U !
U !
— 164 —
D
O G F I G H T
7c
BEFORE THE PARTY
Lightly
# & # 44
3
&
6
&
3
q = 96
:1
!
A-C
U
##
!
U
!
4
5
G.P.
U
!
2
U Ó
‰.
Œ
r œ
ROSE:
Just
##
Rubato
œ œ
for
j r œ œ " œ œ œ a night,
no
œ œ
hol - din' tight,
7
œ
let
U
w
go
#7c—Before The Party
8
a tempo
!
9
U
!
Segue as one
D
— 165 —
O G F I G H T
8
BLAST OFF Early '60s rock (a la "I Saw Her Standing There")
& 44
A
q = 154
4
& œ
2
!
: 1-2
œ
bœ
œ œ
trash
that mashed
& œJ b œ
œ œ J
8
Six - ty
jnœ & #œ
12
roc-ket
16
& .. œ
Ó
3
Two,
5
po - ta
œ œ
-
œ bœ . J to
œ bœ J
9
give me some-thin'
œ œ œ N œJ J J
ride
has
Œ
Ó
13
just
Ba - by
bœ œ œ bœ J
‰ œ bœ œ J 6
Oh
the twist
œœœ
œ bœ œ œ œ be - gun
will not
‰ bœ œ J A
Œ
14
œ
dance that
œ
œ
Count - down,
œœ œ 7
be
bœ
10
new
œ bœ
Œ
LOUNGE SINGER:
Œ
œ bœ
Œ
missed
That was
b œ œ œ 11 œ
don't
Œ
Œ
ex - ist
œ
œ
Five
Four
15
‰ œj
Your
œ
œ
Three Two
œ
bœ
One
Blast
3 17-19
off!
&
4 20-23
..
24
Vamp
!
˙
LOUNGE SINGER:
..
25
Oooh!
#8—Blast Off
‰ bœ Start
œ J mov -
— 166 —
œ œ. & J
26
D
Œ
œ
œ
in'
27
like you're groov-in'
& ..
œ œ J
on
28
œ œ ‰ J
œ
the moon
œ 29 œ œ ˙ ‰ J ‰ J
Yeah
yeah
..
38-45
8
54
.. ..
46-53
yeah!
8
.. ..
8
& ..
œ œ
38
30-37
46
& ..
j œ
8
30
62
œ bœ J
O G F I G H T
..
54-61
4
Repeat (if needed)
..
62-65
2
&
..
68
66-67
Vamp
‰ bœ
LOUNGE SINGER:
.. Ó 69
Start
œ œ. & J 70
in'
Œ
œ
œ
71
œ bœ J
like you're groov - in'
j œ
œ œ J
on
œ œ the moon
#8—Blast Off
72
w
73
Œ bœ Blast
œ off!
œ J
mov -
Œ
D
— 167 —
O G F I G H T
8a
THAT FACE 60's Prom Ballad - "Travelin' Man" meets "Those Magic Changes" q = 125
14
# # & # 44
17
&
# # # SINGER: ˙ LOUNGE
You,
&
1-14
œ œ œ œ born on
48
&
###
œ œ œ œ
19
Safety
Œ
œ
An - gel so fair,
..
!
œ œ œ
clear in
œ
a crowd,
Œ
..
27
œ œ œ
œ
20
30
œ
an - swer my prayer,
Œ
Safety
œ œ œ 3
8
32-39
40-47
..
48-53
#8a—That Face
31
say you'll be
54
Safety
!
Œ
fine
8
6
œ œ œ œ
an - gel so
21-25
29
!
16
3
5
You,
&
œ
LOUNGE
###
Œ
a cloud
# # # SINGER: ˙ œ œ œ œ &
32
18
###
28
..
15
..
!
œ œ œ œ Œ mine
: 57
..
!
— 168 —
58
&
###
D
LOUNGE SINGER:
Œ œ œ œ I
# # & # œJ 63
59
see you
œ
stand-ing
# # j & # œ œ
### j & œ
72
&
###
‰
67
That
œ J
œ
64
œ
œ J I
# # # Œ SINGER: & œ œ LOUNGE
j œ œ œ œ œ J
on - ly
stare
œ
3
œ
œ
œ œ J
face,
œ
that
Œ
70
œ
see
that
76
73
œ J
˙
œ
˙
œ œ œ ‰ Jœ When I
65
face,
j œ œ
œ
œ
time,
Ó
68
halts,
œ
3
œ
œ
break - a - ble
œ or
see that
œ J Ó
traf - fic
al - most
œ.
62
sigh
Œ
œ J
there's no
œ
œ
j œ œ
61
and
œ3
‰ œ
chime,
when
75
I can
œ
œ
waltz
Church bells
there,
60
un - mis - tak - a - ble
œ J Œ
lo - vers
œ œ
3
that
66
j œ œ
œ
œ
‰
face,
69
œ œ J
O G F I G H T
71
Œ
œ
face
w
space
!
74
face
œ
œ
œ
œ
œ
œ.
œ
77
w
78
˙
Ó
w
82
˙
Ó
Ooooh
### Œ &
79
œ
Ooooh
œ
œ
80
œ J
81
#8a—That Face
D
83
&
###
### œ œ œ & ### œ
plain to see
b &b ˙
96
&
bb œ
œ
œ
94
œ
œ
If
you
91
œ
Œ
write
You
fill me with love
œ
œ œ œ b BERN: Œ Ó &b Œ œ œ œ œ œ It's a - bout to get ug -
b & b œJ œ .
œ œ. J
100
night
b &b
Œ
101
Whoa
!
88
œ
like
I
‰ œ.
˙
œ J
92
So
œ. œ. œ. . œ œ
bb
Œ
œ
95
˙
œ 3
œ
the words
po - ets
Œ œ œ œ œ
99
˙
mak-ing the birds
œ will
œ
œ
3
œ
sing through the
!
!
ly
œ But
˙
œ
œ
sing Whoa - oh-oh-oh - oh
œ
whis - per
98
me
œ œ œ J J
œ
œ œ œ œ
œ
would know
me
˙
œ J
œ
mak-ing
Œ
œ
looked at
œ œ J
a - bove,
97
.. œJ 85
œ
you
love is true,
œ bœ
œ
j nœ
90 œ œ œ œ œ œ œ Œ
god - dess
œ œ œ
œ J
LOUNGE SINGER:
ba - by
that my
nœ
You,
87
you,
œ œ œ
93 LOUNGE SINGER:
Œ
Œ
œ œ
look at
&
.. Ó
!
86
89
Safety (vocal last x) 84
— 169 —
O G F I G H T
BOL/BERN:
œ
œ
when you're
œ œ J
102
stand-ing
Ó
Whoa
#8a—That Face
œ œ J
there,
!
œ œ I
can
œ œ J
103
on - ly
œ œ J
stare
!
œ and
— 170 —
D
œ œ ˙
b œ. &b
104
105
sigh
w
106
that
b Ó &b ‰ œ œ œ
b j &b œ œ
œ J Œ
lo - vers
mis -
a bunch - a
œœ œ œŒ
œ
waltz
b ŒBERN: ¿ b & Woof
112
That
œ œ ‰ J
œ œ Œ
¿ ¿
woof,
ba - by!
Œ
time,
Œ ‰ œj œj œ œj ˙ ‰ Jœ œJ œ œJ w
BOL/BERN:
STEVENS:
Oh
my
Oh
my
113
al - most
god!
or
œ
-
œ
3
Œ
#8a—That Face
in the ring
Œ
œ face
BERN:
Beast
in
a skirt
œ œ œ œ ‰ J
117
space
god!
œ œ œ œ
‰ Jœ œ œ œ œ
w
n œœ
that
fight
œ
foot a - lert
116
see
halts,
break - a - ble
œ œ œ œ ‰ J œ Big
there's no
œ
STEV:
115
chime,
œ3
œ
œ œ. J
Got a dog
that
j œ œ œ œ œ J
Œ
traf - fic
BOL:
‰ œ
œ
œ Ó J
110
‰ œ œ œ J
look - ers
œ
j œ œ
Œ
tak - a - ble face,
œ œ J
face,
¿
œ œ J
œ
Church bells
b Ó &b Œ
‰ œ
-
œ œ œ œ 3
109
What a bunch - a - look - ers
111
b j &b œ
un
BOL/BERN: What
œ
œ
œ3
‰ œ
face,
114
107
When I
A la "Good Morning Baltimore"
STEV:
w
Oh
b œ &b J œ
108
O G F I G H T
When I
Œ
œœ n œœ œœ
Look at 'em!
Look at 'em!
nn
see that
!
nn
D
œ & J
nœ .
118
— 171 —
O G F I G H T
Ó
!
119
face,
nœ J
& ‰
œ œ œ
STEV:
You
œ
son - of - a - bitch,
œ
œ
œ
you
roped
a
!
120
&
œ
œ
œ
nas - ty
121
BOL:
one
Here
Ó
Œ
œ
œ
œ
we
go!
LOUNGE SINGER:
œ
That
&‰
œ J
œ œ œ
BERN:
You
œ & J
122
œ J
œ
son - of - a - bitch
œ
‰
œ
œ
STEV:
Je - sus
Ó
‰
œ
œ
œ
œ
He's bare - ly
got
'im
a
œ J
œ
BERN:
Christ!
!
123
!
124
face,
& Ó
œ
œ
‰ œJ œ
œ
BERN:
Thun - der thighs!
œ
œ J
a
sweet
125 (LOUNGE SINGER)
& œJ
with
colla voce
U
& Ó
128
œ
œ
When
I
What
œ
œ
em
126
-
a
Œ
‰ œj
BOL:
chick!
We've
w
127
j œ œ
œ J Ó
got 'em
beat
w
brace
U̇
U̇
see
that
129
œ
STEV:
"
a tempo 130
œ œ. J
face
#8a—That Face
Ó
131
Ó
U Ó
œ six!
— 172 —
D
O G F I G H T
8b
IT'S JUST A PARTY 60's Elvis shuffle - smooth (heavy swing)
# & # 44 ..
Vamp
1
q = 150
.. ‰
!
2
LOUNGE SINGER:
œ J
Ba
3
&
7
&
23
&
##
œ
Œ
by,
have
a
œ -
15-22
:
23-26
feet,
drink
8
15
4
Dan-cin'
no - ther
œ
4-6
##
j œ Œ
œ
3
7-14
# j & # œ œ
&
œ
8
##
##
œ
Ó
33 LOUNGE SINGER:
37
-
œ
œ œ su - gar
34
œ nœ Œ sweet,
..
31
Vamp
35 j ‰ œ #œ œ œ œ Œ
it's just a
par - ty.
8 37-44
#8b—It’s Just A Party
!
..
!
32
œ 3œ œ Whoa oh oh
36
œ 3˙
oh oh
Ó
D
— 173 —
O G F I G H T
9
IT'S A DOGFIGHT
Sharp
# & # 44
2
q = 98
Vamp (vocal last x)
24 .. Œ
1-2
4 œ œ .. 4
‰
3
MARCY:
So some
# 4 & # 4 œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ 4
lit - tle prick
6
&
##
with a knob
œ œ œ œ œ œ œ œ œ œ nœ œ are the same
# 4 & #4
and they all
With punch
9
#œ œ œ œ œ .
&
##
14
&
##
˙
full - a shit
œ
œ
Œ Œ ‰
their eyes
the Dog
bbb
-
œ.
fight
#9—It’s A Dogfight
œ
Boys
Œ
8
turn
r œ
Œ
I'm at least
16
œ.
œ œ
Dog - fight
44
brown
œ œ œ #œ means a lush
œ œ œ œ œ œ œ œ œ
get - tin' screwed,
bœ œ
j 2 œ 4
swea-ty balls
Cause two
Jagged
15
Please
œ˙ œ nœ œ œ nœ
13
See, if I'm
j ‰. ¿
‰
11
! œ œ n œ 34 œ œ œ
! œ œ œ at
so
how they're made
to get laid
œ
Œ
get-cha down?
7
r œ œœ
œ œ œ œ œ œ œ #œ œ in a rush
is gon - na
10
That's
nœ œ
‰. r j œ nœ bœ œ œ œ.
‰
got a game,
Œ ‰.
Don't ex-pect noth-in'
12
for a dick
5
get - tin' paid
Œ
— 174 —
D
b bœ . &b b
17
Dog
-
b & b b œ.
bœ œ
œ
fight
in
œ œ
20
Face
it
Œ
21
bœ
œ
O G F I G H T
18
Œ
œ
the ring
œ
œ
Hear
it,
Œ
b 3 & b b 4 œ.
25
blown,so ya sit
and
œ n œ # # 44 ˙ 26
œ œ.
28
&
##
œ œ œ œ œ œ œ œ œ œ nœ œ
30
&
##
line
stay
ding
till you get
27
œ
‰
Ó
Œ
talk - in' "can - dles and wine,"
œœ œ œ! œ œ œ œ œ nœ œ œ œ œ œ
29
œ œ
bet he
31
is he now? Get - tin cash from the cow, while the cow's
punch # # With 4 Ó & 4 œ œ #œ œ œ. 33
You take your mon-ey,
34
œ œ œ œ
Œ Œ !
take what ya made
nœ œ
spread it
œ
thick
They on -
3 œ œ œ 4
your bone
at the Dog -
! œ œ œ
MARCY:
ROSE: Marcy. My God.
With more edge
you a
!
Ó
fight
4 œ œ 4
œ œ œ œ œ œ œ
ding
So he fed
Œ
‰ œ œ
¿
Yeah
But where
2 Œ ‰ j 4 œ œ œ bœ nœ œ œ œ
32
in the can
If you don't
#9—It’s A Dogfight
"
4 4
all puk-in' sick
35
œ œ nœ
Œ
it
‰
ding
24
load is
œ œ
œ.
˙
22
œ
œ
b 4 & b b 4 œ œ œ œ œ œ œœ œ ! œ œ œ œ œ œ pay when a
19
Got - ta learn
23
ly
! œ œ œ
œ œ nœ œ ˙ play the game,
œ œ œ #œ he'll be gone,
D
36
&
##
you're a pawn
38
&
##
!
œ œ œ œ œ œ œ #œ œ that he played
˙
œ
at
b bœ . &b b
bœ Œ
41
Dog
-
b & b b œ.
œ ˙
44
Win
it
œ
Own
b 4 &b b 4 œ œ
47
b & b b 34 œ . œ ˙
49
-
œ
bœ
bœ ˙
40
fight
œ it
œ
Poco più mosso
44 ˙
!
43
Got - ta claim
œ œ œ
46
œ back
48
if you don't
Ó
paid
œ ˙
œ.
! œ œ œ
and don't
œ
Dog - fight
˙
r œ œ
‰.
when you swal - low dirt,
50
42
œ ! œ œ œ œ œ
get - tin' fucked, so we bet - ter get
the crown
œ œ œ œ œ œ œ
your nose
œ
bbb œ .
the Dog
take
45
37
'Cause we're all
œ
œ
fight
3 œ nœ 4 œ œ œ
39
! œ
— 175 —
O G F I G H T
œ ˙
œ.
it
! œ œ œ
˙
down
44
Bet - ter hold
! œ œ 34 œœ œ œ œ œ œ œ œ œ œ get soft
then ya won't get hurt
at the Dog
"
51
fight
b & b b 34
"
44 œ œ œ œ œ bœ œ œ œ œ Œ ROSE:
How can you let
a pack of jerks
#9—It’s A Dogfight
œ œ œ œ bœ œ œ œ œ œ œ .
tell you this
is how
the world works?
— 176 —
52
&
D
(MARCY laughs at what she believes is ROSE’s naiveté.)
bbb
"
b &b b œ
œ œ œ bœ
Time
&
bbb
MARCY:
œ
œ
œ
œ bœ
to learn
a
few
Œ
#œ #œ #œ œ
# ## & # 44 œ .
Sweeping
-
new
Œ
fight
61
&
#### nœ . Dog
# ## & # Œ
-
of
œ
Œ
jerks
nœ ˙ fight
in
nœ
Who are
Œ
fix
Œ
j œ
‰
Let's
˙
#### 4 4
œ #œ œ #œ at the Dog
60
œ ˙
œ. -
œ œ
nœ œ
62
Œ
œ œ œ
this
is
œ œ œ
how
the
they?
#9—It’s A Dogfight
Œ
œ œ œ.
world works?
Œ
˙.
the ring
œ ˙
-
fight
tell you
œ
œ
58
Dog
some pack
their
learn to bite
nœ ˙
How can you let
œ
Where's your bark?
57
œ œ nœ
œ
#œ #œ #œ Œ
r 3 œ 4 #œ #œ #œ ˙
‰.
œ
get
55
tricks
You
# # # # 4 ROSE: & 4 #œ œ œ œ œ #œ
œ
na
œ Œ
œ œ œ
see your bite
59
œ
Ho - ney they're gon
54
56
53
O G F I G H T
œ
nœ
Who are
œ ˙
they?
D
&
####
&
####
63
In strict time
" j œ
œ ‰
ROSE:
œ œ
They're the
dogs,
œ
œ
no, they're
# ## 3 & # 4 œ
you don't
Angular
& b œ.
œ
œ
who hurt
nice
need
"
œ
some
68 MARCY:
œ.
worth
œ
-
less
œ ˙
69
fight
&b ˙
Œ
It's
a
71
bœ .
œ.
Dog
-
Œ
-
œ ˙
b
œ
œ
in
œ
œ
fight
in
72
fight
œ.
œ ˙
Dog - fight
œ.
œ œ
Dog - fight
#9—It’s A Dogfight
and
b
œ œ nœ œ
fight
bœ
Dog
nice times
r 3 œ 4
from a Dog -
bœ -
œ
‰.
" ˙
œ.
Dog - fight
! œ œ œ
for real
dimes
Dog
œ ˙
œ.
œ
œ
Dog - fight
nœ ˙
girls
66
œ
&b ˙
70
the slimes
œ œ œ œ œ œ œ œ
"
# # & # # 34 œ
&b
œ œ
œ œ
3 4
"
64
65
67
— 177 —
O G F I G H T
œ.
œ ˙
Dog - fight
bœ
œ
the ring
bœ
œ
the ring
— 178 —
D
r & b œ œ ‰. œ œ œ
73
Hear it,
&b
74
œ.
da-ding ding ding
"
O G F I G H T
‰ ! œ œ œ 44 œ œ œ œ œ œ œ œ œ 75
No you can't
Ó
give in
&b œ œ
œ œ œ
œ
œ œ œ
&b œ œ
œ œ œ
œ
œ œ œ
thick skin
thick skin
then you're quick
then you're quick
numb
œ
to
! œ œ œ
& b ˙.
! œ œ œ
at the Dog
at the Dog
œ˙ & b œ.
81
82
˙
fight
& b œ. œ ˙ fight
œ œ œ œ
You let
-
! œ œ œ At the Dog
œ œ œ bœ
and a dog's
what you
and a dog's
œ œ œ œ
what you
˙
œ. œ ˙ -
˙
-
fight
#9—It’s A Dogfight
the Dog -
! œ œ œ At
84
˙.
fight
œ. œ ˙
be - come
! œ œ œ
fight
83
be - come
At
œ ˙
-
œ œ œ
play dumb When you get
œ œ œ œ œ œ œ
80
!
fight
34 œ .
! œ œ œ
œ
œ œ œ œ œ œ œ
them win
œ ˙
3 œ. 4
79
and you can't
them win
‰ œ œ
At the Dog
˙
77
You let
numb
˙. &b
78
give in
œ œ ‰ œ
to
play dumb When you get
44 œ œ œ œ œ œ œ œ œ œ œ œ
!
No you can't
76
and you can't
œ! œ œ œ
the Dog -
(ROSE slaps BIRDLACE) 85
¿
Œ
(Slap)
˙.
"
Œ
D
— 179 —
O G F I G H T
IT'S JUST A PARTY - REPRISE 60's Elvis shuffle - smooth (heavy swing) Vamp (vocal last x)
# 4 & # 4 .. Œ
1
3
&
##
Œ
q = 150
œ
œ
Leave
your
œ
LOUNGE SINGER: 3
œ
œ.
It's
just
9a
œ3
œ
œ
wor - ry - in'
œ J a
4
œ
rit.
œ
par - ty
œ
‰ Jœ œ œ œ
.. œ 2
be - hind
Œ
U̇
un - wind
5
!
Yeah!
Applause segue
#9a—It’s Just A Party - Reprise
— 180 —
D
O G F I G H T
TRANSITION TO ROSE'S ROOM TACET
#9b—Transition To Rose’s Room
9b
D
— 181 —
O G F I G H T
10
PRETTY FUNNY
Folky - introspective q
# & 44
= 74
7
8
1-7
Œ
‰ œ œ œ œ
ROSE:
œ
Close
9
#
& œ.
#
& Œ
12
Œ
œœ˙
Œ
&
#
œ
# & ‰.
18
Hide
‰
œ œ œ œ œ
Œ
œ œ
ug - ly
r œ œ
#
& œ. œ œ ˙. f'rence
the moon
Ó
14
œ œ
No - one
œ œ œ. all
that
œ œ œ œ
stu - pid
Œ Ó œ œ
œ œ œ œ œ
the ear-rings
to
‰
their
j œ œ
case
20
œ œ
likes
It's still the same
œ
old face
#10—Pretty Funny
-
œ œ
œ
Œ Ó
œ œ
ma - roon
Œ
œœ˙
stick
œ œ œ. œ œ œ
Make-up won't make
23
œ œ œ œ
œ.
lip
Œ
19
œ œ œ.
Œ
œ œ œ œ
dres - ses
œ œ
the cur -
Ó
11
of
œ. œ œ. œ œ ˙
16
22
light
œ œ
draw
17
Œ
Ó
the bright
the win - dow,
j œ
œ
13
Wipe off
Re - turn
21
œ
tain
Hang the dres - ses,
15
j œ œ œ
10
œ
Ó
24
Œ
a - ny
dif -
œ œ œ
Is-n't it
— 182 —
25
#
D
Longing, but with restraint
& œ œ œ ˙.
26
˙
Œ
27
œ œ œ
fun-ny?
#
fun - ny
33
&
Is-n't it
j œ œ
& œJ œ
29
O G F I G H T
œ.
œ bœ
you
j bœ œ œ J
30
be-lieved
that it was
œ
œ œ ˙.
Ó
j œ w 31
Stronger pulse
& œ œ œ ˙
Œ
Œ
Œ
!
œ œ œ œ
side
# & ‰.
40
&
#
œ
guy
œ œ œ
‰
went danc - ing,
You
43
You can find
r œ œ œ
Œ
Œ
j œ œ
41
œ
œ
you were
ROSE:
œ
œ œ œ
Is - n't it
j œ ˙
œ
œ œ ˙. fun - ny?
#10—Pretty Funny
œ œ œ œ.
di - sas - ters
œ
œ
œ œ œ
one
if you try
Œ
‰
42
œ
You were danc - ing
45
˙
Œ
an up -
Ó
˙
œ œ œ
œ œ
have
39
danc - ing
44
œ œ œ œ
Pre-ty fun-ny
36
38
Œ
32
real?
33-35
#
œ œ œ Is-n't it
All
37
Œ
fun-ny?
3
#
˙
28
‰
œ œ
with a
œ œ œ
Is - n't it
D
46
#
œ œ ˙.
& œ
48
&
— 183 —
O G F I G H T
˙
Œ
Are - n't
Più mosso, with passion
# œ
œ #œ ˙ .
œ
‰
49
œ J
fun - ny?
50
&
####
# œ ive,
53
&
####
# œ
51
and des-p'rate to
‰ œj n œ Well
# # & # ## w
œ
you
œ œ œ œ œ œ
be-lieve
œ
U œ
‰
54
œ #œ
mis - un - der-stood
57
colla voce
‰
œ J
&
#
a tempo primo
3 59-61
-
you
œ œ
˙
œ
œ
œ
w
œ. œ ˙.
dream - ing
just
62
Œ
#10—Pretty Funny
œ
Shut
U Ó
Œ
58
are
-
55
œ œ œ œ.
œ œ œ.
na
52
or you've been
œ œ
œ
'lly
you can al - ways find some good
'Cause peo - ple
####
œ œ
Pa - the - tic
‰ œ œ œ œ œ œ œ œ J
56
59
œ
œ
œ
fun - ny?
####
####
(But it’s not funny. She grows angry with herself.)
47
œ
cruel
œ œ œ œ ‰
the light
off,
œ
turn
œ œ
the bed
#
— 184 —
63
&
####
D
Simply
# œ œœœ
Ó
# Œ
œ
Œ
64
&
####
œ
No more
œ
You'll wake
69
&
####
#
Œ
œ
Œ
care
72
&
75
&
&
####
####
####
# œ
up
œ
œ œ
œ
some - time
to - mor
70
œ œ œ
œ œ ˙.
˙
73
œ
cry - ing,
rit.
me
I
œ
don't
j œ œ.
you
Œ
œ œ œ ˙.
67
68
- row
Ó
dare
œ œ œ œ œ. œ œ.
and for-get
˙
to
Œ
71
Œ
e-ven
œ œ œ
Is - n't it
freely
œ œ
For
œ
œ œ
65
fun ny?
fun - ny?
œ
œ
œ œ ˙.
Is - n't it
# œj n œ .
#
œ œ œ ‰
œ œ
down
66
O G F I G H T
œ.
œ J
74
a
76
w
could be
2 78-79
#10—Pretty Funny
œ J
‰
mo - ment
he
j œ œ.
77
U Œ
(a long beat)
œ
con-vinced
‰
pret - ty
80
molto rit.
"
nœ
œ œ
Fun-ny
81
U U Œ Ó.
D
O G F I G H T
ENTR'ACTE: HEY, GOOD-LOOKIN' TACET
#11—Entr’acte: Hey, Good-Lookin’
— 185 —
11
— 186 —
D
O G F I G H T
HOMETOWN HERO'S TICKER TAPE PARADE 12
Heavy, driving (h = 84)
!
&b C
1
5
&b
Muscular
U !
2
!
3
3
h = 94
3 4
& b C bœ
BIRD:
bœ
œ
10
œ
No - name school - boy,
&b œ
œ bœ
œ
they can't
fuck
13
&b w
16
17
teen
20
&b C
bœ
Teach
œ a
bœ gook
œ bœ œ .
bœ
aw - ful green,
bœ
with
œ
Ó
œ
to
21
bœ
hold
j œ
11
trained,
bœ
nœ
tough
young
buck
18
œ bœ œ
Œ
15
crad - l - in'
Da
dat
da
‰
j œ
Serve
Now
œ œ œ bœ œ
œ œ
gun
‰ b Jœ
or - dained as a mean Ma - rine
œ.
œ
C
œ œ œ
12
b˙
œ bœ a
œ bœ
œ
œ
14
the
˙
!
8
5-7
9
U !
4
an
bœ
M
3 ˙ 4
Four -
C
Œ
19
da
22
œ
œ
your
#12—Hometown Hero’s Ticker Tape Parade
bœ year
œ
and
D
&b œ
23
œ
œ
then
œ
you're done
bœ . &b
œ
Cleve - land's
œ œ J
& b œ.
27
new
Proudly
home - town
&b Œ
œ
31
he
-
œ J
Cot - ton can - dy and
bœ œ b & J
œ œ bœ œ J
38
tic - ker
& b 24 œ
42
pen
-
œ œ œ bœ œ œ bœ œ
tape
œ. fav
œ bœ œ œ bœ
34
24
Home - ward
œ œ J
26
30
‰ bœ J
-
œ.
— 187 —
O G F I G H T
bound
œ œ
œ œ J
'rite
œ.
28
the boy
w
29
œ J
32
œ œ J
bœ
Œ
tape
œ #œ
It's a
!w
39
ny
ar
Cœ
-
gets crowned
as
˙
Œ
40
˙.
œ œ
˙.
!w
33
pa - rade
œ.
œ œ J
œ
37
home - town
he
-
bœ
œ
œ
Can't
get
that
+BOL/BERN: 36
le - mon-ade
43
nœ
œ œ bœ œ J
œ.
41 BIRD:
Œ
pa - rade
œ
œ œ J
At the
tic - ker
œ bœ bœ
œ bœ J
son
ro's
35
and
25
3 4
44
cade
#12—Hometown Hero’s Ticker Tape Parade
œ J
!
˙
ro's
œ b œ 24 at the
C
— 188 —
b˙ &b C
œ.
œ œ
Da
dat
da da
b˙ &b C
œ.
œ œ
Da
dat
da da
45
49
+BOL/BERN:
53
&b C
BIRD:
bœ
œ
bœ
œ
Main Street blocked all
& b œJ
57
&b w
60
loon
œ
œ J
Œ
is
wailed
54
˙
bœ œ
dat
da da
. œ
bœ œ
dat
da da
bœ œ bœ œ œ œ af - ter-noon
BIRD:
bœ
˙
. œ
œ
Ó
58
œ bœ J
62
˙
-
da da
C
da
!
52
Da
55
Œ
48
œ b œ œ œ 34
C
da da
bœ j œ Œ œ œ bœ œ bœ œ œ J bœ BOL:
56
on hand with a march-in'
j ‰ bœ
œ œ J
un
b œ œ 34 œj œ .
dat
51
A band
. œ
˙
47
BERN:
the blimp's
61
O G F I G H T
˙
46
50
D
BERN: 59
veiled
Your
b˙
œ.
œ œ
Da
dat
da
THREE BEES:
œ
face
34 ˙ 63
da
#12—Hometown Hero’s Ticker Tape Parade
tune
Your name
œ bœ œ
bœ
on
bal -
a
big
Œ
C
D
64
— 189 —
O G F I G H T
Rowdy carnival
&b C
œ bœ
BOL:
bœ
œ
Wat - chin' bus - ty
&b C
65
œ bœ Ó
bœ
66
blondes com-pete,
!
draw-in' claws
j bœ œ
BIRD/BERN:
Ó
Ain't that
!
&b
68
œ J
& b b œJ b œ
œ œ J
Let 'em
œ. &b
71
nice
bœ
fight
œ J
to
œ nœ
œ
white
&b
bœ
œ
spend
the
night
œ
BOL:
BIRD/BERN:
n b œœ
70
bœ .
& b œ.
œ œ J
home - town
& b œ.
œ œ J
home - town
œ
75
he
-
œ he
-
œ J œ J
œ. ro's
œ.
ro's
œ. œ.
œ J
76
œ œ J tic - ker
œ J
œ œ J tic - ker
yeah
œ
œ œ J
stain
up
!! œœ
˙
Œ
˙˙
Œ
Yeah
74
œœ Œ
that
!
73
Ó
!
b ˙˙
Ó
w
sheet
cats in heat
Ooo
Œ
œ
72
like
!
and BERN:
œ Ó œ œ
67
sweet?
Ó
69
j j b œ œ œ œ bœ
œ œ bœ œ J
tape
pa - rade
œ œ bœ œ J
tape
!w
77
pa - rade
#12—Hometown Hero’s Ticker Tape Parade
!w
œ
œ
At
the
œ
œ
At
the
— 190 —
D
BIRD:
&b Œ
œ bœ
78
œ bœ
œ
Tel - lin' tales
& b œJ
œ.
81
˙
82
ro's
bœ &b
85
time
of
bœ œ J
œ
to
shine
Da
dat
da da
90
to
˙
œ
œ
Da
dat
da
da
96
& b ..
bœ
94
˙
‰ # œj
bri - gade
A
!w
83
œ.
home
84
-
˙
œ œ J
œ
town
he -
œ œ
Œ
BERN:
It's your
œ bœ !
86
œ.
Œ
THREE BEES: 80
pa - rade
2œ 4
b˙ &b C
93
brave
Time
œ œ
bœ
tape
‰ œ J
œ.
THREE BEES:
œ
œ œ bœ œ J
BOL/BIRD:
b˙ &b C
89
a
tic - ker
œ
79
O G F I G H T
Cœ 87
get
˙.
3 4
. œ
b œ œ 34 œj œ .
!
88
C
laid!
. œ
bœ œ
dat
da da
91
˙
dat
. œ
bœ
œ
dat
da
da
95
Œ
92
da da
˙
8 96-103
#12—Hometown Hero’s Ticker Tape Parade
C
da
œ bœ Da
œ
da
>œ
da
..
D
8
104
&b
104-111
4
Vamp (On cue, jump after any beat 1 or 3 to m.116)
& b ..
119
— 191 —
O G F I G H T
116
.. ..
112-115
2
..
.. ..
!
121
119-120
2
& b ..
Vamp
..
122
!
Ó
Œ
Intensely
& b œJ œ
he - ro
& b ww
œ œ œ J J
don't
get
œ J
124
Ó
soft
Œ
125 ‰ œj b œj œ .
A
Ó
. œ b œ œœ Dat
he - ro
BOL:
b œ œœ
GIBBS/FECT/STEV:
Dat
123
‰ œj A
. œ
Ó
" ..
!
118
116-117
A tempo Vamp (jump on cue after any bar)
& b ..
2
3x
œ
œ œ
don't
re - treat
ww
da da
#12—Hometown Hero’s Ticker Tape Parade
126
Ó
Œ
da da
‰ œj
He's
Ó
. œ b œ œœ Dat
da da
— 192 —
D
œ œ œ J J
& b œJ œ
127
gon-na
get
œ J
his
128
&b
œ bœ
œ
'cause
. œ
Ó
Dat
Patriotic
œ
Œ
way
& b ww
131
œ
O G F I G H T
œ
like
œ
me
œ œ
œ bœ
he won't
b œ œœ
da da
ac - cept
we're her
-
œ œ
130
Œ
de - feat
oes
Guys
œ J
œ J
œ
through and
134
œ
Ó
through
&b
w
136
& b ww
139
Heavy, driving
dam
œ œ œ. J J
Œ
140
!
œ
œ œ
Do
or Die!
œœ
œœ n œœ
Do
or Die!
141
œ œ œ
˙
137
138
‰ œ œ bœ J
˙
You're a
!
142
Ó
‰ b Jœ œ n œ BOLAND:
You're a god
!
œ.
nœ œ J
GIBBS/FECT/STEV:
Can't
god -
ww
ww
he - ro
!
œœœ œœ œœ
# œœœ Œ
Sem - per Fi
Œ
œœ
œ bœ &b J &b
œ
œ œ
Sem - per Fi
Oh
135
‰ j œ
!
ww
ww
Ó
ww
œ 133œ œ œ J
‰ œ
and you,
!
&b
˙
132
œ
129
you hear
#œ
it,
˙
boys?
#12—Hometown Hero’s Ticker Tape Parade
Ó
#### # # -
#### # #
D
# ## # œ nœ & # # J
œ œ #œ Œ J
143
# # # & # ##
damn
!
144
#œ .
!
‰ Jœ œ n œ
# & Ó
#œ œ J
BERN:
#
œ #œ
œ
you hear
it
-
œ.
bb & b b œ.
bœ œ J
b & b bb Œ
>œ b>œ >œ >œ >œ >œ
bœ
home - town
155
he
No con - fet - ti
bœ b b & b b b œJ
159
œ œ
tic - ker
œœ J
tape
œ J
152
-
œ #œ
œœ b œ œ
>œ b>œ
œœ
n>œ
who stayed
Œ
w !! w
At
the
œ
œ
com - in'
com - in'
at
the
!!b ww !w œ. œ b œœ .. J
a tempo primo
œ.
œ œ J
Home - town
161
œ
he
˙˙
pa - rade
#12—Hometown Hero’s Ticker Tape Parade
bbbb
154
pa - rade
accel.
160
com - in'?
œ #œ
tape
#
œ
œ #œ
Œ
œ œ b œ œœ J œ
157
œ
œ
tic - ker
boys
œ
150
œ
œ 153 œ œ J J
ro's
for the
com - in'
ALL MARINES (except BIRD/BERN):
œ.
156
com - in'
ro
Com - in'
ALL
œ #œ
w
!
Much broader
œ
molto rit.
œ œ nœ œ œ œ J J
!
151 (except BIRD):
#
!
146
œ
com - in'
148
I'm a god - damn he
&
!
145
he - ro
Can't
147
— 193 —
O G F I G H T
158
-
˙˙ ˙
ro's
Œ
‰ bœ J
You
— 194 —
D
Poco più mosso
b b œ bœ œ ˙ &b b 162
win
˙
a war,
bb &b b Ó
you pick
b œœ
Œ
167
œœ
œœ b œœ J
bb &b b Œ
œ
œ
œ
THREE MARINES:
who gets
b & b bb Œ
œ
TWO MARINES:
œ
who gets
&
life
œ
œœ b œœ J
You're a home - town
œ œ œ
173
b b œœ œœ J
œœ œœ œ œœ bœ J
œ
œ
b b œœ œœ J
tape
pa - rade!
a
moth - er
fuc - kin'
tick - er
tape
pa - rade!
bœ
œ œ œ
ww
177
ẇ
œ
b˙ bbbb
œ.
œ
œ
Da
dat
da
da
180
˙
res-pect
170
tick - er
b œœ
ALL (except BIRD):
bœ ‰ Jœ œ œ
˙˙
169
fuc - kin'
176
œ œ
you get
moth - er
b b ww b & b
179
bœ
166 ‰ b œœ œœ b œœ œœ ˙˙ J
Œ
a
175
bb ˙ &b b ˙
172
damn
˙
165
a wife,
œœ ˙˙ J
168
your whole
171
164 ‰ bœ œ bœ œ ˙ J
Œ
163
O G F I G H T
œ bœ
!! ww
!w !w
178
b˙ ˙
œ œ
œ.
bœ
œ
dat
da
da
181
œœ
˙
he - ro
174
œ œ œ œ œ œ bœ nœ J
ww
œœ œœ œ . bœ J J .
˙˙ ..
Œ
˙˙ ..
Œ
œ bœ
œ
œ
Da
da
da!
Applause Segue #12—Hometown Hero’s Ticker Tape Parade
D
O G F I G H T
BACK TO ROSE TACET
#12a—Back To Rose
— 195 —
12a
— 196 —
D
O G F I G H T
13
FIRST DATE/LAST NIGHT
Sparse, but in time q
b & b 44 ..
3
2
= 94
1-2
b r & b ‰ . œ œ œ ‰ . œr œ œ ROSE:
Street - lamp,
b &b œ
6
Œ
‰
snow
9
&
bb
dim
b &b
Ó
‰ œ œ œ œ œ œ œ
Œ
A light
7
j œ œ œ œ œ
Œ
Œ
!
10
to blan - ket night
‰ œj œ œ
Œ
8
œ œ.
just co - ver
r œ œ
11
‰.
BIRD:
œ
‰ œ
13
!
16
œ
Why
you do some shit
œ œ œ
the hell
œ
are
you'd
œ.
you
what-ev - er
‰.
œ
ne-ver
œ œ
still
#13—First Date / Last Night
14
sum-mer
œ œ
be-fore
through
‰ . œr œ œ
Œ
do
œ
œ
whips
œ
œ
came
r œ œ
breeze
œ œ œ œ œ œ œ œ œ œ œ
like
œ œ œ
up
Sea
Œ
œ œ œ œ œ œ
5
glow
and makes
15
4
Well, let it pour
˙.
b &b Ó
12
..
œ
Talk - in' queer
œ
here?
17
!
D
b &b Ó
‰
18
19
ROSE:
œ œ œ œ.
And we go
b &b Ó
‰
œ œ œ Œ
œ.
bum
bum
œ œ œ œ.
And we go
b & b œ. œ œ œ Œ
‰ œ œ
b &b Œ
œ
21
bum bum
bum
œ
œ
22
b &b
!
25
26
œ œ
bum
œ
œ.
bum
bum
bum
bum
bum
œ
Don't know why
b
!
bum
bum
‰
Ó
œ
œ ‰ œj œ J
œ.
‰
j œ œ
œ
œ
œ
œ J
27
Bum bum
œ œ œ
bum
bum bum bum
˙
‰œ œ œ ˙ J
˙
‰ œj œ œ ˙
24
I de-cid
I de-cid
œ
œ
œ œ
bum
œ œ J
œ
Don't know why
-
œ. œ œ
ed
to come
œ. œ œ ed
to come
œ œ.
œ
œ œ
œ
I
œ
œ
de - cid
-
œ
œ
œ
œ œ.
I
de - cid
-
ed
-
ed
to come
œ œ
to come
2
b &b
28-29
r b & b ‰ . œ œ œ ‰ . œr œ œ 30
bum
Don't know why
Don't know why
&b
œ
23
‰
œ œ œ œ
œ.
bum bum bum
‰ œ œ. œ œ œ J
Ó
20
œ
bum bum bum bum
Bum bum bum
‰
œ
Œ
BIRD:
— 197 —
O G F I G H T
ROSE:
Meet
me
half - way
31
Œ Œ ‰ . œr œ œ 32
œ
A touch and
œ œ œ go
#13—First Date / Last Night
of
œ
œ
œ
don't know what
œ œ
to say
— 198 —
b &b
33
&
œ
D
r œ œ œ
‰.
Œ
Do
œ
##
œ œ
œ œ
Don't ex - pect
j ‰ œ
ten.
œ
too much,
œ
just
œ
walk
##
36-37
œ
slate,
blank
# & # Œ
stare
What
##
! ‰
j œ
39
r œ œ œ
‰.
Œ
care?
&
35
2
Blank
44
!
bb
# # ‰ .BIRD: nœ œ œ ‰ . r #œ & nœ œ R
&
(BIRDLACE coughs) ROSE: BIRDLACE: What? Huh? ROSE:
we talk?
38
41
34
O G F I G H T
BIRD:
œ
Œ
Œ
40
œ œ œ œ œ
Yeah,
Ó
42
œ ˙
took hold?
you made
43
her
Ó Ó
cold
‰ ‰
cry,
why
she looks
ROSE:
œ
œ
And
we
œ
œ
And
#13—First Date / Last Night
œ ‰ œj œ œ œ >
r œ œ.
œ œ œ ‰.
Look at her,
45
Ó
‰ . Rœ
we
œ
do you
œ
so
œ. go
œ
œ. go
Œ
D
46
&
##
œ. œ œ œ Œ bum bum
# & # Œ
œ
bum
bum
49
&
##
œ.
bum
# & # œ.
œ œ
bum
&
œ
œ
bum bum
!
œ. œ œ
œ œ
œ.
œ œ J
bum
œ J
‰
œ bum
bum
œ
œ
50
œ
j œ œ
‰
53
bum
Don't know why
bum
##
47
bum bum bum bum
œ J
bum
52
‰ œ œ
— 199 —
O G F I G H T
‰
œ œ
‰
œ œ œ
I
˙
!
Ó
‰
j œ œ
œ
œ
œ
œ J
54
œ œ
Don't know why
55
&
##
!
e=e
68 œ .
56 ROSE:
œ.
Twist - ing
œ.
œ.
le - mons
57
51
œ. œ. œ. œ.
in - to
œ
œ
I
de - cid
œ I
4w 4 58
le - mon - ade
#13—First Date / Last Night
œ
œ œ
de - cid
bum bum
œ
œ.
œ œ
-
ed
to come
-
ed
to come
œ.
˙
de - cid
‰ œ œ
bum bum
˙
de - cid
‰ œj œ œ I
œ
Bum
‰ Jœ œ œ
˙
bum
œ
Œ
bum bum bum
Don't know why
# & #
œ. œ œ œ Œ
Bum bum bum bum
Don't know why
Ó
48
œ œ. -
œ
œ œ
ed
œ œ. -
œ œ
to come
œ
œ œ
ed
59
˙
to come
Ó
6 8
— 200 —
D
# 6 & # 8 œ.
œ.
60
# & # 68
You'd
œ.
be
4 4 ˙
‰
61
œ.
sleep - ing
œ œ
44 œ .
!
BIRD:
You'd
63
&
##
‰
˙
œ œ œ œ
be drunk
##
œ
œ œ Œ
Ó
# & # œ
œ œ Œ
Ó
&
if you
œ #˙
œ ‰ œ œ 24 n œ . J
a - ny
68
good
a - ny
69
!
af - ter this
stayed
œ œ œ.
4 4 ˙.
Œ
œ œ œ.
44 n ˙ .
Œ
66
come
that could
œ œ R
ROSE:
First
!
œ #œ . ˙ .
that could
good
‰.
w
stayed
had
65
And you might miss
67
had
œ œ œ œ.
‰
˙
œ
‰ œ œ œ œ
if you
œ
62
œ œ œ œ.
j 2 œ ‰ œ œ 4 nœ .
64
And you might miss
# & # ˙
O G F I G H T
œ
come
Ó
date
r œ œ
‰.
Ó
BIRD:
af - ter this
70
&
##
# & #
! !
Last
71
œ
œ
œ
Not quite what
œ
you pic - tured,
œ
œ
œ œ œ œ.
Not quite what
œ œ œ œ.
you pic - tured,
"
œ œ
72
œ œ.
Œ
Ó
œ œ.
Œ
‰
œ
night
but al - right
" œ œ
but al - right
#13—First Date / Last Night
j œ œ œ œ
So take her out
D
# & # Œ
73
# & # Ó
œ œ œ œ Œ
‰
Give him a shot,
Œ
j œ
74
cause
&
##
# & #
œ
œ œ œ œ œ
œ
œ
75
&
##
œ. œ œ œ Œ
œ œ œ œ œ
˙
bum bum
# & # Œ
œ bum
&
##
&
##
81
œ.
bum
œ. bum
bum
œ
Ó
œ
And
œ
we
œ
œ
œ
œ
‰
œ
bum bum
bum
bum
œ œ J J œ
bum
œ. œ œ
œ œ
œ.
œ œ J
bum
bum
j œ ˙ 82
bum
bum
‰
œ œ
Ó Ó
bum
#13—First Date / Last Night
œ
‰
œ œ
œ
Œ
Bum
4 83-86
4
œ.
go
œ. go
œ. œ œ œ Œ
bum bum bum
bum
j œ ˙
80
we
Bum bum bum bum
œ œ œ
œ
or not
‰
bum bum bum bum
j œ œ œ œ œ
bum
79
Œ
you,
Ó
‰ œ œ
‰
or not
And
78
Œ
˙
you,
peo - ple can sur-prise
77
!
œ
œ
‰ œJ
!
œ
peo - ple can sur-prise
cause
76
— 201 —
O G F I G H T
bum
œ
‰ œ œ
bum bum
œ
bum bum
— 202 —
D
O G F I G H T
FANCY RESTAURANT MUSIC TACET
#13a—Fancy Restaurant Music
13a
D
— 203 —
O G F I G H T
FIRST DATE LAST NIGHT - REPRISE
Slowly, poco rubato
# & # 44
1
&
7
& &
##
## ##
!
Reticent
2
Ó
U Ó
5-6
‰. œ œ œ Ó R ROSE:
First
‰.
Ó
# œ. Œ & # œ
Ó
right
right
!
8
date
Œ
&
!
4
2
9
œ
Not
r œ œ œ
!
BIRD:
Last
##
Ó
3
q = 90
œ œ. Œ
10
U Ó
13b
œ œ
night
œ
œ
Not
Ó
11
Œ
Sor - ta strange
œ
œ
œ
œ
quite what
quite what
‰
œ œ œ œ Œ
Kin-da biz - arre
you pic - tured,
œ œ œ œ. you pic - tured,
"
œ œ
but al -
" œ œ but al -
j œ œ œ œ œœ œ œ œ 12
but
Œ
œ œ œ œ.
‰ œJ
but
not a big dis-as - ter
œ œ œ œ œœ œ œ
not a big dis-as - ter
#13b—First Date Last Night - Reprise
— 204 —
&
##
&
##
13
16
& &
18
&
D
˙
Œ
˙
Œ
so
œ
so
## ##
œ. bum
œ œ bum
Œ
œ
##
œ.
# & # Œ
b &b b
œ
Bum
!
Ó
‰
15
ROSE:
œ œ œ œ.
far
And we
!
œ
Ó
‰
œ œ œ œ.
And we
‰
17
œ œ
œ.
bum bum bum
œ
œ
œ.
bum
bum
bum
‰
bum
œ œ
19
œ.
bum bum bum
œ
œ
œ.
bum
bum
bum
Half-time "Some Kinda Time" 3 Verse 2 feel
œ œ
bum
œ œ
bum
œ
‰
œ
bum
œ J
œ bum
bum
œ œ J J œ
bum
bum
go
œ œ
Bum bum
œ œ œ
œ
bum
j œ œ
go
BIRD:
far
bum
œ œ œ Œ bum
œ
14
Œ
œ
bum
bum
21
œ
O G F I G H T
bum bum bum
j œ
bum
j œ
bbb
20
w w
bum
Vamp and fade (OUT on cue)
21-23
#13b—First Date Last Night - Reprise
..
24
!
..
D
— 205 —
O G F I G H T
HOMETOWN HERO'S TICKER TAPE PARADE 14 (REPRISE) # 4 & #4
Dark
1
7
&
9
&
U !
U !
2
don't
get
gon - na
get
Building (q = 76) Guys
like
# & # ˙
me
œ œ œ
# & # œ œ damn
&b
6
U Ó.
‰. r œ
BERN:
we're
œ œ œ ˙. 14
nœ œ œ œ he
-
˙
œ
œ nœ
œ
he won't
12
he
don't
10
-
accel.
œ œ.
œ
roes
(q = 84)
œ nœ
ac - cept
œ œ Œ
You're a god - damn
he - ro
Œ
de - feat
œ œ
œ
through
œ œ œ.
w
He's
œ Œ
œ
" œ œ nœ œ nœ
17
r œ
re - treat
through and
15
‰.
œ œ Œ
œ
he - ro
'cause
" œ
Do or Die!
16
8
œ
way
and you,
Œ
13
19
U !
5
r œ nœ œ . A
œ œ
his
# # BOL/BERN: & œ œ œ 11
soft
œ œ œ œ
œ
‰.
œ Œ
œ œ œ
œ œ
he - ro
##
U !
4
A
Colla voce
##
U !
3
Sem - per Fi
" œ œ œ
Œ
You're a god -
!
18
b
ro
4
"First Date/Last Night" (not too groovy)
19-22
23 b b bb
!
24
Ó
#14—Hometown Hero’s Ticker Tape Parade (Reprise)
U Ó
— 206 —
D
O G F I G H T
GOLDEN GATE BRIDGE TACET
#14a—Golden Gate Bridge
14a
D
— 207 —
O G F I G H T
15
BEFORE IT'S OVER Reflective, understated
& 44 ..
1
q = 90
!
Somewhat free
3
.. ‰ .
!
2
rœ œ
ROSE:
œ
œ
œ
4
œ
œ œ œ
Œ
œ œ œ œ œ œ
An awk-ward girl with her gui-tar,
& Ó
5
‰
6
œ œ œ œ œ œ
Fri - day nights a-lone
Ó œ œ
8
&œ
œ œ œ
gin - ger ale
11
&‰
9
œ
and Coke
In Time
j œ œ
œ
œ
œ
& œ
‰.
12
œ
r œ œ œ œ œ œ.
and ev - 'ry-thing
17
&œ I
œ
can
œ
on
œ
-
œ
ly
œ
Some - one
I've been that girl who fades
14
with the re-cords on
œ œ
a-way,
15
œ
I'm
œ
not
‰
œ
œ
you
ask
be
her
shelf
œ
j œ œ œ œ œ
I've on - ly seen this
what
U !
œ œ
as
a joke
13
ac - cept - ing what I've
œ
A wai - tress pour - in'
œ
out
œ
I've
#15—Before It’s Over
16
œ
Œ
œ œ œ œ œ
got
Stuck in whatI
œ œ œ œ œ œ œ ti - ny world I'm in
j œ
her-self
r œ œ œ œ œ
10
18
œ
œ
‰ j œ œ œ œ œ.
rit.
œ
‰.
7
œ œ œ œ œ œ œ.
keep - in' to
U
œ.
been
Ó
‰
am
j œ
where
, # #
— 208 —
19
&
D
Quietly Expansive
## œ .
œ œ œ œ.
See
21
&
##
œ. off
q = 92
œ J
a world
j œ œ
‰
20
22
Say-in'
# j & # œ œ œ œ œ œ ‰ œ œ
27
&
29
##
it
runs
sing - in'
œ
œ
œ
œ
See
that you've
got
so
much
more
With a bit more drive q = 94
j œ ˙
30
‰.
Ó
close
nœ
r œ œ
Be-fore
I
&Œ
‰.
can't
œ
œ
go
write
r œ œ
Or dream
œ
how
œ a
œ œ
and
28
it's o
things
reach
U̇
‰.
œ
could change,
œ
for
-
r nœ œ
it's o
-
ver"
I'm
#15—Before It’s Over
œ œ
nn
!
32
j œ
"
Œ
me
be-fore
œ.
song
how
26
œ œ œ œ œ ˙.
œ
no - ther
œ
look
be
36
œ
Look,
œ œ
j nœ . œ œ nœ œ nœ
34
-
œ œ œ œ.
31
Folky - expansive, fluid
& ‰.
nœ
to
r œ œ
‰
spin - nin'
œ.
23
there
"Fol - low
œ œj œ .
strange
Œ
nœ . œ œ nœ œ
œ œ œ
ver
35
25
me
œ œ
and
œ. œ œ œ œ œ
bœ
& œj œ 33
a - way
œ œ œ œ
meet
24
fast
œ
beau - ti - ful
œ œ œj ‰ œ œ .
some - where
O G F I G H T
œ œ
œ
too
œ œ
œ œ œ a - fraid
œ œ œ œ
but on - ly see what's
to play
œ œ œ in
my
œ
way
D
Œ
37
&
œ
38
Can't
œ
œ.
œ
œ
go
back
to
39
&œ
œ œ œ
now
42
&
that I
## œ .
&
can
##
a world
œ. œ œ œ œ œ Œ œ
# & # nœ .
48
"Fol
-
# & # bœ
& œj
œ œ
nœ
low
close
46
and
œ. œ œ
j œ ˙
œ œ
on
look
‰
j nœ
how
49
and
œ
œ
that you've
got
so
much
more
nœ
51
œ
œ
œ
fast
it
runs
˙
#15—Before It’s Over
and it
a - way
nœ
for
me
˙
track
j œ œ œ ‰ œ
œ œ
‰.
be
53
œ
j ‰ œ œ œ . œj œ œ œ œ
œ
reach
to
˙.
44
##
Œ
41
one - way
nœ .
nœ
be - fore
a
47
Œ
œ œ
more
strange
œ
ver"
40
œ. œ œ œ
Look,
œ
œ.
was
œ œ œ œ œ œ œ
œ
œ.
what I
much
beau - ti - ful
back
œ œ œ
œ.
œ œ œ
50
See
so
43
œ œ
œ
œ œ
see
œ œ œ œ. œ ‰ J
won't come
52
œ.
Subtle groove
See
45
œ
— 209 —
O G F I G H T
sing - in'
Œ
œ
r nœ œ
it's o
‰
j œ
be-fore
Œ
œ
œ œ
I
nn -
— 210 —
54
D
More introspective
& bœ œ œ œ œ œ œ œ œ œ ne - ver ev - en knew
a world was
Œ
57
&œœ œœ œ œ œ that world
60
&
ap-pear
slower
œ
œ œ œ
Hap - py that
63
58
Œ
œ. œ ˙
56
wait - ing
œ
Some - how
poco rit.
œ œœ‰ œ œ
bœ œ œ œ œ
May - be this sounds cra - zy,
œ.
61
˙
I
came,
œ
some - thing aw
59
but I'm
rit.
Œ
œ
œ œ. -
hap - py
62
I'm
œ
ful
made
Nœ œ œ œ œ œ
œ œ œ œ.
hap - py that
œ œ.
œ œ
œ
œ
œ. œ œ œ œ œ œ
see
&
& bœ .
67
much
& œ.
œ œ to
œ ˙ J
œ
œ œ œ œ
beau - ti - ful
œ
œ.
so
close
œ
ten.
It's
69
64
a world,
!
66
‰
U ˙
U Œ
œ œ
here
bœ
do
72
w
rit.
and
œ œ
68
œ
œ
œ
strange
Don't
70
˙
œ œ
Can you
I
see
œ œ œ œ œ
let
it
get
it
too?
j œ ‰
a - way
‰.
U̇
ver
#15—Before It’s Over
U̇
There's so
r œ œ
74
œ
œ
œ nœ
be - fore
73
can
Œ
œ . œj œ œ œ œ
œ
U Œ
œ
65
Œ
that it hap-pened
Molto meno mosso, delicate
& œ
71
55
O G F I G H T
it's
o -
! Applause segue
D
O G F I G H T
AFTER "BEFORE IT'S OVER" TACET
#15a—After “Before It’s Over”
— 211 —
15a
— 212 —
D
O G F I G H T
16
GIVE WAY [ATTACA FROM #15A]
Folky - lyrical, sensitive (q = 64)
b & b b 44
1
34
!
44 Ó
!
2
‰.
Œ
3
r œ
FEM. SINGER 1:
A
b &b b œ œ œ œ œ œ œ œ 4
flo-wer
7
bb
bows
j 3 œ ‰ œ 4œ œ œ œ œ œ œ œ.
to au - tumn chill,
8 ‰ œj œ
(BOTH)
& b œ œ ˙ way
Give
Oc
-
to - ber ri - ver
Ó
œ œ œ
6
fro - zen
9
+MALE SINGER 1 (sounds 8vb):
‰ œj
4 4œ œ ˙
5
still
!
10
Give
34
!
44
‰
. œ œ .
way
Safety(vocal last x)
2
b 4 &b b 4
13
11-12
.. Ó
Œ
FEM. SINGER 2:
But the
b &b b œ 14
œ
spar - row
b & b b 44 œ
œ œ œ œ œ œ with his
œ
spring
˙
œ œ
bro - ken
+MALE SINGER 2 (sounds 8vb): 17
16
‰
j œ
Give
15
wing
œ
œ
way,
3 4œ œ
bur-rows
˙
#16—Give Way
‰ œj give
down
18
4 4
œ œ œ œ .
œ œ
to
œ œ œ ˙ way
wait
for
Œ
D
b & b b œ. 19
FEM. SINGERS 1 & 2:
œ œ
Spar - row,
b & b b œ.
22
2 4 œ
œ œ
20
spar - row
œ œ
FEM. SINGERS 1 & 2:
Spar - row,
b œ. &b b
œ.
œ
Spar - row,
24
œ bœ œ œ
œ
œ
spar - row
too
proud
& b œ. œ œ œ œ œ so
œ
far
from home
bb
& b œ. œ œ œ œ œ so
b &b b 28
b & b b 34
34
œ
far
!
29
44
œ
from home
34
!
œ
25
fly
3
"
to
bb
to
œ bœ 3 œœ˙
proud
MALE SINGERS 1 & 2:
Œ
"
too
row,
23
4 œ œ 4 ˙. 21
œ œ bœ ˙
œ
-
œ
a - fraid
œ
spar
œ œ
œ œ œ
too
œ œ œ
— 213 —
O G F I G H T
to
try
try
œ
œ bœ
And
he's oh
œ
œ bœ
And
he's oh
2
w
26-27
2
w
44
!
4
34
30-33
3
7
35-37
38-44
#16—Give Way
3 4
— 214 —
D
b 3 &b b 4
!
45
4 .. 4
46
O G F I G H T
Safety
.. U Ó
!
U Œ
47
‰.
r œ
ROSE:
A
48
bb
(ROSE plays onstage guitar - simple strumming - very tentative)
œ
& b œ
œ œ
spring and
sum - mer
b 4 &b b 4 œ œ ˙
50
leaf
b &b b
53
œ
just
œ œ œ be - fore
b & b b 44 œ
55
œ
warm
b & b b œ.
58
Spar
˙
œ œ -
row,
j œ
œ
œ œ
song
too
" œr 34 œ œ 49
brief,
the
way
œ œ œ œ
56
œ
Give
54
œ
œ œ -
row,
#16—Give Way
too
-
57
4 4
lin'
‰.
r œ
And
4 4
œ œ œ.
to some - where
2 4 œ
fal
œ œ ˙
give
59
a
œ
way
‰ œj
˙
of
œ œ œ œ
off
way,
œ. spar
3 4œ
storm,
j œ
turn
Give
œ œ
the win - ter
‰
stea-dy
52 ‰ œj œ
51 ‰ œj œ œ ˙
Give
œ œ œ œ œ œ
safe
and
Œ
œ œ œ ˙ way
œ
œ
a - fraid
œ
œ
to
œ
fly
4 4
D
b 4 &b b 4
Œ
60
62
˙.
bb
& b œ
proud
b &b b
65
74
3
b & b b 24
99
&
bbb
-
" œ œ bœ
œ œ œbœ ˙
to try
And he's oh
U !
G.P.
66
..
œ
row,
63
spar
œ. œ œ œ œ œ so
far
œ
œ
-
row,
œ
8
3
44
3 99-101
#16—Give Way
64
œ too
w
2 4
..
96-98
..
œ
..
7
..
œ
from home
Slowly, tenderly - wait for cue
88
74-77
!
œ
66-73
4
& b
œ
œ. Spar
bb
95
61
— 215 —
O G F I G H T
3 99C-99E
..
— 216 —
b & b b ..
100
D
Vamp
b & b b ..
! !
O G F I G H T
..
!
101
..
rall.
U Ó
102
Œ
j œ
Give
U Ó
!
‰
FEM. ENS.:
Œ
‰
œ J
MALE ENS.:
Give
103
b &b b œ
œ
˙
œ
˙
way
b &b b œ
j œ
‰
œ J
‰
b œ &b b
œ
˙
œ
˙
b œ &b b
106
œ
˙
œ
œ
˙
˙
œ
˙
‰
‰
P j œ
‰
Pœ J
Give
way
j œ Give
œ J
108
œ
Give
œ
U œ ˙.
"
œ
œ
"
rit.
œ
Give
#16—Give Way
F œ J
Give
œ œ ˙
œ
Give
œ
‰
œ œ ˙
œ
F j œ Give
way
œ J
‰
‰
way
œ
Give
107
way
way
‰
way
j œ
‰
way
b &b b œ
œ
Give
105
way
œ
Give
way
b &b b œ
104
way
way
U̇ .
D
— 217 —
O G F I G H T
17
SOME KINDA TIME - REPRISE [Attacca from #16]
Steady, Simply q = 74 Play 4x (vocal last x)
& 24 .. œ
1
œ
BOL/BERN:
Some
œ
œ
kin - da
.. 44 œ
time,
œ œ œ œ œ œ œ œ œ œ œ œ & and lit
the sky
œ œ œ bœ œ œ œ œ 8 œ & J œ. œ Œ as if some - bo-dy's cal - lin'
!
œ
5
a-blaze
7
&
œ
˙
3
œ œ bœ
Œ
some kin - da haze
4
it hard,
œ
œ
œ
Œ
2
!
when we hit
œ œ œ œ
Œ
œ
6
Some kin - da time
9
Ó
œ œ œ
BIRD:
œ
Some kin - da hum
10
œ
œ œ œ œ
Œ
Some kin - da time,
!
œ œ œ œ
Œ
some kin - da sight
BOL/BERN:
œ
œ œ œ œ
Œ
Some kin - da time
‰ œ bœ
. & ˙
11
12
œ œ
It's strange
& #œ
œ œ œ œ
Some kin - da sight
Œ
œ œ œ œ œ
œ œ œ œ
œ
œ
œ
how some - thin' chang - ges o - ver-night
Ó
œ
œ
Some kin - da
#17—Some Kinda Time - Reprise
night
13
œ œ
Œ œ œ œ
œ
Some kin - da time
Œ œ œ œ
œ
Some kin - da time
— 218 —
14
& &
D
œ
œ œ œ œ
Œ
15
Some kin - da drum
œ
œ bœ œ œ œ œ
œ œ
Some kin - da drum
like there's some - thin' be - gin
-
œ œ. J
œ Œ
œ œ. J
œ Œ
!
17
ning
!
ning
4
& ..
..
18-21
12
&
24
22-33
2 & 4 ..
39
-
œ bœ œ œ œ œ
18
34
16
like there's some - thin' be - gin
œ œ œ œ
Œ
œ œ
O G F I G H T
Safety
.. 44
!
!
35
36
colla voce
b &b b ‰
j œ bœ
BIRD:
Good - bye,
bœ
œ
œ
up at
Œ
dawn
U Ó
U Ó
40
œ
œ
get - tin'
2 .. 4
œ œ gone,
in time, accel. poco a poco (build to m. 44)
j # & ‰ nœ œ
41
Good - bye,
Vamp
I'm on
ship-pin' out
-
It's all a-bout
molto rit.
!
38
œ œ œ
œ œ œ œj œ œœ‰ œ œ œ " œœœ œ œ œ 42
.. 44
!
37
œ
œ œ
bbb
#
j œ œ
my - way
more rhythmic 43
j ‰ œ œ
to start to-day
#17—Some Kinda Time - Reprise
Good-bye,
œ œ œœ " œ
leav-in' now,
but
D
44
#
œ
& œ
don't know
&
‰
œ œ how
œ œ œ œ to
#
say
— 219 —
O G F I G H T
A tempo, half-time feel (q = 88)
#### #˙ . #
45
œ
good - bye!
####
Œ
ALL MARINES (EXCEPT BIRD):
!
œ J
# ‰
œ.
Good - bye
46
&
####
# œ
œ
ap - ple
48
&
####
œ œ pies,
œ œ œ
and Di - nah
# ## & # # ..
Vamp
# # & # # # 44 ..
55
Vamp
# # # # .Vamp ! & # .
59
œ œ
49
˙.
.. ..
60
fries
to
œ ‰
j œ
long - to waf - fle
cones,
new
BOL/BERN:
4 .. 4
Vamp
.. # # .. 57
ride
on my last night state - side
.. 45
!
53
Vamp
!
4 4
!
54
!
58
# .. # # # #
Subdued, building energy
.. # # # # Ó 61
r œ
œ œ œ
œ.
A wild
!
!
œ J
to chi - li
œ ‰.
‰. œ œ œ œ œ œ œ œ œ œ œ œ œ. R
Vamp - half-time feel 56
‰
So
!
52
!
47
Gore
.. 45
!
j œ œ
Shore
œ œ œ œj œ # œ œ œ œ œ œ œ Twi-light Zones, and Les - ley
51
œ
œ
œ œ
‰.
r œ œ œ
BIRD:
Say
#17—Some Kinda Time - Reprise
œ ˙.
good - bye
62
Œ
— 220 —
&
####
&
####
63
D
!
bb &b b
œ
œ
la - zy
bb &b b ˙
œ œ days
œ œ œ
œ
on your - front
bb &b b œ œ
pret-ty
bb &b b Ó
œ œ gals
œ œ œ
who lead
œ œ ‰. r œ œ œ &œ œ œ blink,
you'll be
to sum-mer haze,
to
œ œ
j œ œ
67
‰
œ J
lawn
œ.
œ
œ œ
Good - bye
œ œ
to high school
pals,
"
œ
to
!
œ you
‰.
70
w
Good - bye
Say good-bye
œ œ
j œ œ
œ œ œ R
71
69
n n n n ‰ Jœ
j œ œ
on
Say
&
ALL MARINES (EXCEPT BIRD) + SERGEANT:
Ó
68
once you
bbbb ‰ bœ bœ . œ œ œ " œ œ œ J
‰ . œ œ œ œ bbbb nw R
(BIRD)
Say good-bye
66
65
!
64
‰ . œr œ œ œ ˙
Ó
O G F I G H T
œ
nnnn
w
œ.
œ œ
Good - bye
œ
to what you
œ ‰.
r œ
think,
'cause
good - bye
œ J
œ
œ œ œ
Hats
off
to you
ALL:
‰
gone
ALL:
‰
œ J
Hats
œ
off
œ œ œ to you
œ
œ
œ œj œ
72
w
red, white and blue
œ
œ
œ œj œ
red, white and blue
#17—Some Kinda Time - Reprise
w
accel.
D
— 221 —
O G F I G H T
17a
WAR SEQUENCE (Part 1) [SEGUE AS ONE FROM #17]
Driving, militaristic, much faster (q = 110)
# # & # 44 ‰
1
3
&
ALL MARINES + SERGEANT:
###
& &
####
7
&
Good - bye
œ J
# ‰
œ.
œ J
œ œ
-
œ.
Good - bye THREE BEES:
# œ
# ‰
# ## & # # œ
We
œ
œ
three
bees
œ J
œ.
œ
œ
Good - bye
three
bees
œ œ.
to chi - li
œ
to
j œ
œ ‰
œ œ œ
to
have a migh - ty
œ
œ
sting
and we
6
œ
liv - in' Sem - per
œ
Fi
to
œ
Ó
œ
œ
œ
œ œ J
‰
la - zy
œ
days
œ
come pre - pared for
pret - ty
œ
####
Ó
œ œ ‰ J
œ
œ œ ! œ œ œ pals,
Ó
Mays
to
œ œ
‰
pies,
j œ œ ‰
œ
8
to high school
œ œ œ
ap - ple
! œ
œ
j œ œ
œ
œ
Wil - lie
haze,
œ
œ œ œ
4
œ œ
to sum-mer
œ œ
œ
fries
to Chev - ro - lets,
FECT/STEV/GIBBS/SGT:
We
####
œ œ œ
œ.
Good - bye
####
5
‰
œ J
2
œ
œ
a - ny - thing
Ó
gals
œ
Thick like
#17a—War Sequence (Part 1)
œ
œ œ œ
blood and we're do
œ
or
œ
die
#
— 222 —
D
# ## œ . & # #
accel. poco a poco
9
&
####
œ œ
Can't - cha hear
nœ it
#œ
Œ
œ.
œ œ
boys?
# Ó
O G F I G H T
10
# # œ & # ##
com
# ## œ & # #
com
-
-
#œ
œ
in'
com
#œ
œ
in'
com
-
-
œ
œ
in'
com
œ
œ
in'
com
nœ #œ
Can't - cha hear
nœ
Can't - cha hear
11
#œ .
-
-
nœ #œ
Œ
#œ .
nœ #œ
that
noise
Œ
œ
it
ALL MARINES + SERGEANT:
boys?
œ
œ
in'
com
œ
œ
in'
com
Can't
œ -
-
in'?
#17a—War Sequence (Part 1)
cha hear
"
U "
"
U "
12
in'?
œ
-
nœ
it
D
— 223 —
O G F I G H T
17b
WAR SEQUENCE (Part 2)
Militaristic
3
&
## ¿
¿
¿
THREE BEES:
We
three bees
# & # ¿
¿
## ¿
¿
6
¿
&
12
&
We
¿
We
¿
have a migh - ty
¿
li - vin'Sem - per
¿ ¿ ¿
¿ ¿ ¿
We three bees
# & # ¿
¿ ¿ ¿
¿
¿
three bees
li - vin'sem - per
¿ ¿ ¿
¿ ¿
sting
have a migh - ty
¿
¿
¿
¿
¿ ¿ ¿
¿
Thick like blood and we're do
or
die
10
¿
¿
¿
¿ ¿ ¿
and we come pre - pared for
13
¿
¿
¿
¿ ¿ ¿
Thick like blood and we're do
¿ sting
¿ ¿
16
¿
¿
¿
#17b—War Sequence (Part 2)
!
8
!
¿
(BOLAND is killed) 11
!
14
!
17
!
a - ny - thing
¿
¿
or
die
¿ ¿ ¿
and we come pre - pared for
5
a - ny - thing
¿
sting
¿
¿
¿ ¿ ¿
¿ ¿
fi
¿
¿
¿
¿
4
and we come pre - pared for
7
Fi
¿
¿
¿
¿
three bees have a migh - ty
# #BERN/BIRD: ¿ ¿ ¿
15
1-2
¿ ¿ ¿
We three bees
9
2
q = 122
# & # 44
¿
a - ny - thing
— 224 —
18
&
## ¿
# & # ¿
We
&
27
&
¿
¿
¿ ¿ ¿
We three bees
21
24
D
¿
¿
¿
¿
¿
three bees
# & # ¿
¿
## ¿
¿
30
¿
&
36
&
We
## ¿
¿
three bees
¿
¿
li - vin'sem - per
¿ ¿ ¿
¿
¿
Thick like blood and we're do
or
die
¿
¿
have a migh - ty
We three bees are for - e - ver young
¿
¿
¿ ¿ ¿
¿
¿
Thick like blood and we're do
or
die
28
¿
¿
¿
¿ ¿ ¿
and we come pre - pared for
¿
¿
¿
Thick like blood and we're do
or
die
¿
¿
¿
¿ ¿ 37
¿
¿
so watch your back
¿ ¿ ¿
!
26
!
29
!
32
¿ ¿ ¿
and we come pre - pared for
23
a - ny - thing
¿
34
(BERNSTEIN is killed)
¿
¿ ¿ ¿
¿ ¿
¿
!
a - ny - thing
¿
31
sting
¿.
¿
¿ ¿
¿
¿
¿
sting
¿ ¿ ¿
22
20
¿ ¿ ¿
¿
fi
¿
and we come pre - pared for
25
¿
¿
¿ ¿
fi
li - vin'sem - per
¿
¿
sting
have a migh - ty
¿ ¿ ¿
¿
¿
¿
¿
¿ ¿ ¿
19
fi
¿
¿
¿ ¿ ¿
We three bees
33
¿ ¿ ¿
¿ ¿ ¿
We three bees
We
li - vin'sem - per
¿
three bees have a migh - ty
# # BIRD: ¿ ¿
## ¿
¿
O G F I G H T
¿
35
!
!
a - ny - thing
¿
¿
38
U
!
or ya might get stung
Attacca #17b—War Sequence (Part 2)
D
— 225 —
O G F I G H T
17c
TRANSITION - TAKE ME BACK Haunting, but with an edge Vamp
& 44 ..
2
3
..
1-2
FEMALE HIPPIE #1:
Da
4
&
œ.
Da
#œ
œ œ œ.
da
da
œ.
da
Œ
5
œ œ
da
˙
œ œ œ.
œ.
da
da
da
Œ
6
œ.
œ œ œ œ œ ˙.
Da
da
œ.
9
da
da
BIRDLACE: Excuse me 7
+ FEMALE HIPPIE #2:
&
œ.
Da
œ œ œ.
da
da
& ˙˙ ..
œ.
da
Da
#œ œ œ œ.
da
da
11 + FEMALE HIPPIE #3:
œ.
Da
œ œ œ.
da
da
da
Œ
da
œœœ ...
Da
# œœœ œœœ œœœ œœœ œœœ da
da
da
da
˙
œ.
Da
Œ
˙˙˙ .. .
da
(their voices fade...)
&
œ.
Da
œ œ œ.
da
da
#˙
17
da
œ œ œ.
Da
!
18
da
#17c—Transition—Take Me Back
da
FEMALE HIPPIE #1:
¿
(spit)
da
Œ
Da
œœ .. œ.
da
15
œ.
da
# œœœ
œ œ œ.
BIRDLACE: Can you help - I'm looking for a diner 16
œœ .. # œœ œœ œ œœ œœ œ
da
da
14
Œ
œœ œœ
12
(BIRDLACE approaches FEMALE HIPPIE 1) BIRDLACE: Can you help me out?
& œœœ
13
˙
Œ
10
8
˙ da
U Ó
da
œœ œ
— 226 —
D
O G F I G H T
18
COME BACK
Haunting
: 3
&
##
3
q. = 86
# & # 128
œ œ. Œ. Œ. . sinks
# œ œ œ. & # J
˙.
7
œ . Œ . Œ . œ nœ œ
4
in
&
15
5
like a ghost
8
˙.
Œ
back
##
Ó.
fight,
6
that won't wash off your skin
œ J
j œ œ
9
œ œ œ. J
It still comes
bees sting
Watch them die
˙.
œ.
˙.
16
w.
10
17
w.
Œ.
back
14
Œ œj œ
˙.
18
˙.
go?
˙.
Œ nœ œ œ J J I
don't
21
w.
know
#18—Come Back
22
œ œ œ œ J
Œ
˙.
œ nn J
They won't come
Where
20
œ. Bees
back
& w.
œ J
It still comes
˙.
and you can't do a thing
gradual accel. (to m. 19)
19
BIRD:
Œ œj œ
œ . œ œ nœ . œ . œ œ œ ˙ . J
,12 13 œ . œ œ . œ œ nœ . œ . œ œ œ n œ . . . . Œ Œ Œ Œ œ. œ. œ J
œ œ & J
œ.
Œ.
Blue
ink
11
2B
Œ
do you
œ œ nœ J J I
don't
D
23
&
28
&
˙.
œ . œ # œ œ 24 w.
know
##
a - ny - more
a tempo
Œ.
œ.
œ œ œ œ œ 26 w . Œ # Jœ Jœ J J There is
, 29 œ œ ‰ œ œ. J
Œ
now
Œ.
no
Œ.
They scoff, they spit
# & # Ó.
j œ œ
Œ
31
when you
poco più mosso
œ.
# œ œ & # J
34
25
œ J
32
come
˙.
35
œ œ J
œ.
&
40
##
œ. death,
each
œ.
œ nœ œ
day
There's a guilt
più mosso - con moto
œ œ & J
œ.
˙.
41
w.
38
nœ . œ . œ
No
all
pa-rade
˙.
Œ
back
you
œ œ
get
is shit
œ J
j œ œ
When you
˙.
œ.
œ. œ.
On - ly
30
33
Œ.
œ nœ . œ . œ J
œ
36
œ. -
that you can't shake
42
w.
back
Sharper
œ.
œ.
peat,
re
œ. -
a - way
˙.
play
œ. each
nn
for com-ing
Œ
œ œ œ œ J
Where
#18—Come Back
come
Œ œj œj œ
œ œ ˙. 39
43
##
molto rit.
˙.
œ nœ œ ˙ .
Re
œ.
27
be - fore
˙.
back
37
— 227 —
O G F I G H T
do you
— 228 —
44
D
accelerando
& w.
45
˙.
œ œ œ J J
Œ
go?
48
&
I
Più mosso
w.
49
˙.
I
a tempo
˙.
53
˙.
don't
œ.
back
56
&
####
œ J
œ ˙.
# # & # # œ.
60
Come
œ
w.
œ œ J
57
œ J
œ ˙. back
œ œ œ.
47
˙.
œ œ œ J J
rall.
Œ
know
50
I
w.
51
œ.
œ #œ
molto rit.
Œ.
know
Œ œ J
how
54
Come
Œ œ J
back
46
don't
#œ œ œ J J
Œ
know
# ## œ #œ œ . & # J
52
O G F I G H T
Œ œ J
Come
œ J
58
œ œ.
55
˙.
œ J
back
#18—Come Back
####
œ.
Œ œ J
Come
œ œ. ˙.
59
˙.
œ.
back
molto rit.
œ
come
back
w.
61
˙.
to
don't
Œ œ J
Come
62
U Ó.
Ó.
D
— 229 —
O G F I G H T
19
FINALE - TAKE ME BACK Subtle, simple, Very slow
U !
bb 4 & b b bb 4
A
U !
b & b bbbb
1
U !
B
U !
2
U !
3
U !
C
!
4
U !
D
5
U Ó
‰
p FEM. SOLO: nœ œ nœ Oh,
6
&
#
Gentle (q = 68)
˙.
‰ œ œ
# p M. SOLO: & nœ . nœ œ œ ˙ Take
me
# & Œ
œ œ
12
Oh,
#
& a œœ &
#
‰
œ œ œ œ œ œ œ œ
œœ ..
œœ œœ œœ .. œ œ
Take me back
11
a
œ œ œ ˙ .. œ œ œ ˙ ..
Take me back
#19—Finale—Take Me Back
me - mo-ry
Take
14
you found
can
œœ œœ œœ ˙˙
œ.
Take me back
Œ
Œ
œ œ œ œ œ œ œ œ . œ œ œœ " R nœ œ œ œ œ œ œ . J
Take me back
œœ œœ œœ
œ œ œ
Take me back
a sound,
13
Oh,
œ
Œ
œ. œ œ œ ˙
Œ
œœ œœ ˙˙
10
A smell,
take you back,
Œ
œœ œ ˙
a smell,
j " œœ . . J
œ œ ˙
œ
#
FEM. ENSEMBLE:
can take you back
œ œ œ
take me back
œœ
8
Take me back
#
MALE ENSEMBLE:
œ œ
œ.
back
take me back
˙.
a sound
Œ & œœ œœ œ œ œ . œ ˙
9
7
(to 1)
me
back
U !
, 15
U !
U !
,
U !
— 230 —
D
O G F I G H T
BOWS TACET
#20—Bows
20
D
O G F I G H T
EXIT MUSIC TACET
#21—Exit Music
— 231 —
21