Dogfight Perusal Libretto Vocal Book by mtieurope

I B R E T T O

O C A L

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

This book is rented for the period specified in your contract. It remains the property of: PLEASE RETURN ALL MATERIALS TO:

MTI MUSIC LIBRARY

31A INDUSTRIAL PARK ROAD 421 West 54th Street New York, NY 10019 (212) 541-4684

NEW HARTFORD, CT 06057

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.

In accordance with the terms and conditions specified in your performance license, all music, lyrics and dialogue contained herein are the property of the Authors and are fully protected by copyright. You are not permitted to make any changes to the music, lyrics or dialogue of the Play, including the interpolation of new material and/or the exclusion of existing material. Any changes shall constitute a willful infringement of said copyright and will subject you to all the criminal penalties and civil liabilities under the United States Copyright Act. This book may not be duplicated and must be returned at the conclusion of your production. This Play is the property of its Authors. Remember, you have rented these materials and been granted a performance license. You may not duplicate any portion of these materials, disseminate them in any way, in whole or in part, including electronic or digital transmission and posting on the Internet, or use them for performances other than those specified in your license agreement. Federal Copyright Law specifically prohibits the public performance of the enclosed material without a performance license. MTI's delivery of the enclosed material does not authorize you or your group to perform the enclosed show(s) in any manner whatsoever. For example, it does not matter whether your audience pays for their tickets or not; it does not matter if your group is a school or not. The law requires you to obtain a license prior to performing the enclosed material. For further information regarding the severity of the punishments for willful infringement of copyright, please visit www.copyright.gov.

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 —

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

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

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

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 —

— 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 —

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

(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

— 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 —

…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

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 —

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

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 —

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

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 —

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!

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 —

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.

— 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 —

(acquiesces, unenthusiastic at first)

O G F I G H T

BERNSTEIN

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.)

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 —

O G F I G H T

THREE ENSEMBLE WOMEN

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

— 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’

YOU COULD BE THE ONE

BERNSTEIN / GIBBS / STEVENS HEY

YOU COULD MAKE MY DAY HEY

BOLAND / FECTOR

HEY, GOOD-LOOKIN’

WHAT’S A GUY TO DO?

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 —

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 GOOD-

LOOKIN’

HEY GOOD-

FECTOR

WOMEN

DOO DOOT

DOOT DOOT DAH DOO DOOT

HEY GOODLOOKIN’

DOO DOOT

DOOT DOOT DAH DOO DOOT

HEY GOODLOOKIN’

DOO DOOT

DOOT DOOT DAH DOO DOOT

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

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

YOU AND

DOO DOOT

TO? DON’T BE

ME AND

DAH DOO

WAIT JUST

BABY WHERE

HONEY

TO? BABY

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

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

AND I BEEN LOOKIN’ FOR

— 20 —

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’

DOOT DOOT

FOR YOU

LOOKIN’ FOR YOU

WOMEN

ALL MARINES

(MARINES, so far unsuccessful, experience one final rejection.)

Shit!

#4a—Hey Good Lookin’ Playoff

[Orchestra]

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 —

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

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 —

(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.

— 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 —

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

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 —

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,

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 —

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

(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 —

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

— 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

(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 —

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

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 —

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

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

— 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 —

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.

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 —

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]

— 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 —

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

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 —

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

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 —

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

— 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 —

(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.

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 —

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

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 —

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.)

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 —

(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

— 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 —

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

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 —

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

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 —

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?

THEY’RE THE DOGS

NO THEY’RE THE SLIMES WHO HURT NICE GIRLS

FOR REAL NICE TIMES

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

(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 —

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]

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 —

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.)

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 —

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.)

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 —

(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

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 —

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.)

(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 —

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

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

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’

(A triumphant BERNSTEIN reemerges from behind the curtain. Mission accomplished.)

— 74 —

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]

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 —

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

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 —

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.)

— 79 —

O G F I G H T

ROSE

BIRDLACE

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

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 —

O G F I G H T

ROSE

BIRDLACE

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

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

— 81 —

O G F I G H T

ROSE

BIRDLACE

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

(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 —

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.)

(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 —

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.

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 —

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.)

#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

(Their dinner continues as we transition, shifting focus from restaurant to tattoo parlor.)

— 88 —

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

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 —

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

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 —

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.)

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 —

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]

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 —

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.)

— 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 —

(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.)

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

(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

(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.

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

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

(The voices crescendo. Lights fade on their lovemaking.)

— 102 —

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 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

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 —

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.)

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)

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.)

— 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

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 —

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?

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.)

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 —

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]

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 —

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

(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]

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

HOW TO 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 —

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

(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

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]

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

We Three Bees ....................................................Birdlace, Boland, Bernstein .......131

2a. Some Kinda Time (Playoff).................................................................................130

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

Come to a Party......................................................................Birdlace, Rose .......145

Nothing Short of Wonderful ................................................................Rose .......151

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

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 —

O G F I G H T

— 119 —

O G F I G H T

PRELUDE - TAKE ME BACK Haunting, Folky q ROSE: (vox 2nd x only)

& 44 ..

= 76

(gently, like an echoing memory)

‰

œ.

œ. œ œ œ. da

&œ

œ œ œ œ œ

Some kinds of time

are real

Some

œ #œ

dream

œ.

Some

œ œ

to de-ceive

&˙

‰

&˙

‰

and

j œ œ œ.

and

you

2 œ œ 4

you can't

Some

œ œ.

œ œ œ œ

œ œ œ

œ œ œ œ

œ œ œ

kinds of time

BIRDLACE:

œ ˙.

‰

j œ œ œ.

Œ ..

œ œ œ

set

kinds of time

Some

‰ œ œ. œ œ œ œ œ . œj

quick to leave you

a - way

are

œ. œ œ œ œ œ ˙.

œ œ œ œ œ

kinds of time

‰ œ œ œ œ œ œ . œj

œ œ œ œ

œ. œ œ

11 ROSE:

&œ

œ œ œ œ

& 24 œ .

#œ œ. œ œ œ.

kinds of time

‰

ROSE:

play

œ œ ˙. play

#1—Prelude—Take Me Back

Oh,

re - peat

œ œ a smell,

# #

— 120 —

# & ˙. 17

‰

œ œ

˙.

œ œ

a sound

can

" œj .

œ œ ˙

œ take

you back

Oh,

œ. " J

BIRDLACE:

Oh,

& œ

œ œ œ œ. œ

‰

take me back

O G F I G H T

# œ

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

found

can

take me back

& & &

j " œ.

œ œ ˙

take you back

Oh,

" Jœ .

M. ENSEMBLE:

BIRDLACE:

Oh,

" œj .

F. ENSEMBLE:

Oh,

œ . bœ œ œ ˙

take

œ. take

back

j œ œ b œœ ˙˙

(ens. splits)

˙˙

back

#1—Prelude—Take Me Back

œ Take

back

œ . bœ œ œ ˙ take

œ œ

me back

BIRDLACE:

œ œ

Take

me back

n n

& ˙.

œ . #œ ˙ 27

(ROSE)

— 121 —

O G F I G H T

œ œ œ œ.

Da da da da

& ˙. &

M. & F. ENSEMBLE:

œ. œ. œ œ œ.

œ. œ œ œ. da

˙ & œ. œ œ œ.

da da

‰ œœ .. # œœ œœ œœ œœ œœ ˙˙ ..

œ . #œ œ œ œ ˙ . ‰ œ . œ œ œœ œ œ ˙ .

œœ ..

œ. œ œ œ œ œ ˙.

#˙ œ. œ œ œ. ˙

œ œ

œœ ..

œ.

# ˙˙ œ. œ œ œ.

Vamp (crossfade to #1A on cue)

& ..

da da

M. ENSEMBLE:

F. ENSEMBLE:

#œ œ. œ œ œ.

‰

œ . #œ ˙

(BIRD)

‰ . œ œœœœœ ˙

#1—Prelude—Take Me Back

— 122 —

O G F I G H T

BEFORE SOME KINDA TIME

Spare, ghost-like

U !

b & b b b b 44

U !

U Ó

œ œ œ

BOL:

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

when we hit

b œ Œ œ œ œ œ & b bbb

Some kin - da hum

it hard,

and lit

the sky

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

œœ œ œ œ

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

Some kin - da time

q = 72

œ œ œ n œœ

˙˙

some kin - da maze

b œ & b bbb

œ œ œ

THREE BEES:

b & b b b b œJ œ . ning

œ œ œ œ œ œ œ œ

to a youth

bœ

Whad - da - ya

q = 96

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

Some kin - da time

œ œ bœ

we'll be kings

say

some

kin

#1a—Before Some Kinda Time

for an eve -

œ -

œ time?

Segue as One

— 123 —

O G F I G H T

SOME KINDA TIME Driving, with a steady motor

q = 96

b & b b b b 44 ˙

(time.)

bb &b b b Ó

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

mean

œ bœ œ œ

œ œ œ

ma-rine

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

Lock

your door

7 BIRD:

this morn - ing

BIRD:

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.

your daugh - ter

Try

some hell!

See

‰

it!

13 BOL:

œ œ

Would-n't

#2—Some Kinda Time

œ œ ‰ bœ

com-in'?

œ œ œ.

want

her

BERN:

Through the

THREE BEES:

BIRD:

œ œ ‰ j 5 œ 4

œ œ œ œ œ œ

THREE BEES: 9

BOL:

Sound a si - ren! Bang the bell!

œ œ . nœ 4 œ 4 œ ˙

œ ‰ b œ œ œ ‰ . œR œ œœœ BERN:

5 BOL:

œ œ œ

Hit

œ œ

œ œ Œ the dirt!

œ Œ

get - tin' hurt!

— 124 —

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

ty's on,

we got

bb œ &b b b 19

> œ œ œ

‰

in,

O G F I G H T

till dawn

b & b bbb

are now

œ œ œ bœ œ œ œ œ we'll be kings

b ˙ & b bbb

night

œ œ. J

œ œ

- ning

bœ œ œ

Gon-na be

œ œ

b >œ

Mak - in'

noise

œ œ œ

Some kind - a time

œ Œ

œ œ œ œ

Some kind-a time

Cut all our strings,

hav - in' some kind - a

Vamp (On cue, jump after beat 2 or 4) 28

The par -

œ Œ œ

in charge

for an eve

‰ œ œ THREE BEES:

large

bb œ œ œ œ œ œ œ œ œ œœ œ &b b b

Big

bœ œ bœ œ œ œ œ œ

the boys

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 time

BIRD: ! œ œ œ

We're gon - na

Heavier, half-time with swagger

b & b bbb 31

run

œ bœ œ œ

the streets

and

œ œ œ

find

some

œ œ œ. trou - ble

32 BERN:

One

#2—Some Kinda Time

last

night

œ bœ

œ œ Œ

for - get

don't

STEV/ FECT:

bb &b b b

Drink

bœ

deep we're

f GIBBS/ FECT: b b 5 œ œ œ b œœ b b J & b4

‰

An - y-thing goes,

## #œ

36B

band

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

and more when you join

One

your bud-dies 'll

the corps

œ œ # œœœ

Don't think it through

˙˙ ˙

pull

œ œ Œ

re-gret!

last night with

œœ .. œj n œ 36 œ 44 œ œ Ó cruis

Pride

bare - ly

nœ œ œ

œ.

you

œ œ

thought you'd

seems like

feel

was real

#œ 4 œ œ ˙ 4 right

through

œ œ œ

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 ‰.

you ne-ver

36E

nœ Œ !. R

BIRD:

36A

in'

œ œ œ

36C

œ.

nœ œ nœ 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

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

— 125 —

O G F I G H T

will tell

you what

you got - ta do

— 126 —

## œ

œ œ œ

ALL:

O G F I G H T

œ œ œ # œœœ

Some kind - a time

œ .. œœ .

# œ œ. & # œ # œœ .. J

‰ n n œœ œœ œœ 47

ning

œœ

Don't-cha miss out

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

.. ˙˙

œ J

œ.

œ J

œ.

ALL MARINES:

Good - bye

b &b ‰

# #œ & # ‰ œJ 54

to chi - li

œ œ

œœ ..

œ n œœ œœ

STEV/GIBBS/BIRD:

œœ J

œœ ..

r œ œ œ

œ ‰.

fries

œ ‰

long - to waf-fle cones,

Fare - well

# & # ‰

œ œ

j œ

new

œœ œœ ! œ 55 2 œ œ 4

to Chev-ro - lets,

pies,

œ œ

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 -

time

Relax tempo, but accented and sharp

b &b ‰ 50

Cut

œ œ J

Wil-lie Mays,

#2—Some Kinda Time

œ œ œ

and Di

œ œ œ

nah

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

œ # & # ‰ J

œ œ œ

off

to you

Double-time feel

Hats

œ # & # ‰ J

Hats

œ œj œ

‰.

to you

œ œj œ

r œ œ œ

‰.

red, white and blue

r œ œ œ

Moving forward, half-time feel

####

r œ œ #œ

And live it

œ ˙ ‰.

FECT/ BOL:

œ #œ œ R

And live

# ## w & # # w #### œ . & #

œ œ

# # œ & # ## œ

œ œ œ œ œ œ œ

wild

# # œ œ & # ## wild

œ œ œ.

####

œœ œœ œ

GIBBS/STEV/ BOL/BERN/FECT:

! œœ

live

BIRD:

And

œ. nœ .

j œ œ J

œ œ œ

! œ

up!

cup,

˙˙˙

œœ

and live it

And

BERN:

# ‰Ó .

˙˙

cup,

œ œ œ # œœ # # # # # R

STEV/GIBBS/ BIRD:

œ Ó

So raise your

# # # # ww & #

œ ‰.

So raise your

red, white and blue

œ œ œ

off

— 127 —

O G F I G H T

live

œ œ

œœ up!

œ up!

r œ R

‰.

œ R

‰.

˙.

ride

on my last

Tempo primo 65

night state - side

œ œ œ œ œ œ œ ride

œ œ œ. œ œ œ.

night state - side

#2—Some Kinda Time

nnnn

— 128 —

& Ó

Œ ‰. œ R

Train, straight ahead

>œ

ALL MARINES:

>œ > bœ œ

The whole damn town

>œ

> bœ

whole

damn

world

‰

Mak-in' it

#œ

don't

know

bœ œ & F.

row

œœœ

œœ œ

one

shot

nœ

where

the

night

œ œ œ

œ œ

ALL MARINES:

œ ! œ œ K.

and the

œ œ œ ‰

Noth - in' stand - in'

œœ .. œ.

œ œ œ œ

we go

j #œ nœ #œ œ we

œ œ

œ œ Œ

6 4

GIBBS/STEV/ BERN/FECT:

‰ œ œ

got

The

to-day

4œ 4 œ œœ œœ

might

#2—Some Kinda Time

our way

for broke

œ ‰ . œR

œ bœ œ œ œ œ œ

to bor - row

œœ œœ œœ

œ œ œ ‰

to - mor

tak - in' that

count,

ours

might change

b œœ 6 & 4 œœ œœ œœ œJ

O G F I G H T

You just

Here's

BIRD/BOL:

Some kind - a

# œœœœ time

# # œœ

œ œ # œ # œœ

˙˙

Œ ! œ œ nœ

Take what we own

# & # œœ

Œ # œ œ œ œœ

## œ

Œ ! œ œ nœ

˙˙

Some kind - a time

# & # œ

œ œ

Some kind - a time

all

œœ

our strings,

all

our boys - 've grown

œ œ œ œ œ œ œ

œ œ œ #œ Cut

œ œ œ œ œ œ œ

bam, thank you m'am,

œ œ œ Cut

bam, thank you m'am,

With a wham,

œ œ œ

With a wham,

Take what we own

— 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 ˙˙ ##

ning

œ # œœ ˙˙

ning

# # œœœ ... &

j # œœœ œœœ J

nœ œ œ

Whad-da - ya

say

nœ œ œ

Whad-da - ya

say

some kind - a

œœœ

œœœ # # œœœ œœœ

œœœ

time?

œ œ œ

THREE BEES:

some kind - a

ß >œ > > > n œ œ œ œ œ #œ nœ œ œ

No-one - 'll mind a,

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

" Applause segue

— 130 —

O G F I G H T

SOME KINDA TIME - PLAYOFF TACET

#2a—Some Kinda Time - Playoff

— 131 —

O G F I G H T

WE THREE BEES

# # # 4BIRD/BOL: œ œ œ œ œ œ œ œ & 4

We three bees have a migh - ty

# # # BERN: Œ & œ

Bzz

# # # BERN: nœ & We

three

bees

œœ

# œœ

blood

# # œ & # nœ

Thick

### 3 œ . & 4

Military

œ œ

#œ œ

nœ

# # # BIRD: œ œ

bees

three

œ œ œ œ œ œ œ œ

3 BIRD/BOL:

sting

We three bees have a migh - ty

œœ

œ œ

and we're do

œ œ nœ

#œ . nœ #œ

for

a - ny - thing

œ œ

are for - e - ver

œ J

young

œ n n œœ

die

œœ œ

Bzz

œœ œ

3 4

Bzz

com - in' com - in' com - in' com - in'?

nœ " œR 34 THREE BEES: 16

Bzz

14 4 œ #œ 4

#œ

Bzz

œ œ

œœ œ

Bzz

THREE BEES:

Can't - cha hear that noise

nœ

THREE

G.P.

sting

7 BEES:

li - vin' Sem - per

Can't - cha hear it boys?

And we come pre - pared

G.P.

‰ œ œ œ BIRD:

Bzz

(Bernstein acquiesces, unenthusiastic at first)

(No response from Bernstein)

Military (q = 106) (a cappella)

watch

#3—We Three Bees

your

back

œ œ nœ

or ya might

get

Segue as One

— 132 —

O G F I G H T

HEY, GOOD-LOOKIN'

Bluesy rock shuffle, swing e 's q

& b 44 œ

3 BEES:

= 170

(to 3)

stung

1 ENS. WOMAN:

& b œ.

Doo

j œ. Œ doot

3 ENS. WOMEN:

& b œœœ ...

Doo

&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

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

doot

œœ .

doot

dah doo

doot

BERN:

doot

‰ œJ

Hey,

BERN: I just had to stop and say hello...

bœ so

œ nœ

out - ta sight

‰ œ J

BOL:

Hey,

BOL: Don't do it for me, do it for your country!

&b œ

bœ

œ œ Œ

good - look - in'

œ &b

bœ

œ bœ Œ

good - look - in'

What - cha

œ œ œ œ

do - in'

bœ

bœ œ œ

How's

a - bout

to - night?

bœ nœ

‰ b Jœ

GIBBS:

Hey,

GIBBS: Donde esta la biblioteca? 21

a date?

#4—Hey, Good-Lookin’

‰ œ J

FECT/STEV:

Hey,

STEV: Hey! FECT: Where you runnin' off to?

& b œ bœ

œ œ Œ

Pick

Half-time feel

bb &b b

œ œ Œ

good - look - in'

b & b bb

œ œ Œ

good -look-in'

up a-round

eight

œ œ œ

œ œ

to do?

&b œ

3 ENS. WOMEN:

j œ. Œ

guy

Searched the whole

Bluesy Rock Shuffle

œ Œ Ó

you

What's

œ œ œ

good - look - in'

— 133 —

O G F I G H T

world

Doo

doot

dah doo

doot

˙.

& b ..

3 ENS. WOMEN:

& b œœœ ...

Doo

j œœœ Œ . doot

doot

œœœ .

dah doo doot

œœœ .. .

Doo

œ J

‰ Jœ Jœ œ

say,

œ œ œ

j œœœ Œ . doot

#4—Hey, Good-Lookin’

doot

œœ œ.

dah doo

doot

j j j ‰ œœœ ‰ œœœ ‰ œœœ b œœœ . . doot

Hey,

j j j ‰ œœœ ‰ œœœ ‰ œœœ œœ bœ . .

doot

Hey,

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)

! œœ .. œ.

œ.

through

‰ œj ‰ œj ‰ œj bœ . .

Hey,

Say,

you!

& b œ.

ALL MARINES (EXCEPT BIRD):

‰ b œJ Jœ œ

œ J

œ œ J

# ‰ Jœ STEV:

Hey,

. ‰ œj ‰ œj ‰ œj œ œ ‰ Jœ . . doot

doot

dah doo doot

doo

— 134 —

# œ

bœ

œ œ Œ

good - look - in'

# & œ

bœ

œ œ Œ

good - look - in'

& &

bœ

I'm

brand

œ nœ

new

# œ

bœ

Don't

œ bœ Œ

œ go

Hey,

turn - in'

me down

nœ

bœ

bœ nœ

could

have

some fun

good - look - in'

& &

# nœ Took

& &

‰ Jœ

in town

Œ bœ

breath

‰

œ J

BOL/FECT: 58

Hey,

bœ

! œ

bœ

# œ

You

œ œ Œ

œ bœ Œ

good - look - in'

59 FECT:

You

Nœ

could

the

one

a - way

! BOL:

‰ n Jœ

good - look - in'

bœ nœ

BERN:

Hey,

GIBBS/STEV:

Hey,

BOL:

FECT (growing desperate): And now the cancer's spreading to my liver...

BERN (bragging): So there I am at lunch with Perry Como...

O G F I G H T

bœ

j œ

could

make

day

nœ J

GIBBS/STEV/BERN:

‰

#4—Hey, Good-Lookin’

Hey,

‰ nœ J

BOL/FECT:

‰

Hey,

‰

œ J

Hey,

Half-time feel

œ nœ bb

œ œ Œ

good - look-in'

b œ nœ b &

œ œ

what's

good - look-in'

œ bb œ

b œœ

do?

œ œ

guy

Rock out

bœ

œ œ Œ

# œ

Rock out again

bœ

œ bœ Œ

good - look-in'

through

œ œ J

œ J

U !

G.P.

bœ

œ nœ

Got

my knees

bœ

Got

œ œ œ

œ œ

a guy

to do?

˙.

say,

œ œ ‰ Jœ ‰ Jœ

Say,

nœ

say,

bbb

œ œ œ

(to 74)

œ Aœ œ œ

I've been look-in' for

œ œ œ œ beg - gin'

œ ‰ Jœ

‰ Jœœ Œ

I've been look-in' for

through

Say,

œ œ J

world

œ J

world

Vamp (out on cue)

to What's

Searched the whole

good - look - in'

œ œ œ

good-look-in'

# œ & 44 79

Searched the whole

œ œ Œ

b & b b .. 74

good-look-in'

œ œ œ

what's

œ œ Œ

— 135 —

O G F I G H T

ALL MARINES (EXCEPT BIRD):

24 Œ

‰ Jœ

Hey,

#4 4

ALL MARINES (EXCEPT BIRD):

‰ n œJ

Hey,

ya please

#4—Hey, Good-Lookin’

‰ œJ

BOL:

Hey,

— 136 —

# œ bœ & 87

œ œŒ

O G F I G H T

‰ n Jœ

good - look-in'

& & & &

œ œ Œ

STEV: ‰ Jœ œ

# œ.

Doo

‰ n Jœ œ

Hey,

œ œŒ

‰ Jœ œ

j œ. Œ doot

doot

Hey,

good - look-in'

dah doo

nœ ‰ J

œ bœ Œ

œ.

GIBBS:

good - look-in'

œ œŒ

doot

‰ Jœ

œ bœ Œ œ

Hey,

bœ

‰ œj ‰ œj ‰ œj n œ . . doot

FECT:

Hey,

good - look - in'

Hey,

œ bœ Œ

good - look-in'

bœ

! 3 ENS. WOMEN:

good - look -in'

Hey,

# Œ ‰ BERN: œ œ bœ & J Hey,

œ bœ Œ

good - look-in'

‰ n œJ 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

# œ

bœ

œ œŒ

O G F I G H T

‰ n Jœ

good - look-in'

# Œ

œ œ Œ

# œ bœ Œ

‰ œJ

‰ Jœ œ b œ Hey,

œ. Doo

j œ. Œ doot

doot

œ bœ Œ

dah doo

œ.

doot

good - look-in'

œ œŒ

nœ ‰ J

‰ bœ J I

nœ ‰ J

œ bœ Œ

good - look-in'

‰ n Jœ œ

good - look-in'

‰ œj ‰ œj ‰ œj n œ . . doot

Hey,

‰ n Jœ œ

œ œŒ

good - look-in'

good - look - in'

œ bœ Œ

Hey,

bœ

look-in'

good - look-in'

Hey,

‰ Jœ œ b œ Hey,

— 137 —

Hey,

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 —

# œ think

# Œ

œ bœ œ œ

saw you at church

nœ

Your

dad

œ nœ œ œ ‰ J

last

# œ bœ Œ

‰

j œ A

# nw Ba

# œœ .. œ. Doo

ten - ded

nœ

œ œ

bar mitz

œ nœ œ œ ‰ J

sec - ond

œœ. Œ œ J

. ‰ œœœ J

doot

œ nœ

I'd

the luck -

œ bœ ˙ -

vah

œ nœ œ œ ‰ J

œ ‰ J

You and me

nœ œ Œ

cou - sin

doot

Me and you

look - in'

Sun - day

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

. ‰ 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

# œ œ œ bœ Ó &

i - est guy

& &

# Ó

I'm pre - ty sure

# œ

fact

you

. ‰ œœœ ‰ œœœ n œœœ J J doot

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!

#4—Hey, Good-Lookin’

j œ œ

shy

œ nœ œ œ ‰ J

. ‰ œœœ J

doot

Wait

bœ œ J

Don't be

‰ 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

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

bœ œ J

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 —

# & ‰

j œ

101

& & &

œ I

could

get

nœ

just

where

# œ œ

# œ

Ba - by

may - be

Ba - by

œ J

‰

You

# œœ .. œ.

nœ

and

Let

# & w

102

your

run - nin'

bœ

run - nin'

num

œ (STEV/ FECT:)

bœ to?

ber

bœ

œ won't

ney

n œœ

œœ

œœ b œœ

Ba - by

all

I'm

ask - in'

you

œœ

you

œœ

to?

œ J

‰

nœ

œ ‰

˙.

œœ. œ J

‰

doot

‰

doot

œœ œœ œ nœ J

dah

doo

œœ. œ doot

BOL/

3 ENS. WOMEN:

Doo

doot

103 BERN:

& œ

bœ

min - ute

œœ. œ J

Doo

Well,

# nœ

nœ

O G F I G H T

take

you

104

nœ

out

˙.

œ œ œ

to - night

105 BERN:

b b œœ

Let

œœ

n œœ

take

bw Doo

#4—Hey, Good-Lookin’

œœ

you

b b œœ

106

out

˙.

œœ n œœ œœ

to - night

# #GIBBS: & œ œ

107

Let

œœ

Let

BOL/ BERN/FECT:

œœ

take

you

œœ

take

you

>œœ

to - night

Let

take

you

out!

œœ œœ œœ œœ

# >œœ

>œ œ

Let

take

you

out!

˙.

œ œ œ

out

(3 ENS. WOMEN)

>œœ

THREE MARINES:

# >œœ

108

œœ

— 141 —

O G F I G H T

STEV/ GIBBS: 109

to - night

œ œ œ ‰ Jœ Jœ œ

110

Hey,

n œœ J

œ J

Hey,

‰ œj œj œ

TWO MARINES:

Hey,

Doo

111

Stay in Double-time, Full rock out

œœ

& œ

œœ œœ Œ

n œœ

112

good - look - in'

What's

œ œ Œ

œ œ œ

guy

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,

œ J

115

œœ œ

œœ

œœ œœ

Hey,

‰ œœ J

œœ

œ whole

What's

œœ J

j j œ œ œ

‰

116

œœ

guy

good - look - in'

Searched

the

good - look - in'

Searched

the

whole

œ œ Œ

#4—Hey, Good-Lookin’

œ J œ J

Hey,

œœ

j œ œœ to

Hey!

œœ

do?

œ J

world

through

world

through

œ J

— 142 —

117

& &

###

121

119

Searched the

whole

world

Searched the

whole

world

FOUR MARINES:

œ > you!

œ œ œ œ. J

118

œ œ œ œ. J

‰ œœ œœ J

122

I been

œ nœ œ œ ‰ J

œ ‰ J

# # # 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

doot

œœ œœ œœ œœ

I been

look-in' for you

œ œ œ œ

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

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

doot

>œ >œ >œ

I've

look - in' for you

œœœ. Œ ‰ œœœ. J J

n >œ

and

‰ Jœ

˙.

w œœœ .. .

+BIRD:

through

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

127

Look-in' for you

run - nin' to?

¿ Œ

doot

128

Shit!

¿ Œ

Shit!

! Applause Segue

O G F I G H T

HEY, GOOD-LOOKIN'—PLAYOFF TACET

#4a—Hey, Good-Lookin’ - Playoff

— 143 —

— 144 —

O G F I G H T

GIVE WAY (At The Diner)

b U & b b 44 Ó

‰. r œ œ œ œ œ œ œ œ œ ROSE:

b 4 &b b 4 œ

still

flo-wer

‰

j œ Give

bows

œ ‰ œj 34 œ œ œ œ œ œ œ œ . 3

to au - tumn chill,

way

! œj . Give

#4b—Give Way (At The Diner)

to - ber ri - ver

fro - zen

œ œ

way

œ œ

— 145 —

O G F I G H T

COME TO A PARTY

# & # 44 ..

Conversational

q = 96

Vamp (vocal last x)

.. .. Œ .

* (thinking on his feet, struggling to overcome her resistance, shifting tactics throughout)

‰.

j ¿

* BIRD:

r œ œ

Well,

œ œ œ Œ ‰. birth-day now

# œ & # œ

## œ œ ˙ .

See, I'm an

not on

fluff

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

Why not come

con - nec - tion

œ œ œ

to this

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

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

mid-dle name

U " œ œ‰ œ œ œ œ" r œ œ

‰ œ œœ

œ ‰ œ nœ œ nœ ‰ Œ

mu-sic stuff,

you my

pick-up game

Showed

œ œ œŒ Ó

you know

œ œ œ œ œŒ ‰ j œ œ œ r œ œ œ œ œ 5

4 œ b4

not come

œ œ œ bœ bbbb

A five - piece band,

— 146 —

bb & b b œ " bœ œ

j œ bœ œ œ

b ˙. & b bb

‰.

I'll take your hand,

œ R

"Yes"

A tempo primo Vamp (vocal last x)

Born

####

Ate

#### œ œ œ ‰ œ œ œ œ. Œ &

#### œ œ ˙ .

gol den

poco più mosso

eyes,

Buf

just say "Yes"

boy

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

j œ œ

‰

type

pride 'n joy,

.. œ

bbb

‰ œj œ œ

My old man raised me right, real po-lite,

nœ nœ #œ Œ

Clea-ver

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

Buy

œ œ œ œ œ œ œ ˙ to

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

O G F I G H T

ev - 'ry

2 ‰. 4 35

œ œ

œ Œ

brus-sels

r œ œ

j œ

‰

A Wal - ly

sprout

4œ œ 4

poco rit.

Your av - 'rage

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

ma - ma's

œ œ œ

Now look in these

j œ

gon - na

œ.

hurt

j œ ˙ you

####

œ nœ œ œ

So why

& œ œ

b & b œ.

œ œ

just

‰.

what-cha feel

b &b w

œ œ œ œ œ " œ œ œ J R

Hey, just

for

a night,

œ œ œ R

cut it

loose,

œ œ

it's

œ J

Rose,

and

poco rit.

œ œ Let's go

accel. 51

C' - mon,

hol - din' tight, let

œ œ œ œ œ

œ œ

r œ œ bœ œ nœ nœ J

bb œ . J

ex - cuse

‰

a par ty with me?

Come

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

" ¿

r œ œ

‰.

œ œ

not come

a par - ty

œ œ

a bit more driving

‰

— 147 —

O G F I G H T

ROSE:

œ œ œ

b & b œj ‰ œ

go,

well,

own

b &b Œ

She would die,

she would know

know,

œ œ œ

I could lie

Look,

‰ œj œ

I'm not

would

œ bœ bœ I

rea - dy

could - n't

lie

‰ œj œ 64

here

her

œ œ œ

‰ Jœ œ n œ

We're clos - ing,

#5—Come To A Party

If I go,

and

Ed - die, I've

3 4

— 148 —

b j &b œ œ

j œ œ

still

got

back,

‰ œj œ

ta work,

Build (to m.78)

b &b œ

b j & b œ bœ

don't real

j œ œ

b &b

drink

Look,

bœ

See

bœ

to this par ty with me

Look,

‰ œj

œ J

œ œ

you can't

miss

nœ Rose,

I'll

don't

nœ

œ œ

race

ya right

#5—Come To A Party

q=e

#4 4

can

‰ œj # 44

BIRD:

Come

and

œ bœ

You'll meet my friends,

œ œ œ

needs

this par - ty

œ.

think

can't just get up

œ œ

plus

œ œ œ.

œ œ

mop,

bœ

Give it

j œ œ

Ma - ma

œ J

jerk

real - ly

# r & 44 œ n œ œ œ œ œ œ ‰ . œ œ œ

and when it ends,

j œ œ

got

b & b œJ " œr œ œ b œ

come

b &b ˙

still

Driving

œ œ œ

don't

#4 & 4 w 78

C - 'mon

Ed - die, stop!

O G F I G H T

home

œ œ

a-round

‰

œ œ Or why

Build (to m.85)

b &b Œ

‰

œ œ œ œ.

I'd like

b œ &b œ

œ œ

cap

but I...

œ œ œ œ

œ œ J

grab

dles

and wine,

a bite,

&b œ œ

poco rit. BIRD: freely

" ¿j

rous - in' par - ty

& b œ.

gosh

œ œ œ

you

œ œ

seem swell

Well,

‰.

just

œ œ " œ J R

and you,

can -

U !

G.P.

in - ter-twine...

œ œ

for two,

œ œ

r œ œ

I'm glad

œ œ

rit.

r œ œ œ œ œ it's

U Œ œ œ œ œ œ

one hell - u - va time,

a shame

œ œ should be

Slow, but in tempo

‰.

we met,

Still,

colla voce

œ œ

You'll missout

ble

hands

œ œ " œ œ œ J R

" œ œ œ R

Slower than at first

œ œ

" œ R

! œ œ J

œ.

to,

the night? We'll go

b œ &b œ

— 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

— 150 —

&b œ

May - be

O G F I G H T

U Ó

‰

U !

G.P.

could - a

Tempo I

96-97

99-101

101A-101B

U Ó

" Ó

101C

(to 102)

œ œ œ

BIRD:

Not too bad

102

Colla voce

& œ

œ œ œ œ œ œ Œ for a pick in

b &b œ œ œ

106

pinch

In time, but relaxed

b &b œ 104

œ œ

œ Œ

cut it

She can

work

for this

down

œ That

œ œ œ œ

be al - right I'm set

œ œ

for

œ œ to-night

105

was

rall.

107

œ œ œ

103

‰.

par - ty

A lit - tle

œ œ œ

the

r œ œ bœ bb œ

‰

wire

dose

But she'll

‰ . Rœ œ œ œ œ œ œ œ ˙

(A big sigh, relief washes over him)

108

Off

a par - ty with you

Segue as one

#5—Come To A Party

— 151 —

O G F I G H T

NOTHING SHORT OF WONDERFUL

[DIRECT SEGUE FROM #5]

Light h

(BIRD) b &b C w

= 94

2-3

j ‰ ¿ ¿ ¿ ROSE:

(you)

####

‰ ¿j ¿ ¿

‰ œj # ‰ œj œ œ œ œ oh my gosh,

ho - ly cow,

‰ ¿j ¿ ¿

# ## 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

# # ‰ œj & # # # ‰ œj œ œ œ œ

be a girl,

And your hair,

- ning a death?

‰ œj ‰ œj œ œ œ œ what a mess,

Take a breath!

‰ ¿j ¿ ¿

What a look,

‰ œj œ œ

some-thin' pink,

pick a dress

‰ œj œ œ ‰ j œ œ œ

Oh my gosh!

‰ œj œ

‰ œj œ œ

Oh my gosh,

œ œ œ œ ‰ œj œ œ

squash

keep it bright,

‰ œj ‰ œj œ œ œ œ

Œ Ó

Oh my gosh!

what to wear?

Oh my gosh!

####

I mis-took

‰ œj œ œ

Keep it soft,

don't - cha think?

#6—Nothing Short Of Wonderful

‰ œj ‰ œj œ œ œ œ Just a touch,

not too much,

— 152 —

####

j # ‰ ¿j ¿ ¿ ‰ œ œ œ > > he likes you,

####

# œ

with

# ## & # # Ó

the

œ œ œ

just be you

pink

the

‰ j j œ œ œ

who

ful?

No - thing

should I

‰ œj œ œ

j œ œ

Broader

no-thing

nœ

short

rit.

2 nœ 4 35

won

37-39

der

# # & # ## ‰

j œ œ

just

# # & # ## ‰

j œ

guy,

what you've heard,

> œ

j œ œ

‰

but

‰

it's

j œ

‰

ful

‰

him

œ a

and

bird,

‰

> œ

j œ œ

ROSE:

it's

j œ

how

j œ

‰

you

#6—Nothing Short Of Wonderful

and

lift

‰

U nw

Just

3 4

won - der

œ -

2 œ 4

short

# # # # 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 ˙ .

‰ œj œ

what - chu wear!

œ œ œ œ œ

He won't care

O G F I G H T

j œ and

it's

girl,

true,

your chest

####

# œ œ œ œ œ œ feels a pull

####

like you're full

œ œ œ œ ‰ j œ œ œ of

— 153 —

O G F I G H T

a joy

cause a boy

####

j # œ

j œ

Broader

no - thing

####

# C œj

no - thing

####

short

j œ

short

won

nœ

in - ter - rup - ted your shift

some

der

2 nœ 4 -

thing

3 4˙

U nw

der

ful

Vamp (vocal last x)

.. Œ

57-68

ROSE: (last x)

He - could

####

Broader

j # œ

j œ

no - thing

# # & # ## œ

could

short

molto rit.

C œj œ 75

no - thing

ful

won

A tempo primo

œ œ œ œ œ œ œ œ

(to 49)

2 œ 4

won

j œ œ

short

der

3 4˙

ful

nœ

76 U 2 nœ 4

won

#6—Nothing Short Of Wonderful

(to 71)

U œ -

der

# -

— 154 —

Slower - espressivo h

& Cw

= 90

ful

# ROSE: & œj œ

j œ œ

What if,

when

# j & œ œ

What if,

79-80

œ œ

we're dan

j œ œ

O G F I G H T

when

we're dan

& w

œ œ

cing

I'm clum

œ œ

cing,

j œ

no - thing

# j & Cœ œ

No - thing

####

100

short

j œ œ short

A tempo primo

won

molto rit.

24 b œ

101

won

œ œ. J

œ œ

der

102

j œ œ.

rit.

œ œ

and

34 ˙

we glide

œ feels

œ œ

meet

œ der

col-lide?

our lips

U w

our feet

me,

œ œ

sy,

bœ

24 œ

bœ

œ œ. J

the room

Slower, Dreamy like a music box

# j & œ

he dips

a - cross

ful?

U bw

####

U !

ful

103

‰

j œ œ

ROSE:

Hur - ry

#6—Nothing Short Of Wonderful

up,

####

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

and

noth - ing

short

j # ## & # #C œ œ

j œ œ

116

noth-ing

####

120

de - cide

j # œ

œ œ œ

you might bust

the

Frantic

‰ j # ‰ œj œ œ œ œ œ on

a date,

112

won

C œ.

2 œ 4 117

118

won - der

der

date!

œ ˙ J

you'll

ful,

‰ œj œ œ

ful!

But you can't

Pick the shoes

poco accel. 119

‰ œj ‰ œj œ œ œ œ a

34 ˙

115

121

got - ta choose

And

24 œ

œ œ œ œ ‰ j œ œ œ

dress

114

you're a loon,

109

or ma-roon,

but you've just

111

‰ œj ‰ œj œ œ œ œ

106

Ei - ther white

œ œ œ œ

108

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

####

‰ 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

124

And your room

nœ

get

O G F I G H T

is in heaps

what

127

gir

131

128-130

and you can't

dle

####

Ó # ‰ œj œ œ oh my gosh,

134

U "Ó

see the floor,

‰

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

but you fin -

gosh!

‰ œj ‰ œj œ œ œ œ

132

oh my gosh,

2 135-136

oh my gosh,

O G F I G H T

TRANSITION TO STREET TACET

#6a—Transition To Street

— 157 —

— 158 —

O G F I G H T

COME TO A PARTY - REPRISE

Expectant q

& 44

= 96

‰.

r œ

ROSE:

Off

Safety (vocal last x)

& .. œ œ

b &b b 5

œ œ œ œ œ

r œ œ œ

a par ty with him

Look,

He'll take

your hand,

off

j œ

don't

stop to think, just

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:

a-round

Buy

j‰ Œ Œ ‰ . œr œ œ œ œ œ œ œœ

˙˙

go!

Off

& b

r œ "

œ œ

he'll

BOTH: 8

œ œ

and

b j r &b b œ œ œ œ " œ œ œ œ œ ROSE:

you a drink,

BOTH:

" bœ œ

you're

œ b œ œj b œ

ROSE:

‰.

to a par - ty with him

# # ‰ . # Rœ # # #

GIBBS/FECT/ STEV/BERN:

Off

####

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,

œ œ per-fect

œœœ œ œ œœ œ she just

œ œœ œ date

for this

can't wait

par - ty

#7—Come To A Party—Reprise

œ œ.

for this

œ J

par - ty

œ " œr

œ nœ ##

The room will stop,

# & # ˙

r œ nœ

# & # ‰.

and jaws

will drop

œ J

once

" Jœ .

œœ œœ œœ

œœ ..

they

lay

eyes

# œ & # œ

œœ from

œœ

the pound,

# & #

look - in'

œœ

œœ fin

œœ

œœ -

'lly found

at you

‰.

œœ œœ

her

œœ R

Picked

œ œ œ œ Œ

Here's

œœ œ

œ nœ œ J

— 159 —

O G F I G H T

˙˙ ... ˙

girl

œ R

‰.

Off

(to 19)

" r 34 œ

‰

ROSE:

Off

## œ œ

‰.

œ œ œ R

Off

œ œ œ œ œ œ a par - ty with me,

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

a par - ty

‰

Off

" œR 34

STEV/GIBBS:

Off

— 160 —

# 3 & #4œ œ

œ œ

# œ œ & # 34

œ œ

# 3 œ œ & #4

œ œ

# . & # ˙˙ .

par

œœ -

œœ

˙˙

˙˙ ..

œœ

˙˙ ..

œœ

˙˙ ..

ty!

œœ -

ty!

œœ -

œœ

O G F I G H T

ty!

44 ˙˙ ..

# ˙. & # ˙.

44 ˙˙ ..

# # ˙˙ ..

. 4 ˙. 4

#7—Come To A Party—Reprise

O G F I G H T

WALK TO THE PARTY TACET

#7a—Walk To The Party

— 161 —

— 162 —

O G F I G H T

NOTHING SHORT OF WONDERFUL (REPRISE)

####

Reticent (h = 66)

####

U Ó

U ROSE: ‰ ¿ ¿ J Oh

Colla voce (h = 84)

### & 9

U Ó

‰

j ¿ ¿

###

œ œ œ œ

make this al - right

###

œ œ

# # & # Ó

‰ œj œ œ I have not

ROSE: You know…

œ œ œ œ œ œ ˙

go out

with a guy

my gosh

œ œ I

(she starts to let her guard down) 18

###

my gosh

can

(stops herself from making an embarrassing admission)

‰ j œ œ œ

'Cause to - night

night should be great

‰ j œ œ œ

is my first...

œ œ

Well, to -

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

Slowly

on a date

#7b—Nothing Short Of Wonderful (Reprise)

this a lot

U !

Flowing, still conversational 27

aœ

œ œ œ

Who'd

have thought

just

# U & # Ó

œ œ

Oh,

œ œ

Ed - die,

2 4

œ œ

ted

I'm

3 4

œ œ ˙

that I

‰ 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

ex - ci

Œ œ

this mor

h = 94

I'm

œ œ

— 163 —

O G F I G H T

j 36 œ œ. glad

œ œ

in - vi

j œ œ

to be

here

that you'd ap - pear

was

2 4

ted

Œ œ œ

rit.

#7b—Nothing Short Of Wonderful (Reprise)

rit.

and

that...

U !

— 164 —

O G F I G H T

BEFORE THE PARTY

Lightly

# & # 44

q = 96

A-C

G.P.

U Ó

‰.

r œ

ROSE:

Just

Rubato

œ œ

for

j r œ œ " œ œ œ a night,

œ œ

hol - din' tight,

let

#7c—Before The Party

a tempo

Segue as one

— 165 —

O G F I G H T

BLAST OFF Early '60s rock (a la "I Saw Her Standing There")

& 44

q = 154

& œ

: 1-2

bœ

œ œ

trash

that mashed

& œJ b œ

œ œ J

Six - ty

jnœ & #œ

roc-ket

& .. œ

Two,

po - ta

œ œ

œ bœ . J to

œ bœ J

give me some-thin'

œ œ œ N œJ J J

ride

has

just

Ba - by

bœ œ œ bœ J

‰ œ bœ œ J 6

the twist

œœœ

œ bœ œ œ œ be - gun

will not

‰ bœ œ J A

dance that

Count - down,

œœ œ 7

bœ

new

œ bœ

LOUNGE SINGER:

œ bœ

missed

That was

b œ œ œ 11 œ

don't

ex - ist

Five

Four

‰ œj

Your

Three Two

bœ

One

Blast

3 17-19

off!

4 20-23

Vamp

LOUNGE SINGER:

Oooh!

#8—Blast Off

‰ bœ Start

œ J mov -

— 166 —

œ œ. & J

in'

like you're groov-in'

& ..

œ œ J

œ œ ‰ J

the moon

œ 29 œ œ ˙ ‰ J ‰ J

Yeah

yeah

38-45

.. ..

46-53

yeah!

.. ..

& ..

œ œ

30-37

& ..

j œ

œ bœ J

O G F I G H T

54-61

Repeat (if needed)

62-65

66-67

Vamp

‰ bœ

LOUNGE SINGER:

.. Ó 69

Start

œ œ. & J 70

in'

œ bœ J

like you're groov - in'

j œ

œ œ J

œ œ the moon

#8—Blast Off

Œ bœ Blast

œ off!

œ J

mov -

— 167 —

O G F I G H T

THAT FACE 60's Prom Ballad - "Travelin' Man" meets "Those Magic Changes" q = 125

# # & # 44

# # # SINGER: ˙ LOUNGE

You,

1-14

œ œ œ œ born on

###

œ œ œ œ

Safety

An - gel so fair,

œ œ œ

clear in

a crowd,

œ œ œ

an - swer my prayer,

Safety

œ œ œ 3

32-39

40-47

48-53

#8a—That Face

say you'll be

Safety

fine

œ œ œ œ

an - gel so

21-25

You,

LOUNGE

###

a cloud

# # # SINGER: ˙ œ œ œ œ &

###

œ œ œ œ Œ mine

: 57

— 168 —

###

LOUNGE SINGER:

Œ œ œ œ I

# # & # œJ 63

see you

stand-ing

# # j & # œ œ

### j & œ

###

‰

That

œ J

œ J I

# # # Œ SINGER: & œ œ LOUNGE

j œ œ œ œ œ J

on - ly

stare

œ œ J

face,

that

see

that

œ J

œ œ œ ‰ Jœ When I

face,

j œ œ

time,

halts,

break - a - ble

œ or

see that

œ J Ó

traf - fic

al - most

œ.

sigh

œ J

there's no

j œ œ

and

œ3

‰ œ

chime,

when

I can

waltz

Church bells

there,

un - mis - tak - a - ble

œ J Œ

lo - vers

œ œ

that

j œ œ

‰

face,

œ œ J

O G F I G H T

face

space

face

œ.

Ooooh

### Œ &

Ooooh

œ J

#8a—That Face

###

### œ œ œ & ### œ

plain to see

b &b ˙

bb œ

you

write

You

fill me with love

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

101

Whoa

‰ œ.

œ J

œ. œ. œ. . œ œ

œ 3

the words

po - ets

Œ œ œ œ œ

mak-ing the birds

œ will

sing through the

œ But

sing Whoa - oh-oh-oh - oh

whis - per

œ œ œ J J

œ œ œ œ

would know

œ J

mak-ing

looked at

œ œ J

a - bove,

.. œJ 85

you

love is true,

œ bœ

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,

you,

œ œ œ

93 LOUNGE SINGER:

œ œ

look at

.. Ó

Safety (vocal last x) 84

— 169 —

O G F I G H T

BOL/BERN:

when you're

œ œ J

102

stand-ing

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 —

œ œ ˙

b œ. &b

104

105

sigh

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

waltz

b ŒBERN: ¿ b & Woof

112

That

œ œ ‰ J

œ œ Œ

¿ ¿

woof,

ba - by!

time,

Œ ‰ œj œj œ œj ˙ ‰ Jœ œJ œ œJ w

BOL/BERN:

STEVENS:

113

al - most

god!

#8a—That Face

in the ring

œ face

BERN:

Beast

a skirt

œ œ œ œ ‰ J

117

space

god!

œ œ œ œ

‰ Jœ œ œ œ œ

n œœ

that

fight

foot a - lert

116

see

halts,

break - a - ble

œ œ œ œ ‰ J œ Big

there's no

STEV:

115

chime,

œ3

œ œ. J

Got a dog

that

j œ œ œ œ œ J

traf - fic

BOL:

‰ œ

œ Ó J

110

‰ œ œ œ J

look - ers

j œ œ

tak - a - ble face,

œ œ J

face,

œ œ J

Church bells

b Ó &b Œ

‰ œ

œ œ œ œ 3

109

What a bunch - a - look - ers

111

b j &b œ

BOL/BERN: What

œ3

‰ œ

face,

114

107

When I

A la "Good Morning Baltimore"

STEV:

b œ &b J œ

108

O G F I G H T

When I

œœ n œœ œœ

Look at 'em!

see that

œ & J

nœ .

118

— 171 —

O G F I G H T

119

face,

nœ J

& ‰

œ œ œ

STEV:

You

son - of - a - bitch,

you

roped

120

nas - ty

121

BOL:

one

Here

go!

LOUNGE SINGER:

That

&‰

œ J

œ œ œ

BERN:

You

œ & J

122

œ J

son - of - a - bitch

‰

STEV:

Je - sus

‰

He's bare - ly

got

'im

œ J

BERN:

Christ!

123

124

face,

& Ó

‰ œJ œ

BERN:

Thun - der thighs!

œ J

sweet

125 (LOUNGE SINGER)

& œJ

with

colla voce

& Ó

128

When

What

126

‰ œj

BOL:

chick!

We've

127

j œ œ

œ J Ó

got 'em

beat

brace

U̇

see

that

129

STEV:

a tempo 130

œ œ. J

face

#8a—That Face

131

U Ó

œ six!

— 172 —

O G F I G H T

IT'S JUST A PARTY 60's Elvis shuffle - smooth (heavy swing)

# & # 44 ..

Vamp

q = 150

.. ‰

LOUNGE SINGER:

œ J

by,

have

œ -

15-22

23-26

feet,

drink

Dan-cin'

no - ther

4-6

j œ Œ

7-14

# j & # œ œ

33 LOUNGE SINGER:

œ œ su - gar

œ nœ Œ sweet,

Vamp

35 j ‰ œ #œ œ œ œ Œ

it's just a

par - ty.

8 37-44

#8b—It’s Just A Party

œ 3œ œ Whoa oh oh

œ 3˙

oh oh

— 173 —

O G F I G H T

IT'S A DOGFIGHT

Sharp

# & # 44

q = 98

Vamp (vocal last x)

24 .. Œ

1-2

4 œ œ .. 4

‰

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

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

#œ œ œ œ œ .

full - a shit

Œ Œ ‰

their eyes

the Dog

bbb

œ.

fight

#9—It’s A Dogfight

Boys

turn

r œ

I'm at least

œ.

œ œ

Dog - fight

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

Please

œ˙ œ nœ œ œ nœ

See, if I'm

j ‰. ¿

‰

! œ œ n œ 34 œ œ œ

! œ œ œ at

how they're made

to get laid

get-cha down?

r œ œœ

œ œ œ œ œ œ œ #œ œ in a rush

is gon - na

That's

nœ œ

‰. r j œ nœ bœ œ œ œ.

‰

got a game,

Œ ‰.

Don't ex-pect noth-in'

for a dick

get - tin' paid

— 174 —

b bœ . &b b

Dog

b & b b œ.

bœ œ

fight

œ œ

Face

bœ

O G F I G H T

the ring

Hear

it,

b 3 & b b 4 œ.

blown,so ya sit

and

œ n œ # # 44 ˙ 26

œ œ.

œ œ œ œ œ œ œ œ œ œ nœ œ

line

stay

ding

till you get

‰

talk - in' "can - dles and wine,"

œœ œ œ! œ œ œ œ œ nœ œ œ œ œ œ

œ œ

bet he

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,

œ œ œ œ

Œ Œ !

take what ya made

nœ œ

spread it

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

fight

4 œ œ 4

œ œ œ œ œ œ œ

ding

So he fed

‰ œ œ

Yeah

But where

2 Œ ‰ j 4 œ œ œ bœ nœ œ œ œ

in the can

If you don't

#9—It’s A Dogfight

4 4

all puk-in' sick

œ œ nœ

‰

ding

load is

œ œ

œ.

b 4 & b b 4 œ œ œ œ œ œ œœ œ ! œ œ œ œ œ œ pay when a

Got - ta learn

! œ œ œ

œ œ nœ œ ˙ play the game,

œ œ œ #œ he'll be gone,

you're a pawn

œ œ œ œ œ œ œ #œ œ that he played

b bœ . &b b

bœ Œ

Dog

b & b b œ.

œ ˙

Win

Own

b 4 &b b 4 œ œ

b & b b 34 œ . œ ˙

bœ

bœ ˙

fight

œ it

Poco più mosso

44 ˙

Got - ta claim

œ œ œ

œ back

if you don't

paid

œ ˙

œ.

! œ œ œ

and don't

Dog - fight

r œ œ

‰.

when you swal - low dirt,

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

bbb œ .

the Dog

take

'Cause we're all

fight

3 œ nœ 4 œ œ œ

! œ

— 175 —

O G F I G H T

œ ˙

œ.

! œ œ œ

down

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

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 —

(MARCY laughs at what she believes is ROSE’s naiveté.)

bbb

b &b b œ

œ œ œ bœ

Time

bbb

MARCY:

œ bœ

to learn

few

#œ #œ #œ œ

# ## & # 44 œ .

Sweeping

new

fight

#### nœ . Dog

# ## & # Œ

jerks

nœ ˙ fight

nœ

Who are

fix

j œ

‰

Let's

#### 4 4

œ #œ œ #œ at the Dog

œ ˙

œ. -

œ œ

nœ œ

œ œ œ

this

œ œ œ

how

the

they?

#9—It’s A Dogfight

œ œ œ.

world works?

˙.

the ring

œ ˙

fight

tell you

Dog

some pack

their

learn to bite

nœ ˙

How can you let

Where's your bark?

œ œ nœ

#œ #œ #œ Œ

r 3 œ 4 #œ #œ #œ ˙

‰.

get

tricks

You

# # # # 4 ROSE: & 4 #œ œ œ œ œ #œ

œ Œ

œ œ œ

see your bite

Ho - ney they're gon

O G F I G H T

nœ

Who are

œ ˙

they?

####

In strict time

" j œ

œ ‰

ROSE:

œ œ

They're the

dogs,

no, they're

# ## 3 & # 4 œ

you don't

Angular

& b œ.

who hurt

nice

need

some

68 MARCY:

œ.

worth

less

œ ˙

fight

&b ˙

It's

bœ .

œ.

Dog

œ ˙

fight

œ.

œ ˙

Dog - fight

œ.

œ œ

Dog - fight

#9—It’s A Dogfight

and

œ œ nœ œ

fight

bœ

Dog

nice times

r 3 œ 4

from a Dog -

bœ -

‰.

" ˙

œ.

Dog - fight

! œ œ œ

for real

dimes

Dog

œ ˙

œ.

Dog - fight

nœ ˙

girls

&b ˙

the slimes

œ œ œ œ œ œ œ œ

# # & # # 34 œ

œ œ

3 4

— 177 —

O G F I G H T

œ.

œ ˙

Dog - fight

bœ

the ring

bœ

the ring

— 178 —

r & b œ œ ‰. œ œ œ

Hear it,

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

give in

&b œ œ

œ œ œ

&b œ œ

œ œ œ

thick skin

then you're quick

numb

! œ œ œ

& b ˙.

! œ œ œ

at the Dog

œ˙ & b œ.

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

˙.

fight

œ. œ ˙

be - come

! œ œ œ

fight

be - come

œ ˙

œ œ œ

play dumb When you get

œ œ œ œ œ œ œ

fight

34 œ .

! œ œ œ

œ œ œ œ œ œ œ

them win

œ ˙

3 œ. 4

and you can't

them win

‰ œ œ

At the Dog

You let

numb

˙. &b

give in

œ œ ‰ œ

play dumb When you get

44 œ œ œ œ œ œ œ œ œ œ œ œ

No you can't

and you can't

œ! œ œ œ

the Dog -

(ROSE slaps BIRDLACE) 85

(Slap)

˙.

— 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

q = 150

Leave

your

LOUNGE SINGER: 3

œ.

It's

just

œ3

wor - ry - in'

œ J a

rit.

par - ty

‰ Jœ œ œ œ

.. œ 2

be - hind

U̇

un - wind

Yeah!

Applause segue

#9a—It’s Just A Party - Reprise

— 180 —

O G F I G H T

TRANSITION TO ROSE'S ROOM TACET

#9b—Transition To Rose’s Room

— 181 —

O G F I G H T

PRETTY FUNNY

Folky - introspective q

# & 44

= 74

1-7

‰ œ œ œ œ

ROSE:

& œ.

& Œ

œœ˙

# & ‰.

Hide

‰

œ œ œ œ œ

œ œ

ug - ly

r œ œ

& œ. œ œ ˙. f'rence

the moon

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

‰

their

j œ œ

case

œ œ

likes

It's still the same

old face

#10—Pretty Funny

œ œ

Œ Ó

œ œ

ma - roon

œœ˙

stick

œ œ œ. œ œ œ

Make-up won't make

œ œ œ œ

œ.

lip

œ œ œ.

œ œ œ œ

dres - ses

œ œ

the cur -

œ. œ œ. œ œ ˙

light

œ œ

draw

the bright

the win - dow,

j œ

Wipe off

Re - turn

tain

Hang the dres - ses,

j œ œ œ

a - ny

dif -

œ œ œ

Is-n't it

— 182 —

Longing, but with restraint

& œ œ œ ˙.

œ œ œ

fun-ny?

fun - ny

Is-n't it

j œ œ

& œJ œ

O G F I G H T

œ.

œ bœ

you

j bœ œ œ J

be-lieved

that it was

œ œ ˙.

j œ w 31

Stronger pulse

& œ œ œ ˙

œ œ œ œ

side

# & ‰.

guy

œ œ œ

‰

went danc - ing,

You

You can find

r œ œ œ

j œ œ

you were

ROSE:

œ œ œ

Is - n't it

j œ ˙

œ œ ˙. fun - ny?

#10—Pretty Funny

œ œ œ œ.

di - sas - ters

œ œ œ

one

if you try

‰

You were danc - ing

an up -

œ œ œ

œ œ

have

danc - ing

œ œ œ œ

Pre-ty fun-ny

real?

33-35

œ œ œ Is-n't it

All

fun-ny?

‰

œ œ

with a

œ œ œ

Is - n't it

œ œ ˙.

& œ

— 183 —

O G F I G H T

Are - n't

Più mosso, with passion

# œ

œ #œ ˙ .

‰

œ J

fun - ny?

####

# œ ive,

####

# œ

and des-p'rate to

‰ œj n œ Well

# # & # ## w

you

œ œ œ œ œ œ

be-lieve

U œ

‰

œ #œ

mis - un - der-stood

colla voce

‰

œ J

a tempo primo

3 59-61

you

œ œ

œ. œ ˙.

dream - ing

just

#10—Pretty Funny

Shut

U Ó

are

œ œ œ œ.

œ œ œ.

or you've been

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

fun - ny?

####

(But it’s not funny. She grows angry with herself.)

cruel

œ œ œ œ ‰

the light

off,

turn

œ œ

the bed

— 184 —

####

Simply

# œ œœœ

# Œ

####

No more

You'll wake

####

care

####

# œ

œ œ

some - time

to - mor

œ œ œ

œ œ ˙.

cry - ing,

rit.

don't

j œ œ.

you

œ œ œ ˙.

- row

dare

œ œ œ œ œ. œ œ.

and for-get

e-ven

œ œ œ

Is - n't it

freely

œ œ

For

œ œ

fun ny?

fun - ny?

œ œ ˙.

Is - n't it

# œj n œ .

œ œ œ ‰

œ œ

down

O G F I G H T

œ.

œ J

could be

2 78-79

#10—Pretty Funny

œ J

‰

mo - ment

j œ œ.

U Œ

(a long beat)

con-vinced

‰

pret - ty

molto rit.

nœ

œ œ

Fun-ny

U U Œ Ó.

O G F I G H T

ENTR'ACTE: HEY, GOOD-LOOKIN' TACET

#11—Entr’acte: Hey, Good-Lookin’

— 185 —

— 186 —

O G F I G H T

HOMETOWN HERO'S TICKER TAPE PARADE 12

Heavy, driving (h = 84)

&b C

Muscular

U !

h = 94

3 4

& b C bœ

BIRD:

bœ

No - name school - boy,

&b œ

œ bœ

they can't

fuck

&b w

teen

&b C

bœ

Teach

œ a

bœ gook

œ bœ œ .

bœ

aw - ful green,

bœ

with

bœ

hold

j œ

trained,

bœ

nœ

tough

young

buck

œ bœ œ

crad - l - in'

dat

‰

j œ

Serve

Now

œ œ œ bœ œ

œ œ

gun

‰ b Jœ

or - dained as a mean Ma - rine

œ.

œ œ œ

b˙

œ bœ a

œ bœ

the

5-7

U !

bœ

3 ˙ 4

Four -

your

#12—Hometown Hero’s Ticker Tape Parade

bœ year

and

&b œ

then

you're done

bœ . &b

Cleve - land's

œ œ J

& b œ.

new

Proudly

home - town

&b Œ

œ J

Cot - ton can - dy and

bœ œ b & J

œ œ bœ œ J

tic - ker

& b 24 œ

pen

œ œ œ bœ œ œ bœ œ

tape

œ. fav

œ bœ œ œ bœ

Home - ward

œ œ J

‰ bœ J

œ.

— 187 —

O G F I G H T

bound

œ œ

œ œ J

'rite

œ.

the boy

œ J

œ œ J

bœ

tape

œ #œ

It's a

Cœ

gets crowned

˙.

œ œ

˙.

pa - rade

œ.

œ œ J

home - town

bœ

Can't

get

that

+BOL/BERN: 36

le - mon-ade

nœ

œ œ bœ œ J

œ.

41 BIRD:

pa - rade

œ œ J

At the

tic - ker

œ bœ bœ

œ bœ J

son

ro's

and

3 4

cade

#12—Hometown Hero’s Ticker Tape Parade

œ J

ro's

œ b œ 24 at the

— 188 —

b˙ &b C

œ.

œ œ

dat

da da

b˙ &b C

œ.

œ œ

dat

da da

+BOL/BERN:

&b C

BIRD:

bœ

Main Street blocked all

& b œJ

&b w

loon

œ J

wailed

bœ œ

dat

da da

. œ

bœ œ

dat

da da

bœ œ bœ œ œ œ af - ter-noon

BIRD:

bœ

. œ

œ bœ J

da da

œ b œ œ œ 34

da da

bœ j œ Œ œ œ bœ œ bœ œ œ J bœ BOL:

on hand with a march-in'

j ‰ bœ

œ œ J

b œ œ 34 œj œ .

dat

A band

. œ

BERN:

the blimp's

O G F I G H T

BERN: 59

veiled

Your

b˙

œ.

œ œ

dat

THREE BEES:

face

34 ˙ 63

#12—Hometown Hero’s Ticker Tape Parade

tune

Your name

œ bœ œ

bœ

bal -

big

— 189 —

O G F I G H T

Rowdy carnival

&b C

œ bœ

BOL:

bœ

Wat - chin' bus - ty

&b C

œ bœ Ó

bœ

blondes com-pete,

draw-in' claws

j bœ œ

BIRD/BERN:

Ain't that

œ J

& b b œJ b œ

œ œ J

Let 'em

œ. &b

nice

bœ

fight

œ J

œ nœ

white

bœ

spend

the

night

BOL:

BIRD/BERN:

n b œœ

bœ .

& b œ.

œ œ J

home - town

& b œ.

œ œ J

home - town

œ he

œ J œ J

œ. ro's

œ.

ro's

œ. œ.

œ J

œ œ J tic - ker

œ J

œ œ J tic - ker

yeah

œ œ J

stain

!! œœ

˙˙

Yeah

œœ Œ

that

b ˙˙

sheet

cats in heat

Ooo

and BERN:

œ Ó œ œ

sweet?

j j b œ œ œ œ bœ

œ œ bœ œ J

tape

pa - rade

œ œ bœ œ J

tape

pa - rade

#12—Hometown Hero’s Ticker Tape Parade

the

— 190 —

BIRD:

&b Œ

œ bœ

Tel - lin' tales

& b œJ

œ.

ro's

bœ &b

time

bœ œ J

shine

dat

da da

dat

& b ..

bœ

‰ # œj

bri - gade

œ.

home

œ œ J

town

he -

œ œ

BERN:

It's your

œ bœ !

œ.

THREE BEES: 80

pa - rade

2œ 4

b˙ &b C

brave

Time

œ œ

bœ

tape

‰ œ J

œ.

THREE BEES:

œ œ bœ œ J

BOL/BIRD:

b˙ &b C

tic - ker

O G F I G H T

Cœ 87

get

˙.

3 4

. œ

b œ œ 34 œj œ .

laid!

. œ

bœ œ

dat

da da

dat

. œ

bœ

dat

da da

8 96-103

#12—Hometown Hero’s Ticker Tape Parade

œ bœ Da

>œ

104

104-111

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

.. ..

121

119-120

& b ..

Vamp

122

Intensely

& b œJ œ

he - ro

& b ww

œ œ œ J J

don't

get

œ J

124

soft

125 ‰ œj b œj œ .

. œ b œ œœ Dat

he - ro

BOL:

b œ œœ

GIBBS/FECT/STEV:

Dat

123

‰ œj A

. œ

" ..

118

116-117

A tempo Vamp (jump on cue after any bar)

& b ..

œ œ

don't

re - treat

da da

#12—Hometown Hero’s Ticker Tape Parade

126

da da

‰ œj

He's

. œ b œ œœ Dat

da da

— 192 —

œ œ œ J J

& b œJ œ

127

gon-na

get

œ J

his

128

œ bœ

'cause

. œ

Dat

Patriotic

way

& b ww

131

O G F I G H T

œ œ

œ bœ

he won't

b œ œœ

da da

ac - cept

we're her

œ œ

130

de - feat

oes

Guys

œ J

through and

134

through

136

& b ww

139

Heavy, driving

dam

œ œ œ. J J

140

œ œ

or Die!

œœ

œœ n œœ

or Die!

141

œ œ œ

137

138

‰ œ œ bœ J

You're a

142

‰ b Jœ œ n œ BOLAND:

You're a god

œ.

nœ œ J

GIBBS/FECT/STEV:

Can't

god -

he - ro

œœœ œœ œœ

# œœœ Œ

Sem - per Fi

œœ

œ bœ &b J &b

œ œ

Sem - per Fi

135

‰ j œ

œ 133œ œ œ J

‰ œ

and you,

132

129

you hear

#œ

it,

boys?

#12—Hometown Hero’s Ticker Tape Parade

#### # # -

#### # #

# ## # œ nœ & # # J

œ œ #œ Œ J

143

# # # & # ##

damn

144

#œ .

‰ Jœ œ n œ

# & Ó

#œ œ J

BERN:

œ #œ

you hear

œ.

bb & b b œ.

bœ œ J

b & b bb Œ

>œ b>œ >œ >œ >œ >œ

bœ

home - town

155

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

w !! w

the

com - in'

the

!!b ww !w œ. œ b œœ .. J

a tempo primo

œ.

œ œ J

Home - town

161

˙˙

pa - rade

#12—Hometown Hero’s Ticker Tape Parade

bbbb

154

pa - rade

accel.

160

com - in'?

œ #œ

tape

œ #œ

œ œ b œ œœ J œ

157

tic - ker

boys

150

œ 153 œ œ J J

ro's

for the

com - in'

ALL MARINES (except BIRD/BERN):

œ.

156

com - in'

Com - in'

ALL

œ #œ

Much broader

molto rit.

œ œ nœ œ œ œ J J

151 (except BIRD):

146

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

‰ bœ J

You

— 194 —

Poco più mosso

b b œ bœ œ ˙ &b b 162

win

a war,

bb &b b Ó

you pick

b œœ

167

œœ

œœ b œœ J

bb &b b Œ

THREE MARINES:

who gets

b & b bb Œ

TWO MARINES:

who gets

life

œœ b œœ J

You're a home - town

œ œ œ

173

b b œœ œœ J

œœ œœ œ œœ bœ J

b b œœ œœ J

tape

pa - rade!

moth - er

fuc - kin'

tick - er

tape

pa - rade!

bœ

œ œ œ

177

ẇ

b˙ bbbb

œ.

dat

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

175

bb ˙ &b b ˙

172

damn

165

a wife,

œœ ˙˙ J

168

your whole

171

164 ‰ bœ œ bœ œ ˙ J

163

O G F I G H T

œ bœ

!! ww

!w !w

178

b˙ ˙

œ œ

œ.

bœ

dat

181

œœ

he - ro

174

œ œ œ œ œ œ bœ nœ J

œœ œœ œ . bœ J J .

˙˙ ..

œ bœ

da!

Applause Segue #12—Hometown Hero’s Ticker Tape Parade

O G F I G H T

BACK TO ROSE TACET

#12a—Back To Rose

— 195 —

12a

— 196 —

O G F I G H T

FIRST DATE/LAST NIGHT

Sparse, but in time q

b & b 44 ..

= 94

1-2

b r & b ‰ . œ œ œ ‰ . œr œ œ ROSE:

Street - lamp,

b &b œ

‰

snow

dim

b &b

‰ œ œ œ œ œ œ œ

A light

j œ œ œ œ œ

to blan - ket night

‰ œj œ œ

œ œ.

just co - ver

r œ œ

‰.

BIRD:

‰ œ

Why

you do some shit

œ œ œ

the hell

are

you'd

œ.

you

what-ev - er

‰.

ne-ver

œ œ

still

#13—First Date / Last Night

sum-mer

œ œ

be-fore

through

‰ . œr œ œ

whips

came

r œ œ

breeze

œ œ œ œ œ œ œ œ œ œ œ

œ œ œ

Sea

œ œ œ œ œ œ

glow

and makes

Well, let it pour

˙.

b &b Ó

Talk - in' queer

here?

b &b Ó

‰

ROSE:

œ œ œ œ.

And we go

b &b Ó

‰

œ œ œ Œ

œ.

bum

œ œ œ œ.

And we go

b & b œ. œ œ œ Œ

‰ œ œ

b &b Œ

bum bum

bum

b &b

œ œ

bum

œ.

bum

Don't know why

bum

‰

œ ‰ œj œ J

œ.

‰

j œ œ

œ J

Bum bum

œ œ œ

bum

bum bum bum

‰œ œ œ ˙ J

‰ œj œ œ ˙

I de-cid

œ œ

bum

œ œ J

Don't know why

œ. œ œ

to come

œ. œ œ ed

to come

œ œ.

œ œ

de - cid

œ œ.

de - cid

to come

œ œ

to come

b &b

28-29

r b & b ‰ . œ œ œ ‰ . œr œ œ 30

bum

Don't know why

‰

œ œ œ œ

œ.

bum bum bum

‰ œ œ. œ œ œ J

bum bum bum bum

Bum bum bum

‰

BIRD:

— 197 —

O G F I G H T

ROSE:

Meet

half - way

Œ Œ ‰ . œr œ œ 32

A touch and

œ œ œ go

#13—First Date / Last Night

don't know what

œ œ

to say

— 198 —

b &b

r œ œ œ

‰.

œ œ

Don't ex - pect

j ‰ œ

ten.

too much,

just

walk

36-37

slate,

blank

# & # Œ

stare

What

! ‰

j œ

r œ œ œ

‰.

care?

Blank

# # ‰ .BIRD: nœ œ œ ‰ . r #œ & nœ œ R

(BIRDLACE coughs) ROSE: BIRDLACE: What? Huh? ROSE:

we talk?

O G F I G H T

BIRD:

œ œ œ œ œ

Yeah,

œ ˙

took hold?

you made

her

Ó Ó

cold

‰ ‰

cry,

why

she looks

ROSE:

And

#13—First Date / Last Night

œ ‰ œj œ œ œ >

r œ œ.

œ œ œ ‰.

Look at her,

‰ . Rœ

do you

œ. go

œ. œ œ œ Œ bum bum

# & # Œ

bum

œ.

bum

# & # œ.

œ œ

bum

bum bum

œ. œ œ

œ œ

œ.

œ œ J

bum

œ J

‰

œ bum

bum

j œ œ

‰

bum

Don't know why

bum

bum bum bum bum

œ J

bum

‰ œ œ

— 199 —

O G F I G H T

‰

œ œ

‰

œ œ œ

‰

j œ œ

œ J

œ œ

Don't know why

e=e

68 œ .

56 ROSE:

œ.

Twist - ing

œ.

le - mons

œ. œ. œ. œ.

in - to

de - cid

œ I

4w 4 58

le - mon - ade

#13—First Date / Last Night

œ œ

de - cid

bum bum

œ.

œ œ

to come

œ.

de - cid

‰ œ œ

bum bum

de - cid

‰ œj œ œ I

Bum

‰ Jœ œ œ

bum

bum bum bum

Don't know why

# & #

œ. œ œ œ Œ

Bum bum bum bum

Don't know why

œ œ. -

œ œ

œ œ. -

œ œ

to come

œ œ

to come

6 8

— 200 —

# 6 & # 8 œ.

œ.

# & # 68

You'd

œ.

4 4 ˙

‰

œ.

sleep - ing

œ œ

44 œ .

BIRD:

You'd

‰

œ œ œ œ

be drunk

œ œ Œ

# & # œ

œ œ Œ

if you

œ #˙

œ ‰ œ œ 24 n œ . J

a - ny

good

a - ny

af - ter this

stayed

œ œ œ.

4 4 ˙.

œ œ œ.

44 n ˙ .

come

that could

œ œ R

ROSE:

First

œ #œ . ˙ .

that could

good

‰.

stayed

had

And you might miss

had

œ œ œ œ.

‰

‰ œ œ œ œ

if you

œ œ œ œ.

j 2 œ ‰ œ œ 4 nœ .

And you might miss

# & # ˙

O G F I G H T

come

date

r œ œ

‰.

BIRD:

af - ter this

# & #

! !

Last

Not quite what

you pic - tured,

œ œ œ œ.

Not quite what

œ œ œ œ.

you pic - tured,

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

# & # Œ

# & # Ó

œ œ œ œ Œ

‰

Give him a shot,

j œ

cause

# & #

œ œ œ œ œ

œ. œ œ œ Œ

œ œ œ œ œ

bum bum

# & # Œ

œ bum

œ.

bum

œ. bum

bum

And

‰

bum bum

bum

œ œ J J œ

bum

œ. œ œ

œ œ

œ.

œ œ J

bum

j œ ˙ 82

bum

‰

œ œ

Ó Ó

bum

#13—First Date / Last Night

‰

œ œ

Bum

4 83-86

œ.

œ. go

œ. œ œ œ Œ

bum bum bum

bum

j œ ˙

Bum bum bum bum

œ œ œ

or not

‰

bum bum bum bum

j œ œ œ œ œ

bum

you,

‰ œ œ

‰

or not

And

you,

peo - ple can sur-prise

‰ œJ

peo - ple can sur-prise

cause

— 201 —

O G F I G H T

bum

‰ œ œ

bum bum

— 202 —

O G F I G H T

FANCY RESTAURANT MUSIC TACET

#13a—Fancy Restaurant Music

13a

— 203 —

O G F I G H T

FIRST DATE LAST NIGHT - REPRISE

Slowly, poco rubato

# & # 44

& &

## ##

Reticent

U Ó

5-6

‰. œ œ œ Ó R ROSE:

First

‰.

# œ. Œ & # œ

right

date

Not

r œ œ œ

BIRD:

Last

q = 90

œ œ. Œ

U Ó

13b

œ œ

night

Not

Sor - ta strange

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.

‰ 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 —

& &

## ##

œ. bum

œ œ bum

œ.

# & # Œ

b &b b

Bum

‰

ROSE:

œ œ œ œ.

far

And we

‰

œ œ œ œ.

And we

‰

œ œ

œ.

bum bum bum

œ.

bum

‰

bum

œ œ

œ.

bum bum bum

œ.

bum

Half-time "Some Kinda Time" 3 Verse 2 feel

œ œ

bum

œ œ

bum

‰

bum

œ J

œ bum

bum

œ œ J J œ

bum

œ œ

Bum bum

œ œ œ

bum

j œ œ

BIRD:

far

bum

œ œ œ Œ bum

bum

O G F I G H T

bum bum bum

j œ

bum

j œ

bbb

w w

bum

Vamp and fade (OUT on cue)

21-23

#13b—First Date Last Night - Reprise

— 205 —

O G F I G H T

HOMETOWN HERO'S TICKER TAPE PARADE 14 (REPRISE) # 4 & #4

Dark

U !

don't

get

gon - na

get

Building (q = 76) Guys

# & # ˙

œ œ œ

# & # œ œ damn

U Ó.

‰. r œ

BERN:

we're

œ œ œ ˙. 14

nœ œ œ œ he

œ nœ

he won't

don't

accel.

œ œ.

roes

(q = 84)

œ nœ

ac - cept

œ œ Œ

You're a god - damn

he - ro

de - feat

œ œ

through

œ œ œ.

He's

œ Œ

" œ œ nœ œ nœ

r œ

re - treat

through and

‰.

œ œ Œ

he - ro

'cause

" œ

Do or Die!

way

and you,

U !

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

he - ro

U !

Colla voce

U !

Sem - per Fi

" œ œ œ

You're a god -

"First Date/Last Night" (not too groovy)

19-22

23 b b bb

#14—Hometown Hero’s Ticker Tape Parade (Reprise)

U Ó

— 206 —

O G F I G H T

GOLDEN GATE BRIDGE TACET

#14a—Golden Gate Bridge

14a

— 207 —

O G F I G H T

BEFORE IT'S OVER Reflective, understated

& 44 ..

q = 90

Somewhat free

.. ‰ .

rœ œ

ROSE:

œ œ œ

œ œ œ œ œ œ

An awk-ward girl with her gui-tar,

& Ó

‰

œ œ œ œ œ œ

Fri - day nights a-lone

Ó œ œ

&œ

œ œ œ

gin - ger ale

&‰

and Coke

In Time

j œ œ

& œ

‰.

r œ œ œ œ œ œ.

and ev - 'ry-thing

&œ I

can

Some - one

I've been that girl who fades

with the re-cords on

œ œ

a-way,

I'm

not

‰

you

ask

her

shelf

j œ œ œ œ œ

I've on - ly seen this

what

U !

œ œ

a joke

ac - cept - ing what I've

A wai - tress pour - in'

out

I've

#15—Before It’s Over

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

‰ j œ œ œ œ œ.

rit.

‰.

œ œ œ œ œ œ œ.

keep - in' to

œ.

been

‰

j œ

where

, # #

— 208 —

Quietly Expansive

## œ .

œ œ œ œ.

See

œ. off

q = 92

œ J

a world

j œ œ

‰

Say-in'

# j & # œ œ œ œ œ œ ‰ œ œ

runs

sing - in'

See

that you've

got

much

With a bit more drive q = 94

j œ ˙

‰.

nœ

r œ œ

Be-fore

&Œ

‰.

can't

write

r œ œ

Or dream

how

œ a

œ œ

and

it's o

things

reach

U̇

‰.

could change,

for

r nœ œ

it's o

ver"

I'm

#15—Before It’s Over

œ œ

j œ

be-fore

œ.

song

how

œ œ œ œ œ ˙.

no - ther

look

Look,

œ œ

j nœ . œ œ nœ œ nœ

œ œ œ œ.

Folky - expansive, fluid

& ‰.

nœ

r œ œ

‰

spin - nin'

œ.

there

"Fol - low

œ œj œ .

strange

nœ . œ œ nœ œ

œ œ œ

ver

œ œ

and

œ. œ œ œ œ œ

bœ

& œj œ 33

a - way

œ œ œ œ

meet

fast

beau - ti - ful

œ œ œj ‰ œ œ .

some - where

O G F I G H T

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

way

Can't

œ.

back

&œ

œ œ œ

now

that I

## œ .

can

a world

œ. œ œ œ œ œ Œ œ

# & # nœ .

"Fol

# & # bœ

& œj

œ œ

nœ

low

and

œ. œ œ

j œ ˙

œ œ

look

‰

j nœ

how

and

that you've

got

much

nœ

fast

runs

#15—Before It’s Over

and it

a - way

nœ

for

track

j œ œ œ ‰ œ

œ œ

‰.

j ‰ œ œ œ . œj œ œ œ œ

reach

˙.

one - way

nœ .

nœ

be - fore

œ œ

strange

ver"

œ. œ œ œ

Look,

œ.

was

œ œ œ œ œ œ œ

œ.

what I

much

beau - ti - ful

back

œ œ œ

œ.

œ œ œ

See

œ œ

see

œ œ œ œ. œ ‰ J

won't come

œ.

Subtle groove

See

— 209 —

O G F I G H T

sing - in'

r nœ œ

it's o

‰

j œ

be-fore

œ œ

nn -

— 210 —

More introspective

& bœ œ œ œ œ œ œ œ œ œ ne - ver ev - en knew

a world was

&œœ œœ œ œ œ that world

ap-pear

slower

œ œ œ

Hap - py that

œ. œ ˙

wait - ing

Some - how

poco rit.

œ œœ‰ œ œ

bœ œ œ œ œ

May - be this sounds cra - zy,

œ.

came,

some - thing aw

but I'm

rit.

œ œ. -

hap - py

I'm

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

see

& bœ .

much

& œ.

œ œ to

œ ˙ J

œ œ œ œ

beau - ti - ful

œ.

ten.

It's

a world,

‰

U ˙

U Œ

œ œ

here

bœ

rit.

and

œ œ

strange

Don't

œ œ

Can you

see

œ œ œ œ œ

let

get

too?

j œ ‰

a - way

‰.

U̇

ver

#15—Before It’s Over

U̇

There's so

r œ œ

œ nœ

be - fore

can

œ . œj œ œ œ œ

U Œ

that it hap-pened

Molto meno mosso, delicate

& œ

O G F I G H T

it's

o -

! Applause segue

O G F I G H T

AFTER "BEFORE IT'S OVER" TACET

#15a—After “Before It’s Over”

— 211 —

15a

— 212 —

O G F I G H T

GIVE WAY [ATTACA FROM #15A]

Folky - lyrical, sensitive (q = 64)

b & b b 44

44 Ó

‰.

r œ

FEM. SINGER 1:

b &b b œ œ œ œ œ œ œ œ 4

flo-wer

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

to - ber ri - ver

œ œ œ

fro - zen

+MALE SINGER 1 (sounds 8vb):

‰ œj

4 4œ œ ˙

still

Give

‰

. œ œ .

way

Safety(vocal last x)

b 4 &b b 4

11-12

.. Ó

FEM. SINGER 2:

But the

b &b b œ 14

spar - row

b & b b 44 œ

œ œ œ œ œ œ with his

spring

œ œ

bro - ken

+MALE SINGER 2 (sounds 8vb): 17

‰

j œ

Give

wing

way,

3 4œ œ

bur-rows

#16—Give Way

‰ œj give

down

4 4

œ œ œ œ .

œ œ

œ œ œ ˙ way

wait

for

b & b b œ. 19

FEM. SINGERS 1 & 2:

œ œ

Spar - row,

b & b b œ.

2 4 œ

œ œ

spar - row

œ œ

FEM. SINGERS 1 & 2:

Spar - row,

b œ. &b b

œ.

Spar - row,

œ bœ œ œ

spar - row

too

proud

& b œ. œ œ œ œ œ so

far

from home

& b œ. œ œ œ œ œ so

b &b b 28

b & b b 34

far

from home

fly

œ bœ 3 œœ˙

proud

MALE SINGERS 1 & 2:

too

row,

4 œ œ 4 ˙. 21

œ œ bœ ˙

a - fraid

spar

œ œ

œ œ œ

too

œ œ œ

— 213 —

O G F I G H T

try

œ bœ

And

he's oh

œ bœ

And

he's oh

26-27

30-33

35-37

38-44

#16—Give Way

3 4

— 214 —

b 3 &b b 4

4 .. 4

O G F I G H T

Safety

.. U Ó

U Œ

‰.

r œ

ROSE:

(ROSE plays onstage guitar - simple strumming - very tentative)

& b œ

œ œ

spring and

sum - mer

b 4 &b b 4 œ œ ˙

leaf

b &b b

just

œ œ œ be - fore

b & b b 44 œ

warm

b & b b œ.

Spar

œ œ -

row,

j œ

œ œ

song

too

" œr 34 œ œ 49

brief,

the

way

œ œ œ œ

Give

œ œ -

row,

#16—Give Way

too

4 4

lin'

‰.

r œ

And

4 4

œ œ œ.

to some - where

2 4 œ

fal

œ œ ˙

give

way

‰ œj

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 ˙ way

a - fraid

fly

4 4

b 4 &b b 4

˙.

& b œ

proud

b &b b

b & b b 24

bbb

" œ œ bœ

œ œ œbœ ˙

to try

And he's oh

U !

G.P.

row,

spar

œ. œ œ œ œ œ so

far

row,

3 99-101

#16—Give Way

œ too

2 4

96-98

from home

Slowly, tenderly - wait for cue

74-77

66-73

& b

œ. Spar

— 215 —

O G F I G H T

3 99C-99E

— 216 —

b & b b ..

100

Vamp

b & b b ..

! !

O G F I G H T

101

rall.

U Ó

102

j œ

Give

U Ó

‰

FEM. ENS.:

‰

œ J

MALE ENS.:

Give

103

b &b b œ

way

b &b b œ

j œ

‰

œ J

‰

b œ &b b

106

‰

P j œ

‰

Pœ J

Give

way

j œ Give

œ J

108

Give

U œ ˙.

rit.

Give

#16—Give Way

F œ J

Give

œ œ ˙

Give

‰

œ œ ˙

F j œ Give

way

œ J

‰

way

Give

107

way

‰

way

j œ

‰

way

b &b b œ

Give

105

way

Give

way

b &b b œ

104

way

U̇ .

— 217 —

O G F I G H T

SOME KINDA TIME - REPRISE [Attacca from #16]

Steady, Simply q = 74 Play 4x (vocal last x)

& 24 .. œ

BOL/BERN:

Some

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'

a-blaze

œ œ bœ

some kin - da haze

it hard,

when we hit

œ œ œ œ

Some kin - da time

œ œ œ

BIRD:

Some kin - da hum

œ œ œ œ

Some kin - da time,

œ œ œ œ

some kin - da sight

BOL/BERN:

œ œ œ œ

Some kin - da time

‰ œ bœ

. & ˙

œ œ

It's strange

& #œ

œ œ œ œ

Some kin - da sight

œ œ œ œ œ

œ œ œ œ

how some - thin' chang - ges o - ver-night

Some kin - da

#17—Some Kinda Time - Reprise

night

œ œ

Œ œ œ œ

Some kin - da time

Œ œ œ œ

Some kin - da time

— 218 —

& &

œ œ œ œ

Some kin - da drum

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

ning

& ..

18-21

22-33

2 & 4 ..

œ bœ œ œ œ œ

like there's some - thin' be - gin

œ œ œ œ

œ œ

O G F I G H T

Safety

.. 44

colla voce

b &b b ‰

j œ bœ

BIRD:

Good - bye,

bœ

up at

dawn

U Ó

get - tin'

2 .. 4

œ œ gone,

in time, accel. poco a poco (build to m. 44)

j # & ‰ nœ œ

Good - bye,

Vamp

I'm on

ship-pin' out

It's all a-bout

molto rit.

œ œ œ

œ œ œ œj œ œœ‰ œ œ œ " œœœ œ œ œ 42

.. 44

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

& 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)

#### #˙ . #

good - bye!

####

ALL MARINES (EXCEPT BIRD):

œ J

# ‰

œ.

Good - bye

####

# œ

ap - ple

####

œ œ pies,

œ œ œ

and Di - nah

# ## & # # ..

Vamp

# # & # # # 44 ..

Vamp

# # # # .Vamp ! & # .

œ œ

˙.

.. ..

fries

œ ‰

j œ

long - to waf - fle

cones,

new

BOL/BERN:

4 .. 4

Vamp

.. # # .. 57

ride

on my last night state - side

.. 45

Vamp

4 4

# .. # # # #

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

‰

Gore

.. 45

j œ œ

Shore

œ œ œ œj œ # œ œ œ œ œ œ œ Twi-light Zones, and Les - ley

œ œ

‰.

r œ œ œ

BIRD:

Say

#17—Some Kinda Time - Reprise

œ ˙.

good - bye

— 220 —

####

bb &b b

la - zy

bb &b b ˙

œ œ days

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,

œ œ

j œ œ

‰

œ J

lawn

œ.

œ œ

Good - bye

œ œ

to high school

pals,

œ you

‰.

Good - bye

Say good-bye

œ œ

j œ œ

œ œ œ R

n n n n ‰ Jœ

j œ œ

Say

ALL MARINES (EXCEPT BIRD) + SERGEANT:

once you

bbbb ‰ bœ bœ . œ œ œ " œ œ œ J

‰ . œ œ œ œ bbbb nw R

(BIRD)

Say good-bye

‰ . œr œ œ œ ˙

O G F I G H T

nnnn

œ.

œ œ

Good - bye

to what you

œ ‰.

r œ

think,

'cause

good - bye

œ J

œ œ œ

Hats

off

to you

ALL:

‰

gone

ALL:

‰

œ J

Hats

off

œ œ œ to you

œ œj œ

red, white and blue

œ œj œ

red, white and blue

#17—Some Kinda Time - Reprise

accel.

— 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 ‰

ALL MARINES + SERGEANT:

###

& &

####

Good - bye

œ J

# ‰

œ.

œ J

œ œ

œ.

Good - bye THREE BEES:

# œ

# ‰

# ## & # # œ

three

bees

œ J

œ.

Good - bye

three

bees

œ œ.

to chi - li

j œ

œ ‰

œ œ œ

have a migh - ty

sting

and we

liv - in' Sem - per

œ œ J

‰

la - zy

days

come pre - pared for

pret - ty

####

œ œ ‰ J

œ œ ! œ œ œ pals,

Mays

œ œ

‰

pies,

j œ œ ‰

to high school

œ œ œ

ap - ple

! œ

j œ œ

Wil - lie

haze,

œ œ œ

œ œ

to sum-mer

œ œ

fries

to Chev - ro - lets,

FECT/STEV/GIBBS/SGT:

####

œ œ œ

œ.

Good - bye

####

‰

œ J

a - ny - thing

gals

Thick like

#17a—War Sequence (Part 1)

œ œ œ

blood and we're do

die

— 222 —

# ## œ . & # #

accel. poco a poco

####

œ œ

Can't - cha hear

nœ it

#œ

œ.

œ œ

boys?

# Ó

O G F I G H T

# # œ & # ##

com

# ## œ & # #

com

#œ

in'

com

#œ

in'

com

in'

com

in'

com

nœ #œ

Can't - cha hear

nœ

Can't - cha hear

#œ .

nœ #œ

#œ .

nœ #œ

that

noise

ALL MARINES + SERGEANT:

boys?

in'

com

in'

com

Can't

œ -

in'?

#17a—War Sequence (Part 1)

cha hear

U "

in'?

nœ

— 223 —

O G F I G H T

17b

WAR SEQUENCE (Part 2)

Militaristic

## ¿

THREE BEES:

three bees

# & # ¿

## ¿

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

die

¿ ¿ ¿

and we come pre - pared for

¿ ¿ ¿

Thick like blood and we're do

¿ sting

¿ ¿

#17b—War Sequence (Part 2)

(BOLAND is killed) 11

a - ny - thing

die

¿ ¿ ¿

and we come pre - pared for

a - ny - thing

sting

¿ ¿ ¿

¿ ¿

and we come pre - pared for

three bees have a migh - ty

# #BERN/BIRD: ¿ ¿ ¿

1-2

¿ ¿ ¿

We three bees

q = 122

# & # 44

a - ny - thing

— 224 —

## ¿

# & # ¿

¿ ¿ ¿

We three bees

three bees

# & # ¿

## ¿

three bees

li - vin'sem - per

¿ ¿ ¿

Thick like blood and we're do

die

have a migh - ty

We three bees are for - e - ver young

¿ ¿ ¿

Thick like blood and we're do

die

¿ ¿ ¿

and we come pre - pared for

Thick like blood and we're do

die

¿ ¿ 37

so watch your back

¿ ¿ ¿

and we come pre - pared for

a - ny - thing

(BERNSTEIN is killed)

¿ ¿ ¿

¿ ¿

a - ny - thing

sting

¿.

¿ ¿

sting

¿ ¿ ¿

and we come pre - pared for

¿ ¿

li - vin'sem - per

sting

have a migh - ty

¿ ¿ ¿

We three bees

¿ ¿ ¿

We three bees

li - vin'sem - per

three bees have a migh - ty

# # BIRD: ¿ ¿

## ¿

O G F I G H T

a - ny - thing

or ya might get stung

Attacca #17b—War Sequence (Part 2)

— 225 —

O G F I G H T

17c

TRANSITION - TAKE ME BACK Haunting, but with an edge Vamp

& 44 ..

1-2

FEMALE HIPPIE #1:

œ.

#œ

œ œ œ.

œ.

œ œ

œ œ œ.

œ.

œ œ œ œ œ ˙.

œ.

BIRDLACE: Excuse me 7

+ FEMALE HIPPIE #2:

œ.

œ œ œ.

& ˙˙ ..

œ.

#œ œ œ œ.

11 + FEMALE HIPPIE #3:

œ.

œ œ œ.

œœœ ...

# œœœ œœœ œœœ œœœ œœœ da

œ.

˙˙˙ .. .

(their voices fade...)

œ.

œ œ œ.

#˙

œ œ œ.

#17c—Transition—Take Me Back

FEMALE HIPPIE #1:

(spit)

œœ .. œ.

œ.

# œœœ

œ œ œ.

BIRDLACE: Can you help - I'm looking for a diner 16

œœ .. # œœ œœ œ œœ œœ œ

œœ œœ

(BIRDLACE approaches FEMALE HIPPIE 1) BIRDLACE: Can you help me out?

& œœœ

˙ da

U Ó

œœ œ

— 226 —

O G F I G H T

COME BACK

Haunting

: 3

q. = 86

# & # 128

œ œ. Œ. Œ. . sinks

# œ œ œ. & # J

˙.

œ . Œ . Œ . œ nœ œ

like a ghost

˙.

back

Ó.

fight,

that won't wash off your skin

œ J

j œ œ

œ œ œ. J

It still comes

bees sting

Watch them die

˙.

œ.

˙.

Œ.

back

Œ œj œ

˙.

go?

˙.

Œ nœ œ œ J J I

don't

know

#18—Come Back

œ œ œ œ J

˙.

œ nn J

They won't come

Where

œ. Bees

back

& w.

œ J

It still comes

˙.

and you can't do a thing

gradual accel. (to m. 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

do you

œ œ nœ J J I

don't

˙.

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

now

Œ.

They scoff, they spit

# & # Ó.

j œ œ

when you

poco più mosso

œ.

# œ œ & # J

œ J

come

˙.

œ œ J

œ.

œ. death,

each

œ.

œ nœ œ

day

There's a guilt

più mosso - con moto

œ œ & J

œ.

˙.

nœ . œ . œ

all

pa-rade

˙.

back

you

œ œ

get

is shit

œ J

j œ œ

When you

˙.

œ.

œ. œ.

On - ly

Œ.

œ nœ . œ . œ J

œ. -

that you can't shake

back

Sharper

œ.

peat,

œ. -

a - way

˙.

play

œ. each

for com-ing

œ œ œ œ J

Where

#18—Come Back

come

Œ œj œj œ

œ œ ˙. 39

molto rit.

˙.

œ nœ œ ˙ .

œ.

be - fore

˙.

back

— 227 —

O G F I G H T

do you

— 228 —

accelerando

& w.

˙.

œ œ œ J J

go?

Più mosso

˙.

a tempo

˙.

don't

œ.

back

####

œ J

œ ˙.

# # & # # œ.

Come

œ œ J

œ J

œ ˙. back

œ œ œ.

˙.

œ œ œ J J

rall.

know

œ.

œ #œ

molto rit.

Œ.

know

Œ œ J

how

Come

Œ œ J

back

don't

#œ œ œ J J

know

# ## œ #œ œ . & # J

O G F I G H T

Œ œ J

Come

œ J

œ œ.

˙.

œ J

back

#18—Come Back

####

œ.

Œ œ J

Come

œ œ. ˙.

˙.

œ.

back

molto rit.

come

back

˙.

don't

Œ œ J

Come

U Ó.

Ó.

— 229 —

O G F I G H T

FINALE - TAKE ME BACK Subtle, simple, Very slow

U !

bb 4 & b b bb 4

U !

b & b bbbb

U !

U Ó

‰

p FEM. SOLO: nœ œ nœ Oh,

Gentle (q = 68)

˙.

‰ œ œ

# p M. SOLO: & nœ . nœ œ œ ˙ Take

# & Œ

œ œ

Oh,

& a œœ &

‰

œ œ œ œ œ œ œ œ

œœ ..

œœ œœ œœ .. œ œ

Take me back

œ œ œ ˙ .. œ œ œ ˙ ..

Take me back

#19—Finale—Take Me Back

me - mo-ry

Take

you found

can

œœ œœ œœ ˙˙

œ.

Take me back

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,

Oh,

œ. œ œ œ ˙

œœ œœ ˙˙

A smell,

take you back,

œœ œ ˙

a smell,

j " œœ . . J

œ œ ˙

FEM. ENSEMBLE:

can take you back

œ œ œ

take me back

œœ

Take me back

MALE ENSEMBLE:

œ œ

œ.

back

take me back

˙.

a sound

Œ & œœ œœ œ œ œ . œ ˙

(to 1)

back

U !

, 15

U !

— 230 —

O G F I G H T

BOWS TACET

#20—Bows

O G F I G H T

EXIT MUSIC TACET

#21—Exit Music

— 231 —