Next Thing You Know Vocal Selections

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(A dark and dingy bar in New York City. The grime is part of its charm-like the musty basement of your favorite childhood
memories. WAVERLY unlocks the door, flips on a light and hangs her keys on a hook. SHE begins to prepare the bar for the night.)
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Set up the bar stools.
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WAVERLY:
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And run the taps.
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Check on the li quor.
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Wipe off the caps.
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NEXT THING YOU KNOW
Piano/Vocal
ENSEMBLE
2
LITTLE BAR ON SULLIVAN STREET
[Rev. 9/4/12]
Lyrics by RYAN CUNNINGHAM
Music by JOSHUA SALZMAN
Copyright 2012 by Joshua Salzman Publishing and Ryan Cunningham Publishing.
All rights reserved. Unauthorized copying, arranging, adapting, recording or public performance is an infringement of copyright.
Infringers are liable under the law. To request a performance license, visit www.NewMusicalTheatre.com
www.SalzmanAndCunningham.com
Prepared exclusively for Courtney Jones.
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Fill up the mix ers.
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Cut up a lime.
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Make sure my friends are gon na
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have a good time. If you

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want a fan cy cock tail that glows
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up in ne on blue, then we ain't for
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you. No.
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Where New York's twen ty some thing
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drunks come to meet. At our
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lit tle bar, lit tle bar,
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Piano/Vocal 2
Little Bar On Sullivan Street - [Rev. 9/4/12]
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lit tle bar on Sul li van
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Street.

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DARREN: Slow night?
WAVERLY: Not anymore. You're here. (THEY kiss.)
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Come in the e v'ning
(DARREN enters after a day at the office.
HE loosens his tie as he walks in.)
DARREN: Hey, babe. WAVERLY: Hey, you.
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DARREN:
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at half past six.
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Pro tect my la dy
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from bar fly dicks.
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Take in a sin ger
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Piano/Vocal 3
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who sings off key.
(Indicating Waverly)
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When she tends bar I tend to
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drink here for free. If you
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want some friend ly peo ple who could

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care less where you've been, then come on
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in! Oh!

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To play some darts you put your
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name on that sheet. At our
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WAVERLY:
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Piano/Vocal 4
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I came here to meet some wo
(LUKE enters, already on the prowl. LISA enters behind him carrying an amp.)
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Street.
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LUKE:
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men.
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L.H. L.H.
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I am here to sing a song.
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LISA:
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O kay, who let
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So where you from?
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him in?
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Hey, watch it, cu tie. I could
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do this all night long.
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All night long.
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DARREN:
LUKE:
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All night long.
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All night long.
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WAVERLY:
LISA:
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All night long!
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All night long!
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All night long!
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All night long!

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Thanks a lot.
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I'll take two whis keys.
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Piano/Vocal 6
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That's se ven bucks.
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This song is new.
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No, it's not.
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This li quor's ran cid.
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O kay, that's true.
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The food here sucks.
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Point out one.
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The wo men love me.
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You're good as done.
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It's time we met.
(pointing to LISA)
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LISA:
LUKE:
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This is as great as our lives
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WAVERLY:
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will e ver get.
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If you

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LUKE:
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live life in the fast lane and you

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want a change of pace. This here's the
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Yeah!
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Yeah!
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place.
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Yeah!
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The beer here's bit ter, but the
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wo men are sweet. At our
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lit tle bar,
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Piano/Vocal 9
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lit tle bar on Sul li van...
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The fi nest vod ka tastes a
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lit tle like deet. At our
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lit tle bar,
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Piano/Vocal 10
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Lit tle bar,
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Lit tle bar,
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lit tle bar,
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lit tle bar,
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Whoo!
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Whoo!
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It's get tin' row dy.
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Whoo!
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I'm get tin' through.
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You!
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Shot!
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The whis key's flow in'!
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Te qui la too!
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Why not?
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We're laugh in' loud ly.
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Yeah!
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Yeah!
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Yeah!
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Hey!
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Hey!
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Hey!
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We're ha vin' fun!
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No one gives a shit 'bout all the
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shit that we've done. If you
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shit that we've done. If you
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shit that we've done.
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shit that we've done.
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Piano/Vocal 12
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care to spend your e v'ning like you
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care to spend your e v'ning like you
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have n't got ta care, then pull up a
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have n't got ta care, then pull up a
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chair! Hey!
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chair! Hey!
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Hey!
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Hey!

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But don't take that one, there's a
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spring in the seat. At our
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lit tle bar,
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Street.
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Street.
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Street.
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Street.

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Piano/Vocal 15
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1

Capo 1st Fret
In Eb

[Piano for Rehearsal Only]
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E - v'ry

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time a wo - man stays the night, she's

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P
NEXT THING YOU KNOW
Piano/Vocal
LUKE
4
MORNING AFTER OMELET
[Rev. 9/4/12]
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
6
hap- py, and I don't won- der

| |
b
A
b
2
Fm
7(
b
5)
/A
b
A
b2
Fm
7(
b
5)
7

why.

E
b
E
b
/G
E
b2
E
b2
/G
8

j

.
I treat her

E
b
2
/A
b
B
b
sus
E
b2
/A
b B
b
sus
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
9

well, but I don't kiss and tell.

|
b

E
b
B
b
/D E
b
7
/D
b
E
b
7
/B
b
E
b
B
b
/D E
b7
/D
b
10

Hell, I'm just that kind of guy.
|

n
A
b
2
A
b
/B
b
G
7
/B
A
b2
A
b
/B
b
G
7
/B
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
11

w
Cm
7
Cm
7
12

J

.
She sleeps
b

b
w
w
w
E
b
7
/B
b
E
b7
E
b7
/G
13

.
in. But I get
|
w
w
w
[Piano Enters]
.
r

.

w
Fm
7
Fm
7
Piano/Vocal 2
Morning After Omelet - [Rev. 9/4/12]
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
14

up to start the day,
|
.

.

.
r

.

w
B
b
7
B
b7
15
J

.

and make her break - fast in
| |
b
E
b
2
E
b
7
/D
b
E
b2
E
b7
16
j
bed. She
| |

A
b
/C Fm
7(
b
5)
A
b
Fm
7(
b
5)
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
17

.

smi - les as she wakes up and is fed

b

E
b
B
b
/D E
b
7
/D
b
B
b
m
E
b
B
b
/D E
b7
/D
b
B
b
m
18

.
r
my morn - ing af - ter

| |

A
b
2
A
b
/B
b
A
b2
A
b
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
19

om- 'let.
WAVERLY: You sound like
quite the gentleman.

E
b
E
b
2
/G
E
b2
E
b2
/G
20

Hmm.
E
b
2
/A
b B
b
sus
E
b2
/A
b
A
b
/B
b
21
j

E
b
2
E
b
2
/G
E
b2
E
b2
/G
Piano/Vocal 3
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
22

j

I take my

E
b
2
/A
b
B
b
sus
E
b2
/A
b B
b
sus
23

j

time. No need to rush.

|
b

E
b
B
b
/D E
b
7
/D
b
E
b
7
/B
b
E
b
B
b
/D E
b7
/D
b
24

j
Or ru- in it with
| |

A
b
A
b
/B
b
A
b
A
b
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
25

haste.

cue strings
E
b
2
E
b
2
/G
E
b2
E
b2
/G
26

With the

E
b
2
/A
b
B
b
sus
E
b2
/A
b B
b
sus
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
27

ten - der twist of my well sea- soned wrist

|
b
E
b
B
b
/D E
b
7
/D
b
E
b
7
/B
b
E
b
B
b
/D E
b7
/D
b
28
.
r

I tai - lor break - fast to her
|

n
A
b
2
A
b
/B
b
G
7
/B
A
b2
A
b
/B
b
G
7
/B
Piano/Vocal 4
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
29

taste.

w
cue vln
Cm
Cm
7
30

J

I mix the eggs
b

b
w
b

.

.
w
E
b
7
/B
b
E
b7
E
b7
/G
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
31

with a touch of
|
w
w
w
.
r

.

w
play softly, with strings
Fm
7
Fm
7
32

.
milk, some hand se- lec - ted
|
.
.
.
.
. r

.

w
B
b
7
B
b7
33

.

. .

herbs and a sub- tle splash of
| |
b
E
b
2
E
b
7
/D
b
E
b2
E
b7
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
34

cream. And with
| |
.
.
.
.
b
. J

A
b
/C Fm
7(
b
5)
A
b
Fm
7(
b
5)
35

e - v'ry one I'm clo - ser to my dream.

|
b

E
b
B
b
/D
E
b
7
/D
b
E
b
7
/B
b
E
b
B
b
/D E
b7
/D
b
Piano/Vocal 5
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
36
.
r

.
The per - fect mor - ning af - ter

| |

A
b
2
A
b
/B
b
A
b2
A
b
37

om - 'let.

E
b
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
38

j

.
For Pam I add - ed

E
b
39
b

ham. For Lou -
.
|

b
b

j

w
D
b
/A
b
D
b
/A
b
F
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
40

.
r
ise I add - ed cheese. A -

.
|

w
A
b
A
b
41

.
r

.
r
ni - ka, pap- ri - ka. She

|
(small, high voicing)
w
w
w
w

E
b
2
E
b2
Piano/Vocal 6
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
42

. r
bare - ly used a fork. For

[vln]

43
b
.

.

El - la, ba - by bel - la. For
|
b
b

.
r

w
D
b
/A
b
D
b
/A
b
V
&
?
b
b
b
b
b
b
b
b
b
44

Pep- per, well pep- per. And you can
<

<
A
b
p
45
.

.

bet I used po - ta - toes for Miss

n
Fm E
b
/G A
b
F
7
/A
F Rit.
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
46

Mal - lo- ry O' - Rourke.

.
R
[Violin]
w
A
b
/B
b
B
b
47

Now I've

A
b
/B
b
B
b
48
.

.

got it to a sci - ence, but I won -
b

[Gtr.]
b
GTR alone
b

E
b
B
b
/D E
b
7
/D
b
E
b
7
/B
b
P
A Tempo
Piano/Vocal 7
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
49

der a - bout all the eggs and
w
w
w
w
w
w
w
w
A
b
A
b
/B
b
A
b
50

sex.

[Piano Enters]
E
b
E
b
/G
E
b2 E
b2
/G
51

Though it's

A
b
B
b
sus
E
b2
/A
b
B
b
sus
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
52

been a thrill, would it be bet - ter still
b
cello enters
b

E
b
B
b
/D E
b
7
/D
b
E
b
7
/B
b
53
.
r

.

if it were slight - ly less com-
|

A
b
2
A
b
/B
b
G
7
A
b2
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
54

plex?

w
Cm
7
Cm
7
55
b

w
b

.

w
cue vl
E
b
7
E
b7
E
b7
/G
poco rit.
poco rit.
56

J
J

J
In try- ing to
w
w
w
w
w
g
g
g
g
g
g
g
g
g
g
g
w
w
Fm
7
Fm
7
Piano/Vocal 8
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
57

find the one, I've let so
gently
w
w
w
w
w
w
w
g
g
g
g
g
g
g
g
g
g w
w
B
b
7
/A
b
B
b7
/A
b
58
.

.

ma - ny women walk out the door.
g
g
g

b
g
g
g
g

b
E
b
E
b
7
/D
b
E
b
E
b7
/D
b
59
w
w
w
w
w
w
w
g
g
g
g
.
.

[Cello Cue]
A
b
2
/C
A
b2
/C
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
60
. .

.
Now I have the per - fect
w
w
w
g
g
g
g
w w
w
Fm
7
61
.

.

mor - ning af - ter om - 'let.
w
w
w
g
g
g
g
w
w
E
b
/G
62

j

But no one
w
w
w
w
w
w
w
g
g
g
w
w
w
[Bs Enters]
cue gtr, vln
Fm
7(add4)
Fm
7(add4)
L
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
63
.
r

.
to make that per - fect om - 'let

w
w
w
(fingers)
w
w
w
g
g
g
w
A
b
/B
b
A
b
/B
b
64

for.

E
b
2
E
b
2
/G
E
b2
E
b2
/G
A Tempo
Piano/Vocal 9
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
65

j
My mor - ning af - ter

E
b
2
/A
b
B
b
sus
E
b2
/A
b
A
b
/B
b
66
j
.

om- 'let.

E
b
2
E
b
2
/G
E
b2
E
b2
/G
67
Hmm,
E
b
2
/A
b
B
b
sus
E
b2
/A
b
V
&
&
?
b
b
b
b
b
b
b
b
b
b
b
b
68

om - 'let.

E
b
2
E
b
2
/G
E
b2
E
b2
/G
69

[Violin Cue]
E
b
2
/A
b
A
b
/B
b
E
b2
/A
b
Rall.
Rall.
70
u
w
w
w
.
.
U
w
U
E
b
E
b
Piano/Vocal 10
&
?
#
#
4
4
4
4
1
.
.
.
.
.
.

C
2
f
2
.
.
.
.
.
.

G/B
3
.
.
.
.
.
.
.
.

Am
7(add4)
V
&
?
#
#
#
4

j

You say to try.

w
w
GMaj
9
/B
5

j

You say to work.
.
.
.
.
.
.

C
2
P
6

j

You say you're
.
.
.
.
.
.

Em
9
V
&
?
#
#
#
7

sure I could be more than this
.
.
.

C
2
8

a - do - le - scent jerk. And I say, "Look,
.
.
.
Em
9
NEXT THING YOU KNOW
Piano/Vocal
DARREN
AS GOOD AS I GET
[Rev. 9/4/12]
q = 112 Sitting into the groove
5
V
&
?
#
#
#
9

.

I've been try - ing e - ver
.
.
.
Am
7(add4)
10
since the day we met. But
Bm
7(no5)
Em
7
V
&
?
#
#
#
11

n

this a - do - le - scent jerk

. n
j
.
n

G/F FMaj
9
12
J

might be as good as I get."
.
.
.
.
Dsus D
13
.
.
.
.
.
.

C
2
V
&
?
#
#
#
14
.
.
.
.
.
.

WAVERLY: I don't buy it, Darren. You're the one who wants to get married and you're giving up before we've even started.

G/B
15
.
.
.
.
.
.
.
.

Am
7(add4)
16

j

I've let you down.

w
w
GMaj
9
/B
V
&
?
#
#
#
17

j

It's what I do.
.
.
.
.
.
C
2
18

j

I must ad -
.
.
.
.
.
Em
9
19

mit I've pulled some shit that I re -
.
.
.

C
2
Piano/Vocal 2
As Good As I Get - [Rev. 9/4/12]
V
&
?
#
#
#
20

gret a time or two. But I may
.
.
.
Em
9
21
J

.
not get much bet - ter, and
.
.
.
Am
7(add4)
V
&
?
#
#
#
22

since I'm not there yet,
Bm
7(no5)
Em
23

n

a man who lets you down

. n
j
.

G/F FMaj
9
24
J

might be as good as I get.
.
.
.
.
Dsus D
V
&
?
#
#
#
25

I'm not say - ing I'm not try -

r

.

w
C
2
Expansive
26

ing. I'm not say - ing I won't try.

r

.

w
G/B
V
&
?
#
#
#
27
.
R

But if you want ex - tr'or - di - na -

r

.

w
Am
7(add4)
28

j

ry I'm gon - na come up shy.

r

.

w
G/B
Piano/Vocal 3
V
&
?
#
#
#
29

J

n

I wish I could be bet -

r
n

.
n

w n
FMaj
9
30

.

ter, but I'm just an
a

a

r

.

w
Em
9
V
&
?
#
#
#
31

or - di - na - ry guy,

r

w n

n
G/F
32
.

who loves you a lot.
w
w
w
w
w n
33

j
And
.
.
w
G/D D
7
V
&
?
#
#
#
34

j

may - be that's all I
.
.
.
G/D
35

got.
.
.
w
w n

FMaj
9
36

J

It's not i - deal.
.
n

n
n
>
G/F
V
&
?
#
#
#
37

J

.
n
At least it's

r
b
n
. b

w b
B
b
Maj
7
38

J

true. Per - haps your

r

.

w
Am
7
Piano/Vocal 4
V
&
?
#
#
#
39
J
b

b
man does what he can and comes up

r
b
n
. b

w b
B
b
Maj
7
40

J

a
short, but still loves

r

j
j
a
w
Am
7
V
&
?
#
#
#
41 w
you.
.
r

.

w
w
C
2
42 .

.
r

.

w
G/B
43
.
r

.

w
Am
7
V
&
?
#
#
#
44

j

You say to leave.
.
.

.
w
G
2
/B
Rit.
45

j

I'm good as gone.
.
.
w
w
C
2
P
46

j

I'd ra- ther be
.
.
w
w
w
GMaj
7
/B
V
&
?
#
#
#
47
.

.

up front now than let you
.
.

w
w
Am
7(add4)
loco
48
.

.
down la - ter on. And you might

.
.
.

Bm
7(no5)
Em
Piano/Vocal 5
V
&
?
#
#
#
49

have to take a gam- ble 'cause I'm
.
.
w
Am
7
50
not a sure bet. And

.
.
Bm
7
Em
51
j

n

.
there's an ex- tr'or - di - na - ry
. n
j
.
j
w n
G/F
V
&
?
#
#
#
52
.

chance
>

>

>

>

>

r

.
n

w n
FMaj
9
53
j

n

.
N
that this or - di - na - ry
j

w
C/D
V
&
?
#
#
#
54
man who
>

>

>

>
>

>

r

.

w
55
.

loves you
w
w
w

r

w
&
C
2
56
J

might be as good as I get.
w
w
w
w
w
?
V
&
?
#
#
#
57
.
.
.
.
.
.

G/B
58
.
.
.
.
.
.

WAVERLY: I'm sorry.
C
2
59
j

It's as good as I get.
.
.
.
#
. n

F
2
GMaj
7
60
.
.
.
Piano/Vocal 6
&
?
#
#
#
#
#
#
8
12
8
12
1

q
.
= 116 Fluid
&
?
#
#
#
#
#
#
3
&
&
?
#
#
#
#
#
#
#
#
#
5

j

j

I can still re mem ber that
A
6
n
j

j

j

j
cool day in Sep tem ber. My
n
n

G
2
- - - -
NEXT THING YOU KNOW
Piano/Vocal
LISA
8
MANHATTAN BRIDGE
[Rev. 9/4/12]
&
&
?
#
#
#
#
#
#
#
#
#
7

j

j

j
first trip on the sub way a
A
8

2
n

j
cross the Man hat tan Bridge. I
G
2
- - - -
&
&
?
#
#
#
#
#
#
#
#
#
9

looked out side, and could
A
10
n
j

j

not be lieve my eyes. Then I
G
2
- -
&
&
?
#
#
#
#
#
#
#
#
#
11
looked a round, and
A
12
n
j

much to my sur prise,

.
.
.

(gtr)
G
2
- -
&
&
?
#
#
#
#
#
#
#
#
#
13
j

j

no one else was look ing at the
.
.
.
.
.
.

j

. w
Bm
14

bridge, the sta tue,
.
.
.
.

j

.
w
A/C
#
- -
Piano/Vocal 2
The Manhattan Bridge - [Rev. 9/4/12]
&
&
?
#
#
#
#
#
#
#
#
#
15
j
J
.
the sky.
.
.
w
w
. w
D
16
. .

.
.
.
.
w
w
w
n
j
n
j

a
j

N

.
w
(vl 8va)
PNO PLAY
Dm
(Ma7)
&
&
?
#
#
#
#
#
#
#
#
#
17

.
No one else was look ing,
.
.
.
.

.

.
.
.
C
#
m
7
F
#
m
7
18
j

j

j
and I could not i ma gine

.
.
.
.
.
.
.
Bm
7(add4)
E
7
sus
- - -
&
&
?
#
#
#
#
#
#
#
#
#
19

.
why.

WAVERLY: It happens, Lisa. You get used to things like that here.
20
.

.

j
J

j

J

j
&
&
?
#
#
#
#
#
#
#
#
#
21

j

j

sat and stared, un blink ing, then
A
22
n
j

j

j

got a round to think ing that these
n
n

J

j

J

j
G
2
- - - -
Piano/Vocal 3
&
&
?
#
#
#
#
#
#
#
#
#
23
j

j

j
peo ple just don't re cog nize the
A
24
2
n

.

view they miss each day. So I
J

j

J

j
G
2
- - -
&
&
?
#
#
#
#
#
#
#
#
#
25

.

took it in. Then I
A
26
n
j

j
took it in a gain. It
J

j

J

j
G
2
-
&
&
?
#
#
#
#
#
#
#
#
#
27
j

.
2

made me smile. I
A
28
n
j

made a pro mise then, that the

.
.
J

j

G
2
-
&
&
?
#
#
#
#
#
#
#
#
#
29
j

j

day that I stopped look ing at the
.
.
.
.
.
.

j

. w
Bm
30
.
2

2
.
way it all seems
.
.
.
.

j

.
w
A/C
#
-
Piano/Vocal 4
&
&
?
#
#
#
#
#
#
#
#
#
31
j
J
.
to glow,
.
.
w
w
. w
D
32
. .

J
the
.
.
.
w
w
w
n
j
n
j

.
w
Dm
(Ma7)
&
&
?
#
#
#
#
#
#
#
#
#
33

.
day that I stopped look ing
.
.
.
.

.

.
.
.
C
#
m
7
F
#
m
7
34
.

j

j
was the day that I should

.
.
.
.
.
.
.
Bm
7(add4)
E
7
sus
-
&
&
?
#
#
#
#
#
#
#
#
#
35
.

.

.
go.

.
.
[violin]

j
.
A
36
.

.

j
So
.
.

.
.
. .
&
&
?
#
#
#
#
#
#
#
#
#
37

j
n
j

j
e v'ry day from that day on I

.
.
n
.
.
.
.
n
n
j

n .
.
n
.
C G/B
38

j
n
j
n
j
took the time to stop and look. I'd

.
.
b
.
.
.
.
n
b .

j
.
b
.
B
b
F/A
-
Piano/Vocal 5
&
&
?
#
#
#
#
#
#
#
#
#
39
n
j

wake my self up from a nap. Or
.
.
b
n
.
.
.
n
.
.
n
b
.

n .
. b
.
n
Fm/A
b
C/G
40

n
j

take a short break from my book.
.
.
.
.
.
.

.
.
. # . n
D/F
#
F
o
7
-
&
&
?
#
#
#
#
#
#
#
#
#
41
n

j

But to day, on the sub way, af ter
.
.
.
n
.
.
.
.
.
.
n
b
Am/E D
o
/F
slower
42
j
n
n
. b

n

fight ing for my seat. I star ted
.
.
.
n
n
.
.
.
n
b
.
.
n
.
.
n
b
C/G Fm/A
b Slower, Freely
- - - - -
&
&
?
#
#
#
#
#
#
#
#
#
43
j
b
j
n
n
j

b
read ing at De kalb, and did n't look
.
.
.
w
w
w
b
b
b
g
g
g
g
g
.
.
.
w
w
w
b
b
b
D
b
44
n

j

.
up 'til Ca nal Street.
.
.
.
n
n
n
g
g
g
g
g
.
.
.
,
.
.
n
n
.
.
,
G
5
- - - -
&
&
?
#
#
#
#
#
#
#
#
#
45
A Tempo
46
.

.

j
Piano/Vocal 6
&
&
?
#
#
#
#
#
#
#
#
#
47

j

j

j
blinked to clear my vi sion, thought
A
48
n
j

j

j

j
back on my de ci sion to
n
n

G
2
- - -
&
&
?
#
#
#
#
#
#
#
#
#
49
up and leave the ci ty the
A
50
j

2
n

j
day I missed the view. It's
G
2
-
&
&
?
#
#
#
#
#
#
#
#
#
51
j

har der now than I
A
52
n
j

j

thought it would have been. Did the
J
n

J

J

J
G
2
-
&
&
?
#
#
#
#
#
#
#
#
#
53
j
ci ty break me down, or
A
54
n
j

j
sim ply break me in? To

.
.
.
J
n

J

J

G
2
- - -
Piano/Vocal 7
&
&
?
#
#
#
#
#
#
#
#
#
55
j

j

day's when I stopped look ing at this
.
.
.
.
.
.

j

. w
Bm
56

place like it was
.
.
.
.

j

.
w
A/C
#
-
&
&
?
#
#
#
#
#
#
#
#
#
57
j
J
.
all new.
.
.
w
w
. w
D
58
.

j
To day's the
.
.
.
w
w
w
n
.
.
n
.
a
.
w
Dm
(Ma7)
-
&
&
?
#
#
#
#
#
#
#
#
#
59

.
day that I stopped look ing,
.
.
.
.

.

.
.
.
C
#
m
7
F
#
m
7
60
j

j

so now what do I
.
.
.
.
.
.
.
Bm
7(add4)
Esus
-
&
&
?
#
#
#
#
#
#
#
#
#
61
.

.

.
do?
.
.
w
w
.
j
.
.
.
.
. w
F
#
m
rit.
expressively
62
.

j

Do I
.
.
.
.
.
.
w
A/E
Piano/Vocal 8
&
&
?
#
#
#
#
#
#
#
#
#
63
.

.

J

stay or do I
.
.
.
g
g
g
g
.
.
.
g
g
g
.
.
.
.
.
.
D C
#
m
Freely
64
.

j
n
j
j

leave and change up the
.
.
.
g
g
g
.
.
.
.
n
g
g
g
g
.
.
.
Bm Bm
7(
b
5)
&
&
?
#
#
#
#
#
#
#
#
#
65
.
w
view?
AMaj
7
poco rit.
66
.
.
.
U
g
g
g

.
.
.
U

.
.
u
J
.
.
bass cue
p
pizz.
Piano/Vocal 9
V
&
?
b
b
b
4
4
4
4
4
4
.
.
.
.
.
.
.
.
.
.
.
.
1
(WAVERLY gets up to get a pitcher and runs into DARREN.)

DARREN: Hey.
WAVERLY: What are you doing here?
DARREN: Beer. Amaretto sour?
WAVERLY: No, thank you.
DARREN: Okay.
q = 92
p
2
WAVERLY: So, how've you been?

DARREN: Fine. I mean,
4

I'm still
(vocal last time only)

SAFETY
DARREN:
V
&
?
b
b
b
5

.

.
r
look ing for jobs, not just a ny. Or

Gm
7
Dm
7
6

j
else I'd get one right a way. And
.
.
.

Gm
7
Dm
7
- - -
V
&
?
b
b
b
7

.

not on ly one, I'd get ma ny. I'd be

Gm
7
Dm
7
8

hold ing em ploy ers at bay. But I
.
.
.
#
#

#

#

Em
7(
b
5)
A
+
7(
#
9)
- - - - -
NEXT THING YOU KNOW
Piano/Vocal
DARREN
WAVERLY
9
HOW 'BOUT YOU?
[Rev. 9/4/12]
V
&
?
b
b
b
9

need a good job where they think it's o kay that I
.
.
.

Gtr, Bs Enter
B
b
Maj
7
Am
7
10

might take some time off to work on my play. And that
.
.
.
.

.

Gm
7
Dm
7
/A
-
V
&
?
b
b
b
11

pitch to a job can be a real ly hard sell. My
.
j
.
j
.

Em
7(
b
5)
Dm
7
GTR
12

play takes up my time which you know ve ry well. It can be
#
b

r
n

j

#

.
j
.

C
#
o
7
Dm
7
GTR
- -
V
&
?
b
b
b
13

hard to make pri or i ties fit. If you re
#
b
.
.
.
.
n

r
b

#

G
o
7
Dm/F
BS
GTR
14

call that was the rea son we split, or why you left me real

.
r
#
n
g
g
g
g
g
g
g

j
#
Em
7(
b
5)
A
+
7(
#
9)
GTR
- - - - - -
V
?
?
b
b
b
15
j

ly. Let's not get all touch y

#

.

.
.

Dm C B
b
7
A
7
GTR
16
.

feel y. Look where this con ver sa tion

.

.
.

j
Dm C B
b
7
- - - - -
Piano/Vocal 2
How 'Bout You? - [Rev. 9/4/12]
V
?
?
b
b
b
17
j

veered. Let's not dis cuss our old re la tion ship cause
#

.

.

A B
b
A
- - - -
V
?
?
b
b
b
18

that might get weird.

#

#

&
.

.
.

Dm
19

A ny way. A ny way. A ny way. How 'bout

.
.
.
.
.
#
n
g
g
g
g
g
g
g
Gm
9
Gm
7
/B
b
A
7(
#
9)
- - - - - -
V
&
?
b
b
b
20
j

you?
WAVERLY: Good. Glad to hear it's going well for you.
DARREN: You seeing anyone?
WAVERLY: It's only been a few weeks.

.
.

.

#
Dm
p
21

Cause I'm
#

.
.

.

V
&
?
b
b
b
22

.

.
r
see ing some one, well not see ing. Just

.
.
.
.

Gm
7
Dm
7
23

sleep ing with her a lot. And to be
.
.
.
.

Em
7(
b
5)
Dm
7
/F
BS + GTR
- - - -
Piano/Vocal 3
V
&
?
b
b
b
24

.

ho nest I find it quite free ing. I get the
.
.
.
.

.
.
.
.

Gm
7
Dm
7
BS
25

milk and the cow is not bought. And she

.
r
n
#

#

#

Em
7(
b
5)
A
+
7(
#
9)
- -
V
&
?
b
b
b
26

can't get enough, she just climbs right on top. And from
.
.
.
.

B
b
Maj
7
Am
7
27

morning 'til night we're just fuck ing nonstop. And
.
.
.
.

.

Gm
7
Dm
7
/A
- - - -
V
&
?
b
b
b
28

I could use a break cause all the sex is e nough. I wanna

Em
7(
b
5)
Dm
7
29

talk a bout feel ings cause I'm in to that stuff. But she'd
#
b

b
r

.
R
n

C
#
o
7
Dm
7
- - - - -
V
&
?
b
b
b
30

ra ther get me na ked in stead and just re
#
b
.
.
.
b

#

n

G
o
7
Dm/F
31

mind me I'm a ma zing in bed, and that I make her de li

.
r
#
n
g
g
g
g
g
g
g

j
#
Em
7(
b
5)
A
+
7(
#
9)
- - - - - - - -
Piano/Vocal 4
V
?
?
b
b
b
32

ri ous. Just so you know we're not

#

.

.
.

Dm C B
b
A
7
GTR
33

se ri ous. We have n't said our "I

.

.
.

j
Dm C B
b
- - - -
V
?
?
b
b
b
34
j

do"s. We can still see o ther peo ple like an
#

.

.

A B
b
A
35

ex if we choose.

# n

#

#

&
.

.
.

Dm
- -
V
&
?
b
b
b
36

.
A ny way. A ny way. A ny way. How 'bout

.
.
.
.
.
#
n
?
Gm
9
Gm
7
/B
b
A
7(
#
9)
37
j

you?

&
.

.
.

Dm
- - - - - -
&
&
?
b
b
b
38
b

b
j

I'm still work ing. Have n't quit.
j
b

.
r
b
j
b
b

j
E
b
7
E
b
7
/G
WAVERLY:
39
N

j

I'm still sin gle. And that's it.
j
N

j

Dm/A Dm
- - -
Piano/Vocal 5
V
&
?
b
b
b
40

j
So it's
DARREN:
41

.

r
awe some we had this brief meet ing. Re

Gm Dm
7
/F
GTR
- - -
V
&
?
b
b
b
42

minds me of the fun that we had. And al
.
.
.

Em
7(
b
5)
Dm
43

.

though it has been a bit fleet ing.

Gm
7
Dm
7
/F
- -
V
&
?
b
b
b
44

Be ing with you's ne ver bad. I'm gon na

.
r
#
#

#

Em
7(
b
5)
A
+
7(
#
9)
45

go to the bath room right there, down the hall. If you re
.
.
.
.

B
b
Maj
7
Am
7
- - - - -
V
&
?
b
b
b
46

member we had our first kiss in that stall. And a
.
.
.
.

.

Gm
7
Dm
7
/F
47

stall's a weird place to be kissed. But some thing
.
j

Em
7(
b
5)
Dm
7
- -
Piano/Vocal 6
V
&
?
b
b
b
48

clicked and we could n't re sist. So I'll
#
b
.
.
.
.
#

C
#
o
Dm
7
49

be in the one towards the back. And I'll
#
b

.
r

#

n

G
o
7
Dm
7
/F
BS
- -
V
&
?
b
b
b
50

leave the door o pen a crack. Not to be weird, but just

.
r
#
n
g
g
g
g
g
g
g
Em
7(
b
5)
A
+
7(
#
9)
51

stat ing that that is where I will be

#

#

.

.
.

Dm
7
C B
b
7
A
7
GTR
- -
V
?
?
b
b
b
52
.

wait ing. So you do what you've got ta

#

.

.
.

j
Dm
7
C B
b
53
j

do. If not to night, then not to night, but I'll be
#

.

.

A
+7
Gm
7
A
7
- - - -
V
?
?
b
b
b
54
.

wait ing.

3

#

&
.

.
.

Dm C B
b
A
55

A ny way, a ny way, a ny way. How 'bout you?
#
n

Gm
9
Gm
7
/B
b
A
+
7(
#
9)
Dm
- - - - - - -
Piano/Vocal 7
&
?
b
b
4
4
4
4
Piano
1
LUKE: Don't you want to know anything about me?

WAVERLY: Nothing.
LUKE: Not one little thing?
WAVERLY: I'm upset I even know your name. Let's go.
LUKE: You're a very confusing woman. And I feel like I have a pretty good grasp on women, but this is unlike anything
.
.

FMaj
7
B
b
2
2
w
w
w

w
AC. GTR
3
.
.

FMaj
7
B
b
2
4
w
w
w

w
&
&
?
b
b
b
Pno
5
j

j
You've got that quir -
.
.

FMaj
7
B
b
2
6
j

j

ky smile.
w
w
w

w
7
You've got that charm -
.
.

FMaj
7
B
b
2
&
&
?
b
b
b
Pno
8
j

j

ing stare.
w
w
w

w
9
j

j
You've got that way
.
.

FMaj
7
B
b
2
10
j

j

you talk says you

j

w
w
w

w
Piano/Vocal
WAVERLY
10
DON'T SAY ANOTHER WORD
[Rev. 9/4/12]
q = 136-144
&
&
?
b
b
b
Pno
11
j
.
could be from

w
F/A
12

a - ny - where.

w
B
b
13
No, I don't know

gtr strumming

j

w
Dm
&
&
?
b
b
b
Pno
14
.

ex - act -

j

w
C/E
15
j
ly where you've been.

j

w
F/A
16
w
B
b
&
&
?
b
b
b
Pno
17
I don't know a -

j

w
Gm
18
j

j

ny de - tails, so I'm

j

w
F/A
19
j

j
fil - ling them all in.

j

w
B
b
&
&
?
b
b
b
Pno
20

j

Don't say a - no - ther word.

Csus
Tempo II, slightly slower
21

j

Don't ru - in the sur - prise.
gtr groove
.
.
.

.

F
Piano/Vocal 2
Don't Say Another Word - [Rev. 9/4/12]
&
&
?
b
b
b
Pno
22

I don't want to know the se -
.
.
.

.

Gm
23

crets that are ly - ing in your eyes.
.
.
.

.

B
b
&
&
?
b
b
b
Pno
24

I don't need to see the an -

.
j
.
j
C
25

swers. I pre - fer my vi - sion blurred.
.
.
.
.

w
F
&
&
?
b
b
b
Pno
26
Don't move. Don't speak.

w
F/A
27
j

J

Don't breathe.
.
w
B
b
&
&
?
b
b
b
Pno
28

j

w
w
w b
E
b
2
29
w
LUKE: There's gotta be one thing
you want to know about me. I ran the
600-meter dash in high school.
[violin]
.
.

FMaj
7
B
b
2
Tempo I
Piano/Vocal 3
&
?
b
b
Pno
30
w
w
w

w
31
.
.

FMaj
7
B
b
2
32
w
w
w

w
&
&
?
b
b
b
Pno
33
j

j
You think I'm in -
.
.

FMaj
7
B
b
2
34
j

j

sin - cere.
w
w
w

w
35
I have a guar -
.
.

FMaj
7
B
b
2
&
&
?
b
b
b
Pno
36
j

j

ded heart.
w
w
w

w
37
j

j
You think the things
.
.

FMaj
7
B
b
38
j

j

you want, but just

j

w
w
w

w
&
&
?
b
b
b
Pno
39
j

j

don't rush the

w
F/A
40

great - est part.

w
B
b
41

j
And I know
gtr strumming

j

w
Dm
Piano/Vocal 4
&
&
?
b
b
b
Pno
42
.

ex - act -

j

w
C/E
43
j
ly how you feel.

j

w
F/A
44
w
B
b
&
&
?
b
b
b
Pno
45

j

But some - times what you

j

w
Gm
46
j

j

i - ma - gine can be

j

w
F/A
47
j

j
bet - ter than what's real.

j

w
B
b
&
&
?
b
b
b
Pno
48

j


Csus
Tempo II, slightly slower
49

j

Just let me take you in.
gtr groove
.
.
.

.

F
&
&
?
b
b
b
Pno
50

We'll have to fi - nish some -
.
.
.

.

Gm
51

time, we get one chance to be- gin.
.
.
.

.

B
b
Piano/Vocal 5
&
&
?
b
b
b
Pno
52

j

Find beau- ty in the si -

.
j
.
j
C
53

lence and al - though it sounds ab - surd,
.
.
.
.

w
F
&
&
?
b
b
b
Pno
54
don't move. Don't speak.

w
F/A
55
j

J

Don't breathe.
.
w
B
b
56

j

w
w
w b
E
b
2
&
&
?
b
b
b
Pno
57

j

Right now.
spacier gtr groove

j
.
.
.

w
Dm
58

j

Right here. There's just

j

w
C/E
59
j

j

this mo - ment be - tween
.
.
.
.

w
B
b
sus2
&
&
?
b
b
b
Pno
60

you and me.
.
.

w
F/A
61

j

No past.
.
.
.
.

w
Dm
62

j

No fear. This can be

j

w
C/E
Piano/Vocal 6
&
&
?
b
b
b
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
Pno
63

what we want it to be.
.
.

w
B
b
sus2
64

#
#
#
N.C.

Csus
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
Pno
65

j

Don't whis - per in my ear.
chorus gtr groove

.
.
F
#
66

Don't try to make up some -

w
w
G
#
m
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
Pno
67

thing that you think I want to hear.

.
.
B
68

j

'Cause I've heard it all be - fore

w
w
C
#
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
Pno
69
.
r

and I was hurt by what I heard.

w
w
F
#
70

.
.

F
#
/A
#
Piano/Vocal 7
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
Pno
71
j

J

Don't breathe.
w
w
BMaj
7
72
.
j

n . w
w n
n
E
2
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
Pno
73

J

Don't whis - per in my ear.

.
.
F
#
74
.

j

Don't try to make up some -

w
w
G
#
m
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
Pno
75

thing that you think I want to hear.

.
.
B
76
.

'Cause I've heard it all be - fore

.
.
C
#
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
Pno
77

and I was hurt by what I heard.

.
.
F
#
78


.
.

F
#
/A
#
Piano/Vocal 8
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
Pno
79
j

J

Don't breathe.
w
w
B
80

j

w
w
w
w
w n
E
2
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
Pno
81
.
.
.
.
w
D
#
m
82

j

.
Don't say a - no - ther
w
w
w

j
w
C
#
/E
#
83
.

word.
w
w

j

w
F
#
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
Pno
84

.
Don't say a - no - ther
w
w
w
g
g
g
g
g
g
g
g
g
g
g
g
w
w
w
BMaj
7
85

j

word.
.
.
.
w
D
#
m
86
w
C
#
/E
#
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
Pno
87
.
.
.
j

F
#
/A
#
F
#
/B
poco rit.
88
w
w
w
g
g
g
g
g
w
w
w
C
#
(no3)
Piano/Vocal 9
V
?
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
4
4
4
4
4
4
A

So I
q
Driving
1

.

pro- mised her I'd quit,
w

D
b
2

b

.
r
yeah, this time for real. She

w
w b

D
b
7
V
?
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
3

did - n't make me. I just of - fered. Hey,
w
w

G
b
/D
b
4
j

.

it's no big deal. So that's it.
w
w
w

G
b
m/D
b
V
?
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
5

b
I'm done. No turn - ing back. But I real -
w
w
>

D
b
cresc. poco a poco
V
?
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
6
b

ly should fi - nish up this pack. I could quit
w
w b
>

D
b
7
NEXT THING YOU KNOW
Piano/Vocal
LUKE
AND I BREATHE
[Rev. 9/4/12] Lyrics by RYAN CUNNINGHAM
13
V
?
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
7

if I want. That's what it's real - ly a - bout. So take the
w
w
>

>

>

>

G
b
/D
b
V
?
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
8

cel - lo- phane off and pull that ci - ga- rette out. And I
.
.
.
&
>

>

>

>

>

>
G
b
m/D
b
9

b
breathe and I hold it in 'til I feel
.
.
.
.
.
.
.
b
b
j

b
G
b
Maj
7
Fm
7
B
b
m
7
F
b
/C
b
Groove Relaxes, Breathes
sub.
P
V
&
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
10

b

that tin - gle 'neath my skin. And I
.
.
.
.
.
.
b
.
.
.
.
b

G
b
/B
b
B
G
b
/A
b
11

A

.
have to smoke it now be - cause it's

.
.
.
.
n
b

n
j
n

G
b
Maj
7
F
7(
#
9)
/A F
7
V
&
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
12
.

lit. Then I
.
.
.

n
n

n
B
b
m G
o
13
b

b

put it out. I'm done. I'm good. I
.
.
.
b
b
b

.
.
n
.
.
.

?
b
b

n
n

b

F
b
/C
b
G
b
/B
b
G
o
A
b
5
/E
b
Piano/Vocal 2
And I Breathe - [Rev. 9/4/12]
V
?
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
14

quit.
J
.

j

D
b
Driving
poco accel.
15

So I

16

.

r
don't smoke for a whi - le. Yeah,

w

D
b
V
?
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
17
j

>

that's good for me.
w
w b

D
b
7
18

.

Then I start to bite my nails and
w
w

G
b
/D
b
V
?
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
19

light - ly bounce my knee. I mean I
w
w
w

G
b
m/D
b
20

b
smoked for ten whole years be - fore. Would it kill
w
w
>

D
b
cresc. poco a poco
V
?
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
21
b

me to have on - ly just one more? So I'll
w
w b
>

D
b
7
Piano/Vocal 3
V
?
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
22

have a - no - ther then I swear that's it. I get my
w
w
>

>

>

>

G
b
/D
b
V
?
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
23

ci - ga - rette out and my ligh - ter lit. And I
.
.
.
&
>

>

>

>

>

>
G
b
m/D
b
V
&
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
24

b
breathe. And my vi - sion clears. And that itch
.
.
.
.
.
.
.
b
b
j

b
G
b
Fm
7
B
b
m
7
F
b
/C
b
sub.
P
25

b

in - side here dis - ap - pears. And I
.
.
.
.
.
.
b
.
.
.
.
b

G
b
/B
b
B
G
b
/A
b
V
&
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
26

.
have to smoke it all, it's my last

.
.
.
.
n
b

n
j
n

G
b
Maj
7
F
7(
#
9)
/A F
7
27
.

one. Then I
.
.
.

n
j
n

n
B
b
m G
o
Piano/Vocal 4
V
&
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
28
b

b

put it out. I quit. I'm good. I'm
.
.
.
b
b
b

.
.
n
.
.
.

?
b
b

n
n

b

F
b
/C
b
G
b
/B
b
G
o
A
b
5
/E
b
29

done. I'm gon- na
J
.

J

D
b
V
?
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
30

b

quit. That's for sure. I'm gon - na
b

.
.
.
.
J
b
>

w
G
b
7
F
31

b

quit be- cause of her. I'm gon - na
b

.
.
.
.
J
b
>

b
w b
D
b
m/F
b
V
?
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
32

b

quit. It won't be hard. I'll throw this
#
#
n

.
.
.
.
J
n
>

n
w n
DMaj
7
33

.
J
pack out in my yard... right

.
.
.
.
.
.
>

.
J

>
E
b
7
A
b
V
?
?
b
b
b
34

.

af - ter I have a - no - ther. And may - be
w
w
w

w
Dm
sub.P
35
j

j

one more on se- cond thought.
w
w
w

w
Dm/C
Piano/Vocal 5
V
?
?
b
b
b
b
b
b
b
b
b
b
b
b
36
J

J
n

Oh man. I'm gon - na
w
w
w
n
n
w n
G/B
37

miss this a lot. And how
A
b

&
A

j

A
B
b
7
V
&
?
b
b
b
b
b
b
b
b
b
38

b

dare she claim it's not her I'm quit - ting for.
.
.
.
.
.
.
.
.

w
Cm
F
39

It's for
>

#

n

w
Cm/B
b
f
V
&
?
b
b
b
b
b
b
b
b
b
40

b

us. How can that be? It's for us?
.
.
.
.
.
n
w n
A
o
41

b

Well, it's not for me. So
.
.
.
.
.
.
.
.
b
b
.
b
J
b
A
b
7
C
b
7
V
&
?
b
b
b
b
b
b
b
b
b
42

I'll have one more. Just one more.
j

j
j

j
w
Cm
P
meno mosso
43

But one more is one more
j

j
j

j
w
Cm/B
b
cresc. poco a poco
Piano/Vocal 6
V
&
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
44

and one more and more and
j
n
j
j

j
w n
A
o
poco accel.
45

more and more and more. So I've
n
b
b

j

j

b
b

A
b
7
C
b
7
V
&
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
46

b

got - ta let 'em go. Man, I'll
.
.
.
.
.
.

w
D
b
5
47
b

real - ly miss you guys. But there's
.
.
.
.
.
.
b
w b
D
b
sus/C
b
V
&
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
48
b

one thing that I know, I can't go
.
.
.
.
.
.

(black note
gliss)

w
G
b
/B
b
49
b

b

home and see those eyes. When she just
J
b
n

j
n
n

j
b
A
/A
b
~
~
~
~
~
~
~
~
V
&
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
50

b
breathes. Just a lit - tle sigh. That is all
.
.
.
.
.
.
.
b
b
j

b
G
b
Maj
7
Fm
7
B
b
m
7
F
b
/C
b
sub.
P
51

b

.

I need to won - der why I
.
.
.
.
.
.
b
.
.
.
.
b

G
b
/B
b
A G
b
/A
b
Piano/Vocal 7
V
&
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
52

.
could-n't up andquit a day a -

.
.
.
.
n
b

n
j
G
b
Maj
7
F
7(
#
9)
/A F
7
53
.

go. I did-n't
.
.
.
n
j
n

B
b
m
7
G
o
54
b

.

n
think I'dstill besmok - ing when I was
.
.
.
.
.
.
A
G
b
7
P
V
&
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
55
b

n
twen - ty eight years old. But it's a -
.
.
.
.
.
.
b
D
b
m/F
b
56
b

.

.
ma - zing how these ti - ny lit - tle
.
.
.
.
.
.

E
b
7
V
&
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
57

b

J
b
bas - tards take their hold. And
.
.
.
.
.
.

D
b
m
58
J

b

why can't my god damn bo - dy
.
.
.
.
.
.

G
b
7
cresc. poco a poco
V
&
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
59
J

.
just do what it's

.
.
.
.
.
.
b
D
b
m/F
b
60

b
fri - ckin' told?
.
.
.
.
.
.
.
.
.
b

E
b
7
61 .

n

So the
n
b
.
.
.
.
?

j

A
b
7
f
Piano/Vocal 8
V
?
?
b
b
b
62

next time that I feel the itch. And my pin -
.
.

.
.
J

w
Dm
P
63

kie fin - ger starts to twitch. And the feel -
.
.

.
.
J

w
Dm/C
V
?
?
b
b
b
64

ing starts to roll at me like a
.
.
.
.
n
w n
G/B
65
.

.

gi - ant fu- cking bus.
.
.
.
.
,
b
,
w b
B
b
7
Rit.
66
n
#

I'll just breathe.
.
.
.
n

.
.
w
G
p
V
?
?
b
b
b
67

Not for her.
.
.
.

.

.
w
Dm/F
68

Not for me.
w
w n
.
#
w
Esus
69

.
N
But for
w
w
w
#
n
w
A
7
V
?
?
b
b
b
70

us.

D
5
A Tempo
71
w
w

72
n b
,
w

, Rit.
73
(audible exhalation with button)

w
w
w
g
g
g
g
g
w
w
Piano/Vocal 9
V
&
?
#
#
#
#
#
#
#
#
#
8
12
8
12
8
12
.
.
.
.
.
.
.
.
.
.
.
.
1
.
.
.
.
.
.
.
.

. w
q
.
72 - 76
2
.

j

If she were
(vocal 2nd time only)
.
.
.
.
.
.
.
.
n

. w
V
&
?
#
#
#
#
#
#
#
#
#
3

j

.
coming home, I would- n't

.
.
.
.
.
.
.
.

. w
4

.

j

have a- no- ther drink. If she were
.
.
.
.
.
.
.
.
n

. w
V
&
?
#
#
#
#
#
#
#
#
#
5

.

j

coming home, I'd do the dish - es
.
.
.
.
.
.
.
.

. w
6

pi - led in my sink. And I'd
.
.
.
.
.
.
.
.
n

. w
NEXT THING YOU KNOW
Piano/Vocal
DARREN
IF SHE WERE COMING HOME
[Rev. 9/4/12]
14
V
&
?
#
#
#
#
#
#
#
#
#
8
6
8
6
8
6
8
12
8
12
8
12
7

.

j
.

hang up all my shirts and pick my dir - ty
.
.
w
w
. w
8
j

socks up off the
.
.
V
&
?
#
#
#
#
#
#
#
#
#
8
12
8
12
8
12
9
J

.

J

floor. But she's not
.
.
.
.
w
w
w
w
#

#

#
. w
10
.

.

coming home a - ny -
.
.
.
.
.
.
.

.
.
.
.
n
.

.
V
&
?
#
#
#
#
#
#
#
#
#
11
j

.

.
more.

. w
Strings
12
.

j

If she were
n

. w
V
&
?
#
#
#
#
#
#
#
#
#
13

.

coming back I would

. w
14

.

j

ti - dy up the place. If she were
n

. w
Piano/Vocal 2
If She Were Coming Home - [Rev. 9/4/12]
V
&
?
#
#
#
#
#
#
#
#
#
15

.

coming back there's a chance I might

. w
16

e- ven shave my face. And I'd
n

. w
V
&
?
#
#
#
#
#
#
#
#
#
8
6
8
6
8
6
8
12
8
12
8
12
17

throw on that co- logne she gave me at
.
.
w
w

. w
18
j
Christ - mas time last

.
.
V
&
?
#
#
#
#
#
#
#
#
#
8
12
8
12
8
12
19
J

.

J

year. But she's not
.
.
.
.
w
w
w
w
#

#

#
. w
.
.
.
.
[Cello]
20
.

.

.

com - ing back, not
.
.
.
.
.
.
.
n
g
g
g
g

.
.
.
.
n
.

.
.
V
&
?
#
#
#
#
#
#
#
#
#
21
j

.

j

.

here. It is- n't like
.
.
.

. .
AMaj
7
22
J

I need a wo - man to make me do
.
.
.
.
.
.
#
n

n

.
n
.
G
Piano/Vocal 3
V
&
?
#
#
#
#
#
#
#
#
#
23

e - v'ry sin - gle chore. I just need
.
.
w
w
#
. w
F
#
m
9
24

some- one to do all those lit - tle things
.
.
.
n
.
.
.
n

. .
.
w
G/D
V
&
?
#
#
#
#
#
#
#
#
#
25
J

.

j

for. If she were
.
.
.
w
w
w
. w
Esus
26
j

j

on her way, I'd pop that cham -

. w
V
&
?
#
#
#
#
#
#
#
#
#
27

pagne we have on ice. If she were
n

. w
28
j

j

on her way, I'd get our kit - chen

. w
V
&
?
#
#
#
#
#
#
#
#
#
29
j

ta - ble look - ing nice. And I'd
n

. w
Piano/Vocal 4
V
&
?
#
#
#
#
#
#
#
#
#
8
6
8
6
8
6
8
12
8
12
8
12
30

make her fav - 'rite meal or what - e - ver it would take
.
.
w
w
. w
31
to make her
.
.
.
V
&
?
#
#
#
#
#
#
#
#
#
8
12
8
12
8
12
32
J

.

J

stay. But she's not
.
.
.
.
w
w
w
w
#

#

#
. w
.
.
.
.
[Cello]
33
.

.

.
co-ming home.
.
.
.
.
.
.
.
n

.
.
n
.

.
.
.
V
&
?
#
#
#
#
#
#
#
#
#
34

.
And she's not co - ming back.
.
.
.
.
.
.
.
.
.
.
35
.

j

j
And she's not on her

.
.
.
U
.
.
.
.
n
g
g
g
g
g
g
g
g
g
g
g
g
g
U
.
.
.
U .
.
.
.
n
U
V
&
?
#
#
#
#
#
#
#
#
#
36
.
.

.
way.
***

. w
*** The ending in measures 36-37 is for performance of the song outside the context of NEXT THING YOU KNOW.
When performing the entire show, the word "way" in measure 36 should overlap with the accompaniment in the first measure of
"I Wish There Were A Reason."
37
.
.
.
.
g
g
g
g
g

.
.

.
Piano/Vocal 5
&
?
#
#
#
#
#
#
#
#
4
4
4
4
1

j
.
j
w
2

.
j

w
3
n

j
n
.
w
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
4
n

.
j

w
5

j

I wish there were a

j
.
j
w
6

rea - son.
(sihn)

.
j

w
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
7

j

I wish I could say
n

j
n
.
w
8
why. I
n

.
j

w
9
wish that he had chea - ted or

j

w
NEXT THING YOU KNOW
Piano/Vocal
WAVERLY
DARREN
15
I WISH THERE WERE A REASON
[Rev. 9/4/12]
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
10

j

had - n't been sup - por - tive or I'd
J
.
w
11

caught him in a lie.
w

w n
12
#
w

j

w
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
13
But there was - n't a

w
w
w

j

w
14

rea - son.
w
w
w
#

#
w
15
j

At least, not that I re - call.
w
w
w

w
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
16

So I
w
w
w
#
w
w
17
j

stand here, all a-lone,

18
j

j
for no good rea - son at

w
w
w
w
w
w
Piano/Vocal 2
I Wish There Were a Reason - [Rev. 9/4/12]
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
19

all.

j
.
j
w
20

And I

.
j

w
21
w
w
.
.
n

w n
D2(add6)
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
22
3
don't i - ma - gine he's

w
w
w
n

w n
23

per - fect.
w
w

w
C
#
m
24

J
And I
w
w

w
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
25
.

still re -
w
n

w n
D2(add6)
26
J

member the way he can
w
w
w
n

w n
27

be.
w
w
w
.
w

C
#
m
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
28

I'm just

w
29
J

J

look - ing for the part
n

w n
G
30
.

that caused this
w
w
w
b
n
n
w N
Piano/Vocal 3
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
31

lone - ly a - ching
w
w
w

w
E
32

heart.
w
w
w

w
C
#
m
33

j
n
May- be the
w
w
w
w
n
n
w
w
w
n
Am
9
34
n

rea - son is
w
w
w
w
n
w
w
w n
n
Em
6
/G
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
35

me.
5
w
w
w
w
w
n
n
n
Em/F
36
w
w
w
w
w
37

j

I wish I could ex -

+ gtr

j
.
j
w
38

plain this.

.
j

w
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
39

j

I wish I on - ly
n

j
n
.
w
40
.

j
knew how
n

.
j

w
41
love that was im - pas - sioned could

j

w
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
42

j

quick - ly come un - ra - veled and there's
J
.
w
43

no - thing you can do.
w

w n
44
#
w

j

w
Piano/Vocal 4
&
&
?
#
#
#
#
#
#
#
#
#
#
#
#
45

j

I wish I had an
w
w
w

j

w
46

ans - wer, some- where to
w
w
w
#

#
w
47

go. Some- thing to
w
w
w

w
48

say.
.
.
.
#

w
w
&
V
&
?
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
49

May - be I will,

50

j
but not to -
w
w
w
w
w
51

day.

J

But she's not

j
.
j
w
&
V
&
?
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
52

There's no

coming home.

.
j

w
53

rea - son.

J

And she's not
n

j
w
54

E - v'ry - thing has

coming back.
n

.
j

w
Piano/Vocal 5
&
V
&
?
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
55

changed. I want it

j

And she's
w
w
w
w
w
56
.

all to
.
j
not on her
w
w
w
w
w
57

stay.

way.

[Gtr.]
58
w
w
w
w
w
Piano/Vocal 6
&
&
?
b
b
b
b
b
b
b
b
b
8
12
8
12
8
12
1
.

.

j
Freely
2
b

.

j
know what you wan na hear. I

.
.
.
w
w
w
b
b
g
g
g
.
.
.
w
w
w
b
A
b
m
7
-
&
&
?
b
b
b
b
b
b
b
b
b
3

.

know what you want me to say. There's con ver
.
.
.
w
w
w
g
g
g
g
.
.
.
w
w
w
E
b
/G
4
b

j

sa tion's like ours in all New York bars e v'ry
.
.
.
b
b
g
g
g
.
.
.

g
g
g
g
.
.
.
b .
.
b
A
b
m
7
C
b
7
- - - -
&
&
?
b
b
b
b
b
b
b
b
b
5
.
N

.

j

day. And e v'ry one's

b

j

j
b

n
.
.
.
b
.
.
w
w
E
b
7
/B
b
6

got the same at ti tude, share an emp ty cli
.
.
.
g
g
g
.
.
.
n
g
g
g
.
.
.
.
#
n
A
b
F
#
o
7
/A
- - - - - -
NEXT THING YOU KNOW
Piano/Vocal
LISA
YOU CAN'T BE EVERYTHING YOU WANT
[Rev. 9/4/12]
16
&
&
?
b
b
b
b
b
b
b
b
b
4
4
4
4
4
4
7

A

che or an o ver used pla ti tude. But you
.
.
.
g
g
g
g
.
.
.
.
n
g
g
g
g
.
.
.
.
.
.
.
.
b
g
g
g
g
.
.
n

.
E
b
/B
b
G
7
/B Cm
7
8
2
n

j

N
caught me in the right mood. So at the
.
.
.
n
g
g
g
2
n
U
.
.
. .
U
F
7
- - - -
&
&
?
b
b
b
b
b
b
b
b
b
4
4
4
4
4
4
9
b
b

risk of sound ing rude...
b
g
g
g

n
U
g
g
g
g

U

j
cue strings
A
b
m
7
B
b
11
Tempo q qq q = 144
10

n
There are n't plen ty of fish
j
n
j
E
b
F
7
/E
b
q q q e
3
=
11

b
in the sea, you can take

j
b
b

j
A
b
m
7
/E
b
- - -
&
&
?
b
b
b
b
b
b
b
b
b
12
b

b

it from me, they're en dan

j
b

j
A
b
9(no3)
/B
b
13
J
b
j

gered spe cies.

.
.
.
.

b
j
b
C
b
7
14

n
And I don't see a great fish
E
b
F
7
/E
b
- - - -
&
&
?
b
b
b
b
b
b
b
b
b
15

er man here. Look at the

j
n

j
16
b

b

girl in the mirror, and tell me
b
b

b

j
A
b
m
7
/E
b
A
b
9(no3)
/B
b
17
J
b
j

what she sees.

.
.
.
.
n

n j
n
G
7
/B
- -
Piano/Vocal 2
You Can't Be Everything You Want - [Rev. 9/4/12]
&
&
?
b
b
b
b
b
b
b
b
b
18

She's see in' the face
n
.
.
j
n
Cm G
+7
/B
19
j

of some one run ning in place.
.
j
n

b
b
E
b
/B
b
20

My friend, can't you see
n
.
.
j

n
F/A
- - -
&
&
?
b
b
b
b
b
b
b
b
b
21
.

w
w
w
w
n

22

you can't be
b
.
.

n

Fm Am
7(
b
5)
A
b
/B
b
23
j
b

e v'ry thing you want.
- -
&
&
?
b
b
b
b
b
b
b
b
b
24

n
Your life won't al ways work out
n
j

E
b
F
7
/E
b
25

b
for the best, e v'ry trial's
.
.
.
n
.
.
.
.
b
b
b

A
b
m
7
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b
26
b

b

not a test, nor each loss
.
.
.
.
b
b
.
.
.
.
j
b

J

A
b
9(no3)
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b
- -
&
&
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b
b
b
b
b
b
b
b
b
27
J
b
j

a les son.

.
.
.
.

b
j
b
C
b
7
28

n
Don't buy the stuff 'bout a half
n
j

E
b
F
7
/E
b
29

b
way filled cup, life will carve
.
.
.
n
.
.
.
.
b
b
b

- -
Piano/Vocal 3
&
&
?
b
b
b
b
b
b
b
b
b
30
b

b

you right up like a de
.
.
.
.
b
b
.
.
.
.
j
b

J

A
b
m
7
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b
A
b
9(no3)
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b
31
b

li ca tes sen.

.
.
.
.
n

n j
n
G
7
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32
j

So stop re peat ing the line
n
j

j
n
Cm G
+7
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- - - - - -
&
&
?
b
b
b
b
b
b
b
b
b
33
j

that e v'ry thing will be fine.

j
n

j
b
E
b
/B
b
34

Come on, lis ten to me,
n

j

j
n
F
9
/A
35
.

3
n
n

n
n

n
n

b
b

- - -
&
&
?
b
b
b
b
b
b
b
b
b
36

you can't be
j
b
j

n
n

Fm
7
Am
7(
b
5)
A
b
/B
b
37
j
b

e v'ry thing you want.
38
J

When you dream you can be
n
n
.
j
.
j
n
. .

Cm G
+7
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- -
&
&
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b
b
b
b
b
b
b
b
b
39

a ny thing.
b

j
. n
3

n
40
j

3

But you can dream with out

j

w
E
b
/B
b
41
j
.
3

e ven show ing up.
w
w
w n
3
n

F/A
- - - - -
Piano/Vocal 4
&
&
?
b
b
b
b
b
b
b
b
b
42
j

So stop dream ing and be
.
j
Fm
7
E
b
/G
43
J

j

some thing cause hey,
n
j
.
.

F/A
44

that's
w
w
w
j
n
3

n
- -
&
&
?
b
b
b
b
b
b
b
b
b
45

grow ing up.
straight eighths
.
.
.
A
3

w
A
b
/B
b
46

n
Don't think I'm tel lin' you what
swing eighths
.
.
.
n
.

w
E
b
F
7
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b
47

b
you should do, cause it's all
.
.
.
b
b
.
b
.
A
b
m
7
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b
- -
&
&
?
b
b
b
b
b
b
b
b
b
48
b

b

up to you. This is your
.
.
.
.

.
J

E
b
sus/B
b
49
J
b
j

de ci sion.
j
50

n
You pick a path, then the o
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.
.
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.
E
b
F
7
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b
- - -
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b
b
b
b
b
b
b
b
b
51

b
ther one's gone, but you get
.
.
.
b
b

n
b
.
A
b
m
7
/E
b
52
b

b

to move on with a clear
.
.
.
b

.
J

E
b
sus/B
b
53
J
b
j

er vi sion.

.
.
.
n

j
G
7
- - -
Piano/Vocal 5
&
&
?
b
b
b
b
b
b
b
b
b
54

We've been wan d'ring for years,
.
.
.
.
.
j
n
Cm G
+7
/B
55
j

but now we're fa cing our fears
.
n b
Cm/B
b
56

and fin 'lly mo vin' a long.
n
3

[Gtr]
.

n
- - - - -
&
&
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b
b
b
b
b
b
b
b
b
57
.

j
Me,
w
w
w
w
n

3
n

j
.
.

F/A
58

I'm head in' to Ca
Fm E
b
/G
59
j

j

J
b
li forn ia. You,
b

j
A
b
m
- - - -
&
&
?
b
b
b
b
b
b
b
b
b
60
b

don't say that I did
E
b
/G
61
j

j

n't warn ya.
62

You choose things e ven by
Fm
7
E
b
/G
- -
&
&
?
b
b
b
b
b
b
b
b
b
63
J

j

J
not choo sing. Hey,

b
b

j
A
b
m
64

J
b

it's on ly your life
b
b
E
b
/G
65
J

j

you're lo sing.

- - -
Piano/Vocal 6
&
&
?
b
b
b
b
b
b
b
b
b
66

Make a choice. Don't
w
w
w
.
j

Fm
7
67

look back then you're free
w
w
w

J

j

E
b
/G C
b
68

to be
3
b
b

3

b
3
b

&
&
?
b
b
b
b
b
b
b
b
b
69

a ny thing you want.
j

A
b
/B
b
70

n
Da da mm da ba da da
n
j

E
b
F
7
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b
71

b
ba da ba da ba da
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.
.
n
.
.
.
.
b
b
b

A
b
m
7
- -
&
&
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b
b
b
b
b
b
b
b
b

72
b

b

ba da ba da ba da
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.
.
.
b
b
.
.
.
.
b

J

A
b
9(no3)
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b
73
J
b
j

da da
b

j

E
b
Piano/Vocal 7
&
&
#
#
#
#
#
#
4
4
4
4
1

q = 88
2
j
.

#
DARREN: Waverly, I want to be with you.
WAVERLY: I'm taking the job. Full-time.
DARREN: Okay.
WAVERLY: Are you sure you want to be with a working stiff with some stupid job?

A C
#
7
3
j
.
.
.

#
D B
4
.
w
Bm
V
&
&
#
#
#
#
#
#
#
#
#
5

All I
w
w
w n
w
w
?
Bm
7(
b
5)
6
j
#
j
wan - ted was wri - ting to

.

.
#

A A
+
7
j

start off my days. And then

.

. n

D Bm
7(
b
5)
V
&
?
#
#
#
#
#
#
#
#
#
8
j
#
j
lunch with my a - gent who

.
.
#

A A
+
9
J

pitch - es and pays. In the
#
. .

D B
7
10
J
j
#

j
e- v'ning I'd drop in on
#
. .

A C
#
7
NEXT THING YOU KNOW
Piano/Vocal
DARREN
WAVERLY
ALL THAT I WANT IS YOU
[Rev. 9/4/12]
18
V
&
?
#
#
#
#
#
#
#
#
#
11
J

one of my plays. And the
.

.
#
D B
12

n

next day start it all a - gain.
.

j
n
Bm B
o
13

We would
.
j

j
w
Esus
V
&
?
#
#
#
#
#
#
#
#
#
14
j
#
j
move to a brown- stone the

j

j
#

A A
+
15
j

door pain - ted white, where we'd

j
n

D Bm
7(
b
5)
16
j
#
j
live like the Cos - by's, our

#
j

j
#

A A
+
V
&
?
#
#
#
#
#
#
#
#
#
17
J

kids would be bright. We'd all

#
D B
7
18
J
j
#

j
ga - ther for board games on

j
.
j
#
.

#
A C
#
7
19
J

Sa - tur - day night. But the
j

#
D B
V
&
?
#
#
#
#
#
#
#
#
#
20

n

child - ren are tucked in by ten.
.
.

j
n

Bm B
o
21

I fi - gured
.
.

w
AMaj
7
22
n
j
out all of the de- tails that

j
n

D Bm
7(
b
5)
Piano/Vocal 2
All That I Want Is You - [Rev. 9/4/12]
V
&
?
#
#
#
#
#
#
#
#
#
23
j

mat - tered. Next thing you
.
.

w
A
24
n
j
know, that per - fect pic - ture was

j
n

D Dm
25

shat - tered. All I
.
.

vln
.

w
E
V
&
?
#
#
#
#
#
#
#
#
#
26
j
#
j
wan- ted was my name u -

j
#

A A
+
27
j

pon a mar - quee, and a

j
n

D Bm
7(
b
5)
28
j
#
j
quaint post - war walk - up two

#
j

j
#

A A
+
V
&
?
#
#
#
#
#
#
#
#
#
29
J

blocks from the D. All the
#
D B
7
30
J
j
#

j
things that I wan - ted, I

#
#

A C
#
7
31
J

wan - ted for me. And I

#
D B/D
#
V
&
?
#
#
#
#
#
#
#
#
#
32

n

ne - ver ques - tioned why. Just

j
n

Bm
7
Bm
7(
b
5)
/D
33

when. You can de -
w
w
w

w
A
34
n
j
sign a per - fect pic- ture to

j
n

D Bm
7(
b
5)
Piano/Vocal 3
&
V
&
?
#
#
#
#
#
#
#
#
#
#
#
#
35

Next thing you

guide you.

w
A
36
n
j
know, you learn it's who's there be -

D Dm
37

side you. All I
w
w
w
.

w
E
&
&
?
#
#
#
#
#
#
#
#
#
38
j
#
j
wan - ted were pas - sions and

j
#

cello
A A
+
39
j

dreams to pur - sue. So the

j
n

D Bm
7(
b
5)
&
V
&
?
#
#
#
#
#
#
#
#
#
#
#
#
40
j
#
j
mo - ment I woke up I'd

j
#

A A
+
41
J

know what to do. Now there's

Now Now there's there's
#
D B
7
Piano/Vocal 4
&
V
&
?
#
#
#
#
#
#
#
#
#
#
#
#
42
j

j
j
#

j
one thing I need for my

J
one one thing thing II need need for for my my

#
#

A C
#
7
43
J

dreams to come true. Now the
J

j

dreams dreams to to come come true.

#
D B
44

n

on - ly thing I want...

Now at last you're back a - gain.

Bm B
o
&
V
&
?
#
#
#
#
#
#
#
#
#
#
#
#
45

Next thing youknow,

Next thing you know

C
#
m
7
F
#
7
Rit.
46
j

n

j
all that I want is

j

n

j
all that I want is
g
g
g
g

n
n

Bm
7
G
7
/F
47
w
you.
w
you.
J
. #
*

j
#

* Optional Ending when performed out of context of "Next Thing You Know"
When performed in the context of the full musical, the word "you" is sung with
the downbeat of m1 of "Next Thing You Know Finale"
A A
+
48
j
.
D Dm/A A
Piano/Vocal 5
V
&
?
#
#
#
#
#
#
#
#
#
4
4
4
4
4
4
1

Next thing you know you find you're
w
w
w
Gradually building to tempo
n
A A/G
LUKE:
2

run - ning round in cir - cles and al -
.
.
.
J
#
D/F
#
B/D
#
V
&
?
#
#
#
#
#
#
#
#
#
3

though you're sor - ta ti - red you're not pre -
.
.
.
n
j
j

Dm
6
A/C
#
4

J
n

pared to staigh - ten out. Next thing you know.
.
.
.
.
n
j
.
n
J

Bm
7(
b
5)
/F Esus E/G
#
&
&
?
#
#
#
#
#
#
#
#
#
5
j

n

Next thing you know you need a
.
.
.

n
A A/G
LISA:
6
#

.

sub - tle change of scen - 'ry. So you
.
.
.
.
.
R

#
.
D/F
#
D
#
o
NEXT THING YOU KNOW
Piano/Vocal
ENSEMBLE
19
NEXT THING YOU KNOW
FINALE
[Rev. 9/4/12]
&
V
&
?
#
#
#
#
#
#
#
#
#
#
#
#
7
n

.

pack up your be - long - ings and you
.
.
.
.
n
n
j
.
R

.
j
Dm
6
A/E
8
n

plan a dif - f'rent route.

j
And
.
.
.
.
n
n
j
.
R
n

j

Bm
7(
b
5)
/F Esus E
DARREN:
V
&
?
#
#
#
#
#
#
#
#
#
9
.

J

no, no no this does - n't
.
.
.
.
n
#
n
#

.
.
#
#

J

E
#
o
(Ma7)
F
#
m
7
Tempo
10

mean your jour - ney's done. It just
.
.
.
.

Em
7
A
7
DMaj
7
&
V
&
?
#
#
#
#
#
#
#
#
#
#
#
#
11

.

means a chap - ter's end - ed and a
.
.
.
.

Dm
6
A
2
/C
#
12

j
And

new one has be - gun.
n
.
.
.
.

E
Bm
7
Esus
WAVERLY:
Piano/Vocal 2
Next Thing You Know Finale- [Rev. 9/4/12]
&
&
?
#
#
#
#
#
#
#
#
#
13
j

.

oh, oh, oh no - thing's
j
n
j
#
#
j

E
#
o
(Ma7)
F
#
m
7
14

j

e - ver meant to stay. Some chan - ces
.
.
.
.

Em
7
A
7
DMaj
7
&
&
V
V
&
?
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
15
j

n

j

slip and go a- way. Which ones, are
15

j

Which ones, are

j

Which ones, are

j

Which ones, are
.
.

Dm
7
WAVERLY:
LISA:
LUKE:
DARREN:
16

left for you to say. Next thing you know.
16




.

j

Esus
&
&
?
#
#
#
#
#
#
#
#
#
17

And it is - n't how you planned
j

.

F
#
m C
#
m
7
WAVERLY:
18
j

it.

.
j
.
Piano/Vocal 3
&
&
?
#
#
#
#
#
#
#
#
#
19

n

And it is - n't how you dreamed.
.
.
.
.

J

Dm A
2
/C
#
D
2
20

.
j
.
&
&
?
#
#
#
#
#
#
#
#
#
21
j

.

But could it be the life you
.
.
.
J
.
Bm
7
22

ne - ver thought you'd want is e - ven

A
2
/C
#
&
V
&
?
#
#
#
#
#
#
#
#
#
#
#
#
23

bet - ter than it seemed.
j

j
J
.
A/D
24

So hold on.

Esus E
DARREN:
Piano/Vocal 4
&
V
&
?
#
#
#
#
#
#
#
#
#
#
#
#
25

j

It's o - kay.
w

Hold out.
.
.
.
.

.

C
#
m
7
D
LISA:
LUKE:
26
.

.

j
It's
.

j

.
j

w
DARREN:
27

But you

j

not the life you planned on.
j

Bm
7
WAVERLY:
&
&
V
V
&
?
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
b
b
b
b
b
b
b
b
b
b
b
b
28

b
like it a - ny - way. Next thing you know.
28

J

b
Next thing you know.

J

n

J

n
j

b
D/E E
WAVERLY:
LISA:
LUKE:
DARREN:
29
29

Next thing you know you think you've
.
.
.

b
j
b

B
b
B
b
/A
b
LUKE:
Piano/Vocal 5
V
&
?
b
b
b
b
b
b
30

J

found that per - fect per - son, but she
.
.
.
.

n
j
n

E
b
/G C/E
31

J

feels a lit - tle dif - f'rent. So you
.
.
.
.

E
b
m
6
B
b
/D
V
V
&
?
b
b
b
b
b
b
b
b
32

J
b

start the search a - gain. Next thing you know.
.
.
.
.
.

Cm
7(
b
5)
Fsus
33
J

b

Next thing you know you learn your
.
.
.

b
J
b

B
b
B
b
/A
b
DARREN:
V
&
?
b
b
b
b
b
b
34

.

per - fect week - end e - v'ning is - n't
.
.
.

b n
J
n

E
b
/G E
o
35
b

.

spent u - pon a bar stool but tucked
.
.
.

E
b
m
6
B
b
/D
Piano/Vocal 6
&
V
&
?
b
b
b
b
b
b
b
b
36

J
But
b

in with her by ten.
.
.
.
.

Cm
7(
b
5)
Fsus
LISA:
37
.

j

no, no, no that does - n't
.
.
.
.
n
#
n
n

.
.
#
#

J

F
#
o
(Ma7)
Gm
7
&
&
?
b
b
b
b
b
b
38

mean you've got it made. It just
.
.
.

Fm
7
B
b
7
E
b
Maj
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tell me what comes next! Next thing you know.
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Piano/Vocal 12

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&

care less where you've been, then come on

hap- py, and I don't won- der

my morn - ing af - ter

The per - fect mor - ning af - ter

For Pam I add - ed

ise I add - ed cheese. A -

ni - ka, pap- ri - ka. She

bare - ly used a fork. For

to make that per - fect om - 'let

My mor - ning af - ter

since the day we met. But

not get much bet - ter, and

down la - ter on. And you might

not a sure bet. And

cool day in Sep tem ber. My

first trip on the sub way a

cross the Man hat tan Bridge. I

looked a round, and

and I could not i ma gine

peo ple just don't re cog nize the

was the day that I should

e v'ry day from that day on I

took the time to stop and look. I'd

blinked to clear my vi sion, thought

up and leave the ci ty the

day I missed the view. It's

sim ply break me in? To

(WAVERLY gets up to get a pitcher and runs into DARREN.)

WAVERLY: So, how've you been?

look ing for jobs, not just a ny. Or

else I'd get one right a way. And

see ing some one, well not see ing. Just

awe some we had this brief meet ing. Re

LUKE: Don't you want to know anything about me?

You've got that quir -

You've got that charm -

You've got that way

No, I don't know

ly where you've been.

fil - ling them all in.

Don't move. Don't speak.

You think I'm in -

You think the things

ly how you feel.

bet - ter than what's real.

don't move. Don't speak.

Don't move. Don't speak.

yeah, this time for real. She

have to smoke it now be - cause it's

don't smoke for a whi - le. Yeah,

have to smoke it all, it's my last

pack out in my yard... right

could-n't up andquit a day a -

just do what it's

(audible exhalation with button)

co- ming home, I would- n't

Christ - mas time last

And she's not on her

wish that he had chea - ted or

But there was - n't a

for no good rea - son at

don't i - ma - gine he's

love that was im - pas - sioned could