Striking 12

- PERUSAL PACK -
Book, Music and Lyrics by

BRENDAN MILBURN, RACHEL SHEINKIN
And VALERIE VIGODA
570 Seventh Avenue, Suite 2100

New York, NY 10018
866-378-9758 toll-free
212-643-1322 fax
www.theatricalrights.com
Like us!
www.facebook.com/TheatricalRightsWorldwide
Follow us!
@theatricalright
The materials contained herein are copyrighted by the authors, are not for sale, and may only be used
for the single specifically licensed live theatrical production for which they were originally provided.
Any other use, transfer, reproduction or duplication including print, electronic or digital media
is strictly prohibited by law.
1/11/13
GO!
ShowGO
Essential Production Tools from TRW
State of the Art Rehearsal Accompaniment with
Customizable rehearsal
tracks for your entire cast
to share on Mac, PC, or iOS
devices!
GO
World Class Performance Tracks with
The best sounding performance tracks

available with dynamic flexibility to
incorporate your changes!
GO
Customized Key Changes On-Demand with
Transposition
Express
GO
Change the key to suit

your performers
range!
Box Office & Ticketing

Services with
Affordable BroadwayQuality Video Spots with
GO
GO
Inspire your audience with powerful
Internet and TV spots created specifically
to promote your production.
TicketLeap provides a smart, seamless

online ticketing service geared towards
schools, regional and community theatres!
To get rolling go to:
http://www.ticketleap.com/?rc=trw
Check out Show GO Tools now at

or call us Toll-Free at
(866) 378-9758
MUSICAL NUMBERS
Overture
Last Day of the Year
Snow Song
Resolution
The Sales Pitch
TV Sequence
Green & Red (& I'm Feeling Blue)
Matches for Sale
Say What
Hey La La/Fine, Fine, Fine
Can't Go Home
Wonderful
The Little Guys
Picture This
Caution to the Wind
Violin Ascension
Screwed-Up People Make Great Art
It's Not All Right
Wonderful reprise
Picture This/Snow Song reprise
Little Drummer Boy (Words and music by Katherine K. Davis, Henry Onorati, and Harry Simeone)
A city
Now
THE MAN WHO'S HAD ENOUGH
S.A.D. LIGHT SELLER
LITTLE MATCH GIRL
JACK (& PARTY HOST)
SMALL PART GUY
THE PLACE
THE TIME
CAST
NARRATOR 1 (Master of Ceremonies)

NARRATOR 2 (band member)
NARRATOR 3 (possibly band member)
DRUMMER (band member, can also be combined with one of narrators and/or HAPPY FOLEY)
HAPPY FOLEY
The desired number of additional actors, or those in above group, also play:
BOSS
CRAIG
LYDIA
ANSWERING MACHINE (most likely played by HAPPY FOLEY)
ERICA
DIANE
S.A.D. LIGHT SELLER
TV NEWS CORRESPONDENT
TV ANNOUNCER
LAW AND ORDER V.O.
MRS. PALAMINO
JONNY
PARTY HOST (preferably played by actor playing Jack; if not, should be someone in band)
POST NASAL DRIP GUY
SPACE INVADING GIRL
CHORUS can be of variable size. If desired the actors playing above roles come out of the chorus. In
addition, roles that can be played by subset of chorus include: COWORKERS; TRAIN CONDUCTORS;
PARTIERS; PASSERSBY ON STREET; HOGART CAROLERS
BREAKDOWN for 10 players

(plus chorus and additional band members as desired)
NARRATOR 1
(Master of Ceremonies)
NARRATOR 2, band
member
NARRATOR 3
HAPPY FOLEY
THE MAN WHO'S HAD
ENOUGH
S.A.D LIGHT SELLER
JACK
LITTLE MATCH GIRL
SMALL PART GUY
DRUMMER
PASSERBY
DIANE
TV ANNOUNCER
HOGART CAROLER
LYDIA
ERICA
TV NEWS CORR.
HOGART CAROLER
MRS. PALAMINO
SPACE-INVADING GIRL
BOSS
HOGART SPOKESMAN
LAW AND ORDER VO
NEW YEARS PARTY

HOST
CRAIG
HOGART CAROLER
JONNY
POST-NASAL-DRIP GUY
GRANDMA
Plus optional speaking Music Director (see note on narrators, next page)
***Note that roles can be played by more, or by fewer actors, for desired cast size.
The overall sense should be that there is one group of players: musicians, singers, actors, out of which
everyone steps to become their character when needed. When not playing a role in any given moment
everyone is in a sense themselves, as well as a potential chorus member. We recommend including band
members as narrators to bolster the sense of the whole group creating the story together. ***
Note on Narrators
Since the whole company is creating the story together narrators can be band members as well as players.
Although the number may be changed to meet the needs of your production, as scripted there is some
difference in the function and attitude of each of the narrators. This doesn't need to be played in an overly
obvious way, the differences can be subtle; but players should be aware of them, and any alternate
distribution should also give some thought to how the overall dynamic works.
As currently divided:
Narrator 1 (male) is the main authority among the players. If there is also a speaking music
director/conductor then that person is the ultimate authority. (ie, the one who steps in to correct New
Year's Host and Small Part Guy in the two spots when things get too far off-track) but Narrator 1 is the
main on-stage representative of authority and is aware of his responsibility.
Narrator 2 (female, preferably a band member) helpful, very cool with her role. Though in a sense second
in command to Narrator 1, she's a more natural authority, emotionally mature and engaged. Very
observant, she sees what's going on and is quick to get things back on track if they look to be slipping.
However, this isn't a big deal to her, she tends to do this easily and elegantly.
Narrator 3, more mischievous (female, possibly also a band member). She's in the middle of spectrum in
terms of being into the show, or making fun of whole thing. She's on board but she's going to have fun
doing it.
[note that alternately Narrator 3 can be male and/or can be combined with Happy Foley and/or Drummer.
If Narrator 3 is male, the female roles in breakdown are distributed differently]
Happy Foley, Just as his name suggests the happy sound effects guy. Excited to be part of STRIKING 12.
Excited to get featured moment as answering machine. Pretty much excited about everything.
Drummer, classic musician. Doesn't absolutely have to be male, but reference to "drummer boy" plays
role in story so referred to as male here. He feels slightly above proceedingsnot in an arrogant way, just
as a musician in pit of show might. Maintains relaxed humorous attitude toward proceedings. In a version
that wishes to feature a singing drummer this role can be expanded. See end notes.
Music Director can be chosen to have speaking role. If so this person has ultimate authority and is the one
who steps in to correct others when they go too far astray. It is possible to let Music Director and Narrator
1 be one person, or to have Music Director as separate person with just few lines. Possibly the only two
times this person speaks would be on page [22] when New Year's Host is corrected about ball coming
down on tv and page [37] when small part guy does grandma in an accent that seems other than Danish.
Both are indicated in script.
A Few Character Notes
You will note that the main characters for the most part are not named. This was done originally as the
band members who acted the entire show were first and foremost themselves. They then transformed into
characters in the story they were tellingand in turn into characters in the story one of these characters
reads. So there were always three levels the band as themselves, the story of the Man Who's Had
Enough of the holidays, and Hans Christian Andersen's Little Match Girl. Originally three musicians
played all the roles as well as the instruments, so, for example, The Little Match Girl was played by an
adult musician. Because of the nature of the show this was never really questioned: It was as if the electric
violin she played channeled the spirit of the girl.
The Man Who's Had Enough (sometimes referred to as simply The Man in script): In his 20s or 30s (it's
that kind of flexible show) the man works an office job he doesn't particularly like and has recently been
left by his fiance. He's not fundamentally nasty, he just is a bit shut down.
The S.A.D Light Seller: She's going door to door selling full spectrum holiday light-bulbs that combat
Seasonal Affective Disorder. We highly suspect she invented them prompted by her own depression. Now
she's selling them to earn some cash. Similar age-range as The Man.
Jack is an old school friend of The Man. He's one of those people who is simply not terribly angst-ridden.
His is probably people's backup New Year's Eve party, not the most exciting in townbut he is very
enthusiastic about it and certainly will enjoy it himself.
The Little Match Girl is the title character in Hans Christian Andersen's short story.
Named Characters (other than those on TV, ie: Erica, Craig, Lydia, Diane) in a sense are the most "real"
sounding characters in the show. Think of their dialogue as hyper-real rather than heightened, what some
of your friends may actually sound like.
Small Part Guy Though probably not part of the band he is an ally of the less enthusiastic band members
in attitude. He thinks doing STRIKING 12 was a stupid idea and at the very least it would be better if he
had a leading role. His big moment comes when he is able to speak up for all the overlooked.
(Note that in a version using a singing drummer, and the song "Give the Drummer Some" instead of the
song "Little Guys" Small Part Guy's roles are played by the drummer instead.)
Whenever anyone breaks character and/or plays themselves think chatting rather than performing.
1
VIOLIN ASCENSION into
OVERTURE
BAND WITH CHORUS
WELCOME TO THE OVERTURE
NOW IS WHEN YOU KNOW FOR SURE
THAT THIS IS WHEN IT'S TIME TO START THE SHOW
sa
l
IF YOU'VE GOT CANDY TO UNWRAP

OR A BARKING POODLE ON YOUR LAP
TAKE CARE OF IT RIGHT NOW BEFORE WE GO
du
WELCOME SPEECH
ro
TR
BAND WITH CHORUS

FORGET ALL THAT NOW CLEAR YOUR MIND
LOOSEN UP, RELAX. UNWIND
TAKE SOME PICTURES
OOPS, SORRY, NO, NO, NO, NO, NO. NO
ENJOY THE SHOW
ct
io
ru
WOMEN
Pe
THIS IS AN IMPORTANT THEME

YOU WILL HEAR IT LATER ON
AT A RATHER CRUCIAL TIME
IN A RATHER CRUCIAL SONG
1 WOMAN
AND TURN YOUR CELL PHONES OFF
fo
rp
(The welcome speech should be a direct address from one of performers

to audience and deal with real specifics of the event. Ideally it does not
feel at all canned but is a casual, connected greeting, a performer letting
audience know a little about what they're in for. The following is a
sample sequence that should work for many venues, but this speech can
be adjusted for need of specific production.)
NARRATOR 1
Welcome to STRIKING 12, the holiday non-spectacular, non-extravaganza. It's really just the [27] of us
and you; our voices, our instruments, and your imagination. This show started as a concert with just three
musicians playing all the roles and all the instruments. So we've spread out a bit since then. But we kept
the original concept - a group of people getting together and creating a world in song.
N
ot
SMALL PART GUY

(Aside to DRUMMER, his partner in skepticism, making fun of
utopianism)
"La la la, world in song"
2
NARRATOR 2
(Stepping in to keep things in line)
Among us we have many different opinions about the holiday season- some of us love it, some of us hate
it, some of us have larger concerns. But whatever our cultural beliefs, whatever our personal preferences,
we all share this calendar that tells us as we head into December that something old is going to end,
something new is going to begin, and we all should have a party.
sa
l
DRUMMER
(Aside to SMALL PART GUY)
We should have a party.
NARRATOR 3
But our story begins with a man who by December 31st has had enough of parties.
n
io
ru
THE MAN WHO HAS HAD ENOUGH (THE MAN)

(ENTERS, and by way of introduction)
I had enough by Thanksgiving.
ct
Pe
NARRATOR 2
And we meet him in a large office, in a small cubicle, under the fluorescent lights, where he is working
late.
It's the end of the day
at the end of the year.
NARRATOR 1
du
NARRATOR 3
LAST DAY OF THE YEAR
ro
TR
(Depending on level of staging, office scene is set up)
fo
rp
WOMAN SOLO
WHAT ARE YOU GONNA DO ON NEW YEAR'S EVE
CHORUS (CO-WORKERS)
WHAT ARE YOU GONNA DO ON NEW YEAR'S EVE
(HAPPY FOLEY does boss. In keeping with do-it-yourself theater

aesthetic, the loud speaker is hand-garbled.
N.B. All sound effects are done in full view of audience)
N
ot
BOSS
("Loudspeaker" announcement, with static)
Attention all employees: Official business hours will end at 2pm today. This is our gift to you. What a
great place to work. Happy New Year.
(As the man works at his station he is approached by co-workers,
CRAIG and LYDIA)
3
CRAIG
Hey, guy they're letting us out early! Half a day! Whoo hoo!
Whoo hoo.
THE MAN
(Without cheer)
LYDIA
Wanna come grab a drink with us across the street?
THE MAN
TR
You know, they already gave out the bonuses.
Be right there
CRAIG
LYDIA
fo
rp
Craig! We're leaving! Elevator's here!
THE MAN
CRAIG
(As he leaves)
Hey, man, Happy New Year.
You too, pal.
du
I'm on it.
BOSS
ro
(To THE MAN)

Printer 3 is jammed again.
ct
Pe
(At approach of boss, LYDIA heads off; CRAIG remains behind a

moment)
N
ot
(Sings:)
I WAS LATE TO WORK
NOW I AM WORKING LATE
MY BOSS SAID PLEASE
I GOTTA PLEASE THE BOSS
THE MAN
MORE
io
Yeah, I kinda promised I would stay.
CRAIG
ru
Dude, blow it off, it's New Year's Eve.
sa
l
THE MAN
Love to, but I still gotta finish that Powerpoint thing
4
THE MAN (CONT'D)
SO I PHONE THE MAN
I GOTTA MAN THE PHONES
I GOTTA CHECK THOSE FACTS
I GOTTA FAX THOSE CHECKS
sa
l
AND I'VE GOTTA FIX THE PRINTER

IT'LL BE ANOTHER LATE NIGHT
I WILL GET THROUGH THIS WINTER
WITHOUT A RAY OF DAYLIGHT
du
fo
rp
I GO THROUGH THE CROWD

I AM CROWDING THROUGH
SO I STARE THEM DOWN
WHILE I GO DOWN THE STAIRS
THE MAN
ro
TR
I'M ALMOST DONE

NOW I'VE DONE IT ALL
I'M THE LAST ONE OUT
I'M OUT AT LAST
ct
Pe
CHORUS WOMEN (COWORKERS)

WHAT ARE YOU GONNA DO ON NEW YEAR'S EVE?
CHORUS MEN AND WOMEN (COWORKERS)
n
io
ru
I VOLUNTEERED TO STAY LATE

THERE'S NO NEED TO DENY IT
TIME-AND-A-HALF MY PAY RATE
AND PEACE AND QUIET
ON THE LAST DAY OF THE YEAR
THE LAST DAY OF THE YEAR
(Individuals in CHORUS also become TRAIN CONDUCTORS and

PARTIERS)
TRAIN CONDUCTORS
PLEASE STAND CLEAR OF THE CLOSING DOORS
PLEASE STAND CLEAR OF THE CLOSING DOORS
N
ot
THE MAN
AND STRANGERS TALK TO STRANGERS
WHERE DID ALL THESE PEOPLE SLINK FROM?
BUBBLING LIKE CHAMPAGNE
THEY ARE ON THEIR WAY TO DRINK SOME.
ON THE
TRAIN CONDUCTORS
PLEASE
STAND CLEAR
OF THE
CLOSING DOORS
5
PARTIERS AND THE MAN
(PARTIERS are in party spirit)
THE MAN
ON THE
PARTIERS AND THE MAN
sa
l
(All on stage turn out to address audience)
du
ct
Pe
I NEVER READ THOSE TOP TEN BOOKS

NEVER TOOK THAT TRIP TO FRANCE
DID NOTHING TO IMPROVE MY LOOKS
I NEVER LEARNED TO SALSA DANCE
I DIDN'T BE ALL I COULD BE
I DIDN'T SEE ALL I COULD SEE
I DIDN'T CALL ON MOTHER'S DAY
I CANNOT WASH MY SINS AWAY
ro
THE MAN
fo
rp
TR
AND I WOULD NOT DWELL ON THE PAST

IF TIME WOULD NOT GO BY SO FAST
I CAN'T BELIEVE ALREADY IT'S THE LAST DAY.
OF THE YEAR
SOLO FEMALE VOICE [SUGGEST: NARRATOR 2]

WHAT ARE YOU GONNA DO ON NEW YEAR'S EVE ?
CHORUS MEN AND WOMEN
N
ot
I'LL STEP IT UP
I GO UP THE STEPS
THERE'S A SIDEWALK PUSH
AND I'M PUSHED ASIDE
I GOTTA
n
io
ru
ALL
LOOK HOW FAST THIS YEAR'S GONE BY
SPRING HAS SOMEHOW SLIPPED AWAY
I BARELY SAW THE SUMMER SKY
AUTUMN SEEMS LIKE YESTERDAY
THE MAN
6
CHORUS MEN AND WOMEN
LAST DAY
OF THE YEAR
THE MAN
KEEP MY GRIP
I GOTTA GRIP MY KEYS
AND I
HEAD FOR HOME
OH, MY, MY HEAD
ON THE
THE MAN AND CHORUS

THE MAN
THE MAN AND CHORUS

LAST DAY
OF THE YEAR
io
ru
WOMAN SOLO
WHAT ARE YOU GONNA DO ON
NEW YEAR'S EVE?
THE MAN
ct
Pe
ON THE
ON THE
sa
l
LAST DAY
OF THE YEAR
THE MAN AND CHORUS

LAST DAY
OF THE YEAR
du
WOMAN SOLO
WHAT ARE YOU GONNA DO ON
NEW YEAR'S EVE?
PASSERBY
THE MAN
fo
rp
Would you watch where you're going, please?
ro
TR
THE MAN
(As he walks home, mumbling to himself)
I don't know and I don't care- okay? Just because it's a symbol to you does not make it a symbol to me.
It's another night, and a nasty one.
(Calling after)
Well, why don't you watch Oh, forget it
NARRATOR 1
As the man slogs home, among the many he passes is a young woman, charting her own path through the
frozen city streets. Most likely he doesn't see her, because he's looking down at the ground. Most likely
she doesn't see him, because at the moment they pass, she's looking up at the sky.
N
ot
(THE MAN EXITS; focus turns to S.A.D. LIGHT SELLER)

SNOW SONG (IT'S COMING DOWN)
S.A.D. LIGHT SELLER

SNOWFLAKES FALL LIKE VELVET
FROM IRON-COLORED SKIES
SOMEHOW I CAN'T HELP IT
MORE
7
S.A.D. LIGHT SELLER (CONT'D)
I FEEL MY SPIRITS RISE
STREET LAMPS AGLOW
TIME TO TAKE IT SLOW
IT'S COMING DOWN
SIDEWALKS WHITE AND CLEAN

PERFECT AND PRISTINE
IT'S COMING DOWN
sa
l
CRYSTAL BRANCHES GLISTEN

LIKE DIAMONDS OVER ME
FROZEN IN POSITION
A SILENT SYMPHONY
ru
ALL
ALL
HERE
io
ct
S.A.D LIGHT SELLER
ro
FROM
ALL
fo
rp
TR
HERE
du
S.A.D LIGHT SELLER
FROM
Pe
IT'S COMING DOWN

AND ALL MY BLUES DISAPPEAR
AND THIS OLD TOWN IS YOUNG AGAIN
ROLL BACK THE YEARS
BECAUSE THE WORLD LOOKS LIKE NEW
OR AT LEAST THAT'S THE VIEW FROM HERE
S.A.D. LIGHT SELLER

IT'S COLD HERE BY THE RIVER
BUT I DON'T FEEL IT MUCH
THE MOON'S A SILVER SLIVER
CLOSE ENOUGH TO TOUCH
N
ot
STORM CLOUDS DRIFT AWAY

A STAR COMES OUT TO PLAY
AND IT'S COMING DOWN
IT'S COMING DOWN
NARRATOR 2
As the woman disappears in white, the man arrives at home. At last he's safe from holiday decorations
and festive flashing lights.
8
NARRATOR 3
Except there is one small red light flashing on his phone.
THE MAN
He checks his messages
(HAPPY FOLEY comes out holding answering machine)
sa
l
HAPPY FOLEY
Hey, mom, I got the part of the answering machine in STRIKING 12!
(Puts on answering machine voice)
"You have 3 new messages. First message. Received today at 3:43 pm. BEEP!"
io
ct
du
HAPPY FOLEY (AS ANSWERING MACHINE)
BEEP!
Pe
ru
ERICA
Hey it's Erica, happy-almost-new year, listen do you know what you're doing tonight yet, cause we're still
debating over here you're the only one we know who might be taking even longer to decide. Latest
thought: there are still tickets to this black tie cruise thing Tom's brother is doing. It's like a boat and you
go around the city and you get drunk and I don't know it could be cheesy but it could be fun and I like the
idea of kinda being on water for the transition if you know what I mean, what? No, I'm not I will, I will,
Tom wants me to say don't worry about the money he really did get a great bonus this year and also
he's got his extra tux from before he lost all that weight (might be a little baggy on you but whatever)
so give us a call. We'll both bring our
RESOLUTION
ro
fo
rp
TR
THE MAN
RESOLUTION: I AM RESOLUTE
I WILL TIE NO TIE, I WILL SUIT NO SUIT
I WON'T BE GOING OUT ON THE TOWN
'CAUSE MY ANGST IS UP AND MY BATTERY'S RUN DOWN
THE MAN/HAPPY FOLEY (AS ANSWERING MACHINE)

WHAT'S THERE TO CELEBRATE ABOUT?
I'D RATHER STAY AT HOME AND GROUT
MY SHOWER STALL
THAN WATCH THE BALL
I WON'T GO OUT
THE MAN
N
ot

Next message. Received today at 4:41 pm. BEEP!
JACK
Hey buddy it's Jack. You're coming to my party tonight right? It's gonna be even better than last year.
There's real hors d'oeuvres this time and real champagne and get this, you know that calendar we got
from the gym, Brooklyn babes with biceps? I tracked down every single one of those hotties and invited
MORE
9
JACK (CONTD)
them to my party. I don't know if any of them are coming but they're all invited. So stop moping around.
Get off your butt. At least for tonight. See you soon.
BEEP!
sa
l
THE MAN
NO DISAPPOINTMENTS, NO BAD CHAMPAGNE
NO STRONG ARM WOMAN GONNA YANK MY CHAIN
NO MORE SURPRISES, GONNA STAY RIGHT HERE
IN MY STOCKING FEET WITH AN ICE COLD BEER
du
DIANE
Yeah, hi, it's Diane.
io

Next message. Received, today, at 5:32 pm. BEEP!
ct
Pe
THE MAN
THERE'S A WAY ON NEW YEAR'S DAY TO START AGAIN
ru

WHO NEEDS TO SEE MY SO-CALLED FRIENDS?
THEY'LL ONLY SPEND THE NIGHT PRETENDING
(All activity stops)
ro
TR
DIANE (CONT'D)
I know we're not supposed to be speaking to each other yet, but I'm just calling to let you know that I'm
going to Laura Mastrionni's party in the Slope tonight. So, do me a favor. Don't show up there, all right?
fo
rp

BEEP! Erasing all messages. Especially the message from Diane, your former fiance.
I ASK YOU, WHAT'S NOT TO ENJOY?
MY CAT, MY COUCH, NO HOI POLLOI
N
ot
I DON'T NEED MY COAT

JUST MY REMOTE
AND MY LA-Z-BOY
THE MAN
NARRATOR 1
And so the man resolves to spend New Year's Eve alone.
Bed by eleven.
THE MAN
10
NARRATOR 2
There's a knock on the door.
(HAPPY FOLEY does sound effects and "staging" with small wooden
door)
NARRATOR 3
He opens the door
sa
l
(HAPPY FOLEY: creak)

NARRATOR 3 (CONT'D)
a stranger.
Pe
ct
(HAPPY FOLEY provides sounds and actions with wooden door:
Knock repeated.
Sound of creaky opening door)
ro
TR
NARRATOR 3
du
Door slamming.
Same chick.
THE MAN
He shuts the door.
io
ru
S.A.D. LIGHT SELLER

Do you find yourself depressed this time of year?
fo
rp
S.A.D. LIGHT SELLER

This time of year when the days are short and the nights are long some people's eyes don't get enough
bright light. It's a medical condition called Seasonal Affective Disorder. S.A.D. "SAD" Here's a pamphlet.
(She breaks frame, drops character and directly addresses audience in her
own voice. Please see End Notes)
N
ot
ACTOR PLAYING S.A.D. LIGHT SELLER

MODEL FOR ADULT PRODUCTION
MODEL FOR SCHOOL PRODUCTION
"AD LIB"
"AD LIB"
This is true by the way. I did a lot of reading This is true by the way. We did a research
project on SAD in biology, and it turns out
about SAD during rehearsals, and I am now
that light goes through your eyeballs and hits
convinced that the lack of light in the
your hypothalamus or something like that,
wintertime really does affect your brain
and for some people if they don't get enough
chemistry. Suddenly, years of my life made
light in winter it really messes with their
sense.
brain chemistry. Suddenly my mom makes
sense.
(She snaps back into character)
11
S.A.D. LIGHT SELLER

I invented the perfect solution. I'm selling special full-spectrum holiday light bulbs. They're ten times
brighter than your average holiday lights, and all you have to do is stare at them for half-an-hour a day
and you'll find that your mood will improve.
Ah. Interesting. No thanks. Good luck.
THE MAN
THE SALESPITCH (PATTER DUET)
Pe
(Looks at his watch)
io
Go ahead.
THE MAN
ru
All right.
sa
l
S.A.D. LIGHT SELLER

Wait- I'm still working on my sales-pitch. Can I try out a different version on you? I've got it down to
only 60 seconds. You can even time me.
ct
du
ro
TR
S.A.D. LIGHT SELLER

IT'S ONLY LOGICAL THAT PEOPLE GET THE WINTER BLUES
AND FIND THEY'RE OVERWHELMED WITH PAIN AND HOPELESSNESS
IT'S ONLY NATURAL THAT PEOPLE GET ALL ANTISOCIAL
AND THEY FIND THEY SIMPLY CANNOT COPE WITH STRESS
BECAUSE OUR PLANET IS REVOLVING
'ROUND OUR SOURCE OF LIGHT
AND BECAUSE OUR AXIS OF ROTATION'S TILTING SLIGHTLY RIGHT
AND WE HAVE TO FIND A WAY TO
BRIGHTEN UP OUR DARKER DAYS
AND LIGHT OUR DARKEST CORNERS
SO WE'RE MOPING LESS
N
ot
fo
rp
I'VE GOT FULL SPECTRUM LIGHTS THAT HANG UPON A STRING

THAT YOU PLUG IN AND THEY LIGHT UP AND DECORATE YOUR ROOM
THEY WILL ILLUMINATE THE DUST THAT YOU ACCUMULATE IN PLACES
WHERE YOU NEVER THINK TO SCRAPE A BROOM
FOR HAVE YOU NOTICED YOU HAVE TROUBLE
GETTING MOTIVATED
AND HAVE YOU FELT
THAT GETTING OUT OF BED IS OVERRATED
AND PEOPLE WHO HAVE SAD
CAN GAIN A LOT OF WEIGHT IN WINTER
WITH THE MANY CARBOHYDRATES THEY CONSUME
SO NOW BEFORE YOU GO AND LOSE
ANOTHER WINTER TO THE BLUES
YOU OUGHTA BUY A STRING OF LIGHTS OR TWO.
YOUR PLACE IS LOVELY BUT IT'S KINDA DIM
AND YOU COULD USE A LITTLE LIGHT
TO PENETRATE THE GLOOM.
12
THE MAN
I'm sorry. That was 63 seconds.
S.A.D LIGHT SELLER

No, you're kidding. Can I try again? I swear I can do it faster. It would just be one more minute out of
your life. Please?
THE MAN
sa
l
Well Sure, okay.
io
du
fo
rp
TR
IS THIS REALLY A MINUTE?

IT FEELS LONGER THAN A MINUTE
ALL THE MINUTES SEEM LONG
AND THE MONTHS SEEM SHORT
AND THE YEAR WENT BY SO FAST
ro
THIS CAN'T BE FUN

WHY IS SHE OUT ALONE
IT'S NEW YEAR'S EVE
WHY SPEND HER NIGHT DOING THIS?
ct
Pe
ru
THE MAN (CONT'D)

(Singing with S.A.D. LIGHT SELLER'S "pitch")
SHE'S KIND OF CUTE
THAT CAN'T BE AN EASY JOB
I SHOULD LOOK LIKE I'M LISTENING
DO I LOOK LIKE I'M LISTENING?
TRY TO LOOK LIKE I'M LISTENING
'CAUSE AFTER ALL SHE'S KIND OF CUTE
(S.A.D. LIGHT SELLER repeats above pitch (faster) with THE MAN in
counterpoint)
OH LOOK SHE'S STILL TALKING

I SHOULD PAY ATTENTION
I DON'T THINK I REALLY NEED ANY LIGHTS
(Song ends)
THE MAN (CONT'D)
N
ot
(Speaking)
Great. That was 57 seconds on the button. I'm sure that's gonna sell you lots of light bulbs.
S.A.D. LIGHT SELLER
I hope so. It hasn't been working too well so far. People are so incredibly rude. You would not believe the
comments I get.
Like what?
THE MAN
13
S.A.D. LIGHT SELLER
Like, "Get lost little light bulb girl."
(There were probably worse insults, but she chooses not to repeat those)
THE MAN
Well, that last one's not so rude. That's a literary reference, right? Like the Little Match Girl. It's almost
nice.
sa
l
S.A.D. LIGHT SELLER

Nice? Do you know what happens in that story?
du
S.A.D. LIGHT SELLER

WANNA BUY SOME LIGHTS?
fo
rp
ro
THE MAN
OH WAIT I KNOW HANS CHRISTIAN ANDERSEN
I THINK THAT'S RIGHT
AND WHAT'S THAT BOOK OF FAIRYTALES
DIANE LEFT UNDERNEATH THE NIGHTSTAND
AND THERE I GO AGAIN
I'M THINKING OF DIANE
NO MATTER WHAT I DO I'M BOUND TO
FAIL SO WHAT'S THE USE
TR
ct
Pe
THE MAN
NO, THAT'S NOT RIGHT
THE LITTLE GIRL IS SELLING MATCHES IN THE SNOW
AND THERE'S A PARTY WHERE THEY ROAST A GOOSE
io
S.A.D. LIGHT SELLER
NEITHER ONE
WHO'S DIANE?
ru
THE MAN
LET'S SEE, THE LITTLE MATCH GIRL
WHAT DID HAPPEN IN THAT STORY
WAS IT BROTHERS GRIMM OR MAYBE DOCTOR SEUSS?
S.A.D. LIGHT SELLER
IT'S GETTING COLD
THE MAN
N
ot
S.A.D. LIGHT SELLER

THESE LIGHTS ARE TOASTY WARM
I NEED TO CLOSE THE DOOR
THE MAN
S.A.D. LIGHT SELLER

I SWEAR, THEY GIVE OFF HEAT
14
I'M GONNA SAY NO THANKS
THE MAN
BOTH
ALL RIGHT, GOOD NIGHT
sa
l
THE MAN
UNLESS YOU MAYBE WANT TO COME IN
FOR A BEER OR SPARKLING APPLE JUICE
S.A.D. LIGHT SELLER
But the woman is gone.
ru
(HAPPY FOLEY: meow)
He turns on the TV.
NARRATOR 2
ro
TR
(HAPPY FOLEY: phoosh)
du
NARRATOR 3 (CONT'D)
The couch
ct
NARRATOR 3 (CONT'D)
Pe
He sits on the couch
io
(HAPPY FOLEY: slam)
NARRATOR 3
The man closes the door.
fo
rp
(HAPPY FOLEY: click
FOLEY and NARRATOR 2 get out noisemakers and blow during

below)
TV NEWS CORRESPONDENT (NARRATOR 3)

"That's right, Matt. Record crowds are already gathering here in Times Square despite the rapidly falling
temp"
N
ot
He changes the channel.
THE MAN
(HAPPY FOLEY: Click.
HAPPY FOLEY : Sleigh bells)
15
HOGART CAROLERS
HOGART'S MEAT, HOGART'S MEAT
POST-CHRISTMAS CLEARANCE SALE
SAVE A BUCK
ON GOOSE AND DUCK
AND VENISON AND QUAIL!
HOGART SPOKESMAN
"Makes a nice sandwich, a nice"
(HAPPY FOLEY: Click.
sa
l
THE MAN
He changes the channel
ru
Beginning of LAW AND ORDER theme)
io
ct
Pe
TV ANNOUNCER (NARRATOR 2)
Your regularly scheduled episode of LAW AND ORDER will not be seen tonight, so we may bring you
this special rebroadcast of the LAW AND ORDER Christmas Special Special.
du
HAPPY FOLEY (LAW AND ORDER V.O.)

In the American legal system there are elves who make the toys, and reindeer who transport them. These
are their stories.
(LAW AND ORDER sound)
Mommy, why is Santa bleeding from the head?
MRS. PALAMINO
fo
rp
(Aghast)
Mr. Kupperman?
JONNY
ro
TR
MRS. PALAMINO (ON LAW AND ORDER)

Come on, Jonny, let's take a walk in this secluded area
(HAPPY FOLEY: LAW AND ORDER sound.)

Sponsored by Hogart's Meat.
TV ANNOUNCER
GREEN AND RED
N
ot
THE MAN
WHAT FRESH HELL IS THIS
IT'S THE TELEVISED ABYSS
WILL THIS CHRISTMAS SEASON NEVER BE THROUGH?
NOW THE SHINY BELLS STILL RING
AND THE HAPPY PEOPLE SING
EVERYTHING'S GREEN AND RED AND I AM FEELING BLUE
MORE
16
(Piano solo)
io
du
SPIN THE CHANNELS ONCE AGAIN

I SEE NO GOOD WILL TOWARD MEN
'CAUSE BETWEEN COMMERCIALS NOTHING IS NEW
THERE'S SUCH A DEARTH
OF PEACE ON EARTH
EVERYTHING'S GREEN AND RED AND I'M FEELING BLUE
ct
Pe
ru
THE MAN (CONT'D)

I COULD WARD OFF THE CHILL
I COULD PICK UP MY LIFE AND MOVE ON
BUT THE HOUSE IS SO STILL
AND SHE'S STILL GONE
sa
l
THE MAN (CONT'D)

ALL THE TREES ARE BROWN
IN THIS SILVER TINSEL TOWN
STOREFRONT WINDOWS GLOW IN EVERY HUE
LET THE COLOR WHEEL UNROLL
GRAY TO BLACK INSIDE MY SOUL
EVERY SICKLY-SWEET SONG
IS A SACCHARINE HOLIDAY HUG
YET I STILL HUM ALONG
WELL, BAH HUMBUG!
ro
TR
TV ANNOUNCER
Don't change that channel. Up next Regis Philbin hosts a countdown of the years top 10 infomercials.
THE MAN
fo
rp
He turns off the TV.
(HAPPY FOLEY: Click )
THE MAN (CONT'D)

Here's a resolution. The TV goes out in the street. No more cable bills. I'm gonna read this year.
What should I read?
N
ot
He picks up WAR AND PEACE.
He puts down WAR AND PEACE.
NARRATOR 1
THE MAN
NARRATOR 2
He picks up the pamphlet on Seasonal Affective Disorder.
THE MAN
He puts down the pamphlet on Seasonal Affective Disorder.
17
NARRATOR 3
He thinks.
THE MAN
Little Match Girl, huh. What did happen in that story?
NARRATOR 2
He gets out his
sa
l
NARRATOR 3
handy
ru
NARRATOR 1
"Collected Tales of Hans Christian Andersen"
io
NARRATOR 2
And begins to read.
ct
Pe
ALL NARRATORS AND THE MAN
"The Little Match Girl"
du
(NARRATOR 1 becomes the READER of HANS CHRISTIAN

ANDERSEN'S THE LITTLE MATCH GIRL. He is essentially reading
aloud what the MAN is reading to himself.)
fo
rp
MATCHES FOR SALE
ro
TR
NARRATOR 1
"It was terribly cold and nearly dark on the last evening of the old year, and the snow was falling fast. In
the cold and the darkness, a poor little girl, with bare head and naked feet, roamed through the
streets.Her feet were red and blue with the cold. In an old apron she carried a number of matches, and
had a bundle of them in her hands. No one had bought anything of her the whole day, nor had anyone
given her even a penny."
LITTLE MATCH GIRL

WOULDN'T YOU THINK
TONIGHT OF ALL NIGHTS
WHEN THE SNOW LAYS A BLANKET
ON THE ICE-LADEN STREET LIGHTS
WOULDN'T YOU THINK
THAT A MATCH WOULD COME IN HANDY IN THE DARK
N
ot
EXCUSE ME, SIR,

PARDON ME
WOULD YOU LIKE TO SEE
MY MATCHES FOR SALE?
DOESN'T ANYBODY
DOESN'T ANYBODY NEED
DOESN'T ANYBODY NEED SOME LIGHT TONIGHT?
MORE
18
LITTLE MATCH GIRL (CONT'D)
WOULDN'T YOU THINK
TONIGHT OF ALL NIGHTS
WHEN THE WORLD THROWS A PARTY
BURNING CANDLES 'TIL DAYLIGHT
WOULDN'T YOU THINK
THAT A MATCH WOULD COME IN HANDY AFTER DARK?
sa
l
EXCUSE ME, MISS,

PARDON ME
WOULD YOU LIKE TO SEE MY MATCHES FOR SALE?
io
du
EXCUSE ME, MA'AM

SORRY, GENTS
PARDON ME,
I MEAN NO OFFENSE
I'VE GOT MATCHES AT THE VERY LOWEST PRICE
ct
Pe
I'M OUT OF PLACE AS A BIRD OF PARADISE

PERCHING ON THE ICE
UNWANTED MERCHANDISE
ru
DOESN'T ANYBODY
DOESN'T ANYBODY NEED
DOESN'T ANYBODY NEED SOME LIGHT TONIGHT
SAY WHAT?
ro
TR
NARRATOR 1
"Shivering with cold and hunger she crept along poor thing, she looked the picture of misery. People
hurried by, their arms laden with packages, their thoughts focused on the New Year's feast ahead. "
fo
rp
(New Year's Host is generally played by actor playing Jack, so that he is

the party host in both worlds)
N
ot
NEW YEAR'S HOST

GOT THE PUNCH BOWL
GOT THE FIXIN'S
GOT THE GUEST LIST FULL OF VIXENS
NO EX-WIFE TO KILL THE EVENING
BET SHE'S OUT THERE SOMEWHERE SEETHING
I'VE GOT THE MISTLETOE
I'LL MAKE THE CHAMPAGNE FLOW
AND THE MOMENT THE CLOCK STRIKES TWELVE.
LITTLE MATCH GIRL
19
NEW YEAR'S HOST
SAY WHAT? OH NO. I DON'T THINK SO
GOT TO SEE THE BALL COME DOWN ON TV
THERE'S A CROWD OF PEOPLE WAITING FOR ME
AND I'M THE ONLY ONE WHO'S GOT THE KEY
sa
l
NARRATOR 1
(Or MUSIC DIRECTOR, whoever registers as greatest authority of
production)
Um, that was great, [name of actor], with the part about the ball coming down on TV and everything.
NEW YEAR'S HOST
Hey, thanks!
io
ru
THE MAN
Only, doesn't the story take place in Denmark in the 1840s?
Pe
NEW YEAR'S HOST

NARRATOR 1
Good call.
du
Denmark, huh. Can I try it again?
ct
NARRATOR 1
Yeah.
ro
fo
rp
TR
NEW YEAR'S HOST

GOT THE PICKLE, GOT THE HERRING
I WONDER WHAT SHE WILL BE WEARING
GOT MY HAND-CARVED WOODEN SHOESIES
THE GUEST LIST FULL OF DANISH FLOOZIES
CHILL THE AQUAVIT
I'LL SWEEP THEM OFF THEIR FEET
AND THE MOMENT THE CLOCK STRIKES TWELVE
LITTLE MATCH GIRL

N
ot
NEW YEAR'S HOST

I GOT MORE IMPORTANT THINGS ON MY MIND
PLEASE DON'T THINK I'M BEING UNKIND
BUT I'M ALREADY RUNNING WAY BEHIND
(Inspired by thought, he breaks out of character again, and shares his
own associations: "a rap")
I MEAN HOW MANY TIMES YOU BEEN ACCOSTED ON THE STREET
BY A PANHAND PERSON WITH A VERY BITTERSWEET
SOB STORY ABOUT HOW THEY NEED A DOLLAR FOR THE TRAIN
MORE
20
io
ct
CHORUS 1
BROTHER I CAN'T SPARE THE TIME
du
Pe
ru
AND YOU KNOW

WHO'S THE ONE I REALLY PITY THE MOST
IT'S THE GUY FROM OUT OF TOWN WHOSE CAR HAS GIVEN UP THE GHOST
HE IS REALLY OUT OF MONEY AND HE'S REALLY UNPREPARED
AND HE'S REALLY GETTING NERVOUS AND HE'S REALLY GETTING SCARED
AND NO ONE'S GONNA HELP HIM CAUSE WE'VE HEARD IT ALL BEFORE
AND WE DON'T HAVE THE TIME TO STAY AND LISTEN ANYMORE
AND THE TRUTH IS I HAVE MONEY
WELL AT LEAST A LITTLE MONEY BUT
(Back in Character as HOST)
BROTHER, I CAN'T SPARE THE TIME
SISTER, I CAN'T SPARE THE TIME
ro
ALL
fo
rp
TR
CHORUS 2 AND NEW YEAR'S HOST

SISTER, I CAN'T SPARE
THE TI-I-IME
LITTLE MATCH GIRL

NEW YEAR'S HOST

SAY WHAT? OH, NO I DON'T THINK SO
I'M ALREADY RUNNING SO FAR BEHIND
SAY WHAT? OH, NO I DON'T THINK SO
SMALL WOMEN CHORUS/SMALL MEN CHORUS,

AND NEW YEAR'S HOST
I DON'T MEAN TO BE UNKIND
THERE'S NO MONEY AND NO TIME
I CAN HARDLY TAKE CARE OF MYSELF
N
ot
sa
l
NEW YEAR'S HOST (CONT'D)

AND THEY'RE STANDING LOOKING PITIFUL AND SOGGY IN THE RAIN
AND THEY SAY THAT NOW THEY'RE STRANDED 'CAUSE THEIR CAR BROKE DOWN
AND THEY CAME TO MEET THEIR SISTER, BUT THEIR SISTER'S OUT OF TOWN
AND IF YOU PULL OUT A BUCK OR TWO, THEY GET ALL SHIFTY
AND THEY SUDDENLY REMEMBER THE TRAIN COSTS EIGHT FIFTY
AND YOU KNOW YOU HAVE THE MONEY BUT YOU'RE STARTING TO BELIEVE
THEY'RE JUST ANOTHER LIAR OUT ON NEW YEAR'S EVE
YOU DON'T TRUST SANTA CLAUS ON CHRISTMAS,
AND YOU'RE RIGHT TO BE SUSPICIOUS
'CAUSE THE CITY CAN BE NASTY
AND THE PEOPLE CAN BE VICIOUS
21
SMALL WOMEN CHORUS/SMALL MEN CHORUS,
AND NEW YEAR'S HOST
I'M A VERY BUSY MAN
AND I'M DOING ALL I CAN
AND THE CLOCK WILL SOON BE STRIKING TWELVE
NARRATOR 1
"Lights were shining from every windowfor it was New Year's Eve." "In a corner,
NARRATOR 1 AND LITTLE MATCH GIRL
sa
l
between two houses,
NARRATOR 3
ct
Pe
He makes a call
THE MAN
io
Laughter, and music, and dancing.
ru
LITTLE MATCH GIRL

the girl sank down, and huddled herself together. From inside she heard the sounds of laughter and music
and dancing."
(HAPPY FOLEY: SFX dialing)
du
ro
TR
THE MAN
Hi, Erica, I'm returning your call. Yeah, I hope you and Tom are having fun on the black tie cruise
tonight. Sorry I can't join you; I have other plans. But I hope you guys have a great new year, really, and
thanks for thinking of me. Um. I don't really have other plans. But you know me, I'm not good with the
whole fun on cue thing. And I'm fine at home, really. I never have fun at New Year's parties anyway. At
least not the ones I go to. Though it's possible that I haven't been going to the right parties.
(Violin flourish into HAPPY FOLEY: ding)
fo
rp
HEY LA LA/FINE, FINE, FINE
HAPPY FOLEY
THIS IS THE SOUND OF A PARTY YOU DON'T GET TO GO TO
IT'S LIKE A MOUNTAIN YOU CAN NEVER REACH WITHOUT A SNOWSHOE
IT'S LIKE AN ISLAND THAT'S TOO FAR AWAY FOR YOU TO ROW TO
THEIR GLASSES CLINK
THEY'VE HAD WAY TOO MUCH TO DRINK,
HAPPY FOLEY AND CHORUS
N
ot
WHOO!
CHORUS
ALL OVER TOWN THERE ARE PEOPLE WHO WON'T GET TO KNOW YOU
IT'S UNDERGROUND, OH SO HIP AND THEY ARE EATING TOFU
THEY THINK IT'S FUN TO BE VEGETARIAN!
MORE
22
(For 12 measures, the chorus sings a chorale around the lyric "la"; after
12 measures, they come together and sing:)
ro
TR
THE MAN
MAYBE HE'LL NEVER NOTICE
IF I HIDE RIGHT HERE BEHIND THE DIP
du
POST NASAL DRIP GUY

Excuse me, pardon me, are those Alaskan crab puffs? I love those.
POST NASAL DRIP GUY

I hear they have mercury in them but it's New Years Eve, what the whoo.
fo
rp
THE MAN
HE'S GONNA ASK ME 'BOUT MY JOB
AND HE DON'T KNOW THAT I'VE BEEN SLACKING OFF
AND I AM NEXT IN LINE TO GET THE AX
Hey, onion dip, my favorite!
POST NASAL DRIP GUY
N
ot
THE MAN
AND I DON'T WANT TO OPEN UP
THAT CAN OF WORMS OR FACE THE FACTS
POST NASAL DRIP GUY

Hey, Pal, I didn't see you there How are you doing? How's work?
WORK IS FINE, FINE, FINE
ct
THE MAN
Pe
OH, NO, IT'S THAT ANNOYING GUY

WITH REALLY BAD POSTNASAL DRIP
THE MAN
io
ru
(Deliberately cheesy stage transition into Party. The party conversation

within this song can be treated as loose ad libs. Dialogue marked here is
from original production)
sa
l
CHORUS (CONT'D)
HEY, LA LA HEY, LA LA HEY LA LA HEY LA LA
HEY, LA LA HEY, LA LA HEY!
)
YOU SAY YOU DON'T CARE BUT YOU REALLY KIND OF DO CARE DON'T YOU?
WELL LET'S PRETEND YOU GET IN THE DOOR JUST LIKE YOU HOPE TO
AND EVEN SO
HERE'S THE WAY THAT IT WOULD GO
23
POST NASAL DRIP GUY
How's that new boss working out? I hear he's a real stickler for punctuality
THE MAN
HE'S FINE, FINE, FINE
POST NASAL DRIP GUY

Well that's a relief because, you know, there have been some rumors. Are you sure you're okay?
THE MAN
sa
l
I'M FINE, FINE, FINE
ct
THE MAN
Everything's just peachy, pal. And how are you?
io
Pe
ru
THE MAN
IT'S FINE, REALLY IT'S FINE, HONESTLY IT'S FINE, YEAH
EVERYTHING'S FINE FINE
EVERYTHING'S FINE FINE
POST NASAL DRIP GUY

By the way, did you mean to cc me on that email you sent out with your rsum attached?
du
POST NASAL DRIP GUY

Oh, great. Thanks for asking. I had a tremendous year. Hey we could grab a couple brewskis, and I'll tell
you all about it.
Oh cool, I'll come with you.
ro
TR
THE MAN
Great, only I have to go look at the...art deco sconce in the front hallway.
POST NASAL DRIP GUY
Nice to see you, too.

Yoo-hoo!
fo
rp
THE MAN
Actually, I think this is something I've got to do on my own. Nice to see you pal.
POST NASAL DRIP GUY
SPACE-INVADING GIRL
N
ot
THE MAN
OH, NO, THAT SPACE-INVADING GIRL
HAS CAUGHT MY EYE, SHE'S ON HER WAY
SPACE-INVADING GIRL
(To audience member, ad lib)
Hi. Nice blouse, where did you get it, how much did you pay for it?
24
THE MAN
SHE'LL STAND TOO CLOSE AND ASK
ABOUT DIANE, MY FORMER FIANCE
SPACE-INVADING GIRL
(To another audience member, while standing too close)
Happy New Year! Have you seen that girl Diane? I heard she was coming tonight.
sa
l
THE MAN
I TOOK TOO LONG WOULD NOT COMMIT
DIANE GOT SICK OF ME AND QUIT
I BEGGED, WE'RE MEANT TO BE, SHE KNEW WE NEVER WERE
I WILL NEVER FALL FOR ANYONE THE WAY I FELL FOR HER
THE MAN
du
THEY'RE FINE, FINE, FINE
ct
SPACE-INVADING GIRL
You guys are getting married soon right; how are the wedding plans coming along?
io
THE MAN
Pe
SHE'S FINE, FINE, FINE
ru
SPACE-INVADING GIRL
Hi. How are you? How's every little thing? How's Diane?
IT'S FINE, FINE, FINE
ro
TR
SPACE-INVADING GIRL
I only ask because I haven't received my wedding invitation in the mailhave you sent them out yet?
Forty-one cents.
THE MAN
fo
rp
SPACE-INVADING GIRL
Wait a minute, isn't that Diane over there? What's she doing with her arms around that studly guy? Is that
her brother?
THE MAN
IT'S FINE, IT'S FINE, IT'S FINE, OK.
EVERYTHING IS EVERYTHING IS EVERYTHING IS
EVERYTHING IS EVERYTHING IS EVERYTHING IS
N
ot
THE MAN AND CHORUS

(CHORUS sings "ooh" during THE MAN'S verse)
ALL RIGHT
TONIGHT
AND NOW IT'S NEW YEAR'S EVE
EVERYBODY'S GONNA ASK ME WHAT RESOLUTIONS I'VE GOT UP MY SLEEVE
WHAT DO I WANT? WHAT DO I HOPE FOR IN THE BRAND NEW YEAR?
BUT WHY SHOULD I MAKE A RESOLUTION?
HAVEN'T I MADE IT CLEAR THAT
25
EVERYTHING'S FINE, FINE, FINE
THE MAN
(The other party guests simultaneously ad lib under his music. The lines
that have traditionally risen above the others to be heard in the din are in
Roman font in table below)
POST NASAL DRIP GUY

And it wasn't really a sconce-more like
wainscoting or molding or something.-
THE MAN
fo
rp
ro

EVERYTHING'S FINE, FINE,
EVERYTHING'S FINE, FINE
(Speaks:)
And that is why I am going to stay right here and read my book.
TR
ct
SPACE-INVADING GIRL
If that is her brother, should she be touching
him like that? Ooh. Not her brother
THE MAN
du
io
POST NASAL DRIP GUY

That's a funny word sconce. Like, I look at
you "a-sconce."
Pe
SPACE-INVADING GIRL
I can't believe I said that aloud I better
stop drinking right now.
THE MAN
ru
POST NASAL DRIP GUY

I don't think it was art deco, maybe rococo or
Bauhaus or something
sa
l
SPACE-INVADING GIRL
Are you sure you feel fine? you don't look so
hot of course, if you wanna come home
with me, I bet I could make you feel fine.
(Violin underscoring)
NARRATOR 1
"She had drawn her little feet under her, but she could not keep off the cold; and she dared not go home,
for she had sold no matches, and could not take home even a penny of money.
N
ot
(Starting to get caught up in story, THE MAN continues the reading

aloud, he allows his surprise at aspects of the narration [eg, at child abuse
in first line below] to show)
THE MAN
Her father would certainly beat her; besides, it was almost as cold at home as here, for they had only the
roof to cover them, through which the wind howled, although the largest holes had been stopped up with
straw and rags."
26
CAN'T GO HOME
LITTLE MATCH GIRL
CAN'T GO HOME
CAN'T STAY HERE
STREET OF STONE
HOUSE OF TEARS
sa
l
BLUE WITH COLD

OR BLACK AND BLUE
NOTHING SOLD
AND I KNOW YOU
du
ct
Pe
THERE'S GOTTA BE SOMEWHERE

OUT THERE BETTER THAN THIS PLACE
THERE'S GOTTA BE SOMEONE
WITH SOME KINDNESS ON THEIR FACE
CAN'T GO HOME
NOTHING TO SHOW
CAN'T GET WARM
NOWHERE LEFT TO GO
ro
LITTLE MATCH GIRL

EVERYBODY'S GOT A PARTY TO GO TO
TR
fo
rp
THE MAN
EVERYBODY'S GOT A PARTY TO GO TO
LITTLE MATCH GIRL

EVERYBODY'S GOT PEOPLE TO SEE
THE MAN
WHO CARES ABOUT THEM ANYWAY.
LITTLE MATCH GIRL

THEY'VE ALL GOT SOMEONE TO COME HOME TO
LITTLE MATCH GIRL AND THE MAN

I KNOW THERE'S NO ONE LOOKING FOR ME
N
ot
n
io
ru
YOU STARE AT THE HOLES IN THE CEILING

YOUR ANGER GROWS WITH EVERY DRINK
I CAN TELL EXACTLY WHAT YOU'RE FEELING
WELL, DON'T YOU WANT TO KNOW WHAT I THINK?
LITTLE MATCH GIRL

27
THE MAN
THERE'S GOTTA BE, THERE OUGHTA BE,
SOMEBODY OUGHTA DO SOMETHING
LITTLE MATCH GIRL

fo
rp
LITTLE MATCH GIRL

THE MAN
N
ot
LITTLE MATCH GIRL

EVERYBODY LOOKS RIGHT THROUGH ME
WHEN I TRY TO STOP THEM
THIS COLD AND LONELY GIRL IS NOT THEIR PROBLEM
(Guitar solo)
THERE'S GOTTA BE
THERE'S GOTTA BE
io
ct
ro
TR
THE MAN
du
Pe
ru
LITTLE MATCH GIRL

(Quietly)
I WISH I MAY
AND I WISH I MIGHT
CHASE THE CHILL AWAY
AND GET THROUGH THIS NIGHT
MY HANDS ARE COLD
AND IT'S HARD TO HOLD THEM STILL
BUT I WILL FIND A WAY
YES, I WILL FIND A WAY

MORE
(Violin solo section)
sa
l
THE MAN
28
LITTLE MATCH GIRL AND THE MAN (CONT'D)
THERE'S GOTTA BE
SOMEWHERE OUT THERE BETTER
THERE'S GOTTA BE
THERE'S GOTTA BE
THERE'S GOTTA BE
sa
l
LITTLE MATCH GIRL

OH, THERE'S GOTTA BE SOMEWHERE
SOMEONE SOMEWHERE
THERE'S GOTTA BE
ru

TR
Yeah, what.
Hey, Happy New Year! Where are you?
THE MAN
JACK
io
ro
(HAPPY FOLEY provides ring)
THE MAN
fo
rp
I'm home. Reading.
ct
NARRATOR 3
du
His phone rings.
Pe
THE MAN
"Her little hands were almost frozen with the cold. Ah! Perhaps a burning match might be some good, if
she could draw just one from the bundle and"
JACK
No, you got to come to my party! It's even better than I thought it was going to be. One of the bicep babes
showed up.
I like reading.
N
ot
Me, too. I love it. Bring your book
I'm reading Hans Christian Andersen.
THE MAN
JACK
THE MAN
JACK
You can't come to my party 'cause you're reading Hans Christian Andersen?
29
THE MAN
Yes, The Little Match Girl.
JACK
Well that's a very short story. You want me to tell you what happens?
THE MAN
No! Don't tell me what happens!
sa
l
JACK
'Cause, remember, I took that class in Scandinavian literature
io
du
LITTLE MATCH GIRL

"Her little hands were almost frozen with the cold"
ct
THE MAN
Pe
(To himself)
ru
JACK
All right.
Where was I?
THE MAN
I'll call you back later okay?
NARRATOR 1
"Her little hands were almost frozen with the cold. Ah! Perhaps a burning match might be some good, if
she could draw just one from the bundle and strike it against the wall, just to warm her fingers.
fo
rp
WONDERFUL
ro
TR
(During the song, projections may show or suggest the girl's visions as
described in lyrics and narration)
N
ot
LITTLE MATCH GIRL

NO ONE EVER GONNA NOTICE
NO ONE EVER GONNA NOTICE ME
IF I KNOW ONE THING I KNOW THIS
I NEED A LITTLE LIGHT SO I CAN SEE
SURELY I CAN PICK OUT ONE MATCH
I CAN SPARE IT
IF I DARE IT
ONLY ONE MATCH
STRIKING ONE MATCH
AND IT'S
WONDERFUL
WARMING UP MY FROZEN FINGERS
LIKE A CANDLE BRIGHTLY BURNING
BUT MORE WONDERFUL
I CAN FEEL THE ICE MELT AWAY
AND THE FIRE GLOW IS LIKE A SUMMER'S DAY
30
NARRATOR 1
"And it seemed to the girl that she was sitting by a large iron stove. How the fire burned. It seemed so
beautifully warm that the child stretched out her feet as if to warm them, when lo!
The flame of the match went out, the stove vanished, and she held only the remains of the half burnt
match in her hand."
n
io
ct
du
Pe
ru
sa
l
LITTLE MATCH GIRL

I DON'T WANNA BE A BAD GIRL
WHAT'LL DADDY THINK OF WHAT I'VE DONE
HE'S GONNA SAY YOU MADE ME MAD, GIRL
WASTING MATCHES WHEN YOU'RE SELLING NONE
BUT HE DOESN'T SEE WHAT I SEE
ONLY DUTY
NOT THE BEAUTY
ONLY ONE MORE
STRIKING ONE MORE
AND IT'S
WONDERFUL
ROASTED GOOSE AND SUGAR PLUMS SO
WONDERFUL
LIKE A BANQUET FOR A PRINCESS BUT MORE
WONDERFUL
ALL THE SILVER POLISHED TO A GLOW
AND THE TABLECLOTH AS CLEAN AND WHITE AS SNOW
ro
TR
NARRATOR 1
"Then the match went out and the feast too vanished. Before her remained nothing but the thick, damp,
cold wall."
fo
rp
THE MAN AND LITTLE MATCH GIRL

ALL OF THE THINGS I SEE THROUGH WINDOWS
WHEN I'M ON THE WRONG SIDE OF THE GLASS
ARE EVEN MORE BEAUTIFUL AND WONDROUS
HERE IN THE LIGHT OF JUST ONE MATCH
LITTLE MATCH GIRL

LET THE WALLS BE TRANSPARENT ONCE AGAIN
LET ME SEE THROUGH THIS VISION TO THE END
SHOULD I LIGHT ONE MORE?
CHORUS
N
ot
LIGHT ONE MORE
MAYBE JUST ONE MORE

JUST ONE MORE
LITTLE MATCH GIRL

CHORUS
31
LITTLE MATCH GIRL
SHOULD I LIGHT ONE MORE
CHORUS
LIGHT ONE MORE

MAYBE JUST ONE MORE
LITTLE MATCH GIRL

CHORUS
sa
l
JUST ONE MORE
CHORUS WOMEN
JUST ONE MORE
CHORUS MEN
ro
JUST ONE MORE
TR
io
LITTLE MATCH GIRL
du
MAYBE JUST ONE MORE
LITTLE MATCH GIRL

CHORUS WOMEN
fo
rp
LIGHT ONE MORE
CHORUS MEN
LIGHT ONE MORE
MAYBE JUST ONE MORE
ct
CHORUS MEN
Pe
LIGHT ONE MORE
CHORUS WOMEN
ru
LIGHT ONE MORE
LITTLE MATCH GIRL

LITTLE MATCH GIRL
N
ot
AND IT'S WONDERFUL

I AM HERE BENEATH A CHRISTMAS TREE SO
WONDERFUL
ALL THE TAPERS SHINE LIKE DIAMONDS BUT MORE
WONDERFUL
HOW THE BRANCHES SPARKLE IN THE NIGHT
WITH THE ORNAMENTS REFLECTING
ALL THE LIGHT IN MULTICOLORED HUES OF
MORE
32
WONDERFUL
LIKE A THOUSAND CONSTELLATIONS
WONDERFUL
LIKE A SEA OF CANDLES RISING TOWARD THE SKIES
ALTOS
WONDERFUL
SOPRANOS
sa
l
WONDERFUL
LITTLE MATCH GIRL
Pe
SOPRANOS
WONDERFUL
LITTLE MATCH GIRL
ro
W
TR
CAN'T BELIEVE MY EYES
ALTOS
WONDERFUL
SOPRANOS
fo
rp
WONDERFUL
du
TENORS AND BASSES
WONDERFUL
ct
ALTOS
WONDERFUL
WONDERFUL
io
ru
TENORS AND BASSES
WONDERFUL
TENORS AND BASSES

LITTLE MATCH GIRL
N
ot
NARRATOR 1
"The lights of the Christmas tree rose higher and higher, 'til they looked to her like the stars in the sky.
Then she saw a star fall, leaving behind it a bright streak of fire."
"Someone is dying,"
LITTLE MATCH GIRL
33
NARRATOR 1
thought the little girl, for her old grandmother, the only one who had ever loved her, and who was now
dead, had told her that when a star falls, a soul was going up to God. She again rubbed a match on the
wall, and the light shone around her; in the brightness stood her old grandmother, clear and shining, yet
mild and loving in her appearance."
SMALL PART GUY (AS GRANDMA)
GRANDMA
ru
"Ven a star falls, a soul is going up to God."
NARRATOR 1 [OR MUSIC DIRECTOR]

Okay remember how we went over that Danish thing?
DRUMMER [OR ACTOR PLAYING JACK]
TR
What would that be, like, a strudel?
NARRATOR 3
ro
I love a good Jewish Danish.
NARRATOR 2
du
I think he's doing Jewish Danish.
ct
Pe
(This discussion is very casual, very much side-lined banter among

musicians)
(Slightly confused)
io
Grandma?
LITTLE MATCH GIRL
sa
l
Hello, Bubbelah.
fo
rp
NARRATOR 2
(Knows it's a terrible joke and offers it as such)
I think it's "Hansen-taschen"
SMALL PART GUY

This is serious guys. I'm interpreting the role as a tribute to the Danish people for saving Jews during
World War II. Don't you remember that great story about how during the Nazi occupation of Denmark,
when all the Jews were ordered to wear yellow stars, the King of Denmark said, all right, then all Danes
will wear yellow stars; and that way, the Nazis couldn't deport anyone without deporting everyone. I
mean that's a King, man. That's leadership. The Danes are my heroes.
N
ot
Okay, but you have one line.
NARRATOR 1
SMALL PART GUY

Well, did I even ask to play this part? Some people have pivotal dramatic roles and the rest of us get, what
"Heartless Party Giver Ignoring Starving Child," "Post Nasal Drip Guy," and "Poor Dead Grandma?!"
NARRATOR 1
You ever hear a saying about how there are no small parts, only small actors?
34
SMALL PART GUY

Yes and it's entirely wrong. There are small parts. I'm playing them.
NARRATOR 3
He's got a point.
NARRATOR 2
To be fair, some of us didn't want to do the Little Match Girl.
sa
l
(Depending on production decisions, DRUMMER'S lines can be done

entirely by HAPPY FOLEY)
ru
Pe
ACTOR PLAYING THE MAN

And we had a vote, and the Drummer Boy lost.
DRUMMER
io
SMALL PART GUY
ct
I was so with you on that.
DRUMMER
I wanted to do the Little Drummer Boy.
du
ro
TR
Yeah, but we should vote again.

(Perhaps to other band members, looking for support)
You ever see that old-looking video clip on MTV? Bing Crosby is home alone, sitting in his comfy chair
and smoking his pipe, and there's a knock at the door, and who should come in but his "next door
neighbor," David Bowie! And Bowie comes in with his orange spiky hair, and his zoot suit and thin tie,
and the two of them have a really strange and awkward conversation.
That's the one.
fo
rp
SMALL PART GUY

Right, and then to make things even weirder they say, you know what we should do, we should sing "The
Little Drummer Boy."
DRUMMER
SMALL PART GUY

And even with that ridiculous set up IT STILL WORKS! Because you can't ruin the Little Drummer Boy!
Exactly.
DRUMMER
N
ot
NARRATOR 1
Be that as it may, we're not doing the Little Drummer Boy. We're doing the Little Match Girl, and we're
pretty far along in the story. So could you accept the fact that every little thing might not be all about you,
and say your one damn line!?
(Small beat as he takes that in)
35
SMALL PART GUY
I got a line to say:

THE LITTLE GUYS
sa
l
SMALL PART GUY (CONT'D)

(Sings:)
NOW IT'S SO UNFAIR
'CAUSE I'M ALWAYS THERE
AND I PRACTICE AND I FOCUS
io
ru
NOW IT ISN'T ME
THAT THEY CAME TO SEE
SO I GUESS I SHOULD BE HAPPY
ct
fo
rp
YES, IT MAKES A NOISE

JUST LIKE ALL US BOYS
IN THE BACK ROW OF THE CHORUS
ro
W
TR
IF A TREE FALLS DOWN

DOES IT MAKE A SOUND
IF THERE'S NO ONE IN THE FOREST?
du
Pe
TO HAVE ANY ROLE

BUT INSIDE MY SOUL
WELL, I THINK IT'S REALLY CRAPPY
YOU THINK IT'S ALL JUST HUNKY DORY

AS WE TIPTOE THROUGH THE STORY
AND THE STARS GET ALL THE GLORY
I THINK IT'S TIME NOW
WHAT ABOUT THE LITTLE GUYS?
WHERE WOULD SHOW BIZ BE

WITHOUT WOMAN NUMBER THREE
OR THE GUY THAT PAINTS THE BACKDROPS
ALL THE IN BETWEENS
AND BEHIND THE SCENES
AND THE KIDS WHO HAVE TO STACK PROPS
N
ot
TAKE MY STUPID PART

GIVE IT ALL MY HEART
AND THE FOLKS OUT THERE DON'T NOTICE
I DON'T MEAN TO SOUND DEMANDING

BUT WE'VE BEEN OFF WONDERLANDING
AND THIS GRANDMA PART NOTWITHSTANDING
I THINK IT'S TIME NOW
WHAT ABOUT THE LITTLE GUYS?
MORE
36
SMALL PART GUY (CONT'D)
LIKE THE DRUMMER IN THE BACKGROUND
KEEPING THE BEAT WHILE EVERYONE SINGS
AND THE GUY WITH ALL THE NOISES
MAKING THE DOOR KNOCKS AND TELEPHONE RINGS
io
ct
Pe
ru
SMALL PART GUY, AND CHORUS

WHAT ABOUT THE DRESSER KEEPING ALL THE COSTUMES NEAT
WHAT ABOUT THE USHER HELPING GRANDPA FIND A SEAT
WHAT ABOUT THE BOY WHO SWEEPS THE STAGE BEFORE THE SHOW
WHAT ABOUT THE LITTLE GIRL OUT FREEZING IN THE SNOW
ISN'T THAT THE POINT, THAT SHE'S COMPLETELY OVERLOOKED
AND FOLKS IN OVERCOATS GO BY ALL OVERFED AND OVERBOOKED
WHY DON'T THEY PAY ATTENTION? I MEAN DOESN'T THAT SEEM WRONG?
OK WILL SOMEONE TELL ME WHY
WE'RE STILL HERE SINGING THIS TANGENTIAL SONG
sa
l
NEVER MUCH CREDIT

BUT DON'T YOU GET IT
THEY'RE THE WIND BENEATH ALL O' YOUR WINGS
WHERE WOULD YOU BE
WITHOUT PEOPLE LIKE ME
TAKING CARE OF THE TINIEST THINGS
du
WHAT ABOUT THE LITTLE GIRL?

(Speaks:)
We should be paying attention to HER! I'm an idiot. Would somebody please get us back into the story?
PICTURE THIS
ro
TR
(NARRATOR 1 steps up and begins to get things back under control)
fo
rp
NARRATOR 1
PICTURE THIS
DESERTED ALLEY
A GIRL ADRIFT ALONE AMID THE SNOW
NARRATOR 1, NARRATOR 2, AND SMALL PART GUY

PICTURE THIS
HER GRAY HAIRED GRANDMA
THE ONLY ONE WHO SAID I LOVE YOU SO
N
ot
IT'S A
SOLO

VISION IN THE MATCHLIGHT
FLICKERING AND FLOATING
37
NARRATOR 2
SO MUCH KINDNESS IN HER GRANDMA'S LOVING EYES
AND SHE
KNOWS IT'S ONLY MOMENTS
TIL THE MATCH BURNS OUT FOREVER
sa
l
TWO VOICES
AND THIS
du
ALTOS, TENORS, AND BASSES

AND THE MATCH IS QUICKLY BURNING
AND THE MATCH IS QUICKLY BURNING
AND THE MATCH IS QUICKLY BURNING VERY LOW
ro
fo
rp
TR
WOMEN'S VOICES, TENORS, AND BASSES

AND THE LIGHT IS DISAPPEARING
AND THE LIGHT IS DISAPPEARING
AND THE LIGHT IS DISAPPEARING AND SHE SAYS:
CAUTION TO THE WIND
N
ot
LITTLE MATCH GIRL

I MISS YOU SO
PLEASE DON'T GO
AWAY WHERE I CAN'T SEE YOUR FACE
BESIDE ME IN THIS LONELY PLACE
I NEED YOU NOW
I DON'T KNOW HOW
TO MAKE IT THROUGH WITHOUT YOU HERE
TO GIVE ME HOPE AND DRY MY TEARS
I REMEMBER
ALL YOU TAUGHT ME
HOW YOU WERE SO STRONG
ct
Pe
SMALL PART GUY

IT'S HER GRANDMA GENTLY ROCKING
IT'S HER GRANDMA GENTLY ROCKING
IT'S HER GRANDMA GENTLY ROCKING HER TO SLEEP
io
ru
PICTURE THIS
AN APRON FULL OF MATCHES
A WORLD OF INDIFFERENCE
AND A SINGLE LOVING FACE

LUMINARY VISION FADES AND DIES
MORE
38
YOU TOLD ME, "NEVER HOLD BACK ANYTHING
WHO KNOWS WHAT TOMORROW BRINGS?
THE FATES ARE CRUEL SO DON'T YOU LET THEM WIN"
YOU LIVED YOUR LIFE JUST LIKE A FLAME
THAT BURNED OUT FAST BUT SEARED YOUR NAME
ACROSS MY HEART AND EVERYWHERE YOU'D BEEN
CAUTION TO THE WIND
TR
du
I WILL BE WITH YOU AGAIN

SURE AS I HAVE EVER BEEN
BURN MY MATCHES TO THE END
THROWING CAUTION TO THE WIND
ro
OH, NO, YOU LIVED YOUR LIFE JUST LIKE A FLAME

CAUTION TO THE WIND.
ct
Pe
YOU TOLD ME "NEVER HOLD BACK ANYTHING

WHO KNOWS WHAT TOMORROW BRINGS?
THE FATES ARE CRUEL SO DON'T YOU LET THEM WIN"
io
ru
TIME IS FLYING
HOW I MISS YOU
THIS FEELING CAN'T BE WRONG
sa
l
SOME SAY NOT

DON'T BURN SO HOT
SAVE SOMETHING FOR A RAINY DAY
BUT THE ICE AND SNOW ARE HERE TO STAY
fo
rp
NARRATOR 1
"And she made haste to light the whole bundle of matches for she wished to keep her grandmother there.'
SMALL PART GUY

(In the right spirit)
'And the matches glowed with a light that was brighter than the noon day, and her grandmother had never
appeared so bright or so beautiful."
LITTLE MATCH GIRL
N
ot
GETTING CLOSER
TAKE ME WITH YOU
I KNOW WHERE I BELONG
YOU TOLD ME, "NEVER HOLD BACK ANYTHING

WHO KNOWS WHAT TOMORROW BRINGS
THE FATES ARE CRUEL SO DON'T YOU LET THEM WIN "
MORE
39
YOU LIVED YOUR LIFE JUST LIKE A FLAME
CAUTION TO THE WIND.
(After each of the following 12 lyric lines, we hear the "clock strike")
n
io
ct
Pe
ru
sa
l

VIOLIN ASCENSION
du
NARRATOR 1
"The grandmother took the little girl in her arms, and they both flew upwards in brightness and joy far
above the earth, where there was neither cold nor hunger nor pain, for they were with God.
ro
fo
rp
TR
THE MAN
(continuing the reading, by this time deep in the story)
In the dawn of morning there lay the poor little one, with pale cheeks and smiling mouth, leaning against
the wall; she had been frozen to death on the last evening of the yearNo one imagined what beautiful
things she had seen, nor into what glory she had entered with her grandmother."
(Pause)
That's how it ends? She was frozen to death!? I thought someone comes out of the party- and invites her
into the feast and, doesn't someone take her home, and adopt her, and make her a princess and she never
has to sell matches again? I gotta call someone.
(HAPPY FOLEY: dialing tones)
Hello.
N
ot
I need to talk.
Hey, Great! You coming to the party?
I need to talk about The Little Match Girl.
JACK
THE MAN
JACK
THE MAN
40
JACK
Dude.
THE MAN
Did you know she freezes to death in the snow?
JACK
Of course.
THE MAN
sa
l
What do you mean of course?
JACK
That's how it ends.
THE MAN
I thought you said you studied Scandinavian Literature!
ct
JACK
du
So are you coming to the party?
io
Pe
ru
THE MAN
And I'm just supposed to accept that she goes up to heaven in the arms of her grandma when it's been
this whole degrading story about how she was abused and neglected, and did everything she could do to
try to survive, and then she just died?
ro
TR
JACK
Well I did buy some furniture at Ikea. All right, listen. Let me tell you something about Hans Christian
Andersen.
SCREWED UP PEOPLE MAKE GREAT ART
N
ot
fo
rp
JACK (CONT'D)
(Sings:)
HE GREW UP POOR, JUST A SHOEMAKER'S SON
A LANKY KID WHO HAD A REALLY BIG NOSE
INSECURE, IMMATURE,
HE WAS OFTEN FOUND DRESSING UP IN GIRLY CLOTHES
HIS FATHER DIED AND HIS MOTHER EXPLAINED
THAT THE ICE MAIDEN TOOK HIM AWAY
THAT LITTLE LIE MADE HIM CRY,
GAVE HIM NIGHTMARES
AND IT HAUNTED HIM 'TIL HIS DYING DAY
YEAH, IT WOUND HIM UP INSIDE
JUST LIKE A CUCKOO CLOCK
GOING TICK TICK TOCK
'CAUSE SCREWED UP PEOPLE MAKE GREAT ART
THEY SHOOT RIGHT FROM THE SCREWED-UP HEART
MORE
41
JACK (CONT'D)
SCREWED UP PEOPLE BARE THEIR SOULS
AND THAT'S NOT ALWAYS SMART
THE MAN
So you're saying what, he was obsessed with death? He was obsessed with ice? He wrote about unloved
little girls because that's who he was inside?
ct
SO INSANE
Pe
HE WAS AFRAID OF CHURCHES, FIRES, AND DARK

SOME DISASTER WOULD BE SURE TO ARRIVE
OUR BIZARRE SUPERSTAR
COULDN'T SLEEP BECAUSE HE WORRIED HE'D BE BURIED ALIVE
io
ru
sa
l
JACK
All of the above. Now pay attention.
(Sings:)
NOW OUR MAN HANS HAD A HEART FULL OF LOVE
BUT HIS FEELINGS WEREN'T ALWAYS RETURNED
HE WAS ODD AND A CLOD,
HE'D MAKE OVERTURES AND ALWAYS END UP GETTING BURNED
du
(As JACK sings, the WOMEN and MEN add back up "OOHS")
ro
TR
JACK (CONT'D)
SO HE WROTE A LOT OF FAIRY TALES TO EASE THE PAIN
THAT CRAZY DANE
'CAUSE
fo
rp
JACK AND CHORUS

'CAUSE SCREWED UP PEOPLE MAKE GREAT ART
IMAGINATION OFF THE CHART
SCREWED UP PEOPLE SEND US POSTCARDS FROM A WORLD APART
N
ot
JACK
HE CREATED A FANTASY WORLD
AND HE GOT HIM SOME GREAT REVIEWS
SUPERNATURAL STORIES OF SNOWMEN
AND MERMAIDS AND MAGIC SHOES
BUT WHEN HIS CHARACTERS GET WHAT THEY WANT
THERE IS OFTEN A RUDE SURPRISE
BECAUSE HANS CHRISTIAN ANDERSEN LOOKED AT THE WORLD THROUGH
REALLY SCREWED UP EYES
(Instrumental break)
JACK AND CHORUS
42
JACK
HE NEVER MARRIED AND HE NEVER HAD KIDS
SO HIS STORIES WERE HIS LEGACY
EMPEROR DUDE IN THE NUDE
AND A PRINCESS WHO WAS KEPT AWAKE ALL NIGHT BY A PEA
ON AND ON
sa
l
JACK AND CHORUS

TURNING ALL THOSE UGLY DUCKLINGS INTO SWANS
JACK
AND VIRGINIA WOOLF
ro
TR
CHORUS
du
CHORUS
LIKE CHARLIE PARKER
JACK
fo
rp
CHORUS
JACK
DON'T FORGET VINCENT VAN GOGH
CHORUS
N
ot
AND JANIS JOPLIN
JACK
CHORUS
WELL, DON'T YOU KNOW
io
ct
Pe
ru
ALL
GOD GAVE THEM A RUNNING START
FOR EXAMPLE, WOLFGANG A-MA-DE-US MO-ZART
AND JEAN-PAUL SART-RE
JACK
JACK
THAT CRAZY HANS

'CAUSE
43
JACK AND CHORUS
JACK
.But surprisingly, Yanni is completely well-adjusted.
THE MAN
Look pal, I appreciate the biographical deconstruction and all-but how's that supposed to help me!?
io
ru
THE MAN
(More frustrated with himself than angry; he realizes on some level he's
being ridiculous though he can't quite get over it, in that light his sign off
is sort of a distracted dismissal, what he needs is not to be gotten here)
Yeah, all right. All right.
TR
du
ro
THE MAN (CONT'D)

(Sings:)
WELL, I DON'T KNOW WHAT THE HELL IS WRONG WITH ME
I AM SITTING HOME ALONE ON A NEW YEAR'S EVE
WALLOWING IN SORROW LIKE A SAD-FACED CLOWN
FOLLOWING A FAIRY-TALE AND FEELING SO DOWN
ct
Pe
IT'S NOT ALL RIGHT
IT'S NOT ALL RIGHT

WHAT'S WITH THIS MELANCHOLY
IT'S NOT ALL RIGHT
WHERE IS MY GRAND FINALE
fo
rp
'CAUSE THERE IS NO HERO WHO WILL DO THE RIGHT THING

NO FAT LADY EVER GETS TO SING
THE AUTHOR COPPED OUT ON THE VERY LAST PAGE
I GUESS I'M JUST A PRODUCT OF THE HOLLYWOOD AGE, BUT
THE MAN AND THE LITTLE MATCH GIRL
IT'S NOT ALL RIGHT
THE WORLD JUST WALKS ON BY AND
IT'S NOT ALL RIGHT
THEY LEAVE HER THERE TO DIE
N
ot
sa
l
JACK
I don't know man, but if you're not gonna come to the party, why don't you try reading Cinderella I
think that has a happy ending.
THE MAN
AND I CAN SEE THEM NOW IN THEIR PARTY DRESS
NO ONE GIVING A THOUGHT TO THIS LITTLE GIRL'S DISTRESS
WE'RE ALL NOTHING BUT HYPOCRITES
MAKING RESOLUTIONS AND WE'RE MAKING LISTS
WE'RE TALKING BIG AND WE'RE ACTING SMALL
MORE
44
THE MAN (CONT'D)
NOBODY'S EVER GONNA CHANGE AT ALL
IF I COULD CHANGE ONE THING I'D GET OUTA THIS CHAIR
GET OUT OF THIS ROOM INTO THE COLD FRESH AIR
THERE'S A LITTLE TIME LEFT ON THIS NEW YEAR'S NIGHT
AND THERE'S SOMETHING THAT I GOTTA DO BEFORE DAYLIGHT
'CAUSE
sa
l

IT'S NOT ALL RIGHT
THAT GIRL DESERVES MUCH BETTER
IT'S NOT ALL RIGHT
I'VE GOT TO GO AND GET HER
ru
THE MAN
AND SHOW HER
io
du

(The CHORUS sings back up "oohs")
SOMEONE WITH SOME KINDNESS ON THEIR FACE
ct
Pe

(The CHORUS sings back up "oohs")
SOMEWHERE OUT THERE BETTER THAN THIS PLACE
THE MAN
AND SHOW HER
ro
TR
NARRATOR 2
The man gets up. He throws on a hat, a scarf. He runs out of his house and through the streets; a madman
out in the snow.
fo
rp
(Piano solo representing THE MAN running through the city. He stops
short when:)
NARRATOR (CONT'D)
In a corner between two houses a girl is huddling herself together.
N
ot
THE MAN
HELLO, I ALMOST DIDN'T SEE YOU
I ALMOST DIDN'T EVEN SEE YOU THERE
AT FIRST I THOUGHT IT COULDN'T BE YOU
I'VE BEEN LOOKING FOR YOU EVERYWHERE
I COULD USE A COUPLE MATCHES
OR A BUNDLE
YEAH A BUNDLE
I COULD BUY WHAT YOU'VE GOT LEFT
IT WOULD BE
MORE
45
THE MAN (CONT'D)
WONDERFUL
WE COULD FIND A COZY FIRE TO SIT BY
WONDERFUL
I COULD ORDER UP A FEAST FOR YOU SO
WONDERFUL
WOULD YOU MIND IF I MADE VERY SURE
THAT NO ONE EVER HURTS YOU ANY MORE
sa
l
(She turns around)
THE MAN
It wasn't exactly what I was expecting
ro
TR
Are you high?
THE MAN
du
S.A.D. LIGHT SELLER
Beautiful story, huh?
ct
S.A.D. LIGHT SELLER
Pe
I see you read The Little Match Girl.
io
ru
THE MAN
Yeah I know who you are. Just got a little caught up in Andersen-land there for a moment.
S.A.D. LIGHT SELLER

That's so nice you want to do that for her. I'm afraid I'm all out of matches tonight, but there hasn't been
much of a run on full spectrum holiday light bulbs.
Case of what?
fo
rp
S.A.D. LIGHT SELLER

Come on, the way she wishes for warmth in every way and then finally has to create it for herself in the
only way she can. Of course, Hans Christian Andersen was a classic case.
THE MAN
S.A.D. LIGHT SELLER

SAD. Seasonal Affective Disorder. Remember the pamphlet? Makes sense, right? Think of those long,
long winter nights in Northern Europe.
N
ot
THE MAN
Don't you think it's possible that Hans Christian Anderson didn't have SAD, he just was sad?
And he recognized there was sadness in the world and he knew how to write about it? Maybe?
S.A.D. LIGHT SELLER
(Gently offering him way out)
You want any lights?
46
They work?
(Probably a real question)
THE MAN
S.A.D. LIGHT SELLER
They might.
sa
l
(Admitting)
There haven't been a whole lot of double-blind studies.
(Admitting)
I use them.
(Admitting)
They can't hurt.
io
Pe
S.A.D. LIGHT SELLER

No, but they pay the bills, mostly. Electric's kinda high.
ru
THE MAN
(Looking at her and really taking her in)
You can't be making a whole lot of money from those.
du
PICTURE THIS/SNOW SONG (REPRISES)
ct
THE MAN
I'll tell you what. Why don't I buy whatever you've got left- and we can go around town and give one
string of your full spectrum holiday light bulbs to every sad looking person we see. Just in case.
ro
TR
THE LITTLE MATCH GIRL

PICTURE THIS
THE FROZEN CITY
THE STILL AND QUIET HOURS BEFORE THE LIGHT
fo
rp
LITTLE MATCH GIRL, AND NARRATORS 1, 2, AND 3

PICTURE THIS
TWO SETS OF FOOTPRINTS
A MAN AND WOMAN WALKING IN THE NIGHT
SMALL PART GUY AND JACK
AND THE SNOW IS GENTLY FALLING
SMALL PART GUY, JACK, AND NARRATOR 1
AND THE SNOW IS GENTLY FALLING
N
ot
SMALL PART GUY, JACK, NARRATOR 1,

S.A.D. LIGHT SELLER, AND LITTLE MATCH GIRL
AND THE SNOW IS GENTLY FALLING, AND THEY SAY
IT'S COMING DOWN AND ALL MY BLUES DISAPPEAR
AND THIS OLD TOWN IS YOUNG AGAINROLL BACK THE YEARS
BECAUSE THE WORLD LOOKS LIKE NEW
OR AT LEAST THAT'S THE VIEW
47
SOPRANOS
FROM
ALL
HERE
SOPRANOS
FROM
ALL
sa
l
HERE
S.A.D. LIGHT SELLER

THE MAN
ro
TR
HELP IT
S.A.D. LIGHT SELLER
fo
rp
HELP IT
I FELL
du
THE MAN
I CAN'T
I FEEL
ct
Pe
S.A.D. LIGHT SELLER
I CAN'T
io
THE MAN
SOMEHOW
SOMEHOW
ru
THE MAN
SNOWFLAKES FALL LIKE VELVET
FROM IRON COLORED SKIES
MY SPIRITS RISE
THE MAN
S.A.D. LIGHT SELLER
S.A.D. LIGHT SELLER AND THE MAN
N
ot
SNOWFLAKES GLINT AND GLIDE

GLAD TO BE OUTSIDE
ON THE FIRST DAY
THE MAN
S.A.D. LIGHT SELLER AND THE MAN ON THE FIRST DAY

ON THE FIRST DAY
48
ALL
ON THE FIRST DAY OF THE YEAR
n
io
ct
du
ro
fo
rp
N
ot
TR
Pe
ru
sa
l
(End of show)
END NOTES
Note on breakdown of parts.
The show should feel like a group of actors and musicians creating a theatrical experience together, and is
meant to allow for different cast sizes, so there is some flexibility in the distribution of parts.
sa
l
Simplest and safest is to follow breakdown and role division as scripted, using exactly the number of
speaking actors suggested and featuring others in chorus. However, understanding that not only the
number of cast members but how involved band may be in telling story may vary by company, at
directors' discretion roles can also be combined or further separated.
ru
Suggested doublings include Happy Foley/Drummer, Narrator 1/Music Director, Narrators 2/3. For very
small casts S.A.D light seller and Little Match Girl may be played by one person, and Jack and Small Part
Guy can be combined as well (or Give the Drummer Some used, see note below). In these small casts
narrator roles can also be distributed among the main players rather than having separate players narrate.
io
"Give the Drummer Some"
ct
Pe
For larger casts the multiple roles played by Narrators 2, 3, Happy Foley, and Small Part Guy can be
distributed among additional chorus members.
du
ro
TR
In the original version of STRIKING 12, which used only 3 musicians to play all instruments and roles,
the performers themselves shared all of the narration, with the keyboard player/actor 1 playing The Man
reading most of the Little Match Girl narration, the violinist/actor 2 and the one female band member
playing all female roles (other than Grandma), and the drummer, Actor 3. taking on the through-line of
dissenter (along with Jack/Party Host, Foley, and Small Part Guy's roles). The drummer was also the main
narrator in the second level of the story, the story about the Man Who's Had Enough.
fo
rp
In adapting the show for a larger cast the one song we decided to change was the one the drummer sang to
protest his Grandma role. It was replaced with "The Little Guys," with the thought that that version would
be applicable in more situations. However, the original song, "Give the Drummer Some" is included here
as an alternative for a production that uses a singing drummer.
The departure begins with Grandma's line: "Ven a star falls a soul is going up to God." The text below is a
version of the original as performed by GrooveLily.
DRUMMER ("GRANDMA")
"Ven a star falls, a soul is going up to God."
N
ot
Uh, [name of drummer]?
DRUMMER
Well did I even ask to play this part? You guys have pivotal dramatic roles and I get what, "Post Nasal
Drip Guy", "Heartless party giver ignoring starving child" and "Poor Dead Grandma." I didn't even want
to do the Little Match Girl in the first place if you remember. I wanted to do the Little Drummer Boy.
And we told you we votedand the Drummer Boy lost.
DRUMMER
Yeah but--Don't you remember that video clip they used to replay on MTV in the early 80s, where Bing
Crosby is home alone and sitting in his comfy chair and smoking his pipe and there's a knock at the door
and who should come in but his "next door neighbor" David Bowie. And Bowie comes in with his orange
spiky hair, and his zoot suit and thin tie, and they have some ridiculously stiff conversation. And then to
make things even weirder they say you know what we should do, we should sing "The Little Drummer
Boy", and even with that ridiculous set up IT STILL WORKS! Because you can't ruin the Little Drummer
Boy!
DRUMMER
io
ru
I think you're forgetting one thing.
sa
l

Yeah, I believe you, only we're not doing Little Drummer Boy this time, we're doing Little Match Girl,
and we're pretty far along in the story, so why don't you take the part that you've been given and bring it
to life.
Pe
GIVE THE DRUMMER SOME
ct
ro
TR

AS YOU TIPTOE THROUGH THE STORY
AND YOU GUYS GET ALL THE GLORY
WELL I THINK IT'S TIME NOW
YOU GOTTA GIVE THE DRUMMER SOME
du
DRUMMER
THE PIANO PLAYER GETS HIS SAY AND YOU HANG ON EVERY WORD
AND THE VIOLIN CAN FLY ON IN THROUGH THE CROWD JUST LIKE A BIRD
BUT I'M STUCK IN BACK, OUT OF LUCK I LACK THE ABILITY TO MOVE
BUT IF NOT FOR ME THERE WOULD NEVER BE THE ABILITY TO GROOVE
fo
rp
YEAH THE NEXT TIME OUT'S GONNA BE ABOUT THE HISTORY OF ME

FROM THE MINIMUM WAGE TO THE STADIUM STAGE AND THE
GOOD PARTS IN BETWEEN
THEN THE WORLD WILL KNOW OF MY BIG EGO AND MY WAY WITH ALL THE
CHICKS
THE HOTTEST GIRLS WATCH MY DRUMSTICKS TWIRL AS I PLAY MY TASTY LICKS
N
ot
I DON'T MEAN TO SOUND DEMANDING

BUT WE'VE BEEN OFF WONDERLANDING
AND THIS GRANDMA PART NOTWITHSTANDING
WELL I THINK IT'S TIME NOW
YOU GOTTA GIVE THE DRUMMER SOME
IT'S ALL ABOUT ME ME ME ME ME
(Others join)
(DRUMMER stops playing in response to the others trying to share

spotlight)
DRUMMER
Point made.
[Drum solo]
sa
l
DRUMMER (CONT'D)
AS YOU TIPTOE THROUGH THE STORY
AND YOU GUYS GET ALL THE GLORY
n
io
ru
ALL
YOU GOTTA GIVE THE DRUMMER GOTTA GIVE THE DRUMMER
GOTTA GIVE THE DRUMMER GOTTA GIVE THE DRUMMER
GOTTA GIVE THE DRUMMER - GOTTA GIVE THE DRUMMER SOME
ct
DRUMMER
I interrupted that?
du
Pe

(To audience)
[name of drummer] will be front-man on the next show okay?
(To Drummer)
But for now, may I point out that we're at an important part of the Match Girl story? Picture this: the
grandmother is the one person who ever showed this child any love, and she's gone. Then suddenly, when
the girl needs her most, there she is in the light of a burning match.
ro
TR

Yeah. So, you think you can put the hat back on?
Okay.
fo
rp
DRUMMER
(Offering compromise)
How 'bout this. What if I try it without the hat?
N
ot
[Drummer begins PICTURE THIS]
N
ot
io
ct
sa
l
ru
Pe
du
ro
fo
rp
TR
n
io
ct
Pe
ru
sa
l
- VOCAL BOOK -
du
ro

New York, NY 10018
866-378-9758 toll-free
212-643-1322 fax
fo
rp
TR

And VALERIE VIGODA
Follow us!
@theatricalright
N
ot
Like us!
1/11/13
N
ot
io
ct
sa
l
ru
Pe
du
ro
fo
rp
TR
-1-
VOCAL BOOK
ST R I K I N G 1 2
1a. Overture
##
& # 44
Rock {q = 144}

J J
j j

to
to
TR
Wel - come
##
& # J
for
the
the
,
j
.
sure
,
j
.
the
10
ver - ture
ver - ture
for
###
V
J
for
###
V
J
12
for
sure
,
.
J
that
this
that
is
that
sure
that
this
is
Now
is
11
Now
is
j j

time
is
time
is
it's
to
to
it's
time
j j

when
when
it's
you
j j

when
is
it's
when
this
13
when
when
Now
is
time
to
14
j j

this
sure
,
j
.
Now
ver - ture
N
ot
##
& # j
ver - ture
j j

know
io
Wel - come
j j

to
ct
##
V # J
V
the
you
du
Wel - come
###
to
fo
rp
&
ro
Wel - come
###
j j

ru
CHORUS (SATB)
Pe
&
###
Half time rock
sa
l
1-8
to
when
you
j j

when
know
know
you
know
j j

the
show
j j

j
n
start
start
the
j j

start
show
the
show
j j

start
the
show
-2-
###
&
V
###
if
you've got
if
you've got
16
wrap
bar - king
or
bar - king
##
V # J
or
### j

V
18
###
wrap
or
or
19
bar - king
care
of
it
##
& # j
it
right
right
##
V # J
care
of
J
it
###
S t r i k i n g 1 2care
of
it
21
poo
dle
poo
dle
j j

poo
dle
now
be
right
now
be
right
on
on
now
now
22
be
to
to

J J
to
j j

can
can
lap
dy
dy
to
j
take
your
20
on
lap
your
lap
your
lap
take
j
take
j
take
fore
we
go,
fore
we
j
n
j
fore
we
go,
be
dy
dy
your
on
N
ot
of
dle
j j

care

J J
bar - king
&
un
wrap
poo
fo
rp
TR
un
j j

j j

du
un
wrap
you've got
ro
### j
&

17
if
ru
un
Pe
### j
&

you've got
sa
l
15
can
if
##
V # w
can
j j

io
##
& # w
1a. Overture
ct
VOCAL BOOK
fore
we
go,
go,
-3-
VOCAL BOOK
&
###
and
turn
your
cell
1a. Overture
1 WOMAN
phones
43
off.
##
& # .
43
43
##
V # .
##
& # 43
You
will
&
&
###
41
###
###
45
Striking 12
at
an
im
hear
it
in
42
ra
39
43
ther
ther
46
40
on
44
cru - cial time
44 U
U
44
CHORUS (SATB)
For -
cru - cial song.
36
la - ter
por - tant theme.
poco rall.
ra
35
ct
N
ot
##
& #
###
38
du
is
TR
37
34
ro
This
##
& #
CHORUS WOMEN
io
ru
n
fo
rp
33
Pe
&
24
25-32
###
23
43
sa
l
###
For -
4 U
4
For -
47
44 U
48
For -
-4-
get
all
that,
now,
clear
now,
clear
clear
clear
lax,
un
lax,
get
all
that,
###
V
J
all
that,
now,
##
V # j
49
&
###
get
all
that,
###
##
V # J
&
up,
TR
loos - en
51
&
###
div.
take
take
##
V #
V
###
loos - en
up,
re
up,
up,
re
re

some pic
tures...
take
53
take
Striking 12
tures...
tures...
some pic
tures...
52
lax,
oops,
some pic
some pic
lax,
oops,
N
ot
&
###
re
loos - en
##
V # j
Pe
loos - en
now,
50
ru
get
your
mind,
your
mind,
your
mind,
your
un
wind
un
un
wind
wind
j
..
. n j
sor - ry,
no
no
no
j
.
sor - ry,
no
j
.
sor - ry,
j
.
oops,
wind
oops,
54
mind,
fo
rp
&
ro
###
io
ct
Rock againtempo I
sa
l
&
###
1a. Overture
du
VOCAL BOOK
sor - ry,
n .
no
55
no
b
J
no
j
n . n
no
no
no
no
no
-5-
no
###
V
J
no
no
no
no
no
## j
V # .
56
Enj - oy
57
58
Enj - oy
fo
rp
W
N
ot
TR
Striking 12
Enj - oy
Pe
no
Enj - oy
the
show!
the
show!
the
show!
the
show!
io
no
ct
no
### j
&
n .
du
no
ro
no
no
sa
l
ru
### j
&
n .
1a. Overture
VOCAL BOOK
-6-
VOCAL BOOK
ST R I K I N G 1 2
2. - Last Day Of The Year

It's the end of the day
at the end of the year. [MUSIC]
sa
l
SOLO
# WOMAN

&
J
na
do
# CHORUS
j
&
na
12
on
New
17
phone
said
Year's
Eve?
44
44
THE MAN:
You too, pal.
13
got - ta
got - ta
11
please
the man
Now I
.. 74
Be right there hey man, Happy New Year . [MUSIC CONTINUES]
CRAIG:
ro
N
ot
.
to work
boss
Eve?
fo
rp
late
do
10
7 7
Year's
#
V 74
15
New
Bossa nova underscore
(8 +8)
Hey guy - they're letting us out early! Half a day! Whoo hoo! ... [DIALOGUE]
on

J J
na
TR
#
& 44 ..
Eve?
CRAIG:
do
j
#

What are you gon

J J
Year's
Pe
New
du
What are you gon
on
ru
What are you gon
io
#
& 74
{q = 170}
ct
NARRATOR 1:
NARRATOR 2:
14
am
work - ing
16
please
THE MAN
b
J
was
late
My
the boss
18
man
the phones
So
got - ta
-7-
those
facts
19
21
And
23
#
25
got - ta
27
vo - lun
this
# .
teered
to
my
day
TR
# .
31
day
What are you gon
na
#
j
&
CHORUS WOMEN
What are you gon
na
j
#

V
What are you gon
most
done
37
al
Striking 12
na
do
on
24
With - out
26
pay
rate
30
w
year
the
32
do
on

J J
do
on
And peace
and
Now
night
day - light

J J
de
ny
it
j
.
qui - et
On
the
j
The
year
34
Year's
Eve?
New
Year's
Eve?
have
late
of
to
New
ther
ray
Theres no need
28

J J

J J
j j
the
New

J J
no
j j
ter
N
ot
CHORUS MEN
35
be
fo
rp
33
22
of
#
& J
CHORUS WOMEN
checks
late
of
last
those
It - ll
29
er
stay
last
win

J J
Time - and - a - half
print

J J
through
Pe
that
j j
fix
will get
fax
20
got - ta

J J
j j
# .
check
ct
du
ro
sa
l
ru
io
VOCAL BOOK
36
Year's
THE MAN
Eve?
Im
done
it
all
38
j

I
am the
-8-
43
them down
CHORUS WOMEN
Please
lightly
Please
ww ..
clos
47
w.
clos
&
ww ..
Please
#
49
w.
Please
Striking 12
ing
N
ot
44
go
down

So
&
of
the
w.
clear
n ww .. ..
go
the stairs
clear
46
through
ww ..
stand
TR
&
of
the
doors
w..
fo
rp
w.
Pe
45
CHORUS MEN
crowd - ing
stand
am
ww ..
lightly
42
j
While
last
io
the crowd
at
ct
out
40
Im
41
du
out
stare
&
one
ro
through
39
last
sa
l
ru
VOCAL BOOK
48
ing
doors
ww ..
of
w.
stand
stand
clear
50
clear
of
the
the
-9-
ww ..
clos
w.
clos
stran - gers
talk
W
j

TR
#
ww ..
clos
#
55
w.

J J
Striking 12
all these
54
like
cham - pagne,
they're
ing
of
On their way
n ww .. ..
doors
56
from?
the
w.
ing
slink
of
clear

J J
peo - ple
clear
N
ot
clos
Where did
stand
Bub - bling
&
ww ..
w.
to stran - gers
stand
Please
fo
rp
53
Pe
doors
ww ..
Please
52
ing
w..
ru
THE MAN
And
&
doors
io
51
ing
ct
du
n ww .. ..
ro
sa
l
&
VOCAL BOOK
w..
doors
to drink
J .
some
the

On
the
-10-
day
MEN
# CHORUS
..
V
..
57
last
of
# ..
..
59
last
TR
Vb
62
Striking 12
Look how
fast
this
TENORS
THE MAN
+ CHORUS

Look how
fast
this
CHORUS BASSES
Look how
fast
this
year
4 ww
4
J
60
of
the
year's
61
year
fo
rp
Vb
year
year
the
year's
gone
gone
N
ot
&b
the
of
day
CHORUS WOMEN
58
44
j

w
day
{q = h} L'istesso, half time feel
ww .. ..
the
Pe
last
year
j
44 w
day
of
w..
the
day
last
&
of
On the
year's
gone
by
by
by
63
&
last
year
CHORUS WOMEN
the
ct
of
ww
du
&
day
ro
last
sa
l
THE MAN
ru
io
VOCAL BOOK
Spring has
Spring has
Spring has
slipped
b b
some
some
how
how

some
how
slipped
slipped
a -
a -

a -
way
b
way
b
way
-11-
bare - ly
saw
b
Vb
64
bare - ly
& b .
V b .
V b .
ne - ver
read
those
read
those
ne - ver
the
ne - ver
read
those
TR
66
saw
mer
b
sum
mer
mer
top
ten
top
ten
top
ten
b b
Did noth - ing
Did noth - ing
Did noth - ing
Striking 12
to
to
im - prove
to
im - prove
seems
sky
Au - tumn
books
Ne - ver
books
Ne - ver
67
books
seems
like
Ne - ver
ter
day
like
yes
ter
day
like
took
yes
yes
ter
day
that
b b
trip
to
France
took
that
trip
to
took
that
trip
to
France
b
France
dance
my
im - prove
seems
n
n n
my
N
ot
68
Au - tumn
fo
rp
b
Vb
sky
65
sum
& b b b b
Vb
Au - tumn
Pe
the
b b
sky
sum
ct
the
du
saw
ro
Vb
bare - ly
j
n n
sa
l
ru
& b b b b
io
VOCAL BOOK
looks
I ne - ver learned
looks
I ne - ver learned
69
my
looks
I ne - ver learned
to
to
sal
sal
sa
sa
sal
sa
dance
n
to
dance
-12-
be
all
did - nt
#
V
be
all
did - nt
be
all
did - n't
did - nt
call
on
call
on
Mo
did - nt
TR

And
I would
V
And
I would
call
ther's
ther's
not
dwell

not
Mo
the
dwell
on
the
not
dwell
on
N
ot
I would
Day
Day
on
did - n't
n b
see
see

did - nt
see
can - not
the
see
wash
wash
wash
If time would
past
past
If time would
75
my
my
can - not
could
could
see
see
all
can - not
all
past
all
did - nt
n #
Day
ther's
74
And
71
73
on
fo
rp
Mo
be
# b
Striking 12
Pe
ru
# n b b
V
&
be
could
# b
n b
72
be
could
70
could
&
could
did - n't
sins
way
ct
sins
du
N N
ro
sa
l
&
io
VOCAL BOOK
If time would
my
sins
way
way
n b
not
go
by
so

not
go
by
so

not
go
by
so
fast
n
fast
b
fast
-13-
al - rea
I cant
be - lieve
al - rea
dy it's the
last
day...
74
dy its the
last
day...
# b
76
77
be - lieve
al - rea
na
do
on
New
WOMEN
# CHORUS
j
&
na
j
#

V
TR
CHORUS MEN
81
What are you gon
7 7
(8 +8)
83
step
it
up
na
do
on
on
side - walk
Striking 12
push
New
Year's
j
I
And Im
7
4
THE MAN
Eve?
82
Year's
Ill
Eve?
up
the steps
84
go
78
the year
Eve?
New
N
ot
85

J J
do
of
fo
rp
What are you gon

J J
80
Year's
Pe
dy it's the

J J
79
What are you gon
THE MAN
du
I can't
SOLO
# 7 WOMAN
j
& 4
day...
74
{h = q} L'istesso
last
be - lieve
ct
I can't
ro
sa
l
ru
&
io
VOCAL BOOK
86
pushed

a - side

Theres a
j
I
got - ta
-14-
.
last
day
MEN
# CHORUS
..
V
last
.
last
# ..
89
for home
day
# .
last
# .
.
..
day
.
day
last
.
.
# ..
..
91
last
Striking 12
day
N
ot
&
88
the
year
90
the
my
w..
the
of
day
of
ww .. ..
year
the
year
of
..
ww . .
the
of
And
the
year
of
ww .. ..
Oh,
year
TR
last
keys
ru
of
my
head
year
92
ww .. ..
year
On the
ro
&
the
Pe
head
day
grip
w..
# .
of
..
87
CHORUS WOMEN
got - ta
fo
rp
&
grip
my
io
keep
ct
sa
l
MAN
# THE
du
VOCAL BOOK

On the
-15-
last
.
.
# ..
V
..
last
What are you gon

MAN
# THE
.
na
What are
of
day
of
# .
.
of
na
do
on
day
last
..
# ..
V
..
97
last
Striking 12
Year's
the
day
day
Eve?
w
year
On the
..
ww . .
the
year
&
year
day
gon
94
N
ot
you
ww .. ..
ww .. ..
96
the
year
fo
rp
last
New
Pe
TR
last
# .
on
..
95
do
year
the
.
.
MEN
# CHORUS
..
V
#
&

J J
day
CHORUS WOMEN
last
of
On the
..
ww . .
the
last
#
& ..
of
day
SOLO
# WOMAN
j
&
year
day
93
the
# .
.
of
ct
day
du
last
&
ro
sa
l
ru
io
VOCAL BOOK
New
Year's
Eve?
U
w..
of
year
the
of
the
n
J
of
..
ww . .
the
year
98
nU
w..
w..
year
U
w
-16-
VOCAL BOOK
ST R I K I N G 1 2
3. Snow Song
THE MAN:
Well why don't you watchoh forget it. [MUSIC]
Quiescently, like the first snowfall {h = 76}
#
17
&
#
21
18
ron
22
25
feel
&
29
23
can't
26
30
my
33
34
j j

&
#
37
down
to
31
a - glow
take it
20
24
it
slow
35
32
28
36
it's
7
38
rise
time
27
spi - rits
N
ot
help
Street - lamps
&
19
from
skies
16
fo
rp
TR
Some - how
&
co - lored
vel - vet
15
like
Pe
&
fall
14
Snow - flakes
io
13
ct
du
S.A.D. LIGHT SELLER
ro
sa
l
&
12
ru
&
#C
com - ing
-17-
VOCAL BOOK
#
53
fro
&
#
57
si
&
54
58
lent
62
&
&
69
.
down.
73
&
#
#
white
Per - fect
74
78
down
Striking 12
59
63
and clean
67
and all
52
56
60
j
.
my
79
my
76
It's
com - ing
co - ming
dis - ap - pear
.
J
blues
it's
S.A.D. LIGHT SELLER

+ CHORUS SOPRANOS
j
.
blues
72
blues
my
68
pris - tine,
75
64
71
and all
and all
pho - ny
and
si - tion
77
70
down
55
po
j .
N
ot
down
51
fo
rp
66
65
TR
&
me
sym -
Side - walks
&
ver
in
61
zen
monds
50
like
&
io
dia
48
ro
49
glis - ten
Pe
47
bran - ches
ct
46
Cry - stal
&
sa
l
45
du
S.A.D. LIGHT SELLER
ru
&
3. Snow Song
80
dis - ap - pear
dis - ap - pear
-18-
town
# w
&
V
89
#
#
town
is
young
w
w
# w
93
young
a - gain
87
this old
88
a - gain
and
this old
roll
back
roll
back
the years
roll
back
the years
91
looks
like
looks
like
94
j
.
95
like
92
new
the world
the world
be - cause
new
.
J
the years
be - cause
new
be - cause
looks
Striking 12
a - gain
90
84
Pe
fo
rp
&
is
young
N
ot
83
86
TR
&
is
&
82
85
this old
and
town
and
io
ct
&
81
du
&
ro
sa
l
&
ru
&
3. Snow Song
VOCAL BOOK
96
the world
or
at least
or
at least
or
at least
-19-
VOCAL BOOK
98
the view
that's
the view
that's
CHORUS WOMEN
101
102
here
w
here
TR
&
&
# bw
109
113
&
#
117
here
by
moon's
Striking 12
118
104
don't
feel
sil - ver
the
it
111
~~~~~ w
112
ri - ver
115
119
116
much
but
It's
108
S.A.D. LIGHT SELLER
~~~~~ b w
107
114
N
ot
110
106
here
cold
&
103
105
here
fo
rp
&
CHORUS MEN
Pe
here

from
ro
100
ru
&
99
the view
here
from
97
io
&
that's
ct
S.A.D. LIGHT SELLER
du
&
sa
l
&
3. Snow Song
sli - ver
the
120
-20-
VOCAL BOOK
e - nough
125
126
129
130
&
Open, soaring
133
134
star
138
down.
141
comes
Striking 12
131
out
146
N
ot
145
142
TR
&
&
127
a - way
135
139
143
147
128
to
132
play
j
.
and it's
136
it's
co - ming
j
.
co - ming
140
molto rall.
148
fo
rp
137
drift
Pe
down
&
124
ru
123
to touch
storm - clouds
&
&
122
io
close
ct
du
121
144
ro
sa
l
&
3. Snow Song
149
Applause Segue
-21-
VOCAL BOOK
ST R I K I N G 1 2
4. Resolution
HAPPY FOLEY:
As the woman disappears in white...
NARRATOR 2:
You have 3 new messages. First message. Received today at 3:43 pm. BEEP! ...
ERICA: ... he really did get a great bonus this year ... [EXIT VAMP]
15
#
V #
16
THE MAN
TR
Re - so - lu - tion:
#
V # j
21
no
24
angst
#
V #
26
is
up
and
What's
there
to
ce
What's
there
to
THE MAN
HAPPY FOLEY
so - lute
will
27
ce
won't be
go - ing
25
my
le
le
brate
brate
no
23
out
on
bat - te - ry's
17
20
On cue
tie
N
ot
re
Half-time groove
19
am
22
suit
#
V #
fo
rp
18
..
run
tie
the town
28
will suit
'Cause my
down
a - bout?
a - bout?
..
io
Safety
BEEP! [EXIT SAFETY]
Pe
HAPPY FOLEY:
#
V # ..
14
ct
du
Vamp
..
Safety
ru
#
V # ..
.. ..
ro
HAPPY FOLEY:
##
..
Underscore
Vamp
sa
l
#
V # 44
Easy groove, swing 8's {q = 140}
Hey mom, I got the part of the answering

machine in Striking 12! [EXIT SAFETY]
-22-
VOCAL BOOK
#
V #
29
30
MAN)
j j
# # (THE
J
n
V
32
show
yank
#
V # j
52
my
##
54
Striking 12
no
bad
and grout
stay
at
home
and grout
31
ther
the
34
ball
n
I
won't
go
50
feet
with
more
an
Who
needs
to
see
my
Who
needs
to
see
my
THE MAN
out
HAPPY FOLEY
55
..
48
No
On cue
sur - pri - ses,
53
ice
so - called
45
strong
so - called
51
I'm gon - na
cold
arm
stay
right
here
friends?
56
wo - man's gon - na
beer
friends?
..
io
42
BEEP! [EXIT SAFETY]
cham - pagne
No
47
chain
Half-time groove
home
ru
N
ot
watch
44
stock - ing
##
at
fo
rp
49
stay
tracked down every single one of those hotties and invited them to my party ... [EXIT VAMP]
THE MAN
ther
ro
Safety
36
TR
V
ra
No dis - ap - point - ments,
##
I'd
HAPPY FOLEY:
43
46
than
JACK: ... I
Vamp
#
V # ..
V
Next message. Received today at 4:41 pm. BEEP! ...
35
##
33
j j
n
stall
ra
Pe
#
V # ..
er
I'd
ct
HAPPY FOLEY:
du
my
sa
l
##
4. Resolution
In
my
-23-
57
#
V # J
there's
#
V # J
60
58
j j
n
ing
on
They'll
on
way
on
New
Next message. Received, today, at 5:32 pm Beep.
ly
spend
the
night
spend
the
night
..
64
71
75
#
V #
#
V #
79
#
V #
82
ask
you
ask
you
HAPPY FOLEY
76
what's
not
what's
not
77
78
couch,
no
hoi
pol - loi
couch,
rit.
no
hoi
pol - loi
my
My
cat,
my
b
n
and
72
cat,
83
My
a - gain.
to en - joy?
re - mote
80
start
to en - joy?

J J
Just my
Striking 12
74
N
ot
#
V #
THE MAN
pre - tend -
to
Safety
fo
rp
Half-time groove
Day
ro
TR
#
V #
j
n
Yeah hi, it's Diane. [MUSIC OUT]
Erasing all messages. Especially the message

from Diane, your former fiance. [MUSIC CONTINUES] On cue
73
pre - tend -
62
DIANE:
HAPPY FOLEY:
#
V #
59
ly
du
63
Year's
Pe
j j
n
Music out on cuewait for entrance at m. 74
##
61
ing
HAPPY FOLEY:
They'll
ru
#
V #
ct
sa
l
##
4. Resolution
io
VOCAL BOOK
my
La
84
81
Boy
don't need
.
J
my
coat
On cue
85
..
-24-
VOCAL BOOK
ST R I K I N G 1 2
5. Sales Pitch
S.A.D. LIGHT SELLER: You can even time me.

THE MAN: All right. Go ahead. [MUSIC]
b
& b b b 44
S.A.D. LIGHT SELLER
It's on - ly
10
na - tu - ral that
peo - ple get all
11
b
& b bb
16
a - xis of
14
ro
bright - en
up
22
rate your room
12
can - not
vol - ving 'round our source of light and
light our dark - est corn - ers
20
hang
23
We have to find
il - lu - mi - nate the
24
a way to
mop - ing less
21
u - pon a string that you plug
They will
18
so we're
15
17
I've got full spec - trum lights that
b
& b bb
re
ta - tion's tilt - ing slight - ly right and
N
ot
and they find they simp - ly
our dark - er days and
b
& b bb j

19
Be - cause our pla - net is
j
b
Be - cause our
fo
rp
13
hope - less - ness
an - ti - so - cial
ro
TR
cope with stress
b
& b bb
find they're o - ver - whelmed with pain and
b
& b bb
that
io
lo - gi - cal
ct
b
& b bb
Pe
peo - ple get the win - ter blues and
du
ru
b
& b bb
on - ly
sa
l
It's
{q = 166}
in and they light up and de - co -
dust that you
ac - cu - mu - late
in
-25-
pla - ces where you ne - ver think
26
to
b
& b bb
28
scrape
29
31
And
b
& b bb
peo -
33
With
the
b
& b bb
ma
And have you
lot
of
weight
in
who
have
SAD
can
gain
ny
car
bo
32
34
hy - drates
they
Your
b
& b bb
43
lit - tle light to pe - ne
S.A.D. LIGHT SELLER
It's
is
41
find
they're
lo
but
- gi - cal
ver - whelmed
44
with
kind
- a
buy
dim
and
42
peo
win - ter
string of
could
you
again? I swear I
can do it faster. It would just be one more minute out of your life. Please?
THE MAN: Well Sure, okay. S.A.D. LIGHT SELLER: 1, 2, 3, 4 [MUSIC]
that
it's
THE MAN: I'm sorry. That was 63 and 1/2 seconds.

S.A.D. LIGHT SELLER: No, you're kidding. Can I try
trate the gloom
blues you ought - a
Dialogue
37
to the
39
love - ly
N
ot
on - ly
place
a - no - ther win - ter
o - ver - ra - ted?
du
two
lose
out of bed is
con - sume
36
30
ro
or
Faster
Striking 12
Pe
use
45
ple
b
& b bb
fo
rp
40
TR
&
lights
bbbb
that
So now be - fore you go and
38
get - ting
felt
no - ticed you have
35
b
& b bb
For have you
ru
b
& b bb
27
a broom
j
b
trou - ble get - ting mo - ti - va - ted?
25
ct
sa
l
b
& b bb
5. Sales Pitch
io
VOCAL BOOK
pain
and
ple
46
get
the
win
hope - less - ness
ter
blues
and
-26-
It's on - ly
She's kind
cope
cute
51
'round
our
source
list'n - ing
of
light
list'n - ing?
55
light our dark - est corn - ers
af
ter
all,
hang
60
u - pon
58
56
like
I'm
59
Cause
in and they light up and de - co
is
she
out
a - lone?
rate your room
62
be
fun
spec - trum lights that
This can't
ro
up our dark - er days and
I've got full
61
of
list'n - ing
I'm
cute
a string that you plug
to look like
I look
bright - en
she's kind - a
Why
Striking 12
I'm
mop - ing less
N
ot
b
V b bb
so we're
like
a - xis
Do
Try
b
& b bb n

We have to find a way to
re
our
53
is
job
pla - net
should look
Be - cause
fo
rp
TR
54
ta - tion's tilt - ing slight - ly right and
and
b
& b bb b
b
V b bb
sy
ct
52
bb
Vbb
du
b
V b bb
b
& b bb
our
ea
can - not
ro
vol - ving
an
be
Be - cause
b
& b bb
57
49
stress
That can't
and they find they simp - ly
ru
50
48
an - ti - so - cial
Pe
bbbb
with
peo - ple get all
J J
THE MAN
47
b
& b bb
na - tu - ral that
sa
l
b
V b bb .
bb b S.A.D. LIGHT SELLER

& b
j

5. Sales Pitch
io
VOCAL BOOK
-27-
b
& b bb j

They will
j j

63
It's New Year's
Eve
65
67
spend her
Is
min - ute?
out of bed is
72
and these months
With the ma - ny
seem
73
short
b
& b bb j

So now be - fore
b
V b bb
ro
and the year
lose
Oh, look she's
76
still
went
but it's kind - a
79
they con - sume
77
don't real - ly
buy
should pay
a string of

at - ten -
you could
dim and
fast
blues you ought - a
so
talk - ing
lights or two Your place is love - ly
74
by
a - no - ther win - ter to the
N
ot
j j
tion
car - bo - hy - drates
you go and
who have SAD can
weight in win - ter
All these min - utes seem long
fo
rp
TR
71
min - ute
70
And peo - ple
du
feel - ing lon - ger than
o - ver - ra - ted?
io
b
V b bb
Striking 12
of
b j
lot
78
gain a
b
V b bb
68
b
& b bb
bb
&b b
do - ing this?
j
b
It's
75
night
trou - ble get - ting mo - ti - va - ted?
this real - ly
ne - ver think to
no - ticed you have
Pe
69
And have you felt that get - ting
b
V b bb
Why
For have you
pla - ces where you
ru
b
& b bb
64
a broom
66
ct
b
V b bb
scrape
dust that you ac - cu - mu - late in
sa
l
b
& b bb
il - lu - mi - nate the
b
V b bb .
5. Sales Pitch
VOCAL BOOK
use
80
a lit - tle
think I
light to pe - ne -
need
a - ny lights
-28-
VOCAL BOOK
b
& b bb
trate
5. Sales Pitch
THE MAN:
the
Great. That was 57 seconds on the button ...
Underscore
gloom
b
V b bb
81
7
82
S.A.D. LIGHT SELLER: ... Nice?
.. ..
b
V b b b ..
.. ..
ru
j
b
V b bb
THE MAN
100
Nei
b
V b bb
THE MAN
102
101
was
it Bro - thers Grimm or may - be
ther one
N
ot
snow
98
No, that's not right the
and
there's
par
105
Striking 12
V b bb
103
Doc - tor Seuss?
..
what did hap - pen in that sto - ry
S.A.D. LIGHT SELLER
fo
rp
TR
Let's see the Lit - tle Match Girl
b
& b bb
ct
Pe
99
..
io
97
b
& b bb
du
89
b
& b bb
Safety
sa
l
ro
b
& b b b ..
Do you know what happens in that story?

[EXIT SAFETY]
2x
104
lit - tle

girl
is
sel - ling match - es

Wan - na buy
ty
where
they
106
roast
goose
in
the
some
-29-
VOCAL BOOK
b
& b bb
5. Sales Pitch
lights?
wait,
b
& b bb
know
Hans
think
that's
right
116
sa
l
n
I'm bound
to
All
right
good
no
thanks
All
right
good
fail
114
so
120
come
in
for
beer
swear, they give off heat
117
or
door...
I'm
night
119
night
Un - less
you
may - be
Di - ane?
what's the use?
bb
Vbb
and
go a - gain, I'm
Who's
And there I
fo
rp
say
do
ro
W
na
toas - ty warm
N
ot
gon -
111
I need to close the
bb
&b b
ane left un - der - neath the night - stand?
It's get - ting cold
b
V b bb
what
These lights are
115
Striking 12
113
j
b
V b bb
bb
&b b
Di - ane no mat - ter
TR
b
& b bb
of
b
V b bb
think - ing
110
Di
112
ru
what's that book of fai - ry tales
b
& b bb
An - der - sen
109
118
108
Christ - ian
Pe
b
V b bb
Oh,
io
107
ct
du
b
V b bb
spark - ling
121
ap
- ple
juice
want
to
-30-
VOCAL BOOK
ST R I K I N G 1 2
6. Hogarts Meat - Law & Order

THE MAN: He changes the channel.
HAPPY FOLEY: Click. [MUSIC]
Ho - gart's
Ho - gart's
Meat
Christ - mas
ance
sale
clear
and
quail
ve - ni - son
and
b
& b 44
b
V b 44
15
10
quail
Law & Order {q = 120}
sale
HOGART SPOKESMAN:
ve - ni - son
11
Meat
Save
buck
on
Save
buck
on
makes a nice sandwich, a nice
12
Meat
Post -
Ho - gart's
Meat
Post -
goose
and
duck
and
goose
and
duck
and
THE MAN: He changes the channel.

HAPPY FOLEY: Click. [MUSIC]
13
"
b b 44
"
b b 44
14
16
N
ot
ance
TR
&
clear
du
Christ - mas
ro
fo
rp
Pe
ru
Ho - gart's
&
io
#
V C
bad singers out of tune
ct
HOGART CAROLERS
sa
l
&
#C
Cheesy TV commercial music {h = 92}
16
31
Segue
-31-
VOCAL BOOK
ST R I K I N G 1 2
7. Green and Red
Christ - mas
#
5
ver
the
shi - ny
and
red
bells still
All
the
#
V
and
11
store - front
win - dows
13
15
#
17
green
and
red
and
10
this
glow
in
eve
Gray
3
feel - ing
j j3

Eve - ry sick - ly
sweet
18
b
song
peo - ple sing
Eve - ry - thing's
tin - sel
town
And
12
the
ry
Will the
sil - ver
hue
I'm
a - byss
hap - py
blue
In
co - lor wheel un - roll
the
feel - ing
N
ot
the
And
are brown
te - le - vised
through?
3
# 3
Let
ring
I'm
trees
j
b
the
be
ne
TR
green
sea - son
Now
It's
this?
fo
rp
is
Pe
hell
io
What fresh
ct
du
ro
THE MAN
sa
l
#
V 44
ru
Easy swing {q = 77}

(swing 8's)
14
to
black
16
in - side
my soul
Eve - ry - thing's
blue
Is
19
sac - cha - rine
ho - li - day
-32-
VOCAL BOOK
hug
Yet I still
23
bah
hum
#
39
the
44
#
47
49
Green
Striking 12
42
I see
45
j

j

and red
and
and
is
so
red
3
U
j
am
am feel - ing
feel
50
U
w
blue
ing
up
my
life
and
move
still
And
Spin
the
For be - tween com - mer - cials no - thing is new
Of
48
43
38
no good will toward men
pick
this house
'Cause there's such a dearth
and
3
N
ot
gone
green
35
I could
fo
rp
chill
40
chan - nels once a - gain
34
37
41
Well,
off
still
TR
But
she's
on
long
io
bug
Pe
36
22
ct
hum
I could ward
24
25
33
bw
Piano solo
#
V
du
#
#
21
ro
20
sa
l
ru
7. Green and Red
46
peace
on
earth
Eve - ry - thing's
blue
51
-33-
VOCAL BOOK
ST R I K I N G 1 2
8. Matches for Sale

The Little Match Girl [MUSIC]
snow
###
&
lays
&
###
14
###
16
dark?
like
see
Does - n't
a - ny
11
match - es
a - ny - bo
ice
That
my
Does - n't
### .
&
18
all
la
for
bo
15
dy
And would - n't you think
need
To
19
night
a - ny - bo
me
in the
Would you
dy
.
need
light
17
some
Does - n't
hand
Par - don
dy
13
lights
Sir
street
would come in
sale?
When the
den
match
me,
nights
Ex - cuse
to
of
fo
rp
12
N
ot
&
10
night
On the
TR
&
Would - n't you think
###
###
a blan - ket
&
To
Pe
&
###
io
ro
ru
&
LITTLE MATCH GIRL
..
Last time
ct
###
Vamp
du
### 4 .
& 4 .
{q = 84}
No one had bought anything of her the whole day,

nor had anyone given her even a penny. [EXIT VAMP]
NARRATOR 1:
sa
l
NARRATORS:
to - night?

of
all
nights
When the
-34-
par - ty
##
& # .
Does - n't
##
& #
a - ny
37
cuse
###
&
39
me, Ma'am
I've got
##
& #
Striking 12
as
want
Sor - ry
at
the
gents
ve - ry
a - ny - bo
Does - n't
ed
a - ny
38
bo
dy
me
Would you
dy
need
34
I'm
on
the ice
low - est
42
price
40
mean
no
of - fense
Does - n't
Ex -
Par - don me
dy
af - ter
mer - chan - dise
dy
to - night?
36
per - ching
match - es
a - ny - bo
light
Bird of Pa - ra - dise
31
some
n
-
han
light
Does - n't
need
Does - n't
43
dy
33
Par - don
27
29
N
ot
41
sale?
Un
would come in
fo
rp
##
& #
&
day
me, Miss
dy
bo
TR
35
###
till
for
dles
match
out of place
match - es
a - ny - bo
Does - n't
32
my
30
Pe
###
&
&
see
28
###
to
ru
##
& #
like
25
23
Ex - cuse
26
dark?
&
can
That
24
###
Burn - ing
21
io
throws
ct
world
du
22
ro
&
###
20
sa
l
&
###
8. Matches for Sale
VOCAL BOOK
a - ny - bo
dy
.
need
NARRATOR 1: Shivering with cold and hunger she crept along poor thing,
she looked the picture of misery. People hurried by, their arms laden with
packages, their thoughts focused on the New Year's feast ahead. [SEGUE]
need
some
44
light?
..
45
Vamp
..
Segue on cue
-35-
VOCAL BOOK
ST R I K I N G 1 2
9. Say What?
##
V #
5
##
V # .
bet
I've got
###
11
to
she's out
some
the mis
14
what?
eve
Oh
no,
ins
# .
ning
seeth
ing
I'll make
the cham
some
don't
think
flow
light to - night?
13
twelve...
pagne

LITTLE MATCH GIRL
Does-n't a - ny -bo - dy need
12
ens
where
10
NEW YEAR'S HOST
NEW YEAR'S HOST
tle - toe
And the mo ment the clock strikes
###
the
there
fix
vix
kill
N
ot
&
###
of
wife
full
TR
###
list
ex
the
# .
the guest
Got
No
Got
fo
rp
ru
bowl
Pe
the punch
io
Got
###
ro
ct
NEW YEAR'S HOST
du
Cool rock groove {q = 100}
sa
l
### 4
V 4
NEW YEAR'S HOST
Say
15
.
so
-36-
Got
###
to
see
the
18
what?
###
V
ball
come
Oh
no,
There's a crowd of
peo
down
wait
23
24
###
30
r

I
##
V # .
le,
got
my
hand
The guest
Striking 12
the
29
her
she
will
full
be
carved wood - en
list
N
ot
Got
34
won - der what
25
27
the pick
I try it again?
TR
Got
32
of
Da
place in Denmark in the 1840s?
Vamp dialogueout on cue
NEW YEAR'S HOST
28
And I'm the on - ly one who's got the
..
###
V
###
21
ing for me
ct
NEW YEAR'S HOST: Denmark, huh. Can

NARRATOR 1: Good call. [MUSIC]
26
# .
ring
fo
rp
##
& #
so
Pe
key
du
22
Say
NEW YEAR'S HOST: Hey thanks!

THE MAN: Only, doesn't the story take
NARRATOR 1: Yeah. [MUSIC OUT]
Um, that was great, with the part about

the ball coming down on TV and everything.
19
ple
17
V.
think
ru
T.
don't
NARRATOR 1:
###
on
20
nish
31
wear
33
shoe
floo
35
ing
sies
zies
# .
..
io
ro
16
sa
l
###
9. Say What?
VOCAL BOOK
-37-
37
Chill the A - qua - vit

LITTLE MATCH GIRL
Does - n't
###
a - ny - bo
dy
need
NEW YEAR'S HOST
39
41
what?
Oh
no,
45
what?
48
tant
some
light
46
42
so

on
.
so
al - rea - dy
NEW YEAR'S HOST
Say
44
my mind
47

I'm
to - night?
think
things
run - ning way
be
Please don't think
49
hind
Say
I'm be - ing un -kind
I mean
Funkier groove
N
ot
###
don't
But
Oh no, I don't think
##
V #
###
got more im - por
TR
###
fo
rp
43
##
V #
ru
Pe
And the mo ment the clock strikes
40
twelve...
###
38
their feet
ct
I'll sweep them off
du
&
###
ro
36
. r
sa
l
##
V #
9. Say What?
io
VOCAL BOOK
50
how ma - ny times have you been ac - cos - ted on the street by a
52
sto -ry a -bout how they need a dol -lar for the train and theyre
Striking 12
53
51
pan - hand per - son with a ve - ry bit - ter - sweet sob
stan-ding look -ing pi - ti- ful and sog-gy in the rain and they
-38-
VOCAL BOOK
###
###
###
###
###
###
54
56
55
say that theyre stran -ded, their car broke down they
9. Say What?
came to meet their sis-ter, but their sis-ters out of town and if you
57
pull out a buck or two, they get all shif - ty and they
sud - den - ly re - mem - ber the train

59
61
64
real - ly out of mo - ney
hes real - ly un - pre - pared
TR
the
65
real - ly get - ting ner - vous and hes real - ly get - ting scared and
67
dont have the time
I have mo - ney at least a lit - tle bit of mo - ney,
###
(NEW YEARS HOST)
70
Sis - ter
Striking 12
N
ot
###
fo
rp
###

V
truth is
can't
spare
69
but
the
71
time
to stay and lis-ten a - ny -more and the
bro - ther
can't spare
CHORUS 1 (unis)
Bro - ther
no ones gon -na help him cause weve heard it all be-fore we
68
guy from out of town whose car has gi - ven up the ghost he is
hes
ro
know whos the one I real - ly pi - ty the most
63
du
r
.
Pe
62
ci-ty can be nas -ty and the peo ple can be vi cious and you
io
San- ta Claus on Christ -mas, youre right to be sus -pi-cious, the
ct
ru
60
66
eight - fif - ty and you
know you have the mon ey but youre star ting to be lieve theyre just a - no -ther li -ar out on New Years Eve 'cause you dont trust
###
&
costs
sa
l
58
can't
spare
the
the
time
time
-39-
ti
CHORUS 2 + HOST (unis)
LITTLE MATCH GIRL
Does - n't
###
a - ny
spare
bo
73
the
###
(NEW YEARS HOST)
76
Oh
no,
TR
###
V
dy
need
78
I'm
###
al - rea - dy
don't
run
77
think
so
80
what?
Striking 12
far
Oh no,
I don't think
81
so
light
to
75
me
night?
NEW YEAR'S HOST
Say
.
so
N
ot
some
79
be - hind
Say
SMALL WOMEN CHORUS
mean to be
un - kind
There's
SMALL MALE CHORUS
I don't
###
me
I don't
###
ning
fo
rp
ti
ru
74
MEN
what?
&
can't
Pe
io
Sis - ter
&
ct
###
du
72
WOMEN
ro
###
sa
l
&
###
9. Say What?
VOCAL BOOK
mean to be
un - kind
There's
no
no
NEW YEAR'S HOST
82
I don't
mean to be
un - kind
There's
no
-40-
83
mo - ney
can
and
no
and
no
time

and
##
& #
no
do - in'
###
V
### #
V
87
do - in'
Striking 12
can
84
can
hard - ly
all
take
I'm
ve - ry
bu
I'm
86
can
sy
ve - ry
And
can
of
care
of
sy
bu
sy
the
man
self
self
my
And

man
self
I'm
And
I'm
man
clock
will soon
strik
the
clock
will soon
strik
And
the
clock
will soon
88
And
care
care
take
bu
can
my
hard - ly
ve - ry
all
N
ot
do - in'
all
my
fo
rp
&
###
of
take
ro
85
TR
hard - ly
Pe
##
V #
I'm
###
time
io
# # #
V #
ct
mo - ney
time
du
##
V #
sa
l
mo - ney
ru
##
& #
9. Say What?
VOCAL BOOK
be
be
be
strik
And
I'm
twelve
ing
ing
ing
twelve
twelve
-41-
VOCAL BOOK
ST R I K I N G 1 2
10. Hey La La
don't
tain
you
can
It's
like
an
TR
11
&
V
V
V
#
#
15
glas - ses
12
ne
is - land
is
the
to
go
to
ver
reach
with
that's
too
13
clink
They've
10
had
16
sound
of
It's
like
out
a - way
snow
you
to
14
far
for
N
ot
Their
b
get
This
you
io
ty
ct
moun
par
ro
# b
ru
du
HAPPY FOLEY
fo
rp
#C
Ska groove {h = 160}
Pe
Though it's possible that I haven't been going to the right parties. [MUSIC]
sa
l
THE MAN:
shoe
row
to
CHORUS (SATB)
whoo!
way
too
much
to
drink,
whoo!
&
whoo!
17
18
whoo!
-42-
This
is
the
sound
of
par - ty
This
is
the
sound
of
par - ty
This
is
the
sound
of
par - ty
19
This
is
the
sound
of
All
All
All
All
It's
un - der
It's
un - der
It's
un - der
It's
un - der
23
&
&
V
V
#
#
#
#
27
Striking 12
you
don't
get
to
go
to
you
don't
get
to
go
you
don't
get
to
go
to
21
par - ty
you
don't
get
to
go
to
who
won't
get
to
know
you
ver
town
there
are
ver
town
there
are
peo - ple
who
ver
town
there
are
town
there
are
24
ver
ground,
N
ot
#
V
TR
20
ground,
28
ground,
peo - ple
ground,
22
peo - ple
25
peo - ple
to
ct
won't
get
to
know
get
to
know
you
du
sa
l
#
&
V
ro
&
ru
fo
rp
Pe
&
CHORUS (SATB)
&
10. Hey La La
io
VOCAL BOOK
you
who
won't
who
won't
get
to
know
you
26
oh
so
hip
and
they
are
eat - ing
to
fu
oh
so
hip
and
they
are
eat - ing
fu
oh
so
hip
and
they
are
eat - ing
to
oh
so
hip
and
they
are
29
30
eat - ing
to
to
fu
fu
-43-
They
think
it's
think
it's
fun
They
think
it's
fun
to
They
think
it's
fun
to
&
#
31
#
#
A cappella
La
la
35
to
be
ve
be
ve
33
be
ve
la
la
ge -
tar
an
ge -
tar
ge -
tar
la
37
la
an
34
an
la
la
la
la
la
la
la
38
la
an
la
la
la
la
la
36
la
la
La
tar
ge -
la
La
la
la
#
#
la
TR
V
la
La
32
ve
ct
&
be
du
to
ro
fun
sa
l
They
ru
fo
rp
&
Pe
&
10. Hey La La
io
VOCAL BOOK
la
#
& N
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
V
V
#
#
#
39
N
ot
&
la
la
Striking 12
la
la
la
40
la
la
la
la
la
la
41
la
# #
la
la
la
la
la
la
la
42
-44-
43
la
La
la
la
la
la
la
la
la
44
la
la
la
la
la
la
la
la
la
la
la
la
47
la
&
V
V
Ska groove again
Hey
la
la
la
la
Hey
Hey
#
#
51
Hey
Striking 12
la
48
la
la
la
la
46
la
la
la
la
la
la
la
la
ay
la
la
la
hey
la
la
la
la
hey
la
la
hey
la
la
la
la
yi
yi
yi
la
la
la
la
la
yi
yi
53
yi
ay
49
la
la
hey
la
la
la
la
la
52
la
N
ot
&
la
la
Pe
TR
la
45
la
#
w
la
fo
rp
la
la
# N
#
la
la
&
La
&
la
la
ct
La
la
du
La
ro
sa
l
&
ru
&
10. Hey La La
io
VOCAL BOOK
la
la
la
la
hey
la
la
50
la
la
hey
la
la
hey
la
la
hey
la
la
hey
la
la
hey
la
la
hey
la
hey
la
la
54
la
-45-
la
la
hey
la
la
hey
la
la
hey
la
la
#
#
la
la
hey
hey
la
la
hey
#
hey
la
&
&
V
V
#
59
#
#
la
#
63
hey
la
la
hey
la
la
hey
la
la
hey
la
la
Striking 12
la
hey
la
la
la
la
hey
hey
la
57
la
la
hey
hey
60
la
la
hey
la
la
hey
la
la
hey
la
la
hey
la
la
hey
la
la
hey
la
la
hey
la
la
hey
la
la
hey
la
la
hey
la
hey
la
la
hey
la
la
hey
la
hey
la
la
hey
la
62
la
la
la
hey
hey
la
la
hey
hey
la
la
65
hey
la
hey
64
58
la
la
la
la
la
hey
61
la
la
hey
hey
N
ot
la
ct
hey
sa
l
la
TR
la
du
&
hey
ro
&
la
56
la
55
hey
hey
ru
fo
rp
Pe
&
&
10. Hey La La
io
VOCAL BOOK
66
la
-46-
This
is
the
sound
of
par - ty
This
is
the
sound
of
par - ty
This
is
the
sound
of
This
is
the
sound
of
You
say
you
don't
care,
but
you
care,
but
you
real - ly
you
&
&
V
V
#
71
#
#
#
#
75
Striking 12
don't
you
don't
get
to
go
to
you
don't
get
to
go
par - ty
get
to
go
to
69
par - ty
get
to
go
to
real - ly
care,
don't
you
you
don't
you
don't
70
kind
of
do
kind
to
of
do
care,
don't
kind
of
do
care,
don't
you
kind
of
do
care,
don't
you
you
You
say
you
don't
care,
but
you
You
say
you
don't
care,
but
you
Well,
let's
pre
tend
you
get
in
the
door
just
like
you
hope
to
you
tend
pre
let's
Well,
get
in
the
door
just
like
you
hope
to
Well,
let's
pre
tend
you
get
in
the
door
just
like
you
hope
to
Well,
let's
pre
tend
you
get
in
the
door
just
like
you
hope
to
72
N
ot
TR
say
You
68
ct
67
du
&
76
ro
&
sa
l
ru
real - ly
fo
rp
&
Pe
&
10. Hey La La
io
VOCAL BOOK
73
real - ly
77
74
78
-47-
VOCAL BOOK
#
79
And
ev
And
ev
And
ev
And
ev
en
en
so,
en
80
en
the
way
that
it
would
the
way
that
it
would
41
44
here's
1
4
4
4
so,
here's
the
way
that
it
would
here's
the
way
that
it
would
so,
here's
so,
81
go...
go...
go...
41
82
du
84
fo
rp
N
ot
TR
Striking 12
..
{q = 94}
ro
Pe
83
44
Scooby-doo transition into new tempo

Vamp (until ready)
#
& 44 ..
41
44
#
V
go...
io
ct
sa
l
&
ru
&
10. Hey La La
Segue as one
N
ot
io
ct
sa
l
ru
Pe
du
ro
fo
rp
TR
-48-
N
ot
io
ct
sa
l
ru
Pe
du
ro
fo
rp
TR
-49-
-50-
VOCAL BOOK
ST R I K I N G 1 2
10a. Fine Fine Fine
May - be he'll ne - ver
#
V
don't know that
13
And
15
17
don't
want
to
o - pen
He's gon - na
be - hind
14
b
up
12
am next in
that
16
ask
can
the
me 'bout my
line to get the ax
of
POST NASAL DRIP GUY:

J
THE MAN
worms
or
face
Hey Pal I didn't see you there How are you doing? How's work?
fine,
the
THE MAN
Work
is
How's that new boss working out?
I hear he's a real stickler for punctuality.
N # .

18
fine
He's
#
V N
23
slack - ing off and
N
ot
20
#
#
hide right here
11
been
fine,
I've
facts
fo
rp
TR
MAN
# b THE

V
J
he
10
and
if
io
dip
job
ro
ru
#
V b
drip
Pe
no - tice
ct

J
THE MAN
bad post - na - sal
du
...Alaskan crab puffs? I love those.
guy with real - ly
sa
l
Oh no, it's that an - noy - ing
Excuse me pardon me are those...
THE MAN
#
V 44 J
{q = 94}
21
fine,
24
19
b .
fine
Well that's a relief because, you know, there have

been some rumors. Are you sure you're okay?
22
fine,
THE MAN
I'm
25
fine,
b
fine,
-51-
VOCAL BOOK
# .
V
26
10a. Fine Fine Fine
. n
27
By the way, did you mean to cc me on that email

you sent out with your rsum attached?
28
THE MAN
fine
fine,
#
31
it's
fine,
ho - nest - ly
fine,
fine
32
Eve - ry - thing's
34
Oh
MAN
# THE

V
J
37
35
no that space in - vad - ing
...how much did you pay for it?
girl
got
sick of
TR
43
Di - ane
#

45
knew we ne - ver were
eye
48
51
on
36
her
way
bout
me
and
44
quit
46
Di - ane, my
THE MAN
39
42
J
I
b
J
for - mer
took
begged
47
we
too
fi - an -
long, would not
were meant
com -mit

to
be
she
b .
a - ny - one
the way
that I
Hi, How are you? How's every

little thing? How's Diane?[EXIT VAMP]
Striking 12
2
4 ..
fine,
54
ask
And I will ne - ver fall for
#4
V 4
V
41
fell
for
SPACE INVADING GIRL:
her
she's
52
fine,
They're
55
fine,
50
THE MAN
4
4
She's
You guys are getting married soon right;
how are the wedding plans coming along?
N # .
fine
THE MAN
..
Vampdialogue
49
N
ot
..
Hi Nice blouse, where did you get it,...
du
ce
ro
Vampdialogue
33
fo
rp
40
..
Happy New Year! Have you seen that girl Diane?

I heard she was coming tonight.
Eve - ry - thing's
Everything's just peachy pal. And how are you? [DIALOGUE]

.. SPACE INVADING GIRL: Yoo-hoo! [EXIT VAMP]
She'll stand too close and
yeah,
has caught my
THE MAN
38
fine fine
Pe
it's
THE MAN:
fine
30
sa
l
real - ly
29
io
ct
# b
ru
It's
fine,
56
b .
fine
53
-52-
VOCAL BOOK
#
57
I only ask because I haven't received my wedding

invitation in the mail-have you sent them out yet? Forty-one cents.
10a. Fine Fine Fine
58
THE MAN
60
. n
61
59
It's
# .
fine,
fine,
SPACE INVADING GIRL: Wait a minute, isn't that Diane over there?
What's she doing with her arms around that studly guy? Is that her brother?
62
THE MAN
fine
fine,
Bluesy rock
ww
CHORUS WOMEN
Ooh
TR
# THE
MAN
V
right,
and
Eve - ry - thing is
66
eve - ry - thing
is
al
ww
68
now
it's
New
Year's
Eve
ww

70
lu - tions are
N
ot
ooh
to - night
K.
67
&
O.
eve - ry - thing is
MEN
# CHORUS
w
V
Ooh
eve - ry - thing is
ct
eve - ry - thing is
du
&
fine,
#
eve - ry - thing is
it's
64
ro
65
fine,
ru
it's
fo
rp
63
io
sa
l
# b
Pe
It's
and
ooh
#
69
eve - ry - bo - dy's gon - na
Striking 12
ask
me
what
kind of
re - so
up
my
sleeve
-53-
ww
ooh
ww
#w
ooh
71
What do
&
want?
What do
# Nw
73
fine,
Original groove
79
V
V
82
80
b .
That's a funny word sconce. Like, I look at you a-sconce.
fine,
fine,
Striking 12
year?
j

j

I made
it
clear?
N # .
81
Eve - ry - thing's
THE MAN
It's
Ska groove
fine
83
new
78
Original groove
Are you sure youre fine, you don't look so hot of course,
if you wanna come home with me, I bet I could make you feel fine.
fine,
POST NASAL GRIP GUY:
the brand
fine
N
ot
fine,
Ha - ven't
fo
rp
#
V
74
76
77
fine,
Ska groove
re - so - lu - tion?
TR
75
in
ooh
Original groove
for
ru
Why should I make a
#
V
hope
ro
72
Pe
ooh
ooh
ww
ooh
du
sa
l
io
ct
&
10a. Fine Fine Fine
VOCAL BOOK
THE MAN
It's
.
84
fine
-54-
85
MAN
# b THE
Fine,
#
89
88
fine,
90
fine
Eve - ry - thing's
Eve - ry - thing's
91
fine, fine
io
ct
du
fo
rp
ro
Pe
W
N
ot
TR
Striking 12
yeah
ru
fine,
fine,
86
87
If that is her brother, should she be touching him like that?

Ooh. Not her brother
sa
l
Ska groove
10a. Fine Fine Fine
VOCAL BOOK
-55-
VOCAL BOOK
ST R I K I N G 1 2
11. Cant Go Home

THE MAN: And that is why I am going to stay right here and read my book. [MUSIC]
NARRATOR 1: ... the largest holes had been stopped up with straw and rags. [VOCAL]
go
11
No
15
And
#
& # .
17
You stare
#
& # .
thing

at
the holes
ex
Your
#
& #
and
act - ly
16
the
with
18
ceil
eve
what
ry
you're
20
drink
22
ing
with
you
in
12
blue
14
know
an - ger grows
can tell
here
j j

Blue
sold
N
ot
black
fo
rp
#
& #
21
stay
ro
TR
13
stone
Or
## .
&
19
tears
of
ru
of
Pe
10
&
Street
House
##
Can't
j j

home
#
& # .
## .
&
j j

feel
ing
io
Can't
cold
ct
j .
.
j j

LITTLE MATCH GIRL
du
#
& # 44 .. .
Vamp (vocal last time)
sa
l
{q = 104}
-56-
25
some - where
out
#
& #
There's
j j

#
& # .
33
Can't
#
& # .
show
39
&
##
go
No
LITTLE MATCH GIRL
37
##
with
where
left
par - ty
some kind
to
ness
Eve - ry - bo - dy's got
#
V #
43
to
Striking 12
peo - ple
to
their
No - thing
40
get
face
to
38
warm
to
go
go...
to
42
N
ot

on
par - ty
to
THE MAN
#
& #
32
35
got - ta be
30
41
Can't
34
home
some - one
TR
#
& # .
36
27
place
fo
rp
31
29
got - ta be
There's
this
Pe
#
& #
than
24
think?
bet - ter
28
26
there
io
what
ct
#
& #
don't you want to know
du
Well,
ro
23
sa
l
ru
#
& #
11. Cant Go Home
VOCAL BOOK
go
see
44
Who
cares

a - bout
them

a - ny - way
-57-
VOCAL BOOK
#
& # .
They've all
got
some - one
#
V #
to
11. Cant Go Home
come
home
to
45
46
no - one
look - in'
MATCH GIRL
# # LITTLE
&
49
some
where
51
48
50
bet
52
there
with
THE MAN
There's
got - ta
be,
ter
some
there
57
Striking 12
58
this
54
56
be,
There's
on
some
some - bo - dy ough - ta
place
got - ta
be
their

J
7
be
do
ness
got - ta
LITTLE MATCH GIRL
THE MAN
Guitar solo
kind
ough - ta
than
ough - ta be,
one
N
ot
got - ta be,
There's
me
there
ro
some
#
& #
for
out
THE MAN
53
55
#
& #
V
There's
##
me
fo
rp
##
look - ing
TR
&
##
Pe
no - one
for
47
know there's
#
V #
io
know there's
ct
du
sa
l
ru
#
& #
do
thing
face
some
thing
-58-
73
will
j j

find
76
&
78
There's
got - ta be,
MATCH GIRL
# # LITTLE
82
74
out
there
one
there
ough - ta be,
77
bet
got - ta
be,
75
there
kind
81
than
ough - ta
83
be,
ness
this
But
Yes,
ter
hard to hold them still
on
do
place
got - ta
be
some
thing
face
their
LITTLE MATCH GIRL
There's
a - way and
There's got - ta be
79
some
72
with
THE MAN
There's
Striking 12
70
it's
way
N
ot
some
80
##
are cold,
THE MAN
ro
way
##
where
TR
&
##
j
.
MATCH GIRL
# # LITTLE
&
69
Chase the chill
My hands
find
some
might
will
# j
& #
night
71
wish
get through this
#
& # j
io
68
may and
67
du
sa
l
#
& #
wish
66
ru
ct
fo
rp
65
LITTLE MATCH GIRL
Pe
&
##
11. Cant Go Home
VOCAL BOOK
do
some
thing
-59-
VOCAL BOOK
Eve - ry - bo - dy
looks
right
through
#
V # w
84
This
cold
and
lone
to
87
is
not
be
Oh,
119
got - ta
their
got - ta
there's
pro - blem
got - ta
117
got - ta be
some - where
got - ta
be
got - ta
be
there's
be
there
out
there
120
io
some - where
got - ta
be
there's
got - ta
be
118
some - where
some - where
bet - ter
bet - ter
bet - ter
bet - ter

Some - one,
out
some - where
be
some - where
115
there's
U
.
U
.
bet - ter
ad lib. in fermata
122
some - where
bet - ter
121
some - where
Striking 12
there's
there's
be
there's
be
be
113
There's got - ta be
##
N
ot
116
be
got - ta
there's
got - ta
got - ta
got - ta
there's
them
be
stop
ct
got - ta
TR
#
& # . R
girl
Pe
There's
&
try
du
THE MAN
There's
##
ly
ru
##
&
114
16
LITTLE MATCH GIRL
There's
##
fo
rp
112
when
104
There's
88
#
& #
V
Guitar solo
##
me
sa
l
86
&
85
#
& #
##
LITTLE MATCH GIRL
ro
&
##
11. Cant Go Home
-60-
VOCAL BOOK
ST R I K I N G 1 2
12. Wonderful
THE MAN:
Where was I? [MUSIC]
Rock ballad {q = 80}
..
If
&
9
know one thing
can pick out one
TR
11
one
match
Won
der - ful
& .
Won
&
19
der - ful
10
can
need
spare
16
Like a
and the
can
18
can
20
lit - tle light so
dle
b .
feel
If
fi
re
can
see
I dare
up
my
fro
glow
bright - ly
b
J
b
is
On - ly
it's
- zen
like
but
ice
fin - gers
burn - ing
it
And
the
me
it
match
Warm - ing
14
der - ful
12
one
N
ot
Won
match
ing
15
no - tice
this
13
17
Strik
& .
&
know
Sure - ly
& j
fo
rp
No - one ev - er gon - na
Pe
&
no - tice
ct
No - one ev - er gon - na
ru
io
ro
&
LITTLE MATCH GIRL
sa
l
du
& 44 ..
Vamp
melt
more
a - way
sum - mer's
-61-
VOCAL BOOK
12. Wonderful
NARRATOR 1: And it seemed to the girl that she was sitting by a large iron stove. How the fire burned. It seemed so beautifully warm
that the child stretched out her feet as if to warm them, when lo! The flame of the match went out, the stove vanished, and she held only the
remains of the half burnt match in her hand. [EXIT SAFETY]
1, 2...
Last time
2x
Safety
& .. w
21
.. ..
22
23
..
24
25
day
bad
girl
j
.
He's gon - na say you made me mad,
32
one
& .
34
more
&
Won
38
& .
40
glow
see
ing
der - ful
NARRATOR 1:
Striking 12
37
Like a
And the
more
And
39
ble
it's
goose
and
for
as
plums
prin - cess
ver
su - gar
b
J
cloth
but
po - lished
clean
and
so
more
to
white
Then the match went out and the feast too vanished. Before her remained nothing but the thick, damp, cold wall.
43
none
On - ly
b .
sil
ta
not the beau - ty
ban - quet
All the
41
Roast - ed
[Underscore]
snow
33
35
done
du - ty,
one
der - ful
31
On - ly
N
ot
Won
der - ful
&
36
Strik
TR
Won
see what
I've
Wast - ing match - es when you're sel - ling
& j
he does - n't
girl
ru
But
fo
rp
30
29
Pe
&
42
What - 'll Dad - dy think of what
io
ct
28
be
sa
l
&
don't wan - na
27
du
26
&
LITTLE MATCH GIRL
ro
&
as
-62-
VOCAL BOOK
12. Wonderful
With more drive
the things
on
50
Here
in
the
light
Here
in
the
be
light
trans - par - ent
through this
and
ti - ful
51
and
won
of
just
of
just
once
vis - ion
to
the end
a - gain
57
49
glass
Pe
walls
Striking 12
the
see
of
N
ot
56
the
won
TR
&
side
dows
glass
ti - ful
ev - en more beau
52
54
win
of
ev - en more beau
&
dows
47
through
side
the wrong
Are
&
on
V .
see
the wrong
r

Are
When I'm
& .
.
drous
drous
ro
48
through
55
one
match
one
match
53
Let
the
of
win
see
io
THE MAN
When I'm
V .

All
ct
the things
du
of
sa
l
All
46
& .
ru
fo
rp
&
LITTLE MATCH GIRL
Let
me
Should
light
-63-
VOCAL BOOK
. R
V
58
one more
Light
&
. r

TR
. r
b
. R b
one more
one more
one more
more
63
Should I light
r
b
Just

R b
Light
Striking 12
one
N
ot
Just
May -be just
one more
Should I light
Just
r
b
Light
61
more
I light
one
one more
more
one more
Just
fo
rp
Just
one more
b
one
62
59
Should
ro
. R
one more
Light
.
R
May - be just
Light
60
&
Pe
&
more
one more
&

one
more
sa
l
Light
CHORUS MEN
. r

one
ru
CHORUS WOMEN
May - be just
. r

more
io
&
one
du
ct
&

12. Wonderful
one more

R b
Just
one more
-64-
b b

R b
& .
Won
or
na - ments
& .
LITTLE MATCH GIRL
76
Won
&
Won
re - flect -
ing
all
der - ful
branch
der - ful
Striking 12
here
70
ta
es spark - le
the
Like a
be - neath
pers
shine
b
J
b
75
light
77
Like a
N
ot
78
b .
Christmas
like
73
in the night
in
fo
rp
74
72
How the
TR
Won - der - ful
68
All the
am
der - ful
71
& b
it's
66
&
der - ful
69
And
thou - sand
79
io
ru
Won
65
one more
67
more
Pe
& .
tree
so
sea
of
mul
dia - monds
ti
thou - sand
ct
Light
one
but
du
j
N
one more
64
just
r
b
Light
May be
more
&
ro
one
sa
l
&
12. Wonderful
VOCAL BOOK
can - dles
co - lored
more
With the
hues
of
con - stel - la - tions
ris
ing
toward
the
-65-
VOCAL BOOK
& .
&
j
P
skies
CHORUS SOPRANO
12. Wonderful
Can't
be - lieve
my
eyes
Won - der - ful
der - ful
80
81
- der
ful
Can't
82
83
Oo
&
Won - der
j
Won - der
ful
Can't
be - lieve
my
der - ful
85
J
Won
- der - ful
The lights of the Christmas tree rose higher and higher, till they looked to her like the stars in the sky.
Then she saw a star fall, leaving behind it a bright streak of fire. [EXIT SAFETY]
NARRATOR 1:
&
86
Striking 12
87
..
88
Safety
..
89
eyes
- ful
N
ot
fo
rp
& w
eyes
der - ful
TR
V w
my
ro
Won
ct
be - lieve
du
Won - der - ful
&
84
Won
Pe
Oo
ru
&
Won
& w
&
CHORUS MEN
sa
l
Won
io
&
P
CHORUS ALTO
-66-
VOCAL BOOK
ST R I K I N G 1 2
13. The Little Guys
I got a line to say. [MUSIC, vocal leads in]

J J
and
####
V
J
my
and
13
n't
me
####
16
think
####
to
have
it's
real
all
just
hunk

J J
out
11
14
there
ny
see
ly
crap
but
# # # # n J
V
it's
time
24
think
tice
stars
now
n
J
get
and
all
the
What
prac -
pid
part,
give
it
all
12
guess
15
is
hap -

well
n
J
You
be
soul,
it
should
my
now
in - side
As
there,
py
ry
22
And you
no
17
N
ot
ry
so
role,
ways
stu
do
to
n
J
don't
19
#### n
V
-
18
21
take my
that they came
n
J
py
cus
the folks
TR
fo
rp
####
heart,
n
J
10
fo
al
n
J
####
'cause I'm
Pe
tice
un - fair,
####
V
J
so
du
Now it's
ru
n
J
io
n
J
SMALL PART GUY
ro
#### C
V
ct
Funk rock - swing 8's {q = 100}
sa
l
SMALL PART GUY:
think
it's
toe
through
20
we
tip
23
glo
the
ry
the
lit
tle
guys?
25
- bout
sto -
-67-
####
13. The Little Guys
26
33
If
rest?
yes
####
V
J
of
n
J
38
the
TR
-
be
####
V
J
48
####
who
have
mean
to
sound
think
Striking 12
paints
it's
time
grand - ma
now
45
part
not
with - stand
What
all
and
the
been
off
kids
J
I
don't
won -
55
der - land -
ing
bout
the
lit
tle
guys?
57
in -
the
52
wo -
n
J
props!
But we've
54
And that
the back
with - out
ing
be
scenes
49
fo -
the
in
back - drops
the
boys
biz
in
n
J
tree

J J
one
42
the
stack
N
ot
ing
# # # # n J
V
56
to
de - mand
us
n

J
39
all
47
be - hind
36
where would show
51
#### n
V
-
just like
who
and
44
guy
tweens
50
53
the
there's no
fo
rp
46
or
man num - ber three
####
V
J
noise
rus
####
V
43
if
41
cho
sound
Pe
row
it makes

J J
40
35
make
37
it
io
##
V ##
does
ct
down,
du
falls
ro
34
sa
l
ru
# # n
V ## J
VOCAL BOOK
-68-
VOCAL BOOK
####
13. The Little Guys
58
61
Like
65
and
####
71
you
#### a
69
of
the
ti
ni
with - out
n
J
What
#### n
J
V
peo
What
79
ser

J J
the
keep
ush
bout
est
ple
like
the
the
ush
ush
ing
er
n
J
-
er
83
er
but don't
73
me
ta - king
care
things?

J
J
J J
j j

bout

J
J J
fo
rp
dres

J J
82
Striking 12
the
bout
cre - dit,
77
N
ot
####
75
ver much
wings
your
ma - king the door -
n
J
be - neath al - la
wind
70
sings,
ses
n
J
be
78
What
n
J
j
n
67
noi
76
####
the
ev - ery - one
you
what a - bout
while
ne
would
Break
64
beat
rings
PART GUY
# # # # SMALL
J
J
J J
V
&
with all
72
it, they're the
TR
####
Where
get
66
the
guy
te - le - phone
n
J
keep - ing
Pe
# # # # J
V
ground,
ru
knocks and
74
the
68
####
V
V
63
back
n
J
io
the
J J
ct
in
du
drum - mer
ro
62

J .

J J
Driving
sa
l
# # # # n J
V
the
80
all
the
cos
grand

J J
help
help
ing
ing

J J
help
ing
grand
pa
n
J
grand
n
J
81
tumes neat?
j
n
j j

pa
84
pa
j
n
j j

seat?

J J
find
find

J J
find
seat?
n
J
seat?
-69-
What
####
85
86
be
##
V ## J
88
tle
tle
91
show?

J J
fore
the
fore
the
freez

J J
#
J
freez

J J
out
out
out

J
J
J J
SMALL PART GUY
94
Is - n't
that
# # J
J J
V ## J
98
Striking 12
ver coats
95
the point,
go
by
ing
#
J
ing
92
ing

J
J
J J
that she's
99
sweeps
who
What

J
a
sweeps
j j

in
the
the
the
bout
ver - fed
100
ly

J J
the
stage
the
stage
lit -
bout
bout
j
n
#
J
n
J
the
lit -
the
lit -
93
snow?
97

J
J
J J
ver - looked

J
J J
and
the

J J

J
J
J J
96
snow?

J J
in
stage
snow?

J J
in
the
j j

90
com - plete

J
J
J J
all
who
What
freez
Subito dolce
####
89
sweeps
What
show?
j j

girl
87
boy
N
ot
tle
the

J J
girl
# ##
V # J
bout
the
girl
# ##
V # J
fo
rp
show?
fore
TR
# ## j
& #
j j

be

J J
the
who
ru
#### n

V
J
boy
n
J
Pe
be
bout
a
J
What
#### j
&

J J
the
n
J
boy
bout
j j

du
####
ct
What
j j

ro
j
a
sa
l
&
####
13. The Little Guys
io
VOCAL BOOK
ver booked?
and folks
101
in
o -
J
Why
-70-
VOCAL BOOK
gen
tial
song.
####
112
113
a - bout
108
still
here
O. K.

J J
sing
the
lit
tle
girl?
ing
J
this
111
U
w
114
fo
rp
W
N
ot
TR
Striking 12
we're
Pe
What
why
105
seem wrong?
Slowerrubato
110
that

J J
me
sn't
J
-
tell
io
tan
one
107
some
104
mean doe
so
109
ru
rall.
tion?

J J
106
# # # # J
V
ct
# # # # J
V
103
at - ten
du
don't they pay

J
J J
ro
102

J
J
J J
sa
l
####
J
J
J J
V
13. The Little Guys
-71-
VOCAL BOOK
ST R I K I N G 1 2
14. Picture This

We should be paying attention to HER! I'm an
idiot. Would somebody please get us back into the story? [MUSIC]
SMALL PART GUY:
Molto rubato
drift
rubato softly, delicately, as one voice
j
j

# .
V
6
gray
j
j

vi - sion
#
10
lone
in
gray
the
vi - sion
in
the
in
the
mid
,
j j j
haired grand - ma
haired grand - ma
haired grand - ma
ten.
flick
flick
ten.
match - light
11
flick
al - ley
so
I love you
I love you
ten.
ted
on - ly one who said
match - light
the
match - light
snow
the
the
the
N
ot
her
Still very rubato
vi - sion
her
Pic - ture this
gray

J
J
Pic - ture this
&
her
TR
# .
2 NARRATORS and SMALL PART GUY (3 voices only, assign appropriately)
Pic - ture this
ser
du
&
j j
girl
de
fo
rp
ture this
ru
Pe
sa
l
Pic
&
ct
io
NARRATOR SOLO
ro
&
#C
Slowly rit.
er
er
er
ing
and
float
ing
and
ing
and
float
float
It's
so
I love you
so
ten.
- ing
ten.
NARRATOR SOLO
So much
- ing
ten.
- ing
-72-
it's
knows
it's
on
#
14
mi
16
ly
on
# .
Pic
na
# .
ly
mi
Striking 12
na
ry
vi
ry
vi
ry
vi
Till the
match
15
burns
out
for
burns
and
dies
bw
sion
fades
and
fades
and
ap - ron
an
19
sion
ap - ron
full
full
for
fades
full
out
sion
ture this
an
ture this
ap - ron
for
out
match
burns
Till the
ev
match
an
And
eyes
mi
ture this
na
13
ing
Till the
mo - ments
18
Pic
lov
mo - ments
.
Pic
lu
&
N
ot
mo - ments
ly
TR
lu
it's
lu
on
knows
&
ev
ev
U ,

-
er
And
she
this
U ,

er
grand - ma's
2 NARRATORS and SMALL PART GUY
knows
her
er
And
this
ct
&
in
du
kind - ness
ro
sa
l
ru
12
dies
fo
rp
Pe
&
14. Picture This
io
VOCAL BOOK
of match - es
dies
world
of match - es
of match - es
17
world
20
world
of
of
in - dif - ference and

of
2
4
42
2
4
-73-
VOCAL BOOK
sin - gle
#2
V 4
gent
j
.
ly
ing
###
match
Striking 12
ing
grand
ma gent
is
quick
ly
burn
is
quick
ly
26
It's her
ly
It's
.
J
grand - ma gent
29
rock
burn
33
ing
j
.
ing
ing
her
CHORUS BASSES
rock -
And the
match
34
match
to
sleep
And
the
###
###
And
And the
ly

J J
her
CHORUS ALTOS/TENORS
N
ot
32
Groove builds poco a poco
###
31
match
28
It's her
30
j
.
ro
25
rock
27
SMALL PART GUY
fo
rp
ru
24
23
face
TR
V
22
Smooth groove
face
lov - ing
grand - ma
4
4 w
Pe
44
w
sin - gle
lov - ing
21
face
lov - ing
io
#2
V 4 n
ct
44
du
sin - gle
{q = 149}
sa
l
#2
& 4
14. Picture This
the
burn -
is
is
quick
quick
ly
ly
burn -
-74-
ing
j
.
###
quick
###
38
###
is
dis
40
is
###
43
Striking 12
dis
ap
ing
dis
37
burn
pear
pear
ap
pear
.
J
41
ing
j
n .
ing
And
the
the
the
the
light
is
light
n n
And
42
the
is
dis
dis
ap
ap
pear -
pear -
j
n
light
is
dis
the
light
is
dis
ap
And
the
light
is
dis
J
-
ap
light
is
dis
ap
44
the
And
the
low
And
And
ry
CHORUS TENORS
And
ing
And
CHORUS BASSES
ing
low
And
j
n .
ve
ing
ry

J J
ing
39
CHORUS WOMEN
j
n .
N
ot
is
j
n .
###
V
J
ap
j
n
light
###
TR
###
ly
sa
l
ve
light
is
ing
### w
### n
V
&
match
light
36
And the
ro
&
ing

J J
ru
burn
quick
fo
rp
ly
is
Pe
&
match
ct
And the
du
35
###
### .
V
J
14. Picture This
io
VOCAL BOOK
ap
pear -
pear
pear
pear
-75-
VOCAL BOOK
ing
and
###
V
J
ing
and
###
n
J
45
ing
she
and
says
she
says
46
she
47
says
Striking 12
Segue as one
io
ct
du
ro
fo
rp
N
ot
TR
Pe
ru
j
n
sa
l
&
###
14. Picture This
-76-
VOCAL BOOK
ST R I K I N G 1 2
15. Caution to the Wind
&
###
21
&
&
24
###
27
###
29
face
re
j
.
18
14
how
give me
11
"Ne - ver
hope
22
25
15
back
30
need
19
dry
ny
thing
this lone -
12
16
you
here
20
23
All
26
were
28
in
my tears
you
A -
me
with - out
j
.
go
you now
ber
make it through
and
Be - side
j
.
How
j j

hold
To
mem
me
Half time feel
N
ot
&
###
To
j
.
your
know
TR
17
10
Please don't
see
I don't
###
&
can't
ly place
###
&
J
13
io
&
###
ct
way where
you so
ro
miss
ru
fo
rp
&
Pe
###
du
LITTLE MATCH GIRL
sa
l
### 4
& 4
Steady and moving {q = 149}
31
j
.
you
so
taught
strong
You
told
me,
j

Who knows
j j

what
to
mor -
-77-
VOCAL BOOK
&
###
32
&
row
brings
33
###
fates are
cruel,
35
j
.
The
34
so
36
don't
you
let
them
win"
You
your name
45
TR
###
&
49
Some
&
###
53
some - thing
&
###
for
&
&
59
###
62
to
44
is
you
54
42
and
eve - ry
tion
51
55
where
you'd
the
been
wind
But the
52
so
rai - ny day
but seared
j j

to
Don't burn
fast,
not
hot
56
ice
Save
and
snow
are
58
stay
j
.
Time
Striking 12
burned out
my heart
N
ot
here
###
cross
46
50
say
57
41
Cau
Feel I
39
That
fo
rp
###
flame
Pe
&
43
&
###
40
38
like
io
just
ct
###
&
life
du
lived your
ro
37
j j

sa
l
ru
&
###
60
fly
This
63
feel
j
.
61
ing
j
.
ing
j
.
How
can't
64
j
.
be
miss
wrong
-78-
67
"Ne - ver
hold
###
&
J
&
row
###
back
68
70
j j

brings
ny
71
The
fates are
73
j j

j
.
lived your
###
&
life
Who knows
cruel,
74
### 3
& 4
Subito - misterioso
85
&
###
&
###
89
93
97
Striking 12
will
Sure
as
Burn
my
Throw
ing
77
burned out
86
be
90
94
match
98
91
you
95
tion
99
ev - er
You
j j

where
you'd
been
43
88
92
been
the end
to
win"
but seared
84
to
a - gain
es
have
cau
87
eve - ry
with
80
mor -
fast,
83
the wind
them
and
j
j

to
let
no
my heart
tion to
you
That
cross
N
ot
&
###
82
Cau
79
flame
don't
j
.
72
what
so
fo
rp
81
TR
&
j

a
your name
###
76
like
78
just
69
thing
j j

du
75
ro
me
Pe
&
told
j
.
Oh
###
You
io
Half time feel
ct
###
66
sa
l
&
65
ru
&
###
VOCAL BOOK
the wind
96
44 w
100
-79-
VOCAL BOOK

And the matches glowed with a light that was
brighter than the noon day, and her grandmother
had never appeared so bright or so beautiful. [EXIT SAFETY]
SMALL PART GUY:
know
&
###
113
"Ne - ver
##
& # J
-
hold
back
TR
a
flame
##
& #
125
cross
my
heart
##
& # .
120
ny
111
long
me
123
That
fates are
cruel,
j j

no
fast,
126
and
will
130
128
Cau
you
ry
124
be
with
where
131
me
to
let
them
life
to
told
win"
just
mor -
like
your name
tion
j j

but seared
eve
what
lived your
don't
121
You
j j

118
so
You
Who knows
j
.
you
112
115
thing
burned out
108
with
j
.
N
ot
129
Subito - misterioso
Striking 12
117
Oh
114
The
j
.
122
107
Take
be
## j
& #
### 3
& 4
j
.
brings
119
127
er
j j

row
##
& #
110
116
where
Half time feel
106
clos
j
.
109
ting
du
###
104
j
.
fo
rp
105
j
.
ru
Get
&
j
.
LITTLE MATCH GIRL
..
io
With intensity, building
103
Pe
&
###
102
ro
101
.. ..
ct
Safety
sa
l
##
& # ..
Underscore
Vamp
And she made haste to light the whole bundle

of matches for she wished to keep her grandmother there.
NARRATOR 1:
you
you'd
the
A -
a - gain
been
wind
132
43
-80-
###
141
Burn
my
Throw
&
138
142
145
###
149
will
150
154
158
Throw
&
###
165
169
&
###
173
ing
ing
147
with
have
151
162
166
155
170
cau
174
cau
148
the
156
end
160
the wind
163
tion
167
to
171
tion
to
175
to
168
172
the wind
the wind
to
164
the wind
tion
tion
n
-
152
to
cau
144
a - gain
cau
ev - er been
to
the wind
you
es
159
140
136
the end
to
been
tion
match
ing
Throw - ing
Striking 12
Throw
143
be
N
ot
###
&
n
Throw
ev - er
to
cau - tion
Ad lib. full out to end
161
139
es
135
fo
rp
Throw - ing
###
&
my
TR
157
as
Burn
###
&
146
153
cau
Sure
###
&
ing
have
match
Rock time - building
Pe
&
###
134
io
137
as
ct
Sure
du
###
ro
&
133
sa
l
&
ru
&
###
VOCAL BOOK
the wind
176
U
.
177
U
.
Long hold
Segue on cue
-81-
VOCAL BOOK
ST R I K I N G 1 2
17. Screwed Up People Make Great Art

So are you coming to the party? [MUSIC]
Latin groove
..
He grew up poor,
12
15
up
in
gir
b

Vb
TR
17
him
till
21
haun - ted
b
Vbb
clothes
18
mo - ther
Rock groove
28
him
up
his
dy
lit - tle
16
that
ing
day
b
n b b
just
like
24
he
was
of - ten found
Mai - den took him
cry,
27
29
cuc - koo clock
gave him night - mares and
What
Yeah
a - way
22
big nose
# n
Ice
made him
19
the
lie
26
in - side
14
ture,
real - ly
ex - plained
kid who had

im - ma
N
ot
25
ly
That
23
b
Vbb
and his
b
Vb
b
Vb
11
lan - ky
fo
rp
His fath - er died
20
13
dres - sing
In - se - cure,
shoe - ma - ker's son
# n
ro
b
V b b
10
Pe
b
Vb
just
ru
bb JACK
V
sa
l
io
ct
b
& b 44 ..
Funky latin {q = 136}

Safety
du
JACK:
30
it
bbb
shock
b
it
wound
-82-
b
Vbb
31
36
34
Screwed - up peo - ple make great
b
Vb
tick
tick
art
bb JACK
V
Now our man Hans
Vb
51
al
Vb
ways
end
up
Striking 12
#
J
souls
j j
.
get
he'd
be
# n
47
and
clod,
ting
burned
fi - res, and dark
bu - ried
55
Some di
# n
sas - ter would be
58
Our
bi - zarre
live
su - per
60
o - ver - tures and
he'd make
52
al - ways re - turned
50
54
57
44
..
fee - lings we - ren't
a - fraid of chur - ches,
59
wor - ried
but his
N
ot
b
Vb
He was odd
b
Vb
56
40
heart
their
heart full of love
49
He was
bare
43
46
53
fo
rp
48
had
TR
b
Vb
42
smart
45
du
41
39
peo - ple
j
.
Pe
that's
not
al
ways
THE MAN: So you're saying, what, that he was afraid of ice? That he was afraid of death? That he wrote about frozen
little girls because that's who he was inside? JACK: All of the above. Now pay attention [MUSIC CONTINUES]
Latin groove
Underscore Vamp
b
V b ..
37
and
ro
38
bb
('cause)
shoot right from the screwed - up
ru
n
J
35
Screwed - up
b
V b .
tock
They
io
33
ing
ct
sa
l
Latin groove
32
go
bb
VOCAL BOOK
star
sure
to
ar - rive

could - n't sleep be - cause he
So
in - sane
bbb
-83-
VOCAL BOOK
bb
Rock groove
Ooh
bbb .
CHORUS MEN
Ooh
61
62
b
&b b
63
JACK
b
sa
l
bbb
b
J
fai - ry
tales
b
V b b .
65
to
67
That
Screwed - up
cra
N
ot
&
CHORUS WOMEN
bb
peo - ple
CHORUS MEN
Screwed - up
b
Vb
JACK
peo - ple
69
Screwed - up
Striking 12
peo - ple
ease the pain
b
Vbb
Latin groove
make great
art
make great
n
J
make great
68
66
zy
bb
bb
j

J
I
70
j
I
71
('cause)
ma - gi - na - tion off
chart
the
n
J
the
bb
Dane
art
art
ro
of
TR
b
& b b .
lot
pain
fo
rp
64
wrote
ct
b b
n b b
b
Vbb
bb
Pe
he
du
b
Vbb
ru
pain
So
CHORUS WOMEN
io
& b .
V
the
chart
chart
-84-
Screwed - up
72
peo - ple
n #
J
..
n
J
b
V b .
74
b n
J
cards
b
Vb
JACK

TR
Latin groove
77
b j
Vb
80
re - views
Vb
b
J
men
and
mer
Striking 12
rac - ters
get
75
78
fan
world
j
.
81
maids and
84
ma
what they want
87
79
76

and
gic
82
he
of
part
got
tu - ral
85
sto
part
him some great
ries
of
But when his
ten
rude
88
snow -
shoes

there is
part
ta - sy world
j
.
world
post
j
n ..

ted
us
..
send
j
#
from
b
86
#
J
..
N
ot
83
us
world
Su - per - na
b
Vb
post
send
j
n .
..
#
J
fo
rp
He cre - a
from
cards
j
n .
Pe
b .
V b .
from
ro
cards
du
ru
j
.
b
& b .
post
peo - ple
us
73
Screwed - up
send
sa
l
peo - ple
Screwed - up
b
Vb
io
b
Vb
ct
b
&b
VOCAL BOOK
j j

sur - prise
cha -
-85-
Hans
Chris - tian
the
X only
bb .. 1st
&
1st X only
bb .
V .
world
through
TR
1st X only
bb .. w
V
101
He
102
he
104
kept
105
Striking 12
up
eyes
ly
screwed
up
screwed
wake
all
night
eyes
ne - ver had kids
107
eyes
99
So
by
pea
108
the
sto - ries were his

in
Optional repeat
nude
..
# n
103
his
96
100
106
Em - peror dude
b
Vb
up
N
ot
Vb
ne - ver mar - ried and
screwed
fo
rp
JACK
looked
ly
95
b

Vb
sen
98
94
97
92
real
ad lib. trail off
93
Pe
Guitar solo - Latin groove
&b
der
du
at
ro
91
An
ly
ru
CHORUS MEN
real
b
Vb
sa
l
b
Vb
CHORUS WOMEN
real
90
Be - cause
b
&b
io
89
ct
b
Vb
VOCAL BOOK
le - ga - cy

And
prin - cess who was
# n
On
and
bbb
-86-
VOCAL BOOK
&
bbb
Rock groove
b j
CHORUS WOMEN
Tur -
bb
V b
b
J
CHORUS MEN
Tur -
110
those
b b
Vbb
-
ning
all
those
b
Vbb
ug - ly
112
ning
all
those
ug - ly
b
&b b
lings
ug - ly
b
Vbb
duck
Vb
Vb
b
b
Screwed - up
Screwed - up
Screwed - up
peo - ple make great
117
Striking 12
b
J
b
J
in - to swans
n
J
JACK
cra
N
ot
&
..
in - to swans
113
lings
That
Latin groove
fo
rp
b
Vbb
TR
bb
in - to swans
lings
b n b
b
115
duck
duck
Tur -
..
114
bb
bb
ro
all
ru
ning
Pe
io
on
b
& b b b
111
ct
109
b JACK
du
sa
l
bbb
116
zy
art
art
118
119

J
a
run - ning
God gave them
run - ning
bb
('cause)
God gave them
art
Hans
n
J
start
n
J
God gave them
run - ning
start
start
-87-
For
121
de
&
bb
Latin groove continues
CHORUS WOMEN
Screwed - up
bb
127
Striking 12
Mo
zart
j
.
124
Mo
Wolf
125
122
And Jean - Paul
Sart
j J
And Jean - Paul
Sart
re

JACK
129
b n
J
b
J
ma -
ma -
n J
126
Sart
re
re
Screwed - up
art
Like Char - lie Par - ker
Screwed - up
ma -
J n J
J
art
128
j
J
n
J
n .
J
gang
n # ..
J
gang
And Jean - Paul
zart
N
ot
Screwed - up
j
b
CHORUS MEN
bb
j
n ..
us
TR
zart
Mo
123
us
j
.
#
J
ro
de
b
V b .
..
ex - am - ple,
ru
.
J
j
n .
Wolf
fo
rp
j
#
de
b .
V b .
us
ex - am - ple,
Pe
j
n .
.
.
#
J

For
b
& b .
gang
sa
l
120
Wolf

For
b
Vb
ex - am - ple,
j
.
b
V b
ct
du
b
& b n
io
VOCAL BOOK
art
n
J
art
-88-
Screwed - up
Screwed - up
130
Screwed - up
Vb
133
131
n
J
134
and Ja - nis Jop - lin
136
Well don't you know
Striking 12
N
ot
b
Vb
137
Vin - cent van
Screwed - up
art
Screwed - up
135
JACK:
yeah
But surprisingly, Yanni

is completely well
adjusted. [MUSIC]
n
J
fo
rp
Vb
art
Gogh
&b
132
Don't for - get
TR
Vb
Screwed - up
art
nia Woolf
ro
Pe
&b
Vir - gi
n
J
ru
and
art
sa
l
b
Vb
art
art
art
138
io
Vb
art
n
J
ct
du
&b
VOCAL BOOK
139
art
-89-
VOCAL BOOK
ST R I K I N G 1 2
18. Its Not All Right
know what the hell
##
V # ##
11
is
ing
in
14
##
V # ##
16
low -
(non legato)
and
fai
it's
not
what's
with
TR
####
ing
#
22
##
V # ##
It's
not
26
row
like
23
ry
tale
and
all
right.
30
where
this
27
31
is
34
no
all
##
V # ##
is
15
17
sad
feel - ing
20
he - ro who will
35
my
grand
do the right thing,
32
an
no
36
Year's Eve.
faced
clown,
fol
so
cho
down
25
29
fat
la
ly?

J
J
nal
New
fi
don't
28
21
24
right.
Well
13
on a
mel
N
ot
##
V # ##
19
sit - ting home a - lone
fo
rp
18
sor
####
I am
Pe
Wal - low
12
wrong with me,
io
10
du
ro
sa
l
Rock {h = 90}
ru
THE MAN
####
ct
##
V # ## C
Yeah, all right. All right. [MUSIC]
THE MAN:
Rubatofreely
33
e?
dy e - ver
'Cause there
37
gets
to
sing,
the
-90-
VOCAL BOOK
I'm
just
It's
not
The
world
42
#
46
The
&
####
world
not
it's
not
#
#
They
leave
They
leave
see
them
58
Striking 12
55
of
the
41
ry
last
page,
Hol -
44
guess
ly - wood
just
walks
on
by
just
walks
on
by
48
right.
52
right.
age,
but
45
and
49
and
53
to
die,
there
her
her
there
to
die,
56
57
and
now,
in
their
59
all
Half time feel
THE MAN
all
51
ve
right.
N
ot
####
47
it's
50
all
54
&
43
##
V # ##
####
####
TR
&
####
39
fo
rp
the
pro - duct
THE MAN
##
& # ##
####
on
out
io
copped
ct
thor
du
40
ro
ru
##
V # ##
V
38
au
####
sa
l
Pe
####
60
par
ty
can
dress.
61
No
-91-
We're
all
re
74
75
83
change
one
TR
thing,
#
89
fresh
air,
some - thing
I'd
that
got
##
& # ##
girl
##
V # ##
that
that
girl
92
96
king
lists.
chair,
get out
85
this
left
ta
do
be
on
We're

78
82
bo - dy's
90
this room
serves
much
93
97
much
New
Year's
night,
fore
right
serves
88
e -
THE MAN
I could

of
this
all
73
no
If
77
de
de
small
N
ot
Striking 12
81
lit - tle time
not
95
ma
87
69
we're
72
ing
It's
THE MAN
91
we're
all
there's a
and
out - a
at
84
65
dis - tress.
get
hyp - o - crites,
change
76
act
Rock, original feel {h = 90}
68
80
gon - na
girl's
and we're
tions,
64
but
.
J
big,
79
- so - lu
cold
####
71
86
70
##
V # ##
####
no - thing
lit - tle
67
ver
####
this
66
talk - ing
####
to
thought
ct
ma - king
####
63
#
#
du
gi - ving a
ro
####
one's
fo
rp
62
####
ru
sa
l
Pe
####
io
VOCAL BOOK
day
94
light,
in - to
'cause
bet - ter
bet - ter
98
and there's
the
-92-
VOCAL BOOK
####
got
LITTLE MATCH GIRL
####
104
LITTLE MATCH GIRL
where
THE MAN
107
to
Half time feel
to
THE MAN
103
right
where
get
and
go
her
and
get
her
and
show
her
105
out
there
bet
109
out
102
go
108
101
there
bet
ter
than
ter
than
106
this
place
110
this
place
got
io
all
THE MAN
and
show
her
# ww
oo
..
oo
ww
# w
# w
w
CHORUS WOMEN
N
ot
&
####
100
ct
not
TR
&
It's
du
some
####
99
some
####
ro
&
####
right
all
sa
l
####
not
ru
&
####
It's
fo
rp
####
Pe
&
####
CHORUS MEN
111
oo
Striking 12
112
113
oo
114
-93-
VOCAL BOOK
some
one
with
some
kind - ness
on
their
face.
# ww
oo
..
oo
ww
# w
CHORUS MEN
115
NARRATOR 2:
116
117
The man gets up. He throws on a hat, a scarf. He runs out of his house and through the streets; a madman out in the snow.
Underscore
N
ot
fo
rp
141
TR
Striking 12
..
end
io
repeat
14
ct
Pe
Piano solo repeat as desired
127
nnnn
119
& ..
118
oo
ru
&
# ww
CHORUS WOMEN
oo
####
143
du
####
ro
&
####
THE MAN
sa
l
####
Applause Segue
-94-
VOCAL BOOK
ST R I K I N G 1 2
19. Wonderful (Reprise)
NARRATOR 3:
#
V 44 ..
{q = 81}
In a corner between two houses a girl is huddling herself together.
Quiet groove
..

THE MAN
there
#
V

al - most di - dn't
e - ven see
I'm out
# .
V
Won
der - ful,
15
won - der - ful
buy what
you've
find
got
co
16
would you
mind
17
or
it
zy
or - der up
if
10
left,
n
J
b .
14
I could
you
cou - ple match - es
12
we could
13
der - ful,
won
I could
TR
11
yeah a bun - dle,
bun - dle,
ro
fo
rp
I could use
Pe
guar - an - tee
I've been look - ing for you ev - ery - where
of breath, I
ru
you
io
ct
du
sa
l
Hel - lo I al - most di - dn't see you
would
.
J
be
.
fi
re
to sit
by,
a feast
for you,
so
I made ve - ry sure
that
That's so nice you want to do that for her.

I'm afraid I'm all out of matches tonight, but there hasn't been
much of a run on full spectrum holiday light bulbs. [MUSIC OUT]
S.A.D. LIGHT SELLER:
18
b n
N
ot
no - one
e - ver
hurts
you
a - ny - more?
..
Vamp
19
20
..
-95-
VOCAL BOOK
ST R I K I N G 1 2
20. Picture This / Snow Song (Reprise)

S.A.D. LIGHT SELLER:
#C
ture this
the
fro
rubato softly, delicately, as one voice

LITTLE MATCH GIRL and
NARRATORS 1, 2, 3
. j j
Pic - ture this
two
,
.
J
J J
sets of foot - prints a
# . j
j
Pic - ture this
#
14
10
two
. j j
J
With movement - building {q = 149}
SMALL PART GUY

and JACK
snow
is
gent
man and wo man walk ing in the
night
ly
11
fal
15
j
.
ling
light
12
13
SMALL PART GUY

and JACK
night
And the
snow
NARRATOR 1
And the
night
still and qui - et hours be - fore the
N
ot
the
fo
rp
two
TR
,
. j j j
# .

V
J
J
Pic - ture this
zen ci - ty
Pe
&
Pic
j j
io
ct
,
j
du
LITTLE MATCH GIRL
ro
sa
l
&
I'll tell you what. Why don't I buy whatever you've got left- and we can go around town and give one
string of your full spectrum holiday light bulbs to every sad looking person we see. Just in case. [VOCAL]
THE MAN:
ru
&
Electric's kinda high. [MUSIC]

Rubato {h = 76}
16
snow
And the
fal -
is
is
gent
gent
ly
ly
fal -
-96-
17
V
V
&
20
w
Snow Song
# w
22
#
26
.
.
.
23
and all
is
gent
ly
ly
my
my
fal
19
blues
co
ming
ming
co
24
my
25
dis
and
and
29
and
ap - pear
dis
28
dis
blues
blues
say
ming
.
J
It's
say

J J
they
.
J
they
and
ling
co
ALTOS/TENORS

J J
they
and
say
and
ling
It's
BASSES
j
.
27
ling
It's
SOPRANOS
and all
and all
Striking 12
N
ot
21
TR
V
gent
# w
snow
fal
is
# w
#
18
down
&
And the
down
snow
ALL
down
And the
ru
&
ling
fal
gent
ro
ly
is
fo
rp
ling
SMALL PART GUY

and JACK
snow
j j

# j
.
And the
ct
du
.
J
NARRATOR 1
sa
l
Pe
LITTLE MATCH GIRL

S.A.D. LIGHT SELLER
&
io
VOCAL BOOK
ap - pear
ap - pear
this old

this old

this old
-97-
is
# w
# w
30
a - gain
35
# w
j
.
looks like
new
38
40
looks like
that's
that's
#
43
that's
Striking 12
the
view
the
view
the
view
.
J
new
the years
roll
back
the years
roll
back
the years
be - cause
37
the world
41
at least
or
the world
at least

or
the world
or
be - cause
new
39
N
ot
&
# w
back
be - cause
36
roll
33
a - gain
looks like
ru
young
fo
rp
34
is
TR
&
young
Pe
32
is
a - gain
31
town
&
young
town
town
ct
du
ro
sa
l
&
io
VOCAL BOOK
42
at least
from
44
45
-98-
VOCAL BOOK
&
here

from
48
here
here
# bw
TR
.
54
55
58
&
59
ron
62
S.A.D. LIGHT SELLER
how
THE MAN
Some
Striking 12
56
like
how
63
can't
57
vel - vet
co - lored
Some
fall
N
ot
53
fo
rp
52
THE MAN
Snow - flakes
~~~~~~ w
51
ro
50
here
~~~~~ b w
Pe
# w
ru
&
49
47
here
io
46
ct
du
sa
l
here
60
from
61
skies.
can't
64
help
help
.
it
it
65
-99-
VOCAL BOOK
66
feel
my
67
&
spir - its
feel
Snow - flakes
70
glint
THE MAN
71
Snow - flakes
glad
74
7 7
(8 +8 )
75
glad
Last Day of the Year

A little faster {q = 144}
TR
#
& 74
78
first
day,
#
V
81
Striking 12
72
be
to
76
out - side
79
SOPRANOS
77
j

on
the
on
w..
the
on
the
w..
80
first
83
day
j
of
of
the
j
j

.

day
w..
first
first
day
first
82
the
w..
BASSES
THE MAN
w..
THE MAN
first
the
S.A.D. LIGHT SELLER
ALTOS/TENORS
on
the
73
out - side
be
and glide
on
on
day,
#
V
and glide
..
N
ot
&
glint
day,
69
fo
rp
#7
V 4 ..
#
to
rise.
Pe
&
ru
68
spi - rits
S.A.D. LIGHT SELLER
rise.
my
io
ct
du
ro
sa
l
&
the
of
the
74
74
-100-
VOCAL BOOK
Driving to end
# w..
V w ). .
# w..
&
w..
year.
84
85
Striking 12
88
Applause Segue
io
ct
du
ro
fo
rp
N
ot
TR
Pe
ru
year.
sa
l
year.
-101-
VOCAL BOOK
ST R I K I N G 1 2
13 (alt). Give the Drummer Some
on
eve
####
V
J
on
TR
V
13
####
####
But
26
11
n
J
the
me
to
groove
23
ry
24
12
15
ne
ver
and
you
hang

21
now
can
fly
I'm stuck

J J
ty
n
J
You
move
be
n
J
to
You
n
J
J J
33
tip - toe through the sto
lin
20

J J
a - bil
think it's time
But
17
As you
there would
ry
say
n
J
bird
lack
N
ot
19
guys get all the glo
####
just hunk - y do
#### n
V
like
for
ty
18
22
14
his
vi

J J
just
luck
not
n
all
if
16
bil
of
n
J
out
gets
And the
through the crowd
back,
er
n
J
in
fo
rp
10
####
in
n
J
word
ry
play
Pe
####
no

J J
io
####
V
J
pi - a
ct
The

J J
ru
n
J
du
n
J
THE DRUMMER
ro
#### C
V
sa
l
Funk rock - swing 8's {q = 100}
the
think
it's
a -
n
J
ry
And you
n
25
got -ta give the drum mer some
Yeah,
the
next
-102-
in
####
V
J
49
53
ing
# # # # n J
V
it's
time
V
V
Thinner
66
me
Striking 12
54
grand - ma
part
not
63
me
me
me
67
me
64
me
me
45
and
as
the
good
n
J
of
my
And the
48
play

J J
my
tas
big
hot -
been
off
ta
give
the
61
licks
52
won - der - land -
55
with - stand
ty
But we've
got
ing
57
You
chicks
ing
of
know
n
J
me
ry
will
twirl
me
####
sticks
now
58
62
n
J
42
the
to sound de - mand
And that
####
####
all
47
N
ot
with
51
56
think
44
50
mean
to

J J
sta - di - um stage
fo
rp
TR
#### n
V
the

J J
I don't
n
J
watch my drum
to
Pe
girls
36
his
And the world
my way
test
####
41
46
and
be - tween
go
#### n
V
J
the
39

J J
43
bout
mi - ni - mum wage
####
V
J
parts
38
From the
40
35
be
ct
37
gon - na
du
####
out's
ro
time
ru
34
io
sa
l
#### n
V
J
VOCAL BOOK
drum - mer
THE DRUMMER
Cause
it's
65
68
me
all
a - bout
me
some
It's all
69
a - bout
It's
all
a - bout
-103-
DRUMMER
# # # # n THE
me
71
me
Repeat as desired (drum solo)
just hunk - y do
guys
get
78
all
the
81
84
85
tip - toe through the sto
89
give the drum - mer Got - ta give the
N
ot
Got - ta give the drum - mer
Striking 12
92
And you
You
n n
90
drum - mer
got - ta give the drum - mer
91
ry
# ##
V #
# ##

& #
# ##
V # #
n
J
ry
fo
rp
got - ta give the drum - mer Got - ta
THE DRUMMER
As you
87
n
J
You think it's
glo
73
ry
# # # # THE
DRUMMER
n
V
TR
72
n
J
##
V ##
me
Pe
83
all
me
..
82
88
me
86
me
74
##
V ##
me
70
##
V # # ..
me
me
me
ct
me
# # # # n NARRATORS

V
me
du
ro
me
sa
l
NARRATORS
ru
&
####
io
VOCAL BOOK
93
n J
You
some
some
94
some
N
ot
io
ct
sa
l
ru
Pe
du
ro
fo
rp
TR
n
io
ct
Pe
ru
sa
l
- SCORE SAMPLER -
du
ro

New York, NY 10018
866-378-9758 toll-free
212-643-1322 fax
fo
rp
TR

And VALERIE VIGODA
Follow us!
@theatricalright
N
ot
Like us!
1/11/13
N
ot
io
ct
sa
l
ru
Pe
du
ro
fo
rp
TR
ST R I K I N G 1 2
PIANO/VOCAL
3. Snow Song
Well why don't you watchoh forget it. [MUSIC]
?#
?#
13
Snow - flakes
D/G
10
11
fall
like
N
ot
&
S.A.D. LIGHT SELLER
w
w
w
w
15
12
vel - vet
Csus2
w
w
14
&
?#
TR
&
&
io
du
fo
rp
?#C
ru
Pe
&
#C
ct
ro
Quiescently, like the first snowfall {h = 76}
sa
l
THE MAN:
..
16
..
from
3. Snow Song
PIANO/VOCAL
D/G
w
?# w
feel
TR
D/G
&
w
?# w
25
can't
help
my
&
Striking 12
23
rise
Csus2
ww
30
31
..
ww
28
..
J
..
.
a - glow
..
24
27
Em9
29
it
w
w
w
w
Street - lamps
? # .
spi - rits
26
Csus2
N
ot
&
20
22
ww
21
&
ww
?#
Pe
&
D/G
19
Some - how
ww
18
Csus2
fo
rp
ww
17
&
skies
ro
&
co - lored
ron
ct
du
io
sa
l
ru
&
32
3. Snow Song
PIANO/VOCAL
&
34
35
down
?#
. .
F
?#

. .
&
42
S.A.D. LIGHT SELLER
45
Striking 12
46
. .
bran - ches
D/G
P
?# w
w
Csus2
43
N
ot
&
Cry - stal
. .
39
41
ww
36
40
ro
38
TR
&
37
D/G
com - ing
ww
w
fo
rp
Csus2
Pe
&
D/G
it's
ru
slow
33
&
take it
ww
w
Em9
? # .
to
io
time
j j

ct
du
sa
l
&
44
glis - ten
like
Csus2
47
w
w
48
w
w
3. Snow Song
PIANO/VOCAL
dia
monds
.
zen
in
54
58
w
w
61
Striking 12
55
w
w
ww
62
56
59
N
ot
Em9
? # .
w
fo
rp
Side - walks
Csus2
l.h.
57
&
sym - pho - ny
w
w
D/G
lent
?# w
w
&
ww
TR
#
si - tion
53
si
52
j .
Pe
po
w
w
Csus2
P
?# w
w
&
D/G
io
ro
w
w
51
ww
50
fro
&
me
Csus2
49
&
ver
D/G
?# w
w
&
ct
sa
l
&
du
ru
&
w
w
white
w
w
60
w
w
and clean
Csus2
..
.
63
.
w
64
w
w
3. Snow Song
PIANO/VOCAL
Per - fect
66
w
w
67
down.
. .
V
&
#
#
71
? # w
w
73
Striking 12
74
75
S.A.D. LIGHT SELLER

+ CHORUS SOPRANOS
It's
&
76
w
w
co - ming
CHORUS ALTOS/TENORS
It's
72
.
.
. .
N
ot
70
TR
&
69
68
du
fo
rp
?#
Csus2
Pe
D/G
.
.
www
w
65
&
com - ing
ct
it's
Csus2
? # .
w
&
io
Em9
pris - tine,
ro
and
ru
&
sa
l
&
co - ming
It's
co - ming
CHORUS BASSES
3. Snow Song
PIANO/VOCAL
down
down
down
77
#
#
V
&
#
#
?#
81
w
w
78
my
dis - ap - pear
blues
dis - ap - pear
.
.
79
82
80
w
w
and
Striking 12
.
J
blues
ru
f
.
.
>
j
>
N
ot
&
TR
&
j
.
fo
rp
?#
my
Pe
and all
and all
&
dis - ap - pear
..
>.
.
>.
83
and
C/G
and
blues
io
my
ct
and all
du
&
j
.
ro
sa
l
&
84
this old
this old

this old
ST R I K I N G 1 2
PIANO/VOCAL
10a. Fine Fine Fine

B7
?#
7
no - tice
if
hide right here
j
.
be - hind
the
B7

J
THE MAN
He's gon - na
C7
du
May - be he'll ne - ver
N
ot
dip
&
ro
?#
fo
rp
THE MAN
TR
&
...Alaskan crab puffs? I love those.
Pe
C7
ru

? # 44
drip
bad post - na - sal
ct
#4
& 4
guy with real - ly
sa
l
Oh no, it's that an - noy - ing
Excuse me pardon me are those...
io
THE MAN
#4
V 4 J
{q = 94}
j
.
me 'bout my
G/D
b

b
ask
10a. Fine Fine Fine
PIANO/VOCAL
And
don't
want
to
o - pen
up
that
can
14
b b
>
>
?#
r

Striking 12
fine,
17
12
of
16
or
worms

n F
face
fine
>
r
18
Am
Work
is
E7
the
How's that new boss working out?

I hear he's a real stickler for punctuality.
N # .
D7sus4/GA
THE MAN
fine,
>
fo
rp
N
ot
A7/C #
D7sus4
15
&
Bb
PLAY
G7/F
Hey Pal I didn't see you there How are you doing? How's work?
?#
V
11
TR
#
facts
line to get the ax
am next in
ct
b
J
Em7
THE MAN
13
&
slack - ing off and
du
?#
V
been
ru
10
&
I've
?#
V
don't know that
ro
he
Pe
&
B7/D #
and
sa
l
job
io

19
A m(Maj7)
10a. Fine Fine Fine
PIANO/VOCAL
He's
&
?#
23
26
r

.
#
A7
. n
?#
29
Striking 12
real - ly
C7
22
24
I'm
fine,
it's
fine,
ho - nest - ly
A7/C #
Cm/E b
r
r
b
25
j
.
it's
30
It's
yeah,
G/D
THE MAN
28
fine,
By the way, did you mean to cc me on that email

you sent out with your rsum attached?
27
fine,
THE MAN
C7
r
r
#
b
fine,
&
N
ot
?#
G7
TR
#
21
fine
D7
Well that's a relief because, you know, there have

been some rumors. Are you sure you're okay?
# .
V
&
C7
E7
du
Am
ru
20
fine
fo
rp
?#
b .
fine,
Pe
A m(Maj7)
fine,
&
Am7
io
ct
ro
sa
l
Eve - ry - thing's
F
r j
n
j
n
10a. Fine Fine Fine
PIANO/VOCAL
THE MAN:
^ ^
n
^ ^
31
32

J
THE MAN
Oh
no
that space in - vad - ing
girl
#
&

F
?#
...how much did you pay for it?
TR
&
?#
37
#
V b
?#
40
35
eye
she's
on
38
Striking 12
j
.
ask
41
bout
B7
..
way
36
j
.
39
Di - ane,
my
THE MAN
took
too
for - mer
fi - an -
long, would not

com -mit
G/D
..
Hi Nice blouse, where did you get it,...
C7
Happy New Year! Have you seen that girl Diane?

I heard she was coming tonight.
her
She'll stand too close and
33
ce
C7
.. ^ ^

B7
N
ot
has caught my
THE MAN
&
fo
rp
34
..
Pe
..
fine fine
n
?# ^ ^

..
io
# ^
Eve - ry - thing's
ct
fine
ro
&
du
fine
Vampdialogue
sa
l
Everything's just peachy pal. And how are you? [DIALOGUE]

.. SPACE INVADING GIRL: Yoo-hoo! [EXIT VAMP]
ru
42
10a. Fine Fine Fine
PIANO/VOCAL
got
sick of
.
?# ^
48
were meant
to
be
she
44
a - ny - one
46
j
#
that I
47
42 ..
..
Vampdialogue
42 ..
.
2
4 ..
49
fell
Hi, How are you? How's every

little thing? How's Diane?[EXIT VAMP]
the way
A7/C #
b
.
for
THE MAN
N
ot
..
.
..
fine,
#4
& 4

P
? # 44
Go
fine,
fine
D7sus4/GA
b b
r
r

N # .
50
52
Am
A m(Maj7)
44
4
4
You guys are getting married soon right;

how are the wedding plans coming along?
E7
44
She's
#4
V 4
Striking 12
we
And I will ne - ver fall for
D7sus4
51
begged
fo
rp
her
&
b
J
Bb
TR
io
Pe
45
quit
ct
G7/F
?#
and
#

#
me
Em7
knew we ne - ver were
&
du
43
ro
Di - ane
B7/D #
?#
V
sa
l
&
ru
53
10a. Fine Fine Fine
PIANO/VOCAL
&
?#
57
?#
63
56
58
j
It's
59
it's
C7
Striking 12
fine,
A7/C #
r
#
fine,
Cm/E b
it's
j
.
fine,
r
r
b
64
THE MAN
It's
62
O.
G/D
Wait a minute, isn't that Diane over there?

What's she doing with her arms around that studly guy? Is that her brother?
C7
A7
61
r
r
b

fine,
. n
THE MAN
j
.
D7
G7
fine,
&
N
ot
60
55
I only ask because I haven't received my wedding

invitation in the mail-have you sent them out yet? Forty-one cents.
TR
?#
C7
fine
E7
# .
V
&
Am
fine
du
54
fine,
ro
?#
fine,

N #
b .
fo
rp
Pe
&
A m(Maj7)
io
They're
Am7
ct
sa
l
THE MAN
ru
K.
Eve - ry - thing is
n -
r
n
ST R IK IN G 12
PIANO/VOCAL

So are you coming to the party? [MUSIC]
JACK:
b
& b n

C7
b
Vb
He grew up poor,
TR
b
&b
Gm7
just
a
C7
b
Vb
? b
b
12
# n
10
N
ot
&
bb
Gm7
13
In - se - cure,
kid who had
Fm7
11
im - ma
ture,
C7
# n
..
..
# n
lan - ky
fo
rp
shoe - ma - ker's son
j
b n
? b
b
j
#
JACK
All right, listen. Let me tell you something about Hans Christian Andersen.
Fm7
B b7
Pe
j
# n
b b
ru
Gm7
B b7
io
Latin groove
? bb
Fm7
ct
C7
I thought you said you studied Scandinavian Literature! [EXIT SAFETY]
du
b
& b 44 ..

P
? b b 44 ..
Gm7
THE MAN:
ro
Funky latin {q = 136}

Safety
sa
l
JACK:
14
real - ly
big nose
B b7
b n

he
was
of - ten found
PIANO/VOCAL
15
? bb
17
C7
# n
? bb
20
&
bb
? b
b
23
haun - ted
him
Fm7
Striking 12
16
Gm7
till
lit - tle
that
21
his
lie
ing
day
made him
B b7
24
19
# n
a - way
B b7
cry,
22
Mai - den took him
C7
Ice
# n
the
dy
Fm7
ex - plained
That
N
ot
b
Vb
TR
&
bb
mo - ther
18
b
Vb
and his
B b7
Pe
&
His fath - er died
Gm7
clothes
b

Vb
ly
io
Fm7
? b
b
bb
gir
ct
in
b n
du
up
fo
rp
&b
ro
dres - sing
sa
l
ru
b
V b b
gave him night - mares and
What
it
bbb
shock
bbb
bbb
PIANO/VOCAL
25
...
in - side
B b7sus4
j j
..
b .
j j
.
TR
b
&bb
r
b n
Latin groove
Gm7
? bb
33
Striking 12
ing
tick
n
b n n
>
b
E b7/G
b n
n
# n
34
b n b n j
b
R
30
32
tick
tock
j
n

>
#
>
They
j
.
n ..
35
.j
b n b
j
bb
bb
bb
shoot right from the screwed - up
heart
Gm7
C9
Ab
('cause)
D7
j
n
art
C9
ad lib.
A 7sus4
N
ot
&
bb
29
b
b
n
r
b n
.
b n b
.
Eb
wound
A 7
cuc - koo clock
31
go
? bb
b
b
like
27
fo
rp
b
Vbb
Vb
just
b n
b
n b b
28
up
26
Pe
him
bbb
? b
bb
b n
b
Vbb
&
.
j
b n b j
.
it
io
b n
R
Ab
du
? b
bb
Yeah
ru
b
&bb
F
ct
.
b n b
E b ad lib. these fills throughout E b7/G
ro
V b
Rock groove
sa
l
bb
n
# n

Sprache

Willkommen bei Scribd!

Striking 12

Hochgeladen von

Dokumentinformationen

Beschreibung:

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Beschreibung:

Copyright:

Verfügbare Formate

Striking 12

Hochgeladen von

Beschreibung:

Copyright:

Verfügbare Formate

Verwandte Titel

- PERUSAL PACK -

Book, Music and Lyrics by

570 Seventh Avenue, Suite 2100

State of the Art Rehearsal Accompaniment with

The best sounding performance tracks

Customized Key Changes On-Demand with

Change the key to suit

Box Office & Ticketing

Affordable BroadwayQuality Video Spots with

TicketLeap provides a smart, seamless

Check out Show GO Tools now at

NARRATOR 1 (Master of Ceremonies)

BREAKDOWN for 10 players

NEW YEARS PARTY

IF YOU'VE GOT CANDY TO UNWRAP

BAND WITH CHORUS

THIS IS AN IMPORTANT THEME

(The welcome speech should be a direct address from one of performers

SMALL PART GUY

THE MAN WHO HAS HAD ENOUGH (THE MAN)

It's the end of the day

at the end of the year.

LAST DAY OF THE YEAR

(Depending on level of staging, office scene is set up)

(HAPPY FOLEY does boss. In keeping with do-it-yourself theater

You know, they already gave out the bonuses.

Craig! We're leaving! Elevator's here!

(To THE MAN)

(At approach of boss, LYDIA heads off; CRAIG remains behind a

Yeah, I kinda promised I would stay.

Dude, blow it off, it's New Year's Eve.

AND I'VE GOTTA FIX THE PRINTER

I GO THROUGH THE CROWD

I'M ALMOST DONE

CHORUS WOMEN (COWORKERS)

I VOLUNTEERED TO STAY LATE

(Individuals in CHORUS also become TRAIN CONDUCTORS and

PARTIERS AND THE MAN

(All on stage turn out to address audience)

I NEVER READ THOSE TOP TEN BOOKS

AND I WOULD NOT DWELL ON THE PAST

SOLO FEMALE VOICE [SUGGEST: NARRATOR 2]

THE MAN AND CHORUS

THE MAN AND CHORUS

LAST DAY OF THE YEAR

THE MAN AND CHORUS

Would you watch where you're going, please?

(THE MAN EXITS; focus turns to S.A.D. LIGHT SELLER)

S.A.D. LIGHT SELLER

SIDEWALKS WHITE AND CLEAN

CRYSTAL BRANCHES GLISTEN

S.A.D LIGHT SELLER

S.A.D LIGHT SELLER

IT'S COMING DOWN

S.A.D. LIGHT SELLER

STORM CLOUDS DRIFT AWAY

He checks his messages

(HAPPY FOLEY comes out holding answering machine)