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- PERUSAL PACK -

Book, Music and Lyrics by


BRENDAN MILBURN, RACHEL SHEINKIN
And VALERIE VIGODA

570 Seventh Avenue, Suite 2100


New York, NY 10018
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212-643-1322 fax
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for the single specifically licensed live theatrical production for which they were originally provided.
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is strictly prohibited by law.
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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)
WHAT ARE YOU GONNA DO ON NEW YEAR'S EVE?

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)
LAST DAY OF THE YEAR
THE MAN

ON THE
LAST DAY OF THE YEAR

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
WHAT ARE YOU GONNA DO ON NEW YEAR'S EVE?

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

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

HAPPY FOLEY (AS ANSWERING MACHINE)


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.
HAPPY FOLEY (AS ANSWERING MACHINE)

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

HAPPY FOLEY (AS ANSWERING MACHINE)


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

THE MAN/HAPPY FOLEY (AS ANSWERING MACHINE)


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

HAPPY FOLEY (AS ANSWERING MACHINE)


BEEP! Erasing all messages. Especially the message from Diane, your former fiance.
THE MAN/HAPPY FOLEY (AS ANSWERING MACHINE)
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
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
EVERYTHING'S GREEN AND RED AND I'M FEELING BLUE
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
DOESN'T ANYBODY NEED SOME LIGHT TONIGHT?

19
NEW YEAR'S HOST
SAY WHAT? OH NO. I DON'T THINK SO
GOT TO SEE THE BALL COME DOWN ON TV
SAY WHAT? OH NO. I DON'T THINK SO
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


DOESN'T ANYBODY NEED SOME LIGHT TONIGHT?

N
ot

NEW YEAR'S HOST


SAY WHAT? OH NO. I DON'T THINK SO
I GOT MORE IMPORTANT THINGS ON MY MIND
SAY WHAT? OH NO. I DON'T THINK SO
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


DOESN'T ANYBODY NEED SOME LIGHT TONIGHT?

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
THIS IS THE SOUND OF A PARTY YOU DON'T GET TO GO TO
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 LA LA HEY LA LA
HEY, LA LA HEY, LA LA HEY LA LA HEY LA LA
HEY, LA LA HEY, LA LA HEY!
)
THIS IS THE SOUND OF A PARTY YOU DON'T GET TO GO TO
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, FINE


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

EVERYTHING'S FINE, FINE, FINE

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

EVERYTHING'S FINE, FINE, FINE

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


THERE'S GOTTA BE SOMEWHERE
OUT THERE BETTER THAN THIS PLACE

27
THE MAN
THERE'S GOTTA BE, THERE OUGHTA BE,
SOMEBODY OUGHTA DO SOMETHING
LITTLE MATCH GIRL
THERE'S GOTTA BE SOMEONE
WITH SOME KINDNESS ON THEIR FACE

THERE'S GOTTA BE SOMEWHERE


OUT THERE BETTER THAN THIS PLACE

fo
rp

LITTLE MATCH GIRL


THERE'S GOTTA BE SOMEONE
WITH SOME KINDNESS ON THEIR FACE

THE MAN
THERE'S GOTTA BE, THERE OUGHTA BE,
SOMEBODY OUGHTA DO SOMETHING

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
THERE'S GOTTA BE, THERE OUGHTA BE,
SOMEBODY OUGHTA DO SOMETHING

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

LITTLE MATCH GIRL AND THE MAN


MORE

(Violin solo section)

sa
l

THE MAN
THERE'S GOTTA BE, THERE OUGHTA BE,
SOMEBODY OUGHTA DO SOMETHING

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
SOMEWHERE OUT THERE BETTER

sa
l

LITTLE MATCH GIRL


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

ru

LITTLE MATCH GIRL AND THE MAN


SOMEWHERE OUT THERE BETTER

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


SHOULD I LIGHT ONE MORE
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


SHOULD I LIGHT ONE MORE

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
LITTLE MATCH GIRL (CONT'D)
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

CAN'T BELIEVE MY EYES

TENORS AND BASSES

WONDERFUL

CAN'T BELIEVE MY EYES

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

NARRATOR 1, NARRATOR 2, AND SMALL PART GUY


VISION IN THE MATCHLIGHT
FLICKERING AND FLOATING

37
NARRATOR 2
SO MUCH KINDNESS IN HER GRANDMA'S LOVING EYES
AND SHE
NARRATOR 1, NARRATOR 2, AND SMALL PART GUY
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

NARRATOR 1, NARRATOR 2, AND SMALL PART GUY


LUMINARY VISION FADES AND DIES

MORE

38
LITTLE MATCH GIRL (CONT'D)
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


THAT BURNED OUT FAST BUT SEARED YOUR NAME
ACROSS MY HEART AND EVERYWHERE YOU'D BEEN
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
LITTLE MATCH GIRL (CONT'D)
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.
(After each of the following 12 lyric lines, we hear the "clock strike")

n
io

ct

Pe

ru

sa
l

I WILL BE WITH YOU AGAIN


SURE AS I HAVE EVER BEEN
BURN MY MATCHES TO THE END
THROWING CAUTION TO THE WIND
I WILL BE WITH YOU AGAIN
SURE AS I HAVE EVER BEEN
BURN MY MATCHES TO THE END
THROWING CAUTION TO THE WIND
THROWING CAUTION TO THE WIND
THROWING CAUTION TO THE WIND
THROWING CAUTION TO THE WIND
THROWING CAUTION TO THE WIND
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
SCREWED UP PEOPLE MAKE GREAT ART

du

CHORUS
SCREWED UP PEOPLE MAKE GREAT ART
LIKE CHARLIE PARKER

JACK

fo
rp

CHORUS
SCREWED UP PEOPLE MAKE GREAT ART
JACK
DON'T FORGET VINCENT VAN GOGH

CHORUS
SCREWED UP PEOPLE MAKE GREAT ART

N
ot

AND JANIS JOPLIN

JACK

CHORUS
SCREWED UP PEOPLE MAKE GREAT ART
WELL, DON'T YOU KNOW

io
ct

Pe

ru

ALL
SCREWED UP PEOPLE MAKE GREAT ART
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
SCREWED UP PEOPLE MAKE GREAT ART
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

THE MAN AND THE LITTLE MATCH GIRL


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 MAN AND THE LITTLE MATCH GIRL


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

ct

Pe

THE MAN AND THE LITTLE MATCH GIRL


(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."

ACTOR PLAYING THE MAN

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.
ACTOR PLAYING THE MAN
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

ACTOR PLAYING THE MAN


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

YOU THINK IT'S ALL JUST HUNKY DORY


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
IT'S ALL ABOUT ME ME ME ME ME
(Others join)
IT'S ALL ABOUT ME ME ME ME ME

(DRUMMER stops playing in response to the others trying to share


spotlight)
DRUMMER

Point made.
[Drum solo]

sa
l

DRUMMER (CONT'D)
YOU THINK IT'S ALL JUST HUNKY DORY
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

ACTOR PLAYING THE MAN


(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

ACTOR PLAYING THE MAN


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?

ACTOR PLAYING THE MAN

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

570 Seventh Avenue, Suite 2100


New York, NY 10018
866-378-9758 toll-free
212-643-1322 fax
www.theatricalrights.com

fo
rp

TR

Book, Music and Lyrics by


BRENDAN MILBURN, RACHEL SHEINKIN
And VALERIE VIGODA

Follow us!
@theatricalright

N
ot

Like us!
www.facebook.com/TheatricalRightsWorldwide

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

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
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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

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ot

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boss

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fo
rp

late

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(8 +8)

Hey guy - they're letting us out early! Half a day! Whoo hoo! ... [DIALOGUE]

on


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na

TR

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CRAIG:

do

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& 74

{q = 170}

ct

NARRATOR 1:
NARRATOR 2:

14

am

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please

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b
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late

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the boss

18

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my

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31

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37

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pay

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28


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2. - Last Day Of The Year

io

VOCAL BOOK

36

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38

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43

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2. - Last Day Of The Year

VOCAL BOOK

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TENORS
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the

ct

of

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day

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last

sa
l

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ru

2. - Last Day Of The Year

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
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way

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64

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66

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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

2. - Last Day Of The Year

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

&

2. - Last Day Of The Year

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

&

2. - Last Day Of The Year

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

2. - Last Day Of The Year

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

2. - Last Day Of The Year

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

&

Would - n't you think

###

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

##
& # .

Would - n't you think

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

Hey, onion dip, my favorite!

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

POST NASAL DRIP GUY:

23

slack - ing off and

N
ot

20

POST NASAL DRIP GUY:

#
#

hide right here

11

been

fine,

I've

POST NASAL DRIP GUY:

facts

fo
rp

TR

MAN
# b THE

V
J

he

10

and

if

io

dip

job

ro

ru

#
V b

drip

I hear they have mercury in them but it's New Years Eve, what the whoo.

Pe

POST NASAL DRIP GUY:

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...

POST NASAL DRIP GUY:

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?

POST NASAL DRIP GUY:

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?

SPACE INVADING GIRL:

N # .

fine

THE MAN

..

Vampdialogue

49

N
ot

..

Hi Nice blouse, where did you get it,...

du

ce

SPACE INVADING GIRL:

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

SPACE INVADING GIRL:

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.

SPACE INVADING GIRL:

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

SPACE INVADING GIRL:

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-

SPACE INVADING GIRL:

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

Eve - ry - bo - dy's got

#
& #

32

35

got - ta be

30

41

Can't

Eve - ry - bo - dy's got

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

some - bo - dy ough - ta

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

some - bo - dy ough - ta

LITTLE MATCH GIRL

There's

some - bo - dy ough - ta

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

on - ly one who said

the

the

on - ly one who said

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

in - dif - ference and


of

2
4

in - dif - ference and

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

15. Caution to the Wind

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

&

###

15. Caution to the Wind

VOCAL BOOK

the wind

96

44 w
100

-79-

VOCAL BOOK

15. Caution to the Wind


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

&

###

15. Caution to the Wind

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

17. Screwed Up People Make Great Art

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

ma - gi - na - tion off

the

ma - gi - na - tion off

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

17. Screwed Up People Make Great Art

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

17. Screwed Up People Make Great Art

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

17. Screwed Up People Make Great Art

VOCAL BOOK

le - ga - cy



And

prin - cess who was

# n
On

and

bbb

-86-

VOCAL BOOK

&

bbb

Rock groove

17. Screwed Up People Make Great Art

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

peo - ple make great

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

peo - ple make great

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

peo - ple make great

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

peo - ple make great

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

17. Screwed Up People Make Great Art

io

VOCAL BOOK

peo - ple make great

peo - ple make great

art

n
J

art

-88-

Screwed - up

Screwed - up

130

Screwed - up

Vb

133

131

n
J

134

and Ja - nis Jop - lin

Screwed - up peo - ple make great

Screwed - up peo - ple make great

136

Well don't you know

Striking 12

N
ot

b
Vb

137

Vin - cent van

Screwed - up

art

Screwed - up

135
JACK:

yeah

peo - ple make great

Screwed - up peo - ple make great

peo - ple make great

But surprisingly, Yanni


is completely well
adjusted. [MUSIC]

n
J

fo
rp

Vb

art

Gogh

&b

132

Don't for - get

peo - ple make great

TR

Vb

peo - ple make great

Screwed - up

art

nia Woolf

ro

peo - ple make great

Pe

&b

Vir - gi

n
J

ru

and

art

sa
l

b
Vb

peo - ple make great

art

art

art

138

io

Vb

art

n
J

ct

du

&b

17. Screwed Up People Make Great Art

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

####

18. Its Not All Right

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

####

18. Its Not All Right

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

&

####

18. Its Not All Right

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

####

18. Its Not All Right

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

sets of foot - prints a

With movement - building {q = 149}

SMALL PART GUY


and JACK

snow

is

gent

man and wo man walk ing in the

night

ly

man and wo man walk ing in the

11

fal

15

j
.
ling

light

12

13

SMALL PART GUY


and JACK

night

And the

snow

NARRATOR 1

And the

night

man and wo man walk ing in the

still and qui - et hours be - fore the

N
ot

the

fo
rp

two

TR

,
. j j j

sets of foot - prints a

# .

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

&

20. Picture This / Snow Song (Reprise)

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

&

20. Picture This / Snow Song (Reprise)

io

VOCAL BOOK

42

at least

from

44

45

-98-

VOCAL BOOK

&

20. Picture This / Snow Song (Reprise)

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

&

20. Picture This / Snow Song (Reprise)

the

of

the

74
74

-100-

VOCAL BOOK

Driving to end

20. Picture This / Snow Song (Reprise)

# 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

13 (alt). Give the Drummer Some

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

got - ta give the drum - mer

Got - ta give the drum - mer

91

ry

Got - ta give the drum - mer

# ##

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

&

####

13 (alt). Give the Drummer Some

io

VOCAL BOOK

got - ta give the drum - mer

93

n J

You

some

some

94

got - ta give the drum - mer

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

570 Seventh Avenue, Suite 2100


New York, NY 10018
866-378-9758 toll-free
212-643-1322 fax
www.theatricalrights.com

fo
rp

TR

Book, Music and Lyrics by


BRENDAN MILBURN, RACHEL SHEINKIN
And VALERIE VIGODA

Follow us!
@theatricalright

N
ot

Like us!
www.facebook.com/TheatricalRightsWorldwide

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

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

POST NASAL DRIP GUY:


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

I hear they have mercury in them but it's New Years Eve, what the whoo.

dip

&

POST NASAL DRIP GUY:

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

POST NASAL DRIP GUY:

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?

POST NASAL DRIP GUY:

?#
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

Hey, onion dip, my favorite!

POST NASAL DRIP GUY:



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,

POST NASAL DRIP GUY:

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?

POST NASAL DRIP GUY:

# .
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

SPACE INVADING GIRL:

ce
C7

.. ^ ^

B7

N
ot

has caught my

THE MAN

SPACE INVADING GIRL:

&

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]

SPACE INVADING GIRL:

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

SPACE INVADING GIRL:

#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?

SPACE INVADING GIRL:

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

SPACE INVADING GIRL:

# .
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

17. Screwed Up People Make Great Art


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

17. Screwed Up People Make Great Art

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

17. Screwed Up People Make Great Art

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

&

Screwed - up peo - ple make great

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

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bb

b n

b
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&

.
j
b n b j
.

it

io

b n
R

Ab

du

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bb

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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