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High Fidelity VOCAL SCORE No. |Song _ Page|No. Song oe [Page| 1] Gee TT [18 | Yantai Smee | 150 _ Lovett) 2 | THCRERTST 9 | 16 | Tear onees 158 - _ Cobain’s Intervention) [3 | Smet [31 [16a] henna vera [164 A ee 36 4 7 | Slept With Someone 4 65 4A Desert Island — Playoff 50 1 7. 1 Exit Sign 1 70 5 The Mother Lope 52 1 TA Crunch Part II 1 73 6 It's No Problem 53 18 Crying In The Rain 174 6A What Came First 58 19 Conflict Resolution 182 7 “ Goes 59 20 oe Good 190 Pe | meres 75 [20a[ messed [211 9 Number 5 With A Bullet 83 21 eRe 212 | 9A [seeaoacedere|106|21A) eran (218 41 0 Ready To Settle 41 07 21 B Fuck ‘Em All 21 9 4 OA These Things Happen 4 41 7 22 lan’s Eulogy 221 10B | Crunch 118] 23 tm Sorry 226 41 4 Terrible Things 4 20 23A Getting Myeptiso | 233 4 2 erste neem 1 23 5 ne Night Girl | 234 | 13 9% einem Your 125| 24 Turn The World Off | 236 | 14 Entr'acte 4 47 — a High Fidelity | 1 ] OVERTURE Keyboard 1/Conductor Orch. by Tom KitiAlex Lacamoleg cu) ANNOUNCEMENT: “Ladies and Gentlemen.” "Pease ike a moment to loc: the emergenéy exit nearest you." “And incase of an emergenty plese WALK tothat ex. With anticipation J= 126 3Xs 1 Gte.I(muted) pp ee pacoe poco PIANO (w/some chorus) | 2 erese. poco a poco +Cym, cll +Cym.(Ist x only) (last x only) “and proceed away from the building...” SSS == I get tte PR Tey oy A eat ayy yt 1 Log “kana = *Cym- roll “AND TURN OFF YOUR CELL PHONES!" 4 Safety High Fielty Keyboard \Condstr > OVERTURE Gi Loudly ten mre: Gt. L ane! Has. ~ & Tit Ato : i gh 5 TP E 2) 1 4 os = rz Paamiemio 10 Fvin, Vel, K2:Lead > = Bs. F__ w/K2:Organ(sus) Fousharigh, is Rockin’ J= 156 sini Gin (Bvb) ‘Desert Island All-Time Top 5 Breakups TLE = Drum fill ~~~ TT 4Gtrs, Drs, wiGert ah es —— J Keyboard 1/Conductor 4, OVERTURE High Fietiy 19K? 2 K2(gliss up) LEEPFEPEP EFEFEEF Gls down & up) /Vin Vel ze 4 —_. i & = = f= z= =I =e = dg Hns.(out) Girl ' ' d é 4 2 4 2 or et = = pf = = = ws == = = = —— =| © oice 7 7 z sub. B Fm chm o (REDI] Gu2 poteha es aS jy e Rhythm(out) o - a a & oo Keyboard I/Conduetor 5, OVERTURE High Fei Via, Vel 30 K2(long gliss up) Fou CF? : cucztss) <> PLAY F Im EE aut Keyboard 1/Conductor 6. OVERTURE +Via, ventas CP'S | ; | +5 oe aS Sad = = = ; “I Slept With Someone (Who Slept With Lyle Lovee)" 4 at i us CERT eer RPFRr ini; ferp Sas = ‘A (HARMONICA) as == of ‘ote to Jim Abbott! ABD ix playing an actual harmonica, nota.ymchonel FG x z = 7 Drs.(HH quarter notes) = sous] Keyboard Conductor ‘9% Chance Of Your Love Vig, solo 7.OVERTURE Toms High Fidetiy Pr PR a . a é = FES | W beer beeen mi fisisiiiis i? —— = = + SSS = ope - SS 2S = A = SS — Drum fills 2 a 33 a3 E Drama fil - a vs. Keyboard |/Conductor 8, OVERTURE High Fideicy Toms Alto solo fy o re = = ait Ss e —_—————— detached 4 = £ pe oJ C LH cs (Hanoy F Arv0s) Arinos) _A7ss4 = - = # — ————— aoe Sait = = SSS Sa Drs.(HH quarter notes) Vin, Vel.(8vb) i: Ez = = i Si cs = + ’ Gts.182 oi = SS a Se 5 = * A7{n03) A7SUS4 ATinos) -A75U84 Arnos) A784 A7inoa) A7sus4 aan a . Cott pce «poco = + 4 —— et [SSeS a SS Sree fssve save Perey pee eS pecan aa a at. Keybosed (Conductor 9. OVERTURE High Fcetiyy Tpt, Alto Aye Tau HIGH FIDELITY Piano/Vocal 2| THE LAST REAL RECORD STORE [Rev. 10/19/06] Music by cue) TOM KITT SEGUE from OVERTURE Lyries by AMANDA GREEN Orchestrated by }: "Hi, Rob Gordon here, 34 and TOM KITTIALEX LACAMOIRE relatvely.happy, I guess, is the word Tm looking for. After all, I've got ajob, and a girlfriend, and a jaw-dropping collection Of LPs. All of which should make me fee! ROB: "Why the Somewhat grounded and secure." dangerously ck (Beat) (MUSIC OUT) ———— aS Guitar | [w/aeiay (ata The Eage) TWe col - lee ted ce - cords e - ver 01 fee like Tm Alating away? Och? Soesseesesr aseneannsnoonIESEEE aes ———— since 1 was four - teen ~ stole my par-ents sertched up for-ty =.3 = SS SS SSE five of Jan and Dean and from there the love af = fir grew Piano/Vocal in =] an ob = aes = sion music is my sav - for andthe cause of my de = pres = sion We Ral i . = = = 5 a a ATempo to being full dime owner of the last real re-cord store__on__earth.— SE : cea 775 555 ae Piano/Vocal 42. The Last Real Record Store (Rev, 10/19/06} eee S = f Ab Db abies Ab hie oye ob ROB: “This is my store, Championship Vinyl - strategically situated in a neighborhood that aac the bare minimum of window shoppers.” pee - —— —_ —s feet T+ > + + res ee - —— - Last only te 2 a = & ——— = 7 = = 3 = = SSS get by e-ly-ing on the freaks who cant aur-vive without thee ' wars; FUT mow: gs == ci ; = ? Yo! Reb. Wassup! ; - b : 5 = = x 25 Ei 1 Z eS f= = Ja pa-nese —im-port or their Za-ppa for-ty five HIPs: Fur: 4- 12. The Last Real Record Store [Rev. 10/5/06} Piano/Vocal really kind of sad. Hell, 'd be making fun of them, if ic weren't for the fact I'm really one of them. Yes, az SS mf ab if you're in - to vi PALE YOUNG MEN {and offstage voices) ash zero growth. po-ten Piano/Vocal #2. The Last Real Record Store (Rev, 10/19/06) ROB. BE == = a PS —— So = and dingy, ne-ver crow-ded: all a re-cord store shouldbe! P o = === ser- i-ous__ col - lee = tor. who knows ___ a re cord’s___worth.t™_ Need @ = = = = = == Db Dbsus2 abic Fa Z “a ROB and ALL: | Vin-tage Decea? Step in - to my mec-ca, it's the last real record store. on_eavth!_. —— SS= = = SE= an Hall-Time o Dark, Intense — E-ver since. 1 los con ka Ee #2. The Last Real Record Store (Rev. 1011906} Piano/Vocal ROB: “He's listened to every ROB: “That's Dick He oI record in this store.” ‘works for me.” 3 s Em Am : — SS — ROB: “Twice.” | = == SS : E = oe ~~ a = De = | L at F- = + ROB: “What are you listening to Dick?” "Oh, ul, it's the new Vivigection album 1 told yo. Jeased here. Japanese import only. ‘Wanna listen” ROB: "Oh tha’ okay, You don't have toxno Dick, no Dick, ‘ want..Dick.. DICK yanks the headphones out ofthe stereo WOMEN: > Yamp Sa bee = = - —— : =— qj t = = ion \ o er . | au Piano/Vocal -7- 72. The Last Real Record Store (Rex, 111106} Heavy, Sig ‘es sf DICK: == ¥ SSS] a == o —= be a love 1 eall__ay ES I want to finda love, heart! Heo shi - ma of my | hear! own But I'm too weird and shy, [guess TM die alone fi shi - ma of my | heart! En . ROB: “Thats ce Dick ra ROB: (CONTDY".Chee." $ = - . ; \s tis 5 Pat aS — = > = + I>? F z i z oe | === === - = Piano/Vocal BARRY: “Top 5 Worst duets of all ime ROB: “Barry, you're late.” Freely, Dictated bend up, BARRY: "Nomber I! islands in she Siream Dolly and Kenny: Twol Sey Say Say, Paul and Jacko; ‘Three! Unforgettable, Natalie Cole and her dead old man: Four! Endless Love ~ Diana Ross and Lionel Ritchie; snd aking tp “A #2, The Last Real Record Store (Rev. 10/19/06) {in the clear) BARRY: "Peabo Bryson and tke-your pic that guy is duet slut, hell ng with anyone! ‘Tempo I" fm ROB: __ _ Z — = == > — He f SSS What can I do? They came a temps, tnd then they started showing up here ev - ‘ry day, Abus ab Absus hs | abs Bhs chs And as 1 High register arpeggios -inkly music a= cross this thy spac. au as ty Piano/Vocal Eba bm? suse Aba some ~ dimes tine T should just the place, Dbm7 [Bbms But then 1 think where would 1 go? find guys who know the things 1 know? m) Piano/Vocal ik smells like ass 108 but e- ven 50 woulda't change a thing about wouldn't change a thing adout it ‘Cause most Cause most o-ther stores. o-ther stores. o — ROumARAY Buying music shouldnt be tke buying khakis at The Gap! Were the iM : ee Pa = Gee aa SS SS = o oy Sos 7 Buying usc shoul be like buying khakis at The—Gap! Dont fll into the Gap aes SES $= ¢ =F = = | Fn Fn Bhsuse ab Abic comet —— Sat - = Piano/Vocal Me 1 Last Real Record Store (Rev. 10/19/06) orm ete 2 Res et = S45) re thags a+ ay-thing— of —_wertht__ H yoo i ee ob Toba abc fe - = = =3 a : = tite maar ket ring your sand pack tow het ve SSS == SSS oe = x —: = FE = 2 lo Talking Heads BARRY/DICK + MEN: pp z S v y P record store__ on earth! This ain't no Tower! This sin't no Co-co-nutst i WOMEN (some MEN): Jol : = bee = : = a - cS t = This sint no Tow-er!

> = _ — +f = + = = — f dm Gauss ag Fe Tm not too ball - jane on the day-to-day, DICK: ot too Brill jane onthe day = toda pay —— What's the day to day? = = = a = = | e * ; : po ee [a me fy — ' é Se = z | i gh > >> = Ss Em Em? = FA SS q = Piano/Vocal pick BARRY ROB: ‘Thats why would-a't ange would thing come Mon = come Mon a= bout it change a thing -14- day through day chrough 12 sae My whold My wholé #2, The Last Real Record Store (Rev. 10/19/06) OS : BARRY & DICK tureday!_—__ And 1 world’s in = side this door! we world’ Piano/Vocal -15~ £2. The Las Real Record Sire [Rev 101906} uss us 2 = git = o P SSS 33 a —— Ska_ Pune 26 4 fin — Pets SSH ==>. = : — & Bw weve ga Blues and Soul and R&B, che ak ‘ BARRY: as Piano/Vocal -18- #2. The Last Real Record Stove (Rev. 10/19/06} Blues and Soul and «= RW & = BS we've got Blues and Soul and = 5 Wave, Ska Punk and New. Wave, DICK: gp a & 5, andthe we've got Blues and Soul and oR HIPSTER: *Yo!" FUTON GUY: "Rob." (checks tral on register) Nothing.” i iss a ee — == we don't have is: Piano/Vocal Freely, Colla Voce 16 +2.The Last Real Record Store (Rev 1019/06] DICK: “t don’ do you?" ROB: “Not celly.” 19 ‘Warmly, In Tempo 4H 190 Tana ° 191 192 AS: 13 rit tO® — = f f E - lumped drop out of col - lege lose your mind and wind up here And they't Pree - ho = z — 2 = = f = = on ; = = pri BansGl— ™Y toms = sone ight be side my dae of bin = ime = ~ ¢ — ~ i =——= 2 z = ooh ooh coh oot a cot coh rz = = = Z 3 é : = Ook coh, a coh coh ¥ Cpe 2 — set ES 2 3 —— v (Strings y ~ | | mp _l@e £ ft at 1 - : = = =F =| F Piano/Vocal -20- 12. The Last Real Record Store [Rev,103¥96) a tengo Bf 198 ‘Tempo T" 1998 —————_ —— as m1 ee f + SS= Ee = Pe + Pan «time stoner went from clerk 10 owncer of the laste cord ore oneal. ———— PSS ree weReT Last cea! record store on_ertht__ Last real record sore : ‘Would-n't change & thing a-bout iw Goma get upon the ref and shout. Would-t change a thing a-bout_|__ it! | get up on the roof and shout. Piano/Vocal -21~ #2. The Last Real Record Store (Rev. 1018106 will it hold us all? 1 dou it Barry Bary, DICK: 1 Kon" ibe au : eg eee eens neeneenEEEEEE 1 would-at change a thing WOuEn ad Dot 1 feet ———— - v an, Mohawk, Hipster - ~ Piano/Vocal -22- #2, The Last Real Record Store [Rev. 1019/06) a 28 gpg. eS Eieig oenhipaed-ot change a thing nt change a thing ps Would-nt change a thing | Big Rock, and Roll Ending 3 HIGH FIDELITY Piano/Vocal GETTING MY SHIT TOGETHER (Rev. 11/3/06] Musi by uN hone cur: ROB: "Sot Thats song for a, Remeinber the lst dime your ad was in the hospital? We stayed on the elevator arguing a Gay? Ozchesteated by Lobby, LC" ‘TOM KITTIALEX LACAMOIRE fe WU. Lobby. LC. WURA: "Yeah well, wanna get off the elevator” aausic) ROB: "You doo' have to do this Laura" Moody Pop Ji=6 gig getting my shit fo ~ ge-ther_ got de it peck - ing the bog wal + gain and a-gsin__ well ac — = aa : 2 Piano/Vocal #5, Getting My Shit Together (Rev. 137006 A took tk ek = er ack Gk (Mew my At pays hy” L, _ = ee ee ee +e AS * i _— 2 =| 55 = = F F F a i Me =F Sr SSS ie the pink, spi-ky— air whe Ht fi ie ot the same ‘ole, legato ” per son who ‘walked cheough that 29 oor -y you ooly think that you do fave you a petting chang - Ing or uying to beng Piano/Vocal -4- oct = ly the same per ~ son youve al-ways__ bee talked i¢ all ehough and there's ne-thing to say__ were jus standing __ = out of__ 34 as tS ne ERS you oover do just make yourself hap-py thats my wish for you and Im get-ting oy shit to ATempo 6 s ss e-the, SEGUE #4 Desert sland All-Time Top 5 Beeskvps 45 HIGH FIDELITY 4 Piano/Vocal DESERT ISLAND ALL-TIME TOP 5 BREAKUPS v Music b (Rev. 10/30/06] TOM KIT Lyrics by AMANDA GREEN Orchesteated by ‘TOM KITT/ALEX LACAMOIRE cue: SEGUE FROM #3. GETTING MY SHIT TOGETHER ubato ar ' e f ecteliy i ss eS == $ 3 Om. God,- bow did come to thi?” Oh, Laue, Lava wit id 1 mis? Did you ras ial a ae Heat 3 = v "aap — a a , can it be that you dont love me a - ay oa Piano/Vocal ‘Tenderly if you want to see me surfer ‘Accel. poco a poco 14, Deser sland (Rev. 105006) then you should have got to me be ~ fore of hear-bresk you can we up Piano/Vocal -3- #4, Desert Island (Rev. 1090/05) OR: ‘My Desi Al Tne Tope Bet Ue in cheng Foro ear Boe" Se fo She RES SLSR TPNG” ux omceuenos:~ Ya Do oot : = S SS SS BSS PSF # shese were the ones hae ate ib ff tte Alp E Aig 37003] Alp & ALA ne x SS SSS Ss elite ape = ~* = TOPS GIRLS (CHARLE raNy she, but you're 90 where sear the top-five! Piano/Vocal #6, Desert Island (Rev. 1013006) 2 in car - by scarred me for life, I bave___ no doube__ But “These were the girls. who got sey = — \* Bur vist £ ft ft_§ i Mm BMS Am lem Me eeagty = See Z = SS Ss : corr? cor oot sate hat kind of hur, that Kind youte too late_now, you. you're 00 late _you. Piano/Vocal ~5- #4, Desert Island (Rev. 1013006) 2 0 fp don't e-veo make the ts! you oat even make the Us THE Exes The ile eS This is nothing per sonal, please, doa't z Aig E00) A Ajgetl003) ae ee, £ ie ( i = sae = Ceerc irr Cie r Cer coer coo Cter creor 40 Piano/Vocal -6- #4, Desea Island (Rev, 1030/06} to ceally make. esch 0 ~ ther exy Those simple fact__is tat were 0 old_ Laue A Dy thers tank ~ fu Piano/Vocal 44, Deser Island (Rev, 1070/06) | ica? ‘Cause iF you leave me can sipoke__ lnsidet_ : : == SSS = Can smoke in = set bien by #4, Desert Island (Rey. 10/3005) Piano/Vocal 2 Ey * 30 | los ing you all (be fine by the Fall or the Ia = test next Sumner mf 5 Les ing you is aaold no big deal just kind of 2 bumanee SSS] ice cream headache dat you wil $000 —— aS Five mine utes of pain, thea you move on. (: i \ rn su au “ « 4 4 . ra Move on! 0 you see, youre not eally offering hrm anything azw bere! CHARLIEPENNYISARAB: "If you want to ALL GIRLS:".. YOULL HAVE TO DO force your way onta the lit, Lau, ‘ALOT BETTER THAN THIS” 3 3Xs 7% n a Piano/Vocal -10- #6, Desert Island (Rev, 1080/06) Bye bye Nice Close, but not sath | cane fae Close but no = ga A--li-sool Be - way me like Pen-ay! Piano/Vocal ~u- #4, Doses sad (Re. 105008 oo * : = = o = f crush me Uke Charlie! And Tm soogser thio wiea Sa-iah Ist! Gloo-my, sue, but oor vie And ut z z . SG \ ‘Yeah, ‘yea, ‘yeah, yeah, owh {see at ten am no = whee ew de en me YOU BO _ feats = z zi = G ¢ ———— ‘Though I see a trend here, No - where ear the + end here, s os NOT REERESENT MY LAST. REST CHANCE AT A MEANINGFUL RE-LATIONGHIP AND a ——— SS Se (SSE - e SS fa You dow't ce pre = sen, LAST BEST CHANCE AT A SSeS OSS (MEANINGFUL RE-LATIONSHIP! AND A Piano/Vocal -12- 14, Desert Island (Rev, 100008) (LAURA suddenly rushes back into the fparment and across the room) EXTRA “Hey T forget my toley bag.” ROB: "Laur Listen, were being stupid ‘Lets just order in tonight and sot this ut” LAURA: “Take care of yourself, Rob (And ahe pose Pause.) * a Break ~ Ups. My 109 0 Piano/Vocal == #4, Deser Island (Rev. 1060106) Tenderly J= 112 Rt 107 Las ow Lea of EMaMOIA A. Flot F = = cae! youll be missed Bu Tempo you. you, you, you, oot even make the you, you, you, yout Piano/Vocal -14- #4, Desert Island (Rev. 100006) Moderato Rit, 4 15 we me yy eI? SEGUETO Fai DESERT ISLAND PLAYOFF Keyboard 1/Conductor High Fidelity DESERT ISLAND PLAYOFF 44 Orch. by Tom KintAlex Lacamoire cS = 7 Vin. t “ ¥ = & is o == Vey = a wiGtr 1, K2 va ov PANO) f ¢ wibs, Drs. i Keyboard [/Conductor Tpt, Alto Sax * 4 5 S 8 High Fidei : ) } “fara are A100 aque ) wiGus, BO ee eee ( = SSS | - Daim ¢ = 2 2 2 2 FF | (backbear) = | y Soon | lege = pues oe SSS 25 === = 1 (Gi 1 8a) tre 7 ¢ HIGH FIDELITY 6| Piano/Vocal THE MOTHER LODE [Rev. 11/14/06] op TOM KFT cue AMANDA GREEN £2 murty sah aoa tis ne Ofchestrated by ‘See Sears TOM KIPHAEER TACAMORRE ‘Acollection of ncrediby rare 458 Te heen amatsng since 7th grade the mother lode, faa ee ereeseee adil s = = == = = esse 4 vias, Look. original ts Redding, Elvis Prsleys, James Browns, Jey Lee Lewios, nd on sadon. These 3 aes lose as Ive ver come toad acta ecucvoaee. 3X8 She! ‘Um, re High Fidelity IT'S NO PROBLEM are you al right?" Look Dick, Laura and I broke up, So if you ever see Barry again maybe you can tell him that?" DICi Colla voce throughout [2] Freely DICKS a Orch. by Tom Kin/Alex Lacamoire = SSS SS SSSe c+ Its 20 problem, no pre-blem Rob, = ee SS youre on. TM tell him when 1 seo Marae Dob tell him wh = =. BH j 5 = = i Am om stio =| == x = = SS SS SSE £ SSS = we ae O98 to tel You Laucris gone.” My schedules pret-ty Sven so Ive got some tine to-day, FL Te +Vibes a a a = SAE 5 mig, Cus oc F | am aD 2 - g fake & i 2 - a Vs. (Bb) Keyboard (/Conductor 2. IT'S NO PROBLEM High Fidelity {got some other stuff to. tell him anyway, Flue —, So Tl tell him when { cell him all the Flugelhorn other stuff, or I could even| a (Wives un) ao (E— ——— 5 —— == — = Cae lo ab mf Bb Jom Nylon Ge. 2 - _ e __ ROB: “All ph, Dick-—" (aut Dick barton, singing.) Att wanders over ond fares 1a Dick amused ten) ; 8 _ a — = os i sa = = = v call. So its no pro - blem, no pro - blem at all. Is, Clarinet a | — | a Con moto J = 132isk ++Vites va | 7 oN _ = == = | Gm sahisea) - i) _ |G 2 ou a _ el oS Rit. problem, Ill see him la-ter at a gig. I probly start with your news fist couse my news isnt big; just to Glock, Flug. Flug. (Glock out) Es —— Fes o Gert Thre | a i Y | selec, Gee 1 \ Keyboard UCondutor Hig Fidei (B] Freely e = — = S=—. oe SS = f SS pet tim that this ovate going to sing, 5 Tl tring op befor a gond oom Flute (aoa ‘Stgs., K2: Le Hp. Bass = = — == = z =— Rit, Faster Accel. poco a poe: 2 Sn 2 eee oe % 3 z = = == —— Sf 1 meen, bad news good he thinks the sages great Nora bad news kind of thing team ad tel goad nes nase be ks the anges ak Nt Flure — : eypal (b= z SS — ar Br DT,S a [RH PLAY of fi = == SSS i Ss Am + = : SS au re z PE 777 Rit (2) Freel; Pa oe aA rey ae — 44 a SS} = Lau-ra isn't too- No! What 1 meant to say No, wait! Barty really likes you both, he + > os ‘ _—_3 — 7 eS SS aca Sigs Vibes $ rs 4 (Acer) Gm Fig Keyboard Conductor 3.17 No PRosLem Freely —— Es SSS ——<—_— | | tell him {fat this wo-man’s going to sing. So Til bring ie up_be- fore: 2 good newa/ fue = of 2 oN af High Ficetiy Rit, Faster Aceel. poco a poco — A — * —— SS [SSS ==> SSS ==> — bad news kind of thing, J mean, bad news/ good news ‘cause_he thinks the sing-ers great My = = TIF Pos SS - + ‘ Am d — == = =| : i T PTF tT Rit fH) Freely 2 ™ Pee SS — = fs == SS SSE Sj Law-ra isnt too- Nol What I meant to say- No, wai Barty really likes you both, he a 7 | ® + J — z = o fia aes £ Vibes 7 jf! = —,; = ~ | CCE] | Gm Fig Keyboard 1/Conductor High Fidelity Poco rit, ay told me so Tast fall. So it's no pro - blem, it's no pro - blem, it's no pro-blem, Flugelhom 7 Sax, Stes, K2: Church Or (48 y 2 Br Des en ae K2: Harp dh aris va —— Fort Pa +Gtr lo 's, Gtr. 2D arp's Gm [Bbm™a7) Bb T == === SS == : ; wn EEF wiBs, ROB: (interrupting him). P Be lensorae Be Dray Freely DICK: It's no problem, Rob tall" 2 Solo (w/Vel.) Bs. out) +Vel 4Cym. oll qq HIGH FIDELITY Piano/Vocal WHAT CAME FIRST? ev. 11/16/06] e a Music by TOM KET Lyses by AMANDA GREEN Orchesuated by TOM KITWALEX LACAMOIRE cue: {ton it dvs hes Cos Dick “Dhan sre Yak Ofencae non Wont cane sx Tae ee ey (GOON) nr People worry about kids playing with Moderato. J=t2s eb cetera ist 5 5 Aa tet of ree he = Ee st a >] L¢ | Orch. by Tom Kit/Alex Lacamoire Q \ec 7x NY 7 eS Co fey | 55> =f Sees { isfy + SES er , / thzb% jf (Hns, Stgs, Gtes, out) a+ =e WORSE esi [ae FF Foe a: 7 | RE = SSS ROB: *No-none taken.” 5 =: “= ere as LIZ: "Okay, a LOT beter" 5 + == SS Peisiiss oa a [mae fT oem x : beriee = = = STATS ~ q dig eile _ ao é = oe Pua ie + Fri) er Py | : ab Gb, ch ablig E 5 Aas 7 3S SS Sas 4R2G3) Keyboard I/Condcior 3, SHE GOES (9729106: Key of Ab) h . . | machoactean'thide the fact youa = Bs, cont’ sim ROB: “Okay, its happened 5 a couple of times." * 2 aL Sos fore her No, fteen uwenty, + this shit is old,—and so—are— you! ROB: "Jesus, Liz, you're hardly tone to alk. How many disatrous relationships have you had?" , Tp. Via, Ten, Vel ; ¥ 4. SHE GOES (8729106: Key of Ab) High Feetiey j : 0 hey or SS = | = oii geo ggs ds es Pages / Trecho OC ae al - etme idsta “crver one hak tow ouzewcld a | Ger f | if =a § Gu, 2 chicken iki tis. ig end _ . . =e Sse | = BY] ghpn00 fF = z z 2 wiBls, Drs. as before (X-stick on 4) ROB: "Affect your" 4 — Z 2 4 a= ie IS FH bed ee ; i 5 BS : eee sed Ste sah wiGtrs.: comp —T Ee Are Shia ob abtig | ob? fi eee . 5 jh fy zee i’ a =F By fF Ea ‘it works with guys today." q FF ; = tf ee : re F SS > é = is: ——— = (eae SS abynea shy eS = x - = = - a — a ¢ > 3 rsa z 2° =f ees S.SHE GOES (st Key of Al Harreiy | a, dont know —how it works today, but for you i¢ on = ly works —one way! be =e Ss a FS # 7 date Te Te —=———= cb ray “ real aL eu Ebr tui rhythm ——~. iii ahi sue eu us a | uu uti wa v0 i Keyboars l/Conduco 6 SHE GOES (972906; Key of Ab) High Feely a, 2 2 = pe SSS —_— = Seep] o mequoeoneyeunore—ingshenste ott —— i; Hs, 62) meetsomeone, youmove— in together, she ae 4 o pS #3 a wiGus.: comp TE ’ ——— af = 7 ae toh . = Air of, = ee 5 oe = Se j- 2 j= WiBs, Drs more active (w/backbeat) aS PSS ‘The girls may change in face and name, Sigs, Has. K2 but one ching al - ways stays — thesame, as sureas aba bycries andthe civerflows, Sius.ka wey pap & e jd ° $3 3 Ag eee ( = fe a4 4 = re te ied + = « we Keybourd Conductor 7. SHEGOES (729106: Key of Ab) High Fig V.S. >>> (3 bars rest) vy & your /Conducor 8. SHE Goes 3906: ey of ab) High Fae LIZ: ‘Okay. Whard you dot her? LIZ; "She wont el me ROB: "Nothing! (Bea) What dd she say tigre ROB. SThe rete se seming f == = fo = ‘ins. 1 Sas. =~ A. 5 £ 5 = a fe igaaig ee = Pait Beare wer Fa tut = J [FACET] wiGie. 2: chitken pickin’ Bae Way eee 5 Robl'mtalking to youas— @ friend__now. Tcduld saythat ite ee o . é a gaa - fr ( eer wat: 3 aS 7 é — rae ie abrnea tut rhythm hould-n't feel chest, aS ight -e5t com-pune-tion, pat ( eS wy hgh ch lig sie | ob [SS == SE se suit ir 9, SHE GOES (9/2910: Key of Ab) High Fai Keyboard 1/Conductor = a bt = + suf-fer from— some dowa - be - low there dys fine - tin, (Shabe i) Oop! Woo! — zou | Tot-plungersSex = SS SS _—= = 4 - = _ Stes. ees zi = a? q Liz: les been cealty hard—on me, so have a lit de sym ral oe iP aS i= a. Se gym, eft ores. r= Tom A utd ehythen VS. (057) Keybosrd liConductor 10, SHE GOES (9/29/06: Key of Ab) High Fetty & SS SS —-— = = meei some - one, you move— in to-ge-ther, she goes Re wiGurs.: comp ——— , 3 ob? gy = 3235 2 Z W/Bs, Drs: more active (w/backbeat) e al = == == = 55 & =. =. S = = 3= Shoop cop rele Year ste go ~ woes © — okays = oe ie - wae “ = z Sy 2 - ——S—- SSS = = 5 =a : Peat tls, non: you move in wo-gétin ste toa 1 ay an ‘ 3 FT ese = = Se a re = peat! The git jut ge - chore. yeah! as =a a SS o 5 ad se easy oes == Se “Sse Gin By ae Keybaoed |/Conductor 11. SHE GOES (979108: Key of Ab) ign Reaiy as t + ——= ot Sigs, Has. K2 ra ae gues out tat youll ne-ver pro : 5 : : 5 | os 2 | ebran pees 12 SHE GOES 92806 Key orb Hereay a a fe = é =| yes! I. = = E = —— = é SSS = = Yeah sie gp - oh oa spe eee Li the ——— oa fay 2 ¥ ~ & 2 “8 ice — = 4 = G ¥ ep 7 = Ss a eo - er, sil away the al ; Testood by wit (Gite. 2 049 aye $ Ve Des: Ride, backbeat he wiBs, Ger 1 _ Sey === oS ——- = = = 3 a 7s “ef SS pape sigh Fiesty Keyboard UConductor 13, SHE GOES (9128706: Key o! s 1 Now you fniily got a win - ner, did you even cook—her din - ner? The sherk Sigs. K2 Hi-hat J's tutti chyth (€b7) 10 Keyboard |/Conductor answer's ‘No'— I'm guessin! And I'm Book, a, '4. SHE GOES (9729106: Key of Ab) full-on PM. S~ iat! Ah, She's full on 4 +K2: smear PM, Aaah! you jr crete 1 a SSS ===: = _ mmecsome-one,younove in toxgether, she go-ces Re - peatthis.hon: youve. in together she ° 5 = | Oop oop yeah Yeshshe go worse = gat Sigs +288 BR FB : pS Ee. — - — = pe = | [oO Hns ~ r ~ ? - r (ea eo Ko ya 07 wiGtrs: comp wIBs, Drs: moze active (wibackbeat) a I Keyboard 1/Conductor 5, SHE GOES (9129106: Key of Ab) High Fideliy Ope leant fault you for con-sis - tency, Hea - ven_—knoWal— ‘The girl just go - oh-oes,— Yeah, Ooh (Tpt. out) 5 oy Ep ‘uti rhythm z ==> =| or just re-tar-ded? "Cause you pizz, Stgs, K2 arco Sigs, <=> (we) TL Keyboard l/Conduetor aaeeti 16. SHE GOES (9729106: Key of by High Fei = / = SS a mest some one, you move in - to~ geathér, SSS = A sweet some - one and light es & feather, =— SSS SSS SS Ss & ov = Mest pd atin x2 move in to ge-ther Sweet 2 light as ——SSSS= — =F = op as =i ee ea ae -_ “$9 iq gy yi ? eee Free ene NOE ne | enn TPP PPPS ROB: Shy p Li! (Seno osama ee cod sid si SS =| . eat some - one and change like the wea-the, ik 32S ae ‘Sigs. (ins. out) a cchange— like the wea-ther!_ SS ss} +K2: smear ry Fp wiK2 ava of fp BOF eu) == wise we wus us! fig meee Keeyboars 1/Conduetor 17. SHE GOES (9/29/06: Key of Ab) igh Fidetiyy and she, = we es Yeah Sigs, K2, Git. — jag 5 +Hns, AT iGie, 2: comp w/Bs, Drs: more active (w/backbeat) HIGH FIDELITY Piano/Vocal (8| TAN’S HERE. PRey. 10/31/06] Masie by TOM KITT Lyrios by AMANDA’ GREEN Ron “WHAT suYe Orchestrated by ROB: “WHAT FUCKING IAN GUY? TOM KE ome Freely emanreR: [ny Comba oo) a ‘Moderate Indian Groove = — s = — ee | TABLA groove begins; This piano partisan approximation Ss Piano/Vocal -2- {PA Lane Hove (Rev 1005) tans Sovell the in ~ cense in the eab-buge and. culled wine. ————— aewiy_— all wold = ly) cues, + ight is yous and sine. the present pa = resi, haves known. you Yong =) [4 “Tb Piano/Vocal -3- . ‘8 = ust Lives we've connect. =e, you and I-___throughout___ all time;_. DD, 18. Ian's Here (Rey. 10/31/08) were Des + de - mona you were Hel-en — sod I TT Piano/Vocal A Tempo In terme of fling and embiance, la "Across The Universe CUE: TAURA: ‘fel suange, en." IAN: TAURA: "No, fawancbeing hece. But knew IF stayed with Liz, Rob would justaack me down.” TAN: "Nou doa'thave to explain yoursell, You ezded condor and Pax happy © provide . (MUSIC OUT) ~ 18 fan's Here Rex 105106) ts the sage fumes. They'll wear off Vamp - = z 3 a where you canbe, = sha-vea— you wil of wrong or igh fiaii J 728 Piano/Vocal == lose your eyes___ 4 ‘s tha Tend 45 = ‘ D- a b + = b, 5 . = * gite SSS SS ae = _ fot on Ot dag ae Neat e eee eg (é LE ae le = SS f = — Ft o (cats PHONE RBs) : 7 ba _ pe a Aes A Few Bet 4 Piano/Vocal Plan's Hers Rev.10/3106) LAURA: “Tac 50s st {Ep Rebagsin Tahould maybe ~ a @ TAN: "Dorit Laur. IAN: *..You've pulled the pin, now be brave enough fo oss the grenade.” LAURA: “What grenade?” Freely TAN: "Sometimes a lationship neds o be blow up, jul 1 ee what's el over, tnd whether things ean be pul bock together again.” en ATempo My Jit OR. fit1 MT. LAURA: “le that what you are? A hand grenade?* Fs “Is that what you need me to be?™ LAURA: "Maybe itis, o ‘gq Where did you lear ali this?™ Win oy ‘othods f #8, fan's Here [Rev.10/3106) = Z = ic 7 = tt bee 4, = = = ree = = + =i — x 2 Lay a a a= = ‘oS ahp apt = = sys SSS =5 . som say oma ma sah ma mw kuh sa. fat : <1 eS SS Z a | Ee —— = = Piano/Vocal ROD: “aa ean imerventionist He ured (ive upstairs fom us. He did Ku Cobuia's ineevenion He mnaved one aout sie weeks 290, {never liked nim then ana ¢ Ihcking hate hin now 8, fan's Here Rev 101305] cue: Vamp TAN and LAURA leave 82 Keyboard 1/Conductor High Fidelity | 4 2 NUMBER 5 WITH A BULLET (5720106 ade itr, ev, 68-69 whnsert) Orch. by Tom Kin/Alex Lacamoire a Rock J=88 . . # = = = = ee = = E = ue 2: Eee. whem. wove _ ——SS a = ar g ee | KBD. TTACET until m1 ” oe K2: Wurlitzer Drum fl ominously bs, Drs. 9 aa a Drums — ( Yamp \. rae ° Seneca ae (out any beat) i & = = —# : : ~ Keyboard I/Conductor 3. NUMBER 5 WITH A BULLET High ely (970706 ae ino, re 6B. 89 toe) LAURA: “Come on, Rob, don't gta spton a your Top 5 Desert Island breakup list?” OB Sourtime here." 2 = Ole 1nd Xonly) Gt a ‘Ben J ¢ = : : : J 3 i ominously 2: Warltaer et i > T +85. Dr 1 was feel-ing co pawns b— bad for you ‘cause [ left you with a bro - ken heat, te 20) - = fe —= == = = = pee, a : SSS iz SS + { g etaines) es AS gs es ’ —_ E . = = Cy oT | VS. Keyboard U/Condvetor 4, NUMBER 5 WITH A BULLET igh Fidelity (9720106 add intr, rev. 68 - 69 wiinser) but now you'vereal - ly pissed me off and you know that that's. not smal Did you Don'tyou knowihere's no get-ting 0 Arteaines) as eae Sa — ——— Ss Sa— ; Se ania Bsi@va) jt =. = ‘ SSS SS aes Mm You thinkthis break-up wont affect you if you Gun 4 4 2 Se: Gtr. 1 (fill) 8 Gu2= Gv ® =i (GaS= + 2 ee Ba i e 1 Pd (pee ——— = = + just re-fuse to let — i? 5.NUMBER 5 WITH A BULLET (9720006 ad¢ intro, rev. 68 - 69 wiinsee) High Féelity ‘And there'sno need to sweat it? Well, I've come to claim my spat, and'm not K2:Organ r f leav = ing tid Gu2 (ava), B2vb) Blo Keyboaré I/Conductor 6. NUMBER 5 WITHA BULLET High Fidelity (6720/06 ei intr, ev. 68 - 69 wringer) Num-ber Five with a bullet, youll ne-ver get rid of me! \ Gtr 12 oe a= + = =H ci = aE ae z Z Fires es 5s = Zes Zas a oe 7 — ESS == SS (00, - Sadi ie ; F Ered 1 ; at; r " et SEF SS es Num-ber fivewith a bullet to yourheart. _ EX-GIRLFRIENDS: Fs = + o yar ncn Keyboard Conductor ROB: “Hey, what are the 7. NUMBER 5 WITHA BULLET (9120106 add int, rev. 68 69 whnsert) ‘Toyourhean. Drs.(time), Bs.(out) was won - derful; no drama’ and—no pain, "LAURA: "Weve heard their stories, Now its my curs.” 27 ROB: “No...n0!” EX-GIRLFRIENDS: Keyboard l/Conductor 8. NUMBER 5 WITH A BULLET (9/20/06 acd intro, rev. 68 - 69 winsert) ee 2, , EAURA: a z ——— ES See ceel ceed EX-GIRLFRIENDS: He SSS iS SS SS = = YG wBeiietndsomedce-fy sheworkadfor Le-galane” Be pe Tato _ =e re Ss = — - ae s Ci Cnty comping : . _ “ = =p TS ; =a 5 > scoot STR R IPO Cap or 35, LAURA: 3g 7 a & <= = + 5 et aaa Onyeahwe rely had itmade—_Buyou a-waythad.- onetooieas door ' _ e ° ———— == . : — Sa : wah lea o-ce- iter = = : == Yee Tp t_iy iy stv Dsus? sus? PIANO) cs J Brs.(14e3), Bs.(oud) Ba Keyboard Conductor 9, NUMBER 5 WITH A BULLET (972008 win, 6869 wnses) x * « _ oft =< ht 5 ( eS 2S SS SS SS — i = did-nlt you? Just in case—theremight_. be some - thing more. EX-GIRLFRIENDS: Tpt, Alto +Bs, Drs left you in—thedust, K2, G2 > Drs, (time) A0 Keyboard |/Conductor o LAURA: 10, NUMBER 5 WITHA BULLET (9720/06 add intro, rev. 68 - 69 wiinsert) High Fidelity Well youcan blockthetruth out for a while, if youwill_your-self, _Butwhen you = Ooh EL. Vin, ___EL Vel Guz t fat Ih} fort, Ps a ae men coer alk ptf TF tT Ley (e Crortrtefr my a “ ¢ & = 5 SSS = s fj think of me— with a-no-ther guy, onttyou wan-na killyour-sel"?— Bum T will be —— : = = = Pe a = dont youwan-nakilyoursel Bum TiAl 5 Bur. 7 fe * =p Kaa u TH FD ieee y TT) a 1 i : == |, Girt ° artes ‘in baa ra So > Drum fill Keyboard /Canductor LL. NUMBER 5 WITH A BULLET Fideliyy (9/20/06 ada ino, rev. 68-69 wiinsert) a a s ‘ — c == === = a aS | Num-derFivewith abublet, like a tape that’s on cesvind Ply-inginyour head, messin'withyour mind oh __Play-inginyour head, messin’ withyour mind, == Num-berFivewith a Bile, — Tonal rp Gtr2 (arp.) <— yt—1_ ey Drs. (time) SS Sy sharp and throb-bing ote = —S “Yeah, yeah,—yeah, “I willbe. —— NumberFivewith a bul-let, pte = == = 2 = Se . ; Num-terFvewitha Bile, a sharpand tebsting ra : wiGtnl © = a Ci Keyboard l/Conductor 12. NUMBER 5 WITH A BULLET (972006 ade intro, rev. 68 - 69 wiinser) Hipp Fidelity 3, 2 2 Ses eS SS S—= SSS 3 caren = pain, ledgedtereikeabal-lt inyoutrin—— | Youteona inyourbrain [pt fst a 4 E f = ; : —— Sf A + —— = si ; x = 1 = f r 3 oo gt = ty == ae eS —S— = eS aes . ey-cle thatne - vercea - ses, youget dumped and you fall “to pie - ces. You were Ge. 2, 4G im aa oust + f K2:Cav, De = ran | Ll racer) ep z =. Bi, Budzitiri: Drs. (time) aa Keyboard Conductor 13. NUMBER $ WITH A BULLET High Fidetiyy (9730106 aad ico, rev. 68-69 wiinsext) @ = —- = (= ee eee — hoping for— a re-ver - sal, butthat pain wasjust adress re-hear - sal A ie = : S-Sedddtas i tiie ——S SS i ¢ - — : =: - =| . It Ll Ul ° s mM neat “HHI Keyboard )Conductor 14, NUMBER $ WITHA BULLET High Fetiy (972006 add intro, rev. 68-69 wiinser) 5 a s _ Yeah! Yeah! Yeh! C fata ,—_—__________s__. ae eee Anes aa ELVin.& Ss Gt2(harmomics) Both Hands (8va) — aa) a ps CLAY] me. p Gta (sus) ROB: “'Cause you're never gonna top these wome Or dethrone therm! Or whatever itis you think you JACKIE: (interrupts breaking down a litle) "tean't do this ROB: (worried now) “Uhh. hold on there, Jacki Rob...'m sorry... can't.” (MUSIC OUT) Ce aa ~ = Dis. (time) as Keyboard liConductor 15, NUMBER 5 WITHA BULLET High Fdelity (9720006 add iteo, rev. 68 8 wrinser) JACKIE: "My name's no Jaci, its Janice! p= Butyou dont remember that because fives, testing ore an drunken overnight sand in Weehawken! (apologetcaly fo Laure) Tmean nothing o im. He usc stick mon that it youl ROB: "Hey, don't minimize what we share.” Vamp * 4 (out any bar any best) es # = sr — —= = = ——— : =] K2:Trem Sigs. (w/VIn) a 7 = - = on a P => 2S ee oo VS. Ab Keyboard l/Conduetor 16. NUMBER 5 WITHA BULLET High Fidelity (9120106 add iar, rev. 68 69 wiinsen) wo Oncue a $ === . = = = = SS SSS a . Number Five with a bullet, andthat seeyour me-mo-ny's a blur,— 2: Organ NumberFive with a buliet, P——= G2 seeyour _me-mo-rys a blur — +Gte 1 wiGtel as 33 (G12 beats) Des. (Gime) omens ++Otr. 2, Bs, Dr a Hist don't mean. no - thing with-out me, ‘out her_____ Th - tHAtiop of Ef K2 fill ay Keyboard l/Conduetor 17, NUMBER 5 WITH A BULLET High Felicy (9726105 2 itr, rev. 68 = 69.winser) L 5 oe 3 - —— —— 4 # Num-ber Five with a bul Num-ber Five + te, — climb-ing up the climb-ing up the ~ 5 +S z = chart Namer ive with 2 bul-iet year hel” a hep ———— ¥ = o > f = - tt 2 é Keyboard 1/Conductor ROB: “Wait! What's going on?!" 1. NUMBER (720106 ain WITHA BULLET Hig Fidelicy #08, 68 69 winger) ROB: “No, say away! za Noton-the-lisi-not-on- the-list-noton-the-ist!” y Be + ae, to your heart a S55 FE _SircerFive vin a Bites Eafe finch —aflter rive win a hie, Gyfir WB == = sey, wi peda “It's time Rob.” LAURA: to your heart. = =a Ee ber Five with a Bete, ts Ga Keyboard liConductor 19, NUMBER $ WITHA BULLET High Fitiy (9720105 ad incr, cev. 68 69 winger) Bollywood! (Swing 16ths) a ® “ = K2-Tumbi af (ez — — S35 = = = Drs. (w/Djembe & Tamb,) Keyboard 1/Concuetoe 20, NUMBER 5 WITHA BULLET (spot stdin 6 cal High Fidelity ROB: “What is that? What are you doing?” PLAY. PEE wiGu. ‘Gio inne He Gln # Birr’ ROB: “Laura? Where are you?! (And shen the girls peel away from lan 0 to reveal present-day Laura in bed with Tan.) Laura?! (+2: Tumbi 16th's) ° Guat wip. fies =e Keyboard 1/Conduetor LAURA: “The ghost of oI gM@eR wor BULLET (9120106346 inc, rv 68" winery) SRSBP Pe cut tht out eight now! High Fidelity sue Present ectiy a (Gteaight 16th) GbE io phe be ee eee is ov be SS Petey ti =i PCr’ 5 = ne Jed Double-Time a en Th Numer Five witha bullet, Wvemade EX-GIRLPRIENDS: , mi mf un oS 2 ‘ E 3 Se err ere Number Five witha bullet, Canyou feel myhun = gry iss? ———— === = = = aaa - > BIRTY RHODES) a ————— — : — |] ¥icus. 182 7 6 = ci 2 Ey fa th 8b - ab a es | ae Bs ELVES See, e dacimoC fi) f CELT Keyboard 1/Conductor 22, NUMBER $ WITHA BULLET High Feelty (9720/05 248 intro, rev. 68-69 wiinsert) y 100 10 love a thou® sand times,—— but no-thingcan touch this ‘Aaah! \ EX-GIRLFRIENDS: IAN: fe = x . t a a couch ist 4TpLAlto Gut — Num-ber Five with a bul-let, EX-GIRLFRIENDS! \ pray Num-ber Five with a bul-let, andshe'sclimb -ing up the chart, — Tpt, Alto Keyboard 1/Conductor 23, NUMBER 5 WITHA BULLET High Fideiyy (9720/06 add intro, rev. 68 - 69 wiinsert) ROB: ( 2 la Scrooge} ‘Stop! Show me no more! Congratulations, Laura, f You made it.” 08 LAURA: “I knew that per oe Fwould ae Keyboard liConduetor 24, NUMBER 5 WITH A BULLET (9720/05 a8 intro, rev. 68-69 wiinsen) Num-ber Five with a and that bul ~ let's s K f straight Num-berFive with a bullet, and that bul - let's. head - ing straight to Pe High tity e FLaJ cusses ao) (ACET |", ee == —— =f ov re eee ; tpt, alto oS PS fS 3 . x2 a aes popes Se pi a Ss == E o Ge Evin a a F ot > = FSD He = Se mi Pinna PLAY] fF als eis hls ro a, 2 ending i h TUT ra ta 2 +ELVel, = z 7 ge Drs.(time) eran lan Keyboard 1/Conductor High Fidelity o LADIES AND GENTLEMEN... A MARIE LASALLE Orch. by Tom KitiAles Lacemoire cur: "fas found out she's ving wih ! st found out she's living with someone else” (Senge . UY y Py dick. Bary: BACK UP SINGER: iBgwiv” "Oh bummer” MSs and Genemen - Mave LaSalle” on J = F 80 WZ Gte1 solo, ser styl, let eng I) Poco rit. 1Oto Keyboard 1/Conductor High Fidelity lo-| READY TO SETTLE / eae Orch. by Tom Kit/Alex Lacamoire CUE: MARIE: “Though for legal reasons, I should point out tha it was not, in fact, Lyle Lovett. Or was it?” Folk J=75 MARIE: “Aowigy {dedicat this song to my aew fiend withthe broken hea ho knows exactly how I feel.* (KITACET anil. 29) Solo Acoustic Guitar 1 Boy MP Maen Amy | 2 ane: ‘ 7 & ——— SSS = = = oe toe ds eS see +e bd wee Grabbed the moon— full of bope,— fell wo earth without aoe heat as heavy as bin bg BS ies SS SS 5 cae 22S 7 eS See ES = ye (esas Se as 4 ceecacr) # bata) hag c o auger” or |e —S—S Keyboard t/Conductor every-bo - dy dies. 2. READY TO SETTLE [always knew— be-fore— +c, Gte. 2 «strum High Fidelity = = : : a pe ~ ~ “mile fingerstyle Al Figy Gm? " a +Bass = = = E = —too good — for me. Now I'm here— with you,— ferent could— you how more dif - ber You're caus c am? Fin Feb caus 6 = SS ———— = = —} SS SSS SS = = ae += = So SH a+ lone and— sad,— and inthis light you dont SSS SS rl tz perce tees] rz) Liter Crs) o eMal7 F Maj? F Sigg anne Sig Gmpsae | EMA Fn a py -] SSS SSS SS Keyboard l/Conductor 3. READY TO SETTLE High Fidelity = $ Wook so bad Pe hat te be ta ated keene # be - | ES = = are | judy tz? RP fea] Oy Gio prio Fig lS == == Se = 5 z oe 5 _ & SSS= SS SS= = somes well do And tm ready te seule for you 2 = SS » an = =< Zp $A $ = stot eraT # abe) ef ere ete shas? igh ebuares ous a i aM =| ee Drs: HH, Kick (w/Tamb. on "every 2nd bar) ‘ROB: Iwansa date a musician, Maybe she'd puta litle picture of me in the liner notes. Justin the background somewhere." E EG = vb £ Ths bor + — SS i —= Pz SSS SES SS a o cee eoferay erates eteh etel etef fare clr Pera erar é F amy abirald, cr a | 5 =| Shuai) Ce Oe |r . (= ——— 2S i == Se Keyboard U/Conductor 4 READY TO SETTLE High Fideticy & 7 as MARIE: Pa = — Ss = == = K SS SSS BSS fecling like. Zean-cer grows, feel the ok_—be-tween my 158s. Why take ano ~ ther breath? ~__aACKCUPSINGER: ——S— —— = — == : oe ~ ee —- tse ye _ Why uke a0 - hee breath? =; = = = — = — Lm 4 pe) [idl J yd = Bass 7 T Rt} ey if o e | ahsus%s Cus For now [ See For c F that all life brings — is a ae chat all FMaj7IE life brings— is 3 Bbsus2/0 == string of disappoint - ing thifgs, string of dis-ap-point - ing things,— ‘w/Bs. cont'd Keyboard Conductor 5. READY TO SETTLE High Fidelity %s, a == SSS SSS SSS 5 and in the end - cola death boxh aware this love we share cant == [SS —SSS_= SSS aed in the end = both aware this love — we share ean Vin, —— 5 fase = _ , NS aa SSS « above? a aa fas | BE = = = == sash pf J Ur ‘w/Bs. cont. % af » fa MARIE: Ss Ses FE == SSS SS eS ; ven fll s room ad go_we takto0 loud fa drown out des -perate gloom. My = as = == : = == se SSS SSS SS Sa —— 4 ven fils oom— and So we aktoo loud ta drown out. te des - peat loom +2: Warm Pad >: = oa SHS g SS pais 5 = a Sas SSS j Csus c Gm7laads) FIA Jebiess cr qo — ! Ee aS = ‘Keyboard L/Conductor a heart is dead, — a heart 6, READY TO SETTLE hol - low — bone. — tm High Fidelity filled with dread. end hol = low bo8¢ —— wf |" ce tpt. Bass, #K2 Gite, 2: L6ths w/ oF ip-l Drs: add cross-stick backbeat Gana) Gm? js — Ta emrasas) ia 4 EMA Fi, je fm = oe: = 3 SSS (Ga SS rs = SSS AS Poe | move in-my suf, act Uke is © = ough Ym ° ab emrbst fc Ge ft oo | fd fle) = fel = So | ( Keyboard Conductor 7. READY TO SETTLE igh Fideliny fe _ “ = = a SS past owen ty wo, and I'm ready. to setile ast twen-ty two, to settle for— you, = # == ——= er | elute F SS | STRAIT Bien a = oF Bass F zt Pie a s — = —— TS = = 62S SS SS eS ay = See the hap py peo ~ ple laugh ing, they're all deaf—and bind Why should we goon earch ing for . . 7 ———— S55 Blind—and deaf = fos wiGtrs, strum ad lis — SFR 8b Gm Bass 13 8, READY TO SETTLE High Fidelity Keyboard 1/Conductor ws > + pre-tend—_ wee hap - py 00? Why should we— some-thing we won't fi SS = — = ——— = = = += = = 5 hope. fe ja - : of — ; “ —— = = 6 Gaus e ® ab af == — q i 32 z 72 3 F you! Td, rather just—stay home—and sulk with you! Td rather just—stay home— and sulk with Keyboard |/Conducior 9. READY TO SETTLE High Fdeiy ~& » « 2 SS = == & SS SSS SS SS SS just tke me lone ad sedan inthe dick you dont == ie SS SSS SS SSS Just like me @ = fone and sad, = Ss te SSS w/Gws. 16th strams aca) | GmPasct) (8009 “Bs, con \ be iy = « ee ; 5 - = = _ SSS SS SSS SSS SSS look s0—bid—- ence to tow tat gout! ge = ver gee ———= = = : = 5 g look so— bad,__ abs? mrt) Fc bd So) d I. r oT 10, READY TO SETTLE High Fie ity ba — ( == Ss =| pot me than who? And tm ready to settle for— —=—_ = = = If not me than to seetle i Saad 4 + 7 a ‘2 a = = = |e ee eS = = abuse a poh N T Rit. ( ‘you. Ready——to sevile for you. Ready—to setile for you _ 2 =e i Reedy—to settle for you Rea-dy—io settle for you for you Sigs, KZout Cello Viner 2 7 WS t# wis ngerstylearp's as before 4 4 aaa Spt (s T T i a 1 | MP teat Ane | chawty Oe 7 oe —_- ee £ ————— Drs: Time, X-stick on “4* only HIGH FIDELITY Piano/Vocal I Oal THESE THINGS HAPPEN (Rev. 11/22/06] Masic by TOM KITT Lyrics by AMANDA GREEN Orchestrated by ‘TOM KITTIALEX LACAMORE OB: "By cen of titsong vo ig ave eed. One snenly mis Las with an mii peson co ing os *.-And two, Ihave fallen in love with Marie LaSalle, These things happen. as it a ‘To men at least, oft this particular maa, And Ihave no dea why.* CRUNCH, e Sis vote Orch, by Tom Kites Lacanoe ihrer the QNoe Y : NAS Wey Werte iy "ROB "Two! that my afi dSycontribted -AURA: "Petty much drety to me teinating the pregnate LIZ: "No..." 7 sim oe f Tyee: that ater the abortion, I bamowed alge sum of money 7 LAURA! "Fourgraat occas y z OB: “And Ive note of yt cpu terany of t> (KBD. 182,Daumsonb) (7) 9p ROB: "Did da and say those shings™ enna U Pauper gee p Vamp Liz:¥"Nooe* huge OUT cutott any tims ROB! Teta Lam frking Sekole® (eBR-GUT) ne K2:Synth.Bs. F Brs(tezhno time) one me Candle baie Liz: "That's shocking. That, ls. Shocking.” ROB and LAURA: “I know." LIZ: *Thar'sit* (GOON) fat Keybaace 1/Conductor 2, CRUNCH igh Fidetey ROB: (con's): "We like to suppoc local talent MARIE: Really? ROB: No, nov at al, But I" ‘make an exception f LAURA: "No Liz no no, come back, Liz you'll never get a cab with that thing.* ROB: Which iads uso 7 a El: "Hi Rob. bea ae Qat YOU rUCINGASHoLe! (rnuters she goes) ‘Yamp Hey Bary" catolt any time ey Bary ol " rove (YES ORCHESTRA HITIEXBLOSION | \Wa i Keyboard 1/Conductor ROB: “Anyway. You should come down (Music) [Reed, Tpt. Vin, Vel. Gte2, Drs Tacet throughout) [ACHE noughouw Moody Folk 4 = 84 3Xs TERRIBLE THINGS ROB (cont'd)...*to the store." MARIE: "Tm goona* ROB: Good, good.” MARIE: "Wall. ve got another set, so. ROB: "Okay." MARIE: "Nice meeting you though* indeed.” ae ® High Fidelity | [7 Orch. by Tom Kit/Alex Lacamoire & = = Gtr t:Ac(8vb) = K2:Wurlitzer ____fouarinenin z a ar0ay9 5 a0 fa = : == SSS Saar Be =F == if Ter-ri-ble things. 1 trast you with my heart and look what a =} FM al? d s sy oy — 5 SS = E = oS a + = What makes you do such ter i= ble, ter - High Fidetty 2, TERRIBLE THINGS ROB: "She's on a lunch break then?.." Keyboard 1/Conductor CFS - mae ROB (Cont'd): Sure .. Hey, what’ she wearing today? ... Oh yeah? That's a nice outfit just tell her that... Bootsy Collins called. ... Great, thanks. (hangs up, and sddresses the audience) Okay, first of all: The money. Laura had it and I didn', and she wanted to give it to me, I've never been able to pay her back because. .'ve never been able to, (bea) ‘Then the Pregnancy. { didn’t know she was pregnant. { didn't know because she hadn't old me. She hada't told me because I had told her that I had..sortof..yes, I had slept with someone else. So like weeks after the abortion. what happened. That we didn't talk about ( No, that's okay, dida’t find out she was pregnent ‘il la ‘And then we started fighting, alot, but never about. (beat) Until the other night. (this is hard for him) Keyboard 1/Conductor 3. TERRIBLE THINGS High Fidelity ROB: (CONTD) “Look, here's how it went down. We were having a perfectly fine dinner, and I made some crack about having kids and then she burst into tears, And then I suddenly went into this bref and ill-advised bout of self-ighteousness, ‘You know, "what right did you have?, (begin ritard,) ROB: (CONTD)"...My child too blah-blab-biah-lah-blah, ‘Vamp (Rit. on cue) x Bg == i = z ciH6h gs | nee - ro". == === vad + 3 ES ee = v> ve = ROB: “And that preny much brings ws upto date,” Gu(harmonies) ae a! =: is j =a == q au arinedty | poe I = = anna Do you have any soul? (CUT-OFF) Keyboard 1/Conductor High Fidelity /———] | ; [/Z THE LAST REAL RECORD STORE REPRISE Orch. by Tom Kitt/Alex Lacamoire Pethaps it was your stench, you splash on this morning Dick?" DICKS is ue Bre ‘ag Moderato © sanny: 3 DICK: 4 ROB: & SS | [ > SS SSS Te got no band.. ve got no balls T've got 0 soul, and T'™m an = SS ‘Gus SS 5 © parnys [orci 7 [Barry: DICK: == = —= ee A 2 Se =e { =] 2 = —f~=E = Sets tow — ag, well IM ecver pay! IW nevver daa Wyse ae yh a ta Gtr.2: Electric 1 Guat ua = == SSS SSS f + tS : == | es FS gs as gs an our | BE == = we SS ae e 5 r an) £6 Bs. ~ ~ 7 vs. 2. THE LAST REAL RECORD STORE REPRISE High Fidel iy Keyboard [/Conductor (loud and raucous) JOBNNY: “ALL3: ° ROB: [Peat Wa we cnet Thee more het belt And K2.0rgan ROB/DICK/BARRY: | aa AR ew you, Johnny! Every day with his bullshit” ee | TT] Fast, Cheesy Fal js Quick cut-off on cue, HN ee ed | } would-n't change a thing a-bout 1 Tpe TSax c 4 WiK2:Organ (lestie \24 Keyboard 1/Conductor 9% CHANCE OF YOUR LOVE High Fidelity [23 Orch. by Tom KittlAlex Lacamoire CUE: LAURA: “Are you gonna stop calling my office?” ROB: “Yeah.” 8 LAURA: “Goodbye.” ROB: "Goodbye." Driving Rock Ja120 ; wIVin., Vel, Bs, Gtr, Drs., K2:Stgs Gurl WiK2:0rgan wVin., Vel, Bs, Gur, Drs., K2:Stgs. Vou 2 , ; = aE === os == a+ Why am L— feel = ing so gooa? Why am tte ~ ing so high Like 1 could G2 010 (chords oot postion) Gir2 cont sim : ~ D _ Dsus?D a Gsus? G (FACET @m32] . — wach for the sky— and no things gon - na bring me cows ae 12.0rgan 4 Gtr2 cont'd, +Drs. 16ths ° = = = = = Se ¥ ~ F 4 ° pee nee) a [> | as A Keyboard 1/Conductor High Fidelity you paved the way_for romance when you kept him out—of your pants. I'm a new man to - day (c= | Sap ic { nee _| | ee = = ¥, = — = x posse = — Hey! Hey!” Hey! Hey! Hey tive got a +601 Gir - oe ye ‘A. ine percentchance—of yourlove!___— nine percentchance—of yourlove! Nine per- | Gtr.l (wlchorus) Gir.2 cont, sim. | K2 out Deus? Bs. contd, same om V1 Keyboard 1/Conductor 25, 3.9% CHANCE OF YOUR LOVE High Fidelity 8 z Ey cent of the time its—_me— your think - ing of! My foots in the door— and if +Dr fil = & I+ ° tr a Gp A Em Ss = a f 5 Bs orn xu ot oS fe 2 8 — = 7 = —— = SS Se SS Se yyou'te keeping score. 1 on - ly need nine-ty one— more! Dey lass Keyboard l/Conductor 4.9% CHANCE OF YOUR LOVE High Fdetiy 2] Rockabilly (Swing 16ths) Pm 35 back on omy game—___ now, wiGtr,2 ehythm you cant de - ay. that you wantme a lit = le Tm Bmilade) 1 Driving Rock (Straight 16ths) 7 7” tee : = 2 =e 3 t= = _ tm back on the road to where you ae! Ive got a ‘ ‘ Sit === ee = ie = | ; STF TRS PIS TS e ‘| i er eheb a é | er Asus A Drs. cnly Lo bo Leer | | | Keyboard U/Conduetor 5.9% CHANCE OF YOUR Love Fgh Fidelity # “ “ 2 a 4 7” ee SSS SSS = z . SSS SS Se Se | nine per-cent_chance of yourlovel__~ Ane per-centchanceof yourlove! Aad Gtr solo 4 Ga q SSS fe = = a] fp x2, wiGee2 16h ate SS = a == : 7 or — | aterm r re [oe 8 D 6 a ° — = Bai RE z = = z Bs 3 wis. 8 2 2 # 4 = 4 ee SSS Spates chely: ott HE Sf = 1m pretty sure—its just a matter of when ry chanc-es go upto tent Gurl contd, sim, ele A F fie = == fee re 4Dr ait f Em Oleg +. fe oe as Bee : = ae = 7S SS SS = FASS Bs. Bvb : ea GUY WITH MOHAWK: “You put this up?” GUY WITH MOHAWK: “What do BARRY: "Yeah" pouparanyyay? GUY WITH MOHAWK: “What kinda stuff you into?” ARRY: “Nothin BARRY: “Mostly experimental, but witha pop sensibility.” GUY WITH MOHAWK: (beat) “Coo! GUY PATH MORAWK: “That sounds great. We don have any gigs yet, {tnd him card bute get together o jam on Tuesday nights if youre intxegea® Wt call ya" a BARRY: “Aligh Vamp * s a 2 BARRY: I'mgon-na Gite solo as aS +HH 3 6.9% CHANCE OF YOUR LOVE igh Fidelity — get out from un-der this bush - el and shine. ve got lay it all—.on the Ii wiGie,1 cont'd sim. +Gtr2 ah, Drs. contd _ SS to make— and be heard! Girt bring out hid-ing my-self, that was wrong, The world's done with-outme for far_—too long! —Hey Cold- play—- Gurs, 16ths rhythm cont. Bs. sim \20 7.9% CHANCE OF YOUR LOVE High Fidelity ” abn = ™ qi eo = ie PE =e = eS] ss suet ay tt of BY 83 Hey! Hey! Hey! 1 add chorus g,- Oue2cont sim, eee oe = 2a EE So = SF Sia Cotdptay 7 m= Bsus 8 pater SS 37 = a am fe) 78 a my SSS eet tt ——— = + oe : Sj (one per-cent__chance—of suc-cess! K2 wiGur2 16ths 8 one per-cent chance, —may-be less. Bs. Drs. cont, a IS 7 == | 1 will be known.—as his Roy > al Rock High - ness, fac-ing the odds at a u , . ae . = : Set = = oe ST hun-dred to one, _—____ ‘but that's still bet -ter than nonel. ‘Some- ~ eo pee (= =x 4 = ee 7 } Flag oD A {es ESS ee qi SS __=s See APF 1 times all you need. is a sli- ver of hope. w/Gtrs. chythm K2:Rhodes sustain you Gin t wiBs, Drs. contd at = least the doors \32 Keyboard I/Conduetor 9.9% CHANCE OF YOUR LOVE High Fidelity 5 ” * fyby ery 5 = 7 a. —- es Pe =F = SSS once seemed im - pos. is ble Is thee in your each f a fe ¥ rs = Gh | -f a —_ beat : = = Driving Rock (Straight 16ths) BARRY: ° ‘co 1 = 3 = fe oS SSs== = ot Your idang te wel Or atleaston bebeach!_____T could win back her hear | could 2 att t= te . wiBrs pitt = = seca = a + ise -— = wibrs YS. 10, 9% CHANCE OF YOUR LOVE High Fidelity [Ros: | 108 Keybosed [/Conductor secent_—A nine percent chance! —— make the chicks—dance! I've gota one { Dr. fil bh owe iz “xty name's Ana bythe way.” Cmts “Oh okay” ANNA! “We weren't officially introduced." fa] (X's or 108 108 tro, Vamp Orch, TACET find out her— last name, and find out if she— feels the same —— Keyboard l/Conductor 11.99% CHANCE OF YOUR LOVE High Fidelity ee ———s SSS a TI ask her ou and # = get to see__ what's in. her SSS vo co = vs bp z w—tocet = J it 7 min) +62 ma == SS SSS P= = a _ She might 0. ean, maybe if you oy; 2 + & f= = J +Gi1 roll chords l, WVin,Vel, Gtr, Bs,, Drs. = == = a SEs SHH yp. rss be a Keyboard I/Conductor 12.9% CHANCE OF YOUR LOVE High Fidelity (Dick stops for just a moment to figure the math and then...) wr DICK: 128 19 20 There'sa point, Oh! Oh! Oh! Oh! Oh! Oh! Oh! Oh! The > Ka:Stgs. w/Vin., Vel 5 wiGer.1:Blec z, Gte2 out Sasa ze (One percent chance shelisay yes! wiVin, Vel, K2 Gur.l, Gtr rhythm Drums full \ase Aig Feety S455 555 t= Wecould go oe tee, Tpe, Tax === fo SSS Keyboard Conductor [12] Half-time feel 14.9% CHANCE OF YOUR LOVE Tim gon-na rock— the world + pea Pm gon-na ask w/Bs., Drs. An-na out w/in, Vel. Gtr, Gte2 sustain | _ that's what she said, | phy —— 7 - i ——=- = = =. — o — — 7 sald S said, —— — She said ‘Keyboard 1/Conduetor 15.9% CHANCE OF YOUR LOVE High Fideliny PALE YOUNG MAN #2; Maybe I've got pray'r__PALE YOUNG MAN #3: -. PALE YOUNG MAN #1: os see TT May-be, oh may - be Ely - is is Keyboard |/Conductor _— wee 16.9% CHANCE OF YOUR LOVE High Fidelity b WBs,, Drs. big fll +TSax, Tet a : cs ROB/BARRY/DICK: Some - eS = — ie — eae == —— Si ah — == SSS v Some ' tee F tt —S =a es = x = te Sigs, out SS f N 1 1 = =— a SF ¥ SS —< 2 ise a ce ae Gig Smet ieee Ae eae : = = zo =e a = = NUeL ual aus nail wut Lisl Lis 1A 3 Keybeerd I/Conductor 17.9% CHANCE OF YOUR Love gh Fdetiyy Rockabilly (Swing 16ths) ue Bo: eS - —— SSS ye = —— = limes all you need. fe Hl = ; SS SSS Ss Ft" —$- <= Se j + > SS = MG te doors open : — ————s ——— “if 7 = SSS =— = enor or a ast the doors 0 What — ——— os = SS = — fe may just suc - ceed. or a at least the door's ° - pen. What f - ee + - § = iS —— 3 = S65 == == SSS onset SS = z === eS ——— Keyboard 1/Conduetor 18, 9% CHANCE OF YOUR LOVE High Fidelity ves 5 68 wer _ - ble. is therein your reach once seemed im - pos : si ‘once seemed your reach. conce seemed your reach Driving Rock (Straight 16ths) | rae TARRY J \ You're riding the wave!» Or atleast on the beach! If Ive got achancel— And Fees SS eae = oe ~ Fe yo ~ = YYou'e ri-ding the wave! Or at least on the beach! - ee : : = = fy tH Et — — l # i? Gurl solo f teste. : : tae 1, fe ‘Tax, Cte 2 out Ze = = aby i Tet Tt Tp avin, Val 7 ‘Tt, TSax ' 2 out wie ters Gin sustain J a i ¥ = = =: = P 2 i ST phfaee®s or sus (ESS == Keyboard l1Cenduetor 19.9% CHANCE OF YOUR Love High Retiy 1 DICK: 4,5 16 RBD: a eo > 3 | ~ ae = at & SSS =— ==} ° ‘Wve got chance! Then Ive got chancel Hey! Hey! Hey! Hey! Heytve gor a ae 4 Hey! Hey! Hey! Hey! Hey! ot ota =] SSS SEs = +Gin] Others out FK2 Bliss wire witat Vin Gpeté ree A nine per-cent chance of yourlove!___ Nine per- = == 5 Freed SSS eS Nine percent chance of your love! — Nine percent chance ofyourtove! = =) = = = Vin Vin, eee wlGus, Vel, K2 2 piss velGtrs, Vel, K2 es 2 ie ce be Een che sieee T ve paver | 2 v | Fs ae 7 — = SSS a = SEE wiGt:2, Bs Des 3 233 83 Keyboard |/Conductor 20.9% CHANCE OF YOUR LOVE 182 1a cent of the time— igs me—— your think ~ ing of feeb = = ooh ooh Vie, wivel, K2 E = 4 t = —= = Ebsus? eb Lor tro Bs. wiDrs Flugelhorn My te err tier cup run-neth o - ver— well, it's Sigs. out wiGirs. tine per cent— full! nine percent full! And that's Keyboard 1/Condvetor 21, 9% CHANCE OF YOUR LOVE eae = SS ee A es SS =e = |" fre percent — hance! = itis Wik sustain, Gus. chythm = im = a eo Ss & =f =e =5 E 7s SS SS a See om TA an aa oa ap = W/Bs., Drs, 8ths \ = = sine per-cent_— change - (a es SS $e 5 o SS = sine percent chance is SSS & == +Sigs. 4T pt, T.Sax > x x ae ee SSS SS =] fe a cer logue M1 TAAD Mm fpeet Ss Stee sete gee A + = SSS Se =— Dr fil e237 3 22, 9% CHANCE OF YOUR LOVE ROB: “So great, in fact...” “TL feel great!” 12 o4 of your love! ‘Tpt wrT.Sax F wwiStgs. 16ths, Gus. ehythm chip bi SF bh Bs, Drs cont'd sim. Bs, Bvb widrs. High Fdeliy ROB: (CONT'D) 1 go out and sleep with Marie Lasalle!” 196 on 0 F = 3 = = == coh = of your love! - ye — 8 o— Gre soli z = tp ftetiaag » wes so wiK2, 48:88, G = = : Ey head fF ‘ 343 sb (TACET] +Dr. fl} F® be Be em Keyboard 1/Conductor Driving Rock J=15@ High Fidelity fi | 4 ENTR'ACTE Orch. by Tom Kit/Alex Lacamoire G2 12 moe Z 3 so: a FE aearse!? SS Cee eer es creer os a ae +Ten.Sax, Gtr iGle il seeeeees ete = mo gp PE Le — Bei : Oe ro- Cy. crash Keyboard 1/Conductor : = ‘ C crrr tt Bs.Gim) Drs.(time) Vin. Vel, WIGtel KaStgs f ‘Tp, Ten. > rT DY High Fidetiyy +K2:Organ (gliss up) I en) a Vie Sf Bl Yass? Bigg Flat | arm Pig cfm Chay lyrit 5 = Ss =| 3 OG $s i oF P CY Bsccim 3. ENTRIACTE High Fidelity hte Keyboard 1/Conductor 2 High Fidelity Fl ISLEPT WITH SOMEONE / 2 (WHO SLEPT WITH LYLE LOVETT) C Orch. by Tom Kitt/Alex Lacamoire” ROB: (contd) "The guy's surly, he's broke, he hangs out with the musical moron twins, and yet he gets t0 go to bed with Marie La Salle Country Blues J =138 & —— ee “+Crash Cym, ELT VETACED) “Blo. Gt 1 ete ay [Des: HH +K2:B-3 &va +Bass = a ‘ 7 s pt = ==. SS = =: ee Seen How dd come to be? wiGtr I, sim., Drs: time (HH, Kick) Gtr, Benen Why should this great boun - ty fall co.a——resgurlar Joe like me?___ ip Poel LI FF agsee sg fae iz es + Keyboard [/Conduetor 3. LYLE LOVETT High Fidelity 9 “ talked Sb0ut my bro- ken heart, — [cried like some pasthe - ie slob. Te was wiGte. | sim #K2 Ail KR fl to ss we mgr Za ee Zz wiBs, Gtr. 2. sim, f SS SS SSS = = 2 ae ———= = ff low and itwas des - pate, but it sure as hell cid the jobt____ ‘Cause (Gte.2 out) TTF POOF FF wias'pe: Toms it fi] JJ Country Two-Step i nl | & — SS SS r slept with some - one who slept with Ly = te wiGts 1, Banjo 2, Drs. ( b's) S ep en Bane? Pes : — = = — oa Tacet io end) | | pb ' (CATACET) - _ - + ae a i 3 7 z i V.S. ist Keyboard l/Conéuctor High Fidelity == =F slept with who slept. with «Ly = le ee een o = x ea : en — = ee — Lo : ‘vett!___ * Gte ts solo ait DEE = = SSS c cre = - can't be = lieve how much my life hae Im im - proved! Keybosed Conductor S$. oLYLE LOVETT High Fidelity sleep - ing with a rock - star, well rock - star once se © - moved! Yes [slept wih someone —wito slept with Ly-le Lovet! Yes I love it that my —to-ver slept with +Banjo2 | ye Fiddle soo fll ™pnf— F ee 3 a pe we were just a chat = tin! "bout our ex = es, now im in bed with the wiFidle on backbeat bet Conductor giel 6. .LYLELOVETT High Fietiy who bed the cool = est, guy, in. Tex = asl Maye File, Gus fxd & SS 7 rf ——— 5 = = = day! +#Fiddle solo fill - ” os *, x = : = = ——— = = ————— ey o = + f j + he can send some —more.—=— slop - py see - onds «my way! (Fidate out) r ¥ t slept with with Ly 2 le on Keyboard I/Conductor 7. uk ¥LE LOVETT High Figelity Lo vet! | Fiat: soto at = a ee = i = 5 je ii ! i= tutti comp say shove ie Gis, 1: solo fll ---~~ Fes —- Zz 7 = =| oe ce Dm? ep7 one = = of ners Keyboard l/Conduetor 8, LYLE LOVETT ee ae a . tl a a yous 2 smile! Yes, & ite SS = Si 3 = = Ss 1 slept with some - one who slept with Ly = te Lo vet who tui comp la + SS e = == = ott t tT t t t 1; -t slept with Ju-Hi- a Ro-bers, who sured with Camp - bell Seott, who did” a Fiddle out, Drs: Snare rll é = — = SSS] ae a FIA ee E a it f f i—+ + film with Ky - ca Sedgwick, who. slept with Ke - vin con! Hey! uc A ae ( SSS SSS ab ae? 2 ‘A ' - Liye _ i — +Fiddle; Banjo arp's 9. tvue overt High Fey = Fe # 7 slept wih some- one who et wih Ly - Lov - atl 1 e = = =? Z =z = Z 3 f | fre on ce SS eS SS = 3 ama SSS =e Tove Ir that my ever ea gal all glys would coven Yen 1 love it that ny lo-vr slept wit 2 = _ ee Lyte Fidale: solo il -----+- gs ———— g ze fe FIA eb Be Z z 2 3 3 ROB: "And | fucked her, 100!" Dictated Keyboard 1/Conductor High Fidelity [>] J SLEPT WITH SOMEONE ts (Who Handled Kurt Cobain's Intervention) Orch, by Tom Kit/Alex Lacamdire [Kbd. 2, Gtr. 2 Tacet throughout) : Expressively : ms yp bed = = ee —— = == =| & = = Freely: Colla voce 1 slept with some- one who handled Kurt Co-bain's a dolce ee — = + = —s ieee = _ = 3 (SLAY) p A 5 Alaathc 5 | = = S— —— in \s moves and he's rea-lly good S——* freneh-in'__ usait ge all dese tna An ' —- = A j awry aaa : _ eS = : \S53 Keyboard Conductor 3.1 SLEPT WITH SOMEONE (Who Handled Kurt Cobain’ Intervention) High ity an : = SSS = = # 7 ia Es is beam and’ cee see and maken alcad hat fave Rowen He = — = = aaa = a = a 4 Bit Se fogs mee Bete ke fou toe Hs Tenderly; Poco Rubato J =66 Drs. (Tom roll wifingers) & act Bae J - SS se oe Ss + = ae + suppor = tive, and gives me his full atten ton I slept with some - one - who Clan GO Keyboard UConductor 4.1 SLEPT WITH SOMEONE (Who Handled Kurt Cobsins Intervention) High Fidelity ae 8 as han dled a dead rock — stars in = ter-ven tion Ar Cym(roll) Fi- nal-ly a grown - up who sl-ways pays his bills. — +Glock He's had a a st eS= z got in-sur-ance, self as-sur - ance, on-ly o zt i ——— Vel imp AMA" jC Keyboard I/Conductor one thing on— the brain,— 5.1 SLEPT WITH SOMEONE (Who Handled Kuet Cobain’ Inve-vention) but if Rall, 1 had my druthers Td have High Fidelity slept with Kurt Co-bain. ot Via, Vel : ja is —[—SS=-+ cz E stg t = : = = eae SSS =: = ad Coy * © Freely: Colla voce = | SS = = oa a+ a ays slept with some-one who han-dled Kurt Co-bain's in = ter vention a = — + = f | ts cla? ° ° vey mf Vs. \ol SOMEONE (Who Handled Kurt Coben's Intervention) ATempo fact which all too of ten a 2s tm aa rar|pains) a-bour? — ——, Gtr.1(out) = — eo "*Vel, T would-at go and shout it, Alas ee es Fe Ffrof —— mas fr a Keyboard I/Conduetor 7.1 SLEPT WITH SOMEONE (Who Handled Kurt Cobain's Intervention) T won't think a-bou—it, or (9120006 men. 34 - 36 Rd, Sigs.) why my jaw— keeps clenchin', or the eae “te .2 weil Ty Te Rall. High Ficelity fact that when he's mounting me { SS ry a feel this mounting te9-sion.— Fle ar pth fh Ded Vel. (Bvb) < Big Freely: Colla yoce ™ Vin pop = I slept with some -one who handled Kurt_Cobain3— ee Beng "gs { 7 a dain Delicate but tragic o 2 a Ral. tion Vin_ (arco) pp Vi (ae) Ce Eee Ee i aemmaes = re? WTR TA $d are Loa A Se 7 iF 7 rs — ~ A —— = = Keyboard 1/Conductor High Fidelity [—7 /64. MORNING. MORNING. MORNING. MORNING. Orch. by Tom Kit/Ales Lacamoire (CUE: Applause Segue IAN: *“Moming* LAURA: “Moming." MARIE: "Morning ROB: "Morning ROB and IAN: "You want to grab some brunch." Violin TACET —j——— Flugeihorn cae K2sFender Rhodes Gu2iNyton migra Gira: Ste! Sug ap Get conte. sim, wiDrs.:brushes eT a : a ee : Ep Se = == o SS z p bss? EET argh one a 2 Be . viel Keyboard 1/Conductor ISLEPT WITH High Fidelity i] SOMEONE (Reprise) CUE: LAURA: “Actually, lan..[' kill for a slab of bacon.” TAN: (chuckles) “That's exactly what you'd be doing laughtering some poor sow jacked up on hormont Have shown you my PETA pamphlets?” LAURA: (opens pamphlet) “Oh look - pictures.” (MUSIC) IAN: “Im gonna call Toft Connection and reserve the straw-mat in the comer.” (heads off) LAURA: “Oh, okay.” Orch. by Tom Kit/Alex Lacamoire ROB: “I don't suppose Tcould come along? Just to..mmeet Lyle?” MARIE: “Yeah, right.” [Fromper TACET] ty, Freely : FI ‘ i : 7 =i Per Ce 4 : 2 <> goes > i Via. $$ _ Gutihs = : 5 See - a : = =j "val way ‘Somewhat freely; con moto LAURA! SSS 1 slept with some-one who handled Kurt Co-ain’s invervencion, Ros. —— = a SSE = =—— 5 I slept with someone who slept with Ly-le Bovee = ———— ( Cathe =| th she | chavez 2 | @ saving te (ped ; ———————— 5 = re = = = = = 2. | SLEPT WITH SOMEONE, T slept with some-one > I. slept with some-one who a-ny guy woul (Reprise) ld co-ver + = a5 he's all too glad {0 mention. — High Fidetity i tose — —— = = 7 : ov _ ; ~ L = - : = | ee : — == = \fe . a * es Bs. +Cym. roll a 4 ————— 4 = = S35 SS eee === ——————————————— oe ~ ~ = = pease re : Gu2:Elee. —=" 3 Eras raase: lua oho 3. SLEPT WITH SOMEONE (reprise igh Fly = SS = — 1 shepe perfect onthe books fi = ies SSS S43 4 T step fet-fect on the books We 4) vine SS 3 By Keyboard [Conductor & & re ROB: High Fitelity Who needs sex for more— than twenty got aclong— 50 briltiant-ly Vin. Rit. ( oe See SS SSS SS i —— = ce ; fn har {slept with a-ny - way? crin-wes ina day? Just who is this per=son ROB: & b SS 7 f = — Just who is i this person that Coustig +Cym. coll i au Keyboard l/Conductor S.1SLEPT WITH SOMEONE (Reprise) High Fidelity Freely ATempo rie z == = SSS 3 — God I'm so con fused. — saf-er, warm-er place to bs s. — BS + as Ee te 5) — oo + = | Oh God I feelsoosed! Sure-lyther's a better, witmrar pace wo be _ Vins yd ' Fra 2 7 ae = = Se = bor Coe Tt te Gulp en : be — == See = RAR “ry oe i a bias?) tracer] Se nae & | be fp —— |] pps e bag oe ‘ Rall . E SSS = 1 ve ps , - c =: = == = I slept with some - one, yip Pee. Fl. ° Lon - pil 2 ; ca Gee consume rad (a co at iff a ae = Th sh Le Bona pt = a =H - 2s PSs HIGH FIDELITY Piano/Vocal cur: ROB: “After Marie left, I pue (MUSIC) fon Neil Young's Exit Sign.” Sad Folk Rock ala Hear of Gold EXIT SIGN [Rev. 11/01/06} ‘NEIL YOUNG: Masic by TOM KITT Lyries by AMANDA GREEN Orchestrated by TOM KITTVALEX LACAMOIRE T chipped my of tooth ROB: Thate that song. Because it always reminds me, Sse a = a = f= = a ; re tear tots fe e's mmm = = — FF Ei q S=SeF SS ROB: ALISO! fof Alison Ashworth, and that rainy day under the bleachers when Ieaught her making out with Kevin Bunniste:* “T needed a change Rob, We were marat* ROB: "Waich always brings me wo that drizzly day..* Piano/Vocal -2- 17.1. Exit Sign (Rev, 1/0108} ROB: *.,om the soccer field when Clark Thompson told me he ‘Bagged Penny Hardwick wao Wouldnt even let me toveh her breast ROB: "Which thea sexinds eof sanding when we were dating outside Charlie Nicholson's parent.” PENNY: "Clark was nice." 10 1” 2 13 cur: CHARLIE: "Tm somry be called tbe cops Robs ROB: *.. in a downpour locking eyes with the dreaded Marco 2s be lowered the shade." 7_Yamp 4 15 16 ROB: "And that of course leads me to Sarah Kendrew telling me ste SARAH: “It was dhe Indigo Gils Rob ‘van a lesbian aa einy outdoor concer.” You shovle've seen it coming 2 0 a ROB: *..Why am I doomed to be lof? ee Doomed tobe rejected? And why ist ROB: "What's wrong with me’ deur naeg ‘Vamy , ra s P 6 2 — 5 =p E ——— BO 4, AS —> Ym stil a-look-in’ for the ex = it sign ROB AND NEIL: Lio ® a Keyboard 1/Conductor High Fidelity [al CUR: Applause seave CRUNCH PART 2 14 ROB: "What are you talking about? She said she hadn't slept with him yet! LIZ: "Yer, Rob! YET! The implication being she was boune to get around to ROB: "That's oot the implication at ali! If you sad to me haven't seen Srl Deca 2 ver, Orch. by Tom KitiAlex Lacamoire you're obvioiusly not desperate to see it, otherwise you would've gone already!" LIZ: "You're right, 'm not gonna see that movie.” ROB: “Alright then.” LIZ: “But we're not talking about me taking in some shiy zombie fick! u i ae eee eS i eam DO Mery armies 1 _, fade out, then cutoff any time EE eens PSE == jin RELONLY) (Ki: Howe Comp Synth] +#Techno Drs. ESS = Ss se - STE ST SF PPK FT LIZ: “Don ROB: "Don : "Please, Rob. know how you get" ROB: “You dont happen o rusts eat anacey PER have his address, do you?" ‘Yam; ROB: "What do you mean how [ get?” o, fade out, then cutoff any time us Keyboard 1/Conductor 2 High Fidelity li9 | CRYING IN THE RAIN 8 | | CUE j { LIZ: "Don't" Orch. by Tom Kitt/Alex Lacamoire LIZ: “Please, Rob. I know how you get” ROB: "What do you mean, how I get?™ [ Lightning, Thunder, Rain pours on ROB.} gett a ty a Flute, Vin, K2+'15imb em HK2: Stas, SO] w/Gt|, Timp. rol, ERO] em. Vel Bass a +Crash — (in the clear) LAURA: (answering) "Hello? ROB:"Oh hi. Tes me. Rob." LAURA: "What do you want?" ROB: (overlapping) “Listen, Laura, 1 just want to say —" LAURA: "This isnt really good time. —* (GO ON) 5 ‘ ? an Oe fae ye ee oe z : SS cH ———s Anawer the phone, ansverthephone! For fuckssake ont you anaver the fucking phone! Vin, Fig, A 2 Tp k2 a a K2'¢ f ze i Hee By 3 2 Bud 7 A A A © k b h = 7 ~ KN —_ 4 (SSS SS eS pS = ' Id wc, Bs (8b), K2, Timpani keyoan Vance 2. CRYING INTHE RAIN eee GF] With urgency : ' : [think you're run-ning! You're run-ning seared, little girl! From che sharp point each re - lationship hits, s0 you ter. Vin, mf Ne. oa (TACET] e§ Gir |, Blec. Bs, trem. Vel, Hi-hat Drs: Tom, reprgg a 3 Das: lite tom fll feel the need to blow it to bits! But soon, outs gonna wake and see, Vin, Vel vb, Bs 15m jt a Gt yp et 3s a tobe oe oie an “arb ae Z Rock, Half-Time Feel jg 8 = wy o You can run, lit-tle child, but you'll ne-ver be free. NO, youll ne-ver be free, 0, 90, no! wiGus, r To LAURA: tm ay HaNE;NE UP now, Rob So T Have your fun lit-We child, don't you worry ‘bout me. =k, Gad! Don't leave me Drs. Keyboard I/Conductor 4. CRYING IN THE RAIN High Fidelity ; = —— Alii? iit hs aa poe Japs’ Cus? r cr Bs, Dis halftime fee (Son 3) 7 ot tr; 8 ia fF ititiiii Drs: ll wiToms lite tom Ail Va. Keyboard l/Condvetor 5. CRYING INTHE RAIN High Feliy see you through the win - dow, — looking so drawn end pale, on My a =" = a & f SS SS SS f how can you stand {& be. man - han = dled by that Steven Se-gal— po-ny tail! You 7 Keyboard lCondctor ment and 6 CRYING INTHE RAIN ick-head fit the bill, Dick-head! Hiph Fidelity but he does-nt love you end helt doesn't love you a == = =| F : = = @ em @ z == r T “ - ‘ ite fp = 2 z = a SSF un der-stand you like 1 wil lke 1 wit ‘Sigs, K2: Sigs (48mb) =e Dall Keyboard I/Conductor 7. CRYING INTHE RAIN igh Fidelity You can run, little child, but you'll ne ver be No, you'll ne-ver be free, 0, no, no! fz (Hins, out) wiGus, 7 5 r i | Have your fun little child, don't you worey "bout me, don't you worry "bout me, no-no. Keyboard 1/Conductor 8 CRYING INTHE RAIN High Fidelity ROB: "Hello, Hello?” a Laver Dont leave me 2 es via _ r fe tins - aE 4 Q& —$—— ~ Ie —— ase == : = = —S B \ fp = em aA [ewe rhythm eft BEE = SS SS + + al Des: fil Cy = in in the rain! iy — PPRPip ey ERP ERE — $ $ cSt === $ © Gir isd arp's ‘ SF Csus? a Csus? a ow Bs, Drs: halftime feel (S.D. on 39)! C : a = ie | ao I pt 9. CRYING INTHE RAIN High Fidelity Rob collapses in wars nto the wet pavene nt a WEPEPLP ES & ———— J | = ee og (p= = 7 LF fom ST \A\ Keyboard 1/Conductor CONFLICT RESOLUTION roughow in tm, 26 Angry Metal d= 116 2 ROB: High Fidelity [1@ | 9 | Orch. by Tom KitilAlex Lacamoire i SSS ] | Aa (kbd. [TACET until m. 12 2. Gtrs. w/t ma din, i j = > z SS = i ? = =F Fra = rE = + ‘ e Es 5 a 5 ” oF 6 os z | ‘El Bass > a = eS 7 a FEES Bub throughout s = Spoe f ‘ = = = fs : f = == = [Ai tee ov Leave the coun ty! Little Bitch, youre gon-na feel my rage? ip. Fee =| fe M2, FBS sa Td ASS By ct os lan High Fidetity 2. PS.NO-PROBLEM Reprise PLAYOFF Keyboard 1/Conductor You'e gon-na took back at ten phone calls night TAN: "Asasaaaasanaahhhhh!” fuck-ing gold en age! Gut ==—= ca You'll be home 1o the mag-gors and fleas! I'm gon-na bring you to your sha na na na na na = f ° ( Tai Fry : EA 3. Pa ees SSE: ESE = SE —— === eS [BLACKOUT!] knees! K2:Organ Keyboard I/Conducior 3. HES-NO-PROBLEM (Reprise) LAYORF High Réeiy TAN: ".-Know what tm saying, Robbo?" ROB: “Yeah” (The bell on the door jingles asa customer enters) TAN? *So shall we leave tat that then?™ LIGHTS UPL] a T-. Ga] Beastie Boys Hip-Hop J = 120 H ~ | __ ROBMARRYDICK: 3 a = s oe SS St — ites wn Heres our con~ ict r= 50-lu= ton! = Time forthe cna to - Hibs ives wimotor DICK: Gon-na pun-ish your dough-y white bo - dy with a taste oF my Hal 8 [ALL3: Ka-rate! Veal Keyboard 1/Conduccor ® BARRY: ROB: 19 ALLS: = = a 2 o —¥ — —S —— = Youve breahed your last breath suck-a, re - solve this conflict mu-tha fuck-at IFLICT RESOLUTION SAMPLE HS (Mahala ee ctr E 7 = 7 = I nas /ROB picks up record cart, and is about to smash LAN with it (ROR cs ow “1 jecacrourt a Th ONFLICT RESOLUTION SAMPLE #4 [Ass beatin now what 'm saying, Robbo?” ‘Yeah 283, BO FN orgs as acto eter) : ret ee ate Oh, wate ane ke ne : ce PN La Gangta Rap = K2: Gunshot Vibes wimotor ATi Synth Strings Ee and ape, doubled Sv (SYNTH STRINGS] w/Vcl. : yh ins Beers poe») (SYOTESTRINGS] K2: Sitar [Piz to Sees a oa f Sy ¥ , : eS ~ EARS] TL F a | 7 runs: Trane Seas pate a == : ma r ae ala ‘5. FPS-NO- PROBLEM {Reprise} PLAVORR. 6 ~ PS “i 3S i ———— Tm so ti-red of hear-ing your mouth run, Popped a cap in your ass, now you're done, son; yg t t == — Vin pizz, K2: Pizz Sigs, Atcten-tion, shop-pers! There's blood on the fl! We got a one-eight-se-ven on aisle foll__ (same patch) (out ~ go ALL3: (echoes) =F ¥ Now youknow how much yourlife is worth, ‘This was your last real record store—on of earth! (earth) (earth) (earth) ¥ | I: BITCHES ‘ HOMEY: BITC J ¥ v wien Sereno, te? oh We ZB pcm se _be G4 : te puck ie re = SS 4 2 == = | out K2:Bs A — 1 - — = é F SSS = = i + = oS =F ? tf Keyboard 1/Condt & ROB: 6, FPENO-PROBCEM TReprisey PLAYOFF. High Fidelity \° You better hope its bet ~ te, Pathetic rebound fock! Ei-t—F == eH = & = ee f 4 better place — you're gore— ©, T pry the Lord your soul to save, — White you a LAY] Hip-Hop Sine Wave (16th pattern) ACS - _ — l= = = SS = mf [WARM PAD D4 to | CH) } 13Gi. 2 clean, spare funky comping if 3 A bays 5 —— ; =| \ = et =F + 7 4 eS EE ee - = — Bass (rb) aa ee =: x Yeah, yesh, yeah! ‘ == = = = e = ES a = SSS SS rest up there— in hea = ¥en TH te pis-sia’ on your gravel 4 _ - _ $ = — = : 3 roe - = Ie : - as = oa 7 FF e = Twill be pissin’ on your grave. a Got my your = ¢ E Keyboard |/Conduetoe 17, FES-NO-PROBEEN Reprise} PLAYOFR, High Fidelity ALLS: ROB: £ — SSS —— hols *beep* doin and a mag-num of Kris : ‘m gon-na et x =~ SS a SSS Fis ~ sin” on— your grave : ef = = ps Sing — 4 beep you in the *beep™ wit th my mo-ther-fuck-in' *beep* F — Pay the Lord— your soul wo swe - (same pte . es P . Gs (Che Aisle Oangat's Paradise) doobled va up to CFS] ‘Ww/Stgs (arco) ~ ~ _ ele Fra a a SSE ap Gin, o-pen up his mouth exuse Fm’ ready 10 piss” ys sin) op your gl tees a) = £ == —=S oS — Ps on your grave! Pis = sig tS * 88 on— Jour gravel oe 7 - r = ~ ue 7 a 08 Bigg Keyboard Conductor “ ‘s 8-HPS-NG-PROBLEM (Reprise) FLAYORR. We High Fidelity | Ww you've had a tase of my big black glocl fow a-bout a taste of my big black *beep*? Now y 1d taste of my big black glock He a taste of my big bla eae +i a K2: Sitar EE aa _ ££ TUT! & =_= | 4 BAND TACET 5 - = — —— - Drums continue (Tri, finger snaps pattern) > \e4 Keyboard I/Conductor High Fidelity [aa | GOODBYE AND GOOD LUCK x0 Orch. by Tom KitdAlex Lacamoire cur ROB: “You know the worst part? That diot might have a point | should just forget her. The trouble is | havent forgotten gil since the seventh grade. | don't think Lenow how.” (GO ON) (Rob collapses onto his sofa and clicks ona Bruce Springsteen video for comfort.) “I'bet you never bad these problems. Did ya Bruce? Oh man, The Boss.” (MUSIC) BRUCE: (on Video: to.a cheering crowd) "Is there anybody alive tonight? Is there anybody alive?!" (0: (ECIRCET amy) ‘ Roy Bittan 4 : 2 3 ROB: f Se S 7 Fe = ===, > Why cant 1 be like the Doss? ‘Cause K2-Piano ~ eee 4 - i = =| inf ¢ er = A tS aS S| i = Keyboard |/Conduetor 2, GOODBYE AND GOOD LUCK High Fidelity e ° 10 bom— to tun? Why cast 1° Why wast 1 Why was I doomed— to be left? ot ™ D let loose of this heavy load of rageand of pain? Whycan't | be fromThun-derRoadend not from Pud-ding Hill Lane, with my PLAY). (bend) of +6tr2; Steel Sig. eye. } ict there on stage smi lin! 9 cross? E-ven for one— night, why— can't | be—like The Boss? +GUe 1: Elec. Gte £ Am Csus%ig ) ce ° z == ag Se & et p = = Drs; add B.D. 3. GOODBYEAND Goon Luck High Felty a » a 2 + Se fee ye = =: co = SSS SS SSS Whoa. Whoa—oh whoa oh whos ob whoa Why can't I be_like The Boss? z ae: ~ Zee SS z = ‘man 5 ‘ ‘ wiGus. ana } : 1 2 al aI = 1 4 SPAY Bo) ft Em c a caus Se mt a i WiBs, Drs, full Whoa—oh whoa oh whoa oh whoa Why BOSS: “Why can't you Rob?” = can't [ be—ike the— SP pdt ty c > Csus%}p = === i aaa 2 z ¥ F laa VS. 4, GOODBYE AND GOOD LUCK High Fdetity Keyboard {/Conductor Springsteenesque 4 = 64 ag THK like Clarence Clemmons) a g o = PIANO wisome nice echo —— wiK2:Organ, Gs 4 fy a — 2 2. FLAY ff es | A rt = 5 = wiBs. Drs. Bhs 1 you be like me?” BOSS: “Please, call me Mr. Springsteen. You know, fwth your Top 3 Break-Ups-why don't you get in touch with them” ROB: “Why would 1?” BOSS: “Wel, is like in “Bobby Jean’ ROB: “Where you call the git up but she's left own and you're | pissed off that you didn't know about it?” Boss: “Right, ‘cause I wanted to say good-bye and that 1 missed her, and to wish ner good luck...” BRUCE: (CONTD) ‘Closure’.." (sx only =} t PYF, 7 t ry ym 3s BOSS: (CONT'D) *..Same with your Top 5." A BRUCE: 4 fe | Gus, Bs,, Des. out tty = Keyboard 1/Conduetor 5. GOODBYE AND GOOD LUCK High Fideicy # » « cal 'em like he ghosts that roam— the Main—Stret of the steel own, where the plant's— been closed since wiGurs,, Bs : = nig ee é Se ——— = E = = ~ +Drs. hit = Moet - - - —" — a= == = = SS SS SS ° ‘Ve-teran's Day. You're a lost soul drowning in the mem-ries that haunt you, all those +Tax. sustain \ +Drs. hit i DF 7 Drs, cont sim Drs, VS. Keyboard |/Conducter 4s ” prevay bare feet runing in-to the night 6. GOODBYE AND GOOD LUCK e see them nunaing a-wey— | aap a a High Beeliy ROB: “But what would [ say?" “8 2 fF =e Se feet oe Ss a et tell'em how you—are, and a ask em how they — are. Then ookin-to their eyes and tale with out mak - ing a sound. F wiGurs. cont'd. T.Sax. fll wiGtrs T. Sax, K2 out 3 lub Bsus crese, poco a poco w/Bs., Drs, | my J = — fe = —_ ; ; 2 Ses Keyboard 1/Conduetor 7. GOODBYE AND GOOD LUCK ; __ «tee a SSS ee re von We ae K2:Glockenspie! va | +K2:Organ sustain they can for - give. mes = sin’ around, K2:Organ gliss, & o s « 54 = eS ee SSS Z =e ° ot r— Thiok how good—youll be feel - ing thenl.. Shin ~ ing like the chrome on your bike all K2:Glockenspiel va 1385 oid on = wiGtrs, TSax F) Roout - ous 8 ess € 7 si? P—tT = " Keyboard /Conduetor 8. GOODBYEAND GOOD LUCK High Fidelity e revved ups and cea - dy t© stat again, —___ Jaugh. ing as you're thinking back to when love__was something you did't like. TSax out bot-tied up-— with pain you might. ex - plode, and if K2:Glock. 8va Gite bring out WIK2:Glock, /5Sma creze. poco a poco | Ffrmy A 222 Keyboard I/Conductor 8. GOODBYE AND Goop LUCK High Raelity 0 a ea = ———— : a SS ed of your heavy load, _ Say Good-bye aif Ose Bliss. ee —and good Iuck— to your top. ROB? "Say what?" A five breskups and move on down— the road! wd z i + — and good luck—to your top—_five breakups T.Sax, Tpt, Sigs, out ‘move on down—the road! vd dol High Fdelicy Keyboard lConductor 10, GOODBYE AND GOOD LUCK 22 = Tp, Sis Tex fl wha Ro: « a aRuce: ———— ps : = ~ get = $= SS SS SSS = 3 TAL tison_. who ditched me af = ter three days inthe park? caller! K2:Stgs, w/Stgs., Gtr2 f | Gta ow | wakasoransussin ¢ Los : Zz ft 5 SSS SS mf gus € Esus E Bsus 8 Baus 8 ——_—__—_ tii wiDrs. cont'd, a ROB: then had sex——with that ba - stard Clark? Cold! her up, Pen-ny who would-n't let me fe