Page 14 A N N I E

THE ORPHANS & ANNIE

Yes, Miss Hannigan.

MISS HANNIGAN
(A laundry truck has arrived outside the Orphanage)
Now line up.
(The ORPHANS and ANNIE file past MISS HANNIGAN,
who inspects them as a laundry man, BUNDLES McCLOSKEY,
comes in the front door carrying a load of clean sheets. BUNDLES
comes into the dormitory)

BUNDLES
Laundry. Laundry man.

HANNIGAN
Move it!

THE ORPHANS & ANNIE

Mornin’, Bundles.

BUNDLES
Mornin’, kids. Clean sheets once a month whether you need ‘em or not.
(During the following, ANNIE, hidden by the ORPHANS,
sneaks into the laundry bag)

HANNIGAN

(Seductively)
Mornin’, Bundles

BUNDLES

(Avoiding HER)
Oh yeah, Aggie, runnin’ a little late. See ya in January.

MISS HANNIGAN
Aw, c’mere ya big handsome brute. Don’t you wanna know what I’m gettin’ you
for Christmas?

BUNDLES

(Reluctanly crossing over to her)

What?
 A N N I E Page 15

MISS HANNIGAN
Egg Foo Yung in Chinatown for two. On me.

BUNDLES
Egg Foo Yung? For Christmas?

MISS HANNIGAN
All ya can eat. So what are you getting me?

BUNDLES
What did I get you last year?

MISS HANNIGAN
Nothin’.

BUNDLES
Good. You’re getting it again.

MISS HANNIGAN
Ahh, get out of here with that damn laundry.

BUNDLES
(Crossing and picking up the laundry bag with ANNIE in it)
Okay. So long Aggie, and, huh, Merry Christmas.

MISS HANNIGAN
Yeah, Merry Christmas.

BUNDLES
Merry Christmas, kids!

ORPHANS
Merry Christmas, Bundles.

BUNDLES
(Sings)
HARK THE HERALD ANGELS SING
YA DAH DAH...
(exits)
 A N N I E Page 19

# 6 — Tomorrow (Annie)

(ANNIE)
THE SUN’LL COME OUT
TOMORROW
BET YOUR BOTTOM DOLLAR
THAT TOMORROW
THERE’LL BE SUN!

JUST THINKIN’ ABOUT

TOMORROW
CLEARS AWAY THE COBWEBS,
AND THE SORROW,
‘TIL THERE’S NONE!

WHEN I’M STUCK WITH A DAY

THAT’S GRAY,
AND LONELY,
I JUST STICK UP MY CHIN
AND GRIN,
AND SAY,

“OH, THE SUN’LL COME OUT

TOMORROW”
SO YA GOTTA HANG ON
‘TIL TOMORROW
COME WHAT MAY!

TOMORROW!
TOMORROW!
I LOVE YA TOMORROW!
(A Policeman, LT. WARD, enters)
YOU’RE ALWAYS A DAY AWAY!

WARD
Hey, you, little girl. Come here.
Page 20 A N N I E

ANNIE
(Scared, trying not to show it)
Yes, Officer?

WARD
That dog there. Ain’t I seen him runnin’ around the neighborhood? Ain’t he a
stray?

ANNIE
(Fibbing)
A stray? Oh, no, Officer. He’s … he’s my dog.

WARD
Your dog, huh? So, what’s his name?

ANNIE

(Fibbing brilliantly)
His name? His name is… Sandy. Right, that’s it, Sandy. I call him Sandy, you see,
because of his nice sandy color.

WARD
Sandy color. Okay, let’s see him answer to his name.

ANNIE

(Scared)
Answer? You mean … when I call him?

WARD
Right. When you call him. By his name. Sandy.

ANNIE
Well, you see, Officer…
I just got him and sometimes he just doesn’t want to answer …

WARD
Call him!

ANNIE
Okay. Here boy. Here, Sandy.
(The DOG ignores HER)
 A N N I E Page 21

(ANNIE)
Sandy...here boy...
(Then very loudly)
SAAAANNNNDY!
(SANDY crosses to ANNIE, stands and puts his front paws
on her chest. Triumphantly, she say)
Good Sandy. Good ol’ Sandy.

WARD
Hmmm, well, maybe he is your dog. But the next time you take him out I wanna
seem him on a leash and with a license. Or else he goes to the pound and they
“put him to sleep.” You understand?

ANNIE
Yes, sir, I understand. On a leash and with a license.

WARD
Now get along with you before you catch your death of cold in this weather.

ANNIE
Oh, I don’t mind the weather.
WHEN I’M STUCK WITH A DAY
THAT’S GRAY AND LONELY
I JUST STICK UP MY CHIN AND GRIN
AND SAY,

OH, “THE SUN’LL COME OUT

TOMORROW”
SO YA GOTTA HANG ON
‘TIL TOMORROW
COME WHAT MAY!

TOMORROW,
TOMORROW
I LOVE YA, TOMORROW
YOU’RE ALWAYS A DAY AWAY!
TOMORROW,
TOMORROW
I LOVE YA, TOMORROW
YOU’RE ALWAYS A DAY AWAY!
Page 50 A N N I E

GRACE
This is Annie, Mr. Warbucks. The orphan who will be with us for the
Christmas holidays.

WARBUCKS
The orphan? But that’s not a boy. Orphans are boys.

GRACE
(The feminist in her answering gingerly.)
I’m sorry, sir, you just said, “orphan.“ So, I chose a girl.

WARBUCKS
(Cowed)
Oh. Well, I suppose she’ll have to do.
(To ANNIE, assessing her)
Annie, huh? Annie what?

ANNIE

(Frightened, confused)
Sir?

WARBUCKS
What’s your last name, child?

ANNIE

(Nervously)
Oh, I’m just Annie, sir. Mr. Warbucks. I haven’t got any last name. That I know of.

WARBUCKS
So, you’re just Annie, huh?

ANNIE
Just Annie.
(GRACE sends ANNIE over to WARBUCKS. SHE lands at HIS belly
button)
I’m sorry that I’m not a boy.
 A N N I E Page 51

WARBUCKS
(Not knowing what exactly to say)
I don’t suppose you’d like to meet Babe Ruth?

ANNIE
(Eagerly, trying to please)
Oh, boy. Sure.
(ANNIE thinks about it for a second)
Who’s Babe Ruth?

WARBUCKS
(Leaving HER, as SHE walks dejectedly downstage)
I couldn’t be happier that you’ll be spending Christmas with us. Grace, we’ll start
with the figures on the iron-ore shipments from … Toledo to …
(Made uncomfortable by the presence of ANNIE, whispers to GRACE)
What are we supposed to do with this child?

GRACE
(Whispers to WARBUCKS)
It is her first night here, sir.

WARBUCKS
It is? Oh. Hmm.
(To ANNIE)
Well, Annie, your first night here, I guess we ought to do something special for
you.
(Ponders)
Why don’t you sit down.
(ANNIE races to chair and sits. GRACE and WARBUCKS whisper
behind chair about what to do with ANNIE. GRACE pantomimes a
movie. WARBUCKS doesn’t get it)

ANNIE
A movie!

WARBUCKS
Would you like to go to a movie?
Page 52 A N N I E

ANNIE
Gosh, sure, Mr. Warbucks, I’d love to. I mean, I heard a lot about them,
but I’ve never been to one.

WARBUCKS
Never?

ANNIE
No, sir.

WARBUCKS
Well, then we’ve got to do something about that right away. And nothing but the
best for you, Annie.
(Remembering)
You’ll go to the Roxy. Then an ice-cream soda at Rumplemeyer’s and a hansom
cab ride around Central Park.

ANNIE
Golly.

WARBUCKS
Grace, forget about the dictation for tonight. We’ll do it first thing in the morning.

GRACE
Yes, sir.

WARBUCKS
Instead, you take Annie to the movies.

GRACE
Yes, sir.

ANNIE

(Obviously disappointed about something)

Aw, gee.

WARBUCKS
Something the matter, Annie?

ANNIE
Nothing, sir. It’s just … aw, gee.
 A N N I E Page 53

WARBUCKS
No, what is it, child? You don’t want to go to the Roxy?

ANNIE
No, I want to. It’s just that, well ... I thought you were going to take me.

WARBUCKS
(Put off)
Me? Oh, no, I’m afraid that I’ll be far too busy tonight to ...

ANNIE
(Turning on the charm)
Aw, gee.

WARBUCKS
You see, Annie, I’ve just been away for six weeks. Making an inspection tour of
my factories. Or what’s left of my factories with this damned Depression.
(Phone rings. GRACE picks it up)
And when a man is running a multi-billion-dollar corporation that has ...

ANNIE
Oh, sure. I know. That’s okay, Mr. Warbucks. I understand.

GRACE

(To WARBUCKS, holding out the phone)

Excuse me, sir. Bernard Baruch calling.

WARBUCKS
Good.
(WARBUCKS crosses and talks into the phone while ANNIE wanders
down center glancing over her shoulder at HIM from time to time,
imploringly, with cocker-spaniel-like eyes, giving him the look that every
father who has ever had a daughter who wanted something from him,
knows all too well)

Hello, Barney. Yes, I got in an hour ago. No, Detroit and Chicago. Barney, I didn’t
like what I saw out there. Factories shut down. MY factories shut down ... You’re
damn...
(WARBUCKS realizes ANNIE is standing next to him and changes his
‘damn’ to ‘darn’)
Page 54 A N N I E

(WARBUCKS)
You’re darned tootin’, when I’m not making money, nobody is. And gosh darn it,
Barney, your pal Roosevelt has got to do something drastic. He’s got to come up
with a new approach, a new plan, a new ... something ... Yes, I know he’s a
Democrat but he’s a human being, too. ... Yes, I’ll talk to you about it. Come over
here tonight ... Good, we’ll be able to ... I can show you the ... Barney, make it
tomorrow. Tonight ... tonight I’ve got a date to go to the movies. With a ten-year-
old girl.

ANNIE
(Smiling triumphantly, she’s won)
Eleven.

WARBUCKS
I was mistaken, she’s eleven. ‘Bye, Barney.
(HE hangs up. Glares at ANNIE, giving her a fake smile right back)
Drake?

DRAKE

(From off-stage left)

Yes, sir?

WARBUCKS
Coats.

# 12 — N.Y.C. (Warbucks, Grace, Annie, Company)

DRAKE

(From off-stage left)

Yes, sir.

WARBUCKS
Grace, you’ll come, too, of course.

GRACE
Yes, sir.
(DRAKE enters with three coats)
 A N N I E Page 73

DRAKE
(Off-stage right)
Miss Annie, Mr. Warbucks will see you now.

ANNIE
(Off-stage right)
Thank you, Mr. Drake.
* (ANNIE enters and goes directly behind HIM.)

ANNIE
Hello.

WARBUCKS
Hello, Annie. How are you today?

ANNIE
Fine, thank you. How are you, sir?

BOTH
(Back and forth)
Fine...fine...fine...

WARBUCKS
(Stops her)
Annie, the time has come for the two of us to have a very serious discussion.

ANNIE
(Not feeling sorry for herself)
You’re sending me back to the Orphanage, right?

WARBUCKS
(Doesn’t quite know how to begin)
Annie, can we have a man-to-man talk?

ANNIE
Sure.
Page 74 A N N I E

WARBUCKS
(Indicates that SHE should sit. SHE hops on HIS desk.)
I was born into a very poor family in what they call Hell’s Kitchen, right here in
New York. Both of my parents died before I was ten. And I made a promise to
myself — some day, one way or another, I was going to be rich. Very rich.

ANNIE

(Matter-of-factly)
That was a good idea.

WARBUCKS
By the time I was twenty-three I’d made my first million. Then, in ten years,
I turned that into a hundred million.
(Nostalgically)

(WARBUCKS)
Boy, in those days that was a lot of money.
(Back to business)
Anyway, making money is all I’ve ever given a damn about. And I might as well
tell you, Annie, I was ruthless to those I had to climb over to get to the top.
Because I’ve always believed one thing: You don’t have to be nice to the people
you meet on the way up if you’re not coming back down again.

(WARBUCKS)

(Softening just a bit)

But, I’ve lately realized something. No matter how many Rembrandts or
Duessenbergs you’ve got, if you have no one to share your life with, if you’re
alone, then you might as well be broke and back in Hell’s Kitchen. You understand
what I’m trying to say?

ANNIE
Sure.

WARBUCKS
Good.

ANNIE
Kind of.
 A N N I E Page 75

WARBUCKS
Kind of?

ANNIE
I guess not.

WARBUCKS
Damn!
(WARBUCKS crosses to desk, finally deciding to get the Tiffany box.)
I was in Tiffany’s yesterday and picked up this thing for you.

ANNIE
For me? Gee, thanks, Mr. Warbucks. You’re so nice to me.

WARBUCKS
I had it engraved.

ANNIE

(ANNIE opens the box. Very quietly)

Oh. Gee.

WARBUCKS
It’s a silver locket, Annie. I noticed that old, broken one you always wear,
and I said to myself: I’m going to get that kid a nice new locket.

ANNIE
(Politely)
Gosh, thanks, Mr. Warbucks. Thank you very much.

WARBUCKS
(Starting to take off ANNIE’s old locket)
Here, we’ll just take this old one off and …

ANNIE
(ANNIE runs from WARBUCKS. SHE crosses downstage to end of
desk. SHE approaches hysteria.)
No! No please don’t make me take my locket off. I don’t want a new one.

WARBUCKS
Annie, what is it?
Page 76 A N N I E

ANNIE
(Fingering her locket)
This locket, my Mom and Dad left it with me when … when they left me at the
Orphanage. And there was a note, too.
(Loudly)
They’re coming back for me. And, I know, being here with you for Christmas, I’m
real lucky. But … I don’t know how to say it…
(SHE begins to cry)
The one thing I want in all the world … more than anything else is to find my
mother and father.
(More tears)
And to be like other kids, with folks of my own.
(As ANNIE is crying and telling her story, GRANCE and SERVANTS
enter from left and right to see what is wrong. ANNIE runs to
GRACE’S arms.)

WARBUCKS
(non-plussed)
Annie … it’ll be all right … I’ll find them for you … I’ll find your parents for you.

GRACE
Shh, shh, baby.

WARBUCKS

(Not knowing what to say or do)

I’ll … I’ll get her a brandy.
(WARBUCKS exits left)
GRACE

(Trying to calm ANNIE, who is continuing to cry)

Shh, shh. It ‘s going to be all right.

DRAKE
Miss Annie, you just see. If there’s anyone who can find your parents,
Warbucks is the man.
GRACE

(Overstating this to cheer her up)

Mr. Warbucks will find your mother and father. If he has to pull every political
string there is to pull — up to and including the White House.
 A N N I E Page 91

(DUFFY stomps on HANNIGAN’s foot. ORPHANS exit cheering.)

MISS HANNIGAN
(MISS HANNIGAN limps to a chair)
She never misses. A fifty-thousand-dollar reward. A fifty thousand dollar reward!
What I couldn’t do with fifty thousand dollars. I hate that Annie so much you’d
think I was her mother.
(ROOSTER and LILY, in disguise as RALPH and SHIRLEY MUDGE
enter.)

ROOSTER
(Trying not to reveal their faces)
Excuse us, ma’am, we knocked upstairs but nobody answered. Are you the lady
that runs this here orphanage?

MISS HANNIGAN

(Rubbing her foot)

Yeah.

LILY
Oh, Ralph, I’m scared. Somethin’ coulda happened to her.

ROOSTER
Hush, Shirley. It’s gonna be all right, Shirl. She’s gonna be here and she’s gonna be
ours again.
(To MISS HANNIGAN)
Ma’am?

MISS HANNIGAN
Whatta ya want?

ROOSTER
Well, we had terrible troubles back then. We had to head North to Canada.
Had to leave a baby here. On the front stoop.

LILY
Our little girl. Our Annie.
Page 92 A N N I E

MISS HANNIGAN
(Stunned)
Annie. You’re Annie’s parents?

LILY
Please, nothin’s happened to her?

MISS HANNIGAN
I can’t believe it. Annie’s parents. Where’d you say you come from again?

ROOSTER
We come from a little farm up in Canada...

LILY
Manitoba...

ROOSTER
... where they’ve got lots of chickens...

LILY
... little chickens...

ROOSTER
... and ducks...

LILY
...ducks...

ROOSTER
... and geese...

LILY
...Oh you should see all the geese...

ROOSTER
...and roosters.
(ROOSTER crows and whips off HIS disguise and scares HANNIGAN
who crosses downstage right to get a bottle of liquor out of fabric
basket.)
Gotcha, Sis!

MISS HANNIGAN
Oh, God, Rooster, I never woulda knowed it was you in a hundred years.
 A N N I E Page 93

(MISS HANNIGAN takes a swig from her bottle)

ROOSTER
Fooled ya, Aggie. And we’re gonna fool Warbucks, too.
(ROOSTER sits in chair left of desk)

LILY
Get ourselves fifty thousand big ones.

ROOSTER
(More excited than HE’S ever been)
This is gonna be the best bunco job ever, Aggie. I know a guy outta jail who can
doctor up a fake birth certificate or any other papers you want. But we need your
help, Sis, for details about Annie that can help us pull this thing off.

MISS HANNIGAN

(Thinks a beat)
Sure, I could help you. A lot. But what’s in it for me...Ralph?

ROOSTER
Three way split, Aggie.

MISS HANNIGAN

(After a long beat)

Half.
LILY

(Outraged)
Half?

MISS HANNIGAN

(Darkly)
Half.
(Gets bolt of fabric and goes after LILY, but is stopped by ROOSTER)

ROOSTER
(Trying to stop a brawl from breaking out)
Half! Half! Half! Straight down the middle. Twenty-five grand each.
Page 94 A N N I E

(ROOSTER)
But we gotta do it fast, Aggie. Give ‘em some of the old Rooster razzle-dazzle. In
and out. Two-three minutes at the most. Get the money, get the kid and get the
hell outta town.

MISS HANNIGAN
Yeah, the kid, Annie. That’s the problem. What would we do with her afterward?

ROOSTER
Aggie, that’s no problem.
(ROOSTER flips open a long switchblade knife)

LILY
When the Rooster wants something to disappear, it disappears.

ROOSTER

(With sleight-of-hand, he makes the knife disappear)

For good.

HANNIGAN

(A little frightened by how far he’d go.)

Rooster!

ROOSTER
Come on, Aggie. We get the fifty grand, we blow this crumby town, and then Lil
and me’ll meetcha …

MISS HANNIGAN
Where? … Oh, yeah.

# 19 — Easy Street Reprise (Rooster, Lily, Miss Hannigan)

ROOSTER, LILY & MISS HANNIGAN

EASY STREET, EASY STREET,
ANNIE IS THE KEY.
(YES SIRREE, YES SIRREE, YES SIRREE.)
(Spoken)
Yeah!
EASY STREET, EASY STREET
THAT’S WHERE WE’RE GONNA BE.
(ROOSTER and LILY run off - exit DSOP)
 —170—

#13—EASY STREET

ROOSTER: Aw, Aggie, how’d the two

Hannigan kids ever end up like this?
On the skids.

## 4 U
2 Freely
Œ œ œ œ œ œ œ œ œ œ j ‰
& 4 Ó
(ROOSTER)

œ œ. œ œ œ
1 3
I re - mem - ber the way our saint - ed moth - er would sit and

## j œ œ
(HANNIGAN)
œ œ œ œ œ œ œ
& œ œ. ‰ ˙ Œ
4
œ œ œ 5 6
croon us her lul - la - by, She’d say, “Kids, there’s a place that’s like no

## j j œ œ
(ROOSTER)

& œ œ. ‰ œ œ. ‰ Œ
œ œ œ œ œ œ ˙
7 8 9
oth - er, you got - ta get there be - fore you die. You don’t

10
## œ œ œ œ œ œ œ j j
‰ œj ‰ œj
(HANNIGAN) (ROOSTER)

& œ œ. œ œ œ œ. œ œ
11 12
get there by play - ing from the rule book, you stack the a - ces, you load the

## œœ U -
Œ œ # œœ œ œ œ œ œ
(TOGETHER)

& ˙ œ
13 14
dice!” Moth - er dear, oh, we know you’re down there

#
& # œj œ . ‰ œj
œ œ œ œ ‰
œ œ œ
"
15 16 17 ˙ ˙
lis - tening how can we fol - low your sweet ad - vice to

Tempo—Slow 4 “New Orleans”

œ.
18
## j nw
œ œ. nw
(ROOSTER)

& Œ œ Œ œ œ
19 20
J 21
Eas - y Street, Eas - y Street,

##
Œ n˙ œ w
(HANNIGAN)

& ˙ ˙ Œ
3 3 3

22 23 24
Ó nœ œ 25 œ œ œ œ œ œ
where you sleep ‘til noon. Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah,
 —171—

˙
26
# #(HANNIGAN)
(TOGETHER)

˙˙ œœ n ww Œ œœ b ww
& ˙
œ She’d re -
27
peat
28
Eas - y
29
Street
yeah!

## ˙ ˙ ˙.
& Œ ˙˙ œœ #˙ n˙ ˙. Œ
30 31 32
Bet - ter get there soon.

U
33 Slower
## 7 "
Ó Ó
(Dialogue)
&
33-39 40

Tempo—Slow 4 “New Orleans”

œ
41
##
Œ œœ nw Œ ˙˙ œ b n ww
(ALL)

& ˙˙ w
42 43 44
Eas - y Street, Eas - y Street,

## a ˙˙ œœ ˙ ˙
(ALL)

Œ ˙˙ Œ Œ
3 3

& #˙ ˙
45 46 47
nœ œ 48 œ œ œ œ
where the rich folks play, Where they play, play all day.

49
Πj
## (ALL)
œœ nw œ
(ALL)
œ .
˙˙ .. œ
(HANNIGAN)

& w œ œ. œ œ. œ œ œ
50 œ. 51 œ
Move them feet (Move them ev - er - lov - in’ feet) to Eas - y
LILY: (Sings a little out of tune)
Easy street, easy str...

U
HANNIGAN: Oh, shut up
## U
& b ww Œ ˙˙ œœ # ˙˙ n ˙˙ Œ œœ Ó
52 53 54 55
Street When you get there stay!

U
56
# # Slower (Dialogue) 7 œ
Ó Œ œ
(ROOSTER)

&
56-62 63
It ain’t
64
#
& # œ œ œ œ œ œ œ j
œ œ. ‰
œ œ œ
j
65
fair how we scrounge for three or four bucks while she gets

## j ‰ j
(LILY)
Œ œ œ
(HANNIGAN)
œ œ œ œ œ œ œ
& œ œ. œ œ œ ˙
66 67 68
War - bucks the lit - tle brat! It ain’t fair this here life is driv - ing
 —181—

# 1 7 — F U L LY D R E S S E D

HEALY: So get in touch HEALY: …another of our Thursday-night

right away, ya hear? Vamp get-togethers has gone by faster than you can say Oxydent.

### 4 U .. 2 ..
& 4 Œ
1-2

###
(BOYLAN SISTERS-RONNIE, BONNIE, CONNIE)
(R) (B)
w
(C) (R)
w
(B)
w
(C)
www
(ALL)

& w w w
3
O - X - Y - D - E - N - T!

(Dialogue)
JOHNSON: And Jimmy Johnson, HEALY: This is Bert Healy saying
radio’s only masked announcer. ...Ha Ha Ha Ha Ha
# # U U
Vamp
2
& # .. .. ∑ ∑
4-5 6 7

###
8
j œ aœ
(HEALY)

& œ . Jœ œ # œ œ œ . Jœ œ # œ œ œ. œ œœ œ œ œ œ œ
9 10 11
Hey, ho - bo man, hey, Dap - per Dan, you’ve both got your style, but Broth - er, you’re

### œ j œ. œ j w œ Œ Ó
& œ œ œ œ œ.
12 13 14 15
nev - er ful - ly dressed with - out a smile!

# #
16
œ
& # œ . Jœ œ # œ œ œ . Jœ œ # œ œ Œ œ œ. œ œ œ œ œ œ œ
17 18 19
Your clothes may be Beau Brum - mel - ly, they stand out a mile, but Bro - ther you’re

# # œ j œ. œ j w ˙ œ
& # œ œ œ œ œ. Œ
20 21 22 23
nev - er ful - ly dressed with - out a smile! Who
 —182—

# # # (HEALY)
24
˙ œ. j ˙ œ œ ‰ . œr œ œ
3

& œ nœ œ œ ˙
œ #œ
25 26 27
cares what they’re wear - ing on Main Street or Sa - ville Row? It’s what you

# # U U U
#œ œ œ œ œ œ #œ œ"œ œ
& # œ. J ˙. œ œ
28 29 30 31
wear from ear to ear and not from head to toe (that mat - ters).

### Œ
32

œ œ œ #œ œ Œ œ œ œ #œ œ Œ
(HEALY)

& œ œ œ. œ œ
###
So, Sen - a - tor, so, jan - i - tor, so long for a

w
(BOYLAN SISTERS)

& w w
33 34
So, So, So,

### œ œ œ œ #œ œ œ j œ. œ j
& œ œ œ œ œ.
### while, re - mem - ber you’re nev - er ful - ly dressed with - out a

& Œ Ó ∑ ∑
œ
35 36 37
So,

### ∑ ∑ ∑
& œ Œ Ó

###
smile.

& Œ Œ j j j Œ
38
¿ ¿¿ ¿ 39
¿ ¿ ¿ 40
¿ ¿ ¿ ¿ ¿ ¿ ¿ 41
¿ ¿. ¿
Read - y or not, here he goes. Lis - ten to Bert, tap his smil - ing toes!

HEALY: Ah, the lovely Boylan Sisters.

###
42
6 2
&
42-47 48-49

###
(BOYLAN SISTERS)
œœœ œœ œ œ
& œœœ œœœ œœœ n b b œœœ # n n œœœ œœœ œœœ œœœ n b œœœ # n œœœ œ œœ œœ œœœ œœœ œœ œœ
50 51
œ œ
Doo doo - dle - oo doo doo doo - dle - oo doo doo doo doo doo doo doo doo doo
 —190—

# 2 4 — S O M E T H I N G WA S M I S S I N G

WARBUCKS: …and there’s

something else you should know …
2 times (WARBUCKS) 3
3
& b 4 .. ∑ Œ Œ .. œ
(2nd time)

œ. j œ. j
1 2
œ œ œ 4
œ œ 5
œ œ. J
I’ve made me a for - tune; that for - tune made

œ n˙ œ
&b ˙ œ œ œ. œ
j
œ œ. œ
j
œ œ. J
6 7 8 9 10
ten. Been head - lined and pro - filed, a - gain and a - gain. But,

11

&b œ œ. œ œ œ. œ œ ‰ œj
J J œ œ ˙
12 13 14
some - thing was miss - ing, I nev - er quite knew, that

&b œ œ bœ œ bœ . œ ˙. ˙ ‰ j
15 16
J 17 18
œ
some - thing was some - one, but who? My

19

&b j j œ ˙
œ œ. œ œ œ. œ œ œ. J œ
20 21 22
speech - es are greet - ed with thun - ’drous ac - claim, At

&b œ œ. j œ. j œ. œ n˙ œ
œ œ œ œ J
23 24 25 26
two un - i - ver - si - ties bear - ing my name. Yes,

27

&b œ œ.
œ
J œ œ.
œ
J œ
œ œ ˙ ‰ œj
28 29 30
some - thing was miss - ing each time I got through; that

&b œ œ bœ œ bœ . œ ˙. ˙ Œ
31 32
J 33 34
some - thing was some - one, but who?
 —191—

35
œ. œ
& b ˙. ˙. œ
J n˙ .
36 37 38
Who could that some - one be?

œ. œ
& b nœ J ˙ nœ ˙. ˙ Œ
39 40 41 42
How could she make it known?

43
bœ . œ
& b ˙. ˙. œ J ˙.
44 45 46
Who would need me for me,

bœ . U̇
&b œ œ b˙ œ ˙.
47
J 48 49 50
œ
Need me for me a - lone? The

51 a tempo

&b j j œ ˙
œ œ. œ œ œ. œ œ œ œ
52 53 54
world was my oy - ster, but where was the pearl? Who’d

œ n˙ œ
&b œ œ. œ
j œ œ. œ
j œ œ
55 56 57 58
dream I would find it in one lit - tle girl? Yes,

59
œ œ
&b œ œ. J œ œ. J œ œ œ
60 61
some - thing was miss - ing, but dreams can come

b˙ œ. œ
&b
œ œ
œ. œ
j œ J bbbbb
62 63 64
true; that some - thing is no one but

b b ˙.
65

b ˙ 6
& b b Œ
66 67-72
you.

73 81
bbbb
8 8
& b b
73-80 81-88
 —192—

89
bœ . œ
& b ˙. ˙. œ
J ˙.
90 91 92
Who would need me for me,

bœ . œ ˙. ˙
&b œ J b˙ œ
œ
93 94 95 96
Need me for me a - lone? The

97

&b j j œ ˙
œ œ. œ œ œ. œ œ œ œ
98 99 100
world was my oy - ster, but where was the pearl? Who’d

&b œ. j œ. j œ œ n˙ œ
œ œ œ œ œ
101 102 103 104
dream I would find it in one lit - tle girl? Yes,

œ œ b˙ œ
&b œ œ. J œ œ. J œ
œ œ
105 106 107 108
some - thing was miss - ing, but dreams do
can come true; that

Uœ . ˙. ˙. U̇ . œ
j œ
&b œ œ. œ œ J Œ Œ
109 110 111 112 113 114
some - thing is no one but you.