Summer of 42

SUMMER OF '42
BOOK BY
HUNTER FOSTER
MUSIC & LYRICS BY

DAVID KIRSHENBAUM
BASED UPON THE NOVEL AND

SCREENPLAY BY
HERMAN RAUCHER
SHOW PERUSAL
07/29/21
SUMMER OF ‘42
Copyright © 2004, Hunter Foster and David Kirshenbaum
All Rights Reserved
CAUTION: Professionals and amateurs are hereby warned that performance of SUMMER OF ’42 is
subject to payment of a royalty. It is fully protected under the copyright laws of the United States of
America, and of all countries covered by the International Copyright Union (including the Dominion of
Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American
Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries
with which the United States has reciprocal copyright relations. All rights, including without limitation
professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio
broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital
reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing
networks, information storage and retrieval systems, photocopying, and the rights of translation into
foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings,
permission for which must be secured from the Authors’ agent in writing.
The English language stock and amateur stage performance rights in the United States, its territories,
possessions and Canada for SUMMER OF ’42 are controlled exclusively by DRAMATISTS PLAY
SERVICE, INC., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional
performance of the Play may be given without obtaining in advance the written permission of
DRAMATISTS PLAY SERVICE, INC., and paying the requisite fee.
Inquiries concerning all other rights should be addressed to Rosenstone Adams LLC, 448 West 44th
Street, New York, NY 10036. Attn: Bruce Ostler.
SPECIAL NOTE
Anyone receiving permission to produce SUMMER OF ’42 is required to give credit to the Authors as
sole and exclusive Authors of the Play on the title page of all programs distributed in connection with
performances of the Play and in all instances in which the title of the Play appears for purposes of
advertising, publicizing or otherwise exploiting the Play and/or a production thereof. The names of the
Authors and the Author of the underlying property must appear on separate lines, in which no other
names appear, immediately beneath the title and in size of type equal to 50% of the size of the largest,
most prominent letter used for the title of the Play. No person, firm or entity may receive credit larger or
more prominent than that accorded the Authors and the Author of the underlying property. The billing
must appear as follows:
Book by Hunter Foster

Music and Lyrics by David Kirshenbaum
Based upon the Novel and Screenplay by Herman Raucher
In addition, the following acknowledgements must appear on the title page in all programs distributed in
connection with performances of the Play:
Originally produced for Godspeed Musicals by Michael P. Price, Executive Producer.
Subsequently developed by TheatreWorks in Palo Alto, California, and Stamford Centre for the Arts,
Stamford, Connecticut.
Original New York Production directed by Gabriel Barre and produced by Mitchell Maxwell, Victoria
Maxwell, Robert Eckert, James L. Simon, Michael A. Jenkins, Mark Goldberg and Kumiko Yoshii.
The Rules in Brief
1) Do NOT perform this Play without obtaining prior permission from
Broadway Licensing, and without paying the required royalty.
2) Do NOT photocopy, scan, or otherwise duplicate any part of this book.
3) Do NOT alter the text of the Play, change a character’s gender, delete
any dialogue, cut any music, or alter any objectionable language, unless
explicitly authorized by Broadway Licensing.
4) DO provide the required credit to the author(s) and the required attribution
to Broadway Licensing in all programs and promotional literature
associated with any performance of this Play.
For more details on these and other rules, see the opposite page.
Copyright Basics
This Play is protected by United States and international copyright law. These
laws ensure that authors are rewarded for creating new and vital dramatic
work, and protect them against theft and abuse of their work.
A play is a piece of property, fully owned by the author, just like a house or
car. You must obtain permission to use this property, and must pay a royalty
fee for the privilege—whether or not you charge an admission fee. Broadway
Licensing collects these required payments on behalf of the author.
Anyone who violates an author’s copyright is liable as a copyright
infringer under United States and international law. Broadway Licensing
and the author are entitled to institute legal action for any such infringement,
which can subject the infringer to actual damages, statutory damages, and
attorneys’ fees. A court may impose statutory damages of up to $150,000
for willful copyright infringements. U.S. copyright law also provides for
possible criminal sanctions. Visit the website of the U.S. Copyright Office
(www.copyright.gov) for more information.
THE BOTTOM LINE: If you break copyright law, you are robbing a play-
wright and opening yourself to expensive legal action. Follow the rules, and
when in doubt, ask us.
toll-free phone: 1-866-NEW-PLAY

email: info@broadwaylicensing.com
website: www.broadwaylicensing.com
Summer of '42
Vocal Ranges
HERMIE
w
OSCY
bw BENJIE
w
& & &
bw w #w
w
AGGIE
#w
MIRIAM GLORIA
& & & w

bw w w
w w bw
PETE DOROTHY MR. SANDERS
& & &

bw w w
RADIO SINGER
w
(PRE-RECORDED)
& w
SUMMER OF ’42 opened at the Variety Arts Theatre in New York City on December 18,
2001. The direction and choreography were by Gabriel Barre; the musical direction was
by Lynne Shankel; the set design was by Jim Youmans; the lighting design was by Tim
Hunter; the sound design was by Jim van Bergen; the costume design was by Pamela
Scofield; the associate choreographer was Jennifer Cody; and the production stage
manager was Gail Eve Malatesta. The cast was as follows:
HERMIE ..................................................................................................................Ryan Driscoll

DOROTHY...................................................................................................Kate Jennings Grant
PETE…………………………………………………………………………………..Greg Stone
AGGIE..........................................................................................................Celia Keenan-Bolger
MIRIAM....................................................................................................Megan Valerie Walker
GLORIA..................................................................................................................... Erin Webley
OSCY..........................................................................................................................Brett Tabisel
BENJIE......................................................................................................................Jason Marcus
MR. SANDERS/WALTER WINCHELL.......................................................................Bill Kux
THE ORCHESTRA
Conductor/Keyboards………………………………………………………….Lynne Shankel
Associate Conductor/Keyboards…………………...John Dipinto Reed/Chris McDonnell
Cello………………………………………………………………………………...Peter Prosser
Bass……………………………………………………………………...Mary Ann McSweeney
Percussion……………………………………………………………………………Joe Mowatt
3
SCENE MUSICAL NUMBER BREAKDOWN
ACT ONE
Scene 1
THE BEACH
Opening ........................................................................................................................ Company

Here and Now .................................................................................. Hermie, Oscy, and Benjie
Will That Ever Happen to Me? ..................................................................................... Hermie
Scene 2
THE PIER
You’re Gonna Miss Me ............................................................................................. The Girls

Little Did I Dream ....................................................................................... Pete and Dorothy
Scene 3
THE ISLAND
The Walk ................................................................................................. Hermie and Dorothy

Like They Used To ................................................................................. Hermie and Dorothy
I Think I Like Her .......................................................................................................... Hermie
Scene 4
THE MOVIES
The Heat ....................................................................................................................... The Girls

The Movies ......................................................................... Hermie, Aggie, Oscy, and Miriam
Scene 5
DOROTHY’S HOUSE
Man Around the House ............................................................................................... The Girls

Someone to Dance with Me .................................................................... Dorothy and Hermie
ACT TWO
Scene 1
OSCY’S BEDROOM
Unfinished Business .......................................................................... Oscy, Hermie and Benjie
4
Scene 2
THE DRUGSTORE
Make You Mine ............................................................................................................ The Girls

The Drugstore .................................................................................... Hermie and Mr. Sanders
Scene 3
THE BEACH
The Campfire ................................................................................................................... Hermie
Scene 4
DOROTHY’S PORCH
Promise of the Morning ................................................................................................ Dorothy
SCENE 5
DOROTHY’S HOUSE AND THE BEACH
Oh Gee, I Love My G.I. ................................................................................................ The Girls

The Dance ............................................................................................................... Instrumental
Finale ............................................................................................................................. Company
CHARACTERS
HERMIE
DOROTHY
PETE
AGGIE
MIRIAM
GLORIA
OSCY
BENJIE
MR SANDERS / WALTER WINCHELL
PLACE
An island off the coast of Maine.
TIME
1942
5
SUMMER OF ‘42
Musical Numbers, Characters, Page Numbers
Act I
Scene 1............................................................................................................................................6
Dorothy, Hermie, Oscy, Benjie
#1 Prelude (Underscore)
#2 The Summer You’ll Always Remember (Aggie, Miriam, Gloria, Ensemble,
Oscy, Benjie)
#3 The Terrible Trio (Hermie, Oscy, Benjie)
#4 Here And Now (Hermie, Oscy, Benjie)
#5 Will That Ever Happen to Me? (Hermie)
Scene 2..........................................................................................................................................16
Walter Winchell, Dorothy, Pete, Captain, Benjie, Oscy
#6 You’re Gonna Miss Me (Miriam, Aggie, Gloria)

#7 Little Did I Dream (Duet) (Dorothy, Pete, Oscy, Benjie, Hermie)
#8 Little Did I Dream (Reprise) (Dorothy)
Scene 3..........................................................................................................................................22
Oscy, Hermie, Miriam, Dorothy, Benjie
#9 Mr. Sanders Theme (Part 1) (Dorothy, Mr. Sanders, Hermie)

#10 The Walk (Hermie, Dorothy, Oscy, Benjie)
#11 Here And Now #2/The House (Underscore)
#12 Like They Used To (Hermie, Dorothy, Benjie, Oscy)
#13 I Think I Like Her (Hermie)
Scene 4..........................................................................................................................................40
Walter Winchell, Benjie, Oscy, Hermie, Miriam, Gloria, Aggie, Dorothy
#14 The Heat (Miriam, Aggie, Gloria)

#14A Winchell Report #2 (Underscore)
#14B Here And Now (Oscy, Benjie, Hermie, Miriam, Gloria)
*TO #16
#16 The Movies (Hermie, Aggie, Miriam, Oscy)
#16A Movies Playoff (Underscore)
Scene 5..........................................................................................................................................57
Walter Winchell, Benjie, Hermie, Dorothy
#17 Winchell Report #3 (Underscore)

#17A Benjie and Gloria (Underscore)
#18 The Boxes (Dorothy, Hermie)
#19 Man Around The House (Miriam, Aggie, Gloria)
#20 Someone To Dance With Me (Dorothy, Hermie)
Act II
Scene 1..........................................................................................................................................71
Oscy, Benjie, Hermie
#21 Entr’acte (Underscore)

#22 Unfinished Business (Hermie, Benjie, Oscy)
Scene 2..........................................................................................................................................78
Mr. Sanders, Dorothy, Oscy, Hermie, Dorothy
#23 Make You Mine (Aggie, Miriam, Gloria)

#24 Mr. Sanders’s Theme Part II (Oscy)
#25 The Drugstore (Hermie, Mr. Sanders)
Scene 3..........................................................................................................................................90
Aggie, Hermie, Gloria, Benjie, Oscy, Miriam
#26 Jitterbug (Underscore)

#26A The Marshmallow Roast (Underscore)
#27 The Campfire (Hermie)
Scene 4........................................................................................................................................101
Dorothy, Hermie
#28 Hermie and Dorothy (Underscore)

#29 Promise of the Morning (Dorothy)
Scene 5........................................................................................................................................107
Walter Winchell, Oscy, Hermie, Dorothy
#30 Oh Gee, I Love My G.I. (Miriam, Aggie, Gloria)

#31 The Dance – Part I (Phonograph Voice)
*TO #33
#33 The Dance – Part 2 (Underscore)
#34 Finale (Company)
#35 Bows (Underscore)
#36 Exit Music (Underscore)
ACT ONE
SCENE 1
The Beach
#1 PRELUDE
l
sa
[SFX: sound of ocean and waves lapping against the shore]
(lights up on a darkened sky illuminated with stars…in the
ru
distance we hear the sound of the ocean--a gentle rumbling of
waves lapping against the shore…a spotlight finds an OLDER
Pe
MAN (Hermie) in silhouette as he slowly walks about the
stage…he is draped in a long raincoat, and a fedora sits
prominently on his head…he suddenly stops when he sees
N
something in the distance…memories rush back to him…the lights
g
reveal that he is standing on the edge of a beach in front of a large
in
O
darkened house…from the shadows of the porch, a small orange
light burns from the end of a cigarette…there is the
s
TI
SILHOUETTE OF A WOMAN (Dorothy), who brings the
en
burning cigarette to her mouth…a voice from the man’s past
C
echoes from the darkness)
c
DOROTHY (V.O.) U
Li
D
Good night, Hermie.
O
ay
HERMIE (V.O.)
Good night.
PR
dw
(HERMIE takes a final glance back at the house only to see that the
WOMAN has disappeared into the night…he is transfixed on the
house as voices from his past come flooding back to him…faces
oa
from a summer long since forgotten emerge from the darkness and
FO
speak directly to him…AGGIE, MIRIAM, and GLORIA enter one

Br
by one)
#2 THE SUMMER YOU’LL ALWAYS REMEMBER

T
O
AGGIE
IT WAS THE SUMMER YOU’LL ALWAYS REMEMBER
N
MIRIAM, AGGIE, AND GLORIA

THE SUMMER YOU’LL ALWAYS REMEMBER
AGGIE
TAKING A FEW STEPS FORWARD
6
MIRIAM
LEAVING YOUR CHILDISH GAMES
GLORIA
MEETING A FEW NEW FACES
HOPING YOU CAUGHT THEIR NAMES
l
sa
AGGIE
DOING SOME DIFFERENT
ru
THINGS YOU NEVER DID BEFORE
Pe
THE SUMMER WAS ALL THESE THINGS
AND MORE
N
g
(OSCY, BENJIE, MR. SANDERS, and PETE enter)
in
O
ALL
s
TI
IT WAS THE SUMMER YOU’LL ALWAYS REMEMBER
en
WHEN YOU WERE GROWING, NOT KNOWING THE WAY
C
LITTLE THINGS FELT STRANGE
THE WORLD BEGAN TO CHANGE
c
AND IT WAS VERY CLEAR

U
Li
THAT LIFE WAS HERE TO STAY

D
O
ay
MEN WOMEN
PR
THE SUMMER
dw
THE SUMMER
THE SUMMER
THE SUMMER
oa
THE SUMMER
THE SUMMER
FO
THE SUMMER THE SUMMER

Br
(throughout the last verse of the song, Hermie’s hat, scarf, glasses,
and coat are removed by the THREE GIRLS, revealing him to be a
T
FIFTEEN-YEAR-OLD BOY…suddenly, the lights become

O
blindingly bright…it is June 1942, and it is a beautiful summer

day at the beach…HERMIE holds his hand up to the sun…he is
N
blinded by its brilliance…from a distance, TWO OTHER

FIFTEEN-YEAR-OLD BOYS call out to him)
OSCY AND BENJIE

HEY THERE, HERMIE
7
OSCY
Attack!
OSCY AND BENJIE

(ad-libs)
l
Get him!/Look out for the ball!/etc.
sa
(HERMIE spins around catching sight of his two best friends,
ru
OSCY and BENJIE…OSCY throws a baseball at HERMIE who
catches it just in time before OSCY and BENJIE tackle him,
Pe
knocking him to the ground…OSCY pins him to the sand and
proclaims the beginning of summer)
OSCY
N
g
On this momentous day, June 1, 1942, I hereby decree that the summer games may now
in
O
begin!
s
TI
#3 THE TERRIBLE TRIO
en
C
(they all sit up, laughing…OSCY wears an old sweatshirt and a
c
U
Yankees cap that dangles from his brow…BENJIE has thick black-
rimmed glasses and a pair of binoculars wrapped around his neck)
Li
D
HERMIE, OSCY, AND BENJIE
O
ay
GET USED TO SEEING THE TERRIBLE TRIO

WE’RE BACK TOGETHER AT LAST
PR
WE WAITED ALL SPRING

dw
SO WE’RE PREPARED TO DO THINGS

WE NEVER DARED
GUARANTEEING WE’RE GONNA BE SEEING
oa
GOOD TIMES REAL FAST

FO
Br
#4 HERE AND NOW
HERMIE
T
Get off me! Ya big lug.

O
OSCY
N
What? Five minutes off the ferry and he can’t share a little love with his buddies?
BENJIE
Yeah, we haven’t seen ya in like nine months. What’cha been doin’?
8
HERMIE
JUST LIKE BOTH OF YOU
I STRAGGLED BACK TO SCHOOL LAST FALL
OSCY AND BENJIE
l
(general groan)
sa
Yeah...
ru
HERMIE
WINTER WENT SO SLOW
Pe
I BARELY MADE IT THROUGH AT ALL
BY SPRING MY THOUGHTS WERE ALL NEW ENGLAND BOUND
’CAUSE IT’S HERE AND NOW OUR HAPPINESS IS FOUND
N
g
Thank God I’m finally here! Brooklyn’s about as boring as my Mom’s meatloaf.
in
O
OSCY
s
TI
Yeah ... I couldn’t wait to get outta Yonkers. Ya know, it’s starting to smell like feet.
en
C
BENJIE
That’s why we live in Jersey…clean air.
c
U
Li
HERMIE
D
LIFE ON PACKETT ISLAND
O
KINDA WEAVES A MAGIC SPELL
ay
PR
BENJIE
dw
SOMETIMES I FORGET
OUR MOMS AND DADS ARE HERE AS WELL
oa
OSCY, HERMIE, AND BENJIE

WE’VE GOT A PLACE
FO
WHERE NOTHING CAN GO WRONG

Br
YES-SIR, HERE AND NOW

WE’RE RIGHT WHERE WE BELONG
T
HERMIE
O
What are we gonna do first?

N
OSCY
Raid the Coast Guard…
HERMIE
Stickball in Mr. Sanders’ yard…
9
BENJIE
We can bird watch. I learned a new mating call for the upland sandpiper. Listen--
kitchiquaw, kitchiquaw, kitchiquaw!
(music stops as HERMIE and OSCY look at each other and sigh)
l
HERMIE AND OSCY
sa
It’s going to be a long summer.
ru
NINE MONTHS WE WASTED
DOING NOTHING MUCH
Pe
AND BY NOW IT’S CLEAR
WE NEED A CHANGE OF PACE
OSCY
N
g
I SAW A COUPLE BALL GAMES
in
O
HERMIE
s
TI
I WATCHED A MILLION MOVIES
en
C
BENJIE
I TOOK SOME TANGO LESSONS
c
U
Li
(demonstrating a few steps)

D
O
ay
OSCY
What the hell are you doing?
PR
dw
BENJIE
My mother made me.
oa
OSCY
FO
(calling out to the beach)

Br
Did anyone on this stupid island do anything this year that wasn’t beef-brained and
boring?
T
O
HERMIE
I FINALLY GOT TO SECOND BASE
N
OSCY AND BENJIE

What?!
10
BENJIE
Geez, Hermie.
HERMIE
HER NAME WAS LILA HARRISON
IT LASTED ONLY EIGHT MINUTES
l
BUT WHAT AN EIGHT MINUTES THEY WERE
sa
AFTER SCHOOL IN A CLASSROOM
ON THE SECOND FLOOR
ru
EIGHT MINUTES GOES SO FAST
I WISH IT HAD BEEN MORE
Pe
OSCY
Geez…Lila Harrison…she sounds like…a goddess.
N
g
BENJIE
in
O
(mesmerized)
s
TI
A swan.
en
C
OSCY
A swan goddess!
c
U
Li
HERMIE
D
O
ay
(casual)
PR
She was all right.

dw
OSCY
EVERY SUMMER BRINGS SURPRISES
oa
NO ONE COULD HAVE GUESSED

FO
OSCY AND HERMIE

Br
BUT SOMETHING TELLS ME THIS ONE

WILL BE DIFFERENT FROM THE REST
T

O
AND IF WHAT WE’VE BEEN WAITING FOR ARRIVES

WE’LL MAKE HERE AND NOW THE BEST PART OF OUR LIVES
N
OSCY
WE’LL MAKE HERE AND NOW THE BEST PART OF OUR LIVES
11
BENJIE
YES-SIR, HERE AND NOW
WE’RE RIGHT WHERE WE BELONG
HERMIE
’CAUSE IT’S HERE AND NOW
l
OUR HAPPINESS IS FOUND
sa
(HERMIE notices the house that is upstage and DOROTHY, who
ru
has entered from the house…she faces upstage so that we can’t see
her face…BENJIE looks through his binoculars at the house)
Pe
BENJIE
I guess someone moved into the Ramsey’s old house.
N
g
HERMIE
in
O
I hope it’s someone nice. Ramsey used to sic his dog on us.
s
TI
OSCY
en
Aw, it’s probably some old geezers up from Hartford or someplace ...
C
(DOROTHY turns around and looks for all the world like a 1940s
c
movie star…the THREE BOYS are speechless)

U
Li
D
BENJIE
O
ay
I don’t think she’s from Hartford.

PR
#5 WILL THAT EVER HAPPEN TO ME?

dw
OSCY
oa
(to HERMIE)
FO
Br
Boy...I’d love to feel a woman like her.
BENJIE
T
How would you do that?

O
OSCY
N
Maybe I’d trip and fall on her...she’d never know I was getting a feel. Who do you
suppose she is, Herm?
HERMIE
(mesmerized)
12
HERMIE (CONT’D)
I don’t know
(to himself, as lights dim down a bit on his FRIENDS)
l
LOOK AT HER
sa
THAT’S A PERFECT ACT OF GOD
THE PICTURE OF BEAUTY AND GRACE
ru
JUST HER FACE
IS ENOUGH TO MAKE MY BODY WEAK
Pe
I NEVER EVEN SPEAK
TO WOMEN SUCH AS SHE
WILL THAT EVER HAPPEN TO ME
N
g
(PETE enters from the house, kisses DOROTHY playfully, then
in
O
goes to get wood from behind the house)
s
TI
BENJIE
en
Look! An Army guy!
C
OSCY
c
I bet they do it every night.

U
Li
D
BENJIE
O
ay
I wanna be built like that!

PR
OSCY
dw
Like him or like her?
HERMIE
oa
AFTER ALL
IF I EVER TOUCH A BREAST
FO
AS PRECIOUS, AS PERFECT AS HERS

Br
WHAT OCCURS
WILL I HANDLE EVERY TEST
WITH FLAIR
T
I DREAM OF LIPS AND HAIR

O
AND WAKE UP ALL AT SEA

WILL THAT EVER HAPPEN TO ME
N
(PETE and DOROTHY begin to kiss passionately)
OSCY
He’s gonna take her right into the bedroom!
13
BENJIE
He better put the wood down first.
(PETE and DOROTHY begin to dance)
HERMIE
l
TWO ARMS STRONG
sa
REACHING OUT FOR TWO ARMS SLENDER
FOR A TOUCH SO TENDER
ru
THAT NOTHING IS THE SAME
IS IT WRONG IF I LONG
Pe
TO KNOW THE SPLENDOR
OF COMPLETE SURRENDER
IN LOVE’S ETERNAL FLAME
N
g
(in grand fashion, PETE sweeps DOROTHY up in his arms and
in
O
takes her into the house…HERMIE stares at the house after them,
still singing to himself)
s
TI
en
WHO’D HAVE THOUGHT
C
JUST WHEN THINGS WERE KIND OF ROUGH
THAT I’D HAVE A VISION SO RARE
c
SHE WAS THERE

U
Li
SHE WAS NEARLY CLOSE ENOUGH TO TOUCH

D
O
ay
OSCY
PR
I’m starved. Let’s go.

dw
(OSCY exits)
oa
HERMIE
I REALLY DON’T NEED MUCH
FO
EXCEPT A GUARANTEE
Br
BENJIE
(to HERMIE)
T
O
Come on. My mom’s makin’ brisket!

N
(BENJIE exits)
HERMIE
ONE DAY THAT WILL HAPPEN
I PRAY THAT WILL HAPPEN
14
OSCY
(offstage)
OSCY (CONT’D)
Hermie! Let’s go!
l
sa
HERMIE
TO ME
ru
(lights fade as HERMIE exits)
Pe
N
g
in
O
s
TI
en
C
c
U
Li
D
O
ay
PR
dw
oa
R
FO
Br
T
O
N
15
SCENE 2
The Pier
(WALTER WINCHELL appears…he is delivering a newscast to

the nation)
l
#5A WINCHELL REPORT #1
sa
WALTER WINCHELL
ru
Good evening, Mr. and Mrs. North and South America and all the ships at sea. Walter
Winchell here ... let’s go to press! It’s been six months since the surprise attack on Pearl
Pe
Harbor by Japanese Imperial forces, and American GIs are now being moved out to the
blood-drenched South Pacific. Hey, Mrs. America! Are you sending your man off to
fight Tojo? Well, send him off with a pack of Lucky Strikes. Lucky Strike, the cigarette
N
most doctors prefer.
g
in
O
[SFX: Army bugle]
s
TI
(an Army bugle is heard…MIRIAM, AGGIE, and GLORIA
en
enter…they march on as if they are performing an Andrews
C
Sisters number at a USO concert…they act as a part of Hermie’s
c
U
imagination in his remembrance of the summer…the number is
stylized, almost dreamlike)
Li
D
#6 YOU’RE GONNA MISS ME
O
ay
PR

dw
FAREWELL, MY SOLDIER BOY

NOW THAT YOU’RE SHIPPING OUT
I’LL ALWAYS THINK OF YOU
oa
THAT MUCH YOU SHOULDN’T DOUBT

FO
I HATE TO SEPARATE
Br
BUT BEFORE YOU GO

YOU OUGHTA KNOW
I NEVER PROMISED I’D WAIT
T
O
YOU’RE GONNA MISS ME

IF YOU GO OVER TO FIGHT
N
’CAUSE I’M THE ONE THAT YOU NEED

YOU GOTTA KNOW THAT I’M RIGHT
SO JUST HOLD ON TIGHT

IF YOU GO OVER THE SEA
16
MIRIAM, AGGIE, AND GLORIA (CONT’D)
YOU SHOULD BE TAKING THE LEAD
AND SAY YOU’RE STAYING WITH ME
THIS IS THE LAND OF THE FREE
BEFORE YOU GET GOING, YOU EAGER BEAVER
l
DON’T YOU KNOW YOUR GIRL WILL GET BORED IF YOU LEAVE HER
sa
BEFORE YOU GET COCKY
YOU NEVER LOOKED GOOD IN KHAKI
ru
FOORY-A-KA-SA-KE
Pe
IF YOU GO UP AND AWAY
WHY DON’T YOU DO A GOOD DEED
IT’S GETTING LATE IN THE DAY
N
g
HEY, HEY, HEY
in
O
COME ON AND KISS ME
AIN’T THAT A REASON TO STAY
s
TI
en
IF NOT, WELL
C
c
WHEN YA LEAVE, YOU RAT

U
Li

D
WHEN I LEAVE YOU FLAT
O
ay

THAT’S ALL I WANTED TO SAY
PR
SO LET’S LEAVE IT AT THAT

dw
OKAY
(the THREE GIRLS reveal a small marina…a sign reading “Next

oa
boat to the mainland leaves at 3:00 P.M.” stands next to the

pier…PETE and DOROTHY enter…PETE is dressed in his
FO
Army uniform and carries a duffel bag…DOROTHY stops at the

Br
sight of the pier)
DOROTHY
T
I’m gonna be fine.

O
PETE
N
Listen. I left an extra key with Mr. Sanders…
DOROTHY
I know...
17
PETE
And Mrs. Goodman down the road…she said she could come over if you ever needed
help with anything.
DOROTHY
Pete, she’s eighty.
l
sa
PETE
Or maybe someone to talk to.
ru
DOROTHY
Pe
She’s deaf.
[SFX: boat whistle]
N
g
(a boat whistle is heard…the BOAT’S CAPTAIN announces its
in
O
departure)
s
TI
CAPTAIN
en
C
(offstage)
c
U
All aboard! Final boarding call for the mainland. All aboard.
Li
D
#7 LITTLE DID I DREAM (DUET)
O
ay
PETE
PR
Maybe you should stay with your father. I don’t want you to be alone.
dw
DOROTHY
Pete, I can handle this.
oa
R
FO
THERE’S A SONG THAT I’M ALWAYS HEARING

Br
IT WAS PLAYING THE DAY I MET YOU

THEN YOU ASKED ME TO DANCE
AND MY FUTURE TOOK WING
T
WHILE YOU’RE GONE

WE WILL STILL HAVE OUR SONG TO SING
O
LITTLE DID I DREAM THAT YOU COULD LOVE ME

N
YOU WERE BUT A DREAM FROM OUT OF THE BLUE
PETE
OFTEN DID IT SEEM YOU DIDN’T EVEN SEE ME
18
DOROTHY
LITTLE DID I DREAM
A DREAM COULD COME TRUE
(HERMIE enters eating an ice cream cone…he sees PETE and

DOROTHY)
al
PETE AND DOROTHY
s
DOROTHY NEVER DID I DOUBT HOW MUCH I LOVED YOU
ru
LITTLE DID I DO TO MAKE YOU AWARE
Pe
DOROTHY
SO, LITTLE COULD I HOPE
PETE
N
ng
LITTLE COULD I HOPE
O
AND LITTLE DID I DARE
i
ns
TI
DOROTHY
LITTLE DID I DARE
C
ce
PETE AND DOROTHY

LITTLE DID I DREAM
U
Li
THAT THIS WAS A DREAM

D
WE COULD SHARE
O
ay
[SFX: boat whistle]

PR
dw
(they embrace…a boat’s whistle is heard offstage…PETE walks off

to the boat, while DOROTHY stays behind waving…BENJIE and
OSCY enter)
oa
BENJIE
FO
Can we please go home now? It’s a quarter after three and you’ve fallen on just about
Br
every girl on the beach.
OSCY
T
Benj...how else are we gonna meet the ladies?

O
BENJIE
N
(spotting HERMIE)
Hey, look...it’s Hermie!
19
OSCY
And that woman from the house.
HERMIE
(BENJIE and OSCY go up to HERMIE)
l
sa
BENJIE
I think he’s in a deathlike trance.
ru
OSCY AND BENJIE
Pe
HEY THERE, HERMIE
HERMIE
What!?!
N
g
in
O
OSCY
I don’t know what’s gotten into you...that’s a very old person.
s
TI
en
HERMIE
C
Shut up.
c
OSCY
U
Li
Well, why don’t you quit staring at her and go up and say something?
D
O
ay
HERMIE
PR
(coming out of it)

dw
I couldn’t do that, Oscy.

oa
OSCY
I bet you don’t even like girls.
FO
Br
BENJIE
Yeah.
T
WE SHOULDA FIGURED
O
OUR HERMIE’S A HOMO

N
OSCY AND BENJIE

IT’S HERMIE THE HOMO
HERMIE
Fine!
20
OSCY
I DON’T BELIEVE IT
(HERMIE starts off towards DOROTHY as the music

swells…just as he is right next to her, the OTHER BOYS begin to
shout)
l
sa
OSCY
Hey, lady! Look out for Jack the Ripper!
ru
BENJIE
Pe
It’s Herman the German, Nazi spy!
OSCY
He’s a sex fiend! A rape artist!
N
g
in
O
(HERMIE reacts in horror and runs offstage with the BOYS
chasing after him, laughing…DOROTHY is left alone onstage)
s
TI
en
#8 LITTLE DID I DREAM (REPRISE)
C
c
LITTLE COULD I HOPE

DOROTHY
U
Li
D
LITTLE DID I DARE
LITTLE DID I DREAM I’D TURN AND YOU’D BE THERE
O
ay
LITTLE DID I DREAM

THAT THIS WAS A DREAM WE COULD SHARE
PR
dw
(DOROTHY exits)
oa
R
FO
Br
T
O
N
21
SCENE 3
The Island
(OSCY runs on as if he is playing out a baseball game he has just

heard on the radio…HERMIE follows close behind)
l
sa
OSCY
DiMaggio smacks one into the gap and he rounds first. He rounds second! They think
ru
they got him at third, but no ... Fox overthrows Pesky! DiMaggio slides into home and
the Yankees win! The Yankees win!
Pe
HERMIE
(over it)
N
g
in
O
Oh, geez ...
OSCY
s
TI
The ladies love Joltin’ Joe. Ya know, I bet he does it every night.
en
C
HERMIE
More than Lefty Gomez?
c
U
Li
OSCY
D
No one does it more than Lefty!
O
ay
(a beach ball bounces onstage, landing in Oscy’s lap…MIRIAM

PR
and AGGIE enter in their bathing suits chasing after it…

dw
MIRIAM approaches OSCY)
MIRIAM
oa
Can I have my ball...?

FO
(OSCY is unable to say anything…he hands the ball back to

Br
MIRIAM…the GIRLS cross the stage and exit giggling)
OSCY AND HERMIE

T
Whoa!
O
OSCY
N
I saw that nutty blond chick on the beach yesterday. She was putting on lotion ... Lots
and lots of lotion ...
HERMIE
How much lotion?
22
OSCY
A lot.
(nudging HERMIE)
C’mon, Hermie, this is our chance! Thank you, Coppertone!
l
sa
(OSCY sees HERMIE becoming distracted by something offstage)
ru
Jesus...What the hell is wrong with you? Call the National Guard. Herman the German
is on the loose and he’s preying on the elderly!
Pe
(OSCY exits after the GIRLS…HERMIE remains onstage, but as
DOROTHY enters, he suddenly panics and runs behind the
dune…DOROTHY goes into the drugstore where MR.
N
g
SANDERS sits reading the newspaper)
in
O
#9 MR. SANDERS THEME (PART 1)
s
TI
en
DOROTHY
C
Good morning, Mr. Sanders.
c
MR. SANDERS U
Li
D
Mornin’ there ... Just finishin’ up with your groceries.
O
ay
DOROTHY
Happy Fourth of July.
PR
dw
MR. SANDERS
Well ... not so happy, I’m afraid ... Had to cancel my fireworks display I put on every
year ... Guess they figure I’ll scare the locals into thinking we’re being attacked ...
oa
R
FO
DOROTHY
Br
I’m sorry, Mr. Sanders.
MR. SANDERS
T
(reflecting to himself)
O
It was gonna be a wing-dinger!

N
(he goes to get her groceries)
DOROTHY
(she laughs… calls offstage)
23
DOROTHY (CONT’D)
Guess what? I got a twelve-page letter from my husband today.
MR. SANDERS
You don’t say. How’s Pete doin’?
l
DOROTHY
sa
He sounds…good.
ru
MR. SANDERS
Brave boy, that one. They all are. Shipped out to the South Pacific?
Pe
DOROTHY
He’s in Hawaii, for now, but he’ll be leaving soon for Australia.
N
g
MR. SANDERS
in
O
Long way from home.
s
TI
DOROTHY
en
Yes.
C
MR. SANDERS
c
U
Li
(seeing that DOROTHY is having a hard time)

D
O
ay
Well, this should about do it. I threw in a couple extra cans of chowda’ for ya. Now,
don’t go braggin’ about this to Mrs. Goodman. I know she’s your neighbor and all, but
PR
before you know it, she’ll be in here, chowda’ happy and lookin’ for hand-outs!
dw
(he hands several heavy bags to her)

oa
DOROTHY
That’s very sweet. My lips are sealed.
FO
Br
MR. SANDERS
Are you sure you’re gonna be all right with all of these?
T
DOROTHY
O
(lifting the bags)

N
Don’t you worry about me.
MR. SANDERS
Chin up, kid.
24
DOROTHY
Goodbye
(DOROTHY exits the store…HERMIE stands and sings)
HERMIE
l
LOOK AT HER
sa
SHE IS NEARLY CLOSE ENOUGH TO TOUCH
ru
(suddenly, DOROTHY drops her bags, spilling groceries all over
the street…HERMIE notices what has happened, and after a
Pe
moment’s careful deliberation, he finally gets up the courage to
help her)
N
#10 THE WALK
g
in
O
HERMIE (CONT’D)
EXCUSE ME
s
TI
MAY I OFFER SOME ASSISTANCE
en
C
DOROTHY
c
YOU MAY
U
Li
D
HERMIE
THANK YOU
O
ay
(to himself, already embarrassed, as lights isolate him)

PR
dw
I’M SUCH AN ASSHOLE

WHAT A STUPID THING TO SAY
oa
(lights restore)
FO
Br
DOROTHY
THERE’S TOO MUCH
GUESS I SHOULD HAVE BROUGHT MY WAGON
T
HERMIE
O
YES, YOU SHOULD’VE BROUGHT YOUR WAGON

N
(to himself again, as he picks up the bags)
THAT WASN’T ME
NO, I’M NOT REALLY HERE
I DIDN’T SAY THAT
25
HERMIE (CONT’D)
WHAT KIND OF A SHMUCK WOULD JUST REPEAT WHAT SHE SAID
I DON’T USE THE BRAINS IN MY HEAD
AND OH, THESE BAGS
I DON’T KNOW HOW I’LL HANDLE ALL OF THESE BAGS
IF I MOVE WRONG, I’LL GET A HERNIA
l
sa
OH, THE PAIN
MY ARMS ARE STRETCHED
ru
AS TIGHT AS RUBBER BANDS
SO MUCH FOR PLAYING BALL
Pe
SO MUCH FOR HOLDING HANDS
(lights restore)
N
g
DOROTHY
in
O
(jolting HERMIE back to reality)
s
TI
en
CAN I HELP
C
LISTEN, REALLY, I CAN TAKE ONE
c
HERMIE
U
Li
I’M FINE
D
O
ay
DOROTHY
OKAY
PR
dw
HERMIE
(in pain, as they begin to walk)

oa
WE COULD REALLY USE A WAGON

FO
Br
DOROTHY
I think you’re right. You know, I could pay you for this.
T
HERMIE
O
I wouldn’t think of it.

N
(in his own world again, pleased with himself)
THAT SOUNDED BETTER
26
DOROTHY
MY HOUSE IS A PRETTY LONG WALK
HERMIE
I KNOW WHERE IT IS
l
DOROTHY
sa
(she thinks she heard wrong)
ru
What?
Pe
HERMIE
(caught)
N
g
I MEAN, IT’S GOTTA BE ON THIS ISLAND
in
O
DOROTHY
s
TI
Oh, right.
en
C
HERMIE
I COULDN’T CARRY ALL THIS FOOD ACROSS THE OCEAN
c
U
Li
DOROTHY
D
YOU DON’T HAVE TO
O
ay
MY HOUSE IS OVER THERE

PR
HERMIE
dw
So, you live on the island?
DOROTHY
oa
(DOROTHY is confused…HERMIE winces)

FO
Br
Yes. This way.

HERMIE
T
Great.
O
(HERMIE looks up to see OSCY and BENJIE entering, OSCY

with a basketball…HERMIE tries to hide his face with the bags)
N
OSCY
HERMIE
27
DOROTHY
Are they calling you?
HERMIE
No.
l
OSCY AND BENJIE
sa
HEY THERE, HERMIE
ru
DOROTHY
Your name Hermie?
Pe
HERMIE
Yes.
N
g
DOROTHY
in
O
THEY SAID HERMIE
s
TI
HERMIE
en
C
It’s a pretty common name.
c
U
(DOROTHY and HERMIE head off, leaving OSCY and BENJIE
Li
alone and bewildered)

D
O
ay
#11 HERE AND NOW #2 /THE HOUSE

PR
OSCY
dw
Geez, he actually met her.
BENJIE
oa
I’m speechless. I’m without speech.

FO
Br
OSCY
C’mon, we gotta catch up!
T
(OSCY and BENJIE run after them…HERMIE, still carrying the

bags, stumbles on with DOROTHY as they near her house)
O
DOROTHY
N
Well, here we are ... my house.
(HERMIE, seeing the house, takes a moment to take it in)
28
HERMIE
I like it very much.
DOROTHY
Well, I want to thank you, Hermie...
l
HERMIE
sa
I can go further.
ru
DOROTHY
But…there’s really no need. Unless you want to bring them inside?
Pe
HERMIE
It’s my pleasure.
N
g
DOROTHY
in
O
Well, up this way.
s
TI
(HERMIE and DOROTHY go to her front door and enter her
en
house)
C
Hermie, just put those on the table.
c
U
Li
(HERMIE all but drops the bags on the kitchen table)

D
O
HERMIE
ay
(confident)
PR
dw
Who needs a wagon?
DOROTHY
oa
Please…I have to give you something...

FO
(DOROTHY reaches in her purse)

Br
HERMIE
No, I wouldn’t think of it.
T
O
DOROTHY
But how can I repay you?
N
HERMIE
I don’t know.
29
DOROTHY
I’ve got coffee. It’s from this morning, but we all have to make things go farther. You do
drink coffee?
HERMIE
Before the war, I drank a couple of cups a day.
l
sa
DOROTHY
Milk or sugar?
ru
HERMIE
Pe
(thinks for a minute)
No, I take it black.
N
g
in
O
(DOROTHY goes to the stove to make the coffee)
s
TI
DOROTHY
en
Are you in school?
C
HERMIE
c
Yes. I’m a sophomore.

U
Li
D
DOROTHY
O
I thought you were older.
ay
PR
(she begins to put away the groceries)

dw
HERMIE
Next year, I plan to be a junior.
oa
DOROTHY
FO
Don’t grow up too fast. Before you know it, you’ll be in the Army.
Br
HERMIE
Ha! I’ve got more important things to do than the Army.
T
O
DOROTHY
Oh, really?
N
HERMIE
Really.
30
DOROTHY
Like what?
HERMIE
I don’t like to talk about it much.
l
DOROTHY
sa
Oh, you can tell me, Hermie.
ru
HERMIE
Well, I always thought I would be well suited for...
Pe
(seeing a Stage & Screen magazine poking out of her bag)
…for Hollywood.
N
g
in
O
#12 LIKE THEY USED TO
s
TI
en
DOROTHY
C
Movies?
c
HERMIE U
Li
D
Sure.
O
ay
DOROTHY
PR
(as if she is quoting something)

dw
Ah…“To dance upon the silver screen.”

oa
(she returns to the table with two cups of coffee)

FO
Br
HERMIE
You dance?
T
DOROTHY
I try...but my feet always get in the way.
O
HERMIE
N
I dance...but mostly with myself.
I ALWAYS WANTED TO BE FRED ASTAIRE
31
DOROTHY
Yeah?
I ALWAYS WANTED TO BE GINGER ROGERS
l
HERMIE
sa
Why not?
ru
SO IF I DON’T GET TO PLAY FOR THE DODGERS
I’D SURE LOVE TO DANCE ON THE SCREEN
Pe
DOROTHY
I KNOW WHAT YOU MEAN
I NEVER WANTED TO BE ALICE FAYE
N
g
in
O
HERMIE
Nah.
s
TI
en
IT ISN’T WORTH IT TO BE DON AMECHE
C
DOROTHY
c
THEY MISS THE MAGIC

U
Li
OF WHIRLING ROUND THE FLOOR

D
O
HERMIE
ay
AND NOW FRED AND GINGER

PR
NEVER WORK TOGETHER ANYMORE

dw
WELL, THEY DON’T MAKE MOVIES LIKE THEY USED TO

BUT IF HOLLYWOOD SHOULD CALL
oa
THEN I’D BE FREE

THOUGH I’D REALLY HATE TO GIVE UP BASEBALL
FO
THEY TAUGHT CAGNEY HOW TO DANCE

Br
SO THEY MIGHT JUST TAKE A CHANCE

ON ME
T
(DOROTHY and HERMIE laugh)

O
WE’LL SEE
N
(DOROTHY notices that the coffee is ready…indicating the

kitchen)
32
DOROTHY
Coffee?
HERMIE
I’m looking forward to it.
l
sa
DOROTHY
Be right there.
ru
HERMIE
Pe
Don’t hurry on my account
DOROTHY
N
g
(returning with the coffee)
in
O
So, you like music?
s
TI
en
HERMIE
C
Yes, I’m quite musical.
c
DOROTHY
U
Li
Do you play an instrument?

D
O
HERMIE
ay
PR
Well, no. But…

dw
I HAD A DREAM I WAS LEADING A BAND

oa
DOROTHY
No!
FO
Br
I HAD A DREAM I WAS HIRED AS A SINGER
HERMIE
T
Wow.
O
SO, WITH YOUR VOICE

N
AND THE WAVE OF MY FINGER

WE’D MAKE THE WHOLE WORLD MOVE AS ONE
33
DOROTHY
NOW THAT WOULD BE FUN
MY MOTHER TAUGHT ME TO LOVE PEGGY LEE
HERMIE
She’s great.
l
sa
MY FATHER TOOK ME TO SEE BENNY GOODMAN
ru
DOROTHY
I HEAR HIS MUSIC AND NEVER CHANGE THE DIAL
Pe
HERMIE
AS FOR ME, I’D SAY THE OLDIES
HAVE A STRONGER SENSE OF STYLE
N
g
in
O
DOROTHY
NO, THEY DON’T WRITE SONGS THE WAY THEY USED TO
s
TI
BUT HAVE DORSEY BLOW HIS HORN, AND I DON’T CARE
en
THOUGH I DOUBT YOU’LL SEE ME ON THE BANDSTAND
C
WHEN I SING, I TEND TO SHOUT
I WOULD DROWN THE WHOLE BAND OUT
c
I SWEAR
U
Li
D
(HERMIE laughs)
O
ay
I’m really, really loud.

PR
dw
BEWARE
(she joins in…still laughing, HERMIE drinks the coffee only to

oa
find that it is extremely hot…he tries to be cool about it, but ends
up frantically fanning his mouth)
FO
Br
HERMIE
Ow!
T
DOROTHY
O
Oh, I should’ve told you it’s hot. Are you alright?

N
(HERMIE waves his hand in front of his mouth…he mumbles

something back to DOROTHY)
Ice! Ice. I’ll get some ice for you.
34
(DOROTHY gets some ice and puts it in a towel that he holds to
his tongue…she drops a couple of cubes in his cup)
DOROTHY (CONT’D)
I am so sorry.
l
HERMIE
sa
I’m fine. That’s much better.
ru
DOROTHY
That stove needs to be fixed. I never know how hot it’s going to get.
Pe
HERMIE
That’s okay.
N
g
(a beat)
in
O
Well, I guess I must be moseying along. Before you know it, you’ll be making me lunch.
s
TI
en
DOROTHY
C
Oh
c
WELL, THANK YOU

U
Li
D
HERMIE
O
ay
NO, IT REALLY WAS A PRIVILEGE

PR
DOROTHY
dw
NEXT TIME
I’LL BE SURE TO BRING MY WAGON
oa
HERMIE
Yes.
FO
Br
IF YOU DON’T, YOU’LL GET A HERNIA
DOROTHY
T
Yes. Goodbye, Hermie.

O
HERMIE
N
Goodbye.
(HERMIE exits the house…DOROTHY clears the table to write a
letter, finding paper and pen)
35
DOROTHY
THIS IS NOT A SUMMER LIKE I’M USED TO
BUT I’M MEETING PEOPLE I WOULD NEVER MEET
THAT’S AT LEAST A TINY CONSOLATION
FOR AS LONG AS YOU’RE AWAY
IT’S IMPORTANT THAT I STAY UPBEAT
l
sa
(she begins writing)
ru
DEAR PETE
Pe
(lights down on DOROTHY and the house…HERMIE exits from
the porch)
HERMIE
N
g
in
O
(as it just hits him)
s
TI
Hernia?!?
en
C
(OSCY and BENJIE enter)
c
OSCY
U
Li
SO, WHAT HAPPENED

D
O
ay
HERMIE
Nothing.
PR
dw
BENJIE
Nothing?
oa
HERMIE
Nothing!
FO
Br
OSCY AND BENJIE

NOTHING HAPPENED
T
OSCY
O
You were in there a long time.

N
HERMIE
We had drinks.
OSCY
Drinks?
36
BENJIE
You had drinks?
OSCY
SHE LET YOU FEEL HER
l
BENJIE
sa
SHE LET YOU GET FUNNY
ru
HERMIE
I don’t remember.
Pe
(he walks away in a daze, ignoring the BOYS)
N
#13 I THINK I LIKE HER
g
in
O
OSCY
Aw, come on. Older woman like that, what’s it to her? She probably lets guys feel her
s
TI
up all the time. Hermie? Hermie?!? Where are you going?
en
C
(to BENJIE)
c
U
You know, Benjie, I don’t know why we hang out with a guy like that. He’s got serious
Li
D
mental problems—
O
ay
(OSCY looks back to see Benjie’s tongue desperately trying to

reach the end of his nose)
PR
dw
BENJIE
Hey, I can almost touch my nose with my tongue!
oa
(dumbfounded, OSCY exits…BENJIE follows)

FO
Br
HERMIE
I THINK I LIKE HER
I THINK SHE’S ONE OF A KIND
T
LIKE GRETA GARBO

AND LANA TURNER COMBINED
O
N
ALL THE WOMEN OF MY DREAMS HAVE BEEN REPLACED

WHAT’S MORE
I LIKE HER
SHE MADE ME COFFEE
I NEVER TRIED IT BEFORE
37
HERMIE (CONT’D)
IT NEARLY KILLED ME
BUT NOW I’M THIRSTY FOR MORE
AND I’M CERTAIN THAT
I’LL NEVER LIKE THE TASTE
l
I THINK I LIKE HER
sa
THIS ISN’T LIKE ME
BUT WHO CAN BLAME ME FOR ALL THAT I FEEL
ru
A GORGEOUS GODDESSAPPEARED ON EARTH
AND SHE’S TOTALLY REAL
Pe
BACK HOME IN BROOKLYN
SOME GIRLS WILL DO AS YOU PLEASE
BUT THEY’RE TOO EASY
N
g
WHICH DOESN’T PUT ME AT EASE
in
O
THAT IS NOT THE KIND OF WOMAN I’D PREFER
s
TI
I’VE BEEN HOLDING OUT FOR SOMEONE MORE LIKE HER
en
I THINK I LIKE HER
C
AND THERE’S NO TELLING WHAT MIGHT OCCUR
c
U
(HERMIE does a boisterous little soft shoe in the sand, trying his
Li
best to imitate Fred Astaire…in one bold move, he runs and jumps
D
off a dune…barely able to catch his breath, HERMIE sings again,
O
ay
lost in his own world)

PR
HERMIE (CONT’D)
dw
WHY AM I DIZZY
WHY DO I FEEL LIKE I’M FALLING THROUGH SPACE
LOST ON THIS ISLAND
oa
WHERE NOTHING’S REAL BUT THE SIGHT OF HER FACE

FO
OH, WHAT A SUMMER

Br
I THOUGHT IT NEVER WOULD START

THE TIDE IS TURNING
SINCE SHE SAILED INTO MY HEART
T
O
IT’S AMAZING WHILE OUR COUNTRY’S OFF AT WAR

HERE AT HOME I FOUND A GIRL WORTH FIGHTING FOR
N
I THINK I LIKE HER

SHE MIGHT BE FEELING THE SAME
38
HERMIE (CONT’D)
IT’S JUST BEGINNING
SOON I’LL BE WINNING THE GAME
I KNOW I LIKE HER
(realizes)
l
sa
EXCEPT I DON’T KNOW HER NAME
ru
I SHOULD HAVE ASKED HER
SHE COULD HAVE TOLD ME
Pe
WELL, IF SHE LIKED ME
SHE CALLED ME HERMIE
(HERMIE exits)
N
g
in
O
s
TI
en
C
c
U
Li
D
O
ay
PR
dw
oa
R
FO
Br
T
O
N
39
SCENE 4
The Movies
(MIRIAM, AGGIE, and GLORIA enter, again acting in Hermie’s

imagination as the Andrews Sisters)
l
sa
#14 THE HEAT
ru
THE HEAT DOES CRAZY THINGS
Pe
TO PEOPLE IN THE SUMMER
THE HEAT THAT SUMMER BRINGS
CAN GET YOU CARRIED AWAY
N
YOU THINK YOU’LL BE ALL RIGHT
g
WHEN YOU BEGIN THE SUMMER
in
O
BUT SOON THAT FAHRENHEIT
IS RISING DAY AFTER DAY
s
TI
en
AND YOUR FEVERISH CONDITION
C
STARTS TO DRIVE YOU RAVING MAD
c
TILL YOU’VE LOST EACH INHIBITION

THAT YOU’VE HAD U
Li
D
AND THEN YOU’RE ON A MISSION
TO GO BREAK EVERY RULE
O
ay
YOUR MAMA EVER TOLD YOU

AND FIND SOME OTHER FOOL
PR
dw
WHO WANTS SOMEBODY TO PLAY

IT’S TIME WE SPREAD OUR WINGS
AND HAD OUR SUMMER FLINGS
oa
THE HEAT DOES CRAZY THINGS

FO
THAT GET YOU CARRIED AWAY

Br
#14A WINCHELL REPORT #2

T
(WALTER WINCHELL enters as the THREE GIRLS exit)

O
WALTER WINCHELL
N
It’s almost the end of July in this blistering summer of 1942 and, as the war heats up
around the world, the temperature is reaching feverish levels all along the East Coast.
The only safe haven seems to be the ice-cold movie houses in your local townships,
where the dancin’ feet of Fred Astaire and Rita Hayworth may offer some relief from
the sweltering uneasiness of a world at war. If that doesn’t work, try the Healthknit
Mac-Dees, the only underwear guaranteed to keep you cool...and it won’t bunch up!
40
#14B HERE AND NOW #3
(WALTER WINCHELL exits as a movie theatre marquee

appears…the movie You’ll Never Get Rich, starring Fred Astaire
l
sa
and Rita Hayworth, is showing…OSCY and BENJIE are outside
the movie theatre... HERMIE joins them a moment later with two
ice cream cones, one of which he hands to OSCY)
ru
BENJIE
Pe
I don’t wanna see this movie.
OSCY
N
Are you kiddin’? This is a romantic movie. It’s boring on purpose.
g
in
O
BENJIE
Why?
s
TI
en
OSCY
C
So you can trip down the aisle and fall on a couple of girls.
c
TAKE IT FROM A MASTER U

Li
D
THIS IS HOW YOU GET A FEEL
YOU’LL BE SITTING PRETTY
O
ay
BY THE FIRST OR SECOND REEL

JUST WATCH ME AND
PR
YOU’LL KNOW JUST WHAT TO DO

dw
(they see MIRIAM, AGGIE, and GLORIA coming)

oa
HERMIE
FO
Look, it’s them.

Br

Whoa...
T
OSCY
O
N
(a little awed)
MAYBE HERE AND NOW

OUR DREAMS ARE COMING TRUE
41
BENJIE
What do we do?
HERMIE
I don’t know!
l
(OSCY takes a big mouthful of ice cream as if he is downing a beer
sa
at the bar…he hands the ice cream off to BENJIE, then starts
towards THE GIRLS with ice cream on his face…as HERMIE
ru
realizes what OSCY is doing)
Pe
Oscy!
OSCY
(looking back at them)
N
g
in
O
I’m not waitin’ around any longer.
s
TI
(OSCY leaves HERMIE and BENJIE)
en
C
BENJIE
Oh, shit.
c
U
Li
(OSCY approaches the THREE GIRLS as HERMIE and BENJIE

D
watch in horror)
O
ay
OSCY
PR
PERFECT NIGHT FOR A MOVIE

dw
MIRIAM
You old enough to stay up this late?
oa
OSCY
FO
Br
(laughing this off gallantly)
I HAVE WITH ME TWO CHARMING FRIENDS

T
O
MIRIAM
N
(reaching out with her handkerchief)
You have ice cream on your face.
42
OSCY
(he grabs her outstretched arm and sniffs her wrist)
OH, THAT PERFUME

MAKES ME THINK OF THE FALL OF BABYLON
l
sa
MIRIAM
ru
(confused)
Pe
What?
OSCY
I GROW DIZZY
JUST ONE SNIFF AND I SWOON
N
g
TIME’S A-WASTING
in
O
LET’S GET BUSY
LET’S ALL GO TO THE MOVIES
s
TI
IT’S STARTING SOON
en
C
MIRIAM
Dutch treat, I suppose?
c
U
Li
OSCY
D
WE WILL SPRING FOR REFRESHMENTS
O
ay
(OSCYturns, winking at his FRIENDS, giving them a thumbs-up

PR
sign…THE GIRLS start to follow him over to HERMIE and

dw
BENJIE)
BENJIE
oa
I THINK THEY’RE HEADING THIS WAY

FO
HERMIE
Br
WE BETTER MAKE SURE WE’RE SET
Smile, look older.

T
BENJIE
O
AND I’VE GOT NOTHING TO SAY

N
HERMIE
WHATEVER YOU DO, DON’T SWEAT
43
OSCY
(making a grand introduction)
THIS IS HERMIE AND BENJIE
MIRIAM
l
THIS IS AGGIE AND GLORIA
sa
OSCY
ru
HERMIE, YOU’RE WITH AGGIE
’CAUSE YOU’RE BOTH INTELLECTUAL.
Pe
Yeah!
BENJIE, YOU’RE WITH GLORIA
N
g
’CAUSE YOU’RE…JUST BECAUSE
in
O
MIRIAM IS WITH ME BECAUSE I
s
TI
(eyeing her breasts)
en
C
MET HER FIRST
c
GLORIA
U
Li
D
(shyly stepping forward)
O
ay
HI, BENJIE
PR
BENJIE
dw
(after a beat, running off with a long, frightened scream)

oa
Aaaaahhhh!
FO
(OSCY squirms with embarrassment…beat)

Br
OSCY
T
(as if that never happened)

O
ALMOST TIME FOR THE MOVIE

N
MIRIAM
If Gloria doesn’t go, neither do we.
44
GLORIA
(speaking with a thick lisp)
Ith not important that I go.
l
AGGIE
sa
Don’t be silly.
ru
GLORIA
I’m not being thilly. I don’t want to go. I thwear.
Pe
OSCY
Go without her.
N
g
GLORIA
in
O
Miriam, ith not nethethary that I thee thith movie.
s
TI
MIRIAM
en
Then we don’t want to go.
C
OSCY
c
She wants you to go without her.

U
Li
D
MIRIAM
O
ay
She doesn’t.
PR
OSCY
dw
She does.
MIRIAM
oa
She does not.

FO
(GLORIA sneaks off)

Br
OSCY
She left.
T
O
MIRIAM
N
( after a beat)
We’ll each want a fifteen-cent candy.
45
(DOROTHY enters…she spots the TWO COUPLES, and
approaches HERMIE…OSCY gives HERMIE an elbow to the ribs
as he notices DOROTHY approaching)
DOROTHY
HI, HERMIE
l
sa
HERMIE
Hi.
ru
DOROTHY
Pe
Thanks for the help the other day. Going to the movies?
HERMIE
Yeah.
N
g
in
O
DOROTHY
I just saw it; you’ll enjoy it.
s
TI
en
HERMIE
C
Fred Astaire!
c
U
(HERMIE makes some attempt at doing a little dance step but fails
Li
miserably…OSCY stares as if he’s crazy)

D
O
ay
DOROTHY
Yes...but no Ginger Rogers. Still, Rita Hayworth ain’t bad.
PR
dw
HERMIE
She really wins her spurs.
oa
(OSCY reacts painfully to that comment)

FO
DOROTHY
Br
(confused)
T
Yes…Well, I’ll see you around, Hermie.

O
(she starts to exit)

N
HERMIE
Bye.
46
MIRIAM
We’ll wait for you inside...
(seductively, in Oscy’s face)
Don’t forget the treats.
l
sa
(MIRIAM and AGGIE exit)
ru
OSCY
Pe
(to HERMIE)
Geez, she really knows you!
N
g
HERMIE
in
O
I think I need some air.
s
TI
OSCY
en
C
(waving his arms around)
c
This is air. You’re surrounded by air.

U
Li
D
(DOROTHY turns back to THE BOYS)
O
ay
DOROTHY
PR
Excuse me, Hermie?

dw
(THE BOYS freeze)

oa
I was wondering...could you come by my house tomorrow?

FO
(Hermie’s and Oscy’s jaws hit the ground)

Br
I have some heavy boxes which I need to move, and…no man around the house.
T
OSCY
O
(under his breath, through his teeth)

N
Hermie, say something...
HERMIE
Sure, tomorrow.
47
DOROTHY
Let’s say in the morning around ten o’clock?
HERMIE
Sure, we’ll have coffee.
l
sa
DOROTHY
You like it black, right?
ru
HERMIE
Pe
Black, yes.
DOROTHY
SEE YOU TOMORROW
N
g
in
O
(she walks away…OSCY can’t believe it)
s
TI
OSCY
en
C
(exploding)
c
U
Oh my God! You’re in. Coffee at ten. She’s practically beggin’ you to feel her up!
Li
D
HERMIE
O
ay
Shut up, Oscy!

PR
OSCY
dw
I can’t shut up. I’m just getting started!
HEY, DID YOU CATCH THE KNOCKERS ON MIRIAM

oa
HERMIE
FO
You catch ’em.

Br
OSCY
She throws ’em, I’ll catch ’em. Soon as the lights go out, I’m gonna grab onto those
T
boobs and swing on ’em like Tarzan!

O
#16 THE MOVIES

N
(OSCY lets out a Tarzan yell as OSCY and HERMIE run

inside… lights change as we hear the sweeping underscoring of the
film they are watching…an USHER [MR. SANDERS] comes
downstage and beams a flashlight into the AUDIENCE as if
48
looking for troublemakers…he exits revealing four seats holding,
left to right, MIRIAM, OSCY, AGGIE, and HERMIE…very dim
lighting, with the film projector buzzing from behind them…the
film is at least halfway through…HERMIE glances uncomfortably
at AGGIE who, in turn, sneaks a look back at him…MIRIAM is
focused on the movie…OSCY is focused on Miriam’s breasts)
l
sa
HERMIE
ru
(to himself)
Pe
ON A DOUBLE-DATE
AND THE HOUR’S GETTING LATE
HORSES TO THE GATE
POST TIME SOMEONE SET THE BAIT
N
g
TIME TO STEP UP TO THE PLATE
in
O
NOT A SECOND CAN YOU WAIT
TO PERPETRATE
s
TI
A CRIME
en
C
(HERMIE and AGGIE slowly turn to look at each other, only to
catch each other’s gaze…embarrassed, they quickly look back
c
U
straight ahead…HERMIE continues to himself)
Li
D
GET A MOVE ON
O
ay
TAKE A DEEP BREATH

SAY A TINY PRAYER
PR
PUT A HAND UP
dw
ON HER SHOULDER
YOU CAN WORK FROM THERE
oa
TOUCH HER ELBOW

THEN HER FOREARM
FO
TAKE IT SLOW AND BE DISCREET

Br
I CAN TELL, THOUGH

THAT SHE WANTS IT
I CAN FEEL HER BODY HEAT
T
O
SHE’S SO HOT
SHE MUST BE BURNING UP INSIDE
N
SHE’S SO HOT
THAT I COULD DROP AN EGG DOWN HER CLEAVAGE

AND IT WOULD COME OUT FRIED
49
(OSCY puts his arm around MIRIAM…HERMIE sees this and
tries to put his arm around AGGIE, only to poke her in the eye)
AGGIE
Ow.
l
HERMIE
sa
(abruptly bringing his hand back)
ru
I’m sorry.
Pe
AGGIE
PERFECT
THIS LOVELY EVENING SHOULD BE ABSOLUTELY PERFECT
HE’S QUITE A GUY
N
g
MAYBE WITH ANY LUCK HE WON’T GIVE UP
in
O
BEFORE HE GIVES ME ANOTHER TRY
I MEAN, I’M ALL SET AND STANDING BY
s
TI
BUT HIS PALMS ARE WET, HIS AIM IS HIGH
en
A GIRL WANTS SOMETHING MORE THAN JUST A FINGER IN THE EYE
C
(HERMIE makes another attempt to put his arm around AGGIE,
c
U
only to poke her in the head again…Ow!...OSCY makes a grab for
Li
MIRIAM…she removes his hand…OSCY thinks for a second, and

D
makes a second attempt…MIRIAM slaps his hand…he tries a
O
ay
third time and MIRIAM elbows him in the ribs)

PR
OSCY
dw
Ow!
(OSCY grabs his side in pain)

oa
MIRIAM
FO
THE BREASTS
Br
IT’S ALWAYS BEEN ABOUT MY BREASTS

ALL THANKS TO THEM I’M ALWAYS
CATCHING LITTLE GLANCES
T
THAT FEEL LIKE A THREAT

O
AND FENDING OFF ADVANCES

FROM PEOPLE WHO SWEAT
N
AND YET
ALTHOUGH IT’S SOMETHING I SHOULD
HESITATE TO MENTION
I WOULDN’T GIVE THEM UP FOR ANYTHING AT ALL
50
MIRIAM (CONT’D)
JUST NOW AND THEN, I WISH
THEY WOULDN’T DRAW ATTENTION
THERE’S DAYS I WISH THAT THEY WERE SMALL
JUST ONCE I’D LIKE TO WATCH A MOVIE
l
(As OSCY pounces again and they struggle)
sa
AND NOT BE FIGHTING CITY HALL
ru
Pe
OSCY HERMIE
IT’S LIKE I’M
WE’LL BE GOING
N
g
ANY MINUTE
in
O
BETTER TRY ONCE MORE
LOOKING AT
s
TI
THE ROCKY MOUNTAINS
en
I CAN DO IT
C
NOTHING TO IT
I’VE BEEN HERE BEFORE
c
U
Li
MIRIAM
D
JUST TRY AND KEEP PRETENDING
O
NOT TO NOTICE
ay
PR
HERMIE
dw
IF YOU LET ME
LIVE A LITTLE
I WILL ALWAYS THANK YOU, GOD
oa
OSCY
FO
GOD, THOSE TITS

Br
HERMIE
SHE’LL FORGET ME
T
BY TOMORROW
O
SHE ALREADY THINKS I’M ODD

N
(OSCY puts his arm around MIRIAM again, gearing up for the
big moment…HERMIE watches, struggling with his own desire
to accomplish the feat)
51
AGGIE HERMIE OSCY MIRIAM
LET’S HERE’S A
FEVER HERE
HOPE
RUNNING THROUGH
HE ME
l
DOESN’T GOES
sa
THERE’S A
POKE ME BOILING I
ru
ANYWHERE IN MY BRAIN SHOULD HAVE
SEEN IT
Pe
ELSE IF I LEAVE HER GET A COMING
LOAD
AGGIE HERMIE OSCY MIRIAM
FEELING
N
g
MY THAT WAY A THOSE
in
O
GOD I WILL SURE-
-LY BUT
s
TI
GO INSANE I DON’T EVEN
en
QUICK CARE
C
OR THE CHANCE WILL
PASS ME BY
c
U
Li
OSCY, MIRIAM, AND AGGIE

D
I FEEL THE SECONDS COUNTING
O
ay
I FEEL THE TENSION MOUNTING

PR
HERMIE
dw
THIS IS THE MOMENT

DO OR DIE
oa
(in one smooth, suave motion, HERMIE reaches up and around

AGGIE, gently gliding his hand down her arm until he reaches her
FO
elbow…he begins to massage it, thinking he’s hit pay dirt…

Br
meanwhile, OSCY and MIRIAM are going at it full speed ahead)
HERMIE (CONT’D)
T
THERE
O
(confused)
N
Huh?
WHY CAN’T I FIND THE NIPPLE
52
(OSCY sees what HERMIE has done and begins to laugh)
OSCY
(to himself)
l
LOOK AT HERMIE, THAT MORON
sa
(OSCY points out Hermie’s mistake to MIRIAM…they laugh)
ru
MIRIAM
Pe
(to herself)
OKAY
N
g
I GUESS I’LL LET HIM FEEL MY BREASTS
in
O
(MIRIAM finally gives in to OSCY and places his hand on her
s
TI
breast…AGGIE sits uncomfortably as HERMIE continues to try
en
and find her nipple on her elbow)
C
AGGIE
c
U
Li
(charmed, deciding that she is going to enjoy this moment)

D
O
ay
PERFECT
SO IF HE WANTS TO FEEL MY ELBOW
PR
THAT’S JUST PERFECT

dw
MIRIAM AND AGGIE

PERFECT NIGHT AT THE MOVIES
oa
HERMIE AND OSCY

FO
Br
(each holding onto their prize, and, looking up to the heavens, they
whisper)
T
Thank you.
O
#16A MOVIES PLAYOFF

N
(blackout…after the film is over, we find the TWO HAPPY

COUPLES exiting the movie theatre…the marquee is now dark)
53
OSCY
What say we go down to the beach and watch the surf roll in?
MIRIAM
It’s very late. We have to go home.
l
(MIRIAM moves closer to OSCY, almost getting nose to nose with
sa
him)
ru
But...
Pe
(MIRIAM looks at AGGIE who shrugs in agreement)
…Friday night…
N
g
OSCY
in
O
I’ll build a fire.
s
TI
en
MIRIAM
C
If you think you need it.
c
U
(MIRIAM swaggers off, looking back at OSCY)
Li
D
AGGIE
O
ay
Bye, Hermie.
PR
(AGGIE giggles as she exits…HERMIE waves with a big smile on

dw
his face)
OSCY
oa
(excited…to HERMIE)
FO
Br
Friday night? I can’t wait! We’ll have a marshmallow roast. My brother says they’re an
aphrodiseo-something…Hey, what’s that smile about?
T
HERMIE
O
Feel pretty good. I held a breast for over eleven minutes. Broke my own record.
N
OSCY
Ah, the Lila Harrison record.
HERMIE
Yup. And that was on top. This was bare breast.
54
OSCY
Bare breast? Impressive.
HERMIE
Broke my own record by three minutes.
l
OSCY
sa
Well, what did it feel like, exactly?
ru
HERMIE
Like a boob.
Pe
OSCY
Are you sure it didn’t feel like an arm or ... an elbow?
N
g
HERMIE
in
O
An elbow? Why should it feel like an elbow?
s
TI
OSCY
en
Because it was an elbow.
C
HERMIE
c
What?
U
Li
D
OSCY
O
ay
Lila Harrison, your record is safe!

PR
HERMIE
dw
No wonder I couldn’t find the nipple.
OSCY
oa
You’re lucky you found her elbow.

FO
HERMIE
Br
God! How can I ever face her again?
OSCY
T
Make sure she’s wearin’ long sleeves.

O
HERMIE
N
Oscy, you should’ve told me it was an arm!
OSCY
What do I care if you spend your whole life squeezing arms? I just thought you oughta
face reality, especially if you’re putting a clock on it, and going for records.
55
HERMIE
I’m going to kick your ass!
OSCY
Oh yeah?
l
[SFX: air raid siren]
sa
(suddenly an air raid siren goes off…the TWO BOYS freeze)
ru
HERMIE
Pe
It’s the Germans.
HERMIE pulls OSCY, who is too frightened to move…OSCY and

HERMIE get down on the ground, covering their heads)
N
g
in
O
OSCY
Shit! They’re dropping bombs!
s
TI
en
HERMIE
C
(getting up…pulling OSCY)
c
U
Li
C’mon.
D
O
ay
OSCY
Oh, Shit! Shit!
PR
dw
(OSCY runs in circles, not knowing where to go)
HERMIE
oa
C’mon!
FO
(HERMIE grabs OSCY and they exit as lights fade)

Br
T
O
N
56
SCENE 5
Dorothy’s House
(WALTER WINCHELL appears addressing the nation)
l
#17 WINCHELL REPORT #3
sa
WALTER WINCHELL
ru
Last night off the coast of Maine, sirens were heard screaming through the night as a
possible German air raid in the area turned out to be a false alarm. It seems a large
Pe
migrating flock of Canadian geese were mistaken for German Messerschmitts. The
naval command post praised the quick work of the two enlisted men who spotted the
feathered formation, but they were unable to offer any comment as they have since
N
been reassigned to other duties!
g
in
O
#17A BENJIE AND GLORIA
s
TI
(BENJIE enters with his binoculars and a book entitled How to
en
C
Spot Canadian Geese…he searches the sky…GLORIA enters
with a yo-yo and spots BENJIE…smiling, she hesitantly walks up
c
U
to him, getting right next to his face…BENJIE follows the bird
Li
until he finds GLORIA in his binoculars)

D
BENJIE
O
ay
PR
(screaming and exiting)

dw
Aaaaaahhhhhh!
oa
(GLORIA exits with her yo-yo…HERMIE enters…he is

practicing lines for his morning with DOROTHY)
FO
Br
HERMIE
“The coffee is exquisite.” Exquisite? “Laughter becomes you.” “Nothing is too heavy
when love is in the air.” What the hell am I saying? All right, Hermie...just relax.
T
O
(HERMIE adjusts his collar, takes a deep breath and knocks on the
door)
N
#18 THE BOXES
DOROTHY
HERMIE? IS THAT YOU
57
HERMIE
(gallant)
IT IS I
l
DOROTHY
sa
Come in. The door is open.
ru
HERMIE
Thank you.
Pe
(HERMIE goes into the house…he sees DOROTHY is wearing
shorts and a top that reveals her bare midriff…the top is tied into a
knot right between her breasts)
N
g
in
O
DOROTHY
Did you hear all the noise last night? Those sirens were so loud!
s
TI
en
(HERMIE stares at her beauty…he is speechless)
C
Hermie?
c
U
Li
HERMIE
D
Ah…Of course, yes. I can still hear the ringing in my ears. That’s why I didn’t answer
O
ay
you right away.

PR
DOROTHY
dw
Were you still able to enjoy the evening?
HERMIE
oa
Yes...the movie. Fred Astaire...He was terrific.

FO
DOROTHY
Br
He was. Did your date enjoy it?
HERMIE
T
Who?
O
DOROTHY
N
The girl you were with.
HERMIE
Oh, her.
58
DOROTHY
Is she a steady?
HERMIE
Just casual. In fact, I don’t think I’ll be seeing her again.
l
DOROTHY
sa
Oh, that’s too bad. What happened?
ru
HERMIE
Well...she didn’t really give me much space.
Pe
DOROTHY
You know...sometimes all ya need is a little elbow room.
N
g
(she laughs at this, as HERMIE reacts uncomfortably)
in
O
Would you like some coffee?
s
TI
en
HERMIE
C
The coffee is exquisite. But since coffee is being rationed, I would like to give up my cup
in honor of our fighting men.
c
U
Li
DOROTHY
D
President Roosevelt would be proud.
O
ay
HERMIE
PR
It’s the least I can do.

dw
DOROTHY
Well then, let’s go to the bedroom.
oa
HERMIE
FO
Excuse me?
Br
DOROTHY
That’s where the boxes are.
T
O
HERMIE
Oh...right. After you.
N
(music begins as DOROTHY leads HERMIE to the bedroom

where there are several large boxes lying on the floor…an A-frame
ladder rests beside them…an attic unit flies in with an empty
space)
59
HERMIE (CONT’D)
Allow me...
(HERMIE goes to the ladder and awkwardly tries to lift it and put
it into place under the attic)
l
DOROTHY
sa
So, how do you want to do it?
ru
HERMIE
Pe
(loudly snapping open the ladder)
Huh?
N
g
DOROTHY
in
O
Move the boxes?
s
TI
HERMIE
en
Oh.
C
DOROTHY
c
First…let me see how much room we have up there.

U
Li
D
(she climbs the ladder and looks in the empty space of the attic)
O
ay
You can steady that for me, Hermie.

PR
dw
(DOROTHY climbs up the ladder…HERMIE holds the ladder

only to find himself gazing straight at the back of her tan legs…he
speaks gently to them)
oa
HERMIE
FO
Laughter becomes you...

Br
(DOROTHY shoots him a confused look)

T
DOROTHY
O
(climbing down)
N
Why don’t you go up, and I’ll hand them to you.
(DOROTHY goes to get the first box)
60
HERMIE
I think that would be a grand idea.
(he climbs the ladder)
I will be up here...awaiting those heavy objects.
l
sa
DOROTHY
First box.
ru
(she brings it to the ladder and hands it up to HERMIE…he
Pe
reaches down to pick it up and grasps her hand which is holding
the box…for a second, he doesn’t know what to do…he quickly
takes his hand off hers and grabs the box, lifting it up)
N
g
HERMIE
in
O
(taking it)
s
TI
en
Got it.
C
(DOROTHY goes to get another box…HERMIE tries to make
c
small talk)
U
Li
D
I hear the Navy needs old stockings...for gunpowder.
O
ay
DOROTHY
PR
Oh, yes. I heard on the radio...

dw
(imitating the voice from the radio)

oa
“Pack ’em and stack ’em”!

FO
(DOROTHY bends over to pick up another box)

Br
HERMIE
T
(looking at her derrière)

O
Your voice is like a cloud of pink cotton…

N
(DOROTHY brings the box to HERMIE, and he lifts it onto the

shelf)
61
DOROTHY
I probably have a few things lying around I could give up for Uncle Sam.
(she goes to grab two small water jugs)
HERMIE
l
I have an uncle...his name is Floyd...Uncle Floyd...I gave him some of my old comics--
sa
Sheena, Queen of the Jungle…
ru
(DOROTHY comes to HERMIE with the two water jugs in front
of her chest)
Pe
DOROTHY
Hermie, could you grab these?
N
g
(HERMIE doesn’t know how to take them…he tries several
in
O
different ways before finally grabbing them and putting them up
on the shelf)
s
TI
en
Sheena, huh?
C
HERMIE
c
U
Li
(still in a daze)
D
O
ay
Oh, yes. He’s a big fan.

PR
DOROTHY
dw
(picking up the last item--a steamer trunk)

oa
Last one. Careful...this one’s heavy.

FO
HERMIE
Br
(quoting his practiced line)

T
Ah...nothing’s too heavy when lo--

O
(catching himself…he tries to say it again)

N
...when lo--, when lo--
(he can’t say the word in front of her…she looks at him)
62
DOROTHY
What’s that, Hermie?
HERMIE
(thinking of anything)
l
sa
Luggage...when luggage is in the air.
ru
(HERMIE indicates steamer trunk)
Pe
DOROTHY
Excuse me...?
HERMIE
N
g
It’s an expression.
in
O
DOROTHY
s
TI
Oh...okay...
en
C
(as HERMIE tries to take another step holding the steamer trunk,
he loses his balance and almost falls off the ladder…DOROTHY
c
U
steadies him, innocently touching him…he grows very faint)
Li
D
Whoa...Good thing I grabbed you.
O
ay
HERMIE
PR
(weakly)
dw
Good thing!
oa
(HERMIE is somewhere between loving this and being scared to

death…as DOROTHY has her hands on his back, she notices
FO
Hermie’s legs shaking)

Br
DOROTHY
Hermie? Are you alright? Your legs are shaking! Hermie!
T
O
(HERMIE finally pushes the box into place…the lights change,

and a spotlight appears on HERMIE as DOROTHY freezes…
N
suddenly, Hermie’s fantasy comes to life as MIRIAM, AGGIE,

and GLORIA enter dressed as Dorothy…they come on to him in a
most unrealistic fantasy)
63
#19 MAN AROUND THE HOUSE
(seductively)
l
sa
HERMIE
HERMIE
HEY, THERE, HERMIE
ru
YOU KNOW THAT I’VE BEEN LONELY
I THINK ABOUT YOU ONLY
Pe
I WANT A MAN AROUND THE HOUSE
COME HERE AND LET ME PET YOU
UNTIL THE DAY I MET YOU
N
I HAD NO MAN AROUND THE HOUSE
g
in
O
AGGIE
YESSS, I NEED A MAN I CAN HAVE AND HOLD
s
TI
’CAUSE MY COFFEE’S HOT BUT MY BED IS COLD
en
C
GLORIA
c
YOU’RE NOT THAT YOUNG AND I’M NOT TOO OLD

SO BABY, WE’RE GOING TO TOWN U
Li
D
MIRIAM
O
ay
MOP OFF YOUR FEVERED BROW

AND WIPE OFF YOUR FROWN
PR
dw

I’LL GET YOUR SPIRITS UP
AND LET YOU WEAR ME DOWN
oa
OH, YEAH
FO
YOU BETTER LISTEN, HERMIE

Br
DEEP IN MY SOUL YOU STIR ME

TILL YOU I RAN AROUND
T
BUT I’LL BE YOUR LITTLE MOUSE

AND YOU’LL BE MY MAN AROUND THE HOUSE
O
THE HOUSE
N
THE HOUSE
(spoken seductively)
I’ve got you now!
64
(lights change abruptly as the girls exit…HERMIE is back in
reality with DOROTHY calling to him from below)
DOROTHY
I’ve got you, Hermie. Hermie? You can come down now.
l
HERMIE
sa
(coming out of it)
ru
Yes...yes.
Pe
(he climbs down the ladder)
DOROTHY
N
g
You’re sweating.
in
O
HERMIE
s
TI
It’s okay.
en
C
DOROTHY
Here...let me get you a glass of water.
c
U
Li
HERMIE
D
It would be a privilege.
O
ay
DOROTHY
PR
Okay...
dw
(she goes to the kitchen)

oa
HERMIE
FO
(letting out a big sigh of relief)

Br
Whew!
(he sees a picture of Dorothy and Pete on the table…the picture

T
represents a moment of pure joy between the couple)

O
DOROTHY
N
(offstage)
Hermie? Do you want some ice with that? Hermie, are you still there?
65
HERMIE
Yes.
(DOROTHY enters with the glass of water…she sees HERMIE

with the picture)
l
DOROTHY
sa
(pointing to the picture)
ru
That’s Pete...a dance we were at. Seems like it was just yesterday. We danced all night.
Pe
We were just like Fred and Rita.
HERMIE
Yeah? You look...great. You could have been in that movie.
N
g
in
O
DOROTHY
Really? Thanks, Hermie.
s
TI
en
HERMIE
C
I guess it was a pretty special evening, huh?
c
DOROTHY
U
Li
Yes, it was. He asked me to marry him...

D
O
ay
(beat…she takes the picture and gives HERMIE the water)

PR
...and...he ripped his pants.

dw
HERMIE
I’m sorry?
oa
DOROTHY
FO
He took out the ring, got down on one knee and...rrripp! I’ll never forget that sound.
Br
HERMIE
T
(taken by her story)

O
Wow.
N
(looking at the photo)
You look so happy...
66
HERMIE (CONT’D)
(dejected with his lot in life)
How does anyone get that happy?
l
#20 SOMEONE TO DANCE WITH ME
sa
DOROTHY
ru
I’m not sure, Hermie...
Pe
THERE WERE DAYS I USED TO WONDER
WOULD I EVER BE A WIFE
WOULD I FIND A HANDSOME HERO
N
WHO WOULD LET ME SHARE HIS LIFE
g
OH, IT WAS SWEET BUT SCARY
in
O
TO WONDER WHERE HE MIGHT BE
TO SIT THERE CONTEMPLATING
s
TI
A STRANGER WAITING FOR ME
en
THOUGH IT SEEMED ALL WAS LOST
C
STILL I DREAMED, FINGERS CROSSED
c
AND SOMEONE TO DANCE WITH ME U

Li
D
SOMEONE TO SWEEP ME OFF MY FEET
WANDERED INTO MY WORLD
O
ay
MAKING MY SOUL COMPLETE

JUST WHEN I COULDN’T SEE
PR
ANYONE LEFT FOR ME TO MEET

dw
HE TAPPED ME ON THE ARM

AND HE TURNED ME AROUND
AND MY FEET LEFT THE GROUND
oa
AND I FOUND
FO
SOMEONE TO DANCE WITH ME

Br
Well, Hermie, is there anyone that you feel that way about?
T
HERMIE
Uh...I should go. I have business to attend to on the island.
O
N
DOROTHY
So soon? Well... ere, let me give you something for the boxes...
HERMIE
I can’t. I did it because...I like you
67
DOROTHY
That’s sweet.
HERMIE
I don’t like too many people.
l
DOROTHY
sa
Well thank you, Hermie.
ru
HERMIE
Well, I gotta go.
Pe
(he starts to leave)
DOROTHY
N
g
Hermie, wait.
in
O
(almost in slow motion, DOROTHY walks towards HERMIE…he
s
TI
is unsure about what is going to happen…when she reaches him,
en
she leans in to kiss him…he closes his eyes, as she gently plants a
C
small kiss on his forehead)
c
Goodbye, Hermie.
U
Li
D
HERMIE
O
ay
Goodbye.
PR
(as HERMIE exits the house, looking up to the heavens, it’s almost
dw
as if the world moves away from him, and he is alone to

contemplate this kiss)
oa
LORD, I KNOW I’VE BEEN A STRANGER

AND WE HAVEN’T SPOKEN MUCH
FO
NOW THAT GIRLS HAVE GOT ME CRAZY

Br
I’LL BE GETTING BACK IN TOUCH

THEY MAKE MY HEARTBEAT QUICKEN
TILL I’M TOO CHICKEN TO SPEAK
T
WHO KNEW A GLIMPSE OF BEAUTY

O
COULD LEAVE YOU MOODY ALL WEEK

N
HELP ME COPE, IF YOU CARE

GIVE ME HOPE…GRANT THIS PRAYER
FOR SOMEONE TO DANCE WITH ME
SOMEONE WHO’LL LET ME TAKE THE LEAD
68
HERMIE (CONT’D)
MAYBE I’M SLOW TO LEARN
BUT I CAN PICK UP SPEED
IF IT’S A FANTASY
WELL, IT’S THE ONLY ONE I NEED
TAKE PITY ON A GUY
l
GOING OUT OF HIS MIND
sa
I’M ALREADY BEHIND
HELP ME FIND
ru
Pe
(HERMIE and DOROTHY sing together, lost in their different
worlds)
DOROTHY
N
g
AND YOU KNOW WITH JUST ONE GLANCE
in
O
HERMIE
s
TI
ONCE YOUR HEART BEGINS TO SOAR
en
C
DOROTHY AND HERMIE
LIKE THE MOVIES THAT WE’VE SEEN
c
ALL OF OUR LIVES

U
Li
NO ONE TELLS YOU IN ADVANCE

D
WHAT THE FUTURE HAS IN STORE
O
ay
BUT YOU KNOW WHEN IT ARRIVES

PR
DOROTHY HERMIE
dw
SOMEONE TO DANCE WITH ME SOMEONE TO DANCE WITH ME

SOMEONE WHO’LL BE
THERE DOWN THE LINE WHO KNOWS SHE
oa
MAY BE HIDING AROUND

THE BEND
FO
NOW HE’S ACROSS THE SEA

Br
SOMEONE WHO’LL SUIT

BUT ME FINE
SOON THERE’LL BE
T

O
SOMEONE WHOSE ARMS SOMEONE WHOSE ARMS

FEEL RIGHT IN MINE FEEL RIGHT IN MINE
N
WHEN SOME THINGS ADVANCE

THEN YOU STICK WITH IT
SOMETIMES THINGS ADVANCE THEN YOU STICK WITH IT
THEN YOU STICK WITH IT
69
DOROTHY (CONT’D) HERMIE (CONT’D)
NOT FOR JUST ONE DANCE NOT FOR JUST ONE DANCE
BUT A LITTLE BIT MORE BUT A LITTLE BIT MORE
BRING HIM HOME FROM
THE WAR
SEND HER STRAIGHT TO MY
l
DOOR
sa
I’LL BE HERE I’LL BE HERE
WAITING FOR WAITING FOR
ru
SOMEONE, SOMEONE
Pe
TO KISS ME EVERY NIGHT
SOMEONE TO
DANCE WITH ME SOMEONE TO DANCE
WITH ME
N
g
SOMEONE, SOMEONE
in
O
WHO’LL NEVER LEAVE MY SIGHT
JUST TO BE HERE
s
TI
AND MAKE EVERYTHING AND MAKE EVERYTHING
en
ALL RIGHT ALL RIGHT
C
c
(lights fade on HERMIE and DOROTHY)

U
Li
D
End of Act One
O
ay
PR
dw
oa
R
FO
Br
T
O
N
70
ACT TWO
SCENE 1
Oscy’s Bedroom
(lights up on HERMIE, OSCY, and BENJIE…they are in Oscy’s
l
bedroom in their pajamas…OSCY is pacing the room like Patton)
sa
#21 ENTR’ACTE
ru
OSCY
Pe
Okay, boys…It’s almost Friday night…and I hereby proclaim this meeting of the
Terrible Trio to be open for discussion.
N
(HERMIE and BENJIE start to respond but OSCY cuts them off)
g
in
O
The discussion: the marshmallow roast. So, this is the plan for tomorrow. I, of course,
will be with Miriam. Hermie, you’re with Aggie, and Benjie, you get the bug-eyed
s
TI
chick. Now, in preparation for our night with the ladies, my brother has been kind
en
enough to lend me this book...it’s a textbook if you will, and I’ve taken extensive notes...
C
c
On what?
BENJIE
U
Li
D
OSCY
O
ay
The sexual act and how to perform it.

PR
(OSCY hands the book to HERMIE and BENJIE)

dw
HERMIE
Oscy, I’m not so sure…
oa
R
FO
OSCY
Br
Not sure? Was Washington sure when he crossed the Delaware? Was Sherman sure
when he burned Atlanta? No, but they did it. And trust me...it’s gonna be a lot hotter
where we’re going. So read up, boys.
T
O
#22 UNFINISHED BUSNESS

N
HERMIE
(as BENJIE tries to grab the book)
Hold it!
71
BENJIE
Why?
HERMIE
MAYBE I HAVEN’T FINISHED THE PAGE
l
BENJIE
sa
MAYBE YOU OUGHTA TRY AND ACT YOUR AGE.
ru
OSCY
MAYBE THERE’S PEOPLE WHO DON’T READ AS FAST AS YOU
Pe
HERMIE
Who’s reading?
N
g
HOW DOES A PICTURE LIKE THAT GET IN A BOOK
in
O
BENJIE
s
TI
HOW DOES A PICTURE LIKE THAT EVEN GET TOOK?
en
C
OSCY
SPECIAL FILM AND A HIGH-SPEED CAMERA LENS
c
U
Li
HERMIE
D
AND IT HELPS WHEN A GUY AND GIRL ARE FRIENDS
O
ay
BENJIE
PR
AND IT HELPS IF HE UNDERSTANDS

dw
“Clitoral shaft”
oa
OSCY
“Clitoral hood”
FO
Br
HERMIE
“Clitoral glans”
T
OSCY
O
Holy shit!
N

FROM WHAT WE’VE SEEN
IT’S CLEAR WE’VE GOT
SOME UNFINISHED BUSINESS
72
OSCY, HERMIE, AND BENJIE (CONT’D)
WE WERE IN THE DARK
BUT LIGHTNING HAS STRUCK
OSCY
’CAUSE NOW WE KNOW
l
WITH JUST ONE LOOK
sa
HOW MUCH WE’VE NEVER KNOWN
ru
HERMIE
WITHOUT THIS BRILLIANT BOOK
Pe
WE’D BE ON OUR OWN
OSCY
Don’t rip the cover!
N
g
in
O
FOR AGE FIFTEEN, WE HAVE A LOT OF
UNFINISHED BUSINESS
s
TI
en
HERMIE
C
BUT TODAY I SENSE A CHANGE IN OUR LUCK
c
BENJIE
U
Li
(still looking at the pictures)

D
O
ay
CALL ME A SHMUCK
BUT THAT ISN’T NATURAL
PR
dw
OSCY
THAT’S A REAL MOUTHFUL
COMING FROM YOU
oa
HERMIE
FO
Oscy!
Br
EVEN THOUGH IT LOOKS DUMB AT PRESENT

IT’S SUPPOSED TO BE VERY PLEASANT
T
O

WHICH MEANS WE’VE GOT SOME
N
UNFINISHED BUSINESS TO DO
73
OSCY
Now, we can’t just haul this book around on the beach…we gotta know what we’re
doin’. So, I condensed it all down to a little cheat sheet and I made three copies. I call it
“Oscy’s Twelve Fabulous Steps.” It’s like the freakin’ Ten Commandments!
HERMIE
l
sa
(looking at the cheat sheet)
ru
Hey, wait! I’m gonna have to ask where some of these things are.
Pe
OSCY
You won’t have to ask...she’ll help you.
HERMIE
N
g
I hope so, ’cause I’m gonna need all the help I can get.
in
O
WHAT’S THIS
s
TI
en
BENJIE
C
WHAT’S WHAT
c
HERMIE
U
Li
POINT EIGHT
D
O
ay
OSCY
WHAT ABOUT IT
PR
dw
HERMIE
THAT’S A WORD I NEVER HEARD BE-
oa
HERMIE OSCY
-FORE
FO
IT’S A WORD YOU NEVER HEARD

Br
BECAUSE IT’S LATIN

ALL THE ORIGINAL GUYS
WERE LATINS
T
O
HERMIE
BUT I DON’T EVEN KNOW HOW TO PRONOUNCE IT
N
OSCY
(annoyed)
YOU DON’T PRONOUNCE IT, YOU DO IT
74
BENJIE
(freaked out)
Ugghh!
OSCY
IF YOU CAN DO IT
l
THEN YOU DON’T HAVE TO SAY THE WORD
sa
IF YOU EVEN GET THE GIST
FROM THE MOMENT THAT YOU’VE KISSED
ru
THERE’LL BE NO WAY A WOMAN CAN RESIST
Pe
HERMIE AND BENJIE
NO WAY A WOMAN CAN RESIST
BENJIE
N
g
My dad says you should respect a lady.
in
O
OSCY
s
TI
Hey...it’s all right to respect a lady, but she’s not going to respect you unless you try
en
and lay her. Capiche?
C
(going back to the piece of paper)
c
U
Li
SEE THIS
D
O
ay
BENJIE
SEE WHAT
PR
dw
OSCY
POINT THREE
oa
HERMIE
WHAT ABOUT IT
FO
Br
OSCY
I CAN TELL IT’S AN IMPORTANT ONE
T
BENJIE
O
WHY THE HELL IS IT IMPORTANT

N
OSCY
BECAUSE IT’S FOREPLAY
I MEAN, IT’S IN HERE A LOT
THIS FOREPLAY
75
HERMIE
AND THIS IS SOMETHING THAT I’M GONNA ASK HER
HEY, LADY, WOULD YOU LIKE TO FOREPLAY
OSCY
l
(barely keeping calm)
sa
YOU KEEP FORGETTING
ru
THAT YOU DON’T HAVE TO SAY A WORD
JUST CONSULT YOUR LITTLE LIST
Pe
SO THERE’S NOTHING THAT YOU’VE MISSED
AND THERE’S NO WAY A WOMAN CAN RESIST
HERMIE AND BENJIE
N
g
NO WAY A WOMAN CAN RESIST
in
O
OSCY
s
TI
THIS HERE’S THE REASON WE EXIST
en
C
So, what are we waiting for?!
c

U
Li
I’VE HEARD ABOUT IT

D
I’VE ASKED ABOUT IT
O
ay
I’VE THOUGHT AND DREAMT ABOUT IT EVERY NIGHT

UNTIL YOU SEE IT
PR
YOU DON’T BELIEVE IT

dw
BENJIE
oa
(holding up the cheat sheet)

FO
BUT HERE IT IS IN BLACK AND WHITE

Br
OSCY
MY BROTHER DOES IT
T
O
HERMIE
MY UNCLE DOES IT
N
BENJIE
MY PARENTS USED TO DO IT
76
OSCY
MINE STILL DO

IF THEY CAN DO IT
THERE’S NOTHING TO IT
l
AND WE CAN DO IT TOO
sa
I THINK IT’S TIME THAT WE TAKE CARE OF
UNFINISHED BUSINESS
ru
WE DECLARE OUR WILL TO THE HEAVENS ABOVE
Pe
HERMIE
SO EVERY GIRL WHO COMES OUR WAY
HAD BETTER BE AWARE
N
g
OSCY
in
O
IN ME THEY’VE GOT A MAN
WITH PASSION TO SPARE
s
TI
en
BENJIE
C
Let’s do it!!!
c

U
Li
IF IT’S A CRIME TO WANT OUR SHARE OF

D
UNFINISHED BUSINESS
O
ay
SENTENCE US TO LIFE IN THE TUNNEL OF LOVE

PR
OSCY
dw
GENTLEMEN OF THE TERRIBLE TRIO

AS OF TODAY WE’RE MAKING A VOW
oa

SINCE WE CAN’T LOSE ANOTHER MINUTE
FO
HERE’S OUR CHANCE, AND WE’RE GETTING IN IT

Br
WE’RE CATCHING UP ON UNFINISHED BUSINESS
OSCY
T
So...get some rest, drink lots of water, and stretch.

O
HERMIE AND BENJIE

N
Stretch?!?

STARTING NOW
77
SCENE 2
The Drugstore
(lights up on Mr. Sanders’ store…MIRIAM, AGGIE, and

GLORIA appear from behind the drugstore counter…they each
l
have an ice cream cone)
sa
#23 MAKE YOU MINE
ru
AGGIE, MIRIAM, AND GLORIA
Pe
I’M GLAD I MET YA
’CAUSE I’M GONNA GET YA, BABY
AND MAYBE MAKE YOU MINE
N
THOUGH I’D HATE TO CROSS THE LINE
g
YOU SHOULD UNDERSTAND MY GRAND DESIGN
in
O
I WANNA SNUGGLE
s
TI
A KISS AND A HUG’LL DO JUST FINE
en
COME WITH ME, NOW
C
AND LET ME TAKE YOU
c
I WON’T FORSAKE YOU

IF I CAN MAKE YOU MI—INE U
Li
D
I’M GONNA MAKE YOU MI—INE
FINALLY, I’LL MAKE YOU MI—I—I—I—INE
O
ay
(AGGIE, MIRIAM, and GLORIA exit Mr. Sanders’s

PR
store…DOROTHY enters, buying another round of groceries)

dw
#24 MR. SANDERS’S THEME PART II

oa
MR. SANDERS
FO
Well, hello there…

Br
DOROTHY
Hi, Mr. Sanders. Here’s my grocery list and some things for the civil defense fund.
T
O
MR. SANDERS
Mighty hot out.
N
DOROTHY
Yes, it is. I just found Mrs. Goodman doing her grocery shopping at the post office.
Gave her a little shove in this direction.
78
MR. SANDERS
Bless her heart. Eighty-year-old in this heat? Yesterday, they found her at the pub
squeezing an eight ball!
(DOROTHY laughs…she pulls out a letter from Pete)
l
Ah...another note from our boy?
sa
DOROTHY
ru
Yes...at least one a week, without fail. Today’s our first anniversary.
Pe
MR. SANDERS
Oh! Me and the missus just celebrated our thirtieth last week. She made a crumb cake.
(MR. SANDERS exits to complete her order…DOROTHY begins
N
g
to open the letter…lights go down on DOROTHY…OSCY and
in
O
HERMIE enter and stand outside the drugstore)
s
TI
OSCY
en
YOU’VE BEEN LEARNING QUICKLY
C
AND THE ROAD AHEAD IS CLEAR
ONLY ONE THING MISSING NOW
c
BUT YOU CAN GET IT HERE

U
Li
THE RUBBERS MIGHT BE HIDDEN

D
OUT OF SIGHT
O
ay
HERMIE
PR
dw
(cutting him off)
Rubbers? What for?

oa
OSCY
FO
Hermie, ya can’t lay a lady without a rubber. It’s required.

Br
(HERMIE thinks about it a second)

T
HERMIE
O
I’m not going in there. Women shop in there! You do it.

N
OSCY
I’ve already got mine. My brother sent it to me. It’s like the family heirloom!
(OSCY shows HERMIE the package…HERMIE is in awe of the

shiny little object)
79
OSCY (CONT’D)
He says for the ladies, it’s like catnip.
HERMIE
Well, lend it to me. I’ll return it.
l
OSCY
sa
Are you nuts? Not even the closest friends can go halfsies on a rubber!
ru
HERMIE
Then, I’m not going.
Pe
(HERMIE starts to exit, but OSCY blocks his path)
OSCY
N
g
You have no choice.
in
O
(holding HERMIE in front of him)
s
TI
en
Now look, I know you’re hung up on this lady, but she’s in the big leagues. You’re not
C
ready for her. I gotta sharpen you up with someone else.
c
HERMIE
U
Li
Aggie?
D
O
ay
OSCY
Aggie. Now go!
PR
dw
(HERMIE starts toward the door only to run into DOROTHY as

she is leaving…it is almost the identical spot where they first met)
oa
DOROTHY
Hi, Hermie!
FO
Br
HERMIE
Hi...
T
DOROTHY
O
Thanks again for everything...you’ve been so helpful.

N
HERMIE
(stuttering)
It’s no problem. Ah...how are the boxes? Any trouble?
80
DOROTHY
No, they’re fine. Still up there.
HERMIE
Good...
l
(an awkward pause)
sa
I thought about everything you said.
ru
DOROTHY
Pe
Oh ... yes. It was nice talking with you.
HERMIE
It was a good day all around.
N
g
in
O
OSCY
(to himself)
s
TI
en
Oh, geez!
C
DOROTHY
c
Yes, it was. Going to the store?

U
Li
D
OSCY
O
ay
We’re having a marshmallow roast...with a couple of ladies from the island.

PR
(HERMIE cringes)
dw
DOROTHY
That sounds like fun.
oa
HERMIE
FO
Br
(trying to say anything to save face)
Yeah...Oscy’s bringing marshmallows...

T
O
DOROTHY
Oh yeah? What are you bringing?
N
OSCY
(changing the subject)
He’s gotta go.
81
DOROTHY
Goodbye.
HERMIE
Goodbye.
l
(HERMIE enters the store…lights out on OSCY and DOROTHY,
sa
who exit…HERMIE walks around, anxiously looking at items in
the store…he begins to whistle nonchalantly)
ru
#25 THE DRUGSTORE
Pe
MR. SANDERS
Can I help you?
N
g
HERMIE
in
O
Just lookin’...
s
TI
(continuing to whistle)
en
C
MR. SANDERS
c
(suspicious) U
Li
D
Are you sure I can’t help you with something?
O
ay
HERMIE
PR
Oh, I’ll know when I find it.

dw
MR. SANDERS
Well, if you tell me...
oa
R
FO
HERMIE
Br
Wait, I just remembered.
MR. SANDERS
T
All right. What is it, boy?

O
HERMIE
N
I WOULD LIKE SOME ICE CREAM

COULD I HAVE AN ICE CREAM CONE
MR. SANDERS
What flavor?
82
HERMIE
A STRAWBERRY ICE CREAM CONE
YEAH, THAT’S WHAT I WANTED
(MR. SANDERS walks to the fountain)
l
MR. SANDERS
sa
One dip or two?
ru
HERMIE
BETTER MAKE IT A TRIPLE
Pe
’CAUSE I FEEL SO RICH TODAY
I COULD MAKE A TRIPLE PLAY
NOW, THERE’S SOMETHING THAT I NEEDED
I HAVEN’T SEEN YET
N
g
JUST WHAT WAS IT
in
O
WHAT DID I FORGET
s
TI
MR. SANDERS
en
That’ll be twelve cents for the ice cream.
C
HERMIE
c
Wait, I almost forgot. There’s one more thing.

U
Li
D
MR. SANDERS
O
ay
All right.
PR
(MR. SANDERS stares down at HERMIE waiting for a

dw
response…HERMIE stares back, unable to say anything)
HERMIE
oa
HOW ABOUT SOME SPRINKLES

FO
MR. SANDERS
Br
Sprinkles.
HERMIE
T
COULD I HAVE SOME SPRINKLES, TOO

O
MR. SANDERS
N
YOU’RE SURE THAT THAT’S IT FOR YOU
HERMIE
YEAH, THAT’S WHAT I WANTED
83
MR. SANDERS
Chocolate or rainbow
HERMIE
BETTER GIVE ME THE RAINBOW
’CAUSE I’M REACHING FOR THE SKY
l
STARTING NOW IT’S DO OR DIE
sa
YUP, I FIGURE THAT SHOULD DO IT
I THINK I’M ALL SET
ru
WAIT A MINUTE
WHAT DID I FORGET
Pe
MR. SANDERS
Is there anything else?
N
g
HERMIE
in
O
(again, almost too terrified to speak)
s
TI
en
Well, I hate to bother you, but...
C
MR. SANDERS
c
Yes!
U
Li
D
HERMIE
O
ay
HOW ABOUT A NAPKIN

PR
MR. SANDERS
dw
Is that it, son? I am a very busy man.
HERMIE
oa
(very quickly)
FO
Br
HOW ABOUT SOME RUBBERS
MR. SANDERS
T
Pardon me?
O
HERMIE
N
I UNDERSTAND YOU CARRY THEM
MR. SANDERS
Carry what?
84
HERMIE
You know what.
MR. SANDERS
You mean…
l
(loudly)
sa
CONTRACEPTIVES
ru
HERMIE
Pe
Mmm-hmm.
MR. SANDERS
You want to buy some?
N
g
in
O
HERMIE
Right.
s
TI
en
MR. SANDERS
C
What for?
c
HERMIE
U
Li
Come on, you know what for.

D
O
ay
MR. SANDERS
WHAT BRAND
PR
dw
HERMIE
Excuse me?
oa
MR. SANDERS
WHAT BRAND AND STYLE
FO
Br
HERMIE
Oh, the usual.
T
MR. SANDERS
O
WELL, LET’S TAKE A LOOK

N
(MR. SANDERS reaches behind the counter and produces a lavish

condom tree that spins around displaying multicolored packages)
HERMIE
What are you doing?
85
MR. SANDERS
THERE’S A VARIETY TO CHOOSE FROM
HERMIE
Please...
l
MR. SANDERS
sa
What’s wrong?
ru
DON’T YOU KNOW THE BLUES FROM THE BLACK
THE GREENS FROM THE GREY
Pe
THE TROJANS FROM THE REST
I CAN SHOW YOU MORE AT YOUR REQUEST
PICK THE BEST
IT PAYS TO BE A STICKLER
N
g
IF YOU’RE STUCK, I SUGGEST
in
O
THAT YOU STICK WITH THE FRENCH TICKLER
s
TI
HERMIE
en
C
(beyond embarrassed)
c
Do you have to flash ’em around?

U
Li
D
MR. SANDERS
O
ay
So...which one is your “usual?”

PR
HERMIE
dw
Uh, the blue ones.
MR. SANDERS
oa
AND JUST HOW MANY WOULD YOU LIKE

FO
HERMIE
Br
Uh…three dozen.
MR. SANDERS
T
I GUESS YOU’RE PLANNING A BIG NIGHT

O
HERMIE
N
Nothing out of the ordinary.
MR. SANDERS
WELL…THAT’LL BE TWELVE DOLLARS
86
HERMIE
Twelve dollars?
MR. SANDERS
AND TWELVE CENTS
FOR THE ICE CREAM CONE
l
sa
HERMIE
How much for a dozen?
ru
MR. SANDERS
Pe
FOUR DOLLARS
HERMIE
How many for a dollar?
N
g
in
O
MR. SANDERS
(losing patience)
s
TI
en
THREE
C
HERMIE
c
All right, I’ll take two.

U
Li
D
MR. SANDERS
O
ay
They come three to a package.

PR
HERMIE
dw
CAN I OWE YOU FOR THE ICE CREAM?
MR. SANDERS
oa
All right son, this may be all fun and games to you, but you’re starting to get on my bad
side.
FO
Br
HERMIE
Sorry, sir.
T
MR. SANDERS
O
What are you going to do with these?

N
HERMIE
They’re for my brother. He’s in the Army. He uses a lot of them.
MR. SANDERS
I see. Do you know what they’re used for?
87
HERMIE
No, but I know what I’d use ’em for.
MR. SANDERS
Oh?
l
HERMIE
sa
I’d fill ’em up with water, and throw ’em off a roof.
ru
MR. SANDERS
Pe
(relieved, choking back laughter)
Well now, I just wanted to make sure you knew what they were for.
N
g
HERMIE
in
O
Is that really what they’re for?
s
TI
MR. SANDERS
en
C
(delivering his great wisdom of the day)
c
Well...
U
Li
D
DIFFERENT PEOPLE FILL ’EM UP
O
ay
WITH DIFFERENT THINGS

IT ALL DEPENDS HOW MUCH YOU KNOW
PR
AND WHERE YOU STAND

dw
AND WHO YOU ARE

FOR SUCH A STRANGE LITTLE TOY
WHAT BIG SURPRISES IT BRINGS
oa
YUP, DIFFERENT PEOPLE FILL RUBBERS

WITH DIFFERENT THINGS
FO
Br
Well, I’m not supposed to be selling these to minors, but seeing how it’s for a
serviceman, let’s call it a dollar even.
T
HERMIE
O
Wow ...
N
THANK YOU FOR MY BROTHER
(HERMIE starts for the door, but turns back to MR. SANDERS)
THANK YOU FOR YOUR PATIENCE
88
HERMIE (CONT’D)
(opens the door and turns a final time)

Oh...
THANK YOU FOR THE ICE CREAM
l
sa
(MR. SANDERS shakes his head as HERMIE goes out the door)
ru
Pe
N
g
in
O
s
TI
en
C
c
U
Li
D
O
ay
PR
dw
oa
R
FO
Br
T
O
N
89
SCENE 3
The Beach
#26 JITTERBUG
l
sa
(a swing beat is heard…MIRIAM, AGGIE, GLORIA, OSCY, and
BENJIE come on dancing a furious jitterbug, joining HERMIE as
the scene shifts to a moonlit beach…they begin to pair up with
ru
their respective dates--OSCY and MIRIAM, BENJIE and
GLORIA, and finally HERMIE and AGGIE…after the dance,
Pe
OSCY and MIRIAM immediately latch on to each other and go
upstage making out on the dune…GLORIA and BENJIE are
sitting downstage…they stare at each other scared to death…this
N
leaves HERMIE and AGGIE alone by a small fire)
g
in
O
#26A THE MARSHMALLOW ROAST
s
TI
AGGIE
en
C
I had a great time at the movies the other night.
c
HERMIE
U
Li
Yes. I did too. How’s the old arm?

D
AGGIE
O
ay
It’s fine, thank you.

PR
dw
HERMIE
I don’t like to offend, so I just squeeze an arm. Lets a girl know I like her without her
thinking I’m getting fresh or anything.
oa
AGGIE
FO
Sure, arms are alright.

Br
HERMIE
Yep. Nothing wrong with arms.
T
O
(the lights crossfade to MIRIAM and OSCY, still making out on

top of the dune…slowly, they roll behind it, still locked in their
N
embrace…lights crossfade to GLORIA and BENJIE sitting

downstage…BENJIE looks away from her…GLORIA makes a
valiant attempt to start a conversation)
90
GLORIA
Tho, you like birdths. I can underthtand that. Wath not to like? They’re pretty. They can
fly.
BENJIE
I like ’em ’cause they’re wise. They seem to know everything.
l
sa
GLORIA
Withe?
ru
BENJIE
Pe
The birds talk to me. They tell me that everything is going to be OK.
GLORIA
N
g
(deadpan)
in
O
And how do they do that, ecthactly?
s
TI
en
BENJIE
C
They never say that I’m stupid or funny-lookin’ or queer. They just look at me and they
always seem to smile.
c
U
Li
GLORIA
D
O
ay
(deadpan)
PR
I like pelicanths. Big jowlths.

dw
BENJIE
Jowls are nice. I like the gulls and warblers. They’re my favorite.
oa
GLORIA
FO
Well, Benjie, I’m lookin’ at ya’, and I’m thmilin’...and I don’t think you’re queer and
Br
thtupid.
BENJIE
T
What about funny-lookin’?

O
GLORIA
N
Don’t preth your luck.
(GLORIA gives BENJIE a friendly punch on the shoulder, almost

knocking him over…the lights fade on them…we crossfade to
HERMIE and AGGIE…OSCY enters from behind the dune)
91
OSCY
Hermie? Psst. Hermie?
HERMIE
(getting up…to AGGIE)
l
sa
Would you excuse me, please?
ru
(HERMIE meets OSCY a little ways apart, finding him quite out
of breath)
Pe
OSCY
Hey, where are your notes?
N
g
HERMIE
in
O
(groping for them in his pocket)
s
TI
en
Somewhere in here...
C
OSCY
c
U
Fork ’em over. My copy is all sweaty. I can’t read the damn things.
Li
D
(snatching them away, looking them up and down)
O
ay
HERMIE
PR
What number are you up to?

dw
OSCY
Six.
oa
HERMIE
FO
Six?
Br
OSCY
Yeah, but that crazy Miriam is up to nine. How you doing with Aggie?
T
O
HERMIE
Well, we’re up to the marshmallows…
N
OSCY
No time for gabbin’. Gotta go, tell me later.
92
(OSCY takes a flying leap over the dune…HERMIE returns to
AGGIE)
HERMIE
(to AGGIE)
l
sa
I’m truly sorry.
ru
AGGIE
Pe
Oscy and Miriam seem to be getting along all right.
(MIRIAM giggles loudly as a brassiere jettisons into the air from

behind the dune)
N
g
in
O
HERMIE
s
TI
(seeing the bra)
en
C
Yes, they are very friendly.
c
BENJIE
U
Li
D
Hey, Hermie...Hermie!
O
ay
HERMIE
PR
dw
(to AGGIE)
Excuse me.
oa
(crossing to BENJIE)
FO
Br
What!?
BENJIE
T
You got a quarter? Me and the bug-eyed chick wanna go down to the carousel.
O
HERMIE
N
That’s for kids and old grandmas.
BENJIE
I know, but she wants to go.
93
(BENJIE and HERMIE look back at GLORIA, who gives them a
goofy grin from ear to ear)
BENJIE (CONT’D)
And ya know what?
l
HERMIE
sa
What?
ru
BENJIE
She likes birds, too!
Pe
HERMIE
(digging in his pockets)
N
g
in
O
Geez.
s
TI
BENJIE
en
Thanks, Hermie!
C
(much to Hermie’s chagrin, BENJIE snatches the quarter and
c
U
grabs Gloria’s hand…they skip off, leaving a dumbfounded
Li
HERMIE…he returns to AGGIE)

D
O
ay
HERMIE
I am so sorry. That was Benjie.
PR
dw
AGGIE
(rubbing her arms)

oa
You know, it’s a bit chilly...brrr.

FO
Br
HERMIE
Here, I’ll throw on another log.
T
(HERMIE tosses one on, and the fire roars with intensity)
O
[SFX: roaring campfire]

N
AGGIE
Wow...Do you feel that?
94
HERMIE
What?
AGGIE
All the protons!
l
HERMIE
sa
Protons?
ru
AGGIE
Protons…
Pe
(clarifying)
…ya know, atoms. This fire is full of positive energy...protons.
N
g
in
O
(HERMIE looks confused)
s
TI
I like chemistry. I got an A in chem class last year.
en
C
HERMIE
Oh.
c
U
Li
AGGIE
D
All this positive energy makes your body feel cozy. You see, we are negatively charged.
O
ay
HERMIE
PR
Negatively charged...huh.
dw
AGGIE
Ya just need that one positive thing to come along and balance everything out.
oa
HERMIE
FO
Oh...okay.
Br
(OSCY rolls out from behind the dune in his underwear, red
lipstick smeared on his face and body)
T
O
OSCY
Hermie! Hermie!
N
HERMIE
(to AGGIE)
95
HERMIE (CONT’D)
Pardon me. Once again, I am sorry.
(joining OSCY again)
What!?!
l
sa
OSCY
I need a rubber. My heirloom was spoiled. They don’t keep! C’mon, Hermie.
ru
(HERMIE finds the box in his pocket)
Pe
HERMIE
(unwrapping the condom)
N
g
in
O
I’m not sure this is going to work out.
s
TI
OSCY
en
Just follow the notes…go straight to number ten. You’ll love it.
C
(OSCY motions for the condom)
c
U
Li
HERMIE
D
I don’t know...
O
ay
OSCY
PR
Listen, Hermie. Are you or are you not a homo? ’Cuz I’m not so sure anymore.
dw
HERMIE
But Oscy ...
oa
OSCY
FO
Either do it, or you’re a homo! Now, give me the damn rubber!

Br
(OSCY snatches it out of Hermie’s hand, and leaps back over the
dune)
T
O
HERMIE
N
(calling after OSCY)
Geez! Don’t you ever say thank you?
96
MIRIAM
(calling back, unseen)
Thank you, Hermie!
l
(HERMIE turns and faces AGGIE, who is slowly turning a
sa
marshmallow in the fire)
ru
#27 THE CAMPFIRE
Pe
HERMIE
(singing to himself)
N
g
OSCY’S RIGHT
in
O
I’VE BEEN WAITING LONG ENOUGH
FOR SOME SITUATION
s
TI
LIKE THIS
en
SO WE’LL KISS
C
MAYBE DO SOME OTHER STUFF AS WELL
c
AS MUCH AS I CAN TELL

AS FAR AS I CAN SEE U
Li
D
IT’S TIME SOMETHING HAPPENED TO ME
O
ay
(moving toward AGGIE)

Ya know, we shouldn’t waste a beautiful summer night
PR
dw
AGGIE
or all these protons...
oa
(HERMIE gets a big smile on his face…there is no turning back

FO
now…he sings to himself again)

Br
HERMIE
GIRL MEETS BOY
T
THEY SHOULD DO AS GOD INTENDED

SOMEONE TELL ME, WHEN DID
O
I START TO LOSE MY WAY

N
(HERMIE starts to reach his arm around AGGIE…nervous that

she may get poked again, AGGIE reacts with apprehension)
OH, WHAT JOY

IF AT LAST MY JOURNEY’S ENDED
97
HERMIE (CONT’D)
ON THIS NIGHT SO SPLENDID
I’LL FINALLY SEIZE THE DAY
(with Hermie’s arm reaching its intended destination around her

shoulder, AGGIE relaxes and smiles)
l
sa
AGGIE’S HERE
AND SHE’S EVEN KINDA NICE
ru
WHICH ISN’T A BAD THING AT ALL
HAVE A BALL
Pe
AND WITH AGGIE PARADISE IS FOUND
I USED TO SIT AROUND
AND WONDER WHAT WOULD BE
N
g
WILL THAT EVER HAPPEN
in
O
WELL, NOW IT WILL HAPPEN
s
TI
(during the end of his verse, HERMIE closes his eyes and goes to
en
kiss AGGIE…she closes her eyes and leans toward him…unable to
C
see, they miss each other…AGGIE ends up planting one on
Hermie’s forehead, exactly where Dorothy kissed him…HERMIE
c
U
is reminded of her, and pulls back from AGGIE…HERMIE takes a
Li
moment, stunned by the sudden realization)

D
O
ay
AGGIE
I’m sorry...
PR
dw
HERMIE
No, I’m sorry...
oa
AGGIE
Is there something wrong? Oh, God. It’s me...I am so embarrassed
FO
Br
HERMIE
It’s not you, Aggie. I like you. It’s just...
T
AGGIE
O
Well, you sure have a weird way of showing it.

N
HERMIE
I’m sorry...
AGGIE
(hurt)
98
AGGIE (CONT’D)
It’s getting late. I better be going home.
HERMIE
Yeah.
(AGGIE starts to go)
l
sa
AGGIE
I need to find Miriam.
ru
(AGGIE starts upstage towards Oscy and Miriam’s dune)
Pe
HERMIE
(suddenly realizing where she’s going)
N
g
in
O
Wait! Uh...Aggie!
s
TI
AGGIE
en
Miriam!
C
HERMIE
c
U
Li
(chasing after AGGIE)

D
O
ay
I don’t think that’s such a good idea.

PR
AGGIE
dw
(heading for the dune)

oa
Miriam! We gotta go!

FO
HERMIE
Br
(as AGGIE heads for the dune, HERMIE tries to stop her)
T
Aggie...
O
(AGGIE gets to the dune and looks in horror…her hand goes to her
N
face as HERMIE runs up to see, stopping dead in his tracks…

AGGIE tears offstage…HERMIE stands there for what seems like
an eternity, then slowly backs away as the world begins to spin
around him…he sings to himself)
99
HERMIE (CONT’D)
SO MUCH IS CHANGING
THE WORLD IS MOVING TOO FAST
EVERY DAY I’M UNDERSTANDING
MORE AND MORE
l
AND THERE’S A REASON I SHOULD HAVE REALIZED
sa
WHY AGGIE WASN’T THE WOMAN FOR ME
THAT OTHER LADY HAS WON MY HEART
ru
AND SHE WON’T SET ME FREE
Pe
NOW I SEE I REALLY LIKE HER
I FEEL HER CALLING ME NOW
SO MUCH TO TELL HER
IF I COULD ONLY KNOW HOW
N
g
in
O
AND THERE’S SOMETHING ELSE
I NEVER FELT BEFORE
s
TI
I THINK I LOVE HER
en
C
c
U
Li
D
O
ay
PR
dw
oa
R
FO
Br
T
O
N
100
SCENE 4
Dorothy’s Porch
#28 HERMIE AND DOROTHY
l
sa
(HERMIE walks by himself on the beach…the lights change to
show that it is pre-dawn…he has been out all night…HERMIE
comes upon DOROTHY, who is on her porch writing a letter to
ru
Pete…though he hasn’t slept, he smiles and walks up to her)
Pe
HERMIE
Hi.
N
DOROTHY
g
Hi, how are you?
in
O
HERMIE
s
TI
Oh, fair to middlin’.
en
C
DOROTHY
c
You’re up early.
U
Li
D
HERMIE
I didn’t get much sleep last night.
O
ay
DOROTHY
PR
Oh...I’m sorry, Hermie.

dw
HERMIE
The summer’s been quite long.
oa
R
FO
DOROTHY
Br
Yes, it has.
(DOROTHY looks up at HERMIE, and motions for him to sit)

T
Would you like to sit down? Just finishing up a letter to Pete.

O
N
HERMIE
Oh...
(HERMIE sits)
101
DOROTHY
So…how was the marshmallow roast? Fun?
HERMIE
It was very informative...
l
(after a long pause)
sa
Can I ask you a question? And you don’t have to answer, if you don’t want to...
ru
DOROTHY
Pe
Sure.
HERMIE
N
g
(after careful deliberation)
in
O
Do you ever get scared?
s
TI
en
DOROTHY
C
Hermie…? You alright?
c
HERMIE
U
Li
Yeah. It’s just ... I’m afraid sometimes.

D
O
ay
(suddenly realizing)
PR
Wow, I could have never said that to Oscy.

dw
DOROTHY
Oscy? Is that your friend?
oa
HERMIE
FO
He’s immature.
Br
DOROTHY
Well ... I get scared when the house is too quiet. That’s when I sing as loud as I can.
T
O
HERMIE
Anything to make you feel better. Whenever I sing, I get yelled at.
N
DOROTHY
Oh...?
102
HERMIE
Yeah...my mom hates noise. She always throws a shoe at my father every time he snores
on the couch.
(Dorothy laughs…beat)
l
DOROTHY
sa
I loved to watch my father sleep on the couch.
ru
HERMIE
Yeah?
Pe
DOROTHY
Yeah...We’d listen to Jack Benny and he’d doze off. We couldn’t afford much heat in
those days, so I’d curl up with him on the couch. I could smell the tobacco on his shirt...
N
g
and just before I’d fall asleep, he’d whisper in my ear that someday everything would
in
O
get better. “The world is lookin’ up,” he said. And I always believed him.
s
TI
(beat)
en
C
You know what scares me the most, Hermie? It’s when I think maybe my father was
wrong ...
c
U
Li
HERMIE
D
Everything seems so mixed up...
O
ay
(DOROTHY is touched by his honesty…beat)

PR
dw
DOROTHY
I don’t know why things are the way they are, Hermie ...
oa
(looking out at the ocean, the first morning light from the sunrise
has appeared)
FO
Br
Well, look at that ... It’s so beautiful ...
HERMIE
T
Yeah ...
O
#29 PROMISE OF THE MORNING

N
DOROTHY
WHENEVER YOU’VE BEEN FEELING
THE CLOUDS WILL FOLLOW YOU FOREVER
103
DOROTHY (CONT’D)
WHENEVER YOU’VE BEEN THINKING
THAT LIFE IS MOSTLY SAD AND STRANGE
THEN ALL AT ONCE, THE SKIES ARE CLEARING
YOU WATCH THE HEAVENS REARRANGE
WITH JUST THE PROMISE OF THE MORNING
l
THINGS CAN CHANGE
sa
WHATEVER DREAM YOU’RE DREAMING
ru
YOU LEARN THERE’S NO SUCH THING AS NEVER
WHATEVER FEARS YOU’RE FACING
Pe
THEY’RE REALLY ONLY IN YOUR MIND
AND ALL YOUR OTHER MORNINGS
ARE SAFELY LEFT BEHIND
AT LAST YOUR EYES ARE OPEN
N
g
YOU SEE THAT YOU WERE BLIND
in
O
THINGS AREN’T ALWAYS EASY
BUT WITH THE PROMISE OF THE MORNING
s
TI
WHO KNOWS WHAT YOU’LL FIND
en
C
(they share a moment staring at the sunrise as their fears are swept
away by the morning…HERMIE takes a deep breath)
c
U
Li
HERMIE
D
Are you going to be home tonight?
O
ay
DOROTHY
PR
Should be.
dw
HERMIE
Maybe I’ll stop by...if I’m in the neighborhood.
oa
DOROTHY
FO
Br
(folding up her letter)
Well ... the post office opens soon. I want to mail this off right away.
T
O
HERMIE
I could do it.
N
DOROTHY
No...Thanks, but I’d better.
104
HERMIE
(eyeing the letter)
I’m sorry...
l
DOROTHY
sa
What about, Hermie?
ru
HERMIE
That you had to be alone this summer.
Pe
(DOROTHY smiles at him with gratitude…HERMIE starts to
walk away)
N
g
DOROTHY
in
O
(with a warm smile)
s
TI
en
Hermie, feel free to drop by tonight.
C
HERMIE
c
U
Li
(suddenly excited)
D
O
ay
Great!
(playing it cool)
PR
dw
I’m not saying I will, so don’t count on it.
DOROTHY
oa
All right.
FO
(HERMIE exits and after a beat, returns…DOROTHY speaks

Br
without looking up)
Yes, Hermie?
T
O
HERMIE
N
What’s your name?
DOROTHY
Dorothy.
105
HERMIE
I had a cat named Dorothy. Got hit by a truck.
(HERMIE skips off, leaving DOROTHY alone…the spotlight hits

DOROTHY again as she looks at her letter, and the horizon…to
herself)
l
sa
DOROTHY
THE SUNRISE LIGHTS THE OCEAN
ru
AND I COULD LOOK AT IT FOREVER
THE SEAGULLS FLY ABOVE ME
Pe
THE WAVES WASH UP ACROSS THE SAND
THE WORLD IS FILLED WITH SO MUCH WONDER
MORE THAN I’LL EVER UNDERSTAND
I HOLD THE PROMISE OF THE MORNING
N
g
IN MY HAND
in
O
FOR EVERY DREAM I’M DREAMING
s
TI
I KNOW THERE’S NO SUCH THING AS NEVER
en
FOR EVERY NIGHT THIS SUMMER
C
I’VE LEFT OUR BEDROOM DOOR AJAR
BUT YOU WILL SHARE MY MORNINGS
c
NO MATTER WHERE YOU ARE

U
Li
AS CERTAIN AS THE SUNRISE

D
AS SURE AS EVERY STAR
O
ay
I DON’T KNOW WHEN I’LL SEE YOU

BUT WITH THE PROMISE OF THE MORNING
PR
IT CAN’T BE THAT FAR

dw
(DOROTHY exits…blackout)
oa
R
FO
Br
T
O
N
106
SCENE 5
Dorothy’s House and the Beach
(lights up on MIRIAM, AGGIE, and GLORIA…the projection of

an American flag appears behind them)
l
sa
#30 OH GEE, I LOVE MY G.I.
ru
OH GEE, I LOVE MY G.I.
Pe
YES IT’S SO, ’DEED I DO
HE’S SURE ONE HECK OF A GUY
AND I KNOW HE’LL BE TRUE
N
HE WENT ACROSS THE SEA
g
TO LEAD OUR BOYS TO VICTORY
in
O
AND THERE’S NO ENEMY
WITH THE MOXIE AND MIGHT
s
TI
THAT CAN MATCH MISTER RIGHT
en
C
(MIRIAM, AGGIE, and GLORIA continue to “oo” as WALTER
c
U
WINCHELL enters and stands among them to deliver his address)
Li
D
WALTER WINCHELL
General McArthur and the Pacific Fleet were stunned today by a blistering attack as the
O
ay
Japanese assault intensified, leaving many of our ground forces in confusion and
disarray. Uncle Sam must step up to the plate and keep these dastardly and cowardly
PR
evils at bay before they slink across the continents leaving the good and the just in the
dw
wake of their horrible destruction. This is rootin’-tootin’ Walter Winchell and I believe I
hear the cuckoo from your clocks, Mr. and Mrs. America. Time to wake up, stand up,
grow up. The world is waiting...
oa
R
FO

Br
I HAD TO BID HIM GOODBYE

BUT MY JOE WILL COME THROUGH
OH GEE, I LOVE MY G.I.
T
OSCY
O
Hermie!
N
HEY, THERE, HERMIE!
Where are you going? You’re all dolled up.
107
HERMIE
I’m in a hurry.
OSCY
(stopping him)
l
sa
Hey look, I know you’re probably mad, but you gotta listen to me. You’re not going to
believe it.
ru
HERMIE
Pe
After last night, I’ll believe anything.
OSCY
Miriam’s gone. We had a stupid argument on the beach. I grabbed her boobs, got sand
N
g
on ’em or something, and she went nuts. I go to her house to apologize, and...she’s got
in
O
an appendicitis. First, she breaks up with me, and then she gets an appendicitis. She
sure goes to extremes.
s
TI
en
HERMIE
C
Maybe it’s for the best. I have to go.
c
OSCY
U
Li
For the best? They took my first lay off the island and loaded her on a speedboat. They
D
have to operate. I just hope they don’t mess up her boobs.
O
ay
HERMIE
PR
Shut up, Oscy! You know what? You’re crass.

dw
OSCY
Crass? What the hell is crass?
oa
HERMIE
FO
I am not interested in anything you have to say.

Br
OSCY
Oh…you’re interested. C’mon Hermie…we knew you were looking at us.
T
O
HERMIE
I’ve gotta go.
N
(HERMIE starts to go, but OSCY stops him)
OSCY
Don’t you want to know the dirty details?
108
HERMIE
I don’t care about the dirty details.
OSCY
(grabbing Hermie’s arm)
l
Something’s wrong with you. You’re not normal.
sa
(HERMIE shoves off OSCY)
ru
HERMIE
Pe
What do you know about anything? I mean, I’ve been listening to you blabber all
summer, and you haven’t said one thing that makes any sense.
OSCY
N
g
What did that woman do to you?
in
O
HERMIE
s
TI
She doesn’t make me feel like just some stupid kid. I know that’s hard for you to
en
understand.
C
OSCY
c
U
You couldn’t even get it up for Aggie. What the hell do you know?
Li
D
HERMIE
O
ay
(hurt)
PR
dw
I know that I’d rather be talking to Dorothy.
(HERMIE walks past OSCY)

oa
OSCY
FO
Dorothy? Ooh! Is that her name?

Br
HERMIE
T
(calling back to him)

O
And I don’t need instructions to have a romantic evening.

N
OSCY
Oh, you’re going to her house. Isn’t that nice? I hope you brought your rubbers!
109
(HERMIE stops…he turns and storms back at OSCY grabbing his
sweatshirt…he holds his fist to Oscy’s nose…after a tense moment
as both boys stare eye to eye, HERMIE releases him)
HERMIE
Fuck you, Oscy. [Alternative line: “Go to hell, Oscy”]
l
sa
#31 THE DANCE--PART I
ru
(the lights change as nighttime falls on the island…Dorothy’s
house rises as a dark silhouette on the horizon…HERMIE
Pe
approaches the house, finding the front door already open…he
gives a quick knock on the doorframe)
N
HERMIE (CONT’D)
g
Hello?
in
O
(HERMIE ponders leaving, but instead pushes his head in the
s
TI
door)
en
C
Hello?
c
U
(HERMIE goes through the door, and walks into the living
Li
D
room…there is nothing but the sound of a phonograph skipping at
the end of a record…HERMIE looks around a bit)
O
ay
[SFX: skipping record on phonograph]

PR
dw
It’s Hermie…from the beach.
(HERMIE surveys the room…it is a mess…on the coffee table

oa
there is a lit cigarette in the ashtray and a half-empty liquor bottle

FO
with a dirty glass overturned…HERMIE picks up the glass and

Br
sniffs it…he spots a yellow telegram underneath the glass and

picks it up…HERMIE reads it and reacts in horror…DOROTHY
enters from the kitchen, her hair messed up, clothes wrinkled, eyes
T
red, her smeared makeup running down her face…she stands in

the doorway running a comb through her hair deliberately and
O
slowly)
N
DOROTHY
Hi, Hermie.
HERMIE
Hi.
110
DOROTHY
I don’t look very nice, do I?
HERMIE
I think you do.
l
DOROTHY
sa
Oh, I think I don’t.
ru
(HERMIE is still clutching the telegram)
Pe
HERMIE
(looking at the telegram)
N
g
I’m sorry...the telegram...I read it...I’m so sorry.
in
O
(DOROTHY tries to bravely smile at HERMIE as she goes to take
s
TI
the telegram from his hand…she goes to the phonograph, placing
en
the needle back to the beginning of the record…the song Little Did
C
I Dream echoes throughout the house…she begins to clean up the
living room…she takes the bottle and the empty glass to the
c
U
kitchen, then returns to the living room…HERMIE is still
Li
standing in the same place…DOROTHY begins to fold up the

D
telegram as if trying to erase what it says…she places it on the
O
ay
table)
PR
DOROTHY
dw
We used to dance to this song.
PHONOGRAPH VOICE
oa
LITTLE DID I DREAM THAT YOU COULD LOVE ME

YOU WERE BUT A DREAM FROM OUT OF THE BLUE
FO
Br
HERMIE
I’m sorry.
T
PHONOGRAPH VOICE
O
OFTEN DID IT SEEM YOU DIDN’T EVEN SEE ME

LITTLE DID I DREAM A DREAM COULD COME TRUE
N
(HERMIE goes to comfort DOROTHY)
NEVER DID I DOUBT HOW MUCH I LOVED YOU

LITTLE DID I DO TO MAKE YOU AWARE
111
PHONOGRAPH VOICE (CONT’D)
SO LITTLE COULD I HOPE
LITTLE DID I DARE
LITTLE DID I DREAM
I’D TURN AND YOU’D BE THERE.
LITTLE DID I DREAM
l
THAT THIS WAS A DREAM WE COULD SHARE
sa
(DOROTHY turns to HERMIE…he offers to dance with her in
ru
much the same fashion that Pete offered his hand to her on the pier
before he said goodbye…she accepts his offer…they begin to dance,
Pe
swaying to the music…DOROTHY suddenly becomes
overwhelmed by her tears and melts into Hermie’s arms…he
comforts her, awkwardly, feeling her touch for the first time…
slowly, their lips meet in a soft, tender kiss)
N
g
in
O
#33 THE DANCE--PART II
s
TI
(they gaze into each other’s eyes for a fleeting moment, before
en
DOROTHY falls into him…HERMIE and DOROTHY begin to
C
dance again, holding each other ever so closely, not wanting to let
c
U
the other go for fear of the shadows and darkness of the world…
HERMIE places a simple kiss upon her forehead, and she is taken
Li
D
by this gift of innocent affection…she looks in his eyes, realizing
how much she is loved by him…they embrace in a passionate kiss
O
ay
as the moonlit mist rolls in from the window…DOROTHY slowly

undresses as HERMIE watches…he then begins to take off his
PR
shirt…a light from a lighthouse scopes the stage, faintly picking up

dw
their bodies as the lights fade…BLACKOUT…lights come up on

HERMIE and DOROTHY…HERMIE is leaving the house…
DOROTHY is silhouetted on the porch, smoking a cigarette,
oa
dressed the same as she was at the very beginning of the show)
FO
Br
DOROTHY
Good night, Hermie.
T
HERMIE
Good night.
O
N
(for a beat we hear nothing but the sound of the waves lapping
against the shore…lights up on HERMIE sitting, facing upstage
as if staring out to the ocean…OSCY enters)
[SFX: waves lapping against the shore]
112
OSCY
(cautious…trying to be casual)
Did you hear about Benjie and the bug-eyed chick? Those dorks actually tried to catch a
seagull down by the pier. Benjie’s got six stitches on the end of his nose.
l
sa
(HERMIE doesn’t respond…beat)
ru
Looks like Miriam’s gonna pull through but she doesn’t want to see me anymore. Says
she’s in love with some lifeguard who took her to the mainland--Kurt.
Pe
(beat…carefully)
Hermie, you shouldn’t feel bad no matter what happened last night...and you don’t
N
g
have to tell me about it...unless you want to.
in
O
(HERMIE doesn’t respond)
s
TI
en
Ah...women.. Maybe guys like you and me are made for the Army...ya know--trenches
C
and tanks--a place where girls can’t drive us buggy.
c
U
(HERMIE doesn’t respond…OSCY pats him on the back and
Li
starts to leave)
D
O
ay
Well...we’re packin’ up today... a will kill me if I’m late...

PR
(OSCY turns back…beat)

dw
Ya know, Herm...sometimes life is just a big pain in the ass.

oa
(OSCY exits…HERMIE goes to Dorothy’s house…he notices a

letter that has been tacked to the front door…he goes up to the
FO
porch and removes it…he begins to read it)

Br
#34 FINALE
T
DOROTHY (V.O.)
O
Dear Hermie.. I must go home now. I’m sure you’ll understand. There’s much that I
N
have to do. I will not try to explain what happened last night because I know that, in
time, you will find a proper way in which to remember it. What I will do is remember
you, and I will pray that you be spared all senseless tragedies. I wish you good things,
Hermie, only good things. Always, Dorothy
113
(music from the opening returns as the COMPANY gradually
enters, assuming the same attitudes as at the beginning of the play,
all the people from his past, frozen in time)
AGGIE
THAT WAS THE SUMMER YOU’LL ALWAYS REMEMBER
l
sa
ru
AGGIE
Pe
TAKING A FEW STEPS DANCING
MIRIAM
LEAVING YOUR YOUTH BEHIND
N
g
in
O
GLORIA
MEETING WITH JOY AND SORROW
s
TI
FINDING THEM INTERTWINED
en
C
AGGIE
LEARNING THE HUMAN HEART IS JUST AN OPEN DOOR
c
U
Li

D
THE SUMMER WAS ALL THESE THINGS AND MORE.
O
ay
COMPANY
PR
THAT WAS THE SUMMER YOU’LL ALWAYS REMEMBER

dw
WHEN YOU TURNED INTO THE MAN YOU BECAME

HARD TO MAKE MUCH SENSE
OF ALL THE STRANGE EVENTS
oa
HERMIE
FO
BUT I CAN PLAINLY SEE I’LL NEVER BE THE SAME

Br
(during the following, THE GIRLS present HERMIE with the

coat, hat, and scarf he wore at the beginning of the show…they
T
approach and dress him)

O
COMPANY
N
SO MANY SUMMERS WE’LL ALWAYS REMEMBER

THEY TAKE ON MEANING WHEN SEEN FROM AFAR
PIECES OF THE PAST
WE NEVER THOUGHT WOULD LAST
114
COMPANY (CONT’D)
REMAIN OUR WHOLE LIVES THROUGH
AND MAKE US WHO WE ARE
(throughout the last section of the song, HERMIE has been

surreptitiously replaced on stage by a “HERMIE DOUBLE” [part
l
can be played by Mr. Sanders, Pete or a male understudy…either
sa
way, the AUDIENCE must never see his face] as the real
HERMIE secretly exits unseen by the audience…ENSEMBLE,
ru
moving as one, fades off into the distance as the “HERMIE
DOUBLE,” acting as the older Hermie, takes one last look at each
Pe
of them before they go…DOROTHY reappears up by the house in
the dress she wore when HERMIE first saw her…the REAL
HERMIE, dressed as he was at the beginning of the summer, re-
enters at the top of the dune…they look at each other smiling, and
N
g
finally both look down to the OLD MAN [HERMIE DOUBLE]
in
O
still standing downstage center, looking up at them…lights fade to
black)
s
TI
en
End of Show
C
#35 BOWS
c
U
Li
D
#36 EXIT MUSIC
O
ay
PR
dw
oa
R
FO
Br
T
O
N
115
PROPS
ACT ONE
Scene 1
l
PROPERTY PLOT
sa
Cigarette and lighter (DOROTHY)
Purse with pen box, hanky, compact, letter in envelope (DOROTHY)
ru
Dog tags on chain (PETE)
Small brown notebook and golf pencil (BENJIE)
Pe
Newspaper (DOROTHY)
Baseball glove and baseball (OSCY)
Baseball glove (AGGIE for HERMIE)
Pair of binoculars with neck strap (BENJIE)
N
g
Eyeglasses (BENJIE)
in
O
Striped beach ball (MIRIAM)
Eyeglasses (GLORIA)
s
TI
Wristwatch (BENJIE)
en
3 pieces of firewood (PETE)
C
Scene 2
c
U
Li
Standing period microphone (WINCHELL)

D
Winchell teletype — news copy (WINCHELL)
O
Gangplank with railing (SET PIECE)
ay
Sign — “Next boat to the mainland 3 pm” (SET PIECE)

PR
Pier bench (SET PIECE)

dw
Small megaphone (CAPTAIN)

Army duffle bag (PETE)
Baby Ruth candy bar (HERMIE)
oa
Harmonica (OSCY)
FO
Scene 3
Br
Counter and three stools (SET PIECE)

Sign — “Sanders Drugstore” (SET PIECE)
T
Newspaper with war headline and crossword (SANDERS)

O
Grocery list (SANDERS)

Rag (SANDERS)
N
Order pad and pencil (SANDERS)

2 empty, dirty sundae glasses with spoons (ON COUNTER)
Drugstore salt and pepper, sugar container, napkin holder (ON COUNTER)
Three full grocery bags (SANDERS)
Cloth bag with vegetables (SANDERS)
116
Comic book (HERMIE)
Basketball (OSCY)
Kitchen table with cloth and two chairs (SET PIECE)
Salt and pepper shakers (ON TABLE)
Fruit bowl with fake strawberries (ON TABLE)
Stage & Screen magazine (IN BAG)
l
2 cups of coffee with saucers (DOROTHY)
sa
Spoon (DOROTHY)
3 loose ice cubes in kitchen rag (DOROTHY)
ru
Paddle ball (BENJIE)
Pe
Scene 4
3 large woven hand fans (THREE GIRLS)

N
g
in
O
Hanky (WINCHELL)
2 real ice cream cones, one with sherbet, one with frozen Cool Whip (HERMIE)
s
TI
Purse with hanky in it (MIRIAM)
en
Flashlight (MOVIE USHER)
C
2 popcorn containers with edible popcorn (TWO BOYS)
2 tubes of M&M’s with edible M&M’s (TWO GIRLS)
c
4 theatre seats (SET PIECE)

U
Li
Movie sign — You’ll Never Get Rich (SET PIECE)

D
O
Scene 5
ay
PR

dw

Lit cigarette (WINCHELL)
Canadian geese bird book (BENJIE)
oa
Yo-yo (GLORIA)
2 cardboard boxes (ON SET)
FO
Small steamer trunk (ON SET)

Br
2 jugs (ON SET)

Small side table (SET PIECE)
Blue vase with flowers, one removable (ON SET)
T
Attic unit (ON SET)

O
8' A-frame ladder (ON SET)

Framed photo of Dorothy and Pete (ON SET)
N
3 smaller boxes (MIRIAM, AGGIE, and GLORIA)

Glass of water (DOROTHY)
117
ACT TWO
Scene 1
Hermie’s bed (SET PIECE)

Hermie’s bed dressing (SET DRESSING)
l
3 12-step cheat sheets (OSCY)
sa
Medical journal book, 8" x 11" (OSCY)
ru
Scene 2
3 fake ice cream cones (THREE GIRLS)
Pe
3 pairs of pink sunglasses (THREE GIRLS)
Purse with grocery list, letter in envelope (DOROTHY)
Bags of donations with toothpaste tubes, stockings, socks (DOROTHY)
N
g
Milk and bread (SANDERS)
in
O
Single condom (OSCY)
Empty sugar ice cream cone (ON SET)
s
TI
Fake triple strawberry dip cone (ON SET)
en
Ice cream scoop (ON SET)
C
Triple dish of sprinkles with three spoons (ON SET)
Revolving rack of condoms (ON SET)
c
U
Lots of packages of condoms, including two sets of four loose condom
Li
packages, each with three removable condoms (ON RACK)

D
1 dollar (HERMIE)
O
ay
Scene 3
PR
dw
Campfire (ON SET)

Beach flashlight (GLORIA)
Portable radio (AGGIE)
oa
Beach bag (AGGIE)

Blanket (MIRIAM)
FO
Bra (MIRIAM)
Br
4 marshmallows in box (OSCY)

2 toasted marshmallows (AGGIE)
2 long twig marshmallow skewers (HERMIE)
T
1 log for fire (HERMIE)

O
Scored dune fence piece of wood (HERMIE)

Folded cheat sheet (HERMIE)
N
Folded cheat sheet (OSCY)

1 quarter (HERMIE)
Box of condoms (HERMIE)
Diary with pen holder and pen (DOROTHY)
Envelope and paper (DOROTHY)
118
Scene 4

Big ashtray full of used cigarettes (ON SET)
Zippo lighter (ON SET)
l
Bottle of liquor, three-quarters empty (ON SET)
sa
Small glass with a little bourbon (ON SET) Telegram and envelope (ON SET)
Tall side table (ON SET)
ru
Chair with upholstered seat (ON SET)
Sheer blanket (DOROTHY)
Pe
Phonograph with record (ON SET)
Pink letter (ON SET)
Cigarette and lighter (DOROTHY)
Second pink letter (HERMIE DOUBLE)
N
g
Blue box of condoms (SANDERS)
in
O
s
TI
en
C
c
U
Li
D
O
ay
PR
dw
oa
R
FO
Br
T
O
N
119
SOUND EFFECTS
ACT ONE
Scene 1
l
Sound of the ocean (preshow)
sa
Dorothy voiceover
ru
Hermie voiceover
Bird caw
Pe
Scene 2
Winchell teletype #1
N
g
Boat whistle
in
O
Captain’s announcement
Double boat whistle
s
TI
en
Scene 3
C
Coffee timer ding
c
U
Li
Scene 4
D
O
ay
Film projector and movie music intro

PR
Air raid siren

dw
Scene 5
oa
Ocean
FO
(intermission)
Br
ACT TWO
T
Scene 3
O
Underscore (beach radio)

N
Cricket sounds
Campfire sounds
Lapping waves
120
Scene 5
Skipping phonograph
Song on phonograph
Ocean with seagulls
l
sa
ru
Pe
N
g
in
O
s
TI
en
C
c
U
Li
D
O
ay
PR
dw
oa
R
FO
Br
T
O
N
121
SUMMER OF '42
l
sa
BOOK BY
HUNTER FOSTER
ru
Pe
MUSIC & LYRICS BY
N
g
DAVID KIRSHENBAUM
in
O
s
TI
BASED UPON THE NOVEL AND
en
C
SCREENPLAY BY
c
HERMAN RAUCHER U
Li
D
O
ay
PR
dw
oa
SCORE SAMPLE
FO
Br
T
O
N
07/29/21
Br
oa
N dw
O
T ay
FO Li
R c en
PR s in
O g
D Pe
U ru
C sa
TI
O l
N
Piano-Conductor SUMMER OF '42
2
The Summer You'll Always
Remember
l
Music and Lyrics by DAVID KIRSHENBAUM
sa
Orchestration by LYNNE SHANKEL
Smoothly, mysteriously
b
&b C ∑ ∑ ∑ ∑
ru
1 2 3 4
Pe
w
b nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ nw
&b C œ œ
N
g
P B b2 (add E ) cresc. b
˙ in ˙ w
O
B 2 (add E )/G C7/G
? b b C Ów Œ œ
+Vc.
w Ów Œ œ
w
s
TI
en
+Bs.
b :
C
&b ∑ ∑ ∑ Œ œ œ œ
5 6 15 16 AGGIE:
c
U
Li
D
¿
It was the
b
Tri.
&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b b b ˙˙˙ ˙
˙ www
O
ay
w
G b2 A b/G b
PR
b
Œ bœ œ bœ
dw
? bb Ó Œ ˙ ˙ w
E M aj7 (add A) F7su s2,4
w œ w bw w
oa
+Vc.
b œ œ. j
&b ˙ œ œ œ œ ˙. ˙ Œ œ
17 18 19 20 3 GIRLS:
FO
œ œ
Br
w
sum - mer you'll al - ways re - mem - ber. The
œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ nw
T
b
&b
+Fl. 8vb
O
p B b2 (add E ) ˙ ˙ b
N
œ w
C 7/G
Ó Œ Œ œ
wÓ
B 2 (add E )/G
? bb w w w
KAYE-HOUSTON MUSIC INC.

(212) 662-6157
Pno.- Cond. - 2 - The Summer You'll... SUMMER OF '42
b œœ œœ .. j
Poco Rall. Rall.
&b ˙ œ œ. œœ œœ œœœ b ˙˙˙ www
21 22 23 24
œ œ œ b ˙˙˙
Mark Tree ~~~~~~~~~
sum - mer you'll al - ways re - mem - ber.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b b b ˙˙˙ ˙ U
w
b ˙ bw
+Fl. loco
&b
E bM aj7 (add A) ˙ G b2 A b/G b G b2
Œ œ ˙ U
? b wÓ
l
w Œ ˙ bw
sa
cresc.
b & bœ
bw w
u
ru
Moderately fast (but still with an air of mystery)
bb Ó j œ j œ œ œj œ . Ó j œ j j Œ
& œ œ œj œ
25
AGGIE: 26 MIRIAM: 27 28
Pe
œ œ œ œ
Tak - ing a few steps for - ward. Leav - ing your child - ish games.
bb n wwwww A wwwww n wwwww

b A wwww
N
g
+Vibes
& in
O
P B b2 (add E ) b b b A bM a j7/B b
s
TI
b
E M a j9/B B 2 (add E )
&b
?
en
ww ww ww ww
C
c
bb Ó j
U Ó j
Li
& j j œ œ œ j
GLORIA:
œ
29 30 31
D
œ œ œ œ œ. œ
O
ay
Meet - ing a few new fac - es. Hop - ing you
b
& b w˙w
PR
˙ ˙ www #˙ www
dw
w
E bM aj9
? b b Œw ˙ .
Œ ˙. ˙
Œ
oa
D7 su s D7 Gm 9
w w œ
FO
Br
& bb j j Ó j j œ œ j
œ œ.
j
œ œ œ
32 33 AGGIE: 34
bœ œ œ ˙ œ J
T
O
caught their names. Do - ing some diff - 'rent things you
b
&b b b b www
N
w N ww www
G b/A b B b2 B b2/D
? b b b ww Œ ˙ Œ ˙
bw œ œ
w +Vc. w
+Bs.
Pno.- Cond. - 3 - The Summer You'll... SUMMER OF '42
b j j
& b œ œ œJ œ œ œ ˙. ‰ œ œ Ó œœ œœ
WOMEN:
œ ˙.
35 36 37 38
œ œ
ggg wwww
ne - ver did be - fore. The sum - mer was all
Ó ˙˙˙
bb ww
Bell Tree
& ww w ww gg w
w ww
E b2/F
E b2
l
? b Œ ˙ Œ œ ˙ w w
sa
C 2/E F7 s u s
b w œ nw w w
ru
Pe
bb œœœ ˙˙˙ ˙˙ Œ
N
& œœ ˙˙ œ
ALL:
www œ
g
39 40 41 42
˙ œ
in
O
these things and more. It was the
s
TI
b
&b œ œ œ œ
en
˙w œœœ œ œœœ œ œœ œ
w˙ww ˙
C
ww ˙
E b/F
c
? bb Œ œ œ Ó Œ œU ẇ
Li
C m7
.
w ˙ ˙. ˙ w ˙
D
œ
O
ay
PR
dw
b œ œ. j .
&b ˙ œ œ œ œ œ ˙
Œ œ œ
43 44 45 46
œ œ
oa
R
FO
sum - mer you'll al - ways re - mem - ber when you were
œ
Br
b b +Fl. œ œ n œ œ œ œ œ œ œw œ n œ œ œ œ œ œ œw œ œ œ œ œ œ œ wœw œ œ œ œ œ œ
& ww ww ww
ww
T
F B b2 (add E ) B b2 (add E )/D E b2

Œ ‰ œj œ œ Œ ‰ œj œ œ Œ ‰ œj œ œ
O
? bb Œ ‰ j
F7su s
œ
œ œ w w w
N
w
Piano-Conductor 4
SUMMER OF 42'
Here And Now

l
Perky Pop Rhythm (w/kind of a shuffle feel)
sa
# 1C . ∑ ∑ .. œ œ œ œJ œ œ œ œ œ œ œ œœ j
Vamp
& .
2 5 HERMIE: 6 7
œ J J œ
ru
(to 5)
œœ. œœ. œœ. œ

Just like both of you, I strag - gled back to school last fall.
#
œœœ ˙˙˙ œ Œ œœœ ˙˙˙˙
CUE to continue: BENJIE: What'cha been doin'?
& C .. Ó .. Ó
Pe
œŒ Ó Ó Ó œ Œ œœ
Kbd 1 (soli)
J J J J J J
f(N.C.)
N
G2 Dsu s G2 Dsu s
g
Ds u s G (N.C.)
Œ ‰ œjœ . j
B B Dsu s G (N.C.) G2/B Dsu s
? # C .. ¿ ¿ ¿ ¿ ¿œ ¿ ¿ ¿œ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
.. ¿ ¿ ¿ ¿ ¿œ ¿ ¿ ¿
G C C
j
C
œœ œ œ‰Œ œ. œ
(Shaker:) etc. throughout
œ‰Œ . œ‰Œ . in
O
œ . œJ Œ ‰ J. œ œ. œ . œ œ. œ
œ . +Bs œJ J œ
s
J+Kbd 2 (elec Bs)
TI
en
#8
C
Œ Ó œ œ œ œ œ œ œ œ œ œ œ œ œ
& nœ
9 10 11
œ œ J J
c
. so slow,
U
Li
j
D
+Cl Ó œœ ‰ j j
Win - ter went I bare - ly made it through at all.
# ˙ w œœ ˙ œ œœœœ œœœœ
& ˙˙ Ó www œ œ ˙ Ó n œœœœ Œ Œ
O
>œ >œ
ay
+Kbd 2 (stg's)
>
PR
? # Œ ‰ œj œ . j Œ ‰ œj œ
G (N.C.)
dw
D su s G2/B D su s/C Dsu s F2/G
j‰ Œ œ. œ j Œ j Œ
œ œ œ œ
. œ œ œ. œ œ. œ œ œ
> > >
oa
R
FO
#12 œ œ nœ œ œ œ œ w œ œ
‰ bœ.
Br
& Ó Ó
14
œ J œ J
13 15 16
T
By spring my thoughts were all New Eng - land - boud, 'cause it's
# j b >œ . ww ww j
& ‰ œ n b www˙ œœœœ Œ Ó
+Cl
O
œ œ.
œœœ ww ww bw >
Bb
N
?# Ó
Vc N œ . > > j
G6 (u n is) Gsu s
w w
C2 6 D7 s u s
‰ œ. j‰ Œ j Œ œ œ n˙ œ œ. Œ Ó
C 2/E F9
œ. nœ œ b˙ j œ
œ. œ œ œ b˙ œ œ. œ
œ œ. nœ œ œ
b >œ >œ . >
(212) 662-6157
Pno.- Cond. 2 Here And Now SUMMER OF '42
# 17 œ œ œ
& œ J œ œ œ œ œ œ œ Œ Ó ∑
18 19 20
J
here and now our hap - pi - ness is found. (to 23)
# Ó ˙˙ œœ œœ
& ˙œ Œ œœœ ˙˙˙ Ó Ó œ Œ œœœ ˙˙˙ Ó
Cl, Kbd 2, Vc
J J J J
G2/B Ds u s/C
l
G 2/B
? # ¿ j ¿ ¿ ¿ ¿œ . ¿ ¿ ¿œj ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿j
G (N.C.) D su s G (N.C.) D su s/C D su s
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
j
sa
œ ‰ Œ œ œ œ ‰ Œ œ. œ œ œ
œ. œ Œ ‰ J. œ. œ. œ Œ ‰ J. œ.
œ œ
ru
# 23. Ó Cl œ
œ n œ ‰ œJ ‰ œJ œ
œ
‰ œj ‰ œj œ ..
& . Œ Ó Nœ bœ Œ
24 25 26
Pe
(Dialogue) BENJIE: That's why we live in Jersey... clean air...
# .Ó œ œ nœ ‰ œ œ j
Light comp.
œ œ Œ Ó œ bœ ‰ œ Œ ..
N
& . œ œ
g
J
in
O
j
B b/C j D su s
‰ #œ œ œ ˙. œ
+Vc
j Ó ‰ j ‰ œ œ œ Œ
G (N.C.) G (N.C.)
s
TI
G2/B
? # .. j ‰ Œ
G2/B D su s/C Dsu s
œ. œ œ œ j œ . œ œ œ ..
œ œ
en
œ œ. œ Œ ‰ J . œ. œ
‰ Œ œ. œ Œ ‰ J . œ.
C
c
# 27 HERMIE:œ
& œ œ œ œ œ œ œ œ œ œ
U œ œ j Œ Ó
Li
28 29 30
J J J œ œ
D
~~~~~~~~~~~~~~~~~~~~~~~
O
ay
# Ów ‰ j
Life on Pack - ett Is - land kind of weaves
n >œœ ..
a mag - ic spell.
œœ œ>œœœ ‰ nœ bœ bœ œ œ nœ œ
(Play as is)
& ww œ œœœ ˙˙˙ Ó Ó œ.

Mark Tr
PR
. J
dw
TUTTI +Cl
n ˙˙
j b b œœ ..
Œ ‰ œj œ j
G (N.C.) G (N.C.)
?#
G2/B Dsu s
j‰ Œ j ‰ Œ œ.
Ds u s/C G 7/B C2 Kbd 2, Vc
œ œ. œ œ œ ‰
oa
œ. œ . œ. œ >œ
œ œ
> >.
FO
Br
# 31
& œ œ œ œJ œ œ œ œ nœ œ œ œ œ œ Ó ‰ bœ.
BENJIE: 32 33 34 ALL:
œ J
T
Ó
Some - times
.
I for - get our moms and dads are here as well. We've
œœ ‰ œj ˙ j j
O
# w Ó œ œœœœ Œ œœœœ j b >œ .

& ww œ œœ ˙˙ n œœœœ Œ œ œ
‰
œ œ œ
œ
N
ww
G (N.C.) > > >
‰ œj œ
(N.C.)
?# j j
G2/B D su s/C
Œ œ Œ œ Œ Ó ‰ œ.
D su s G6
œ. œ
F2/G
œ ‰ Œ œ. œ
œ œ. œ . œ œ œ œ.
J J > > >
Pno.- Cond. 3 Here And Now SUMMER OF '42
# 35 œ œ nœ 36
œ œ œ œ œ w
& œ œ J
37
J
got a place where noth - ing can go wrong.
# ww ˙ œ œ n˙ >œœ >œœ ..
& ww ˙˙˙ œ œ b n ˙˙˙ œ œ.
J
j Bb
? # œj ‰ nœ œ j
F
œ.
C2 C2/E
Œ Œ
l
G7 s u s C
œ œ bœ œ œ œ.
sa
œ. nœ œ
œ œ œ bœ bœ œ œ.
◊
ru
# 38 Ó œ œ œ œ œ œ œ œ
& œ œ œ œ
39 40
J J
Pe
Yes - sir, here and now we're right where we be -
# œ>œ wÓ œœ. ‰ j
œœœ
& œœ Œ Ó ww- œ ˙˙˙ Ó
N
g
in
O
>
? # œj ‰ Œ j ‰ œj œ
D7sus G (N.C.) G2/B Dsu s/C Ds u s
Ó j ‰ Œ Œ
s
œ
TI
œ œ.
œ œ . œ.
en
◊ œ œ.
C
# 41.
c
& . œ
(Cut on cue, then to m. 49)
Œ Ó
42
∑
43
U ∑
44
∑
(to 49)
..
Li
D
long.
O
CUT OUT for BENJIE's birdcall
ay
# œ œ nœ ‰ œ œ
b œ ‰ œj ‰ œj œ
Light comp.
œ œ Œ " ..
& .. Ó J Œ Ó œ
PR
dw
B/C j j j D su s
+Cl (Last x Dr fill)
‰ #œ œ œ ˙ œ ‰ œ ‰ œ œ Œ
+Vc
? # .. j ‰ Œ j Ó œ. " ..
G (N.C.) G2/B Dsu s/C Dsu s G (N.C.) G2/B
œ œ. œ œ œ œ ‰ Œ œ. œ œ œ
oa
œ œ. œ Œ ‰ J œ œ œ. œ Œ ‰ J œ
J J
FO
Br
Half-time feel
# œ œ 50 œ œ œ œ 51œ ˙
Œ œ œ Œ
49 HERMIE + OSCY:
& œ œ œ
52
œ
T
Nine months we've wast - ed do - ing noth - ing much, and by

œ ˙
(Play as is)
O
Cl ˙ . œ œ ˙
# œ œ œ
Œ˙˙˙ œ œ œ˙˙˙
œ œ
& ˙w˙ œœ .. # œœœ
ẇ
˙˙ # ˙˙˙
˙˙˙˙ ˙˙˙˙ ˙ ˙
N
˙ œ.
+Kbd 2 J
? # ˙. #˙ w Nw
B7 s u s B7 Em2 Em 2/D
œ ˙
˙ œ ˙ #˙ ˙. œ ˙. œ
>. > >
SUMMER OF 42'
Piano-Conductor 12
Like They Used To
l
sa
Flowing, with relaxed energy
ru
b b b b 1C .. ∑ ∑ ∑ ∑ ..
Vamp
&
2 3 4
Pe
CUE: HERMIE: I think I would be well suited for... Hollywood. HERMIE: ...mostly with myself.
b
& b bb C ..
œ œ œ œ œ œ œ œ œ œ
..
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
N
g
P A b2 b9/A b
in
O
? bb b C .. wÓ Œ œ ˙w ˙ ÓG Œ bœ ˙ b˙ ..
+Bs Clar
b w w
s
TI
en
+Bs
C
bbbb Ó ‰ œ œ œ ˙
c
˙
3
&
5 HERMIE: 6
˙
7
˙ U 3
˙ ˙
8
w
Li
D
I al - ways want - ed to be Fred As - taire.
b
& b bb
O
ay
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
PR
A b2 G b 9/A b
dw
? bb b Ó Œ œ ˙w ˙ Ó Œ bœ ˙ b˙
b w w w
oa
R
FO
b b 9Ó j
Br
b ‰ œ œ œ ˙
3
& b ˙
3
bœ ˙
DOROTHY:
˙
10 11 12
˙ ˙ ˙ œ.
T
Yeah? I al - ways want - ed to be Gin - ger Rog - ers.
b
& b bb
O
A b2
N
G b 9/A b
? bb Ó Œ œ ˙w ˙ Ó Œ bœ ˙ b˙
bb w w w

(212) 662-6157
Pno.- Cond. -2- Like They Used To SUMMER OF '42
b j
& b bb Ó ‰ œ œ œ ˙ ˙ œ œ
13 HERMIE: 3
˙ œ
14 15 3 16
˙ ˙ ˙ œ.
Why not? So if I don't get to play for the Dod - gers, I'd
bb
&bb
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
œ
œ œ
œ
œ œ
œ
œ
A b2
? bb b Ó Œ Ó Œ
C m7
œ ˙w ˙ ˙
b w œ ˙w
w
l
sa
bbbb ˙ ˙ ˙ ˙ ˙ Œ ˙
3 3 3
& ˙ ˙
17 18 DOROTHY:
˙ œ ˙
19 20
ru
sure love to dance on the screen. I know what you
b — ¿ Cym
& b bb
Pe
www
Tri
œ œ œ œ œ www
œ œ œ œ œ œ œ œ œ œ œ - -
G b Maj7 D b2/F A bsus/F b
? bb b Ó
N
Œ ˙
g
b bw œ ˙w
in w bw
O
bb b b 21 ‰ œ œ œ ˙ ˙
s
TI
3 3
& ˙
22 23 24
˙ ˙ ˙ ˙ w
en
C
mean. I nev - er want - ed to be Al - ice Faye.
b
& b bb
c
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ U œ œ œ œ œ œ œ œ
Li
D
A b2 G b 9/A b
? bb b Ó Œ œ ˙w ˙ Ó Œ bœ ˙ b˙
+Kbd 2
O
b w w w
ay
PR
b j
& b bb Ó ‰ œ œ Œ
dw
25 3 3
˙
HERMIE:
˙ ˙
26 27 28
œ œ œ ˙ ˙ ˙ œ.
Nah. It is - n't worth it to be Don A - me - che.
bb
oa
&bb œ œ œ œ œ œ nœ œ œ œ Aœ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ
FO
Br
B b m7
? bb b œ œ œ œ
C m7 F 7sus4 F7 +Vc
b w w ˙
w
T
bb œ œ œ œ ‰ œj œ
&bb Œ œ œ œ ˙ œ œ œ
29
O
œ œ
DOROTHY: HERMIE:
J J ˙
30 31 32
N
b
They miss the ma - gic of whirl - ing 'round the floor. And now
& b b b wœ œ œ w
nœ œ nœ œ œ œ œ œ
wœ wœ
nœ nœ œ œ œ bœ œ œ œ œ œ œ œ œœœ œ œœ
A b2/C
? b b n ˙w.
B° 7
œ ˙w ˙ b ˙w. œ ˙w ˙
bb nw w w w
+Kbd 2
Pno.- Cond. -3- Like They Used To SUMMER OF '42
b j j ‰ œj œ
& b bb œ œ œ œ œ œ œ œ. œ bœ œ œ œ œ ˙
33 34 35 36
J J J
Fred and Gin - ger nev - er work to - geth - er an - y - more... Well, they
bb
&bb w œ w w ww
œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ A ww w
B b7s u s Bb7 D b/E b E b7
? b b b ww ww w- œ œ
b - - ˙
l
sa
b b b 37n ˙ ˙ œ j
& b œ œ œ œ. œ Aœ ˙
‰ œj œ
Ob
˙
˙. Ó
38 39 40
ru
don't make mov - ies like they used to... but if
b
& b b b œw œ œ œ œ œ œ œw œ œ œ
Pe
œw œ œ œ œ œ œ
œ œ œ nœ œ nœ œ œ œ œ œ
F D bMaj7
˙
N
? bb b Ó ˙ ˙
C m9
˙ Ó
g
b w ˙ w ˙
in w w
O
b b b 41 j j j j j œ. — j
b w Ó ‰ œ œ
s
TI
&
Tri
œ œ œ œ œ œ œ œ œ
42 43 44
œ
en
C
ww>
Hol - ly - wood should call then I'd be free. Though I'd
b œ w
& b b b wœ wœ œ œ œ œ œœœ
c
œ bœ œ œ œ œ œ œ
Uœœœ œ
Li
D
B b m7 D b/E b F m7(add4)
? bb b Ó ˙ Ó ˙
O
ay
b w w w
w
PR
bb b b 45 ˙ ˙ œ j
œ œ œ œ. œ ˙
dw
& ˙ j
Ob
˙
˙.
46 47 48
Ó ‰ bœ œ
real - ly hate to give up base - ball, they taught
oa
b
R
& b b b œw œ œ œ œ œ œ œw
œ œ
œ œ
œ œ b œw œ œ œ œ œ œ b œw œ œ œ œ œ œ
FO
A b/G b C b Maj7
Br
? bb b Ó ˙ ˙ ˙ ˙
b bw Ó ˙
w U bw b˙ w
T
b ¿
& b bb œ
Œ
Œ ‰ Œ
Finger Cym
j ˙
O
49
œ œ œ
50 51 52
œ Nœ œ œ œ œ œ œ
N
U
n ˙˙˙ ...
Cag - ney how to dance, so they might just take a chance on
b
& b b b www n œœœ ˙. w
A www ww
w w
B b m7 B b/C U̇. B b m7 D b/E b
? bb b w j
b œ ‰ w
w œ w w
"SUMMER OF "42"
Piano-Conductor
15
Before The Movies DAVID KIRSHENBAUMN
Bouncy, in 2
#
& C .. ∑ ∑ ∑ ∑ ..
l
1 Vamp (under dialogue) 2
sa
3 4
oj +
ru
Cue:OSCY:I'm not waitin' around any longer.
# C . ŒHat ¿ ‰ ¿œj Œ
j j
¿j ¿ ¿ j j +Tri.j
BENJI: Oh, shit.
j‰ ‰ œ ˙ Œ œ ‰ œ Œ œ .
& . œœ œ œœ œœ ˙˙ œ œ n œ ‰ ‰ œœ œœ œœ .
Pe
F +Kbd.2, Vc. .
? # C .. ‰ œJ œ. œ Œ ‰ jŒ ‰ œ œ œ. ..
G(add2)
N
G(add2) G6 C (add2) C /D G/B C sus4 Em/D Am/E
œ. Œ
Ó Œ
g
œ. œ œ œ.
in J
O
+Bs.
s
TI
# 5 OSCY: j
en
& œj œ œJ œ œ œ œ œ œ. Ó ∑ ∑
C
6 7 8
c
U
Li
j +Tri.j
MIRIAM:You old enough to stay up this late?
j j
Per - fect night for a mov - ie.
# Œ j Œ œj ˙
D
& œœ ‰ œœ Œ
œœ œœ ˙˙
Œ œ ‰ œœ Œ
œ n œœ ‰ ‰ œœ œœ œœ
O
.
ay
PR
?# ‰ œJ œ. œ Œ ‰ jŒ ‰ œ œ œ.
dw
G(add2) G6 C (add2) C /D G(add2) G/B C sus4 Em/D Am/E
œ. Œ Ó œ. Œ œ œ œ.
J
oa
# 9 OSCY:
FO
& œj œ œJ œJ œ . œ. œ œ œ œ Œ Ó ∑
Br
10 11 12
J
MIRIAM:You have ice cream
j
T
I have with me two charm - ing friends.
# Œ j j j
j Œ œj ˙
on your face.
‰ œœ Œ Œ œ ‰ œœ Œ œ
& œœ nœ Œ œœ œœ œ
O
œœ œœ ˙˙ œ œ
o #
N
?# ‰ œJ œ. œ Œ ‰ jŒ
G(add2) G6 C(add2) C /D G(add2) G/B C sus4 Em/D A /D
Œ Ó œ. Œ œ œ. ‰ œ œ # œœ
Cl.(8va)
œ. œ J
+Kbd.2(Bsn)
H5434/802/03 KAYE-HOUSTON MUSIC INC.

(212) 662-6157
Pno.- Cond. —2— Before The Movies Summer of '42
# 13
Œ œ œJ œ . œ. j Œ œ œ œœ œ œ œ œœ œ
OSCY:
& œ œ œ œ
14 15 16
#
Oh, that per - fume.... Makes me think of the fall of Bab - y - lon.
& œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ‰ jœ œ Œ
œ. . . . . . . . . . . . #œ œ œœ
j
A7sus4 A7
? # wwœ Œ ˙˙ œœ .. b œ œ .. œ
Em(add2)
œ Œ # # œœ œ
l
Œ Ó œœ œ ww œœ
œ‰Œ ‰ Œ œ Œ Œ #œ
Vc.,Cl.
œ œ
sa
œ . œ J œ J J
. . J
ru
# MIRIAM: œ œ œ . 18 . j ˙ œ œ œ bœ œ bœ
‹ ‰ J œ Œ œ œ œ œ œ œ Ó
17
OSCY:
& œ œ
19 20 Xylo
Pe
#
just one sniff and I swoon.
œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ‰ j œœ Œ

What? I grow diz - zy...
N
& œœœ œœœ œœœ œœœ œ
g
. . . . . . . . . . . . #œ œ œ
in
O
E(add2) A7j
w
s
TI
ww ˙˙ œœ .. œœ # œœ œœ
?#
A7sus4
œ‰Œ œ ‰Œ œ ‰Œ Ó w
œ‰Œ ‰ Œ œ Œ œ Œ #œ
en
œ J œ J œ J J
C
J J J
c
&
# 21
Œ œ œJ œ . œ. j
œ œ Œ Œ œ
U œ œ.
J œ. j
œ œ Œ
Li
+Cl. 22 23 24
D
O
ay
#
Time's a - wast - ing. Let's get bus - y
& œœ Œ Ó n œœœ Œ ‰ j
N œœ. œ œœ.œ œœ.œ œœ.œ
œœœ œœœ œœœ œœœ
+Xylo(8va)
PR
. . . . . . # œ œ.
dw
? # N œj ‰ Œ ‰ œj œ ‰ # œj œ
C(add2) G/B Am7 G7/B
j
œ ‰ Œ œ. Œ œ. Œ Œ œ. Œ
+Bsn.
oa
. œ. .
FO
Br
# 25 j j
& œ œ
œ œ œ œ œ
J œ œ. Œ ˙ ˙ bbb
26 27
œ
T
# .
œ
O
bbb
Let's all go to the mov - ies It's start - ing
Œ Ó Ó œ
œœ Œ
& œœœ www
.
N
?#
C(add2) D 7sus4
œ. Œ Ó ∑ Œ œ bbb
˙
Kaye-Houston Music Inc. - (212) 662-6157

Pno.- Cond. —3— Before The Movies Summer of '42
b
&bb ˙ Ó ∑ ∑ ∑
28 29 30 31
j
MIRIAM:Dutch treat, I suppose?
bb j Œ œ ‰ œj Œ j
soon...
& b Œ œj ‰ ‰ œ Œ j Œ œj œ ‰ ‰ œ œ œ
+Tri.
œ œ ˙˙ œ bœ œ œ œ
œœ œœ ˙ œ
E b(add2) A b(add2)
bb E b(add2) Eb A bsus4
E b6 Bb
+Kbd.2, Vc.
j
A Cm Fm
? b j
l
Œ Ó œ Œ ‰ jŒ
œ. Œ ‰ œ œ œ. ‰ œ œ œ.
E G C
sa
bb . œ
œ. œ
ru
bb 32 OSCY: j bbbbb
& b œj œ œJ œ œ œ œ œ œ. Ó ∑ ∑
33 34 35 (to 38)
Pe
b jŒ j
‰ œj Œ Œ œ ‰ œj Œ bbbbb
We will spring for re-fresh - ments!
&bb Œ j Œ œj ˙
+Tri.
N
œœ œ œ œ
g
œ œœ œœ ˙˙ œ œ bœ œ œ œ
in
O
b E b6 A b(add2) Ab E b(add2) E b6 A bsus4 CBm
Bb b Fm
j j
s
TI
? bb j
E (add2)
œ Œ ‰ jŒ ‰ œ œ œ bbbbb
b œj ‰ Œ Ó œ. ‰ Œ ‰ œ œ.
G C
œ œ
en
œ .
C
c
b
& b
b b b .. Œ BENJIE: œ
Safety
œ œ nœ œ
U œ œ œ ‰ œ
j ..
Li
38 39 HERMIE:
D
O
ay
PIZZ STRINGS I think they're head ing this way. We
bb b b .. +Xylo ..
PR
& b œ n œœ œ œœ œ n œœ œ œœ
dw
œ. . œ. . œ. . œ.
Db
? b b b .. œ. ..
oa
Œ Ó Ó Œ œ
PIANO
bb
FO
Br
b b b 40
& b nœ œ œ œ œ nœ
b œ Œ Ó ∑ Œ œ œ œ
BENJIE:
41 42 43
T
HERMIE:Smile, look older.

O
bet - ter make sure we're set. And I've got
b
& b bbb œ œ œ œ nœ œ œ œ nœ œ œ œ nœ œ œ
+Cl.
n œœ
N
œ. . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ.
? bb b œ Œ Ó ∑ Ó Œ œ œ Œ Ó
Fm
bb
œ. œ.
Kaye-Houston Music Inc. - (212) 662-6157

SUMMER OF '42
Piano-Conductor 34
Finale
CUE - HERMIE sees the note on the door Voiceover - Dorothy's letter
Œ ‰œ œ œ. œ œ œ
l
Ó ˙ œ. œ œ œ
Wistfully
b
sa
+Kbd2 (Gtr)
& b 44 ‰ œ œ œ# œ˙˙ œ œ œ ‰ œœœœœœ . J

1 Pno. solo
A œw
2 3 4
Ó Óœ ˙˙
ru
π Gm Gm(Maj7) Gm7 Gm6 Cm7
Pe
? b b 44 Œ œ # ˙ nœ œ n˙ Œ œ œ Aœ
w w
w w
N
g b www
˙ œ œ
Ó œ in
O
Kebd2 (Gtr.)
bb ˙ Ó Œ ‰
& œ œ œ nœ œ ‰ œ œ œ œ˙ œ œ œ www œ
œ œ œ œ
Ob.
‰œ œ
5 6 7 8
s
TI
Ó Œ ‰ J
en
b B b2 b
C
Œ b ww
F 9sus F7 9sus F7 sus F7
? bb œ œ b ˙
Fm7/B
œ œ ˙
+Cym roll
c
w œ œ U w
w w w œ Œ ˙.
Li
D
jœ œ œ
O
ay
b œ˙ ˙ . œ œ œ œw. œ œ ww Œ ‰ jœ œ œ
œ
+Kbd2 (Stgs)
b ww œ
PR
& ˙˙ œœ œ ww ww
9 10 11 12
dw
P E b2 poco cresc. b
w
F /E
˙ œ
Dm7 Gm7
‰œœœ˙ ‰œœ œ ‰ œ œ nœ œ œ
oa
? b b +Cello ˙
w w w œ
FO
w Œ
Br
+arco Bass
b œœœ ˙˙˙ ... Œ ‰ j œ œ #œ

wwww œ œ bbbbb
T
b ww b ww
Poco Rall.
& œÓ ˙ . ‰ œ œ œ
13 14 15 16
w
O
p b
N
ww
‰œœœœ œ œ
+Cym roll
w
Cm7 D7 sus D7 Gm Cm7 5
? bb ‰ œ œ ˙ ‰ œ œ nœ #˙ b w
œ w w bbbbb
w w
(212) 662-6157
U
Pno.- Cond. - 2 - Finale SUMMER OF '42
œ
œwww ˙
Molto Rit.
bb œ œ œ ‰ œ œ œœ œ œ œ œww œ
bb C
DOROTHY: I wish you good things, Hermie, only good things. Always, Dorothy.
& b b b ‰ œ œ œ n œœ œ w ˙
17 +Oboe (cont.)
œ œ
18 19 20
B bm/F B bm(Maj7) B bm7/F B bm6/F E bm11 U

w b wẇ
F7
œœ
F7 sus
? b b ẇ n F˙ n˙ œ œ œ ˙w n˙
bbb ‰œœ bb C
w
l
sa
+Bs. +Cym roll
w
bb C wœ œ n œ œ œ œ œ œ
Smoothly, mysteriously
œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ n w +Cym
ru
&
21 22 (Oboe out) 23 24
B b 2 (addE)
Pe
P B b2 (addE)
+Key2 (Harp 8vb)
˙ ˙ w
C7/G
? b C Ó œ
G
b w Œ w Ów Œ œ
N
w
g
in
O
s
TI
bb
en
& ∑ ∑ ∑ Œ œ œ œ
25 26 27 28 AGGIE:
C
c
U
Li
That was the
bb œœœœœœœœ œœœœœœœœ b b ˙˙˙

b
D
& ˙ www
+Tri
˙ w
O
ay
#
E bMaj7 11 G b2 A b/G b
PR
Œ œ bœ
F 9sus
˙ w
dw
? bb Ó Œ œ ˙ bœ
w w bw w &
oa
R
FO
bb œ j
Br
& œ. œ œ œ Œ œ
3 GIRLS:
œ ˙ ˙. ˙
29 30 31 32
œ œ
T
√
sum - mer you'll al - ways re - mem - ber...
w +Cym
The
b +Fl.œ œ n œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ
œ œ nœ œ œ œ œ nw
O
& b
N
p B b2 (addE) B b2
+Kbd2 (Stgs)
C7/G
bb Ó ˙
G
& Œ œ ˙ Ó Œ w
+Kbd2 (Harp)
w w w œ w
+Cello
U
- 3 - Finale
j
Pno.- Cond. SUMMER OF '42
bb œœ œœ .. ˙˙˙ www
Poco Rall. Rall.
& ˙ œ œ. œœ œœ œœœ b ˙˙˙
33 34 35 36
œ œ œ
œ œœœœœœœ
sum - mer you'll
œœœœ
al - ways
œœ œ
re
œ
-
b b ˙˙˙
b
mem -
˙
ber...
U
w
b ˙ bw
&b
# G b2
E bMaj7 11 b A b/G b U
+Mark Tree
b Ó
l
& b Œ ˙ Œ ˙ bw
G 2
sa
˙ bœ
w œ w bw w
ru
Pe
b
Tentatively, Very Freely
b Ó j œ j œ œ œj œ . Ó j œ j j Œ
& œ œ œj œ
37 AGGIE: 38 39 MIRIAM: 40
œ œ œ œ
N
g
b n wwwww b wwwww n wwwww
b b wwww
Tak - ing a few steps danc - ing. Leav - ing your youth be - hind.
in
O
(Flute out)
& b
+Tri
E bMaj9/B b B b 2 (addE) A b Maj7/B b

s
TI
P +Kbd2 b
en
(Vibes)
bb ?
B 2 (addE)
C
& w ww w ww
(-Cello) w w
c
U
Li
bb AGGIE:
D
& Ó j j œ œ œj œ . Ó j
œ œ œ j
41 42 43 GLORIA: 44
œ œ œ bœ œ œ ˙
O
ay
PR
b
& b w˙w ˙ ww˙ # ˙
Meet - ing with joy and sor - row. Find - ing them in - ter - twined.
b b b www
dw
n www
+Tri
w w w
E bMaj9
b
G /A b
oa
? b Œw ˙ . Œ ˙. Œ ˙ b ww
D7 sus D7 Gm7
b w wœ bw
FO
Br
bb AGGIE:
Ó j j œ œ j j œ œ œ œ œ
& nœ œ œ œ. œ œ
45
J J
46 47
œ J
T
O
b
Learn - ing the hu - man heart is just an o - pen door...
& b n ww
N
www
a tempo
www
B b2 B b 2/D E b2
? b Œ +Cello ˙ Œ ˙ Œ œ ˙
b œ œ w
+pizz. Bass w
w
Br
oa
N dw
O
T ay
FO Li
R c en
PR s in
O g
D Pe
U ru
C sa
TI
O l
N
Br
oa
N dw
O
T ay
FO Li
R c en
PR s in
O g
D Pe
U ru
C sa
TI
O l
N
Dedicated to the publication, licensing, and
promotion of compelling contemporary musicals.
Delivering superior services to playwrights and

composers through traditional publishing, unique
online features, and intellectual property protection.
Connecting theaters and audiences with diverse

new dramatic works.
www.BroadwayLicensing.com
Broadway Licensing toll-free phone: 1-866-NEW-PLAY

440 Park Ave S, 11th Floor email: info@broadwaylicensing.com
website: www.broadwaylicensing.com
70376

Summer of 42

Uploaded by

Copyright:

Available Formats

You might also like

Summer of 42

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Summer of 42

Uploaded by

Copyright:

Available Formats

SUMMER OF '42

MUSIC & LYRICS BY

BASED UPON THE NOVEL AND

Book by Hunter Foster

Originally produced for Godspeed Musicals by Michael P. Price, Executive Producer.

toll-free phone: 1-866-NEW-PLAY

& & & w

& & &

HERMIE ..................................................................................................................Ryan Driscoll

Opening ........................................................................................................................ Company

You’re Gonna Miss Me ............................................................................................. The Girls

The Walk ................................................................................................. Hermie and Dorothy

The Heat ....................................................................................................................... The Girls

Man Around the House ............................................................................................... The Girls

Unfinished Business .......................................................................... Oscy, Hermie and Benjie

Make You Mine ............................................................................................................ The Girls

The Campfire ................................................................................................................... Hermie

Promise of the Morning ................................................................................................ Dorothy

Oh Gee, I Love My G.I. ................................................................................................ The Girls

#6 You’re Gonna Miss Me (Miriam, Aggie, Gloria)

#9 Mr. Sanders Theme (Part 1) (Dorothy, Mr. Sanders, Hermie)

#14 The Heat (Miriam, Aggie, Gloria)

#17 Winchell Report #3 (Underscore)

#21 Entr’acte (Underscore)

#23 Make You Mine (Aggie, Miriam, Gloria)

#26 Jitterbug (Underscore)

#28 Hermie and Dorothy (Underscore)

#30 Oh Gee, I Love My G.I. (Miriam, Aggie, Gloria)

(lights up on a darkened sky illuminated with stars…in the

speak directly to him…AGGIE, MIRIAM, and GLORIA enter one

#2 THE SUMMER YOU’LL ALWAYS REMEMBER

MIRIAM, AGGIE, AND GLORIA

AND IT WAS VERY CLEAR

THAT LIFE WAS HERE TO STAY

THE SUMMER THE SUMMER

FIFTEEN-YEAR-OLD BOY…suddenly, the lights become

blindingly bright…it is June 1942, and it is a beautiful summer

blinded by its brilliance…from a distance, TWO OTHER

OSCY AND BENJIE

OSCY AND BENJIE

GET USED TO SEEING THE TERRIBLE TRIO

WE WAITED ALL SPRING

SO WE’RE PREPARED TO DO THINGS

GOOD TIMES REAL FAST

#4 HERE AND NOW

Get off me! Ya big lug.

OSCY AND BENJIE

OSCY, HERMIE, AND BENJIE

WHERE NOTHING CAN GO WRONG

YES-SIR, HERE AND NOW

What are we gonna do first?

(demonstrating a few steps)

(calling out to the beach)

OSCY AND BENJIE

She was all right.

NO ONE COULD HAVE GUESSED

OSCY AND HERMIE

BUT SOMETHING TELLS ME THIS ONE

OSCY, HERMIE, AND BENJIE