LIBRETTO VOCAL BOOK
A Musical Fable of Broadway
Based on a Story and Characters of Damon Runyon
Music and Lyrics by
Frank Loesser
Book by Jo Swerling and Abe Burrows
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THANK YOU! © 1951 by Jo Swerling, Abe Burrows and Frank Loesser. All Rights Reserved. Renewed. Lyrics © 1949, 1950, 1951, 1955 by Frank Music Corp. © Renewed 1977, 1978 by Frank Music Corp..
(Last Revised – September 2017)
C H A R AC T E R S (In order of appearance)
NICELY–NICELY JOHNSON BENNY SOUTHWEST RUSTY CHARLIE
}
SARAH BROWN
ARVIDE ABERNATHY AGATHA
CALVIN
MARTHA
members of the MISSION BAND
HARRY THE HORSE LT. BRANNIGAN
NATHAN DETROIT CRAP SHOOTERS ANGIE THE OX
MISS ADELAIDE
SKY MASTERSON JOEY BILTMORE MIMI
GENERAL MATILDA B. CARTWRIGHT BIG JULE
}
MASTER OF CEREMONIES
ALLISON
FERGUSON
VERNON DRUNK
GIRL DANCERS
WAITER
— iii —
0.
1.
2.
3.
ACT 1
MUSICAL NUMBERS
Overture.......................................................................................................... 1 Runyonland..................................................................................................... 1 Fugue For Tinhorns........................................................................................ 3
Follow The Fold.............................................................................................. 5
3a. Exit of Sarah and the Mission Band...............................................................7
4.
5.
6.
The Oldest Established................................................................................. 11
Follow The Fold (Reprise)............................................................................ 23
I’ll Know........................................................................................................ 33
6a. I’ll Know (Addenda)..................................................................................... 35
6b. I’ll Know (Vocal Finish)................................................................................ 35
6c. Change of Scene (Scene 2 to 3)..................................................................... 36 7.
Fanfare........................................................................................................... 39
7a. A Bushel and a Peck......................................................................................40
7b. The Customers Exit....................................................................................... 42
8.
Adelaide’s Lament........................................................................................ 49
9.
Opening – Scene 5......................................................................................... 52
8a. Change of Scene (Scene 4 to 5)..................................................................... 51 10. Guys and Dolls..............................................................................................53 11. Opening – Scene 6......................................................................................... 57
12. Change of Scene (Scene 6 to 7)..................................................................... 60
13. End of Scene 7............................................................................................... 68
14. Havana...........................................................................................................68
15. If I Were A Bell.............................................................................................. 73 16. Change of Scene (Scene 9 to 10)................................................................... 76
17. My Time of Day.............................................................................................78
17a. I’ve Never Been In Love Before................................................................... 79
18. Beetle Race (The Raid).................................................................................. 81
19. Finale – Act I................................................................................................. 83
— iv —
ACT II
20. Entr ’acte........................................................................................................ 84
21. Fanfare........................................................................................................... 84 21a. Take Back Your Mink.................................................................................... 84
22. Adelaide’s Second Lament........................................................................... 90
22a. Change of Scene (Scene 1 to 2)..................................................................... 90
23. More I Cannot Wish You...............................................................................92
24. Change of Scene (Scene 2 to 3)..................................................................... 94 24a. The Crapshooters’ Dance..............................................................................95
25. Luck Be A Lady........................................................................................... 107
26. Change of Scene (Scene 3 to 4)................................................................... 110
27. Sue Me..........................................................................................................114
27a. Change of Scene (Scene 4 to 5)................................................................... 117
28. Sit Down, You’re Rocking The Boat........................................................... 123
29. The Guys Follow The Fold......................................................................... 127 29a. Adelaide Meets Sarah................................................................................. 128
30. Marry The Man Today................................................................................ 132
31. Opening – Scene 7....................................................................................... 136 31a. Entrance of the Mission Band.....................................................................137
32. The Happy Ending...................................................................................... 139
33. Bows............................................................................................................. 139
— v —
— vi —
GUYS & DOLLS
#0—Overture At finish of Overture, Curtain lights from balcony rail dim out. Behind translucent show curtain, stage lights dim up.
#1—Runyonland ACT I, Scene i: Broadway After eight bars of music Show Curtain opens— Broadway Atmosphere routine
Discovered stage center are two shady Broadway characters. MAN with newspaper crosses from R.2 to L.2 and Exits. BOBBIE SOXERS enter L.2—exit R.2.
SIGHTSEEING GUIDE and SlGHTSEERS enter L.1.
ACTOR and ACTRESS enter L.2, cross to L.1.
One of the shady Broadway characters is flipping a coin—the other snapping his fingers. They both glance offstage R. and L. obviously looking for a pickup. A N.Y. POLICEMAN Swinging a club enters from R.2, strolling. He exits R.1.
TWO CHORUS GIRLS wearing slacks enter from R.1. They exit L.1. TWO VERY ANIMATED BOBBY SOXERS enter from L.2, carrying autograph books and pencils—they rush off R.1.
TWO WELL DRESSED STREET WALKERS enter from R.2, stop at L.C. and flirt with the two shady characters—one of the shady characters flips the coin—they take TWO CHORUS GIRLS by the arms and escort them off L.2. A MAN rushes on from L.2, and exits hurriedly R.1.
An ELDERLY WOMAN STREET VENDOR dressed shabbily and carrying a shoulder tray containing apples, gardenias, and pretzels on sticks enters from L.2 and slowly exits stage R.2. A SIGHTSEEING TEXAN and HIS WIFE enter from R.1. He is carrying a sightseeing map and wears a watch and chain across his vest.
A SIDEWALK PHOTOGRAPHER enters from L.1 carrying a camera, and order blank. He snaps the TEXAN and HIS WIFE who pose for the photographer— PHOTOGRAPHER hands order blank to TEXAN who signs it and gives money to him in payment The TEXAN and HIS WIFE exit L.1. The PHOTOGRAPHER looks after them, crumples up the order blank and throws it away.
— 1 —
— 2 —
GUYS & DOLLS
AN ACTRESS enters from R.1, dressed very elegantly, carrying a long cigarette holder. She is escorted by an ACTOR dressed in a tuxedo—the two BOBBY SOXERS have followed them on from R.1. They have the ACTOR and ACTRESS autograph their books—as the Actor and Actress turn upstage to EXIT L.2, a sign painted “PESSIMO CIGARS” is revealed. THE BOBBY SOXERS exit R.1. A MAN PAPER DOLL VENDOR and his LADY ASSISTANT enter from R.2, pushing a trick convertible vehicle which converts into a baby buggy. They exit L.1.
A HEAVYWEIGHT PRIZEFIGHTER with cauliflower ears enters from R.1, skipping rope. His MANAGER enters with his instructions as THEY cross the stage and exit L.1.
PAPER DOLL VENDOR and his ASSISTANT enter from L.1 with vehicle—they set it up at stage center. LADY ASSISTANT pulls out black thread—HE sets paper doll on thread—SHE manipulates the paper doll on the black thread—THEY see the POLICE who enter from R.2. They quickly pull the trigger which converts the vehicle into a baby buggy—they nod very graciously to the policeman as they pass him—HE nods, then suddenly he realizes he has been tricked, rushes off R.1, chasing them. A SIGHTSEEING GUIDE enters from R.1, followed by a group of seven or eight sightseers including the TEXAN and his WIFE who are in the rear of the group. The SIGHTSEEING GUIDE is pointing to objects of interest. A PICKPOCKET enters from R.2, goes to Texan and points to a tall building and as the TEXAN is looking up he steals the Texan's watch and chain. The TEXAN and his WIFE exit L.1.
TWO STREET WALKERS enter from L.2. THEY cross to pickpocket and flirt with him and relieve him of the watch and chain he stole from the Texan. They take the PICKPOCKET by the arm and very nonchalantly stroll off R.2 with him.
TEXAN and his WIFE rush on from R.2. It is very evident that he has suddenly discovered the loss of his watch and is intent upon catching the pickpocket—THEY exit R.1. A BLIND MAN carrying a cane, tin cup in his hand, glasses, and wearing a sign “BLIND” enters from R.1. He feels his way slowly to center stage.
PAPER DOLL VENDOR and his LADY ASSISTANT enter from L.1 and set up their vehicle at stage center—as they do so the MAN VENDOR flicks his cigarette ashes into Blind Man’s tin cup—BLIND MAN looks at this. At this moment the PAPER DOLL VENDOR looks off stage R., sees POLICEMAN, motions to his ASSISTANT, picks up vehicle and rushes off L.1—BLIND MAN runs off L.1. PICKPOCKET, SIDEWALK CAMERAMAN rush on from R.1, chased by the POLICEMAN, TEXAN and his WIFE—they exit L.1. All the characters on stage run off L.1 after them very excitedly.
BENNY SOUTHSTREET enters from R.1, very engrossed in reading a racing scratch sheet.
GUYS & DOLLS
— 3 —
PRIZEFIGHTER, shadow boxing, enters from L.2, followed by his MANAGER. The PRIZEFIGHTER, not seeing Benny, runs into him accidentally. HE is knocked down by the force of BENNY's head against his solar plexus. PRIZEFIGHTER, frightened and not knowing really what happened, runs off R.1, followed by his MANAGER. BENNY straightens his hat which has been dented by the collision.
BENNY unconcernedly joins NICELY-NICELY JOHNSON, who has entered at this moment from stage L.1, finishing a bottle of Coca-Cola and is at the newsstand buying a scratch sheet from the newsman. RUSTY CHARLIE enters from L.2, reading a scratch sheet—they group together and sing—
#2—Fugue for Tinhorns NICELY
I GOT THE HORSE RIGHT HERE THE NAME IS PAUL REVERE
(TWO STREETWALKERS enter R.2—stand watching BENNY, NICELY and RUSTY) AND HERE’S A GUY THAT SAYS
IF THE WEATHER’S CLEAR
CAN DO, CAN DO.
THIS GUY SAYS THE HORSE CAN DO
IF HE SAYS THE HORSE CAN DO,
CAN DO, CAN DO.
NICELY
BENNY
(Crosses to R., passing RUSTY)
(Shows sheet to RUSTY)
CAN DO,
I’M PICKIN’ VALENTINE,
CAN DO.
‘CAUSE ON THE MORNING LINE
THIS GUY SAYS THE HORSE
THE GUY HAS GOT HIM FIGURED
CAN DO
NICELY IF HE SAYS THE HORSE
CAN DO, CAN DO, CAN DO.
AT FIVE TO NINE
BENNY
RUSTY
(Crosses to R. of Benny)
HAS CHANCE,
BUT LOOK AT EPITAPH
THIS GUY SAYS THE HORSE
ACCORDING TO THIS HERE
HAS CHANCE,
HAS CHANCE
HE WINS IT BY A HALF, IN THE TELEGRAPH
— 4 —
GUYS & DOLLS
(NICELY)
(BENNY)
(RUSTY)
FOR PAUL REVERE I’LL BITE
IF HE SAYS THE HORSE
OF COURSE IT ALL DEPENDS
HAS CHANCE,
THIS GUY CALLS THE HORSE
I KNOW IT’S VALENTINE
IF HE CALLS THE HORSE
I HEAR HIS FOOT’S ALL RIGHT
IF IT RAINED LAST NIGHT
LIKES MUD,
LIKES MUD,
THIS “X” MEANS THE HORSE
HAS CHANCE, HAS CHANCE.
THE MORNING WORKS LOOK FINE
BESIDES THE JOCKEY’S
LIKES MUD
BROTHER’S A FRIEND OF MINE
LIKES MUD,
NEEDS RACE,
IF THAT MEANS THE HORSE
BIG THREAT,
BIG THREAT, BIG THREAT
BIG THREAT,
BIG THREAT,
BIG THREAT.
NEEDS RACE,
AND JUST A MINUTE BOYS,
LIKES
THIS
IT SAYS THE
LIKES MUD.
NEEDS RACE.
WAS EQUIPOISE.
MUD,
GUY SAYS THE HORSE
I GOT THE FEED BOX NOISE. GREAT-GRANDFATHER
I TELL YOU PAUL REVERE
IF HE SAYS THE HORSE
IT’S FROM A HANDICAPPER
NEEDS RACE,
THIS GUY SAYS THE HORSE
I GO FOR VALENTINE
IF HE SAYS THE HORSE
NOW THIS IS NO BUM STEER
THAT’S REAL SINCERE
CAN DO, CAN DO,
THIS GUY SAYS THE HORSE
CAN DO
NEEDS RACE,
NEEDS RACE,
‘CAUSE ON THE MORNING LINE
THE GUY HAS GOT HIM
FIGURED AT FIVE TO NINE.
IF HE SAYS THE HORSE
HAS CHANCE,
CAN DO,
THIS GUY SAYS THE HORSE
CAN DO, CAN DO.
PAUL REVERE,
I GOT THE HORSE
RIGHT HERE.
SHOWS CLASS,
SHOWS CLASS.
SHOWS CLASS.
SHOWS CLASS,
SHOWS CLASS,
SHOWS CLASS.
SO MAKE IT EPITAPH
HAS CHANCE.
HE WINS IT BY A HALF
HAS CHANCE.
IN THE TELEGRAPH
VALENTINE! I GOT THE HORSE
RIGHT HERE.
ACCORDING TO THIS HERE EPITAPH.
I GOT THE HORSE
RIGHT HERE.
(At end of “FUGUE FOR TINHORNS,” MISSION BAND enters playing “FOLLOW THE FOLD”—SARAH with tambourine, a female member playing the cornet, ARVIDE ABERNATHY beating a bass drum and cymbals, a female member is carrying a small box which she places stage C. SARAH steps on box and as THEY finish playing they sing “FOLLOW THE FOLD.” Two BOBBY SOXERS enter from R.1. They stop and listen.)
GUYS & DOLLS
#3—Follow the Fold SARAH & MISSION BAND
FOLLOW THE FOLD AND STRAY NO MORE
STRAY NO MORE, STRAY NO MORE
PUT DOWN THE BOTTLE AND WE’LL SAY NO MORE
(DRUNK enters from R.1, steps to L. of Sarah) FOLLOW, FOLLOW THE FOLD.
(SIGHTSEEING GROUP, including TEXAN and his WIFE enter L.2)
SARAH
(Points at drunk)
BEFORE YOU TAKE ANOTHER SWALLOW
(PRIZEFIGHTER and his MANAGER enter from R.1, stop at center, then move back to R. and they listen to singing)
SARAH & BAND
FOLLOW THE FOLD AND STRAY NO MORE
STRAY NO MORE, STRAY NO MORE
TEAR UP YOUR POKER DECK OF CARDS AND PLAY NO MORE
FOLLOW, FOLLOW THE FOLD,
TO THE MEADOWS WHERE THE SUN SHINES.
(CHORUS GIRLS (2) enter from L.1, stop suddenly to L. of Sarah, alongside of the drunk—SARAH points at them) OUT OF THE DARKNESS AND THE COLD.
SARAH
AND THE SIN AND SHAME IN WHICH YOU WALLOW
(She points again to Chorus Girls)
SARAH & BAND
FOLLOW THE FOLD AND STRAY NO MORE
STRAY NO MORE, STRAY NO MORE
IF YOU’RE A SINNER AND YOU PRAY NO MORE
FOLLOW, FOLLOW THE FOLD.
(At end of song, SARAH immediately goes into her speech)
— 5 —
— 6 —
GUYS & DOLLS
SARAH
Brothers and sisters, resist the Devil and he will flee from you. That is what the Bible tells us.
(NICELY, BENNY, RUSTY cross to L.)
And that is why I am standing here, in the Devil’s own city,—
(The BOBBY SOXERS exit laughingly L.1)
—on the Devil’ s own street, prepared to do battle with the forces of evil. Hear me, you gamblers!
(She points to NICELY, BENNY and RUSTY who are standing stage L.C., they move uneasily to stage L.)
With your dice, your cards, your horses! Pause and think before it is too late!
(She is failing to hold her audience and occasionally falters in her speech as she notices someone walk out)
You are in great danger! I am not speaking of the prison and the gallows,—
(SIGHTSEEING GROUP exits R.2)
—but of the greater punishment that awaits you! Repent before it is too late!
(PRIZEFIGHTER and his MANAGER exit L.1)
Just around the corner is our little Mission—
(DRUNK exits L.1)
—where you are always welcome to seek refuge from this jungle of sin.
(TWO CHORUS GIRLS exit L.1)
Come here and talk to me. Do not think of me as Sergeant Sarah Brown, but as Sarah Brown, your sister.
(The TWO STREET WALKERS slowly exit L.1, showing their wares as they pass RUSTY CHARLIE, who is standing at newsstand with NICELY and BENNY. He follows them off, pointing his finger at them as they exit—NICELY and BENNY are not conscious of this)
Join me, Brothers and Sisters, in resisting the Devil, and we can put him to flight forever.
(SARAH looks at ARVIDE hopelessly—he motions to her encouragingly)
Remember, friends, it is the Save-A-Soul Mission—
(Slowly stepping down from the box)
GUYS & DOLLS
(SARAH)
—located at 409 West 49th Street, open all day and all night, with a special prayer meeting this Thursday at—
(Looks despairingly at Arvide. Her crowd has disappeared by this time, except NICELY and BENNY, who are standing by the newsstand reading their scratch sheets. SARAH and MISSION BAND make a disconsolate and disorderly exit L.2. MUSIC UNDERSCORING AS THEY EXIT)
#3a—Exit of Sarah and the Mission Band NICELY
(Looking after them as he crosses to Stage C., followed by BENNY)
Poor Miss Sarah! I wonder why a refined doll like her is mixed up in the Mission dodge.
BENNY
She is a beautiful doll, all right, with one hundred percent eyes.
NICELY
It is too bad that such a doll wastes all her time being good. How can she make any money from that?
BENNY
Maybe she owns a piece of the Mission. Yeah.
NICELY
(HARRY THE HORSE enters from L.1, crosses to Benny)
Hey! Benny Southstreet!
(THEY shake hands)
HARRY
BENNY
Harry the Horse! How are you! You know Nicely-Nicely Johnson. Yeah. How goes it? Nicely, nicely, thank you.
HARRY
NICELY HARRY
Tell me, what about Nathan Detroit? Is he got a place for his crap game?
— 7 —
— 8 —
GUYS & DOLLS
BENNY
(Whispers back)
We don’t know yet.
NICELY
The heat is on.
BENNY
He’s still looking for a place.
HARRY
Well, tell him I’m loaded and looking for action.
(Crosses to R., past Nicely)
I just acquired five thousand potatoes. Five thousand bucks!
BENNY NICELY
Where did you acquire it?
HARRY
I collected the reward on my father.
(Exits R.1)
BENNY
Everybody is looking for action. I wish Nathan finds a—
(He stops as BRANNIGAN enters—gets paper at newsstand—crosses to Benny)
NICELY
Why, Lieutenant Brannigan! Mr. Southstreet, it is Lieutenant Brannigan of the New York Police Department.
BENNY
(Crosses to R.)
A pleasure.
(Moves away)
BRANNIGAN
Any of you guys seen Nathan Detroit? Which Nathan Detroit is that?
BENNY
(BRANNIGAN folds his paper with an abrupt movement and faces the two men)
GUYS & DOLLS
BRANNIGAN
I mean the Nathan Detroit who’s been running a floating crap game around here, and getting away with it by moving it to a different spot every night.
NICELY
Why are you telling us this—Your Honor?
BRANNIGAN
I am telling you this because I know you two bums work for Detroit, rustling up customers for his crap game. We do? Yeah! Oh!
NICELY
BRANNIGAN NICELY BRANNIGAN
You can tell him for me: I know that right now he’s running around trying to find a spot. Well, nobody’s gonna give him a spot, because they all know that Brannigan is breathing down their neck!
(Starts to exit. NATHAN enters from above newsstand, not seeing Brannigan)
Hi, Nathan!
NICELY
NATHAN
Fellas, I’m having terrible trouble. Everybody’s scared on account of that lousy Brannigan, and I can’t— Something wrong, Mr. Detroit?
(A sickly grimace)
BRANNIGAN NATHAN
Oh, hello, Lieutenant. I hope you don’t think I was talking about you. There are other lousy Brannigans.
BRANNIGAN
Detroit, I have just been talking to your colleagues about your crap game. I imagine you are having trouble finding a place.
NATHAN
Well, the heat is on, as you must know from the fact that you now have to live on your salary.
— 9 —
— 10 —
GUYS & DOLLS
(BRANNIGAN glares and exits L.1) (Crosses to Nathan)
Did you find a place?
BENNY
NATHAN
What does that cop want from me? What am I—a sex maniac? I merely run a crap game for the convenience of those who want a little action, in return for which I take a small cut. Is that a crime! Yeah! Nathan! Did you find a place? Did you find a place for the game?
(Crosses to R. pass Nicely)
BENNY
NICELY NATHAN
Did I find a place! Did I find—yes, I found a place! We are holding the crap game tomorrow night in the Radio City Music Hall. How you gonna fix the ushers?
BENNY
NATHAN
I tried all the regular places. The back of the cigar store, the funeral parlour—
NICELY
Nathan, you said once there might be a chance of the Biltmore Garage. I was over to the Biltmore Garage.
NATHAN
(BENNY crosses to Nathan)
—spoke to Joey Biltmore himself. He says he might take a chance and let me use the place, if I give him a thousand bucks. A thousand bucks! In cash.
(Pushes BENNY)
He won’t take my marker.
BENNY
NATHAN
GUYS & DOLLS
Your marker’s no good, huh? What do you mean?
BENNY NATHAN
(Pushes BENNY against NICELY)
A marker ain’t just a piece of paper that says I.O.U. One thousand dollars signed NATHAN DETROIT. A marker is like a pledge which a guy can’t welch on it. It’s like not saluting the flag.
(BENNY and NICELY remove hats—NATHAN crosses to stage L.)
My marker is as good as gold, only Joey Biltmore don’t think so—It don’t seem possible. Me without a livelihood. Why, I have been running the crap game ever since I was a juvenile delinquent.
(Crosses to Nathan)
Nathan, can’t you do something? What can I do? I’m broke.
BENNY
NATHAN
(Crosses between Benny and Nicely)
I couldn’t even buy Adelaide a present today, and you know what day today is? It is mine and Adelaide’s fourteenth anniversary. Yeah? Yeah?
BENNY
NICELY NATHAN
Yeah. We been engaged fourteen years.
MUSIC CUE
(3 CRAP SHOOTERS enter from L.1—go to newsstand and converse)
#4—The Oldest Established BENNY
Nathan, concentrate on the game. The town’s up to here with high players. The Greek’s in town!
— 11 —
— 12 —
GUYS & DOLLS
LIGHT CUE
NICELY
Brandy Bottle Bates!
(TWO CRAP SHOOTERS enter from R.2)
Scranton Slim!
BENNY
NATHAN
I know. I could make a fortune. But where can I have the game?
MUSIC CUE
NICELY
THE BILTMORE GARAGE WANTS A GRAND
BENNY
BUT WE AIN’T GOT A GRAND ON HAND
(Crosses between Nicely and Nathan)
NATHAN
AND THEY’VE NOW GOT A LOCK ON THE DOOR
OF THE GYM AT PUBLIC SCHOOL EIGHTY-FOUR.
NICELY
THERE’S THE STOCKROOM BEHIND MCCLOSKEY’S BAR
(Crosses to Nathan)
BENNY
BUT MISSUS MCCLOSKEY AIN’T A GOOD SCOUT AND THINGS BEIN’
NATHAN
(Crosses to R. past Benny)
HOW THEY ARE
THE BACK OF THE POLICE STATION IS OUT
NICELY
SO THE BILTMORE GARAGE IS THE SPOT
ALL
BUT THE ONE-THOUSAND BUCKS WE AIN’T GOT
GUYS & DOLLS
(CRAP SHOOTER enters from R.1 followed by more gradually)
A CRAP SHOOTER
WHY IT’ S GOOD OLD RELIABLE NATHAN,
MORE CRAP SHOOTERS
NATHAN, NATHAN, NATHAN DETROIT
STILL MORE CRAP SHOOTERS
IF YOU’RE LOOKIN’ FOR ACTION
HE’LL FURNISH THE SPOT
(2 MEN enter L.2)
STILL MORE CRAP SHOOTERS
EVEN WHEN THE HEAT IS ON IT’S NEVER TOO HOT
(3 MEN enter R.1)
ALL CRAP SHOOTERS
NOT FOR GOOD OLD RELIABLE NATHAN
FOR IT’S ALWAYS JUST A SHORT WALK
(THEY all gather downstage)
TO THE OLDEST ESTABLISHED PERMANENT FLOATING CRAP GAME IN NEW YORK.
(THEY take off their hats. INTERLUDE. Move to C.) THERE ARE WELL-HEELED SHOOTERS EV’RYWHERE, EV’RYWHERE
THERE ARE WELL HEELED SHOOTERS
EV’RYWHERE—AND AN AWFUL LOT OF LETTUCE
(Shows money)
FOR THE FELLA WHO CAN GET US THERE.
(Back upstage)
NICELY, BENNY, NATHAN
IF WE ONLY HAD A LOUSY LITTLE GRAND,
WE COULD BE A MILLIONAIRE
CRAP SHOOTERS
THAT’S GOOD OLD RELIABLE NATHAN
NATHAN, NATHAN, NATHAN DETROIT
— 13 —
— 14 —
GUYS & DOLLS
(ALL come downstage)
(CRAP SHOOTERS)
IF THE SIZE OF YOUR BUNDLE
YOU WANT TO INCREASE
HE’LL ARRANGE THAT YOU GO BROKE IN QUIET AND PEACE
INA HIDEOUT PROVIDED BY NATHAN
WHERE THERE ARE NO NEIGHBOURS TO SQUAWK
IT’ S THE OLDEST ESTABLISHED
(THEY all stand straight) CODA
PERMANENT FLOATING CRAP GAME IN NEW YORK.
CRAP SHOOTERS
WHERE’S THE ACTION? WHERE’S THE GAME?
NICELY, BENNY, NATHAN
GOTTA HAVE THE GAME OR WE’LL DIE FROM SHAME
(ALL stand up straight)
ALL (except NATHAN)
IT’S THE OLDEST ESTABLISHED
(Take hats off)
PERMANENT FLOATING CRAP GAME IN NEW YORK.
(ALL the CRAP SHOOTERS start to exit R. and L. NATHAN shouts after them as they exit)
NATHAN
Gentlemen, do not worry. Nathan Detroit’s crap game will float again. My boys will let you know where it is.
(THEY all exit R. and L.)
ANGIE-THE-OX
Okay, Nathan— Say, you know who else is looking for action? Sky Masterson! Sky Masterson’s in town.
(ANGIE exits R.1)
NATHAN
Sky Masterson! There is the highest player of them all!
GUYS & DOLLS
Higher than the Greek?
— 15 —
BENNY NATHAN
Higher than anybody. Why do you think they call him Sky? That’s how high he bets. I once saw him bet five thousand dollars on a cockroach. And another time he was sick, and he wouldn’t take penicillin on account he had bet ten C’s that his temperature would go to 104. Did it?
NICELY
NATHAN
Did it? He’s so lucky it went to 106. Good old Sky.
NICELY
Maybe you can borrow the thousand from Sky.
NATHAN
Not Sky. With him that kind of money ain’t lending money—
(Crosses to R.)
—It’s betting money. So why don’t I bet him? Why don’t I bet him a thousand on something? You would bet with Sky Masterson?
NICELY
NATHAN
I ain’t scared. I am perfectly willing to take the risk, providing I can figure out a bet on which there is no chance of losing.
(Crosses between Benny and Nicely and places his hands on their shoulders)
He likes crazy bets, like which lump of sugar will a fly sit on, or how far can you kick a piece of cheesecake—Cheesecake! Ooh! Look—run into Mindy’s Restaurant and ask Mindy how many pieces of cheesecake he sold yesterday and also how many pieces of strudel.
BENNY
How much cheesecake, how much strudel—What do you want to know for?
NATHAN
Just find out! Now beat it—here comes Adelaide.
(Crosses to L. of BENNY as he looks off L.)
If she hears I am running the crap game she will never set foot on me again.
— 16 —
GUYS & DOLLS
(BENNY and NICELY run off R.1 as ADELAIDE enters L.1 carrying a small box which contains a man’s belt and a small card. She is followed by THREE GIRLS from the Hot Box) Hello, Nathan dear.
(Embrace)
Adelaide! Pigeon!
ADELAIDE
NATHAN
(The THREE GIRLS have stopped at stage R. on the greetings) (To Three Girls)
ADELAIDE
You go ahead, girls. Order me a tuna fish on rye and a chocolate sundae with tomato ketchup and mayonnaise. Okay, Adelaide—
(THEY exit R.1)
We gotta get back to the Hot Box. You still rehearsing?
GIRLS
ADELAIDE NATHAN ADELAIDE
Yeah. That slave driver Charlie—he’s been working us all day. Finally I says, “Look, Charlie, I’m starving! I gotta get outa here and get something to eat.” And he says, “You don’t want to eat. You just want to sneak out and meet that cheap bum, Nathan Detroit!”—
(Outraged)
So what did you say to him?
(Proudly)
NATHAN
ADELAIDE
I told him. I says, “I’ll meet whoever I want!”
NATHAN
Well, don’t upset yourself. How’s your cold?
ADELAIDE
Oh, it’s much better, thank you—Nathan! Happy Anniversary!
GUYS & DOLLS
A present! For me? I hope you like it. A belt! Read the card!
— 17 —
NATHAN ADELAIDE NATHAN ADELAIDE NATHAN
“Sugar is sweet, and So is jelly, so put this belt around your belly.” That’s so sweet. Look, honey—about your present. I was going to get you a diamond wrist watch, with a gold band, and two rubies on the side. Nathan, you shouldn’t have. It’s all right—I didn’t—I’m sorry.
ADELAIDE NATHAN ADELAIDE
(Gets in front of him—he puts his arms around her)
No, I kinda like it when you forget to give me presents. It makes me feel like we’re married.
NATHAN
Don’t worry, honey—one of these days I’ll be in the money, and you’ll have more mink than a mink.
ADELAIDE
Nathan darling, I can do without anything just so long as you don’t start running the crap game again.
(Fondly—back away to R.)
NATHAN
The crap game! What an absurd thought!
(BENNY and NICELY enter from R.1)
Psst!
(NATHAN turns to him)
BENNY
Twelve hundred cheesecake and fifteen hundred strudel.
— 18 —
GUYS & DOLLS
Huh?
NATHAN NICELY
Yesterday Mindy sold twelve hundred cheesecake and fifteen hundred strudel.
NATHAN
More strudel than cheesecake. That’s great! Nathan! What is this? Nothing, honey.
ADELAIDE NATHAN
(HARRY THE HORSE enters frozen L.1)
Hey! Any news yet? Not yet, Harry, I’ll let you know. O.K., Detroit.
(Exit L.1)
What was that about? His wife’s having a baby. Why’s he asking you?
HARRY
NATHAN HARRY
ADELAIDE NATHAN ADELAIDE NATHAN
He’s nervous—it’s his first wife. Look, Adelaide, I’m expecting a fellow and I know you’re hungry—
ADELAIDE
Nathan, are you trying to get rid of me?
NATHAN
No, I just don’t want your sandwich to get soggy. Fellows—
(He crosses ADELAIDE to BENNY, sees SKY approaching)
—Why don’t you take Adelaide to the drugstore?
GUYS & DOLLS
(To her)
— 19 —
(NATHAN)
You see, honey, you’ve got a cold, and it’s across the street, and there’re a lot of open manholes around—
LIGHT CUE
ADELAIDE
(As she is being borne away by BENNY and NICELY—they raise her up and exit R.1)
Nathan darling, you’re so thoughtful. You’re just the sweetest person. Goodbye.
(NATHAN is alone. He paces a moment, peers off. SKY Masterson enters L.1. #2 Street Traveller closes)
NATHAN
Hey, Masterson! Glad to see you, Sky! Nathan! You old promoter, you!
LIGHT CUE
How are you, Sky? You look great!
SKY
NATHAN SKY
Feel great, Nathan. Two wonderful weeks out West in Nevada. Great place! Beautiful scenery, healthful climate, and I beat ‘em for fifty G’s at blackjack.
NATHAN
Fifty G’s!—Going to be in town long? No. Flying to Havana tomorrow. Havana?
SKY
NATHAN SKY
Yes, there’s a lot of action down there. Want to come with me?
NATHAN
No, I got a lot of things to do— Meantime, how about dropping over to Mindy’s for a piece of cheesecake? They sell a lot of cheesecake.
SKY
No, I’m not hungry—Tell me, how’s Adelaide?
— 20 —
GUYS & DOLLS
NATHAN
Oh, fine, fine. Still dancing at the Hot Box.
SKY
I suppose one of these days you’ll be getting married? We all got to go some time.
NATHAN SKY
But, Nathan, we can fight it. Guys like us, Nathan—we got to remember that pleasant as a doll’s company may be, she must always take second place to aces back to back.
(His mind on other matters)
NATHAN
Yeah—yeah.
(Back to business)
Tell me—you hungry yet? Maybe we could go into Mindy’s and have a piece of cheesecake or strudel or something? No. I think I’ll go get the late results.
SKY
(Crosses to L.—takes scratch sheet from pocket)
Oh!
NATHAN
(Crosses to Sky)
But you will admit that Mindy has the greatest cheesecake in the country?
SKY
Yes, I’m quite partial to Mindy’s cheesecake.
NATHAN
Who ain’t? And yet there are some people who like Mindy’s strudel.
(SKY seems disinterested)
Offhand, which do you think he sells more of, the cheesecake or the strudel?
SKY
Well, I never give it much thought. But if everybody is like I am, I’d say Mindy sells much more cheesecake than strudel. For how much?
NATHAN
GUYS & DOLLS
Huh? For how much?
— 21 —
SKY NATHAN SKY
Why, Nathan, I never knew you to be a betting man. You always take your percentage off the top.
(Crosses to R.)
NATHAN
Well, for old times’ sake I thought I’d give you a little action. I will bet you a thousand bucks that yesterday Mindy sold more strudel than cheesecake.
(Crosses to Nathan to R.C.)
Nathan, let me tell you a story— Oh—
SKY
NATHAN SKY
When I was a young man about to go out into the world, my father says to me a very valuable thing. He says to me like this: “Son,” the old guy says, “I am sorry that I am not able to bankroll you to a very large start, but not having any potatoes to give you I am now going to stake you to some very valuable advice. One of these days in your travels a guy is going to come to you and show you a nice brand-new deck of cards on which the seal is not yet broken, and this guy is going to offer to bet you that he can make the Jack of Spades jump out of the deck and squirt cider in your ear. But son, do not bet this man, for as sure as you stand there you are going to wind up with an earful of cider.” Now, Nathan, I do not claim that you have been clocking Mindy’s cheesecake— You don’t think that—
NATHAN SKY
However, if you’re really looking for some action—
(Crosses to Nathan, puts his hand across his chest hiding Nathan’s necktie)
I will bet you the same thousand that you do not know the color of the necktie you have on.
(We can tell from NATHAN’s expression that his entire life is passing before him as he fails to remember the color)
Well?
— 22 —
GUYS & DOLLS
(Dismally)
NATHAN
No bet.
(SKY removes his hand. NATHAN looks disgustedly at the color of his tie)
Blue. What a crazy color.
(BENNY and NICELY enter)
BENNY
Nathan, we took Adelaide to the drugstore— Don’t bother me.
(He pushes BENNY who falls)
Hi ya, Sky! Good. How’s it with you fellows? Not bad.
(Rises)
NATHAN
NICELY SKY BENNY
NICELY
Nicely, nicely. We took Adelaide to the drugstore, and she says for you to be sure to pick her up after the show at the Hot Box and Don’t be late. Yes, dear. I mean yes—
NATHAN SKY
Yes, dear. That is husband talk if I ever heard it. Nathan, you are trapped. In Adelaide you have the kind of a girl that is most difficult to unload.
(Crosses to L.)
NATHAN
I don’t want to unload her. I love Adelaide. And a guy without a doll—well, if a guy does not have a doll—who would holler at him? A doll is a necessity.
SKY
Nathan, I am not putting the rap on dolls. I just say a guy should have them around when he wants them, and they are easy to find.
GUYS & DOLLS
Not dolls like Adelaide!
— 23 —
NATHAN SKY
Nathan, figuring weight for age, all dolls are the same.
NATHAN
Oh, yeah?
SKY
Yeah! Then how come you ain’t got a doll?
NATHAN
(Crosses to Nicely)
How come you’re going to Havana alone without one?
SKY
I like to travel light, but if I wish to take a doll to Havana there is a large assortment available.
(MISSION GROUP is heard singing off stage L.1)
#5—Follow The Fold (Reprise) NATHAN
Not real high class dolls!
SKY
Any doll! You name her!
NATHAN
Any doll? And I name her! Will you bet on that? Will you bet a thousand dollars that if I name a doll you will take her to Havana tomorrow? You got a bet!
SKY
MISSION GROUP
(offstage)
FOLLOW THE FOLD
AND STRAY NO MORE,
STRAY NO MORE, STRAY NO MORE. PUT DOWN THE BOTTLE
AND WE’LL SAY NO MORE
FOLLOW, FOLLOW THE FOLD.
(THE MISSION GROUP enters, singing, headed by SARAH. TWO SPECTATORS follow them on. SARAH stops stage L.C. NATHAN crosses to C., points to Sarah)
I name her.
NATHAN SKY
(Puts his hand to his ear, then withdraws it)
Her! Cider!
(MISSION GROUP)
FOLLOW THE FOLD
AND STRAY NO MORE, STRAY NO MORE,
STRAY NO MORE.
— 24 —
GUYS & DOLLS
BLACKOUT.
Wipe with # Traveller. #2 Street traveller opens. Lights dim in behind #1 traveller. #1 traveller opens to Mission Interior
GUYS & DOLLS
— 25 —
ACT I, Scene ii: Interior Save-a-Soul Mission LIGHT CUE
The Mission Band files in. AGATHA, CALVIN and MARTHA exit into Room R. SARAH goes down R. ARVIDE places bass drum up R. against window—hat on chair. Standing stage C. is a painted sign in block letters. It reads: “There is no peace unto the wicked—Proverbs 23, 9.” SARAH puts tambourine on barber chair. Takes hat and coat off—places on barber chair.
SARAH
Some day I’m going to take a pick-axe and rip up Broadway from end to end.
(Sits at school desk, busies herself with papers)
They do that every day.
ARVIDE
(He crosses to armchair, picks up Mission newspaper which is in chair and sits and reads. SKY MASTERSON is seen on street through window. He enters from stage R. then stops and looks in through window when he gets to stage L. After a moment he enters through door to stage C. He assumes an air of repentance)
Do you take sinners here?
(Rising, coming to Sky)
Indeed we do!—Sarah!
(Rises)
How do you do?
SKY
ARVIDE
SARAH
ARVIDE
My name is Abernathy. Arvide Abernathy. Sky Masterson.
SKY
(And suddenly his head drops into his hands)
SARAH
(Crosses to SKY—ARVIDE moves towards SKY)
What’s wrong?
— 26 —
GUYS & DOLLS
What is the trouble? My heart is heavy with sin. You poor man.
ARVIDE SKY ARVIDE SKY
(Crosses, sits in armchair C. SARAH crosses D.L.)
I have wasted my life in gambling and evil betting. But I have suddenly realized the terrible things that betting can lead to.
(A side glance at Sarah) (Calling)
ARVIDE
Agatha!
(AGATHA sticks her head out of door R.)
Coffee!
(AGATHA exits—ARVIDE crosses D.L. of SKY)
SARAH
Didn’t I see you a little while ago on Broadway?
SKY
Possibly. I have been wandering around, trying to get up the courage to come here.
SARAH
And you’re willing to give up gambling?
SKY
Gladly. I would never have become a gambler at all had I not fallen in with evil companions who were always offering me sucker bets.
(AGATHA enters with two cups of coffee on tray) (Crosses down to Sarah’s L.)
Here, young man.
ARVIDE
SKY
(Takes a sip of the coffee. Rises, crosses to Sarah)
Thank you. It makes me feel good just to talk to you people.
GUYS & DOLLS
ARVIDE
You just go right on talking to Sister Sarah, and you’ll be all right. I’m glad you found us. The Bible says, “Seek and ye shall find.” Very good!
SKY
ARVIDE
(Still hanging on to Sky’s hand)
I wish we could reach more sinners like you. We are out every day, trying. Maybe you should try the night time. How’s that?
SKY
ARVIDE SKY
As a former sinner, I happen to know that the best time to find sinners is between midnight and dawn. You might even try having an all-night session against the Devil.
ARVIDE
A very good suggestion indeed! Thank you, Brother Masterson! You’re welcome.
(Pointedly, with an eye on Sarah) (Drinks coffee)
SKY
ARVIDE
Coffee is so good I can’t understand why it isn’t a sin.
(Exits R. SARAH sits at desk. SKY places hat on single chair) (Looking after Arvide)
SKY
Fine old gentleman. I suppose he sort of—looks after you—? We look after each other.
SARAH SKY
Uh-huh. I suppose if either of you goes someplace, the other goes along?
— 27 —
— 28 —
GUYS & DOLLS
Yes, of course. Of course.
(Hands SKY pamphlet)
SARAH SKY SARAH
Here are two of our pamphlets I’d like you to read. They will give you a good deal of comfort. Thank you.
SKY
SARAH
And we’re holding a midnight prayer meeting on Thursday, which I’m sure you will wish to attend.
(Rises, crosses to drawer at shoe stand. Gets paper)
SKY
I’m sure—Miss Sarah, I hope you will not think I am getting out of line, but I think it is wonderful to see a pretty doll—uh—a nice-looking lady like you—sacrificing herself for the sake of others.
(Crosses two steps to R.)
Staying here in this place—do you ever go any place else? Travel or something?
(Sits at desk)
I would like to go to Africa.
SARAH
SKY
That’s a little far. But there are a lot of wonderful places just a few hours from New York, by plane. Ever been in a plane? No. Oh, it’s wonderful—
SARAH SKY SARAH
Here is another pamphlet that I think you should read.
(Gives him pamphlet)
GUYS & DOLLS
— 29 —
SKY
Thank you—Of course I will need a lot of personal help from you. My heart is as black as two feet down a wolf’s gullet.
SARAH
I’ll be speaking at the Thursday prayer meeting.
SKY
I need private lessons. Why don’t we have dinner or something? I think not, Mr. Masterson.
SARAH SKY
Sorry, just blossoming under the warmth of your kindness—
(Strolling around, looking the place over)
Hey—
(Crosses up C. to sign)
That’s wrong.
What’s wrong? That’s not Proverbs—it’s Isaiah. It’s proverbs.
SARAH SKY SARAH SKY
Sorry. “No peace unto the wicked.”—Isaiah, Chapter 57, Verse 22.
(SARAH crosses to Bible stand, opens it. Behind his back SARAH looks up quotation in Bible. Slams the book shut) (Without turning)
Isaiah? Isaiah.
(Sits at desk)
SKY
SARAH
SKY
There are two things been in every hotel room in the country. Sky Masterson, and the Gideon Bible. I must have read the Good Book ten or twelve times.
— 30 —
GUYS & DOLLS
You’ve read the Bible twelve times?
SARAH SKY
What’s wrong with the Bible? Besides, in my business the strangest information frequently comes in handy. I once won five G’s on a parlay, Shadrach, Mischach, and Abednego.
SARAH
Tell me, Mr. Masterson, why are you here? I told you. I’m a sinner. You’re lying.
SKY
SARAH SKY
Well, lying’s a sin—Look, I’m a big sinner. If you get me, it’s eight to five the others’ll follow. You need sinners, don’t you? We’re managing.
SARAH SKY
Let’s be honest. This Mission is laying an egg.
(SHE is silent)
Why don’t you let me help you? I’ll bet I can—
(Crosses R. a few steps)
—fill this place with sinners. I don’t bet. I’ll make you a proposition.
SARAH SKY
(Picks up cardboard from chair, writes marker)
When is this big meeting of yours—Thursday? I will guarantee to fill that meeting with one dozen genuine sinners. I will also guarantee that they will sit still and listen to you. And what’s my end of the bargain?
SARAH
GUYS & DOLLS
Have dinner with me.
— 31 —
SKY SARAH
Why do you want to have dinner with me? I’m hungry—Here!
(Gives her marker—SHE takes it)
What’s this?
SKY
SARAH SKY
Sky Masterson’s marker for twelve sinners. If you don’t think it’s good, ask anybody in town. I-0-U.—one dozen sinners.
(He hands her red cardboard marker)
I’ll pick you up at noon tomorrow, for dinner. At noon? It’ll take us some time to get there. To get where?
(Picks up hat from single chair)
To my favorite restaurant. Where is that?
El Café Cubana, in Havana.
(Rises)
El Café Cubana, Havana?
SARAH SKY SARAH SKY
SARAH SKY SARAH
SKY
Where do you want to eat? Howard Johnson’s! Havana!
SARAH
— 32 —
GUYS & DOLLS
(Crosses to her)
SKY
Why not? The plane gets us there in five hours and back the same night. And the food is great.
SARAH
(Crosses to cabinet R. with sheet of paper)
I now realize, Mr. Gambler, when you were describing the blackness of your heart, you didn’t do yourself justice.
(She opens drawer of cabinet, takes out typewritten sheet of paper. SKY goes to her and as he does he drops his hat on armchair)
SKY
And I now realize, Sister Sarah, that no matter how beautiful a Sergeant is, she’s still a Sergeant. Please go away.
SARAH SKY
Why don’t you change your pitch, Sarge—Come to the Mission one and all, except Guys. I hate Guys! I don’t hate anybody. Except me.
SARAH SKY
(SHE looks at him)
I am relieved to know that it’s just me personally and not all guys in general. It is nice to know that somewhere in the world there’s a guy who might appeal to the Sergeant. I wonder what this guy will be like?
(Slams drawer. Crosses to D.C.)
He will not be a gambler.
(Crosses to her)
SARAH
SKY
I am not interested in what he will not be—I am interested in what he will be. Don’t worry, I’ll know—
LIGHT CUE
SARAH
GUYS & DOLLS
#6—I’ll Know SARAH
FOR I’VE IMAGINED EV’RY BIT OF HIM, FROM HIS STRONG MORAL FIBRE TO THE WISDOM IN HIS HEAD,
TO THE HOMEY AROMA OF HIS PIPE
SKY
YOU HAVE WISHED YOURSELF A SCARSDALE GALAHAD
THE BREAKFAST-EATING BROOKS BROTHERS TYPE
Yes.
SARAH
AND I SHALL MEET HIM WHEN THE TIME IS RIPE.
You’ve got the guy all figured out. I have.
SKY
SARAH SKY
Including what he smokes. All figured out, huh? All figured out.
SARAH
I’LL KNOW WHEN MY LOVE COMES ALONG I WON’T TAKE A CHANCE
FOR OH, HE’LL BE JUST WHAT I NEED
NOT SOME FLY BY NIGHT BROADWAY ROMANCE
(Crosses to her)
SKY
AND YOU’LL KNOW AT A GLANCE
BY THE TWO PAIR OF PANTS
(Crosses to R., passes him)
SARAH
I’LL KNOW BY THE CALM STEADY VOICE
THOSE FEET ON THE GROUND
(HE sits in single chair)
— 33 —
— 34 —
GUYS & DOLLS
(SARAH)
I’LL KNOW, AS I RUN TO HIS ARMS
THAT AT LAST I‘VE COME HOME SAFE AND SOUND
AND TILL THEN I SHALL WAIT
AND TILL THEN I’LL BE STRONG
FOR, I’LL KNOW WHEN MY LOVE COMES ALONG.
SKY
(Rises, crosses to her R.C. Shaking his head, spoken)
No, no—no—you’re talking about love. You can’t dope it like that. What are you picking, a guy or a horse?
SARAH
(Spoken)
I wouldn’t expect a gambler to understand.
SKY
Would you like to hear how a gambler feels about the big heart throb?
SARAH
No! Well, I’ll tell you—
(Sings)
SKY
MINE WILL COME AS A SURPRISE TO ME
MINE, I LEAVE TO CHANCE—AND CHEMISTRY.
(Crosses two steps L.) (Turns to him)
Chemistry?
(crosses to her)
SARAH
SKY
Yeah, chemistry.
(Singing)
SUDDENLY I’LL KNOW, WHEN MY LOVE COMES ALONG
I’LL KNOW, THEN AND THERE
I’LL KNOW, AT THE SIGHT OF HER FACE
HOW I CARE, HOW I CARE, HOW I CARE
GUYS & DOLLS
— 35 —
(SKY)
AND I’LL STOP AND I’LL STARE
AND I’LL KNOW LONG BEFORE WE CAN SPEAK I’LL KNOW IN MY HEART
I’LL KNOW. AND I WON’T EVER ASK:
“AM I RIGHT? AM I WISE? AM I SMART?”
BUT I’LL STOP AND I’LL STARE AT THAT FACE IN THE THRONG
YES, I’LL KNOW WHEN MY LOVE COMES ALONG. I’IL KNOW.
(Duet)
SARAH
SARAH & SKY
WHEN MY LOVE COMES ALONG.
(SKY kisses her.) LIGHT CUE
#6a—I’ll Know (Addenda) (THEY stand looking at each other as the music continues in the orchestra. SARAH is standing with her hands at her sides, she has been moved by Sky’s lyric and is really fascinated by this cobra. SKY senses that he has made a dent in her defenses. He puts his arms around her and kisses her tenderly. SHE submits to this but doesn’t respond. HE releases her and picks up his hat and crosses up L. by door. SHE stands, seemingly entranced. HE stands watching her. SHE has been staring off into space. SHE turns to him. HE looks at her in anticipation. SHE walks towards him, floating on air. HE stands confidently anticipating another clinch. SHE reaches him and hauls off and belts him one across the chops—but really! SKY drops his hat. He reaches down and recovers it while rubbing his cheek)
SKY
I’ll drop in again in case you want to take a crack at the other cheek.
(He turns and exits L.3. SARAH moves down to desk) MUSIC CUE
#6b—I’ll Know (Vocal Finish) (SARAH looks at the marker, picks it up from desk and throws it into waste basket in front of desk and sings—)
— 36 —
GUYS & DOLLS
LIGHT CUE
SARAH
I WON’T TAKE A CHANCE
MY LOVE WILL BE JUST WHAT I NEED
NOT SOME FLY-BY-NIGHT BROADWAY ROMANCE AND TILL THEN I SHALL WAIT
AND TILL THEN I’LL BE STRONG
FOR I’LL KNOW WHEN MY LOVE COMES ALONG.
#6c—Change of Scene (Scene 2 to 3) Lights Fade out to Black. #2 Traveller closes. Phone set piece pulled on from R.1 and set on marks at stage R. Front arc spots hit phone booth and NATHAN—
GUYS & DOLLS
— 37 —
ACT I, Scene iii: Wall telephone—coin box LIGHT CUE
The Arc spots come on and we find NATHAN DETROIT at the phone. During the following conversation JOEY’s VOICE will be heard over the speaker system from the theatre boxes R. and L.
NATHAN
Hello—hello, is this the Biltmore Garage?—Let me talk to Joey Biltmore. Who’s this? Nathan Detroit. This is Joey. What do you want?
JOEY’S VOICE NATHAN JOEY’S VOICE NATHAN
Joey, I’m calling about the—er—you know. The what?
(Whispering)
The crap game. The what?
(A shade louder)
The crap game.
Wait a minute—I got a customer. Hurry it up, will you?
JOEY’S VOICE NATHAN
JOEY’S VOICE NATHAN
JOEY’S VOICE NATHAN
(Three explosions over the phone, ending in one great big one; NOTE: This is done with gun shots and the dropping of a heavy chain on a metal plate)
JOEY’S VOICE
That’ll be eight dollars—What did you say, Nathan?
— 38 —
GUYS & DOLLS
NATHAN
(Loud)
The crap game.
JOEY’S VOICE
Don’t say that on the phone—suppose the cops are listening.
NATHAN
(Whispering)
I’m sorry, the dice game—Look, Joey, is it okay if I use your place tomorrow night? If I get a thousand bucks. I’ll have it tomorrow. Then call me tomorrow.
JOEY’S VOICE NATHAN JOEY’S VOICE NATHAN
Listen, Joey, if you’re going to take that attitude I’ll have the game someplace else. Then have it someplace else.
JOEY’S VOICE NATHAN
(Shouting)
Where else can I have it?—
(Softening)
Joey, the dough is guaranteed. Would I lie to you? Yes!
JOEY’S VOICE
I’m getting it from Sky Masterson. How do you know?
NATHAN
JOEY’S VOICE NATHAN
It’s a bet—I can’t lose. I bet him he could not take a doll to Havana. Why couldn’t he?
JOEY’S VOICE
GUYS & DOLLS
NATHAN
Because she ain’t the kind of doll that goes to Havana. Where does she go?
JOEY’S VOICE NATHAN
She don’t go no place. That’s why I know I’m gonna win.
JOEY’S VOICE
Don’t be so sure—It ain’t a horse, it’s a doll— But Joey—
NATHAN
JOEY’S VOICE
Nathan, there will be no crap game here tomorrow unless I get my dough in advance.
NATHAN
Joey, you’ve known me for a long time. That’s why I want it in advance.
JOEY’S VOICE NATHAN
Well, I can’t talk no more—I got to meet Adelaide at the Hot Box. Look, just one thing. Can I at least tell the guys that the game is gonna be at your place? Not till I get the dough. Okay, you’ll get it. Goodbye! Goodbye!
JOEY’S VOICE NATHAN
JOEY’S VOICE NATHAN
I hope you get stabbed by a Studebaker!
BLACKOUT.
#7—Fanfare Phone booth is pulled off stage R. #2 traveller opens. Lights dim up on—Hot Box—
— 39 —
— 40 —
GUYS & DOLLS
ACT I, Scene iv: The Hot Box—nightclub LIGHT CUE
Discovered—MASTER OF CEREMONIES standing in front of microphone Stage C. The place is well crowded.
MASTER OF CEREMONIES
And now for the Grand Finale of our round the world revue—we take you down on the farm with our star Miss Adelaide and the Hot Box Farmerettes.
#7a—A Bushel and a Peck (DANCING GIRLS enter from R.2 and L.2 in abbreviated Farmerette costumes with large hats and carrying rakes, hoes, pitchforks. There are two large pumpkins, two scarecrows on stage—after dance by GIRLS, ADELAIDE enters from R.2; carrying basketful of ears of corn she crosses to stage L., throws ear of corn to two spectators. GIRL DANCER (ALLISON) brings pumpkin down to stage L.C. GIRL DANCER (FERGUSON) brings scarecrow down to R. of pumpkin. GIRL DANCER (VERNON) gets two implements from two men stage L.)
DOLLS
(With doll voices)
HE LOVES ME
HE LOVES ME NOT HE LOVES ME
HE LOVES ME NOT
(The frustrated bump) UH-UH
(ADELAIDE enters) (Sits on pumpkin)
ADELAIDE
I LOVE YOU A BUSHEL AND A PECK
A BUSHEL AND A PECK
AND A HUG AROUND THE NECK
HUG AROUND THE NECK
AND A BARREL AND A HEAP
BARREL AND A HEAP
AND I’M TALKIN’ IN MY SLEEP
ABOUT YOU—
GUYS & DOLLS
ABOUT YOU— ABOUT YOU—
GIRLS ADELAIDE
MY HEART IS LEAPIN’,
GIRLS
HAVIN’ TROUBLE SLEEPIN’
ADELAIDE
‘CAUSE I LOVE YOU A BUSHEL AND A PECK
YOU BET YOUR PRETTY NECK I DO—
(GIRLS move heads from R. to L. 8 times)
ADELAIDE & GIRLS
DOODLE, OODLE, OODLE,
DOODLE, OODLE, OODLE,
DOODLE, OODLE, OODLE, OOO.
(GIRLS change positions)
DOODLE, OODLE, OODLE,
DOODLE, OODLE, OODLE,
DOODLE, OODLE, OODLE, OOO.
(NATHAN enters from stage R.2, sits on L. of table stage R. He calls to ADELAIDE. She crosses to him. GIRL DANCER—FERGUSON—looks for Adelaide, runs to her, taps her on the shoulder and ADELAIDE leaves Nathan to continue song—she yells “Here chick, chick, chick,”—throws her ear of corn to NATHAN, which he catches)
ADELAIDE & GIRLS
I LOVE YOU A BUSHEL AND A PECK
A BUSHEL AND A PECK, THO’ IT BEATS ME ALL TO HECK
(ADELAIDE slaps R. leg)
ADELAIDE
BEATS ME ALL TO HECK
HOW I’LL EVER TEND THE FARM,
EVER TEND THE FARM,
WHEN I WANT TO KEEP MY ARMS
ABOUT YOU—
ABOUT YOU—
GIRLS
— 41 —
— 42 —
GUYS & DOLLS
ADELAIDE
ABOUT YOU—
GIRLS
THE COWS AND CHICKENS ARE GOING TO THE DICKENS
ADELAIDE
‘CAUSE I LOVE YOU A BUSHEL AND A PECK
YOU BET YOUR PRETTY NECK I DO
(GIRLS and ADELAIDE exit R.2) LIGHT CUE
ADELAIDE & DOLLS
DOODLE, OODLE, OODLE,
DOODLE, OODLE, ODDLE,
DOODLE, ODDLE, OODLE, OO. GOOD-BYE NOW!
DOODLE, OODLE, OODLE,
DOODLE, OODLE, ODDLE,
DOODLE, ODDLE, OODLE, OO.
(Repeat “doodles” until they ALL exit)
#7b—The Customers Exit (WAITER enters from R.2 with cup of coffee which he places on table front of NATHAN—WAITER crosses to stage L., picks up pumpkin and takes off stage L.2. WAITER enters from stage L.2 with push broom and starts sweeping up petals that were used in number by dancing girls. ORCHESTRA plays “HOME, SWEET HOME” signifying the place is closing.
PATRONS exit R.2, some a little tight—NATHAN hums “BUSHEL AND A PECK” to himself as the WAITER is sweeping up)
(Singing)
NATHAN
I LOVE YOU A BUSHEL AND A PECK—
THAT LOUSY JOEY BILTMORE—
(ADELAIDE enters from stage R.2 dressed in dressing gown, carrying a cardboard box with “Sally’s Wedding Shop.” printed on it, also a book. She places cardboard box on table R.
GUYS & DOLLS
NATHAN rises as ADELAIDE enters and throws ear of corn upstage. HE turns to ADELAIDE who rushes into his arms) LIGHT CUE
Hello, Nathan.
ADELAIDE
(Placing cardboard box back of table, THEY embrace)
Hello, pie face. How are you, handsome. Fine. What have you got there? A book.
NATHAN
ADELAIDE NATHAN ADELAIDE NATHAN
A book! You’re always reading books. You’re becoming a regular bookie.
ADELAIDE
Nathan darling, this is very interesting. The doctor gave it to me. I went to him about my cold.
(Sits in chair with book in hand)
How is your cold?
NATHAN ADELAIDE
It’s the same. So the doctor asked me how long I had had it, and I told him a long time, and I said I thought it was on account of my dancing with hardly any clothes on, which is what I usually wear, so he said to read this book, because he said it might be due to psychology. You haven’t got that, have you?
NATHAN
ADELAIDE
Nathan, this is the psychology that tells you why girls do certain kinds of things.
NATHAN
Oh!—Would it tell you what kind of a doll would go for a certain kind of a guy which you wouldn’t think she would do so?
— 43 —
— 44 —
GUYS & DOLLS
What do you mean?
ADELAIDE NATHAN
I’m just for instance. There are certain dolls you can almost bet they wouldn’t go for certain guys.
ADELAIDE
Nathan, no matter how terrible a fellow seems, you can never be sure that some girl won’t go for him. Take us. Yeah.
NATHAN
ADELAIDE
(Rises, places book on table, crosses to Nathan)
Nathan darling. Starting with next week, I’m going to get a raise. So with what I’ll be making, I wondered what you would think—maybe we could finally get married.
NATHAN
(Loosening his collar as he feels the strain)
Well, of course we’re going to, sooner or later. I know, Nathan—
ADELAIDE
(Sneeze)
—but I’m starting to worry about Mother.
NATHAN
Your mother? What about your mother?
ADELAIDE
Well, Nathan, this is something I never told you before, but my mother, back in Rhode Island—
(Sits in chair L. of table)
—she thinks we’re married already.
NATHAN
Why would she think a thing like that?
ADELAIDE
I couldn’t be engaged for fourteen years, could I? People don’t do that in Rhode Island. They all get married. Then why is it such a small State?
NATHAN
GUYS & DOLLS
ADELAIDE
Anyway—I wrote her I was married.
(Standing)
You did, huh?
(Each word coming through pain)
NATHAN
ADELAIDE
Uh, huh. Then, after about two years—
(She comes to a halt)
What after about two years?
(In a very small voice)
We had a baby.
(Crosses to L.)
NATHAN ADELAIDE
NATHAN
You told your mother we had a baby?
(Rises, crosses to him)
ADELAIDE
I had to, Nathan. Mother wouldn’t have understood if we hadn’t. What type baby was it?
NATHAN
ADELAIDE
It was a boy. I named it after you, Nathan. Thank you. You’re welcome.
(Crosses way to C.)
NATHAN
ADELAIDE
NATHAN
And—uh—where is Nathan, Jr., supposed to be now? He’s in boarding school.
ADELAIDE
— 45 —
— 46 —
GUYS & DOLLS
(HE nods)
(ADELAIDE)
I wrote Mother he won the football game last Saturday. I wish I had a bet on it. But Nathan—
NATHAN
ADELAIDE
(Turns away)
—that’s not all, Nathan.
(Crosses to her—a pause)
Don’t tell me he has a little sister.
NATHAN
ADELAIDE
All those years, Nathan. Mother believes in big families.
(Puts hands to ears)
Just give me the grand total.
(Hardly able to get the word out)
Five.
(Crosses to L.)
NATHAN
ADELAIDE
NATHAN
Your mother must be a glutton for punishment.
(Crosses to him)
ADELAIDE
Anyway, Nathan, now we’re finally getting married, and it won’t be a lie any more.
(A high moral tone)
NATHAN
Adelaide, how could you do such a thing! To a nice old broad like your mother?
ADELAIDE
But Nathan, you don’t even know my mother!
NATHAN
But I’ll be meeting her soon, and what’ll’ I tell her?
GUYS & DOLLS
(Crosses to R., pass Adelaide)
(NATHAN)
What’ll I tell her I did with the five kids? Traded them to the Phillies or something. What are we going to do?
(Crosses to Nathan)
We could get married.
ADELAIDE
NATHAN
But marriage ain’t something you jump into like it was a kettle of fish.
(Feeling his collar again)
We ain’t ready.
I’m ready, Nathan.
ADELAIDE
(Crosses to table R., picks up box)
What do you think I got in this box?
(Showing him box)
Nathan! What do you think I got in this box?
(Reading cover of box)
NATHAN
“Sally’s Wedding Shop.” I can’t guess.
ADELAIDE
It’s a wedding veil. I’ve had it for three years. I won’t show it to you, because it’s bad luck—Would you like to see it? It’s bad luck.
NATHAN
ADELAIDE
So you see, Nathan darling, I got the veil.
(Puts box down on table)
All we need now is our license and our blood test.
(Crosses to Adelaide)
Our what?
NATHAN
— 47 —
— 48 —
GUYS & DOLLS
Blood test. It’s a law.
ADELAIDE NATHAN
What a city! First they close my crap game, then they open my veins.
ADELAIDE
Nathan, you’ re not planning to run your crap game again?
NATHAN
Adelaide, how can you think such a thing! Why do you think I give up the crap game. It’s because I love you, and I want us two to be the happiest married couple that there is in the world—
(MIMI enters half undressed, wearing a short robe)
MIMI
Anybody see an earring out here?
(She is searching the floor)
(Giving a perfunctory look)
ADELAIDE
I don’t think so.
MIMI
(Seeing Nathan)
You! I’m all dated up tomorrow with Society Max and he breaks it on account of your dopey crap game. Honest, Adelaide, I pity you—
(Sees earring on floor and picks it up)
Oh, here it is.
(She exits R.2. ADELAIDE furiously crosses to Nathan—NATHAN gets down on his knees pleadingly with outstretched arms)
NATHAN
Adelaide, look at me. I’m down on my knees.
(Turning away from him)
ADELAIDE
Oh, get up. It reminds me of your crap game.
(Crosses to R. She sneezes)
GUYS & DOLLS
(Crosses behind Adelaide to her R.)
— 49 —
NATHAN
Look, you’re getting yourself upset—you and I are going to be all right—after all, we love each other, and we’re going to get married— I don’t believe you any more.
ADELAIDE NATHAN
But it’s true. You’ll feel better tomorrow; come on, cheer up, honey—
(He crosses to her and chucks her under the chin)
Let’s see that old smile—
(No response)
That’s my girl. See you tomorrow.
(SHE sneezes. HE rushes off R.1. ADELAIDE crosses to table R., picks up book)
#8—Adelaide’s Lament ADELAIDE
(Reading)
It says here—
(Singing)
THE AVERAGE UNMARRIED FEMALE, BASICALLY INSECURE
DUE TO SOME LONG FRUSTRATION, MAY REACT
(Sits chair R.)
WITH PSYCHOSOMATIC SYMPTOMS,
DIFFICULT TO ENDURE
AFFECTING THE UPPER RESPIRATORY TRACT.
(Looks up from book)
IN OTHER WORDS, JUST FROM WAITING AROUND
FOR THAT PLAIN LITTLE BAND OF GOLD.
A PERSON—CAN DEVELOP A COLD YOU CAN SPRAY HER WHEREVER
YOU FIGURE THE STREPTOCOCCI LURK
— 50 —
GUYS & DOLLS
(ADELAIDE)
YOU CAN GIVE HER A SHOT FOR WHATEVER SHE’S GOT
BUT IT JUST WON’T WORK
IF SHE’S TIRED OF GETTING THE FISH-EYE
FROM THE HOTEL CLERK
A PERSON—CAN DEVELOP A COLD.
(Reads again)
It says here: —Note:
THE FEMALE REMAINING SINGLE, JUST IN THE LEGAL SENSE SHOWS A NEUROTIC TENDENCY;—SEE NOTE—
(Looks at note)
CHRONIC, ORGANIC SYNDROMS, TOXIC OR HYPERTENSE
INVOLVING THE EYE, THE EAR, AND THE NOSE, AND THROAT
(Looks up, puts book down and rises, crosses down C.)
IN OTHER WORDS, JUST FROM WORRYING
WHETHER THE WEDDING IS ON OR OFF A PERSON—CAN DEVELOP A COUGH. YOU CAN FEED HER ALL DAY
WITH THE VITAMIN A AND THE BROMO FIZZ
BUT THE MEDICINE NEVER GETS ANYWHERE NEAR WHERE THE TROUBLE IS
IF SHE’S GETTING A KIND OF NAME FOR HERSELF
AND THE NAME AIN’T HIS
A PERSON—CAN DEVELOP A COUGH. AND FURTHERMORE, JUST FROM STALLING AND STALLING
AND STALLING THE WEDDING TRIP
A PERSON—CAN DEVELOP LA GRIPPE.
(Back up to table with sweet meditation)
WHEN THEY GET ON THE TRAIN FOR NIAGARA,
AND SHE CAN HEAR CHURCH BELLS CHIME
(Sits in chair R. of table)
THE COMPARTMENT IS AIR CONDITIONED,
AND THE MOOD SUBLIME
GUYS & DOLLS
(Suddenly angry, SHE pounds box. Rises, crosses D.R.C.)
(ADELAIDE)
THEN THEY GET OFF AT SARATOGA,
FOR THE FOURTEENTH TIME
A PERSON—CAN DEVELOP LA GRIPPE HM! LA GRIPPE
LA POST NASAL DRIP—
WITH THE WHEEZES, AND THE SNEEZES, AND A SINUS THAT’S REALLY A PIP
FROM A LACK OF COMMUNITY PROPERTY AND A FEELING SHE’S GETTING TOO OLD
A PERSON—CAN DEVELOP A BAD, BAD COLD.
LIGHT CUE
BLACKOUT
#8a—Change of Scene (Scene 4 to 5) #2 Street Traveller closes. Stage lights dim in to mark
— 51 —
— 52 —
GUYS & DOLLS
ACT I, Scene v: A street off Broadway
#9—Opening – Scene 5 THE MISSION BAND enters from L.1 and crosses from L. to R. They are playing “Follow the Fold.” MARTHA leads, carrying a sign, duplicate of the one we saw in “Mission Interior”—Scene 2, with the exception that it shows that “Proverbs” has been rubbed off and “Isaiah” substituted. AGATHA is behind MARTHA playing the trombone, CALVIN playing the cornet, ARVIDE the bass drum and cymbals, SARAH with her tanbourine. SKY is patiently following along behind. SARAH who is aware of his presence, gives an annoyed flounce as she gets to C. stage. NICELY sneaks on following SKY and notices the looks of annoyance that SARAH gives SKY. He looks after them from stage L.C. as BENNY follows on almost immediately. NICELY is still peering off stage R. as they all exit— Hey! Nicely!
BENNY
(Observing the direction of Nicely’s gaze)
What are you looking at?
(Delighted, turning to Benny)
NICELY
Sky was just following Miss Sarah, and you should have seen her.
(He gives an imitation of Sarah’s snootiness)
She give him a look that would have cooled off a moose at mating time.
(Crosses to R.)
BENNY
Great! Just so he don’t take her to Havana.
NICELY
Havana! He couldn’t take this doll to New Rochelle—Where’s Nathan? He ought to start lining up the game.
BENNY
I don’t know—I suppose trying to see Adelaide. She’s mad at him again.
(Peers off—looks at wristwatch)
NICELY
That Miss Adelaide. She is always taking his mind off honest work.
GUYS & DOLLS
(Crosses to L. pass Nicely)
— 53 —
BENNY
Yes, it’s too bad that a smart businessman like Nathan has to go and fall in love with his own fiancée.
NICELY
Benny, that is his weakness, and we should be tolerant, because I am told that it is a worldwide weakness. Look!
(Points out front)
LIGHT CUE
#10—Guys and Dolls NICELY
WHAT’S PLAYING AT THE ROXY
(Takes BENNY to Stage C.)
I’LL TELL YOU WHAT’S PLAYING AT THE ROXY
A PICTURE ABOUT A MINNESOTA MAN, SO IN LOVE WITH A MISSISSIPPI GIRL THAT HE SACRIFICES EV’RYTHING
AND MOVES ALL THE WAY TO BILOXI
THAT’S WHAT’S PLAYING AT THE ROXY.
(Hits NICELY in Chest)
BENNY
WHAT’S IN THE DAILY NEWS
I’LL TELL YOU WHAT’S IN THE DAILY NEWS
(Shows paper to Nicely)
STORY ABOUT A GUY
WHO BOUGHT HIS WIFE A SMALL RUBY,
WITH WHAT OTHERWISE WOULD HAVE BEEN HIS UNION DUES
THAT’S WHAT’S IN THE DAILY NEWS.
(Puts paper in pocket)
(Takes BENNY to R. stage)
NICELY
WHAT’S HAPPENING ALL OVER?
I’LL TELL YOU WHAT’S HAPPENING ALL OVER.
— 54 —
GUYS & DOLLS
(NICELY)
GUYS SITTING HOME BY A TELEVISION SET,
WHO ONCE USED TO BE SOMETHING OF A ROVER.
BOTH
THAT’S WHAT’S HAPPENING ALL OVER
LOVE IS THE THING THAT HAS LICKED ‘EM
AND IT LOOKS LIKE NATHAN’S JUST ANOTHER VICTIM.
(Gesture with hand to sky)
NICELY
YES SIR,
WHEN YOU SEE A GUY,
REACH FOR STARS IN THE SKY,
YOU CAN BET THAT HE’S DOING IT FOR SOME DOLL.
BENNY
WHEN YOU SPOT A JOHN WAITING OUT IN THE RAIN
(Puts collar up)
CHANCES ARE HE’S INSANE
AS ONLY A JOHN CAN BE FOR A JANE.
NICELY
WHEN YOU MEET A GENT
PAYING ALL KINDS OF RENT
FOR A FLAT THAT COULD FLATTEN THE TAJ MAHAL!
BOTH
CALL IT SAD, CALL IT FUNNY,
BUT IT’ S BETTER THAN EVEN MONEY
(Pound fists)
THAT THE GUY’S ONLY DOING IT FOR SOME DOLL.
(Leans on Nicely)
BENNY
WHEN YOU SEE A JOE
SAVING HALF OF HIS DOUGH
YOU CAN BET THERE’LL BE MINK IN IT FOR SOME DOLL
NICELY
WHEN A BUM BUYS WINE
LIKE A BUM CAN’T AFFORD
GUYS & DOLLS
(NICELY)
IT’S A CINCH THAT THE BUM
IS UNDER THE THUMB OF SOME LITTLE BROAD.
BENNY
WHEN YOU MEET A MUG,
LATELY OUT OF THE JUG,
AND HE’ S STILL LIFTING PLATINUM FOLDEROL
(Gesture with hand plucking)
BOTH
CALL IT HELL, CALL IT HEAVEN,
IT’S A PROBABLE TWELVE TO SEVEN
THAT THE GUY’S
(Pound fists)
ONLY DOING IT FOR SOME DOLL.
(A GUY and DOLL enter R.1.—She has a long cigarette holder. He carries a load of suit boxes and hat boxes. Stops L.C. He takes lighter from pocket and lights cigarette. She blows smoke in his face. She exits L.1, followed by GUY)
BENNY
WHEN YOU SEE A SPORT
AND HIS CASH HAS RUN SHORT
MAKE A BET THAT HE‘S BANKING IT WITH SOME DOLL.
(Crosses to L. of Benny)
NICELY
WHEN A GUY WEARS TAILS
WITH THE FRONT GLEAMING WHITE
WHO THE HELL DO YOU THINK
HE’ S TICKLING PINK
ON SATURDAY NIGHT?
(Crosses to Nicely)
BENNY
WHEN A LAZY SLOB TAKES A GOOD STEADY JOB
AND HE SMELLS FROM VITALIS AND BARBASOL
BOTH
CALL IT DUMB, CALL IT CLEVER,
AH, BUT YOU CAN GIVE ODDS FOREVER
— 55 —
— 56 —
GUYS & DOLLS
(BOTH)
THAT THE GUY’S ONLY DOING IT
FOR SOME DOLL, SOME DOLL, SOME DOLL,
THE GUY’S ONLY DOING IT FOR SOME DOLL!
(Crosses to L. then stop—they BOTH exit L.1 at finish of song)
#2 Broadway Street Traveller opens revealing Exterior of Mission. LIGHT CUE
GUYS & DOLLS
— 57 —
ACT I, Scene vi: Mission exterior.
#11—Opening—Scene 6 It is around lunch time. THE MISSION BAND enters from L.1 headed by CALVIN who is carrying his cornet by his side. It is very obvious that he is tired and discouraged. MARTHA follows carrying the sign that we saw in the previous scene. She is not carrying it erect but at her side. AGATHA is carrying her trombone listlessly— ARVIDE is carrying his drum by his side—also very discouraged and tired. SARAH follows on immediately behind ARVIDE and as she enters she is glancing offstage L. seeing if SKY MASTERSON is following her. Well, we finally lost him.
SARAH
ARVIDE
I do think you should have paid some attention to him.
AGATHA
Yes, he attended every street meeting we had this morning. He must be interested in our work. Very.
SARAH
AGATHA
By the way, you spoke beautifully this morning, Sarah.
SARAH
(Disconsolately—crosses R. to Agatha)
No, I can’t reach these people. I should never have volunteered for this post—Well, let’s go in to lunch.
(AGATHA, CALVIN and MARTHA exit into Mission)
And I was going to convert Broadway all by myself.
(Crosses towards Mission door)
I was going to take these gamblers and have them just begging to come to the Mission.
(She sees Sky’s Marker in trash basket, picks it up. She and Arvide are the only ones of the Mission Band who remain outdoors. GENERAL CARTWRIGHT, the head of the Save-A-Soul Mission enters from stage L.1 just as Sarah angrily throws Marker back into wire trash basket. She sees the GENERAL)
— 58 —
GUYS & DOLLS
General Cartwright! Good morning, Sarah. Arvide. Good morning, General.
(SARAH) GENERAL ARVIDE SARAH
We didn’t know you were coming to town, General.
GENERAL
I got in early this morning. I’ve spent the last hour trying to find you.
(AGATHA appears in the Mission doorway)
SARAH
Oh, I’m sorry. We’ve been holding some extra street meetings, trying to stimulate more interest— Good morning, General.
AGATHA
GENERAL
Good morning—Sarah, there’s something I want to talk to you about.
SARAH
Won’t you come inside—have some lunch with us?
GENERAL
No, I don’t have time, dear. I have several other calls to make—Sarah, we at headquarters have come to a definite conclusion. We have decided to close this branch of the Mission. Oh, no. Close the Mission!
SARAH
ARVIDE SARAH
But, General, please! Someone can do good here, even if I can’t.
GENERAL
Sarah, there are so many calls on us,—
(SARAH crosses to L., pass GENERAL)
—so many other places where our work is really needed.
GUYS & DOLLS
But we are doing much better now.
ARVIDE AGATHA
We’ve announced a big meeting for tomorrow night.
GENERAL
You’ve announced a meeting! But will anyone be here? Will anybody come?
(A second’s pause, then SKY enters from R.1 with quiet dignity)
SKY
Pardon me—I couldn’t help overhearing—General, my name is Sky Masterson, former sinner. How do you do?
GENERAL SKY
How do you do?—I wish to protest the closing of this Mission. I believe Miss Sarah can be a big success here.
GENERAL
I am glad to hear you say that, but I’m not so certain. A dollar will get you ten. What!
SKY
GENERAL
(Looks at Sarah)
General, might I make a suggestion—
SKY
(Goes to trash basket and picks up marker which he conceals in his hat)
Yes.
GENERAL SKY
Why don’t you come to the meeting tomorrow night and find out for yourself—
(Crosses to Sarah and drops marker in her tambourine—then crosses to R.)
Don’t you think that would be a good idea?
GENERAL
Well, if I thought the Mission had a chance—
— 59 —
— 60 —
GUYS & DOLLS
(Looking at Marker in tambourine)
SARAH
General, I personally guarantee you one dozen genuine sinners. Hallelujah!
GENERAL
Hallelujah!
SKY
BLACKOUT
#12—Change of Scene (Scene 6 to 7) #2 Street traveller closes. Stage lights dim up to full.
GUYS & DOLLS
— 61 —
ACT I, Scene vii: Street off Broadway LIGHT CUE
The crap shooters walk on—HARRY THE HORSE is in the lead followed by BIG JULE—after they are all on BENNY enters from L. (Crosses to R., then back to L.)
BENNY
You all got your carnations?
(Ad lib “Yes”)
Remember, no one will be let in to the game without they got red carnations. It’s like a pass word. Okay, but where’s the game?
HARRY
(Exclamations from the mob—NATHAN enters from R.1. BENNY crosses to him)
BENNY
I’ll tell you in a minute. Nathan, is it all set? Can I tell the guys that it’s at the Biltmore Garage?
NATHAN
Not yet. I got to stall ‘em for a while. Joey wants his dough first.
BENNY
But it’s eleven o’clock—they won’t stick around much longer.
NATHAN
So sue me. I left Nicely at my hotel to wait for the money from Sky. It’ll be there.
(Enter NICELY, eating sandwich, from R.1. NATHAN crosses to him)
Where’s the dough? It hasn’t come yet.
I told you to wait for it.
(Indicating sandwich)
NICELY NATHAN NICELY
I had to get some groceries. I felt a little faint.
NATHAN
Get back to the hotel and wait for the money from Sky and don’t come back here without it even if you starve to death.
— 62 —
GUYS & DOLLS
Okay, Nathan.
NICELY
(NATHAN pushes NICELY off R.1. HARRY THE HORSE crosses over to Nathan R. BENNY crosses to L. of Harry)
Where’s the game, Detroit?
HARRY
NATHAN
Hey, Harry the Horse, how are you, Harry. How’s everything in Brooklyn?
HARRY
Detroit, if you do not have no place for your game, tell us, and we will seek elsewhere for entertainment. Now take it easy, Harry.
NATHAN HARRY
I hope, Detroit, you will not spoil our evening, inasmuch as I happen to be entertaining a very prominent guest tonight. I think you might have heard of him.
(He points to a big tough looking guy)
I would like you to meet Big Jule from Chicago.
(NATHAN crosses to Big Jule, HARRY follows. BENNY holds—) (Very ingratiating)
NATHAN
Why, how do you do, Big Jule.
(Shakes hands perfunctorily)
Welcome to our fair city, in which as you know the heat is on. But just be patient and you’ll get some action.
(BIG JULE just stands there looking at Nathan)
HARRY
What do you say, Big Jule, shall we stick around or shall we blow?
(Positively)
BIG JULE
I came here to shoot crap. Let’s shoot crap. Sure, sure.
NATHAN
GUYS & DOLLS
HARRY
Nathan—
(NATHAN crosses to Harry)
—if there is no crap game tonight I am sure Big Jule will be considerably displeased; and Big Jule does not like to be displeased, as you can find out from those citizens who at one time or another displeased him. Although I will admit it is very hard to find such citizens in view of the fact that they are no longer around and about.
NATHAN
Why, Harry, you don’t think I would be so rude as to displease a gentleman like Big Jule here, do you?
(He puts his hand on Big Jule’s arm)
Big Jule, believe me when I tell you that when Nathan Detroit—Nathan Detroit—
(He moves his hand and pats Big Jule on the chest. His words slow down as he feels Jule’s gun. He removes his hand as though he touched a hot stove)
—When Nathan Detroit arranges something—you can count on it that—
(He peters out as BRANNIGAN enters from L.1 and crosses to the group. They are practically lined up for him and he looks them over very carefully)
BRANNIGAN
Well!—Well!—an interesting gathering indeed. The cream of society—Angie the Ox—Society Max—Rusty Charlie—Liver Lips Louie.
(He walks up looking them over—goes down the line but nobody says anything)
Hey, Harry the Horse, all the way from Brooklyn, and—
(Steps up—stops in front of Big Jule)
Pardon me, I’m very bad on names, but your face looks familiar. Mind telling me where you’re from?
(BIG JULE chews his cigar a moment)
East Cicero, Illinois. Oh, what do you do there? I’m a Scout Master.
BIG JULE
BRANNIGAN BIG JULE
— 63 —
— 64 —
GUYS & DOLLS
BRANNIGAN
Well, don’t ever help my mother across the street.
(Smells flower in one of the mug’s lapel)
Mmm—lovely.
(Looks over the line-up of flowered lapels)
This looks like the male chorus—
(Crosses D.L.)
—from “Blossom Time”. What’s the occasion?
(His eyes travel over the entire group. They finally settle on Benny)
Well, we—er— It’s a party. Indeed! What kind of a party?
NATHAN BENNY
BRANNIGAN
(At this moment ADELAIDE backs onto the stage from R.1. She is waving at some girls)
Goodbye, girls, see you tomorrow.
ADELAIDE
(BENNY sees her and immediately gets his idea, he grabs ADELAIDE by the waist and leads her over to Brannigan)
It’s a bachelor dinner. Nathan’s getting married.
ADELAIDE
What!
HARRY
(Grabbing Nathan and leading him forcibly to Adelaide and placing him with his arms around Adelaide. NATHAN is obviously taken by surprise and shows it)
That is correct, Lieutenant! It’s a bachelor dinner. Nathan’s getting married.
BENNY
Yes, sir!
(Sings)
FOR—
GUYS & DOLLS
— 65 —
GROUP
—HE’S A JOLLY GOOD FELLOW, FOR HE’S A JOLLY GOOD FELLOW FOR HE’S A JOLLY GOOD FELLOW—
(Step down C.)
BIG JULE
Which nobody cannot deny.
(Slaps Nathan on back, almost upsetting HIM. NATHAN lifts ADELAIDE to stage R.)
ADELAIDE
Nathan darling, I’m so thrilled! Why didn’t you tell me? It was a surprise.
NATHAN
ADELAIDE
But when I saw you standing here with all these—fine gentlemen, I never dreamed it was a bachelor dinner. I thought it was a—
(Suddenly dropping in)
Oh, it’s a bachelor dinner.
(Also to the rescue)
It’s a bachelor dinner. Yes, sir! A bachelor dinner.
NATHAN
BENNY
NATHAN ADELAIDE
Just think after fourteen years I’m finally going to become Mrs. Nathan Detroit. Time Certainly does fly.
BRANNIGAN
Tell me, Nathan. When is the happy day? When will it be, Nathan? Well—
ADELAIDE NATHAN
BRANNIGAN
Nathan, these good fellows are nice enough to give you a bachelor dinner. You should at least tell them the wedding date.
— 66 —
GUYS & DOLLS
NATHAN
(Shouts)
Well, we need time for a license and our blood test.
ADELAIDE
(Sighs)
Gee, wouldn’t it be wonderful if we could be married tomorrow night. Right after the show at the Hot Box.
NATHAN
Adelaide, we need tine for a license— You could elope. What?
BRANNIGAN NATHAN BRANNIGAN
You can drive dawn to Maryland—what’s the name of that town?
BENNY
(Standing to R. of Brannigan)
Pimlico.
BRANNIGAN
Not Pimlico, no, Nathan, Elkton. They’ll marry you right away. They don’t ask you for a blood test.
NATHAN
Ain’t that unhealthy?
HARRY
Nathan, that’s a great idea—elope. I’ll lend you my getaway car.
(He takes a quick look at Brannigan)
My Buick—
(Throws her arms around his neck)
Oh, Nathan, let’s do it.
(Long pause—sighs)
Well—what the hell—
ADELAIDE
NATHAN
(THEY embrace. ALL congratulate him—ad lib)
GUYS & DOLLS
BRANNIGAN
My congratulations too, Nathan. And I only hope there is nothing in heredity.
(He exits L.1)
ADELAIDE
Nathan, I got so many things to do before we elope. You’ll be at the Hot Box tomorrow night?
NATHAN
I’ll have a table reserved and I’ll be all dressed up in whatever you elope in.
ADELAIDE
Oh, Nathan, I’m so happy. I ought to wire my mother. Only what’ll I wire her? Send the telegram and date it back.
NATHAN
ADELAIDE
I’d better wait until we have five children. It won’t take us long.
(She exits R.1)
(Crosses R. to Nathan)
HARRY
Nathan, you are indeed a lucky fellow. A most beautiful doll indeed. Do you agree, Big Jule? Tell me—
BIG JULE
(To Nathan)
—how long you know the doll? Fourteen years. Let’s shoot crap.
(Darts over to Nathan)
Nathan, you’d better find a place!
NATHAN BIG JULE BENNY
NATHAN
How can I? The money from Sky ain’t come yet.
BENNY
Maybe it won’t come! Maybe he took the doll to Havana.
— 67 —
— 68 —
GUYS & DOLLS
NATHAN
He couldn’t have! How could he! She couldn’t have gone!
#13—End of Scene 7 (The music of the approaching MISSION BAND is heard. NATHAN galvanizes to attention, realizes he will now find out. The band enter from R.1, one at a time with NATHAN anxiously counting them as they enter—MARTHA, carrying sign “All Night Crusade Against The Devil”—then AGATHA, CALVIN and ARVIDE. A pause, then NATHAN places hand to head and collapses on Benny’s shoulder) BLACKOUT
#1 show traveller closes. #2 street traveller opens. Havana projection appears on #1 traveller. Lights up behind Trans. #1 traveller. #1 Trav. opens.
#14—Havana
GUYS & DOLLS
— 69 —
ACT I, Scene viii: Havana, Cuba—A dive LIGHT CUE
Music is blaring and dancing flaring. SKY ushers SARAH into the place R.2, but it is too much for her prim soul. She takes one lock and flees. SKY must of course follow her. #3 Tree Trans. traveller closes to stage L. Stage lights fade to a blackout.
A fashionable couple dancing enter from R.1.—they are picked up by the front arc spot—Immediately following them a unit on casters, with a table and two chairs is pushed on to marks at extreme stage R.
This unit represents the Hotel Nacionale. SARAH and SKY are bowed into the place by the HEAD WAITER. As they enter they are picked up by the front arc spot. SARAH is seated R. of table and SKY L. of table. SARAH is handed an enormous menu by the HEAD WAITER. SHE looks the menu over.
A ham sandwich.
SARAH
(WAITER, SKY and DANCING COUPLE give her a quick incredulous look. Arc spot blacks out on SARAH and SKY. The platform unit is pulled off stage R. with SARAH and SKY on it to be reset with the Street Cafe. DANCING COUPLE dance off L.1. arc spot blacks out on them as they exit.
SARAH enters with guide book in her hand followed by SKY. They are picked up by front arc spot as they enter and stop R.C. SARAH looks in guide book, then points toward audience supposedly to a monument tablet. First Tablet—)
(Dialogue in tempo)
(SARAH)
EL SANTO CRISTO,
THE SECOND OLDEST MISSION
IN CUBA—
COME ON!
WHERE TO? TO SEE THE OLDEST—
SKY SARAH
(SARAH walks to up center stage, followed by SKY. She points toward audience as she looks in guide book. Second Tablet—) “DON’T MISS THE DUNGEONS WHERE
PRIS’NERS WERE THROWN TO THE SHARKS.”
— 70 —
GUYS & DOLLS
SKY
SOUNDS LIKE A MILLION LAUGHS.
(SARAH walks upstage then walks down stage L. as she looks her guide book over— SKY follows her obviously very tired. She points toward audience. Third Tablet—) HERE IS BURIED
SARAH
CHRISTOPHER COLUMBUS.
SKY
AT LEAST HE’S LYING DOWN.
(SARAH starts to walk to stage R. when at this moment a very SEXY CUBAN DANCING GIRL enters from R.1 followed by two CUBAN DANCING MEN. SARAH and SKY give them a quick glance as they pass by and exit L.1.—A WAITER pushes on the unit which has been reset with a mantle and two chairs and a table. This represents a cheap street Cafe. SARAH and SKY walk to stage R. She sits in chair R. of table—SKY in chair L. of table. A SHODDY LOOKING WAITER stands at extreme R. waiting to take their order) HOW ABOUT A DRINK?
SKY
SARAH
A MILK SHAKE, PLEASE.
(Holding up two fingers to waiter)
SKY
DULCE DE LECHE.
(WAITER signals back with fingers knowingly. SARAH goes back to her guide book, to SKY’s annoyance. WAITER returns with two drinks in cocoanut shells—as he serves Sarah he spills some on her dress which he quickly wipes off with a soiled serving napkin which he carries. SARAH sips drink as does Sky) (Sipping drink)
SARAH
THESE ARE DELICIOUS.
WHAT DID YOU CALL THEM? DULCE DE LECHE. DULCE DE LECHE.
SKY
SARAH
GUYS & DOLLS
WHAT’S IN IT
— 71 —
(SARAH)
BESIDES MILK?
SKY
OH, SUGAR,
AND A KIND OF NATIVE FLAVOURING.
SARAH
WHAT’S THE NAME OF THE FLAVOURING? BACARDI.
(Sips drink)
SKY
SARAH
IT’S VERY GOOD.
I’LL HAVE ANOTHER ONE.
LIGHT CUE
(ARC LIGHT black out. Music change.)
LIGHT CUE
(NOTE: SARAH and SKY pick up four empty cocoanut shells which were placed on platform—they place them on the table during blackout to denote they have had several drinks.
SKY is dancing his fingers on the table as the front arc spot picks them up. He tucks her under the chin. SHE brushes his hand away) (Sipping her drink)
(SARAH)
DOESN’T BACARDI HAVE ALCOHOL IN IT?
SKY.
ONLY ENOUGH TO ACT AS A PRESERVATIVE.
(A little tipsy)
SARAH
You know—this would be a wonderful way to get children to drink milk.
(Same CUBAN DANCING GIRL followed by the two CUBAN DANCING MEN that we saw before enter from stage L.1. They cross to stage R. doing their same sexy routine as they pass and exit R.1. SARAH rises and imitates their routine as she exits R.1. doing bumps. SKY rises and places hand to his head in amazement, quite shocked at her. Then he does the same movement as he exits R.1.—Unit is pulled offstage R.1.
— 72 —
GUYS & DOLLS
The stage lights behind #3 Tree traveller dim in revealing dancing flaring in the Havana Dive—#3 traveller opens to Stage L.) LIGHT CUE
(CUBAN GIRL and TWO CUBAN MEN enter from R.1 followed by SARAH pulling SKY on by the hand. She is in a very gay mood) (Shouting as she enters)
(SARAH)
LIGHT CUE
Two Dulce de Leche.
(A WAITER places a table extreme L. SARAH hands her cape to WAITER who places it behind chair L. of table where Sarah sits. SKY sits at R. of table. WAITER brings two drinks in cocoanut shells which he places in front of them—also a wine bottle in a wine basket. This bottle is a breakaway bottle used by SARAH in fight at end of scene.) (THE SOLO FEMALE DANCER begins to make up to Sky much to SARAH’s annoyance. SARAH in retaliation dances with one of the Cuban men. SKY forces SARAH to sit down. Finally the solo dancer seizes SKY and makes him dance with her. SARAH takes Cuban by the hand and forces him to dance with her. SARAH becomes jealous, leaves Cuban and grabs Sky,— LIGHT CUE
—pulling him away from Dancer. DANCER strikes back—a free for all develops. A Cuban gets up on chair R. of Table L. and is about to throw a stool at Sky. SARAH sees this, steps up on table, picks up wine bottle and breaks it over the head of the Cuban, breaking it to bits. SKY grabs SARAH over his shoulder rescuing her, and dashes out R.2 as the fight continues to become a brawl— Hanging blind breaks away— Stage lights fade out)
#3 tree traveller closes as a drop to stage R. #4 traveller closes. Stars on #4 traveller light up and Blue 1st Border dims in to mark.
GUYS & DOLLS
ACT I, Scene ix: Havana exterior LIGHT CUE
SKY enters from R.1. He is carrying SARAH in his arms and she is still struggling. HE sets her down and it is apparent that she is a little tipsy.
SKY
Take it easy, slugger. It’s over and you’re still champ.
(SHE kisses him. She staggers after kiss)
Are you all right?
(Happily)
SARAH
Am I all right!
#15—If I Were a Bell
(Spoken in rhythm)
(SARAH)
ASK ME HOW DO I FEEL
(Arms around him, sings)
ASK ME NOW
(Crosses to R.)
THAT WE’RE COSY AND CLINGING WELL, SIR, ALL I CAN SAY IS,
IF I WERE A BELL I’D BE RINGING
(Pace front R. of Sky)
FROM THE MOMENT WE KISSED TONIGHT
THAT’S THE WAY I’VE JUST GOT TO BEHAVE
BOY, IF I WERE A LAMP I’D LIGHT
AND IF I WERE A BANNER I’D WAVE.
(Places her head on his shoulder, crosses to L.) ASK ME HOW DO I FEEL
LITTLE ME WITH MY QUIET UPBRINGING
WELL, SIR, ALL I CAN SAY IS
IF I WERE A GATE I’D BE SWINGING
— 73 —
— 74 —
GUYS & DOLLS
(HE catches her as SHE leans to front)
(SARAH)
AND IF I WERE A WATCH
I’D START POPPING MY SPRING OR IF I WERE A BELL I’D GO
(Swings his arms over his head)
DING, DONG, DING DONG DING. ASK ME HOW DO I FEEL
(Crosses to his R. puts head on his shoulder)
FROM THIS CHEMISTRY LESSON I’M LEARNING
SKY
Chemistry? Yes, chemistry.
SARAH
WELL, SIR, ALL I CAN SAY IS, IF I WERE A BRIDGE, I’D BE BURNING YES,
(She backs him up to L.)
I KNEW MY MORALE WOULD CRACK
(Crosses, backs him up to L. 4 steps)
FROM THE WONDERFUL WAY THAT YOU LOOKED,
BOY IF I WERE A DUCK I’D QUACK
OR IF I WERE A GOOSE I’D BE COOKED
(She falls on his chest)
ASK ME HOW DO I FEEL
(HE straightens her up) Pal,—
ASK ME NOW THAT WE’RE FONDLY CARESSING —IF I WERE A SALAD
I KNOW I’D BE SPLASHING MY DRESSING
(Puts hand down his face)
GUYS & DOLLS
(SARAH)
ASK ME HOW TO DESCRIBE
THIS WHOLE BEAUTIFUL THING
WELL, IF I WERE A BELL
(Crosses to his L.)
I’D GO DING, DONG, DING DONG DING.
(She falls into his arms at end of number)
SARAH
Havana is so wonderful. Why don’t we stay here for a few days so we can see how wonderful it’s really like.
(Takes a moment)
SKY
I think we’d better hurry if we want to catch the plane back to New York. I don’t want to go back to New York. I’m taking you back! You’re no gentleman.
SARAH SKY SARAH SKY
Look, a doll like you shouldn’t be mixed up with a guy like me. It’s no good. I’m no good.
(SARAH puts arms around him: HE pushes her away)
You know why I took you to Havana? I made a bet! That’s how you met me in the first place. I made a bet.
SARAH
How else would a girl get to meet a gambler?
SKY
(He picks up SARAH in his arms and carries her to stage L. SHE struggles)
Come on! No, no!
I got to think what’s best for you.
SARAH SKY
— 75 —
— 76 —
GUYS & DOLLS
Oh, you talk just like a Missionary.
SARAH
#16—Change of Scene (Scene 9 to 10) BLACKOUT
They exit L. as the lights BLACK OUT.
Sound of airplane is heard through the loud speakers and simultaneously a sign “FASTEN SEAT BELTS” lights up on #4 traveller. After a short interval the airplane fades out as does the sign. #4 traveller opens revealing Mission Exterior.
GUYS & DOLLS
— 77 —
ACT I, Scene x: Mission exterior It is four a.m. the following morning. SARAH enters L.1, she is minus her uniform coat and hat. She is in a very pensive mood. SKY follows on almost behind her also in a very thoughtful mood. He is hatless. (Stopping stage C.)
SARAH
Thank you for bringing me back. I must have behaved very badly.
(At her side)
SKY
No, you were fine.
(ADELAIDE enters from stage R. She is draped with assorted kitchen utensils given her at a shower. She is followed by FOUR GIRLS. They are carrying utensils given to Adelaide and humming “The Wedding March”) (Stopping with GIRLS stage R.)
ADELAIDE
Oh, golly, I don’t know how I’ll get home with all this stuff. It was wonderful of you to give it to me.
(She starts L., sees SKY, stops. GIRLS cross to stage L. then stop when ADELAIDE greets Sky)
Sky, hello!
How are you, Miss Adelaide?
SKY ADELAIDE
Oh, fine, Sky. Look! The girls just gave me a kitchen shower.
(A DRUNK enters from stage L.1)
They went to an all night drug store and surprised me with a kitchen shower! Look!
(She waves utensils in the air—THE DRUNK notices the brightness of the utensils)
What vulgar jewelry.
(He exits R.1)
DRUNK
SKY
That’s wonderful, Adelaide—You know Miss Sarah.
(There are ad lib greetings)
— 78 —
GUYS & DOLLS
How do you do.
SARAH ADELAIDE
Glad to meet you—You know, Sky, we’re eloping tomorrow night right after the Hot Box—Nathan and I. Good luck. Thank you, Sky—
SKY
ADELAIDE
(Crosses to girls)
Gee, I feel just like a housewife, already. I’m going to love being in the kitchen—I’ve tried all the other rooms.
(ADELAIDE exits stage L.1 followed by GIRLS) (Looks off L.)
Miss Adelaide certainly seems happy. She’s in love.
SKY
SARAH
#17—My Time of Day
(Turns to Sarah)
Yeah. I guess so. What time is it?
I don’t know. Four o’clock.
SKY
SARAH SKY SARAH
This is your time of day, isn’t it? I’ve never been up this late before. How do you like it? It’s so peaceful, and wonderful.
SKY
SARAH
GUYS & DOLLS
SKY
You’re finding out something I’ve known for quite a while. MY TIME OF DAY IS THE DARK TIME
(At her L. side)
A COUPLE OF DEALS BEFORE DAWN
WHEN THE STREET BELONGS TO THE COP AND THE JANITOR WITH THE MOP
AND THE GROCERY CLERKS ARE ALL GONE
(Moves D.C. stage with SARAH. Tenderly)
WHEN THE SMELL OF THE RAIN-WASHED PAVEMENT
(Proudly)
COMES UP CLEAN AND FRESH AND COLD
AND THE STREET LAMP LIGHT
FILLS THE GUTTER WITH GOLD
THAT’S MY TIME OF DAY.
(SKY front—SARAH turns to Sky} MY TIME OF DAY
AND YOU’RE THE ONLY DOLL
I’VE EVER WANTED TO SHARE IT WITH ME.
(He crosses to R. pass her)
MUSIC UNDERSCORING
Obediah!
Obediah? What’s that?
SARAH SKY
Obediah Masterson. That’s my real name. You’re the first person I’ve ever told it to.
(SARAH goes into SKY’S arms and they embrace)
#17a—I’ve Never Been In Love Before (Hands on her waist)
I’VE NEVER BEEN IN LOVE BEFORE
NOW ALL AT ONCE IT’S YOU
— 79 —
— 80 —
GUYS & DOLLS
(SKY)
(Lets go of her)
IT’S YOU FOREVER MORE
I’VE NEVER BEEN IN LOVE BEFORE I THOUGHT MY HEART WAS SAFE
I THOUGHT I KNEW THE SCORE
BUT THIS IS WINE THAT’S ALL TOO STRANGE AND STRONG
I’M FULL OF FOOLISH SONG
(Takes her hands)
AND OUT MY SONG MUST POUR
SO PLEASE FORGIVE THIS HELPLESS HAZE I’M IN I’VE REALLY NEVER BEEN IN LOVE BEFORE.
SARAH
I’VE NEVER BEEN IN LOVE BEFORE NOW ALL AT ONCE IT’S YOU IT’S YOU FOREVER MORE
(She crosses to L. face front)
I’VE NEVER BEEN IN LOVE BEFORE I THOUGHT MY HEART WAS SAFE
I THOUGHT I KNEW THE SCORE
BUT THIS IS WINE THAT’S ALL TOO STRANGE AND STRONG
I’M FULL OF FOOLISH SONG
AND OUT MY SONG MUST POUR.
BOTH
(HE takes her hand and SHE turns to him)
SO PLEASE FORGIVE THIS HELPLESS HAZE I’M IN
I’VE REALLY NEVER BEEN IN LOVE BEFORE.
(THEY kiss. At end of number, ARVIDE enters R.1 carrying his drum—he is followed by the MISSION BAND. They are obviously very tired from being out all night trying to convert sinners. SARAH sees Arvide as he enters, she goes to him as he is setting his drum down beside the Mission door)
SARAH
Grandfather! I thought you’d be asleep. Hello, Sarah dear.
ARVIDE
GUYS & DOLLS
(To Sky)
Good morning, Brother Masterson. Good morning.
(ARVIDE)
SKY ARVIDE
We followed your suggestion and stayed out all night.
(To Sarah)
We spoke to a lot of sinners—Where have you been, Sarah? I’ve been to Cuba. You’re even more tired than I am.
SARAH
ARVIDE
#18—Beetle Race (The Raid) (Offstage R.1 can be heard the clang of a police patrol wagon bell. A GUY dashes on from R.1 at top speed. He runs across to the Mission entrance, sticks his head in the door and lets go with a loud piercing whistle, finger-in-mouth type, as the MISSIONARIES and SKY react with surprise) What the hell is this?
SKY
(Crosses to door. BENNY, NICELY and NATHAN come hurrying out of the door putting on their coats at the same time. They start off R. The lookout whistles at them and motions for them to go the other way. As they stop and turn, followed by HARRYTHE-HORSE, the other CRAP SHOOTERS emerge, some with coats off, others just putting them on.
They start off and collide with GUYS coming back, but they ALL exit L.1. As NATHAN goes by, SKY grabs him, but NATHAN doesn’t stop—he exits L.1) Hey! What is this? Canasta!
SKY
NATHAN
(He dashes off followed by some of the GUYS. BIG JULE enters)
— 81 —
— 82 —
GUYS & DOLLS
BIG JULE
(Yelling to NATHAN as he is running off L.1)
Wait a minute! I’m losing ten G’s.
(HE runs off L.1. The sound of the patrol bell has reached close up presence. As the bell stops clanging, BRANNIGAN and TWO COPS rush on from R.1. BRANNIGAN stops short and realizes they have escaped him) (To the two cops)
BRANNIGAN
Someone must have tipped them off.
(THE TWO COPS rush off L.1. BRANNIGAN crosses to L.C. and stops—turns to Sarah)
I seen a lot of strange things in my time but this is the first time I ever see a floating crap game going full blast in a MISSION.
(He runs off stage L.1) (Stunned)
Crap game!
SARAH
SKY
Sarah, you know I had nothing to do with this, don’t you?
(SARAH walks slowly toward the Mission entrance)
Sarah!
(SHE stops) (Turns away)
SARAH
This wouldn’t have happened if I hadn’t—
(She turns to him)
—I never should have gone with you. It was wrong.
SKY
No, it wasn’t. You went to help the Mission.
(Dully)
Did I?
SARAH
GUYS & DOLLS
(Looks at her a moment)
Will I see you tomorrow?
Everyone is welcome at the Mission. That’s not what I mean.
SKY
SARAH SKY SARAH
It’s no good, Sky. You said it yourself—it’s no good.
SKY
Why not? What the hell kind of doll are you, anyway? I’m a Mission doll.
SARAH
#19—Finale – Act I (SARAH goes into the Mission as the GROUP follows her) HOUSE CURTAIN
— 83 —
— 84 —
GUYS & DOLLS
#20—Entr’acte ACT II, Scene i: The Hot Box nightclub Stage lights dim up—the place is well crowded with patrons sipping cocktails—the M.C. is at stage C. standing in front of a microphone. NOTE: This is all seen behind the #1 translucent snow curtain.
#21—Fanfare M.C.
And now for the feature number of the evening. The Hot Box proudly presents Miss Adelaide and her Debutantes.
Music strikes up—#1 show traveller opens as the balcony spots and front arc spots dim up. M.C. exits L.2 taking microphone with him. FOUR DANCING GIRLS enter from R.2 followed by ADELAIDE. FOUR DANCING GIRLS enter from L.2. They all carry long gold cigarette holders with cigarettes and are wearing golden gowns, shoes, hats, pearl necklaces and mink stoles.
#21a—Take Back Your Mink
(Stage C.)
ADELAIDE HE BOUGHT ME THE FUR THING, FIVE WINTERS AGO
AND THE GOWN THE FOLLOWING FALL
THEN THE NECKLACE,
THE BAG,
THE GLOVES
AND THE HAT,
THAT WAS LATE FORTY-EIGHT
I RECALL
(Suddenly indignant)
THEN LAST NIGHT IN HIS APARTMENT
HE TRIED TO REMOVE THEM ALL!
(Crosses to R. and continues resentfully)
AND I SAID AS I RAN DOWN THE HALL:
GUYS & DOLLS
(ADELAIDE)
(Crosses back to C., now with hurt feelings) TAKE BACK YOUR MINK
TAKE BACK YOUR PEARLS WHAT MADE YOU THINK
THAT I WAS ONE OF THOSE GIRLS? TAKE BACK THE GOWN,
(Crosses to L.)
THE SHOES AND THE HAT
I MAY BE DOWN
BUT I’M NOT FLAT
(Crosses to C.)
AS ALL THAT. I THOUGHT THAT EACH EXPENSIVE GIFT YOU’D ARRANGE WAS A TOKEN OF YOUR ESTEEM
NOW WHEN I THINK OF WHAT YOU WANT IN EXCHANGE
IT ALL SEEMS A HORRIBLE DREAM SO—TAKE BACK YOUR MINK
(Crosses 2 steps L)
TO FROM WHENCE IT CAME
(Crosses back to C.) (angrily)
AND TELL THEM TO HOLLANDERIZE IT
FOR SOME OTHER DAME.
ADELAIDE & GIRLS
TAKE BACK YOUR MINK
(Throw cigarette holders in music pit. Take off mink) TAKE BACK YOUR PEARLS
(Take off pearls)
WHAT MADE YOU THINK
THAT I WAS ONE OF THOSE GIRLS
— 85 —
— 86 —
GUYS & DOLLS
(raucously)
(ADELAIDE & GIRLS) I’M SCREAMING
TAKE BACK THE GOWN
(Take off gowns)
TAKE BACK THE HAT
(Take off hats and throw them upstage) I MAY BE DOWN
BUT I’M NOT FLAT AS ALL THAT. I THOUGHT THAT EACH EXPENSIVE GIFT YOU’D ARRANGE WAS A TOKEN OF YOUR ESTEEM
BUT WHEN I THINK OF WHAT YOU WANT IN EXCHANGE IT ALL SEEMS A HORRIBLE DREAM—(EEK!) TAKE BACK YOUR MINK
THOSE OLD WORN OUT PELTS
AND GO SHORTEN THE SLEEVES FOR SOMEBODY ELSE.
(ADELAIDE and DANCING GIRLS go into their dance. At end of dance ADELAIDE and FOUR GIRLS exit L.1. FOUR GIRLS exit L.2 then they immediately re-enter, running downstage and gather up in their arms all the clothes that had been discarded during the dance) (shouted to the audience)
ADELAIDE & ALL GIRLS
WELL?
WOULDN’T YOU?
(ADELAIDE and FOUR GIRLS exit L.1. FOUR GIRLS exit L.2. After the number the lights come down and a single table is spotted. SKY enters from R.1, no hat, looks around like a man on the loose. He is unshaven again, and a bit crumpled. He drifts over to the empty table D.R. and sits down. A WAITER comes over from R.2 to Sky)
WAITER
Will you be with Mr. Detroit’s party, sir? Is he here?
SKY
WAITER
No, sir. Mr. Detroit has not been here all evening.
GUYS & DOLLS
— 87 —
SKY
Bring me a rye and soda.
(Sits L. of table. WAITER exit up R.2. NICELY enters from D.R. a bit furtively. Sits at table in R. chair)
NICELY
(Picks up a stalk of celery and starts eating it)
Sky, did you see Miss Adelaide? Huh?
SKY NICELY
I bring a message for her from Nathan. I wish Nathan would bring his own messages. What’s the message? Where is Nathan? It’s this way.
SKY
NICELY
(He concentrates but still nibbles celery)
Nathan’s aunt in Pittsburgh was suddenly taken ill with—er—
(Wryly)
A rare tropical disease. Yeah, that’s not bad.
SKY
NICELY
(WAITER enters from R.2 with highball on a tray, places it in front of Sky then exits L.2)
Anyway, Nathan has to—
SKY
Nicely, what is the message? Where is Nathan?
NICELY
(Looks around to see if he’s overheard then leans over toward Sky)
The crap game is still going on.
(Casually)
Since last night.
SKY
— 88 —
GUYS & DOLLS
NICELY
Big Jule being a large loser, does not wish the game to terminate. In fact, he is most insistent. So we find another place and the game goes on. Where is the game? Are you looking for some action?
LIGHT CUE
SKY
NICELY
SKY
No, I’m leaving town tonight, but I do want to talk to some of the guys. You see, Nicely, I gave a marker to—well, somebody—and I ‘d kinda like to clean it up before—
(He stops as ADELAIDE approaches from L.2. NICELY is on his feet quickly)
—I’ll meet you outside. What about Nathan’s message? Oh!
NICELY SKY NICELY
(Getting it over with quickly—SKY rises)
Miss Adelaide, Nathan is in Pittsburgh with a rare tropical aunt. Goodbye.
(Rushes out R.1)
(Crosses to R. looking after Nicely)
ADELAIDE
What? I don’t understand. Sky, Nathan has to come here tonight. We’re eloping to get married. Is it the crap game again?
SKY
You know Nathan. Why does it surprise you?
(Sits R. of table)
But he promised to change.
ADELAIDE
SKY
Change, change. Why is it the minute you dolls get a guy that you like, you take him right in for alterations?
GUYS & DOLLS
ADELAIDE
What about you men? Why can’t you marry people like other people do and live normal like people? Have a home, with—wallpaper, and book ends.
SKY
(Sadly)
No, Miss Adelaide. What do you mean—no?
ADELAIDE SKY
Guys like Nathan Detroit, and—yeah, Sky Masterson—we don’t belong in a life like that. So when dolls get mixed up with guys like us, it’s no good.
(He gets to his feet, places one dollar on table to pay for his drink)
No good—See you in a couple months.
(Crosses to R.)
Where you going?
ADELAIDE SKY
I don’t know—Las Vegas, maybe. I got a ticket on the late plane. Will you see Nathan before you go? Maybe.
ADELAIDE SKY ADELAIDE
Tell him I never want to talk to him again and have him call me here.
(Sneezes and sniffles)
Look! Why don’t you get another guy?
SKY
ADELAIDE
I can’t. I love Nathan. Wait till you fall for somebody! You’ll find out.
(Looks at her a second)
Yeah.
(Exits R.1)
LIGHT CUE
SKY
— 89 —
— 90 —
GUYS & DOLLS
#22—Adelaide’s Second Lament
(Sniffles and then sings: sitting)
ADELAIDE
IN OTHER WORDS—JUST FROM SITTING ALONE
AT A TABLE RESERVED FOR TWO
A PERSON CAN DEVELOP THE FLU YOU CAN BUNDLE HER UP IN HER WOOLIES AND I MEAN THE WARMEST BRAND
YOU CAN WRAP HER IN SWEATERS AND COATS
‘TIL IT’S MORE THAN HER FRAME CAN STAND
IF SHE STILL GETS THE FEELING SHE’S NAKED
FROM LOOKING AT HER LEFT HAND
A PERSON CAN DEVELOP THE FLU. HUH! THE FLU!
A HUNDRED AND THREE POINT TWO SO MUCH VIRUS INSIDE
THAT HER MICROSCOPE SLIDE
LOOKS LIKE A DAY AT THE ZOO
JUST FROM WANTING HER MEM’RIES IN WRITING AND A STORY HER FOLKS CAN BE TOLD
A PERSON CAN DEVELOP A COLD.
(She sneezes)
BLACKOUT
#22a—Change of Scene (Scene 1 to 2) #1 show traveller wipes in. Street Gauze drop is let in. #4 traveller closes backing up the gauze drop. # Stage lights dim in. #1 show traveller opens to—
GUYS & DOLLS
ACT II, Scene ii: Street exterior Manhole Rail is at stage R.C. Edison blinker wagon with light blinking at stage L.C. A box is at L. of wagon—SARAH sits on this box when ARVIDE sings to her. SARAH enters from R.1 at a brisk pace—ARVIDE is following her, carrying his bass drum and having quite a time keeping up with Sarah.
Not so fast, Sarah, not so fast.
ARVIDE
(Puts drum down—SARAH stops Stage C.)
Look, suppose we don’t have a big meeting tonight—suppose nobody is there at all. We’ll explain to the General.
SARAH
We won’t have to explain—it’ll be very clear.
(Crosses to L.)
I just want to get away from this whole place. To go someplace where—where—
ARVIDE
Where the sinners are all respectable and well behaved?
SARAH
You saw what happened last night. They gambled—in our Mission.
ARVIDE
And some day they’ll be praying there. Even a man like Sky Masterson. He came seeking refuge.
SARAH
He came seeking me. Did you know that?
ARVIDE
Are you kidding? I knew that the minute he started picking on you.
(He picks up his bass drum and goes toward Sarah)
But I didn’t know you were going to get stuck on him.
(Crosses to front of blinker wagon)
I’ll get over it.
(Crosses to L., passes Sarah)
SARAH
ARVIDE
What do you want to get over it for? It isn’t pneumonia.
— 91 —
— 92 —
GUYS & DOLLS
The man I love will not be a gambler.
(Putting drum down up L.)
But if you love him enough— He will not be a gambler.
SARAH ARVIDE
SARAH
MUSIC CUE
#23—More I Cannot Wish You ARVIDE
Sarah, dear.
(SARAH sits on box L. of Blinker wagon)
I’ve always taken care of you. All I want is for you to be happy. VELVET I CAN WISH YOU
(Left hand out)
FOR THE COLLAR OF YOUR COAT
AND FORTUNE SMILING ALL ALONG YOUR WAY
(Leans toward her, puts arm around her)
BUT MORE I CANNOT WISH YOU
THAN TO WISH YOU FIND YOUR LOVE
YOUR OWN TRUE LOVE, THIS DAY
MANSIONS I CAN WISH YOU SEVEN
(Stands like a footman)
FOOTMEN ALL IN RED
AND CALLING CARDS UPON A SILVER TRAY
(Holds hands as tray)
BUT MORE I CANNOT WISH YOU
(Bends down, places arm around her)
THAN TO WISH YOU FIND YOUR LOVE
YOUR OWN TRUE LOVE, THIS DAY
STANDING THERE
GUYS & DOLLS
GAZING AT YOU
(ARVIDE)
FULL OF THE BLOOM OF YOUTH
STANDING THERE
(Squats down, hands on knee)
GAZING AT YOU
WITH THE SHEEP’S EYE
AND THE LICKERISH TOOTH
MUSIC I CAN WISH YOU
MERRY MUSIC WHILE YOU’RE YOUNG
AND WISDOM WHEN YOUR HAIR HAS TURNED TO GRAY
BUT MORE I CANNOT WISH YOU
(Puts hand on her shoulders)
THAN TO WISH YOU FIND YOUR LOVE
YOUR OWN TRUE LOVE, THIS DAY WITH THE SHEEP’S EYE
AND THE LICKERISH TOOTH
(He squats and pokes her rib with elbow)
AND THE STRONG ARMS TO CARRY YOU AWAY
(Kisses SARAH on cheek. SKY enters with NICELY L.1. NICELY crosses to manhole rail, leans on it. SKY stops L. SARAH rises)
SKY
Good evening, Miss Sarah. Well, Brother Abernathy, how goes it with the soulsaving? Tonight’s the big meeting, isn’t it?
ARVIDE
It’s supposed to be. The General is coming, and she’s expecting—uh— The General’s a tough doll, eh?
SKY
ARVIDE
Well, very few people will be there—in fact, nobody. And, uh—
(Crosses to L., passes Sky)
SARAH
I don’t think Mr. Masterson is interested in our troubles, Grandfather. We’ve got to hurry.
(ARVIDE picks up drum)
— 93 —
— 94 —
GUYS & DOLLS
SKY
Miss Sarah.
(SHE stops)
You’ve forgotten something, but being a gambler, I never forget things like this. You hold my marker for twelve sinners tonight.
SARAH
Thank you, Mr. Masterson, but I’d rather you forgot about it. I cannot welch a marker.
SKY
SARAH
Mr. Masterson, last night the Mission was filled with your friends. Let us say we’re even.
(She exits L.1. ARVIDE, passing SKY on the way out, whispers out of the corner of his mouth:)
ARVIDE
If you don’t pay off on that marker I’ll tell the whole town you’re a dirty welcher.
(He exits L.1)
SKY
(Crosses to Nicely)
Nicely! Where’s the crap game?
NICELY
Well, Sky, it’s about ten minutes’ walk from here. Which way? This way.
SKY
NICELY
(He starts down the manhole) BLACKOUT
#24—Change of Scene (Scene 2 to 3) # Show traveller wipes in. #4 traveller opens. Gauze drop goes out. Stage lights dim up. #1 show traveller opens to—
GUYS & DOLLS
— 95 —
ACT II, Scene iii: Crap game in the sewer LIGHT CUE
The stage lights dim up behind #1 trans. show traveller revealing the Crap Game Dance. #1 Trav. opens—Balcony spots dim on.
24a—The Crapshooter’s Dance There is a crap shooter sitting on pipe up R. HARRY THE HORSE and a crap shooter are standing on the platform R.C. upstage. Two crap shooters are hanging on ladder upstage C. watching the dance.
BENNY, ANGIE THE OX, BIG JULE, SOCIETY MAX and one other crap shooter are standing on platform up L.C. NATHAN DETROIT is standing in front of platform L.C.
When the dance is finished all the CRAP SHOOTERS move downstage, putting their coats on and some are putting ties on. They all wear red carnations. Most of them are getting ready to leave the game.
BIG JULE
Wait a minute. Where you all going. I came here to shoot crap. We had enough.
(Ad libs from the crowd)
Let’s go home.
PLAYER
ANOTHER PLAYER NATHAN
You see, Big Jule, the boys are slightly fatigued from weariness, having been shooting crap for quite a while now, namely twenty four hours.
(Ad libs from crowd)
BIG JULE
I do not care who is tired. I am out twenty-five G’s so nobody leaves.
(He moves to Nathan and pats his shoulder revolver threateningly)
NATHAN
Gentlemen, I begin to see the logic of Big Jule. It is not that Big Jule is a bad loser; it is merely that he prefers to win. Right, Big Jule?
— 96 —
GUYS & DOLLS
BIG JULE
Give me the dice. I’m shooting five hundred. Take two hundred.
BENNY
(The PLAYERS are a little slow in getting their money up and they all groan)
I’m half dead.
PLAYER HARRY
If you do not shut up, Big Jule will arrange the other half.
(PLAYERS put their money up quickly) (As he rolls)
Hah!
BIG JULE
NATHAN
And it’s a one and a one. Snake eyes. You lose.
(Ad lib. Reaches for his take)
And fifty dollars for the house.
(Crosses to table)
But the dice are still yours, and your luck is bound to— Shut up! Another five. Two hundred more.
BIG JULE BENNY
(The GUYS cover him again, but very reluctantly)
And here comes that big lucky roll.
(As he throws)
Haaah!
And it’s—snake eyes again.
(THEY all grab their money)
NATHAN BIG JULE
NATHAN
GUYS & DOLLS
Tough luck, Big Jule. Well, that cleans me.
BENNY BIG JULE
(Ad lib and general relaxing, even expressions of pleasure)
But I ain’t through yet.
(General apprehension. Ad lib)
I will now play on credit.
(Many groans—ad lib)
NATHAN
You see, Big Jule, the fellows are pretty tired. Of course me, personally, I am fresh as a daisy. Then I will play with you. Me?
BIG JULE
NATHAN BIG JULE
Yeah, you. You been rakin’ down out of every pot—you must have by now quite a bundle.
NATHAN
Well, being I assume the risk it is only fair I should assume some dough.
BIG JULE
Detroit, I am going to roll you, willy or nilly. If I lose, I will give you my marker.
(Starts writing)
And if I lose? You will give him cash. Let me hear from Big Jule. You will give me cash. Now I heard it.
NATHAN HARRY NATHAN BIG JULE NATHAN
— 97 —
— 98 —
GUYS & DOLLS
(BENNY crosses down L., back of Nathan) Here is my marker.
BIG JULE
(NATHAN looks at it—then at Big Jule)
Put up your dough. Is anything wrong?
NATHAN
No—no. “I.O.U. one thousand dollars.” Signed X!
(Reaching into his pocket)
How is it you can write one thousand, but you cannot write your signature?
BIG JULE
I was good in arithmetic, but I stunk in English.
(His money now out—puts it down)
NATHAN
Here! This will put you through Harvard.
BIG JULE
I’m rolling a thousand. And to change my luck I will use my own dice.
(Horrified)
Your own dice!
NATHAN
BIG JULE
I had them made for me especially in Chicago.
NATHAN
Big Jule, you cannot interpolate Chicago dice in a New York crap game. That is a breach of etiquette.
BENNY
HARRY
Show me where it says that in Emily Post.
NATHAN
Not that I wish to seem petty, but could I look at these dice?
(ALL MEN crowd around looking at dice. BIG JULE takes them out, gives them to Nathan)
But these—these dice ain’t got no spots on ‘em. They’re blank.
GUYS & DOLLS
BIG JULE
I had the spots taken off for luck. But I remember where the spots formerly were.
NATHAN
You are going to roll blank dice and call ‘em from remembering where the spots formerly was?
(Threateningly)
BIG JULE
Why not?
(Pulls NATHAN up by coat)
NATHAN
(Wipes perspiration from his forehead)
I see no reason.
(He rolls)
A five—and a five. My point is ten. Well, I still got a chance.
(Shaking the dice)
Tensy! Come againsy! I wish he’d fall down on his endsy. Heah!
BIG JULE
NATHAN BIG JULE
NATHAN BIG JULE
(He rolls)
A ten! I win! A ten?
(Pointing)
A six and a four.
(Looking)
NATHAN BIG JULE
NATHAN
Which is the six and which is the four?
— 99 —
— 100 —
Either way—
GUYS & DOLLS
BIG JULE
(Picks up dice)
Now I’m shooting two thousand. Get it up!
(Looks at his watch)
NATHAN
I just remembered. I’m eloping tonight. Adelaide is waiting for me.
(Starts to exit. BIG JULE grabs him and pulls him back)
Get up the two thousand.
BIG JULE
NATHAN
How about letting some of the other chaps in on the fun?
(Ad lib—“Ah no.”)
BIG JULE
After I’m through with you!—Two thousand.
(NATHAN puts it up, reluctantly. BIG JULE shakes dice, rolls)
Haah! Seven! I win.
(Swallowing hard)
What a surprise.
(Picks up dice)
NATHAN
BIG JULE
Detroit, I think I will take it easy this time. What do you mean? I am shooting one dollar. I’ll take all of it.
(BIG JULE puts it down) (Rolls)
NATHAN BIG JULE NATHAN
BIG JULE
How do you like that? Snake eyes! I lose.
GUYS & DOLLS
For this I got to bend down.
— 101 —
NATHAN BIG JULE
Now I will give you a chance. I will roll for you three thousand. Three G’s?
(Picks up dice—firm)
NATHAN BIG JULE
I am rolling you for three G’s. Put it down there.
(NATHAN counts out the money. Puts his hands over his eyes as BIG JULE starts to roll)
NATHAN
Wouldn’t it be more convenient if I put it right into your pocket? Get it up!
BIG JULE
(Rolling)
Haaah!—Eleven. I win. That cleans me.
NATHAN BIG JULE
(To the others, picks up dice and money)
Now I will play with you guys.
(Ad lib)
NATHAN
Wait a minute! You gotta give me a chance to get even. I will roll you, with my dice.
BIG JULE
All right, Detroit, that’s fair. What are you gonna use for money? I will give you my marker.
NATHAN HARRY
And you want Big Jule to put up cash? Nathan done it.
BENNY
— 102 —
GUYS & DOLLS
NATHAN
Sure I done it. What kind of a deal is this, anyway? Take it easy, Nathan.
BENNY
NATHAN
Him with his no-spot dice! Somebody ought to knock the spots off him.
(Stands right up to Big Jule)
HARRY
Nathan, don’t make Big Jule have to do something to you. Yeah, I am on my vacation.
BIG JULE
NATHAN
Go ahead—Shoot me. Put me in cement. At least I would know where I am. Here I risk my neck to set up a crap game. I even promise to get married on account of it. So look how I wind up. Broke in a sewer. Believe me, my tough friend from Chicago, there is nothing you could do to me that would not cheer me up.
(NICELY comes down the stairs)
NICELY
(Motioning to someone)
Here they are.
(SKY comes down)
Good evening, gentlemen.
(Crosses to Sky)
SKY BIG JULE
Well, fresh blood. You looking for some action?
SKY
Not at the moment. I would like to talk to some of you guys.
BIG JULE
We ain’t talking. We’re shooting crap.
(Quietly)
I am asking for only one minute.
SKY
GUYS & DOLLS
We are shooting crap.
— 103 —
BIG JULE SKY
It has to do with Miss Sarah Brown’s Mission. Say, who is this guy?
BIG JULE HARRY
It’s the fellow I was telling you—took the Mission doll to Havana.
BIG JULE
Oh, I get it. Look, fellow, why don’t you go back to your praying tomato? You’re slowing up the action around here.
(Smoothly)
SKY
If you want action, would you care to make a small wager on a proposition? What’s the proposition? Am I right-handed or left-handed? How would I know a thing like that? I’ll give you a clue.
BIG JULE SKY BIG JULE SKY
(Socks BIG JULE with a right (ad libs). BIG JULE goes down. Staggers to his feet, reaching groggily for his gun. SKY gets it first—tosses it to NATHAN who catches it gingerly)
Heh!
(Rises—crosses upstage) (Handing gun to Benny)
Kindly return this to Sears-Roebuck.
(Addressing the group)
Look, you guys.
HARRY
NATHAN
SKY
— 104 —
GUYS & DOLLS
(SKY)
(Crosses to Nathan)
Tonight in Miss Sarah Brown’s Mission at 409 West 49th Street they are holding a midnight prayer meeting. I promised I would deliver to them some sinners, and when it comes to sinning most of you guys are high up among the paint cards.
(EVERYONE looks very uncomfortable—ad lib)
HARRY
I don’t want to waste no evening in a Hallelujah joint.
SKY
If you won’t do it as a favor to me, do it as a favor to yourselves . I guarantee you the air in the Mission smells cleaner than down here—
(Ad libs)
—and maybe it would not hurt you guys to learn something else besides the odds on making a four the hard way. You been reading the Bible too much.
HARRY SKY
So what? Maybe the Bible don’t read as lively as the Scratch Sheet, but it is at least twice as accurate.
(THEY only mumble with heads hung low—ad lib)
Well, I tried—See you around, Nathan.
(Puts hat down) (Turns to Sky)
NATHAN
Okay, Sky—About that Havana business, I regret I temporarily do not have the one thousand to pay you. You don’t have to pay me.
SKY
(Pulls out a bill)
You won.
NATHAN
But I thought you took Miss Sarah to Havana.
GUYS & DOLLS
You thought wrong.
— 105 —
SKY
(Giving money to NATHAN he starts up the ladder)
NATHAN
Come on, Big Jule, get up. I have now got dough to roll you again. But with my dice!
(On his feet again)
HARRY
Nothing doing. With those dice he cannot make a pass to save his soul.
(Stops dead on ladder)
What’d you say?
(Belligerently)
SKY
HARRY
I says with them dice he cannot make a pass to save his soul.
SKY
(Crosses to Nathan’s R.—slowly as he returns to them)
Well, maybe I can make a pass to save his—
(Pointing to one, then another)
And yours!—And yours—and his—
(From the group: “Huh?—What are you talking about?”—Ad lib)
I am going to roll the dice. I will bet each of you a thousand dollars against your
souls. One thousand cash against a marker for your souls.
(BIG JULE rises—ad lib)
If I win, you guys all show up at the Mission tonight.
(There is a buzz of interest—ad lib)
Is it okay?
(Ad lib)
HARRY
Let me get this . If you lose, we each get a thousand bucks, and if you win we gotta show up at the Mission doll’s cabaret?
— 106 —
GUYS & DOLLS
SKY
(Tight-lipped)
If I win you show up at the Save-A-Soul Mission. One meeting.
(Thinks a minute)
Okay by me.
(Taking the lead)
HARRY
BENNY
By me too.
(THE OTHERS agree, as they all start writing markers. BENNY also writes)
SKY
(As the OTHERS hand him their markers)
You too, Nathan. A thousand dollars against your soul. Me? I don’t even know if I got one. You got one some place. How do you spell “soul”?
(Spelling)
NATHAN SKY NATHAN BENNY
S—O—
(NATHAN pushes BENNY. SKY backs upstage)
SKY
All right, put down your markers.
(THEY do so. SKY covers them all with a one thousand dollar bill)
Give me the dice.
(Some MEN squat down. He gets them)
And give me room.
(He hesitates, nervously. Tosses the dice in his hand once or twice)
Come on—quit stallin’—roll.
A PLAYER
GUYS & DOLLS
(MEN squatting, rise)
HARRY
What’s the matter, Sky, turning chicken?
SKY
You’ve seen me roll for a hundred G’s. But I’ve got a little more than dough riding on this one.
(Walks D.C.)
LIGHT CUE
#25—Luck Be a Lady
(D.C.)
SKY THEY CALL YOU LADY LUCK
BUT THERE IS ROOM FOR DOUBT
AT TIMES YOU HAVE A VERY UNLADY-LIKE WAY OF RUNNING OUT
(Takes 2 steps D.C.)
YOU’RE ON THIS DATE WITH ME
THE PICKINGS HAVE BEEN LUSH
AND YET BEFORE THIS EVENING IS OVER YOU MIGHT GIVE ME THE BRUSH
(Crosses 3 steps R.)
YOU MIGHT FORGET YOUR MANNERS
YOU MIGHT REFUSE TO STAY
(At R.C.)
AND SO THE BEST THAT I CAN DO IS PRAY. LUCK BE A LADY TONIGHT
LUCK RE A LADY TONIGHT.
LUCK, IF YOU’VE EVER BEEN A LADY TO BEGIN WITH
LUCK, BE A LADY TONIGHT.
(Crosses 2 steps L.)
LUCK, LET A GENTLEMAN SEE
HOW NICE A DAME YOU CAN BE
— 107 —
— 108 —
GUYS & DOLLS
(SKY)
I KNOW THE WAY YOU’VE TREATED OTHER GUYS YOU’VE BEEN WITH,
LUCK BE A LADY WITH ME!
(Crosses 2 steps L.)
A LADY DOESN’T LEAVE HER ESCORT
IT ISN’T FAIR, IT ISN’T NICE
A LADY DOESN’T WANDER ALL OVER THE ROOM
AND BLOW ON SOME OTHER GUY’S DICE. SO LET’S KEEP THE PARTY POLITE
(Takes roll of money out of pocket)
NEVER GET OUT OF MY SIGHT
STICK WITH ME, BABY, I’M THE FELLOW YOU CAME IN WITH
LUCK BE A LADY
(Throws money on floor)
LUCK BE A LADY
(Throws more money on floor)
LUCK BE A LADY TONIGHT.
(Crosses to R.)
(SKY goes to stage R., motions to BIG JULE to put up his marker then motions to crap shooter upstage R. BIG JULE and CRAP SHOOTER move to C. SKY crosses to C., motions to CRAP SHOOTER who moves down C. Then SKY motions to crap shooter L.C. CRAP SHOOTER moves down C. SKY comes to stage C.)
ENSEMBLE
LUCK BE A LADY TONIGHT
LUCK BE A LADY TONIGHT
LUCK, IF YOU’VE EVER BEEN A LADY TO BEGIN WITH
LUCK BE A LADY TONIGHT.
SKY
LUCK, LET A GENTLEMAN SEE
(MEN kneel)
CRAP SHOOTERS
LUCK, LET A GENTLEMAN SEE
GUYS & DOLLS
— 109 —
SKY
HOW NICE A DAME YOU CAN BE
CRAP SHOOTERS
HOW NICE A DAME YOU CAN BE
(CRAP SHOOTER crosses down L.C.)
SKY
CRAP SHOOTERS
I KNOW THE WAY YOU’VE TREATED
LUCK BE A LADY,
OTHER GUYS YOU’VE BEEN WITH.
LUCK, BE A LADY WITH ME.
A LADY,
BE A LADY WITH ME
SKY
A LADY WOULDN’T FLIRT WITH STRANGERS
SHE’D HAVE A HEART, SHE’D HAVE A SOUL
SKY
A LADY WOULDN’T MAKE LITTLE
ROLL ‘EM, ROLL ‘EM,
SNAKE EYES AT ME WHEN
ROLL ‘EM, SNAKE EYES
(ALL MEN quiet)
ROLL ‘EM ROLL ‘EM
I’VE BET MY LIFE ON THIS ROLL.
CRAP SHOOTERS
SKY
ROLL ‘EM
SO LET’S KEEP THE PARTY POLITE
CRAP SHOOTERS
SO LET’S KEEP THE PARTY POLITE
SKY
NEVER GET OUT OF MY SIGHT
CRAP SHOOTERS
NEVER GET OUT OF MY SIGHT
SKY
STICK WITH ME BABY, I’M THE
CRAP SHOOTERS STICK HERE
FELLOW YOU CAME
BABY,
LUCK
BABY
IN WITH
BE A LADY
STICK HERE
LUCK BE A LADY
— 110 —
GUYS & DOLLS
(SKY)
LUCK BE A LADY LUCK BE A
LADY
CRAP SHOOTERS LUCK BE A LADY ROLL WILL YA,
ROLL WILL YA,
WHAT’S THE MATTER?
TONIGHT—
ROLL THE DICE!
__
COMIN’ OUT,
__ __ __ __
HA!
BLACKOUT
#26—Change of Scene (Scene 3 to 4) #2 Street traveller closes. Stage lights dim up—
COMIN’ OUT, COMIN’ OUT, COMIN’ OUT, RIGHT. HA!
GUYS & DOLLS
— 111 —
ACT II, Scene iv: A street off Broadway LIGHT CUE
TWO CRAP SHOOTERS enter from R.1. One is putting on his tie. They exit L.1. BIG JULE and HARRY THE HORSE enter from R.1. They stop at stage R.
BIG JULE
I tell you I don’t want to go to no prayer meeting.
HARRY
Big Jule, you give your marker, and if you welch—it will cause me no little embarrassment. I am sure you do not wish to cause me embarrassment?
(THEY both walk to stage L. and stop)
BIG JULE
But if it ever gets back to. Chicago that I went to a prayer meeting, no decent person will talk to me.
(THEY exit L.1—THREE CRAP SHOOTERS enter from R.1 and cross to stage L. ADELAIDE enters from L.1 reading a newspaper—she looks around obviously looking for Nathan. She stops stage L. NATHAN enters R.1. ADELAIDE sees him and drops the newspaper and purposely bumps into NATHAN—CRAP SHOOTER picks up newspaper as THEY exit L.1)
Adelaide!
(Lady Windermere)
Oh! What a coincidence!
NATHAN
ADELAIDE
NATHAN
Adelaide, did Nicely explain to you about tonight? I hope you ain’t sore about it?
(Tries to embrace her—SHE pulls away to C.)
ADELAIDE
Please! Let us not have a vulgar scene. After all, we are civilized people—we do not have to conduct ourselves like a slob.
NATHAN
Adelaide! What is this? You are my doll.
ADELAIDE
Your doll! Please, if that weren’t so amusing one could laugh at it.
— 112 —
GUYS & DOLLS
NATHAN
Sweetheart! Baby! How can you carry on like this over one lousy elopement? Adelaide, please!
ADELAIDE
It’s no use, Nathan. I have succeeded in your not being able to upset me no more. I have got you completely out of my—
(Sneezes. Then throws herself into Nathan’s arms, weeping)
Oh, Nathan!
NATHAN
Adelaide, baby! Don’t ever do that to me again! I can’t stand it. We’ll get married. We’ll have a home, a little white house with a green fence—just like the Whitney colors.
(Through her tears)
ADELAIDE
Nathan, we got to do it soon. I had another letter from my mother today asking a lot of questions. And she put in a letter for you, too.
(Hands it to him)
NATHAN
A letter for me? From your mother? Well—
(Opens it and reads)
—“Dear Son Nathan: This is my first letter to you, although you have now been
married to my daughter for twelve years. But I feel like I know you from Adelaide’s letters, and in my mind’s eye I can see you as you go down to work every morning
at seven. What a responsibility it must be, to be the assistant manager of an A. & P.”
(He breaks off)
I’m not even the manager?
(Looks at Adelaide)
ADELAIDE
I was going to promote you for Christmas.
(Back to the letter)
NATHAN
—“I know how hard you have to work to take care of your family—Adelaide and the five children and the one that’s on the way.”
(Looks at Adelaide)
GUYS & DOLLS
ADELAIDE
Mother wanted me to visit her, so I had to tell her that.
(Righteous indignation)
NATHAN
Don’t she know I can’t have six kids on what they pay me at the A. & P.?
(Reads quickly to himself, then slows up as he reads it aloud)
—“I am very proud to have you as a son-in-law. You are a good man and I know you will always take care of Adelaide.” I feel like a heel.
ADELAIDE
Look, Nathan darling, we can still make everything all right. Look—it’s not even midnight yet. Five minutes to twelve—let’s elope right now. Okay, Adelaide.
NATHAN
(Embrace. BENNY and NICELY enter from R.1. NATHAN sees them)
No, I can’t. Why not?
ADELAIDE
(BENNY and NICELY are crossing at this moment)
Come on, Nathan—we’ll be late. Come on!
(THEY exit L.1) (In measured tones)
Nathan, why can’t we elope now?
BENNY
NICELY
ADELAIDE
NATHAN
Because—well, I got to go to a prayer meeting.
(This one really hits her)
ADELAIDE
Nathan. This is the biggest lie you ever told me. But I promise you it’s true.
NATHAN
— 113 —
— 114 —
GUYS & DOLLS
LIGHT CUE
(ADELAIDE takes letter from Nathan, tears letter up—throws it on floor, crosses D.R. NATHAN kneels, picks up pieces of torn letter)
#27—Sue Me ADELAIDE
YOU PROMISE ME THIS
YOU PROMISE ME THAT
YOU PROMISE ME ANYTHING UNDER THE SUN THEN YOU GIVE ME A KISS
AND YOU’RE GRABBIN’ YOUR HAT
AND YOU’RE OFF TO THE RACES AGAIN.
WHEN I THINK OF THE TIME GONE BY ADELAIDE, ADELAIDE
(Crosses to L. to her)
NATHAN
ADELAIDE
AND I THINK OF THE WAY I TRY
NATHAN
ADELAIDE.
(ADELAIDE crosses to L., pass Nathan)
ADELAIDE
I COULD HONESTLY DIE. CALL A LAWYER AND
NATHAN
SUE ME, SUE ME
WHAT CAN YOU DO ME
I LOVE YOU
GIVE A HOLLER AND HATE ME, HATE ME
GO AHEAD AND HATE ME
I LOVE YOU.
ADELAIDE
THE BEST YEARS OF MY LIFE,
I WAS A FOOL TO GIVE TO YOU
GUYS & DOLLS
NATHAN
ALRIGHT ALREADY I’M JUST A NO GOODNICK
ALRIGHT ALREADY, IT’S TRUE, SO NEW SO SUE ME, SUE ME
WHAT CAN YOU DO ME I LOVE YOU
(Tries to take her in his arms—SHE backs away to R.)
ADELAIDE
YOU GAMBLE IT HERE,
YOU GAMBLE IT THERE
YOU GAMBLE ON EV’RYTHING ALL EXCEPT ME
AND I’M SICK OF YOU KEEPING ME UP IN THE AIR TILL YOU’RE BACK IN THE MONEY AGAIN WHEN I THINK OF THE TIME GONE BY
ADELAIDE, ADELAIDE
NATHAN
ADELAIDE
AND I THINK OF THE WAY I TRY ADELAIDE
(Crosses to Adelaide)
NATHAN
ADELAIDE
I COULD HONESTLY DIE
(Backs away)
NATHAN
SERVE A PAPER AND SUE ME, SUE ME
WHAT CAN YOU DO ME
I LOVE YOU
(SHE sneezes)
GIVE A HOLLER AND HATE ME, HATE ME
GO AHEAD AND HATE ME
I LOVE YOU
— 115 —
— 116 —
GUYS & DOLLS
(Crosses to L. pass him)
ADELAIDE
WHEN YOU WIND UP IN JAIL
DON’T COME TO ME TO BAIL YOU OUT.
NATHAN
ALRIGHT, ALREADY SO CALL A POLICEMAN ALRIGHT ALREADY IT’S TRUE, SO NEW
(SHE goes to him)
SO SUE ME SUE ME
(THEY embrace)
WHAT CAN YOU DO ME
I LOVE YOU.
(BENNY and NICELY enter from L.1. THEY beckon to Nathan—NATHAN waves them away. ADELAIDE turns and sees them. THEY see the anger in her eyes and hurriedly exit L.1) (Crosses to R.)
ADELAIDE
YOU’RE AT IT AGAIN,
YOU’RE RUNNING THE GAME
I’M NOT GONNA PLAY SECOND FIDDLE TO THAT
AND I’M SICK AND I’M TIRED OF STALLING AROUND.
AND I’M TELLING YOU NOW THAT WE’RE THROUGH
WHEN I THINK OF THE TIME GONE BY.
(Crosses to her)
NATHAN
ADELAIDE, ADELAIDE
(SHE waves him away)
ADELAIDE
AND I THINK OF THE WAY I TRY ADELAIDE!
NATHAN
ADELAIDE
I COULD HONESTLY DIE.
GUYS & DOLLS
SUE ME, SUE ME,
NATHAN
SHOOT BULLETS THROUGH ME
I LOVE YOU.
(SHE exits R.1.—HE exits L.1.)
LIGHTS DIM OUT TO BLACK
#27a—Change of Scene (Scene 4 to 5) #2 street traveller opens. Stage lights dim up to—
— 117 —
— 118 —
GUYS & DOLLS
ACT II, Scene v: Interior of Mission The MISSION GROUP—SARAH, ARVIDE, AGATHA and CALVIN—sits expectantly at a long table. A new figure is present—THE GENERAL. She is pacing the room, looking at the group who are momentarily growing more uneasy. Three chairs and three benches are at stage R.
GENERAL
It is now several minutes past midnight. Isn’t anyone coming?
(THEY all sit glumly)
Sergeant Sarah, something is very wrong. Maybe your watch is fast.
(Rises, crosses to C. 2 steps)
ARVIDE SARAH
General, I know what’s wrong. I’m wrong. I’ve failed. I’ve spoken to these people day after day, but my words haven’t reached them—I think you had better—
(MUGS enter—SARAH turns to them as THEY enter. ARVIDE rises) (Sits)
ARVIDE
Welcome, brothers. Welcome.
(A few little grunts from the Boys then—SKY enters)
SKY
Everybody here? Where’s Nathan Detroit?
(NATHAN enters)
Present.
(Crosses down C.)
NATHAN SKY
Miss Sarah, here you are. One dozen or more assorted sinners. Sorry we didn’t have time to clean ‘em up.
(Rises)
Won’t you gentlemen sit down?
(THEY shuffle their feet a little)
ARVIDE
GUYS & DOLLS
— 119 —
SKY
Sit down! All of you!
(THEY do. SARAH sits in chair—BIG JULE looks at GENERAL disgustedly. GENERAL crosses to L. Sits at table)
ARVIDE
I would like to welcome you gentlemen to the Save-A-Soul Mission.
(A loud Bronx cheer from one of the gang. ARVIDE sits)
SKY
Just a minute, you guys. This is a Mission, not Roseland, and I suggest that you do not indulge in any unpleasantness. Since I am required to depart for points West tonight—
(SARAH moves)
—I am appointing Nathan Detroit major domo in my place. Nathan, anybody who does not conduct himself according to Hoyle will answer to Sky Masterson personally, and that means in person.
(He gives them a final glance, then goes—exits L.3) (From the silence)
GENERAL
What a remarkable young man!
(SARAH looks at her, but says nothing)
NATHAN
(Rises—confronts them, clears his throat and shouts)
So remember that, you guys.
(Turns to Arvide)
Brother Abernathy, your dice.
(HE sits) (Rises)
ARVIDE
Gentlemen, we are honored tonight. The meeting will be conducted by the head of our organization, General Cartwright.
(Sits. NATHAN starts the applause)
— 120 —
(Rises)
GUYS & DOLLS
GENERAL
It is wonderful to see our Mission graced by the presence of so many evil-looking sinners.
(NATHAN starts to applaud, but realizes he may be wrong)
Now, who would like to testify? Who would like to start the ball rolling by giving testimony?
(THEY are silent and hang their heads)
Benny! Give testimony. I ain’t no stool pigeon.
NATHAN BENNY
GENERAL
Come, brothers—I know it is difficult. But let one of you give testimony to the sin that is in his heart. Benny! Tell ‘em what a bum you are!
NATHAN
(BENNY rises)
Benny!
(Forced to it)
BENNY
I always was a bad guy, and a gambler, but I ain’t going to do it no more. I thank you.
(Sits, quickly)
There! Don’ t you feel better now? I’m alright. Anyone else? Big Jule.
GENERAL BENNY GENERAL NATHAN
GUYS & DOLLS
(Rises)
— 121 —
BIG JULE
Well, I used to be bad when I was a kid, but ever since then I have gone straight as I can prove by my record thirty-three arrests and no convictions.
(Sits)
(Pointing)
Harry!
Oh, no!
(Louder this time)
Harry the Horse!
(Getting reluctantly to his feet)
NATHAN
HARRY NATHAN
HARRY
Ah, well, like when sky was rolling us for our souls— I beg your pardon?
GENERAL HARRY
Sky Masterson. He rolled us a thousand dollars against our souls. That’s why we’re here. I don’t think I understand.
GENERAL SARAH
I do, General. He means that they are only here because Mr. Masterson won them in a dice game.
GENERAL
How wonderful! This whole meeting the result of gambling! It shows how good can come out of evil.
(Pounds table)
Sergeant Sarah, you have done remarkable work. Hasn’t she, though?
ARVIDE
— 122 —
(A small voice)
Thank you.
GUYS & DOLLS
SARAH
HARRY
Hey! I ain’t finished my testimony. My sins is that when Sky rolled us I wished I would win the thousand dollars instead of having to come here, but now that I’m here I still wish it.
(Sits)
Anybody else?
GENERAL
(BRANNIGAN plunges in from L.3 ready for anything: he points to NATHAN. NATHAN raises a warning finger to his lips. BRANNIGAN subsides. NATHAN removes Brannigan’s hat and places over his extended finger) (In a new voice of piety)
NATHAN
We will now hear testimony from—
(He looks them over)
Brother Nicely-Nicely Johnson—
(NICELY forces a smile—then NATHAN sweetly says:)
Brother Nicely-Nicely Johnson— Get up, you fat water buffalo.
(NICELY slowly rises)
BIG JULE
NICELY
Well. It happened to me kind of funny. Like a dream. That’s it, a dream. Tell us, in your own words.
GENERAL
(She sits. NICELY places his hat on chair. NATHAN points to chair up C. which BRANNIGAN sits in. NATHAN sits in his chair.)
LIGHT CUE
GUYS & DOLLS
— 123 —
#28—Sit Down, You’re Rockin’ the Boat NICELY
I DREAMED LAST NIGHT
I GOT ON THE BOAT TO HEAVEN
AND BY SOME CHANCE I HAD BROUGHT MY DICE ALONG AND THERE I STOOD
AND I HOLLERED, “SOMEONE FADE ME”
BUT THE PASSENGERS, THEY KNEW RIGHT FROM WRONG FOR THE PEOPLE ALL SAID SIT DOWN,
SIT DOWN, YOU’RE ROCKIN’ THE BOAT
NICELY & ENSEMBLE
PEOPLE SAID SIT DOWN,
SIT DOWN, YOU’RE ROCKIN’ THE BOAT.
NICELY
AND THE DEVIL WILL DRAG YOU UNDER
BY THE SHARP LAPEL OF YOUR CHECKERED COAT SIT DOWN, SIT DOWN, SIT DOWN, SIT DOWN,
NICELY & ENSEMBLE
SIT DOWN, YOU’RE ROCKIN’ THE BOAT
NICELY
I SAILED AWAY ON THAT
OOO
LITTLE BOAT TO HEAVEN
OOO
AND BY SOME CHANCE FOUND
OOO
A BOTTLE IN MY FIST.
OOO
AND THERE I STOOD
OOO
BUT THE PASSENGERS WERE BOUND
OOO
NICELY PASSIN’ OUT THE WHISKEY,
TO RESIST
NICELY
FOR THE PEOPLE ALL SAID BEWARE,
ENSEMBLE
PEOPLE ALL SAID BEWARE
NICELY
YOU’ RE ON A HEAVENLY TRIP
OOO
ENSEMBLE
— 124 —
GUYS & DOLLS
BEWARE
ENSEMBLE NICELY
PEOPLE ALL SAID BEWARE,
ENSEMBLE
PEOPLE ALL SAID BEWARE
NICELY
BEWARE, YOU’LL SCUTTLE THE SHIP
NICELY
ENSEMBLE
AND THE DEVIL
(B1) SIT (hold)
UNDER
(T) SIT (hold)
(B2) DOWN (hold)
WILL DRAG YOU
(S/A) DOWN (hold)
BY THE FANCY TIE
‘ROUND YOUR WICKED THROAT SIT DOWN,
NICELY ALL
SIT DOWN, SIT DOWN, SIT DOWN,
SIT DOWN, YOU’RE ROCKIN’ THE BOAT DOWN
ENSEMBLE
(THEY all sit down)
NICELY
AND AS I LAUGHED
AT THOSE PASSENGERS TO HEAVEN.
(Laughs)
A GREAT BIG WAVE CAME
AND WASHED ME OVERBOARD
(Gasp)
AND AS I SANK
AND I HOLLERED, “SOMEONE SAVE ME”
(Solemnly)
THAT’S THE MOMENT I WOKE UP
THANK THE LORD
MM OO OO OO OO
OO
ENSEMBLE
GUYS & DOLLS
(NICELY)
— 125 —
(ENSEMBLE)
(Mission Band rises)
THANK THE LORD
AND I SAID TO MYSELF, SIT DOWN, SIT DOWN,
SAID TO HIMSELF SIT DOWN
YOU’RE ROCKIN’ THE BOAT
SIT DOWN
SAID TO MYSELF, SIT DOWN,
(Mission Band sits)
SAID TO HIMSELF
SIT DOWN,
SIT DOWN
YOU’RE ROCKIN’ THE BOAT
AND THE DEVIL WILL DRAG
YOU UNDER
AND THE DEVIL WILL DRAG
WITH A SOUL SO HEAVY
YOU UNDER
YOU’D NEVER FLOAT,
SIT DOWN,—
ALL
—SIT DOWN, SIT DOWN, SIT DOWN,
SIT DOWN, YOU’RE ROCKIN’ THE BOAT
(THEY all rise)
SIT DOWN YOU’RE ROCKIN’
SIT DOWN, SIT DOWN,
SIT DOWN, YOU’RE ROCKIN’ THE BOAT —SIT DOWN, SIT DOWN, SIT DOWN,
SIT DOWN, YOU’RE ROCKIN’ THE BOAT
SIT DOWN YOU’RE ROCKIN’
SIT DOWN, SIT DOWN,
SIT DOWN, YOU’RE ROCKIN’ THE BOAT SIT DOWN
THANK THE LORD.
NICELY
ENSEMBLE
SIT DOWN, YOU’RE ROCKIN’ THE BOAT
— 126 —
GUYS & DOLLS
(THEY all sit. LIGHT CUE. At end of number NATHAN and BRANNIGAN rise)
NATHAN
Anything we can do for you, Brother Brannigan? Maybe you would care to testify?
BRANNIGAN
I’ll do my testifying in court, where I will testify that you ran a crap game here in this Mission last night. Miss Sarah, you were standing there when they came out. You saw them. Aren’t these the fellows?
(Slowly looks at them; takes her time)
I never saw them before in my life. There’s a right broad!
(Rises)
SARAH
BIG JULE ARVIDE
Now if you would excuse me, officer, we would like to go on with our meeting.
BRANNIGAN
I never saw crap shooters spend so much time in a Mission. Maybe that’s what they mean by Holy Rollers.
(He puts his hat on and exits L.3. HARRY THE HORSE rises indignantly. NATHAN waves him down as BIG JULE pulls Harry down by the sleeve)
NATHAN
Thank you, Miss Sarah—People, I also have a confession to make, and I got to get it off my chest. We did shoot crap here last night and we’re all sorry. Ain’t we, boys?
(He turns to the mob—THEY mumble assents: hanging of heads)
I’m really sorry.
(Turning to Sarah)
BIG JULE
NATHAN
But I did another terrible thing.
(Crosses down C.)
I made a bet with a certain guy that he could not take a certain doll away with him on a trip, and this I should not have done, although it did not do any harm, as I won the bet.
GUYS & DOLLS
You won the bet?
— 127 —
SARAH NATHAN
Sure. The guy told me that he didn’t take the doll. Well, that makes me feel a lot better.
(Rises)
Hallelujah! Hallelujah!
GENERAL
NATHAN
(Sits. The mob all say “Hallelujah”. The GENERAL picks up a handful of song books and passes them out)
GENERAL
Gentlemen, we will now sing No. 244—“Follow the Fold”.
#29—The Guys Follow the Fold (She stands in front of them and raises her hand to conduct. Music begins. SARAH quietly picks up cape which has been hanging on back of her chair and quickly makes an exit up L.3. Stage lights dim to black as SARAH exits) #1 Show traveller wipes in. Street gauze drop is let in. #4 traveller closes, backing up the gauze drop #1. Show traveller opens up as stage lights dim up to—
— 128 —
GUYS & DOLLS
ACT II, Scene vi: Night—Street off Broadway LIGHT CUE
#29a—Adelaide Meets Sarah Two ropes together bundles of newspaper tabloids on which two people can sit on stage C. ADELAIDE enters, disconsolately from R.1. Drops onto newspaper bundle R.C.— sneezes. A passing MALE enters from stage L.1, stops to look at her to flirt, if encouraged— (Angrily)
ADELAIDE
Oh, go away!
(HE hurries off R.1. ADELAIDE starts to sing softly as SARAH enters singing softly from stage L.1. She is wearing a cape—she sits on newspaper bundle L.C. not noticing Adelaide)
SO PLEASE
SARAH
ADELAIDE
“KEEP THE VICKS ON YOUR CHEST
FORGIVE
AND GET PLENTY OF REST”
YOU CAN WISELY WARN HER
THIS HELPLESS HASE
BUT IN SPITE OF THE QUIET,
I’M IN
MASSAGES AND DIET,
SHE’S STILL A GONER
I’VE NEVER
REALLY BEEN
ONCE SHE GETS THE IDEA
IN LOVE
WILL ALWAYS BE ‘ROUND THE CORNER
THAT THE LITTLE CHURCH
BEFORE
A PERSON
CAN DEVELOP A COLD.
(Looks at Sarah)
ADELAIDE
(Noticing Sarah and not caring much)
Oh, hello.
GUYS & DOLLS
SARAH
(Uncertainly)
Good evening.
— 129 —
ADELAIDE
I’m Adelaide, the well known fiancée.
SARAH
Oh, yes. When are you getting married? The twelfth of never. Oh, I’m sorry.
ADELAIDE SARAH ADELAIDE
I didn’t even get close enough to a church to be left at it—
(Half to herself)
Gee, what’ll I ever tell my mother?
SARAH
Oh, your mother will understand. Just tell her your engagement is broken.
LIGHT CUE
(Gives her a look)
ADELAIDE
I’m afraid that might confuse her—Maybe I’ll tell her Nathan is dead, and then see to it.
SARAH
You mustn’t carry hate in your heart, Miss Adelaide. Try to be forgiving and understanding, and the pain will go away. In the Bible it tells us in Isaiah—Isaiah—
(The thought is too much for her)
—Isaiah—
(But she cannot go ahead)
ADELAIDE
You’ve got a boy friend named Isaiah, huh?
(Through her tears)
Isaiah was an ancient prophet.
SARAH
— 130 —
GUYS & DOLLS
ADELAIDE
Don’t tell me. Nobody cries like that over an old guy—Whoever it is, you got it bad. You know, when I saw you with Sky Masterson the other night—
(SARAH goes into a fresh outburst of tears! ADELAIDE looks at her)
—Oh, no! Not Sky! You’re not in love with Sky?
(No answer, which is its own confirmation)
You poor thing!
(SARAH gestures helplessly) #4 Traveller opens
SARAH
(Low-voiced)
I thought I hated him.
ADELAIDE
I thought I hated Nathan. I still think I hate him. That’s love.
SARAH
Adelaide—can’t men like Sky ever change?
(Shakes her head)
ADELAIDE
For fourteen years I’ve tried to change Nathan. I’ve always thought how wonderful he would be, if he was different. I’ve thought about Sky that way, too.
SARAH
ADELAIDE
I’ve sat and pictured him by the hour. Nathan—my Nathan—in a little home in the country—happy—
LIGHT CUE
(Lights go on behind her R. revealing a NATHAN in overalls and farmer’s hat, standing beside a trellis of beautiful roses. With a spray gun he is tenderly treating each bud with loving care. He picks off a bug; removes his hat to wipe his brow. The lights go down again) LIGHT CUE
(Sighs as picture fades)
Gee, wouldn’t it be wonderful!
ADELAIDE
GUYS & DOLLS
Wouldn’t it—If only Sky—
— 131 —
SARAH
LIGHT CUE
(On the other side SKY now appears L. He appears as in Sarah’s imagination. He is wearing a dainty bib-type kitchen apron, holding wicker laundry basket filled with diapers. With clothes-pins in his mouth he is hanging diapers on line. The vision fades) But they just can’t change.
(#4 Traveller closes)
ADELAIDE
SARAH
A little while ago at our prayer meeting there were a lot of gamblers who acted as though maybe they could change.
LIGHT CUE
ADELAIDE
Yes, but that doesn’t mean—gamblers at your prayer meeting—Was Nathan Detroit there? I’m sure I heard that name.
SARAH
ADELAIDE
A darling little fellow with a cute moustache? I think so.
(Rises, crosses down C.)
SARAH
ADELAIDE
How do you like that rat! Just when he should have been lying he’s telling the truth! I’m glad I’m through with him.
(Turns to Sarah)
And you ought to be glad you’re through with Sky, too.
(Thoughtfully)
I am.
SARAH
(TWO GIRLS look at each other for a moment)
— 132 —
GUYS & DOLLS
ADELAIDE
(Crosses to Sarah—sits on bundle of newspapers)
What are we—crazy or something?!
#30—Marry the Man Today AT WANAMAKER’S AND SAKS AND KLEIN’S
A LESSON I’VE BEEN TAUGHT
YOU CAN’T GET ALTERATIONS ON A DRESS YOU HAVEN’T BOUGHT
SARAH
AT ANY VEG’TABLE MARKET FROM BORNEO TO NOME
YOU MUSTN’T SQUEEZE A MELON
TILL YOU GET THE MELON HOME
ADELAIDE
YOU’VE SIMPLY GOT TO GAMBLE
(Looks at Sarah)
SARAH
YOU GET NO GUARANTEE
ADELAIDE
NOW DOESN’T THAT KIND OF APPLY TO YOU AND I? YOU AND ME.
(Rises)
(Rises)
WHY NOT?
WHY NOT WHAT?
(Two steps D. front)
SARAH
ADELAIDE
SARAH
ADELAIDE
MARRY THE MAN TODAY
(SARAH moves down alongside of her. Two steps D.S.) TROUBLE THOUGH HE MAY BE
MUCH AS HE LOVES TO PLAY
CRAZY AND WILD AND FREE
GUYS & DOLLS
SARAH & ADELAIDE
MARRY THE MAN TODAY
(Walks D.S. 1 step. Turn to one another)
RATHER THAN SIGH AND SORROW MARRY THE MAN TODAY
AND CHANGE HIS WAYS TOMORROW
(Crosses 3 steps R.)
SARAH
MARRY THE MAN TODAY
ADELAIDE
MARRY THE MAN TODAY
(Moving S.R.)
SARAH
MAYBE HE’S LEAVING TOWN
(Pulls ADELAIDE back)
ADELAIDE
MAYBE HE’S LEAVING TOWN
SARAH
DON’T LET HIM GET AWAY
(Motions with fist)
ADELAIDE
DON’T LET HIM GET AWAY
SARAH
HURRY AND TRACK HIM DOWN
ADELAIDE
COUNTER ATTACK HIM AND
SARAH & ADELAIDE
MARRY THE MAN TODAY
(BOTH put hands out)
GIVE HIM THE GIRLISH LAUGHTER
SARAH
GIVE HIM YOUR HAND TODAY
— 133 —
— 134 —
GUYS & DOLLS
(SARAH)
AND SAVE THE FIST FOR AFTER
(Crosses to R.)
ADELAIDE
SLOWLY INTRODUCE HIM TO THE BETTER THINGS RESPECTABLE, CONSERVATIVE AND CLEAN.
(Crosses to Adelaide)
READERS DIGEST! GUY LOMBARDO! ROGERS PEET! GOLF! GALOSHES! OVALTINE!
SARAH
ADELAIDE SARAH ADELAIDE SARAH ADELAIDE BOTH
BUT MARRY THE MAN TODAY
(Fist gesture)
HANDLE IT MEEK AND GENTLY
(Crosses to Sarah)
ADELAIDE
MARRY THE MAN TODAY
AND TRAIN HIM SUBSEQUENTLY
SARAH
CAREFULLY EXPOSE HIM TO DOMESTIC LIFE
AND IF HE EVER TRIES TO STRAY FROM YOU
HAVE A POT ROAST
HAVE A HEADACHE
(Hand to head)
ADELAIDE
GUYS & DOLLS
HAVE A BABY HAVE TWO SIX NINE STOP !
SARAH ADELAIDE SARAH ADELAIDE SARAH BOTH
MARRY THE MAN TODAY
RATHER THAN SIGH AND SORROW MARRY THE MAN TODAY
(THEY shake hands)
AND CHANGE HIS WAYS
ADELAIDE
AND CHANGE HIS WAYS
SARAH
AND CHANGE HIS WAYS
ADELAIDE
AND CHANGE HIS WAYS
SARAH
AND CHANGE THE WAYS TOMORROW.
BOTH
(ADELAIDE exits R.1. SARAH exits L.1. THEY pound their fists as they exit) DIM TO BLACK
#1 Show traveller wipes in. #4 traveller opens. # Stage lights dim up to—
— 135 —
— 136 —
GUYS & DOLLS
ACT II, Scene vii: The Street,
same as opening scene of show—Broadway LIGHT CUE
#31—Opening – Scene 7 The two BROADWAY CHARACTERS we saw in opening scene are discovered at Stage C. doing the same routine as the lights dim up and #1 Show Trans. Traveller opens—The TWO STREET WALKERS are at the newsstand and cross over to the TWO BROADWAY CHARACTERS. who turn them down and exit R.1 followed by the TWO STREET WALKERS. ALL THE MUGS march on from L.2. They have been cleaned up, and each one is wearing a big white gardenia. HARRY is in the lead followed by NICELY, BENNY. They stand in line.
The PAPER DOLL VENDOR and his ASSISTANT enter from R.1 and set up their pitch stage C. The PRIZE FIGHTER and his MANAGER watch the bouncing doll and the PRIZEFIGHTER motions to his manager to buy one which he does. The DOLL SALESMAN and his ASSISTANT quickly exit L.1. The PRIZEFIGHTER places the doll stage C. to watch it bounce but it collapses. He picks it up in disgust. All the mugs cross to stage R.
SIGHTSEEING CROWD enter from R.2 and stand up C. BRANNIGAN enters from L.1 and goes to newsstand which is strung with Christmas tree lights and stands in front of it looking at the lights.
ADELAIDE enters from R.2 followed by GIRLS. She is dressed in a wedding outfit and carries a bouquet in her hands. She is very nervous and calls off L.— LIGHT CUE
ADELAIDE
Natnan! Nathan! Where are you? Nathan!
(At newsstand)
Gimme a late paper.
BRANNIGAN
ADELAIDE
Nathan darling, come on, we’re waiting for you.
(NATHAN sticks his head out of the newsstand. He is wearing a red turtle neck sweater)
GUYS & DOLLS
— 137 —
NATHAN
Just a minute! I’m waiting on the Lieutenant—Thank you, Lieutenant.
ADELAIDE
Nathan, close up the newsstand. We’re getting married.
(NATHAN pulls down shade on newsstand—on it is painted “NATHAN DETROIT’S NEWSSTAND”) (Crosses to C.)
HARRY
Look, is this wedding going to take place or ain’t it? I paid half a buck for this Mesentheorum.
(Shouting to newsstand)
ADELAIDE
Nathan! Come on.
(NATHAN emerges through a small door at R. end of newsstand. He is carrying a top hat, and cane in his hand and is wearing a very elegant cut-away outfit) (Crosses to Adelaide)
NATHAN
Gee, Adelaide, you picked the busiest time of the day.
(Crosses in two steps)
Let’s go. where’s the wedding? Holy smoke! What’s the matter?
(Crosses to R. pass Adelaide)
I didn’t get a place for the wedding. Oh, Nathan! How about the Biltmore Garage?
HARRY
NATHAN ADELAIDE NATHAN
ADELAIDE NICELY
#31a—Entrance of the Mission Band
— 138 —
GUYS & DOLLS
(MISSION BAND enters playing. All five of the Mission Band—for who is now a member but MR. SKY MASTERSON! And in uniform, too. He is ripping out “FOLLOW THE FOLD” with the rest of them, swinging his big drum stick lustily. ARVIDE, meanwhile, has shifted to the cymbals. THEY stop playing as they get to stage C.)
SKY
(Starting the pitch, crosses downstage one step)
Brothers and Sisters! Life is one big crap game, and the Devil is using loaded dice!
(Enters from R.1)
Where’s the crap game?
(Hits drum with cane)
Brother Masterson?
Yes, Brother Detroit?
BIG JULE
NATHAN
SKY NATHAN
Can we get married in your Mission—Adelaide and I?
(SKY looks at SARAH, who looks at Arvide)
ARVIDE
Certainly, I married Brother Mastersan and Sister Sarah. Glad to do the same for you.
SKY
Congratulations, Nathan! I’ll lay you eight to five you’ll be very happy. What Obediah means is— Obediah?
SARAH
NATHAN SARAH
—he wishes you every happiness and so do I.
ADELAIDE
Thank you very much—I know we’re going to be happy. We’re going to have a little place in the country, and Nathan will be sitting there, beside me, every single night.
(Comes an enormous sneeze from NATHAN. Then HER expression changes as she realizes its implications)
GUYS & DOLLS
#32—The Happy Ending ALL
WHEN YOU SEE A GUY
REACH FOR THE STARS IN THE SKY
YOU CAN BET THAT HE’S DOING IT FOR SOME DOLL
WHEN YOU SPOT A JOHN
WAITING OUT IN THE RAIN
CHANCES ARE HE’S INSANE
AS ONLY A JOHN CAN BE FOR A JANE WHEN YOU MEET A GENT
PAYING ALL KINDS OF RENT
FOR A FLAT THAT COULD FLATTEN THE TAJ MAHAL
CALL IT SAD, CALL IT FUNNY,
BUT IT’S BETTER THAN EVEN MONEY
THAT THE GUY’S ONLY DOING IT FOR SOME DOLL.
LIGHT CUE CURTAIN
#33—Bows
The End
— 139 —
0.
1.
2.
3.
ACT 1
M U S I C A L N U M B E R S ( VO C A L B O O K )
Overture.......................................................................................................142
Runyonland................................................................................................. 142
Fugue For Tinhorns..................................................................................... 143
Follow The Fold.......................................................................................... 148
3a. Exit of Sarah and the Mission Band........................................................... 151
4.
5.
6.
The Oldest Established............................................................................... 152
Follow The Fold (Reprise).......................................................................... 157
I’ll Know...................................................................................................... 159
6a. I’ll Know (Addenda)................................................................................... 163
6b. I’ll Know (Vocal Finish).............................................................................. 164
6c. Change of Scene (Scene 2 to 3)................................................................... 165 7.
Fanfare......................................................................................................... 165
7a. A Bushel and a Peck....................................................................................166
7b. The Customers Exit..................................................................................... 170
8.
Adelaide’s Lament...................................................................................... 171
9.
Opening – Scene 5....................................................................................... 176
8a. Change of Scene (Scene 4 to 5)................................................................... 176
10. Guys and Dolls............................................................................................ 177
11. Opening – Scene 6....................................................................................... 182
12. Change of Scene (Scene 6 to 7)................................................................... 182
13. End of Scene 7............................................................................................. 182
14. Havana......................................................................................................... 183
15. If I Were A Bell............................................................................................ 188 16. Change of Scene (Scene 9 to 10)................................................................. 191
17. My Time of Day...........................................................................................192
17a. I’ve Never Been In Love Before..................................................................194
18. Beetle Race (The Raid)................................................................................ 197
19. Finale – Act I............................................................................................... 197
— 140 —
ACT II
20. Entr ’acte.......................................................................................................197
21. Fanfare......................................................................................................... 197 21a. Take Back Your Mink.................................................................................. 198
22. Adelaide’s Second Lament......................................................................... 203
22a. Change of Scene (Scene 1 to 2)................................................................... 205
23. More I Cannot Wish You............................................................................. 206
24. Change of Scene (Scene 2 to 3)................................................................... 209 24a. The Crapshooters’ Dance............................................................................ 210
25. Luck Be A Lady........................................................................................... 212
26. Change of Scene (Scene 3 to 4)................................................................... 222
27. Sue Me......................................................................................................... 223
27a. Change of Scene (Scene 4 to 5)................................................................... 227
28. Sit Down, You’re Rocking The Boat........................................................... 228
29. The Guys Follow The Fold......................................................................... 238 29a. Adelaide Meets Sarah................................................................................. 239
30. Marry The Man Today................................................................................ 241
31. Opening – Scene 7....................................................................................... 246 31a. Entrance of the Mission Band.....................................................................246
32. The Happy Ending...................................................................................... 247
33. Bows........................................................................................................... 249-
— 141 —
— 142 —
0
GUYS & DOLLS
Overture TACET
1
Runyonland TACET
#0,#1—Tacets
GUYS & DOLLS
— 143 —
2
Fugue For Tinhorns In 4
b & b bbb C 1
5
r œ nœ.
‰.
NICELY:
Ó
6
I
œ
got
the
7
3 8 9 10 j œ b b nœ œ œ œ. j . A œ œ œ œ œ b œ b œ œ nœ. œ nœ bœ nœ œ œ œ N & bb J J œ nœ. œ J J horse right here,
b & b bbb ˙ .
œ
11
N
do,
can
bb &bbb œ
œ. œ œ
15
N
B
the name is
bb &bbb
he
says
the horse
!
12
Paul Re - vere
œ
˙.
do.
œ can
And here's a
13
This
16
˙.
do,
!
Can
œ
œ. œ œ
œ
guy
œ
guy that says if the
says
17
the horse
œ
˙.
do,
!
can
14
can
18
weath - er's
clear,
Can
œ
˙.
do.
˙.
do.
Ó
If
œ r ‰. œ nœ. œ Can
BENNY:
I'm pick - in'
#2—Fugue For Tinhorns
— 144 —
19 N
B
bb &bbb
GUYS & DOLLS
œ
˙. do,
can
b b nœ œ œ œ. œ nœ. œ &bbb J J Val - en - tine,
'Cause on the
b R & b bbb
!
bb &bbb
œ œ. œ œ
23
N
B
R
b & b bbb &
27 N
B
R
&
This
guy says the horse
œ Aœ œ œ. œ nœ. œ J J
morn - ing line
œ
œ œ. œ œ œ bœ
The guy has
got him
22
can
œ
˙.
do.
If
3 j œ n œ b œ n œj œ œ œ
œ
fi - gured at
five to nine.
!
Ó
Has
r ‰. œ nœ. œ
RUSTY:
But look at
œ
he says the horse
˙
has
œ. œ
bbbb
nœ œ œ b J J
œ.
œ nœ. œ
he says the horse
˙ threat,
Œ
Œ
œ
œ has
œ big
by
28
œ
˙.
do,
can
œ
œ œ. œ œ œ
˙
Ac - cord - ing
foot's all right, Of course it
Œ
˙
Œ
chance,
threat.
œ Has
œ This
do.
œ nœ. œ
œ.
For Paul Re -
Œ
œ
guy says the horse has
chance.
If
œ bœ
j j nœ œ œ œ
œ
œ nœ bœ 3
to this
œ A œ œ œ . œ n œ . œ 29 œ b œ J J ˙
26
Can
This
a half,
25
˙
. n œ . œ œJ A œ Jœ œ œ n œ . œ
I hear his
œ œ. œ œ
˙
chance.
He wins it
vere I'll bite,
˙
Œ
do,
œ
Œ
chance,
Ep - i - taph,
24
can
œ œ b n œJ J
bb &bbb
do.
21
!
bbbb
b & b bbb
œ
˙.
20
all
de
here in the
Tel - e - graph.
30 œ n œ b œ n œj œ œj œ
3
-
˙
chance,
pends if it
Œ
œ
has
œ œ. œ œ œ
guy calls the horse big
#2—Fugue For Tinhorns
rained last night.
Big
œ Likes
˙
r ‰.œ nœ. œ
˙
Œ
chance.
threat.
I know it's
œ If
GUYS & DOLLS
bb &bbb 31
N
œ
˙. mud,
likes
mud.
b b nœ œ œ œ. B œ nœ. œ &bbb J J Val -en - tine,
R
b & b bbb
he calls the horse
big
B
R
bb &bbb b & b bbb &
39
N
B
R
&
œ œ. œ œ
œ
˙
œ
that means the horse likes
Œ
race,
needs
bbbb
œ œ b n œJ J
œ.œ
bbbb
nœ œ œ b J J
œ.
min - ute,
b & b bbb b & b bbb
boys,
Paul Re - vere,
I got the
he says the horse
class,
Œ
threat,
mud,
˙
Likes
Œ
race.
jock - ey's
œ
œ
˙.
36
Be-sides the
Big
œ This
œ A œ Jœ œ . œ n œ . œ J
feed box noise. It says the
œ needs
œ shows
˙
Œ
˙
Œ
race,
class.
It's from a
œ Needs
œ This
If
3 j œ n œ b œ n œj œ œ œ
œ
broth-er's a
˙
˙
Œ œ
œ
threat,
37
œ
˙.
mud.
Œ
big
friend of mine.
Needs
˙
r ‰. œ nœ. œ
threat.
And just a
likes
mud.
˙
r ‰.œ nœ. œ
œ œ. œ œ œ
˙
Œ
mud,
38
I
tell you
œ
guy says the horse needs
race.
If
œ bœ
j j nœ œ œ œ
œ
œ nœ bœ 3
great grand - fath -er was
41 œ n œ . œ œJ A œ Jœ œ . œ n œ . œ œ b œ
no bum steer,
34
"X" means the horse likes
hand - i
œ nœ bœ 3
40
Now this is
œ œ. œ œ ˙
nœ. œ
˙
Œ
œ
œ œ. œ œ
œ Aœ œ œ. œ nœ. œ œ bœ J J
œ
œ œ. œ œ
33
This
The morn-ing works look fine,
35 N
œ
˙.
32
— 145 —
-
˙
cap-per that's
Œ
race,
œ œ. œ œ
œ
needs
œ
guy says the horse shows
#2—Fugue For Tinhorns
42
E - qui - poise.
Shows
j j nœ œ œ œ
œ
real sin - cere.
Can
˙
r ‰. œ nœ. œ
˙
Œ
race.
class.
I
go for
œ If
— 146 —
43 N
bb &bbb
GUYS & DOLLS
œ
˙. do,
can
b b nœ œ œ B &bbb J J
œ.
Val -en - tine,
R
b & b bbb
bb &bbb 47
N
B
R
b & b bbb &
bbbb
˙
B
R
48
can
chance,
has
œ œ b n œJ J
œ. œ
E - pi - taph,
˙
Œ
˙
Œ
œ œ This
b & b bbb Ó
œ. œ œ
by
52
a
half,
œ. œ œ Paul
˙
Val - en - tine!
Re - vere!
Ac - cord - ing
˙
œ
five to nine.
œ
˙
class.
œ
can
Has
r ‰. œ nœ. œ So make it
50
˙.
Œ
do.
œ
Œ
guy says the horse has
˙.
chance.
œ bœ
j nœ œ œ.
Œ
œ œ. œ œ
to
the
the
‰ . œr œ . œ I got
3 j œ n œ b œ n œj œ œ œ
do,
‰ . œr œ . œ I got
If
Œ
this
53 ‰ . œr œ . œ ˙
I got
do.
shows
˙
œ
˙.
46
can
Œ
˙
49
œ
fig - ured at
class,
Can
chance.
He wins it
!
E - pi - taph!
got him
. n œ . œ œJ A œ Jœ œ œ n œ . œ
b & b bbb
b & b bbb œ . œ ˙ .
Shows
do,
œ
œ bœ
œ
class,
œ
Œ
guy says the horse
The guy has
Œ
˙
shows
says the horse
51 N
œ
œ œ. œ œ
This
morn -ing line
œ œ. œ œ
45
œ Aœ œ œ. œ nœ. œ J J
'Cause on the
he says the horse
he
do.
œ nœ. œ
œ œ. œ œ
œ
˙.
44
the
œ nœ bœ 3
here in the
Ó
horse
˙
horse
#2—Fugue For Tinhorns
54
nw right
Ó
horse
˙
Tel - e - graph.
w right
Ó
w right
GUYS & DOLLS
bb &bbb
Aw
b & b bbb
w
bb &bbb
w
55
N
B
R
56
— 147 —
˙
œ J ‰ Œ
˙
œ ‰ Œ J
-U !
!
˙
œ ‰ Œ J
-U !
!
57
-U !
58
!
here!
here!
here!
#2—Fugue For Tinhorns
Segue
— 148 —
GUYS & DOLLS
3
Follow The Fold March Tempo
& 42 1
17 SARAH:
S
& œ œ. œ
18
Fol - low the
AGATHA MARTHA:
Ag Mar
& œ œ .. œœ œ œ
Fol - low the
ARVIDE CALVIN:
Arv Cal
& œœ œœ .. œœ
Fol - low the
25 S
Ag Mar
Arv Cal
& œ œ. œ
26
9
8
œ.
œ
œ
fold
and
œœ
œœ
and
stray
no
œœ
œ. œ.
j œœ ˙˙
fold
œœ
fold
19
and
œ 20 ˙ J
stray
no
œœ ..
j œœ ˙˙
stray
œ œ œ œ 27 œ .
no
more,
more,
more,
œ 28 ˙ J
Put down the
bot-tle and we'll
say
no
& œ œ .. œœ œ œ
Put down the
œœ œœ œœ œœ
bot-tle and we'll
œœ ..
say
j œœ ˙˙
no
& œœ œœ .. œœ
œœ œœ œœ œœ
œ. œ.
j œœ ˙˙
Put down the
bot-tle and we'll
say
no
21
more;
more;
more;
8
œ 22 ˙ J
œ.
stray
no
œœ ..
j œœ ˙˙
more,
œ.
no
more.
œœ ..
j œœ
˙˙
no
more,
stray
œ .. œ
œ œ J
˙ ˙
œœ ..
œ
no
œ
more,
30
stray
fol–
œœ
œœ
Fol - low,
œœ œœ .. œœ
œœ
œœ
#3—Follow The Fold
no
more.
no
˙ ˙
j œœ
more.
œ ‰ . r 31 œ œ œ 32 œ œ œ œ œ œ
Fol - low,
Fol - low,
j 24 œ ˙
stray
stray
stray
29
23
Be - fore you take a - noth-er swal-low
!
fol - low the
j œ ‰ Œ œ
fold.
œœ œœ .. œœ
j œœ ‰ Œ
!
fol - low the
fold.
GUYS & DOLLS
33 S
Ag Mar
Arv Cal
œ
Fol - low the
fold
and
stray
no
& œœ œœ .. œœ
Fol - low the
œœ
fold
œœ
and
œœ ..
stray
j œœ ˙˙
no
& œœ œœ .. œœ
œœ
œœ
œ. œ.
j œœ ˙˙
34
Fol - low the
fold
41 S
& œ œ. œ
42
Tear up your
Ag Mar
Arv Cal
35
and
stray
œ œ œ œ
œ.
more,
more,
& œœ œœ .. œœ
Tear up your
œœ œœ œœ œœ
pok-er deck and
œœ ..
play
j œœ ˙˙
no
& œœ œœ .. œœ
œœ œœ œœ œœ
œ. œ.
j œœ ˙˙
pok-er deck and
& œ & œœ
mea
& œœ
mea
-
-
-
œ
dows
œœ
dows
œœ
dows
50
play
j œ
‰
j œœ
‰
j œœ
no
œœ ..
j œœ ˙˙
œœ
the
j œœ
˙˙
˙ ˙
œœ ..
œ
no
more,
œ
46
more.
no
˙ ˙
j œœ
stray
œ œ . œ 47 ˙
more.
48
œ ‰ œ. œ J
fol - low the
fold.
œœ
œœ
Fol - low,
œœ œœ .. œœ
fol - low the
˙ ˙
fold.
j œ ‰ œ. œ œ œ. œ
œœ
œœ
œœ œœ .. œœ
˙˙
j œœ ‰ œ . œœ
sun
œœ
sun
œ œ
no
Fol - low,
fol - low the
the
œœ ..
œœ ..
œ œ J
œ
the
more.
œ .. œ
œ 51 œ
where
no
stray
Fol - low,
œœ
stray
more,
45
œœ ..
where
more,
j 40 œ ˙
œ.
no
more;
œ.
39
stray
more;
where
‰
stray
more;
no
œ 38 ˙ J
œ.
stray
œ 44 ˙ J
no
mea
Arv Cal
43
no
37
more,
play
49
Ag Mar
œ 36 ˙ J
pok-er deck and
Tear up your
S
œ.
œ
& œ œ. œ
— 149 —
sun
‰
shines,
œœ
‰
shines,
j œœ
œ œ
j œ œ
‰
shines,
#3—Follow The Fold
To the
fold.
œ J
52
To the
To the
œ
œ œ
Out
3 of
œœ
Out
œœ œœ
of
œ œ
œ œ œ œ
Out
the
3
the
3
of
the
— 150 —
GUYS & DOLLS
53
S
& œ
dark
Ag Mar
& œœ
dark
Arv Cal
& œœ
dark
-
-
-
œ
ness
Ag Mar
Arv Cal
j œ ‰ j œœ ‰
œœ
ness
j œœ ‰
œœ
ness
57 S
54
œ.
the
sin
and
shame
œœ
j œ #œ
‰
Œ
!
j œ œ
‰
Œ
!
and
œœ ..
and
the
œœ ..
œœ
and
the
Fol - low the
fold
and
& œ œ .. œœ œ œ
Fol - low the
œœ
fold
œœ
and
stray
no
& œ œ .. œ œ œ œ
œ œ
œ œ
œ. œ.
j œ ˙ œ ˙
fold
59
and
no
œœ ..
j œœ ˙˙
stray
œ 67 œ . œ œ œ & œ œ. œ If you're a
œ 60 ˙ J
stray
66
no
more,
more,
more,
œ 68 ˙ J
sin-ner and you
pray
& œ œ .. œœ œœ œœ œœ œœ œ œ
sin-ner and you
œœ ..
pray
no
& œœ œœ .. œœ œœ œœ œœ œœ
œ. œ.
j œœ ˙˙
If you're a
Arv Cal
œ
œ
58
65
Ag Mar
œ
œ
œ
& œ œ. œ
Fol - low the
S
œ
œ.
If you're a
sin-ner and you
pray
no
œ
56
in
œ
which
œ
œ
you
œ
wal - low.
cold.
cold.
61
œ J
œ.
62
˙
stray
no
more,
œœ ..
j œœ ˙˙
63
œ.
stray
no
more.
œœ ..
j œœ
˙˙
stray
no
more,
stray
œœ ..
œœ J
˙˙
œœ ..
stray
69
œ
no
œ
more,
70
j 64 œ ˙
stray
œ œ . œ 71 ˙
no
more.
no
˙ ˙
j œœ
more.
72
œ
Œ
more,
Fol - low,
fol - low the
fold.
œœ
Fol - low,
œœ œœ .. œœ
fol - low the
˙ ˙
fold.
œ œ
Œ
more,
œœ œœ
œœ
œœ œœ .. œœ
˙˙
œœ
Œ
j œœ ˙˙
no
55
more,
Fol - low,
#3—Follow The Fold
fol - low the
fold.
GUYS & DOLLS
Exit of Sarah and the Mission Band TACET
#3a—Exit of Sarah and the Mission Band
— 151 —
3a
— 152 —
GUYS & DOLLS
4
The Oldest Established
b & b bbb C
5
1
6
Ó
Œ
‰
œ J
NICELY:
The
7
3 3 8 bb ˙ &bbb œ œ œ œ œ œ Bilt - more gar - age wants a
b & b bbb œ œ œ œ œ œ 11
3
3
now got
15
&
bbbb
&
bbbb
b œ things
œ œ œ 3
door
be - hind Mc - Clos - ky's
œ œ Œ
œ œ
be - ing
how they
b & b bbb A œ œ œ œ œ œ 23
˙
But we
3
3
Bilt - more gar - age is the
˙
20
24
ain't got
˙
13
Of the
n œ œ œ œ œ œ œ 16 n ˙ . b J J stock - room
19
BENNY:
grand.
12
a lock on the
œ œ3 œ 9 œ œ3 œ ˙ 3 œ 10 ˙
gym
œ
BENNY:
Bar.
17
But
Œ
are,
œ The
˙
ALL THREE: 3
spot
But the
Œ œ œ
3
a grand
hand.
at Pub - lic School Eight - y - four.
Mis - sus
18
Mc - Clos - ky
œ œ œ œ œ œ œ œ J J 3
21
back of the po - lice sta - tion is
There's the
n œ œ œ n œ "‰ œ J
NATHAN:
ain't a good scout.
And
3 >œ . ~~~ œj Œ n œ œ NICELY:
22
out.
So the
Bright Tempo
26 œ œ œ œ œ œ 42 n ˙
3
Œ œ œ
NICELY: 3
14
nœ œ œ nœ œ J J
œ
And they've
œ œ n˙
œ œ œ œ
3
Rit. 25
on
Œ œ
NATHAN: 3
3
one thou-sand bucks we ain't
#4—The Oldest Established
got!
27
‰ n œ œ nnnnn J
A CRAPSHOOTER:
Why it's
GUYS & DOLLS
28
œ
& œJ
good
œ J
old
re
^ & œ 32
Na
-
36
& œ. look
-
40
& #œ
Ev
44
& œJ
-
-
œ^
œ
Na
œ œ
œ
ing for
ac
œ
en
when
the
œ J
j & œ
œ^
j œ
For
it's
50
51
Na
De
œ J
he'll
œ bœ
œ
heat
is
it's
45
-
on
œ -
‰
a
œ^ -
œ
To
the
ish
#œ
nœ
nev - er
œ -
œ
the
œ
43
49
j œœœ # œœœ -
est
#4—The Oldest Established
œ^
œ
If
you're
ALL THE CRAPSHOOTERS:
>œ
hot.
œ J
Not
for
j œ
œ^ . -
œ
than
œ^
œ
just
old
‰
Na
œ^
a
j œœœ
es
than,
˙
39
œ
too
ble
52
‰
spot.
46
ways
œ
œ œ
-
œ
al
œ J
42
œ
li
48
œ.
-
STILL MORE CRAPSHOOTERS:
œ J
35
furn
œ
Na
troit.
38
j œ
œ^
than,
^
-
œ
-
j œ
31
˙
34
tion
41
re
walk
j œ
ble
MORE CRAPSHOOTERS:
j œ
œ^ .
30
œ^
œ
-
#œ
-
than
37
old
& ˙
a
œ
good
47
-
-
œ
œ
œ
li
33
than,
œ
œ
29
— 153 —
53
-
short
œ b œœ tab
œœœ -
lished
— 154 —
GUYS & DOLLS
54
& N œœœ # # œœœ
œœœ
55
nœ b b œœœ
per - man - ent
float
& ˙˙˙ ˙ 58
59
York.
62
well
œœ
-
b & b b b œœ
œœ
67
-
heeled
bb œ &bb œ
œœ
œœ
œœ
aw - ful
lot
of
NATHAN NICELY BENNY:
b & b bb Œ
b & b bb ˙ >
there.
œ œ
If
we
75
œœ
œœ
71
œœ
let - tuce
œœ
œœ
ev' - ry
for
œœ
in
j œœ ‰ œœ J
61
b œœ
œœ
where,
ev - 'ry
64
-
68
72
the
œœ
65
-
b ˙˙
-
j œœ n œœ
œœ .. œ.
57
game
˙˙ ˙˙
ev - 'ry
œœ N œœ
œœœ
crap
60
œœ œ Nœ
shoot - ers
n œœ # œœ
56
ing
œœ
shoot - ers
well
70
-
œœ
œœ
63
heeled
66
74
˙œ ˙œ
L'istesso Tempo
bb &bb œ
œ n # œœœ
New
bœ
bœ
There
are
b œœ
69
œœ
œœ
œœ
fel
- la
who
can
73
œœ J
œœ
œœ
And
an
œœ ..
get
us
78 79 œ œ œ œ œ œ ˙
on - ly had a
lou - sy lit - tle
we could
˙˙ >
˙˙ >
˙˙ >
are
j œœ ‰
œ œ œ œ 76 œ œ œ œ 77 œ grand,
There
where,
œœ
be
˙ >
#4—The Oldest Established
a
œœ
œœ
where,
bbbb
nnnn
mil - lion - aire.
j œ ‰ œ >
That's
nnnn
GUYS & DOLLS
80
œ
& œJ
good
84
&
old
œ^ Na
-
& œ. size
& #œ
He'll
& œJ 96
100
&
-
œ^
than,
Na
of your
bun
#œ
œ
ar - range
œ
œ J
pro
>œ
>œ
are
œ
no
œ
neigh
a
-
œ
than
-
97
-
you
go
-
œ
-
broke
œ
œ
ed
by
œ
bours
>œ to
^
83
than,
Œ
87
j œ
œ^ Na
Œ
troit.
œ.
90
you
œ bœ
vid
101
œ J
dle
œ
-
-
œ
86
De
œ
93
Na
œ^
j œ
œ^ .
82
ble
j œ œ
89
that
hide - out
-
-
œ
œ
œ
li
85
œ œ
œ
œ
81
re
œ
88
92
œ J
— 155 —
œ œ
want
œ
to
#œ
94
in
qui
98
et
-
œ
and
œ^ . Na
102
-
nœ
in
-
> ˙ squawk.
#4—The Oldest Established
j œ
œ
91
crease,
95
œ
than
103
-
than,
œ^
œ
If
the
˙
>œ
‰
peace,
99
j œ
œ J
In
j œ
œ J
a
j œ
œ^ Where
‰
there
>œ
œ
It's
the
(Proudly)
— 156 —
GUYS & DOLLS
j & œœœ # œœœ
j œœ œ
104
old - est
¿
es
108 (Whisper)
¿
crap
game
&
105
œ b œœ
-
tab
109
œ^ . & œœ ..
œœ œ J
(A Cappella)
Where's
& œ
113
the
NATHAN NICELY 116 BENNY:
œ
œ
Got - ta
have
the
117
j j œœ b œœ n œœ b œœœ œœœ 4 &4 œ œ œ (quasi religioso)
old - est
>œœ œ J
es - tab - lished
121
œœ # # œœ œ œ
œœ œ
107
b b n œœœœ
per - man - ent
j œœœ œ
>œ . b b œœ ..
114
tion?
œœ œ J
Where's
#œ
œ
œ
game
or
we'll
per - man - ent float - ing
œ
œ
die
from
118
˙˙ ˙
115
the
119
j œœ " ‰ œœ
U
bœ "
U
œœ " œ
œ
œ
It's
the
Allargando
game
in New
#4—The Oldest Established
4 4
Œ
shame.
122
crap
ing
n ˙˙ ˙ >game?
j œœ œ œ œ .œ . œ 123 w œ b œ œ n œ # œ œ n œ . œ œœ œ œ œ J > > > > Rit.
-
œ n # œœœ
œœ œœ
111
York.
>œœ . œ ..
œœ # œœ œœ n œœ # œœ œ# œ œ b œ œ
float
˙˙ ˙˙
110
New
-
˙˙ ˙
Maestoso
120
lished
œœœ ... œ.
ac
œ
˙˙ & ˙
-
106
in
Slower And Forcefully
112
œœœ
York.
124
ww w
4 4
GUYS & DOLLS
— 157 —
5
Follow The Fold (Reprise) March Tempo MISSION GROUP: (off stage)
& 42 œ 1
Fol
œ
œ.
-
low
the
œ J
& œ. 5
stray
6
no
Put
down
& œ
œ
13
Fol
17
œ
œ.
-
Fol
& œ. 21
stray
-
10
the
fold
and
low,
œ
œ.
low
18
the
œ J
no
7
22
-
œ
œ
œ
tle
and
we'll
œ.
œ
œ -
low
œ
œ
fold
and
˙ more,
œ J
stray
no
œ.
j œ
stray
œ
fol
œ.
3
˙
bot
14
MISSION GROUP: (enters singing)
& œ
œ
more,
9
& œ
œ
2
11
œ J
say
15
the
more,
˙
8
no
œ.
more.
˙
12
no
˙
˙
4
more;
16
œ
fold.
19
23
œ.
œ J
stray
no
œ.
j œ
stray
no
#5—Follow The Fold (Reprise)
20
˙ more,
24
˙
more.
œ J
‰
— 158 —
GUYS & DOLLS
25
8
&
33
8
&
41
&
Slow
6
Fade And Rit. 47
#5—Follow The Fold (Reprise)
2
GUYS & DOLLS
— 159 —
6
I'll Know ## U & # c œ
SARAH: 1
For
4
&
7
&
10
&
15
&
19
&
###
Faster SKY:
œ.
in
his head,
œ J
œ
bit of him,
œ œ
œ œ œ œ œ œ
œ œ œ
Œ
type!
A Tempo
œ
11
And
I
œ œ
know
when my
oh,
œ œ he'll be
the
8
œ
home
-
œ
From his
a - ro - ma
of
strong mor - al
fi - ber to the
Accel.
#˙.
6
his
Œ
pipe.
3 9 œ œ œ œ "œj œ œ œ J œ œ
Scars - dale
a
y
œ
œ. œ œ œ œ œ J
### ˙ .
### ˙ .
5
œ œ œ œ œ œ
œ
3
Gal - a - had,
The
break - fast
œ œ
eat - ing Brooks
Broth - ers
SKY: You've got the guy all figured out. SARAH: I have SKY: Including what he smokes. All figured out, huh? SARAH: All figured out.
SARAH: (Spoken) Yes. (Singing)
˙
To
have wished your - self
U
œ œ
œ œ ˙
2
im - a - gined ev - 'ry
œ œ œ œ
œ
You
###
œ œ œ œ œ J
I've
wis - dom
###
œ.
20
shall meet him when the
16
œ
12
œ love
œ œ œ
comes a - long,
œ œ œ
just what I
‰œ œ 3
need,
Not some
œ œ ˙
Œ
Slower
!
13
14
Œ œ
SARAH:
Ó
time is ripe.
œ I
21
17
I'll
˙.
œ œ
won't
œ œ œ 3
18
take a
œ œ œ 3
˙
chance.
22
˙
fly - by - night Broad - way ro - mance.
#6—I’ll Know
œ
Œ
For
Œ
3 ‰œ œ
SKY:
And you'll
— 160 —
GUYS & DOLLS
## & # œ 23
know
### œ &
œ
œ
œ
œ
œ
at
a
glance
by
the
3
26
calm
29
&
33
&
37
&
know
###
œ
voice,
œ œ 30 œ as
I
run
two
pair
of
œ
27
œ
œ
on
the
œ œ œ
‰ œ œ œ
˙.
‰ œ œ And till
3
to his arms
I shall
wait,
### ˙ .
œ
œ
when
my
34
38
˙
I'll
œ œ
know
by
Rit.
˙
28
Œ
ground.
‰œ œ 3
I've come home
3 œ Œ œ
then
I'll
Œ
love
œ
˙.
‰œ œ
˙.
"œ œ
strong,
For I'll
32
safe and sound.
˙
35
the
I'll
‰œ œ œ
last
3
pants.
˙.
25
3
31
That at
œ
œ
SARAH:
˙
3
feet
then
know
œ 3
Those
‰ œ œ 3
œ
œ
24
œ
˙.
## & # 40
œ
stead - y
A Tempo
### ˙ .
œ
3
œ
œ
comes
a
36
be
ten.
3
And till
Slower 39
-
w
long.
SKY: No, no -- no -- you're talking about love. You can't dope it like that. What are you picking, a guy or a horse? SARAH: I wouldn't expect a gambler to understand. SKY: Would you like to hear how a gambler feels about the big heart throb? SARAH: No! SKY: Well, I'll tell you -41
42
#6—I’ll Know
####
GUYS & DOLLS
43
&
47
&
####
44 j œ. œ œ œ œ œ œ œ ˙.
SKY:
Mine
####
A Tempo
˙.
know
œ œ
when my
## & # # ˙. 51
&
57
&
####
˙
at
‰ œ œ
####
A Tempo
˙.
know
## & # # ˙. 61
know
of
55
And I'll
œ œ
58
œ
long be - fore
œ œ
And I
62
œ
won't
her
˙.
49
I'll
‰
face
3
œ œ
Œ
we can speak,
ev - er ask
‰
œ
‰ œ œ
‰
3
œ œ
"Am I
œ
59
I'll
63
œ
right?
#6—I’ll Know
3
œœœ
Am I wise?
‰
how I
Œ
˙
in
‰
œ
And
my
60
64
Am I smart?"
U
œ
I'll
œ
˙.
heart.
œœ ˙ 3
œ œ 3
care,
stare
know
‰
I'll
œ œ œ
œ œ
œ
œ
there.
Rit.
˙.
U
Sud - den - ly I'll
˙.
how I
56
œ œ œ 3
3
care,
And I'll
œ œ œ
œ œ œ
53
3
stop
50
then and
How I
˙
œ œ œ
"‰
chem - is - try.
œ œ
know
œ œ œ
sight
46
I leave to chance and
œ
comes a - long,
3
care!
Mine
œ œ œ
œ
52
the
Œ
œ love
œ œ
know
54
48
SARAH: Chemistry? SKY: Yeah, chemistry.
"j œ ‰œ œ œ œ œ
45
will come as a sur - prise to me.
— 161 —
I'll
Œ
‰œ œ 3
But I'll
— 162 —
GUYS & DOLLS
# ## & # œ 65
stop
69
&
####
˙. know
## & # # ˙˙ .. 72
love
Œ
Œ
‰ œ œ 3
66
And I'll
œ when
œ
my
" œœ ..
comes
Œ
˙
stare
70
‰ œ œ 3
67
At that
˙.
face
œ
I'll comes
a
SKY:
œœ 73 w w a
-
in
œœ
SARAH:
love
3 68 Œ œ œ ˙.
˙
long.
#6—I’ll Know
71
˙˙ . .
know long
74
w w
the
œ œ
throng.
Yes, I'll
œ when
œ
my
GUYS & DOLLS
I'll Know (Addenda) TACET
#6a—I’ll Know (Addenda)
— 163 —
6a
— 164 —
GUYS & DOLLS
6b
I'll Know (Vocal Finish) L'istesso Tempo
b & b bb C
b b5 ˙ . &bb
love
Œ
1
!
œ œ 6 œ will be
just
œ œ
b b b13 ˙ . b &
œ œ
know
Ó
œ
Œ
SARAH:
10
I shall
when my
œ œ œ
what I need
œ œ
Not some
˙.
œ œ
wait,
And till
14
˙ love
7
11
˙.
3
I
b 9 & b bb ˙ .
then
2
œ œ
won't
take a
œ œ œ
œ œ
3
œ
3
fly - by - night Broad - way
˙
3 œ œ œ
then
I'll
œ ‰ " œ œ 15 w J comes a
-
be
12
˙.
œ
chance
My
˙.
œ œ
4
8
ro - mance.
˙
And till
œ" œ œ J ‰
strong,
16
For I'll
U
w
long.
Applause Segue
#6b—I’ll Know (Vocal Finish)
GUYS & DOLLS
Change of Scene
— 165 —
6c
(Scene 2 to 3) TACET
Fanfare TACET
#6c,#7—Tacets
7
— 166 —
GUYS & DOLLS
7a
A Bushel And A Peck Bright Bounce
b &b C 1
5
b
21
b
37
bb
&b
&b
&
[Dance]
16
16
3
40
Ó
Œ
¿
DOLLS:
He
b O &b 41
loves
b &b Ó 50
4
¿ ‰¿ J
me,
He
42
¿ ¿ ¿ Œ ¿ 43 O
loves me not.
¿ J
¿.
He
loves
¿ ‰¿ J
me,
He
44
¿ ¿ ¿ Ó
45
loves me not.
[The frustrated bump] 51
uh - uh
#7a—A Bushel And A Peck
2
5
GUYS & DOLLS
53
b &b
63 A
&
67
A
&
71
A
&
#
œ œ I
#
love
A
&
œ.
you
j œ œ. œ œ. œ œ. 64
a
bu - shel and
œ. œ œ. œ œ œ. œ
68
Hug a - round the neck and a
#
w
72
you,
# & Ó
75
# 61. .
8
ADELAIDE:
#
‰ . R¿ ¿ DOLLS:
A - bout
(ADELAIDE)
œ I
œ
love
œ.
you
a peck,
j œ œ. œ œ. œ œ a
œ. œ œ. œ ˙
bar - rel and
‰ . œr
¿
Ó
Œ
bu - shel and
œ
a - bout
76
bu - shel and
a peck,
66
a peck And
74
w
a
hug
70
a - round the neck.
œ. œ œ. œ œ. œ œ
talk - in' in my sleep a - bout
‰ j œ
you
˙.
‰ . ¿ ¿ . ¿ ¿J ¿ .
¿. ¿ ¿. ¿ ¿ ¿. J
My heart is leap - in',
j œ œ. œ œ. œ œ.
œ. œ œ. œ œ œ ˙ .
Bar - rel and a heap and I'm
73
..
2
œ. œ œ. œ œ œ. œ
69
a heap,
œ Œ
Vamp (Slower)
65
you
a
— 167 —
Hav - in' trou - ble sleep - in'
j 77 # œ œ . # œ œ . œ œJ n œ . You
bet your pret - ty neck I
#7a—A Bushel And A Peck
'Cause
78
˙.
do.
Œ
— 168 —
79
A&D
&
83
A&D
&
87
A&D
&
ADELAIDE & DOLLS:
# œ. œ. œ #œ œ nœ. J #
bb & b b œ œ œ. I
95
A
&
84
Doo - dle oo - dle oo - dle
ADELAIDE & DOLLS:
bbbb
love
you
81
Doo - dle oo - dle oo - dle
œ. #œ œ. œ œ nœ. J
#
œ. #œ œ. œ œ nœ. J
80
Doo - dle oo - dle oo - dle
91 A&D
GUYS & DOLLS
œ. #œ œ. œ œ nœ. J
82
Doo - dle oo - dle oo - dle
œ. #œ œ. œ œ nœ. J
85
Doo - dle oo - dle oo - dle
˙
Ó
˙
Ó
ooo
œ. #œ œ. œ œ nœ. J
86
Doo - dle oo - dle oo - dle
ooo
2
bbbb
j œ œ. œ œ. œ œ.
j œ. œ œ. œ œ. œ œ. œ œ œ œ. œ ˙
92
a
2
89
bu - shel and
a peck,
93
a
bush - el and
ADELAIDE:
œ. œ œ. œ œ œ. œ œ. œ œ. œ ˙ 96
Beats me all to heck how I'll
ev - er tend the farm,
94
97
a peck tho'
œ. œ œ. œ œ
beats me all
to heck.
œ. œ œ. œ œ. œ œ. œ œ
ev - er tend the farm When I
#7a—A Bushel And A Peck
it
98
wan - na keep my arm a - bout
GUYS & DOLLS
bb &bb w 99
A
100
you,
b & b bb Ó
bb A &bb 103
A - bout
œ I
love
you
The cows and chick - ens are
bu - shel and
ADELAIDE & DOLLS:
108
Doo - dle oo - dle oo - dle
A&D
bb &bb
‰ . ¿ ¿ . ¿ ¿J ¿ J¿
you
a
!
112
a peck,
A&D
b œ. nœ œ. & b bb Doo - dle oo
-
nœ J
105
You
¿ ¿ R J
‰.
œ œ bœ. J
dle oo - dle
115
¿. ¿ ¿. ¿ ¿ ¿ Œ go - in' to the dick - ens.
106
œ. nœ œ. œ œ bœ. J
113
now
110
-
œ œJ b œ .
dle oo - dle
-
116
˙.
ooo
nœ œ.
Doo - dle oo
œ. nœ œ.
Doo - dle oo
œ.
Œ
˙.
do.
Doo - dle oo - dle oo - dle
¿.
‰ j œ
'Cause
œ. nœ œ. œ œ bœ. J
109
Doo - dle oo - dle oo - dle
Œ
Œ
˙
bet your pret - ty neck I
œ. nœ œ. œ œ bœ. J
Goo' - bye
114
102
you
Ó
b & b b b œ . n œ œ . œ œJ b œ .
111
w
j 104 œ œ. œ œ. œ œ.
œ.
œ
101
a - bout
¿
DOLLS:
(ADELAIDE)
107
A&D
‰ . R¿ ¿
‰ . œr œ
˙
— 169 —
˙.
œ œ bœ. J
dle oo - dle
U Œ
ooo
Slow Segue
#7a—A Bushel And A Peck
— 170 —
7b
GUYS & DOLLS
The Customers Exit TACET
#7b—The Customers Exit
GUYS & DOLLS
— 171 —
8
Adelaide's Lament Slowly ADELAIDE: (Spoken) It says here. (Reading haltingly)
U
&C Ó
5
&
9
bœ
Œ
bœ
"The
Due to some
bœ
2
av - 'rage un - mar - ried
U
bœ bœ
bœ
bœ
long
frus
œ
œ
bœ
6
-
bœ
tra - tion
bœ bœ œ Nœ œ
3
b˙.
fe - male,
bœ bœ may
7
re
-
bas - ic - 'ly
Œ
bœ
in - se
Ó
8
psy - cho - so - mat
-
10
ic
bœ
11
b˙.
symp - toms
œ
3
fect - ing the
14
up - per
bœ œ œ œ 3
15
res - pir - a - tor - y
bœ bœ œ
Œ
Ó
b˙
œ
œ
to
en
16
-
Ó
b & b b b b b œJ 19
per
-
œ.
son
œ
3
œ nœ
can
a - round for
3
œ nœ
de - vel - op
œ a
Af
18
plain lit - tle band
that
20
œ œ bœ œ. 3
œ
cold.
#8—Adelaide’s Lament
Œ
‰
-
bœ
b b b b b b 44
œ Aœ
j ‰ nœ
of gold,
a
œ
j œ
Œ
In
3
just from wait - ing
bœ
bœ
dure
tract."
3 3 bbb b 4 œ n œ œ œ 3 b b œ œ & b 4 œ nœ œ bœ œ œ words,
˙.
12
17
o - ther
bw
cure,
With
dif - fi - cult
œ
-
act
Accel.
& bœ œ œ œ
4
Ó
A Tempo
& bœ bœ œ
13
bœ bœ œ œ œ
1
You
can
— 172 —
GUYS & DOLLS
bb & b b bb 21
œ œ œ œ œ œ œ œ œ œ 3
3
3
spray her wher - ev - er
you
fig - ure
3
the strept
-
j 22 j nœ œ œ o
-
bb & b b bb œ œ œ œ œ œ œ œ œ œ œ œ 23
3
3
3
give her
a
shot
for what - ev - er
3
she's got
but
24
it
coc - ci
œ J
25
tir - ed
bb & b b b b œJ
of
get - ting
27
per
1a
-
the
fish - eye
from
œ œ nœ œ nœ œ
œ.
son
3
3
can
de - vel - op
28
a
26
the
3
You can
j bœ œ
won't
œ J
‰ œ œ
lurk,
œ
just
3 3 3 3 bb b b b & b œ œ œ œ œ œ œ œ ‰ ‰ nœ œ
j bœ œ
‰ œ œ 3
work.
œ J
œ
ho - tel
If she's
‰ n œj
œ
clerk,
a
ADELAIDE: (Resumes reading) It says here.
U
Œ
˙
nnnnnn C
j œ
‰
cold.
"The
Slowly
& C bœ bœ œ
œ
œ
2a
fe - male re - main - ing
5a
& bœ bœ bœ Shows a
U
bœ
neu - rot
-
bœ
ic
bœ
3a
b˙.
sin - gle,
6a
bœ
bœ
bœ bœ œ Nœ just in
bœ
ten - den - cy.
bœ
See
7a
the
bœ
note."
#8—Adelaide’s Lament
le
Œ
-
Ó
œ
4a
gal
bw
sense,
8a
!
ADELAIDE: Note:
GUYS & DOLLS
9a
A Tempo
& bœ bœ œ "Chron - ic,
13a
— 173 —
or
œ
-
gan
-
œ
10a
ic
bœ
11a
b˙.
syn - dromes,
bœ bœ œ tox - ic
or
Accel.
& bœ œ œ œ
œ
3
volv - ing the eye,
bœ œ œ œ
œ
ear, and the nose,
and
3
14a
the
15a
hy - per
Ó
b˙
œ
œ
12a
16a
-
Ó
bb & b b b b œJ 19a
per
œ.
œ
son
-
3
œ nœ
œ nœ
can
œ
3
de - vel - op
the
20a
a
3
feed
b & b bbbb 23a
her
all
3
3
day with the
Vi - ta - min
3
A
and
the
œ œ œ œ œ œ œ œ œ œ œ œ 3
med - i - cine
3
3
nev - er
gets
œ œ bœ œ. 3
œAœ
‰ n œj
wed - ding is
on
or off,
a
Œ
œ
œ
j œ
‰
cough.
b & b bbbb œ œ œ œ œ œ œ œ œ œ œ œ 21a
18a
3
22a
You
j nœ œ
j bœ œ
œ J
j bœ œ
Bro - mo
24a
an - y - where near where the
#8—Adelaide’s Lament
œ
trou - ble
Fizz,
is.
-
bœ
In
3
just from wor - ry - ing whe - ther
In
b b b b b b 44
Œ
throat."
3 3 bb b b b 4 œ n œ œ œ 3 & b 4 œ nœ bœ œ bœ œ œ œ words,
bœ
tense,
17a
o - ther
˙.
can
‰ œ œ 3
But the
‰ œ œ 3
If she's
— 174 —
GUYS & DOLLS
bb & b b bb 25a
œ
œ
3
œ
get - ting
bb & b b b b œJ
a
œ
œ
œ
3
kind
of
a
27a
per
œ.
œ 3
œ nœ
œ 3
œ
name
for
her - self
and
the
3
œ
son
-
œ
3
œ nœ
œ nœ
can
de - vel - op
œ
name
ain't
32
&
#
œ per
34
&
36
&
#
œ
son
-
stall - ing
3
3
œ
can
de - vel - op
la
œ #œ œ #œ
on
the train
for
œ œ œ œ
3
3
part - ment
is
air
3
Ni - ag - 'ra
33
j œj 3 œ œ
con - di - tioned
she
And
œ œ œ and
the
œ œ nœ œ 3
3
‰ ‰ # œj
j œ œ
"
Œ
˙
35
37
#
j nœ
3
stall - ing the wed - ding trip,
can hear
3
‰
grippe.
3
and
31
And
"j œ œ œ œ œ œ œ œ œ œ œ œ (with sweet meditation) 3 3
get
#
œ
‰
and
a
cough.
3 3 # œ 3 œ œ 3 #œ & œ #œ nœ œ nœ œ œ œ just from stall - ing
"his",
Œ
30
fur - ther - more
‰ n œj
œ œ œ
œ
˙
29
a
26a
j nœ œ
church bells
mood
#8—Adelaide’s Lament
‰
ten. 3
œ
œ
When they
j #œ œ
œ
A
œ
chime,
nœ
sub - lime,
œ
‰ œ œ 3
The com -
ten. 3
" ‰ œ œ
Then they
GUYS & DOLLS
38
&
40
&
42
&
#
(suddenly angry) 3
œ œ œ œ
get
#
œ per
#
off
at
œ
son
-
&
#
&
#
-
j œ Nœ
ra - to
‰
œ
‰
œ œ œ œ drip
œ
ga
-
œ #œ œ 3
for
œ #œ œ #œ œ
3
œ œ
3
3
can
de - vel - op
whee - zes
of
œ J œ.
per - son
com - mun - i - ty
‰
3 pro - per - ty
œ #œ œ #œ œ 3
3
can de - vel - op
œ
grippe,
(Hm!)
3
and the snee - zes
and a
a
48
3 and
a
>˙
> ˙
bad,
bad
46
œ
¿
3
3
œ J
four - teenth
41
la
œ J
œ œ ‰ œ œ œ œ ‰ œ œ
43
With the
39
the
œ œ œ œ œ œ bœ œ œ œ œ œ 3
lack
47
Sa
3
post na - sal
45
3
— 175 —
3 ‰ ‰ # œj
œ
time,
3
A
j œ œ
La
3
grippe
A Tempo
œ œ œ œ œ œ œ "‰ œ œ
3 3 si - nus that's real - ly a pip!
3 3 feel - ing she's get - ting too
w
cold.
La
Poco Rit. 44
Nœ œ œ œ œ œ œ
49
‰ ‰ œj
50
˙
3 From a
j ‰ #œ
old,
A
j œ ‰ Œ Slow Segue
#8—Adelaide’s Lament
— 176 —
8a
GUYS & DOLLS
Change of Scene (Scene 4 to 5) TACET
9
Opening – Scene 5 TACET
#8a,#9—Tacets
GUYS & DOLLS
— 177 —
10
Guys And Dolls Colla Voce
& b 44 Π1
NICELY:
œ
œ œ œ œ
œ
2
What's play - ing at the
Ó
œ
3
Ro - xy?
œ œ œ œ œ œ œ œ
œ
4
I'll tell you what's play - ing at the
Œ
œ
œ
Ro - xy:
A
&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5
pic - ture
&b œ 5a
œ
a - bout
œ
a
œ
&b œ
œ
in
œ
œ
œ
œ
œ
œ
ev - 'ry - thing and moves all
the
way
to
Bi
œ
œ
œ
œ
8
at
the
œ
œ
œ
œ
in
the
Dai - ly
œ
œ
I'll
tell
you what's
&b œ
œ
œ
wife
a
small
œ
Ó
œ
play - ing
&b œ
12
so
œ œ œ œ
That's what's
11
man,
œ
sac - ri - fi - ces
7
Min - ne - so - ta
love with
Œ
9
Ro - xy.
œ
œ
Œ
11a
Œ
News:
a
œ
œ
6
-
lo
-
œ
œ œ œ œ
What's
in the Dai - ly
œ
œ œ
œ
œ
œ
œ
œ
ru - by
with
what
oth - er - wise would have
#10—Guys And Dolls
œ
œ
a - bout
girl
he
xi.
10
Ó
˙
News?
œ œ
œ
a
who bought his
guy
œ
œ
œ
been
his
u
12a
that
Ó
œ
BENNY:
Sto - ry
œ
Mis - sis - sip - pi
œ
œ
œ -
nion
— 178 —
GUYS & DOLLS
Ó
&b ˙ 13
dues.
&b Π16
œ
œ
œ
œ
œ
That's
what's
in
the
Dai - ly
14
NICELY:
nœ
œ œ œ œ
What's
hap - pen - ing all
17
nœ œ. J
Ó
18
I'll
& b nœ œ œ œ œ œ œ œ œ œ œ Guy's sit - ting home by
& b nœ
œ
20
Ó
a
21
ro - ver.
&b œ 24
lick'd
28
œ 'em.
nœ
œ
œ œ œ œ
That's what's
Œ
œ œ
25
And it
& b C .. ˙
œ
(NICELY:) see (BENNY:) see
a a
œ
œ
œ
who
once used
to
be
nœ
œ
o -
ver.
hap - pen - ing all
œ
guy Joe
œ
Œ
œ
œ
reach for sav - ing
30
œ œ œ œ œ œ Œ J
œ
26
looks like Na - than's just a - no - ther
29
œ
nœ
œ œ œ œ œ œ œ œ
Bright 4
News.
you what's hap - pen - ing all o - ver:
19a
22
Ó
˙
tell
tel - e - vi - sion set,
BOTH:
15
nœ œ œ
o - ver?
19
œ
œ stars half
œ
Ó
œ
œ
in of
the his
#10—Guys And Dolls
some - thing
œ
œ
of
a
œ œ œ
œ œ
Love
is the thing
that has
¿
27
vic - tim.
œ
œ
œ
23
Ó
œ
¿
Yes
œ sky dough
31
œ
C
NICELY:
œ
œ
sir! When you
Œ
œ You You
œ can can
GUYS & DOLLS
œ
&b 32
œ œ
œ
Œ
bet bet
that there'll
&b ˙
˙
spot bum
a buys
36
he's be
3 &b œ œ œ œ are he's in - sane cinch that the bum
&b œ Œ œ œ a a
&b œ œ œ -
ten the ti - num
j œ œ & b #œ œ J 53
fun - ny, heav - en,
Taj fol
‰ ‰ œœ But It's
it it
for for
John wine
wait - ing like a
38
on - ly un - der
œ œ
pay - ing late - ly
œ
50
-
a John the thumb
46
35
œ
˙
the rain af - ford
51
hal rol
bet - ter than e - ven mon pro - ba - ble twelve to sev
-
flat still
œ
Œ
Call Call
it it
sad, hell,
‰ œ
œ
That That
the the
#10—Guys And Dolls
œ
˙
For a And he's
œ
ey en
Œ
œ
48
BOTH:
œœ b œ 55 œj œ # œ œ #œ J
nœ
(NICELY:) When (BENNY:) When
œ œ
Ó
œ
43
Jane. broad.
rent jug,
˙
you a
Chan - ces It's a
be for a some lit - tle
47
œ
œ
Œ
œ
39
3 42 j ‰ œ œ œ œ ˙ can of
œ
˙
(BENNY:) When (NICELY:) When
doll. doll.
œ3
#œ
all kinds of out of the
3 j œ 54 œœ n œœ œœ œ nœ œ J
it's a
some some
œ œ œ œ
w
w
34
out in bum can't
œ œ œ #œ
Ó
Ma - de
œ
3
41
gent mug
œ
49
ing in
œ
œ
œ
as is
45
-
œ œ œ
˙
‰ œ J
44
meet meet
do mink
37
40
33
— 179 —
52
56
œ you you
œ œ œ that could flat lift - ing pla -
œœ
œœ
call call
it it
(NICE.)
(BEN.)
˙
guy's guy's
œ
œ
on - ly on - ly
— 180 —
GUYS & DOLLS
œ œ
œ
œ
do - ing it do - ing it
for for
some some
&b œ 57
1 58
˙.
œ
When you
doll.
œ
78
&b ˙
œ
see
a
œ
œ
sport
Œ
œ
bet
that
˙
&b ˙ 86
guy
wears
3 œ &b œ œ œ do
you
think
Œ
œ
œ
œ
and
he's bank
-
ing
it
œ
œ
tails
with
the
he's
91
œ œ œ #œ 3
tick - l - ing pink
œ
œ
œ
cash
has
run
80
his
˙
‰ œ J
Ó
77
œ œ 83 œ œ œ
87
90
hell
79
œ
œ with
88
84
some
#œ
œ3
BENNY:
œ
When
you
œ
81
Œ
œ
œ
short
Make
85
˙
œ
˙
89
When
a
œ
nœ
Who
the
BENNY:
œ
When
a
white
j 92 3 ‰ œ œ œ œ ˙ Sat - ur - day
#10—Guys And Dolls
night?
93
œ
a
œ
Œ
œ
œ
NICELY:
doll.
œ
!
61
œ
w
front gleam - ing
on
Œ
2
15
&b
&b
Ó
.. 60 ˙ .
BENNY:
doll.
62
82
Œ
59
Œ
œ
GUYS & DOLLS
94
&b ˙
œ
la
&b 98
-
zy
˙ smells
&b ˙ 102
from
Vi - tal
œœ
œœ
call
it
(NICE.)
(BEN.)
& b # b œœ 105
ev
&b
slob
œ œ
-
j œœ ‰ J
-
œ œ œ
œ
is
103
œ
doll,
some
doll,
109
113
ww
and
good
œ -
œ œ
er,
Ah,
the
guy's
œ œ. J
œ
some
doll.
on
The
114
Œ
w
œ œ
and
-
œ
˙
BOTH:
œ
Call
it
N œœ
œœ
you
odds
for
œ
œ
for
some
107
ly
guy's
on -
doll.
can
give
œ œ œ do - ing
œ
ww
he
œœ n œœ œœ
104
but
œ
œ
job
˙
110
œ
97
101
œ
œ
œ
œ
sol
˙˙
˙
œ
stead - y
100
Bar - ba
-
106
œ
œ
96
a
œ #œ clev
that
œ œ J
w &b w
œ
œ
œ.
112
œ
takes
99
œ
er
Œ
œ
95
œ
dumb,
108
œ
— 181 —
œ
111
ly
it
œ. œ œ do - ing it
115
˙˙
œœ
-
œ
œ
for
some
ΠSegue
#10—Guys And Dolls
— 182 —
11
GUYS & DOLLS
Opening – Scene 6 TACET
12
Change of Scene (Scene 6 to 7) TACET
13
End of Scene 7 TACET
#11,#12,#13—Tacets
GUYS & DOLLS
— 183 —
14
Havana Bright Tempo
4
21
12
41
&b 17
29
&
49
&
16
81
20
&b
The Cafe Cubano Shango
9
8
&b C 1
65
b
8
8
n
8
Polite Rhumba
101
16
4 4
12
113
SARAH: (Dialogue In Tempo) SKY: 114 115 116 j jSARAH: 4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰ ‰ ‰ Œ Œ ‰ ‰ b ¿ ¿ ¿J ¿ ¿ & 4 J J J J El San - to Chris - to,
the
se - cond old - est Mis - sion in
Cu - ba.
#14—Havana
Come
on!
Where to? To see the
— 184 —
GUYS & DOLLS
&b ¿ ¿ Œ
118
Ó
117
4122 ‰ SARAH: ¿ ¿. ¿ ¿ ¿ ‰ ¿ 4 J J
4
C
old - est.
&b ¿
Don't miss
¿ ‰ ¿ J
123
pris - 'ners
126
¿
were thrown
¿ ¿ to
124
the
sharks.
Tempo
4 &b 4 Œ
¿ ¿ ¿ ¿ Œ
SARAH:
¿ ¿ ¿
¿
Here is
bur - ied
Sounds like a mil - lion
Œ
¿
Ó
C
laughs.
4 4
Chris - to - pher Col - um - bus.
At
least
¿ ¿
he's
¿ Œ
¿
ly - ing
SKY:
C
152
44
4 ‰. ¿ ¿. ¿ 4 R
2
154
How a - bout a drink?
2
C
down.
18
& b 44 Œ ¿ ¿ ¿ ¿ ¿ Œ
&b C
125
SKY:
&b C
155
¿
132 ¿ ¿ ¿ ¿ ¿ ¿ ‰ ¿j ¿
131
133
151
Œ
4
&b C
130
¿
SKY:
the Dun - geons where
¿ Œ
SARAH:
C
A milk shake please.
4157 Œ 4 #14—Havana
SKY:
¿ ¿ ¿ ¿ 3
Dul - ce
de
¿
Le - che.
Œ
C
GUYS & DOLLS
2168 4
10
&b C 158
169
— 185 —
A La Tango
& b 44
3
& b ‰ ¿J ¿ ¿ ¿ ¿ Œ 173
What did you call them?
174
172
‰ ¿ ¿. ¿ ¿ ¿ Œ J
SARAH:
¿ J
¿
¿
These
are
del - i - cious.
‰ ¿ ¿. ¿ ¿ ¿ Œ J
SKY:
Dul - ce
‰
175 SARAH:
de Le - che.
Dul - ce
de Le - che?
&b ¿ 181
name
&b 184
&b C
Oh,
sug - ar.
¿
¿
¿ ¿ ¿
of
the
flav - our - ing?
3
And a
Œ
¿
Œ
Œ ‰ ¿ ¿ ¿ Œ J What's in it
SKY:
be - sides milk?
190
¿
176
3 178 179 ¿ ¿ ¿ ‰ ¿j ¿ ¿ Œ Œ ‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ b Œ ‰ & 177
4 4
!
180
Œ ¿ ¿
Ó
SARAH:
kind of na - tive flav - our - ing.
‰.
SKY:
!
182
183
r ¿ ¿
What's the
¿
Ó
Ba - car - di!
‰ ¿ ¿ ¿ ¿ ‰ Œ J J
187 SARAH:
It's ve - ry good.
8
#14—Havana
188
‰ ¿ ¿ ¿ ¿ ¿ Œ J
189
!
C
I'll have a - noth - er.
4 4
— 186 —
198
GUYS & DOLLS
Tango
4 &b 4
7
&b ¿ ¿ ¿ ¿ ¿ Œ
SKY:
in it?
207
Œ ¿ ¿¿ ¿ ¿ 3
On - ly e - nough to
211
208
239
251
12
259
b &bb
299
&b
8
16
‰
Ba - car - di
¿ J
have
SARAH: (free) You know this would be a wonderful way to get children to drink milk. 209
!
210
U
Ó
U
Ó
C
8
bbb
24
&b
¿
act as a pre - ser - va - tive.
28
283
¿ 3¿ ¿ ¿
¿ ¿ ¿ ¿ ¿ ¿ ¿Œ
&b C
&b
Œ
SARAH:
Does - n't
206
al - co - hol
205
291
315
#14—Havana
8
b
8
n
GUYS & DOLLS
Samba
323
&
351
&b
371
&b
395
&
408
&
#
&b 419
8
363
379
8
399
7
#
16
Real Fast Tempo
..
4
Accel.
12
b
12
Rhumba
#
339
16
Samba
— 187 —
.. 407
8
415
b ..
Play 3x
8
#14—Havana
4
!
..
— 188 —
GUYS & DOLLS
15
If I Were A Bell U U
b &bb C ¿ ¿
Ad Lib
3 j2 œ . œ œ œ œj œ œ œ . œ œ œ . œ œ œ . j œ ˙
SARAH:
1
Ask me
how do I feel,
Ask me
now that we're co - zy and
Lazily
6 b & b b œ. œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ 5
all
I can say
b & b b œ. œ œ 9
is, If
œ
mo - ment we kissed
b &bb 13
œ. œ œ I
were a
œ
lamp
œ œ
œ
œ
feel,
˙
10
14
I'd light
b & b b œ . œ œ œ œj œ do I
were a
to - night
17
how
I
bell
That's the
˙
‰. œ œ œ R and if
j 18 œ œ. œ œ
lit - tle
I'd be
me with my
ring
j 11 œ œ. œ œ
‰ œ
way I've just
15
I
œ. œ œ
is, If
I
were a
qui - et up
gate
- ing.
œ. œ œ œ
got
12
-
œ.
j œ ˙
-
I'd be
œ.
j œ ˙
swing - ing.
#15—If I Were A Bell
Well, sir,
20
j œ
˙
‰ œ
From
the
˙
‰ œ
j œ
Boy,
16
˙
ner I'd wave.
bring - ing.
23
Œ œ œ
to be - have.
were a ban
19
22 b & b b œ. œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ
I can say
8
œ. nœ œ œ œ. œ œ œ
21
all
j œ ˙
U
œ
cling - ing.
œ.
7
4
Œ
œ
24
˙
œ
if
œ
Ask
me
œ
œ
Well,
sir,
‰ œ
And
j œ if
GUYS & DOLLS
b & b b œ. œ œ 25
I
œ
were a
œ
watch
˙
œ. nœ œ
start
pop - ping my
26
I'd
b & b b œ. œ œ œ œ. œ œ 29
I
were a
bell
b & b b œ . œ œ œ œj œ how
do I
feel
30
I'd go
33
From
œ
œ
œ
Ding, dong,
j 34 œ œ. œ œ
this
— 189 —
27
31
dong,
œ. œ œ
chem - is - try
28
is, If
b & b b œ. œ œ œ
œ œ
41
I
were a
42
˙
knew my mor - ale would crack
b &bb 45
œ. œ œ œ I
were a
duck
œ
œ
I'd quack
46
bridge
‰ œ
From
˙
œ.
j œ ˙
the
œ.
39
I'd be
I
#15—If I Were A Bell
œ
œ
œ
j œ ˙
36
me
Œ "œ
œ
40
˙
44
I'd be cooked.
œ
Well,
sir,
‰ œ
j œ
‰ œ
j œ
Yes,
˙
way that you looked.
goose
if
SKY: Chemistry? SARAH: Yeah, chemistry.
œ. nœ œ œ œ. œ œ œ were a
œ
Ask
burn - ing.
won - der - ful
47
Œ
œ
learn - ing.
j 43 œ œ. œ œ œ. œ œ œ
‰. œ œ œ R Or if
32
ding.
35
les - son I'm
38 b & b b œ. œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ
I can say
Œ
Or
w
37
all
œ
spring
œ
ding,
w
I
Boy,
48
˙
œ
Ask
if
œ
me
— 190 —
GUYS & DOLLS
49
b & b b œ . œ œ œ œj œ how do I
feel,
Ask
j 50 œ œ. œ œ
me
now that we're fond - ly ca
b & b b œ. œ œ œ œ. œ œ œ 53
I
were a
sal
b & b b œ. œ œ 57
how
b & b b œ. 61
I
b w &bb 64
œ œ
were a
54
-
ad I
know
œ
œ
58
to des - cribe
this
œ.
œ
bell
65
œ. œ œ
w
51
-
ress
œ. œ œ œ œ. œ œ I'd be
œ. nœ œ
whole
beau - ti - ful
I'd
go
˙
62
j œ ˙
52
ing.
œ.
j œ ˙
w
60
œ
thing
ding.
#15—If I Were A Bell
¿
63
˙
ding,
Œ
67
‰ œ J
Pal,
if
˙
‰ œ
Œ
œ
j œ
Ask
Well,
dong,
˙.
Œ
œ
56
dress - ing.
˙
Ding,
66
59
-
55
splash - ing my
˙
œ œ
œ.
˙
dong,
!
me
œ if
GUYS & DOLLS
Change of Scene (Scene 9 to 10) TACET
#16—Change of Scene (Scene 9 to 10)
— 191 —
16
— 192 —
GUYS & DOLLS
17
My Time Of Day 7
Dolce
& b 44 A
Slowly And Freely
1
&b œ
SKY:
œ œ #œ
My
time of day
& b 43 œ 5
cop
œ
3
-
œ
cer
-
œ y
12
& b 44 œ
smell
&b 16
œ
street
œ œ œ œ. 3
œ
clerks
j œ
are
13
of the rain - washed
bœ
lamp
b˙
light
cou - ple
œ œ œ
And the
all
œ œ ˙
pave - ment
17
Œ
œ œ œ œ œ œ
A
œ
3
bœ
fills
3
3
3
3
be - longs to the
3
nœ
dark time,
œ œ nœ œ œ 6 ˙
9
gro
is the
œ bœ ˙
3
street
&b C œ
œ œ
2
7
4
of deals be - fore
nœ œ #œ œ 3
˙
œ œ #œ
œ #œ œ
8
with the
310 >˙ . 4
11
3
dawn,
3
jan - i - tor
˙.
‰ # œ œ 43 When the
3
mop
U̇ "
œ œ œ
Comes up
the
œ.
14
clean
3
œ
gut
-
œ
ter
#17—My Time Of Day
j œ œ.
and fresh
bœ
with
18
the
j œ ˙.
œ bœ bœ
15
and
4 4
œ
When
3
bœ
And the
#œ
gone.
C
3
cold
And the
>˙ .
œ
gold.
That's
n#
GUYS & DOLLS
19
U # & nœ œ œ #˙
my time of day,
23
&
#
20
œ œ œ
U
#œ œ œ œ 3
My time of day, And you're the
21
œœ
— 193 —
œ
œ œœ œ
on - ly doll I've ev - er want - ed to
SKY: You're the first person I've ever told this to. [SARAH goes into SKY'S arms and they embrace]
4
27
Ó
U
j ‰ "Œ œ œ nœ œ bœ œ œ 3
3
22
share it with me.
U
Œ
nœ
nb b
I've
Attacca
#17—My Time Of Day
— 194 —
GUYS & DOLLS
17a
I've Never Been In Love Before
1
b & b 44 ˙ .
SKY:
nev
&b 5
9
&b
b
œ
-
er
˙.
b & b ˙.
6
-
10
œ
er
œ
13
safe,
17
&
I
œ
thought
œ
wine
b ˙. song
18
that's
œ
And
œ
all
22
œ
out
-
œ.
ev
-
er
-
œ.
œ
œ.
too
strange
œ J
and
œ
œ.
j 4 œ 4 w
knew
my
song
-
I
˙.
strong.
23
pour.
œ
œ
œ
20
I'm
once
˙.
thought
16
score.
19
12
I've
œ
j œ
œ.
my
heart
was
œ
œ
But
this
is
full
it's
œ
œ
œ
j œ
œ.
at
more.
fore,
the
must
all
8
œ
j 15 w nœ
I
Now
j 11 ˙. œ
be
œ
œ
j 7 w nœ
love
œ
4
œ
be - fore,
œ.
in
Freely
bb C ˙ .
&b 21
œ
for
œ
been
14
love
œ
you
j 3 ˙. œ
œ.
in
œ
It's
b ˙. nev
been
œ
you,
œ
œ
2
C
œ
œ
of
fool - ish
œ
œ
œ
Rit.
24
œ
#17a—I’ve Never Been In Love Before
So
please
œ
for
-
GUYS & DOLLS
25
A Tempo
b & b ˙.
29
&
bb
œ
give
this
˙
j " œ ‰ œ
been
œ
œ
26
in
nev
-
œ
er
# & # ˙.
œ
34
been
37
38
œ
you,
It's
# . & # ˙ nev
# & # ˙.
-
œ
œ
46
I
œ
been
45
safe,
œ
œ.
in
love
œ
you
42
er
be
œ
41
œ
thought
I'm
œ
love
33
# . & # ˙
haze
˙.
30
j 27 ˙. œ
œ.
help - less
for
-
— 195 —
be
ev
32
-
-
er
36
Now
-
love
be
œ
œ.
j 47 w #œ
43
-
œ.
ly
nev
Œ
SARAH:
j œ
-
er
œ
# nn #
œ
œ.
at
once
j œ
Œ
œ
all
j 39 w #œ
in
the
œ
œ
fore,
œ.
knew
real
œ
I've
˙.
35
œ
I
œ
fore.
-
œ J
I've
w
-
œ J
œ.
œ
in;
31
28
˙. fore,
score.
40
more.
œ
44
I
œ
thought
48
˙.
œ
I've
œ
œ.
my
heart
j œ ‰ œ
#17a—I’ve Never Been In Love Before
it's
But
j œ
was
œ
œ
this
is
— 196 —
GUYS & DOLLS
# ˙. & #
49
œ
œ.
too
strange
and
œ
œ.
my
song
œ J
must
œ
œ.
this
œ
help - less
haze
œ J
œ
œ
œ
œ.
œ
œ
50
song
œ
54
And
# . & # ˙
œ
58
wine
# ˙. & #
that's
all
53
57 Sa
SARAH:
give
Sk
# #SKY: & ˙.
give
this
# & # ˙.
œ
61
Sa
Sk
&
##
been
˙.
been
in
œ
in
œ
out
œ J
51
I'm
j œ
help - less
haze
I'm
˙
U œ
œ
U
Be
62
love
b˙ love
œ
˙.
strong.
55
I'm
w
˙.
59
full
56
pour.
œ
œ Œ
real
˙.
œ
œ
63
-
-
I've
w
real
64
fore.
w
fore.
#17a—I’ve Never Been In Love Before
of
fool
So
I've
in;
œ.
œ
œ
60
œ
SARAH SKY:
in;
aœ Be
œ
œ
52
-
-
U̇. U̇.
œ
please
œ
œ.
ly
nev
œ
œ.
ly
nev
œ J
-
ish
œ
for–
j œ
-
er
-
er
Œ Œ
j œ
GUYS & DOLLS
Beetle Race
— 197 —
18
(The Raid) TACET
Finale – Act I
19
TACET
Entr'acte
20
TACET
Fanfare TACET
#18,#19,#20,#21—Tacets
21
— 198 —
GUYS & DOLLS
21a
Take Back Your Mink
b &bb c
œ
bought
b
˙
œ
neck
b & b nœ
œ
"
&b
b ˙
night
bœ
24
fol
the
œ
œ
for
-
ty
œ
in
28
œ
lace,
31
late
fur
the
-
œ
20
the
œ
gown
b &b
œ
me
27
35
18
Ó
Œ
‰ œj b b 43
ADELAIDE:
He
b 3 &b 4 œ
&b
16
Verse
19
23
Broad And Lush
2
!
1
-
œ
thing,
bœ
low
˙
bag,
œ
-
˙
his
win
29
the
ters
a
-
œ
œ
I
33
re
37
-
-
œ
part
and
œ
30
the
n˙.
call.
-
ment
#21a—Take Back Your Mink
œ
the
Œ " œ
Then
the
That
œ
was
œ
œ
go
And
"
˙
hat,
34
˙
"
˙
œ
26
gloves
œ œ
a
-
œ
22
fall.
œ
œ
œ
˙.
25
ing
eight,
36
œ
21
five
j " œ ‰ Œ
32
-
œ
38
œ
Œ
œ
Œ
œ
œ
œ
Then last
œ
He
GUYS & DOLLS
&b 39
b
˙
œ
œ
40
tried
to
re
b &b ˙
œ
œ
as
I
43
said
47
&b
b
&b
b
51
56
#œ
œ
What
b
&b
b
60
œ.
back
made
#œ
Take
œ I
back
œ.
may
the
j 61 œ ˙
be
down,
But
œ œ œ
was
nœ
I'm
œ
not
your
54
one of those
58
the
œ
back
3
œ
I
gown,
œ
œ
shoes
3
flat as all
63
U Œ
˙
!
55
girls?
j 59 œ ˙.
and
œ.
I
pearls,
˙.
œ.
nœ
œ œ œ
œ
œ
j 50 œ ˙.
œ.
nœ
Take
That
62
46
hall,
mink,
think
˙.
the
49
œ
Œ
And
45
j 48 œ ˙.
53
Œ
42
all!
œ
down
j 57 œ ˙
œ.
˙.
Rit.
œ
ran
your
you
41
them
œ
j 52 œ ˙
œ.
œ
move
44
1st Refrain Waltz
Take
&b
-
˙
— 199 —
the
‰ Œ
that!
#21a—Take Back Your Mink
64
hat.
Œ
‰"
œ œ
œ
I thought that
C
— 200 —
GUYS & DOLLS
65
b &b C œ
œ
each
ex
b &b ˙
-
‰
68
teem.
œ
œ
pen - sive
œ nœ
Now when
Valse (Rough)
b & b 43 ˙ . 71
72
all
75
&b
b
b &b 79
gift you'd
œ
69
I
think
˙
back
j œ œ.
them
your
ar
-
œ
œ
a
To
Was
œ
77
œ
-
ri
67
a
œ ble
from
œ
œ
œ œ œ œ 3
Hol - lan - der - ize
to
A Tempo 83
it
‰
dame.
#21a—Take Back Your Mink
3 4
It
œ
‰ " œj
Œ
So
œ
came
j #œ œ for
3
-
ex - change,
it
81
es
œ " œ
dream.
whence
œ
your
j 78 œ ˙
Rit. 80
74
œ.
nœ
in
œ
œ
of
œ œ œ
want
-
œ œ œ
to - ken
70
you
œ hor
œ
mink
range
what
73
œ œ
œ
œ
of
œ
j 76 œ ˙
œ.
take
b & b ˙. 82
œ œ œ
seems
#œ
tell
66
some
And
œ
œ
o - ther
nn C
GUYS & DOLLS
86 A&D
Fox Trot ADELAIDE & DOLLS:
& C #˙
90
& ˙
back
made
94
A&D
& ˙
œ
I
102 A&D
& œ
each
& œ 106
A&D
think
may
be
œ
œ
œ
œ
œ
of
what
you
œ
˙.
91
ex - pen - sive
95
100
œ
But
I'm
œ œ œ
œ
œ œ
œ œ œ
œ.
want in
96
your
œ œ œ
93
one
of those
ex - change,
not
104
was a
flat as
œ œ œ
to - ken of
œ 108 œ J It
œ œ œ
all
Œ
œ seems
all
I'm
97
the
101
your
es
‰ œ J
#21a—Take Back Your Mink
a
scream - ing,
w
‰
˙
œ
˙
teem,
109
œ œ
œ
‰
œ
I thought that
105
-
œ.
hat.
that!
œ
œ J
œ
œ
œ
back
Œ
˙.
pearls,
girls?
œ
#˙
œ
89
back
Take
gift you'd ar - range
107
was
Œ
œ
down,
œ
I
˙.
˙.
103
œ
that
gown,
99
92
œ
œ
#˙
88
Take
œ
think
the
œ
Œ
˙.
mink,
œ œ
back
98
87
your
you
œ
& #˙
Take
A&D
œ
œ
What
œ
œ
Take
A&D
— 201 —
œ #œ
But when I
œ œ œ œ œ ‰ ¿ J
hor - ri - ble dream.
(eek!)
— 202 —
GUYS & DOLLS
110 A&D
œ
& #˙
Take
3
shor - ten
119 A&D
your
& œ œ œ Jœ œ . 115
A&D
back
œ
&b
the
111
˙.
œ
mink,
112
Those
116
Œ
#œ
sleeves
for
old
worn
œ œ œ œ
some-bo - dy
Dance
&b
A&D
&b 158
113
˙.
out
pelts,
œ
Œ
117
œ
Ó
118
else.
15
ADELAIDE & DOLLS:
¿
Well?
Œ
Œ
¿ ¿ Would - n't
159
¿
Œ
Ó
160
you?
#21a—Take Back Your Mink
114
And
24
143 A&D
œ
œ
#˙
6
w
go
!
b
GUYS & DOLLS
— 203 —
22
Adelaide's Second Lament U b & b b b b b 44 Ó
Œ
‰
Freely & Sadly
1
j œ
œ nœ
In
ta - ble re - served
oth - er
j3 œ œ
3 bb & b b bb œ œ b œ œ . œ œ . 2
for two,
œ
3
ADELAIDE:
A
œ
words,
bb & b b bb 7
3
œ œ
3
bun - dle
her
up
œ
œ
œ
œ
œ
œ
3
œ
wrap
her
in
b & b bbbb œ
œ
œ
œ
and coats
'til
it's
more than
œ
œ
œ
œ
œ
œ
œ nœ œ nœ œ
12
œ 3
œ
!œ J
6
still
b & b bbbb œ
gets
feel - ing
the
11
per
-
œ
son
3
œ
she's
‰
3
nak - ed
œ
œ 3
œ
8
her
œ
3
frame can
3
can
de - vel - op
the
at
œ
flu.
10
flu.
#22—Adelaide’s Second Lament
œ
at
a
Œ " œ œ
You can
‰ œ œ 3
You can
3
stand;
If she
3 œ œ " ‰ ‰ n œj J
left
hand,
j 3 ¿ ‰ œj œ
Huh!
œ
j U " ‰ œ œ bœ œ
œ œ J
her
Œ
œ
brand,
œ J œ
œ
3
a - lone
j œ œ
warm - est
from look - ing
3
4
œ
9
3
sit - ting
3
mean the
œ
3
sweat - ers
I
œ bœ 3
can de - vel - op the
3
her wool - lies, And
in
from
œ œ nœ œ nœ œ
per - son
3
just
3
b "j & b bbbb œ œ œ œ œ œ œ œ œ œ œ œ 5
œ nœ bœ 3
The
flu!
A
‰ ‰ 3
j œ
A
— 204 —
GUYS & DOLLS
3 3 bbb ‰ b b œ œ œ œ œ œ & b
œ œ œ
13
hun - dred and
three
point two!
Rit.
> bb & b b bb œ œ œ œ œ œ œ 15
3
Looks like
a
day
at
the
3
zoo!
3
sto - ry her folks can be told,
bb & b b bb 20
Faster
!
14
So much
3 j "3 œ œ œ œ œ œ œ œ œ œ 3
vir - us
in - side That her
mi - cro - scope slide
A Tempo
3
b & b bbbb œ œ œ œ œ œ œ 17
3
3 3 16 j3 " ‰ 3 œ œ œ œ œ œ œ œ nœ œ Just from
‰ ‰ n œj œ 3
18
A
want - ing
her mem - 'ries
in
œ œ
per - son
œ œ nœ bœ nœ œ 3
can de - vel - op a
21
3
writ - ing
Rit. 3
œ œ œ
19
And
U œ Œ
a
Ó
[Sneezes]
cold.
! Applause Segue
#22—Adelaide’s Second Lament
GUYS & DOLLS
Change of Scene (Scene 1 to 2) TACET
#22a—Change of Scene (Scene 1 to 2)
— 205 —
22a
— 206 —
GUYS & DOLLS
23
More I Cannot Wish You Andante Moderato
# & # 68 5
9
&
##
ARVIDE:
œ
Vel
# & # œ
for
17
&
21
&
##
vet
-
j œ œ
tune
I
own
-
wish
œ J
14
ing
can - not
-
18
22
œ
j ‰ œ œ œ
you
for
you
can
wish
15
your
j ‰ œ œ œ
lar
of
j 12 œ œ.
œ
œ.
œ
your
˙.
œ
19
wish
j ‰ œ œ œ
sev - en
coat
16
j œ œ
you find
your
24
day.
27
œ
foot
j œ œ
- men
all
#23—More I Cannot Wish You
love,
And
j œ
œ
j œ
Your
˙.
j 28 œ œ.
in
j œ
But
j 20 œ œ.
j 23 œ ˙.
this
you,
-
j œ œ
way,
Than to
œ
love,
I
col
œ J
a - long
œ
11
the
œ J œ
œ.
26 j ‰ œ œ œ œ
sions
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wish
true
25
Man
smil
can
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# & # œ
I
j œ œ œ œ
œ more
##
10 j œ ‰ œ œ œ
-
13
4
red
œ
j œ
And
GUYS & DOLLS
# & # œ 29
call
-
j œ œ
ing
œ J
cards
up
# & # œ
j œ œ œ œ
# & # œ.
œ.
33
more
I
37
own
Stand
can - not
-
ing
Full
œ J
##
œ
j œ œ.
&
Stand
# & # œ. 53
sheep's
wish
-
ing
42
œ
of
œ.
eye
-
j ‰ œ œ œ
you
than
˙.
35
œ
wish
œ
œ
47
of
œ
Gaz - ing
at
œ
And
the
55
at
44
you
48
youth.
œ
œ
œ
œ.
52
you
œ œ œ œ.
lick - er - ish
tooth.
#23—More I Cannot Wish You
But
œ
love,
œ.
˙.
œ
51
‰
your
day.
j œ
œ
bloom
you find
j œ
Your
˙.
˙.
˙.
‰
œ.
56
j œ
œ
j 36 œ œ.
40
Gaz - ing
œ.
j œ œ
j 39 œ ˙.
œ
œ.
32
tray,
to
43
50
˙.
31
ver
˙.
the
œ.
sil
this
œ
54
œ
a
œ J
love,
46
there
œ œ J
œ.
38
there
# & # œ.
œ on
34
j œ œ.
45
49
-
true
41
# & # œ
30
— 207 —
œ.
œ
œ
With
the
Œ.
— 208 —
GUYS & DOLLS
57
# & # œ
Mu
61
&
##
-
œ
wis
# & # œ
j ‰ œ
dom
I
# & # œ.
own
-
jU œ œ
ry you
œ
wish
œ
a
-
way.
œ J
œ
j 71 œ ˙.
to
this
lick - er - ish
˙.
sic while
j 60 œ œ.
œ
œ.
œ
j 68 œ œ.
œ
you're
˙.
young,
64
gray,
j œ œ
œ
wish
you find
your
72
day,
œ œ œ œ.
82
-
63
67
than
75
j œ œ
to
you
And the
j 81 œ ˙.
œ
j ‰ œ œ œ
love,
‰ œ œ
œ
mu
has turned
œ.
œ.
59
mer - ry
œ J
hair
66
eye
78
you,
62
when your
70
74
sheep's
car
œ
true
j ‰ œ œ œ
wish
œ
can - not
˙.
# & # œ
can
œ.
69
&
I
j œ œ œ œ
more
##
sic
-
65
73
58 j ‰ œ œ œ œ
76
tooth
œ.
83
#23—More I Cannot Wish You
‰
j œ
And
j œ But
love,
‰
œ.
j œ
Your
œ
With
œ œ
And the
2
77
œ.
strong
œ arms
œ
the
œ J
to
GUYS & DOLLS
Change of Scene (Scene 2 to 3) TACET
#24—Change of Scene (Scene 2 to 3)
— 209 —
24
— 210 —
24a
&C 1
GUYS & DOLLS
The Crapshooters' Dance Bright tempo
27
bb &bbb
61
&
95
&
139
&
177
&
9
8
18
45
##
18
79
##
18
111
16
16
193
bbbbb
16
nn
16
nn
28
159
20
bbbbb
18
18
#24a—The Crapshooters’ Dance
nnnnn
GUYS & DOLLS
211
& ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ 239 Wood Block (Dice effect)
243
&b
231
20
&
b
— 211 —
240
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
8
241
æ |
17
#24a—The Crapshooters’ Dance
¿
Œ
CRAPSHOOTERS:
Craps!
Ó
bb
— 212 —
GUYS & DOLLS
25
Luck Be A Lady
b & b bbb C Œ
bb &bbb 5
œ
times
œ
They
bb &bbb
17
&
22
bbbb
bœ œ nœ œ you
œ nœ Aœ
6
have
on
this
with
œ
œ nœ Aœ
yet
date
be - fore
b œ nœ nœ œ
might for - get your
this
18
Luck
But
un - la - dy - like
Œ
˙
me,
œ
11
The
pray.
œ
œ nœ
3 œ 15 œ œ œ œ œ œ
nœ ˙
is
nœ
man - ners,
You
19
œ
o - ver you
might give
œ nœ nœ
œ
might re - fuse to
23
w
24
œ
3
bœ
20
run - ning
12
3
œ
stay,
And
Œ
Ó
œ
At
˙
Œ
œ You're
been
the
doubt.
8
œ œ œ me
Œ"
˙
out.
œ
have
U̇.
#25—Luck Be A Lady
4
room for
œ œ œ
of
3
eve - ning
is
way
pick - ings
Brightly
b & b bbb C w
there
œ3 œ 7 œ œ œ œ œ
10
14
bœ œ nœ œ
3
3
ve - ry
œ
Œ "œ
˙
2
La - dy
a
œ nœ
9
13
Freely & Dramatically
call
you
b & b bbb b œ
1
SKY:
Π"
˙
œ
lush,
And
˙
Œ nœ
16
brush.
You
U
421 œ œ 4 œ œœœ œœ C so the best that I can do is
25
!
GUYS & DOLLS
bb &bbb ˙ 26
be
œ
27
Luck
œ
b & b bbb ˙
œ
œ
31
30
Luck
be
bb &bbb ˙
œ
34
Luck
if
bb ˙ &bbb 38
Luck
a
œ
&
##
˙
œ
œ
be
Luck
let
# & # ˙
œ
œ
49
a
a
œ
bœ
dy
to
-
er
39
œ
been
-
-
28
w
œ
32
-
night.
œ
36
-
gen
œ
-
tle
œ
dame
œ
dy
œ
dy
33
œ
œ
la
œ
w
to
-
to
œ
night.
œ
˙.
Œ
˙.
Œ
37
be
-
40
w
œ
gin
˙.
with
##
2
nœ
œ
œ
29
night.
a
œ la
œ
42
œ
nice
to
œ
Œ
œ
How
-
dy
a
45
48
œ
œ
35
ev
b & b bbb ˙ .
-
la
you've
41
44
la
a
bœ
œ
œ
— 213 —
you
-
man
nœ can
œ
46
w
47
see
œ
50
w
be.
#25—Luck Be A Lady
51
˙.
Œ
˙.
Œ
— 214 —
GUYS & DOLLS
# & # ˙ 52
œ
I
œ
know
# & # ˙ 56
Luck
53
œ
œ
the
way
œ
œ
be
you've
57
a
# & # w
œ
œ
œ
-
œ
er
guys
œ
dy
Œ
59
oth
œ
-
œ
œ
54
treat - ed
la
60
œ
œ
you've
58
œ
with
55
me!
Ó
61
œ
been
˙.
with,
w
Ó
Œ
bbb
œ
A
62
b &bb œ
la
-
œ
œ
œ
dy
63
does - n't
b &bb w 66
67
leave
œ
la
b &bb ˙ 74
blow
œ
It
70
-
œ
œ
dy
does - n't
œ
œ
œ
on
some
71
75
œ
64
œ
68
her
œ
fair,
b &bb œ
˙.
is
bœ
-
wan - der
all
oth
- er
˙
guy's
cort,
69
œ
œ It
Œ
œ
œ
is
Œ
nice.
œ
œ
-
65
nw
n't
˙
œ
œ
es
˙.
72
76
œ
n't
bœ
A
œ o
-
-
˙
œ
ver
the
w dice.
#25—Luck Be A Lady
77
œ
73
b˙.
œ
room
Œ
Œ
And
œ So
bbbbb
GUYS & DOLLS
78
bb &bbb ˙
œ
œ
79
83
let's
keep
the
b & b bbb ˙
œ
œ
82
Nev
bb &bbb ˙ 86
-
er
get
œ
œ
Stick
with
bb ˙ &bbb
œ
90
Luck
be
b & b bbb ˙
œ
94
Luck
b ˙ & b bbb
b & b bbb œ 101
œ
91
la
œ
95
a
a
-
œ la
œ
Ó
œ
-
99
œ
po
œ
bœ
œ
of
my
sight.
œ
-
80
ty
œ
œ
a
be
Œ
-
ba - by,
œ
Luck
bœ
œ
out
œ
be
98
par
87
me,
œ
— 215 —
œ
I'm
the
w
81
lite.
84
88
w
85
œ
œ
fel - low
œ
you
œ
came
˙.
˙.
96
2
dy,
dy,
-
œ
dy
œ
ton
102
#25—Luck Be A Lady
-
100
œ
night.
2
˙.
Œ
œ
in
2
la
Œ
89
92
œ
˙.
w
˙.
with.
— 216 —
104
GUYS & DOLLS
bb Ens. &bbb œ
Œ
bb &bbb œ
Œ
b & b bbb œ
Œ
CRAPSHOOTERS:
Luck
108
Ens.
Ens.
105
œ
œ
109
œ
bb œ &bbb
Œ
Luck
bb & b b b ˙.
T
Ens.
B
&
##
&
##
? ##
SKY:
˙
Luck
œ
la
113
ev
œ
œ
-
let
! !
œ a
-
dy
to
œ
bœ
dy
to
œ
er
been
117
a
123
œ
œ -
106
-
w
107
night.
œ
110
-
night.
œ
114
a
œ la
Œ
œ
-
œ
œ
you've
be
119
122
a
bœ
œ
œ
la
œ
if
116
Ens.
a
be
Luck
Ens.
œ
be
Luck
112
œ
œ
la
œ
w
œ -
to
-
œ
˙.
Œ
115
to
be
-
œ
118
w
night.
Œ
œ
gin
˙.
with,
##
2
120
œ
œ
dy
œ
dy
111
˙.
nœ
gen - tle - man
! !
œ
124
w
!
125
see CRAPSHOOTERS:
˙
œ
œ
bœ
œ
œ
Luck
let
a
gen - tle - man
see
˙
#25—Luck Be A Lady
œ
œ
œ
œ œ
œ
œ
GUYS & DOLLS
# & # ˙ 126
How
T
Ens.
B
# ˙ & #
# & # ˙
œ
B
# ˙ & #
T
# œ & #
Œ
&
a
nœ
œ
œ
dame
you
œ
can
128
be.
!
œ
131
the
œ
œ
œ
œ
b˙
œ
œ
Luck
be
a
way
you've
Luck
## ˙
be
dy,
œ
œœ
135
œ
œ
a
œ
la
Be
a
la
œœ
œœ
œ
œ
bœ
œ
œ
œ
How
nice
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a
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dame
you
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can
be.
œ
œ
œ
˙.
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b b ˙˙
-
œ
œ
œ
133
oth - er
guys
you've
been
la
dy,
a
b ww
˙
-
a ˙˙
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!
129
˙
132
treat - ed
b ˙˙
œ
w
˙
!
Ó Ó
˙ ? ## ˙ B
Ens.
know
? ## ˙
134
œ
127
Ó Ó
I
Ens.
nice
? ## ˙
130
T
œ
— 217 —
œ œœ
la
œœ
136
dy
œ
with
œ œ
me.
w
-
dy
with
me.
œœ
#25—Luck Be A Lady
œ
bw
œ
œ œœ
w ww
œ
œ
with,
-
— 218 —
GUYS & DOLLS
# & # œ
Œ
137
T
Ens.
B
Ó
!
138
139
Ó
Œ
bbb
œ
A
# œ & # œ ? ## œ
Œ
Ó
!
!
bbb
Œ
Ó
!
!
bbb
140
b &bb
SKY:
Aœ
la
œ
-
œ
œ
dy
would - n't
b &bb w 144
145
heart,
b &bb œ
œ
œ -
dy
Ens.
B
œ
would - n't
œ
flirt
Œ
œ
149
bœ
142
with
œ
œ
have
˙
make
lit
nw
147
œ
œ
œ
œ
She'd
have
Œ
Œ
tle
150
œ
˙
œ
snake
eyes
at
151
b˙.
œ
me
When
nœ
˙.
bœ
˙.
˙
Roll
˙.
˙
'em,
Roll
'em,
˙.
Roll
'em,
˙.
Snake
eyes,
b
œ
nœ
bœ
a
A
˙.
? bb
œ
bœ
soul.
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˙.
stran - gers,
146
a
œ
143
b &bb œ
CRAPSHOOTERS:
T
˙.
She'd
148
la
141
#25—Luck Be A Lady
˙
˙
GUYS & DOLLS
b &bb ˙ 152
I've
T
Ens.
B
b &bb œ ? bb
Roll
b
œ
156
bb &bbb œ
T
Ens.
B
b & b bbb
my
'em,
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on
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157
the
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160
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— 219 —
161
˙
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this
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roll.
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sight.
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158
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#25—Luck Be A Lady
er
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162
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163
œ
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out
of
sight.
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my
œ
— 220 —
GUYS & DOLLS
bb &bbb œ
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164
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Stick
T
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bb &bbb ˙
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173
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175
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#25—Luck Be A Lady
here,
171
œ
174
n˙
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by,
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167
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169
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166
n˙
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with
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la
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GUYS & DOLLS
bb &bbb 176
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181
night.
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— 221 —
Œ
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¿ ¿
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Applause Segue
#25—Luck Be A Lady
— 222 —
26
GUYS & DOLLS
Change of Scene (Scene 3 to 4) TACET
#26—Change of Scene (Scene 3 to 4)
GUYS & DOLLS
— 223 —
27
Sue Me Quite Fast
b & b 68 œj .. ˙ œ. œ œ œ ADELAIDE:
You
&b 5
A
9 A
&b
b
A
N
prom-ise me this, You gam-ble it here, You
œ œ œ œ œ œ
6
give me a kiss And you're sick of you keep - ing me
b ˙.
10
time
b N &b
prom - ise me that, You gam - ble it there, You
œ œ œ œ œ œ
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11
gone
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b
14
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7
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12
œ.
‰
8
œ œ bœ œ œ
œ
œ œ œ œ œ œ And
NATHAN:
‰
un - der the sun, Then you all ex - cept me, And I'm
off to the ra - ces a - gain. When I think of the back in the mon - ey a - gain. When I think of the
by
!
way
prom - ise me an - y - thing gam - ble on ev - 'ry - thing
˙.
Ad
b ˙.
4 j3 œ œ œ œ œ œ œ œ œ œ œ œ œ
grab - bing your hat And you're up in the air Till you're
!
&b 13
j2 œ œ œ œ œ
(NATHAN 2x only)
1 you.
-
œ œ
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e - laide!
Ad
œ. I
!
#27—Sue Me
15
œ œ -
I
think of
the
!
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œ
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Ad
-
e -
laide!
— 224 —
&b
b
&b
b
16
A
N
GUYS & DOLLS
Sub. Rit.
œ
œ
œ I
could
&
bb
œ
love love
b &b
N
&b
b œ hate hate
31
b œ A & b 42
best you
N
me, me,
b & b 42 œ
love love
˙
sue sue
‰
˙
you. you.
25
me, me,
hate hate
œ œ œ 3
œ
you. you.
my in
can can
Œ
œ
Give Give
! œ
years of wind up
What What
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26
a a
œ
law - yer pa - per
and and
œ
22
you you
do do
me? me?
œ
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ler ler
and and
30
Œ
-
Œ
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‰
j œ
2 4
j œ
2 4
The When
œ œ
˙
me, me,
32
Go Go
œ
life jail
I was don't come
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a - head a - head
œ œ
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˙
3
33
a to
˙
œ
œ
fool me
to to
˙ #27—Sue Me
œ.
hate hate
me, me,
34
œ
give bail
œ
3 4
j œ
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hol hol
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29
a a
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28
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21
me, me,
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24
!
27
A
die.
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3 4
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18
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hon - est - ly
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Call Serve
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23
17
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to you
Al Al
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GUYS & DOLLS
b 3 & b 4 b˙. 35
A
you. out.
˙
b 3 N &b 4
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b ˙
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39
N
43
N
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al al
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49 A
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40
rea rea
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44
me, me,
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45
me, me,
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can can
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42
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38
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it's it's
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you you
46
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me? me?
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b & b 68 œ œ œ œ b & b 68 ˙ .
it
a - gain, You're
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love
love
j 50 œ œ œ œ œ
run - ning the game,
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at
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!
37
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al al
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right right
47
A
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36
— 225 —
6 8
52 j 51 œ œ œ œ œ œ œ œ œ œ œ œ œ
I'm
not gon - na play se - cond
!
you.
#27—Sue Me
!
6 8
fid - dle
to that, And I'm
!
— 226 —
&b 53
A
b
GUYS & DOLLS
œ œ œ œ œ œ
sick and I'm tir - ed of
57 A
b & b ˙.
58
time
N
&b
b
b
I
die.
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b œ through
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me.
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the
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43
Ob col voce
I
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!
67
!
68
œ
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me,
sue
me,
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71
think of
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64
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I
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66
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60
try
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tell - ing you now that we're through. When I think of the
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56
by
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way
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59
!
62
55
a - round And I'm
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b A & b ˙. &b
stall - ing
gone
61
N
œ œ œ œ œ œ
54
˙. love
72
˙.
73
œ
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bul - lets
U
œ
Œ
Œ
you.
Applause Segue
#27—Sue Me
GUYS & DOLLS
Change of Scene (Scene 4 to 5) TACET
#27a—Change of Scene (Scene 4 to 5)
— 227 —
27a
— 228 —
GUYS & DOLLS
28
Sit Down, You're Rockin' The Boat
Freely
5
j &b c œ œ NICELY:
I
&b 9
N
I
stood And I
&b C œ œ œ
peo - ple all
T B
œ
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said,
"Sit down,
14
said,
"Sit down,
&b œ œ œ
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Peo - ple all MEN:
said,
œ
"Sit down,
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N
hol-lered, "Some-one fade me," But the
Peo - ple all
?
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De - vil will drag
18
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Sit
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by some chance I had brought my dice a - long. And
der
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19
œ
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15
down,
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pas-sen-gers, they knew right from wrong.
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WOMEN:
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on the boat to Hea - ven And
œ
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N
I got
Bright - Rhythmic
13 N
dreamed last night
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By
the
sharp
20
j œ œ œ œ œ
you're rock - in' the boat."
œ J œ œ œ œ
la - pel
of
œ 24 œ œ J J
your check - ered
#28—Sit Down, You’re Rockin’ The Boat
Œ
˙.
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boat."
you're rock - in' the boat.
œ œ 23 œ œ œ œ œ J J
For the
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16
you're rock - in' the
œ œ C
And the
˙.
Œ
˙.
Œ
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coat.
Sit down,
GUYS & DOLLS
&b 25
N
S A
T B
œ
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œ œ
sit
Sit
down,
?
S A
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Ó
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down,
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j œ œ œ œ œ
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you're rock - in'
the
boat."
you're rock - in
the
boat.
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down,
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bot - tle in my fist.
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29
31
Freely
33 j 34 j &b c œ œ œ œ œ œ œ œ œ œ œ œ œ œ
lit - tle boat to Hea - ven And
by
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a - way
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27
& b ˙.
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sit
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sailed
S A
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32 N
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Sit
28
N
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down,
!
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26
— 229 —
ẇ
˙
on that
b ww
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35
˙w.
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bw Oo
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#28—Sit Down, You’re Rockin’ The Boat
w
bœ
— 230 —
&b
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36
N
S A
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B Bs
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b œœ
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n˙
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&b C œ œ œ
peo - ple all
S A
T
œ œ 37 œ œ œ œ œ œ "œ œ 38 œ œ œ œ
there I stood, Nice - ly
&b
40 N
GUYS & DOLLS
&b C &b C
pass-in' out the whis-key, But the
Ó
Œ
"Œ
w
Œ
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Œ
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˙
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said, "Be - ware,
! !
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said, "Be - ware,
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said, "Be - ware,
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42
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sist.
For the
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n˙ œ b œ œ œ "Œ
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39
pas - sen - gers were bound to re
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41
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j œ œ œ œ
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>˙
a hea - ven - ly
43
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trip."
˙˙
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Be - ware!"
˙
> n˙
b˙
n >œ >œ ‰ J
˙
n >˙
b˙
Be - ware!"
#28—Sit Down, You’re Rockin’ The Boat
>œ >œ J ‰
GUYS & DOLLS
&b œ œ œ
œ
œ œ
said,
"Be - ware,
44
N
Peo - ple all
S A
œ
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T
B Bs
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&b
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48
N
Dev - il will drag
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b
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you un
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46
Be - ware,
!
&b
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45
‰
der
— 231 —
œ œ
said, "Be - ware."
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!
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fan - cy tie
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'round your
wick - ed
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˙
w
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b ww
Down
ww
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ww
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Sit
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ww
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the
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By
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You'll scut - tle the ship.
47
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said, "Be - ware."
j œ œ œ œ œ
Sit
#28—Sit Down, You’re Rockin’ The Boat
œ œ J
œ œ
throat.
Sit down,
Œ Œ Œ
— 232 —
&b 52
N
S A
GUYS & DOLLS
œ œ œ œ œ œ sit down,
œ œ œ œ œ &b Œ œ œ œ œ œ œ œ œ œ œ
Sit down,
T
B Bs
&b Œ ?b Œ
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B Bs
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sit down,
œ
54
Sit down,
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ sit down,
Sit down,
œ œ bœ œ œ œ sit down,
Sit down,
j œ. œ œ œ œ œ
55
you're rock - in' the boat."
U
œ Œ Œ œ
c
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c
U
j œ. œ œ œ œ œ
you're rock - in' the boat.
And
Down.
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U œ œ #˙
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c
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you're rock - in' the boat.
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c
u
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as
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Sit down,
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j58 j œ œ œ œ 57 œ œ œ œ 59 œ œ œ œ œ . &b c œ œ œ œ œ œ œ" œ œ
56 N
Sit down,
53
I laughed at those
&b c œ œ œ œ
pas - sen - gers to Hea - ven
œœ
m
oo
m
oo
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˙. b ˙˙ ..
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A
great big wave came and
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washed me ov - er - board.
oo
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bw
oo
w w
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#28—Sit Down, You’re Rockin’ The Boat
b œœ
œ J And
œ˙ b œ
GUYS & DOLLS
&b 60
N
S A
T
B Bs
S A
as
B Bs
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sank
j œœ ‰ Œ J
And I
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63A
Lord.
˙
U̇
œ
Lord.
˙
œ
œ
the
œ
Lord.
Thank
the
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U̇
u
œ œ œ œ œ "œ œ mo - ment I woke up,
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˙
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j œ œ ‰" Œ J
oo
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thank the
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62
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holl - ered, "Some - one save me!" That's the
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T
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63
N
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— 233 —
œ.
œ
And
I
C
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C
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Thank
the
Lord.
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œ
œ œ
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C
U
u
#28—Sit Down, You’re Rockin’ The Boat
— 234 —
64 N
GUYS & DOLLS
A Tempo
&b C œ œ œ œ œ œ
65
œ
˙.
said to my - self, "Sit down,
S A
66
Sit down,
œ œ œ œ œ œ
!
&b C
œ
œ. ˙
j œ œ œ œ
you're rock - in' the
˙
˙.
Œ
n b ˙˙
œ œ bœ œ ‰ J
67
boat."
Said to him - self, "Sit down,
T
B Bs
&b œ œ œ
œ
&b
!
œ œ
69
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"Sit down,
œ
Sit down,
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œ
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B Bs
&b ?b
!
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œ
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œ
˙
n˙
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j œ œ œ œ
you're rock - in' the
b˙
Sit
71
Nœ œ ‰ J œ.
down."
˙.
boat.
And the
!
œ œ
œ.
‰ Ó
!
œ œ
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‰ Ó
!
#28—Sit Down, You’re Rockin’ The Boat
‰
œ œ
‰ Ó
Said to him - self, "Sit down."
!
70
˙
n˙
down."
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T
˙
œ œ œ œ œ œ
!
Said to my - self,
S A
œ œ œ œ œ œ Said to him - self, "Sit down,
?b C
68
N
!
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Sit
GUYS & DOLLS
œ œ œ œ œ œ 73 œ œ . b & J 72
N
De - vil will drag you un
S A
T
B Bs
&b Ó
N
S A
And the
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Dev - il will drag
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you un
And the
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77
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— 235 —
soul
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-
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sit down,
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!
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Ó
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der
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78
œ.
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79
˙.
Œ
you're rock - in' the boat."
œ.
j œ œ œ œ œ
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you're rock - in' the boat.
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you're rock - in' the boat.
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#28—Sit Down, You’re Rockin’ The Boat
˙.
Œ
˙.
Œ
˙˙ ..
Œ
— 236 —
&b 80
N
S A
&b
GUYS & DOLLS
ƒ ƒ
œ œ œ œ
Sit
down,
you're rock - in',
œ œ œ œ
ƒœ œ œ œ b & Sit
Sit
81
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sit down,
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B Bs
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83
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S A
&
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T
down,
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Sit
down,
down,
84
sit down,
œ œ œ
the
boat!
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œ J
boat!
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you're
rock - in'
the
boat!
Sit down,
œ œ J
œ œ œ œ
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Sit down,
sit down,
j œ
rock - in'
the
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down,
sit down,
j 82 œ œ œ œ œ ˙
you're
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Sit
sit down,
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down,
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you're
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boat!
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you're
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the
boat!
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œ œ œ œ ˙ œ œ œ œ ˙
#28—Sit Down, You’re Rockin’ The Boat
GUYS & DOLLS
ƒ b N & œ. 86
Sit
S A
ƒ & b œ. ƒ b & œ. Sit
T
Sit
B Bs
ƒ ? b œ.
&b 90
N
w
ww S &b w A boat!
T
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b
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87
w
88
— 237 —
w
89
w
down!
j œ ˙
˙.
down,
j œ ˙
˙.
œ ˙ J
˙.
down,
91
w
œ
œ.
You're
rock
œ
˙
-
in'
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-
œ ˙ J
˙
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You're
rock
œ
92
œ.
w
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the
in'
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93
the
U̇
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#28—Sit Down, You’re Rockin’ The Boat
— 238 —
GUYS & DOLLS
29
The Guys Follow The Fold
2 & 42 œ œ . œ œ 1
ENSEMBLE:
Fol - low the
9
& œ œ. œ
Put down the
17
&
10
fold
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3
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5
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13
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6
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fol - low the
32
#29—The Guys Follow The Fold
more.
16
fold.
!
œ œ ‰ J
Segue
GUYS & DOLLS
— 239 —
29a
Adelaide Meets Sarah Slowly
# & # 44
6
# 4 & # 4
6
1
Rit. 7
!
Œ
SARAH:
8
!
œ
œ
œ
So
please
for
Œ
‰
Ó
ADELAIDE:
3
œ œ
"Keep the
9 S
# & # w
‰ . n œr œ
œ
10
give
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ADELAIDE (Editorial Suggestion):
A
# & #
3
œ
Vicks
nœ
on
œ
your
3
œ
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chest
And
3
3
Vicks on
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œ
get
3
œ
œ
plen - ty
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of
3
œ
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You
3
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of
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S
12
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j #œ œ
3
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of
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spite
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#29a—Adelaide Meets Sarah
-
œ
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her
œ j #œ œ
‰
j #œ œ
œ
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warn
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# & #
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3
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she
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— 240 —
GUYS & DOLLS
# & # ˙.
œ
13
S
been
A
&
##
in
S
A
&
3
3
i - dea that the
## w
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3
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16
fore.
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-
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son
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‰
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3
lit - tle
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gets the
15
14
3
3
œ #œ
can
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#29a—Adelaide Meets Sarah
3
œ
'round
the cor - ner
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be
-
œ
œ A
GUYS & DOLLS
— 241 —
30
Marry The Man Today b & b b 68 Œ
j œ
ADELAIDE:
A
!
b &bb œ
j œ œ
b &bb œ
an
b & b b bœ
must
b &bb
and Klein's
!
6
A
j œ œ
les - son I've
!
7
-
j œ œ
tions on
j œ
10 j œ. œ œ nœ œ
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get
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13
A
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4
been
8
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SARAH:
At
9
S
Wa - na - ma - ker's and
b &bb
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2 j œ œ nœ œ œ
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S
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ter
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ket
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from
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you
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j œ
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to
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#30—Marry The Man Today
— 242 —
GUYS & DOLLS
17 S
A
b &bb
!
b & b b bœ
j œ nœ
-
b &bb
to
that kind
b & b b nœ.
Œ.
of
ap
26
œ -
ply
to
b &bb
29 A
b &bb
b &bb 33
A
!
34
you
and
I?
¿
Why
not?
Much as he loves
Œ
31
24
n˙.
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¿
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Œ
j ‰ Œ "œ
tee.
!
‰ "‰ ‰ A œ
and
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‰
‰ ¿ ¿ ¿
3 Why not what?
!
32
œ œ œ œ œ. œ 3
Trou - ble tho' he
Œ
35
œ J
You
Ó
28
to - day,
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an
!
23
4 Ó 4
3
-
20
Now
!
œ œ œ œ œ. œ
j œ
!
!
Mar - ry the man
!
no guar
4427
3
30
get
!
Craftily, In Tempo
!
j œ nœ
bœ
" ‰
œ œ J
me.
A
19
!
22
b &bb œ œ œ œ œ œ
25
œ
gam - ble.
!
does - n't
S
j œ œ
j œ
ply got
21
A
‰ Œ " œj
Œ
You
sim
S
18
!
to play,
#30—Marry The Man Today
36
may be,
œ ˙ œ œ œ œ. 3
Cra - zy and wild
and free.
Œ
GUYS & DOLLS
bb
S & b œ œ œ œ. œ œ Œ 37
3
Mar - ry the man to - day
b A & b b œ œ œ œ. 3
œ Œ
œ
Mar - ry the man to - day
41 S
A
b &bb
!
b &bb
!
42
A
œ. œ œ œ
œ œ œ
œ. œ œ œ
3
Œ
œ œ œ œ. œ œ
Mar-ry the man to-day And change his ways
!
43
44
œ œ Œ Ó œ œ œ œ.
œ
œ œ œ œ. 3
Ó
œ œ œ œ. œ 3
Ó
Ó
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œ
œ
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œ œ œ œ œ œ.
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49
œ œ œ œ 3
. œ œ.
‰
œ œ œœ œ œ 3
3
Coun - ter at - tack him and
œ œ œ œ 3
. œ œ.
‰
Mar - ry the man to - day,
#30—Marry The Man Today
Œ
Ó
50
3 m œ œ œ œ . œ œ œ
Give him the girl - ish laugh - ter.
Mar - ry the man to - day,
Hur - ry and track him down.
œ
a - way.
Don't let him get
3
!
47
3
town.
b A &bb Ó
May - be he's leav - ing
a - way.
Don't let him get
Œ
Œ
œ œ œ œ. œ œ
May- be he's leav - ing town. 3
46
to - mor - row.
3
Mar - ry the man to - day.
b &bb œ
b S &bb
j œ œ. œ œ. œ œ ‰ œ œ œ œ œ . œ œ œ 3
Ra -ther than sigh and sor-row.
3
!
!
40
Ra -ther than sigh and sor-row.
Ó
b &bb
48
!
39
Mar - ry the man to - day,
45
S
œ œ œ 3
38
— 243 —
3 m œ œ œ œ . œ œ œ
Give him the girl - ish laugh - ter.
— 244 —
GUYS & DOLLS
3 52 b & b b œ œ œ œ. œ œ. œ œ. œ œ
‰ œj œ œ Œ
51
S
Give him your hand
55 S
A
& &
59
S
A
& &
63 S
#
And save
!
fist
for af - ter.
!
56
#
œ. œ œ. œ œ. œ œ. œ
!
57
58
Slow - ly in - tro - duce him to the
#
nœ œ Ó
60
bet - ter things,
Ó
Ó
re - spec - ta - ble, con - ser - va - tive and
Œ œ. œ
Di - gest!
#
‰ j œ. œ œ. œ œ. œ œ. œ œ
œ. œ ˙
Ro - gers
Œ nœ. œ
œ bœ Ó
61
Ó
bb
3
b A & b b œ œ œ œ. 3
mar - ry the man
b &bb ‰
œ sub
-
64
Peet!
Œ
Ó
œ. œ
œ œ œ œ. œ œ
œ
œ ˙
œ œ œ œ . œ œ 3
œ
Han - dle it meek and gent - ly.
œ
Œ
Œ ‰ œ bbb J But
O - val - tine!
Golf!
3
j œ ‰ Œ
œ . œ œ œ ‰ œ bbb J
Œ
¿
Han - dle it meek and gent - ly.
j œ œ
clean.
Ga - losh - es!
to - day,
to - day,
˙
62 œ Œ ‰ . R¿ ¿ ¿ Ó
Guy Lom - bar - do!
& b œ œ œ œ. œ ˙
66
the
#
!
54
Read - ers
mar - ry the man
A
to - day
!
53
But
!
65
œ œ. œ œ. œ œ œ œ œ. 3
Mar - ry the man
67
se - quent - ly.
#30—Marry The Man Today
2
to - day
And train
him
#
GUYS & DOLLS
69 S
&
73
S
A
& &
#
# #
70
nœ
pot
œ
ex - pose him to
Ó
Ó
74
Œ nœ. œ œ bœ Have
a
3
Mar - ry the man
œ ˙
78
to - day,
b &bb ˙
ways,
83
S
A
&
bbb œ œ ˙ . mor
-
3
-
œ
Ra - ther than sigh
œ. œ
his
81
w
Have
two.
œ œ. œ œ œ œ œ.
œ. œ
œ. œ œ œ œ œ. œ
œ. œ
Mar - ry the man
œ. œ
œ. œ
ways,
And change
85
w
bbb
Œ
Nine!
to - day And change his
3
and sor - row.
˙
¿
Œ
Mar - ry the man
œ
his
to - day And change his
82
˙.
ways
˙.
œ. œ ˙
And change
84
œ
Stop!
3
79
and sor - row.
œ. œ
his ways,
œ
his ways
w w
row!
‰ Jœ
To -
‰ œ J
To -
86
˙
œ ‰ Œ J
˙
œ ‰ Œ J
row!
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to - day,
œ. œ ˙
And change
Six!
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œ œ œ œ. œ œ
And change
b & b b œ. œ
b ¿ J ‰ bb
Œ
76
3
œ. œ
ways,
Œ
œ
œ œ œ œ. œ œ
3
80
¿
Ó
Ó
Ra - ther than sigh
œ. œ
Have a
ba - by.
Ó
Œ
˙
you,
75
a
72
he ev - er tries to stray from
head - ache.
b A & b b œ œ œ œ. œ ˙ Mar - ry the man
if
œ. œ œ
Have
b S & b b œ œ œ œ.
A
And
Œ
roast.
Ó
71
do - mes - tic life,
77
S
‰ j œ. œ œ. œ œ. œ œ. œ œ
œ. œ œ. œ œ. œ œ. œ œ. œ ˙
Care - ful - ly
— 245 —
Applause Segue
#30—Marry The Man Today
— 246 —
31
GUYS & DOLLS
Opening – Scene 7 TACET
31a
Entrance of the Mission Band TACET
#31,#31a—Tacets
GUYS & DOLLS
— 247 —
32
The Happy Ending Bright Tempo
b &bb C Ó
˙
When you
see
œ œ
b œ &bb
Œ
5
Ens.
that
b &bb ˙ 9
10
a
3
are he's
2
guy
-
ing
it
œ œ
reach for
œ
œ œ 7 w
for
˙
œ
John
wait - ing
in - sane
as
œ
b &bb ˙
œ
meet
b œ &bb 21
Ens.
flat
œ
a
Œ
18
gent
œ
11
that
out
John
can
˙
œ
œ
19
pay - ing
-
ten the
in
the
4
sky
in
the
12
rain
be
for
Jane.
œ
œ
kinds
of
œ all
a
œ
œ œ 23 w
Taj
Ma - hal
#32—The Happy Ending
16
œ
20
rent
24
œ œ
˙
You
œ
˙
8
3 j 15 œ œ œ œ ˙
a
could flat
stars
3 nœ œ œ ˙
on - ly
œ œ 22 œ œ œ
3
some doll.
17 Ens.
œ œ œ œ
˙
3 j 14 œ œ œ œ nœ.
b Ens. & b b œ œ œ œ. 13
a
he's do
˙
spot
œ œ
œ œ 6 œ œ œ
œ
bet
Ens.
1
ALL:
˙
can
œ
When
you
œ
bœ
Chan - ces
œ
˙
˙
Œ
œ
When
œ
you
œ
œ
œ
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For
Call
a
it
— 248 —
GUYS & DOLLS
b &bb ˙ 25
Ens.
sad,
29
Ens.
bb
& b ˙
guy's
œ œ
œ call
it fun
œ
œ on
-
ly
26
-
œ œ. J
‰ œ
ny,
B.ut
Rall. 30
œ œ œ
do - ing
œ 27 œ n œ œ J
it
it's
bet - ter than
œ
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for
some
31
U w
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doll.
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œ
œ bœ
28
ev - en mon
32
-
œœ œœ
j œ œ.
œ
ey
That
Œ
Ó
œ the
GUYS & DOLLS
Bows TACET
#33—Bows
— 249 —
33
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