Thank you for auditioning for

AN OFFICER AND A GENTLEMAN

National Tour

ROLE: Zack

Sides have been revised from previous versions and the new full script is now available on the same web page.

Please Prepare: • This entire packet of sides and music • We would also like to hear your own pop/ rock song from the 80’s / early 90’s. • Bring PICTURE AND RESUME stapled together. • Bring knee pads for the dance callback. • Bring shoes you can turn in – no heels for women.

IMPORTANT • ALL in attendance must show proof of covid vaccination. • ALL on the Creative and Production team are vaccinated. • Everyone will be asked to sign a Covid waiver. • WALL CLIMBING will take place on Thursday 6/17 between 10am-2pm (for Officer Candidates including Seeger)

Please don’t hesitate to reach out if you have any questions.

Thanks so much! W | S Casting

AN OFFICER AND A GENTLEMAN 210525 4TH DRAFT (in progress)

(ADMIRAL WORLEY addresses all.)

ADMIRAL WORLEY At ease. I must admit, being an Annapolis man, I think of that as the path to becoming an officer. Of course, there’s ROTC… but my son didn’t want ROTC. So here we are at Officer Candidate School. And Junior—excuse me, Officer Candidate Worley—I’ve instructed Captain Wagner not to treat you like one of the fairer sex we now have to accept. No free pass for my boy just because his father was the first Black man to graduate from the United States Naval Academy, the first Black admiral in U.S. history. Is it any wonder I have high expectations of you, Junior? Of all of you. Because I’ve been in battle—

(ADMIRAL WORLEY mimes talking as ZACK slips outside.)

SCENE 5 (continuous)

Outside the party. PAULA highlights a textbook. ZACK enters, venting.

ZACK Son of a bitch! Asshole! Pompous bastard!

PAULA Tough day at the office?

ZACK Admiral dickhead!

PAULA Couldn’t you be arrested or something for saying that here?

ZACK Let ‘em. Sid’s my hatchmate—

PAULA Hartchmate?

ZACK Roommate. His old man’s in there talking about Sid like he’s…. And Sid’s a great guy—like he sees what your friend’s doing in and he’s into her anyway.

PAULA Lynette? What’s she doing?

ZACK She’s a human target missile set to admiral’s son.

! 24 AN OFFICER AND A GENTLEMAN 210525 4TH DRAFT (in progress)

PAULA Hey, if you spent all day, every day at a casket factory—

ZACK She makes caskets? That sucks.

PAULA I know. I make them too.

ZACK You any good?

PAULA What?

ZACK Everybody’s good at something. What are you good at? Making caskets, making love?

PAULA Now who’s a dickhead? I’m out here studying for my criminology exam—

ZACK You want to be a criminal.

PAULA Paralegal. Like a lawyer, but no law school. That’s what I’m good at: seeing what’s wrong and righting it.

ZACK So why not be a lawyer?

PAULA Working full time, it’ll take me six, seven years to complete a two-year program. Actually becoming a lawyer… I’d be in school till I’m ready to retire.

ZACK I’m hearing excuses.

PAULA Okay, then, back to my textbook. Oh look, sociopaths. And there’s your picture.

ZACK I’m not psycho, I swear. Not even an asshole, not really.

PAULA You do a really good imitation.

! 25 AN OFFICER AND A GENTLEMAN 210525 4TH DRAFT (in progress)

SONG 4: NEVER SEURRENDER

ZACK Thanks. And you’re pretty convincing as someone who’s figured out how long it’ll take, how much it’ll cost, then shrunk your dream to fit.

PAULA It’s called being realistic.

ZACK Or scared. But the fire in your eyes… let it burn: you might be a lawyer sooner than you think.

JUST A LITTLE MORE TIME IS ALL WE’RE ASKING FOR. ‘CAUSE JUST A LITTLE MORE TIME COULD OPEN CLOSING DOORS. JUST A LITTLE UNCERTAINTY CAN BRING YOU DOWN. AND NOBODY WANTS TO KNOW YOU NOW. AND NOBODY WANTS TO SHOW YOU HOW. SO IF YOU’RE LOST AND ON YOUR OWN, YOU CAN NEVER SURRENDER. AND IF YOUR PATH WON’T LEAD YOU HOME, YOU CAN NEVER SURRENDER. AND WHEN THE NIGHT IS COLD AND DARK, YOU CAN SEE, YOU CAN SEE LIGHT. ‘CAUSE NO ONE CAN TAKE AWAY YOUR RIGHT TO FIGHT AND TO NEVER SURRENDER.

You know, I get liberty in a few weeks. Maybe we could—

PAULA No.

ZACK I told you, not an asshole.

PAULA You’re a Navy boy. Don’t want a Navy boy.

ZACK Isn’t that kind of, I don’t know, prejudiced?

PAULA No. Prejudiced is when you hate a group of people for no reason. I have reasons.

! 26 AN OFFICER AND A GENTLEMAN 210525 4TH DRAFT (in progress)

ZACK Huh. Know what you sound like?

PAULA What?

ZACK A lawyer.

SO IF YOU’RE LOST AND ON YOUR OWN, YOU CAN NEVER SURRENDER. AND IF YOUR PATH WON’T LEAD YOU HOME, YOU CAN NEVER SURRENDER. AND WHEN THE NIGHT IS COLD AND DARK, YOU CAN SEE, YOU CAN SEE LIGHT. ‘CAUSE NO ONE CAN TAKE AWAY YOUR RIGHT TO FIGHT AND TO NEVER SURRENDER. TO NEVER SURRENDER. OH, TIME IS ALL WE’RE ASKING FOR TO NEVER SURRENDER, OH!

(LYNETTE exits the reception, in a hurry.)

LYNETTE Paula, you ready?

PAULA In a minute.

LYNETTE Now.

PAULA Is everything okay?

(SID exits the reception.)

SID Lynette! I didn’t mean like on a—

LYNETTE Sorry, Sid. This isn’t a town where you and me—

SID I meant as friends. See a movie, grab a bite.

! 27 AN OFFICER AND A GENTLEMAN 210525 4TH DRAFT (in progress)

ENSEMBLE YOUR SHIP ISN’T COMING AND YOU JUST—

(Exit ENSEMBLE. ZACK “lands” and FOLEY bears down hard.)

FOLEY I want names and I want your D.O.R.!

ZACK No!

FOLEY D.O.R.!

ZACK NO!

FOLEY All right then, forget it. You’re out of here.

ZACK Don’t do that!

FOLEY You did this to yourself.

ZACK This candidate believes he would make a good officer, sir!

FOLEY But why, Mayo? Why do you want to be an officer?

ZACK I want to fly jets. I wanted to since I was a kid.

FOLEY We’re not talking about flying, we’re talking about character!

ZACK I’ve changed since I’ve been here, sir.

FOLEY Not enough. Pack your bag, I’ll start the paperwork.

ZACK Please, sir!

! 74 AN OFFICER AND A GENTLEMAN 210525 4TH DRAFT (in progress)

FOLEY Can you give me one good reason you deserve a second chance? I’m asking you, boy, why should I give you—

(ZACK speaks from the heart, at last revealing some vulnerability.)

ZACK I got nowhere else to go! I got nowhere else to go… I ain’t got nothing else.

FOLEY Those are the first words out your mouth I actually believe. (A beat.) All right, Mayo. Come on.

ZACK Discharged for reasons “other than honorable?”

FOLEY Not if you clean every head in the barracks.

ZACK (Is HE getting a second chance?) Aye aye, sir.

FOLEY And polish every doorknob in the barracks till they shine bright as Seeger’s belt buckle.

ZACK (HE’s getting a second chance!) Aye aye, sir.

FOLEY And you will instruct your fellow Officer Candidates how to come up with the answers you were selling them. If, and only if, every single of them passes the exam—

ZACK They will, sir! Thank you, sir!

FOLEY Don’t thank me. Just don’t disappoint me.

(Exit FOLEY. ZACK removes a toothbrush from his pocket and drops to his knees, scrubbing. HE’s now in the bathroom. Enter SID in his skivvies. HE carries a toiletry kit. ZACK doubles down on scrubbing, unwilling or unable to look at SID.)

! 75 AN OFFICER AND A GENTLEMAN 210525 4TH DRAFT (in progress)

SID Hey. I told Paula Foley was riding you hard all weekend, so no liberty.

ZACK Did you tell her you’re the reason why?

SID I’m sorry… but someone had to shock you out of your self-serving, self-centered, self—

ZACK I was an asshole, okay? You should’ve told me that, not Foley.

SID I tried to, many times. You wouldn’t listen.

ZACK Then make me listen, huh? Push me up against a wall, take a swing at me!

SID At the Bruce Lee of OCS? No thanks; I like my nose.

ZACK Foley came this close to kicking me out. This close.

SID But he didn’t. I’m glad he didn’t. I know you’re not someone who had a lot of friends growing up, and I… wanting to hang with the admiral’s kid’s not the same as wanting to hang with me. But you, Paula, Lynette—I get the feeling the guy you like hanging with really is….

(SID is filled with emotion. THEY bro hug.)

ZACK You’re messing up my floor, okay? And I still have doorknobs to polish and mo boards to teach.

SID Start on the doorknobs— (Takes the toothbrush.) I’ll finish the floor.

SCENE 2

ZACK crosses to the chalkboard, where COHEN, GREER and PERRYMAN are gathered. HE instructs them in mo boards as PAULA sets up her kitchen: two lockers and a table. OFFICER CANDIDATES exit with the chalkboard. PAULA and ZACK speak as if on the phone.

! 76 AN OFFICER AND A GENTLEMAN 210525 4TH DRAFT (in progress)

SID NOW I BELIEVE THERE COMES A TIME WHEN EV’RYTHING JUST FALLS IN LINE. WE LIVE AND LEARN FROM OUR MISTAKES. THE DEEPEST CUTS ARE HEALED BY FAITH.

SID and ENSEMBLE WOMEN NOW I BELIEVE THERE COMES A TIME WHEN EV’RYTHING JUST FALLS IN LINE. WE LIVE AND LEARN FROM OUR MISTAKES. THE DEEPEST CUTS ARE HEALED BY FAITH.

SID NOW I BELIEVE!

SID ALL MINUS SID ALL FIRED UP! ALL FIRED UP! NOW I BELIEVE THERE COMES A TIME I’M ALL FIRED UP! WHEN EV’RYTHING JUST FALLS IN LINE. ALL FIRED UP! FIRED UP! WE LIVE AND LEARN FROM OUR MISTAKES. FIRED UP! THE DEEPEST CUTS ARE HEALED BY FAITH.

SID I want to D.O.R.!

ZACK NO!

(Lights up. ALL exit except for ZACK and FOLEY, and SID who’s still atop the high dive. FOLEY addresses SID.)

FOLEY You sure?

SID Yes, sir. I want out.

FOLEY Come on down from there. We’ll start the process.

ZACK Sir, Officer Candidate Worley’s got two weeks left. Two.

FOLEY I’ve seen ‘em drop the last day.

! 98 AN OFFICER AND A GENTLEMAN 210525 4TH DRAFT (in progress)

ZACK Look, he’s been going through a lot.

FOLEY That doesn’t matter.

ZACK He’s got a girl in town. She’s pregnant.

SID Zack!

FOLEY Worley, for what it’s worth, I think you just made the first adult decision of your life—

ZACK Sir—

FOLEY And I think it’s the right decision. Let’s go.

(FOLEY and SID start to exit. ZACK addresses FOLEY.)

ZACK I’M TALKING TO YOU, ASSHOLE!

FOLEY What did you call me?

SID (To ZACK.) Don’t mess it up for you, man.

ZACK (To FOLEY.) What kind of human being are you?

FOLEY You better lock it up, boy, or you’re going home with him.

ZACK He’s the best candidate in the class.

SID I’m not.

! 99 AN OFFICER AND A GENTLEMAN 210525 4TH DRAFT (in progress)

ZACK Best leader, best friend… to everybody.

FOLEY He failed Firefighting. He failed Damage Control. He froze during Abandon Ship.

ZACK Can’t you bend your goddamn rules for once?

SID I’m glad it’s over, buddy. I wasn’t here for me. You said so yourself.

ZACK I said? What’d I say?

SID Everything I do, I do because my father said do it. And this—right here, right now—this is where I draw the line!

(SID runs off, leaving FOLEY and ZACK alone.)

ZACK Sid! (To FOLEY.) Request permission to carry on, sir.

FOLEY Get out of my face.

SCENE 7

SONG 16B: EVERY GIRL IN THIS TOWN reprise (PERRYMAN’s memory)

PERRYMAN has a memory as the bar from I, 7 is revealed. LYNETTE appears in an outfit less revealing than usual: SHE’s off the market.

LYNETTE DUST YOURSELF OFF. PUT YOUR LIPSTICK ON. YOU GOT THIS BABY.

(LYNETTE and SID are at the bar. SID is in his khaki uniform.)

SID Thanks for meeting me.

! 100 ZACK - SONG 1 - INITIAL AUDITION An Officer and a Gentleman Reh. Piano Never Surrender 04 (audition cut) Arr. by [ZACK] Music and Lyrics by Dan Lipton [Rev. 1.31.21] Corey Hart

Orch. by Dan Lipton & Nathan Dame ZACK: I'm hearing excuses. PAULA: Okay, then, back to my textbook. Oh look, sociopaths. And there's your picture. ZACK: I'm not psycho, I swear. Not even an asshole, not really. PAULA: You do a really good imitation. But you do have one quality I like: the way you were upset for your friend. Means you’re loyal. [MUSIC] ZACK: Loyal to myself. Try it. You'll be a lawyer sooner than you think. Moderately PAULA: Yeah, I...no. 1 2 ## 4 & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Reh. œ œ œ œ 2 œ œ œ œ D 2 œ œ œ œ D / œ œ œ œ Piano P F# 4 ? ## 4 w w 3 4 ## & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 œ œ œ œ œ œ œ œ D /G œ œ œ œ œ œ œ œ

? ## j œ. œ œ œ w 5 6 ## & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 œ œ œ œ D 2 œ œ œ œ D / œ œ œ œ F# ? ## w w 7 8 ## & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 œ œ œ œ œ œ œ œ D /G œ œ œ œ œ œ A suœs

? ## j j j œ. œ œ œ œ. œ œ œ.

Copyright © 1985 by Saphir Music Nathan Dame Music Preparation O & G – Reh. Piano – 2 – 04. Never Surrender [Rev. 1.31.21] 9 ZACK: 10 11 12 Z. # j V # Œ œ œ œ œ œ œ œ œ œ. œ œ œ ∑ Just a lit - tle more time is all I'm ask - ing for.œ ˙ # j j # œ. œ ˙ œ. œ ˙ œ. j œ w & œ. œ ˙ œ. œ ˙ œ. œ œ œœ ww 7 œ œ œ w D F#m G G6(add2) ? ## j j j w w œ. œ œ œ œ. œ œ œ.

13 14 15 16 Z. # j V # ‰ œ œ œ œ œ œ œ œ œ œ œ. œ œ Œ ∑ 'Cause just a lit - tle more time could o -J pen clos - ing doors.œ œ # j j # œ. œ ˙ œ. œ ˙ œ. j œ w & œ. œ ˙ œ. œ ˙ œ. œ œ œœ ww 7 œ œ œ w D F#m G G6(add2) ? ## j j j w w œ. œ œ œ œ. œ œ œ.

17 18 19 20 Z. # œ œ œ œ œ œ œ œ œ. j V # Œ œ œ œ Œ ∑ Just a lit - tle un - cer - tain - ty can bring you down.œ œ j # œ. œ ˙ œ œ ˙ # œ. œ ˙ œ. œ ˙ œ. j œ w & . œ. œ ˙ œ. œ œ œœ ww J 7 œ œ œ w D F#m G G6(add2) ? ## j j j w w œ. œ œ œ œ. œ œ œ.

21 22 23 24 Z. # œ œ œ V # Œ œ œ œ œ Œ Œ œ œ œ œ œ œ œ œ Andœ noœ -bod - y wants to knowœ youœ now,œ œ and no -bod - y wants to show you how.

## j œ œ œ œ œ & œ w œ œ œ œ œ wG ˙ œ. œ wG F ? # j # w ˙ œ. œ w ˙. œ w ˙ œ. œ w Nathan˙. Dame Music Preparationœ O & G – Reh. Piano – 3 – 04. Never Surrender [Rev. 1.31.21] 25 26 27 28 Z. # œ œ œ œ œ œ œ œ V # œ œ œ œ œ œ œ œ œ Œ ‰ œ œ œ œ œ œ So, if you're lost and on your own, you canJ nev-er sur-ren J- der. J # œ œ œ œ j œ œ j # œ œ œ œ œ œ œ œ œ œ ˙ ‰ œ œ œ œ œ œ œ œ & œ œ œ J œ œ œ ˙ œ J œ œ œ œ D G J

? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

29 30 31 32 Z. # œ œ œ œ œ œ œ œ. V # Œ œ œ œ J œ œ œ œ œ Œ ‰ œ œ œ œ œ And if J your path won't lead you home, you canJ nev-er sur-ren J- der. j # œ œ œ œ œ œ œ. & # œ œ œ œ œ œ œ œ œ œ ˙ ‰ œ œ œ œ œ œ œ. œ œ œ J œ œ œ ˙ œ J D G J œ œ œ ? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

33 34 35 36 Z. # œ œ œ œ œ j j V # ‰ J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. And when the night is cold and dark, you can J see, you can seeJ J light. # œ œ œ œ œ j j & # ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ. J œ œ œ œ œ œ J œ œ J J œ . A B m G ? # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

37 38 39 40 Z. # j œ œ œ œ œ j œ œ œ œ œ V # ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ 'Cause no one can take a - way your right to fightJ and to nev-er sur-ren - der. J

j # j œ œ œ œ œ œ œ œ œ œ œ j ˙ œ œ & # ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ‰ œ œ œ œ J A B m G ? # # œ œ œ œ œ œ w œ œ œ œ œ œ œ œ œ w Nathan Dame Music Preparation O & G – Reh. Piano – 4 – 04. Never Surrender [Rev. 1.31.21]

ZACK: You know... I get liberty in a few weeks. Maybe we could— PAULA: No. ZACK: I told you, not an asshole. PAULA: You're a Navy boy. Don't want a Navy boy. ZACK: Isn't that kind of, I don't know, prejudiced? PAULA: No. Prejudiced is when you hate a group of people for no reason. I have reasons. ZACK: Huh. Know what you sound like? PAULA: What? 41 ZACK: A lawyer. [GO ON] 42 43 44 Z. # V # œ Œ Ó ∑ ∑ ∑

## œ. . r . r & œ. œœ œœ œœ ˙˙ ‰ œœ œœ œœ ˙˙ ‰ œ œ œ œ œ w œ œ œ ˙ 2 œ œ œ ˙ œ œ œ œ œ w D D 2 D / G 2 œ œ œ œ œ w P F# ? # ˙ # j ˙ j j j j œ œ. œ œ. œ œ. œ œ œ œ. œ œ .

45 46 47 48 Z. # V # ∑ ∑ ∑ ∑

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# œ œ œ œ j œ œ œ j & # œ œ œ œ œ œ œ œ œ œ ˙ ‰ œ œ œ œ œ œ œ œ œ œ œ J œ œ œ ˙ œ J J œ f D G ? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Nathan Dame Music Preparation O & G – Reh. Piano – 5 – 04. Never Surrender [Rev. 1.31.21] 53 54 55 56 Z. # œ œ œ œ œ œ œ œ. V # Œ œ œ œ J œ œ œ œ œ Œ ‰ œ œ œ œ œ And if J your path won't lead you home, you canJ nev-er sur-ren J- der.

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? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 57 58 59 60 Z. # œ œ œ œ œ j j œ. V # Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ And when the night is cold and dark, you can J see, you can seeJ J light.

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# j œ œ œ œ œ j & # ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J A B m G ? # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 64 65 Z. # œ œ œ œ œ œ œ V # œ œ œ ‰ œ œ J œ nev - er sur - ren - der, toJ nev - er sur - ren - der. J j # œ œ œ œ œ œ œ œ & # œ œ œ. j œ œ œ œ œ œ œ œ œ œ. œ œ œ œ J œ ? # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Nathan Dame Music Preparation O & G – Reh. Piano – 6 – 04. Never Surrender [Rev. 1.31.21]

66 67 68 69 Z. # . j œ œ œ œ œ œ V # ˙ ‰ œ œ œ œ œ. œ œ œ œ œ ‰ œ œ J J Oh, time is all we're ask - ing for, toJ nev - er sur-ren - der, oh! # j œ œ œ œ œ œ # œ. œ œ œ ˙ œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ œ œ & œ. œœ œœ œœ ˙˙ œ œ œ. œ œ œ. J œ œ œ œ (add2) 7 J J D F#m G ? ## œ œ œ œ j j j œ œ œ œ œ œ œ. œ œ œ œ. œ œ œ.

70 71 72 73 Z. # œ œ œ œ œ V # Œ Ó œ œ œ œ ˙ Ó ∑ Oh, J J # œ œ œ ˙. r r U # œ œ ˙. ‰. œ œ œ ˙ ‰. & . œœ œœ œœ ˙˙ œ œ œ œ œ w (add2œ) œ œ ˙ (addœ2) œ œ œ œ w D D /F# G U ? ## ˙ j ˙ j œ. œ œ. j œ w œ. œ œ œ œ w

Nathan Dame Music Preparation ZACK - SONG 2 - CALLBACKS ONLY An Officer and a Gentleman Reh. Piano Renegade 10 (audition cut) Arr. by [ZACK] Music and Lyrics by Dan Lipton [Rev. 1.31.21] Tommy Shaw

Orch. by Dan Lipton & Nathan Dame

FOLEY: You showed a glimpse of character just now. But by the time I’m through with you, you’ll be on your knees ratting out your classmates and begging to D.O.R. And if you don’t, I’ll kick you out anyway. Because a glimpse of character doesn’t make you a man.

[Lights shift. ALL – the entire cast – are on stage.]

Moderately = 102 ZACK: q 1 p 2 3 4 ZACK 4 j V b 4 Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Ó Oh, ma-ma, I'm in fear for my life from the long arm of the law.

4 j b Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Ó Reh. & 4 N.C.p Piano Kick Drum 4 ? b 4 ∑ ∑ ∑ ‰ j ‰ j œ œ œ œ

5 6 7 8 Z. j V b Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Ó Law - man has put an end to my run -nin' and I'm so far from my home.

j & b Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Ó

? b Œ Ó ∑ ∑ ‰ j ‰ j œ œ œ œ œ

Copyright © 1978 ALMO Music Corp. and Stygian Songs Nathan Dame Music Preparation O & G – Reh. Piano – 2 – 10. Renegade [Rev. 1.31.21] 9 10 11 12 Z. j j V b Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Ó Oh, ma-ma, I can hear you a - cry - in', you're so scared and all a - lone.

j & b Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j Ó œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ P ? b Œ Ó ∑ Ó Œ ‰ j ‰ j ‰ j œ œ œ œ œ œ A Bit Faster = 108 13 14 15 16 q Z. b Œ œ œ œ œ œ œ œ œ j j " ¿ ‰ œ V œ œ œ œ œ œ œ œ œ œ ˙ J Hang man is com-in' down from the gal-lows and you don't have ver - y long. Aaah! The Snare

r j " ¿ & b Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j Œ ¿ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ >

? b Œ Ó ∑ ∑ Ó " Ó œ 17 18 Z. œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ J œ œ V J jig is up, the news is out, they've fi - nal - ly found me, the

b j j & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ 7 J ‰ 7 J ‰ J 7 ‰ f G m C/G G m C/G G m7 C/G G m j j ? œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ

Nathan Dame Music Preparation O & G – Reh. Piano – 3 – 10. Renegade [Rev. 1.31.21]

19 20 Z. œ œ œ œ œ œ œ œ œ œ œ. V b œ œ œ œ œ J ren - e - gade who had it made re - trieved for a boun - ty.

b j & œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ œ œ œ. œ œ œ œ œ œ œ œ. 7 J ‰ 7 J ‰ J 7 G m C/G G m C/G G m7 C/G G m j j ? œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ

21 22 Z. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ V b ‰ J ‰ ‰ ‰ œ œ Nev - er more to go a - stray, this 'll be the end to - day of the

b ‰ ‰ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ 7 œ œ. œ œ œ D m7 . G m / œ œ ‰ J C J . J

? b œ œ œ œ œ œ œ œ w w

23 24 Z. œ œ œ œ œ . V b J œ ∑ want - ed man.

b j j & œ œ j œ œ œ œ. œ œ œ ˙œ œ. œ. œ œ œ. G m7 C/G G m7 C/G G m7 C/G G m7 j j ? œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ

Nathan Dame Music Preparation O & G – Reh. Piano – 4 – 10. Renegade [Rev. 1.31.21] 25 26 27 œ œ 28 Z. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . V b Œ œ œ J J œ Ó Oh, ma-ma, I've been years on the lam and had a high price on my head.

˘ Ó > œœ œ j j œ & b œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ. œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ. œ ˙ œ. œ. J 7 7 7 G m G m /C J G m

? Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w b œ ˙. w œ œ œ œ œ œ œ œ œ w œ fl >

29 30 31 32 Z. œ œ œ œ œ œ œ œ œ œ œ œ œ V b Œ œ œ œ œ œ œ œ œ œ. Ó Law - man said get him dead or a - live, now it's for sure he'll see me dead. > > > > œ œ > œ œœ œœ œœ œ b œ ≈ œ ‰ œ ≈ œ ‰ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙œ œ œ J œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ. œ œ œ œ R 7 G m7 G m /C J G m7 Œ œ ? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w w w w œ œ œ œ œ œ œ œ œ

33 34 œ œ 35 œ 36 Z. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ V b Œ œ J ‰ J J œ œ. Ó Dear ma-ma, I can hear you a - cry-in', you're so scared and all a-lone. > œ j j j œ œ œ œ œ œ b œ œ ‰ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ. œ œ œ œ œ . œ œ œ œ œ œ œ œ J J J œ œ ≈ œ. 7 G m7 J G m /C G m7 J Œ œ œ œ ? b œ œ œ œ œ œ œ œ œ œ œ w œ w w w œ œ œ œ œ œ œ œ œ œ œ

Nathan Dame Music Preparation O & G – Reh. Piano – 5 – 10. Renegade [Rev. 1.31.21]

37 38 39 40 Z. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ V b Œ œ œ œ œ. Œ ‰ J Hang-man is com-ing down from the gal - lows and I don't have ver - y long. The > ˙. œ. ˙. Œ & b œ œ œ ‰ j œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ G m7 œ œ œ. œ œ œ œ. œ œ œ. G m7 /C J GJm7 ‰ Œ Œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w b œ ˙. w œ œ œ œ œ œ œ œœ . w œ 41 42 Z. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ V b J J jig is up, the news is out, they've fi - nal - ly found me, the

b j & œ œ œ œ œ œ œ œ œ œ œ œ œ œ j œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ G m7 CJ/ ‰ 7 CJ/ ‰ C/ J G m7 ‰ G G m G G m7 G j j ? œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ

43 44 Z. œ œ œ œ œ œ œ œ œ œ œ V b œ œ œ œ œ Œ ren - e - gade who had it made re - trieved for a boun - ty.

b j & œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ œ œ œ. œ œ œ œ œ œ œ œ. CJ ‰ 7 CJ ‰ 7 C J 7 G m7 /G G m /G G m /G G m j j ? œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ

Nathan Dame Music Preparation O & G – Reh. Piano – 6 – 10. Renegade [Rev. 1.31.21]

45 46 Z. œ œ œ œ œ œ œ œ œ œ œ œ œ œ V b ‰ J ‰ ≈ œ œ œ œ œ œ Nev-er more to go a - stray, the judge 'll have re - venge to - day on the

b ‰ ≈ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ. œ œ œ œ œ ‰ 7 œ œ. J ‰ D m7 J G m /C J

? b œ œ œ œ œ œ œ œ w w

47 48 49 Z. œ œ œ œ œ . V b J œ ∑ ∑ want - ed man.

r ^ j j # œ œœ & b j œ œ œ œ Œ Ó œ œ œ œ œ œ. œ. œ œ œ. œ œC ˙ 7 C œ.7 C 7 7(no3rd) G m7 /G G m /G G m /G G m G m j j ? œ œ œ œ œ œ œ œ ^ b œ œ œ œ œ œ œ œ œ œ œ Œ Ó œ

Nathan Dame Music Preparation AN OFFICER AND A GENTLEMAN 201215 CLEVELAND READING/WORKSHOP

FOLEY And if I say you can stay?

ZACK Sir?

FOLEY Stay on the bus. All you got to do is throw some classmates under it. Your preferred customers will be discharged for reasons “other than honorable.” And you’ll become a pilot.

(ZACK looks long and hard at the other OFFICER CANDIDATES.)

ZACK No. I stand with my fellow officer candidates.

FOLEY You want to fly, don’t you?

ZACK I won’t clip someone else’s wings to do it.

(A beat. FOLEY addresses all.)

FOLEY Today’s exam is rescheduled for Monday, 08:00 hours. For those of you who’ve been cheating your way through this class, you got time to learn it because liberty is cancelled for the entire weekend for everyone except McNamara, who wasn’t here to know what was going on, and Worley, who had the guts to tell me. Class dismissed.

ZACK And me?

FOLEY You showed a glimpse of character just now. But by the time I’m through with you, you’ll be on your knees ratting out your classmates and begging to D.O.R. And if you don’t, I’ll kick you out anyway. Because a glimpse of character doesn’t make you a man.

SONG 10: RENEGADE “Renegade” Script Lyric Sheet for you to have as a reference ZACK OH MAMA, I’M IN FEAR FOR MY LIFE FROM THE LONG ARM OF THE LAW. LAW MAN HAS PUT AN END TO MY RUNNING AND I’M SO FAR FROM MY HOME.

! 63 AN OFFICER AND A GENTLEMAN 201215 CLEVELAND READING/WORKSHOP

OFFICER CANDIDATES and FOLEY OH MAMA, I CAN HEAR YOU ‘A-CRYIN’, YOU’RE SO SCARED AND ALL ALONE.

(Enter PAULA, LYNETTE, ESTHER, MR. RUDDIGER and FEMALE ENSEMBLE.)

ALL minus Zack HANGMAN IS COMIN’ DOWN FROM THE GALLOWS— AND YOU DON’T HAVE VERY LONG.

ZACK AAAH! THE JIG IS UP, THE NEWS IS OUT, THEY’VE FINALLY FOUND ME. THE RENEGADE WHO HAD IT MADE RETRIEVED FOR A BOUNTY.

ALL NEVER MORE TO GO ASTRAY. THIS WILL BE THE END TODAY—

ZACK OF THE WANTED MAN. OH MAMA, I’VE BEEN YEARS ON THE LAM AND HAD A HIGH PRICE ON MY HEAD.

ALL minus ZACK LAW MAN—

ZACK SAID GET HIM DEAD OR ALIVE, NOW IT’S FOR SURE HE’LL SEE ME DEAD.

ALL DEAR MAMA, I CAN HEAR YOU ‘A-CRYIN’, YOU’RE SO SCARED AND ALL ALONE.

FOLEY HANGMAN IS COMIN’ DOWN FROM THE GALLOWS,

ZACK AND I DON’T HAVE VERY LONG.

! 64 AN OFFICER AND A GENTLEMAN 201215 CLEVELAND READING/WORKSHOP

ALL THE JIG IS UP, THE NEWS IS OUT, THEY’VE FINALLY FOUND ME. THE RENEGADE WHO HAD IT MADE RETRIEVED FOR A BOUNTY. NEVER MORE TO GO ASTRAY. THE JUDGE WILL HAVE REVENGE TODAY ON THE WANTED MAN.

(Dance break.)

OH MAMA, I’M IN FEAR FOR MY LIFE FROM THE LONG ARM OF THE LAW. LAW MAN HAS PUT AN END TO MY RUNNING AND I’M SO FAR FROM MY HOME. OH, MAMA CAN YOU HEAR ME A-CRYIN’ I’M SO SCARED AND ALL ALONE. HANGMAN IS COMIN’ DOWN FROM THE GALLOWS—

ZACK AND I DON’T HAVE VERY LONG!

(Blackout.)

END ACT ONE

! 65 ZACK - SONG 3 - CALLBACKS ONLY An Officer and a Gentleman Reh. Piano Precious Pain 16 (audition cut) Arr. by [ZACK] Music and Lyrics by Dan Lipton [Rev. 1.31.21] Melissa Etheridge

Orch. by Dan Lipton & Nathan Dame

PAULA: Even more scary, you might have to let that someone see who you are—the good, the bad, the really ugly—and love you anyway.

[SHE starts to exit.]

ZACK: Where are you going? PAULA: I been trying for 22 years to fix somebody, I can't take on a new case. 'Cause you can be fixed, but you got to do it yourself.

[SHE kisses him and exits. ZACK is alone on stage, alone in the world.]

Gentle Folk = 82 1 h 2 3 4 b j & b bb C Œ œ œ œ œ œ œ œ œ ˙. Œ œ œ œ œ œ œ œ ˙ œ œ J / Reh. A (add2) G Piano P b ‰ ‰ bb b C j j j & b œ. ˙ œ. œ œ œ œ. ˙ œ. œ œ œ. w ˙ œ œ w ˙ ˙

5 6 7 8 b b j j j j j j j j j j j & b b Œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ. F m

b ‰ b bb ‰ & . . . w œ œ œ wœ ˙ œ w œ œ œ ˙œ ˙ œ œ

Copyright © 1988 Universal Music Publishing Group Nathan Dame Music Preparation O & G – Reh. Piano – 2 – 16. Precious Pain [Rev. 1.31.21] 9 ZACK: 10 11 12 Z. b V b bb œ œ œ œ ˙ œ œ œ œ Ó ∑ Ev - 'ry - bo - dy's got a hun - ger,

b j & b bb Œ œ œ œ œ œ œ œ œ ˙. Œ œ œ œ œ œ œ œ ˙ œ œ J / A (add2) G b ‰ ‰ b b j j j & b b œ. ˙ œ. œ œ œ œ. ˙ œ. œ œ œ. w ˙ œ œ w ˙ ˙ 13 14 15 16 Z. b b j œ V b b Ó ‰ œ œ œ œ œ œ œ œ œ Œ Ó ∑ No mat-ter where they are.

b b j j j j j j j j j j j & b b Œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ. F m ‰ ‰ bbbb & œ. œ œ œ ˙ œ œ. œ œ œ ˙. w w w ˙ ˙ 17 18 19 20 Z. bb b œ œ œ œ œ. œ œ œ œ. œ œ Œ ∑ V b J J Ev - 'ry - bo - dy clings to their own fear.

b b j & b b Œ œ œ œ œ œ œ œ œ ˙. Œ œ œ œ œ œ œ œ ˙ œ œ J /G A (add2) b ‰ ‰ b b j j j ? & b b œ. ˙ œ. œ œ œ œ. ˙ œ. œ œ œ. w ˙ œ œ w ˙ ˙ 21 22 23 24 Z. b b V b b Œ œ œ œ œ œ œ ‰ œ. Œ œ œ œ œ ∑ Ev-'ry - bo - dy hides some scar.

b b j j j j j j j j j j j j & b b Œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ F m F m/E b ‰ œ. œ œ œ ˙ œ ‰ œ. œ œ œ ˙ œ ? w w w ˙ bbbb ˙ &

Nathan Dame Music Preparation O & G – Reh. Piano – 3 – 16. Precious Pain [Rev. 1.31.21] 25 26 27 28 Z. b b . œ œ j V b b w w ∑ œ J ‰ œ Oo. Pre - cious pain.

b . œ œ œ . œ œ œ . œ œ œ . œ œ j & b bb œ J œ J œ J œ J J œ œ D (add2) b bb b Œ j j j j j j ? & b w œ œ œ œ wœ œ œ œ œ wœ œ œ œ œ ˙œ ˙. œ œ

29 30 31 32 Z. b b V b b ˙ œ œ œ w ∑ ∑

b b j j j j j j j j j j j j & b b Œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ F m7 . ˙ œ . ˙ œ ? w‰ œ œ œ wœ w‰ œ œ œ ˙œ bbbb ˙

33 34 35 36 Z. bb b œ. œ ‰ œ. ˙ Œ œ œ œ. œ œ œ œ Œ Œ ‰ j V b J J œ œ Emp - ty and cold, but it keeps me a - live. I

b b œ œ œ œ œ œ œ œ œ œ œ œ œ j œ œ œ & b b œ œ J œ J œ œ œ J œ œ D (add2) b ‰ j œ j ‰ j œ œ. j ? b œ. œ. œ œ œ. œ œ. œ. œ œ œ b bb w w w w

37 38 39 40 Z. bbbb œ. œ ‰ œ. œ œ œ œ œ œ. œ œ œ œ œ Ó V J J J J J . gave it my soul so that I could sur - vive.

b œ œ œ œ œ œ & b bb œ œ œ œ œ œ œ J œ œ œ œ œ œ œ œ œ J œ œ E sus J J b ‰ j œ j ‰ j œ œ. j ? œ. œ. œ œ œ. œ œ. œ. œ œ œ bbbb w w w w

Nathan Dame Music Preparation O & G – Reh. Piano – 4 – 16. Precious Pain [Rev. 1.31.21] 41 42 43 44 Z. b b œ. œ œ. j . . œ œ œ V b b J ‰ œ. œ ‰ œ ˙ Ó œ J Keep - ing me safe in these chains. Pre - cious pain.

b b œ œ œ œ œ œ œ œ ˙ w & b b œ œ J œ J œ ˙ ‰ œ ˙˙ ww D (add2) EŒ sus J b b j œ j ‰ j ˙. w ? ‰ œ. œ. œ œ œ. œ œ ˙. w bbbb w w w w

45 46 47 48 Z. b V b bb ˙. œ œ w ∑ ∑

b b œ œ œ œ œ œ œ œ œ œ œ œ œ j œ œ œ & b b œ œ J œ J œ œ œ J œ œ D (add2) b j œ j j œ œ. j ? ‰ œ. œ. œ œ œ. œ ‰ œ. œ. œ œ œ bbbb w w w ˙ ˙

49 50 51 52 b b j j j j j j j j j j j j & b b Œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ F m . . ? w‰ œ œ œ wœ ˙ œ w‰ œ œ œ ˙œ ˙ ˙ œ bbbb

53 54 55 56 Z. bb b œ œ. œ œ œ œ œ. Ó Œ œ œ œ œ œ œ œ Œ Œ ‰ œ V b J J J J J Each road that I walk down re - minds me of you. This

b b œ œ œ œ œ œ œ œ & b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Bœ m œ œ œ œ C m b j j j ‰ j œ. œ œ. ˙ ? ‰ œ. œ œ. œ œ. ˙ œ. œ bbbb w ˙ ˙ w ˙ ˙

Nathan Dame Music Preparation O & G – Reh. Piano – 5 – 16. Precious Pain [Rev. 1.31.21] 57 58 59 60 61 62 Z. b œ. œ œ œ œ œ œ œ. œ œ. œ. œ œ œ. œ ˙ w V b bb J œ œ Œ J ‰ J J Œ whole world is haunt - ed; there'll nev - er be an - y - thing new.

b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w w & b b œ œ œ œ œ œ œ œœ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ ww ww D E sus b j b ‰ jœ. œ œ. ˙ ‰ ˙ ‰ ˙ w w ? œ. œ œ. œ. bbbb w ˙ ˙ w w w w &

63 64 65 66 Z. b b w w . œ ˙ V b b ∑ œ J Pre - cious

b . œ œ œ . œ œ œ . œ œ œ . œ œ j & b bb œ J œ J œ J œ J J œ œ D (add2) b bb b Œ j j j j j j ? & b w œ œ œ œ wœ œ œ œ œ wœ œ œ œ œ ˙œ ˙. œ œ

67 68 69 70 71 Z. bb b Ó Œ ‰ j j ∑ ∑ V b œ œ. œ ˙ w pain.

b b j j j j j j j j j j j w & b b Œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ. w F m7 F m/E F m b ‰ œ. œ œ œ ˙ œ ‰ œ. œ œ œ ˙ œ w ? b w w w ˙ ˙ w b bb

Nathan Dame Music Preparation AN OFFICER AND A GENTLEMAN 201215 CLEVELAND READING/WORKSHOP

PAULA Not always, not me.

ZACK Don’t you understand? I’m broken and I can’t be fixed.

PAULA (A big realization.) Just like her.

ZACK What?

PAULA It’s not my father I fell in love with, it’s my mom: both of you swearing you can’t be fixed, you can’t be fixed, when the truth is you don’t want to be fixed, ‘cause then you might have to be care about somebody other than yourself. Even more scary, you might have to let that someone see who you are—the good, the bad, the really ugly—and love you anyway.

(SHE starts to exit.)

ZACK Where are you going?

PAULA I been trying for 22 years to fix somebody, I can’t take on a new case. ‘Cause you can be fixed, but you got to do it yourself.

(SHE kisses him and exits. ZACK is alone on stage, alone in the world.)

SONG 16: PRECIOUS PAIN/HOLD ON “Precious Pain” Script Lyric Sheet ZACK for you to have as a reference EVERYBODY’S GOT A HUNGER, NO MATTER WHERE THEY ARE. EVERYBODY CLINGS TO THEIR OWN FEAR; EVERYBODY HIDES SOME SCAR. OOO, PRECIOUS PAIN. EMPTY AND COLD BUT IT KEEPS ME ALIVE. I GAVE IT MY SOUL SO THAT I COULD SURVIVE. KEEPING ME SAFE IN THESE CHAINS— PRECIOUS PAIN. EACH ROAD THAT I WALK DOWN REMINDS ME OF YOU. THIS WHOLE WORLD IS HAUNTED; THERE’LL NEVER BE ANYTHING NEW.

! 109 An Officer and a Gentleman Reh. Piano Up Where We Belong 09 [PAULA, ZACK] [Rev. 6.2.21] Arr. by Music by Dan Lipton Jack Nitzsche & Buffy Saint-Marie

Orch. by Lyrics by Dan Lipton & Will Jennings Nathan Dame

PAULA: I understand now why you want to fly outta here soon as you get your wings. But I’ve been fighting falling in love with you since you told me I sounded like a lawyer. Knowing this, about your... I’m about to lose the fight, okay? And if I let myself fall and then you leave...? Please let me go when my heart will just be broken and not—what’d you call it?—removed. [SHE unbolts the door. SHE opens the door. SHE takes a step.] ZACK: Stay. PAULA: If by "stay" you mean for real, maybe not for good, but— ZACK: Stay... please? [MUSIC]

[ZACK closes the door and takes PAULA in his arms.] Soulfully = 69 1 q 3 2 # j # 4 œ œ œ ≈ œ œ œ & 4 œ. œ œ œ œ œ œ. œ œ. œ œ Reh. D G/D A/D G/D A/D G/D G m/D Piano P œ 4 œ. œ œ œ ˙ bœ. œ œ ? ## 4 œ. œ œ œ œ ˙ ˙ J 3

3 3 4 # # j œ ≈ œ œ œ bœ. œ & œ. œ œ œ œ œ œ. œ œ D G/D A/D G/D A/D G/D G m/D œ. œ œ œ œ ˙ b˙ ? ## œ. œ œ œ œ ˙ ˙ J 3

5 PAULA: 3 6 7 3 8 P. ## ‰ Ó & ˙ œ œ œ œ œ œ ˙ ˙ œ œ œ ˙ Who knows what to - mor-row brings; inœ œa world, few hearts sur - vive? # j j ≈ # œ œ œ œ œ œ œ œ œ œ œ œ œbœ. œ & œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ œ. œ œœ D G/D A/D G/D G m/D D G/D A/D G/D G m/D . œ ˙ ˙ b˙ . œ ˙ ˙ bœ. œ ? # œ. œ ˙ ˙ ˙ œ. œ ˙ ˙ œ. œ # J J

Copyright © 1982 Famous Music Corp. and Ensign Corp. USA Nathan Dame Music Preparation O & G – Reh. Piano – 2 – 09. Up Where We Belong [Rev. 6.2.21] 9 10 11 12 P. ## Œ ‰ ‰ Ó & œ œ œ œ œ œ œ œ œ ˙ œ. j œ œ œ œ ˙ All I know is the way I feel; whenœ it'sœ real, œI keep it a-live. ZACK: Z. # V # ∑ ∑ ∑ Ó Œ ‰. r Theœ

# j œ & # œ. œ œ œ œ œ œ œ œ œ œ œ#œnnœ œ œ. j œ œ. œ œ œ œ œ œ œ œ œ œ œ œ 7 œ œ. œ œ œ œ œ D G/DA/D G/D G m/D D D /F Gœ. œ œœ D/œF # œ# œ ˙ œ. œb˙ . ? # œ ≈œ œ ˙ œ. œ ˙ œ. œ œ œ œ. œ œ œ # J œ œ. J œ œ

13 14 15 Z. ## Œ ‰ Œ ‰ Œ V ˙ œ ˙ œ œ. œ œ œ œ road is œ long. Thereœ are moun - tains in our way,œ # œ œ # œ œ œ. œ œ & œ œ. œ œ œ œ œ œ œ œ œ œœ œ E m9 œ œ A œ Dœ œ D/œF œ F œ # j ? # œ. ˙. œ. œ # œ. ˙. œ œ ˙ œ. j œ œ. ˙. . . œ. œ œ. œ

16 17 18 Z. ## j V Œ ‰ œ œ œ. œ œ. œ ˙ Ó ˙ but we climb a step ev-'ryœ day.

3 ## œ œ œ j & œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ Gœ œ nœ. œ Dœ œ #œ œ œ œ œ Gœ œ /B C œ œ/C œ Aœ œ G Aœ ? # ˙ ˙ j # ˙ ˙ nœ œ. œ œ. œ ˙ œ œ nœ œ. œ. ˙ œ œ

Nathan Dame Music Preparation O & G – Reh. Piano – 3 – 09. Up Where We Belong [Rev. 6.2.21]

19 PAULA: 20 21 P. # & # ‰ j œ œ œ œ Œ Œ œ œ. œ œ œ œ ‰ œ œ Loveœ liftœ us up where we beœ - long,œ œ whereœ the ea - gles cry on a ZACK: Z. # j œ œ œ. œ œ V # ‰ œ œ œ œ œ œ œ Œ Œ œ œ œ œ ‰ œ œ Love lift us up where we be - long, where the ea - gles cry on a

## & œ œ ≈ œ œ œ œ œ œ D œ œ œ. œ œ œ œ œ œ D œ œ Dœ œ /œF œ Gœ. œ œ œ œ Bœm E m /F f # œ # ? # j œ œ # œ. œ j . œ œ œ œ œ. œ œ. œ œ œ œ œ œ œ œ. œ œ œ. œ œ œ 22 23 24 P. # j & # œ. œ œ Œ ‰ j œ œ œ œ Œ Œ œ œ moun - tain high. Loveœ liftœ us up where we beœ - long,œ œ farœ from the

Z. # œ. œ j œ œ V # J œ Œ ‰ œ œ œ œ œ œ œ Œ Œ œ œ œ moun - tain high. Love lift us up where we be - long, far from the # # œ ≈ ≈ j & nœ œ œ #œ œ œ œ œ œ. œ œ . C Gœ Aœ Dœ œ D/œF œ Gœ. œ œ œ œ œ B m œ . œ œ # œ œ œ ? # j j # nœ. œ œ œ. œ j . Œ œ . œ œ. œ œ. œ œ œ œ nœ œ œ œ œ. œ œ. œ œ œ

25 26 P. # & # œ œ œ œ Œ ∑ world be - low.

Z. # œ œ œ œ œ œ œ œ œ œ œ V # œ Œ world be - low; up where the clear winds blow.

## j j & œ œ œ œ œ œ œ œ D œ œ œ œ œ œ G mœ Eœm œ /œF œ #œ7 œ Bœm œ bœ/B œ F / # # A# b ? ## œ œ œ j j œ œ œ œ œ #œ œ œ œ bœ #œ œ œ œ bœ Nathan Dame Music Preparation O & G – Reh. Piano – 4 – 09. Up Where We Belong [Rev. 6.2.21] 27 rit. 28 29 P. # & # ‰ j œ œ œ œ œ ˙ Ó ∑ Loveœ liftœ us up where we beœ - long,

Z. # j V # ‰ œ œ œ œ œ œ œ œ ˙ Ó ∑ Love lift us up where we be - long, # ˙ ^ # ˙ ˙ w Œ Ó & Ó œ œ w D D/F w ˙. œ P # GŒ ˙. œ ^ ? ## ˙ ˙ w Œ Ó ˙ ˙ w ˙. œ Œ ˙. œ

Nathan Dame Music Preparation