HEDWIG AND
THE ANGRY
INCH
TEXT BY
JOHN CAMERON MITCHELL
MUSIC & LYRICS BY
STEPHEN TRASK
SHOW PERUSAL
03/11/21
HEDWIG AND THE ANGY INCH
Text Copyright © 2003, John Cameron Mitchell
Music and Lyrics Copyright © 2003, Stephen Trask
All Rights Reserved
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HEDWIG AND THE ANGRY INCH
Text by John Cameron Mitchell, Music and Lyrics by Stephen Trask
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performances of the Play:
Produced Off-Broadway by Samjack, Ltd., Susann Brinkley
and James B. Freydberg at the Jane Street Theatre
where it opened February 14, 1998, under the direction of Peter Askin.
Originally produced in New York City by David Binder in association
with the Westbeth Theatre Center, Arnold Engelman, Producing Director.
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Hedwig and The Angry Inch
Vocal Ranges
nœ
HEDWIG/TOMMY
V
nœ
YITZHAK
& bœ
nœ
HEDWIG AND THE ANGRY INCH
Musical Numbers, Characters
#1 Tear Me Down (Hedwig, Others)..........................1
#2 The Origin of Love (Hedwig, Yitzhak, Others)...........9
#3 Sugar Daddy (Hedwig, Others)..........................16
#4 The Angry Inch (Hedwig, Yitzhak, Others)..............20
#5 Wig In A Box (Hedwig, Yitzhak, Others)................23
#6 Wicked Little Town (Hedwig, Yitzhak)..................30
#7 The Long Grift (Hedwig, Yitzhak, Others)..............36
#8 Hedwig’s Lament (Hedwig)..............................38
#9 Exquisite Corpse (Hedwig, Yitzhak, SKSZP).............38
#10 Wicked Little Town - Reprise (Hedwig/Tommy,
Yitzhak, Band, Others)..............................40
#11 Midnight Road (Hedwig/Tommy, Others).................41
AUTHORS’ NOTE
This script is, at best, a record of a single evening of a single production of Hedwig and the
Angry Inch. We deliberately developed it over a number of years in non-theatre venues —
rock clubs, drag bars, birthday parties — in order to keep it free-flowing, improvisational,
alive. We encourage other productions to keep this sense of freedom by ad-libbing when
appropriate within the confines of the world of the piece. (Some Hedwigs found it fun to
go off on more extended improvs; we found the best times for this was directly after the
songs “Sugar Daddy” and “Wig in a Box” when the plot machine is idling.) This script
reflects that we were performing at the Hotel Riverview where survivors of the Titanic
actually stayed. Tommy Gnosis was therefore “performing” nearby at Giants Stadium. We
feel that every production should be site-specific so that the character of Hedwig is
actually performing in and commenting on the space the production is occupying. If this is
impossible, you might want to try something like what we did in our workshop
production. We set it in the “historic” Penn Station TGI-Friday (“where the history is
written on the walls!”) next door to Madison Square Garden. You could set a restaurant
near a famous local music venue. In any case, feel free to change the text to accommodate
the environment. Have fun!
HEDWIG AND THE ANGRY INCH was originally presented in New York City by David
Binder in association with the Westbeth Theatre Center (Arnold Engleman, Producing
Director) on February 27, 1997. It was presented Off-Broadway by Samjack, Ltd., Susann
Brinkley and James B. Freydberg at the Jane Street Theatre on February 14, 1998. It was
directed by Peter Askin; the set design was by James Youmans; the lighting design was by
Kevin Adams; the sound design was by Werner Fritsching; the costume design was by
Fabio Toblini; the wig and makeup designs were by Mike Potter; and the stage manager
was Joe Pitt. The cast was as follows:
HEDWIG/TOMMY GNOSIS …...............………………………………John Cameron Mitchell
YITZHAK ……........................................................…………………………………..Miriam Shor
THE ANGRY INCH ……..................................................Cheater comprised of Stephen Trask,
Chris Weilding, Dave McKinley, Scott Bilbrey
CHARACTERS
HEDWIG/TOMMY GNOSIS
YITZHAK
THE ANGRY INCH
HEDWIG AND THE ANGRY INCH
Pe
ru
sa
l
(A Manhattan riverside fleabag hotel ballroom with a stage at one
end. Upstage is an emergency exit door. Projected on the back wall of
the stage is a rock-and-roll band logo: Hedwig and The Angry Inch.
Already on stage is THE ANGRY INCH, a tacky rock band dressed
flashily in ’80s high style — lots of shoulderpads and stone-washed
denim. YITZHAK, a sullen male roadie, trudges to the center stage
mike.)
YITZHAK
(In an Eastern European accent.)
Ladies and gentlemen, whether you like it or not … Hedwig!
O
D
U
Li
c
#1 TEAR ME DOWN
C
TI
en
s
in
g
N
(“America the Beautiful” begins on majestic solo guitar and
HEDWIG enters from the house. She is wrapped in a full length
stone-washed denim cape, its design inspired by the American flag.
Black light floods the stage as she takes it. She whips open the cape to
reveal a lining painted to look like a wall. Clearly visible are the
spray-painted words “YANKEE GO HOME WITH ME.”)
O
dw
ay
HEDWIG
Don’t you know me? I’m the new Berlin Wall. Try and tear me down!
PR
(Illustrated by a projected montage of images of the Berlin Wall.)
Br
FO
R
oa
I WAS BORN ON THE OTHER SIDE
OF A TOWN RIPPED IN TWO
I MADE IT OVER THE GREAT DIVIDE
NOW I’M COMING FOR YOU
OTHERS
ENEMIES AND
T
HEDWIG
ENEMIES AND ADVERSARIES
N
O
HEDWIG
THEY TRY AND TEAR ME DOWN
YOU WANT ME, BABY, I DARE YOU
TRY AND TEAR ME DOWN
OOH OOH
OOH OOH
I ROSE FROM OFF OF THE DOCTOR’S SLAB
1
l
HEDWIG (CONT’D)
LIKE LAZARUS FROM THE PIT
NOW EVERYONE WANTS TO TAKE A STAB
AND DECORATE ME
WITH BLOOD GRAFFITI AND SPIT
OTHERS
ENEMIES AND
Pe
ru
sa
HEDWIG
ENEMIES AND ADVERSARIES
O
in
g
OOH OOH
OOH OOH
N
HEDWIG
THEY TRY AND TEAR ME DOWN
YOU WANT ME, BABY, I DARE YOU
TRY AND TEAR ME DOWN
N
O
C
U
D
O
PR
T
Br
FO
R
oa
dw
ay
Li
c
(Spoken.)
On August 13, 1961, a wall was erected
down the middle of the city of Berlin.
The world was divided by a cold war
and the Berlin wall was the most hated symbol
of that divide
Reviled. Graffitied. Spit upon.
We thought the wall would stand forever,
and now that it’s gone,
we don’t know who we are anymore.
Ladies and Gentleman,
Hedwig is like that wall,
standing before you in the divide
between East and West,
Slavery and Freedom,
Man and Woman,
Top and Bottom.
And you can try and tear her down,
but before you do,
remember one thing.
Listen!
TI
en
s
YITZHAK
HEDWIG
THERE AIN’T MUCH OF A DIFFERENCE
BETWEEN A BRIDGE AND A WALL
WITHOUT ME RIGHT IN THE MIDDLE, BABE
2
HEDWIG (CONT’D)
YOU WOULD BE NOTHING AT ALL
OTHERS
ENEMIES AND
l
HEDWIG
ENEMIES AND ADVERSARIES
Pe
ru
sa
HEDWIG
THEY TRY AND TEAR ME DOWN
YOU WANT ME, BABY, I DARE YOU
TRY AND TEAR ME DOWN
HEDWIG
ENEMIES AND ADVERSARIES
OTHERS
ENEMIES AND
O
C
U
Li
c
OOH OOH
OOH OOH
TI
en
s
in
g
N
HEDWIG
THEY TRY AND TEAR ME DOWN
YOU WANT ME, BABY, I DARE YOU
TRY AND TEAR ME DOWN
dw
ay
O
D
(YITZHAK upstages HEDWIG with vocal pyrotechnics. HEDWIG
pulls the cable out of YITZHAK’s mic and finishes the song
triumphantly.)
PR
… ME DOWN!
R
(Referring to the band.)
FO
oa
Thank you! Thank you, you’re so sweet. I do love a warm hand on my entrance. My name
is Hedwig.
(Stepping on YITZHAK’s applause.)
T
Br
Please welcome The Angry Inch! And my man Friday through Thursday, Yitzhak!
N
O
There’s really no need. There’s none. I’m thrilled you could join me for this special
opening night performance here at the beautiful Hotel Riverview.
(An ad slogan:)
“Hotel Riverview: you can really view the river!” This grand ballroom has a celebrated
history as a place of sanctuary — of succor, if you will — having once sheltered the
surviving crew of the Titanic. Perhaps they can hear me now.
3
Pe
ru
sa
l
HEDWIG (CONT’D)
(Addressing the ghosts.)
You brave unfortunate souls — blasted by man’s hubris and washed up on cruel shores —
I, who am simply blasted and washed up, salute you! Welcome to the fabulous first night
of my unlimited New York run. And when it comes to huge openings, a lot of people think
of me. Many more of you, though, have only recently become aware of me.
(She refers to a projection: a New York Post newspaper cover
dominated by a police mugshot of a bandaged young man with a
silver cross painted on his forehead. The man bears a remarkable
likeness to Hedwig. The headline reads: “TOMMY TO TOTS:
SORRY!”)
O
in
g
N
It took a tragedy to make you finally pay attention. But now you’re interested. Intrigued
even.
C
TI
en
s
(Projection zooms to a tiny box at the bottom of the page featuring a
smiling mugshot of a bandaged Hedwig with the caption, “Who is
Mystery Woman?” In a broad American accent:)
U
Li
c
“Who is this Hedwig and why have we never heard about her before, Bob?”
D
(Back to her normal accent.)
O
PR
(Projection: a closeup of Tommy’s mugshot.)
R
oa
dw
ay
Well, that’s a question I’ve been asking myself for years. How did some slip of a girlyboy
from communist East Berlin become the internationally ignored song stylist barely
standing before you? That’s what I want to talk about tonight. I’m not here to talk about
calamity or scandal. I’m not here to talk about my relationship with a certain well-known
rock icon, Tommy Gnosis …
Br
FO
… even though, at this very moment, he’s probably talking about me. By some freak
coincidence, he’s previewing his “Tour of Atonement” tonight at Giants Stadium, right
across the river.
O
T
(She pushes open the upstage emergency exit door. Blinding light
pours in. We hear arena-sized cheers … )
N
TOMMY
(Off.)
… Hello New York! Listen … listen … there’s someone I want to thank for the way they’ve
handled this tragedy … with incredible loyalty in the face of a lot of lies. And that
someone is …
4
(HEDWIG draws herself up.)
TOMMY (CONT’D)
… you! My fans!
… and together, no one’s gonna tear us down!
(Sings:)
Pe
ru
sa
l
(Her face falls. The crowd cheers. A cheesy intro to “Tear Me Down”
begins.)
ENEMIES AND ADVERSARIES, THEY TRY AND TEAR ME DOWN —
O
in
g
N
(HEDWIG slams the door shut.)
TI
C
U
D
O
dw
ay
Li
c
en
s
HEDWIG
I wrote every song on that album! And by the way, the tabloids got it right. He was
driving, he was on blow, he was getting blown by yours truly, and he did hit the
schoolbus full of deaf children, one survived — now blind. I taught him everything he
knows — and has apparently forgotten — about rock and roll and he barely mentions my
name on that giant sucking sound Larry King calls a show, which I’m sure you all saw
because if you hadn’t, I’d be singing to the desk clerk and, if I was lucky, my agent, Phyllis
Stein — did you make it this time, Phyllis?
I’m sorry. I’m wide open tonight.
PR
(Overcome, she pauses. She pulls herself together.)
R
oa
(Projection: closeup of Hedwig’s mugshot.)
FO
(Projections: childlike drawings illuminate the following.)
T
Br
You see, ladies and gentleman, the road is my home. My home, the road. And when I
think of all the people I have come upon in my travels, I have to think about the people
who have come upon me.
N
O
The geography of human contact, the triangulation of a pair of eyes on my face, the
latitude and longitude of a hand on my body. These are the only clues I have to my place
in the world. To who I am. “Who is Mystery Woman!?”
(Laughs.)
I laugh, because I will cry if I don’t. I recently found my first diary, age two through six
5
(She refers to the projected drawings.)
l
HEDWIG (CONT’D)
— fully illustrated — and I realized that so many people have touched me on my way to
this stage tonight. How can I say who touched me the most? My father…?
Pe
ru
sa
(Projection: a crude drawing of a dad and little boy holding hands.)
The American G.I.? … who left when I was barely old enough to speak my first words:
“Daddy, when I grow up, I’ll kill you”? Could it have been my East German mother?
(Projection: a mom and little boy not holding hands.)
O
in
g
N
No, when she touched me it was usually by accident. Reaching for the beans at the table or
something. One day, we were watching Jesus Christ Superstar on American Forces
Television.
C
I turned to Mother:
TI
en
s
(Projection: a crude drawing of the face of Jesus on a TV screen.)
PR
(AS MOM:)
oa
FO
Br
“But He died for our sins.”
R
“Don’t you ever mention that name to me again!”
(AS CHILD:)
(AS MOM:)
T
“So did Hitler.”
N
O
(AS CHILD:)
“What?”
U
O
dw
ay
“Jesus said the darndest things.” She slapped me.
D
Li
c
(HEDWIG AS CHILD:)
(AS MOM:)
“Absolute power corrupts.”
6
HEDWIG (CONT’D)
(AS CHILD:)
“Absolutely!”
l
(AS MOM:)
Pe
ru
sa
“Better to be powerless, my son.” She got her wish when the Wall went up. We happened
to be living on the East side and mother was given a job teaching sculpture to limbless
children. Socialism, God rest its soul!
(She repairs to a prop table that is on the side of the stage.)
TI
O
in
g
en
s
(Rests her head on the table.)
N
Most of my time was spent listening to American Forces Radio. Our apartment was so
small that mother made me play it in the oven. Late at night, I would rest my head on the
top rack …
C
U
D
O
dw
ay
Li
c
… and listen to the American masters … Toni Tenille … Debby Boone … Anne Murray —
who was actually a Canadian working in the American idiom. Then there were the cryptohomo rockers: Lou Reed … Iggy Pop … David Bowie — who was actually an idiom
working in America and Canada. These artists left as deep an impression on me as that
oven rack did on my face. To be a young American in muskrat love, soft as an easy chair,
not even the chair — I am, I said! Have I never been mellow?
PR
(Singing.)
R
(YITZHAK sings backup vocals from Lou Reed’s “Walk On the Wild
Side.”*)
FO
oa
HAVE I NEVER TRIED? AND THE COLORED GIRLS SING …
O
I sang along …
HEDWIG
T
Br
DOO DOO DOO …
YITZHAK
N
… DOO DOO DOO …
YITZHAK AND HEDWIG
HEDWIG
… but never with the melody. How could I do it better than Toni or Lou?
7
YITZHAK
… DOO DOO DOO …
Once I couldn’t resist:
Pe
ru
sa
(Singing from Debbie Boone’s “You Light Up My Life.”*)
l
HEDWIG
*See Special Note on Songs and Recordings on copyright page.
“IT CAN’T BE WRONG, IF IT FEELS SO RIGH — !”
Mother threw a tomato at my head.
… DOO DOO DOO …
O
in
g
N
YITZHAK
C
TI
en
s
HEDWIG
But I was really quite content to sing gentle backup harmonies in my oven …
O
dw
ay
D
Li
c
HEDWIG
… while mother sculpted in the shower.
U
YITZHAK
… DOO DOO DOO …
PR
YITZHAK
… DOO DOO DOO
R
oa
(YITZHAK stops singing.)
T
Br
FO
HEDWIG
When the hour grew late and it was time for bed, she would shout from the bathroom,
“Well, that’s me!” And I would reply from the kitchen, “Well, I guess that’s me too.” We
would wash our feet and brush our teeth and lay down on the narrow pallet that we had
shared since Daddy left …
O
(Projection: a drawing of two figures lying back to back.)
N
… like two pieces of a puzzle that don’t quite fit but are jammed together and left on a
table by …
(Railing at the heavens.)
8
HEDWIG (CONT’D)
…some dangerous shut-in with too much time on his hands!
(The gentle guitar intro of The Origin of Love begins.)
Pe
ru
sa
l
I’m sorry, I’m completely dilated right now. I’d like to share with you a bedtime story that
mother once whispered to me in the dark, and later retracted. Whatever allowed her to
reveal such a story to such a little boy, I’ll never know. But I remember it like it happened
yesterday.
#2 THE ORIGIN OF LOVE
R
HEDWIG/OTHERS
Br
FO
THE ORIGIN OF LOVE
T
THE ORIGIN OF LOVE
HEDWIG
HEDWIG/OTHERS
N
O
THE ORIGIN OF LOVE
O
TI
C
D
O
PR
dw
ay
oa
U
Li
c
en
s
in
g
WHEN THE EARTH WAS STILL FLAT
AND CLOUDS MADE OF FIRE
AND MOUNTAINS STRETCHED UP TO THE SKY
SOMETIMES HIGHER
FOLKS ROAMED THE EARTH
LIKE BIG ROLLING KEGS
THEY HAD TWO SETS OF ARMS
THEY HAD TWO SETS OF LEGS
THEY HAD TWO FACES PEERING
OUT OF ONE GIANT HEAD
SO THEY COULD WATCH ALL AROUND THEM
AS THEY TALKED; WHILE THEY READ
AND THEY NEVER KNEW NOTHING OF LOVE
IT WAS BEFORE MM-HMM
THE ORIGIN OF LOVE
N
(Projections: drawings illustrate the story.)
HEDWIG
AND THERE WERE THREE SEXES THEN
ONE THAT LOOKED LIKE TWO MEN
GLUED UP BACK TO BACK
CALLED THE CHILDREN OF THE SUN
AND SIMILAR IN SHAPE AND GIRTH
9
HEDWIG (CONT’D)
WERE THE CHILDREN OF THE EARTH
THEY LOOKED LIKE
HEDWIG/OTHERS
Pe
ru
sa
l
TWO GIRLS
ROLLED UP IN ONE
TI
C
U
D
O
PR
dw
ay
Li
c
en
s
NOW THE GODS GREW QUITE SCARED
OF OUR STRENGTH AND DEFIANCE
AND THOR SAID
“I’M GONNA KILL THEM ALL
WITH MY HAMMER
LIKE I KILLED THE GIANTS”
AND ZEUS SAID, “NO
YOU BETTER LET ME
USE MY LIGHTNING, LIKE SCISSORS
LIKE I
O
in
g
THE ORIGIN OF LOVE
N
HEDWIG
AND THE CHILDREN OF THE MOON
LOOKED LIKE A FORK SHOVED ON A SPOON
THEY WERE PART SUN, PART EARTH
PART DAUGHTER, PART SON
HEDWIG
R
oa
HEDWIG/OTHERS
CUT THE LEGS OFF THE WHALES
Br
FO
DINOSAURS INTO LIZARDS.”
AND THEN HE GRABBED UP SOME BOLTS
AND HE LET OUT A LAUGH
N
O
T
HEDWIG/OTHERS
SAID, “I’LL SPLIT THEM RIGHT DOWN THE MIDDLE
GONNA CUT THEM RIGHT UP IN HALF”
AND THEN STORM CLOUDS GATHERED ABOVE
INTO GREAT BALLS OF FIRE
HEDWIG
HEDWIG/OTHERS
AND THEN FIRE SHOT DOWN
10
l
D
O
PR
dw
ay
HEDWIG
AND WE’LL BE HOPPING AROUND ON ONE FOOT
AND LOOKING THROUGH ONE EYE
LAST TIME I SAW YOU
WE HAD JUST SPLIT IN TWO
YOU WERE LOOKING AT ME
I WAS LOOKING AT YOU
YOU HAD A WAY SO FAMILIAR
BUT I COULD NOT RECOGNIZE
FO
R
oa
O
U
Li
c
AND IF WE DON’T BEHAVE
THEY’LL CUT US DOWN AGAIN
Br
TI
C
en
s
in
g
N
Pe
ru
sa
HEDWIG/OTHERS (CONT’D)
FROM THE SKY IN BOLTS
LIKE SHINING BLADES
OF A KNIFE
AND IT RIPPED RIGHT THROUGH THE FLESH
OF THE CHILDREN OF THE SUN
AND THE MOON
AND THE EARTH
AND SOME INDIAN GOD
SEWED THE WOUND UP INTO A HOLE
PULLED IT ROUND TO OUR BELLY
TO REMIND US OF THE PRICE WE PAY
AND OSIRIS AND THE GODS OF THE NILE
GATHERED UP A BIG STORM
TO BLOW A HURRICANE
TO SCATTER US AWAY
IN A FLOOD OF WIND AND RAIN
AND A SEA OF TIDAL WAVES
TO WASH US ALL AWAY
N
O
T
’CAUSE YOU HAD BLOOD ON YOUR FACE;
I HAD BLOOD IN MY EYES
BUT I COULD SWEAR BY YOUR EXPRESSION
THAT THE PAIN DOWN IN YOUR SOUL
WAS THE SAME AS THE ONE DOWN IN MINE
OH THAT’S THE PAIN
CUTS A STRAIGHT LINE
DOWN THROUGH THE HEART;
WE CALLED IT LOVE
WE WRAPPED OUR ARMS AROUND EACH OTHER
TRYING TO SHOVE OURSELVES BACK TOGETHER
11
HEDWIG (CONT’D)
WE WERE MAKING LOVE
l
MAKING LOVE
HEDWIG/MALE HARMONY
O
in
g
N
Pe
ru
sa
HEDWIG
IT WAS A COLD DARK EVENING
SUCH A LONG TIME AGO
WHEN BY THE MIGHTY HAND OF JOVE
IT WAS A SAD STORY
HOW WE BECAME
LONELY TWO-LEGGED CREATURES
THE STORY OF
THE ORIGIN OF LOVE
O
D
HEDWIG/YITZHAK
PR
dw
ay
THE ORIGIN OF LOVE
THE ORIGIN OF LOVE
AHH
THE ORIGIN OF LOVE
U
Li
c
OH YEA
C
HEDWIG
TI
en
s
HEDWIG/YITZHAK
THAT’S THE ORIGIN OF LOVE
R
oa
HEDWIG
After mother finished, she began to snore. But I had to go somewhere I could think. I crept
into the kitchen and put my head in the oven.
N
O
T
Br
FO
It is clear that I must find my other half. But is it a he or a she? Is it Daddy? He went away.
Or Mother? I was suddenly afraid to go back to bed. What does this person look like?
Identical to me? Or somehow complementary? Does my other half have what I don’t? Did
he get the looks, the luck, the love? Were we really separated forcibly or did he just run off
with the good stuff? Or did I? Will this person embarrass me? And what about sex? Is that
how we put ourselves back together again? Is that what Daddy was trying to…? Or can
two people actually become one again? And if we’re driving on the Autobahn when it
happens, can we still use the diamond lane?
Practical questions of wholeness. Completion. Think of it. I thought of it. I thought of the
power.
(YITZHAK holds up a hand mirror for her.)
12
HEDWIG (CONT’D)
The gods were terrified!
(HEDWIG looks in the mirror and recoils.)
(Points into the house.)
Look, Yitzhak …
(YITZHAK looks.)
en
s
If you behave, I might let you shave my back. That will be all.
TI
(YITZHAK is deflated.)
O
in
g
… Immigration!
N
Pe
ru
sa
l
Magnifying side. Very funny, Yitzhak. Very passive-aggressive.
C
U
Li
c
(YITZHAK slopes off to the side. Hedwig admires herself in the
mirror.)
O
dw
ay
(Refers to large curls.)
D
How’s my hair? Is there trouble in the west wing?
PR
R
(Unseen by Hedwig, YITZHAK has removed a flowing wig
extension from a shelf and is lovingly combing it. HEDWIG smooths
her denim dress.)
FO
oa
These are actually my lungs. My Aquanet lungs. They kick in on the high notes. Let’s be
serious. Just the other day I was telling Yitzhak how nervous I was about tonight …
Br
Would I still be able to fit into that old Sergio Valente? There was no time to diet, so I had
my heart removed. Suddenly, I was a perfect size six!
O
T
(She suddenly hears YITZHAK singing softly to himself. She turns
and catches him wearing the extension.)
N
WAS MACHST DU DA VERDAMMT NOCH MAL?
(A red-faced YITZHAK quickly returns the wig to its shelf.)
13
HEDWIG (CONT’D)
I’m sorry you had to see that, ladies and gentlemen. When I met him he said he wanted to
be a model. A foot model, maybe. Enough about him, let’s get back to the sho —
l
(Surreptitiously into a mic.)
YITZHAK
Pe
ru
sa
Bitch.
HEDWIG
Yes? Did someone call my name? I thought I heard my —
Bitch.
O
TI
en
s
in
g
(HEDWIG looks back at Yitzhak. YITZHAK, as if searching for the
source of the voice, opens the emergency door. The Tommy Gnosis
concert pours in again.)
N
YITZHAK
C
U
Li
c
TOMMY
(Off.)
… I realized there was only one person who had ever really been there for me in my life.
And that person was me. The accident was a cry for help. I was yelling “Help!” to me …
dw
ay
O
D
(HEDWIG slams the door.)
PR
R
FO
Br
oa
HEDWIG
WELL, WHAT ABOUT ME? Without me he never would’ve swerved into that oncoming
short bus and got all that attention! Let me just take a second here, against the advice of
my lawyers. I had just wrapped up a late-night engagement in the Meat-Packing District.
We’re talking about the newly renovated, tony Meat-Packing District. You’ve heard of
SoHo? NoHo? This is MePa. I was standing there on Fourteenth Street, the very boulevard
of MePa, when a limo pulled up. I stepped into it, naturally mistaking it for my own.
(YITZHAK snorts, she glares at him.)
T
I can smell your thoughts from here. Take a thought shower.
N
O
(Returning to audience.)
14
Pe
ru
sa
l
HEDWIG (CONT’D)
In the limo sat Tommy Gnosis. We were both astonished. It had been years. So we
dropped the driver off and drove up and down the island, doing drugs and catching up.
We talked about the disappointing sales of his second album — the one he wrote without
me. He spoke of his loneliness. I reminded him of happier days. I just couldn’t keep my
mouth shut and, well, you know the rest. So you can imagine, when the story broke,
Tommy’s people offered me a small fortune to keep all this to myself. As if I’d accept their
filthy lucre. As if selling the story of someone else’s pain was my only means of support.
As if I hadn’t already launched my new fragrance: “Atrocity.” By Hedwig.
(Projection of Atrocity logo.)
O
TI
en
s
in
g
N
It’s a fragrance for a man or a woman. Or a freak. I digress. One day in the late mideighties … I was in my early late twenties. I had just been dismissed from university after
delivering a brilliant lecture on the aggressive influence of German philosophy on rock
and roll entitled: “You, Kant, Always Get What You Want.” At twenty-six, my academic
career was over, I had never kissed a boy and I was still sleeping with Mom. The search for
my other half on this side of the Wall had proved futile. Might he be found on the other?
C
(Projection: figures separated by wall.)
(AS LUTHER:)
U
D
O
PR
dw
ay
Li
c
But how to get over? People died trying. Such were the thoughts flooding my tiny head on
the day that I was sunning myself in an old bomb crater I had discovered near the Wall. I
am naked, face down, on a piece of broken church, inhaling a fragrant westerly breeze.
The new McDonald’s has just opened on the other side. My God, I deserve a break today!
All I ever get is the unhappy meal. The sun is hot, but I feel a sudden chill. I look over my
shoulder. A head-shaped shadow is resting on the pillow of my ass.
R
FO
Br
oa
“Girl, I sure don’t mean to annoy you. My name is Sargeant Luther Robinson.” I turn my
body to face him.
(AS HANSEL:)
O
T
“My name is Hansel.” Luther is silent for a moment as he stares at my little bishop in a
turtleneck.
N
(AS LUTHER:)
“Hansel. Well. You must like candy.”
(AS HANSEL:)
15
HEDWIG (CONT’D)
“I like Gummi Baerchen.”
(Pronounced GOOmie BAIR-shen.)
Pe
ru
sa
l
Out of his pocket comes a strange, American-looking plastic packet that says “Gummy
Bears” on it. Gummy Bears?
(Projection of bear.)
TI
O
in
g
en
s
(AS LUTHER:)
N
I select a single clear bear. It is the biggest one I’ve ever seen. The taste is completely
different from a Gummi (GOOmie.) Bear, yet it is somehow familiar. It is much sweeter
than a Gummi Bear and softer, too. Its little gummy body stretches on the rack of my
molars. Wow, I feel so optimistic. He pours me a handful, his eyes heavy with an
unfamiliar desire. Could it be a desire to please? Me? I suddenly recognize the flavor
in my mouth. It’s the taste of power. Not bad.
C
U
D
O
PR
dw
ay
Li
c
“Damn, Hansel, I can’t believe you’re not a girl, you’re so fine. Why don’t you take the
whole bag?” He searches my face for news of his fate. His expression is echoed in scores of
tiny faces pressing against clear plastic. Panting faces of every imaginable color, creed and
non-Aryan origin, fogging up the bag like the windows of a Polish bathhouse. It’s only a
shower. Absolute power! I push Luther away and stumble naked through the ruins, back
towards blander, less complicated confections, leaving in my wake a trail of rainbow
carnage.
#3 SUGAR DADDY
R
FO
(HEDWIG strikes a triumphant pose to a few bars of “Deutschland
Ueber Alles” which segue into:)
O
T
Br
oa
HEDWIG (CONT’D)
Next day, Hansel follows the trail back … and lying on my slab are three Milky
Ways, a roll of Necco Wafers, some Pop Rocks, and a Giant-Size Sugar Daddy named
Luther.
N
I’VE GOT A SWEET TOOTH
FOR LICORICE AND JELLY ROLL
HEY SUGAR DADDY
HANSEL NEEDS SOME SUGAR IN HIS BOWL
I’LL LAY OUT FINE CHINA ON THE LINEN
AND POLISH UP THE CHROME
16
HEDWIG/OTHERS
IF YOU GOT SOME SUGAR FOR ME
SUGAR DADDY, BRING IT HOME
HEDWIG
Pe
ru
sa
l
BLACKSTRAP MOLASSES
YOU’RE MY ORANGE BLOSSOM HONEY BEAR
BRING ME VERSACE BLUE JEANS
AND BLACK DESIGNER UNDERWEAR
LET’S DRESS UP LIKE THE DISCO-DANCING JET SET
IN MILAN AND ROME
TI
C
U
O
D
Li
c
HEDWIG
OF CONTROL
LIKE THE RUSH OF ROCK AND ROLL
IS THE SWEETEST TASTE I’VE KNOWN
OH YEA
IF YOU GOT SOME SUGAR, BRING IT HOME
O
in
g
en
s
OH THE THRILL
dw
ay
N
HEDWIG/OTHERS
IF YOU GOT SOME SUGAR FOR ME
SUGAR DADDY, BRING IT HOME
PR
HEDWIG/MEN
WHEN HONEY BEES GO SHOPPING
IT’S SOMETHING TO BE SEEN
THEY SWARM TO WILD FLOWERS
FO
R
oa
HEDWIG/MEN/HARMONY
AND GET NECTAR FOR THE QUEEN
T
Br
HEDWIG/MEN
AND EVERY GIFT YOU BRING ME
GETS ME DRIPPING LIKE A HONEYCOMB
N
O
HEDWIG/MEN/HARMONY
IF YOU GOT SOME SUGAR FOR ME
SUGAR DADDY, BRING IT HOME
OH THE THRILL
HEDWIG
OF CONTROL
LIKE A BLITZKRIEG ON THE ROLL
17
l
HEDWIG (CONT’D)
IS THE SWEETEST TASTE I’VE KNOWN
IF YOU GOT SOME SUGAR
BRING IT HOME!
OH YEAH COME ON, SUGAR DADDY BRING IT HOME!
Pe
ru
sa
HEDWIG/OTHERS
WHISKEY AND FRENCH CIGARETTES
A MOTORBIKE WITH HIGH-SPEED JETS
A WATERPIK, A CUISINART
AND A
TI
en
s
HEDWIG/OTHERS
OH I WANT ALL THE LUXURIES OF THE MODERN AGE
EVERY ITEM ON EVERY PAGE
C
U
D
PR
dw
ay
Oh, Luther darling, heaven knows
I’ve never put on women’s clothes
Except for once
My mother’s camisole
HEDWIG
Br
FO
R
oa
YITZHAK
O
Li
c
HEDWIG
IN THE LILLIAN VERNON CATALOGUE
(AS LUTHER:)
Oh baby, something’s crossed my mind
And I was thinking you’d look so fine
In a velvet dress
With heels and an ermine stole
N
O
T
HEDWIG
SO YOU THINK ONLY A WOMAN
CAN TRULY LOVE A MAN
THEN YOU BUY ME THE DRESS
I’LL BE MORE WOMAN
THAN A MAN LIKE YOU CAN STAND
I’LL BE YOUR VENUS ON A CHOCOLATE CLAM SHELL
RISING ON A SEA OF MARSHMALLOW FOAM
18
O
in
g
HYPO-ALLERGENIC DOG
N
HEDWIG
HEDWIG/OTHERS
IF YOU GOT SOME SUGAR FOR ME
SUGAR DADDY, BRING IT HOME
Pe
ru
sa
l
HEDWIG
IT’S OUR TRADITION TO CONTROL
LIKE ERICH HONECKER AND HELMUT KOHL
FROM THE UKRAINE TO THE RHONE
SWEET HOME UBER ALLES
LORD, I’M COMING
HEDWIG/OTHERS
HOME
Yea
O
in
g
N
HEDWIG
TI
C
en
s
HEDWIG/OTHERS
COME ON, SUGAR DADDY, BRING ME HOME
U
Li
c
(She whips out an American flag for the big finish.)
I invited him home for dinner …
D
PR
(She fans herself in the heat.)
O
dw
ay
It wasn’t a traditional wedding. For example, when Luther popped the question, I was on
my knees.
R
oa
(She opens the emergency door for air. The concert barges in again.)
FO
(She closes the door quickly.)
T
Br
TOMMY
(Off.)
… ME, THE REAL ME, THE ME I USED TO BE …
N
O
HEDWIG
After dessert, Luther produces a ring, an application for American citizenship, and a wig.
(AS HANSEL:)
19
l
HEDWIG (CONT’D)
“He loves me, mother. He wants to marry me and get me the hell out of here.” I put the
wig on my head. It’s a hideous beige shag. “Mother, is this so crazy, it just might work?”
Mother’s face might have been a photograph it was so still. After what seemed like a
lifetime … probably hers … she reaches out her hand to straighten the wig.
Pe
ru
sa
(AS MOM:)
“Get me my passport and my camera, Hansel. I know a certain party.” Yes, the party she’d
be having after I left. It’s a simple cut and paste job. We change the photo and you can use
my name, Hedwig Schmidt.”
(AS LUTHER:)
TI
U
Li
c
C
“Why, they’ll see right away that
(AS LUTHER:)
O
in
g
en
s
(AS HANSEL:)
N
“Not so simple, ladies. Baby, you know I love you. I’m always thinking of you. But I got to
marry you here. In East Berlin. And that means a full physical examination.”
D
O
dw
ay
“Baby. To walk away, you gotta leave something behind. Am I right, Mrs. Schmidt?”
PR
(AS MOM:)
(Points a “camera” at Hansel.)
R
oa
“I’ve always thought so, Luther. Hansel, to be free, one must give up a little part of
oneself. And I know just the doctor to take it.
FO
(A camera flash.)
#4 THE ANGRY INCH
O
T
Br
Don’t move!”
N
HEDWIG
MY SEX-CHANGE OPERATION GOT BOTCHED
MY GUARDIAN ANGEL FELL ASLEEP ON THE WATCH
NOW ALL I GOT IS A BARBIE DOLL CROTCH
I GOT AN ANGRY INCH
20
Pe
ru
sa
YITZHAK
D
U
C
TI
O
I GOT AN ANGRY INCH
PR
YITZHAK
OOH
FO
R
oa
HEDWIG
THE TRAIN IS COMING AND
I’M TIED TO THE TRACK
I TRY TO GET UP BUT
I CAN’T GET NO SLACK
I GOT A
O
dw
ay
Li
c
en
s
HEDWIG/OTHERS
SIX INCHES FORWARD AND FIVE INCHES BACK
I GOT A
I GOT AN ANGRY INCH
SIX INCHES FORWARD AND FIVE INCHES BACK
I GOT A
I GOT AN ANGRY INCH
SIX INCHES FORWARD AND FIVE INCHES BACK
N
OOH
OOH
in
g
HEDWIG
I’M FROM THE LAND WHERE
YOU STILL HEAR THE CRIES
I HAD TO GET OUT
HAD TO SEVER ALL TIES
I CHANGED MY NAME
AND ASSUMED A DISGUISE
I GOT AN ANGRY INCH
l
HEDWIG/OTHERS
SIX INCHES FORWARD AND FIVE INCHES BACK
I GOT A
I GOT AN ANGRY INCH
SIX INCHES FORWARD AND FIVE INCHES BACK
I GOT A
I GOT AN ANGRY INCH
Br
HEDWIG/OTHERS
ANGRY INCH ANGRY INCH
YITZHAK
O
T
HEDWIG
MY MOTHER MADE MY
TITS OUT OF CLAY
MY BOYFRIEND TOLD ME
THAT HE’D TAKE ME AWAY
N
TITS OF CLAY
TITS OF CLAY
HEDWIG
THEY DRAGGED ME TO THE DOCTOR ONE DAY
I’VE GOT AN ANGRY INCH
21
(YITZHAK screams.)
Pe
ru
sa
l
HEDWIG/OTHERS
SIX INCHES FORWARD AND FIVE INCHES BACK
I GOT A
I GOT AN ANGRY INCH
HEDWIG
I GOT A
in
g
N
HEDWIG/OTHERS
SIX INCHES FORWARD AND FIVE INCHES BACK
I GOT A
I GOT AN ANGRY INCH
O
TI
C
U
Li
c
en
s
HEDWIG
Long story short, when I woke up from the operation, I was bleeding down there. I was
bleeding from the gash between my legs. My first day as a woman, and already it’s that
time of the month. But two days later, the hole closed up, the wound healed, and I was left
with a one-inch mound of flesh where my penis used to be. Where my vagina never was.
A one inch mound of flesh with a scar running down it like a sideways grimace on an
eyeless face. Just a little bulge. It was an angry inch.
D
PR
YITZHAK
OOH
R
oa
HEDWIG/OTHERS
THE TRAIN IS COMING AND
I’M TIED TO THE TRACK
I TRY TO GET UP BUT
I CAN’T GET NO SLACK
O
dw
ay
HEDWIG
SIX INCHES FORWARD AND FIVE INCHES BACK
FO
HEDWIG/OTHERS
Br
I GOT A
ANGRY INCH ANGRY INCH
O
T
SIX INCHES FORWARD AND FIVE INCHES BACK
N
HEDWIG/OTHERS
STAY UNDER COVER TILL
THE NIGHT TURNS TO BLACK
I GOT AN INCH AND I’M SET TO ATTACK
HEDWIG/OTHERS
I GOT A ANGRY INCH ANGRY INCH
22
YITZHAK
OOH
YITZHAK
November 9th, 1988. A tiny registrar’s office with a breathtaking view over the Wall. Herr
Hansel Schmidt becomes Mrs. Hedwig Robinson.
l
(AS HANSEL:)
Pe
ru
sa
Tomorrow I am leaving on a jet plane and by the time I get to Phoenix, love will keep us
together.
(Singing from Helen Reddy’s “I am Woman”:*)
*See Special Note on Songs and Recordings on copyright page.
O
in
g
N
’Cause I’m just an embryo, with a long, long way to go, but I know too much to go
back and pretend!
TI
en
s
November 9th, 1989. Junction City, Kansas.
C
U
D
O
PR
dw
ay
Li
c
HEDWIG
I sit in my mobile home … and on bootleg cable, watch the Wall come down … divorced,
penniless, a woman. I cry, because I will laugh if I don’t. Suddenly, I miss Mother. I
consider calling Berlin, but then remember with envy her recent escape to sunny
Yugoslavia. Perhaps Luther would be home. No, he was never the one. Never the missing
half. I catch myself in a mirror and for the first time see clearly the horror hunkering on
my head. The same carpet remnant that Luther presented to me a year ago to disguise my
receding … receding … I’m receding! I tear the wig from my scalp and hurl it across the
room at a pile of unopened anniversary presents.
#5 WIG IN A BOX
FO
R
oa
(Lights soften, “Wig in a Box” piano intro begins.)
Br
There it lies, feigning shock. My personal hair system. My personal hell. My Hedwig.
N
O
T
ON NIGHTS LIKE THIS
WHEN THE WORLD’S A BIT AMISS
AND THE LIGHTS GO DOWN
ACROSS THE TRAILER PARK
I GET DOWN
I FEEL HAD
FEEL ON THE VERGE OF GOING MAD
THEN IT’S TIME TO PUNCH THE CLOCK
I PUT ON SOME MAKE-UP
AND TURN UP THE TAPE DECK
23
O
TI
OTHERS
OOH
OOH LA LA LA OOH
OOH
D
O
dw
ay
SOME GIRLS THEY HAVE NATURAL EASE
THEY WEAR IT ANY WAY THEY PLEASE
C
Li
c
HEDWIG
U
en
s
in
g
A GIFT-WRAPPED WIG STILL IN THE BOX
OF TOWERING VELVETEEN
I PUT ON SOME MAKE-UP
AND SOME LAVERN BAKER
AND PULL THE WIG DOWN FROM THE SHELF
SUDDENLY I’M MISS BEEHIVE 1963
UNTIL I WAKE UP
AND TURN BACK TO MYSELF
N
Pe
ru
sa
l
HEDWIG (CONT’D)
AND PUT THE WIG DOWN ON MY HEAD
SUDDENLY I’M MISS MIDWEST
MIDNIGHT CHECKOUT QUEEN
UNTIL I HEAD HOME
AND I PUT MYSELF TO BED
I LOOK BACK ON WHERE I’M FROM
LOOK AT THE WOMAN I’VE BECOME
AND THE STRANGEST THINGS
SEEM SUDDENLY ROUTINE
I LOOK UP FROM MY VERMOUTH ON THE ROCKS
PR
HEDWIG
WITH THEIR FRENCH FLIP CURLS
AND PERFUMED MAGAZINES
R
oa
HEDWIG/YITZHAK
OOH LA LA LA OOH
OOH LA LA LA
T
Br
FO
WEAR IT UP
LET IT DOWN
THIS IS THE BEST WIG THAT I’VE FOUND
TO BE THE BEST YOU’VE EVER SEEN
OTHERS
OOH
N
O
HEDWIG/YITZHAK
I PUT ON SOME MAKE-UP (OOH)
AND TURN UP THE EIGHT-TRACK (OOH)
I’M PULLING THE WIG DOWN FROM THE SHELF
HEDWIG
SUDDENLY I’M MISS FARRAH FAWCETT
FROM TV
24
OTHERS
OO OO AH
AH
HEDWIG (CONT’D)
UNTIL I WAKE UP
OTHERS (CONT’D)
AH
Pe
ru
sa
l
HEDWIG
AND I TURN BACK TO MYSELF
SHAG, BI-LEVEL, BOB
DOROTHY HAMILL DO,
SAUSAGE CURLS, CHICKEN WINGS
IT’S ALL BECAUSE OF YOU
O
TI
en
s
in
g
N
WITH YOUR BLOW DRIED, FEATHER BACK,
TONI HOME WAVE, TOO
FLIP, FRO, FRIZZ, FLOP
IT’S ALL BECAUSE OF YOU
IT’S ALL BECAUSE OF YOU
IT’S ALL BECAUSE OF YOU
OOO
C
U
Li
c
(The lyrics of the chorus are projected for all to sing. YITZHAK adds
the wig extension to Hedwig’s wig. Then he rips Hedwig’s dress off to
reveal a fabulous new outfit underneath.)
HEDWIG
D
O
PR
dw
ay
I PUT ON SOME MAKE-UP
AND TURN UP THE EIGHT TRACK
I’M PULLING THE WIG DOWN FROM THE SHELF
OTHERS
OOO OOO
OOO OOO OOO
R
oa
HEDWIG
SUDDENLY I’M THIS PUNK ROCK STAR
OF STAGE AND SCREEN
Br
FO
AND I AIN’T NEVER
I’M NEVER TURNING BACK
VOCAL
O
T
OOO OOO
HEDWIG
YITZHAK
DO DO DO DO DO
DO DO DO DO
DO DO DO DO DO
DO DO DO DO
N
VOCAL
OOO
OOO
(YITZHAK helps HEDWIG on with a fur coat.)
25
Thank you! I think we have our single!
HEDWIG
(Spits beer into audience.)
Pe
ru
sa
l
That was a rock and roll gesture. Actually that was a heavy metal gesture. Want to see a
punk rock gesture?
(Fills mouth with beer; a threatening pause; then she spits it all over
herself.)
O
in
g
(Pronounced “SKSHP.”)
N
It’s the direction of the aggression that defines it. How ’bout this band? On bass, Jacek; on
drums, Schlatko; on guitar, Krzyzhtof; and my trusted musical director, Skszp!
TI
U
D
O
dw
ay
HEDWIG
Very good, boys. Let’s watch the tempo next time.
C
BAND
Li
c
(Together:)
Yes, Miss Hedwig.
en
s
So very talented. And so very lucky to be here. Right, boys?
PR
(Re: fur coat.)
R
(She turns to check her makeup in a mirror. A large splotch of red
paint is revealed on the back of the coat. A phone starts to ring.)
FO
oa
You like the pelt? Some bitch stopped me on the way in: “What poor, unfortunate
creature had to die for you to wear that?” “My Aunt Trudi,” I replied.
(YITZHAK carries a huge ringing payphone to her. She
explains to audience:)
O
T
Br
I told him to turn that off before the show. I’m sorry, I should take this.
N
Serbian cell phone.
(Into phone.)
Hello?
(To audience.)
26
HEDWIG (CONT’D)
It’s my agent, Phyllis Stein.
l
(An ad-libbed conversation about exciting unspecified news. She
hangs up.)
Pe
ru
sa
Guess who’s the new spokeswoman for the Tourist Board of Greater Serbia?
(Singing to the tune of John Lennon’s “Happy Christmas.”*)
* See Special Note on Songs and Recordings on copyright page.
in
g
N
“Come back to Greater Serbia. Come Christian, come Jew. We hope you can join us. We’ve
cleansed it for you!”
O
TI
C
U
D
O
dw
ay
Li
c
en
s
Have I introduced my husband, Yitzhak? We met during my Great Croatian Tour of the
early mid-nineties. He was the most famous drag queen in Zagreb. Phyllis thought he
would make a great opening act. Billed as “The Last Jewess in the Balkans,” he lipsynched something from Yentl under the name Krystal Nacht. He was good. He was too
good. His applause drowned out my introduction and I refused to go on. But on my way
out, he begged me to take him with me. My face might have been my mother’s, it was so
still. I said to him, “Krystal, to walk away, you gotta leave something behind. I’ll marry
you on the condition that a wig never touch your head again.” He agreed and we’ve been
inseparable ever since. And we’ll continue to be. Right, Yitzhak?
PR
(Pointing into the house.)
Look, Yitzhak, Immigration!
R
oa
(YITZHAK doesn’t look.)
FO
Br
Barbra Streisand!
(Nothing.)
T
You’re no fun, go back to your hole.
O
(YITZHAK goes.)
N
Ladies and gentlemen, I hope you’re becoming fans of Hedwig. Because I am certainly
becoming a fa —
Cunt.
(Into mic.)
YITZHAK
27
HEDWIG
(She whirls towards the emergency exit door as if the sound came
from there.)
Finally! Finally, Tommy’s getting around to —
Pe
ru
sa
l
(She opens the door.)
TOMMY
(Off.)
… ME, ME, ME, ME …
(HEDWIG closes the door. Then she hears TOMMY saying
something and she opens it again.)
TI
en
s
(She slams the door.)
O
in
g
N
… one day, this little trailer trash kid put on some of his mom’s eyeliner, grabbed his beatup J.C. Penney guitar and called himself Tommy Gnosis!
O
D
(To audience.)
dw
ay
C
U
Li
c
HEDWIG
TOMMY! CAN YOU HEAR ME? FROM THIS MILKLESS TIT, YOU SUCKED THE VERY
BUSINESS WE CALL SHOW!
PR
Okay. Okay. You want to know about Tommy Gnosis? I’ll tell you about Tommy Gnosis.
Get this dead thing off me.
R
oa
(YITZHAK removes her fur coat and wig extension. HEDWIG turns
to the band.)
T
Br
FO
LEUTE, WIR IMPROVISIEREN JETZT! BLEIBT DRAN! After my divorce, I scraped by
with babysitting gigs and odd jobs. Mostly the jobs we call blow. I had lost my job at the
base PX and I had lost my gag reflex. You do the math. I sat for the baby of General Speck,
commander of the nearby army fort. His other son was The Artist Formerly Known As My
Buttboy.
N
O
(Projection: a drawing of Tommy.)
28
(Piano phrase from some cheesy hit.)
Pe
ru
sa
l
HEDWIG (CONT’D)
Yes, Tommy Speck. Tommy was a seventeen-year-old, four-eyed, pock-marked, Dungeons
and Dragons-obsessed Jesus freak with a fish on his truck and I found him incredibly …
hot. Perhaps it was his disdain for authority, his struggle with organized religion. One
day, I walked in on him punishing the bishop. He was in the bath with the door wide
open, clearly waiting for me. I reached down, finished His Grace off, and dropped a flyer
on the bathmat. “By the way, Tommy, I am performing a short set tonight at Dr.
Espresso’s Seattle-Style Coffee Enema Bar. Maybe I’ll see you there.” I had recently
returned to my first love, music. I had tried singing once back in Berlin. They threw
tomatoes. After the show I had a nice salad. But newly motivated, I bought a cheap electric
piano.
TI
en
s
(Bad drums.)
O
in
g
N
And I found a couple of Korean sargeants’ wives who churned out a mean rhythm section.
C
Somehow we became quite a draw singing the hits of the day under the name The Angry
Inch.
U
O
dw
ay
That night the audience was small but hostile.
D
Li
c
(Projection of Dr. Espresso’s logo.)
PR
(Lounge version of a punk rock song winds down. She speaks to Dr.
Espresso’s audience:)
R
* See Special Note on Songs and Recordings on copyright page.
FO
Br
oa
Thank you. Both of you. That song was by Kurt Cobain.* That kid’s got a future,
huh? And how ’bout Kwang-Yi on guitar? Give it up! Kwang-Yi!
(Bad guitar solo.)
T
Give it up, Kwang.
O
(She sees someone in the audience.)
N
Looks like we have a celebrity here tonight over by the Sweet & Low. Ladies and
gentlemen, little Tommy Speck, the General’s son!
(Band claps half-heartedly. She speaks to Tommy re: the applause.)
That’s more than I got, honey. He’s embarrassed.
29
#6 WICKED LITTLE TOWN
(Piano intro starts.)
O
TI
C
U
O
dw
ay
OH LADY, LUCK HAS LED YOU HERE
AND THEY’RE SO TWISTED UP
THEY’LL TWIST YOU UP. I FEAR
D
Li
c
en
s
in
g
YOU’RE RUNNING UP AND DOWN THAT HILL
YOU TURN IT ON AND OFF AT WILL
THERE’S NOTHING HERE TO THRILL
OR BRING YOU DOWN
AND IF YOU’VE GOT NO OTHER CHOICE
YOU KNOW YOU CAN FOLLOW MY VOICE
THROUGH THE DARK TURNS AND NOISE
OF THIS WICKED LITTLE TOWN
N
YOU KNOW, THE SUN IS IN YOUR EYES
AND HURRICANES AND RAINS
AND BLACK AND CLOUDY SKIES
Pe
ru
sa
l
HEDWIG (CONT’D)
Well, I’m a little nervous myself. This is the first song I’ve ever written. And it’s written for
a guy to sing. We’re talking to Phil Collins’ people. But then again, aren’t we all?
PR
YITZHAK
N
O
AH HA
AH HA
OOH
HA
T
Br
FO
R
oa
THE PIOUS, HATEFUL AND DEVOUT
YOU’RE TURNING TRICKS TIL YOU’RE TURNED OUT
THE WIND SO COLD IT BURNS
YOU’RE BURNING OUT AND BLOWING ROUND
AND IF YOU’VE GOT NO OTHER CHOICE
YOU KNOW YOU CAN FOLLOW MY VOICE
THROUGH THE DARK TURNS AND NOISE
OF THIS WICKED LITTLE TOWN
HEDWIG
THE FATES ARE VICIOUS AND THEY’RE CRUEL
YOU LEARN TOO LATE YOU’VE USED TWO WISHES
LIKE A FOOL
30
YITZHAK/HEDWIG
AND THEN YOU’RE SOMEONE YOU ARE NOT
l
HEDWIG
AND JUNCTION CITY AIN’T THE SPOT
REMEMBER MRS. LOT
AND WHEN SHE TURNED AROUND
Pe
ru
sa
YITZHAK/HEDWIG
O
in
g
N
HEDWIG
AND IF YOU GOT NO OTHER CHOICE
YOU KNOW YOU CAN FOLLOW MY VOICE
THROUGH THE DARK TURNS AND NOISE
OF THIS WICKED LITTLE TOWN.
C
TI
en
s
(On the final chord, she blows a kiss to TOMMY. She dabs her face
with a towel and looks down at it. She holds it up for the audience to
see.)
U
Li
c
Ladies and gentlemen, the Shroud of Hedwig. The next day, I was putting the little Speck
baby to bed when Tommy appeared with a very expensive-looking electric guitar.
D
O
dw
ay
(AS TOMMY:)
(AS HEDWIG:)
PR
FO
Br
“Travel exhausts me.”
R
oa
“Your show … that song … my dad … gave me this guitar to apologize for being a
pathetic little dictator … You want to come up to my room?” We went up to the attic and
he sang me songs. “Classics,” I was informed. The bands were new to me: Boston, Kansas,
America, Europe, Asia. I put my hand on his strings.
(AS TOMMY:)
O
T
“Where are you from, Hedwig?” I told him my story. His face might have been a Yes
album cover it was so still.
N
(AS TOMMY:)
“Have you accepted Jesus Christ, the Son of God, as your personal savior?” I told him I
was aware of Our Lord. Loved His work.
(AS TOMMY:)
31
Pe
ru
sa
l
HEDWIG (CONT’D)
“You know, what He saved us from was His fucking father. I mean what kind of God
creates Adam in His image, pulls Eve out of him to keep him company, and then tells
them not to eat from the Tree of Knowledge? That was so micromanaging. So was Adam.
But Eve. Eve just wanted to know shit. She took a bite of the apple and found out what
was good and what was evil. And she gave it to Adam so he would know. Because they
were in love. And that was good, they now knew. Hedwig, will you give me the apple?”
The words spilling from those lips. And his eyes. His irises were clear cylinders of
surprising depth. And emptiness. Only a few puddles of bluish pain sloshed around
inside. Same blue as my eyes.
(Incidental acoustic guitar and projections accompany the following.)
O
in
g
N
At the time, Tommy’s performance options were limited to the occasional guitar mass. I
initiated a six-month curriculum of rock history, lyrics, grooming and vocal training — my
patented oven technique. For his graduation, I gave him his name, Tommy Gnosis
TI
en
s
(The word “Gnosis” is projected.)
(AS TOMMY:)
C
U
D
O
FO
oa
“Honey, what is it?”
PR
(AS HEDWIG:)
R
dw
ay
Li
c
— the Greek word for knowledge. We collaborated. Songs exploded out of us. He started
singing backup for me at Dr. Espresso’s. Teenage girls started showing up. I added a few
duets. Standing-room only. Then, the Sizzler called. In three months, we were outgrossing
monster trucks in Wichita. With that kind of money coming in, I was able to give up all my
jobs and devote myself entirely to our career. We were very happy. One day, I am curled
up in the trailer with my usual late-afternoon constitutional of grain alcohol and Brita. I
like to be good to myself. Suddenly, Tommy is at the door in tears.
O
T
Br
“My dad … and my mom … and my parents.” I hold him as I never had been held. But, as
usual, he squirms, slides behind me and clutches my spine to his chest. I am suddenly very
much aware that we haven’t kissed in all the months we’ve been together. In fact, he has
maintained a near-perfect ignorance of the front of me.
N
(AS HEDWIG:)
“Honey, why don’t you work on that new song while I finish shaving your eyebrows?”
(Tommy strums a guitar chord.)
(AS TOMMY:)
32
(Singing.)
“Look what you done …
HEDWIG (CONT’D)
l
(The chord change is wrong.)
Pe
ru
sa
Shit.” Another song blows in from the trailer next door.
YITZHAK
(Sings “I Will Always Love You” à la Whitney Houston.*)
… and IIIIIIII…
* See Special Note on Songs and Recordings on copyright page.
O
in
g
N
HEDWIG
This song has been playing on a loop for three days.
TI
en
s
YITZHAK
C
(Singing.)
… will always love you. I will always love you …
dw
ay
(AS TOMMY:)
PR
“What do you think? Does love last forever?”
FO
Br
oa
(AS TOMMY:)
R
(AS HEDWIG:)
“No, but this song does.”
O
D
U
Li
c
HEDWIG
Tommy looks up at me through new lenses, one blue and one pink.
“Do not knock a multiplatinum single. I wish I could hit those notes.”
O
T
(AS HEDWIG:)
N
“Just move your lips and I’ll sing them for you, honey. From a shadowy corner of the
stage. Like Mick Jagger’s backup singer.” We laugh at the professional reference. I return
to his brows.
(Singing.)
… But most of all I wish you love …
YITZHAK
33
HEDWIG
(AS HEDWIG:)
“Seriously, Tom, yes. I believe love is immortal.”
l
(TOMMY strums the same guitar chord again.)
(Singing:)
“Look what you done …
(Another bad chord change.)
TI
en
s
(AS HEDWIG:)
O
in
g
Goddammit! How is it immortal?”
N
Pe
ru
sa
(AS TOMMY:)
U
Li
c
(AS TOMMY:)
C
“Well, perhaps because love creates something that was not there before.”
(AS TOMMY:)
O
“Yes, but not only.”
PR
dw
ay
(AS HEDWIG:)
D
“What, like procreation?”
R
FO
(AS HEDWIG:)
Br
oa
“What, like recreation?” He grabs my ass and he laughs. I don’t.
“Sometimes just creation. Don’t move.” I paint a bold silver cross on his forehead.
O
T
(TOMMY strums the chord.)
N
(AS HEDWIG:)
“Honey, have you thought of a B flat after that B?”
(AS TOMMY:)
34
(Singing.)
“Look what you done — ”
HEDWIG (CONT’D)
YITZHAK
(Modulating to a higher key.)
Pe
ru
sa
And IIIIIII …
l
(The B flat works gloriously. TOMMY looks up at her in awe.)
(YITZHAK continues to sing through the following.)
O
TI
U
Li
c
(Singing.)
C
(AS TOMMY:)
en
s
in
g
N
HEDWIG
Tommy slowly rises and draws the curtains that are attached at the top and the bottom.
He reachs out his hand. I take it. I notice how well his “Harlem Spice” nail color
complements my own “Dusty Menses”. He spins me into his arms and rubs his pelvis …
into the small of my back.
PR
(AS HEDWIG:)
(Singing.)
D
O
dw
ay
“Look what you done. You made me whole. Before I met you, I was the song. But now I’m
the video.”
R
FO
Br
oa
“Look what I’ve done, I made you whole. You know that you were just a ham. Then came
me, the Dole pineapple rings … ” He laughs and I am filled with an ancient clarity. He’s
the one.
(The “Origin of Love” chords drift in. Projection: two complementary
faces looking at each other.)
N
O
T
No blood in my eyes, no blood on his face. He’s the one. The one who was taken. The one
who left. The twin born by fission. He’ll die in fusion. Our fusion, cold fusion, unlimited
power, unlimited knowledge. The secrets he must hold. The memories that we shared. The
words to complete the sentence that I began: “I am … !” My eyes fill with muddy
Maybelline tears.
(AS TOMMY:)
35
HERE!
SELECTED VERSES FROM THE GOSPEL OF THOMAS*
Pe
ru
sa
l
Jesus said to them, “When you make the two one, and the inside like the outside and the
outside like the inside, and the above like the below, and the male and the female into one
and the same, so that the male be not male nor the female female; and when you make
eyes in place of an eye, a hand in place of a hand, a foot in place of a foot, and an image in
place of an image; then will you enter the kingdom.”
His disciples said to him, “Is circumcision beneficial or not?” Jesus said to them, “If it were
beneficial, their father would beget them from their mother already circumcised. However,
the true circumcision of the spirit has proved entirely profitable.”
in
g
N
Jesus said, “Be not be anxious from morning until evening and from evening until
morning about what you will wear.”
O
TI
en
s
Jesus said, “If you bring forth that which is within you, what you bring forth will save
you. If you do not bring forth what is within you, what you do not bring forth will destroy
you.”
C
U
D
O
PR
N
O
T
Br
FO
R
oa
dw
ay
Li
c
*One of Gnostic Gospels from the First Century A.D. that were
deemed unsuitable for inclusion in the New Testament by the early
Christian Church.
44
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O
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Br
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dw
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Pe
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ARISTOPHANES’ SPEECH FROM PLATO’S SYMPOSIUM
In the first place, let me treat of the nature of man and what has happened to it; for the
original human nature was not like the present, but different. The sexes were not two as
they are now, but originally three in number; there was man, woman and the union of the
two, having a name corresponding to this double nature, which had once a real existence,
but is now lost, and the word “Androgynous” is only preserved as a term of reproach. In
the second place, the primeval man was round, his back and sides forming a circle; and he
had four hands and four feet, one head with two faces, looking opposite ways, set on a
round neck and precisely alike; also four ears, two privy members, and the remainder to
correspond. He could walk upright as men now do, backwards or forwards as he pleased,
and he could also roll over and over at a great pace, turning on his four hands and four
feet, eight in all, like tumblers going over and over with their legs in the air; this was when
he wanted to run fast. Now the sexes were three; and such as I have described them;
because the sun, moon and earth are three and the man was originally the child of the sun,
the woman of the earth, and the man-woman of the moon, which is made up of sun and
earth, and they were all round and moved round and round like their parents. Terrible
was their might and strength, and the thoughts of their hearts were great, and they made
an attack upon the gods; of them is told the tale of Otys and Ephialtes who, as Homer says,
dared to scale heaven, and would have laid hands upon the gods. Doubt reigned in the
celestial councils. Should they kill them and annihilate the race with thunderbolts, as they
had done the giants, then there would be an end of the sacrifices and worship which men
offered to them; but, on the other hand, the gods could not suffer their insolence to be
unrestrained. At last, after a good deal of reflection, Zeus discovered a way. He said:
“Methinks I have a plan which will humble their pride and improve their manners; men
shall continue to exist, but I will cut them in two and then they will be diminished in
strength and increased in numbers; this will have the advantage of making them more
profitable to us. They shall walk upright on two legs, and if they continue insolent and will
not be quiet, I will split them again, and they shall hop about on a single leg.” He spoke
and cut men in two, like a sorb-apple which is halved for pickling, or as you might divide
an egg with a hair; and as he cut them one after another, he bade Apollo give the face and
the half of the neck a turn in order that the man might contemplate the section of himself:
he would thus learn a lesson of humility. Apollo was also bidden to heal their wounds and
compose their forms. So he gave a turn to the face and pulled the skin from the sides all
over that which in our language is called the belly, like the purses which draw in, and
he made one mouth at the center, which he fastened in a knot (the same which is called the
navel); he also molded the breast and took out most of the wrinkles, much as a shoemaker
might smooth leather upon a last; he left a few, however, in the region of the belly and
navel, as a memorial of the primeval state. After the division the two parts of man, each
desiring his other half, came together, and throwing their arms about one another,
entwined in mutual embraces, longing to grow into one, they were on the point of dying
from hunger and self-neglect, because they did not like to do anything apart; and when
one of the halves died and the other survived, the survivor sought another mate, man or
woman as we call them — being the sections of entire men or women — and clung to that.
They were being destroyed, when Zeus in pity of them invented a new plan: he turned the
parts of generation round to the front, for this had not been always their position, and they
45
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sowed the seed no longer as hitherto like grasshoppers in the ground, but in one another;
and after the transposition the male generated in the female in order that by the mutual
embraces of man and woman they might breed, and the race might continue; or if man
came to man they might be satisfied, and rest, and go their ways to the business of life: so
ancient is the desire of one another which is implanted in us, reuniting our original nature,
making one of two, and healing the state of man. Each of us when separated, having one
side only, like a flat fish, is but the indenture of a man, and he is always looking for his
other half. Men who are a section of that double nature which was once called
Androgynous are lovers of women; adulterers are generally of this breed, and also
adulterous women who lust after men: the women who are a section of the woman do not
care for men, but have female attachments; the female companions are of this sort. But
they who are a section of the male follow the male, and while they are young, being slices
of the original man, they hang about men and embrace them, and they are themselves the
best of boys and youths, because they have the most manly nature. Some indeed assert
that they are shameless, but this is not true: for they do not act thus from any want of
shame, but because they are valiant and manly, and have a manly countenance, and they
embrace that which is like them. And these when they grow up become our statesmen,
and these only, which is a great proof of the truth of what I am saying. When they reach
manhood they are lovers of youth, and are not naturally inclined to marry or beget
children — if at all, they do so only in obedience to the law; but they are satisfied if they
may be allowed to live with one another unwedded; and such a nature is prone to love
and ready to return love, always embracing that which is akin to him. And when one of
them meets with his other half, the actual half of himself, whether he be a lover of youth or
a lover of another sort, the pair are lost in amazement of love and friendship and intimacy,
and one will not be out of the other’s sight, as I may say, even for a moment: these are the
people who pass their whole lives together; yet they could not explain what they desire
of one another. For the intense yearning which each of them has towards the other does
not appear to be the desire of lover’s intercourse, but of something else which the soul of
either evidently desires and cannot tell, and of which she has only a dark and doubtful
presentiment. Suppose Hephaestus, with his instruments, to come to the pair who are
lying side by side and to say to them, “What do you people want of one another?” they
would be unable to explain. And suppose further, that when he saw their perplexity he
said: “Do you desire to be wholly one; always day and night to be in one another’s
company? For if this is what you desire, I am ready to melt you into one and let you grow
together, so that being two you shall become one, and while you live a common life as if
you were a single man, and after your death in the world below still be one departed
soul instead of two — I ask whether this is what you lovingly desire — and whether you
are satisfied to attain this?” — there is not a man of them who when he heard the proposal
would deny or would not acknowledge that this meeting and melting into one another,
this becoming one instead of two, was the very expression of his ancient need. And the
reason is that human nature was originally one and we were a whole, and the desire and
pursuit of the whole is called love. There was a time, I say, when we were one, but now
because of the wickedness of mankind God has dispersed us, as the Arcadians were
dispersed into villages by the Lacedaemonians. And if we are not obedient to the gods,
there is a danger that we shall be split up again and go about in bas relief, like the profile
46
Pe
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sa
l
figures having only half a nose which are sculptured on monuments, and that we shall be
like tallies. Wherefore let us exhort all men to piety, that we may avoid evil, and obtain the
good, of which love is to us the lord and minister; and let no one oppose him — he is the
enemy of the gods who opposes him. For if we are friends of the God and at peace with
him we shall find our own true loves. I believe that if our loves were perfectly
accomplished, and each one returning to his primeval nature had his original true love,
then our race would be happy.
O
TI
C
U
D
O
PR
N
O
T
Br
FO
R
oa
dw
ay
Li
c
en
s
in
g
N
—Translated by Benjamin Jowett
47
PROPERTY LIST
Pe
ru
sa
FO
R
PR
O
D
U
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TI
O
in
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Li
c
dw
ay
oa
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O
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Br
N
SOUND EFFECTS
en
s
Various crowd cheers
Door slams
Pay phone rings
l
Hand mirror (YITZHAK)
Flowing wig extension and comb (YITZHAK)
American flag (HEDWIG)
Camera (MOTHER)
Fabulous new dress (HEDWIG)
Fur coat (YITZHAK)
Beer (HEDWIG)
Pay phone (YITZHAK)
Towel (HEDWIG)
Two tomatoes (HEDWIG)
48
TI
en
s
TEXT BY
O
in
g
N
Pe
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sa
l
HEDWIG AND
THE ANGRY
INCH
O
MUSIC & LYRICS BY
dw
ay
C
D
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JOHN CAMERON MITCHELL
PR
FO
R
oa
STEPHEN TRASK
N
O
T
Br
SCORE SAMPLE
03/11/21
T
O
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Piano-Conductor
HEDWIG AND THE ANGRY INCH
01
TEAR ME DOWN
œ
& ’
œ
œ
œ
’
’
Û Û
Br
oa
Gtr.
œ
J
?œ œ œ œ œ œ œ
œ
C
F
œ
Œ
F
Û Û
FILL
’ ’ ’ ’
C
’ ’ ’ ’
C
TI
O
’ Û Û ’ Û Û
U
Œ bœ œ œ
3
œ œ œ
˙
4
Ó
Of a town ripped in two
‘
’ ’ ’ ÛÛ ’ ’
sim.
’ ’
Bb
’ ’ ÛÛ ’ ’
‘
‘
Û
Û Û
’’’ÛÛ
F
C
’’’ÛÛ
Û
N
O
T
Bs.
Sim.
Ó
D
N
in
g
œ œ œ Ó
2
I was born on the oth - er side
dw
ay
Band In
Bb
’ ’ ’ ’
Li
c
HEDWIG:
’ ’
PR
V Œ
ã
C
bœ œ œ œ œ œ
A
’ ’ ’ ’
F
œ
œ ’ ’ Û Û
? 44 œ bb œœ
œ
Pno. (solo)
Pe
ru
sa
’ ’ ’ ’
∑
C
D
Œ
∑
B
en
s
& 44
∑
O
Œ
R
ã 44
HEDWIG: "Don't you know me? I'm the new Berlin wall. Try
and tear me down!"
FO
D.S.
INTRO
A
l
CUE:
YITZHAK: "Ladies and gentlemen,
whether you like it or not ... Hedwig!"
("America the Beautiful" begins on
majestic solo guitar and Hedwig enters
from the house.)
© 1999 Atlantic Recording Group - W.E.A. International
Û Û
I made it o - ver the great
di - vide
C
’’’ Û Û
Ó
& ’ ’ ’
Û Û
? ’ ’ ’
F
oa
’ ’ ’ Û Û ’
Bb
& ’
N
? ’
C
’
I dare
T
œ
N
O
down
Û Û
’ ’ ’ ÛÛ
F
C
’ ’ ’ ÛÛ
’
Û
Û Û
16
Œ bœ œ œ œ bœ œ
œ Œ Ó
14
you
Try and tear me
‘
down
‘
’
’ ’ ’ ÛÛ ’ Û Û ’
Û Û
F
F
C
Û Û
∑
15
Û Û
’
∑
Û
’
œ
œ
J
∑
12
œ
O
œ
∑
’ ’ ’ Û Û ’
FO
Br
You want me, ba - by,
’
They try and tear me
∑
bœ œ œ œ œ œ œ
V ‰ J
13
ã
‰ Jœ œ œ œ œ œ œ
11
PR
Û Û
Û Û
C
œ
ad - ver - sar - ies
Û Û ’
U
and
and
C
’ ’’ÛÛ ’
F
Bb
R
V
œ
’’’ Û Û
10
‰ œj œ b œ œ Œ Ó
œ
En - e - mies
Û Û
en
s
V œ
Û Û
’
Ó
Û Û ’
dw
ay
9
F
œ œ œ
‰J
HARMONY:
’ ’’ÛÛ ’
O
? ’ ’
C
Û Û
∑
En - e - mies
Pe
ru
sa
’
And now I'm com - ing for you
∑
œ Œ ‰ œj œ œ
8
D
& ’ ’
7
in
g
V
∑
‰ b œJ œ œ œ œ œ œ
œœ œ Ó
6
HEDWIG
TI
œ œœ œ œ œ
œ
‰
V J
HEDWIG:
Li
c
5
01. TEAR ME DOWN
l
Piano-Conductor
Bb
’ ’ ’ ÛÛ ’ Û Û ’
œ
Û Û
œ
œ
‰ Û
J
>
’’’‰Û
J
Tutti
F5
’’’‰Û
J
Piano-Conductor
œ œ
‰ J
Ó
Ooh
‰ Û
J
Sn./Toms
‘
>
"
Û Û
Û
œ bœ œ œ œ œ œ œ bœ œ œ œ œ œ bœ J
>
>
>
>
F
"
>
>.
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œ >œ œ b œ œ b œ œ
œ
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J
Ó
22
Ooh
Û Û
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>
>
>
&‰ Û ‰ Û Û ‰ Û ‰ Û ‰ Û Û
J J
J
J J
> >
>
> >
Eb
Bb C
F
Eb
Bb C
>
>
? ‰ b œ ‰ b œj œ (œ ) ‰ œ ‰ b œ ‰ b œj œ
J
J
J >
Û Û
’
’
PR
>.
œ
>œ
’
’
’
’
’
FILL
œ >œ œ b œ œ œ b œ
R
’
FO
’
T
’
>
Û Û bœ.
27
œœ œ œ œœ œ œ Û Û
>
>
’
’
’
’
‰
‰ bœ
28
O
ã
26
&’ ’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
’
’
?’ ’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
’
’
C
N
Piano Solo
Band -- Groove
∑
œ bœ œ œ œ œ œ œ bœ œ œ œ œ œ œ bœ
>
>
>
>
O
Li
c
dw
ay
oa
Br
INTERLUDE
25
U
‰ Û
J
Sn./Toms
C
‰ Û ‰ Û Û
J
J
ã
‰ Û ‰ Û Û
J
J
24
D
Ooh
∑
23
en
s
V Ó
œ œ
J
‰
in
g
œ œ
J
‰
Pe
ru
sa
&‰ Û ‰ Û Û ‰ Û ‰ Û ‰ Û Û
J J
J
J J
> >
>
> >
Eb
Bb C
F
Eb
Bb C
? ‰ b œ ‰ b œj œ (œ ) ‰ œ ‰ b œ ‰ b œj œ
J
J
J
21
œœ œ œ œœ œ œ >œœ " Û
J J
>
>
œœ œ œ œœ œ œ œœ œ
>
>
>
l
‰ Û ‰ Û Û
J
J
∑
20
N
Ooh
∑
19
O
V Ó
œ œ
‰ J
18
HEDWIG
TI
B1
ã
01. TEAR ME DOWN
Û
J
FILL
Û
œ œ
‰ bœ œ œ
Piano-Conductor
HEDWIG AND THE ANGRY INCH
02
THE ORIGIN OF LOVE
Pe
ru
sa
CUE:
HEDWIG: "Whatever allowed her to reveal such a story to such a
little boy, I'll never know. But I remember it like it was yesterday."
l
WARN:
HEDWIG: "When the hour grew late and it
was time for bed..."
B
C
D
## 4
œ
œ
œ
œ
œ
œ
œ œ œ
œ
œ œ
œ
œ œ œ œ œ œ œ œ œ œ
& 4 œ œ œ
œ œ
œ
œ œ
œ
V
##
œ.
∑
’
A sus4
N
TI
C
œ œ œ
œ œ œ œ
When the earth was still flat,
D
∑
‰ œj œ ‰ œj œ
œ
œ
œ œ
œ
œ
’
’
∑
some - times hi
’ ’
And
∑
4
3
‰ j
œ
œ œ œ œ œ œ œ
œ
O
R
O
N
? ##
sim.
‰
and moun - tains stretched up to the sky,
’ ’
∑
A1
HEDWIG:
U
Li
c
œ œ œ œ ‰ ‰ œj œ . œ œ .
clouds made of fi - re,
D /B
∑
Œ
G sus4 G G 6
3
#
& # ’ ’
∑
œ œ œœ œ œœœ
œ
œ
J
FO
Br
2
∑
Ó
G
œ œ œ œ œ œ œ œ œ œ œ œ œJ
oa
? ##
∑
dw
ay
&
F
G
D
∑
∑
PR
#
V #
A sus4
in
g
∑
E
##
D /B
en
s
? # # 44
D
O
INTRO Gtr. (solo)
T
A
-
gher,
5
Ó
˙
’’ ’
’’’’
∑
∑
G
© 1999 Atlantic Recording Group - W.E.A. International
Piano-Conductor
7
j
œ œ
#
& # ’
’
’
’
’
Br
’
’
’
’
’
D
’
’
two fa - ces peer - ing
’
’
D /F #
’
’
œ œ œ
T
’
? ## ’
Em
’
O
’
’
’
’
’
’
’
’
’
’
11
‰ œj œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ
œ
’
’
’
out of one
gi - ant
’
’
’
’
’
’
’
’
’
G
’
’
œ
œ œ œ ‰ œj œ œ
’
’
13
14
œ
watch all a - round them as they talked; While they read. And they ne - ver
N
&
’
They had
head
So they could
R
’
#
j
V # ‰ œ œ œ œ
12
##
’
10
dw
ay
’
oa
? ##
sim.
œ
legs. They had
’
’
’
œ œ œ œ œ œ œ
two sets of
’
’
Li
c
V
##
’
œ
FO
9
LITE TOM FILLS (3+4)
in
g
Bs.
sets of arms.
en
s
œ.
two
’
Build -----------------------------------------G
? ##
They had
N
# # Gtr. (Fuller - Light Strum)
& ’
’ ’
D.S.
kegs.
l
œ
roll - ings
O
œ
big
TI
œ
like
C
D.S. (Kick)
the earth
œ œ œ œ œ œ
œ
U
Folks roamed
8
Pe
ru
sa
œ œ œ
D
ã
HEDWIG
‰ j œ œ
œ œ.
œ
œ œ œ œ œ
O
V
##
PR
6
02. THE ORIGIN OF LOVE
’
’
’
A
’
’
’
’
’
’
‰ j
œ œ œ œ œ
knew no - thing of love.
’ ’
G
’ ’
‰ Û ‰ Û
J
J
A
D
‰ Û ‰ Û
J
J
‰
œ
#
& # |
j
œ œ
it
œ œ
was
be - fore
œ œ ˙
’
’
’
D /B
? ## |
’
’
G
’
’
’
‰.
Œ
16
17
œ œ
mm - hmm
’
CHORUS
the or - i - gin
Û Û
’
|
A sus4 A
Û Û
∑
dw
ay
en
s
three sex-es then, One that looked
‰
œ
‰ Û ‰ Û
J J
N
#
& # Û Û
? ## Û Û
Bm
‰ Û ‰ Û
J J
‰Û
J
|
Ó
|
Ó
D
U
’ ’ ’
D
G
‰Û
J
’ ’ ’
sim.
‘
Œ
24
like two men Glued up back to back,
Û
Û
Û
Û
And there were
The or - i - gin of love
œ œ œ œ œ
œ
œ
˙
œœ œ œ
T
œ
O
ã
j
œ
TOM
œ
23
FO
oa
Br
’’ ’ ’
‰ j œ
œ
Œ ‰ Jœ œ œ œ œ œ
O
‰ Û
J
’
love. The or - i - gin of love.
PR
G
# # HEDWIG:
V œ œ œ œ œ œ œ
A2
’’ ’ ’
Li
c
? ## ’ ’
D
‰ Û
J
’
R
#
& # ’’
The or - i - gin of love.
˙
21
TI
## Œ ‰ . œ œ œ œ œ œ
V
R
The or - i - gin of
C
The or - i - gin of love.
HARMONY:
love.
O
in
g
HEDWIG:
of
|
19
20
## Œ ‰ . r œ œ
jœœ
Œ
‰
j
‰
œ
œ
œ
œ œœ
V
œ œ
œ œœ œ œ œœ
18
r
œ œ œ œ œ œ
N
V
##
HEDWIG
Pe
ru
sa
15
02. THE ORIGIN OF LOVE
l
Piano-Conductor
‰ Û ‰ Û
J
J
‰ Û ‰ Û
J
J
Ó
≈ r œ œ. œ œ œ œ
œ
œ
They called the child-ren of the sun
‘
Û
Û
D
Û
Û
‰Û ‰
J
‰Û ‰
J
Û
J
Û
J
Piano-Conductor
HEDWIG AND THE ANGRY INCH
05
WIG IN A BOX
Pno. (solo)
C # m/ G #
A
? ### 4 |
4
Rubato (q ~ 40)
C
F # m7
G6
in
g
|
D
Ó
|
en
s
VERSE
|
œD œ œ . œ E U
J |
œ œ
œ
œ
B
∑
F
U
˙
U
˙
N
œœœ œ
œ œ
Freely - Ad lib
INTRO
O
### 4 œ œ œ
& 4 œ
A
HEDWIG (CONT'D): "...There it lies, feigning shock. My
personal hair system. My personal hell. My Hedwig."
U
˙
TI
q = 98
Pe
ru
sa
CUE:
HEDWIG: "I tear my wig from my scalp and hurl it across
the room at a pile of unopened anniversary presents." [MUSIC GO]
l
WARN:
YITZHAK: "'Cause I'm just an embryo, with a long, long way
to go..."
j "œ œJ œ œ œ œ œ ˙
# # # ‰ œ œ œ ‰ œ œ œ ŒH œ œ œ œ œ œ . œ I œ œ œ
œ.
œ œ .R
V
|
()
T
|
O
###
? ### |
A
I feel had
˙˙˙
˙
C # m7/G #
|
C
U
‰ œ œ œœ œ .
E
E
˙
n ˙˙˙
|
D
|
A
PR
F # m7
### ‰ œ œ œ œ . ‰ œ œ œ
I get down
D
|
N
&
()
|
|
|
R
G6
FO
|
Br
V
˙˙˙
˙
|
C # m7/G #
A
oa
? ###
L
()
When the world's a bit a - miss And the lights go down A - cross the trail - er park
O
|
like this
dw
ay
&
###
On nights
Freely
Li
c
HEDWIG:
G
|
|
|
‰. œ œ œ œ œ œ œ œ œ
R
œ.
|
|
|
D
E
M
()
Feel on the verge of go - ing mad
F # m7
|
˙
n ˙˙˙
G6
|
N
|
©1999 Atlantic Recording Group - W.E.A. International
œ œ œ. œ œ œ œ
Then it's time
|
to punch the
More Pno.
05. WIG IN A BOX
(q = 60
Swing)
# # # j " r œ œ œ œ œ Œ ‰P j
œ .œ
V
œ œ œ œ œ œ œ .Œ
&
###
? ###
clock.I put on somemake-up
’
’
’
’
A
Œ œ œ œœœ œ œ œœ
And turn up the tape deck
’’ ’ ’
C #m
’’ ’ ’
R
And put the wig down on my head
’ ’ ’’
F #m
E
œ Œ Ó
Q
’
’
’
’
’’’’
Pe
ru
sa
O
HEDWIG
l
Piano-Conductor
D
A
’ ’ ’’
F #7
E
’’’’
œ
###
‰ œJ
Œ
nœ œ ˙
BB
‰ Jœ
œ œ
n˙
N
O
Pno./Gtr.
? # # # Pno.
˙
Ó
œ œ
’
’ ’
CC
nœ œ ˙
œ œ
‰ Jœ
nœ
œ
O
TI
G6 A7
∑
home And I put my - self to bed
|
|
D
E
C
U
’
œœœ ’
œ
O
’
Faster (q = 120)
E /G #
A
FO
Br
&
’
PR
###
’
R
’
oa
V
’
D
E
INTERLUDE
AA
in
g
Bm
en
s
’
Li
c
’’
’’
()
Miss Mid - west Mid - night Check - out Queen Un - til I head
dw
ay
? ###
Sud - den - ly I'm
T
&
###
N
U
# # # Œ œ . œ œ . œ œ œ œ œ . œT œ . œ œ .
œ œ œ œ œ œ œ œ œ œ œ œœ œ œ
V
S
w
|
∑
nœ œ ˙
|
DD
w
w
∑
ã
&
o +
x x
###
x
œ
x.
Ó
x
œ
’ ’ Ó
? ###
I
R
look
x
œ
up
’
’
Ó
’
’
Ó
A
’ ’ Ó
’ ’
Ó
œ
10
N
’ ’ Ó
Œ œ œ œ œ œ œ
rou - tine
‘
’ ’
Ó
’’Ó
’ ’
Ó
‘
A
œ Ó
Œ
11
the rocks
E
’’Ó
‰ œJ Jœ
A
‘
’
Ó
’
’
Ó
’ ’
Ó
’ ’
Ó
F # m7
œ
gift - wrapped
‘
’
C # m/ G #
œ Œ Ó
8
O
sud - den - ly
œ œ
o +
x x
be - come
G6
7
Ó
from my ver - mouth on
x.
Ó
Ó
F #m
T
x
œ
###
’ ’
‰ œJ œ œ ‰ Jœ œ œ
O
###
E
I've
’ ’
‘
Ó
man
‘
est things Seem
’ ’
’ ’ Ó
N
&
-
œ œ œ
‘
œ œ œ œ œ œ
6
D
oa
ã
œ
-
TI
œ Œ ‰ œJ œ
Br
V
Ó
And the strang
? ###
9
œ
Li
c
V
###
œ
dw
ay
5
Ó
C # m7/G #
Ó
Bs.
’
œ œ
C
œ
’
the wo
U
? ### œ
A
‘
Ó
’ ’
Look at
4
Pe
ru
sa
x
œ
from
D
###
x
œ
on where I'm
3
O
D..S.
o+
x. x x
Ó
I look back
Œ ‰ œJ œ œ œ
œ œ Œ
J
œ
HEDWIG
in
g
&
2
œ
‰ J œ
J
PR
ã
‰ œJ œ œ œ
en
s
V
###
FO
A1
05. WIG IN A BOX
l
Piano-Conductor
œ
J
wig
HEDWIG AND THE ANGRY INCH
Piano-Conductor
09
EXQUISITE CORPSE
Oh God I'm all sewn up
’
Sim.
Br
oa
C5
D.S. sim.
-
dy
A coll - age
& ’ ’ ’ ’
? ’ ’ ’ ’
A5
’
˙
B1
T
œ œ
‰ Jœ
N
&
’
O
œœ œ
A5
C5
œ œ
C5
A5
’ ’
’
Ó
10
A5
’ ’
’
œ œ œ œœ
O
’
Ó
C5
through mi - ser - y's
’ ’
FO
? ’ ’’ ’
8
6
And you can trace the lines
& Û Û ÛÛÛ Û Û Û ’
A5
œ œ
‘
O
in
g
en
s
‰ Jœ œ œ œ
PR
dy
œ œœœ ’ ’
bo -
Û Û Û Û Û ÛÛ Û Û Û Û Û Û
A5
Sim.
R
-
5
dw
ay
&
C5
Li
c
œ #œ œ Ó
4
œœ œ œ
A5
Scar map a - cross my
‘
ÛÛ Û Û Û ÛÛÛ ÛÛ Û
E 5 F 5 F #5 G 5
? 44 œ œ >œ # œ >œ œ œ
cut
N
Gtr.
4
&4 ÛÛÛ ÛÛÛÛ
> > > >
A hard - ened ra - zor
j
j
œœ œ œ œ œœ œ
J
J
œ œ
œ œ œ œ œ 3‰ œ œ œ œ œ œ œ
J
TI
∑
HEDWIG:
’
’
de - sign
7
’
’
œœ œ œ œ
œ œ
That map a- cross my bo -
’ ’
’
C5
A5
’ ’
œ
œ
All
sewn
ÛÛ‰ÛÛÛ‰Û Û Û Û Û Û Û Û
J
J
> > # > >
A5
B b5
E5
F5 F 5 G5
ÛÛ‰ÛÛÛ‰Û Û Û Û Û Û Û Û
J
J
> > > >
#˙
11
up
© 1999 Atlantic Recording Group - W.E.A. International
C5
’
C
ã 44
2
‰ Jœ œ œ œ œ ‰ Jœ ‰ œJ œ
A1
U
∑
Pe
ru
sa
& 44
A
D
q = 152
l
SEGUE FROM #8
’
Ó
’
’
Ó
12
2
«
2
«
’ ’
C5
’ ’
‰ œJ
œ œ
A mon-tage
œ
B b5
up
F #5
?ÛÛ‰ ÛÛÛ‰ Û Û Û Û Û Û Û Û
J
J
> > > >
E5
F5
A5
19
4
#
œ
œ
œ
œ
œ
œ
œ
#œ œ nœ
‰
&4 J
˙
20
need - le and thread
œ
œ
œ
& 44 # œ # œ
#œ
œ
en
s
? 44
#œ #œ #œ
‘
#œ
#œ #œ
23
œ
#œ
œ
œ
œ
‰
& J
J #œ œ œ œ œ
FO
22
Br
˙
œ
O
T
#œ
N
? #w
‘
Nœ
œ Nœ
œ #œ #œ
Nœ
œ œ bœ œ
U
#˙
œ
ŸI
3
25Ÿ~~~~~~~~~~~~~~
œ œ œ 24œ œ œ œ # œ œ n œ # œ w
a tor - na - do bo - dy With a hand gre - nade head And the
& #œ #œ
nœ
œ
D
O
œ-
44
G5
R
oa
N œ^
PR
#˙
Bs.
#œ #œ œ
Nœ
F #5
The o- ver -lap - ping way dis - eas-es are spread Through
‘
dw
ay
Gtr.
F5
21
‰# œJ œ œ œ œ œ œ œ œ œ # œ
Li
c
A ran - dom pat- tern with a
œ
E5
in
g
YITZHAK:
ã 44
B b5
44
Û Û ‰ Û Û Û ‰ Û 45 Û Û Û Û Û Û Û Œ
J
J
> > > >
G5
Light Feel / Clean
18
44
∑
Û Û ‰ Û Û Û ‰ Û 45 Û Û Û Û Û Û Û Œ
J
J
> > > >
sewn
&ÛÛ‰ ÛÛÛ‰ Û Û Û Û Û Û Û Û
J
J
> > > >
A5
5416
Ó
N
I'm all
#˙
15
l
‰ Jœ œ
Œ
14
O
Ó
TI
&
˙
HEDWIG
C
13
09. EXQUISITE CORPSE
Pe
ru
sa
Piano-Conductor
œ
w
#œ #œ
œ
legs are two lo - vers
|
G #5
#˙
en - twined
|
ÛÛÛÛÛÛÛÛ
#˙
C5
C #5
nœ
Piano-Conductor
09. EXQUISITE CORPSE
A tempo
œ œ œ œ œ œœ
&‰J
A2
œœ œ œ œ œ œœ
œ œ œ œ œ œ œ 29œ # œ œ Ó
28
27
In - side I'm hol - lowed out
Out - side a pap - er
HEDWIG
shroud
And all the rest's il - lu
-
sion
&ÛÛ Û Û Û Û ÛÛ
ÛÛ Û Û Û Û ÛÛ
ÛÛ Û Û ÛÛÛ Û Û Û ÛÛÛÛÛÛ
?ÛÛ Û Û Û Û ÛÛ
A5
A5
Û Û Û Û ÛÛ
Œ
Ó
C5
Ó
35
œ
œ
All
sewn
Ó
39
T
O
Ó
#˙
36
sion
A col - lage
N
C5
A5
Ó
C5
‰ Jœ
Ó
37
up
œ œ
A mon - tage
Û Û ‰ Û Û Û ‰ Û Û Û Û Û Û Û Û
J
J
> > # >
>
A5
B b5
E5
F5
F5
G5
Û Û ‰ Û Û Û ‰ Û Û Û Û Û Û Û Û
J
J
> > >
>
œ
œ
All
sewn
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J
J
> > # > >
A5
B b5
E5
F5
F5
G5
?Û Û ‰ Û Û Û ‰ Û Û Û Û Û Û Û Û
J
J
> > > >
N
A5
PR
FO
R
oa
Br
&
˙
-
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ÛÛ ÛÛÛÛ Û Û
&Û Û ‰ Û Û Û ‰ Û Û Û Û Û Û Û Û
J
J
> > # > >
A5
B b5
E5
F5 F 5 G5
?Û Û ‰ Û Û Û ‰ Û Û Û Û Û Û Û Û
J
J
> > > >
38
and con - fu
in
g
en
s
A5
Li
c
&
œ
From cha - os
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û ÛÛ ÛÛÛÛ Û Û
dw
ay
B2
l
? ÛÛ
C5
A5
That we can wrest con - trol
œ œ œ œ œ œ œ œ 33œ œ œ ‰ œ œ œ
J
32
O
Û Û Û Û ÛÛ
That there's a will and soul
C5
ÛÛ Û Û ÛÛÛ Û Û Û ÛÛÛÛÛÛ
TI
& ÛÛ
œœ œ œ œ œ œ
31
A5
C
œ œ œ œ œœ
ÛÛ Û Û Û Û ÛÛ
C5
U
œ
& ‰J
30
C5
D
C5
O
A5
Pe
ru
sa
Full Band!
œ #œ
40
up
Ó
41
∑
Û Û ‰ Û Û Û ‰ Û Û Û Û Û Û Û Û
J
J
> > # > >
A5
B b5
E5
F5 F 5 G5
Û Û ‰ Û Û Û ‰ Û Û Û Û Û Û Û Û
J
J
> > > >
Piano-Conductor
HEDWIG AND THE ANGRY INCH
11
MIDNIGHT RADIO
In tempo
Rain
falls
∑
Am
& œœœœ ....
C
Gtr. 2
Burns
∑
C sus4 C
O
œ
5
≈ œr œ .
‰ Œ
Û Û Û Û Û Û.
J
Û
∑
Am
∑
œ
‰ Œ.
G
Û Û Û Û
N
C
dry
œ
œ
That hits
you
so
hard
Û
J
Û.
T
Û Û.
J
O
Û
N
& Û.
Gtr. 1
∑
C
≈ œr œ
Œ
8
song
‰ Œ.
Û Û Û
‰ œ œ
6
Û
J
A dream
Or a
Û Û Û Û Û Û
∑
F
R
˙.
Br
V
∑
F
œ
4
Û
J
O
Û Û Û Û Û |.
J
oa
B1
hard
dw
ay
& |.
?
œ
.
œ ‰ Œ
3
PR
œ
‰ Œ.
2
∑
Li
c
V
‰ Œ.
HEDWIG:
∑
C sus4
FO
A1
Û
TI
C
Û.
D
C
∑
C sus4
Û Û Û
en
s
? 68
Û Û Û
C
U
Ad. lib.
Û
J
B
D
Gtr. 1 (solo)
6
Û
& 8 Û.
in
g
e = 157 (xx = Shuffle)
Pe
ru
sa
l
SEGUE FROM #10
"WICKED LITTLE TOWN (REP.)"
œ œ œ
œœœ ..
.
F
Û
Û
Û
J
9
œœ ..
œœ ..
C
Û
Œ.
10
Û
J
œ œ œ
© 1999 Atlantic Recording Group - W.E.A. International
œ œ.
&
,
œ
J
Fill - ing
you
Û.
Û
œœœ ..
.
Û
J
œ
F
j
œ
12
up
And sud-den - ly
œ
feel
œx
x
x
œ
J
Groove
Û Û Û Ûœ Û Û
œ œ
& œ œ
œ
Am
˙.
oa
Bs.
Û Û Û Ûœ Û Û
œ œ
œ œ œ
Br
V œ
œ.
‰ Œ.
‘
O
ã
in your
‘
N
Û Û Û Û Û Û Û Û Û Û Û
Û Û Û
& Û ÛJ Û Û Û Û
J
? ˙.
Am
˙.
F
œ
B2
œ œ œ.
Know
T
free
Give
‘
Û Û Û Ûœ Û Û
œ
œ œ
œ
œ
‰ Œ.
˙.
G 7/ F
œ œ œ
Œ
22
soul
Bs. / D.S. (sim.)
&
Û
C
œ.
œ
Like your blood knows
‘
Û Gtr. 1
Û Û Û Û Û Û Û Û
Gtr. 2
‘
Û Ûœ Û Û Û Û
œ œ
œ œ
œ
˙.
˙.
20
œ
C /E
FO
19
F /C
‰ Œ.
18
PR
Gtr. 2
love
‘
dw
ay
Gtr. 1
œ
?
˙˙˙ ...
C
x
17
Li
c
x x
œ.
ã
‰ Œ.
Û
‰ Œ.
16
Breathe
gg ˙˙˙ ...
|.
O
œ
Û
J
C
Û
U
‰ Œ.
g|.
œœœ ..
.
Œ.
l
œ œ
F
Û
Û
> > >
œ œ œ
gone
O
Û.
R
V
Û
∑
14
Pe
ru
sa
œ
A2
Œ.
13
∑
en
s
& œœœœ ....
C
œ.
∑
Û Û Û.
J
&Û
œ
in
g
∑
ã
?
≈ œr œ œ œ
Œ
D
V
‰ Œ.
HEDWIG
TI
œ
11
11. MIDNIGHT RADIO
N
Piano-Conductor
Û Û Û Û Û
J
F
the
‘
Û
Û
Û
Û
Û
Û
J
Û
Û
Û
From your heart
Û
Û
&Û
Û Û Û Û Û
J
Û
J
Û
V œ.
œ.
C
F
27
Œ.
28
Û
Û
Û
‰ œ œ.
C1
And you're
∑
Know that you're
Û Û Û Û Û Û Û Û Û Û Û Û
Û
Û Û Û Û Û
J
C
œ
shin
-
x x
œ.
F
œ30 œ œ
‰
ing
bright - est
Like the
œx
x
x
œ
J
&Û
F
mis - sion
‘
D
O
œ œ ˙.
On the mid
-
ra - di - o
night
œ œ
star
A
F /E
Û Û Û Û Û Û
œ.
33
‘
Û Û Û Û Û Û
34
Œ
œ œ
And you're
‘
‘
Û
Û Û Û Û Û Û
Û Û Û Û Û Û Û Û Û Û Û Û
?Û Û Û Û Û
Û
G
Û Û Û Û Û Û
C sus4
O
&Û Û Û Û Û
Dm
trans -
‘
N
T
ã
r œ 32
œ œ ‰ Œ
œ œ
FO
oa
Br
‰.
R
dw
ay
œ œ
VJ
31
Û Û Û Û? Û Û Û Û Û Û
J
Bs.
PR
Û Û Û Û Û
J
U
Û Û Û Û Û Û
Li
c
&Û Û Û Û Û Û Û Û Û Û Û Û
C
Û Û Û Û
J
œ
J ‰ œ œ
x
en
s
∑
œ œ œ.
J
Œ.
26
brain
Û
whole
ã
to your
in
g
&Û Û Û Û Û Û Û Û
Œ.
N
way
œ œ œ œ œœœ
l
‰.
25
O
‰ Œ.
œ >œ œ œ
24
TI
V
œ
HEDWIG
C
23
11. MIDNIGHT RADIO
Pe
ru
sa
Piano-Conductor
Û Û Û Û Û Û Û Û Û Û Û Û
C
T
O
N
R
FO
N
O
TI
C
U
in
g
en
s
Li
c
D
O
PR
dw
ay
oa
Br
Pe
ru
sa
l
T
O
N
R
FO
N
O
TI
C
U
in
g
en
s
Li
c
D
O
PR
dw
ay
oa
Br
Pe
ru
sa
l
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