WAITRESS 20

JENNA Side 1 of 3

ACT 1, SCENE 2: DR. POMATTER’S EXAM ROOM

DR. POMATTER enters — early 30’s, genuinely warm, if clumsy, manner.

START: DOCTOR POMATTER

Hello. Mrs. Bunterson?

JENNA
Hunterson. Who are you?

DOCTOR POMATTER
I’m your doctor. Doctor Pomatter. You brought a pie? You know I’ve only been in town a few
weeks and I’m so impressed with the genuine hospitality of the place.

JENNA
You're not my doctor. Lily Perkins is my doctor. This pie is for her. It's her favorite --“Mermaid
Marshmallow.”

DOCTOR POMATTER
Well, I’m sorry to say she’s not seeing any patients. She's semi-retired now.

JENNA
What?

DOCTOR POMATTER
Long story, making it short: I'm the “junior" doctor on staff. I'm from Connecticut. Just moved
here 2 weeks ago. Are you bored yet?

JENNA
Yes. No.

DOCTOR POMATTER
Sorry. Anyway. If you're not comfortable having me as your doctor, that's fine, my feelings
won't be hurt, you can go get yourself another gynecologist in the area.

JENNA
But Dr. Perkins delivered me. She's been my doctor forever. I really like and trust her.

DOCTOR POMATTER
Well maybe you can really like and trust me too.

Long pause. She studies him.

JENNA
It doesn’t happen that fast. But I’ll try.

DOCTOR POMATTER 1/4

 WAITRESS 21

Good. Great! Then I'm your doctor. (shaking her hand) Nice to meet you, Mrs. Bunterson.

JENNA
Hunterson.

DOCTOR POMATTER
Hunterson. What seems to be the problem?

JENNA
Well, I seem to be pregnant.

DOCTOR POMATTER
Oh! Good! Good for you. Congratulations.

JENNA
Thanks. But I don't want this baby.

DOCTOR POMATTER
Oh. Well - we don't perform abor...

JENNA
No, I'm keeping it. Not that I judge that… I'm just telling you I'm not so happy about it like
everybody else would be, so maybe you can be sensitive and not congratulate me and make a
big deal every time you see me. I'm having the baby and that's that. It's not a party, though.

DOCTOR POMATTER
(taking a note)
Got it. Not a party.

Nurse Norma enters.

NURSE NORMA
Excuse me, Doctor. Mrs. Flannigan wants to talk to you about doulas before she leaves.

DOCTOR POMATTER
Doulas? I have no idea what that is. I’m only joking. Of course I know what that is.

NURSE
Mm hmm…

DOCTOR POMATTER
(mouthing to Jenna)
I have no idea.

NURSE
And here are Mrs. Hunterson’s blood test results.

Nurse Norma hands him the results as she exits.

2/4
 WAITRESS 22

DOCTOR POMATTER
Well, un-congratulations. You're definitely having a baby.

JENNA
Well, un-thank you.

DOCTOR POMATTER
Do you have any concerns?... Do's and don'ts?... Exercise, sex?...

JENNA
Well, I don't really do much of either.

DOCTOR POMATTER
Ok… Here's your prescription for pre-natal vitamins.
(He rips the sheet off the pad, drops it, and fumbles trying to catch it.)
Nurse Norma will give you a list of the good and bad foods. Caffeine, alcohol, etcetera...
Nice meeting you, Jenna. I'll want to see you in three weeks.

They lock eyes for a moment. He turns away, uncomfortable.

JENNA
I do have one question.

DOCTOR POMATTER
Shoot.

JENNA
How pregnant am I?

DOCTOR POMATTER
Um, very pregnant. There’s really only one degree of pregnancy, so to speak...

JENNA
No, I mean... how far along?

DOCTOR POMATTER
Oh! About 8 weeks. Give or take.

JENNA
So I won’t start showing for a while, right?

DOCTOR POMATTER
Right.

JENNA
(to herself)
Then I have a little time…
3/4
 WAITRESS 23

DOCTOR POMATTER
Although it is quite beautiful when a woman’s body –

JENNA
Yeah yeah yeah…

DOCTOR POMATTER
Understood.

A beat.

JENNA
Dr. Pomatter?

DOCTOR POMATTER
Yeah?

JENNA
I’m gonna give you this pie.

Jenna holds out the pie.

DOCTOR POMATTER
It looks absolutely delicious but I’m off sugar… actually it causes Leptin resistance, chromium
deficiency, decreased longevity…

She looks at him sideways.

JENNA
My mama used to say you can live to be a 100 if you give up all the things that make you
wanna live to be a 100.

DOCTOR POMATTER
Well the longer you’re away from sugar the less you crave it. I haven’t had a piece of pie in
years.

JENNA
Really? Life’s hard enough. END
Jenna leaves the pie on the exam table, a parting gesture, and exits.

Pomatter glances at the pie then leaves the room. Now he opens the door, unable to
not give it a sniff. It just smells too good. He climbs on the table and searches for
something to take a bite with. Finally, he takes his stethoscope and scoops a bite of the
pie.

CUE: POMATTER PIE TRANSITION

4/4
 WAITRESS 80
JENNA Side 2 of 3

ACT 2, SCENE 5: THE PANTRY

Dr. Pomatter enters the pantry tentatively.

START: DOCTOR POMATTER

Jenna.

JENNA
What are you doin’ here? You can’t just come here.

DOCTOR POMATTER
I had to see you. It’s been weeks. I can’t take it not knowing how you are.

JENNA
Doctor Pomatter… we have to end this.

POMATTER
Why?

JENNA
Because I’ve been thinkin’ a lot while you were away with your wife... and I can’t live with
myself.

DOCTOR POMATTER
I won't have a conversation about how crazy this is, how bad my judgment is, how sorry I am. I
would be lying-

JENNA
Don’t say anything else. Don’t talk me out of it. Just go.
(Torn, Doctor Pomatter turns away. Then-)
I don’t know how to do this. I haven’t felt anything like this… I haven’t felt in a very long time.

Dr. Pomatter turns back to her-

DOCTOR POMATTER
Neither have I-

They grow quiet.

JENNA
So what now?

DOCTOR POMATTER
Maybe you could teach me how to make a pie…

JENNA
Seriously?
1/3
 WAITRESS 81

DOCTOR POMATTER
Seriously.

JENNA
Wow. I could do that. Sure….

DOCTOR POMATTER
I have something for you. A present.

JENNA
For me?

He hands Jenna a gift. She’s thrown.

DR. POMATTER
Yes. For you. Open it.

She hesitantly opens it. It’s a beautiful golden pie plate.

JENNA
Oh my god.

DOCTOR POMATTER
I had your name engraved on the back.

JENNA
It’s the most beautiful thing I’ve ever seen.

DOCTOR POMATTER
Deep dish. Non-stick.

Jenna is so moved she can barely find words.

JENNA
Thank you…I have some gorgeous blackberries.

DOCTOR POMATTER
I love blackberries.

They begin to make a pie together.

JENNA
We’re gonna make one my mama used to call “Lonely Chicago Pie.” She made hundreds of
different kinds. They all had real strange names.

DOCTOR POMATTER 2/3

 WAITRESS 82

Like mama like daughter…

INTRO: MAMA’S PIE SONG

JENNA
She had such dreams for me. She’d be so sad to see how my life turned out. Maybe I’m talkin’
too much.

DOCTOR POMATTER
(compassionately)
No.

JENNA
Mama used to keep me in the kitchen when daddy was in a mood. She’d teach me everything
about baking... We’d sing this little song together –

(sings)
LET’S MAKE A NEW ONE, MAMA
WHAT DO YOU SAY?
I LOVE IT WHEN YOU LET ME PICK OUT THE NAME
SUGAR, AND BUTTER AND FLOUR, AND MOTHER

Jenna looks up at him.

JENNA
What the hell are you doin’ here.

DOCTOR POMATTER
I’m learning how to make Lonely Chicago Pie.

JENNA
No, I mean here. Livin’ in this town.

DOCTOR POMATTER
My wife, she's doing her residency. We came here because of her.

JENNA
Are you happy with her? No, don't answer that.

DOCTOR POMATTER
I’m not used to happy. I tend to be neurotic… You calm me down. You make me feel peaceful
and strong. Even needed… And you’re so beautiful.

JENNA
I don’t know who you’re talkin’ about.
END (Continue to song on next page…)

3/3
 WAITRESS 91
JENNA Side 3 of 3

ACT 2, SCENE 7: EARL AND JENNA’S HOUSE

On either side of the couch, Earl, smoldering, confronts Jenna.

START: EARL
You must really think I’m stupid.

JENNA
No...

EARL
Unzip that cushion.

JENNA
I don’t want to—

EARL
Do it!
(She picks up the cushion and slowly unzips it.)
What is that, Jenna? What is that?

He pulls out a wad of cash.

JENNA
Money.

EARL
It's all over the fuckin’ house. In drawers, in cabinets, in the sofa. Money hidden all over my
house.

JENNA
I'm sorry.

EARL
After everything I've done for you, you go and hide money from me? I was the only one there
for you when your mama died and your old man was piss drunk every night. Did you forget
that?! Do I need this?! Do I need this right now?!

He picks up his guitar and throws it on the floor.

JENNA
Earl, stop! You love that guitar!

But it’s too late - he stomps on the guitar, breaking it apart.

1/2
 WAITRESS 92

EARL
You're the only thing I've ever loved. The only person ever belonged to me. You’re my wife.
You’re my whole life...You havin’ a secret from me tears me apart. Why are you hidin’ money
all over the house?!

JENNA
I-

EARL
Tell me you were gonna buy me a present - tell me you were gonna surprise me…

JENNA
Earl -

EARL
If I ever thought you weren't happy being my wife, that you were deceiving me, I would kill
myself. I would. I would want to die. Just hold me.

Jenna weakly puts her arms around Earl. He cries. He buries his face in her pregnant
belly. Jenna steels herself.

JENNA
The truth is, Earl... Truth is...
(She is about to tell him her truth then –)
I was saving that money for the baby. To buy some nice things. A crib, toys... it was all for the
baby.

EARL
It was for the baby?

JENNA
Yes, Earl. I was saving it for the baby, for a crib.

Earl stands, knowing as well as she that she’s lying but he accepts it.

EARL
I don’t know why you gotta make it so hard Jenna.
(He reaches for the money in the sofa and pockets it.)
I just want us to be happy.

He heads to their bedroom. Jenna sits on the couch, shaken. END

UNDERSCORE: DEAR BABY

JENNA
Dear Baby, if you ever wanna know the story of how we bought your crib, I will tell you. Your
crib was bought with the money I was gonna use to buy us a new life. The Springfield Pie
2/2
Piano/Conductor WAITRESS
Jenna

WHAT BAKING CAN DO (Audition Cut)

[Rev. 6/15/16]
03
Music & Lyrics by
BECKY: Jenna, dust the flour out of your brain. Do that baby a favor and leave his sorry ass. SARA BAREILLES
JENNA: He'd never let me...
BECKY: It's not up to him, honey.
JENNA: Look, I got 14 pies to make before lunch that ain't (MUSIC STARTS) gonna bake themselves.

q =128
2 Xs
b
& b b b b b 44 ..
JENNA:
..
1 1A

∑ Ó Œ œ œ
BECKY: Jenna-
JENNA: Everything's Just Peachy Peachy Keen Pie. Make it
BECKY: Jenna!

œ. œ.
JENNA: Where There's A Whisk There's A Way Pie.

bb 4
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Gb 9
œ œ œ- œ œ œ-
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6

‰ J ‰ J ..
bb

[2]
bb
& b b bb
3 4 5

Œ Œ Œ Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
up and sur - prise them. Tell them all my se - crets, but dis - guise them so they
b
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J œ ˙ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
dance on the tongues of the ve - ry peo - ple that they're se - cret from. Make it

bb œ œ œ œ œ œ œ œ œ œ œ œ
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legato

œ œ œ œ
6

? bbb œ
bbb ‰ œJ œ œ ‰ œJ œ œ ‰ œJ œ œ ‰ œJ œ

©2016 by SARA BAREILLES

All Rights Reserved including Public Performance for Profit
 -2-
WAITRESS #03. WHAT BAKING CAN DO (Audition Cut) [Rev. 6/15/16]
Piano/Conductor

b ‰ œj j j ‰ ‰ œj œ œ
& b bbbb ˙ j
10 11 12 13

Œ œ œ œ œ Ó œ œ œ œ œ œ œ œ œ
soon make it bet - ter, though bet - ter ne - ver lasts for - ev - er. I'll make it

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14 15 16 17

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small so it fits, e - ven this

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[18] cresc. poco a poco

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walls come tum - bling down. E - ven as I
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J J J
 -3-
WAITRESS #03. WHAT BAKING CAN DO (Audition Cut) [Rev. 6/15/16]
Piano/Conductor

b œ. œ œ œ
& b bbbb œ . œ œ ˙ œ œ œ œ œ
26 27 28 29

œ. ˙ Ó Œ œ œ
can't stop re - mem - ber - ing how ev - ery door we e - ver made
bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
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bb ˙ œ œ œ œ j
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œ. œ œ œ œ ˙ Ó ∑

œ œ œ œ >œ
we ne - ver once walked out.
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34 35 36 37

œ œ œ œ œ œ œ œ œ œ œ ˙. ∑
œ
Some - thing I ne - ver got the chance to ask her a - bout.

b
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[38]
bb
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39 40 41 3
∑ œ œ œ œ ˙ Œ Ó œ œ œ
œ œ
So with flo - ur on my hands, I'll show them
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 -4-
WAITRESS #03. WHAT BAKING CAN DO (Audition Cut) [Rev. 6/15/16]
Piano/Conductor
b j
& b bbbb œ j j
42 43 44 45

˙ ˙ Ó œ œ œ œ œ œ. w b
all how God damn ha - ppy I am.

b .
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6

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[46]
47 48 49

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3

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su - gar but - ter flo - ur don't let me down.

& b œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ œœ œœ œœ œ œœ œœ œœ

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b ˙ ˙ ˙ œ
œ n˙ ˙
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˙
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&b Œ œ œ œ œ œ œ œ œ œ œ Œ ˙ ˙ ˙
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& b œœ œœ œœ œœ œœ œœ œœ œœ
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w ˙. œ w ˙. œ
 -5-
WAITRESS #03. WHAT BAKING CAN DO (Audition Cut) [Rev. 6/15/16]
Piano/Conductor

58 59 60 61

&b Œ ˙. ˙. œ œ w ∑
now!

& b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ Ó
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F
>
? Œ Œ œ ‰ œj ‰ œ j Œ ‰ j Œ Ó
b œ œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ
>
Piano/Conductor WAITRESS
Jenna
She Used To Be Mine (Audition Cut)
[Rev. 6/15/16]
15
Music & Lyrics by
JENNA: The Springfield Pie Contest is startin’ next week
SARA BAREILLES
and you and I will not be in attendance. (GO)

lightly swung
e = 125

b
& b b b b b 68
1 2

∑ ∑

b
& b b b b b 68 œ œ œ œ œ œ œœœ œœœ œœœ œœœ œœœ œœœ
œœ œœ œœ œœ œœ œœ
- - - -
b
? bbb 6
G
b b b 8 ˙. ˙.
[3] JENNA:
bb
& b b bb ‰ .
4 5 6

œ œ œ. œ ‰‰ ‰
œ œœ œ œ œ. œ œ œ œ œ œ œœ œœ
œ œ
And it's not what I asked for. Some - times life just slips in through a backdoor,and
bb
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œœ œœ œœœœ œ œ œ œ œ œœ œ
œ- - - -
Db
? bbb G
b
j
simile
j
b b b ˙. œ. œ œ œ˙ . œ. œ.
˙.
œ œ
˙. ˙. .

bb
& b b bb
7 8 9 10

≈ r
œ œ œ
œ œ œ œ œ œ œ œ œ œœ œ œ œ. œ œ œ œ œ œ œ.
carves out a per - son, and makes you be - lieveit's all true, and now I've got you.

bb
& b b bb œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœ œœ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œœœ
E bm Cb
? b b b œ. j
bbb ˙ œ. œ. œ œ œ. œ. œ. œ. œ.
. ˙. ˙. ˙.

©2015 by SARA BAREILLES

All Rights Reserved including Public Performance for Profit
 -2-
WAITRESS #15. She Used To Be Mine (Audition Cut) [Rev. 6/15/16]
Piano/Conductor
[11]
b
& b bbbb ‰ . œœ
12 13 14

œ œ œ œ œ j ‰ œ œ nœ œ œ œ œ œ œ œœ œ œœ œ
œ œ œ œ œ œ
Andyou'renot what I asked for. If I'm hon-est I know I would give it all back
for a chance
b
& b bbbb œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ
œœ œœ œ œ œ œ œ œœœœ œ œ œ œ œœœ œ œ œ œœ œ
Gb Bb
? bbb
b b b ’. ’. ’. ’. ’. ’. ’. ’.
simile

b
& b bbbb œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ. œ œ
15 16 17 18

Œ ≈œ œ
3

œ œ.
to start o - ver, and re - writean end-ing or two for the girl that I knew,who'll be
b
& b bbbb œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœ œœ œ œœ œ œ œœ œœ œ œœœœ œ œ œ œ œ œ œ œ
E bm Cb
? bbb
b b b ’. ’. ’. ’. ’. ’. ’. ’.
[19]
bb
& b b bb œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ
20 21 22

‰ œ œ œ œ. ‰
œ. œ œ œ
reck - less just e - nough. Who'll get hurt, but who learnshow to tough-en up whenshe's
b
& b bbbb œ œ œ œ œ œ œœœ œœœ œœœ œœœ œ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ
œœ œœ œœ œœ œœ œœ œœœœœ œ œ œ œ œ œ œœ
Gb Db
? bbb
b b b ’. ’. ’. ’. ’. ’. ’. ’.
 -3-
WAITRESS #15. She Used To Be Mine (Audition Cut) [Rev. 6/15/16]
Piano/Conductor

b j
& b bbbb œ . ‰ œ œ œ œ œ œ œ œ. œ œ ≈ r œ
23 24 25 26

œ œ Œ œ œ œœ œ ≈ œ œ
œ
bruised and gets used by a man who can't love, and then she'll get stuck, and be
b
& b bbbb œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ
œœ œœ œœ œœ œœ œ œœœ œ œ œ œ œœœ œ œ œ œ œ œœ
E bm Cb
? bbb
b b b ’. ’. ’. ’. ’. ’. ’. ’.
[27]
bb
& b b bb œ . œ œ œ œ œ œ œ œ œ œ
28 29

œ ≈œ œ œ ≈ œ œ ≈œœ
3 3 3

scared of the life that's in - side her, grow - ing strong - er each day, til it
b
& b bbbb œ œ œ œ œ œ œœœ œœœ œœœ œœœ œœœ œœœ n œœ œœ œœ œœ œœ œœ
œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ
Gb Bb
? bbb
b b b ’. ’. ’. ’. ’. ’.

bb œ œ œ œ.
& b b bb œ. œ œœœ œ œ ≈œ œ œ œ œ œ
30 31 32

œ œ œ œ œ œ œœ
fin - 'lly re - mindsher to fight just a lit - tle to bring back the fire in her eyes
bb
& b b b b n œœ œœ œœ œœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
E bm
? bb b b ’. ’. ’. ’. ’. ’.
bb

b
& b bbbb œ . ‰. œ. œ
33 34

œ œ œ œ œ œ œ
that's been gone, but it used to be mine.
bb
& b b b b œœ œœ œœ œœ œœ œœœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ
Cb
? bb b b ’ . ’. ’. ’.
bb
V
 -4-
WAITRESS #15. She Used To Be Mine (Audition Cut) [Rev. 6/15/16]
Piano/Conductor
[35]
b
& b bbbb ˙ . œ. œœœ œ œ œ œ . œ . ≈ r œ œ œ œ œ
36 37 38

œ Œ
3
œ
It used to be mine
bb
& b b b b œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ n œœœ œœœ œœœ œœœ œœœ œœœ n œœœ œœœ œœœ œœ œœ œœ
œ œ œ œ
Gb Bb
? bb b b ’ . ’. ’. ’. ’. ’. ’. ’.
bb

b
& b bbbb œ Œ. Œ.
39 40 41 42

œœœ œ. œ. œ œ œœœ. œ. ‰ œ œ
She is
b
& b b b b b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ˙˙ ..
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.
E bm Cb
? bbb
b b b ’. ’. ’. ’. œ. œ œ ˙.
œ. œ ˙.
[43]
bb œ œ j
& b b bb œ œ œ œ œ œ Œ. œ œ œ œ œ œ œ œ
44 45 46

œ ‰ œ œœ
œ œ.
mes - sy but she's kind. She is lone - ly most of the time, she is all
b
& b bbbb œ . œœœ .. œœœ .. œœœ .. œœ .. œœ .. œœ .. œœ ..
œœ .. . . . œ. œ. œ. œ.
Gb Db
? bbb ˙. ˙.
b b b ˙. ˙. ˙. ˙.
U
Freely, Out Of Time
b
& b bbbb œœ œ œ œ œ œ œ œ œ œ œ œj œ ‰ œ œ œ œ œ œ œ œ œ œ œ. œ œœ œ
47 48 49 50 51

U
of this mixed up and baked in a beau-ti - ful pie. She is gone but she usedto be mine.
bb
& b b bb œœ .. œœ .. œœ .. œœ .. ˙˙ .. ˙˙ .. ˙˙˙ ..
œ. œ. œ. œ. ˙. ˙. .
E bm Cb Gb
? bb b b ˙ . U
b b ˙. ˙. ˙. ˙.
˙. ˙. ˙. ˙.
˙.
Piano/Conductor WAITRESS
Jenna

EVERYTHING CHANGES
Part II (Audition Cut)
17a
Music & Lyrics by
[Rev. 6/15/16]
SARA BAREILLES

JENNA: I will never forget you.

POMATTER: Another lifetime.
JENNA: You deserve homemade, but try telling that to a vending machine.
Here: "Thanks for Taking Me To The Moon Moonpie." (GO)

q. = 103

b b 12
1 2 3 4

& b b b 8 ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰œ ‰œ‰œ‰œ‰œ‰œ‰œ ‰œ‰œ‰œ‰œ‰œ‰œ ‰œ‰œ‰œ‰œ‰œ‰œ

œ b œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ
> >
G badd 9/B b poco a poco cresc.
A A

? b b 12 >œ ‰ œ ‰ œ ‰ >œ ‰ œ ‰
G badd 9/B b
/C /C
œ‰ œ‰œ‰œ‰œ‰œ‰œ‰ œ‰œ‰œ‰œ‰œ‰œ‰ œ‰œ‰œ‰œ‰œ‰œ‰
bbb 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

[5]
b
& b bbb Πj
JENNA: 6 7

j j j ˙. ‰ œ.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
I did - n't know, but now I see, some - times what is is meant to be you

bb
& b b b ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œ ‰
œ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
œ œ œ œ œ œ
F D b5 D b sus A b7(n o 5 )/D b

? b b œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œ œ
œ ‰ œ
œ œ œ
‰ œ ‰ œ ‰ œ
œ
‰ œ ‰
œ œ œ œ œ œ
œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰
bbb

bb j j j
Ó.
8 9 10

&b b b œ œ œ. Œ œ œ œ œ œ j
œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ
saved me. My blur - ry lines, my mes - sy life, come in - to foc - us and in time

bb
& b b b ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
œ œ œ œ œ œ
‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
œ œ œ œ œ œ
Db D b5 D b sus

? b b œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œ œ œ œ œ œ
œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰
œ œ œ œ œ œ
œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰
bbb

bb Œ. j œ.
11 12

& b b b ˙. œ. œ œ œ. œ.
may - be I

bb
&b b b ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ
œ œ œ œ œ œ
A b7(n o 5 )/D b Db
? bb b œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰
bb

©2015 by SARA BAREILLES

All Rights Reserved including Public Performance for Profit
 -2-
WAITRESS #17a. EVERYTHING CHANGES
Piano/Conductor
Part II (Audition Cut) [Rev. 6/15/16]
bb œ j j œ˙
œ œ. œ œ. œ œ œ œ. œ œ œ. Œ œj œ . œ J .
13 14 15 16

&b b b J œ J œ.
Œ
J œ.
can heal and I can breathe 'cause I can feel my - self be - lieve...

bb ‰ œ ‰ œ ‰ œ Œ. Œ.
& b b b ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ
œ œ œ œ œ œ Ab
œ œ œ
G badd 9/B b A b/C G badd 9/B b /C

? b b œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œœ ‰ œœ œ œ œ œ œ œ œ ˙.
bbb œ œ œ œ œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œ ‰ œ ‰ œ ‰ ˙.

[17] [A CAPPELLA]

b b w. ˙. œ.
18 19 20

&b b b ‰
œ œ œ. œ œ œ œ. œ œ œ ˙. œ.
‰
œ œ
Oh my heart's at the wheel now, And

j j j
(Ensemble)
bb œœ œœ .. œœ œœ ˙˙ .. œœ .. Œ.
& bbb œ œœ œœ œœ
œ œ œ œ. œ œ ˙. œ. ‰
œ œ œœ .
.
œœ œœ œœ œœ .
.
œœ œœ œœ ˙.
˙.
œ.
œ.
Ev - 'ry - thing chan - ges. Oh my heart's at the wheel now,

bb
&b b b ∑ ∑ ∑ ∑
N.C. / b
D
? bb
Drums continue

bbb
w. w. w. w.
w. w. w. w.
>
21
bb j j j j 22
œ œ œ œ œ.
23
j j 24
j
&b b b œ œ œ œ œ œ œ œ J J œ œ œ œ. œ œ œ œ œ œ œ œ œ œ. œ. ‰ œ œ
all my mis - takes they make sense when I turm them a - round Ev' - ry thing chan - ges, What I

bb Œ. Œ. ’ ’
&b b b ∑ ∑ ∑
E bm /C D b sus /C b G b/B b Db

? b b ˙. ˙. ˙. b˙ . w.
bbb . w.
˙ ˙. ˙. b˙ . w. w.

bb j j œ œ œ
25 26

&b b b œ œ œ œ J J œ œ. œ œ œ œ.
‰
œ œ
thought was so per - ma - nent fades. And I

bb
&b b b ’ ’ ’ ’ ’ ’ ’ ’
D b/F Gb A b sus Ab

? bb
b b b ˙. ˙. ˙. ˙.
˙. ˙. ˙. ˙.
 -3-
WAITRESS #17a. EVERYTHING CHANGES
Piano/Conductor
Part II (Audition Cut) [Rev. 6/15/16]

bb j j j j œ œ œ Œ. œ œ œ.
œ. ˙. œ. Œ œJ œ œ œ œ
27 28 29 30

&b b b œ œ œ œ œ œ œ œ œ. J J J
swear I'll re - mem - ber to say we were both born to - day 'cause ev - ery - thing's

bb
&b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
D b5/E b /F /G b /A b D b5/E b /F /G b /A b

? bb
bbb ˙. ˙. ˙. ˙. ˙. ˙.
˙. ˙.
˙. ˙. ˙. ˙. ˙. ˙. ˙. ˙.

rit.

bb œ. ˙. ˙. œ. j U
& b b b œ. Œ. j j
31 32 33 34

œ œ œ œ œ. œ œ w.
changed. Ev - 'ry - thing thing chan - ges.

b U
& b b b b ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
œ œ œ œ œ œ
‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ww ..
> > > > œ œ œ œ œ œ w.
D b5 D b sus A b7(n o 5 )/D b > Db
? b b >œœ ‰ œœ ‰ œœ ‰ >œœ ‰ œœ ‰ œœ ‰ >œ œ œ >œ œ œ
œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰
>œ œ
œ ‰ œ ‰
œ œ œ œ
œ ‰ œ ‰ œ ‰ œ ‰
U
w.
bbb