Give Me a Room

GIVE ME A ROOM

KATIE

GIVE ME A ROOM ON YOUR HIGHEST FLOOR
I’VE NEVER BEEN TO THIS CITY BEFORE
I’VE COME TO SEE ALL THAT I CAN SEE
DO YOU HAVE A PLACE FOR ME?

I WANT TO SEE TO ETERNITY
AND WHAT IT COSTS DOESN’T MATTER TO ME
I’M ONLY HERE FOR A ONE NIGHT STAY
AND I’D LIKE TO CHECK IN TODAY

HOW MANY FLOORS HERE?

BELLHOP

THIRTY

KATIE

MY!
I WANT TO STAY ON THE TOP ONE
I WANT TO FEEL LIKE I CAN TOUCH THE SKY

GIVE ME THE ROOM WITH THE GRANDEST VIEW
NOTHING BELOW FLOOR THIRTY WILL DO
II’M HERE TODAY AND I’D LIKE TO CHECK IN
TO LET MY VACATION BEGIN

BELLHOP

I CAN GIVE YOU A ROOM ON FLOOR FIFTEEN

KATIE

THAT’S JUST HALFWAY UP THE TOWER
THAT SIMPLY IS NOT GOOD ENOUGH FOR ME

MAGGIE

Lisa, don’t worry. She’s fine, I’m sure.

LISA

I’m not.

MAGGIE

Relax.

LISA

Katie? Answer the phone, Katie. Please? I’m getting worried.

KATIE, KATIE
WHAT’S HAPPENING?
WHERE HAVE YOU GONE?
I’M WORRIED SICK ABOUT YOU
KATIE

KATIE, WHERE ARE YOU?
KATIE?
KATIE, WHERE ARE YOU?
KATIE?
KATIE, WHERE ARE YOU?
KATIE?
KATIE, WHERE ARE YOU?
KATIE?

KATIE

GIVE ME A ROOM ON YOUR HIGHEST FLOOR
I’VE NEVER BEEN TO THIS CITY BEFORE
I WANT TO SEE ALL THAT I CAN SEE
DO YOU HAVE A PLACE FOR ME?

BELLHOP

I SUPPOSE THERE’S A PLACE ON TWENTY-ONE

KATIE

IF THAT’S AS HIGH AS YOU CAN GET ME
THEN, I GUESS, MY BUSINESS HERE IS DONE

BELLHOP

WAIT – EXCUSE ME
ONE MINUTE PLEASE
I’LL LOOK AGAIN
THERE MUST BE SOMETHING HIGHER

KATIE

THANK YOU

LISA

KATIE, WHERE ARE YOU?
KATIE?
KATIE, WHERE ARE YOU?
KATIE?
KATIE, WHERE ARE YOU?
KATIE?
KATIE, WHERE ARE YOU?
KATIE?

(This counter-rhythm is kept up under KATIE’s voice.)

KATIE

LISA, LISA
I HEAR YOUR VOICE
I SEE YOUR FACE
WHY ARE YOU CALLING TO ME?
COULD YOU SUSPECT ANYTHING?
COULD YOU?
WOULD YOU?

(Both melodies stop together.)

WOMAN 1

WHAT’S GOING ON HERE?
WHY IS THIS TAKING SO LONG?

WOMAN 2

THIS IS INSANE
THIS IS SO WRONG

(A king of fugue begins among the different melodies.)

WOMAN 3

WHAT’S GOING ON?
WHAT’S GOING ON?

WOMAN 1 & 2

WHAT’S GOING ON HERE?
WHY IS THIS TAKING SO LONG?
THIS IS INSANE
THIS IS SO WRONG

MAN 1 & 2

JUST LET ME THROUGH
I WON’T TAKE LONG
I HAVE A RESERVATION
I’LL JUST BE QUICK
I WON’T TAKE LONG
PLEASE LET ME GO
THIS WILL BE FAST
JUST LET ME THROUGH
I PROMISE YOU
I WON’T TAKE LONG

(The fugue ends and one man sings.)

MAN 3

THESE ROOMS YOU KEEP FINDING
HAD BETTER NOT BE MINE

BELLHOP

PLEASE SIR WAIT YOUR TURN

MAN 3

BUT THIS IS –

BELLHOP

PLEASE SIR STAY IN LINE

KATIE

GIVE ME A ROOM ON YOUR HIGHEST FLOOR
I’VE NEVER BEEN TO THIS CITY BEFORE
I’VE COME TO SEE ALL THAT I CAN SEE
DO YOU HAVE A PLACE FOR ME?

(Another fugue begins.)

LISA AND GROUP 1

KATIE, KATIE
WHAT’S HAPPENING
WHERE HAVE YOU GONE
I’M WORRIED SICK ABOUT YOU
KATIE

KATIE

I WANT TO SEE TO ETERNITY
AND WHAT IT COSTS DOESN’T MATTER TO ME
I’M ONLY HERE FOR A ONE NIGHT STAY
AND I’D LIKE TO CHECK IN TODAY

GROUP 2

KATIE, WHERE ARE YOU?
KATIE?
KATIE, WHERE ARE YOU?
KATIE?
KATIE, DON’T DO IT!
KATIE?
KATIE, DON’T DO IT!
KATIE?

KATIE, WHERE ARE YOU?
KATIE?
KATIE, WHERE ARE YOU?
KATIE?
KATIE, DON’T DO IT!
KATIE?
KATIE, DON’T DO IT!
KATIE?

GROUP 3

WHAT’S GOING ON HERE
WHY IS THIS TAKING SO LONG
THIS IS INSANE
THIS IS SO WRONG

GROUP 4

JUST LET ME THROUGH
I WON’T TAKE LONG
I HAVE A RESERVATION
I WILL BE QUICK
I WON’T TAKE LONG
PLEASE LET ME THROUGH
I’VE WAITED HERE
BEHIND THIS GIRL
ALMOST A HALF AN HOUR
PLEASE LET ME THROUGH
I WON’T TAKE LONG

MAN

THESE ROOMS YOU KEEP FINDING
HAD BETTER NOT BE MINE

BELLHOP

PLEASE SIR WAIT YOUR TURN

MAN

BUT THIS IS –

BELLHOP

PLEASE SIR WAIT IN LINE

MAN

I JUST WANT TO CHECK IN

BELLHOP

SIR THAT WILL BE FINE
IF YOU’LL JUST STAY IN LINE

(The fugal section ends.)

OUR VERY HIGHEST ROOM’S ON TWENTY-NINE

KATIE

I’LL STAY UNTIL YOU FIND ANOTHER
AND IF I DO I’LL JUST HOLD UP THE LINE

NICK

IF BEING TOP IS IMPORTANT TO YOU
PERHAPS MY ROOM ON THIRTY WILL DO
IF YOU WOULD RATHER HAVE THAT IT IS FINE
I’LL TAKE THE ROOM ON TWENTY-NINE

KATIE

THAT’S SO KIND OF YOU! WHAT CAN I SAY?

NICK

THERE’S REALLY NO NEED TO THANK ME

KATIE

STILL I WISH THAT I COULD ANYWAY
(aside) JUST TEN FEET COULD BE THE DIFFERENCE BETWEEN A LIFETIME OF PAIN
AND THE PAIN OF A LIFETIME FADING

A FEW WOMEN

KATIE, WHERE ARE YOU?
KATIE?
KATIE, WHERE ARE YOU?
KATIE?
KATIE, DON’T DO IT!
KATIE?
KATIE, DON’T DO IT!
KATIE?

(This is repeated under the melodies.)

LISA

KATIE

KATIE, KATIE

LISA, LISA

WHAT’S HAPPENING?

I HEAR YOUR VOICE

WHERE HAVE YOU GONE?

I SEE YOUR FACE

I’M WORRIED SICK ABOUT YOU

WHY ARE YOU CALLING TO ME?

I’M NOT SURE WHAT YOU WILL TRY

COULD YOU SUSPECT ANYTHING?

KATIE

COULD YOU?

WOULD YOU?

WOULD YOU?

(As the twin melodies stop, so too does the undercurrent melody.)

BELLHOP

HERE IS YOUR ROOM – TWENTY-NINE-OH-TWO

KATIE

THANKS VERY MUCH

NICK

LET ME TRADE WITH YOU

KATIE

WHICH ROOM IS IT THAT I’M GOING TO?

NICK

IT’S ROOM NUMBER THIRTY-OH-TWO