Music Man Script

7/21/2019 Music Man Script

http://slidepdf.com/reader/full/music-man-script 1/135

THE MUSIC MAN

ACT 1

#1 Overture

SCENE ONE

#2 Train Opening

(TIME: The morning of July 4th, 1912.

AT RISE: Train effet !rim ri!e! on a re"#$lu!he", %ero!ene#lam$e",enamel#"rin%ing#u$$e" rail&ay oah in full ry. 'ne !eat ha! eenturne" in the oah to aommo"ate a ar" game ) the $artii$ant! eing three TRA*E+I- SA+ESME an" a STRA-ER &ho!e a% i! to the

A/IE0E an" &ho i! onentrate" throughout the !ene on &inningeery $ot, &hih he "ro$! y han"ful! into an o$en !uita!e on the floory hi! !i"e. A 'RT3 SA+ESMA i! %iiting. A fe& !eat! for&ar" inthe oah a IT3 SA+ESMA i! rea"ing a ne&!$a$er, until he fin"!him!elf "ra&n into the oner!ation among the SA+ESME. Seeralother 5ASSE-ERS are ehin" ne&!$a$er!. 6e hear 7train#!lo&ing#"o&n8 MSI0. The train !lo&! an" !to$!.

CONDUCTOR

(5o%ing hea" into oah +ET

River City Junction – River City next stop!(EITS

SALESMAN #1

You’re crazy with the heat. Credit is no good for a notion salesman.



CONDUCTOR

(5o%ing hea" into oah again

oart! ll a"ort!(EITS

SALESMAN #2

#hy not$ #hat’s the matter with credit$

SALESMAN #1

%t’s old&fashioned. Charlie' you’re an anvil salesman – your firmgive credit$

(Train ma%e! !tarting noi!e in 'R03ESTRA.

CHARLIE COWELL

(o sir!

SALESMAN #1

(or any"ody else.(Train !tarting, "ialogue in time to train aeleration.

CONDUCTOR

River City. River city next.

#3 – Rock Island (Salesmen, Charlie Cowell, Newspaper Readers)

SALESMAN #1

0AS3 )*R +,- -RC,(/%0- –0AS3 )*R +,- 1++*(&,**20 –

SALESMAN #2

(o""ing

0AS3 )*R +,- C*++*( 3**/0 –0AS3 )*R +,- ,R/ 3**/0 –

SALESMAN #1



0AS3 )*R +,- 0*)+ 3**/0 –0AS3 )*R +,- )(CY 3**/0 –

SALESMAN #2

0AS3 )*R +,- (*33%(0 (/ +,- 4%33%(0 (/ +,- )%R2%(0.



SALESMAN #3

0AS3 )*R +,- ,*30,-/' C02 (/ /-%J*,(.0AS3 )*R +,- CRC2-R0 (/ +,- 4%C25-0

(/ +,- +; &44-R.

SALESMAN #4

(Train at running !$ee".

5**2 #,/Y+52' #,/Y+52'#,/Y+52' #,/Y+52' #,/Y+52.

SALESMAN #5

#,-R-/Y3%+%+$

SALESMAN #4

#,/Y+52$

SALESMAN #1

Y C( +52' Y C( +52'Y C( %C2-R' Y C( +52'Y C( %C2-R' %C2-R' %C2-R'Y C( +52' Y C( +52'Y C( +52' +52' +52' +52'%C2-R' %C2-R' %C2-R'

Y C( +52 55 Y #((1+ %+’0 /%))-R’(+ +,( %+ #0.

CHARLIE COWELL

(Ill#tem$ere"

(* %+ %(’+' (* %+ %(’+'1+ Y 3*++ 2(*# +,- +-RR%+*RY.

SALESMAN #3

C,%' C,%' C,%' C,%' C,%' C,%' C,%.#,Y %+’0 +,- */-5 + )*R//- +,- +R*15-'/- +,- 4-*45- #(+ +* 3*#(( 3%+ #(( 3%+#(( 3%+ 14 (/ 3*6' 7' 8' 9:' 9;' 9<' ;;' ;=



%5-0 +* +,- C*1(+Y 0-+ –

SALESMAN #1

Y-0' 0%R.Y-0' 0%R.



SALESMAN #3

#,*’0 3*(( 4+R*(%>- 5%++5- %++Y T6'#<;#'R 2%(/ 0+*R- (Y*R-$

(A! eah E6S5A5ER REA/ER !$ea%! he lo&er! hi! $a$er long

enough to !ay hi! line, then it goe! a% u$ efore hi! fae.

SALESMAN #4

#,+/Y+52' #,+/Y+52.

NEWSAER READER #1

#,-R-/Y3%+%+$

CHARLIE COWELL

(*+ +,-*/-5 + + 55'+2- 3(/-R + +,- 0+*R-'

+ +,- M'/R-( 0+*R-' + +,- 4R-0-(+ /Y 0+*R- + +,- 4R-0-(+ /Y*/R-( /-4R+-(+5%>-/ 3R*C’RY 0+*R-.

SALESMAN #4

#,/Y+52' #,/Y+52' #,/Y+52'

#,/Y+52' #,/Y+52.

NEWSAER READER #1

#,-R-/Y3%+%+$

SALESMAN #4

#,/Y+52' #,/Y+52' #,/Y+52.

NEWSAER READER #1

#,-R-/Y3%+%+$

SALESMAN #1

Y C( +52' Y C( %C2-R'Y C( +52' Y C( %C2-R'Y C( +52' +52' +52' +52'



%C2-R' %C2-R' %C2-R'Y C( +52 55 Y #((1+ %+’0 /%))-R’(+ +,( %+ #0.

CHARLIE COWELL

(* %+ %(’+' 1+ Y 3*++ 2(*# +,- +-RR%+*RY.



SALESMAN #3

#,Y' %+’0 +,- &(--/ %0C1%+/- +,- +R*15-. &(--/' &(--/'41+ +,- CR2-R0 %( 4C23-' %( 4C23-'+,- &(--/ %0C1%+

%( ( %R&+%3,+ 0(%+RY 4C23-/- +,- CRC2-R RR-5 *0*5-+-' *0*5-+-.

CHARLIE COWELL

*0*5-+-' *0*5-+-' *0*5-+-.

SALESMAN #4

CRC2 RR-5 #-(+ *1+ +,- #%(/*##%+, +,- %5 4*1C, C1+ 4513 C,#%(’ Y +,- 0+*?-@

03A-E/ +,- 44R*C, *) +R?-5%(’ 05-0('/- %+ 4R-++Y ,R/ –

CHARLIE COWELL

(* %+ /%/(’+' (* %+ /%/(’+'1+ Y 3*++ 2(*# +,- +-RR%+*RY.

SALESMAN #3

3*(-' 3*(-.

SALESMAN #1

3*(- #%+, +,- ,*30,-/' C02 (/ /-%J*,('3*(- #%+, +,- 013R RR-5' 4%C25- RR-5' %52 4('3*(- #%+, +,- +1 (/ +,- 4%5 (/ +,- +%-RC-.

SALESMAN #5

(El"er !tate!man

-?-R --+ )-55 Y +,- AME A= 3I++$

SALESMAN #1

,%55$

CHARLIE COWELL



,%55!

SALESMAN #3

,%55$

SALESMAN #4

,%55$

NEWSAER READER #1

,%55$

NEWSAER READER #2

,%55$

NEWSAER READER #3

,%55$

SALESMAN #5

,%55!

ALL !UT CHARLIE COWELL

(*!

(A++ E6S5A5ERS go a% u$. There i! a 63IST+E an"'R03ESTRA i! hear".

CHARLIE COWELL

J10+ %(1+-' J10+ %(1+-' J10+ %(1+- –

SALESMAN #4

(-?-R ,-R/ ’ ( SA+ESMA ,%55 –

SALESMAN #5

(*#' ,- /*-0(’+ 2(*# +,- +-RR%+*RY –

SALESMAN #1

/*-0(’+ 2(*# +,- +-RR%+*RY$



SALESMAN #3

#,+’0 +,- )-55’0 5%(-$

SALESMAN #5

(-?-R #*RR%-0 A*1+ ,%0 5%(-.

SALESMAN #1

(-?-R #*RR%-0 A*1+ ,%0 5%(-$

SALESMAN #5

*R +,- CRC2-R RR-5 -%(’ *0*5-+-'*R +,- 1(--/ %0C1%+%( ( %R&+%3,+ 0(%+RY 4C23-'*R +,- */-5 + )*R/ –

CHARLIE COWELL

J10+ %(1+-' J10+ %(1+-' J10+ %(1+- –

SALESMAN #5

(-?-R #*RR%-0 A*1+ ,%0 5%(- –

SALESMAN #3

(-?-R #*RR%-0 A*1+ ,%0 5%(-$

SALESMAN #5

*R /*33*(- +,%(3.3E=S JST A (3 -+' -55&R%(3%(’'%3 ,15' 3R-+ 3*'(-C2&*R&(*+,%(’' R%4&R*R%(’'-?-R’+%-&&155’0&-Y- SA+ESMA '+,+’0 4R*)-00*R ,R*5/ ,%55' ,R*5/ ,%55.

NEWSAER READER #1

+-55 10' #,+’0 ,%0 5%(-$#,+’0 ,%0 5%(-$

CHARLIE COWELL

,-’0 )2-' (/ ,- /*-0(’+ 2(*# +,- +-RR%+*RY!



SALESMAN #4

5**2' #,/Y+52' #,/Y+52'#,/Y+52' #,/Y+52.

SALESMAN #5

,-’0 MSI0 (.

SALESMAN #3

,-’0 #,+$ ,-’0 #,+$

SALESMAN #5

,-’0 10%C (' (/ ,- 0-550 C5R%(-+0 +* +,- 2%/0 %( +,- +*#('#%+, +,- %3 +R**(-0 (/ +,- R+++ /R10'

(/ +,- %3 R00 00' %3 R00 00'

(/ +,- 4%CC*5*' +,- 4%CC*5*' 1(%)*R0 +**'#%+, +,- 0,%(Y 3*5/ R%/ *( +,- C*+'

(/ %3 R-/ 0+R%4- R1((%(3 –

SALESMAN #1

6E++> –% /*(’+ 2(*# 1C, *1+ (/0'1+ % /* 2(*# Y*1 C(’+ 2- 5%?%(’0-55’ %3 +R**(-0 – (* 0%R!(/*5%( 4%C20' 4-R,40'

(/ ,-R- (/ +,-R- J-#0&,R4 –

SALESMAN #5

(*' +,- )-55 0-550 (/0'<';S’ (/0.% /*(’+ 2(*# ,*# ,- /*-0 %+'1+ ,- 5%?-0 5%2- 2%(3'

(/ ,- /55%-0 (/ ,- 3+,-R0' (/ ,- 451C20 (/ ,- 0,%(-0' (/ #,-( +,- ( /(C-0'

"SALESMAN #5

C-R+%(5Y' *Y0' #,+ -50-B+,- 4%4-R 4Y0 ,%.Y-000 – 0%R.Y-0 0%R' Y-0 0%R' Y-0 0%R'#,-( +,- ( /(C-0



C-R+%(5Y *Y0' #,+ -50-B+,- 4%4-R 4Y0 ,%.

ALL

Y-0 0%R. Y-0 0%R.

CHARLIE COWELL

1+ ,- /*-0(’+ 2(*# +,- +-RR%+*RY!

('R03ESTRA utton. Train !to$!.

CONDUCTOR

('STA-E

River City! River City!(ETERS

River City! #e’re Across the state line into %owa. River City!4opulation twenty two hundred and twelve. 0eegarettes illegal inthis state. ooart!

(EITS

CHARLIE COWELL

ll right' if you’re all through %’ll tell you a"out ,arold ,ill!

SALESMAN #5

You really now ,arold ,ill$

CHARLIE COWELL

(ever saw him in my life "ut % now this much – he’s giving everyone of us a "lac eye! fter he’s wored a town over' the nextsalesman to arrive gets automatically tarred and feathered androde out to the city limits on a rail.

(T3E; laugh

You thin that’s funny. #ell' wait till it happens to you! Your hairnever grows "ac.

(0'6E++ $ull! off hat.(T3E; reat

SALESMAN #1



ut why should he get rode out’a town on a rail$

CHARLIE COWELL

ecause in order to sell "and instruments' and uniforms' andinstruction "oos' he has to guarantee to teach the ids to play.

SALESMAN #3

#ell$

CHARLIE COWELL

nd to form them inds into a "and! #ith himself as the leader!

SALESMAN #5

#hat’s wrong with that$

CHARLIE COWELL

,e don’t now one note from another that’s what’s wrong with that! nd he can’t tell a "ass drum from a pipe organ! %’ll catch up withthat swindlin’ two&"it thim"le rigger' and when % do %’ll sDueal on himso loud –

SALESMAN #5

(+aughing

#ow' you’re mad' Charlie!0ure lie to "e around when you catch up with that fella.

CHARLIE COWELL

#ell it won’t "e on this trip. (ot in %owa. -ven the great 4rofessor,arold ,ill wouldn’t try to sell them nec&"owed ,aweyes outhere.

CONDUCTOR

('STA-E

ooaart!(T3E STRA-ER ma%e! a fa!t "ei!ion an" gra! hi! !uita!e.

STRAN$ER

3entlemen' you intrigue me. % thin %’ll have to give %owa a try.



CHARLIE COWELL

(0ol"ly

/on’t "elieve % caught your name.

#4 – Iowa Stuorn (Townspeople, !armer, !armer"s i$e)

(STRA-ER turn! an" &e !ee him for the fir!t time. It i! our hero. 3E

fla!he! !uita!e &hih ear! the legen" 75R'. 3AR'+/ 3I++8 an" heEITS from train a! all hea"! go out the &in"o&!.

0oah !$lit! in t&o to reeal a full !tage ie& of Rier 0ity=! Main Streetimme"iately follo&ing. The to&n i! in 4th of July unting an" the !tuornIo&an! are out in fore.

SCENE TWO

(TIME: Imme"iately follo&ing.

AT RISE: Rier 0ity, Io&a, enter of to&n, e?terior.

T'6S5E'5+E are !een en taleau.

MA;'R S3I ETERS from the <illiar" 5arlor, leaing the "oor o$enfor T6' 6'R@ME &ho ETER arrying a large rate ontaining ai!ile $ool tale &hih they ta%e into the <illiar" 5arlor.

TOWNSEOLE

*,' +,-R-’0 (*+,%(’ ,5)#Y *1+ +,- %*# #Y +* +R-+ Y*1'#,-( #- +R-+ Y*1'#,%C, #- Y (*+ /* + 55.+,-R-’0 ( %*# 2%(/04-C%5 C,%4&*(&+,-&0,*15/-R ++%+1/-#-’?- (-?-R --( #%+,*1+ +,+ #- R-C55.

#- C( - C*5/ 0 *1R )55%(3 +,-R*-+-R0 %( /-C--R%) Y*1 02 *1+ *1R #-+,-R %( J15Y.

(/ #-’R- 0* Y 3*/ 0+1*R('#- C( 0+(/ +*1C,%(’ (*0-0)*R #--2 + +%- (/ (-?-R 0-- -Y-&+*&-Y-.

1+ #,+ +,- ,-C2! Y*1’R- #-5C*-'J*%( 10 + +,- 4%C(%C.Y*1 C( ,?- Y*1R )%55*) 55 +,- )**/ Y*1 R%(3 Y*1R0-5).



Y*1 R-55Y *13,+ +* 3%?- %*# +RY'4R*?%/-/ Y*1 R- C*(+RRY.

!O%

3ood morning' ayor 0hinn.

MAN

3ood morning' ayor 0hinn.

SHINN

%t is' if you wanta go Around in your drawers all day.(MSI0 $hra!e

ALMA

nd there % was in the adison ,ospital and no"ody come to seeme. Cousin #ill never come' unt ertha never come –

ETHEL

Your unt ertha’s dead.

ALMA

0he wouldn’t a’ come anyway.(MSI0 $hra!e

TOWNSEOLE

#- C( - C*5/ 0 *1R )55%(3 +,-R*-+-R0 %( /-C--R%) Y*1 02 *1+ *1R #-+,-R %( J15Y.

(/ #-’R- 0* Y 3*/ 0+1*R('#- C( 0+(/ +*1C,%(’ (*0-0)*R #--2 + +%- (/ (-?-R 0-- -Y-&+*&-Y-.

(A a$$ella a la horale

1+ #-’55 3%?- Y*1 *1R 0,%R+' (/ C2 +* 3* #%+, %+%) Y*1R CR*4 0,*15/ ,44-( +* /%-.

(The T6' 6'R@ME leae <illiar" 5arlor arrying a $ool tale $a%inga!e frame to 0ETER, a! ARMER an" 6IE &ho hae ETERE/



meet "o&n 0ETER. T3E; turn in!i"e frame for !hort $o!e a! -RAT6''/S 7AMERI0A -'T3I08

&ARMER

(<rea%ing $o!e, in tem$o

0* #,+ +,- ,-C2! Y*1’R- #-5C*-.

35/ +* ,?- Y*1 #%+, 10.

&ARMER' WI&E

-?-( +,*13, #- Y (*+ -?-R -(+%*( %+ 3%(.

TOWNSEOLE

Y*1 R-55Y *1+ +* 3%?- %*# –,#2-Y-' %*#' /11E1-' /-0 *%(-0'/?-(4*R+' 0,5+*#('

0*( C%+Y' 2-*212' -0' C5-R 52- –*13,+ +* 3%?- %*# +RY.

(3AR'+/ ro!!e! to u!ine!! from laele" 7RI*ER 0IT; +I*ER;STA<+E, JA0E; SIRES, 5ro$.8 3AR'+/ a""re!!e! a !hort, &iryman aout BC, JA0E; SIRES.

HAROLD

h' r. 0Duires$ Yes' %’m interested in a rig for 0unday' if you couldaccommodate me.

(ACE%

(In a high#$ithe" tenor

+hen % expect you’d out to see the man in charge a’ hirin’ rigs.(EITI- into +iery Stale, 3E turn!.

#ho is late as usual.(MAR0E++S 6AS3<R, roun"i!h, $er!$iring, ETERS hurrie"ly fromthe &ing!. At +iery Stale "oor 3E ta%e! out hi! %ey. A! 3E i! aout to

o$en the "oor 3E loo%! u$ an" !ee 3AR'+/, ru! hi! eye! in "i!elief

MARCELLUS

,ey' 3regory!

HAROLD



arcellus!

MARCELLUS

You old son of a gun! #hat in –

HAROLD

(3a!tily $u!hing a!i"e $roffere" han"

0h – sh – shhh.

MARCELLUS

ut 3reg –

HAROLD

4rofessor ,ill’s the name – ,arold ,ill.

MARCELLUS

ut 3reg' what are you doing here$ #hyn’t you let me now youwas comin’$

HAROLD

% didn’t now % was myself. esides how could % now you’d end upin a little tan town lie this$ You were a pretty "ig slicer when youwere in "usiness with me.

MARCELLUS

+oo many close shaves the way you wor. esides % got me a nicecomforta"le girl – -thel +offelmier – "oss’s niece.

HAROLD

3one legitimate' huh$ % new you’d come to no good.

MARCELLUS

#hat’s the new pitch$(3AR'+/ $antomime! on"uting.

You’re not "ac in the "and "usiness! % heard you was in steamautomo"iles.

HAROLD



% was.

MARCELLUS

#hat happened$

HAROLD

0ome"ody actually invented one.

MARCELLUS

(o!

HAROLD

(ow give me the lowdown here' arce.

MARCELLUS

You’ll never get anywhere in the "and "usiness with these stu""orn%owans' 3reg. esides we got a stuc&up music teacher herewho’ll expose you "efore you get your grip unpaced.

HAROLD

ale or female$

MARCELLUS

+he music teacher$ 0he’s the li"rarian – female.

HAROLD

4erfect! +hat’s what % wanted to hear. %f she passes "y point herout to me.

MARCELLUS

% will. ,ow you gonna start the pitch$

HAROLD

0ame old way. 2eep that music teacher off "alance – and then mynext step will "e to get your town out of the serious trou"le it’s in.

MARCELLUS



River City isn’t in any trou"le.

HAROLD

+hen %’ll have to create some. % have to create a desperate needfor a oys’ and. You remem"er – (ow what’s new around here.#hat can % use$

MARCELLUS

(othin’ – except the "illiard parlor’s Fust put in a new pool ta"le.

HAROLD

+hey never had a pool ta"le here "efore$

MARCELLUS

(o – only "illiards.

HAROLD

+hat’ll do.

(5ut! "o&n hi! !uita!e.

0ee you later' arce – and don’t forget – music teacher.

(5antomime! $iano $laying.

MARCELLUS

5antomiming a! 3E EITS

usic teacher.(3AR'+/ a$$roahe! E6ART /+'5 &ho ha! ome out of hi!groery an" i! loo%ing u$ at hi! !ign.

HAROLD

h – you’re r. /unlop.

EWART

Yep.

HAROLD



-ither you’re closing your eyes to a situation you don’t wish toacnowledge or you are not aware of the cali"er of disasterindicated "y the presence of a pool ta"le in your community.

(A! 3AR'+/ ontinue!, T'6S5E'5+E gather aroun" him one y one..<. The &or" 7Slam8 in the follo&ing merely "enote! a rhythmi $ul!e.

#% – &a 'ot Troule (arold, Townspeople)

"HAROLD

(Slam

#-55' Y 3*+ +R*15-' Y )R%-(/ –

(Slam

R%3,+ ,-R-.% 0Y' +R*15- R%3,+ ,-R- %( R%?-R C%+Y.

#,Y 01R-' %’ %55%R/ 45Y-R'C-R+%(5Y %3,+&Y 4R*1(/'% 0Y' %’ 5#Y0 %3,+Y 4R*1/ +* 0Y %+.

(Slam

% C*(0%/-R +,+ +,- ,*1R0 % 04-(/#%+, C1- %( Y ,(/ R- 3*5/-(.

(Slam(Slam

,-5 Y41 C15+%?+- ,*R0- 0-(0- (/ C**5 ,-/ (/ 2--( -Y-.AJ-?-R +2- (/ +RY +* 3%?-

( %R*(&C5/ 5-?- +* Y*1R0-5))R* +,R--&R%5 %55%R/ 0,*+$

(Slam

1+ J10+ 0 % 0Y %+ +2-0 J1/3-(+'R%(0 (/ +1R%+Y

+* 0C*R- %( 525%(- 3-'% 0Y +,+ (Y ** 2%( +2- A(’ 0,*?-

55 %( 4*C2-+'

(Slam

(/ % C55 +,+ 05*+,!+,- )%R0+ %3 0+-4 *( +,- R*/



+* +,- /-4+,0 *) /&3R&/ –% 0Y' )%R0+ %+’0 5%++5- – , –-/%C%(5 #%(- )R* +-04**(G

"HAROLD

+,-( --R )R* *++5-.

(Slam

(/ +,- (-H+ +,%(3 Y*1 2(*#'Y*1R 0*( %0 45Y%(’ )-R *(-Y%( 4%(C,&C2 01%+'

(Slam

(/ 5%0+’(%(’ +* 0*- %3' *1+&&+*#( J04-R',-R%(’ ,% +-55 *1+ ,*R0-&RC- 35%(’.

(Slam

(*+ #,*5-0*- +R*++%(’ RC-' (*!1+ RC- #,-R- +,-Y 0-’ /*#(R%3,+ *( ,*R0-!

(Slam

5%2- +* 0-- 0*- 0+1C2&14 J*C2-Y *Y0-++%(’ *( /( 4+C,$2- Y*1R 5**/ *%5$

#-55 % 0,*15/ 0Y.

(Slam

(*# )R%-(/0'5-- +-55 Y*1 #,+ % -(.

(Slam

Y 3*+ *(-' +#*' +,R-- )*1R')%?-' 0%H 4*C2-+0 %( +5-!

4*C2-+0 +,+ R2 +,- /%))’R-(C--+#--( 3-(+5-( (/ 1'#%+, C4%+5 I'

(/ +,+ R,Y-0 #%+, I4' (/ +,+ 0+(/0 )*R 4**5.

(Slam



(/ 55 #--2 5*(3Y*1R R%?-R C%+Y Y*1+,’55 -)R%++-R( #Y% 0Y' Y*1R Y*1(3 -(’55 - )R%++-R(.

"HAROLD

(Slam

)R%++-R( #Y+,-%R (**(&+%-' 0144-R&+%- –C,*R-&+%-' +**!

(Slam

3-+ +,- 55 %( +,- 4*C2-+!(-?-R %(/ 3-++%(3’ /(/-5%*(0 4155-/*R +,- 0CR--( /**R 4+C,-/*R +,- --)0+-2 4*1(/-/.

(Slam

(-?-R %(/ 414%(’ (Y #+-RA+%5 Y*1R 4R-(+0 R- C13,+#%+, +,- C%0+-R( -4+Y *( 0+1R/Y (%3,+'

(/ +,+’0 +R*15-'*, Y-0' Y 3*+ 5*+0 A(’ 5*+0 ’ +R*15-.%’ +,%(2%(’ *) +,- 2%/0 %( +,- 2(%C2-R*C2-R0'0,%R+&+%5 Y*1(3&*(-0 4--2%(’ %( +,-

4**5 ,55 #%(/ )+-R 0C,**5 –Y 3*+ +R*15-'

(Slam

)*520

(Slam

R%3,+ ,-R- %( R%?-R C%+Y.

(Slam

+R*15-' #%+, C4%+5 I+' (/ +,+ R,Y-0 #%+, I4' (/ +,+ 0+(/0 )*R 4**5!(*# % 2(*# 55 Y*1 )*520

R- +,- R%3,+ 2%(/ ’ 4R-(+0.



(Slam

%’ 3*(( - 4-R)-C+5Y )R(2.

(Slam

"HAROLD

#*15/ Y 5%2- +* 2(*##,+ 2%(/ C*(?-R0+%*( 3*-0 *(#,%5- +,-Y’R- 5*)%(’ R*1(/ +,- ,55$+,-Y’55 - +RY%(’ *1+ -?*G+RY%(’ *1+ C1-0G+RY%(’ *1+ +%5*R /-0'5%2- C%3R-++- )%-(/0!

(Slam

(/ R33%(’

55 *1+ ,*# +,-Y’R- 3*((C*?-R 14 +-55&+5- R-+,#%+, 0-(&0-(.*(- )%(- (%3,+

(Slam

+,-Y 5-?- +,- 4**5 ,55',-/%(’ )*R +,- /(C- + +,- R’RY!5%-R+%(- -( (/ 0CR5-+ #*-( (/R3&+%- – 0,-5-00 10%C

+,+’55 /R3 Y*1R 0*( (/ Y*1R /1+,-R#%+, +,- R0 *) J1(35- (%5 %(0+%(C+00&0+-R%!

(Slam

)R%-(/0' +,- %/5- R%(%0 +,- /-?%5’0 45Y3R*1(/'+R*15-!

(The T'6S5E'5+E Doin 3AR'+/.

TOWNSEOLE

*,' #- 3*+ +R*15-!

HAROLD

R%3,+ ,-R- %( R%?-R C%+Y!



TOWNSEOLE

R%3,+ ,-R-%( R%?-R C%+Y!

HAROLD

#%+, C4%+5 I+' (/ +,+ R,Y-0 #%+, I4'

(/ +,+ 0+(/0 )*R 4**5

TOWNSEOLE

+,+ 0+(/0 )*R 4**5.

HAROLD

#-’?- 01R-5Y 3*+ +R*15-!

TOWNSEOLE

#- 01R-5Y 3*+ +R*15- –

HAROLD

R%3,+ ,-R- %( R%?-R C%+Y!

TOWNSEOLE

&R%3,+ ,-R-.

HAROLD

3*++ )%33-R *1+ #Y +* 2--4+,- Y*1(3 *(-0 *R5 )+-R 0C,**5.

HAROLD' TOWNSEOLE

*1R C,%5/R-(’0 C,%5/R-( 3*(( ,?- +R*15-'+R*15-' +R*15-' +R*15-@

(0hant ontinue! in a%groun" through 3AR'+/=S !$eeh.

HAROLD

others of River City! ,eed the warning "efore it’s too late! #atchfor the tell&tale signs of corruption! +he moment your son leaves thehouse does he re"ucle his nicer"ocers "elow the nee$ %sthere a nicotine stain on his index finger$ dime novel hidden inthe corn cri"$ %s he memorizing Foes out of captain illy’s #hiz



"ang$ re certain words creeping into his conversation$ #ords lieIswell and Iso’s your old man$ %f so' my friends –

(Slam(Slam

Y 3*+ +R*15-!

TOWNSEOLE

*,' #- 3*+ +R*15-!

HAROLD

R%3,+ ,-R- %( R%?-R C%+Y!

TOWNSEOLE

R%3,+ ,-R- %( R%?-R C%+Y!

HAROLD

#%+, C4%+5 I+' (/ +,+ R,Y-0 #%+, I4' (/ +,+ 0+(/0 )*R 4**5!

TOWNSEOLE

+,+ 0+(/0 )*R 4**5!

HAROLD

#-’?- 01R-5Y 3*+ +R*15-!

TOWNSEOLE

#- 01R-5Y 3*+ +R*15-!

HAROLD

R%3,+ ,-R- %( R%?-R C%+Y!

TOWNSEOLE

R%3,+ ,-R-!

HAROLD

R---R +,- %(' 45Y*1+, R*C2'



(/ +,- 3*5/-( R15-!

HAROLD AND TOWNSEOLE

*1R C,%5/R-(’0 C,%5/R-( 3*(( ,?- +R*15-.

HAROLD

*,' #-’?- 3*+ +R*15-.#-’R- %( +-RR%5-' +-RR%5-+R*15-.+,+ 3- #%+, +,-)%)+--( (1-R-/ 550%0 +,- /-?%5’0 +**5!

TOWNSEOLE

+R*15-' +R*15-'+R*15-' +R*15-'+R*15-' +R*15-'+R*15-' +R*15-'+R*15-' +R*15-'+R*15-' +R*15-/-?%5’0 +**5!

HAROLD

*, Y-0' #-’?- 3*+ +R*15-' +R*15-' +R*15-!

TOWNSEOLE

*, Y-0' #- 3*+ +R*15- ,-R-'#- 3*+ %3' %3 +R*15-!

HAROLD

#%+, I+ –

TOWNSEOLE

#%+, C4%+5 I+!

HAROLD

3*++ R,Y- %+ #%+, I4 –

TOWNSEOLE

+,+ R,Y-0 #%+, I4!

HAROLD

(/ +,+ 0+(/0 )*R 4**5!

TOWNSEOLE



+,+ 0+(/0 )*R 4**5!

(5E'5+E hol" for fini!h.

A! T3E; !tart a re$ri!e, MAR0E++S run! 'STA-E e?ite"ly, &ae!to 3AR'+/ an" !tart! $antomiming &il" $iano ar$eggio! &hih &e hearin the 'R03ESTRA.

# – Troule *la+o$$ al-ing .usi/

(Townspeople)

TOWNSEOLE

*,' #- 3*+ +R*15-' +R*15-' +R*15-'R%3,+ ,-R-%(R%?-R C%+Y#%+, C4%+5 I+'

(/ +,+ R,Y-0 #%+, I4' (/ +,+ 0+(/0 )*R 4**5!

0+(/0 )*R 4**5!

#-’?- 01R-5Y 3*+ +R*15-' +R*15-!R%3,+ ,-R- %( R%?-R C%+Y!R%3,+ ,-R-!3*++ )%33-R *1+ #Y +* 2--4+,- Y*1(3 *(-0 *R5 )+-R 0C,**5.

(The *'I0ES olla$!e, the T'6S5E'5+E freee in a 7"im,8 the6A+@I- MSI0 !egue! imme"iately a! MARIA, an attratie youngla"y $i%e" u$ in '++'6 S5'T, hurrie! through in tem$o. 3AR'+/

follo&! 3ER off. The TRA*E++ER 0+'SES ehin" 3IM.

SCENE THREE

(5+A0E: A Street.

TIME: Imme"iately follo&ing

HAROLD

('ffering hi! o&n han"%erhief

/id you drop your –

MARIAN



(o!

HAROLD

/idn’t % meet you in –

MARIAN

(o!

HAROLD

% will only "e in town a short while –

MARIAN

3ood!(The $orh no& a$$ear! +ET. MARIA ETERS hou!e, !lamming "oor in 3AR'+/=S fae. +I-3TS A/E 'RESTA-E an" ome u$ ehin"

S0RIM &here &e !ee

SCENE FOUR

(TIME: Imme"iately follo&.

S0RIM RISES: The interior of a !mall hou!e. AMAR;++IS, a !mall#fryfre%le#fae" eight#year ol" girl, i! $laying the $iano. MRS. 5AR'', aheerful#loo%ing forty, ontinue! her hou!ehol" hore!, a! AMAR;++IS

$lay!, in halting tem$o &here !he i!n=t !ure an" too fa!t &here !he i!.

#0 – *iano 1esson I$ &ou 2on"t .+ Sa+ing So

(.rs3 *aroo .arian)

MRS) AROO

(0alling. S$ea%! in Iri!h rogue.

+hat you' daughter$

MARIAN

('STA-E

Yes' ama. 2eep on' maryllis. %’ll "e there in a minute.('n the "o&n#eat of the fourth ar, AMAR;++IS $lay! the melo"y note ahalf tone too high, an" turn! aroun" to a$$eal &or"le!!ly to MRS. 5AR''



&ho, in the manner of one &ell au!tome" to thi! ourrene, $lay! theorret note a! automatially a! !he "oe! her other ta!%!. AMAR;++ISha$$ily !tart! oer, a$$arently the u!ual !te$ in thi! &ell#&orn routine.

Again the &rong note ) again the orretion. A! AMAR;++IS !ettle!her!elf for the thir" go#roun", MARIA ETERS in a hurry.

MARIAN

,ello' ama.(MARIA !tart! to $iano in time to orret AMAR;++IS= lin%er.

)ine' dear. (ow your exercises.

AMAR%LLIS

(Re$laing her $iee in mu!i roll.

Yes' om.

MRS) AROO

% don’t remem"er the li"erry "ein’ open last )ourth a’ July.

MARIAN

%t was' ama' all evening. ama' a man with a suitcase has "eenfollowing me all over town.

MRS) AROO

*h – who$

MARIAN

% never saw him "efore.

MRS) AROO

/id he say anything$

MARIAN

,e tried.

MRS) AROO

/id you say anything$

MARIAN



ama' of course not.(AMAR;++IS egin! her e?eri!e!.

(ow don’t dawdle' maryllis.

0*5' /*' 5' R-' +%' %' 5%++5- 05*#-R' (/ 45-0- 2--4 +,- )%(3-R0 C1R?-/ 0 (%C- (/ ,%3, 0 Y*1 4*00%5Y C(.

"MARIAN

/on’t get faster' dear.

(MARIA &in"! metronome.

MRS) AROO

%f you don’t mind my saying so' it wouldn’t have hurt you to find outwhat the gentleman wanted.

MARIAN

% now what the gentleman wanted.

MRS) AROO

#hat' dear$

MARIAN

You’ll find it in alzac.

MRS) AROO

-xcuse me fer livin’ "ut %’ve never read it.(AMAR;++IS re$eat! in ne& %ey, a! MARIA eat! out !trit time along&ith metronome.

MARIAN

(-%+,-R ,0 (Y*(- -50- %( +,%0 +*#(.

MRS) AROO

+,-R- Y*1 3* 3%(#%+, +,+ 0- *5/ C*-(+

*1+ +,- 5*# -(+5%+Y*) R%?-R C%+Y 4-*45-

(/ +2%(’ %+ 55 +** 1C, +* ,-R+.



MARIAN

(ow' ama' as long as the@

/%0*( 415%C 5%RRY#0 -(+R10+-/ +* -)*R +,- 41R4*0- *) %4R*?%(3R%?-R C%+Y’0 C15+1R5 5-?-5'

% C(’+ ,-54 Y C*(C-R(+,+ +,- 5/%-0 *) R%?-R C%+Y2--4 %3(*R%(3 55 Y C*1(C%5 (/ /?%C-.

MRS) AROO

1+ /R5%(3'#,-( #*(’0 3*+ ,10(/

(/ Y*1’?- 3*+ (*(-'#,Y 0,*15/ 0,- +2- /?%C- )R* Y*1$-?-( %) Y*1 C( E1*+- 5>C (/ 0,2-04-R-

(/ 55 +,- *+,-R ,%3, )51+%(’ 3R--20.

MARIAN

' %) Y*1 /*(’+ %(/ Y 0Y%(3 0*'Y*1 ,?- / ,%+*) C,(3%(3 -?’RY 01J-C+ –

MRS) AROO

(*# % ,?-(’+ C,(3-/ +,- 01J-C+.

% #0 +52%(’ *1+ +,+ 0+R(3-R –

MARIAN

#,+ 0+R(3-R$

MRS) AROO

#%+, +,- 01%+C0-'#,* Y - Y*1R ?-RY 50+ C,(C-!

MARIAN

!/* Y*1 +,%(2 +,+ %’/ 55*# C**( 0,-R$(*# R-55Y' !% ,?- Y 0+(/R/0 #,-R- -( R- C*(C-R(-/'

(/ % ,?- (* %(+-(+%*( –



MRS) AROO

% 2(*# 55 *1+ Y*1R 0+(/R/0' (/ %) Y*1 /*(’+ %(/ Y 0Y%(’ 0*'+,-R-’0 (*+ ( 5%?-#,* C*15/ ,*4- +* -01R- 14+* +,+ 5-(/ ’ 415 1(Y('0%(+ 4+ (/ (*, #-0+-R

Y*1’?- C*(C*C+-/ )*R Y*1R0-5)*1+ ’ Y*1R %R%0, %3%(+%*('Y*1R %*# 0+1*R((-00'

(/ Y*1R 5%-RRY )155 ’ **20!

(ine hor" from AMAR;++IS.

MARIAN

(3an"! on hi$!, get! !lightly Iri!h in her e?a!$eration.

#ell' if that isn’t the "est %’ve ever heard!

AMAR%LLIS

+han you. Can % have a drin' please$

MARIAN

ay % have a –

AMAR%LLIS

ay % have a drin' please$

MARIAN

Yes' dear.(A! AMAR;++IS !tart! to the !in%, a nine#year ol" <'; &ith a !et, !ullenfae ETERS &ithout a &or", hea"ing for e"room "oor 5STA-E.

MRS) AROO

#inthrop. %t’s after dar.(6IT3R'5 halt! in hi! tra%!.

%s that a way to wal into the house$

WINTHRO

,ello.



(Trie! to EIT.

MRS) AROO

+hat won’t do at all. %’ll have a iss from my "oy.(6IT3R'5 &al%! to hi! mother, !tan"! !tuornly in her emrae for amoment, then !tart! out again.

+he lady over there is your sister' young man.(6IT3R'5 re$eat! the unoo$eratie $erformane &ith MARIA.

AMAR%LLIS

,ello' #inthrop.(6IT3R'5 !tare! at the floor.

MRS) AROO

#inthrop' where’s your manners.

AMAR%LLIS

%’m having a party on 0aturday. #ill you please come$(Silene

% would especially lie it very much if you’d come@ #inthrop$(Silene

MRS) AROO

#ell' #inthrop' maryllis ased you to her party. re you goin’ oraren’t you$

WINTHRO

(o.

MRS) AROO

(o what$

WINTHRO

(o' than you.

MRS) AROO

You now the little girl’s name.



AMAR%LLIS

,e won’t say maryllis "ecause of the Is "ecause of his lisp. ,e’sashamed.

MRS) AROO

#e now all a"out his lisp' maryllis. #ell' #inthrop.

AMAR%LLIS

%’ll "e he won’t say it.(Ti$toeing lo!er to 6IT3R'5, S3E trie! to $eer into hi! fae.

WINTHRO

(o than you' maryllis.(AMAR;++IS ho$! u$ an" "o&n giggling gleefully.

AMAR%LLIS

maryllith – maryllith.(S3E moe! lo!er to 6IT3R'5, !too$! an" loo%! u$ into hi! fae a!3E ontinue! to !tare at hi! feet. S3E turn! to MRS. 5AR'' &ith!ur$ri!e.

,e’s crying.(6IT3R'5 olt! out of the room. MRS. 5AR'' follo&! him.

#hy does he get so mad at people – Fust "ecause he lisps$

MARIAN

%t’s not only "ecause he lisps. +hat’s Fust part of it' maryllis.

AMAR%LLIS

#hat’s the other part$

MARIAN

(ever mind' dear. %t’s Fust that he never tals very much.

AMAR%LLIS

(ot even to you and your mother$

MARIAN



(o' dear. #e all have to "e a little patient.

AMAR%LLIS

%’m patient. -ven though he doesn’t ever tal to me – "ut % do him –every night – % say good"ye to him on the evening star. You haveto do it the very second you see it' too' or it doesn’t count.I3oodnight' my #inthrop' goodnight. 0leep tight.

(Start! to ry.

MARIAN

+here' darling' don’t cry' you have lots of time.%f not #inthrop' there’ll "e someone else.

AMAR%LLIS

(ever! %’ll end up an old maid lie you.

(0athe! her!elf.

%’m sorry' iss arian. Can % play my cross&hand piece$

MARIAN

ay % play my –

AMAR%LLIS

ay % play my cross&hand piece$

MARIAN

You may.

AMAR%LLIS

0ee' without a sweetheart you have no one to say goodnight to onthe evening star.

MARIAN

% now' maryllis. )or the time "eing Fust say goodnight my –someone. You can put the name in when the right someone comesalong.

AMAR%LLIS



ll right. %t’s "etter than nothing.

MARIAN

Yes it is@ now you can play your cross&hand piece.

AMAR%LLIS

(Settling her!elf.

(ow % may play my cross&hand piece.

# – 'oodnight .+Someone

(.arian, 5mar+llis)

(A! AMAR;++IS $lay!, MARIA goe! to &in"o&. The TRA*E++ERlo!e! in leaing her in the &in"o&, loo%ing at eening !tar.

MARIAN

3**/(%3,+' Y 0*-*(-'3**/(%3,+' Y 5*?-.05--4 +%3,+' Y 0*-*(-'05--4 +%3,+' Y 5*?-.*1R 0+R %0 0,%(%(3%+0 R%3,+-0+ 5%3,+)*R 3**/(%3,+' Y 5*?-')*R 3**/(%3,+.

0#--+ /R-0 - Y*1R0' /-R'%) /R-0 +,-R- -G0#--+ /R-0 +* CRRY Y*1C5*0- +* -.% #%0, +,-Y Y'

(/ % #%0, +,-Y %3,+.(*# 3**/(%3,+' Y 0*-*(-'3**/(%3,+.+R1- 5*?- C( - #,%04-R-/)R* ,-R+ +* ,-R+'#,-( 5*?-R0 R- 4R+-/' +,-Y 0Y.

1+ % 10+ /-4-(/ *( #%0, (/ 0+R' 0 5*(3 0 Y ,-R+/*-0(’+ 2(*# #,* Y*1 R-.

0#--+ /R-0 - Y*1R0' /-R'%) /R-0 +,---R- -.0#--+ /R-0 +* CRRY Y*1C5*0- +* -.



(AMAR;++IS ha! ome to the &in"o&.

MARIAN' AMAR%LLIS

% #%0, +,-Y Y' (/ % #%0, +,-Y %3,+.(*# 3**/(%3,+' Y 0*-*(-'3**/(%3,+.

3**/(%3,+.3**/(%3,+.

(<+A0@'T

SCENE FIVE

(TIME: Thirty minute! later.

Interior of the Ma"i!on -ymna!ium in Rier 0ity 3igh Shool &hih

a$$ear! to e &ell#fille". It i! !$aringly "eorate" &ith re", &hite an" lueunting. E+A+IE, fifty an" gu!hy, o!tume" a! 0olumia &ith a torh inher han", lea"! the !inging a! ET3E+ T'E+MIER, a uraeou! B,!&ay! at the $layer $iano, a! !he $um$! an 7e?$re!!ie8 aom$animentto 70olumia, the -em of the 'ean.8

(A++ T'6S5E'5+E, le" y E+A+IE MA0@E0@IE S3I, SI- in<+A0@'T, an" a! +I-3TS ome u$.

#6 – Columia, 'em o$ the O/ean (7ulalie, Townspeople)

EULALIE' TOWNSEOLE

+,Y ((-R0 2- +YR((Y +R-5-'#,-( *R(- Y +,- R-/' #,%+- (/ 51-.#,-( *R(- Y +,- R-/' #,%+- (/ 51-.#,-( *R(- Y +,- R-/' #,%+- (/ 51-.+,Y ((-R0 2- +YR((Y +R-5-'#,-( *R(- Y +,- R-/' #,%+- (/ 51-.

(At the onlu!ion of the numer E+A+IE !te$! "o&n from the ro!trum to

$olite a$$lau!e an" MA;'R -E'R-E S3I !te$! for&ar". 3E i! !elf#im$ortant.

SHINN

%’m sure we’re all grateful to my wife' -ulalie acecnie 0hinn' forleading the singing and to Jacey 0Duires for his fine stereopticanslides –



(JA0E; &heel! the !tereo$tian mahine off.

@and to -thel +offelmier' our fine player&piano player – piano.(A$$lau!e.

s ayor of River City' % welcome you River Citizians to the )ourthof July exercises set up for the indoors here in adison3ymnasium account the weather.

)our score –(7la$#fla$#fla$#fla$8 interru$t! the MA;'R=S !$eeh. It i! the en" of the

$iano roll &hih MISS T'E+MIER ha! een re#&in"ing at the $iano.S3I loo%! aroun" in"ignantly, then re!ume! hi! !$eeh.

)our score –(E6ART /+'5 ri!e! from hi! !eat in front of MA;'R an" han"! him anote. S3I, rea"ing.

h – the mem"ers of the 0chool oard will now present a patrioticta"low.

(the T3REE MEM<ERS of the Shool <oar" &ho are !eate" on thero!trum in"iate 3E i! &rong. 3e loo%! at note again.

*h – the mem"ers of the 0chool oard will not present a patrioticta"low. 0ome disagreement a"out costumes' % suppose. %nsteadthe #a +an Ye girls of the local wigwam of ,eeawatha will presenta spectacle my wife –

(0athing him!elf. +oo%! at note! again.

%n which my wife –

(MARIA, no& !eate" at the $iano, !tart! to $lay I/IA R3;T3M. 3Ein"iate! he ha! not fini!he". S3E !to$!.

-ulalie acecnie 0hinn' will tae a leading part.(3E no"! to MARIA an" !he $lay! a! !i? loely orn#fe" !eenteeni!h-IR+S a$$ear an" mount the ro!trum. Eah &ear! a feather in a hea"#an". T3E; are "oing an In"ian &ar "ane !te$. E++IE $ree"e! themin full In"ian hea"#"re!!, arrying a tom#tom &hih S3E eat! toMARIA=S In"ian rhythm. AMAR;++IS, "re!!e" a! a -I/E, follo&! her,!truggling &ith a S$ringfiel" rifle.

E+A+IE, earing the tom#tom, a"Du!t! the -I/E=S !agging rifle.

EULALIE

(5eering RI-3T.

#a +an Ye!



$IRLS

(5eering RI-3T.

# +( Y-!

EULALIE

(Again a"Du!ting the rifle, then $eering RI-3T

#a +an Ye!

$IRLS

# +( Y-!

EULALIE

% will now count to twenty in the %ndian tongue! -en teen tuther'feather fip!

(T'MM; /JI+AS, !eate" on the floor in front of E+A+IE, no& !et! off alarge IRE0RA0@ER. E+A+IE !&oon!.

%’m shot' 3eorge' who shot me$(The MA;'R omfort! her, ai"ing her 'STA-E. There i! on!i"erale"i!turane.

CONSTA!LE LOC*E

(Ri!ing

#ho set off that cracer$

$RACIE SHINN

% now who did it. +ommy /Filas did it – +ommy /Filas did it.

ALMA

Yes' it was +ommy /Filas.

CONSTA!LE LOC*E

(A! T'MM; trie! to e!a$e.

+ommy /Filas' % wouldn’t leave if %’se you.(T'MM; !it!. 0'STA<+E +'0@E Doin! him ominou!ly.



SHINN

(Returning to ro!trum.

rs. 0hinn will recover' no thans to a certain young ruffian who isa disgrace to our city. )our score and seven –

(JA0E; SIRES RE#ETERS, ro!!e! to ro!trum, han"! MA;'R anote, an" ta%e! em$ty !eat &ith the re!t of the Shool <oar".

I+he 4aine’s )irewors 0pectacle' 5as /ays of 4ompy&eye will taeplace' providing the rain stops "y nine&thirty. %t’ll "e out to adison4icnic 4ar in the far meadow' Across the cric from the 4est,ouse.

EWART DUNLO

,ow can it "e raining$ /idn’t the 3azette predict fair$(Rolling T3/ER i! hear".

(ACE% S+UIRES

0ure did' -wart' that’s why we all prepared for a storm.

OLIN !RITT

+he 3azette is acc’r’t most a’ the time and you now it' Jacey.

OLI,ER HI-

You wouldn’t last very long in the "anin’ "usiness "ein’ accur’tmost a’ the time.

(A eral free#for#all i! un"er &ay.

SHINN

(ow Fust a minute – let’s have order here! *rder! *rder!(The Fuarrel !u!i"e!. The ME !it. The TRAI 63IST+E i! hear". Allthe ME ta%e out their &athe!.

OLI,ER

,mm. (um"er eight’s late again tonight.

(ACE%

% mae her early.

EWART



0he’s late alright.

OLIN

0he’s right on time' Asmatter’th your watch$(T3E;=RE off again. S3I !truggle! for or"er.

SHINN

#ill you mem"ers of the 0chool oard stop "icer’n in pu"lic$

OLIN

ll in the world that % said was –

SHINN

(3a!tily

(ever mind! )our score –

HAROLD

(3alf ri!ing from &here he ha! een an uno!ere" !$etator

#e heard there’s a pool ta"le in town.

MAN

Yeah – that’s what % heard.

SHINN

(ow Fust a minute –

MAUD

%s it a pool ta"le or isn’t it$

SHINN

#ill you allow me to get on with the exercises$

MAN #2

#e don’t want any more exercises till we get this pool ta"le mattersettled!

HAROLD



5et’s protect our children.(0R'6/ reat!.

Resist sin and corruption.(0R'6/ reat!.

0mite that devil and eep our young "oys pure.(0R'6/ reat!.

#89 – Troule Reprise (arold)

HAROLD

(A$$earing on the $o"ium.

)riends@

Y % ,?- Y*1R ++-(+%*(' 45-0-$

(Slam

++-(+%*(' 45-0-!

(Slam(Slam

% C( /-5 #%+, +,%0 +R*15-' )R%-(/0'#%+, #?- *) Y ,(/' +,%0 ?-RY ,(/!45-0- *0-R?- - %) Y*1 #%55.

%’ 4R*)-00*R ,R*5/ ,%55' (/ %’ ,-R- +* *R3(5%>-+,- R%?-R C%+Y *Y0’ (/!

"HAROLD

(/RM R'++

4RRRRR!*,' +,%(2' Y )R%-(/0'

,*# C*15/ (Y 4**5 +5- -?-R ,*4- +*C*4-+- #%+, 3*5/ +R**(-$R&RR&/&/&/&/R&R.R---R' Y )R%-(/0'#,+ ,(/)15 *) +R14-+ 45Y-R0/%/ +* +,- )*10' )5-/ #550 *) J-R%C,*!



(Slam

*,' %55%R/ 4R5*R #550C*- +15%(3 /*#(!

(Slam(Slam(Slam

*,' (/’55 /* %+' Y )R%-(/0'*,' Y-0! % -( *Y0’ (/./* Y*1 ,-R -$

(Slam

% 0Y' R%?-R C%+Y’0 3*++ ,?- *Y0’ (/' (/ % -( 0,- (--/0 %+ +*/Y.

(Slam

#-55' 4R*)-00*R ,R*5/ ,%55’0 *( ,(/ (/ R%?-R C%+Y’0 3*(( ,?- ,-R *Y0’ (/! 0 01R- 0 +,- 5*R/ /- 5%++5- 3R--( 445-0' (/ +,+ (/’0 3*(( - %(@

@uniform! Johnny' #illy' +eddy' )red! nd you’ll see the glitter ofcrashing Cym"als' nd you’ll hear the thunder of rolling /rumsG theshimmer of +rumpets – +antara! nd you’ll feel something ain tothe electric thrill % once enFoyed when 3ilmore'

(Slam

5i"eratti'(Slam

4at Conway'(Slam

+he 3reat Creatore'(Slam

#.C. ,andy'

(Slam

nd John 4hilip 0ousa all came to town on the very same historicday.

#88 – Sevent+:Si; Tromones (arold, Townspeople)



0-?-(+Y 0%H +R**(-0 5-/ +,- %3 4R/-'#%+, ,1(/R-/ (/ +-( C*R(-+0 C5*0- + ,(/.+,-Y #-R- )*55*#-/ Y R*#0 (/ R*#0*) +,- )%(-0+ ?%R+1*0*0'+,- CR- *) -?’RY )*10 (/.

0-?-(+Y 0%H +R**(-0 C13,+ +,- *R(%(3 01('#%+, ,1(/R-/ (/ +-( C*R(-+0 R%3,+ -,%(/.

+,-R- #-R- *R- +,( +,*10(/ R--/004R%(3%(3 14 5%2- #--/0.+,-R- #-R- ,*R(0 *) -?’RY 0,4- (/ 2%(/.

+,-R- #-R- C*44-R *++* +%4(% %( ,*R0- 45+**(0'+,1(/-R%(3' +,1(/-R%(3' 55 5*(3 +,- #Y./*15- -55 -14,*(%10 (/ %3 00**(0'-C, 00**( ,?%(3 ,%0 %3 )+ 0Y.

+,-R- #-R- )%)+Y *1(+-/ C((*( %( +,- ++-RY'+,1(/-R%(3' +,1(/-R%(3' 5*1/-R +,( -)*R-.

C5R%(-+0 *) -?’RY 0%>- (/ +R14-+-R0 #,*’/ %4R*?%0- )155 *C+?- ,%3,-R +,( +,- 0C*R-.

(3AR'+/ $ara"e! &ith the @I/S.



TOWNSEOLE

0-?-(+Y 0%H +R**(-0 ,%+ +,- C*1(+-R4*%(+'#,%5- ,1(/R-/ (/ +-( C*R(-+0 5>-/ #Y.+* +,- R,Y+, *) ,RC,! ,RC,! ,RC,!

55 +,- 2%/0 -3( +* RC,' (/ +,-Y’R- RC,%(3 0+%55 – R%3,+ +*/Y!

#8< – Sevent+:Si; Tromones – =allet (Or/hestra)

(There i! a horeogra$hi inter$olation in &hih all the @I/S G/A0ERSH,arrie" along y the !$irit of the !ong, $antomime in!trument!. Thenumer &in"! u$ &ith the entire ESEM<+E $ara"ing. A! T3E;"i!$er!e, S3I orner! the S03''+ <'AR/.

#8> – Sevent+:Si; Tromones : *la+o$$ (Or/hestra)

SHINN

en' this calls for emergency action. +hat man is a spell"inder. %haven’t seen %owa people get so excited since the night )ran3otch and 0trangular 5ewis lay on the mat for three and a halfhours without moving a muscle! (ever mind! % want his credentials.

(T'MM; /I+AS, eing e!orte" out y 0'STA<+E +'0@E, !u""enlyut! an" run!. Reer!ing hi! fiel", T'MM; run! into 3AR'+/, &ho hol"!

him.

3ra" that hoodlum! ,e almost "lew up rs. 0hinn!

CONSTA!LE

+han you' 4rofessor. ,ave to mae an example of him.Ringleader' you now. #hat he does the gang does.

TOMM%

Jeely 2ly' lemme go.

SHINN

Ya wild id' ya. ,anging around my oldest girl. ,is father is onea’them day la"orers south a’town. Ya wild id' ya.

(To 3AR'+/



+aggin’ down ain 0treet after my oldest girl last 0unday.

TOMM%

% wasn’t either taggin’

SHINN

/on’t you counterdict me –

TOMM%

#e’uz Fust walin’ together' Jeely 2ly –

SHINN

You watch your frazolagy! % now what you’uz doin’' my little 3racieseen ya. (ow you stay away from my oldest girl or you’ll hear fromme till who laid the rails! ,ill' %’ll tal to you onday morning a"out

this "and thing. *ver’t City ,all. +en o’cloc sharp.

(A!i"e a! 3E EITS

en' % want that spell"inder’s credentials.

HAROLD

(A! 0'STA<+E !tart! off &ith T'MM;

Consta"le. %’ll "e responsi"le for the "oy.

CONSTA!LE

You don’t now this id – he’s tough' and he’s got his gang waitin’outside.

HAROLD

*h' %’ll "e careful. +ommy' lie to tal to you a"out the "and.

TOMM%

w gee' 4rofessor' that’s for the little ids.

HAROLD

%’m not taling a"out you playing in the "and. You’re mechanicallyminded' aren’t you$ -ver do anything with perpetual motion$



TOMM%

(Sullenly

(early had it a couple times.

HAROLD

You did$ You’re my man! /o you realize no"ody has ever inventeda music&holder for a marching piccolo player$

(3ol"! arm! in $iolo $laying $o!ition

(o place to hang the music.

TOMM%

(Im$re!!e"

Jeely 2ly! #onder where % could get some wire from.

HAROLD

5oo in your cellar' that’s where people eep wire.(T'MM; !tart! tearing out. The 0'STA<+E ma%e! a moe, 3AR'+/re!train! him.

*h' +ommy!

TOMM%

(Sto$$ing in mi"flight

Yessir$(0'STA<+E +'0@E reat! in a!toni!hment at the 7!ir8

HAROLD

(A!i"e to 0'STA<+E

(ow' Consta"le' %’ll show you how to "rea up a gang.

(+oo%! aroun"

*h' young lady. *h miss –

(3E e%on! to a ery $retty 6A TA ;E -IR+, $in% an" !i?teen

#hat’s your name$



%OUN$ $IRL

(A$$roahing

>aneeta. % didn’t have any idea you was "econing to me. Ye3ods.

HAROLD

/o you now +ommy /Filas$

.ANEETA

#ell' % –

HAROLD

+ommy' this is >aneeta. -scort the young lady home.

.ANEETA

*nly excepting %’m not going home. % have to go’t the 5i"erry. Ye3ods.

HAROLD

+hen escort the young lady home "y way of the li"rary –

(Ta%e! out oin!

y way of the candy itchen.

TOMM%

(-rinning

Yes sir. /o % hafta$

HAROLD

You hafta.

TOMM%

Yes sir.

.ANEETA

(A! S3E an" T'MM; EIT



Ye 3ods.

CONSTA!LE

4rofessor' you’re a pretty "right young fellow. You made a couplemistaes' though.

HAROLD

*h$

CONSTA!LE

+he ayor happens to own the illiard 4arlor and that new poolta"le.

HAROLD

*h. #hat was my other mistae$

CONSTA!LE

+hat >aneeta. 0he’s the ayor’s oldest girl.(A! 3AR'+/ !tart! to ro!! to the +A/IES &ho hae ETERE/ RI-3T,the S03''+ <'AR/ a$$roahe! him from +ET

EWART DUNLO

(The !eon" tenor

Just a minute – 4rofessor ,ill. #e’d lie to have your credentials.#e’re the school "oard.

OLIN !RITT

(The a!! ) ontra"iting

cademic certificates.

OLI,ER

(The aritone, to '+I, &ith irritation

(othing of the ind!

EWART

(To '+I*ER, ira!ily



#e need letters and papers!

(ACE%

(The high tenor, to the 'T3ERS, na!tily

ae him put up a "ond!

HAROLD

#hat am % hearing$

#84 – I/e Cream?Sin/ere (arold, @uartet)

(6hirling a% to '+I, lo&! $ith $i$e

0ay –

(SI-S on lo& note

"HAROLD

%C- CR----.

OLIN

%ce Cream' "ut % don’t sing young man' if that’s what you’re –

HAROLD

ll right' tal then.

(+o&

/own here!

OLIN

%ce Cream.

HAROLD

+al slow!

OLIN

(In a rih rolling a!!



%C- CR----.

HAROLD

0ee$ 0inging is only sustained taling.

(5ointing to '+I*ER ) on a aritone note

(*# Y*1111.

OLI,ER

(In a full aritone

%C- CR----.

HAROLD

(To E6ART

(*# Y*1111. R%3,+ ,---R.

EWART

%C- CR----.

HAROLD

(5oint! !%y&ar" to JA0E;

(ow' you' sir!

(ACE%

('n the high note

%C- CR-------.

HAROLD

(0ro!!ing to the +A/IES

5adies' from now on you’ll never see one of those men without theother three.

EULALIE



*h' 4rofessor' you’re wrong! #hy they’ve hated each other forfifteen years.

(ACE%' EWART' OLIN' OLI,ER

(<ehin" 3AR'+/=S a% T3E; hit a gorgeou! hor"

%C- CR-.

%C- CR-.%C- CR-.

(3AR'+/ ta%e!, Doin! the ME a! T3E; are !ha%ing han"! all aroun"an" ongratulating eah other.

HAROLD

(5ointing at ARTET

,*# C( +,-R- - –

OLI,ER

&(Y&

+UARTET

&0%( %( I0%(C-R-$#,-R- %0 +,- 3**/ %( I3**/Y-$

EWART' OLI,ER' OLIN

%( I3**/Y-$

+UARTET

Y*1R 44R-,-(0%*(0 C*()10- -' /-R'41>>5- (/ Y0+%)Y.Y0+%)Y@

(MARIA EITS &ith 3AR'+/ in $ur!uit, the +A/IES moe 5STA-Ea! the +I-3TS "im an" the ARTET moe! "o&n into 1 in a '++'6

S5'T

+-55 -'#,+ C( - )%R %( I)R-#-55' /-R'#,%5- *(- 0%(35- 0+R 0,%(-0 *?-$,*# C( +,-R- - (Y 0%( %( I0%(C-R-$

R-(’+ #- 0%(C-R-5Y %( 5*?-$



EWART' OLI,ER' OLIN

*,' #-’R- %( 5*?-.

(A! ARTET hol"! it! la!t gorgeou! note &e <+A0@'T. The MSI0!egue! to 6al%ing Mu!i.

SCENE SIX

#8% – al-ing .usi/ (Reprise) (Or/hestra)


AT RISE: +ight! ome u$ on the !treet in front of the +irary. 6al%ingMu!i aom$anie! MARIA=S entrane. 3AR'+/ i! follo&ing.

HAROLD

% don’t suppose you live alone' or anything$

MARIAN

(o!

HAROLD

%’ve got some wonderful caramels over’t the hotel if you’d –(MARIA an" MSI0 !to$ aru$tly

MARIAN

ister hill.

HAROLD

4rofessor ,ill.

MARIAN

4rofessor of what$ t what college do they give a degree for

annoying women on the street lie a 0aturday night rowdy at apu"lic dance hall$

HAROLD

*h % wouldn’t now a"out that. %’m a Conservatory man myself.3ary' %ndiana 3old edal Class of ’:K.



MARIAN

-ven should that happen to "e true does that give you the right tofollow me around wherever % go$ nother thing' ister ,ill' %’m notas easily mesmerized or hood&wined as some people in this townand % thin it only fair to warn you that % have a shelf full of reference"oos in there which may very well give me some interestinginformation a"out you.

(MARIA EITS into the +irary. A! 3AR'+/ !tart! after her,MAR0E++S ETERS.

MARCELLUS

,ey' 3regory!

HAROLD

*h hi' arcellus. nd don’t call me 3reg.

MARCELLUS

,ow’d you mae out with the music teacher$

HAROLD

0crumptious. te out of my hand the minute % tipped my hat$

MARCELLUS

0he did! oy' did you cut a swath tonight. )or a minute % thought

you new somethin’ a"out leadin’ a "and. Just lie when you usedto imitate that "and&concert fellow "ac in Joplin.

HAROLD

Yeah!

(5antomime! on"uting

w – id stuff. %’m in rare form these days' son. Just to eep youreyes on me for the next four wees.

MARCELLUS

)our wees! %t only used to tae ten days for the instruments toarrive.

HAROLD



%t still does. ut it taes four wees for the uniforms.

MARCELLUS

*h' no' 3reg! You haven’t added uniforms!!$$$

HAROLD

1niforms and instruction "oos.

MARCELLUS

%nstruction "oos! ut you can’t pass yourself off as a musicprofessor – % mean not for any four wees.

HAROLD

(Ruefully

arce –

MARCELLUS

ut you don’t now one note from another.

HAROLD

% have a revolutionary new method called the +hin 0ystem whereyou don’t "other with notes.

MARCELLUS

ut in four wees the people will want to hear the music! You’ll haveto lead a "and.

HAROLD

ut when the uniforms arrive they forget everything else – at leastlong enough for me to collect and leave. *h this is a refined

operation' son' and %’ve got it timed right down to the last wave ofthe "raeman’s hand on the last train out’ a town. nd now' r.#ash"urn' if you’ll excuse me –

MARCELLUS

3onna line yourself up a little canoodlin’ huh$



HAROLD

#ell –

MARCELLUS

0ay' % could fix you up with -thel’s sister – lovely girl – teaches0unday 0chool.

HAROLD

(o wide&eyed' eager wholesome innocent 0unday 0chool teacherfor me. +hat inda girl spins we"s no@

#8 – The Sadder ut iser 'irl (arold, .ar/ellus)

@04%/-R -?-R – 5%0+-( *Y – 3%R5 #,* +R/-0 *( 55 +,+ 41R%+Y

-R-5Y #(+0 +* +R/- Y %(/-4-(/-(C-)*R ,-R 0-C1R%+Y.

+,- *(5Y ))%R+%?- 0,- #%55 )%5-R-)-R0 +* RC,%(3 /*#( +,- %05-.

(* 3*5/-(' 35*R%*10' 35-%(3 4R%0+%(- 3*//-00'(*' 0%R!)*R (* /%( /* % 45Y )1(.% C( +-55 Y*1 +,+ R%3,+ (*#.

% 0(R5' % ,%00.,*# C( %3(*R(C- - C*4R-/ +* 5%00$% 042R' % )%>>')*R +,- 5/Y #,* 2(*#0 #,+ +%- %+ %0.% C,--R' % R?-')*R +,- ?%R+1- %’ +** 5+- +* 0?-.+,- 0//-R 1+ #%0-R 3%R5 )*R -.

(* R%3,+&-Y-/' 510,%(3'R-+,5-00 Y&/*55 Y'(*' 0%R!

+,+ 2%(/ C,%5/ +%-0 2(*+0(* 0%5*R -?-R 2(-#.

"HAROLD

% 4R-)-R +* +2- C,(C-*( *R- /15+ R*(C-.



(* /-#Y Y*1(3 %00 #,* 2--40 R-0%0+%(3 55 +,- +%- 0,- 2--40 %(0%0+%(3.

(* #%/-&-Y-/' #,*5-0*-'%((*C-(+ )-5-.(*' 0%R!#,Y' 0,-’0 +,- )%0,-R('%’ +,- )%0,' Y*1 0--$

45*4!

% )5%(C,' % 0,Y'#,-( +,- 500 #%+, +,- /-5%C+- %R 3*-0 Y.% 0%5-' % 3R%('#,-( +,- 35 #%+, +*1C, *) 0%( #520 %(.% ,*4-' % 4RY')*R ,-0+-R +* #%( J10+ *(- *R- I.+,- 0//-R 1+ #%0-R 3%R50’ +,- 3%R5 )*R -.+,- 0//-R 1+ #%0-R 3%R5 )*R -.

(3AR'+/ i! !tarting to&ar"! the +irary a! the 6'ME ome hatteringin. E+A+IE hanging a%, MAR0E++S e!a$e!. 3AR'+/ i!!urroun"e".

ALMA

*h' 4rofessor ,ill' we’re all agog – simply agog!

MAUD

*n the Due veev!

MRS) S+UIRES

-veryone’s so excited a"out the "and.

ETHEL

(+ou" oie

%’m -thel +offelmier. +he pianola girl$

MAUD

nd this is rs. 0Duires' and rs. ,ix. nd of course you met-ulalie ac2ecnie 0hinn$ *ur ayor’s wife$ %sn’t it exciting'-ulalie$

EULALIE



*h' % couldn’t say. % could not say. *h no. % could not say' at thistime. y hus"and will wish to investigate' %’m sure. nd naturally%’m reticent. *h yes' %’m reticent.

HAROLD

*f course' rs. 0hinn' % understand. ut you see' part of my music

plans include a committee on the dance and – no wait – wait! /othat again rs. 0hinn!

(S3E loo%! ehin" her, my!tifie".

Your foot! +he way you raised it' Fust now!

EULALIE

(+ifting foot !lightly

*h. #ell % have a "union there that "others –

HAROLD

*hhh what grace! #hat natural flow of rhythm! #hat expression ofline and movement!

EULALIE

r. ,ill.

HAROLD

You must accept the chairmanship of the 5adies uxiliary for theClassic dance' mustn’t she' ladies$

THE WOMEN

*h yes! 4lease! You must' -ulalie.

HAROLD

-very move you mae' rs. 0hinn' "espeas /el 0arte. #ill you –

will you$ 0ay yes' rs. 0hinn!

EULALIE

(Moing for&ar" ami" flutter!, S3E murmur!.

-ulalie ac2ecnie 0hinn – ah – well! % – ah – that is – /ancing!#ell!



HAROLD

+hen you accept$

EULALIE

Yes indeed! nd % would lie to say –

HAROLD

+han you. (ow the young lady who plays the piano – arian4aroo' % "elieve$

(The +A/IES all ga!$

fter all she is the li"rarian.

#80 – *i/-:a:1ittle, Tal-:a:1ittle 'oodnight, 1adies

(5lma, 7thel, 7ulalie, The 1adies,arold, @uartet)

(The +A/IES, in!tantly hu""ling

ALMA

4%C2 5%++5-' +52 5%++5-' 4%C2 5%++5-' +52 5%++5-'C,--4' C,--4' C,--4' +52 5*+' 4%C2 5%++5- *R-.

ALMA' ETHEL

4%C2 5%++5-' +52 5%++5-' 4%C2 5%++5-' +52 5%++5-'C,--4' C,--4' C,--4' +52 5*+' 4%C2 5%++5- *R-.

ALL LADIES

4%C2 5%++5-' +52 5%++5-' 4%C2 5%++5-' +52 5%++5-'C,--4' C,--4' C,--4' +52 5*+' 4%C2 5%++5- *R-.4%C2 5%++5-' +52 5%++5-' 4%C2 5%++5-' +52 5%++5-'C,--4' C,--4' C,--4' C,--4' C,--4' C,--4' C,--4' C,--4

(0ontinue! a! a%groun" un"er follo&ing "ialogue.

MAUD

4rofessor' her ind of woman doesn’t "elong on any committee. *f course % shouldn’t tell you this "ut she advocates dirty "oos.

HAROLD

/irty "oos!



ALMA

C,1C-R!

ETHEL

R-5%0!

EULALIE

5&>C!

MAUD

nd the &or!t thing – of course % shouldn’t tell you this "ut@

ALMA

%’ll tell.

ETHEL

+he man lived on my street. 5et me tell.



EULALIE

(-ra! the all "etermine"ly.

0top!(Eerything !to$!

%’ll tell. 0he made "razen overtures to a man who never had afriend in this town till she came here – old iser adison.

HAROLD

(5ule"

iser adison. adison 3ymnasium' adison 4icnic 4ar'adison ,ospital – that iser adison$

MAUD

-xactly. #ho’d he thin he was anyway$

HAROLD

#ell % should say. 0howoff. 3ave the town the li"rary too' didn’the$

ETHEL

+hat’s Fust it. #hen he died he left the li"erry "uilding to the city@

MAUD

ut he left all the "oos to her!

EULALIE

0he was seen going and coming from his place.

ALMA

*h yes. *h yes. +hat woman made@

ALMA

R>-( *?-R+1R-0(Slam

#%+, 3%5+&-/3- 31R(+--!

LADIES

4%C2&&5%++5-'+52&&5%++5-@(0ontinue!



0,- ,/ 3*5/-( 35%(+ %( ,-R -Y-' (/ 0%5?-R ?*%C-#%+, C*(+-R)-%+ R%(3!(Slam

J10+ -5+ ,-R /*#( (/ Y*1’55 R-?-5

514 *) 5-/ 0 C*5/ 0 0+--5!

ALMA

,-R-!

(Thum$

#,-R- #*(’0 ,-R+ 0,*15/ -.

EULALIE' ALMA' MAUD' ETHEL' MRS) S+UIRES

,- 5-)+ R%?-R C%+Y+,- 5%RRY 15%/(3'1+ ,- 5-)+ 55 +,- **20 +* ,-R!

ALMA

C,1C-R!

ETHEL

R-5%0!

EULALIE

5&>C!

THE LADIES

@4%C2&&5%++5-' +52&&5%++5-'C,--4' C,--4' C,--4' C,--4'

C,--4' C,--4' C,--4' C,--4!

(+A/IES ontinue 75i%#A#+ittle8 et. n"er "ialogue a! 3AR'+/ trie! toe!a$e. The ARTET ETERS.

(ACE%

Just a minute' here! #e need your credentials.



HAROLD

Yes' of course. % have Fust what you want over at the ,otel. Comewith me.

(A! the ARTET !tart! to follo& him, 3AR'+/ turn! a% to the+A/IES &ho are !till !inging !oftly

3oodnight ladies.

(T3E; 70hee$ hee$ hee$8 at him. 3E turn! to ARTET.

(SI-S

3**/(%3,+' 5/%-0.

+UARTET

3**/(%3,+' 5/%-0'3**/(%3,+' 5/%-0.

"+UARTET

#-’R- 3*%(3 +* 5-?- Y*1 (*#.

)R-#-55' 5/%-0')R-#-55' 5/%-0')R-#-55 5/%-0.#-’R- 3*%(3 +* 5-?- Y*1 (*#.

LADIES

@C,--4' C,--4' C,--4' C,--4' C,--4' C,--4' C,--4' C,--4'C,--4' C,--4' C,--4' C,--4' C,--4' C,--4' C,--4' C,--4'C,--4' C,--4' C,--4' C,--4' C,--4' C,--4' C,--4' C,--4'C,--4' C,--4' C,--4' C,--4' C,--4' C,--4' C,--4' C,--4!4%C2 5%++5-' +52 5%++5-' C,--4!

(The +A/IES an" the ARTET fini!h together. 3AR'+/ ha! e!a$e"into the lirary.

<+A0@'T

SCENE SEVEN

#8 – .arian the 1irarian (arold)

(TIME: Imme"iately follo&.

3AR'+/ goe! through the "oor to +irary. The S0RIM eome!tran!$arent. 6e !ee the interior of the +irary. The S0RIM flie!.



MARIA i! !een at "e!% !tam$ing oo%!. 3AR'+/ !nea%! in an" $lae!hi! hat un"er her !tam$er. S3E i! !tartle".

HAROLD

%t’s all right – % now everything and it doesn’t mae any difference.

MARIAN

#hat are you taling a"out$

HAROLD

You were pro"a"ly very young – anyone can mae a mistae –

MARIAN

#hat –

HAROLD

(o apologies – no explanations' please. %’ll only "e in town a shorttime and –

(0hu%le!

&the sadder' "ut wiser girl for me.

MARIAN

#ill you please mae your selection and leave.

HAROLD

% have.

MARIAN

(+oo%ing for oo%

#ell$ #hat do you want to tae out$

HAROLD

(+ou"ly

+he li"rarian.

MARIAN



Euiet please.

(Turn! her a%.

HAROLD

(6hi!$ering

+he li"rarian. You’re not listening' arian.

(Ta%e! a $a$er ag out of $o%et.

5oo!

(Sing!

&&&&R%(.

(S$ea%!

ar"les. 0ix steelies' eight aggies' a dozen peewees and one "igglassie with an merican flag in the middle. % thin %’ll drop Aem.

MARIAN

(o!

HAROLD

0hh!

(Threaten! her &ith ag

/ 5%RR%(.

#,+ C( % /*' Y /-R'+* C+C, Y*1R -R$% 5*?- Y*1 /5Y' /5Y'/ 5%RR%('R%(.

,-?-( ,-54 10'%) +,- 5%RRY C13,+ *( )%R-'

(/ +,- ?*51(+--R ,*0- R%3/--(,/ +* #,%04-R +,- (-#0+* R%('/ 5%RR%(.



"HAROLD

#,+ C( % 0Y' Y /-R'+* 2- %+ C5-R$% (--/ Y*1 /5Y' /5Y'/ 5%RR%('R%(.

%) % 0+15-/' (/ % 10+-/ Y #,+&Y*1&&C55 %+'% C*15/ 5%- *( Y*1R )5**R 1((*+%C-/'A+%5 Y */Y ,/ +1R(-/+* CRR%*(./ 5%RR%(.

(*# %( +,- **(5%3,+' ( C*15/ 0%(3 %+%( +,- **(5%3,+

(/ )-55*# #*15/ 2(*# +,+ ,%0 /R5%(3

,/ ,-R/ -?’RY #*R/ *) ,%0 0*(3'#%+, +,- **(5%3,+,-54%(3 5*(3.

1+ #,-( % +RY' %( ,-R-'+* +-55 Y*1' /-R'% 5*?- Y*1 /5Y' /5Y'/ 5%RR%('R%('

%+’0 5*(3 5*0+ C10-

% C( (-?-R #%()*R +,- C%?%5%>-/ #*R5/ CC-4+0

0 1()*R3%?5- 0%( (Y +52%(3 *1+ 5*1/#%+, (Y 5%RR%(.01C, 0 R%('/ 5%RR%(.

#86 – .arian : 2an/e (arold)

(The allet ommene!. 3AR'+/ an" MARIA an" the REA/ERS in

the +irary $artii$ate in a allet. It i! "one terrily Fuietly, $ratially onti$#toe in !oft !hoe tem$o.

HAROLD

1+ #,-( % +RY' %( ,-R-'+* +-55 Y*1' /-R'% 5*?- Y*1 /5Y' /5Y'



/ 5%RR%('R%(.

"HAROLD

%+’0 5*(3 5*0+ C10-% C( (-?-R #%(

)*R +,- C%?%5%>-/ #*R5/ CC-4+0 0 1()*R3%?5- 0%(

(Y +52%(3 *1+ 5*1/#%+, (Y 5%RR%('01C, 0 R%(@

+he 5adies’ /ance Committee meets +uesday nights.

('$ening 7marle8 ag an" offer! it to her

arshmallow$

/ 5%RR%(.

(3AR'+/ athe! MARIA off guar" an" %i!!e! her on the hee%.MARIA i! !ho%e" into reality. 3E !tuff! a mar!hmallo& in hi! mouthan" MARIA ha! no& ha" it, giing him a roun"#hou!e !la$ &hih3AR'+/ "u%!. It athe! T'MM; /JI+AS full on the ear an" &e<+A0@'T.

#<9 – !irst Sevent+:Si; Tromones Crossover (Or/hestra)

SCENE EIGHT

(TIME: The follo&ing Satur"ay noon.

AT RISE: T'MM; an" 3AR'+/ are !een in front of the TRA*E++ER,STA-E +ET

HAROLD

#ell +ommy we’ve had a pretty good morning. -leven sales out oftwelve tries. +ell you what – %t’s almost noon. You "etter go homeand get some dinner. %’ll try a couple "y myself.

TOMM%

3’"ye' 4rofessor.



HAROLD

+hans' +ommy.

#<8 – Se/ond Sevent+:Si; Tromones Crossover (Or/hestra)

(7Seenty#Si? Tromone!8 i! hear" a! 3AR'+/ a$$roahe! "oor, STA-E RI-3T

SCENE NINE

(7Seenty#Si? Tromone!8 i! hear". An im$re!!ie "oor&ay. 3AR'+/ring! /''R<E++ at RISE. S3I ome! hurrying "o&n the !treet, goe!to "oor, !tart! to unlo% it ) realie! 3AR'+/=S $re!ene.

SHINN

Just a minute here. re you soliciting$ You haven’t got a license.

HAROLD

#hy no' ayor 0hinn' % collect door"ells. +his particular specimenhas an unusual tone Duality that –

SHINN

)lattery will not avail you. 0oliciting is statutory in this county –malfeasance without a permit. #hy haven’t you "een down’t City,all with your references$

HAROLD

(Ste$$ing "o&n to S3I

Just missed you % & . r. ayor! Your hand – oh no!

SHINN

#hat' what –

HAROLD

(S$rea"! S3I=S finger!

+hat spread of the little finger! %t’s hereditary!

SHINN

*h it is – what does that mean$



HAROLD

%t means that your son’s little finger is perfectly situated to operatethe spit valve on a &flat )lugel ,orn!

SHINN

(6i"e#eye"

%s that good$

HAROLD

3ood! %t means that merican has at last produced an artist whocan )lugel the inute #altz in K: seconds.

SHINN

,ow could % get one of those horns$

HAROLD

(ui% &ith or"er lan%

0ign here' r. ayor. +hat’ll "e seventeen dollars import fee.

SHINN

(Signing

Yes sir. Just thin % could’a missed this whole –

(Sto$! !u""enly

% haven’t got any son! You unscrypulous flew&"y&night' youunflypulous – you "e down’t City ,all with your y 3od papers atthree o’cloc.

HAROLD

You mean this afternoon$

SHINN

% couldn’t mae myself any plainer if %’se a Euaer on his day off.

#<< – Third Sevent+:Si; TromonesCrossover

(Or/hestra)



(<+A0@'T

SCENE TEN

(TIME: That eening.

AT RISE: The 5AR''=S $orh. MRS. 5AR'' i! !itting on the $orh

ro%ing. 6IT3R'5 i! hi"ing ehin" her hair. 3AR'+/ ha! ETERE/at RISE.

HAROLD

rs. 4aroo do you realize you have the facial characteristics of aCornet virtuoso$

MRS) AROO

% don’t now if % understand you entirely' 4rofessor.

HAROLD

%f your "oy has that same firm chin' and those splendid cheemuscles – y 3eorge! (ot that he could ever "e really great' youunderstand' "ut –

MRS) AROO

*h' is that so. nd in the name of 0t. ridget' why not$

HAROLD

#ell – you see all the really great Cornet players were %rish –*’Clar' *’endez' *’2lein –

MRS) AROO

ut 4rofessor' we are %rish!

HAROLD

(o! (o! Really! +hat clinches it! 0ign here' rs. 4aroo. Your "oywas "orn to play the Cornet!

(S3E !ign! in a "ae. 6IT3R'5 ha! follo&e" her an" i! !till hi"ingehin" her.

)ine' fine. +hat will "e seven dollars earnest money. (othing moredue until the first installment paya"le at opening of "and practice.

(MRS. 5AR'' loate! money from aout her $er!on.



h than you. nd of course' %’ll need the "oy’s measurements forhis "and uniform.

MRS) AROO

,is uniform!(6IT3R'5 fall! off the $orh in e?itement. 3AR'+/ an" MRS.5AR'' are !ome&hat !ur$ri!e".

HAROLD

,ello' son.(6IT3R'5 $i%! him!elf u$ an" !tart! to run. 3AR'+/ !to$! him.

Certainly' his uniform. nd there won’t "e a penny due till delivery'which gives him four wees to enFoy' to anticipate' to imagine' at nocost whatever. (ever allow the demands of tomorrow to interferewith the pleasures and excitement of today.

WINTHRO

(/ra&ing an imaginary line "o&n the out!i"e of hi! leg

#ould it have@a@a@$

HAROLD

stripe$ Certainly' my "oy' a wide red stripe on each side. #hatdo you thin of that$

(6IT3R'5 "ro$! hi! eye! !u""enly an" run! off.



MRS) AROO

You’ll have to excuse #inthrop' 4rofessor. #e can’t get him to saythree words a day even to us. nd if you get him to play in the"and you’ll have 0t. ichael’s own way with you. ut if any"odycan do it %’ll "e you can. *ut of a crowd %’ll pic you for hod&carrying' clay&pipe smoin’' shamroc&wearin’' harp&playin’'

avorneen&pinchin’' +ara’s hall minstrel&singin’ %rishman! e&go"and "e&Fa""ers! #here are ye from' me "ye$

HAROLD

3ary' %ndiana.

MRS) AROO

% new it! 3ar & . #here did you say$

HAROLD

3ary' %ndiana. %n fact 3ary Conservatory was my lma ater.

MRS) AROO

#as she now$

HAROLD

(A&are of MARIA=S a$$roah

#hy yes – 3old edal Class of ’:K. ,odado' iss 4aroo.

MARIAN

,odado' r. ,ill.

HAROLD

*f course! 4aroo. % thought the name sounded familiar.

(Sotto

%’ve tried to see you since the other night' "ut –

MRS) AROO

,e wants to put #inthrop in the "and!



MARIAN

#e’re not interested' ama.

MRS) AROO

ut arian' the "oy might have his father’s musical gift. ,e doeshave my Faw' you now.

HAROLD

*h – your hus"and musical$ #ell %’d lie to have a tal with him.%’m sure we –

MARIAN

/o you "urst in on everyone’s home lie this$ 4rying into personalaffairs$ #e’re not interested.

MRS) AROO

arian!

HAROLD

(0heerfully

#ell' that’s one for and one against. (ow why not let the "oy’sfather decide$

MARIAN

+he "oy’s father is dead. nything else$

HAROLD

*h' %’m sorry. ut that’s all the more reason why your "rothershould have something lie this –

MARIAN

y "rother is a ten&year&old pro"lem child who can’t understandwhy his father was taen away. #ould you care to explain it tohim$ ,e’s "een "rooding a"out it for two years. s to your musicaltrics' why don’t you go into "usiness with some nice carnival manwho sells gold&painted watches and glass diamond rings$

HAROLD



usical trics$ #ell iss 4aroo' % hardly –(6ithout re!$on!e, MARIA EITS into hou!e. MRS. 5AR'' !tan"!!$eehle!!. 3AR'+/ !tan"! a$$roingly, hi! finger along!i"e hi! no!e.

% get the feeling she lies the idea. *h' a little cautious perhaps "ut% admire that in a woman. Just eep me alive and %’ll "e "ac laterin the wee.

MRS) AROO

*ne moment' 4rofessor ,ill. "out the "oy’s measurements. %mae all his clothes. 0leeve ;9' #aist 97' Croutch 9< –

HAROLD

)ine' that’s all % need. (ow % must get "ac to the ,otel.

MRS) AROO

4rofessor' % do hope you’ll excuse arian. 0he’s not really –

HAROLD

4lease. /on’t worry a"out a thing. %’m sure that at heart she’s aslovely as yourself. 3ood day to ya' #idda 4aroo.

MARIAN

(Returning to $orh &ith emroi"ery an" !li$ of $a$er

,as he gone$

MRS) AROO

,e has. nd % hope not forever. /arlin’ don’t you ever thin of yourfuture$ 3ary %ndiana Conservation Class of ’:K – (ow darlin’ –

MARIAN

(ow ama. 0urely a girl’s future doesn’t depend on encouragingevery fast&taling' self&centered' woman&chasing traveling man who

comes to town. nd the fact that he claims his commodity is musicdoes not' in this particular case' impress me.

MRS) AROO

ll right' darlin’' all right. *nly it’s a well&nown principle that if youeep the flint in one drawer and the steel in another' you’ll neverstrie much of a fire.



MARIAN

ama!

(0alling

#inthrop! #inthrop' % now you’re there.(6IT3R'5 ome! !lo&ly to $orh.

4lease go to the li"rary and as iss 3ru"" to give you the "oo %set aside. %t’s the %ndiana 0tate -ducational Journal 978:&989:.%t’s a large "rown volume with "lac corner.

WINTHRO

/o % hafta$

MARIAN

You won’t have to tal to anyone. %’ve written it all down.

(S3E gie! him $a$er. 3E goe!.

+han you dear.

MRS) AROO

(ow what are you up to$ #hy do you need "oos at this hour ofthe night$

MARIAN

% have a feeling the %ndiana Journal may help me poe some largeholds in the 4rofessor’s claims.

MRS) AROO

#ell' % give up. t your age if you don’t mind my asin’ what indawhite night do you expect to come ridin’ along$

MARIAN

#ell %’m not waiting for 5uther 3reiner who "acs me into the ncient ,istory shelf every time he comes into the 5i"rary.

MRS) AROO

,e does$



#<> – .+ hite Anight (.arian)

MARIAN

*r -d 3ammidge and that "uggy of his with the remova"le "acseat. ut %’m not waiting for a man in shining white armor either.

Y #,%+- 2(%3,+' (*+ 5(C-5*+'

(*R ( (3-5 #%+, #%(30GJ10+ 0*-*(- +* 5*?- -'#,* %0 (*+ 0,-/ *) )-# (%C- +,%(30.

Y #,%+- 2(%3,+ –#,+ Y ,-R+ #*15/ 0Y%) %+ *(5Y 2(-# ,*#.45-0-' /-R ?-(10' 0,*# - (*#.

55 % #(+ %0 45%( (G 55 % #(+ %0 */-0+ (G

E1%-+ (' 3-(+5- (' 0+R%3,+)*R#R/ (/ ,*(-0+ (+* 0%+ #%+, - %( C*++3-0*-#,-R- %( +,- 0++- *) %*#.

(/ % #*15/ 5%2- ,% +* -*R- %(+’R-0+-/ %( -+,( ,- %0 %( ,%0-5).

(/ *R- %(+’R-0+-/ %( 10+,( %( -.

(/ %) *CC0%*(’5Y ,-’/ 4*(/-R#,+ 2-0 0,2-04-R- (/ --+,*?-( 3R-+'

,% % C*15/ 5*?- A+%5 % /%-.,% % C*15/ 5*?- A+%5 % /%-.

Y #,%+- 2(%3,+' (*+ 5(C-5*+(*R ( (3-5 #%+, #%(30.J10+ 0*-*(- +* 5*?- -'#,* %0 (*+ 0,-/ *) )-# (%C- +,%(30.Y #,%+- 2(%3,+ –5-+ - #52 #%+, ,% #,-R- +,- *+,-R0 R%/- YG#52' (/ 5*?- ,%A+%5 % /%-.

A+%5 % /%-.

(/IM'T

SCENE ELEVEN

(TIME: oon, the follo&ing Satur"ay.



AT RISE: 0enter of to&n, e?terior. AEETA i! ro!!ing follo&e" yT'MM; &earing hi! inention.

TOMM%

(0alling

@ >aneeta@ ,ey' >aneeta –(AEETA !to$! an" turn!.

.ANEETA

+ommy' 4apa and ama are sitting right there in the "an. Ye3ods!

TOMM%

ll right' then meet me after supper.

.ANEETA

% can’t. %t’s -pworth 5eague night. eet you where$

TOMM%

+he foot"ridge.

.ANEETA

You see$ %sn’t that Fust what % said$ 5ast time the lum"er yard andnow the foot"ridge. nd where will you meet me after that$ %n thelac ,ole of Calcutta$ Ye 3ods.

TOMM%

% only want to show you my invention.

.ANEETA

#hat invention$

TOMM%

y music holder for a marching 4iccolo player. %t still has a coupleof minor flawsG see' when you eep it tight enough to hold themusic steady you cut off the circulation and you can’t wiggle yourfingers. eanwhile –



(/emon!trate! ho& lo!e it &oul" e in $laying $o!ition

You could go "lind.

.ANEETA

(-e!ture! in alarm at '+I*ER 3I=S offie.

+ommy! %t’s 4apa!(T'MM; leae! in a hurry a! S3I an" E+A+IE ETER.

SHINN

%s that the first thing % said' or not$

EULALIE

Yes' 3eorge.

SHINN

Yes! +he very first thing % said or %’ll eat hay with the horse! 3et that0pell"inder’s credentials' % said' morning of Jew&ly )ourth' (ineteenand +welve. nd now loo! y wife is off dancing at any and allhours instead of in the home –

EULALIE

ut 3eorge –

SHINN

&the 0chool oard is singin’ up street and down alley instead oftending to city matters' my oldest girl is "oodling around with somewild id and my "usiness has fallen off so far % can’t find the"alance sheet.

MARIAN

(ETERI- &ith ro&n oo%

ayor 0hinn' %’ve found something very interesting in this "ooa"out 4rofessor ,ill’s lma ater.

SHINN

,is who$

MARIAN



,is university.

SHINN

% now all a"out that. %n fact' that’s the only thing % can ever get outof him – 3ary Conservatory' class of aught&five.

MARIAN

%f you’ll Fust tae time to read a little "it a"out the Conservatory %don’t thin you’ll have to loo further. %t’s on page@

#<< – The ells !argo agon (Townspeople, @uartet, inthrop)

(3'RSE MSI0. -RA0IE S3I ru!he! on.

$RACIE

4apa! +he #ells )argo #agon is Fust comin’ up from the depot!

ALL

(In hu!he" antii$ation

+he #ells )argo #agon!

SHINN

liely story! t this hour of the day$ (onsense!...+he #ells )argo#agon$

$RACIE

%t could "e the "and instruments!

SHINN

+he "and instruments!(The T'6S5E'5+E no& form, loo%ing u$ the !treet li!tening for thehor!e=! hooe! &hih are no& hear" $lainly in the MSI0.

TOWNSEOLE

*&,*' +,- #-550 )R3* #3*(%0 &C*%(’ /*#( +,- 0+R--+'*,' 45-0-' 5-+ %+ - )*R -.*&,*' +,- #-550 )R3* #3*(%0 &C*%(’ /*#( +,- 0+R--+'% #%0,' % #%0, % 2(-# #,+ %+ C*15/ -.



1ST ,OICE

% 3*+ *H *) 45- 013R *( Y %R+,/Y.

2ND ,OICE

%( RC,' % 3*+ 3R-Y C2%(#.

3RD ,OICE

(/ *(C-' % 3*+ 0*- 3R4-)R1%+ )R* +4.

4TH ,OICE

*(+3*’RY #R/ 0-(+ - +,+1 (/ CR*00&C1+ 0#.

TOWNSEOLE

*&,*' +,- #-550 )R3* #3*( %0 &C*%(’ (*#.%0 %+ 4R-4%/ 01R4R%0- *R C.*./.$

5TH ,OICE

%+ C*15/ - C1R+%(0'

/TH ,OICE

*R /%0,-0'

0TH ,OICE

*R /*15- *%5-R'

TH ,OICE

*R %+ C*15/ -'

TOWNSEOLE

Y-0' %+ C*15/ -'

Y-0' Y*1’R- R%3,+' %+ 01R-5Y C*15/ -

TH ,OICE

0*-+,%(’ 04-C%5

TOWNSEOLE



0*-+,%(’ ?-RY' ?-RY 04-C%5 (*#'

TH ,OICE

J10+ )*R -.

TOWNSEOLE

*&,*' +,- #-550 )R3* #3*(%0 &C*%(’ /*#( +,- 0+R--+'*,' /*(’+ 5-+ ,% 400 Y /**R!*&,*' +,- #-550 )R3* #3*(%0 &C*%(’ /*#( +,- 0+R--+'%# %0, % 2(-# #,+ ,- #0 C*%(’ )*R.

TH ,OICE

% 3*+ 0*- 05*( )R* 0-++5- 50+ 0-4+--R.

1TH ,OICE

(/ % -H4-C+ (-# R*C2%(’ C,%R.

11TH ,OICE

% ,*4- % 3-+ Y R%0%(0 )R* )R-0(*.

+UARTET

+,- /..R. ,?- 0-(+ C((*(

)*R +,- C*1R+,*10- 0E1R-.

(6IT3R'5 rea%! through the 0R'6/, an" a! the T'6S5E'5+E!lo&ly turn to loo% at him in amaement, 3E SI-S.

WINTHRO

*&,*' +,- #-550 )R3* #3*(%0 &C*%(’ (*#'% /*(’+ 2(*# ,*# % C( -?-R #%+ +,--.%+ C*15/ - 014%(’ )*R 0*-*(-

#,* %0 (* R-5+%*('1+ %+ C*15/ -014%(’ 04-C%5J10+ )*R -!



TOWNSEOLE

"TENOR!ASS

*&,*' Y*1#-550 )R3* #3*(' 2--4 &C*%(’*&,*' Y*1 #-550 )R3* #3*(' 2--4 &C*%(’*&,*' Y*1 #-550 )R3* #3*(' /*(’+ Y*1/R- +* 2- 0+*4'1(+%5 Y*1 0+*4 )*R -.

"SORANOALTO

, –

/R- +* 2- 0+*4'1(+%5 Y*1 0+*4 )*R -.

(MARIA $u!he! her &ay through the 0R'6/ to ru!h 6ITR3'5 inan emrae a! the 0R'6/ heer! 6agon=! arrial.

TOWNSEOLE

Ray&yy!

DRI,ER

#hoa!

WINTHRO

%t’s the "and instruments!

#<% – !inale 5/t I (Or/hestra)(3AR'+/ ri"ing in &agon Dum$! "o&n, arrying gol" ornet &hih hering! to 6IT3R'5.

HAROLD

,ere you are' #inthrop.

WINTHRO

y Cornet! 3ee thans' 4rofessor!

HAROLD

(Returning to &agon

en! You will each receive individual instruction in due course. %nthe meantime stay off the streets – get acDuainted with your



instruments and thin a"out the inuet in 3. 5a de da de da de dade da –

!O%S

(EITI-

5a de da' 5a de da.

WINTHRO

0ister! 0ister! %sn’t this the most scrumptious sold gold thing youever saw. % never thought %’d ever see anything so scrumptious asthis scrumptious solid gold thing! * sister!

SHINN

Round one for you ister ,ill' "ut % "etter hear some "y 3od tootin’out’ a them horns in pretty short order or %’ll see you front a’thegrand Fury over’t the County 0eat.

(A$$roahing MARIA

(ow iss arian' a"out that "oo –(MARIA tear! a $age out of the oo% a! E+A+IE all! S3I.

EULALIE

Come' 3eorge! +empus fugits.

SHINN

(Turning to her

You watch your frazolagy. 3et a long if you want to. %’ve got to getsomething from the li"rarian.

(0ro!!e! to MARIA

"out that "oo –(MARIA han"! him the oo%. S3I an" E+A+IE EIT.

3AR'+/ athe! MARIA=S loo% &hih i! hanging from gratitu"e toa"oration.

HAROLD



(0oming oer to her

+he 5adies’ /ance Committee meets +uesday nights at the ,igh0chool.

(T3E hol" the loo% a! the 'R03ESTRA &ith 7My 6hite @night8 !&ell! tolima?.

0RTAI.

ACT TWO

#< – 7ntr"a/te (Or/hestra)

SCENE ONE

#<0 – 7ulalie"s =allet (Or/hestra)

(TIME: Eening. The follo&ing Thur!"ay.

AT RISE: Ma"i!on -ymna!ium. The +a"ie!= Au?iliary 0ommittee i! $ratiing for the Ie 0ream Soiale. MA/, A+MA, ET3E+, MRS.SIRES an" E+A+IE are "re!!e" in 7girl!8 a!%etall loomer!, la%!to%ing! an" tenni! !hoe!, 5eter Thom$!on lou!e! an" la% hairrion!. AT RISE, MARIA i! $um$ing 7Ru!tle of S$ring8 a! the +A/IES

$ara"e &ith oo%! alane on their hea"!. T3E ARTET are on one!i"e of the !tage "re!!e" in In"ian regalia.

EULALIE

5ovely' ladies' lovely. (ow turn. +ae the "ody with you. 5ovely.(ow let’s have a go at our 3recian 1rns@*ne 3recian 1rn@+wo 3recian 1rns@

nd a )ountain@tricle' tricle' tricle.0plendid' ladies. % predict that our /el 0arte display will "e thehighlight of the %ce Cream 0ocia"le. (ow gentlemen' if you’reready –

(T3E ARTET ome! oer an" ta%e! $o!ition!.

nd ladies' remem"er – don’t mae me tell you again. lwayseep your face to the audience. ll right' r. /unlop.

#< – It"s &ou (@uartet)

(E6ART lo&! $ith $i$e. MA/ $o$! out from ehin" him, E+A+IEmotion! her a%, the ARTET SI-S a! the +A/IES $antomimea$$ro$riately.



EWART

%+’0 Y*1 %( +,- 01(R%0-.%+’0 Y*1 %( Y C14.

(ACE%

%+’0 Y*1 55 +,- #Y %(+* +*#(.

OLI,ER

%+’0 Y*1R 0#--+ I,-55*' /-R'+,+ 0-+0 - 14'

EWART

(/ %+’0 –

+UARTET

Y*1R I3*+ +* 3*' /-R'+,+ 3-+0 - /*#(.%+’0 Y*1 *( Y 4%55*#'%( 55 *) Y /R-0'+%55 *(C- *R- +,- *R(%(3 R-20 +,R*13,.#,+ #*R/0 C*15/ - 0(-R'*R +R1-R' *R 45%(-R+,( I%+’0 Y*1' %+’0 Y*1'

EULALIE

0mile' girls' smile.

(ACE%

Y-0' I%+’0 Y*1.

EWART' OLI,ER' OLIN

*,' Y-0' %+’0 Y*1.

MARCELLUS

(Trying to hol" @I/S a% at the "oor.

4lease ids' rs. 0hinn will have my head.

EULALIE



r. #ash"urn' we are entitled to five more minutes.

MARCELLUS

%f you thin you can hold these ids "ac' go ahead.(The @I/S ur!t in e?ite"ly a! E+A+IE fight! her &ay through them an" EITS RI-3T. The ARTET an" the +A/IES Fui%ly get out of hi! &ay.

TOMM%

0tart her up' r. #ash"urn. #ait till you see the new steps4rofessor ,ill taught us.

MARCELLUS

ll right! #hat’ll it "e$

TOMM%

+he 0hipoopi!

*IDS

0hipoopi!

#<6 – Shipoopi (.ar/ellus, Townspeople)

(T3E; form *irginia Reel line!.

MARCELLUS

(*#' #*( #,*’55 2%00*( +,- ?-RY )%R0+ /+-%0 101’5Y ,100Y'

(/ #*( #,*’55 2%00*( +,- 0-C*(/ +%- *1+%0 (Y+,%(3 1+ )100Y.1+ #*( #,*’55 #%+A+%5 +,- +,%R/ +%- R*1(/',-/ %( C5*1/0' )--+ *( +,- 3R*1(/'0,-’0 +,- 3%R5 ,-’0 35/ ,-’0 )*1(/.0,-’0 ,%0 0,%4**4%!

0,%4**4%' 0,%4**4%' 0,%4**4%'

!O%S

+,- 3%R5 #,*’0 ,R/ +* 3-+!

MARCELLUS



0,%4**4%' 0,%4**4%' 0,%4**4%.

$IRLS

1+ Y*1 C( #%( ,-R Y-+.

MARCELLUS

#52 ,-R *(C-J10+ +* R%0- +,- C1R+%('+,-( Y*1 #52 R*1(/ +#%C-

(/ Y*1 2- )*R C-R+%(.*(C- *R- %( +,- )5*#-R 3R/-('0,- #%55 (-?-R 3-+ 0*R-%) Y*1 -3 ,-R 4R/*(.

ALL

/*' R-' %' )' 0*5' 5' 0%' /*'

0%' 5' 0*5' )' %' R-' /*.

MARCELLUS

0E1-->- ,-R *(C-#,-( 0,- %0(’+ 5**2%(’.%) Y*1 3-+ 0E1-->- C2'+,+’0 )(CY C**2%(’.*(C- *R- )*R 4-44-R&144-R.0,- #%55 (-?-R 3-+ 0*R-*( ,-R #Y +* 0144-R.

ALL

/*' R-' %' )' 0*5' 5' 0%'/*' 0%' /*.

MARCELLUS

(*# 5%++5- *5’ 05 #0 (*&35' 0 (Y*(- C*15/ 0--.

5**2%+ ,-R (*#. 0,-’0 3*&35'#,* *(5Y 3*-0 )*R -.

(3E re!ume! alling

0E1-->- ,-R *(C-#,-( 0,- %0(’+ 5**2%(’.%) Y*1 3-+ 0E1-->- C2'



+,+’0 )(CY C**2%(’.*(C- *R- )*R 4-44-R&144-R.0,- #%55 (-?-R 3-+ 0*R-*( +,- #Y +* 0144-R.

ALL

/*' R-' %' )' 0*5' 5' 0%'

/*' 0%' /*.

MARCELLUS

0,%4**4%' 0,%4**4%' 0,%4**4%'

MARCELLUS' !O%S

+,- 3%R5 #,*’0 ,R/ +* 3-+.

MARCELLUS

0,%4**4%' 0,%4**4%' 0,%4**4%.

MARCELLUS' $IRLS

1+ Y*1 C( #%( ,-R Y-+.

#>9 – Shipoopi 2an/e – *art 8 (Or/hestra)

(SE*ERA+ 0'5+ES "o !$eialtie! inlu"ing MAR0E++S an" ET3E+,an" T'MM; an" AEETA. 3AR'+/ ETERS.

#>8 – Shipoopi 2an/e – *art < (Or/hestra)

!O%

Come on' 4rofessor' show us some new steps!

#>< – Shipoopi 2an/e – *art > (Or/hestra)

(3AR'+/ ma%e! a gallant initation to &allflo&er MARIA. S3E i!tra$$e" into "aning &ith him in *ernon 0a!tle one#!te$. S3E !hine!.Seeral of the +A/IES &itne!! thi! an" ru!h off &ith the ne&!. The @I/S

all Doin again imitating the !te$! 3AR'+/ an" MARIA hae "one.

ALL

0,%4**4%' 0,%4**4%' 0,%4**4%'+,- 3%R5 #,*’0 ,R/ +* 3-+.0,%4**4%' 0,%4**4%' 0,%4**4%'



1+ Y*1 C( #%( ,-R Y-+.Y*1 C( #%( ,-R Y-+!

(Shoute"

0,%4**4%!

#>> – Shipoopi *la+o$$ (Or/hestra)(A! re$ri!e featuring T'MM; an" AEETA !tart!, E+A+IE an"MA;'R S3I ETER.

SHINN

+ae your hands off my daughter!

.ANEETA

4apa!

TOMM%

r. 0hinn' your honor. Your daughter and % are goin’ steady "ehindyour "ac.

SHINN

#hy you –

TOMM%

#e’d rather do it in front a’ your "ac "ut –

SHINN

/o what$ (ever mind.

TOMM%

>aneeta’s scared a’ya' "ut %’m not. % should thin you’d hate tohave your own daughter scared a’ya' Jeely 2ly.

SHINN

%’m going to warn you once more. %f % ever catch you touching mydaughter %’ll "y 3od horsewhip you till ,ell won’t have it again.

EULALIE



(ow 3eorge!

SHINN

(ot one poop out’a you madam!

EULALIE

% thin he means peep.

SHINN

Yes! nd now get out’a this pu"lic "uilding!

TOMM%

% got as much right in a pu"lic "uilding as any"ody.

SHINN

Right$ ,ow do you get any right around here$ iding and a"ettingthe swindling activities of this spell"inding cym"al salesman$ Younow what % see written all over you$ Reform 0chool! (ow getout!... 3et out' you wild id.

(T'MM; ru!he! off.

.ANEETA

4apa' please. %t’s Capulets lie you mae "lood in the maretplace. Ye 3ods.

SHINN

You watch your fazolagy' young woman. 3o home.(AEETA &ee$! an" !tart! off. E+A+IE !tart! after her.

-ulalie!

EULALIE

Yes' 3eorge' % only –

SHINN

You tend to your dance.

EULALIE

(0oming a%



y dance –(S3I $oint!, E+A+IE EITS

SHINN

%’ll handle >aneeta. +ain’ up with wild ids from the wrong sidea’town –

MARIAN

r. ayor' if % could Fust mae you understand –

SHINN

#ell ya can’t. nd "y the way thans for nothin’. %’ve read that"oo you gave me from cover to cover for a whole wee now anddidn’t find a thing!

HAROLD

r. ayor' if you please –

SHINN

%’ll settle your hash as soon as % get these premises offa’ my oldestgirl –

(Start! off, turn! a%

Yes!

HAROLD

ll right "ut in the meantime % want you to now %’m vouching for+ommy /Filas. +hat "oy’s got the confidence of every id in town –you’ll "e standing in line waiting to shae his hand "y time our andplays its first concert.

SHINN

y time your "and plays its first concert the individual mem"ers’llhave to foregather in wheel chairs on account of the "roen legsthey’ll get from tripping over their "eards. %’ll tell you something' myfine young feathered – my feathered young – never mind! *liver –Jacey – -wart – *lin!

(The ME Fui%ly atten".



% want this man’s references and % want Aem tonight! /on’t let himout’a your sight! ,e’s slipprier’n a ississippi sturgeon!

OLI,ER

/o you mean you want us to – get his credentials –

SHINN

3et his papers or get him in Fail! Couldn’t mae myself any clearer if %’se a "utton hoo in the well&water.

(EITS, "ragging AEETA. The ME follo&.

MARIAN

(3urrying to 3AR'+/

4rofessor hill' % thin ayor 0hinn has "ehaved a"omina"ly and %thin it was wonderful of you coming to +ommy’s defense.

HAROLD

*h' that was nothing.

MARIAN

Yes it was.



HAROLD

*h' no. man can’t dodge the issue every time a little personalris is involved –

(6athing her

#hat does the 4oet say$+he coward dies a thousand deaths – the "rave man only K:: –

(+augh! gaily, !u""enly turn! !eriou!

1nfortunately' of course' the ayor was already pretty mad onaccount of his illiard 4arlor. (ow –

(Shrug! ruefully

*h' % suppose a recommendation from a musical authority lie

yourself would help "ut –

(+eaing

% couldn’t thin of asing you to do a thing lie that.

MARIAN

(Sto$$ing him

#hy' 4rofessor ,ill.

HAROLD

You would$

MARIAN

%’d "e glad to. % Fust wish % was a little more informed – %’ve "eenwaiting to tal to you a"out #inthrop’s Cornet.

HAROLD

,is Cornet$ other&of&pearl eys.

MARIAN

%’m sure it’s fine. ut you see he never touches it. *h' the firstwee or so' he made a few – ah – experimental – "lats$ % guessyou’d say$



HAROLD

Yes – yes' "lats.

MARIAN

nd he sings the

(SI-I- it

Iinuet in 3 de da almost constantly.

HAROLD

(-oing to the grou$! of +A/IES an" lea"ing them a! they SI-

5a de da de da de da de da. 5a de da. 5a de da –

MARIAN

ut he never touches the Cornet.

HAROLD

#ell' you say –

MARIAN

,e says you told him it wasn’t necessary.

HAROLD

#ell.

MARIAN

,e tells me a"out some I+hin 0ystem. %f he thins the Iinuet in3' he won’t have to "other with the notes. (ow 4rofessor –

HAROLD

iss arian. +he +hin 0ystem is a revolutionary method' %’lladmit. 0o was 3alileo’s conception of the ,eavens' Colum"us’conception of the egg – ah – glo"e' ach’s conception of the #ell&+empered Clavichord. ,mm$ (ow % cannot discuss those thingshere in pu"lic. ut if you’ll allow me to call –

(S$otting the +A/IES &ho are ETERI-, ha!tily



#hen may % call$

MARIAN

#hy any night this wee –

#>4 – *i/-:a:1ittle, Tal-:a:1ittle(Reprise)

(5lma, 7thel, 7ulalie, .aud,.rs3 SBuires, The 1adies)

(The +A/IES ETER a! 3AR'+/ EITS.

LADIES

4%C2 5%++5-' +52 5%++5-' 4%C2 5%++5-' +52 5%++5-'C,--4' C,--4' C,--4' +52 5*+' 4%C2 5%++5- *R-.4%C2 5%++5-' +52 5%++5-' 4%C2 5%++5-' +52 5%++5-'C,--4' C,--4' C,--4' +52 5*+' 4%C2 5%++5- *R-.4%C2 5%++5-' +52 5%++5-' 4%C2 5%++5-' +52 5%++5-'C,--4' C,--4' C,--4' +52 5*+' 4%C2 5%++5- *R-.4%C2 5%++5-' +52 5%++5-' 4%C2 5%++5-' +52 5%++5-'

C,--4' C,--4' C,--4' C,--4' C,--4' C,--4' C,--4' C,--4!

ETHEL

(Simultaneou!ly &ith aoe

iss 4aroo' please Foin our /el 0arte Committee.

ALMA

You were so dear tonight dancing the 0hipoopi with 4rofessor ,ill.

(The +A/IES ontinue 75i%#a#+ittle, Tal%#a#+ittle8 un"er the follo&ing.

ALMA

You /ance lie a

)%RY 4R%(C-00

(Slam(Slam

#%+, **(- )*R Y*1R )5**R!Y*1 ,/ 3*5/-( 0,%-R %( Y*1R ,%R

(/ 0%5?-R 0,*-0 )*R 55 +* 0--!

(Slam

#- 2(*# +,+ Y*1 #%55 0**( 1()*5/ )*R3%?%(3 ,-R+ *) 41R-0+ 3*5/'



,-R-'

(Thum$

#,-R- #*(’0 ,-R+ 0,*15/ -.

ALMA' MAUD' ETHEL' MRS) S+UIRES

)%RY 4R%(C-00!**(- )5**R!3*5/-( 0,%-R!0%5?-R 0,*-0!(*# 1()*5/!,-R+ *) 3*5/!,-R-'

(Thum$

#,-R- #*(’0 ,-R+ 0,*15/ -!

+,- 4R*)-00*R +*5/ 10 +* R-/ +,*0- **20 (/ #- 0%45Y /*R-/ +,- 55!

ALMA

C,1C-R!

ETHEL

R-5%0!

EULALIE

(0ro!!ing through from the -irl!= +o%er

5&>C!



LADIES

C,--4' C,--4' C,--4' C,--4' C,--4' C,--4' C,--4' C,--4'C,--4' C,--4' C,--4' C,--4' C,--4' C,--4' C,--4' C,--4!4%C2 5%++5-' +52 5%++5-'

(6hi!$ere"

C,--4!

(<+A0@'T

SCENE TWO

(TIME: The follo&ing 6e"ne!"ay eening. After !u$$er,

AT RISE: The 3otel 5orh. JA0E;, '+I, '+I*ER, E6ART, all &earing

!iler !tar!, are on the alert a! 3AR'+/ i! trying to e!a$e them.

EWART

0orry' 4rofessor' "ut we got our orders.

OLI,ER

#e all "een deputized.

HAROLD

Yes – congratulations. 5et’s see now – you now all wee %’ve triedto give you fellows my references and credentials "ut every timeyou seem to get off the su"Fect somehow. (ow % have Fust wantyou need up in my hotel room – tae me a second.

EWART

0orry. A)raid %’ll have to go along with you.

HAROLD

Yes – well' let’s see if % have my ey –

(in"! $a$er in $o%et

#hat’s this$ – *h – a testimonial from adame Rini' the onlyfemale assoon player to appear on the Redpath Circuit. ,er



stage name' of course. ctually she was from oline. 5ida RoseEuacen"ush.

EWART

(Reahing

Could % see that for a minute$

HAROLD

(3a!tily $o%eting it

*h' you’ll never forget the name. 5ida Rose. 0ame as the oldsong.

#>% – 1ida Rose ill I 7ver Tell &ou (arold, @uartet, .arian)

(-et! out $ith $i$e an" lo&! it

5%/ R*0-'%’ ,*- 3%(' R*0-'

EWART

+* 3-+ +,-

+UARTET

(In!tantly Dum$ing in

01( C2 %( +,- 02Y.5%/ R*0-' %’ ,*- 3%( R*0-'

*1+ +,*10(/ 2%00-0 0,Y.

/%(3' /*(3' /%(3'% C( ,-R +,- C,4-5 -55 C,%-./%(3' /*(3' /%(3'

+ +,- 5-0+ 0133-0+%*('

%’55 4*4 +,- E1-0+%*(.

(A! the ARTET !tart!,3AR'+/ "u!t! off hi!

han"!, leae! the $orh an" Doin! MAR0E++S &ho ha!

ETERE/ +ET an" i!e%oning 3AR'+/. T3E;

EIT +ET ha!tily.

+UARTET

5%/ R*0-' %’ ,*- 3%(' R*0-



#%+,*1+ 0#--+,-R+ +* Y (-.5%/ R*0-' (*# -?’RY*(- 2(*#0+,+ % ,*4%(3 Y*1’R- +,- 0-.

0* ,-R- %0 Y 5*?- 0*(3G(*+ )(CY *R )%(-.5%/ R*0-' *,' #*(’+ Y*1 - %(-$

(ACE%' EWART' OLI,ER

5%/ R*0-'*,' 5%/ R*0-'*,' 5%/ R*0-.

(+I-3TS A/E 'T on ARTET a! 5AR'' $orh !&ing! into ie&STA-E +ET.

MARIA i! !itting on the $orh !te$!, MRS. 5AR'' in ro%er on $orh.

MARIAN

/R- *) (*#./R- *) +,-(./R- *) 5*?- 0*(3

"MARIAN

+,+ %3,+ ,?- --(.

/* % 5*?- Y*1$

*, Y-0' % 5*?- Y*1' (/ %’55 R?-5Y +-55 Y*1'1+ *(5Y #,-(#- /R- 3%(.

0#--+ (/ 5*#'0#--+ (/ 5*#',*# 0#--+ +,+ -’RYG,*# 5*(3 3*.)*R-?-R' *, Y-0' )*R-?-R.#%55 % -?-R +-55 Y*1$

,' (*.

(+I-3TS ome u$ on ARTET.

+UARTET

5%/ R*0-'*,' 5%/ R*0-'



*,@

MARIAN

/R- *) (*#.

/R- *) +,-(.

/R- *) 5*?- 0*(3

+,+ %3,+ ,?- --(./* % 5*?- Y*1$*, Y-0' % 5*?- Y*1'

(/ %’55 R?-5Y +-55 Y*1'1+ *(5Y #,-(#- /R- 3%(.0#--+ (/ 5*#'

0#--+ (/ 5*#'

,*# 0#--++,+ -’RYG

,*# 5*(3 3*.)*R-?-R'*, Y-0' )*R-?-R.

#%55 % -?-R +-55 Y*1$

,' (*.

+UARTET

@5%/ R*0-'%’ ,*- 3%(' R*0-'+* 3-+ +,- 01( C2 %( Y /2Y.

5%/ R*0-'%’ ,*- 3%(' R*0-'

*1+ +,*10(/ 2%00-0 0,Y./%(3' /*(3' /%(3'% C( ,-R +,- C,4-5 -55 C,%-/%(3' /*(3' /%(3'

+ +,- 5-0+ 0133-0+%*('%’55 4*4 +,- E1-0+%*(.5%/ R*0'%’ ,*- 3%( R*0-'#%+,*1+ 0#--+,-R+ +* Y (-.

5%/ R*0-'(*# -?’RY*(- 2(*#0+,+ % ,*4%(3 Y*1’R- +,- 0-.

0* ,-R- %0 Y 5*?- 0*(3G(*+ )(CY *R )%(-.

5%/ R*0-'*,' #*(’+ Y*1 - %(-$


5%/ R*0-'*,' 5%/ R*0-'*,' 5%/ R*0-.

(+I-3TS A/E 'T on ARTET.

SCENE THREE


The 5AR''=S 5orh. MARIA i! !itting on the !te$! in the moonlight.MRS. 5AR'' ro%! an" !e&!.

MRS) AROO

(Te!tily



#ill you ever stop arguin’ with yourself$ #ill you ever tell him –won’t you ever tell him – ah yes – ah no – ah fiddlestics. Justopen your mouth and let it come out.

MARIAN

(ow ama –

MRS) AROO

(ow nuthin’. %f he ever comes to call again' you see him alone' andif you haven’t the gumption to tell him how you feel –

MARIAN

+ell him$

MRS) AROO

#ell' there’s nothing wrong with a ladylie hint.

WINTHRO

(<ur!ting in &ith a Dar of &orm!.

ama!

MRS) AROO

#inthrop' where’ve you "een$

WINTHRO

)ishin’.

MRS) AROO

)ishing!

WINTHRO

#ith ,arold.

MARIAN

You mean 4rofessor ,ill$

WINTHRO



m hm. nd loo % still have some worms left.

MARIAN

/id you have a good time$

WINTHRO

0crumptious. ,e told me all a"out his home town' 3ary' %ndiana. nd he said he’d tae me there some day. nd he taught me asong that hardly has any esses in it.

#> – 'ar+, Indiana (inthrop, .rs3 *aroo,.arian)

(3an"! MARIA the &orm!.

3RY' %(/%('3RY' %(/%('3RY' %(/%('

5-+ - 0Y %+ *(C- 3%(.3RY' %(/%('3RY' %(/%('3RY' %(/%('+,+’0 +,- +*#( +,+ 2(-# - #,-(.

%) Y*1’/ 5%2- +* ,?- 5*3%C5 -H45(+%*(',*# % ,44-(-/ *( +,%0 -5-3(+ 0Y(C*4+%*('% #%55 0Y' #%+,*1+ *-(+ *) ,-0%++%*('+,-R- %0 J10+ *(- 45C-+,+ C( 5%3,+ Y )C- –

3RY' %(/%('3RY' %(/%('(*+ 5*1%0%('4R%0' )R(C-' (-# Y*R2 *R R*-' 1+ –3RY' %(/%('3RY' %(/%('3RY' %(/%('Y ,*- 0#--+ ,*-.

%) Y*1’/ 5%2- +* ,?- 5*3%C5 -H45(+%*('

,*# % ,44-(-/ *( +,%0 -5-3(+ 0Y(C*4+%*('% #%55 0Y #%+,*1+ *-(+ *) ,-0%++%*('+,-R- %0 J10+ *(- 45C-+,+ C( 5%3,+ Y )C-.

MRS) AROO



3RY' %(/%( –

MARIAN

3RY' %(/%( –

WINTHRO

(*+ 5*10%('4R%0' )R(C-' (-# Y*R2 *R R*-' 1+ –

MRS) AROO

3RY' %(/%( –

MARIAN

3RY' %(/%( –

ALL THREE

3RY' %(/%('Y ,*- 0#--+ ,*-.

(6IT3R'5 "oe! a Fui% "ane !te$ on the tag.

WINTHRO

(-ra! hi! &orm! an" run! off into hou!e, rea$$ear!

%’ll "e "ac in a minute. % have to show maryllis my live frog.

(SI-S lou"ly a! he EITS

5a de da de da de da de da. 5a de da. 5a de da.(MRS. 5AR'' !tart! into the hou!e.

MARIAN

5eave the dishes – %’ll do them' ama.

MRS) AROO

/on’t you have to change for the 0ocia"le$

MARIAN

+here’s time later.(03AR+IE 0'6E++ ETERS +ET, $a!!e! $orh, turn! a%



CHARLIE COWELL

0hinns live around here somewhere$

MARIAN

+he 0hinn home is on -ast -lm. +his is #est -lm.

CHARLIE COWELL

w Criminee!

(See! 75IA' -I*E8 !ign on $orh

% see you’re the piano teacher in town$ You must now a"out thisfellow ,ill formin’ a oys’ "and here.

MARIAN

Yes@

CHARLIE COWELL

#ell' don’t let it worry you no more' % got the goods on him inspades. 0windlin’ two&"it thim"le rigger. +hat’s why % got to see0hinn.

(5ull! out &ath

%’m Fust passin’ through. (um"er eight only maes a fifteen&minutewater stop. #ish it was ;:. #ould sure lie to concentrate fiveminutes on you' girly&girl.

MARIAN

#ho are you$

(Ri!e!

CHARLIE COWELL

(ame’s Charlie Cowell – anvil salesman. ut Fust now %’m out toprotect the good name of the travellin’ fraternity from this swindler.

MARIAN

r. Cowell' you’re maing a "ig mistae.



CHARLIE COWELL

istae my old lady’s corset&cover! +hat fella’s "een the rasp"erryseed in my wisdom tooth Fust long enough. ,e spoiled %llinois forme and he’s not gonna spoil %owa! 0ay' what ind of music teacherare you' you didn’t see through him$ ,e’s no more 4rofessor –

MARIAN

% now a"out all that. and leaders are always called 4rofessor.%t’s a harmless deception. ,e’s a fine director and his scholastic –

CHARLIE COWELL

(ow wait a minute. )ine director$ ,ave you heard one note a’music from any "and$

MARIAN

(o' "ut –

CHARLIE COWELL

ut nothin’' girly&girl! ,e never formed a "and in his life! nd henever will!

(6ae! $a$er!

MARIAN

%f you’ll Fust listen to me for a minute –

CHARLIE COWELL

%’d lie to – %’d lie to do more than that' if % had the time. % sure gotthe inclination. ut % got to get "ac on that train and % got to leavethis dynamite@

(<ran"i!hing $a$er!

@with some"ody on the way’t the deppo.

Aye' girly&girl. 0ee you next time through.(TRAI 63IST+E i! hear".

MARIAN

You’ll never mae that train at the depot. You’ll have to catch it atthe crossing.



(-e!ture! +ET

CHARLIE COWELL

(o sir. %’ve got to leave word. nd % can see you ain’t the one toleave it with.

MARIAN

Just a minute – r. Cowell – you – don’t now me yet.

CHARLIE COWELL

(Turning a%

%s that an invitation$

MARIAN

(+o!ing her nere

(o – % meant % don’t now you' and –

CHARLIE COWELL

(Turning a&ay again

Yes – %’d need more time anyway –

MARIAN

% mean as well as %’d lie to –

CHARLIE COWELL

(Turning a%

(o trou"le there' girly&girl.

(3E moe! in

MARIAN

(/ra&ing a%

% never met a man who sells anvils. +hat’s something – well – Duitedifferent.

CHARLIE COWELL





CHARLIE COWELL

(uriou!

#hy you dou"le&dealing little – #ho do you thin you’re protecting$+hat guy’s got a girl in every county in %llinois' and he’s taen itaway from every one of Aem! nd that’s 9:; counties! (ot counting

the piana teachers lie you he cozies up to' to eep their mouthsshut!

(A! he run! off

(either one of you’s heard the last of me' girly&girl!(MARIA !tan"! !tunne". ARTET ETERS SI-I- an" !to$! longenough for

+UARTET

3**/ -?-(%(3' %00 R%(. & !

(MARIA !till !tan"! "ae", not een a%no&le"ging their $re!ene.T3E; EIT SI-I-. MRS. 5AR'' i! hear" 'STA-E

+UARTET

5%/ R*0-' (*# -?’RY*(- 2(*#0+,+ % ,*4%(3 Y*1’R- +,- 0-'0* ,-R- %0 Y 5*?- 0*(3G

(*+ )(CY *R )%(-.5%/ R*0-' *,' #*(+’ Y*1 - %(-$


5%/ R*0-'*,' 5%/ R*0-'*,' 5%/ R*0-.

MRS) AROO

(Simultaneou! &ith aoe, 'STA-E

arian@ arian!

(0ome! out on $orh

arian dear! #ho was your talin’ to Fust –(3AR'+/ ETERS



#hy 4rofessor ,ill!

HAROLD

rs. 4aroo! +he top a’ the evening! iss arian.

MRS) AROO

You and arian come up and set. % – %’ve – %’ve got some Felly onthe stove.

MARIAN

+here’s no Felly on the stove' ama.

MRS) AROO

(Tartly ) EITI-

#ell' %’ll put some on.(MARIA !tan"! mute

HAROLD

(After a $au!e

0hall we Iset as your mother said$

MARIAN

#ell' %@

HAROLD

You did as me to call@ $

MARIAN

/id %$ @ % didn’t mean anything@

HAROLD

(ow iss aria' %’m not suggesting your invitation inferred anything"ut cademic enlightenment.

(MARIA loo%! at him Fuiially

+he +hin 0ystem$ %’ve "een "y your house to try to explain it toyou a time or two this wee "ut there always seemed to "e peoplearound – mostly ladies % thought.



MARIAN

Yes' rs. 0Duires and several of the ladies.

HAROLD

%’m glad – you wouldn’t want any"ody "eating my time.

(+augh!

You wouldn’t$ no ma’am@ #ell' it’s evidently not the convenientnight. 0ee you at the 0ocia"le later.

(Start! to leae

MARIAN

4rofessor ,ill@(3AR'+/ ST'5S. MARIA, lurting

%s it true that you’ve –

(Start! to lo!e her nere

had a hundred@ what %’m trying to say is@

HAROLD

(A"aning to her

Yes$

MARIAN

(0om$letely lo!ing her nere

%s it really true that you’ve developed a@ a +hin 0ystem$

HAROLD

what$ +hin 0ystem$ *h – +hin 0ystem – yes. %t’s really very

simple. s simple as whistling. (o"ody has to show you how touse your lips in whistling. You only have to thin a tune to have itcome out clearly here.

(5ointing to 3ER li$!

(ow Fust try this yourself' "efore you as any Duestions.



(5u%er! u$

MARIAN

(5ulling a%

% tae your word.

HAROLD

Could we sit down$

MARIAN

re all music teachers as dense as % am$

HAROLD

ll music teachers$

MARIAN

% daresay you meet dozens – even a hundred –

HAROLD

#ell % –

MARIAN

(0utting in

,ave they all "een fascinated as % have with@ the +hin 0ystem$

HAROLD

0ome more' some less. *ne young lady had thought up the samesystem "efore % got to her town. 0he showed me a fewrefinements@

MARIAN

(Turning a&ay

% see@

HAROLD

,ave % said something wrong$



MARIAN

(Turne" a&ay from him

4lease don’t let me eep you' 4rofessor ,ill. You must have manymore important things to do than to explain the +hin 0ystem tome.

HAROLD

Can’t thin of one.

MARIAN

nd % must "e very dull company for a man of your experience.

HAROLD

(ow saaaay@ where’d you get an idea lie that$

MARIAN

*ne hears rumors of traveling salesmen.

HAROLD

(ow' iss arian – you mustn’t "elieve everything you hear. fterall' one even hears rumors a"out li"rarians.

MARIAN

(Turning on him

% suppose you’re referring to 1ncle addy.

HAROLD

1ncle addy$

MARIAN

r. adison – my father’s "est friend. (o matter what they say heleft me an assured Fo" so other and #inthrop and % would havesome security. 0urely you don’t "elieve@

HAROLD

*f course not! +hat’s exactly what %’m saying. ut why do you thinpeople start these rumors.



MARIAN

(arrow&mindedness' Fealousy – Fealousy' mostly' % guess.

HAROLD

-xactly. nd Fealousy mostly starts rumors a"out travelingsalesmen.

(0athing her off#guar". uietly

#hat have you heard$

MARIAN

*h – oh nothing a"out you personally – Fust generally –

HAROLD

#hat have you heard generally$

MARIAN

Just that –(3AR'+/ i! ery lo!e to 3ER

"ut of course' it stands to reason that – that disappointment and Fealousy can lead to – % mean – tae you for instance – yourattentions to – to – customers and – and well' teachers might easily

"e misinterpreted mightn’t they@

(rantially ho$ing for rea!!urane

% mean' now honestly – mightn’t they$

HAROLD

#hy$

MARIAN

(Raing on

nd' so you say – if another salesman – or some"ody were Fealous – % mean – well' they could "e downright lies – couldn’t they$

HAROLD



(0onfu!e"

#hat could$

MARIAN

Rumors and things.

HAROLD

#hy' of course –

MARIAN

%t Fust proves you should never "elieve everything you hear' doesn’tit$ % mean if you discuss things@

HAROLD

iss arian' % would "e delighted to discuss anything in the worldwith you. ut couldn’t we do it sitting down$

(Trying to lighten her moo"

You do sit$... Your nees "end and all.

MARIAN

(Still no!e to no!e &ith 3AR'+/

#e could sit on the porch steps.

HAROLD

#e could also sit on a large hollow log over’t the foot"ridge.

MARIAN

(Still not moing

% couldn’t thin of it. %’ve never "een to the foot"ridge with a man in

my life.

HAROLD

Just to tal.

MARIAN



%’ve got to dress for the 0ocia"le.

HAROLD

+hen meet me there in fifteen minutes.

MARIAN

% Fust can’t – please – some other time – may"e tomorrow.

HAROLD

y dear little li"rarian – 4ile up enough tomorrows and you’ll findyou’ve collected nothing "ut a lot of empty yesterdays. % don’t nowa"out you "ut %’d lie to mae today worth remem"ering.

MARIAN

(<reathle!!ly

*h – so would %.

HAROLD

+he foot"ridge – fifteen minutes.

MARIAN

)ifteen minutes.(3AR'+/ EITS Fui%ly. MARIA=S oie i! !u""enly lou" an"

"e!$erate.

ama!

MRS) AROO

(0oming onto $orh

#hat$

MARIAN

% Fust told 4rofessor ,ill %’d meet him at the foot"ridge in fifteenminutes.

MRS) AROO

3lory "e and the saints "e praised – it wors!



MARIAN

#hat does$

MRS) AROO

% "een usin’ the +hin 0ystem on you from the 4arlor!(<+A0@'T

#> – It"s +ou – =allet (Or/hestra)

SCENE FOUR

(TIME: ifteen minute! later.

AT RISE: The footri"ge. The !tage i! "ar%. A! the TRA*E++ER o$en!

&e !ee T'6S5E'5+E ro!!ing the ri"ge on their &ay to the Soiale,the ARTET in In"ian regalia, the +A/IES in their -reian "ra$erie!an" E*ER;<'/; "re!!e" in their e!t arrying $ini a!%et!, freeer!,et.

The +I-3TS iri! u$ to reeal all the TEE A-E 0'5+ES in a romanti $o!e. T3E; "ane to a &alt tem$o er!ion of 7It=! ;ou8. The la!t;'- +A/; e!a$e! her ES0'RT an" run! off RI-3T. 3AR'+/a$$ear!, loo%! for MAIRA, then ra$! on the <ri"ge &ith a large t&ig hei! arrying. The ri"ge moe! for&ar", an" 3E on"ut! &ith the t&ig a!though he &ere lea"ing a large orhe!tra. 3e athe! him!elf, rea%! the

t&ig an" thro&! it a&ay.

MARCELLUS

(ETERI- in a ru!h

4ssst! ,ey 3reg! +he uniforms have arrived! +he ids are in Aemalready. +he people are going to "e screaming for music if thoseids show up at the 0ocia"le.

HAROLD

Yeah –

MARCELLUS

(3an"ing 3AR'+/ a roll



,ere’s most a’ the dough. % got +ommy to collect it. ,e’s trying toeep the ids together at least. 4retending to hold a practice over’tthe lum"er yard.

HAROLD

ll right' arce. 3et the rig.

MARCELLUS

% got it!

HAROLD

#hat time’s the freight go$

MARCELLUS

(ine&forty from the Function.

HAROLD

#ell it’s not even eight&thirty yet –

MARCELLUS

5oo' you wanta turtle&wurtle around here and get yourself caughtin a "unny&trap' you go ahead' "ut –

HAROLD

/on’t worry' arce. %’ll meet you at the ,otel in plenty a’time.(MAR0E++S EITS a! MARIA ETERS

iss arian!(T3E ru!h to&ar" eah other an" meet on the ri"ge

You’re late.

MARIAN

ut you said fifteen minutes –

HAROLD

% meant that you were a"out – #ell %’d say – a"out twenty&six yearslate – too you all this time to get to the foot"ridge with a fella.

MARIAN



%f you want to now the truth it was almost longer.

HAROLD

*h$

MARIAN

,alfway here % nearly turned "ac. % suppose %’m not the first to findit easier to thin clearly when not under the spell of yoursalesmanship.

HAROLD

(5rote!ting too muh

(ow iss arian – surely you don’t thin %’ve "een selling youanything.

MARIAN

(o – you’ve given me something. +hat’s why % decided to come.

HAROLD

(<e&il"ere"

% don’t recall giving –

#>6 – Till There as &ou (.arian, arold)(MSI0 un"er follo&ing

MARIAN

(6ith inten!ity

*h yes' you have! 0omething "eautiful. +hat’s why % came – and %’glad! *h' please don’t "e afraid that % expect too much more. *necan’t expect a traveling salesman to stay put. % now there have"een many ports of call – and there will "e many more. ut that’s

no reason for me not to "e grateful for what you will have left"ehind for me!

HAROLD

(<eginning to $rote!t

arian – % –



MARIAN

(5utting her han" oer hi! mouth

+,-R- #-R- -550 *( +,- ,%55'1+ % (-?-R ,-R/ +,- R%(3%(3.(*' % (-?-R ,-R/ +,- + 55'+%55 +,-R- #0 Y*1.

+,-R- #-R- %R/0 %( +,- 02Y'1+ % (-?-R 0# +,- #%(3%(3.(*' % (-?-R 0# +,- + 55'+%55 +,-R- #0 Y*1.

(/ +,-R- #0 10%C' (/ +,-R- #-R- #*(/-R)15 R*0-0'+,-Y +-55 -'%( 0#--+ )R3R(+ -/*#0*) /#( (/ /-#.

+,-R- #0 5*?- 55 R*1(/'1+ % (-?-R ,-R/ %+ 0%(3%(3.(*' % (-?-R ,-R/ %+ + 55'+%55 +,-R- #0 Y*1.

('R03ESTRA oil! u$ an" oer an eight ar e?ten!ion a! T3E; %i!!



HAROLD' MARIAN

+,-R- #0 5*?- 55 R*1(/'1+ % (-?-R ,-R/ %+ 0%(3%(3.(*' % (-?-R ,-R/ %+ + 55'+%55 +,-R- #0 Y*1.

(T3E; %i!! again a! MAR0E++S ru!he! on

HAROLD

arian' there’s a lot of things you don’t now a"out me –

MARCELLUS

(6hi!$ering lou"ly

4ssst! ,ey 3reg!

HAROLD

-xcuse me. %’m expecting a ca"le from ,ector erlioz – this could"e it.

(3urrie! to meet MAR0E++S

(ow what$

MARCELLUS

#ho’s the salesman here$ 0ounds lie she’s selling and you’re"uying.

HAROLD

You nuts$ % didn’t now %’se goin’ to "e a"le to leave tonight – % hadto eep her off "alance' didn’t %$ % told you –

MARCELLUS

#ell' she’s so far off "alance now you can’t tell her from a cat&"oatin a hurricane.

HAROLD

5isten' "uster rown' %’ve come up through the rans on thissirmish – %’m not resigning without my commission.



MARCELLUS

ut 3reg' you can’t get anywhere right out here on the foot"ridge –

HAROLD

+here’s a place over’t adison 4ar near the 0ocia"le maes thisfoot"ridge loo lie the old ladies home. (ow "eat it. 3o get the

rig.(MAR0E++S EITS a! 3AR'+/ return! to MARIA

(ever a peaceful moment in the music "usiness.

(5re$aring for the %ill

(ow then' where were we$

MARIAN

You were a"out to tell me what % don’t now a"out you.

HAROLD

(Trying to reat

Yeah – well we really don’t have to go into that Fust now – do we –

MARIAN

(o' we don’t – or ever for that matter' ,arold. +he li"rarian hasn’t

felt much lie doing research lately – "ut she did plenty when youfirst came here.

HAROLD

(Slightly a$$rehen!ie

*h – a"out what$

MARIAN

"out 4rofessor ,arold ,ill' 3ary Conservatory of usic – 3oldedal Class of ’:K. ,arold' there wasn’t any 3ary Conservatory in’:K.

HAROLD

#hy there certainly –



MARIAN

ecause the town wasn’t even "uilt till ’:K.

(@i!!e! him

%’ll see you at the 0ocia"le.

HAROLD

(0alling after her

You new all the time$!

MARIAN

(Ta%ing a $a$er from her o!om

0ince July 6th – three days after you came. % tore this page out of

the %ndiana Journal.

(3an"ing him the $a$er

%t was originally intended to use against you "ut now % give it to youwith all my heart.

HAROLD

ut if you new – why didn’t you –(MARIA thro&! him another %i!! a! S3E EITS.

+oo%ing off after her

#hy you little –

#49 – 'oodnight, m+ Someone Sevent+: Si; Tromones (2oule Reprise)

(.arian, arold)

(3AR'+/ $reen! him!elf a! he thin%! all thi! oer ) enDoying hi! $ro&e!!an" hi! lu% ) 3E !tart! off RI-3T a! TRA*E++ER 0+'SES I

SCENE FIVE


AT RISE: 3AR'+/ efore TRA*E++ER

HAROLD



#,%5- ,1(/R-/ (/ +-( C*R(-+045Y-/ +,- %R.+,-( % */-0+5Y +**2 Y 45C-'

0 +,- *(- (/ *(5Y 00' (/ % **&4,-/ 14 (/ /*#( +,- 0E1R-.

MARIAN

('STA-E

3**/(%3,+' Y 0*-*(-'3**/(%3,+' Y 5*?-.

HAROLD

#%+, ,1(/R-/ (/ +-( C*R(-+0R%3,+ -,%(/.

MARIAN

*1R 0+R %0 0,%(%(3%+0 R%3,+-0+ 5%3,+.

HAROLD

(Ta%ing $a$er re: -ary from hi! $o%et

+,-R- #-R- ,*R(0 *) -?’RY 0,4- (/@

(3AR'+/ reoil! in a giganti "elaye" ta%e ) !tru% y lightning ) a! the

realiation hit! him that he i! in loe

0#--+ /R-0 - Y*1R0' /-R'%) /R-0 +,-R- -.

MARIAN

#,%5- ,1(/R-/ (/ +-( C*R(-+045Y-/ +,- %R.



HAROLD

% #%0, % Y' (/ % #%0, % %3,+.(*# 3**/(%3,+'Y 0*-*(-' 3**/(%3,+.

MARCELLUS

(ETERI- &ith 3AR'+/=S !uita!e in one han", "e!$erately hol"ingoff 03AR+IE 0'6E++ &ith the other

3reg' this guy’s crazy. ,e’s goin’ all over town spillin’ everything.

CHARLIE COWELL

(Sreaming ma"

%’ll say %’m crazy! issed my train – pro"’ly lost my Fo"! ut % got yanow' ,ill' and you’ll pay! You’d "e in the clin right now had’na "eenfer that piana teacher. % told her all a"out you and wha’d she do$5illigags me around till % couldn’t get to 0hinn! 5ittle dried up man&hungry doxy' round heel fiz gig –

(3AR'+/ %no%! 03AR+IE 0'6E++ "o&n

HAROLD

3et outa here or %’ll ill you' you dirty mouthed –

CHARLIE COWELL

(Sramling off

You "ully! You "ig "low&off! %’ll stay in this town till you get yours up'down' through and sideways. #hy' you never even new theterritory.

MARCELLUS

,ere’s your stuff' 3reg! +he rig’s in the alley – Come on! ,urry up!

#48 – I/e Cream So/iale (Or/hestra)

(MAR0E++S EITS &ith !uita!e, a! 3AR'+/ !tan"! ) not moing.

0RTAI.

7Ru!tle of S$ring8 in 'R03ESTRA ta%e! u! to ne?t !ene



SCENE SIX

(TIME: A fe& minute! later.

AT RISE: Ma"i!on 5ar%. The Ie 0ream Soiale. The la!t !train! of7Ru!tle of S$ring8 are hear" a! the +A/IES are onlu"ing their -reianrn $re!entation

EULALIE

+wo 3recian 1rns! nd a fountain –(There i! mil" a$$lau!e. 03AR+IE 0'6E++ an" MA;'R S3I ur!t inamong the +A/IES

SHINN

0top' stop. 5isten to this man!

CHARLIE COWELL

You gulli"le green&grass goats! Can’t you get it through your headsthat you’re "eing swindled out’a your eye teeth right now – thisminute$ +here’s a "urglar in the "edroom while you’re fiddling inthe parlor! %’m taling a"out ,arold ,ill – road agent – highwayman

– picpocet.

MAN #1

4icpocet$

CHARLIE COWELL

0ame thing! ,e’s had his hand in your wallet' ister' and yours'adam' and yours' little lady' ever since the first moment he cameto this town! +here’s more documented evidence than you’ll everhave time to read! +here isn’t any "and' there never has "een any"and and there never will "e any "and! nd if you don’t hunt thisman down right now lie a mad dog' there won’t "e any ,arold ,illeither! ,e’ll "e on the next train out of town.

SHINN

(ow will you "elieve me$

MAN #2

#ell what are you waiting for$



WOMAN

% want my money "ac!

MAN #1

oney "ac – % want his hide!

SHINN

fter him! nd when you find him "ring him to the schoolhouse. fter him!

#4< – Chase .usi/ (Or/hestra)

(/i!$athe! ariou! -R'5S

+ry the low road! 5oo "y the cric! +ry the mill! ac a’ the privy!(The 5E'5+E all ru!h 'STA-E. The TRA*E++ER 0+'SES. 6e !eeto +ET. The -RE0IA +A/IES ro!! from +ET to RI-3T ehin"

TRA*E++ER. 6IT3R'5 rea%! "o&n an" run! 'STA-E +ET.MARIA ru!he! aro!! from RI-3T to +ET. T&o -R'5S ro!! eahother ehin" TRA*E++ER, one -R'5 going +ET, one -R'5 goingRI-3T. 3AR'+/ an" MAR0E++S ru!h aro!! from +ET to RI-3T infront of the TRA*E++ER. Another -R'5 inlu"ing the ARTETru!he! aro!! after him, +ET to RI-3T, in front of the TRA*E++ER.3AR'+/ an" MAR0E++S rea$$ear ro!!ing from RI-3T to +ET infront of the TRA*E++ER a! MARIA ro!!e! from +ET to RI-3T infront of the TRA*E++ER. T3E; $a!! eah other. 3AR'+/ !to$!aru$tly, an" all! to her.

HAROLD

arian! %’ve "een looing all over for you! #here’ve you "een$

MARIAN

(Ru!hing to him

,arold! %’ve "een looing for #inthrop – he’s run away! 4lease go!4lease ,arold' they’re even taling a"out tar and feathers!

HAROLD

% had to see you' arian –

MARIAN

%t’s all right! /on’t you now that$ You don’t owe me a word – not aword – 4lease' hurry' please –



MARCELLUS

(Ru!hing to 3AR'+/

3reg –

(Attrate" y 'STA-E atiity, "e!$erately all! in 'STA-E "iretion

,e isn’t anywhere around here! 5et’s try down "y the cric!(3E EITS an" 6IT3R'5 ru!he! through loo%ing oer hi! !houl"er

MARIAN

#inthrop!(-raing 3IM.

6IT3R'5 rea%! a&ay ut 3AR'+/ gra! him

HAROLD

,ey' wait a minute here' son.

WINTHRO

(Struggling

%’m not your son! 5eave go me!

HAROLD

(ot till % tal to you for a minute.

WINTHRO

(Trying to fight loo!e

% won’t listen! You wouldn’t tell the truth anyway.

HAROLD

% would too.

WINTHRO

#ould not.

HAROLD



#ould too! +ell you anything you want to now.

WINTHRO

(3ol"ing !till for a minute

Can you lead a "and$

HAROLD

(o.

WINTRHO

re you a "ig liar$

HAROLD

Yes.

WINTHRO

re you a dirty rotten croo$

HAROLD

Yes.

WINTHRO

(<ur!ting into tear!, %i%ing

5eave me go' you "ig liar!

HAROLD

#hat’s the matter$ You wanted the truth' didn’t you$ (ow %’m"igger’n you and you’re going to stand here and get it all so youmight as well Duit wiggling.

(6IT3R'5 finally !to$! e?hau!te", !tan"! $anting

+here’s two things you’re entitled to now. *ne' you’re a wonderfulid. % thought so from the first. +hat’s why % wanted you in the"and' Fust so you’d Duit mopin’ around feeling sorry for yourself.

WINTHRO

(Sara!tially



#hat "and$

HAROLD

@ % always thin there’s a "and' id.

WINTHRO

#hat’s the other thing %’m entitled to now$

HAROLD

#ell – actually the other thing isn’t any your "usiness now that %thin of it.

WINTHRO

% wish you’d never come to River City!

MARIAN

(o you don’t' #inthrop.

#4> – Till There as +ou (Reprise) (arold)

WINTHRO

0ister! You "elieve him$

MARIAN

% "elieve everything he ever said.

WINTHRO

ut he promised us –

MARIAN

% now what he promised us and it all happened Fust lie he said.+he lights. nd the flags and the colors. nd the cym"als.

WINTHRO

#here was all that$

MARIAN

(3otly



%n the way every id in this town waled around here all summer'and looed and acted. -specially you! nd the parents' too. /oesama wish he’d never come to River City$

WINTHRO

#ell you do' don’t you$

MARIAN

(o' #inthrop. (o go' ,arold – please.

WINTHRO

(<ur!ting into tear!

3o on' 4rofessor' hurry up.

HAROLD

% can’t go' #inthrop.

WINTHRO

#hy not$

HAROLD

)or the first time in my life % got my foot caught in the door.

(To MARIA

+,-R- #0 5*?- 55 R*1(/'1+ % (-?-R ,-R/ %+ 0%(3%(3.(* % (-?-R ,-R/ %+ + 55'+%55 +,-R- #0 Y*1.

(T3E emrae

MARCELLUS

(ETERI-

3reg!

(/e!$erately

3reg' they’re here! +hat way – that way.



(3AR'+/ !tay! &here he i! a! the ME !urroun" him. 0'STA<+E+'0@E ta%e! harge &ith han"uff!.

0RTAI

SCENE SEVEN


AT RISE: The Rier 0ity 3igh Shool A!!emly Room. T'6S5E'5+E a!!emle". In ei"ene are the /E+ SARTE +A/IES an" the other

$rogram $artii$ant!, their o!tume! e"raggle" y the !torm



SHINN

('n the $o"ium

&which is why % interrupted the program at this point. Rest assuredthis snae in our "osom would have "een misapprehended "y thistime. Yes! nd always remem"er –

(-e!turing &ith a $a%et of $a$er!

fellow River Citizens' % can only remind you that % did everything inmy power to prevent this dire happening from – ah – happening.)our score –

MAN #1

#hat have you done to get our money "ac$

MAN #2

+hat 4rofessor collected nearly three hundred dollars for uniforms' Fust tonight!

WOMAN #1

nd we haven’t even seen them uniforms yet!

SHINN

,e’s slippery. % told you –

WOMAN #2

% haven’t seen any uniform or my "oy either' since Fust after supper!

MAN #3

,e’s a idnapper!

WOMAN #3

)ine situation here!

SHINN

)our score –(0'STA<+E +'0@E ETERS an" !ignal! to S3I. S3I=S A0Eta%e! on a !elf#!ati!fie" !mile



Just a minute! ?irtue has triumphed! +he sword of retri"ution hascut down 4rofessor ,arold ,ill!

(3AR'+/ ETERS in u!to"y, MARIA at hi! !i"e. 0R'6/ reation.Seeral of the Men ru!h for 3AR'+/. 0'STA<+E $u!he! them a%

nd if there are those' as % have heard' who are melting tar andcollecting feathers' % will not say them nay!



MARIAN

(Ru!hing u$ to the ro!trum

#ell % should thin there out to "e some of you who could forget our everlasting %owa stu""orn chip&on&the&shoulder arrogance longenough to remem"er River City "efore ,arold ,ill arrived. /o you

remem"er$ #ell' do you$ 0urely some of you ought to "e gratefulto him for what he’s "rought to River City and if so % should thinyou’d want to admit it.

SHINN

You’re wasting a great deal of time here. %f there’s a person in thishall who doesn’t thin this man ,ill "e tarred and feathered' let himstand up.

(The SI+E0E i! ear#!$litting. Then MRS. 5AR'' !tan"!. e?tAEETA, then the S03''+ <'AR/ ARTET, the 6A TA ;E

-IR+S, the +A/IES ' /A0E 0'MMITTEE, finally 0'STA<+E+'0@E, an" E+A+IE

-ulalie' set down.(S3E !it!, ut at a ge!ture from MRS. 5AR'' ri!e! again imme"iately

nd the rest a’you standin’ there lie a cote a’ 0hropshyre sheep.(T3E; all !it !lo&ly

,ave you people forgotten how you "ought expensive uniforms'technical instruction "oos and high&priced "and instruments$

,ave you forgotten the clear understanding and warrantee thatyour children would "e taught to play in a "and$ #ell' where’s the"and$ #here’s the "and$

(T'MM; ETER! &ith @I/S in uniform! too ig an" too !mall. 3E lo&!63IST+E. The @I/S hol" u$ their in!trument! into $laying $o!ition.3AR'+/ !tan"! agha!t. MARIA Fui%ly ta%e! $ointer from thela%oar", rea%! off a 7aton8 an" han"! it to 3AR'+/

HAROLD

(+oo%! aroun" "e!$erately, fin"! no $lae to hi". erently

+hin' men' thin!(3E gie! the u$eat an" lea"! the <A/ in 7Minuet in -8 li%e it ha! een

$laye" efore ) Du!t arely reogniale. The RI*ER 0ITIES thin% it=!the greate!t thing they eer hear". S3I ro!!e! to T'MM; inamaement ) !ha%e! han"! &ith him



#44 – !inale – 5/t < (Or/hestra)

ALMA

+hat’s my arney! +hat +u"a’s my arney!

MAN #1

-ddie! +hat’s -ddie’s Clarionette!

MAUD

5inus' play to me son' play to me!

MAN #2

/avey' my /avey.

SHINN

(At 0'RET S'+'

rs. 4aroo' that’s #inthrop!(MRS. 5AR'' regi!ter! thrill! an" $ri"e.

3AR'+/ ha! een !tan"ing taller &ith eah e?lamation, an" no&on"ut! &ith a flouri!h the !ame inimitale 3AR'+/ 3I++ of efore.S3I ro!!e!, !ha%e! hi! han". 5E'5+E heer. 03AR+IE 0'6E++EITS. 3AR'+/ emrae! MARIA.

0RTAI

Documents

Music Man Script