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Carousel Libretto PDF

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Charlie Mckevitt
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939 views47 pages

Carousel Libretto PDF

Uploaded by

Charlie Mckevitt
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Ve Carousel ’ BASED ON Ferenc Molndr’s uso AS ADAPTED BY BENIAMGN GLAZER en: pocrae risen ser mattonmnpatansiaae arate Cast 1 cam OF APPEARANCE. RELY BIOELOW ‘Prenocnion omucren by Rouben Mamoaiian ‘ances by Agnes De Mille sermwes By Jo Mielziner ‘costumes ay Miles White PnopUCTION SUTERVISED By Lawrence Langner and Theresa Helburn we Joba Ral Jan Clayton Jean Darling Eric Matison Cristine Johnson Jean Casta Murvya Vye ‘Bambi Lien Peter Birch, ‘Anoabelle Lyon Robert Pageat ustcaL pmcror, Joseph Litt ‘cacumsraxnions By Don Walker ce Synopsis of Scenes ‘Tuam: 1873-1888 PREL-| An Amusement Pak on the New England Coos. May. UDE ACT | scam A reelined path along the shore. A few ONE ‘minutes later. scar u. Nettle Fowler's Spa on the ocean front. June, e ACT | seem t On an island across the bay. That night. TWO | scmm u. Melnland waterfront. An hour lter. soma m Up thee. sean rv. Down here. On a beach, Fifteen years later SCENE ¥. Outside Julie's conage. scan vi. Outstde a schoothouse. Same dey. ‘An Amusement Park on the New England Coast. ‘wantz Pusiuve: Carousel. scant: aii ial fl fv 83 au i i bitin | ae AUT af ith aut a i i H 7 ERE 5 2 carousn, center ofthe stage to juggle «haw on one sick and a plate ‘on another. ds he does this the carousel comes 10 a sop. ‘The niDERs descend from thelr animals and leave the plat- orm tn al directions to mill around with the crowd. The "Three Beauties of Europe” stop dancing. They slip into robes for thelr rest period. One 10D on the carl dur Ing all this movement has stubbornty clung to his hore, ‘and neither his moran nor his big sIsTER can get lm off The siren, a tatletale type, skips happily acrose to her Jather, who is talking to another gentleman, She pulls at is sleeve and points to her rebelious brother DAVE. 2. sugconne, a. formidable fellow with sideburns on his down in front of BLY, tums to look at BLY. 0 him, s0 she erosss to her sailor friend and asks him 10 buy fer sme fee cream. The sox cron the lero wagon to buy the cones, and as the om. crosses 10 BLY and talks to him, The sarox, having bought the ‘cones, crosses back to the spot where he was, but sees no ‘girl He turns upstage, sees her flrting with WALLY. Crossing tip between the two, he looks angrily at six, turn to his ‘#0, and tells her to hold the cones. She doet. The 810% turns to SILLY and is just about 10 take @ good sock at him when he notices that BILLY towers over him. BILLY smiles land the sution’s look Is.now one of "I'd better leave this ‘guy alone.” He saunters off 10 the left with his gel, BLY then erosses up to MES, MULLIN, @ small group of adoring EL Yemoven. 8 young females following his every movement with worship- fab eyes as, sun ts complete sen a ge ne ee connmm and SUL enter from down left. caxnin is @ ‘nalve, direct, ard normal young woman’ of the period, ULE Us more cemples, quieter, deeper. They look sround 1a the gay sights, to ral gis on an afternon of. UIE crosses righ center. cankin fs sag with crowd {eft canter when SLY crosses 10 go back to hs stand down fight. On the way he nearly bumps into SuUie: Thee epee ince! fora moment. Then he got ome About this time the wanxen of “The Beautles of Europe” ‘BLLY comer 1. His barke’s pride reawakened, he ‘mounts his stand end proceeds 10 win back his public. He 5 Peete eee canousaL caRouseL walks over to her and ofers his arm, Wh a fale “wep an oa et ‘ward the carourel. x. i Thr note ae Soe raha a ae Fowsent fw. ACT ONE | Scene Two + Julist Thats nose in my carousel again, you'll be ‘out. Right on your litle pink be You got no call talk ther like that! She ain't doin? ‘you no harm. ng to tall you, young woman. If yever 60 , Jule, is gettin’ tate «« YoU pay ber no mind. (Looking of stage) ‘She's comin’ at you again. Let's run! your eu wrnant (Esteig, te no mood to be wifed with) T {0t one more thing nas (Holding her ground) 1 ain't skesred of her. (But much as poke canm_ C'mon, ‘she la ltle) Sight Dos set in trouble ms svn Oby sat ahe? Think 1 wana ‘withthe police and lose my license? Jum (To cam) What lhe woman tka bout? ‘MRS. MULLIN (Scorn as, nena (Seorfely) ‘Lettin’ my barker foo! with yout sums T don't let no man -. gagagasgygye> RRM i i Eee TH Hal Wate wi i i ell he sz 5 i HUSH quate U qua poet ite uaa tad ui ee iv az 3 HT Ae ili A | welheidad ill nl y 96 ‘canouseL. yams, seutum (To cannie) He leaned against her oll through the ride. ‘yuu (To canut) He leaned against the horse. (To MRS, MULLIN) But be dido't lay a hand on me! Ms, MULUN Ob n0, Miss Innercence! And he dida't put bis arm around yer waist nether. ‘casazt_ And suppose he did, Is that a reason to bev a capt pte ft? haxs. mutta You keep out oF this, you ripl (Zo suum) You've had my warsin’. If you come back youll be thrown out! JUuB Whol throw me out? ns. MULLIN. Bily Bigelow—the barker. Same feller you let set so free with you. ruiz IT bet he woulda't. He woulda throw me out! ‘cannse I bet the same thing, (BILLY MOELOW enters, followed by Two ams. He hears dad sees the argument; he turns and tells the girl 10 leave. They exit) news. MULLIN (To c1nams) You mind yer business, busy! ccannse Go back to yer carousel and leave us alone! uum Yes. Leave us alone, yold—yold— 1exs, sot T don't ran ay business for lot 0° ebippies casa Chippy, yerselfl uum Yes, Chippy yersef! suty (Shouting) Shut up! Jabber jabber jabber! (Chey sand before him like three gullty schoolgirls. He rmokes his voice shril to imitate them) Jabber jabber jabber jabber jabber. . . . What's gola’ on anyway? Spittia’ and sputtrint—Iike tree lumps of com poppin’ on a shovell uu Mr. Bigelow, please— miLty Don't yell! yours (Backing away a step) 1 dida't yell ‘iy Well—don'. (To Nrs. MULLIN) What's the matter? canoussr 7 avs, eouumt Take a Took a tha gl Bly, She ait tote alowed on ty carousel apni Nest Nae she ies, fg aril abe ever dares wan You to thw her oul U Etatng? Tarow ber out ‘muLy (Turing to suum) Allright. You heard what Indy said, Run home now. a cams Cm, lie suum (Looking at MLL, amazed) No, woo't bans, MULLIN (To mtx) Like a ik? muy Sure suum (Speaking very earnest, aif t meant a geet deal 10 Jer)” Mr Bigsow tll me please—tonesand tly 1 Came tthe carousel, would you throw me ou (Ge Toa at has. MULLIN, then af TOL, then ack at Sas. san) smut What did she do, anyoy? sum She sya you pt your arm around my wat LLY (The light denn om im) So tha it (Torning 1 So. wetun) ews something new GA pal ao ‘ad a gif without Fa your permition! That bow it wt bans, seit (For the fiat te onthe defensive {crt wat tatoos ars wo owe ae any (Turning to suum) You come round all yoo want, {et Aad yt gre ply Bgl we yout $o8 & es, nui Big taker, at you, Mr. Bigelow I suppose you think T can" throw’ you out to, iT wanlal (aiL.y, igoring her, looks straight ahead of hi, complaceny} Youtre'net' gopd barker I can't get along wibout you ‘hati? Wel jt for that you're dacharged: Your services ae no longer required. Youre bounced! Se? sue Very wel, Mrs. Malia. dma, cou. (la retest) You know I could bounce you it Tiel ike it a smu. And you fl tke jst now. So Pm bounssd oO if 8 ‘wos. ao Do you have to pick up every word I say? 1 aly sid— ‘BULty That my services were no longer required. Very good. ‘Wel lt it go at that, Mix. Mullin. dans. savin All right, you devill (Shouting) Well let it ‘0 at that ULE Me. Bigelow, If se’ wii’ to say abel change her mind— * CAROUSEL muse You keep out of it suse doa't want this to happen ‘count of me. aay (Suddenly, to ras, cULLD, pointing at ULE) Apol- oplze to hert cams Abal dans, MULLIN Me apologize to her! Fer what? Fer spoil’ the good name of my carousel—the business that was left 10 me by my dear, ein, departed husband, Mr. Milin? (Led toward tears by her own eloquence) 1 only wish my poor us band was alive this minute. mnie I bet he don't Ys, MULLIN He'd give you cuch a smack on the jamt—t aaty That's just what Fm goin’ to give you if you don't Ay upt (He advancer threateningly) xexs, seuzzan (Backing away) You upstart! Afterall | done for you! Now I'm through with you for good! Year? Ly (Making as if t0 take @ swipe at her with the back of is hand) Get! dans, MULLIN (ds she goes off Through fer good! I woa"t ‘take you back like before! (BILLY watches her go, then crosses back to rouse. There ts @ moment of awkward silence) ‘cans Mr. Bigelow— aeity Don't get sorry for me or TH give you a sap on the Jaw! (More silence. He looks at suse. She lowers her eves) ‘And dott you feel sory for me either! suum (Frightened) 1 doa't feel sorry for you, Mr. Bigelow, ay \ -AROUSEL 99 pnt You're a lar you are feelin’ sorry for me, 1 can s2e {tin your face. (Faces front, throws out chet, proud) You {Rk now dt se fred me, 1 we be ala oot soother ‘JuLmn What will you do now, Mr. Bigelow? suLLy Firat of al, Tl go get mysel'—a gas of beer. Wheo- ever anything bothers me 1 always drink a gla of beer uum Then you are bothered about losing your jobt mux No, Only about how Tm goiat epay fer the beer (To cans, gesturing with right hand) Wil you pay for i (Cannas looks doubiful. He’ speaks to sus) ‘Will you? (uum doesn't anwer) How much money have you got? yuu Forty-three cents ae Did you like it when he talked to you today? ‘When he put you on the carousel, that way? Did you like that? coun D ruther not say, canmm (Shakes her head and chides her) ‘You're a queer one, Julie Jordan! i) 10 ‘You are quicter and deeper than a well, ‘And you never tell me nothia'— ‘CAROUSAL sou ‘There's nothin’ that I keer choose tll! cana ‘You been actin’ most peculiar! Ev'ry momia’ you're awake ahead of me, ‘Alwye setia’ by the winder— sous like to watch the river meet the sea. cane, ‘When we work in the mill, weavia’at the loom, ‘Ygaze absent-minded at the roof, ‘And half the time yer sbutde gets twisted in the threads ‘Til yrean' tell the warp from the woof! ‘yuu (Looking away and smiling. She knows Its true) "T ain't so! com ‘You're a queer one, Julie Jordan! ‘You won't ever tell a body what you think. ‘You're as tight-lipped ax an oysicr, ‘And as silent as an ol Sahaira Spink! sous" Spiax. ‘(These lines are spoken over music) cum Huh? suum Spinx. ‘cums Ubuh. Spink. youre Y'spell it with an.” ‘cansiz That's only when there's more than one. suum (Oublufed) Ob. ‘cane (Looking sly) Julie, I been bustin’ ftell you some- ‘hia’ Intely. suum Yhev? ‘canam Reason I didn't keer ttell you before was ‘cause Yeanousn 101 4 reaniie vtec . yer own. Now got one, I ken te ee et) Ta SER Garay) Tosa tet, Saecaes sears ennin Ce a a msc “ ‘Wh et fal of ho ro ea - ‘Then sof to home wel a, sil look a litte dreamy-eyed, Acdrivin' toa cottage by the oceanside ‘Where the salty breezes blow. ‘And Tl be as meek as a lamb, 102 canoussL ,overbearia’ daria’, Mister Snow! “she lots sual ahead of er and sits down, in a trance of her own making) FuUIB Carrel Tm so bappy fer you! ‘Canpis So y'seo I ken understand now how you feel about Billy Bigelow. GLY enters down right, carping a sultcase and with a coat on his arm. He puts the sulteate down and the coat on oper amty You sill bere? (They both rise, ooking at wn..x) ‘camnam You told ws to wait fer you. smiy What you thiak T want with two of you? T meant {hat one of you was to wat. The other ean go home. cannin All right. ‘JULIE (Almost simultaneously) All right. (Chey look at each other, then af BILL%, ailing Inanely) ‘BELLY One of you goes home. (To cana) Where do you work? ‘cana Bascombe’s Cotton Mill litle waye wp the river. ~ canousat. 103 ccanamm All Bascombe's girls hev to be respectable, We all ‘bev to live in the mill boarding-house, and if we're late they Jock us oit and we caa’t go back to work there any more. ‘muy Is that tre? Will they bounce you if you're not home 00 time? (Bork girls nod) suum That's right. ‘cannam Julle,stould T go? uum T—can't tell you what to do, ‘canmas All right—you stay, if yike, suzy That rit, youll be dacargd if you stat (sua nods ‘cana iecauiibl sous (Embarrassed) Why do you keep askin’ me that? ‘cans You know what’ best to do. suum (Profoundly moved, slowly) All sight, Canzie, you ‘ean go home. (Pause. Then reluctantly cannte stats of. As she gets left enter, she tus and says, unceriainy:) ‘cannsz Well, good night. (She wales @ moment to see if SUL will follow her. 3ULm% doesn't move. CARIB, exits) BmLLy (Speaking ar he crosses fo left center) Now we're both out of a job. (No answer. He whisles softly) Have you bad your supped? suum No. ‘BELLY Want to-eat out on the pier? sum No. MULY Anywher’s else? suum No. (Cle whistles « few more bars. He sts on the bench, look- Ing her over, up and down) sat You dor’t come to the carousel much. Only see you ‘tree times before today. XY 104 canousen -sULIB (Breathless, she crosses to bench and sits beside him) 1 been there much more than that. snty That right? Did you see me? suum Yes. BILLY Did you know I was Billy Bigelow? youn They told me. (He whisiles again, then turns 10 her) ‘DILLY Have you got a sweetheart? suum No. Buty Ab, doo't lie to me. suum I beven't anybody. suy You stayed here with me firt time I asked you. You know your way around allright, all right! suuie No, I don't, Mr. Bigelow. aniy And I suppose you don't know why you're siti’ hhere—tike this—alone with me. You woulda’ of stayed so quick if you hadaa done it before. . . . What-did you stay for, éayway? ‘TUB So you woulda't be left alone. sity Alone! God, you're dumb! I don't need to be alone. Lean have all the girls I want. Don't you know that? suum I know, Mr. Bigelow. eny What do you know? suuie That all the girs are crazy fer you. But that’s not ‘why J stayed. I stayed because you been 60 good to me. suny Well, then you can go hone. ruse 1 don't want to go home now. ‘ony And suppose I go away and leave you sitin' here? JULIE Evea then J woulds't go home. stity Do you know what you remind me of? A git I knew in Coney Island. Tell you bow I met ber. One night of Vescuass 10s stops, seeing that LLY isn't listening) suuIB (Turning to witty) Billy! sma He stops ond turns to 203, ere down to her bn 4 defiont manner) Welly allright, say kT stayed cut all tight—and I aint workin—and Tim livist off yer Cousin Netie. suum I diet say anything, iuiy No, but it was on the tip of yer toogee! (He stars apsiage center egaln) JULIE Billy! (He wns) Be sure and come back fa time io go to the clambake. my Aint goin’ to no clambake. Come on, Jigge. (cots, who hasbeen sinking upstage out ofthe picture, folns MLL ‘and they exit upstage center and of lec ‘TouE stands watching them, turns 10 canna them ders imo the house to hide her humiltion) ‘annie (To sow, tera pause) Vim glad you sia't got 20 ‘whoop jamboree notions like Billy. swow Well, Carre, i alwys seemed time « man bad enough to worry about, gti’ good slep of aight 10' to get in 8 good day's work the nextday, without goia' out an" lookin’ fer any special trouble. cannie That's true, Enoch. sow A mac's got to make plans fer his lfe—and thea he'e 0t to stick 10 ‘em. casnaz Your plans are turnin’ out fine, ain't they, Enoch? swow All accordin’ to schedule, 20 far. (Sineine) Y canousns ms y told you my plans, and the things { intend, i 1d make ev'ry curl on yer head stand on end! (Ge takes her hand and becomes more intense, the gleam ‘Then a great big fleet of great big boats! All ketchia’ herring, Bringing it to shore, ‘Sailin’ in ‘And bring’ in more, ‘And more, and more, ‘And more! (The musle has become very operate, rising in a seendo far beyond what would ordinarily be Jusiied by several boatloads of fish. But to this singer, Boatloads of {ah are kingdom come) \ (The following lines are spoken) annie Who's goin’ teat all thet herring? SNOW They ain't goin’ to be berriog! Goin’ to put ‘em in ‘cans and call ‘em sardines. Goin’ to build a litle sardine exe nao then he gt one nt oy ‘goin’ to get rch on sardines. I mean we're goin“ parce jee tod te: Timea You and me—anéall ofa 3 Co { 126 caRouseL ‘canurs raises her eyes. Is the man bold enough to be mean- ing “children”?) (snow sings) ‘The fust year we're married well hev one litte kid, The second year well go and hev another litle kid, ‘You'll soon be daria’ socks fer eight litle feet— Caan (Enough enough) Are you bl! vp sea oes ou baa pw sot ‘S10w (Bllsfully proceeding with his dream) ‘Well bulld alot more rooms, ur dear lithe house get bigger, (ur dear lite house get bigzer. comm (To herslf) And wl my Saget smvow (Spoken) “Girrie, ten yimagise how itll be when all ‘the kids are upstairs in bed, and you and me sit slone by the fireside—me in my armchair, you on my kneo—mebbe. canmm = Mebbe. (And, to his great delight, camaan sits on his knee. Both ‘heave a deep, contented sigh, and he starts to sing softly) sxow ‘When the children are asleep, well sit and dream ‘The things that evry other ‘Dad and mother dream, ‘When the children are asleep and lights are low, {Estill love you the way love you today, ‘You'll pardon my saying: “T told you sol” When the children are aslep, Yl dream with you. ‘We'll think: “What fun we have badI” ‘And be glad that it all ape true. oun 7 ‘When children are awake, ‘Arompla’ rough the rooms ‘Grrunin'on the stair, ‘Thea, la a mnner of speak’, ‘sto realy he ‘But once they close And we are left alone hided ‘Aad fee too all hic fuss ‘Dream all alone, ‘Dreams that won't be inter- rupted ‘When the children are asleep ‘And lights are ow. we uF ie a i sere fit aah ‘You'll dream with me, i dean (OF sage, sain) Bw ig, bow et ‘For many and A i Por many aod say slo, loe de ii (They sing another refrain. During tis refrain m.loks tower he hrase, Hes hen taybe he should goin: oma) j Jrocen. Hey, Blyl (enue san) Where ae you gol? {rey ook inden noom takes hi arm and bret i Sense) Sick wih nt: Aer we gt dof my Spat, {eon ko your Got a he, or you and et a moor " muy Bow muck? ‘nooen More you ever saw ia ye fe Man Hey, Jigger, come back bere! (ani and s1G0ER go back fo the boys. sIGoER sings) ‘The people who live on land ‘Are bard to understand. ‘When you're lookia' for fun they clap you into jill ipa’ off to sea, Tis wonderful jut fel ‘Your bands upon 2 whee! ‘Kad totsen fo wind shat’ in a sail Orta climb alot aad be ‘The very fit to see P earyrotbsoum spout come out othe snout of whale aL Blow high, blow low! ‘Acwhalin’ we will gol YE canouent ws ‘5 Blow toe bigh and low! For many and many a loog, fong day! E:For many end many slong, long dxyt f+ (amar draws siLty and the MEM around him. They £0 down to the fotighs couch low and srcen sng a er verse oom E A-rockin’ upon the sea, ‘Your boat wil seem ta'be Like dear litle baby ia her bassinet, For she hasnt learned to walk ‘And she hasnt learned totale, ‘And her lite bebiog Is ind of inclined to be wet (Daring the next refrain, more swcexs come on, followed by banecens) Bow high, blow low! ‘Acibalin” we wal gol ‘Well go s-vhalin, ellis’ away, ‘Away well g0, Blow me high and low! ‘For many and many slong, lng day! For many and many a long, long day! (Finish with big vocal climax. 30088 toker wax of left, andthe buncens do: Hornpipe. ‘At the finish of the number, all DANCERS clear the stage as DULY and J1OOER enter) ‘sroaen 1 tell you i's safe as elln’ cakes. ‘pty You sty this old sideburns who owns the milli also ‘the owner of your ship? -s00eR That's right. And tonight he'l be takin’ three or four thousands dollars down to the captsio—by hiself. He'll walk slong the waterfront by himself—with all that money. (He pauses to let this sink in) BHLY Youd think he'd have somebody go with him, © 130 ‘canouset ‘oGeR Not himt Not the last three times, anyway. 1 ‘watched him from the same spot and see him pass me. Once T nearly jumped him. mmx Why dido't you? ‘moaER Don't like to do a job less ite airtight. This one ‘needs two to pull it off proper. Besides, there was a mooa— sion Me is och Spl) Don ke mova. (Tis 4 good news) Lately is ‘runnin’ to fog. its ten to one well have fog tonight. That's why I wanted ‘you to tell yer wife we'd go to that clambake. smiy Clambake? Why? ‘oaEn Suppose we're all over on the island and you and me {et lost in the fog for a half an hour. And suppose we got ia ‘boat and come over here and—and did whatever we bad to ‘do, and then got back? There's yer alibil We just say we were lost on the island all that time. ‘ELLY Just what would we have to do? I mean me, What ‘would I have to do? ooER You go up to old sideburns and say: “Excuse me, ‘ir. Could you tell me the time?” max “Exoue me, sr, Could you tall me the time?” Then what BoaER Thea? Well, by that time I got my knife in his ribs. ‘Thea you take your inife— BLY Me? I ain't got knife. soae, You can get one, cas’t you? ay (After @ pause, turning to stooeR) Does he have to ‘be killed? m100ER No, he don't have to be. He can give up the money tithout bein? killed. But theso New Baglanders are funay, ‘They'd rather be killed— Well? Buy I won't do itt I's dirty. ‘roam, What's dirty about it? anty The knife, ( 2aRoussL 131 Mioaen Allright, Ferpet the knife. Just go up to him with a tin cup and say: “Please, sir, vill you give me three thousand dollars? See what he does fer you. ULY I ain't goin’ to do it, loam Of coune, if you got all the money you want, and don't need— BML Tan’ gota cent. Mocey thinks Ym dead. (ons, MULLDK seen entering from up left unnoticed by Buy end stom) siaaeR That's what I thought. And you're out of a job and ‘you got a wife to eupport— ‘BMLLY Shut up about my wife. (He seer Mans, MULLIN) What do you want? - ams, sem Hello, Billy, ‘uty What did you come fer? 2aas, aeuLLot Come to talk business, ‘Mogen Business! (He spits) ‘ms. neous I see you're sill hangia’ around yer jalbint friend. amy What's it to you who I hang around with? ‘stoaen If there's one thing I can't abide, ite the common type of woman. (Ge saunters upstage left and stands looking out to 208) mix What are you doin’ here? Yon got a new barker, sin't ‘you? ‘as. sEULLIN (Looking him over) Whyn't you stay bome ‘and sleep at night? You look awfull MMLLY He's as good as me, sla't he? nana, seuttim Push yer hair back off yer forchead— muy (Pushing her hand away and turning awey from her) Let my hair be. yams, MULLIN TET told you to let it bang dowa over yer eyes ‘you'd push it back. T hear you bera beatin’ her. If you're sick. wD 12 cangorm ‘of ber, why don't you leave her? No use beatin’ the poor, ios a Tor ere eo Yo he a oe ys sans. MULLIN Don't later yourself (Her pride stung, she (paces 10 center siage) Mf I had any sense I wouldn't of come ‘here. The things you got to do when you're in business! . . 4 sell the damo carousel if T could. aii Ain't i erowded without me? vas, weuLin Thote fool grt keep askin’ for you. They zis you, see Are you gon’ fo be sensible and come back? LLY And leave Julie? dens, MuLun You beat ber, dont you? ‘uy (Exasperated) No, 1 don't beat her. What's all this amp-fool talk about beatin’? I hit her once, and now the while town is—the next one I hear—T1l smash— as, coxiin (Backing away from his) AML ight Allright Tiake ft Back. T don't want 10 get mixed op in i BULL Beatin’ ber! As if beat her! es, oi Whats he ods oe way nae? Losk at {he thing sight. You been married two oaths and you're thot h Oates te reac Show Sots youn gia A the beer you want,» good livia'—and you're throwin’ it all away. Kaow wha? I got a new organ. mux Tknow. 2s. MoLLN How do you know? amir (Ete voice softer) You can hear it fom here. 1 listen to it every night. xs, MULLIN Good one, ain't it? ony Jim dandy. Got nice tone. naxs, uLLIN Yought to come up close and hear it. Makes ‘you think the carousel is goin’ faster. . . . You belong out {here and you know it. You ain't cot out fer married man, You're an artist type. You belong among artists. ‘Tell you what: you come back and TU give you 2 ruby ring oy ‘dusband left me. 4 canousen 133 ani 1 donot tock. T could sil: go on tvat tee wid Jae ne ns, MULLIN Holy Mosest i many What's wrong? as, oxo! Can Vina ow the gi ov ht barker who rons home to bis wile every aight! Why, peopl'd Jaugh theinelves sick. aeeneeree muy I know what you wast as, MULLIN” Doo! be s0 stuck 09 yer mmx I ait happy here, and tha’ the truth, as, num Coune you aia (Ghe stokes his hair Back off his forehead, and this time Ie le her, SUL enters from house, carrying tray with @ cup of coffe and a plate of eakes on Tt, Mis, MULLIN Dilla her hand eway. There a slight pause) si. Do you want saythi'? suum I brought you your cole. dass, mum (To muy in @ low volce) Whyn't you bave ‘tlk with her? Shel understand: Maybe sell be glad to get dof you. mtx (Without conviction) Maybe. Juss Billy—tefore I ferget. 1 got somethin’ to tll you. uy Allright, suum been wantin’ to tll youmin fact, T was goin’ to yesterday — mut Wel, go ahead, suis I can't—we got to be sone. suty Doott you se Tim bury? Here, im talkin’ busine suum It only take a minute, ‘ULY Get out o' here, or— youm I tell you if only take a minute, BULy Will you get out of here? © —. Buty What did you say? sare, sore Let ber alone, Bily. £1 drop in at Bascombe's bank and get some small change for the carousel. FU bo back in a few minutes for your answer to my proposition. (Esler above sworn. She looks at mioaE as she goes. snoaeR looks at BILLY, then follows ums, MULLIN off) JUL Don't look at me like that. I aint afraid of you~ ain't afraid of anyone. I hev somethin’ to tll you. suLy Well theo, tell me, and make it quick. suum I cantt tell it 60 quick. Why don't you drink ick. ye 134 ‘nay That what you wanted to tell mo? suum No. By the time you drink it, PM hev told you. BULLY (Stirs coffee and takes a quick sip) Well? suum Yesterday my heod ached and you asked mo— uty Yer— JuuE Well—you se0—thets what it is. amy You sick? uum No. It’s nothin’ like thet. (He puts cup down) It's ‘awful hard to tell you—t'm not a bit skeered, because ite a Perfectly natural thing— puny What is? JULI Well—when two people live together— muir Yeo— Jum Tim goin’ to hev a baby. (She turnt away. He sits silt and stunned, Then he ‘grosses to her, and puts his arms around her. She leans ‘head back on his shoulders. Then she leaves and starts the house, ds she gets to the steps, BILLY runs and hi her very soltcitoutly. ocex hax re-entered and calls aay) aeeet ‘oaen (Two short whistles) Hey, Billy! zouset 135, GLY (Turning to suocen) Hey, Tigger! Yllo—Joie's goin’ ‘a baby. ode (Calmly smoking his cgaretie) Yeh? What about it? BLY (Disgusted at snoom) Nothint. (He goes into the my, (He goes ‘Tiogen (Ruminating) My mother bad a baby once. He smiles angelically and puffs on his eigarete, san. MULLIN enters) ans, ncuLLiN He in there with ber? (s100m ignores the question) They're havin’ it out, 1 bet. (s100=R Impudently ‘lows a pu of smoke tn her direction) When be comes back to me I aint goin’ to let him hang around with you any more. You know that, don't you? ea ‘100m Common woman. dams. MULLIN Ain't goin’ to let him get in your clutches. ‘Everybody that gets mixed up with you finishes inthe jall- ‘bouse—or the grave. ‘ooen Tuttutt-t4-, Camival blond! Comin’ between a man ‘and bis wie! ass. MULLIN Comin’ between nothin'l They don't belong together. Nobody knows him like I do. And nobody is goin’ ‘to get him away from me. Aad that goes fer you! mioaen Who wants him? If he's goin’ to let himeelf get tied ‘up to an old wobbly-hipped dut like you, what good would Ihe be to me? ms, oeuLLE He won't be 10 good to you! And be won't end up with perticeman's bullet in bis beart—iike that Roberts boy you hung arond with last year. Wis the ballet ‘hadda got you—you leek-eyed wharf rat! You keep away from him that's all, or Til get the cope after you. nocen (Holding his cigarette high) Common worssal ans, rect Yel Call name! But I got him back just the samel And you're throught ‘moar Put on a new coat paint. You're starting to peel ‘Old pleasure boat! (Ue exits. She looks of after him, then turns right and sees Xy 136 canavsnt ‘auLLy coming out of the house. She immediately shifts all ‘her attention to the essential job of holding his interes. She ‘rimps and walks center. He comes down by bait box) ULY (A change has come over him. There isa strange, frm dignity tn his manner) You stil here? (He picks up tray, and zits on bor, tray in his lap) as. suLLW Didn't you tell me to come back? (Taking ‘money out of dress) Herel You'll be wantin’ an advance on yer salary. Well, thet’ only fair. You been out o” work a long. time. (She offers him money) Ly (Taking another sip of coffee) Go home, Mrs. Mullin, ‘xs, coun What's the matter with you? BEL Can't you see Pm bavia' my breakfast? Go back 10 ‘your carousel. yas. vevtum You mean you ain't comin’ with we? ‘uy (Still holding cup) Get out of here. Get! dans. aeuLums Til never speak to you agtio—not if you were dyin’, I woulda’, muy That worries me a lot. das, MULLIN What did she tell you in there? may (Puating cup on tray) Sbo told mo— ns, MULLEN Some lies about me, I bet! suzy (Proudly) No, Mrs. Mullin. Nothin’ about you. ‘ost about Julie and me—and— (Looking up at her) as 8 ‘matter of fact, Mre. Mullia—T'm goin’ to be a father! 1s, MULLIN You!—Tullo—? muLy Good-by, Mrs, Mullin. ans, MULLIN You a father? (She starts to laugh) BILLY (Giving her a good push) Get the hell away from fre, Mr Mulia. (She continues to laugh) Goody, Mrs. ‘Malla ‘Cla pushes her again, and as she reaches the left portal, he gives her a good kick in the bustle, Then he turns, looks + canoussL. 137, toward Nettie’s house, smiles. He starts to contemplate th: future, He starts 10 sing softy.) aay wonder what hel think of met 1 guess hel cal. me The old man.” I guess bel think T can lick Evry other feller’s father— Well, cant Ge gives his bel a hitch) {bet that be'l turn out to bo ‘The spit an’ image Ot his dad. But he'l have more common sense. ‘Than bis puddin'-beaded father : ver bad. Til teach him to wrasle ‘And dive through a wave, ‘When we go in the morain's for our swim, ‘Hs mother can teach him ‘The way to behave, But che won't make a slay out o° him ~ 138 caRoUsEL ‘And bis feet planted firm on the ground, ‘And you won't see no- body dare to ty ‘To bos him of toss him around! No pot-belied, bggy-eyed bull boss kim around! (Having worked himself up to a hgh pltch of indignation, he relaxes into « more philesophical manner) don’t give a damn what he does, ‘As long ashe does what he likes, $B can ston hia tall (Or work on a ral ‘With a hammer, -bammeria’ spikes. ‘He can ferry a boat on the river Or pede a peck on bis back (Or work up and down “The streets of a town ‘Wilh a whip and 2 hore and a hack, ‘He can haul a scow slong a canal, ‘Run a cow around a corral, Gr taaybe bark for a carousel — (Ths worries him) Of course it takes talent to do that wel ‘He might be a champ of the heavyweights That be all ih, to. (Orchestra picks ° the theme of “My Boy, Bill.” wuty ~ eAnovsat 139 cf ‘body dare to try ‘To boss him or toss bim around! No fat-bottomed, tard boss him around! (Ge paces the stage angrily) ‘And I'm damned if he'll marry his boss daughter, ‘A skinay-lipped virgin with blood like water, ‘Whol give him a peck and call it a Kiss {ad ok ns eyes through 8 oreo Sey ‘Why am I takin’ on like this? 2My Id alat even been bor yell {Ure laughs loudly at himsel),crsses up 10 belt bos, and sits. Then he returns to more agreeable daydreaming) an we him ‘Whe bes seventeza or 50 . ‘And sara ia to g> ‘With a girl. ‘Tcan give him Lats of pointers, very sound, (On the way to get round ‘hay oi. Kean tel hin— ‘Waits minute Could it bo—? ‘Wacthe bell What if be Isa girl! (izes tn anguish) pill Ob, Batt (Ge sts on bait box and holds his head in his hands. The music becomes the original theme, “I Wonder What Het Think of Me." He speaks over It in a moaning voice) ‘What would I do with hor? What could I do for her? ‘A bum—with no money! (Singing the last Unes of the first stanza) ‘You can have fun with a son, But you got to be a father To gill (Thinking it over, he begins 10 be reconcled) ‘She mighta't be so bad at that— ‘A tid with ribbons in her hair, potbellicd, baggy-eyed bas 9 -_— ‘A kind o° sweet and petite Little tintype of her mother— ‘What a paict : (Warming up 10 the idea, speaking over musle) ‘emg ut bear mye rag aboot het (Singing) My litle gir, ‘Pink and white ‘Dozens of boys pursue ber, Many a likely fad Does what he can to woo her From ber faithful dad. ‘She bas a few Pink and white young fellers of two or three— But my ltde gist Gets hungry ev'ry night ‘And abe comes bome to met My inde git ae Hanahan seins (Suddenly oanleky) I got to get ready before she comet got to make certain that she ‘Won't be dragged up in slums With & lot o* bums— Like me! ‘She's got to be sheltered and fed, and dressed. In the best that money can buy! never knew how to get money, But PU try— By God! Tu tryt TU go out and make it (Or seal it oF take it Or diel (Finishing, he stands stil! and thoughtful. Then right and walks slowly up to the bait box and ‘ight. As he does, wer comes out of the house, carrying 4 large jug. She crosses up center and puts the fug on the steps eft center, then calls off) XY OUSBL 441 ‘Hey, you roustaboutsl Time to get point Come and carry everythin’ on the boas! MAN (O) All right, Nettie, we're comin’! Gevrrra Vie, Bilpt Woats tht Tue says aboot you not goin’ to the cambeke? ‘enix Clambaket (Suddenly getting an ide from the word) Mabbe I wil go, afterall (General laughter off sage. 00 centers down lf. 21 sees him. To pres) Theres Tigger. Toc to talk to him. Ziggr! Hey, Jiggur! Come hete—quieki sur Ti ell Julie you're comin. Shell be ticked pink. (She goes into the house) mans sui Tigger, I changed my mind! You inow—about gol to the clambake, aad— TM do everythin’ like you said. Gotta ast money on account of the baby, se. JtogeR Sure, the baby. (He pulle anc claser and lowers ‘is voice) Did you get the knife? my Kaito? Soar I only got a pocket knife. If he shows fight welll ‘need a real one. any But I aia’ got— ‘NogeR Go inside and take the kitchen knife. Buty Somebody might see me. MOGER Take it so they doo't see you! (atLLy looks indecisive, SULIB enters on the rum fo BILLY from the house) Jum Billy, leit true? Are you comin"? Buty I think so. Yes. TuLm (Puts her erm around his walst. He puts his arms ‘around her) We'll hev a barrel of fun. FU show you all over the island. Know every inch of it Been goin’ to picnice there since T been a Hite gir. ooeR Billy! Bily! Ybetter go and get that — yum Get what, Billy? iG 142 waLy Why— ‘0GER The shaw. Billy said you oughter have a shaw. Gets old at nights. Fog comes up—ain't that what you ssid? (People start entering with baskets, ples, Jugs, ee, ready 10 10 10 the clambate) muy Y-yes I better go and get it—the shawl. Jus Now, that was real thoughtful, Bly, (We see serra coming out of the house. The stage te Pretty well crowded by now) wut Til go and get it Ge exits into the house quickly) Nernm C'moa, all (From the house come cams carrying cakes, ples, buiter cocks; bn carrying baskets: wevrm nga) ‘une is Gustin’ out all over! Canosa, ae ‘The flowers are bustin’ from their sed! ‘And the pleasant life of Riley ‘That is spoken of 20 highly 1s the life that ev'rybody wants to leadt an Because its June! June—June—Tunel Jest because it’s June—Juoe—Jane! (During this nging chorus, swow and cansm have en- {ered from the house. 70.8 is seen running over to CANIS 40 tell her the good news that Baty is going to the clam- ‘bake. 00m crosses to TUuIE and is introduced 10 CASTS. roan looks her over. JULIE alto introduces SOGER to ‘8Now, bur JIOGER just Brasher him off sNOw tries to small ‘but misses by a good margin. On the last “June” of the refrain, everyone but suum and NOOER exit. BILLY comes ‘out of the house carrying the shawl. He crostes to SULT, ‘who ls now a ttle left of center and 9. SOG Is right stage. As sity te putting the shawl over TULIS's shoulders, stoom works his way over to WILLY as if t0 aay “Did you get the’ knife?” prix pantomimes thet irs in the Inside pocket of his vest, suum turns in time to see this. Buy quickly takes her arm and walks her of. 100e% has — c . Tis posket knife tn Ms hand end is testing the sharpness of tie Bide ond folowing wa of se ACT TWO | Scene One scene: On an island ecrosr the bay. Tat nigh The beckdop depicts the bay, ston Beween two sand as et re he set nate eee oe 7 ” as it @ cloud were unveiling the moon. Down eft wry is seen lying stretched at full length, his head on suum's lap. There ls a small group right center dominated by NETTIE, sNow, and cannte. Upsioge several couples re- : eee earns tate eee ee ir "Phe carta te up several seconds before the ft speech wht thd ben loere 13 5%: aeertsf (Tp loud sigh) Dunno as should bev et those 07 Inn foos door canal } cm Look bere, Orrin Pessety! You jet kep your bands in ex pockets it hay socal ‘Te Ge Pel nie cabal, ‘We're mighty glad we came. he vs we XY Were good, you bet! ‘The company was the same, ur hearts are warm, ‘Our belies are fl, ‘And we are feelia’ prime. ‘This was areal nice clambake ‘And we all had a real good time! ern ‘Past come codiish chowder, Cooked in iron Kettles, (nions flcatin’ on the top, ‘Curlin’ up in petal oun ‘Throwed in ribbons of salted pork. 48 CAROUSEL ‘An old New England trick. sou ‘And Tapped i ll wp with Stinetageraysoe a, Oba “This was areal nice clambake, ‘We're mighty glad we came, ‘The vider weet Were good, you bet ‘The company was the sume. Our hearts are warm, ‘Our belies are ful, ‘And we are fc’ prime. Aebvealadamed gard ties COST) GC (the memory ofthe delectable feast renohd Sos Ae he rises nd crosses to center and singr very soul sxow ~ Remember when we raked ce ‘Them red-hot lobsters Woe DS a War Nn a Out of the driftwood fire? "They sizded and crackled eanoores us Fitten fer an angels’, Fitten fer an angele choiet warns ‘We alt ‘em down the back ‘And peppered ‘em good, And doused ‘em in melted baties— ‘cana (Savagely) ‘Then we tore away the clave ‘And cracked "em with our teeth "Cause we weren't in the mood to puttert au Fitten fer an angel’ Fitten fer an angel, ‘itten fer an angels choiet mew ‘Then at last come the clams— a ‘Steamed under rockweed ‘And poppin’ from their shells, est How many of "= ‘Gatloped down our : We enuldat vy onsale C (25 Obbb-b— ‘This was a eal nice clambeke, ‘We're mighty glad we came! ‘The vitles we et nk (eked gents ‘prime. ‘This was a real nice clambake, ‘And we all had a real good tiet ‘We said it afore— ‘And well say it agon— ‘We all bad a real good time! 146 CAROUSEL ‘cannum Hey, Nettie! Ain't it "bout time the boys started their ‘reagure-tunt? Maen (Ad lib) ‘Sure! Feel like Tm goin’ to win it this year, Lets get goin’. NETTIE Jest a minute! Nobody's gota’ treasure-huatio’ tll We get this island cleaned up, Can't leave it like this fer the ‘ext picnickers that come. ALL MN Ab, Netto NETTIE Bogue in and get to work! The whole kit and ka- boodle of you! Burm thet rubbish! Gather up those bottle! ‘ALL men an Women (Ad libs) All right, all right. Needa't hev a catnip at Con nA ae eo a deco) NaTTE Hey, Enoch! Wale Beye clean up, you go hide the treasure, (She exits) .RoGER Why should he get out of workin? ‘aanm (Proudly) ‘Cause he found the treasure lst year. One that nds it hides it the next Year. Tha’ the way We dol (Canaan and snow cross upstage of maLLy and 5io0E and et, sioamm starts 10 follow) BILLY Hey, Tiggerl ‘Roger (Looking off after cans) That's a well-set-up litte ples, tat Cards. : ee MOLY Ain't it near time fer us to start? nooen No. Well wait tll they're ready fer thet treasure: hhont. That be a good way fer you and me to leave. Well be 8 team, sec? Thea we'll get lost together like T sald. (ant 4s moving about nervously) Stop jumping from one foot to the other. Go slong to yer wife—and tell that litle Carrie to come and talk to me, any Look, Jgger, you si't got time fer girls tonight. Jour Sure I have. You know me—auick or nothis' foe = muy Tiggeralter we doit—wbat do we do thea? snocen Pury the mooey—and go on, like nothin’ happened ‘reir mons. Wal anole a monte and he ay ponage coe. ‘uit The beby'l be bom by then. snoame Well take it slog with ws. BLL Maybe wel mil to San Francesa. ‘oaen Why do you keep puta’ yer baad on yer chest? amy My heart's bumpa' up and down under the ine. ‘noamn Put the knife onthe other sds. (ana enters) ammis Mr. Bigelow, Jule sxys you should'come and belp fer, (2nLY exis. cakam turns fo stooex) Why sit ou workin? ‘ooen don't fel so well. ‘ann Ife mebbe the cams not sett 20 good on yer tum mice . snooen Nope, fs nothiat on my sbimmick. Is somethin? ‘on my mind (ie takes cana’ arm) Sit down here with 2a ftmiaute I want yer advice ‘annus (Siting onan upturned bask) Now, look bere, Mr. leg Tat puto ne fro wbart yrs pond ‘Room (Squathing out hs eigarete), 1 want yer advice. (Gucdenly vows hs arm orund her) Youve spetr tan Sugar and [mn ray fer you Never bad hi fein’ belor fr = camm Me. Cnigiat 10088 Alst notin’ I would't do fer you. Why, jest to sea yer lovely enile—d swim. through beer witty mouth seed. You're the ony gil fer mer How about at Ki? cans Mr. Craig, I could ‘noon Dida't you hear meaty Loved you? cama Tm awful sorry fer you but what cas I do? Booch fd ee are gol! tobe cid i church pest Staday. co y 8 sioaeR Next Sunday I'l be far out at sea lookin’ at the icy ‘ray water. Mebbe It jump io and drown myzelf! canauz Ob, doa'tt ‘HOoER Well, then, give me a Kiss. (Grabbing her arm. Good and sore now) One measly litle kiss! ‘anaus (Pushing his arm away) Enoch woulda't like It, ‘ogen 1 don't want kiss Enoch, Cannas (Drawing herself up resolutely) thank you not to yell at me, Mr. Craigs. Ifyou love me ike you say you do, then plete show me he sme sept ite you weld you Cove me. (She starts 1o stalk of lft. uooen a stayer and not easity shaken off He decides 1 ry one more method. I worked ‘nee long ago ona girl in Liverpool) ign in daa) Cail (She sone cone or Pipperigel Just one word, please. (He becomes que ‘hurble) I Kaw 1. dop' deserve. yer feriveness Oni, T couldnt help myeelt Per a few awful minutes Tot Tet the ‘brute come out fa me. canase I think I understand, Mr. Craig. Hooex Thank you, Miss Pipperidge, thank you kiadly, ‘There's ast one thing that works me and it worfer mea 10 ite about you. cuz About me? J100ER You're auch a little innerceat, You hud no right 10 stay here alone and talk with a maa you hardly knew. Sup- pose Las diet es of feler—gou now, unpincped = 4 use his physical strength to have bis wil— there are such men, you koow. cane 1 know, but— ogeR Every grt ought to know how to defend herself ‘against beasts tke that. (Proceeding slyly up (0 his point) Now, there are certain grips in wreslia’ 1 could teach you~ ticks thal land a masher at om hs face fa two minis, ‘sume But I aint strong enough— caRouseL Yoarousse rm smogun, It doo't take strength—its all in balance—a inst of the west and a dig with the elbow Here, just let me show you 8 simple one. Ths might save yer Ile some day. Suppose a feller grabs you like this. (Puts both arms around her waist) Now you put yer two hands on my neck. (She does) ‘Now poll me toward you. (She does) That’ it. Now pull my Ihead down, Goodl Now put yer left arm all the way arousd ay neck. Now squeece—bard! Tighlert (Slides his right hand down her back and pats her bustle) Good gir! ‘anni (Holding him tight) Does it burt? -nioen (Having the ‘ime of his life) You got me belplsst cane Show me another onct (She lets him g0) TooeR Right! Here's how you can pick a feller up and sead him sprawiio’. Now I'l stand bere, and you get bold of— ‘Wait 8 minute. TU doit to you fst. Then you can do it 10 me. Stand still and ralax, (He takes her hand and foot and slings her quickly over his shoulders) This isthe way firemen carry people. ‘cannes (A Utle Breathless and stunned) Ys tt ‘Foon Ses how helpless you can make a feller if be gets fresh with you? (He starts to walk off with her) cama Mr. Craig— (She stops, because something tribe es happened. sNOW has entered. TOOER seex him and stops, it holding caxaue ver his showiders, firemen style. After @ yng pouse, cane speaks.) Hello, Enoch, (No answer) his isthe way Gremen carry people. faiow (Grimly) Wher the fre? (Giocen puts her down Between swow and himself) cana (Crossing to sow) He was only showia' ab how to defend myrelt. Now It did't look like you had leared very much by the time I camel snooex Ob, what's all the fussia’ and fuzlin’ aod wuz’ about? A (C&r swow In my opinioa, si, you areas scury 8 hunk o! scum as Tover see near the water's edge at low tide’ | ~ Cc wl ee canousn ‘Toc (: ‘his profile to snow) ‘The same—side “titan Hie Waso't carryin’ me out o° the woods ie was ca , Fyn’ me into the woods. No, I don't mean that! (J. »~4 ‘sow I think we hev said all we bev to say. I cat abi ‘omen Who are fre, loose, and lallygaggia’ rand I c ly (would never marry ot, zi annua But, Booch! E swow Leave me please Leave me alone with my shattered dreams. They are al I bev let—emores of what didot daappen! (CARRIE 1 ‘and crosses to IGOR. He puts Hs crm eroud he. Starts o whimper. ow looks oat! into space with pained eye3>~and sings) Gerslums inthe winder, Hydrangeas oa the ewer ‘And breakfast inthe chen ithe timid pink of dawn, ‘And you to Bow me Hives ‘Wa T headed fer the sex We might ev been a A happy pais Sight bev wot Another sob from canna stow continues) “-And comin’ home at twilight, Tei ev toes vent ‘To ke my tech of bering ‘And ay them a your feet! 10 et carro ont fe woods ie falc der (Swallowing hard) T might hev hed a baby— soce What! SNOW (Glares at toomR, then out front again) ‘To dandle on my knee, But all these ‘That might hey been ‘Are never, ‘Never to bel (At this point cana just lets loose and baw, and buries never Ta see the woman T am engaged ae pousee 151" head in saea’s shoulder, Some people hear this and Giger as si0aen consoles her) d to weep and wail, GV" Core people enter and get into the scene) cutters cut it on stone, Woodpeckers peck it on woods Fate man who thinks be's good (Canna bawis out one loud note. More people enter) SNOW Nice talk oom My mother eed 1 ny to {hope you's a ba Uke yer aber ope Joes bas eather was ‘Cate X good man aint uo fan” (Now crastes 10 right, followed by cannm) ‘canats Enoch— Say you forgive met bin’ sweet to me, Boochsomee tft tnd ewe. Ue remain ent (and she becomes exasperated) Say somethin’ soft and-sweet! : ; y 7 Dei snow (Turning to canare, fiercely) Boston cream pie! (Turns and exits, canneries, BuLLYsgnters and crosses to Toaex) ‘ony Hey, Jigger—don't you thiakt JHodER | Huh? (Catches on, rats his voice to ally When are ‘we goin’ to start that treasure-hunt? Nerrie Right now! Yall got yer partners? Two mea to each team. You got half an hour to find the treasure. The winners can kiss any girls they want! (A whoop and @ holler goes up and all the Mem and the DANCING GMS start out. TULIP enters from down left and sees BILLY starting out with sIGGER) JULIE, Billy—are you goin’ with some? Doa't you think ” that’s foolish? euiy Why? suuin Neither one of you knows the island good, You ‘ought to split up and each go with— FREE, (Sruhing her side) Were pumen, sx? Con, ‘cau T don't know what gets into men. Enoch put on a ew suit today and he was a different person. (They all group around. xu.z8) com. (Singing) ever see it yet to fail, never see it fal, ‘A gic who's in love with any man 1s doomed to woep and wail Ist om (Spoken) And it's even worse after they mamry you. 2np ami You ought to give him back that ring, Care. You'd be better off ‘mp omL Here's Arminy—beeo married a year. She'll tell you. saaaney (Singing with a feeling of fully) ‘The clock jest tcks yer life away, acum The no rl in 153 Tee cool’ and verb and sows at day 4 And atin’ all night! 4 a ‘Stonecutters cut it on stone, i ‘Woodpeckers peck it on wood: ‘There's nothin’ so bed fer a woman ‘Asa man who's bad o good! (cuss (Spoken) It makes you wonder, don't if? H ‘amu. Now you tll her, Jali. 2x om, She's your best gir friend. i ‘ALL ams (Singing) ‘Tell it to her good, Tae, . Tell it to her good amis group around her expectantly. (uum smiles, The 2 4 JuLm starts singing softly and camasly to cant, but xs she goes on, she quite obviously becomes autoblographlcal 'm her phlonophy. Her singing ls quier, almost rected. The ‘orchestration is light: The caus hold the pletre, perfectly Sil, ke figures i a panting) uum (Singing) i What he ae of won’ 00d or if he's bad, i Or it you tke the way he wears hs hat? Oh, whats the use of wond'iat ‘Elite good or it he's bad? He's your feller and you love him— i ‘That all there isto that. (Common sense may tell you s ‘That the endin’ will be sad ‘And now's the time to break and run away. " But what's the use of wond'rin' XC the endia’ will be snd? ‘He's your feller and you love him— ‘There's nothin’ more to say. ‘| ‘Somethin’ made hima the way that he is, ‘Whether he's fale or true, ‘And somethin’ gave him the things that are hie— ¢ ” conan ‘Whe he wants your kisses ‘You will give them to the lad, ‘And anywbere-be leads you, you will walk. ‘And anytime he needs you, ‘You'l go runnin’ there like mad ‘You're bis girl and he's your feler— ‘And all the rest is talk. (As JULIE finisher her song, we see BILLY and ‘entering, crouching behind the sand dunes. JULIE {ast in time to see them as they get up center. ULI fo wnt) sou Billy! Billy! Where you goin’? wty Where we goin’? sworn We're looking for the treasure. uu I don't want you to, Billy. Let me come with you. sige, No. yuuae (Putting her hands to his chest and feeling the knife) ‘Billy! i amt I got no time to foot with women. Get out of my wayl (Ue succeeds in shoving her aside) suum Let me have that. Ob, Billy, Please— (He exis, s1008n follows. Warr puts her arms around ULE to comfort her. The ams group around them) ams Common sense may tell you ‘That the endin’ will be sad ‘And nows the time to break and run away, ‘But whats the use of wond'ra’ Ue the endia’ will be sed? He's your feller and you love bim— ‘There's nothia’ more to say. (The lights dim and the curtains clase) ‘AROUSEL 155 ACT TWO | Scene Two ‘sean: Mainland Waterfront. An hour later, Extreme left there is an upright pile, a box, and a bale. At center is a longer bale. Up right center is an axsorted heap consisting of @ crate, @ trunk, a sack, and other wharjside oddments, ‘AT mise: sioaen Is seated on the pile extreme left, smoking. ‘MLL és pacing back and forth, ight center. sty Suppose do't come.

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