Music Man Script

THE MUSIC MAN
ACT 1
#1 Overture
SCENE ONE
#2 Train Opening
(TIME: The morning of July 4th, 1912.
AT RISE: Train effect scrim rises on a red-plushed, kerosene-lamped,

enamel-drinking-cupped railway coach in full cry. One seat has been
turned in the coach to accommodate a card game the participants being
three TRAVELING SALESMEN and a STRANGER whose back is to the
AUDIENCE and who is concentrated throughout the scene on winning
every pot, which he drops by handfuls into an open suitcase on the floor
by his side. A FOURTH SALESMAN is kibitzing. A few seats forward in
the coach a FIFTH SALESMAN is reading a newspaper, until he finds
himself drawn into the conversation among the SALESMEN. Several
other PASSENGERS are behind newspapers. We hear train-slowing-
down MUSIC. The train slows and stops.)
CONDUCTOR
(Poking head into coach LEFT)
River City Junction River City next stop!

(EXITS)
SALESMAN #1
Youre crazy with the heat. Credit is no good for a notion salesman.
CONDUCTOR
(Poking head into coach again)
Boart! All abort!

(EXITS)
SALESMAN #2
Why not? Whats the matter with credit?
SALESMAN #1
Its old-fashioned. Charlie, youre an anvil salesman your firm

give credit?
(Train makes starting noise in ORCHESTRA.)
CHARLIE COWELL
No sir!
SALESMAN #1
Nor anybody else.

(Train starting, dialogue in time to train acceleration.)
CONDUCTOR
River City. River city next.
#3 Rock Island (Salesmen, Charlie Cowell, Newspaper

Readers)
SALESMAN #1
CASH FOR THE MERCHANDISE

CASH FOR THE BUTTON-HOOKS
SALESMAN #2
(Nodding)
CASH FOR THE COTTON GOODS

CASH FOR THE HARD GOODS
SALESMAN #1
CASH FOR THE SOFT GOODS
CASH FOR THE FANCY GOODS
SALESMAN #2
CASH FOR THE NOGGINS AND THE PIGGINS AND THE FIRKINS.
SALESMAN #3
CASH FOR THE HOGSHEAD, CASK AND DEMIJOHN.

CASH FOR THE CRACKERS AND THE PICKLES
AND THE FLY-PAPER.
SALESMAN #4
(Train at running speed.)
LOOK WHADAYATALK, WHADAYATALK,

WHADAYATALK, WHADAYATALK, WHADAYATALK.
SALESMAN #5
WHEREDAYAGITIT?
SALESMAN #4
WHADAYATALK?
SALESMAN #1
YA CAN TALK, YA CAN TALK,

YA CAN BICKER, YA CAN TALK,
YA CAN BICKER, BICKER, BICKER,
YA CAN TALK, YA CAN TALK,
YA CAN TALK, TALK, TALK, TALK,
BICKER, BICKER, BICKER,
YA CAN TALK ALL YA WANNA
BUT ITS DIFFERNT THAN IT WAS.
CHARLIE COWELL
(Ill-tempered)
NO IT AINT, NO IT AINT,
BUT YA GOTTA KNOW THE TERRITORY.
SALESMAN #3
CHI, CHI, CHI, CHI, CHI, CHI, CHI.

WHY ITS THE MODEL T FORD
MADE THE TROUBLE,
MADE THE PEOPLE WANT TO GO
WANNA GIT WANNA GIT
WANNA GIT UP AND GO
7, 8, 9, 10, 12, 14, 22, 23
MILES TO THE COUNTY SEAT
SALESMAN #1
YES, SIR.
YES, SIR.
SALESMAN #3
WHOS GONNA PATRONIZE

A LITTLE BITTY TWO-BY-FOUR
KINDA STORE ANYMORE?
(As each NEWSPAPER READER speaks he lowers his paper long

enough to say his line, then it goes back up before his face.)
SALESMAN #4
WHATDAYATALK, WHATDAYATALK.
NEWSPAPER READER #1
WHEREDAYAGITIT?
CHARLIE COWELL
NOT THEMODEL T AT ALL,

TAKE A GANDER AT THE STORE,
AT THE MODREN STORE,
AT THE PRESENT DAY STORE
AT THE PRESENT DAY
MODREN DEPARTMENTALIZED GROCRY STORE.
SALESMAN #4
WHADAYATALK, WHADAYATALK, WHADAYATALK,

WHADAYATALK, WHADAYATALK.
NEWSPAPER READER #1
WHEREDAYAGITIT?
SALESMAN #4
WHADAYATALK, WHADAYATALK, WHADAYATALK.
NEWSPAPER READER #1
WHEREDAYAGITIT?
SALESMAN #1
YA CAN TALK, YA CAN BICKER,

YA CAN TALK, YA CAN BICKER,
YA CAN TALK, TALK, TALK, TALK,
BICKER, BICKER, BICKER,
YA CAN TALK ALL YA WANNA
BUT ITS DIFFERNT THAN IT WAS.
CHARLIE COWELL
NO IT AINT, BUT YA GOTTA KNOW THE TERRITORY.

SALESMAN #3
WHY, ITS THE U-NEEDA BISCUIT

MADE THE TROUBLE.
U-NEEDA, U-NEEDA,
PUT THE CRAKERS IN A PACKAGE, IN A PACKAGE,
THE U-NEEDA BISCUIT
IN AN AIR-TIGHT SANITARY PACKAGE
MADE THE CRACKER BARREL OBSOLETE, OBSOLETE.
CHARLIE COWELL
OBSOLETE, OBSOLETE, OBSOLETE.
SALESMAN #4
CRACK BARREL WENT OUT THE WINDOW

WITH THE MAIL POUCH CUT PLUG CHAWIN BY THE STOVE
CHANGED THE APPROACH OF A TRAVELIN SALESMAN,
MADE IT PRETTY HARD
CHARLIE COWELL
NO IT DIDNT, NO IT DIDNT,
BUT YA GOTTA KNOW THE TERRITORY.
SALESMAN #3
GONE, GONE.
SALESMAN #1
GONE WITH THE HOGSHEAD, CASK AND DEMIJOHN,

GONE WITH THE SUGAR BARREL, PICKLE BARREL, MILK PAN,
GONE WITH THE TUB AND THE PAIL AND THE TIERCE.
SALESMAN #5
(Elder statesman)
EVER MEET A FELLA BY THE NAME A HILL?
SALESMAN #1
HILL?
CHARLIE COWELL
HILL!
SALESMAN #3
HILL?
SALESMAN #4
HILL?
NEWSPAPER READER #1
HILL?
NEWSPAPER READER #2
HILL?
NEWSPAPER READER #3
HILL?
SALESMAN #5
HILL!
ALL BUT CHARLIE COWELL
NO!
(ALL NEWSPAPERS go back up. There is a WHISTLE and

ORCHESTRA is heard.)
CHARLIE COWELL
JUST A MINUTE, JUST A MINUTE, JUST A MINUTE
SALESMAN #4
NEVER HEARD A AN SALESMAN HILL
SALESMAN #5
NOW, HE DOESNT KNOW THE TERRITORY
SALESMAN #1
DOESNT KNOW THE TERRITORY?

SALESMAN #3
WHATS THE FELLAS LINE?
SALESMAN #5
NEVER WORRIES BOUT HIS LINE.
SALESMAN #1
NEVER WORRIES BOUT HIS LINE?
SALESMAN #5
OR THE CRACKER BARREL BEIN OBSOLETE,

OR THE UNEEDA BISCUIT
IN AN AIR-TIGHT SANITARY PACKAGE,
OR THE MODEL T FORD
CHARLIE COWELL
JUST A MINUTE, JUST A MINUTE, JUST A MINUTE
SALESMAN #5
NEVER WORRIES BOUT HIS LINE
SALESMAN #3
NEVER WORRIES BOUT HIS LINE?
SALESMAN #5
OR A DOGGONE THING.
HES JUST A BANG BEAT, BELL-RINGIN,
BIG HAUL, GREAT GO,
NECK-OR-NOTHIN, RIP-ROARIN,
EVERTIME-A-BULLS-EYE SALESMAN,
THATS PROFESSOR HAROLD HILL, HAROLD HILL.
NEWSPAPER READER #1
TELL US, WHATS HIS LINE?

WHATS HIS LINE?
CHARLIE COWELL
HES A FAKE, AND HE DOESNT KNOW THE TERRITORY!

SALESMAN #4
LOOK, WHADAYATALK, WHADAYATALK,

WHADAYATALK, WHADAYATALK.
SALESMAN #5
HES A MUSIC MAN.
SALESMAN #3
HES A WHAT? HES A WHAT?
SALESMAN #5
HES A MUSIC MAN,

AND HE SELLS CLARINETS TO THE KIDS IN THE TOWN,
WITH THE BIG TROMBONES AND THE RATATAT DRUMS,
AND THE BIG BRASS BASS, BIG BRASS BASS,
AND THE PICCOLO, THE PICCOLO, UNIFORMS TOO,
WITH THE SHINY GOLD BRAID ON THE COAT,
AND A BIG RED STRIPE RUNNING
SALESMAN #1
WELL!
I DONT KNOW MUCH ABOUT BANDS,
BUT I DO KNOW YOU CANT MAKE A LIVIN
SELL BIG TROMBONES NO SIR!
MANDOLIN PICKS, PERHAPS,
AND HERE AND THERE A JEWS-HARP
SALESMAN #5
NO, THE FELLA SELLS BANDS,

BOYS BANDS.
I DONT KNOW HOW HE DOES IT,
BUT HE LIVES LIKE A KING,
AND HE DALLIES AND HE GATHERS,
AND HE PLUCKS AND HE SHINES,
AND WHEN THE MAN DANCES,
(SALESMAN #5)
CERTAINLY, BOYS, WHAT ELSE:

THE PIPER PAYS HIM.
YESSS SIR.
YES SIR, YES SIR, YES SIR,
WHEN THE MAN DANCES
CERTAINLY BOYS, WHAT ELSE:
THE PIPER PAYS HIM.
ALL
YES SIR. YES SIR.
CHARLIE COWELL
BUT HE DOESNT KNOW THE TERRITORY!
(ORCHESTRA button. Train stops.)
CONDUCTOR
(OFFSTAGE)
River City! River City!

(ENTERS)
River City! Were cross the state line into Iowa. River City!
Population twenty two hundred and twelve. Seegarettes illegal in
this state. Booart!
(EXITS)
CHARLIE COWELL
All right, if youre all through Ill tell you about Harold Hill!
SALESMAN #5
You really know Harold Hill?
CHARLIE COWELL
Never saw him in my life but I know this much hes giving every
one of us a black eye! After hes worked a town over, the next
salesman to arrive gets automatically tarred and feathered and
rode out to the city limits on a rail.
(THEY laugh)
You think thats funny. Well, wait till it happens to you! Your hair
never grows back.
(COWELL pulls off hat.)

(THEY react)
SALESMAN #1
But why should he get rode outa town on a rail?
CHARLIE COWELL
Because in order to sell band instruments, and uniforms, and

instruction books, he has to guarantee to teach the kids to play.
SALESMAN #3
Well?
CHARLIE COWELL
And to form them kinds into a band! With himself as the leader!
SALESMAN #5
Whats wrong with that?
CHARLIE COWELL
He dont know one note from another thats whats wrong with that!
And he cant tell a bass drum from a pipe organ! Ill catch up with
that swindlin two-bit thimble rigger, and when I do Ill squeal on him
so loud
SALESMAN #5
(Laughing)
Wow, youre mad, Charlie!

Sure like to be around when you catch up with that fella.
CHARLIE COWELL
Well it wont be on this trip. Not in Iowa. Even the great Professor
Harold Hill wouldnt try to sell them neck-bowed Hawkeyes out
here.
CONDUCTOR
(OFFSTAGE)
Booaart!
(THE STRANGER makes a fast decision and grabs his suitcase.)
STRANGER
Gentlemen, you intrigue me. I think Ill have to give Iowa a try.
CHARLIE COWELL
(Coldly)
Dont believe I caught your name.
#4 Iowa Stubborn (Townspeople, Farmer, Farmers Wife)

(STRANGER turns and we see him for the first time. It is our hero. HE
flashes suitcase which bears the legend PROF. HAROLD HILL and he
EXITS from train as all heads go out the windows.
Coach splits in two to reveal a full stage view of River Citys Main Street
immediately following. The town is in 4th of July bunting and the stubborn
Iowans are out in force.)
SCENE TWO
(TIME: Immediately following.
AT RISE: River City, Iowa, center of town, exterior.
TOWNSPEOPLE are seen en tableau.
MAYOR SHINN ENTERS from the Billiard Parlor, leaving the door open
for TWO WORKMEN who ENTER carrying a large crate containing a
visible pool table which they take into the Billiard Parlor.)
TOWNSPEOPLE
OH, THERES NOTHIN HALFWAY

ABOUT THE IOWA WAY TO TREAT YOU,
WHEN WE TREAT YOU,
WHICH WE MAY NOT DO AT ALL.
THERES AN IOWA KINDA
SPECIAL CHIP-ON-THE-SHOULDER ATTITUDE
WEVE NEVER BEEN WITHOUT THAT WE RECALL.
WE CAN BE COLD
AS OUR FALLING THERMOMETERS IN DECEMBER
IF YOU ASK ABOUT OUR WEATHER IN JULY.
AND WERE SO BY GOD STUBBORN,
WE CAN STAND TOUCHIN NOSES
FOR A WEEK AT A TIME AND NEVER SEE EYE-TO-EYE.
BUT WHAT THE HECK! YOURE WELCOME,

JOIN US AT THE PICNIC.
YOU CAN HAVE YOUR FILL
OF ALL THE FOOD YOU BRING YOURSELF.
YOU REALLY OUGHT TO GIVE IOWA A TRY,
PROVIDED YOU ARE CONTRARY.
BOY
Good morning, Mayor Shinn.
MAN
Good morning, Mayor Shinn.
SHINN
It is, if you wanta go round in your drawers all day.

(MUSIC phrase)
ALMA
And there I was in the Madison Hospital and nobody come to see
me. Cousin Will never come, Aunt Bertha never come
ETHEL
Your Aunt Berthas dead.
ALMA
She wouldnt a come anyway.

(MUSIC phrase)
TOWNSPEOPLE
WE CAN BE COLD
AS OUR FALLING THERMOMETERS IN DECEMBER
IF YOU ASK ABOUT OUR WEATHER IN JULY.
AND WERE SO BY GOD STUBBORN,
WE CAN STAND TOUCHIN NOSES
FOR A WEEK AT A TIME AND NEVER SEE EYE-TO-EYE.
(A cappella a la chorale)
BUT WELL GIVE YOU OUR SHIRT,

AND A BACK TO GO WITH IT
IF YOUR CROP SHOULD HAPPEN TO DIE.
(The TWO WORKMEN leave Billiard Parlor carrying a pool table packing
case frame to CENTER, as FARMER and WIFE who have ENTERED
meet down CENTER. THEY turn inside frame for short pose as GRANT
WOODS AMERICAN GOTHIC)
FARMER
(Breaking pose, in tempo)
SO WHAT THE HECK! YOURE WELCOME.

GLAD TO HAVE YOU WITH US.
FARMER, WIFE
EVEN THOUGH WE MAY NOT EVER MENTION IT AGAIN.
TOWNSPEOPLE
YOU REALLY OUT TO GIVE IOWA

HAWKEYE, IOWA, DUBUQUE, DES MOINES,
DAVENPORT, MASHALTOWN,
MASON CITY, KEOKUK, AMES, CLEAR LAKE
OUGHT TO GIVE IOWA A TRY.
(HAROLD crosses to business from labeled RIVER CITY LIVERY

STABLE, JACEY SQUIRES, Prop. HAROLD addresses a short, wiry
man about 36, JACEY SQUIRES.)
HAROLD
Ah, Mr. Squires? Yes, Im interested in a rig for Sunday, if you could
accommodate me.
JACEY
(In a high-pitched tenor)
Then I expect youd out to see the man in charge a hirin rigs.
(EXITING into Livery Stable, HE turns.)
Who is late as usual.

(MARCELLUS WASHBURN, roundish, perspiring, ENTERS hurriedly from
the wings. At Livery Stable door HE takes out his key. As HE is about to
open the door HE looks up and see HAROLD, rubs his eyes in disbelief)
MARCELLUS
Hey, Gregory!
HAROLD
Marcellus!
MARCELLUS
You old son of a gun! What in
HAROLD
(Hastily pushing aside proffered hand)
Sh sh shhh.
MARCELLUS
But Greg
HAROLD
Professor Hills the name Harold Hill.
MARCELLUS
But Greg, what are you doing here? Whynt you let me know you
was comin?
HAROLD
I didnt know I was myself. Besides how could I know youd end up
in a little tank town like this? You were a pretty big slicker when you
were in business with me.
MARCELLUS
Too many close shaves the way you work. Besides I got me a nice
comfortable girl Ethel Toffelmier bosss niece.
HAROLD
Gone legitimate, huh? I knew youd come to no good.
MARCELLUS
Whats the new pitch?

(HAROLD pantomimes conducting.)
Youre not back in the band business! I heard you was in steam
automobiles.
HAROLD
I was.
MARCELLUS
What happened?
HAROLD
Somebody actually invented one.
MARCELLUS
No!
HAROLD
Now give me the lowdown here, Marce.
MARCELLUS
Youll never get anywhere in the band business with these stubborn
Iowans, Greg. Besides we got a stuck-up music teacher here
wholl expose you before you get your grip unpacked.
HAROLD
Male or female?
MARCELLUS
The music teacher? Shes the librarian female.
HAROLD
Perfect! Thats what I wanted to hear. If she passes by point her

out to me.
MARCELLUS
I will. How you gonna start the pitch?
HAROLD
Same old way. Keep that music teacher off balance and then my
next step will be to get your town out of the serious trouble its in.
MARCELLUS
River City isnt in any trouble.
HAROLD
Then Ill have to create some. I have to create a desperate need

for a Boys Band. You remember Now whats new around here.
What can I use?
MARCELLUS
Nothin except the billiard parlors just put in a new pool table.
HAROLD
They never had a pool table here before?
MARCELLUS
No only billiards.
HAROLD
Thatll do.
(Puts down his suitcase.)
See you later, Marce and dont forget music teacher.
(Pantomimes piano playing.)
MARCELLUS
Pantomiming as HE EXITS)
Music teacher.
(HAROLD approaches EWART DUNLOP who has come out of his
grocery and is looking up at his sign.)
HAROLD
Ah youre Mr. Dunlop.
EWART
Yep.
HAROLD
Either youre closing your eyes to a situation you dont wish to
acknowledge or you are not aware of the caliber of disaster
indicated by the presence of a pool table in your community.
(As HAROLD continues, TOWNSPEOPLE gather around him one by one.
N.B. The word Slam in the following merely denotes a rhythmic pulse.)
#5 Ya Got Trouble (Harold, Townspeople)
(HAROLD)
(Slam)
WELL, YA GOT TROUBLE, MY FRIEND
(Slam)
RIGHT HERE.
I SAY, TROUBLE RIGHT HERE IN RIVER CITY.
WHY SURE, IM A BILLIARD PLAYER,
CERTAINLY MIGHT-Y PROUND,
I SAY, IM ALWAYS MIGHTY PROUD TO SAY IT.
(Slam)
I CONSIDER THAT THE HOURS I SPEND

WITH A CUE IN MY HAND ARE GOLDEN.
(Slam)
(Slam)
HEL YPU CULTIVATE HORSE SENSE

AND A COOL HEAD AND A KEEN EYE.
JEVER TAKE AND TRY TO GIVE
AN IRON-CLAD LEAVE TO YOURSELF
FROM A THREE-RAIL BILLIARD SHOT?
(Slam)
BUT JUST AS I SAY IT TAKES JUDGMENT,

BRAINS AND MATURITY
TO SCORE IN A BALKLINE GAME,
I SAY THAT ANY BOOB KIN TAKE N SHOVE
A BALL IN A POCKET,
(Slam)
AND I CALL THAT SLOTH!

THE FIRST BIG STEP ON THE ROAD
TO THE DEPTHS OF D-GRA-DA
I SAY, FIRST ITS A LITTLE AH
MEDICINAL WINE FROM A TEASPOON;
(HAROLD)
THEN BEER FROM A BOTTLE.
(Slam)
AND THE NEXT THING YOU KNOW,

YOUR SON IS PLAYIN FER MONEY
IN A PINCH-BACK SUIT,
(Slam)
AND LISTNIN TO SOME BIG, OUT-A-TOWN JASPER,

HEARIN HIM TELL ABOUT HORSE-RACE GAMBLIN.
(Slam)
NOT A WHOLESOME TROTTIN RACE, NO!

BUT A RACE WHERE THEY SE DOWN
RIGHT ON A HORSE!
(Slam)
LIKE TO SEE SOME STUCK-UP JOCKEY BOY

SETTIN ON A DAN PATCH?
MAKE YOUR BLOOD BOIL?
WELL I SHOULD SAY.
(Slam)
NOW FRIENDS,
LEMME TELL YOU WHAT I MEAN.
(Slam)
YA GOT ONE, TWO, THREE FOUR,

FIVE, SIX POCKETS IN A TABLE!
POCKETS THAT MARK THE DIFFRENCE
BETWEEN A GENTLEMAN AND A BUM,
WITH A CAPITAL B,
AND THAT RHYMES WITH P,
AND THAT STANDS FOR POOL.
(Slam)
AND ALL WEEK LONG
YOUR RIVER CITY YOUTHLL BE
FRITTERN AWAY
I SAY, YOUR YOUNG MENLL BE FRITTERN.
(HAROLD)
(Slam)
FRITTERN AWAY
THEIR NOON-TIME, SUPPER-TIME
CHORE-TIME, TOO!
(Slam)
GET THE BALL IN THE POCKET!

NEVER MIND GETTING DANDELIONS PULLED
OR THE SCREEN DOOR PATCHED
OR THE BEEFSTEAK POUNDED.
(Slam)
NEVER MIND PUMPIN ANY WATER

TIL YOUR PARENTS ARE CAUGHT
WITH THE CISTERN EMPTY ON A SATURDAY NIGHT,
AND THATS TROUBLE,

OH YES, YA GOT LOTS N LOTS A TROUBLE.
IM THINKIN OF THE KIDS IN THE KNICKERBOCKERS,
SHIRT-TAIL YOUNG-ONES PEEKIN IN THE
POOL HALL WINDA AFTER SCHOOL
YA GOT TROUBLE,
(Slam)
FOLKS
(Slam)
RIGHT HERE IN RIVER CITY.
(Slam)
TROUBLE, WITH A CAPITAL T,

AND THAT STANDS FOR POOL!
NOW I KNOW ALL YOU FOLKS
ARE THE RIGHT KIND A PARENTS.
(Slam)
IM GONNA BE PERFECTLY FRANK.
(Slam)
(HAROLD)
WOULD YA LIKE TO KNOW

WHAT KINDA CONVERSATION GOES ON
WHILE THEYRE LOAFIN AROUND THE HALL?
THEYLL BE TRYIN OUT BEVO;
TRYIN OUT CUBEBS;
TRYIN OUT TAILOR MADES,
LIKE CIGARETTE FIENDS!
(Slam)
AND BRAAAGGIN
ALL ABOUT HOW THEYRE GONNA
COVER UP A TELL-TALE BREATH
WITH SEN-SEN.
ONE FINE NIGHT
(Slam)
THEY LEAVE THE POOL HALL,

HEADIN FOR THE DANCE AT THE ARMRY!
LIBERTINE MEN AND SCARLET WOMEN AND
RAG-TIE SHAMELESS MUSIC
THATLL DRAG YOUR SON AND YOUR DAUTHER
WITH THE ARMS OF A JUNGLE ANIMAL INSTINCT
MASS-STERIA!
(Slam)
FRIENDS, THE IDLE BRAIN

IS THE DEVILS PLAYGROUND,
TROUBLE!
(The TOWNSPEOPLE join HAROLD.)
TOWNSPEOPLE
OH, WE GOT TROUBLE!
HAROLD
RIGHT HERE IN RIVER CITY!

TOWNSPEOPLE
RIGHT HEREIN RIVER CITY!
HAROLD
WITH A CAPITAL T,
AND THAT STANDS FOR POOL
TOWNSPEOPLE
THAT STANDS FOR POOL.
HAROLD
WEVE SURELY GOT TROUBLE!
TOWNSPEOPLE
WE SURELY GOT TROUBLE
HAROLD
TOWNSPEOPLE
-RIGHT HERE.
HAROLD
GOTTA FIGGER OUT A WAY TO KEEP

THE YOUNG ONES MORAL AFTER SCHOOL.
HAROLD, TOWNSPEOPLE
OUR CHILDRENS CHILDREN GONNA HAVE TROUBLE,

TROUBLE, TROUBLE, TROUBLE
(Chant continues in background through HAROLDS speech.)
HAROLD
Mothers of River City! Heed the warning before its too late! Watch
for the tell-tale signs of corruption! The moment your son leaves the
house does he rebuckle his knickerbockers below the knee? Is
there a nicotine stain on his index finger? A dime novel hidden in
the corn crib? Is he memorizing jokes out of captain Billys Whiz
bang? Are certain words creeping into his conversation? Words like
swell and sos your old man? If so, my friends
(Slam)
(Slam)
YA GOT TROUBLE!
TOWNSPEOPLE
OH, WE GOT TROUBLE!
HAROLD
TOWNSPEOPLE
HAROLD
WITH A CAPITAL T,
TOWNSPEOPLE
THAT STANDS FOR POOL!
HAROLD
WEVE SURELY GOT TROUBLE!
TOWNSPEOPLE
WE SURELY GOT TROUBLE!
HAROLD
TOWNSPEOPLE
RIGHT HERE!
HAROLD
REMEMBER THE MAIN, PLYMOUTH ROCK,

AND THE GOLDEN RULE!
HAROLD AND TOWNSPEOPLE
OUR CHILDRENS CHILDREN GONNA HAVE TROUBLE.
HAROLD TOWNSPEOPLE
OH, WEVE GOT TROUBLE. TROUBLE, TROUBLE,

WERE IN TERRIBLE, TERRIBLE TROUBLE, TROUBLE,
TROUBLE. TROUBLE, TROUBLE,
THAT GAME WITH THE TROUBLE, TROUBLE,
FIFTEEN NUMBERED BALLS TROUBLE, TROUBLE,
IS THE DEVILS TOOL! TROUBLE, TROUBLE
DEVILS TOOL!
HAROLD
OH YES, WEVE GOT TROUBLE, TROUBLE, TROUBLE!
TOWNSPEOPLE
OH YES, WE GOT TROUBLE HERE,

WE GOT BIG, BIG TROUBLE!
HAROLD
WITH A T
TOWNSPEOPLE
WITH A CAPITAL T!
HAROLD
GOTTA RHYME IT WITH P
TOWNSPEOPLE
THAT RHYMES WITH P!
HAROLD
TOWNSPEOPLE
THAT STANDS FOR POOL!
(PEOPLE hold for finish.
As THEY start a reprise, MARCELLUS runs ONSTAGE excitedly, waves

to HAROLD and starts pantomiming wild piano arpeggios which we hear
in the ORCHESTRA.)
#6 Trouble Playoff & (Townspeople)

Walking Music
TOWNSPEOPLE
OH, WE GOT TROUBLE, TROUBLE, TROUBLE,

RIGHT HEREINRIVER CITY
WITH A CAPITAL T,
STANDS FOR POOL!
WEVE SURELY GOT TROUBLE, TROUBLE!

RIGHT HERE!
GOTTA FIGGER OUT A WAY TO KEEP
THE YOUNG ONES MORAL AFTER SCHOOL.
(The VOICES collapse, the TOWNSPEOPLE freeze in a dim, the

WALKING MUSIC segues immediately as MARIAN, an attractive young
lady picked up in FOLLOW SPOT, hurries through in tempo. HAROLD
follows HER off. The TRAVELLER CLOSES behind HIM.)
SCENE THREE
(PLACE: A Street.
TIME: Immediately following)
HAROLD
(Offering his own handkerchief)
Did you drop your
MARIAN
No!
HAROLD
Didnt I meet you in
MARIAN
No!
HAROLD
I will only be in town a short while
MARIAN
Good!
(The porch now appears LEFT. MARIAN ENTERS house, slamming door
in HAROLDS face. LIGHTS FADE FORESTAGE and come up behind
SCRIM where we see
SCENE FOUR
(TIME: Immediately follow.
SCRIM RISES: The interior of a small house. AMARYLLIS, a small-fry

freckle-faced eight-year old girl, is playing the piano. MRS. PAROO, a
cheerful-looking forty, continues her household chores, as AMARYLLIS
plays, in halting tempo where she isnt sure and too fast where she is.)
#7 Piano Lesson & If (Mrs. Paroo & Marian)

You Dont My Saying
So
MRS. PAROO
(Calling. Speaks in Irish brogue.)
That you, daughter?
MARIAN
(OFFSTAGE)
Yes, Mama. Keep on, Amaryllis. Ill be there in a minute.

(On the down-beat of the fourth bar, AMARYLLIS plays the melody note a
half tone too high, and turns around to appeal wordlessly to MRS. PAROO
who, in the manner of one well accustomed to this occurrence, plays the
correct note as automatically as she does her other tasks. AMARYLLIS
happily starts over, apparently the usual step in this well-worn routine.
Again the wrong note again the correction. As AMARYLLIS settles
herself for the third go-round, MARIAN ENTERS in a hurry.)
MARIAN
Hello, Mama.
(MARIAN starts to piano in time to correct AMARYLLIS clinker.)
Fine, dear. Now your exercises.
AMARYLLIS
(Replacing her piece in music roll.)
Yes, Mom.
MRS. PAROO
I dont remember the liberry bein open last Fourth a July.
MARIAN
It was, Mama, all evening. Mama, a man with a suitcase has been
following me all over town.
MRS. PAROO
Oh who?
MARIAN
I never saw him before.
MRS. PAROO
Did he say anything?
MARIAN
He tried.
MRS. PAROO
Did you say anything?
MARIAN
Mama, of course not.
(AMARYLLIS begins her exercises.)
Now dont dawdle, Amaryllis.
SOL, DO, LA, RE, TI, MI, A LITTLE SLOWER,

AND PLEASE KEEP THE FINGERS CURVED
AS NICE AND HIGH AS YOU POSSIBLY CAN.
(MARIAN)
Dont get faster, dear.
(MARIAN winds metronome.)
MRS. PAROO
If you dont mind my saying so, it wouldnt have hurt you to find out
what the gentleman wanted.
MARIAN
I know what the gentleman wanted.
MRS. PAROO
What, dear?
MARIAN
Youll find it in Balzac.
MRS. PAROO
Excuse me fer livin but Ive never read it.

(AMARYLLIS repeats in new key, as MARIAN beats out strict time along
with metronome.)
MARIAN
NEITHER HAS ANYONE ELSE IN THIS TOWN.
MRS. PAROO
THERE YOU GO AGAIN

WITH THAT SAME OLD COMMENT
ABOUT THE LOW MENTALITY
OF RIVER CITY PEOPLE
AND TAKIN IT ALL TOO MUCH TO HEART.
MARIAN
Now, Mama, as long as the
MADISON PUBLIC LIBRARY

WAS ENTRUSTED TO ME
FOR THE PURPOSE OF IMPROVING
RIVER CITYS CULTURAL LEVEL,
I CANT HELP MY CONCERN
THAT THE LADIES OF RIVER CITY
KEEP IGNORING ALL MY COUNCIL AND ADVICE.
MRS. PAROO
BUT DARLING,
WHEN A WOMANS GOT A HUSBAND
AND YOUVE GOT NONE,
WHY SHOULD SHE TAKE ADVICE FROM YOU?
EVEN IF YOU CAN QUOTE BALZAC AND SHAKESPEARE
AND ALL THEM OTHER HIGH FALUTIN GREEKS.
MARIAN
MAMA, IF YOU DONT MIND MY SAYING SO,

YOU HAVE A BAD HABIT
OF CHANGING EVRY SUBJECT
MRS. PAROO
NOW I HAVENT CHANGED THE SUBJECT.

I WAS TALKIN ABOUT THAT STRANGER
MARIAN
WHAT STRANGER?
MRS. PAROO
WITH THE SUITCASE,

WHO MAY BE YOUR VERY LAST CHANCE!
MARIAN
MAMA!
DO YOU THINK THAT ID ALLOW A COMMON MASHER?
NOW REALLY, MAMA!
I HAVE MY STANDARDS WHERE MEN ARE CONCERNED,
AND I HAVE NO INTENTION
MRS. PAROO
I KNOW ALL ABOUT YOUR STANDARDS,

AND IF YOU DONT MIND MY SAYIN SO,
THERES NOT A MAN ALIVE
WHO COULD HOPE TO MEASURE UP
TO THAT BLEND A PAUL BUNYAN,
SAINT PAT AND NOAH WEBSTER
YOUVE CONCOCTED FOR YOURSELF
OUT A YOUR IRISH IMAGINATION,
YOUR IOWA STUBBORNNESS,
AND YOUR LIBERRY FULL A BOOKS!
(Fine chord from AMARYLLIS.)
MARIAN
(Hands on hips, gets slightly Irish in her exasperation.)
Well, if that isnt the best Ive ever heard!
AMARYLLIS
Thank you. Can I have a drink, please?
MARIAN
May I have a
AMARYLLIS
May I have a drink, please?
MARIAN
Yes, dear.
(As AMARYLLIS starts to the sink, a nine-year old BOY with a set, sullen
face ENTERS without a word, heading for bedroom door UPSTAGE.)
MRS. PAROO
Winthrop. Its after dark.

(WINTHROP halts in his tracks.)
Is that a way to walk into the house?
WINTHROP
Hello.
(Tries to EXIT.)
MRS. PAROO
That wont do at all. Ill have a kiss from my boy.

(WINTHROP walks to his mother, stands stubbornly in her embrace for a
moment, then starts out again.)
The lady over there is your sister, young man.

(WINTHROP repeats the uncooperative performance with MARIAN.)
AMARYLLIS
Hello, Winthrop.
(WINTHROP stares at the floor.)
MRS. PAROO
Winthrop, wheres your manners.
AMARYLLIS
Im having a party on Saturday. Will you please come?

(Silence)
I would especially like it very much if youd come Winthrop?

(Silence)
MRS. PAROO
Well, Winthrop, Amaryllis asked you to her party. Are you goin or
arent you?
WINTHROP
No.
MRS. PAROO
No what?
WINTHROP
No, thank you.
MRS. PAROO
You know the little girls name.

AMARYLLIS
He wont say Amaryllis because of the s because of his lisp. Hes

ashamed.
MRS. PAROO
We know all about his lisp, Amaryllis. Well, Winthrop.
AMARYLLIS
Ill be he wont say it.

(Tiptoeing closer to WINTHROP, SHE tries to peer into his face.)
WINTHROP
No thank you, Amaryllis.

(AMARYLLIS hops up and down giggling gleefully.)
AMARYLLIS
Amaryllith Amaryllith.
(SHE moves closer to WINTHROP, stoops and looks up into his face as
HE continues to stare at his feet. SHE turns to MRS. PAROO with
surprise.)
Hes crying.
(WINTHROP bolts out of the room. MRS. PAROO follows him.)
Why does he get so mad at people just because he lisps?
MARIAN
Its not only because he lisps. Thats just part of it, Amaryllis.
AMARYLLIS
Whats the other part?
MARIAN
Never mind, dear. Its just that he never talks very much.
AMARYLLIS
Not even to you and your mother?
MARIAN
No, dear. We all have to be a little patient.
AMARYLLIS
Im patient. Even though he doesnt ever talk to me but I do him

every night I say goodbye to him on the evening star. You have
to do it the very second you see it, too, or it doesnt count.
Goodnight, my Winthrop, goodnight. Sleep tight.
(Starts to cry.)
MARIAN
There, darling, dont cry, you have lots of time.

If not Winthrop, therell be someone else.
AMARYLLIS
Never! Ill end up an old maid like you.
(Catches herself.)
Im sorry, Miss Marian. Can I play my cross-hand piece?
MARIAN
May I play my
AMARYLLIS
May I play my cross-hand piece?
MARIAN
You may.
AMARYLLIS
See, without a sweetheart you have no one to say goodnight to on

the evening star.
MARIAN
I know, Amaryllis. For the time being just say goodnight my

someone. You can put the name in when the right someone comes
along.
AMARYLLIS
All right. Its better than nothing.
MARIAN
Yes it is now you can play your cross-hand piece.
AMARYLLIS
(Settling herself.)
Now I may play my cross-hand piece.
#8 Goodnight My (Marian, Amaryllis)

Someone
(As AMARYLLIS plays, MARIAN goes to window. The TRAVELLER
closes in leaving her in the window, looking at evening star.)
MARIAN
GOODNIGHT, MY SOMEONE,
GOODNIGHT, MY LOVE.
SLEEP TIGHT, MY SOMEONE,
SLEEP TIGHT, MY LOVE.
OUR STAR IS SHINING
ITS BRIGHTEST LIGHT
FOR GOODNIGHT, MY LOVE,
FOR GOODNIGHT.
SWEET DREAMS BE YOURS, DEAR,

IF DREAMS THERE BE;
SWEET DREAMS TO CARRY YOU
CLOSE TO ME.
I WISH THEY MAY,
AND I WISH THEY MIGHT.
NOW GOODNIGHT, MY SOMEONE,
GOODNIGHT.
TRUE LOVE CAN BE WHISPERED
FROM HEART TO HEART,
WHEN LOVERS ARE PARTED, THEY SAY.
BUT I MUST DEPEND ON A WISH AND A STAR,
AS LONG AS MY HEART
DOESNT KNOW WHO YOU ARE.

IF DREAMS THEEERE BE.
SWEET DREAMS TO CARRY YOU
CLOSE TO ME.
(AMARYLLIS has come to the window.)
MARIAN, AMARYLLIS
I WISH THEY MAY,

AND I WISH THEY MIGHT.
NOW GOODNIGHT, MY SOMEONE,
GOODNIGHT.
GOODNIGHT.
GOODNIGHT.
(BLACKOUT)
SCENE FIVE
(TIME: Thirty minutes later.
Interior of the Madison Gymnasium in River City High School which

appears to be well-filled. It is sparingly decorated with red, white and blue
bunting. EULALIE, fifty and gushy, costumed as Columbia with a torch in
her hand, leads the singing as ETHEL TOFFELMIER, a curvaceous 35,
sways at the player piano, as she pumps an expressive accompaniment
to Columbia, the Gem of the Ocean.)
(ALL TOWNSPEOPLE, led by EULALIE MACKECKNIE SHINN, SING in

BLACKOUT, and as LIGHTS come up.)
#9 Columbia, Gem of the Ocean (Eulalie, Townspeople)
EULALIE, TOWNSPEOPLE
THY BANNERS MAKE TYRANNY TREMBLE,

WHEN BORNE BY THE RED, WHITE AND BLUE.
THY BANNERS MAKE TYRANNY TREMBLE,
(At the conclusion of the number EULALIE steps down from the rostrum to
polite applause and MAYOR GEORGE SHINN steps forward. HE is self-
important.)
SHINN
Im sure were all grateful to my wife, Eulalie Mackecknie Shinn, for

leading the singing and to Jacey Squires for his fine stereoptican
slides
(JACEY wheels the stereoptican machine off.)
and to Ethel Toffelmier, our fine player-piano player piano.

(Applause.)
As Mayor of River City, I welcome you River Citizians to the Fourth

of July exercises set up for the indoors here in Madison
Gymnasium account the weather.
Four score
(Flap-flap-flap-flap interrupts the MAYORS speech. It is the end of the
piano roll which MISS TOFFELMIER has been re-winding at the piano.
SHINN looks around indignantly, then resumes his speech.)
Four score
(EWART DUNLOP rises from his seat in front of MAYOR and hands him a
note. SHINN, reading.)
Ah the members of the School Board will now present a patriotic

tablow.
(the THREE MEMBERS of the School Board who are seated on the
rostrum indicate HE is wrong. He looks at note again.)
Oh the members of the School Board will not present a patriotic

tablow. Some disagreement about costumes, I suppose. Instead
the Wa Tan Ye girls of the local wigwam of Heeawatha will present
a spectacle my wife
(Catching himself. Looks at notes again.)
In which my wife
(MARIAN, now seated at the piano, starts to play INDIAN RHYTHM. HE
indicates he has not finished. SHE stops.)
Eulalie Mackecknie Shinn, will take a leading part.

(HE nods to MARIAN and she plays as six lovely corn-fed seventeenish
GIRLS appear and mount the rostrum. Each wears a feather in a head-
band. THEY are doing an Indian war dance step. EULLIE precedes them
in full Indian head-dress, carrying a tom-tom which SHE beats to
MARIANS Indian rhythm. AMARYLLIS, dressed as a GUIDE, follows her,
struggling with a Springfield rifle.
EULALIE, bearing the tom-tom, adjusts the GUIDES sagging rifle.)
EULALIE
(Peering RIGHT.)
Wa Tan Ye!
GIRLS
(Peering RIGHT.)
WA TAN YE!
EULALIE
(Again adjusting the rifle, then peering RIGHT)
Wa Tan Ye!
GIRLS
WA TAN YE!
EULALIE
I will now count to twenty in the Indian tongue! Een teen tuther,
feather fip!
(TOMMY DJILAS, seated on the floor in front of EULALIE, now sets off a
large FIRECRACKER. EULALIE swoons.)
Im shot, George, who shot me?

(The MAYOR comforts her, aiding her OFFSTAGE. There is considerable
disturbance.)
CONSTABLE LOCKE
(Rising)
Who set off that cracker?
GRACIE SHINN
I know who did it. Tommy Djilas did it Tommy Djilas did it.
ALMA
Yes, it was Tommy Djilas.
CONSTABLE LOCKE
(As TOMMY tries to escape.)
Tommy Djilas, I wouldnt leave if Ise you.

(TOMMY sits. CONSTABLE LOCKE joins him ominously.)
SHINN
(Returning to rostrum.)
Mrs. Shinn will recover, no thanks to a certain young ruffian who is

a disgrace to our city. Four score and seven
(JACEY SQUIRES RE-ENTERS, crosses to rostrum, hands MAYOR a
note, and takes empty seat with the rest of the School Board.)
The Paines Fireworks Spectacle, Las Days of Pompy-eye will take

place, providing the rain stops by nine-thirty. Itll be out to Madison
Picnic Park in the far meadow, cross the crick from the Pest
House.
EWART DUNLOP
How can it be raining? Didnt the Gazette predict fair?

(Rolling THUNDER is heard.)
JACEY SQUIRES
Sure did, Ewart, thats why we all prepared for a storm.
OLIN BRITT
The Gazette is accrt most a the time and you know it, Jacey.
OLIVER HIX
You wouldnt last very long in the bankin business bein accurt
most a the time.
(A verbal free-for-all is under way.)
SHINN
Now just a minute lets have order here! Order! Order!

(The quarrel subsides. The MEN sit. The TRAIN WHISTLE is heard. All
the MEN take out their watches.)
OLIVER
Hmm. Number eights late again tonight.
JACEY
I make her early.
EWART
Shes late alright.
OLIN
Shes right on time, smatterth your watch?

(THEYRE off again. SHINN struggles for order.)
SHINN
Will you members of the School Board stop bickern in public?
OLIN
All in the world that I said was
SHINN
(Hastily)
Never mind! Four score
HAROLD
(Half rising from where he has been an unobserved spectator)
We heard theres a pool table in town.
MAN
Yeah thats what I heard.
SHINN
Now just a minute
MAUD
Is it a pool table or isnt it?
SHINN
Will you allow me to get on with the exercises?
MAN #2
We dont want any more exercises till we get this pool table matter
settled!
HAROLD
Lets protect our children.
(CROWD reacts.)
Resist sin and corruption.

(CROWD reacts.)
Smite that devil and keep our young boys pure.

(CROWD reacts.)
#10 Trouble Reprise (Harold)
HAROLD
(Appearing on the podium.)
Friends
MAY I HAVE YOUR ATTENTION, PLEASE?
(Slam)
ATTENTION, PLEASE!
(Slam)
(Slam)
I CAN DEAL WITH THIS TROUBLE, FRIENDS,

WITH A WAVE OF MY HAND, THIS VERY HAND!
PLEASE OBSERVE ME IF YOU WILL.
IM PROFESSOR HAROLD HILL,

AND IM HERE TO ORGANLIZE
THE RIVER CITY BOYS BAND!
(HAROLD)
(DRUM ROLL)
PRRRRR!
OH, THINK, MY FRIENDS,
HOW COULD ANY POOL TABLE EVER HOPE TO
COMPETE WITH A GOLD TROMBONE?
RAAAA-RAAAAA
RA-DA-DA-DA-DA
RAAA-RA.
REMEMBER, MY FRIENDS,
WHAT A HANDFUL OF TRUMPET PLAYERS
DID TO THE FAMOUS, FABLED WALLS OF JERICHO!
(Slam)
OH, BILLIARD PARLOR WALLS

COME TUMBLING DOWN!
(Slam)
(Slam)
(Slam)
OH, A BANDLL DO IT, MY FRIENDS,

OH, YES! I MEAN A BOYS BAND.
DO YOU HEAR ME?
(Slam)
I SAY, RIVER CITYS GOTTA HAVE A BOYS BAND,

AND I MEAN SHE NEEDS IT TODAY.
(Slam)
WELL, PROFESSOR HAROLD HILLS ON HAND

AND RIVER CITYS GONNA HAVE HER BOYS BAND!
AS SURE AS THE LORD MADE LITTLE GREEN APPLES,
AND THAT BANDS GONNA BE IN
uniform! Johnny, Willy, Teddy, Fred! And youll see the glitter of
crashing Cymbals, And youll hear the thunder of rolling Drums; the
shimmer of Trumpets Tantara! And youll feel something akin to
the electric thrill I once enjoyed when Gilmore,
(Slam)
Liberatti,
(Slam)
Pat Conway,
(Slam)
The Great Creatore,

(Slam)
W.C. Handy,
(Slam)
And John Philip Sousa all came to town on the very same historic
day.
#11 Seventy-Six Trombones (Harold, Townspeople)

SEVENTY SIX TROMBONES LED THE BIG PARADE,
WITH A HUNDRED AND TEN CORNETS CLOSE AT HAND.
THEY WERE FOLLOWED BY ROWS AND ROWS
OF THE FINEST VIRTUOSOS,
THE CREAM OF EVRY FAMOUS BAND.
SEVENTY SIX TROMBONES CAUGHT THE MORNING SUN,

WITH A HUNDRED AND TEN CORNETS RIGHT BEHIND.
THERE WERE MORE THAN A THOUSAND REEDS
SPRINGING UP LIKE WEEDS.
THERE WERE HORNS OF EVRY SHAPE AND KIND.
THERE WERE COPPER BOTTOM TIMPANI IN HORSE PLATOONS,

THUNDERING, THUNDERING, ALL ALONG THE WAY.
DOUBLE BELL EUPHONIUMS AND BIG BASSOONS,
EACH BASSOON HAVING HIS BIG FAT SAY.
THERE WERE FIFTY MOUNTED CANNON IN THE BATTERY,

THUNDERING, THUNDERING, LOUDER THAN BEFORE.
CLARINETS OF EVRY SIZE
AND TRUMPETERS WHOD IMPROVISE
A FULL OCTAVE HIGHER THAN THE SCORE.
(HAROLD parades with the KIDS.)

TOWNSPEOPLE
SEVENTY SIX TROMBONES HIT THE COUNTERPOINT,

WHILE A HUNDRED AND TEN CORNETS BLAZED AWAY.
TO THE RHYTHM OF HARCH! HARCH! HARCH!
ALL THE KIDS BEGAN TO MARCH,
AND THEYRE MARCHING STILL RIGHT TODAY!
#12 Seventy-Six Trombones Ballet (Orchestra)
(There is a choreographic interpolation in which all the KIDS [DANCERS],

carried along by the spirit of the song, pantomime instruments. The
number winds up with the entire ENSEMBLE parading. As THEY
disperse, SHINN corners the SCHOOL BOARD.)
#13 Seventy-Six Trombones - Playoff (Orchestra)
SHINN
Men, this calls for emergency action. That man is a spellbinder. I

havent seen Iowa people get so excited since the night Frank
Gotch and Strangular Lewis lay on the mat for three and a half
hours without moving a muscle! Never mind! I want his credentials.
(TOMMY DILAS, being escorted out by CONSTABLE LOCKE, suddenly
cuts and runs. Reversing his field, TOMMY runs into HAROLD, who holds
him.)
Grab that hoodlum! He almost blew up Mrs. Shinn!
CONSTABLE
Thank you, Professor. Have to make an example of him.

Ringleader, you know. What he does the gang does.
TOMMY
Jeely Kly, lemme go.
SHINN
Ya wild kid, ya. Hanging around my oldest girl. His father is one
athem day laborers south atown. Ya wild kid, ya.
(To HAROLD)
Taggin down Main Street after my oldest girl last Sunday.
TOMMY
I wasnt either taggin
SHINN
Dont you counterdict me
TOMMY
Weuz just walkin together, Jeely Kly
SHINN
You watch your frazolagy! I know what youuz doin, my little Gracie
seen ya. Now you stay away from my oldest girl or youll hear from
me till who laid the rails! Hill, Ill talk to you Monday morning about
this band thing. Overt City Hall. Ten oclock sharp.
(Aside as HE EXITS)
Men, I want that spellbinders credentials.
HAROLD
(As CONSTABLE starts off with TOMMY)
Constable. Ill be responsible for the boy.
CONSTABLE
You dont know this kid hes tough, and hes got his gang waitin
outside.
HAROLD
Oh, Ill be careful. Tommy, like to talk to you about the band.
TOMMY
Aw gee, Professor, thats for the little kids.
HAROLD
Im not talking about you playing in the band. Youre mechanically

minded, arent you? Ever do anything with perpetual motion?
TOMMY
(Sullenly)
Nearly had it a couple times.
HAROLD
You did? Youre my man! Do you realize nobody has ever invented
a music-holder for a marching piccolo player?
(Holds arms in piccolo playing position)
No place to hang the music.
TOMMY
(Impressed)
Jeely Kly! Wonder where I could get some wire from.
HAROLD
Look in your cellar, thats where people keep wire.

(TOMMY starts tearing out. The CONSTABLE makes a move, HAROLD
restrains him.)
Oh, Tommy!
TOMMY
(Stopping in midflight)
Yessir?
(CONSTABLE LOCKE reacts in astonishment at the sir)
HAROLD
(Aside to CONSTABLE)
Now, Constable, Ill show you how to break up a gang.
(Looks around)
Oh, young lady. Oh miss
(HE beckons to a very pretty WA TAN YE GIRL, pink and sixteen)
Whats your name?

YOUNG GIRL
(Approaching)
Zaneeta. I didnt have any idea you was beckoning to me. Ye

Gods.
HAROLD
Do you know Tommy Djilas?
ZANEETA
Well, I
HAROLD
Tommy, this is Zaneeta. Escort the young lady home.
ZANEETA
Only excepting Im not going home. I have to got the Liberry. Ye

Gods.
HAROLD
Then escort the young lady home by way of the library
(Takes out coins)
By way of the candy kitchen.
TOMMY
(Grinning)
Yes sir. Do I hafta?
HAROLD
You hafta.
TOMMY
Yes sir.
ZANEETA
(As SHE and TOMMY EXIT)

Ye Gods.
CONSTABLE
Professor, youre a pretty bright young fellow. You made a couple

mistakes, though.
HAROLD
Oh?
CONSTABLE
The Mayor happens to own the Billiard Parlor and that new pool
table.
HAROLD
Oh. What was my other mistake?
CONSTABLE
That Zaneeta. Shes the Mayors oldest girl.

(As HAROLD starts to cross to the LADIES who have ENTERED RIGHT,
the SCHOOL BOARD approaches him from LEFT)
EWART DUNLOP
(The second tenor)
Just a minute Professor Hill. Wed like to have your credentials.

Were the school board.
OLIN BRITT
(The bass contradicting)
Academic certificates.
OLIVER
(The baritone, to OLIN, with irritation)
Nothing of the kind!
EWART
(To OLIVER, irascibly)

We need letters and papers!
JACEY
(The high tenor, to the OTHERS, nastily)
Make him put up a bond!
HAROLD
What am I hearing?
#14 Ice Cream/Sincere (Harold, Quartet)
(Whirling back to OLIN, blows pitch pipe)
Say
(SIGS on low note)
(HAROLD)
ICE CREEEEM.
OLIN
Ice Cream, but I dont sing young man, if thats what youre
HAROLD
All right, talk then.
(Low)
Down here!
OLIN
Ice Cream.
HAROLD
Talk slow!
OLIN
(In a rich rolling bass)

ICE CREEEEM.
HAROLD
See? Singing is only sustained talking.
(Pointing to OLIVER on a baritone note)
NOW YOUUUU.
OLIVER
(In a full baritone)
ICE CREEEEM.
HAROLD
(To EWART)
NOW YOUUUU. RIGHT HEEER.
EWART
ICE CREEEEM.
HAROLD
(Points skyward to JACEY)
Now, you, sir!
JACEY
(On the high note)
ICE CREEEEEEEMMMM.
HAROLD
(Crossing to the LADIES)
Ladies, from now on youll never see one of those men without the
other three.
EULALIE
Oh, Professor, youre wrong! Why theyve hated each other for
fifteen years.
JACEY, EWART, OLIN, OLIVER
(Behind HAROLDS back THEY hit a gorgeous chord)
ICE CREAM.
ICE CREAM.
ICE CREAM.
(HAROLD takes, joins the MEN as THEY are shaking hands all around
and congratulating each other.)
HAROLD
(Pointing at QUARTET)
HOW CAN THERE BE
OLIVER
-ANY-
QUARTET
-SIN IN SINCERE?
WHERE IS THE GOOD IN GOODBYE?
EWART, OLIVER, OLIN
IN GOODBYE?
QUARTET
YOUR APPREHENSIONS CONFUSE ME, DEAR,

PUZZLE AND MYSTIFY.
MYSTIFY
(MARIAN EXITS with HAROLD in pursuit, the LADIES move UPSTAGE

as the LIGHTS dim and the QUARTET moves down into 1 in a FOLLOW
SPOT)
TELL ME,
WHAT CAN BE FAIR IN FAREWELL, DEAR,
WHILE ONE SINGLE STAR SHINES ABOVE?
HOW CAN THERE BE ANY SIN IN SINCERE?
ARENT WE SINCERELY IN LOVE?
EWART, OLIVER, OLIN
OH, WERE IN LOVE.
(As QUARTET holds its last gorgeous note we BLACKOUT. The MUSIC
segues to Walking Music.)
SCENE SIX
#15 Walking Music (Reprise) (Orchestra)

AT RISE: Lights come up on the street in front of the Library. Walking

Music accompanies MARIANS entrance. HAROLD is following.)
HAROLD
I dont suppose you live alone, or anything?
MARIAN
No!
HAROLD
Ive got some wonderful caramels overt the hotel if youd

(MARIAN and MUSIC stop abruptly)
MARIAN
Mister hill.
HAROLD
Professor Hill.
MARIAN
Professor of what? At what college do they give a degree for

annoying women on the street like a Saturday night rowdy at a
public dance hall?
HAROLD
Oh I wouldnt know about that. Im a Conservatory man myself.

Gary, Indiana Gold Medal Class of 05.
MARIAN
Even should that happen to be true does that give you the right to
follow me around wherever I go? Another thing, Mister Hill, Im not
as easily mesmerized or hood-winked as some people in this town
and I think it only fair to warn you that I have a shelf full of reference
books in there which may very well give me some interesting
information about you.
(MARIAN EXITS into the Library. As HAROLD starts after her,
MARCELLUS ENTERS.)
MARCELLUS
Hey, Gregory!
HAROLD
Oh hi, Marcellus. And dont call me Greg.
MARCELLUS
Howd you make out with the music teacher?
HAROLD
Scrumptious. Ate out of my hand the minute I tipped my hat?
MARCELLUS
She did! Boy, did you cut a swath tonight. For a minute I thought
you knew somethin about leadin a band. Just like when you used
to imitate that band-concert fellow back in Joplin.
HAROLD
Yeah!
(Pantomimes conducting)
Aw kid stuff. Im in rare form these days, son. Just to keep your
eyes on me for the next four weeks.
MARCELLUS
Four weeks! It only used to take ten days for the instruments to
arrive.
HAROLD
It still does. But it takes four weeks for the uniforms.
MARCELLUS
Oh, no, Greg! You havent added uniforms!!???
HAROLD
Uniforms and instruction books.
MARCELLUS
Instruction books! But you cant pass yourself off as a music

professor I mean not for any four weeks.
HAROLD
(Ruefully)
Marce
MARCELLUS
But you dont know one note from another.
HAROLD
I have a revolutionary new method called the Think System where

you dont bother with notes.
MARCELLUS
But in four weeks the people will want to hear the music! Youll have
to lead a band.
HAROLD
But when the uniforms arrive they forget everything else at least
long enough for me to collect and leave. Oh this is a refined
operation, son, and Ive got it timed right down to the last wave of
the brakemans hand on the last train out a town. And now, Mr.
Washburn, if youll excuse me
MARCELLUS
Gonna line yourself up a little canoodlin huh?

HAROLD
Well
MARCELLUS
Say, I could fix you up with Ethels sister lovely girl teaches
Sunday School.
HAROLD
No wide-eyed, eager wholesome innocent Sunday School teacher

for me. That kinda girl spins webs no
#16 The Sadder but Wiser Girl (Harold, Marcellus)
SPIDER EVER LISTEN BOY

A GIRL WHO TRADES ON ALL THAT PURITY
MERELY WANTS TO TRADE MY INDEPENDENCE
FOR HER SECURITY.
THE ONLY AFFIRMATIVE SHE WILL FILE

REFERS TO MARCHING DOWN THE AISLE.
NO GOLDEN, GLORIOUS, GLEAMING PRISTINE GODDESS,

NO, SIR!
FOR NO DIANA DO I PLAY FAUN.
I CAN TELL YOU THAT RIGHT NOW.
I SNARL, I HISS.
HOW CAN IGNORANCE BE COMPARED TO BLISS?
I SPAKR, I FIZZ,
FOR THE LADY WHO KNOWS WHAT TIME IT IS.
I CHEER, I RAVE,
FOR THE VIRTUE IM TOO LATE TO SAVE.
THE SADDER BUT WISER GIRL FOR ME.
NO BRIGHT-EYED, BLUSHING,
BREATHLESS BABY-DOLL BABY,
NO, SIR!
THAT KINDA CHILD TIES KNOTS
NO SAILOR EVER KNEW.
(HAROLD)
I PREFER TO TAKEA CHANCE

ON A MORE ADULT ROMANCE.
NO DEWY YOUNG MISS WHO KEEPS RESISTING
ALL THE TIME SHE KEEPS INSISTING.
NO WIDE-EYED, WHOLESOME,
INNOCENT FEMALE.
NO, SIR!
WHY, SHES THE FISHERMAN,
IM THE FISH, YOU SEE?
PLOP!
I FLINCH, I SHY,
WHEN THE LASS WITH THE DELICATE AIR GOES BY.
I SMILE, I GRIN,
WHEN THE GAL WITH A TOUCH OF SIN WALKS IN.
I HOPE, I PRAY,
FOR HESTER TO WIN JUST ONE MORE A.
THE SADDER BUT WISER GIRLS THE GIRL FOR ME.
THE SADDER BUT WISER GIRL FOR ME.
(HAROLD is starting towards the Library as the WOMEN come chattering

in. EULALIE hanging back, MARCELLUS escapes. HAROLD is
surrounded.)
ALMA
Oh, Professor Hill, were all agog simply agog!
MAUD
On the que veev!
MRS. SQUIRES
Everyones so excited about the band.
ETHEL
(Loud voice)
Im Ethel Toffelmier. The pianola girl?
MAUD
And this is Mrs. Squires, and Mrs. Hix. And of course you met
Eulalie MacKecknie Shinn? Our Mayors wife? Isnt it exciting,
Eulalie?
EULALIE
Oh, I couldnt say. I could not say. Oh no. I could not say, at this
time. My husband will wish to investigate, Im sure. And naturally
Im reticent. Oh yes, Im reticent.
HAROLD
Of course, Mrs. Shinn, I understand. But you see, part of my music

plans include a committee on the dance and no wait wait! Do
that again Mrs. Shinn!
(SHE looks behind her, mystified.)
Your foot! The way you raised it, just now!
EULALIE
(Lifting foot slightly)
Oh. Well I have a bunion there that bothers
HAROLD
Ohhh what grace! What natural flow of rhythm! What expression of

line and movement!
EULALIE
Mr. Hill.
HAROLD
You must accept the chairmanship of the Ladies Auxiliary for the
Classic dance, mustnt she, ladies?
THE WOMEN
Oh yes! Please! You must, Eulalie.
HAROLD
Every move you make, Mrs. Shinn, bespeaks Del Sarte. Will you
will you? Say yes, Mrs. Shinn!
EULALIE
(Moving forward amid flutters, SHE murmurs.)
Eulalie MacKecknie Shinn ah well! I ah that is Dancing!

Well!
HAROLD
Then you accept?
EULALIE
Yes indeed! And I would like to say
HAROLD
Thank you. Now the young lady who plays the piano Marian
Paroo, I believe?
(The LADIES all gasp)
After all she is the librarian.
#17 Pick-a-Little, Talk-a-Little & (Alma, Ethel, Eulalie, The Ladies,

Goodnight, Ladies Harold, Quartet)
(The LADIES, instantly huddling)
ALMA
PICK A LITTLE, TALK A LITTLE, PICK A LITTLE, TALK A LITTLE,

CHEEP, CHEEP, CHEEP, TALK A LOT, PICK A LITTLE MORE.
ALMA, ETHEL

ALL LADIES

CHEEP, CHEEP, CHEEP, CHEEP, CHEEP, CHEEP, CHEEP, CHEEP
(Continues as background under following dialogue.)
MAUD
Professor, her kind of woman doesnt belong on any committee. Of

course I shouldnt tell you this but she advocates dirty books.
HAROLD
Dirty books!
ALMA
CHAUCER!
ETHEL
RABELAIS!
EULALIE
BAL-ZAC!
MAUD
And the worst thing of course I shouldnt tell you this but
ALMA
Ill tell.
ETHEL
The man lived on my street. Let me tell.

EULALIE
(Grabs the ball determinedly.)
Stop!
(Everything stops)
Ill tell. She made brazen overtures to a man who never had a
friend in this town till she came here old Miser Madison.
HAROLD
(Puzzled)
Miser Madison. Madison Gymnasium, Madison Picnic Park,

Madison Hospital that Miser Madison?
MAUD
Exactly. Whod he think he was anyway?
HAROLD
Well I should say. Showoff. Gave the town the library too, didnt
he?
ETHEL
Thats just it. When he died he left the liberry building to the city
MAUD
But he left all the books to her!
EULALIE
She was seen going and coming from his place.
ALMA
Oh yes. Oh yes. That woman made
ALMA LADIES
BRAZEN OVERTURES PICK-A-LITTLE,

(Slam) TALK-A-LITTLE
(Continues)
WITH A GILT-EDGE GUARANTEE!
SHE HAD A GOLDEN GLINT IN HER EYE,
AND A SILVER VOICE
WITH A CONTERFEIT RING!
(Slam)
JUST MELT HER DOWN

AND YOULL REVEAL
A LUMP OF LEAD
AS COLD AS STEEL!
ALMA
HERE!
(Thump)
WHERE A WOMANS HEART SHOULD BE.
EULALIE, ALMA, MAUD, ETHEL, MRS. SQUIRES
HE LEFT RIVER CITY

THE LIBRARY BULIDNG,
BUT HE LEFT ALL THE BOOKS TO HER!
ALMA
CHAUCER!
ETHEL
RABELAIS!
EULALIE
BAL-ZAC!
THE LADIES
PICK-A-LITTLE, TALK-A-LITTLE,
CHEEP, CHEEP, CHEEP, CHEEP,
CHEEP, CHEEP, CHEEP, CHEEP!
(LADIES continue Pick-A-Little etc. Under dialogue as HAROLD tries to

escape. The QUARTET ENTERS.)
JACEY
Just a minute, here! We need your credentials.

HAROLD
Yes, of course. I have just what you want over at the Hotel. Come
with me.
(As the QUARTET starts to follow him, HAROLD turns back to the
LADIES who are still singing softly)
Goodnight ladies.
(THEY Cheep cheep cheep at him. HE turns to QUARTET.)
(SINGS)
GOODNIGHT, LADIES.
QUARTET
GOODNIGHT, LADIES,
GOODNIGHT, LADIES.
(QUARTET)
WERE GOING TO LEAVE YOU NOW.
FAREWELL, LADIES,
FAREWELL, LADIES,
FAREWELL LADIES.
WERE GOING TO LEAVE YOU NOW.
LADIES
CHEEP, CHEEP, CHEEP, CHEEP, CHEEP, CHEEP, CHEEP, CHEEP,

CHEEP, CHEEP, CHEEP, CHEEP, CHEEP, CHEEP, CHEEP, CHEEP!
PICK A LITTLE, TALK A LITTLE, CHEEP!
(The LADIES and the QUARTET finish together. HAROLD has escaped
into the library.
BLACKOUT)
SCENE SEVEN
#18 Marian the Librarian (Harold)

(TIME: Immediately follow.
HAROLD goes through the door to Library. The SCRIM becomes

transparent. We see the interior of the Library. The SCRIM flies.
MARIAN is seen at desk stamping books. HAROLD sneaks in and places
his hat under her stamper. SHE is startled.)
HAROLD
Its all right I know everything and it doesnt make any difference.
MARIAN
What are you talking about?
HAROLD
You were probably very young anyone can make a mistake
MARIAN
What
HAROLD
No apologies no explanations, please. Ill only be in town a short

time and
(Chuckles)
-the sadder, but wiser girl for me.
MARIAN
Will you please make your selection and leave.
HAROLD
I have.
MARIAN
(Looking for book)
Well? What do you want to take out?
HAROLD
(Loudly)
The librarian.
MARIAN
Quiet please.
(Turns her back.)
HAROLD
(Whispering)
The librarian. Youre not listening, Marian.
(Takes a paper bag out of pocket.)
Look!
(Sings)
MA-A-A-A-RIAN.
(Speaks)
Marbles. Six steelies, eight aggies, a dozen peewees and one big
glassie with an American flag in the middle. I think Ill drop em.
MARIAN
No!
HAROLD
Shh!
(Threatens her with bag)
MADAM LIBRARIAN.
WHAT CAN I DO, MY DEAR,

TO CATCH YOUR EAR?
I LOVE YOU MADLY, MADLY,
MADAM LIBRARIAN,
MARIAN.
HEAVEN HELP US,

IF THE LIBRARY CAUGHT ON FIRE,
AND THE VOLUNTEER HOSE BRIGADEMEN
HAD TO WHISPER THE NEWS
TO MARIAN,
MADAM LIBRARIAN.
(HAROLD)
WHAT CAN I SAY, MY DEAR,

TO MAKE IT CLEAR?
I NEED YOU BADLY, BADLY,
MADAM LIBRARIAN,
MARIAN.
IF I STUMBLED,
AND I BUSTED MY WHAT-YOU-MA-CALL IT,
I COULD LIE ON YOUR FLOOR UNNOTICED,
TIL MY BODY HAD TURNED
TO CARRION.
MADAM LIBRARIAN.
NOW IN THE MOONLIGHT,

A MAN COULD SING IT
IN THE MOONLIGHT
AND A FELLOW WOULD KNOW THAT HIS DARLING
HAD HEARD EVRY WORD OF HIS SONG,
WITH THE MOONLIGHT
HELPING ALONG.
BUT WHEN I TRY, IN HERE,

TO TELL YOU, DEAR,
MADAM LIBRARIAN,
MARIAN,
ITS A LONG LOST CAUSE

I CAN NEVER WIN
FOR THE CIVILIZED WORLD ACCEPTS
AS UNFORGIVABLE SIN
ANY TALKING OUT LOUD
WITH ANY LIBRARIAN.
SUCH AS MARIAN,
MADAM LIBRARIAN.
#19 Marian - Dance (Harold)

(The ballet commences. HAROLD and MARIAN and the READERS in
the Library participate in a ballet. It is done terribly quietly, practically on
tip-toe in soft shoe tempo.)
HAROLD
BUT WHEN I TRY, IN HERE,

TO TELL YOU, DEAR,
MADAM LIBRARIAN,
MARIAN.
(HAROLD)
ITS A LONG LOST CAUSE

I CAN NEVER WIN
FOR THE CIVILIZED WORLD ACCEPTS
AS UNFORGIVABLE SIN
ANY TALKING OUT LOUD

WITH ANY LIBRARIAN,
SUCH AS MARIAN
The Ladies Dance Committee meets Tuesday nights.
(Opening marble bag and offers it to her)
Marshmallow?
MADAM LIBRARIAN.
(HAROLD catches MARIAN off guard and kisses her on the cheek.
MARIAN is shocked into reality. HE stuffs a marshmallow in his mouth
and MARIAN has now had it, giving him a round-house slap which
HAROLD ducks. It catches TOMMY DJILAS full on the ear and we
BLACKOUT.)
#20 First Seventy-Six Trombones Crossover (Orchestra)
SCENE EIGHT
(TIME: The following Saturday noon.
AT RISE: TOMMY and HAROLD are seen in front of the TRAVELLER,

STAGE LEFT)
HAROLD
Well Tommy weve had a pretty good morning. Eleven sales out of
twelve tries. Tell you what Its almost noon. You better go home
and get some dinner. Ill try a couple by myself.
TOMMY
Gbye, Professor.
HAROLD
Thanks, Tommy.
#21 Second Seventy-Six Trombones Crossover (Orchestra)

(Seventy-Six Trombones is heard as HAROLD approaches door, STAGE
RIGHT)
SCENE NINE
(Seventy-Six Trombones is heard. An impressive doorway. HAROLD

rings DOORBELL at RISE. SHINN comes hurrying down the street, goes
to door, starts to unlock it realizes HAROLDS presence.)
SHINN
Just a minute here. Are you soliciting? You havent got a license.
HAROLD
Why no, Mayor Shinn, I collect doorbells. This particular specimen

has an unusual tone quality that
SHINN
Flattery will not avail you. Soliciting is statutory in this county

malfeasance without a permit. Why havent you been downt City
Hall with your references?
HAROLD
(Stepping down to SHINN)
Just missed you I - . Mr. Mayor! Your hand oh no!
SHINN
What, what
HAROLD
(Spreads SHINNS fingers)
That spread of the little finger! Its hereditary!
SHINN
Oh it is what does that mean?

HAROLD
It means that your sons little finger is perfectly situated to operate

the spit valve on a B-flat Flugel Horn!
SHINN
(Wide-eyed)
Is that good?
HAROLD
Good! It means that American has at last produced an artist who

can Flugel the Minute Waltz in 50 seconds.
SHINN
How could I get one of those horns?
HAROLD
(Quick with order blank)
Sign here, Mr. Mayor. Thatll be seventeen dollars import fee.
SHINN
(Signing)
Yes sir. Just think I coulda missed this whole
(Stops suddenly)
I havent got any son! You unscrypulous flew-by-night, you

unflypulous you be downt City Hall with your By God papers at
three oclock.
HAROLD
You mean this afternoon?
SHINN
I couldnt make myself any plainer if Ise a Quaker on his day off.
#22 Third Seventy-Six Trombones (Orchestra)

Crossover
(BLACKOUT)
SCENE TEN
(TIME: That evening.
AT RISE: The PAROOS porch. MRS. PAROO is sitting on the porch

rocking. WINTHROP is hiding behind her chair. HAROLD has ENTERED
at RISE.)
HAROLD
Mrs. Paroo do you realize you have the facial characteristics of a

Cornet virtuoso?
MRS. PAROO
I dont know if I understand you entirely, Professor.
HAROLD
If your boy has that same firm chin, and those splendid cheek
muscles By George! Not that he could ever be really great, you
understand, but
MRS. PAROO
Oh, is that so. And in the name of St. Bridget, why not?
HAROLD
Well you see all the really great Cornet players were Irish
OClark, OMendez, OKlein
MRS. PAROO
But Professor, we are Irish!
HAROLD
No! No! Really! That clinches it! Sign here, Mrs. Paroo. Your boy
was born to play the Cornet!
(SHE signs in a daze. WINTHROP has followed her and is still hiding
behind her.)
Fine, fine. That will be seven dollars earnest money. Nothing more
due until the first installment payable at opening of band practice.
(MRS. PAROO locates money from about her person.)
Ah thank you. And of course, Ill need the boys measurements for
his band uniform.
MRS. PAROO
His uniform!
(WINTHROP falls off the porch in excitement. HAROLD and MRS.
PAROO are somewhat surprised.)
HAROLD
Hello, son.
(WINTHROP picks himself up and starts to run. HAROLD stops him.)
Certainly, his uniform. And there wont be a penny due till delivery,
which gives him four weeks to enjoy, to anticipate, to imagine, at no
cost whatever. Never allow the demands of tomorrow to interfere
with the pleasures and excitement of today.
WINTHROP
(Drawing an imaginary line down the outside of his leg)
Would it haveaa?
HAROLD
A stripe? Certainly, my boy, a wide red stripe on each side. What

do you think of that?
(WINTHROP drops his eyes suddenly and runs off.)
MRS. PAROO
Youll have to excuse Winthrop, Professor. We cant get him to say

three words a day even to us. And if you get him to play in the
band youll have St. Michaels own way with you. But if anybody
can do it Ill be you can. Out of a crowd Ill pick you for hod-
carrying, clay-pipe smokin, shamrock-wearin, harp-playin,
Mavorneen-pinchin, Taras hall minstrel-singin Irishman! Be-gob
and be-jabbers! Where are ye from, me bye?
HAROLD
Gary, Indiana.
MRS. PAROO
I knew it! Gar - . Where did you say?
HAROLD
Gary, Indiana. In fact Gary Conservatory was my Alma Mater.
MRS. PAROO
Was she now?
HAROLD
(Aware of MARIANS approach)
Why yes Gold Medal Class of 05. Hodado, Miss Paroo.
MARIAN
Hodado, Mr. Hill.
HAROLD
Of course! Paroo. I thought the name sounded familiar.
(Sotto)
Ive tried to see you since the other night, but
MRS. PAROO
He wants to put Winthrop in the band!

MARIAN
Were not interested, Mama.
MRS. PAROO
But Marian, the boy might have his fathers musical gift. He does
have my jaw, you know.
HAROLD
Oh your husband musical? Well Id like to have a talk with him.

Im sure we
MARIAN
Do you burst in on everyones home like this? Prying into personal

affairs? Were not interested.
MRS. PAROO
Marian!
HAROLD
(Cheerfully)
Well, thats one for and one against. Now why not let the boys
father decide?
MARIAN
The boys father is dead. Anything else?
HAROLD
Oh, Im sorry. But thats all the more reason why your brother
should have something like this
MARIAN
My brother is a ten-year-old problem child who cant understand

why his father was taken away. Would you care to explain it to
him? Hes been brooding about it for two years. As to your musical
tricks, why dont you go into business with some nice carnival man
who sells gold-painted watches and glass diamond rings?
HAROLD
Musical tricks? Well Miss Paroo, I hardly
(Without response, MARIAN EXITS into house. MRS. PAROO stands
speechless. HAROLD stands approvingly, his finger alongside his nose.)
I get the feeling she likes the idea. Oh, a little cautious perhaps but
I admire that in a woman. Just keep me alive and Ill be back later
in the week.
MRS. PAROO
One moment, Professor Hill. About the boys measurements. I

make all his clothes. Sleeve 21, Waist 18, Croutch 14
HAROLD
Fine, thats all I need. Now I must get back to the Hotel.
MRS. PAROO
Professor, I do hope youll excuse Marian. Shes not really
HAROLD
Please. Dont worry about a thing. Im sure that at heart shes as

lovely as yourself. Good day to ya, Widda Paroo.
MARIAN
(Returning to porch with embroidery and slip of paper)
Has he gone?
MRS. PAROO
He has. And I hope not forever. Darlin dont you ever think of your
future? Gary Indiana Conservation Class of 05 Now darlin
MARIAN
Now Mama. Surely a girls future doesnt depend on encouraging

every fast-talking, self-centered, woman-chasing traveling man who
comes to town. And the fact that he claims his commodity is music
does not, in this particular case, impress me.
MRS. PAROO
All right, darlin, all right. Only its a well-known principle that if you
keep the flint in one drawer and the steel in another, youll never
strike much of a fire.
MARIAN
Mama!
(Calling)
Winthrop! Winthrop, I know youre there.

(WINTHROP comes slowly to porch.)
Please go to the library and ask Miss Grubb to give you the book I
set aside. Its the Indiana State Educational Journal 1890-1910.
Its a large brown volume with black corner.
WINTHROP
Do I hafta?
MARIAN
You wont have to talk to anyone. Ive written it all down.
(SHE gives him paper. HE goes.)
Thank you dear.
MRS. PAROO
Now what are you up to? Why do you need books at this hour of
the night?
MARIAN
I have a feeling the Indiana Journal may help me poke some large
holds in the Professors claims.
MRS. PAROO
Well, I give up. At your age if you dont mind my askin what kinda
white knight do you expect to come ridin along?
MARIAN
Well Im not waiting for Luther Greiner who backs me into the
Ancient History shelf every time he comes into the Library.
MRS. PAROO
He does?
#23 My White Knight (Marian)
MARIAN
Or Ed Gammidge and that buggy of his with the removable back

seat. But Im not waiting for a man in shining white armor either.
MY WHITE KNIGHT, NOT A LANCELOT,

NOR AN ANGEL WITH WINGS;
JUST SOMEONE TO LOVE ME,
WHO IS NOT ASHAMED OF A FEW NICE THINGS.
MY WHITE KNIGHT
WHAT MY HEART WOULD SAY
IF IT ONLY KNEW HOW.
PLEASE, DEAR VENUS, SHOW ME NOW.
ALL I WANT IS A PLAIN MAN;

ALL I WANT IS A MODEST MAN;
A QUIET MAN, A GENTLE MAN,
A STRAIGHTFORWARD AND HONEST MAN
TO SIT WITH ME IN A COTTAGE
SOMEWHERE IN THE STATE OF IOWA.
AND I WOULD LIKE HIM TO BE
MORE INTRESTED IN ME
THAN HE IS IN HIMSELF.
AND MORE INTRESTED IN US
THAN IN ME.
AND IF OCCASIONLY HED PONDER
WHAT MAKES SHAKESPEARE AND BEETHOVEN GREAT,
HIM I COULD LOVE TIL I DIE.
HIM I COULD LOVE TIL I DIE.
MY WHITE KNIGHT, NOT A LANCELOT

NOR AN ANGEL WITH WINGS.
JUST SOMEONE TO LOVE ME,
WHO IS NOT ASHAMED OF A FEW NICE THINGS.
MY WHITE KNIGHT
LET ME WALK WITH HIM WHERE THE OTHERS RIDE BY;
WALK, AND LOVE HIM
TIL I DIE.
TIL I DIE.
(DIMOUT)
SCENE ELEVEN
(TIME: Noon, the following Saturday.

AT RISE: Center of town, exterior. ZANEETA is crossing followed by
TOMMY wearing his invention.)
TOMMY
(Calling)
Zaneeta Hey, Zaneeta

(ZANEETA stops and turns.)
ZANEETA
Tommy, Papa and Mama are sitting right there in the bank. Ye
Gods!
TOMMY
All right, then meet me after supper.
ZANEETA
I cant. Its Epworth League night. Meet you where?
TOMMY
The footbridge.
ZANEETA
You see? Isnt that just what I said? Last time the lumber yard and
now the footbridge. And where will you meet me after that? In the
Black Hole of Calcutta? Ye Gods.
TOMMY
I only want to show you my invention.
ZANEETA
What invention?
TOMMY
My music holder for a marching Piccolo player. It still has a couple

of minor flaws; see, when you keep it tight enough to hold the
music steady you cut off the circulation and you cant wiggle your
fingers. Meanwhile
(Demonstrates how close it would be in playing position)
You could go blind.
ZANEETA
(Gestures in alarm at OLIVER HIXS office.)
Tommy! Its Papa!

(TOMMY leaves in a hurry as SHINN and EULALIE ENTER.)
SHINN
Is that the first thing I said, or not?
EULALIE
Yes, George.
SHINN
Yes! The very first thing I said or Ill eat hay with the horse! Get that
Spellbinders credentials, I said, morning of Jew-ly Fourth, Nineteen
and Twelve. And now look! My wife is off dancing at any and all
hours instead of in the home
EULALIE
But George
SHINN
-the School Board is singin up street and down alley instead of

tending to city matters, my oldest girl is boodling around with some
wild kid and my business has fallen off so far I cant find the
balance sheet.
MARIAN
(ENTERING with brown book)
Mayor Shinn, Ive found something very interesting in this book

about Professor Hills Alma Mater.
SHINN
His who?
MARIAN
His university.
SHINN
I know all about that. In fact, thats the only thing I can ever get out
of him Gary Conservatory, class of aught-five.
MARIAN
If youll just take time to read a little bit about the Conservatory I
dont think youll have to look further. Its on page
#22 The Wells Fargo Wagon (Townspeople, Quartet, Winthrop)

(HORSE MUSIC. GRACIE SHINN rushes on.)
GRACIE
Papa! The Wells Fargo Wagon is just comin up from the depot!
ALL
(In hushed anticipation)
The Wells Fargo Wagon!
SHINN
A likely story! At this hour of the day? Nonsense!...The Wells Fargo

Wagon?
GRACIE
It could be the band instruments!
SHINN
The band instruments!

(The TOWNSPEOPLE now form, looking up the street listening for the
horses hooves which are now heard plainly in the MUSIC.)
TOWNSPEOPLE
O-HO, THE WELLS FARGO WAGON

IS A-COMIN DOWN THE STREET,
OH, PLEASE, LET IT BE FOR ME.
I WISH, I WISH I KNEW WHAT IT COULD BE.
1ST VOICE
I GOT A BOX OF MAPLE SUGAR ON MY BIRTHDAY.
2ND VOICE
IN MARCH, I GOT A GREY MACKINAW.
3RD VOICE
AND ONCE, I GOT SOME GRAPEFRUIT FROM TAMPA.
4TH VOICE
MONTGOMRY WARD SENT ME A BATHTUB

AND A CROSS-CUT SAW.
TOWNSPEOPLE
O-HO, THE WELLS FARGO WAGON IS A-COMIN NOW.

IS IT A PREPAID SURPRISE OR C.O.D.?
5TH VOICE
IT COULD BE CURTAINS,
6TH VOICE
OR DISHES,
7TH VOICE
OR A DOUBLE BOILER,
8TH VOICE
OR IT COULD BE,
TOWNSPEOPLE
YES, IT COULD BE,

YES, YOURE RIGHT, IT SURELY COULD BE
8TH VOICE
SOMETHIN SPECIAL
TOWNSPEOPLE
SOMETHIN VERY, VERY SPECIAL NOW,
8TH VOICE
JUST FOR ME.
TOWNSPEOPLE

OH, DONT LET HIM PASS MY DOOR!
IW ISH I KNEW WHAT HE WAS COMIN FOR.
9TH VOICE
I GOT SOME SALMON FROM SEATTLE LAST SEPTEMBER.
10TH VOICE
AND I EXPECT A NEW ROCKIN CHAIR.
11TH VOICE
I HOPE I GET MY RAISINS FROM FRESNO.
QUARTET
THE D.A.R. HAVE SENT A CANNON

FOR THE COURTHOUSE SQUARE.
(WINTHROP breaks through the CROWD, and as the TOWNSPEOPLE

slowly turn to look at him in amazement, HE SINGS.)
WINTHROP

IS A-COMIN NOW,
I DONT KNOW HOW I CAN EVER WAIT THEE.
IT COULD BE SUMPIN FOR SOMEONE
WHO IS NO RELATION,
BUT IT COULD BE
SUMPIN SPECIAL
JUST FOR ME!
TOWNSPEOPLE
(SOPRANO/ALTO)
(TENOR/BASS)
O-HO, YOU AH
WELLS FARGO WAGON, KEEP A-COMIN
O-HO, YOU WELLS FARGO WAGON, KEEP A-COMIN
O-HO, YOU WELLS FARGO WAGON, DONT YOU DARE TO MAKE A STOP,
DARE TO MAKE A STOP, UNTIL YOU STOP FOR ME.
UNTIL YOU STOP FOR ME.
(MARIAN pushes her way through the CROWD to crush WINTRHOP in

an embrace as the CROWD cheers Wagons arrival.)
TOWNSPEOPLE
Ray-yy!
DRIVER
Whoa!
WINTHROP
Its the band instruments!
#25 Finale Act I (Orchestra)

(HAROLD riding in wagon jumps down, carrying gold cornet which he
brings to WINTHROP.)
HAROLD
Here you are, Winthrop.
WINTHROP
My Cornet! Gee thanks, Professor!
HAROLD
(Returning to wagon)
Men! You will each receive individual instruction in due course. In

the meantime stay off the streets get acquainted with your
instruments and think about the Minuet in G. La de da de da de da
de da
BOYS
(EXITING)
La de da, La de da.
WINTHROP
Sister! Sister! Isnt this the most scrumptious sold gold thing you
ever saw. I never thought Id ever see anything so scrumptious as
this scrumptious solid gold thing! O sister!
SHINN
Round one for you Mister Hill, but I better hear some by God tootin
out a them horns in pretty short order or Ill see you front athe
grand jury overt the County Seat.
(Approaching MARIAN)
Now Miss Marian, about that book

(MARIAN tears a page out of the book as EULALIE calls SHINN.)
EULALIE
Come, George! Tempus fugits.
SHINN
(Turning to her)
You watch your frazolagy. Get a long if you want to. Ive got to get
something from the librarian.
(Crosses to MARIAN)
About that book

(MARIAN hands him the book. SHINN and EULALIE EXIT.
HAROLD catches MARIANS look which is changing from gratitude to

adoration.)
HAROLD
(Coming over to her)
The Ladies Dance Committee meets Tuesday nights at the High

School.
(THE hold the look as the ORCHESTRA with My White Knight swells to
climax.
CURTAIN.)
ACT TWO
#26 Entracte (Orchestra)
SCENE ONE
#27 Eulalies Ballet (Orchestra)

(TIME: Evening. The following Thursday.
AT RISE: Madison Gymnasium. The Ladies Auxiliary Committee is

practicing for the Ice Cream Sociable. MAUD, ALMA, ETHEL, MRS.
SQUIRES and EULALIE are dressed in girls basketball bloomers, black
stockings and tennis shoes, Peter Thompson blouses and black hair
ribbons. AT RISE, MARIAN is pumping Rustle of Spring as the LADIES
parade with books balance on their heads. THE QUARTET are on one
side of the stage dressed in Indian regalia.
EULALIE
Lovely, ladies, lovely. Now turn. Take the body with you. Lovely.
Now lets have a go at our Grecian Urns
One Grecian Urn
Two Grecian Urns
And a Fountaintrickle, trickle, trickle.
Splendid, ladies. I predict that our Del Sarte display will be the
highlight of the Ice Cream Sociable. Now gentlemen, if youre
ready
(THE QUARTET comes over and takes positions.)
And ladies, remember dont make me tell you again. Always

keep your face to the audience. All right, Mr. Dunlop.
#28 Its You (Quartet)

(EWART blows pitch pipe. MAUD pops out from behind him, EULALIE
motions her back, the QUARTET SINGS as the LADIES pantomime
appropriately.)
EWART
ITS YOU IN THE SUNRISE.

ITS YOU IN MY CUP.
JACEY
ITS YOU ALL THE WAY INTO TOWN.
OLIVER
ITS YOUR SWEET HELLO, DEAR,

THAT SETS ME UP,
EWART
AND ITS
QUARTET
YOUR GOT TO GO, DEAR,

THAT GETS ME DOWN.
ITS YOU ON MY PILLOW,
IN ALL OF MY DREAMS,
TILL ONCE MORE THE MORNING BREAKS THROUGH.
WHAT WORDS COULD BE SANER,
OR TRUER, OR PLAINER
THAN ITS YOU, ITS YOU,
EULALIE
Smile, girls, smile.
JACEY
YES, ITS YOU.
EWART, OLIVER, OLIN
OH, YES, ITS YOU.
MARCELLUS
(Trying to hold KIDS back at the door.)
Please kids, Mrs. Shinn will have my head.
EULALIE
Mr. Washburn, we are entitled to five more minutes.
MARCELLUS
If you think you can hold these kids back, go ahead.

(The KIDS burst in excitedly as EULALIE fights her way through them and
EXITS RIGHT. The QUARTET and the LADIES quickly get out of his way.)
TOMMY
Start her up, Mr. Washburn. Wait till you see the new steps
Professor Hill taught us.
MARCELLUS
All right! Whatll it be?
TOMMY
The Shipoopi!
KIDS
Shipoopi!
#29 Shipoopi (Marcellus, Townspeople)

(THEY form Virginia Reel lines.)
MARCELLUS
NOW, A WOMAN WHOLL KISS

ON THE VERY FIRST DATE
IS USULY A HUSSY,
AND A WOMAN WHOLL KISS
ON THE SECOND TIME OUT
IS ANYTHING BUT FUSSY.
BUT A WOMAN WHOLL WAIT
TIL THE THIRD TIME AROUND,
HEAD IN CLOUDS, FEET ON THE GROUND,
SHES THE GIRL HES GLAD HES FOUND.
SHES HIS SHIPOOPI!
SHIPOOPI, SHIPOOPI, SHIPOOPI,
BOYS
THE GIRL WHOS HARD TO GET!
MARCELLUS
SHIPOOPI, SHIPOOPI, SHIPOOPI.
GIRLS
BUT YOU CAN WIN HER YET.
MARCELLUS
WALK HER ONCE

JUST TO RAISE THE CURTAIN,
THEN YOU WALK AROUND TWICE
AND YOU MAKE FOR CERTAIN.
ONCE MORE IN THE FLOWER GARDEN,
SHE WILL NEVER GET SORE
IF YOU BEG HER PARDON.
ALL
DO, RE, MI, FA, SOL, LA, SI, DO,

SI, LA, SOL, FA, MI, RE, DO.
MARCELLUS
SQUEEZE HER ONCE

WHEN SHE ISNT LOOKIN.
IF YOU GET A SQUEEZE BACK,
THATS FANCY COOKIN.
ONCE MORE FOR A PEPPER-UPPER.
ON HER WAY TO SUPPER.
ALL
DO, RE, MI, FA, SOL, LA, SI,

DO, SI, DO.
MARCELLUS
NOW LITTLE OL SAL WAS A NO-GAL,

AS ANYONE COULD SEE.
LOOKIT HER NOW. SHES A GO-GAL,
WHO ONLY GOES FOR ME.
(HE resumes calling)
SQUEEZE HER ONCE

WHEN SHE ISNT LOOKIN.
IF YOU GET A SQUEEZE BACK,
THATS FANCY COOKIN.
ONCE MORE FOR A PEPPER-UPPER.
ON THE WAY TO SUPPER.
ALL
DO, RE, MI, FA, SOL, LA, SI,

DO, SI, DO.
MARCELLUS
MARCELLUS, BOYS
THE GIRL WHOS HARD TO GET.
MARCELLUS
SHIPOOPI, SHIPOOPI, SHIPOOPI.
MARCELLUS, GIRLS
#30 Shipoopi Dance Part 1 (Orchestra)

(SEVERAL COUPLES do specialties including MARCELLUS and ETHEL,
and TOMMY and ZANEETA. HAROLD ENTERS.)
BOY
Come on, Professor, show us some new steps!

(HAROLD makes a gallant invitation to wallflower MARIAN. SHE is
trapped into dancing with him in Vernon Castle one-step. SHE shines.
Several of the LADIES witness this and rush off with the news. The KIDS
all join again imitating the steps HAROLD and MARIAN have done.)
ALL

THE GIRL WHOS HARD TO GET.
YOU CAN WIN HER YET!
(Shouted)
SHIPOOPI!
#33 Shipoopi Playoff (Orchestra)

(As reprise featuring TOMMY and ZANEETA starts, EULALIE and
MAYOR SHINN ENTER.)
SHINN
Take your hands off my daughter!
ZANEETA
Papa!
TOMMY
Mr. Shinn, your honor. Your daughter and I are goin steady behind
your back.
SHINN
Why you
TOMMY
Wed rather do it in front a your back but
SHINN
Do what? Never mind.
TOMMY
Zaneetas scared aya, but Im not. I should think youd hate to

have your own daughter scared aya, Jeely Kly.
SHINN
Im going to warn you once more. If I ever catch you touching my

daughter Ill by God horsewhip you till Hell wont have it again.
EULALIE
Now George!
SHINN
Not one poop outa you madam!
EULALIE
I think he means peep.
SHINN
Yes! And now get outa this public building!
TOMMY
I got as much right in a public building as anybody.
SHINN
Right? How do you get any right around here? Aiding and abetting
the swindling activities of this spellbinding cymbal salesman? You
know what I see written all over you? Reform School! Now get
out!... Get out, you wild kid.
(TOMMY rushes off.)
ZANEETA
Papa, please. Its Capulets like you make blood in the market
place. Ye Gods.
SHINN
You watch your fazolagy, young woman. Go home.

(ZANEETA weeps and starts off. EULALIE starts after her.)
Eulalie!
EULALIE
Yes, George, I only
SHINN
You tend to your dance.
EULALIE
(Coming back)
My dance
(SHINN points, EULALIE EXITS)
SHINN
Ill handle Zaneeta. Takin up with wild kids from the wrong side
atown
MARIAN
Mr. Mayor, if I could just make you understand
SHINN
Well ya cant. And by the way thanks for nothin. Ive read that
book you gave me from cover to cover for a whole week now and
didnt find a thing!
HAROLD
Mr. Mayor, if you please
SHINN
Ill settle your hash as soon as I get these premises offa my oldest
girl
(Starts off, turns back)
Yes!
HAROLD
All right but in the meantime I want you to know Im vouching for
Tommy Djilas. That boys got the confidence of every kid in town
youll be standing in line waiting to shake his hand by time our Band
plays its first concert.
SHINN
By time your band plays its first concert the individual membersll
have to foregather in wheel chairs on account of the broken legs
theyll get from tripping over their beards. Ill tell you something, my
fine young feathered my feathered young never mind! Oliver
Jacey Ewart Olin!
(The MEN quickly attend.)
I want this mans references and I want em tonight! Dont let him
outa your sight! Hes slippriern a Mississippi sturgeon!
OLIVER
Do you mean you want us to get his credentials
SHINN
Get his papers or get him in jail! Couldnt make myself any clearer if
Ise a button hook in the well-water.
(EXITS, dragging ZANEETA. The MEN follow.)
MARIAN
(Hurrying to HAROLD)
Professor hill, I think Mayor Shinn has behaved abominably and I

think it was wonderful of you coming to Tommys defense.
HAROLD
Oh, that was nothing.
MARIAN
Yes it was.
HAROLD
Oh, no. A man cant dodge the issue every time a little personal
risk is involved
(Watching her)
What does the Poet say?

The coward dies a thousand deaths the brave man only 500
(Laughs gaily, suddenly turns serious)
Unfortunately, of course, the Mayor was already pretty mad on

account of his Billiard Parlor. Now
(Shrugs ruefully)
Oh, I suppose a recommendation from a musical authority like

yourself would help but
(Leaving)
I couldnt think of asking you to do a thing like that.
MARIAN
(Stopping him)
Why, Professor Hill.
HAROLD
You would?
MARIAN
Id be glad to. I just wish I was a little more informed Ive been
waiting to talk to you about Winthrops Cornet.
HAROLD
His Cornet? Mother-of-pearl keys.
MARIAN
Im sure its fine. But you see he never touches it. Oh, the first
week or so, he made a few ah experimental blats? I guess
youd say?
HAROLD
Yes yes, blats.
MARIAN
And he sings the
(SINGING it)
Minuet in G de da almost constantly.
HAROLD
(Going to the groups of LADIES and leading them as they SING)
La de da de da de da de da. La de da. La de da
MARIAN
But he never touches the Cornet.
HAROLD
Well, you say
MARIAN
He says you told him it wasnt necessary.
HAROLD
Well.
MARIAN
He tells me about some Think System. If he thinks the Minuet in

G, he wont have to bother with the notes. Now Professor
HAROLD
Miss Marian. The Think System is a revolutionary method, Ill

admit. So was Galileos conception of the Heavens, Columbus
conception of the egg ah globe, Bachs conception of the Well-
Tempered Clavichord. Hmm? Now I cannot discuss those things
here in public. But if youll allow me to call
(Spotting the LADIES who are ENTERING, hastily)

When may I call?
MARIAN
Why any night this week
#34 Pick-a-Little, Talk-a-Little (Alma, Ethel, Eulalie, Maud,

(Reprise) Mrs. Squires, The Ladies)
(The LADIES ENTER as HAROLD EXITS.)
LADIES

ETHEL
(Simultaneously with above)
Miss Paroo, please join our Del Sarte Committee.
ALMA
You were so dear tonight dancing the Shipoopi with Professor Hill.
(The LADIES continue Pick-a-Little, Talk-a-Little under the following.)
ALMA
You Dance like a
FAIRY PRINCESS
(Slam)
(Slam)
WITH A MOONBEAM FOR YOUR FLOOR!

YOU HAD A GOLDEN SHIMMER IN YOUR HAIR
AND SILVER SHOES FOR ALL TO SEE!
(Slam)
WE KNOW THAT YOU WILL SOON UNFOLD

A FORGIVING HEART OF PUREST GOLD,
HERE,
(Thump)
WHERE A WOMANS HEART SHOULD BE.
ALMA, MAUD, ETHEL, MRS. SQUIRES
FAIRY PRINCESS!
MOONBEAM FLOOR!
GOLDEN SHIMMER!
SILVER SHOES!
NOW UNFOLD!
HEART OF GOLD!
HERE,
(Thump)
WHERE A WOMANS HEART SHOULD BE!

THE PROFESSOR TOLD US TO READ THOSE BOOKS
AND WE SIMPLY ADORED THEM ALL!
ALMA
CHAUCER!
ETHEL
RABELAIS!
EULALIE
(Crossing through from the Girls Locker)
BAL-ZAC!
LADIES

PICK A LITTLE, TALK A LITTLE,
(Whispered)
CHEEP!
(BLACKOUT)
SCENE TWO
(TIME: The following Wednesday evening. After supper,
AT RISE: The Hotel Porch. JACEY, OLIN, OLIVER, EWART, all wearing
silver stars, are on the alert as HAROLD is trying to escape them.)
EWART
Sorry, Professor, but we got our orders.
OLIVER
We all been deputized.
HAROLD
Yes congratulations. Lets see now you know all week Ive tried
to give you fellows my references and credentials but every time
you seem to get off the subject somehow. Now I have just want
you need up in my hotel room take me a second.
EWART
Sorry. Fraid Ill have to go along with you.
HAROLD
Yes well, lets see if I have my key
(Finds paper in pocket)
Whats this? Oh a testimonial from Madame Rini, the only

female Bassoon player to appear on the Redpath Circuit. Her
stage name, of course. Actually she was from Moline. Lida Rose
Quackenbush.
EWART
(Reaching)
Could I see that for a minute?
HAROLD
(Hastily pocketing it)
Oh, youll never forget the name. Lida Rose. Same as the old
song.
#35 Lida Rose & Will I Ever Tell You (Harold, Quartet, Marian)
(Gets out pitch pipe and blows it)
LIDA ROSE,
IM HOME AGAIN, ROSE,
EWART
TO GET THE
QUARTET
(As the QUARTET starts,
(Instantly jumping in) HAROLD dusts off his
hands, leaves the porch and
SUN BACK IN THE SKY. joins MARCELLUS who has
LIDA ROSE, IM HOME AGAIN ROSE, ENTERED LEFT and is
ABOUT A THOUSAND KISSES SHY. beckoning HAROLD. THEY
EXIT LEFT hastily.)
DING, DONG, DING,
I CAN HEAR THE CHAPEL BELL CHIME.
DING, DONG, DING,
AT THE LEAST SUGGESTION,
ILL POP THE QUESTION.
QUARTET
LIDA ROSE, IM HOME AGAIN, ROSE

WITHOUT A SWEETHEART TO MY NAME.
LIDA ROSE, NOW EVRYONE KNOWS
THAT I AM HOPING YOURE THE SAME.
SO HERE IS MY LOVE SONG;

NOT FANCY OR FINE.
LIDA ROSE, OH, WONT YOU BE MINE?
JACEY, EWART, OLIVER
LIDA ROSE,
OH, LIDA ROSE,
OH, LIDA ROSE.
(LIGHTS FADE OUT on QUARTET as PAROO porch swings into view

STAGE LEFT.
MARIAN is sitting on the porch steps, MRS. PAROO in rocker on porch.)
MARIAN
DREAM OF NOW.
DREAM OF THEN.
DREAM OF A LOVE SONG
(MARIAN)
THAT MIGHT HAVE BEEN.
DO I LOVE YOU?
OH YES, I LOVE YOU,
AND ILL BRAVELY TELL YOU,
BUT ONLY WHEN
WE DREAM AGAIN.
SWEET AND LOW,

SWEET AND LOW,
HOW SWEET THAT MEMRY;
HOW LONG AGO.
FOREVER, OH YES, FOREVER.
WILL I EVER TELL YOU?
AH, NO.
(LIGHTS come up on QUARTET.)
QUARTET
LIDA ROSE,
OH, LIDA ROSE,
OH
MARIAN QUARTET
DREAM OF NOW. LIDA ROSE,

DREAM OF THEN. TO GET THE SUN BACK IN MY DKY.
DREAM OF A LOVE SONG LIDA ROSE,
THAT MIGHT HAVE BEEN. ABOUT A THOUSAND KISSES SHY.
DO I LOVE YOU? DING, DONG, DING,
OH YES, I LOVE YOU, I CAN HEAR THE CHAPEL BELL CHIME
AND ILL BRAVELY TELL YOU, DING, DONG, DING,
BUT ONLY WHEN AT THE LEAST SUGGESTION,
WE DREAM AGAIN. ILL POP THE QUESTION.
SWEET AND LOW, LIDA ROS,
IM HOME AGAIN ROSE,
SWEET AND LOW, WITHOUT A SWEETHEART TO MY NAME.
HOW SWEETTHAT MEMRY; LIDA ROSE,
NOW EVRYONE KNOWS
HOW LONG AGO. THAT I AM HOPING YOURE THE SAME.
FOREVER,
OH YES, FOREVER. SO HERE IS MY LOVE SONG;
NOT FANCY OR FINE.
WILL I EVER TELL YOU?
LIDA ROSE,
AH, NO. OH, WONT YOU BE MINE?
LIDA ROSE,
OH, LIDA ROSE,
OH, LIDA ROSE.
(LIGHTS FADE OUT on QUARTET.)
SCENE THREE
The PAROOS Porch. MARIAN is sitting on the steps in the moonlight.

MRS. PAROO rocks and sews.)
MRS. PAROO
(Testily)
Will you ever stop arguin with yourself? Will you ever tell him
wont you ever tell him ah yes ah no ah fiddlesticks. Just
open your mouth and let it come out.
MARIAN
Now Mama
MRS. PAROO
Now nuthin. If he ever comes to call again, you see him alone, and
if you havent the gumption to tell him how you feel
MARIAN
Tell him?
MRS. PAROO
Well, theres nothing wrong with a ladylike hint.
WINTHROP
(Bursting in with a jar of worms.)
Mama!
MRS. PAROO
Winthrop, whereve you been?
WINTHROP
Fishin.
MRS. PAROO
Fishing!
WINTHROP
With Harold.
MARIAN
You mean Professor Hill?
WINTHROP
Mm hm. And look I still have some worms left.
MARIAN
Did you have a good time?
WINTHROP
Scrumptious. He told me all about his home town, Gary, Indiana.

And he said hed take me there some day. And he taught me a
song that hardly has any esses in it.
#36 Gary, Indiana (Winthrop, Mrs. Paroo,

Marian)
(Hands MARIAN the worms.)
GARY, INDIANA,
GARY, INDIANA,
GARY, INDIANA,
LET ME SAY IT ONCE AGAIN.
GARY, INDIANA,
GARY, INDIANA,
GARY, INDIANA,
THATS THE TOWN THAT KNEW ME WHEN.
IF YOUD LIKE TO HAVE A LOGICAL EXPLANATION,

HOW I HAPPENED ON THIS ELEGANT SYNCOPATION,
I WILL SAY, WITHOUT A MOMENT OF HESITATION,
THERE IS JUST ONE PLACE
THAT CAN LIGHT MY FACE
GARY, INDIANA,
GARY, INDIANA,
NOT LOUISIANA,
PARIS, FRANCE, NEW YORK OR ROME, BUT
GARY, INDIANA,
GARY, INDIANA,
GARY, INDIANA,
MY HOME SWEET HOME.
IF YOUD LIKE TO HAVE A LOGICAL EXPLANATION,

HOW I HAPPENED ON THIS ELEGANT SYNCOPATION,
I WILL SAY WITHOUT A MOMENT OF HESITATION,
THERE IS JUST ONE PLACE
THAT CAN LIGHT MY FACE.
MRS. PAROO
GARY, INDIANA
MARIAN
GARY, INDIANA
WINTHROP
NOT LOUSIANA,
PARIS, FRANCE, NEW YORK OR ROME, BUT
MRS. PAROO
GARY, INDIANA
MARIAN
GARY, INDIANA
ALL THREE
GARY, INDIANA,
MY HOME SWEET HOME.
(WINTHROP does a quick dance step on the tag.)
WINTHROP
(Grabs his worms and runs off into house, reappears)
Ill be back in a minute. I have to show Amaryllis my live frog.
(SINGS loudly as he EXITS)
La de da de da de da de da. La de da. La de da.

(MRS. PAROO starts into the house.)
MARIAN
Leave the dishes Ill do them, Mama.
MRS. PAROO
Dont you have to change for the Sociable?
MARIAN
Theres time later.

(CHARLIE COWELL ENTERS LEFT, passes porch, turns back)
CHARLIE COWELL
Shinns live around here somewhere?
MARIAN
The Shinn home is on East Elm. This is West Elm.
CHARLIE COWELL
Aw Criminee!
(Sees PIANO GIVEN sign on porch)
I see youre the piano teacher in town? You must know about this
fellow Hill formin a Boys band here.
MARIAN
Yes
CHARLIE COWELL
Well, dont let it worry you no more, I got the goods on him in
spades. Swindlin two-bit thimble rigger. Thats why I got to see
Shinn.
(Pulls out watch)
Im just passin through. Number eight only makes a fifteen-minute

water stop. Wish it was 20. Would sure like to concentrate five
minutes on you, girly-girl.
MARIAN
Who are you?
(Rises)
CHARLIE COWELL
Names Charlie Cowell anvil salesman. But just now Im out to

protect the good name of the travellin fraternity from this swindler.
MARIAN
Mr. Cowell, youre making a big mistake.

CHARLIE COWELL
Mistake my old ladys corset-cover! That fellas been the raspberry

seed in my wisdom tooth just long enough. He spoiled Illinois for
me and hes not gonna spoil Iowa! Say, what kind of music teacher
are you, you didnt see through him? Hes no more Professor
MARIAN
I know about all that. Band leaders are always called Professor.
Its a harmless deception. Hes a fine director and his scholastic
CHARLIE COWELL
Now wait a minute. Fine director? Have you heard one note a
music from any band?
MARIAN
No, but
CHARLIE COWELL
But nothin, girly-girl! He never formed a band in his life! And he

never will!
(Waves papers)
MARIAN
If youll just listen to me for a minute
CHARLIE COWELL
Id like to Id like to do more than that, if I had the time. I sure got
the inclination. But I got to get back on that train and I got to leave
this dynamite
(Brandishing papers)
with somebody on the wayt the deppo.

Bye, girly-girl. See you next time through.
(TRAIN WHISTLE is heard.)
MARIAN
Youll never make that train at the depot. Youll have to catch it at
the crossing.
(Gestures LEFT)
CHARLIE COWELL
No sir. Ive got to leave word. And I can see you aint the one to
leave it with.
MARIAN
Just a minute Mr. Cowell you dont know me yet.
CHARLIE COWELL
(Turning back)
Is that an invitation?
MARIAN
(Losing her nerve)
No I meant I dont know you, and
CHARLIE COWELL
(Turning away again)
Yes Id need more time anyway
MARIAN
I mean as well as Id like to
CHARLIE COWELL
(Turning back)
No trouble there, girly-girl.
(HE moves in)
MARIAN
(Drawing back)
I never met a man who sells anvils. Thats something well quite
different.
CHARLIE COWELL
(Pawing a little)
Takes a real salesman, I can tell you that. Anvils have a limited
appeal you know.
(TRAIN WHISTLE)
What am I doin? I miss that train Ill get fired! And I got to leave
word about that fellow Hill!
MARIAN
Leave word with me.
CHARLIE COWELL
Not on your tintype. How do I know youd deliver these letters?
MARIAN
Try me.
#37 Lida Rose (Reprise) (Quartet)

(Grabbing his lapels SHE plants her lips on his. It is a long kiss. The
TRAIN WHISTLE and BELL grow louder. We hear the QUARTET
OFFSTAGE.
MARIAN struggles free, wipes her mouth in disgust, points LEFT.)
QUARTET
LIDA ROSE, IM HOME AGAIN, ROSE,

TO GET THE SUN BACK IN THE SKY.
ABOUT A THOUSAND KISSES SHY.
DING, DONG, DING,
I CAN HEAR THE CHAPEL BELL CHIME.
DING, DONG, DING,
AT THE LEAST SUGGESTION,
ILL POP THE QUESTION.

WITHOUT A SWEETHEART TO MY NAME.
MARIAN
(Simultaneous with above)
Theres your train! Now run for it!

CHARLIE COWELL
(Furious)
Why you double-dealing little Who do you think youre protecting?

That guys got a girl in every county in Illinois, and hes taken it
away from every one of em! And thats 102 counties! Not counting
the piana teachers like you he cozies up to, to keep their mouths
shut!
(As he runs off)
Neither one of yous heard the last of me, girly-girl!

(MARIAN stands stunned. QUARTET ENTERS SINGING and stops long
enough for)
QUARTET
GOOD EVENING, MISS MARIAN.

MM - !
(MARIAN still stands dazed, not even acknowledging their presence.

THEY EXIT SINGING. MRS. PAROO is heard OFFSTAGE)
QUARTET
LIDA ROSE, NOW EVRYONE KNOWS

THAT IA M HOPING YOURE THE SAME,
SO HERE IS MY LOVE SONG;
NOT FANCY OR FINE.
LIDA ROSE, OH, WONT YOU BE MINE?
LIDA ROSE,
OH, LIDA ROSE,
OH, LIDA ROSE.
MRS. PAROO
(Simultaneous with above, OFFSTAGE)
Marian Marian!
(Comes out on porch)
Marian dear! Who was your talkin to just

(HAROLD ENTERS)
Why Professor Hill!
HAROLD
Mrs. Paroo! The top a the evening! Miss Marian.
MRS. PAROO
You and Marian come up and set. I Ive Ive got some jelly on
the stove.
MARIAN
Theres no jelly on the stove, Mama.
MRS. PAROO
(Tartly EXITING)
Well, Ill put some on.

(MARIAN stands mute)
HAROLD
(After a pause)
Shall we set as your mother said?
MARIAN
Well, I
HAROLD
You did ask me to call ?
MARIAN
Did I? I didnt mean anything
HAROLD
Now Miss Maria, Im not suggesting your invitation inferred anything

but Academic enlightenment.
(MARIAN looks at him quizzically)
The Think System? Ive been by your house to try to explain it to

you a time or two this week but there always seemed to be people
around mostly ladies I thought.
MARIAN
Yes, Mrs. Squires and several of the ladies.
HAROLD
Im glad you wouldnt want anybody beating my time.
(Laughs)
You wouldnt? no maam Well, its evidently not the convenient

night. See you at the Sociable later.
(Starts to leave)
MARIAN
Professor Hill
(HAROLD STOPS. MARIAN, blurting)
Is it true that youve
(Starts to lose her nerve)
had a hundred what Im trying to say is
HAROLD
(Advancing to her)
Yes?
MARIAN
(Completely losing her nerve)
Is it really true that youve developed a a Think System?
HAROLD
A what? A Think System? Oh Think System yes. Its really very

simple. As simple as whistling. Nobody has to show you how to
use your lips in whistling. You only have to think a tune to have it
come out clearly here.
(Pointing to HER lips)
Now just try this yourself, before you ask any questions.
(Puckers up)
MARIAN
(Pulling back)
I take your word.
HAROLD
Could we sit down?
MARIAN
Are all music teachers as dense as I am?
HAROLD
All music teachers?
MARIAN
I daresay you meet dozens even a hundred
HAROLD
Well I
MARIAN
(Cutting in)
Have they all been fascinated as I have with the Think System?
HAROLD
Some more, some less. One young lady had thought up the same
system before I got to her town. She showed me a few
refinements
MARIAN
(Turning away)
I see
HAROLD
Have I said something wrong?

MARIAN
(Turned away from him)
Please dont let me keep you, Professor Hill. You must have many
more important things to do than to explain the Think System to
me.
HAROLD
Cant think of one.
MARIAN
And I must be very dull company for a man of your experience.
HAROLD
Now saaaay whered you get an idea like that?
MARIAN
One hears rumors of traveling salesmen.
HAROLD
Now, Miss Marian you mustnt believe everything you hear. After
all, one even hears rumors about librarians.
MARIAN
(Turning on him)
I suppose youre referring to Uncle Maddy.
HAROLD
Uncle Maddy?
MARIAN
Mr. Madison my fathers best friend. No matter what they say he

left me an assured job so Mother and Winthrop and I would have
some security. Surely you dont believe
HAROLD
Of course not! Thats exactly what Im saying. But why do you think
people start these rumors.
MARIAN
Narrow-mindedness, jealousy jealousy, mostly, I guess.
HAROLD
Exactly. And jealousy mostly starts rumors about traveling

salesmen.
(Catching her off-guard. Quietly)
What have you heard?
MARIAN
Oh oh nothing about you personally just generally
HAROLD
What have you heard generally?
MARIAN
Just that
(HAROLD is very close to HER)
but of course, it stands to reason that that disappointment and

jealousy can lead to I mean take you for instance your
attentions to to customers and and well, teachers might easily
be misinterpreted mightnt they
(Frantically hoping for reassurance)
I mean, now honestly mightnt they?
HAROLD
Why?
MARIAN
(Racing on)
And, so you say if another salesman or somebody were jealous

I mean well, they could be downright lies couldnt they?
HAROLD
(Confused)
What could?
MARIAN
Rumors and things.
HAROLD
Why, of course
MARIAN
It just proves you should never believe everything you hear, doesnt
it? I mean if you discuss things
HAROLD
Miss Marian, I would be delighted to discuss anything in the world

with you. But couldnt we do it sitting down?
(Trying to lighten her mood)
You do sit?... Your knees bend and all.
MARIAN
(Still nose to nose with HAROLD)
We could sit on the porch steps.
HAROLD
We could also sit on a large hollow log overt the footbridge.
MARIAN
(Still not moving)
I couldnt think of it. Ive never been to the footbridge with a man in
my life.
HAROLD
Just to talk.
MARIAN
Ive got to dress for the Sociable.
HAROLD
Then meet me there in fifteen minutes.
MARIAN
I just cant please some other time maybe tomorrow.
HAROLD
My dear little librarian Pile up enough tomorrows and youll find

youve collected nothing but a lot of empty yesterdays. I dont know
about you but Id like to make today worth remembering.
MARIAN
(Breathlessly)
Oh so would I.
HAROLD
The footbridge fifteen minutes.
MARIAN
Fifteen minutes.
(HAROLD EXITS quickly. MARIANS voice is suddenly loud and
desperate.)
Mama!
MRS. PAROO
(Coming onto porch)
What?
MARIAN
I just told Professor Hill Id meet him at the footbridge in fifteen

minutes.
MRS. PAROO
Glory be and the saints be praised it works!

MARIAN
What does?
MRS. PAROO
I been usin the Think System on you from the Parlor!

(BLACKOUT)
#38 Its you Ballet (Orchestra)
SCENE FOUR
(TIME: Fifteen minutes later.
AT RISE: The footbridge. The stage is dark. As the TRAVELLER opens

we see TOWNSPEOPLE crossing the bridge on their way to the Sociable,
the QUARTET in Indian regalia, the LADIES in their Grecian draperies
and EVERYBODY dressed in their best carrying picnic baskets, freezers,
etc.
The LIGHTS iris up to reveal all the TEEN AGE COUPLES in a romantic
pose. THEY dance to a waltz tempo version of Its You. The last
YOUNG LADY escapes her ESCORT and runs off RIGHT. HAROLD
appears, looks for MAIRAN, then raps on the Bridge with a large twig he
is carrying. The bridge moves forward, and HE conducts with the twig as
though he were leading a large orchestra. He catches himself, breaks the
twig and throws it away.)
MARCELLUS
(ENTERING in a rush)
Pssst! Hey Greg! The uniforms have arrived! The kids are in em
already. The people are going to be screaming for music if those
kids show up at the Sociable.
HAROLD
Yeah
MARCELLUS
(Handing HAROLD a roll)

Heres most a the dough. I got Tommy to collect it. Hes trying to
keep the kids together at least. Pretending to hold a practice overt
the lumber yard.
HAROLD
All right, Marce. Get the rig.
MARCELLUS
I got it!
HAROLD
What times the freight go?
MARCELLUS
Nine-forty from the junction.
HAROLD
Well its not even eight-thirty yet
MARCELLUS
Look, you wanta turtle-wurtle around here and get yourself caught
in a bunny-trap, you go ahead, but
HAROLD
Dont worry, Marce. Ill meet you at the Hotel in plenty atime.
(MARCELLUS EXITS as MARIAN ENTERS)
Miss Marian!
(THE rush toward each other and meet on the bridge)
Youre late.
MARIAN
But you said fifteen minutes
HAROLD
I meant that you were about Well Id say about twenty-six years
late took you all this time to get to the footbridge with a fella.
MARIAN
If you want to know the truth it was almost longer.
HAROLD
Oh?
MARIAN
Halfway here I nearly turned back. I suppose Im not the first to find
it easier to think clearly when not under the spell of your
salesmanship.
HAROLD
(Protesting too much)
Now Miss Marian surely you dont think Ive been selling you
anything.
MARIAN
No youve given me something. Thats why I decided to come.
HAROLD
(Bewildered)
I dont recall giving
#39 Till There Was You (Marian, Harold)

(MUSIC under following)
MARIAN
(With intensity)
Oh yes, you have! Something beautiful. Thats why I came and I

glad! Oh, please dont be afraid that I expect too much more. One
cant expect a traveling salesman to stay put. I know there have
been many ports of call and there will be many more. But thats
no reason for me not to be grateful for what you will have left
behind for me!
HAROLD
(Beginning to protest)
Marian I
MARIAN
(Putting her hand over his mouth)
THERE WERE BELLS ON THE HILL,

BUT I NEVER HEARD THEM RINGING.
NO, I NEVER HEARD THEM AT ALL,
TILL THERE WAS YOU.
THERE WERE BIRDS IN THE SKY,

BUT I NEVER SAW THEM WINGING.
NO, I NEVER SAW THEM AT ALL,
TILL THERE WAS YOU.
AND THERE WAS MUSIC,

AND THERE WERE WONDERFUL ROSES,
THEY TELL ME,
IN SWEET FRAGRANT MEADOWS
OF DAWN AND DEW.
THERE WAS LOVE ALL AROUND,

BUT I NEVER HEARD IT SINGING.
NO, I NEVER HEARD IT AT ALL,
TILL THERE WAS YOU.
(ORCHESTRA boils up and over an eight bar extension as THEY kiss)

HAROLD, MARIAN

NO, I NEVER HEARD IT AT ALL,
TILL THERE WAS YOU.
(THEY kiss again as MARCELLUS rushes on)
HAROLD
Marian, theres a lot of things you dont know about me
MARCELLUS
(Whispering loudly)
Pssst! Hey Greg!
HAROLD
Excuse me. Im expecting a cable from Hector Berlioz this could

be it.
(Hurries to meet MARCELLUS)
Now what?
MARCELLUS
Whos the salesman here? Sounds like shes selling and youre
buying.
HAROLD
You nuts? I didnt know Ise goin to be able to leave tonight I had
to keep her off balance, didnt I? I told you
MARCELLUS
Well, shes so far off balance now you cant tell her from a cat-boat
in a hurricane.
HAROLD
Listen, buster Brown, Ive come up through the ranks on this

skirmish Im not resigning without my commission.
MARCELLUS
But Greg, you cant get anywhere right out here on the footbridge
HAROLD
Theres a place overt Madison Park near the Sociable makes this
footbridge look like the old ladies home. Now beat it. Go get the
rig.
(MARCELLUS EXITS as HAROLD returns to MARIAN)
Never a peaceful moment in the music business.
(Preparing for the kill)
Now then, where were we?
MARIAN
You were about to tell me what I dont know about you.
HAROLD
(Trying to react)
Yeah well we really dont have to go into that just now do we
MARIAN
No, we dont or ever for that matter, Harold. The librarian hasnt
felt much like doing research lately but she did plenty when you
first came here.
HAROLD
(Slightly apprehensive)
Oh about what?
MARIAN
About Professor Harold Hill, Gary Conservatory of Music Gold

Medal Class of 05. Harold, there wasnt any Gary Conservatory in
05.
HAROLD
Why there certainly

MARIAN
Because the town wasnt even built till 05.
(Kisses him)
Ill see you at the Sociable.
HAROLD
(Calling after her)
You knew all the time?!
MARIAN
(Taking a paper from her bosom)
Since July 7th three days after you came. I tore this page out of
the Indiana Journal.
(Handing him the paper)
It was originally intended to use against you but now I give it to you
with all my heart.
HAROLD
But if you knew why didnt you

(MARIAN throws him another kiss as SHE EXITS.
Looking off after her)
Why you little
#40 Goodnight, my Someone & Seventy- (Marian, Harold)

Six Trombones (Double Reprise)
(HAROLD preens himself as he thinks all this over enjoying his prowess
and his luck HE starts off RIGHT as TRAVELLER CLOSES IN)
SCENE FIVE
AT RISE: HAROLD before TRAVELLER)
HAROLD
WHILE A HUNDRED AND TEN CORNETS
PLAYED THE AIR.
THEN I MODESTLY TOOK MY PLACE,
AS THE ONE AND ONLY BASS,
AND I OOM-PAHED UP AND DOWN THE SQUARE.
MARIAN
(OFFSTAGE)
GOODNIGHT, MY SOMEONE,
GOODNIGHT, MY LOVE.
HAROLD
WITH A HUNDRED AND TEN CORNETS

RIGHT BEHIND.
MARIAN
OUR STAR IS SHINING

ITS BRIGHTEST LIGHT.
HAROLD
(Taking paper re: Gary from his pocket)
THERE WERE HORNS OF EVRY SHAPE AND
(HAROLD recoils in a gigantic delayed take struck by lightning as the

realization hits him that he is in love)

IF DREAMS THERE BE.
MARIAN
WHILE A HUNDRED AND TEN CORNETS

PLAYED THE AIR.
HAROLD
I WISH I MAY,
AND I WISH I MIGHT.
NOW GOODNIGHT,
MY SOMEONE, GOODNIGHT.
MARCELLUS
(ENTERING with HAROLDS suitcase in one hand, desperately holding

off CHARLIE COWELL with the other)
Greg, this guys crazy. Hes goin all over town spillin everything.
CHARLIE COWELL
(Screaming mad)
Ill say Im crazy! Missed my train probly lost my job! But I got ya
now, Hill, and youll pay! Youd be in the clink right now hadna been
fer that piana teacher. I told her all about you and whad she do?
Lilligags me around till I couldnt get to Shinn! Little dried up man-
hungry doxy, round heel fiz gig
(HAROLD knocks CHARLIE COWELL down)
HAROLD
Get outa here or Ill kill you, you dirty mouthed
CHARLIE COWELL
(Scrambling off)
You bully! You big blow-off! Ill stay in this town till you get yours up,
down, through and sideways. Why, you never even knew the
territory.
MARCELLUS
Heres your stuff, Greg! The rigs in the alley Come on! Hurry up!
#41 Ice Cream Sociable (Orchestra)

(MARCELLUS EXITS with suitcase, as HAROLD stands not moving.
CURTAIN.
Rustle of Spring in ORCHESTRA takes us to next scene)

SCENE SIX
(TIME: A few minutes later.
AT RISE: Madison Park. The Ice Cream Sociable. The last strains of
Rustle of Spring are heard as the LADIES are concluding their Grecian
Urn presentation)
EULALIE
Two Grecian Urns! And a fountain

(There is mild applause. CHARLIE COWELL and MAYOR SHINN burst in
among the LADIES)
SHINN
Stop, stop. Listen to this man!
CHARLIE COWELL
You gullible green-grass goats! Cant you get it through your heads
that youre being swindled outa your eye teeth right now this
minute? Theres a burglar in the bedroom while youre fiddling in
the parlor! Im talking about Harold Hill road agent highwayman
pickpocket.
MAN #1
Pickpocket?
CHARLIE COWELL
Same thing! Hes had his hand in your wallet, Mister, and yours,
Madam, and yours, little lady, ever since the first moment he came
to this town! Theres more documented evidence than youll ever
have time to read! There isnt any band, there never has been any
band and there never will be any band! And if you dont hunt this
man down right now like a mad dog, there wont be any Harold Hill
either! Hell be on the next train out of town.
SHINN
Now will you believe me?
MAN #2
Well what are you waiting for?

WOMAN
I want my money back!
MAN #1
Money back I want his hide!
SHINN
After him! And when you find him bring him to the schoolhouse.
After him!
#42 Chase Music (Orchestra)

(Dispatches various GROUPS)
Try the low road! Look by the crick! Try the mill! Back a the privy!
(The PEOPLE all rush OFFSTAGE. The TRAVELLER CLOSES. We see
to LEFT. The GRECIAN LADIES cross from LEFT to RIGHT behind
TRAVELLER. WINTHROP breaks down and runs OFFSTAGE LEFT.
MARIAN rushes across from RIGHT to LEFT. Two GROUPS cross each
other behind TRAVELLER, one GROUP going LEFT, one GROUP going
RIGHT. HAROLD and MARCELLUS rush across from LEFT to RIGHT in
front of the TRAVELLER. Another GROUP including the QUARTET
rushes across after him, LEFT to RIGHT, in front of the TRAVELLER.
HAROLD and MARCELLUS reappear crossing from RIGHT to LEFT in
front of the TRAVELLER as MARIAN crosses from LEFT to RIGHT in
front of the TRAVELLER. THEY pass each other. HAROLD stops
abruptly, and calls to her.)
HAROLD
Marian! Ive been looking all over for you! Whereve you been?
MARIAN
(Rushing to him)
Harold! Ive been looking for Winthrop hes run away! Please go!
Please Harold, theyre even talking about tar and feathers!
HAROLD
I had to see you, Marian
MARIAN
Its all right! Dont you know that? You dont owe me a word not a
word Please, hurry, please
MARCELLUS
(Rushing to HAROLD)
Greg
(Attracted by OFFSTAGE activity, desperately calls in OFFSTAGE

direction)
He isnt anywhere around here! Lets try down by the crick!

(HE EXITS and WINTHROP rushes through looking over his shoulder)
MARIAN
Winthrop!
(Grabbing HIM.
WINTHROP breaks away but HAROLD grabs him)
HAROLD
Hey, wait a minute here, son.
WINTHROP
(Struggling)
Im not your son! Leave go me!
HAROLD
Not till I talk to you for a minute.
WINTHROP
(Trying to fight loose)
I wont listen! You wouldnt tell the truth anyway.
HAROLD
I would too.
WINTHROP
Would not.
HAROLD
Would too! Tell you anything you want to know.
WINTHROP
(Holding still for a minute)
Can you lead a band?
HAROLD
No.
WINTRHOP
Are you a big liar?
HAROLD
Yes.
WINTHROP
Are you a dirty rotten crook?
HAROLD
Yes.
WINTHROP
(Bursting into tears, kicking)
Leave me go, you big liar!
HAROLD
Whats the matter? You wanted the truth, didnt you? Now Im
biggern you and youre going to stand here and get it all so you
might as well quit wiggling.
(WINTHROP finally stops exhausted, stands panting)
Theres two things youre entitled to know. One, youre a wonderful

kid. I thought so from the first. Thats why I wanted you in the
band, just so youd quit mopin around feeling sorry for yourself.
WINTHROP
(Sarcastically)
What band?
HAROLD
I always think theres a band, kid.
WINTHROP
Whats the other thing Im entitled to know?
HAROLD
Well actually the other thing isnt any your business now that I
think of it.
WINTHROP
I wish youd never come to River City!
MARIAN
No you dont, Winthrop.
#43 Till There Was you (Reprise) (Harold)
WINTHROP
Sister! You believe him?
MARIAN
I believe everything he ever said.
WINTHROP
But he promised us
MARIAN
I know what he promised us and it all happened just like he said.

The lights. And the flags and the colors. And the cymbals.
WINTHROP
Where was all that?
MARIAN
(Hotly)
In the way every kid in this town walked around here all summer,
and looked and acted. Especially you! And the parents, too. Does
Mama wish hed never come to River City?
WINTHROP
Well you do, dont you?
MARIAN
No, Winthrop. No go, Harold please.
WINTHROP
(Bursting into tears)
Go on, Professor, hurry up.
HAROLD
I cant go, Winthrop.
WINTHROP
Why not?
HAROLD
For the first time in my life I got my foot caught in the door.
(To MARIAN)

NO I NEVER HEARD IT AT ALL,
TILL THERE WAS YOU.
(THE embrace)
MARCELLUS
(ENTERING)
Greg!
(Desperately)
Greg, theyre here! That way that way.

(HAROLD stays where he is as the MEN surround him. CONSTABLE
LOCKE takes charge with handcuffs.
CURTAIN)
SCENE SEVEN
AT RISE: The River City High School Assembly Room. TOWNSPEOPLE

assembled. In evidence are the DEL SARTE LADIES and the other
program participants, their costumes bedraggled by the storm)
SHINN
(On the podium)
-which is why I interrupted the program at this point. Rest assured

this snake in our bosom would have been misapprehended by this
time. Yes! And always remember
(Gesturing with a packet of papers)
fellow River Citizens, I can only remind you that I did everything in
my power to prevent this dire happening from ah happening.
Four score
MAN #1
What have you done to get our money back?
MAN #2
That Professor collected nearly three hundred dollars for uniforms,

just tonight!
WOMAN #1
And we havent even seen them uniforms yet!
SHINN
Hes slippery. I told you
WOMAN #2
I havent seen any uniform or my boy either, since just after supper!
MAN #3
Hes a kidnapper!
WOMAN #3
Fine situation here!
SHINN
Four score
(CONSTABLE LOCKE ENTERS and signals to SHINN. SHINNS FACE
takes on a self-satisfied smile)
Just a minute! Virtue has triumphed! The sword of retribution has
cut down Professor Harold Hill!
(HAROLD ENTERS in custody, MARIAN at his side. CROWD reaction.
Several of the Men rush for HAROLD. CONSTABLE pushes them back)
And if there are those, as I have heard, who are melting tar and
collecting feathers, I will not say them nay!
MARIAN
(Rushing up to the rostrum)
Well I should think there out to be some of you who could forget our
everlasting Iowa stubborn chip-on-the-shoulder arrogance long
enough to remember River City before Harold Hill arrived. Do you
remember? Well, do you? Surely some of you ought to be grateful
to him for what hes brought to River City and if so I should think
youd want to admit it.
SHINN
Youre wasting a great deal of time here. If theres a person in this

hall who doesnt think this man Hill be tarred and feathered, let him
stand up.
(The SILENCE is ear-splitting. Then MRS. PAROO stands. Next
ZANEETA, then the SCHOOL BOARD QUARTET, the WA TAN YE
GIRLS, the LADIES OF DANCE COMMITTEE, finally CONSTABLE
LOCKE, and EULALIE)
Eulalie, set down.

(SHE sits, but at a gesture from MRS. PAROO rises again immediately)
And the rest ayou standin there like a cote a Shropshyre sheep.
(THEY all sit slowly)
Have you people forgotten how you bought expensive uniforms,

technical instruction books and high-priced band instruments?
Have you forgotten the clear understanding and warrantee that
your children would be taught to play in a band? Well, wheres the
band? Wheres the band?
(TOMMY ENTERs with KIDS in uniforms too big and too small. HE blows
WHISTLE. The KIDS hold up their instruments into playing position.
HAROLD stands aghast. MARIAN quickly takes pointer from the
blackboard, breaks off a baton and hands it to HAROLD)
HAROLD
(Looks around desperately, finds no place to hid. Fervently)
Think, men, think!

(HE gives the upbeat and leads the BAND in Minuet in G like it has been
played before just barely recognizable. The RIVER CITIZENS think its
the greatest thing they ever heard. SHINN crosses to TOMMY in
amazement shakes hands with him)
#44 Finale Act 2 (Orchestra)
ALMA
Thats my Barney! That Tubas my Barney!
MAN #1
Eddie! Thats Eddies Clarionette!
MAUD
Linus, play to me son, play to me!
MAN #2
Davey, my Davey.
SHINN
(At CORNET SOLO)
Mrs. Paroo, thats Winthrop!

(MRS. PAROO registers thrills and pride.
HAROLD has been standing taller with each exclamation, and now
conducts with a flourish; the same inimitable HAROLD HILL of before.
SHINN crosses, shakes his hand. PEOPLE cheer. CHARLIE COWELL
EXITS. HAROLD embraces MARIAN.
CURTAIN)
#45 Curtain Call Music (Orchestra)
#46 Exit Music (Orchestra)
THE END

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What is the setting and context of the story?

What is the setting and context of the story?

What are some of the main characters introduced in the story?

What are some of the main characters introduced in the story?

THE MUSIC MAN

AT RISE: Train effect scrim rises on a red-plushed, kerosene-lamped,

(Poking head into coach LEFT)

River City Junction River City next stop!

(Poking head into coach again)

Boart! All abort!

Why not? Whats the matter with credit?

Its old-fashioned. Charlie, youre an anvil salesman your firm

Nor anybody else.

River City. River city next.

#3 Rock Island (Salesmen, Charlie Cowell, Newspaper

CASH FOR THE MERCHANDISE

CASH FOR THE COTTON GOODS

CASH FOR THE HOGSHEAD, CASK AND DEMIJOHN.

(Train at running speed.)

LOOK WHADAYATALK, WHADAYATALK,

YA CAN TALK, YA CAN TALK,

CHI, CHI, CHI, CHI, CHI, CHI, CHI.

WHOS GONNA PATRONIZE

(As each NEWSPAPER READER speaks he lowers his paper long

NOT THEMODEL T AT ALL,

WHADAYATALK, WHADAYATALK, WHADAYATALK,

WHADAYATALK, WHADAYATALK, WHADAYATALK.

YA CAN TALK, YA CAN BICKER,

NO IT AINT, BUT YA GOTTA KNOW THE TERRITORY.

WHY, ITS THE U-NEEDA BISCUIT

OBSOLETE, OBSOLETE, OBSOLETE.

CRACK BARREL WENT OUT THE WINDOW

GONE WITH THE HOGSHEAD, CASK AND DEMIJOHN,

EVER MEET A FELLA BY THE NAME A HILL?

ALL BUT CHARLIE COWELL

(ALL NEWSPAPERS go back up. There is a WHISTLE and

JUST A MINUTE, JUST A MINUTE, JUST A MINUTE

NEVER HEARD A AN SALESMAN HILL

NOW, HE DOESNT KNOW THE TERRITORY

DOESNT KNOW THE TERRITORY?

WHATS THE FELLAS LINE?

NEVER WORRIES BOUT HIS LINE.

NEVER WORRIES BOUT HIS LINE?

OR THE CRACKER BARREL BEIN OBSOLETE,

JUST A MINUTE, JUST A MINUTE, JUST A MINUTE

NEVER WORRIES BOUT HIS LINE

NEVER WORRIES BOUT HIS LINE?

TELL US, WHATS HIS LINE?

HES A FAKE, AND HE DOESNT KNOW THE TERRITORY!

LOOK, WHADAYATALK, WHADAYATALK,

HES A MUSIC MAN.

HES A WHAT? HES A WHAT?

HES A MUSIC MAN,

NO, THE FELLA SELLS BANDS,

CERTAINLY, BOYS, WHAT ELSE:

YES SIR. YES SIR.

BUT HE DOESNT KNOW THE TERRITORY!

(ORCHESTRA button. Train stops.)

River City! River City!