58. Couldn't we have a buxom, motherly woman extra in the party scene? After all, they weren't all tassel-haired syphus.

59. Jeeter's advancing toward Laurey still an old man's weak advance.

60. Jeeter's "God damn it" when he is crushing Laurey to him sounds funny as hell for some reason. Maybe it's the line. Have you noticed?

61. Oh can't we cut any of Laurey's "pasture gate" speech?

62. Jeeter's "Said yer say" speech too shambling, not strange enough.

63. Can't Curly just throw the popcorn bell away, instead of leaving a girl who has sprung into his arms for the first time?

64. Possibly cut Curly's imitation of Ade Annie? He hasn't done it very well yet. Maybe that's it.

65. Curly - Take it big when Laurey goes into his arms for the first time. First assurance she loves him.

66. Tenderer moments in proposal scene. Laurey actually has to be touched by Curly's "I - I don't know what I'm gonna do if you - if you don't."

67. Peck - too slow with "Leave 'em be."

68. Curly takes too many shuffling steps toward Jeeter as he goes when the couple are in the circle.

69. After a while, quit bumping Jeeter, so he stands alone and menacing.

70. We ought to hear all lines about "shivoree".

71. Cought to hear "Start the lovin' couple off right" and Laurey's "Take me away."

## Scene 5

72. Cries and mutterings - Shet up, Bet still, etc. through young man's speech.

73. More lascivious speed in scene at first. Whispered excitedly.

74. Peck's speech dull.

75. Let's hear Curly's line - "Laurey, honey -"

76. Can't we cut the line - (end of Cord's speech) Quick as these bad ole mens, etc. ? Sounds slow there.

77. Jeeter - too much dancing.

78. Herbert's out - "I'm mad yaller coward."

79. Cut in this scene - slices here and there in Cuxly - Laurey scene.

80. Herbert - I almost think we'd better have a lyric to explain that baffling, oft-repeated line in *Green Grow* - "to change the green lilacs to the red, white, and blue." It's not awfully necessary. But people do hate to be as puzzled as that, when they's no way of finding out the answer.

--0--

Nov. 29, 1930.

NOTES

Scene 1

1. If we could hear the farmers' "How's that, cowboy?" (instead of "How's that, Curly?" as they say it) and Curly's final thrust, "How's that, farmer?" -- there would be some point to the irony of Curly's turning farmer at the end of the play.

2. The churn is too loud.

3. Helen Westley - says yours for your'n.

4. Jim misread his lines.

5. Jim spoils a point by saying "I aint astin' you I'm jist a-tellin you." There's no jist in the script.

6. If the calf bawl comes as late as they're doing it, it will be a long time after they're out of sight behind the house, and make too long a wait.

7. If Jim would begin his line, after Laurey says she's going to the dance with Jeeter, in a lower key, instead of a squeaky one, we'd believe he cared a little. "Ever hear that song, Aunt Eller?"

8. Helen Westley spoils Green Grow the Lilacs by churning through it.

9. Is Jeeter meant to cock his pistol noisily as much as he did today throughout the first scene?

10. Jim ought to let the churn alone. He spoiled his scene on the sofa by fiddling with it while Aunt Eller was trying to comfort him. One time he leaned on the high handle, and it was effective, however, but the other times he muddled something.

11. <u>XXthxx</u> Jim's walk across at the end of the scene is still improperly timed, and unmotivated in his own mind.

12. In the interlude Cheatam's entry is bad. I don't think he'll be able to do it, even when he's sure of the tune. I'd let Cord Elam make the second interruption too, having discovered another dollar in his pocket, and he would only need time to sing one verse instead of two.

(2)

## Scene 2

13. Helen says just for *jist*. Helen Coburn.

14. Helen We stley says window for *winder*. and cy clun for cy-clone.

15. Helen Coburn says *kuxix* "if you aren't afraid I'll take him away from you." instead of "if you aint afeard -"

16. Helen C. doesn't build the excitement and joy you asked for in a quick extravaganct flow after she finds out she doesn't have to ride alone with Jeeter. It should keep up as far, at least, as "Whur *is* that man?"

xx.

## Scene 3

17. The speech of Curly's beginning, "Why, my name's Curly - " *XXXXXXXXX* ought to run, without transition, into "Whut on earth air you doin 'th a pitcher of Dan Patch?"

18. Why is "I raired away back in my saddle, "etc. cut?

19. It's too early to tell possibly, but maybe Jeeter's second story isn't necessary -

20. Jim's long speech off denunciation ought to climb right into "Git his old fangs ready - " etc. He dropped it here today, even let his voice down instead of keeping it up.

21. Pedler's line - "Agin the law, every one of them" would gain - and be funny - by *begin being* bigger.

22. Curly *scurried* forward - instead of taking positive strides - at the sound of the knife in the table. Looked weak.

## Scene 4

23. We ought to feel that old Man Peck doesn't let up, even when he's interrupted, but feels his speeches right through, only the noise keeps drowning him out.

24. Helen's denunciation of Dick goes awry by being broken the way it's being done. If she begins on a high peak (which I think is probably right) she can't keep it up through so many words. Can't we agree on something about this?

25. There's no build in Jim's long speeches - or even his short ones. He doesn't seem to know his *moods*, or his underlying feelings that carry him. There might be some use in learning his lines, too.

(3)

26. Jim waggles about too much, especially on the stove.
    xxx --- Church bell in the interlude?

Scene 6

27. The young farmer is still too slow, it seems to me.
    xxxxx And later in the scene, he laughs in the
    middle of his long speech - "How's it feel, Laurey
    sugar - "etc. stretching it out to unbearable lengths.

28. How would it be if the crowd exclaimed - "It's Jeeter
Fry", etc. xxx (whatever their lines are) might
through Jeeter's entrance speech?

Scene 6

29. Helen Westley could make a great richness and real
grandeur in this scene if she wanted to.

30. Aunt Eller's summary of the situation - "First the
shivoreein', that was bad enough. And on top of
it Jeeter -" etc. sounds like exposition. If
she ended her points, adding each one, as a new
one, she would _feel_ each one, and add it up for
the audience.

31. Old Man Peck not in the mood of the scene yet -

32. Aunt Eller doesn't know her lines.

33. Jim's "Won't you even tell me "So long" can be heart-breaking, but isn't.

34. "Whut'll I ever do -" bigger.

35. Laurey's transition "In jail" too abrupt.

PORE JUD IS DAID

Curly

They'd shore sing loud though when the singin' started - sing like their hearts
ud break!

(He starts to sing very earnestly and solemnly, improvising the sort
of thing he thinks might be sung;)

Pore Jud is daid,
Pore Jud Fry is daid!
All gether 'round his cawfin now and cry.
He had a heart of gold
And he wasn't very old -
Oh why did sich a feller have to die?
Pore Jud is daid,
Pore Jud Fry is daid!
He's lookin' Oh, so peaceful and serene.

Jud

(Touched and suddenly carried away, bellows out a response)

And serene!

Curly

He's all laid out to rest
With his hands acrost his chest.
His finger nails have never b'en so clean!

(JUD turns slowly to question the good taste of this last reference,
but CURLY plunges straight into another item of the imagined wake)

Nen the preacher'd git up and he'd say: "Folks! We are gethered here to moan
and groan over our brother Jud Fry who hung hisse'f up by a rope in the smoke
house." Nen there'd be weepin' and wailin' -

(Significantly)

From some of those womern.

(JUD nods his head understandingly)

Nen he'd say, "Jud was the most misunderstood man in the territory. People
useter think he was a mean, ugly feller.

(JUD looks up)

And they called him a dirty skunk and a ornery pig-stealer.

(CURLY switches quickly)

BUT - the folks 'at really knowed him, knowed 'at beneath them two dirty shirts
he alw'ys wore, there beat a heart as big as all out-doors.

Jud

(Repeating reverently like a negro at a revivalist meeting)

As big as all out-doors.

Curly

Jud Fry loved his fellow man.

Jud

He loved his fellow man.

PORE JUD IS DAID (CONT'D)

Curly

And he loved animals - And animals loved him. Even the cows 'at he used to milk
at five o'clock on winter mornin's with his ice-cold fingers!

(CURLY is warming up and speaks with the impassioned inflections of an
evangelist)

He loved the birds of the forest and the beasts of the field.

He loved the mice and the vermin in the barn, and he treated the rats like
equals, which was right. AND - he loved little children. He loved ev'body
and ev'thin' in the world!....On'y he never let on, so nobody ever knowed it!

(Returning to vigorous song:)

Pore Jud is daid.

Pore Jud Fry is daid!

His friends'll weep and wail fer miles around.

Jud

(Now right into it)

Miles around.

Curly

The daisies in the dell

Will give out a diff'runt smell

Becuz pore Jud is underneath the ground.

(JUD is too emotionally exalted by the spirit of Curly's singing to
be analytical. He now takes up a refrain of his own)

Jud

Pore Jud is daid,

A candle lights his haid,

He's layin' in a cawfin made of wood.

Curly

Wood.

Jud

And folks are feelin' sad

Cuz they useter treat him bad,

And now they know their friend has gone fer good.

Curly (Softly)

Good.

Jud and Curly

Pore Jud is daid,

A candle lights his haid!

Curly

He's lookin' oh, so purty and so nice.

He looks like he's asleep.

It's a shame that he won't keep,

But it's summer and we're runnin' out of ice...

Pore Jud --- Pore Jud!

(JUD looks puzzled. CURLY doesn't give him much time to think it over)

Yes, sir. That's the way it ud be. Shore be a interestin' funril. Wouldn't
like to miss it.

2 - 2 - 11

INSERT

ADO ANNIE

Course not. Never think of anyone less'n he's with me.

WILL

Then I'm never goin' to leave yer side!

ADO ANNIE

Even if you don't...even if you never go away
on a trip er nuthin', cain't you - onct in a
while - give me one of them Persian good-byes?

WILL

Persian good-bye? Why, that ain't nuthin'
compared to a Oklahoma hello!

(He wraps her up in his arms and gives
her a long kiss. When he lets her go,
she looks up, supreme contentment in
her voice.)

ADO ANNIE

Hello, Will

WILL

(Clearing his throat)

Annie, this ud be a good time to have a talk.

ADO ANNIE

(horrified at this unexpected suggestion
at such a time.)

Talk!

WILL

Well, about the way you been carryin' on, and
the way it's gotta be in the future!

ADO ANNIE

I ain't been carryin' on - whut you might say...

WILL

Well... like -

(Singing)

2-2-11 c

SUGGESTED DANCE IDEA:

Annie and Will start to dance together. Another man dances on. She looks over at him curiously and a little wistfully. Will frowns. She obediently looks back at Will, who now starts to do one of his best steps, showing off for her.

Annie
You shore c'n shake yer trotters, Will!

Pleased, he continues. Then another dancer, perhaps Eric, enters and starts a showy step. Annie looks at him, tries to look back at Will but is finally compelled to fasten her attention on the wonderful step Eric is doing. Will gets her shoulders and yanks her around.

Well they shore make it tough to look at you, Will!

Eric exits. Will dances away from Annie angrily. She dances after him, now she becomes crafty and feminine.

Trouble with you is you don't trust me. I believe you and you don't believe me. I even believe it when you say how good you was in Kansas City.

(This strikes home. He probably wasn't)

I think when you love a person, you orta trust him. You orta go the whole way!

(Singing)

With me it's all er nuthin!!
Is it all er nuthin' with you?
It cain't be "in between"
It cain't be "now and then"
No half and half romance will do!
I c'n cook like a streak,
Biscuits er bread,
Handy with a needle and thread -
Take me like I am er leave me be!
If you cain't give me all, give me nuthin'-
And nuthin's whut you'll git from me!

(She struts away)

Will
Oh, Ado Annie!

Annie
(Making an exit)
Nuthin's whut you'll get from me!

Will
Come and kiss me!

Annie
(Coming right back out of the wings on the same step)
Hello, Will
(Embrace, Oklahoma style. Blackout)

THE FARMER AND THE COWMAN

Ike

The farmer and the cowman should be friends,
Oh, the farmer and the cowman should be friends.
One man likes to push a plough,
The other likes to chase a cow,
But that's no reason why they can't be friends.

Territory folks should stick together,
Territory folks should all be pals,
Cowboys, dance with the farmers' daughters!
Farmers, dance with the ranchers' gals!

(They dance with gusto - about sixteen bars - then the vamp is resumed
and IKE starts to sing again:)

Ike (Cont'd)

I'd like to say a word for the farmer.
He come out west and made a lot of changes.

Will (Scornfully)

He come out west and built a lot of fences!

Curly

And built 'em right acrost our cattle ranges!

(This is not a very nice opening for a peace hymn but SKIDMORE
tries to proceed bravely with the refrain.)

Ike

But the farmer and the cowman should be friends -

Jud

(Shouting over music, across at the cowmen)

Before the farmers come y'never had no fields full of growin' grain!

Will

We had fields full of gallopin' beefsteak!

Ike

Gentlemen -

Cord Elam

(A common, half asleep by a jug of cider, wakes up enough to have his
say:)

Whyn't those dirtscratchers stay in Missouri where they belong?

(He goes back to sleep)

Farmer

We got as much right here -

THE FARMER AND THE COWMAN (CONT'D)

Ike

(Now he means it)

Gentlemen - SHUT UP!

(Quiet restored, he resumes singing:)

The farmer is a good and thrifty citizen.

Fred

He's thrifty all right.

Ike

(Glaring at Fred as he proceeds with song:)

No matter whut the oowmen says er thinks.

You seldom see him drinkin' in a bar room -

Curly

Unless somebody else is buyin' drinks!

"Territory Folks" refrain is played under the following altercation:

Will

I see a farmer squeeze a penny till the Indian's feathers drop off!

Farmer

'At's better'n spendin' yer money on fancy womern.

Cord Elam

(Waking up in time)

Whut's better'n spendin' yer money on fancy womern?

Ike

(Barging in quickly to save the party's respectability)

The cowman ropes a cow with ease,

The farmer steals her butter and cheese,

But that's no reason why they cain't be friends!

All

Territory folks should all be pals.

(Dance as before. Then back to vamp)

Ike (Singing)

I'd like to say a word fer the cowboy -

Farmer

(Anxious to get back at the oowmen)

Oh, you would!

TOGETHER

Will
(Talking to music, then singing)
I'd like for my wife to be true to me.

Annie
Bet yer life yer wife'll be true.
As long as you see that I'll always be
Right up close to you!
(It's easier to be true,
When I'm up close to you.)

Will
Then that's just the way it's going to be.
I'll keep you tied to me:

Both
(In close harmony)
We'll go on together,
Singin' in the sun.
You're as close to me as "B" to "A".
Two contented voices,
Blended into one,
We'll go harmonizing on our way.
If we drift apart as people do,
I'll come harmonizing back to you.
What's the difference whether
We have rain or sun?
We'll have sun if we can sing together?

(Music continues. They start to walk off)

Curly

("Territory Folks" refrain is played under the following atter-
cation)

Carnes

But that's no reason why they can't be friends!

All

Territory folks should stick together,
Territory folks should at all be pals.

(Dance, as before. Then back to vamp)

Eller (singing)

I'd like to say a word for the cowboy -

Farmer

(Anxious to get back at the cowmen)

Oh, you would!

Eller

The road he treads is difficult and stony.

He rides fer days on end

With jist a pony fer a friend...

Ado Annie

I shore am feelin' sorry fer the pony.

Aunt Eller

The farmer should be sociable with the cowboy,
If he rides by and asks fer food and water.

Don't treat him like a louse,
Make him welcome in yer house -

Carnes

But be shore that you lock up yer wife and daughter!

{Laugh - ad lib)
(Disgusted)

That's done it!

Cord Elam

Who wants a ol' farm womern anyway?

THE SURREY WITH THE FRINGE ON TOP

Curly

When I take you out to-night with me,
Honey, here's the way it's goin' to be;
You will set behind a team of snow white horses
In the slickest gig you ever see!

Aunt Eller

Lands!

Curly

Chicks and ducks and geese better scurry
When I take you out in the surrey,
When I take you out in the surrey with the fringe on top!
Watch thet fringe and see how it flutters
When I drive them high-steppin' strutters!

Aunt Eller

(Loving it)

Nosey-pokes'll peek through their shutters and their eyes will pop!

Curly

The wheels are yeller, the upholstery's brown,
The Dashboard's genuine leather,
With isinglass curtains y'can roll right down
In case there's a change in the weather -
Two bright side-lights, winkin' and blinkin',
Ain't no finer rig, I'm a-thinkin'!
You c'n keep yer rig if you're thinkin' 'at I'd keer to swamp
For that shiny little surrey with the fringe on the top!

(LAUREY still pretends unconcern, but she is obviously slipping)

Aunt Eller

Would y'say the fringe was made of silk?

Curly

Wouldn't have no other kind but silk.

Laurey (She's only human)

Has it really got a team of snow white horses?

Curly

One's like snow - the other's more like milk.

Aunt Eller

So y'can tell 'em apart!

Curly

All the world'll fly in a flurry
When I take you out in the surrey,
When I take you out in the surry with the fringe on top!
When we hit that road, hell fer leather,
Cats and dogs'll dance in the heather,

THE SURREY WITH THE FRINGE ON TOP (CONT'D)

## Curly (Cont'd)

Birds and frogs'll sing all together and the toads will hop!

The wind'll whistle as we rattle along,

The oows'll moo in the cover,

The river will ripple out a whispered song,

And whisper it over and over:

(In a loud whisper)

Don't you wisht y'd go on forever?

(AUNT ELLER'S and LAUREY'S lips move involuntarily, shaping the same words)

Don't you wisht y'd go on forever and ud never stop

In that shiny little surrey with the fringe on the top?

(Music continues)

## Curly

(Pressing his progress with LAUREY who is now starry-eyed)
Y'd shore feel like a queen settin' up in that carriage!

## Aunt Eller

Feel like you had a gold crown set in yer head, 'th diamonds in it, big as
goose-eggs.

## Curly (Over-confident)

On'y she talked so mean to me a while back, Aunt Eller, I'm a good mind not
to take her.

## Laurey

Ain't said I was goin'!

## Curly (The fool)

Ain't ast you!

## Laurey

Whur'd you git sich a rig at?

(With explosive laughter, seeing a chance for revenge)

Anh! I bet he's went and h'ard a rig over to Claremore!

Thinkin' I'd go with him!

## Curly

'S all you know about it.

## Laurey

Spent all his money h'arin' a rig

and now ain't got nobody to ride in it!

## Curly

Have, too!...Did not h'ar it.

Made the whole thing up outa my head.

## Laurey

What! Made it up?

## Curly

Dashboard and all.

## Laurey (Flying at him)

Oh! Git offa the place, you!

Aunt Eller, make him git hisse'f outa here.

Tellin' me lies!

Curly

(Dodging her)

Makin' up a few - look out now! Makin' up a few purties ain't agin' no law
'at I know of.

(LAUREY turns her back on him, and sits down. He comes up
behind her. The music which had become more turbulent to
match the scene, now softens)

Don't you wish they was sich a rig, though?

(Winking at Eller)

Nen y'could go to the play party and do a hoe-down till mornin'
if you was a mind to...........Nen when you was all wore out, I'd
lift you onto the surrey, and jump up alongside of you -

(He sits beside her)

And we'd jist point the horses home...I can jist pitcher
the whole thing.

(AUNT ELLER beams on them as CURLEY sings very softly)

I can see the stars gittin' blurry
When we ride back home in the surrey,
Ridin' slowly home in the surrey with the fringe on top.
I can feel the day gittin' older,
Feel a sleepyhead near my shoulder,
Noddin', droopin' close to my shoulder till it falls, kerplop!
The sun is swimmin' on the rim of a hill,
The moon is takin' a header,
And jist as I'm thinkin' all the earth is still,
A lark'll wake up in the medder....

Hush! You bird, my baby's a sleepin' -
Maybe got a dream worth a-keepin'

(Soothing and slower)

Whoa! You team, and jist keep a-creepin' at a slow clip clop.
Don't you hurry with the surrey with the fringe on the top.

A SCANDAL FOR THE JAYBIRDS

(Ado Annie walks off, dreamily contemplating her life
as a peddler's bride. The peddler starts to pace up and
down, thinking hard, his head bowed, his hands behind his
back. The orchestra starts a vamp, that starts low and
grows in intensity, continuing under the melody when the
melody starts. Some men enter and watch him, curiously,
but he is unmindful of them until they start to sing.)

THROUGHOUT THIS ENTIRE NUMBER, THE PEDDLER MUST BE
BURNING, AND HE TRANSMITS HIS INDIGNATION TO THE MEN
WHO SING IN A SPIRIT OF ANGRY PROTEST, BY THE TIME THE
REFRAIN IS REACHED.

Peddler

Trapped!.....
Tricked!.....
Hoodblinked!....
Hambushed!.....

Men

Friend,
What's on yer mind?
Why do you walk
Around and around,
With yer hands
Folded behind,
And yer chin
Scrapin' the ground?

(The peddler walks away, then comes back to them
and starts to pour out his heart)

Peddler

Twenty minutes ago I am free like a breeze,
Free like a bird in the woodland wild,
Free like a gypsy, free like a child,
I'm unattached?

(Two bars of pacing)

Twenty minutes ago I can do what I please,
Flick my cigar ashes on a rug,
Dunk with a doughnut, drink from a jug -
I'm a happy man!

(Crescendo)

I'm minding my own business like I oughter,
Ain't meaning any harm to anyone.
I'm talking to a certain farmer's daughter -
Then I'm looking in the muzzle of a gun!

Men

It's gittin' so you cain't have any fun!
Ev'ry daughter has a father with a gun!

# MANY A NEW DAY

Many a new face will please my eye
Many a new love will find me
Never've I once looked back to sigh
Over the romance behind me,
Many a new day will dawn before I do!
Many a light lad may kiss and fly,
A kiss gone by is bygone,
Never've I asked an August sky,
"Where has last July gone?"
Never've I wandered through the rye,
Wondering where has some guy gone -
Many a new day will dawn before I do!

## 2nd refrain

Many a new face will please my eye
Many a new love will find me
Never've I once looked back to sigh
Over the romance behind me,
Many a new day will dawn before I do!
Never've I chased the honey-bee
Who carelessly cajoled me
Somebody else just as sweet as he
Cheered me and consoled me.
Never've I wept into my tea
Over the deal someone doled me -
Many a new day will dawn,
Many a red sun will et,
Many a blue moon will shine, before I do!

PEOPLE WILL SAY WE'RE IN LOVE

Laurey

Why do they think up stories that link my name with yours?

Curly

Why do the neighbors gossip all day behind their doors?

Laurey

I have a way to prove what they say is quite untrue;
Here is the gist, a practical list of "don'ts" for you:

Don't throw bouquets at me -

(CURLY seems to resent being blamed for the rumors)

Don't please my folks too much,
Don't laugh at my jokes too much -
People will say we're in love!

Curly

(Turning away, mumbling)

Who laughs at yer jokes?

Laurey

Don't sigh and gaze at me,
Your sighs are so like mine,
Your eyes mustn't glow like mine -
People will say we're in love!

(CURLY starts to melt under this frank confession)

Don't start collecting things -

Curly

Like whut?

Laurey

Give me my rose and my glove.

(He looks away, guiltily)

Sweetheart, they're suspecting things -

(He turns towards her. SHE becomes very busy with her packing)

Curly

Some people claim that you are to blame as much as I -

(SHE is about to deny this)

Why do you take the trouble to bake my fav'rit pie?

(Now SHE looks guilt)

Grantin' your wish, I carved our initials on that tree...

(He points off at the tree)

Just keep a slice of all the advice you give, so free: