SYNOPSIS OF SCENES TIME: Shortly before and after World War I. ACT ONE Scene 1: Fanny's Dressing Room New Amsterdam Theatre Soene 2: Backstage - Keeney's Music Hall Scene 3: In Front of Keeney's Music Hall Scene 4: Backyard - Fanny's Neighborhood Soene 5: On stage ~ Keeney's Musto Hall Scene 6: Backstage and Chorus Dressing Room Scene 7: Mrs. Brice's Kitchen Scene 8: Backstage - The New York Theatre Soene 9: On stage - The New York Theatre Scene 10: In Front of Follies Curtain Scene ll: Henry Street Soene Interior of Mrs, Brice’s Saloon Scene 13: A Private Dining Room ~ Baltimore Scene Baltimore Railroad TerminalSoene Scene Soene Scene Scene Scene Soene Scene Scene SYNOPSIS OF SCENES -~ (Cont'd) Act two The Arnstein Long Island Mansion Mrs, Brice's Saloon Backstage - New Amsterdam Theatre (Circa 1920) Onstage - New Amsterdam Theatre Fanny's Dressing Room Study - The Arnstein House Backstage - The New Amsterdam Theatre Onstage - The New Amsterdam Theatre Fanny's Dressing Roon The New Amsterdam Theatre“PUMINY GIRL" is based on incidents in the life of Fanny Brice shortly before and after World War I. The action takes place in various theatres, onstage and backstage, gn tiew York's lover East Side, in Balvimore, and on Long sland. MUSICAL NUMBERS ACT ONE Overture... Opening Act One Poker Chant No, 1..... {If A Girl Isntt Pretty” : Orchestra :Orches tra Mrs, Brice & Mrs. Strakosh ‘Mrs; Strakesh, Brice, Meeker and’ O'Malley Eddie, Heckie - chorus (2 Workmen, Gard Players, Keeney Group) 1, 2 3 4 I'm the Greatest Star. Change Of Scene Reprise: I'm The Eddie's Fifth Encore..... Chaser ~ Cornet Man... Cornet Man Chaser: y LiiBadie (Whistles) Orchestra Fanny ' Chorus (Dancers) Orchestra Nicky Arnstein No. 1. Fanny Change Of Scene -Orchestra Who Taught Her Bverything?....Eddie and Mrs, Brice Ohange Of Scene.... .Orohestra End Of Scene & -Orches tra His Love Makes Me Beautiful...fenor Solo & Chorus & Fanny Change Of Scene......+++ «Orchestra I Want To Be Seen With You Tonight.....Nick & Fanny Nicky Arnstein No. 2.. .-Fanny Henry Street.......++++++ Chorus Musio Under Dialogue...- + Orchestra People .. ee eeeeeeeeeee FANNY Poker Chant No, 2.---+ -..Mrs, Brice & Mrs. Strakosh End Of Scene 12 fees Orchestra Incidental. You Are Woman, Change Of Scene.....++ Don't Rain On My Parade. teeeeees Orchestra m Man...++..Niok and Fanny ++++Orches tra20. 21, QUA 22. 22a, 23. 23h. 238. 24, 24a. 25. 26. 27. 27h. 28, 30. MUSICAL NUMBERS ~ (Cont'd) AcT Iwo . Orchestra canny & Chorus rohes tra die, Mrs. Brice & Mre, Strakosh .-Orehes tra Entrtacte . Sadie, Sadie Changs Of Scene’... : Pind Yourself A Man Change Of Scene....+++. Rat-Tat-Tet-Tat...., istiiFauny, Jenny & Chorus Rat-Tat-Tat-Tat - Part 2 .....Panny, Jenny & Chorus Change Of Scene... s+++0s-Orcehes tra Who Are You Now + -Fanny: Change Of Soens....- s++ Orchestra Don't Rain On My Parade......,Niok Opening Scene 7 ...+-..++++-.,Orahestra ‘Te Music That Makes Me Dance........-.Fanny Orchestra + Orchestra anny > ++ Orchestra Change Of Scene.s...ee sere Incidental - Undersoore... Pinale Aot TWO..,-..e+ Ourtain and Exit Music.Act oNE Scene 1 4s thd curtain 1s half-way up, there isa Li CUE Gurtuin pisos on backatage, | FANIY!e Dressifig Room unit at SR, with Fami¥le dkessing table recing auei- ene dr or VR and another doorway 2 A chaise lounge is R “A closet is L of door, piano is CS, keyboard praétical worklight and a ladder is U L, fea to the doo rehearsa ‘acing DS. ‘is L of pit A -- ‘stares to cross around -- oddly, at the house, at the stage it: TWO STAGEHANDS | enter’ simitdnepusiy, one from R 2, | | the other fom ht. “THEY X to / FANNY enters -- stops, lool eppraisinely 7 | £27 OPENING ACT ONE on misic, the house curtain goes up, ladder up ‘Phkn\ FANNY exits off Rl, \ LIGHT CUE nbere Li with STAGEHANDS to shift eine upstage © and thén begins to ne lights, Another SYAdEHAND FANNY eftters dressing Yobm, through C door,/ Again, SHE looks\around as 4f SHE'd never seen the roym before -- then goes to dressing table -~ looks into the mirror. \ Oey Cf Lrassing Fab wusr0 com FANNY (Lifting scarf from dressing table, then, to her reflection, derisively) Hello, gorgcous! é i OFFSTAGE VOICE (1) { Half hour, please, half hour. t (Knock on door -- JOHN, the STAGE MANAGER, pokes his head in) JOHN Half hour, Mise Brice,1-1-2 ca - FANNY _Spabe you,-tahar— JOH! Eerren i, Mr,-Arnstein bac yot? FANNY No, not yet. (HE exits -- EMMA enters R 2) EMMA Rit PANNY HA, En, EMMA Any word from Mr, Arnstein? (TWO SHOWGIRLS enter R 2, X to piano UC, ANOTHER SHoWeERL enters Ll and Xts to STAGEHAND checking lights. EMMA, R of FANNY by dressing table) What tine was he due? (FANNY <4 down) FANNY (Grinning) I dontt know. The wirc just said -~ tonight. BNMA You nervous? FANNY Nervous, happy, scared, excited -- you name it, I am it, EMMA Too bed youtve got a show to do, FANNY Thank God I've got a show to dol EMMA You're probably right. (Ela X18 U to closet L, Takes out a pair of black period shoes, X's to FANNY's R and places them on the dressing table)1-1-3 (Flatly) Soitenly, ‘Wrong is for (SHE sits) Like always, As far back as I remember ~- LIGHT CUE MUSIC CUE (ERMA chuckles and then X%s back to closet and takes out Indian costume) gs SOHN we (orestage (R) . Half aour,” EMMA You got @ big smear of make-up on this Indian costume. Ili go get it cleaned. (STAGEHANDS 2nd SHOWGIRLS exit Land R, EMMA notices FANNY staring at her reflection, X's D to her L) What are you looking at so hard, honey? WINCH #2 ON FROO Eo TABLE & IRS FANNY MUSIC CUE A lot of years. (Repeats, almost inaudibly) A lot of years, (EMMA looks over FANNY!s shoulder into mirror. — Cerdplayers! Platform moves in from R. MRS, BRICE and her THREE FRIENDS are playing poker. SHE is scated DL. To her R 18 MRS, O'MALLEY; to her R is seated MRS, MEEKER and D R is MRS, STRAKOSH, THEY are in the middle of a poker hand, The time is circa 1910) POKER CHANT NO, 1 _ MRS, BRICE (Singing) I THINK YOU'RE BLUFFING, MRS, STRAKOSH ~~ BLUFFING, MRS, STRAKOSH YOU THINK so?q-1-4 MRS, BRICE I THINK So, YOU WITH YOUR GLASS FACE, I THINK YOU GOT NOTHING, SARAH STRAKOSH -- YOU HAVEN'T GoT A SECOND ACEI MRS, STRAKOSH ‘THEN MY ADVICE TO YOU IS, HONEY -- CLOSE UP YOUR MOUTH AND PUT UP THE MONEY MUSIC _oUT (MRS, BRICE puts up money; MRS. STRAKOSH shows her cards) MRS, BRICE So I was right. MUSIC QUE (SHE collects cards and starts new deal) #2_WINCH sTOPS L EMMA (To FANNY, @6 SHE holds Indian costume) 4m going to have this brushed, (Goes to door, stops) Oh -- Mr, Ziegfeld's waiting for you. PANNY Thanks, Bm, (EMMA nods and cxits. Immediately FANNY cells to CARDPLAYERS, with affectionate triumph, into mirror at their reflection &8 SHE looks into the past) Did you hear that, Mrs, Strakosh? Ziegfeld 1s waiting for me -- you were wrong, Mrs, Strakosh| MRS, STRAKOSH (Turns R and looks to C S out as if sceing FANNY's reflection) No, Fanny dolling -- I'm not wrong] Ziegfeld ain't waiting that fasty FANNY (Good-naturediy) So it isn't Zeigfeld ~- it's Tom Keeney! But it's a theater w+ with a stage =- and an eudience| MRS, BRICE {Dealing cards) Yes, and you'll be late, darling. Hurry up! Ladies -- play ball1-1-5 MRS, STRAKOSH If Iwas you, Mrs. Brice, I wouldn't tell her -- hurry up! I would tell’her better -- donit gol Stop wasting your lite already! MRS, BRICE My daughter 1s nineteen years of agel And she's been earn- ing hér living on the stage since she was ten, FANNY (Staring into mirror -- begins to change into black stockings and shoes) Thirtcen, mama, MRS. BRICE (Going right on, to MRS, STRAKOSH) Shush, That's wasting her life by you?! MRS. STRAKOSH When she was a child, she made funny faces -- that was cute, MRS, BRICE (To FANNY's reflection C) Ob, my condolences, You are no longer cute, MRS, STRAKOSH (Rises; steps off platform; takes one step R and speaka to FANNY's re- flection) Fanny. Honeybunch. For a girl -- for average -~ you're a pleasure} But when people pay good money in the theayter == especially the male element =- they want something to look att MUSIC_oUT LIGHT CUE ZY7 NuMBER: "IF A GIRL ISN'T PRETTY" Mrs, Strakosh, Brice, Meeker & O'Malley MRS, STRAKOSH (Standing DR of table) IF A GIRL ISN'T PRETTY LIKE A MISS ATLANTIC CITY ALL SHE GETS IN LIFE IS PITY AND A PAT, MRS, BRICE (Rises) IS A NOSE WITH DEVIATION SUCH A CRIME AGAINST THE NATION SHOULD I THROW HER INTO JAIL OR DROWN THE CAT, (SHE site)1-1-6 MRS, STRAKOSH, O'MALLEY & MEEKER (MRS, STRAKOSH, who is standing, is joined by MRS, O'MALLEY & MEEKER who rise) SHE MUST SHINE IN EV'!RY DETAIL LIKE A RING YOU'RE BUYING RETAIL BE A STANDARD SIZE THAT FITS A STANDARD DRESS, (MRS, O'MALLEY & MEEKER sit) MRS, STRAKOSH (Stepping on platform) WHEN A GIRL!S INCIDENTALS ARE NO BIGGER THAN TWO LENTILS MRS, STRAKOSH, O'MALLEY & MEEKER THEN TO ME IT DOESN'T SPELL ‘success #2 INCH OFF L (MRS, STRAKOSH sits es platform rolls off L, tn the age uS, the rour “? KEENEY G{RLS, the REHEARSAL ¢ PIANIST, TWO STAGEHANDS and -. EDDIE AYAN énter and gather around the ‘pfano) , FANNY (Rises) Don't worry, Mrs, Strakosh -- they!11 look at me! The whole world’w111 look at met (Takes off Leopard headband) And be stunned! (Then removes cout; SHE's in a middy end bloomers) Ill strut out there on Keensy!s stage (SHE moves away from table, X's L to ¢ S} And I!11 sing -- und I'll dance -- LIGHT CUE FANNY'S DRESSING ROOM MUSIC CUE1-2-7 Keeney!s Backstage. EDDIE RYAN 18 standing S L of the FOUR KEENEY GIRLS, who are DC rehearsing. TWO STAGEHANDS are on either side of piano with a GIRL PIANIST, playing, FANNY hooks on to the R end of the line and joins the rehearsal. The time is circa 1920. KEENEY (Enters L 2, watches the CHORUS GIRLS rehearse, HE finally spots FANNY at the end) You ~» with the blue bloomers! FANNY (Working even harder) Yes, Mr, Keeney -- ? KEENEY You're fired! MUSIC OUT (The rehearsyl stops, GIRLS move US, HE turns L, X's to EDDIE, sarcastically) A great choles for the chorus, Eddie, What's the matter ~: you owe Bomebody # fevor? MUSIC CUE EDDIE Shrugs) It seemed like a funny idea. KEENEY (starts R) What's so funny about it? FANNY (Stopping him) ‘That's what I say! Listen, Mr. Keeney, I've had a lot of experience -- honest! (HE starts off R. SHE stops him) I've been on the stage since I was ten! Amateur contests, Gottiiebs! Southern Rep -~ professional companies! (Repeats stage business)1-2-8 FANNY (Cont'd) Last season I doubled six parts| I played a daughter and her own father, How do you like thet -- a MUSIC_OUT sixty-year-old Indian chief) (HE Xts DR below her. SHE grabs him) So why don't you give me @ chance? Maybe you don't like me in the chorus, Why don't you let me audition for that specialty tomorrow? Huh? KEENEY Idsten, girlie -- you've gotta face facts! You dontt look like the others! You've got skinny lege! You stick out] You are out} Goodbye! MUSIC _CUE (Starts off R) FANNY, But Mr, Keeney -- | (KEENEY exits R, EDDIE lookg at FANNY, uncomfortably) EDDIE (Standing L of FANNY, ¢) You can't fight it, kiddo, That's the way things are -- (Daring the following vocal, FANNY X18 back L of EDDIE, “The KEENEY STAGEHANDS push piano DR, PIANIST takes stool and the CHORUS GIRLS follow D R, as EDDIE starts to sing) La (CONTINUED) | IF A GIRL ISN'T PRETTY LIKE A MISS ATLANTIC CITy SHE SHOULD DUMP THE STAGE AND TRY ANOTHER ROUTE (HE X's R below FANNY) ANY QUY WHO PAYS A QUARTER FOR A SEAT JUST FEELS HE OUGHTER SEE A FIGGER THAT HIS WIFE CAN'T SUBSTITUTS, LIGHT CUE (HE takes FANNY by the hand, brings her over 8 R by piano) KID, MY HEART AIN'T MADE OF MARBLE. BUT’ YOUR RHYTHM'S REALLY HORR'BLE (Takes FANNY!s coat from MAUDE, helps FANNY into it)1-2-9 EDDIE (Cont'd) AND THAT MAP OF YOURS JUST AIN') NO VALENTINE EVERYTHING YOU GOT!S ABOUT RIGHT BUT THE DAMN THING DON'T COME OUT RIGHT (Takes hat and pute it on FANNY's head) SO FORGET IT, KxD, (Gets lunch box from PIANO PLAYER) AND JUST RESIGN, (Hands her lunch box, These props were pre-set on piano. @hen EDDIE speaks) I'm sorry, kiddo. PANNY So am I, And so's Keeney going to be. You think beau~ tiful giris are going to stay in style forever? I should Say not! Any minute now they'll be out! Finished! And then 16411 be my turnt LIGHT CUE (SHE X's UR as lights go out KEENEY FRONT FLIES on the D S-R area, behind the aN Keeney Theatre Front, EDDIE LIGHT CUE exits UR 1 of plano in the black, #8 does MAUDE in 2) (GENERAL NOTE: When we're back- stage, #1 or # 2 black border are out to reveal stage lights. They fly In to cover lights when we are hot backstage)1+3-10 ACT ONE Scene 3 Front of KEENEY's Music Hall. HECKIE, @ cab driver, and TWO WORKMEN are talking. FANNY comes ground from behind theatre flat and enters L, She starts off R -- stops C and sees MEN, FANNY Heckel How come you waited? HECKIE I had a feeling you'd be in and out fast, (X15 /R above FANNY) WORKMAN / _» (Seated on tool box HE brought ; on L of C) So dia’ I, ' FANNY You?} You never even saw me before} : 4 7 WORKMAN #1. Yes I(did. (When you weht in, That was enough, MUSIC OUT (HE shakes his head -- so does HECKIE, Both knew it was no use) HECKIE MUSIC CUE You know, Fan -- a (Singing) LY7 (CONTINUED) IP A GIRL AIN'T PERFECTION MORRMAN~# BETTER TAKE UP A COLLECTION HECKIE EVERY GIRL MUST BE A DAZZLER AND A BEAUT, HECKIE AND TW WORKMEN (TWO WORKMEN X R below FANNY to C) YOU'VE GOT VERY NICE DEPORTMENT BUT WHEN THEY SEE THAT ASSORTMENT FROM THE GALL!RY THEY'LL BE THROWING #2 INCH ON FROM L FRUIT LIGHT1-3-1. (FANNY X's L and sits on tool box, opens lunch box, takes out anana, starts to eat it as Cardplayers’ Platform comes back on SL with MR, STRAKOSH ibitzing. Stage lights up to reveal KEENEY GROUP, MAUDE re-entered R 2 as does @ WARDROBE MISTRESS and ACTRESS, EDDIE comes from be- hind tower R) HECKIE AND=2WO-WORKMEN (Singing) IF A GIRL ISN'T PRETTY CARDPLAYING GROUP IF A GIRL ISN!T PRETTY KEENEY GROUP (£0016 + re “py IF A GIRL ISN'T PRETTY ALL IPF A GIRL ISN'T PREPTY IF A GIRL ISN'T PRETTY HECKIE AND TWO WORKMEN SHE SHOULD GET A JOB GO GET A JOB GET ANY JOB ALL GET A WEEKLY PAY GIRLS CAUSE IF A GIRL ISN'T PRETTY LIKE A MISS ATLANTIC CITY ALL SHE'S A REAL MISS NOBODY, U.S.A, #2 WINCH OFF _L GIRLS IF A GIRL ISN'T PRETTY IF A GIRL ISN'T PRETTY LIGHT CUE IF A GIRL ISN'T PRETTY MUSIC OUT (EVERYBODY exite R & L, leaving FANNY seated @lone on the stage, losing her lunch box, EDDIE enters up L from behind Keeney's Theatre Front end starts off R. FANNY, seeing him, rises and X's R to hia) MUSIC CUE1-3-12 FANNY Hey, Mr. Ryan, Look ~- suppose #11 you ever hed for break- fast was onion rolls. All of a sudden one morning, in walks a bagel, You'd say, "Ughl What's that?!" Until you tried it. That's my trouble, I'm a bagel on a plate full of onion rolist (SHE drags EDDIE L and seats him on tool box) _.Nobody recognizes mel LIGHT CUE Listen =~ ‘MUSICTCUE L7 ER: "I'M THE GREATEST STAR" FANNY. (R of EDDIE, singing) TIVE Gor THIRTY-SIX EXPRESSIONS SWEET AS PIE TO TOUGH AS LEATHER AND THAT!S SIX EXPRESSIONS MORE (Xing to Cc) THAN ALL THE BARRYMORES PUT TOGETHER INSTEAD OF JUST KICKING ME WHY DON'T THEY GIVE ME A LIFT? I THINK IT's A PLOT (Pointing to EDIE) ‘CAUSE THEY'RE SCARED THAT I GOT SUCH A "GLFT" -- I'M MIFFED -- 'CAUSE I'M THE GREATEST STAR I AM BY FAR BUT NO ONE KNOWS ITI (EDDIE starts to rise from tool box =- SHE pushes hin back down) WAIT, THEY'RE GONNA HEAR A VOICE A SILVER FLUTE -- AH HAH AH HAH THEY'LL CHEER EACH "TOOT" (SHE applauds) WHEN t EXPOSE ITI CAN'T YOU SEE TO LOOK AT ME (Xing R) THAT Ii A NATCHRAL "CAMILLE" AS "CAMILLE" I JUST FEEL I'VE SO MUCH TO OFFER (Xing back to EDDIE) I KNOW I'D BE DIVINE BECAUSE I'M A NATCH'RAL COUGHER (Makes coughing sound) SOME AIN'T GOT IT NOT A LUMP I'M GREAT BIG "CLUMP" OF TALENT!1-3-13 : Famy (Cont #d) LAUGH] (Gesturing laugh) THEY'LL BEND IN HALT (Xing ¢ =- speaking) Did you ever near the story about the traveling salesmen? (Singing) A ‘THOUSAND JOKES, (Gesturing) STICK AROUND FOR 'EM, FOLKS A THOUSAND FACES, I’ REITERATE, WHEN YOU'RE GIFTED (taking two stcps US, singing cut to audience), THEN YOU'RE GIFTED, THESE ARE "FAC" I GOT NO AXE TO GRIND HEY WHAT ARE THEY -- BLIND? (Pointing to Keeney drop behind her) IN ALL THE WORLD SO FAR I'M THE GREATS? STARI (Driving Dc) WHO IS THE PIP WITH PIZ-AZZ? WHO IS ALL GINGER AND JAZZ? WHO IS AS GLAMOUROUS AS? WHO'S AN AMERICAN BEAUTY ROSE WITH AN AMERICAN BEAUTY NOSE AND TEN AMURICAN BEAUTY TOES EYES ON THE TARGET AND WitAit ONE SHOT ONE GUN SHOT AND BAM (Both arms out-stretched) HEY MR, ZBIGPELD HERE I AMI LIGHT CUE I’M THE GREATEST STAR (Walking R) I AM BY FAR (Walking back to C) BUT NO ONE KNOWS TTL (out to audience) THATS WHY I WAS BORN I'LL BLOW MY HORN TILL SOMEON® BLOWS IT] I'LL LIGHT UP LIKE A LIGHT RIGHT UP LIKE A LIGHT I'LL FLICKER THEN FLARE UP ALL THE WORLD!S GONNA SPARE UP LOOKING DowN (Points down) YOU'LL NEVER SEE ME1-3-14 FANNY (Cont'd) TRY qu SKY (Points up) ‘CAUSE THAT'LL BE ME I CAN MAKE 'EM ORY I CAN MAKE ‘EM STCH SOMEDAY THEY'LL CLAMOR FOR MY DRAM-ER, (To EDDIE) HAVE YOU GUESSED YET WHO'S THE BEST YET IF YOY AIN'T I'LL TELL YOU ONE MORE TIME (Back to audience) YOU BET YER LAST DIME IN ALL THE WORLD SO PAR I'M THE GREATEST, GREATEST STAR) (Gestures with both arms) MUSIC our (EDDIE still seated, stares at FANNY, SHE X's above him and picks up her hat and lunch box and starts off R. SHE stops, turns and sees HE is in a@ trace, SHE Xta to him) You believe me? Say yes. EDDIE (In a trance) Yes, FANNY (Kneeling) You gonna ring me in on those auditions tomorrow? Say yes, EDDIE Yes, . FANNY And teach me the spectaity -- even if we have to stay up all night. (Slowly rising with EDDIE follow- ing with her, still in a trance) Say yes! EDDIE Yest FANNY Follow me,13-15 CHANGE OF SCENE (SHE turns and starts off R, LIGHT CUE EDDIE following her) MUSIC CUE NEIGHBORHOOD DROP_IN 1 WINCH (GARBAGE CA ON FR (In the dark, FANNY gets rid of her coat, hat and lunch box and EDDIE gets rid of his coat and hat. Propman strikes tool box)1-416 Act ONE Scene 4 Backyard, FANNY's Neighborhood, Two ash cans are L of C, One has EDDIE's hat and coat, preset. It is 6 A.M. in the morning. EDDIE is seated on the other ash can, exhausted. FANNY, with towel around her neck, is practising a dance step. SHE 4s Xing from R to Las the lights come up. EDDIE 45-6-7-8 and 1-2-3-4 .., (FANNY doing "single chicken s walk", Xing L then R and back to L) Fenny, Give up. (SHE stops, looks at him) It's six ofclock in the morning and you know where we!re getting? (SHE, starts doing "Banana Max" step) Nowhere! I felt so sorry for you at Keeney!s, I talked myself into thinking tt would work, But you cantt learn the number in one night! FANNY Yes I can} It's just a few steps -- you said yourself I didn't need any help with the song. And it's for your sake as well a3 mine] If you ring me in tomorrow and I'm no good, Keeney!11 kill youl (Stops dancing and turns to EDDIE) He'll even fire youl EDDIE So I dontt ring you in, Then 1t won't matter 1f youtre no good FANNY But I will be good| And anyway, you promised! Come onl (EDDIE sighs, FANNY pulls him up on his feet to continue to show her the steps)1-4-a7 EDDIE Okay. The "chick, chick, chicken scramble". (THEY begin to rehearse again, doing the "chicken step". FANNY keeps at it exuberantly. EDDIE, exhausted, stops -- watches her in amazement $ Did you really play @ sixty-year-old Indien Chief? (X's and sits on ash can again. FANNY continues to practice, this time rehearsing "cock fight" step) MRS. BRICE (offstage L, calling) ; Fanny! (FANNY continues dancing for a beat) EDDIE Oh, FANNY (To EDDIE) What's the matter, kid? EDDIE E Nothing. I just feel like sitting on a garbage can, MRS, BRICE (offsteee L, calling again) Fanny! FANNY (Calling back) What MRS. BRICE (Entering L, Xing above garbage cans, R of EDDIE) Fanny -- enough 1s enough, You haven't been to bed yet! (Looks at EDDIE) What did you say his name’ was? FANNY (Still practicing "cock step") Eddie Ryan. MRS, BRICE Well, Eddie Ryan -- that's life for you, You got up yester- day morning -- you felt good -- everything was fine. And then you met my daughter Fanny.1-4-18 EDDIE You know, huh? MRS, BRICE Who should know better? I live with it, (FANNY grins, keeps dancing same step; but EDDIE, looking at his wetch, slowly rises) EDDIE - Fanny, Please. I need some sleep. FANNY Go home, kid -- catch forty winks -~ relax} (As EDDIE X's DR of her, SHE Stops dancing) EDDIE Thank you, (Starts out R) FANNY (Calling after him) Don't worry about a thing] I'll see you at Keeney's. (Throws him a kiss while continuing to practice, as EDDIE exits R) Mice guy, but not mich energy, MRS, BRICE I notdced, PANNY {Stops dancing, X!s8 L to MRS, BRICE) I'11 tell you the truth -~ I dontt think he has much con- fidence in’ me. MRS. BRICE Don't let it bother you, darling -- you have enough for the two of you, FANNY (Annoyea) Mama | MUSIC _CUE \ (357 REPRISE - GREATEST STAR FANNY MRS, BRICE I'M THE GREATEST . I know you're the greatest GREATEST STAR and the greatest star is going to bed.1-4-19 (THEY exit L 1, MRS, BRICE drag- LIGHT CUE ging FANNY off behind her) SIGHBORHOOD DROP _OUT KEENEY #1 PORTAL IN #1 WINCH OFF L MUSIC CUE (EDDIE'S FI ico . (WHILE IN BLACK’1-5-20 Act ong Scene Keeney's Music Hall -- On Stage, Keeney's Proscenium portal with placards with #8 on each side. Thet 18 backed up by a typical period curtain, (£67 BDDIE'S FIFTH ENCORE AT RISES The spotlight picks up EDDIE RYAN, standing on his head, atop 4 suit- case DR, In this position, HE is whistling and 1s in the middle of “EDDIE'S FIFTH ENCORE", LIGHT CUE During this, HE returns to his feet’and hoofs for LIGHT CUE big ending. CRA cuaser HE then exite L, returns LIGHT CUE quickly with his hat in hand and addresses the audience. MUSIC our EDDIE Thank you very much, ladies and gentlemen, Tom Keeney presents # msical extravaganza titled "CORNET MAN" or. "tHE LADY AIN'T BEEN BORN CAN TAKE THE PLACE OF & HORN" -- yes, ~- featuring Snub Taylor, The Keeney lovelies, Fenny Brice, and many others, (fe picks up suitcase) Hit 1t Professor. MUSIC_CUE (Exits R 1) LIGHT CUE PCT] NUMBER: "CORNET MAN" (FOUR DANCING BOYS enter, carry- ing chairs with TROMBONE SMITTY and FIVE FINGER FINNEY from U L and R. The FOUR KEENEY GIRLS enter L 1, followed by SNUB TAYLOR, carrying his cornet. DANCE SECTION -- featuring (GIRLS FORWARD) TAYLOR and Company) -- 3rd Time -~ LIGHT CUB (SPLITS) - LIGHT cUB FANNY enters, L 1)1-5-21 FANNY Well -- pe (Singing) THE LADY AIN'? BEEN BORN CAN TAKE THE PLACE OF A HORN WITH A CORNET KAN A-GOIN' WHERE THERE'S BLOWIN‘ TRAV'LIN CORNET MAN JUST ANYTIME THEY CALL HIM HE'LL LEAVE HIS WIFE AND KIDDIES SITTIN! WITH THEIR TONGUES OUT TO PLAY FOR PEANUTS IN A DIVE AND BLOW HIS LUNGS OUT é HE'LL HOP A CHOO CHOO ON A MONENT'S NOTICE 0 PLAY SOME DATES WITH BILLY BATES OR RAG TIME OTIS! THE LADY AIN'T SEEN LIGHT CAN GIVE A HORN A FAIR FIGHT WITH A CORNET MAN A ROOTIN', SHOOTIN! EVERTOOTIN', DAPPER DAN WHO CARRIES IN HIS SATCHEL A POWDER BLUE NORFOLK SUIT (TRUMPET -- WAH WAH) A SILVER PLATED WAH WAH MUTE (TRUMPET -- WAH WAH) THERE IS WHISKEY, GAMBLIN' EACH ONE A CURSE BUT I'M UP AGAINST A DEVIL THAT'S WORSE YES, A HORN'S MY THORN, MY fRaV'LIN CORNET MAN} LIGHT CUE (DANCE SECTION -~ ALL, During Dance) DANCERS CHICK, ot CKEN SCRAMBLE | CHICK, CHICKEN SCRAMBLE CHICK, CHIOKEN SCRAMBLE CHEEPL CHEERY cLUCK, oLvcK, bLUCK, cLUCK CLUCK, CLUCK, CLUCK, CLUCK (Rooster cagkles) CLUCK, CLUCK? CLUCK, CLUCK CLUCK, CLUCK, CLUCK, CLUCK, waH DO, WaH bo, WAH’ DO, waft Do (FANNY dances With GROUP, LIGHT CUE SNUB TAYLOR Dance Solo)1-5- PANNY (Singing) ‘4 POWDER BLUE NORFOLK SUIT (TRUMPET -- WAH WAH) A SILVER PLATED WAH WAH MUTE (TRUMPET -- WAH WAH) CAUSE, HE'S SHY ON HEIGHT LIGH HE'S SHORT ON WEIGHT BUT HE'S THE ONLY GUY CAN MAKE MY COFFEE PERCULATE (CHORUS 211 exit R1, leaving SNUB TAYLOR S R and FANNY C, on stage) DAPPA DAN MY CORNET PLAYING MAN SPOTS BLAC WINCH ON FRC TR L PLAT TRAVELLER ON EL & F LR7 CORNET MAN CHASER1-6-23 ACT ONE Scene 6 Immediately following. Keeney!s Backstage and Ghorus Dressing Room. SL 49 Keeney!s Dressing Room Unit with three chairs, three mirrors US, clothes reck, & of Unit, backed up by flats, Doorway is the right end of Unit. This fills the stage from C to L. SR area is wide open with the back flats and walls of the theatre in view. EDDIE RYAN 1s on stage R as the KEENEY CHORUS enters from R 1, EDDIE (As POLLY enters) Gee, girls, they liked it. Girls -- girls, hang around a minute, wili you? I'll be right with you. POLLY (Xing L below EDDIE, enters dressing i room to far chair L Listen -- if I did comething wrong, tell me tomorrow, huh? BUBBLES {Following POLLY, Xing to second chair in dressing room) Nah, if he's gonna lecture, let him lecture now -- when I'm too’ tired to listen, M MAUDE , (Following BUBBLES to first chair, just L of door) Derling. Baby. Cantt you slow that number down? (KEENEY enters from L 2 and watches) : EDDIE (Patting MAUDE as SHE goes by) I got @ better tdea -- I'm gonna speed you up. (OTHER DANGERS enter R and exit up L 2 8s FANNY enters and X!6 to EDDIE) FANNY (Exedtedly) Bade -- they liked it!16-24 FANNY (Cont'd) P (U's L to KEENEY) Bey, Wr. Keeney -~ they liked 1b] So what about me?} KEENEY (Sourly) © Bout you? FANNY FI don't even know what you're paying me -- | (SHB grins) But I pet it isn't enought * KEENEY en I get around to thinking about you, I'11 let you know! Come on, Eddie. (Ke UL foliowod by EDDIE, FANNY enters dressing room} FANNY . (vo girls, pugzied) What's Keeney 80 sour about? We have a hitt (Sits center chair; starts re~ moving shoes) BUBBLES (L of Fanny) LAsten to Stage-struck -- a hiti Where do you think you Bre ~~ on Broadway? { ‘ FANNY ~ (Good=naturediy) ‘No, But I'm in New York; this 1s my firat specialty, and }I feel good! Do me something! mMauBs ~* (R of FANNY, talking to hér over her shoulder, while tieing shoes) PL wouldn't have a specialty. When I find @ guy that‘l2 take "we outa this dump, for him I'll do a specialty! {EDDIE enters L 2. X's down knocks on dressing room doors : EDDIE Ladies of the cnsemble, I'm a man with a heart -- go home! (Starts off R as GUS X's from L to R. HE yells) ays’ Leave eave thie t-~ (THEY exit R21.1-6-25 NICK ARNSTEIN enters R 2 -- a picture of elegance in white tie, tails and a frilled shirt sharply at odds with the full dresa of that or any period. HE spots KEENEY -- waits quietly, look- ing es 41f HE owns the world. KEENEY sees NICK and goes to him) » LE7 —-NIGKY ARNSTRIN NO. 2 NICK MUSIC CUE » Keeney -~ (X's DR) KEENEY Hello there ~~ (X's R to him) are you? NICK (Taking roll of bills out of his pocket and counting) Well -- at the boxing matches last night, I still think my boy was better than yours. But since he'was obviously in & hon-aggressive mood -~ {caves KEENEY bills, paying off det KEENEY (Counting bills) E°You didn't have to make a spec4al trip down here -- E your credit is good. MUSIC OUT j NICK "This ie how it got good. (KEENEY laughs) POLLY (L of Dressing rack) Boy, am I tircdt (KBENEY finishes counting bills -- Shakes hands with NICK and exits R) FANNY Not mel I could play the show all over again, On my hands and knees maybe, but #11 over again, You want to sce? (Drops to hands and knzes -- puts hands into her shoes and 4n animel-1ike fashion ~~ crawls R out of dressing room) Wait till Mr, Keeney sees this -- I'm really going to get @ terrific raise, LIGHT CUE1-6-26 (SHE 1s halted at the sight of NICK!s fest ~- freezes ~~ cm- barrassea) FANNY (Cont'd) fl Arty (NICK sees her -~ smiles, SHE loots up) NICK (The THREE KBENEY GIRLS, during the following dislogue, continue to change out of "CORNET" costumes into street clothes, which have been hanging on the’ rack) FANNY (After a long look -- up and down) Pgeous! ei NICK beg your pardon? FANNY Your shirt. It's sbsolutely the most gorgeous thing I NICK Solemnly, amused) ‘Prench handkerchief’ linen, Goes very limp, though -- FANNY h =~ I cen see, All the same, itts beautiful) Only the other tail~coate Ifve seen -- rented, y'know? -- have stire shirts, Fe NICK They should have. ‘hig 1s just a conversation piece -~ FANNY Inever got past 38 -- so I don't know what that means. NICK, (Nicely, liking ner) Something that gives people something to talk about. And you learned everything you needed to know in 3B, Mise Brice, You were wonderful -- very exciting!1-6-27 PANNY ley! You know my name} NICK course -- I looked for it in the program. FANNY en you Aid think I was good! “(Hesitates, frowning) cube me == (Notices the KEENEY GIRLS watch- ing them, goes toward dressing room, closes door and X's back to NICK) wt -- are you Someone I should know? NICK ’ (Teasing) » I think so, i (THEY both chuckle) If you mean -- am I an expert on theater -- no. But I am supposed to have an eye for what's unique. Special. And I think you're going to be a very big star one day. FANNY (Suddenly shy) }Thank you. Youtre the first person who ever said that to fe, Who wesnit a relative, NICK Iwontt be the last, (As FANNY looks away self-consciously, KEENEY enters R with EDDIE RYAN, sign- ine paper for EDDIE, EDDIE exits UL 2 KEENEY (Turning to NICK) Nick -- I wanted to ask you -- what's the word on that big Arish horse they're bringing over for the Derby? NICK (Turning to him) Shellelagh? I saw him run in Dublin last spring -- (Shakes his head unenthusiastically) I wouldn't, KEENEY. Thanks -- I won't.1-6-28 ('s KERNEY turns to go R, FANNY -- whots been staring at’ NICK, impressed -- rouses herseif, X's R below NICK to KEENEY) FANNY You gotten around to thinking about me yet, Mr. Keeney? KSENEY 3 (Turning back) Loh -- you. (HE shrugs) fWell, I'm willing to pay you forty dollars 8 week -- take iit or leave it, ‘ NICK (As FANNY opens her mouth to answer) ave it. I'm offering sixty-five. KEENEY (As FANNY gapes) For doing what? Since when are you 4n show business? NICK fi I's offering on behalf of one of your competitors, Keeney. (To FANNY) / Bixty~ five dollars @ week, Miss Brice. KEENEY Seventy-fivel NICK Bighty-fivet KEENEY pitnetyt NICK hundred! KEENEY A hundred and ten] NICK (X's R below FANNY to KEENEY) Iwasntt authorized to go over a hundred, She's yours, Keeney, at @ hundred and ten dollars a week. (Shakes his head) ; Congratulations! (KEENEY smiles as the victor)1-6-29 KEENEY (Starts out L 2, stops, looking at FANNY) ynundred and ten dollars a weekt (HE exits L 2, disgustedly) FANNY (Whirling around -- then to NICK) tundred dnd ten dollars a week? I'm practically a million- ire! (X's R to NICK) 's the competitor? NICK (Smiling) FANNY (Backing off) mean you were bluffing? Like in a poker game? (HE nods) But what would have happened if Keeney stopped first? NICK You would have lost. : FANNY (Suddenly getting the implica- tions) I would have lost the job! (Backing off more) NICK (calmly) FI wea willing to take that chance -~ (Xia L to her) (FANNY, taken at NICK'S coolness, steps back in awe, As SHE stares at him, TWOSHOWGIRLS enter R 2 -~ tall, Stufiningly dressed. Seeing NICK, HEY stop, wait -- ) FANNY (Spotting the giris) m/s fhose yours? / NI / (Turns R/to see ins and then’ back | to FANNY, leans inj confidently) Tia be uhh == minding them for a friend.1-6-30 FANNY (Taking one shoe off hand, still backing away, play-acting that's how Lid Tike to’ look’ == mysterious, But I telk too oh, NICK (Sincerely) hadn't noticed, FANNY yy, huve you got good manners! (Self-consciously, as HE laughs) fr'a better let you go -- (Starts toward dressing room) NICK (Following her end reaching into vest pocket) y I give you my card? {Handing it to her as SHE takes other shoe off and tucking it under arm) Really -- I know @ lot of people in the theater. Honestly e~ if there's ever anything I can do for you -~ please call on me, FANNY (Reading card) lick Arnstein. (opens dressing room door for benefit of GIRLS) e Hotel Astor, (GIRLS react) ick Arnstein. (Holds out his hand -- SHE gives him hers to shake, Instead, HE kisses it, bows, Then stiil hoid= ing his hand, SHE gives him # hearty handshake. NICK starts off R, look- ing at his hand, reacting from her strong grip, The TWO SHOWGIRLS start to Exit, as HE joins them)1-6-31 FANNY (Calling) (All stop -~ beckons to him, HE X's back to her, Then, confiden- tially) Whoever washes that shirt, tell them to run a little staren through the last rinse, ‘hat way 1t won't go imp, NICK (Looks at her -- smiles, chuckles, starts off R -- looks back as HE reaches the SHOWGIRLS) ‘Thank you very much, I won't forget. LIGHT CUE (HE tips hat, exits R 2 with GIRLS, FANNY turns, opens dress- ing room door and leans against at FANNY (To KEENEY GIRLS) is he? (Looking at card) 8 name's Nick Arnsteint ; BUBBLES Is that Nicky Arnstein? . (Rises, X's below FANNY, looks after NICK) I've always wanted to get a look at himl Mabe (Rises) 's sort of @ gambler, POLLY (Seated) Yo, he's more 4 sportsman, BUBBLES (Turning back) I heard he was @ big promoter -- mauve / ;He can promote me -- anytime! FANNY Well -- he's my idea of class. (X's L into dressing room) ‘Besides being beautiful. (Puts "CORNET" shoes on table; puts other shoes on)\ 1-6-32 (EDDIE enters L 2, comes to the door) EDDIE you glued here? It's after eleven-thirtyl BUBBLES (Running back into dressing room to pick up purse) 1 I've got someone waiting at the stage door! mavbe (2//y it's been waiting for you lately,/ he's got nothing better ido | ? (Starts off R 2) BUBBLES (Following her) that why you brush up against him every time you pass at LIGHT CUE (POLLY joins GROUP, THEY exit R 2) (CONTINUED) FANNY (calling) by. Eddie -- Come talk to me while I change -~ MUSIC _CUE (EDDIE enters dressing room, turns first chair around, sits as FANNY starts chenging) EDDIE yif I'd gotten an A on my report card] Which I never LIGHT CUE (During the following "NICKY ARNSTEIN's", which are FANNY's inner thoughts, SHE freezes as SHE sings in a’headspot. During dialogue, continues to change | clothes, Singing) NICKY ARNSTEIN, NICKY ARNSTEIN WHAT 4 BEAUTIFUL, BEAUTIFUL NAME! LIGHT CUE (speaking) die -- I don't know how to thank you.1-6-33 es EDDIE pvueve must be a way, Like -- what are you doing after how Saturday night? LIGHT CUE FANNY . (Singing) NICKY ARNSTCIN, NICKY ARNSTEIN FE WHT A BEAUPIFUL, BEAUTIFUL FELLAY LIGHT CUE (Speaking) day night? Well -- 1f it's just to sit sround and eooze -- fine. But if it's like # date -~ who's got 2 EDDIE t? Everybody FANNY ie, Too busy. LIGHT CUE (Singing) © DRESSED IN A FULL DRESS FORMAL -- (Speaking) know something? You're lucky] Dames are a dime jozen -- a good friend 1s hard to find, EDDIE (Rising) k -- I had a brief yen to go out with a sixty-year-old dian Chief, I am not searching for friendship! FANNY n't help it -- that's what you found, LIGHT CUE (Singing) I'LL BET HE KNOWS FLO ZIEGFELD -- HE COULD EVEN KNOW MR, WRIGLEY FROM ‘SPEARMINT| LIGHT CUR (Speaking) ry now and then I meet a guy who looks like you. Matter, thinner, shorter, taller -- but Just like you. Ad the guy alway: turns out to be a friend] EDDIE t's the most heartening bit of news I've had in Bt ‘LIGHT CUE FANNY (Singing) NECKY ARNSTEIN, NICKY ARNSTELN, DIb YOU SEE HOW HE HAD POLISH ON HIS NAILS? © LIGHT CUE EDDIE on -- I'll take you home. Well sit around and hmooze | (HE exits UL behind flats)| 1-6-3 FANNY (Singing) PNICKY ARNSTEIN, NICKY ARNSTEIN -- LIGHT CUE Be L'LL NEVER SEE" HIM AGAINI (SHE exits L in Black) 1 WINCH ON FROM R -~ ‘SEWING UNIT #& WINCH ORF _L R_OFF BLACK oRAPE IN BEWIND KITCHEN UNIT ALREADY PRESENT: * MUSIC_CUE Tight CUE CHANGE OF SCENE1-7-35 Act ong Scene _7 MRS, BRICE's Kitchen, Entire uatt ts stage b. UL is a stove, with a pantry cabinet to the L. Ih one, on the winch 1s # stool, L'of C, next to it, a table, L of that, @ sewing machine with’a chair, facing SR. Months later. EDDIE, in an almost finished dress, is stending on the stool, MRS, O'MALLEY at his feet, sewing the hem. MRS, BRICE, to EDDIE's R, above the table, 418 cut- ting fur off a coat. EDDIE (To MRS. BRICE) (mean she hasn't got one single dress in the closet she Mid wear?! What's she been walking around in all this -- towels?! MRS, BRICE explain to you about girls. (FANNY enters L holding telegram, X's to L of table) EDDIE =- youtre due on the other side of town at four ook! FANNY told me ten times already! Eddie -- you think it's @ EDDIE MRS, O'MALLEY {HE goes) r FANNY bit the telegram doesn't say!be 1-7-36 MAS, BRICE (Continuing to ovt fur off coat) fe right, Eddie, All the telegram says 1s Dear Miss Brice, I'd like to see you at the New York Theater on Mursday at four ofciock, Signed Florenz Ziegtield. i (Proudly) ook -- by heart] Like the pledge allegiancet ? FANNY But now -- recite later! P (Places telegram on table, X's L to sewing machine, sits and starts to sew cuff) MRS, BRICE ‘yonder how a mama came to name @ boy Florence -- EDDIE Flo-renz. MRS, BRICE Q,how come she would call him FlorgnZ1 MRS, O'MALLEY hem! done (EDDIE steps down the stool) MRS, BRICE 11 -- wait till the fur is on, (MRS, O'MALLEY continues to work on dress) FANNY fmow what I think? Somebody talked to him about me. met 4 guy backstage one night’ -~ just the kind of guy you'd {igure to show Ziegfeld -- and I bet you he said @ rd) EDDIE (Xing L to FANNY) oulve been at Keeney's for eight months, featured the et five -- there's been stuff in the papers about you tically every day, But the telegram has to be-because guy you met backstage said a magic word! (X's back to MRS, O'MALLEY and sits down on stool) PANNY (Pedaliing at machine -- SHE hasn't. even heard him) ‘That's what aust have happened -~1-7-37 MRS, BRICE (x's R with fur and wraps it around DDIE'S neck) Eddie, 1f you knew how many coats and God knows else thie fur has been, you wouldn't believe it} EDDIE : (prviy, glancing down at fur) Iwould, “And therets no time to put 1t on this one! FANNY 2 EDDIE use youdre making yourself nervous with all this dress- # “What did you start 1t for? FANNY (Pathetically) wouldn't be nervous. But now my head aches, MRS, BRICE g aches -- youtre built like a horse! (X's L and takes cuff from sew- ing machine and X's R above table to EDDIE to try cuff on L sleeve) FANNY (Leaning back in chair) 'p coming too easy -- that's what's got me scared{ Where's the suffering you're supposed to do before you click? hard knocks -~ the setbacks that youtre supposed to pm from?! EDDIE E about all those years on the road, when you were just FANNY h ~~ Lt got me out of schooll And I stili say this is g quick, I haventt suffered enough yett MRS, BRICE haven't got the Job yet, either. E (xts pack to table) Pd if you get it, who says in a week you can't lose it? EDDIE ‘cheer up -~ maybe you'll suffer later! I can guarantee , Af you're as bossy with Ziegfeld as you are with mel j FANNY ot bossy with youl1-7-38 (All look at her knowing other- wise) FANNY (Cont!d) even if I were -- believe me, whatever Florenz Ziegfeld sme to do -~ thatfs what I'11 dof MRS, BRICE (xts L) = go get ready} (Turns to EDDIE) ou -- take off your dress} (FANNY rises, exits L 2 as EDDIE starts taking dress off. MRS, STRAKOSH enters L 1 with shopping bag in one hand, carrying little box of grapes in other hand, Xing R to L of MRS, BRICE) : MRS, STRAKOSH tings and Salutations! i (Offers grapes to MRS, BRICE) MRS, BRICE can't say hello like 8 normal human being?! MRS, STRAKOSH (Xing D below table, offering grapes to EDDIE and’MRS, O'MALLEY) jsten -- on my way home from my married daughter Sadie's, took a taxl and I passed Keeney's theayter. And outside, (Xing L, puts shopping bag in e front of sewing machine and crosses U to MRS, BRICE) here they have pictures of the girls that's opening in new show -- I didn't see -- MRS, BRICE (Interrupting) @ didn't see a picture of my un-merrted daughter Fanny, 2 che aintt 4n the show. MRS. STRAKOSH (EDDIE finishes taking off dress =~ hands it to MRS, O'MALLEY and sits on stool) MRS. BRICE Mt down, Mrs, Strakosh dear, (MRS, STRAKOSH X's L and leans against sewing machine)1-7-39 MRS, BRICE (Cont'd) Strekoah, when I worry my daughter Fenny?12 be out of fy XfIL send you a telegram! Like someone sent her a in =~ (Picking up telegram from table) 2 MRS, STRAKOSH B® stock company? MRS, BRICE Miwant me to read it? Or welre playing & game, you want re guesses] (X's D below table -- clears her throat, reads, glancing from EDDIE to MRS.’ O'MALLEY to MRS, Be STRAKOSH) r Fenny -- please do mes big personal favor and come Frthe New York Theatre on Thursday at four o?clock, in rds to your STARRING in the new Ziegfield Follies!" and Kisses, Signed Florenz Ziegfield! (MRS, STRAKOSH, emazed, rushes toward her, peering over her L shoulder to read telegram, Quickly MRS, BRICE folds it over to reveal only the signature. MRS. O'MALLEY, carrying dress, Xfs behind table, picks up cufr and exits L 2) want to make yourself useful, you can help Fanny get Ho the dress, Some of those seams, I wouldn't guarantee. (RS, STRAKOSH turns, picks up shopbing bag and starts off L 2) MRS, STRAKOSH derling, tell me everything? MUSIC CUE (Exits L 2) MRS, BRICE (Referring to telegram) Eddie -- the Ziegfield Follies} Now she belongs to ages! (Puts telegram on sewing machine. EDDIE, still .eated, smiles) LIGHT CUE NUMBER: "WHO TAUGHT HER EVERYTHING" MRS, BRICE (R of sewing machin: -- singing) MY WORK IS DONE MY WORK IS DONE1-7-40 EDDIE (St111 seated) . UR WORK IS DONE SHE DOESN'T NEED US F. SHE'LL HAVE CAKE WE'LL HAVE CRUMBS (Carried into fantasy, rises, X's L to MRS, BRICE, looking off L) BE CAREFUL OF THE STAGE Door HERE SHE COMES, HERE SHE COMES , HELLO (Weaving off L) FANNY HELLO, MRS. BRICE (Also caught by fantasy, follows the imaginary FANNY ac SHE X18 from L to R, focus now stays R) HELLO FANNY -- IT'S ME ~~ MAMA (X's R below EDDIE) WHAT DO YOU MEAN ~~ MAMA WHO? (Taken aback) EDDIE IT'S GOOD TO SEE HER FROM AFAR (Looking off R) MRS, BRICE (20 EDDT=) I LOSP A DAUGHTER BUT I GAINED A STAR EDDIE (Speaking, looking back at MRS, A BRIGE) at's Broadway! z (Singing) a WHO TAUGHT HER EVERYTHING SHE KNOWS, I TAUGHT HER EV'RYTHING SHE KNOWS SHE SINGS LIKE A BIRD (Whistles) =- OH YES INDEEDI BUT ¥HO USED TO STAND THERE AND FEED HER THE SEED, (Gestures feeding seed) WHO TAUGHT HER HOW TO PICK HER CLOTHES (Xing L) MRS, BRICE (Speaking) I aid, adic. EDDIE (Singing) WHO TAUGHT HER HOW TO TAP HER TOES? {Does five count tap step)ee 1-7-4 EDDIE (Contd) E BUT WILL SHE ADMIT IT, KID YOU SAID Tr, THEY ALL FORGET THEY KNOW YA WHEN IT COMES TO CREDIT TELL ME HAVE YOU EVER SEEN HER TAKE THIS POSE (Does full turn to R, striking pose) I TAUGHT HER EV'RYTHING HOW To HOOF . (Does four count tap step) ~ AND HOW TO SING (Drops to R knee in Jolson position) I TAUGHT HER EV'RYTHING SHE KNOWS, MRS, BRICE (Xing L to him speaking) it Eddie -- she'll blame us yet. (Singing) WHO TAUGHE HER EV'RYTHING SHE KNOWS? EDDIE (Rises, speaking) me hear it, Rosie, MRS, BRICE (Singin.) Z TAUGHT HER EV'IRYTHING SHE KNOWS EDDIE (Speaking) ft it the trutht MRS, BRICE (Singing) THE MISCHIEVIOUS SMILE SHAT DEVIL MAY CARE (Rolls eyes) YOU DON'T PULL (Gestures "pull") , SUGH MANNERTSMS OUT OF THE AIR THE MEN WHO ARE OLDER MIGHT PREFER (Draping shawl over L shoulder) THE ORIGINAL MANUFACTUR-ER (Points to self) BOTH (Arms around each others waists) I? HURTS US TO SAY IT BUT WHY NOT BE FAIR (Focus changes toward balcony)} 1-8-43 Backstage, New York Theater, A wall of Flats, (Traveller runs across the stage in 2.) A DIRECTOR stands below a bench, R and 1a watching JOHN, the Stece Manager, who 4s standing on a soda box, holding a rule. HE is L of MIMSEY, a feb- ulously beautiful showgirl, measur- ing an enormous head-dress which SHE is holding on her head, FANNY enters R 1, confused -- carry- ing @ lyric sheet and looking about for Ziegfeld, who is in his office atop the theatre, ‘ DIRECTOR (Calling up to ZIEGFELD) feld -~ Mr. Ziegfeld -- Mimsey's head-dress 18 too (PANNY X's below him, looking to locate ZIEGFELD) ZIEGPELD'S VOICE the arch} FANNY (St411 looking around for him) gfeld -- . DIRECTOR (Steps below bench, still calling up to ZIEGFELD) pit it be easier to lower the head-dress? ZIEGFELD'S VOICE not bettert FANNY (Xing L to MIMSEY, speaks to her) he? MINSEY (Holding on to head-dress on top of her head)1-8-4 FANNY (X's down c, raises hand in Studentlike fashion, calls up) Riegteld! Mr. Ziegfeld! ZIEGFELD'S VOICE i FANNY t want to be in the finelel “(The MEN look at her with surprise == MIMSEY with interest) ZIEGFELD'S VOICE fwas that you said, Miss Brice? FANNY {Snaps back) it wait to be in the finale! (Pleadingly, looking at sheet music) fur, Zicgfeld. I can't sing "I am the beautiful reflec- of ny love's affection"! It's embarrassing. Why tI just do "Cornet Man" -- that's what you bought me ‘end call it a night? ZIEGFELD'S VOICE (Fieaty) PANNY (Not fresh ~- surprised) Pbbody ergues with the landlord? (HOHN, finished measuring head- dress, picks up box and exits L) MIMSEY (xing D jo -- I like this one! She looks like trouble! ZIEGFELD'S VOICE let, Mimsey! (MIMSEY turns R, starts off -~ ' places head-dress on bench R, ext to STAGE DIRECTOR and eee Rl Brice, that's exactly what I mean! If I take you out he finale, I will also take you out of "Cornet Man" -- (the Folliés! I give the orders and meke the decisions = not youl11-8245 FANNY ‘But when you see me prancing ebout in thet fancy outfit telling the audience how beautiful I am, be sorry! (Starts off R) : ZIEGFELD!S VOICE IR your opinion. FANNY (Xing back quickly to C) pinion should I have -- Diamond Jim Brophy!s?! ZIEGFELD!S VOICE (Snaps back) 4 PANNY Jour opinion! ; (Laughs) DIRECTOR (Laughing, starts off L) Jspulling ahead, Mr, Ziegfeld. (HE exits L 1) FANNY (Raising hand, student style, fervently) ZIEQPELD!S VOICE * (Losing patience) Mise Brice. FANNY (sti11_ trying) pn -- can I hum 1? . ZIEGFELD'S VOICE Bing the words exactly as written] And that ends cussionj . FANNY PMe, Ziegfeld! Whatever you say! MUSTC_CUE ‘ LIGHT CUE END OF SCENE 8 (SHE starts off R, sees MIMSEY's head-dress on bench, looks up at ZIEGFELD, puts lyric sheet on bencn, picks up head-dress, pute At on’her head and walks elegantly Ra few steps until the weight2-8-46 of head-dress makes her buckle and SHE exits R 1 in comic fashion) MUSIC OUT SHOW DROP (BIRDS, & BLACK VALOUR_IN #2 WINCH (BENCH) OFF R LAT TRAVELLERS OPEN ‘EIGHT CUE1-9-47 ACT ONE Scene _9 MUSIC_CUE In front of appliqued bird Scrim -- On stage -- New York Theatre -- Grand Finale -- ZAegfeld Follies, JENNY, @ ZIEGFELD SHOWGIRL in. bride costume enters R 1 and X's to R of C, then announces: HIS LOVE MAKES ME BEAUTIFUL JENNY (Speaking) LADIES AND GENTLEMEN /WE ARE PLEASED TO PRESENT E AMERICAN BRIDE, (SHE exits R 1 2s ZIEGFELD TENOR enters L 1, X's to L of Cc) ‘TENOR 4 (Staging) POR BETTER OR WOR WORSE, "OH PROMISE ME" P/WHY DOES EV'RY BRIDE GLOW RAVISHINGLY @ WITHIN TU SECRET HEARD OF EVIRY BRIDE POMHESE ARE THE WORDS REPEATING, REPEATING, LIGHT CUZ REPEATING INSIDE (ORCHESTRA -- BING BONG, BING BONG ZIEGFELD bird scrim goes out to reveal 2 huge staircase with platforms on the sides, with THRE® SHOWGIRLS on each side, dressed in bridel gowns and head- dresses. SIX DANCING GIRLS are draped against the steps -- all frozen in tableau fashion, ‘TENOR X's to C and continues singing) YOU ARE THE BEAUTIFUL REFLECTION OF HIS LOVE'S AFFECTION A WALKING ILLUSTRATION BOF HIS ADORATION1-9-48 (SIX BOY DANCERS enter R and L on top of staircase and two by two walk down between the draped GIRL DANCERS) TENOR (Cont'd) LOVE MAKES YoU BEAUTIFUL ‘SO BEAUTIFUL . SO BEAUTIFUL SHOWGIRLS BYOU'LL ASK YOUR LOOKING GLAss, OOH, OOH, OOH ... “WHAT IS IT? KES YOU SO EXQUISITE B ANSWER TO YOUR QUERY OOH, OOH, OOH ... @S BACK "DEARIE" -- MS LOVE MAKES YOU BEAUTIFUL OOH, OOH, OOH ... ‘SO BEAUTIFUL SO BEAUTIFUL WOMAN LOVED IS WOMAN GLORIFIEDI! OOH, OOH, OOH .., QUILL MAKE A BEAUTIFUL BEAUTIFUL BEAUTIFUL BEAUTIFUL BRIDE! 1 ALL Q BEAUTIFUL -- BEAUTIFUL -- BEAUTIFUL -- BEAUTIFUL ~- BEAUTIFUL ‘TENOR (Running up steps and Xing down) GIRLS AND WOMAN LOVED IS WOMAN GLORIFTEDI! AH, AH ... YOU'LL MAKE A BEAUTIFUL BEAUTIFUL BEAUTIFUL BEAUTIFUL BRIDE! LIGHT CUE (TENOR and DANCERS exit L end R in 1. ZIEGFELD LEAD DANCER (JODY) enters at top of steirs, JODY does dance solo, dancing to each SHOWGIRL, At ehd of dance, climbs to top of stairs and faces LIGHT CUE front, L of C. — DANCERS enter L and R draping the stairs and on crescendo FANNY enters LIGHT CUE et top of stairs. SHE 1s dressed in 1911 bridal gown, stuffed s0 that SHE appears pregnant)1-9-49 ALL (Singing as FANNY Xta D to C) OMES THE BRIDE BR BEAUTIFUL BRIDE .D PRESENTS HER H JUSTIFIABLE PRIDE FANNY Rr (Singing) SAM THE BEAUTIFUL REFLECTION OP MY LOVE'S APRECTION (X's R WALKING ILLUSTRATION HIS ADORATION MIS LOVE MAKES ME BEAUTIFUL ‘SO BEAUTIFUL 80 BEAUTIFUL (X's L to c) ‘TENOR (Entering L 1, Xing R to C) AMD WOMAN LOVED IS’ WOMAN GLORIF’ -~ F (Surprised at FANNY's costume -- freezes) FANNY MAKE A BEAUTIFUL g BEAUTIFUL “BEAUTIFUL » “BEAUTIFUL, "+ (Speaking) eiful? (looking into hand mirror, making comic faces) ALL P ‘TENOR (BEAUTIFUL BAIDE " (PANNY kissing her reflection tn mirror) " ALL AW OAH... LIGHT CUE Ww. FOLLIES CURTAIN & WORKETGAT COME _IN ‘MUSIC_CUE GHANGE OF SCENE1-10-50 ACT one Scene 10 as Immedietely following, In front of the Follies curtain, The STAGE DIRECTOR and JOHN enter R 1 and call up to the fly men. STAGE DIRECTOR (Shouting orders) Pup, Charlie -- ali the wey up. FOLLIES CURTAIN ouT (When the curtain goes up, it LIGHT CUE reveals the backstage of the New York Theatre immediately MUSIC OUT following Finale, SHOWGIRLS, FOLLIES STRIRE DANCERS, STAGEHANDS, STAGE MANAGERS, JODY on stage as set is being dismantled. —Z{EGFELD enters L 1. STAGE DIRECTOR, seeing him, hands him batch of telegrams, Xing L to him) Mr, Ziegfeld -- Here are some more opening night wires. ZIEGFELD you, (STAGE DIRECTOR X's UC to join JOHN, to supervise the striice of the steps. ZIEGFELD, to ACTORS on S R) you all for your cooperation, You did beautifully, proud of you, (HE begins to read telegrams es MRS, BRICE and EDDIE enter R 1, Hing to group of ACTORS) MRS. BRICE (Calling to ali) y r= itm Fanny Brice's mama, I'm giving @ party aloon for my Fanny. You're ell invited. (ACTORS disburse and exit L, and R, SHE sees ZIEGFELD Xing L to € and ss HE X's to ner) . Ziegfeld -- wasn't it lovely? Especially Fanny!1-10-51 MRS, BRICE (Cont'd) (Indicating EDDIE) Eddie Ryan 8 friend of hers, Eddie, this 1s Z Ziegfield} EDDIE (R of MRS, BRICE) itulations, Mr, Ziegfeld -- ZIEGFELD you, Mr. Ryan. I -- (STAGE DIRECTOR X's snd pulls on L half of Flat Traveller to C then exits L 2) MRS, BRICE (cutting in, excitedly) LIGHT CUE Ithink, Mr, Ziegrield, 18 to L TRAVELLER CLOSES TO @ success on Broadway you gotte | R TRAVELLER CLOSES TOC gone very peculiar ideas, Like (CK_V. Ce get! T mean ~~ to put 8 beautt- ide's gown on @ girl in the family way, excuse me -~ ould think of such # thing|? (JOHN pulls on R Traveller to € thus closing off the upstage. HE exits R 2 as two GIRL DANCERS, still in costume, enter from R 1, X behine MRS, BRICE and ZIEGFELD and exit L 1) ZIEGFELD (FANNY enters L 1, excitedly. MRS, BRICE X's L below ZIEGFELD to hug her, FANNY then X's R to hug EDDIE) FANNY (cutting right into ZIEGFELD's speech) Eadie! ‘Over ier shoulder, eagerly to IEGFELD) Mr, Ziegfeld ~- how do you think it went? ZIEGFELD (coldly) a few things I'd like to talk to you about. EDDIE (Xing L past MRS, BRICE) we to go -- Mrs, Brice is expecting naif the neighbor-1-10-52 . MRS. BRICE All! It's e party for Fenny, Mr, Ziegfield. (Cupping his chin in her hand &s FANNY and EDDIE react, em- barrassed) (EDDIE grabs her hand, starte to pull her off as a BOY and a GIRL enter R 1, X behind them and exit L 1) Fanny! Don't doodiet (Shouting as SHE starts L) ¥ s+. 24 Henry Streety (SHE exits with EDDIE L 1 as FANNY X's below ZIEGFELD, waving goodbye, then FANNY turns to ZIEGFELD, who is stending, look= ing very stem) Fe FANNY Wdiets a great dance director, Mr. Ziegfeld -- and ofer! You ought to -- (SHE stops abruptiy) fre pretty mad, buh? ZIEQFELD Brice -- I amj You spoiled my opening nightt 1 owe me an apology) (JODY enters R 1, undoing hi collar end carrying his coat X's behind FANNY end ZIEGFELD glencing at then as HE exits Ll, EMMA, carrying @ bridets costume, enters R 1, seeing the argument in progress, stops R . of C) c FANNY an't like what I did, huh? ZIEGFELD Pi did like it, You were right. But I give you my Gor honor that if you ever flout my authority again, Mng down the curtain on you! FANNY Mr. Ziegfeld -- I'm sorry I spoiled your opening night, T'was right, you should have listened to me. So I you owe me a apology too.1-10-53 (A som nt of silence; then SHE Iooks over at EMMA, who is shak- ing head, no) PANNY (Cont'd) Iwill 4 you will. I'll even go first. I'm not Mr. Ziegfeld -- I apologize. And I mean it. ZIEGFELD it case -- Miss Brice, I apologize. (EMMA exits L 1) thought you were wonderful. FANNY, ZIEGFELD (taking her hand) iprove it, I!m going to choose another song for you -- FANNY thank: you! . (Taking him D s) flisten -- one of the things I feel really definite about Ghoosing my own songs. ZIEGFELD (Turning to her, stunned) g your own what?y FANNY (Warbles) . Ta. La. ... (NICK enters L 1, holding top hat and cane, X's to them, L of C) NICK evening! And congratulations, both of yout FANNY (Turning sharply) n= Atts you agains (xing E to him) NICK Miremember me -- FANNY Ewere my (first ruffled shirt, And my first hundred and dollars a week --1-10-54 (Hopefully, clowning to cover self-consciousness, turns to look et ZIEGFELD) FANNY (Cont'd) petitors this time? with better offers. ~ NICK (Xing R to ZIEGFELD) eld has no competitors, (Smiles, shaking hands with ZXEQFELD) ZIEGFELD to see you, Nick -- how are they running? NICK like you end this 1ittle girl! (Smiles at FANNY) tscovered her before you did, Flo -~ and T had @ hunch ‘two belonged together! ZIEGFELD (Wryly -- starting off R) we the same hunch -- and its aging me fast! (HE exits R 1) FANNY it -- Iwas sure of it! It was you who told him met : wick afraid not. I wish I had, but -- FANNY Ih -- I dontt believe youl NICK (Pointing off R) 43 X call him back -- 80 you can ask him? FANNY you probably fixed 1t up that way between yous NICK (Dryly, amsed) there's @ point at which honesty becomes ridiculous, (A well-dressed COUPLE X's from Rl to L 1 and exits)(EMMA enters L 1, carrying e large box of white roses with card) NICK (Cont?a) our benefactor! And as your benefactor, I have @ right very proud of youl : FANNY pretty well, nuh? NICK dn't surprise me. After all, I wrote the card with flowers before the curtein went up. (As FANNY looks puzzled, HE indicates EMMA, holding’ box of flowers) te roses. (FANNY goes L to read card) FANNY (Apologetically, to NICK) Kantt even have time to look ~: P (Reads card, smiling) Star -- I vold you sot (As EMMA exits L, NICK takes FANNY's L hand) NICK were 8 horse, I'd have bet on you -~ FANNY (@lancing at the fact that THEY are hand-in-hand) horses you bet on always win? NICK MBut they!re always the best on the track. You were iyo way that First time. Re a leleases her hand) tyou're here. ‘ (SHE grabs his hand back sgain) tion is -- what do we do about 1%? FANNY 1g has to be done? NICK nly. Success is something to enjoy -- to flaunt! ge why work so hard to get it? Let's make grand1-10-56 NICK (Cont 1a) trenves all over town, end watch people stare and hisper -- (NICK leads FANNY below him, R) at's Ziegfeld's newest star! Whots the lucky © MUSIC CUE n?| Don't you see ~~ NUMBER: "I WANT TO BE SBN WITH YOU TONIGHT" NICK (singize) I WANT TO BE SEEN BE SEEN WITH YOU WITH YOU ON MY ARM TO WEAR YOU LIKE A CHARM YOUR GLITTER DECORATING MY ARM NoW NATCH'RALLY SUCH PROXIMITY GIVES RUMORS A RISE WE'LY, LET THEM ANALIZE WHAT OUR AMALGAMATION IMPLIES OH YES THE GOSSIPS WILL PRESS 100 WILLING TO STRESS THE SEAMY SIDE KNOW WHAT? SO WHAT I WANT TO BE SEEN BE SESN WITH YOU WITH YOU ON MY ARM LET'S GIVE THIS TOWN A LIGHT AND HIT (Uses cane a8 golf club) IT IKE A ME-TE-OR-ITE -- TONIGHT. I WANT TO BE SEEN WITH You, FANNY (speaking, a8 mie continues under) can't! I have to meet a gang of people in my mother's Loon} (Laughing) nest! It's a party -- for m (Hesitates awkwardly -- looking away from him) fant to come? NICK (after @ fraction of a beat) I'd love tol FANNY (Turning back to him) fou mean 16?1-10-57 NICK if course, FANNY, (Hesitates, frowning) yoe you'd better think it over, NICK (Amused) Why? Have you changed your mind? FANNY fh no =~ nol (Grins self-consciously) took, I know it isn't every night a Glorified Ziegfeld Girl’ 1ike me asks you out, but this 1s just a neighborhood thing -- 45 might waste the evening for you. NICK 1111 be with you, won't 1? FANNY, (Xing R -- Singing) THE MOON OVER MOTHER'S SALOON HAVE A NICE MACAROON I'LL BUY YOU A LIGHT BEER (Points to NICK, L) NICK (Points back at her) RIGHT, DEAR, BOTH T WANT TO BE SEEN BE SEEN WITH YOU NICK WITH YOU ON MY ARM LET'S GIVE THIS TOWN A LIGHT AND HIT IT LIKE A ME-TE-OR-ITE, BOTH TONIGHT -- I WANT TO BE SEEN WITH (HE taps floor twice with cane then walks L) NICK JUST GOTTA BE SEEN WITH (Repeats cane tapping, twice) FANNY I'D LIKE TO BE SEEN WITH YOU BOTH I WANT TO BE SEEN WITH YOU MUSIC OUT1-10-58 (NICK puts on Top Hat, tosses cane, catches it and pute it over R shoulder as SHE nods end smiles) NICK (Xing R to FANNY) Now hurry and get changed -- (X18 R above her, starting off -- SHE 1s in a trance, follows, HE turns, gestures) (As HE exits R 1, SHE X's quickly, MUSIC _CUE L of C and stops -- singing) ‘LIGHT CUE NICKY ARNSTEIN NO. 2 FANNY NICKY ARNSTEIN, NICKY ARNSTEIN WHAT A BEAUTIFUL, BEAUTIFUL NAMEL WAIT TILL HE MEETS IN PERSON FOR ONE NIGHT ONLY MRS, STRAKOSH AND THE HENRY STREET GYPSIES MUSIC OUT I'LL NEVER SEi HIM AGAINI ‘SPOT OUT TRAVELLERS OPEN BLACK VALOUR DROP ND MUSIC CUE LIGHT CUB1-11-59 i. Act _ONE Scene 11 Henry Street, Stage L 1s the house -- 24 Henry Street, with a stoop below tt. A big table with beer and pretzels P runs US along side of building, t The C of stage is open with a fence ik blocking off 3/418 of the upstage 4 area, To the R is another build- ' ing with "R, Brice Saloon" on the ground floor, A table with four chairs has been placed D $ R below the Saloon, The entire stage dec- orated fora block party -- colored lanterns strung between’ the bulld- ings, with a huge banner saying, "CONGRATULATIONS, FANNY" 8180 hang- ing between the buildings. Many banners heralding FANNY!s success are hung all over the stage. AT RISE: All the NEIGHBORS and GUESTS are singing and dancing in celebration. "MENRY STREET" ALL (Singing) HENRY STREET * NO IT AIN'T BROADWAY IT'S HENRY STREET LONG AFTER MIDNIGHT I@!S LIT UP AS BRIGHT AS A LIGHTHOUSE BRIGHTER TONIGHT THAN THE WHITE HOUSE BOYS WE'RE PROUD TO TELL YOU THAT C,P.A,!S WE GOT IN DOZENS AND LAWYERS TAKE YOUR CHOICE MESSES AND MESSES OF YOUNG D, D, ~- ESSES 4 LOONEY WHO TEACHES VOICE GIRES AH HA HA HA ALL BUT HENRY STREET HAS SOMETHING IT AIN'T HAD SO FAR THE GREATEST, MOST GLAMOUROUS, GENUINE, GLORIFIED ZIEGFELD STAR1-11-60 (WHISTLE and DANCE Chorus) ALL (Singing) WE'RE PROUD TO TELL YOU THAT C,P.A,1S WE GO? IN DOZENS AND LAWYERS TAKE YOUR CHOICE MESSES AND MESSES OF YOUNG D. D, ~~ ESSES A LOONSY WHO TEACHES VOICE BUT HENRY STREET HAS SOMETHING IT AIN'T HAD SO FAR THE GREATEST, MOST GLAMOUROUS, GENUINE, GLORIFIED ZIEGFELD Star. (CROWD sees FANNY off L and beralds her arrival. FANNY enters L 1, followed by NICK) GUEST (Seeing her) Hey ~- Fanny} (CROWD cheers enthusiastically &t her arrival on the scene) FANNY (X's to L of © as MRS, BRICE comes to meet her) Mama -- I want you to meet Nick Arnstein -~ (MRS, BRICE X's L to NICK, who smiles end tows) MRS, BRICE It's @ pleasure, Mr. Arnstein. «(Turning to FANNY) Oh -- the man with the ruffled shirt. ‘ PANNY (Pulling her away R) Thank you, Mama! MRS, BRICE (To NICK) Did I say something wrong? NICK (Laughing) You said something charming. MR, STRAKOSH (R of C, breaks in) Hey, Fanny -- I always wanted to waltz with a Ziegfeld star.1-11-61 Takes PANNY end begins to dance. MUSIC CUE DOLPH comes D to NICK, takes his hat, cape and cane from him -- places it upstage on @ chair DR of Saloon Door, GUESTS and NEIGHBORS join the dance az THEY continue singing, During dance various GUESTS and FRIENDS dance with FANNY, NICK dances with MRS, BRICE and at the end of dance NICK and FANNY dance together) ALL (singing) HENRY STREET No TT AIN'T BROADWAY IT'S HENRY STREET LONG AFTER MIDNIGHT } IT'S LIT UP AS BRIGHT AS A LIGHTHOUSE BRIGHTER TONIGHT THAN THE WHITE HOUSE WE'RE PROUD TO TELL YOU THAT C,P,A.'S WE GOT IN DOZENS AND LAWYERS TAKE YOUR CHOICE MESSES AND MESSES OF YOUNG D. D, -- ESSES A LOONEY WHO TEACHES VOICE BUT HENRY STREET HAS SOMETHING IT AIN'T HAD SO FAR | THE GREATEST, MOST GLAMOUROUS, GENUINE, GLORIFIED ZEIGFELD STAR MUSIC OUT (At end of number, FANNY 15 lifted by several’ BOYS and toasted by #11) LIGHT CUE . NICK (Refc) + MUSIC CUB J, Brice =~ you must be very proud of your daughter? MUSIC UNDER DIALOGUE MRS, BRICE (R of NICK) proud of all my children -- my son Lew end my married gater Carrie, (Suddenly calls to ADOLPH, who is C with the CROWD around FANNY) ~The work ie inside, what ave you doing outside. (ADOLPH turns and goes into saloon _-- door UR) we me, Mr. Arnstein == what you don't do 1t yourself, get iti (SHE follows ADOLPH into saloon)WOMAN . (Roz An upstairs window above ~—-gakoon) Hey, Fan ~~ when do us- gét free passes? (FANNY comes out of CROWD to acknowledge her) KEENEY (L of Cc) Come on, Fanny -- remind me how I fired yout (FANNY turns to him end then back to NICK) NICK Go ahead -- 1911 be fine. FANNY I won't be long! (FANNY hurries over to @ GROUP UR that includes KEENEY and EDDIE, NICK is left standing alone. MRS, STRAKOSH notices him, leeves table where SHE has been sitting with MRS, O'MALLEY and MEEKER, approaches him) MRS, STRAKOSH Excuse me, girls. MUSIC OUT (X's L to NICK) Good evening, Itm Mra, Strakosh. ‘ NICK How do you do, Da Nick Arnstein. (FANNY X's out of CROWD to EDDIE and sits on stoop S L) MRS, STRAKOSH Would you like perhaps to join us in @ little poker, (NICK reacts, facing audience) iA friendly little 3¢ limit? (SHE leads him to table and intro- duces him to ladies. SHE stops L of table, HE continues to R side or table)1-11-63 MRS, O'MALLEY (Who has been seated U R of table, rises) 14m Mrs, OtMalley, {ofters NICK her hend. HE shakes it MRS, MEEKER (Who has been seated U L of table, rises) Mrs. Meeker. (Offers her hand to NICK, who shakes it. MRS, STRAKOSH hands NICK deck of cards) URS, STRAKOSH Your deal, (NICK takes cards) NICK thank you. (Riffles them, LADIES react to trick and all sit around table, Playing poker. FANNY end EDDIE are alone, sit- ting on brownstone steps, THEY Glance over at NICK) FANNY (Seated R of EDDIE) I sort of worried about bringing him home -- because he ientt from the neighborhood, yéknow? But I guess a gentle- lngn f4ts in enyplace, EDDIE Md you worry about bringing me home? I'm not from the eighborhood either -~ FANNY foul You could've come from Oshkosh -- youtd still be rom the neighborhood] MRS, BRICE (Re-entering R from saloon) upper's ready, everybody -~ inside. And don't be bashful) (X's L to stoop to FANNY & EDDIE, LIGHT CUE1-11-64 BVERYONE starts to exit into saloon. FANNY X's R to Card- players and stands behind MRS, MEEKER and MRS, O'MALLEY, MRS, BRICE looks over at NICK, Then, to EDDIE) MRS. BRICE (Cont'd) het Me, Arnstein -~ the way he looks at home -- I got a feeling he's been in a poker game before! EDDIE A gentlemen Cite in anyplace. Fanny told me. MRS, BRICE ito me, when @ person's @ stranger, he ought to act a little strange. & =- @ sponge fits in enyplace. | EDDIE don't like him because I'ma rat -~ he's too good-looking. MRS. BRICE rgeous. (EDDIE rises) fe reminds me of Fanny's papa -- my ex, Also gorgeous. ind wherever he 1s, he should only stay there! (SHE exits R into saloon followed by EDDIE, NICK rises and begins paying off) tre fifty-seven cents -- and forty-two -- and thirty- ine, And worth every penny of itI (The THREE LADIES rise, MRS. WEEKER and WRS. O'MALLEY exit into saloon) FANNY fine bunch of crooks I introduced you tot MRS, STRAKOSH (Xing R above FANNY between her and NICK) tre more in practice, 1s ell. Fanny, I'm 80 happy for Pr success, only one thing could make me happier! (A meaningful look at NICK) dance at your wedding) (Winks roguishly and nudges NICK, Then -- pushes BOTH into chairs) down, children -- talk a little!1-11-65 (Puts their heads together -- Exits into saloon) FANNY: (Arguing with herself) Should I murder her now -= or should I wait till the party's over, (Rises, determinedly) Now! NICK (Rises, stopping her, laughing) But I love, Mrs. Strakosh} And I had to cheat so she'd win that fIrty-seven cents. And anyway, (X*s to her) I've been waiting a11 evening for a moment alone with you, MRS, NADLER (Calling down from window L in Henry St.) Congratulations, Fanny! I was busy with the baby before! FANNY (Xing L to C =~ calling up) Thank you, Mrs, Nadler. LIGHT CUE } NICK (Xing L to her) Alone with you and @ blockful of your intimate friends! FANNY You Ket nagged and criticized around here -- . (ADOLPH #nd @ QUEST come out of saloon, X DR and move table and chairs U R against building) but not neglected. All I did tonight was open in the Follies, If I broke a fingernail -- then you'd really see 8 fuss] (Looks around, smiles) MUSIC CUE Funny, I've imegined you practically every place in the World. Paris -- London -- The Delaware Water Gap -- every place but Henry Street. And here you are. (GUEST and ADOLPH exit back into saloon) NICK fou've imagined me? FANNY fell, I've thought about you a lat. (Xing L to stoop)1-11-66 FANNY (Cont'd) Maybe 1t was the ruffled shirt. You're like @ -- @ character in @ book to me, And I haven't read many books, so thet. makes you @ -- (Nervously, as HE just looks at her) It’s your turn -- say something} NICK (c) ‘Fenny, would you sey you were a woman of -~ wide experience? FANNY About what? NICK ne FANNY, fob, sure, I?ve known @ million guys. After all, I'm not ten years old -- I'm in the theatre, you know -- (Grins self-consciously) HI!ve be-n too busy. What about you? Hundreds of girls, rah? NICK (Dryly) me count is in mere dozens, Nothing serious -- and I like 0 feel free, FANNY (Xing L to far end of stoop) fou cam get lonesome -- being that free. NICK u can get lonesome -- being that busy. LIGHT CUE FANNY would think -- to look at us -- that we have the seme lem! NUMBER: "PEOPLE" FANNY: (Facing NICK -- Singing) WE TRAVEL SINGLE -- 0 MAYBE WE'RE LUCKY -~ BUT 1 DON'T KNOW (X18 R, up steps) WITH THEM (Points Up) Just LEP ONE KED FALL DOWN1-12-67 FANNY (Cont'd) AND SEVEN MOTHERS FAINT I GUESS WE'RE BOTH HAPPY, BUT MAYBE -- WE AIN'T. (Turning out front) PEOPLE =~ PEOPLE WHO NEED PEOPLE ARE THE LUCKIEST PEOPLE IN THE WORLD WE'RE CHILDREN, NEEDING OTHER CHILDREN AND YEP LETTING OUR GROWN-UP PRIDE MIDE ALL THE NEED INSIDE, ACTING MORE LIKE CHILDREN THAN CHILDREN, LOVERS ARE VERY SPECIAL PEOPLE THEY'RE THE LUCKIEST PEOPLE IN ‘THE WORLD WITH ONE PERSON, ONE VERY SPECIAL PERSON A FEELING DEEP {Nn YOUR SOUL SAYS YOU WERE HALF, NOW YOU'RE WHOLE, NO MORE HUNGER AND THIRST BUT FIRST, BE A PERSON WHO NEEDS’ PEOPLE PEOPLE WHO NEED PEOPLE ARE THE LUCKIEST PEOPLE IN THE WORLDS (FANNY comes to bottom step -= leans against S L.post) (MUSIC continues under dialogue after applause) NICK s (Xing L to R post -- too warm, too sincere) nny -- you're a wonderful girl, And I wish I could get p know you mich better. FANNY bh give me Bix good reasons why not? NICK j@t one, I have to catch a train for Kentucky early in morning -- FANNY: (Stiffens -- then, lightly) t's in Kentucky? NICK Palf-interest in a little farm. I breed horses.1-11-68 FANNY (Looks at him in surprise) What's the matter? They can't do it alone?! (HE laughs) are you packed? (HE shakes his head -- no) then what are you etanding around for? (X's R to get cape from chair D R of saloon door) It's late -- it's practically morning! Wait your capet I'll get NICK (X!8 R to C) If you hadnt been such a success tonight, I would have asked you to come with me, It's too bad, really -~ FANNY (Turning to hin) ih, I dontt know, What with opening night and an indecent proposal, it's been some nighti (With mock anxtety) It was indecent, wasn't it -- ? (Helping him on with cape) NICK h, very. FANNY henk God} At least X cen tell Mrs. Strakosh things are Hooking up} , (Points J R, then X's to get hat and cane) NICK (Leughs -- then, impulsively) inny ~~ way IT call you when T get back? FANNY re = why not? (Hands him hat and cane, Then -~ quietly, nicely) r just turn up again sometime, Backstage. or at a lock party. (Looks away) NICK anight. LIGHT CUE (HE cups her chin in his hand -- kisses her -- starts out UC, FANNY looking after him, HE’ stops,1-11-69 turns, looks back. Then FANNY breaks into @ quick dance step. HE smiles and exits R behind SHE turns slowly, front) fence. (CONTINUED) FANNY (Singing) ARE THE LUCKIEST PEOPLE IN THE WORLD! LIGHT CUE zc. WINCH ON FROM (In the dark, SHE exits R 2 into saloon) BLACK VALOUR DROP IN 14 LIGHT CUE1-12-70 ACT ONE Scene 12 Interior of MRS, BRICE!s Saloon, Entire setting 1s SR. Just R of C, one platform, is @ table end four chairs, Seated are the FOUR LADIES playing poker. L is NRS. STRAKOSH, To her R is MRS, MEEKER; next to her is MRS, O'MALLEY and DR is MRS, BRICE, To the R is a bar, with ADOLPH, behind it cleaning glasses. Talking to him, in front of bar, DR, drinking beer, is HECKIE. POKER CHANT NO, 2 MRS, BRICE (Singing) I THINK YOU'RE BLUFFING, MRS. STRAKOSH BLUFFING, YOU THINK So? MRS, STRAKOSH MRS, BRICE I THINK SO! MUSIC OUT (Speaking) I don't think so, MRS. O'MALLEY ell me, Mrs, Brice -- 18 Fanny still on the road? MRS. BRICE (Nodding) r two more weeks. (Rises) e Juct called me from Baltimore, M.D, MRS, MEEKER jo how did she sound? MRS. STRAKOSH (Derisively) 0 shows in @ row, working like @ truck-horse -- how do think she sounded, She sounded tired!1-18-71 MRS, BRICE (Xing L, putting two glasses of beer on table, speaking flatly) didn't sound tired, MRS, STRAKOSH (offended) use me -- T made @ mistake! MRS. BRICE hope she ain't making a mistake, You know who turned up Baltimore and asked her out to dinner? MRS, STRAKOSH MRS, BRICE ruffled shirt! (SHE X's R, back to bar) MRS. MEEKER & MRS, O'MALLEY don't say! MRS, STRAKOSH that lovely Mr, Arnstein. (SHE riffles cards) knew she'd see him again? At the block party, I put an fee in their heads! T planted e little seed! MRS, BRICE (Xing back to table with two more glasses of beer, sits) planted a seed on Henry Street and ten months later a e grows in Baltimore, . (In unison, THEY raise their beer mugs and drink, THEY then resume the poker game) MRS, STRAKOSH (Bet tine) le -- I bet three cents, MRS, BRICE (Betting) mise you three cents. MRS, O'MALLEY (Throwing cards in) In out. MRS, MEEKER (Throwing cards in) tto,1-12-72 MRS. STRAKOSH ve your money, Rose, I raise you three cents. (Betting) MRS, BRICE in calling you. (Betting) tb have you rot? MRS, STRAKOSH (Laying each card on table) king of hearts, a ten of diamonds, a six of clubs, a four of spades and # three of diamonds. MRS, BRICE (After a quick glance at cards -- throws hers away) ke it. I thought you were bluffing. LIGHT CUE MUSIC CUE f2_ WINCH (SALOOI iF CK _VALO (0) ~~ CENTER WINGT D. Sy (Ce 7 END OF SCENE 12 (PRIVATE DINING ROOM) ~ LIGHT CUEIT RISE: 1-13-73 AcT ONE Seene 13 A Private Dining Room -- Baltimore. It 18 dark, intimate, with banks of candelabra. A small'table, U L, is set for two, in front of a fire~ place. On the platform, UR of C is the entrance, To the R is a small table, It is set with a tray containing a filled sherry decanter and four sherry glasses, off the platform, in one, is 4 long, red velvet chaise lounge. The entire room 1s fashioned of deep red fabric. INCIDENTAL PAUL, # captain, 4s placing a bowl of white roses on the table, HE then X's L of doorway to await the arrival of NICK ARNSTEIN. NICK enters, looks at table. PAUL od evening, Mr, Arnstein. (NICK acknowledges greeting, X's DR, checking tne room, HE’ then tosses a blue marble egg, that HE has been holding, contemplating proper spot to display it, Decides on the dining table, X's U L and places it between the two place settings, Then, to PAUL) NICK "11 ring, Paul, Welre going to have @ little sherry be- fore dinner, . PAUL ery good, sir, (HE exits, NICK X's R to table, pours sherry Tastes 1t and approves it. X's back DL to dining table, checking bowl of white roses whilé waiting for FANNY,1-13-74 FANNY enters -- stops for a beat, chen, snape open her fan) NICK May I take your wrap? : (SHE X's D in front of him, turns her back to him and HE helps her off with her cape. As SHE turns toward him, HE looks at her, beau- tifully attired in @ blue dress) That color 1s wonderful with your eyes -~ : FANNY Just my right eye. I hate what 1t does to the MUSIC OUT i lett. (X's R above chaise, noticing it for the first time, Feels the material far R) Tell me are you planning to make advances? NICK (Xing Dc) I wasn't planning but it does seem possible. FANNY Before dinner or after dinner? NICK (Smiling) You look beautiful. (X's UL and places her cape on chair L of table) FANNY (Sitting on chaise) You don't have to make leading lady dialogue for me -~ I'm a comic. NICK Onstage. FANNY, That's where L Live -- onstage. NICK (Xing R to ner and sits to her L) Then youtre missing too much. FANNY You can't have everything, (Snaps fan open, rises and X's UL to tape)1-13-75 NICK. (Turning toward her) Of course you can -= if you insist on it. FANNY (Picking up blue marble egg from q table) Hey ~- somebody laid a blue marble egg on the table, NICK (Rises, X's U to FANNY) got that in Europe -- ages ago. (Taking ege from her), It's one of my favorite things -- so I thought you might ke it. (Hands it back to her) FANNY (Looks at him -- then beck at table) A blue marble egg -- (Places it back on table) te roses -- You went to a lot of trouble even though I told you I might not show up. NICK hoped you would! Just as I hope you like very dry therry = (X18 R to table) : FANNY I wouldn't know dry from wet, I never got past 3B ~~ enember? (As NICK pours sherry, SHE sits L, Xing legs quickly, first one way, then the other “- trying to find a suitable pose. As NICK returns with two glasses of sherry, SHE snaps to a position of dignity, sniffing the white roses, Sensing this activity, HE stops for a beat, X's L to tablé, handing her a glass. HE sits across’ from her; THEY clink glasses in a silent toust and THEY drink, SHE gulps entire drink in one shot and places glass on table as NICK sips his, After a second sip, HE places his glass gently on table) NICK 0 bad you never made 4B -- that's where they teach wine- tasting.1-13-76 (FANNY getting sick from gulping sherry, quickly fans herself, try- ing to’ recover her composure as NICK rises, X's to above table) NICK (Cont'd) I remember you very well, Fenny. Inquisitive -- interested in everything ~- so full’of 1ife you made everyone else look like a Sleepwalker, All the things you're trying not to be right now -- FANNY I used to impress very easily -- you were my first top hat. But I've met lots of you since then. I'ma little older, you know == NICK Funn y -- you seem so much younger, About eight, I'd say. 4 bad=tempered eight -- determined not to enjoy anything] Why? What are you angry about? FANNY (Rising, X19 R above chaise. Innocent1ly) Whots angry? I'm sorry 4f I'm -- disappointing you in some way, but what did you expect? That you could come waltzing’ into my life after ten months, say, "I have a week before I go to Europe" -= (sits) and have me fall into your arms? Nick (Xing D) Why dontt you answer the question? Why are you so angry? FANNY (with mounting anger) I'm NOT ANGRY! And why dontt you answer the question?! You think I should be flattere ecause this time your train isn't leaving tomorrow morning, This time, you have 8 week to kil]? Well, I'm not a kid at Keeney!s any more] You're not slumming ahy more| NICK (Xing Dc) Inever was -- and you know 1t1 FANNY Don't holler at me} NICK I'm not hollering -~ you are, FANNY That's different -~ I'm a natural hollerer| Anyway, I answered your silly question,1-13-77 NICK (Xing L and sitting next to her) No you didn't, my love, Because you got angry the minute jou saw me -~"before I said a word, And that’ surprised me s- because J 1it up like # Christmas tree when I heard you were here. FANNY (With self-derision) Just at the thought of great big wonderful me, huh? NICK Don't make fun of yourself, Fanny ~- you don't have to. (FANNY pulls herself up) Yes -- it was at the thought of you. And I didn't think of it as a week to Kill. I thought of it as a week to share. FANNY (after a beat, looking out front) Why didn't you turn up at my last two opening nights? NICK Iwas there, FANNY (Turning to bia) Why didn't you come backstage, NICK Because you scare me to death, I meet a lot of people and I forget them as easily as I meet them -- but I can't for- get you. FANNY (after a beat) Waybe we should -~ uhh -- order now. NICK Certainly. (HE rises, starts to X U, stops, looks back at her) If youtre sure you want to stay. FANNY Well, I -- I might as well have dinner, NICK Very sensible. , (Walks to door, rings buzzer, L of door, then kts D gust L of c. PAUL enters) 1 chink were ready mow, Paul --1-13-78 PAUL (Handing him an elegant menu) Caviar to begin with, Mr. Arnstein? (Opens his order pad) NICK No -- Pate Strasbourg, I think. Then a filet de boeuf, sauce bordelaise, hooks at FANNY for approval. HE shrugs and nods okay, as HE continues) ponmes de terre souffle, endive, and stemmed strawberries. Avery light bordeaux with the filet de boeuf -- (Hands menu back to PAUL) PAUL St. Emilien -- 1905? NICK Perfect. PAUL Thank you, Mr. Arnstein, (HE exits, NICK looks over at FANNY) - NICK All “right? PANNY (Shrugs) I would've ordered roast beef and potatoes. NICK (Smi2ing) T gia. (FANNY breaks up with laughter, HE X's DC) What's the matter? FANNY (St411 laughing) Boyl If I can't tell when youtre ordering roast beef and potatoes, how will I know 4f youlre making advances? NICK You'll know -= (SHE sits up quickly) I'll be mich more direct.1-13-79 OU_ARE WOMAN, I AM MAN" BY pes: NICK (Standing L of couch -- FANNY sitting at R) You MUSIC CUE (Singing) ARE WOMAN, I AM MAN YOU ARE SMALLER SO I CAN BE TALLER THAN (HE sits next to her and takes her hand. SHE pulle away from him, gets up and X's to back of couch and continues cireling around it L) YOU ARE SOFTER TO THE TOUCH IT’S A PEELING, I LIKE FEELING VERY MUCH YOU ARE SOMBONE I'VE ADMIRED (HE takes her R hand and brings to front of couch, SHE sits L of him and resists his atten- tions) STILL OUR FRIENDSHIP LEAVES SOMETHING TO BE DESIRED DOES IT TAKE MORE EXPLANATION THAN THIS YOU ARE WOMAN, I AM MAN BET'S KISS, (NICK slowly moves to her for kiss as PAUL knocks on the door. SHE flips open her fan, fans hin. HE X's UR to table es PAUL enters with pate) FANNY (Singing, facing front) ISN'T THIS THE HEIGHT OF NONCHALANCE, FURNISHING A BED IN RESTAURANTS (NICK, L of table, inaudibly tells PAUL, R of table to Get champagne, PAUL exits as NICK spreads pate on crackers) WELL A BIT OF DINNER WVBR HURT BUT GUESS WHO IS GONNA BE DESERT DO GOOD GIRLS DO JUST WHAT MAMA SAYS. WHEN MAMA'S NOT AROUND IT'S A FEELING, (Rises and X's to R of couch) OY VEY WHAT A FEELING1-13-80 (NICK walks DC to her) NICK A BIT OF PATE? FANNY I DRINK IT ALL DAY, (NICK returns to front of table as PAUL enters with champagne, two glasses and places them on table) FANNY, (Singing) SHOULD I DO THE THINGS HE'LL TELL ME TO IN THIS PICKLE WHAT WOULD NELLIE Do IN MY SOUL I FEEL AN INNER LACK JUST SUPPOSE HE WANTS HIS DINNER BACK (NICK X18 DC to L of couch as PAUL X's DL of FANNY with pate) BOTH DOES If TAKE MORE EXPLANATION THAN THIS (FANNY examines pate on plate. Takes one as PAUL and NICK return to table, NICK dismisses him, BOTH go to door as PAUL exits) FANNY JUST SOME DRIED OUT TOAST IN A SLIVER ON THE TOP A LITTLE CHOPPED LIVER (SHE hides pete under couch U R side as NICK X's D R to join her at couch. HE stops R of her and takes her hand) HOW MANY GIRLS BECOME A SINNER WHILE WAITING FOR A ROAST BEEF DINNER (NICK Kisses her hands) THOUGH MOST GIRLS SLIP IN ORDINARY WAYS I GOT STYLE I DO IT BORDELAISE WELL AT LEAST HE THINKS I'M SPECIAL =- HE ORDERED A LA CARTE (HE 1s kissing her left shoulder) IT's A PEELING I LIKE FEELING VERY ...1-13-81 FANNY (Cont'd) (Singing a8 SHE drops down to couch, half sitting on it) i FEEL THE FEELING DOWN “TO MY TOES (NECK sits to her R) NOW I FEEL LIKE THERE'S A FIRE HERE TRY THAT ONCE A LITTLE HIGHER DEAR (As HE kisses her back) WHAT A BEAST 'TO RUIN SUCH A PEARL (NICK places her across his lap) WOULD & CONVENT TAKE A JEWISH OIRL (SHE sits up, facing front) BOTH (Facing each other) DOES IT TAKE MORE EXPLANATION THAN THIS FANNY 000 THE THRILLS AND CHILLS GOING THROUGH ME (SHE 1s sti11 facing front as NICK kisses the R side of her neck) IP I STOP HIM NOW CAN HE SUE ME (During mate £111, THEY start_to kiss. PANNY stops -- pushes NICK MUSIC our away on musical cut off, SHE gets up from couch == backs away L ~~ sterts for door U -- stops -- sees sherry -- pours herself drink -- gulps it down, X's D to L of couch =~ dives onto’ couch, L of NICK. THEY kiss) LIGHT CUE . CENTER WINCH UPSTAG! ©: BLACK VALOUR DROP OUT LIGHT CUE MUSIC CUE QUENT CHANGE OF SCENE1-14-82 ACT ONE Scene 14 Baltimore Railroad Terminal. SL -- open gate with sign "Chicago." SR -- similar gate with sign "New York." UL of C is a bench with MEMBERS of the Follies, seated, US -- Picket windows and executive offices. aD RISE: JOHN, the Stage Manager, 1s L checking in MEMBERS of the Follies, going to Chicago. GIRL DANCER #1 (S R Xing L) Why do we always leave in the morning? BOY DANCER (Following her) “Don't complain -- it's Baltimore wefre leaving! (THEY exit L) ACTOR (Pacing, R of C) Danmit, I know I've forgotten something! GIRL DANCER #2 (Seated on bench, rises and X's L of JOHN) John, why can't we go home for a few days? JOHN Because wetre putting in new numbers in Chicago -~ that's why you cantt go home} Come on, kids -- (To OTHER PERFORMERS who start , exiting L on to train) get on the train and settle down! ACTOR . (Turning to JOHN) John, can you think of anything I've forgotten? JOHN Where's your wife? ACTOR Oh my God}1-14-83 4 ACTOR (Cont ta) (HE turns and starts out R, bumping into ZIEGFELD, entéring R with his STAGE DIRECTOR) #411 you watch yourself, stupid?! (X's R below ZIEGFELD. Then, in a small volee, seeing who it’ 1s) Oh my Godt (Exits R 2 as EMMA enters L 1) JOHN (Seeing ZIEGFELD) That's Drawing Room B, Mr. Ziegfeld. (ZIEGFELD grins, exits L 1, STAGE DIRECTOR X's to JOHN, then exits L 2, EMMA goes to JOHN. CATHY and VERA enter R 2. EDDIE enters R 2, X's down R of C and sees EMMA talking to JOHN) EDDIE Bnma} EMMA (X's .R to EDDIE) Badtet (FOUR of the FOLLIES GIRLS gather around EDDIE) CATHY (R of EDDIE) Look who's ‘here{ VERA (L of EMMA) A New York facet (THEY hug, etc.) EMMA What are you doing here? EDDIE I thought I'd surprise Fanny r- ride part of the way with her, Is she on the train? VERA Not yet. (PORTER enters R 2, pushing fancy luggage on cart)1-14-84 MMA She -- uhh ~~ wont for a little walk. (Turns away quickly; seeing PORTER, calle L) Yohn, will you take care of Miss Brice!s luggage? {PORTER continues DS, L of Cc) JOHN (Xing down to L of Cc) You meen that moth-eaten collection of old cardboard boxes she ~~ (JOHN stops at R of luggage -- ALL look at it -- JOHN whistles) -Monogrammed yet! EMMA She bought them yesterday. | (MESSENGER enters R 2, X's DR of C, carrying champagne and picnte hamper) MESSENGER Kise Fanny Brice? (Xts_R to him) in, I111 take that --' (Takes champagne and picnic nye from him as HE exits Re EDDIE . (To GIRLS) 88 Brice drinks champagne now? VERA jell -- times change. ‘ EMMA 111 see you on the train, Eddie, ~Came_on,—porter—— (SHE exits L 1, followed by PORTER, EDDIE’ looks at GIRLS) EDDIE : ning walks, monogrammed luggage, champagne -- how ys Nick Armstein been around? (CATHY X'8 L above EDDIE to VERA) ‘VERA was supposed to be a week ~- but he stayed through run,1-14-85, CATHY He isn't going co Chicago with us, though. He's going to New York and then Europe, So therets nothing to worry about. EDDIE (With a shrug) Whots worried? VERA Iam, I'm always nagging at her to go out and have some fun -- 80 in Baltimore she went out and had some fun} EDDIE (After a beat) Wel] -- let's go drink our health in his champagne. (ALL start off L) ffhav's called Ryan's revenge. Come on kids -- (THEY exit L 1 as TWO OTHER SHOWGIRLS enter R 2, ONE carrying @ covered bird cage, Xing L) JOHN Come on, girls -- you don't want to be left in Baltimore, ao you? TWO SHOWGIRLS Baltimore -- Ughl (GIRLS exit L just as FANNY, loaded with peckages, a stuffed toy and balloons entérs from R 2 followed by NICK, carrying more of FANNY's packages. A PORTER, with two valises belonging to NICK, follows UR of C) FANNY (Seeing JOHN) john -- help! JOHN Hey, Fanny} (ts R, meeting FANNY C, takes s irom her and Nick) FANNY Iuish I'd bought the whole thing! It's the most beautiful eity in the world! (Turns to NICK at her R as JOHN exits L) Yuet aia you co == ouy up half of Beltimore? LIGHT CUE1-14-86 FANNY (Contd) Be 4 sport -+ forget you lost your ruffled shirt on a race -~ come beautify Chicago with mel TRAIN ANNOUNCER (orrstuce) Train for New York ~~ Track 8 ~~ Board! (WOMAN leaves ticket window U R and exits R 1, NICK gestures to PORTER who has his luggage. PORTER exits R 1 to New York train) NICK (Turning to FANNY) Sorry, darling -- that's mine] You'll have to improve Chicago all by yourself -~ FANNY It doesn't bother you that Monte Carlo won't have me -- and Chicago will? NICK You know it bothers me, But -- for the hundredth time -- Monte Carlo has a deal waiting for me, and Chicago hasn't, FANNY (X's R below NICK) There must be a law about youl You can't Just walk in, change my whole life and walk right out of itt NICK (Xing R to her, swinging her around) I'm going to walk right back into it, with a fortune in each hand, Just as fast as I can, P FANNY Another definite date, huh? Like last time! NICK Not a bit like last time, FANNY What's different? NICK T Jove you. PANNY (Stares at him) Do you mean that? You're not just trying to be polite -- (A pause, then, backing away R, not iooking at’ him)1-14-87 FANNY (Cont'd) Nick, I'm good friend of yours. And in a dumb way, I'm kind’ smart. So I'm going to tell you what you ought to do. You ought to marry me, NICK (Steps R) Fanny -- . FANNY (Going to_him) You don't have to, I'm all yours anyway. The kind of wife I'd bé, you wouldn't believe! Look at my past record s= no error’, no strike-outs, nothing! That means -- no bed habite! “I'd be learning’ the part fresh -- your way] Besides that, I'm lucky! (Pushing NICK to C) dnd I'd be lucky for youl What could be better for a gambler than a lucky wife?! (A WOMAN enters R 2, X's to ticket window, JOHN re-enters L 1 and Joins COUPLE U L) NICK (Throwing his arms around her == laughing) We'll talk about it when I get back -~ loaded with money. FANNY Let's talk about it now -- NICK (‘Jith amused exasperation) Now listen, Fanny. (vaicing “hold of her) Igo want to marry you, but not when I'm broke. I want to be the head of the houge, So that no one can say I married you because you're rich and famous You're a big strong girl, awfully used to getting your own way -- but welre going’ to do this my way or not at alll FANNY (After a beat, obediently) Yes, Mr. Arnstein, Whatever you say. NICK, (Beginning to smile) p Just remember that. TRAIN ANNOUNCER (offstage) last call, Train for New York -- Board! (WOMAN leaves Ticket Window and exits R.1-14-88 TRAIN CONDUCTOR enters R 1, goes to gate to close it) NICK . (Kissing FANNY) ‘I love you, and I'll be back. HE starts out R 1 -- looks back. FANNY waves, HE smiles and exits. gousueron cloves gate and exits R2 FANNY. (acter long deliberation) Jobnt Get Enmal I want #11 my luggage off that trein} JOHN (Turning toward her) What?y FANNY Get my lugeege off that train] I'm not going to Chicago! (JOHN stares as FANNY rushes to ticket window UR, fumbling for money) When is the next train to New York? (JOHN exits L 1) TICKET SELLER One just left -- there'll be another one in fifteen ninutes, FANNY, One ticket. How much is it, please? PICKET SELLER Five twenty-three, (SHE counts it out, gets the ticket Just as EDDIE and EMMA rush back in from L 2. EMMA stops L of C) EDDIE (R of bench) Panny! FANNY (Xing D to L of EDDIE) Eddie! For Pete's sake, where aid you -- EDDIE Just where do you think youtre going?!1-14-89 (ANOTHER PORTER enters R 2, fol- lowed by the FIRST GOUPLE (DANCERS), who stop L of Cc) FANNY To Monte Carlo with Nick Arnstein! Porter, porter -- get those bags off the train for me. Emma -~ help. (PORTER follows EMMA off L 1) EDDIE Do you know what you're doing? fy ’ (VERA enters L 1) i FANNY Listen, it took him ten months to get back from Kentucky! 4 If I wait for him to come back from Monte Carlo, I'll be an old lady (Goes UR to pick up ticket) EDDIE Did he ase you to go with him? FANNY Yo! But hetll be glad} (X's L, looking for luggage) EDDIE Ave you out of your mind?. Haven't you any pride? FANNY I guess hot. I love the guy, he loves me, end I want to be with him -- it's just that simple! VERA (DL) How do you know he loves you? FANNY: He told me, that's how I know! Why? Is 1t so impossible? {SHE X's to R of C as EMMA, carry- ing toy, baloons and packages, enters L 1 and Xts to L of C with PORTER following her, pushing lug- gege to R of C. HE then exits UR 2) EDDIE | only -~ well, you don't know one ‘dann thing about him except that he's good-looking, wears 1 fancy clothes, tulxa big and struts around as if he owns : the world] And if you don't think that can't be an act, youtre crazy! of course not, honey1+14-90 ZIEGFELD (Entering L 1, X's to C followed by STAGE DIRECTOR) Yenny, have you forgotten you're going on tour with this show? 1 (The ACTOR and bis WIFE enter L 1, X to L of C as OTHER MEMBERS of the "Follies" gather) FANNY I didn't sign a contract, Flot . ZIEGFELD You know I counted on youl . FANNY But the tour doesn't depend on mel You have five other top names, and a week in Chicago to make adjustments -- ZIEGFELD You're being completely selfish, completely ungrateful, completely -= FANNY Fio, wi11 you simmer down, before your ulcer starts flaring up? ZIEGFELD that's funny, coming from youl You gave me this ulcer] FANNY, (X18 L to ZIEGFELD) Flo ~- Listen} I work hard, and I love the theatre! It's vonderful to hear an audiente applaud, but you can't take am audience home with youl I want a personal life too -- and I'm going to have it) (Xts R to luggage) oh my Godt ZIEGFELD It's inconceivable, it's unprofessional! And as for Nick Arnstein, 1¢ you want my opinion of him -- FANNY (Swinging 4round) Idontt| I'm going, and there isn't a single thing you ZIEGFELD fanny, 1£ you do this, I'm through with you] And I mean HE starts out L 1) FANNY You mean it now! If you mean it later, I'11 be sorry! { \ jean ‘Jo sbout 4t =- i itl }