A lI fA. ‘The American Musical and Dramatic Academy Performing Art Library Libretto Collection Hallelujah Baby! Styne/ Comden & Green (1967) NOTES: Missing rs. 2-I-7 OCT 13 2006 211 West 61" Street, New York, NY 10023 (212) 787-5300 (800) 367-7908 Fax: (212) 787-0848 www. AMDA.eduHALLELUJAH, BABY! —__ Book by Arthur Laurents Music by Jule Styne lyrics by Betty Comden and Adolph Green NOTICE: DO NOT DEFACE Should you find it necessary to mark cues or cuts, use a SOFT LEAD PENCIL ONLY. Erase all markings before returning. NOT FOR SALE. This book is rented and remains the property of: “PROPERTY OF JEFFREY DOW Copyright {212)245-3166/857; 9th: Avé-N¥C 10019 - CO--5-3600—-~ -Ped ati Scene 1 The curtain rises on GEORGINA, a pretty young Negro girl with an open umbrella, INTRODUCTIO! GEORGINA (Zo the audience) My name is Georgina. I'm a lucky girl; I always have been =~ even when I didn't know it. Like tonight: we cover a lot of time. We go from the turn of the century through the 20s, 30s, 40s, right up to this minute: 60 years! But you know what? I stay 25! That's nice for a girl. Nobody else gets any older either -- including the fellas. But there are lots of things that do change ~~ like fashions -- and possibilities -- and the weather changes. (SHE twirls her umbrella) Especially for a lucky girl like me. Oh -~ (SHE puts one hand up, and the music stops) ~~ and the music changes. (Banjos play "BACK IN THE KITCHEN". To the CONDUCTOR) Thank you. (Calling to the wings, opposite) Ready, Momma? MOMMA (Off) Ready! GEORGINA (To the audience) See you around the turn of the century. (GEORGINA exits as the suggestion of a sunny kitchen in a big house in a small city comes in. And we are in: THE NINETEEN HUNDREDS MOMMA, a big Negro Woman, enters carrying a basket of laundry and calling:)MOMMA Georgina! Georgina, where is you at? (Bell rings off. SHE turns and shouts in an exaggerated "Uncle Tom" manner) Yes, ma'am, I'se a-comin'! (Turns back) Georgina, when I calls you, you comes. (sings) BACK IN THE KITCHEN PICK UP YO" PAIL (During this, GEORGINA, dressed as a Negro maid, enters carrying a mop and pail) BACK IN THE KITCHEN, YO" MOP AIN'T HANGIN' ON A NAIL. PUT ON YO' APRON, KEEP THE SKILLET WARM GIT BACK IN THE KITCHEN AND GIT BACK IN UNIFORM. (Speaks) Daughter, yot nd made al position ez under -- a -- apron. GEORGINA That ain't growin’ up, that just growin' old. MOMMA Mop! GEORGINA (Mopping the floor) Momma, I been moppin' this floor for years, and it ain't even mine. I been hopin' to mop it clean outa existence but it dawnin' on me that I is the one gettin' mopped up. » (Bell rings) MOMMA exaggerat GEORGINA Outside, lookin’ for Clem, oh Momma, him and me been savin' to buy us a weddin' house -- MOMMA, _ Stop right there, missy, You aimin' to get married?1-1-3 GEORGINA Yes, ma'am, | GEORGINA Clem ain't no boy. He's a man! i ‘MOMMA GEORGINA Yes. a | MOMMA. | GEORGINA I promise. | GEORGINA (Mimicking her) Yes, ma'am, I'se a-comin'! You don’ oringe enough, GEORGINA : No? MOMMA, GEORGINA Mop, you gotta understand Momma was born a slave. She just scared of white folk like she scared to want. But my private — ein -ist—-you-never-start wantin';-you never start ~~ gettin’, . .1-1-3a, GEORGINA I know, Momma, but that don't seem to stop me from wantin! a lot more'n I got. ma MOMMA GEORGINA You just gonna say I is crazy. (CONTINUED)11-4 MOMMA Sew Well Momma, I want ... (Sings) I WANT A DO' THAT BELONGS TO ME. I WANT A BED THAT BELONGS TO ME. I WANT TO KNOW WHEN I CLIMB INTO BED q I'LL WAKE UP IN MY OWN MORNIN', q A MORNIN' THAT REALLY BELONGS TO ME! GEORGINA 7 I WANT A PLO' THAT BELONGS TO ME. I WANT A CHAIR THAT BELONGS TO ME. I WANT TO KNOW WHEN I ROCK IN THAT CHAIR I'LL LOOK UP AT MY OWN CEILIN' AND OH, WHAT A FEELIN' THAT'S GONNA BE! THE GOLDEN HOURS WAITIN' IN A LINE, I CAN PICK LIKE FLOWERS HANGIN' ON A VINE! AND ON THAT DAY THAT BELONGS T0 ME, I'LL HAVE THE MAN THAT BELONGS TO ME TO SHARE THE DO' AND THE FLO’ AND THE BED AND THE CHAIR AND MY OWN MORNIN‘ WHERE EVERY HOUR IS GOLDEN NO ONE TO WHOM I'M BEHOLDEN A MORNIN' THAT REALLY BELONGS TO ME. | AND OH, WHAT A FEELIN' THAT'S GONNA Bl THE GOLDEN HOURS WAITIN' IN A LINE I CAN PICK LIKE FLOWERS HANGIN' ON A VINE! AND ON THAT DAY THAT BELONGS TO ME, I'LL HAVE THE MAN THAT BELONGS TO NE TO SHARE THE DO' AND THE FLO’ AND THE BED AND THE CHAIR AND MY OWN MORNIN’ WHERE EVERY HOUR IS GOLDEN NO ONE TO WHOM I'M BEHOLDEN =~ A MORNIN' THAT REALLY BELONGS TO ME BELONGS TO ME -~ BELONGS TO ME. 2 MOMMA I am now gonna repeat mahself: Georgina, you is crazy. Yo' own floor? Yo' own door? Girl, yo' only place is in someone else's house and yo' choice of doors is stirckly restricted to the back. Mop!1-1-5 CLEM Is the coast clear? GEORGINA Clem! Come in, honey! {an attractive young Negro enters in a Pullman porter's uniform) CLEM My friend -- and my foe. MOMMA Yo' foe is leavin' the field. (SHE goes) CLEM She been givin' my pretty girl a hard time? (Kisses her) GEORGINA It don't matter now. (HE kisses her again) Iwas tellin’ her about our weddin' house ~~ CLEM Hey, if we gonna go downtown, we better go ‘fore the streets close. GEORGINA Clem -- CLEM Sundown's arrivin'’, honey -~ GEORGINA : Did you fo'get? CLEM pid I fo'get what? GEORGINA fo make the payment on our weddin' house? CLEM Has I ever fo'got anythin’ of real importance? Last evenin', I was out.an' runnin'! ‘Fore that Pullman car stopped in the station, Yo' money an' mine was bouncin' hard an' happy in my pocket! Only ... didn't bounce high enough, honey. GEORGINA What you mean?1-1-6 CLEM Too many folks wants clean new houses. The price was raised like it was Christmas ... We still got my room -- with visitin' privileges. GEORGINA That ain't a weddin' house. We gotta save til we get one, so no downtown for us. I'11 put our money back under my mattress till we make some more, . CLEM No, you sleep comfortable. I'll put it under mine. GEORGINA (Too sweetly) You kind, darlin‘. CLEM Thank you, GEORGINA (Sharply) Where'd you go after you found out about the price? cLEM What was that, honey? GEORGINA Never mind, I got it, cLEn You got what? GEORGINA I got nothin' more to hear -~ I know where you went, why you went, an' where an why our money went! You played poker -- an' with your face! . cCLEM You don't know nothin’! I wont (Music starts) GEORGINA You won? cLEM Yeah ... (Singing) I WON, I WON, I WAS KISSED BY LADY LUCK YOU SHOULD HAVE SEEN THE TAKE LIKE A GIANT WEDDING CAKE _ ~“I-WON,-IT-WON ‘THAT'S WHAT” I DONE OH YES I WON.1-1-7 (Music continues under) GEORGINA You won. cCLEM Honey, it was a real high class game. Two white gentlemen was in it and I cleaned them out first. GEORGINA You really did win! CLEM Sure! _ GEORGINA But why you got such a funny look? CLEM Well, I won in a funny kinda way. But I won! And I.got my provers to prove it! Come in, gentlemen. (HE beckons to four young Negroes ~- his PROVERS -- who come in carefully) Now did I win? PROVERS Oh yeah! (Singing) OH, HE WON, HE WON, HE WON, HE WON THAT'S WHAT HE DONE OH YES, HE WON, HE WON, HE WON, HE WON, THAT'S WHAT HE’ DONE LADY LUCK, SMILED ON HIM OH, YES HE WON, OH YES, HE WON, CLEM (Speaks) : Iwas just about to rake in my money pile when -~ (Knocks on table) FUNNY THING THIS WHITE POLICEMAN COMES RIGHT IN AND SAYS "GOOD EVENIN' FOLKS" PROVERS EVENIN' CLEM THEN HE PASSES OUT SOME SMOKES AND THEN WE SWAP SOME SPICEY JOKES PROVERS oH! HO!1-1-8 CLEM SUDDENLY HE SHOWS US HIS POLICEMAN'S GUN AND SAYS "OH, BY THE WAY" (Puts "gun" to his head) IT'S THE CUSTOM OF THE LOCAL FOLK TO SHARE THE WEALTH WITH SERGEANT GRAY, PROVERS HE TOOK A SLICE cCLEM HE TOOK A SLICE PROVERS RIGHT OUT OF THE CAKE CLEM RIGHT OUT OF THE CAKE PROVERS RIGHT OUT OF THE TAKE cLEM RIGHT OUT OF THE TAKE PROVERS RIGHT OUT OF THE CAKE cLEM RIGHT OUT OF THE CAKE OH, IT'S THE CUSTOM OUT THTS WAY PROVERS. HE SAYS CLEM TO SHARE WITH SERGEANT GRAY . PROVERS HE SAYS cLEM WHEN EVER THERE'S A GAME OF CARDS OR DICE PROVERS HE TOOK A SLICE BUT HE WON, HE WON, HE WON, HE WON THAT'S WHAT HE DONE OH, YES HE WON, HE WON, HE WON, HE WON THAT'S WHAT HE DONE LADY LUCK SMILED ON HIM OH YES HE WON, OH YES HE WON.1-1-9 cLEn (speaks) But -- (Knocks again, Sings) FUNNY THING, IT'S GOOD OLD SERGEANT GRAY AGAIN AND AS GRACIOUS AS YOU PLEASE AND AGAIN HE SHOOTS THE BREEZE AND SO HE PUTS US AT OUR EASE. PROVERS (Speak) Relax! CLEM SUDDENLY, THE SMILE IS GONE FROM OFF HIS FACE AND WE WONDER WHERE IT WENT AND THEN HE PUYS ON THIS WHITE PILLOW CASE AND WE KNEW JUST WHAT HE MEANT, I SAID ... TAKE A SLICE .., (Gesture of scooping money off table and offering it) HERE, TAKE ANOTHER ONE FOR YOUR BROTHER AND YOUR GRAY HAIRED MOTHER! PROVERS AND FOR THE CHIEF OF THE POLICE! cLEM A SLICE! (Gesture of giving slice away) PROVERS AND FOR THE MAYOR'S FAVORITE NIECE cLEM A SLICE! Fe AND THEN TO FEED THE STARVIN' BIRDS WHEN WINTER COMES . PLEASE TAKE THE CRUMBS! PROVERS BUT, HE WON, HE WON, THAT'S WHAT HE DONE. CLEM OH, YES I WON, OH, MY POCKETS MAY BE BARE BUT THE GLORY STILL IS THERE PROVERS AND CLEM OH YES HE (I) OH YES HE (I) OH YES HE (I) won!1-1-10 GEORGINA Well -~ in the future, I suggest you don't make a habit of winnin', MOMMA, (Enters) I wasn't aware I was havin' a social event. The mistress on her way down so you clear out quick. (To GEORGINA) And you ... You wanna get outa the kitchen? Well, go out on the porch = and mop! (GEORGINA picks up the mop and pail as PROVERS exit singing, followed by GEORGINA and CLEM) PROVERS OH, HE WON, HE WON, THAT'S WHAT HE DONE OH YES, HE WON, HE WON THAT'S WHAT HE DONE. (MOMMA and kitchen go off, and porch steps come on) GEORGINA Clem, you laugh and you makes me laugh and I likes to laugh. But I'm scared I'm gonna die laughin' in someone else's kitchen. CLEM No, you gonna die laughin' in our kitchen! GEORGINA Oh, Clem please hurry. This mop is gettin’ so attached tome, I think it gonna ask Momma for my hand! CLEM Ain't nobody gonna hold this hand but me, Pullman porter's a good job ... but you don't think it's good enough, do you? GEORGINA You're good enough. CLEM (Looks at her and grabs her to him and says tenderly) Oh, honey, I wish everyone was as crazy as you. (Then HE kisses her and exits) GEORGINA Look here, mop, you think the climate ever gonna get any better for Clem-and-me?11-11 (A well -- if slightly flashily => dressed young white man enters, carrying a banjo: HARVEY. HE stops behind her, listening) GEORGINA (Continued) No, I don't think so neither, mop. It looks like we jes’ ain't arranged to get any place, HARVEY What place you wanna get? GEORGINA (Whirls around, frightened) Afternoon, suh. HARVEY Afternoon, what's your name? GEORGINA Georgina, suh. (Curtseys) HARVEY You like being a maid, Georgina? GEORGINA ("Uncle Tom") Yessuh! (Curtseys) HARVEY Really? GEORGINA Oh yessuh! (Curtseys) . HARVEY Look, I don't want a maid so don't be afraid to tell me the truth, Now: do you really like being a maid? GEORGINA Yessuh! (curtseys) HARVEY All right. But would you like to be something else? GEORGINA Would It! (suspiciously, quickly) Like what?11-12 HARVEY Say "Miss Betty Lou, Miss Betty Lou" -- loud. GEORGINA "Miss Betty Lou! Miss Betty Lou!" HARVEY Louder. GEORGINA "Miss Betty Lou! Miss Betty Lou!" why? HARVEY (Grandly) I have just acquired the Bijou. GEORGINA The Bee who? HARVEY The Bijou. The big theatre downtown. GEORGINA Oh yeah. I don't know it. HARVEY Well you will; the whole town will. For my first attraction. Zam bringing in a play that's made them cry in all the big cities. GEORGINA My: HARVEY I have to provide a couple of local actors for small parts. I have just decided to provide you, GEORGINA Excuse me, suh: but I'se colored HARVEY That's all right. The play is about The War Between The States. GEORGINA But ‘they don't allow no colored folk on the same stage with white folk, Not even when they supposed to be colored folk. HARVEY It's my theatre. Can you play this? : GEORGINA Oh, yeah!1+1-13 (SHE holds it upside down. HARVEY changes the position) HARVEY By when? GEORGINA By when does I have to? HARVEY By the end of next week, GEORGINA Yessuh! HARVEY Bijou Theatre, Ten tomorrow morning. GEORGINA Yessuh! (Curtseys. HE starts to go) Oh, Mister -- HARVEY Harvey. GEORGINA Mr. Harvey ... (Almost an actress already) What part is I gonna play? HARVEY A maid, (HE goes) GEORGINA (A musical tremor, SHE calls) Momma! Oh, Momma gonna kill me! (To the mop) Well, better her than you! Mop, pail, steps, kitchen -- Good-bye -- I'm getting that wedding house for Clem and me. "Miss Betty-Lou! Miss Betty-Lou (As SHE named the places, the pieces go off. SHE walks off, "rehearsing," as the music comes up, Downstage, part of a row of gas footlights comes on; upstage a flatly painted piece comes in xepresenting the front of "Tara" with a skeleton-framed doorway.1-1-14 Through the doorway comes a very blonde Southern belle -- MIss BETTY LOU ~~ and her two suitors: CAPTAIN YANKEZ, a Northern officer, and MR, CALHOUN, a Southern gentle- man. Both men are calling: "Miss Betty Lou! Miss Betty Lou!") CAPTAIN YANKEE Miss Betty Lou, please, ma'am! MR, CALHOUN (very Southern) Cap'n Yankee, please, suh! I am sure Miss Betty Lou appreciates yo' fervor but she cannot marry both of us. BETTY LOU Oh no! MR, CALHOUN I am sure she does not like the prospect of leavin' this plantation which has been her home, her very life! BETTY LOU oh not (A cannon shot from off stage) MR. CALHOUN What was that? (Through the doorway runs GEORGINA now wearing pantaloons, oversize white gloves and a topsy-like wig of black wool tied with dozens of rags. Her acting is exaggerated Topsy) GEORGINA : Miss Betty Lou! Miss Betty Lou! Dey has fired on Fo't Sumter! De War has done began! (Music, HARVEY appears as a "Slave" butler -- in wig and black face -- with two banjos, one of which HE hands to GEORGINA) MR. CALHOUN Miss Betty Lou, you no longer have a choice. BETTY LOU Oh not1-1-15 CAPTAIN YANKEE understand loyalty, Mr. Calhoun. Farewell, ma'am. (HE kisses her hand, salutes and goes) MR. CALHOUN Time, Miss Betty Lou, Time changes all things but my choice -- which is and always will be -- you. Farewell! (Kisses BETTY LoU's hand and looks over to GEORGINA waiting for music) Farewell! (A step toward GEORGINA and HARVEY) FAREWELL! (HARVEY, who has been trying not to break up at GEORGINA'S enjoy- ment of this love scene, now nudges and SHE begins to strum her banjo. And THEY all sing) ALL FAREWELL, FAREWELL FAREWELL, FAREWELL BETTY LOU HARVEY AND GEORGINA COME BACK SOON HMMMMM HARVEY AND GEORGINA MASSA BILLY, MASSA BILLY BETTY LOU, HARVEY AND GEORGINA HEAR US SAY BETTY LOU HARVEY AND GEORGINA WE'LL BE HERE HNMMMM, MASSA -BILLY ALL WAITIN' POR THE BIG : COMIN’ HOME DAY BETTY LOU HARVEY AND GEORGINA MR, CALHOUN COME BACK SOON FAREWELL, PAREWELL, MASSA BILLY, FAREWELL WE'LL BE HERE, MASSA BILLY. ALL WAITIN' FOR THE BIG COMIN' HOME DAY. (CALHOUN kisses BETTY LOU and exits, leaving her in "tear: The front lights go out, indi= cating that the curtain hascome down, ‘The COMPANY hastens into a line for its bow -- except GEORGINA who is stuck in back and is trying to get her head out for a bow. The light on the "stage" then changes to the impression of general stage lighting; scenery starts to fly out, other scenery is toted across by STAGEHANDS, trunks appear being trundled across; and the "ACTORS" begin dispersing. HARVEY is taking off his wig and giving it to wardrobe woman who has a towel and mirror for him, so HE can be taking off his make- up as GEORGINA comes up) GEORGINA Mr, Harvey -~ was I satisfactory, suh? HARVEY Georgina, you were -- original. GEORGINA Oh, I hopes that means good, suh. ‘Cause I just loved it! You see, me bein' a person of a over-abundance of color an' a under-abundance of education, it seem my choice of profession is limited to bein’ a maid who do the cleanin‘ an' a maid who act like she do the cleanin’. Well, ™ Harvey, my personal preference is for the maid who act like she do the cleanin’ CHARLES ‘ (A pleasant strong man enters with his giddy wife) Harvey -~ HARVEY Mrs. Charles. Mr, Charles, How'd you enjoy the show? CHARLES. Harvey, do you want to keep your lease on this theatre? HARVEY I knew I forgot something! I'll have the rent for you first thing in the morning, Mr. Charles ~~ CHARLES. I'm not talkin' about rent -- yet. I'm talkin’ about that person, Get rid of her, Harvey. Folks don't like it.MRS, CHARLES (Giggling) qt made me sick to my stomach, HARVEY Mrs. Charles, I have a stomach remedy I'd be happy to recommend == CHARLES q don't want that in this theatre, Harvey, and I own it, an I clear? HARVEY You are always clear, sir. CHARLES Good. (Taking MRS. CHARLES' arm) By the way, we thought the show was just terrible. MRS, CHARLES Just awful. Bye, (THEY go. HARVEY looks at GEORGINA and manages a smile. SHE grins. HE slowly starts to her) HARVEY Georgina .., GEORGINA Yessuh? MARY (Znters in her "Tara" costume) Harvey, could you get someone to fix the door to my dress~ ing room? I mean, so it'll open? HARVEY I'll open it for you, Mary. MARY Oh good, and you can take me to supper afterwards. HARVEY That I can't. MARY Oh, Well I've been eating too much anyway. (Starts out but:) : ‘GEORGINA I'se sorry about that banjo thing, Miss Mary Lou,1-1-18 MARY Georgina, I don't know why you insist on calling me Miss Mary Lou when you know my name is Miss Mary, GEORGINA Miss Mary? Miss Mary? Uh-uh, That don't sound pretty. Miss Mary Lou. MARY oh you, people! (Goes off) GEORGINA I'll learn that banjo thing right and good, Mr. Harvey. Don't you worry. HARVEY Well, the truth is CLEM (Enters) Ain't you ready yet. I beg pardon sir. Georgina. GEORGINA No, I ain't, Mr, Harvey, this is Clem. HARVEY We've met. GEORGINA You has? CLEM Yes, indeed. How the cards been treatin’ you, Mr. Harvey, suh? HARVEY Not much better, Clem, cLEM I wants to thank you again for tryin' to help the night that policeman bust up our game. HARVEY Forget it. cLEM An! T also wants to thank you for allowin' my Georgina to appear in yo' theatre. HARVEY v Don't. Georgina, I'm afraid I'm going to have to let you go.1-1-18a GEORGINA Then I wasn't good. HARVEY You were fine but -~ the truth is: I just rent this theatre. And the man who owns it ... GEORGINA Oh. Sure. Well, I understands, Mr. Harvey, sir. (Hands him banjo) HARVEY I tried. GEORGINA Yeah, Suh (HARVEY looks at her, then goes CLEM You was supposed to say ‘thank you’. GEORGINA Yeah. Suh. cum You comin'? GEORGINA (Imitating MOMMA) Yessuh, I'se a~comin', CLEM Honey ... GEORGINA There goes our weddin' house. CLEM We'll get itt GEORGINA When? CLEM When? GEORGINA Yeah --1-1-18B cLEM (Sings) WHEN? WHEN? WHEN? WHEN? WE SURE AIN'T MOVIN', OUR CHANCES AIN'T IMPROVIN', WHEN? WHEN? WHEN? WHEN SOON, BABY, SOON. BUT, LIKE WHEN, BABY, WHEN WILL I HEAR THAT WEDDIN' TUNE? WHEN THE SUN IS HIGHER AND WHEN THE STREETS ARE DRYER, YES, WHEN THE WEATHER'S BETTER, WE'LL GET TOGETHER, YOU AND ME. BUT LOOK AROUND, MY PET. THE RAIN IS RAINING UP TO OUR KNEES, AND WHEN YOU'RE SOAKING WET, THE VERY WARMEST OF FSELII SO WAIT TIL SKIES ARE BLUER, AND WAIT TIL FLOODS ARE FEWER, YES, WHEN THE WEATHER'S BETTER WE'LL. BE TOGETHER. DOWN THE AISLE, WE'RE GONNA GO! DRESSED IN STYLE, WE'RE GONNA GO! HEY, YOU WEATHER MAN! GET US TOGETHER MAN! MAKE THE WEATHER BETTER! WELL, LOOK AROUND, IT COULDN'T GET WETTER! HURRY UP, IT'S GOT 10 GET BETTER! MAKE IT SO MY BABY CAN GET HER GUY YOU HEARD ME, DOWN THE AISLE WE WANNA GO! DRESSED IN STYLE WE'RE GONNA GO WON'T YOU CHANGE YOUR TUNE? CAN'T HAVE NO HONEYMOON TIL THE WEATHER'S BETTER AND WHEN THE STREETS ARE DRYER, AND WHEN THE SUN IS HIGH IN THE SKY. CAN FREEZE. (After the song, HARVEY returns) HARVEY Georgina, I've got your money =- for the whole engagement. GEORGINA No, suh. No, thank you, suh. HARVEY But what are you going to do? Where are you going to go?1-1-19 MOMMA (Off; sings) BACK IN THE KITCHEN .., PICK UP YOUR PAIL GEORGINA I ain't goin' back in no kitchen! CLEM Hush, honey, GEORGINA I will not hush CLEM Sweetness should come natural to a woman. GEORGINA All sweetness get me is a mop an' a pail! That ain't what I want! HARVEY Then this is the wrong town, Georgina. You better go someplace where there're more chances for you. cLEM Ain't no place where's there's more chances for you. (As the lights dim and the MEN disappear behind her with the scenery (CONTINUED)1-1-20 GEORGINA (To the audience) The gentleman says this is the wrong place for me. Well, this is not only the wrong place, it's the wrong time! $0 you know what I'm gonna do? I'm gonna move on and out! (Calls off) Momma, start packin'! Come on! We're movin'! (fusic and light hit bright and full, SHE lifts her skirt and begins an exuberant Cake Walk across the stage. MOMMA comes on with a suitcase, follows her and joins her in the step just before THEY both exit. The banjo sound of the period is replaced by the loud blare of Jazz and we are in:)1+2-21 act or Scene 2 Suggestion of a nightclub; cutout of a bandstand; a table upstage with WHITE PATRONS in elegant Twenties dress. ‘TWO NEGRO WATTERS are setting up a table and chairs downstage for a party of four ushered in by a WHITE HEADWAITER~ BOUNCER: MARY, a SUGAR DADDY and an ELEGANT YOUNGISH PRINCE and PRINCESS. During all this a pair of NEGRO TAP DANCERS is singing away: ANNOUNCER Ladies and Gentlemen! SUGAR DADDY Shut up! ANNOUNCER The 711 Club offers for your delectation and delight Tip and Tap and the congo cuties in "Feet Do Yo' Stuff", Let "em have it! TIP AND TAP NOW YOU TURN TO THE LEFT ... CLAP CLAP NOW YOU TURN TO THE RIGHT SNAP SNAP NOW YOU'RE TRAVELIN' LIGHT ... TAP TAP FEET DO YO' STUFF NOW YOU'RE CLICKIN' YO' HEELS .,, CLAP CLAP NOW YOU'RE TAPPING YO' TOES .., SNAP SNAP NOW YOU KNOW HOW IT GOES ... TAP TAP FEET DO YO" STUFF, CHOCOLATE CUTIES IN THE CONGO USED TO DANCE FO! THEIR SOUP Now IN HARLEM THEY'RE STILL DOIN' IT BUT THEY'VE ADDED CHARLESTON AND BOOP BOOP A DOOP VODE OH DO... SCATSCAT ... YEAH MAN Now YOU SHAKE UP AND DOWN ... YEAH MAN NOW YOU SHAKE ALL AROUND ... YEAH MAN i NOW YOU'RE GOIN' TO TOWN YEAH MAN FEET DO YO" STUFF. i| 1+2-22 GIRLS Now YOU TURN TO THE LEFT NOW YOU TURN TO THE RIGHT NOW YOU'RE TRAVELIN' LIGHT FEET DO YO' STUFF NOW YOU'RE CLICKIN' NOW YOU'RE TAPPIN' FEET DO YO" STUFF. GEORGINA CHOCOLATE CUTIES IN THE CONGO USED TO DANCE FOR THEIR SOUP NOW IN HARLEM THEY'RE STILL DOIN' IT BUT THEY'VE ADDED CHARLESTON GIRLS BOOP BOOP A’ DOOP ... GEORGINA VODE OH DO ... ALL SCATSCAT ... YEAH MAN. (after the TAP DANCERS sing, THEY go into a dance routine. Then a line of four BEFEATHERED NEGRO CHORINES -- INCLUDING GEORGINA -~ taps on, The PRINCESS stands up and applauds and yells “Brava Bravai". ‘The CHORINES and the TAP DANCERS go into a finale.and exit down front as HARVEY appears in a tuxedo from upstage and crosses down to where the performers exited. GEORGINA comes back immediately. Music plays: one or two WHITE COUPLES dance; WAITERS serve drinks) GEORGINA Was I okay, Boss? HARVEY You were swell! You give the whole line class. GEORGINA You think maybe someday I'll be good enough to sing in a dress? HARVEY I hope not.1-2-23 (CLEM enters from the side where MARY and her party entered. HE wears a waiter's uniform and carries three shiny new packs of cards) CLEM Here are the cards, Boss. HARVEY Thanks; Clem, CLEM Wait a sec. (Kisses his fingers, then touches the top pack of cards in HARVEY's hand) can't hurt, HARVEY What about me walkin’ around my chair three times? cLEM Can't hurt neither, what about you quittin' the game, Boss? HARVEY (Grins) That hurts. (Starts off as:) MARY Hi, Harvey. HARVEY Hello, Mary. MARY I brought you some types, I mean -- . PRINCESS (To HARVEY) Well, hello! HARVEY (To MARY) I see what you mean. MARY (To HARVEY) Could you maybe join us? HARVEY T-have~some heavy business. ~But~later~==1+2-24 MARY (As HE goes) Toodle-codle. SUGAR DADDY You're with me, nutsie. MARY Hang up the phone. Georgina! Come meet the group. GEORGINA I don't know if the boss -- MARY oh, T dragged these suckers up here to help Harvey. PRINCE (From the table) Brown an-ee-mal, come! MARY He's a real Prince, can you beat it? And the kinda vampy one's a Princess. I mean she must be, she’s his sister. They're very impressed that I know people here. I mean like you. I mean, I do know you. GEORGINA oh, sure. SUGAR DADDY Hey, Nutsie! MARY Just come say hello, will ya! For me? (Goes as CLEM comes up) CLEM Anything happen, I'm here. ‘ PRINCE Brown an-ee-mal! GEORGINA Well, you stay here! CLEM Shake yo' feathers for me. Come on: they all too drunk. (SHE does, cutely. GEORGINA goes to table) PRINCE Quel—an-ee-mal!— =1-2-25 PRINCESS Quel coleur! Quel dents! (Taps her own teeth) Dents. (Taps GEORGINA's teeth) Dents. Dents, dents. (MARY uses the word "dents" to chant the four-bar intro to the time-step, then laughs at her own joke) SUGAR DADDY shut up! MARY mean! ... PRINCESS (To GEORGINA) You must drink, PRINCE Yes. (calls) sit. GEORGINA We ain't allowed to sit, your honor. PRINCE (To MARY) Because she is performer? MARY No, Prince baby. They can't sit. PRINCE . ‘They who? PRINCESS My God, my darling. Not one of the savages is sitting! PRINCE But I am Prince! (Puriously) Chair! CLEM Sir, I -- PRINCE Chair! -2-26 WAITER Yes sir. GEORGINA Please, I don't mind -- PRINCE Io! MARY Why don't we all stand? SUGAR DADDY Shut up! PRINCE (To CLEM) Waiter, chair! CLEM Beggin' yo' pardon -= PRINCESS (To CLEM) Well, hello! why don't we have two chairs? PRINCE (Pulling GEORGINA on his lap) One chair will do. (CLEM pulls the frightened GEORGINA away from the PRINCE, A pause. The PRINCE gets up) I am Prince. BOUNCER (Hurrying over; to CLEM) : Get back to your station. CLEM Georgie gotta change her costume. PRINCE Why? I like this one. (Pulls GEORGINA to him and starts passing his hand over her body. During this:) PRINCESS (To CLEM) Come, savage, come over. ~~(But CLEM pulls GEORGINA away from the PRINCE and punches him) GEORGINA 2 Clem, don't! (Immediately and almost simultaneously, the BOUNCER yanks CLEM around and goes to sock him. But the PRINCESS has run to her brother's defense and when CLEM ducks the BOUNCER's fist, it is the PRINCESS who gets socked instead. A WOMAN yells: "Goodie, a fight!" and MARY jumps on her chair and screams. The SUGAR DADDY snarls: "Shut up! and yanks her down, toppling both of them over. CLEM puts his arm around GEORGINA and tries to get her out but the PRINCE goes to hit him, hits his sister instead as the BOUNCER, this time, really hits CLEM. Another PATRON grabs CLEM and socks him and thus everybody is drawn into the fight, The music of "FEET DO YO! STUFF" blares forth and the other girls in the line come on. Scared, THEY weakly try to do the routine and stay out of the way of the fighters. By this time, MARY has gotten to her feet, has socked the SUGAR DADDY and, in trying to sock the BOUNCER, also hits the PRINCESS by mistake. The PRINCESS simply stands there now, screaming and swinging and hitting anyone who comes near, including her brother. CLEM has been crouching over GEORGINA trying to protect her. HE comes down front to get her across to safety as a police siren starts to sound, This stops him in time to set him up for a clean blow on the jaw from the BOUNCER. CLEM topples over and GEORGINA crouches over him to protect him as the PATRONS and the DANCERS and WAITERS begin to run out of the club, screaming and yelling. The siren dies down; the lights change; the music stops abruptly and there is silence. The stage is cleared except for GEORGINA and CLEM) GEORGINA How-you- feelin"; baby? 7 1+2-27sumone isieil 1+2-28 CLEM Like I guess I look. GEORGINA Why you look lovely! You lucky, darlin‘ on you a black eye don't show, HARVEY (Enters) Hey. If you were going to break up the joint, why didn't you do it before I picked up that last hand? ‘fouching GEORGINA lightly on her arm) You all right? GEORGINA (Conscious of his touch) Fine, I better cover up -- ‘fore I catch cold. (SHE goes) HARVEY (To CLEM) Any damage? CLEM Not where it shows, boss. HARVEY Like a shot? CLEM I think I could manage one. HARVEY I think I could, too. CLEM I'll get a glass. HARVEY What for? (HARVEY passes him the flask) CLEM I thank you. (Drinks, then wipes flask as the BOUNCER comes on with a shiner) BOUNCER I got a word from upstairs. HARVEY What?1+2~29 BOUNCER For him, (As GEORGINA enters in a kimona:) CLEM What word? BOUNCER You're fired, GEORGINA Fired? BOUNCER And so are you. (Goes) GEORGINA Boss ... HARVEY The truth is ... Your big boss has a bigger boss. GEORGINA Oh, we knows that. HARVEY ; You do?? : CLEM We knew it first day, boss. GEORGINA Don't you feel bad, you got us hired. CLEM . And listen, we expects to get fired, HARVEY Why? CLEM We just do ‘cause we just are. HARVEY +++ Well, you're not going to be fired, GEORGINA Boss ~~ HARVEY Iam going to tell my boss that-unless you stay, Igo. (And tipping his flask, HE goes) |1-2-30 CLEM Well, there he goes. 1 GEORGINA i Yeah, and where do I go? | MoMMA (Sings off) BACK IN THE KITCHEN PICK UP YO" PAIL (GEORGINA walks deliberately to the chair SHE was not allowed to sit in, looks at it, then sits carefully) CLEM How's it feel? GEORGINA They all crazy. This ain't nothin' worth fightin" over. CLEM I done that fightin' for you. GEORGINA I knows you did, baby. I knows you meant well. CLEM Ain't it funny how nobody never says 'meant well’ about somebody who done well. GEORGINA | I ain't blamin' you, CLEM I'm blamin' me! And you ain't bein' no congo cutie no more! GEORGINA Why not? CLEM That's why you got treated like you did. Well, you ain't shakin' yo' feathers no more! GEORGINA You talkin' like a little boy. (starts to cross in front of him) if I has the luck to get me some mo' feathers ... (CLEM grabs her by the arm, and pulls her around and sings with great-force and passions)ss senaiuae te tc 1+2-31 CLE: (Spoken) oh yeah! -- Well, listen! (sings) YOU AIN'T GONNA SHAKE THEH-FEATHERS NO MORE NO MORE! YOU AIN'T GONNA SPIN THEM SPANGLES NO HORE .., NO MORE! I DON' LIKE TO SEE YOU DO YOUR STUFF UP THERE ... FLIPPIN' FLAPPIN' YOUR TAIL ... I DON'T LIKE THEM STARING AT YOU ALMOST BARE ... LIKE YOU'RE SOMETHING FOR SALE! THEY LOVE WHEN YOU SHAKE THEM FEATHERS ... "YESSIR! OH, BOY!" THEY TREAT YOU LIKE YOU'RE SOME KIND OF WIND-UP TOY YOU AIN'T THEIR TOY! BLOW A KISS ... TAKE A BIG BOW! THROW AWAY THEM DANCIN’ SHOES, CAUSE STARTIN' RIGHT Now YOU AIN'T GONNA SHAKE THEM FEATHERS .,, NO MORE ~~ NO MORE! (Music continues under dialogue) GEORGINA Yeah, well, you tell me how else I'm gonna dig myself out of this hole. CLE Let me dig you out! I'11 dig us both out! And it won't be by being no porter or no waiter, neither, I ain't gonna get me no boy's job. (tusic out) I'm gonna get me a man's job. GEORGINA Like what? (Husic starts) cCLEM Like what? I'll tell you like what. Like ... like ... Bootlegger! Yeah! GEORGINA (Rushing ecstatically into his arms) Oh, Clem... ! CLE (Sings. Very expansively and confidently) I AIN'T GONNA BE NO PORTER NO MORE ... (Acting the obsequious role. Spoken) “Take-that bag,~sir?"--"Brush’ your-hat;~sir?""—"Thank” you,1+2-32 CLEM (Continued) (singing) I AIN'T GONNA BE NO WAITER NO MORE ... (Acting the waiter) what'll it be, sir?" "We aim to please, sir." "Thank you, sir!" : (sings) NO MORE PULLMAN CAP AND NO MORE MONKEY SUIT ... GONNA DRESS LIKE A MAN. YOU'LL JUST WAIT AT HOME UNTIL YOU HEAR ME TOOT FROM OUR BIG BLACK SEDAN! YOU AIN'T GONNA SHAKE THEM FEATHERS ++. NOT YOU! STARTIN' FROM NOW WE'LL DO LIKE THE BIRDIES DO ... HERE'S WHAT WE'LL DO ... LADY BIRD ... FEATHER YOUR NEST! PAPA BIRD'LL CATCH THE WORM AND BRING HOME THE BEST! YOU AIN'T GONNA SHAKE THEM FEATHERS NO MORE! NOT You (At the end of the song, CLEM kisses her gently and goes. SHE turns to the audience as a suggestion of a dressing room comes in) GEORGINA Ain't nobody's dust I'd rather watch. HARVEY (Enters) Well -- I quiti GEORGINA oh, boss! HARVEY I couldn't let them fire Clem and you and do nothing. It was a matter of principle, Understand? GEORGINA (Changing her shoes) No. HARVEY Why not? GEORGINA The way I see it: You kept your principle and lost your job. HARVEY Well -- yeah. GEORGINA So what good did it do?1-2-33 HARVEY Not much I guess ... (Almost angrily) Except that it made me feel good. I had my say! And I said it with style. You know where I got style, Georgina. From my whole family. Not one of ‘em had a lick of it. GEORGINA Boss -~ HARVEY I'm not your boss -~ GEORGINA Well, Mr. -- HARVEY You can't call me that either. (Starts out. Music begins: "HEY") GEORGINA Hey! What you call principle, I calls puttin’ yourself out s+ and I mean out. And when a person does that -- well -- the other person oughta -~ well -~ say -- HARVEY Don't make a pageant out of it. GEORGINA Yeah, but I ain't said it with style. ‘Thank you -- (fies to say "Harvey") -- hey. HARVEY (Smiles) a You're welcome, hey ... Keep in touch, Georgina, ... You won't == but r’will, (SHE takes his hand, shakes it. HE puts his over hers and goes. Music ends) MOMMA (Enters with feather duster! You finished shakin' those feathers? GEORGINA Yes, ma'am, MOMMA, (Hands her duster) Then start shakin' these, Rejoice, daughter! It's a happy1-2-34 MOMMA (Continued) day at the cemetery. Now that we is finished messin' with theatrical folk, our ancestors the Beauregards can stop spinnin' in their graves an' git a little rest ... Ah, honey, a kitchen is a warm and lovin’ place -- even if it ain't got style. GEORGINA You been eavesdroppin' again! MOMMA Iffen the Good Lawd give me ears, it's my duty to use ‘em. GEORGINA It must have pleasured them ears to hear that I can't call that man by his bare name. Without nothin’ befo' it, like Harvey. Boy, that's hard, Momma, Harvey. Harvey-Lou! Uh-wh ... (Goes behind the screen as MOMMA starts packing the suitcase) MOMMA How can you be friends with the kinda man you ain't even capable of callin’ by name? Georgina, even when you is in yo! right mind, yo' sanity is in question. (GEORGINA thrusts her kimona out from behind the screen. MOMMA takes them and puts them in a shoe bag hanging on a panel as:) Why that man tell you ‘bout quittin' anyway? He tell you so you just bustin’ to say: “Thank you kindly, white man, you is my friend!” (shoes in place, the panel flies out. GEORGINA thrusts her feathered costume out from behind the screen. . MOMMA takes it and hangs it on the other panel a: Friend? You think that man wants yo' friendship? (Costume in place, the second panel flies out) Georgina, you is as stupid as Red Ridin' Hood. You don't know the Wolf from Gran'mal (Music as the dressing table goes off and the screen flies up revealing GEORGINA dressed in a plain coat like MOMMA is wearing. An empty, quiet moment. Then)1+2-35 GEORGINA You got the address? MOMMA I got the address. (Qusic of "BACK IN THE KITCHEN" as a kitchen comes in behind them. As THEY take off their coats:) GEORGINA Even the kitchens up here ain't much different, neither. why do I get the feelin' I'se been here before. MOMMA As I has mentioned to you before, you ain't gonna be 25 forever. (Pointing to mop) Daughter, pick up yo’ life insurance, (Goes out with coats) GEORGINA Mop, my Momma has got a foot for travelin' nowhere but I ain't goin' with her, You got a surprise comin’, Momma. Clem is done with bein' a boy, He is on his way right now to gettin’ him and me our own door. So this is just temporary, Oh don't you worry: we gonna have a place for you, yo" own room -- (SHE stops. CLEM is entering in his Pullman porter uniform) CLEM Well ... I can tell you railroad food is as bad as ever ... It's juss temporary, sugar. GEORGINA I know. (A moment. Then THEY move quickly to each other and embrace tightly) cLEM Hush, MOMMA, (Enters) Ain't it nice to have a man in the family. CLEM At least, I gets paid.1+2-36 MOMMA one moment, porter boy. The girl and I gets paid. Maybe not grand like you, but we eats better. We even eats petter'n the Boss -- and it's their food. CLEM ant all you have to do is laugh'n scratch every minute. MOMMA, yeah, just like you in that Pullman dinin' car -- ‘cept of course we don' have to rock'n shake at the same time. GEORGINA No, we just gotta bob an’ dip at the same time to show how beholden we is. MOMMA A little bobbin'n dippin' never hurt no one, You two gonna lose these jobs if you done forget how to show gratitude. An' I mean to show it like they likes us to show it! GEORGINA oh Momma, we could never forget! Why we feels it way deep down, don't we, Clem? (sings) AIN'T YOU GRATEFUL, BIG BOY, HMMMM? cLEM YES, I'SE GRATEFUL, HONEY, HMMMMM, AIN'T YOU GRATEFUL, HONEY, HMMMMM? GEORGINA YES, I'SE GRATEFUL, BIG BOY, HMMMMM Is YOU GRATEFUL MOMMA, HMMM? MOMMA YES I REALLY Is, YOU JUST SAY YOU IS : GEORGINA AND CLEM NO THE WAY YoU Is IS THE WAY WE IS, TOO. ALL GRATEFUL, GRATEFUL, HALLELOO! JBS' KEEP SHUFFLIN' ALONG SMILE, SMILE JES’ KEEP HUMMIN' A SONG SMILE, SMILE GEORGINA FLASH YO! TEETH SHOW. YO" GUMS.1-2-37 cLEM ‘THEY LOOK NICE AGAINST BLACK ALL ROLL YOUR EYES BACK AND GO "YAK, YAK, YAK, YAK" JUST KEEP BOBBIN’ Yo" "HEAD SMILE, SMILE GEORGINA AND WHEN YO" LAID OUT AND DEAD ALL SMILE, SMILE KEEP ALIVE THAT PROUD TRADITION, YO'RE DESCENDED FROM YO'RE THE GREAT GREAT GRANDCHILD OF A THIRTY-SECOND COUSIN OF DEAR OLD UNCLE TOM. ALL JUST KEEP JIGGIN' A JIG SMILE, SMILE THOUGH YOU LIVE LIKE A PIG SMILE, SMILE GEORGINA DON'T BE SAD .., DON'T BE MAD cLEM $0 YO" DOWN ON Yo! LUCK ‘MOMMA, LOST YO' LAST BUCK ALL STILL IT'S "YUK, YUK, YUK, YUK" JUST KEEP BUBBLIN' WITH GLEE GEORGINA I'SA BUBBLIN'! CLEM AND GEORGINA REMEMBER SIMON LEGREE MOMMA, OOOH BLESS ‘IM! ALL DON'T FORGET THAT THOUGH YOU'RE EIGHTY TO THEM YOU'RE STILL A CHILE ... SO THOUGH YOUR HEART IS CRACKIN’ AND DOOM IS KNOCKIN’ JUST KEEP ON YACKIN* - JUST KEEP ON YOCKIN'a 1-2-38 L (Cont: OPEN YO' MOUTH A MILE .., ‘inued) AND SMILE -- AND SMILE, AND AND SMILE, AND SMILE AND SMILE’-- SMILE, SMILE} SMILY .., (The song ends with a exit. THEY return ag an encore, THEY sing) vaudevi11 though for JUST KEEP SHUFFLIN' ALONG. surty JOST KEEP HOVMIN' A SONG,” suyzyy” gilttL (But the White MISURESS of 4, house appears; THEY atopy MISTRESS Are you all ready to serve me, food : ary me and iron me? "a+ bathe mo, wash me, ALL Yes, ma'am! (Then a crash in the m ad the MASTER of the house oqut!@ © ontars) MASTER (As music continues) Stop! MISTRESS Sweetheart, these are the best servantiy yq ever hi ad MASTER The market crashed! MISTRESS (To the SERVANTS) You're fired! (Goes out with husbana) GEORGINA, cr AND SMILE! A AND Momma AND SMILE! AND SMILE! SMILE, SMILEI (ALL three strut off. the gq, changes and the music changan nary the sound of:) 01-3-39 Act a Scene 3 THE THIRTIES: The stage of a theatre. A strange tree made of wooden planks with a huge pot before it; some hanging burlap. A group of ACTORS in rehearsal clothes is making a hubbub. The DIRECTOR, holding a script, is try- ing to get attention. DIRECTOR Will you please keep quiet? (The hubbub starts to die down) Quiet please! (Everybody stops talking excepts) ETHEL (A young Communist) +++ and why are your brothers on the breadline? Because the capitalist brutes have stepped on -- DIRECTOR (Cutting in) QUIET! This is supposed to be a rehearsal. I know it's W.P.A., I know it's Federal Theatre but just because you're being paid by the government is no reason for not working. ETHEL . Not working? Just a moment, just one moment, please =~ DIRECTOR No! Now you put away those pamphlets and petitions -- MARY Sir -- | DIRECTOR | Now what? MARY Is this all the scenery? I mean it looks so sad. DIRECTOR : 7 It happens to be my conception Miss.Mss 1-3-40 MARY tf T were not unemployed I wouldn't be working here. DIRECTOR row Shear the stage and let's take it from the top. where's Hortense? MARY I think you mean Georgina. ETHEL Typical. DIRECTOR ~ Well, whatever her name is -- GEORGINA (Hurrying on) I'm sorry, I was going over my lines -- ETHEL On your own time?! DIRECTOR Quiet! Take your places, Kill the lights. (The lights go out except for a spooky glow from the pot, GEORGINA ETHEL and MARY take up their posi~ tions behind the pot: Beat the drums! MARY (Calypso accent) When shall we three meet again in thunder, lightning or in rain? GEORGINA, when de hurly burly's done, When de battle's lost ana won, MARY Dat will be 'fore de set of sun. ALL Cackle GEORGINA You knows it, sistah. ETHEL Where de place? Upon de heath.1-3-41 GEORGINA Dere de meetin' wit' Macbeath. MARY Now, he just spectator mahn. ETHEL But soon he be dictator mahn, MARY Well fair is foul -~ But foul is fair! GEORGINA De poor gets trouble -- ETHEL But de rich doan care! ALL THREE Where de harmony in dis filthy air? (Sing like Calypso Andrews Sisters) WHEN, WHEN, WHEN SHALL WE THREE MEET AGAIN? DOUBLE, DOUBLE ... TOIL AND TROUBLE FIRE BURN AND CAULDRON BUBBLE ... EYE OP NEWT AND .., TOE OF FROG AND WOOL OF BAT AND TONGUE OF DOG AND BONE OF WORKER ... TOE OF BOSS ... OH IN THE CAULDRON, BOIL AND TOSS ... OH DOUBLE, DOUBLE FIRE BURN AND . TOIL AND TROUBLE CAULDRON BUBBLE ... TONIGHT! HOY, HOY, HOY, HOY, HOY, HOY HOY, HOY, HOY, HOY, HOY, HOY HOY, HOY, HOY, HOY, HOY, HOY. ETHEL DOUBLE, DOUBLE, ETHEL AND GEORGINA DOUBLE, DOUBLE, ALL DOUBLE, DOUBLE .., TOIL AND TROUBLE ... TONIGHT ETHEL RICK THE BOSSES IN THE BELLY ... ‘ ALL : MAMAL1-342 DIRECTOR What's that line about kick the bosses in the belly. ETHEL The point wasn't coming across. DIRECTOR You and your points! what about my staging? ETHEL Just a moment. Just one moment please. Am I correct in assuming we are the voices of Fascism? I am correct. Am I further correct in assuming -- GEORGINA That you lost your note? ‘Cause that's what you did. MARY I hope I didn't lose mine! GEORGINA Not you, her! ETHEL If you want any dialectical truth whatsoever in this production -~ GEORGINA fell her to hold her note. MARY I'm sure I held mine. GEORGINA ©h you sang good. ETHEL But the voice of Fascism is not good! It's harsh, It!s ugly -- it's cru-el. DIRECTOR Dear God. ETHEL Georgina, you have no conception of what this production can do for you people. GEORGINA My people can hold their note which is more than you can! DIRECTOR Oh, girls, will you -- hush! Now everybody on stage. MacBeth will you stop doing that. -1-3-43 DIRECTOR (Continued) (To the Wings) We're going right into the Voodoo Ritual. ETHEL Voodoo Ritual? Am I correct in assuming you are referring to the revolt of the oppressed peasants? I am correct. DIRECTOR Oh, shut up. ETHEL Fascist. (To the girls) What this could have been! GEORGINA It's a job and a good one. OFFICIAL (Entering) Well, it's over so forget it. DIRECTOR May I ask what you think you're doing here? OFFICIAL I said forget it. Attention please. (A few ACTORS straggle on) Federal Project 4650 dash 3 is hereby cancelled by government order, MARY What's that mean? OFFICIAL : It means the show's closed. You're out of a job. MARY (To the OFPICIAL) Sir, what closed the show? OFFICIAL Subversive activity with intent to overthrow the duly elected government of the people. ETHEL Now maybe you'll listen to me. Come on, everybody, let's picket. (A few follow her off, others go the other way)1-3-44 OFFICIAL Where's the author? I've got a subpoena for him. MARY Sir, I still don't understand why you had to close us up. OFFICIAL Sister, you'd have to be blind not to see this is a company of red: (Exits, leaving GEORGINA and MARY alone) MARY Reds? GEORGINA That's a new colour for me. Well, I guess I will join Clem for dinner at the soup kitchen. — MARY Guess I'11 go back to peddlin’ encyclopedias. If you hear of an audition or somethin’ ... GEORGINA Me? MARY Well, you're good. GEORGINA That don't have much to do with me workin’. MARY Zt has to do with me workin', You pulled me through this one, GEORGINA No MARY Who taught me to hold my note? (Almost kisses her, then shakes her hand) Thank you, Toodle-oddle. (Exits left) GEORGINA (Wistfully) Toodle-codle. SHE goes as a burlap drop comes down and a line of "bums" comes slim-slamming across the stage. -1-3-45 The last is CLEM. Then HARVEY enters from left in a seedy tuxedo as a voice calls "Soup Kitchen" and the breadline settles down) cCLEM Boss! What happened?? HARVEY That's what I'd like to know. How's Georgina? CLEM she's workin': Federal Theatre. Shakespeare, ETHEL (Enters at head of line) Workers, unite. Brothers, also unite! cLEM Sing it out, sistah! ETHEL Well, hello again, comrade! CLEM (Looks at her pamphlets) Hey, don't you ever get no new books in yo' circulatin' library? ETHEL You've done enough reading, comrade. Now am I correct in assuming you're ready for action? cLEM Well -- ETHEL tam correct. Congratulations. I'll contact you later,’ (Offering HARVEY a pamphlet) Hello, comrade. Read the dialectics of your miserable life. (HARVEY tears up pamphlet) Liberal! (SHE goes) HARVEY Next time she calls, hang up. CLEM Why? She calls me the same as she calls you and everybody else. Them comrades know the score.1-3-46 HARVEY You don't need them to tell you we're all in the same boat. CLEM I£ we is, boss, you are on the upper deck. HARVEY O.K, then we're up the same creek. cLEM Exceptin' you got the paddle. HARVEY 0.K., you wint CLEM Well, let me, let me! (Hooting from the breadliners as BRENDA, a debutante, and her BEAU enter. HE carries a bowl of gold- fish, a blue eagle, a chicken in a pot, etc.) BRENDA a Quiet, Quiet! ... MONEY! a (Quiet. The dancing steps; the music remains under} Now back away and pay attention. (Glances from the list in her hand. fo the BREADLINERS) I need one Communist, (No reaction) Oh you don't have to be paid up. This is just for a game. We're on a Scavenger Hunt. You know ... 0h, bore! .... Well, look: we have to bring certain things -- animate and inanimate -~ back to this party. Any of you we bring back will get all the food and wine he can hold. Now I need one Communist -~ (SHE is almost mobbed) Please. Just hands, {All hands go up. BRENDA points to an attractive if seedy WHITE MAN) All right, Communist, you'll do, sweetie. Now I need -~ one Pansy.1-3-47 (Again all hands raised; APPLE ANNIE steps forward. BRENDA looks at her; ANNIE takes a softer stance. BRENDA looks at the men, shuts her eyes and points at random) BRENDA (Continued) all right, Pansy: you, Now I need -- One Forgotten Man, (a moment. No hands are raised, Then slowly, CLEM and HARVEY raise theirs, HARVEY looks at CLEM's hand and starts to bring his own down bu! No, sweetie, I'd rather have you. HARVEY May I see that list? (takes it) Yep. dust as I thought. one Negro. (Hands list back. To CLEM) Come on, sweetie. We eat! BRENDA Follow me. (Music up; with the others chosen HARVEY and CLEM follow BRENDA and BEAU off) WINSTON (fo remaining bums, imitating DRENDA) Back away and pay attention.’ I need one debutante ... one American Indian ... one Chinaman ~~ (the other bums lunge at him and run off after him as the music plays "BACK IN THE KITCHEN" with a Chinese motif and the drop lifts to reveal the Chinese restaurant, GEORGINA is standing there as the booths and tables slide in) GEORGINA Momma? Momma, where are you? ‘MOMMA (Enters) Back in the kitchen, GEORGINA Where's that maid outfit? een —1+3-48 MOMMA, on. GEORGINA (Slow, suspicious) What's that "oh" mean? It don't sound like the "oh" that come before "Oh, daughter, you has made me very happy.” MOMMA Don't it? GEORGINA No, it don't, It sound more like the "Oh" that come before "oh God, I never expected this." MoMA, That what it sound like? GEORGINA Yeah, that's what it sound like. MOMMA, Well, that's what it is. Honey, the maid market ain't. Times is bad. GEORGINA I know they're bad! Why else would we be livin' in a Chinese restaurant? MOMMA, Yeah, but they is so bad, white folks is doin' their own cleanin’. GEORGINA They can't! MOMMA Oh, I knows they can't but they is makin' a stab at it. (CLEM enters carrying two large 7 grocery sacks) : CLEM (To MOMMA) May this fly come into your parlor, Old Spider? (Crossing to put sacks on table) GEORGINA Clem! What've you got there??? CLEM So much food, I had to get me a boy to assist in the carryin'! (Crosses back to "doorway" as:) Come on in, boy!1-3-49 (HARVEY enters carrying two more sacks. CLEM takes one and goes to table with it as:) GEORGINA Hey! ... HARVEY Hello, Georgina, what's cuttin'? GEORGINA Nothin" sharp. HARVEY Never seen paper clips for cuff-links before? GEORGINA, Not on you, HARVEY Told you I had style, (Crossing to table, to MOMMA) How's herself? (No answer) GEORGINA Momma! You remember the boss from the club, MOMMA, No, All white men look alike to me. (SHE takes sack from CLEM and exits. CLEM laughs) HARVEY (To GEORGINA) How's she like your bein' in a show? we GEORGINA She didn't but I did, I was gettin’ pretty good -~ The show closed. HARVEY Without opening. CLEM Oh, honey ... GEORGINA All because of one of them fool comrades! CLEM. z They ain't fools!1-3-50 GEORGINA No? MARY (o£s) Georgina! Georgina! (Enters) I don't know why you haven't got a phone. I mean I know why but -- Hello, Clem: Hello, Harvey. Imagine seein’ you here! HARVEY In a Chinese restaurant. MARY Yeah, (Leoks around and sees it is) Oh, it is! I didn't mean to barge in. I just wondered if you'd maybe heard about a job ... someplace. GEORGINA You kiddin'? MARY I heard of one, A sister act, But I don't have a sister, You don't suppose -- (Looks at GEORGINA. THEY both shake their heads) GEORGINA Uh uh, HARVEY Never mind, We'll all get jobs -- CLEM How? HARVEY 7 I'll will 'em at poker and don't ask me how. In the mean- time at least we eat. (Surprised at what HE pulls out) Caviar. Champagne. GEORGINA And after this goes? HARVEY Well ... there's always tomorrow. CLEM What's tomorrow?1-3-51 MARY The day after today. (THEY look at her and then laugh) Well, it is! GEORGINA You bet it is, Mary. CLEM and that's all it is. MARY What? CLEM Another day. HARVEY OK, (Sings) TOMORROW IS ANOTHER DAY ANOTHER DAY IT'S NOT TODAY IP THERE'S ANYTHING TOMORROW IS ... MARY IT'S ANOTHER DAY HARVEY TODAY THE DAY WAS BLEAK AND GRAY BUT SOON TODAY WILL GO AWAY, THERE'S ONE SURE THING TOMORROW IS ... GEORGINA IT'S ANOTHER DAY ALL HELP! HELP! HURRAY! cCLEM YOU'RE OUT! YOU'RE IN! HARVEY YOU LOSE .., YOU WIN! ALL HELP! HELP! HURRAY! GEORGINA AND MARY BOO HOO HOO HOOHey, 1+3-52 HARVEY O.K. MARY OH Not CLEM OH HELL ALL OLE TOMORROW IS ANOTHER DAY ANOTHER DAY It's NOT TODAY IF THERE'S ANYTHING TOMORROW IS ... If'S SAFE TO SAY IT'S NOT TODAY IT'S ANOTHER DAY. TOMORROW == 1 GEORGINA AND MARY LA LA LA LA ALL TOMORROW ~= 1 GEORGINA AND MARY LA LA LA LA MARY maybe we could be a sister act? GEORGINA AND MARY (Singing harmony) TO DOOT TO DOOT TO DOOT TO DOOT CLEM AND HARVEY (Joining them) TO DOOT TO DOOT TO DOOT TO DOOT ALL IT'S ANOTHER DAY! HELP! HELP! HURRAY! GEORGINA YOU'RE BLESSED, YOU'RE CURSED! cLEM YOU'RE OUT ON FIRST! ALL HISS! HISS! BRAVO! GEORGINA 'TURN-ON-THE-GAS!—-GOODBYE!1+3-53 ALL HELLO! HELLO! HELLO! TOMORROW IS ANOTHER DAY ANOTHER DAY IT'S NOT TODAY -- IF THERE'S ANYTHING TOMORROW IS IT'S SAFE TO SAY IT'S NOT TODAY MARY (SHE holds long note on the word "day") T'S ANOTHER DAY! GEORGINA (Spoken) I taught her! ALL ANOTHER DAY! (After the song, ETHEL enters with an Irishman -- TIMMY -- and a Negro DAN) ETHEL (To CLEM) Hello, Comrade! roy 7 Hello, Clem. GEORGINA What is she doing here? ETHEL . We are here to consider the suitability of these premises for a membership meeting. TIMMY It's nice to know you're with us, Clem, CLEM Whoa, I ain't with you yet. GEORGINA Even if he is -- ETHEL (Pointing to the Chinese doorway) I suppose we could put the dais over there. GEORGINA (To TIMMY) Listen, hé doesn't live here!1-3-54 ETHEL Do you have any more chairs? Or booths even. GEORGINA Would you all get out? cLEn Georgina, they're my friends, I'11 take care of this. GEORGINA You can't even take care of yourself! CLEM ) Easy, baby, easy. ) ) TOGETHER GEORGINA ) I want them out! ) BIHEL (over-riding both) Just a moment. Just one moment, please. am I correct. in assuming ~~ GEORGINA Please go. ‘TIMMY (To ETHEL) + The place belongs to the lady. ETHEL (Zo GEORGINA) Ha, I might have known you'd live in a place that's chauvinistic. ‘TIMMY (To CLEM) Drop over the office, Clem. . cLEM I'll try. TIMAy (To GEORGINA) Sorry. (The COMRADES go. An awkward pause. Then:) MARY Well -- I better drop over to the encyclopedica office for my samples before I get the axe. Toodle-oodle, Georgina. Clem, Toodle-oodle, Harvey. (SHE goes as:)J se vennetage 1-3-55 HARVEY Toodle-oodle, (Another pause) Hey, you never asked where we got all these delicacies! well, they're from a penthouse! No kiddin'! .., This dizz- pomb of a deb picked up Clem and me on a scavenger hunt. (To CLEM) where's our shopping list, sweetie? CLEM (Hard, staring at GEORGINA) One Comrade. HARVEY (frying to keep it a joke) One Chinese, cLEM one Negro. HARVEY One Japanese. CLEM One "boy". HARVEY One Viennese? ... One Siamese? ... One Pekinese? CLEM One horse's ass. HARVEY No, that's me, sweetie. cLEM No, that's me. GEORGINA : No., That's me. (Pause) HARVEY (Picking up sack) I think I'11 give your Momma a lesson in how to make stewed caviar. (Picks up champagne) With sauce. (Goes into the kitchen) CLEM (ouietly) It's hard_enough for me_to be a man without you makin' it harder. Don't cut me down in front of my friends, baby.1+3-56 GEORGINA Friends?’ cLEM They are. Even that dizzy lady comrade. she's a friend like'all of 'em. GEORGINA She's a fool and they're makin' a fool outa you! CLEM Well, at least someone thinks I'm worth makin' a fool outa. Don't you understand you're lucky, girl? You got a trade. You can get a job singing. GEORGINA Where? I lost a good one on account of your friends! CLEM But what kinda job can't I get? Porter, waiter, shoe shine boy. I don't know nothin’, baby. I can't do nothin". Who's gonna learn me? Who's gonna teach me? GEORGINA The comrades. CLEM Yeah. GEORGINA You believe that? CLEM I gotta believe jt, They're my friends. They're the first people that treat me like a man, They call me "Comrade," not "boy", GEORGINA Wait til they know ya. (A pause) I'm sorry, Clem. CLEM Like I said, sweetness should come natural to a woman ... Well, I'm goin' over their office. and I'm joinin'. GEORGINA Let me tell you something. My daddy joined a lodge and that didn't put no food on the table neither. CLEM And you just like your momma: always drivin’ tight an' tiny by yourself, for yourself --1-3-57 GEORGINA For us! CLEM We are nothin' without help! GEORGINA Ain't nobody gonna help you and me but you and me! Ain't you learned that by now? I don't need any help! CLEM (quietly) Well -- I do, I sure as hell don't get it from you. (HE walks out) GEORGINA Clem, you walk out =~ (But HE is gone, Angrily, to the audience) And he thinks that's bein' a man! (Sings) I WANTED TO CHANGE HIM! I TOLD HIM TO USE HIS OWN HEAD, STAND ON HIS FEET GROW UP, AND BE THERE, AND BE SOMEBODY .., HE SURE IS SOMEBODY NOW! I WANTED TO MOLD HIM! I TOLD HIM TO STOP PLAYING DEAD, TURN ON HIS HEAT .., NOW TAKE A LOOK AT WHAT I CREATED MONSTER OF MINE, TAKE A BOW! I JUST LEARNED LESSON NUMBER OWI YOU CHANGE A MAN, AND WHEN YOU'RE DONE, YOUR MEDDLING CARRIES A CURSE! HE TURNS OUT WORSE! I WANTED TO SHAKE HIM, AND CHANGE HIM! I KNEW HE WAS WARM AS FRESH BREAD, SWEET AS A BEET, JUST GOOD FOR NOTHING BUT LAUGHS AND LOVING ... BUT I SWITCHED HIM ON A NEW TRACK! ‘CAUSE I WANTED TO CHANGE HIM, AND NOW THAT I'VE CHANGED HIM I WANT 70 CHANGE HIM BACK! X JUST LEARNED LESSON NUMBER TWO YOU CHANGE A MAN, AND WHEN YOU'RE THROUGH YOU THINK YOU'VE MADE A SUCCESS! YOU'VE MADE A MESS!1-3-58 GEORGINA (Continued) I WANTED TQ CHANGE HIM, NOT LOSE HIM! I WANTED A MAN No? A Boy SOMEONE WHO'D BE BY MY SIDE FOREVER ... BUT HE TOOK OFF ON HIS OWN TRACK! OH, I WANTED TO CHANGE HIM, NOW SOMETHING HAS CHANGED HIM, I WANT TO CHANGE HIM BACK ... OH, WHAT'S THE USE! I'LL NEVER CHANGE HIM BACK! MOMMA (Enters) He gone? GEORGINA Yeah. MOMMA Comin' back? GEORGINA No. MOMMA Thank you Lawdl We gotta make that food last, HARVEY (Enters) I'm not staying for supper. MOMMA (Looks heavenward again) Thanks one more time, (Goes) HARVEY ses Hey «.. He'll be back, GEORGINA (Not looking at hin) I don't want him back, He says people like me are nothin! without help, HARVEY You fishing for me to tell you you're not nothing? GEORGINA (Looks at him) But even Mary's got a job, Sellin' ‘encyclopedias.’ I can pronounce it, I could memorize the whole encyclopedia backwards and forward but I couldn't get that job.1-3-59 HARVEY Do you want it? GEORGINA No but I'd like to be able to turn it down, HARVEY tet's drink to that, How about some champagne? (SHE shakes her head) Soyiax? «++ Cocktail franks? ... Come on, Georgina. Brighten up the corner. You lose one hand, you win the next. You gotta keep playin’, GEORGINA (Smiles) Don't make a pageant out of it, HARVEY That's better! That's a good girl, (smiles and gives her a friendly jittle kiss without thinking. Then HE kisses her harder. For one moment, SHE responds ~~ then pulls back) GEORGINA You wouldn't have done that if I were white, HARVEY Tf you were white, I would've done it sooner, (Surprised) I would've! GEORGINA Well, don't do it again, Harvey, HARVEY I'm surprised I did it at all, (But the music of "YOU'RE WELCOME" has started and an odd smile crosses her face as SHE says again) GEORGINA Harvey .., HARVEY What?1-3-60 GEORGINA Say my name, HARVEY Georgina, GEORGINA Harvey, It's really kinda easy, ain't it? HARVEY Yeah, Georgina. GEORGINA What'd you mean you were surprised you kissed me at all? HARVEY +++ Because yoti're colored, And now I want to again. GEORGINA I don't want you to, HARVEY I don't want me to want to, GEORGINA Then we both don't want the same thing. HARVEY Right, well ... GEORGINA (with a smile) Farewell, Mx. Calhoun, HARVEY ++. It's a long way from a banjo. (HE goes) GEORGINA ++» NOT long enough. (Music of "MY OWN MORNIN'" as SHE speaks to audience) I was beginnin' to be a little somethin', I was beginnin' to develop a talent -- yeah! A talent for ending up in the wrong time and the wrong place with nothin"! (the scenery begins to move out. SHE turns towards where HARVEY left, To the audience)GEORGINA (Continued) And I'm no closer to getting that door than I ever was, And I'm better than I ever was ... (Sings) BEING GOOD ISN'T GOOD ENOUGH, BEING GOOD WON'T BE GOOD ENOUGH, WHEN I PLY I MUST FLY EXTRA HIGH, AND I'LL NEED SPECIAL WINGS SO FAR TO GO FROM SO FAR BELOW, SHOULD I TRY? AM I STRONG ENOUGH? IS THERE TIME? HAVE I LONG ENOUGH? GOTTA FLY AND IF I FALL -- THAT'S THE WAY IT'S GOT TO BE, THERE'S NO OTHER WAY FOR ME, BEING GOOD JUST WON'T BE GOOD ENOUGH I'LL BE THE BEST OR NOTHING AT ALL. YES I'LL TRY! AM I STRONG ENOUGH? IS THERE TIME? HAVE I LONG ENOUGH? GOTTA FLY AND IF I FALL -- THAT'S THE WAY IT'S GOT TO BE, THERE'S NO OTHER WAY FOR ME, BEING GOOD JUST WON'T BE GOOD ENOUGH I'LL BE THE BEST, OR NOTHING AT ALL. (SHE looks around; SHE is very much alone on the empty stage, The music is playing a counter- point quotation from "MY OWN MORNING." SHE begins singing the last half of the song SHE has just sung but the fear of actually accom- plishing what SHE knows SHE must do is too great, and SHE begins to cry as:) THE CURTAIN FALLSACT IT Scene 1 THE FORTIES: The messy stage of an Army camp theatre, Disorder; confused ac- tivity; jitterbug tempo of “WHEN THE WEATHER'S BETTER." \ A WHITE G.T, is on a ladder, put- ting colored gelatine into spot- lights on a lowered pipe, THREE GIRLS in rehearsal clothes cross, ONE is NEGRO. ONE carries a bucket and scrubbing brush; ANOTHER an armload of gaudy costumes; the THIRD is half-jitterbugging, half- sweeping as SHE pushes a broom across. ANOTHER G.I, ogles the GIRLS as HE lugs a huge carton of rubbish across, Just before HE exits, GEORGINA and MARY -- in half-costume ~~ whirl on jitter- bugging, The G.I, turns to follow them and turns again to hurry off as a WHITE SERGEANT enters with a broon and mop. HE hands the broom to MARY, the mop to GEORGINA and exits. ‘The music changes briefly to "BACK IN THE KITCHEN" as GEORGINA stares at the mop and MARY pokes around upstage with her broom, "WHEN THE WEATHER'S BETTER" returns and SHE speaks as music continues. GEORGINA I am still only 25 but you know what? I am a performing artist! Yeah! I got my own personal solo -- and I got a snazzy costume that is a dress! (Qs panels open) Yeah, I am finally on my way! (SOLDIER hands her a mop) Thanks, (To audience) Well, mop, it took a war to get us back together is only temporary, Judgin' from the general snafy troupe must be the first to hit this training camp. But this our USOQn1-2 MARY This is what my mother made me do and I never liked her either, Wanna go to the PX and get a bacon-lettuce-and tomato? GEORGINA No, I wanna rehearse, MARY If they ever call rehearsal, I'll be in the PX, I mean if I haven't finished my bacon-lettuce-and tomato I'll be in the PX, If I have finished it, I'll be back here. GEORGINA I'll tell someone, (As MARY goes, CLEM's voice is heard giving drill commands and @ SQUAD marches on: FOUR NEGRO G.1.8 carrying mops like guns, CLEM is a sharp sergeant, Hastily, GEORGINA throws her mop offstage, picks up a knitting bag and, sit- ting on a box or a carton, starts to knit some khaki-colored wool with enormous nonchalance. CLEM sees GEORGINA and THEY have a con- test in ignoring one another. HE puts his SQUAD through a smart syncopated drill to show off for her} even marching them around and in front of her, SHE never notices, Finally, in disgust:) CLEM Detail, halt, hup-twol 0.K., Goldbricks, Sunday has just become Monday so get ~- to -- work! Fall out! (Now GEORGINA turns but HE is busy directing his MEN and getting the . place straightened out, SHE turns back to her knitting and mutters to herself:) GEORGINA He could've said Hello. Georgina, you could've said Hello! Or could you? After he walked out on you? Well, you have to admit you kind of drove him out -~ no, I did not! Oh, what are you doin', Georgina? (sings) TALKING TO YOURSELF DON'T STAND HERE TALKING TO YOURSELF.2-1-3 GEORGINA (Continued) THE ONE YOU LOVE IS STANDING THERE, SO DON'T DELAY IT, SAY IT} TELL HIM HOW YOU'VE MISSED HIS VOICE, HIS ANGRY MOODS, HIS SUDDEN SMILE HOW YOU'VE BEEN LONELY ALL THE WHILE AND TIRED OF TALKING TO YOURSELF. TALKING TO YOURSELF. IS HE LONELY TOO? JUST ACTING PROUD THE SAME AS YOU? HAS HE BEEN WONDERING IF YOU CARE? DON'T LET HIM DOUBT TT, SHOUT IT! YES, IT'S TIME YOU SPOKE, DON'T LET YOUR CHANCE GO UP IN SMOKE, JUST TAKE THE PLUNGE AND GO FOR BROKE OR WIND UP BY YOURSELF IT'S LONELY TALKING TO YOURSELF. TALKING TO YOURSELF, (The music continues under as SHE gets up and goes to CLEM) Clem (HE turns, A moment: coldly) How are the Comrades? CLEN Well, when they begin tellin' me my problems was their problems, I suspected I was crazy to join, But when they told me mine had to wait 'til they solved theirs, I knew Iwas crazy, So I quit. GEORGINA So I was right, CLEM Yeah ~~ for the wrong reason! And the minute I'm out of this Army, I'm joinin' somethin’ else! (SHE glares and goes back to ‘ her stool and her knitting, HE talks to himself) Now why'd you say that? You don't even know if there's anything you can join! Well, that's not the point! ‘The point is to stand up to her and not let her walk all over you, Yeahl ... but she's got such pretty feet. (and HE sings:) TALKING TO YOURSELF. DON'T STAND HERE TALKING TO YOURSELF .21-4 CLEM (Continued) THE ONE YOU LOVE IS OVER THERE SO DON'T DELAY IT, SAY IT; (speaks) Georgina ... (GEORGINA looks at him) How's your mother? (SHE freezes and turns back to knitting furiously) What're you knittin'? GEORGINA I won't know 'til I finish, CLEM Well, who's it for? GEORGINA When I know what it is, I'll know who it's for, (CLEM turns on his heel and goes back to work; GEORGINA knits away; and HARVEY comes on: a casual- looking 2nd lieutenant. HE sees GEORGINA, turns back to go off, then stops and talks to himself:) HARVEY I never should've kissed her. It can't lead any place with a girl like her. Then stop wanting her, Well, I thought I had! Well, you haven't No, I haven't, So what are you going to do about it? You can't just stand here (Sings) TALKING TO YOURSELF . DON'T STAND HERE TALKING TO YOURSELF THE ONE YOU LOVE IS OVER THERE SOQ DON'T DELAY IT, SAY IT; TELL HER HOW YOU'VE MISSED HER VOICE THOSE ANGRY MOODS, HER SUDDEN SMILE HOW YOU'VE BEEN LONELY ALL THE WHILE AND TIRED OF TALKING TO YOURSELF, TALKING TO YOURSELF. CLEM TALKING TO YOURSELF HARVEY AND CLEM TALKING TO YOURSELF2-1-5 GEORGINA IS HE LONELY TOO? HARVEY AND CLEM SO LONELY GEORGINA JUST ACTING PROUD THE SAME AS YOU -- HARVEY AND CLEM SO LONELY GEORGINA HAS HE BEEN WONDERING IF YOU CARE? HARVEY AND CLEM DOES SHE CARE? ALL DON'T EVER LET HER DOUBT IT; SHOUT IT! CLEM YES, IT'S TIME YOU SPOKE, GEORGINA DON'T LET YOUR CHANCE GO UP IN SMOKE HARVEY JUST TAKE THE PLUNGE AND GO FOR BROKE OR WIND UP BY YOURSELF, GEORGINA OR WIND UP BY YOURSELF HARVEY IT's LONELY TALKING TO YOURSELF CLEM TALKING TO YOURSELF GEORGINA TALKING TO YOURSELF HARVEY TALKING TO YOURSELF ALL TALKING TO YOURSELF. (When THEY reach the end of the song, GEORGINA and CLEM have joined in, EACH singing to him-self in a separate spot. At the end the lights come up, A SOLDIER enters, hands note to HARVEY and exits, HARVEY turns toward GEORGINA) 7 HARVEY Hey ... GEORGINA Hey yourself ... HARVEY You look 4, GEORGINA You look -~ HARVEY What? GEORGINA I don't know but you don't look like a soldier, HARVEY I know, I think that's why they gave me this job GEORGINA What are you? HARVEY Morale officer, You look terrific, clem (Wandering toward HARVEY) You think? HARVEY , Don't you? CLEM I ain't noticed, FIRST G.I, He ain't noticed, cLEM I AIN'T NOTICED! GEORGINA (To HARVEY) He ain't noticed." , ssin at ras2-1-8 HARVEY A civilian could quit the show -- cCLEM Yeah HARVEY Yeah ... (GEORGINA knits faster) Of course, the show itself is like they say integrated, CLEM That's just show business. We're talking about real livin' business, HARVEY Of course, that's more important. cLEM Oh yeah! ... HARVEY Yeah! GEORGINA Yeah! so what if I quit! Where do I go then? (From offstage, comes the sound of MOMMA singing "BACK IN THE KITCHEN, PICK UP YOUR PAIL" HARVEY You could get in a defense plant. GEORGINA And after the war, what? I got a number all my own! 1 wear a costume made special for me. For the first time in my life, there's one light and it's on me. Not on me for what I am: but on me for how good I am. I do that number good, I really do! a CLEM (Quietly) I'm sure you do, Georgie. GEORGINA Wouldn't you like to see it? (Pause, Then to HARVEY) Just once? (Pause, Back to CLEM) You'd be proud,