Annie Get Your Gun

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Annie Get Your Gun

Music: Irving Berlin
Lyrics: Irving Berlin
Book: Dorothy + Herbert Fields
Revised: Peter Stone
Premiere: Thursday, May 16, 1946
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Music and Lyrics Copyright © 1946, 1966 by Irving Berlin. Copyright renewed.
International copyright secured. Original Book Copyright © 1949, 1952, 1967 by
Herbert Fields, Dorothy Fields and Irving Berlin. Copyright renewed. International
copyright secured. Revised Book Copyright © 1999 by The David Lahm Trust u/w
Dorothy Fields and The Eliza Oprava Lahm Trust ulw Dorothy Fields. International
copyright secured. ALL RIGHTS RESERVED.
CAST OF CHARACTERS
(in order of appearance)
Frank Butler
Buffalo Bill Cody
Dolly Tate
Tommy Keeler
Winnie Tate
Charlie Davenport
Foster Wilson
Mac, the Prop Man
Chief Sitting Bull
Annie Oakley
Jessie, Annie's Little Sister
Nellie, Annie's Other Little Sister
Little Jake, Annie's Little Brother
Running Deer
Eagle Feather
Dining Car Waiter
Sleeping Car Porter
Pawnee Bill
Messenger
Band Leader
Mrs. Sylvia Potter-Porter
Mrs. Schuyler Adams
Additional Characters: Cowboys, Indians, Young Men and Ladies, Kings and Queens of
Europe, Debutantes, Socialites, et al.
MUSICAL SYNOPSIS
ACT I
Prologue: The Big Top

"There's No Business Like Show Business Frank and the Company
Scene 1: The Front Lawn of the Wilson Arms Hotel in Cincinnati, Ohio
"Doin What Comes Natur'lly" Annie, Wilson and the Kids
"The Girl That I Marry Frank and Annie
"You Can't Get A Man With A Gun" Annie
"Show Business" (Reprise 1) Frank, Buffalo Bill, Charlie and Annie
Scene 2: A Pullman Car on the Overland Steam Train

"I'll Share It All With You Tommy, Winnie and the Ensemble
"Moonshine Lullaby Annie, Kids and Cowboy Trio
Scene 3: The Main Tent on the Minneapolis Fair Grounds

"Show Business" (Reprise 2) Annie
"They Say It's Wonderful" Annie and Frank
"My Defenses Are Down Frank and Cowboys
Scene 4: Annie's Dressing Tent

"You Can't Get A Man With A Gun" (Reprise) Annie
ACT II
Prologue: The European Tour

Entr'acte Annie and the Company
Scene 1: The Upper Deck of a Cattle Boat

"I Got Lost In His Arms Annie
Scene 2: The Ballroom at the Hotel Brevoort in New York City

"Who Do You Love, I Hope" Winnie and Tommy
"I Got the Sun in the Morning Annie and the Ensemble
"An Old Fashioned Wedding Annie and Frank
"The Girl That I Marry" (Reprise) Frank
Scene 3: The Property Room

Scene 4: The Shooting Match
"Anything You Can Do Annie and Frank
"They Say It's Wonderful" (Reprise) Annie, Frank and the Company
"Finale Ultimo The Company
The revival of ANNIE GET YOUR GUN opened on Broadway on March 4, 1999 at the
Marquis Theatre. Produced by Barry & Fran Weissler in association with Kardana,
Michael Watt, Irving Welzer and Hal Luftig. Scenic Design by Tony Walton; Costume
Design by William Ivey Long; Lighting Design by Beverly Emmons; Music Director
and Dance Arrangements Marvin Laird; Sound Design by G. Thomas Clark;
Orchestrations by Bruce Coughlin; Hair Design by David Brian Brown; Production
Manager Arthur Siccardi; Casting by Betsy D. Bernstein and Howie Cherpakov; Music
Coordinator John Monaco; Press Representative Pete Sanders Group; General
Management by Nina Lannan Associates; Associate Producer Alecia Parker; Production
Supervisor Peter Lawrence; Associate Choreographer Patti D'Beck; Associate Producer
Judith Ann Abrams; Supervising Musical Director/Vocal and Incidental Music Arranger
John McDaniel; Choreographed by Graciela Daniele & Jeff Calhoun; Directed by
Graciela Daniele; with the following cast:
Frank Butler Tom Wopat

Buffalo Bill Cody Ron Holgate
Dolly Tate Valerie Wright
Tommy Keeler Andrew Palermo
Winnie Tate Nicole Ruth Snelson
Charlie Davenport Peter Marx
Foster Wilson Roan Carroll
Mac, the Prop Man Kevin Bailey
Chief Sitting Bull Gregory Zaragoza
Annie Oakley Bernadette Peters
Jessie, Annie's Little Sister Cassidy Ladden
Nellie, Annie's Other Little Sister Mia Walker
Little Jake, Annie's Little Brother Trevor McQueen Eaton
Running Deer Kevin Bailey
Eagle Feather Carlos Lopez
Dining Car Waiter Brad Bradley
Sleeping Car Porter Patrick Wetzel
Pawnee Bill Roan Carroll
Messenger Kevin Bailey
Band Leader Marvin Laird
Mrs. Sylvia Potter-Porter Jenny-Lynn Suckling
Mrs. Schuyler Adams Julia Fowler
Ensemble Shaun Amyot, Kevin Bailey, Brad Bradley, Randy Donaldson,
Madeleine Ehiert, Julia Fowler, Kisha Howard, Adrienne Hurd, Ken Lee,
Carlos Lopez, Desiree Parkman, Eric Sciotto, Kelli Bond Severson,
Timothy Edward Smith, Jenny-Lynn Suckling, David Villella, Patrick
Wetzel
SwingsLeasen Beth Almquist, Patti D'Beck, Rick Spaans
ACT I
(A show curtain, decorated with a caricature of Buffalo Bill and a Wild West
Show motif, announces: BUFFALO BILL PRESENTS "ANNIE GET YOUR
GUN". Although an Overture is provided, this Broadway revival version of
the musical did not include an Overture and therefore it is optional.)
MUSIC OVERTURE
(Applause segue into.)
MUSIC 1 THERE'S NO BUSINESS LIKE SHOW BUSINESS

Prologue
(The curtain rises on an empty stage except for FRANK BUTLER,

a handsome man with a generous mustache who stands alone to one
side and sings, a cappella and rubato.)
FRANK
THERE'S NO BUSINESS LIKE SHOW BUSINESS

LIKE NO BUSINESS I KNOW.
EV'RYTHING ABOUT IT IS APPEALING,
EV'RYTHING THE TRAFFIC WILL ALLOW.
NOWHERE COULD YOU HAVE THAT HAPPY FEELING
WHEN YOU ARE STEALING THAT EXTRA BOW.
(An onstage orchestra—the "Cowboy Band"—is revealed to one side sitting

on bleachers and dressed in western clothes. They gradually build to the
song's proper tempo.)
THERE'S NO PEOPLE LIKE SHOW PEOPLE,

THEY SMILE WHEN THEY ARE LOW.
YESTERDAY THEY TOLD YOU, YOU WOULD NOT GO FAR,
THAT NIGHT YOU OPEN AND THERE YOU ARE.
NEXT DAY ON YOUR DRESSING ROOM THEY'VE HUNG A STAR.
LET'S GO ON WITH THE SHOW!
(Music continues under as the imposing figure of BUFFALO BILL appears,

white-maned and bearded, and addresses the audience.)
BUFFALO BILL
Ladies, gentlemen and children of all ages! I am Colonel Buffalo Bill Cody, the owner
and founder of the most famous Wild West Show on earth! You are now going to see
my own personal version of the tempestuous and romantic story of Annie Oakley and
Frank Butler, featuring my celebrated troupe of western actors and—(Indicating the
orchestra)—my fabulous Cowboy Band—and all of it exactly as I've presented it over
the years, right here under my
big top!
(As he supervises, COWBOYS and INDIANS, acting as ROUSTABOUTS,

now enter and proceed, with ropes and pulleys, to raise a large tent - the
big top!)
And now here's our handsome and dashing leading man, Mr. Frank Butler!
FRANK

HOW YOU WORRIED USING HALF THE NIGHT UP,
WAITING 'TIL THE MORNING PAPERS CAME.
WHAT A MOMENT WHEN YOUR FACE WILL LIGHT UP
TO SEE THE WRITE-UP AND FIND YOUR NAME.
BUFFALO BILL
Here's Frank Butler's fearless assistant, the lovely Miss Dolly Tate!
(DOLLY TATE, a slightly blowsy and over-the-hill redhead, enters)
DOLLY
THE COSTUMES, THE SCENERY, THE MAKE-UP, THE PROPS,

THE AUDIENCE THAT LIFTS YOU WHEN YOU'RE DOWN.
THE HEADACHES, THE HEARTACHES, THE BACKACHES, THE FLOPS,
THE SHERIFF WHO ESCORTS YOU OUT OF TOWN.
THE OPENING WHEN YOUR HEART BEATS LIKE A DRUM.
FRANK
THE CLOSING WHEN THE CUSTOMERS WON'T COME.
FRANK & 2 MEN

FRANK & 5 MEN
EV'RYTHING INSIDE YOU STARTS TO SHAKE UP

WHEN YOUR PICTURE IN THE NEWS APPEARS.
FRANK & LADIES
AND THE THRILL EACH MORNING WHEN YOU WAKE UP

WITH DAUBS OF MAKE-UP BEHIND YOUR EARS.
FRANK & ENSEMBLE

THEY DON'T RUN OUT OF DOUGH.
ANGELS COME FROM EV'RYWHERE WITH LOTS OF JACK
AND WHEN YOU LOSE IT, THERE'S NO ATTACK.
WHERE COULD YOU GET MONEY THAT YOU DON'T GIVE BACK?
BUFFALO BILL
Ladies and gentlemen, the heart-stopping knife-throwing team of Keeler and Tate!
(TOMMY KEELER, a young and handsome knife-thrower, whose long, dark hair and
bronzed skin attest to his mixed-blood heritage, and WINNIE TATE, TOMMY'S
assistant and DOLLY'S younger sister, a pretty girl of 17, appear.)
TOMMY
THERE'S NO BUSINESS LIKE SHOW BUSINESS.
WINNIE
(She adores him)
IF YOU TELL ME IT'S SO.
(Dance break during which WINNIE stands against a target and TOMMY throws
knives at her.)
ENSEMBLE
(In rhythm.)
(Gasp!)
Oh, no!
Aahh!
Aahh!
Aahh!
(TOMMY and WINNIE bow.)
(The ENSEMBLE sings the following whisper chorus under

BUFFALO BILL 's dialogue.)
GROUP 1 GROUP 2
THERE'S NO BUSINESS LIKE
SHOW BUSINESS LIKE Costumes
NO BUSINESS I Scen'ry
KNOW. Make-up
GROUP 1
Props...
GROUP 2
Spotlights...
GROUP 1
Tumblers...
GROUP 2
Heartaches... Backaches...
GROUP 1
Sawdust...
GROUP 2
Cowboys...
BUFFALO BILL
And here's the General Manager of my show, Mr. Charlie Davenport. And the man
who first discovered Annie Oakley, Mr. Foster Wilson. And the great Sioux warrior,
Chief Sitting Bull!
(CHARLIE DAVENPORT, a middle-aged, very bald road warrior who's seen and heard
everything show business has to offer, has entered, followed by FOSTER WILSON, a
grizzled hotelier, and, finally, CHIEF SITTING BULL, a noble-looking Sioux warrior
wearing his great feathered headdress.)
And our lovely leading lady, Miss Annie Oakley
(A tease.)
You'll meet her later.
COMPANY
(Chanting)
THERE'S NO BUSINESS LIKE SHOW BUSINESS,

THERE'S NO BUSINESS LIKE SHOW BUSINESS,
LIKE NO BUSINESS I KNOW!
(Singing)

TRAV'LING THROUGH THE COUNTRY IS SO THRILLING,
STANDING OUT IN FRONT ON OP'NING NIGHTS,
SMILING AS YOU WATCH THE BENCHES FILLING
AND THERE'S YOUR BILLING OUT THERE IN LIGHTS IN LIGHTS!

EVEN WITH A TURKEY THAT YOU KNOW WILL FOLD,
YOU MAY BE STRANDED OUT IN THE COLD,
STILL YOU WOULDN'T CHANGE IT FOR A SACK OF GOLD.
LET'S GO ON WITH THE SHOW,
LET'S GO ON WITH THE...
(Music holds as CHARLIE calls to the ROUSTABOUTS.)
CHARLIE
Set up Scene One—the Wilson Arms Hotel in Cincinnati, Ohio!
(He turns to the COMPANY who are slow to move.)
And step on it!
(The ROUSTABOUTS go about setting the scenery for.)
Scene 1 The Front Lawn of the Wilson Arms Hotel in Cincinnati Ohio
(A sign, a porch and a door. The year is 1888. The COMPANY

completes the song.)
THE COMPANY
(Exhausted, in rhythm.)
(Inhale!)
(Exhale!)
(Applause segue into:)
MUSIC 1A OPENING PLAYOFF
(FOSTER WILSON, the salty, bespectacled proprietor of the hotel appears

from inside, breathing fire.)
WILSON
What the hell's goin' on out here?
(MAC, the prop man, aided by the COWBOYS and INDIANS, has entered carrying
rifles and shooting stands.)
What're all you people doin' clutterin' up my lawn? And what the Sam Hill are all those
guns for? You expectin' an armed uprising or something?
CHARLIE
I'm Charlie Davenport, general manager of Buffalo Bill's Wild West Show and I haven't
got time to talk to you right now. We're here to arrange a shooting match.
WILSON
What "shooting match" are you talking about?
CHARLIE
Between Frank Butler and your best local shot.
WILSON
Look here, mister. This is my hotel! See that sign up there? It says "Wilson!" I'm
Wilson! This is also my lawn and you ain't holding no damn shooting match on it!
CHARLIE
This sure is your lucky day, Mr. Wilson, 'cuz we are also gonna be booking ten of your
best rooms.
WILSON
Are you out of your head? I just had Pawnee Bill and his Far East Show stayin' here and
all they did was chase women up and down my front stairs. And on horseback!
CHARLIE
Our folks'd never dream of doing that, Mr. Wilson. They're too refined. They'd do it on
your back stairs. C'mon, Mr. Wilson, what've you got to lose?
WILSON
Spoons, towels, soap, bath mats, salt shakers—whatever's not nailed down. For the last
time, mister, get offa my lawn!
(He disappears into his hotel.)
CHARLIE
Mr. Wilson. Mr. Wilson!
(He follows him into the hotel.)
MUSIC 1B : ENTRANCE
(DOLLY and WINNIE enter, followed by TOMMY who struggles under and
is
hidden behind the weight of several suitcases. DOLLY, wearing an
extravagant hat with a complete stuffed bird on top, stops when she sees
the hotel.)
DOLLY
With all the deluxe hotels in Cincinnati, wouldn't you know we'd end up in something
like this?
TOMMY
(A voice from behind his load.)
Would it be all right if! set down these bags, Miz Tate?
DOLLY
Put 'em down over there, Tommy. And be careful not to drop 'em. I've got all my beauty
aids in there.
TOMMY
No wonder they're so heavy.
WINNIE
Why do you always have to treat him like a bellboy? Tommy's a very important part of
this show, and I happen to be his assistant, the same as you and Frank Butler.
TOMMY
I really don't mind, Winnie, honest.
(He exits.)
DOLLY
You hear that? Even an Indian has more sense than you do.
WINNIE
He's half Indian, sis.
DOLLY
And that's the half! was talking to.
WINNIE
But you always talk to him like he's some kind of an uncivilized heathen!
DOLLY
I do not!
(Calling offstage to TOMMY.)
Set down the bags and then you can go around back and set-urn up your teepee!
WINNIE
Please stop, sis!
TOMMY
(Returning)
It's all right, Winnie. I've got a few things to do anyway.

(He brashly kisses her cheek and goes.)
WINNIE
Really, sis…
DOLLY
Winnie!
(Music out.)
When our momma was lying on her deathbed she made me promise I'd protect you, my
baby sister, and keep you from harm. And that's what I'm going to do, even if it kills
you.
WINNIE
(Stamping her feet.)
I don't need protecting. I'm not a child any more! Tommy! Wait!
(She runs off, passing FRANK as he enters.)
DOLLY
Winnie Tate, you come back here!
(Her manner changes when she sees FRANK.)
Hello, Frank.
MUSIC 1C: SEXY SHOWBIZ UNDERSCORE
FRANK
Excuse me, will you, Dolly? I've gotta prepare for the match.
DOLLY
(Sidling up to him.)
Frank, I'll bet you haven't noticed where we are.
FRANK
Where's that?
DOLLY
Cincinnati. Remember, Frank? Six years ago? When we went out walking along the
shore...
FRANK
There's no shore in Cincinnati, Dolly . You must be thinking of Cleveland.
DOLLY
Cincinnati, Cleveland, what's the difference? It was very romantic.
FRANK
There's nuthin' romantic about Cleveland, Dolly, especially where you an' me
are concerned.
DOLLY
Why, Frank Butler, whatever are you talking about? We went strolling in the moonlight
and, after trying to touch various parts of my anatomy, you proposed to me.
FRANK
Proposed?! I admit I might've made a pass! But there's a helluva big difference between
a pass, and a proposal!
DOLLY
Not to a single woman of thirty-seven there isn't.
FRANK
Damn it all, Dolly, whatever happened between us was then, not now!
It's over and done with!
DOLLY
A girl can still hope, can't she?
CHARLIE
(Emerging from the hotel during this last.)

Sure. Still hope she's a girl.
FRANK
(Relieved by the interruption.)
Charlie! Just the man I want to see! I don't much like this place you picked out for the
shootin' match.
CHARLIE
That's good 'cuz you ain't got it.
FRANK
Who says?
CHARLIE
Wilson, the proprietor. He won't rent us no rooms, neither.
DOLLY
Well, I'm not sleeping in a tent again, like that time in Schenectady.
CHARLIE
There's nuthin' wrong with a tent, Dolly—long as you keep your flap shut.
WILSON
(Entering; he sees CHARLIE.)
You still here?
FRANK
Mr. Wilson, I'm Frank Butler and I'm gonna give you the chance to win one hundred
dollars.
WILSON
(Unimpressed)
You don't say.
FRANK
That's right. You see, in every town we play …
DOLLY
Mr. Butler challenges the local champion to a shooting match.
WILSON
Who're you?
DOLLY
Mr. Butler's lovely assistant. He shoots things out of my mouth.
CHARLIE
He don't shoot enough out of her mouth.
FRANK
Here's the deal, Mr. Wilson. You get your local man, bring him right here, and I'll put
up a hundred dollars I can outshoot him.
WILSON
What do you take me for? There ain't nobody in all of Hamilton County who's as good
as you think you are. The answer's still no. No, no, no!
(He storms back into the hotel.)
CHARLIE
I'll get one of the girls to go work on him. He looks like a bachelor, maybe he's
lonesome.
DOLLY
I'll tackle him.
FRANK
He ain't that lonesome. I'll go talk to him myself. He'll come around, soon as I finish
tellin' him how famous I am.
(He goes into the hotel.)
CHARLIE
Trouble with him is he lacks confidence.
MUSIC 1D: DOLLY TO THE TRUNK
(He goes. DOLLY, left alone, crosses to a packing crate and sits, adjusting
her hat. Suddenly a shot rings out, the bird flies off her hat and lands several
feet away. Startled, DOLLY looks around for the source of the shot. ANNIE
OAKLEY, an unwashed backwoodsperson wearing frayed and grimy
buckskin clothes, a brace of dead birds hanging from her belt, a duck-call
tied around her neck and carrying a long rifle, enters. Spotting the bird, she
strides to it and picks it up.)
DOLLY
I'll thank you to give me that bird.
ANNIE
What fer? It's mine, I shot it.
DOLLY
You shot it right off my hat!
ANNIE
No foolin'. How'd it get up thar?
DOLLY
I sewed it up "thar."
ANNIE
What fer? T'ain't no good. T'ain't got no meat on it.
DOLLY
(She tries to grab it.)
It's not an eating bird, you ignorant creature. it's a wearing bird.
ANNIE
(She shrugs, then hands it to her.)

Well, all right, but 'round these parts you'll have t' keep sewin' it on 'cuz folks'll keep
shootin' it off.
DOLLY
Look what you've done! You've ruined it!
ANNIE
Don't git yer giblets in a fuss. I'll give ya one o' mine.
(She offers a bird off her belt.)
DOLLY
Get away from me with that filthy thing, you nasty ragamuffin!
ANNIE
She ain't filthy. She looks better'n you an' she's got a bullet through her haid.
WILSON
(Emerging from the hotel.)
Was that a shot I heard out here?
DOLLY
Yes it was. Look out for that girl, if that's what she is under all that grime. She's got a
gun.
WILSON
Is it loaded?
ANNIE
Shore is. But I kin empty it right quick.
(She points the rifle at DOLLY who shrieks and runs off)
I wouldn'ta really shot her. Buzzard ain't in season. Feller down the road a piece told me
I might do some bizness here.
WILSON
Business? What've you got?
ANNIE
Quails, ducks, grouses, geese, squirrels, possums, wild turkeys, rabbits
WILSON
Nah, I got all the game I need.
ANNIE
Shore ya do, but when folks eat the game you got they keep spittin' out buckshot all
over yer floor. Their teeth, too, prob'ly. But mine's dif'rent.
(She blows through the duck call.)
Come on out, now, the man won't chase ya! Shake yer tails, the man's a-waitin'!
(THREE CHILDREN enter: TWO GIRLS, JESSIE, 14; and NELLIE, 12 followed by a
BOY LITTLE JAKE, 10. JESSIE is harnessed to a small, home-made wagon containing
a sack of plucked birds. The CHILDREN timidly huddle together, staring at WILSON.)
My kid sisters an' little brother ain't used t' people yet. They ain't never been outta Darke
County afore.
Look a little dusty, don't they?
(She brushes LITTLE JAKE 's coonskin hat; clouds of dust fly off)
We're in bizness together. I pop 'em, she plucks 'em an' she pulls 'em.
WILSON
Really! And what does the boy do?
ANNIE
Little Jake? He's my bird dog. Got a great nose on 'im. 'Ceptin' now that he's gone an'
ketched cold.
(As LITTLE JAKE sniffles.)
Stop yer snufflin', Little Jake. Use yer sleeve like ev'rybody else.
(As he wipes his nose on his sleeve.)

Jessie, show this gent one o' them birds.
(As JESSIE takes a quail from the wagon, hands it to WILSON, then races back to hide
behind the OTHERS.)
Look it over, mister—no buckshot in that bird. Jes" one clean little hole in its haid.
WILSON
(Impressed)
Mighty pretty shootin'.
ANNIE
(Taking it back.)
Fer ev'ry one I give ya, ya gotta give me two nickels an' a dime.
WILSON
Can't hurt to try them. I'll take two dozen.
MUSIC 3: DOIN’ WHAT COMES NATUR'LLY
ANNIE
(She hesitates.)
How many's that?
WILSON
Twenty-four.
ANNIE
(Aside, to the CHILDREN.)
Who do we know kin count up t' twenty-four?
NELLIE
I kin count up t' twenty.
ANNIE
(She turns back to WILSON.)
I kin only give ya twenty.
WILSON
All right. Just leave me a bill with the birds.
ANNIE
They all got bills, mister.
WILSON
No, no—the bill—the invoice. You know how to read and write, don't you?
ANNIE
We don't read as good as ev'rybody.
NELLIE
We don't read as good as anybody.
ANNIE
FOLKS ARE DUMB WHERE I COME FROM

THEY AIN'T HAD ANY LEARNIN'
STILL THEY'RE HAPPY AS CAN BE
DOIN' WHAT COMES NATUR'LLY
LITTLE JAKE
ANNIE
FOLKS LIKE US COULD NEVER FUSS

WITH SCHOOLS AND BOOKS AND LEARNIN'
STILL WE'VE GONE FROM A TO Z
NELLIE
DOIN' WHAT COMES NATUR'LLY.
ANNIE
YOU DON'T HAVE TO KNOW HOW TO READ OR WRITE
WHEN YOU'RE OUT WITH A FELLER IN THE PALE MOONLIGHT
YOU DON'T HAVE TO LOOK IN A BOOK TO FIND
WHAT HE THINKS OF THE MOON AND WHAT IS ON HIS MIND
THAT COMES NATUR'LLY
KIDS
THAT COMES NATUR'LLY!
ANNIE
MY UNCLE OUT IN TEXAS

CAN'T EVEN WRITE HIS NAME
HE SIGNS HIS CHECKS WITH X'S
BUT THEY CASH THEM JUST THE SAME
IF YOU SAW MY MAW

AND PAW YOU'D KNOW THEY HAD NO LEARNIN'
STILL THEY RAISED A FAMILY
KIDS
(ANNIE and the KIDS create an impromptu jug band. Then:)
ANNIE
YOU DON'T HAVE TO GO TO A PRIVATE SCHOOL

NOT TO PICK UP A PENNY NEAR A STUBBORN MULE
YOU DON'T HAVE TO HAVE A PROFESSOR'S DOME
NOT TO GO FOR THE HONEY WHEN THE BEE'S AT HOME
KIDS
THAT COMES NATUR'LLY!
JESSIE
MY TINY BABY BROTHER

WHO'S NEVER READ A BOOK...
LITTLE JAKE
I have too!
JESSIE
... KNOWS ONE SEX FROM THE OTHER

ALL HE HAD TO DO WAS LOOK
ANNIE
GRAN'PAW BILL LIVES ON THE HILL

WITH SOMEONE HE JUST MARRIED
THAR HE IS AT NINETY-THREE
KIDS
(Applause segue into the Encore.)
ANNIE
SISTER LOU AIN'T GOT A SOU

ALTHO' SHE GOES OUT SHOPPING
SHE GETS ALL HER STOCKINGS FREE
WILSON
ANNIE
COUSIN NELL CAN'T ADD OR SPELL

BUT SHE LEFT SCHOOL WITH HONORS
SHE GOT EV'RY KNOWN DEGREE
FOR DOIN' WHAT COMES NATUR'LLY
WILSON
FOR DOIN' WHAT COMES NATUR'LLY
ANNIE
YOU DON'T HAVE TO COME FROM A GREAT BIG TOWN

NOT TO CLEAN OUT A STABLE IN AN EVENING GOWN
YOU DON'T HAVE TO MIX WITH THE VANDERBILTS
NOT TO TAKE OFF YOUR PANTIES WHEN YOU'RE WEARING KILTS
WILSON
ANNIE
MY MOTHER'S COUSIN CARRIE

WOULD NEVER CHANGE HER NAME
SHE DOESN'T WANT TO MARRY
AND HER CHILDREN FEEL THE SAME
SISTER ROSE HAS LOTS OF BEAUS

ALTHO' WE HAVE NO PARLOR
SHE DOES FINE BEHIND A TREE
DOIN' WHAT COMES NATUR'LLY!
ALL
(Applause segue.)
WILSON
All right -just bring the birds back to the kitchen.
ANNIE
You heerd the man, scoot, scoot, don't keep him a-waitin'.
(The CHILDREN run off into the hotel.)
WILSON
You're pretty good with that gun, ain't you?
ANNIE
I been shootin' since I was ten.
WILSON
Does that include any fancy shootin'?
ANNIE
Fancy! Shucks, I kin shoot the fuzz off n a peach! I kin shoot the stinger off n a bee!
Most o' the time I don't even aim, I jes' pull the trigger. See that rooster's head over thar?
(She shoots back over her shoulder.)
Now ya don't.
WILSON
Holy jumpin' gee Jehosephat! Damnedest thing I ever seen!
ANNIE
Oh, that t'weren't nuthin'. Turn sideways an' I'll shoot yer specs right off yer nose.
WILSON
(He quickly takes off his glasses.)
That won't be necessary. Say, how'd you like to make ten, make that five dollars?
ANNIE
(Suspiciously)
Doin' what?
WILSON
There's this big, swollen-headed stiff from the Wild Wild West Show
ANNIE
Oh, I don't shoot people.
WILSON
No, no, he's challenged anybody in the county to a shootin' match.
ANNIE
Whar is he? I kin hit anything he kin hit an' I'll do it standin' on my head singin'
"Swanee River."
WILSON
But I gotta warn you, you won't get nuthin' if you lose.
ANNIE
Lose?! That's a good one! I ain't gonna lose, mister! I cain't lose!
WILSON
(He starts off)
You wait right here. By the way, what's your name?
ANNIE
Annie. Annie Oakley.
WILSON
Don't go 'way, Annie Oakley.
(He goes. Left alone, ANNIE sits on the bench and starts polishing her rifle with the
hem of her skirt.)
ANNIE
Here ya go, Betsy—I gotta clean ya up. How'd ya git yer nose so dirty?
(FRANK enters; he sees her and is attracted by the old rifle she is polishing.)
FRANK
What's that you got there, girl?
ANNIE
(Not looking up.)
What's it look like?
FRANK
Beats hell outta me. Could be anything. Don't suppose it's a rifle, is it?
ANNIE
Ain't you got eyes?
(She looks at him for the first time.)
MUSIC 3A: DOIN’ UNDERSCORE

ANNIE
(She likes what she sees. A lot.)
Yeah. You got eyes.
(All during the following she can only stare at him adoringly.)
FRANK
Let me see it a minute.
(He takes it from her limp hands.)
You shouldn't be foolin' around with an old piece of junk like this, you know that,
don't you?
(As she dumbly nods in agreement.)
You wouldn't like it if the damned thing exploded and blew your ears off, would you?
(She mechanically shakes her head.)
So you just give it back to your pappy and get yourself a couple of knitting needles,
you hear me?
(He hands it back to her as she nods again.)
So long, honey.
(He turns to go.)
ANNIE
(She recovers and rises.)
Hey, mister
(Music out; he turns back)
Ya reckon it'd be safe to keep it fer a couple hours more?
FRANK
Makes no difference to me. I wouldn't want you to hurt yourself, that's all.
ANNIE
I jes" have t' keep it long enough t' win a shootin' contest off' n a big, swollen-headed
stiff from the Wild Wild West Show.
FRANK
(Surprised)
You talkin' about Frank Butler?
ANNIE
They didn't tell his name. All they said was this big, swollen-headed stiff.
FRANK
Yeah, I heard that part. Didn't they also mention that he's a cham-peen?
ANNIE
What's that?
FRANK
"Cham-peen" means he's the best.
ANNIE
He was!
FRANK
Yeah. Well. Anyway, Frank Butler wouldn't shoot against no girl.
ANNIE
He ain't got no choice. He challenged anybody. And that's me, all right, anybody. 'Sides,
I don't shoot like a girl.
FRANK
Yeah? What is it you shoot like?

ANNIE
(Proud of her new word.)
A cham-peen!
FRANK
(Squinting at her.)
Pretty stuck on yourself, ain't you?
ANNIE
'Bout that I am. But soon's I put ol' Betsy here down an' try to shine up t' folks
(She wilts again as she looks at him.)
I'm gawky as a scrub oak.
(Fishing)
Ain't I?
FRANK
Oh, I dunno. I seen worse'n you.
ANNIE
(Beaming)
That's the nicest thing I ever heerd! Say, you wouldn't care t' wait around an' bring me
luck.
FRANK
The way you tell it, it's that big, swollen-headed stiff who's gonna need all the luck.
ANNIE
Long as you stay t' see it. 'Cuz when I'm standin' up there with all them folks lookin' at
me, I'll be lookin' fer you.
FRANK
Don't worry, darlin', you'll find me.
(He starts off)
See ya later.
ANNIE
Where ya goin'? Don't ya like me?
FRANK
Sure, I like you fine. I just have to go now, that's all.
ANNIE
I guess I ain't exactly yer type.
FRANK
Look, honey, let's not
ANNIE
So what exactly is yer type?
MUSIC 4: THE GIRL THAT I MARRY
FRANK
Well, if you must know, I like the kinda girl who's, well, who's sort of dainty. You
know the kind that faints when she sees a mouse.
ANNIE
And I s'pose I'm the kind who sees a mouse an' the mouse faints.
FRANK
I didn't say that. You don't mind if we drop the subject, do you?
ANNIE
I don't mind. So she's gotta be dainty. What else?

FRANK
You really want to hear this?
ANNIE
I shore do.
FRANK
THE GIRL THAT I MARRY WILL HAVE TO BE

AS SOFT AND AS PINK AS A NURSERY.
THE GIRL I CALL MY OWN
WILL WEAR SATINS AND LACES AND SMELL OF COLOGNE.
HER NAILS WILL BE POLISHED AND IN HER HAIR,

SHE'LL WEAR A GARDENIA AND I'LL BE THERE.
'STEAD OF FLITTIN', I'LL BE SITTIN'

NEXT TO HER AND SHE'LL PURR LIKE A KITTEN.
A DOLL I CAN CARRY,
THE GIRL THAT I MARRY MUST BE.
FRANK cont’d.
(Music continues under.)
Okay, you heard it. I gotta go now. Bye.
(He goes. Alone again, ANNIE ponders what she's heard, then examines her clothes,
then her nails.)
ANNIE
HER NAILS WILL BE POLISHED AND IN HER HAIR,

SHE'LL WEAR A GARDENIA AND HE'LL BE THERE.
'STEAD OF FLITTIN', HE'LL BE SITTIN'

NEXT TO HER AND SHE'LL PURR LIKE A KITTEN.
A DOLL HE CAN CARRY, THE GIRL THAT HE'LL...
(Direct segue into:)
MUSIC 5: YOU CAN'T GET A MAN WITH A GUN

...MARRY...
(She stops as she notices the rifle she's still holding.)
OH, MY MOTHER WAS FRIGHTENED BY A SHOTGUN, THEY SAY.

THAT'S WHY I'M SUCH A WONDERFUL SHOT.
I'D BE OUT IN THE CACTUS AND I'D PRACTICE ALL DAY,
AND NOW TELL ME, WHAT HAVE I GOT?
I'M QUICK ON THE TRIGGER,

WITH TARGETS NOT MUCH BIGGER
THAN A PIN POINT, I'M NUMBER ONE,
BUT MY SCORE WITH A FELLER
IS LOWER THAN A CELLAR.
OH, YOU CAN'T GET A MAN WITH A GUN.
WHEN I'M WITH A PISTOL

I SPARKLE LIKE A CRYSTAL.
YES, I SHINE LIKE THE MORNING SUN,
BUT I LOSE ALL MY LUSTER
WHEN WITH A BRONCO-BUSTER.
WITH A GUN, WITH A GUN,

NO, YOU CAN'T GET A MAN WITH A GUN.
ANNIE cont’d.
IF I WENT TO BATTLE
WITH SOMEONE'S HERD OF CATTLE
YOU'D HAVE STEAK WHEN THE JOB WAS DONE,
BUT IF I SHOT THE HERDER
THEY'D HOLLER BLOODY MURDER
AND YOU CAN'T GET A HUG FROM A MAN WITH A SLUG.
OH, YOU CAN'T GET A MAN WITH A GUN!
I'M COOL, BRAVE AND DARING

TO SEE A LION GLARING
WHEN I'M OUT WITH MY REMINGTON,
BUT A LOOK FROM A MISTER
WILL RAISE A FEVER BLISTER.
THE GALS WITH UMBRELLERS

ARE ALWAYS OUT WITH FELLERS
IN THE RAIN OR THE BLAZING SUN,
BUT A MAN NEVER TRIFLES
WITH GALS WHO CARRY RIFLES.
WITH A GUN, WITH A GUN,

NO, YOU CAN'T GET A MAN WITH A GUN.
A TOM, DICK OR HARRY

WILL BUILD A HOUSE FOR CARRIE
WHEN THE PREACHER HAS MADE THEM ONE,
BUT HE CAN'T BUILD YOU HOUSES
WITH BUCKSHOT IN HIS TROUSERS
AND YOU CAN'T SHOOT A MALE IN THE TAIL LIKE A QUAIL.
A MAN'S LOVE IS MIGHTY,

HE'LL EVEN BUY A NIGHTIE
FOR A GAL WHO HE THINKS IS FUN,
BUT THEY DON'T BUY PAJAMAS
FOR PISTOL-PACKIN' MAMMAS
FOR A MAN MAY BE HOT BUT HE'S NOT WHEN HE'S SHOT.
(Applause segue as she exits. The COWBOYS and GIRLS enter carrying rifles and, as
the hotel setting is struck, proceed to execute a military drill.)
MUSIC 6: GUN DRILL
(Then BUFFALO BILL enters, followed by CHARLIE, and strides downstage

where he waves his ten-gallon hat and address the audience. Music segues
directly into:)
MUSIC 6A: FIRST SHOOTIN MATCH
(Music continues under the entire following sequence.)
BUFFALO BILL
Ladies and gentlemen! It is always a pleasure to return to my favorite state

in the union, er…
CHARLIE
(Prompting, sotto voce.)
Ohio
BUFFALO BILL
Ohio! I'm here today to referee a contest of fancy shooting between Mr. Frank Butler,
the greatest sharpshooter on earth, and the best marksman your county has to offer! Is
Mr. Butler's opponent present?
CHARLIE
(Seeing WILSON come out of the hotel.)
Is your shooter here?
WILSON
Sure is.
(He calls off)
Annie!
CHARLIE
Annie?
BUFFALO BILL
Annie?
COMPANY
Annie?!
ANNIE
(Entering, Carrying her rifle)
Somebody callin' me?
(The COMPANY registers their surprise.)
WILSON
(Beaming)
Here she is—my choice to compete with Frank Butler!
(The COMPANY laughs.)
ANNIE
What's so goldumed funny 'bout that?
CHARLIE
(To WILSON.)
What're you tryin' to do, get us laughed outta town? No, sir, we're not goin'
through with this!
WILSON
You ain't got no choice. Didn't ya say anybody I could dig up?
CHARLIE
Yeah, but
ANNIE
I'm what come up on the shovel.
CHARLIE
(To BUFFALO BILL.)
What're we gonna do, B.B.?
BUFFALO BILL
Nothing. The little lady accepted our challenge.
ANNIE
You really Buffalo Bill?
BUFFALO BILL
Nobody else.
ANNIE
I'm Annie Oakley.
BUFFALO BILL
(With a courtly bow.)
I'm delighted, Miss Oakley.
ANNIE
(She can hardly believe it.)
You are?
CHARLIE
Ladies and gentlemen, meet Mr. Butler's charming assistant, Miss Dolly Tate!
(DOLLY enters, carrying a small table which she places down right, then performs an
elaborate vaudeville-type bow.)
ANNIE
Yeah? Well, here's my three charmin' assistants—Jessie, Nellie an' Little Jake!
(The THREE CHILDREN enter, pulling the wagon which they place down left. ANNIE
does her best to imitate DOLLY'S hokey bow. DOLLY now produces a plush red cover
for the table, edged with a gold fringe and with the words "FRANK BUTLER" printed
on it and places it on the table with
a flair.)
DOLLY
Hip!
ANNIE
Ain't we got a tablecloth?
(NELLIE hands ANNIE an old burlap sack with the words "Higgins Fertilizer" printed
on it; ANNIE throws it over the wagon.)
Hip!
DOLLY
(Placing a nickel-plated rifle on the table.)
Hip!
ANNIE
(Placing her dingy old rifle on the wagon.)
Hip!
(To the CHILDREN.)

What the hell're we doin'?
BUFFALO BILL
Ladies and gentlemen, introducing the great Frank Butler!
(FRANK enters, now dressed in his flashy show costume.)
Frank, let me present your opponent, Miss Annie Oakley.
(ANNIE, whose back is to him, now turns and, when she sees FRANK, her jaw again
drops.)
FRANK
Howdy. I told you I'd be here, didn't I?
ANNIE
But ya didn't tell me you was the
FRANK
big, swollen-headed stiff?
BUFFALO BILL
Is the competition ready to begin? Mr. Butler? Miss Oakley?
FRANK
(Positioning himself behind his table.)
Ready.
ANNIE
(Picking up her old gun.)
Me, too.
BUFFALO BILL
This contest will be straight shooting using clay pigeons.
ANNIE
Pigeons?
BUFFALO BILL
Made out of clay. As the challenger, you will take the first shot. When you're ready just
say "pull."
ANNIE
Jes" say what?
BUFFALO BILL
Pull.
ANNIE
Pull?
LITTLE JAKE
(Watching the "clay pigeon" in the air.)
Shoot, Annie!
ANNIE
T'ain't no pigeon
LITTLE JAKE
Shoot!
(Quickly, ANNIE raises her rifle and shoots—Bam! Rim-shots from the DRUMMER
indicate the shots.)
BUFFALO BILL
(Marking the score.)
Hit!
FRANK
Pull!
(He aims and shoots—Bam!)

BUFFALO BILL
Hit!
ANNIE
(Intrigued)
Ya see that, kids? This little round thing goes flyin' through the air ev'ry time
ya holler "pull!"
(She quickly raises her gun and shoots—Bam!)
BUFFALO BILL
Hit!
FRANK
Dolly—hand me that mirror.
DOLLY
(Handing him a mirror; to ANNIE.)
Watch this one.
FRANK
(Turning his back and sighting in the mirror.)

Pull!
(He shoots backwards, over his shoulder—Barn!)
BUFFALO BILL
Hit!
ANNIE
Lemme see that thing.
(She takes the mirror and, turning her back, tries to aim, first pointing the rifle at the
COMPANY, who dive for cover before she corrects her aim.)
Pull!
(Barn!)
BUFFALO BILL
Hit!
FRANK
Nice shooting.
ANNIE
Thank'ee.
FRANK
(Lifting one leg and aiming under it.)

Pull!
(Bam!)
BUFFALO BILL
Hit!
ANNIE
(She does the same.)

Pull!
(Bam!)
BUFFALO BILL
Hit!
FRANK
(He bends over and sights between his legs.)
Pull!
(Bam!)
BUFFALO BILL
Hit!
ANNIE
(Giggling, she does the same.)
Pull!
(Barn!)
BUFFALO BILL
Hit! The match is all even.
CHARLIE
Let's call it a draw.
BUFFALO BILL
No. We will continue shooting until the first contestant misses a target. Miss Oakley.
ANNIE
Pull!
(Bam!)
BUFFALO BILL
Hit!
FRANK
Pull!
(Bam!)
BUFFALO BILL
Hit!
ANNIE
Pull!
(Bam!)
BUFFALO BILL
Hit!
FRANK
Pull!
(Bam!)
BUFFALO BILL
Hit!
ANNIE
Pull!
(Bam!)
BUFFALO BILL
Hit!
FRANK
Pull!
(Bam!)
BUFFALO BILL
(A short beat; amazed.)
Miss.
(There's a stunned silence.)
I declare Annie Oakley the winner of this contest!
(Another moment of silence; then the ENSEMBLE let's out a cheer.)
WILSON
She did it! She did it! I win a hundred dollars!
(He receives a wad of bills from CHARLIE.)
NELLIE & JESSIE
Annie won! Annie won!

LITTLE JAKE
(Going to FRANK and pulling his sleeve.)
Annie beat ya.
(FRANK crosses to ANNIE and shakes her hand.)
FRANK
Nice work.
BUFFALO BILL
Magnificent exhibition. You're a brilliant shot.
(Music out.)
ANNIE
T'weren't nuthin', Mr. Buffalo. Easy as pie.
(She realizes she's said the wrong thing.)
I'm sorry. You ain't mad at me, are ya?
(As the ENSEMBLE goes; BUFFALO BILL and CHARLIE have gone to one side to
confer.)
FRANK
Hell no. Anybody can miss a shot.
ANNIE
I cain't.
FRANK
No, of course not. You're too good.
CHARLIE
Hey, Frank, come here a minute.
(FRANK joins him and BUFFALO BILL.)
DOLLY
As far as I'm concerned it was just dumb luck!
(She turns and goes.)
WILSON
That was some shootin' match, Annie. You should be feelin' real proud of yourself.
ANNIE
(She glances quickly at FRANK.)
Yeah. Real proud.
WILSON
(He hands her a single bill.)
Five dollars, just like I promised. Thank you, Annie. You did real fine.
(He shakes her hand, then goes. Her moment of triumph having passed, ANNIE sits on
the bench, the CHILDREN beside her. She glances at FRANK just as he angrily walks
away from BUFFALO BILL and CHARLIE.)
FRANK
No! Absolutely not! I've always worked alone and I always will!
CHARLIE
(As he and BUFFALO BILL follow FRANK)
Listen, Frank, we haven't been doing all that good lately. Pawnee Bill's been outdrawin'
us in every town we get to.
BUFFALO BILL
It'll be a novelty, Frank. Something the public's never seen—a girl who can shoot like
that.
FRANK
I don't need any partners!
CHARLIE
Who said anything about partners? She'll be your assistant.
FRANK
I already got an assistant.
CHARLIE
So you'll have two assistants. And maybe, once in a while, you'll let her shoot at
something. Like that egg off the little poodle's head.
BUFFALO BILL
(Glancing at ANNIE.)
She's kind of a pretty girl—under there somewhere.
CHARLIE
'Course she looks all ratty now, but once we clean her up and get her dressed proper
FRANK
Stop kidding yourselves. She's never gonna be satisfied just standing there handing
me things.
ANNIE
Oh yes she would!
(As the MEN look at her in surprise.)
You kids go on ahead.
(As the CHILDREN go, she joins them.)
I'll hand ya things, Mr. Butler. I'll do whatever you say.
FRANK
Why would you do something like that?
ANNIE
(Looking at her feet.)
Jes' so's I kin be with you.

FRANK
(Not unaffected.)
Have you ever been away from home before?
ANNIE
Ya mean I'd have t' leave home?
BUFFALO BILL
We travel all over the country, Annie.
FRANK
Have you ever been on a railroad train?
ANNIE
Nope.
BUFFALO BILL
Have you ever stayed in a hotel?
ANNIE
Nope.
FRANK
Have you ever eaten in a restaurant?
ANNIE
Nope.
BUFFALO BILL
Have you ever…
ANNIE
Nope.
CHARLIE
Do you know anything at all about show business?

ANNIE
Show business? What's that?
MUSIC 7: SHOW BUSINESS REPRISE
(The THREE MEN exchange looks.)
CHARLIE
THE COWBOYS, THE WRESTLERS, THE TUMBLERS, THE CLOWNS,

THE ROUSTABOUTS THAT MOVE THE SHOW AT DAWN.
BUFFALO BILL
THE MUSIC, THE SPOTLIGHTS, THE PEOPLE, THE TOWNS,

YOUR BAGGAGE WITH THE LABELS PASTED ON.
FRANK
THE SAWDUST AND THE HORSES AND THE SMELL.

THE TOW'L YOU'VE TAKEN FROM THE LAST HOTEL.
ALL THREE

BUFFALO BILL
EV'RYTHING ABOUT IT IS APPEALING.
CHARLIE
EV'RYTHING THE TRAFFIC WILL ALLOW.
FRANK
NOWHERE COULD YOU GET THAT HAPPY FEELING

WHEN YOU ARE STEALING THAT EXTRA BOW.
BUFFALO BILL

CHARLIE
YESTERDAY THEY TOLD YOU YOU WOULD NOT GO FAR.
BUFFALO BILL
THAT NIGHT YOU OPEN AND THERE YOU ARE.
FRANK
NEXT DAY ON YOUR DRESSING ROOM THEY'VE HUNG A STAR. LET'S GO

ON WITH THE SHOW.
(CHARLIE shouts directions to the offstage ROUSTABOUTS.)
CHARLIE
Set up Scene Two—the Overland Steam Train!
(As they head off, an excited ANNIE is escorted arm-in-arm between FRANK and
BUFFALO BILL.)
ANNIE, FRANK, CHARLIE & BUFFALO BILL
(Direct segue into:
MUSIC 7A: NATIVE AMERICAN TRANSITION
...SHOW!
(And they are gone. As the ROUSTABOUTS go about setting up the scenery for the
next scene, a FEMALE INDIAN does a hoop dance.)
Scene 2 A Pullman Car on the Overland Steam Train
(Night, six weeks later. TWO INDIANS, RUNNING DEER and

EAGLE FEATHER have made the car their home. They sit, their
feet up, reading newspapers. There are SEVERAL OTHER
PASSENGERS present, including TOMMY)
RUNNING DEER
Did you see my review in the Gazette? "Chief Running Deer rides a horse like he was
born in the saddle." This critic much smarter than the last one.
(DOLLY, followed by CHARLIE, enters. She reacts with alarm.)
DOLLY
(To CHARLIE)
Didn't I tell you they were in here? Chief Eagle Feather, you know you people shouldn't
be in this car.
EAGLE FEATHER
We have permission to be here.
DOLLY
Oh, really? Where's your reservation?
EAGLE FEATHER
In South Dakota!
(The INDIANS roar with laughter.)
DOLLY
(To CHARLIE.)
They're nothing but a bunch of savages!
RUNNING DEER & EAGLE FEATHER
(Together, as they look around, alarmed.)
Savages! Where?!
CHARLIE
I think all you folks oughta break up camp in here and go back to your own car.
(The INDIANS gather their things and start moving out.)

I wonder who told 'em to come in here.
DOLLY
Who do you think? A certain scruffy little prairie chicken named Annie Oakley.
ANNIE
(She has entered in time to hear this.)
Is somethin' wrong?
DOLLY
(To CHARLIE.)
This is all her fault. She's caused nothing but trouble from the first moment she joined
us six weeks ago!
ANNIE
I already said I was sorry 'bout Little Jake settin' fire to your wig, didn't I?
CHARLIE
If only she hadn't been wearin' it at the time.
DOLLY
Charlie Davenport, I insist you give her a piece of your mind!
CHARLIE
Give her a piece of yours, Dolly . if you think you can spare it.
DOLLY
Thank you very much. You really hate me, don't you?
ANNIE
(Still annoyed over her treatment of the Indians.)
He shore does.
(To CHARLIE.)
Why do you hate pore Miz Tate? Why does ev'rybody hate pore Miz Tate?
DOLLY
That does it! Either that person goes or I stay!
(Flustered, she goes.)
CHARLIE
I know she seems kinda mean and heartless, but underneath, she's really a totally rotten
person.
(He goes as a dining car WAITER enters ringing a large triangle.)
WAITER
First call for supper in the dining car ahead!
MUSIC 7B: "CHARLEY BROWN HURRY MUSIC
(As he continues on through the car, he is followed by a crush consisting of

the COWBOYS, GIRLS and the INDIANS. Last in the parade are the THREE
CHILDREN and WINNIE. ANNIE pulls LITTLE JAKE to one side as he
passes; TOMMY jumps up from his seat and does the same with WINNIE,
kissing her hungrily.)
ANNIE
(Watching them.)
Ain't you two gonna eat supper? I hear tell that kissin' kin give you a big appetite.
TOMMY
The only time we can be alone is while Dolly's eating.
ANNIE
What's she got t' do with it?
WINNIE
She's dead set against my seeing Tommy
TOMMY
on account of me bein' one half Indian.
ANNIE
What's the other half?
TOMMY
Irish.
ANNIE
Well, ain't it a small world. I'm half Irish myself.
TOMMY
No fooling!
ANNIE
Shore am. Don't let Dolly get ya down, Tommy. Indians are real fine folks. It's the Irish
I'm not too shore about.
WINNIE
Oh, I almost forgot. I saved this for you. I cut it out of the newspaper. It says something
nice about you.
(She hands ANNIE a newspaper clipping.)
ANNIE
About me? No foolin'!
WINNIE
Aren't you going to read it now?
ANNIE
(Looking for an excuse.)
Naw. I think I'll jes" save it fer dessert.
(She moves away, joining LITTLE JAKE, leaving TOMMY and

WINNIE alone.)
Little Jake, ain't it time for doin' a little homework?
LITTLE JAKE
I'm hongry, Annie.
ANNIE
Homework's important, Little Jake. How's a person gonna lam to read if' n ya don't
teach me how?
LITTLE JAKE
But I'm powerful hongry, Annie!
ANNIE
All right, all right, we'll go fill ya up an' then you can teach me.
(They go.)
WINNIE
It's no use, Tommy, we can't get married. We don't have a plug nickel between us!
TOMMY
Stop fretting, Winnie. Money can't buy what we're gonna have.
WINNIE
You mean poverty?
TOMMY
It's not how much you have, Winnie, it's who you share it with.
MUSIC 8: I'LL SHARE IT ALL WITH YOU
WHAT IS MINE, DEAR, WILL BE YOURS,

WHEN THE SUN SHINES AND WHEN IT POURS.
SUMMER, WINTER, FALL OR SPRING,
FIFTY-FIFTY IN EV'RYTHING.
HAVEN'T GOT MUCH
EVEN THAT MUCH TO MY NAME.
FORTUNE'S DOOR SHUT
CAN'T GET IN, BUT JUST THE SAME
MY EAR FOR MUSIC, MY FEET FOR DANCING,

MY LIPS FOR KISSING
I'LL SHARE IT ALL WITH YOU.
MY SENSE OF HUMOR, MY DISPOSITION
MY ROSY FUTURE
TOMMY & ENSEMBLE
SOME DAY, HONEY,

I'LL [HE'LL] HAVE MONEY
YOU KNOW WHAT THAT BRINGS.
FURS AND DIAMOND RINGS.
TOMMY
AND BESIDE THOSE THINGS THERE'LL BE MY...
ENSEMBLE
HIS...
WINNIE
EAR FOR MUSIC.
TOMMY
MY...
ENSEMBLE
HIS...
WINNIE
FEET FOR DANCING.
TOMMY
MY...
ENSEMBLE
HIS...
WINNIE
LIPS FOR KISSING.
TOMMY & WINNIE
(Dance sequence.)
ENSEMBLE
I'LL SHARE IT ALL.

WOO!
I'LL SHARE IT ALL.
WOO!
I'LL SHARE IT ALL WITH YOU!
(Applause segue as they ALL exit. From the other side ANNIE and
LITTLE JAKE return.)
LITTLE JAKE
You shore made me eat fast, Annie.
ANNIE
We got work t' do, Little Jake. What'll Frank think if' n he knew I couldn't read?
(She hands him the clipping.)
LITTLE JAKE
All right - what's this first word right here?
(He points at the clipping.)
ANNIE
I dunno. I ain't never seen that one afore.
LITTLE JAKE
Sound it out, Annie.
ANNIE
(She struggles, letter by letter.)
Fff—Rrr—Aaa—Nnn—Kkk
(She stops, exhausted by the effort.)
Now that I said it, what the hell is it?
LITTLE JAKE
(Taunting)
Ff—Rr—Aa—Nn
ANNIE
Frank! Now, that's a right purdy word! Frank!
FRANK
(Entering)
You callin' me?
ANNIE
(Quickly recovering.)
I, I was jes' tryin' t' lam Little Jake here how t' do his readin'. But he shore is thick-
headed. Ain't ya, Jake?
LITTLE JAKE
(Dutifully)
I shore am thick-headed.
ANNIE
Right. Now you go on t' the eatin' car an' git yore supper.
LITTLE JAKE
But Ijes' ate!
ANNIE
Yer a growin' boy, go eat agin. Go on, git! Git!
(As he runs off)
I was jes' lookin' at something 'bout you an' me in the paper. Wanna read it?
FRANK
Naw, you read it to me.
ANNIE
Naw. I wanna hear how it sounds when you speak it.
FRANK
(He takes it and reads.)
"Frank Butler's assistant

(Mumbling)
whose name is not on the program
(Normally)
performed only one trick, but she promises to become a fine marksman."
ANNIE
Real nice o' that paper man.
FRANK
Folks are beginning to notice you, Annie. The other day I talked Charlie into putting
your name on the billboard.
ANNIE
And on the program, too?
FRANK
Hm? What the hell, why not? And I told him I was gonna let you shoot the egg off the
poodle's head. Think you can handle that?
ANNIE
Kin I! I kin do it without breakin' the yolk!
FRANK
All right. I guess you can start in Minneapolis. But you don't want to be movin' up too
fast.
ANNIE
All I wanna be is softer an' pinker, like the kinda girl ya said ya liked.
FRANK
I gotta say you're lookin' softer and pinker every day.
ANNIE
That ain't jes' a load o' hogwash, is it?
FRANK
What would you say if some day I even decided to make you my partner?
(His hand sweeps an imaginary billboard.)
"Butler and Oakley."
ANNIE
You cain't mean it!
FRANK
Never wanted a partner before, but now maybe I just might.
ANNIE
(Dreaming)
I kin see it, too. "Oakley an' Butler!"
FRANK
(Not dreaming.)
"Butler and Oakley." It's gotta be in alphabetic order. It's an old show business rule.
ANNIE
If'n you say so.
FRANK
That's my girl.
MUSIC 8A: ANNIE AND FRANK ON THE TRAIN
ANNIE
Am I yer girl, Frank?
FRANK
I dunno. I ain't really thought about it.
ANNIE
(Quickly)
Think about it.
(She moves in close to him.)
FRANK
You're not only lookin' better. You're smellin' better.
ANNIE
I been bathin' regular.
FRANK
And it's funny about your eyes.
ANNIE
What about 'em?
FRANK
You got 'em.
ANNIE
Two of 'em.
FRANK
I ain't ever noticed 'em before. They're lookin' all sparkly.
ANNIE
That's because o' what they're lookin' at.
(There 's a moment of silence as they regard one another at close range; then, as they're
about to kiss, the SLEEPING CAR PORTER enters.)
PORTER
Can I make up the bunk for you folks?
(Music out.)
FRANK
(Flustered)
Well, looks like it's gettin' to be bedtime so I guess I oughta mosey on back to
my own car.
ANNIE
I could mosey on back with ya.
FRANK
(Backing away.)
No, you better stay here. We'll both sleep a lot better. 'Night.
(And he's gone. As the PORTER begins making up the bunks, CHARLIE and
BUFFALO BILL enter; they appear highly agitated.)
CHARLIE
Annie! Annie, you've gotta help us.
BUFFALO BILL
We're facing an emergency. Pawnee Bill's opening against us in Minneapolis.
CHARLIE
And he's trying to sign up Sitting Bull, the famous Sioux warrior.
BUFFALO BILL
So we've got to come up with a big attraction of our own.
CHARLIE
And a woman who can shoot good and look something like a lady is a pretty good
attraction.
BUFFALO BILL
We want you to do that new trick you've been practicing.
ANNIE
Shhh! Not so loud! I been savin' that t' surprise Frank.
BUFFALO BILL
You can surprise him with it in Minneapolis.
ANNIE
So soon? I don't think he'd like that.
CHARLIE
'Course he would! It's perfect! It's like a fairytale. Here he thinks you're nuthin' but a
moth-eaten little dame from the tall grass
ANNIE
He don't think that!
BUFFALO BILL
She's right, Charlie. I'm sure he likes her a little.
ANNIE
He likes me a heap!
CHARLIE
He ain't asked you to marry him, has he?

ANNIE
Yeah, well, the heap ain't grown quite that high yet. I jes' gotta git him, Charlie. How
kin I git him?
CHARLIE
What you gotta do is dazzle him, Annie. Drive him loco! When he sees you step out
there in a beautiful costume, looking like a million bucks, with all the lights and music,
and then
BUFFALO BILL
Instead of shooting that egg off the poodle's head
CHARLIE
You do this great trick that you perfected just for him, you'll save the show and marry
Frank!
BUFFALO BILL
How does that sound?
ANNIE
Jes' like a fairytale.
(A moment's doubt.)
Now yer shore he's gonna like it.
BUFFALO BILL
He'll love it! Who doesn't love surprises?
CHARLIE
This is great, Annie. Just great. Come on, B.B., we gotta send a lot of telegrams to the
newspapers.
(As they go, the THREE CHILDREN enter wearing their pajamas.)
ANNIE
All ready for bed?
CHILDREN
Yep!
ANNIE
Did ya brush yer teeth?
CHILDREN
Yep!
ANNIE
All of 'em?
CHILDREN
Yep!
ANNIE
Then git in thar!
(They climb into their bunks.)
NELLIE
Sing us a song, Annie.
JESSIE
Jes' like mama used to do.
ANNIE
No. Ev'ry time I sing ya t' sleep, you stay awake an' I go t' sleep.
MUSIC 9: MOONSHINE LULLABY
LITTLE JAKE
Please, Annie
ALL THREE
Please?
ANNIE
Oh, all right. But close yer eyes first.
(As the CHILDREN close their eyes she sings.)
BEHIND THE HILL

THERE'S A BUSY LITTLE STILL
WHERE YOUR PAPPY'S WORKIN' IN THE MOONLIGHT
YOUR LOVIN' PAW
ISN'T QUITE WITHIN THE LAW
SO HE'S HIDIN' THERE BEHIND THE HILL
BYE-BYE BABY
STOP YOUR YAWNIN'
DON'T CRY BABY
DAY WILL BE DAWNING
AND WHEN IT DOES

FROM THE MOUNTAIN WHERE HE WUZ
HE'LL BE COMING WITH A JUG OF MOONSHINE
SO COUNT YOUR SHEEP
MAMA'S SINGING YOU TO SLEEP
WITH THE MOONSHINE LULLABY
(Now THREE COWBOYS enter.)
TRIO
LOO...
LOO...
BEHIND THE HILL

THERE'S A BUSY LITTLE STILL
WHERE YOUR PAPPY'S WORKIN' IN THE MOONLIGHT
YOUR LOVIN' PAW
ISN'T QUITE WITHIN THE LAW
SO HE'S HIDIN' THERE BEHIND THE HILL
ANNIE & TRIO
BYE-BYE BABY
STOP YOUR YAWNIN'
DON'T CRY BABY
DAY WILL BE DAWNING
TRIO
AND WHEN IT DOES

FROM THE MOUNTAIN WHERE HE WUZ
HE'LL BE COMING WITH A JUG OF MOONSHINE
ANNIE
SO COUNT YOUR SHEEP

KIDS
DREAM OF PAPPY
VERY HAPPY
WITH HIS JUG OF MOUNTAIN RYE
ANNIE
SO COUNT YOUR SHEEP

(The TRIO goes.)
All right, kids. Go t' sleep.
KIDS
(One at a time.)
'Night, Annie... 'Night, Annie.. . 'Night, Annie.
ANNIE
'Night, kids.
(CHARLIE now appears, holding a lantern, and softly calls to the offstage
ROUSTABOUTS, careful not to wake the CHILDREN.)
CHARLIE
Set up Scene Three—the Minneapolis Fair Grounds.
ANNIE
SO COUNT YOUR SHEEP

(ANNIE points her fingers like a pistol and "shoots out" CHARLIE'S lantern;
blackout. Applause segue. Stage left, the DRUMMER from the COWBOY
BAND appears, drumming an adlibbed riff in accompaniment to a set of his
own fancy tap steps. Lights up on:)
Scene 3: The Main Tent on the Minneapolis Fair Grounds
(The main entrance is upstage. Right and left are two large posters—one is
the old one of Frank Butler; the other, even larger, with a glorified depiction
of Annie with her gun, proclaims: "Introducing Annie Oakley, the Greatest
Female Rifle Shot in the World!!!" BUFFALO BILL 's entire COMPANY has
assembled and are busy, each rehearsing his or her own specialty act.
CHARLIE stands to one side, supervising. BUFFALO BILL enters.)
CHARLIE
You're driving the company a little hard, aren't you B.B.?
BUFFALO BILL
They've gotta rehearse, Charlie. With that old horned toad Pawnee Bill opening his
show against us here in Minneapolis, I'm not taking any chances on him getting better
reviews than we do. Especially when he's telling everyone he's got Chief Sitting Bull
under
his thumb.
(Unseen by both of them, CHIEF SITTING BULL appears upstage, wearing his great
feathered headdress and a necklace of bears' teeth, striking a heroic pose. When the
COMPANY sees SITTING BULL, they stop their rehearsing and stare at him in awe.)
CHARLIE
I hear that Indian's so ferocious he can slaughter a whole den of grizzly bears single-
handed.
(Now, behind SITTING BULL, PAWNEE BILL, a shorter, rounder version of

BUFFALO BILL, enters and, unnoticed by BUFFALO BILL and CHARLIE, they
come downstage together, surveying the scene.)
BUFFALO BILL
Pawnee Bill's been a burr under my saddle ever since that phony stole the idea for his
show right out fromunder my nose.
(As his rant continues, PAWNEE BILL, followed by SITTING BULL, has come up
behind him and now listens to every word. CHARLIE has caught sight of him and tries
to signal BUFFALO BILL to turn around.)
That low-down dirty hound-dog! He's nothing but a lying, mangy, thieving…
(He now realizes what's happened and turns to face PAWNEE BILL sheepishly.)
PAWNEE BILL
Bill, you big bandit, it's great to see you!
MUSIC 10: SITTING BULL UNDERSCORE
BUFFALO BILL
(A big smile suddenly appears on his face.)
Well! If it isn't my best friend and old side-kick, Pawnee Bill! How the hell are you, you
old pirate?
PAWNEE BILL
You fellas know Chief Sitting Bull, the man who brought down General George Custer.
BUFFALO BILL
Never had the pleasure.
SITTING BULL
(Raising one hand.)
How…
BUFFALO BILL & CHARLIE
How!
SITTING BULL
is business?
BUFFALO BILL
So what can I do for you, old pal o' mine?

PAWNEE BILL
I was hoping you'd extend me the professional courtesy of letting me take a gander at
that new phe-nom whose picture you've plastered all over town.
BUFFALO BILL
You mean Annie Oakley? Why, I'd be delighted! Mac!
(As MAC emerges from the tent.)
Take our distinguished guests and seat them in my private box.
PAWNEE BILL
Fine, fine, come along, Chief.
(He goes into the tent with MAC.)
CHARLIE
All right, everyone. Time to get ready for the show. Move it!
(SITTING BULL starts to go with them, but stops when he sees

Annie's poster.)
SITTING BULL
Good face.
BUFFALO BILL
Wait 'til you see her shoot.
CHARLIE
You thinking of joining up with Pawnee Bill, Chief?
SITTING BULL
No. On my way home from Washington.
BUFFALO BILL
What were you doing there, Chief?
SITTING BULL
Sitting Bull went to see the great white father about Indian Territory.
BUFFALO BILL
They sure gave you a bad shuffle with that piece of land, didn't they?
CHARLIE
Can't even farm it, can you?
SITTING BULL
Nothing will grow.
CHARLIE
That's too bad.
SITTING BULL
Yes. Too much oil.
CHARLIE
Just oil? Boy, that's a tough break, Chief. How're you gonna live? You can't drink the
oil.
SITTING BULL
No. Have to sell the oil. Sell fifty thousand barrels a day.
CHARLIE
(He exchanges a look with BUFFALO BILL.)
Fifty thousand?
BUFFALO BILL
It's worth a try.
CHARLIE
(He moves close to SITTING BULL.)
So tell me, S.B. What are you planning to do with all that wampum?
SITTING BULL
Am planning to open a gambling hall on my reservation.
CHARLIE
A rotten idea, chief. But for a relatively small amount you could be a major backer of
our Wild West Show.
SITTING BULL
Sitting Bull lives by three rules: don't eat red meat, don't get feet wet, and don't put
money in show business!
(BUFFALO BILL leads SITTING BULL off)
CHARLIE
How the hell did we ever get this country away from them?
(Now FRANK enters, marching straight up to Annie's poster.)
FRANK
Charlie!
CHARLIE
What?
(He sees what FRANK's looking at.)
That poster's terrific, ain't it?
(As FRANK glares at him.)
You like it, right?
FRANK
I like it, wrong! Her picture's bigger than mine!
CHARLIE
I figured you'd be pleased to see it, you bein' stuck on her and all.
FRANK
Stuck on her? ! Who ever said I was stuck on her? And even if I was stuck on her,
which I ain't saying I am! I'd want to stay stuck on her which is something I couldn't do
unless I was top dog.
(As he heads off)
Any man would feel the same way, Charlie.
(BUFFALO BILL returns.)
BUFFALO BILL
What was Frank so het up about?
CHARLIE
He doesn't like Annie's poster.
BUFFALO BILL
I was afraid of that. Do you think we ought to go through with her big surprise?
CHARLIE
Oughta? We gotta! If Annie doesn't draw big business we won't have enough dough to
get outta town.
BUFFALO BILL
(He goes.)
I'd better go see that everything's ready.
(Now DOLLY enters, clearly in a state.)
DOLLY
Charlie! I can't find Winnie! I've looked everywhere for her! Something terrible's
happened to her, I feel it in my bones! There's only one person around here who's low
enough to corrupt a person's sweet, innocent, almost as pretty as I am baby sister.
CHARLIE
I didn't do it, I swear!
(ANNIE, with TOMMY and WINNIE right behind her, enters warily. ANNIE now
wears a dazzling show costume.)
ANNIE
Keep behind me. I jes' wanna check if the coast is clear.
DOLLY
(Pointing at ANNIE.)
And we all know who that person is!
ANNIE
The coast ain't clear.
(ANNIE turns to go but WINNIE stops her.)
WINNIE
Don't leave us here alone.
ANNIE
You ain't alone, darlin'. You got a husband now.
DOLLY
Husband?! Did I hear the word husband?!
(To WINNIE.)
Don't tell me you actually married that redskin!
WINNIE
Half-redskin!
TOMMY
And it so happens she loves this half-redskin!
WINNIE
And we plan on having a lot of little quarter-redskins!
DOLLY
(She turns to ANNIE.)
This is all your doing, isn't it?

ANNIE
If n you mean did I help 'em, yes, m'am, I shore did. They love each other. That's the
only thing that matters.
DOLLY
What did I do to deserve this? If our momma was alive she'd be turning over in her
grave!
(Even she can't quite follow this.)
Charlie, we quit! I'm giving you our notice, commencing right now! I'm leaving and I'm
taking my baby sister with me!
WINNIE
I'm sorry, sis. I'm not leaving my husband.
DOLLY
That's what you think. It so happens you're only seventeen years old which means
you're under-age. As her legal guardian I'll have it annulled!
(She storms off)
CHARLIE
Dolly!
ANNIE
Maybe ya oughta let her go.
CHARLIE
Let her go? Hell, I'm gonna help her pack!
(He goes after her.)
WINNIE
She really means it about having it annulled.
ANNIE
What if' n she does? Sooner or later yer gonna be eighteen. Then, ya kin jes' go out an'
null it up all over agin.
MAC
(Entering)
Annie, you ain't got much time. You're on right after the Rough Riders.
(He goes.)
WINNIE
(She now notices Annie's poster and points.)
Annie! Look!
ANNIE
(Startled)
What?
(She turns and looks.)
Lord, ya skeered me half t' death. It's only me.
(Realizing)
It's me!
MUSIC 13: SHOW BUSINESS REPRISE 2
Lookee thar! It's me! Go git Frank - I want him to see it.
WINNIE
(Pleased for her.)
Isn't it exciting? Yesterday you were polishing Frank Butler's guns
TOMMY
—and today you're as big a star as he is!
(They go. ANNIE stares up at her poster.)
ANNIE
(Starting slowly.)

ALL MADE UP AND SOON YOU'LL BE APPEARING,
EV'RY BIT OF NERVOUSNESS IS GONE,
THEN THE SOUND THAT'S MUSIC TO YOUR HEARING
TO HEAR THEM CHEERING WHEN YOU COME ON
(Gradually building.)

HOW I WISH THE FOLKS AT HOME COULD ONLY SEE
WHAT'S COME TO ANNIE, HOW PROUD THEY'D BE.
GETTIN' PAID FOR DOIN' WHAT COMES NATUR'LLY.
(FRANK enters.)
FRANK
Annie! Don't you look elegant!
ANNIE
(Pointing to the poster.)
Look up thar, Frank. Ain't I growed in the last few days?
FRANK
Yep. Shot up like ragweed.
ANNIE
Beats all hell, don't it?
FRANK
Hope you don't get to like it too much, honey—'cuz it ain't gonna be there next week.
ANNIE
Why's that?
FRANK
Look, I gave you a few extra tricks but they don't add up to star billing. It took me years
to get that. You don't mind, do you, honey?
ANNIE
I guess not.
FRANK
That's my girl.
ANNIE
That's the second time ya called me that.
(She turns away.)
I been feelin' kinda funny lately, Frank. I ain't been hungry an' I'm always hungry. An' I
look at the moon a lot.
MUSIC 14: THEY SAY IT'S WONDERFUL
(She turns back.)

ANNIE cont’d.
Is that what love does t' you?

FRANK
Annie—ain't you never been in love before?
ANNIE
Oh, sure, dozens o' times.
FRANK
I mean with someone who loved you back.
ANNIE
Oh. Then I guess I ain't. But I heerd tell about it.
THEY SAY THAT FALLING IN LOVE IS WONDERFUL

IT'S WONDERFUL, SO THEY SAY
AND WITH A MOON UP ABOVE, IT'S WONDERFUL
IT'S WONDERFUL, SO THEY TELL ME
I CAN'T RECALL WHO SAID IT
I KNOW I NEVER READ IT
I ONLY KNOW THEY TELL ME THAT LOVE IS GRAND
AND
THE THING THAT'S KNOWN AS ROMANCE IS WONDERFUL

WONDERFUL, IN EV'RY WAY,
SO THEY SAY
FRANK
RUMORS FLY AND THEY OFTEN LEAVE A DOUBT

BUT YOU'VE COME TO THE RIGHT PLACE TO FIND OUT
EV'RYTHING THAT YOU'VE HEARD IS REALLY SO
I'VE BEEN THERE ONCE OR TWICE AND I SHOULD KNOW
YOU'LL FIND THAT FALLING IN LOVE IS WONDERFUL

IT'S WONDERFUL, AS THEY SAY
IT'S WONDERFUL, AS THEY TELL YOU
YOU LEAVE YOUR HOUSE SOME MORNING

AND WITHOUT ANY WARNING
YOU'RE STOPPING PEOPLE, SHOUTING THAT LOVE IS GRAND
AND
TO HOLD A MAN IN YOUR ARMS IS WONDERFUL

WONDERFUL, IN EV'RY WAY
ANNIE
I SHOULD SAY!
(Music continues under.)
You'll be shore t' watch me this afternoon, won't ya?
FRANK
I can't, honey. That's when I'll be gettin' on my horse for my big flash finish.
ANNIE
But ya jes' gotta watch me today, Frank! Ya gotta!
FRANK
C'mon, I've seen that poodle trick a dozen times.
ANNIE
I know, but today's gonna be dif'rent. Today I'm not gonna—I mean, I am gonna—what
I mean is, whenya see me out thar with the music playin' an' all o' them lights shinin' on
me, yer gonna—yer gonna—
FRANK
What am I gonna?
ANNIE
Bust your buttons! An' then, like at the end of a fairy-tale, you'll be so dang durned
proud o' me that you'll ask me to—do something—an'—an' t be somebody—an' I'm
tellin' you in advance—I'm gonna do it an' I'm gonna be it.
FRANK
What if I was to ask you in advance right now?
ANNIE
No! That ain't the way I planned it. Besides, I gotta go git ready now.
(She starts to go, then turns back)
Frank—could ya touch me fer luck?
(He crosses to her and they kiss. Music segues into:)
MUSIC 14A: AFTER "WONDERFULL”
TO HOLD A MAN IN YOUR ARMS IS WONDERFUL...
BOTH
WONDERFUL
IN EV'RY WAY
SO THEY SAY
(She goes, leaving FRANK alone.)
FRANK
I'll be damned.
(The music segues directly into:)
MUSIC 15 MY DEFENSES ARE DOWN
I'VE HAD MY WAY WITH SO MANY GIRLS

AND IT WAS LOTS OF FUN
MY SYSTEM WAS, TO KNOW MANY GIRLS

WOULD KEEP ME SAFE FROM ONE
I FIND IT CAN'T BE DONE
(A group of COWBOYS enter.)
I ST COWBOY
Frank?
2ND COWBOY
Ya comin' with us?
3RD COWBOY
We'll paint the town red, Frank!
FRANK
Sorry, fellas, 'fraid I can't make it. I'm gettin' engaged tonight.
COWBOYS
What?
FRANK
MY DEFENSES ARE DOWN

SHE'S BROKEN MY RESISTANCE
AND I DON'T KNOW WHERE I AM
I WENT INTO THE FIGHT LIKE A LION
BUT I CAME OUT LIKE A LAMB

SHE'S GOT ME WHERE SHE WANTS ME
AND I CAN'T ESCAPE NO HOW
I COULD SPEAK TO MY HEART WHEN IT WEAKENED
BUT MY HEART WON'T LISTEN NOW
LIKE A TOOTHLESS, CLAWLESS TIGER

LIKE AN ORGAN-GRINDER'S BEAR
LIKE A KNIGHT WITHOUT HIS ARMOR
LIKE SAMSON WITHOUT HIS HAIR

I MIGHT AS WELL SURRENDER
FOR THE BATTLE CAN'T BE WON
BUT I MUST CONFESS THAT I LIKE IT
SO THERE'S NOTHING TO BE DONE
YES, I MUST CONFESS THAT I LIKE IT
BEING MIS'RABLE IS GONNA BE FUN!
COWBOYS
HIS DEFENSES ARE DOWN
(Dance break)
FRANK
I WENT INTO THE FIGHT LIKE A LION
COWBOYS
BUT YOU CAME OUT LIKE A LAMB
FRANK
COWBOYS YOU MIGHT AS WELL SURRENDER

FOR THE BATTLE CAN'T BE WON
FRANK
BUT I MUST CONFESS THAT I LIKE IT

SO THERE'S NOTHING TO BE DONE
COWBOYS
YES, YOU MUST CONFESS THAT YOU LIKE IT
FRANK
BEING MIS'RABLE IS GONNA BE FUN

(The COWBOYS exit whistling.)
Yeah!
(Applause segue into:)
MUSIC 15A: AFTER "DEFENSES”
(The lights dim as FRANK moves to one side. Only his face remains lighted as
BUFFALO BILL enters and comes downstage.)
BUFFALO BILL
Ladies and gentlemen, we now come to the surprise main attraction.
FRANK
(Crossing to BUFFALO BILL.)
Let me do it, Bill.
(He turns to the audience.)
Ladies and gentlemen, several weeks ago a very special young lady joined our show and
today, for the first time anywhere, she's gonna perform a little trick that I tought her I'm
sure you're gonna enjoy—(He has turned just in time to see ANNIE being hoisted up to
a trapeze that has been lowered from the top of the tent; surprised, he stops in mid-
sentence.) What the hell?
BUFFALO BILL
(Stepping in to complete the introduction as FRANK drifts to one side to watch.)
For the first time in any arena you will see the greatest feat of marksmanship, courage
and daring ever attempted anywhere in the world! I direct your attention to the center
ring where we now present with pride—Miss Annie Oakley!
(Music segues into.)
MUSIC 16: ANNIE'S TRICK
(Above him, ANNIE [or a double] now hangs by her knees from the swinging trapeze.
SIX COWGIRLS enter carrying white balloons and take their places around the ring.)
Annie Oakley—are you ready?
ANNIE'S VOICE
I shore am!
BUFFALO BILL
Then go!
(ANNIE, swinging back and forth on the trapeze and holding two six-shooters, aims at
the balloons and fires in rhythm to the music, bursting them all. When all of the
balloons have been shot, she fires at a barrel that has been set in the center of the ring
and all hell breaks loose: bells, lights, fireworks! FRANK, still standing to one side, has
seen enough. He turns and goes; blackout. Applause segue into:)
MUSIC 16A: AFTER THE TRICK
(Lights up on NELLIE, JESSIE and LITTLE JAKE bringing on an old wooden table
with make-up and a mirror on it, and a battered clothes rack. CHARLIE appears to one
side.)
CHARLIE
There's no time to lose, kids—you gotta finish setting up Scene Four—Annie's Dressing
Tent!
(He exits.)
Scene 4: Annie's Dressing Tent
NELLIE
That was the most excitin' thing that ever was!
JESSIE
All them folks yellin' an' screamin' 'bout Annie!
LITTLE JAKE
It was the best thing I ever seen in my whole life!
(BUFFALO BILL enters, smiling broadly, and joins CHARLIE.)
BUFFALO BILL
Where is she? Where is the new sensation?

LITTLE JAKE
If you mean Annie, she ain't here yet.
CHARLIE
Well, go hurry her up! Tell her we're waitin' on her!
(As the CHILDREN run off)
Holy Toledo, I never heard an audience whoop it up like that!
BUFFALO BILL
And did you see Sitting Bull? He actually fell out of his chair. Twice!
CHARLIE
I tell you that girl's worth a million bucks!
BUFFALO BILL
Yeah, well, just don't mention that particular figure in front of her.
(FRANK enters, followed by DOLLY)
Frank—what are you doing here? You're on in a minute.
FRANK
Like hell I am! You expect me to go out there on only one measly old horse after that
display of fireworks? What kind of fool do you take me for?
DOLLY
Now we know why her picture's plastered all over town. And her pretending to be so
innocent.
CHARLIE
Don't go blamin' Annie—she only wanted to surprise you.
FRANK
Well, she sure did, and I bet the two of you put her up to it. There I was, expectin' her to
pop an egg off a little dog's head when down she swoops outta the sky with the
goddamnedest exhibition of fire-power I ever saw! She got off more rounds than they
fired at Gettysburg!
DOLLY
The little sneak. She's been playing you for a sucker, Frank.
FRANK
Well, that's what I am, all right! I was crazy over that girl—there, I admit it—I was
damned near ready to marry her! I thought she was sweet and simple—Ha! Simple! In
two weeks I'da wound up being her assistant! Cookin' for her, too, I bet!
ANNIE (OFFSTAGE)
Frank! Frank!
(She runs on.)
Oh, thar ya are. Did ya see me? Were ya surprised?
FRANK
You could say that. In fact, you could say it was the biggest damn surprise of my whole
life!
ANNIE
I knew you'd like it.
(To the OTHERS.)
Now all o' ya, git outta here so's we kin be alone.
(SITTING BULL enters.)
SITTING BULL
Where is Annie Oakley—where is she?
BUFFALO BILL
Here she is, Chief. Annie, say hello to Chief Sitting Bull.
ANNIE
Pleased t' meet ya, Mr. Bull. This here's my best friend, soon t' be my intended,
Mr. Frank Butler.
SITTING BULL
(Turning to FRANK)
You in the show, too?
ANNIE
In the show! Why, Frank is the show! He's the star.
SITTING BULL
Star?
ANNIE
That means he's the best.
SITTING BULL
No. Annie Oakley is the best.
(Unnoticed by ANNIE, FRANK and DOLLY go.)
CHARLIE
(Stepping forward.)
You like her, Chief?
SITTING BULL
Good girl! Good girl!
BUFFALO BILL
You hear that, Annie? He wants to be your friend.
SITTING BULL
No! Not friend! Sitting Bull want to make Annie Oakley his daughter!
(He removes his necklace.)
Give you Indian name—Watanya Cecilla—"Little Sure Shot"—here are teeth of many
bears.
(He puts it over her head.)
And now, to help daughter, Sitting Bull will break lifelong rule - put money into show
business!
CHARLIE
Did I hear you right, Chief?
BUFFALO BILL
Annie! We're made! With you and Sitting Bull we'll go straight to New York and
Madison Square Garden! We'll tour all the capitals of Europe! We'll play before royalty!
We'll make a fortune!
CHARLIE
C'mon, B.B.—we got plans to make.
(CHARLIE and BUFFALO BILL go.)
ANNIE
I never thought so much could happen t' me all in one day. First I git me a new poppa,
an' now I'm gonna git me a new husband! That's right, ain't it, Frank?
(She looks around.)
Frank? Where'd Frank go?
(MAC enters and hands her a letter.)
MAC
Here's a letter for you, Annie.
ANNIE
Huh? Fer me? Thanks.
(As MAC goes.)
I never had me a letter before—who's it from?
(She opens it; struggling:.)
Fff—Rrr—Aaa— Frank! It's from Frank!

SITTING BULL
Daughter's best friend.
ANNIE
That's right. Papa Bull, kin ya read writin'?
SITTING BULL
Yes.
(He takes the letter and reads it.)
"Dear Annie,"
(He stops as he reads ahead.)
ANNIE
What's the matter? Go on.
SITTING BULL
"I am leaving tonight to join Pawnee Bill's show. I'm going to do my old act with
Dolly."
ANNIE
(Shocked)
What's he talkin' about?
MUSIC 17: FINALE ACT I
SITTING BULL
"You're a smart girl, Annie—too smart for me. Good luck and good-bye."
ANNIE
What's he mean "too smart?" Say, are ya shore ya kin read writin'?
(She grabs the letter, starts to tear it in half then changes her mind.)
No, I'm gonna keep it—some day I'll be able t' read it fer myself. Oh, Papa Bull—
what'm I gonna do?
SITTING BULL
Never mind, Annie—you are still best shot in the whole world.
(He goes.)
ANNIE
Yeah. Right.
(She sings, sadly.)
I'M QUICK ON THE TRIGGER

WITH TARGETS NOT MUCH BIGGER
THAN A PIN POINT, I'M NUMBER ONE
BUT MY SCORE WITH A FELLER
IS LOWER THAN A CELLAR
(She dissolves into tears as the curtain falls.)
END ACT I
ACT II
MUSIC 18: ENTR'ACTE / PANTOMIME
CHARLIE
(Entering to one side.)
A montage of Buffalo Bill's European Tour!
Prologue: The European Tour
(The COMPANY assembles to perform a choreographed pantomime which

depicts the 1889 Continental Tour of Buffalo Bill's Wild West Show, in which
ANNIE performs before the various CROWNED HEADS of Europe.
Displaying her feats of marksmanship, ANNIE proceeds from one
MONARCH to another, shooting balloons off their heads, out of their
hands, from between their legs, etc.; the ROYALS applaud and decorate her
with medals.)
QUEEN VICTORIA
(Pop!)
We are amused!
TSAR OF RUSSIA
(Pop!)
Nostrovia!
KING OF ITALY
(Pop!)
Bravissima!
(With the PRESIDENT OF FRANCE and CAN-CAN GIRLS—Pop!—and his trousers

fall.)
PRESIDENT OF FRANCE & CAN-CAN GIRLS
Oh-la-la!
(At the end, they ALL go and ANNIE, donning a travelling coat over her costume,
crosses downstage.)
ENSEMBLE
(As the next setting begins to move on, CHARLIE re-appears to one side.)
CHARLIE
Set up Scene Five—the Deck of a Cattle Boat!
MUSIC 18A: "WONDERFUL” GUITAR / VIOLIN DUET
(As the setting forms around her, ANNIE sits on a deckchair and stares off,
lost in thought. A COWBOY with a guitar enters, and, strolling across the
stage, strums "They Say it's Wonderful" in a slow tempo. ANNIE sings the
final lines of the song.)
ANNIE
IN EV'RY WAY,
SO THEY SAY.
(The COWBOY exits and the set is now completed for:)

Scene 1: The Upper Deck of a Cattle Boat
(Eight months after the end of Act I. It is night, the boat is anchored off New
York harbor. There are a few packing crates on the deck ready for
unloading; some bear stickers from "England," "France" and "Belgium."
There are the sounds of sea gulls and waves washing against the hull.
ANNIE is sitting on the deckchair; BUFFALO BILL, CHARLIE and
SITTING
BULL are seated on the packing cases, playing poker on a larger crate.
BUFFALO BILL has just dealt a hand.)
SITTING BULL
Sitting Bull check.
CHARLIE
Charlie Davenport check.
BUFFALO BILL
I open for two dollars.
SITTING BULL
Sitting Bull stay.
CHARLIE
I stay.
BUFFALO BILL
How many cards, Chief?
SITTING BULL
One.
BUFFALO BILL
Didn't I tell you never to draw to an inside straight?
CHARLIE
I'll take three.
BUFFALO BILL
And two for the dealer.
(He looks at his cards.)
Five dollars.
SITTING BULL
Sitting Bull raise five dollars.
CHARLIE
I fold.
BUFFALO BILL
C'mon, Chief, you don't expect me to believe you actually drew that straight. All right, I
call. I've got three tens. What've you got?
SITTING BULL
Four eights.
BUFFALO BILL
Four—you mean you just drew the fourth eight?
SITTING BULL
No. Already had four.
BUFFALO BILL
(Exasperated)
Then what'd you draw a card for?
SITTING BULL
To keep Buffalo Bill in the game.
BUFFALO BILL
I thought you said you never played poker before.
SITTING BULL
Buffalo Bill said easy to learn. Buffalo Bill was right.
ANNIE
I'm hongry.
BUFFALO BILL
I'm afraid we've run out of food, Annie—you'll have to wait 'til we land in New York.
ANNIE
(She looks off)
If that thar's New York, how come we cain't land on it right now?
CHARLIE
We're waitin' 'til midnight so we can sneak ashore without no one seein' us make our
triumphant return on a cattle boat.
BUFFALO BILL
I'll give it to you in a nutshell, Annie. Our European tour was a big artistic success, but
it costs a heap of money to travel a big troupe like ours.
SITTING BULL
Heap big heap. Sitting Bull lose all his money.
ANNIE
But ya had so much, Papa Bull! What about all that thar oil that was on yer reservation?
SITTING BULL
No more oil. Great White Father take it for himself. He is some big Indian giver.
ANNIE
Oh, Papa Bull, I'm sorry.
BUFFALO BILL
I didn't want to tell you, Annie—I didn't want to distract you while you were shooting at
all those crowned heads. But the trouble with kings and queens is they give you medals
instead of money. So I'm afraid we're broke. It looks like I'll have to break up the show.
ANNIE
Break it up? But y' cain't do that, Colonel Bill
(TOMMY runs on excited.)
TOMMY
There's a launch pulling up alongside and guess who's on it!
CHARLIE
Unless it's John D. Rockefeller, I ain't interested.
TOMMY
Sure looks like Frank Butler.
ANNIE
Now I ain't interested!
TOMMY
Aw, come take a look, Annie—they're lowering the rope ladder for him right now.
ANNIE
I don't wanna see him, Tommy! If' n he sets foot on this boat, I'll go right down t' my—
stall!
SITTING BULL
Stay, Annie—stay and talk.
ANNIE
Talk. Yeah, mebbe I will. Shore I'll talk t' him! I'll say, "What d'ya want around here, ya
big, swollen headed stiff?" An' he'll say, "Ijes' come out t' meet ya, honey." An' I'll say,
"Don't 'honey' me! Ya thought I double-crossed ya, that I was tryin' t' show ya up!" An'
then I'll add on, 'cuz I ain't through yet, "I only done that trick t' make ya love me more
so why didn't ya love me more? Why did ya leave that-away? Why didn't ya write?" An'
that's when he'll say, "Cuz I was too 'shamed. 'Sides, not writin' don't mean somebody
don't love somebody! I been eatin' my heart out for ya, honey—cain't work, cain't
sleep..."
(She starts to soften.)

And then I reckon I'm gonna hafter say, "I ain't been sleepin' a whole lot, neither,
Frank."
(She melts even more.)
An' then he'll say, "Annie, we both jes' gotta git some sleep!" An' then he'll add on, 'cuz
he ain't through yet, "Oh, Annie, I love ya so." An' then I reckon I won't be able t' stop
myself from sayin', "I love ya too, Frank."
(Now she's gone completely soft.)
An' then thar won't be nuthin' left fer him t' say 'cept, "Annie!" An' then I'll jes' say…
(She stops when a MESSENGER wearing a ten-gallon hat enters. In the dim light
ANNIE's sure it's FRANK. She runs to him and throws her arms around him.)
Frank!
(She kisses him, then steps back to look and realizes her mistake.)
Hey! You ain't Frank!
MESSENGER
No, but I sure wish I was!
ANNIE
(Furious)
Then what's the big idea o' comin' up here pretendin' t' be Frank an' gettin' me t' kiss ya
that-a-way?
CHARLIE
Annie—the man didn't do anything.
ANNIE
Yes he did. He gimme an appetite I didn't wanna git!
(Upset, she moves away.)
MESSENGER
Colonel Cody—I been to every ship in the harbor looking for you.
BUFFALO BILL
Who are you, son?
MESSENGER
I brung a message from Pawnee Bill. I'm workin' in his show over at Madison Square
Garden.
BUFFALO BILL
Pawnee Bill's playin' the Garden?
MESSENGER
Sure is. For three weeks now. Packin' 'em in, too. Mostly society ladies.
CHARLIE
Society ladies?
CHARLIE
Rich little girls with long white gloves.
TOMMY
Is Winnie Keeler with the show?
MESSENGER
Winnie who?
TOMMY
Winnie Keeler! My wife!
CHARLIE
C'mon, Tommy—you know Dolly had the marriage annulled.
MESSENGER
You talkin' about Dolly's sister, that cute little Winnie Tate?
(Sees the dangerous look in TOMMY'S eye.)
Yeah, she's with the show.

ANNIE
Them long white gloves ya mentioned—any partic'lar pair Frank Butler's partial to?
MESSENGER
Aw, who can keep track?
(He turns to BUFFALO BILL.)
Here's that message I brung you from Pawnee Bill. He told me to wait for an answer.
BUFFALO BILL
Tommy, take this gentleman below. Maybe he can tell you some more about Winnie.
(As TOMMY leads the MESSENGER off ANNIE takes the letter, anxious to show off)
ANNIE
Lemme read that. "Dear Old Pal—Welcome home, you scrawny old millionaire. How
about if I threw you all a big reception tomorrow night at the Hotel...
(She stops and reverts to sounding it out.)
Brr-ee-voo..."
BUFFALO BILL
Brevoort.
ANNIE
I'd o' got it! "Brevoort! This town can't hardly wait to meet you all. Frank'll be bringing
all his rich society ladies…"
(She stops.)
Huh—white gloves.
BUFFALO BILL
Go on.
ANNIE
"I won't take no for an answer. Your old pal, Pawnee Bill."
CHARLIE
Well, "your old pal" beat us out again, B.B. Our show's good and we're sneakin' into
town while his is lousy and he's playin' Madison Square Garden.
SITTING BULL
Charlie one smart pale-face. Buffalo Bill is good but poor. Pawnee Bill is lousy but rich.
Putting them together makes good and rich.
CHARLIE
You're a genius, S.B.! We got the talent and they got the money! We'll merge our two
shows into one!
SITTING BULL
What do you say, Annie?
ANNIE
If' n the two shows kin merge, that'd make it a whole lot easier for Frank an' me t' do a
little mergin' of our own.
BUFFALO BILL
But what if Pawnee Bill doesn't go for it?
CHARLIE
Dolly's the only one I'm worried about. You soft soap Pawnee Bill, B.B., and I'll handle
Dolly.
ANNIE
An' I'll handle Frank. An' I won't need no pair o' long white gloves, neither. I'll jes' wear
my low-cut-in the-front dress. I'll show him a thing or two.
(A second thought.)
And I'm gonna wear all my medals, too!
CHARLIE
C'mon—let's all go tell that messenger that wild horses couldn't keep us away from that
party tomorrow. Come along, Chief.
(CHARLIE, BUFFALO BILL and SITTING BULL head off)
You comin', Annie?
ANNIE
Naw—I'll jes' set here a spell an' think about how I'm gonna feel when I see him agin—
an' how he's gonna feel.
MUSIC 19: I GOT LOST IN HIS ARMS
(Alone, she sits on a crate, center, and sings.)
DON'T ASK ME JUST HOW IT HAPPENED

I WISH I KNEW
I CAN'T BELIEVE THAT IT'S HAPPENED
AND STILL IT'S TRUE
I GOT LOST IN HIS ARMS AND I HAD TO STAY

IT WAS DARK IN HIS ARMS AND I LOST MY WAY
FROM THE DARK CAME A VOICE AND IT SEEMED TO SAY
"THERE YOU GO, THERE YOU GO"
HOW I FELT AS I FELL I JUST CAN'T RECALL

BUT HIS ARMS HELD ME FAST AND IT BROKE THE FALL
AND I SAID TO MY HEART
AS IT FOOLISHLY KEPT JUMPING ALL AROUND
"I GOT LOST, BUT LOOK WHAT I FOUND"
(ANNIE rises and crosses as the music continues and the cattle boat setting begins
moving off)
ENSEMBLE (OFFSTAGE)
THERE YOU GO, THERE YOU GO
(The ENSEMBLE continues with "Ah's" under ANNIE's vocal line.)
ANNIE
HOW I FELT AS I FELL I JUST CAN'T RECALL

BUT HIS ARMS HELD ME FAST AND IT BROKE THE FALL
AND I SAID TO MY HEART
AS IT FOOLISHLY KEPT JUMPING ALL AROUND
"I GOT LOST, BUT LOOK WHAT I FOUND"
(The stage is now completely bare as she turns, walks upstage and exits as the music
segues directly into.)
MUSIC 20: BALLROOM WALTZ
(Two or three COUPLES dance on. CHARLIE appears to one side and
announces grandly:)
CHARLIE
Scene Six—the Brevoort Ballroom.!
(A set of ornate chandeliers are lowered and we are in:)
Scene 2: The Ballroom at the Hotel Brevoort in New York City
(The following night. The reception is in full swing, with more COUPLES
joining in the waltz. TOMMY enters and looks around until he spots WINNIE
dancing with a YOUNG MAN; excited tosee her, he waves.)
TOMMY
Winnie…! Winnie…! Winnie…!
WINNIE
Tommy!
(She stops dancing; to her PARTNER.)
Please excuse me—it's an old husband of mine.
(She runs to TOMMY)
Oh, Tommy, Tommy! I'm so glad to see you!
TOMMY
Do you think I could get arrested for kissing a minor in public?
WINNIE
I turned eighteen last week. You can kiss me anywhere you want.
TOMMY
Now that's something I could get arrested for.
(He moves to kiss her but she holds him off)
WINNIE
People are watching. Maybe we'd better dance.
TOMMY
(As they start dancing.)
How's your sister?
WINNIE
Still my sister. But now that you're terribly rich maybe she's ready to reconsider.
TOMMY
Rich?
WINNIE
We heard you were the toast of Europe.
TOMMY
Toast. Right.
WINNIE
With all that success, I'm sure you forgot all about your annulled wife.
TOMMY
I certainly did not! But what about you? With all these sharp, New York slickers
circling around, how do I know you didn't forget?
WINNIE
All you've got to do is ask, Tommy.
MUSIC 21: WHO DO YOU LOVE I HOPE

TOMMY
(Trying to get up the courage.)
Right—all right.
I'VE GOT THE QUESTION

I'VE HAD IT FOR DAYS
WINNIE
I'VE GOT THE ANSWER, DEAR
TOMMY
I'LL PUT THE QUESTION IN ONE LITTLE PHRASE
WINNIE
I'LL SAY WHAT YOU WANT TO HEAR
TOMMY
WHO DO YOU LOVE, I HOPE?

WHO WOULD YOU KISS, I HOPE?
WHO IS IT GOING TO BE?
I HOPE, I HOPE, I HOPE IT'S ME!
WINNIE
WHO DO YOU WANT, I HOPE?

WHO DO YOU NEED, I HOPE?
TOMMY
IS IT THE BAKER WHO GAVE YOU A CAKE?

I SAW THE LOOK IN HIS EYE
IS IT THE BUTCHER WHO BROUGHT YOU A STEAK?
SAY THAT IT IS AND I'LL DIE!
WINNIE

BOTH

WINNIE
IS IT THE BLONDIE WHO ACTED SO SHY?

I HEARD THE THINGS THAT SHE SAID
IS IT THE REDHEAD WHO GAVE YOU THE EYE?
SAY THAT IT IS AND YOU'RE DEAD!
WHO DO YOU LOVE?
TOMMY
I HOPE!
WINNIE
WHO WOULD YOU KISS?
TOMMY
I HOPE!
WINNIE
TOMMY
I HOPE
WINNIE
I HOPE
TOMMY
I HOPE
WINNIE
I HOPE
BOTH
I HOPE, I HOPE
I HOPE, I HOPE
I...
(They kiss. Dance sequence. Then:)
TOMMY, WINNIE & ENSEMBLE

MEN
I HOPE, I HOPE, I HOPE
WOMEN
I HOPE, I HOPE, I HOPE
ALL
I REALLY HOPE IT'S ME!

I HOPE IT'S ME!
(Applause segue.)
BAND LEADER
Ladies and gentlemen—please welcome your hostess for the evening, Miss Dolly Tate!
MUSIC 21A: WHO DO YOU LOVE? TAG
WINNIE
(Before DOLLY appears.)
Come on, we have to go.
TOMMY
I thought you said she might be ready to reconsider.
WINNIE
Who cares what she's ready to do? I'm eighteen now, Tommy, and I'm ready to get
married again. And this time no one's going to stop it!
(As she drags TOMMY off DOLLY enters, wearing long white gloves and behaving
very grandly; she sweeps around the room.)
DOLLY
Good evening, good evening, good evening—thank you for coming to our little party,
everyone—good evening
BAND LEADER
Our host, Major Pawnee Bill, in the company of Mrs. Sylvia Potter-Porter!
MUSIC 22: BALLROOM SCENE
(PAWNEE BILL enters downstage in the company of an elegant socialite, MRS.

POTTER-PORTER; DOLLY joins them.)
DOLLY
Well, if it isn't Mrs. Porter-Potter.
SYLVIA POTTER-PORTER
Potter-Porter.
(Annoyed, she moves off)
DOLLY
(Calling after her.)
I was close, wasn't I?
BAND LEADER
Mr. Frank Butler!
FRANK
(Entering and joining them.)
Bill—I don't know if this party was such a good idea. I'm worried sick that Annie might
never want to speak to me again.
DOLLY
Forget about Annie, Frank.
PAWNEE BILL
It so happens this party is our last chance.
FRANK
What do you mean?
PAWNEE BILL
It's time you heard the truth, Frank. We're broke.
FRANK
I thought we were selling out at the Garden.
PAWNEE BILL
(Who has entered and joins them.)
Right, and every time we take in a buck this little man with a badge and a big black bag
walks in and scoops it up.
FRANK
What do they call that?
PAWNEE BILL
New York City.
FRANK
But if you're so broke, how come you're tossing this expensive wingding for Buffalo
Bill?
PAWNEE BILL
We need Buffalo Bill, Frank.
DOLLY
What do we need him for?

PAWNEE BILL
Their show made a fortune on their European tour. I'm trying to promote a merger.
FRANK
That's terrific! Then me an' Annie can patch things up!
DOLLY
Really, Frank, where's your pride? All she'll do is make a fool out of you again!
FRANK
(Ignoring her.)
I gotta go put on my medals.
(He goes.)
BAND LEADER
Colonel William F. Cody and Mr. Charles Davenport!
(BUFFALO BILL and CHARLIE enter. They go straight up to PAWNEE

BILL.)
BUFFALO BILL
Well, if it ain't my best friend and old side-kick, Pawnee Bill! How the hell are you, you
old pirate?
PAWNEE BILL
Bill, you big bandit, it's great to see you!
CHARLIE
Long time no see, Dolly. How's the running-out-on-your-friends business?
DOLLY
I'm ravished to see you, too, Charlie.
PAWNEE BILL
Y'know, Bill, seeing you just gave me one helluva crazy idea! Did you ever think what
a terrific thing it would be if we were to combine our two shows?
DOLLY
(Laughing)
Combine? That's a crazy idea, all right!
BUFFALO BILL
Dolly's right, Bill.
DOLLY
Of course I am.
BUFFALO BILL
But on second thought, it might not be quite as crazy as it sounds.
DOLLY
Of course it is!
PAWNEE BILL
Why don't we go someplace where we can have a real drink and talk it over?
(They start off)
DOLLY
No-wait!
(She goes after them, unhappily.)
CHARLIE
I knew I'd put it over. How the hell did I do it?
(He follows them off)
BANDLEADER
Mr. Sitting Bull, Chief of the Sioux Nation, and his adopted daughter, Miss Annie
Oakley!
(ANNIE enters on the arm of SITTING BULL. She wears a coat which SITTING
BULL now helps her remove. Pinned to the bodice of her gown are the multitude of
gold and bejeweled medals she received in Europe. The LADIES "Ooh" and "Aah" and
line up to meet her. First comes MRS. SCHUYLER ADAMS who extends her white-
gloved hand.)
MRS. SCHUYLER ADAMS
Miss Oakley—enchanted. I've never seen so many beautiful medals. Wherever did you
get them?
ANNIE
(Pointing them out.)
France. Italy. Russia.
(She stops abruptly.)
Yore a friend o' Frank Butler's, ain't ya?
MRS. SCHUYLER ADAMS
Indeed I am. How did you know?
(ANNIE turns to SITTING BULL and mouths the words "white gloves." Now, one by
one, EACH LADY extends her white-gloved hand to ANNIE who shakes it.)
1ST LADY
Charmed!
ANNIE
Charmed!
2ND LADY
Enchanted!
ANNIE
Charmed!
3RD LADY
Charmed!
ANNIE
'Chanted!
4TH LADY
Enchanted!
ANNIE
Charmed!
(At the end of the line.)
Delighted!
ANNIE
Oh, no ya don't! Ya gotta be either charmed or 'chanted!
Isn't she heaven? I can't wait till Frankie meets her.
ANNIE
Frankie who?
Frankie Butler. He's just divine! Miss Oakley, I wonder if you'd shoot something for
me?
ANNIE
I'd love to. Yer jes' lucky I didn't bring my gun.
(She turns to SITTING BULL.)
Ya seed him yet?
SITTING BULL
Not yet.
(DOLLY and PA KNEE BILL return; they are not happy.)
DOLLY
Waiter—please fetch the guest of honor's coat and throw her out!
PAWNEE BILL
Now, Dolly, let's not be too hasty.
ANNIE
What's goin' on? Is that thar merger gonna happen or not?
CHARLIE
Not! Turns out they haven't got as much money as we haven't got! C'mon, let's get outta
here.
BUFFALO BILL
Take it easy, Charlie.
ANNIE
Papa Bull, ya gotta do something.
SITTING BULL
Two shows must come together. Annie wants to be with Frank Butler, so Annie will be
with Frank Butler.
ANNIE
But thar ain't no money, Papa Bull.
SITTING BULL
Papa Bull knows a pale-face with chest full of gold and fine jewels.
ANNIE
No foolin'! Who?
SITTING BULL
You.
ANNIE
Me?! Yore sayin' I gotta chest full o'
(She stops and looks down at her own chest.)
Damned if I don't! But I cain't sell all my medals.
SITTING BULL
Without selling medals, no money for merger. Without merger, nobody merge.
ANNIE
But we gotta merge! Thar's too many white gloves around here.
(She ponders the situation.)
All right—jes' lemme wear 'em long enough fer Frank t' see 'em—an' then—an' then ya
kin have 'em.
BUFFALO BILL
She's done it! She's saved the show!
PAWNEE BILL
She's saved both shows!
BUFFALO BILL
(Approaching PAWNEE BILL.)
Shake, Bill—looks like we're partners again.
PAWNEE BILL
Sure, Bill—it's a pleasure.
MUSIC 23: I GOT THE SUN IN THE MORNING
(They shake hands and freeze as a PHOTOGRAPHER takes their picture.)
CHARLIE
Are you sure, Annie? We're talkin' about your entire bankroll here.
ANNIE
Shucks, I don't care. I still got what I started with. Don't you fret, Charlie, I'm doin' jes'
fine.
(As BUFFALO BILL, PAWNEE BILL, CHARLIE and DOLLY exit she
sings.)
TAKING STOCK OF WHAT I HAVE AND WHAT I HAVEN'T

WHAT DO I FIND?
THE THINGS I'VE GOT WILL KEEP ME SATISFIED
CHECKING UP ON WHAT I HAVE AND WHAT I HAVEN'T
WHAT DO I FIND?
A HEALTHY BALANCE ON THE CREDIT SIDE
ANNIE cont’d.
GOT NO DIAMOND, GOT NO PEARL

STILL I THINK I'M A LUCKY GIRL
I GOT THE SUN IN THE MORNING AND THE MOON AT NIGHT
GOT NO MANSION, GOT NO YACHT
STILL I'M HAPPY WITH WHAT I'VE GOT
SUNSHINE GIVES ME A LOVELY DAY

MOONLIGHT GIVES ME THE MILKY WAY
GOT NO CHECKBOOKS, GOT NO BANKS

STILL I'D LIKE TO EXPRESS MY THANKS
AND WITH THE SUN IN THE MORNING
AND THE MOON IN THE EVENING
I'M ALL RIGHT!
GOT NO BUTLER, GOT NO MAID
STILL I THINK I'VE BEEN OVERPAID

ENSEMBLE
SHE'S GOT THE SUN IN THE MORNING AND THE MOON AT NIGHT
ANNIE
GOT NO SILVER, GOT NO GOLD

WHAT I'VE GOT CAN'T BE BOUGHT AND SOLD
ENSEMBLE
SHE'S GOT THE SUN IN THE MORNING AND THE MOON AT NIGHT
ALL
SUNSHINE GIVES ME A LOVELY DAY

MOONLIGHT GIVES ME THE MILKY WAY
ANNIE
GOT NO HEIRLOOMS FOR MY KIN

MADE NO WILL BUT WHEN I CASH IN
I'LL LEAVE THE SUN IN THE MORNING AND THE MOON AT NIGHT
ENSEMBLE
SHE'LL LEAVE THE SUN IN THE MORNING AND THE MOON AT NIGHT
ANNIE

AND THE MOON IN THE EVENING
I'M ALL RIGHT!
(A dance sequence begins and continues through the following.)
ANNIE
(Chanted)
GOT NO DIAMOND, GOT NO PEARL

STILL I THINK I'M A LUCKY GIRL
GOT NO BUTLER, GOT NO MAID

STILL I THINK I'VE BEEN OVERPAID
GOT NO SILVER, GOT NO GOLD

WHAT I'VE GOT CAN'T BE BOUGHT OR SOLD
ALL
GOT NO MANSION, GOT NO YACHT

STILL I'M HAPPY WITH WHAT I'VE GOT
SUN IN THE MORNING AND MOON AT NIGHT
AND THE MOON [N THE EVENING
WE'RE ALL RIGHT!

SUN IN THE MORNING AND MOON AT NIGHT!
` (Applause segue into:)
MUSIC 23A: SUN/MOON PLAYOFF
(The ENSEMBLE drifts off and SITTING BULL fetches ANNIE'S coat and
helps her into it.)
ANNIE
AND WITH THE SUN IN THE MORNING...
(FRANK has entered and crosses to her.)
FRANK
AND THE MOON IN THE EVENING...
BOTH
(As she leans up against him.)
WE'RE ALL RIGHT.
(SITTING BULL has discreetly left them alone.)
ANNIE
Don't move or I'll fall.
FRANK
(Holding her close.)
I ain't moving, never again.

ANNIE
I missed ya, Frank—I don't mind sayin' I missed ya like I ain't never missed no one.
FRANK
I missed you, too, Annie—and I don't mind sayin' it, either. Look at you, all gussied up.
ANNIE
Satins an' laces, jes' like ya said.
FRANK
(He sniffs.)
What's that you got spilled on you?
ANNIE
Eau de Cologne water, jes' like ya said.
FRANK
Pretty powerful stuff.
ANNIE
Better'n gun powder.
(She shows him her nails.)
An' lookee here—clean, an' with paint on 'em—jes' like ya said.
FRANK
Holy smoke, how you look!
ANNIE
Beats all hell, don't it?
FRANK
I'm goin' all goose-fleshy.

ANNIE
Do I dazzle you, Frank?
FRANK
Dazzle and then some.
ANNIE
Am I drivin' ya crazy?
FRANK
Plumb loco. I love ya, Annie.
MUSIC 24: AN OLD FASHIONED WEDDING
ANNIE
I love ya back.
FRANK
I didn't like living without you.
ANNIE
Keep talkin'.
FRANK
You're the only girl in the whole world.
ANNIE
Keep talkin'.
FRANK
I'm gonna marry you, Annie.
ANNIE
(Joyfully)
You kin stop right thar!
FRANK
WE'LL HAVE AN OLD-FASHIONED WEDDING
BLESSED IN THE GOOD OLD FASHIONED WAY
I'LL VOW TO LOVE YOU FOREVER
YOU'LL VOW TO LOVE AND HONOR AND OBEY
(As ANNIE reacts badly to the word "obey, " mouthing it to herself FRANK goes
blithely on.)
SOMEWHERE IN SOME LITTLE CHAPEL

SOMEDAY WHEN ORANGE BLOSSOMS BLOOM
A SIMPLE WEDDING FOR AN OLD-FASHIONED BRIDE AND GROOM
ANNIE
I WANNA WEDDING IN A BIG CHURCH

WITH BRIDE'S MAIDS AND FLOWER GIRLS
A LOT OF USHERS IN TAIL COATS
REPORTERS AND PHOTOGRAPHERS
A CEREMONY BY A BISHOP WHO WILL TIE THE KNOT AND SAY:
"DO YOU AGREE TO LOVE AND HONOR?" LOVE AND HONOR,
YES, BUT NOT OBEY!
I WANNA WEDDING RING SURROUNDED

BY DIAMONDS AND PLATINUM
A BIG RECEPTION AT THE WALDORF
WITH CHAMPAGNE AND CAVIAR
I WANNA WEDDING LIKE THE VANDERBILTS HAVE
EV'RYTHING BIG, NOT SMALL
IF I CAN'T HAVE THAT KIND OF A WEDDING
I DON'T WANNA GET MARRIED AT ALL!
(They now sing their verses simultaneously.
FRANK

BLESSED IN THE GOOD OLD FASHIONED WAY
I'LL VOW TO LOVE YOU FOREVER
YOU'LL VOW TO LOVE AND HONOR AND OBEY
SOMEWHERE IN SOME LITTLE CHAPEL

SOMEDAY WHEN ORANGE BLOSSOMS BLOOM
A SIMPLE WEDDING FOR
AN OLD-FASHIONED BRIDE AND GROOM.
WE'LL HAVE AN OLD-FASHIONED WEDDING!
ANNIE
I WANNA WEDDING IN A BIG CHURCH

WITH BRIDE'S MAIDS AND FLOWER GIRLS
A LOT OF USHERS IN TAIL COATS
REPORTERS AND PHOTOGRAPHERS
A CEREMONY BY A BISHOP WHO WILL TIE THE KNOT AND SAY:
"DO YOU AGREE TO LOVE AND HONOR?"
LOVE AND HONOR, YES, BUT NOT OBEY!
I WANNA WEDDING RING SURROUNDED

BY DIAMONDS AND PLATINUM
A BIG RECEPTION AT THE WALDORF
WITH CHAMPAGNE AND CAVIAR
I WANNA WEDDING LIKE THE VANDERBILTS HAVE
EV'RYTHING BIG, NOT SMALL
IF IT'S NOT A BIG WEDDING I DON'T WANNA GET MARRIED AT ALL
IF IT'S NOT A BIG WEDDING I DON'T WANNA GET MARRIED AT ALL!
(Applause segue.)
FRANK
All right, I hear you. What d'ya say we compromise?
ANNIE
What kinda compromise?
FRANK
We'll do it my way. Annie, I'd like to give you something—sort of a pre-wedding

present. You see these medals? I want you to have them.
ANNIE
I cain't take 'em, Frank, honest I cain't.
FRANK
Go on, honey—a little jewelry'll go good with that rig.
(He turns away and unpins one of the medals on his coat.)
Here, put this on.
(She can't resist it; she takes off her coat.)

ANNIE
Now, let's see—where'll we put it?
(FRANK turns back and stops when he sees all her medals.)
FRANK
Ahh…!
ANNIE
Why don't you pick a spot?
FRANK
(Sarcastically)
Where?
ANNIE
Thar's a itty bitty space right here, 'tween Italy an' Switzerland.
FRANK
How come you got that vacant lot there?
ANNIE
Oh, I didn't wear all of 'em. What're ya waitin' for, Frank? Pin it on.
FRANK
Uh-uh—mine're too plain. They ain't got any stones on 'em.
ANNIE
That's all right—I got enough stones fer the both of us.
FRANK
You surely do. The only thing on my medals is some writin' on the back.
(He reads from the back of the medal.)

"To Frank Butler—the cham-peen sharp-shooter of the world!"
ANNIE
(A beat.)
What world's that? The old world or the new world?
FRANK
The whole world!
ANNIE
(With conviction, sticking out her chest.)
Yeah? Well, I got all thee-ee-ee-ese that say you ain't!
FRANK
(Getting angry.)
They don't prove nuthin'!
ANNIE
Ya want proof? How 'bout this—one of us ain't never been beat yet an' it sure as hell
ain't you!
FRANK
If you're referring to that time in Cincinnati, that was just a fluke! Couldn't happen again
in a million years!
ANNIE
No? Well, whatever a fluke is, it's gonna happen agin real soon! In fact, why not
t'morra?
(Calling off)
Charlie...!
FRANK
You mean you wanna "shoot it out?"

ANNIE
You bet I wanna "shoot it out," Frankie!
(As CHARLIE enters.)
Charlie, go arrange it so we kin have ourselves a match!
CHARLIE
We who?
ANNIE
Me an' pot-shot here.
CHARLIE
(Hopefully)
A love match?
FRANK
Hell, no! There's no love in a shootin' woman! What a wife she'd make! Buckshot and
cream for breakfast, clay pigeons for lunch, and gun butts and cabbage for supper!
ANNIE
Ya gotta have teeth t' eat all that, an' he ain't gonna have none!
BUFFALO BILL
(Who's entered in time to hear this.)
Now children, this isn't the right spirit to start working together again.
FRANK
You can forget that notion—we ain't workin' together again or ever!
ANNIE
Not never!
(PAWNEE BILL and SITTING BULL enter, followed by DOLLY)
PAWNEE BILL
Annie Oakley, you promised to back our show!
DOLLY
Let her go, Bill—we don't need her. We never needed her!
PAWNEE BILL
(Ignoring her.)
You can't just all of a sudden call the merger off.
ANNIE
Ev'rything's off but this here match! Charlie, go set it up! Yer all invited to the
massacree!
DOLLY
It'd be pretty funny if he "massacreed" you instead, wouldn't it?
ANNIE
That thar's a pleasure you jes' ain't gonna git, Miz Tate!
DOLLY
We'll just see about that.
(She turns and goes.)
FRANK
That dress sure fooled me. I thought for a minute it was wrapped around a lady.
ANNIE
If' n by "lady" ya mean some lily-livered rag doll who jes' lies down so' s you kin stomp
all over her, that sure as hell ain't me!
(She goes, followed by SITTING BULL.)
FRANK
(Calling after her.)
Any fool can see that!

MUSIC 25: THE GIRL THAT I MARRY (Reprise)
(Angrily)
Yes. "Satins and laces"—women! She sure had me fooled.
'STEAD OF FLITTIN'
I'D BE SITTIN'
FRANK con’d.
NEXT TO HER AND SHE'D PURR LIKE A KITTEN

A DOLL I CAN CARRY THE GIRL THAT I MARRY...
(He stops.)
Ahh…
(He goes as the lights fade. CHARLIE moves down and to one side and calls to the
ROUSTABOUTS.)
CHARLIE
Set up Scene Seven—Buffalo Bill's Property Room!
(The scenery is assembled for:)
Scene 3: The Property Room
(Filled with crates loaded with props—guns, ropes, costumes, Indian head-dresses and a
crate labeled "ANNIE OAKLEY- WORLDS CHAMPION SHARP-SHOOTER. It's the
next morning.)
MUSIC 26: DOLLY'S CROSS
(DOLLY enters sneakily, making sure she's not being observed, then
crosses to a case with two rifles on it. She sits, removes a pair of pliers from
her bag and starts to bend the sight on one of the rifles when SITTING BULL
and CHARLIE enter.)
CHARLIE
Dolly! What the hell are you doin' in here?
DOLLY
I—I just came in for a—a breath of fresh air

SITTING BULL
What do you do with Annie's gun?
DOLLY
(Sputtering)
Annie—you mean these are her guns?
CHARLIE
Spit it out, Dolly—what're you up to?
DOLLY
I—I was just—trying to remove something that had gotten into my eye.
CHARLIE
With a pair of pliers?
SITTING BULL
Dolly Tate up to no good.
CHARLIE
Tell the truth for a change, Dolly.
DOLLY
I don't have to tell you anything!
SITTING BULL
(Advancing on her.)
Sitting Bull have many ways to make her talk.
DOLLY
You can't be serious.
SITTING BULL
But only one I can guarantee.

CHARLIE
Dolly, you'd better tell him what you're up to.
DOLLY
I'll never talk!
CHARLIE
All right, Chief, go ahead. Now, you're sure you've done this before.
SITTING BULL
Only once—to General Custer.
(He advances menacingly.)
DOLLY
(Suddenly and defiantly.)
Go ahead! Do what you want with me! I'm not telling you a thing!
CHARLIE
C'mon, Dolly.
DOLLY
Do you think it's been easy for a woman, single and alone, to survive in this crass,
heartless world of grease-paint and glitter? So go right ahead—put me out of my
misery!
CHARLIE
Dolly, all we want to know is…
DOLLY
No! No matter what you do to me, you'll never get me to tell you I was going to fix
Annie's rifles so she'd lose the match and go away so I could have Frank all to myself
again! My lips are forever sealed! So do your worst! Molest me, violate me, ravish me!
(She closes her eyes and opens her arms, ready to accept her fate.)
I'm ready.
CHARLIE
I've always known that you're a mean, bigoted, treacherous woman, Dolly—but it
wasn't until this very moment that I realized how really—exciting—you are.
DOLLY
(Opening her eyes.)
I beg your pardon?
CHARLIE
Exciting and attractive.
DOLLY
(Starting to giggle girlishly.)
I beg your pardon?
CHARLIE
And passionate.
(Giggling uncontrollably, and regarding him with new eyes, she suddenly turns and
starts off)
Dolly —where're you going?
DOLLY
To tell my baby sister that she's been right all along. What a fool I've been—nothing
should ever stand in the way of true love, no matter how sudden, unexpected or weird.
CHARLIE
Wait.
DOLLY
And as for that Indian husband of hers, I freely admit that I may have misjudged that
little…
(A nervous look at SITTING BULL.)
original settler. I just hope the two of them will be as happy as we're going to be.
CHARLIE
(Surprised)
What?
DOLLY
(Turns and starts off again.)
I've got so many plans to make, darling—the dressmaker for the trousseau—the
engraver for the invitations—and then there's the caterer—and the florist—and the
organist…
(And she's gone.)
CHARLIE
(Confused)
What the hell did I just do?
(He turns to SITTING BULL.)
I should have my head examined, right?
SITTING BULL
Sitting Bull a chief, not a medicine man. Time has come to fix it so Frank Butler will
never leave Annie again.
CHARLIE
How're we gonna fix that?
SITTING BULL
With good rifle Annie will win the match, but lose Frank Butler. But if Annie lose the
match, she will win Frank Butler. Frank Butler, like all white men, cannot be shown up
by woman!
CHARLIE
You sayin' Indians are different?

SITTING BULL
(Meekly)
No. Indians just the same.
CHARLIE
So what do we do?
SITTING BULL
Dolly Tate have the right idea for the wrong reason. This time we fix the gun!
CHARLIE
Why, S.B., you old S.B.! Go to work.
(As SITTING BULL begins working on the rifles, lights fade and CHARLIE comes
downstage and calls to the ROUSTABOUTS.)
Scene Eight—the Contest—strike the Prop Room!
(The scenery is assembled for:)
Scene 4: The Shooting Match
(The entire COMPANY is present for the shoot-out between ANNIE and
FRANK. A large banner has been raised: "BUTLER & OAKLEY IN A
FINAL
SHOOT-OUT TO DETERMINE THE CHAMPION SHARPSHOOTER OF
THE
WORLD!" ANNIE and FRANK are side by side, preparing their rifles; BOTH
seem impatient to begin. BUFFALO BILL steps forward.)
BUFFALO BILL
Ladies and gentlemen, this contest will be straight shooting, using clay targets, twenty
shots apiece, with each contestant taking five at a time! The one with the fewest misses
will be declared the winner!
FRANK
Let's get started. I got me a date in town in half an hour which don't leave me much time
to beat her.
ANNIE
Beat me! Little Jake, gimme that sack o' gold medals I won fer bein' the best shot in the
whole, entire world.
CHARLIE
(Realizing, he steps forward.)
Annie! You don't need to…
ANNIE
(Taking the sack from LITTLE JAKE.)
I bet all o' these medals up agin them couple o' puny little tin badges you got!
FRANK
You're on!
CHARLIE
(In a panic.)
Annie, you can't bet away a hundred thousand dollars! That's all the bankroll we got!
ANNIE
What's the matter, Charlie—'fraid I'm gonna lose?
CHARLIE
Yes! I mean no! I mean maybe.
SITTING BULL
(Stepping forward and pulling him back)
Charlie will keep his mouth shut!
FRANK
(Handing his two small medals to LITTLE JAKE.)
Here, Little Jake, you hold the stakes.
ANNIE
(She hands him her heavy sack of medals.)
Keerful, mine's heavy.
FRANK
All right, lady, if you'll step up to the firin' line, you can begin this contest.
ANNIE
You kin begin it—I'm gonna end it.
FRANK
Is that so?
ANNIE
Yes it is.
FRANK
No it's not.
ANNIE
Yes it is!
FRANK
No it's not! I'm gonna give you a lesson in marksmanship you'll never forget!
ANNIE
You couldn't give me a lesson in long-distance spittin'!
MUSIC 27: ANYTHING YOU CAN DO
ANYTHING YOU CAN DO, I CAN DO BETTER

I CAN DO ANYTHING BETTER THAN YOU
FRANK
NO YOU CAN'T
ANNIE
YES I CAN
FRANK
NO YOU CAN'T
ANNIE
YES I CAN
FRANK
NO YOU CAN'T
ANNIE
YES I CAN, YES I CAN!
FRANK
ANYTHING YOU CAN BE, I CAN BE GREATER

SOONER OR LATER I'M GREATER THAN YOU
ANNIE
NO YOU'RE NOT
FRANK
YES I AM
ANNIE
NO YOU'RE NOT
FRANK
YES I AM
ANNIE
NO YOU'RE NOT
FRANK
YES I AM, YES I AM!

I CAN SHOOT A PARTRIDGE
WITH A SINGLE CARTRIDGE
ANNIE
I CAN GET A SPARROW

WITH A BOW AND ARROW
FRANK
I CAN LIVE ON BREAD AND CHEESE
ANNIE
AND ONLY ON THAT?
FRANK
YES!
ANNIE
SO CAN A RAT!
FRANK
ANYTHING YOU CAN SING, I CAN SING HIGHER
ANNIE
I CAN SING ANYTHING HIGHER THAN YOU
FRANK
NO YOU CAN'T
ANNIE
YES I CAN
(They each start singing higher and higher.)
FRANK
NO YOU CAN'T
ANNIE
YES I CAN
FRANK
NO YOU CAN'T
ANNIE
YES I CAN
FRANK
NO YOU CAN'T
ANNIE
(She goes for the top ...and makes it!)
YES I CAN!
FRANK
(In awe.)
How do you do that?
ANNIE
(It's obvious.)
I'm a girl!
ANYTHING YOU CAN BUY, I CAN BUY CHEAPER

I CAN BUY ANYTHING CHEAPER THAN YOU
FRANK
FIFTY CENTS
ANNIE
FORTY CENTS
FRANK
THIRTY CENTS
ANNIE
TWENTY CENTS
FRANK
NO YOU CAN'T
ANNIE
YES I CAN! YES I CAN!
FRANK
ANYTHING YOU CAN SAY, I CAN SAY SOFTER
ANNIE
I CAN SAY ANYTHING SOFTER THAN YOU
FRANK
NO YOU CAN'T
ANNIE
YES I CAN
(They grow quieter and quieter.)
FRANK
NO YOU CAN'T
ANNIE
YES I CAN
FRANK
NO YOU CAN'T!
ANNIE
YES I CAN
(Full out.)
YES I CAN!
FRANK
I CAN DRINK MY LIQUOR

FASTER THAN A FLICKER
ANNIE
I CAN DRINK IT QUICKER

AND GET EVEN SICKER
FRANK
I CAN OPEN ANY SAFE
ANNIE
WITHOUT BEING CAUGHT?
FRANK
Sure.
ANNIE
THAT'S WHAT I THOUGHT
You crook!
FRANK
ANY NOTE YOU CAN HOLD, I CAN HOLD LONGER
ANNIE
I CAN HOLD ANY NOTE LONGER THAN YOU
FRANK
NO YOU CAN'T
ANNIE
YES I CAN
FRANK
NO YOU CAN'T
ANNIE
YES I CAN
FRANK
NO YOU CAN'T!
ANNIE
YES I CAN, YES I... CAN!
FRANK
YES YOU CAN!
Where do you keep all that air?
(As she defiantly sticks out her chest he turns away.)
Oh, God...
ANNIE
ANYTHING YOU CAN WEAR, I CAN WEAR BETTER

IN WHAT YOU WEAR I'D LOOK BETTER THAN YOU
FRANK
IN MY COAT?
ANNIE
IN YOUR VEST
FRANK
IN MY SHOES?
ANNIE
IN YOUR HAT
FRANK
NO YOU CAN'T
ANNIE
FRANK
ANYTHING YOU CAN SAY, I CAN SAY FASTER
ANNIE
I CAN SAY ANYTHING FASTER THAN YOU
FRANK
NO YOU CAN'T
ANNIE
YES I CAN
(They start going faster and faster.)
FRANK
NO YOU CAN'T
ANNIE
YES I CAN
FRANK
NO YOU CAN'T
ANNIE
FRANK
I CAN JUMP A HURDLE
ANNIE
I CAN WEAR A GIRDLE
FRANK
I CAN KNIT A SWEATER
ANNIE
I CAN FILL IT BETTER
FRANK
I CAN DO MOST ANYTHING
ANNIE
CAN YOU BAKE A PIE?
FRANK
No.
ANNIE
NEITHER CAN I
FRANK
ANY NOTE YOU CAN SING, I CAN SING SWEETER
ANNIE
I CAN SING ANYTHING SWEETER THAN YOU
FRANK
NO YOU CAN'T
(They each try to sing sweeter.)
ANNIE
YES I CAN
FRANK
NO YOU CAN'T
ANNIE
YES I CAN
FRANK
NO YOU CAN'T
ANNIE
YES I CAN
FRANK
NO YOU CAN'T
ANNIE
YES I CAN
FRANK
NO YOU CAN'T, CAN'T, CAN'T!
ANNIE
YES I CAN, CAN, CAN!
FRANK ANNIE
NO YOU CAN'T! YES I CAN!
(Applause segue as BUFFALO BILL steps forward.)
BUFFALO BILL
All right, friends, it's time to begin the match! The contestants will please take their
places! Annie, you get the first five shots.
(Poised to mark off the score.)
Are you ready?
ANNIE
Yep!
(Aiming her gun.)
Pull!
(She shoots.)
BUFFALO BILL
Miss!
ANNIE
(Surprised.)
Huh? Pull!
(She shoots.)
BUFFALO BILL
Miss!
FRANK
Ha-ha-ha!
ANNIE
(Very concerned.)
Thar must be something wrong with this here gun.
DOLLY
I didn't do it!
(EVERYBODY turns to look at her in surprise.)
CHARLIE
(Turning away.)
I can't bear to look.
SITTING BULL
(Turning him around again.)

Charlie will look!
ANNIE
Watch this one, mister. Pull!
(She shoots.)
BUFFALO BILL
Miss!
ANNIE
What's wrong with me?
BUFFALO BILL
Take your time, Annie.
FRANK
(Stepping over to her with one of his guns.)
Here, honey —try mine for luck.
SITTING BULL
No, Annie.
ANNIE
Did you say "honey?"
FRANK
That's right, honey. Go ahead and take it. And what do you say we start over? Those
first couple of misses—I know what you were trying to do. You were giving me a
handicap. But I don't need it.
ANNIE
An' I don't need no favors.
FRANK
Everyone needs a favor—sometime. Go on, honey, start over.
(She finally takes his rifle and sets herself with renewed concentration.)
ANNIE
Pull!
(She shoots.)
BUFFALO BILL
Hit!
(CHARLIE looks relieved and SITTING BULL looks worried.)
TOMMY
Now you've got your eye on it, Annie.
ANNIE
Pull!
(She shoots.)
BUFFALO BILL
Hit!
WINNIE
Keep it up, Annie!
(She shoots in rapid succession.)
ANNIE
Pull!
(She shoots.)
BUFFALO BILL
Hit!
ANNIE
Pull!
(She shoots.)
BUFFALO BILL
Hit!
ANNIE
Pull!
(She shoots.)
BUFFALO BILL
Hit! Five out of five!
ANNIE
(Turning to FRANK, the old bravado back.)
Your turn, honey.
(FRANK grins, then picks up another rifle.)
BUFFALO BILL
Frank Butler will take the next five shots!
(Hardly pausing to aim, FRANK shoots five times.)
FRANK
Pull!
(He shoots.)
BUFFALO BILL
Hit!
FRANK
Pull!
(He shoots.)
BUFFALO BILL
Hit!
FRANK
Pull!
(He shoots.)
BUFFALO BILL
Hit!
FRANK
Pull!
(He shoots.)
BUFFALO BILL
Hit!
FRANK
Pull!
(He shoots.)
BUFFALO BILL
Hit! Five out of five!
FRANK
(He bows to ANNIE.)
The great Miss Oakley, your turn. You'd better keep my rifle, it seems to've
brought you luck.
ANNIE
(Handing it back to him.)

Here—I don't need no luck off' n you.
CHARLIE
Oh yes you do!
(SITTING BULL her aside and hands her her own gun.)
SITTING BULL
Better luck with this one.
ANNIE
But that's the gun I missed with.
SITTING BULL
Remember when you said—"can't get a man with a gun?"
ANNIE
Shore I remember.
SITTING BULL
You get a man with this gun.
ANNIE
(Refusing the gun he's offering her.)
I can't!
(She looks at FRANK, then at her rifle, then back at FRANK again. Then she starts
shooting as fastas she can.)
ANNIE
Pull!
(She shoots.)
BUFFALO BILL
Miss!
ANNIE
Aw. Pull!
(She shoots.)
BUFFALO BILL
Miss!
ANNIE
Shucks. Pull!
(She shoots.)
BUFFALO BILL
Miss!
ANNIE
Shoot. Pull!
(She shoots.)
BUFFALO BILL
Miss!
ANNIE
Dern. Pull!
(She shoots.)
BUFFALO BILL
Miss!
ANNIE
P'shaw.
BUFFALO BILL
Zero out of five!

ANNIE
(Throwing down the gun dramatically.)
I give up! I cain't do it! I declare Frank Butler the winner o' this here match which
makes him the greatest sharp-shooter in the whole world! I might as well go home an'
hang up my gun. I ain't the cham-peen no more—I'm jes' second best.
FRANK
(He's been studying her carefully.)
What're you tryin' to pull off here? This wasn't any fair match and you know it!
ANNIE
Shore it was! You won!
FRANK
Not yet, I ain't. You had ten shots, but so far I only had five. I don't want no tainted
victory. I got my reputation to protect.
(He picks up his rifle and aims.)
Pull!
(He shoots.)
BUFFALO BILL
Miss!
FRANK
Pull!
(He shoots.)
BUFFALO BILL
Miss!
FRANK
Pull!
(He shoots.)
BUFFALO BILL
Miss!
FRANK
Pull!
(He shoots.)
BUFFALO BILL
Miss!
FRANK
Pull!
(He shoots.)
BUFFALO BILL
Miss! Zero out of five! Five misses apiece. I declare this match a tie!
ANNIE
(She gazes at him in disbelief)
What've ya gone an' done, Frank Butler?
FRANK
Nothing. I missed, that's all. I guess the pressure kinda got to me. So the only thing we
can do is to go on tryin' to see who's really the best, and that means we gotta be partners
again. What d'you say?
ANNIE
Partners—got a nice ring to it. "Oakley an' Butler."
FRANK
"Butler and Oakley." Alphabetical order, remember? Butler comes before Oakley.
ANNIE
Right. Alphabetical order—Annie comes before Frank.
(As he starts to protest.)
I'm jes' foolin', Frank. "Butler an' Oakley" sounds jes' fine t' me. Little Jake, gimme all
them medals you been holdin'.
(She takes the sack from him.)
I promised I'd use 'em t' stake the two Bills t' their new show an' I always aim t' keep my
promises.
CHARLIE
Did you hear that, B.B.? We're gonna combine the two shows after all!
BUFFALO BILL
(To PAWNEE BILL.)
Bill, you old pirate, come on over here so I can shake your hand!
PAWNEE BILL
Bill, you big bandit, nothing would give me greater pleasure!
(They shake hands; CHARLIE and DOLLY are standing together.)
CHARLIE
Look at 'em—you'd never guess they can't stand one another.
DOLLY
(Snuggling up.)
If we can live happily ever after, darling, so can they.
(CHARLIE looks around, trapped and helpless.)
ANNIE
(She takes FRANK'S hand.)
What you did before—I love ya fer that. It was the nicest thing ya ever done. But if ya
hadn't o' done it …
FRANK
Yeah?
ANNIE
I'd o' shot ya right in yer…
MUSIC 30: FINALE ACT II
(ANNIE, along with FRANK and the entire COMPANY, FREEZES.

BUFFALO BILL, whose back is to the audience, now turns front
and comes downstage.)
BUFFALO BILL
And that's the story I promised you—how Annie Oakley and Frank Butler lived
scrappily ever after. And now there's nothing left to do except walk off into the sunset.
(As he turns back upstage, the action resumes.)
ANNIE
THEY SAY THAT FALLING IN LOVE IS WONDERFUL
FRANK
IT'S WONDERFUL, SO THEY SAY
(They kiss and head upstage with the CHILDREN, into the sunset.)
THE COMPANY

WONDERFUL, IN EV'RY WAY
SO THEY SAY
END ACT II
MUSIC 31: BOWS
ENSEMBLE
(Chanted)

LIKE NO BUSINESS I KNOW!
MUSIC 32 EXIT MUSIC

Annie Get Your Gun

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Annie Get Your Gun

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Annie Get Your Gun

(in order of appearance)

Prologue: The Big Top

Scene 2: A Pullman Car on the Overland Steam Train

Scene 3: The Main Tent on the Minneapolis Fair Grounds

Scene 4: Annie's Dressing Tent

Prologue: The European Tour

Scene 1: The Upper Deck of a Cattle Boat

Scene 2: The Ballroom at the Hotel Brevoort in New York City

Scene 3: The Property Room

Frank Butler Tom Wopat

(Applause segue into.)

MUSIC 1 THERE'S NO BUSINESS LIKE SHOW BUSINESS

(The curtain rises on an empty stage except for FRANK BUTLER,

THERE'S NO BUSINESS LIKE SHOW BUSINESS

(An onstage orchestra—the "Cowboy Band"—is revealed to one side sitting

THERE'S NO PEOPLE LIKE SHOW PEOPLE,

(Music continues under as the imposing figure of BUFFALO BILL appears,

(As he supervises, COWBOYS and INDIANS, acting as ROUSTABOUTS,

THERE'S NO BUSINESS LIKE SHOW BUSINESS

(DOLLY TATE, a slightly blowsy and over-the-hill redhead, enters)

THE COSTUMES, THE SCENERY, THE MAKE-UP, THE PROPS,

THE CLOSING WHEN THE CUSTOMERS WON'T COME.

FRANK & 2 MEN

THERE'S NO BUSINESS LIKE SHOW BUSINESS

FRANK & 5 MEN

EV'RYTHING INSIDE YOU STARTS TO SHAKE UP

FRANK & LADIES

AND THE THRILL EACH MORNING WHEN YOU WAKE UP

FRANK & ENSEMBLE

THERE'S NO BUSINESS LIKE SHOW BUSINESS.

(She adores him)

IF YOU TELL ME IT'S SO.

(TOMMY and WINNIE bow.)

(The ENSEMBLE sings the following whisper chorus under

And our lovely leading lady, Miss Annie Oakley

You'll meet her later.

THERE'S NO BUSINESS LIKE SHOW BUSINESS,

THERE'S NO BUSINESS LIKE SHOW BUSINESS

THERE'S NO PEOPLE LIKE SHOW PEOPLE,

(Music holds as CHARLIE calls to the ROUSTABOUTS.)

Set up Scene One—the Wilson Arms Hotel in Cincinnati, Ohio!

(He turns to the COMPANY who are slow to move.)

And step on it!

(The ROUSTABOUTS go about setting the scenery for.)

(A sign, a porch and a door. The year is 1888. The COMPANY

LET'S GO ON WITH THE SHOW!

(Applause segue into:)

MUSIC 1A OPENING PLAYOFF

(FOSTER WILSON, the salty, bespectacled proprietor of the hotel appears

What the hell's goin' on out here?

What "shooting match" are you talking about?

Between Frank Butler and your best local shot.

(He disappears into his hotel.)

Mr. Wilson. Mr. Wilson!

(He follows him into the hotel.)

(A voice from behind his load.)

No wonder they're so heavy.

I really don't mind, Winnie, honest.

He's half Indian, sis.

And that's the half! was talking to.

(Calling offstage to TOMMY.)