FRENCH’S MUSICALMusicals... CHICAGO + THE CLUB + | HAVE A DREAM HOPE FOR THE BEST + PRIVATES ON PARADE YANKEE INGENUITY + VIA GALACTICA ‘NOT THE COUNT OF MONTE CRISTO?!” PUSHOVER + TURNABOUT + VIVA MEXICO! ‘OLD MOTHER HUBBARD + ODODO JACK THE RIPPER + COWARDY CUSTARD. DONT BOTHER ME, 1 CANT COPE + GORKY AIN'T SUPPOSED TO DIE A NATURAL DEATH “PROGRESS MAY HAVE BEEN ALL RIGHT ONCE— BUT IT WENT ON TOO LONG” IONESCOPADE * WHAT A SPOT! + RAISIN DIAMOND STUDS + GOODTIME CHARLEY NOAH'S ANIMALS + GREASE + SEESAW THE GAY LIFE + SHENANDOAH + PRETZELS PETER PAN + EL GRANDE DE COCA-COLA. SOMETHING'S AFOOT + DAMES AT SEA MACK AND MABEL + LITTLE MARY SUNSHINE Information on Request SAMUEL FRENCH, Inc. 25 West 45th St. NEW YORK 10036 ‘The New Big Band Musical Music & Lyrics by RICHARD M. SHERMAN & ROBERT B. SHERMAN Book by Witt Hour SAMUEL FRENCH, INC 25 Wer Sra Srasee 20a Seaeer Boca LoNDow NEW YORK 10095 HOLLYWOOD 048, ‘TORONTOBox Corvnicur ©, 1979, sy Wau Hour -Lymtes Corvniour ©, 1974, by Taz Thors Squaxe Muste ‘Ponticarion’ Copan aND Sitzmano Music Company ALL RIGHTS RESERVED Amateurs wishing to arrange for the production of OVER HERE! must make application to SAMUEL FRENCH, INC.,, fat 25 West 45th Strect, New York, N-Y. 10036, giving the following particulars: (1) ‘The name of the town and theatre or hall in which it i proposed to give the production, (2) The maximum seating eapacity of the theatre or hall, (8) Scale of ticket prices. (4) The number of performances it is intended to give, and the dates thereof. (5) Indiente whether you will use an orchestration or simply * plano. Upon receipt of these particulars SAMUEL FRENCH, INC,, will quote the terms and availability. [A fet of orchestral parts with piano conductor score and principal chorus books will be loaned two months prior to the production ONLY on receipt of the royalty quoted for all performanees, the rental feo and a refundable deposit. The deposit will bo refunded on the safe return to SAMUEL FRENCH, INC. of all material loaned for the production. Stock royalty and availability quoted on applieation to SAMUEL FRENCH, IN For all other righia than those stipulated above, apply to SAMUEL FRENCH, INC. “Anyone preseting the play sal nob commit of wutherse eh the capaho he play oF oy Be ped NajSiegat oul be shed Ms Hey or el palet ‘our prodecton nl author wring” ISBN 0 573 68001 9 SAM S. SHUBERT THEATRE KENNETH WAISSMAN & MAXINE FOX am ANDRBUS SISTERS i RICHARD M. SHERMAN ROBERT. SHERMAN WIL HOLT ousLass WATSON MacINTYRE ION, WILLIAM GRIFF, BETTE HENRITZE, JOHN ORIVER, SAMUEL WRIGHT, JOHN TRAVOLTA, WILLIAM NEWMAN, JIM WESTON, WARILU HENNER, JOHN MINEO, ANN REIVKING, PHYLLIS SOMERVILLE, TREAT WILLIS ‘APRIL SHAWHAN, —ss— UANIE SELL} seeigecdtin cl Guetta masa ocr tobi ts sim sete estes uous by ouciss W.Schot —caReiY"RoBbs so GLEN san. couott ERARE, wincston SAGE BEN” St ESIRRD NEEM cer LEEW ASSSIres "OME EF MRE fascist Predicer LOU KRAMER Musial Warder Oars standby PATRICIA BIRCH TOM MOOREcasT (in order of appearance) Nouwi Sroxesacass Douglass Watson Maxe-our .. ca Jim Weston Fariten seesceseesesseesess Maclntyre Dizon Morus « Bette Henritze Rawxiw William Grifis Doxxa ~ Maritu Henner Wana + Phyllis Somerville Macon hai sescecseeees Anim Reinking Miva so» Janie Selt Misrer John Travolta Ura Treat Williams very - John Mineo anor cesssses William Newman Bheteovesrrts reeset cdieey oe Samuel E. Wright Jonnie ee ~ April Shawhan Bus John Driver Pacuine np Pav Mazene Andrews Pavisree of Paul Patty Andrews MUSICAL NUMBERS ACT ONE ‘THE BEAT BEGINS (OVERTURE) The Big Bond ‘and company "SINCE YOU'RE NOT AROUND" Spokesman ‘and company “OVER HERE” . Paulette and Pauline ‘BUY A VICTORY BOND” ee Company “MY DREAM FOR TOMORROW” ..... June and Soldiers “CHARLIE'S PLACE” Pauline, Maggie, Lucky, The Big Band and company “HEY YVETTE/THE GRASS GROWS GREEN” ... Nonwin Spokesman, Rankin and Father "MY DREAM FOR TOMORROW” (Reprise) June and Bill “THE GOOD-TIME GIRL” . Paulette, Pauline and company “WAIT FOR ME MARLENA” ‘Mitzi and company “WE GOT IT .... Paulette, Pauline, Mitsi and company ACT TWO ‘THE BEAT CONTINUES (ENTRE-ACT) . The Big Band ‘and company “WARTIME WEDDING" . Paulette, Pauline and company ‘DON'T SHOOT THE HOOEY TO ME, LOUIE” .. Sam “WHERE DID THE GOOD TIMES GO?" ..... Paulette “DREAM DRUMMIN//SOFT MUSIC" ... Ueah The Big Band and company Paulette, Pauline and Miti Paulette, Pauline and company “THE BIG BEAT™ “NO GOODBYES” ‘Mesers. Sherman and St, Louis wish to acknowledge the creative contribution of Walter Weschler on thete numbers. 5CAST OF CHARACTERS Nonwne Sroxesieas, Ratznoan Coxovcvor, Sanar: All to be Played by the same actor, suave, charming, talks to the fudience, bridges the gap between 1977 and 1940s. Pavuerre ve Pavt, PAULINE DE Pavt: A sister singing act Tooking for the Big Break, and a thind member for the fact because Trios are what make it, ‘Mirar; A Nazi spy, plucked from the German cabarets, given ‘an intensive course in English from watching American films from the Thirties, Her slang is a little behind the times, and her expressions not quite “American.” Bits: America's normal, average juvenile. owe: His girl, Amerie’s ingenue. ‘Morstua: The War has brought « new blush to her cheek. She ia involved, She is Concerned. She is Knitting what turns ‘out to be the longest searf in history. Faritea: A sweet man, not too successful, with no idea in Thead that after the War, he'll be supplanted by Super- markets ‘Rawkm: Same age as Fariten and SPOKESMAN, but very pros perous Automotive Executive. He is making a great deal ‘of money from the War. ‘Urant: A young draftee whose belief in everything is sincere Downa: A waitress who gives up her job to work in a defense plant. Lucey: A big city strect kid whose sneer is only skin deep, ‘Maaare: The rich young lady off to college who is very snooty. Saat: The black railroad porter who has to eope with a train full of wartime military and civilians cooped up for non-stop eross-eontinental trip ‘The “train is divided into three seetions—-a Military Coach, ‘8 Civilian Coach and in between them 4 Lapattory which tured into a Canteen by the resourvefil De Pauls, 6 MUSICAL NUMBERS ACT ONE “THE BEAT BEGINS” .......... ° ‘SINCE YOU'RE NOT AROUND" ....... ° “OVER HERE” .u “BUY A VICTORY BOND" 7 “MY DREAM FOR TOMORROW” 4 ‘CHARLIE'S PLACE’ 5 2» HEY, YVETTE (THE GRASS GROWS GREEN)” .. 32 “MY DREAM FOR TOMORROW” a “THE GOOD-TIME GIRL” “WAIT FOR ME, MARLENA” “WE GOT IT!” ...... cr TWO “BNTR'ACTE” 51 “WARTIME WEDDING” 53 (Reprise) ...2+.+. x OSs Fao “DON'T SHOOT THE HOOEY TO ME, LOUIE” .... 59 “WHERE DID THE GOOD TIMES GO” orca “DREAM DRUMMIN’"/SOFT MUSIC . 68 “THE BIG BEAT” 7 “NO GOODBYES” "4Over Here! ACT ONE, In the dark, the sound of a train whistle. Once... Twice . . . A amall light picks up the Jace of Nonwiw SroxnsMaN, just the face; we can't see what he's wearing, or where he is He talks to us. Sroxrswax [A train whistle, ‘That one sound can bring back a whole world of way back when, Snapshots Small towns Big Bands Saturday night dances ‘The War . Ameries dancing in « make-believe ballroom (The overture starts, Projections. A photo of PDR, cigarette holder held between teeth at a jaunty angle—another symbol of the period. Defense plants, assembly lines, draftees, war- time marriages, entertainers, Vietory Gardens—Frank Sinatra, Walter Winchell, high school reunions, The Andrews Sisters, Kate Smith, Dorothy Lamour Posters, At a climar of the Overture, the Contraxy glides on, and it is All America dancing, warmed to life by the music. Spoxesuax steps up toa microphone close to the band and continues.) And here was one of the more popullar songs of the day, dedi cated to the boys in the serviee—"Sinee You're Not Around. SONG: “SINCE YOU'RE NOT AROUND” Sroxesway and Vanous Mennens ov rite Compayy, OUR FAWRITE SONG HAS FALLEN OFF THE, HIT PARADE 910 OVER HERE! aor ‘THAT KEWPIE DOLL YOU WON FELL OFF MY SHELF OUR FUNNY LITTLE TINTYPE STARTED IN TO FADE, 1M SO VERY ALL ALONE, LONGING FOR THE, LOVE WE'VE KNOWN. - WHEN I WALKED WITH YOU HOW THE MORNING DEW SPARKLED ON THE GROUND FUNNY HOW THE MAGIC’S GONE NOW SINCE YOURE NOT AROUND. SONGS WE USED TO KNOW NOT 80 LONG AGO HAVE A LONESOME SOUND NOTHING IS THE SAME, MY DARLING SINCE YOU'RE NOT AROUND. IN MY DREAMS I HOLD YOU PRETENDING THAT WE'RE NOT APART AND UNTIL MY ARMS ENFOLD YOU AGAIN YLL LIVE WITH THAT BEAUTIFUL DREAM IN ‘MY HEART! ‘THO! AUTUMN LEAVES TURN GOLD WINTER'S WHITE AND COLD. AND BLOOMS OP SPRING ABOUND NOTHING HOLDS A THRILL MY WORLD IS STANDING STILL SINCE YOURE NOT AROUND. SroxzsMAx, Now that's how I remember people dancing. ‘And that's how T remember The War. Over Here, at least— ‘as mostly musi and jumbled images—silly movies we believed in seriously—propaganda and posters—radio bulletins—getting drafted, crowded bars, crowded stations, crowded trains— ‘everybody on the go. (Sound of train while.) The whole country was on One ‘Train, griping and squabbling but ll bound for One Destination--while some Spokesman from the Office of War Information... (Sroxeswax dons hat, shows military hat and conductor's hat.) . . kept urging vs on to Vietory. (Again the sound of the train whistle.) Therefore, Ladies and Gentlemen—The Band—The Company and Yours aor OVER HERE! un Truly, Norwin Spokesman, would like to bring back... A ‘Train Ride of Memories—Crose-Country—Coast-to-Cosst! ‘Whose passengers stepped right out of the movies and t covers of the Saturday Evening Post, Yes, you—Mr. and Mrs, America, (Spot on Morin and Farin, middle-aged, middle- lass. They carry suitcases. She carries knitting—which turns ‘ut to be the Longest scarf in history.) ‘Moruxn, Hurry, Dad. We'll be late Faruen, Now . . . Mother Sroxeswaw. And you—Americans on the Go! You Men Behind the Wheels! You Men Behind the Deals! (Spot up on. Mr. Raxxix, prosperous Business Executive with briefoase, ‘on hit way fo Washington to profit from the War.) Rankin. (Checking.) Briefease . . . documents SroxeswaN. Yes, America's on the Move! You poor girls (Spot up on Doxxa, waitress, untying apron and pack- ing it in) Doxna. Goodbye, Walgreens Spoxeswaw. You rich girls .. . (Spot up on Maco, care- less rich, smoking furioualy, tossing clothes into perfectly, ‘matched tuggage.) ‘Macore. Hallo, Wellesley! Sroxeawax. Yes—and You, Miss Mystery. (Spot up on Mirzt, German spy who has learned her English and slang’ through an intensive course in watching American Movies. She carries a lipstick [secret transmitter] and a com> pact [secret camera} and prepares to carry out her mission.) ‘Mirai. Camera . . . transmitter Sroxeswan. . .. Getting Ready For Action, Mrax. (Speaking into lipstick.) From now on, I speak only American. Okay? Think Ida Lupino! SroxeswaN. America’s on the March! The Draftee! (Spot ‘on Uran, cowboy, opening letter from Draft Board and read- ing aloud the first word.) ‘Uran. Greetings! Sroxxswuax. And You—Mr. Big Shot! (Spot on Lvcxy, City Boy, dressed in zo0t suit) very. Hey, Barbareebop! Sroxesuay. And You—the Army of the Forgotten Man, ‘You who do the work unsung and uneomplaining. (Spot up2 OVER HERE! aor on Sua, blac porter, serubbing floor who has Read all this propaganda before, butis patient) Shoe, Uh-huh Sromeswan, Americans on the Movel (Spot wp on Jun, anerisingae dancing in rpm gon) Asean oo ike Make! (Spot up on Br, America's juvenile, He moves in on J0nE danas wth erin lie Prom Portion, an ru denly we are-at every graduation dance in every high achool tim inthe nation) ‘Bus. The Senior Prom Jose. The Last Dance. Biot, The Big Question, (Blurting i ov.) Who're you going home with? ‘Foxe, Larry has a Caddy . .. Pats got his father's LaSalle ® Eager) But Tia in love with a Lag with n Rumble- seat ‘Buuz, My Old Jalopy? Hang on, Baby! We're Going Places! Sronssstax, (Separating them, taking Buu's arn.) That's right, Mister, Right into This Man’s Army! (Br, stunned, joins other reeruits. Unast and ‘Ltcxt, while: SrOKE=Ma% changes hats, aasumes his-miitary role ex Top Sergeant, and the rest of the Couany singe.) Cona BUY A VICTORY BOND BUY A VICTORY BOND AND WEILL S00N BE VICTRY BOUND, HHAHHM (Music melds into Choral hum and out as Sroxssuaw swears in recruit.) Buus, Uran, Locky. (Repeating oath.) . . . and that T will obey the orders of the President of the United States and the ‘officers appointed over me according to regulations SroxrsMax, (Sance,) So Help Me God. Bua, Uran, Lucky. (Repeating.) 80 help me God, SPOKESMAN, (With offcial patriotic vigor.) You're In the Army Now! (Suddenly Jekyll-Hyde transformation into snarling Sauce.) And don't you sad-asted dogiaces ever for~ get itl sort OVER HERE! 8 Attention! All right men, your indoctrination will proceed in the follow- ‘ng manner. ‘You will soon board a train ‘Where, due to the exigencies of time and the National Emer- gency You will undergo your basic training While enroute to your Port of Embarkation, On board this train, enroute to your destination ‘You will be provided with a canteen run by women Who eould be your wives, sweethearts or mothers ‘You will treat these women accordingly You will use ssid canteen Where you will waite letters home You will eat doughnuts You will have problems ‘You will feel homesick You will receive consolation So that, when you leave this train, you will be prepared for the Big Job Overseas, and you will be the best fighting men Unele Sam can muster, buster. ‘Therefore, Relax, stand at attention! Sound off as I go down. this roster, gt your uniform and All Aboard! Able! Uran. Here! Sroxesway. Baker! Brut, Here! Sroxeswaw. Charlie! Luoxy. Yo! Sanor. The DePauls! (No anewer.) Don't they know there's a war on? ‘The two DePauls! (DePavis enter Rl on jeep—PN on hood, PT sitting on4 OVER HERE! scr b, 8, seat, SM driving. A word about the DePavis, ab they are getting off the jeep. The DePavis, Pavue ‘and Pavusrss, are Veterans. They are veteran enter~ tainera. They ‘know the inside of every dressing room in every crummy vaudeville house, night club, ball- room, movie house, in every small city and Big Town in the U.S. They have never been stars, they have never made the Big Time, and they are often in danger of being bounced out of the Small Time, Now, they are Veterans of the USO. They are pros. They know their drusiness. But they have never gotten The Break. Pause, the more realistic of the two, is resigned to their lot. But Pavuerre, eill etarry-oyed, 18 sure that Good Times are coming their way. Anyway, now they sing to ws, and guess what? They do raise our morale.) Sona: “OVER HERE!” DePavts. (Intro) ‘THE BUGLE BOY BLEW HIS RAT-TA-TAT-TOO TELLIN’ EVRYBODY “DO YOUR DUTY’ WE DIDN'T KNOW HOW TO TYPE AND WE DIDN'T KNOW HOW TO SEW. 80 WE TRUCKED IT ON DOWN TO THE USO, BUT EVRYWHERE THEY SENT US, WE ALWAYS MISSED THE BOAT WE NEVER GOT A CHANCE TO SING THE BOYS 4 SINGLE NOTE, BOMBED OUT AND RAINED OUT MATTER OF FACT, THERE'S A RUMOR THAT WE EVEN CAUSED A COUNTERATTACK. ONE DAY WE GOT A COMMUNIQUE “REPORT AT ONCE TO THE US.A.!” ‘80 WE PACKED AND FLEW THROUGH THE BULLETS AND FLAK. GEE BUT IT'S GREAT TO BE BACK (Verse 1.) NOW WE'LL BE SINGIN’ FOR THE FELLAS IN THE PX. CAR ser t OVER HERE! 16 LIFTIN’ THEIR MORALE BY SWINGIN’ EIGHT TO THE BAR ‘TRUCKIN’ AND A SUZIE QIN’ ALL A THE TIME GONNA KEEP EM HUMMIN’ ON THE VICTORY GIVIN’ OUR ALL, ALL FOR THE GUYS YOU COULD SAY WE'RE KHAKT WACKIE FOR THE GLS (Chorus 1.) CAUSE OVER HERE (TOOT TOOT-L-E TOOT) WE'LL DO THE THING THAT WE STARTED TO DO. CAUSE OVER HERE (TOOT TOOT-L-E TOOT) WE'RE GONNA SING FOR THE RED WHITE AND BLUE. WHILE THE SERGEANT DOES THE TRAININ’ WE'LL DO THE ENTERTAININ' OVER HERE—TOOT, TOOT, TOOT-L-E TOOT (Interkuie.) ‘TOGETHER—WORKIN’ ON THE TEAM ‘TOGETHER—GETTIN’ UP THE STEAM TOGETHER—GIVIN' OUR ALL ON THE BEAM AND RIGHT ON THE BALL! (Chorus 2.) OVER HERE (TOOT TOOT-L-E TOOT) WE'LL DO THE THING THAT WE STARTED TO DO CAUSE OVER HERE (TOOT TOOT-L-E TOOT) WE'RE GONNA SING FOR THE RED WHITE AND BLUE WHILE THE CHO0-CHOO KEEPS A MOVIN’ (Bond il.) WE'RE GONNA KEEP A-GROOVIN’ (Band Fill) RIGHT OVER HERE—TOOT TOOT TOOT-L-E TOOT! (Strip and Dance.) ‘TOGETHER—WORKIN’ ON THE TEAM TOGETHER GETTIN’ UP THE STEAM TOGETHER—GIVIN’ OUR ALL OH DEPAULS, YOU'RE RIGHT ON THE BALL! cau16 OVER HERE! scr WERE GONNA LOOK ALIVE AND JAM AND JIVE, OVER HERE—OH YEA, YEA, YEA WE'RE GONNA SPREAD SOME JOY FOR EVRY BOY OVER HERE—OH YEA, YEA, YEA WHILE THE SERGEANT DOES THE TRAININ’ (HUP-TUP-RIP-BO-HUP-TUP-RIP-BO) WELL DO THE ENTERTAININ’ (DO-DO-DO-Do- DO-DO) Sance. Company. OVER HERE, OVER HERE, OVER HERE, OVER HERE OVER HERE, OVER HERE, OVER HERE, OVER HERE OVER HERE, OVER HERE, OVER HERE, OVER HERE Pavuerre, Cut! TOOT TOOT TOOT-L-B TOOT (End of Song.) SronEsMAN. (Donning Railroad Conductor's hat.) All right! All America! All aboard the Big Bandwagon to Vietory! (Peowte start boarding. Raxexw notices Mires.) Rawxin, After you, Mise ‘Mrrat. Can you beat that? I was just given the old ho-heave and now T got no place to get my hat hung you get my lingo. ‘Rawxin, Let me help, T have connections, Mirai. Sur, Rankin. Conductor, I need another seat. SroxsMAN. Sorry, sir. This train is all cold out. (RANKIN waves bill which Seoxxsmay pockets.) . . . except for this one available emergeney uccommodation. Sam, this gentleman has hardship priority, sora OVER HERE! 7 San. Yaseub, Brut. (Kissing Jowe, preparing to leave her.) Honey, 1 ‘guess This Ts It! June (Impulsively, dazzled by the glamour of wartime.) No, Bill! I'm going with you, Don't try to stop me, Oh, it’s not the dream of some silly schoolgirl who's running off to thrills and adventure and a new kind of lif she's never known, before. No, this little lady’s in love. Deeply. Wholly. Truly. For the fist time in her life! Br. Oh, baby. Does that mean what I think it mea (Kiss) ‘Morum, (To Farten.) It means she's running off with a serviceman, Unmarried, And unchaperoned. Farate. Now, Mother . . . she's not your daughter. Moruiex. She's somebody's daughter. Oh Dad, do something. Bux. (Careasing Juxx.) Does that mean you'll Farmer. (Addreesing Juwz) . . be a good girl Jone. (To both.) I will Bu. Even if we're not married you'll Farure, ... Don't... Joxt, (To both) T won't. But, You'l go all the way Farr... You stay Jone. (To both.) T will. (Butt, and June embrace passion ‘ately and board the train. Buu is the happiest man in the world, SroREsMAN and Sax give a last eal.) Sant. Board! Mose. Wait for us! SroxEsMAN. All aboard! Sroxesway and Sas, (In train door.) All Aboard for Vie- tory! SONG: “BUT A VICTORY BOND" BUY A VICTORY BOND, BUY A VICTORY BOND TO DEFEND THIS LAND WE LOVE EVRY BOND THAT YOU BUY HELPS A GUY IN THE SKY DROP A BOMB FROM A PLANE UP ABOVE18 OVER HERE! aor 1 YOUR EVRY DIME AND EVRY DOLLAR'S GONNA MAKE THE AXIS HOLLER GET IN LINE BEHIND THE MAN BEHIND THE GUN, LET'S BE VICTORY BOUND, BUY A VICTORY ND TILL THE VICTORY I8 WON! (The Crvn.saxs must look packed in and uncomfortable, their luggage something to sit on, push around, trip over—the discomfort of most travelers, in thie case, magnified by the cramped quarters of wartime trains, The military section is barrack-like, clean, sparse, sullied only by the Sours and their barracks bags.) Sroxesuan. You're in the Army now. (Dons military hat, becomes San.) ‘ance. (SPOKESMAN.) And don't you sad assed dog faces cover forget it. Atease! Brix, 1 guess we better get acquainted. My name's Bill Uran, Howdy, Bill. 'm Utah, Bunt. Where you from? Unatt Utab, ‘vex. Call me Lucky, \Urant. Hey, this is my first time on a train, First time in the Army, too. And T aim to make the most of avon. This war's for suckers Urat Quit pripin’. ‘We're ull in this together Bits, That's right. We've in the Army now. SronesMan. (Sancr.) O-K, Men, Line up! (Then, as Sroxes- MAN, reporting to us,) In wartime, one is often called upon to do a job one has never done before . .. (He has taken out @ gioantic syringe, put on medical paraphernalia. Uran weaye.) You will now get your shots, ‘Urant Shots? Didl he say shots? SPORESMAN, You allright, Able? sort OVER HERE! 19 Roll right sleeves up to regulation length Prepare to roll! Roll! Your right sleeve, Able. Your right, Unast. Right, Teat with my right. I be all right, Sroxeswaw, You, Luo. The name's Lucky. ‘Sroxeswax. Lucky, you're first, Luoxy. Me? Why me? SroRESMAN. Because you're s0 lucky. So move Luoxy. Cattle . . . We're treated just like cattle. Sroxeswax. No talking in the ranks. Luexy. Who's talking? I'm squawkin’ to get shot in the wrong arm.) Bu, Right arma, Doe, right arm, (Soxeswax jabs Lucy ‘and saye:) SroxtsitaN. You're in the Armay now, Next! Bn, Army looks okay to me. Usait, (Fearful of that needle and of Sroxeswan’s com- etence.) He does know what, he's doing. Doesn't he? Butt, Oh sure! Old Doc here is 00000— (Sroxeswaw jabe him.) kay! (Now it is Urau’s turn and like a cow about to be branded ho balks, the others have to help him. SPOKESMAN tussles with Urau, finally irnoculates kim, leaves the needle in his arm, then has to yank it out.) Uran. (During this.) Tt’ not that Tm seared... 1 ain't seared, Am I seated? T ain't seared... but I'm... allergic - Lgot allergies . . . my throat closes off .. . (ie realizes hhe didn't die from the thot, and says proudly:) Hey, I'm in the Army now! SPOKESMAN, (Smoothly making transition from military to civilian.) Yes, you're in the Army now! Where each one of us hhas his own particular responsibilities. (Addressing the DPavus in their eanteen.) Now, you girls are responsible for keeping morale high—and here are your orders ‘ue, Open the eanteen, make the troops happy. DxPavts, Will do Sroxeswaw. Two, Spread joy among the civilians. Get them all gathered together working for victory. DsPavus. Will do, Sroxiswaw. Then if you do a good job with this canteen, (Lvov is about2 OVER HERE! scr r ‘here's more in this for you than just donuts, The O.W.L ‘would like to do s brosdeast emanating from ths train to show {he nation the fighting spirit of our people Pavuine. The Big Break ‘Pavurrre. The Big Broadcast! Sroxssuax. Think you can swing it? Paviurm. Boy, ea we swing tt! Hey, well be hitting the big time! ‘PAULiNe. (Sts on trunk.) Tt won't happen. Pavuerne. Why not? avis. Because we're a duo, No duo ever hit the Big, ‘Time, We need that third voice. That .. . DO. Pavuerrs. (Harmonizing.) MI... SOL. Ob, 1 know that “sol” is somewhere on this train and were gonna find it THE MILITARY Sanoe. (Sroxesuay.) Fall in. Close interval. (Rarking.) Dress right dress—by the numbers. Count off, Luexy. One! Bu. Two! ‘Sauon, (Spoxeswax—to Urast.) Three! Unan, (Finding himeelf left.) Ob. . Sanok. (SroxESMAN,) My God! (In the Civilian Comparte rent Sia tpg to service everbody, and everybody i impatient THE CIVILIANS Rawxix, (To Saat.) Could I get some service? Please ‘There's no room for slackers anymore, Just what do you do around here anyway? Saat, (Never missing a beat.) Well, si—I—mix, mop, dust, ‘sweep, smile, lug, tote, shine shoes, call out stops, wake up asenges, put em to bed, verve deinke—and tap dance a Rawxty. Good. Keep em hummin’. (Goes back to seat, RANKIN turns to Morin, who is knitting industriously on sera OVER HERE! a her scarf, and Faruxn, who is watching her.) The name's Rankin, Automotive Industey. (Civee card to Farus.) Geared, for War Production, What are you in? Faruze, In debt... mostly. ‘Morin. My husband is always joking, Rakin, (Site with briefease on lap.) Well, he won't joke when he hears the production figures for . ‘Morten, Ssh! Zip the lip or Sink the Ship. Keep it buttoned up, Rawsin, I guess that's right. You might be sitting right next to a Nazi—and never know it, Mara (Right nezt to him, swhispering furtively into her Lipstick.) Ein, Zwei, Drei . . Vier Rayxin, (Fatherly gallant.) What shall T call you, Mystery Lady? Mirzr. Call me Mitsi. (‘Seductively bringing her microphone lipstick into play.) Listen, big boy, and tell me where we are headed Rawxis. (Low and hoarse.) Heaven, baby, heaven. Marat. (Repeating into her lipstick, leans forward.) Heaven, baby, heaven: Seoneswax. (Tur Musrany.) Ment Here is your reason- able facsimile of your gas-operated Garrard self-repeating rifle, otherwise known as your M-One! (Throws rifle.) Lwoxy. Two! Buu and Uran, Three! Uran. I'm three. Sunoe. (Sroxeseax—gives Uran rife) Your manual of farms, Right shoulder, arms 1-2-3-4, (Uran throws gun over shoulder.) ‘THE CIVILIANS Macorm, Boy, Tl have a lemon Coke and oodles of ice, when you find the time ‘Saat, What was that? Doxa. (Standing up, yelling like « waitress.) One Lemon Coke, heavy on the ice! ‘Saat, Gotcha!2 OVER HERE! nora Dowwa, (Donna sits back down.) I've been waitress my- elf ‘Macom. You could have fooled mel Doxwa, But now I'm going into war work for a change of seenery. My name's Donna Mae Everly. What's yours? (Shakes Macoin's hand.) ‘Maco, Hi, I'm Maggie. . > Wellesley, Class of "46, T hhope—I hope—I hope. Joxe. (To Doxxa.) And I'm June and your suitease is on my foot ‘Doxa, Fim sorry, honey. ‘Macau, (To Dox’, ignoring Juxe.) Did you sey you were 8 waitress? Could you get me a drink? Doxya. Was. Was a waitress, Macare, Well, T think everyone should do his bit to help out, Dowxa. Right, honey. So why don't you move your stuff so fod ol! June ean it down, (Hands Macotr' ba to her ond ‘mover Sux: into seat.) Jone. (Moving right in.) You don't have to... (June site.) 7 ‘Maco (To Doxwa.) Well, I've done my bit, now you do yours! Downa, (Standing 1 of seat, taking out pencil and order pad.) This really isn't my station. But what was the order? ‘Masore. 1 have a lemon Coke. Farum A cup of coffee. Moruime, Just water Joxe. Milk. Muri, Bier Rankin. Bourbon, Water-side. Dovxa. (Yelling to Saat.) That’s one Coke, one java, one 1,0, one cow juice, one Bud and an Old Grandad for Grandad. (site) Saat, Gotcha. Rawxx. On aeparate cheeks, Dosa, That figites, THE MILITARY Sanor, (SrORES@AAN.) Order arms, 1-2-3-4 (Ura slams Lvcey's foot.) aor OVER HERE! B THE CIVILIANS (Civauass on train, Doxxa reading Modern Sereen, Macar ‘smoking, Morten blowing aicay the enoke and knitting, Soxe writing in her diary, Faruen holding Morura’s ‘yarn, and Raxxix, dozing over his briefcase.) Jon, (Stands.) How long does this trip take? Fates, Why do you ask? Morin, (Suapicious.) Yes, why do you ask? Jwxe. (Showing her diary.) Tm keeping a journal of this trip. Where we are, where we stop. . . everything that hap- pens to me, ‘Rawaux, Well, this trip takes seven days. Moruter. And seven nights, Fares. (Weakly.) Of standing Moriten, (Irritably.) For pity’ cakes, won't anybody give this poor man a seat? Dowwa. (Stardds,) Here, Pops, take mine for a while. Morusx. (Reeling Farurn back with her yarn) No, Dad, sit here. Vl sit with the girls (Mora sits in Dow's seat ‘Farmtmn sits in Morucn’s seat, Dowxa stands 2. of seats.) ‘Doxa, That's a swell color. What are you making? Morne. (Waving her knitting.) Yim knitting a seari for Fatiten. (To Rawxiw.) Our boy's in the South Ps Moruex. But I want to do more, I want us all to do more. Let's Get Behind Our Boys! Dowwa. (Stande.) Tl volunteer. Sam. The station is Grand Ju Colorado! Jone. (For her diary.) Are we stopping? Sat. (n. of Moruen’s seat.) T call out the stops. This train don’t stop at no stops except for one stop which is the last stop which is a big stop and that stop is the New York stop which is a stop so the boys can have a big send-off which is the last stop which is the overseas stop. I eall the stops, but wwe don’t stop at the stops. So T guess you could call it = non- stop stop. Grand Junetion,4 OVER HERE! act ‘THE MILITARY Sanos, (SeoxssMAN,) On the ground and on the double! Let's see those pushups! 1-2-3-4. (June sneaks from civilian to military section, approaches Bunt. She is apart from him brut close enough 20 that he can hear her. She is sill in her prom gown, which she will wear for the duration.) Jone. Bill . Bu. (Struggling with his pushups.) Can't talk now, honey. Jone. I know, Bill, darling, I don't want you to worry about me—that L have no money, no tieket, no set, no place to sleep, no dress exeept this silly prom gown. Don’t worry, Il gut by. (Kneels down.) What is important—is the time I can spend ‘with you. T want you close to me—aa elose as two people can ‘bein every way—do you understand, my darting? (Tt should be obvious that not only Bun, but the rest of the Recnurrs understand, and are getting aroused. The quality of Suxe's speech and subsequent song ie that of a V-mail letter, sealed with « ies, perfumed, seductive, and unoblainable. Bust, moves towards uxt.) Buu, T want you Tone, I need you, But. I Jove you. T can’t wait, June. We must wait. Our love will be all the better for hav= ing waite. Bit, Don't bother me, Vm busy. Juve, Let me tell you what I dream every night—just be- fore I slip between the sheets and snuggle up all cozy to the pillow. It make you feet better. SONG: “MY DREAM FOR TOMORROW" Since. Your bieycles! Juxe. L LIVE JUST TO BE NEAR YOU OH DARLING, CAN'T YOU SEE I LOVE YOU AND I WANT YOU AS MUCH AS YOU WANT ME ‘anor, Your sit-up's! Toss, YOUR KISSES MAKE ME TINGLE, sora OVER HERE! 25 I THRILL EACH TIME WE TOUCH Is ASKING YOU TO WAIT A WHILE ‘Sanor. On your fect! Joxe. ASKING YOU TOO MUCH? ‘Sanor. Shake it out! Joxe. BELIEVE ME MY DREAM FOR TOMORROW IS TO KEEP WHAT I HAVE TODAY ‘Sanor. Duckwalks! Jone. YOUR LOVE AND DEVOTION THROUGH THE YEARS, Sanos. Squad fall in Soxe, JOY OR TEARS COME WHAT MAY Sanor. Left face, forward march. (The Recwurrs leave and Joe is loft singing to herself.) JoxE. WHAT MORE COULD I ASK FOR? IN YOUR ARMS ALL MY PRAY'RS COME TRUE 50 DARLING, MY DREAM FOR TOMORROW 18 TO SPEND MY TOMORROWS WITH YOU 80 DARLING Pauerte, (Immediately.) What did you sing? Jone. 80 DARLING Pavuerre, Forget the darling. Just the so. When I point, sing it and hold it, (Aside to Pavurse.) Maybe we got it, (Sings, after orch. stops.) DO. PAULINE, ML June. (A piercing soprano.) SOL Pauyerre, That's a beautiful dress you've got on.% OVER HERE! sort Jone, Thank you. (Plunging right in.) Vm here keeping up the morale of my boyfriend who is undergoing besie training want to stay with him as long Pavuirme, Great. You're don! your bit ‘ows, Yes, but I won't go all the way. Pave. Why, are you getting off? Jon. (Moves between Psvuerrn and Pavuixe.) Kicked off most Hiely. Tdon't have a ticket, or any money or any clothes except this formal Pavane, You can bunk with us. dons. Sure I wouldn't be a bother? Pavuerre, This is wartime, And we got work to do. Say, 1 gob a great idea. Since you don't have a ticket, how about earning your keep and helping us setup our canteen? (PacuisE brings out an apron from her canteen.) Joxs, Allright i T don't get my des dirty. (ust af that moment Souwiens jog across, Brus. being the last one.) Bye, Bill! Don't worry about a thing! Bint jogs af, obviously tworried. Sroxesncax enters, brisk.) Seoxeswax. Well, adien-Canteen all set up? Pavtarze All set Sroxsswax. Cause the O.WI will be watching Pavurve. And we'll be working! Pauiaae, Bring on the doughnuts! Bring on the girs! (Am aside to Pavtaxs.) Maybe there's third voiee here. (DOS¥h, Macoit enter. All charm and organization.) How many of you vould like to get with a trrife act and get a chance 19 help our boys? Doxa. Oh, it's like Lana ‘Tumer getting discovered in Schwab's drugstore Lee Pautarre OK. When I point, sing sot and hold S, Dox. How do we know when we go it? Pavuis. You'll know it when you Bear it Pavuerne, (Singing) Do. Pave. Mr. Doswa, (Blasting out) SOL. (Pacuawe dispens ‘an apron.) sora OVER HERE! a ‘your apron, There Pavuixe, (Hands Doxa apron.) Her are the doughnuts, Pauuzrte, (To Maoate.) Do Pavuine, MI. . Macorm. Sol, sol, sol, gol. (PAuLaN gives Macoue an apron.) Pauuixe. Here’s your apron. Pavuerre, All right, everybody. When the boys come in, pass the doughnuts and show them a good time. ‘Macare. I don't talk to servicemen Pavuerrn, Good, Just listen, (The Sovouees and SroREssiaN come jogging through again, Pavuine spots them and stops them.) ‘SpoxHSMAN, One—twothree—four—Squad halt! DePavts and Gints, Canteen Time! Pavriwe, Sit down, Sange. (They're all in the canteen be- fore they know what hit them, and there is emiling Pavuerze ready to improvise them into 4 good time.) Pavterre. (Setting up and being the life of an improvised party.) Hello... hello... hello. . . U'm sorry this isn't the Rite, but what the hey... We want you boys to relax ‘and have a good time . . . enjoy . .. get to know everybody (To Uzan.) You, how're you doin’? How's the chow? How're you feeling? What's your name? ‘Ura, Well, ma'am, my name's Utah and I'm feeling fine. fand I like the chow they serve and I got no problems Sat (Calling out a stop.) The station is Wichita, Kansas. . ran. (Sits, swldenly homesick.) An’... T am now 648 miles away from home Pavurrre, You're homesick, We'll cheer you up. Now, how about a singalong to get things rolling? Pauline Pavuiwe and Pavurrmm and Giats. (Singing.) “Pack up your troubles in your old kit, bag.” Moruen, (Stands, her most bass voice.) And stile, smile, smile! (Pavuixe hands Moritex an apron.) Pautarm, Jokes! Games... Talk! Talk is the answer. Pauline, make them talk! Pactixe. Me? Talk! Dowxa, HelloBs OVER HERE! ser Unan. (To Dowxa.) Howdy, ma'am. Downs, (Boucled over by him.) Ooooh sight, just like the movies. ‘Urau. I like movies too. Which movies do you like best? Dowwa. (Talking but just fascinated by him.) Warner Brothers, They're the truest, And the realest. ‘Uran You like Gary Cooper? Doxwa, (Just mesmerized by him. Doxa kisses Urat.) He's Paramount, But he's real and true and good. (This leads to an embrace which ix good and tong and true and real and avell. At the end.) My name is Donna Mae Everly, (Added thought.) And T'l write you every day. (Doxa kisses Ur4st.) PavLixe. One down, one to go . . Pavurrre, (To Pavuins.) You're doing swell, Keep it up! (Pauuermm erits with Sroxtsaax (Sanor.). They retire. PAU- ie is feeling on top of the world. She gestures to Luck and Macare, Nothing happens, She gestures again, Nothing.) Pavtine, (To Lvexy,) Talk. Lucky. To her? Look at her. She won't talk to me. Pautive. (To Lucky.) Sure she will. sk her to dance. Show her your charm, . Lucy, (Just as evave as Jersey City approaches Macc.) Hey, babe, care to eut a rug? (He is greeted by a frosty stare.) ‘Aw, you dames are all alike, Macare (Flaring and speaking right out.) First of all, 1 fam not a dame as you put it, Secondly, T am not remotely like anyone else, T am me, myself and I. Thirdly, I don't talk. to servieemen. And fourth Get Lost! Pauline, (Encouraging.) See! You got her to Lory. It ain't worth it, The way T see it, nothin's worth i. ‘This whole war ain't worth it, Pavtiwn, You got to lear how to fight for what you want very. Hey, 1 learned pretty good. I'm from Jersey City! Pavtine, We played Jersey City. Charlie's Place. Lucex. You know Charlie's Place. That gets me where T live. PAULINE. Well, jn't that something to fight for? Lucky, Charlie's Place? Pavuive. Well, it's home. You just walk in the door, you ‘know who you you know where you're at its love at first acre OVER HERE! 2 SONG: “CHARLIE'S PLACE” (Pacunee and Compasy.) Pavue, YOULL BE THE SOLIDEST SENDER SHE'S GONNA TREAT YA SO TENDER DON'T HAVE TO BE A BIG SPENDER AT CHARLIE'S PLACE, SATURDAY NIGHT THE MUSIC IS NEVER TOO BRASSY TRE BACK ROOM 18 NOTHIN’ LIKE CLASSY STILL YOU'RE IMPRESSIN’ YOUR LASSIE, AT CHARLIE'S PLACE, SATURDAY NIGHT AND WHEN THE BAND GOES HOME AT TWO A.M, ‘THE JUKE BOX REALLY STARTS AJUMPIN’ THEN CHARLIE LOCKS THE DOORS, CHARLIE DROPS ‘THE BLINDS AND THAT'S WHEN WE GO OUTTA OUR MINDS! YOU'LL BE AS REET AS A ROVER MAN, YOU'LL BE ROLLIN’ IN CLOVER WHEN YOU MATRICULATE OVER TO CHARLIE'S PLACE, SATURDAY NIGHT Compas. (Spoken.) YOURE MOVIN’ AND A-GROOVI SHELLAC: BY HARRY JAMES OR FREDDIE SLACK BUDDY RICH IS A HEP KILLER-DILLER BUT NOTHIN’ BEATS THE MUSIC OF THE GREAT GLENN MILLER! (Dance) Pauuive, WHO'LL BE THE SOLIDEST SENDER? Lvexy. TWILL! WHO'S GONNA TREAT YA SO TENDER? Leer. SHE WILL! TO A NEW30 OVER HERE! nora Pause, WHO'S GONNA BE A BIG SPENDER? Comany. NO ONE! Pavan, AT CHARLIE'S PLACE, SATURDAY NIGHT! NOW YOU'VE FOUND SOMEONE YOU'RE RIGHT FOR SOMEONE TO STAY UP ALL NIGHT FOR SOMEONE TO LIVE AND TO FIGHT FOR AT CHARLIE'S PLACE, SATURDAY NIGHT! Company. NOW YOU'VE FOUND SOMEONE YOU'RE RIGHT FOR SOMEONE TO STAY UP ALL NIGHT FOR SOMEONE TO LIVE AND TO FIGHT FOR AT CHARLIB'S PLACE, SATURDAY NIGHT! (Foxx and Bru meet once again, hurriedly and embrace.) Jon, Stolen moments, Precious. Precious Bit T wast you Some LTove ou. Bu Teed vos, Just, My dream for tomorrow Brut. My hope fr today, usr, Kiss me, Kise me- (Bra does, den goes too fer. She slape him.) but don't got any big ideas Brus I may never see You apn ows, 1e would spoil things it we went all the way. it wouldnt. it would. Ask anybody. (They turn v.s.— Response from group.) ‘Morte, 1¢' wrong! Wrong! Farin She's ight T's wrong San Thas right RAaxxis. On the other hand, there is a sense of pateiotio snp. (Gre ation) funn. (Polling the Grats.) Would you go all the way—for the good of your country? ar ‘Mira, Vest! acrt OVER HERE! a Morur. No! Macate, Not with a serviceman! Doxa, None of the above. Buu, (Polling the Musrany.) Would you want her to go all the was Soupiens. (Definitely.) Yeah! Tone. (Joan of Arc—like.) If she were your sister? Souptens, (Just a8 definitely.) No! Doxsa. (Taking down orders.) That's four yesses, three nays, two indeterminates, and one no answer, (DrPavus come from behind bar with doughnuts.) Foxe. (To Pavuxrrs.) Oh, T don't know whst to do. Pavurrrs, Don't look at us. We never knew what to do, Pause, (Softly.) You love him? Sow. YES. Paving, (Shrugging her shoulders eloquently.) Well Moriten, That still doosn't make it right. Faruee, (Shepherding Bus into the Men's Room.) This is man’s talk. Oh, T know you want to touch her, and feel her, fand hold her, 1’ only natural, But son, she's not that kind of girl, She's not the good time girl. She's the girl you're going to TBrLt. You were in the last war. Barrier, I sure was. Britt. You mean you never? Faruize. That was different. Raxrrx, Those were French girls SroxsMAx. That was Over There. Lvexy. (Disbelioving.) You mean you old guys were ae- tually in the war. TRawkry. Of course we were! Bitz, What was it like? Rawxrx. It was hell. But it was fun. Farin. I actually thought of staying there when it was cover. T met a gil—but Usait. But how did you feel about going aver? SroKEsMAN. (Remembering.) Excited. Farner, (Remembering.) Cocky. Rawxix, (Remembering.) Young Ura, Scared?2 OVER HERE! nora Sroxtswan. (Brushing past that.) Don’t worry. You get ‘through it. Rawxix. You know how you get through it? You get = pass. ‘You get some cognac, You get a girl ‘SroxEsMAx. You get through it. Faruen, We did, Rawxix. We sure did. SONG: “HBY YVETTE” Rawnin, Farin and Sroxesntan HEY, YVETTE WE'RE AWFULLY GLAD WE MET YA HEY, YVETTE YA BET WE WON'T FORGET YA HEY, YVETTE WE'RE GLAD WE CAME TO FRANCE. YOURE ONE HELL OF A MADEMOISELLE YOU TAUGHT US HOW TA DANCE. HEY, YVETTE WE'RE MIGHTY PROUD WE KNEW YA HEY, YVETTE TWAS GREAT TO PARLEZ VOUS YA HEY, YVETTE YOURE REALLY QUITE A DAME WHEN WE GET BACK TO HACKENSACK WE'LL NEVER BE THE SAME. WHEN YA DANCED, YA SET OUR HEARTS TA ‘YEARNING. HOW YA CRIED THE DAY WE SAID “GOODBYE” ‘THOUGH WE DREAMED SOME DAY WE'D BE RETURNING AIN'T IT FUNNY HOW THE TIME DOES FLY? ‘The Grass Grows Green” melody begins.) Srorxsaax. (Starts at second line of song.) IF YOU GET TO FRANCE, WOULD YOU SAY HELLO’ FROM US DOUGHBOYS WHO CAME THROUGH scr a OVER HERE! 33 Raxeax, OH THE GRASS GROWS GREEN IN NO MAN'S LAND) O'ER THE BUDDIES WE HELD DEAR. IF YOU GET THE CHANCE, WOULD YOU SAY “HELLO” FROM THEIR BUDDIES OVER HERE ‘aru, HEY, YVETTE, WE'RE ALWAYS DREAMIN’ OF YA Faruen, Raxkiw and SPOKESMAN. HEY, YVETTE, I GUESS WE'LL ALWAYS LOVE YA. HEY, YVETTE YOU'RE REALLY QUITE A DAME. WHEN WE GET BACK TO HACKENSACK WE'LL NEVER BE THE SAME HEY, YVETTE WERE AWFULLY GLAD WE MET Ya HEY, YVETTE, YA BET WE W( HEY, YVETTE, WE'RE GLAD WE CAME TO FRAN YOU'RE ONE HELL OF A MADEMOISELLE YOU TAUGHT US HOW TO DANCE HEY, YVETTE, WERE MIGHTY PROUD WE KN HEY, YVETTE, ‘TWAS GREAT TA PARLEZ VOUS YA BEY, YVETTE YOU'RE REALLY QUITE A DAME WHEN WE GET BACK TO HACKENSACK WE'LL NEVER BE THE SAME, WHEN WE GET BACK TO HACKENSACK WE'LL NEVER BE THE SAME! NEW YA (Parner, Raxnrs and Sroxnsay have worked up a con- vivial thirst. They enter the canteen rehich should have 4a line of demarcation down the middle—civilians on oneu OVER HERE! act side served by Sax, military on the other served by the Lady Bountiful Paouerze. Nothing is too good for ovr boys, and she has an endless supply of cigarette cartons, iquor, chewing gum, you name it, she has it. However, the Civilian side is another story-—of shortages.) Farts, (To Sixt.) Beer! Beer for us boys! Rawxiw, Beer for everybody! (Crowd response. Crowd of Crviusans come on, ad libbing, what did he say, did he say beer, did he say everybody. Sax cute through.) ‘Sant, No beer. (Crowd response.) Pavuerte, (Innocently, to her military.) Free beer here Farten, (Stricken.) What? No beer? Saxe, We run out, actanm, (Allergen) Bu? Sch? Bint? Pavterre, Coors? Of course. (Hands him a beer. Paraen whimpers in longing, Macane approaches Sam, accustomed to instant service and instant gratification.) ‘Macoue, A carton of Camels, please Se Werun out, S Macaue, (In disbelief.) Run out? Saxe. That's right, Macote. No Camelet Farure. No beer? Budweiser . Chesterfields| They satisfy © asx. (Sonsig a forte to be made) No ber eh? Sroxpsuay. (Freezing the Company.) Reports have reached the Offce of War Information that this mation faces certain, shortages... Yeading to rumors of hoarding (Cvitass, No! Sronnssus. and lack markeeein Miurtary. No! ‘ Srommstay. The following brief dramatizati vie! dramatization is presented in the publ interest. The management hastens to ad at Any similarity to person living or dead is purely colaidental aor OVER HERE! 3 Bua. (Showing empty pockets.) “Broke. And Ten More Days till Payday..." Pavuerze, (Red Cross cap on, handing out cartons of eig- arettes) “From the Red Cross .'..” Bu. No thanks, Miss. I don't smoke. Pavuerne. Keep them, Somebody can use ‘em. (RANKIN ‘puts tho and tio together. On one sie isa group of Cxvi.iaxs, heeding products, and on the other is a group of Munraxny Max, broke but with more produets than they know what to do with.) ‘Sroneswaw. (Freezes them.) Fact is: The American G.L is the best supplied military man in all History! (The Crvinians stare at the Muuirany like orphans on the outside of a Christ- ‘mas party.) A soldier has to be in a pretty remote spot not to get his favorite Hershey Bar—Spearmint gum . . . bottle of Sehlite . Farner, (Frozen but groaning.) Schlits! Sroxeswax. . . . oF carton of Camels, ‘Macote. (Frozen but groaning.) Camels! Sroxsswaw, Some of the more enterprising Inds even learned to make a profit! (Unfreezes them. Rawxix takes out bills ‘and walks over to Lvexy who stands with beer and cigarettes. The dialogue between them ia just variations on a word, but ‘eloquent exowh.) Raynan. Well, wel, well. Lory. (Seeing the money, liking the idea.) Well. Ravens, (Will he take the deal?) Well? Luery. (Handing over product, getting money and liking counting ‘it.) Wel, well, well, well. (This starts the chain, Pavuerte at the Canteen innocently dispensing to Muuxeany, Loony at the end of Mitstany handing over to Raxxin who proceeds to collect money and hand product over to C1vitiaNs, all the time raising the price.) Rawxix, Beer. One dollar the bottle. Cigarettes! Camels! Farner. (In protest) A dollar a bottle? That’ terrible Rawntn, I got the only beer around. Dowsa, Ul take ten of whatever they got. ‘Mavate. (Cutting to head of line.) My Camels first, please Rasen, Form a line, Plenty for Everyone Morten. (Pulled to end of line.) Hoarding is unpatriotic. ‘Any canned goods?