SUNDAY RAIN

(An Original Musical)

by

JAMES CLYDE STEWART, B.S.

A THESIS

IN

MUSIC EDUCATION

Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for

the Degree of

MASTER OF MUSIC EDUCATION

Approved

Accepted

a ean of the Gradu

May, 1976

School

p^

f

ACKNOWLEDGMENTS

I am deeply indebted to Dr. Hugo D. Marple and Dr.

Mary Jeanne van Appledorn for their direction of this thesis

and for their helpful criticism.

11

TABLE OF CONTENTS

Page

Acknowledgements. . , , ^^

Preface . . . . . « . . A

Musical Niimbers x i

Cast of Characters • • . . . . . . . . . x i i i

The Story o . . o . . . . . . • • © • o . o . o o o X V

Act I

Scene 1 1

Scene 2 . . o . . 5]L

Scene 3 86

Act II

Scene 1 - 02

Scene 2. -|-,j-

Act III

Scene 1. . 143

iii

PREFACE

The American musical comedy is a relatively new art

form. Many authors cite The Black Crook as having set the

stage for this form to become one of America's leading

musical entertainments. This five hour extravaganza was

one of the first American plays to be successfully com­

bined with music. Having achieved its great popularity in

the mid-nineteenth century. The Black Crook encouraged the

American author and composer to begin seriously consider­

ing the combination of music and drama as a vehicle to

portray their talents.

In the 1870*s the import of the Gilbert and Sullivan

operettas to the American stage placed before the American

public a more refined mode of combining music and drama as

an art form. Satirizing the traditional French and German

comic operas and the current political scene of the era,

Gilbert and Sullivan humanized this new art form.

Preceding this era, the entertainment forms had been

sharply divided between the burlesque and minstrel shows

of the lower classes and the traditional European comic

operas of the elite. The Black Crook and the Gilbert and

Sullivan operettas were significant in the development of

the new form which appealed to the general public.

The burlesque and minstrel shows continued developing

apart from the musical comedy form into the musical extrav-

agsinzas which became known as the musical review. The

reviews consisted of the current popular songs interspersed iv

with the standing comics of burlesque. The culmination of

this popular entertainment form occurred with the musical

extravaganzas of Flo Ziegfield in the 1930*s, the noted

Ziegfield Follies.

During the expansion of the review at the hands of

Ziegfield, new developments were being added to the musical

drama. In 1907 Franz Lehar's Merry Widow introduced for

the first time the dance form which became an integral

part of the musical story. The "Merry Widow Waltz" was not

3ust an additional dance or drill added for show, but was

used rather to continue the essence of the story line of

the romantic boy-meets-girl plot.

The musical comedy added a new dimension in the realm

of stage design with the 1914 production of Max Reinhardt's

Sumurun. Reinhardt made use of the revolving stage to

Introduce new scenes and for theatrical effect in his

production. The entire stage design was the most elaborate

setting for a musical up to this point.

The year 1927 gave birth to Hammerstein and Kern*s

Showboat. This was a true turning point in the advent of

the musical form on the American stage. Both the lyrics

and the libretto were combined to produce real characters.

"Old Man River" was a song that bewailed the plight of the

American Negro of the 1800*s. "Can't Help Loving That Man

of Mine" honestly depicted a woman hopelessly in love with

a scoundrel. Life was no longer an eternal merry-go-round

on the musical stage. Now America could begin relating

what was happening on the stage with what was happening

at home.

The year 1931 produced George Gershwin's Of Thee

I Sing. Not only could the American musical stage depict

life at home, but it could further depict life in the

White House. The American political satire was born, long

overdue following the Gilbert and Sullivan operettas of

the 1870*s.

The musical review was coming to an end. As a musical

entertainment form, it reached its summit and began to

disappear from the musical stage. Middle class America

had found a new realism in the musical comedy and they were

ready for more.

The 1940*s ushered in the team of Rodgers and

Hammerstein. Their collaboration and production of Oklahoma

marked another ma;)or turning point in the development of

the musical comedy. All the dances were used as an

integrated part of the story. The songs were easily

identified and adapted well with the characters who sang

them. American life in the wild West was depicted truth­

fully and honestly. The work as a whole was unified,

stoiy with song and dance.

Following Oklahoma there have been numerous musicals

in the last two decades, basically patterned after the

Oklahoma formula in endeavoring to unify the work as a

whole.

Briefly, the more notable musical comedies of this

vl

era include Hello, Dolly, Mame, My Fair Lady, The King

and I, South Pacific, Brigadoon, and more recently.

Cabaret, Pacific Overtures, and Chorus Line (this year's

winner of the Tony award for the best Broadway musical).

Currently the musical theater scene is an amalgama­

tion of the past and the present. Several old shows have

been revived and such musical comedies as No, No, Nanette

and Dames at Sea have enjoyed a measured success on

Broadway in their revival.

Some authors predict that the American musical theater

is moving toward the art form of American opera. I would

prefer to think that the musical comedy will maintain its

place in the field of musical entertainment, apart from

the traditional opera form.

Composing a Musical

In the field of music there are three broadly

categorized areas in which one can participate; 1) teach­

ing, 2) performing, and 3) composing. I have taught and

performed for most of my adult life, and I wished to

further broaden my musical experience by working in the

field of composition. My interest in the American musical

theater, both its history and its presence, presented me

with an intriguing outlet for musical composition.

In writing and composing a musical, a general view of

the problems involved included: 1) finding a story

suitable for use as a musical comedy, 2) unification of vii

the story as well as libretto and lyrics, 3) a balance of

slow and fast tempo musical nujnbers, 4) a balance between

the number of large choruses contrasting with solo numbers,

and 5) a balance between dramatic and comic characters.

I discovered the story of Horace and Baby Doe Tabor

while attending summer school at the University of Denver.

These two colorful mid-nineteenth century figures have

become quite infamous throughout the state of Colorado.

As I became more involved in researching their lives, my

interest grew in their story as a possible vehicle for a

musical comedy. I traveled around the state of Colorado

attempting to gather and compare facts and visiting some

of the places where the more important events occurred in

their lives. I became convinced that their story would

provide an excellent plot for a musical. The love triangle

between Horace, Baby Doe, and Augusta, the rags-to-riches

story, and the colorful personalities involved all

furnished the ingredients for a good musical comedy.

In trying to keep the story unified, I attempted to

follow the advice of Dr. Richard Weaver of the drsuna

department at Texas Tech University. He advised me that

unity can best be achieved by deciding what your basic

conflict in the play is going to be and then eliminating

any material that does not pertain or point to that

conflict. The basic conflict of the Baby Doe story was

centered around two individuals who were determined to

live their lives as they pleased regardless of society's

vili

rules and opinions of them.

The story line must move rapidly in a musical comedy.

A two hour show with fourteen or fifteen musical numbers

does not leave room for a detailed study of a personality.

One of my biggest aids in working on the libretto was

having the play read through several times by adults

assigned to the various roles without the musical numbers

being inserted. If there is any unnecessary dialogue, it

surfaces immediately when hearing the play acted aloud over

a period of several readings.

I discovered that the libretto was too lengthy.

Eventually the entire ending of the show was rewritten and

a total of three scenes were completely omitted or partially

incorporated into other existing scenes.

In endeavoring to unify the libretto with the music,

I think the most important fact to realize is that a

musical number must be either an extension of a character's

personality or must be used in some way to further relate

the story. If the lyrics of the song are not revealing

a more indepth look at a personality or pertaining to and

helping tell the story, then unification between libretto

and lyrics will be lost. The author-composer will find

himself left with possibly a good play and some good

musical numbers, but not a unified musical work as a whole.

Musical numbers balanced between slow tempos and

fast tempos are important in creating a musical comedy.

The general musical theater audience will en;)oy and respond

ix

to both types of music. However, a long series of slow

ballads can lull an audience to sleep. In developing a

traditional love story, the chances are good that the

composer will choose the slower tempo for several of his

numbers. The faster tempos usually find general audience

appeal, and a combination of the two tempos with an

appealing story can provide a form of musical entertain­

ment with something for everyone.

An effort should also be made to keep a balance

between large choruses and solos. The excitement of a

massive crowd in a large chorus can be as appealing as the

effectiveness and intimacy of a solo.

This balance between slow and fast tempos and the

use of large choruses and solos provides the contrast and

variety essential to a successful musical comedy.

Variety can be added to the libretto by introducing

both dramatic and comic characters into the story. The

contrast between such characters is quite helpful in

pointing directly to the conflict occurring in the story.

Contrasting tempos of musical numbers, large choruses

balanced with solos, and dramatic characters seen in con­

flict with the clowns of the stage are some of the most

important factors in developing the unification necessary

for a successful musical comedy.

I have attempted to adhere to this general formula

in creating an original musical comedy. The results of the

effect remain to be seen.

MUSICAL NUMBERS

Number Page

ACT I

1. "Colorado" 2

(Opening Chorus and Solo, Caroline,

Mrs. Jacobs, Augusta)

2. "From O'er the Deep Blue Sea" 30

(Solo, Mrs. McQuirk)

3. "Sin" 34

(Chorus and Solo, Mrs. Jacobs)

4. "Dawn of My Night" 51

(Solo, Horace)

5. "Free" 62

(Solo, Baby Doe)

6. "The Clarendon" 72

(Piano solo, Bobo)

7. "Free" 84

(Solo, Horace)

8. "Love of a Lifetime" 95

(Solo, Caroline)

ACT II

9. "A Woman's Love" 110

(Solo, Augusta)

li

Number

^^* "Remembering"

(Solo, Baby Doe)

11• "Waltz"

(Piano Solo)

12. "Tabor Campaign"

(Chorus and Solo, Muleshoe)

ACT III

13. "Grand Opera"

(Chorus and Solo, Horace and Baby Doe)

Page

117

124

137

144

xii

CAST OF CHARACTERS

BABY DOE -

The vivacious coquette, called the most beautiful

woman in the West by the miners of Colorado.

HORACE TABOR -

Aggressive and determined, he finds his fortune in

mining and becomes the Silver King of Colorado. He

is twenty years older than Baby Doe.

AUGUSTA TABOR -

The highly respectable, conservative wife of Horace

Tabor.

CAROLINE -

The zany, carefree prostitute.

MULESHOE -

The countrified miner, determined to strike it

rich.

MISS FRUMP -

The absent-minded little old lady of the Temperance

and Garden Club.

MRS. JACOBS -

The snooty secretary of the Temperance and Garden

Club.

xiii

MRS. McQUIRK -

MRS. JAMES -

TILLY -

MISS NOMEN -

MISS ETHYL MAE -

Members of the Temperance and Garden Club

JIM -

Caroline's f iance .

BOBO -

The saloon pianist.

LADIES and GENTLEMEN Of The Chorus.

liv

THE STORY

Sim day Rain is the story of Baby Doe, Horace Tabor,

and Augusta Tabor, three individuals who lived in Colorado

in the mid-nineteenth century.

Horace Tabor and his wife, Augusta, moved from Maine

to Leadville, Colorado, where they established a general

store. Horace gained his fortune by financing two miners

with supplies and equipment. His investment paid off

handsomely when the miners struck it rich with the

discovery of silver in the Matchless Mine.

Harvey and Elizabeth Doe moved to Colorado from

Wisconsin shortly after their marriage. Harvey's father

had given them the deed to a mine near Central City,

Colorado, for a wedding present.

Harvey began drinking heavily and soon disappeared

from Colorado.

Elizabeth worked in their mine, and it was during this

time that the Central City miners gave her the nickname

of Baby Doe.

Baby Doe eventually abandoned the mine and moved to

Leadville where she began working in the Clarendon Saloon.

It was here that she met Horace Tabor.

The triangle that developed between Horace, Augusta,

and Baby Doe bacame the scandal of Colorado society,

Augusta refused to grant Horace a divorce. Horace and

Baby Doe married before Augusta granted the divorce in

XV

order to force Augusta to agree to their terms.

Horace and Baby Doe lived a life of luxury, but they

were never completely accepted by Denver society.

They lost their entire fortune when paper currency

replaced silver as the monetary value of America's

economic system.

Horace and Baby Doe lived in poverty for the next

seven years until his death. Before dying, Horace

cautioned Baby Doe to keep possession of the Matchless

Mine, believing that the value of silver would rise again.

Baby Doe followed Horace's advice, and she lived her

last years in a shack, guarding the Matchless Mine. Her

life of solitude ended in the shack where she was found

frozen to death after one of Colorado's winter blizzards.

The musical is based on these historical characters

and events, but deviations from the facts occur freely

when deemed necessary in the composition of a musical

comedy.

XV1

Act I, Scene 1

(Scene: The opening chorus takes place in front of

the Tabor General Store. The setting Is one of a typical

small western town of the 1860's.

The porch of the general store must be large enough

to accommodate a piano and ample seating for the ladies of

the Temperance and Garden Club.

As the music begins, the lights begin to brighten.

Members of the chorus come onto the stage from both sides,

giving the appearance of a town awakening on a summer

morning.)

("Colorado"—Opening Chorus and Solo, Caroline,

Mrs. Jacobs, Augusta)

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17

(Members of the chorus disperse and exit.)

Horace - Ahh, breathe that air, Augusta. Look at that

sky I If ever there was a country built by God, then this

is it I Colorado—where a man can sing and a man can dance

and touch the sky from the tops of the mountain peaks.

Thank you, God, for Colorado.

Augusta - Thank you, God, for what? God-forsaken

country would be more apt. I want to go back to Maine

where there's an ocean and people, yes, lots of people

with culture. I miss the stores, the theatre, the after­

noon teas with my friends. Colorado. There's nothing

here for me, Horace. Nothing but desolation and miles and

miles of nothingness. I hate this place. Oh, Lord, I

hate it.

Horace - Maine? Culture? Yes, I remember. The ocean

you never had time for—the salt air was bad for your com­

plexion. The stores? The theatre? Augusta, you were so

tight-fisted with the all-mighty dollar that the wrath of

God couldn't have wrung a penny out of your hand.

Augusta - Watch your language, Horace Tabor, or God

will send his punishment down upon you. I don't deserve

such tongue-lashing when all my life I've scrimped and

saved and worked to try and make something out of you. ^

And where has it gotten me? You've taken what little I

could save from your meager earnings and used it to plant

us out here in the very bowels of hell.

18

I miss Mother and Father. Oh, what I'd give Just to

sit down and talk with them once again.

Horace - Your mother and father would have wrecked our

marriage had we stayed in Maine, and it's damn well time

you faced that, Augusta—not that we're living in the holy

confines of marital bliss at the moment. If only I had

listened to your father when he tried to pay me off to hit

the road--damn good man, your father, and right sensible

tOOe

Augusta - Yes, he is good, and sensible, and wise

enough to know I was marrying beneath my standards. They

are God-fearing people, Horace, and I should have listened

to them.

Horace - Please, Augusta, not again. We've hashed

this out so many times—please, not again. Can't you go

back and remember how it was before? How we laughed and

sang, and. . • remember? Remember? We had good times,

Augusta. Our youth and our hopes for the future—our

plans to have children and raise a proper family. . .

Augusta - Isn't that where it went wrong, Horace?

You've never forgiven the fact that I couldn't give you a

son, and I know you never will.

Horace - That's not true, Augusta. I've never com­

plained to you because we couldn't have children—never a

word.

Augusta - Complained? No. But words aren't every­

thing between a man and a woman, Horace. A woman feels;

19

a woman knows in her heart. . .

Horace - Stop it, Augusta. You've got me, and I've

got you, and by damn, we've got to make the best of it.

Augusta - Hah I The best of what? What is there left

between us, Horace?

Horace - What can I say, Augusta? What do you want

me to say?

Augusta - I don't expect you to say anything. I

expect you to do some tidying up around here while I get

dressed for the Ladles' Temperance League. The meeting is

to be held here this afternoon.

(Augusta exits. Horace is setting things in order

and mumbling and complaining to himself. Baby Doe enters

dressed in miner's clothes.)

Baby Doe - Good day to you, Mr. Tabor.

Horace - Good morning. Baby Doe.

Baby Doe - And why all the moaning and groaning? Why,

on a day like today you can't help but feel as though you

could touch the sky from the tops of the mountain peaks.

Horace - What did you say?

Baby Doe - I said it's a beautiful God-given day like

no day could be except in Colorado.

Horace - That it is, and you're right. What have I

got to be grumbling about?

Baby Doe - Mama always said, "Lizzie, as long as you

can smell the good earth, see the sky clearly, and you got

20

your belly full, then you got everything God ever intended

for you to have."

Horace - Then I take it you're completely satisfied.

Baby Doe - Well, not exactly. I always told Mama

there sure was nothing wrong with smelling the good earth

mingled with a little perfume from Paris. And what's

wrong with looking at the sky through rose-colored opera

glasses? And as for the belly, well it can get just as

full on smoked oysters and caviar as it can on hamhock

and beans.

Horace - (Laughing) Aw, Baby Doe, you're still deter­

mined to strike it rich in that worthless mine, aren't

you?

Baby Doe - Worthless? Just what do you mean, worth­

less? You'll see, Horace Tabor, one of these days, you'll

see. And just how long do you think it's gonna be before

you make your fortune, running a general store?

Horace - And Postmaster, don't forget.

Baby Doe - Humpf!! A lot of stamp-licking and spit-

wasting for nothing. And when your life is over, what

have you got? A gooey tongue. That's all, Horace Tabor,

Just a gooey old tongue.

Horace - Hold on. Baby Doe. Don't go getting so

riled. I just meant that a pretty gal like you could

dem sure be doing a lot better for herself than running

around in miner's clothes and working in a filthy hole

21

all day. And when is Harvey coming back? I thought he

was supposed to be the miner of the family.

Baby Doe - That no-good drunk ain't coming back.

I've run him off for the last time. Who needs him any­

way? Why I can do twice the work—even three times as

much work in a day than that drunkard could do in a

month.

Horace - And what happens when you strike it rich?

What if he decides to come back and claim his share?

Baby Doe - No way—his Papa even knows how sorry he's

turned out to be, and he's signed the papers making me

complete owner of the mine. I'm not just another country

girl fool, Horace Tabor.

Horace - No doubt about that. Baby Doe. And by the

way, Miss Doe, don't go underestimating me either. I

don't plan to be a general store owner the rest of my

life. Muleshoe and I have talked about maybe one of these

days forming a partnership and checking into that mine of

his a little further.

Baby Doe - The Matchless Mine? Hal! And you're calling

my mine worthless. Everybody knows that place was worked

out years before Muleshoe bought it. I tell you what,

Horace. I'm not one for gambling, but I'll bet you a

drink and a dance that I'll hit pay dirt while you and

Muleshoe are still grubbing around in that dried up hole

in the hills.

22

Horace - It's a bet. Hell, I can't lose either way.

Baby Doe - How's that?

Horace - Well, regardless of who hits pay dirt first,

I'm still gonna have a dance with the best looking gal

in the West.

Baby Doe - (Laughing) And I'll even put on a dress

for you that night. If you'll buy me a couple of drinks

first.

Horace - And if you end up having to buy the drinks?

Baby Doe - Then YOU can put the dress on me.

(Both laughing and obviously enjoying one another's

company. Enter Caroline.)

Caroline - Hl'ya Horace. Hi'ya Baby. How's every

little thing? Don't answer that, Horace Tabor. I ain't

speaking to you. Just why haven't you been to the

Clarendon lately to visit me and my entourage? Louise

sends her love, but said if you wanted the rest you'd

have to come and get it.

Horace - Well, Caroline. . .

Caroline - I ain't listening. I said I'm not speaking

to you and that IS what I meant. Besides, it's this

pretty little thing I'm needing to talk to. How have

you been, Baby?

Baby Doe - Same as ever, but getting closer to my

fortune every day. Caroline, you are looking great.

What's your secret?

23

Caroline - Well, as you know, I spend a lot of time

in bed. Beauty rest and all that. And also, I'm

expecting.

Baby Doe - You're having a baby?

Caroline - No silly, I'm expecting to get married. v

Baby Doe - That's wonderfuli Who's the lucky groom?

Caroline - None other than Jim Hookmaia,. Ain't that

elegant sounding? Ladies and gentlemen, presenting THE

MES. CASOLINE HOOKMAN. Gee, I'm glad his last name isn't

Hooker. That wouldn't have no class at all.

Horace - So somebody's finally hooked Hookman. He's

a fine man, Caroline. Congratulations.

Baby Doe - Have you set the date yet?

Caroline - No, but look at the size of this stone.

And once you've got that. Baby, even if they get cold

feet, you still got something warm to remember them by.

But seriously. Baby, for the first time in my life I'm

not just in love with someone but with someone that loves

me, too. Someone loves me, too. Oh, Baby, I feel like a

silly girl back in primer school. Love does that to you.

You know what I mean? It's like being a girl at the

circus with the biggest, reddest balloon of any kid there.

You feel everybody staring at you 'cause you know they

wish they had it too.

Baby Doe - I know, Caroline. I was there once myself,

but not for long.

24

Caroline - Oh, Horace, you must be getting so bored

with all this silly girl talk. Jim is expecting you to

be his best man.

Horace - I'd consider it an honor, Caroline.

Caroline - And Baby Doe, will you be my bridesmaid?

Baby Doe - I'd be disappointed if you hadn't asked.

Caroline - That's poopsie, that's just poopsle; I

knew I could count on you two above everyone else. Now

to get down to business. Baby Doe, you know someone is

going to have to take my place at the Clarendon. Business

is booming like you wouldn't believe. Baby, everyone

knows you're the prettiest thing this town has ever seen.

Why don't you get out of those grubby old clothes and

come to work at the Clarendon? The pay is good, the hours

are great, and you get all the loving you can stand.

Baby Doe - Oh Caroline, I'm just not made for that

kind of work.

Caroline - Honey, you got all the makings you'll ever

need. Tell her, Horace.

Horace - I'd certainly have to agree with Caroline

concerning the makings. Who knows? You may learn to love

the night life.

Baby Doe - But what about the mine? I can't just

abandon it when I can feel in my bones how close I'm

getting.

Caroline - Alright, I'll tell them that you pick the

..I'V

25

hours you work. That way you'll still have your days

for that silly old mine.

Baby Doe - But Caroline. . .

Caroline - I won't accept a no, not until you come

down tonight, let me show you around, and then you can

decide.

Horace - Go on. Baby Doe, you've got nothing to lose

but a drink and a dance.

Caroline - And think of the fringe benefits, honey.

Baby Doe - Such as?

Caroline - LOVE. Oh, it took me a few years, but I've

found mine, and you just may meet Prince Charming Number

TwOo

Horace - That's right. Baby Doe. And I'll promise to

be the first Johnny standing in line waiting for the first

dance.

Baby Doe - So you plan on collecting that dance early,

huh? Caroline, I'll consider it only as long as the

Clarendon will agree to my terms.

Caroline - Whatever you say, honey.

Baby Doe - Let's go Caroline. See you later, Horace.

(Exit Baby Doe and Caroline.)

Horace - So long girls.

(Horace continues his chores. Augusta enters.)

Horace - Here they come now, Augusta—those busy-body

town snoots. Talk about the wrath of God and the pits of

26

hell. What are ya'll waging war on this time?

Augusta - Watch that vile language, Horace Tabor,

and don't refer to my God-fearing friends as snoots. The

Ladies' Temperance League is having their meeting here

this afternoon, and if you be so pleased, you may make

yourself scarce.

(Exit Horace. Enter the Ladles' Temperance League

including princlpals--Mlss Prump, Mrs. Jacobs, Mrs.

McQuirk, Mrs. James, Tilly, and extras. Greetings are

exchanged, and comments are made among them concerning

one another's dress, the pleasant day, etc.)

Augusta - Ladles, ladies, ladles. . . The meeting of

the Ladles' Temperance League will now come to order.

Miss Frump - Yes, the meeting of the Ladles'

Temperance League will now come to order. Do go on,

Augusta.

(Miss Fr\imp has a nasal voice and speaks quite slowly,

constantly repeating what others say. Though she is toler­

ated, she is ignored as much as possible by the other

ladies. )

Augusta - All rise, please, for the recitation of

our vows.

Ladles - "We do solemnly swear that we are the hand­

maidens of God, placed upon this, his fair creation, to

abolish all sin, all corruption, all evil deeds, and re­

place those things of Satan with love, of the sisterly

27

nature, so that all may see and know his righteousness

within us.

We will uphold the name of the church, and in its

name, we will fight to eliminate all evil factions,

namely the Clarendon Saloon, and all evil wrong-doers,

namely Caroline and her creatures of ill-repute, who,

bestowing their love, not of the sisterly kind, upon our

town, have created a sight not pleasing to our God.

This, we, as Sisters of the Ladies' Temperance League,

do so solemnly swear, in the name of our state, our

country, and our God."

(During this recitation. Miss Frump is heard reciting

constantly behind the speech of the rest of the ladles.)

Augusta - Be seated please, ladies.

And now, Mrs. Jacobs will read the minutes of the

last meeting.

Mrs. Jacobs - Thank you, Augusta. The meeting of the

Ladies' Temperance League was held in the home of Mrs.

Lillian Ethel McQuirk. Mrs. Augusta Tabor, respected

President, presided over the meeting. I, Mrs. Ruth

Jacobs, elected secretary by a large majority over my

opponent. Miss Susan James, read the minutes of the

preceedlng meeting.

(Great consternation shown by Miss James.)

Discussions were held concerning construction of a new

library and destruction of the Clarendon Saloon. All

28

present cast votes in favor of the two Issues presented.

Mrs. Myrtle Herrington sent her vote in absencla, due to

her bedridden condition. God rest her soul.

(All the ladies look heavenward with a sigh.)

Mrs. James Lyndon presented a most effective reading

of The Raven by Edgar Allen Poe. At the request of one

of our members, Mrs. Lyndon agreed to present us another

of her noted interpretations. However, because of the

time element, motion was made that the meeting adjourn.

Following the meeting, tea and biscuits were served on the

sun porch by our gracious hostess, Mrs. Lillian Ethel

McQuirk.

And now as you all know, since our last meeting, our

little Myrtle has passed on beyond the bar. A special

committee was organized to choose an appropriate gift

in memory of our Myrtle. The committee decided to purchase

a book to be placed in the soon-to-be-bullt library; they

chose Milton's Paradise Lost. The book was inscribed:

"To our little Myrtle, in loving memory." Signed—The

Ladies' Temperance League.

Augusta - Thank you so much, Mrs. Jacobs.

Miss Frump - Yes, thank you so much.

Augusta - And now ladies, once again, as we turn our

attention towards the enrichment of our cultural horizon,

we have a most special treat for you. Our lyric soprano,

Mrs. Lillian McQuirk, is going to sing, accompanied at

29

the piano by Miss Frump.

(The ladies clap, though a dread obviously falls

upon the meeting.)

Mrs. McQuirk - Thank you. For my selection this

afternoon, I have chosen to sing "My Love Is Coming

from Oe'r the Deep Blue Sea."

(Miss Prump is occasionally heard singing with Mrs.

McQulrk slightly flat as she plays the piano.)

("Prom o'er the Deep Blue Sea"—Solo, Mrs. McQulrk)

30

2. FBCM O'ER TBS DEEF BLUE SEA

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Augusta - Thank you, Mrs. McQulrk, so much for this

stimulating afternoon of artistic worth. And now, ladies,

for the business at hand. As you all know, the Ladles'

Temperance League has unanimously agreed to march upon the

Clarendon Saloon in protest of the drinking, smoking, and

foul deeds that have been rumored to have occurred there.

The floor is now open for discussion.

Mrs. James - I realize, Augusta, that we must be lady­

like in our approach to this delicate matter. But I have

children to raise, and God knows a mother has enough

problems these days without such evil Influences lurking

right on the main street of our city.

Miss Frump - Yes, right here, right here on the main

street.

Tilly - I'm here to tell you that place is more than

just a saloon, and those chorus girls do more than just

serve drinks and sing songs. There's more than meets the

eye to that establishment.

Mrs. Jacobs - And think of the money the Clarendon

Saloon is taking from us. Why, we could have built a new

library and an opera house if we had their Income.

Mrs. James- That establishment is going to become

the leading business in town if we don't do something now.

Miss Frump - Oh, yes, indeed, oh, yes, right now.

Tilly - It's not just the money we're robbed of,

either. Think of what it's doing to the reputation of the

town.

33

Mrs. Jacobs - And the reputation of the town is our

reputation.

Tilly - I say we should close that saloon and run

those women out of town on a rail. That Caroline and her

followers aren't fit for the city dumps, let alone being

allowed to roam the streets in broad daylight, painted

up like Jezebels—everyone of them.

Mrs. Jacobs - We'll raid the Clarendon.

Miss Frump - Yes, we'll raid the Clarendon.

Mrs. Jacobs - We'll rid the town of their sin and

evil doings.

Miss Frump - Oh yes, we will, we will.

Mrs. Jacobs - We'll bring the wrath of God upon

their dyed heads.

Miss Frump - Yes, we'll bring the wrath. . .

Mrs. Jacobs - We'll purify and cleanse the city.

Miss Frump - Yes, we'11. . .

Mrs. Jacobs - We'll march on the Clarendon!

All Ladles - We'll march on the Clarendon!

("Sin"—Chorus and Solo, Mrs. Jacobs)

34

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Augusta - Ladles, our meeting is dismissed, but do

keep in mind our vows—onward, always faithfully onward.

(Exit the Ladles' Temperance League. Enter Muleshoe.)

Muleshoe - Good day to ya', Mlz Tabor. And how fairs

all with ya' today?

Augusta - Have you been drinking again?

Muleshoe - Now Mlz Tabor, why'd you go and say a

thing like that? You know I support everything you and

your Ladles' Tea Club stand for. Why, I even attended

your last meeting.

Augusta - Yes, to the chagrin and disdain of all

present—singing that disgraceful song and disrupting

Mrs. Lyndon's reading. Muleshoe, I simply cannot over­

look such gauche displays stemming from the Influence

of alcohol.

Muleshoe - Now Mlz Tabor, I admit I'd had a few. But

I swear to the heavens above—God strike me dead and lay

me out with a lily in my hand if it ain't the truth—that

I did not know you and your fine lady friends was havln'

a gab session.

Augusta - We were conducting a discussion concerning

ways in which to improve our city. And please refrain

from reference to our meetings as gab sessions.

Muleshoe - Yes, ma'am, I do most humbly apologize.

Do please think about fergivln' me, Mlz Tabor.

Say, is Horace around? I got a little business I need

46

to be talking with him about.

Augusta - No, he is not here at present, as you well

can see.

Muleshoe - When might ya' be lookln' for him, please?

Augusta - I suppose your business consists of another

handout. Well, this much I can assure you—if Horace

stakes you out one more time for that ridiculous mine of

yours, I'll have the heads of both of you.

Muleshoe - No ma'am, no ma'am, I just wanted to see if

I could lend him and the boys a hand when they start

building the new library. I'm reformln', ma'am, really,

I'm changin' my ways and becomln' a upright citizen.

Augusta - You? Reforming? Hell will freeze over

first.

(Exit Augusta as Horace enters.)

Horace - Muleshoe, what do you have to say for your­

self? Where have you been lately?

Muleshoe - Well, Horace, I been mighty busy, but

mostly it's Augusta. That wife of yours sure don't seem

to care for me much.

Horace - You know how it is with women, some women,

anyway. Augusta has her little fits of temper, but they

pass.

Muleshoe - Little fits? More like a coyote turned

loose in a chicken barn with its tail on fire.

Horace - That's Augusta alright. Now is there anything

47

I can do for you today?

Muleshoe - Horace, I'm just next door to laying hold

on one of the biggest claims to be found in Colorado.

Horace - Oh yeah, I think I've heard this one before.

Go on.

Muleshoe - Well, I was at our Matchless Mine yester­

day— and I found what I'm sure is the beginning of a rich

shaft that will bring us a fortune.

Horace - The old Matchless Mine? Muleshoe, that thing

has been abandoned for years. Everyone says it's all

worked out.

Muleshoe - No, no, no, you don't understand. They

quit too soon. They stopped just before they hit the

mother load. They've already done the work, and now that

mine is just waiting for you and me to step in and get

filthy rich.

Horace - Hold on, now. What's all this "you and me"

business? Augusta and I are barely making it here in the

store without me investing in that mine.

Muleshoe - Nope, ya' got it all wrong. I'm not asking

for money—just a stake-out until I hit pay dirt, and then

you'll be more'n pleased with the little Investment.

Horace, I'm just asking that you stake me out for a few

Bupplieso Look here—I've got it all in writing. You put

me up for food and a little white lightnln', and whatever

the Matchless tunas out to be worth will be half yours.

48

Now is that asking too much?

Horace - No, I guess not. But not a word of this to

Augusta. She'll have the hides of both of us if she ever

finds out I'm letting you charge supplies again.

Muleshoe - I'd rather have Satan himself riding

reins on my back full force than to have that woman giving

me hell.

Horace - Alright, Muleshoe. You get what you need,

I'll sign that piece of paper, and that will have done

with it.

Muleshoe - You'll live to see the day you'll fall on

your knees and thank your Maker for staking me out this

time. You'll see, Horace Tabor. You'll see.

Horace - Alright. Go on with you now.

(Enter Augusta.)

Muleshoe - Thank you now, Horace, and I'll see you

around. Good afternoon to ya', Mlz Tabor.

(Exit Muleshoe.)

Augusta - What was that worthless Muleshoe doing here?

Was he signing for credit again?

Horace - No Augusta, we made a little deal. Don't get

your feathers all ruffled.

Augusta - And Baby Doe? You know very well how I de­

test that woman and her saloon girl friends. I don't

want them around my store again. They're rude, disgusting

trash, and I do not have to tolerate their presence.

49

Horace - They're not trash and you'll not refer to

them as such. They're ladles and I'll match them up

against any of those tongue-wagging snoots of your

Temperance Club any time.

Augusta - Who's getting their feathers ruffled now?

Perhaps you would prefer those saloon girls to me?

Horace - Perhaps so, Augusta, perhaps so.

No, Augusta, I'm sorry; I didn't really mean that.

It's just that we're here in Colorado—"the land of

plenty, the land of golden opportunities"—that's what

they said back East, but I still haven't found what I'd

hoped to find.

Augusta - I could have told you that, Horace. I

could have told you that in Maine. We didn't have to

come to this barren country for you to learn that. I

could have told you.

Horace - Told me what? That I'm just a man and not the

God you expected me to be? That a man trying is not

enough? You want more, always more, Augusta. Well, my

time is coming, and Colorado's going to be the best move

I ever made. Yes sir, Colorado, you and me are gonna

make it together, and we're gonna make it big. As for

you, Augusta, you can climb to the top with me, or you

can stay. I'll go it alone if necessary.

(Exit Augusta.)

Yes sir, Colorado we're gonna be good for one

50

another-you and me. You and me and that special some­

body who's gonna care and vho's gonna climb with me-

and we're gonna make the damndest threesome this country's

ever seen.

("Dawn of My Night"—Solo, Horace)

4. DAWN OF M7 NI&BT

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61

Act I, Scene 2

(Scene: The interior of the Clarendon Saloon. There

is a raised stage, center, where Baby Doe sings her

opening number. There is a large crowd, drinking and

in a jovial mood.)

Caroline - And now ladies, and I use that word

loosely, and gentlemen, introducing the sweetheart of

Colorado, our own Baby Doe.

Come on, boys, let's give her a big hand.

(Enter Baby Doe stage center to general applause

and merriment.)

("Free"—Solo, Baby Doe)

5. FREE

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70

(Following the song. Baby Doe and Caroline seat them­

selves at a table.)

Caroline - That was poopsie, honey, just poopsle.

They loved you.

Baby Doe - Thanks, Caroline. And how's things with

you tonight?

Caroline - Oh, you know the old saying, another bed,

another dollar. It's gonna be so good to marry and

settle down. It's a little scary, though. I tried it

once before, and it didn't work.

Baby Doe - Caroline, I didn't know you had been

married. What went wrong?

Caroline - Well, we weren't exactly married—more or

less just busom buddies of the bed. The rat stepped out

on me, and honey, no one does that to Caroline.

Baby Doe - I'm sorry to hear that. How did you find

out that he was being unfaithful?

Caroline - His wife told me.

Baby Doe - Oh, Caroline, you're impossible.

Caroline - Baby Doe, I'm surprised you haven't spoken

a word to Horace all evening.

Baby Doe - Horace Tabor? Here? Where?

Caroline - Right that way. Baby.

(Baby Doe walks over to Horace's table.)

Horace - Well hello. Baby Doe. I began thinking you

weren't even gonna speak tonight.

71

~ ^ y ^.g " I*^ sorry, Horace. I didn't know you

were here. Caroline just told me.

Horace - Would you like to dance, or can I buy you

a drink?

Bab^LDoe - I'd love to dance. Come on, Bobo, play

us a ditty.

("The Clarendon"—Piano solo, Bobo)

72

8. TBE CLAEfiriDON

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75

(Caroline Interrupts dance between Horace and Baby

Doe. Piano music continues quietly in the background.)

Caroline - Hey you two! It's time to congratulate me

and Jim. The date's been set. This coming Saturday night

I'm gonna become the most honorable lady in Leadville—

all dressed in white, too, just like I've dreamed all

my life.

Horace - Then by all means, let's celebrate.

Congratulations, Jim. Here's to both of you.

Baby Doe - Caroline, is it going to be a church

wedding?

Caroline - No church. Baby, it's gonna be right here

at the Clarendon. I checked with the minister and he said

the closest thing I could wear to white would be a dingy

gray. Who needs a church anyways?"• ''

Jim - Caroline and I figure that as long as it's done

and done legal and proper, then everything else just don't

count. Ain't that right?

Caroline - You bet your brass buttons, honey.

Horace - Ya'll sit down and join us for a round.

Drinks on me. Louise?

Baby Doe - I want to hear everything about it,

Caroline, just everything. Who's making your dress?

Caroline - Oh no. Baby, none of that hand-made stuff

for my wedding. It's store bought'n from Glngel's all the

way back in New York. It'll be in the first of the week.

76

It s gonna be the purest white you ever saw except

Louise is gonna trim it with great big yellow sunflowers

to match the sunflowers on the plana.

Horace - Sounds really nice, Caroline. Jim, is Bobo

playing the piano for you?

J -° - *Fraid so. Miss Prump said she wouldn't be

caught dead or alive in the Clarendon. That's gonna be

a bit of a problem, though. Bobo said the closest thing

he knows to the wedding march is "Camp Town Races".

Caroline - Well, I don't care. I'd just as soon

do-dah down the stairs as dum-dum-de-dum anyways. And

Muleshoe is gonna be our voice solo, too.

Horace - Why that old skin flint doesn't know but one

song.

Caroline - I know, but I'm glad my wedding's gonna be

different. You know? Give'em something to talk about.

Baby Doe - Alright, you two, out with it, what is

Muleshoe gonna sing?

Caroline - "I Won't Have to Cross Jordan Alone". But

I think it's kind of fitting. It's like saying Jim and I

will live together, love together, and die together, and

then we'll both be together when it comes time to make

that final trip.

Horace - Well, that's a good way to think about it.

Jim - It's kinda lookln' awful far into the future if

you ask me.

77

Caroline - But Jim, half the fun of today is thinking

about all the good times you're gonna have tomorrow.

(The Ladies' Club is heard approaching the saloon as

the ladies are protesting, "Down with the Clarendon! Down

with the Clarendon!")

(Enter the Ladles' Temperance League.)

Caroline - What's going on? I thought the Clarendon

was off-limits for you gals. What'11 it be--scotch or

bourbon?

Mrs. Jacobs - Repent, you creatures of Beelzebub.

Pall on your knees and ask God for mercy if you even dare

to approach His throne.

Miss Prump - Yes, repent.

Caroline - You got a problem or something. Sister?

Augusta - Where is the proprietor? I wish to speak to

the proprietor.

Caroline - The proprietor? You wish to speak to the

proprietor?

Miss Prump - Yes, where is the proprietor?

Mr. Thomas - I'm the owner of the Clarendon. Can I

do something for you ladles?

Augusta - Yes. I, as President of the Ladles'

Temperance League, wish to voice a complaint. You are

employing a certain number of women, who, it has been

rumored, are working under rather, shall we say, delicate

conditions?

78

Caroline - Sister, I'd lay you two to one that my

condition ain't half as delicate as yours.

Miss Prump - Yes, her condition is not half. . .

Augusta - Our business is not with you, madam, it is

with this gentleman who heads this establishment.

Sir, we have here a petition enumerating our

grievances against you as owner of the Clarendon Saloon.

Briefly, the petition states the following:

'*We, the members of the Ladies' Temperance League,

hereby proclaim that:

1) The business being conducted here is neither

wanted nor approved of by the ladies of this

town;

2) The foul deeds that have occurred here have

become a shame and a disgrace to the entire

citizenry of this town;

3) The corruption and illegal gambling has hindered

the cultural progress of this town;

4) This firm will be closed voluntarily within a

week, or the Ladies' Temperance League will be

forced to take drastic legal action."

Mr. Thomas - Well now, I'm sorry you ladies feel that

way about our establishment, but we have a license to

operate here, just the same as any other business in town

Caroline - Just a minute, Jake. Let me give Miss

President a few answers to her grievances. Now our

79

business may not be wanted or approved by you ladies,

but I think the gentlemen of this town just might have

some say in the matter as well. Did it ever occur to

you ladies that if you did your job at home our jobs

wouldn't be necessary? And as for your cultural progress,

well, one of these days I'll tell you exactly what you

can do with that. And your legal action? I'd say it's

gonna be pretty tough getting the judge to take action

against us—'specially considering he's one of our better

customers.

(All men laugh.)

Augusta - Mr. Thomas, are you going to let that woman

speak to me in such a way?

Mr. Thomas - I'm sorry, ma'am. The ladles are just

doing their job. Now if you don't approve of the dealings

here at the Clarendon, perhaps it would be best if you

would all just leave.

Caroline - That's right. Soul Sisters, scram. Or

would one of you be Interested in taking my place tonight

and giving my condition a rest?

Miss Frump - That's right. Soul Sisters.

Mrs. Jacobs - You can back down to them Augusta, but

I don't Intend to. Either these women will be out of the

confines of our town by tomorrow night, or I'll, I 11. . .

Caroline - You'll what? Go on and say it. Sister.

You'll what?

80

I ouise - Caroline, don't.

Caroline - Hands off, Louise. I'm fed up with these

do-good tea-sipping blue noses and their hell-fire and

damnation screaming. It's one thing to be snubbed on the

streets, but to have the nerve to come right here into

the Clarendon.

Now, Miss Woman, just what do you have planned for me

and my pals if we're not out of here by tomorrow night?

Miss Frump - Yes, just what do you have planned?

Mrs. Jacobs - Shut up, you old fool! And as for you

and your bunch. Miss Caroline, I just may not have to do

anything before the wrath of God descends upon you all.

(Mrs. Jacobs falls upon her knees and begins to pray

in an extremely audible voice. The other ladles gradually

join her, and general pandemonium occurs as the saloon

pianist begins to play "The Clarendon" in order to

overwhelm the ladies.)

(Enter Muleshoe.)

Muleshoe - Listen, everybody, listen to the biggest

news you've ever heard in Colorado. I've done it! I've

done it! I've struck it rich—the old Matchless Mine—

I've. . .

Why, Mlz Tabor, Mlz Jacobs, what are ya'll and your

tea group doin' here? I never saw such a sight in my

life!

Caroline, is this your doin'?

81

Horace - It's nobody's doin', Muleshoe. We're just

having our little weekly get-together—a little gab

session as you call it.

Muleshoe - Damndest thing I ever saw—can't tell

whether Caroline got drunk and went to church, or Mlz

Tabor got drunk and came to the saloon.

Caroline - And how come all the screaming and

hollerin' on your part, you old hound dog?

Muleshoe - Well, it's like I was trying to tell

everybody. . .

Augusta - Before you start in again with your drunken

talk, I want to know what you're doing here, Horace Tabor?

Mrs. Jacobs - And Jim? How could you ever possibly

show your face in a place like this?

Horace - I'm relaxing and enjoying myself, Augusta, or

is that another one of your unforgiveable sins in that

little list of yours?

Augusta - Horace Tabor, I'd have thought you'd have

been the last person to lounge around a place like the

Clarendon Saloon.

Mrs. Jacobs - Well, Jim, speak up. Have you nothing

to say for yourself?

Jim - Well, my dear, you see. . .

Caroline - Would you all Just be quiet?

Now, Muleshoe, what's this bit about the old Matchless?

Muleshoe - I've hit the biggest shaft this country's

82

ever seen. I'm gonna be filthy rich--me and Horace Tabor.

Didn't I tell you it was gonna pay, Horace? Didn't I

tell you?

Horace - You mean to say you've actually finally hit

pay dirt? But how do you know for sure? Maybe you've

just hit another trick shaft.

Muleshoe - Nope. I got the head of the mining and

assay office to run a test yesterday, and he says it's one

of the richest shafts he's ever come across.

Horace - That means we're rich. We're rich!

Muleshoe - To put it mildly, yep.

Horace - You and me.

Muleshoe - Yep, me and you—fifty-fifty, all the way.

Horace - Did you hear it, Augusta? Can you believe

it?

Augusta - I heard and I believe, but I hardly think

this is the place for us to discuss our future. Are you

ready to come home?

Horace - Home? At a time like this? This is a night

for celebrating, for dancing and kicking up our heels.

Whoopee! Colorado, we've finally done it!

Augusta - Really, Horace, you're acting like a child.

Ladies, are you ready to leave the confines of this

dastardly place?

Ladies - By all means. Immediately. Let us depart.

(Exit Ladles' Temperance League.)

83

Caroline - Good night. Sisters. Muleshoe, you honery

old coot you, now you're not just a dirty old man—you're

a rich dirty old man. Get over here and let me hug your

neck.

Baby Doe - I think I owe you a drink and a dance,

Mr. Tabor.

Horace - And I think I'm ready to collect. You coming

with me?

Baby Doe - Where you going, Horace? Where you going?

("Free"—Solo, Horace)

84

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86

Act I, Scene 3

(Scene: The dressing room of Caroline. Caroline is

seated at the mirror, preparing her make-up.)

(Knock on Door)

Caroline - I know, I know. I've still got ten minutes

so don't rush me.

(Enter Baby Doe.)

Baby Doe - No, it's me, Caroline. And you've got

fifteen minutes.

Caroline - Oh, Hi, Baby. Come on in. Gee, I'm glad

you dropped by. We don't see enough of you around here

now that you've been taken out of circulation by Mr. T.

Where is he anyhow?

Baby Doe - He'll be here shortly. I left word out

front where I'd be. And Where's your Jim?

Caroline - Out making the rounds with his old flame,

probably. We have a firm understanding that all of that

is going to stop after Saturday night, so I guess a girl

should let a guy have a good last final plunge, huh?

Baby Doe - That's right, honey, as long as the fling

doesn't get too far flung.

Caroline - Oh, did I tell you? My future mama-in-law

has come down for the wedding. Oh God, I dread meeting

her. I hope she's not out front tonight. Wouldn't that

be just awful? Jim never even mentioned his folks to me.

I just thought he was like me—you know—the poor little

87

orphan and all that bit.

Baby Doe - Don't worry about a thing. Everything will

turn out fine. Is your dress finished?

Caroline - Louise finished the sunflowers on it and it

is beautiful. Jim said his mother wondered why we were

using sunflowers. I told him because sun and flowers have

always been the prettiest things in my life. I mean

flowers are so lovely and everything, and without the sun

there wouldn't be any. I mean flowers, or people, or

just anything.

Baby Doe - That's a beautiful way to look at it,

Caroline. Now where's the big surprise you wanted to show

me?

Caroline - Oh, it's your dress. Baby. Walt till you

see it. It was Louise's idea, and she made it. She's got

good taste and manners, you know.

(Pulls out drab black dress)

Baby Doe - Why, Caroline, it's. . . really different.

Caroline - Oh, I knew you'd just be thrilled.

Baby Doe - Really—it's lovely, but how did you decide

on black?

Caroline - That's what Jim's mother asked. It's really

very simple. Only Louise could have thought of it, though.

You see, Louise said that since the center of a sunflower

is. . •

Baby Doe - Black, then this way I'll match the center

88

of the sunflower. How clever of Louise. Oh, Caroline,

you re one in a lifetime, and do you know how much I love

you and how happy I am for you?

Caroline - Thanks, Baby. Same goes here, you know.

By the way, why don't we make it a double ring ceremony?

You and Horace and Jim and me?

Baby Doe - Oh no you don't. I don't want to rush into

anything yet. Not to mention a little detail by the name

of Augusta.

Caroline - She's only a wife, and they can be gotten

rid of, you know.

Baby Doe - Not as easily as you'd think. Besides we

need time. . .

Caroline - Time for what. Baby? He loves you, he's

got more money than you could ever spend, he's becoming

highly respected—everything you always said you ever

wanted. Too much time between two people can mean

disaster. Baby. Don't let him get away. When you know

what you want, don't wait and don't walk but run. Run

and jump in the middle of it and hold on tight and pray to

God that you were right. I know. Baby. I've been there.

Baby Doe - Thanks for the advice, Caroline, really.

I just wish I had your spunk and daring; I just wish I

had the guts you've got.

Caroline - Oh my God, Baby, that's the only thing I

ever have had to keep me going. You've got the guts and

89

the looks and the brains, honey, so use 'em with all the

fire you got inside you.

(Voice heard off-stage, "Five minutes, Caroline.

There's a Mr. Tabor here.")

Caroline - Come on in, Horace.

(Enter Horace.)

Horace - Hi Caroline. And how's my bride-to-be?

Caroline - Take a look for yourself. She's looking

great as always.

Horace - I was referring to you, dingy. But sometimes

I like the way you twist things around.

Caroline - I'm doing great, too, not as usual you

understand, but at long last I SM doing great.

Horace - And Baby Doe, you are a stunning looking

female tonight. How do you like her dress, Caroline—a

Paris original it is.

Caroline - It's really poopsle, but let's face it,

she'd look gorgeous in a Leadville hand-me-down.

Baby Doe - Caroline, you're gonna be late. Hurry up

and get dressed.

Caroline - I am dressed and I am going. 'Ta, 'ta,

young lovers. See you shortly.

(Exit Caroline.)

Horace - Wait 'til you hear what I've got planned for

us next week. We are going to New York. The big city-

bright lights and fancy music.

90

Baby Doe - Horace, are you really serious? But how?

When did you decide?

Horace - I've been working on it for a couple of

weeks now. Everything is set for Muleshoe to take care

of things for me for a while, and you and I are going to

have the fling of our lives. Together. With no worry

about wagging tongues and gossip-mongers and. . .

Baby Doe - And Augusta?

Horace - Now, Baby, I'm working on that. In time

she'll see that there is simply no way out but to divorce

me. It's gonna work out for you and me just like I've

always told you.

Baby Doe - But Horace, the talk is getting worse and

more vicious every day. I know your business is booming,

but now there's even talk about you entering politics.

Our relationship is going to hold you back, and you know

it. Why are you lying to yourself?

Horace - I'm not lying to myself about the way I feel

about you, and for me that will always come above every­

thing else.

Baby Doe - But what if. . .

Horace - No more. We are going and that's final. You

are gonna select a whole new wardrobe and be the best

dressed lady in this town. Maybe that'll give 'em some­

thing really worth talking about.

Baby Doe - Everything's moving so fast for me. You,

91

your fortune, the way you're pampering me, and NEW YORK.

Oh, Horace, I've always wanted to go to that city. Can

we go to Tiffany's?

Horace - That's first on my list.

Baby Doe - And the museums? And the theaters?

Horace - You name it, we do it.

Baby Doe - And the salons? And the ocean? Oh, I've

never seen a real ocean before. And sailing and swimming?

Oh, wait 'til I write Mama. I bet she'll be even more

excited than I am.

Horace - That's the spirit. Baby. That's why I love

you. You pull the best out of the best and the most out

of the least. You live not just to live but to love life,

just like me. That's why we're the greatest pardners

ever.

Baby Doe - Shake, pardner—New York, here we come!

We'll show those city folks just how it's done, but with

that touch of western flair.

Horace - Colorado flair.

Baby Doe - Colorado western flair, but we must keep a

certain amount of dignity about us as well. (Feigning

haughtiness.)

Horace - Oh most assuredly. Baby.

Baby Doe - Oh, but I can't be called Baby. Something

more like Amelia Patrice. Or how about Elizabeth Van

Tutti? Or Dame Nuddl Van Worthlngton? No? Then how

92

about Lizzie? No? Then how about Baby Doe? Yes? Well,

I rather do agree. It does have a certain something to

it. Then Baby Doe I am and New York it is.

(Enter Caroline and Jim.)

Caroline - Oh, pardon us, but you two had better get

out front. I don't wajit you to miss my new number.

Horace - We were just leaving, Caroline. And Jim,

are you finding yourself getting a little more jittery as

the day keeps getting closer?

Jini - Yeah, I guess so.

Baby Doe - We'll see ya'll after the show, hon.

(Exit Horace and Baby Doe.)

Caroline - Okay Baby. Sit down, Jim, I'll just be a

moment. Walt 'till you see my dress. And you're gonna

love what Baby Doe is wearing.

Jifli - Caroline, I only have a moment too. Mother's

ready to go and I need to see her to the hotel.

Caroline - You mean you're not staying for my new

number? But you can come back can't you?

Jim - No, Caroline, I can't.

Caroline - Then I'll come to your place tonight after

the show is over. I'll bring some beer and something to

snack on, and we'll have a good time together--just you

and me.

Jim - Maybe that wouldn't be best. I'm a little

tired and maybe I should keep company with Mother.

93

Caroline - Well, okay, Jim. But you haven't for­

gotten our picnic tomorrow, have you? It's gonna be

fried chicken and the works.

iim - Mother was planning on me having lunch with

her tomorrow, and. . .

Caroline - What's with your mother? You're marrying

me. Remember, Caroline? Now what the hell is with

your mother?

JJ m - Caroline, that's just what I've been trying to

tell you. Maybe we should put the wedding off for a

while. I mean there's no use rushing into something

this big.

Caroline - Rushing into? Jim, you've known me for

over a year now. I mean, who's rushing?

Jim - I don't know how to say it. I don't know what

to say, and damn it, I don't know how to say it.

Caroline - Alright Jim, alright. You don't know

what to say and if you knew what to say you wouldn't

know how to say it. So let me say it. Suddenly you feel

a little unsure, and you feel that we should give this

thing more time. Okay? How much time are you talking

about?

Jim - No, I don't think we need time. We've had

enough time, maybe too much time, I don't know. . •

Caroline - But you can't say it and you're waiting

for me to. Well, this is one time I don't have to do

94

the talking, and I'm not. . . You promised me, Jim. You

said you loved me and I believed you. Oh God, how I

believed you. Maybe it was because I needed to so much.

Maybe it was because I was so dumb and should have

learned better a long time ago.

Jim - Caroline. . •

Caroline - Please Jim, go now. It's okay, Jim.

(Exit Jim.)

Please, dear God, don't let it happen again. What

am I saying? It's happened; it's over. Oh, Caroline,

will you ever learn?

(Starting towards the door)

Jim, you've got to come back. We'll talk things

over, we'll work it all out together and then everything's

going to be okay. Jim? . . . Jim?

("Love of a Lifetime"—Solo, Caroline)

I. LOTS OF & LIFETIME

95

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r—J—1

Act II, Scene 1

(Scene: The interior of the elaborate Tabor mansion.

Augusta is tidying up the room as Horace enters.)

Horace - Augusta, why do you keep busying yourself

with chores around this place? You have a full staff at

your command, and we can well afford it. Don't you have

better things to do?

Augusta - My Ladles' Club is meeting here this after­

noon, and I simply thought I'd tidy up the mess you and

your saloon buddies left from last night. Honestly,

Horace, how you can dwindle away the hours with that

cigar-smoking, poker-playing group of yours is absolutely

beyond me. I should think YOU'D have better things to do.

Horace - That cigar-smoking, poker-playing group of

mine has some of the most distinguished gentlemen of

Denver in it.

Augusta - As well as some of the most trivial.

Horace - I suppose you're referring to Muleshoe.

Augusta - Yes, I am. Muleshoe and some of the others.

How can you possibly refer to the likes of him as a

gentleman? Money alone does not make the man.

Horace - Nor the woman, Augusta. I guess I was a fool

to ever think our fortune would really change things

between us. We're growing further apart, Augusta, you

and me. It's like. . .

102

103

Augusta - Horace, I really haven't the time to discuss

this matter any further. The ladles are arriving for our

meeting, and we have much important business to attend to.

(Exit Horace. Members of the ladies' club enter,

chatting excitedly.)

Augusta - Now ladles, I wish to proceed immediately to

the business at hand. I am pleased to report to you that

the sight of the new Denver Opera House has been chosen,

and the city officials have granted their approval. To

report on our first season of programs, I'd like to now

turn the floor over to Mrs. Jacobs.

Mrs. Jacobs - Thank you, dear, thank you. And now,

ladies, you just don't know, oh, you just can't imagine

what has been arranged for the premier.

Miss Frump - Yes, you don't know.

Mrs. Jacobs - Now, ladles, I have received a wire from

Mr. Dameron in New York City. AND he is arranging to have

his company travel to Denver to present. • . none other

than, o o Madame Butterfly.

Miss Frump - Oh yes, oh yes, I know her well. A fine

actress. . •

Mrs. Jacobs - AND for our second performance of the

. o . season, Augusta has arranged for none other than

Sarah Bernhardt, Sarah the Divine.

(Much ooh's and aah's and excitement.)

Miss Frump - Divine? Oh yes, it is truly. Indeed it is

104

Mrs. Jacobs - And now, ladies, as you know, we still

have not reached the anticipated goal financially that

we must attain in order to see this dream of Denver

realized. The floor is now open for discussion and

suggestions on how to raise the remainder of the necessary

funds.

Mrs. Ward - May I suggest something, ladles? My

little niece will soon be returning to our fair city for

her spring visit. I'm almost, just almost sure I could

persuade her to give a voice recital to help raise more

funds.

Mrs. Jacobs - Oh, Mrs. Ward, that is nice, very kind

of you to suggest. . .

Miss Frump - Yes, so nice. . .

Mrs. Jacobs - But I'm afraid it wouldn't work.

Miss Frump -No, it wouldn't work.

Mrs. Jacobs - You see, I've already volunteered my

daughter to give a special voice recital, and I don't

think the committee would be prepared to sponsor two

such events.

Mrs. Ward - Well, it was only a suggestion, Nelly.

The last time we rented the concert hall I understand we

went in the red.

Miss Frump - No, Mrs. Ward, it was blue, I remember

I wore my blue on that occasion.

Mrs. Jacobs - But Mrs. Ward, money isn't everything.

105

Think of how that last recital boosted our cultural image.

Mrs. Ward - (Aside) More like busted our image, I'd

say.

Mrs. Jacobs - More suggestions, ladles? Are there

anymore suggestions?

Ethyl Mae - Mrs. Jacobs, may I suggest that we hold a

combination chicken banquet and fashion show? The food for

the men and the fashion for the ladles. Why, no telling

how much we could raise! I'd be happy to model my new

gown from New York.

Jenny Lu - (Aside) She's more suited to modeling the

chicken.

(Much excitement and buzzing about what to wear.)

Mrs. Jacobs - Very well. We shall consider the

matter. But first, are there anymore suggestions? Yes,

Miss Frump.

Miss Frump - Caroline said to tell you that for our

cause they would be happy to donate a night of their

services.

Mrs. Jacobs - MISS FRUMP, we'll simply Ignore the fact

that you've even mentioned that group in our presence.

And now we'll take a vote. All those in favor of spon­

soring my daughter in a voice recital please signify by

raising your hands.

(Silence. Only Miss Frump raises her hand.)

Mrs. Jacobs - Very well. All those in favor of

106

holding a combination chicken banquet and fashion show

please so signify.

(Much excitement and flourish of raising hands.)

Miss Frump - All those in favor of Caroline. . .

(The ladles are aghast.)

Mrs. Jacobs - Very well, then, the fashion show it

will be. And now, Augusta, I'll turn the meeting back

over to you.

Augusta - Yes. Ladies, is there anymore business

that needs to be tended to at this time? None? Very

well, then. Please help yourselves to refreshments.

Mrs. Jacobs - And now Augusta, just how do you propose

that we keep Baby Doe and her group from attending our

benefit show? It would be just like them to show their

faces right in the middle of everything. Or perhaps I

should say it would be just like HER to arrive,

unescorted and all.

Augusta - Don't bother yourself with such trivia,

Nelly. I give you my word that Baby Doe will not be

there.

Mrs. Jacobs - And what about Horace? Can you give

his word that she won't attend?

Augusta - Exactly what are you insinuating about

Horace and Baby Doe? Why should I have his word?

Mrs. Jacobs - Oh, Augusta, stop pretending that you

don't know about their galavantlng around the country—

107

including their little excursion to New York. It's a

scandal, an absolute scandal, the way Horace and that

woman have been carrying on. You're not even referred

to as a couple anymore, it's Horace, Augusta, and the

mistress. How can you possibly abide it?

Augusta - Horace will never leave me for that woman—

I know he'll never leave me. Pretty, dainty, and young

she may be, but I have the one thing she can never give

to Horace—respectability—and now with the possibility

of his running for the Senate, he wouldn't dare become

involved with a scandal.

Mrs. Jacobs - Very well, Augusta, have it your way.

But mark my word. . .

Augusta - Nelly, I'm really very tired and I simply do

not wish to carry this discussion any further. Good day.

Mrs. Jacobs - Good day.

(Exit the ladles. Enter Horace.)

Horace - I presume I can come back into my parlor now.

Did you get your affairs settled?

Augusta - Yes. And what of yours?

Horace - Business is going well; the Senate race is

looking good. What more could I ask for?

Augusta - Horace, that's not the affair of which I am

speaking. Your little caprices with a woman twenty years

younger than you are becoming disgusting. You're being

laughed at. She has eyes for your fortune and prestige—

108

not you. How can a man your age act like that, Horace?

How?

Horace - So now that all of Denver has talked about

it, we're going to find the time. That's good of you,

Augusta, it's kind of you to give us some attention.

Augusta - Don't be sarcastic with me. And in truth,

I don't have the time. I just wanted you to know that no

matter how you may have tried, you haven't kept one thing

from me or from the society of Denver.

Horace - Denver society can go to hell, but you and I

are not going to evade this situation any longer. You

brought it up, and now you're going to stay until we get

something settled.

Augusta - There's nothing to be settled, Horace. You

can't risk your race for Senator with a scandal now, and

so we'll simply abide our time and each other as we've

always done.

Horace - No, Augusta, I'm through with abiding my life

away. I'm going to begin setting aside the unimportant

things and accepting the things that really matter. I've

waited long enough, Augusta. It's time to try to start

again.

Augusta - Don't speak to me like that, Horace. Don't.

I'll never grant you a divorce; you'll never be able to

live with her legally.

Horace - I've considered that Augusta. I know you.

109

and I've considered the alternatives. When the time

comes for a divorce, you'll give me the divorce, or Baby

Doe and I will marry without your consent. You'll no

longer have a choice in the matter then. Think about it,

Augusta, think carefully.

(Exit Horace.)

("A Woman's Love"—Solo, Augusta)

110

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115

Act II, Scene 2

(Scene: The Tabor mansion as servants are putting

final touches on the room in preparation for the fashion

show. Horace is giving last minute instructions to the

servants as Baby Doe enters.)

Horace - There she is. The pride of Colorado and the

envy of every woman in the West. How is the future Mrs.

Tabor feeling tonight?

Baby Doe - I'm scared to death, Horace. Your friends

aren't going to like this, and I don't know what to expect

from Augusta's friends.

Horace - Don't feel that way. Baby Doe. I know it's

hard, and I hate to put you through this, but now that

we're going to be married it's got to be made public

sometime, so please, for me, try to enjoy yourself as

much as you can tonight.

Baby Doe - Alright, Horace, I'll try. For you, I'll

try.

Horace - T h a t ' s more l i k e i t . How about some punch?

Baby Doe - D e f i n i t e l y . I f I drink enough of i t i t ' s

bound to drown t h e b u t t e r f l i e s .

Horace - I s t h a t one of the dresses you picked out in

New York?

Baby Doe - Just for this occasion.

Horace - So you knew I was going to propose even before

I did. Oh, the guiles of womanhood.

116

£ a b i L ^ - sure, l faiew It. I've alvays too™ where

I was going and how I was gonna get there. And somehow.

Horace, I've always known about you and me.

("fiemembering-.-Solo, Baby Doe)

10. llEMEMEEIil»6

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123

(There is a knock on the door as guests begin to

arrive, including Mr. and Mrs. Jacobs, Miss Frximp, Miss

Nomen, Miss Ethyl Mae, Muleshoe, Gentlemen One through

Six, and extras to form a large group for the

festivities. General remarks are made to Horace,

"Good evening", "Nice to have you here", etc. Baby Doe

is obviously being snubbed by the women, though the men

are showing her a good deal of attention. Catty remarks

are obviously being made by the women during the

following dance.)

Horace - And now ladies and gentlemen, let*s start the

evening right with a dance. So grab your favorite lady,

or wife, whichever the case may be, and let's en;)oy

ourselves. Music, please.

("Waltz"—Piano Solo)

124

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126

127

Mrs. Jacobs - May I have your attention, please?

Please, may I have your attention? And now ladies and

gentlemen, in the absence of our President, Mrs. Augusta

Tabor, I have been asked to serve as your hostess for the

Ladies* Temperance and Garden Club combination chicken

banquet and fashion show. Augusta is not feeling well

this evening, I understand. Mr. Tabor, do send her our

regards* And now we are ready to begin preparations for

the highlight of the evening, our fashion show, the

lovely gowns of which are to be modeled by none other

than our own ladies of the Temperance and Garden Club.

And now if you ladles please, you may retire to the

boudoir to prepare yourselves accordingly. Gentlemen,

if you please, we shall take but a few moments. Thank

you.

(As the ladies leave, the relief of the gentlemen

is obvious.)

Gentleman One - Well, Horace, I understand things are

looking mighty fine for you in the Senate race. At the

rate things are going, your supporters might even push

you up to governor next. Who knows?

Horace - Now, boys, let's hold it right there. Let me

claim that seat in the Senate before we start making plans

for warming the governor's chair. It's a strange business,

politics, and I'm going to have to learn a few tricks of

my own before I start campaigning that avidly.

128

Gentleman Two - Come on now, Horace. Modesty is the

one thing a man of wealth like you can't afford. You've

used a few tricks to get where you are today, and I'd

be willing to wager you've got a few more up your sleeve.

^o^^ce - That may be true, gentlemen, that may very

well be true. But don't forget, there's a vacancy in the

Senate now that'll be good for ^ust thirty days. Some­

body's got to fill that as well as the other six-year

term. We know what we're after, boys, and we're going

to fight for it, but we do have a struggle on our hands.

Gentleman Three - That's okay, Horace, we're pushing

for you. lou Just handle the voters of this state as

well as you've handled that private little fortune of

yours, and that Senate seat will be yours to claim by a

landslide.

Gentleman Pour - Why Horace, you've got the best plat­

form a man could ask for right now. Building of the Tabor

Grand Opera House of Denver is going to give you boosts

all over this state, and it's bound to carry Denver for

you automatically. What more could a state ask for than

a man who is that genuinely Interested in its welfare?

Of course, I'm not going to venture which came first, the

race for the Senate or the building of the opera house*

Horace - Well, gentlemen, let's Just keep that aside

for my little secret. At any rate, the opera house is

going to put this city on the map. It's time those

129

Easterners realized they don't have a comer of culture.

Gentleman Five - I couldn't agree more heartily,

Horace. It's time the nation realized the Mid-West has

more to offer than sawdust mills and abandoned mines.

Gentleman Six - That's right. Our state was conceived

by God and molded by man, and Horace Tabor, your money

has had a big share in that molding of Colorado. The

people of this state know it, and I don't think they're

going to forget it.

Horace - Well, boys, I have to admit, the Tabor Opera

House is going to be one of the finest of its kind in our

nation. Mahogany imported from South America, velvet

from Paris for the plush seats, and of course, some of

the finest looking ladles of the nation to occupy those

boxes—your wives. But you know, a man needs to keep his

head about him. With all this wealth and splendor

surrounding us, I've chosen a quotation from Kingsley to

be inscribed on the curtain of the opera house—"So fleet

the works of men, back to the earth again, Ancient and

holy things fade like a dream."

Gentleman One - Most appropriate, Horace. And

speaking of ancient and faded things, here come the ladies.

Mrs. Jacobs - And now to begin the fashionable showing

of the clothes soon to be seen in the new Tabor Opera

House. Our first model of the evening will be our very

own Miss Prump. (Pause) And now. Miss Prump, if you

130

please. (Pause)

(Miss Prump enters, pushed into the room. She

obviously has not had time to finish dressing. She

enters at the chuckles of the men.)

Mrs. Jacobs - Miss Prump is wearing a lovely lace

gown, of white. All the material for this dress was

imported from Belgium.

Miss Prump - All but the undie things. I Just did not

have time. Nelly, I told you I simply did not have the

time to change all those things so fast.

Mrs. Jacobs - (Obviously trying to Ignore her) Miss

Frump's hat was ordered directly from New York for this

special gown. Notice the lovely lace trimming of the

gown matches the lace on the hat. Just lovely, isn't

it. Just lovely?

Miss Prump - Yes, lovely, yes, oh, but I simply did

not have enough time, Nelly, oh, dear, oh. . .

Mrs. Jacobs - And next, we have Miss Nomen modeling

for us her stunning blue velvet ballroom gown designed by

her very own self. Notice the lovely matching accessories

she has chosen, evening bag, shoes, and stole. How

utterly divine. Miss Nomen, Just marvelous.

(As the fashion show continues, the models all are

displaying obvious gusto in having the limelight. Their

ostensible walk and costumes show that each is trying to

outdo the other.)

131

Mrs. Jacobs - And next our lovely Ethyl Mae, wearing

a close fitting gown of rose-colored poplin, trimmed

with 150 pink velvet roses accenting the enormous bussle.

Topping off the ensemble Ethyl Mae dons a gorgeous little

hat of matching pink velvet roses. Stunning, isn't it?

Simply stunning. And next. . .

(Enter Caroline and saloon girls.)

Caroline - And next is Miss Caroline, Queen of the

House and Madame of the Felines, wearing her finest silk

stockings, red garters to match, and diamond accessories

by Muleshoe—genuine they are too, honey—the rocks and

the man. But where's Baby Doe? Horace, are you keeping

her hid or something? Where is she?

Mrs. Jacobs - Mr. Tabor, what is the meaning of all

this? How dare these crude, barbarous things Invade our

benefit show?

Caroline - Barbarous my rear, honey. Looks to me like

these boys have taken about all the culture they can use

for one night. This may be your idea of a ball, but it

sure don't look like things are rolling to me. Let's get

some music going, boys. And where is Baby Doe? I thought

this bash was for her tonight.

Horace - Ladies and gentlemen, please, please be

seated and I'll attempt to explain. You see, I agreed to

hold the banquet here tonight in honor of the forth-coming

opening of the Tabor Opera House, but you were gathered

132

here tonight for another purpose as well. You see, I

also wanted to formally introduce Miss Elizabeth McCourt,

the future Mrs. Horace Tabor. We are planning marriage

shortly, and we hope to receive the blessings of each

of you. Caroline naturally wished to congratulate

Elizabeth, as I presume you will do.

Caroline - You bet your brass buttons, honey. Why,

I've known Baby for years. Wouldn't miss her engagement

announcement to the most influential man in Colorado for

nothing—and that means YOU, Miss High and Mighty.

(Pointing to Mrs. Jacobs.)

Mrs. Jacobs - Mr. Tabor, if you and that disgrace to

the ladies of this town are quite through, I wish to

speak my mind concerning this outrageous situation

tonight.

Caroline - Speak up, sweetie, but I demand equal time.

Baby Doe - Caroline, please.

Caroline - Okay, Baby, it's Just that. . .

Mrs. Jacobs - Our friend and beloved President,

Augusta Tabor, has been shamed and made to suffer as no

woman should have been. Horace, your actions here tonight

simply solidify and verify the rumors and gossip that

have been circulating throughout our state concerning your

affair with this woman. Augusta has tried to Ignore your

indiscretions and treat them as lightly as possible, but

now, NOW you make public your association with this group.

133

Mr. Jacobs - Now, Nelly, I think you're speaking

harsh words you don't really. . .

Mrs. Jacobs - Harsh words? HAESH WORDS? There are

no words harsh enough to descry such indecent public

behavior. You, Mr. Tabor, have chosen to make this

matter public, not II And I for one do not Intend,

privately or publicly, to condone such carrying-on.

Augusta has been a faithful and true woman, but this,

this mistress of yours has never known the meaning of a

lady. Do you think, Horace, you can take her to the

Senate with you—a coimnon woman given a common nickname

by the common miners of this state? Why I. . .

Horace - That will be enough, Mrs. Jacobs. I will

tolerate your defense of Augusta, but I will not tolerate

your lambasting of Baby Doe. Need I remind you that you

are in my home? You may consider yourself excused as well

as all others present that Intend to belittle either Baby

Doe or me as a result of our decision to wed.

(There is great unrest throughout the room, wives

pulling at their husbands, etc.)

Mrs. Jacobs - Mr. Jacobs, you may fetch my wrap. We

are going.

Mr. Jacobs - I think not, Nelly.

Mrs. Jacobs - What do you mean? Do you intend

staying and being made the laughing stock of this town,

as most assuredly these two will be.

134

Mr. Jacobs - No, I mean nothing of the kind. I'm

saying that I Intend to stay and offer my congratulations

to Miss McCourt and Horace. She will make a lovely

bride.

Mrs. Jacobs - Jim, if you dare, if you, I'll. . .

Mr. Jacobs - Yes, Nelly?

(Mrs. Jacobs approaches Caroline.)

Mrs. Jacobs - Are you quite pleased with yourself,

Madame Caroline? We've worked for months preparing for

this evening, and to think it was completely ruined by

the most vulgar, disdainful woman. . . No, you're not

fit to be called a woman. You're nothing but a common. . .

Caroline - Don't say it. Sister Woman. I warn you. . .

Mrs. Jacobs - Harlot I You filthy little. . .

(Caroline slaps Mrs. Jacobs. Mrs. Jacobs slaps her,

and pandemonium breaks loose. The fight Increases as

the women of the Ladles' Club start attacking the saloon

girls.)

Baby Doe - Stop them, Horace! You've got to stop

them I

Horace - I think not. Baby. This has been brewing for

some time. Let 'em get it out of their system.

(Miss Prump climbs upon the table.)

Miss Prump - Hit her again, Caroline. Give 'em hell,

girls I

(The fight continues to the amusement of the men.

135

The scene turns to slapstick as food is being thrown

around the room and usually finding a victim. As the

fight begins to subside, it is obvious that the saloon

girls have been victorious.)

Mrs. Jacobs - Well, Miss Frump, are you coming?

Miss Prump - No, Nelly, for the first time in my

life, I'm staying. I didn't like your old fashion show,

anyway. Besides, I think she will make a lovely bride.

(Exit the members of the ladles' club.)

Caroline - Well, honey, you always said you were

going to find a good man and make yourself a real home,

and now, look at what you've gone and done. (Sniffing)

Muleshoe - Congratulations to the both of ye. Now

we got to start gettln' ready for that big Senate race.

Caroline - Why, Horace, I'll bet the men of this

state would even vote for you as governor Just to say

they had the prettiest first lady of any state.

Horace - You're right, Caroline.

Baby Doe - Horace will make it. I'm sure he will.

Muleshoe - I say Horace Tabor is our man.

Group - YEAH I

Muleshoe - I say you can't keep a good man down.

Group - YEAH I

Muleshoe - I say we'll win that race even if our hands

are tied and our feet are bogged down in a pig pen's mire.

Group - YEAH I

136

Muleshoe - I say down with hypocracy, down with

bureaucracy, up with democracy, and up it with anybody

who don't agree.

Group - YEAH!

Caroline - I say let's get this party on the road.

Group - YEAH I

("Tabor Campaign"—Chorus and Solo , Muleshoe)

137

12. TABOR CAMFAI6N

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143

Act III, Scene 1

(Scene: In front of the Tabor Opera House. All

principals, except Augusta, Horace, and Baby Doe, are

entering in couples as the music begins. There is a

festive mood as the celebration of the opening of the

Tabor Opera House begins.

Horace and Baby Doe enter after the first opening

chorus, as the dance begins. They are cheered

heartily as they enter.)

("Grand Opera"—Chorus and Solo, Horace and Baby

Doe)

144

13. GRAND OFERA

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(This dialogue is spoken with the following page of

musical accompaniment.)

Horace - Everyone's gone. Baby Doe. Everyone and

everything—our home, our business, our fortune.

Baby Doe - Our dreams, Horace? Our future? We made

it once, Horace Tabor, and you know damn well we can do

it again.

Horace - No one's going to help us now. I'm getting

old.

Baby Doe - And supposedly wiser. Wio helped you the

first time around? Who helped me? We've never lived by

the rules, Horace. We never played their games but we

made it bigger than any of 'em. Come on, Horace, we'll

do it again. One more time Just for the hell of it all.

Horace - You really believe it, don't you. Baby?

Baby Doe - You know I believe it. And you believe it,

too.

(Pause)

Horace - One more time, Mrs. Tabor?

Baby Doe - One more time, Mr. Tabor.

153

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