37c

THE COUNTY MOUSE AND THE CITY MOUSE

THESIS

Presented to the graduate Council of the

North Texas State University in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF ARTS

By

Robert C. Lunde, B.A.

Denton, Texas

May, 1987

Lunde, Robert C., The Country Mouse and the City Mouse. Master of

Arts (Drama), May, 1987, 62 pp.

The purpose of this play is to dramatize the fable of a city mouse

and her cousin in the country, and the differences in their lifestyles.

Through visits to each other's respective homes, the mice discover tt

there is more to life than what their own environment has to offor.

Copyright by

Robert C. Lunde

1987

TABLE OF CONTENTS

PREFACE . a . . . . . . . . . . . a . . . * . . . .a a . * a . . .1

ACT I, Scene 1 . . . . . . . . . . . . . . . . * . * . . * . * a a ,7

Scene 2 . - - - .- - . . . . . . . . . . . . . . . a * . *2. . 9

Scene 3 . - - - . . . . - * . . . a . . . . . . . . . . . . 35

ACT II, Scene 1 - . - - . . . . . . . . . . . a a* aa . a . *a . . . 3

Scene 2 a a a a a a a a a a a a a a a a a a a a a a a . 40

Scene 3 . a .* - - - . . . . . . . . . . . . . . * . . . 05

Scene 4 . - a a a a a a a a . . . . . a . . a . . . . . 56

PRODUCTION NOTES a a a a a a a a a . . a a . a a . a a a a . a . . 57

BIBLI)GiAPHY a a a . . a a A a a . a a a a a a . . . . . . . . . 62

The challenge of writing a play differs considerably from the

challenge of acting in that play. The writer must create from a

concept--to dramatize the fable of the country mouse and the city

mouse, for example--whereas the actor must bring to life the dramatic

form of that concept after the playwright has ratedd it. The

playwriht, as it were, must create the actor and his environment in

such a way that the final work can exist only in performance on a stage

in the presence of an audience.

That audience was presumed to be largely children, although the

fable was invented primarily for adults, and the playwright alto was

interested in developing a play that would appeal to spectators of all

ages. The fable--attributed to Aesop in the 5th century B.C.--has

always been popular [consult Jacobs, 197.] Paraphrased briefly, the

fable recounts how a town mouse visited his cousin in the country.

When the visitor was offered food and drink, he said, "In the city we

have more food than you could imagine. We eat like kings. Come with

me to the city and you will see." So the town mouse and the country

mouse journeyed to the city. Soon they discovered a table filled from

edge to edge with delicacies. Overjoyed, they began to eat. Just as

they did so, however, two dogs leaped upon them and chased them into

the closest and safest hole. The country mouse packed and went home.

"'Tis far better to enjoy meager food in safety," he said, "than food

for a king in constant danger."

The fable contained only the essence of a dramatic idea--the

age-old confrontation between living in a city and living in the

country--and the bucolic appeared to get the better of the argument.

Would it not be more accurate, and indeed more dramatic, to present the

confrontation so that the outcome would be more balanced? Certainly in

a time of rapid switching from milieu to milieu such an outcome would

seem more appropriate. The focus of the dramatic idea, therefore, was

changed from that stated above by Aesop's country mouse to the

conclusion drawn by Polly, the country mouse, in the play: "I come to

you straight from the big city--which is like another world. . . What

makes us even more alike is our differences. . . So as you leave here,

be strong and be bold. Strive into a new world ready to learn and to

live!"

Once the dramatic idea was clearly understood, changing the

fable's narrative form into a theatrical structure and presence was

required. Since the original story merely suggested scenes and

actions, these events had to be invented. Two episodes were developed

for the visit to the country, three for the country mouse's adventures

in the city. Country and city episodes were developed to show

contrasts through parallel situations. A sixth episode was created for

the trip from the country to the city and a seventh episode was created

for the discovery of the moral at plays end. The dramatic ideas for

each episode were as follows:

L. In the first scene, we discover the country house into which

the city mouse barges in, disrupting the whole environment.

The audience learns the initial differences between the two

cultures.

2. In the second scene, the city mouse must adapt her social

character to fit into the country style of get-together,

resulting in disastrous problems and the city mouse's

decision to leave.

3. Scene three gives the country mouse reason to enter the city

and be stuck there.

4. The fourth scene initiates the country mouse into the city

environment--again setting up the differences between

cultures.

5. Scene five parallels the actions of the end of scene one and

all of scene two. The country mouse must survive the

disastrous events of the city social circuit.

6. The sixth episode explains how it is up to the mouse herself

to right the situation and adapt her abilities.

7. The seventh (and final) episode acts as the moral of the

story. The country mouse expounds on the necessary actions

of the others.

The plot that began to emerge once these events were developed

revolved around two cousins who were very much alike, but who came from

different worlds. To help articulate the plot but also add life to the

fable, additional characters were created. They provided complications

4

to the plot and their reactions to the major characters allowed the

city mouse and the country mouse to become three-dimensional. The

story begins with a happy homemaker--Polly, the country mouse--in the

midst of her daily chores. The serenity of her life is soon shattered

by the arrival of her glitzy cousin from the city. Although Polly

swiftly accomodates her cousin Maude and attempts to adapt Dountry life

so that it will fit Maude's every comfort and need, the compromise

turns out to be disastrous. Maude finds herself stuck in a world of

chores, shopping, and parties such as she has never experienced before.

Soon she embarrasses not only herself, but the whole country

population. Ever the positive one, Polly keeps trying to make the

situation turn out for the best; unfortunately, she never finds the way

to do so. As Maude prepares to leave, in fact, Polly's desire to help

causes more misfortune. Polly finds herself being whisked away to the

city against her best wishes. Being a dreamer who has always wanted to

visit the city, Polly decides the adventure will help her with her

speech to the high school graduating class in the country the following

week.

In the city, and out of her league in more ways than one, Polly

quickly finds herself going from one frightening situation to another.

Stuck with no way out until the next day, she makes her way as best she

can, however, and in the end, she has held her own. Like Maude in the

country, she has dealt with a treacherous social scene and has some out

battered and unhappy. When she tries to amend the situation and fails,

she has to fight her way to freedom and her natural habitat. But her

speech to the graduating class shows that she has learned from her

experience. More important, she now is willing to continue learning

whatever the danger or the discomfort.

This answer is more in keeping with the present day than that

pronounced by Aesop. To survive in today's "global village," human

beings must avoid the traps of overspecialization, bureaucratization,

and rejection of all ways of life other than one's own. The play shows

the world of the country and the world of the city as closely related;

indeed, the two worlds mirror each other. Both Polly and Maude must do

more than endure the two worlds that have been thrust upon them. They

must survive with all their values intact.

The play analysis presented by Francis Hodge was used as a method

of composition [Hodge, 58]. Hodge asks that directors find information

in a playscript that will provide detailed answers to the following

questions:

1. What is the idea of the play?

2. What is the dramatic action of the play?

3. What are the circumstances prior to the opening of the play?

4. Who are the characters?

5. How is the play going to sound (dialogue)?

6. What is the tempo of the play during the action?

7. What is the mood or atmosphere during the action?

8. What strategies can be used in having to present the play?

9. What must you consider about the era in which the play was

6

written?

The answers to these questions are manifest in the play which

follows. The lives of the country mouse and the city mouse collide and

the resultant dilemma challenges their ingenuity. All the moments of

the play are intended to stimulate the actors. imaginations so that

they may improvise the words of the play. As they do so, it is hoped,

the spectators will join them in playing a contemporary version of the

ancient tale: "The Country Mouse and the City Mouse."

ACT I

Scene 1

(The curtain rises on a petite country house right out of"Country Living." There are quilts and pretty wooden, homemadeitems about the bi-level house. A kitchen with a big window isupstage center. A front doorway is stage right with a big picturewindow upstage of the door. A sofa and two armchairs sit centerwith a brass lamp by the endtables. A wooden coffee table adornsthe front of the sofa. Stage left, there is a back door and twosmall windows. Upstage of the door, there is a set of stairswhich lead up to the second floor where two doorways may be seenalong with a hallway which leads offstage. The walkway createsa balcony which hangs over the kitchen area. A dining roomtable and chairs sit stage right, upstage of the door andwindow, and a cabinet full of dishes is behind the table. Allof the household items are really human sized items which havebeen made to fit in the house. The house itself is obviously ahole in the wall--evidenced by the curved shape of the ceiling;for further ideas, see the production notes. Folly is movingabout the house sweeping the floor, washing the dishes, etc. Sheis a pretty little mouse with bright eyes, dressed in a ginghamfrock and an apron, and appears very happy. Martha Louise,also in the room, is Polly's best friend. She is older andthinks of herself as very smart--not because she is educated,but because she has grown up in the country and has seen the wayof the world for what it is. She is helping Folly clean thehouse. They speak as they work.)

POLLYMy, my, my. How a house gets dirty so quickly is beyond me. I justdon't know how a house can get so filthy in just one day.

MARTHAWell, you know how it is in the spring. All the housecleaning isdesigned for this part of the year because all the old dirt is gone andall the new dirt is in!

POLLY

Oh, Martha Louise!

(They laugh.)

You are a character!

(Martha Louise continues to clean while Polly daydreams.)

It is so beautiful out today. I am glad I am here.

7

MARTHAWhere else in tarnation would you be? Now stop your dreaming and getsome work done.

POLLYI like dreaming. Besides, it helps a person to grow. I have all sortsof dreams. Flying in space; diving into the far depths of the ocean;seeing the city from the inside. Looking up at the skyscrapers andbeing on the busy streets. It all seems so different.

MARTHAOf course it seems different--it is! You are too naive, little missdreamer mouse ! You'd be clawed up and eaten by the first cat you saw.Sheesh. Dreaming your life away.

POLLYOh, Martha Louise. Sometimes you are such a sourpuss ! You know--maybeI can go to the city so I can have something to talk about at thegraduation dinner. I mean, I can't get to the ocean or space in a weekand a half, but I can get to the city.

MARTHAAre you still worrying about that? Goodness gracious. Stick to onetopic at a time.

(The door bell rings and Polly moves to open the door.)

POLLYYes?

POSTMANMs. Polly? I have a letter here for you.

The big city? Whypweren't we, Marthagraduation dinner.

Sounds good to me.

It comes from the big city.

FOLLYthank you Henry. We were just talking about it,

Louise? I might use the city for my speech at the

POSTMAN

MARTHAHenry,, be quiet. Polly, just open the letter.

POSTMANI wonder who it could be from?

MARTHANow, Henry, I don't think it's none of your business.yourself around and get back to work!

So you just turn

9

POSTMANWell, I was just commenting--

MARTHAWell, don't.

POSTMANPolly, you don't mind my asking--

MARTHA

She does! Go on!

(Pushing him out the door, she gives him a swift kick as he exits.)

I swear that man is as nosy as a man can get! Who's it from?

(Martha Louise moves closer as Polly tears into the letter.)

POLLYIt's from my cousin Maude in the big city.

MARTHAWhat's she got to say?

POLLYShe says, "The city is such a rat race!" Oh, isn't she clever?

MARTHAI'm laughing so hard I'm crying.

POLLY"I need to take some time off and get away from it all and rest myweary tail. The noise is terrible and the crowds are so awful. Sothat is why I have decided to leave the city and come visit you in thecountry! I will arrive on the 9:30 train next Tuesday. Can't wait tosee you. Maude."

(She smiles and puts letter on desk. Martha Louise jumps up.)

MARTHALet me see that.

POLLYHere you go. What is it?

MARTHAThis was mailed on April 6.

POLLYSo?

MARTHASo? April 6 was last week. Your cityslicker cousin is arriving today!

10

POLLYDon't be crazy. Today's not . . . TUESDAY!!

(Polly is standing in front of the calendar stupified.)

Oh, my goodness. She is coming today! My house isn't anywhere nearready, oh my, oh my! Whatever am I to do? I have to clean the windowsand wash the clothes. And Bo! Bo is coming over and he probably won'thave cleaned up as usual.

(Polly runs around wildly trying to do all these things. Marthastops her.)

MARTHANow stop running around like a chicken with her head cut off. We justgot done straightening the house and it looks just fine. Them cityfolk don't clean their own homes so I wouldn't worry. They have allthem servants to do that kind of work you know. Just leave it be! Whyworry yourself?

POLLYShe is a very important mouse in the city. That's why I'm so worried.I really want to impress her. She has all those nice things s.,he writesabout and is so particular--why, she only buys the richest things.Why, Christian Dior, Pierre Cardin, Jiorgio of Beverly Hills. They allmake things just for her and they are spectactular. They all adoreher.

MARTHASounds like she has her hands in everybody's pot if you ask me. Jot anawful lot of boyfriends, that cousin of yours.

POLLYOh, Jonathan is her boyfriend.

MARTHAHope them other fellows don't mind.

(Bo enters the room from the kitchen. He is tall and very countrylooking. He is handsome and rugged. Like Polly, he isfun-loving and happy-go-lucky.)

BOHowdy, ladies!

(Polly screeches and faints.)

I didn't mean to frighten you Polly. Polly? I realize I'm early, butgee.

11

MARTHAShe is just jittery.

(Gives Polly smelling salts.)

Her fancy cityslicker cousin Maude is coming in from the big city.Today! And well, you know how she is.

(Coming around, Polly sees Bo and faints again.)

BO

Should I get some water?

MARTHATo bathe in, yes. For her, no. She's coming to.

FOLLYOh, Bo. You scared me so!

BOI am sorry.

POLLYBO!

B0Yes?

FOLLY

You need to get home and clean up right now! I can't have you in here

looking like you just came in from the fields!

BOBut I did just come in from the fields!

(There is a knock at the door.)

POLLY

The door! 0migosh. What are we gonna do? There's someone at thedoor. Hurry up and do something somebody!

(Polly tries to hide Bo and then runs to hide the broom. Martha

looks at her and Polly stops, shaken.)

Oh, what are we gonna do?

MARTHA

How about somebody opening the door for whoever is there?

POLLY

Martha Louise, you're always right!

(Moving to the door, they all bump into one another.)

12

MARTHAOne at a time, dang it!

FOLLYMe! Its my cousin! I'll greet her!

BONo, you sit down and I'll get it.

MARTHAFor Pete's sake, I'll get it!

(Polly pushes them out of the way and she opens the door.)

There's nobody there!

(They all crowd around the doorway.is a flamboyant woman. She stridesthrough the kitchen door.)

Well, hello there!

Maude, dressed fit to kill,elegantly into the room

MADE

(Polly, Martha Louise, and Bo jump and screech.)

What a splendid little house. I'm sorry if I gave you a fright. But itseems your butler would not answer the door, so I decided to let myselfin.

POLLYMaude, it is so wonderful to see you!

(Polly gives Maude a big hug.)

I am so happy to have you here!

MARTHA

I 'm glad somebody's glad to see her.

MAUDEIt's good to see you, too. It has been such a long time.might these stunning people be?

Oh, and who

FOLLYOh, bless my soul. I've totally forgotten my manners.

MARTHAYou certainly have. I don't know what in tarnation has come over youall of a sudden. Bo, she's lost her mind.

13

POLLYPardon me. Maude, this is my neighbor, Martha Louise. And this is Bo,my boyfriend. My cousin Maude.

MAUDEI thought you worked here!! My, it is certainly ayour acquaintance. Any friend of Polly's is a friend

pleasure toof mine.

BOSure fine to meet you, Miss Maude.

MARTHAThat it is. Welcome to the country.

MAUDEWhy, thank you so much. I had a lovely triprefreshing. With the birds, the water, the trees.

out here.

MARTHAAin t they got them things in the city?

Oh, Martha Louise. Maude, I amletter today--a few minutes agoaround here.

MADENot to worry.

(Maude looks the place over.)

FOLLYsorry about the mess.Iin fact. The postman is

Well, I just love this place. Is this the guest house?have your home?

(She turns to Martha Louise.)

I'm not quite acquainted with the procedures out here.MARTHA

Obviously.

just got yoursort of slow

Where do you

BOOut here, every house is a guest house, Miss Maude. Polly sleeps heretoo--to keep you company.

MAUDEIs that so? I somehow thought all the houses out here werelarger. Where is the powder room? I really must freshen up.

much

FOLLYAt the top of the stairs. Bo, would you please take these thingsupstairs to the guest room? I 11 get some vittles ready.

meet

Very

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MAUDEVittles? Sounds rather barbaric. What is it?

MARTHAJust what do you people eat in the city? Trash cans and hubcaps?

(Maude exits up the stairs with Bo while Polly goes to thekitchen to fix some goodies.)

MARTHASure is snooty for a visitor. I'd feedwere you.

FOLLYWell, you ain't me. She's family, and Iso sophisticated and pretty.

her to the farmer's cat if I

think she's wonderful, She's

MARTHA

She's cityfolk--not country. She won't fit in.

(Maude enters from upstairs while Polly comes in with a food trayfilled with food.)

POLLYHer( you go. I know you must be hungry after that long trip. Was itexciting?

MAUDEIt was exasperating. The trip was really fine,appear to have had the last war fought on them.

MARTHAYou people sure are picky up in the city. Themlast November.

but the roads out here

roads was just repaired

FOLLYWell, our poor little countryside just doesn't have the money the cityfolks do.

MARTHA

Listen, it is getting late and I have to be upget all the chores done. I'll just let myself

(Martha Louise exits.)

FOLLYBye, Martha Louise. Stop by in the morning.

MADEShe's a damper on the party isn't she!

early in the morning toout.

(B enters from upstairs.)

15

BOWell, all your things are upstairs now 'cept that one bag you have,Mis LMaude.

You are so polite!

Aw shucks .. a

MAUDEMy cousin sure has good taste in choosing her help!

DO

FOLLY

Maude, listen--

DO

Well, I really should be moving on myself, Polly. I'll stop by to helpyou out with things in the morning. Gotta go. Bye, Miss Maude.

(He exits through the front door.)

MAUDEThat's one mouse of a guy you have there! But, why are they allleaving? I m all ready for a night on the town. What there is of oneanyway!

POLLYWe'll be very busy tomorrow so we better get some rest.

MAUDEOh, you cowfolk are something else. You need to live a little. I havesomething here for you. Put this on and we will paint the town.

Oh Maude, you shouldn't have.FOLLY

MAUDEOh, it was nothing. I bought it at Bloomingdale's just for you.

(Maude hands her a bag full of things. Polly opens them.)

Isn't this lovely! But I don'tthe next wedding I am in--maybe

FOLLYknow what to say! I will wear this tomy own!

(They laugh.)

But, really, this is too nice. Much nicer than what I have for you.

MAUDENow, if I know you, it is more precious and valuable than anything

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money can buy. After all, it's the thought that counts and the loveput into something, anyway.

POLLYWhat a flatterer!

(Polly pulls out a handmade quilt.)

MAUDEA homemade quilt! It is just like the ones I see in all those countrymagazines!

POLLYI hope you like it. It isn't much, but I made it myself and didn'tknow if you had anything like it.

MAUDEWell, it is just precious. I love it!

(They hug.)

POLLYWell, best be getting to bed. Have a busy day ahead of us.

MAUDEBut why so early? It's only 10:30! The world awaits your highness!

POLLYEarly to bed, early to rise--

MAUDEMakes a man healthy, wealthy, and bored!

POLLYOh you city folk!

MAUDEWell, I could use a little shuteye.

POLLYCome on.

17

(A diffused light covers the set, barely giving enough light forthe stage to be seen. Maude comes downstairs, crosses towardthe kitchen, trips over the sofa, and falls. She quickly looks

to see that Polly is not awakened, then crosses to the

refrigerator and gets a bottle of milk. An owl hoots and Maude

drops the milk bottle and again looks for a reaction from

upstairs. Seeing and hearing none, she gets a broom and mop,

then cleans up the mess. She gets another bottle and goes to the

table with a glass. She sits down and begins to drink. Folly

enters from upstairs quietly, trying to see. She comes down the

stairs, sees Maude, then speaks loudly.)

FOLLY

Couldn't sleep?

(Maude shrieks, falling backward out of her chair. Polly

quickly crosses to her and helps her up. Then Polly turns onthe lights.)

I'm sorry, Maude. I thought you heard me. I didn't mean to scare you!

MAUDEThat's all right. I just came down because I couldn't sleep. Now I

don't know if I'll ever sleep.

POLLY

Why are you up? It's the middle of the night! I mean, it's quiet and

there's no noise.

MADEThat's the problem. I'm used to lots of noise in the city. Why don't

you go to sleep. I won't be up long; and you need to get all those

things done in the morning.

POLLY

Are you sure? I can stay up with you if you like.

MAUDE

No, I'm sure. I'll be back in bed shortly.

(Folly goes up the stairs and to her room. Maude finishes her

glass of milk, then puts the bottle away. She turns off the

lights and goes up the stairs. An owl hoots and she jumps.

Maude quickly turns the lights on to check out the room.

Nothing. She turns the lights off. Up the stairs she goes

again as the wind begins to sound louder. She continues up.

The lights begin to fade to complete darkness. Sounds of the

night in the country may be heard. Crickets, far-off train

whistles, and the wind. Finally a rooster crows. A faint light

is seen through the windows. Then suddenly Polly yells up toMade as the lights come up full. Polly is dressed with an apron

18

in the kitchen, fixing breakfast. She crosses to the landingand stands at the stairs with a pan in her hand yelling up toMaude s room.)

Maude! Oh, Maude!shiny already!

POLLYTime to rise and shine! The sun is bright and

(Polly returns to the kitchen and Maude comes downstairsgroggily.)

MAUDEWhat time is it? Why are we up so early, and why are you so wideawake?

You are so funny.POLLY

(Laughs.)

Hope you don't mind; IAnd because you didn'tleast an hour!

let you sleep long becausesleep well. Why, the sun

MAUDEOnly an hour? That means it must be . . . oh my.

(Maude falls into the chair.)

FOLLYIs something wrong? Oh come, you will get over itof eggs, bacon, toast, juice, pancakes . . .

you're on vacation.has been up for at

with this nice set

MAUDEDon 't tell me you want to eat all that this morning! In one sitting!I mean, I don t have a hangover!

POLLYOh silly. It's tradition. Big breakfast. Gets you ready to face theday and hit the chores. Don't you like bacon and eggs?

Yes, but not by the ton!MAUDE

(Pause.)

My, it certainly is quiet out here. Not like the city. But what do youexpect at this time of day. Even the birds are still asleep!

POLLYYou have such a wit, cousin Maude!

19

(She laughs.)

Around here, you have to get up early to slop the hogs, feed thechickens, pick up the eggs, and milk the cows. There's so much to bedone.

(Maude grimaces at each job description.)

MAUDEDon't tell me you actually do all those things before lunch?

POLLYWell, of course.

MAUDESounds disgusting.

POLLYNo, it is really fun. Besides someone has to do it.

MAUDEDon't you have someone to do all of that for you? Maid? Butler?Chauffeur?

POLLYYou mean a hired hand? No. Bo and Martha always help out, though.Since I'm all alone and all.

MAUDEI can't imagine spending the day with cows, chickens, pigs, and MarthaLouise.

POLLYOh, life is a laugh a minute with you around.

(Polly continues to clean.)

MAUDEWhat about after all these chores? What is there to do? There's notelevision, no shopping malls, and no dine-out Chinese.

(Bo and Martha Louise enter.)

Well, if it isn't the Beverly Hillbillies!

BOWe could smell the odor from Old Man Phemister's place! And boy howdy,are we hungry!

MARTHAYou're always hungry.

23

(To Polly.)

Jed will be up in a minute. We're ready for some of them homebakedgoodies there, Polly.

BOPolly is the best darned cook in the whole southern county! You sureknow where to come for the vittles!

MAUDEAgain with the vittles. What are vittles?

POLLYThey're ready to be eaten, that's what they are. So sit down and getto it folks.

(Jed enters. He is a tall, lean man, obviously browbeaten byhis wife.)

JEDHowdy. I'm so hungry I could eat a whole cow.

POLLYMaude, this is Jed. He's Martha Louise's husband.

MARTHAYou had to introduce him, didn't you.

JEDPleasure to meet you.

(By this time everyone is seated and has begun eating. Jedbarely acknowledges Maude and eats like a hog at a trough.Maude stares at him incredulously. He stops and belches loudly.Maude turns away.)

BOThis is sure good Polly. I'm sure happy you're my gal. What's wrong,Miss Maude? Aren t you hungry?

MAUDEI think I have had just about enough this morning, thank you.

MARTHAWell, let's get these dishes cleaned up so we can get back to work.There s still lots to be done.

MAUDEHaven't you already taken care of the lovely little pigs, chickens, andcows?

21

MARTHAStill have the cornfields to tend to, and the vegetables, then there isthe barn--

(Maude interrupts Martha Louise before she can finish.)

I get the point.MAUDE

(Martha Louise crosses to the sink and looks out the window.)

MARTHAOh, lordy! Will you look at that! My Jimmy is out playing Spanishbullfighter again with Mr. Logan's bull. If he ain't careful, he'llwind up skewered but good. I better go stop him, I reckon.

(Maude looks at Jed, who is still feeding himself.)

MAUDETake Rocky II, III, and IV with you, please!

That boy gets in more trouble.POLLY

(Martha Louise exits.)

Certainly is a thrill a minute around here isn't it?

Sure is. These eggsI better be movingtractor today, too.

are betteron to the

BOn ever, Polly.fields, though.

Mmm, mmm. But, I guessGot to work on the

(He exits.)

MAUDEExcuse me Polly, are these the only people you ever see? I haven'tseen a single other soul. I mean, they are wonderful, but isn't itlonely? Where are the other neighbors?

They live just a mile down thedon t get toghther every day.in town so that is when we dobig city and all your people.

POLLYroad a piece. They are friendly, but weI go to Church every Sunday and that is

most of our socializing. Not like the

MAUDEYou can say that again. I'm used to a lot of noise andbehind the closet wall who I wish I never heard from.didn't know there were so many differences between ourhow it is all the time?

neighbors rightI guess I just

homes. Is this

552

POLLYYes. It is kind of like paradise.

(Maude grimaces at the thought.)

But, your home sounds kind of fascinating itself. Did I tell you Ihave to talk at the high school graduation?

(Maude shakes her head.)

I thought it would be fun to tell them all about the different placesin the world--all the opportunities--I'd love to see the city and givethem a firsthand account.

(Maude's face brightens immediately.)

MADEYes, you must visit! It is simply amazing. Simply amazing. We have somany things there!

(Bo enters. Maude looks about the room, skims through magazinesand browses around the items in the house. Polly continues toclean.)

BOPolly, I got the tractor working like a charm. And as I started it up,I thought of you, Miss Maude. I thought, Bo, Miss Maude doesn't knownothing about the farm. What it looks like or nothing. So why don'tyou show her around? So how about it Miss Maude? Would you like totake a look at the farm? I got the tractor fixed and would be righthonored to show you around. You can ride right behind me on thetractor. Its no limousine, but it runs.

MAUDEThat is certainly generous of you, but, well, I don t know . . . I justgot my hair done and . .

POLLYGo on. I have to finish the dishes and you need to see the placeduring the daytime to really get a good feel for it.

MAUDEAnd smell of it! Whew! I don't remember that odor last night!

POLLYWhat odor?

(Maude looks at Bo and Polly. Neither understand.)

MAUDEOh, never mind.

BoWell, come on then. Ole Bessie and me are all ready.

MAUDEBessie?

(Maude exits with Bo and within moments the tractorstarting up.)

Have a good time!

is heard

POLLY

(Polly whistles while she works, with the happy look of acontented bird in her nest. The tractor is heard runningoutside and suddenly Maude is heard saying, "Oh no! Watch Out!"Bo is also heard. "Move your hands!" Polly looks out thewindow as she cleans, and then gasps.)

Oh my goodness!

(A crash is heard outside and Maude is screaming. Bo yells,"I'll get you. Hold on." Polly rushes to the door as Marthaenters through the front door.)

MARTHAThank goodness I got to Jimmy quickly...

POLLYI really don't know. Maude was helping Bo

(Maude enters and is wet and dirty)

POLLYWhat happened?

What's happening?

on the tractor and ..0.

(Laughs.)

What are you laughing at?MAUDE

(Bo enters with the steering wheel from the tractor.)

BOMaude, are you all right? Oh Polly, it was terrible. The tractor justcrashed into the well and Miss Maude went plum down into it head first.Luckily, I caught hold of her dress and was able to hold on so shewouldn't fall down too far.

MAUDE(sarcastically) Boy, was I lucky I didn't go any further. I might havegotten wet. Whereod you get your license anyway? The town dump?

23

24

BOLicense?

MAUDEThat explains why we headed straight for the well. I guess you neverhad your eyes examined either, huh.

B0Well, I see just fine. You had your hands over my eyes.drive with them open. I can't see through hands too well.

Don't try to blame Maude, Bo.

I usually

POLLY

MARTHAWhat was she doing in the fields anyway?

POLLYMaude you just sit tight. Bo, get a look at the damage.

(Bo exits.)

MARTHAWho would believe a cityslicker would be out on the land?

You mean "in" the land don'tcleaned up. I feel terrible.

MAUDEyou? Oh, this mess. I really

POLLYMaude, why don't you go upstairs and soak in the tub. We'lllittle shopping later today. To get your mind off things.

just do a

(Maude exits up the stairs smiling.)

MAUDEFinally, something I know how to do!

MARTHANow just a minute. Before you go gallavanting into town, who's goingto set up the barn? We have to go set up for the big hoe-down tonight.After all, it was all set up to give your cousin something to do andsee how we welcome foreigners.

POLLYShe is not a foreigner. But you are right.

(Polly goes to the door and yells for Bo.)

BO! Bo, come in here please! Bo can't work on the farm now.

(Bo enters.)

must get

Bo, go out to the barn an work on things there. I'll take Maudeshopping so you have time to work on the decorations.

(Bo nods and runs out the back door to get started.)

MARTHAJust how long is this cousin gonna stick around? Has she said yet?

FOLLYI have no idea. But, as far as I'm concerned, she can stay as long asshe wants.

(Martha Louise groans as Maude descends the stairs.)

I'm all ready to go.

Martha Louise?

MAUDE

POLLY

MARTHANo, I think I will finish up on things around here.

(Polly and Maude exit chatting about the stores they are goingto. Martha Louise yells out the backdoor.)

Bo? Bo!?

(Bo enters.)

Yes, Martha Louise?BO

We have lotsget that bigthings.

Yes, ma'am.

MARTHAof work to do, so get hopping. Tote those haybales in and

bowl for the punch. Empty the barn of all those farm

BO

(Jed enters as Bo exits.)

Martha Louise, honey.fiddles all set up andpartyhouse. They 11 be

JEDIt's all set. Thethe whole town is

hiding and awaiting.

boys have their jugs andconverging on this little

MARTHAWell, good. Polly wants this to be special, so have it all ready. Shewants to have bobbing apples set up and a good old-fashioned hay rideready too. Be sure we get done in plenty of time. Cause they will be

25

26

here soon.

(Martha Louise begins to put food together while Jed exits.Martha Louise works in the kitchen, moving things around as

cowfolks enter and exit through the back door, picking up traysand tableclothes. The lights begin to change. The outside

sunlight dims into dusk. Bo storms in; he is worried.)

BOMartha Louise!undone in time.been working so

Just cover themit.

We have troubles.There's no way to

hard but we forgot

The troughs in the barnget them drained either.about the troughs.

won't comeEverbodys

MARTHAover with the hay and let everybody know not to go near

(Bo starts to leave.)

Bo, did you get the flowers and all the balloons set up, too?

BO

Yes, ma'am. Oh my. Here they come already!

MARTHA

Wouldn't you know they would be early.

time. It ain't been but an hour! Hurry

them until you give me the signal. Just

Polly said we'd have lots ofout the back and I will stall

don't let them see you!

(Bo exits out the back door as they enter through the front door.)

MAUDE

So, that is what you refer to as shopping, hmm? I mean this morning

was interesting but this afternoon was something else. It was like

going into McCrory's or Revco compared to Macy's. Someday, you will

come to the city with me and see the real way to shop.

MARTHAPolly was raised in the country just fine without your fancy stores.

(They begin to unload their purchases as Martha Louise whispers to

Polly.)

MADEThose prices I could live with, though. They were downright nice.

POLLYMartha, is everything going well? You don't think she suspects do you?

MARTHA

No, but we need more time.

27

FOLLYO.K. Maude, tell me more about the city.

(Martha Louise rolls her eyes at the request.)

MAUDEWell, your smalltown schoolchildren could learn a greatmetropolis. You wouldn't believe the buildings--they

times as big as your general store. And there are

machines in the buildings. You wouldn't believe all thecars and the trucks. It isn't as quiet as out here, butnice.

deal about ourare a hundredcomputers andpeople and theit is just as

POLLYOh, it sounds lovely.

MARTHAJust watch yourself, miss. It ain't all

and wild things, but it isn't safe forherself without knowing all about it.

that lovely. They got moneya girl to go out there by

POLLY

Martha Louise.

(Bo steps up to the window and waves his arms to get Polly'sattention. Maude starts to turn up to the kitchen and Martha

Louise runs to the window to hide Bo.)

MARTHAMy, what a pretty day.

MAUDE

Yes, it is.

(She goes toward the window.)

MARTHABut, we don't want you to hurt your eyes.

(She pulls down the shade. Maude lookssmiles back.)

I think I better be getting out. I have to

later.

at her and Martha Louise

. . . do things. See you

POLLY

Bye. Maude, why don't you go upstairs and get cleaned up. We're going

out tonight in a fashion I think you'll like. Put on your best dress

and we'll hit the big town.

MAUDEHow long have I got?

28

POLLY

About a half an hour.

MAUDE

Only a half an hour? Good heavens! I have never had to rush so much

in my life. I better get started or I will never be ready! Half an

hour! I never!

(Maude rushes up the stairs and grabs her things on the way.

Martha Louise enters.)

MARTHAShe gone? Well, we are ready and a waitin'. Lets get her on the way.

POLLYAs soon as she is ready I'll bring her over. You just have everyone

sit quietly and turn the lights off.

(They nod in agreement. Martha Louise crosses to.the front door

and exits; Polly crosses to the landing and goes upstairs.)

CURTAIN

ACT I

Scene 2

(The curtain rises on the interior of a barn with hay along thewalls and around the room. It is very dark; the door creaks

open and Polly and Maude creep into the barn. The guests areall in their hiding places. When the lights come up, there isa table full of punch and food; a large tub for bobbing applesand a wagon with hay. The band sits on top of one group of

haybales. Balloons are floating all around the room andstreamers hang from the walls and ceiling.)

MAUDE

Why are we going in here? Polly, where are you?

(The lights flash on and everyone jumps up, yelling "Surprise,surprise!" Maude yells and jumps back. The music begins and all start

dancing. Polly interrupts.

POLLYGuys and gals, this is Cousin Maude from the city! Lets give her abig welcome!

(There are yells and catcalls. Everyone is happy.)

Maude, this is Mayor Limburger. His wife, Cheesey Mae.

MAYORHow do you do?

MAUDE

Fine, thank you.

MARTHA

Maude, what are you wearing? Looks richer than the cow pasture after

feeding time.

MAUDEPolly, is this the soiree we were heading toward? I somehow expected

it to be a little more . . . stylish.

JED

Maude, you sure look pretty, all gussied up.

(Martha Louise hits Jed over the head.)

MARTHAShe looks like one of them models--too pretty and fancy to touch. With

3)

their hair just right, and their attitude all wrong.

(Bo crosses over to them.)

BO

It's a pleasure to be in the same room with you, Miss Maude.

JED

I'd love to dance the Cotton-eyed Joe with you!

(Martha Louise hits him over the head.)

MARTHA

Stop your gabbing. You are embarrassing.

POLLY

Isn't this a grand looking ball? Why, look at all the pretty

decorations they hung up on the walls!

BO

You'd never know this was a cow and pig barn would you, Miss Maude?

MAUDE

Oh, no. Never.

(She squints in disgust at the hay under her feet and brushes

dirt from her dress.)

But this is certainly different from my penthouse parties on the

balcony.

(Martha Louise whispers to Polly.)

MARTHA

She's already cutting us down. She just don't care for our style of

hoe-downing or anything else for that matter.

FOLLY

Just be nice. She likes it just fine. She's just used to having

parties in a persons home rather than in a barn.

JED

They have barns in the city?

(Martha Louise hits him over the head.)

I was just asking.

(The band, located upstage center, begins to play a rousing

rendition of square dance music.)

1

MAYORExcuse us; we are going to step out and join the good folks.

B0Good idea! Miss Polly, I would be honored if you would dance with me.

POLLY

Why don't you ask Maude first?

BO

Maude, would you like to dance? I would love to have the pleasure.

MAUDE

Oh, no. I couldn't. I haven't the faintest idea what to do out there.

POLLY

Go on. It'll be fun.

DO

Its really easy. Come on. We'll just mix in with everyone else.

MAUDE

Well. . . oh, all right. But don't complain if I embarrass you.

(Bo and Maude join the rest of the dancers, who circle around

them.)

BO

See? It really isn't that bad. Is it?

MAUDE

No, it really isn't. I'm enjoying myself, actually. It's wonderful.

(The couples begin to dance quicker as the music pace quickens.

Bo and Maude stay center, and the others move quickly around

them.)

POLLY

Look at them. Don't they look handsome together? And they look like

they're having fun. Oh, I'm so happy things have worked out.

MARTHA

The night's not over yet. I wouldn't count on things so soon. She

isn't from around here and don't rightly belong here.

POLLY

Martha Louise, you're a real partypooper.

JED

Come on, Martha Louise. Let's trip the light fantastic.

MARTHA

Jed, cut it out. I can't dance and you know it. The only thing you

can trip is yourself.

JEDWell, Maude's out there. Don't you think we ought todo it?

When you put it that way ..

(Jed and Martha Louise goPolly moves closer to thefriends.)

show her how to

MARTHA

out on the floor by Bo and Maude.refreshment table and chats with her

BOAi this the life?

I don't know. I think this isMAUDE

getting a little fast for me.

BOHold on, we're just getting to the good part.

MAUDEI m not sure how much of the good part I can handle.

BOWow, now we are really moving. Just you hold tight.

MAUDEBo. 0.I' getting dizzy.

BOHere we go!

MAUDEOh no!

(They begin moving so fast that Bo has actually picked Maude upoff the ground and is swinging her in the air. Suddenly, shetries to put her feet down and Bo spins her out; she lets loose

of his hand and flies into the trough. Bo crashes into thehaystack where the musicians are playing, knocking over theirstand and they fall on top of one another, still playing. Pollyrushes over to help Maude. Maude gets up, sees her dress, and

backs away from the trough. She moves right into the path ofMartha Louise and Jed, who are now in the same, fast-pacedmovements.)

MARTHAHey, watch out where you're going!

33

MAUDEI'm so sorry! I just . .s.

(She backs up, and trips Jed into other dancers.)

JEDOh no! Help!

MAUDEExcuse me!

(Jed falls into the punch bowl on the table.in the barrel for the apple bob. He comes uphis mouth.)

MARTHAJed, behind you! Oh no! You see what you done,you, Polly!

The mayor ends upwith an apple in

cityslicker! I told

POLLYBo, get out there and help Maude. Before someone gets hurt.

(Maude has turned again and knocked someone else into the trough.Martha Louise is still down, so Maude crosses to help her.)

MADEMartha Louise, I'm so sorry. Please let me help you up.

(As Maude rushes to help Martha, she knocks over more hay andpeople jump onto the wagon to escape injury. The sudden joltspooks the horses who run off, pulling the wagon with them. Thefloor begins to clear as the guests rush after the wagon.)

MAYORYou really done it this time.

CHEESEY MAEMy husband has never looked like this before!

WOMANThat's my husband on that wagon. Why don't you justyou come from?!

MADEI'm really sorry things turned out like this. I just

. . oh dear.

go back to where

tried to stop and

POLLYMr. Mayor! Please! Maude, it isn't your fault. Mr. Mayor!everyone! Come back!

(Polly runs out and Maude is left alone in the barn.)

Please,

34

MAUDE

Polly? Martha Louise? Bo!?

(Man gets out of trough, scaring Maude. He exits.)

Oh my. I just can't get anything right here. I just want to be backhome!

(She sits down on a stack of hay and suddenly the remaining hayfalls on top of her and she shrieks.)

CURTAIN

35

ACT I

Scene 3

(The curtain comes up on a train station. Polly and Maude areoffstage. Bo, Martha Louise, and Jed are sitting on a benchcenter stage. Stage right, a large backend of a train car sits.

The rest of the car is offstage. There is a staircase to climbup to the door into the car.)

BOI'm just sorry Maude took things so hard. I sure feel bad about allthis happening to her.

MARTHAIt's her own fault. She started it all. BroughtShe had no right out there with you--whooping itwoman. She should know better.

it all on herself.up. She's a grown

BOI just wish things would have turned out better. She's devastated.Iwonder if there's anything we can do to bring her about. Make her feelbetter, you know?

MARTHAWhy make her feel better?

(Polly and Maude come in with Maude's suitcase packed.)

MAUDEI've worn out my welcome here. It's time for me to go back home.

FOLLYDon t be silly. You are very welcome here.leave.

That's right, Miss Maude.things to do! We stillPlease don't go.

No one wants to see you

BOWhy, we were just sitting here thinking of

have a lot of things to show you out here.

MARTHAI say let her go if she is so inclined. The party guests won't missher.

POLLYMartha Louise. Where is your neighborly spirit? How can you say sucha thing? After all--

36

MAUDENo, it's time for me to leave. Ive been here long enough and it willbe nice to get home again. I still have many things to do once Ireturn.

POLLYBut, I was so happy having you here. Ilonger.

We can be together again soon!

All aboard!

I have to get aboard.

wish we could be together

MAUDE

CONDUCTOR

MAUDE

(Sets her purse down to hug Bo and Polly. The conductor grabsher baggage and puts it on board the train. Maude climbs aboardwithout her purse and sits down in the last seat next to thewindow. Polly sees Maude's purse still on the ground and runsup to put it on the train. The conductor follows her on board,and pushes her in the doorway. He locks the door with Pollyinside the train.)

POLLYWait, I can't stay on board. Let me off!

BOPolly! Wait! Stop the train! She doesn't belong on that train!

(The train begins to move off and Polly can be seen trying toopen the door. Bo stops another conductor.)

She's not supposed to be on the train. Can't you stop it? That's mygirl!

Sorry. I don't work onman on the train. Andturn around at the next

Where is the next stop?

CONDUCTOR #2that train. Only way to stop it is to be theI am not on that train. Afraid she'll have tostop and come back.

BO

CONDUCTOR #2Big City.

BOOh no!

37

MARTHA

Well, she has her dream. She's off to the big city.

(They look off in the distance as train whistles are heard.)

CURTAIN

38

ACT II

Scene 1

(The curtain remains down while Polly and Maude stand out fronton a street corner. Several passers-by rush each direction withpackages. Loud city noises can be heard clearly.)

POLLYMy feet hurt. Can't we stop?

MAUDEYou need clothes! I can't imagine you being stuck on that train likethat. Oh, there's a great sale at Bloomie's. We'll stop there.

Why don't Iyou.

POLLYjust go buy a ticket home? This is so much trouble for

MAUDE

Not at all! Besides, you said you wantedyour chance. You can't get another trainto at least stay the night.

to visit the city.until tomorrow, so

Here'syou have

POLLY

But, my speech at the school. And who will take care of my farm?

MAUDEYour speech is still a week away, and Bo and Martha Louise

care of the farm. Send them a telegram. They're friends.friends for? Come on, we still have lots more to do and see.

will takeWhat are

POLLY

Okay, but can we slow down, or how about stopping? Please?

MAUDE

Oh, very well. I'll just turn here and we can drop off the packages

and go after that.

(They start to move forward to cross the stage to where they

want to go)

POLLYBoy, it is really noisy around here. I haven't heard so much noise

since Mr. Jackson's cow stepped on the cat's tail and the horses

thought a snake come into the yard.

MAUDE

Oh, don't you worry about it. It's just the hustle and bustle of the

city.

39

(The girls continue to hurry across the stage. Polly drops h erpackage.)

POLLYOh, I can't carry all these heavy packages.

MAUDELet me help you. There you are. Come on, we have lots to do. Hurryup!

POLLYWait up! Wait! Gosh, everyone is in such a hurry. They're all runningaround so fast. Is there a fire, Maude? Maude?! Maude !

(Maude is far off stage. Polly, noticing she is gone, hurriesto find her and exits.)

CURTAIN

ACT II

Scene 2

(The curtain rises on an elegant penthouse. It has an expensive

look to it. There are two levels and much plush furniture.

Paintings adorn the walls. Sculptures sit in the corners. The

kitchen door is upstage center with an armoire next to it. A

double door front door is stage right. Stage left is a

picture window and french doors which lead to the balcony. A

sofa and love seat are center stage. Two armchairs are on

either side. A large coffee table is centered between the

furniture. A coat rack sits next to the front door. Stairs run

up the center onto a hallway which creates an overhang. There

are three doors off the hallway. One left, one center and one

right. These are Maude's room, the bathroom, and the guest room

respectively. The stage is barely lit as Maude and Polly enter.

Maude turns on the lights when they enter.)

MAUDE

Here we are. Back home after a good day at the stock market.

(She laughs. Polly politely follows.)

My, we have had a very adventurous day. Let's drop these off and go on

our way.

POLLY

No! Please, I must sit!

MAUDE

Well, if you insist. Listen, while we are just sitting here, let me

show you some things and get your opinion.

(Maude begins to pull out her purchases while Polly makes

herself comfortable on the sofa.)

My, this hat is just the right thing. Do you think I can get away with

these earrings with these shoes? Oh, and what about this necklace!

Isn't it the grandest thing?

POLLY

We certainly went a long way. I would have thought with the distances

I walk, I would be able to keep up. I must admit it was sure nice to

have that elevator machine-but it pretty near made me sick moving so

fast.

MAUDE

That's what the city is like--moving quickly, moving fast! Come on,

let's see what you bought!

let's see what you bought!

POLLYI didn't buy quite like you did. I found this beautiful scarf forMartha Louise, of course. Then I got Jed this handkerchief. Bo--forhim I found this tie. He will really like this. And, I picked up afew other little odds and ends for the other folks back home. And afrock for me just till I get home tomorrow. I am really embarrassedabout this whole thing.

MAUDEDidn't you get a new dress for yourself? New shoes? Jewelry?

POLLYNo, but I don't have the kind of money you do.

Oh for heaven'sremembered you?you.

MADEsake. Well, aren't you lucky your cousin Maude

I picked up this evening dress and matching shoes for

POLLYOh, Maude. You shouldn't have. Thats toocouldn't. Where would I wear such a thing?

much money and I just

MAUDEIn the city! Take it. It's my gift to you. Besides, I'myou out of here so easy. You said you wanted to visit.chance.

not lettingHere's your

POLLY

Really, Maude . .

MAUDE

It's for your speech. C'mon! I saw your

turn to show you the big, glorious city!little place.

POLLYOh, all right.

(Polly holds the dress up to herself and looks at it.)

This dress is so beautiful. I just don't know how to thank you.

(Victoria, like Maude in her dress and manners, knocks andwalks into the room. She is elegant and fancy. She is

self-confident and the city version of Martha Louise.Accompanying her is Jonathan, Maude's boyfriend. He is handsomeand a snappy dresser. He is very GQ and stylish.)

VICTORIADarling, how are you?

Now its s my

42

(They hug.)

MAUDEPolly, this is my best friend Victoria. She works at the same place Ido. She is really a trendy, fashion-setter. And this is my beau,Jonathan.

JONATHANMy pleasure, madame.

POLLYIt is so nice to meet you.

VICTORIACharmed, I am sure. What a quaint dress you are wearing. Wherever didyou get it? The Salvation Army?

(She laughs.)

And wherever did you find her, Maude?

MAUDEShe's my cousin from the country. She sort of "lost" her way here fora few days.

(To Folly.)

Isn't she a character though? You'll learn to love her any minute now.

VICTORIAOh, Maude. I came to tell you how delighted Edgar and I were to findthat you were back this evening. We told the gang, and everyone willbe here for a little soiree tonight. Especially to welcome you backinto civilization after that terrible jaunt into the country. I shudderto think of it. Anyway, Rat Lowe and Mousey Streep will be here. Andyou will simply adore the new gown I purchased. Edgar will be sellinghis AT&T stock just to pay for it!

(Maude and Victoria laugh.)

MADEOh my, but you have such a wit. Tell me, how do you think Polly willlook in this dress?

VICTORIAVery chic. Stunning. Jonathan?

JONATHANFabulous.

43

VICTORIAIt shall knock the professor's false teeth out!

POLLYThat sounds painful. Perhaps I won't wear it.

VICTORIAWhere did you find her? She is adorable.me, Polly, what line of work are you in?

Farms and handmade things.

Barbaric, but adorable. Tell

FOLLY

VICTORIAOh, the futures business. Well that seems to be rather lucrative. Iunderstand how you purchased that expensive dress now.

(Polly tries to tell her she didn't buy it, but Victoria cutsher off.)

You shall enjoy the company of Edgar. He rather enjoys talking aboutthe futures business. You'll just need to start him talking about thepoint and the streetmen's ideas on where to move your funds and ..well, you know how the game goes.

MAUDEJonathan, would you fix us a couple of drinks please? Victoria, ifeveryone is coming here, I must have the Chardois caterers arrivingabout sixish for the refreshments and the condiments. And theflorists? Will they have the arrangements sent over?

(Polly sits and watches the two girls talk.)

Oh, yes. And that remindsset up an appointment withI told her how this wasPresident and all coming.

VICTORIAme. I had the most dreadful time trying toDelores. She wouldn't see me yesterday andthe party of the century--what, with theBut, she says, I just can't come over there.

FOLLYExcuse me--

VICTORIAYou'll have to go to Monsieur David and see if he can fit you in. Iswear, you would think that they would have a two hour slot left open.Especially for me.

POLLYExcuse me--

VICTORIAI just don't know what I am going to do about her.

44

MAUDEYou know how busy things get this time of year.

POLLYExcuse me. Did you say the President? Is HE going to be here? I hadno idea . . .

VICTORIADarling, around here, everyone who is anyoneMy, you are a strange girl. I would lovereally must be going. I have so much to do,

MAUDEOh, yes. Look at the time. We only have threeplease accompany Polly while I go make a couple ofyou?

(Maude exits. The girls sit.)

VICTORIASo what brings you to the miracles of the city?

arrives at these parties.to stay and chat, but I

it just isn't funny.

hours. Victoria,quick calls, will

POLLYA locked train.

VICTORIAHow delightful you country people are.Shakespeare wrote about. Tell me, whatlittle home?

Just like the naive jokersdo you like most about our

POLLY

Well, its much bigger than our country town, and--

VICTORIAIsn't it though. Miles and miles of stores, concrete, and expensivethings. Oh, can you imagine. It is absolutely divine how these thingsare, don't you think?

POLLYI try to, yes.

(Maude enters from the kitchen.)

MADEVictoria, we will have everything ready promptly.check with Francois for me.

Please be sure to

VICTORIAOf course. Ta ta. Darlings, I will see you fashionably at 8:15.

(Victoria exits and Maude rises to get dressed.)

45

MAUDE

Hurry, Polly. Less than three hours! Not like the half hour you gaveme, but still not long enough!

POLLYThree hours sounds like plenty of time. Why must we hurry?

Oh, darling,much to do.

MAUDEto get into makeup and the right clothing; we just have so

Plus, we have to be ready a little early while thecaterers set things up.

POLLYBut what about the cleaning? With all thesecoming--don't we need to straighten up?

MAUDEyou are absolutely right. I can't believe the maidsjust have to fire them all.

important

are late.

people

I will

(Maude exits upstairs and Polly is left alone.)

POLLYI wonder what I've gotten myself into.

(Maude pops her head out from upstairs.)

MAUDEPolly, we have things to do. Come upstairs! Jonathan, would you checkon how the furniture is set up, please? Set up the extra table andchairs.

(Polly begins up the steps while Jonathan works on putting upthe furniture. Polly turns and sees him. She looks up atMaude's door, then crosses down to help him.)

POLLY

This is really exciting. I have never been to a city party before.

Oh, Polly, ithoe-down once.

JONATHANis completely different from the country. I was at a

You just can't imagine the difference in atmosphere.

POLLY

Has Maude told you about our little country social?fun.

It was terribly

(Maude yells down from upstairs.)

MAUDEIt was precious.

(Maude crosses from one door to another upstairs.)

46

POLLYEveryone enjoyed her company so much.her onto the dance floor. That was aseen it.

Except when my boyfriend tookmess! Jonathan, you should have

MAUDENo, you should not have seen it!

(Maude crosses back and disappears.)

POLLYMaude, will you ever forgive me? I wish it wouldn't have happened.But, that is the past. Now to tonight. Victoria is interesting. Ihope to meet all of your friends. If you are any indication, I justcan't wait.

Why, thank you. You're very

what you have seen out in the

You can get lost so easily.

JONATHANgracious and generous.city?

How do you like

FOLLY

JONATHAN

And many people have.

FOLLY

Maude has told me so much about it, I don't know where to begin.

JONATHANYou and she have sort of traded places, hmm?

FOLLY

You could say that, yes.

JONATHAN

We certainly didn't expect Maude to be back so soon, and not with her

cousin.

FOLLYI didn't expect it myself!

Well, we're happy you're here.everything.

JONATHANHope you get to stay on awhile to see

FOLLY

I will stay for a short while, but I have got to go

speech I am giving.

back soon for a

47

JONATHAN

A public speaker? Going into politics, are you?

POLLYNo, not at all.

(Maude enters from her room. She is now in a robe and jewelry.)

MAUDE

You know, Polly, you had some interesting little foods at your party,but we will have things you never dreamed of getting out there on thefarm. There will be caviar, lots of music and dancing, imported

cheeses and pies, and champagne. Many important people will come in

designer dresses and fancy cars. Elegance and beauty are the key. Not

quite like your simple little get together. But . . . oh, you will get

the idea soon enough.

JONATHAN

The people are no different from the people you know,

exaggerates so.

It all sounds splendid.

Polly. Maude

FOLLYI cant wait.

(Pause.)

What's caviar?

(Maude and Jonathan laugh.)

MAUDECaviar is . . . I think it is . . . in other words . . .it's fish eggs.

(Polly reacts disgustedly.)

It's really scrumptious. A delicacy.

JONATHANVery good indeed.

Fish eggs?POLLY

MAUDEYou'll love them.

FOLLY

I'm willing to try anything once--almost.

MAUDEI came down here for you to look at these earrings.don't they. But, look at my hair. I just don t know

do you think?

They go so wellwhat to do. What

48

JONATHANBeautiful.

MAUDEPolly?

POLLY

It looks fine. What's wrong with it?

MAUDEWhat about this?

That's nice too.

How about this?

What is wrong

That is also nice, but . .

POLLYwith the way it was?

MAUDE

FOLLY

MAUDE

This way?

That's what you started with.

Well, I always liked this way

FOLLY

MAUDEbest.

(Maude goes back upstairs. Jonathan crosses toward the door.)

JONATHAN

She is always like this. Listen, I must

clothes. I will return shortly.go get some things and change

POLLY

I will freshen up myself and we will be all ready for the guests.

(Jonathan exits and Polly takes out her compact to freshen her

makeup. She straightens the tables, then takes her boxes

upstairs to change. Suddenly the doorbell begins to ring. It

is loud and persistent. Polly tries to get rid of the box and

finally crosses to the door.)

Just a minute! Hold your horses. Hello?

(The door slams open, pushing Polly behind it. Francois, a

caterer with a phony French accent, enters, followed by an army

of servers with trays and clothes and other party necessities.

Francois knows he is important and flaunts his ability.)

49

FRANCOISCome, people. We have a great deal of work to do. No dawdling. Come

on. Hurry, hurry, hurry. We must get busy, busy, busy.

(Polly gets out from behind the door. Francois mistakes her for

a maid.)

Why are you still here? You should be gone. Ah, but we need all the

people we can get to help us. I guess I can use you. The table.

(He gestures and goes quickly into the kitchen area. Pollylooks at him, but goes to the table where she picks up the

tablecloth and lays it out. She knocks the napkins on the floor

and bends over to pick them up. Meanwhile, the waiters are busy

bringing out trays full of silverware and other items. When

Polly stands up, she knocks over the waiter with the silverware.

There is a great deal of clatter. Francois hurries out.)

What have you done? You baboon! Look at this mess! Can't you do

anything right?!

(Polly pouts as Maude enters.)

MAUDEFrancois, what is that racket?

FRANCOISJust a problem with some of the help, madame.

promptly.

MAUDE

Really, Francois, I just don't have enough time as

guest here with me now. Please handle the problemwork. No more dilly-dallying around.

FRANCOIS

Right away, madame. It certainly won't

idiot jumped right in the way of my men.again.

We will handle it

it is and I have aquickly and get to

happen again. This bumblingShe will never get in the way

(To Polly, who he has pulled up off her knees.)

You're fired.

MAUDEThis certainly won't ever happen again, Francois.

is my guest! This is my cousin, Polly, from the

who you blame and fire next time!

POLLY

It was really my fault. Don't blame him.

This "bumblng idiot"country. Be careful

50

FRANCOIS

No, madame. It was their fault. The . . .lady . . . will pardon my

erroneous decision.

(He puts his men back in order and hurries them about.)

You knuckleheads! Why did you run into that poor, sweet girl? Are you

so stupid you could not see her? You're lucky I don't fire the whole

lot of you!

MAUDE

Polly, what are you doing out here? You should be getting ready for

the party tonight. Really, you shouldn t be seen with them. You

shouldn't bother yourself. Don't you see? That is why I pay the

caterers. I mean, well, never mind dear. The guests will be here any

minute. Come on. We don't want the guests to see us before our grand

entrance.

(Maude rushes upstairs and Polly strays behind. Francois and

his men are entering and exiting.)

FRANCOIS

The guests are on their way up madame. We best hurry or we shall never

be on time. Hurry, hurry, hurry.

POLLY

Is there anything I can do?

FRANCOIS

Don't you think you have done enough!? Please, get those pies on the

table and be careful. Watch out for that cabinet. This cabinet

belonged to Louis XIV. It is ancient. One of the most valuable pieces

of furniture ever assembled.

(He gathers his men and continues them rushing about and she is

left standing in the center. The doorbell rings. Polly waits

for one of the men to answer it. The doorbell rings again. Folly

tries to stop one of the men. No luck. Finally, she moves to get

it.)

POLLY

I'll get that.

(As the servants continue to run about, Polly opens the door

and all the guests run in. Victoria and Edgar lead the way. As

each enters, they leave their coats on top of Polly.)

VICTORIA

Here we are, everyone. A little bit late--ready to celebrate.

(Francois enters. Seeing the crowd, he claps twice and the

51

servants gather their things and exit. Polly remains

under the coats and the guests surround her and begin

loud roar of noise. Suddenly the upstairs door opens

enters)

MAUDE

Hello, everyone! How are you? I am so

make it here to welcome me back and to

cousin from the country, Polly. Hello,

Mayor. The senator. You look marvelous.

buriedto build aand Maude

happy all of you were able tomeet my gracious, and sweet,

Mr. President. Rat Lowe. Mr.Oh and your wife----as usual.

(The crowd applauds her as she enters. She doesn't see Polly.)

Polly? Polly! I would like to introduce you! Where is she?

(Jonathan enters while everyone begins to search.)

Jonathan, where is Polly? Did she go with you?

JONATHAN

No. I left her here to get dressed.

EDGAR

Good heavens! There is something in the corner with the coats!

(Guests crowd around as Polly makes her way from beneath the

coats.)

POLLY

Here I am, Maude. No one was able to get to the door . . .

MAUDE

Just like my cousin! Always joking! Welcome her

everyone!

(There is lots of clapping and laughter.)

Polly, you know Victoria. This is Edgar, her husband.

POLLY

It certainly is nice to meet you.

to the city,

EDGAR

The pleasure is all mine.

(Edgar kisses her hand. Victoria knocks him down and away.)

VICTORIA

Really, Edgar. Such a display.

JONATHAN

Polly is the pleasureable woman who gave Maude her delightful trip in

52

the country!

(The group applauds Polly.)

Maude says her visit was quite an adventure. We should be really happy

you decided to come to the city for awhile and show us how to have an

old-fashioned, good time.

POLLYThank you Jonathan. I feel very much at home here.

MAUDE

Come. Francois. Music.

FRANCOIS

Immediately, madame.

(The music begins and couples begin to dance. Polly, Maude,

Victoria and the men go to the table.)

VICTORIA

This is some spread we have for tonight, Maude. We definitly need to

do this more often. Especially if we are going to get these people

back again.

JONATHAN

Polly, this is Mr. Mozzarella Sinatra. And this is Gerbil Burns.

POLLY

It is definitely a pleasrue to meet the two of you.

you use to play baseball for the New York Giants?Mr. Burns, didn't

JONATHAN

Not exactly. Mr. Burns is a comedian.

Really. He doesn't look funny.what I mean is that .. .

POLLYI mean, you look funny, but, well,

JONATHAN

I think he understands.

POLLY

I am really sorry. I could have sworn you played on the

about you, Mr. Sinatra. Did you play ball!?

team. What

JONATHAN

Mr. Sinatra is a singer. Surely you have heard of him haven't you?

FOLLY

No, I'm afraid not. Do you open the games with the Star Spangled

Banner?

AUDE

Jonathan, why don't you and Polly dance?

JONATHAN

Splendid idea.

(They glide onto the dance floor. They bump into people often,

so Polly excuses herself.)

JONATHAN

Excuse us. These people are certainly close, aren't they?

FOLLY

I'm not very good at this. Would you like to stop? I appear to be

hitting every other couple on the floor . . ,excuse me . . . I am sorry

. . . It me just step off your beautiful dress.

JONATHAN

You're starting to get used to this. I can tell.

POLLY

Ill just go back to the table.

(Polly runs into another couple, tripping them. They fall into

the couch. Polly swings around to help them, knocking Jonathan

backwards into the group. They fall down. Polly turns back

around to help Jonathan. She pulls him up, but catches her

dress and he falls back into the chest. Edgar and Victoria also

are on the ground.)

Oh, excuse me. I am so sorry.

(She knocks more people over and hits the table, causing a pie

to fall in Victoria's face.)

MR. MAYOR

Get Out of our way, you klutz!

POLLY

Oh, please excuse me, Mr. Mayor. Allow me!

(Victoria throws a pie at Polly, but misses, and hits the

mayor.)

MAYOR'S WIFE

Look at my beautiful dress!

POLLY

With some water, that will come right out. Here is a pitcher and a

rag. I'll help you.

(Polly is bumped by another guest and the water spills on the

54

wife and another man, as well as on the senator.)SENATOR

How can you be so clumsy?

POLLY

I'm sorry. Here, let me use this towel to dry you off . .

(Polly grabs part of the tablecloth and drops all the food on

the guests, including the senator. A pie fight ensues.)

Really, I am . . . oh, boo hoo. I just can't do anything right.

Martha Louise was right. I donut belong here.

(Suddenly there is a loud noise and the dog and cat asleep

outside the hole have awakened. Polly runs out to the door and

Maude sees her and grabs Jonathan to follow her.)

MAUDE

Polly, come back! Jonathan. Get out of the cabinet and stop her !

(He does so, and, as he leaves, the other guests begin

screaming about the animals.)

GUEST ONE

Now she has done it. She has wakened the cat and dog.

GUEST TWO

We will all be dead for sure !

GUEST THREE

We should have known better!

MAUDE

Quick, everyone exit through the escape door !

(As everyone clears, the lights go down.)

CURTAIN

ACT II

Scene 3

(The curtain is down and Polly runs onto the apron.)

POLLY

This is terrible. I have ruined the party, awakened the cat and dog.

Oh, I just must get back home. I cant . . .

(Suddenly, the street sounds become much louder. Polly steps

forward and the sound of a rushing car zooms by her. She steps

back and moves back to the other side of the stage.)

This is so different. The country is so nice and peaceful. There, I

don't have to worry about the animals.

(She screams and the shadow of a cat can be seen. She runs he

other way and runs right into an Irish Policerat.)

Oh, help! Help! Oh, thank goodness! That . . .I saw . . .I just ame

from . . . oh well, . . oh. (She faints in his arms.)

POLICERAT

Well, Ill be a monkey's uncle. Wonder where this lassie came from.

That old alley cat :an't get to her down here. I guess she needs some

help. Ill just take her over . .

(Jonathan runs on)

JONATHAN

Thank you, officer! I have been looking all over for her. Where was

she?

POLICERAT

Seems that old alley cat frightened her. She's not from the city is

she? We need to get her back to her own home. There s that cat again.Oh no, it can get down here! Look out!

(The shadow of the cat may be seen again. Polly is awake and

she sees it. Jonathan is pulling her back as the policerat

tries to fight if off with his nightstick. There is a swat of

the paw and he falls backward. Jonathan tries the same and also

falls. Polly rushes forward, and, instead of using it like a

sword, she throws it in the cat's face. A screech is heard.

She quickly takes off her cape and picks up a rock. She twirl.

the cape the same way Davey used to kill Goliath and flings the

rock. The cat meows loudly again and the shadow is seen leaving.

As she helps the two men up, the crowd comes on and cheers her.

They lead her out as the lights fade.)

CURTAIN

ACT II

Scene 4

(The lights come up on the podium in front of the curtain. The

principal stands behind the podium. Martha Louise, Jed,

Victoria, and Edgar sit to one side; Bo, Maude, and Jonathan sit

on the opposite side. They are talking.)

BO

I sure hope Polly is ready for this. She seemed awfully nervous.

MARTHA

She's doing it at all--that surprises me. I

fool for going to the rathole in the first

give a speech.

think she is aplace just to

dad-blamedbe able o

(The principal stands and speaks to the audience.)

PRINCIPAL

It is with great pleasure that I bring to you our

tonight-our own country hero! Ms. Polly Mouse !

POLLY

I am home !

key speaker

(The audience applauds.)

Why, thank you! It is with great pleasure I address this Prestigiousgroup of graduates. I come to you straight from the big city--which is

like another world. It was frightening and unexpected; it made me want

to leave there; but, it was full of new ideas, new concepts and

different people and places. As you leave here today, you will go into

a new place--another world. You leave the safety and sanctity of a

world you have known for 12 years to step out alone and afraid. But,out there are people and places just like the ones you already know.

The names and faces may be different, but, what s behind them isn i .

My cousin Maude and I were raised in different places, but, we aren'treally that different. What makes us even more alike is our

differences. Because that is what makes us closer--a need to learn and

enjoy something new. So as you leave here, be strong and be bold.

Strive into a new world ready to learn and to live!

(She bows and the others stand and bow. The curtain rises andthe rest of the cast joins them.)

CURTAIN CALL

for

r - ay

PRODUCTION NOTES

The play has many aspects which must be carefully looked at before

performance. The effect of the play rests on the use of the

imagination. Specifically needed is a creative set used to accentuate

the different places and the size of things. This accentuation can be

achieved in many different ways. To help get a director started, the

following list of things to do for the specifications mentioned in the

script has been compiled.

Act I, Scene 1

The set requires pieces which reflect human items made into mouse-sized

items needed to furnish a house. Some suggestions are

A sofa: matchbox with a cover;

Armchairs: cottonballs with wood coverings for arms;

A lamp: battery with a light attached at the top;

An endtable: small medicine box;

A dining table: thread spool with a stamp for a tablecloth;

A dish cabinet: matchbox on end with shelves built in;

A broom: pencil with feathers hooked onto it;

A backdoor: electrical outlet which opens and closes;

57,

58

A foodtray: bottle cap;

Cleaning rags: leaves;

Bags: strings tied together.

For the curved shape of the roof, curtains may be used to round it off

and make a semicircle around the proscenium arch. Also, if the walls

look like the inside of a wall with insulation and nails sticking out

on which Polly has stuck paintings or her homemade items, the room will

look more realistic.

As far as costuming is concerned, the characters need only ears,

whiskers, and a tail to give the impression of a mouse. Their makeup

can create the facial look of a mouse. Going so far as to make the

whole costume look like a mouse would be acceptable so long as human

clothes are put on. Items such as an apron for Polly and a vest for Bo

will make them look "dressed," but, trying to make mouse costumes for

all the characters probably would be outside the budget of most theater

groups. The next best thing is to give them human clothing and th

suggestion of being a mouse, such as the ears, etc.

Act I, Scene 2

The interior of the barn should be in the same style as he

kitchen. The hay can be real, as can the troughs and water in them.

The door which enters the barn could be through a lasso or some other

items found in a barn. The punch could be in a thimble or pencap. The

59

apple bob barrel could be a barrel or in a pill bottle. oversize tools

and barn items, like a stool, should be found all around the barn. The

stool could be a place for the band to play from and the decorations

could be entwined in the tools. The wagon with the hay for the hayride

could be a platform with fake wheels which shows only halfway on the

stage. The actual pulling system could be in the wings. When it is

time to take the wagon off, a backstage crew could quickly pull it

forward, making it appear as if it were taking off for the unknown.

Act I, Scene 3

The train station has many possibilities. The director may opt

for a toy train with a big engine transformer visible with a mouse

pushing the lever forward when the train is to leave, or use oversized

wheels, signifying that the mice use human trains wheels as Iheir

transport. No matter what the solution, the same kind of assembly

should be prepared as was used for the wagon in Act I, Scene 2. The

most important aspect here is that the stage be decorated with some

train tracks or barrels and the accoutrements of a loading dock.

Again, these items may be oversized human things, or smaller human

things made to use by the mice.

Act II, Scene 1

For this scene, there is no real need for scenery. The stag may

be empty and the effects achieved with lighting. There should be signs

60

lighting up and silhouettes of cars and people walking by on the

curtain behind.

Act II, Scene 2

Made's apartment, though more sophisticated. should follow the

style of Polly's kitchen. The insulation and nails may be found, but

they are fully decorated. The door should be a fancy light switch or

gold socket. Light fixtures should hang from the ceiling, made from

parts of a human lamp. The furniture may be close to that of the first:

shown in Polly's house, but it must be more elegantly arranged. There

should be cottonball ottomans and needles crossed like swords over a

bottle cap representing a coat-of-arms. Paperclip art and fuses made

into sculptures should adorn the apartment. Again, for the trays and

things brought out by the servants, bottle caps, ashtrays and other

items should be substituted for the real thing.

Act II, Scene 3

The street scene should resemble the first scene of this act, with

silhouettes representing the different items. The shadow of the cat

can be made by using a large light off stage, shot upward and aimed

high on the curtain or a false wall brought down from the flies. It

might be a puppet done in front of the light, so the paws may be moved

and manipulated for greater action.

Act II, Scene 4

This scene requires even less in the way of scenery. The podium

may be a key or a bottle of lipstick or something along those lines

which Polly can stand behind.

BIBLIO KAPHY

ConsuIt Jacobs, J. "Aesop." Enoyclopedia Arnerian. 1958 cd.

Hodre, Francis. Play Directig Analysis, Com unication, and Style,

nd ed . Englewood Cliffs, NJ: rentice-HaiI, In., 198c 0