MKS23 Music Man Callback - Marian, Mrs. Paroo, Winthrop, Amarylis
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Last updated 1:10 AM on 2/25/23
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15 Terms
1
New cards
**amaryllis:**
Amaryllith – Amaryllith.
*(SHE moves closer to WINTHROP, stoops and looks up into his face as HE continues to stare at his feet. SHE turns to MRS. PAROO with surprise.)*
He’s crying.
*(WINTHROP bolts out of the room. MRS. PAROO follows him.)*
\
Why does he get so mad at people – just because he lisps?
Amaryllith – Amaryllith.
*(SHE moves closer to WINTHROP, stoops and looks up into his face as HE continues to stare at his feet. SHE turns to MRS. PAROO with surprise.)*
He’s crying.
*(WINTHROP bolts out of the room. MRS. PAROO follows him.)*
\
Why does he get so mad at people – just because he lisps?
**marian:**
It’s not only because he lisps. That’s just part of it, Amaryllis.
It’s not only because he lisps. That’s just part of it, Amaryllis.
2
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**amaryllis:**
What’s the other part?
What’s the other part?
marian
Never mind, dear. It’s just that he never talks very much.
Never mind, dear. It’s just that he never talks very much.
3
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**amaryllis**
Not even to you and your mother?
Not even to you and your mother?
**marian**
No, dear. We all have to be a little patient.
No, dear. We all have to be a little patient.
4
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**amaryllis**
I’m patient. Even though he doesn’t ever talk to me – but I do him – every night – I say goodbye to him on the evening star. You have to do it the very second you see it, too, or it doesn’t count.
\
“Goodnight, my Winthrop, goodnight. Sleep tight.”
\n
*(Starts to cry.)*
I’m patient. Even though he doesn’t ever talk to me – but I do him – every night – I say goodbye to him on the evening star. You have to do it the very second you see it, too, or it doesn’t count.
\
“Goodnight, my Winthrop, goodnight. Sleep tight.”
\n
*(Starts to cry.)*
**marian**
There, darling, don’t cry, you have lots of time. If not Winthrop, there’ll be someone else.
There, darling, don’t cry, you have lots of time. If not Winthrop, there’ll be someone else.
5
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**amaryllis**
Never! I’ll end up an old maid like you.
I’m sorry, Miss Marian. Can I play my cross-hand piece?
Never! I’ll end up an old maid like you.
I’m sorry, Miss Marian. Can I play my cross-hand piece?
**marian**
**May** I play my –
**May** I play my –
6
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**amaryllis**
May I play my cross-hand piece?
May I play my cross-hand piece?
**marian**
You may.
You may.
7
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**amaryllis**
See, without a sweetheart you have no one to say goodnight to on the evening star.
See, without a sweetheart you have no one to say goodnight to on the evening star.
**marian**
I know, Amaryllis. For the time being, just say goodnight my – someone. You can put the name in when the right someone comes along.
I know, Amaryllis. For the time being, just say goodnight my – someone. You can put the name in when the right someone comes along.
8
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**amaryllis**
All right. It’s better than nothing.
All right. It’s better than nothing.
**marian**
Yes it is… now you can play your cross-hand piece.
Yes it is… now you can play your cross-hand piece.
9
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**amaryllis**
*(Settling herself.)*
Now I ***may*** play my cross-hand piece.
*(Settling herself.)*
Now I ***may*** play my cross-hand piece.
**marian**
(Offstage)
Hello, Mama. Keep on, Amaryllis. I’ll be there in a minute.
\
(she plays it wrong)
\
C natural, dear. Now your exercises.
(Offstage)
Hello, Mama. Keep on, Amaryllis. I’ll be there in a minute.
\
(she plays it wrong)
\
C natural, dear. Now your exercises.
10
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**mrs. paroo**
I don’t remember the liberry bein’ open last Fourth a’ July.
I don’t remember the liberry bein’ open last Fourth a’ July.
**marian**
It was, Mama, all evening. Mama, a man with a suitcase has been following me all over town.
It was, Mama, all evening. Mama, a man with a suitcase has been following me all over town.
11
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**mrs. paroo**
Oh – who?
Oh – who?
**marian**
I never saw him before.
I never saw him before.
12
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**mrs. paroo**
Did he say anything?
Did he say anything?
**marian**
He tried.
He tried.
13
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**mrs. paroo**
Did you say anything?
Did you say anything?
Mama, of course not.
*(AMARYLLIS begins her exercises.)*
Now don’t dawdle, Amaryllis.
\n
sol, do, la, re, ti, mi, a little slower,
and please keep the fingers curved
as nice and high as you possibly can.
\n
Don’t get faster, dear.
\n
*(MARIAN heads into the house, winds a metronome, and puts it on the piano)*
*(AMARYLLIS begins her exercises.)*
Now don’t dawdle, Amaryllis.
\n
sol, do, la, re, ti, mi, a little slower,
and please keep the fingers curved
as nice and high as you possibly can.
\n
Don’t get faster, dear.
\n
*(MARIAN heads into the house, winds a metronome, and puts it on the piano)*
14
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**mrs. paroo**
*(calling to MARIAN from outside)*
If you don’t mind my saying so, it wouldn’t have hurt you to find out what the gentleman wanted.
*(calling to MARIAN from outside)*
If you don’t mind my saying so, it wouldn’t have hurt you to find out what the gentleman wanted.
**marian**
*(calling from inside)*
I know what the gentleman wanted.
*(calling from inside)*
I know what the gentleman wanted.
15
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**mrs. paroo**
What, dear?
What, dear?
**marian**
*(re-entering the porch)*
You’ll find it in Balzac.
*(re-entering the porch)*
You’ll find it in Balzac.
Note 
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