The Academy for New Musical Theatre

FORMAT GUIDELINES
SCRIPT AND SCORE

September 1, 2012

Format Guidelines
In this document you will find description and examples of formatting for scripts and scores for
musical theatre. There are several standard formats out there. ANMTs standards are based
on the very traditional guidelines formulated by Samuel French.
A manuscript prepared according to these guidelines will look professional when you submit it to
producers and theatres, and it will enable actors, directors, music directors (etc.) to be able to
rehearse your show efficiently and accurately.
The first section is dedicated to the preparation of a piano/vocal score.
The second section is dedicated to the preparation of a script and lyric pages.
At the conclusion of the document you will find a sample of an integrated script which ANMT
requires for readings and workshops, in which the score is collated within the script itself. Please
note that a submission to producers and theatres often does not integrate the score with the script;
those elements are usually submitted separately to producers.
There are many many details included here, and the reality is that you really must be responsible
for all of them. As you prepare more and more manuscripts, these details will become familiar
and ultimately second nature to you. In the interim, however, we hope this document helps point
out by illustration and description formatting standards which will make your script appear
professional.
--The Staff of ANMT

Table of Contents

THE SCORE .......................................................................................... 1

TITLE PAGE .........................................................................................................1
Table of Contents ...................................................................................................1
Cue (song or incidental) ......................................................................................................... 1
Vocal ranges ........................................................................................................................... 1
Cues - ...................................................................................................................................... 1
Number of cue ......................................................................................................................... 2
Title of cue............................................................................................................................... 2
Characters involved in the cue ............................................................................................... 2

CUES ......................................................................................................................2
Rehearsal letters ..................................................................................................................... 3
Clefs. ....................................................................................................................................... 3
Lyrics....................................................................................................................................... 3
Label characters in the score .................................................................................................. 3
Dynamics and phrasing .......................................................................................................... 3
The cue for the cue .................................................................................................................. 4

Examples of Cues ..................................................................................................4

Incidental Music ....................................................................................................6
Arrangement ..........................................................................................................6
Incidental Music and Underscoring .....................................................................7
The Physical Score ................................................................................................7
Page numbering ...................................................................................................................... 7
Pianists copy .......................................................................................................................... 8
Final copy ............................................................................................................................... 8

Composers Check List ........................................................................ 10

Separate Pianist's Copy (Optional) ................................................ 10
For Entire Score ................................................................................................................... 10

THE SCRIPT........................................................................................ 11
BOOK ...................................................................................................................11
LYRICS ................................................................................................................12
Sound Cues ..........................................................................................................12

Some anomalies you might encounter ................................................ 13

The Integrated Script and Score ......................................................... 14

PART ONE:
THE SCORE

SCORE SUBMISSION FORMAT GUIDELINES

When submitting musical scores to the Academy for New Musical Theatre please follow these
guidelines.

TITLE PAGE
Title page should include:
Title of show
authors names (Listed in the following order: book, music, lyrics)
date of the draft (delete date only on final draft)
no need to include copyright notice
Formatting for the title page for a piano-vocal score is different from the script. See
Pianists Copy, below.

Table of Contents
Cue (song or incidental). Each cue should identify the following
Scene number
Number of cue
Title of cue
Characters involved in the cue
page number in the score

Vocal ranges. For all the characters (including chorus) identify the following:
Character name
Vocal type (e.g., Soprano, Mezzo, Belt, Baritone, Tenor)
Highest and lowest notes (demonstrate on a musical staff)

Cues - A cue in this context means any musical cue, whether its a song, underscoring,
incidental music, or even just a sound effect (e.g., a musical phone ring)

Format Guidelines - 1

Number of cue -- The name of the cue is preceded by number and a period.
Usually, each new musical cue is numbered consecutively (e.g., cue 6. follows cue 5.),
but you may have reasons to group a series of cues together, and label them with the
same number followed by a letter. (e.g., 6., 6A., 6B., 6C., etc.) Perhaps the cue is very
short; perhaps its separated from the previous cue by such a tiny piece of dialogue they
feel virtually contiguous; there might be other reasons as well; theres no hard and fast
rule which dictates when letters are appropriate. The convention here is that the first cue
in such a series is the number by itself, and it is followed by the number-plus-letter,
beginning with A. Cues that shares the same number all must all be contained within the
same scene, and once the scene changes, the number must change.

Title of cue -- Should match the title in the score exactly.

Characters involved in the cue -- List each voice, italicized. It is possible that

listing all the voices in a number necessitates a second line of type, in which case, line up
the page number with the first line of type, and right-justify the second line with the right
edge of the characters listed in the previous line, omitting the dot leader in the second
line. If your title is so long that there is no room for your characters on the same line,
drop the characters to a second line of type and line up the page numbers with the
characters, not the title. If the title is so long that it is on a line all by itself, it should not
have a dot leader; rather, attach to the character line a dot leader which begins with the
left edge of the title (not the scene or cue number) and continues to the beginning of the
characters.

CUES
Each cue begins a new page. Even a single-bar cue belongs on its own page. If you have many
many short cues, or your musical is through-sung, there are some exceptions to this rule; but
otherwise, each cue begins a new page.
Include composer and lyricist names only on the very first cue of the score. Lyricists name
should be at the left margin, composers name should be at the right margin.
Do not include authors names on subsequent cues.
Do not include copyright notices.
Each cue includes the following information:
cue number
cue title
characters singing in the cue
cue (The spoken/action cue for the song; aka The cue for the cue)
tempo marking
tempo descriptive
Format Guidelines - 2

cue to begin
cue to end
chord symbols
Chord symbols and piano arrangements are in agreement
measure numbers
rehearsal letters
include all dialogue contained within the cue
complete lyrics which match the script
vamps/safeties
Cue to go on: out of a vamp (if applicable)
Cue to stop/Cue to Jump (if applicable)
Cautionary Accidentals

Rehearsal letters. Rehearsal letters are optional. If you use them, they should be
placed at such moments which are most likely to be starting places in rehearsal -- the
entrance of a chorus, or a key change, or a tempo change, or the beginning of each A
section and/or B section, etc.

Clefs. Treble clff for females and Tenor clef for all male roles (treble clef with an 8
underneath)

Lyrics. Use as large a font as you can and still have your music look aesthetically
pleasing. Use a clear, straightforward font like Times Roman. (The Jazz fonts are
difficult to read.)
Do not number stanzas.
Do not use repeat signs with stanzas numbered one on top of another (like Christmas
carols or hymns). Choreographers, directors, music directors, stage managers and actors
all want to be able to make markings for a second stanza which are different from the
first. True, you can conserve paper by using repeat signs, but you will waste rehearsal
time.

Label characters in the score. Indicate the character who sings by putting a box

around his name above his staff line in the measure in which he begins singing.

If more than one character sings in a piece, indicate characters names in the score at the
point they sing, in a box.
Each character should have his own staff, if thats necessary for clarity.

Dynamics and phrasing. Dynamic markings, expressions and phrasing can save

an enormous amount of rehearsal time and, more importantly, communicate a much more
accurate set of instructions to the creative time, and substantially increase your chances of
hearing the music the way you intend it to be heard. Include as much as time allows.
Format Guidelines - 3

The cue for the cue: Each song or incidental piece will have a cue telling the

pianist when to begin playing. Even if you know the cue will eventually change to
accommodate the stage action, write something to help in rehearsal. This cue should
correspond to a statement in the script which is is then followed by the name of the music
cue, bolded. The bold in the script means the first sound you hear from this cue begins
right here and corresponds, obviously, to the first sound the pianist makes in this
number.

Examples of Cues follow....

CUE EXAMPLE #1
In the script:
(DEVON tosses the flowers out the window.
Outta Here.)

14. Im

In the score:
cue: Devon tosses flowers out window.

CUE EXAMPLE #2
In the script:
(THEY douse the fire.

8. Underscore #6B.)

In the score:
cue: They douse fire.

Format Guidelines - 4

CUE EXAMPLE #3 - Dialogue cue line

In the script:
MICKEY
Milwaukee, did you say? Its perfect!
(HE grabs the paper.
Reprise.)

3. Gimme Something I Can Sell -

In the score:
cue: MICKEY: Milwaukee, did you say? Its perfect!
You might additionally want to include a piece of dialogue which precedes the actual cue itself,
to serve as a heads-up to the pianist. (See Example #4.)

CUE EXAMPLE #4 (with dialogue preceding the cue):

in the script:
JIMMY
(coming to CORA)
Okay, this calls for drastic measures.
up, whether you like it or not.

Im going to cheer you

CORA
If its that goofy coffee song you wrote....
JIMMY
Yup. Its that goofy coffee song. But theres some new stuff
in the middle.
(JIMMY hits play on a CD box.

Foam on My Latte.)

in the score
JIMMY: Okay, this calls for drastic measures. Im going to cheer you up, whether you
like it or not.
CORA: If its that goofy coffee song you wrote....
(JIMMY hits play on a boombox.)
cue: JIMMY: Yup, its that goofy coffee song. But theres some new stuff in the
middle. Its....

Format Guidelines - 5

Incidental Music
Format a piece of incidental music just as you would one with sung lyrics:
cue number
cue title
characters singing in the cue
cue (The cue for the cue)
tempo marking
tempo descriptive
cue to begin
cue to end
include all dialogue contained within the cue
complete lyrics which match the script
Cue to stop (if applicable)
When music is underscoring dialogue, the entire dialogue should be printed in the score,
generally running along the top staves of the music throughout the page. If you have a
long stretch of dialogue which is underscored, parce out the dialogue throughout the
underscoring, giving an indication of approximately which music is aligned with what
text.
Coming out of a vamp. If a vamp concludes the musical section, place a short final
section dialogue directly over a vamp so that the pianist knows when to move on from the
vamp. In some cases (if the final line of text isn't clear, or other specific circumstances),
it might be useful to indicate in the piano score the words "cue to go on: ...final few words
of text" but if those final few words of text are already appearing near the vamp, the
redundancy in the piano score might be confusing rather than clarifying.

Arrangement
The piano accompaniment must be a complete note-for-note arrangement with chord symbols.
The chord symbols do not need to account for every passing tone or neighbor tone in the texture.
They will be used to facilitate sight-reading and transposing in rehearsal.
Make sure the chord symbols and the piano arrangement are in harmonic agreement. (e.g., If it's
an E major chord, there should be no Ab's, etc.) Check for misspellings of notes. Check for
cautionary accidentals. Check for any other things you or your notation program tend to
overlook.
The lyrics and the dialogue in the score and in the script must be identical.

Make sure the bookwriter knows of changes of music/cues; and that the composer knows about
changes of internal dialogue/cues, and that everyone knows about lyric changes.

Incidental Music and Underscoring

Incidental music and underscoring present unique formatting challenges, particularly when they
then lead directly into singing.
General tips:
In the score, each cue of underscoring should begin its own page, even if its just a measure long.
Include ALL the dialogue on the scores pages of underscoring, parsing out sentences liberally
throughout the score to give a general indication of which measures of music should be playing
at any moment in time.
If underscoring segues into singing, begin the portion of the score which includes the singing as
a separate cue with its own cue number, beginning on a new page. Indicate segue or attacca
on the final measure of underscoring which precedes the new page. ("Attacca" means the new
section is played at the same tempo as the previous section, but both "attacca" and "segue" mean
that the new section continues on the heels of the previous section without stopping.)
If you remember the goal is to have the singer never to flip backwards in the script, you probably
can solve most of the unique formatting questions which underscoring presents. This rule of
thumb will probably lead the bookwriter to indicate underscored dialogue in the physical script
as though it were lyrics -- that is, after a hard return and a bolded cue number.
In scripts which regularly oscillate between dialogue and sung text and dialogue and sung text,
you might find it more convenient to include a long portion of script, followed by a long portion
of music -- but in that case the score MUST include ALL the dialogue and sung text, even in
between musical passages. (In an extreme sung-through example, you might have a complete
script followed by a complete score.)

The Physical Score

Page numbering
Print running page numbers in the top margin. Each cue begins numbering where the previous
cue left off. (i.e., do not number each song beginning with the number 1).
Once the script and score are integrated, add a set of running page numbers at the bottom.
Format Guidelines - 7

Integrated script/score numbers at the BOTTOM. Once you have a complete, integrated
script and score, include a running set of page numbers for the integrated script and score.
No need to type these bottom page numbers -- you can write these by hand just before
you make rehearsal copies. If youve already numbered the entire integrated score and
you find you must insert some pages, you may use letters to indicate the additional pages:
(e.g., following page 67 could come 67A, 67B, 67C, etc.), but this isn't ideal, of course.
A note about multiple page numbers. The script and the score each have their own
consecutive numbering. You will see that this means both the script and the score each
will have page 1s, page 2s, etc. Thats fine -- some actors will want to work off of the
script, and some will want to work off of the score; your pianist might prefer NOT to
have a script, but to work solely with the score. Your director will probably want to work
from the integrated page numbers at the bottom. This numbering system allows for all
such possibilities.

Pianists copy
You'll be handing in to ANMT an integrated script and score, which differs slightly from a
traditional published piano-vocal score. For one thing, the title page of a published piano-vocal
score lists the composer's credit first, rather than after the book writer's credit. Consult the
section below which refers to the Final draft. You'll want to get in the habit of preparing the
piano-vocal score title page, even though there are rare instances when you'll submit it to
ANMT.
Some pianists prefer to remove all the dialogue and the lyric sheets, so they are looking at only
the score itself, but you should provide a full integrated script/score, in case the pianist wants to
read the dialogue.

Final copy
Once the show has been through multiple drafts and is ready for publication or distribution to
producers, you will want to submit the script and score as separate, non-integrated documents.
When you are preparing the final draft of a piano-vocal score (such as will be suitable for
publication), follow these guidelines:
Cover page -- the cover page for a Vocal Score is different from the scripts cover, or
even from the Title Page. The Cover Page is like the outside binding of a score when it
comes back from a publisher. Perhaps theres artwork, or a large-font rendition of the
shows title. It should include the following information:
Title
The words Vocal Score in the upper right
Format Guidelines - 8

In the upper left: Authors names (on the vocal score, and the vocal score only,
the composers name appears above the other collaborators names)
Title page -- Think of this as the first printed piece of paper you see once youve opened
the cover of the published script. It should include the following information:
Title
Music by Composer
Book by Bookwriter
Lyrics by Lyricist
Do not include copyright notice.
Table of Contents
Vocal Ranges (could be on same page as Table of Contents, if it fits)
Then follows the score.

Format Guidelines - 9

Composers Check List

Composer__________________

Song Title__________________ Date___________

Score Check SheetEach Song

_____ cue number
_____ cue title
_____ characters singing in the cue
_____ cue (The cue for the cue)
_____ tempo marking
_____ tempo descriptive
_____ cue to begin
_____ cue to end
_____ chord symbols
_____ chord symbols and piano arrangements are in agreement
_____ measure numbers
_____ rehearsal letters
_____ include all dialogue contained within the cue
_____ complete lyrics which match the script
_____ vamps/safeties
_____ Cue to go on: out of a vamp (if applicable)
_____ Cue to stop/"Cue to Jump (if applicable)
_____ Cautionary Accidentals
_____ Communicate with bookwriter re dialogue in score
_____ Include dialogue which occurs within each cue
_____ Bookwriter indicates in script each cue of music in bold, with cue number

Separate Pianist's Copy (Optional)

_____
_____
_____
_____
_____

Back to back or taped copy for pianist

Heavier paper
Hole punched in binder
Cover page
Title page

For Entire Score

_____
_____
_____
_____

Table of contents with accurate page numbers

All characters in each piece
List of characters with vocal range for each
Integrated script/score running page numbers at bottom

Format Guidelines - 10

PART TWO:
THE SCRIPT

SCRIPT SUBMISSION FORMAT GUIDELINES

(Samuel French Broadway format)

BOOK

1 margins top, bottom, right, left

Courier (12 point)

Cover page indicates title and authors (bookwriter first, then composer, then lyricist)

Second page with cast, time, place

New scene begins new page

Initial stage direction of a scene indented to center; no parentheses on initial stage

directions

Subsequent stage directions indented 1 from left and 1 from right

Character names indented 3

Dialogue flush left

Parentheticals (asides) indented 1, lowercase, in parentheses; asides should not be full

sentences. (If theyre full sentences, promote them to full stage directions.)

In stage directions, capitalize character names and pronouns which are doing actions -but do not capitalize character names and pronouns which are acted upon): (HE walks;
THEY stare at MRS. WASHINGTON. SHE shoots him. HE falls at her feet as THEY
cry.")

Page numbers - Indicate Act, Scene and page in upper right (2-3-67)

Footer with the drafts date in 8 or 9 point font in bottom left (4.26.05 or 4/26/05 or April 26,

2005)

Format Guidelines - 11

Song title should be the last thing in the script before the lyric page, in a stage direction,
bolded. Precede the bolded title with some kind of not-bolded stage direction, even if you
have to invent something innocuous like HE smiles or THEY preen.

No need for copyright notices

Double-sided copies of the integrated script and score.

LYRICS

Lyrics in caps, indented .5

B-sections of lyrics indented 1.0

C-sections of lyrics indented 1.5

Subsequent sections, continue to increase indent by .5 until they're absurdly indented,

then revert to B's indenting level.

Introductory sections indented so they wont be mistaken for A sections -- probably 1.5
or more, depending upon aesthetics.

If a line of lyrics is too long for the right margin, apply a .5 hanging indent, so that when
it wraps, the remainder of that line is additionally indented.

Sound Cues
Sound cues in the script, if they're legitimate sound effects, like wind or dogs barking, don't go in
the table of contents, even if they're a prominent almost-musical cue.
Sound effects are not often indicated in musical theatre scripts, so there aren't many conventions
about them. We suggest that you borrow the format from animation (where they abound): in
caps, surrounded by carats:
(SHE bows. <APPLAUSE>)
or
(The rubber tree falls with a <BOINGG!>.)
However, if the music played on the piano is actually scored, composed, written out on a staff or
music notation, say, for instance, that the phone ring is played by the piano, then, they should be
Format Guidelines - 12

considered as a musical cue. In this instance, they become short one-measure songs, and should
be referred to in the Table of Contents, and should be bolded in the script. Use your judgement
whether to page break or not; you might get to compromise and append it to the previous cue, as
in 11a - PHONE; perhaps on the same piece of paper as cue 11).
Some anomalies you might encounter
1. If multiple characters are singing the same words simultaneously, just mark all names on the
character line, even if you must use two lines:
THEODORE/GINGER
PASS ME THE SUGAR, BUT DONT PASS ME BY....
or
THEODORE/GINGER/RICKY/ALLISON and
ALL THE WAITERS
PASS ME THE SUGAR, BUT DONT PASS ME BY....

2. If characters are singing alternating solo/unison lines, mark each solo separately, and indicate
where they sing together with a /:
THEODORE
PASS ME THE MENU
GINGER
PASS ME YOUR HAT
THEODORE/GINGER
PASS ME THE SUGAR, BUT DONT PASS ME BY.
3. If theyre singing different words simultaneously, note them side-by-side. Use hanging
indent at .3 and a 10-point font if it helps make the lines wrap better. You can also leave some
white space in one or more of the characters' lyrics, to clarify when they sing simultaneously,
and when they're in counterpart:
THEODORE
PASS ME THE MENU
PASS ME YOUR HAT
PASS ME THE SUGAR, BUT DONT PASS ME
BY.
SCA-DOO-N-DOODLE WADDLE

GINGER
I DONT THINK I LIKE THIS GUY.
HES GOT A CREEPY STARE.
AND HONESTLY, IS THAT HIS REAL HAIR?
NO, I DONT LIKE THIS GUY.

Format Guidelines - 13

BUT DONT PASS ME BY.

BUT DONT PASS ME BY.

If the side-by-side function confounds you, you may indicate (simultaneous with
CHARACTER, above) in a pinch, but this solution is neither very clear nor very professional.
(And page breaks can be confusing, if they fall between speeches and there isnt anything
below or above because theyre on different pages.)
THEODORE
(simultaneous with GINGER, below)
PASS ME THE MENU
PASS ME YOUR HAT
PASS ME THE SUGAR, BUT DONT PASS ME BY.
SCA-DOO-N-DOODLE WADDLE
GINGER
(simultaneous with THEODORE, above)
I DONT THINK I LIKE THIS GUY.
HES GOT A CREEPY STARE.
AND HONESTLY, IS THAT HIS REAL HAIR?
NO, I DONT LIKE THIS GUY.
THEODORE/GINGER
BUT DON'T PASS ME BY.

The Integrated Script and Score

Print both the script and score on 8 X 11 inch paper, double-sided and three-hole-punched,
integrated in the following order: a section of book which concludes with the name of the song
cue and a hard page return, followed by the lyrics for the song cue and a hard page return,
followed by its music. Then a new section of book, followed by lyrics, followed by music.
Book, lyric, music, etc.
Note, however, that music shouldn't be printed on the back of lyrics, and lyrics shouldn't printed
on the back of book, etc. EACH section of book should begin on the right-hand side page of a
double-sided section of book. EACH set of lyrics should begin on the right-hand side page of a
double-sided section of lyrics. EACH section of music should begin on the right-hand side page
of a double-sided section of music.
Submitting to a producer. (We re-iterate this is NOT how you want to send a script/score
to a producer; most likely they will want the script separate from the score. ANMT
requires this double-sided format to allow actors to remove lyric pages if they want to
sing from the score, or to remove the score if they want to sing from lyric pages. This
facilitiates readings and rehearsals; but a producer is more likely going to want to read
the whole script/lyrics together, integrated without hard page returns before and after
Format Guidelines - 14

lyrics, and without having to flip through the score. If you're uncertain about whether a
producer wants a particular format, inquire.)
Print only one cue per page, even short, incidental cues.
Saving paper. While we encourage using as little paper as possible, do not do so at the
expense of clarity on the page, as it will lead only to an enormous waste of rehearsal
time. Make sure each staff has plenty of room for all the measures on it, and each page
has plenty of room for all its staves. Actors would prefer to have to turn a lot of clear
pages, than struggle to read small fonts, or crowded staves, etc.
Bookwriters might want to review the section about Underscoring (and how to format for it); it's
in Part One, above.
This document is the property of the Academy for New Musical Theatre. Do not
distribute without permission.

Format Guidelines - 15

Its All About Cows

Font on initial pages (before
actual script) can be
something other than courier.

an all-bovine revue

book by Hillary Rollins

music by Bill Johnson
lyrics by Hillary Rollins and Kellen Blair

Credits are in the

following order: book,
music, lyrics.

Contact information should

include at least an email
address for at least one of
the authors.

Bill Johnson
5628 Vineland
North Hollywood, CA 91601
818.506.8500
bjohnson@anmt.org
September 15, 2012

Date of draft (except on the

final draft, or the first to go
to a producer)

No copyright notice.

CAST
Bossie .......................................................................................... in her middle years, from Georgia
Jack ................................................................................................................................ from Boston
Annie ........................................................................................................... Jacks complaining wife
Bernard.......................................................................................................oldest cow in the pasture
Elsie.................................................... formerly known as the Borden Cow, played by a male actor
Charlie ..................................................................................... cynical city slicker cow from Illinois
Tippy ....................................................................................................younger, wide-eyed Holstein
Cowboy ............................................................................................. a cow, dressed up as a human
Farmer Dan ........................................................................... a cow, dressed as a Wisconsin farmer

Character descriptions are

optional. If you don't use them,
then center character names
under "Cast."

TIME
Present

PLACE
A pasture in northwestern Wisconsin
and the various places the cows imagine for us

Its All About Cows is based on actual events.

Page numbering begins with the script.

If you'd like, you can number initial
pages with small roman numerals (i, ii.,
iii, etc.) beginning with CAST page).

The score has its own set of page numbers, which are referred to in this table of
contents. The script also has its own set of page numbers, which are NOT referred
to here. Instead, indicate the running page numbers which appear at the bottom of
the the integrated script and score. This probably means that "Musical Numbers"
page is the very last thing you revise before making copies.

Musical Numbers
Act One

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.

Its All About Cows ............................................................... Ensemble

Fields of Plenty ........................................................................... Bossie
The Greatest of Barns.......................................................... Jack, Annie
Cow Patties.......................................................... Cowboy, Farmer Dan
Tipping: the Urban Legend .................................................... Ensemble
How Can I Possibly Know What it's Like Away from the Farm?
...................................................................................................... Tippy
How Can I Possibly Know?/Ensemble .................................. Ensemble
The Cud Ballet .................................................................. Instrumental
Two Percent .................................................................. Charlie, Bossie
Big Fat Cow ................................................................. Elsie, Ensemble
Cold Hands ....................................................................... Female Cows
Bull! .................................................................................... Male Cows
When Four Stomachs Just Aint Enough ................... Bernard, Charlie,
Jack, Farmer Dan
City Life ..................................................................................... Charlie
Fields of Plenty Reprise ......................................... Bossie, Nellie, John
Hoofin It................................................................................ Ensemble

score
1
3
6
10
17

integrated
script/score
1
13
27
35
43

20
25
26
28
35
40
41
48

59
67
73
89
99
129
149
165

53
56
64

177
191
201

161
168
176
177
187
193
199
205
247
253

213
228
239
245
269
279
287
299
353
371

Act Two
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.

Its All About Cows Reprise .................................................. Ensemble

India ............................................................................................. Tippy
Milking Shorthorn Underscore.......................................... Instrumental
Big Fat Cow Part 2 .........................................................................Elsie
Heifers ................................................................................. Male Cows
Snowmobiles .................................................................... Female Cows
Loves Redeeming Work ................................................... Farmer Dan
The Drive: a History of Rustlin ............................ Cowboy, Ensemble
Milkin Time ................................................................................ Annie
Its All About Cows Reprise/Finale ....................................... Ensemble

"Integrated" numbers refer to the page on which

the bold cue number appears in the script.

ii

Act Two

An unnumbered spacer page for act breaks

is optional. This one is included here as a
sample, and as a visual reminder that the
scene which follows is meant, in this
sample, to begin the second act...not the top
of the show.

Act-Scene-page number.
At the top of an act, both scene and
page numbering begin again with 1.

2-1-1

ACT TWO
Scene One
The COWS stampede on.

Hey, look!

JACK
They're still here!
TIPPY

Stage directions at the top of a scene

appear flush left with the 3" tab;
otherwise, they appear indented 1"
from both the left and the right
margins.

Told ya they'd come back!

BOSSIE
(chewing)
It's the cheese.
(THEY celebrate the audience's return.
All About Cows.)

17. Its

A stage direction precedes the title of the song which follows.

Song title includes its cue number, and is printed in bold.

Note that five of the six styles of text format are represented on this page: 1. Character name, flush left with the 3.0"
tab; 2. parenthetical (asides) indented 1"; 3. dialogue flush left, 4. stage directions indented 1" from both left and right
margin, 5. underlined scene headers which are flush left with the 3" margin, like character names (capitalize the ACT,
Scenes are initial capitals). Lyrics are the other remaining style; they follow on the next page.

In integrated script/score only:

running page numbers, including
script, lyrics, score. They begin on the
first page of the book, and continue
until the final page of the score. Note:
running page numbers are different
from the script's page numbers in the
upper header. and different from the
score's page numbers.

Page break after the name of the song

cue, after which will follow the lyric
pages, followed then by music. Book,
lyric, music. See note on reverse side of
this paper regarding double-sided copies
(and blank, numbered pages).

213.

214.

These lyrics are an "intro" and therefore are indented .5" further to
the right than they would be if they were an A-section. See next page
for the beginning of the A-section .

2-1-2

BOSSIE
TODAY THE MIDWEST OFFERS MORE THAN EVER BEFORE.
THERE'S ART AND STYLE AND HISTORY GALORE.
JACK
IN CITY, TOWN, AND COUNTRYSIDE,
ALL
THERE'S SO MUCH TO EXPLORE.
BOSSIE
SO HATS OFF TO THE GREAT LAKES SHORE
ALL
AND, ALSO, MARY TYLER MOORE
(DA DA DA DA DA DA DA DA DA).
ANNIE
STILL, SOME UNKNOWING BLOWHARDS THINK
IT'S BORING AND PLAIN -BERNARD
East-coast snobs!

Formatting shows us this line is to be

spoken; no need to indicate "(spoken)".

ANNIE
WITH LITTLE MORE THAN FIELDS OF WAVING GRAIN
ELSIE
THEY SAY TO CHOOSE TO SUMMER HERE YOU'D HAVE TO BE
INSANE
ALL
AND HERE'S THE WAY THAT THEY EXPLAIN
THIS TERRIBLE MIDWEST DISDAIN....
IT'S ALL ABOUT COWS.
A WHOLE LOT OF COWS.

Hanging indent, due to the

length of the line.

CHARLIE
ALTHOUGH THE HEARTLAND'S MORE THAN FARMING,
TIPPY
AND THERE'S STUFF HERE TO FIND CHARMING

215.

2-1-3
BERNARD
STUFF YOU WON'T FIND IN NEW YORK OR IN L.A.
ALL
LIKE PEOPLE WHO PRAY,
AND ACTUALLY DON'T KNOW WHAT THEY WEIGH.
BOSSIE
PLUS, IT HAS THEATRES AND MUSEUMS THAT CAN RIVAL
EITHER COAST
ALL
AND THOUGH WE MAY BE SLOW, ONE THING WE KNOW
OUR BOVINE SHOW'S THE BEST!
AT LEAST IT'S BETTER THAN THE REST.

Wait, "The rest"?!

FARMER DAN
But it's the only show for miles around!

ALL
WELCOME TO THE GREAT MIDWEST!
IT'S ALL ABOUT COWS!
(Lights change to:)

216.

Page break after lyrics' conclusion.

Music follows the lyrics.

Each number must have a CUE. If the show opens with a song, indicate: "Curtain" or "Lights Up".
In this case, the opening cue is dialog.

161

17. It's All About Cows- Reprise

cue: BOSSIE: "It's the cheese."

(Whole Company)

Slow, solemn Ballad q=110 BOSSIE:

1

bb4
& b b b 4

more
Bm

than ev - er be A7

To - day the mid -west of - fers
Bm
F7b9

F7

? bb b 44

bb
4

bb
&b b b

mp

b 4
& b bbb 4

fore.

There's art and style and his -to -ry - ga - lore.

JACK:

In Time

bbb
b
&
b

j

In

n b
n b

n b

C/E Cm/E

D('2)/F

G9

D7

b
& b bbb
w
w
w
? bb b w
bb

ci - ty, town and coun -try Em7

D7

BOSSIE:
8

ALL WOMEN:

bb
&b b b

####
j #n

J n# ##
there's so much to ex

plore.

j
So

hats off to the Great Lakes

ALL MEN:

j
n##n # ####
#

side
there's so much to ex
D('2)/F
F#m7
B7

b
& b bbb

? bb b
bb

nn
n

#
n

plore.
E7

####
w
w
####
w
217.

A7

bbb
b
&
b

B7

Integrated script/score has its own running page numbers

(separate from score and script numbers)

162
Proper clef for
male singers

Use a clear, easy to read font for lyrics,

such as Times 14 point. Hand written
font styles are hard to read!

poco rit.

ALL WOMEN:
11

####
&

shore,

and,

bb

bb

bb nnn

bb

al - so Ma - ry Ty - ler

Moore!

ALL MEN:

####
&

j

and,

C#m7

####
&
? ####

al - so Ma - ry Ty - ler
Cm7b5
F#9

Moore!
F13

nn ww
bw
nw

#
n
n

bb

A Tempo
ANNIE:
14

b
&b

da

Still,

b
b
&

Da da da da da da da da da

bbbbb

bbbbb

Bm

F7b9

?b
b

F7

BMaj7

b
& b

bbbbb

Cm7(5)

some un -know -ing blow -hards

E/F

BMaj7

j bbbbb

Da da da da da da da da

Dialog within the score is indicated

thus, with capitalized character name
and normal font for dialog

BERNARD: East Coast snob!

17
3

think

A7

it's bor - ing and plain,

Bm

b
& b bbb

? bb
bbb

with

D7

bb
& b b b

w
w
w

lit - tle more than fields of wav - ing

G9

218.

D('2)/F

17. It's All About Cows Reprise

163
20

bb
&b b b

####

grain.

DAVE:

bbb
b
&
b

j

They say to choose to sum - mer

b
& b bbb n b
n
b
? bb b

b bn
b

Em7

here

you'd have to be in -

D('2)/F

D7

Cm/E

C/E

####

j n ##

F#m7

B7

####

nn
n

#
####

n
#

rit.
23
ALL WOMEN:

####
&

sane!

And here's the way that they

ALL MEN:

####

&

sane!

ex - plain

their

And here's the way that they

E7

A7

ex - plain

B7

E7sus4

their
E7

A9

rit.

####
&
w
w
? ####
w

Clearly indicate changes in

tempo and feel

Bright pop q = 110

26
(ALL WOMEN:)

ter

#### n

&

ter
D9

####
&

? #### n
n

ri

ble

dis

ble
A13

dis

ri

b
b
b

6
4 nnw
w
-

n
n

dain.

(ALL MEN:) It's all

6
4 nw
w
-

dain.
G13

6 U
4 n
n
6
4 nn

It's all

219.

nU

n
n
n

>.

>.

nnnn

a - bout

n n
n

####
&

nnnn

a - bout

nnnn

nnnn

17. It's All About Cows Reprise

164
TIPPY:
28

4
&4

cows

a whole lot of cows

and there's
CHARLIE:

j
4

4
&

cows
a whole lot of cows
Al -though the heart -land's more than farm -ing
C

4
&4
? 44

Dm
.
.
.
.
j

J
.

Dm/G C

j

. . . . . . .
j
.

. .


j

31

&

stuff here

to

find charm - ing

BERNARD:

&

&

. .


j

in
Gsus4

stuff you won't find in New York or

Dm7
Em7
FMaj7

Am7

ALL WOMEN:
33

&

like peo - ple who

ALL MEN:

&
A
Asus4

&
. . .
?

pray

like peo - ple who
A

and ac - tual - ly

pray
B'2

and ac - tual - ly
B

#
.

j
n b
. . . .
j b
j

220.

.
j

17. It's All About Cows Reprise

165
35
BOSSIE:

j
r
&

don't know what they weigh

plus,

&
don't know what they weigh
B

Asus4

b b b

it has

thea - tres and

mu - se - ums

that can

Am G

Fm7

B9

EMaj7

j
bb b

J
b
j
b

&

b
n

. . .
b
b

37

& b b

ri -val ei-ther coast

COWBOY & FARMER:

r
b

&

and not to
Fm7

& bb

B9

EMaj7

.
b

b b
b
b

j b
b
b

boast,

but two com -mit -ted guys in

. E7
bbb
. . . . . . .
b b bj

Dm7b5

G7

I - o - wa

can

Cm7 E/B

b b b b n
. b
b

ALL WOMEN:

40

&

6
j
4

And though we
ALL MEN:

j r
& b n
take their wed -ding vows, aren't you im - pressed! Their u - nion is blessed!
A13#11

&

? b
b

j

n .

J n

G7

6
j
4

And though we

Dm Dm/G
A7 sus4 A7
.
.
.
.
j
j

#
. . . . .
J
.
n

221.

A7sus4 A7

.
b

6
4

.
6
4

17. It's All About Cows Reprise

166
It is helpful to put the cue number and title in
small lettering on every page after the first.

43

6
&4

4
j
j
# 4
J
J

may be slow one thing we know our bo -vine show's the best!

6
4
&

at least it's bet -ter than the

j
j
# 44
J
J

may be slow one thing we know our bo -vine show's the best!
Dm7

Em7

at least it's bet -ter than the

F#7
FMaj7

6
& 4 j
n
? 46 j

j j j

#

>.
j #j j
#.

>

j 44

j 44

When the singers on the staff have not changed

but you feel they might need a reminder.
put it in italics within parentheses:

FARMER: The rest? But it's the only

show for miles around!
45
(ALL WOMEN:)

4
&4 w
w

rest!

Wel -come to the great

mid -

(ALL MEN:)

4w
&
4w
rest!

Wel -come to the great

mid -

G7sus4

4
& 4 n

? 44 w
w

w
w
w
w
222.

17. It's All About Cows Reprise

167
48

&
west

&

west

It's all

bw

nw

cows!
C

D/C

D7/C

nbb

cows!

w
It's all

j
&
.
>
?
j

>.

a -bout

a -bout

Avoid a lot of ledger lines if you can

The next page following a music cue should be the very next thing that
happens in the script following the conclusion of the music cue.

223.

>.

>.
C

>. >.

224.

Act 2, scene 2, page 4 (of the ACT)

2-2-4

ACT TWO
Scene Two
A TV studio. Two bulls - MATTHEW
MILKTOAST and PAT BULLCANNON - and
one cow - ARIANNA HEIFERTON enter. Or actors from earlier
scene transform into new
characters.
MILKTOAST
You're tuned to NBR - National Bovine Radio -- and it's time for
Political Bull, the show that looks at "all things cow" from
left, right and center. Today we're talking about global
warming. Representing the left, please welcome Arianna
Heiferton...
HEIFERTON
(heavy Greek accent)
Hello, Matthew, and may I say, it's about time the average,
hard-working, American cow had his or her say on this hot topic.
I mean, after eight years of those pigs at the troughs ruining
the environment-MILKTOAST
We'll get to that in a minute, Arianna, just let me-BULLCANNON
Lookit, Arianna, there's simply no evidence that anything is
getting warmer with the possible exception of you wild-eyed
radicals gettin' all hot under the udders-MILKTOAST
(trying to be heard over them)
And on the right, say hello to Pat Bullcannon-HEIFERTON
Well if you selfish beasts hadn't been sitting around for the
last eight years just chewing your cud while the planet burned-MILKTOAST
(sheepishly)
Of course, I'm your moderate moderator in the middle, Matthew
Milktoast--

225.

2-2-5
BULLCANNON
--How would you even know if the planet was burning, Arianna?
Your herd is so far out in left field you wouldn't recognize an
actual fact if it bit you in the hind quarters!
MILKTOAST
Let's moooove on to the topic at hoof. Global warming is-HEIFERTON
--Excuse me, my "hind quarters"? Are you going to sink to that
tired old sexist manure? Commenting on a heifer's anatomy
because you can't deal with the fact that she actually has a
brain?!
BULLCANNON
--You have a brain the size of a kumquat!
HEIFERTON
We all have brains the size of a kumquat -- we're cows!
BULLCANNON
If you milkers had stayed in the barn where you belonged and
left the real work up to the bulls-HEIFERTON
--Uh, oh, I think someone's feeling a bit like a steer!
BULLCANNON
--Are you calling me neutered?!
HEIFERTON
(making scissor gesture toward his crotch)
If the snip fits...
MILKTOAST
Now, wait a minute! There's nothing wrong with being a steer!
(BULLCANNON lowers horns, begins snorting, and
paws the ground with his hooves, ready to attack.
MILKTOAST steps in front of Heiferton to protect
her.)
MILKTOAST
Can't we all just try to get along?

226.

"Heiferton" not capitalized because she's

not the one doing the action.

Don't capitalize other characters'

names in a parenthetical/aside, unless
they're the ones doing the action

2-2-6

HEIFERTON
(over Milktoast's shoulder, to Bullcannon)
Where's the beef, huh?
(BULLCANNON makes bull attack bellow sound....)
BULLCANNON
Huuhhrrrnrrhh!!!!
(HE charges Heiferton and MilktoasT.
runs away screaming....)

MILKTOAST

MILKTOAST
Mooooooo!!!!!!
(HEIFERTON stands her ground and is "gored" by
BULLCANNON and carried off, still jabbering at
him.)
HEIFERTON
Oh, sure, as soon as someone doesn't agree with you you see red!
Typical reactionary reaction...
(ALL exit as lights change to:)

227.

2-3-7
ACT TWO
Scene Three
TIPPY strains, looking over a grey
picket fence. Behind her, at a
distance, are GIRL COWS and GUY
COWS.
TIPPY
Oh, I wish I could go somewhere there isnt any trouble for
cows! Do you suppose there is such a place? There must be.
(SHE nudges at the fence; looks at the sky.
hint of a rainbow? 18. India.)

When creating an integrated script/score, you might discover, as in this case, that a scene might
print on the backside of a previous scene, which is fine IF: 1) there are no music cues or lyrics in
the previous scene; and 2) the previous scene runs an odd-number of pages. Multiple contiguous
scenes without music can be treated, for the purpose of collation, as ONE scene. By extension,
you can see that if you have a completely sung-through musical, or long sung-through sequence
comprised of multiple scenes, that you will want to print all the libretto of all the sung-through
sequence together in a batch, followed by all the music which comprises that sequence, even
though the score might be marked as separate cues (e.g., attacca or applause-segue.

228.

2-3-8

TIPPY
Not a place you can get to by pick up truck or a cattle
train....It's far, far away, beyond the moon, beyond the
rain....
INDIA.
No white space between
dialogue and lyrics if they're
WHERE THE MOOD IS NOT BARBARIAN
contiguous by the same person.
IN INDIA
'CAUSE THE FOOD IS VEGETARIAN
AND COWS LIKE ME CAN ROAM WILD AND FREE.
WANDERING THROUGH THE STREETS OF HINDU
INDIA.
INDIA
INDIA.
IN THE WEST I'M JUST A LOWLY BEAST,
BUT IN INDIA
I AM BLESSED BY EVERY HOLY PRIEST.
AND THERE AT LEAST
I AM NOT THE FEAST.
THAT'S ENOUGH FOR ME TO MOOOVE
TO INDIA!

OTHER COWS
(throughout)
INDIA!
INDIA!
OOO....

For simultaneous lyrics, type them in

10-point font, in side-by-side columns.
Alternatively, especially for trios or
ensembles, you can type them normally,
but indicate something like
"simultaneous, with below" and
"simultaneous, with above."

PLUS THEY'VE GOT THIS THING,

LIKE, FROM OUT OF YOUR DREAMS,
THEY CAN REINCARNATE YOUR CARCASS,
IT SEEMS.
WHEN YOU DIE, YOU DON'T DIE,
OR THAT'S WHAT THEY SAY.
YOU'RE JUST REBORN
IN A MUCH COOLER WAY.

Note how clear indenting makes

the AABA structure.

THEN YOUR LIVES REPEAT

AND WHEN THAT'S COMPLETE,
YOU TRANSCEND.
YOU'RE NOT A PIECE OF MEAT!
DEATH IS NEAT IN INDIA!
PEOPLE GRIND ME DOWN
SO I WANT TO FLEE TO INDIA
WHERE THEY KINDA THINK
I'M A DEITY.
SO I'LL MARINATE
I MEAN MEDITATE
AND SOMEHOW REACH MY SACRED STATE
IN INDIA.
HOLY COW, WON'T LIFE BE GREAT
IN INDIA!

(Lights fade on the scene; and rise on:)

229.

230.

Tempo text ideally should contain a word for

tempo, and a descriptive word (or more) to
indicate musical style

168

An opening cue is even with

the left side of the music system

Include song number, title,

and below, characters in
the song.

Lyicist (on the left) and

composer (on the right)
appear in only the first song

18. India
(Tippy, Girl Cows, Guy Cows)
Since this dialog is over the bar,
it occurs after the music starts

cue: TIPPY: "Oh, I wish I could go somewhere there isn't any trouble for cows!
Do you suppose there is such a place? There must be."
TIPPY: Not a place you can get to by a pick up truck or a cattle train....
It's far, far away, beyond the moon, beyond the rain....

Med. Ballad, With Feeling

q = 80
C C/E

F@2

F/A

C C/E

F@2

4

& 4

J
J
J
mp

? 44

J
J

All unused vocal staves should be

hidden when not in use.
Bar numbers should occur at
the start of each system.

Vocalists' names are

indicated with boxed text

(Tentatively)
TIPPY:

&

mp

Bsus2

&
J

In - di - a!
C
C/E

G7

b U

<n>

Where the

mp

?
b

b
b b
& b
mood is not

bar -bar - i - an

B/F F

F/G

& b

in

In - di-a!

G/B C

veg - e - tar - i

B/F F

A/B

C/E

'cause the food is

231.

an

and

b b
b bb

18. India

The score has its own contiguous page numbers,

separate from page numbers of the integrated
script/score, so that if you extract the score, the
pages numbers continue from song to song.

Eighth notes should be beamed in pairs in

duple meters (4/4 etc.), and in groups of three
in triple meters (6/8 etc.)

169

10

& <n> <n> b b

cows like me

Em7

j
n

EMaj7

A@2

bb

can roam wild and free

Am7

&

b b
<n>

b
b

Wan -'dring through the streets of Hin - du

A@2

Dm11

C/G

bb b n <n>
<n>

b j bb

It is perfectly acceptable to have multiple parts

on one stave, but keep the males and females separate.
Also, note that these staves were hidden
until the singers appeared.
Two parts on a staff should have stems
in opposite directions.
Double bar lines are
used to indicate change of
section, mood or tempo

Stronger
TIPPY:

13

&

In - di - a!

In - di - a!
mf

In the

GIRL COWS:

&

In - di - a!
GUY COWS:

mf

&

Chord symbols: use them!

In - di - a!
mf
C

F/C

F/C

C/E
C

&

232.

mf

18. India

170
16

& b
west I'm just

beast

In - di - a!

low - ly

but in

&

am

In - di - a!

B/F

&

F/G

& b

In - di - a!
C

G/B

C/E

Indicate cautionary accidentals with parentheses

18

& b b b
blessed by
B/F

& b
?

ev

- ery

ho - ly

priest

<n>

<n>

and

there

A/B

b b
b b
j
b

at

least

Em7

Am7

j
n
J
j

am

n
J

Phrase markings in the vocal staff are unnecessary,

but are commonly used in the instrumental tracks

20

& b b
not the feast.

EMaj7

A@2

& bj
b J
? b
b
b

b b
<n>
That's e -nough for me
A@2

to "moooove" to In -di -a!

Dm11

C/G

F/C

b b
b n

<n> <n>

J

j bb

233.

18. India

171
23

&

Plus, they've got this thing, like, from out of your dreams,

&

They can re -in-

<n>

D/C

p
Ooh

b
w

&

p
Ooh
G/C

E/C

<n><n>

b
<n>

b
bb J w
w

&

J
?

26

&
car - nate your car - cass it

b b b b

seems.

When you die you don't die

& b

<n>

Ooh

& bw

bbw

Ooh
D/C

<n>
<n>

234.

D/E

bb
bb

Ooh

& b b

J <n> w
b
b
w

Ooh

E/C

or that's what they

18. India

172

29

&

j
<n>

say,

you're just

j b

re - born in

& b

a much cool - er

way!

Then your

<n>

Ooh

& bbw

Ooh

E6

F/E

bb n

& b

b
b

poco rit.
32

j b

&
b
lives re

peat

and when that's com - plete,

you trans - scend,

you're not

a piece of

poco rit.
B/D

<n>

235.

w
bw
w

D7b5

bb
b

D'2

A/C

& <n>b
b
p
?

E'2

18. India

In Tempo

Remember to indicate a return to tempo

after tempo changes and ritardandos.
Similarly, use "A Tempo" or "Tempo I"
to indicate a return to an earlier tempo

173

35

mf

&

b
<n>

meat!

Death is neat in

In - di - a!

Peo -ple grind me down so I want to flee

to

In Tempo GIRL COWS:

&

In - di - a!
mf
GUY COWS

&

G11

In - di - a!
mf
C
C/E

B/F

& <n><n> j

J
n <n>
f

F/G

G/B

38

&

In - di - a!

where they kin - da think

&

b b
I'm a de - i - ty,

so I'll

In - di - a!

&

In - di - a!
C

C/E

&

J
?

B/F

236.

A/B

b b
b

18. India

174
40

& <n>
mar - in

Em7

<n>

ate

I mean

Am7

med - i

EMaj7

<n>

tate

And

A@2

b b b
b
b J

b
b

<n>
<n>
J

& <n>

b b

42

& b b <n>
some how reach

my

A@2

sa - cred state

Dm11

C/G

in

In - di - a!

& bb b n
b b n
n

B/C

mp

? b
b

n n

poco rit.
44

p
& b b
Ho - ly

cow,

AMaj9

won't

life

be

great

237.

w
w

in

Dm9

& bb

?
b

18. India

175
46

4
& 4

In - di - a!

4
& 4 #

<n>w

w
w

bb

w
w

In - di - a!

4

& 4
P
In - di - a!
D'2/C

C'2

pp

? 44

C@2

<n>

<n>bb

w
ww

U
w
ww

4
& 4

D/C

238.

2-4-9
ACT TWO
Scene Four
HANK crosses, still perusing the
list; obsessing. HE looks to his
wife, off. 19. Milking Shorthorn
Underscore.)

Although it's spoken dialogue which follows, because it's

underscored, for formatting purposes it's treated as though it's a
lyric, with a page break here. Think of it as a lyric which just
happens to be spoken, rather than sung; but because it's over
music, it's considered a lyric.

239.

240.

This dialogue is underscored.

2-4-10

HANK
Honey, we made the list, we made the list! Lineback, Milking
Shorthorn, Northern Shorthorn...Milking Shorthorn, Milking
Shorthorn!!
(HE runs off.

Lights change to:)

241.

242.

176
This is dialog that happens
over the underscore.
ALL dialog must be included.

A cue can be an on-stage event.

19. Milking Shorthorn Underscore

(Underscore)
cue: (Hank looks to his wife, off)

HANK: Honey, we made the list, we made the list!

Uptempo, Bouncy Comedy

D7 G(#4)
q=120

#4

& 4 . .

>
mf
? # 44
.
. >

A/C C7 D

b n
J n


n
#

.
n

# n
#
.

HANK: Lineback, Milking Shorthorn, Northern Shorthorn...Milking Shorthorn, Milking Shorthorn!!

D7

G/D

D7

D7

& n

? #

>.

. .
. >.

Be meticulous about things like accents, staccato markings etc.

You will get a better performance!

243.

244.

2-5-11

ACT TWO
Scene Five
We return to the vaudeville stage
we left near the end of Act One.
ELSIE is still waggling her rear
end, hot for the Bull. The EXEC
and the AD MAN resume the tableau
they froze in earlier.
ANNOUNCER
(at stage mic, as before)
Elsie the Borden Cow, Part Two. When last we met Elsie, her
large assets had just been discovered by the big wigs at the ad
agency. Lets listen in!
(EXEC and AD MAN un-freeze.)

Shes poifect!

EXEC
But she'll need a stage name...
AD MAN

How about "Francis Gumm?"

(THEY freeze again.

20. Big Fat Cow - Part 2.)

245.

246.

2-5-12
ELSIE
They settled on "Elsie" and a star was born...
I WAS JUST A HOOFIN' HEIFER IN THE CHORUS LINE,
TILL THEY BRANDED ME A BRAND NAME BACK IN '39.
AND SOON THE GRASS WAS GREENER AND THE OATS MORE DIVINE!
I LIVED THE LIFE OF RILEY AS A BIG, FAT, COW!
By the time the fair closed in 1940 I was a household name. Why,
I was bigger than cheeses!
(SHE stares the audience down for a beat, then
chastises them in an ad lib manner.)
ELSIE
Don't get your panties in a twist, I said, "Cheeses...like
camembert or brie...But I was, I was more famous than Mickey
Mouse! I had my own radio spots, I got my own fan mail, why I
even starred in a movie. That's right, an RKO Feature entitled,
"Little Men"! It was on the set of that picture that I met a
handsome young stunt bull named Elmer....
(OLD ELSIE turns to watch the scene as a DIRECTOR
enters, followed by YOUNG ELSIE in full costume
and make-up and an ACTRESS dressed as a Louisa
May Alcott character with a milking pail and
three legged stool.)
YOUNG ELSIE
Moooo!

Quiet on the set!

Rolling!

DIRECTOR
And...action!

ACTRESS
There's my good girl -- ready for your milking, Missy?
(As the ACTRESS sits about to milk Young Elsie,
ELMER THE BULL enters. He's a hunk. ELSIE and
ELMER lock eyes and SHE goes into heat, kicking
the ACTRESS in the head, knocking her and her
milking equipment over as ELMER goes after Elsie
and all hell breaks loose.)
DIRECTOR
Cut!

247.

2-5-13
(The scene freezes and OLD ELSIE takes the focus
again.)
ELSIE
I was over the moon!
HE WAS A RODEO REBEL
WITH BUCKING-BRONCO MOVES.
I WAS A WELL-BRED JERSEY,
BUT HE SWEPT ME OFF MY HOOVES.
I THOUGHT WE'D HAVE A FUTURE
IN A LONG BARN BUILT FOR TWO.
BUT HE WOULDN'T GO TO WORK, HE
ACTED LIKE A REAL BEEF JERKY,
SO I HAD THEM TURN HIM INTO GLUE!
(Lights come up on another part of the stage
illuminating a giant bottle of Elmer's Glue on a
pedestal with candles and white lilies, as if it
were a funerary urn.)
ELSIE
(takes a swig)
Oh, what the hell, that's all just spilt milk, right?
me a fine "Cowdillac" and took my act on the road!

I bought

(During the following YOUNG ELSIE and others

enact a "whirlwind US tour" montage where we see
her being loved and adored by crowds all wearing
milk mustaches.)
ELSIE
I HAD MY CHARMS DISPLAYED UPON A BIG MARQUEE.
WITH OPEN ARMS THEY GREETED ME FROM SEA TO SEA.
AND I WAS THROUGH WITH FARMING ONCE I'D BEEN TO PAREE!
THIS FEMME WAS QUITE THE CRME DE LA CRME OF BIG FAT COWS!
But it wasn't enough. I wanted more, I wanted to be a star on
the Great White Milky Way! That's right, Broadway! Sure, I'd
been in pictures, but there's no place like the theatre, where
it ain't over till the four-footed fatso sings! So one fateful
day, I set out from Rahway, New Jersey to Shubert Alley, the
heart of the New York theatre district, when all of a sudden my
truck was hit from behind...
(SHE whips off the wilted daisy neck piece to
reveal a cervical neck brace.)

248.

2-5-14
ELSIE
After the accident, it was all down hill. I got hooked on horse
tranquilizers for the pain. The Borden people told everyone I
was too injured to be saved, that they'd had to "put me to
sleep" for my own good, but the rumors of my euthanasia were
highly exaggerated! It was all a bum steer. God, I get sick to
my four stomachs just thinking about it. The truth was....
I'D PASSED MY PRIME,
TURNED MANGY, THIN AND BONY.
THAT'S WHEN HIRED THOSE PHONY
ELSIES IN DISGUISE.
(YOUNGER COWS wearing copycat daisy neck pieces
enter and parade around like super-models.)
ELSIE
THEY LOOKED SUBLIME.
THEY'D POSED FOR BEN AND JERRY'S,
FOR CALIFORNIA DAIRIES
AND THOSE GATEWAY GUYS.
BUT THEY'LL GROW OLD THEMSELVES ONE DAY AND HIT A WALL,
AND I'LL BE THERE APPLAUDING FROM A FRONT ROW STALL!
I KNOW I SHOULDN'T GET A KICK FROM WATCHING THEM FALL...
(SHE trips them and THEY go down like dominos.)
ELSIE
BUT THE MILK OF KINDNESS ONLY FLOWS IN BIG FAT COWS!
Now I know what you're thinking. "At least you had your day,
Elsie! What about the rest of us, whose cream never rose to the
top, who just couldn't gain a pound, no matter what we did. Oh,
we tried," you say, "We stuffed our faces with everything in
sight, but no matter what we did, no matter how much we ate, we
just keep losing weight!" I know, it's not fair, but that's the
way it is. So forget about it, ladies, let your skinny-freakflag fly! Besides, I may have been the biggest bovine the world
has ever known, but I didn't have something wonderful that ya'll
do have...that's right, that fine load of bull sittin' next you
tonight...your man! So go on, guys, let her know how lucky she
is...turn to her right now and tell her, "Honey, to me you'll
always be a big, fat cow!"
(SHE ad-libs around this until SHE gets the whole
audience to participate.)

249.

2-5-15
OLD ELSIE
SO LADIES, IF YOU'RE WORRIED THAT YOU'VE GROWN TOO LEAN,
JUST LET THAT FINE BULL STUFF YOU FULL OF DAIRY QUEEN.
AND IF YOU TWO CAN STICK LIKE GLUE YOU'LL SEE WHAT I MEAN-IT REALLY DOESN'T MATTER
IF YOU'RE THINNER OR YOU'RE FATTER
AS LONG AS IN THE HEART OF YOU
YOU KNOW THAT THERE'S A PART OF YOU
THAT'S ALWAYS GONNA BE A GORGEOUS BIG...FAT...COW!
Moo!
(Lights flash; big finish!

Then cross-fade to:)

A note about punctuating lyrics. There are two opposing schools of

thought: virtually NO punctuation versus punctuating lyrics as
expressively as you punctuate your dialogue. ANMT's
recommendation is that of including more rather than less
punctuation in your lyrics, because it's an additional tool of
communication.
Composers will be grateful to note that punctuation of lyrics in the
score does not have to match the lyricist's punctuation (due to the
time involved of exact proofing!), but might be a useful habit to
create from the first draft. These sample guidelines allow for some
inconsistency of punctuation between script and score.

250.

177

20. Big Fat Cow Part 2

(Old Elsie)
This cue is entitled "Part 2" because
it is a continuation of a "Part 1"
from earlier in the show.

cue: AD MAN: "How about Francis Gumm?""

OLD ELSIE: They settled on "Elsie"
and a star was born..."

Med. Blues Swing q = 105

OLD ELSIE:

4
&4

I
C

C9/E

G13

was

just a hoof -in heif -er

G7#5

in the

C9/E

4
&4 j
b #

3
? 44
j

n
n

j
bn

& b
chor

n
- us line

'till they brand -ed

B/F

on their brand name back in thir

C9/E

- ty nine.

And

F6

G13

G7#5
3

& j

?

j
j j
n #
b
b # j
n
3
3
3
j j
j
j

#

bn

& n
soon the grass was green -er and the oats more di - vine!
C

C9/E

j
& j
n

b
?
j
j

F7

j
b
j
#

(No copyright notice is needed on individual cues;

one at the top of the score is sufficient)

251.

I lived the life of Ri -ley as a

C/G

n
>.
j
>.

OLD ELSIE: By the time the fair closed

in 1940 I was a household name.

178
10

&

big fat
B13 B13(9)

cow.
C13

bb

B(@2) B(@2) C

C13

B7

bb

& ##

n #
b # n n #
f
b n #
3
b
? bb nn b

j nn J
b n

b n

nbn

3

OLD ELSIE: Don't get your panties in a twist,

I said "cheeses", like camembert or brie...

OLD ELSIE: Why, I was bigger than cheeses!

13

E7

E6

bb
b

Fm7

B7

j
bb
n

b
j
j
& b n
#
mp

Emaj7

Cm7

j
j

j

3

? bb

j
n

OLD ELSIE: But I was, I was more famous than Micky Mouse!
I had my own radio spots, I got my own fan mail, why I even starred in a movie.

16

Fm7 B7

GMaj7

G7
Am7
j
j
j
b

b nn bb
b

b

b
& b b

?b
b
b b

j
n

j
b

D7

b
b
j

GMaj7

Em7

j
b
b

j
j

j
b

In this section, with a lot of dialog, you should attempt to place dialog
over the music where it is intended to fall. You will usually need to adjust this
after the first rehearsal. Your musical director may also cross out measures!

OLD ELSIE: That's right, an RKO feature entitled "Little Men"

It was on the set of that picture that I met a handsome young stunt bull named Elmer...

20

Fm7

B7

b
& b b n

E6

Fm7

j n j
#

3
?b
b

E7

B7

j
bb
n

j

3

j
n

252.

20. Big Fat Cow Part 2

179
ACTRESS: There's my good girl-ready for your milking, Missy?
(All hell breaks loose)
DIRECTOR: Cut!

YOUNG ELSIE: Mooo!

DIRECTOR: Quiet on the set! Rolling! And...action!

Emaj7

23

Cm7

b
&b

Fm7

B7

? bb

(Safety)
cue to stop: DIRECTOR: Cut!

G7

GMaj7

25

b j
b
&
bb

? bb
b

Am7

j
n

D7

j
bb
b b

j
nn

j

j
b
b

OLD ELSIE: I was over the moon!

OLD ELSIE:

Doubletime Swing Jazz

27

b
b
&

#C

4
4

He

q=180
B7

b
&b

?b
b

was

B7 A/C# Dm B7/D# Em

#C

4 # <n> #
#
4
#C
4
w
w
# #

Em/D#

#
.
#.

.
.

31

#
&

ro -de -o

G/D

reb - el with buck - ing bron - co

A9/C#

#
& <n>
.
? # <n>.

#

#

Bm

j


j

Bm/A#

j
#
J
. #. .

253.

moves

D/A

E9/G#

Am

was a

Am/G#

j


#
# . .
<n>. # j j #. .

<n>

20. Big Fat Cow Part 2

180

35

#
&

well bred Jer - sey but he swept me off

C/G

D9/F

my hooves.

GMaj9

Am11

<n> .
?#
<n>.

j


j

A#7

G@2/B B7

Em

thought we'd

Em/D#

j j
## n # # .
#.
j
j

b n

#
&

.
.

39

&

have a fu

G/D

#
& <n>
.
? # <n>.

ture in a long barn built for

A9/C#

Bm

j
#

# j

two.

But he would -n't

Bm/A#

D/A E9/G#

j
#
J
. #. .

Am

Am/G#

<n> #
<n>. # j j

# .

.
#. .

43

#
&

go

to work

C/G

he

D9/F

#
&

<n> .
?#
<n>.

j


j

j

act -

ed like a

Bm7

#
real beef jerk - y,

E11

j

>

254.

E7

Am

# j

J

So

I had them

Am/G#

# .

.
#. .

20. Big Fat Cow Part 2

181
47

&

turn him

in - to

glue!

Somber Funeral Tone

C/G
C/G

D9/F

G6

#
& j w
ww
<n> . n w
?#
<n>. j w
w

U
###w
w
w

n
nn w
w
w

w
w

j
w
w
w

w
w

OLD ELSIE: Oh, what the hell, that's all just

spilt milk, right? I bought me a fine
"Cowdillac" and took my act on the road!

In general, a vamp should be called a "vamp"

if there is a high likelyhood that it will be used.
"Safety" indicates that it will probably not be
needed, but is there just in case.

Tempo 1
53

(Safety)

&

A7

A7

G/B

A7

& w
w
w
w
?#
w
w

j 3 j j j j
j j j j

57

#
&

j


b
I

had my charms dis -played up - on a

big

mar quee.

With

A7

G/B

C9/E

B/F

&
#

j
<n>

mf

j

n

b # j

?#

j
#

<n>

j

255.

j
n

j j

20. Big Fat Cow Part 2

182
60

#
& <n>
o - pen arms they

greet - ed

me

sea

to

from

C9/E

sea.

And

F6

G13

G7#5
3

#
&

<n>

nj

#
n<n>

?#

j
n

b n

j
#

62

#
& <n>
I

was through with farm - ing once

#
&

I'd

been

to

Paree!

C9/E

F7

j
#

j
n

This

j
n

?#

j
b<n>

OLD ELSIE: But it wasn't enough.

64
3
#
&
b n

femme was quite the creme de la creme of

C/G

#
& <n>

>.
?#

>.

big
B13

bb

fat cows!
B13(9)

#
#
b n
b n

C13

B7

bb

n
3

bb

OLD ELSIE: I wanted more, I wanted to be a star on the

Great White Milky Way! That's right, Broadway!

66

E6

E7

Fm7

b
j
j
& b <b><n> n
#

B7

j
<b> b
<n>

Emaj7

Cm7

j
j

j

3

? bb

<b>

j
n

256.

20. Big Fat Cow Part 2

183
OLD ELSIE: Sure, I'd been in pictures, but there's no place like the theatre,
where it ain't over until the four-legged fatso sings!

Fm7

69

b
& b b

? bb

B7

GMaj7

G7

j
b
b
b

Am7

j
nn

j
n

j
b

b
<b> b

D7

b
b

j
b

OLD ELSIE: So one fateful day, I set out from Rahway, New Jersey to Shubert Alley,
the heart of the New York theatre district, when all of a sudden my truck was
hit from behind....

72

GMaj7

Em7

b j
b
&
bb

Fm7

B7

E6

<n>

E7

n j
#

? bb

j
n

Jump cue: Jump to m. 77 at "ELSIE:..hit from behind...."

(SAFETY)
F(7)
75

Fm7

B7

Emaj7

j
j
b
b

& <b> b
<n>

E(b6)

?b
b

>
n


b

bn

f>

>
>

OLD ELSIE: After the accident, it was all down hill. I got hooked on horse
tranquilizers for the pain and lost weight. The Borden people told everyone
I was too injured to be saved, that they'd had to "put me to sleep" for my own good,
but the rumors of my euthanasia were highly exaggerated!

Mysterioso (Even Eighths)

n n n
b b b
b
4
&b 4

78

mp

&

bn

? b 44
b

257.

>

4
4
4
4

20. Big Fat Cow Part 2

ELSIE: It was all a bum steer.

184
(SAFETY)
>
n

81
b b b
b

&b

n
b
&

? bb
w
w

85

bw
bw

b
b

OLD ELSIE: God, I get sick to my

four stomachs just thinking about it.
The truth was....

b
&b

n
n>

b
b

n
n

Med. Blues Swing q = 105

4
4

I'd

passed

my prime,

turned

Cue to start: "ELSIE: The truth was..."

E'6

Bsus4

b n n
b
#
&
n

? bb <n>w

<n> w

E6

4 <b>
4 <b>

E7

#n

4
b

j
n

89

b b
b
&

j b

man - gy, thin and bo - ny.

Fm7
B7

j
b
b

& <b>
<n>
? bb
j

That's when they hired those phony El - sies in dis -guise.

Emaj7
Cm7
Fm7
B7

They

92

b
&b
looked
GMaj7

sub -

blime, they'd posed for Ben and Jer - ry's,

G7

Am7

b j j
b
& bb nn
?b
b b

b b j b b

j
n

j
b

b
<b> b

j
b

for Cal - i - for -nia dair -ies and those

D7

b
b

b
258.

GMaj7

j
b
b
j
b

Em7

20. Big Fat Cow Part 2

185
95

b
&b
Gate

<n>
- way

guys.
G7

Dm7

b
& b

? bb

<n>
<n>n

nn

j
<n>

But

they'll grow old them -selves one day

C
C9/E

nn

<b>

and

nn

<n>

<n>

n b

97

& b
hit

j n

a wall.

And I'll be there ap - plaud -ing from a front

C
F6
C9/E
B/F F

row stall!
G13

G7#5
3

& j

?

j
b

n #

bn

j
#

100

& n
know I

should - n't

&

get
C9/E

kick from watch - ing them

F

j
<b><n>

fall!

But the

<b>
j
#

F7

OLD ELSIE: Now I know what you're thinking.

"At least you had your day, Elsie!

102

& #

milk of kind -ness on - ly flows in big fat

cows.

C/G
B13 B13(9)

C13

C13
3

& n

>.
?

>.

#
#
b n
b n

<b>

259.

f <b>
3

<b>
j nn
J

# n
#
b

20. Big Fat Cow Part 2

186
OLD ELSIE: What about the rest of us, whose cream never rose to the top, who just
couldn't gain a pound, no matter what we did."

105

B(@2)

B(@2) C

&
#
<n>
<n> #
?
b n
b n

G7

C6

Am7

nnn
<n><n>
mp
3

Dm7

G13

J
3
j
j

OLD ELSIE: "Oh, we tried," you say. We stuffed our faces with everything in sight, but no matter
what we did, no matter how much we ate, we just kept losing weight!"

Am9

Dm7

C6

C9/E

F6

F7

108

&

J
?
j

j
j j
b#

j j
b

j j

j
j
#

OLD ELSIE: I know, it's not fair, but that's the way it is. So forget about it, ladies, let your skinny freak flag fly!

112

C/G

G/B

G7/D

C6

j j

& <n> b n

b
<n> b n
b
?
# b <n> #<n>
b <n>

Am7

n <n>

OLD ELSIE: Besides, I may have been the biggest bovine the world has ever known, but I didn't have
something that ya'll do have...that's right, that fine load of bull sittin' next to you tonight--your man!

115 Dm7

G13

& b b

<n>
3
?
j

j
<n>

Am9

Dm7

C6

C9/E

j j
b

j
j

260.

j j

20. Big Fat Cow Part 2

187
OLD ELSIE: So go on, guys,
let her know how lucky she is...

Jump cue: Jump to measure 121 at "ELSIE:..your man!"

F6

F7

C/G

A/G

A/G

B/G

119

j j

& b#

b
<n> b
j
? <n>
b
<n>

#
<n> b n

b
f
b
b
#
j
j
b
n

#
<n>

OLD ELSIE: Turn to her right now and tell her,

"Honey, to me you'll always be a big, fat cow!"
(More ad-libbing with audience)

123

&

cue to go on: Physical cue from actor.

(Vamp)
So
C/G

G7

G7

G7

C/G

G7

G7

G7

<n>

? <n>

##

##

<n>

&

mf
3

127

&
la - dies, if

you're wor - ried

that you've

grown

C9/E

too

lean,

just

B/F

j
&
<n>

<n>
?

b
3

j
#

129

& <n>
let that fine

bull

stuff you full
C9/E

of

Dai
F6

ry

Queen!
G13

And
G7#5
3

&

<n>

<n> #

b n

261.

j
#

20. Big Fat Cow Part 2

188
131

& <n>
if you two can stick like glue you'll see what I mean!
C

C9/E

It real -ly does -n't mat -ter.

F7

j
b

j
b<n>

& j

j
#

134

&

If you're thin -ner or you're fat - ter.

C/G

As

G7(:3)

C/G

G 3

&

<>

137

& b
long as in the heart of you you know that there's a part of you that's
C

B/D

& b
b

Gm

F/A

al - ways gon - na

C/G

b <n>

3
3
3

3
3

262.

20. Big Fat Cow Part 2

189
140

C/G

&

F/G

G7;3

>

fat
G7

cow!
C

& w
be a gor - geous big

w
w
w

j j
j
j

<>
144

& w

Moo!

C13

B(@2)

B(@2)

>.

A/C

j 3

n <n>
& bb

b ## n <n> #
n b <n> #
3
b
j
?

j J
b n

b <n>

263.

>.