My Fair Lady |
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| Act:3 Scene:2 | Franklin Street | |
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Flossie has slipped away from 27A Wimpole Street pursuing his favourite,
and somewhat dangerous, hobby of stalking the wicked shepherdess.
As a result of enquiries made, the precise details of which are beyond
the imagination of the playwright to describe, Flossie has located the
shepherdess's secret hideout and thus has arrived here on the street
where she lives. Although at great peril, the little sheep is happy
and cannot help but burst into song, an act ill-advised for one who,
for their own safety's sake, should not wish to attract attention.
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| Flossie: |
I have often walked down thish shtreet before But the pavement alwaysh shtayed beneath my feet before All at once am I sheveral shtoriesh high Knowing I'm on the shtreet where she lives | |
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Flossie gives a little skip and a jump, which breaks into an
unusual dance routine. Obviously, the sheep does not feel that
just a song will attract enough attention.
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| Flossie: |
Are there lilac treesh in the heart of town? Can you hear a lark in any other part of town? Dush enchantment pour out of every door? No, it'sh jusht on the shtreet where she lives | |
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A shadow appears from the right of the stage - the shape of a crook
is unmistakable. Flossie continues to dance and sing in the street
completely unlike Gene Kelly.
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| Audience: | Behind You! | |
| Flossie: |
And, oh the towering feeling Jusht to know Shomehow she is near The overpowering feeling That any shecond she may shuddenly appear | |
| The dark shadow moves closer covering the right side of the stage. The crook shape is clearly visible against the backdrop across the top of the stage. Flossie does not notice and continues singing. | ||
| Audience: | Behind YOU! | |
| Flossie: |
People shtop and shtare They don't bother me For there'sh nowhere elshe on earth That I would rather be Let the time go by I won't care if I Can be here on the shtreet Where she lives! | |
| Audience: | BEHIND YOU! | |
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Flossie turns to look, but it is too late.
The shadow envelopes the entire stage plunging it into darkness.
There is a sound of thumping and whumping and other noises usually
associated with a shepherdess practicing the martial arts of her profession.
To keep the special effects people happy, there are also sounds of
crashing thunder and flashes of lightening, the brief and strategic
illumination of which, catches a shepherdesses crook swinging wildly
and vengefully. The sounds of extreme violence are accompanied by
pitiful bleats of pain and distress.
The stage lights come back on. A small battered woolly body lies on the ground. Paul Pixie enters stage left.
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| Paul Pixie: | What is this? A poor and severely injured sheep, unless my eyes deceive me. How could anyone treat a little sheep so? | |
| Paul moves closer to examine the body. | ||
| Flossie: | (weakly) Baaaaah! | |
| Paul Pixie: |
It's still alive. Oh, heavens be praised! Wait! I think I know this sheep . . .
can it possibly be Flossie? Poor Flossie! I shall take this sheep home,
care for it and nurse it back to health. Maybe, if fate is kind, this sheep
will come to love me and we can be married, buy a little cottage in the country
with roses around the door, and live happily ever after.
And they called me strange and deluded. We'll show them, Flossie! It's me and you against the world! | |
| Flossie: | (protesting weakly) Baaaaah! | |
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Paul Pixie leaves carrying Flossie in his arms.
The stage is clear for a while and then the shadow of the crook returns,
pauses as if looking thoughtfully for something before disappearing again
accompanied by a sound similar to the rustling of brown wrapping paper.
It is probably fortunate that Paul Pixie came along when he did, although
Flossie possibly has very mixed feelings about the deal.
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