The Gingerbread Man
THE GINGERBREAD MAN
______
A Musical Book, Music and Lyrics by Paul Lewis Story by Paul Lewis and Carissa Meisner Smit
Draft 7/11/17 Contact: Paul Lewis 10797 Bill Point Vw NE Bainbridge Island, WA 98110 206 842 3403 [email protected] iv.
TIME and PLACE
In a long-ago time, in the city of Tin Town, a grim industrial riverside town in eastern Pennsylvania.
CAST OF CHARACTERS
GINGERBREAD MAN (F or M) — may be played by a young woman
CROW (M or F)
MR. PUFFIN, 30s to early 40s
MRS. PUFFIN, 30s to early 40s
NICCOLO, the Baker, 30s or older
ALICIA, the Baker's Wife, 30s or older
MRS. TINSLEY, 30s to 40s or older, doubles as her twin sister MATRON McGEE
TINOTHY, her obnoxious son, 12 or younger
STATIONMASTER, doubles as CONSTABLE
TOM THE TINKERER, doubles as TRAIN CONDUCTOR
YOUNG MAN
YOUNG WOMAN
HEATHER, Gretchen's friend. May double as HORSE.
ENSEMBLE of Townspeople (if desired — flexible size)
PRODUCTION NOTE: Gingerbread Men are often associated with the Christmas holidays, and the action of this musical may take place around Christmastime. Or, if desired, with a couple of tiny modifications —e.g. changing the Holiday Dessert Derby to the County Dessert Derby— the story may take place at virtually any time of year.
vi.
MUSICAL NUMBERS
1. ONCE UPON A TIME IN TIN TOWN (Ensemble)
2. A FAMILY TO CALL MY OWN (Gretchen)
3. WITH SOME IMAGINATION (Gretchen, Baker and Baker's Wife)
4. THE RIVER KNOWS (Mr. and Mrs. Puffin)
5. THE SPARK OF LIFE (Gretchen, Gingerbread Man)
6. TINOTHY'S TALL TALE (Tinothy)
7. THE SPARK OF LIFE — Reprise (Gingerbread Man)
8. EVERYBODY'S GOT A GIFT (Crow, Gingerbread Man)
9. THE RIVER KNOWS — Reprise (Mr. and Mrs. Puffin, Gretchen)
10. RUN, RUN, RUN, JUST AS FAST AS YOU CAN (Crow, Gingerbread Man, Ensemble)
11. FINALE ( Gretchen, Heather, Ensemble) SCENE 1
THE STREETS OF TIN TOWN
MUSIC underscoring begins. Lights up on the silhouette of a small, grim industrial riverside town. CROW struts in as if he owns the place.
CROW Early morning in the town of Tin Town —my favorite time of the day. Before the hustle and bustle of the day’s business begins. When even the pigeons are still asleep in their roosts, and the air is filled with the aroma of freshly-baked bread — Hey, wait a minute! I don’t smell a thing. We’ll have to go over to the bakery to investigate. But first, let’s see if this nice young couple is good for a handout
A YOUNG COUPLE enters pushing a baby carriage. Crow caws.
YOUNG WOMAN Nothing wrong with her, the doctor says. I just don’t understand it.
YOUNG MAN He examined her quite thoroughly, dear.
YOUNG WOMAN But a baby who never laughs or smiles? That doesn’t seem right.
Crow caws again, but the couple ignore him. They remain on stage, conversing in pantomime.
CROW Could be they have more important things on their minds. Oh, look who’s coming now: Mrs. Thomas T. Tinsley. She happens to own most of Tin Town — including the train station, several downtown blocks and the abandoned tin factory at the edge of the city. And leading the way, her charming and talented son, Timothy.
Strident MUSIC vamp.
TINOTHY (entering, with a sharp rap on his tin drum) That’s TIN-othy! THE GINGERBREAD MAN 2.
CROW Right. And over there is the town stationmaster — bright-eyed, bushy-tailed and ready for the day’s toil, I see.
STATIONMASTER enters from the other direction, yawning.
TINOTHY (pointing his drumstick at him) Hey, you! Whatsa matter with you? You’re late for work!
STATIONMASTER Why, you little skunk, I ought to — (notices Mrs.Tinsley not far behind) —Oh! Good morning. Mrs. Tinsley. I was just complimenting young Timothy —
TINOTHY TIN-othy! (drum rap)
STATIONMASTER — Yes, of course. Tinothy. Just commenting on his remarkable drumming technique. I haven’t heard such impressive paradiddles since —
MRS. TINSLEY —Never mind that. We simply can’t have a stationmaster who is always tardy.
STATIONMASTER I can explain, Ma’m. I usually count on my rooster to wake me up, but I’m afraid he’s been sleeping in recently.
MRS. TINSLEY Did it ever occur to you to put out an alarm clock for him?
STATIONMASTER That’s an excellent idea, Ma’am. I think I’ll do that. But the other thing is — perhaps it’s escaped your attention — but no trains have stopped in Tin Town for the last seven years. Ever since you moved the factory to China—
MRS. TINSLEY —Yes, I have noticed. And that’s why you haven’t been paid in seven years. But I still expect you to show up at work on time. (a beat) Oh, there’s Tom the Tinkerer. I’ve been meaning to have a few words with him. THE GINGERBREAD MAN 3.
TOM THE TINKERER enters, trailing tools, gizmos and tin cans attached to strings.
TOM THE TINKERER Hello, Ma’am!
MRS. TINSLEY Now, look here. You were supposed to get those bells in the clock tower chiming again.
TINOTHY Yeah! What’s the matter with you?
TOM THE TINKERER I’ve been trying, Ma’am! I’ve taken the clockworks apart, cleaned and oiled every last gear and gizmo and put it all back together again. Everything appears to be in tip-top shape, but it simply won’t work. There’s only one possible explanation.
MRS. TINSLEY Let me guess: is it because you’re the laziest man on earth, aside from my idiot husband?
TOM THE TINKERER No, Ma’am. I believe that the bell tower is haunted!
MRS. TINSLEY Haunted?
TOM THE TINKERER You know... (he makes ‘spooky’ ghost sounds and gestures)
MRS. TINSLEY That is the most ridiculous thing I’ve ever heard. Come along, Tinothy. To the bakery.
CROW Let’s tag along with them, shall we?
MRS. TINSLEY Oh, look, Tinothy. A baby! (to us) I don’t know what it is about babies, but they always seem to adore me. (leaning down into the carriage) Ah, kootchie kootchie koo! Kootchie kootchie koo!
The sound of a baby wailing loudly. THE GINGERBREAD MAN 4.
CROW I guess there are exceptions to every rule.
Mrs. Tinsley, appearing offended, exits with Tinothy.
1. “ONCE UPON A TIME IN TIN-TOWN”
YOUNG WOMAN (to us)
ONCE UPON A TIME IN TIN TOWN BABIES LAUGHED AND SMILED NOW THEY WEAR A TIN-TOWN FROWN IS IT ANY WONDER WHY?
ENSEMBLE
FOR IT’S A TOWN WHERE THE BELLS DON’T RING WHERE THE BIRDS DON’T SING AND THE TRAINS GO WHISTLING BY
IT’S A TOWN THAT’S LOST ITS PLUCK DOWN ON ITS LUCK NO WONDER WE ALL SIGH
All sigh loudly. MUSIC continues.
Lights up on interior of the bakery. The kindly NICCOLO and his wife ALICIA, downcast-appearing, have just finished adding up the savings in their piggy bank.
ALICIA ... Forty-eight. Forty-nine. Two dollars and forty-nine cents.
NICCOLO This is hardly enough to get our flour mill repaired. Besides which, we already owe money to Tom the Tinkerer for the last repair.
ALICIA What will we do, Niccolo?
NICCOLO I’m afraid we will have to close our bakery for good, Alicia. Short of a miracle, there is no other way. THE GINGERBREAD MAN 5.
ALICIA Mamma mia! So many years of hard work and toil has come to nothing.
NICCOLO These are truly hard times. (he puts his arm around Alicia to comfort her)
ENSEMBLE
THE KIND OF TOWN WHERE THE BAKERS CAN’T BAKE AND THE ROOSTERS DON’T WAKE AND THERE’S NO GOOD NEWS FOR MILES
AND IT’S A TOWN WHERE THE BIRDS DON’T SING WHERE THE BELLS DON’T RING WHERE NO ONE EVER SMILES
Mrs. Tinsley and Tinothy enter the bakery. Crow, tagging along, eavesdrops.
MRS. TINSLEY (cheerfully) Good morning!
NICCOLO Not a very good one, I’m afraid, Signora Tinsley. In fact, we may be forced to close this business which has been in our family for over seventy years—
MRS. TINSLEY — Yes, yes, yes, whatever. We have something far more important to discuss with you — the annual Holiday Dessert Derby. I expect you to represent Tin Town again this year, and this time I expect you to win, and bring to our fair city the fame and glory it so richly deserves.
NICCOLO As much as we would like to, Signora —
MRS. TINSLEY —As you know, your dessert must be something delectable (drum rap). Respectable (drum rap). And whimsical (drum rap). THE GINGERBREAD MAN 6.
ALICIA But, Signora —
MRS. TINSLEY — Oh, did I mention that the grand prize this year is one hundred dollars?
NICCOLO AND HIS WIFE One hundred dollars!?
ALICIA Why, we could repair our flour mill with that money—
NICCOLO —Repay Tom the Tinkerer—
ALICIA And save our bakery.
NICCOLO But, Signora, our flour mill is now broken and we only have this one small bag of flour —
TINOTHY —Hey, you! Quit your bellyachin’ and serve me a sausage. (raps on his drum)
ALICIA We do not sell sausages, dear, but I may have a sugar raisin cookie in the case—
TINOTHY —I don’t wanna sugar raisin cookie, lady! I wanna sausage!
MRS. TINSLEY Tinothy loathes baked goods. In fact, his diet consists entirely of sausage and water. The doctor says that it’s probably what contributes to his pleasing disposition.
TINOTHY I wanna sausage! I wanna sausage! I wanna sausage!
MRS. TINSLEY Go outside and find your idiot father, Tinothy. Maybe he has a sausage lying around in his pocket. (to Niccolo and Alicia) I’ll be by the day after tomorrow to pick up your creation. THE GINGERBREAD MAN 7.
As dialogue proceeds, Crow picks up a discarded cigar butt off the street and proceeds to light it.
NICCOLO But, Signora, without enough flour —
MAYOR’S WIFE —Remember: (shaking a hip, each word,accompanied by a rim shot) Respectable —delectable — and whimsical! (she exits)
CROW Now, parents, I know exactly what you’re thinking: ‘We didn’t know there was smoking in this show. If we’d have know that, we never woulda bought tickets. It sets a bad example.’ Well, all I can say is that if you’re hoping for a talking crow to set an example for your kids, then you’ve got more important things to worry about. (a beat) Come to think of it, so do the good people of Tin Town.
ENSEMBLE
ONCE UPON A TIME IN TIN TOWN FOLKS SMILED WHEN YOU PASSED BY NOW ON EVERY FACE IS A TIN TOWN FROWN IS IT ANY WONDER WHY?
ONCE UPON A TIME IN TIN TOWN SMOKE STACKS TOUCHED THE VERY SKY AND LOCOMOTIVES BEARING TIN AND STEEL ARRIVED FROM FAR AND NIGH
BUT IT’S NOW A TOWN WHERE IT’S ALL GONE ‘POP’ WHERE THE TRAINS DON’T STOP BUT BLOW THEIR WHISTLES RACING BY
FOR IT’S A TOWN WHERE THE BIRDS DON’T SING AND THE BELLS DON’T RING AND DREAMS MUST GO TO DIE THE GINGERBREAD MAN 8.
As song proceeds, GRETCHEN. She stops to admire a single winter flower in bloom, and proceeds to smell its scent.
ENSEMBLE
THE KIND OF TOWN WHERE THE BAKERS CAN’T BAKE AND THE ROOSTERS DON’T WAKE AND THERE’S NO GOOD WILL FOR MILES
AND IT’S A TOWN WHERE THE BIRDS DON’T SING WHERE THE BELLS DON’T RING WHERE NOT EVEN CHILDREN SMILE
Gretchen face emerges from the flower. She is smiling.
MRS. TINSLEY (to us) She doesn’t count. She’s an orphan.
ENSEMBLE
ONCE UPON A TIME IN TIN TOWN LONG AGO CAME TO AN END IT WOULD TAKE SOME KIND OF MIRACLE TO BRING ONCE UPON A TIME IN TIN TOWN BACK THIS WAY AGAIN!
End of song. Ensemble exits. Gretchen is left alone on stage.
As scene proceeds she moves to a space in front of the facade of a couple of neglected-appearing buildings. A sign on one reads,‘Rialto Theater’. The coarse sign on the other reads ‘Matron McGee’s Home for Orphans’
GRETCHEN I may only be an orphan, but lots of things make me smile. A brave rose in the middle of winter. A loaf of fluffy white bread fresh from the oven. My friend Heather. Even though she’s no longer nearby, the thought of her makes me smile.
HEATHER enters, as if in her memory. THE GINGERBREAD MAN 9.
GRETCHEN I’m so very happy for you, Heather. I truly am. And your new family in Springdale sounds just lovely.
HEATHER I’m going to miss you, Gretchen. Of all the children at the orphanage, I’m going to miss you most of all. Playing dress-up in the costume room of the old Rialto Theater. Talking into the night. I’ll write to you, of course. I’ll write to you every week.
GRETCHEN You needn’t do that.
HEATHER Oh, but I will! We’re best friends, Gretchen. That never, ever changes. And one day we’ll find each other again. I’m sure of it.
Heather exits.
GRETCHEN
ONCE UPON A TIME IN TIN TOWN I HAD THE PERFECT FRIEND IT WOULD TAKE SOME KIND OF MIRACLE TO BRING HER BACK...
MUSIC continues.
GRETCHEN (becoming wistful) Even more than a friend, if such a thing were possible.. what would truly make me smile would be a family. They wouldn’t have to be extraordinary. Just a real, ordinary family.
A Bluebird alights nearby (may be a puppet or a lighting effect) and chirps in a friendly manner.
GRETCHEN (CONT’D) Oh, hello, Blue Bird. I hope you’re doing well today.
The Bird chirps. Crow arrives to investigate.
GRETCHEN (CONT’D) Me? Not so well, I’m afraid.
The Bird chirps. THE GINGERBREAD MAN 10.
GRETCHEN Well, as a matter of fact I have! Lost my very best friend in the world.
The Bird chirps.
CROW (to us) Just so you know, neither of them have the faintest idea what the other one is talking about. (exits)
MATRON MCGEE (OFFSTAGE) Gretchen! When you’re through day dreaming, there are dishes to be washed. No daydreaming allowed when there’s work to be done.
GRETCHEN Yes, Ma’am. I’ll be in right away.
Gretchen moves into a space representing the costume room of the abandoned Rialto Theater.
GRETCHEN Matron McGee is always calling me a daydreamer, Blue Bird. But it’s nighttime, when the lights are out, when I lay awake and actually do most of my dreaming.
2. “A FAMILY TO CALL MY OWN”
MY DREAMS TAKE ME TO MANY DIFFERENT PLACES WHERE I SEE SO MANY KIND AND FRIENDLY FACES BY THE TIME I EMERGE INTO MORNING’S LIGHT I’VE TRAVELED MANY MILES THROUGH THE NIGHT
That’s the trouble with dreams, you know. You can never count on them to be there once you awaken. Still, they’re lovely for as long as they last, wouldn’t you agree?
The Bird chirps. As the song proceeds, Gretchen picks up a piece of clothing or a hat associated with the places in the song.
I’VE BEEN BY NOW TO BALTIMORE I’VE SPENT AN HOUR IN ECUADOR AND IN EACH PLACE I’VE HAD A FAMILY TO CALL MY OWN THE GINGERBREAD MAN 11.
GRETCHEN (CONT’D)
TO EAT RAW FISH CAN BE SO NICE WHEN YOU’RE ON THE ARCTIC ICE SURROUNDED BY A FAMILY TO CALL YOUR OWN
ONE NIGHT I MIGHT BE FOUND IN A TIDY HOUSE UPTOWN AS THE RAIN COMES FALLING DOWN I LISTEN TO IT PATTER ON THE ROOF
ON ANOTHER NIGHT I WILL BE LIVING OVER A MILL OR IN A CASTLE IN BRAZIL IT REALLY DOESN’T MATTER— HERE’S THE PROOF
ROCKET SHIPS AND SUBMARINES SO MANY PLACES I HAVE DREAMED BUT IN EVERY PLACE MY HEART HAS BEEN AGLOW
BECAUSE I HAD A FAMILY I DREAMED A HAD A FAMILY I MUST HAVE HAD A FAMILY TO CALL MY OWN
BLACKOUT. SEGUE MUSIC: TRAIN MUSIC AND WHISTLE
SCENE 3
INSIDE A PASSENGER CARRIAGE IN A TRAIN
MUSIC underscoring. MR. and MRS. PUFFIN are sitting side by side in a moving train.
MR. PUFFIN You’ve been awfully quiet, dear. A penny for your thoughts. THE GINGERBREAD MAN 12.
MRS. PUFFIN This Pennsylvania countryside. I was just thinking that it may be many years before we see it again — if ever.
MR. PUFFIN We’ve been over this a thousand times, darling—
MRS. PUFFIN —Yes, I know we have—
MR. PUFFIN —We need to start over again, in Europe. This land has too many memories. We’ll never find the baby daughter we lost, even if we keep looking for the rest of our lives. After so many years of sorrow, we deserve another chance at happiness.
MRS. PUFFIN I don’t doubt that. But —
The sound of an engine grinding noisily toward a breakdown.
MR. PUFFIN There’s that sound again.
MRS. PUFFIN It doesn’t sound very good, does it?
The CONDUCTOR passes through the car.
CONDUCTOR Oh my. Oh my. Oh my oh my oh my.
MR. PUFFIN Excuse me! But is something the matter with the train?
CONDUCTOR What isn’t the matter with the train? Puny piston rods, a firebox on the fritz, a sticky steam valve and a sucky stoker.
MR. PUFFIN Did you say punky piston rods, a funky firebox, a sucky steam valve and a sticky stoker?
CONDUCTOR No, I said puny piston rods, a firebox on the fritz, a sticky steam valve and a sucky stoker. THE GINGERBREAD MAN 13.
MR. PUFFIN That’s what I said, isn’t it?
CONDUCTOR No. You said punky piston rods, a funky firebox —
MRS. PUFFIN —Whatever it is, it sounds very serious!
CONDUCTOR I’m afraid it is. We’re going to have to make an unscheduled stop in Tin Town.
MR. PUFFIN For how long?
CONDUCTOR As long as it takes for the spare parts to arrive and to repair the engine. Might be two or three days. All of the roads are blocked on account of the snow in the mountains. I hope you don’t have any pressing business in Philadelphia. (he moves on) Oh my oh my oh my oh my.
MR. PUFFIN We’ve booked passage on an ocean liner leaving for Europe in four days, actually—
CONDUCTOR —We’ve arrived in Tin Town! All passengers must disembark in Tin Town until further notice! Oh my. Oh my oh my oh my.
The sound of the train pulling into the station.
MRS. PUFFIN We still have three days, so we should make our boat all right. Still, I don’t hear very good things about Tin Town.
BLACKOUT. SEGUE MUSIC
SCENE 4
THE BAKERY
Niccolo and Alicia are anxiously leafing through a book. THE GINGERBREAD MAN 14.
ALICIA Here’s just the chapter we need: Fancy and Unique Holiday Desserts from the Old Country.
Gretchen arrives with an empty bread basket.
GRETCHEN Good morning!
ALICIA Hello, Gretchen. (to Niccolo) What about Kidney Pie with Stewed Prunes?
GRETCHEN (in disgust) Ooo!
ALICIA Roly-Poly Jelly Roll with Lard Sauce?
GRETCHEN Double ooo!
ALICIA Savory spotted sour milk custard?
GRETCHEN That sounds horrible!
NICCOLO I’m afraid I only have one loaf of bread, and I saved it just for you, Gretchen. It’s from yesterday, but it should still be good.
GRETCHEN No fresh bread today? And what’s with the unhappy faces and horrible dessert ideas? Is something the matter?
NICCOLO Nothing we want to trouble you with. But the future of our bakery depends on us winning first prize in the annual Holiday Dessert Derby in two days time.
GRETCHEN Oh my! THE GINGERBREAD MAN 15.
NICCOLO According to the contest rules, it must be respectable.
ALICIA Delectable.
NICCOLO AND ALICIA And whimsical. (they both sigh)
GRETCHEN Well, you’re certainly not going to win any prizes with any of those awful concoctions!
ALICIA But Gretchen, our mill is broken and we only have this one bag of flour to work with.
GRETCHEN Hmm. That does present a challenge
MUSIC begins. Gretchen begins to pull jars from shelves.
GRETCHEN (CONT’D) What’s this? Oh. Ginger! What else do you have here? ... Molasses... And sugar. You’re going to need lots of sugar.
NICCOLO What do you have in mind?
GRETCHEN A gingerbread ... cookie, is what I’m thinking, more or less.
ALICIA But Gretchen, an ordinary plate of cookies is none of those things.
GRETCHEN Who’s talking about an ordinary plate of cookies? What if ... what if you were to make one big cookie and give it an interesting shape?
NICCOLO I beg to disagree, Gretchen, but everyone knows that a cookie is shaped like a cookie since the beginning of time. Round!
ALICIA Look at the illustrations in this book, Gretchen. Each and every cookie in it is round! THE GINGERBREAD MAN 16.
GRETCHEN Oh my, we really have some work to do, don’t we? I suggest that you put that book down. What we need is to bring some imagination to the task at hand.
3. “WITH SOME IMAGINATION”
GRETCHEN (CONT’D)
THERE ARE THINGS NOT FOUND IN ANY BOOK IN ALL THE LIBRARIES YOU MIGHT LOOK BUT THEY MIGHT JUST BE THE MOST PRECIOUS THINGS OF ALL
FOR ALL THE BOOKS WE MIGHT HAVE READ THE BRIGHTEST PICTURES ARE INSTEAD THE ONES THAT NO ONE DREW THEY’RE THE PICTURES THAT APPEAR INSIDE YOUR HEAD.
MUSIC pauses.
ALICIA Gretchen dear, I think it’s hopeless. We’ve spent our lives working within the four walls of this little bakery, and we’ve had no time to dream up new and exotic creations.
GRETCHEN Nonsense, I say!
WITH SOME IMAGINATION NO DESTINATION’S OUT OF REACH WITH SOME IMAGINATION A PEBBLE CAN BECOME A PEACH
SPARKED BY SHEER CREATION ONE CAN GO SO VERY FAR BE BETTER THAN YOU THINK YOU ARE REACHING FOR THE MOON OR MARS A LUMP OF DOUGH MAY BECOME A STAR
MUSIC continues.
NICCOLO A star! A gingerbread star, perhaps? THE GINGERBREAD MAN 17.
GRETCHEN Yes, why not? Or a sun or a crescent moon!
IN ANY SITUATION THE WORLD OPENS WIDER WHEN YOU THINK PROBLEMS DISAPPEAR IN A WINK AND SOON YOU’LL HEAR GLASSES GO CLINK
NICCOLO AND ALICIA
CLINK CLINK!
MUSIC continues.
GRETCHEN What about ... a gingerbread man?!
NICCOLO AND ALICIA A gingerbread man?! Impossible!
GRETCHEN On the contrary. Let me sketch it out for you. (she reaches for a piece of butcher block paper and begins to draw) Here. You see? Here are his arms and legs and head—
ALICIA — And what about his eyes?
GRETCHEN Why, I’d use raisins. Or currants!
NICCOLO And his mouth ?
GRETCHEN Red frosting for his smile and dots of red for his rosy cheeks.
ALICIA Oh! And green icing for his necktie and black cherries for the buttons!
NICCOLO And butter cream icing for the ruffles on his sleeves! THE GINGERBREAD MAN 18.
GRETCHEN Now you’re getting the idea!
WITH SOME IMAGINATION ONE ACHIEVES THE MOST UNLIKELY THINGS WITH SOME IMAGINATION IDEAS CAN FLY AS IF ON WINGS
SOMETIMES CONCENTRATION CAN SIMPLY MAKE YOUR PROBLEMS WORSE YOUR MIND CAN SNAP SHUT LIKE A PURSE THERE’S A WAY TO PUT THAT IN REVERSE
NICCOLO AND ALICIA
WITH SOME IMAGINATION EVEN FOLKS LIKE ME AND YOU WITH NO PROPER EDUCATION CAN THINK OF SOMETHING BRIGHT AND NEW
GRETCHEN Mr. and Mrs. Russo: I do believe you’re smiling again!
NICCOLO AND ALICIA So we are!
They DANCE.
ALL THREE
TOO MUCH CONCENTRATION CAN SIMPLY MAKE YOUR PROBLEMS WORSE YOUR MIND CAN SNAP SHUT LIKE A PURSE THERE’S A WAY TO PUT THAT IN REVERSE
WITH SOME IMAGINATION ONE ACHIEVES THE MOST UNLIKELY THINGS WITH SOME IMAGINATION IDEAS CAN FLY AS IF ON WINGS THE GINGERBREAD MAN 19.
SPARKED BY SHEER CREATION ONE CAN GO SO VERY FAR BE BETTER THAN YOU THINK YOU ARE REACHING FOR THE MOON OR MARS
NO NEED FOR HESITATION WHATE’ER THE SITUATION WITH SOME IMAGINATION YOU’LL REACH SO HIGH WITH SOME IMAGINATION YOU CAN EVEN TOUCH THE SKY!
BLACKOUT.
SCENE 5
THE STREETS OF TIN TOWN
Mr. and Mrs. Puffin are out on a stroll.
MRS. PUFFIN This town is even stranger than I could have imagined. It seems that everyone has forgotten how to be kind to one another.
MR. PUFFIN In just another day or two, hopefully we’ll be back on our way to the East Coast, and then to Europe.
MRS. PUFFIN Look, Howard. Over there, at the edge of town.
MR. PUFFIN (reading the sign in the distance) ‘Matron McGee’s Home for Orphans.’ Darling, we’ve talked about this already. No more orphanages. You know we looked everywhere for her after the flood. Scoured the countryside, villages and towns for years, went door-to-door asked in dozens of counties. She was nowhere to be found. And each orphanage door we knocked on only brought us more false hope, disappointment and heartbreak.
MUSIC begins.
4. “THE RIVER KNOWS” THE GINGERBREAD MAN 20.
MRS. PUFFIN It’s true.
MR. PUFFIN And this town is hundreds of miles downriver from Springdale. It would be inconceivable. Impossible.
MRS. PUFFIN Perhaps. Yet a mother knows. A mother can feel it, when her child is nearby. I think she may be nearby, Howard.
THAT GIRL WITH THE IMPRINT OF A HEART IN HER HAND IS SOMEWHERE CLOSE BY ONLY PARENTS UNDERSTAND
MR. PUFFIN That’s simply the longing within your heart, still calling out to her.
MRS. PUFFIN I relive that terrible flood every day of my life.
MR. PUFFIN As do I.
THE FURY OF THE STORM THAT DAY STILL ECHOES IN MY EARS A FLOOD LIKE THAT HAD NOT BEEN SEEN IN SEVERAL HUNDRED YEARS
MRS. PUFFIN
THE HOUSE CAME DOWN AROUND US AN HOUR BEFORE THE DAWN BY THE TIME WE REACHED HER NURSERY EVERYTHING WE LOVED WAS GONE
BOTH
THE RAGING WATERS OF THE FLOOD TORE HER FROM OUR GRASP OUR BABY GIRL, CRIB AND ALL LEAVING US TO ASK: THE GINGERBREAD MAN 21.
WHERE DID SHE GO? ONLY THE RIVER KNOWS WHERE CAN SHE BE? ONLY THE WINDING RIVER KNOWS
STILL, OUR HEARTS CAN BE GRATEFUL THAT WE HAD HER FOR ONE DAY GAVE HER ALL THE LOVE WE HAD AND MORE BEFORE THE FLOOD TOOK HER AWAY
MR. PUFFIN
SO MANY YEARS THAT WE SEARCHED FOR HER THROUGH RAIN AND SUN AND SNOW AND THOUGH WE NEVER FOUND HER WE’VE NEVER LET HER GO
MRS. PUFFIN
AND YET I HAVE THIS FEELING FROM A PLACE SO TRUE AND DEEP THAT THE RIVER’S WATCHING OVER HER LULLING HER TO SLEEP
BOTH
WHERE DID SHE GO? ONLY THE RIVER KNOWS WHERE CAN SHE BE? ONLY THE WINDING RIVER KNOWS
Lights fade on Mr. Puffin. Mrs. Puffin is alone on the stage.
MRS. PUFFIN
THAT GIRL WITH THE IMPRINT OF A HEART IN HER HAND IS SOMEWHERE STILL. THIS I KNOW AS ANY PARENT THE GINGERBREAD MAN 22.
(spoken) Understands.
BLACKOUT.
SCENE 6
OUTSIDE THE BAKERY
MUSIC begins. Crow strolls jauntily on stage.
CROW Don’t you hate it when the most important character in a musical disappears after the opening number? I apologize for that, but I’ve been visiting relatives in Cleveland. Nice city, Cleveland, though they have a serious pigeon problem. But I understand that the last couple of days have seen a flurry of activity at Mr. and Mrs. Russo’s Bakery. Let’s take a look.
Lights up on the exterior of the Bakery. A magnificent GINGERBREAD MAN has been laid out to cool in the sun. Niccolo and Alicia are beaming proudly.
NICCOLO Our creation!
ALICIA Our imagination!
BOTH Our bambino!
As they sing, they toast their success with champagne flutes.
WITH SOME IMAGINATION LIFE TOOK ON A BRIGHTER HUE WITH SOME IMAGINATION THERE WAS NOTHING THAT WE COULDN’T DO
IN ANY SITUATION NEW WINDOWS OPEN UP WHEN YOU THINK PROBLEMS DISAPPEAR IN A WINK AND SOON YOU’LL HEAR GLASSES GO CLINK THE GINGERBREAD MAN 23.
(clinking glasses together)
CLINK CLINK!
The glasses shatter into pieces. MUSIC pauses. A beat.
NICCOLO Ay, mamma mia! What have we done? The special goblets that my grandmama gave to us as a wedding present.
ALICIA The very glasses which were supposed to bring us long life and good fortune. Oh, Niccolo, what will happen to us now?
Gretchen enters.
GRETCHEN Hello there! I came by to see how the gingerbread man came out— oh! He’s truly magnificent.
They continue to pantomime dialogue as the Puffins stroll by. Turning back, they glance at Gretchen once, twice.
MRS. PUFFIN That girl.
MR. PUFFIN She must be the baker’s daughter
MRS. PUFFIN There’s something about her. How old do you suppose she is?
MR. PUFFIN Don’t even start, darling. She’s the baker’s daughter. And we’re a terribly long way from Springdale.
MRS. PUFFIN I know, I know.
The Puffins reluctantly exit. Focus shifts back to Gretchen.
GRETCHEN ...More beautiful than I could have imagined! And look at those sparkling eyes.
NICCOLO Careful, now. They are shards of glass. From a broken goblet. THE GINGERBREAD MAN 24.
ALICIA Goblets that were meant to bring us long life and good fortune, Gretchen.
GRETCHEN But they fell in the most perfect location, as if they were meant to be there. Do you have rock candy crystals?
NICCOLO Yes, of course. Here are two.
GRETCHEN Let’s put them ....here. In place of the glass.
NICCOLO Carefully, very carefully.
GRETCHEN And more thing, if you’ll let me. (picking up an frosting tube) A big, beautiful red heart.
A musical chord plays.
NICCOLO AND ALICIA (sighing in admiration) Ahh!
GRETCHEN Oh! That’s curious.
ALICIA What’s that, child?
GRETCHEN Just for a moment, I sensed that he was alive. That he had come to life.
NICCOLO One’s mind can play many tricks. But I agree: he is exceedingly life-like.
ALICIA Let’s tidy up before Signora Tinsley arrives, shall we? Here, Gretchen, perhaps you can sweep the sidewalk. We’ll straighten up indoors.
MUSIC begins. Niccolo and Alicia exit. THE GINGERBREAD MAN 25.
GRETCHEN (alone with the Gingerbread Man) Look at you, Gingerbread Man. You’re so very handsome. But we really are in two different worlds, aren’t we?
The Gingerbread Man blinks and opens his eyes, which meet Gretchen’s eyes
GRETCHEN (startled) Oh!
Gingerbread Man, frightened, closes his eyes again and plays dead.
5. “THE SPARK OF LIFE”
GRETCHEN (CONT’D) My mind surely is playing tricks on me. For I’m alive and ... well, you’re simply not.
As Gretchen sings, Gingerbread Man sighs with contentment at the sound of her voice.
GRETCHEN
A HEART TO FEEL AND TWO BRIGHT EYES TO SEE A BRAIN TO WONDER, ‘TO BE OR NOT TO BE’
A VOICE TO SING THE FEELINGS THAT ARE OURS HANDS TO REACH HALFWAY TO THE STARS
IT’S ONE THING TO BE CONSTRUCTED BY THE BAKER AND HIS WIFE IT’S ANOTHER THING TO HAVE THE VERY SPARK OF LIFE
MUSIC continues. Gretchen sweeps, and does not appear to hear the Gingerbread Man’s soft singing. THE GINGERBREAD MAN 26.
GINGERBREAD MAN
A HEART TO FEEL AND TWO BRIGHT EYES TO SEE A BRAIN TO WONDER TO BE OR NOT TO BE
A VOICE TO SING THE FEELINGS THAT ARE OURS HANDS TO REACH HALFWAY TO THE STARS
IT’S ONE THING TO BE CONSTRUCTED BY THE BAKER AND HIS WIFE BUT WHAT IF I’D BEEN GIVEN THE PRECIOUS GIFT OF LIFE?
MUSIC continues. A cuckoo clock sounds the hour.
GRETCHEN Oh my. It’s getting late. I must get back to the orphanage or the Matron will be quite cross. (she takes one more look at the Gingerbread Man, then calls out to the bakers) I must be leaving now! Good luck, and I’ll see you later!
ALICIA (OFFSTAGE) Goodbye, Gretchen.
NICCOLO (OFFSTAGE) And thank you for everything!
Gingerbread Man watches sadly as Gretchen begins to exit. MUSIC underscoring segues to strident vamp. Mrs. Tinsley enters with Tinothy.
MRS. TINSLEY Come along, Tinothy. We’ll see what the bakers have cooked up for the Dessert Derby.
GRETCHEN (passing Mrs. Tinsley and Tinothy as she exits) Hello, Ma’am.
MRS. TINSLEY No handouts for orphans. I’m sorry. (to Tinothy) THE GINGERBREAD MAN 27.
MRS. TINSLEY (CONT’D) (to Tinothy) If by some remote chance they win, our beloved Tin Town will bask in the limelight once more. And if they lose, even better! The baker and his wife will be forced to close the bakery and sell the property at auction. I shall buy it for a pittance and ... what do you think we should do with it?
TINOTHY Turn it into a sausage!
MRS. TINSLEY What a splendid idea! Now you go wait outdoors quietly while I pop inside the bakery for a moment.
MRS. TINSLEY (exiting) Good morning!
Tinothy stands in front of the Gingerbread Man, eyeing him suspiciously, then raps his drum several times.
The Gingerbread Man opens his eyes and looks at him in alarm, then shuts his eyes again.
TINOTHY (he raps his drum) Hey, Bub!
GINGERBREAD MAN Who, me?
TINOTHY Yes, you. I’m hungry.
GINGERBREAD MAN And? Why should this concern me?
TINOTHY Because I bet you taste like sausage.
GINGERBREAD MAN Sausage? THE GINGERBREAD MAN 28.
TINOTHY That’s right — sausage! (grabbing Gingerbread Man’s leg and pulling him into the street) Come here, you!
GINGERBREAD MAN Oh, dear. I’m afraid this may not end very well.
They scuffle. Finally Gingerbread Man pulls Tinothy’s cap over his eyes and breaks away.
TINOTHY (beating on his drum with both hands as he spins in circles) Hey, you! Where did you go? Get back here!
MUSIC resumes. Lights may fade on Tinothy.
GINGERBREAD MAN What a horrid child. I hope there are not too many more like him out here!
NOW SHOULD I STAY OR SHOULD I FLEE WILL SOMEONE TELL ME WHERE I’M SUPPOSED TO BE?
AND WILL I EVER SEE THAT OTHER FACE? IT SEEMED A SAFE AND FRIENDLY PLACE JUST TO LOOK INTO THAT LOVELY FACE
NOW THAT I HAVE THE SPARK OF LIFE I HOPE TO TAKE GOOD CARE OF IT ALWAYS BE AWARE OF IT EACH DAY AND EVERY STARRY NIGHT
NOW THAT I HAVE THIS GIFT OF LIFE I’LL SEIZE THE DAY AND HOLD IT FAST LIVE EACH HOUR LIKE IT’S MY LAST THROUGH GREAT ADVENTURES, EVEN STRIFE
NOW THAT I HAVE THE SPARK OF LIFE THE BREATH, THE HEARTBEAT AND THE SIGHT NOW THAT I HAVE THE SPARK OF LIFE! THE GINGERBREAD MAN 29.
End of song. Gingerbread Man hears the others approaching and flees, although unsure of which way to go.
NICCOLO (OFFSTAGE) No, no, no, Signora. This is no ordinary gingerbread cookie. It is a magnificent gingerbread man! If you follow me, I will present to your our most respectable...
Niccolo and ALICIA enter speaking, leading Mrs. TInsley, who is blindfolded.
Lights back up on Tinothy, who is still spinning aimlessly.
ALICIA Delectable...
NICCOLO And whimsical creation —The Gingerbread Man!
He removes the blindfold, gestures toward the empty space, then does a double take. A beat.
MRS. TINSLEY Is this your idea of a joke, Mr. Russo?
NICCOLO But ... but... Signora, I can assure you it was here only moments ago. Maybe young Timothy —
TINOTHY (still spinning) — TINothy!—
NICCOLO — Yes, perhaps young Tinothy saw what happened to the Gingerbread Man.
MRS. TINSLEY Tinothy!? What are you doing? Quit spinning like a top and take that ridiculous hat off from over your eyes.
He stops spinning.
MRS. TINSLEY Did you see what happened to this so-called Gingerbread Man? THE GINGERBREAD MAN 30.
TINOTHY (removing the hat) I saw everything!
MRS. TINSLEY Well, then? I’ll give you a sausage, if you tell us everything that happened.
TINOTHY He ran away!
All scoff skeptically. MUSIC begins.
6. “TINOTHY’S TALL TALE”
TINOTHY He ran away, I say!
MRS. TINSLEY Start from the beginning, Tinothy, and tell us exactly what happened.
TINOTHY
I WAS OUT HERE CONTEMPLATING AS I AM WONT TO DO QUIETLY MINDING MY MY P’S AND Z’S AND Q’S
THEN THIS GINGERBREAD CREATION ROSE UP TO HIS FEET HE FISTICUFFED ME ‘BOUT THE EARS AND RAN INTO THE STREET
MUSIC continues.
ALICIA Oh, Niccolo, what a fiasco. Two days and two nights working on this respectable, delectable and whimsical creation of hours, and it’s gone! Gone! And along with it, our future! Dear God, what have we done to deserve this?
MRS. TINSLEY Baked goods don’t simply run away, Tinothy. If you want that sausage, you had better tell us the truth.
TINOTHY You want the truth? Make it two sausages, and I’ll try to remember harder. THE GINGERBREAD MAN 31.
MRS. TINSLEY Very well: two sausages. Someone stole it from the window, right? — is that what happened?
TINOTHY Yes. Someone stole it! And it was a terrible sight to see!
MRS. TINSLEY Start from the beginning again, Tinothy.
TINOTHY Alright.
I WAS MINDING MY OWN BUSINESS WITH MY USUAL RESTRAINT AS QUIET AS A CHIPMUNK AS PATIENT AS A SAINT
THEN CAME AN EVIL PERSON ‘ROUND THE CORNER IN A FLASH PUT THAT BAKED GOOD ‘NEATH ONE ARM AND PROCEEDS TO GRAB AND DASH
STOP! I CRIED THROUGH SALTY TEARS BUT MUCH TO MY DISMAY THE PERSON FISTICUFFED ME ‘BOUT THE EARS AND NIMBLY GOT AWAY
NICCOLO What did this person look like, Tinothy?
TINOTHY I’m trying to remember. (to his mother) Promise me one more sausage, and I’ll probably remember even harder.
MRS. TINSLEY Very well: you shall have three sausages, and no more. But you must tell us exactly what you saw.
TINOTHY
HOW TERRIBLE IT WAS FOR MY INNOCENT EYES TO SEE! THE GINGERBREAD MAN 32.
EVEN AS I SAW IT, I SAID, OH, LORD, HOW CAN THIS BE?
NOW I KNOW THE REASON FOR HER BEATIFIC SMILE SHE’S BEEN A THIEVING PERSON ALL THE LIVELONG WHILE
IT WAS THE ORPHAN GIRL! I’VE NEVER BEEN MORE CERTAIN IT WAS THE ORPHAN GIRL! THE FACE BEHIND THAT CURTAIN
I TRIED TO HOLD HER BACK WE FOUGHT BOTH NAIL AND TEETH SHE THREW MY DRUM ONTO THE GROUND AND PUSHED ME DOWN, THAT THIEF
IT WAS THE ORPHAN GIRL! I’VE NEVER BEEN MORE CERTAIN IT WAS THE ORPHAN GIRL! BEHIND THAT EVIL CURTAIN
IT WAS THE ORPHAN GIRL!
MRS. TINSLEY Thank you, Tinothy. (handing him three sausages) Now go away and eat your breakfast while I talk to these wretched people. (to the bakers) I don’t suppose you can begin to appreciate the extent of my humiliation when I show up at the Holiday Dessert Derby empty-handed.
NICCOLO I am sorry for your humiliation. My heart is breaking as well, Signora.
ALICIA And mine is in a thousand pieces.
NICCOLO We have lost our bakery, Signora. THE GINGERBREAD MAN 33.
MRS. TINSLEY Well, once you pick up the pieces, perhaps this will be a valuable lesson to you: never put your trust in orphans. They will always take advantage of you, just as she did.
NICCOLO No Signora! That I refuse to believe.
ALICIA Gretchen is like a daughter to us. We would have adopted her ourselves if we had the money to provide for her. Still would.
MRS. TINSLEY Believe what you wish. I shall see you at the auction.
NICCOLO What auction?
MRS. TINSLEY The one the county will be having in three days, once your rent becomes due. Good day! (she exits)
MUSIC segues. Lights fade on bakery exterior and on an anguished Niccolo and Alicia.
Lights up on Gingerbread Man in an unspecified outdoor location.
7. “THE SPARK OF LIFE” —Reprise
GINGERBREAD MAN
A HEART TO FEEL AND TWO BRIGHT EYES TO SEE A BRAIN TO WONDER, ‘TO BE OR NOT TO BE’
A VOICE TO SING THE FEELINGS THAT ARE OURS AND HANDS TO REACH HALFWAY TO THE STARS THE GINGERBREAD MAN 34.
NOW THAT I HAVE THE GIFT OF LIFE I HOPE TO TAKE GOOD CARE OF IT ALWAYS BE AWARE OF IT EACH DAY AND EVERY STARRY NIGHT
NOW THAT I HAVE THIS GIFT OF LIFE I’LL SEIZE THE DAY AND HOLD IT FAST LIVE EACH HOUR LIKE IT’S MY LAST THROUGH GREAT ADVENTURES, EVEN STRIFE NOW THAT I HAVE THE SPARK OF LIFE THE BREATH, THE HEARTBEAT AND THE SIGHT NOW THAT I HAVE THE SPARK OF LIFE!
As song ends, Gretchen appears, bread basket in hand. She sees Gingerbread Man fully animated, cries out and faints.
Gingerbread Man approaches Gretchen, as Crow enters
GINGERBREAD MAN Could it be? Yes! It’s her. I do hope she’s alright. (to Gretchen) Hello? Hello! Are you all right?
CROW (to Gingerbread Man) I was in the neighborhood and I couldn’t help but notice this most poignant tableau.
GINGERBREAD MAN Do you have any idea what’s wrong with her?
CROW (may don a head mirror, as worn by doctors) Tell me exactly what happened.
GINGERBREAD MAN I was just walking through this meadow, when she appeared. The moment she saw me, she collapsed and fell to the ground. I had no intention of harming her!
CROW I see. I see. Very interesting. Let’s have a look, shall we? (he takes her pulse for a moment)
GINGERBREAD MAN What are you doing? THE GINGERBREAD MAN 35.
CROW Checking her temp. (to Gingerbread Man) Now stick out your tongue and say ‘Aah’.
GINGERBREAD MAN Aah!
CROW Hmm. Based on my advanced medical training, I would say that she probably fainted.
GINGERBREAD MAN Is that a good thing or a bad thing?
CROW It means she’ll come around in a few minutes, around the time we finish our song.
GINGERBREAD MAN That’s a relief. So, tell me. I’m pretty new to this world. Do all birds talk as well as you?
Emphatic musical beat.
CROW What did you say?
GINGERBREAD MAN I said, Do all birds talk as well as you?
Emphatic musical beat.
CROW Birds. That’s what I thought you said.
MUSIC begins.
CROW There are two things wrong with that statement. Firstly, crows talk all day long. The problem is that our language is so advanced that no one except for other crows, professors of linguistics and unusual creatures like yourself can understand us.
GINGERBREAD MAN What’s the other thing?
CROW The word, bird. THE GINGERBREAD MAN 36.
GINGERBREAD MAN I beg your pardon?
CROW You heard what I said. Bird.
8.“EVERYBODY’S GOT A GIFT”
BIRD’S A DIRTY WORD IN MY VOCABULARY FOR IT DOESN’T BEGIN TO DESCRIBE THE PARAGON OF THE AVIARY KINGDOM THIS A. EINSTEIN OF THE PLANET’S WINGDOM THE GREAT AND NOBLE CROW. As a matter of fact, I’m fluent in fourteen languages, including Lithuanian, Pig Latin and Yiddish.
GINGERBREAD MAN Oh my, you are gifted!
CROW Did I mention that I’m also a skilled ventriloquist?
EVERYBODY’S GOT A GIFT EVERYBODY’S GOT A SCHTICK OR TWO SOMETHING TO MAKE YOU STAND OUT FROM YOUR PEERS SOMETHING THAT WILL MAKE ‘EM STAND UP AND CHEER
EVERYBODY’S GOT A GIFT SOMEWHERE IN THEIR BAG OF TRICKS EVEN IF YOUR TALENTS ARE PRECIOUS FEW THERE’S NO ONE IN THE WORLD EXACTLY LIKE YOU BROTHER, IF YOU CATCH MY DRIFT EVERYBODY’S GOT A GIFT
MUSIC continues.
CROW So, what’s yours? Let me guess: synchronized swimming?
GINGERBREAD MAN Heavens, no! I’d crumble to pieces in the water. THE GINGERBREAD MAN 37.
CROW That wouldn’t be good. Bowling?
GINGERBREAD MAN I’ve never tried it.
CROW Card tricks? Fortune telling? Tightrope walking?
GINGERBREAD MAN I haven’t tried any of those, either!
CROW Well, there must be something you can do, better than anyone else. Think, man! Think!
GINGERBREAD MAN Well ... I’m as light as a feather. I’m very fast on my feet.
CROW (skeptically) You’re fast on your feet. Who knows? That might come in handy some day.
GINGERBREAD MAN Do you think so?
CROW It’ll have to do, I guess. That’s your gift!
GINGERBREAD MAN I’ve got a gift!
They begin to sway while singing.
GINGERBREAD MAN
EVERYBODY’S GOT A GIFT
CROW
EVERYBODY’S GOT A SPECIAL SCHTICK
GINGERBREAD MAN
SOMETHING THAT’LL CHARM ‘EM THE GINGERBREAD MAN 38.
CROW
PERHAPS EVEN DISARM ‘EM
BOTH
SOMETHING THAT WILL GIVE ‘EM A MUCH-NEEDED LIFT
EVERYBODY’S GOT A GIFT AND IF IT’S SOMETHING SMALL — WHAT IF? NO MATTER WHO YOU ARE INSIDE YOU ARE A STAR ‘CAUSE EVERYBODY’S GOT A GIFT
MUSIC continues. They break into a full DANCE number. Young couple with baby carriage enter; they place the carriage so that the baby can watch the dance.
After a few moments, the baby is heard laughing.
MAN Look, dear. I don’t believe it.
WOMAN Oh, honey. You’re laughing. Our baby girl is laughing.
CROW She likes us! She really, really likes us! Ya see? We’ve got a gift!
BOTH
EVERYBODY’S GOT A GIFT AND IT IT’S SOMETHING SMALL — WHAT IF? NO MATTER WHO YOU ARE INSIDE YOU IS A STAR EVERYBODY’S GOT A SPECIAL GIFT YES, EVERYBODY’S GOT A GIFT!
They exit dancing, vaudeville-style, with jazz hands, followed by the young couple with the baby carriage. One more burst of baby-laughing. Gingerbread Man re-enters. THE GINGERBREAD MAN 39.
Gretchen opens her eyes, sees the Gingerbread Man, cries out and scrambles to her feet.
GINGERBREAD MAN Wait! Please don’t run away!
GRETCHEN But, it’s what one always does when one is having a nightmare.
GINGERBREAD MAN Are you quite certain this is a nightmare?
GRETCHEN Well, no. Come to think of it, I’m not.
GINGERBREAD MAN Besides, I can run much, much faster than you can ever hope to run. It’s my gift!
GRETCHEN Yes, you do appear to be quite nimble on your feet.
GINGERBREAD MAN And I was so hoping to see you again. To talk with you.
GRETCHEN And if I’m afraid of you?
GINGERBREAD MAN Afraid? Whatever for?
GRETCHEN It’s not every day that a gingerbread man comes to life.
GINGERBREAD MAN It’s not?
GRETCHEN No. Certainly not. You’re quite unique. But you do seem friendly enough. (holding out her hand to shake) My name is Gretchen.
GINGERBREAD MAN Pleased to meet you, Gretchen! I’m ... I’m... THE GINGERBREAD MAN 40.
GRETCHEN (thinking it over, then) Well, let’s just call you The Gingerbread Man for now, why don’t we? It’s simple and straightforward, and well... it suits you to a T!
GINGERBREAD MAN The Gingerbread Man. I like the sound of that! And from what I’ve seen, I like this world of yours as well.
GRETCHEN Oh, this is only Tin Town. A small place, no more than a speck on the face of the earth.
GINGERBREAD MAN How long would it take me to see everything in the world? A day? A week, maybe two?
GRETCHEN Oh my, no. Even in many years one wouldn’t be able to see it all. The world is round and large —large enough to hold Tin Town and many other towns, and all the space in between. And do you see that sky above?
GINGERBREAD MAN Yes.
GRETCHEN That’s even more vast. Vast enough to contain our each and every dream.
GINGERBREAD MAN And a dream is ...
GRETCHEN Why, it’s your very fondest wish from among all possible wishes.
GINGERBREAD MAN Do you have one of those?
GRETCHEN Oh, yes! I do! It’s to have a family — in a real home, rather than an orphanage. Oh! Perhaps I shouldn’t be going on like this, your being descended from a bowl of cookie dough and all.
GINGERBREAD MAN No, I don’t mind. (a beat) I ran away, you know. From my home. THE GINGERBREAD MAN 41.
GRETCHEN Yes, I know. And that’s a problem. Because the whole town is probably out looking for you now.
GINGERBREAD MAN What should I do, then?
GRETCHEN Well, you certainly can’t go back. They’ll enter you into a contest and then, after you win first prize, you’ll be eaten.
GINGERBREAD MAN My goodness!
GRETCHEN What you need is someone to protect you. A friend.
GINGERBREAD MAN A friend?
MUSIC begins: A Family to Call My Own underscoring.
GRETCHEN Someone who will go on adventures with you, and imagine with you, and play make- believe with you, and do anything at all for you, should the need arise.
GINGERBREAD MAN (sighing) A friend sounds like a wonderful thing.
GRETCHEN (taking his hand) Come. Follow me.
GINGERBREAD MAN Where are we going?
GRETCHEN To the costume room of an abandoned theatre. My friend Heather and I used to hide out here to play make-believe all the time. You may sleep there for the time being. THE GINGERBREAD MAN 42.
GRETCHEN (CONT’D) You do sleep, don’t you? We’ll have to dress you up so that if you’re out and about no one suspects who you are. Quickly now, let’s go!
BLACKOUT
SCENE 8
STREETS OF TIN TOWN
MUSIC underscoring. Mr. and Mrs. Puffin may be looking off in the direction of the orphanage. Crow enters during dialogue.
MRS. PUFFIN I just can’t get the face of that girl out of my head, Howard.
MR. PUFFIN Neither can I. We must try to find her.
CROW (to us) Tourists. You don’t see too many of those in Tin Town. Wonder if they’re carrying any peanuts. For some reason tourists always carry peanuts around with them, as if they’re expecting to run into a herd of elephants to feed.
The Crow caws loudly.
MR. PUFFIN Go away, bird.
CROW Of all the nerve.
Niccolo enters, about to walk by.
MRS. PUFFIN Oh. There’s the Baker. Sir? Excuse me.
NICCOLO Yes?
MRS. PUFFIN I’m sorry to bother you, but we saw a girl in your bakery just yesterday morning. A beautiful girl about twelve years old, this tall, with [ ] hair. Is she your daughter? THE GINGERBREAD MAN 43.
NICCOLO My daughter? No. Why do you ask?
MR. PUFFIN We’d like to see her again.
MRS. PUFFIN It’s very important. Do you know where we can find her?
NICCOLO (a beat) I cannot say. I will not. There are those who intend to do her harm. Good day. (he begins to exit, then stops as Mr. Puffin speaks)
MR. PUFFIN But, please understand. We mean her no harm at all.
MRS. PUFFIN We want to see her because ... we wonder if she could possibly be our child. We lost our daughter, you see — in the great flood twelve years ago.
NICCOLO (turning back) Your daughter. (a beat) Gretchen... Gretchen lives at the orphanage at the edge of town.
The Puffins exchange looks.
MR. PUFFIN The orphanage.
NICCOLO If you are going, I suggest that you go quickly to inquire. Pronto, prontissimo! She may be in a great deal of trouble —trouble not of her own making.
SEGUE MUSIC. BLACKOUT.
SCENE 9 THE GINGERBREAD MAN 44.
OUTSIDE THE ORPHANAGE
Gretchen has just left the Rialto Theater.
GRETCHEN (calling) I’ll check back on you very soon!
Strident musical vamp. The Constable enters, accompanied by Mrs. Tinsley and Tinothy.
MRS. TINSLEY There she is!
TINOTHY That’s her, alright — the orphan girl who stole the Gingerbread Man!
CONSTABLE Stop, thief! Stop, I say!
Gretchen stops in place, as the other three run around in circles, the Constable blowing his whistle.
TINOTHY The very one who boxed me around the ears! —
MRS. TINSLEY —Arrest that girl, Officer!—
CONSTABLE —Stop in the name of the law, I say!—
TINOTHY — And it was a terrible sight to see!—
GRETCHEN (trying to get their attention) Excuse me.
MRS. TINSLEY Arrest her, I say! Let’s finally bring an end to this horrible crime wave that has swept over Tin Town! —
CONSTABLE —I’m trying to stop her, Ma’am, but it looks like I’ll have to call for back-up— THE GINGERBREAD MAN 45.
MRS. TINSLEY — Think of the reputation of our beloved city! Stop her, I say!—
TINOTHY —It was terrible, terrible, terrible!—
GRETCHEN —Excuse me? I’m right here!
All stop to catch their breath, then see that Gretchen is standing right there.
CONSTABLE Ahem. I see you’ve finally decided to give yourself up.
GRETCHEN Give myself up, you say. What did I do wrong?
CONSTABLE Why, you stole the Gingerbread Man from the Bakery, of course!
MRS. TINSLEY What did you do with it, orphan girl?
TINOTHY She ate it! I saw it with my own eyes. She ate it, starting with the head!
CONSTABLE Is that what happened to the Gingerbread Man?
Lyrical MUSIC underscoring begins.
GRETCHEN It hardly matters what I tell you, because you’re not about to believe me anyway. Perhaps I did eat him. Or send him in a boat down the river. Or maybe ... just maybe he has a heart to feel and lungs to breathe, and dreams and wishes just like you and me — and he ran away on his own
MRS. TINSLEY Ran away!? That’s the most preposterous thing I ever heard.
CONSTABLE You’d better come with me, young lady.
GRETCHEN You’re taking me to jail, then. THE GINGERBREAD MAN 46.
CONSTABLE And that’s where you’re going to stay until you tell us exactly what you did with the Gingerbread Man.
CROW (to us) That isn’t right! That isn’t right at all!
GRETCHEN You’ll let Matron McGee know, won’t you? —that I won’t be coming home on time. Because she’ll be very worried about me otherwise.
MRS. TINSLEY Worried about you? My guess is that my twin sister won’t even notice that you’re gone.
CONSTABLE Come along, now.
GRETCHEN Hold on just a second. Please. (she approaches Tinothy. Then gently) It’s not very nice to tell lies, you know.
TINOTHY (a beat) It’s not?
GRETCHEN No. Not at all. People can get hurt very badly that way.
TINOTHY Really?
GRETCHEN Yes, really.
TINOTHY No one ever told me that before.
GRETCHEN We all get better at things, with practice. Maybe one day you’ll get better at being the young man that I know you so very much want to be.
Constable leads Gretchen away. THE GINGERBREAD MAN 47.
MRS. TINSLEY Well, that solves that. Here’s a sausage, Tinothy.
Tinothy doesn’t respond. He’s looking off wistfully in the direction of Gretchen
MRS. TINSLEY Tinothy?
BLACKOUT.
SCENE 10
AT THE DOOR TO THE ORPHANAGE.
The sound of a knocker on a wooden door. Lights up on Mr. and Mrs. Puffin at the door.After repeated knocking, the Matron opens the door.
MATRON MCGEE Yes? What is it? I’m terribly busy.
MR. PUFFIN Yes, I’m —
The Crow alights to listen in.
MATRON MCGEE — You’re from the State, I take it. I do everything by the book here. You pay me forty dollars a month per child, and each child under my care gets everything all of your silly State regulations require. And if I make a few dollars profit on each, that’s not a crime, is it —?
MRS. PUFFIN —There’s ... a girl we’d like to talk to you about. We saw her in town recently. She’s twelve years old, is about this tall and has beautiful [ ] hair.
MR. PUFFIN And on the palm of her right hand, a small birthmark. The imprint of a heart.
MRS. PUFFIN We’re not from the State, you see. We’re from Springdale, up the river two hundred miles or so. Our daughter went missing twelve years ago, in the great flood— THE GINGERBREAD MAN 48.
MATRON MCGEE (a beat) There’s nobody by that description living here. Taller, maybe. Or shorter. Younger ,or maybe older. Nobody with [ ]hair. Nobody with the tatoo of a heart.
CROW Now, wait just a minute. That’s not right.
MATRON MCGEE Now, good day to you—
MRS. PUFFIN —But the town baker told us—
MATRON MCGEE — You can’t trust anything people say here. Stick around for a few days and you’ll see what I mean. They lie and make things up just for the sport of it. That’s Tin Town for you. Now, good day, I said! (she slams the door)
CROW (to us) That’s just not right at all. Something’s gotta be done.
MUSIC begins. Mrs. Puffin collapses into Mr. Puffin’s arms.
MRS. PUFFIN Oh, Howard.
MR. PUFFIN We had to try.
MRS. PUFFIN That matron. She’s so cruel. I feel so sad for any of the children in her care. Especially considering the kind of parents that you find everywhere you look— the kind of parents we might have been.
9. “THE RIVER KNOWS — Reprise”
MRS. PUFFIN
STILL OUR HEARTS CAN BE GRATEFUL THAT WE HAD HER FOR ONE DAY THE GINGERBREAD MAN 49.
MR. PUFFIN
GAVE HER ALL THE LOVE WE HAD AND MORE BEFORE SHE WAS SWEPT AWAY
BOTH
WHERE DID SHE GO? ONLY THE RIVER KNOWS WHERE CAN SHE BE? ONLY THE WINDING RIVER KNOWS
MUSIC continues. Lights up on Gretchen in
A JAIL CELL
Blue bird alights.
GRETCHEN Oh my, Blue Bird. How did you ever find me here?
The bird chirps.
GRETCHEN I do wish I could go outside and play with you, but I’m afraid that these bars are keeping me here.
The Bird chirps.
GRETCHEN Yes, you’re right. It’s not a very pleasant place. And as for this mattress, why it’s even harder than the one at the orphanage. I barely slept a wink last night. (a beat) Sometimes, on sleepless nights like that, I imagine that I’m in a crib, light as a cork, floating down a river. I don’t know if it’s a memory, or perhaps something I saw in a movie or read in a book. But whatever it is, it feels so very real.
THE SOUND OF ROILING WATER ALL THROUGH A DAY AND NIGHT ON MY LITTLE BOAT OF BALSA WOOD I FELT I WAS IN FLIGHT THE GINGERBREAD MAN 50.
GRETCHEN (CONT’D)
AND THEN AT LAST MY BOBBING BOAT CAME TO REST AFTER THE STORM TWO STRONG ARMS THEN LIFTED ME AND I FELT SAFE AND WARM
Lights up on the Puffins on another zone of the stage.
THE PUFFINS
DEEP INSIDE’S A FEELING AN ABIDING FAITH SO DEEP THAT THE RIVER’S WATCHING OVER HER AND LULLING HER TO SLEEP
GRETCHEN
WAS MY JOURNEY, THEN, A MEMORY OR WAS IT JUST A DREAM? WHICHEVER ONE THAT IT MAY BE IT FEELS AS REAL AS DAY
THE RIVER KNOWS
THE PUFFINS
ONLY THE RIVER KNOWS
GRETCHEN
THE RIVER KNOWS
GRETCHEN AND THEN PUFFINS
ONLY THE WINDING RIVER KNOWS
MUSIC continues. Lights fade on Gretchen but remain up on the Puffins. The sound of a train whistle in the distance.
MR. PUFFIN The train whistle. They told us they’d sound it three times —once every six minutes, as a signal to get back on board. (a beat) THE GINGERBREAD MAN 51.
MR. PUFFIN (CONT’D) It was another false hope, dear. Seeing that girl on the street. Our hopeful hearts playing tricks on us. It’s time for us to finally let her go and continue on to Europe.
BLACKOUT. SEGUE MUSIC
SCENE 11
THE STREETS OF TIN TOWN
Walking MUSIC. Gingerbread Man is out strolling in an outfit such as a top hat and vest.
Passing by various townspeople — the young couple, Tom the Tinkerer and Niccolo and Alicia — he tips his hat, and they return the greeting.
Crow arrives in a hurry. He looks around to make sure no one is listening.
CROW There you are! I’ve been looking all over for you. Nice disguise, but crows have excellent facial recognition skills, you know.
GINGERBREAD MAN What is it? What’s the matter?
CROW What’s the matter?! That girlfriend of yours, Gretchen, is in more trouble than you can imagine.
GINGERBREAD MAN Oh no!
The train whistle sounds again.
CROW But worse still, her long-lost parents are on a train that will be pulling out of the station in a few minutes. She doesn’t know it and they don’t know that she’s here in Tin Town. We have to bring them together, and fast! THE GINGERBREAD MAN 52.
GINGERBREAD MAN Oh my! Her parents? Her family! We can’t let them get away. That’s like letting her dream get away when it’s just within reach. But what can I possibly do?
10. “RUN, RUN, RUN, JUST AS FAST AS YOU CAN”
CROW What can you do? (music blast) What can you do? (music blast) What can you do?
DIDN’T YOU SAY YOU HAD A GIFT? WELL, THIS IS THE TIME TO USE IT WHETHER OR NOT YOU CHOOSED IT. Namely: you’ve gotta stop that train — before it gets out of town!
YOU GOTTA RUN, RUN, RUN, JUST AS FAST AS YOU CAN CATCH THAT TRAIN, YOU’RE THE GINGERBREAD MAN RUN, RUN, RUN, JUST AS FAST AS YOU CAN CATCH THAT TRAIN, YOU’RE THE GINGERBREAD MAN
THERE’S NO TIME FOR HESITATION NO TIME FOR RUMINATION ‘CAUSE THIS ALARMING SITUATION NEEDS FAST REMEDIATION
GINGERBREAD MAN (stripping off his vest and hat)
I’VE GOTTA RUN, RUN, RUN JUST AS FAST AS I CAN AND CATCH THAT TRAIN. I’M THE GINGERBREAD MAN
CROW
NOW, BE FASTER THAN A BULLET SWIFTER THAN A SWIFT QUICKER THAN A RUMOR I HOPE YOU GET MY DRIFT
YOU GOTTA RUN, RUN, RUN, JUST AS FAST AS YOU CAN CATCH THAT TRAIN, YOU’RE THE GINGERBREAD MAN THE GINGERBREAD MAN 53.
BOTH
I/YOU BETTER RUN, RUN, RUN JUST AS FAST AS I/YOU CANAND CATCH THAT TRAIN. I’M/YOU’RE THE GINGERBREAD MAN!
MUSIC continues.
GINGERBREAD MAN Which way are the train tracks?
CROW Thatta way!
GINGERBREAD MAN I’m outta here. (he exits)
CROW I’ll catch up to you! But first I gotta spring Gretchen from the Big House. Speaking of which...
The Constable wanders by, the jailhouse key dangling from his pocket.
CROW Now, that’s convenient. (he plucks the key out of the Constable’s pocket and Constable exits) Considering how I do everything around here, you’d think they’d give me top billing for this show: “The Crow and I”. Or simply “The Crow, A Musical”. Or... you know what? We’d better get a move on.
Crow moves over to the zone of the stage representing
THE JAIL CELL
Gretchen and Blue Bird are still conversing.
CROW Girl: are you still talking with that illiterate Blue Bird? He can’t understand a word you’re saying, you know. THE GINGERBREAD MAN 54.
GRETCHEN Why is this awful crow cawing at me? Does he want a handout? I don’t have any bird seed, okay?
CROW I’m going to ignore that remark. Here you go, sister. Maybe you can understand this. Straight from the warden’s pocket. (Crow slips her the key)
GRETCHEN The keys to my jail cell?! Oh, my. What should I do, Blue Bird?
CROW Quit your procrastinating, sister. This is an emergency. Here. I’ll even open the door for you. Now follow me. Let’s get outta here!
GRETCHEN (to Blue Bird) I think that silly Crow wants me to follow him. I just wish he would stop that awful cawing.
CROW Yes, I do want you to follow me! Do I have to put on a sandwich board to make myself any clearer?
GRETCHEN (looking through the bars of her cell) What’s all that commotion out there? ... Oh my goodness, it’s the Gingerbread Man! And he’s being chased — by the entire village, it appears! I must go help him before some harm comes to him. Come along, Blue Bird. Right away!
The Bird tweets. Gretchen exits.
CROW You’re welcome, by the way. Good thing the Blue Bird and you got it all figured out. Sheesh! See you out there on the street!
Music continues. Action shifts to
THE STREETS OF TIN TOWN
A chase through the town is underway. The Gingerbread Man runs onstage. The Constable enters in hot pursuit, blowing his whistle. THE GINGERBREAD MAN 55.
GINGERBREAD MAN
I’VE GOTTA RUN, RUN, RUN JUST AS FAST AS I CAN AND CATCH THAT TRAIN. I’M THE GINGERBREAD MAN
CONSTABLE Stop! Stop, I say! You’re under arrest!
GINGERBREAD MAN Sorry, Mr. Cop. I’ve got a train to stop! (taunting)
GO ON AND RUN, RUN, RUN JUST AS FAST AS YOU CAN YOU CAN’T CATCH ME I’M THE GINGERBREAD MAN
CROW Stage right: enter the Baker and his Wife!
Niccolo and Alicia enter running.
NICCOLO What did I tell you, Alicia? Gretchen had nothing to do with the Gingerbread Man’s disappearance.
ALICIA I knew it in my heart as well. Officer, please stop chasing that Gingerbread Man!
NICCOLO He’s our creation!
NICCOLO AND ALICIA Our bambino!
NICCOLO He has done nothing wrong.
CONSTABLE (stops for a moment and checks his notebook) On the contrary, sir. I’m arresting him for disorderly conduct, disturbing the piece, and inciting a musical number in the city streets without a permit. THE GINGERBREAD MAN 56.
GINGERBREAD MAN It sounds as if I’ll need a good attorney — that is, if you catch me!
GO ON AND RUN, RUN, RUN JUST AS FAST AS YOU CAN YOU CAN’T CATCH ME I’M THE GINGERBREAD MAN
CROW
YOU BETTER RUN, RUN, RUN JUST AS FAST AS YOU CAN CATCH THAT TRAIN, YOU’RE THE GINGERBREAD MAN! Look who just arrived. The lovely and talented Mrs. Tinsley.
MRS. TINSLEY (running onstage) Stop that Gingerbread Man! Don’t let it get away!
CONSTABLE I’m trying, Ma’am, but this is one fast dessert.
CROW Oh, no! It looks like the village horse decided to enter the mix.
A costumed HORSE enters, neighing, and joins the chase.
GINGERBREAD MAN
GO ON AND AND NEIGH, NEIGH, NEIGH JUST AS FAST AS YOU CAN
The Horse whinnies loudly.
YOU CAN’T CATCH ME I’M THE GINGERBREAD MAN
MUSIC continues.
CROW At this point, it seems that everybody and everything but the kitchen sink has joined the chase. (looking offstage) Oh. I take that back.
Tom the Tinkerer enters, carrying a kitchen sink and joins the chase. THE GINGERBREAD MAN 57.
TOM THE TINKERER Wait up! Here I come! Oh, how I love a parade!
CROW
NOW SOME DAYS ARE MEANT FOR QUIET CONTEMPLATION FOR TRANQUIL RELAXATION AND EASE BUT THIS IS NOT THE TIME FOR A VACATION, AU CONTRAIRE IN FACT, YOU’VE GOTTA HURRY, PRETTY PLEASE
YOU BETTER RUN, RUN, RUN JUST AS FAST AS YOU CAN CATCH THAT TRAIN, YOU’RE THE GINGERBREAD MAN!
Ensemble may stop running; all turn to us to sing.
ENSEMBLE
YOU’VE GOTTA RUN RUN RUN JUST AS FAST AS YOU CAN
GINGERBREAD MAN
BUT YOU CAN’T CATCH ME I’M THE GINGERBREAD MAN!
ENSEMBLE
YOU’VE GOTTA (three bleats of the Constable’s whistle)
JUST AS FAST AS YOU CAN
GINGERBREAD MAN
BUT YOU CAN’T CATCH ME I’M THE GINGERBREAD MAN!
ENSEMBLE
YOU’VE GOTTA
HORSE
NEIGH, NEIGH, NEIGH THE GINGERBREAD MAN 58.
ENSEMBLE
JUST AS FAST AS YOU CAN
GINGERBREAD MAN
BUT YOU CAN’T CATCH ME I’M THE GINGERBREAD MAN!
Choreographed DANCE number ensues.
CROW
NOW HOURS OF LEISURELY CONTEMPLATION IN TODAY’S BUSY WORLD ARE SO RARE BUT THIS IS NOT THE TIME FOR A VACATION OR RELAXATION. AU CONTRAIRE!
Step on the gas, Gingerbread Man! That train’s about to leave the station.
ENSEMBLE
YOU’VE GOTTA RUN RUN RUN JUST AS FAST AS YOU CAN
GINGERBREAD MAN
BUT YOU CAN’T CATCH ME I’M THE GINGERBREAD MAN!
ENSEMBLE
YOU’VE GOTTA RUN RUN RUN JUST AS FAST AS YOU CAN
GINGERBREAD MAN
I’M GONNA STOP THAT TRAIN I’M THE GINGERBREAD MAN! I’M GONNA STOP THAT TRAIN I’M THE GINGERBREAD MAN! I’M GONNA STOP THAT TRAIN I’M THE GINGERBREAD MAN!
MUSIC segues. The train begins blasting out alarm signals on its whistle. THE GINGERBREAD MAN 59.
We hear the clackety-clack of an approaching train, which may be represented by a lightweight panel depicting the front of a locomotive.
Gretchen arrives on the scene.
GRETCHEN Gingerbread Man! What are you doing?
GINGERBREAD MAN There’s no time to explain. But I simply must stop that train!
GRETCHEN But you’ll get hurt!
GINGERBREAD MAN It’s very important.
GRETCHEN Truly?
GINGERBREAD MAN Very, very important.
GRETCHEN Then I’ll help you!
GINGERBREAD MAN No! Stay out of the way!
GRETCHEN But you’re my friend!
GINGERBREAD MAN You’re my friend, too!
GRETCHEN We’ll try to stop it together!
She joins him on the track, arms outstretched. Everyone cries out, ‘No!’ The train whistles again in warning. It then ratchets to a creaky stop, and lets out a cloud of steam. THE GINGERBREAD MAN 60.
When the steam clears, Gretchen, the Gingerbread Man, Niccolo and Alicia are standing just in front of the now-stationary train, panting with exhaustion.
GRETCHEN Would you mind telling me what that was all about?
GINGERBREAD MAN Friendship, I think. Isn’t it friendship when you’d do anything in the world — anything at all — for someone you care about?
GRETCHEN Yes, it is. It most certainly is.
GINGERBREAD MAN Do you remember when you told me about dreams? Your very fondest hopes. That dream of yours was about to ride off on that train, and I simply couldn’t let that happen.
GRETCHEN My dream? I’m afraid I don’t understand.
Focus shifts to Alicia and Niccolo. MUSIC resumes.
ALICIA That was close, Niccolo. Very, very close.
NICCOLO We had to help. If anything had happened to them — Gretchen, as well as our beautiful Gingerbread Man— our sadness would have been deeper still.
ALICIA Perhaps one day you should tell her that it was you who rescued her from the river twelve years ago.
NICCOLO Perhaps one day, Alicia. Perhaps. But for now we must say goodbye and depart.
Niccolo and Alicia pick up two suitcases.
GRETCHEN Mr. and Mrs. Russo: are you ... going somewhere?
NICCOLO Alas, Gretchen, we are leaving this town, since it is no longer possible for us to have a livelihood here. THE GINGERBREAD MAN 61.
GRETCHEN Oh, no!
She may embrace both of them over the following dialogue.
ALICIA Thank you, Gretchen, for helping us ... to find our imagination. But now that everyone is safe and sound, it is time for us to leave. We will miss you.
NICCOLO Arrividerci. We shall miss you all. (he glances at MRS. TINSLEY) Well, almost all of you.
They turn to leave.
MRS. TINSLEY Mr. and Mrs. Russo.
NICCOLO Yes?
MRS. TINSLEY Please don’t go just yet. I have a proposition for you. I will pay for the repairs to your flour mill, and allow you to continue to operate your bakery rent-free until you’re once again prosperous. Under one condition.
ALICIA And what is that, Signora?
MRS. TINSLEY That you promise to enter the Holiday Dessert Derby again next year, with a creation that’s just as respectable ...delectable... and whimsical as your splendid Gingerbread Man.
All applaud.
CONSTABLE Why the sudden change, Ma’am?
YOUNG MAN You sound almost ... normal. Gracious and generous.
TOM THE TINKERER You and your twin sister, Matron McGee, are widely known to be among the most horrible people any of us have ever met. THE GINGERBREAD MAN 62.
YOUNG WOMAN Your meanness has cast a shadow over this town, Ma’am. If you will permit me to say.
MRS. TINSLEY (bragging) Yes, yes. It’s true. I am quite remarkable. But I’ve changed. And for that I owe a debt of gratitude to the orphan g — that is, to you, Gretchen. For opening my eyes — as well as my son’s eyes— to the simple power of kindness. (calling offstage) Tinothy! Come here, darling.
All grimace in anticipation, but are then astounded to see Tinothy entering, hair neatly combed, playing not a drum but panpipes or a recorder.
TINOTHY I was up on the hill, practicing my panpipes when I saw all the commotion. I do hope everyone’s all right. (to Gretchen) I’m sorry, Gretchen, for all the trouble I caused you. (to Gingerbread Man) And you, Gingerbread Man: I hope I didn’t hurt you terribly, when I tugged on your leg. (to Mrs. Tinsley) Now, please, Mother. May I trouble you for a sausage?
All smile. The Puffins enter, amazed to see Gretchen.
MRS. PUFFIN Excuse me. Gretchen, is it?
GRETCHEN Yes?
MR. PUFFIN Your hand. Your right hand. May we... see the palm of your hand?
GRETCHEN But ... why?
MRS. PUFFIN Please.
A long beat. Gretchen shows them the heart imprint on her hand. MUSIC underscoring begins. THE GINGERBREAD MAN 63.
MRS. PUFFIN (CONT’D) Oh, my God. Howard. (she falls into her husband’s arms)
GRETCHEN Who are you?
MRS. PUFFIN We ... have been looking for you for so long now. It’s been twelve years since you were swept away in the flood.
MR. PUFFIN We nearly gave up.
MRS. PUFFIN We named you ... Sarah. But you’ve been Gretchen for so long, so whatever name you wish to use if perfectly alright with us. As long as we can take you back home.
GRETCHEN (a beat) Home?
MRS. PUFFIN We are your family, darling. Your mother and father. And we’d like to take you home.
MUSIC continues as Gretchen approaches Mr. and Mrs. Puffin. Lights fade on all but Crow.
CROW Ahh. Don’t you love it when things work out like that? Due in no small part to the swift legs of a certain Gingerbread Man and the machinations of a certain highly intelligent Crow. (a beat) The baker and his wife soon re-opened their business under a new name.
Lights up on Gingerbread Man, Niccolo and Alicia, standing proudly together. All three are wearing baker’s caps.
GINGERBREAD MAN, NICCOLO, ALICIA (tipping their hats) “Russo and Son, Extraordinary Bakers!” THE GINGERBREAD MAN 64.
CROW Their revitalized bakery become such a sensational success that people began traveling to Tin Town from everywhere on Earth, to sample their new creations, starting with mini- replicas of the Gingerbread Man. Trains began running in and out of the train station again, and even the clock in the clock tower began ringing again, thanks to the ingenuity of Tom the Tinkerer.
Bells ring.
TOM THE TINKERER It turned out to be a missing clapper! Who would have guessed that you need a clapper to make a bell ring?
CROW Mrs.Tinsley and Tinothy began giving free weekly concerts to the remaining children at Matron McGee’s orphanage.
Lights up on Tinothy playing his panpipes and Matron McGee playing the violin very poorly.
CROW That is, until the children went on a hunger strike, forcing Matron McGee to end the concert series. And, reunited with their daughter, the Puffins canceled their trip to Europe and returned home to Springdale — coincidentally the same little town where her friend Heather now lives.
Lights up on Heather and Gretchen chatting, watched over lovingly by Mr. and Mrs. Puffin.
11. “FINALE”
HEATHER I knew that we’d be together again one day. I knew it in my heart.
GRETCHEN So did I, Heather. So did I.
AND NOW EACH NIGHT I’M FOUND IN A TIDY HOUSE DOWNTOWN AS THE RAIN COMES FALLING DOWN I LISTEN TO IT PATTER THE GINGERBREAD MAN 65.
HEATHER
AND I’M PRACTICALLY NEXT DOOR IN THREE ROOMS ABOVE A STORE I COULDN’T ASK FOR MORE WE HAVE WHAT REALLY MATTERS
GRETCHEN AND HEATHER
ROCKET SHIPS AND SUBMARINES SO MANY PLACES WE HAD DREAMED BUT NOW OUR HEARTS ARE FEELING SO AGLOW
GRETCHEN
BECAUSE YOU HAVE A FAMILY
HEATHER
BECAUSE YOU HAVE A FAMILY
GRETCHEN AND HEATHER
BECAUSE WE HAVE A FAMILY TO CALL OUR OWN
CROW Isn’t that touching? And, just so you know, every so often Gretchen and Heather hop aboard a train together. For Gretchen has a very dear friend in a certain place called Tin Town, and they always have a lot of catching up to do.
Lights up on all. Gretchen runs to Gingerbread Man and gives him a hug.
ENSEMBLE
FOR IT’S A TOWN WHERE THE BELLS ALL RING AND THE BIRDS ALL SING AND ONE MORE THINGIT’S A TOWN AND THE ROOSTERS WAKE AND THE BAKERS BAKE THE GINGERBREAD MAN 66.
AND THE CHILDREN SMILE MAKE NO MISTAKE
ONCE UPON A TIME IN TIN TOWN ONCE UPON A TIME IN TIN TOWN ONCE UPON A TIME IN TIN TOWN HAS COME BACK THIS WAY AGAIN!
BLACKOUT. END OF MUSICAL.
.