> 3521 :5i3 Si Clarence Decides -BY- BEULAH KING v^i PRICE 35 CENTS Eldridge Entertainment House Franklin, Ohio, Denver, Colo. NEW HIGH SCHOOL PLAYS ALONG CAME BUD— for 4 boys and 2 girls. Bud, quite inno- cently causes a lot of trouble, but all ends well v/hen Bud comes along. Price 25c. CLARENCE DECIDES— is for 4 males and 6 females, and is a very clever comedy. All kinds of funny situations are introduced. Price 35c. THE CAPTAIN'S PREDICAMENT— a rattlirg good farce for 3 males and 4 females. Lots of fun. Price, 35 cents. LOST— THE WHOLE CROWD AND THE PARROT— a farce in which many amusing complica- tions ailse. Plays whole evening. 8 males and 5 fe.males. Price. 35 cents. POLLY LOU— a new Gladys Bridgham farce in which there i?, plenty of action and an interest- ing plot. 6 males, 8 fem.ales. Price 35c. THE VISITING SMITHS— a short sketch telling how the Smith's Corner Smiths descended on the New York Smiths for a visit. Price, 25 cents. THE CONVERSION OF PA, THE TRIALS OF EZRA— two new Agricultural Extension plays. Each, 25 cents. Eldridge Entertainment House Franklin, Ohio, also 944 S. Logan, Denver, Colo. Clarence Decides A FARCE IN THREE ACTS By BEULAH KING Copsnright, 3920, Eldridge Entertainment Hauti«> PUBLISHED BY ELDRIDGE ENTERTAINMENT HOUSE, Franklin, Ohio Denver, Colo. f§552.\ CAST OF CHARACTERS t Mrs. Davenport (Aunt Susan) Mary Ann Lee ) Sarah Maud Lee > her nieces Julia May Lee ) John Smith — first gardener at Fleurmont John Smith — second gardener at Fleurmont John Smith — ^third gardener at Fleurmont Clarence Moore Mrs. Dixby-Moore — ^his mother Lizette — maid CCC 30 1920 ©CI.D 5 688 7 "'VvO i Clarence Decides ACT I. Scene: — The Uvlng room at Fleurmont, summer home of Mrs. Davenport. At the back center a French door leading into the garden which is plainly visible. To> the left and right of the door large icindows hung with cretonne curtains. Beneath the windows broad window seats cushioned and pillowed. In the center of the right (stage right) wall a single door leading into the dining room. To the right of it, donm stage, a fireplace with brass compleme7its. Before the fireplace a luxurious' dave^iport to the back of which is a long reading table with a low lamp. In the left wall and directly opposite the fireplace a single door leading into the hall. There is a cottage piano back ntage left with a long seat before it. Plain cMirs complete the furnishings. The appearance of the romn is not elegant but of excellent taste. A browit paper parcel on the window seat. Flowers in abutidanc& about the room. At the rise of the curtain, Mrs. Davenport is seated in the chair by the table, holding in her hand a photo- graph of her three nieces taken en groupe when children. She is a small, charnmig woman of forty-two, loith thei manner of one who has seen much of life and enjoyed iti Lizette, armed with a large oilcloth duster, is polishing the piano carefully. A moment of silence while Mrs. Davenport regards the picture. Suddenly she breaks into a ripple of laughter and Lizette regards her ivith adoring eyes. Mrs. D.—(to ncrself) Mary Ann— Sarah Maud— Ju- lia May. Lizette, I don't even know what they look like and they are due in less than an hour. 3 ^ Clarence Decides Lizette — Like a story book, madam. As for me, I am thrilled. Mrs, D.— (thoughtfully) They ought to be pretty. Lizette — How could they help it, being nieces of madam ? Mrs. D. — Lizette, do you think I am foolish? Lizette— Foolishi Madam? Mrs. D. — To take upon myself the getting of hus- bands for these three nieces. Lizette — Madam is never foolish. (Slyly.) And, be- sides, madam is sure of one husband, is it not so? Mrs. D. — Yes, Clarence has promised. Poor, dear Clarence. I shouldn't have had the courage to send for all three nieces if I hadn't been sure of one husband. Lizette — Ah, monsieur Clarence is so eel-egant, so refined, so pr-itty! Mrs. D. — Come here and look at this picture. (Li- zette goes to her.) My nieces, aged three, live and seven, respectively. Do you think they will make charming young ladies? Lizette — (clasping her hands) Ah, Madam, they are charming young ladies. Mrs. D. — hvith enthusiasm) Lizette, we must make them so. Monsieur Clarence is very fastidious and his mother, ah, Lizette, you don't know his mother. Mrs. Dixby-Moore is quite elegant. They must be trained in such a way that they will set off Monsieur's millions. It's going to take a lot of money, Lizette, before they will suit Mrs. Dixby-Moore, and we'll have to scrimp and save and pinch — but not while she's staying with us, Li- zette, no, no, no, no, that would never do. We must spend all if need be, and then when Clarence decides — ah, then (Rising tenth a flourish) we are fixed, n'est ce pas? Lizette — (going hack to piano) But, madam thinks not of herself, and monsieur can w^ed only one. Mrs. D. — (ivalking to piano) To be sure. But one is quite enough, Lizette, one is quite enough. I shall Clarence Decides 5 spend whole months visiting her and she won't know I'm there, the establishment will be so large — and you will go with me, Lizette. We shall have all the roses we want, hot house in the winter and gardens in the summer. Oh, I've fine schemes in my head when Clarence decides. Lizette — { chuckling) And he has promised. Mrs. D. — Solemnly, Lizette, under oath ! (She walks over to unndow at left) Lizette — Oh, it is a dream, but still, one must be careful. Mrs. D. — I wish we had a grand place here, a won- derful estate. Lizette, don't breathe it to a soul, but I have advertised for three gardeners to fix over the grounds. Lizette^ — Oh, mon Dieu! Th-th-three gardeners! It is an outrage. Think of the expense. Mrs. D. — Hush! Didn't I say I must impress Mrs. Dixby Moore? Our rose trees do need attention. I've suffered worrying about them — the dear things. Lizette — But your nieces, will they not need much money, too? Mrs. D. — Oh, yes, a great deal; but for no longer than the summer, for Clarence will have decided by then. They must have teachers. Poor little country girls (coming down to table). But it is all worth while, Li- zette. I couldn't think of having them marry rustic clowns and farmers. Never, never! And after they have married, they will take care of their poor old aunt who spent her last cent to get them husbands. Lizette — Madam is — what do you say — a sport. Mrs. D. — (laughing) We've a great task before us, but we'll carry it through. Did the voilles I ordered come? Lizette — (going to the windoiv seat at right and picking up a package) Yes, madam. (Hands it to Mrs. D.) 6 Clarence Decides Mrs. D.—(unwrappwg it)- I hope they won't be dis- appointing. I've wonderful Dlans for those girls' dresses. (Bell rings) Mercy! Who can that be? (Lizettc goes off at left. Mrs. D. shakes out the voilles ivhich are lovely in design and color, and admires^ them while humming softly to herself. Lizette returns.) Lizette — (in offended tone) The three gardeners, madam. Mrs. D. — Oh, yes. (smiling) Show them in Li- zette. (Lizette goes off at left and Mrs. D. hastily mraps up the voilles. Lizette returns immediately, followed hy\ three tall, fine looking young men, dressed in corduroys^ The third is apparently not more than twenty-one, plump and very boyish.) Lizette — (introdnci7ig them ivith exaggerated polite- ness.) Mr. John Smith. (First bows.) Mr. John Smith. (Second boivs.) Mr. John Smith. (Third bows.) (Lizette goes to door at left and stands there.) Mrs. D.--M.y dear boys, what an unfortunate coinci- dence! Three John Smiths at one house, and all of them tending roses. (The three glower at each other.) How- ever, I sha'n't let that disqualify you. I am sure you have all the desirable requisites. (To the First.) You have had experience with trees and flowers? First — (as if he had learned it) Yes, ma'am, I was chief gardener for two years at Lord Popinjay's estate in Devonshire. No doubt you have read of his rare varieties of roses. They are famous throughout the Isles. Mrs. D. — Indeed! And you left him? First — (glibly) To see this great and glorious country- of yours. Mrs. D. — But of course you understand I cannot pay you what his lordship did. First — Madam, permit me to say my wages are a second consideration with me. I have saved enough mon- ey while in his lordship's employ to make them so, and I Clareiice Decides 7 assure you I am quite willing to work for whatever you feel free to pay me. Mrs. D. — (imth a sigh) You sound almost too good to be true. (Smiling.) I will hire you and we will discuss your wages and your work a little later. My maid will show you your quarters over the garage. Lizette? Lizette — Yes, madam. Mrs. D. — Show the young man his room. (First fol- lows Lizette out at left.) (To second) And you? What recommendation do you bring? Second — (as if he had learned itj I worked four years for the late James Jemmijohn, prominent flower dealer and exporter of seeds and bulbs. A short time ago he passed peacefully away, and I had no desire to work on there. Pure sentiment, madam, pure sentiment. I al- ways have it and I ass\ire you I shall have the same for you and your gardens. Mrs, D. — (amused.) That's nice. Second — Your gardens remind me of his, the plan of the walks, the shrubbery. It will be a pleasure to work here. In the matter of wages, I feel as my fellow Smith does — ^they are a second consideration when contentment of place is everything. Mrs. D. — It seems I have fallen on an ideal company. (To Third.) And you, what is your story? (Second goes off at left.) Third — (whose imagination has been outdone.) I haven't any. Mrs. D. — (who has begun to expect anything) Have- n't any? But didn't you — Third — (misiyiterpreting in his nervousness) Yes, Madam, I did, and, as T thought, have a good one, but they — they have outdone me. Mrs. D. — ^^^^hat do you mean? Third — (twisting his cap) Theirs were so much bet- ter. Mrs. D. — You are very vague, but you look honest, and I believe I'll hire you. 8 Clare7ice Decides Third — Thank you, madam. Mrs. D. — It is only fair to give you a trial, and I shall expect you to do odd jobs for my maid when she asks you. Have you ever worked before? Third — (quickly) Yes, oh, yes, madam. Mrs. D. — Doing what? Third — (despei^atehj clutching at an idea) Shoeing horseSj madam. Mrs. D. — Shoeing horses? And why did you give it up? Third — (desperately) Well, you see, madam, there were no horses. Mrs. D. — (laughing) Oi course. How stupid of me. But why didn't you go in the automobile business ? Thirds— I had a horror of it, madam, a natural hor- ror. My great-grandfather had it, too. It — it runs in the family. Mrs. D. — ^Your great-grandfather? But there were no automobiles in his day. Third — No, but he dreamed of them — had regular nightmares about them. Mrs. D. — I suppose you are fond of flowers? Third — (siveetly) I adore them. I used to have a flower all my own, in a pot in our kitchen. It lived for years. M7-S. D. — Poor boy! (Smiling.) Well, I won't tax your imagination any longer. You are hired on faith. That's all for now, (She watches him, smiling as he goes off at left. On the threshold he passes Lizette entering, and she gives him a scrutinizing stare.) Lizette — (entering) Madam is to hire all of them? Mrs. D. — (turning) Yes, Lizette, all of them. (Li- zette sighs.) You don't like them? Lizette — I don't trust them. They — they — what do you say — do not look the part. Mrs. D. — ^You are prejudiced. A finer looking lot of men I never saw. Clarence Decides 9 Lizette— (shaking her head tvisely) 'Ah, that's the trouble. Their hands— ex-gr^/is-ite hands, helas, they are too fine. Mrs. D. — You can't shake my faith, Lizette, and we shall have paradise at Fleurmont. (Mrs. Dixby Moore, a large, florid, haughty woman of fifty, and son, Clarence, appear at French door. The less said about Clarence's appearance the better for him. His chief characteristics are length, leanness and a tiny Tdustoche. Both are dressed in the height of fashion.) Clarence — My dear Mrs. Davenport, what a charm- ing spot your back yard is. Mrs. Moore — (latighing affectedly) Yes, Mrs. Daven- port, Clarence went into ecstasies over your garden, and you know he never enthuses over flowers. Mrs. D. — That's something I never can quite forgive in Clarence. Otherwise he is a nice boy. (To Mrs. M.)\ Sit down, do. (Mrs. M. takes chair by table. Mrs. D. draws up chair and sits hesid.e her and Clarence lounges on the lower end of the davenport.) Clarence — (lighting a cigarette) Of course I'm a nice boy — doing everything you ask of me. Mrs. D. — Yes, and sometimes I think I've asked too much. Clarence — Now, now! M\rs. D. — But suppose you just can't fall in love with any of them. Clarence — Impossible, impossible, not to fall in love with a niece 01 yours. By Jove, Fd make myself. Mrs. M. — It will be so nice for Clarence to have a wife and settle down. He's been so restive. Clarence — Really, mother, you sound as if I were a horse. Mrs. M. — And I should love his wife, I'm sure, just because she was his wife. Clarence — That's mighty nice of you, mother. 10 Clarence Decides Mrs. D. — Of course they are dear girls. I can tell by their letters. But I haven't the slightest idea how they look and I suppose they do need a lot of training. (Li- zette enters hurriedly from left.) Lizette — Pardon, madam, but the new gardener has put the salt from the freezer in the tulip bed. Mrs. D. — (rising) Mercy, Lizette I (To Mrs. M.) I'll be with you again in a minute. (Follows Lizette off at left.) Clarence — Ha, ha, by Jove! {Gets tip and struts about.) Mrs. M. — She's perfectly foolish about her gardens. Clarence — She has a right to be eccentric. She's reached the top of the ladder, er — socially. Mrs. M. — (with some spite) Only through her hus- band. She was a nobody. Clarence — Uncle Mark loved her. By Jove, he did; and it was said of him he knew a good thing when he saw it. Mrs. M. — Your grandfather never cared for her. Clarenca — Grandfather was something of a nut, I'm told. Mrs. M. — Clarence! You're a nice one to, talk about your late grandfather when he left you all his fortune, and I judge you'll need it to fit out and educate a wife from the backwoods. If only you had been sensible you might have had any of the girls of your own set, but, no, you dillied, dallied. Clarence — But you have forgiven me for all that, now that I have really promised to marry. Mrs. M. — Do sit down, Clarence. You make me crazy walking about. Clarence — ( flopping on the sofa) How could a fel- low help being nervous while he waits to get a first glimpse of his future bride. Mrs. D. — (entering from left) The poor boy. The cook asked him to empty the freezer and he had an idea Clarence Decides 11 salt was good for tulips. You see, he's always worked with horses. Mrs. M. — Of course you discharged him. Mrs. D. — (sitting) I didn't have the heart to. Mrs. M. — But at that rate your gardens will suffer. Mrs. D. — I think not, T have experts in the other two. Mrs. M. — You have two more? Mrs. D. — Um-um. I am indulging myself this sum- mer in my pet hobby. Mrs. M. — Of course Fleurmont is delightful. Mrs. D. — But it might be made far more so. Clarence — My dear Mrs. Davenport, allow me to say that after — after I become a member of the family, Fleurmont shall be made into w^hat you would have it. Mrs. D. — My dear boy. (Goes to him.) You could- n't say anything that would make me happier. Let me kiss you. (She kisses him on the forehead.) (Enter Lizette at left.) Lizette — They have come, madam. Mrs. D. — (turning) Oh, I'm glad. Bring them right in, Lizette. (Lizette starts for door, t Lizette I Lizette — Yes, madam. Mrs. D. — You might fix the tray with cookies and milk. I suppose they are hungry, poor dears. Bring it in here. Lizette — Yes, madam. (Goes off left.) Mrs. D. — Oh, dear, I'm so excited. (Lizette returns, followed by the three nieces. They\ are, to speak plainly, countrified in their clothes arid ap- pearancey but very pretty and of excellent possibilities. They have left their baggage in the hall, but we are sure they have brought carpet bags. -They are shy and Sai'ah Maud, loho, becau.se she is a little bolder than the re^t, has been unanimoicsly made spokesmari.) (Mrs. D., delighted, runs to kiss them.) 12. Clarence Decides Mrs. D. — My dear girls! My dear nieces! (Mrs, M. gives them one look and closes her eyes with a well-bred imvard shudder. Clarence, who sees the possibilities, is amused..) Mrs. D. — (to Mrs. M.) My three nieces, Mary Ann Lee, Sarah Maud Lee, and Julia May Lee. (Mrs. M. botes stiffly; so do the girls.) Mrs. D. — My dears, Mrs. Dixby Moore and her son, Clarence. Clarence — (botving elaborately) I ajtn delighted — charmed ! Mrs. D. — Mrs. Moore and her son are to be our guests for a few weeks. Clarence — So you see, it's not to be a mere passing acquaintance. Mrs. D. — No, indeed, it's not ; and Fm sure we are to have a jolly summer. Clarence brings uv chairs and they all sit about the\ table, excerpt Mrs. M., who pulls her chmr back a little toi get a better perspective. Lizette enters with the tea wag- on.) Mrs. D. — That's it. Sit down, girls. We'll begin by having a cozy little lunch. I know you're faint. Clarence — Of course they are. Now, let me make my- self useful. I'll pass the cookies. (Exit Lizette. Clarence passes the cookies and Mrs. D. the. milk. The girls regard Clarence from the corners^ of their eyes and murmur a soft "thank you.'') Clarence — (to Mrs. M.) Mother, you won't partake? Oh, no, I rememberryou don't take milk on Thursdays. Clarence — (sitting next to Sarah Maud) Now, I say, isn't this delightful? Don't you think it's delight- ful? Sarah Mated — Oh, yes, very. Clarence — (trying to he stveet.) (To Julia May.) And you ? Clarence Decides 13 Julia M'ay — Oh, yes, very. Clarence — (to Mary Ann) And you? Ma7'y Ann — Oh, yes, very. Clarence — There, I thought you'd think so. Mrs. D. — (munching a cooky to be sociable.) Did, you have a good journey my dears? (Julia May and Mary Ann look to Sarah Maaid.) Sarah M. — (glibly) Yes, Aunt Susan, we did. The waits were short and we enjoyed the scenery. At Hav- erly Station we were much interested in watching peo- ple and we amused ourselves on the train by imagining what you were like. Mrs. D. — And you're not disappointed? All Three — No, indeed! Mary Ayin — (finding her voice at last) And I think it's lovely here. I never saw such gardens. At home we had no time or space for flowers. We raised just vege- tables for market. Julia M. — (with a sigh) And we had to work pretty hard at times. Clarence — (with real sympathy) A rotten shame! Julia M. — But I suppose it's been good for us. At least so papa says. Why, some days we had to — Mary Ann — (giving her sister a nudge) Hush! (Iri her effort to check Julia M.s readiness to tell tales, she\ upsets her milk glass in her lap.) Sarah M. — Oh, Mary Ann! (Mrs. M. again closes her eyes, this time for a long^ er period. Sarah Maud starts in scrubbing off the stains' vigorously.) Mrs. D. — offering her napkin) Never mind, dearie. Don't worry about it. Sarah Maud — But it's her best dress. Julia M. — (in a woebegone voice) Her very best, and was to do for all summer. Mrs. D. — We'll get her another. 14^ Clarence Decides Clarence — (taking her empty glass and refilling it) Do have some more. (Mary A. hesitates.) Do, please take it. Don't be afraid. A body was never known to up- set two glasses at one sitting. Mary A. — (taking it) Thank you. Sarah M. — ^You're right. It will probably be my turn next. Mrs. M. — I think, Clarence, we'd better go now. Clarence — Oh, I say, mother, I want another cooky and some more milk. Mrs. M. — Then I fear I must leave you. Clarence — Oh, don't, mother; it would be so dreadful to walk home alone. Mrs. M. — Perhaps the young ladies will go with you as far as the garden gate. (She goes to French door.) Clarence — (foolishly) As far as the garden gate. Ha, ha ! Sounds like a song title. Mrs. D. — Run along, you ridiculous boy. (Clarence goes to his mother and they go off.) Clarence — (calling back) Ta-ta. (The girls murmur "good-bye.") Mary A. — Is she a very cross w^oman? Mrs. D. — No, my dear, she is a fool. Mary A. — Oh! Mrs. D. — Now, I want you all to stand up. I haven't had half a chance to get a look at you, my dears. (She^ rises and they stand tip beside her.) Mrs. D. — (playfully) Get in line. (They get in line laughing, and Mrs. D. surveys them from a little dis- tance.) Mary Ann is tallest, Sarah Maud next, then Ju- lia May. Sarah M. — Do you like us? Mrs. D. — Do 1 like you? You dears, I'm in love with you, already. Julia M. — But you're going to improve us? Clarence Decides 15 Mrs. D. — Oh, dear, yes. Mary A. — I'm sure we need it. Mrs. D. — Did you want to come? Mary A. — Very much, but of course we were a little afraid — that is we knew you to be a very grand person. Julia M. — With a French maid. Sarah M. — And a garden of rare trees and flowers. Mrs. D. — (laughing delightedly) And you let that bother you. Fm ashamed. Mary A. — And that you entertained aristocratic peo- ple. Mrs. D.— Pooh! Julia M, — Was that Mrs. Moore very aristocratic? Mrs. D. — Oh, terribly, (anxiously) You haven't told me how you liked Clarence. Mary A. — (weakly) He was very nice. Mrs. D. — (ashamed of herself) Don't you think he has nice eyes? Sarah M. — (bluntly) But he hasn't any chin. Mrs. D. — (gaining enthusiasm) And nice hands? Julia M. — So white and fine. Mrs. D.— He is very rich. Julia M. — I thought so. Do-do you like him very much, Aunt Susan? Mrs. D. — Yes, indeed. I consider him an excellent catch for any girl. (Starts to door.) Come, let's go up to your rooms, now. (Girls follow her.) Sarah M. — Then he isn't married? Mrs. D. — (quickly) Oh, no, Sarah M. — Well, I'm not surprised. Mrs. D. — (at door; turns.) Not surprised! Why, dear? Sarah M. — (casually) Well, I couldn't imagine any- one wanting him. (They go off as the curtain falls.) CURTAIN 16 Clarence Decides ACT II. (Three weeks later. Morning.) (Mary A., dressed becomingly in a garden frock and carrying a large shade hat on her wrist, sits on the win- dow seat at right, looking out on the garden. Presently, John Smith, the first gardener, appears at French door\ and stands, leaning against the frame of it.) Mary A. — (turning) Come in, please. There's no one about. Since Aunt Susan's been away visiting there's no early riser. First — But, what about you? Mary A. — Oh, I'm taking her place. I like to get up early in summer. The garden is loveliest then. First — (entering and taking a seat beside her) But you haven't been in the garden for days. You've desert- ed me. Mary A. — (with a sigh) I've had too much to do. Study, study, study, from early morning until late at night. Firsi— Study? Mary A. — Um-um. Of course I do enjoy it, and Aunt Susan is awfully kind to let me have such fine teachers, but really, I'd much rather be in the garden (smiling) with you. First — That's nice of you to say so. When do you finish your course? Mary A. — Oh, dear, I don't know. Never, I guess. First — What kind of studies are you taking up? Mary A. — Well, really, I don't know whether you'd call them studies. That is, well I'm learning how to en- ter a room gracefully, how to talk, and dance, and — flirt. First — (laughing) I see. They're making a society belle of you. Mary A. — (rising and walking to the piano) I don't like it a bit, but naturally I don't say anything, because I Clarence Decides 17 need it, I know — the training, I mean. When you have been brought up on a farm with no advantages, you do get rather ordinary, I suppose. Fh'st — (rising arid following her to the piano) I never thought you were ordinary, and I saw you the first day you came. Mary A. — (laughing) Oh, I know I wasn't ordinary that day. I was the most ea;^raordinary being that ever walked these paths. First — You were beautiful, even then. Mary A. — Now you're trying to be nice. (Slyly.) Does that sound like the words of an experienced flirt? First — I don't know; but you're not going to be one of them — one of those foolish, empty-headed girls wko don't mean what they say and who don't know half they're saying. Mary A. — You seem to know a lot about those girls. First — I do, and I detest them. Mary A. — (earnestly) Tell me, please, who you are and what you're doing here. I know you're something more than a gardener. (He smiles.) You ought to tell me. First— Why 1 Mary A. — Because I. ask you. You are more myste- rious than Lohengrin, whose story I've just been reading. First — Mystery is interesting. You wouldn't think about me half so much if you didn't think I was myste- rious. Mary A. — Wheyi are you going to tell me? First — Perhaps never. Mary A. — Now, you're horrid, because you know I'm curious. First — Only curious? Mary A. — (shyly) Well — no. First — It depends wholly on yourself whether I tell you. 18 Clarence Decides Mary A. — But — but, don't you see my position here? Only yesterday I found out why Aunt Susan sent for us. She expects one of us to marry Clarence Moore. First — One of you — but. Mary A. — It all depends on Clarence. Whichever one he chooses must be his wife. First — Damn Clarence! Mary A. — Mister Smith! First — Well, he's no business mooning around here. WTiy doesn't he get an honest job? Mary A, — He's too rich. And please don't say things about the man who might be my future husband. First — Only to myself, then. I suppose I may do that. Mary A. — (smiling) But even that isn't very nice. (Sarah Maud and the third gardener appear at the French door. Sarah Maud is bewitchingly goivned in{ plaid gingham. Third's lingers are bandaged.) Sarah M. — Hulloa! P^or heavens sake, Mary Ann! (They exchange glances of surprise amd the tivo gar- deners scowl at each other.) Sarah M. — (to First) Oh, we've had the delightful!- est stroll through the garden, Mr. Smith has shown me every flower on the place, and he knows so much. First — I've seen no evidences of his knowledge. Sarah M. — Hear, hear, I won't have you saying things like that. Third — (to Mary Ann) For some reason, Miss Mary, he wants to get rid of me. Sarah M. — (in a dramatic voice) Jealousy! Third — And heaven knows I earn my pay. Up with the birdies and w^orking the long day through. Oh, well, well. Sarah M. — (coming down to the table,) I know what it is. He wants me to marry Clarence and get him out of the way and he thinks as long as you're here — Clarenc^ Decides 19 Mary A. — Sarah Maud Lee! Sarah M. — Well, I don't care. Third — Mighty fine of her to be so honest I'll say. I've puzzled my head the last week to find out why it is he holds that grudge, I'll sleep better now. Sarah M. — (going back to the French door.) Poor Gar-gar! Mary A. — Gar-gar! Sai'ah M. — Yes, I call him that, now. Pet name for gardener. Mary A. — But, Sarah Maud, you oughtn't to be-^to be so familiar. You can't encourage other men as long as there's Clarenco. Sarah M.-^Fve no intention of marrying Clarence; not if he were the last man on earth. He's a prune; so there — and if Aunt Susan thinks — Mary A. — You'll do as Aunt Susan says, dearie, and if Clarence Moore chooses you for his future wife, you it must be. Sarah M. — Ah! But I'll see that he doesn't choose me. (Mincing to front of rdage.) At what hour does Milord Clarence arise? (The others laugh.) Noon, me- thinks. (She goes hack to Third. They talk.) First — (to Mary A.) She's been reading legends, too. Mary A, — Yes, I believe it's considered, part of a good education. First — {seriously) I believe it is. Mary A. — (coming doicn to table) You haven't shown me the garden. First — (following her) You haven't given me the chance. You don't dare take the risks of being vseen the way your sister does. Mary A. — Sarah Maud dares anything, but — but of course it would be bad if they discovered we were friends. First — And such good friends! We are, aren't we? Mary A --(A bit nnwillinghj) Yes, I suppose we are. 20 Clarenc(f Decides First — And we can't help it, can we? Mary A. — No, I suppose we can-t — now. It's rather late to try to, but I don't know what Aunt Susan would say. First — I'm sorry if Aunt Susan doesn't love me. Mary A. — You mustn't joke about it. It's — it's tragic, (Quickly.) Come, let's go out and look at some of the flowers. (She goes to French door.) First — We'll begin with the pansy bed. I've a jolly variety to show you that will take a long time. Sarah M. — Where are you going? Mary A — Let us out. I'm to have a lesson in pansy raising. (Sarah M. and Third go over to piano, Sarah M. perching on the seat.) Sarah M. — Throw a pansy in Clarence's window for me, will you? One with a saucy face. (Mary A. and First go off by French door.) (To Third.) I'd play you a piece if I dared, one I used to play on the melodeon at home. Third — (looking at her luith adoring eyes) Oh, I say, please ! Sara/?. M. — I'm afraid it will wake his lordship. Third — You're always thinking of him. Sarah M. — Jealous! (he grins.) (During the fol- lowing conversation she plays a soft, gay little accompan- iment.) Sarah M. — (looking at him with smiling but search- ing eyes) Do you know I think you're delightfully mys- terious, as mysterious as — as — oh, you know, what wa^s that knight's name who wouldn't tell his lady love who he was. Third — (ivith sudden inspiration) Sir Galahad. Sarah M. — Yes, Sir Galahad Aren't you clever! You're just like him, in fact I think he must have looked like you. Third— Thanks. Clarence Decides 21 Sarah M. — Now, you can't say I'm not nice to you. You've been looking like a pepper box the whole morning just because I happened to mention Clarence once or twice. Third — Sarah Maud, I'm sick of my job, beastly sick of it. I've been at it now for three weeks and I'm sick of it. Sarah M. — Poor 'ittle boy. Does he scratch his han- nies in the dirty ground? (She stops playing.) But, there, he has me to tie them up. (Smiles at him bewitch- inghj.) Third — Sarah Maud, I wish you'd marry me. I'm a/Wfully in love with you. Sarah Maud — (rising) I would, but Mary Ann would never let me. Third — Hang Mary Ann! Sarah M. — This business of Clarence has got to be settled first. He might, Gar-gar dear, choose me. You did. Third — (coming doivn to table) If he does — Sarah M. — (covering her ears) Don't say it. Gar- gar. Don't say the dreadful words. Third — Let's elope. Say, I tell you. I'll quit today, go into town, get some decent clothes, come back here and meet you tonight' by the gate — Sarah M. — (pacing back and forth) Oh, don't don't, Gar-gar, you tempt me. It is too alluring. Besides, there's a full moon tonight. Third — (savagely) Hang the moon! 'Sarah M. — (stopping by the table) It — it wouldn't be fair to Aunt Susan especially while she's away visit- ing. Third — Hang Aunt Susan! Sarah M. — Gar-gar, dear, really you ought to have been an interior decorator. You've a passion fOf hanging things. Third — I'd like to hang everyone but you and me. 22 Clarence Decides Sarah M, — You expect me to do just as you want, but you won't even tell me who you are, and I know you're somebody interesting. Third — Wish I was. Then maybe you'd love me. Sarah M. — But I do love you, Gar-gar. Third — Then, marry me. ^ Sarah M. — Have you forgotten Clarence? (She goes bach to piano seat.) Third — Hang — you can get rid of Clarence. Sarah M. — I know it; and I intend to, but I've got to get rid of him first, before I can marrj- you. (Soft play- ing.) Third — Rats! I don't see why. Sarah M. — Don't be so tragic, Gar-gar. It doesn't become your tyi>e of face. Third — (walking to hack of stage.) You're making fun of me. Everyone makes fun of me. Sarah M. — There, there, it is a shame, yes it is. (She starts toward him, just as Julia May and the second gar- dener appear at the French door.) Sarah M. — (taken hack to say the least) Well, of all things! (Third turns.) Second — (to Third) Smith, I told you to put the loam around the rose bushes. What are you doing here? (He enters, Julia M. close behind him.) Third — The same thing as you are, I reckon. Sarah M. — (putting an arm through Third's) Let's go out. Gar-gar, and I'll help you. (She sweeps past Second with a haughty glance, pulling Third along with her and they go out by French door.) Julia M. — (in an awe-struck voice) She called him Gar-gar ! Secon d — ( 8 m il ing ) Yes ? Julia — But that's a pet name. Second— Ytsl Clarence Decides 23 Julia M. — And she's only known him for three weeks, two weeks, really, for we haven't been in the gar- den this last week. Second — It isn't always how long you've known a person; it's how much you've seen of him. Julia M. — (coming down to chair by the table and perching on the arm} I've seen rather much of you, haven't I? Second — Yes. (He is much amused at her,) Jtdia — And I'm likely to see a lot more of you. Second — (coming to back of her chair) I hope so. Julia M. — ( vith some disgust) But there — there's Clarence ! Second — (mournfully) There's always Clarence. Julia M. — Yes, there's always Clarence. Poor Clar- ence. Second — Don't tell me-you pity him. Julia M. — I can't help it. (Second groans.) Second — I suppose the next thing you do is marry him out of pity. Julia M. — No, I won't, and besides, he might not choose me. I don't think he will, for really I'm not half as attractive as my sisters, do you think so? Second — That's a nice question to ask a prejudiced man. Jidia M. — Why, my nose is pug and Mary Ann has Su beautiful nose and my eyes are green and Sarah Maud has divine eyes, an artist who came to Freeport wanted to paint her picture. Oh, I know I'm plain and I'm afraid it doesn't bother me as much as it ought. Mary Ann says it doesn't and she tries to comb my hair to give me a more dignified look but you can't give a dignified look to a person who hasn't already one, do you think you can? Second — (smiling) No. I'm afraid you can't. Jidia M. — Do you think it's better for a girl to be beautiful than to be wise? 2If Clarence Decides Second — I'm afraid I don't. You see, it's this way. Beauty fades, but wisdom increases with years. Julia M. — Oh, you are comforting, and it's so nice to have someone to encourage you. Sometimes when I look in a mirror I do get down-hearted, but hereafter I shall say to myself, **Juiia May Lee, improve your mind, if you would be attractive," and it's going to be easy to do for I love to study. Second — Have you read all the books I gave you ? Julio. M. — Every one. Second — Then you shall have the rest. Julia M. — Some parts of them were hard for me to understand, but I marked the difficult passages and you will tell me. (With genuine admiration.) You're so wonderful. Second — (imth a boiv) Thank you, mademoiselle. That is the best compliment I. ever received. J2ilia M. — You're so different from the farmers I have known that I can't help thinking about you. Secofid — I'm glad you do. Julia M, — Fve thought all sorts of things about you — nice things. Second — Thank you. Julia M. — You're the most interesting person I ever met. I used to imagine a man like you, but I never thought I should ever meet one really. I'm quite sure you must be a writer or a poet or — Second — Don't. Julia M. — Wouldn't you like to be one? I would. In fact that's what I'm thinking of becoming one of these days. I'd love to write about things and people and have whole families and villages living in my brain. I've writ- ten a story since I c^me here. Second — Will you tell it to me? I love stories. Julia — Yes, if you like. It's about a young man who has great ability and is very brilliant and whose parents will not let him do what he wants, so he runs away and CUirence Decides 25 gets a job for himself to earn money to let him study and become the man he would want to be. Second — What sort of a job does he get? Julia M. — Well, he loves flowers, so he hires himself as gardener to a rich old lady. Second — That's interesting. Julia May — But wait. The rich old lady has a beau- tiful companion, a young girl, who is an orphan. She, too, has a great ambition but the old lady is very exact- ing, and demands so much of her that she has little time to devote to her studies that she loves. One day she meets the gardener, and somehow — I don't know just how, she begins telling? him about herself and he promises to help her, oh, in lots of ways — (She stops suddenly.) Second — Go on. You have stopped at the most in- teresting place. Jidia M, — She — she falls in love with him and (she covers her face with her hands) Oh, dear, that's all. Second — (taking down her , hands) Doesn't he fall in love with her? Doesn't he? Julia M, — I — I don't know. I — 1 haven't decided, yet. Second — Oh, but he ought to, you know. Julia M. — Yes, I know he ought to. (Sarah M., fol- lowed by Third, comes in suddenly by French door. Close behind, Mary A. and First.) Sarah M. — Whew! (She comes down to table and gives a suspicious glance at Julia M., ivho gets downi fro in the chair arm quickly.) Come here, Gar-gar, and let me tighten the bandage on your little finger. (Third obeys and she ties the bandage.) Mary A. — Poor fellow, he's all cut up. (She sits on window seat at right, First standing beside her.) First— (laughing) Too bad, Smith, but console your- self. Sweet peas don't have thorns. Second — (to Mary A.) You've been over the garden? Mary A. — Just this end of it. 26^ ' ~ Clarence Decide^ Second — (turnmg to Julia M.' Permit me, made- moiselle, to take 5^ou over the grounds some day soon. Julia M. — Oh, Fd love to! Let's see. What hours have I free? English at nine, French at ten, etiquette at eleven, dancing at twelve — Sarah M. — (ivith finality) Lunch! Julia M, — (going on glibly) Literature at one, pi- ano at two, voice culture at three, philoHiphy at four. Sarah M, — Dinner. Second — (to Julia M.J Poor child! Mary A. — You might get up at six. Jtdia M. — (to second) Would it take more than three hours to go over the garden? Second — It might. It all depends on how fast we move. Julia M.—Oh ! Third — Why not take the dog-cart; and race around? That would get you back for breakfast. Sarah M. — Impudence! Julia M. — (slowly) I think Ftl decide to go tomor- row. Mary A. — You'd better. Aunt Susan will be back day after. Julia M. — (ivith a sigh) Of course it wouldn't do to be caught walking with you. Yes, I'll go tomorrow, that is if it's all right for you. Second — I'll make it all right. Thank you made- moiselle. Sarah M. — Oh, you know French, too. I will say I never heard of such tmitsual gardeners. (She goes to pi- ano seat and sits. Exchayige glances.) Mary A. — (suddenly) Hush, a door closed some- where upstairs. Sarah M. — His lordship has risen. Jidia M. — Oh dear, you'll have to go. Clarence Decides 27 First — We intend to. Fall in line, boys. (They fall in line one behind the other.) Mark time! One, two, (They mark time.) Foi^^ard— MARCH ! (They file out by the French door in perfect step,) Sarah M. — (nmni^ig to the unndotv at left) Aren't they a scream? ' Julia M. — (sitting on the ivindow seat at left) D'o you know — I think we are like tho«e fairy princesses of old who entertained their lovers secretly. I ased to im- agine myself one at Freeport, but I never thought I should be so like one. Mary A.— Who do you suppose they a/re? Julia M. — Let's not try to find out. It's more inter- esting. Sarah M. — I love Gar-gar just as he is, but oh, dear, he's awfully helpless. I don't believe he ever did a stroke of work in his life, and he makes an awful fuss about his quarters in the garage. Julia M. — Very likely he is the son of a millionaire, and accustomed to a grand suite of rooms. Mary A. — John has said some very queer things, too, as if he were used to a very different sort of life. Julia M. — I'm sure my John — Sarah M. — Your John — Julia M. — Well, I had to distinguish somehow, didn't I ? Besides, he asked me to call him John, Sarah M. — He did ! W^ell, I didn't know he had it in him. Julia M. — I'm sure he is a writer of some kind. He talks so beautifully and has such an imagination. I think he's wonderful. Sarah M. — Well, at any rate, he's better than Clar- ence. Mary A. — Oh, dear! Isn't the suspense awful? Sarah M. — Suspense? Mary A. — Yes, about Clarence deciding. 28 Clarence Decides Julia M. — (with conviction) I don't think there's any suspense. I think Clarence's choice has been made. Sarah M. — ^You don't ! Julia M, — Um-um. I think he's going to choose you. Sarah M. — ME ! (She falls back onto the unndow seat.) Julia M. — (calmly) He regards you with love in his eye. Sarah M. — (sitting up) Oh, Lord! -v ?>^> Mary A, — I don't know about that. He told me Jti- lia May's sweet innocence got him. Julia i¥. — But it won't get mamrna. She wants beau- ty. No, it's Sarah Maud, I'm sure. Sarah M. — (corning doiv7i to piano) But it won't be for long, believe me. (Whistle without.) fylary A. — Sh! He's coming. Sarah M. — (making dart for door at left) Tra-la! I'm off. (She goes out at left just as Clarence, immacvr^ lately and appropriately dressed, saunters in at right.) Clarence — (bowing) Ah, good morning. I say, how are you for a stroll? It's only eight-thirty and a half- hour to spare. (He looks about the room.) I say, where's Sarah Maud? Julia M. — (comiyig down to table) She's gone up- stairs to prepare her French. (Slyly) Won't we do? Clarence — Oh, most certainly. I was just wonder- ing, that*s all. Mary A. — She always forgets it until the last min- ute, and we had a terribly difficult lesson. (Enter Mrs. M. at right.) Mrs. M. — Oh, here you are. (To Mary A. and Julia M.) My roses! Clarencei — (gloomily) And your thorn. Mrs. M. — Now, Clarence, you know better. Clarence — Now, mother, you know I'm a thorn in your side. Clarence Decides 29 Mrs, M, — (to girls) Isn't he a tease. I wish you'd take him in hand. You can see I've failed miserably. (Clarence goes to pianG and begins to drum.) He treats me with no respect whatever. Clarence — I say, someone's got to take a walk with me. (Drumming.) Eeny — meeny — Mrs. M. — rClarence! Julia M, — (impishly) Perhaps your mother will. Clarence — I say, you're mean. Jidia M, — I say, you're rude! Mary A. — Why don't you walk with yourself? Then you'll be sure of excellent company. (She goes to door at left, laughing.) (To Mrs. M.) Really, you must excuse us. We have French next. Clarence — And you won't — Julia M: — (following Mary A.) And we can't go a- walking with you. Clarence — (with contempt) French! What do you want to study French for? Julia M. — Well, there are always plenty of French counts round about looking for eligible wives, and, well, it would be bad if we didn't understand when they were proposing. Au revoir. (They go off at left.) Mrs. M. — (going over to Clarence) Clarence, I'm disgusted with you. Clarence — That's right. Blame me. It's not so easy. Mrs. M. — What's not so easy? Clarence — Getting a wife. Mrs. M. — (with sarcas7n) No, I suppose not — with three beautiful girls to choose from. Most men in a like position would have been married by now. Clarence, why don't you make up your mind? Clarence — (sulkily) How do you know but what I have? Mrs. M. — Well, I'm waiting. Clarence — Waiting? 30 Clarence Decides Mrs. M. — To hear what you've decided. Which is the fortunate one? Clarence — Sarah Maud. Mrs. M. — Sarah Maud Clarence — There, I suppose so. Something's wrong with the choice. Mrs. M. — Not at all, my son. On the whole, I like her immensely. But have you let her know? Clarences — Not yet. Mrs. M. — (ivith more sarcasm) What's the delay for? If I were you I'd be about it. She's pretty, clever and very entertaining. Clarence — She's that all right. She keeps you guess- ing too. Mrs. M. — I really think that of the three she is the prettiest. Her hair is lovely, just enough of a wave and does up so well. Clarence — It's an unusual color, too; those Titian lights. Mrs. M. — Ah, yes, those Titian lights. (Sarah M., pretending she thinks nobody is in the room, steals on at left. She wears an ugly straw-colored wig of short hair. A piece of black court plaster covers one front tooth. Mrs. M. sees her and gasps. Sarah M. pretends she has tried to escape, then stops and confronts them.) Clarence — My god! Is — is — is it Sarah Maud? Sarah M. — (feigning embarrassntient) Yes, it's me. (With a sigh.) I didn't know anyone was in the room, and I stole down to get my belt I left on the davenport. I thought I wouldn't meet anyone and I took the risk. I'm sorry. I know I'm a sight and I never meant anyone to know I really looked like this. Mrs. M. — But your hair! Sarah M. — Oh, I'm sorry to disillusion you, Clarence but I suppose the truth will out and you might as well know first as last. That's a wig I've been wearing. This is my real hair — yellow and straight and ugly. Clarence Decides 31 Clarence — This is cruel, Sarah Maud. Sarah M. — Isn't it! Mrs. M. — ^This is preposterous. Does your Aunt Su- san know — of these falsities? Sarah M. — No, and I haven't had the heart to tell her. Aunt Susan worships beauty. Mrs. M. — And, do you realize what you are doing? Sarah M. — I hope so. Mrs. M. — You are deliberately deceiving people. Sarah M. — (almost in tears) You won't tell Aunt Susan? Mrs. M. — I think she ought to be told. Clarence — It would be saving her from the worst shock of her life. Sarah M. — I think you're rather hard on me. When one has two beautiful sisters, one naturally wants to be beautiful, and I got tired of hearing Mary Ann's and Ju- lia May's praises being sung so — so I thought I — I would try to be beautiful like them. Mrs. M. — Which was morally wrong and the worst form of deceit. However, I'm glad you are found out, as far as my son and myself are concerned. Of course you understand any prospects you may have had to matri- mony, that is as far as my son is concerned, are of no ac- count. Sarah M.— (humbly) I understand. I know I'm not much on looks when you take me unawares. (Exit left} Mrs. M. — Clarence! Clarence — Ye gods! (A ripple of laughter off stage at left, then another, more smothered.) Mrs. M,— Hush! (They listen. More smothered laughter. ) Clarence, they are making a fool of you. That girl did that in fun. Clarence^Oh, lord! not if I know girls. There was nothing funny about that. 32 Clarence Decides Mrs. M. — Clarence, listen to me. Those girls are dis- gusted with you. This affair has proven it. Sarah Maud is in love with you, of course. Clarence — In love with me. Mrs. M. — This last act has proven it. Yes, I am sure she is in love with you. (Enter Mary A. and Julia M. at right.) Mary A. — No English this morning. Miss Bidger- ton is sick. Mrs. M. — Oh! (With great sympathy.) But then you €an find time for other tihngs. Clarence — For a walk with me for instance. Mrs. M. — Clarence, 1 thought you had something special to do this morning. Clarence — (stupidly) Something special? Mrs. M. — (getting angry) If you don't recall it, you'd better follow me and I'll tell you. (She sta/rts off at left.) Come. Clarence — But, I say, mother. Can't you tell me a little later? Mrs. M. — No, I cant. Come. (She goes ojf at left and he follows, crestfallen.) Julia M. — Of all things. What has got into Mrs. Dixby Moore? I suppose she's after Sarah Maud. Poor Sarah Maud I I'm glad I'm not pretty. Mary A. — Oh, dear! He's probably going to pro- pose to her first. Well, at any rate, that gives us a little leeway. (She sits on loindoiv seat at left.) Julia M. — No, it doesn't. Leave it to Sarah Maud. She'll evade him somehow. I wonder which of us two he prefers. Oh, what a life! (Enter Sarah M. She has removed her frightful ivig and looks very charming.) Sarah M. — (running up to Mary A. and flopping down beside her.) Oh, my senses ! . Mary A. — What is it? Clarence Decides S3 Sarah M. — Clarence still loves me. I met him just now and he begged me to go for a stroll with him in the garden. I know he's got some poetic idea about propos- ing in a rose garden, and I shall die. Julia M. — Poor Sarah Maud ! (Goes to her and pats her cheek.) Sarah M. — Do you know the gardeners hate him? Mary A. — Yes, I do. Julia M. — Aunt Susan left them in his charge and he has set them to work as far from the house as possible. Sarah M. — You don't suppose he suspects something? Julia M. — No, he's too stupid. Mary A. — I'm afraid they'll make trouble for Clar- ence. Last night I walked by the kitchen window, and I heard them laughing and talking in low voices as if some- thing was afoot. And I distinctly heard the name Clar- ence tuhispered. Julia M. — Oh, heavens ! If they should do anything annoying. What vv'ould Aunt Susan say? Mary A. — Of course we owe everything to Aunt Su- san, and we ought — Sarah M. — Now end by saying— "marry Clarence to please her." Well, I won't, and you wouldn't either. Mary A. — Oh, yes, I would, but (half weeping) I — I don't love him. Sarah M. — (coming down to table) I love Gar-gar, and only Gar-gar. Mary A, — Sometimes I can't help thinking how little we know of these men. Julia M. — They might be criminals. Mary A. — Or worse! (Lizette runs on from left and stops in front of Ma- ry A. and Julia M., gesticidating wildly.) Lizette — Mon dieu, mon dieu! Mary A. — Lizette! (Sarah M. rushes up to group.) SJlf Clarence Decidos Lizette — (half weeping ) Mon dieu, mon dieu! Th© silver is g-one. (Draws in her breath and lets it out in one last shriek.) And the gardeners, too! (Covers her face ivith her apron.) Mary A. — (shaking her) Lizette! Stop it! Lizette — They have gone — ^the wretches. (Wildly.) Catch them! Catch them! Madam's silver! I just saw the last one, the fat one, running- out at the gate. (She runs off and. Julia M. and Mary A. folloiv.) Sarah M. — My Gar-gar! f Flops on ivindaw seat.}, CURTAIN ACT III. (Evening of the next day. Same .scene. Lights on.) (At the rise of the curtains, the girls, dressed in semi-evening gowms, are grouped about the piano. Sarah M. is seated on the piano stool.) Mary A. — I can't fathom it, I can't. I never shalK It didn't seem like them. (Wipes her eyes.) Julia M. — ^They were so refined. But I have heard of refined burglars before. Sarah M. — (wailing) The sad part is, I still love Gar-gar. I do, I do. Mary A. — And I love John! Oh, oh, I shall never for- get him. I — I've pictured him in prison and still I love him. JuUu M. — And my John. 1 don't dare picture him in prison, for I should love him all the more. His eyes would be so pathetic behind the bars. (They sob silently a moment.) Sarah M. — He — he said he loved me — Gar-gar did! Julia M. — (drying her eyes) John never said so ex- actly, but he lookea it a thousand times a day and I know he would have said so, if I had given him half a chance. Clarence Decides $$ Mary .4.— Oh, why hadn't you? But, then, what good would it have done now? Sarah Maud—At least she could have died a spin- ster. As for me,. I shall never love again. Mary A.— You forget Clarence. Sarah M.— (crossly) For heaven's sake, let me I consider it a blessing that I can. Julia M.—l was so happy. He— he was mv Lohen- grin and now he has gone away. Mary Ann, don't you suppose they really loved us ? Mary A, — It did seem so, didn't it? Julia 3/.— Think of being loved bv burglars. (Fresh sobs,) Sarah M. — And the wretches didn't leave one single spoon. Oh, Gar-gar, how could you? (She plays a dull, soft little, tune absently.) Julia M.— Is it wicked to love a burglar? Sarah M.— (waxing sentimental) The Bible says you should love them and help them. Julia M.—lf only we could find them, Mary A.— Perhaps they're hiding in some dismal swamp without a bite of food. JuUa 3/.— What a shame when they've all those knives and forks and spoons to eat it with. Mary A.--(bravely) Come, let's forget them. Sarah M.—l c-can't. Gar-gar's face is ever before me. Mary A.~But we must be sensible. Don't you think I loved John as well as you loved yours, but what's the use? He's gone and he couldn't have cared much for ine to go. That's the way I look at it. Sarah M.—Of course. The miserable reprobate. Mary .4.— He isn't a bit worse than your Gar-gar, and you needn't call him names. Julia ilf.— Well, it's this way, as Mary Ann says. They don't love us and so why should we love them? What's our philosophy to teach us but this? 36 Clarence Decides Sarah M. — You're right, Julia May. I shall make myself hate Gar-gar for a base deciever and a thief. Mary A. — And think how kind Aunt Susan was to them. ^ Sarah M. — They didn't know much either about gar- dens. I mean — why, now when I think of it, twice I res- cued the pet rose tree from Gar-gar. Think of the nerve of him, hiring himself out as a gardener, when really he intended to burgle. (She tucks her handkerchief in her belt with determination.) I've wasted tears enough on such a one. Mary A. — (following suit) The awful creatures! Julia MoA^ — So ungrateful ! (Enter Aunt Susan at right, carrying a note in her hand.) Mrs. D. — (waving note loildly) Oh, girls, girls! (She flops into a chair and bu7'sts out laughing. The girls cluster about her.) Sarah .¥.— What is it? Mrs. D. — (gasping) It — it is too preposterous! Read — read ! (Mary A. takes the note and reads.) Mary A. — "Dear Lady: — We are leaving — all three of us. We could not be bossed by Clarence. Moreover, we do not trust him, and so we have hid the silver in a hole underneath the biggest rose tree. Most respectfully, The Three Gardeners." Sarah M. — (dancing about) I knew it. I knew it. My Gar-gar never could be a thief. Mary A. — (looking at Mrs. D.) Hush! You ridicu- lous child. Mrs. D.— What? Your what? Sarah M. — My Gar-gar. Mrs. D. — (looking to the girls for help) Your Gar- gar. Sarah M. — Oh, I'm so happy, so happy, so happy ! Clarence Decides ST Mrs, D, — (trying to catch her) Sarah Maud, explain yourself. Sarah M. — (sobering) You see, it's this way I struck up an acquaintance with one of the gardeners one day, and — (appealingly, half hoping Mrs. D, will relent) we got to know each other rather well. Mrs. Z?.— Sarah Maud Lee! (Pause.) Well, if that's what's been going on, I*m glad they've gone, and they have — forever — so let's get down to sense — and Clar- ence. Sarah Maud — You — you don't mean you've changed your mind about Clarence? Mrs. D. — Changed my mind about Clarence? Sarah M. — (with some hope) That is, about our marrying him. Mrs. Lk — It is just that that I want to make clear to you. Of course Fm taking it for granted he hasn't asked any one of you yet. (Girls shake a denial.) I had hoped that on my return something would be settled. Sarah M. — (with a great sigh) Oh, dear! Mrs. D. — And so I have decided to take matters in my own hands. Jvlia M. — (fearfully) Aunt Susan? Mrs. D. — Yes. Julia M. — Would — would you want any one of us to marry Clarence if — if she didn't love him? Mrs. D. — Oftentimes, my dear, girls don't know what is good for them. The one who marries Clarence will make an excellent match financially and socially. (Smil- ing.) And you know what promises I've made your papa, dears. Why the best man in the world is none too good for you. He must have money or social position or brains, or all three if possible, but one at least. Clarence has two. There, I hope I've made it clear. (Taking Sa- rah Maud's ha7id.) Come, Sarah Maud, let's go out and dig up the silver. We'll want it to celebrate the engage- ment. (She leads Sarah M. off by the French door.) 38 Clarence Decides Julia M. — (singing) They are not thieves! They are not thieves ! Mary A. — (falling in her sisters arms) Oh, Julia May, there is hope. Julia M. — (suddenly) No, no, there isn't any hope, after all. They have g-gone, gone out of our lives for- ever. Mary A. — (gazing off into space) I can't believe that. Do you know what I think? Julia M. — (peering close into her face) What do you think? Mary A. — That they will come back. Julia M, — Oh! I would elope now. Just one word from John. If only it comes before Clarence decides. Mary A. — (coming down to table ) It must. It's got to. Julia M. — (sitting on ivindoio seat at left) No, I feel as if terrible things were to happen tonight. Mary A. — (turning) What do you mean? Julia M. — Portent things. Ominous things. I feel there is a trap laid. I feel — I feel at last that Clarence means — Mary A. — Oh, don't! You are morbid. Julia M. — (her head in her hands) Oh, John, why don't you come and rescue me before it is too late. Mary A. —If Clarence proposes, we must accept. Julia M. — We are like those poor princesses shut up in the tower of Clarence's indecision! (Sarah M. carrying a note eyiters softly by French door.) Sarah M. — Girls ! (they turn) I've a note. Mary A. — A note! Good heavens! The place is full of them. (They run to hen\) Sarah M. — It's from them — the three gardeners. Mary A.— What! Julia M. — No! Clarence Decides 39 Sarah M.— Hush ! They want us to meet them to- night. Julia M. — Tonight? Sarah iW.— Tonight, at ten, and to elope with them They will have machines. Oh, my Gar-gar! (She. tosses the note onto the davenport.) Julia M.—{stupified) It's — it's too thrilling. Sarah M.— They say they will reveal their identities. Mary A.— Oh, but Clarence! Sarah M.—If you say that name again, I shall die. Julia M.— (hysterically) Listen. We haven't refused him, not one of us, and that's all we promised Aunt Susan. Sarah M. — (starting for door at right) As for me, I'm going, that's all. I love Gar-gar and no one else and Vm going to pack my suit case right now. Julia M.— (following her) I— I think I'll go, too. Sarah M.— (reaching out a hand to her) Come on, then. There's no time to lose. Mary A.— Oh, what shall I do? Sarah M, — Stay on here and marry Clarence, and heaven help you. Julia M.— (reaching a hand to her) Come, Mary Ann. Sarah M.— (dramatically) Is it John or is it Clar- ence? Mary A. — (taking a few steps toward them) It's John ! (They catch her hand.) Sarah M. — Come on then. (They go off at right, just as Clarence and his moth- er enter at left.) Mrs, M, — (urlth great determination) I have made up my mind. Clarence — (who well knows what that means) Yes? Mrs. M. — And you are not to leave this room until you have proposed to Sarah Maud or one of the girls. Clarence—But, mother— 40 Clarence Decides Mrs. M. — (turning on him) There are no buts. You have heard me. It is now eight o'clock. I will see you at ten, and you will tell me which one it is to be. Clarence — (slumping into chair by table) Yes, mother. Mrs. M. — (standing over him) Remember, you are not to cross this threshold until — Clarence — Suppose they don't choose to come do\'im tonight. Mrs. M. — They will come down. Mrs. Davenport and I have fixed that. It is up to you. (She starts toward door at left.) Clarence — Heavens, mother, you are using slang! Mrs. M. — (from door) I'll use something worse young man, if you don't do as I say. (Exit.) (Clarence gives a loio tvhistle, lights a cigarette, and goes to davenport and sits. He does not see the note. A second later, Sarah Maud steals on from left, not seeing- Clarence, and tip-toes to davenport, reaches around to find the note, and is caught by Clarence in a firm grip.) Sarah M. — Oh, my soul ! Clarence — (chuckling) Caught you this time, by Jove. (By the tourist he pulls Sarah M. around in front of him.) So, it's you, is it? Sarah M. — (meek and discouraged) Yes, it's me. But please let go my wrist. Clarence — Not unless you promise not to run away. Do you? Sarah M. — Oh, yes, I promise. Clarence — (releasing her) Very well. Sarah M. — (pouting) I don't think you're much of a gentleman. Clarence — Don't you? That's too bad. Sarah M. — (walking around to the table) No gen- tleman would act as you did just now. Clarence — No lady would act as you did the other day. Clarence Decides j^i Sarah M.— Oh, I don't know. (She goes to piano and begins to play very lotid.) Clarence— (rising and going to piano) I say, that's mean of you. Sarah M,—l know I'm mean, but I'm honest, Clarence— I say, what are you inferring now 9 Please, Sarah Maud, be nice. Sarah M.—(thmnpingJ Fm being as nice as I know how. Clarence— (shouting) But, I want to talk to you. (Each time he speaks she uses the loiod pedal freely.) Sarah M.—But I'm a much better pianist than I am conversationalist. Clarence— (shotiting J I say, I didn't ask you to play for me. Sarah M. — Didn't you? (He walks over to her and takes her hands from the keys.) Clarence — ^You've got to entertain me. Sarah M. — (rising and walking to other end of the room.) I should think you were a sultan. Clarence— (grandly) I am for tonight, and you are my favorite wife. Sarah M. — Don't be foolish. Clarence— (hurt) There; that's the way you talk. Sarah M.—l can't help the way I talk. If I could, rd improve it. Clarence — You know I don't mean that. Sarah M. — (snapping) How should I know what you mean? Clarence — Sarah Maud, you're cruel Sarah M. — (taking delight in her next remark) I know it. I like to be. I like to hurt things. I always did. I used to pull the wings off flies, the legs off beetles, and— Clarence — (in aynazement) I say, I don't believe it. Jf2 Clarence Decides Sarah M. — And the whiskers off the cat. Clarence — (cooing) But you wouldn't be cruel to me. (She gives Mm one, long, meaning glance) I say^ would you, now? Sarah M. — (sweetly and smiling) I shouldn't mean to be, of course, but I couldn't promise anything. Clarefnce — (drawing nearer) That's the way I like to have you talk, Sarah M. — (stiffening) But it's not my real self. I'll tell you something if you won't tell. Clarence — Never. Anything you tell me in confi- dence is sacred. Sarah .¥.— There's nothing verj' sacred about this. In fact, it's profane. Clarence — Profane. Sarah M. — Um-um, my temper. I've got an awful one. (Clarence backs off.) Clarence — But- but you never show it. Sarah M. — (threateningly) Don't I? Clarence — That is, I've never seen you. Sarah M. — No, not yet, but you might at any time. It's like this. (Smiling to herself) It comes sometimes at the slightest provocation. One night at a barn dance in Freeport, a great gump tramped on my new white slippers, and I — I — (shudders) Clarence — What did you do? Sarah M. — (closing her eyes) I pulled out his hair, all of it, in great fistfuls. Clarence — Oh, Sarah Maud! Sarah M. — Another time, an old lady stepped on my dress — accidentally, of course — and I — Clarence — You didn't? Sarah 'M. — No, I didn't do anything to her. Clarence — (unth a sigh of relief) No! Sarah M. — But I went straight home and chewed the knob off the mahogany bedpost. Clarence Decides ^3 Clarence — Is that how you lost your tooth? Sarah M. — Lost my tooth? Clarence — Um-um; you remember you said you had one false one. Sarah M. — (gUbhjj Oh, yes, that's how I lost my tooth. Then, another time — Clarence — Spare me. Sarah M. — I don't see where 1 got such a temper from, but really there it is, and it's terribly unfortunate. It comes on without warning for the littlest things. I say without warning, but generally a few minutes l^efore I have an insane desire to scream. Clarence — Really! To scream I Sarah M. — Um-um, to scream. (She walks over to viantel above the fireplace and examines the picture of the three girls taken en groupe when children!. ) Clarence — What are you looking at? Sarah M. — Come here! -{He goes to h-er.) That's us when we were youngsters. Aren't we dear? To look at me, there, you'd never suspect I had a temper would you? Clarence — No, you look quite angelic, I'll say. Sarah Maud — (sweetly) Now, Clarence, say you think I'm the sweetest — of the three of us, I mean. Clarence — I'll say so. ; T)rrning aiid regarding her) Then and now. Say, Sarah Maud (attempts to embrace her) I don't care if you have got a temper I love — (Sarah Maud screams. Pause ivhile they stare at each other.) ClareJice — (falling back) You screamed! Sarah M. — /calmly) Um-um. Clarence — But you said you had that desire when — Sarah M. — (clasping her head) Oh, I know and I — feel it coming on. You'd better let m.e go, Clarence. Clarence — (helping her toward the door at right) By all means, go, Sarah Maud, go. hU Clarence Decides Sarah M. — (from- doorway) Before it is too late, Clarence, goodnight. Clarence — Good night. (She goes off and he stands for a second watchinff her ascend the stairs.) Clarence — (turning hack in the room) Damn shame I A mighty pretty girl. (Enter Julia M. at left; sees Clarence and tries to escape.) Clarence— (running over to her) I say, Julia May — Julia M, — (hopelessly) Yes, Clarence, Clarence — Come in a minute. Julia M. — (backing out) I — I — I — Clarence — Don't make excuses. Come here. (She enters timidly and he places his d.ands on her two shoul- ders.) Tm going to ask you something. Julia M. — Oh, Clarence, don't, please! Vm — I'm under oath tonight, not to answer truthfully to any question. Clarence — (dropping his hands) By Jove, what next? Julia M. — And, when you're under oath, you're un- der oath. Clarence — What's this for? Julia M. — I can't tell, that is, I can tell, but it would- n't be the truth, so — Clarence — You're up to some mischief and your Aunt Susan ought to know it. Julia M. — Oh, no, Clarence, we aren't. Clarence — (smiling diabolically) Which means you are, of course, after what you just told me. Julia M. — Oh, yes, I mean we are. Clarence — That's better. Stick to your contract. Ju- lia May, I called you in here to ask you an important question. Julia M, — ^But I — I can't answer it, truthfully. Clarence — Which means, of course, you can answer it truthfully. Clarence Decides 4,5 Julia M.^— Oh, dear ! Clarence — Julia May, will you marry me? Julia M. — (stowing to think a moment) Yes, Clar- ence ! Claremce — My darling! (He starts to embrace her.) Julia M. — (drawing away) Which means no, Clar- ence, if I keep to the contract. (She smiles tantalizing- lyj Clarence — You are cruel. Julia M. — I'm sorry. Clarence — Which means you aren't. Julia M. — I warned you, Clarence. Clarence — But what right had you to warn me? What are you playing this way for? By Jove you are up to something. (Aside.) It will be the regret of mother's life that she trapped me here. Julia M. — What are you saying? Clarence — (sulkily) Nothing. (Suddenly.) Will you do something for me? Julia ikT.— What? Clarence — Tell my mother to come here at once. Julia M. — (with a tioinkle) Oh, yes, Clarence, I will. (She goes to door at left; nods hack at him. tantalizingly) Which means, of course, that I won't if I keep to my con- tract. Clarence — (Starts to run after her, but it is too late.) Damn! (He paces back and forth down stage.) (Enter Mary A., hatted and coated and carrying a suit case. She does not notice him at first, and steals on from right.) Clarence — Mary Ann! Mary Ann.— (startled, attempts to escape after drop- ping her suitcase. She makes a bold dash for the French door.) Oh! J^6 Clurence Decides CUirence — (catching her) No, you don't. This is no hour to take a stroll in the garden. It's ten o'clock, (His manner becomes masterful. He is desperately deter- mined.) Mary A.^-l must. Clarence— Yery well; then so must I. We'll go to- gether. Mary A. — Oh, no! Clare7ice — Very well. We won*t cross this threshold, either of us. Come here. (He grabs her by the wrists and pulls her down stage.) Mary Ann, you've got to lis- ten to me. Mary A. — Oh, Clarence! Whai has happened to you ? You — ^you are a regular cave man. Clarence — (bettveen his teeth ) It's the cave man stuif that gets 'em, they tell me. Mary A. — Oh! Clarence — I've stood enough nonsense. Mary A. — Oh, dear! I never saw you like this. You are dreadful ! I — I think I'm going to scream. Clarence — Scream, then ! Mary A. — (flops into chair by table.) You're cruel. What right have you to hold me here, a — a p-p-prisoner? Clarence — (towering over her) The right of might! Stop crying! Mary A. — I — I c-can't. Clarence — Mary Ann, obey me. (She wipes her eyes and makes an effort.) I have an important question to ask you. Mary A. — But, I — Clarence — (In a terrible voice.) Mary Ann! Mary A. — (meekly) Yes, Clarence. Clarence — Listen! (Julia M. and Sarah M. appear at the French door, unnoticed by either Clarence or Mary A.) I've been here at Fleurmont three weeks. I've seen you girls every day, three and four times a day, and I've Clarence Decides 47 made an effort to see you oftener, and you know when a man does that — Mary A. — (rising) Oh, Clarence don't say any more, please don't. (Sarah M. opens French door a crack to hear better) Clarence — Sit down. (She sits.) Mary Ann, love is a strange thing. Marij A. — rl know it. I kn-know it. No one kn-knows it any better than I do. Clarence — Stop sniffling! (She wipes her eyes again.) And a wonderful thing. Mary Ann, I love you. Mary A. — (rising again) Oh, you aren't going to propose. Clarence — ^That's just what I am going to do, and you're going to listen. Mary A. — I — c-c-can't! Clarence — And, what's more, you're going to marry me. Mary A. — (falling on her knees) Please, Clarence^ let me go. Clarence — Get up! (She obeys.) And you're going to say you will marry me before you leave this room. (Mary A. gives a moan of distress. Sarah M., real- izing now is the time, bursts open the door, rushes in, grabs Mary A. by the hand and drags her ont while Julia A/., the accomplice, takes the suit case and switches off the lights. It is all done so quickly that Clarence stares stupified. Darkness, except for the end of his cigarette. The French door slams to, then silence. Presently Mrs. M.'s voice is heard off stage at right.) Mrs. M. — Clarence! It's ten o'clock. (She stumbles on at right.) Clarence — Yes, mother. Mrs. M. — (in a sweet tone, thinking of course they are spooning) Oh, I am intruding. Clarencfh- (switching on lights) It's time somebody did. 48 Clarence Decides Mrs. M. — (looking about) Where is she? Clarence — She? M7's. M, — I — I thought you were enjoying each oth- er's company in the dark. Clarence — (elated) By Jove, I almost got her. Mrs. M. — Almost got her? Clarence — (unheeding his mother/ IVe got it. I've got it. Mrs. M. — (shaking him) It! What are you talking about? Clarence — The idea. It, the idea ! By Jove, the next girl that I propose to will marry me, I'll wager. (Turns to his mother.) Behold the new Clarence, Ciarerjce, the Cave Man ! Mrs. M. — Have you gone mad? Where is she? Clarence — (still possessed of his one idea) Who? Mrs. M. — Sarah Maud. Clarence — (vagtiely) Sarah Maud — but — but it wasn't Sarah Maud. It was Mary Ann, and I almost won her, when some bally fool broke the spell. (Enter Mrs. D., from left, much excited.) Mrs. D. — (rushing hetiveen mother and son) They have gone. They have gone. Mrs. M.— Who? Oh, what is it? Mrs. D. — My nieces have gone — eloped with those gardeners. Clarence — (flopping in a chair) My god! Mrs. M, — (shrieking) What! Not with those gar- deners, those dreadful gardeners ! Oh, I'm going to faint ! Mrs. D. — No, you aren't. (Not knoioing tvhat she is saying.) No, you aren't. And I took them from home to make brilliant matches for them — to save them from this. Mrs. M. — Their tastes were low. Their tastes were low. Their tastes — Clarence — ^were low. Clarence Decides ^g Mrs, Z>.— What will their father say? Why did I send for them? Mrs. M.— Get her smelling salts, Clarence. (Clar- ence gets up.) Mrs. D.—No, no, I don't want my smelling salts; I want my nieces. f French door opens and Sarah M., folloived by Jtdia M., and Mary A., and all three gardeners enter.) Sarah M.— (running to Mrs. D.) Aunt Susan, we've come back. (They cluster about her and the gardeners keep in the background.) Julia M. — And we've brought our bridegrooms. Clarence — Jehosaphat ! Mary A.— And they want to be introduced. Mrs. D. — Oh, girls, what have you done? Sarah M. — There, we've made a mess of it. I knew we \yould. Aunt Susan. (She clutches her head and looks straight into her eyes.) Listen! Your wildest ambitions are satisfied. Do you hear? (She pulls fortvard Third.) Let me present John Anthony Price 2nd, and grandson of the John Anthony Price, heir to millions; but I love him just the same. Clarence — Jehosaphat ! Mrs. D. — John Anthony Price! Is it true? Third — (coming forward and offering a hand) It is, madam, and I'm delighted the fact pleases you, because it pleases me mightily. Sarah M. — I'm going to have everything I want — clothes, jewels and you're to visit me ; but wait (stepping back.) Jt's your turn, Mary Ann. Mary A. — Dear Aunt Susan, I know you'll be pleased to meet Paul Levally, son of the famous painter, and a painter, himself. Mrs. D.—My dear boy, No. Why, I knew your fa- ther in Paris. 50 Clarence Decides First — (laughing and shaking hands) I've long: wanted to shake your hand in latitude. You furnished me with a job and then a wife, and w^hat more can a man ask? Mrs. D. — Oh, my children, my children, whom have I been employing unawares? Third — We've had a jolly lark out of it. Mary A. — There's Julia May! Come dear. f Julia M., follcwed hy second, comes forward,) Julia M. — (shyly) And this, Aunt Susan, is Lee Pratt— Mrs. D. — (staggering > Not Lee Pratt, the writer! Not Lee Pratt, himself! Second — And a most grateful one, madam, for the practical knowledge your garden has given me. You see,. I was writing a book in which gardens played a big part^ and so I had to have practical knowledge. Mrs. D. — I — I am overcome. Sarah M. — And, now, Anntie, I ask you — Could we have done any better? Mrs. D. — Was ever a woman so decieved? Mrs. M. — Yes, I was! Sarah M. — Come forth, Clarence, and congratulate us. (The girls gather around Clarence and talk to him.) Second— -Vwe apologies to make for the way we de- serted you. (To Mr^.. D.) Mrs. D. — I — I thought you had stolen the silver! Third — Now, Mrs. Davenport, we never stole a thing in our lives. Mrs. D. — (her arms encircling her nieces) Oh, yes, you have. You've stolen my most precious jewels ! CURTAIN Here Are Some Popular Eldridge Action Songs =PRICE 35 CENTS EACH^== Big Chief Not-Afraid-of -His -Lessons. The ''Champion" Baseball Nine. Four Little Maids at Tea. Hard Times in Boyland. I Can Hardly Wait Until T Grow to be a Man. It's So Nice to be Acquainted. If I Were the Ruler of Fairyland. Little Sleep-head Dolly. When My Dolly Grows to be a Lady. Little Housewives Club. The Little Soldier and the Red Cross Maid. The Little Tradesladies. Miss Cherry-blossom's Party. Upsetting Gravity. When Silver Moon Meets Spotted Horse. Youthful Politicians. ELDRIDGE ENTERTAINMENT HOUSE FRANKLIN, OHIO, also 944 S. Logan, DENVER, COLO. NEW HIGH SCHOOL PLAYS ALONG CAME BUD— for 4 boys and 2 girls. Bud, quite inno- cently causes a lot of trouble, but all ends well when Bud comes along. Price 25c. CLARENCE DECIDES— is for 4 males and 6 females, and is a very clever comedy. All kinds of funny situations fire introduced. Price 35c. THE CAPTAIN'S PREDICAMENT— a rattlirg good farce for 3 males and 4 females. Lots of fun. Price, 35 cents. LOST.-.THE WHOLE CROWD AND THE PARROT— a farce in which many amusing complica- tions aiise. Plays whole evening. 8 males and 5 females. Price. 35 cents. POLLY LOU— a new Gladys Bridgham farce in which there is plenty of action and an interest- ing plot. 6 males, 8 females. Price 35c, THE VISITING SMITHS— a short sketch telling how the Smith's Corner ..Smiths descended on the New York Smiths for a visit. Price, 25 cents. THE CONVERSION OF PA. THE TRIALS OF EZRA— two new Agricultural Extension plays. Each, 25 cents. Eldridge Entertainment House Franklin, Ohio, also 944 S. Logan, Denver, Colo. H! use these on any school ?R*>iRAy TUNEFUL OPENING AND CLOSING SONGS FRIC£ 35 CEifTS EACH You're Welcome If You Ke^i» Pti^rr Srill. If We Were You and You Wi:r.c L -. We'll Try to Make You Come Again. Its Terr Clear Your Welcome Here. Hello, Evprr-n.dv — Glad to S+^-e Y »ii Here. With a Tear In One Eye, We Will Tell You Goodbye. H Ifs Time to Tell You All Gixnibve. y •I THESE WILL ^L\XE YOLT. ! • WHOLE EXTERTAINMEXT j:^ EVEN MORE SECCESSEUL — I ELDRIDGE ENTERTAINMEhT HOUSE FKAHLM, OeiO ab* 944 S. Usa, DERVEH COLO. i^ LIBRARY OF CONGRESS Seene from the Comic Opera, ''The Captain of Plymouth" THE CAPTAIN OF PLYMOUTH ' This is a splendid number for any time, and especially good for High School, Choral Societies, etc. Price complete $1.25. Right of presentation given with purchase of 1 5 copies. Rental of orchestration $7.00. THE HERMIT OF HAW AH is just the thing for your school society or High School chorus. It is written by the popular composer, Arthur Penn, and is especially tuneful and clever. Price $1.25. Right of presen- tation given with purchase of 1 5 copies. Rental of orches- tration $7.00. OPERETTAS FOR CHILDREN Midsummer Eve ----- 60 cents In Little Folks Town 60 cents Under The Sugar Plum Tree - - - 60 cents Arcticania - $1.00 SEND 15 CENTS POSTAGE FOR APPROVAL COPIES. ELDRIDGE ENTERTAINMENT HOUSE, FRANKLIN, OHIO DENVER, COLORADO 944 South Logan Street. i S@!