F^RICE 15 CENTS PS 3531 .0953 U6 1918 Copy 1 Uncertain Silas H. P. Powell Successful Rural Plays A Strong List From Which to Select Your Next Play FARM FOLKS. A Rural Play in Four Acts, by Arthur LEWIS Tubes. For five male and six female characters. Time of playing, two hours and a half. One simple exterior, two easy interior scenes. Costumes, modern. Flora Goodwin, a farmer's daughter, is engaged to Philip Burleigh, a young New Yorker. Philip's mother wants him to marry a society woman, and by falsehoods makes Flora believe Philip does not love her. Dave Weston, who wants Flora himself, helps the deception by intercepting a letter from Philip to Flora. She agrees to marry Dave, but on the eve of their marriage Dave confesses, Philip learns the truth, and he and Flora are reunited. It is a simple plot, but full of speeches and situations that sway an audience alternately to tears and to laughter. Price, 25 cents. HOME TIES. A Rural Play in Four Acts, by Arthur Lewis Tubes. Characters, four male, five female. Plays two hours and a half. Scene, a simple interior — same for all four acts. Costumes, modern. One of the strongest plays Mr. Tubbs has written. Martin Winn's wife left him when his daughter Ruth was a baby. Harold Vincent, the nephew and adopted son of the man who has wronged Martin, makes love to Ruth Winn. She is also loved by Len Everett, a prosperous young farmer. When Martin discovers who Harold is, he orders him to leave Ruth. Harold, who does not love sincerely, yields. Ruth dis- covers she loves Len, but thinks she has lost him also. Then he comes back, and Ruth finds her happiness. Price 25 cents. THE OLD NEW^ HAMPSHIRE HOME. A New England Drama in Three Acts, by Fra.mk Dumont. For seven males and four females. Time, two hours and a half. Costumes, modern. A play with a strong heart interest and pathos, yet rich in humor. Easy to act and very effective. A rural drama of the "Old Homstead" and "Way Down East" type. Two ex- terior scenes, one interior, all easy to set. Full of strong sit- uations and delightfully humorous passages. The kind of a play everybody understands and likes. Price, 25 cents. THE OLD DAIRY HOMESTEAD. A Rural Comedy in Three Acts, by Frank Dumont. For five males and four females. Time, two hours. Rural costumes. Scenes rural ex- terior and interior. An adventurer obtains a large sum of money from a farm house through the intimidation of the farmer's niece, whose husband he claims to be. Her escapes from the wiles of the villain and his female accomplice are both starting and novel. Price, 15 cents. A WHITE MOUNTAIN BOY. A Strong Melodrama in Five Acts, by Charles Townsend. For seven males and four females, and three supers. Time, two hours and twenty minutes. One exterior, three interiors. Costumes easy. The hero, a country lad, twice saves the life of a banker's daughter, which results in their betrothal. A scoundrelly clerk has the banker in his power, but the White Mountain boy finds a way to check- mate his schemes, saves the banker, and wins the girl. Price 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA Uncertain Silas A Rural Comedy in 0?ie Act By H. P. POWELL Author of "You're //," etc. PHILADELPHIA THE PENN PUBLISHING COMPANY I 9 I 8 f5353| Copyright 19^18 by The Penn Publishing Compant MAY 23 1918 Uncertain Silas 0)01.0 49668 Uncertain Silas CHARACTERS Silas Sorghum, a rustic swain, whose affections are finnly glued to — Susan Sweet, 7vhose star is mome?itarily eclipsed by — YsoBEL Le Clair, a stylish and very transient sununer boarder of — Ma Sweet, Susan' s mother, who gives Cupid what help he needs. Time of Playing. — Twenty-five minutes. STORY OF THE PLAY Silas Sorghum is sure he loves Susan better than anything in the world, and Susan believes that " no knife can cut our love in two." But Ma Sweet has her opinion of Silas. " 'Tain't knives that cut love^ — • it's another woman." When the new summer boarder, Ysobel Le Clair, arrives Silas is swept off his feet. He agrees to take her riding in his automobile. " I hate to take Susan's beau, but I've got to get something for my money." While Ysobel is dressing, Silas falls asleep, and Ma Sweet dusts his face and feet with flour. Ysobel is frightened. " Don't you dare touch me, you country bumpkin." Silas' eyes are opened. " I mistrusted her from the first. Let's get married, Susan." COSTUMES, ETC. Silas. About twenty-live. At first entrance wears overalls, cotton shirt, heavy shoes or high boots, straw hat, and carries pitchfork. Quick change to a " store suit," a little small for him, celluloid collar, patent four-in-hand of some bright color, put on crooked, tan derby hat, a little small, and tan shoes, also too small. Susan. About twenty. Calico or simple white dress, with apron. She should be pretty, but " coun- trified " in costume and manner. Ma Sweet. About fifty. A brisk, determined woman, used to bossing men. Wears calico working dress and apron. Sleeves rolled up. Wears spectacles. Hair iron gray. YsoBEL Le Claire. About twenty-five. A typical smartly dressed city shop girl. She wears hat and white summer dress on first entrance, gloves, parasol, etc., and carries suit-case. At second entrance wears motor hat and coat. PROPERTIES For Silas. Pitchfork. For Susan. Broom. For Ysobel. Suit-case. For Ma Sweet. Pan of peeled potatoes; knife; sifter with a little flour. SCENE PLOT This play may have either an interior or an exterior , setting, as follows : If Interior. Scene. — Sitting-room of Ma Sweet's house. Door up c. leads to porch. Door l. leads to bedrooms. Door r. leads to kitchen. Windows also at back if desired. Couch up r. Chair down R. Table and chairs down l. Other furnishings to make a comfortable country room. The directions in the play for exits and entrances are arranged for this in- terior setting. With very slight changes, however, they will serve equally well for the exterior setting. Exterior Setting. Scene. — Back porch and yard of Ma Sweet's house. Porch and entrance to house at L. Fence at back and gate up c. A hammock or rather couch up R. Rustic bench or chair down r. Bench with pail and dipper down l. Yard has plants, rose-bushes, etc. Uncertain Silas SCENE. — Ma Sweet's sitling-room (or yard. See Scene Plot, page ^). Etitrances r., l., and c. (Susan discovered sweeping at l. and Immniing to herself. Silas enters, c, with pitchfork over his shoulder.) Silas. 'Lo, Susan ! Susan. How be you, Silas? (Goes on sweeping, trying to hide embarrassment.) Silas. I'm right peart, I reckon. How be you? {Comes to her.) Susan. I'm tol'able, I thank you — how be you? — oh, I asked you that already, didn't I ? (Susan comes down l. c. Silas follozvs. She looks up at Silas shyly. He is equally embarrassed, and they both switch themselves coyly. Their fingers meet and intertwine, whereupon their embarrass- ment increases.) Silas. Oh, Susan? Susan. What is it, Silas? Silas. Do you — do you — like me? Susan. Indeed I do, Silas, {Painful pause.) Do you — do you — like me? Silas {emphatically). You betchuh ! {Another embarrassed silence ensues; this time Silas' arm finds its way round Susan's waist and her head nestles on his shoidder. He still holds fork and she holds broom.) Oh, Susan? 7 5 UNCERTAIN SILAS Susan. What is it, Silas? Silas. Do you — do you — do — you — love me ? Susan {very softly). Yes, Silas. Do you — do you — do — you — love me? Silas {emphatically). You betchuh ! {More silence. Silas drops pitchfork and his other arm goes around Susan's waist. She drops her broom. Her arm steals around his neck and their lips meet. Ma Sweet enters from door r. and surveys them sourly.) Ma {thunderingly) . Silas Sorghum, you quit wras- slin' with my daughter. {In consternation, Silas and Susan break azvay. Susan gets her broom and starts sweeping furiously but aimlessly, down r., and Silas trips and sits down on the pitchfork, arising hurriedly, and going l. Ma comes c. and regards him sternly.) You rain-ruined stack of alfalfa! Whadda ye mean coming and taking my daughter's mind off'n her chores with your gum-rubbin', jiu jitsu exercises? Silas {abashed). Yes'm ! Ma {to Susan). Ain't you got no more pride than to let this imitation of a worm do his wrigglin' around you? Where's your suffragette blood, anyways? Susan {staunchly). I ain't got no suffragette blood, and Silas ain't no worm, and I love him and he loves me better'n anything in the world, don't you, Si? Silas. You betchuh ! Ma {mocking). You betchuh! Rats — you're just as bad as any of them. You change girls oftener than you change socks. Silas. 'Tain't so ; I change socks every month. Susan. Si says " no knife can cut our love in two." Ma. 'Tain't knives these days that cuts love into hash ; it's some other woman. Silas. There's no other woman can win me. {Goes up c.) Ma. The measliest vampire going wouldn't waste the effort. {Comes down i..) UNCERTAIN SILAS Q Susan. Aw, Ma., don't be so hard on poor Si. When is the new summer boarder coming? Ma. She ought to be here now. I heard the train blowing ten minutes ago. Silas {looking off at c). Gee whilHker — smither- eens, looka the peach ! {Enter Ysobel, c, carrying suit-case.) YsoBEL. I really beg your pardon. I'm looking for Mrs. Sweet. Ma. Well, you're looking in the right direction. I'm her. YsoBEL {coming down l. and extending her hand), I am Ysobel Le Clair. (Ma shakes hands.) Ma. This is my daughter, Susan, Ysobel. I'm so delighted. Susan. Pleased to meetchu. (Ma makes no move to introduce Silas, up r. C, who is staring open-mouthed.) Ysobel. Is this your husband ? Ma. Lord, no. That's something the cat brought in. Susan. Now, Ma. {To Ysobel.) This is my friend, Silas Sorghum. (Silas bows awkwardly and approaches Ysobel.) Ysobel {up l. c). Oh, I am so glad to know you, Mr. Sorghum. {She drops suit-case and holds Silas' hands.) Silas {innocently). Be ye, honest? Ysobel {with mock seriousness) . Ch, if you could but read my poor heart. {She looks so soidfidly into Silas' eyes that he is hypnotically drawn to her, and his lips are seriously near her own, when she flirts her head away, snatches up her suit-case and exit through door, l., laughing. ) 10 UNCERTAIN SILAS Silas {drawing deep hreatli). Pore little woman! {He goes l. and stares through the door dreamily.) Ma {scornfidly). No knife can cut our love in two, but, oh you summer boarder! {Goes R. and exit. If the setting is exterior this exit is at L., into house. Susan goes up r. to couch and weeps softly. After a bit, Silas turns and dis- covers her.) Silas. Why, Susan ! What'n the world's the mat- ter? Susan. N-n-n-nothing. Silas. You're cryin'. Susan. I'm n-n-not c-c-cryin'. Oh, boo, hoo, hoo. Silas. Honest, you are, Susan ! {He crosses r., sits down beside her, and attempts to put his arm about her. She evades his caress, rises and goes c.) Susan {hotly). I am not cry'mg, I tell you, and what is more, I'd never cry on your hateful old ac- count, and you're a heartless deceiver, and I never did love you and I never will, and you've broken my poor little heart in two. {She starts to go l., but Silas gets in her path.) Silas. Ye ain't gonna leave me in anger, are you, Susan ? {He attempts a caress, and Susan gives him a resound- ing slap on the cheek.) Susan. Out of my path, you vampire in breeches ! (Silas falls back, astounded, and rubs his cheek. Susan militantly marches past him and goes to door, meeting Ysobel, who enters l.) YsoBEL. Not going, are you, dear? (Susan point- edly ignores her, and exits through door, r., slamming it viciously. Y^sobel looks after her in amasement and then notices Silas, zvho has come down c, still UNCERTAIN SILAS II rubbing his cheek. She walks down to his right side.) What's consuming Susan? Silas (brightening up at sound of Ysobel's voice). She's jealous. YsoBEL. Of who? Silas. Of you. YsoBEL. Oh, I didn't know she was your sweet- heart. Silas. She ain't. YsoBEL. Then why ? Silas. She was — you is. YsoBEL. Oh, you great strong handsome man ! I just know you're going to make me perfectly wild over you and throw me over for some new love ! Silas. No sir — I mean, no ma'am. When I love a girl, I stick to her through thick and thin. (YsoBEL retreats up r., sits on couch, and invites Silas ivith a coquettish shyness. Ulien he sits beside her, she nestles her head on his shoidder, pidls his arm around her waist, and rubs his cheek softly Silas is transported.) YsoBEL. Oh, you're so masterful. Silas. I alius was this way. (Ysobel gently drazvs Silas' head down until his lips meet hers.) Gosh, don't that taste good ! Ysobel {dreamily). I just love diamonds. Silas (aside). I guess I better not go into this thing too goldarned deep. Ysobel. And I just adore an automobile ! Silas (brightening). Me too! I got a Ford. Ysobel. I said automobiles. Silas. Yeh, I know. I said I got one. Ysobel. A Ford, I think you said. Silas. Aw, now you quit joshing. Tell you what ril do — ril go home, put on my Sunday clothes, and take you for a spin. Whadda ye say to that ? Ysobel. Don't forget the gasoline. (They rise.) Silas. Well — good-bye. Ysobel. Hurry back. 12 UNCERTAIN SILAS Silas. I will — won't be gone two minutes. Good- bye. {He shifts from one foot to the other in bashful embarrassment. ) YsoBEL. Beat it, darling. Silas {coyly). Ain't you forgot nothin'? YsoBEL. Not yet, but if you don't start away from here, I'm gonna forget that I'm a lady. Silas {taken aback). I'll — I'll be right back. YsoBEL. Pump up all the tires. Silas. I will^ — good-bye. YsoBEL. See that the radiator's full. Silas. I will — good-bye. YsoBEL {exasperated). Good-bye! (Silas hesi- tates a moment, then exit, c, murmuring zveakly "good-bye." Ysobel drops back to couch.) And this is the gay, fashionable resort that my savings from the ribbon counter pay for. {Looks off in direction taken by Silas.) Well, I hate to take' Susan's beau, but I'm a young thing, and I've got to get something for my money. {Enter Ma Sweet, r., zvith a pan of potatoes, ignoring Ysobel. She sits on chair down r., and starts peeling. Ysobel rises and comes to c.) Really, I must change to my motoring costume. (Ma grunts.) When Mr. Sorghum returns with the motah, tell him I will be down in one teeny minute, and for him not to run off. Ma {sourly). You couldn't drive him off with a shotgun. (Ysobel laughs lightly and exit, l. Ma vigorously peels potatoes in silence. Susan enters, l., comes down l. and sits listlessly. Ma looks at her over the top of her glasses and keeps on peeling. Susan begins to zveep silently. Ma stands it as long as she can, and then gets up, places pan in the chair, and going to Susan, takes her in her arms.) There, there, honey— don't you cr}^ about a lazy good-for- nothing like Silas Sorghum. Susan. He ain't no good-for-nothing, either, — that woman just naturally hypnotized the poor boy. UNCERTAIN SILAS I3 Ma. And the " poor boy " lapped it up like a kitten laps up milk! Susan. Oh, I'm so miserable. I wish I could die. I can't live without my Si ! Ma. Well, in that case, I guess it's up to Mother. Now listen, honey, no city gal living can put it over your Ma, so don't you worry your little head. Your puddin'-headed lover will be back on the job before night. Susan. Oh, if I could only believe it ! Ma. Leave it to me. Susan. Here comes Si in his machine. Ma. Yes, comin' to take Miss Le Claire out for a ride. You run and put them potatoes in the cabbage. (Susan goes r., picks up the pan and carries it to door R. ) Susan. Oh, Mother, I'll never be happy without him. Ma. You'll never be happy with him, either, but run along, honey. Don't let him see you with them red eyes. (Susan looks longingly off up c, and with a deep sigh exits through door, r. Sound of emer- gency brake being applied without. Enter Silas, c, dressed in " store clothes," cellidoid collar, patent four- in-hand tie on crooked, tan derby hat too small for him, and tan shoes, likewise too small, causing him to limp. Ma, down l. ) Humph ! All dressed up like a horse's neck ! Silas. Where's Miss — uh — Miss — uh, Whatchu- maycaller ? Ma. Miss Whatchumaycaller is dressing. She said she'd be through in a minute. That was quarter of an hour ago, so she ought to be here in about fifteen minutes. You'd better sit down and take the load off your feet. Silas. Thank ye, ma'am. {He sits on couch up r. ) Ma. I've got to make bread, so I'll ask you to amuse yourself. Silas. Yessum, thank you, ma'am. (Exit Ma at R. Silas sits in painful silence. He removes his hat 14 UNCERTAIN SILAS carefully, and lays it on the ground beside him; sighs, straightens his tie, runs his finger between his collar and neck, and sighs. Leans over and rubs his shoes and groans. He imfastens his shoes, and with a guilty look around the room eases them off Jiis feet. He sighs a sigh of relief.) I generally wear tens, I can wear elevens, but these are twelves, and darned if they don't hurt. (He lies down on the couch and after a few seconds, he begins snoring. Ma enters, r., zvith a sifter full of flour in her hands. ) Ma. Guess you might as well stay to supper (An especially hearty snore interrupts her, and she walks up c, then r. c. and stands beside the hammock and gaces thoughtfully at him.) The Lord has cer- tainly delivered you into my hands. {She looks around carefidly to see if there is any one watching, and then sifts a quantity of flour on Silas' face and feet, rubbing it gently with her hand. YsoBEL enters, l. Ma hastily conceals the sifter behind her.) YsoBEL. Has Silas returned? (Ma, up c, points to the couch. Ysobel crosses r. to Silas. Ma comes dozvn l. and slides the sifter un- der table or bench. Ysobel starts back.) Ma. What's ailing ye? Ysobel. Oh, Mrs. Sweet — he's pale as a sheet ! (Ma zvalks up r. to the couch.) Ma. He does look sickly, don't he? Ysobel. Oh, and his feet are pale too! Ma. Good heavens ! He's got the hoof and mouth disease ! Ysobel. Why, I thought that was a cattle disease. ]Ma. It is ; he must have caught it throwing the bull. (Comes down r., smiling. Silas stretches his arms. UNCERTAIN SILAS I 5 yazvns and sits up. When he sees Ysobel, his face breaks into a ghastly grin.) Silas. Gee, I musta fell asleep. (He gets up and takes a step toward Ysobel, who screams in fright and retreats up l.) What's the matter? Ysobel. Don't you come near me. Silas. Gee, you am't angry 'cause I took a little cat nap, is ye? [He tries to take her hand, and she runs dozvn l. He conies down r. and looks at Ma in perplexity.) What's the matter, Mrs, Sweet? (Ma draivs him aside and says in a confidential tone.) Ma. That's the way all women behave when they love a man. She wants you to make out like you're wild about her and pursue her. Silas. Is that it? Ma. The wilder you pursue, the more she'll love you. (Silas fixes on Ysobel a baleful glare and shakes his fist at her.) Silas (dramatically). You think to escape me, me proud beauty, but I'm a desperate man, and you shall be mine. (He turns to Ma.) How's that? Ma. Fine ! Now pursue her. (Silas goes after Ysobel in firm, heavy strides, and she runs around table or bench, then up r. and around couch.) Ysobel (screaming). Help! Help! Help! (Silas quickens his pace and follows her, grozuling in zvhat he believes to be an effective display of passion. Around and around they go — faster and faster. Silas finally falls over the couch and while he is picking himself up Ysobel runs to Ma, dozvn r., for protec- tion. Silas comes dozvn r. c. ) Don't you dare touch me, you long, gawky country bumpkin. I hate you worse than a snake. I never did like you. I was just playing with you to pass the time, but Vm going to leave here on the next train, and if you so much as look at me from now until train time, I'll have you l6 UNCERTAIN SILAS shot. (Silas falls back.) Take my advice and stick to your country girl. Believe me, if she ever sees a real guy, you'll lose her. ( Takes a step toward him. He falls back still further. She sweeps past him, and goes to door l.) Silas (following). Aw! Ysobel! YsoBEL. Shut up. (Exit, L.) Ma. I do love those gentle dispositions. (Susan enters r. and comes to c.) Silas. I never did like her from the first moment I laid eyes on her. Ma". What ? Silas. No, ma'am. I mistrusted her from the first. (Goes to Susan, c.) Besides, I love Susan so much that no knife can cut our love in two, can it, Susan? (Susan looks at her mother in wonder.) Ma. Ma has delivered the goods as per agreement. Susan. But how ? Oh, Si, what in the world have you got on your face? (She zvipes flour off his face with her apron.) Silas. Well, whadda ye know about that? Ma. I'll never tell you. Silas. Let's get married, Susan! Susan. Oh, Si ! Are you sure you w^on't love no one else but me? Silas. You betchuh ! Ma (aside). Not while I'm on the job, he won't. Susan Silas Ma CURTAIN Successful Plays for AH Girls In Selecting Your Next Play Do Not Overlook This List YOUNG DOCTOR DEVINE. A Farce in Two Acts, by Mrs. E. J. H. Goodfellow. One of the most popular plays for girls. For nine female characters. Time in playing, thirty minutes. Scenery, ordinary interior. Mod- ern costumes. Girls in a boarding-school, learning that a young doctor is coming to vaccinate all the pupils, eagerly con- sult each other as to the manner of fascinating the physician. When the doctor appears upon the scene the pupils discover that the physician is a female practitioner. Price, IS cents. SISTER MASONS. A Burlesque in One Act, by Frank DuMONT. For eleven females. Time, thirty minutes. Costumes, fantastic gowns, or dominoes. Scene, interior. A grand expose of Masonry. Some women profess to learn the secrets of a Masonic lodge by hearing their husbands talk in their sleep, and they institute a similar organization. Price, 15 cents. A COMMANDING POSITION. A Farcical Enter- tainment, by Amelia Sanford. For seven female char- acters and ten or more other ladies and children. Time, one hour. Costumes, modern. Scenes, easy interiors and one street scene. Marian Yoimg gets tired living with her aunt, Miss Skinflint. She decides to "attain a commanding position." Marian tries hospital nursing, college settlement work and school teaching, but decides to go back to housework. Price, 15 cents. HOW A WOMAN KEEPS A SECRET. A Comedy in One Act, by Frank Dumont. For ten female characters. Time, half an hour. Scene, an easy interior. Costumes, modern. Mabel Sweetly has Just become engaged to Harold, but it's "the deepest kind of a secret." Before announcing it they must win the approval of Harold's tincle, now in Europe, or lose a possible ten thousand a year. At a tea Mabel meets her dearest friend. Maude sees Mabel has a secret, she coaxes and Mabel tells her. But Maude lets out the secret in a few minutes to another friend and so the secret travels. Price, 15 cents. THE OXFORD AFFAIR. A Comedy in Three Acts, by Josephine H. Cobb and Jennie E. Paine. For eight female characters. Plays one hour and three-quarters. Scenes, inter- iors at a seaside hotel. Costumes, modern. The action of the play is located at a summer resort. Alice Graham, in order to chaperon herself, poses as a widow, and Miss Oxford iirst claims her as a sister-in-law, then denounces her. The onerous duties of Miss Oxford, who attempts to serve as chaperon to Miss Howe and Miss Ashton in the face of many obstacles, furnish an evening of rare enjoyment. Price IS cents. THE PENN PUBLISHING COMPANY PHILADELPHIA LIBRARY OF CONGRESS The Power of 1 Expression and efficiency co hand in llllllllllllllllliiiiiiiii iiiiiiiiiiiiiiiiiiii""i™i"ia ^ ^ ^ 018 391 021 8 * The power of clear and forceful expression brings confi- dence and poise at all times — in private gatherings, in public discussion, in society, in business. It is an invaluable asset to any man or woman. It can often be turned into money, but it is always a real joy. In learning to express thought, we learn to command thought itself, and thought is power. You can have this power if you will. Whoever has the power of clear expression is always sure of himself. The power of expression leads to: The ability to think "on your feet" Successful pubHc speaking Effective recitals The mastery over other minds Social prominence Business success Efficiency in any undertaking Are these things worth while? They are all successfully taught at The National School of Elocution and Oratory, which during many years has de- veloped this power in hundreds of men and women. A catalogue giving full information as to how any of these accomplishments may be attained will be sent free on request. THE NATIONAL SCHOOL OF ELOCUTION AND ORATORY Parkway Building Philadelphia