t ♦ •— H 44 Cjjt ^O0ie s>!)oppe'' jCopv^ r^M- apf.i.c. MOOREH EAD PRODUCING CO. DISTINCTIVE THEATRICALS ZANESVILLE, OHIO 1 B' V ,• TMP96- 006861 \\tJ^ 2Z^^- r '1 9 '-^ 8 Af\' ."o' V vV }^\^ R \ DESCRIPTION OF CHARACTERS y^ *'THE POSIE SHOPPE'^ CAST Harold Garden, leading man, rather stunning in appearance, good dresser, straight part, fair actor, not many lines, fair dancer. Violet Garden, leading lady, sister of Harold, good actress, young look- ing, good dancer, soprano voice, also duet with Reggie Keene, rather a small girl will suit this part best. Summer dress, Act 1, evening dress Act 2. Rufus Adolphus Coke, black face comedy, voice or ability to talk song, good many lines. Company's suit. Tommy Tucker, in Act I appears as a westerner, Act II as a society man. This part requires a good actor and a lot of pep, dances, baritone voice, duet song with Marzette in Act II. Reggi Keene, excellent English character part, good many lines, dances, fair voice. Flossie Brown, requires good acting, character comedy part, naturalist, middle aged man would be excellent for this part. Should be tall and thin. With voice or ability to talk song. Norfolk suit, much too tight. White hose, black slippers, black bow tie. Mabel Bliss, debuntante, stunning girl, good dresser, voice. Summer dress Act 1, evening dress Act 2. Mary Ellen Troy, song, dance, x\merican dress, very few lines. Summer dress ,Act 1, evening dress Act 2. Marzette, French maid, voice or ability to talk song, duet with Tommy Tucker in Act II. Dance. Lot of lines which require clever acting and pep. This is the best female part. Company's dress. Jimmy Fenton, man about town, not many lines, fair actor, tenor voice, dance. Dixie, girl about ten years old, or young lady who can make up to look as a child. Some lines, poor girl character part. Should be a good eccentric dancer. Ruth Garden, Miss Violet's aunt, stunning gowns, American dress, song, little dancing. A middle aged lady is excellent for this part if she looks young. Short lines. Zarnette, Gypsy fortune teller, rather dark, small girl with pep, good many lines, duet song and dance with gypsy man. Company's dress. Gypsy Man, rather dark, sings, dances, duet with Zarnette, no lines. Company's suit. Farmerette Soloist, very short lines. Company's suit, overalls. SOCIETY BUDS— Mildred, Betty, Julia, Jane, Dorothy, May, and six gentlemen to work with these young ladies. These people should all be good dancers and fair singers. Ladies should have ability to speak lines, but these lines are not long. Wear company's hats, coats and .«;kirts, own white hose, black slippers Act 1. Evening dress Act 2. GUESTS: LADIES— Frances, King, Burnes, Burdatts, Winton, Gray and six gentlemen to work with these young ladies. All fair dancers and singers. Ladies should have ability to speak lines, but all lines are short. Burdatts should be rather stout, soprano voice and should not mind singing "I Don't Want to Get Fat." Wear company's: coats, skirts, own summer hats, white hose, black slippers Act 1. Evening dress Act II. Act 1, gentlemen with Society Buds, blue coats, white flannels, white hose, black low cuts. Act 2, company's suits or same as Act 1 or full dress. Guest men same. SYNOPSIS ACT I — Miss Garden's Home. Futurist scenery exterior. ACT II — Ballroom in Miss Garden's Home. PROPERTY PLOT— ACT I 1 Willow Floor Lamp. 6 Cane Bottom Chairs. 2 Willow Settees. 1 Feather Duster. 2 Willow Chairs. 2 Willow Tables, medium size. 2 Willow Ferneries. 1 Tray with 2 Smelling Salts, 2 Camphor, 1 glass of Water. ACT II 6 Cane Bottom Chairs, same as Act 1. 2 White Wicker Settees. 4 White Wicker Tables, medium size. 2 White Wicker Ferneries. 1 White Wicker Bird Cage. 2 White Wicker Floor Lamps, or mahogany will do. Have them alike if possible. 1 Telegram in envelope. 1 Blooming Rose in Pot for Dixie. 1 6 or 8-ft. Step-ladder. 1 Long-stemed Rose tied with Maline for Reggie Keene. ii The Posie Shoppe." ACT I. Prelude : lOO children or more in chorus. Song, ''Fairy Tales." Curtain at close of song. i8 young ladies open show ''Bubbles." They blow bubbles to audience, using glass bowls all alike. Make this a gay scene. Stage dim at rise of curtain, gradually growing brighter as cur- tain goes up. Color effect flood light from front of house, rain- bow colors on bubbles. Flossie Brown enters center at close of chorus, comes on hurriedly, carries a butterfly net. "BUBBLES" Sometimes there grows all shining- Like bubbles bright blue, Dreams of what you wish for fondest Of things that you'd do. Sometimes you'd be a lovely heiress, Perhaps you'd be a princess too. But brightest one of all your bubbles Is love that's true. CHORUS I'm blowing bubbles Up to the moon They're so light and airy Just like a Fairy. I play they're kisses When I want to spoon With that handsome Man in the Moon. Flossie — My dear young ladies ! I am charmed to meet you and more charmed to greet you. All — Look who's -here. Sixth Girl — Ah ! Ze, ze profezzor has arrived. (Girls all give deep courtesy.) Second Girl — Now, who left the back gate open ? Flossie — (Looks inquiringly) — The gate open? Mercy me! Young lady, I — I — beg pardon — but really I came in by the front door. Third Girl — Lucky man! Flossie — Lucky man! Why lucky? You surely did not ex- pect me to enter — Fourth Girl — One never can tell, my good man. You do look honest and tame. Flossie — Honest and tame? Yes, I am both of them, all of them. Mercy me! Ladies, I have become so submissive, so docile — Sixth Girl — Oh, you poor married man. Seventh Girl — Married men are so lovable — and so very humble. They make adorable husbands, really. Flossie — Perhaps they do. Now, that I think of it, I am quite sure they do. I am so glad I was accepted. I — I — Eighth Girl — Yes, it was quite the proper thing. Should you have delayed — no telling — the young lady may have repented her rash act and changed her mind. As it is, you are won for- ever. Flossie — Won forever? (Looks from one to another of girls.) (Ill at ease — very nervous.) Seventh Girl — But we'll forgive you, dear Mr. ? Flossie — Smith, — Yes, call me Mr. Smith. Mercy me! Young ladies, how I'd love to explain — Ninth Girl — Hardly necessary — we believe you implicitly. Not for one moment do we doubt you or your honest word. Flossie (runs fingers through his hair — assumes tragic air) — My honest word? Don't misunderstand me, please. Truly, I am sincere. I have several — Sixth Girl — That's all right. The more the better — the hap- pier you'll be. If I were a man — I'd own and run a harem. Flossie — A harem? Your words appal me! They shock my finer sensibilities — Why love is EVERYTHING — and mar- riage a sacred ceremony! Tenth Girl — Ah! So it is. Yet it strikes me to be a busi- ness venture as well. Eleventh Girl — Correct you are ! Doesn't it always follow, the prospective father-in-law inquires into the the young man's ability to earn a livelihood? Or doesn't he usually investi- gates his worldly possessions — how much and what they are — before he says, blessings, my dear young lad! Blessing's upon thee! And then he congratulates him on his wise selection — meanwhile lauding his daughter's good qualities — and the poor, blind love-lorn man believes him. Twelfth Girl— And the final? Thirteenth Girl — Never mind. 'Tis a sad, sad storv with a tragic ending. Flossie — Tragic ending — sad story, why, I — I — young ladies you are — My dear young ladies, you are charming. Mercy me! 1 — I cannot understand you — such perverted ideas, so youthful, yet so worldly wise. Fourteenth Girl — In a way, you flatter us, Mr. Smith. We are not accustomed to having gentlemen pay us such nice compli- ments. Fifteenth Girl — I hardly agree with you, my dear Lillian. I see little or no praise in Mr. Smith's words. But then we'll forgive you, Mr. Smith, if you'll tell us one thing. Flossie — And that one thing is — ? Fifteenth Girl — Every place I go I see you, and everywhere the same old book tucked under your arm, everywhere you go that fish net and book goes too. All — Why the fish net? Flossie — Just like you, always fishing but with a different kind of bait. FISHING Some girlies love to talk, Some girlies love to walk And other girlies love to read and write. Some girlies love to sew And some girlies that I know Love to stay up very late at night. Some girlies love to dress. Some paint, I must confess. And some girls love to dream, and scheme, and wish. And some girls love to do most everything that's new, But ev'ry girlie loves to fish. REFRAIN Now ev'ry girlie's fishing For something all the time. Some are fishing for affecticjn ^^^ith their little hook and line. Some girls fish for sweethearts, and try to hook a Hfe-long mate, Some girls fish for lobsters With a diff'rent kind of bait, you know! With a diff'rent kind of bait. Flossie — Fish net ! Mercy me ! You are all wrong. Tliis is a trap for bugs, and bees, and butterflies, — while the book contains valuable specimens. Woulds't know of the wonderful knowledge? See here are (opens book) the rarest specimens of bugs, bees and butterflies collected in far off climes. Here we have what is known as the Black Elasion Butterfly, they come from Africa. You'll note the dull black iridiscent wings (girls all show surprise and amusement.) And still another from Ireland. (Shows butterfly) "A vivid St. Patrick tone, one that all Ireland loves, Kelly's green." All— Wonderful. Flossie — Ah ! Yes, it has taken years and years to make this rare collection. I seldom allow the book out of my hands. I prize it above jewels and precious stones. Second Girl — You are interesting, Mr. Smith, although a little queer. Third Girl — A fanatic, I think they call specimens of your type. Flossie — Fanatic — queer! Do I understand you? Did you say queer? I may be a little out of the ordinary — I confess I am. Perhaps I should not attend Miss Garden's party and con- nect up business at the same time. Hardly proper — 'tis true. Sixth Girl — Aside from the fact that you are absolutely too industrious, too scholarly, and too much married, guess you aren't half bad — not half — what do you say, girls? All — Married — queer, but Mr. Smith is all right. (Flossie raises his hands, attempts to explain, but girls do not hear.) Flossie — Yes, I am married, 'tis true — married to mv pro- fession. (Enter Farmerette Soloist, center) F. Soloist — You'll have to speak louder, my dear man, — they never got that. (Points to girls.) Flossie — Mercy me ! My dear young lady, who are you ? F. Soloist — Why, didn't you call? Flossie — Call ? Mercy me ! Why Avho are you anyway ? F. Soloist — I? Why, I am one of the lassies who mowed the grasses. I worked for Uncle Sam. (During this conver- sation girls slowly walk back stage. Exit Flossie as he nears end of conversation. SONG. ^^WE ARE THE LASSIES THAT MOWED THE GRASSES" 'Twas a call from o'er the farm lands, As clear as a bell. Won't you come and help us win the war Resounds from hill and dell, So we left behind the city shops To come out and save the crops. CHORUS We're the girls who saved the nation, we're the girls who scared starvation, One, two, three, we are strong you see, and we're just as happy as can be. All our lassies mow the grasses, plant and plow, do all we can, And we're proud you bet, as a farmerette, cause we worked for Uncle Sam. Second Verse Ev'ry morning we were up at dawn. As busy as could be With rosy cheeks, and wrinkles gone, A charming sight to see. We could not march and could not fight But a farmer we could be. (All exit at close of song.) Soloist exit right. (Enter Rufus Adolphus Coke, center or left — excitedly arranging furni- ture. ) Rufus — Ah tells my missus — she's got to unhire me. Dis ain't no place fo' a jDcrfectly respectable culled gemman — Ise goin' to hesitate and stop. Dis am one la-bo-rius po-si-shun. Ise de culled cook, Ise de potah, Ise de wallet, Ise de footman, Ise de gen'ral Burn of In-for-ma-shun, an' a long string of ep-a-taf- fys dat no man can evah done hope to number on account of dere frequency — yas, sah, Ise all of dat an' moh — yas I is, sah. An' den mid it all Ise a bohn entertainah — Missy Violet, she done say — looky heah — Rufus Adolphus Coke — (dat am some name! Fanibly hairloom, handed down dese 25 or 75 genera- tions back — clar to goodness I dose discollect just now — anyhow, she say — Rufe — yo' all must be pow'ful happy at de gahden pahty. Pow'ful — look aftah de guesteses in de grandest fashion, see dat da done lak fo' nothin.' Den I soliloquizes on dose words — an' I miscon-struct Missy Violet's state-ments — I say — yo' all done hab to boddoh about me, Missy Violet, 'bout my eppito — my posishun I done inhabit. Yo' done take it from me Ise a happy coon, I is — I sings dat all-inspirin' melodious melody en- titled SONG. Rufus — Done yo' all trouble about de applauses — I done hab to come back an' play a return engagement anyway. Ise goin' to start right now an' interduce an parade fo' yo' all in- spection the first settlers ob dis grand ole U. S. A. Dey wuz heah befo' Christfo' Columbo crossed de Delaware. Dey wuz heah befo' George Washington landed on Plymouth Rock. Dey wuz heah befo' dat grand ole man Abram Lincoln took dat mid- night ride to Bosting and rang de bell fo' Independence. Lordy, how I disremember how dat bell did rung. Yas, sah — whar dese first settlers comes from nobody knows or evah can knows. But dey wuz all heah. Now den I dose take de most extremest pleas- ure in illiminating fo' yo' all amusement our first settlers — The Indians. (Exit Rufus, left.) Enter Indians — sing chorus and dance. Tommy Tucker sings the song — all exit at close of song except Tucker. "LOMA" In a desert far away, Lived an Indian tribe. By the river wide. Long ago they used to say Find it by a long, long ride. Once these Indians came from far Driven from their homes In time of war. Wandered to this Sunset land. Calling this their little band. CHORUS Loma, we will call ourselves Loma — Loma bv th.e river De'tii, When the sunsets turn the mountains to purple Then you'll find us lonely aliens, you will find us, Oh! you'll find us by the wide De'tu. Second Verse Long years lived this Indian tribe In this sunny land By the river wide. Some forgot their olden home On the mountains other side, 'Till there came along one day Many cowboy's gay, Clad in great array Wished to see this sunny land Wished to know this Indian band. Tucker — All this talk and twaddle — this fuss and feather. All bosh ! Hang it all ! It's plainly evident I never was cut out for a society belle. Never ! Give me the wide open prairies, the rolling plains, and a herd of bronchos. That's the life ! A year ago I enjoyed this game — this round of pleasure — the luncheons, the dances and after-dinner parties and all of it. But I am through. Not a particle of pep to any of it. Tiresome! It's nerve-racking. Just the other day my physician. Dr. (local name) advised me to take a bottle of Nerv-Worth. But out there one can do things, BIG things. W^iy, every moment is worth while. Exchange for this? I should say not! My dear, fair cousin. Miss Garden, you are more than welcome to it, although I did hurry back in response to your earnest demands that I ''come East at once." ''Back to civilization" as she termed it. Civilization! Gee! This high society stuff puts a crimp in my system. (Tuck goes to left of stage.) (Enter Marzette right.) Marzette (dusts furniture while singing sprightly) "Hev didle didle, the man in the middle Has shot the price over the moon ; The grocer man chuckles and triples his swag. And there's naught in the dish but the spoon." (Sees Tommy Tucker) — Oh — I — I — I beg pardon, Mr, Tucker — Miss Garden wishes to see you in the library, (starts to go.) Tucker — Oh, very well — please tell Miss Garden I'll join her at once. Marzette — Very well, sir, — I — I will, sir, yes sir, — I — I— will, sir. (Tucker looks at her.) Tucker — You're a shy little maid, surely. Just how long have you been in Miss Garden's employ? rarzette — I — I yes sir, — I should say — 'most a year — yes sir, that's it — 'most a year. Tucker — 'Most a year, did you say? Marzette — ^Yes, sir, that's it — 'most a year. Tucker — ^^You hardly seem to fit in. Somehow, Marzette, you are all wrong. The job is either too big for you, or you are too big for the job. Now come, tell me, which is it? Marzette — Yes, sir — Oh, yes sir — I — I — Tucker — Marzette, you are a wonder, but why so coy? Marzette — Really, Mr. Tucker, I — I — I must go. (Crosses left in front of Tucker, he snatches her hand and detains her. ) Tucker — Wait a moment, Marzette, — why I really like the name Marzette. Something fascinating about it. But I fancy I rather like Marietta better, however. (Watches her closely.) Marzette — Marietta! Why — I — I — really, Mr. Tucker, I must go. Tucker — Wait a moment! Do you remember the spring round-up at Sherman's? (Marzette grows nervous.) Ah! I thought so! Now, what brought you here? Please tell me, Marzette — Curiosity, I guess. Tucker — Nothing more? Look at me. Marietta! Marzette — Oh, really, Mr. Tucker, I can't explain now. Can't you see you must not talk to the maid? You'll shock my fair employer and I — I — why I'll lose my job. Can't you understand? Tucker — I don't want to understand. Hang the job! A darn for all my cousin's scruples about propriety, etc. Why are you here? I've longed for an opportunity out there, 'way out West, to talk to you, but you always evaded my advances. Why have you disliked me so very much? • Marzette — Please, Mr. Tucker. Tucker — Sorry to annoy you. Tell me one thing : The an- nouncement of your engagement to Mr. Ward, was it of your choosing or your father's? Marzette — Father's. Mr. Ward is wealthy and old. 1 couldn't marry him — I just couldn't, so I — I — ran away. My mother used to tell us of the wonderful East — her girlhood's happ}^ home. So w^hen I closed my school, I took the meager funds, came here, accepted the first thing open to me — maid to Miss Garden — and a httle quiet detective work — so — Tucker — Ah! I see — Detective! Marzette — But now I reallv must 2^0. Tucker — But I'll see you again? Marzette- — Perhaps — some day. (exit left.) Tucker — You just know I will. I'll look you up, cUid when I do, you'll have no excuse for running away. (Tucker goes up left stage.) High Jinks dance — (or can omit.) (Guests and men dc dance, or 12 other girls.) (Enter 6 society buds from right, all laughing as they run on noisily. Mabel Bliss and Mary Ellen Troy join them from the left stage (run on). Form semi-circle with Mabel and Mary Ellen in center.) Mabel — Oh, girls ! The grandest of good news. All— Do tell us, Mabel ! Mabel — Very well, now^ listen! (as she points to various girls, all acknowledge with deep courtesy) Mildred, Betty, Julia, Jane, Dorothy, May — Miss Garden is giving a big party for her cousin, Mr. Tucker, who lately arrived from the West. Tucker (aside to audience) — That's me all over, dear Mabel ! Mary Ellen — They do say he is perfectly handsome. Tucker — Handsome ! Whizzing bullets ! Do they mean me ? All — A charming gentleman! (all nod assent). Tucker^I am all puffed up. Gee, Marzette, you'll hardly recognize me. Mabel — They sav he's immensely wealthy. All— Wealthy! Mildred — The catch of the season! Tucker — That's me all over. All — How perfectly grand ! Dorothy — Delightful bit of news. Tucker — This grows interesting. The plot deepens.. Betty — Money isn't everything, but then — I think if I was choosing — Tucker — I'd run. Julia — The man with the money always. Dorothy — So would I. Tucker — The man with the money will have a heck of a time dodging these fair damsels. Mabel — They say this Mr. Tucker is wild and wooly. Tucker — Wild and wooly! Jumping hornspoons! Well, maybe I am — guess I am. Julia — What he lacks in culture, he makes up in worldly possessions. Tucker — Nothing flattering about that, surely! I was all puffed up, but that sort o' takes the starch out. Truth is I'd best be going. Good-night, fair ladies. (Deep courtesy) I am on my way. May — Have you met this Mr. Bug man? He dashes about nitercepting a butterfly there, trapping a bird here, and later a regular swarm of bees and bugs. He's a strange old fossil. They do say he's immensely wealthy. Miss Garden raves about him, and takes every occasion to introduce him to her giiests. It's hinted she's in love with him. (Girls all amazed.) Jane — In love with that monstrosity! All — Impossible ! Mary Ellen — Now there's Mr. Fenton — he's a jewel, a shrewd business man, highly polished — why girls, you'll like him immensely. (Fenton at back stage overhears conversation, conies hurriedly to Mary Ellen's side.) Fenton — Oh, come — come — now, my dear Mary Ellen, nice little speech — just grand of you — you know to steal a rose you must put it right back where you got it — and to steal a kiss — All — Put it right back where you got it. (He kisses her.) Fenton and Mary Ellen do song. (Girls only dance or form pic- ture, etc.) All exit at close of song. Enter center Reggie Keene, mopping* brow, very much ex- cited. Frances and King on each arm making great fuss over him. He's very nervous, too much attention from young ladies. They adjust his tie, push back his hair, pat his cheeks. Burdattes and Gray enter left, Winton and Burns right. Form semi-circle with Reggie center. Reggie — Rah-ly now, you must stop it, ladies. Bah jove, you flatter me, don-cha-know. Please pahdon — but rah-ly you must stop. Bally nice of 3^ou — but — ^but — King — A remarkable man, surely. Frances — Men adore flattery. Burdattes — A clever woman may lead them whithersoever she will. Her slightest wish is granted 'ere she speaks. Winton — They become so docile they eat from her finger tips. Reggie — My dear young ladies, you are quite correct, don- cha-know. Bah jove, you are. You'd make adorable wives, rah-ly don-cha-know. All — Oh, do you think so? (Enter Zarnette, the gypsy fortune teller.) Zarnette — My dear young ladies — your fortune for a shill- ing, (confidentially) I have da gift — I am the seventh daughter of the seventh generation born with the cloak and veil. All — Oh ! this is the fortune teller Miss Garden told us would be here. Reggie — Bah jove, how lucky! Zarnette — Come, cross my hand with silver and I w^ill tell the great folks' fortune. Reggie (hands her money) — Rah-ly how exciting! Zarnette — Come gather about me — I will tell da fortunes. I will unveil the past — reveal the future fortunes of war and fortunes of love. Come, let me see the palms of your hands. (All seated near footlights on floor.) Burns — Come read my fortune. Tell me some Prince Charming will one day claim me as his bride. Zarnette — Nu — nu — no. But there's luck in your hand, girl. I see a wonderful wedding. All— Oh! A wedding! Gray — Do tell us quickly. Zarnette — Yes, a wonderful wedding. Two princes ! They will occupy much of your time. You have little thought for any- thing else than your charming princes. Ah ! You will be happy with your gold dust twins. (Takes Burdatts' hand which must have a ring on it.) Zarnette — "She wears upon her finger, A ring we know so well And we and that ring only — Know what the ring can tell. From leaves into the water, Leaves float and fall away. So kisses come and leave us — A thousand in a day." King— And what do you see in my hand? Zarnette (takes King's hand and studies it thoughtfully, spits on hand, rubs it)— Mostly dirt. It says you have a good heart. But you are in love. Beware! Take care! The man of your choice is false and fickle. He is not true to you. Yet he is very near to you. (Looks at Reggie.) H e is in love with another. I spell her name— V-I-O-L-E-T. You will receive a letter and a present. (Takes Frances' hand) — You are about to receive a pro- posal. All — Oh — a proposal ! Zarnette — Your father objects to the union, but Mr. (local name) is persistent. I see a lot of trouble in store for you. (Takes Reggie's hand) — This tall and handsome party, With such a lot of hair, Who seems so grand and hearty. Must be a millionaire. This short and pudgy party. With such a little hair. Who seems so wise and hearty. Must be a millionaire. (One or the other.) But there is a disappointment in store for you. You will not win the object of your affection. Some one else. He seems to appear in a disguise. I can't quite figure it all out. He has a dual personality. Do you know of any one? All — No, we do not know. Zarnette — Well, there's some one (studies hand closely) yes, not only one but two. There's a man from afar — a trifle wild, wooly, and full of fleas. Never curried below the knees, and at heart he is a treasure. All— Who is he? Winton — We have not met him — perhaps Miss Garden's cousin. Zarnette — He's in love or thinks he is. There's some one in black. Do you know? (Looks around inquiringly.) I see no more now. But come, let my gypsy girls dance and sing for you. (Gypsy song and chorus with gypsy girls. All exit right — Zar- nette and partner exit left tomentor.) Tony- Tony Verdi has a raggy hurdy giirdy When he plays a sweet Italian melody He'll bring folks back to Italy. Zarne' te — You can find him, when you hear him grindin', grindin' when you're near him. You'll be hearing harmony from far across the sea. Tony — The neighbors can't resist that macaroni twist. Bo\b— CHORUS When Verdi Verdi plays the hurdy gurdy I want to be where I can see The monk he snap the fingers. Like the rag-go singers Beppo Beppo, do the one-a step-a, With Rose Marie You fee-a bad, you feel-a sad, you feel-a much-a pain And quick-a just-a like-a dis, you feel-a glad again. When Verdi, Verdi plays the hurdy gurdy, Down in Little Italy. Second Verse Zarnerte — Pep and mama start-a sin gin' Yama Yama Keep a swingin' when they hear his raggady hurdy gurdy melody. Tony — Rosaleeta's takin' chances in bar feet-a, when she dances If the nights get wintery, they will chilly be. Both— The seeling sun will wait, it has to hesitate. Rufus comes briskly on — talking excitedly — center. Rufus (nervously) — Dere is something highly mystifyin' 'bout dis 'ere establish-ment. Yas sah. Ah done tells eber-one. Dere is something ob-so-lute-ly wrong. Dis maid Marzette, she ^m no maid. She comes axin' my 'pinion 'bout how dis is to be done and how dat is to be did an' et-ta-cetra, et-tra-cetra an' so forth. Why de Missus employs her is mo' dan I can figger out. An' den dis odder fellah — dis Bug man — he's suahly am some queer in-di-vid-u-al. Dis suah am one strange habitation. Now Ah does wants to know why am he heah? I tries mighty hard to keep him out, we liab argyments, and den he am pow'ful athi- lette. We ties into it, I does get one black eye an' den I leabes him be an' (to audience) if you'll believe me, eber since, I suahly does keep my distance from dat gemman. Yes sah, I does sah— (Enter Marzette left.) Marzette — Rufus, I need you — I — I — Rufus — Dat's what dey all says — lookce hcah — whar yo' done come from nohow? Marzette — But Rufus — I want you to help. Rufus — Nevah mind about de helpin' part. I pos-i-tive-ly does object. I does. Who is yo' anyhow? Whar does yo' all