NO PLAYS EXCHANGED. „''7\KER'5 Edition Copy 1 ============== ■ ^ A SYMPHONY IN BLACK COPYRIQHT, 18S9, BY WALTER H. BAKER & CO. I A. W. PINERO'S PLAYS. | jll\ Uniformry Bound in Stiff Paper Covers, /j\ Price, 50 cents each. /IS ^!; ^I'i" ='*"', r/*" ??1^'« amateur actors a series of nKuiern pieces of the liigl est JkV class all of wl.icli have met with distinguished success in the leadin- En- Kh ;lw ?"^ Amencan theatres, and most of which are singularly well adai-tecffor ania- >4V teur pertonnance. This publication was originally intended for the benefit of W readers only but the increasing demand for the plays for acting purposes has /l\ f'*'^ outrun t'.'e>r merely literary success. With tlie idea of placing this excel- W ent series within the reach of the largest possible number of amateur clubs \ve 'IS alV^of ' ^""^"'"y '^o offer them for acting purposes at an author's roy- jlj\ Ten Dollars for Each Performance. /i\ '^?'*, '■'**® ^^^^ not apply to prof essional performances, for which terms will be '.fy made known on application. /is § THE AMAZONS. I V^.t^t^^'^eV^.^'rll^^r^^^^^^^^^ :!: , . ^ . ^ , ,, ,. ?^^'t?rs. Costumes, modern; scenery, an exterior M/ f,""* an interior, not at all difficult. This admirable farce is too well known W through Its recent performance by the Lyceum Theatre Company, New York to Vf coUegef ''"l89'-7' " '^ especially recommended to young ladies' schools and w «^ THE CABINET MINISTER. | 1^^-^^^:, -- „,By \i/ r^ .. , ■■'"d Jii'ie female characters. W Costumes, modern society ; scenery, three interiors, A very amusine niece in- ytJ gemousm construction, and brilliant in dialogue. (1892.) s y •^, '" JK DANDY DICK. I ^ ^^'"''^ I" J'""*? ^"^^^ ^y arthitr w. pixero. ili Z U ^even male, tour female characters. Costumes, mod- JV. ^. . , em ; scenery, two interiors. This very amusing piece ^y was another success in tlie New York and Boston theatres, and has been ex- Mr tensively played from manuscript by amateurs, for whom it is in every respect \W su'ted. It provides an unusual number of capital chnraeter Darts isvervfunnv W and an excellent acting piece. Plays two hours and a half. (1893.) SJy THE HOBBY HORSE. I ^ comedy in Three Acts. By Arthur JK V/ . I W. PiNKKO. Ten male, five female char- M/ %■/ *^ !„ .. :, ™. acters. Scenery, two interiors and an ex- Jk-^ yf. W°- ' «"**""]«'' "lo^le™; ,Tlus piece is best known in this country througl the W i:i> admirable performance of Mr. John Hare, who produced it in all the pr n cipiU }!^ Vf cit-es. Its story presents a clever satire of false philanthropy, and is fu ^Of M/ iii niterest and Inimor. ^Yell adapted for amateurs, by whom it has been success- }V. W f"'ly acted. Plays two hours and a half. (1892.) success ^|v }/m lady bountiful. I ^ P'^^y in. Four Acts. By Art.tpr W. ^' V' I PiNEKO. Eight male and seven female char- Ikl t:i> int^ri^rc „^f^o<.„ i^i„„„* l^.^:**''"^- CosUunes, modern ; scenery, four V t^k'A • » ■ .. . . acters. Costumes, modern: scenerv four Vff l"*'''"^? • "?* ^''^V- '^Z '^y «^ powerful sympathetic interest, a little sombre "n yj. key, bat not uureheved by humoroua touches. (1892.) '»'. '^ '"-"e somure in m yi Symphony in Black A Comedy in Two Acts FOR FEMALE CHARACTERS ONLY By Barbara Burbank .j^vtu^:, BOSTON WALTER H. BAKER & CO 1901 ,Ji' . &}imp/iojti^,^ Jn £jAck CHARACTERS Aunt Martha, /c;;- reasons of her ozvn disguised as Dinah. Polly Bliss, her niece. Pauline Bliss, another niece. Angelina Mason, her friend. Mrs. Julia Bliss, Pauline'' s stepmother, 7vho goes a step far ther and impersonates the fiew cook. Costu mes m odern. t"he~u'.bkaf, y .:> I CONGRESS, Two Cofits Received A'JG, 2 1901 Copyright entry COPY B^ Copyright, 1901, by Walter H. Baker & Co. COSTUMES ACT I. — Pauline and Angle in shiitwaist traveling costume. Polly in simple frock. Cook wears wig and big bonnet, outlandish garments. Aunt Martha is dressed as housemaid, save for bright bandana on head. White gloves. ACT II. — Pauline, Angle and Polly in dainty muslins. Cook in same or other ridiculous garb. Aunt Martha same as Act I. A Symphony In Black. ACT I. SCENE. — A pretty interior. Doors r. and c. Mantel and i?iirror over it at l. Conch R. c. ; tah/e R. ; table and chair L. ; piano up L. Aunt Martha, blacked up as Dinah stands before mirror putting on finishing touches. Aunt Martha (^r, as she must be called, Dinah). With just a trifle more burnt cork on the chin, Aunt Martha makes a pretty good Dinah ! If Pauline turns out as sweet as my brother's daughter should, I'll have to make up to her for this deception. {Turns from mirror.') But I draw the line at blacking my hands. Until I am myself again I shall wear these gloves. {Draws gloves on slowly during remainder of soliloquy:) It's a ticklish thing — this adopting a grown up girl ; and I had to take this chance of watching her. I am glad I told her to bring her friend Angelina. She will feel more at ease, though of course she and Polly will be chums. I only hope Polly won't scream when she recognizes me. {Takes note from pocket.) I must not forget to leave this for Miss Polly Bliss. {Puts note on table.) Wonder if I shall re- member to talk darky. Lucky I engaged a new Irish cook ; a black one would have guessed me in a moment. Well, well, if this is not a lark for a staid old maid ! At least I shall find out how Miss Pauline bears responsibility, and then if she and her stepmother are not friends I can help them out. Hark ! There they come ! I cannot face them just yet. I'll run. \_Exit R. Enter Pauline, c. d., followed by Angelina. Pauline. Not a soul to welcome us! Three days more to tremble at meeting the Griffin. Angelina. Perhaps she is not so terrible. 4 A SYMPHONY IN BLACK Paul. Well, it's the " devil or the deep sea" with me. A brand new stepmother or an old maid aunt. Angie {sitting on piano stool while Paul, roams about'). For the hundredth time I want to tell you, you'll adore your step- mother. All the girls at Mackinac had a crush on her last summer. Paul. 'Twould have made a difference if she had wanted to marry their fathers. Let's forget her. Aren't these grounds beautiful, and isn't this a fine old house ? You know father was born here. I should like to live here myself if Aunt Martha was jolly. Angie. Maybe she is. Paul. Father says she used to be. I imagine a disappoint- ment in love has made her a sour, stiff, proper old maid. Haven't seen her since I was a baby. Angie. It was thoughtful of her to invite me and to give you full charge of the house. ^Ve can have a lovely visit together. Paul, {hugging Angie). Whatever should I do without you — my star of hope? You get me out of every scrape. You'll have to keep watch of me to see that I don't horrify the Griffin with a fit of the giggles — or by climbing trees — or, worse yet, by flirting with the young men. Angie. Or old ones. (Paul, goes to mirror.) There aren't many of either kind near, I fancy. Paul, {at table). Hello ! Here's a note for Polly Bliss. Now how did she know my nickname was Polly? Angie. Don't stop to speculate. Read. Paul, {standing c. ; reads aloud). "Dear Polly: You re- member the cousin you will meet here is two years older than you." Aunt Martha's twisted us ; Mary is younger — " and I wish her to have charge of the house and servants " Angie. That's what she told you. Paul. Don't interrupt. — "Nothing proves a girl like re- sponsibility. I wish to observe her unknown to her." Poor Mary! wouldn't that make you angry, Angie? — "and as a new Irish cook is coming to-night, it will be easy. Dinah will take a vacation. If all goes well, and your cousin pleases me, I shall offer to take charge of her future ; otherwise I shall send her to Europe with a chaperon." Well, Cousin Mary appears to be in for a fine trip if slie only behaves bad enough. Angie. Read on. Paul, {reads). "If she and her stepmother do not agree." I didn't know uncle was married twice. A SVMl'HOXV IN ni.ACK. Angie {ririiiiin^ to her, laughing ; looks over her shoulder'). Pauline ! Pauline ! what a joke ! It is all about you ! Paul. But it's addressed Polly Bliss ! Bv Joxe, Angie, you are right. She calls Cousin Mary Polly. VVhat shall I do ? Angie. Give it here. PU put it back quick. You couldn't help reading it, and now you must profit by it to be extra nice. {Puts note ou table ; sits by table.) Paul. Nice ! I think not. I want to be sent to Europe. (Laughs.) What a joke on the Griffin ! (Sobers.) Angie, think of being spied on like a criminal. It's shameful. Catch me being nice ! Why, I'll invent new ways of being ugly. Angie. At any rate, we can get heaps of fun out of it. What did she mean by the new Irish cook making her plan easy? Paul, {eross/u!^ quickly to Angie, says in sepulchral tones). Angelina, she's going to be the Irish cook herself. Angie. I believe you. Paul. Won't I make life weary for the Irish cook ? There's only one person I'll trust and that is Dinah, the black maid. She was a pickaninny here when fother was a boy. I'll spare her. Angie. I think I'd be good, Polly. It would be lovely to spend summers in this dear place. Oli, Polly ! Paul. Don't call me Polly or they will guess I saw the real Polly's note. Angie. How I wish Julia were here. This is just the prank that would suit her. Paul. Who is Julia ? Angie. Stupid ! Your stepmother. AVish she'd drop in ; we'd have a fine time. Paul. You may sit there and sing her praises while I hunt up Dinah. (Dinah appears in doorwav.) Dinah. Howdy, Miss Pauline. Paul, {meeting her c. and takiw-; both hands). How are you, Dinah ? I've been wanting for years to see you. Father has told me so much about you. Dinah {curtseying). I'se berry well, INIiss Pauline. I moughty glaid yo' paw 'membah Dinah. He were a lil' debbil hisscf. I done 'membah how he painted Dinah white so's she be like him and Alf. Miss Polly's paw, an' Miss Marfa Paul, {sitting on couch; Dinah standing at right etui of 6 A SYMPHONY IN BLACK coucli). Tell me about Aunt Martha. Is she a regular Griffin? Dinah {starts; stiffly). Griffin! {Aside.) Here's a chance to speak a good word for myself. {Aloud.') Griffin? Yo' say Griffin ? I fought at fust yo' meant callin' names, but I reckon 'tis some kin' of angel, and dat's Miss Marfa she' ! {Chuckles and smooths gozvn complacently.) Angie. Fancy an old maid angel ! Dinah. Ain't nebbah heerd o' married angels, has yo' ? Reckon you all ah Miss Angelina. Dey do say you inwents all de mischiefness dat Miss Pauline carry on. Paul. Then they say wrong. She's my good counsellor. Dinah, did you know my father had married again ? Dinah. Yes, um. Does yo' like yo' ole stepmaw? Angie {indignant). Julia old ! {Laughing.) Why, Dinah, she is only six years older than Pauline herself. And the dear- est girl in the world, Mrs. Julia is. Paul. And if I had known the Griffin was offering her house out of charity, Pd have taken Miss Angelina straight home to my mamma — Julia Dinah [innocently). I specs ef yo' write de Griffin dat she'll drop her business an' come home. Paul, {j'oifis Angie /// laugh at " Griffin''; then sobers). You mustn't say Griffin, Dinah. It is a pet name of my own. Tell me, is Aunt Martha very cross? Dinah. I know'd Miss Marfa sence she were a baby, an' she ain't nebbah said one cross word at me. {Aside.) And that's the truth. {Aloud.) Miss Polly Paul, (beaming). Well? Dinah. I desgwinesaydat Miss Polly '11 be hyah befo' long. Paul. Who? Angie [hastily). Oh, your cousin, Polly. Yes, there's a note here for her. Enter Polly breathless ; Dinah stands extreme right front, back to Polly. Polly. Dear cousin ! {Hugs Paul.) I've been dying to see you ! Paul, (kissing her). I'd scarcely know you, Polly dear. This is my friend, Angelina Mason. Angie, this is Polly. POLLv {shakin<( hands with Angie 7uho meets her l. c.). So nice you could come with Pauline. {Turns to Dinah wJio faces her.) Aunt Martha ! A SVMl'HOXV IN 1;LACK 7 Dinah {Jiurriedly). Yes, Miss Polly, yo' Aunt Marfa done gone on errand fo' few days. She lef a note — {crosses to L.) hyah 'tis. (Polly reads a/id giggles while Angii! and Paul, talk aside at extreme right front.') Paul, {aside to Angie). Just see her grasp the joke on me ! Polly. What fun ! Paul, {stiffly). Indeed ! Angie. {poking Vk\5\?). What's the fun ? Polly. Something lovely Aunt Martha is going to do, if we are on our best behavior. (Dinah dusts about piano.) Paul, {aside to Angie). Something better if we're bad. Angie. Do tell us, so we shall know if it is worth trying for. Polly {joyfully'). It is ! It is ! May be it will be for Angie, too, if we are good enough. Paul. Bad enough, you mean. Polly {^puzzled). Bad? Angie {shaking Paul). Don't mind her, Polly. She twists things so. Polly. Auntie leaves the house and servants in your charge, Pauline. There's a new Irish cook coming. Hope you can manage her. Paul. At least she shall not manage me. ( With sudden delight.) Hurrah ! I shall discharge her ! Polly {amazed). Oh, but — auntie wouldn't like Paul. I don't care what the Griffin would like. Polly {looking from Dinah to Paul, and back). You mean the cook, of course. Paul, {lightly). No, indeed. I meant Aunt Martha. Polly {horrified). Be careful — do be careful. {Turns to Dinah.) Aunt Dinah {interrupts). Yes, honey. What yo' \vant wif Aunt Dinah ? Polly {nervously). Nothing — nothing! {Goes up and takes hold of Dinah ; coaxingly.) Don't you think, Auntie — Dinah — you'd better go down-stairs ? Paul. No, I want her here. I came principally to see Dinah. 8 A SYMPHONY IN BLACK Polly. All right — all right. {^Approaches Paul., and in low voice.) Won't you be a little guarded in what you say about dear Aunt Martha ? (Dinah doubled 7ip by piano.) Paul, {quite loud). No. She's not ;;/j dear aunt. I dare say Dinah has lived with her long- enough to have as many grievances as I have. Dinah (aside). Whatever have I done to the child? Polly. Grievances ! Why, auntie would do anything for you. Paul, {^mischievously). Would she take me to Europe? Polly {retreating to table and looking at ?iote ; laughs). She may see that you go. Paul, {haughtily). She shall not have the chance. [Stalks rear R., where Angie has wandered ; aside to Angie.) I shall cry, or scratch some one's eyes out, or roar in a moment. See that child mocking me ! Polly {aside to Dinah). This is awful, auntie. Do leave the room. Dinah {aside). Don't worry, Polly; I'm enjoying it. Though I almost wish I had not deceived her. Angie. Just wait till you girls know Pauline's stepmother. You'll forget Europe. If only she (Julia, as the new Cook, in ridiculuous costume, appears in doorway.) Angie {jvith motion towards her, shrieks). Julia ! (Cook motions her back and stands innocently by time others look around.) Paul. How you shrieked, Angie. I thought Julia must be coming. Cook {looking l. to Polly). Ez zis Mees Marta Bleess? Polly. Miss Martha is away. Miss Pauline is in charge. Cook {approaching Dinah). Spik I to Mees Pauline? Dinah. No-m — I'm des Dinah, de maid. (Angie has gone forivard and is seated on couch ; Cook slips up close.) Cook. Iss it dat you are Mees Pauline ? (AyiciE jumps ; Cook adds in aside). Angie, don't you dare betray me ! Paul, {comes smiling from r.). I am Miss Pauline. What do you wish ? Cook {bozoing). I weesh I cook here. A SYMPHONY IN BLACK 9 Paul, (^freezing). The cook? I thought you meant to be Irish ? (Angie buries face in hatidkerchief.^ Cook. Oui — yes. I met de Irish lady at de depot. She seek. She can't not come — no. I cook so beau — so beauti- ful, and I charge not but more ten doUair for ma accent. Paul. And I shall charge you a dollar every time you speak to me or appear in my sight unnecessarily. (^Crosses to l. and stands by table, back to all. ) Cook (bowing). So sweet a ladie ! {Aside over Angie's head.) She never got that mean streak from her father. Angie (aside to Cook). A mistake. I'll explain. Dinah (l. back to Polly). There's some vice versa here ! The question is — is that Pauline at all? And why treat the new cook so rudely ? Vx\]L. (whirling aboi/t). Still here ? Dinah, take the cook to the kitchen and keep her there. (All stare.) Do you hear me? (Stamj>s.) Go! (Exeunt Cook and Dinah hastily. Laughs.) It is really enjoyable. Angie (making warning sign). Being in charge, you mean. Do sit down and rest a moment. (Paul, sits by table ; Polly sinks at her feet.) Polly. Don't be angry with me, Pauline, if I ask you to be cautious. You don't want auntie to be disappointed in you. Paul, (patting her head affectionately). Dear little coz, I shall be so cautious that I shall not miss a single chance to ful- fil Aunt Griffin's (Polly starts and looks about frightened) expectations. My dear girls, I see my trunk fairly covered with European labels. Polly. But you know, dear, the servants might not like your rather — rather severe Paul, (disappointed). Only severe? Angie. It wouldn't be a lie to call it abominable abuse of authority. Paul. Whew ! Where did you learn that ? Is that what you told the principal when she wouldn't let you go on the river with your best young man ? Come, Angie, don't you go back on me. Angie. I won't, ever; but do treat the cook better or she'll hate you. lO A SYMPHONY IN BLACK Paul, {surprised ). And isn't that just what I want ? Ah ! you are all against me. Polly. Not a bit, dear. Let's talk about Europe. Are you really anxious to go ? Ypmx.. {jvearily). Kalamazoo will do as well now. (Cook, unseen by girls, stands in dooj'way, c. ) Between the horrors of an unknown old maid aunt and an unknown wily stepmother — an artful creature Cook. Will Mees Pauline {all start') gif me de ear?. Paul. This may cost you a dollar, cook. By the way, what is your name ? Cook. Julia-ette — Juliette, ma dear. Paul. Too dear to you if you indulge in familiarity. I am only " dear " to a few. Cook {aside). Precious few, I fanc)^ {Aloud.) Eef I de beef may haf for dinner in spite of de lamb ? Paul. Very well. Cook. Oui — yes — very well — very well done, an' if at de baker's, Dinah de rolls could brought ? Paul, {intense sarcasm'). Perhaps you'd like the whole din- ner ordered from the caterer's ? Cook. Eef madamoiselle please. (Angie convulsed ; Voxam puzzled.') Paul, {rises ; tualks with determination L. rear'). Go to the kitchen. Make biscuit, pies, and .Cook. Biscuit? Oui — yes — fine biscuit. Pie? Non — Non. 'Tis not a la France dat one eat pie. Paul. Nevertheless, we'll have pie to-night, or you go to- morrow. Next time you have questions to ask, send Dinah to ask them. {Goes to door r.) Come, Polly, show me my room. Come, Angie. Angie. In a moment. [^Exeunt Polly and Pauline. {As door closes Angie and Cook fly to each other. Sit side by side on couch.) Cook. So that is my angelic stepdaughter. Angie {laughs). Isn't she? But, Julia, what possessed you to do this? Cook. My husband had to be away a week, so I resolved to come visit Miss Martha and my sweet new daughter. At the station I met and conversed with the Irish cook. Sent A SYMPHONY IN l;r,ACK II her into the country to board a few days, borrowed some of her clothes, and here I am. Angie (anxionsly). Can you cook ? Cook {indifferently). I don't know. You see I've been in cooking school, but we studied alphabetically, and I only went as far as e — eggs — so pies, rolls, and lamb are not on my menu. Angie. You'll starve us, you dear wretch. Cook. I should love to keep that gentle stepdaughter on crust and water for a week. Angie. You are wrong about her. She thinks Cook (^jumpino up). Hush ! {^Enter Paul, and Polly.) Zen you half seen before me, mees. An' you remember my capers ? Paul, {suspiciously). What capers? Angie {soothiw^ly). Caper sauce. She's famous for capers — sauce. Cook. Mees Pauline, eef a bookery cook you me cood lent, I cook better English. Paul. I prefer better French. Go now and send Dinah here. Dinah enters ; Cook backs out shaking finger at Angie. Dinah. Hyah I is, Miss Pauline. I'se in a heap o' trouble too. I'se done bruk Miss Marfa's best cut glaiss dish. She'll feel pow'ful baid, sho'. Paul. Don't fret, Dinah. The Griffin (Polly gasps; Dinah chuckles) shall never know it. I'll get another with ray month's allowance. Let me see it. (Goes toY)\i- Nothing! Paul, [drops handkerchief from eyes'). I didn't know you were here, Polly. {Moves. R. to Polly.) Have you been blacking the stove ? (Dinah glances at Polly, whose face is streaked with Dinah's make-up, turns to sideboard, shoulders heaving with laughter.) Polly {innocently). No, I have been whispering secrets to auntie. Paul. Auntie ? Dinah. Aunt Dinah, she means, Miss Pauline, honey, why for Miss Angie call you Polly ? Paul, {inaking provoked signs at Angie). They call me that at school. Dinah {^nods satisfied ; turns r. ; aside). Call her Polly, do they? Now I wonder if she saw my note to Polly. Angie {extreme l. front; aside). Black rubs off Aunt Dinah, does it ? Aha ! I begin to see that black may yet be proved white. Paul, {sits rear of table ; pathetically). Vm so hungry, Dinah ! Can't you cook something? I haven't had anything since I came but crackers and pickles. Pd discharge that Franco-Irish lady from America, if it wouldn't put too quick an end to the comedy. Polly ^if^S^^^^^^)- Comedy! Angie {explanatory haste). Tragedy ! tragedy ! Pauline. A tri-daily tragedy of burned beef, burned biscuits, and burned eggs. The cook told me she had studied cooking as far as the e's. Polly. Well, she's brought no ease to us. • (Dinah //^/j- her shoulder while girls groan.) A SYMPHONY IN F.LACK 1 5 Angie. I guess thnt's why she stays at burning. It's in the b's. Paul, (crossly). If that's a joke, it's flat. Polly. Like the biscuit. Paul. Polly, you are reflecting on your hostess' table. And as I am the hostess, I object. Polly {rebellions'). It is Aunt Martha's house. Paul. So it is and so it may remain ; and Aunt Martha may reign here alone, so far as I am concerned. Now whoever would think of a Griffin Aunt (Polly raises protesting hand) — a Griffin Aunt, Polly — who would invite a poor motherless girl to spend her precious vacation in being reduced to a shadow by a diet of pickles and crackers. I'm going home to-night (Cook appears in rear doorway ; seen by Angie only) to my stepmother. She can't be worse than the French cook. Cook. Ees it de modder you would like to step on, mees ? I can gif goot recommends eef you me vish ! Paul, (without turning). I wish you were my stepmother. I would spend my days devising torments for you. Angie (up stage l.). Juliette, I certainly shall tell Cook (rutts l.; falls on knees). Oh, don't not — don't not tell at her. I vill return it back. Dinah (aside to Polly). As I told you, they have an un- derstanding. Angie. Please, Julia. Cook. Ah ! Ah ! you will me confess ? Bon ! well ! I betray you. (Rises; facing Paul.) Miss Pauline, I am it vat took dee precious treasure (Seizes h.^G\^\ aside to her.) If you tell now, I'll never forgive Paul. What's this? Have you been stealing? Cook. It vas only von heart — von heart. Paul. Give it to me. Cook (sadly). I don't cannot. I vould question you let me keep it. Dinah. Who all's heart yo' tuk, Julyeete? Cook. Von man's — I no rob lady. I stole de treasure of von Mistair Bleess. Paul, (brings both fists smartly doivn on table). My father ! Cook. You fLider ? Den heaftns help him. I forgifs him dat he sen' me vay. Paul. So. My father discharged you. Or couldn't you get on with my stepmother, which ? 1 6 A SYMPHONY IN BLACK QOOY. {iwiiiUng violently ; pleased'). Dat vas it. Vich ? I don't guess not ! Paul, (despairing). Leave the room. Go cook something you cannot burn. Steal the silver or the house — they are your own any way — but give me food. Oh ! for some unburned cold boiled potatoes ! Go, Juliette ! {Exit Cook, Angie folloiti- ing.) Stay where you are, Angie. I won't have the whole house conspiring to starve and try me. Sit down. (Angie drops in chair L. end of table and fidgets.) Sit still ! Polly (rises ; goes around to pet Paul.). You are tired, dear Paul. I am starved. Go away, Polly, don't touch me. I can't bear you. (^Hides face in handkerchief. Dinah starts indignantly. Polly goes to Angie.) Polly. Pauline ! how unkind. Paul, (^from depths of hand/cerchief). I hope it was ; I meant it to be. Excuse me, Polly, but I can't have any half measure about this. I am working for Europe. Dinah (aside). Now what can she mean ? I shall have to interview the French lady. {Aloud.) Miss Pauline, ef yo' wants cole boiled taters, Pll git um. I knows whar some is. Paul, {kindly). Please do, Dinah. (Dinah passes behind Paul. ; pats head. Paul, takes her hand, drazvs it dozun, glances at pabn where glove opens.) Paul. Well, I should think the color did rub off. Your hand in that spot is as white as mine. (Angie nods and clasps her hands silently.) Dinah. Sho', chile! ain' dat funny? I spec de Griffin '11 be watchin' out to see ef I spile her linen. Paul, (holding Dinah's hand). Polly, let me look at you ! (Polly shows scared and blackened face.) Black rubs off your face, too, Dinah ; you'd better see a surgeon. Dinah. Yes, Miss Pauline, I see him in a minute. Yo' want him cole or briled ? Paul. Surgeon, cold or broiled? Dinah. Yes, um. Some hangin' in de pantry now. Miss Marfa she berry fond o' hini. Polly {laughing). Sturgeon, Pauline — she means sturgeon ! Paul, {coldly). When I require you to interpret, Pll ask you, Polly. (Dinah jerks hand away. ) Go, Dinah, get me A SYMPHONY IN liLACK. I 7 anything — anything to eat. {^Exit Dinah.) Angie, don't sit there like a wax doll with your eyes staring out of your head. {Claps hands sharp/y.) Don't look so meek, either. . Angie. I never thought you'd go back on me. Paul. Your thoughts are too limited. Do you suppose I shall sit calmly by and let you and the French cook go through such melodramatic performances? You and Aunt Martha are a great pair. Polly. Aunt Martha? Paul. I forgot you, Polly. You'd better go see if the eclipse has passed off. Polly. Eclipse ! Paul, {miinicki/ii^). Aunt Martha ! Eclipse ! Yes, Miss Echo. Don't you think the atmosphere has been darkened, and don't you think it is growing lighter? Angie. Do go, Polly, and PU have a talk with Pauline. Paul, (rising; going about r. end of table). No, you won't; you'll go too. Leave me alone, all of you. I don't want to see one of you again till Pve passed this starving hun- ger. I believe you are fed on the sly. Go ! (Exeunt girls. Paul, looks all about ; finds herself aloire ; sits in chair in front of table ; laughs ; takes sandioich from bag hung on her arm.^ My ! My ! If I haven't behaved bad enough to get Europe and Asia with Boer land thrown in ! (Bites sand- wich.') This is the best sandwich I ever tasted. (Bites again.') Dear, dear, I hated to jump on Angie, but she was growing too anxious to smooth things between me and that dear French Juliette, alias Aunt Martha, alias Griffin. Ha ! Ha ! how Angie hates to have them think me so ugly. '(Eats.) I never heard of a darky turning white. (Eats.) I wonder if Dinah is a hoax. No, she can't be — she remembers all the pranks she played with father. She's a dear, and doesn't my temper worry her. (Sighs.) None of them can be more tired of it than I am. My throat aches with scolding, and I cannot keep my face straight before that dear scared little Polly. (Laughs ; stops short, hearing some one enter. Thrusts re- mainder of saiuhvich into bag.) Dinah (enters). Hyah yo' cole boiled taters. An' hyah a note fo' some one. Ah cain't read. Paul, (ecstatic). Ah ! those delicious potatoes ! (Seizes plate, puts it on table.) Pm fainting for one. And a note. l8 A SYMPHONY IN F.LACK {Reads.) "Miss Polly Bliss." It's for me. {Cuts it open with hairpin.') Dinah. Miss Polly Bliss ? Dat yo' cousin ? Paul, {startled; looks again). No, it happens to be mine ; I know the writing. {Aside.) Glad she can't read. May be she can, though. I'll try her. {Aloud ; taking envelope from belt.) Say, Dinah, I have forgotten Aunt Martha's present ad- dress. Will that reach her? Dinah {reads). Miss Marfa Bliss, Chicago Paul. Thought you could not read ? Dinah (embarrassed). Did yo',' Miss Pauline — did yo', she' ! {Aside.) The father of lies must help me now. (Aloud.) Really? Now ain' dat funny? 'Case ah can't read. I des know how de writin' ought a look fo' Miss Marfa' s name — I done seen it so often. Paul, (rising). Dinah, take off those gloves. Dinah (jnaking for door). Ah 'clar, dat cook '11 spile de dinner, ef I ain' help her. Paul. Comeback. (Dwah comes reluctantly.) Takeoff those gloves. Dinah (beseechingly). Now don't mek me, honey. I fear de miracle yo' would see 'd fright yo'. Miss Pauline. Paul, {unmoved). Take them off. (Silence while Dinah recklessly tears them off and holds out hands. Paul, takes them gently.) Paul. So ! {Softly.) Have I been good to 3'ou, Dinah ? Dinah. Berry good — des ef ah wuz white lady. Paul. Would 'you like to be near me always, Dinah? Dinah. Yes, um. Ef yo' wuz ez good to ebery one else. I cain't abide to see yo' goin' fo' little Polly. Paul. But personally you have no fault to find ? Dinah (surprised). No-m Paul, (flinging hands from her). Then I'm exceedingly sorry. ( Wrathfully.) I wish I had been uglier than sin. If I had it to do over, I should make life a burden to you. I don't know who you are, and I don't care. If I had known what hands were in those gloves. — (Dinah puts them behind her.) Oh, you needn't hide them now. I'd have known 3'OU were one of the schemers with the Griffin. Oh, how I detest ):ou all ! \_Exit in a rush l. Dinah (regarding hands). You are a fine Dinah, Martha Bliss; but your hands should have been dipped, like Achilles' A SYMPHONY IN BLACK I9 heel — the one weak spot. Hark ! somebody's coming ! Now for one step lower. I am going to eavesdrop. (^Hides be- hind screen.) Enter Angie, arms about Cook 7iiJw has removed wig. Cook. Traitor ! why I have a dinner ready that would make her smash the whole dinner service. I want to see the limit of the vixen's temper. Angie. Oh, dear. Pauline will be furious, but I must tell. She isn't really Hke that, Julia. She's the sweetest Cook. Angie, I would not believe it if angels swore it. You could as easily make me believe black is white Angie (^laughing). I may do that yet. Cook. Even my vile cooking is no excuse Angie. But she thinks you are her aunt ! Dinah (^peeping from behind screen). Oho ! maybe the black rubs off Pauline's temper as it does off my face. Both false. Cook. Aunt Fiddlesticks ! Angie. No, Aunt Martha. Cook. What nonsense ! Why should Sister Martha be a French cook in her own house ? Angie. Same reason you are — to find out what Pauline is like. She hasn't seen her since she was a baby. Cook. How do you know all this? Where is my dignified and awesome sister-in-law ? (Dinah steps forward ; screams arc hearfi.) Paul, (voice ; outside). Auntie ! Oh, auntie ! (Dinah rushes out. Cook and Angie follow to rear door, where they meet Dinah and Paul, helping Polly into the room. ) Poor httle girl ! {To Dinah.) Put her in that chair. (Angie draws out chair at L. end of table.) Angie, ring up the doctor. Dinah, get hot water. Auntie, bring wine, please. (Dinah goes to sideboard ; pours wine. Juliette rushes out L. door. Angie out c. door, as Polly moans.) There, there! {Moving her arm up and down.) Oh dear! Oh dear ! Her arm is broken. I hear it crack. How did }ou do it, dear ? Polly. It isn't my arm. It is my ankle. Paul, {drops on knees; unbuttons Polly's shoe). Puor little ankle ! What were you doing, Polly? Polly {handkerchief to eyes; moves it to xvatch Paul.). 20 A SYMPHONY IN 13LACK I was walking on the veranda wondering why you were so cruel to me {chokes) Paul, {einbracins:; Jier). Ah ! I am so sorry, dear. I won't be again — not for a trip to the moon. Polly. and I walked off the far end and turned my ankle. (Dinah brings wine as Cook brings water and Angie enters c. d.) Angie. Doctor will be here in a moment. Paul, {to Cook standing l.). Aunt Martha, shall I put her to bed ? Polly. Aunt Martha ! Paul, {gently). Now don't begin to echo, Polly. Polly. But that is not Aunt Martha ! Cook. No, Pauline; I am not Aunt Martha. {With ac- cent.) I coot cook better French, an' English eef I vere Aunt Maria. Paul, {backing slowly to extreme R.). Then who are you? Dinah. Yes, who yo' is? Angie. It's Juha. Paul. Julia? Cook, {curtseying^. Your stepmother, artful and wily. Paul, {dazed). My stepmother ! Polly. Who is echoing now ? Paul, {lo Dinah who stands front c). Who are you? Dinah. Can't j^ou guess? Paul, {trying to back further atvay). I suppose you aie Aunt Martha, and I meant to be so mean to you ! {Bright- ens.) But I have been fearfully horrid, have I not? All {luith emphasis). You have. Paul. {eai:;erly). Then Aunt Griffin — Aunt Martha — you will want to be rid of me. Dinah. No, no, child ! I begin to see it was not your real self. Paul. (/;/ disgust). Then Fve had all this torment for nothing. {Excited.) You'd better keep your promise, Aunt Martha, or PU be unbearable in earnest. Dinah. My promise ! What promise? Paul. In your note to me — no, to Polly ; but I thought it was to me, and read it. Then when Polly dro]iped it, I picked it up to keep to show to you. See ! here it is — Listen. {Reads.) " I shall adopt her if she proves agreeable. If not, A SYMPHONY IN BLACK 21 I shall send her to Europe with a chaperon." Now, you can't go back on that. Polly. Ha ! Ha ! What a joke ! AVhy Aunt Martha is going to take me abroad in the fall and if you and she ngreed you could go too. It would be loads more fun than going with a strange chaperon. Paul, {chagrined ). Of course. And now I have made you all enemies. Mamma, Juliette^I suppose you dread my coming home ? Cook. My courage is rising. Come along, daughter, and \\'hen the servants are trying, you can masquerade in your temper. Dinah. Pauline, I see the mistake was mine. Can you forgive me and travel with us to Europe? I'm a frivolous old maid who can never resist the chance of a frolic. Will you go with Polly and the Griffin ? (Polly and Paul, rush to embrace Dinah.) Paul. Oh, Polly ! your ankle. Polly {shamefaced ). Well, everybody else seemed to be playing make believes, so I tried it. My ankle's all right. I only wanted to see how you would act. Paul. (r. ^ Dinah ; Polly l.). I deserve it all. Angie (l. front with Cook). Now, Julia, will you believe my Pauline is a dear ? , Cook. Certainly — and gladly. I can believe anything since {laughing at Aunt M.) black is proved white. CURTAIN. The man or woman who doesn't read The I'.lack Cat misses the greatest stories in the world.— lioshm Post "The RIack Cat is without doubt the story-tellin« hit of the century."— 6an Francisco Chronicle. It Will Pay You to read The Black Cat, not only because it publishes the most unusual and fascinating stories that genius can devise and money can buy, but Because it presents to j'oung and unknown writers an opportunity offered by no other publication. It pays the highest price in the world for short stories. It pays not according to the name or reputation of a writer, but according to the merit of a story. It pays not according to lengtli but according to strength. It pub- lishes no continued stories, no translations, no borrowings, no stealings. The great $5,000 prize stories of Mystery, Adventure, Love, Detectives, Humor and Pathos will give added interest to future issues. The Black Cat is published monthly. It costs 50 cents a year and each number contains 5 complete, origi- nal, copyrighted stories ///«/ are stories. By special arr-angement with its publishers (The Shortstory Publishing Co.) we at'e able to make the following offer : Free of Us If you will send ns 50 cents The Black Cat will be mailed you as issued for one year, postage paid, and you will tilso receive at once, />■«-, postage paiil, ir> of the stoiies (including the Si ooo prize tales, " Tlie Gaikwar's Swoid," " 'I'lie Quarantined Bridegroom." "The Dancing Goddess," '"Tlie Train Hunt at Loldos," etc) that have made The Black Cat famous as the story-telling hit ot tlie age. Walter H. Baker & Co.. Hamilton Place. Boston. Mass. A NEW CUBAN PLAY. IN THE TRENCHES A Drama of the Cuban War in Three Acts. By ABEL 5EAMAN. Eight male, three female characters. Costumes modern and military, scenery n.j/ difficult. An exceptionally strong and well-constructed melodrama, full of powerful situations and humorous incidents, which has been successful in professional hands. Its story is full of interest, and is told by a well-selected and contrasted group of cliarac- ters, including Hebrew, Irish and Negro comedy roles. The second act is laid in the trenches before Santiago, and gives opportunity for military display if desired. Its action is very spirited, its climax strikingly heroic and its appeal to patriotic sentiment overwhelming. Strongly recommended. Price 15 Cents. SYNOPSIS. ACT I. — A strange will. War with Spain. The Colonel's history. Paul Davis' pride. The sealed packet. An honest man. A sad experience. A brave bargain. The dawn of love. Is he a coward.' Held in trust. Financial agent. A brother's wrong. The seat of war. For love or money. Nadina's sacrifice. Passion's penalty. A man's independence. Strange disclosures. Rejected by the rose. The march to the front Beggar'd in pocket and bankrupt in love. With flying colors. A heart of geld. The roll of the drum. Away to the war. Facing the foe. ACT II. — In the trenches. Why he 'listed. An Irishman's philosophy. For valor. Unconscious ol danger. The sergeant's hut. On the slopes of Santiago. The Colonel's prejudice. Risen from the ranks. A half-dead Spaniard. Letters from home. Strange news A cruel insult. The plot of ruin. Spies in the camp. A token of love. For himself alone. Nadina's truth. Under arms. Ringing the changes. Doomed to dislioiior. Cruel to be kind. Husband and wife. The envelope and the seal. Sent to the front. The Spanish colors. The forlorn hope. A soldier's death. Food for pow- der ACT III. ^ In Santiago. The two papers. A rogue's quarrel. A deserted wife. Green's luck. The sacred truth. A blameless life. Brought to the test. Mother and child. A man to love. For her sake. Nadina's sacrifice. Tlie love of the lion. The eagle spreads his wings. Testing the metal. Struck to the core. The spider's web. Joy does not kill. Forget and forgive. After many years. The stolen proof. Hoist with his own petard. Spanish treachery. Biting the dust. True to himself. Bowled out. Rubber Boots. A FARCE IN ONE ACT. By HANLEY H. PIKE. One male, three female characters. Scenery, an easy interior; costumes modem. This is a most ingeniously imagined and cleverly written little piece, admirably suited for amateur performance. Its theme is the encounter of three young ladies with a tramp, and it provides twenty minutes of d;lightfully humorous incident and dialogue. The trarap_ isa "dumb " character, his part being wholly in pantomime, but remaikably eSective. Very strongly recommended. Price Ifi Cents. NEW OPERETTAS FOR CHILDREN. EDITH'S DREAM. ^n Operetta for CJiltircu. Words by MARGARET FEZANDIE and EDGAR MORETTE. Music fay EUGENE FEZANDIE, Jr. Kleven characters, girls and boys, or all girls, as preferred ; ten or more addi- tional for chorus. Scenery unnecessary; costumes, pretty and fanciful, but easily arranged at home. This admirable little piccie is printed complete with music. It is very tunef i\l and gracefully imagined, and is strongly recommended for private theatricals or for schools. It is i>articularly well suited for the latter use, as it deals whimsically with the question of youthful study, inculcating, however, an excellent moral. Price (Us As /JS «N /ft «IS /ft /ft /ft /ft \j/ SI/ «/ s»/ v»/ I M/ f w .V. A Glimpse of the Brownies. A %IJ Musical .Sketch for Children. Any ?K number of boys. w TV. Market Day. An Operetta for Youner Vl/ People. Seven speaking parts and .y. ehorus. JSr Queen Flora's Day Dream. An vl# Operetta for Childreu, Six speak* ^V. ing parts and chorus. 35 cents. ODD OPERASMEVENTIDE. A Collection of Short and Simple Musical Entertainments for Children. By MRS. G. N. BORDMAN. This collection provides a simple operetta, a fairy opera, a picturesque motion song, a quaint musichl pantomime, a pretty musical sketch, and two original humorous recitations for children, complete, with all the music, and full instruc- tions for performance. The music is tuneful and simple, and is specially written with the tiistesand limitations of children in view. The solos are easi'lv learned and sung, and all the choruses are written for voices in unison. The collection is strongly recommended for its simplicity and perfect practicability. Neither stage nor scenery is demanded, nor any other requirements that cannot be met without trouble hy the equipment of the onlinary hall or church vestry, and the zeal of the most economical committee of arrangements. Price CONTENTS. 50 cents. The Boating Party. A Musical Sketch for Little Children. Thirty boys and girls. Six Little Grandmas. A Musical Pantomime for very Little Childreu. Six very little girls. Jimmy Crow. A Recitation for a Little Girl. A House in the Moon. A Recita- tion tor a Child. ^•5''5^'!5^'^-5^'5^-5'''5''fSk J The Plays of Henrik Ibsen. | iiv Edltei, with Critical and Biographical Introduction, ynj /]\) by EDMUND GOSSE. j^ /" ■LT/~\C*T'C I A Drama in Thrke Acts. Translated by WiLLiAir yj^*-^^^^<^* AucHEB. Three male, two female characters. ' Price, 25 cents. P (^QlVrFTP ^"HOT TVr I -A Drama in Four Acts. Translated by M. lVV-/OJ.vii::,JXOi ivyi^vi. Carmicuael. Four male, two female charac- ' ters. Price, 35 cents. THE LADY FROM THE SEA, I ^,,^f,iXib7c^;iC^: * Five male, three female characters. Price, 26 cents. AN ENEMY OF SOCIETY, | t^^^f"^^:^';,^^ ' ' vo female charac Price, 25 cents TTj-p ■VY/TT Fi ■nTincT I A Drama in Five Acts. Translated by E. 1 rm W Xl^LJ LJ\U\^J^k^ ^i AVEMNG. Twelve male, three female characters. Price, 25 cents. THE YOUNG MEN'S LEAGUE. I ^^^^ ^f^^^ I Carstarfhen. Twelve male, six female cliaracter.s. 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