2 
 
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 The Sawdust Queen 
 
 Price, 25 Cents 
 
 ••PYRIttHT, laet, BY WALTER H. BAKBR 4 ••■ 
 

 THF AMA70NS Farce tn Three Acts. Seven males, dire lemaies* 
 ^^ Costumes, modern ; scenery, not difficult- Plays 
 
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 Costumes, modem ; scenery, two interiors. Plays 
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 THF HORRY HORSF comedy in Three Acts. Ten males, five 
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 ■nic Drama in Five Acts. Seven males, seven females. Costumes, 
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 I FTTY l^rama in Four Acts and an Epilogue. Ten males, five fe- 
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The Sawdust Queen 
 
 A Circus Play in Three Acts 
 
 By 
 DANA J. STEVENS 
 
 Author of ''Old Acre Folk;' ''Plain People^' 
 "Miss Drusildas Enemy;' etc. 
 
 BOSTON 
 
 WALTER H. BAKER & CO. 
 
 1910 
 
The Sawdust Queen 
 
 CHARACTERS * ^ <^^4 ^ 
 
 Deacon Matthew Sterling. • I 
 
 Ned Sterling, his son. 
 
 Miss Prudence Prue ") 
 
 xMiss Patricia Prossitt v ///r<?<? maiden ladies, his cousins. 
 
 Miss Patience Prouty ) 
 
 Mr. Silas Hankum, his soiiciior. 
 
 Adanirum George Washington Hobbes, proprietor of ^^The 
 
 Great Forever Circus.'^ 
 Toney O'Hara, a7i old cloivn. 
 
 The Herr Professor, acrobat afid flying trapeze man. 
 Hulda Schwartz, strong lady and snake charmer. 
 Starlight, the saivdust queen. 
 
 SYNOPSIS 
 
 Act I. — Inside the dressing tent of *' The Great Forever 
 Circus." 
 
 Act II. — Three days later. The living room in the Sterling 
 homestead. 
 
 Act III. — Several days later. Inside the dressing tent 
 again. 
 
 NOTE 
 
 The professional rights in this play are strictly reserved and application 
 for the right to produce it should be made to the author in care of the 
 publishers. Amateurs may produce it without payment of royalty on 
 condition that the name of the author appears on all programmes and ad- 
 vertising issued in connection with such performances. 
 
 Copyright, 1910, by DANA J. STEVENS 
 
 All rights reserved 
 
 (gGLD 2257G 
 
The Sawdust Queen 
 
 ACT I 
 
 SCENE. — Itiside the dressing ieiit of the *' Great Forever 
 Circus y A large semicircular room representing a typical 
 circus tent. The stage is streivn several i?iches deep ivith 
 satvdust, and there are various gaudy odds and ends of 
 paraphernalia about, including barrels, tubs, sections of a 
 trapeze, tueigiits afid dumb-bells, old trunks, an old 
 wash-stand and several pails full of water and bits of har- 
 ness. At the back of the tent and directly c. is a large paper 
 hoop, larger than ordinary size, through which Starlight 
 makes her entrance. Against the wall of the tent down r. 
 are other hoops of ordinary size made of paper. There are 
 three openings into the tent. The upper left hand portion 
 of the tent is cut off by a gayly curtained entrance into the 
 arena, through ivhtch the characters pass when going into 
 the circus for their act. Across the right side of the tent a 
 short rope is stretched on tuhich jmmerous odds and ends of 
 costumes are hung to dry. Down r., an opening leads to 
 the dressing tent of the 7nen. Directly opposite, L., a?i open- 
 ing leads to that of women. 
 
 {When the curtain goes up, Toney O'Hara, the cloivn, is 
 discovered seated on a large drum, l. c, making up for 
 the pejformance. An instant later a loud voice is heard 
 calling outside, accompanied with the banging of a drum.^ 
 
 Voice. This way, ladies and gents. All up now and buy 
 your tickets for the Great Forever, the greatest show this side 
 of the Atlantic. Buy your tickets now. We do not sell dur- 
 ing the performance. This way to the great show. Twenty- 
 five cents admits to all. You can see the Fat Lady and the 
 Human Skeleton, and the whole blooming lot of freaks for one 
 price, only a quarter. Only one price, ladies and gents. Get 
 your tickets for the great show now about to commence. Step 
 right up, gents. Step light up. 
 
 3 
 
4 THE SAWDUST QUEEN 
 
 HuLDA Schwartz (a large, stout, good-7iatured German 
 girl looks in from ladies^ dressing tent L.). Are you dere, 
 Toney ? 
 
 ToNEY. What's up? 
 
 HuL. My joints, dey are so stiff from my fall, it don't 
 seem like 1 can effer do dot stunt again mit der dumb-bells. 
 Will you tell der boss, Ja ? 
 
 Toney. I don't dare, Hulda ; everything has gone wrong. 
 
 HuL. Break it to him mit a gentle whisper, Toney. 
 
 Toney. You don't know how things are, Hulda, or you 
 wouldn't say that. 
 
 HuL. Ach Himmel ! I know mit myself dot I've got tree 
 weeks wages due ter come ter me from somewhere somehow 
 from somewhich, and no one ter pay dem, and my man dere 
 in Germany 
 
 Toney. Never mind that husband of yours, Hulda. Ex- 
 ercise a bit more, limber up a little with the dumb-bells, be- 
 fore you cut the show. 
 
 HuL. Mit my pains all ofer me, Ja? If I die it will put 
 der show on der bum mit me. What'U I do, Toney? 
 
 Toney. Go tell your trouble to Starlight. 
 
 HuL. She is in der big tent mit herself, rehearsing. 
 
 Toney. With the people going in? 
 
 HuL. I do hope dere will be some peoples dis afternoon. 
 I am dot tired of eating circus sandwiches, pink lemonade and 
 peanuts. I want my money, or my man in Germany 
 
 Toney. Will send for you to come home, is that it, 
 Hulda? 
 
 HuL. Ja. You understand mit me, Toney. \^Exit. 
 
 Voice {^s tar ting up outside, broketi at i?itervals by the beat- 
 ing of a druni). Here you go, ladies. This way, gents. 
 Tiiis way to the Great Forever. This way for your tickets. 
 Step right up. And remember that twenty-five cents is only 
 a quarter to see Starlight, the Queen of the Arena, the famous 
 circus rider, the ten thousand dollar beauty. Then there's 
 Toney, the only clown that really makes you laugh. 
 
 Toney {sadly). When his heart is breaking. 
 
 HuL. {looking in agaiii). He's talking about you, Toney. 
 
 Toney. Yes, and I'm used to it. You'll be too, some day, 
 Hulda. 
 
 HuL. Ja, if my man don't find oud dot I vos shipwrecked 
 mit der ship in dis America and joined der circus to vork my 
 passage money back if I effer ged it. \^Exit, l. 
 
THE SAWDUST QUEEN 5 
 
 {Drum beats outside an instant or two, and then the tent, 
 R., is pulled apart and the Herr Professor enters. He 
 is arrayed in a gaudy suit of tights and enveloped in a 
 long coat.') 
 
 Herr P. Zis beastly New Enland climate, eet eez so cheely. 
 Ah, in good old Eetalee eet eez alvays so warm and so sunny 
 all zee time. Here eet eez different. Eet do nothing but 
 rain, rain, rain all zee time, and zee managair he do swear, 
 and everyzing.go to zee devil. 
 
 ToNEY. It isn't much of a prospect to look forward to, is it ? 
 
 Herr P. I can stand zee climate part of eet, but eet eez zee 
 monay zat I don't get, zat eez mine. 
 
 ToNEY. You get three meals and your bed and washing. 
 Isn't that enough for the present ? 
 
 Herr P. But I can get all zat wiz my monay, myself, eef I 
 get eet, yais ? 
 
 Toney. Anyhow, we'll all have to put up with it. Busi- 
 ness is rotten and traveling is a thousand times worse. 
 
 Herr P. But 1 do not intend to do zee grand act forever 
 wizout zee monay zat I am to haff eef I act. Ovair zere in zee 
 grand Eetalee 1 do zee flying trapeze and get my monay efery 
 day. 
 
 Toney. How much does Old Hobbes owe you anyhow? 
 
 Herr P. Tree weeks. Feefty dollar. 
 
 Toney. Pooh! Can't you wait? Pa Hobbes is honest. 
 He'll pay you as soon as business gets better. 
 
 Herr P. But he swears so. 
 
 Toney. All circus men do. And, come to think of it, 
 hasn't the poor man had enough to make him swear? Hasn't 
 it rained every day this month except yesterday and to-day ? 
 
 Herr P. Eet eez zee climate. Eet make me sheever when 
 I am on zee trapeze in zee act. I 'fraid I fall. 
 
 Toney. And then, as if that wasn't enough to get drowned 
 out, the minute we strike this town our team hosses come down 
 with the colic, and here we'll set the week out. Isn't that 
 enough to make any man by the name of Hobbes swear ? 
 
 Hobbes {heard shouting outside). Here, you numskull, 
 that ain't the way ter do anything. Yes, I know you're new, 
 but why in the name of all creation and common sense put ter- 
 gether don't yer splice that rope riglit? Do yer want the 
 whole circus tent ter come down and turn my show into an 
 undertaker's morgue ? 
 
6 THE SAWDUST QUEEN 
 
 Herr p. {jvho has been exercising rapidly^ terrified^ all 
 during HoBBEs' speecJi). Eet eez zee boss. He makes me vair 
 much upset. Heer heem. 
 
 (Herr P. goes up and looks through the tent ope7iing, l. u. e.) 
 
 ToNEY. Any house ? 
 
 Herr P. Some. Zee cheepair seats air feeling up queeker. 
 ToNEY. Good. If we have a good house it will make the 
 whole of us better, and Pa Hobbes won't always be scolding so. 
 Herr P. And we weel get our monay. Yais ? 
 ToNEY. Some time. 
 
 (J)ru7n starts tip again outside and voice continues, Herr P. 
 limbers up and Toney hastens on with his work of mak- 
 ing up.) 
 
 Voice. Once more, ladies and gents. Third and last call 
 to step right up and pay your money. Say, don't push so. 
 This way to the big show. Bang that drum there. {Bus.) 
 This way where the noise is, ladies and gents. This way. 
 This way. 
 
 (After an instant the curtains l. u. e. are pulled aside and 
 Hobbes, a stout, bull-necked, good-natured but loud-voiced 
 man, much worried and disturbed, conies into the tent.) 
 
 Hobbes {entering). Did any one ever see such luck ? 
 Was there ever a peaceable, ordinary, easy-going, humble, 
 honest young citizen of this blooming country ever up against 
 the like? And now what in thunder's gone wrong here? 
 {He looks about Iwn. Herr P. is limbering up at a rapid 
 gait.) What are you doing, Toney? 
 
 ToNEY. Making up. 
 
 Hobbes {turning on Herr P.). Say, you pie-faced for- 
 eigner, you just get a wiggle on and give them out there a good 
 show to day, you understand? 
 
 Herr P. What you mean by wnggle ? 
 
 Hobbes. As if I had time to refer to Webster and turn over 
 one thousand pages of 'his remarks until we get lo wiggle, 
 w-i-g-g-1-e, and then explain it for you to ask me one million 
 questions afterward, and then you wouldn't understand. Say, 
 you are the most idiotic ignoramus 
 
THE SAWDUST qUEEN J 
 
 Herr P. Whateezzat? 
 
 HoBBES {clistr acted). Oh, I'll be blowed if I'm going to 
 say anything more to you. {Shouts at him.) You go to 
 work. Understand that ? 
 
 Herr P. Vair much. 
 
 (^Goes up and busies himself.) 
 
 HoBBES. I must set me down fer er minute. {Bus.) 
 Whew ! I ain't hed one minute ter think, Toney, since break- 
 fast. 
 
 Herr P. {faintly). Breakfast. 
 
 HoBBES. Say, didn't 1 tell you to go to work ? 
 
 Herr P. Yais, but efen eef I do, 1 can eat zee same break- 
 fast ovair again. 
 
 HoBBES. Well, my goodness gracious, you will if my 
 bosses don't get any better. Just think of having fourteen 
 bosses down with the colic, not a boss ter draw er cart, and 
 here we've got ter set till they all get better if it takes till 
 Doomsday, fer this village can't fill my tent more'n once, and 
 this makes the second day we've been here, and the town's 
 gettin' on its ear now. They'll be blovvin' me up. sky high, 
 and then I hope ter creation I don't ever come down ergain. 
 
 Herr P. {alarmed). Mymonay? \_Exit, R. 
 
 HoBBES {getting tip ; enraged). Say, didn't I tell you ter 
 go ter work ? {Sits down and mops his face with Ids red 
 handkerchief.) I never did see such impudence. as tliese for- 
 eign fixin's throws eround, Toney ! 
 
 Toney. It's pretty hard. Pa Hobbes. 
 
 HoBBES. Toney, it's me own fault. I might er known bet- 
 ter than ter strike this region ergain, with er show er my size. 
 Blame me, if the last time I wuz through this country some- 
 thing didn't bust, and I wuz years gettin' over it. 
 
 Toney. That's sixteen years ago. 
 
 Hobbes. You don't mean ter say that you've been all these 
 years with me, Toney ? 
 
 Toney. I joined you here in this town. 
 
 Hobbes. Well, I'll be ostracized fer er flyin' babboon if yer 
 didn't. 
 
 Toney. It's sixteen years ago this summer, and we ain't 
 been here since. I was kinder glad jou never did stray back 
 this way, Pa, for there was nothing here to bring one, or any- 
 thing I cared to remember. 
 
 Hobbes. Sure. You and Starlight jined me here sixteen 
 
8 THE SAWDUST QUEEN 
 
 years goin' erlong. I didn't berlieve I was that old, Toney. 
 {Suddenly jinnps zip, and bursts out?) What ! Is every- 
 body daid? {Goes up L. u. e.) What's the matter with 
 that barker out front ? Where's that drum ? Is this show er 
 funeral? {Goes out and is heard shouting outside.) Here 
 you, pipe up, and bang that drum, you idiot. Don't you 
 know wot er circus is like? {Drum starts upj) Ain't you 
 bein' paid fer workin' ? Now don't attempt ter tell me you 
 ain't got yer monay, 'cause it's all about yer. Look eround at 
 it and work fer it. You just make er noise and it'll come. 
 
 Voice {outside, as drutn is heard beating). Right ahead. 
 Right ahead to the big show. Performance now about to com- 
 mence. Right ahead. Buy your tickets here. This way, and 
 then right ahead, right ahead. 
 
 Herr p. {looking in r., timidly). Eet eez most time, 
 Toney ? 
 
 Toney {getting up with his materials. He is made up). 
 Oh, there's ten minutes yet. 
 
 Herr P. Zat man, he keel me wiz his angair. I weel not 
 stay here to be insulted longair. \_Exit, r. 
 
 HoBBES {entering L. u. c). More trouble ! The band has 
 struck ! Now what in the name of all that's old-fashioned did 
 they want ter go and do that for ? Did any one ever hear of 
 er circus without er band ? And what is er circus without er 
 band, anyhow? It ain't er circus. Then them Siamese twins 
 has er cold and insists on bein' wrapped up like us mortals. 
 Who ever heard of the Siamese twins dressed up? Why, if I 
 do that they'll be just what they are, plain Mary McCarthy 
 and Johana O'Reilly and getting eighteen per. Say, it'll be 
 er dead give erway. Oh, I'll be broke before I'll ever get out 
 of this place. For if it ain't one thing it's another. {Sits 
 doivn on drum.) Wot'll turn up now? 
 
 HuL. {entering L.). Boss. 
 
 HoBBES {jumping up, distracted). What in the name of 
 the confounded Dickens have you got fer er kick comin', eh? 
 
 HuL. My joints dey is stiff, Ja. I fall yesterday mit my 
 act. 
 
 HoBBES. What can I do when some everlasting nincom- 
 poop went and used all my accident liniment fer the performers 
 on my bosses ? 
 
 HuL. Let me do der act mit der dumb-bells 
 
 HoBBES. And you'll ride, too. No bluffs go in my factory ! 
 {A g07ig rings outside.) There's the first bell. {All prepare 
 
THE SAWDUST QUEEN 9 
 
 for work ; Hobbes gets up.) Get ready, all of you. Where's 
 my whip? Who goes in first ter-day? Where's Madame 
 Bonnelli and the tumblers ? Don't any one tell me they have 
 quit the show. {Sees large hoop tip C. ; leans against the 
 side of the tent.) Who put that hoop up there? 
 
 (^An instant and then there is a crash a?id Starlight 
 pokes her head throjigh the hoop laughingly.) 
 
 Star, (as they all exclaim). I did. {She breaks her way 
 through the hoop and romps down stage all aglow with health 
 and spirits. She is dressed as Columbine and carries her 
 ??iask.) I've heard all you said, and I know all you're going 
 to say, and, oh, think of all the words you have wasted, Pa ! 
 
 {She laughs and throws her arms about him.) 
 
 Hobbes* Well, bless ray everlastin' twenty-third cousin ! 
 Toney, your gal does run my show and no mistake. I never 
 can git mad when she does anything. 
 
 HuL. {ivho is seated rubbing her knee). She run me right 
 to my man in Germany, Ja. 
 
 Star, {going to her). Oh, Hulda, you dear kind Hulda, 
 I don't want to run you. I don't want to run anybody or any- 
 thing ; it doesn't sound nice. No, I love you all. We're all 
 together 
 
 Hobbes {going tip to l. u. e.). And it's er case of sink, 
 swim or die this time all right. Did any one ever see such 
 luck ? I'm goin' in the ring. Look sharp everybody. 
 
 \^Exit. HuL. goes out l. 
 
 Star. Did you think I was lost, 1 oney ? 
 
 Toney. Hulda said you were in the big tent. 
 
 Star. I stole out and around and under the side. I 
 wanted to 
 
 Toney. Listen ? 
 
 Star. No, to surprise you, Toney. 
 
 Toney. But you listened all the same. 
 
 Star. You aren't angry with me for doing it? 
 
 Toney {offended). I thought I brought you up better than 
 that. 
 
 Star, {eagerly). You did, Toney, you did. You've taught 
 me everything I know about doing right. You're very good, 
 and you've tried so hard, and you've been so patient with me. 
 Yes, I know I did wrong — that I ought not to have listened ; 
 
10 THE SAWDUST QUEEN 
 
 but I couldn't help it. When I raised the tent and crept un- 
 der I heard something. {With a cry.) Toney, this is our 
 honne ! 
 
 Toney {quickly, surlily). No, it ain't. 
 
 Star, {be^vildered'). But you said 
 
 Toney {quickly). I was only talking, that's all. 
 
 Star, {tipset). Oh, Toney, you don't mean — Toney, you 
 are angry with me. Oh, Toney, won't you tell me the truth ? 
 
 Toney. The truth ? 
 
 Star. Yes, you are hiding something from me? 
 
 Toney {embarrassed at her searching gaze ; after a pause). 
 Wal, s'pose 1 think it ain't good fer yer ter know it ? 
 
 Star, {upset). It isn't good for me to know it ? {Alarmed, 
 hysterical.) Oh, Tony, what do you mean ? What do you 
 know ? Is — is there anything 
 
 Toney {taki^ig her i?t his arms). Come, come, pet, you'll 
 work yourself all out of sorts ter-day. You know Black Bess 
 has gone lame. 
 
 Star, {hotly). And it's cruel to make Hulda and me ride 
 her. 
 
 Toney. You'll have ter be careful ; she's our only hoss. 
 
 Star. How much longer must we stay here, Toney? 
 
 Toney. Well, if I could only do something, I'd pull up 
 stakes and git out ter- morrow. Pa Hobbes says we can't 
 budge an inch till the bosses gets better. 1 guess that spells 
 ruination fer our show. 
 
 Star, {ivith a cry). Oh, Toney ! 
 
 Toney {looking at her an instant and then sadly). Why 
 don't yer call me father? 
 
 Star. I can't. Somehow, I — I can't. 
 
 Toney. Call me dad, then ? 
 
 Star. No; that doesn't sound right either. 
 
 Toney. Sound right? What do yer mean by that? 
 
 Star. Why that — that you don't seem like my father or 
 my daddy. Don't feel hurt, Toney. I know it's strange for 
 me to think such things and to say them, but really, I always 
 feel that you are more like my brother than my — father. 
 
 Toney. Humph. 
 
 Star. It's a queer feeling to have, isn't it? 
 
 Toney {an instant and then). How long you felt like this? 
 
 Star. Always. 
 
 Toney {ivith feeling). But I'm your father all the same. 
 
 Star, {throiving her arms about him). Yes, you are, 
 
THE SAWDUST QUEEN II 
 
 Toney, you are. But won't you let me call you Toney just ilie 
 same? 
 
 Toney (a pause while she ivaits ami then , quietly). I ain't 
 objectin'. (Holds her in his arins.) 
 
 HoBBES {ijiside the big tent, up ; announciiig). Ladies and 
 gentlemen. This afternoon we are gathered ter see the most 
 wonderful display of Aerial Aquatics ever produced in this 
 hemisphere and in this century by a circus of such a size as 
 the Great Forever. This show is the only show having stars 
 of the first magnitude, stars with European repertations, stars 
 known and discussed all over the world, stars up in the very 
 clouds above us as it were, compared ter all others of the more 
 inferior shows. Ladies and gentlemen. This afternoon you 
 will get your money's worth. If you don't, hunt eround after 
 
 the show and find me, and get your money back 
 
 HUL. {entering l. ivith her dumb-bells). Find him? Ja, 
 if you ain't looking for der money. 
 
 Star, {as Toney exits, r.). You mustn't talk so, Hulda, 
 about Pa. 
 
 HuL. How do I look mit myself? 
 Star. Dazzling. 
 
 HuL. Oh, if my man in Germany could see me now rait 
 dis figure I cut. 
 
 Star, {jvith a laugh). He would take you for a Bologna 
 
 sausage {Runs out l.) 
 
 HuL. {laughi?ig uproariously). Oh, you are dot funny, 
 you make me tickle behind myself, Ja. 
 
 HoBBES {outside). As I said, ladies and gentlemen, you are 
 going to get your money's worth. You are going to be satis- 
 fied. You are going back home and tell your friends so they 
 can come to the show to-night and see the wonderful, marvelous, 
 breath-taking, glittering, gorgeous, glorious display never be- 
 fore equaled by any show, and provided at an enormous ex- 
 pense by the biggest of all shows, the Great Forever. The 
 
 first, last and only show 
 
 HuL. {luho has been waiting inipaticjitly for him to amiounce 
 her). How long will he stay rait dot talkin' machine? 
 
 Herr p. {entering r.). He can talk a streak to your man 
 in Germany, Hulda. 
 HuL. Ja. 
 
 HoBBES {outside). Now, ladies and gentlemen, I will say 
 no more. I will content myself with announcing each act as 
 it appears. There are ten of them on the programme. Count 
 
12 THE SAWDUST QUEEN 
 
 'em. The first number on ihe i)]ogramme for this afternoon 
 is HuUia, the only champion strong lady. Hukla, from the 
 King's Palace, London 
 
 HuL. {getting up). What a whopper! I nefer go no- 
 where's over dere. 1 stay mit my man and my sauerkraut 
 and my pickles in Germany, Ja? 
 
 HoBBES {announcing). She will lift ten thousand pounds 
 with the ease of a featherweight 
 
 HuL. He mean a bluff ! 
 
 HoBBES {outside). And on the flying trapeze you will be- 
 hold the daring, dare-devil, double somersault act equaled no- 
 where by the Herr Professor. And last, but by no means 
 least, Toney, the only funny clown, will disport himself and his 
 screamingly funny antics in the ring. This way for the mar- 
 velous, mystifying exhibition of human intelligence. 
 
 Toney {enter ifig k.). All ready, Hu Ida ? 
 
 HuL. {as they all three go uf). Ja, I am all here mit my 
 joints. 
 
 Toney. And you, professor? 
 
 Herr P. Yais. 
 
 Toney {pausing up an instant , as he is about to go out fol- 
 lowed by the other tzvo, and calling^. Starlight ! 
 
 Star, {off l.). I'm changing ray shoes, Toney. I'm go- 
 ing to put on my riding slippers, if I am going to ride Black 
 Bess. 
 
 Toney. Don't be late. {To perfo?-mers, as they go out 
 L. u. e.) Come along, then. 
 
 HuL. {going out). Oh, I am so nervous mit myself ! 
 
 Herr P. Eet eez zee climate, yais? \_Exeunt all three. 
 
 {There is a pause of an instant and then a drawling voice 
 of a countryman is heard talking outside the tent up c. 
 The hoop through which Star, appeared has been taken 
 aivay, so that there is a clear field for the entrance.) 
 
 Silas Hankum {outside). By gum, gais, look sharp, and 
 when I say three you just git down on all fours and shinny 
 under the tent before you git cotched. {Counts.) One — two 
 — three ! 
 
 {There is a great commotio7i up c. back, a?7.d in an instant 
 three elderly maiden ladies come scramblifig into the tent 
 on all fours, breathless, greatly excited, arid much ex- 
 ercised with their efforts to avoid the constable. They 
 
THE SAWDUST QUEEN I3 
 
 quickly get tip ami arrange tiicmselves^ ali cJiattering and 
 iaikitig as fast as they can go it, adjusting tJieir hats 
 straight, siiaking out their clot lies, etc I) 
 
 Miss Prue. I'm in 
 
 Miss Prouty. So am I 
 
 Miss Prossitt. Me too 
 
 Miss Prue. Well, I just do declare 
 
 Miss Prouty. I never 
 
 Miss Pross. Did you ever — — 
 Miss Prue. Pm er sight 
 
 Miss Pross. I just know I throwed my knee out er 
 
 joint 
 
 Miss Prouty. My alpaca is just ruined 
 
 Miss Prue. Pve lost my umbrella 
 
 Miss Pross. My bag — Pve dropped my bag 
 
 Miss Prouty. Where's my red shawl — my shawl? 
 Silas {outside). ■ All there, gals ? 
 Three Women. Yes, what's left. 
 
 {The tent is raised a bit and Silas, a tall, very thin country- 
 tnan, crazvls quickly in, and they all sigh relieved.) 
 
 Silas {getting up). By gum, gals, you went under that 
 tent like er streak o' chain lightnin'. I never did see the way 
 you three disappeared. 
 
 Miss Prue. Well, I do hope ter the land no one' 11 know it. 
 I never thought, at my time o' life, Pd be skiddadlin' under a 
 circus tent ter git rid er payin' er price that's exhorbitant, and 
 that they ain't got no right ter charge fer such er wicked thing 
 as a circus. 
 
 Miss Pross. Yes, it is wicked. 1 know it's wicked. 
 
 Miss Prouty. Of course it is. Didn't the Deacon say last 
 night in his prayer that every varmint of 'em is goin' straight 
 ter that section with the imperlite name ? 
 
 Miss Prue. Well, they ain't got my money, anyhow, so 
 Pve got er clear conscience amidst all this wickedness, if I did 
 shinny under the tent. 
 
 Miss Pross. And lose my bag with my powder puff and 
 my hair restorer 
 
 Miss Prouty. And my red cashmere shawl 
 
 Miss Prue. And my red silk umbrella. 
 Silas {looking at them admiringly). Wal, you would 
 come, gals ! 
 
14 THE SAWDUST (^JEEN 
 
 Miss Prue, Of course we would, and we don't regret it 
 either. 1 alius did want ter git just one look inside er circus 
 tent so I could deliver er lecture on wickedness ter my Society 
 of Cruelty to the Dumb, and now that we are in the tent 
 
 Silas {suddenly looki?ig about Imn with a gasp). By gum, 
 gals ! {Aghast.) We ain't in the tent. 
 
 'I'hree VV. {with a shriek). What ! 
 
 Silas. Blamed if it ain't the dressin' tent. 
 
 Three W. {aghast). What ! 
 
 Silas. And by gum, gals, I'll be blowed if I can tell 
 whether it's male or female. 
 
 ( The three women promptly go into hysterics, all talking at 
 once while Silas has his hands full trying to calm them 
 and keep them from disturbijig the show.) 
 
 Miss Prue. There, I just knew it would happen and 
 
 we'd get in some awful fix, Silas Hankum, and it's all your 
 
 fault, and you've got to get us out 
 
 Miss Pross. I just know that I shall faint away and die 
 
 from mortification, and you're ter blame, Silas Hankum, 
 
 and you've got ter get me out 
 
 Miss Prouty. I felt clear down in my shoes that if I 
 
 trusted you ter take me ter a circus I'd be held up fer er 
 
 freak, and you've got ter git me out 
 
 Silas {distracted). By gum, gals, the only way out is 
 the way we come in, unless yer want ter run inter 
 
 Three W. {jvith a shriek). A man ? 
 
 Silas, That's erbout the size of it. 
 
 Miss Prue. Why did I ever let myself be persuaded 
 
 Miss Pross. It's all your fault, Patience Prouty, and now 
 see what a scrape you've got me inter 
 
 Miss Prouty. Don't say scrape ter me. I've scraped my 
 shins till they're sore, and 1 ain't er-goin' ter shinny under that 
 tent ergain if I have ter go along with the show 
 
 Silas. Hold on er minute, gals. Don't git so excited. 
 
 Three W. {shrieking). You've got ter git us out er 
 this 
 
 Silas. I don't see no other way unless yer shinny. 
 
 Three W. {shrieking). The very idea, Silas Hankum, of 
 askin' gals as old as your mother, ter do such er thing 
 
 Miss Prue {hysterically). You want us ter get er- 
 rested 
 
THE SAWDUST QUEEN 1 5 
 
 Miss Prouty (^sauie bi/s.). And sent ter jail 
 
 Miss Pross. {same bus.). Or put in a cage with the 
 freaks 
 
 Miss Prue {sa7?ie bus.). I want ter go home 
 
 Miss Pross. How can we ever get out 
 
 Miss Prouty {wringing her hands). I'm going to have er 
 fit. 1 know I am. 
 
 Silas {alarmed). By gum, then Fd have one, too ! 
 
 Three W. {shrieking). You just try it ! 
 
 HoBBES {heard outside, announcing). The next number 
 on the programme, ladies and gents, is the KrnibHn' act 
 
 Three \V. {aghast). A man 
 
 Silas {trembling). It sounds hke it 
 
 Three VV. And we're in his tent 
 
 Silas. We kin make er dash and git out through them 
 curtains before he comes in. Why in thunder didn't I see 
 that openin' before 
 
 {All four go up stage, but as they reach opening the curtains 
 part and HuL. comes hurrying into the tent all puffing 
 and blotving from her act. The ivomen shriek and seek 
 refuge behind Silas.) 
 
 Miss Prue. What is it ? 
 
 Miss Prouty. Where did it come from ? 
 
 Miss Pross. Is it erhve? 
 
 HuL. {pausing and staring at them amused). You afraid 
 of me, Ja ? 
 
 Silas. Say, gals, it won't eat yer ; it's one er them pesky 
 performers. 
 
 (Silas appears to be quite smitten, much to Hul.'s amuse- 
 ment. The three women emerge fro?n behind Silas and 
 approach Hul., and study her critically.) 
 
 Three W. {relieved). Performers? 
 
 Hul. {as they surround her). Ja. Dot's me. Do you 
 wish ter speech mit me? 
 
 Miss Prue. Are you a wicked circus performer ? 
 
 Hul. {bewildered). Wicked? Nein. 
 
 Silas (aghast). Nine? Once is ernough ! 
 
 Three W, She means no. 
 
 Silas. OJi ! 
 
 Hul. {laughing). Isn't he a funny man mit himself, Ja? 
 
l6 THE SAWDUST QUEEN 
 
 Silas (^foolishly). You git out. 
 
 HuL. Ja. I put you dere. 
 
 Miss Pross. How can you go about dressed so awful ? 
 Don't you know that it's wicked to have your sleeves rolled up 
 in that manner ? 
 
 HuL. Sleeves rolled up? Dey ain't rolled up. Dey roll 
 no goodt mit me, so I cut dem off. 
 
 '1 HREE W. (aghast). Cut them off ! 
 
 Miss Prue. Do you mean to tell us that you haven't any 
 sleeves ? 
 
 HuL. Ja. I do it for der exercise, der freedom 
 
 Miss Prouty (jvith a snorf). Exercise. 
 
 Miss Pross. {same bus.). Freedom. 
 
 Miss Prue and other Two {aghast). Such vulgar 
 language. 
 
 Silas. Wal, by gum, gals, you can't but admit she's got an 
 almighty fine arm. 
 
 Three W. Silas Hankum ! 
 
 HuL. {laughing). Oh, he is so funny mit me, himself, Ja ? 
 He see all der goodt points like my man in Germany, if I effer 
 ged dere. 
 
 Miss Prue. Come along ; I will not waste words with such 
 a brazen critter. 
 
 Miss Prouty. Nor will I. 
 
 Miss Pross. Nor I. 
 
 {They all go up, and Silas shines up to HuL.) 
 
 Silas {as they turn their backs to go up, in a whisper). 
 Say, what's yer name? 
 
 Three W. {at i.. u. e., turning and discover iiig him ; with 
 a shriek). Silas Hankum ! 
 
 Silas {going up). Wal, that's my name. 
 
 ( Goes up and they are about to open the curtains L. u. E. 
 ivhen Star, runs in from l.) 
 
 Star, {entering). Oh, Plulda, how are things going 
 
 {She sees the people up, 7vho turn at the sound of her voice.) 
 1 — 1 didn't know that you had friends here, Hulda ! 
 
 HuL. {quickly). Dey no friends mit me. 
 
 Three \V. {interested). Who be you ? 
 
 Star. I'm Starlii^ht. 
 
 Three W. {to each other, with a sneer). Starlight? 
 
THE SAWDUST QUEEN I7 
 
 Star. Yes, you've heard of me, of course, and of Black 
 Bess. She's my horse. You see, I ride in the ring and dance 
 on the platform. 
 
 Miss Prue. Ride? 
 
 Miss Pross. Dance ? 
 
 Miss Prouty. On a hoss ? 
 
 Three W. (aghast). Such wickedness. 
 
 Star, (bewildered^ Wickedness? Why, what is wicked ? 
 
 Miss Prue (^coming do7vn ; severely). This thing that you 
 are doing. 
 
 Star. Do you mean to tell me that it is wicked to ride 
 Black Bess, and to dance in all my pretty clothes 
 
 Three W. (aghast). Do you call them clothes? 
 
 Star. Why, yes. Don't you like my costume? Toney 
 likes it. He made it. Hulda thinks it's the most becoming 
 dress I ever appeared in, don't you, Hulda? 
 
 {Tiiriis around showing dress.) 
 
 HuL. Ja. 
 
 Three W. (with a snort). Indecent. 
 
 Star, (^puzzled). Indecent? I don't understand what 
 indecent means. Do you, Hulda? I'm afraid by your looks 
 it isn't nice. 
 
 Three W. {emphatically). That's just what it is. 
 
 Star. How cruel of you to criticize my dress like this. 
 What right have you to criticize it, anyway? AVhat right? 
 When Toney made it, and Hulda likes it, and Pa Hobbes paid 
 for it, and they all think it's so pretty, and it looks so nice 
 on me ? 
 
 Miss Prue. Impudent critter. 
 
 Star, (hotly). I'm not impudent. I'm only a little circus 
 girl. I try to be nice to strangers ; but you aren't kind, and I 
 shan't, and I won't, and I never shall be nice to you. (With 
 a cry.) To you. ( Goes to door l.) 
 
 Miss Pross. (as they all stand aghast). Wal, I never did 
 see such er heathen. Let's go. 
 
 Star, (ivith a cry, turning at door l.). I'm not a heathen. 
 
 Miss Prouty (tuarmly). Wal, if you ain't er heathen it's 
 hard tellin' what you be. Fer all you circus people are such 
 unchristian God- forsaken critters, it's hard ter tell just where 
 yon do berlong 
 
 Star. Don't you talk like that. I'm good ! I love every- 
 body. I don't call people I know nothing about such awful 
 
l8 THE SAWDUST qUEEN 
 
 names. I don't say such horrid things as you do. I have 
 more feeling for my neighbors 
 
 Miss Prue. Humph. Didn't s'pose circus folks had any 
 feeling. 
 
 Star, {eagerly). Oh, you don't know us circus people. 
 You don't know how kind we are to one another, and what we 
 woul(in't do when one of us is ill. Why, last night I sat up 
 all night long with Jocko, our sick monkey 
 
 Three W. (with a shriek). Monkey ? 
 
 Star. Yes, you see we even love our animals. 
 
 Miss Prue. Ugh ! And I can't bear a cat. 
 
 Star. So you see that you are very wrong in your idea of 
 circus people. 
 
 Three W. Oh, we know. 
 
 Star. But Hulda can tell you differently. 
 
 HuL. Ja, — in German. 
 
 Star. You don't know anything about us — about our life. 
 Why, in some ways it's not any different from yours. 
 
 Three W. {aghast). Ours? 
 
 Star. Yes. 
 
 Three W. How do you know anything about our lives ? 
 
 Star. Because I haven't always been a little circus girl. 
 
 Three W. Humph ! 
 
 Star. No. I always supposed that I had been born in a 
 circus and that Toney had been too, but to-day I found out 
 differently. I heard Toney say that even if you do call me un- 
 christian, God-forsaken and wicked, I was born right here in 
 this village. 
 
 Three W. {agliast). What ? 
 
 Star. Yes, and Fm one of you, and you can't disown me. 
 No, no, you can't. Toney says I'm one of you, and he knows. 
 And now you call me such names again if you dare ! 
 
 {The three woinen gasp ; Star, coiifroiits them ; Silas and 
 HuL. are at 07ie side looking on 7vith admiration. Toney 
 comes in L. u. e. He stops, takes in the situation and 
 starts on beholding woineji.) 
 
 Toney {enterino^. It's most time, pet ! 
 
 Star, {running to him with a cry). Oh, Toney, Toney, 
 I'm so glad you've come. I'm so glad. Tell them I'm not 
 wicked. Tell them we're all good. You, Pa, Hulda, and all 
 of us. {Sobs in his arms.) Tell them ! Tell thei^i ! 
 
 Toney {as she weeps in his arms). There, there, pet. 
 
THE SAWDUST QUEEN JQ 
 
 HoBBES {heard outside). And now, ladies and gentlemen, 
 comes the act of the afternoon, the act you are all waiting for, 
 the act you have come to see — Starlight, the Queen of the Saw- 
 dust. 
 
 ToNEY. Run along, pet, and ride. 
 
 Stak. {going out, hysterically'). Yes, yes, I'll ride, ride, 
 ride. 
 
 {She runs out L. u. E. Toney closes the curtains after her 
 with a jerk and then turns on the ejnbarrassed quartette,) 
 
 Toney. What did you say ter my little gal? 
 
 Three W. Only what we thought it was our Christian 
 duty to. 
 
 Toney {after an instant, controlling his feelings with diffi- 
 culty). Say, how'd you git in here, anyhow ? 
 
 {An embarrassed silence and then.) 
 Miss Prue. Well, we 
 
 Miss Pross. Yes, that's it, we 
 
 Miss Prouty. Oh, we 
 
 Silas. Yas, that's just how. 
 
 Toney. Wal, you just git through them curtains {indicat- 
 t?ig openifig L. u. e.) as quick as you think it's your Christian 
 duty to. {All four hasten quickly up and off. Hul. laughs up- 
 roariously and Toney throws hifnself down upon the drum in 
 despair.) Oh, it's no laughing matter, Hulda. My little gal 
 ain't goin' ter be the same now, and Pve got the blues, too. 
 
 Hul. Ach Himmel ! you, Toney? Shust count deraplabet 
 sixty times and den forged it and der blues will have blue. 
 
 Toney. No nonsense, Hulda, I'm afraid something's going 
 to happen to my little gal. 
 
 Hul. Starlight ? 
 
 Toney {sadly). You see, I used to live here in this village, 
 Hulda. 
 
 Hul. Dis awful place ? 
 
 Toney. Yes. It was a long time ago. Most long enough 
 to forget. Anyway, my little gal forgot it until to-day. But 1 
 shall never tell her of it again unless — I have to, Hulda. 
 
 {A pause while she looks at him, and then.) 
 
 Hul. Toney ? 
 Toney. Yes ? 
 
20 THE SAWDUST QUEEN 
 
 HuL. Why did you join mil der show business? 
 
 lONEY. I can't tell you jusl why. I had to leave the vil- 
 lage, for I didn't want to live among bigots. I wanted to 
 find the warmth and sunlight that doesn't creep into the cracks 
 and crannies of the narrow life. 1 wanted to find true loyal 
 hearts, hearts that beat as mine did. So I went out into the 
 world, Hiilda, and took my little girl. We joined this show, 
 and — and I've never regretted it, Hulda, until now. 
 
 HuL. {^aghast). Ach Himmel, Toney, you do ? 
 
 ToNEY. You see, my little girl isn't a little girl any longer. 
 She's growing up fast. She'll soon be too big to ride Black 
 Bess 
 
 HuL. Ach Himmel, Black Bess she not live forever. 
 
 Toney. No, and my little gal can't be a circus gal forever. 
 I've got that to think of. She wasn't a circus child in the first 
 place, for she belongs to good people, Hulda, and comes from 
 the best there is in this village. 
 
 HuL. Ach Himmel ! How you talk mit yourself, Toney. 
 
 Toney. I don't know why I'm telling you this, Hulda. I 
 just can't help it, that's all. I know I'm wedded ter the circus 
 and that I'm only a clown ; but with all that, I was one of 'em 
 once, and I've got ter talk about it, Hulda. I've got ter talk 
 about it, and tell some one. And then seein' their cousin 
 
 HuL. Vos dot man dere cousin ? Say, Toney, he made 
 eyes mit me, Ja. 
 
 Toney. I don't mean Silas Hankum. But out there, when 
 I was doing my act, I caught his eye. He stared, but he didn't 
 know me in my make-up. [Excitedly.') But he's goin' ter 
 see her, Hulda. He's goin' ter see her. 
 
 {^He goes tip L. u. e. and peers off through curtains.) 
 
 Hui.. (aghast). Where are you, Toney? Come back mit 
 yourself and speech. What we do if you go wrong mit your- 
 self? 
 
 Toney {coming hack). Don't be afraid, Hulda; I can keep 
 a level head. I'll hold my bosses until it's time, even if 
 Deacon Matthew Sterling does see her. He'll get the truth 
 from me when I get good and ready to tell him. 
 
 {A gong rings outside.) 
 
 HuL. Der first haf of der show is over. I must get ready 
 mit my snakes now. {Goes l.) I go look at dem. 
 
 \_Exit, L. 
 
THE SAWDUST QUEEN 21 
 
 Herr p. {co?niiig in l. u. e.) Meestair Toney, you help 
 me make my change, yais. I must be queek, and zee buttons 
 go up behind. 
 
 Toney (as they go r.). Is the act over ? 
 
 Herr P. Yais. Starlight she ride beautifully. I stay too 
 long to watch her. 
 
 (They go out r. An instaiit and then Star, rims in l. u. e. 
 She is pursued by Ned Sterling, a young college lad of 
 twenty. 
 
 Ned. Starlight ! Starlight ! It's you. {As Star, dodges 
 behind the drum.) Come here and tell me it's you. 
 
 Star. No, I can't and you mustn't stay here. It's against 
 the rules. Pa Hobbes and Toney would be very angry if they 
 knew. 
 
 Ned. I don't care about Pa Hobbes and Toney. I don't 
 care about anything else but you, you. You haven't clianged 
 if you are a — a circus lady. You're just the same Helen that 
 I knew last winter. 
 
 Star, (laughing). I never change, Ned. 
 
 Ned. Why didn't you make some motion, some sign, when 
 you saw I recognized you, and when I was just dying for a 
 look? 
 
 Star, (laughing). Oh, Ned ! 
 
 Ned (hotly). Yes, I know you'll say it's the same old 
 story, Starlight ; but honest I've got it bad. 
 
 Star. What ? 
 
 Ned. Love. 
 
 Star. Love ? 
 
 Ned. Yes, for you. (As she laughs and runs away from 
 him and dances behind the drum and dodges him.) I love 
 you more now than I did last year, I can't think of any one 
 but you. Why, I never saw anything through the performance 
 but you, Starlight. 
 
 Star, (solemnly). But you're only a boy, Ned. 
 
 Ned (hotly). And you're only a girl, and younger than me at 
 that. So if I'm only a boy, you must be a kid. (He goes up.) 
 
 Star, {coming from behind dru77i and approachiiig hij?i). 
 Don't be angry with me, Ned. What am I to do when you get 
 so wild and run after me so? 
 
 Ned (e7nbracing her). Oh, Starlight, don't you realize that 
 I really and truly do care for you, that I'm not like these circus 
 
22 THE SAWDUST QUEEN 
 
 mashers that are filling you up with guff all the time, that you 
 must take me seriously ? 
 
 Star. How can I ever take you seriously ? 
 
 Ned. Don't you love me? 
 
 Star, {sadly). There's only one person that I have a right 
 to really love and that's Toney. 
 
 Ned. And who's Toney? 
 
 Star, {quietly). My father. 
 
 Ned. Your father ? 
 
 Star. Yes. You know you met him last winter. He took 
 care of the college dormitory while I waited on table. 
 
 Ned. And stole my heart, hand and soul. That man your 
 father? I don't believe he's anything to you. 
 
 Star, {as^hasi). Ned ! 
 
 Ned. Well, perhaps I ought not to come out quite so 
 strong ; but you see I love you, Starlight, and I'm jealous when 
 you talk about another fellow coming in between us, even if he 
 is your father. I can't stand it. {A pause and then.) I say, 
 Starlight, I suppose I'll have to ask him anyhow. 
 
 Star. Ask him what ? 
 
 Ned. Why, for you. 
 
 Star. For me? 
 
 Ned. You don't suppose that I'm going ahead and fall in 
 love with you so that I cannot get out, and then have your fa- 
 ther come in between us ? 
 
 Star. No, that wouldn't be right. I don't know what 
 Toney will say. 
 
 Ned. He'll take it philosophically, if he's the man I think 
 he is. 
 
 Star. Perhaps. But he thinks so much of me. 
 
 Ned. Then he'll say it all rests with you. 
 
 Star. That sounds just like him, Ned. 
 
 Ned. He'll say that if you have stolen the heart of a rich 
 young college youth, and this same young man caies more for 
 the girl he loves than he does for his studies, said young man 
 ought to ask said young lady to marry him and end it all. 
 
 Star. And what do you suppose Toney would want me to 
 say in reply, Ned? 
 
 Ned. He'd want you to say yes before I could say "Jack 
 Robinson." Now say it. 
 
 Star, {alarmed). Oh, no, no; Toney wouldn't want me 
 to say that. 
 
 Toney {entering ^.). Why not ? 
 
THE SAWDUST QUEEN 23 
 
 Star, {confused^. Oh, Toney, you heard? 
 ToNEY. Yes, and I've used my eyes, too. Didn't I keep 
 that dormitory last winter ? 
 
 Ned. I guess you did, sir. 
 
 Toney. Now look here, you aren't a bad sort of a chap, 
 and I ain't against yer if yer really love my little gal, and I 
 believe yer do even if yer are er little more than a boy. But 
 there's this objection you've got ter think of. I'm er clown 
 and she's my darter, a circus rider. What' 11 your folks say ter 
 that sort of a match ? 
 
 Ned (Jiotly). I don't care what my folks say; I'm pleasing 
 myself not my folks. 
 
 Toney. Yes, that's all very well in its way, but it makes a 
 bigger commotion than you think of when you start off ter fire 
 a bomb among yer relations ter burst fer the rest of yer life. 
 Yas, this goin' ahead and takin' things inter your own hands 
 don't alius come out right. Yer must consider yer relations. 
 
 Ned. No, I won't. 
 
 Toney. Why not ? 
 
 Ned ijiotly). Because my father didn't. 
 
 Toney {quickly). You bet he didn't. 
 
 Ned {aghast). You know my father? 
 
 Toney {recovering himself). Well — well 
 
 Star, {jvith a cry). Oh, Toney, it is true, then. We did 
 come from here? 
 
 Ned. What, you don't mean that you're one of us? Oh, 
 Starlight, I love you all the more. Oh, sir, if that's the case, 
 circus or no circus, don't say no ; let me have Starlight. 
 
 Toney {after a pause). Do you want me ter, Starlight? 
 
 Star, {quietly). Yes, Toney. 
 
 Toney. You know best. It's your affair, and I ain't er- 
 goin' ter stand between you and your choice, and I'll be 
 hanged if I'll let your relations. Here, take her, boy, and 
 now let 'em holler. 
 
 Ned {as they embrace). Starlight, my Starlight ! 
 
 {As they stand there in each other' s embrace loud voices are 
 heard outside curtains l. u. e. ) 
 
 HOBBES {outside). I say I ain't er-goin' ter have it. I ain't 
 er-goin' ter have anybody chasin' my gals inter the dressin' 
 tent. It's ergainst the rules and regulations of my show. 
 
 Deacon Matthew Sterling {outside l. u. e., in calm, even 
 
24 THE SAWDUST QUEEN 
 
 voice^). I'm not chasing your girl into any dressing tent. I 
 don't know a dressing tent from any other kind of a tent. 
 
 Ned (^qidck/y ; alarmed'). It's my father. 
 
 Deacon. However, it makes no difference to me whether it 
 is a dressing tent or not, I am after my son. I am chasing 
 him. 
 
 HoBBES. Your son ? You git out. Say, I ain't been in 
 this business all these years ter be fooled like that. Your son ? 
 
 Deacon. Yes, my son, sir. That's what I told you. And 
 whether you have your rules and regulations or not, sir, my 
 son is inside your dressing tent now. 
 
 HoBBES [wiih a shriek). What? 
 
 Deacon. I saw him go in there. 
 
 HoBBES. The young scalawag ! 
 
 Deacon. He chased that young bareback rider through 
 these curtains and he hasn't come out. 
 
 HoBBES. I don't believe it. 
 
 Deacon. Do you mean to tell me to my face that I do not 
 tell the truth, sir? 
 
 HoBBES. Wal, there's no knowin' what I'll be tellin' yer if 
 you're goin' ter break up my show. Did any one ever see such 
 luck? Say, you git right back to your seat and let this show 
 go on. 
 
 Deacon. I'll do no such thing, sir. I do not intend to 
 stir one step until I get that boy of mine. Oh, I know there's 
 something going on. He didn't hang around here all day 
 yesterday for nothing. 
 
 Ned. To get a look at you. Starlight. 
 
 Star. How angry he is ! 
 
 Deacon. And now, I say, he is in there, and what do you 
 intend to do? 
 
 Three W. {outside). Yes, what do you intend to do? 
 
 Hobbes. Wal, the only way ter settle this deebate is fer me 
 ter investigate. 
 
 Star, {quickly; alarmed). They are coming. 
 
 Ned. Good. I'll face them all and have it over with right 
 here. 
 
 ToNEY. No, not yet; it ain't time. Let's fool 'em and then 
 give 'em the surprise. Come inter my tent. {As they go r.) 
 Mum's the word, Starlight. 
 
 {He pushes aside the opeuiiigw. and he a7!dNET> exeunt almost 
 at the same instant as Hobbes enters l. u. e. folloived by 
 
THE SAWDUST QUEEN 2$ 
 
 Deacon, a tall, severely dignified gentleman, Miss Prue, 
 Miss Pross., Miss Prouty, and in the rear, Silas.) 
 
 HoBBES {showing them in). Thar, 1 told yer so; but o' 
 course you wouldn't believe it. Thar's no one here. 
 
 Three W. There's that gal ! 
 
 Deacon. Yes, the girl he followed. {Cofning dow7i ; to 
 Star.) Pie did follow you, didn't he? 
 
 Star. Who? 
 
 Deacon. My son. He ran in here after you, didn't he ? 
 
 {A pause a?id then.') 
 
 Star, {quietly). Yes. 
 
 Three W, There, we knew. 
 
 HoBBES {distracted). Why didn't yer lie? 
 
 Star, {distressed). Oh, I can't. Pa. I couldn't do a 
 thing like that. It — it wouldn't be right. Besides what harm 
 will it do to admit it ? 
 
 HoBBES. What harm ? Did any one ever see such luck ? 
 Why, it'll be the ruination of my show. These people won't 
 stop ter think. They'll spread it all over the county that you 
 was chased by a young ignoramus 
 
 Deacon. My son, sir, is not an ignoramus. 
 
 HoBBES. Wal, he don't know no better, if he is your son. 
 
 Deacon. Well, he should. 
 
 Three W. Yes, we brought him up. 
 
 Hobbes {distracted). Wal, this ain't no deebate. You're 
 holdin' up my show ter find er man and now where is he? 
 I've got five hundred people er-waitin' out thar. Did any one 
 ever see such luck ? Wal, decide quick. 
 
 Deacon. I want my son, sir ! Give me my son and I'll go. 
 
 Hobbes. Wal, where in the name of all the bad places I 
 can think of is your son ? 
 
 Three W. Ask her. 
 
 Star, {alarmed). I? 
 
 Deacon. Didn't you admit that he chased you in here 
 through those curtains? Now where did he go to? What 
 have you done to hide him ? 
 
 Star, {hotly). I haven't hidden him. 
 
 Deacon. But he is not here. What has become of him ? 
 
 Star, {f alter ingly). He — he's gone. 
 
 All {juith disdain). Gone ? 
 
 Ned {dashing in r., hotly). No, father, I'm here. I did 
 
26 THE SAWDUST QUEEN 
 
 follow her, and I came in here lo get a word with her, and I 
 shan't stand by like a coward, and see the girl I love humiliated 
 by all of you like this. 
 
 All. Love ! 
 
 Deacon. What are you talking about, my son ? 
 
 Ned. I'm talking about this girl. Starlight. I've known 
 her ever since last winter, and I'm going to do like you did, 
 father, and marry the girl I really love. 
 
 All (aghast). What? 
 
 Deacon. Are you in your right senses, boy? Do you 
 mean to tell me that you deliberately intend to marry this girl 
 you have picked up here — this common circus woman 
 
 Ned (as Star, titters a cry of pai?i). Don't you call her 
 names, father. 
 
 Star. Oh, please don't, Ned, please don't. 
 
 Deacon. Do you mean that you are in earnest — that I 
 shall be expected to recognize an alliance of this kind ? You, 
 my son, the son of Matthevy Sterling, marry a circus girl 
 
 TONEY (efitfri?ig r. ; he has removed his clozv7i make-uf). 
 Look here, that gal's every bit as good as your boy. 
 
 Deacon (aghast). ToneyO'Hara! 
 
 ToNEY. Yes, you know me well ernough and yer ought ter, 
 when you married my gal, Nellie ; and there stands your child. 
 
 (He points at Star.) 
 
 Star, (with a startled cry). Toney ! 
 
 HoBBES (throwing up his hands). Did any one ever see 
 such luck ? 
 
 QUICK CURTAIN 
 
ACT II 
 
 SCENE. — Living-room in the Sterling homestead in the after- 
 noon, three days later. A plainly and severely furnished 
 room. There are few pieces of furniture, but all very nice. 
 Several straight-backed, uncojufortable-lookifig chairs, a 
 table and a sofa. Down l. c. is a square desk-table upon 
 which are mwierous papers arranged neatly, also a Bible 
 and ofie or two books handsomely bound. The rooin has 
 three entrances ; a door c. leads outside ; a door L. opens 
 outzvard into Deacon's room ; a door r. opeiis imvardfrom 
 the front room. At the rising of the curtain this door is 
 open. The upper right hand corner of the room is cut off 
 by an alcove-like opening in ivhich is a long ivindow co?i- 
 cealed from the audience by a shade which is drawn down. 
 It is Just about dusk. 
 
 (^As the curtain goes tip, the ■ sound of singing is heard in 
 strident tones, accompanied by an organ. Miss Prue, 
 Miss Pross. and Miss Prouty are singing hymns in room 
 R., and the sound comes out to the audience. They are 
 singing ^^ Nearer My God To Thee,'' and sing the first 
 verse through. They then start on the seco7id, and after 
 they have proceeded an ifistant or so, Star, comes cau- 
 tiously out of the room, looking back, and quickly closes 
 the door. She waits an instant as if fearing detection, 
 but as the ladies sing on, reassured, she goes across to 
 7i)indow, R. u. e. and, raising the shade, looks long and 
 earjiestly off. Three days have made a great change in 
 her appearance. She is dressed severely itt black, her 
 skirt cut much longer than in the first act, with a touch 
 of 7vhite at neck and wrists, the whole effect making her 
 look old beyond her years. Her pretty, curly, ivavy hair 
 has been co7?ibed out, parted in the middle, draivn down 
 over her ears, and hangs in two severe braids tied with 
 black ribbon. Her appearance to o?ie who ktioivs her is 
 rather startling. Her romping, merry, light-hearted self 
 has gone. At times she breaks out i?tto the girl of the 
 first act only to check herself, but she seems earnest and 
 
 ay 
 
28 THE SAWDUST QUEEN 
 
 sincere in all her efforts to do as they are tryifig to have 
 her do. She stands at the windoiu a nwinent, and then 
 suddenly stretches out her arms toivard the light with a 
 cry.) 
 
 Star. Oh, you dear, dear old circus. You dear, dear old 
 friends. How can I do without you ? How can I stay here 
 and let you go away and leave me behind ? It's three days, 
 now, since I came and left you all there, and, oh ! it seems 
 years. Years. I — I don't see how I am going to stand it ; 
 but I must, and I am trying so hard. So hard. But I can't 
 forget you. No, no, and I never shall. Dear, dear old 
 friends. (As she stands gazing off wistfully, she is interrupted 
 by tJie entrance of Ned, ^vho comes in c. and goes across to 
 door R. Star., startled.) Ned ? 
 
 Ned {sadly ; pausing). It's you, Starlight ? 
 
 Star, {coniing down). .You mustn't go in there. Cousins 
 are singing. They are teaching me the hymns for the meeting. 
 
 Ned. Then why are you out here ? 
 
 Star. I — I couldn't stand it any longer. I stayed as long 
 as I could and then I — I — came out. ( With a cry.) Oh, 
 Ned, where have you been ? 
 
 Ned. Down in the pasture living. 
 
 Star. Ned ! 
 
 Ned. What else was there for me to do ? I couldn't come 
 here. I don't know why I've come up here, now, unless it is 
 because I couldn't stay away any longer. (With a cry.) 
 You — my sister — my sister. {^He sinks doivn by the table and 
 buries his- face i7i his arms. Star, stands looking sadly at 
 him.) 
 
 Star. That's what Toney says. 
 
 Ned. Yes (bitterly), and Toney knows. Starlight, for the 
 last three days I've been raving like a mad man. 
 
 Star, (sadly). And I, too, have been trying to keep from 
 going mad. Oh, you don't know what I've been through. 
 But I've stood it so far, and I suppose I must go on, — and see 
 it to the end. 
 
 Ned. It will be hard at first, Starlight, but you'll get used 
 to it. 
 
 Star, (putting her hand on his shoulder). Yes, Ned, and 
 so must you, dear. 
 
 Ned (taking her hands). Oli, but I love you so. And 
 then to have such a shock of finding out you were my sister ! 
 
THE SAWDUST QUEEN 29 
 
 Star, {as he sobs). I know, dear, I know. But I'm — I'm 
 • doing the best I can, Ned, dear. 
 
 Ned (with a cry, gettmg up). And I'm selfish to go on 
 like this, when you have so much to contend with. But any- 
 how, I can't stay here. I want to get off somewhere and for- 
 get everything. (Suddenly.) Helen, I'm going away. 
 
 Star, {startled). Ned! Where? 
 
 Ned. I've got a notion of joining the show. 
 
 Star. Ned ! 
 
 Ned. I'm thinking seriously about it. I used to be pretty 
 good at athletics in college, and I hear Pa Hobbes is rather 
 shy in that line. 
 
 Star. He hasn't anybody that I know of. But what will 
 father say ? 
 
 Ned (sadly). I guess it won't make any difference. You 
 know how he treats me. An iceberg couldn't have any less 
 feeling. Anyhow I haven't seen him to know what he'll say. 
 
 Star. But you will before you go ? 
 
 Ned. I've made up my mind not to. 
 
 Star. Why? 
 
 Ned (bitterly). Because it is partly his fault that I am 
 going. 
 
 Star. What do you mean ? 
 
 Ned. He might have told me that you were in existence. 
 
 Star. But how could he when he didn't know ? 
 
 Ned (hotly). Didn't know? Didn't he drive your m.other 
 out of his house because you were a girl ? 
 
 Star. But Tony said that I died. 
 
 Ned (soberly^. Yes, I forgot that. 
 
 (A pause and then.) 
 
 Star. Ned, dear, you won't go away — you won't run off 
 and join the circus without saying good-bye to father? 
 
 Ned. I don't know what I'll do yet. I haven't decided. 
 
 Star. But you will, at least, let me tell him you are 
 going? 
 
 Ned. No. Father has played mean. He has broken my 
 heart. 
 
 Star, (luith a cry). Ned ! 
 
 Ned. Hear those hymns? Just hear them! Wouldn't 
 such piety, and cold-blooded devotion drive one insane? 
 Must every thought be a prayer? I don't see how you stand 
 it, Helen. 
 
30 THE SAWDUST QUEEN 
 
 Star, {soberly). I stand it because I must. It is to be my 
 life. 
 
 Ned. Good heaven ! Not to be brought up as those three 
 old women, who never had any children, with their narrow 
 and frigid ideas think you should be trained ? 
 
 Star. But you forget father. 
 
 Ned {going to door c). Father ! 
 
 Star. Where are you going? 
 
 Ned. Back to the sheep house. 
 
 Star. But you'll come and say good-bye to me before 
 you go, Ned ? 
 
 Ned. Yes. And then I'll go to Toney. 
 
 Star, (with feeling). Toney. How much longer will the 
 circus stay, Ned ? 
 
 Ned. I don't know. Why don't you ask Toney or some 
 of them ? 
 
 Star, {sadly). I can't. 
 
 Ned. Can't ! 
 
 Star, {soberly). No. I've promised not to go there or 
 speak to any one of them again. 
 
 Ned {ivith a cry). Helen ! 
 
 Star, {with a cry). They say it's wicked. ( With feeling.) 
 Oh, but it isn't, Ned, it isn't wicked. They were all my 
 friends and were so good to me, and I love them all so — but 
 I promised. 
 
 Ned. Why ? 
 
 Star, {soberly). It's part of my new life. Father and 
 cousins say that I must learn to obey. ( With a cry.) Toney, 
 dear kind Toney, never taught me that. Perhaps he didn't 
 need to. He was always so kind to me that I always did just 
 what he wished me to do. 
 
 Ned {sadly). I didn't think you'd throw down your old 
 friends, Helen. 
 
 Star, {ivith a cry). Oh, Ned, that is cruel of you. You 
 don't understand. You don't know. I love them all, all. I 
 shall never forget them. 
 
 Ned. Forgive me, dear. I don't know what I am saying. 
 I didn't mean to hurt you, dear. {A pause.) We're both of 
 us in trouble. 
 
 Star, {eagerly). But it will come out all right, Ned, it 
 must in the end. 
 
 Ned {going out; sadly). I don't see how. I don't see 
 how. \_Exit, c. 
 
THE SAWDUST C^EEN 3I 
 
 Star. (/// window looking after him). Dear, dear Ned. 
 Yes, 1 love you, I love you if you are my brother. 
 
 (Aft ifistant and then she pulls doivn the shade. Door R. is 
 flung open and the three ladies enter all very tnuch exer- 
 cised a fid talking rapidly.) 
 
 Miss Prue. The idea, she sneaked out. Sneaked ! 
 
 Miss Pross. I knew it would be just this way. 
 
 Miss Prouty. And when we flattered ourselves that she 
 was really becoming one of us. 
 
 Star. (comi?ig down ; eagerly). I am. Really, I am. 
 
 Three \V. Helen ? 
 
 Star. Yes, it's Helen, Helen Sterling; but, oh, won't you 
 please call me Starlight just once ? 
 
 Three W. (aghast). Starlight? 
 
 Star, (with feeling). It — it will be a tiny bit of a change. 
 
 Miss Prue. I told you, Patricia Prouty, that you couldn't 
 beat those circus notions out of her head. She's thinkin' of 
 *em even now. 
 
 Miss Pross. (severely). Why did you defile that beautiful 
 anthem by leaving the room ? 
 
 Miss Prue. By sneakin' out? Sneakin' ? 
 
 Miss Prouty. And when our back was turned, like er 
 thief? 
 
 Star, (with a cry). I didn't sneak out. I didn't wait 
 until your back was turned, and Pm not a thief. 
 
 Miss Prouty. Don't lie about it, Helen. 
 
 Star, (distressed). Pm not lying about it. I showed you 
 that I knew how to tell the truth there in the circus tent that 
 day 
 
 Three W. (ivith a shriek). Circus tent ! 
 
 Miss Prue. Will you never become a God-fearing suppli- 
 ant to the religious life ? 
 
 Miss Prouty. Don't you know that you must not think of 
 such things as a circus ? 
 
 Miss Pross. Haven't you been told that no decent person 
 who goes ter church meetin' regular every Sunday, and five 
 times week days, gives such things and such varmints er 
 thought? 
 
 Three W. We don't. 
 
 Star, (wistfully). I know you don't and that makes it 
 all the harder for me. But you'll be patient with me, won't 
 you ? Cousin Prudence, and you. Cousin Patricia, and even 
 
32 THE SAWDUST QUEEN 
 
 you, Cousin Patience, must admit that I have improved 
 wonderfully ? 
 
 (^A pause and then.') 
 
 Miss Prouty. Umh. Some. 
 
 Miss Prue. But there's lots more room fer development 
 yet. 
 
 Miss Pross. Or rather undevelopment. 
 
 Three W. Yes, undevelopment. 
 
 Star. I am trying hard to believe that I am one of you, 
 indeed I am. That my father is a deacon of a church and is 
 rich and respected, and that, being his daughter, I must be 
 quiet 
 
 Three W. Of course. 
 
 Star. And reserved 
 
 Three W. Of course 
 
 Star. And talk about religion and sewing circles 
 
 Three W. Of course. 
 
 Star. And be like 3^ou all. And be like you all. (^Hys- 
 terically. ~) You see I do know, don't 1? Won't you say Pm 
 learning? That I am doing better? 
 
 {A pause and the7i.) 
 
 Miss Prue. Well, the truth is, Helen, you do all right 
 ernough fer er spell, and we really think you are gettin' hu- 
 manitized like us, when you, sudden-like, burst out with some 
 awful expression 
 
 Star, (^puzzled). Awful expression? 
 
 Three W. Like circus. 
 
 Star. But that isn't awful. 
 
 Three W. No, it's wicked. 
 
 Star, {hotly). But it isn't wicked — it isn't wicked. It 
 isn't wicked to talk about that dear old place and those I love, 
 and when they've been so good to me, and 
 
 Three W. (aghast). There you go again. 
 
 Star, (soberly). Forgive me. Please forgive me, I — I 
 forgot. 
 
 Miss Prue. I don't know whether we can have the cour- 
 age 
 
 Miss Pross. Or the cheek 
 
 Miss Prouty. Or the patience 
 
 Miss Prue. Ter face that congregation at prayer-meetin' 
 with you ter-night, or not. 
 
THE SAWDUST QUEEN 33 
 
 Miss Prouty. She'll be sure ter make some awful break. 
 
 Star, {jvith a cry). Indeed 1 won't, Cousin Patricia. 
 
 Miss Pross. Or say somethin' ter make us so mortified. 
 
 Star. No, no, I'll listen and never utter a sound. 
 
 Miss Prue. But that's what you said when we went last 
 night, and right in the midst of Pastor Jones's prayer, when he 
 was prayin' that the Lord would open his flood gates and 
 cleanse this earth of such a Leviathan as that everlastin' 
 heathen circus 
 
 Thri:e W. {with a shriek). You screeched out that it 
 would ruin Pa Hobbes's business, and broke up the whole 
 meetin'. 
 
 Star, (distressed). I know I did; but I forgot where I 
 was. I forgot that I was in church where even our own 
 thoughts are sacred, that I was in prayer, that — that 
 
 Miss Prue (carried aivay). I was lost in admiration at 
 Belindy Baker's new mohair cape — — 
 
 Other Two (aghast). Prudence ! 
 
 Miss Prue (hastily). It fell on my lap when I was prayin' 
 and I just couldn't help but see it. 
 
 Star. That all happened last night, when I didn't know 
 all that I know now. But a whole day has passed since then. 
 A whole day. It seems years. {Quickly afid eagerly.) I'm 
 doing much better now. You see it makes a difference, 
 doesn't it? 
 
 Three W. {an instant and then). You shall go ter prayer- 
 meetin'. 
 
 Star, (eagerly). Oh, I'm so glad you'll trust me. 
 
 Three W. We'll make the attempt anyhow. 
 
 Miss Prue. And now that you've promised not to disgrace 
 us and be forever remindin' our neighbors that our cousin was 
 once a 
 
 Three VV. Heathen. 
 
 Miss Prouty. We will all four once more go back and try 
 over the rest of the hymns we shall sing this evening. 
 
 Star, {eagerly). Oh, yes, yes, let's do. (^Goes r.) 
 Please hurry. \_Exit. 
 
 (The three wojnen alone look at o?ie another afid then.) 
 
 Miss Prue. I do declare, I really believe that gal wants ter 
 be like us after all ! 
 
 Miss Prouty. I had her settin' there, in the front room, 
 
34 THE SAWDUST QUEEN 
 
 fer two hours tliis mornin' in that straight-backed chair, tellin' 
 her about the Creator and all the beautiful things that hapijens 
 ter them that believes in him, and iHustratin' my text with 
 Bible stories, when bless my everlaslin' Ebenezer, right in the 
 midst of it, when I thought she was really gettin' interested 
 and Christian-like, if she didn't up and say that Joseph's coat 
 of many colors couldn't beat Hulda's tights when it rained in 
 on 'em. 
 
 Three W. (zai'lh a shriek). Did you ever? 
 
 Miss Prue. Yes, we've got our hands full teachin' Matthew 
 Sterling's daughter ter remember the new and ferget the old; 
 but 1 really do believe if we all three try hard ernough she'll be 
 er credit fer Matthew ter put at the head of his table after we 
 git through with her. 
 
 Star. {looki7ig in r.). Aren't you coming? I think I know 
 the first hymn already. Cousin Prudence, won't you play and 
 let me turn over the music ? 
 
 Three W. {aghast). Well, did you ever? 
 
 {They all file out r. During the following scene the organ 
 is heard playing softly the various hymns i?i a subdued 
 manner accompanied by the singing — subdued. Door L. 
 is opened and Deacon comes into the room followed by 
 HoBBES, who is quite ivorked up and excited.) 
 
 Deacon. Some one has pulled the window shade down and 
 it makes the room a bit dark, but you can see your way out, 
 Mr. Hobbes ! 
 
 HoBBES. I'm blowed if I can, gent. Did any one ever see 
 such luck ? 
 
 Deacon. But the door is right there. {Points c.) 
 
 HoBBES. Wal, I know it's thar, but that ain't the way out 
 I was thinkin* of. Pll be all my stars and gallusses and all 
 commotion and creation, if I can see my way out of the hole 
 I'm in, door or no door. 
 
 Deacon. Hole ? 
 
 HoBBES. Yas, that's what it is, an' you put me thar. 
 P'raps you call it er ditch, fer Fm ditched flat. Did any one 
 ever see such luck ? 
 
 Deacon. I'm sorry, Mr. Hobbes. 
 
 HoBBES. Sorry ? H'm ! Do yer think that's goin' ter run 
 my show, and pay my bills and get me off that everlastin' lot 
 of yourn ? If somethin' don't bust soon, we'll be settin' thar 
 
THE SAWDUST QUEEN 35 
 
 till Jacob comes down his ladder, and Gabriel blows that horn 
 you folks is alius quotin'. I wish I had er horn. I'd blow up 
 the whole bloomin' neighborhood ! 
 
 Deacon. I thought we had settled this matter, Mr. Hobbes. 
 
 HoBBES. Now, look here, gent. I never made no settle- 
 ment, fer I ain't been in the circus business fifty years almost, 
 and Aim flammin' folks, ter have an easy mark made out er 
 me. No, siree. I don't make no settlement where the other 
 feller gets the best of the deebate. No, pard, that ain't the 
 way I does business. 
 
 Deacon. I am afraid you will have to come again, to-mor- 
 row. 
 
 Hobbes (aghast). What ? Hang eround here another day ? 
 
 Deacon. And then, perhaps, you will be more in the mood 
 to listen to reason. 
 
 Hobbes. No, pard, thar ain't no mood that'll see me 
 skinned. It ain't accordin' ter natur'. 
 
 Deacon {who resents his fainiliarity). Perhaps you had 
 better sit down, Mr. Hobbes. 
 
 Hobbes. Perhaps I'd better stand. Time is pressin' and 1 
 wants my final answer now. The question under deebate 
 atween us is if you can be allowed, accordin' ter law, ter keep 
 that gal and my head liner and ruin my show, and then expect 
 me ter turn eround and pay you your price fer showin' on your 
 lot, when I ain't got nothin' ter show with ? Did any one ever 
 see such luck? It's er beat. It's er steal. 
 
 Deacon. Steal, Mr. Hobbes? 
 
 Hobbes. Yas. It's er downright swindle. Oh, I might er 
 knowed I'd never git my recovery fer playin' through this 
 county. I was busted when I come through here before ; but 
 I guess — but that ain't the question under deebate. It's what 
 do you intend ter do, pard ? 
 
 Deacon. I have just found my little girl, and I certainly 
 do not intend to allow her to continue with a vulgar lot of de- 
 graded people. 
 
 Hobbes {iighasi). Deegraded? 
 
 Deacon. Even if she is a head liner, as you call it. 
 
 Hobbes. Then you mean ter up and have the face ter tell 
 me that the gal's goin' ter stay with you, and I must pay that 
 rent before I move that show off your lot ? 
 
 Deacon. I believe that is the way of it, Mr. Hobbes. 
 
 Hobbes. Wal, did any one ever see such luck ? Sny, look 
 here, pard, now I'll tell yer what I'll do • 
 
36 THE SAWDUST QUEEN 
 
 Deacon. Mr. Hobbes, you have already told me of the 
 numerous things you are going to do, and I have given you 
 my time to arrive at a satisfactory understanding, but, really, 
 don't you think that it is my turn now? 
 
 Hobbes (tighast). I'll be blowed if it ain't been your turn 
 ever since we started. 
 
 Deacon. However, in the future I shall refer you to my 
 overseer and head man 
 
 Hobbes. No, pard, I don't have no lackey throwed at me. 
 I'm erbove servants. 
 
 Deacon. Mr. Silas Hankum is not a servant. He is my 
 business representative. You can call at his office in the vil- 
 lage when you come to your senses, and pay the rent due on 
 my lot. Until such time your show will remain under my 
 control. That is sufficient. Good afternoon. 
 
 Hobbes (aghast). Well, I'm blowed. No, I'm beat. No, 
 I'm skun. Skun, and ter the tune of " Throw out the life 
 line," too. Did any one ever see such luck? 
 
 Deacon. Good-afternoon, Mr. Hobbes. 
 
 Hobbes. Why don't you say git out, and be done with it ? 
 It's ernough ter make an honest, decent, steady, civilized, 
 naturalized citizen of this United States throw up the sponge 
 and quit. X^uit. Let the whole blamed show go ter the devil, 
 in plain English ; but I say, pard, if you think I'm goin' ter 
 pay you that money, you don't know Adanirum Hobbes. 
 Why, I'll let the whole blamed shootin' match go first ter 
 
 Deacon (quickly and coldly). I said good-day, Mr. 
 Hobbes. 
 
 Hobbes [upset). Wal, all I can say about it is that it's the 
 worst day I've struck yet. 
 
 {He goes up. As he goes up stage, door R. opefis and Star. 
 comes in, looking back into room.) 
 
 Star, {speaking off). No, I won't be but a minute. 
 Hobbes {discovering her). I'll be blowed if it ain't 
 
 Star, {turning and seeing him ; running to him with a cry 
 of delight). It's Pa ! Pa Hobbes ! Oh, Pa, I'm so glad to see 
 you. How's Toney and Hulda and Black Bess? And oh, 
 
 P {She catcJies sight of Deacon ivho is gazing at her 
 
 with displeasure, and suddenly remefnberifig, she stops, and 
 holding out her hand she says soberly.) I'm very glad you 
 called upon me this afternoon, Mr. Hobbes. 
 
THE SAWDUST QUEEN 37 
 
 HoBBES {aghast ; Deacon stands watching all this scene 
 critically"). VVluit's — whai's come over yer, Starlight? 
 
 Star. You — you mustn't call me Starlight, Mr. Hobbes. 
 You mustn't call me that any more. My name is Helen 
 Sterling, now. 
 
 Hobbes {Jinrt). Gittin' proud so soon, ain't yer? Even 
 call me Mr. Hobbes. 
 
 Star. {hurt). Oh, no, P — {quickly) Mr. Hobbes. 
 
 Hobbes. Wal, I don't care if yer are. You ain't ever any- 
 thin' else ter me but Starlight, and Starlight is what I am goin' 
 ter call yer. 
 
 ♦Star, (after an instant). Please, please, Mr. Hobbes, 
 won't you call me Helen ? 
 
 Hobbes {cighast). What difference does it make, and where 
 in the name of all persessed did yer git such er newfangled 
 notion ? 
 
 Star. Pve — Pve turned over a new leaf since last 1 saw 
 you, Mr. Hobbes. Everything has changed. Pm not a little 
 circus girl any longer. I'm — I'm Helen Sterling — now. 
 
 Hobbes. Wal, I'll be blowed. {A pause and then.) Say, 
 we miss yer awful. Starlight. 
 
 Star, {eagerly). Oh, you do— ^you do miss me, Pa? Oh, 
 and I miss you, too. I miss Toney, he was so kind, and 
 
 Hulda and her man in Germany, and {Recollects ; 
 
 soberly, ivith an effort.) I — I am different, indeed 1 am, 
 Mr. Hobbes, don't you think? 
 
 Hobbes. Wal, all I can say is, Pll be blowed if I know 
 what ter think. It's worse than er Turkish route out er China 
 ter me. I never did see such er difference in er gal in all my 
 past hist'ry. Why, bless my stars and gallusses, if I'd er 
 believed thar could be such er difference in a gal o' your style 
 and shape. [With a shriek.) Shape? Why, there ain't no 
 shape to yer now ! 
 
 Star. Cousin Prudence says that it was vulgar for me to 
 show my shape. 
 
 Hobbes (aghast). Say, if that old hen had er shape like 
 yourn, she wouldn't wear nothin' on it. 
 
 Deacon. Mr. Hobbes, you are talking to my daughter, and 
 a lady. 
 
 Hobbes (aghast). A lady? I'm talkin' to er child. And 
 such er child. My stars and the heavens they're shin in' in, 
 what be yer tryin' ter do ter her, anyhow? Why, she ain't 
 got no color, her eyes look back ter the day I was er boy, 
 
38 THE SAWDUST QUEEN 
 
 shinniii' fences and hookin' apples, they're so far erway, and 
 that black dress of hers — say, what kind of an idea do you 
 have about the way ter bring up children ? 
 
 Deacon. Surely, Mr. Hobbes, you, being a circus pro- 
 prietor, are not competent to tell me how to rear my child. 
 
 Hobbes. Say, gent 
 
 Star, {distressed). Oh, please don't, Pa — {quickly and 
 soberly) Mr. Hobbes. You don't understand it at all. 
 
 Hobbes. I'm blowed if I do. 
 
 Star. It's all quite correct and proper, I am sure, and 
 father knows what's best — don't you, father? 
 
 Deacon. You have the right idea, Helen. 
 
 Hobbes. Wal, I'm blowed if I have. (^Goes ?//€., affected.) 
 I can't stay here any longer, gent. 
 
 Star. Good-night, Mr. Hobbes. 
 
 Hobbes {opening the door ; tipset). Good-night, Star — 
 Miss Helen. 
 
 Star. Oh, thank you. 
 
 Hobbes {throwing np his hands). Wal, I'll be blowed. 
 
 [Exit, c. 
 
 {After he has rushed out c, leaving the door open, Star. 
 goes up and shuts it, and then stands waiting pa tie?itly to 
 be spoken to by Deacon, ivho has lighted a lamp on desk 
 and is seated at table down l. c. and is busy looking over 
 his papers. At last he looks up.) 
 
 Deacon. You may come here, Helen. 
 
 Star, {approaching him, timidly). May I please kiss you, 
 father ? 
 
 Deacon. Oh, no, indeed, Helen. Such things are entirely 
 unnecessary and especially in one of your years — sixteen. 
 You should never encourage affection, Helen ; it is apt to 
 make one indiscreet. 
 
 Star. But I'm sure I was never indiscreet when I was a 
 cir 
 
 Deacon. You need go no further. {A pause and then.) 
 You may be seated, Helen. You need not stand. {As she 
 throws herself into a chair before him in graceful abandon.) 
 Is that the way my daughter seats herself? {Site rises quickly 
 and sits again, slowly, folding her hands, patiently, and sitting 
 up very straight.) That is very much better. Now let me 
 look at you. 
 
THE SAWDUST QUEEN 39 
 
 Star, (as he puts down his papers and stares at her long 
 and earnestly). Why ? 
 
 Deacon. 1 want to see how you have improved. Yes, I 
 really think you have. I do beheve that my three cousins 
 have done wonders in three days. You may stand up, Helen. 
 {As she does so.) Yes, they really have done wonders. Sit 
 down, please. There, you did not forget. 
 
 Star, (quietly). No, father. 
 
 Deacon. Yes, you are really an interesting little girl. 
 
 Star. What do you mean by interesting, father ? 
 
 Deacon. I mean that you have many excellent qualities 
 that my daughter, Helen Sterling, should possess. That there 
 are splendid possibilities in your character for development in 
 the future. 
 
 Star, {startled). Future? 
 
 Deacon. Yes. For instance, your voice has several sweet 
 tones; but you must cultivate them, Helen. You must think 
 every time you speak just how you should speak, as well as the 
 words you are going to say and the thought you are going to 
 express. At the present moment your voice is loud, ugly, 
 harsh, quite strident to one of my temperament. In fact, it is 
 quite unnecessary, Helen, for you to speak so loud. 
 
 Star, {lowering her voice to almost a whisper). I — I'll try 
 not to, father. 
 
 Deacon. There, that really is much better. I have told 
 you of your vulgar manner of sitting down, so I need not dwell 
 on that longer. Now you are really quite intelligent for a 
 young girl ; but your ideas come too suddenly and you speak 
 before you think sufficiently, with the result that you are talk- 
 ing while some one else has the conversation. All of which, 
 in one of good birth, is extremely impolite and inconsiderate. 
 But I think you will soon understand about that. Now I hope 
 that you will always wear black — at least, for a time. Gaudy 
 colors do not become you, Helen. It isn't your fault, I know. 
 Most of your sex affect them, and the more of the rainbow 
 they assume, the more dazzled they become with themselves ; 
 besides, you have never been in mourning for your mother. 
 
 Star, {with a cry). Oh, yes, I have, I have. I have 
 always mourned for my mother. I always did and I always 
 
 shall. Always. Always. Toney told me there in the circus 
 
 {Recollects ; soberly. ) I — I forgot, father. 
 
 Deacon {looking at her critically aft instant and then). 
 Yes, I do think that you are a very interesting young girl. 
 
40 THE SAWDUST QUEEN 
 
 {Door R. opens a?id the three ladies enter, much upset. ) 
 Miss Prue. She said she'd be back in er muiute 
 
 Miss Prouty. Of course, she had no intention of coming 
 back 
 
 Miss Pross. I just knew we'd have all our pains fer 
 nothing 
 
 Three W. {discovering her'). Oh, here you be. 
 
 Deacon. Yes, Helen has been here with me. We've been 
 having a little heart to heart talk, and 1 have been telling her 
 that I really think she is an interesting young girl. 
 
 Three W. (aghast). Interesting? 
 
 Miss Prue. That ain't no name fer it, Matthew. 
 
 Miss Prouty. My land ! I guess it ain't, if you wastrem- 
 blin' in your shoes whenever you took her anywheres fer fear 
 she'd say something — something 
 
 Miss Pross. Interesting ? 
 
 Miss Prouty {with sarcasm). Yes, that's it. You'd have 
 another adjective ter apply. 
 
 Star. But Cousin Patience 
 
 Deacon. Helen, have you forgotten our little talk so 
 soon ? 
 
 Star. Oh, no — no. {Breaks down.) Please, please, let 
 me go away somewhere for a moment. Please. Please. 
 
 Three W. (aghast). Did you ever? 
 
 Deacon. Helen, you may go and get your things. {To 
 ladies.) I take it that you are going to meeting? 
 
 Three W. Prayer-meetin'. Ain't you goin' ? 
 
 Deacon. Not this evening. I have some urgent business 
 to transact. 
 
 Miss Prouty. Deacon Hawkins is going to read that ar- 
 ticle of his he wrote fer the Religious Beacon, on *'The Ele- 
 vatin' Influence and Spiritual Development of the South Sea 
 Islanders." 
 
 Deacon. That will be most instructive, I'm sure. 
 
 Three W. And we wouldn't miss it for worlds. 
 
 Star. {goi?ig r., eagerly). I will come this time in a min- 
 ute, I promise you. ^ [Exit, R. 
 
 {A knock on door c.) 
 
 Deacon. Come in. 
 
 (Silas enters and comes into the room.) 
 
THE SAWDUST QUEEN 4I 
 
 Three W. Ah, Silas ! 
 
 Silas. Evenin', Deacon. By gum, gals, it's a fine night, 
 clear as crystal in the candelabra. The moon's immense. 
 Yer won't need no lantern ter come from meetin' by ter-night. 
 Gol darn it, but you can see straight ahead as far as the circus 
 lot. 
 
 Three W. {severely). Circus? 
 
 Silas (icjanfiing up). By gum, gals, we did have er good 
 time, didn't we, thar? 
 
 Three W. (coolly). You did. 
 
 Silas. I reckon you enjiyed it if yer never did go before. 
 Anyway you knew the lion from the bearded lady. 
 
 Three VV. (zvith a shriek). Silas Hankum ! 
 
 Silas. But you did git pesky excited at that German strong 
 woman 
 
 Three VV. We ain't er-goin' ter talk erbout it. 
 
 Silas (snickering). Wal, by gum, gals, you better not. 
 You jist ought ter be kind er solemn, makin' such er fuss erbout 
 her bare arms. 
 
 Three W. (aghast). Bare arms? 
 
 Silas. But you seen 'em, anyhow, and so did I, too. By 
 gum, gals, I'll bet you can't show the dimples in yourn thar 
 was in hern? 
 
 Three W. (appeali?igly). Matthew ! 
 
 Deacon. Silas, cannot you see that the subject is dis- 
 tasteful ? 
 
 Silas (injured). Wal, — wal, I ain't seen 'em since that 
 day, ter talk erbout it, and I kind er want ter let off steam. 
 
 Three W. (starling for the door). We shan't stay. 
 
 Star, (entering r. She is dressed as primly as an elderly 
 woman). I'm quite ready. 
 
 (She gives the ladies their things.) 
 
 Three W. (putting on their shatvls, bonnets , etc., up). 
 Have you got your hymn-book ? 
 
 Star. Oh, yes. (Sees Silas, who has been staring at 
 her aghast at the sudden transforination.) Good-evening, Mr. 
 Hankum. 
 
 Silas. By gum, if I ever see (Recollects himself 
 
 quickly.) Good-evenin'. Go right erlong and I'll foller. 
 
 \_Exit all four, c. 
 
 Deacon. I suppose you have come to see what I am going 
 to do about that stranded circus ? 
 
42 THE SAWDUST QUEEN 
 
 Silas. I think we better have some understandin'. 
 
 Deacon. Mr. Hobbes, the proprietor, has already had 
 another tiresome interview with me, and I told him that I 
 would give him until to-morrow afternoon to settle up, or the 
 show must go under the hammer. 
 
 Silas (ughast). The hull of it? {Recovers himself .) But 
 ain't that er bit sudden, Deacon ? 
 
 Deacon. Sudden, Silas? I really am surprised at you, 
 
 Silas. But the poor man won't have time ter raise er dollar. 
 
 Deacon. It is not to my interest to consider this man's time 
 and the dollars he is gomg to raise, Silas. 
 
 Silas. By gum, it seems ter me you're pinchin' him just er 
 bit, Deacon. 
 
 Deacon. Well, we need not argue the point. The land is 
 mine, the show is on it; the debt is mine, not yours, Silas, and 
 therefore, it rests with me to do as 1 think best, 
 
 Silas. Of course, of course. Deacon \ but bein' your ad- 
 viser I'd say 
 
 Deacon. Collect or close, that's my motto. 
 
 Silas. Wal — wal, I'd think it over fust. 
 
 Deacon. You'll have plenty of opportunity to do so on your 
 way to meeting, Silas. 
 
 Silas. By gum — by gum {Goes j/pc) I'll take the 
 
 hint. [Exit, c. 
 
 Deacon {alone). Now the note to tell the sheriff to be pre- 
 pared. That man, Hobbes, won't be able to pay. It's impos- 
 sible. I'll show him how the righteous shall triumph. {He 
 writes, and for several instants there is Jiothing heard but the 
 scratching of his pen. At last door c. is thrown open 
 suddenly and Toney bursts into the room breathless from run- 
 ning. He slams the door and wheels on Deacon, 7vho rises, 
 startled, and folding his arrns gazes at him. He is in his 
 clown's dress of the first act, but is without his clown fnake- 
 up. He thro7vs his hat on a chair along ivith a bundle which 
 he carries done up in a cloth, and then turns on Deacon.) 
 You — you come here to my house, and in such a dress? What 
 do you mean, sir? 
 
 Toney. I mean just this, Matthew Sterling; that I can't 
 stand it any longer. It ain't human natur', and no man that 
 has real flesh and blood in his constitution, even if he don't go 
 ter church, would either. 
 
 Deacon, Have you come here to utter a protest on religious 
 belief? 
 
THE SAWDUST QUEEN 43 
 
 TONEY. No, I ain't. When I want ter do that I'll go where 
 I'll be heard. I've come ter have a little talk with you. It 
 ain't erbout myself, though God knows it ought ter be after the 
 way you treated my Nellie. It's erbout Pa Hobbes ! Matthew- 
 Sterling, you're goin' ter ruin him. 
 
 Deacon. How can I possibly ruin him ? 
 
 ToNEY. Oh, you seem ter have the hang of it all right. Pa 
 Hobbes has stood by me through thick and thin, and I can't 
 stand eround with my hands tied when he's sufferin' and down 
 in the mouth. Why, I've been with him ever since you had 
 that religious fit and drove me out er this village. 
 
 Deacon. Drove you out ? 
 
 ToNEY. Well, yer might call it somethin' else. But, any- 
 how, I couldn't stand by and see you prosper when you broke 
 my Nellie's heart and disowned her own child. 
 
 Deacon. And you took my daughter and ran away with a 
 circus. It's you I have to thank for that. And just see how 
 you have brought her up. 
 
 ToNEY. Can you find a gal that's been brought up better; 
 that has better manners ; that's brighter, smarter, more uncon- 
 scious of herself and her gain ; that can laugh prettier ; that 
 can smile so innocent ; that has such eyes and such pretty curly 
 
 hair and Yes, 1 brought her up, to be er credit to yer, 
 
 Matthew Sterling, if the time should ever come that I couldn't 
 stand in her way any longer and had ter tell. Yes, I brought 
 her up. 
 
 Deacon. In such a manner that it takes all the time and 
 patience of three women, her own sex, to undo the things she 
 has learned among such associations. 
 
 Toney {with a cry). I don't believe it. 
 
 Deacon. You don't need to. 
 
 Toney. But I ain't come fer that. What I want ter know 
 is what are you going ter do to Hobbes? 
 
 Deacon. Sell him out. 
 
 /roNEY (aghast). Sell him out? 
 
 Deacon. Under the hammer goes that show to-morrow 
 afternoon, unless I get my money. Everything goes, even to 
 the last bit of rope. I shall wipe such wickedness out of this 
 universe. Now that this thing has come into my hands, I in- 
 tend to put a stop to such glittering vice flaunting, dazzling 
 wretchedness as an example to the young and foolish all about 
 us. And I thank the Almighty that it's my opportunity to save 
 our homes in time. 
 
44 THE SAWDUST QUEEN 
 
 ToNEY. Matthew Sterling, were you born without er place 
 fer human feelings? 
 
 Deacon. 1 was born to be what I am. 
 
 ToNEY. Well, you may be the type of a God-fearin' Chris- 
 tian man ; but if yer are, then I thank God who made me, 
 too, that 1 ain't one er your kind. 
 
 Deacon. If you have come here to insult me, this interview 
 is ended. 
 
 {Starts f 07- door L.) 
 
 Toney {following hini). No, no, not just yet. 
 
 Deacon {tiir7iing). What else have you to say ? 
 
 Toney. I've got considerable that I want ter say, but I 
 don't know as you'll let me say it. 
 
 Deacon {witli a supercilious smile). Ah ! 
 
 Toney. But I'm goin' ter say some of it an)/how, and 
 you'll listen 
 
 Deacon. Listen ? 
 
 Toney. I cal'late you think I ain't had no eyesight; that 
 I've been blind all these days; that I ain't seen the way things 
 was goin' 
 
 Deacon. Going ? 
 
 Toney {hotly). Oh, yes, I've watched the whole pro- 
 ceedin' 
 
 Deacon. To what do you have reference, Mr. O'Hara? 
 
 Toney. This trap you've been settin'. 
 
 Deacon. Trap ? 
 
 Toney. To place Pa Hobbes in. Oh, I've seen your hand 
 in everything that's been goin' on. Hobbes hired the land, 
 you rented it ; Hobbes had ter have hay, you pervided it ; 
 Hobbes had ter have the ile ter see by, you sold it ter him, and 
 charged him your price. {As Deacon demurs.) Oh, 1 seen 
 the bill. Hobbes had ter have oats, you gave him out er your 
 bins at your figger for there was no one else ter break up the 
 monopoly; and the wood ter burn come from your wood-pile. 
 Yes, you pervided the show, you kept us erlive at your price, 
 and now yer ain't content with doin' all that ; but you're goin' 
 ter up and sell the show ter git double the interest back on 
 your money. And you ain't goin' ter do it. 
 
 Deacon. Who's going to })revent me? 
 
 Toney. I will. 
 
 Deacon {ivith a sneer). And what can you do? 
 
 Toney. Save that show, if it takes my last dollar ! 
 
THE SAWDUST QUEEN 45 
 
 Deacon. Have you the five hundred? 
 ToNEY {aghast'). Five hundred? 
 Deacon. Wilh extras, inchidino^ 
 
 't) 
 
 ToNEY (with a sneer). Hay, grain, wood, lie — It's 
 
 outrageous. 
 
 Deacon. If you haven't the money, don't make ex- 
 cuses 
 
 ToNEY. I won't ! You make out your bill. (As Deacon 
 sits at table and prepares.) Ter me, of course. 
 
 Deacon (afi instant). Very well. (^He writes. After an 
 instant.) There you are. 
 
 Toney {tossing him a wallet). There you are. 
 
 Deacon. I'll count it before you go, please. (Bus.) 
 
 Toney. And you'll receipt that bill before I go, please. 
 
 Deacon. Certainly. (Takes up the money.) It's all right. 
 
 Toney (taking the receipt). So's this. Now we're quits 
 and I'll go back and tell Hobbes 
 
 Deacon (getting up). Do you mean to say that Hobbes 
 knows nothing of this transaction ? 
 
 Toney. Yes. He's got ter think yoii give him er respite as 
 they calls it. Besides I — I can't tell him I did it. 
 
 Deacon (coldly). Good-evening. 
 
 Toney. It is er good evenin' — the happiest in my evenin' 
 er life, fer I've saved Hobbes and I've saved the show, too, and 
 what's more than all the rest put tergether, I've got er clear 
 conscience'. I've done good ! 
 
 (Door c, back, is burst open and Ned comes into the room.) 
 
 Deacon (surprised). Ned ! 
 
 (^o^YX goes up.) 
 
 Ned (coining doivn; excitedly). I had to come in; I 
 couldn't wait ! Father, I'm going away. 
 
 Deacon. Going away? 
 
 Ned. Yes, and I'm never coming back. 
 
 Deacon. What nonsense. 
 
 Ned (with a cry of distress). It isn't nonsense. If you 
 were in my position, you'd do the same, and you'd go without 
 telling your father first, as I intended to do ; but Helen made 
 me promise to tell you. Oh, father, you don't know what it is 
 to suffer this way. 
 
46 THE SAWDUST QUEEN 
 
 Deacon. Suffer? You should have some real suffering, 
 and then you would know that there is a difference between a 
 boyish flirtation and real pain, and heartache. 
 
 Ned {with a cry). My heart is broken ! Oh, father, I 
 can't stay here every day and remember that I am her brother. 
 
 ToNEY {imderstanding the situation). Her brother? 
 
 Ned. Oh, sir, take me with you ! Let me go away with 
 you ! 
 
 Toney (aghast). Matthew Sterling, do you mean ter say 
 you ain't told him 
 
 Deacon. Silence ! 
 
 Toney (with a cry). Do you mean ter say that you're 
 goin' ter keep these two young folks erpart and make them 
 miserable all the rest er their lives for 
 
 Deacon. Stop. 
 
 Ned (bewildered). What is it, father? 
 
 Toney. He ain't your father. 
 
 Ned. Not my father? 
 
 Toney. No, he ain't no relation to yer. (Deacon throivs 
 up his Jiands and sinks down staring before him overcome.) 
 He took you when you was a baby ter replace my darter's little 
 gal, because you was er boy. 
 
 Deacon (struggling with emotio?i and ange^in chair L. C. ; 
 hoarsely). It's a lie. It's a lie. 
 
 Toney. No, it ain't er lie. It's God's truth, because ray 
 Nellie told me all erbout it on her death bed, and my NeUie 
 wouldn't lie then. She said that you did it on the quiet so 
 that you could git that money 
 
 Ned (with a cry). Money? Father, is your heart made 
 of steel ? 
 
 Toney (as Deacon collapses). Yes, your folks died and 
 left you an infant with money in trust ter whoever took yer. 
 Matthew Sterling's wife, my gal Nellie, was married ter him 
 four years before Starlight come, and he was so mad ter think 
 she was what she was that he up and drove my gal home ter 
 me ter die. Then he took you and yer money and come here 
 ter this place where his folks hadn't seen him fer five years and 
 didn't know the truth, and brought you up. I followed him 
 here, but no one would believe my story, and I had ter git out 
 with Starlight. 
 
 Ned. Is this true, father ? 
 
 Deacon (controlling himself zaith an effort). Do you 
 doubt my word against that man's? 
 
THE SAWDUST QUEEN 47 
 
 (Ned gives him a look. ; tJieii goes deliberately to door c.) 
 
 ToNEY. It's God's truth, boy. You'll believe me ? You'll 
 believe me? 
 
 Deacon (getting up ivith a cry, as Ned goes yp to door c). 
 Where are you going ? 
 
 Ned. I'm going to Starlight. I'm going to the girl I love. 
 
 Deacon. Then you believe him? 
 
 Ned {opening door). Yes, because my heart says he tells 
 the truth. (He runs out c.) 
 
 Deacon (sinking back into his chair overcome). And you've 
 done this. It's you I have to thank. It's you. You. 
 
 Toney (sadly). You drove me ter it. You killed my 
 darter; you broke my heart; you sent me erdrift; you did all 
 that and I never said nothin' ter be heard ; but if you thinjc 
 I'll stand aside and see you triumph in your greed fer gold, 
 you ain't reckonin' on my make-up. No, Matthew Sterling, 
 your day er reckonin' is comin' if yer be er Christian, and 
 them that'll judge you won't take no lies. It's comin' some 
 day. (Turns c.) Now I'm goin'. 
 
 Deacon. One moment ! One moment ! 
 
 Toney. No, I'm done. I've hed my say and I've done my 
 duty. Now you do yours. 
 
 Deacon. Mine ? 
 
 Toney. Make them two young folks happy. Oh, the boy's 
 cash can still stay in the family. 
 
 Deacon. You insolent 
 
 Toney (quietly and sadly). No, I'm only er clown, a 
 ragged cast off garment hangin' on ter life, ter flutter out 'ere 
 in the wind and amuse the crowd who laugh at me one day 
 and cry the next. I s'pose it's my life, and I'm goin' back 
 there ter laugh with 'em. 
 
 (As he turns to go up, door c. is flung op€7i and Star, bursts 
 into the room breathless. Deacon goes out quietly during 
 this scene, abashed.) 
 
 Star, (with a cry). Toney ! I've seen Hulda, and she 
 says you're here. Toney ! 
 
 (As she runs into his arms, weeping.) 
 
 Toney (embracing her). My little gal ! 
 Star. Yes, I am your little girl, Toney, I am, and I'll 
 never be any other's. You love me, and Hulda loves me, and 
 
48 THE SAWDUST QUEEN 
 
 Pa Hobbes, too, and I shan't be so pious, and silent, and still 
 
 and suffer, just because — because {Recollects ; soberly.) 
 
 Oh, Toney, what am I saying? 
 
 {She dries her eyes and tries to control herself with difficulty.') 
 
 Toney {looking at her, puzzled). I cal'late, pet, you're 
 say in' er great lot, and it's hard work to follow yer. 
 
 Star, {quickly). Yes, that's my trouble. Father said only 
 to-night that I talked too fast, that I was too boisterous, that I 
 was — and I forgot, Toney, I forgot again. 
 
 Toney. Fergot what ? 
 
 Star. That I am Helen Sterling now, and must act dif- 
 ferently. 
 
 Toney. Act differently? Act? Do folks of intelligence 
 when they git up in the world have ter act? Can't they be 
 real and human? Say, pet, what's got inter your head? 
 
 Star, {sadly). Oh, so much, Toney. You don't know, 
 Toney, you can't begin to realize all that I've been through. 
 {Quickly.) But I'm really doing well, very well, and Cousins 
 Prudence, Patricia and Patience say I am. 
 
 Toney. Them old hens? 
 
 Star. Oh, you mustn't talk like that. You think Pm dif- 
 ferent, Toney? 
 
 Toney {holding her off and looking at her long and ear- 
 nestly, a7id then with feeling). I never see such er sight. 
 
 Star, {with a cry of pain). Toney ! 
 
 Toney. Who told yer ter wear black? 
 
 Star. They said it was proper. 
 
 Toney {with a cry). Proper ! Take it off. Put on pretty 
 white dresses, and ril)bons — put 'em on. Put 'em on. And 
 your hair, them lovely curls — what's happened ter them curls? 
 
 Star, {sadly). Cousin Prudence combed them out. She 
 said 1 was a mess. 
 
 Toney {with a cry, almost unable to control himself). I 
 wish she'd come in here now. I'd show her what er mess 
 really looked like. 
 
 Star, {with a cry). Oh, Toney ! 
 
 Toney {sadly, recovering himself ajid drawing her to hiin). 
 Yes, Starlight, you are different. 
 
 Star. For the best, Toney. You know Pm Helen Sterling 
 — now. 
 
 Toney {7vith feeling). I know you're Helen Sterling, but 
 
THE SAWDUST QUEEN 49 
 
 you're my little gal, too, and I'm not er-goin' ter have you any 
 different than the way you was born. 
 Star. And that was as 1 am now ? 
 
 ToNEY {iin instant while he struggles, and then quietly). 
 Yes. {A pause and then.) Be yer happy, pet ? 
 
 Star, {startled ; a pause and then). Oh, yes, yes — I — I 
 am, Toney. It's difficult being different, but — but I'm trying 
 hard, very hard, and I know that when I get all changed I 
 shall be very happy. 
 
 Toney (sadly). Yes. 
 
 Star, {zvith a cry). But oh, Toney, I have missed you so. 
 And dear Pa Hobbes, and oh, Toney, how's Black Bess, and 
 Jocko, and Madam Bonnelli and the tumblers, and the Herr 
 Professor ? 
 
 Toney {sadly). All there. 
 
 Star. You don't say it very cheerfully. 
 
 Toney. Things ain't goin' at all well. 
 
 Star. They never are. 
 
 Toney. The bosses don't git any better, and the whole 
 town is kickin' erbout our bein' on that lot so long. We're 
 bankruptin' the whole place, they say ; but I don't see how it 
 can bankrupt anybody when no one goes. 
 
 Star. Do you think you can stay there two days longer, 
 Toney ? 
 
 Toney (with difficulty). We'll have ter. 
 
 Star, (eagerly). Then you will come and see me every 
 day for two days ? 
 
 Toney. Yes, pet. 
 
 Star. Why do you hesitate ? 
 
 Toney (an instant, and then^. I was only thinkin'. Yer 
 see things are different, now. Besides, you're a little gal and 
 I'm an old man 
 
 Star, (with a cry). But that makes no difference between 
 us, Toney. It made none before. You won't let that stand 
 between us now ? 
 
 Toney (soothing her). No, no, pet, it ain't that. It ain't 
 the difference in age, but it's the difference that you're some 
 one else's little gal now, and — 
 
 Star, (with a cry). No, I'm not, Toney. I'm only your 
 
 little girl even if I (Recollects ; an instant and then, 
 
 soberly:) Yes, Toney, I — I am some one else's little girl. 
 
 Toney. You won't be angry with me, pet? 
 
 Star, (throwing her arms about him). No, Toney, no. I 
 
50 THE SAWDUST QUEEN 
 
 love you better Lliau I do thetn. I love only you, Toney, 
 yuii. 
 
 Toney {lira^ving her to hini). My little gal. My dear, 
 sweet, real little gal. 
 
 i^They are together in each other' s embrace ivhen door c. is 
 opened fwiseiessly and the three ladies stand on the thresh- 
 old. They stand aghast for an instant staring at the 
 picture, exchange decided looks, and tlien having made np 
 their minds what they intend to do, they enter and proceed 
 to remove their wraps and Miss Prue slams the door 
 shut. The noise startles the pair and they break ivith 
 some confusion and not without trepidation. The three 
 ladies go on ivith their business of folding up things, etc., 
 coolly and completely ignoring the pair.) 
 
 Star. Oh, oh, you've comeback? It's — it's only Toney. 
 It's just Toney ! You know Toney ? 
 
 {There is no answer from them except a cold stare and the?i 
 they resume their work.) 
 
 Toney (goi/ig to the door). It'll be all right, pet, as sOon 
 as I get out. 
 
 Star, {ivith a cry). Toney, you won't leave me ? I — 
 I {Soberly.) Yes, it will be all right, Toney. Good- 
 night. 
 
 Toney {an instant, and then). Good-night. 
 
 {Stops as if to say more and then ivith an inarticulate cry 
 of helplessness he runs out C.) 
 
 Star, {calling ; in the doorway up c). Give my love to 
 Pa Hobbes and Jocko and Black Bess and Madam Bonnelli 
 and the tumblers and {Sadly.) He's gone. 
 
 Three W. {who have come down and are standing waiting 
 impatiently to have it out). Yes, he's gone. 
 
 Star, {coming in quickly and closing the door, and coming 
 dow7i). What is it ? 
 
 {Startled at the tone of their voices.) 
 
 Miss Prue. Well, bless my conscience and my scruples, if 
 I can hold my temper another minute. Ter think that after 
 all my time 
 
 Miss Pross. Trouble — 
 Miss Prouty. Patience 
 
THE SAWDUST QUEEN 5 1 
 
 Miss Prue. You ain't no better and never will be no bet- 
 ter. And then, ter have the impudence 
 
 Miss Pross. Indecency 
 
 Miss Prouty. Flagrant disrespect 
 
 Miss Prue. Ter do such er thing like that right before my 
 eyes. 
 
 Star, {innocently'). What? 
 
 Three W. (with a shriek). What? 
 
 Miss Prue. Well, I never 
 
 Miss Pross. I'm beat 
 
 Miss Prouty. I never heard of such audacity. 
 
 Three W. In all my born days. 
 
 Star. If — if I've done anything, I'm very sorry ; but really, 
 it was only Toney, my Toney, who I've known all my life, 
 and 
 
 Miss Prue. And grantin' all that. Grantin' that he is yer 
 friend, and er circus critter, and er cast-off besides, grantin' all 
 that, ter think that you, Matthew Sterling's daughter, should 
 up and tell us that you have er perfect right ter hug er 
 man 
 
 Miss Prouty. Beast 
 
 Miss Pross. Brute 
 
 Three W. And in our presence. 
 
 Miss Prue. You tell us that ? 
 
 Miss Prouty. You really do ? 
 
 Star, {innocently). But why not ? 
 
 Miss Prue. I told you, Patricia, she's quite beyond us. 
 
 Miss Pross. Yes, but I thought a little of our understandin' 
 might bring her up. 
 
 Miss Prouty. You might know that she'd go wrong the 
 very first time she gits er chance. Them critters alius does. 
 
 Star, {beivildered). Oh, please, please stop. 
 
 Miss Prue. Yes, and it shall be right here, this very min- 
 ute. I'm going ter wash my hands of the whole thing. {To 
 others.) I don't care what you do, but I'm goin' and have it 
 right out with Matthew Sterling this minute. {Goes l.) 
 
 Miss Pross. And I shall too. {Goes l.) 
 
 Miss Prouty. And so will I. 
 
 Star, {frightened). What are you going to do? 
 . Three W. {turning on her at door i..). Oh, you'll know 
 later. 
 
 Star. I'm sorry if I have done wrong. Believe me, I am, 
 I am. 
 
52 THE SAWDUST QUEEN 
 
 Miss Prue {Jz nocking on the door). Matthew ! 
 Deacon (^inside). Yes? 
 Three W. You must see us ! 
 Deacon. Come in. 
 
 {They exit ivith their noses in the air and slain the door.) 
 
 Star, {alone, standing c). Oh, I'm so tired of it all. So 
 very tired. So very tired. {She sinks doivn on the floor and 
 for an instant closes her eyes to shut it all out. Then she 
 opens her eyes and suddenly discovers tJie bundle Toney left 
 lying on the chair up stage, which has escaped the eyes of the 
 three women owing to their being so upset.) Somebody's left 
 their bundle ! {She crosses and takes it up.) Why, it's for 
 me ! It's Toney 's handwriting. {She tears it open feverishly. 
 With a cry.) It's my dress ! {She drops to the floor and 
 spreads the contents of the bundle in her lap.) It's Columbine's 
 dress. My pretty Columbine's dress and my ribbons and my 
 slippers and my mask and all the dear, dear things that I love. 
 They're all here. All of them, even to the bows of ribbon. 
 Oh, Toney, Toney, you knew I loved them. You knew. Oh, 
 it's so good of you. You knew they'd cheer me up, they'd 
 give me strength to bear all this life. You knew, Toney, you 
 knew. {Pauses.) But why should he bring them now — now? 
 
 Why didn't he wait until {Startled, she gets up and 
 
 goes quickly across to the ivindoio r. u. e., and throivs up the 
 shade and stares off. An instant, and then a shriek.) Toney, 
 Toney, you lied to me, you lied to your little girl. You are 
 not coming to-morrow. The circus has gone — yes, there's 
 nothing left but the sawdust there in the moonlight. It's gone ! 
 It's gone ! It's gone ! Oh, Toney, Hulda, Pa, come back, 
 I can't stand it. Come back to your little girl. {With a 
 scream.) I want to run, and laugh, and play, and I can't, and 
 I'll die here. Til die ! I'll die ! I'll die ! 
 
 {She falls to the floor sobbing convulsively in the skirt of her 
 Colujfibine dress as the curtaiii comes down.) 
 
ACT III 
 
 SCENE. — Sa7ne as Act I. Several days later. Herr P. ajid 
 HuL. are discovered huddled together^ c, about an old trunk. 
 HuL. is seated on the trunk crying bitterly, while Herr P. 
 is seated o?i the ground with his back against the trunk. 
 They are both in street dress. Outside the rain is heard 
 pouring in torre?its. An instant and the?i the voice of 
 HoBBES is heard outside l. u. e. 
 
 HoBBES. Yes, gents, it's breakin' my heart ter dojt, but 
 thar ain't no other way of gittin' out er this God-forsaken state 
 unless I put my stuff under the hammer. You're goin' ter git 
 awful bargains, awful sacrifices awful cheap, and the worst of 
 it is, gents, it's me, Adanirum George Washington Hobbes, 
 what's got ter give 'em ter yer, take yer money and say nothin'. 
 Did any one ever see such luck? Wal, now here yer go, gents. 
 What am I offered fer this pile of tent poles ? What am I 
 offered? What, nothin' ? You won't buy them tent poles? 
 Kindlin' wood? Wal, Pll be blowed. Wal, what' 11 yer give 
 for kindlin' wood? I've got ter sell 'em, gents, I've got ter. 
 
 Herr P. Don't cry, Huldaih. 
 
 HuL. Ach Himmel ! how can I help it, Ja ? Dere is 
 nothin' else ter do mit myself and feelings. (^She sobs.) 
 
 Herr P. Yais, eet eez zee bust up now wiz me, and no 
 money I get eef he do not sell zem tent poles. 
 
 HuL. You ain't got no heart, Professor. You're all mit 
 der dollar ! 
 
 Herr P. You say zat, eh, Huldaih, you mistake. 
 
 HuL. (sobbijig). Well, you nefer lose your husband. 
 
 Herr P. (making a wry face). No. 
 
 HuL. Ach Himmel ! He die. He die. Dot's what I cry 
 about mit myself and not dis old show. Ter think dot I've 
 been er widder five weeks, and not know der difference ! Ach 
 Himmel ! Ach Himmel ! 
 
 Herr P. Yais, Huldaih ; but we none of us know anyzing 
 wiz 'zee show on zee bum, and zee lettairs from zee grand Etalee 
 tied up zere in zee mail. 
 
 HuL. Dot's it, tied up. Dot's me now. Oh, ter think dot 
 I am er widder and I nefer can get er divorce. 
 
 53 
 
54 THE SAWDUST qULiliN 
 
 Herr p. (aghast). Divorce, Huldaih ? 
 
 HuL. Dot's which. Ach Himmel ! I starve ter death 
 now. No one looks at widders like dey does divorcees. Dey 
 ain't der style mit demselves. {Sobs.) 
 
 (TONEY comes into the tent, l. u. e.) 
 
 TONEY. Things ain't goin' very well, Hulda. Pa Hobbes 
 is talkin' himself hoarse. 
 
 HuL. Hoss? Not Black Bess ? 
 
 ToNEY. Oh, Hulda, I wish I had that money, that five 
 hundred. P'rhaps I could save her, for I can't bear to see my 
 little gal's pet go under the hammer. There's no knowin' 
 
 who'll buy her, and — and if I thought she'd be abused 
 
 But I ain't got the money, Huldah, I ain't got the money. 
 
 {He sits down.) 
 
 HuL. I'm broke too, Toney. 
 
 ToNEY. And Black Bess must go under the hammer. 
 
 HuL. What you do mit yourself about it, Toney? 
 
 Toney. I can't do anythin', Hulda. I'm powerless. It's 
 ernough ter break er man's heart to see the way Pa Hobbes is 
 up against it. Why, they're standin' right there and makin* 
 him sell off the things when he can't git nothin' fer 'em. I 
 never did see such humanity. 
 
 HuL. Well, dey say it's a circus, Toney. 
 
 Toney {bitterly). Yes, it's a circus, and that's all they 
 know about it. 
 
 Hobbes {outside). Wal, now here's er lot er boardin' we 
 calls seats 
 
 Toney {sadly). He's had ter give them tent poles away, 
 Hulda. 
 
 Hobbes {outside). Now what am I offered fer them seats? 
 What? You won't give me anythin' for 'em? 
 
 Toney. The tent is full of a lot of loafers, Hulda. They 
 just came in to see the fun and git out er the rain. 
 
 Herr P. Eet eez always raining heer, Toney. I am wet all 
 ovair. I sheever wiz zee slop. {Goes r.) I go put on more. 
 
 \^Exit. 
 
 Toney. Well, keep er stout heart. Professor, and we'll get 
 out of this somehow. 
 
 HuL. I wish I had dot disposition mit myself you have, 
 Toney. 
 
THE SAWDUST QUEEN 5^ 
 
 ToNEY. What's the use in bein' downhearted ? 
 
 HuL. (sobbing). Toney ! Was you nefer dere ? 
 
 ToNEY. I've been there so many times, Hulda, that I'm 
 used to it. 
 
 HuL. How can I efer get used ter being a widder ? 
 
 Toney. Cheer up, Hulda, there are others ! 
 
 HuL. Ach Himmel, Toney, how can I cheer up when 
 dere's no show, no Starlight 
 
 Toney (affected). Starlight. 
 
 HuL. You left her dere, Toney ? 
 
 Toney. Yes, it most broke my heart, Hulda. It most 
 broke my heart. 
 
 Hobbes (outside). Gents, I must say that was er fair offer 
 you made fer them seats. Now I'm goin' ter dispose of this 
 canvas. 
 
 HuL. (quietly; after an instant's study of Toney). 
 Toney? 
 
 Toney (quietly). Yes? 
 
 HuL. Why you tell dem what she was for? 
 
 Toney. I did it for her good, Hulda. 
 
 HuL. And our bad, Toney ? 
 
 Toney. I know it looks that way, Hulda ; but she's my 
 little gal, my little granddaughter, and has er right to be as 
 good as any of 'em. I wasn't goin' to stand by and see her 
 dragged in the dirt and degraded by her own flesh and blood. 
 So I left her, Hulda, and she's learning to be a lady. 
 
 HuL. And she nefer come back to der circus no more ? 
 
 Toney (sadly). Never. 
 
 HuL. (after a pause). Den she forget you, Toney. 
 
 Toney (with a cry; frightened). No — no, Hulda! My 
 little gal will never forget her Toney ! Don't say that, Hulda ! 
 Don't say that ! 
 
 Hobbes (outside). Wal, all I can say is, gents, you got 
 that lot of canvas at er bargain, a sacrifice ! 
 
 Toney. It's most time for Black Bess. 
 
 (The voices of the three ladies are heard outside the tent up 
 back c. They seefn to be in great distress, and are evi- 
 dently in search of something. The characters upon the 
 stage having only the thickness of tent cloth between are 
 conscious of all the dialogue ivhich folloivs.) 
 
 Miss Prue (outside). I do believe this is the way we went 
 in on that awful day. 
 
56 THE SAWDUST QUEEN 
 
 Miss Pross. {outside). It does look like it, though I 
 can't see fer the life of me how you can tell when it all looks 
 the same all the way around. 
 
 Miss Prue. I trust in the Lord ter lead me right. 
 
 Miss Prouty {outside, with a shriek). And you think 
 he'll show you the way inter a circus tent? 
 
 Miss Prue. I never thought of that. 
 
 HuL. {startled). Where haf I seen dem voices before, 
 Toney ? 
 
 ToNEY {listening). They do sound as if I knew 'em, 
 Hulda. 
 
 Miss Prue {outside). There, here's a rip in the tent. 
 
 Miss Pross. 1 shan't shinny. 
 
 Miss Prouty. It's impossible fer one in your condition. 
 You just follow me. Perhaps we shall find help, if it is a 
 circus tent. 
 
 Miss Prue. Well, it would be the last thing Pd ever go to. 
 
 Miss Pross. Well, there ain't nowhere else. Ain't they 
 turned us down everywhere? 
 
 {The curtains at the back of the tent c. are pulled apart and 
 the three ladies come into the tent led by Miss Prouty. 
 They are a "dejected looking trio, havi?ig been in aii acci- 
 dent. Their hair is disarranged, clothiiig is muddy y and 
 they are very wet. Miss Prue walks with difficultyy 
 which she tries not to heed, and Miss Pross, keeps hold 
 of her sister's left arm. Their demeanor is also very 
 different front that of the first act. All three are pretty 
 much exhausted. Toney and Hul. recognize them in- 
 stantly but make no sign. The three ladies come down c. 
 and stand an instant at a loss just what to do at such a 
 cool reception, a dejected trio.) 
 
 Three W. {timidly). Good — good -afternoon. 
 
 Toney. It is — a bit rainy. 
 
 Miss Prouty. We — we didn't think we'd have occasion to 
 come again quite so soon. 
 
 Toney {flaring up). I suppose you think it's your Chris- 
 tian duty to. 
 
 Three W. {distressed). No — no; but we hope you'll 
 think it's your Christian duty to 
 
 Toney {getting up). Show you the way out ergain ? 
 
 Three W. {greatly distressed). Oh, you won't do that? 
 You won't do that? 
 
THE SAWDUST QUEEN 57 
 
 ToNEY (Jiotly). Why not? You don't belong here. 
 You've no right here. No, you've throwed stones, and then 
 you think you're goin' to come and sit right down on the spot 
 you've hit. Well, you'll find it's still pretty warm yet, and 
 it'll take a long time to cool off. What yer come here fer any- 
 how ? Ain't we goin' ter the devil fast ernough without havin' 
 you fer company? 
 
 Three W. (with a gasp). Well, I never ! 
 
 ToNEY. And that's what I say, too. And I mean it. 
 
 {Slfs.) 
 
 Miss Prue (suddenly I wiping to a seat and sitting down). 
 I — I can't go any further if I am going to the devil, as you call 
 it. I — I can't even stand, my ankle pains me so. I must sit 
 down. 
 
 (She sits and the other two gather about her distressed. 
 ToNEY rises, alarmed, and goes across to her greatly 
 concerned and full of pity.) 
 
 ToNEY. AVhat's the trouble? Thar's somethin' hurtin' yer. 
 Look here, you're in pain ? 
 
 Miss Prue. Yes. 
 
 ToNEY. Wal — wal, Hulda, you take off that shoe of hers. 
 (^Goes R., as Hul. bus.) Herr Professor? 
 
 Herr P. (off R.). Yais, Toney. 
 
 ToNEY. You fetch that bottle of liniment Starhght used on 
 Jocko, the monkey. 
 
 Three W^ (ivith a shriek). Monkey? 
 
 Miss Prue (wringing her hands). Oh, I can't bear a 
 monkey ! 
 
 Toney (coming back). But you can bear the liniment? 
 
 Miss Prue (quickly). Oh, yes, I must have that. 
 
 Toney. But what's the trouble, and how did yer git here? 
 
 Miss Prouty (embarrassed). Well, you see, we left 
 Cousin Matthew's 
 
 Miss Pross. It's two days, now. 
 
 Miss Prouty. We've just been makin' a visit and started 
 home — it's only fifteen mile further on — by train ; but the 
 train we were in 
 
 Three W. Got wrecked. 
 
 Miss Prue. And we didn't know nothin* when we come to 
 except that we was layin' on the bank, and the only thing ter 
 do was to 
 
58 THE SAWDUST QUEEN 
 
 Three W. Walk. 
 
 HuL. Ach Himmel ! 
 
 TONEY. Walk? With that foot? 
 
 Miss Prouty. Well, we had to go somewhere to be taken 
 in 
 
 Miss Prue. But no one seemed to care if we were in- 
 jured 
 
 Miss Pross. Why, we went to five houses, and they 
 wouldn't deign to even look out the window at us. 
 
 Miss Prue. Of course, we do look like tramps. 
 
 Miss Pross. But it isn't our fault. 
 
 Miss Prouty. So we had to keep a-goin' in the rain, and 
 we thought perhaps we might 
 
 Three VV. Walk home. 
 
 Miss Prue. And then we saw the circus tent 
 
 Three W. (relieved^. And here we are. 
 
 ToNEY {as Herr p. enters r.). And here's the liniment. 
 Now, Hulda, you better not take off her stocking. {As he 
 gives it to her.) Wal, your foot is swelled. 
 
 Miss Prue. A trifle; but I'm glad no bones is broken. 
 
 (ToNEY bifids the foot tightly tvith cloth zvhich Herr P. 
 brings with the liniment. HuL. ponrs on tJie linifuent. 
 The tivo women stand looking on.^ 
 
 Miss Pross. Well, who'd er thought that we'd find succor 
 in a circus tent ? 
 
 ToNEY. AVal, yer never know what you're goin' ter find in 
 this world or where you're goin' ter find it till yer look. Why, 
 even the darkest hole has the brightest light sometimes. 
 
 Three W. {eloquefitly). That's true. 
 
 ToNEY {discoverifig Miss Pross.'s hand). What's the 
 matter with your wrist ? 
 
 Miss Pross. It's a trifle bruised. 
 
 ToNEY (bus.). Bruised? Skin all scraped off. Some 
 more that liniment. Professor. (As he bus.) I'll bind it up 
 for yer. (Bus.) 
 
 Miss Pross. (as he bus.). I am ashamed of myself, and the 
 way I've talked erbout a circus bein' wicked. 
 
 ToNEY (as he binds up her arm). It's done you more good 
 than it has me, especially when you don't have time ter look 
 at life except through church winders that are generally so 
 narrow to look through that yer can't git the focus on the 
 worshipers outside. 
 
THE SAWDUST QUEEN 59 
 
 Three W. (^aghast). How you do talk. 
 
 Miss Prue \soberly'). Well, I must say, I ain't looked at 
 it that way before. 
 
 HoBBES ijieard outside'). Now, gents, I'm goin' ter put up 
 the prize of the whole auction 
 
 Three W. (aghast). Auction? 
 
 ToNEY (quietly). Yes, yer see we're sellin' out the show 
 for debt and we won't have nothin' left over us, soon, but 
 God's good nature. 
 
 HoBBES (outside). As I said, gents, I'm goin' ter offer the 
 horse 
 
 ToNEY (affected^. Black Bess. She was Starlight's pet. 
 My little gal's. 
 
 HoBBES (outside). How much am I offered for her, gents? 
 How much am I offered ? 
 
 Miss Prue (suddenly; with a cry). Patience Prouty and 
 Patricia Prossitt, Pm goin' ter buy that boss. 
 
 i:\N0\N. (aghast). What for? 
 
 Miss Prue. Out of return fer what these folks have done 
 fer me. 
 
 ToNEY (with a cry). Oh, you will? You will? 
 
 Two W. We'll help you. 
 
 HoBBES (outside). What am I offered? Fifty dollars? 
 Going at fifty — fifty 
 
 ToNEY (going lip L. u. E., with a cry). Hold on. Pa. 
 
 Miss Prue. I'll give seventy-five 
 
 ToNEY (tip). Seventy- five. Pa. 
 
 Hobbes (outside). Going at seventy-five — seventy-five — 
 eighty 
 
 Miss Pross. Ten more. 
 
 ToNEY (up). Ninety ! Ninety on Black Bess, Pa. 
 
 Hobbes (outside). Ninety — going at ninety — ninety — one 
 hundred dollars. Going at one hundred dollars — going — 
 
 going (All three ladies have been looking at each other 
 
 in dismay while Toney, much upset, has been standing up.) 
 One hundred dollars — once — one hundred dollars — twice — one 
 hundred dollars 
 
 Miss Prue (suddenly, with a shriek). Wait ! Wait 1 It's 
 in my — wait a minute ! 
 
 (She is greatly distressed, and signs for the other two women 
 to gather about her and hold up their skirts while she 
 dives into her stocking.') 
 
60 THE SAWDUST QUEEN 
 
 TONEY (as they bus.). Hold on, Pa. 
 
 HoBBES {outside). 1 can't hold her, Toney, she's got to go. 
 
 Miss Prue {jvith a shriek from behind women). Ohe hun- 
 dred and twenty-five ! 
 
 Toney {calling off). One hundred and twenty-five, Pa. 
 
 HoBBES {outside, as Toney comes down to Miss Prue and 
 gets the fnoney and they all stand breathless listening to 
 HoBBEs). One hundred and twenty-five dollars. Going at 
 one hundred and twenty-five dollars — once — twice — three 
 times. Gents, this hoss is sold. 
 
 Toney {taking the money and running out L. u. E.). It's 
 ours ! Black Bess is saved ! She's saved ! \^Exit. 
 
 PIuL. {^getting up and going L. with materials). I think dot 
 ankle do good mit himself now. 
 
 Herr p. {going R.). I take back zee hniment, Huldaih. 
 
 [Exit. 
 
 HuL. Ja. I go fix myself a bit. 
 
 Three W. (after an instant). One moment. We wish to 
 thank you for your kindness. 
 
 HuL. (going out L.). Dot's good. I do it again mit pleas- 
 ure. \^Exit. 
 
 Miss Prue. Well, it beats me. 
 
 Miss Prouty. And me, too. 
 
 Miss Pross. I declare, I can't get over it. 
 
 Miss Prue. And neither can L But what kills me is ter 
 think that Pve even gone so far as ter buy er hoss. 
 
 Miss Prouty. Yes, we all of us are freaks ! 
 
 Miss Pross. Well, we can lay it to that railroad accident. 
 It gave me such er jolt I shan't get over it for days. 
 
 Toney (entering l. u. e.). You told me you Uved fifteen 
 mile beyond here ? 
 
 Three W. Yes. 
 
 Toney. Would yer know the way ? 
 
 Three W. Certainly. 
 
 Toney. I've had the Herr Professor hitch up Black Bess in 
 er rig ter take yer home. 
 
 Three W. (delighted). Take us home? 
 
 Toney (doubtfully). But the only thing we could find ter 
 hitch the hoss up in ter take yer home is the band wagon. 
 
 Three W. (aghast, with a shriek). Band wagon ! 
 
 Miss Prouty. Oh — oh, what would the neighbors say ter 
 us comin' home in a band wagin ? 
 
 Miss Prue (tveakly). They'll think we beat the band ! 
 
THE SAWDUST QUEEN 6l 
 
 Miss Pross. They've got brass enough ! 
 
 ToNEY. Then you'll go? 
 
 Three W. Yes. 
 
 ToNEY {as they reach door up c). Say, if er show er this 
 kind ever comes inter your vicinity again 
 
 Three VV. (at door ///>). We'll every one of us go. 
 
 \_Exeiint. 
 
 ToNEY [sighi?ig and sitting down on the drwn, a?id then 
 after an instant). Wal, and they hurt my little gal and made 
 her cry. {An instant^ and then quietly.) I guess my little 
 gal wouldn't er-wanled me ter do any different. 
 
 {The voice of Hobbes is heard outside l. u. e.) 
 
 HoBBES. Wal, we're all sold out, now. Did any one ever 
 see such luck? {Enters l. u. e., comes down and sits de- 
 jected on trunk c. Takes off his hat and lets rain water run 
 off. Watches it dejectedly.) Leakin' outside and leakin' in. 
 I can't do nothin' ter stop it. I'm just plumb broke this time. 
 I'm just down and out, I am. 
 
 ToNEY {taho is mending a sock). No, you ain't. Pa Hobbes. 
 
 Hobbes. That sounds just like you, Toney. But what's er 
 feller ter do when his head aches, his back aches, his legs 
 ache, and he aches all over all the time tryin' to pull himself 
 out er this hole? Why not give up and quit? 
 
 Toney. Because it ain't in yer. Pa Hobbes. 
 
 Hobbes. Wal, I never thought it was, Toney. But, say, 
 I've had so much bad luck, lately, I ain't quite myself, Toney. 
 Right straight erlong times has gone from bad ter worse ever 
 since we skun out er that bloomin' village where we left Star- 
 light. But what sticks me is, why don't them folks get on our 
 trail ? Yer can see our trail clear back there as plain as day. 
 First Madam Bonnelli died and left her mark ; then two 
 waggins broke down and we had ter leave them. Then it 
 began ter rain again out er sympathy, I s'pose, and it's wept 
 steady ever since. But that ain't givin' me no clue as ter why 
 that hard, graspin', miserable human bankin' machine let us 
 steal off that lot. Say, Toney, p'r'aps Matthew Sterling thinks 
 we're liavin' it hard ernoncrh as it is? 
 
 Toney. He's got no brain ter think, only a workin' appa- 
 ratus, that's run by money. When the money stops comin' in, 
 it'll go ter his brain, and he'll take the natural course of events 
 and leave his mark, as you say, and it won't be no different 
 than any one's else. No matter if it's er dog. 
 
62 THE SAWDUST QUEEN 
 
 HoBBES. But that ain't gettin' at the subject in deebate. 
 There's only three of us left. 
 
 ToNEV. Can't yer git up somethin' with three? 
 
 HoBBES. Toney, 1 don't see how. We can't pull out. 
 There ain't any one left ter take down my tents even. But I 
 ain't er-goin' ter worry erbout that. They'll come down when 
 they're soaked. They'll have ter. But, Toney, we can't give 
 er show noway without Starlight, and charge er quarter fer it. 
 Now, if we only had Starlight 
 
 Toney. Yes. I reckon p'r'aps it'll be er trifle lonesome 
 without Starlight. 
 
 {^The curtains are throtvn apart i.. u. E., and Star, bursts 
 into the tent with a glad cry. She is dressed in her Col- 
 umbine' s dress of the first act, but it is torn and ragged, 
 her stockings are torn and her hair is down in a tangled 
 mass, and there are dandelions and buttercups caught 
 here and there in it. She makes a very picturesque figure 
 in spite of her bedraggled appearance. The two men ex- 
 claim.) 
 
 Star, {entering). Toney, I've found you at last ! I've 
 found you ! (She buries herself in Toney's cjnbrace.) Oh, 
 Toney, I thought I'd never catch up with you, and I'm so glad 
 to see you both again. Aren't you glad to see me, Toney ? 
 
 Toney. {holding her). Yas, pet, we be glad ter see yer. 
 
 HoBBES. Wal, you bet. We needn't bust up the show 
 now, Toney. Did any one ever see such luck ? 
 
 Toney (who has been holding Star, off and scrutinizing 
 her). But what made yer dress up in them clothes ter come 
 and see us, pet ? 
 
 Star, (eagerly). I wanted to, Toney. I wanted to. I 
 wanted to make believe that I was a gypsy. Toney, I've run 
 away. 
 
 (Toney starts but utters no sound, and through all the fol- 
 loiving scene he sits staring before him lost in troubled 
 thought, and Star, runs on unconsciously.) 
 
 HoBBES. Run erway? 
 
 Star. Yes. Toney, I couldn't stand it there any longer. 
 I found that bundle you left with all my pretty things in it, 
 and I wanted you and Pa and Hulda. I wanted the life that 
 I loved and was used to. I — I couldn't stay there and die, 
 Toney. So I tore off those hateful clothes and put on my 
 
THE SAWDUST qUKIiN 63 
 
 Columbine dress — the dress you made, Toney, and the gay 
 ribbons you loved, Toney, and I stole out and ran away. 
 
 HoBBES. Did any one ever see such luck? 
 
 Star. But, oh, it was great fun, Toney ! You don't know 
 what a lovely time I've had playing gypsy. I've climbed 
 fences and ran races and waded in brooks and fished and slept 
 in the woods and in the haystacks, and once in a lovely downy 
 bed tliat belonged to an old lady who said that she wanted a 
 liltle gypsy just like me; but I couldn't stay and be her little 
 gypsy. I've milked cows and done chores and tended babies 
 and kept house and even taught Sunday-school. 
 
 HoBBES {aghast). What ! 
 
 Star. Oh, I could. I did it from some of the things 
 Cousins taught me. We held it in the grove where I was. 
 You see, it was a Sunday-school picnic. They frightened me 
 and I ran into the woods to get away from them, and they saw 
 me and chased me, and when they found I was a gypsy they 
 made me tell them their fortunes and Bible stories. Oh, it was 
 delicious, Toney. You don't know how I enjoyed it all, and 
 they did too. 
 
 HoBBES. Did any one ever see such luck ? 
 
 Star. Then I had rides part of the way in wagons. Oh, 
 those rides, Toney — and then I walked. 
 
 HoBBES (^aghast). Walked ! 
 
 Star. Yes ; but not very far, for when I'd get tired I'd 
 just sit down by the roadside, and pretty soon a team would 
 come along with a man in it, and somehow he'd manage to see 
 me, and he'd smile, and I'd smile, and then he'd lift his cap, 
 or, if he didn't know how to do that, he'd pull it and say, 
 "Howdy," and I'd say, "Howdy," and then he'd blush, and 
 I'd blush, and then he'd ask me what I was doing sitting there 
 by the road, and when I told him I didn't know he'd ask me 
 so politely if I didn't want to ride as far as his Aunt Susan's. 
 And then I'd get in and we'd ride and ride and ride; but his 
 Aunt Susan lived a great way off it seemed to me. But I 
 didn't care as long as he was taking me nearer to you every 
 minute, Toney. Then when we reached his Aunt Susan's, hi M 
 help me down, oh, so politely, and drive up another road, :i)i.l 
 I'd walk along the road until it came time to sit down again. 
 Oh, it was such fun, Toney. 
 
 HoBBES. But what did yer have ter eat all this while? 
 
 Star. Oh, if I couldn't tend the baby, or wash dishes, or 
 do chores, I'd eat the wood berries. 
 
64 THE SAWDUST QUEEN 
 
 HoBBES {aghast). What? 
 
 Star. Oh, it's been a dream, Toney. I've been free to do 
 as I please, and no one to tell me horrid, hateful things. I've 
 been my own self, once more, and I've been so happy, so very, 
 very happy. And now I'm back, and one of you again. I'm 
 your own little girl again, Toney. 
 
 HuBBES. She'll stay, of course, won't she, Toney? 
 
 {A pause, a?id thenS) 
 
 Star. Toney, you don't speak ! 
 
 Toney {quietly ; with an effort). I — I ain't got anythin' 
 ter say. 
 
 HoBBES. Wal, you've been er long time sayin' it. 
 
 Toney. But I've been doin' er pile er thinkin'. 
 
 HoBBES {sudde7ily). Wal, I'll be blowed, that makes me 
 think. {He goes quickly out "l. u. e.) 
 
 Star, {an instant and tlieu, timidly). Thinking, Toney ? 
 
 Toney. Yes, and it appears ter me the only thing ter do, 
 now that you've found us, is fer you ter go back. 
 
 Star, {with a cry, breaking dozvn). Toney ! You don't 
 mean it? Don't send me back there ! Don't send me back 
 there ! 
 
 Toney. Well, you've had your lark. You've romped and 
 played gypsy, and kited eround the country on teams with 
 Aunt Susan's nephews and the Lord knows whose, fer almost 
 er week. You've taught Sunday-school one minute and tended 
 babies the next. You've washed dishes and milked cows 
 tergether 
 
 Star, {sobbing). Yes, Toney, yes ! 
 
 Toney. And you've had er good chance ter let out that 
 pent-up, high-strung spirit inside yer, pet, which yer was tryin' 
 so hard ter make quit. And 
 
 Star, {hysterically). But I can't go back there, Toney ! 
 Oh, you don't know, Toney ! You don't know what a life it 
 is for your little girl, or you wouldn't be so cruel, so cruel. 
 
 Toney. There, there, pet, you hold on ter yerself er min- 
 ute while we reason it out, I ain't cruel. I'm just. I'm alUis 
 thinkin' er your interest before I git along ter mine. You know 
 that ! 
 
 Star, {sobbing). Yes, Toney, yes. 
 
 Toney. And it seems to me that back there is the place fer 
 yer ter be. You know you're gettin' big now; you're gettin' 
 out er the cunnin' age ; you're geitin' out er yer gal's petticoats 
 
THE SAWDUST QUEEN 65 
 
 inter longer ones; and this kind er life ain't the kind er life fer 
 you ter be in, pet. 
 
 Star. Toney ! 
 
 ToNEY. Yer see I've thought it all over, pet. It's kept me 
 arvvake nights thinkin'. I wanted ter keep yer with me, but I 
 
 knew I was standin' in the way o' your interest and It'll 
 
 cost an awful lot fer me ter let yer go, pet. Ter let yer go. 
 
 Star. Toney, Toney, I — I'll go back. 
 
 Toney. There, pet, you really make me happy. You see 
 it ain't so bad, pet, that it mightn't be worse. 
 
 Star. I know. 
 
 Toney. So dry yer eyes and smile yer own self ergin, and 
 make your Toney glad he's livin'. 
 
 Star. I will, Toney, I will. I'll make you happy. I'll 
 make you happy always. For I'll go back there and stay, and 
 never, never leave them again. 
 
 Toney. That's right, pet. (^Takes her in his arms?) 
 You're Toney's little gal after all. After all. 
 
 HoBBES {looking into the tent L. u. E.). Say, it's stopped 
 rainin' and the sun's comin' out. Did any one ever see such 
 luck? 
 
 Toney. That's good, pet, for yer can go back to-day. 
 
 Star. A — alone, Toney? 
 
 Toney. No, I'll go with yer. 
 
 Star, {ivith a cry of delight). Toney ! 
 
 Toney. And we'll play gypsy all the way back. But I 
 don't know erbout them rides, pet. Yer see, it makes er dif- 
 ference havin' er man erlong. But, anyhow, you tell 'em I'm 
 your deaf and dumb uncle, and they'll put me in behind. 
 
 Star, {embracing hii?i). Oh, Toney, you dfear, good, kind 
 Toney. 
 
 Toney. But this won't do, pet. We've got ter have an at- 
 tractive gypsy if we're goin' ter make er bid fer them rides, and 
 you're all rags and tatters. I never did see such er sight. 
 
 Star. And just look at my hands with the berry stains ! 
 And, oh, Toney, the briars did scratch so. 
 
 Toney. You go and git Hulda ter dress you up real pretty, 
 and then we'll start. 
 
 Star, {going l., and calling as she ri^ns out). Hulda! 
 Hulda ! It's I, Starlight ! I've come back ! I've come 
 back ! {^Exit, l. 
 
 {An instant while Toney sits thotightfully, and then.) 
 
66 THE SAWDUST QUEEN 
 
 ToNEY. Yes, you have come back — and I'm proud of you 
 fer doin' of it, too. 
 
 {An automobile is heard approaching. A bang, accompanied 
 by a cry from Hobbes outside, and Ned rushes breath- 
 lessly into t/ie tent in automobile dress, l. u. e.) 
 
 Ned. Oh, it is you, sir! Where's Starlight? Have you 
 seen Starhght? 
 
 Tonev. What makes yer ask me ? 
 
 Ned. Because she's left us. She ran away that night I 
 went to tell her. I've followed and hunted everywhere, but I 
 can't find her, sir. I can't find her ! 
 
 ToNEY. I don't see how yer could in that devil waggin. 
 Wasn't yer legs good ernough ? 
 
 Ned. But I was too eager to find her, sir. I couldn't wait 
 after what I'd heard. You know all about that, sir. 
 
 ToNEY. I only know that if yer'd trusted ter your pins you 
 wouldn't er been so long gittin' here. 
 
 Ned. That's so ; we did have a rocky time of it. 
 
 ToNEY. We ? 
 
 Ned. Yes, the machine and I. 
 
 ToNEY. H'm. You've got the machine alone, have yer? 
 
 Ned. Yes. 
 
 ToNEY. Is there room ernough fer ernother? 
 
 Ned. Yes. Do you want to go along and hunt for Star- 
 light? 
 
 ToNEY. I think I know er party that wouldn't mind goin' 
 vvith me. 
 
 Ned. I don't think there would be room enough for three, 
 sir. 
 
 ToNEY. Oh, it's one er them spooin' go-carts. 
 
 Ned. Oh, come now, sir. 
 
 ToNEY. I guess I ain't goin' in them things. 
 
 Ned. But don't you know where Starlight is? 
 
 ToNEY. Ain't yer seen her? 
 
 Ned. I've strained my eyes looking over fences and stone 
 walls, and across fields 
 
 ToNEY. And lookin' every place but straight ahead of yer. 
 Don't yer know er woman never goes them ways? Did yer 
 ever see a woman behind er fence, stone wall or across er 
 field ? 
 
 Ned. No 
 
THE SAWDUST QUEEN 67 
 
 TONEY. Of course not. That ain't where you'll find 'em. 
 It ain't human natur' fer er woman ter git behind anythin'. 
 She wants ter be there, riglit out in plain sight, showin' off with 
 all her best duds on 
 
 Ned (^laughing). 1 say, sir, you're a trump. 
 
 (S/aJ>s him on tlie back.) 
 
 ToNEY. No, I ain't. I'm er man like you be, only I'm a 
 heap sight grayer and wiser; and p'rhaps, after all, I'm 
 younger. 
 
 Ned. How you talk, sir. 
 
 ToNEY. No, I'm just fiUin' up time till 
 
 HOBBES {heard outside). Wal, all I can say is, you just 
 wait outside here, and I'll git it. Did any one ever see such 
 luck? (Zr<? enters L. u. e., and comes down. He is greatly 
 distressed and embarrassed.) Toney ! Toney ! It's come. 
 
 ToNEY. What? 
 
 HoBBES. The writ. 
 
 Toney. What writ? 
 
 HoBBES. Ter plank me in jail. 
 
 Toney. What yer goin' ter do erbout it? 
 
 HoBBES. That's the rub, Toney. I ain't got no money, not 
 
 er cent, and — and I — I It came inter my mind, Toney, 
 
 that p'rhaps I might borrer some of that five hundred you of- 
 fered me before, long ernough, anyhow, ter keep him off till we 
 git ercross the line 
 
 Toney. Well — well, yer see. Pa 
 HoBBES. Yas, it's all plain ernough 
 
 Toney. I went and — and {Suddenly. ) Say, let's 
 
 look at that writ. 
 
 HoBBES. I ain't got it. 
 
 Toney. 'WHiohas? 
 
 HoBBES. That man of Matthew Sterhng's. 
 
 Toney. Silas Hankum ? 
 
 HoBBES. Yas, and he's waitin' outside now. Waitin' fer 
 his money, and I ain't got it. I never did set down quite so 
 close ter the bars before. Did any one ever see such luck ? 
 What yer thinkin' of, Toney ? 
 
 Toney. I'm thinkin' if you'd better risk it. 
 
 HoBBES. Risk what, Toney? I'd risk anythin' rather than 
 do time. W^hat's ter become er me, Toney ? 
 
 Toney. You git. 
 
 HoBBES. But how can I git ? 
 
68 THE SAV/DUST QUEEN 
 
 ToNEY. There's that dromedary. 
 
 HoBBES {(iistressed'). But, Toney, I can't ride him. 
 
 ToNEY. Why not ? 
 
 HoBBES. But I don't know how. I ain't never rode on a 
 dromedary in all my hfe and I don't want to. I don't even 
 know how ter git on. Why, I'd have ter git er ladder and 
 climb on, Toney. And then I'd be backside to. And — and 
 think er me er-ridin' er dromedary. And holdin' on ter his 
 what yer call it. 
 
 Toney. Wal, that's the only thing we've got that walks 
 that you can '' git " on to ! 
 
 Hobbes. But that don.'t walk, Toney. I don't know what 
 it does, but I can imagine it. Oh, Toney, I shall be so sick ! 
 
 Toney. There ain't no other way but 
 
 Hobbes (j/pset^. Doin' time? No, anythin' but that, 
 Toney. Anythin' but that. I'll do it. I'll do it, Toney. 
 I'll git erway on the dromedary. Did any one ever see such 
 luck? 
 
 {He goes up l. u. e.) 
 
 Toney. Don't go there. If yer step outside that tent 
 you're er goner. 
 
 Hobbes. How '11 I go, Toney ? 
 
 Toney. Go through my dressin' tent. (^Goes r.) I'll go 
 with yer and start yer goin'. 
 
 Hobbes {coming doivii). Don't kick the critter too hard, 
 Toney ; he's er wind chaser when he gits started. 
 
 Toney. You be sure ter keep this tent between you 
 and 
 
 Hobbes. Doin' time? 
 
 Toney. Yas. 
 
 Hobbes {as they go out r.). But, Toney, if I do that I 
 can't see unless I ride backwards, and how can I hold on 
 
 Toney. Like time. 
 
 Hobbes {as they go out). Did any one ever see such lu( k ? 
 
 \_Exeu7it Toney and Hobbes, k. 
 
 {An instant while Ned sits down overcome iiuth langldc?- 
 and the?!, the curtains part L. and Star, runs in. She is 
 dressed effectively. Ned rises with a cry and they are in 
 each other s arms.') 
 
 Ned. Starlight ! 
 
THE SAWDUST QUEEN 69 
 
 Star. Ned ! 
 
 Ned. I've found you at last ! 
 
 Star. Yes, Ned, dear, and just in time to take me back 
 with you. 
 
 Ned. You will come back with me? 
 
 Star. Yes, Ned ; and Toney is going, too. 
 
 Ned {/lo/di/ig her). Oil, I've hunted and hunted, and now 
 that I've found you, dear, don't ever leave me again. 
 
 Star. But I must, Ned. I must go away to school. 
 
 Ned. No, you must marry me. 
 
 Star. Marry you, Ned ? 
 
 Ned. Yes, for you are not my sister. 
 
 Star. Ned ! 
 
 Ned. Toney has told me all about it, and father says it is 
 true. So, dear, you can marry me after all. 
 
 Star. I don't quite see 
 
 Ned. You will, dear, for you do love me ? 
 
 Star. Yes, yes, more than I can say. More than I can 
 feel. You see, Ned, I've loved you all the time; even if you 
 were my brother, it didn't seem to change my heart at all. I 
 wanted just you all the time as you want me, dear. But oh, 
 Ned, I don't want to go to school now and leave you. 
 
 Ned. Perhaps father will let us be married before you go, 
 even if you are under age. 
 
 Star. No, he Oh, Ned, you know what father is. 
 
 Ned. He's changed a whole lot since you saw him last, 
 and things are different at home. 
 
 Star. Different? How could they be any different? 
 
 Ned. Well, you see the night you bolted, the three cousins 
 went into father's room and threw up the sponge. 
 
 Star. I — I don't understand. 
 
 Ned. Well, they quit. They couldn't stand it any longer. 
 You did them up. 
 
 Star. No, Ned, they did me. 
 
 Ned. Well, I'll bet 'a thousand dollars you're better off 
 than they are, if they did do you up. At any rate, they packed 
 their duds and cleared out and left father in the lurch. You 
 see he had to get some one, and he hit on Miss Johana John- 
 son. Oh, Starlight, she's the best woman in the world 
 
 Star. After me, Ned ? 
 
 Ned. But you're my promised wife now, and I can afford 
 to talk about other women. 
 
 Star, {^laughing). Oh, Ned. 
 
70 THE SAWDUST QUEEN 
 
 Ned. Yes, Miss Johana's a wuiider, for she's really made 
 father laugh, dear. He hasn't laughed like that in years. 
 
 Star. Oh, Ned, I want to go back. I want to go back to 
 father ! 
 
 Ned. You shall, sweetheart. 
 
 Star, {in his embrace). Take me to him, Ned ! Take me 
 to him ! 
 
 ( They are startled by a yell outside and Silas bursts ex- 
 citedly into the tent l. u. e. aiid cotnes down.) 
 
 Silas. Hi, thar goes er dromedary like two ships careenin' 
 and my man on it lookin' like a nigger scared white. 
 
 ToNEY {entering \..). Well, what of it ? 
 
 Silas. I got er writ against him. 
 
 ToNEY. Why didn't you serve it on Massachusetts soil? 
 
 Silas. I did. 
 
 ToNEY. No, you didn't. 
 
 Silas. Do yer mean ter tell me this ain't Massachusetts? 
 
 ToNEY. I reckon we're in Connecticut now. 
 
 Silas. Connecticut? You ain't goin' ter fool me like that. 
 
 ToNEY. Foolin' or no foolin', I didn't keep the dormitory 
 in that college across the road last winter and not know how 
 far the line extends. You see the college is in Massachusetts 
 and Connecticut, too — sets plum on the line, straddles it so ter 
 speak ; and they've been fightin' fer years ter git inter one 
 state and out of the other, till they don't know where they're 
 at. And now yer in Connecticut. And how can you serve 
 the writ anyway when I paid the bill? 
 
 Silas. You paid the bill? Where's your receipt? {^As 
 ToNEY shows sajne.) Wal, yer a darn sight more human than 
 I'd er given yer credit fer. 
 
 ToNEY {quietly). Yes, I'm er freak. 
 
 Silas. Matthew Sterling never told me about yer payin', 
 in fact I ain't seen him since the night before when he told me 
 he was goin' ter foreclose, so I took the responsibility of lookin' 
 yer up when yer kited. 
 
 (HuL. is heard laughing uproariously out L. An instant 
 and then she comes in convulsed.) 
 
 HuL. Say, is dot Pa Hobbes on der dromedary ? 
 
 ToNEY. Yas. 
 
 HuL. Say, dot dromedary he's got tired of runnin' away 
 
THE SAWDUST qUEEN 7I 
 
 mit himself and Pa, and now he's doin' circles mit himself, and 
 Pa's 
 
 ToNEV. Doin' time ? 
 
 HuL. {f'oaring). All ofer himself! {Suddenly goes ont "L. 
 At entrance.) Ach Himmel, but it is er scream ! \_Exit, 
 
 Silas (discovering Star.)- By gum, it ain't 
 
 Star. Yes, Mr. Hankum, it's 1, Starlight— Helen Slerhng. 
 I'm going back home to school, and then 1 shall marry Ned. 
 
 Ned. And I can't wait any longer. Let's go back. {Goes 
 up L. u. E.) Come out, Silas, and help me fix up my bang up 
 wagon. There's another seat. \_Exeunt, L. u. e. 
 
 Silas {as they go out). By gum, I'd like ter git a peak at 
 that dromedary cake walk anyhow. \_Extt. 
 
 (ToNEY and Star, alone.) 
 
 ToNEY {after an instant). Well, pet, I reckon things ain't 
 quite so bad as you thought they was er-goin' ter be after all ? 
 
 Star. No— no, Toney, and I'm happy. I'm so happy and 
 you are too, aren't you, Toney? 
 
 Ned {outside; heard firing up the machine). Come, you 
 two, get a move on in there ! 
 
 Toney. And I reckon now things have come out as they 
 have that you won't need me in the machine goin' back. 
 
 Star, {frightened). Not need you, Toney ? 
 
 Toney (quietly). You see there ain't room with Silas. So 
 I'm goin' over across the road and strike fer er job tendin' that 
 dormitory ergin. 
 
 Star, {with a cry). Oh, Toney ! You won t go back 
 
 with me? • n t 1 tm 
 
 Toney {as she throivs her arms about him). 1 reckon i a 
 better not this trip. You can see me anyhow often, fer I ain't 
 so far erway, pet. And then, p'r'aps if Matthew Sterling is 
 changin' so, I can come and see yer and stay a spell ; fer 1 can 
 fergive him er good deal easier than he can fergive me, as most 
 folks who ain't done nothin' can. 
 
 Star, {drawing him to her). Yes, yes, Toney. You 11 
 come soon. I want you, Toney. 
 
 Toney. And you'll always love me, pet ? 
 
 Star, (as he embraces her). Always. 
 
 Toney. My little gal. My dear, sweet, real httle gal. 
 
 {They are in each other's embrace at curtain.) 
 
New Plays 
 
 PLAIN PEOPLE 
 
 A Comedy Drama in Four Acts 
 
 By Dana J. Steve7is 
 Five males, five females. Costumes, modern ; scenery, \vio interiors. 
 Plays a full evening. A strong and human piece full of humorous char- 
 acter drawing and sympathetic interest. The cast is very even in oppor- 
 tunity, and all the parts are good. A great play for a good club, and a 
 sure winner. Strongly recommended. Free for amateur performance. 
 Price, 2^ cents 
 
 CHARACTERS 
 Ezra Bromley, storekeeper. 
 Almira Bromley, houseivife. 
 Martin Jasper Bromley, college ?nan. 
 Liza Liz Hankins, brat. 
 Judge Jotham Marley, Christian. 
 Melissy VY ATKINS, elderly maiden. 
 Jonas ]k\\\\qq¥., farmer. 
 Belindy Jarrock, seamstress. 
 Hiram Curtis Peck, seller. 
 April Blossom, help. 
 
 SYNOPSIS 
 
 Act L — Sitting-room behind Ezra Bromley's store. Morning. 
 
 Act IL — The same. Some clays later. 
 
 Act III. — At the Jarrocks'. Some weeks later. 
 
 Act IV. — At the Bromley s'. Later in the evening. 
 
 FOOLING FATHER 
 
 A Comedy in One Act 
 By R. M. Robinson 
 Three males. Costumes, modern ; scene, an interior. Plays thirty 
 minutes. A clever little play easily done and very effective. The boys 
 arrange a little burglary just to show the old gentleman what heroes they 
 are, but somehow things do not turn out right for the hero part. Can be 
 recommended. Price, /j" cents 
 
 AT THE JUNCTION 
 
 A Farce in One Act 
 
 By Charles S. Bird. 
 Three males, two females. Costumes, modern ; scene, an easy interior. 
 Plays thirty minutes. A bright and vivacious little farce for two young 
 couples and a comic station agent, very easy and effective. All the parts 
 are first rate, and that of the station agent is a corker. Can be strongly 
 recommended. Priccy /j cents 
 
New Piays 
 
 COUSIN KATE 
 
 A Comedy in Three Acts 
 
 By Hubert Henry Davies 
 
 Three males, four females. Costumes modern ; scenery, two easy in- 
 teriors. Plays two hours and a half. One of the most dehghtful comedies 
 of recent years, made widely and favorably known through the admirable 
 performance of the leading role by Miss Ethel Barrymore. The inimitable 
 spirit with which the scenes between Miss Barrymore and Mr. Bruce 
 Mc Crae were played returns inevitably to haunt the imaginative reader 
 of the lines of this play. Sold for reading only ; acting rights strictly re- 
 served. 
 
 Price J JO cents 
 
 CHARACTERS 
 Heath Desmond, an artist. Mrs. Spencer, a widow. 
 Rev. James Bartlett, a Amy Spencer, her daughter. 
 
 clergyman. Jane, a servant. 
 
 Bobby Spencer, « 5^/^^^/(^^/. Cousin Kate Curtis, a «d?z/^/«/. 
 
 MRS. GORRINGE^S NECKLACE 
 
 A Play in Four Acts 
 
 By Hubert Henry Davies 
 
 Five males, five females. Costumes modern ; scenery, a single interior. 
 Plays two hours and a half An admirable play of strong dramatic interest 
 presenting a cast of characters imagined, drawn and contrasted with un- 
 usual skill and effect. The piece is well known in the United States 
 through the memorable performance of the leading lady character by Miss 
 Mary Moore supporting Mr. Charles Wyndham. To such as remember 
 that admirable performance of an admirable play, the reading of the text 
 will be full of reminiscent pleasure. Sold for reading only ; acting rights 
 strictly reserved. 
 
 Price, JO cents 
 
 CHARACTERS 
 
 Capt. Mowbray, reti^-ed. Mrs. Jardine. 
 
 Col. Jardine, retired. Isabel Kirke ) her 
 
 Lieut. David Cairn. Vicky Jardine ) daughters^ 
 
 Mr. Jernigan, a detective in- Miss Potts. 
 
 spector. Mrs. Gorringe. 
 Charles, a footman. 
 
Novelties 
 
 HOW THE CLUB WAS FORMED 
 
 An Entertainment in Three Scenes 
 
 By Mrs. O. W. Gleason 
 
 Author of'*Hozu the Story GreiUy' **J Modern 
 Sewing Society," etc. 
 
 Eighteen females. Costumes modern ; scenery unimportant. Plays 
 one and a half hours. A humorous skit on the Woman's Club suited for 
 performance by either young or middle-aged women. Full of points and 
 chances for local hits and thus a sure laugh-maker. Parts well dis- 
 tributed; can be recommended. 
 
 Price, i^ cents 
 
 A MOTHERS' MEETING 
 
 An Entertainment in One Scene 
 
 By Arlo Bates 
 
 Author of ''A Business Meeting,''* '*A Gentle Jury,** "An 
 
 Interrupted Proposal,'' **Her Deaf Ear,'* etc. 
 
 Ten females. Costumes modern ; scenery unnecessary. Plays thirty 
 minutes. A good-humored and amusing satire of this institution suited 
 for performance by middle-aged as well as young ladies. Can be made 
 very amusing by the introduction of local points, as in all such entertain- 
 ments. All the parts are good and of nearly equal opportunity. Well 
 recommended. 
 
 Price, 75 cejits 
 
 MAIDS OF ALL NATIONS 
 
 An Entertainment in One Scene 
 
 By Maude Bin^bank 
 
 Author of ''A Pan of Fudge'' etc. 
 
 Fifteen females, one male. Costumes of the nations ; scene, the usual 
 tableau arrangements. A pleasant variation of the " Bachelor's Reverie " 
 introducing fifteen pretty girls in the costumes of as many nations. Plays 
 thirty minutes. Recommended for its simplicity and picturesqueness. Its 
 one male character may speak or not, as preferred, and may be played by 
 a girl if desired. 
 
 Price, 75 cents 
 
New Plays 
 
 THE TIME OF HIS LIFE 
 A Comedy in Three Acts 
 
 By C. Leon a Dalrynple 
 Six males, three females. Costumes modern ; scenery, two interiors, 
 or can be played in one. Plays two hours and a half. A side-splitting 
 piece, full of action and a sure success if competently acted. Tom Car- 
 ter's little joke of impersonating the colored butler has unexpected con- 
 sequences that give him "the time of his life." Very highly recom- 
 mended for High School performance. 
 
 Price, 25 cents 
 
 CHARACTERS 
 
 Mr. Bob Grey. 
 
 Mrs, Bob Grey. 
 
 Tom Carter, Mrs, Grey's brother, 
 
 Mrs. Peter Wycombe, a " personage.'** 
 
 Mr. Peter Wycombe, a "pessimist " with a digestion, 
 
 Dorothy Landon, secretly efigaged to Tom Carter, 
 
 Mr. James Landon, Sr., Dorothy's father ; of a peppery disposition. 
 
 Uncle Tom, aft old colored butler from the South, 
 
 Officer Hog an, of the Twenty- Second Street Police Station, 
 
 EETHER OR EYTHER 
 A Farce in One Act 
 
 By Robert C, V. Meyers 
 Four males, four females. Costumes modern ; scene, an interior. Plays 
 thirty minutes. A clever parlor play, similar in idea to the popular " Ob- 
 stinate Family." Sure to please. 
 
 Price, 75 cejits 
 
 THE MORNING AFTER THE PLAY 
 
 A Comedy in One Act 
 
 By Willis Steell 
 Two males, three females. Costumes modern ; scene, an interior. 
 Plays twenty minutes. An easy piece of strong dramatic interest, orig- 
 inally produced in Vaudeville by Christy Clifford. Free to amateurs? 
 royalty required for professional performance. 
 Price^ 15 cents 
 
New Plays 
 
 OUR WIVES 
 
 A Farce in Three Acts 
 By Anthony E. Wills 
 
 Seven males, four females. Costumes, modem ; scenery, two interiors. 
 Plays two hours and a lialf. A bustling, up-to-date farce that deserves the 
 rather worn description of " side-splitting." Full of movement and action ; 
 all tire parts good and effective ; easy to produce ; just the thing for an ex- 
 perienced amateur club and hard to spoil, even in the hands of less prac- 
 tical players. Free for amateur performance. 
 Price, 2^ cenis 
 
 CHARACTERS 
 
 RoswELL Chandler, a retired mere hatit. (Old Man.) 
 
 Walter Blair, his son-in-law. (Comedy Lead.) 
 
 Oscar Siebel, a composer. (German.) 
 
 Lloyd Deveaux, a chronic invalid. (Character Old Man.) 
 
 John Stanton, a detective. (Comedy.) 
 
 Mallory, a reporter. (Comedy.) 
 
 Ford, aji expressman. (Utility.) 
 
 Gilda Deveaux, wife of Deveaux. (Lead.) 
 
 Mrs. Chandler, wife of Roswell. (Old Lady.) 
 
 Beattie Blair, wife of Walter. (Straight.) 
 
 Julia, a French maid. (French.) 
 
 THE PACKING OF THE HOME MIS- 
 SIONARY BARREL 
 
 An Entertainment in One Scene 
 By Mrs. HeJiry A. Hallo ck 
 Ten females. Costumes, modern ; scenery unimportant. Plays thirty 
 minutes. One of those little satires of feminine ways that are so popular 
 even with the ladies ; very shrewd and effective, but perfectly good-na- 
 tured. An assured success and very easy to get up. Strongly recom- 
 mended. 
 
 Price J Zj cents 
 
 THE BARGAIN COUNTER 
 
 A Farce in Three Scenes 
 
 By Grace Moody 
 Five females. Costumes, modern ; scene, an interior. Plays thirty 
 minutes. A bright little piece satirizing that institution so dear to the fem- 
 inine heart — "the bargain counter." Full of good-natured fun; can be 
 recommended. 
 
 jprice, 75 cents 
 
New Plays 
 
 A MASQUE OF CULTURE 
 
 By Ajmie Eliot Trumbull 
 
 Two male, ten female characters. Costumes, classical ; scenery, un- 
 important. Plays about an hour and a half. A reprint of this clever and 
 widely known satire. It deals with ladies and gentlemen well known in 
 historical society, and discusses them with abundant wit and humor. Con- 
 fucius and Socrates are summoned by Minerva to a convention of ladies, 
 equally well known to literature, held in Boston. They return to the 
 Shades and to Minerva with a depressing account of these ladies and their 
 transactions. Ideally suited for the use of schools and ladies' clubs both 
 by its subject and its admirable treatment. Can easily be played by 
 women only if desired, and can be gotten up with very little trouble or 
 expense. 
 
 Pricey 2^ cents 
 
 ROMANTIC MARY 
 
 By Alice C. Thompson 
 
 Four males, four females. Three acts ; costumes modern ; scenery two 
 easy interiors, or can be played in one. Plays two hours. A very pretty 
 and effective piece, high in tone and very amusing. A haunted house 
 and a very polite and considerate ghost contribute a pleasing mixture of 
 humor and excitement to a very well-balanced cast of characters. All the 
 parts good. An easy piece, well lecommended. 
 Frice^ 75 cents 
 
 A HOLE IN THE FENCE 
 
 By Esther B, Tiffany 
 
 Four males, three females. Two acts ; costumes modern ; scenery, an 
 exterior — a garden. Plays an hour. A farcical comedy of high class, 
 very amusing and not difficult. Irish, Negro and Swedish comedy char- 
 acter, ; all the parts effective. Can be strongly recommended to the best 
 tastft. 
 
 Price, 2S cents 
 
 THE UNDOING OF JOB 
 
 By John Sto?ie 
 
 Three males, four females. Three acts ; costumes modern ; scenery, 
 a single interior. Plays an hour and a quarter. An amusing comedy 
 with a small but well-balanced cast, high in tone, and strongly recom- 
 mended for drawing-room performance, as it is easy and effective and can 
 be produced under the simplest conditions. Professional acting rights 
 ceseived. Price, 2$ cents 
 
New Entertainments 
 
 ALL THE YEAR ROUND 
 A Series of Entertainments for Every 
 Month in the Year 
 By Harriette Wilbur 
 A collection of sixteen pretty and graceful entertainments for children 
 of various ages and both sexes in a variety of combinations, written by an 
 experienced teacher of the young, and intended to meet the wants of oilier 
 teacliers ni quest of material suited to their needs. Some attention is 
 given to ail the generally observed holidays and anniversaries, and for 
 the more popular of these more than one entertainment is provided. The 
 ideas are pretty and, it is believed, their working out entirely practicable. 
 Costumes called for are easily arranged, and full descriptions are given 
 when necessary, as well as music and illustrative diagrams to aid in work- 
 ing out the drills and marches. 
 
 Price, 2S cents 
 
 CONTENTS 
 '• Happy New Year " {six boys, six girls and a little child ). 
 The Rail Splitters {twelve small bop^. 
 Valentines {six girls and six boys, or tzve he girls), 
 George and Martha Washington [six boys and six gtrls). 
 The March Hare {eight boys). 
 April Weather {four boys and four girls). 
 May Flowers {fourteen little girls). 
 "June Time " {fourteen girls). 
 A Firecracker Drill ( ten small boys). 
 The Stars and Stripes {sixteen girls). 
 Labor Day {six boys and chorus). 
 " Berries Red " {ten little girls). 
 Autumn Leaves {eight little girls). 
 The First Thanksgiving {twelve small boys). 
 Christmas Bells {nine small boys). 
 A Winter Night's Frolic {tzvelve small boys), 
 
 BROTHER DAVE 
 
 A Play in One Act 
 
 By Willis St cell 
 
 One male, two females. Costumes modern ; scene, an interior. Plays 
 
 twenty minutes. A piece of very strong dramatic interest for a leading 
 
 low comedian, originally produced in vaudeville by Sam Edwards. Free 
 
 to amateurs ; royalty required for professional performance. 
 
 Price, 13 ce?its 
 
Novelties 
 
 SCENES IN A RESTAURANT 
 
 An Entertainment in One Act 
 
 By Jessie A. Kelley 
 
 Author of ''Our Church Fair;' " The Village Post-Office T 
 
 "Miss Prim s Kiiidej-garten,'' etc. 
 
 Fifteen males, ten females. Costumes modern ; scenery unimportant 
 
 Plays one hour. A humorous presentation of what happens every day in 
 
 the average restaurant, hitting everybody right where ihey live. Sure to 
 
 be popular. All parts good ; lots of incident and chances for local hits. 
 
 Can be recommended. 
 
 Price, 2^ cents 
 
 CHARACTERS 
 
 Mr. Jones, head waiter. 
 
 feart I '"'■"■"-• 
 
 Mr. Rice, a mean man. 
 
 Mr. Foss, who has a plan. 
 
 Mrs. Brett, 
 
 Mrs. Dacey. 
 
 Mrs. Slack, deaf, middle' aged, and stout. 
 
 Miss Drew. 
 
 Mr. Rich 1 
 
 actors. 
 
 Mrs. Smiley, an indulgent mother. 
 Maud, her daughter; a spoiled child. 
 
 Beggar. 
 
 Mr. Delaney J ^^,.„„,„,,^,. 
 
 Mr. Hazelton S 
 
 Mr. Hall, a health crank. 
 
 James, his servant. 
 
 Mr. Monroe, a chronic kicker. 
 
 Hiram Greenback, y;'o;« way back. 
 
 Mary Ann, his wife. 
 
 M^imS^y \rkMfron.Man4. 
 
 Mr. Jackson 
 
 Reuben Grass, from the country. 
 
 Mandy Clover, his best girl. 
 
 FUN IN A THEATRICAL OFFICE 
 
 A Vaudeville Entertainment 
 
 By Maravejte Ke7i72edy Tho7npson 
 
 Seven males, sixteen females. Costumes modern ; scenery unimportant. 
 
 Plays a full evening. A complete vaudeville entertainment in itself or can 
 
 be used as the frame for other specialties ; a " go-as you-please " show, 
 
 very elastic and adaptable to all places and circumstances. A big hit in 
 
 its original performance. Strongly recommended. 
 
 Price, 25 cents 
 
 CHARACTERS 
 
 Luke Loud, a theatrical agent. 
 Bat, his office boy. 
 
 Clara Vere De Vera, his stenographer. 
 Orchestra Carr, his pianist. 
 
 VAUDEVILLE ARTISTS 
 
 Gentlemen 
 
 Pietro De Bianaco. 
 
 George Washington Lincoln. 
 
 {an Getupangitski. 
 leuben Haskins. 
 
 Ladies 
 
 Mrs. Susan Sufifreno Riser. 
 
 Mrs. Trailing Arbutus Flower, and he% 
 
 thirteen children. 
 Miss Anise F.lderbloom. 
 Frisky Dewdrop. 
 Fluffy Flutter. 
 Madame Syiva. 
 Mrs. Rridgct Casey. 
 Mrs. Rulethe Roost. 
 Two ladies /o?- sketch introduced. 
 Alme. Carmencita. 
 " Peach " Ott. 
 Ruby Ott. 
 Goldie 1 
 
 Birdie > the Coquette Sisterf, 
 Queenie ) 
 

 THP MAfil^Tff ATF F^^rce in Three Acts. Twelve males, four 
 lllC iWAUlJllVAlC females. Costumes, modern; scenery, all 
 interior. Plays two hours and a half. 
 
 THE NOTORIOUS MRS. EBBSMITF ^■?"lJ:,,T,;„r,. 
 
 Costumes, modern ; scenery, all interiors PI; ys a full evening. 
 
 THP PPftFI MlATF Play in Four Acts deven males, five females. 
 IflC riiWrMUAlIi gggjaery, three interiors, rather elaborate ; 
 costumes, modern. Plays a full evening. 
 
 THP CrH AHI IWKTffP^^ Farce in Three Acts. Nine males, seven 
 lUC JLUVULriUlJlALJJ females. Costumes, modern ; scenery, 
 
 three interiors. Plays a full evening. 
 
 TEE SECOND MRS. TANQCERAY ^'rC/vHer.:. ^?" 
 
 tumes, modern ; scenery, three interiors. Plays a full evening. 
 
 QWPFT T A VFNHFP Comedy in Three Acts. Seven males, four 
 JTtCCI L<AICllllCll females. Scene, a single interior; costumes, 
 
 modern. Plays a full evening. 
 
 THF TIIWFS Comedy in Four Acts. Six males, seven females. 
 inC lllUEJ Scene, a single interior; costumes, modern. Plays a 
 
 full evening. 
 
 THF WFA¥FR ^FY Comedy in Three Acts. Eight males, eight 
 1 UC TV CAHCn JEA fen^j^ieg Costumes, modern ; scenery, two 
 interiors. Plays a full evening. 
 
 A WIFE WITHOUT A SMILE ^^^IZ.'^L^Z..^::, 
 
 modern ; scene, a single interior. Plays a full evening. 
 
 One copy del. to Cat. Div. 
 
LIBRftRY OF CONGRESS 
 
 017 401 470 P { 
 
 Cije 5^illiam l^arren CUitton 
 of ^laps 
 
 AS YOII T IKF IT Comedy in Five Acts. Thirteen males, four 
 nu IVt) Lti.n.L4 11 females. Costumes, picturesque ; scenery, va- 
 ried. Plays a full evening. 
 
 CAMITTF ^^^™^ i'^ Fi"^6 Acts. Nine males, five females. Cos- 
 VAlTill^lviv tumes, modern ; scenery, varied. Plays a full evening. 
 
 INfiOIUAP ^l^y i" I^^'^® Acts. Thirteen males, three females. 
 lilUUiUiilV Scenery varied ; costumes, Greek. Plays a full evening. 
 
 MARY STUART Tragedy in Five Acts. Thirteen males, four fe- 
 iTiiiI\i t^lU/ilil males, and supernumeraries. Costumes, of the 
 period ; scenery, varied and elaborate. Plays a full evening. 
 
 TBE MERCHANT OF VENICE 'i^J^^^S^ §S?rs; 
 
 ipicturesque ; scenery varied. Plays a full evening. 
 
 RICHFI IFII ^^^^ ^° ^^^^ Acts. Fifteen males, two females. Scen- 
 
 evenmg. 
 
 ery elaborate ; costumes of the period. Plays a full 
 
 THF RIVAT S comedy in Five Acts. Nine males, five females. 
 1 lllv ill T AL/O Scenery varied ; costumes of the period. Plays a 
 full evening. 
 
 SHE STOOPS TO CONQUER ^^S^X'iS iSl^i'^J^^^^Z 
 
 ried ; costumes of the period. Plays a full evening. 
 
 TWELFTH NIGHT; OR, WHAT YOU WILL "iSA^rlils: 
 
 three females. Costumes, picturesque ; scenery, varied. Plays a 
 full evening. 
 
 Sent prepaid on receipt of price by 
 
 Salter 1$. I3a6er & Company 
 
 No. 5 Hamilton Place, Boston, Massachusetts 
 
 • . i. PARKHILL A, OO.. PRINTERS. BOSTON. U.S.A. 
 
LIBRARY OF CONGRESS 
 
 017 401 470 A •