NO PLAYS EXCHANGED. BnHnR'3 Edition SorPL7\Y3^ TEAM-WORK Price, 25 Cents COPYRIGHT. 1889, BY WALTER H. BAKER & CO. H. IU« Pinero's Plays Price, 50 Cents €acb THF A M A 7nN^ Farce in Three Acts. Seven males, five fe- iriEi /i.lTii\£ No. 5 Hamilton Place, Boston, Massachusetts Te A Comedy in Three Acts By HAROLD QUIMBY GALLUPE and CHARLES GOTT Author of '■'-His IVord of Honor^'* etc. Prize-winner, Pen, Paint and Pretzel Contest, Tufts College, November, igio. BOSTON WALTER H. BAKER & CO. 1912 Team-Work CAST OF CHARACTERS Stewart Almy, "Toot," a member of "Paint and Powder," a dramatic club. William Jefferson Jordan, "S/iifte," the playwright, member of "Paint and Powder." Bob Richards, captain of the football teatn, host at Forest Lodge. H. Gardner Hvuphk^y, football jiianager. Frank Bell, electrician for "Paint and Powder." Bill Black, ^ Tom Whttf ' I ^^'^■S^ hands for "Paint and Powder." Sam Green, J Messenger Boy. Dorothy Sprague, ] Edith Richards, Bob's sister, \ Students at Jackson College. Ruth Sargent, j Mrs. Hodgkins, Bob' s aunt, the chaperon. Amy Sinclair Granby, a Radcliffi stitdent, Edith' s friend. SYNOPSIS OF SCENES Act I. — Dining-room at Forest Lodge, morning. Act II. — Same as Act I. Evening of the following day. Act III. — Stage of the college gymnasium, on the afternoon preceding the performance of the Paint and Powder play. Place :— Tufts College. Time : — Present. Copyright, 1911, by Charles Gott. Copyright, 191 2, by Walter H. Raker & Co. / ©C!.D 31173 Team-Work ACT I SCENE. — The dining-room of Forest Lodge. Door L. to piazza ; door r. to kitchen and hall. Fireplace tip C, with small latticed windotvs on either side. In ceiitre of room, Mrs. Hodgkins, Edith Richards, Amy Sinclair Granby, Ruth Sargent, Dorothy Sprague. Stewart Almy and William Jefferson Jordan sit about round dining table, which is covered with the remains of breakfast. One chair vacant. On wall h., an old-fashioned telephone. Up stage L., seat, of which cover can be raised. Down r. a couch. Seats, pictures, etc. Stew, wears light trousers, brown and blue jersey, and dark coat. Shine wears dark suit and soft shirt. Most of the party are finishing breakfast. Stew. Why don't you eat some breakfast, Dorothy? You'll shrivel up and blow away. Dor. Goodness ! I can't start in the morning and keep eating all day the way you boys do. Edith {laughing). Boys ! How about Aunty and me? Dor. Oh, well, you're not really eating, — you're just keep- ing Toot company. And Mrs. Hodgkins has just started. Stew. Huh ! I bet you're like Ruth : she eats as much as I do, but she eats so fast {Ducks laughing.') Ruth. Stewart Almy ! I don't either ! You're perfectly horrid to say such things ! Stew. Well now Shine. Holy smoke ! Some fellows can get by whatever they say. Now if I'd said she ate fast, I'd fast forever. {Laughs, but as no one else laughs, lapses into embarrassed silence.) Edith {to Mrs. H., who is looking about table for some- thing). What is it, Aunty? Mrs. H. I must have taken the coffee out. {Starts to rise.) 3 4 TEAM-WORK Edith {rising). I'll get it, Aunty. [Exit, r. Mk;s. H. Oh, thank you. Stew, {gallantly, offering biscuits). Mrs. Hodgkins, can't I tempt you ? Mrs. H. No, thank you. — Well, perhaps I will. {To EDTrH who is entering with coffeepot.) Edith, I guess I won't have the coffee now. (Edith starts back.) Shine. May I have some, Edith ? Edith {not impaiieiitly). Shine, you're a perfect nuisance. Stew. Oh, for heaven's sake give him some ; it may keep him awake. Dor. No need. He didn't sit in the hammock 'most all night the way some people did. , Edith {with coffee). Any one else ? Amy. Edith, may I have some corn-flakes ? Edith. There aren't any more. Bob's gone to bring some from the store. Stew. It's a good thing he's gone. Zowey ! This place is worse than an orphan asylum ! Nothing to eat ! I swear, I'll starve ! [^a-// Edith, r., laughing ; Mrs. H. shocked. Ruth. You'd better put some salt on those biscuits, Toot. You need it. Stew, {mouth too full for utterance, looking at Ruth). Um-hm ? {Reaches for biscuit.) After all Shine. That's right, you're after everything. (Amy and Dor. rise, excusing themselves.) Mrs. H. I think I'll let you finish alone; I have so much to do. Stew. Certainly, Mrs. Hodgkins, don't mind me. I alw {Telephone begins to ring. All stand and listen. Stew, rises and counts on fingers, then bus. of stopping it with pillow. Bell rings eleven times, after which girls begin to clear the table. ^^/V Mrs. H. S)Te.v^. stretches.) Eleven's not us ; they'll have to guess again. Ruth. Goodness ! I thought it was a fire. Stew, {strollitig about, lighting pipe) . Oh, no. They ring twenty-five for a fire. That's sportsmanlike. Gives the flames a chance, you know. {Stretches, and at last sits on bench, feet in chair.) TEAM-WORK 5 Shine {7vho has started to help clear table"). Come on here, Toot. Stew. Out upon you, scullion ! Shine. What the deuce are you here for, anyway ? Stew. To help write your play, dearest one. Shine. Well, that's all right, but Dor. Shine, never mind these things. Get us some water, will you please ? Shine {cheerfully). You bet, [^Exit, R. Stew, {settling himself comfortably). Work, you galley slave. Amy {pausing in doorway, dish in hand). Where shall I put the butter ? Ruth. Leave it on the table. Mrs. Hodgkins will put it away. \_Exit Amy with butter. Stew. That's right, never do what you can get any one else to do. {Pause.) Put it on the stove and it will keep nice and warm. Ruth. Here, you get up and help. Toot. You haven't done a stroke of work since you came, you unearned increment. Stew, {rising, and grandiloquently). My dear Miss Sargent, advice is far superior to actual labor, {fielps Ruth to cover table, which he then fnoves up r. Strolls over l., while Ruth places books and papers from couch ofi table. Edith starts to sweep. Stew, picks up paddle from near door l., and whistles to attract Ruth's attention. She looks and he motions to door L. Bus. She shakes her head ; he insists, and finally she nods. He goes out L. Pause, while girls are busy about room. Stew, calls from without.) Ruth, where's the other paddle ? Ruth. Why, out there. Stew. Where ? — I don't see it. Ruth. Oh, dear ! \_Exit, L. Girls exchange glUnces and laugh. Edith. Isn't he the limit ? Amy. I know it ; it's killing. We'll have to do without Ruth, now. Edith. Well, never mind. It's my turn to help, anyway. Dor. Oh, say ! Did you think to tell Bob about the sugar ? Edith. No, I forgot all about it. What can we do ? Amy. Can't you telephone to the store and see if he's there ? 6 TEAM-WORK Edith, Yes, but I'm afraid he's gone. ( Goes over to telephone and rings, one long atid two short. ) Amy. Are all the telephones here on one line ? Edith. All but the railroad station and the — — Hello ! Mr. Bird ? — Has Bob Richards been there, Mr. Bird ? — Gone ? Oh, that's too bad. {Laughs.^ Yes; sugar this time. — Sugar, yes. — Took some? — He did? — Oh, all right. — Yes, lovely day, Mr. Bird. Good-bye. {Hangs up receiver.^ Dor. Did he get some ? Edith. Yes. I wonder how he knew? Maybe Aunty told him. He has to ask all the cooks. Enter Shine, l., with bucket of water. Dor. Oh, Shine, why didn't you come the other way? Shine {^part way across, halting and starting back). Well, Edith. Oh, look out ! You're spilling it ! Shine {confused). Gee whiz ! (Dor. takes pail and carries it out r.) Amy. How is your play getting along ? Have you finished fixing the last act ? Shine. No, not quite. You see, I've got to get my doctor on down stage, right, and there is nothing to motivate his en- trance except up stage, left, and I'm stuck. Amy {at a loss). Oh, ye-yes, of course When does it come off, anyway ? The play, I mean ? Shine. Some time between Thanksgiving and Christmas. Enter Dor., r. Edith. Oh, I do hope you'll win it ! Dor. Yes, won't it be great ! " Paint and Powder com- petition, won by William Jefferson Jordan." Amy. Big head-lines — " young author wins dramatic honors." Shine. Oh, pshaw ! Come on, Dot, let's play tennis. Dor. {to Edith). Is there anything else to do ? (Amy sits, 7vith magazine.) Edith. No, Amy and I'll do the rooms. It's our turn. TEAM-WORK 7 (Shine takes iennis rackets and balls from bench L.) Shine. Come right now ? Dor. Yes, I guess I'm all right this way. Shine. Come on. \_Exeunt Dor. ««^/ Shine, l. Bob Richards {ivithoid). Hey, where'll I put this stuff? Amy. Oh, Bob's back. Edith. Why, put it on the table, of course. Bob {without). Table ! How can I when it's full of dishes? Hurry up, for heaven's sake! It's slipping! Hurry ! (Edith and Amy start for door.) Edith (screaming). Put it on the floor ! (Noise of falling objects without. Exit Edith ; Amy stands in the doorway.) Bob (without). It's on the floor now, anyway. Edith (without). Oh, Bob ! (Amy turns, laughing.) Bob {same). Look out, don't step in it ! Amy (calling). Bob, did 1 get any mail? Bob {same). Yes ; wait a second and I'll bring it in. Edith (without). Aunty, are you ready to do the dishes? Mrs. H. (without). In a minute. Enter Bob, r., with letters. Bob. Here it is. (Shakes post-card at Amy.) Amy. Oh, is that all ! Bob. Yes ; I guess he's forgotten you this week. Amy (reproachfully). Bob ! Bob (looking over mail). Here's one for Ruth. I hope she won't have to go. (Throws letters on table and sits on bench L., with Amy. He is fingering a letter which he holds in his hand.) Amy {looking at hifu). This is just from sister. Bob (resting head on hand). Oh ! Amy. What's the matter, Bob? Bob. Nothing. 8 TEAM-WORK Amy. Then why don't you talk? Bob (rising and crossing). I don't feel much like talking, somehow. Amy. Did you get a letter, too ? Bob. Yes; from father, that's all. (Si is again.) Amy. Oh ! (Pause.) Oh, Bob, I've been reading the aw- fuUest story ! It's one of those war-time stories about a girl who is engaged to a Union soldier, and she pretends she cares for a Confederate officer in order to — to save her lover from being caught. And when the Union man finds out that she has let the Southerner flirt with her, he won't have anything to do with her. I don't believe any man would be so horrid, do you ? Bob (absently). Perhaps not. Amy. I think if a girl cared for a man she would do almost anything, just to protect him ; but this man wouldn't listen. — I hate a story like that, — don't you? Bob (more absently). M-m-m. Amy (offended). Bob Richards, you mean thing I You haven't heard a word 1 said ! Bob. Yes I have. Amy. Excuse me, but I — I was thinking. Amy, You Bob, what's the trouble? I know it's something. — Won't you tell me? Bob. I can't. Amy. At least not yet. Amy. You never tell me a thing ! Why can't you tell me? Is it that football business ? Bob (pacing the room). No, not football. It's — I can't tell you. But I do tell you things, — a great many. You know I do. Amy. I don't think so. You could tell me this if you wanted to, but you won't, and it's mean of you. Bob. I wish I could. Perhaps to-night, when we go to the village. I can't tell you now. Amy (piqued). I'm not sure that o/i? are going to the village to-night. You just won't tell me — I shall have to give Ruth her letter. [Rising, takes letter from table.) Perhaps you can think better by yourself. [Starts out door r.) Bob. Don't be so unreasonable. I'll explain why I can't tell you yet. Amy (coming back to door l.). No, never mind. Bob. But you'll see when I tell you. Amy. No, I don't want to hear it. \^Exit, L. Bob (aside). Now isn't that just like a woman ? TEAM-WORK 9 {Begins to pace floor,') Enter Edith with sewing- bag, r. Edith. Well, here's the lion in the cage again. Have you had your raw meat yet ? Bob (angrily). Never mind ! Can't you ever open your mouth without saying something disagreeable ? ( Continues pacing.) Edith {coming down, laughing). Oh, nonsense, Bob. What have you said to her now ? Bob. Not a darn thing ! Edith. Well, then, I don't blame her. You've got to talk to a girl, you know. Bob. Oh, bosh ! Girls are about as consistent as — as a weather bureau ! Edith. Well, you know you say yourself that "consistency is the bugbear of little minds." Don't take everything so seriously. Bob, and especially girls — 2X your age. Bob. I guess I'm not starting anything serious for a good while yet, the way things look now. Edith. Now ? What do you mean ? Bob. Well, I may not get my degree yet a while, for one thing. Edith (wonder ingly). Why, what are you talking about, — studies, or — or football, — or what ? Bob. What, I guess. Edith. Oh, be sensible ! What is it ? Bob. This football's a joke compared to what's coming when we get out. Dad's getting his now, and he was a foot- ball man himself. Edith. " Getting his " ! How? Bob. Say, did you get your mail over on the table ? Edith. No; was there something for me? Why didn't you tell me? (Goes to table and picks up post-cards.) Oh, only postal cards. (She glances over them. Bob has taken let- ter from pocket which he is reading. Edith turns and sees him.) Oh, is that Bob. I guess I'll let you read this letter from Dad. I didn't think I would at first. (Hands letter to Edith, which she reads.) 10 TEAM-WORK Edith {reading, half audibly at first). "Means certain failure."— Why, Bob ! — " Certain failure unless I can come to terms in two weeks." — ■"Haven't much faith in Humphrey, for he wants the plant." — Why, what if he does, Bob, if father doesn't want to sell ? Bob. You read on. Humphrey is vice-president of that railroad, that's all. Edith (reading). Oh, yes, I see, — " vice-president of the K. and B." Bob. Surely, and he wants to force father to sell by threat- ening to tear up the rails. Edith. Why, Bob, this is terrible ! What can he do ? Bob. Do? He can't do anything but prove to some one higher up that his business pays for the up-keep of the railroad. Read that last paragraph ; — read it out loud. Edith {reading). "The vice-president asserts that since Elton's decline as a lumbering town, there is not enough business provided by my cement works to justify the continuance of the spur track. If I cannot prove that he is wrong, my failure is certain. ' ' Isn' t that Bob. There you have it. He's absolutely helpless if Humphrey is unscrupulous. Edith. But is it really as bad as he says ? Will it mean complete failure ? Bob. I'm devilish afraid so, or Dad wouldn't write me this way. He almost never writes me about business troubles. Edith. Poor Dad. Just think ! Bob. But who do you suppose this vice-president is ? Edith. Why, I hadn't thought. Who? — His name is — {consulting letter) Humphrey. — Why, Bob, it isn't Bob. Arnold M. Humphrey ! Edith. Arnold M. ? — Why, that's Bob. Harold Humphrey's uncle. Edith. Why, for mercy's sake ! And Harold's coming here to-morrow ! Does he know it ? Bob. Do you mean what his uncle's doing? No, I don't believe he does. Edith. What will you do ? Shall you tell him ? Bob. I don't know, — maybe. What good'll it do, though? Edith. Well, it would make it unpleasant for him ; — but then he may have some influence with his uncle. Bob. Pshaw S I don't believe it. Edith. Well, let's not tell him. team-work: 1 1 Bob. All right, we won't. I guess that's the best way. Enter Stew. «7/^/Ruth, l., Stew, with broken paddle. Stew. That's it, just one rock in the whole pond, and you had to find it ! Ruth. And you had to steer me right over it and then turn me round. Of course I broke it. Edith. Oh, did you break a paddle? Stew. Look at this what the big boss did ! Busted the paddle right in halves. Ruth {statnping her foot). It was all your fault! You ought not to make me paddle, lazy ! I ahvays have to paddle ! Stew. Haven't I been paddling you around this pond for the last two weeks, lazy ? You'll be so fat you can't waddle ! Ruth. I'm not- fat, you awful thing ! Stew. Yes, you are. Ruth. No, I'm not ! {Bus. of both talking at once.) Stew. You're a sight ! Ruth. No, I'm not ! Bob. Come, come, children, that will never do. ( Walks toward them.) Stew. Well, have you got any tape? Bob. Yes, I guess so, in that bench. Stew, {going to bench). Look out ! {Paws into bench.) Ruth. I'd just like to push you in. Stew. Don't you dare. {Finds tape.) Here you are. Now fix it. {Hands paddle and tape to Ruth, who looks from them to him. Bus.) Well? — Oh, Lord, let me have it. (Takes them from her and both sit on bench.) Edith. Now that the children are quiet, I'll go and help Aunty. Don't quarrel any more, little ones. \_Exit, r. Bob. I'm not going to stay here and take care of them. {To Stew.) Have you seen Amy, Toot? Stew, {without looking up from his work). Huh ? Now, hold this. {Bus.) Edith {from kitchen). Bob ! Bob. Hello? Edith. Come and open this jar, will you ? Bob, Yep. [Exit, r. 12 TEAM-WORK (Stew, binding paddle, Ruth siiiing close to him ; bus.') Stew. There, I guess that'll hold her for a while. Ruth. I don't see why girls can't do things like that. Stew. Pshaw, you could do that yourself, if you only thought you could. — Say, push over and give a fellow room to breathe, will you? (Ruth gets over to very end of bench and looks dignified.') Enter Shine, l. ; goes c, with left hand over eye. Shine. Gee ! That looks pretty good for a lovers' quarrel. Guess I'll take that down. i^Feels in pocket for pencil which he does not find. ) If I can find Stew. I^overs' quarrel ! Huh ! You look as though you've had a married man's quarrel ! What's the matter, anyway? Shine. Oh, Dot tried to lay me out with a tennis ball, that's all. Are there any more tennis balls in the house? Stew. Not a darn one. What did you do with those you took out this morning ? Shine, Oh, we batted them into the bushes. S'pose we've got to find them. You two don't want to forget that rehearsal to-night. Stew. Say, you and your play give me an awful pain. Do you know it ? Shine. If it will make you take pains with //, that's all I care. \_Exit, l. Stew. That fellow Shine pulls off some of the rankest puns I ever heard. {Looks at ^xiiYi.. Pause.') Well? Ruth, It isn't well ! You say some of the worst things ! I think you ought to paddle me all around the lake this after- noon for that. Room to breathe ! Stew. Very well. We'll do anything for a lady. Will that clear my character? Ruth. It may, if you stop saying such things. But you've got to clear it pretty quick. I'm going — to-morrow or next day. {Rises ; goes r.) Stew. Ruth, you aren't really, are you ? Ruth. Yes, I am. Stew. What for? You don't have to go, Ruth. I do, too. You don't treat me half well, — and mother wrote for me to, anyway. TEAM-WORK 1 3 Stew. Aw, gee, kid, come on and stay ! I'll be great ! No, but seriously, you'll stay, won't you ? Ruth. I can't, unless: (Honk of automobile witJiout. Ruth and Stew, go to the door L. and look out.') Stew. What do you know ? An automobile in this dump ! Enter Bob, r. Bob. Ha-ha ! What the deuce ever dragged you out of that seat ? Stew, {ignoring the question ; not turning). Did you hear that? Bob. Hear what ? Ruth. Why, that toot. Bob. Toot who? Stew, {turning). Institoot, you leather dome ! Didn't you hear the auto ? Bob. Humph! Didn't you ever hear one of those before? (Stew, and Ruth cross to cotich, r.) Stew. No, not here. \Exit Bob, l. Ruth. Oh, I suppose it was just passing by. Stew. Yeah, but you don't see anything but the butcher cart and berry peddlers around here. I'd give him a nickel to let me smell the gasoline. Enter Amy, l., hurriedly. Amy. Oh, say, who's got an automobile up here? I just saw the dandiest looking fellow go by in a big red car — all alone, too. I was sitting on that big rock, and he kept look- ing at me until I just couldn't help smiling. Do you know who he is? Ruth. Why, no. We heard the horn, didn't we. Toot? Stew. Yes. Probably some one from the other side of the lake. Here's the tennis team. {Enter Dou., and Shine with one eye discolored.) Oh, will you look at the peeper on Shine! Ruth. Why, Shine ! Amy. Goodness ! How did you do that ? Shine. Oh, I just Dou. Look, isn't it fierce? We were out on the tennis 14 TEAM-WORK court, and I hit it awful hard, and it went right square in his eye. Stew. The tennis court ? Dor. No, the ball ! See how dark it is ! Stew. The ball? (Dor. stamps her foot at him.^ Ruth (wincing). Isn't it sore ? Amy. Does it pain you ? Shine. No, that's nothing. I Enter Edith, r. Dor. Course it hurts. Let me put some hammemelis on it, Shine. Stew. Sure, that'll kill germs — anaboena, uroglena, ba- cillus typhosus — all of 'em. Ought to have it. Shine. Shine. Oh, go on, Toot. Edith. What's the matter ? Oh, your eye. (All crowd around Shine.) Dor. I almost put his eye out with a tennis ball. Is there any hammemelis, Edith ? (H. Gardner Humphrey appears in door l. clad in auto- mobile togs, suit-case in hand. Others do not see him.) Shine. Oh, the deuce with hammer-melis. My eye's ham- mered enough already. 'S)rE'W. (^profoundly reproachful). Oh, Shine! (Turns away.) Edith. Yes, I'll get you something for it. See how it's swollen. (All interested in Shine's eye do not see Hum. until he sud- denly drops suit-case with a bang. All turn quickly.) Hum. (supplying all conversation). How do you do, every- body? Nicely, thank you. Make yourself at home. Sure. (Walks into centre of room.) Stew. Look who's here ! How the deuce are you, old scout? (Goes over ; shakes hands.) Hum. Never better. How are you, Toot? TEAM-WORK 1 5 Edith. Why, Mr. Humphrey ! {Shakes hands.') How long have you been there ? {Dialogue rapid and run together.') Shine. Hello, Gardner. How's the boy ? Hum. Not long, Miss Richards. {To Shine.) Ah there, author. How are you ? {All the while looking at Amy, who is back.) Ruth. How do you do, Mr. Humphrey ? Was that your horn we heard ? Hum. I guess so ; I've got the machine here. Dor. I didn't think you were coming till to-morrow. Hum. My machine went on the blink, so I got here a day early. Stew. Go on ! What are you talking about ? Shine. Gee ; it must have needed repairs to develop a day's speed that way. Hum. That's right. You see, I had to take father's car, and brought the family part way — they're bound for York Beach. Stew, I guess you started early this morning, didn't you ? Hum. {looking at Amy). Yes — that is — no. What ? Edith. Oh, Mr. Humphrey, have you met Miss Granby ? Excuse me ! I thought Hum. {advancing). Well, no ; not really. Glad to know you. Miss Granby. {Shakes hands and steps r., talking to her. She does not seem especially interested, but converses politely.) Edith. Any one know where Bob is? Ruth. Why, yes, he went out a little while ago. Shine. I'll go find him. [Exit, l. Enter Mrs. H., r. Edith. Oh, Aunty, Mr. Humphrey has come, — the foot- ball manager, you know. Mrs. H. Oh, has he? [^Exit T>ov<.. , r. (Edith takes Mrs. H. over to where Hum. and Amy are.) Edith. Mr. Humphrey. (Hum. does not turn. Stew. whistles. Hum. pays no attentioii. Edith touches Hum. on arm and 'Huu. turns.) Aunty, this is Mr. Humphrey, — Mrs. Hcd.;kins; Mr^ Humphrey* 1 6 TEAM-WORK. Hum. I'm very glad to meet you, Mrs. Hodgkins. Mrs. H. How do you do, Mr. Humphrey? Was it you / who came in the car? / Hum. Oh, yes. (^Staris to turn away.^ Mrs. H. Did you have a pleasant trip ? Hum. Ob, yes, — yes; very. {Fidgets.') Mrs. H. VVeh, 1 shall have your room ready for you in a few minutes. Hum. Thank you, I'm sure. {Turns away.') (Mrs. H. takes step toward door R., then turns back.) Mrs. H. If you {Sees Hum. engaged.) Well, never mind. \_Exit, r. (Stew. a//^RuTH are seated on conchy r.) Edith {to Ruth). Did Bob say where he was going ? {Goes to door L.) Ruth. Why, no; he Edith. Here he comes now. {Holds screen door open for Bob, then Shine enters. Bob walks across to Hum.) Bob. Hello, Humphrey, how are you? (Amy walks across stage.) Hum. (with more enthusiasm). Why, hello, Bob ! Gee, I'm glad to see you ! How are you, anyway ? Bob. All right. How's everything at the hill? Hum. Pretty good. I was out there the other day. Foot- ball doesn't look very good, though. Bob. Why? Isn't Haywood coming back? Hum. He's on pro. Bob. Hni ! How about Saunders? Hum. On pro. Bob. The deuce ! and Raymond ? Hum. On pro. Bob. The devil ! Edith. Do you know anything about Mr. Reed and Mr. Wilkins ? Hum, Fired ; both ! TEAM-WORK 1 7 Edith. They are ? Bob. Oh, Lord ! (JPause.^ How's the tackling dummy ? Hum. Oh, that may turn out for practice. Bob. Well, make yourself at home. I've got some things to do, and Edith. Yes, do, Mr. Humphrey. Hum, Oh, sure; I've started already. Bob. All right. {Turns leaves of hook on table. Edith touches objects about room. Hum. looks from Bob to Amy.) Shine. Say, Toot, where'd I lay that tennis racket? Stew. I don't know. What do you want to do with a ten- nis racket, get another black eye ? (Shine //V^ J up racket.^ Shine. No, make a racket as noisy as this one. {Laughs ; exit, r.) Amy. Bob, — would you mind — had you just as soon — can- cel the engagement we made for this evening ? Bob. Why — yes, I suppose so, if you wish it. But may I ask ? Amv. Well, you see, Mr. — Humphrey has asked some of us to go for a ride in his car. Bob. Oh ! To be sure. Don't consider me for a moment. Hum. Oh, say. Bob, don't let me interfere; come along with us, won't you? If it makes any difference Bob. Thanks, but I don't care to ride. No difference in the world, of course. {Laughs a bit disagreeably.^ Amy. Why won't you come, Bob ? Bob. I tell you I don't care to go. I don't mind breaking dates — not at all ! Amy {piqued'). Oh! — Then in that case We shall be ready right after supper, Mr. Humphrey. \Exit, u. {During the conversation Stew, and Ruth have been en- gaged in a discussion of their own. Their voices now be- come audible and then loud.) Ruth. Why, Stewart Almy, I'm not ' Stew. You are, too, I tell you ! Ruth. I'm not, either 1 i8 i TEAM-WORK. Stew. Yes, you are ! E.UTH. I'm not ! Stew. You are ! Ruth. I'm not ! Stew. You are ! Ruth. Not ! Not ! Stew. Are ! Are ! (Edith interrupts by clapping her hands.") Edith. Isn't it terrible to have children quarrel that way? If you don't stop this, I shall send you off to bed without any dinner. Hum. Have to put pepper on their tongues, I guess. Ruth. Well, I don't care ; he makes me tired. Hum. All the more reason you should go to bed. Stew. Oh, gee whiz ! We can never scrap in peace. What are we sticking in here for, anyway ? Come on outdoors until dinner time. {Rises. ^ Ruth. I don't want to. Stew. Yes, you do, too. Come on ! {Takes her by the hand and pulls until she yields.) Ruth. All right; lead on, McGinty. \^Exeunt l., laughing. Hum. That looks like a bad case, doesn't it, Bob ? Bob. Ye-es. Hum. How long have you been here? Bob. I dunno. Week, maybe. Edith. Two weeks to-morrow. They all came then. Hum. {looking at Bob). I see. Edith {picking up HuM.'s coat and cap). I'm going to hang your things up in the hall, so you'll know where to find them. Hum. Oh, all right. \^Exit Edith, r. Bob {offering cigarettes). Will you smoke, Humphrey? Hum. {feeling coat pockets). 1 guess I'll try my pipe, Bob, thanks — left it in my duster. {Starts out v^.y meeting Km.\.) Excuse me. {Stands back to admit Amv, who enters ; then Hum. exits, R.) Amy {going U Bob). Why won't you go to ride with us, Bob? TEAM-WORK 1 9 Bob. No, thanks. That's your little party. I don't want to butt in. Amy. Oh, nonsense. He just asked me if some of us would like to go. I thought of course you'd go. Bob. Was that all your little conversation with him as I came in ? Amy (laughing). Aren't you the old silly? — I suppose I ought to be very indignant, but — but you're too funny ! {Laughs.') Bob (stiffly). Well, perhaps I don't know what I'm talking about, but — but — hang it, you can make a better hit with him alone, that's all. Go on and make it. Amy. Bob Richards, you're unjust, and unkind, and un- fair, and, what's more, you're as mean to me as you can be ! l^Exit quickly, L. (Bob walks slowly down stage as Hum. enters r., filling pipe.) Hum. How are you feeling to start the season, Bob ? Bob (without turning). Start the season? All right, I guess. Hum. Well, by Jove, you're not acting right. You seem terribly sour. What's wrong, anyway? Bob. Sour? Why shouldn't I be sour? More than half the men on the team on pro. How the deuce do you expect to have a team ? Hum. (relieved). Oh, is that it? Well, we've got some good men coming in, and some good second-stringers. Be- sides, you needn't get sore at me. It isn't my fault. Cuss the faculty ; that's the regular way. Bob. I think it is your fault. You ought to have been keeping every one of those men up in his work last spring. Hum. Why, for heaven's sake ! I did all I could, and you know it. I can't study for 'em, nor take exams, either. Reed and Wilkins were in line to get canned anyway ; ex- pected it yourself; — must have talked about 'em, for your sister asked about 'era the first thing. Bob. Those two, yes. Well, perhaps those two — but I don't believe you ever did much for Haywood or Raymond — in fact, I know you didn't. I used to see them myself. The first thing I know I'll have to post the call for candidates my- self. Hum. Oh, come, come ! Forget it. I want a winning 20 TEAM-WORK team just as much as you do, and I've worked for it, too. As it is we've got five mighty good old men out for it. Bob. I don't know about that. Four, maybe. Hum. Five. j Bob. Four. ( Hum. How the devil do you make that out? There's you,' and Schneider, and Wilson, and Bates, and Harrison. Bob. Better count me out of it. Hum. What ? Bob. I say you'd better not count me. Hum. Why — why — what in blazes do you mean ? Why shouldn't I count you ? Bob. Because I may not be back. Hum. For heaven's sake, Bob, what are you saying ? Not coming back? JV/ij aren't you ? Do you mean it ? Bob. Do you think I am in the habit of saying things like that for effect ? Hum. No, no, Bob; but tell me. It isn' l studies ? Bob. No, it isn't studies — I didn't intend to tell you, but if you must know, it's money ! Money ! Hard cash, do you see? Hum. Oh ! — Why, rats. Bob, you don't mean to say a year's expenses are going to stand between you and a degree ? Bob. Well, pretty nearly that, yes. Hum. But why ? It will take you longer to explain why you left college than to get a degree. Isn't your father willing to pay them? Bob. Willing ? Of course he's willing, — but he may not be able to, that's the point. Hum, Why, Bob ! That's tough ! What's happened? Bob. Well, it looks as though he'd be completely cleaned out, that's all. Hum. Jove ! Tell us about it, can't you ? Bob. Why — I guess it won't do any harm. You see, my father owns a cement works on the spur line of a railroad run- ning to what used to be a prospering lumber town. This timber is getting cut down and the place is about all run out, so the railroad intends to tear up the spur. Hum. You say he's on a spur running to this place ? What is it? Bob. Yes, Elton, Hum. Well, — why can't they just tear up beyond his plant and leave the rest ? TEAM-WORK. 21 Bob. They won't do it because they say that his freight wouldn't pay them. Hum. Oh ! It's just a small plant ? Bob. No, that isn't the trouble. The fact is, the vice- president of the railroad wants the control of the cement business in that section, and he's using his position to oust my father. Hum. Oh, for heaven's sake ! That's rotten ! Is there really business enough there to pay expenses ? Bob. Of course there is. Otherwise this fellow wouldn't want it. Hum. Well, I don't believe he can get it — not legally. Does he really intend to freeze your father out ? Bob. He says so. Hum. Well, if that isn't raw ! I don't see how such men ^et the positions they do. You know, my uncle, Arnold Humphrey, is the vice-president of a railroad — and he'd no more think of such a deal I'm going to write him about it, if you don't mind. Bob. I'd rather you wouldn't. But Humphrey ! Er — you might be interested to know what this road is. It's called the K. and B. Hum, K. and B? Bob. Yes, and the vice-president, — is your Uncle Arnold ! CURTAIN ACT II SCENE. — The dining-room, the next day at dusk. The table is covered with books and papers, and stands in centre of r 00771. Enter Edith, r., with a lighted match, and lights hanging lamp. Bus. of setting table to rights. Exit, r. Pause. E7iter Amy, r. , book in hand. Sits at table, and begins to read. E7iter Dor. a7id Ruth, a7tit7iated. Ruth. Oh, Amy, we caught two beauties ! Dor. Big ones, too ! Mine was about so long. {Measures with hands.) Ruth. I'd just barely put my hook in the water when I got the biggest bite ! Dor. Goodness, when mine started to pull, I thought Ruth. And I didn't have my line fastened, and almost tipped the boat over. Dor. Poor Shine has the awfullest time Ruth {laughing). Shine pricked his hand, and almost swore. He's going to clean them for breakfast. Amy. Isn't that great ! What are they, bass or pickerel? Dor. No, they're What did Shine say they were ? Ruth. I don't know. Some kind of Dor. Oh, pout, — hornpout. Amy. Ugh! Are those good to eat ? Tj .' [• (indig7ia7itly). Course they are ! Amy. Heavens ! Do they cut the horns off? Ruth. Ye-es ! Dor. Billy got pricked by one of the old horns. We made him take 'em off. Amy. Didn't Bob go with you ? Dor. No; I don't know where he went. Ruth. I saw him going toward the village all alone. What's the matter with him, anyway ? He acts as though he had a black grouch. Amy. I don't see what else it is. I just said I'd like to go autoing last night instead of walking, and he was as snippish as he could be ! I guess it's a good thing we couldn't go. 22 TEAM-WORK 23 Dor. Oh, I don't think it's that at all, Amy. In fact I know it isn't. Edith told me all about it last night when we were going to bed. Ruth. Well, for goodness' sake, what is it ? Amy. It's about football, isn't it ? Dor, Football? No! That is, — yes; — well, partly. Ruth. What, then ? He isn't usually just an ordinary sorehead, and of course he isn't in love. (Amy assumes conscious attitude and fidgets.) Dor. No, he isn't this way usually. {Confidentially.') But you know his father has had some financial trouble. Ruth. Yes ; Toot said some man was trying to force him to sell his business at a loss. Amy. Oh ! I didn't know. — But why should he be so chilly to Mr. Humphrey — and the rest of us ? Dor. No, not the rest of us — ^just Humphrey. That's where the trouble is. The man who is trying to do Mr. Richards is Arnold M. Humphrey, Gardner Humphrey's uncle. Amy. His uncle ! Ruth. Arnold M. Humphrey ! How do you know ? Dor. That's what Edith told me. Isn't it terrible? Bob has to entertain Humphrey, and he can't go until his machine's fixed. Amy. My ! That does put Bob in a hard place ! Ruth. Did Humphrey know about it before he came ? Dou. No, Bob told him. Ruth. Then I think it's harder for him than for Bob. Of course he wants to go, and he can't without leaving his machine. Dor. Yes, but poor Bob and Edith ! If their father fails they probably won't go back to school until he's on his feet again. Amy. Why ? Did they say so ? Dor. Bob did. And I know Edith would follow suit. Just think how he must feel toward that Arnold M. Humphrey ! Ruth. Well, I don't care; I don't see why he needs to take it out of Gardner Humphrey. And I think it would have been a much finer thing in Bob Richards if he hadn't told Humphrey about it as soon as he got here. Amy. Yes. I can't understand that, quite. Dor. {indignantly). He didn't tell him as soon as he got 24 TEAM-WORK. here. They were discussing football candidates, and Bob had to say that he wasn't coming back. Of course, Gardner wanted to know why, and he had to tell. Ruth. I don't see why, just the same. Dor. Well, suppose he'd just said he wasn't coming back and wouldn't tell why, — what would you think ? Ruth. I mean that he needn't have told that about Hum- phrey's uncle. Amy. Perhaps he had to; maybe Humphrey thought he could do something. Dor. He did until he found out it was his uncle, and then he said he couldn't do a thing. Amy. Couldn't! I don't see why. I should think he could influence his uncle not to spoil his friend's father's busi- ness sooner than any one else. Did they really ask him to write his uncle about it ? Dor. Yes, one of the boys did, but Humphrey came out against it flat-footed, — said he would do nothing of the kind. Amy. Oh, I don't see why. Think how hard it will be for Bob and Edith. They've always had everything, and it hasn't spoiled them a bit. I've a good mind to ask Gardner myself! Ruth. Why, Amy, you scarcely know him ! Amy. What of that ? Losing a degree by one year is worth struggling against, and I know that Bob would never borrow a cent nor ask a favor. Ruth. Well, anyway, I think it's too bad; those fellows have always been such good friends. I don't see why this had to happen after we've had such a good time. Dor. It is too bad ; it certainly is. ' ( Voices of Shine and Stew, heard approaching. Enter Stev/. with arm bandaged, followed by Shine. Stew., holding bandaged arm, sinks into chair. ^ Stew. O-o h ! Ruth. How's your arm. Toot ? Stew, {shaking his head). Oh, terrible ! Terrible shape ! Terrible 1 (Shine sits r. c, and unrolls handkerchief from thumb.) Amy. I guess you'd better have it bandaged again to-night. Stew, {tvith a martyr' s sigh). I s'pose so ! Dor. (J0 Shine). Billy, is your hand pricked badly ? TEAM-WORK 2$ Shine. No, I keep it wrapped up to excite pity, that's all. Dor. No, but really ? {Goes up to him. They exchange smiles. 'RxsTU. has brought cushions which she places under Stew.'s arm. Bus.^ Stew, (wincing). Oo ! That's too hard ! Bring that other e, — please. (Ruth removes pillow and brings another.) Ruth. This one ? Stew. No, the red one. (Ruth brings another pillow. Bus.) Oh ! that's better. Amv. I guess it's a good thing you decided to stay, Ruth. No one else could nurse him that way. Ruth. I should say as much. He needs more attention than an infant — and he isn't half so cunning. Stew, {grumbling). Well, you oughter stay and look after me. Anybody that'll advance the spark 'way up when a feller's cranking a machine — gee whiz ! Ruth. Well, how could I know that if you just push a little bit of a handle it would make something else hit your arm ? Stew. Yes, pushed the spark way up ! Hump told you not to touch anything. If all six cylinders had been working, you'd 'a' busted my arm all to smithereens ! And you might 'a' put the engine on the blink, too ! Enter Edith, r. Ruth. It's on the blink now, the nasty thing. YjTinvL [clapping her hands). Children! Children! I can't leave them alone a minute but they start fighting ! Dor. Oh, but it's safe enough while Toot has that arm. He's like Jeffries — he can't come back. Amy [reproachfully). Dorothy ! Shine. Can't com-bat, did you say ? That's a good one. Ha ! ha ! ha ! Jot that down, somebody. Com-bat, come- back. Ha ! ha ! Stew, {pleadingly). Oh, won't some kind, gentle lady punish that punster ? Shine. Oh, Stewart, what barbar-ism — to cut me off that way ! 26 TEAM-WORK Stew, {waving both arms). Oh, help ! help ! Ruth. Stewart Almy, your arm ! Stew, {recovering himself). Oh, Lord ! I forgot ! Edith. Shine, you do manufacture some of the worst puns I ever imagined. You'd pun on anything. Dor. 1 think he would, really. Stew. Go ahead, Shine; try one on Mephistopheles. Shine. Mephistopheles !— Why, — that's as easy as doub- ling up my fist, — and I can double up meh-fist-offul-easy ! {Suits action to words. Laughter and excitement, during which Bob and Hum. enter l. Hum. has a package in his hand. The laughter ceases at once, except for Stew. , who does not see them come in. Bob cotnes down to table and looks at Stew,, then looks at Shine inquiringly, tap- ping forehead. Shine nods. Hum. stands near fireplace.) Bob {going over to Stew, and touching him). That's all right, old man, they need a crazy man in the show. Stew, {looking up). Hello, Bob, who let you out ? Where's your bosom friend ? Bob. Friend ? Whom do you mean ? Enter Mrs. H. Stew, {starting to speak, then turning and seeing Hum.). Why, Hu-huh-huh — how — where did you come from ? Amy {rising). Mrs. Hodgkins, have my seat. Mrs. H. Oh, no, thank you ! {Walks to Amy's chair.) Amy. Yes, do. Mrs. H. Well, perhaps I will. These evenings are quite chilly. {Sits. Every one is silent.) Why, aren't you folks cold ? Stew, {jumping up). Ye-es — I knew there was something the matter. {Beats arms.) Ruth {darting toivard him). Stewart ! Stew, {starting and looking at her). What ? Ruth. Your arm ! Stew, {moving toward fireplace). Oh, hang the arm ! I'd rather have it broken than paralyzed. {Looks at Hum.) Am I in your way, Hump? Hum. I don't know. What are you going to do ? {Places package on mantel ; goes L.) TEAM-WORK 27 Stew. Goin* to pick bananas. {Sfoops at fireplace to light fire.') Want to come? {To Ruth, who is standing by him.') What zx^ you goin' to do ? Ruth. I thought you'd want an assistant. Edith. Say, girls, let's make some candy. {Rises.') Shine. Good idea! — But how about the sugar? Isn't it all gone? Edith. Bob got some. Come on, girls. Stew, [getting tip, rubbing eyes, coughing ; fireplace smokes). Whew ! Push over and give the breeze a chance. {To Ruth.) (Stew, goes to door l. Edith exits, r. ) Hum. What's the matter. Toot, did one of those bananas hit you ? Dor. Let me make it, Edith; you needn't. Come on, Ruth. [^^-/Z Dor., R. Edith {without). Aunty, where's the chocolate ? My, this fire's hot ! Mrs. H. Why, it's right in that drawer. Right under Never mind, I'll get it. {Rises and exits R. Amy goes to right of fireplace. Hum. is smoking at left of fireplace.) Amy. That's going to go all right. Stew. Come and help the cooks, Ruth. The football interests can stay here. [^Exeunt Stew., Ruth and Shine. {Strained silence in the room while Amy watches Hum. and Bob, She starts toward Bob when Edith steps inside door R.) Edith. Bob, did you lock the wood-shed ? Bob. Yes. Edith. What did you do with the key ? Bob {slapping pocket). Oh, I have it here. I'll unlock it. \_Exeunt Bob atid Edith, r. Amy {softly). Mr. Humphrey. Hum. {coming toward her). Yes, Miss Granby? Amy. Why won't you do — what you can — to — to help Bob's father? Hum. {jvith a laugh). Are you interested in that proposi- tion, too? 28 TEAM-WORK Amy. I know that you want a winning team, and I know that BDb's running and punting will help it a lot — won't they? Hum. Yes, but — let's not talk about this ; I don't believe you understand the situation. Why should a railroad vice- president be influenced by the sentimental whim of a college youngster like me? Amy. I know it seems a little improbable, but it might change his point of view, you know, and {Falieritigfyy with a winning smile. ~) You aren't such an awful " young- ster." {Here Amy is taken with an attack of the hiccoughs, which she tries to suppress.') Hum. {patiently). But still, do you think he'd appreciate my interference ? Amy. Are you — hie — are you afraid to risk his resentment? I have enough — hie — enough confidence in you to know that you want to do the right thing. Hum. Yes, I do, but -— — {Notices hiccoughs.) You have the hiccoughs. Miss Granby. I know a sure cure for 'em. Let me try it. Amy. What is it ? — hie. Hum. Just holding the pulses of both wrists, — let me try it. {Offers to take Amy's hands.) Amy. Thank you, I'll ask — hie — ask one of the girls. Hum. You said you had some confidence in me. Haven't you any in my healing powers ? Amy. If you would only use them to heal this business trouble. Hum. Perhaps I can. -Amy. If you think so — I'll let you try them on me. Do you? {For answer Hum. slowly takes Amy's wrists, one in each hatid. ) Hum. {in a low voice). You and Bob seem to be good friends. (Amy does not answer. Bob enters r., and stands as if unable to believe his eyes.) There, is it all right now? {Releases hands slowly.) TEAM-WORK 29 Bob (backing out door, with pained expression). Excuse me, I didn't know — — Hum. (calling). Oh, come in, Bob. It's all right. Just practicing a little homeopathics, that's all. (Amy looks at Hum. with distress and apprehension. Hie coughs gone.) Enter Ruth and Stew, ^utk places plate of fudge on the table. 'iiEWf. goes to mantel and examines Yivu's. pack- age. Enter Shine, r. Ruth. Here's some fudge, people. It's pretty hot. (Exeunt Ruth and Amy, r. Hum. steps to table.) Stew. Whatcber got in the bundle, Hump ? Lunch ? Going on a picnic ? Hum. To-morrow. Shine. What is it, the new part for your machine ? Enter Bob, r. Hum. Yes, I walked out for it. Stew. To-morrow, did you say you were going ? (Hum. nods.) Bob. What's your hurry ? Hum. Why, I — er — I think I'd better be getting back, that's all. Bob (looking at book). Like to have you stay the week out. Hum. I'm not so sure about that. Bob (looking up). What ? Hum. You understand me well enough. Bob. I don't know that I do. Hum. You can't imagine that I'm enjoying myself up here. Bob. Why not, have I made it unpleasant for you ? Hum. Perhaps not — intentionally. Maybe it's the cir- cumstances. Bob. Well, if I can put up with them, you ought to. (Turns again to book.) Hum. How do you make that out ? You must think it's devilish pleasant for me to be in your house when I know all 30 TEAM-WORK the time that you think I'm in a scheme to ruin your father — and you. Bob (rising). Well, do you think it's any more pleasant for me to have your presence continually reminding me that Edith and I can't go back to college — that football is all over for me, and that I've got to get out and dig — all on account of that damned uncle of yours ? Hum. Now hold on, Bob, you're going too far. My uncle's as square as any man living, and whatever he does he can justify to anybody. Bob. He can't justify this. It's a rotten deal, that's all ! It's a low, contemptible — — Stew, {stepping forward). Come, come, you're talking too loud. (^Glances toward door "R.) Shine. That's right. Let's talk it over sensibly. We've got to have Bob in college this fall. Why can't you influence your uncle to call this deal off ? Stew. Yes, why don't you ? It may not mean so much to him as you think, and it means a lot to the team and the col- lege. Bob. Never mind. I guess we can fight our own battles. Hum. You needn't worry. I had no such intention. Stew. Now see here, Bob. If anything can be done to get you back this year it ought to be done. Why not let him write ? Bob. Oh, shut up ! This is my business ! I don't want him to, so that settles it ! Enter Edith with another plate of fudge. Edith. What's wrong with the fudge, boys? {Nobody moves ; Edith notices the conditions, looks from one to the other, finally at Bob.) Why, what's the matter with you all? What's the trouble, Bob ? Bob. Nothing. (Bob takes candy ; Edith passes candy to others. Bus.) Enter Amy, r. Ruth {appearing in doorway, tvearing apron, sleeves rolled up). Toot, aren't you going to help us ? Stew. How can 1 help you with this ? \Raises arm ; exit, R. TEAM-WORK 3I Dor. (calling from without). Shine ! Shine. What ? (^Eats candy. ~) Stew, (from without). Shine your shoes, mutt ! Come out here and wash the dishes. \^Exit Shine, r. Edith {to Hum.). Did your express package come? Hum. Yes, I have it right here. {Points to bundle. ~) I can get away to-morrow all right. Edith. Why, aren't you going to stay until Saturday? Amy. We're all going then. Hum. I'd like to stay — in a way. Edith. Why don't you, then? Hum. {looking at Bob). We've about decided that I'd bet- ter go to-morrow. Edith. We ! Why — why, Bob, what did you ? Bob. I didn't decide anything about it. He said he wasn't having a good time, so what's the use of making him stay ? Amy {looking at Hum.). Why, you aren't? Hum. {hesitatingly). Why, no, er — I mean yes. — Well, he said it wasn't pleasant for him. Edith. Is it about father, Bob ? Bob. Yes ; — mostly. Edith. I don't see why you can't have an understanding about this. Gardner can't help what his uncle does. Bob. That's right, now you try to patch it up. Do you know what those two rattleheads out there wanted me to do ? They wanted me to get Humphrey to write to his uncle, and implore him to let father down easy ! {Scornfully.) Ask him ! As if I'd let him do it — to say nothing of asking\i\xi\. Edith {reflectively). No, I suppose you don't want to do that, but • Hum. Never fear ; I won't do it. Amy. But why not ? Bob. Because I won't let him. Amy. Don't you want to go back to college? Bob. Not bad enough for that ! Edith. But think of the rest of us, Bob. What about father ? Isn't anything worth trying? — And — and — {impulsively and tearfully) oh, Bob ! I can't bear to think of not going back ! Bob. Why — why, Edith ! Edith. It's — it's selfish of you to be so proud. Bob, Yes, maybe you're right. — 1 didn't think. Amy {eagerly). Oh, then you'll let him write? Bob {faintly). I — lie can do as he likes. 32 TEAM-WORK Amy {entreating Hum.). Then you will do it, won't you? {To Bob.) The station's open now, isn't it ? Send a telegram — 'phone it 1 Hum. {vigorous in protest'). I tell you I can't ! What's the use of my trying to keep him from it? What good do you think my wire would do? Do you think he'd throw over a business deal just for a whim of mine? Wouldn't he think I was a fool ? I tell you I can't. Amy. But — but couldn't you just try ? Edith. Perhaps if he could see our side Hum, I tell you I don't want to butt into his affairs ! He'd tell me to mind my own business ! Amy. Are you sure he would ? Is there any possible harm in trying? Hum. Yes, I think there is. If you must know, Uncle Arnold thinks a good deal of me, and if I should tell him to hold back on a deal for my sake, he'd be just fool enough to do it, I know he would. Edith. Good ! That's just what we want, isn't it? Hum. You don't understand ! Do you think I want to lose my good standing with him ? If I make him spoil this scheme by taking advantage of his good will to me, where'll I be the next time I really want something of him ? Amy. How can you be so selfish ? Edith. Gardner Humphrey ! I've always heard you Tufts men talk about college spirit. Where is it ? You say that you need Bob on the team. Then why don't you try to keep him? — If he doesn't come back it's up to you. If you have any Tufts spirit, now's the time to show it ! You always talk about pulling together. Neither of you can turn out a winning team alone. Why don't you pull together now? (Hum. watches Edith with a new interest.^ Amy. Of course. Isn't that reason enough? Edith. I thought our spirit was the kind that would make a man fight until he dropped — the kind that would sacrifice everything but honor to do his best for his college without hope or thought of reward ; — and this is such a little thing to do. It means more than college loyalty to me ; it means perhaps the loss of the degrees Bob and I have worked for for three years, and perhaps my father's success or ruin. That's why I'm not too proud to ask this favor you seem too selfish to grant. What more can a girl do for her college ? TEAM-WORK 33 Hum. (a bit grudgingly). Well, if you put it on the basis of college spirit, I've got as much as anybody. Amy. Then you will do it ? Hum. (same). Yes ; what's the number of the telephone at the station ? Edith. You just ask for the railroad station. But hadn't you better word your message first ? Hum. Yes, perhaps I had. Have you some paper ? Edith. I'll get some. [^Exii, r. Hum. Oh, and that address (Feels in inside pocket, then exits r.) Amy (going to Bob). Oh, Bob, I'm sure it will come out right now. Bob. Perhaps. But (bitterly) it doesn't matter much now. Amy. What do you mean ? Bob. I suppose I'm still a kid. It — it hurts to see my ideals smashed, and all that, that's all. Amy. But what ideals. Bob? Bob. I mean our friendship, — and you. It's all over now, of course. Humphrey is the better man, I suppose. Amy. Oh, why are you talking this way ? You surely don't think What makes you think that Gardner Humphrey interests me? Bob. Only the evidence of my eyes a few minutes ago. But why talk about it when it's Amy. I knew you'd misunderstand ; I knew it. How can you be so blind, and so unjust ? Bob. Let's — let's not make a scene, Amy. I'll take my medicine. I'm the under dog. (Starts out l.) Amy. But, Bob, won't you listen to reason ? It wasn't what you think. Bob (going out l.). There's nothing to hear. When a fellow's licked, he's licked. ( With effort.) I can stand it. \Exit, L. Amy (stamping her foot). Isn't that just like a man? I'll never explain it, never. \_Exit R., tearfully. Enter Hum., r., with a slip of paper in his hand ; goes toward telephone, where he turns to Edith, who enters B. Hum. Miss Richards, before I telephone I just want you to know that what you said about college spirit opened my 34 TEAM-WORK eyes. I would have been a cad to hold back after that. I wish we might be friends. Can't we? Edith {sotnewhat coolly). Do you wish to make friendship the price of what you are going to do ? Hum. No ! (Turns io telephone, rings bell, takes receiver.) Hello ! Please connect me with the telegraph office What's that ? You'll call me ? — All right. {Hangs up receiver.') Edith. Mr. Humphrey, forgive me. I think we can be friends. {Extends hand cordially but without coquetry, and Hum. takes it.) Hum. Thank you. ( Telephone rings, one long and one short, and Hum. steps to it as curtain falls.) CURTAIN ACT III SCENE. — The stage of the college gymnasium, the afternoon before the presentation of the '■^ Paint aiid Powder ^^ play. The stage is strezvn with chairs, properties, drops and other paraphernalia. About the wall are piled wings, etc. Ropes hang from drops. Frank Bell, on step-ladder down c, head hidden behind front sky piece. Stage hands move xvings and adjust drops. As curtain is drawn, Bill Black ad' vances down stage, watching it. Jack Brown {lir awing curtaiti). Work all right now ? ( Comes out l. ) Black. Ya, aw right ! Stuck up here {pointing) this morning. Bell. Hey, Bill, throw me up my screw-driver down there. (Black throws screw-driver, which Bell catches.) Black (Jo Tom White, who is working behind back wing). What's the matter; can't you unlace it? White (behind wing). Yep. Here she comes. ( Wing falls forward a?id Black catches it ; moves it down R. against wall. White takes other. Bus.) Bell (Jo Sam Green, off stage). Hey, Sam ! Green. Hello ! Bell. Switch on this strip, will you ? {Two or three lights come on.) Enter Shine, Stew, and Ruth. Shine (taking hold of drop rope). How does this drop work? Green. Works all right now. I fixed it. Shine. Then let's pull it down. Get hold here, Toot. Stew, (taking drop rope). This is a cheap show, all right. Do you pay your actors extra for being grips ? (Shine and Stew, pull down drop.) 35 36 TEAM-WORK Shine. Yes, our stars we do, but not our supes. Stew. Huh ! Supes ! Ruth. And you thought you were the leading man ! — We ought to call you Puree, — you're such a "thick supe." (Black and Brown start to unlace wings, l.) Shine. Say, Bill, don't take those down. We'll have to use 'em in half an hour. It's three o'clock now. {Stage hands are busy about stage. ~) How are they coming, Bell ? Bell. Oh, comin' in bunches, — I'm about through, though. (^Conies down to stage and moves step-ladder R. Goes up ladder again.) Shine. Where's the rest of the crowd ? Ruth. Edith said she was coming right down. (Stage hands go out one by one during next speeches.) Shine. I wish she'd hurry. Ruth. She probably wants to be with Bob as much as she can to-day. Shine [mystified). Why? Ruth. Because he's going to-night, you know. Shine. Going where ? Stew. For heaven's sake, Shine, didn't you know Bob was leaving for Mexico to-night ? Shine. No ! Stew. He signed off yesterday. Shine. What's he going down there for ? I thought he was going to play to-day. Ruth. Why, Shine, he's going to work. He may be back next year. Edith's going to stay. Shine. Well, / didn't know it. Gee, that's tough ! I thought his father's business was fixed up. Stew. Well, they did give Bob's father a month to show what his cement works yielded the railroad. That was up a week ago, but Bob hasn't heard from his father, so he's going to Mexico to look after some properties for a man in Boston. Going to be gone five months, anyway. Shine. Well, well ! That looks bad for to-day's game. Evidently Humphrey's uncle didn't do anything. {Calls to Bell.) Don't forget the colored lights on the sides, Frank, Ruth. I don't believe so. TEAM-WORK 37 Stew. Hump's roommate says Hump went to New York to see his Uncle Arnold a week or so ago. I bet he's been trying to do something. Ruth. Humphrey doesn't want to see Edith go. Shine. Edith? Why, is he interested there? Stew. Gee, Shine, wake up. Where have you been ? Shine. Well, that's the first I'd heard of it. Bell {coming dowfi ladder). Shine, are you going to have those side strips lighted at the beginning of the second act? Shine. Second act ? Oh, yes, — sure, yes. Enter Bob, l., coat and derby. Stew. Hello, Bob. Shine. Gee, Bob, they tell me you're going to leave to-night. Bob. That's right. Shine. That's tough, old man. Stew. Haven't you time to see the game ? Bob. Yes, I saw them start. I'll see some more later. I dropped in to say good-bye to you people. I'm going to leave for New York on the five o'clock. (Steps to Ruth.) Good- bye, Ruth. (^Shakes hands.) Ruth. I'm awfully sorry to have you go. Bob. Bob. I hate to, you can be sure. (^To Shine.) So-long, Shine. Shine. Good-bye, Bob, Don't stay away any longer than you can help. Bob. You bet I won't. {Turns to Stew.) Stew. {sJiaking hands with Bob). What are you going so soon for. Bob ? Bob. I've got to go up to the room to get ray suit-case. Good-bye, old chap. Stew. Good-bye, Bob. Wish you all kinds of luck. Bob. So-long, Bell. Bell. So long, Bob. Good luck to you. \Exit Bob, l. Stew. The team's going to miss that man. Shine. It's hard that he couldn't stay for this game. Ruth. While you're waiting for the rest of the people, why don't you set this scene? Shine. The fellows are going to set it right after the game. We can rehearse tliese two places without the set. Enter Messenger Bov, l., zuith telegram. 30 TEAM WORK Boy. Which o' youse is Richards ? Stev/. Just gone up over the hill. Boy. Dat guy wit' de lid ? Stew. That's him. (Boy starts off i..) Hey, come here ! What have you got there ? Boy. a tellygram. What did ya tink it wus, a plate o' ice-cream ? Ruth. It must be important. Let him go. Stew. Well, he don't know where to go yet. You'll find him in eight West, Runt. Boy. Eight West ? Is dat de place where dey keeps de elyphant ? Stew. No, West Hall's no circus. It's the building oppo- site the elephant. Now, beat it ! \_Exit Boy, l. Ruth. I wonder what that was ? Shine. Probably something from Mexico. Bell. Say, Toot, will you see if there's any more of those colored bulbs in the locker- rooms ? Stew. Sure. \^Exit, l. Ruth. I think I'll go down and get my stuff picked up for to-night. Shine. Good idea. (^Exit Ruth, l.) Are you nearly through. Bell? Bell. Yes, almost. [Calls.) What do you say. Toot? Stew, (from without). Yes, there's plenty here. Enter Amy and Dor., l. Shine. How do you do, Amy ? Amy. How do you do, Shine? I'm awfully glad to see you. I haven't seen you to congratulate you. (^Shake hands.) Shine. Oh, thanks. Are you coming to see it? Amy. Yes, indeed ! I wouldn't miss it for worlds. Dor. What time are we going to rehearse? Shine. As soon as the coach comes. In about half an hour, I guess. Amy. I suppose you aren't going to the game ? Shine. Guess not, by the looks of this. It's started already. (Dor. walks to steps L. and sits. Shine business with props.) Amy. You must be glad you stuck to it. (^Pause ; looks about stas;e and up at Bell.) Oh, I think it's so interesting to see behind the scenes this way. TEAM-WORK 39 (Bell drops screzv-driver beside Amy, who Jumps with an exclamation. Bell comes down afeiv steps and looks at Amy.)^ Bell. Oh, excuse me ! Did I frighten you ? Amy. Yes, — a little. Are you the stage carpenter ? Bell. No, I'm the comedian. You see, 1 make light of everything. Amy {laughing). It must be fine to be funny. Bell. Oh, yes, it's luscious to be loony. Amy. Do you know what time it is ? Bell {looking at watch'). It's twenty minutes past three. Aren't you going to the game ? Amy. Yes, i am. Bell. Oh, — alone? Amy. I expected to find Mr. Humphrey and Edith down there. But he says Edith didn't want to come, and he's so busy that I couldn't go down with him. — You people must have awfully good times getting ready for these plays. Bell {looking at hands'). Oh, yes, — yes, indeed. I might go myself, if Shine didn't keep his eye on me. Amy. Are you still such a tyrant. Shine? Shine. Yes, but it gets me more than it did at camp. — Here's where I give you a chance, Frankie. \_Exit, L. Bell. I guess my job's done, anyway. If you'd hke to have me find Hump, I should be very glad to go to the field with you. Amy. Why, thank you — if you are sure you can find — Mr. Humphrey. Bell. I can find anything on the hill but money. Enter Stew, and Ruth, l. Stew. How do you do. Amy ? (Bell takes step-ladder up stage R.) Amy. Why, hello, Toot. I'm awfully glad to see you again. {Shakes hands.) . Stew. Here's Amy, Ruth. ^ In the first performances, Bell upset the step ladder upon which he was working, and came down a rope suspended beside the ladder. This proved a hit, but may not be practicable on all stages. — Authors. 40 TEAM-WORK (Ruth is speaking- to Dor. at stairs.") Ruth. Yes, I saw her at the Hall before she came down. Stew. You didn't tell me anything about it. Ruth. Didn't I? How careless of me ! Stew, {to Amy). I suppose you're coming to see the play ? Amy, Yes, indeed ! I wouldn't miss it for anything. \To Ruth.) Aren't you coming to the game? Ruth. Not while season tickets cost five dollars for us girls. I think it's mean ! Bell. Isn't Toot soft enough to buy two season tickets ? (Amy exits l. Bell starts off l. ) Stew. Hey, Frankie, where the deuce are you going ? Bell. Sh ! I'm going to slip one over on Hump. \^Exit, L. Stew. Well, what do you know about that? Isn't that nerve for you ? Ruth ! Ruth {turning). What? Stew. Bell's taking Amy to the game ! Ruth {with surprise). He is? {Assumes indifference.) Well, what of it? Stew. Nothing of it. {With an air.) I merely desired to inculcate into your cerebral tissues the illuminating mental experience by a pure process of psycho- physical stimulation. — Only you wait till Bob sees him. Ruth. Bob ! Not now. Shine. Don't you mean Hump ? Stew. No, I mean Bob. You wait and see. Dor. My, aren't we the awful gossips ! Stew. Gossips ! Huh, you have to be to keep Shine alive. He's been so buried in this stunt that he's no better'n a mummy about anything else. Ruth {laughing). Poor old Shine ! Cheer up, Shine, — *' la jour du gloire est arrivee " ; — victory at last 1 Enter Bob in a football suit. Bob. Edith here? {Pause, during which all gaze at ^Q:^ in mute astonishment.) Where's Edith? Stew. Where — how — what the — what the devil you got the suit on for ? Bob. Dad telegraphed for me to stay in college ! This is my last game, and I'm going to get into it. TEAM-WORK 4I Shine. How can you play ? Did you sign on ? Bob. Yes, — struck the office just as the registrar was leaving. Dor. Oh, isn't that dandy 1 Ruth. I know we'll win now ! Bob. Give this to Edith when she comes. (^Hatids telegram to Ruth and exits L.) Shine. That's the same telegram we sent up to his room ! Stew. No ! That was a safety razor I sent up. — Did you ever hear of anybody round here getting two telegrams in one day? Dor. I wonder if Edith knows about it ? Ruth {fingering telegram'). His father told him he could stay in college. I'd like to see what it says. Stew. Let's read it. {Reaches for telegram.^ Ruth. ) ^, , Dor. I Oh, no! Ruth. Edith will read it to us. Enter Hum., l. Stew. Hi, Hump. See Bob ? Hum. {looking about stage). Yes, I met him on the way to the field. Miss Richards here ? Shine. How's the game? Hum. First half's over — no score. Where's Miss Richards? Dor. Is Bob going to play ? Hum. Yes, second half. For heaven's sake, isn't Miss Richards here? Stew. Here ! Here nothing ! She's at the game, I s'pose, where you ought to be. She takes more interest in the team than she does in y' — than you do. Hum. {ivalking rapidly off L.). Aw, go chase yourself, fat. [^Exit, L. Stew, {calling excitedly). Hey, Hump ! Humphrey ! Enter Hum., l., hastily. Hum. Wha' d'ye want ? Stew. Let's see — er — Miss Granby is there, you know. Hum. {ifnpatiently). Oh, what of it? Stew. I believe she went with Hum. {interrupting quickly). Miss Richards ? 42 TEAM-WORK. Stew. No, Mr. Bell, our electrician. Hum. Oh, rats. — Idiot ! \_Exii, l. Stew, {calling after him). She did, Hump. Honest, she did ! {Laughs.) Ruth. Oh, that's nfiean. Toot. Stew. Well, that's what I meant. Does Amy fit ? Well, I guess not. Shine. Say, he must like Edith pretty well, doesn't he ? Dor. Yes, I should think it looked that way. Ruth. Well, but do you remember how Amy came in and asked us if we knew who he was. Toot, that day up to camp ? Stev/. Sure; she'd been rolling her twinklers at him in his auto. Dor. And wasn't she mournful that day after he left? Stew. Aw rats, all she missed was her chance at some auto rides. Ruth. I don't believe it. She liked him — I know she did. Shine. I don't know about that. Stew. Girls always know everything ! Now just for a bet, she never liked Hump, and she's wild about Bob now. Shine. How about Bell ? {Laughs.') Stew. She's stuck on Bell's brass, just the way she is on Hump's auto. Dor. Why, I don't believe she's seen Bob this fall ! Stew. That may be, but her intentions were good. Ruth. How do you know ? Stew. How do I know ? Why is a kangaroo ? I tell you it's all Bob. Ruth. It isn't either. Stew. It is too ; you wait and see. Ruth. Well, I don't believe Stew. Oh, you don't need to. It's so. Ruth. Well, I know it isn't. Stew. Now look here, what do you know about it ? (Ruth sticks her tongue out at Stew.) Did you ever see — — {Sound of cheering outside.) Dor. S-sh 1 — Did you hear that. Shine ? Shine. The cheering ? Dor. Yes, we must be winning ! I wish we were there. Ruth. Why didn't we go? SiEW. Aw, we could have seen half of this game. What are you keeping us here all this time for ? TEAM-WORK 43 Shine. I wanted to be sure of you. I thought the coach would be here by this time. Stew. You did not : he's always here on time. I suppose you wanted to save us the price of admission. (Sound of cheering wiihouL) Come on, let's go down. Shine. Oli, for heaven's sake, don't go now ! He'll be here in a few minutes. Dor. What time is it ? Shine {looking at tvatch). Pretty near quarter of four. Let's try some of those places. Come on ! (Btis. of setting stage with chairs.') Ruth. I wish Edith would hurry down. I'm dying to know what's in that telegram. Stew^. Woman's curiosity ! Enter Bell, l., running across stage to R. Shine. What's the matter ? Did Hump find you ? Bell. Not yet. I saw him coming. (Catches up sweater, R.) Ruth. What's the score ? Dor. Is Bob playing ? Bell. You bet ! He almost got away once ! Score is nothing to nothing. End of the third period. Stew. Who's getting the best of it ? Bell. Looks like Amherst. Harry G's smoked four cigars already. Stew. Campaign cigars, I'll bet. Bell. Say, Hump's little Radcliffe friend is enthusiastic, isn't she? Once she jumped right up in her seat, and yelled, "Bob ! " Stew, (pointing to Ruth). There, smarty, what did I tell you ? Hump's friend nothing ! Shine. Are you still with Amy ? Bell. No, I'm sitting it out with Molly Atkins. So long. l^Exit, L. Shine. Get back here after the game. Stew, {turning to others). Two in an afternoon is going some. Ruth. Yes, for Bell. (Doi^ sits down r., studying play.) 44 TEAM-WORK Shine {setting table in centre of floor). Come on, you two, try this part between Rob and June. Start where June is setting the table. (Ruth gets tray of silver off L., and starts to set table with silver.') Ruth {reciting^. This is going to be a great lark. And what an economics paper I can make on the servant girl problem ! If only Rob didn't know ! (Stew, comes through chairs up c, and advances to table. ^ Stew, {reciting). Hello, June. What are 7^// doing ? Shine {interrupting). Hold on I Why can't you say that line right? It's " What are you doing?'' not " What zx^ you doing? " See? Stew. Oh, ya. All right. Shine. Now go ahead from " Hello, June." Stew. Hello, June. What are you doing ? Shine. Well, that's better. Go ahead. Ruth. Setting the table, Mr. Robert, sir. Stew. You're going to stay? Bully for youl Let me help. {Takes the tray afid holds it, following her around when she moves.) Aren't-you-fetching-in-that-cap? Shine. Oh, gee! Punk I {Imitates.) '' Aren't-you- fetching-in-that-cap ? " Stew. Why, what's the matter with that ? Shine. Do you think she's lugging the cap in ? Here it is : " Aren't you fetching, in that cap I " Not a question, a remark. Stew. Oh, sure; all right. Shine. — Aren't you fetching, in that cap I Do you know what it reminds me of? Ruth. No — what ? Stew. The first time I met you. You remember. I came to Wellesley to the glee club concert with Faith Remington. Ruth. My sophomore year ? Shine. Whoa I That — you didn't say that just right. It's — - Enter Edith, l. Dor. {rising). Oh, Edith, have you been watching the game ? Edith. Game? No. — I — I didn't want to see it. TEAM-WORK 45 Shine. Well, you knew Bub was jilaying, didn't you? Edith. Bob I Playing I Ruth. Why, yes ; and here's a telegram he got. {Holds out telegram to Edith.) Edith {holding telegram, turning it over and looking at others). But I said good-bye to him. How did you get this ? Ruth. Bob brought it here himself. Shine. He was on the way to the game. Edith. In his suit ? Stew, Yes ; he went in at the beginning of the second period. — Why don't you open that telegram? (Edith starts, and opens telegram.') Dor. Yes, for goodness' sake open it. Edith. Oh, it's from father I {Reads.) "Do not leave college yet. Work hard. More later," "Work hard." — What do you suppose that means ? Shine. Bob said this was his last game, Edith. But he can stay in college. — That must mean he's got to work. Ruth. Yes, and that's why he can't play football any more. {Brief silence followed by cheering without.) Stew. Do you hear that? {Half angrily.) I'm going down ! {Starts off.) Shine {catching him by the arm). Oh, hold on ! There's only about three or four minutes to play ! By the time you get there the game will be over. Stay here and rehearse ! Stew. Rehearse be da Hang it, I know my part. We must 'a' scored. Shine. Well, you can't see it now. Come on. {Picks up play book and turns pages.) Try this on page eighteen, where {Sound of running feet and yelling in corridor. Enter Green, greatly excited, waving sweater.) Green. Yea-a-ay ! Richards got a touchdown ! Rich- ards got a touchdown I 46 TEAM-WORK (Shine and Stew, yell and jump about stage. Girls stand in centre of stage, elated, while men Jump around them.) Stew. Did we kick the goal? What's the score? Green. Sure ! Six to nothing ! Only about half a min- ute to play ! Shine. Then beat it for the chapel and be ready to ring that bell ! {Shoves him off the stage. Cheers heard without.) Stew. Game's over ! Ye-a-ay ! Six to nothing ! Shine. Oh, you Bob Richards ! Ye-a-ay ! Edith {greatly excited). Isn't it great! I knew he'd do it ! 1 knew he'd do it ! Stew, {to Ruth). Now wait and see what Amy does ! Shine. Oh, say, won't we have a corking audience to-night ! Ruth. A big night to-night, all right. Stew. Oh, be calm ! Wait till after the show. [Struts about stage.) Edith {sitting^., holditig side, laughing hysterically). Oh isn't it great ! — I thought he'd gone to Mexico. {Others laugh. Edith begins to cry hysterically. Shine a7id Stew, draw over l. close together at a loss to know what to do. Dor. goes to Edith and tries to calm her.) Shine {to Stew.). Go get Bob. {Looks off l.) There he goes now. (Stew, and Shine both exeunt l., eager to get off stage.) Dor. It's all right, Edith. Don't cry. Edith {sobbing). I'm not crying. {Begins to laugh.) Enter Brown, Black and White, staying over l., looking at Edith in wonder. Bus. as Ruth atid Dor. try to calm Edith. Enter Amy. Amy. Isn't it simply dandy? {Sees Edith.) Oh, what's the matter ? Dor. Oh, she's all right. Just the excitement. Amy. Oh, here's Bob. Enter Bob* with Stew, and Shine. Walks across to Edith. team-work: 47 Bob. Edith ! It's all right !— What's the matter ? Edith. Oh, Bob ! (Bob and Edith embrace. Stew., seeing them, pretends to embrace Ruth, but she evades him. Amy stands silently by Bob's side. Presently Bob feels Amy's presence afid turns. Their eyes meet. Silence. Enter Hum. Amy slowly places her hand in Bob's.) Amy. No one else could have done it. Bob ! — And — and — I'm so glad you're going to stay ! Hum. {holding out his hand). Bob, old man, you're a wonder ! You can have everything I've got ! {Shakes hands.') Bob. Thanks, Gardner, and the same to you ! — Tell Edith, Gardner. Hum. Edith, here's a special delivery from ray uncle. {Scans letter.) Where's that sentence? — Oh, here. "Don't worry, the spur track is to be left in place. ' Richards and Humphrey, Incorporated,' vi^ill boom the cement business. Yes- terday orders were sent " And here ! "If young Rich- ards is like his father, get to know him better. He must be " Bob {interrupting). Leave that to me, old man. {Turns Jo Amy.) Amy, I've been talking to Gardner, and I want to talk to you. Will you wait for me until I change this rig ? Amy. Yes, Bob. I'm awfully glad. Shine {looking out over audience). Here's the coach, boys ! Clear the stage for Act I ! {Bus., stage hands rush for scenery and properties prepara- tory to setting stage, while other characters hurry off stage.) CURTAIN )CT 19 1912 B* U). Pinero^s Plays Price, 50 Cents €acl> A/lin PHANNFI P'ity i" Four Acts. Six males, five females. "'I*'"*'"""""'-' Costumes, modern; scenery, three Interiors. Plays two and a half hours. THE NOTORIOUS MRS. EBBSMITH f^^r'^^Z males, five females. Costumes, modern; scenery, all interiors. Plays a full evening. THF PROFIir'ATF Playln Four Acts. Seven males, five *"" I I\V/rLil\JrtlLi females. Scenery, three interiors, rather elaborate ; costumes, modern. Plays a full evening. THF QPHfini MKTDFQQ Farce in Three Acts. Ninemales, iniJ OV^niJV/LilTllO 1 IV£iOO seven females. Costumes, mod- ern; scenery, three interiors. Plays a full evening. THE SECOND MRS. TANQUERAY S^Ss,' ■Acts. , Ave females. Costumes, modern ; scenery, three interiors. Plays a full evening. QWFFT I AVFNHFR Comedy in Three Acts. Seven males, OTTluLil Li/\ Y IJill/EiIV four females. Scene, a single interior, costumes, modern. Plays a full evening. THF THITNnFRRfil T Comedy in Four Acts. Ten males, lllLi lllUllU£iIVDV^Lil nine females. Scenery, three interi- ors; costumes, modern. Plays a full evening. THF TIMFS Comedy in Four Acts. Six males, seven females. *^" 1 llTlIjkJ Scene a single interior ; costumes, modern. Plays a full evening. THF WFAITFR QFY comedy in Three Acts. Eight males, 1 niU TT £i/\l\.i:il\ OSjA. eight females. Costumes, modern ; scenery, two interiors. Plays a full evening. A WIFE WITHOUT A SMILE ^^^^^^,^tJ:^. Costumes, modern; scene, a single interior. Plays a full evening. Sent prepaid on receipt of price by l^alter ?|. pafeer & Company No. 5 Hamilton Place, Boston, Massachusetts LIISKHKY Uh (;UNbKbb 017 199 280 1 AN IDEAL HUSBAND H^ecent popular Paps mAWAlTFNIWfi Play in Pour Acts. By C. H. Chambers. ATTAaLniilU Four males, six females. Scenery, not diffr- cult, chiefly interiors ; costumes, modern. Plays a full evening. Price, 50 Cents. THE FRUITS OF ENUGHTENMENT gT'/oi!s™f Tw^t^i one males, eleven females. Scenery, characteristic interiors ; cos- tumes, modern. Plays a full evening. Kecommended for reading clubs. Price, 3S Cents. HIS EXCELLENCY THE GOVERNOR frullllT.u^'^l males, three females. Costumes, modern ; scenery, one interior. Acting rights reserved. Time, a full evening. Price, 50 Cents. Comedy in Four Acts. By OscAK Wilde. Nine males, six females. Costumes, mod- ern ; scenery, three interiors. Plays a full evening. Acting rights reserved. Sold for reading. Price, 50 Cents. THE IMPORTANCE OF BEING EARNEST Hit By aS Wilde. Five males, four females. Costumes, modern ; scenes, two interiors and an exterior. Plays a full evening. Acting rights re- served. Price, 50 Cents. LADY WINDERMERE'S FAN ^TL^o'i^%!ZtS?es,^Zi^lT- males. Costumes, modern ; scenery, three interiors. Plays a full evening. Acting rights reserved. Price, 50 Cents. NATHAN HAIF Play in Four Acts. By Clyde Fitch. Fifteen llAilliili U.l\LtLi males, four females. Costumes of the eighteenth century in America. Scenery, four interiors and two exteriors. Act- ing rights reserved. Plays a full evening. Price, 50 Cents. THP ATHPR FFIIftW Comedy in Three Acts. By M. B. HORITE. lULi VlULilX IVLiLiW Six males, four females. Scenery, two interiors ; costumes, modern. Professional stage rights reserved. Plays a full evening. Price, 60 Cents. THF TYRANNY OF TFARS comedy in Four Acts. By C. H. lUlv llRAnni VI llyAAO Chambers. Four males, three fe- males. Scenery, an interior and an exterior ; costumes, modern. Acting rights reserved. Plays a full evening. Price, 50 Cents. A WOMAN OF NO IMPORTANCE ^otfl^VlIrE^^^'rkll seven females. Costijines, modern ; scenery, three interiors and an exterior. Plays a full evening. Stage rights reserved. Offered for reading only. Price, 50 Cents. Sent prepaid on receipt of price by Walttt 1$. idaUt s, Company No. 5 Hamilton Place. Boston, Massachusetts 6. J. PARKMILL & CC PRINTEI S, BOSTON.