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ES and JEROME H. EDDY 
 
 SAMUEL FRENCH, 28-30 West 38th St., New York 
 
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 Copy 1 
 
 The 
 tillage Postmaster 
 
 A Domestic Drama in Four Acts 
 
 By 
 ALICE E. IVES and JEROME H. EDDY 
 
 Copyright, 1894, by Alice E. Ives 
 
 CAUTION.— Amateurs and Professionals are hereby warned that " The 
 Village Postmaster, 1 ' being fully protected under the copyright lawsof 
 the United States, is subject to royalty, and any one presenting the 
 play without the consent of the author or their authorized agent, will 
 be liable to the penalties by law provided. For terms for ama- 
 teur productions apply to Samuel French, 28-30 West 38th Street, 
 New York. 
 
 All rights reserved 
 
 New York 
 SAMUEL FRENCH 
 
 PUBLISHER 
 
 28-30 WEST 38th STREET 
 
 London 
 
 SAMUEL FRENCH, Ltd. 
 
 26 Southampton St. 
 
 STRAND 
 
 
The Village Postmaster 
 
 Place. — Bridgewater, a New Hampshire village. 
 Time. — 1852. 
 
 Act I — Autumn. The General Training. 
 Act II — Winter. The donation party at the minister's. 
 Act III — Summer. Threshing day on the farm. 
 Act IV — Spring. The wedding in the village church. 
 
 Note. — Up to about 1853 in New England, and in many 
 of the Northern states the law compelled every able-bodied 
 citizen to assemble spring and autumn for a drill in the 
 manual of arms, there being at this time no regular state 
 militia. The event was a holiday of considerable importance 
 to the villagers, and was called " General Training Day." 
 The action of " The Village Postmaster " begins on this day* 
 
 JWerrtf from 
 
 C *Pyr/rb* 
 
CHARACTERS 
 
 Seth Huggins. — About sixty years old, the New England 
 farmer type, tall, strong, and sturdy. Inclined to be dog- 
 matic and consequential as he is the most important man in 
 the village, proprietor of the general supply store, postmaster, 
 and " pillar " of the Baptist Church. " Bosses " every one 
 but his sister Samantha who reduces him to a state of abject 
 submission when the occasion requires it. At heart he is 
 kindly, with high standards of honor. 
 
 John Harper. — In his twenties, modest, prepossessing 
 and manly. Educated in speech and manner. 
 
 Ben Deane. — A trifle older than Harper, less educated in 
 speech, and more businesslike in manner. Carries himself 
 well, and is always carefully dressed. 
 
 Ebenezer Todd. — Between fifty and sixty, with the rus- 
 tic's stoop shoulders and shambling gait. Has a realizing 
 sense of his . importance as sexton of the church, and a con- 
 suming ambition to win the hand of Samantha. 
 
 Charles Gibbs. — About forty-five, quiet, dignified, the 
 usual type of the country minister. 
 
 Caleb Springer. — About sixty-five, an old farmer, stoop- 
 shouldered, but still agile enough to "square off" with Eb 
 when there comes up the question of their rivalry for the 
 affections of Samantha. Inclined to be rather querulous in 
 manner, but harmless and well meaning. 
 
 Thomas Huggins. — A boy about fourteen years old who 
 spends most of his time plotting mischief, and making 
 " Lowizy's " life a burden. 
 
 Silas Toner. — A tall, gawky, raw-boned young farmer. 
 
 Jim Pennel. — A young farmer of a different type from 
 Toner. 
 
4 THE VILLAGE POSTMASTER 
 
 Miranda Huggins. — A young girl under twenty, pretty, 
 attractive, and speaking in an educated way. Her manner 
 is sweet and modest as befitted the Puritan maid of the 
 " fifties." 
 
 Mary Barden. — A trifle older than Miranda, also pretty 
 and attractive, but having a rather sad face. Her manner is 
 quiet and subdued with every one except Ben Deane. Her 
 speech is that of the New England rustic. 
 
 Hattie Burley. — About twenty, high-spirited, gay, light- 
 hearted, and being " well favored," inclined to flirt ; but 
 underneath it all generous and kind-hearted. 
 
 Samantha Huggins. — In her forties, which at this period 
 branded the unmarried woman as an old maid. She is tall, 
 bony of figure, and bustling in manner, firm and decided in 
 speech. Even when quoting poetry she gets off the lines as 
 though it were a business to be quickly dispatched. She 
 accepts Ebenezer's love-making with a kind of pleased toler- 
 ance, but never seems to make up her mind. 
 
 Mrs. Gibbs. — A sweet-faced, motherly woman of about 
 forty-five, to whom most of the young people of the village 
 confide their joys and sorrows. She has the manner of the 
 bustling housewife, but with always time to spare for a kind 
 word or deed. 
 
 " Lowizy." — About twelve years old, generally the target 
 of Thomas's pranks, but able on occasions to retaliate with 
 spirit. 
 
 Letitia Bean. — A young village girl, speaking in the 
 " down east " rural manner. 
 
COSTUMES 
 
 The year 1852 was for women the extremely prim period 
 of dress. Bodices were tightly fitted, much boned, and 
 finished at the neck with a white turned-over collar, or opened 
 in V shape over a dainty chemisette of embroidered mull. 
 Sometimes small fichus were worn. The sleeves were bell- 
 shaped with undersleeves gathered into a band about the 
 wrist. Skirts were full and round, just escaping the ground, 
 and gathered into the waist. It is suggested for stage pur- 
 poses that they can be slightly gored at front and sides. No 
 hoops were worn. Bonnets were of the cottage-shape with 
 little " curtains " at the back, and were tied under the chin 
 with ribbons not over four inches wide. The flowers were 
 small and fine. Gloves had but one button. Wraps were 
 shawls or mantillas. Shoes were side-lace or congress 
 gaiters, or slippers with very low heels, tied about the ankles 
 with ribbons. Stockings were always white. 
 
 The hair was parted in the middle, taken down over the 
 ears, sometimes puffed slightly and gathered into a knot at the 
 back of the head, or the front hair was left to flow in ring- 
 lets, the back always being coiled. High foreheads were the 
 fashion. Little girls wore their hair tightly braided in two 
 tails, or loose in curls. 
 
 The dandy strapped his trousers over top boots, wore roll- 
 ing velvet collars and cuffs on his frock coats which were 
 much shorter than those now worn, and were fitted into the 
 waist with considerable spring over the hips. The sack coat 
 was long and loose-fitting. Dress shirts were ruffled, the 
 pointed collar showing above a high stock generally of black 
 satin. Waistcoats for dress occasions were often very fancy 
 in pattern and of rich brocades and embroidered silks. The 
 silk or beaver hat had a nearly straight brim and high crown 
 something like the Parisian dress hat occasionally seen to-day. 
 Felt hats had low, flat crowns and wide, straight brims. The 
 hair was worn rather long. 
 
 It is suggested that the colors of the women's costumes, 
 
 5 
 
6 THE VILLAGE POSTMASTER 
 
 which are given, be adhered to as far as possible, as the color 
 scheme of the stage grouping was carefully planned by Miss 
 Ives and found on the first production to be effective and 
 harmonious. 
 
 Seth Huggins. — Act I, Dark trousers, and waistcoat, 
 " soft " shirt, and no coat. For the training scene, a Conti- 
 nental uniform, blue with buff trimmings, cocked hat and old 
 battered sword. Act II, A dark sack coat and dark trousers, 
 contrasting color in waistcoat, black satin stock and pointed 
 collar. Act III, Overalls, held up with galluses, checked 
 shirt, wide, straw farm hat. Act IV, Blue dress coat with 
 brass buttons, dark trousers, ruffled shin, black satin stock. 
 
 John Harper. — Act I, Black or brown sack coat, light 
 trousers, white shirt, flowing tie, felt hat, low crown with 
 broad brim. Act II, Heavy overcoat and cloth or fur cap ; 
 sack coat, dark trousers, white shirt, high stock and collar, 
 contrasting waistcoat. Act III, Overalls, white soft shirt, 
 flowing tie, wide-brimmed straw hat. Act IV, The dress of 
 the fashionable city man of the period. A well-fitting frock 
 coat with velvet collar and cuffs, trousers of dark gray or 
 black, a handsome waistcoat of white or fancy flowered ma- 
 terial. High black satin stock, ruffled shirt, and silk hat. A 
 circular cloak or cape may be added if desired and thrown 
 off before the last scene. With the cloak a felt hat is pref- 
 erable to the silk one. 
 
 Ben Deane. — Act I, Sack coat and trousers rather lighter 
 in tone, white shirt, stock and contrasting waistcoat. Wide- 
 brimmed felt hat. Act II, Dark frock coat, and trousers, 
 fancy waistcoat, high stock, overcoat, and cap. Act III, 
 Sack coat, lighter trousers, soft shirt, flowing tie, felt hat. 
 Act IV, Frock coat and lighter trousers, white or fancy 
 waistcoat, ruffled shirt, high stock, silk hat. The cut of 
 clothes similar to Harper's, but more showy in color, and 
 less elegant and refined. 
 
 Ebenezer Todd. — Act I, Baggy old trousers held up by 
 suspenders, faded colored shirt, dilapidated straw hat. For 
 training scene a uniform of odds and ends, Continental coat 
 and ordinary trousers, short and baggy, a private's cap, and 
 old flint-lock musket. Act II, A very old-fashioned frock or 
 dress coat, dark trousers, white shirt, and stock, seedy over- 
 
THE VILLAGE POSTMASTER 7 
 
 coat and fur cap. Act III, Sack coat, light trousers, flowing 
 tie, tall old silk hat, a palpable attempt to " dress up." Act 
 IV, A long coat, evidently an overcoat, dark waistcoat, and 
 lighter trousers, stock and high collar, old silk hat, carries 
 lantern and keys. 
 
 Charles Gibbs. — The black frock coat and trousers, black 
 waistcoat and high stock of the ministers of this period. 
 
 Caleb Springer. — Act I, Overalls held up by suspenders, 
 old straw hat, dark soft shirt. Act II, Dark trousers and 
 colored shirt. Second dress, dark trousers, white shirt, high 
 stock, black sack coat. Replaces high boots with congress 
 gaiters. Act IV, Dress coat, dark trousers, dark waistcoat, 
 high stock, white shirt, old silk hat. 
 
 Thomas Huggins. — Trousers held up by one suspender, 
 colored shirt, straw hat. Boys at this period did not wear 
 knee trousers. Act II, A short jacket, something like an 
 Eton, then called a " round-about," trousers coming only to 
 the ankle, and showing white stockings, and low shoes, white 
 shirt, wide turned-over collar, and narrow ribbon tie. Act 
 III, Overalls, coarse boots, checked shirt, and straw hat with 
 part of the brim gone. Act IV, Very new looking clothes. 
 Short jacket and trousers same cut as in Act II, white stock- 
 ings and pumps. A cap with wide, flat topped, bell crown, 
 and slanting visor. From left side top of crown hangs a 
 tassel. 
 
 Silas Toner.— Act I, Farm clothes, no coat. For train- 
 ing scene a uniform made up of British scarlet coat, Conti- 
 nental trousers, and a very high bearskin shako. Coat and 
 trousers evidently meant for a much smaller man, both are 
 tight, sleeves and trousers much too short. He carries an 
 old musket. Act II, Sack coat, and dark trousers. Act 
 III, Overalls and dark shirt, straw hat. Act IV, Sack coat, 
 dark trousers, stock, and felt hat. Toner's clothes never fit, 
 and always seem too small for him. 
 
 Jim Pennel.— Act I, Farm clothes. Act II, Sack coat, 
 light trousers, stock. Act III, Farm clothes. Act IV, May 
 be same as Act II. 
 
 Miranda Huggins.— Act I, Simple white lawn dress, and 
 white ruffled sunbonnet. For training scene same dress 
 with white straw bonnet. Act II, A changeable silk of 
 
8 THE VILLAGE POSTMASTEK 
 
 two tones, blue and gold, trimmed around skirt with rows 
 of black velvet ribbon. White fichu or chemisette, shawl 
 and hood. Act III, A pink lawn dress. Act IV, White 
 wedding dress of mull or satin with veil and orange blos- 
 soms, and stiff round bouquet of orange blossoms, edged with 
 white lace paper. Short white kid gloves, white slippers. 
 
 Hattie Burley. — Act I, Pink and white lawn, straw 
 bonnet trimmed with pink flowers. Act II, Red cashmere 
 dress trimmed with rows of black velvet. Shawl and hood. 
 Act IV, A handsome silk, white ground flowered with pink 
 roses. A white shirred silk bonnet trimmed with small pink 
 roses at the sides. A long white lace scarf worn loosely 
 about the shoulders. Short white kid gloves, with black 
 velvet bands and streamers around the wrist. 
 
 Mary Barden. — Act I, Blue and white lawn, straw bon- 
 net. Act III, Light print gown of lavender or pale green. 
 Straw bonnet. Act IV, Gown of soft gray or Quaker drab 
 with long scarf of same color. Bonnet of shirred silk of 
 same tone, or straw trimmed with ribbons to match. 
 
 Samantha Huggins. — Act I, Dark print dress fitting as 
 primly and tightly as possible, white collar, gingham apron 
 and sunbonnet. For the training, Scene 2, A flowered de- 
 laine or challie, broche shawl or mantilla and bonnet with 
 a feather turning out at an odd angle. Black silk mitts. 
 Samantha must have a comedy effect but never burlesque. 
 Act II, A flowered or striped silk or wool, green prevailing. 
 Dark bonnet and mantilla. Act III, Light print gown and 
 white apron. Act IV, A silk gown, fancy shawl or man- 
 tilla, straw bonnet, and lace mitts. 
 
 Mrs. Gibbs. — Act I, Flowered wool gown with dark 
 ground, sunbonnet, and white apron. Scene 2, Same dress 
 with shawl and bonnet. Act II, Black silk dress made per- 
 fectly plain except for rows of narrow black velvet edging 
 the bodice where it opens over a white mull chemisette. 
 White apron in opening scene. Act IV, Same gown with 
 white crepe shawl and straw bonnet trimmed with lavender 
 or pearl gray ribbons. 
 
 Louisa. — Act I, Short print frock, long gingham pinafore 
 nearly covering frock, and tied over at back. Long panta- 
 lettes, showing below skirt and coming to the tops of shoes, 
 
THE VILLAGE POSTMASTER 9 
 
 which are just to the ankle, not above. Sunbonnet, gener- 
 ally off the head, and hanging by strings tied in front. Scene 
 2, Same with white pinafore. Act II, Pink wool frock with 
 white ruffled pinafore, long pantalettes, hair curled or braided 
 with pink hair ribbons. Slippers tied about ankle with 
 ribbons. Large heavy shawl which drags on the ground, 
 worsted hood. Act III, Light print frock, checked pinafore. 
 Act IV, Stiffly starched white mull frock with gay ribbon 
 sash, white leghorn hat with ribbon tied in bow at back, long 
 pantalettes, slippers. 
 
 Letitia Bean. — Act I, Light green lawn dress and straw 
 bonnet. Act II, Light blue dress, hood and shawl. Act 
 III, White dress. Act IV, Pink or green gown and leghorn 
 hat or bonnet. 
 
10 THE VILLAGE POSTMASTER 
 
 CHARACTERS REPRESENTED 
 
 Seth Huggins The village postmaster and boss 
 
 in the village, with political as- 
 pirations. 
 
 John Harper The Methodist minister's son, in 
 
 love with Miranda. 
 
 Ben Deane The village lawyer, and political 
 
 " heeler "for Huggins. 
 
 Ebenezer Todd Sexton of the Baptist Church. 
 
 Rev. Chas. Gibbs The Baptist minister. 
 
 Caleb Springer Father of Mrs. Gibbs. 
 
 Thomas Jefferson Huggins A very bad boy, and a 
 
 heavy responsibility 
 to Samantha. 
 
 Silas Toner.. A young farmer. 
 
 Jim Pennel A member of the choir. 
 
 Miranda Huggins The educated and lovable 
 
 daughter of Seth. 
 
 Mary Barden A seamstress whom nobody knows. 
 
 Hattie Burley A coquette who knows her own 
 
 mind. 
 
 Samantha Huggins Sister to Seth who "carries 
 
 a stiddy hand" but will 
 quote poetry. 
 
 Mrs. Charles Gibbs A motherly soul with moral 
 
 courage. 
 
 Louisa Called " Lowizy." The help 
 
 at Huggins' "put upon " by 
 Tom. 
 
 Letitia Bean Who sings. 
 
 Mail Carrier. 
 
The Village Postmaster 
 
 ACT I 
 
 SCENE i. — Interior of Seth Huggins' general store, 
 
 also the post-office, Bridgewater, New Hampshire. 
 Door c. opening on village green. Window R. c. 
 looking on green. Counter up stage extending 
 from R. to door C. A case of shelves from l. of 
 door c. to L. On right end of counter is the post- 
 office case of pigeonholes for letters. On centre 
 of counter is a cheese covered with a box. Scales 
 are at left end. On the floor in front of counter 
 is a barrel with removable top. Some soda crack- 
 ers in the barrel. Two or three boxes filled with 
 vegetables in front of counter and shelves. The 
 shelves are filled with crockery, boots and shoes, 
 and general merchandise. Back drop painted to 
 represent shelves holding merchandise. A barrel 
 and box are down R., an old rusty wood stove L. 
 with boxes to sit on around it, also a chair L. of 
 stove. 
 
 Discovered: Ben Deane, c., Ebenezer Todd, l. c, 
 whittling ; and Jim Pennel, l., on boxes near 
 stove. Silas Toner near post-office box leaning 
 against counter whittling. All men except Deane 
 are in farm clothes. 
 
 Deane. (sits on soap-box c.) I tell yer what, boys, 
 we've got to send Seth Huggins to the Legislater. He's 
 just the man for the spot. 
 
 Toner, (leaning against counter r. c, whittling) 
 Wal, I've got to be pretty tarnel sure 'fore I put in my 
 vote for enny man. What's Seth Huggins done to be 
 put up by us ? 
 
 11 
 
12 THE VILLAGE POSTMASTER 
 
 Deane. Done ? Why, ain't he the richest man in 
 Bridgewater ? He is wuth forty thousand dollars ef he 
 is a cent, an' I can prove it. We want to show them 
 fellers up in Concord that Bridgewater kin get up an' 
 toot with the best. Seth Huggins is plaguey smart, an' 
 he can talk to them fellers till they're yeller 'fore he'll 
 knuckle to 'em. 
 
 Toner, {doubtfully) Wal, I dunno. 
 
 Deane. (rising, aside to Toner, while others talk) 
 Now see here, Sile, you know how the taxes have been 
 gallopin' up lately. 
 
 Toner. Yes, by Jupiter. There's that forty acre lot 
 o' mine 
 
 Deane. Exactly. Wal, I calculate we kin git a 
 purty considerable drop on them taxes if we git Seth 
 in — why, he knows Franklin Pierce real well, writes 
 letters to him. 
 
 Toner, (surprised) Ye don't say. 
 
 Deane. Sure' s you're alive, (to crowd) What can 
 you expect o' Dan'l Berry? 
 
 Eben. Nothin'. He's so tormented stingy he skims 
 his milk at both ends. 
 
 Deane. Just so. Now ye want to keep yer persition 
 as sexton o' the meetin' house, don't ye ? (crosses to 
 Eben.) 
 
 Eben. I callate. 
 
 Deane. Ye know how Seth stands there. 
 
 Eben. Wal, if I hain't got my eye teeth yit, I'm be- 
 ginnin' to sense 'em a-comin'. 
 
 (Enter Seth Huggins, apparently from cellar c, back 
 of shelves from l. with Jug of cider and jug of mo- 
 lasses. He goes behind counter r. As Huggins 
 enters Toner moves down stage, whittles stick to a 
 point, uses it for toothpick.) 
 
 Huggins. Wal, boys, howdy do, howdy do ? 
 
 Omnes. Howdy, Seth Huggins, etc. 
 
 Huggins. Real glad to see you. Hev somethin' 
 
 Got it all ready for the trainin'. Can't give ye enny- 
 thing but cider, 'cause I'm a law-abidin' citizen, yer 
 
THE VILLAGE POSTMASTER 13 
 
 know. (Jim gets up and goes to counter quickly, Hug- 
 gins turning out a glassful as he speaks, handing first 
 glass to Jim) It's a leetle hard, boys, jest a leetle hard, 
 but 't,ain't sperit and agin the law. 
 
 Jim. (at counter r., who has been drinking) Wal, 
 Mr. Huggins, thet has got a fizz to it sure enough. 
 
 Huggins. (with a wink) It hez, hasn't it, Jim? 
 Real champagny fizz. But 'tain't sperit, ye know, 'tain't 
 sperit. 
 
 (Exit Deane up c. giving a knowing look at Huggins.) 
 
 Jim. (passing glass for more and returning to seat 
 with glass) Certainly not. 
 
 Toner, {tip to counter) Mr. Huggins, has that quart 
 o' molasses run out yet ? 
 
 Huggins. (puts fug on counter) Yes, here ye be. 
 (Toner starts r.) Scripter measure, too. How's your 
 poor mother's rheumatiz ? 
 
 Toner, (turning back r.) Wal, jest about middlin'. 
 
 Huggins. You'll be on hand for the trainin', I s'pose. 
 
 Toner. I will certainly, Cap'n. (country military 
 salute) 
 
 (Exit R. 2 E.) 
 
 Huggins. (comes around counter and pauses c. stage, 
 anxiously watching Toner) Now there's a man that's 
 settin' on the fence. He's got to be reasoned with. 
 This kentry has got to go democratic, an' I've got to 
 get up an' do a little laborin' in the field. I stand by 
 Frank Pierce and he knows it. I thought I ought to 
 set his mind to rest on that pint so I write him up to 
 Concord t'other day. Ye see Frank Pierce and me are 
 chums. 
 
 Eben. (amazed) Ye don't say. 
 
 Huggins. Oh, yes, I know Frank real well, born in 
 the same county, an' sez I, Frank, I'll stand by ye an' 
 make things hum at 'lection time, but I won't stand no 
 whittlin' down o' the planks in that platform, an' ye 
 might as well know it fust as last. 
 
14 THE VILLAGE POSTMASTER 
 
 Eben. Jest so. 
 
 Huggins. Oh, yes, Frank Pierce knows he can rely 
 on Seth Huggins an' Bridgewater every time if he don't 
 run agin Seth Huggins' principles — an' Seth Huggins' 
 principles ain't the sort to be run agin. 
 
 Eben. {admiringly) Thet's so, Cap'n, thet's so. 
 
 Huggins. Yes, siree. Ez I was a-sayin' the Consti- 
 tution {Scream from Louisa and stamping of feet 
 
 by Tom outside. Huggins goes down l. Eben. comes c. 
 Louisa enters r. Tom follows. Louisa knocks Eben. 's 
 hat off. Eben. whirls around r., and bumps into Tom, 
 r. c., falling into barrel against counter. Tom throws 
 apple after Louisa, c., and follows her out c., Louisa 
 screaming all the time and he jabbering " I' 11 catch you, 
 I'll show you," etc. Tom slams door after him. Jim 
 gets up and hides behind shelves, L., as if to dodge flying 
 missiles) Jehosophat ! what's that boy up to now ? 
 (calling, going to door c.) Thomas — Thomas Huggins 1 
 He doesn't seem real quick o' hearin' somehow. 
 
 Eben. Wal, he's pretty quick at jumpin'. Seth Hug- 
 gins, you ought to send that boy to the house of cor- 
 ruption. 
 
 (Mail Carrier comes in with bag at door c, throws bag 
 on counter.) 
 
 Carrier. Look spry, please. Got to be gettin' on. 
 
 (Huggins turns out letters on counter, r. c, and hands 
 Carrier his mail.) 
 
 Huggins. How's 'lection prospects up your way? 
 Carrier. Purty fair for Pierce. Ain't begun to feel 
 streaked enny yit. 
 
 {Takes bag and exits through door c.) 
 
 Huggins. (looking over mail) What was I say in' ? 
 (behind counter r. c.) 
 
 Eben. The Constitution 
 
 Huggins. Oh, yes, yes. Wal— the Constitution 
 
 (sorting letters. Suddenly stops— peering carefully at 
 
THE VILLAGE POSTMASTER 15 
 
 letter. He bursts out laughing) Wal, wonders will 
 never cease, {laughs loudly again) 
 
 Eben. (restraining laughter) What's the matter, 
 Seth ? What is it ? 
 
 Huggins. Wal, I swow, Miss Simmons hez heard 
 from Japhet Pennel at last. These widows an' old maids 
 are purty clingin' when things begin to look a mite 
 streaked, eh, Eb? (putting up letters in case R.) 
 
 Eben. Never hed much experience. 
 
 Huggins. (running over letters) Want ter keep yer 
 trigger eye on 'em, Eb. Ye do so. (looking hard at a 
 letter) Gosh all fish-hooks ! if Miss Pettingill hain't got 
 a letter clear from Philadelphy. Never heard she had 
 relatives in Philadelphy, 
 
 Eben. (examines letter) 'Tis queer, ain't it ? 
 
 (Enter Caleb Springer, door r. He is a sort of no 
 account father-in-law of the Baptist minister. Ec- 
 centric in make-up, and fond of a glass, though not 
 a sot. He is Eben.'s rival after Samantha, and 
 inclined to resent Eben.'s attentions to her. As 
 Caleb enters he slaps Eben. on shoulder — Eben. is 
 going c. Eben. doubles fists and shows hostility to 
 Caleb which he returns. Bus. continued through- 
 out play.) 
 
 Caleb. Anything for me, Mr. Huggins? 
 
 Huggins. Nothin', Caleb. 
 
 Caleb. Nor for the elder ? 
 
 Huggins. Yes — here's the Intelligencer for the elder. 
 
 Caleb. Been kinder havin' a lay out over yender, 
 haven't ye? (indicates part of counter where jug and 
 glasses are) 
 
 Huggins. Jest kinder preparin' for the trainin', Cale, 
 that's all. (pouring cider) A leetle hard, but not sperit 
 and agin the law. Won't you wet, Cale? 
 
 Caleb. Don't mind if I do. 
 
 (Eben. sits on box c. Caleb on box l. c, with glass. 
 Huggins puts jug under l. h. end of counter.) 
 
16 THE VILLAGE POSTMASTER 
 
 (Enter Miranda Huggins, r. 2 e., hurriedly.) 
 
 Miranda, (r. c, quickly spoken) Oh, father, give 
 me some sugar and nutmegs as soon as you can. Louisa 
 forgot what she was sent for, and Aunt Samantha is all in 
 a flutter waiting for the things. 
 
 (Huggins takes Miranda' sface between his hands and 
 kisses her.) 
 
 (Enter John Harper, door c.) 
 
 John. (c. Raising his hat and bowing to Miranda) 
 Have you any foolscap paper, Mr. Huggins ? 
 
 Huggins. I reckon I hev, Mr. Harper, (looking over 
 shelves y gets sugar in package, and nutmegs) 
 
 John. Good-morning, Miss Miranda. 
 
 Miranda. Good-morning, Mr. Harper. 
 
 John. Fine day for the training. 
 
 Miranda. Beautiful. 
 
 Huggins. (with brown paper parcels) Mirandy, 
 here's yer sugar. Samanthy told me about it and I had 
 it all put up for you. (Miranda takes parcel and starts 
 R. Huggins continues) Did you say nutmegs ? 
 
 Miranda, (embarrassed) Oh, yes, I forgot. 
 
 (John smiles at this. Miranda starts to go r.) 
 
 Huggins. (with foolscap paper for John) Will this 
 do, Mr. Harper? 
 
 John, (putting coin on counter) Yes, that'll do. 
 (rushes after Miranda, door r.) Let me carry those 
 for you. 
 
 Miranda. They're such little ones. They're not 
 heavy. 
 
 John. Please let me. 
 
 (John takes package and they are moving off.) 
 
 Huggins. Here's your change, Mr. Harper. 
 
 John. Oh, never mind, Mr. Huggins. It can't be 
 much. (Eben. and Caleb look amused. Miranda and 
 John go off together r.2 e. Huggins comes out looking 
 
THE VILLAGE POSTMASTER 17 
 
 at two cents in his hand. Takes a small leather purse 
 from his pocket and carefully puts in the two cents') 
 Wal, a feller that don't think no more of money than that 
 ain't goin' to get on in this world, {down c.) 
 
 Eben . (whittling) I callate John Harper' s got suthin' 
 else on his mind. 
 
 Huggins. (c.) I'd like to know what's more im- 
 portant than money to hev on your mind. ( picking up 
 w hi tt lings and putting them in box by counter) 
 
 Eben. (l. c.) Well, Mirandy f s grown up a dredful 
 purty gal, ef I do say it. An' John — wal, he ain't blinder'n 
 a mole in December ef he is the Methodist parson's son. 
 
 Huggins. (excitedly, returning c.) Ebenezer Todd, 
 ye don't mean to tell me John Harper's makin' up to 
 Mirandy ? 
 
 Eben. (placidly whittling) Wal, I only sed it looked 
 that way. 
 
 Huggins. (with decision) Callate that it'll stop right 
 here. I ain't got nothin' agin John 'cept that he's a 
 Methodist an' a whig, but he ain't forehanded. He's 
 alius buyin' foolscap paper, and writin' stuff nights, an' 
 inventin' things that nobody never hears on. 
 
 Eben. John ken draw a straight furrer. 
 
 Huggins. I ain't a-sayin' he can't when he's a mind 
 to; he's ez good a hand ez ye'll git in hayin' time, an' 
 wuth his wages, an' I s'pose with teachin' the destrik 
 school winters he ought to lay by suthin'. But I'm 
 looking higher for Mirandy. I've spent a sight eddi- 
 catin' thet girl, an' the man thet marries Mirandy Hug- 
 gins hez got to be somebody, (strikes fist on counter. 
 Eben. and Caleb jump) He's got to be a good clus 
 communion Baptist, too. (down r. c.) 
 
 Eben. (crossing to c.) Thet's so. I hain't nothin' 
 agin the Methodist dominie; seems a straight enough 
 sort of feller — but ye don't want 'em in the family — ye 
 kinder draw the line there. I know, I know. 
 
 Caleb, (rising and stretching) Got enny more o' 
 that plug chewin' terbacker? (coming c.) 
 
 Huggins. (crosses to l. and l. c.) Look back of 
 thet box, under the desk. (Caleb looks and takes out 
 
18 THE VILLAGE POSTMASTER 
 
 cider jug) There, never mind that cider, {pointing, 
 crossing l.) I put it there 'cause the fellers was helpin' 
 themselves too promiskus like. 
 
 (Caleb cuts off liberal supply of tobacco behind counter.) 
 
 Eben. Hain't got no new cheese, have ye? 
 
 Huggins. Yes, there, {points to box. Eben. goes 
 in where Caleb is, and helps hi nself) 
 
 Caleb, {coming out) Crackers ? Yes. Git 'em my- 
 self — don't bother, {goes to cracker barrel R.) 
 
 Eben. Gosh, I'm dryer'n a graven image. Guess 
 I'll draw some cider. 
 
 Caleb, (r., reaching over counter) Hold on, Eb, 
 I'll help yer. 
 
 Eben. Get out, I'll help myself. 
 
 (Caleb goes and sits down on box R.) 
 
 Huggins. {who had been uneasily watching Eben. 
 and Caleb lunch, speaking aside) You fellers don't 
 seem to need enny help. Might ez well keep a tavern, 
 then I could charge for meals, {goes to counter as enter 
 Mary Barden, r. 2 e.) 
 
 Mary, {coming to Huggins) I would like two spools 
 of black thread, forty and sixty, please. 
 
 Huggins. All right, Miss Barden. {goes in behind 
 counter. Eben. comes out still eating. Crosses to C.) 
 
 Eben. {goes to cracker barrel r. i, helps himself) 
 Howdy do, Miss Barden? Where be ye a-workin' now? 
 
 Mary. (c. and l. c.) I am sewin' at Mrs. Harper's. 
 
 Huggins. {with spools) How's the pews goin' there ? 
 Do they seem to be gettin' on at the dominie's ? {hands 
 her the spools over the counter) 
 
 Mary, {taking spools and handing him money) I 
 never ask any questions, Mr. Huggins. 
 
 {Exit, door up c.) 
 
 Huggins. Wal, I swan ! if thet girl ain't queer. 
 (goes behind counter) 
 Eben. {seated on barrel r. i. Jim sleeps quietly) 
 
THE VILLAGE POSTMASTER 19 
 
 Alius thought she was. Who knows who she is, enny- 
 way? Come here a teetotal stranger. {Enter Mrs. 
 Gibbs, r. 2 e.) Howdy do, Mis' Gibbs? 
 
 Mrs. Gibbs. Real smart, thank ye. 
 
 Huggins. We wuz jest a-speakin' about Mary Bar- 
 den. Did ye ever know enny one that knowed anything 
 about her afore she come here ? 
 
 Mrs. Gibbs. {crossi?ig l. c.) Dunno's I did. 
 
 Huggins. Wal, there's no tellin' what she's been. 
 {putting away letters) 
 
 Mrs. Gibbs. There don't need to be any tellin' to 
 my mind. She's a hard-workin' girl that don't poke her 
 nose into ennybody's tater patch. It alius seem to me 
 thet what lay back o' her face had gone through the 
 deep waters, an' I don't want to know about it. Ef the 
 good Samaritan had took up his time trottin' around in- 
 quirin' about the man from Jericho, he'd been dedder'n 
 a door nail afore he'd got enny ile poured into his 
 wounds. 
 
 Huggins. S'pose that's the Scripter way o' lookin' 
 at it. 
 
 Mrs. Gibbs. {up to counter) Now, Mr. Huggins, ef 
 ye' 11 jist gimme one o' them brown bowls and a nutmeg 
 grater, I'll be gettin' along. (Huggins gets them and 
 gives them to Mrs. Gibbs. She knocks the bowl to see 
 if it is sound) Good-mornin' ; my respects to Miss 
 Huggins and Mirandy. {Exit, r. 3 e.) 
 
 Eben. Good-morning, Mis' Gibbs. {rises, looking 
 after Mrs. Gibbs. Caleb seizes his coat-tails. Eben. 
 turns round, doubles fist, etc. ; they glower at each other a 
 moment and then shake hands and sit down.) 
 
 Huggins. {comes around counter, and sits on it, 
 r. c.) Alius seemed to me ez if Mis' Gibbs wuz the 
 man o' the two. Though Elder Gibbs ken preach a 
 powerful sermon when he lays out to. But I'd be a man 
 in my own house, or I'd know the reason why. 
 
 {Enter Samantha Huggins, rushing in door r. 2 e., out 
 of breath. Huggins swings around counter. Eben. 
 and Caleb sneak out R. 2 e.) 
 
20 THE VILLAGE POSTMASTER 
 
 Samantha. Seth Huggins, do you know what's come 
 of Mirandy? No, of course you don't. You never do. 
 You're no more good 'round the house then a pine dog 
 with a popple tail, a-settin' here from mornin' till night 
 talkin' polyticks. Men folks do seem to have an awful 
 easy time. No wonder the Lord made all the door- 
 keepers up there out of men. {she sees Jim asleep with 
 feet on stove — pushes his feet off. He wakes up vio- 
 lently) Women wouldn't know what to do with so much 
 time to set around. 
 
 (Jim looks at her, says : " Gosh" and exits on the run, 
 
 R. 2 E.) 
 
 Huggins. (behind counter, very meekly) Samanthy, 
 are you forgettin' that you are a perfessor? 
 
 Samantha. (l. c.) No, Seth, I ain't forgettin' 
 nothin'. That's why I am here. Such kerryin's on ez 
 there's been this mornin'. It does seem rather more than 
 I can stand. 
 
 Huggins. Now, when Malviny was livin' she never 
 had a hired girl. 
 
 Samantha. Don't talk to me about Malviny. -That 
 woman was too much put upon. That's the reason she 
 died. Gimme that sugar, quick, {crosses to counter. 
 Enter Caleb and Eben., r. 2. Huggins gets sugar 
 quickly. Samantha sees Eben. Manner changes- — 
 smiles.) Why, Mr. Todd, and Caleb, too — I never seen 
 ye 'tall. You boys goin' to be out for the trainin' ? 
 
 Eben. Yes, Miss Huggins. I'm fust sergeant, ye 
 know. 
 
 {Enter Deane, c.) 
 
 Samantha. (r. c.) Sure enough, {half turns and 
 sees Deane) Howdy do, Mr. Deane ? 
 
 Deane. (c.) Howdy do, Miss Huggins. {goes and 
 sits l. of stove) 
 
 Samantha. {to Eben.) I alius thought regimentals 
 wus so becomin'. 
 
 (Huggins puts sugar in parcel. Does not weigh it.) 
 
THE VILLAGE POSTMASTER 21 
 
 Eben. {taking co??iplimetit to himself} Do you really, 
 Miss Huggins ? 
 
 Samantha. Yes. But I alius think o' them lines : 
 
 " How vain the show o' martial arms, 
 The beat o' warlike drums " 
 
 Land ! that sugar ! {snatches parcel from Huggins, 
 starts quickly toward R. 2 E.) 
 
 Eben. {starting off after her) Let me kerry thet for 
 ye. 
 
 Caleb. Let me kerry it, Miss Samantha. 
 
 Samantha. {to Eben.) Wal, ye may. I'm some 
 beat out a-gettin' here. 
 
 (Eben. takes parcel triumphantly and they go off to- 
 gether quickly r. 2 e. Caleb looks disgusted, and 
 exits ; r. 2 e., following Samantha) 
 
 Huggins. {comes r. c.) Jerusalem ! ef Eb ain't 
 makin' up to Samanthy, after my warnin' him, too. 
 S'pose he's found out she's got some money o' her 
 own. 
 
 Deane. (c. and l. c.) Thought I'd run in and tell 
 ye I think Blake and Smithers'll come around all right 
 'fore the corkus meetin'. 
 
 Huggins. {pleased, seated on barrel r. c.) Ye don't 
 say? Wal, ye hev talked turkey to 'em and no mis- 
 take. 
 
 Deane. {embarrassed, at counter) Yes, and there's 
 suthin' else, Mr. Huggins. I've been wantin' to ask 
 ye for some time — an' I didn't seem to git to do it 
 somehow — I {pause) 
 
 Huggins. Wuz it them eaves-troughs to yer office? 
 Ef it wuz, speak right out. Don't be afraid to ask. 
 
 Deane. No, 'twan't thet — wal, you see, I — I wanted 
 to ask ye if ye had enny objections to my keepin' com- 
 pany with Mirandy ? 
 
 Huggins. {much pleased, but pretending to hesitate) 
 Wal, Mirandy's a purty likely gal an' — no, I dunno's I 
 hev enny objections — no, none 'tall. 
 
22 THE VILLAGE POSTMASTER 
 
 Deane. (r. c, shakes hand) Thankee, Mr. Huggins. 
 Ye can callate on me doin' all I kin fer ye. But, 
 M'randy — I haven't never sed much to her. Dunno's 
 she'll take to me enny. 
 
 Huggins. (r. c.) You jest go ahead, an' don't you 
 worry 'bout thet. M'randy ain't never crossed me yet, 
 and she ain't likely to. I've alius been one whose 
 'pinions wuz looked up to an' respected, an' I'm used 
 to havin' 'em respected among my folks. 
 
 Deane. Wal, I saw M'randy walkin' with John 
 Harper — I didn't know but they were keepin' company, 
 — and 
 
 Huggins. Wal, they ain't — not with my consent. 
 (crosses to L. and L. c.) 
 
 Deane. I s'pose then you've heard about his doin's. 
 
 Huggins. What doin's ? 
 
 Deane. (crossings.) Wal, he hasn't any right to 
 keep company with any girl 'cept one — and he ought to 
 marry her. 
 
 Huggins. Who's that? {slight pause, going up to 
 counter front) Mary Barden ? 
 
 Deane. (starting, then assuming composure) I 
 didn't say who it was, but folks are likely to know 
 before long, (goes r. c. in front of counter) 
 
 Huggins. Wal, if he's that stripe, he'd better not 
 come 'round M'randy. (looks at watch) Lordy ! 
 didn't know it was so late ; must shet up for the trainin'. 
 (turns to lock door) 
 
 (Enter Mary up c. Deane sees her and turns from 
 ' her, showing some fear. Huggins meets her.) 
 
 Mary. Mr. Huggins, Miss Blake forgot the candles. 
 Gimme two pounds, please, (comes down c.) 
 
 Huggins. Wal, ye' 11 have to wait a spell. Got to go 
 down cellar and open a box. (goes back of shelves. 
 Deane moves to r.) 
 
 Mary, (c.) Ben, I want to 
 
 Deane. (goes back to r. c.) Sh ! Mary, I've got 
 something to tell ye. Ye see I've got my future to 
 consider. I've got prospects, an' I daren't throw 'em 
 
THE VILLAGE POSTMASTER 23 
 
 away. I ken marry where I'll git money, an' among 
 folks that'll help me along in the world. You wouldn't 
 want me by marryin' you to give up all my hopes for 
 the future. 
 
 'Mary. What are my hopes for the future ? Hev you 
 thought o' that ? 
 
 Deane. Now, Mary, don't make it too hard for a 
 feller. I thought a sight o' you, an' I do yet. But 
 better men than me have hed to set aside their heart 
 promptin's for success in life. 
 
 Mary, (bitterly) You took me away from home, 
 Ben — you took me away from everything — I daren't go 
 back, (goes slightly l. and l. c.) 
 
 Deane. (slightly folloiuing her) I know, Mary — 
 but how was I to s'pose this would come up? When it's 
 love or duty, love hez sometimes to give in. 
 
 Mary, (turns on Deane) Don't call that kind of 
 a feelin' duty. It's as far from it as night is from day. 
 As fer the love that ken stand one side for money, it's 
 a poor sort thet I wouldn't own to. (to him pleadingly) 
 It ain't the sort I had for you, Ben. Ye know that well. 
 
 (Deane turns slightly from Mary during speech.) 
 
 Deane. (ashamed) I know it, Mary — 1 know it — 
 I ain't like you, patient and sacrificin' — I never ken be 
 like you. But I don't sees I hev a call to give up every- 
 thing fer my own likin' in the matter. 
 
 Mary. (r. c.) Then ye do care for me yet, Ben — 
 ye haven't forgot what ye said. 
 
 Deane. Yes, I do care for ye, Mary. (Mary goes 
 to him, arms about his neck) An' I ain't likely to forgit 
 but it's all got to be put away now. (they separate) 
 I'm goin' to rise in the world. I've got the faculty, 
 an' I ain't goin' to stay under ground. You must 
 understand that, Mary, an' you must never bring up 
 these things again — never, {sounds of cellar door clos- 
 ing off l.) Hush — here he comes. (Deane starts 
 
 R. 2 E.) 
 
 Mary. Ben (Deane puts finger on lips and 
 
24 THE VILLAGE POSTMASTER 
 
 exits r. 2 e. Looking sadly after Deane) Never 
 speak of it again Oh, God ! 
 
 {Enter Huggins.) 
 
 Huggins. {behind counter) Here's yer candles, 
 Miss Barden. 
 
 Mary, {starts and recovers herself) Oh, yes. {takes 
 parcel, and starts toward l. up c., then stops and turns 
 back) I forgot — I was to pay for them, {gives him 
 money, and goes off up c.) 
 
 Huggins. {up c. Putting money in his purse) 
 Seems as ef everybody wuz keepin' company around 
 this burgh, the absent-minded way they have of paying 
 for things, (locks door c.) But, Mary Barden — so 
 John Harper's the man, is he? — well, I must be spry. 
 The Captain of the Milishy must set an example. 
 
 (Exits, locking door r. 2 E.) 
 
 {Dark change to Scene 2.) 
 
 Note. — Store counters, etc., on casters, boxes, barrels, 
 etc., on linoleum stripes to draw out. This scene 
 should be busy and thoroughly convincing. Should 
 look crowded with stuff. 
 
 End of Scene i. 
 
 Scene 2. — The village green showing exterior of post- 
 office and general supply store at left. Huggins' 
 name is on sign with a smaller sign below it over 
 the door reading "Post-office." This door must 
 be made to open. The back drop represents a 
 country hotel called "Berry's" extending from 
 R. to R. C, the remainder of the drop showing land- 
 scape, and part of the village of Bridgewater. Tab 
 on right represents "Berry's Hotel Sheds." Tab 
 on left continues back drop landscape. Foliage in 
 autumn tints. Entrances R. 1, R. 2, L. 1, and L. 3 E. 
 Bench at r. c, another bench up r. in frotit of 
 hotel. A flagstaff up c. with a wooden box in 
 front of it. 
 
THE VILLAGE POSTMASTER 25 
 
 (Hattie Burley heard calling from r., runs on r. 2 e.) 
 
 Hattie. (still calling) Mr. Huggins ! (goes to 
 store door and tries it. Enter Mrs. Gibbs, l. 3 e. To 
 Mrs. Gibbs) Ain't it mean? It's locked, and I was 
 expectin' a letter. 
 
 Mrs. Gibbs. (l. c.) Wal, it's trainin' day, ye 
 know; ye can't expect it to be open, (looking admir- 
 ingly at Hattie) I guess some folks hez got a new 
 bonnet. 
 
 Hattie. (l. c.) Yes, and you sit right down there 
 (pointing to seat r. a), Mrs. Gibbs, and tell me how 
 you like it. (turns around for inspection) 
 
 Mrs. Gibbs. It's real smart, no mistake. But then 
 you hev the faculty of puttin' on things. 'Tain't every- 
 body hez the faculty that hez things. I'm thinkin' it'll 
 go hard with the young men to-day. (crosses to seat r. c. ) 
 
 Hattie. (crossing r. Coquettishly) Why, Mrs. 
 Gibbs ! But you see my future's settled. I've been 
 willed to a young man like a family clock or a second 
 best bed. 
 
 Mrs. Gibbs. (surprised) Harriet Burley ! {Drops 
 down on seat r. C.) 
 
 Hattie. Yes. It's a cheerin' prospect? isn't it? 
 
 Mrs. Gibbs. Hev you got to hev him ? 
 
 Hattie. (sitting on bench r. of Mrs. Gibbs) Well, 
 I don't s'pose there'd be any forcin' if I'd get right up 
 and say I wouldn't. But his folks and my folks seem to 
 want it, and I — well, I haven't thought much about it. 
 
 Mrs. Gibbs. Don't you know whether you care for 
 him? 
 
 Hattie. (doubtfully) Well, I like him — I don't 
 know whether I'm really in love with him — sometimes I 
 wonder if I am. (suddenly taking Mrs. Gibbs' hand 
 and speaking seriously) Do you suppose you could tell 
 me what being in love really is? 
 
 Mrs. Gibbs. (seriously) No, Hattie, I don't sup- 
 pose I could. The right sort is something like expe- 
 riencin' religion. It's kind o' borne in on ye in a mys- 
 terious, convincin' way. Ye don't ever wonder //"ye're 
 
26 THE VILLAGE POSTMASTER 
 
 in love. The only wonderin' ye do is when an' how it 
 began. 
 
 Hattie. (wonderingly) Is it so beautiful and solemn 
 like to every one? 
 
 Mrs. Gibbs. It ought to be, Hattie, when it's got to 
 last a whole lifetime. 
 
 Hattie. {pressing Mrs. Gibbs' hand) How you 
 always help everybody. But you don't think it's wrong 
 for me to have a little fun before I'm spoken for? 
 
 Mrs. Gibbs. Flirtin's dangerous, Hattie. It's like 
 them guns that ye don't know are loaded. Some one's 
 alius gettin' hurt when ye ain't expectin' it. {looks off 
 r. Jtises) There's old Miss Durkee a-beckonin' to us. 
 I want thet picklin' receipt o' hers, {crosses R.) Let's 
 walk over, {stopping and looking back at Hattie) 
 We'll be in plenty time for the trainin'. 
 
 {They exit r. i e. Enter John and Miranda up l. 
 As Hattie is going off } she turns, sees John, and 
 smiles at him. John nods to her. He is still car- 
 rying Miranda's parcels. They come down stage.) 
 
 John. (r. c.) Yes, Miranda, it's a true one — this 
 story I want to tell you. It's the story of a friend's 
 trouble, and you must tell me what is right for him to do. 
 
 Miranda, (sitting seat r. c.) But perhaps I can't. 
 
 John, {ivith one foot up on seat bending over 
 Miranda) Yes, you can. You are always right. A 
 man is betrothed to a woman in a will — that is, it is the 
 wish of the girl's father that she would marry the son of 
 his old friend. The girl is rich, the young man's parents 
 are poor. 
 
 Miranda. And they want him to marry her? 
 
 John. Yes. They have had the prospect of this 
 marriage before them for years. When the young people 
 finally meet, the man has lost his heart to another. He 
 cannot love the girl whom his parents wish to be his wife, 
 though he is told that she cares for him. Now, ought he 
 to marry this girl who has honored him by giving him 
 her heart — it would make his father and mother both 
 
THE VILLAGE POSTMASTER 27 
 
 happy — or ought he to follow his own heart, which is 
 pulling him so strongly in another direction ? 
 
 Miranda. But the other girl, — the girl whom he 
 really loves — does she love him ? 
 
 ' John. Ah, if he only knew, (sits beside Miranda, 
 laying parcel on seat) 
 
 Miranda. It wouldn't be so dreadfully hard for him 
 to find out. {eagerly) Why doesn't he ask her? 
 (thoughtfully) Suppose she would be very unhappy 
 always if he married some one else — she ought to be 
 thought about a little, you know. 
 
 John, (quickly) Oh, she is thought about a great 
 deal — yes, a great deal. 
 
 Miranda. Why, John, you seem to know a sight 
 about this friend's affairs. 
 
 John. I do. We are very intimate. 
 
 Miranda. Why don't you advise him yourself then ? 
 
 John. Because I care too much for him to be just, 
 and I know so well what he wants. 
 
 (Ready — distant roll of thunder.) 
 
 Miranda. The thing that is hard is almost always 
 the right thing to do. He ought to follow what seems to 
 him duty. It will come out clearer after a while. 
 
 John. Do you think so, Mira ? 
 
 Miranda. Is there any other way ? 
 
 John. But he can't, Mira. He's going to tell her he 
 loves her. He is going to tell her whether it is right or 
 not. 
 
 (Enter Deane quickly r. 2 e. ; comes to Miranda.) 
 
 Deane. Good-mornin', Miss Mirandy» (nods to 
 John, who very coldly returns it and half turns back on 
 him) 
 
 Miranda. Good-morning, Mr. Deane. (sees par- 
 cels) Oh, those things. (Enter Hattie, Letitia Bean 
 and two girls R. 1 e. John takes up parcels and starts) 
 Give them to me. What will Aunt Samantha say ? No, 
 no, you mustn't come, (crossing toward l*. 1 E.) 
 
 Deane. (following her) May I ? 
 
28 THE VILLAGE POSTMASTER 
 
 (Hattie runs up to John.) 
 
 Miranda. No, no, I'm only going over to the house. 
 I'm coming right back. 
 
 Hattie. John, come here. Come tell Letitia. {pull- 
 ing at his arm. She draws him up c. He bows to 
 Miranda and goes) 
 
 {Enter Rev. Chas. Gibbs l. 3 e., carrying flag folded, 
 soldier with gun, and two girls following him . Mr. 
 Gibbs and soldier remain near flagstaff , and two 
 girls join the other group r.) 
 
 Miranda, (l.) No, no, Mr. Deane, I must hurry. 
 (starts to go) 
 
 Deane. But I've got to go up there on business. 
 Can't I carry them? 
 
 Miranda. Oh, very well, come along, then. 
 
 (They exit together L. 1 E. John comes away from the 
 group and crosses to L., watching them.) 
 
 (Enter Caleb, with gun, l. c. ; joins Mr. Gibbs and 
 soldier, whom he salutes.) 
 
 John. She let him go with her, that sneak. Does 
 she care for him ? No, no, I can't believe it. 
 
 Hattie. (coming down to him) John, what is the 
 matter ? Why, you look like a thunder-cloud. 
 
 (Distant roll of thunder.) 
 
 John. Do I? Well, I'm not the only one. Look 
 up there, (points to sky) 
 
 Hattie. Oh, dear ! do you suppose it's going to 
 rain? 
 
 John. I wouldn't be surprised. 
 
 Hattie. And my new bonnet ! Oh, John, just think 
 of it. 
 
 John. Let me go and get you an umbrella, (start- 
 ing l.) 
 
 Hattie. (restraining him) No, you won't. You'll 
 
THE VILLAGE POSTMASTER 29 
 
 forget to come back. You come here, now, and tell 
 Letitia what you are going to do. 
 John. But, Hattie- 
 
 {Enter tiuo girls, r. i e., and join the others. Caleb and 
 man move bench from R. c. down r. </ l. 2 E.) 
 
 Hattie. Come along, (drags him back to group r.) 
 
 Letitia. Say, girls, let's have a dance. 
 
 Hattie. What will Mr. Huggins and Elder Gibbs 
 say? 
 
 Letitia. Oh, who cares ? Come on. 
 
 ( Village dance for girls. For description of dance see 
 end of Act I. During dance Mr. Gibbs raises flag 
 on staff. Men cheer three times and then stand 
 clapping time to music. John on box. After dance 
 John joins Hattie and Letitia, who, with the other 
 girls, run up stage and stand about R. and R. C.) 
 
 (Ready — rain and thunder.) 
 
 (Enter Huggins, l. 3 e., dressed in uniform and wear- 
 ing sword. He goes to store, takes out key from 
 pocket, opens door, enters and brings out bottles 
 and glasses, which he sets on bench beside door. 
 Locks door again. Enter Eben., r. i e., while 
 Huggins is setting out things. He wears military 
 trousers, ordinary dress coat, a cap with shako, 
 and carries old flint-lock. Eben. marches in a 
 rickety manner across the stage, hemming and haw- 
 ing to draw attention to himself, marches up r., and 
 after crossing guns with Caleb, sets his gun against 
 bench L. c.) 
 
 Hattie. (before Eben. enters — looking off r. To 
 girls) Oh, girls, do look at Ebenezer Todd. Guess 
 there has been a mutiny amongst his clothes, an' some 
 of his regimentals deserted. 
 
 (Eben. helps Huggins bring out glasses.) 
 Letitia. Don't say nothin'. (pointing) Sile's got 
 
30 THE VILLAGE POSTMASTER 
 
 'em. [enter Toner, l. i e., wearing a military coat, 
 striped black and white trousers and a drum-major' s 
 hat, carrying a gun with bayonet. Letitia meets him c. 
 His hat tumbles off as she pokes him) Goin' to war, 
 Sile? 
 
 Toner. Nary ; callate my folks want me for home 
 consumption, {goes up L.) 
 
 {Enter Jim, r. i e., carrying gun ; marches c, makes mili- 
 tary turn and goes up c. to Toner. Enter Deane 
 and Miranda, l. i e. Huggins and Eben. come 
 to c./rom store.) 
 
 Huggins. (looking up to sky) Bet a gold dollar we 
 don't get to drill to-day. There's an old thunder clap- 
 per coming up in the west. Likely to rain cats and dogs 
 afore we get through. 
 
 ( Girls look up at the clouds, then at their dresses and 
 show apprehension.) 
 
 Eben. You're right, Seth. Looks mighty lowery. 
 (scanning Huggins' sword) Old timer, ain't it? 
 
 Huggins. (proudly) Yes. Was fit with in the Revo- 
 lution. Come back from Concord with that same dent. 
 ( pointing to dent) 
 
 Eben. Gosh ! It must have hit a rock. 
 
 (During this speech Toner is seen gathering some men 
 together up l. He comes down to Huggins, leading 
 men. Huggins goes down r. c. at the same time 
 that Louisa comes on at L. i e. She goes to store 
 door, looks at the array of bottles, and creeping up 
 cautiously, takes up one, and drinks long and deeply. 
 As all are watching Huggins and Toner, no one 
 sees her. This business takes place during follow- 
 ing speech. Eben. gives his arm to Samantha, 
 and leads her up r.) 
 
 Toner. Mr. Huggins, I've been apinted spokesman 
 of a delegation to wait on ye, an' get yer sentiments re- 
 gardin' the nomination. Ain't that 'bout it, gentlemen? 
 
THE VILLAGE POSTMASTER 31 
 
 All. {coming down R. c. slightly) Yes, that's it. 
 Go ahead. 
 
 Toner. Now, the first thing is, are you sound on the 
 constitution ? 
 
 Huggins. What ? 
 
 Toner. Are you sound on the constitution ? 
 
 (Ail cheer as Huggins goes up stage to speak.) 
 
 Huggins. {drawing himself up. Gets up on box) 
 Feller citizens, I'm a Democrat. 
 
 {Croivd cheers.) 
 
 (£nler Tom, l. i e. ; sees Louisa, who does not see him. 
 Tom creeps up behind her, while her head is thrown 
 back drinking from bottle, seizes the two small 
 braids ivhich stick out from the back of her head 
 like spikes, pulls them violently, which causes her to 
 drop the bottle. Louisa screams. All turn. Louisa 
 flying exits cross stage to r. i e. Tom takes up 
 bottle, throwing h,;s head back, begins to drink.) 
 
 Jim. Wal, thet's all right bein' a Democrat. But we 
 want to know what yer goin' to do for this town? 
 
 Toner. Yes, Mr. Huggins, what ye goin' ter do for 
 Bridgewater? (Samantha sees Tom and glides quietly 
 up behind him, taking him by the ear and bringing his 
 drink abruptly to a close. Takes the bottle from him, 
 looks in it, seems horrified at his deep potations, cuffs 
 the other ear, sets down bottle and walks him doivn stage, 
 r., still holding him by the ear) There's that North 
 turnpike, there's the taxes want whittling down, and 
 there ought to be new front steps to the schoolhouse, to 
 say nothing of the chimbley that can't be made to draw. 
 
 Huggins. I hev said, feller citizens, thet I am a 
 Democrat, an' a Democrat is not likely to ferget his con- 
 stitooants. (Jim lets out an individual cheer. Huggins 
 says " Thank you," and Jim bows his acknowledgments) 
 I hev thought of that turnpike. I hev thought of them 
 steps, and I hev thought of — {hesitating as if out of ideas) 
 a lot of other things. (Louisa enters, r. 2 e., and goes 
 
32 THE VILLAGE POSTMASTER 
 
 back of crotvd to L., near bottles) And (stops 
 
 again) Wal, wait till I'm elected. Ef I don't make 
 them fellers thet's shellin' out appropriations here and 
 new roads there, an' lighthouses an' all thet tormented 
 
 foolishness (Louisa drinks again) Ef I don't make 
 
 them rest a spell, while I set some of them dollars a-rollin' 
 down into Bridgewater, my name ain't Seth Huggins, 
 thet's all. (gets down from box) 
 
 All. Thet's it ! Hooray for Seth Huggins ! 
 
 (Exit Mr. Gibbs. Women clap hands and wave hand- 
 kerchiefs. Samantha, in her excitement, forgets 
 Tom, and lets go his ear. Tom darts toward 
 Louisa, who drops bottle and runs screaming off 
 r. i e. , Tom following. Huggins goes down to bench 
 L., preparing glasses, etc. Eben. takes gun from 
 bench and sets it against house L. of door L. 2 E. 
 As Louisa flies screaming before Tom across foot- 
 lights, Samantha gets excited, strikes at Tom as he 
 passes her, misses him, swings clear around, drops 
 umbrella and runs up to rebuke Toner, l. c, who 
 is laughing at her. Eben. joins her, and Toner 
 salutes in acknowledgment. Eben. leads Samantha 
 up r. Tom enters, r. i e. ; goes over to L. 2 e. 
 Takes Eben.'s gun to c. Military bus. ; marches 
 off L. 1 E.) 
 
 Huggins. (at bench l.) Come up and hev some- 
 thing. Cider, ginger beer, anything there is. (pours 
 cider into glasses. All except Samantha and Eben. 
 drink, dispersing as follows. John, Hattie and Le- 
 titia down l. Miranda and Deane up c. Toner, c. 
 Caleb and Soldier up c. and l. Girls dress stage r. 
 Jim at bench. Huggins turns to Jim) How's yer boy, 
 Jim ? Heard he had the chicken-pox. 
 
 Jim. Middlin', thank ye. (Huggins goes L. c, Jim 
 to Toner, c.) Seth Huggins never asked arter my folks 
 afore. How he has changed all of a sudden. 
 
 Eben. Gosh ! it's raining over at the meeting-house 
 now, sure as you're born. It's liable to come down on 
 us any minnit. (girls look distressed) 
 
THE VILLAGE POSTMASTER 33 
 
 Huggins. (c.) Well, we hain't feather-bed soldiers, 
 Eb Todd, and I guess if I kin stand it you kin. 
 
 Eben. Yes, Captain, {salutes aud then rejoins 
 Samantha) 
 
 (Band off up l.) 
 Huggins. Comes, boys, the band is a-comin*. 
 {Enter the band up L. Cheers.) 
 
 {Bus. of band. Samantha and Eben. go up l. 3 E. 
 Deane and Miranda go doivn r. i e. John, 
 Hattie and Letitia skip up r. Jim and Toner 
 stand c, facing R. and keeping time with feet, 
 Toner out of rhythm. Caleb marches awkwardly 
 across l. u. Girls about r. Huggins goes up 
 L. c. to meet band leading them around stage r. 
 Band consists of three couples. They come down 
 and across footlights to L. up and across c. single 
 file, forming line c., then down to footlights, 
 counter-march toward the L., /// and down L. in 
 couples, forming there in two lines facing <z. Eben. 
 and Samantha follow band on and around until 
 they start c. to form line. Eben. and Samantha 
 going on up L. and around to r. u. Toner and 
 Jim fall in behind Samantha and Eben. as they 
 pass doivn the first time stopping down r., facing c. 
 and doing the same bus. as before. All of the others 
 dance about in their same relative positions as soon 
 as the band starts up, waving handkerchiefs, moving 
 in and out and showing great animation. Band 
 stops playing as it stops marching.') 
 
 Huggins. (l. c.) Three cheers for the Bridgewater 
 Village Brass Band. Hip ! Hip ! Hip ! ! 
 
 All. Hooray ! {drums roll, handkerchiefs wave) 
 
 Huggins. Hip ! Hip ! Hip I 
 
 All. Hooray ! {same bus.) 
 
 Huggins. Hip ! Hip ! Hip ! 
 
 All. Hooray / {same bus.) 
 
 Huggins. Tiger ! 
 
 All. Ah 1 
 
34 THE VILLAGE POSTMASTER 
 
 (Band plays " Yankee Doodle " and all dance as before. 
 Band goes up l. and remains there until rain com- 
 mences to fall when they all exit hurriedly L. 3 e., 
 playing " Hail Columbia") 
 
 Huggins. Now, boys, fall in, and we'll have a drill. 
 {supers, Toner, Jim and Caleb form in line down c. 
 To Toner) Turn those toes out. (to Jim) Turn 
 those toes in. (ad lib. Bus. with sword knocking 
 toes) 
 
 Eben. (looking wildly for his gun) Drat that gun ! 
 I swear ! If it ain't gone. Who's got my gun? (runs 
 up to others. Samantha joins in the search) 
 
 Huggins. (impatiently, the others all in line) Wal, 
 fall in, fall in. 
 
 Eben. Putting on airs, be'nt you ? 
 
 Huggins. No, I ain't. Fall in. 
 
 Eben. Gol darn it. How'm I goin' to fall in with- 
 out my gun ? 
 
 Huggins. Fall in. 
 
 Eben. Fall in when I get good and ready. I'd 
 wrastle you for two cents. I'll take you out in the 
 meadow, and mow your legs off. 
 
 (Rainfalls heavily. Thunder.) 
 
 Huggins. This ain't a hay day. 
 
 {All scream and rush up under shed r. u. Toner 
 spraivls flat, going u. Eben. raises Samantha's 
 umbrella down r. and runs up stage with her, then 
 returns wih umbrella l. h. side of Huggins, who 
 comes down with him. Tom comes on with gun 
 L. 3 e., fires it off in the air. Women scream. 
 Tom drops gun. Eben. leaving umbrella with 
 Huggins c. pursues Tom to l. 2 e. and spanks 
 him as curtain descends.) 
 
 {Second picture same. All pointing to Eben. and Tom, 
 and laughing.) 
 
 CURTAIN 
 
THE VILLAGE POSTMASTER 35 
 
 VILLAGE DANCE 
 
 Eight girls, four couples. 
 
 First Figure. — Position at opening and close. 
 {Cue for music: " Who cares ? Come on / ") 
 
 i st eight beats takes them to corners. 
 2d eight beats takes them back to C, where they clap 
 hands and curtsey. 
 
 Note : Whenever hands are disengaged they should be 
 holding up skirts slightly in front ; elbows close to 
 sides, like prim little Puritan maidens. Whenever 
 not otherwise moving, girls should be balancing to 
 partners. Little joyous laughs and screams should 
 punctuate the dance at 3 and at close of figure. 
 
 3d measure (1st half) takes all back to position again. 
 
 In 2nd half couples (1-2) and (5-6) cross stage, 1 pass- 
 ing between 5 and 6. (3-4) and (7-8) are balanc- 
 ing. 
 
 4th measure. Couples (3-4) and (7-8) change places, 4 
 passing between 7 and 8. All balance. 
 
 5th measure. All balance. 
 
 6th measure. All swing partners. 
 
 7th and 8th measures, circle to the right half-way 
 around stage to positions, clap hands and curtsey 
 on last beat. 
 
 Note : Balance step is one foot over the other, com- 
 mencing right foot over left on first beat of measure. 
 The step when not balancing is a simple skip. 
 
 {Slight pause in music between figures.) 
 
 Second Figure : 
 
 1st eight beats takes them to 3. On the eighth beat all 
 turn around facing out and lock elbows. 
 
36 THE VILLAGE POSTMASTER 
 
 2d eight beats (ist half) circle half-way around to the 
 right where 4 and 5 break, 5 going on around in 
 2d half of measure, leading her end up l. and 
 down, while 4 leads her end down by footlights and 
 around to meet 5, thus turning the circle inside out, 
 with all hands clasped. 
 
 3d eight beats. 4 and 5 break again, straightening the 
 circle into a line thus : 
 
 4321876 
 
 4th eight beats brings them into position for balancing to 
 their neighbors, as above. 
 
 5th eight beats, balance and swing opposite half around 
 with right hand. 
 
 6th eight beats. Swing partner to place with left hands. 
 Curtsey and clap on last beat. 
 
 (Slight pause in music") 
 
 Third Figure : 
 
 1 st four beats brings all to center in a circle, break 
 hands and all circle to left around (1-2) who take 
 up position c. Line forms as the others circle 
 around them, 3 stopping next to 1, 4 next to 2, 5 
 next to 3, 6 next to 4, 7 next to 5 and 8 next to 6, 
 
 thus: 
 
 75312468 
 00000000 
 
 All balance down in a close line and back again, eight 
 beats each way. (1-2) remain c. 7 leads 5 and 
 3 around down r., facing c, and 8 leads 6 and 4 
 around down l. facing c. (1-2) balance down and 
 back eight beats each way. Side lines balance 
 backward and forward, eight beats each way, clap- 
 ping hands. Next eight beats take all down to 
 footlights as follows : 
 
THE VILLAGE POSTMASTER 37 
 
 First, (1-2) dance directly down l. 8 dances back of 
 them over to 7 and they take their position r. 
 
 6 then dances over to 5 and takes her down next 
 to (1-2) (7-8). All take hold of hands and balance 
 out the measure at footlights. 
 
 At the beginning of the next measure, 4 leads 3, 8 and 
 
 7 up l. down around across footlights and up r., 
 5 leads 6, 1 and 2 up r. down around across foot- 
 lights and up l, 5 passes behind 4, 6 behind 3, 
 1 behind 8 and 2 behind 7, both times crossing c. 
 All form close line up stage, as follows : 
 
 43872165 
 00000000 
 
 All skip down to footlights in line on last eight beats. 
 
THE VILLAGE POSTMASTER 
 
 ACT II 
 
 SCENE. — Living-room in Mr. Gibbs' house. A wide 
 fireplace with burning logs at centre back. Plain 
 old-fashioned colonial mantel above it. Two colonial 
 candlesticks on mantel. Door r. of fireplace and 
 windozv l. opening on to country, snow-covered land- 
 scape backing. Window gauzed. Green paper 
 shades and white muslin curtains at window. Door 
 L. 2 E., leading to spare room. Door R. 2 E., to 
 kitchen. Door r. 3 E., to dining-room. Old fash- 
 ioned armchair each side of fireplace. Stool near 
 chair , l. Melodeon up l. Table L. C, chairs 
 r. and L. Small mirror on wall l. Rag carpet on 
 floor. Occasional chairs, splint-bottomed. Red 
 cloth on table. December evening. Snowing. At 
 rise of curtain, in front of fireplace, Caleb is dis- 
 covered sitting in big armchair asleep. Sleigh bells 
 heard, party singing in sleigh going by house. 
 Lights up. 
 
 {Enter Mrs. Gibbs, l. 2 e. Takes stool from r. c.) 
 
 Mrs. Gibbs. {goes up to hearth. Sees Caleb) Now, 
 pa, you hain't got on yer clean shirt yit. 
 
 Caleb, {starting up. Yawning and stretching) Wal, 
 I'm goin' to ef ye'll gimme time. 
 
 Mrs. Gibbs. {looking out of window l. c.) Com- 
 pany '11 be here purty soon and I want to comb yer hair 
 and put on yer stock fer yer. (arranges chairs L.) 
 
 Caleb. It'll be quite a spell 'fore they come, {com- 
 ing down c.) 
 
 Mrs. Gibbs. Now, pa, do put on yer best shoes. 
 
 Caleb. See here, Hanner, I'm goin' to grease these 
 all up and I'll make 'em look just as good as new, when 
 I get to that taller. 
 
THE VILLAGE POSTMASTER 39 
 
 Mrs. Gibbs. Ye don't look a day older'n Eb Todd. 
 Not a day. 
 
 Caleb. That's so, Hanner. Ye think Samantha will 
 be' to the party, don't ye, eh? 
 
 Mrs. Gibbs. Yes, I suppose she will. Wal, now, go 
 and git on yer shirt. It's laid out with yer stock in the 
 spare room, (hustling him off l. 2 e.) 
 
 Caleb, {going l.) All right, Hanner, — all right. 
 
 {Exit, l. 2 E.) 
 
 Mrs. Gibbs. {looking in glass l.) Dear me, if I 
 haven't forgot my breastpin. Takes all my time to see 
 to the men folks. 
 
 {Straightens cover on Caleb's armchair ivhile talking to 
 Louisa. Enter Louisa, r. 3 e. — stands in doorway^ 
 hanging on to latch, swinging one foot.} 
 
 Louisa. Did ye want them emptins set off, Mrs. 
 Gibbs? 
 
 Mrs. Gibbs. Oh, yes, Lowizy. They didn't get all 
 het, did they ? 
 
 (Ready — sleigh bells.) 
 
 Louisa. No. Guess not. Miss Mirandy's come over 
 to help, and she wants to know if she'll 'tend to the 
 doughnuts. 
 
 Mrs. Gibbs. Yes, Lowizy, she kin. {goes c, and 
 takes chair, placing it against scene R. c. Enter Caleb, 
 l. 2 e., shirt in hand, with stock, goes up to fireplace, 
 shivering and shaking) Pa Springer, why don't you 
 change ? 
 
 Caleb, {warming shirt at fire) That spare room's 
 colder'n the north side of a gravestone in Jinoary. 
 
 Mrs. Gibbs. You could have left the door open and 
 let in a little heat. 
 
 Caleb. Wal, Charles is a-changin' in there, and he 
 didn't want the door open with so many women folks 
 around. 
 
 Mrs. Gibbs. For the land's sake, is Charles there ? 
 
40 THE VILLAGE POSTMASTER 
 
 {starts L.) An' I fixed it all up for the girls to put their 
 
 things in. It does seem {stopping and turning 
 
 around l.) Now, pa, will yer go and git on thet shirt? 
 I sha'n't git yer hair combed at all. 
 
 Caleb, {standing helplessly) Wal, I dunno where 
 to go. My room's chuck full of punkin pies set around 
 on chairs and dishes all over the beury. (jumps away 
 from the fire holding back of leg as if burnt) 
 
 Mrs. Gibbs. That's so. Wal, you go into the dinin'- 
 
 room {crosses to r. 3 e. Calls) Lowizy, tell 
 
 Mirandy to come in here, and you stop out of the dinin'- 
 room for a spell till grandpa changes. 
 
 Caleb. (Caleb's shirt catches fire. Jerking shirt 
 away from fire) Jest ketched it in time. 
 
 Mrs. Gibbs. Most burnt it up, didn't ye? 
 
 Caleb. Ye hain't seen nothin' o' my best galluses, 
 hev ye? {going r.) 
 
 Mrs. Gibbs. No, I hain't, but I'll look for 'em. 
 Come now, pa, do hurry. 
 
 Caleb, (at door, shivering) It's awful cold in there. 
 
 {Exit, r. c.) 
 
 Mrs. Gibbs. Land of the living ! I must have that 
 room fixed up agin for the girls. 
 
 ( Crosses to l. 2 e. , and exits. Knocking at door up R. C.) 
 
 {Enter Hattie and John up R. c.) 
 
 Hattie. Come in. I always do when they don't 
 hear me knock, {going to fire) My, ain't it cold? 
 (fussing with wrap) Why don't you help me off with 
 this? You don't act the least bit as though we'd been 
 engaged. 
 
 John, {helping her) I can't say that you do either. 
 
 Hattie. Well, you see, when a girl is almost born 
 engaged, when she's brought up engaged, when she gets 
 to be a woman engaged, and when she hasn't all her life 
 been anything else but engaged it gets to be an awful 
 sameness, (puts wrap on table) 
 
 John, {warming his hands) I noticed that, too. 
 
THE VILLAGE POSTMASTER 41 
 
 Hattie. {coming back to armchair) Of course you 
 did. You're a sensible chap, that is, sometimes ; all 
 times, excepting when you're thinking of Miranda Hug- 
 gihs. Then you seem to get in the clouds. 
 
 John. I could not talk to her while our engagement 
 lasted. 
 
 Hattie. (sitting in chair r. of table) I suppose not, 
 but now that we have agreed to disagree, or rather we've 
 agreed to disengage ourselves, i know you will be happier, 
 for I know, and have known for a long time of your love 
 for Miranda, and now that we are not going to be mar- 
 ried, I like you ever so much better than I did before, 
 and I am going to help you with Miranda. 
 
 John, {approaching Hattie) You will ? You're a 
 dear, good girl. 
 
 Hattie. Yes, I know all about that — {going to door 
 at back r. c. ) but don't let that poor old horse freeze to 
 death out there. Put him in the barn and hurry back. 
 (John exits up r. c. Hattie goes to door l. 2 e., and 
 calls) Mrs. Gibbs ! Mrs. Gibbs ! Mrs. Gibbs ! {goes 
 r. c. Enter Miranda, r. 2 e.) Why, Mirandy. 
 {kisses her, then pauses and looks) Why, what's the 
 matter ? 
 
 Miranda. Nothing, Hattie — nothing, {crossing l.) 
 
 Hattie. Yes, there is. Why, you look so worried. 
 {crosses c.) 
 
 Miranda. Do I? I suppose I'm a little tired. I've 
 been helping Mrs. Gibbs. 
 
 Hattie. {putting her arm around Miranda) Guess 
 who's here? {pause) John. 
 
 Miranda, {calmly) Oh, indeed, {goes l. and up) 
 
 Hattie. {aside) Am I wrong ? {to Miranda) Yes, 
 he'll be back very soon. 
 
 Miranda. It is a long time since I saw John ; only 
 once since the training, {coming down to R. of table) 
 
 Hattie. You see, he's been teaching over at Weed 
 Center. 
 
 Miranda. Yes, I know. 
 
 Hattie. {goes r. and back again) And he's been 
 to Boston about his new invention, something or other 
 
42 THE VILLAGE POSTMASTER 
 
 to make a threshing machine feed faster — oh, John's a 
 
 genius, (at c.) 
 
 Miranda. Yes, he is very smart, {crosses r.) 
 Hattie. (l. c.) Smart? Why, he's the smartest 
 
 chap around these parts, and just as good as he is 
 
 clever. 
 
 {Enter Mrs. Gibbs, l. 2 e.) 
 
 Mrs. Gibbs. Why, Hattie, how d'ye do? {kisses 
 her) 
 
 Hattie. Mrs. Gibbs — I 
 
 Mrs. Gibbs. Come right in the spare room. So glad 
 you come early. Got lots to tell you before the other 
 girls get here, (takes Hattie' s wraps from large chair 
 up L. and leads her off L. 2 e. as John knocks at door. 
 Miranda goes toward door and meets John as he opens 
 it then comes down L. with suppressed agitation) 
 
 Miranda, (opening door) John ! (returns) 
 
 John, (following her) You didn't expect me here? 
 
 Miranda. Well, no, that is (turns from him 
 
 down c.) 
 
 John. It's a very cold night, but warm and cheery 
 enough in here. I don't suppose I ought to have come, 
 because I'm not in the Church, but Mrs. Gibbs invited 
 me, and — well — I did, that's all. 
 
 Miranda (crosses to r. c.) Sit down by the fire. 
 The others will be along now soon, (starts r. 2 e.) 
 
 John, (springing after her) Mira ! — you don't mind 
 me calling you that, do you ? It was the name I gave 
 you when you were little. You remember I used to say 
 Miranda was too big for you. Do you mind ? 
 
 Miranda. No, John, I don't mind, (starts to r. 2 e.) 
 
 John. Wait, don't go. It's so long since I had a 
 chance to speak to you. Only once since the training. 
 
 Miranda. Yes, you've been away. 
 
 John. I've been teaching over at Weed Center, 
 and — there have been other reasons. 
 
 Miranda. I know there have been other reasons. 
 
 John. Jim Pennel told me a while ago that Ben 
 
THE VILLAGE POSTMASTER 43 
 
 Deane had been trying to poison you against me with 
 some foolish story of Mary Barden. 
 
 Miranda, (to him, very seriously) Is it a foolish 
 stor.y, John? 
 
 John. Why, Mira, can you ask me 
 
 Miranda. It would be hard to believe it of you, 
 John — whom I have trusted so much, (changing tone) 
 But how about that friend of whom you spoke at the 
 training, John — will he marry the girl he really loves ? 
 
 John. Yes. There can be no opposition he will not 
 overcome — no sacrifice he will not make. 
 
 (Mrs. Gibbs calls Miranda.) 
 
 Miranda (trying to conceal her feelings) I hope 
 he'll be happy — very happy. 
 
 John. Why, Mira, you will be the first to know of 
 his happiness. You will be 
 
 (Mrs. Gibbs calls again.) 
 
 Miranda. I must go, John, I must (starts 
 
 toward door) I will tell Mrs. Gibbs you are here. 
 
 (Exit, L. 2 E.) 
 
 John. She won't let me speak — she doesn't care for 
 me. She was trying to spare me the humiliation of tell- 
 ing me so. Oh, how blind I've been. 
 
 (Enter Mrs. Gibbs, l. 2 e. Meets John.) 
 
 Mrs. Gibbs. Why, John, I am glad to see you. 
 Afraid you wouldn't git here at all. (cordial greeting, 
 shaking hands, etc.) 
 
 John. It was so kind of you to ask me to come. 
 
 Mrs. Gibbs. (shaking hands) 'Twan't kind a bit. 
 'Twas 'cause I wanted you. Land sakes, I'm just beat 
 out and must sit down a minute, (sits l. of table L.) 
 
 John. I was just thinking it would have been better 
 not to have come to-night. 
 
 Mrs. Gibbs. Why not ? 
 
 John, (sitting in chair r. of table) Well, you 
 see 
 
44 THE VILLAGE POSTMASTER 
 
 Mrs. Gibbs. You're the son of the Methodist preacher. 
 Wal, I'm a Baptist dyed in the wool, and I'm the wife 
 of the minister, and I ain't goin' to bring no discredit on 
 my persition if I can help it. But I kinder think there 
 ain't any separate heaven for Baptists and Methodists, 
 an' we might jest as well be gettin' used to each other 
 right here. 
 
 John. True, but that's not all. 
 
 Mrs. Gibbs. Wal, what is it, John? You used to 
 tell me things. You don't seem to any more. Time 
 back I thought you set considerable store by Mirandy, 
 but I suppose I was wrong, 'cause every one say she's 
 engaged to Ben Deane. 
 
 John, {anxiously) Do you think it's true? 
 
 Mrs. Gibbs. {lays her hand on his) I hope, John, 
 thet ain't troublin' you, 'cause her father's awful sot, and 
 he's bent on this match. It's a pity he sets so much by 
 money an' temporal things. He's got purty high notions 
 for M'randy. 
 
 John. There's nothin' between Miranda and me. 
 (rises, goes up*.) 
 
 Mrs. Gibbs. (surprised) There ain't? (rising and 
 going L. c.) 
 
 John, (returning) Why, no ! If she's made up 
 her mind to marry Ben Deane, it's plain enough she 
 doesn't care for me. If I thought she did I'd have her, 
 if her father and the whole town came between us. 
 
 Mrs. Gibbs. John, that ain't accordin' to yer Bible 
 teachin', and the duty ye owe yer elders, but I reckon 
 it's human nature. 
 
 John. Yes, and I guess I'm about as human as any 
 fellow in Bridgewater. As it is, I shall forget. 
 
 Mrs. Gibbs. Then you did care for her ? 
 
 John. Did I say so ? Young people have fancies ; 
 sometimes they don't last. 
 
 Mrs. Gibbs. John, I must say you s' prise me. I 
 was thinkin' — wal there, old married folks like me don't 
 always know as much as they callate they do. If you 
 can forgit 
 
 John. Oh, yes, I shall. But let me run out and set 
 
THE VILLAGE POSTMASTER 45 
 
 that gate open for you. I thought I heard some one. 
 (going up to door) 
 
 Mrs. Gibbs. John 
 
 John, (comes to her) There now, Mrs. Gibbs, 
 you'd have people too happy in this world. They'd 
 want to live right on here forever. There'd be no 
 disciplining or getting ready for the next. 
 
 Mrs. Gibbs. John, what are you talkin' about ? 
 
 John. You. I don't know anything better to talk 
 about, (runs out door r. c.) 
 
 Mrs. Gibbs. He ain't contented, though. I ken see 
 it 'cause I love him like he was my own son and my 
 heart is a-y'arnin' after him, an' a-achin' to see him 
 happy. His own mother's no support, one of them 
 limpsey sort thet's alius wantin' to be held up by other 
 folks, (sadly) If he'd only been my son, but the good 
 Lord never sent me a son. (l. c, dashes away a tear. 
 Enter Caleb, r. 3 e., dressed but carrying his stock in 
 his hand) Pa, come here quick. Now give me your 
 stock, {takes stock) 
 
 Caleb. Now you've got thet upside down. I'll hev 
 to stand on my head to wear it thet way. 
 
 Mrs. Gibbs. (ad lib., if stock is not tied at end of 
 dialogue. When stock tied) Say, pa, Eb Todd hasn't 
 got anybody to tie his stock for him. 
 
 Caleb. Thet's so, Hanner, thet's so. (ready sleigh 
 bells) Let me look in that looking-glass. 
 
 Mrs. Gibbs. No, no, you sit down there and let me 
 fix your hair, (sets him in chair, he bumps his elbow, 
 she goes to glass and returns with brush) 
 
 Caleb. Now, ye bumped my crazy bone. Now, 
 Hanner, my hair 
 
 Mrs. Gibbs. Your hair is as full of snarls as the life 
 of a politician. 
 
 Caleb. You're pulling every spear of it out. (put- 
 ting tallow on boots) 
 
 Mrs. Gibbs. Now, be gettin' off your boots while I 
 get the others. 
 
 (Exit, L. 2 E.) 
 
46 THE VILLAGE POSTMASTER 
 
 {Sleigh bells outside.) 
 
 Caleb. I'm dreffel afraid them thin shoes'll give me 
 
 rheumatiz. Wal, ef I must, I must {pulls off 
 
 boots) It's goin' a leetle too far when a man can't wear 
 boots at a donation party. There they be ! {throws 
 down boots) 
 
 {Enter Mrs. Gibbs, l. 2 e., with Congress gaiters.) 
 
 Mrs. Gibbs. Now, pa, do hurry, (takes boots and 
 exits l. 2 e. ) 
 
 Caleb. Wal, I am hurryin' just as fast as I can. 
 {noise of people outside. "Whoa there." Sleigh bells , 
 laughing, etc. Knock at door) Christopher Kewlum- 
 bus ! They're comin'. {with one shoe half on) Han- 
 ner, they're comin'. 
 
 {Enter Mrs. Gibbs, with galluses, l. 2 e.) 
 
 Mrs. Gibbs. Pa, here's yer galluses. (Caleb stump- 
 ing up r. , with one shoe half on and carrying the other, 
 taking galluses from Mrs. Gibbs as he goes. Exit, 
 r. 3 e. Mrs. Gibbs closes door after him and opens 
 door r. c, returning c. Women come first, Samantha, 
 carrying bundles, followed by Toner, bandanna tied over 
 his hat, bag under his arm. Two men with ha?n and 
 bacon. Jim with sack. Eben. with turkey. Tom with 
 a live pig) Why, howdy do, Miss Toner, Miss Blake, 
 Miss Bean ? Real glad to see you. 
 
 All the Women. Howdy do, howdy do. 
 
 Letitia. Snowin' real hard. 
 
 Mrs. Gibbs. Ladies, go right in the spare room 
 and take off your things, {pointing l. 2 e. Women go 
 off l. 2 e. ; men r. 2 e.) Gentlemen, you go in the 
 kitchen, {pointing to r. 2 e. Enter Huggins, r. c.) 
 Howdy do, Mr. Huggins? Hope yer well. 
 
 Huggins. Purty fair, Mis' Gibbs, and wishin' you the 
 same. How's the elder ? 
 
 Mrs. Gibbs. Real smart, thank ye. (Huggins exits 
 R. 2 e. Enter Deane and Samantha, up r. c. Deane 
 follows Huggins off r. 2 e.) Samanthy, go right in the 
 
THE VILLAGE POSTMASTER 47 
 
 spare room. (Mrs. Gibbs takes off apron and lays it 
 over chair l. u., coming back to meet Mr. Gibbs, c. 
 Exit Samantha, l. 2 e. Enter Mr. Gibbs, l. a e.) 
 Wal/ Charles, I'm glad you've come, (gives a touch to 
 his necktie, brushes a speck off his coat and looks him 
 over) Now, don't let them men get into poly ticks. 
 Some one's sure to get het up. 
 
 {Men on entrance remain R. Mr. Gibbs receives them.) 
 
 {Enter Huggins and Deane, r. 2 e.) 
 
 Mr. Gibbs. I'll do the best I can. (meeting the men) 
 How do you do, Mr. Huggins? Glad to see you. 
 (enter Toner and Tom, r. 2 e.) And Mr. Deane and 
 Mr. Toner, (shakes hands all around. Tom leaves the 
 group of men and goes up to fire, wanning his hands 
 and rubbing his ears) 
 
 Huggins. (to Mr. Gibbs) Hope I see you well? 
 
 Mr. Gibbs. . Quite well. 
 
 (Enter girls, l. 2 e., except Samantha. At the same 
 time Jim, the other two men and Eben. enter R. 2 E. 
 Girls bring on slippers not wrapped, but concealed. 
 Letitia brings Samantha' s with her own and hides 
 them with hers and Hattie's under table cover. 
 As Tom goes up c. he encounters Toner, circles 
 around him and bumps into Eben. Then he stands 
 warming himself at fire.) 
 
 Huggins. Hain't seen ye since I got back from 
 Concord. 
 
 Mr. Gibbs. I believe not. 
 
 Huggins. Whigs is feeling purty streaked over the 
 'lection. 
 
 Mr. Gibbs. I suppose so. 
 
 Eben. (to Huggins) Did you see Mr. Pierce ? 
 
 Huggins. No, called twice but he wasn't in. Ought 
 to writ him I was comin'. Thet's what I ought to 'a' 
 done. 
 
 (Group of men R. turn slightly up stagt.) 
 
48 THE VILLAGE POSTMASTER 
 
 (Enter Louisa, r. 2 e., with large tin pail, rushing 
 toward L. 2 E.) 
 
 Mrs. Gibbs. {coming down l.) Lowizy, what are 
 you doin' with the pail ? 
 
 Louisa, (speaking rapidly) Mis' Sloper's bag broke 
 open and there's more'n peck o' white beans in the spare 
 room bed. 
 
 Mrs. Gibbs. Land o' the livin', shake up the feathers 
 good when you get through, (turns to women and 
 talks) 
 
 Louisa. Yes'm. (starts quickly towards. 2 E., when 
 Tom suddenly gets before her and falls down, causing her 
 to fall over him, making a great clatter with the pail. 
 Huggins is talking so excitedly he doesn't notice the 
 fracas, and Louisa, being on top, improves the opportunity 
 to give Tom a good cuffing and pounding. Girls laugh- 
 ing, Mrs. Gibbs protesting) There, I can't help it if I 
 am in the preacher's house; I alius said you'd get it yet. 
 (goes quickly to l. 2 e. Tom after her. She runs off, 
 partly shutting the door and sticking her head through 
 the opening) Can't come in here. Ain't no men nor 
 boys 'lowed in. (shuts door in his face) 
 
 Tom. Ain't, eh? Wal, I'm coming bald-headed. 
 
 (Tom picks up a pillow fro?n chair near door, pulls door 
 open and dives his head in first, flies into the face 
 of Samantha, who is coming out, and almost knocks 
 her down. She gives a little scream, then seeing it 
 is Tom, seizes him by the ear, walks him down to 
 R. 2 E., where there is a chair, and sets him down 
 hard. Mrs. Gibbs closes door l. 2 e., and picks up 
 pillow.) 
 
 Samantha. There, Thomas Jefferson Huggins, if 
 you're heard from again for the next hour, you'll go home 
 quicker than scat. 
 
 Eben. Feelin' kinder raspy, ain't ye, Samantha? 
 
 Samantha. Wal ! (goes over and sits in chair r. of 
 table. Mrs. Gibbs sits in chair l. of table. Men down 
 R. again) 
 
THE VILLAGE POSTMASTER 49 
 
 Mrs. Gibbs. My ! Samantha, that boy's a trial, isn't 
 he? 
 
 (John enters from outside up r. a, and exits r. 2 e., 
 slapping Tom on the head as he passes him.) 
 
 (Caleb enters r. c. Mr. Gibbs goes up c.) 
 
 Huggins. (excitedly) I say Bridgevvater's got to be 
 considered. Yes, sir. It's got to be considered. 
 
 Samantha. {looking at the men) Land o' the livin' ! 
 Are them men at it again ? 
 
 Mrs. Gibbs. Yes. If I only knew how to stop 'em ! 
 
 Samantha. (with decision) Callate I know, (ad- 
 vancing toiuard men) 
 
 Huggins. An' I say it agin, the Constitution 
 
 Samantha. Seth Huggins, is this a corkus meetin' or 
 is it a donation party to the minister's ? There's some 
 ladies here that would like to speak a word to Elder 
 Gibbs, if you can let up on the Constitution for a spell. 
 
 Huggins. (meekly) Why, certainly, Samanthy, alius 
 give way to the ladies ; why, certainly ; don't we, gen- 
 tlemen ? 
 
 Men. (all in chorus) Why, certainly. 
 
 (Men all subside quietly into chairs except Mr. Gibbs, 
 who remains standing. Huggins sits down r. i e.) 
 
 Samantha. Mr. Gibbs, the ladies hez each some lit- 
 tle remembrance made special for yer. Here's mine. 
 (takes slippers from Letitia. Gives them to Mr. 
 Gibbs) 
 
 Mr. Gibbs. (c., graciously) Thank you. Miss Hug- 
 gins. Your own work, I suppose ? (Samantha nods) 
 I shall wear them with pleasure. 
 
 (Samantha goes down l. to Mrs. Gibbs and Miranda.) 
 
 ns. (to Eben.) She got them down t( 
 paid for them nuther. 
 
 (Hattie prese nts a pair of slippers.) 
 
 Huggins. (to Eben.) She got them down to the store 
 and ain't paid for them nuther. 
 
50 THE VILLAGE POSTMASTER 
 
 Mr. Gibbs. Ah, Miss Burley, how thoughtful ! Now 
 I shall have two pairs. {Enter John r. 2 e., goes up 
 c. and is met by Hattie. Letitia presents a pair) 
 Really, I'm going to be well shod at any rate. (Letitia 
 goes over to Samantha l. The other girls go back 
 up L. Another pair) Thank you, Miss Blake, so 
 kind, {another pair) Really, I'm overwhelmed, (an- 
 other pair) 
 
 Eben. Kind of a slippery day. 
 
 (Tom laughs loudly. Huggins slaps ears and goes up r.) 
 
 Mr. Gibbs. Very good, I'm sure, {another pair) 
 Ah! 
 
 (Gasping. Tom laughs during slipper bus. Tom com- 
 mences to laugh after the third pair. Huggins 
 rises, pinches his ear and he goes up into the corner 
 and sulks. After the last pair, Mrs. Gibbs and 
 Miranda unload him. Miranda crosses and closes 
 door r. 2 e.) 
 
 Letitia. (to Samantha) Wal, I declare, Elder 
 Gibbs seems quite overcome with that expression o' 
 feelin' on our part. 
 
 Samantha. So he does. The good man is so easily 
 teched. 
 
 Tom. (disgustedly. Down r. to Miranda, who is 
 standing near him) He ain't teched neither. He's 
 mad clean down to his heels. 
 
 Miranda, (in dismay) Tom, hush ! What an 
 awful boy you are. 
 
 Tom. Wal, wouldn't you be mad if you was him? 
 How would you like to be took for a thousand legged 
 worm ? If it 'ud be me, I'd up and throw them slippers 
 at 'em all ker swash. 
 
 (Samantha makes signs to Tom across stage.) 
 
 Miranda. Oh, Tom, do please keep still. Aunt 
 Samantha's looking this way, and you'll get sent home 
 sure's you're alive. 
 
THE VILLAGE POSTMASTER 51 
 
 Tom. Get me a doughnut — I'll be quiet. 
 
 (Miranda goes off and returns with doughnut which she 
 ' gives to Tom. He sits down r. c, and eats during 
 Huggins' speech.) 
 
 Huggins. {with importance. Approaching Mr. 
 Gibbs and clearing his throat loudly) Mr. Gibbs, the 
 trustees of the Bridgewater Baptist Church an' the dea- 
 cons of the same hev constituted me their representative 
 an' — {hesitates for a word. Finds it on cuff) ambassa- 
 dor to herewith present you with a substantial token of 
 their support an' recognition. Hopin' that yer ardor 
 may increase an' multiply, especially your visits to the 
 sick, indigent and unconverted, I herewith present you with 
 said token of our esteem and valuation, {hands en- 
 velope with wax seal to Mr. Gibbs and returns to place) 
 An' may the Lord go on abundantly blessin' your labors 
 among us. 
 
 Eben. Amen ! 
 
 Mr. Gibbs. {taking packet) Mr. Huggins, brethren 
 and sisters, I thank you most sincerely for this kind ex- 
 pression of your good will. 
 
 Eben. Amen again. 
 
 (Mr. Gibbs turns away, opens paper and people talk in 
 groups.) 
 
 Mrs. Gibbs. {coming up to Mr. Gibbs) How much, 
 Charles ? 
 
 Mr. Gibbs. (a, disappointedly) Only forty dollars 
 — to last till spring. And I did want you to have that 
 shawl, Hannah. 
 
 Mrs. Gibbs. (a, cheerfully) Nevermind, Charles: 
 I don't want it no more'n a cat wants two tails. I'm 
 goin' to dye over the old one and it'll look just as good 
 as new. It'll be warmer'n a new one, too, 'cause dyein' 
 alius thickens 'em up drefful. 
 
 (John overhears Mr. Gibbs, and taking a bank-note 
 from his pocket, hands it to Miranda as she 
 comes up.) 
 
52 THE VILLAGE POSTMASTER 
 
 John. Don't say anything. Just give it to Mrs. Gibbs 
 without telling, will you ? 
 
 Miranda, {taking it) Yes. 
 
 (John returns to Hattie.) 
 
 Mrs. Gibbs. Come, now, let's have some singin'. 
 Come, M'randy, come all on ye. Come, Eb, don't you 
 sing? 
 
 Eben. Wal, I used to, then tunes come in fashion 
 an' I quit. 
 
 {They all gather round melodeon. While they are doing 
 so Miranda place s the money in Mrs. Gibbs' hand.) 
 
 Miranda. From a friend. I wasn't to tell. 
 
 Mrs. Gibbs. Now, look here, M'randy 
 
 Miranda. No, it isn't me. Honest. 
 
 Mrs. Gibbs. What'll we sing? 
 
 Miranda. Let Polly Blake sing " Nettie Moore." 
 
 Mrs. Gibbs. Miss Blake, won't you sing " Nettie 
 Moore ' ' for us ? (organ prelude) Sit down, Eb ; Miss 
 Blake is goin' to sing "Nettie Moore." {they sing 
 "Nettie Moore") Wal, now let's have "Peter, Peter." 
 
 {All sing.) 
 
 Samantha. Now, girls, bring in the refreshments. 
 Boys, you must help. 
 
 {All go off r. 2 e. except Samantha, Huggins, Caleb 
 and Deane. Caleb sits again, dreamily watching 
 the fire up c. Deane and Huggins pause to speak. 
 One of the men arranges the chairs R. for the fol- 
 lowing business as he goes off.) 
 
 Eben. {looking off r. 2 e.) Guess I ain't wanted 
 amongst that flock of hens. I'll go and attend to the 
 turkey. 
 
 {Exit, r. 2 E.) 
 
 Huggins. Wal, Ben, ye seem to be gettin' on with 
 M'randy. Ain't losin' any time. 
 
THE VILLAGE POSTMASTER 53 
 
 Deane. Don't calculate to. 
 
 (Exit, R. 2 E.) 
 
 Huggins. Good, straightforward, honest boy ; 1 like 
 him. 
 
 (Tom comes back first with a piece of pie and glass of 
 lemonade on a plate, sits down r. i e. Eben. fol- 
 lows with the same and sits next to him. As he 
 drinks Tom slips his pie away, and when Eben. 
 misses it, Tom holds it out of sight with his right 
 hand, eating the other piece out of his left and looking 
 very innocent. Letitia, John, Hattie and Toner 
 enter with one table, taking it up R., followed by 
 Jim, with pail of lemonade, and four girls with 
 another table. Mrs. Gibbs with pot of coffee. 
 Caleb comes over to table with bandanna under his 
 chin.) 
 
 Caleb. Don't see any beans. More nourishment in 
 beans than there is in steak. (Sees plate of pie in Sa- 
 mantha's hands) Mince pies — hope they didn't put 
 enny sperit in 'em, Hannah ; we ought to be lavv-abidin' 
 folks. 
 
 Mrs. Gibbs. No, pa, there ain't anything stronger 
 than cider in 'em. Sit down and let me give you suthin'. 
 
 (Caleb returns to armchair. Miranda goes over and 
 sits r. of door l. 2 e. Deane brings her refresh- 
 ments and stands by her until Louisa's song is fin- 
 ished. Louisa enters l. 2 e., and sits down l. i e. 
 Hattie and John go over to table l., with refresh- 
 ments, she sitting r., and John back. Huggins sits 
 next to Caleb down stage side. Mr. Gibbs r. of 
 mantelpiece. All the girls except one, who remains 
 down R., cross to L. u. E., with refreshments. One 
 of the girls takes something over to Louisa. One 
 man follows them, the other sits up r. Mrs. Gibbs 
 takes plate with lemonade, etc., to Caleb. Also to 
 Huggins, then fills cup with coffee, offers it around 
 and gives it to John. Toner up l., getting refresh- 
 
54 THE VILLAGE POSTMASTER 
 
 ments for himself and Letitia. All this business 
 goes on during the following speeches, etc.) 
 
 Samantha. (Jo Eben.) Now, do hev some more of 
 thet pie. 
 
 Eben. {taking a piece) Dunno but I will, (speak- 
 ing to her over his shoulder) Young folks seem to be 
 enjoying it, too. (turns back in time to see Tom in an 
 effort to steal his pie) 
 
 Samantha. (sitting next to Eben.) Yes, they be. 
 It makes me think of them verses : 
 
 " Gay hopes is theren, by fancy led, 
 Least pleasin' when possessed, 
 The tear forgot as soon as shed, 
 The sunshine o' the breast." 
 
 I alius thought them lines wuz real affectin'. 
 
 Eben. So they be, Miss Samanthy, so they be. Them 
 are verses that strike home to a lone bachelor like me. 
 Did it ever come to you how lonesome a bachelor might 
 be? 
 
 Samantha. I dunno's it ever did, Mr. Todd ; dunno's 
 it ever did. (while Eben. is listening to Samantha, 
 Tom steals pie. He sees his plate empty, gets up and 
 goes again to table R. Tom eats voraciously from the 
 three pieces at once. Samantha rising) Land, look at 
 that boy ! (goes around and knocks Tom in the back, 
 Jerking pie out of his mouth) Thomas, do you want to 
 kill yourself? Lay down thet pie this minit. (taking 
 plate away from him) Hev ye forgot what ye learned 
 in Sabbath-school about the Prodigal Son and riotous 
 livin' ? Don't you touch another thing. I don't callate 
 to be up all night with you ef I kin help it. (puts plate 
 on table and offers another plate of refreshments to Mr. 
 Gibbs up l., which he takes. Mr. Gibbs sees Tom pout- 
 ing down R., comforts him and gives him another piece 
 of pie) 
 
 Eben. Miss Samanthy ! (another attempt to steal 
 pie) Another doughnut, please. 
 
 Mrs. Gibbs. Lowizy, won't you sing that song you 
 sung for us down to the quiltin' ? 
 
THE VILLAGE POSTMASTER 55 
 
 Louisa. No, ma'am, I don't want to. 
 
 Mrs. Gibbs. Mr. Huggins, you ask her. 
 
 Huggins. {coming c, and calling Louisa, who goes 
 c. 'to him) Don't tell any one, because they'd all be 
 down there, but if you'll sing that song you sung for them 
 down to the quiltin' I'll give you one of them long sticks 
 of red and white candy that ye like so much, next time 
 ye come down to the store. 
 
 Louisa, (a, pleased) Will you? AH right ; I'll 
 sing it for you. 
 
 Tom. {coming a) No, don't let her sing. I want 
 to do a step. 
 
 Huggins. I'll step on you if you don't set down. 
 
 (Tom sits down precipitately. Louisa makes a trium- 
 phant face at him, which he returns. She then makes 
 an old-fashioned bow to the audience drawing right 
 foot back, and commences her song. After song 
 Eben. is holding Samantha's hand tenderly.) 
 
 Samantha. Wal, now, it's half-past nine and I think 
 it's about time to go home. 
 
 ( Women go off l. 2 e., and men R. 2 e.) 
 
 Huggins. Yes, so do I, Samanthy, after thet 
 
 {points to the two holding hands) 
 
 Samantha. {assuming dignity) Seth Huggins, ye 
 want to recollect some one's got to set an example 'fore 
 Thomas and Mirandy. {to Mrs. Gibbs.) Hope you 
 won't all git beat out clearin' up. 
 
 Mrs. Gibbs. Oh, I guess not. 
 
 (Exit Samantha l. 2 e. Other women come out L. 2 
 E., with wraps on, saying good-night to Mrs. Gibbs. 
 The men come out r. 2 e., and shake hands with her 
 and exit with the women up r. c. Mr. Gibbs puts 
 on his hat and goes off with the last men.) 
 
 Caleb. Now, Hannah, let me help ye a little. 
 Mrs. Gibbs. Pa, you set right down. You've been 
 under my feet all evenin'. 
 
66 THE VILLAGE POSTMASTER 
 
 ( Women all on and off up r. c.) 
 
 Toner, (coming on from r. 2 e.) Good-night, Mrs. 
 Gibbs ; hev ye seen Letishy ? 
 Mrs. Gibbs. She's jest gone out. 
 Toner. Cracky ! Letishy ! etc. 
 
 (Exit up r. c.) 
 (Enter Eben. from r. 2 E.) 
 
 Eben. Good- night, Mrs. Gibbs. 
 
 Mrs. Gibbs. Good-night, Eb. Hope you hed a good 
 time. 
 
 Eben. Yes, had a delicious time. I'll come again 
 (Caleb looks disgusted), and bring my bed. (moves up 
 stage a little and waits) 
 
 Mrs. Gibbs. Eb, was you waiting for some one ? 
 
 Eben. Wal, I jest thought I'd sort o' stay around 
 till Miss Samanthy got on her mantilly. 
 
 Mrs Gibbs. Well, here she comes now. 
 
 (Enter Samantha, l. 2 E.) 
 
 Samantha. Guess I'm about the last one to go. 
 Good-night, Mrs. Gibbs. 
 
 Mrs. Gibbs. Good-night ; hope ye hed a good time. 
 Samantha. Oh, yes, had a fine time. 
 
 (Samantha and Caleb talk.) 
 
 Eben. (interrupting Samantha and Caleb) Miss 
 Samanthy, I s'pose I couldn't see you home, could I? 
 
 (Caleb plucks at Samantha's wrap.) 
 
 Samantha. I s'pose you could. 
 
 (Exit together r. c, Eben. giving Caleb a triumphant 
 punch in the ribs as he goes off. Tom comes on R. 
 2 E., blowing string from his cap out of his eyes, 
 Louisa l. 2 e., yawning and rubbing her eyes. 
 They bump together c, then quarrel, strike at fach 
 other c, Mrs. Gibbs protesting. Louisa bawls as 
 she goes off, and Tom follows pointing his finger at 
 her.) 
 
THE VILLAGE POSTMASTER 57 
 
 Tom. Cry baby, cry baby ! {steals pie from table 
 and exit quickly up r. c. Mrs. Gibbs follows Tom to 
 door with exclamations y " Thomas Huggins" etc. Com- 
 ing down to Caleb) 
 
 Mrs. Gibbs. What an awful boy 1 
 
 Caleb. Oh, he's a terrible critter. 
 
 (Mrs. Gibbs takes apron from chair l. u. E. and candle 
 from organ.) 
 
 Mrs. Gibbs. Come, pa, it's time to go to bed. 
 
 Caleb. Wal, I don't see why I got all dressed up. 
 Nobody noticed me. 
 
 Mrs. Gibbs. Did, too. I saw Samantha look at you. 
 {during these speeches Miranda enters from l. 2 E. and 
 puts cape on table) Miranda, your father' 11 be along 
 pretty soon now. Come, pa. 
 
 (Caleb yawns and stretches and exits with Mrs. 
 Gibbs, r. 3 e.) 
 
 Miranda. I wonder if father's getting up the sleigh. 
 I want to get away to be alone, {she goes up to window 
 and looks out) John with Hattie ! Oh, how happy 
 they look. She loves him and he loves her. I ought 
 to be glad they're happy, (weeps — hears sound outside. 
 Looks out) Why, he's coming back. He shall not see 
 tears in my eyes. He might think I cared. I would 
 die before that, (brushes away tears and pretends to be 
 arranging furniture as John enters r. c.) 
 
 John. Mira, I thought I should never get a word 
 alone with you. I am determined and must speak now. 
 
 Miranda. Not now, John. I know what you're go- 
 ing to say and I can't hear you. I — I am very glad and 
 I am very happy — oh, yes, very happy. 
 
 John. You are sure you are very happy ? 
 
 Miranda. Yes, why not ? Hattie is waiting for you 
 — you shouldn't keep her out there — good-night, John — 
 good-night. 
 
 (John goes toward door r. c. ; when near door he stops 
 and looks back. Miranda has turned away and 
 her eyes fill with tears.) 
 
58 THE VILLAGE POSTMASTER 
 
 {Enter Huggins, r. c.) 
 
 Huggins. (coming down) Come, M'randy ; get on 
 yer things. The sleigh's here, {seeing her face) Why, 
 what's the matter ? Yer cryin' ? 
 
 (John who was about to exit pauses at this and 
 turns) 
 
 Miranda. Oh, no, father, no. 
 
 Huggins. Yes ye be, Mirandy. Something is the 
 matter. Ye never lied to me in yer life ; ye never de- 
 ceived me ; don't begin now. (turns and sees John) 
 It's you, that's it. (starts toward John) It's you ! 
 
 Miranda, {quickly) No, no, father. It's not John. 
 He — he's nothing to me. (takes up her wrap and be- 
 gins putting it on with nervous y trembling hands) 
 
 John, (sadly — aside) Nothing — nothing. 
 
 (Exit, r. c.) 
 
 Huggins. Come, Mirandy. 
 
 Miranda. Yes, father, (suddenly staggers against 
 chair, partly sinking into it) 
 
 Huggins. Why, Mirandy, yer ain't goin' to faint ? 
 
 Miranda. I'm not feelin' well — I (struggles to 
 
 her feet) 
 
 Huggins. (taking the hood from her and gently 
 putting it on her head) That's so. Yer all tired out, 
 ain't ye? Come home, Mirandy — come home, (puts 
 arm around her, supporting and almost carrying her up 
 R. C. Sound of sleigh bells and singing outside as the 
 others drive off) 
 
 SLOW CURTAIN 
 
 (Business for *' Peter Peter ") 
 
 (All seated except Deane who is leaning over Miranda's 
 shoulder r. c. and the singers around organ l. u. e. 
 Eben. stands down r. i e. for a feiv measures, 
 beating time, then sits down next to Sanantha, 
 and Toner, after looking sheepishly around to see 
 
THE VILLAGE POSTMASTER 59 
 
 if any one is looking, sits down on half of Letitia's 
 chair l. i e., which she has been coquettishly offer- 
 ing him. They keep up a half -pleased, half em- 
 barrassed by-play. At the proposition to sing, 
 Tom goes off R. 2 E. and brings on ajumping-jack 
 and some long straws and sits down just back and 
 L. of Samantha. As the music starts up Tom jerks 
 his jumping jack. Samantha turns around, sees 
 it, takes it aiuay from him, reproves him, and puts 
 the toy on her chair. Before she is seated again, 
 however, Tom slips it out and jerks it again. She 
 again sees it, takes it away, scolds Tom and stands 
 him up in the corner. Takes the jumping jack off 
 r. 2 E., returns, sits down again and becomes ab- 
 sorbed in conversation with Eben. Tom takes 
 straw and tickles her left cheek. She scratches it. 
 He tickles it again ; she brushes it and looks around. 
 Tom whips around to Eben. and repeats the busi- 
 ness on his right cheek. He looks around and Tom 
 returns to Samantha, who sees him, snatches the 
 straw away and both she and Eben. get him in 
 the corner again and pummel him. This business 
 should be planned to fill in the entire " Peter Peter. " 
 
 {Business for " Met tie Moore ") 
 
 {All sit down as before, remaining quiet until the chorus 
 begins, the two couples R. and L. looking very con- 
 tented and sentimental. As chorus commences, 
 Eben. goes around back between Samantha and 
 Tom and whispers in Samantha' s ear. Tom 
 cranes around and listens. Eben. sees him, gives 
 him a look and he retires. Then he takes the 
 straw again and tickles Deane who is leaning 
 over Miranda. As Deane looks around, Tom 
 looks in the same direction and goes back to Saman- 
 tha and Eben., who is still whispering in her ear, 
 and blows a horn in their ears at the conclusion of 
 song. Meanwhile during chorus Toner reaches 
 his right hand under his left arm and gets hold of 
 Letitia's left. She tries to withdraw it ; they quar- 
 
60 THE VILLAGE POSTMASTER 
 
 rel, sit back to back, push and Toner goes on to 
 floor at the conclusion of chorus. Tom goes off 
 R. 2 e. and gets the pig, lets it loose on the stage 
 just as the song is finished. Consternation of the 
 ladies, while Tom chases and recaptures pig, carry- 
 ing it off "r. 2 e.) 
 
THE VILLAGE POSTMASTER 61 
 
 . ACT III 
 
 SCENE. — The farmyard of Huggins. Entrance to 
 house with vine-covered porch l. 2 E. Drop at 
 back showing barn and country landscape. Simi- 
 lar drops at sides meeting at corners, making pano- 
 rama effect. Bam with door r. 2 E. Fence with 
 gate from barn to R. U. E. Threshing machine R. C. 
 Old-fashioned well with sweep l. Tree in front 
 of it and bench under tree. Apples on tree. Cup 
 hanging against well. Chicken coop against fence 
 R. Straw stack R. U. E. Time, midsummer. 
 
 Discovered : John feeding machine l. c. with back 
 to audience. Man helping him on the other side. 
 Tom leading horse round windlass r. c. Toner 
 on top of stack r. u. E. pitching straw down to John. 
 Jim r. u. e. pitching straw up to Toner. Deane 
 coming on r. c. Girl with bundle crossing stage 
 from r. to l. 2 e. Other girls feeding chickens 
 up r. Machine going. After curtain is up Louisa 
 enters L. 2 e., blows dinner-horn and goes up 
 around back of stack to r. u. e. All stop work and 
 start for the house. Tom and man take horse off 
 r. 2 e., man returning immediately and entering 
 L. 2 E. with the others. 
 
 Toner, (coming down from stack) I tell ye, John, 
 your feeder's a buster. 
 
 John. Works well, doesn't it? 
 Toner. Wal, I shud say. 
 
 {Exit, l. 2 e.) 
 
 Deane. (c., sneeringly) S'pose you hope to get rich 
 out of your invention ? 
 
62 THE VILLAGE POSTMASTER 
 
 John. Yes, if hard work will do it. Some folks have 
 easier ways of getting money. I haven't yet learned to 
 get mine by lying and cheating. 
 
 {Bus. of Deane interrupted by entrance of Samantha, 
 
 L. 2 E.) 
 
 Samantha. Come, boys, dinner's ready. 
 
 {Exit, l. 2 e. Exeunt John and Deane, l. 2 e. Louisa 
 comes down L. Enter Tom, r. 2 e., whistling and 
 skipping across stage to Louisa.) 
 
 Louisa. What you goin' in fer ? 
 
 Tom. Grub. 
 
 Louisa, (l. c.) Wal, you needn't. You've got to 
 wait. 
 
 Tom. Who said so ? 
 
 Louisa. Yer Aunt Samantha. 
 
 Tom. Gee-whilliken ! 
 
 Louisa. Oh, my ! I'll tell yer father you swore. 
 
 Tom. I didn't. That ain't swearin'. 
 
 Louisa. Oh, won't you git it ! 
 
 Tom. Look here. You jest go tattlin* and I'll show 
 you. 
 
 {Makes a dive at Louisa; she runs around back of 
 windlass down front and up under slide R. u. E., 
 where she stumbles and Tom covers her with straw, 
 she protesting, "I'll tell Aunt Samantha," etc., 
 Tom imitating her. He climbs up ladder back of 
 stack and slides down into straw R. u. E. and starts 
 down c. as Samantha calls off. Louisa comes 
 around stack to r. c.) 
 
 Samantha. {off ~l. 2 e.) Lowizy ! Lowizy ! 
 
 Tom. Sh ! Here's Aunt Samantha coming back. 
 {running over to tree and climbing up) Don't tell her 
 where I am. 
 
 (Louisa picks up horn l. c. and runs back around 
 stack.) 
 
THE VILLAGE POSTMASTER 63 
 
 Samantha. {entering with pail, l. 2 e.) Lowizy, 
 a' here be ye? You come here now and get a pail of 
 water. If it ain't enough, {looking off l. while Louisa 
 sneaks around L. and exits behind porch L. 2 E.) Lowizy, 
 you come in the house this minute, and help wait on 
 table. 
 
 {Enter Eben., r. 3 e.) 
 
 Eben. (up r. c. slightly) Howdy-do, Miss Huggins ? 
 
 Samantha. {rather shortly) Howdy-do. 
 
 Eben. {advances slightly) I wouldn't 'a' come jist 
 when Mr. Huggins wuz so busy thrashing but ye see 
 they want to see 'bout paintin' the blinds to the meetin' 
 house. Some wants 'em a light green, an' others want 
 'em dark, an' I knew they'd hev ter be jest as Mr. Hug- 
 gins sed, so I come. 
 
 Samantha. Yes, Seth is ruther put to it fer time. 
 But ye had to ask him, cert'nly. (Eben. takes pail from 
 Samantha, puts it down by well) Is that what ye 
 wanted me fer ? 
 
 Eben. {embarrassed) Wal, no — leastwise 'twan't all 
 
 — 1 wanted ter sorter {takes hold of her hand in a 
 
 diffident manner. Tom drops an apple on his head. Hi 
 jumps violently) Windfall, by gosh ! 
 
 Samantha. Now, if that ain't too bad for them 
 apples ter fall off like that 'fore they're ripe. The 
 blight's got into them, sure 'nuff. Wal, 'tain't best ter 
 put our hopes on enny thing earthly. It makes me think 
 o' them words : 
 
 " So quick our transient comforts fly; 
 An' pleasures only bloom to die." 
 
 Eben. Thet's so, Miss Samanthy ; but ez I wuz goin' 
 to say 
 
 Samantha. Doesn't seem's if I ought ter stay out 
 here a-gassin'. The thrashers are all in to dinner, and 
 it takes a sight of work ter feed thrashers. 
 
 Eben. Wal, ain't there M'randy, an' Lowizy an* two 
 or three others ? 
 
64 THE VILLAGE POSTMASTER 
 
 Samantha. Oh, yes, they're there. M'randy's spry, 
 to be sure, an' a real likely girl, but that Lowizy — 
 (shakes head despairingly) she's thet shiftless, I'm alius 
 thinkin' o' that verse : 
 
 " 'Tis the voice of the sluggard, 
 
 I hear him complain, 
 * You hev roused me too soon, 
 
 I must slumber again.' " 
 
 Eben. Miss Samanthy, you hadn't orter let things 
 weigh on yer that way. You're too much of a care- 
 taker. I'm 'mazin' 'fraid you're wearin' yerself into the 
 ground. Set down a spell, can't ye? (she hesitates) 
 Oh, come on, do. 
 
 (Samantha sits down on bench. Eben. beside her at a 
 respectful distance.) 
 
 Samantha. (trying to appear resigned) I've alius 
 been havin' 'nuff ter kerry. Now, there's Thomas ; he's 
 an awful responsibility, an' sometimes I think I ain't 
 meek 'nuff under the cross. (Tom lets down a big bug 
 tied to a string, and dangles it in her face. Drawing it 
 
 up quickly) Oh (jumps up screaming. Bench 
 
 on end of which Eben. is sitting turns over, throwing 
 him to stage. He scrambles to get up — gets up — looks 
 very sheepish and says) 
 
 Eben. Kind of a kerflummix, weren't it? 
 
 Samantha. Never could trust that pesky bench. 
 
 Eben. Well, I guess I won't trust that end of it again. 
 
 ( They sit together center of bench, looking lover like and 
 bashful.) 
 
 Samantha. Oh, yes, Thomas is a drefful responsi- 
 bility. I dunno what would become of him if he didn't 
 hev me ter look after him. I'm beginnin' to feel, though, 
 thet my labors is bearin' fruit. (Tom drops an apple on 
 her head) Mercy on me ! There is suthin' the matter 
 with thet tree. 
 
THE VILLAGE POSTMASTER 65 
 
 Eben. {making an effort — edging toward Samantha) 
 Miss Huggins — Samanthy — do ye feel thet ye could bear 
 up under another responsibility — could ye — {edging a 
 little nearer) do ye think 
 
 (Tom 7vorries Eben. with the bug during these speeches > 
 hut keeps it carefully out of their sight until he lets 
 it down again.) 
 
 Samantha. Now, Mr. Todd, I hope ye haven't come 
 ter ask me ter set up with enny more sick folks this 
 week, 'cause I'm jest beat out with them thrashers an' 
 the sewing circle an' the Sabbath-school picnic, an' 
 
 Eben. No, no, Miss Huggins ; ye don't understand 
 — I mean — wal, it's suthin' purty serious. I've been 
 a-tryin' to say ter ye fer some time — I mean — I 
 mean 
 
 Samantha. {resignedly) Go on, Mr. Todd. I hope 
 I'm willin' to trust, an' look to the right place for sup- 
 port. I hope I've alius showed I wuz willin' to take up 
 whatever 'Miction the Lord saw fit to put on me. 
 
 " Why should this poor worm feel revolt 
 At burdens laid on me? " 
 
 Eben. Miss Huggins, if ye could only look with the 
 same meek confidin' speerit toward 
 
 Samantha. (very meekly) Why shouldn't I, Mr. 
 Todd ? Why shouldn't I ? (Tom lets down bug) Darn 
 that plaguey bug. 
 
 Eben. Miss Samanthy, do you think you could con- 
 sider me in the light of a responsibility, ye know — in the 
 light of one who wa'n't ennywise worthy of ye, do ye 
 think ye could — (Tom drops an apple very near his nose) 
 consider me 
 
 Samantha. {surprised) Mr. Todd ! 
 
 Eben. Call me Ebenezer. 
 
 Samantha. Ebenezer, this is a responsibility, no 
 mistake. You've 'bout took my breath away. But 
 there's Thomas 
 
 Eben. Wal, now, Samanthy, won't ye 
 
66 THE VILLAGE POSTMASTER 
 
 (Tom bears too heavily on the limb of the tree in his 
 eagerness to listen, loses his balance \ shower of 
 apples and twigs come down, while Tom hangs on 
 the limb j dangling between Eben. and Samantha.) 
 
 Samantha. {screaming, grabs the dangling legs) Go 
 on, Mr. Todd, go on. 
 
 Eben. (taking stage r.) No, I'm darned if I will ! 
 
 Samantha. (to Tom) You come down, quick ! 
 (very indignant. Tom drops and she seizes him by the 
 collar) So you was up there a-listenin' to every word in 
 spite of what you've learned in Sabbath-school 'bout 
 Lot's wife an' Ananias an' Sapphiry. You come right 
 into the house this minit. (walks Tom into the house 
 
 L. 2 E.) 
 
 Eben. (sitting disconsolately on bench at well r. c. 
 Looking after her) Gosh — I dunno whether she's willin' 
 or not. Don't seem to be much further along'n I wuz 
 last harvestin'. But I guess she's a-softenin' a little — 
 seems that way — yes, she seems to be givin' in some. 
 (bus. of hat dropping doivn well. Enter Huggins and 
 Deane from house L. 2 e.) Oh, Mr. Huggins. (rising 
 and going c. Boius to Deane) 'Bout them blinds to 
 the meetin' house. 
 
 Huggins. (c.) You tell 'em to paint 'em a dark 
 green ; none o' them light frisky yeller greens thet orter 
 belong on a play-actin' house instead o' the abidin'-place 
 o' the righteous. 
 
 Eben. (going towards, u. e.) Thet's so, thet's so, 
 Mr. Huggins. Ye want a nice sober bluish green — I 
 know. Wal, I'll be a-movin'. 
 
 (Exit up r., followed slightly by Huggins, who plucks 
 a straw from the feeder, sits on windlass and picks 
 his teeth. ) 
 
 Deane. (to l. c., to Huggins) See you've got John 
 Harper helpin'. 
 
 Huggins. Yes, John's a good hand ; been inventin' 
 a thing fer thrashing, ter feed faster. You can attach it 
 to any machine. He thinks he's going to make lots o' 
 money with it. 
 
THE VILLAGE POSTMASTER 67 
 
 Deane. Hm ! 'Tain't likely. Does he hev much 
 to say to M'randy ? (at bench l.) 
 
 Huggins. Why, he's keepin' company with another 
 girl. 
 
 Deane. (with meaning) He ought to if he ain't. 
 
 Huggins. Do you think thet's so — you know what 
 we wuz talkin' 'bout? 
 
 Deane. I know it's so. 
 
 Huggins. {shaking his head doubtfully) I can't be- 
 lieve it. But ef I wuz sure on it, he should never step 
 foot on this farm again, (suddenly) There — by Jupiter ! 
 
 — I forgot that tarnel pew door (calling off up r.) 
 
 Ebenezer — Ebenezer ! (runs to R. ; when near entrance 
 calls off) Hold on there; be ye deaf? 
 
 (Exit, hurriedly, R. U. E.) 
 
 Deane. (taking stage near seat) So, John Harper, 
 you're trying to get into the good graces of the old man. 
 Well, not if I know it. It won't be well for you to stand 
 in my way. (turns R. and sees MARy. Enter Mary, 
 r. 2 e. She comes down carrying a bundle of sewing. 
 She starts slightly on seeing Deane) Where are you 
 going ? 
 
 Mary. (r. c.) In there. 
 
 Deane. (l. c.) Are you doing work for her? 
 
 Mary. Yes. 
 
 Deane. (anxiously) Have you been there many 
 times ? 
 
 Mary. Well — suppose I have ? 
 
 Deane. What have you told her ? 
 
 Mary. Nothin'. Did you ever hear anything I'd 
 said ? 
 
 Deane. No, Mary— but 
 
 Mary. Then why do you ask such questions ? You 
 once said you liked the honor I had about such things. 
 Do you think I lost that when I lost everything else? 
 
 Deane. (half-ashamed) No, no, I didn't say that. 
 (Mary starts toward house with bundle) Wait ; you 
 don't want to go in there. The thrashers are all at 
 
68 THE VILLAGE POSTMASTER 
 
 dinner. Leave the things with me. I'll give them to 
 her. 
 
 Mary, (turning back — half over her shoulder) What 
 are you afraid of? 
 
 Deane. (crosses c.) Nothin'. 
 
 Mary, (turns, puts bundle on bench) Yes, you are ; 
 you don't want me to see Mirandy Huggins. (comes to 
 Deane, then speaks) Are you goin' to marry her after 
 telling me you wasn't ? 
 
 Deane. Wal, you see, I must keep in with the old 
 man for a time yet — till after the election. 
 
 Mary. That ain't answerin' me. Do you mean to 
 marry her ? 
 
 Deane. (impatiently) Haven't I told you no? 
 
 Mary. Yes. (turns away) 
 
 Deane. See here, Mary, you always wanted to live 
 in the city. Suppose I take you down to Concord and 
 get you a nice place where you won't have to slave at 
 this (pointing to sewing) 
 
 Mary, {forgetting herself) Oh, Ben, will you come, 
 too? 
 
 Deane. I couldn't just now — that is to stay. But I'll 
 run down often to see you. Will you go ? 
 
 Mary. No. You wouldn't come; you'd stay here 
 and marry her. 
 
 Deane. Now, look here; haven't I told you all I was 
 doin' this for was to get what I want out o' the old man ? 
 Folks have begun to ask questions about ye. 'Twon't 
 be long 'fore you'll want to leave. (Mary looks at him 
 sharply and turns up stage. Pause) Ye'd better go 
 now. 
 
 Mary, (firmly) No. 
 
 Deane. Won't ye go when I tell ye I'm not goin' to 
 marry her ? 
 
 Mary. No. 
 
 Deane. [complete change of manner) Mary, I never 
 cared for any one but you, an' to prove I mean it — 
 (pause) I'll marry ye to-morrow. 
 
 Mary, (coming to him) Ben (as she gets to 
 
 him, he quickly passes to r. c.) 
 
THE VILLAGE POSTMASTER 69 
 
 Deane. {looking toward house) Be careful. Some 
 one might see. You take the two o'clock stage to South 
 Hempstead, and I'll run over to Weed Center and catch 
 it there. We mustn't be seen to leave together. I'll be 
 with you in Concord to-morrow night. Will you go ? 
 
 Mary. Yes, yes. 
 
 Deane. (writing in note-book) Here is the address. 
 I always meant to make things right when I could. You 
 know that. 
 
 Mary. Yes, Ben, yes. 
 
 Deane. Here is money for the journey. Remember, 
 the two o'clock stage. There's no time to lose. 
 
 {Enter John from house l. 2 e. Deane withdraws up 
 r., watching John and Mary — waiting for the lat- 
 ter — unnoticed by others. Mary takes up bundle 
 again. ) 
 
 John. Oh, Mary, I saw you from the window. Have 
 you come from the house? 
 
 {Enter Tom l. 2 E., takes apple from tree, feels of one 
 and then another to see if they are ripe, walks quietly 
 around stack, eating apple, climbs on top and hides 
 in the hay. Enter Miranda from house l. 2 e. 
 She sees John and Mary and pauses and watches 
 them. Deane up stage r. watches them all.) 
 
 Mary. Yes, and here is something for you. {gives 
 him a letter.) 
 
 John, {taking letter) Thank you ; you're always 
 thoughtful, {crosses to r. c. Sits on windlass. Opens 
 letter and reads. His face at last expresses surprise 
 and pleasure.) 
 
 Miranda, (l. c.) Oh, Mary, have you got them all 
 done ? Come in and let me give you some tea ; you look 
 so tired, {takes bundle and puts it on seat) 
 
 Mary, {coming, — she desires to get to Deane) No, 
 thank you — you're kind — but I — I can't. I've done the 
 work the best I could — you'll remember that, won't you ? 
 And you won't think hard of me whatever comes? 
 
70 THE VILLAGE POSTMASTER 
 
 Miranda, Why, Mary, I — I don't understand 
 
 {goes c.) 
 
 Mary. No, no, perhaps not — but (sees Deane's 
 
 warning look) Good-bye (hurries off stage R. 
 
 u. E., joins Deane, and goes off quickly with him R. 
 u. e. Miranda picks up bundle and starts toward 
 house l. John c. and r. c.) 
 
 John. Mira, — wait a moment, won't you? 
 
 Miranda, (pausing) What is it, John ? 
 
 John, (waving letter) News — that will interest you ; 
 a letter from Hattie. 
 
 Miranda, (coldly) Well ? 
 
 John. She's going to Boston to be married. 
 
 Miranda, (starting. Drops bundle) Married ! 
 
 John. Yes. But, Mira — why does it surprise you so ? 
 
 Miranda. Why — it — it — seemed kind of strange you 
 could be so cheerful over it. 
 
 John. I, and why not ? 
 
 Miranda. Why, because — because — I thought you 
 were going to marry her. 
 
 John, (laughing) Oh, no, we were just good chums, 
 that's all. We found that out some time ago. Why, we 
 broke off the engagement that night of the donation 
 party, {goes R.) 
 
 Miranda. That night ! 
 
 John, (c.) Yes, and now I shall be on hand for the 
 wedding to wish the dear girl all the joy she can want, 
 for I'm going down to Boston next week. 
 
 Miranda, (to John, c.) To Boston? 
 
 John. Yes. 
 
 Miranda. To stay ? 
 
 John. I hope so. I want to push the invention, you 
 know. 
 
 Miranda, (much affected) If it's good-bye then — 
 I'll say it now, I — I must go in. (starts to houses.) 
 
 John, (catching at her hand) Mira ! You don't 
 mean that you care if — if I go ? 
 
 Miranda. I — I was surprised, you know 
 
 John. Speak, Mira — tell me — if I only thought you 
 cared, (she turns away but still lets him keep her hand) 
 
THE VILLAGE POSTMASTER 71 
 
 Listen. I don't suppose I should tell you this when 
 you're promised to another, but if you never let me look 
 at you again I must— I love you — I always have loved 
 you — and I always shall. 
 
 Miranda. John ! (she turns to him— they caress) 
 
 John. Dear heart ! How happy you can make me. 
 Mira, darling, (kisses her) 
 
 Tom. (peering over top of stack) Ah -ha, I saw 
 that, (bus . Tom slides down board, goes behind wind- 
 lass. John goes down l.) 
 
 Miranda, (quickly to Tom) Oh, Tom, don't say 
 anything, please don't. 
 
 Tom. (back of windlass) Are you going ter tell pa 
 about them fish-hooks? 
 
 Miranda. Well, that depends. 
 
 Tom. Now see here, if ye keep mum about thet I 
 won't say nothin'. (up stage R.) 
 
 Miranda. Very well. Now don't forget, Tom. 
 (turns to go) 
 
 Tom. (turning quickly) An' them tame ducks I 
 
 shot (Miranda turns quickly to Tom) Kinder 
 
 by mistake, you know. Might as well put them in, 
 too. 
 
 Miranda. Oh, Tom, you said you were going to 
 confess. 
 
 Tom. All right; if ye don't want to throw in the 
 ducks, I'll tell. 
 
 Miranda, (exchanging look with John) Well, put 
 in the ducks, but be sure and don't say anything. 
 
 Tom. Now say, cross my heart— hope to die— so help 
 me Moses. 
 
 Miranda. Cross my heart— now run away— please. 
 (turns up c.) 
 
 Tom. (turning to John, leaning on windlass) What 
 you goin' to gimme ? 
 
 John, (approaching Tom) You young blackmailer, 
 I'll tell you what I'd like to give you. 
 
 Tom. What? 
 
 John. A sound tanning for bothering your sister this 
 way. 
 
72 THE VILLAGE POSTMASTER 
 
 Tom. But you won't, though, 'cause then you'd be 
 bothering her. 
 
 John. True. As for myself I haven't the remotest 
 objection to your telling all you can. I rather glory in 
 it. I think your sister's the nicest girl in the whole state 
 of New Hampshire ; so go ahead, do your worst, (going 
 down l.) 
 
 Tom. (gleefully) Jerusalem ! won't that be fun ? 
 She'll be so tickled, won't she? 
 
 (Miranda shows discomfiture.) 
 
 John, (whistles) It's got to be blood money after 
 all. Here, pirate, brigand, or whatever you are, what'll 
 you take to be quiet ? 
 
 Tom. How much you got? (comes from behind 
 windlass to John, c. John, emptying his pockets, takes 
 out two knives and some small change ; Tom looking them 
 over) I'll take that knife and twenty- five cents. 
 
 Miranda, (h.c.andh. Distressed) Tom! You 
 make me ashamed of you. 
 
 Tom. (r. c.) Wal, I feel awful 'shamed o' you, but 
 I ain't sayin' nothin'. 
 
 John, (handing knife and some money) Here Tom, 
 don't let it cut our friendship. 
 
 Tom. What ? 
 
 John. That knife. 
 
 Tom. (tries to cut a stick with it ) Cut friendship ? 
 (going disgustedly toward k. 2 e.) That knife wouldn't 
 cut nothin'. 
 
 (Exit r. 2 E.) 
 
 John, (c.) Mira, I shall come back in three months 
 — but, Ben Deane — are you promised to him ? 
 
 Miranda, (sitting on windlass) No, John. I've 
 never promised, but father has set his heart on it. He 
 will listen to nothing else. 
 
 John. I shall ask him for you to-day, Mira. 
 
 Miranda. He will be sure to refuse. 
 
 John. What makes you think so, Mira ? What has 
 he against me ? 
 
THE VILLAGE POSTMASTER 73 
 
 Miranda. I don't think he has anything against you 
 —how could he have— but he and Mr. Deane are great 
 
 friends — and 
 
 -John. And Ben Deane has influence and money. 
 He is what they call a rising man— I know— while I 
 —am a poor minister's son, a dreamer of dreams that 
 fade out in the daylight; that never coin themselves 
 into hard gold. But they shall. They shall come true. 
 (Miranda rises from windlass and goes to him) With 
 your face before me, your eyes smiling into mine— I 
 shall work as I never worked before. What could not 
 a man do with such an inspiration ? 
 
 Miranda. John, I know you will succeed. I shall 
 try to win father over— by degrees, you know. But I 
 couldn't go against him. I never have, (crosses L.) 
 Since mother died I have tried to take her place— she 
 made me promise it when she was dying. You see it's 
 a trust, John, {holds out her hands to him. Be takes 
 them) 
 
 John. And you have been faithful, dear, as you are 
 in everything. But you will write me when I am gone ? 
 
 Miranda. Oh, yes. 
 
 John. I shall be thinking every minute of the time 
 I shall come back for you. Dear heart, you will keep 
 faith even if the time seems long— you won't forget 
 (pus.) b 
 
 Miranda, (l. c.) Never, John, never. 
 
 (Enter Huggins, up r. ; he starts on seeing them, and 
 his face darkens.) 
 
 Huggins. (sternly, r.) Mirandy. 
 
 Miranda, (starting and going down l. John up l. ) 
 rather. r ' 
 
 Huggins. (confronting John r. c.) As for you, 
 sir, I took you to be at least straight an' manly in yer 
 dealin s. I didn't suspicion ye wuz under-handed 'nuff 
 to keep company with one girl while ye made up to 
 another. I tell ye it's mean, sneakin', dishonorable. 
 
 ^•1° HN ' S C '^ I deny that rve been either mean or 
 dishonorable. I am not going with any other girl. 
 
74 THE VILLAGE POSTMASTER 
 
 Huggins. (r. c.) Air ye sure ye hadn't orter be? 
 
 John. I don't know what you mean. I love Mi- 
 randa as an honest man might. I meant to tell you this 
 to-day and ask you for her. I ask you now. 
 
 Huggins. Do ye realize that my girl hez got ter 
 marry some one that can take care of her — some one 
 that has some standin' in the community, and can keep 
 her like she's been used to livin' ? 
 
 John. It's true I haven't much money, or what you 
 call standing, but my arms are strong and my courage 
 isn't the kind to fail. With these I know I can make a 
 place somewhere in this big world for Mira and me. 
 
 Huggins. Wal, that's purty far ahead, an' I've got 
 other ideas for M'randy. {starts l.) 
 
 Miranda, {pleadingly) Father 
 
 Huggins. Do ye care for him, M'randy ? 
 
 Miranda. Oh, yes, yes. 
 
 Huggins. {taking her face between his hands and 
 looking earnestly into it) Ye do? {to John) See 
 here, young man, if ye mean what's right and honor- 
 able, start out and see what ye can do. {Enter Deane 
 r. 2 e. and listens) The day ye come to me with a 
 clean record, and the money to take care o' Mirandy — 
 if she keeps on carin' fer ye — we'll see, we'll see. 
 
 (Miranda embraces her father.) 
 
 John, {takes Huggins' hand) I will come back 
 and I'll have the means to make her a home. I shall 
 work till I do, but I will come back. 
 
 Huggins. Ye'll have to wait till then, {takes 
 stage r.) 
 
 (John goes up to feeder. Louisa and Letitia enter 
 quickly with "Hello, Miranda," etc., and all 
 girls go toward well talking. At the same time, 
 Toner and Jim enter fro?n house crossing toward 
 wheat stack.) 
 
 Toner. That was a great dinner, Jim ? 
 Jim. Well, I should say. 
 
THE VILLAGE POSTMASTER 76 
 
 Toner. Miss Samantha makes the best custard pies 
 of any one in this town. 
 
 (By this time they have got up to the stack.) 
 
 Letitia. Let's go up on the stack. 
 
 Toner. Where yer goin' ? 
 
 Letitia. Up on the wheat stack. 
 
 Toner. Well, you mustn't go up there. Ye might 
 fall down that feeder. If ye did it would be all day 
 with ye. A man got cut to pieces that way over at 
 Blake's last week. 
 
 (Jim, Toner, Letitia and Miranda then ail taik to- 
 gether.) 
 
 Deane. (to John) So yer goin' to Boston with yer 
 feeder ? 
 
 John. Yes. 
 
 Deane. Well, when you've made your fortune you'll 
 think that the Bridgewater girls aren't good enough for you ? 
 
 John. I don't care to discuss that matter with you. 
 
 Deane. (aside) I'll fix him yet if I have to throw 
 him in that machine. 
 
 (Enter Huggins from house, talking as he crosses stage 
 to c.) 
 
 Huggins. Well, boys, we've thrashed pretty well 
 down to straw now. Silas, you hitch up and go over to 
 the east barn. You'll find a big load of sheaves over 
 there. Bring 'em over and we'll thrash 'em out. 
 
 Toner. All right, sir ! 
 
 Letitia. Come on, girls; let's go over and ride back 
 on top of the load. 
 
 (Exeunt Letitia, Louisa, Jim, and Toner, r. 2 e. Mi- 
 randa laughingly watches them off. At same time 
 enter from house Samantha.) 
 
 Samantha. (crossing to c.) Mirandy, I wish you 
 would look up in that wheat stack. I believe there's a 
 nest there. I heard that old speckled hen cackling and 
 she wa'n't doin' that for nothin'. 
 
76 THE VILLAGE POSTMASTER 
 
 (Huggins and Samantha go into house l., talking to 
 each other as they go off. John looking over the 
 machine starts it working. John is feeding the 
 machine, and Deane, after looking off to see that 
 he is not observed, says :) 
 
 Deane. Now is my chance, (rushes at the machine, 
 seizes John and tries to throw him into the feeder. 
 They struggle down stage. John disengages himself 
 and throws Deane down l.) 
 John. What do you mean ? 
 
 Deane. (rising) I come near falling into that 
 feeder, didn't I? 
 
 John. You came near throwing me in. 
 Deane. You lie ! 
 
 John. No, I don't, and you know it. Ben Deane, 
 you got something against me and I'm goin' to get it 
 out of you right here if I have to hammer it out. 
 
 Deane. Well, I guess you will have to hammer. 
 (During this scene Miranda has passed around back of 
 wheat stack. Her head appears at top of stack at 
 " You'll have to hammer." Deane strikes at John. 
 John strikes back and knocks him down. Miranda 
 is now at top of stack and sees the fight and ex- 
 claims : "Oh, John /" Deane recovers, seizes a 
 club and strikes John, who falls. Miranda screams. 
 Deane rushes to barn for pitchfork. Miranda 
 screams again and faints, sliding down feeder. 
 John is up and runs to feeder in time to catch her. 
 Other characters rush on from R. and l. at second 
 scream and form picture for first curtain, as Tom, 
 a/ho rushes over toward Deane, wrenches from 
 him a pitchfork.) 
 
 (For second curtain : Miranda is lying down c. ; Hug- 
 gins supporting her head, while John hands him 
 a cup of water. Tom crowds Deane down R. 
 and has the prongs of pitchfork up to his face.) 
 
 CURTAIN 
 
THE VILLAGE POSTMASTER 77 
 
 ACT IV 
 
 SCENE.— Interior of the village church at sunset ', show- 
 ing body of churchy with organ, choir, and pulpit at 
 back, with vestibule down front. Door r. i e. lead- 
 ing to belfry, door l. i e. to road. Three aisles 
 and two sections of pews. Three windows on each 
 side, and between windows, bracket in which are 
 three candles. From these brackets hang wreaths 
 of flowers and festoons of evergreens, also branches 
 of fruit blossoms. Same decorations in front of 
 pulpit and choir gallery. Great branches of fruit 
 blossoms, mostly apple blossoms, in vase on table in 
 front of pulpit. The whitewashed walls and ceil- 
 ing of the church are entirely plain, and undecorated 
 save for the flowers and greens. A red light streams 
 in through the window on one side. Time, May. 
 Before curtain rises organ is heard and then sing- 
 ing, as if for choir practice. Singing continues as 
 curtain rises. 
 
 Discovered : Girls and young men hanging flowers 
 and greens, and arranging flowers on table. 
 Letitia, r. c, is handing Toner, who is on a 
 ladder, a wreath, which he takes and proceeds to 
 hang r. over entrance. Jim, r. c, crosses L., and 
 half-way up the aisle. 
 
 Letitia. (r. and r. c.) A little lower, Silas, (he 
 changes it) Thet's it. Now don't thet look cute? My, 
 but M'randy's weddin's goin' to take the shine off'n 
 everything thet's been in this meetin' house. 
 
 Toner, {coming down from ladder, fixing a wreath) 
 'Tain't enny too good for M'randy; but I can't say ez 
 much for the groom. Somehow I never did set much by 
 Ben Deane. 
 
78 THE VILLAGE POSTMASTER 
 
 Letitia. {bus. with wreath) Lordy, Sile ! What 
 ye talkin' about ? Ben's one o' the best matches round 
 here. Ain't all the girls runnin' after him hard ez they 
 kin pelt? Ain't jealous, be ye? 
 
 (Toner comes over from ladder on this speech.*) 
 
 Toner. Nary. Guess M'randy ain't the only girl in 
 Bridgewater. {passes ladder off r. i e. ; gives Letitia 
 a significant look, which she receives with blushes and 
 confusion, whereat he squeezes her hand) 
 
 Jim. (on l. h. side, bus. putting up wreath) S'pose 
 Sile thinks ez I do, thet John Harper ought to 'a' been 
 the one. Queer, his goin' away right after the threshin' 
 
 — most a year now — an' never come back since- 
 
 {Enter Eben., l. i e.) Wal, Bridgewater wa'n't big 
 enough for him. 
 
 Eben. {with old-fashioned lantern and keys. Look- 
 ing about) I swan ! Ye hev made it look real nice, no 
 mistake, {looking at his watch — a very large silver one. 
 Toner takes coat from bench and gets his right arm into 
 it, then stands listening) Land o' Goshen — did ye know 
 'twas most time for the ceremony? Parson'll be here 
 afore long. Ye'd better be a-scuddin' out. 
 
 Letitia {arranging flowers) Wal, don't you git in 
 a feaze. We couldn't put the flowers up afore; they'd 
 got all wilted. 
 
 Eben. Say, hev ye heard that John Harper's come 
 back? 
 
 All. {coming down stage) No. 
 
 Eben. Yes. 
 
 All. When ? 
 
 Eben. This evenin'. 
 
 All. Ye don't say. 
 
 Eben. But I do say. Been doin' real well in the 
 city; makin' money like dirt. I tell ye thet feller's got 
 grit. I alius did think John was likely, an' I say it 
 again — though I dunno's I orter — I can't help feelin' 
 that it ought to be John Harper a-standin' up here this 
 evenin' with Mirandy Huggins, instead o' Ben Deane. 
 There you've got my 'pinion whatever it's worth. 
 
THE VILLAGE POSTMASTER 79 
 
 Toner. Thet's the ticket. You're right, Eb. There's 
 more'n you feelin' thet way. {tries to shake hands with 
 Eben., but his coat slips down and Eben. can't find his 
 hand. Boys and girls nod approval ; bus.) 
 
 Jim. (l.) Ye know last summer when he saved her 
 life, time she most got into the threshing machine? 
 Why, any one could 'a' told they thought their eyes o' 
 one another. 
 
 Letitia. (r. c.) Wal, what did John go right away 
 for? 
 
 Toner, (r.) What wuz the use o' his stayin' 'round ? 
 Wa'n't her father dead set agin it? He saw 'twa'n't any 
 use. 
 
 Letitia. (r. and r. c.) M'randy alius wuz under 
 her father's thumb. If it had been me I wouldn't 'a' 
 give in quite so easy, an' took up with Ben Deane. 
 
 (Toner again squeezes Letitia' s hand.) 
 
 Eben. I s'pose Seth Huggins thinks Ben Deane's a 
 big man. 
 
 Letitia. Say, girls, did ye see Hattie Burley when 
 she came in on the stage to-day ? 
 
 Toner. No. 
 
 Letitia. She's Mis' Trombley now. Married a rich 
 man down to Boston, an' puts on heaps o' style. 
 
 All. (in chorus) Ye don't say. 
 
 Letitia. Yes. She's come up to visit her Aunt 
 Bostwick, an' ye ought to see the mantilly she hed on. 
 Some o' the girls wuz so took with it they were there to 
 git the pattern of it before she could git her bunnit off. 
 Jist 'cause it came from Boston. Oh, yes, she's wonder- 
 ful sot up. 
 
 (Hattie heard outside.) 
 
 Toner, (looking off l. i e.) Sh ! — She's comin'. 
 
 (Enter Hattie, handsomely and stylishly dressed, l. i e.) 
 
 Hattie. (l. and l. c.) Why, how do you do, every- 
 body ? 
 
80 THE VILLAGE POSTMASTER 
 
 (All come about her, and shake hands, greeting her — 
 " Howdy- do, Hattie," "Glad to see you," etc. 
 Hattie drops purse down c.) 
 
 Letitia. (r. c.) Howdy-do, Mis' Trombley. (kisses 
 her) Real glad to see ye. 
 
 Hattie. I want to help decorate for Miranda's 
 wedding, bless her heart. Won't she be a lovely bride? 
 And how pretty you're making it. It's a new thing 
 for Bridgewater to have a wedding in the evening, isn't 
 it? 
 
 Letitia. {proudly) Wal, Bridgewater's a-comin' 
 along an' a-keepin' up with the percession. Ye needn't 
 be surprised at ennything in this town now. (gives 
 Toner a significant look) 
 
 Hattie. But, you know, coming from a quiet little 
 out-of-the-way place like Boston, I can't help being a 
 trifle dazed with the noise and bustle of this place. 
 
 Letitia. Law ! I thought Boston was considerable 
 o' a town. 
 
 Hattie. Well, it's trying to be. (All look sur- 
 prised) 
 
 Toner. Guess that's what you call sarcasm — (pro- 
 nounces it sat chasm) ain't it, Mis' Trombley? 
 
 Hattie. (with mock seriousness) Why, you couldn't 
 suspect me of that ? 
 
 Eben. (disgustedly) Oh, Lord ! 
 
 (Exit, R. I E.) 
 
 Hattie. (Toner looks alarmed. She laughs heart- 
 ily at his frightened face) Don't worry ; I'll forgive you. 
 (suddenly) I've a message from aunty to Mrs. Blake, 
 but I'll be back to the wedding. 
 
 (Exit, l. i e.) 
 
 (Sunset fades out. Lights down.) 
 
 Letitia. (a, looking off after Hattie) Gittin' too 
 stuck up fer ennything, ain't she ? But I'm going 
 around there to-morrow, an' see if I can't git a pattern 
 
THE VILLAGE POSTMASTER 81 
 
 of that sleeve of hern. Say, girls, Mis' Merrit's goin 1 
 to wear that green dress made over this time with brown. 
 {puts wreath on pew R.) 
 
 Jim. Well, I guess thet'll last to the day o' judgment, 
 an' she'll have to git wings to match. 
 
 {Laughter and bus.) 
 
 Toner. Ef it don't scare Gabriel so he can't toot. 
 Letitia. Silas Toner ! Wal, come, girls. Eb'll be 
 after us. 
 
 {The lights are lowered again, and it is almost dark in 
 the church.) 
 
 Girls. Thet's so. 
 
 {They all troop out l. i e., followed by Letitia and 
 Toner. He goes last, with a very small derby hat 
 on his head. Call of a night-bird outside.) 
 
 {Enter Mary, r. i e. Pauses with a look and gesture 
 of distress as she sees the floral wedding bell hang- 
 ing up c. She goes into pew l. of middle aisle, 
 and kneeling, takes up Bible from bench and opens 
 it. Enter John r. i e. He comes slowly to mid- 
 dle aisle, pausing when he gets there. Mary, hear- 
 ing him, rises, and turning suddenly confronts him. 
 He starts.) 
 
 John, {surprised) Mary. 
 
 Mary, {also surprised) Mr. Harper ! Why, when 
 did you come ? 
 
 John. This evening. 
 
 Mary, {advancing) An' it is you, sure ? 
 
 John. It is I. No ghost, I assure you. But are you 
 looking for one that you sit here all alone ? 
 
 Mary, {down l. c.) No, I ain't lookin' for ghosts. 
 I'm lookin' for myself; an' I never seem to find it 
 'cept when I git away from work an' folks. So I come 
 here when it's open for choir practice. An' when it's 
 kinder dark, an' the music plays soft, it seems as if 
 things were borne in on me that never come out in the 
 
82 THE VILLAGE POSTMASTER 
 
 light an' the noise. It's somethin' like the Comforter 
 that this tells about, {indicating Bible in her hand) 
 
 John, (with feeling) I beg your pardon for intrud- 
 ing. I'll go. (starts to cross to r. c.) 
 
 Mary. No, no, please don't, (crosses to c.) There's 
 somethin' I want to say to you. I didn't know as I'd 
 ever get the chance, you've been away so long. 
 ' John. Yes, it's almost a year. 
 
 Mary. They say you've done amazin' well down in 
 the city. 
 
 John. Yes, I've done far better than I expected in 
 so short a time. But where have you been all these 
 months ? 
 
 Mary. In Concord. 
 
 John, (amazed and puzzled) In Concord? 
 
 Mary. Yes. They said I was in a madhouse, didn't 
 they? 
 
 John. Yes. 
 
 Mary, (bitterly spoken) The very children run 
 from me in the road. No one will believe me when 
 I tell them it is a lie. But you don't think so, Mr. 
 Harper — you don't think so? 
 
 John. No, Mary, if you tell me you were not. But 
 oh, if I only could have known where you were. I tried 
 so hard to find you. 
 
 Mary. To find me ? 
 
 John. Yes, you could have set something right then 
 — something I would have given my life to have had set 
 right. 
 
 Mary. Can't I do it now ? 
 
 John. It doesn't matter now. 
 
 Mary. I s'pose you know who's goin' to be married 
 here to-night, (puts Bible on bench R. C.) 
 
 John. Yes. 
 
 Mary. It's about that I wanted to speak to you. 
 
 John, (pained) Please don't, Mary. Your in- 
 tention is kind — I know that — but I can't quite bear 
 it yet. It's only one case more of a man's blind infat- 
 uation for a woman, whose affection — if she ever had 
 any — was so shallow she forgot him the moment he 
 
THE VILLAGE POSTMASTER 83 
 
 was out of her sight. But I don't mean it shall wreck 
 my life. I shall give my whole energies to my work. 
 It's not so deep a problem as marriage — and it's more 
 .satisfying in the solution. 
 
 Mary, {looking keenly at him) John Harper, I 
 don't know whether you mean what you say, or whether 
 you're trying to cover up somethin' with words. But I 
 tell you if Mirandy Huggins dies, her death lies at your 
 door, {with great intensity) 
 
 John. What do you mean ? 
 
 Mary. I mean this : thet she's a-growin' that white 
 and thin, she ain't more'n a shadow of what she used to 
 be. She's breakin' her heart for you — (John smiles 
 cynically) an' you stand there calm and quiet, an' smile 
 over it. The time'll come when you'll see what you've 
 done, an' it'll haunt ye worse'n those ghosts you talked 
 about. Places o' torment ain't all laid up for the next 
 world, (taking stage l.) 
 
 John, (following her) You don't know what you're 
 saying. You think she cares for me — so did I. I wrote 
 and wrote and never a word came back. (Mary looks 
 surprised) Then I heard she was engaged to Ben 
 Deane — I knew then why she didn't write. 
 
 Mary, (facing him) John Harper, are you telling 
 the truth ? 
 
 John. I am. 
 
 Mary. Then I tell you there's devil's work some- 
 where. She did write you. (John starts) And she 
 never got any answer. / know what I'm sayin' — I've 
 seen things since I came back. Mr. Huggins was sick 
 quite a spell just after you left an' Ben Deane was takin' 
 charge of the post-office, an' I know what I'm talkin' 
 about when I tell you she kept on believin' in ye day 
 after day, till it seemed sure you'd forgot her, an' she's 
 marryin' this man 'cause her father wants it, and she's 
 breakin' her heart and dyin' for you. 
 
 John, (in an agonized tone) Mary ! my God ! 
 (sinks on bench r. c.) 
 
 Mary, (taking stage l.) You'll see it when it's too 
 late. If you'd only stayed here. 
 
84 THE VILLAGE POSTMASTER 
 
 John. If I only had. But I wanted to be about my 
 life-work — and what is it all worth with an empty heart, 
 and a life with the sweetness and peace gone out of it for- 
 ever? What is it worth? (rises, takes stage r. and 
 R. C.) 
 
 Mary, {bitterly) Thet's what /say, and I know — 
 yes, /know. 
 
 John, (starting toward her) If this is true — and she 
 suffers — as I have — no {away again), no, I can't have 
 it so. 
 
 Mary. It is true. 
 
 John, {suddenly) But the letters — you say Ben 
 Deane was in the post-office — then he took them, {to 
 Mary) 
 
 Mary. I didn't say so. (goes slightly l.) 
 
 John, (c.) Oh, he's none too good for it. I believe 
 he meant to push me into the machine that day. 
 
 Mary, (turns quickly as if hearing footsteps off r. 
 ie.) Hush, some one is coming. I beg of you to go. 
 (he hesitates) Go, go, I beg of you. (John exits quickly 
 L. i E., Mary looking after and slightly following him) 
 What will he do? No, no, he won't stop it — it must go 
 on — his weddin' and hers. Does heaven know anything 
 about such matches ez thet ? If they do, it must make 
 the angels sorry, (solemnly) The Lord forgive 'em both 
 an' — (looking up with clasped hands) help me to bear it 
 — help me to bear it. 
 
 (Exit L. I E.) 
 
 (Enter Huggins and Eben., r. i e. Huggins looks 
 rather more careworn and less rugged than before.) 
 
 Huggins. (c.) Wal, Eb, how ye gettin' on for 
 lights? Did ye git them extra ones? (up and about 
 aisles and around stage) 
 
 Eben. (r. c.) Yes, siree, an* we've got three can- 
 dles instid o' two in every one o' them places, (pointing 
 to brackets) Oh, we'll have a 'lumination thet'll make 
 the town talk, I tell you. (crosses l. c. Sees purse and 
 picks it up) 
 
THE VILLAGE POSTMASTER 85 
 
 Huggins. Thet's right, Eb. I want suthin' that 
 ain't ever been seen in Bridgewater afore. Thet's why 
 I had the weddin' in the even in', (sits on bench R. c.) 
 
 Eben. Thet ain't been done here afore. 
 
 Huggins. No. And I thought if the meetin' house 
 wuz all trimmed and lit up 'twould be suthin' they 
 wouldn't forgit very soon. My girl's goin' to be mar- 
 ried and I want folks to know 'tain't no common doin's; 
 it's suthin' to be remembered. Deane's the best match 
 in town, too; got more brains'n some hull families. 
 Thet feller'll go to the legislater yit, see if he don't— 
 thet is, o' course, arter me. 
 
 Eben. Yes, sir, arter you. 
 
 Huggins. Lost it last time, but it's a-lookin' purty 
 well for me jest now. Guess I'll go up next time sure. 
 
 Eben. (aside) Seems to me he went up last time, 
 sure. 
 
 Huggins. And say, Eb, I want thet bell rung, so's 
 folks'll know this is M'randy Huggins' weddin'. Might 
 as well start in on thet now. Goin' to hev a weddin' 
 march, too. Mis' Trombley sez they alius do thet to big 
 weddin's in the city. 
 
 (Enter Hattie, apparently searching for something, 
 
 L. I E.) 
 
 Hattie. Oh, Mr. Todd, did you find a purse ? 
 
 Eben. Yes ; jest picked it up. (hands it to her) 
 
 Hattie. That's it. Thank you. 
 
 Eben. You're quite welcome. 
 
 Hattie. Mr. Huggins, pardon me. I didn't see you. 
 (as Eben. goes off Hattie sees Huggins for the first 
 time, Eben. having intercepted the view. Exit Eben., r. 
 2 e., into belfry) I just met John Harper. Did you 
 hear how splendidly he's been doing in Boston? 
 
 (Ready bell, R.) 
 
 Huggins. No. Haven't cared to. 
 Hattie. (l. c.) Well, it's wonderful. He'll be a 
 rich man in a little while. 
 Huggins. S'pose you'll be around to the weddin' ? 
 
86 THE VILLAGE POSTMASTER 
 
 Hattie. Yes. And what a pretty wedding it's going 
 to be. 
 
 Huggins. Wal, I callate it's goin' ahead of enny thing 
 we've hed in Bridgewater in one while. We're goin' to 
 hev three candles in every one o' them places, (rising 
 — pointing) We ain't a-stoppin' for expenses this trip. 
 (Bell begins to toll in a slow, doleful manner. Huggins 
 starts up angrily and going to r. 2 e., opens door to 
 belfry and shouts up to Eben.) Ebenezer Todd, what 
 be you a-doin' ? Is this a funeral ? Jest see if ye can't 
 jerk thet bell a little lively, an' make it seem sort o' festive 
 like, (bell begins to ring merrily) There, thet's some 
 like it, Mis' Trombley. (sits again) 
 
 Hattie. Yes, that's better. I only wish Miranda 
 didn't look so poorly. I was shocked at the change in her. 
 
 Huggins. Do you think she looks bad ? 
 
 Hattie. Yes, I do. What is the matter with her ? 
 
 Huggins. Matter with her ? Why, there ain't nothin' 
 the matter with her — nothin' 'tall. 
 
 Hattie. Yes, there is, Mr. Huggins, an' there's 
 more than me asking what's the matter with Miranda. 
 
 Huggins. (irritated) Wal, they'd better look to 
 home, instead o' pokin' their noses into things that don't 
 concern 'em. There ain't nothin' the matter with 
 Miranda as /know on. 
 
 Hattie. I tell you there is. You can't look at her 
 growing paler an' thinner every day an' say that. 
 
 Huggins. She's been workin' too stiddy on her wed- 
 din' finery, that's all. 
 
 Hattie. (over to him) No, it ain't all, an' if people 
 around here are afraid to tell you the truth, I'm not. 
 
 Huggins. What do you mean ? 
 
 Hattie. (indignantly — though with great feeling) I 
 mean you're a-marryin' her to a man she don't care for, 
 an' she's weariiV her heart out for another. You're 
 a-drivin' her into the grave. An' when ye can look out 
 there — ( pointing out of window . Huggins rises, dazed) 
 and see her headstone thet' 11 be no whiter' n her face is 
 now, mebbe you'll see plainer'n other folks writ on it : 
 " Died of a broken heart." (goes l. c.) 
 
THE VILLAGE POSTMASTER 87 
 
 Huggins. Stop ! Stop ! I tell ye. How dare ye 
 talk that way to me ? (sits down again as if broken and 
 weak) 
 
 Hattie. (very indignantly and angrily) Because 
 it's true, and if Miranda hed half my spirit you'd a-heard 
 it from her own lips long ago. When I saw her, I jest 
 couldn't stand it, an' I came here on purpose to tell you, 
 Seth Huggins, if you weren't harder than stone, you'd 
 stop now afore you'd let your ambition drive ye over the 
 dead body of your own child. 
 
 (Exit L. I E.) 
 
 Huggins. (breaking out angrily) It ain't true. No, 
 it ain't true. It's a lie. (pause) Why do they say it ? 
 (pause) Oh, if it should be so ! (rising) What's 
 goin' to the legislater, what's ennything without her ? I 
 don't want nothin' without my little girl, (staggers 
 weakly back, sinks into pew up l., three seats from back 
 — burying face in hands and sobbing) 
 
 (Enter Eben., r. i e.) 
 
 Eben. (does not see Huggins. Takes out watch 
 and looks. Enter Deane l. i e., crosses to c.) Why, 
 Mr. Deane, you're early, (anxiously) Others ain't 
 come, hev they ? 
 
 Deane. No, I came on ahead. Got things all fixed 
 up, ain't ye ? 
 
 Eben. Wal, I callate there ain't nothin' slow about 
 me; guess I'd better ring a little, bein' there's time. 
 
 (Exit R. 2. E.) 
 
 (Enter Mary, l. i e.) 
 
 Deane. (starts r., then turns and sees Mary) 
 Mary ! You here ! 
 
 (Bell rings off r. u. e.) 
 
 Mary. I saw you coming here and followed you. 
 I got somethin' to say to ye. I ain't had a chance to 
 before. 
 
88 THE VILLAGE POSTMASTER 
 
 Deane. Some other time, (starts toward l. i E.) 
 Mary, (a, firmly spoken) No, there won't be no 
 other time. Ef ye go out o' here I'll follow you. (he 
 turns back) Ye've got to listen, (slight pause) 
 
 (Huggins, aroused by her voice, unseen by them, 
 listens.) 
 
 Deane. (angrily — after slight pause) How dare 
 you come here ? 
 
 Mary, (defiantly) How dare you come here? 
 How dare you swear in the sanctuary to love and 
 cherish thet girl when ye know ye' re killin' her ? You 
 hev ruined my life; ain't thet enough without ruinin' 
 hers? 
 
 Deane. I won't listen to you (starts to go ; she 
 
 stops him) 
 
 Mary. You will listen to me. Ye've got to hear 
 me out. Ye know all ye care for Mirandy Huggins 
 is her money. An' ye know she don't care fer you. 
 Ye know her father is a-forcin' her into this 'cause 
 he wants your help for the nomination. You know 
 who she does care for; an' ef ye hed enny heart or 
 soul, 'cept what's turned to greed fer gold, ye couldn't 
 doit. 
 
 (Enter John r., goes up, and remains unobserved t 
 listening.) 
 
 Deane. What do you mean by her caring for some 
 one else ? 
 
 Mary. Ye know it's John Harper — that it's alius 
 been him. Didn't she kerry letters to the post to him 
 after he went away, an' you was takin' Mr. Huggins' 
 place in the office? Mebbe her letters never went, 
 mebbe his got no further than that office — an' mebbe 
 you know why. (meaningly over his shoulder) 
 
 Deane. That's a lie. 
 
 Mary, (very decidedly — hand raised) It is the 
 truth. 
 
 Deane. You have no proofs. 
 
 Mary, (staggered at this and realizing its truth) 
 
THE VILLAGE POSTMASTER 89 
 
 No, I ain't no proof. But I'm jest as sure as if I 
 had. 
 
 Deane. I suppose you've told. 
 . Mary. No, I promised you not to speak. Mebbe 
 I've lost what some folks call honor ; but I've thet 
 kind left thet ud stand bein' burnt at a slow fire 'fore 
 it would break the faith it had sworn to keep. You 
 don't know what thet means. 
 
 Deane. {angrily) Now you go. {crosses to R. c. 
 and R.) 
 
 Mary, (c.) No ! Not till ye've heard what I've 
 got to say. S'pose I tell how you took me down to 
 Concord, promisin' to marry me next day. Thet ye 
 never kept yer word, but lied to me as ye alius do. 
 S'pose I tell how I starved, an' was sick for months 
 on the charity of the town, and when at last I was 
 able to work, I toiled night an' day that I might save 
 enough to get back here to tell 'em what you are. 
 
 Deane. {sneeringly) They wouldn't believe you. 
 They think you're crazy. 
 
 Mary. Another of your lies. 
 
 Deane. They all believe it. Ye'd better keep still. 
 I shall marry her. {turns away) 
 
 Mary. Then may God be as pitiless to you as you 
 have been to me and to her ; and when ye cry to Him 
 for mercy, may He turn from ye forever, as you have 
 turned from me. 
 
 {Exit, L. IE.) 
 
 John, {confronting Deane) You scoundrel ! 
 
 Deane. So you've been listening, like the sneak that 
 you are. 
 
 John. Where are those letters ? 
 
 Deane. You'd better not talk too much about what 
 you can't prove. It might cost you dear. 
 
 John. I'll make it cost you dear. Are you going to 
 listen to that poor girl you've wronged, and give up this 
 marriage ? 
 
 Deane. I'll tell you right now that in less than half 
 an hour M' randy Huggins will be my wife. 
 
90 THE VILLAGE POSTMASTER 
 
 John. Your wife by fraud and treachery. 
 
 Deane. Well, you and Mary Barden will do to go 
 together with your meanness an' jealousy. But I warn 
 ye now if ye attempt to make any trouble here, ye'll 
 wish ye hadn't. Ye know the old man would see his 
 girl dead 'fore he'd give her to you; and M'randy's 
 too proud to take up with a man thet's cast her off. 
 I'll marry Mirandy Huggins, an' ye can't prevent me. 
 
 (Huggins rises in his seat.) 
 
 John, (springing on him) You sneaking coward 1 
 I'll 
 
 Huggins. Hold on there ! I've got somethin' to 
 say — jest about now. (John drops his hands. Hug- 
 gins comes down c.) Ben Deane, is this here true? Is 
 that girl lyin' or not ? 
 
 Deane. Lyin' Of course she is. She's crazy 
 
 anyhow, you ought to know that. 
 
 Huggins. But ye stood there and took it like a man 
 that was guilty — ye never said no to it — ye never once 
 denied it. Am I givin' my girl to a coward and a rascal 
 — speak up, man — why don't ye speak? 
 
 Deane. She lied, I tell you. She's nothin' to me. 
 
 {People heard talking outside L.) 
 
 Huggins. {imploringly) Then prove it to me if ye 
 ken. Folks'll be here in a minute, an' it'll be too late. 
 Prove it to me, Ben. 
 
 Deane. Hain't ye known me long enough to believe 
 me before ye would her? Did ye ever hev cause to 
 suspicion me ? 
 
 Huggins. I dunno's I ever did, but I hev now. My 
 girl's future is in your hands and I've got to know the 
 truth. D'ye hear me ? — the truth. {Enter Jim, L. i E., 
 who goes up aisle L. , crosses over and lights candles R. ; 
 lights up. Organist follows him and takes place at 
 organ) It's too late now. {sits down r. c. John 
 down r. Deane against pew L. c.) 
 
 {Enter Eben. l. i e. with lantern, speaking as he comes 
 
THE VILLAGE POSTMASTER 91 
 
 on and followed by Mr. Gibbs who goes up center 
 aisle and mounts the pulpit.} 
 
 • Eben. All right, Mr. Gibbs. 
 
 {Enter Mrs. Gibbs and Caleb. Also two couples of 
 villagers, who go up c. and take seats r. and l. 
 nearest the pulpit.) 
 
 Mrs. Gibbs. (l. c.) Wal, Mr. Todd, I suppose the 
 next one will be you and Samanthy. 
 
 Eben. I hope so, Mis' Gibbs — but I can't tell. 
 Samanthy's such a caretaker she never gits time to 
 think about it. An' sometimes I git real tuckered out 
 a-waitin' ! — I do so. 
 
 Mrs. Gibbs. Wal, ye want to keep up a good heart. 
 She'll come around to it after a spell. (Eben. crosses 
 and lights candles l. Mrs. Gibbs, aside) Poor Eb ! 
 
 {Organist begins to play wedding march. Mrs. Gibbs 
 and Caleb go up c. and take first vacant seat from 
 pulpit y r. Enter l. i e. Letitia and Toner, who 
 forgets to remove his hat until he is reminded by 
 Letitia, when he jerks it off quickly. They go into 
 pew next to Mrs. Gibbs and Caleb. Hattie fol- 
 lows and sits up l. Next comes Samantha with 
 Tom in tow, hanging back. When they get c, Tom 
 stumbles and flounders down r. Samantha jerks 
 him up, fixes his necktie, etc. Meanwhile Louisa 
 enters and walks briskly up c, swinging her skirts 
 as she goes, and enters pew next to Hattie, l. 
 Tom goes into same pew and Samantha goes in 
 with Toner and Letitia, r. Enter bridesmaids 
 in couples. Eben. meets them c. and ushers them 
 up on either side of the pulpit, returning and stand- 
 ing in aisle next to Samantha. Miranda comes on 
 after bridesmaids are in place; she is pale and walks 
 slowly. Huggins rises, looking at her in great dis- 
 tress. Deane takes a step toward her.} 
 
 John, {crossing c.) Stop ! 
 
92 THE VILLAGE POSTMASTER 
 
 (All turn and look. Organ stops. Enter Mary and 
 stands down l. against first pew. As Miranda 
 sees John, she drops her flowers , and reels. Deane 
 catches her.) 
 
 Miranda. John ! 
 
 John, (to Huggins) You wouldn't let me speak 
 to her at the house. I want to speak to her now. 
 Miranda, tell me, did you write to me ? Did you mean 
 to keep faith with me ? 
 
 Miranda, (crossing to John) How can you ask, 
 when you were the first to break faith ? 
 John. I ? Why, I wrote you every day. 
 Miranda. Every day? Oh, John, are you telling 
 me true ? 
 
 John. As God hears me. 
 
 Miranda. I never had one word. Didn't my letters 
 tell you so ? 
 
 John. Your letters? I never got any letters from 
 you. 
 
 Miranda, (looking at Deane, who avoids her glance) 
 What does it mean ? I wrote you so many. 
 
 John, (to Deane) Where are those letters ? Cow- 
 ard ! Sneak ! Answer me ! 
 
 Deane. (crossing to John. Miranda l.) How dare 
 you come in here and interrupt this ceremony ? Stand 
 aside. Come, Mirandy; don't listen to him. 
 
 Miranda, (recoiling from him and crossing quickly 
 to her father) Oh, no, no, father; I can't marry that 
 man. I've tried to think I could, but I can't. To stand 
 up there and say those words, carin' heart and soul for 
 another, would be a lie, and I can't do it, father, I can't 
 do it. (sinks down sobbing at his feet, and catches at 
 his hands) 
 
 Huggins. (raising her — much overcome) There, 
 Miranda, don't cry. I never knowed you did keer so 
 much, (caressing her, laying his head down on hers) 
 There, there, I ain't goin' to force you into anything to 
 make you feel like that, 'cause you're my little girl arter 
 all. (Deane starts toward him. Mary takes a step 
 
THE VILLAGE POSTMASTER 93 
 
 down stage) You stand aside, sir. I won't let ye speak 
 to her. You ain't to be trusted. (Deane falls back. 
 Huggins sees Mary) Mary Barden, what's John Harper 
 •to you ? 
 
 Mary, {surprised) John Harper? Nothin'. (Jo 
 Deane, as he crosses toward her) So you've been lyin' 
 about him too, have ye ? 
 
 (Deane looks deliberately around and exits L. i E. All 
 watch him off, then Huggins speaks.) 
 
 Huggins. How that man has deceived me. And I 
 
 thought he was so straightforward and honest, too 
 
 {looking affectionately at Miranda, who has gone slightly 
 r.) And she's been sich a good little girl to me. God 
 bless her. (kisses her forehead. Momentary pause) 
 John, you love her and you want to take care of her, 
 don't you? 
 
 John. Yes, sir, I do. 
 
 Huggins. Then take her with my blessin'. (calls) 
 Elder Gibbs ! (motions to John and Miranda to go to 
 pulpit) 
 
 CURTAIN 
 
 (At second curtain Huggins is down l. with Mary, 
 gently leading her back to his pew.) 
 
MAR 29 1912 
 
 HBRRRY OF CONGRESS 
 
 m 
 
 012 076 087 7 
 
LIBRARY OF CONGRESS 
 
 012 076 087 7 £