IC-NRLF tuir 155 TORN TO THE RIGHT Winchell Smith and John E. Hazzard FRENCH5 STANDARD UBRARY EDITION SAMUEL FRENCH, 25 West 45th St., New York MRS. PARTRIDGE PRESENTS Comedy in 3 acts. By Mary Kennedy and Buth Haw* thorne. 6 males, 6 females. Modern costumes. 2 interiors. Plays 2y 2 hours. The characters, scenes and situations are thoroughly up-to- 4ate in this altogether delightful American comedy. The heroine is a woman of tremendous energy, who manages a business as he manages everything with great success, and at home pre sides over the destinies of a growing son and daughter. Heir Struggle to give the children the opportunities she herself had missed, and the children s ultimate revolt against her well-meant management that is the basis of the plot. The son who is cast for the part of artist and the daughter who is to go on the stage* offer numerous opportunities for the development of the comic possibilities in the theme. The play is one of the most delightful, yet thought-provoking* American comedies of recent years, and is warmly recommended to all amateur groups. (Royalty on application.) Price, 75 Cents. IN THE NEXT ROOM Melodrama in 3 acts. By Eleanor Eobson and Harriet Ford. 8 males, 3 females. 2 interiors. Modern costumes. Plays 2% hours. "Philip Vantine has bought a rare copy of an original Boule cabinet and ordered it shipped to his New York home from Paris. When it arrives it is found to be the original itself, the pos session of which is desired by many strange people. Before the mystery concerned with the cabinet s shipment can be cleared up, two persons meet mysteriot-S death fooling with it and the happiness of many otherwise happy actors is threatened" (Burns Mantle). A first-rate mystery play, comprising all the elements of suspense, curiosity, comedy and drama. "In the Next Room" is quite easy to stage. It can be unreservedly recommended to fcigh schools and colleges, (Royalty, twenty-five dollars.) Price, 75 Cents. SAMUEL FRENCH, 25 West 45th Street, New York City "<>fcn New Descriptive Catalogue Sent Free on Request Turn To The Right A COMEDY IN A PROLOGUE AND THREE ACTS BY WINCHELL SMITH AND JOHN E. HAZZARD 1 1 COPYRIGHT, 1916, BY WINCHELL SMITH AND JOHN E. HAZZARD All Rights Reserved CAUTION : Professionals and amateurs are hereby warned that "TURN TO THE RIGHT," being fully protected under the copyright laws of the United States, Great Britain and Canada, is subject to a royalty, and anyone presenting the play without the consent of the owners or their authorized agents will be liable to the penalties by law provided. The amateur acting rights of this play are strictly reserved and amateur performances may not be given anywhere without permission first having been ob tained in writing from Samuel French, 25 West 45th Street, New York City. For professional productions, write to John Golden, 139 West 44th Street, New York City. All unauthorized performances will be prosecuted. New York: SAMUEL FRENCH Publisher 25 West 45th Street London : SAMUEL FRENCH, Ltd, 26 Southampton Street TURN TO THE RIGHT ALL RIGHTS RESERVED Especial notice should be taken that the possession of this book without a valid contract for production first having been obtained from the publisher, confers no right or license to professionals or amateurs to produce the play publicly or in private for gain or charity. In its present form this play is dedicated to the read ing public only, and no performance, representation, produc tion, recitation, or public reading, or radio broadcasting may be given except by special arrangement with Samuel French, 25 West 45th Street, New York. Amateur royalty quoted on application to Samuel French, 25 West 45th Street, New York, N. Y. Whenever the play is produced the following notice must appear on all programs, printing and advertising for the play : "Produced by special arrangement with Samuel French of New York." Attention is called to the penalty provided by law for any infringement of the author s rights, as follows : "SECTION 4966: Any person publicly performing or rep resenting any dramatic or musical composition for which copyright has been obtained, without the consent of the proprietor of said dramatic or musical composition, or his heirs and assigns, shall be liable for damages thereof, such damages, in all cases to be assessed at such sum, not less than one hundred dollars for the first and fifty dol lars for every subsequent performance, as to the court shall appear to be just. If the unlawful performance and representation be wilful and for profit, such person or persons shall be guilty of a misdemeanor, and upon con viction shall be imprisoned for a period not exceeding one year." U. S. Revised Statutes : Title 60, Chap. 3. SU43 TURN TO THE RIGHT. As produced at the Gaiety Theatre, New York City, Angust I7th, 1916, under the management of Winchell Smith and John L. Golden. CAST OF CHARACTERS. As produced at the Gaiety Theatre, New York City, August 17, 1916. JOE B ASCOM Forrest Winant MUGGS William E. Meehcm GILLY Frank Nelson DEACON TILLINGER Samuel Reed SAM MARTIN Edgar Nelson LESTER MORGAN Roy Fair child CALLAH AN Harry Humphrey ISADORE Al. Sincoff MOSES * George Spelvin MRS. BASCOM Ruth Chester ELSIE TILLINGER Louise Rutter BETTY BASCOM Lucy Cotton JESSIE STRONG Alice Hastings KATIE , Justine Adams PROLOGUE In a Pawn Shop. (Early morning.) ACT I. In MRS. BASCOM S kitchen. (That eve- ing.) ACT II. Outside MRS. BASCOM S kitchen. (Next morning.) ACT III. Same as ACT II. (Ten months later.) 3 r 401 CAST OF CHARACTERS. ISADORE Polish Jeiv Pawn Broker. (60) JOE BASCOM (PETER TURNER) . .Tall, slight, handsome, (23) MUGGS. .Short, quick talking low comedian. (27) GILLY Grim, hard faced but likeable. (30) AN OLD TAILOR Polish Jew. (65) BETTY BASCOM Pretty, dark haired girl. (18) JESSIE STRONG Pretty, red headed girl. (25) MRS. BASCOM Sweet faced, frail little woman. (60) SAM MARTIN Short, fat country boy. (18) DEACON TILLINGER. . . .Large, shrewd, shifty- eyed. (58) LESTER MORGAN. .Handsome, dark, well-bred and well-groomed. (26) ELSIE TILLINGER Pretty, young girl. (21) TOM CALLAHAN, Detective. .. .Medium size, blunt, kindly. (45) TURN TO THE RIGHT PROLOGUE. SCENE : Ossining Loan Bureau. A very dingy looking room filled with articles of all descriptions. There is a double door R.C. protected by heavy wire screening on the outside. Over these doors is a transom through which may be seen the pawn broker s sign of three balls. On both sides of the door are large shozv windows on the upper half of each of these windows is painted "OSSINING LOAN COMPANY", the letters running backwards. Behind the win dows are boards arranged at an angle running quarterly to the top of the window as if wares were shown on the other side. A few articles are seen above these boards hanging from wires, such as Umbrellas, Canes, Gun, etc. Through the door and windows are seen the sidewalk and street, and buildings on the opposite side of the street. At R. window is small shelf upon which are piles of goods. A door down L. leading to hall where a sup posed flight of stairs leads to an apartment above where ISADORE lives. From R. c. to L. c. is a counter set on line with back wall. At the R. end is a small desk enclosed with a wire cage with small opening. Behind this counter are shelves and a repository for clothes enclosed with curtains. When these curtains are opened a number of suits and over- 5 6 TURN TO THE RIGHT. coats may be seen hanging. At R. of this count et are a number of packing cases, trunks, etc. A chair without a back f and an old box is in front of it. At L. above door is repair table with tailor * goose, pressing board, etc. There is an old chair at repair table. There is a trunk and several suit cases, etc. f R. c., a dummy at back between door and window. A high stool back of desk. TIME: 6:00 A. M. early July. Before the curtain rises, there is a rap at door up c. as of someone trying to open it. The curtain rises slowly. The door is locked. This is followed by a loud rap. A pause. JOE conies to window at R., looks into room to see if anybody is about, then goes back to door. The rap is repeated even louder. ISADORE. (Heard off -stage L.) Yes, yes, yes. I m coming! ( ISADORE enters hurriedly in slippers, trousers and undershirt. He is an old Jew of about sixty, somewhat bent and decrepit. He is pulling up his suspenders over his shoulders as he comes on. Another rap at the door up R. c. He increases his gait and shambles to the door, calling loudly) Yes, yes, yes ! Wait a minute ! ( The door is shaken violently) Here here here don t shake down the door! (He reaches the door, unlocks it, unbolts it, and throws it open. JOE BASCOM, known as PETER TURNER, stands in the doorway. JOE is dressed in a loud flashy suit, considerably faded, spotted and wrinkled; a brilliantly colored neck-tie and high " extreme " collar, dark slouch hat and black lace shoes. He is an attractive looking boy of about twenty-three. ISADORE opens door excitedly) Well, what s the matter ? ( JOE enters comes down R.) Say, what s the matter with you? TURN TO THE RIGHT. 7 JOE. This is (Looking about) the Ossining Loan Bureau? ISADORE. (Right of JOE) Six o clock in the morning you wake me up to ask me this? JOE. Do you run a hotel too? I got word two pals of mine were here. ISADORE. Tw,o fellows got a room here last night. JOE. I want to see them. ISADORE. At such a time! Everybody is asleep yet. Come around in a couple of hours later. (Starts to push JOE out) JOE. Then I ll wait. (Looking about the room) Got any clothes to sell? ISADORE. (With sudden change of manner) Oh! Why didn t you say so at first? Sure! Sit down, mister. I was just going to get up anyvay. (Crosses to D. L.) I overslept myself this morn ing. I ll wake up your friends right avay. (Calls off L. in Yiddish for his wife to wake up the two guests) Rechal, Rechal, veck off die three val bayes veche three gekimen shlufen gestern loy nacth. (Goes back of counter) My wife is now waking them up already. So, you re around doing business early this morning. TOE. Yes. ISADORE. What can I do for you. JOE. I want a suit of clothes. ISADORE. Yes, sir. (He turns to suits hanging at back, reaches behind curtains c. and brings out suit with very loud pattern) JOE. Something cheap, now. ISADORE. Cheap stuff I ain t got it. But I sell it to you cheap. JOE. That s what I mean. ISADORE. (Comes in front of counter) Hovr do you like this suit? JOE. No. ISADORE. This suit is a regular sporty one. 8 TURN TO THE RIGHT. JOE. My sporting days are over. I want a plain dark one you know something different from what I got on. ISADORE. (Nodding under standingly) Ah! I understand I got just the one you want.- (Goes above counter) Now wait a minute and I ll show it to you. (He disappears behind the curtain with suit) JOE. Second hand will do. ISADORE. (Behind curtain) I know nearly new. (He comes down font of counter, L. of JOE. with old, blue serge suit) Now here is it a suit a reguhry chatsky (Taking coat off hanger) I got, from a gentleman three suits at a - JOE. (Breaking in) How much? ( ISADORE gives him a shrewd glance, then looks suit over carefully, caressing it then holds it up to JOE and speaks as if he knew the price would be a great and delightful surprise.) ISADORE. C. B. O. for you twelve dollars! JOE. (Looking it over) Let s see how it fits. (He takes off his own coat and puts on the blue one) I gave thirty for that one. ISADORE. Sure, I believe you. (Looks over JOE S loud, faded suit) It s a fine suit good material fine. JOE. How ll you trade ? ISADORE, Trade ! For what ? For this rotten suit! JOE. I want to trade this suit for a plain dark one. ISADORE. (After some thought magnani- mously)Now listen here I tell you what I do with you. (Puts down JOE S coat, takes trousers and vest from hunger, and hands them to JOE) Put your self into these clothes and let me have eight dollars. JOE. I ll give you two. TURN TO THE RIGHT. 9 ISADORE. (Persuasively) .Five, mister? JOE. (Takes up his o^vn coat) No. ISADORE. (Stops JOE from taking the coat and puts pants and vest on counter) Do you want some thing else, maybe? (JoE looks about and sees old shawl on counter c. holds it up.) JOE. What s this worth? (Hands shawl to IS ADORE) ISADORE. (Taking shawl from him) Look at the fringes on it! It s a pleasure to look at it. Here, I give it to you. JOE. Give it to me? ISADORE. You pay me the difference on that suit, and I give it to you for a present. (JoE throws shazvl on counter. He has the blue coat on. The fit is quite good except the sleeves. ) JOE. The sleeves are too long. ISADORE. I fix it for you right avay (Measur ing place sleeve should come) Shorten it about this size, and fix the other the same size and the back s first class. JOE. Yes, that s right. Where can I try these on? (The trousers) ISADORE. (Indicating hallway L.) Right out there, mister. (JoE sees old doll on counter and picks it up.) JOE. I ll give you fifty cents for that. (Gives ISADORE doll as he goes out of door L. ISADORE hands JOE pants and vest as he crosses to L. c. ) ISADORE. (Ejaculating with disappointment) Fifty cents for that doll! Have a heart, mister! io TURN TO THE RIGHT. (Is ADORE looks after JOE amazed that he has the nerve to make such a low offer, then shrugs his shoulders) All right, I wouldn t fight with you. I ll let you have it for fifty cents. (He goes back of counter wraps doll and shawl in separate bundles) JOE. (Off L.) Will you wrap the shawl and doll in separate bundles ? ISADORE. Sure, mister. I put them in as many bundles as you vant. JOE. And fix the sleeves? ISADORE. I ll have it fixed right away. (He calls off stage L. in Yiddish for an old tailor who works for him to come in as he wraps up shawl and doll in paper) Itzick, Itzick ! OLD TAILOR. (Off stage L.) Voces is? ISADORE. Shtae off ich hob gekrigen a costomer men darf ficksen a rug. Stae off gicher is is a special order. OLD TAILOR. Ich veil bald arunter kimen. ISADORE. (As JOE enters L.) Ah! I know that suit s going to fit you just like new (JOE throws the trousers that he has taken off on counter, first taking $10 bill from trousers pocket and transferring it to trousers he is wearing. Goes c.) JOE. You keep this suit and I owe you five-fifty. ISADORE. (L. c.) Yes, sir. JOE. ( Taking out $10 bill) Have you got change for ten dollars? ISADORE. (Taking the bill) Certainly I got change. He takes the ten, looks at it shrewdly, goes up L. c., takes out small bills, counts out four ones and two quarters in change. As he is doing this MUGGS enters from L. He is putting on coat and waistcoat at the same time sees JOE and rushes TURN TO THE RIGHT. n. to kirn his coat half on. He shakes hands with him violently and ends by hugging him. (MucGS and GILL are two ex-convicts; MUGGS, a pick-pocket, GILLY, a second story man. In their profession, they are both considered high class artists and both are proud of their ability. MUGGS is rather the smaller of the two and much more of a talker. Though he is ready at a moment s notice to talk positively on any subject, it is quite easy for him to change his mind. GILLY, though more quiet and less as sertive, has more real determination once his mind is made up. The three have spent nearly a year together in Sing Sing and have become the closest pals. GILLY has been out two months and MUGGS, two weeks. MUGGS is dressed fairly well, and though his clothes we rather sporty, they are not noticeably so. (A man, who, mingling in a crowd, would not o*- tract undue attention) He wears a collar and flashy tie, with tan shoes. His coat and waist- coat are in a good state of preservation, but his trousers are somewhat frayed at the bottoms and at the pockets. GILLY is dressed in a rather ill fitting suit of dark brown or gray, plain color, and is rather seedy. He wears low cottar, black tie and low black shoes. The shoes of both have rubber heels. They enter sleepily and show signs of having dressed in a great hurry.) MUGGS. Well, well, well! If it ain t the kid! JOE. (With great cordiality) Hello, Muggs! (MUGGS goes to JOE) Where s Gilly? MUGGS. (Shaking his hand and embracing him) Hell be here in a minute. How are you, old scout? You re lookin great! Right out on schedule time, too! 12 TURN TO THE RIGHT. JOE. (With glance of warning toward ISADORE) Sh ! Yes, I m out early this morning. (The OLD TAILOR enters L. goes to repair table, sits.) ISADORF. (To JOE) Your change, gentlemen. ( ISADORE, after JOE ikes the money, goes up behind counter, picks up old blue serge coat and sub stitutes JOE S blue serge coat which he takes from under counter; goes to OLD TAILOR and explains how it is to be fixed, sleeves shortened etc.) JOE. (Taking the money) Four fifty that s right. (He crosses to L. c. and GILLY enters. JOE hurries to GILLY, saking his hand warmly) Hello, Gilly! GILLY. (L. c. Speaking with JOE) Hello, Pete! MUGGS. (R. c.) Gilly ain t all there yet. He s sleep walkin* now but he ll come to, if you give him time. GILLY. (Crossing to MUGGS. scowling) Don t talk about " givin me time ! " (Sits on counter) MUGGS. (Grinning) He s wakin up now. What he needs is an eye opener. (Crosses to JOE t*. c.) Have you got the price of a drink, kid? We re flat. JOE. Sure I have. MUGGS. Where s your coat? ( ISADORE has gone to OLD TAILOR and is talking to him in low voice. He is saying he is going to breakfast and is ftelling the old tailor to keep his eyes on the boys.) JOE. (Indicating OLD TAILOR) He s fixin it. ISADORE. (Crosses to D. L.) It ll be ready right TURN TO THE RIGHT. 13 avay. Is there anything else I can do for you? JOE. Not for me. ISADORE. Veil, if you should vant something, I ll be out there. (Points off L. ISADORE warns the OLD TAILOR again, in YIDDISH, to keep his eyes on the boys, and exits D. L., closing door) Itzick OLD TAILOR. Nu, nu, men sail nit gonvennen. JOE. I just bought this suit of him. MUGGS. What you buyin clothes for? When you got out this mornin , didn t they ? JOE. (Crosses right of counter. Breaking in low tone) Nix on that " Got out" stuff! (Glanc ing at the OLD TAILOR) MUGGS. Aw, ( JOE points to OLD TAILOR. MUGGS realising what he means) that s all right he can t understand English. (To OLD TAILOR) Can you, Moses ? OLD TAILOR. No. MUGGS. He admits it. How soon il that coat be ready ? OLD TAILOR. (Shaking his head) No. No English. MUGGS. (Turning to JOE) See! JOE. I just traded my suit for this. (Crosses and offers MUGGS a quarter) Here, you two get a drink. MUGGS. Ain t you goin to have one? We want to celebrate you bein a free man again. JOE. I ain t goin to celebrate that way. It was booze that got me sent up now I m on the wagon for life. MUGGS. Aw, what are you givin* us ! JOE. (Quietly and sincerely) That goes I mean it. (Offering quarter again) Here, go ahead. MUGGS. Have you got enough to stake us to breakfast? JOE. Cerainly. They give me ten dollars to start life over again. Here. (Takes out a dollar bill) I 4 TURN TO THE RIGHT. MUGGS. (Not taking it) No, you come with us. You ain t sworn off eatin for life too, have you? JOE. I had my breakfast. MUGGS. You can t call that stuff they hand out up in the prison, breakfast. JOE. Well, it was fillin . You two go ahead. I ll wait for you. (He offeres a dollar bill. MUGGS takes a quarter -from his hand) MUGGS. (Crosses to GILLY) Go out and get a bottle, will you, Gilly ? GILLY. (Quickly up to door R. c.) Sure. (Takes quarter) MUGGS. (Front of counter) We ll get twice as much that way. And, Gilly! ( GILLY stops at door and turns) Take your first drink after you come back. GIIXY. Sure. (He exits R. c. to left) JOE. But you ve got to have something to eat. MUGGS. (Crosses to D. L.) Perhaps we can get it here. (Calls off) Hey, Pop! JOE. You don t want to eat in this place. MUGGS. He give us a hand out last night that was all right. Is ADORE. (Coming on L.) You want something? MUGGS. What ll you take for a couple of cups of coffee? ISADORE. Coffee ? JOE. We want two breakfasts. Can you get tw something ? ISADORE. Well, it ain t my regular business but I ll ask my wife. JOE. How much ? MUGGS. (Taking quarter from JOE gwes it to ISADORE) Here get us all you can for that. ISADORE. A quarter! MUGGS, Twenty-five cents. ISADORE. Well, I ask her. MUGGS. (Crosses to R. c.) That s right, you ask her. TURN TO THE RIGHT. 15 (IS ADORE XltS D. L.) JOE. (Goes to MUGGS) Now, what are you and Gilly doing here? I couldn t believe it when I got that message from you last night. MUGGS. Took us half the day yesterday to slip that word to you. We wouldn t take a chance going up to the prison to see you for fear somebody d get suspicious. JOE. One of the " trusties " tipped me off. MUGGS. Yes. We saw him doin some work on the outside and told him we d meet you in this pawn shop. JOE. What is it? A fence? MUGGS. No. Gilly bought some stuff here when he got out two months ago and when my time was up, he come up to Ossining to meet me same as we did to meet you. JOE. Did you fellows come way from New York just to see me when I got out ? MUGGS. Sure. We want to welcome you into the great world once more. JOE. Can you beat that! Well, (Crosses right of MUGGS) it s been an awful year I put in there. (To MUGGS) but it wasn t nearly so bad after I got acquainted with Gilly and you. Remember how we missed Gilly when he left? MUGGS. Sure. JOE. Then think what it was for me after you went out a couple of weeks ago ! Each day seemed a year! (He shivers at the thought) I ve learned my lesson, Muggs. (Sits on trunk) You can bet on that. MUGGS. Oh, forget it, and start over. (He gets old chair from front of counter, draws it to trunk on which JOE is sitting, as if to start on a long story) Say, listen ! Me and Gilly has got a great idea all doped out. It s a bird Wait till you hear about it. ( GILLY enters door R. c. Comes down right of 16 TURN TO THE RIGHT. JOE with small flask of Rye Whiskey) the fire water. I m just tellin Pete the great scheme we got, GILLY. (Holding bottle up to the light and look- in$ to see if it s quite full) What do you think oi it? JOE. I don t know what it is yet. Wait a minute 111 try to find you a glass. QOE rises and crosses to c) MUGGS. ( GILLY has uncorked bottle and hands it to MUGGS. Rises goes to JOE. GILLY follows) What do you want of a glass? Just booze and a mouth that s all you need. (Offers bottle to JOE) Go ahead, just one. JOE. No. Never again. MUGGS. Well, I ain t got time to argue. Here s luck ! (He drinks, wipes off neck of bottle and hands it to GILLY. Crosses to right, sits on trunk) GILLY. (Offers it to JOE) Sure you won t? JOE. (Shaking head) You bet I m sure. (Crosses to right, sits on chair at trunk. GILLY drinks, then sits on counter. Lights cigarette, etc. JOE looks at MUGGS) Now what s this scheme of yours ? MUGGS. (Excitedly) Well, you know that horse you used to tell us about ? The one you was crazy over just before you got pinched? JOE. Fire-fly ? MUGGS. Yes, Fire-fly. Well, he s entered at Bel- mont to-morrow in the big race. JOE. (Interested) No? MUGGS. Sure as I m tellin you. It s his first start in the East, too. Now, listen. This is the scheme, see! After I get out, me and Gilly talks over that stuff you was always handin out in there about goin straight, and we make up our minds you was dead right ; Ain t that so, Gilly ? GILLY. Sure ! MUGG. So we plan just to wait around till your TURN TO THE RIGHT. 17 time is up and not to "pull" anythin while we s waitin see ! JOE. (Looks at GILLY) And you ve both kept straight ever since you got out? MUGGS. Sure we have. Ain t done a thing ex cept pinch a little change now and then, just to eat with. But wait till you hear the big idea ! Now we know how you used to follie the races see? And that you re wise to all the live ponies and you re in soft with all the best trainers so we dope it out that the three of us would go in together beat the race game to a stand-still and cut out the old crook stuff. Then, right after we plan it, we finds this Fire-fly colt, that you re nutty about, starts to-mor row JOE. But how are we goin to bet on him ? You two are flat broke and I ve got four bucks MUGGS. Let me tell you. Me and Gilly knows a place in the Bronx where we can turn a little trick to-night that ll get us five hundred cases at the very least. Now, we JOE. Here, here, here! (Looks at GILLY and MUGGS) How about goin straight? MUGGS. Sure we re goin straight that s the whole idea of it. But we got to have a roll to go straight with, ain t we ? GILLY. Just workin capital, Pete. MUGG. Yeh that s it workin capital. JOE. That s no good, boys. MUGGS. I tell you it s the only way to do it. And this job is a cinch. Why listen, kid. We ain t no yaps at our business. Gilly can put it over any safe crackin guy I ever see work and I hate to talk about meself, but you put that four bucks in any part of your clothes where I can t get it and I ll make you a present. Now, everybody ll tell you the only chance us guys take of gettin pinched is doin the thing once too often But there ain t no such chance now, because this is the only time we re goin i8 TURN TO THE RIGHT. to do it and they ain t .nobody can call once, often. Besides, we want to go straight just the same as you do. JOE. It won t do, Muggs. First, that s no way to get a roll. Next, if you do get it, the chances are it wouldn t last long at the track. If luck is with you, you can win fast, but if it s against you, as it mostly is, they ll break you and last, I couldn t go with you anyway. (GiLLY and MUGGS look at each other) I got somethin to do and I ve got to do it alone. (There is a slight pause.) MUGGS. You mean you don t want to be seen around with us. JOE. No, no. No. You got me all wrong. (He puts his hand on MUGGS shoulder looks at GILLY) Why, I think of you two fellow s as the best pals I got in the world that s on the square. ( To MUGGS) Three people can t be together day after day like we ve been, shut up in that hole, without knowin each other inside out, and we Well, we re pals, that s all ! ( MUGGS and GILLY look at each other and nod solemnly) But I got reasons why I can t go into no scheme with you or anybody else that knew me in there. This whole year that I ve been shut up, my one big worry was whether whether someone would find it out. I don t think they have, but if they did, I ll never see em again because they wouldn t live through it. ( MUGGS and GILLY look front, JOE looks at MUGGS) I didn t go by my real name on the tracks and no one found it out when I was sent up. (Looks front) That s the one thing I m countin on. MUGGS. You re married, ain t you, kid? JOE. No, I ain t married. GILLY. Eh A skirt! (Gets off counter goes L. c. Throws away cigarette) TURN TO THE RIGHT. 19 MUGGS. (To JOE) Yeh, that s whr-t he always thought it was a dame. Say the chances are you re goin to get knocked cold when you go look- in for her. I had a lot of experience with dames and twice I goes back after doin time expectin to have a fuss made over me say ! they couldn t re member what my name was passed me up like they never seen me before and it s a good bet that s what s goin to happen to you. JOE. (Smiling) You re all wrong, Muggs. MUGGS. I talked like that once. GILLY. What re you goin to do after you seen the dame ? JOE (Rising) I m goin to work. (They both look at him.) MUGGS. What kind of work? JOE. ( Goes c. ) Anything I can get to do. MUGGS. (Rising) Why, you ain t got a chance, Kid. Nobody ll hire you JOE. (Front of counter) Anyhow, I m going to try. I love a horse I can t help that but I put all the race track game out of my mind when I dis carded these. (He picks up his old coat and trousers from the counter. The OLD TAILOR up L. ex postulates violenly, motioning JOE to put them down) OLD TAILOR. Here, here, here! Chapinit. (Comes down with coat, helps JOE on with it) JOE. What s the matter with you I ain t goin to swipe em. MUGGS. And there ain t no use try in to get you to come to New York with us ? JOE. (Taking up bundles) Can t Muggs can t even think of it. (Looking at GILLY and MUGGS) I probably won t won t ever see you fellows again. (There is a pause they turn away) But I m never goin to forget you, and I hope you ll do what I want you to there ain t nothin in the other game. 20 TURN TO THE RIGHT. {He buttons up his coat, draws his hat well down over his eyes, takes out the four one dollar bills, and puts two of them on the counter) Here s half my roll, boys. That ll get you back to the hig town. crosses to chair R. c., with his back to the boys, and arranges paper on bundles) MUGGS. (Crosses to counter) Nothin doin*. If you re goin to work, you ll need all you got. GILLY. What time does your train go ? JOE. No train for mine. I don t want anybody to see me on a train. Where I m goin is only a day s walk from here. I ll get there by dark and I don t want to be there before. ( GILLY picks up money from counter and motions MUGGS to give it back to JOE. MUGGS goes to JOE, touches him on left should. JOE turns to him, then MUGGS putting his right hand on JOE S right shoulder, and patting him feelingly, he slightly elevates his chin with his elbow to at tract his attention. At the same time, with lightning rapidity, he slips the money into JOE S vest pocket without JOE S being aware of it. There is a moment s pause. NOTE. MUGGS palms the money.) MUGGS. So long, old pal. (He goes to counter) JOE. (Crossing to GILLY, taking his hand) Good-bye, Gilly. ( GILLY shakes his hand, but does not reply. JOE shakes hands with MUGGS, who has gone R. of counter) So long, Muggs. ( MUGGS shakes hands and also does not reply. JOE has the two bundles, containing the shawl and the doll, goes to door up R. c., turns and gives MUGGS and GILLY a long look. They have their backs to him,. Unstead ily) Good luck ! (He exits door R. c., past window to L. MUGGS and GILLY hold position. A pause) MUGGS. (Turning away. Goes to trunk. Sits) Well, he s gone. TURN TO THE RIGHT. ISADORE. (Coming on from L.) De breakfast s ready, boys. MUGGS. To hell with the breakfast ! GILLY. Eat it yourself ! /ISADORE looks at them in surprise. GILLY goes to MUGGS and offers bottle to him.) CURTAIN. TURN TO THE RIGHT. ACTL SCENE: MBS. BASCOM S kitchen. The kitchen of a farmhouse f set built as small as possible. Everything is cheap and plain but the whole room has the appearance of cheeri- ness, cosiness, order and spotless cleanliness. Entrance door up L. c. When the door is opened a porch is seen at the back. A door down L. leading to parlor. A second door, above parlor door and facing front, leads upstairs. A door down R., leading to a woodshed where the kitchen stove is placed during the Summer. In the upper R. corner is a chimney-place, in an obliqued flat there is a hole for a stove-pipe f covered with a piece of tin. There are a number of large nails or pegs driven into the wall in the chimney-place, on which are hung numerous pans, kettles, etc. At R., between the woodshed door and the chimney- place, is a large cupboard with curtain in the upper section, through which may be seen dishes, etc., the shelves are covered with oil cloth. This cupboard has a flat top under which are two shallow drawers, one for knives, forks, spoons, etc., the other for towels, etc. Below these drawers are two doors behind which are kept flour, sugar, etc. There is a kitchen table t with drawer, covered 24 TURN TO THE RIGHT. with oil-cloth, about c. Above and below it are two cheap chairs. L. c. MRS. BASCOM S easy chair and a small stand on which are MRS. BASCOM S Bible, work-basket and spectacles, and in the drawer is TILLINGER S bill. c., in the back flat is a window. Below this window is a kitchen table covered with oil-cloth. Between the window and the chimney is a sink with a pump. On R. side of sink is a wooden shelf. A hat rack nailed to the wall, to the right of entrance door L. c. On the chimney is a small shelf with an old clock on it. Two oil lamps, chimneys covered with paper bags. A what-not, hangs on wall, L. on which the brush and a vase of flowers are placed. A chair L. of window with a red table cover on it. TIME : Five-forty-five p. m. On the same day as Prologue. DISCOVERED: At rise, JESSIE and BETTY. BETTY up R. c. at sink, back to audience, wash ing dishes. JESSIE above table c., wiping them. BETTY is a pretty dark-haired girl of 17. She is dressed plainly and poorly but despite that fact her appearance is attractive and scrupu lously neat and clean. Her sleeved are rolled up and she wears an apron. JESSIE is also a pretty girl, somewhat larger than BETTY, and several years older. Her com plexion is lighter than BETTY S, her hair is red. Her dress, though of much nicer quality than BETTY S, is not at all stylish and has the ap pearance of being " made at home ". She also has on apron, evidently loaned her by BETTY. The c. table is covered with oil-cloth; on the table is an old cruet, containing salt, pepper and vinegar t pitcher of milk, also a small pile ef plates, cups and saucers, knives and forks TURN TO THE RIGHT. 25 and spoons that the girls have finished washing. The girls continue to work as they talk. JESSIE. (At R. of table, adding the plate she has been wiping to the pile on table) I guess you ll like it better after you get all moved in. Don t you think so? (JESSIE speaks with a lisp. BETTY does not answer but continues to wash dishes, and places them on left of sink. JESSIE goes up for the plate and begins to dry it) Betty, I say, don t you think you ll like it better after you get all moved in ? BETTY. (Who has finished washing the last dish. Turns to JESSIE) Oh, Jessie ! I I hate to think about it! JESSIE. (Going to center-table) Oh, I ve never been in the house myself, but it looks real cute from the outside. (BETTY turns back to sink. JESSIE goes up and takes last plate) When do you expect to move? BETTY, I don t know. Pretty soon, I suppose. JESSIE. (Going to table) Of course it ll seem strange livin in another house at first but when you get used to it BETTY. (Turns down to JESSIE) Don t talk about it, please, Jessie. JESSIE. (At table) I thought that was the best way BETTY. (Coming to JESSIE) I think it s the worst way! JESSIE. You do? (Puts down plate) Why, I never mind a thing so much if I keep talking about it. BETTY. Well, I mind it more! (Goes to sink) (MRS. BASCOM enters from L. down stairway, carry ing hat and light wrap. MRS. BASCOM is a little^ sweet-faced woman, something over fifty, but looks older. Though of delicate build she is energetic, used to hard work and apparently 26 TURN TO THE RIGHT. likes it. She wears almost continually^ a pleasant, cheery smile. Like BETTY, she gwes the impression of immaculate cleanliness. She is dressed in her best go-to-meeting clothes, some soft, plain material.) JESSIE. (Turns to BETTY) Well, you needn t be so touchy ! It ain t my fault your Ma s got to move. BETTY. (Back to JESSIE) Jessie, you re just as mean as you can be ! You (She sees MRS. BASCOM, JESSIE turns and sees her also* Pause} MRS. BASCOM. (Goes to center-table, smiling and speaking enthusiastically, as if she had not heard the row) Well, I declare! But you girls have been mighty spry, washing up the dishes. I didn t think you d be half through ! (She goes to chair, putting down hat and shawl, then to hall-way, gets apron) JESSIE. (Turning to BETTY) Will you forgive me, Betty? BETTY. It was my fault. I m awfully sorry. (BETTY puts dish cloth on sink and carries dishes to cupboard, and arranges dishes that she takes to table when she sets it for JOE. A plate, cup and saucer, knife and fork) JESSIE. (Goes to MRS. BASCOM who has come down front of stand) Why, Mis Bascom, how nice you look, you re all dressed for meetin , ain t you? MRS. BASCOM. (Putting on apron) Yes, Mis" Tuttle s sick, and I want to sit with her a while, so thought I d change my things first It was real good of you to help Betty with the dishes JESSIE. Oh, that s all right Betty helps me lots of times. MRS. BASCOM. (Takes towel from JESSIE) You re sure you won t be late for your supper? JESSIE. Oh, no, we don t have tea till half-past six (Goes to stairway, hangs up apron) TURN TO THE RIGHT. 27 MRS. BASCOM. Well, we had ours eariy to-night. (Crosses to table at window) Now, Betty, I want to put on this fresh lot of peaches before I go, the others are about done. (Goes to table at window, takes up bowl of peaches, turns to table c. SAM MARTIN enters from porch up L. c. He is a short, rather stout, red-faced country boy, keen-eyed and shrewd. He seems to be the first to find out and distribute any new piece of village gossip) Evenin , Sammy ! (Puts bowl of peaches on center-table) SAM. (Comes down L. c.) How do, Mis Bascom ! (He sees BETTY and JESSIE, grins at them broadly) Howdy, girls ! JESSIE. (With superior air) Good-evenin*. BETTY. Hello, Sam. (Quietly places sticks in window, empties dish-pan, hangs pan at chimney, puts dish cloth on sink) SAM. (To MRS. BASCOM) I brung over that crate of preserve jars they re there on the stoop what ll I do with em? (Indicates kitchen porch) MRS. BASCOM. (Crossing to woodshed door; leaves towel on L. of center-table) You can leave them right there. Thank you, Sammy. SAM. Old Tillinger told me to bring back all the jam you got ready. MRS. BASCOM. (At door R., reprimanding him kindly) Deacon Tillinger, Sammy, or Mr. Till inger. SAM. Yes m (Looks at JESSIE) (MRS. BASCOM exits into woodshed.) JESSIE. Huh ! (Crosses to R. of table) SAM. Deacon or Mister, If I called him what I thought of him, it would be a durned sight worse than " old Tillinger ! " He s the meanest old cuss I ever seen, and stingy ! he s closer than the next second 28 TURN TO THE RIGHT. (BETTY puts lemon, etc., on table c., and hangs dish cloth out of window.) JESSIE. (At R. of table) What makes you work for him then ? ( Goes to cupboard with sugar-bowl and cruet) SAM. Who else is there to work for here, less you go to f armin ? His store is the only one in the village that you can call a regular store. JESSIE. (Coming to table) Well, if I was work- in* for somebody, I wouldn t go around runnin* him down. SAM. I suppose you think he s all right because he s a pillow of the Church. JESSIE. Well, whatever he is, his daughter is a friend of mine, and I don t want to hear nothin* against him. ( Goes to cupboard with cups and milk pitcher. BETTY places kettle on table c.) SAM. (Suddenly) Oh ! have you seen her fel ler? JESSIE. (Turns) Whose fellow? SAM. Her n. Elsie Tillinger s. The feller twas courtin her while she was away to school. (BETTY back of table f stops work and listens.) JESSIE. How could I of seen him ? SAM. Cause he s here visitin . BETTY. What! {(Together ) JESSIE. Here ! (Greatly excited. Comes to chair front of table) How does he look, Sam? SAM. Great! I never see such a swell feller. You oughta seen him lookin over the store. (SAM puts his hands behind him and walks about the room in imitation. He looks over right wall, at kettles, etc., hanging there) Quite extraordinary, isn t it? I declare! I declare! I declare! (BETTY comes TURN TO THE RIGHT. 29 down L. of table) One can get most anything here. By jove ! (He walks over R. c. and pretends to look about) JESSIE. That s like Englishmen talk in books. He ain t English, is he? SAM. No, but he s swell American society that s just about as bad. JESSIE. Is he handsome, Sam? SAM. Well, he ain t so pretty as he is swefl. JESSIE. How long is he going to stay ? SAM. I dunno but it ll be as long as old Mr. Deacon Tillinger can get him to. You can bet on that. He s drivin em around in the buggy now, the three of em all squeezed onto the one seat. Him on one side, Elsie on tother, and the Deacon in be tween em, so they can t hold hands, or nothin . (BETTY laughs turns to L. c.) They was goin to show him your Maw s peach orchard, Betty. I heard him say so. JESSIE. (With sudden thought, going to BETTY) Oh, Betty, I wonder if they re goin to get married and (Going up to porch door, looking off to orchard) live in this house ! (BETTY turns up-stag e to table at window. MRS. BASCOM enters from woodshed with basket filled with jars of preserves, and jar of chicken broth.) MRS. BASCOM. There you are, Sammy! (SAM takes basket) Tell the Deacon that s all I got this evenin , but I can give him plenty more to-morrow, now the jars have got here (Crosses to back of center-table, puts bowl of chicken broth on lower L. corner) I m stewin a new mess to-day. (Takes up bowl of peaches) (JESSIE turns at door.) 30 TURN TO THE RIGHT. SAM. (Puts down basket and takes out book) Do you want anything from the store? (BETTY comes down L. of table.) MRS. BASCOM. (After a look at BETTY. Putting peaches into kettle) I guess not to-day thank you Sammy. SAM. (Picks up basket, crosses to D. L. c.) You don t order hardly nothin lately MRS. BASCOM. (Smiling gaily after looking at BETTY) Well, when our ship comes in, Sammy, (BETTY goes to cupboard and gets bucket of sugar) we ll order enough to make up SAM. It might come in if you d only (JESSIE comes down stage) change your mind about that proposition (MRS. BASCOM smiles.) BETTY. (At R. of table) What proposition, Sam? SAM. (Coming to L. of table) The proposition of lettin me sell the jam for her (JESSIE goes to stand, looks at bible. BETTY crosses to L., puts sugar bucket on table, takes cover off, puts it on chair) Why, if she d only give me the chance of selling it I ll bet I could get her twice what the Deacon pays MRS. BASCOM. (Laughing) Why Sammy! Deacon Tillinger knows what jam s worth a good deal better than you and me. He s been in the Grocery business all his life. SAM. Course he knows, but he ain t lettin on to you. (JESSIE turns.) MRS. BASCOM. (Shocked) Why, Sammy! SAM. No, he ain t, Mis Bascom. Why I could tell you somethin that would make your hair stand TURN TO THE RIGHT. 31 up (MRS. BASCOM and BETTY exchange looks) only I can t, cause I m a business man MRS. BASCOM. (Puts bowl down) Now, Sammy you mustn t say anythin against the Deacon. You know what the bill is I owe at the store and he s never once asked me to pay it ; and he s always sold the peach crop for me and never charged me a penny for doin it. (Puts in lemon) SAM. (Coming back to table) Well, if he s as good as all that, he oughtn t to mind if you get more for your preserves, had he ? MRS. BASCOM. If you want to sell them, Sammy, why don t you speak (Stirring the peaches) to the Deacon about it? SAM. (Going up to door) Niot much! BETTY. (At L. of table, putting lemon squeezer fa bowl) Why don t you let Sam try, if he wants to, Maw? MRS. BASCON. I wish I could, Betty, but the Dea con wouldn t like to have Sammy goin to his cus tomers. SAM. (Coming back to table) I won t sell none of it around here MRS. BASCON. (Surprised) You won t ? SAM. No, Ma am, not a jar MRS. BASCOM. Oh, well, I don t see any harm in it then. (JESSIE back of E. ch.) BETTY. (Picks up bowl) Let him try, Maw ! SAM. Aw go ahead, Mis Bascom ! MRS. BASCOM. All right, Sammy If you don t sell any of it in the village, I ll be glad to have you. (BETTY turns up to table at window.) SAM. (Delightedly) Good! Much obliged, Mis Bascom ; I m through with Tillinger to-night. (Goes to door) People think I don t know nothin , but I got a chance to show em I m a business man now a great chance. 32 TURN TO THE RIGHT. (BETTY puts bowl on table at window; then goes to c. B. JESSIE comes to L. of center-table as SAM exits quickly through the porch.) MRS. BASCOM. (Wiping table) Sammy s a real good boy But sometimes I don t think he s quite right in his mind BETTY. (Arranges dishes at c. B.) I think he is He meant something, you see if he didn t ! MRS. BASCOM. Well, I hope so. Will you help me with the other kettle, Betty! (MRS. BASCOM exits into the woodshed, taking towel with her; BETTY precedes her, JESSIE crosses toward mirror) MRS. BASCOM. (Speaking off R.) Jessie, will you hold the door open, please ! (JESSIE does so. BETTY and MRS. BASCOM re-enter carrying kettle, smoke rising from it, and place it with some effort on the sticks arranged on window sill. The smoke rising from the kettle is seen curling slowly through the open win dow.) JESSIE. (As they enter) Goodness, that s heavy ! you have a long way to carry things from the stove, don t you? MRS. BASCOM. (Puffing a little as she sets down the kettle) I always have the stove moved out into the woodshed in the Summer, it keeps my kitchen so much cooler. (MRS. BASCOM and BETTY move table to c. of window. BETTY hangs up towel, then gets water in measure and brings it to table, puts it R. of table. MRS. BASCOM goes to center-table) JESSIE. My stars, that smells good! You make the most delicious jam in the world, Mis Bascom. Everybody says so. ( Takes teaspoonful of jam and goes to easy chair L M sitting on the arm) MRS. BASCOM. (Puts in sugar. BETTY puts away sugar) I ve made it a good many years now. TURN TO THE RIGHT. 33 (MRS. BASCON, during this dialogue f with scoop sprinkles sugar over the peaches, then pours in some water from measure that BETTY has brought from jink, then takes small bottle from drawer of table and carefully drops in flavoring liquid, then stirs in kettle a moment with long spoon) The worst of it is my stove ain t big enough to stew but one batch at a time. (Looks at clock) I ought to be over to Mis Tuttle s this very minute. JESSIE. (Picks up jar of broth) Is this for her? (BETTY puts away measure.) MRS. BASCOM. Just a little broth I made from that lovely piece of chicken your ma sent us. Betty and me did enjoy that chicken so much ! (She has put in the drops of flavoring extract and put bottle back in drawer of table) Now, Betty, let s get this on the stove! (BETTY and she lift kettle, BETTY also gets wooden bowl from table at window. They exit to woodshed. JESSIE puts spoon on tabe at window, and again holds door open for them) MRS. BASCOM. (As she crosses JESSIE) Thank you, Jessie. (JESSIE crosses to easy chair at L. and gets MRS. BASCOM S bonnet. MRS. BASCOM speaks as she re-enters taking off apron, goes to easy chair) Now, at half-past six, Betty, close the damper and put in another pint of water. (Puts apron on easy chair and picks up shawl and puts it on) BETTY. Yes m. (JESSIE has picked up MRS. BASCOM S bonnet. She puts it on MRS. BASCOM as she stoops. BETTY gets jar from table. MRS. BASCOM is standing at L. c., JESSIE on her L. and BETTY on her R.) MRS. BASCOM. (As JESSIE helps her on with bonnet) Thank you, Jessie. (Kisses her. She puts her arm around each girl and holds them close to 34 TURN TO THE RIGHT. her for a moment) You re dear, good girls, both of you. (BETTY hands her the jar) I shan t be a jiffy, Betty. Don t forget to give my love to your mother, Jessie. (She exits briskly up L. c.) JESSIE. Yes, Ma am. (JESSIE goes up L. of stand to easy chair. BETTY goes to front of table) Your mother is just an Angel, Betty. (BETTY smiles proudly. JESSIE takes apron off easy chair, puts it in hallway. BETTY gets red table-cover from chair by window and spreads it on center-table) My stars! It s gettin near supper time, I must be runnin along. (Goes to mirror over sink and ar ranges her hair) BETTY. You ll be gom past Elsie Tillinger s, won t you? JESSIE. (Pretending she has just thought of it) Perhaps I will BETTY. (At L. of table) You might see her beat| if you do. JESSIE. (Turns front) Huh! Well, it s better than nothin to see somebody else s beau. BETTY. Why don t you come over after supper and go to meetin with us ? JESSIE. (Crosses to D. L. c.) All right! (Takes parasol from rack) BETTY. (Goes R. of table) Thanks ever so much for helpin me JESSIE. (About to open door) Don t speak of it. (There is a knock at the door up L. c. and DEACON TILLINGER enters. He is a tall, stoop-shoul dered, sharp-visaged, sanctimonious old cock of about fifty. His manner can be oily and in gratiating at an instant s notice. He wears a Panama hat, linen duster, black trousers and very wide toed shoes.) BETTY. (Placing chair at L. of table for him) Good-evenin , Deacon Tillinger! TURN TO THE RIGHT. 35 TILLINGER. (Pleasantly) How de do. Why, hello there, Jessie ! (He comes down L. c.) JESSIE. How de do, Deacon. TILLINGER. I ain t drivin you away, be I? (Looks at chair BETTY places for him, but sits in easy chair L.) JESSIE. No, sir, I was just goin . Oh (Comes down L. c.) Do you know if Elsie s home? TILLINGER. Well, I hardly think so. She s been goin it quite some to-day. Her young man s a-visit- in us. JESSIE. (With assumed surprise) Yes, (Looks at BETTY) we heard so? I suppose he must be awful attractive. TILLINGER. Yes, and his family is one of the oldest and richest in the country. JESSIE. Isn t that lovely ? TILLINGER. They ain t been in here, have they? BETTY. (At R. of table) No, Sir. TILLINGER. (To BETTY) I left them a half-an- hour ago, takin 5 a walk through your peach orchard, Betty. JESSIE. (Hastily) Through the Orchard ! Well, (Up to D.) I must be runnin along. Good-bye. BETTY. (Crosses to D. L. c., closes it) Good bye, Jessie. TILLINGER. (Going over to kettle of jam, sniff ing and smacking his lips) Them preserves smell might tasty. I got a whiff of them way out in the road (He finds a spoon and helps himself) They taste better n they smell. (Coming to R. of table c.) Just tell your Maw I m here BETTY. (L. of table) She s gone over to Mis Turtle s. She s sick. TILLINGER Who s sick Mis Tuttle or your Maw? BETTY. Mis Tuttle. TILLINGER. Well, you run over there, like a good girl, and tell her I want to see her a minute. 36 TURN TO THE RIGHT. BETTY. (At door, asks roguishly but a little frightened) Tell Mis Tuttle or Maw? TILLINGER. (Laughing good-naturedly) He! He You re a bright one you be. Your Maw. Now be lively! BETTY. Yes, Sir. (She runs out quickly , without hat) (Left alone, TILLINGER tastes the jam critically, stands chewing and looking front thoughtfully. TILLINGER turns, goes up to get another spoon ful, puts spoon down and looks through window to L. and calls off.) TILLINGER. Mr. Morgan, here I be, come in. (After a moment s pause, MORGAN enters jauntily. He is very fashionably dressed but in excellent taste. Rather swarthy complexion and black hair, exceedingly good-looking and stylish but doesn t conceal feeling very superior to the village and everybody in it.) TILLINGER. (Coming down R. c.) Where s Elsie? MORGAN. (Coming down L. c.) Gone home. She met a girl, Sadie somebody. They went along and I came to find you. (Sniffs) I say, what s that? (Sniffs again) TILLINGER. (Goes to him. Indicates kettle) Er ? Oh ! That s what I was tellin you about. MORGAN. The Preserves? TILLINGER. Yes, she s just finished cookin them. (Goes up, takes spoonful) MORGAN. (Sniffing, goes front of table) Mm! Smells great ! TILLINGER. (Coming down R. of table, offering spoon to MORGAN) Try it MORGAN. No thanks, I don t go in much for sweet stuff. TURN TO THE RIGHT. 37 TILLINGER. Just try it ! (MORGAN stands front of table, tastes the tip end of the spoon gingerly, pauses a moment to let the taste grow. MORGAN starts to hand the spoon to TILLINGER draws it back and eats entire contents.) MORGAN. (Surprised. Hands spoon to TILLIN- ger) By jove! That s ripping, never tasted such stuff. (Goes L. c.) No wonder you say it s a big opportunity. TILLINGER. ( Going up to window, puts spoon on table) What do you think of the orchard? MORGAN. It s wonderful. TILLINGER. (Coming down front of table) You won t find peaches like those nowhere else in the country. Sister Bascom s brother Uncle George they used to call him planted that orchard years ago. He had the greatest knack for growin fruit, and he fussed and dug around them trees right up to the day before he died. MORGAN. (Goes to him) And you re really will ing to turn the place over to me, to run on shares ? TILLINGER. That s what I said. MORGAN. You don t know what this chance means to me, Mr. Tillinger. TILLINGER. Well, no, I don t exactly why a young feller with all your money should want MORGAN. (Sits L. of table) That s it, I haven t got any money. TILLINGER. (Front of table) What? MORGAN. Not a Dollar! TILLINGER. Why your father is one of the richest men in America. MORGAN. Of course, the governor s got tons of it. TILLINGER. I should say so. MORGAN. Well, this is my situation, Mr. Till inger, I m very fond of your daughter. 38 TURN TO THE RIGHT. TILLINGER. (Delighted) I can t say I blame you for that. MORGAN. She is a beautiful girl and a Do you think I stand any chance with her? TILLINGER. Well, I guess you can find that out for yourself. MORGAN. I want to find out. I want to ask her to marry me. TILLINGER. Why don t you. I ain t got no objections. MORGAN. I m afraid. On account of my Gover nor. TILLINGER. What could he have against Elsie? MORGAN. (Rises) Oh, no, it isn t that! He d love her he couldn t help it. TILLINGER. (Catches his eye) See here! Ain t you and your father on good terms ? MORGAN. (After hesitation) No, sir. We re not (Goes L. c.) In fact, Mr. Tillinger, I ve left home. TILLINGER. Left home ! MORGAN. You see, the governor has very strong ideas. He thinks I ought to work and get along on my own TILLINGER. (Quickly) And I agree with him. MORGAN. Well, I confess I never did until I fell in love with Elsie. Then I realized that my father would never consent to my getting married until I d done something to show I could make good, but I know that if I disappeared and went to some out-of-the-way place, so that no one would find me or hear of me, and then, after a while, I came back to my father with some money, that I d earned myself, without any help from him why it would maks such a hit with him that he d be glad to have me marry, and he d give me anything on earth I wanted. TILLINGER. (Thinks) Yes I see. (Goes to R. of table) Well, I m willin to help you, but there TURN TO THE RIGHT. 39 won t be no engagement until you and your father have made up. MORGAN. Of course, Sir. I prefer it that way, and I want to earn some money first. TILLINGER. Well, there ought to be a lot of money in these preserves (To table at window) if the business is handled right. MORGAN. (Sits L. of table) I should think so It s a lucky think the people here haven t thought of it or they d never have sold the place to you. TILLINGER. (Comes to back of center-table) Oh, I m treatin Sister Bascom fair. This ain t nothin she could do. It s goin to take money and business sense to develope the preserve business, and she ain t got neither. Why, she hardly gets enough out of the peaches to pay the interest and taxes. MORGAN. Then how does she live ? TILLTNGER. (Back of table, very religiously) Well, Sister Bascom had a wayward son MORGAN. (Smiling) Like me, eh? TILLINGER. (Dropping the religious tone) He was a good-fer-nuthin j , no-account brat. (Sits back of table) He used to be always hangin* around Elsie MORGAN. (Moving his chair backward) Oh, he did? Still like me, eh? TILLINGER. But I put a stop to it. And right after that he ups and runs away. That s over ten years ago. Sister Bascom felt terrible but she never let on. She d smile an* say, she let him go, and it was a good thing for a boy to go out in the world and fight his own battles, an* she knew he d make his mark MORGAN. (Without interest) Well, has he made his mark? TILLINGER. If be has it don t show much. But he always sent his Maw money to live on, regular as clock-work, after Uncle George died, I ll say 40 TURN TO THE RIGHT. that for him, till about a year ago he wrote em he was comin home an 5 they got all ready for him, an* that s the last they ever heard of him! No word, no money, no nothin ! His Maw sent letters to all the towns where she d heard from him, Sheepshead Bay, Baltimore, New Orleans (MORGAN looks front and smiles ) to the Y. M. C. A s and different Ministers, but she never got no trace of him. Well, from that time she s been gettin behind more and more an* now this year peaches is a drug on the market ; why they re rottin in New York by the car-loads. (Rises R. of table front) She can t get enough for them to pay for pickin and shippin . I m makin her comfortable, tradin her a nice little place givin her a clear title and Five Hundred Dollars just for her equity in this property. MORGAN. (Rising to front of table) Very generous, I should say, and when I think of what you are doing for me TILLINGER. (Front of table) I m doin that for Elsie, she s took to you. MORGAN. Do you think so? TILLINGER. Oh, yes, she s took to you, an I d like you for a son-in-law. You come from a fine family, the kind I want my daughter to marry into. MORGAN, (Shaking hands) Thank you, Sir. I ll run over to the house now and say good-bye. TILLINGER. Good-bye ? MORGAN- Yes, I m leaving on the 6:40. TILLINGER. Can t you stay overnight? MORGAN. No thanks, I d like to but I ve got some business at Belmont Park in the morning. TILLINGER. Belmont Par Horse-racin ? MORGAN. (Laughing) Well, the Governor Starts " Fire-fly " to-morrow in the big stake racCo TILLINGER. I don t believe in hoss-racin . MORGAN. (Places chair he has just left, at table) TURN TO THE RIGHT. 41 Oh, I was raised on it in the blood you know, and " Fire-fly s " the best colt Dad ever had in his stable. TILLINGER. Now don t go riskin money that way, Mr. Morgan Tain t right if you want to go to work! MORGAN. No, Sir, I won t but I ve got to go to New York to-night. (Goes to door, stops and turns back) I ll be back to-morrow noon, ready to begin whenever you say. (BETTY enters hurriedly, out of breath f from door of porch.) BETTY. Maw s comin right over. (Comes above center-table, she sees MORGAN and stops speaking suddenly ) TILLINGER. (Is above table R. of BETTY) This is Sister Bascom s girl! This is (Introducing them BETTY bows timidly) Mr. er He s a friend of Elsie s MORGAN. (L. c. at door) How do you do? BETTY. Pleased to meet you, I am sure. MORGAN. We ve been admiring your orchard. ( To TILLINGER) If I m going to see Elsie and make that train (Starts for door) TILLINGER. I ll drive you over My buggy is right out there. MORGAN. Thanks. Good-evening. (He exits door to porch and L.) TILLINGER. (Crossing to door) You can tell your Maw, an save me waitin . Say the deed for this place is all ready an I ll look in before meetin* an have her sign it. (TILLINGER follows MORGAN off, closes door. BETTY, at the word deed, looks front with a startled expression, then makes effort to say " Yes Sir " steadily. When TILLINGER has gone 42 TURN TO THE RIGHT. she goes to window up c. and looks off as though watching MORGAN get into the buggy. It is dusk, the last rays of the setting sun shines in her face. As she turns from the window she stands a moment in deep thought her hands nervously tivitching her handkerchief or bit of her dress. The clock strikes 6 : 30. With sud den thought she glances at the clock, takes quart measure from sink, pumps some water into it, pours some out as if getting just the proper quantity, and exits into woodshed. The stage is empty for several seconds. MRS. BASCOM enters from door of porch, puts empty jar on table at window, comes down L. c., going toward parlor door, as BETTY enters from wood shed carrying two lighted lamps which che places on the center-table.) MRS. BASCOM. (Looking about the kitchen) Is the Deacon in the parlor, Betty? (BETTY is stand ing R. of table looking front; she does not answer) Betty ! BETTY. (Going to MRS. BASCOM) He s gone, Maw ! (BETTY helps her remove hat and wrap) MRS. BASCOM. Oh, that s too bad BETTY. He had to take Elsie s beau to the depot but he s comin back before meetin . MRS. BASCOM. Oh I m sorry I kept him waitin , (BETTY takes her mother s bonnet and shawl, hangs them on rack at D. L. c. after assist ing her to sit in easy chair) Thank you dear. MRS. BASCOM. (She puts on her spectacles and takes up her work-basket) Did you look after the Preserves, Betty? BETTY. (Goes to R. of table) Yes m. MRS. BASCOM. Sure the fire ain t too hot? BETTY. No, ma am. It s just right. (Takes lamp, from table) Do you still want this in the window, Maw? TURN TO THE RIGHT. 43 MRS. BASCOM. Always, Betty, every night, dear. (BETTY puts lamp in window the curtain on either side of it is arranged so it leaves an opening wide enough to let the light shine through. MRS. BASCOM sighs, puts her work basket on shelf of stand and takes Bible from stand. It opens at a place where it is apparent it has been opened many times before. BETTY, after watch ing her mother open the Bible, takes other lamp from table and places it on stand L.) BETTY. {Crossing to stand with lamp) Mr. Tillinger left a message, Maw! MRS. BASCOM. (Eyes on Bible) Yes, dear? BETTY. (Standing back of stand, hardly daring to trust herself to speak) He said the the deeds was already (MRS. BASCOM looks up from bible Her hand grips the arm of the chair tightly. BETTY takes chair from back of center-table and places it R. of table, then takes chair from L. of table and places it at c.) and he ll bring em over for you to sign after the store s closed up. (MRS. BASCOM detects the quaver in BETTY S voice. Looks up at her and smiles) MRS. BASCOM. Well, won t it be nice to have that all settled and done with? We re goin* to be real cozy in that little cottage, Betty. BETTY. (Coming toward her mother) Cottage? It s a shanty ! MRS. BASCOM. (Brightly) Oh, no, dear, we can fix it up real nice and comfortable. (BETTY turns front) Besides we ll be able to manage much better over there and, as the Deacon says, this place is too much for us to keep without without a man around BETTY. (Suddenly breaking down and kneeling beside MRS BASCOM S chair) Oh, Maw! If our; Joe was only here. 44 TURN TO THE RIGHT. MRS. BASCOM. (Strokes BETTY S head tenderly) We ll hear from him some day, I know we will Why, I keep prayin and prayin for it, and every time I pray I jest know my prayer is goin to be answered. BETTY. (Tearfully) People don t always get what they pray for, Maw. (Turns face up stage) Lots of em don t. MRS. BASCOM. (Trying to cheer BETTY up, she puts her hand under BETTY chin and raises her head) Well, then, perhaps it ain t right that they should. BETTY. (Looking at her mother) And you do believe we ll hear from Joe, Maw honestly MRS. BASCOM. I know it, Betty (Looks front) I know it! (MRS. BASCOM puts her hand on the Bible, bows her head, BETTY zvatching her. Pause. JOE S face appears, looking into the kitchen from the window at c., then disappears. There is an other pause, and footsteps are heard on the porch. BETTY rises and goes up towards win dow. There is a knock at the door L. c. BETTY, drying her eyes, goes to the door and opens it. JOE stands in the doorway. He still carries the two bundles and appears just as he did in the prologue, except his trousers and shoes are covered with dust. JOE and BETTY stare at each other. MRS. BASCOM puts spectacles in work basket, on shelf of stand, and the bible on top of stand.) JOE. (Comes down L. of table, lays bundles on it and turns to his mother. MRS. BASCOM turns and gazes at him) Hello, little Lady! (MRS BASCOM slowly rises, dazed expression on her face. Goes to him and puts his hands on his TURN TO THE RIGHT. 45 shoulders scarcely believing it is JOE then she puts her arms about him. JOE, almost timidly, puts his arms about her. No one speaks A pause JOE stands awkwardly embarrassed, as if he had forgotten what motherly affection is like. MRS. BASCOM takes his face in both hands, looks into his eyes then kisses him.) (NOTE: To get the effect of the above business, JOE should look much taller than MRS. BASCOM. She should somehow appear more frail, and smaller than before.) MRS. BASCOM. (Half whispering) Joey! My Joey! (Happily) And you come right in the middle of my prayer BETTY. (BETTY has come down R. of table) Joe ! JOE. (Turns to BETTY) Why this ain t Betty? (BETTY throws her arms around his neck and MRS. BASCOM after a glance of pleasure at JOE and BETTY suddenly turns to easy chair, kneels beside it, bows her head in prayer. BETTY and JOE do not see her) Why you re all grown up, ain t you, kid? A lady, and pretty too! BETTY. (After smiling at compliment) Where have you been, Joe? Sick? JOE. (Reassuringly) No I ve been fine never better. BETTY. (A little sharply) Then why ain t you wrote us? It s been a whole year since we heard from you. JOE. I know but you see, kid, I went away unexpectedly BETTY. Why? JOE. Well, it was something I had to do. Couldn t get out of it. BETTY. But why didn t you let us know ? JOE. I was afraid it might worry you. BETTY. But we have worried, Joe we ve worried terrible 46 TURN TO THE RIGHT, JOE. (Half to himself) You ve had nothin* on me. (Sincerely) I m mighty sorry, kid, but I m back now and you re both here and well thank God! Why Little Lady (He turns to MRS. BASCOM) I ve been (He sees she is praying, stops speaking and he and BETTY both stand silently watching MRS. BASCOM. After a little pause. She looks up smiles and sinks back on the floor. JOE raises her from a sitting position, as she wipes her eyes, smiling joyously) How have you managed to live without me sendin you anything? MRS. BASCOM. We ve got on splendid had every blessed thing we wanted exceptin you. JOE. That s the best news I ve heard in a year. I ve imagined all kinds of things happening to you MRS. BASCOM. The idea! The Lord wouldn t let us want, Joe. JOE. (Going to table and taking up bundle con taining shawl) Here s a little present I brought you (Hands it to his mother, then goes up and closes door) MRS. BASCOM. For me? Oh, Joe! (She crosses to BETTY R. of table she and BETTY unwrap it excitedly MRS. BASCOM unfolds the shawl) Look, Betty, ain t it lovely ? BETTY. (Seeing ticket pinned on it) What does the card say? MRS. BASCOM. Loan Bureau No. 9769. JOE (Quickly taking the card and tearing it &p) Oh, that s nothing it s a new kind of store They call it loaning, so if you want your money back, or to exchange it MRS. BASCOM. (Crossing to R. puts shawl on chair) I don t want to exchange it it s beautiful. (BETTY looks at the other bundle JOE notices it.) JOE. ( Taking up bundle) Kid, I got you this TURN TO THE RIGHT. 47 BETTY. (Taking bundle suddenly) Oh, thank you, Joe. (MRS. BASCOM and BETTY unwrap ib BETTY holds it up.) JOE. You see I d forgotten how big you are. We won t count this. (Takes the doll puts it on table) I ll get you a present later. BETTY. (Picking up the doll) Oh, Joe, may I give it to Mis Mason s little girl? JOE. Sure! (Going front of easy chair) BETTY. She ll go wild over it. MRS. BASCOM. (Arm around BETTY and smiling with approval) Betty s a dear good girl. But Joe, how did you get here? The 7: 10 ain t in yet, is it? JOE. I didn t come by train. MRS. BASCOM. (Crossing to JOE, L. c.) Then how Joey you ain t got one of them automobiles? BETTY Oh, Joe have you? JOE. (Hesitating) No, I ve been walkin BETTY. (Disappointed) Joe ! MRS. BASCOM. Walkin ? JOE. Yes, I like to walk and this is the first good walk Fve had for a long time. MRS. BASCOM. I should say you had been walkin Just look at the dust on you ! Oh, you poor dear boy. (She gets whisk broom from shelf on L.) You must be just tired to death. JOE. No, not a bit Why it was great comin* through the country seeing all the trees and brooks and flowers it was great. (MRS. BASCOM starts to brush his clothes) Here! Here! I ll do that. (He takes the brush from her f goes out on the porch) Say, what was that I smelled when I was going past that window? MRS. BASCOM Oh, that s a mess of my peach preserves. (BETTY puts doll on cupboard and the paper under the cupboard, then places JOE S hat on 48 TURN TO THE RIGHT. the rack. MRS. BASCOM puts shawl on easy ckair) JOE. (On porch, brushing his clothes) Well, believe me, it s some mess. Huyler s would smefl like a delicatessen compared to that. I noticed it way down the road and it smelled great too. Is that perfume (He hangs up brush and comes down L. of stand) to put on women s handkerchiefs, or is it to eat? MRS. BASCOM. (Closes door, then, with startling thought) What am I thinkin of, I wonder, standin around here (Goes to JOE, putting her hands on his shoulders) You re hungry, aren t you, Joe? JOE. Well, a little Have you and the Kid had supper ? MRS. BASCOM. Yes, but we can get you somethin* in a jiffy. (Crosses to R. c.) JOE. Don t go to no trouble. MRS. BASCOM. Trouble! (She looks at him tenderly and smiles) Why, that s real funny, Joe Trouble. (Goes to c. B.) (BETTY gets white table cover from drawer of center-table, spreads it over the red one on table, then starts to set the table. At right of table she places JOE S plate, cup and saucer, knife and fork.) JOE. (Crossing to mother) Can t I help? MRS. BASCOM. Land sakes, no do sit down and rest yourself please do. (MRS. BASCOM stands R. of chair that is R. of table, JOE comes to it and places one knee on it, and places his hands over his mother on the back of chair) JOE. I can t understand how you managed to get along all this year. How did you do it? MRS. BASCOM. Deacon Tillinger gave us all the credit we wanted. TOE. Tillinger ! MRS. BASCOM. Oh, he was awful good, Joe. TURN TO THE RIGHT. 49 JOE. Well, can you beat that! But anybody d be good to you, Little Lady. They couldn t help it, even Tillinger BETTY. (At back, and L. of table) We ve gone into debt JOE. Don t let that fret you. I ll get even with Tillinger first thing I do. BETTY. (Front of table) Oh, Joe, will you? JOE. (Earnestly) You bet I will. BETTY. Oh, Maw, do you hear that? It s all right now It s all right, Joe ll pay him. Won t you, Joe? JOE. Certainly I ll pay him. BETTY. Oh, that s fine. He was goin to take this place and make us get out and move into that miserable Jones house. And now we won t have to Oh, Maw, I m so happy! (Crosses to her mother) He s to bring over all the things for Maw to sign to-night. You know that ll make him own the farm but now you can pay him and Maw won t have to sign them. (MRS. BASCOM goes to c. B., gets cruet and glass of spoons) I ll run right over to the store and tell him. (Crosses towards door L. c.) JOE. (Stopping her) No, hold on a minute, Kid. You needn t do that. I d better see him myself later on. (Turns R.) MRS. BASCOM. (Going to center-table with cruet and glass of spoons, puts glass at R. of T.) Oh, Betty, do let s give your brother time to turn around an* get his breath before we bother him with all our worries. JOE. How much is it we owe Tillinger ? MRS. BASCOM. (Back of center-table) We can talk about that after you ve had your supper. JOE. Do we owe him as much as that ? (MRS. BASCOM laughs.) SO TURN TO THE RIGHT. BETTY. (L. of table) It s a lot, one hundred and twenty-eight dollars and sixty cents. MRS. BASCOM. (Anxiously) Is it? Where s Ife bill, Betty? BETTY. (Goes to stand) But there s three dozen jars of jam to come off of that (Takes bill from drawer of stand. MRS. BASCOM goes to c. B. gets sugar bowl and a glass and places them on c. T.) that s thirty-six times ten Thirty-six dollars Oh, no! (Her face falls) It s only three dollars and sixty cents. That leaves (Looks at bill) just one hundred and twenty-five. JOE. He was going to take this place on account of a piking hundred and twenty-five dollars? (MRS. BASCOM and BETTY look at each other, in admiration of JOE.) MRS. BASCOM. (Comes down between table and chair) Well, I don t suppose a hundred and twenty- five dollars seems much to you JOE. Oh, no, it ain t nothin to me (Turns K.) (BETTY puts bill back in drawer. Comes back fo L. of table.) MRS. BASCOM. You see we expected a lot from the peach crop this year. It s about the biggest we ever had. But now the market s so over-stocked, the Deacon can t sell ours at any price, and he has always thought this farm was too big for Betty an* me. JOE. (With determination. Hands on her shoulders) Well, you re going to stay right here. MRS. BASCOM. It will be lovely for you to pay him when he comes to-night. The thought of leavin here has almost broke Betty s heart. BETTY. (Goes to her) It s almost broke yours too, but you wouldn t let on,, TURN TO THE RIGHT. 51! MRS. BASCOM. (Hands on her shoulders) Here we are, standin* around and lettin Joe starve to death. BETTY. (Going into woodshed) I can get his supper, Maw. MRS. BASCOM. (Following her off) We can both get it, dear. We can both get it. (Looks back at JOE from doorway) JOE. (Stands facing front) A hundred and twenty-five dollars ! (Puts his hand in pocket and pulls out a one dollar bill and some change) One hundred and twenty-three, sixty-five shy. (He unconsciously feels in vest pocket, suddenly looks front, surprised draws out two one dollar bills. He quickly feels through all other pockets then, with sudden comprehension, his face breaks into a smile) Muggs ! (Goes toward L. he notices Bible on stand) Well, well well (Goes over to it and picks it up Looks at it Shakes his head, smiling. Opens it at the family page and reads ) Joseph Bascom, born April ist, (He closes book, puts it back, puts his hands in his pockets and walks about the room in thought, turns up stage and goes to win dow, looks at lamp and the way the curtains are drawn; turns front with the thought that the lamp was put in the window for him goes to the pump and tries it. His eye catches sight of the clock on chimney R. He stops, smiles) Hello, clock! Remember me? (Goes to c. B.) One hundred and twenty-five dollars! (The porch door opens sud denly and ELSIE enters.* JOE turns they stand look ing at each other for a moment) (ELSIE TILLINGER is an extremely pretty girl of about twenty, dressed simply but attractively and in excellent taste. She wears a light Spring gown but no hat or gloves. She is a decided blond. She closes the door before speaking.) ELSIE. I beg pardon I (About to turn away 5 2 TURN TO THE RIGHT. when she recognizes JOE. She stands limp and be wildered, gazing at him) JOE. Elsie Tillinger! ELSIE. (Almost hysterically) Joe! JOE. Elsie! (She looks at him half bewildered a moment, then rushes towards him as if to embrace him. JOE meets her in front of the table and not noticing her movement, with sudden thought of what he is, backs away a step, and takes her hand. Shaking hands) How do you do, Miss Elsie? ELSIE. (Her expression changing) Miss Elsie! JOE. (With embarrassed laugh) Well, I thought I ought to say that now, I almost said Miss Tillinger. (She is still looking at him a little pause ) You see we re grown up now and I I m Oh, I m so glad to see you I don t know what I m talking about yes (Laughs) I beg your pardon, won t you sit down (Places chair R. of T.) ELSIE. (As she sits) I m just beginning to get my breath back. I can t seem to realize that you re here. Did anyone know you were coming ? JOE. Yes, I did. ELSIE. (Laughing) But no one else not your mother or Betty ? JOE. No, I surprised them ! ELSIE. How happy they must be. Oh, Joe. it s been the longest time since they ve heard from you JOE. (Serious) It has seemed like a lifetime to me. (Lighter) But I m back now (Looks about) and everythin here looks just the same as if I hadn t been away at all. Why when I came by the well out there it looked so familiar I bowed to it. (She looks away) That s where you stood, Elsie, the last time I saw you ELSIE. (Face turned away) Yes JOE. I remember the dress you had on (She looks at him) it wasn t as long as this one (Laughs) but you look now as I imagined you would only a Jot more so. TURN TO THE RIGHT. 53 ELSIE. (After a little laugh) And you ve never once written to me in all that time JOE. I couldn t, Elsie I (He walks away from her, up-stage; then back to her, speaks with light tone again) The last I heard of you you were away at school. ELSIE. How did you know ? JOE. Mother used to write me every letter had something about you. ELSIE. And I used to get her to read me your letters before they stopped coming. (He looks at her) And then I d always hear of the splendid way you were getting on. JOE. (Bitterly) Yes? ELSIE. How you went to church so regularly what a fine man the minister was and your friends were all such good religious people. JOE. (Shaking head sadly) And she d believe them? ELSIE. Yes and I was glad you wrote them they d make her so happy. JOE. That s a fine way to make her happy ! ELSIE. (Turning away) It it was much better than to get no letter at all. JOE. (Looks at her) Elsie, I never wrote to you because because I was a failure a miserable, hope less failure! ELSIE. (Rises, she looks at him sympathetically) But, Joe, you re young ! There s plenty of time to start over again. JOE. (Close to her) You think so? ELSIE. Of course there is. JOE. (Thinks of prison again his eyes slowly falling) I wonder! (BETTY enters from woodshed, brings bread and large pitcher of milk.) BETTY. Hello, Elsie ! He s back. 54 TURN TO THE RIGHT. ELSIE. (Smiling) So he s told me. ( BETTY goes back of center-table with bread and milk) I don t suppose your mother s happy ? BETTY. (Laughing) Almost out of her mind. (Puts milk and bread on table c. ELSIE starts for porch door) Oh, don t go, Elsie. ELSIE. This is no time for callers. (Turns at door) I only ran in to ask you to stop by for me on your way to meeting, but probably you re not going now. BETTY. Oh, yes, we are, and Jessie s comin over. ELSIE. Then why don t you two stop for me? BETTY. (Puts pitcher and bread on table at window) All right! ELSIE. I m awfully glad you re back, Joe. (Opens door) Remember what I said ! JOE. I m thinkin of it now. ELSIE. (Leaning against door) Perhaps you ll come to meeting? JOE. Perhaps, I need it. ELSIE. No doubt ! (She laughs as JOE looks at her, and exits) ( JOE goes quickly up to window and looks after her.) BETTY. (Preparing table moves JOE S plate to c.) The fellow Elsie s goin* to marry was here to-day (JoE turns quickly, and comes down R. c. BETTY, still busy) and Deacon Tillinger introduced me to him. He s a New Yorker and in society, and his father s a millionaire! (JoE is staring front) I think the Deacon expected to give them this place when they re married. But he can t now. (BETTY goes toward JOE, trying hard to think of something to say) Your supper ll be ready before long (Crosses to door R.) Are you starvin ? JOE. No no don t hurry. BETTY. (At woodshed door, turns to him) It s awful funny, you re my brother and somehow I don t feel acquainted with you at all. TURN TO THE RIGHT. 55 JOE. Well, we ll get used to each other in time. (Kisses her) BETTY. I I must go back an* help Maw. (Exit to woodshed) (JoE stands in thought. A knock on porch door. JOE goes to door, opens it. MUGGS and GILLY stand outside.) JOE. (In startled voice) You two! MUGGS. (As they enter) Well, I ll be GILLY. (Closes door is R. of MUGGS) Pete! JOE. Ssh! (Looks R., continues in low tone; is R. of GILLY) What the devil do you fellows mean by following me? ( MUGGS and GILLY stop short.) MUGGS. We didn t follie yer. JOE. Don t try to kid me. GILLY. No on the level, we didn t. MUGGS. We hops a freight for the big town* gits in an empty an what do they do but switch us off on a siding over there and leave us flat. It s dark an we re broke an starvin so we quits the empty to look for a hand-out JOE. (Not believing it) Too bad, boys, but I m afraid you ll have to take a sneak. (Crosses to door R. and listens) MUGGS. ( MUGGS and GILLY come down L. c.) Oh, this is where the dame is. GILLY. Sure. ( GILLY and MUGGS look at each other) MUGGS. What d you think of that. A rube dame! Come on, Gilly. (Start for porch door) JOE. I m sorry, boys. (Comes to them back of table) GILLY. (Hesitating a moment) Was it all right, Pete? She hadn t forgot yer? 56 TURN TO THE RIGHT. JOE. (Shaking head impatiently) No. GILLY. (Shaking JOE S hand) We didn t mean to butt in on the level we didn t (MRS. BASCOM enters from the woodshed, with dish of lettuce.) MRS. BASCOM. (As she enters, comes R. of table) Joey, do you like (Sees MUGGS and GILLY) Oh! (Pause) ( MUGGS and GILLY take off hats.) JOE. Little Lady, these are a couple of pals of mine business acquaintances this is Mug M Mr. McCarthy (Indicating MUGGS) and this is Mr. Gilbert. Fellows, this is my mother. (The boys stand astonished.) MRS. BASCOM. Well well well. (Puts dish of lettuce on table and going to them L. of table, smiling) I m real glad to see you, Mr. Gilbert. (She shakes hands with GILLY. JOE comes down R. of table) GILLY. (Much embarrassed) Thank you, Ma am. MRS. BASCOM. And you too, Mr. McCarthy. (Shakes hands with him, then crosses to parlor door. MUGGS bows and smiles follows her with his eyes) Won t you both step right into the parlor ! Mur,GS. Oh, no, ma am, no. We we got to be gettin on. GILLY. We re in a sort of a hurry. (Starts for door) MRS. BASCOM. (Surprised) Oh, ain t that too bad! (Crosses to JOE at R. of table) Joey, dear I hope they ain t goin because they re afraid they took me by surprise. (Comes back to MUGGS and TURN TO THE RIGHT. 57 GILLY) Joe didn t tell me you was comin but he has only just got here himself, an I hain t given him a chance to tell me much of anythin yet. GILLY. Well, you see he didn t know we was comin*. MRS BASCOM. Oh! MUGGS. No, ma am, we blows in unexpected. MRS. BASCOM. Surprised him. GILLY. Yes m. MRS. BASCOM. (Goes to JOE R. of table) Well ain t that nice! (Turns to GILLY and MUGGS) Can t you stay to supper? (JoE goes up back of table. MUGGS and GILLY look at each other.) MUGGS. Supper ! MRS. BASCOM. Joe s just goin to have his. I got plenty can t you? (She looks smilingly at MUGGS and GILLY. MUGGS smacks his lips) GILLY. (Glancing at JOE) Well, we re much obliged, ma am, but we am t exactly er hungry. ( MUGGS and GILLY start for door.) JOE. (Watching them and relenting) I guess you better stay. You can spare that much time. MRS. BASCOM. Oh, do, that ll be lovely, an then Joe won t have to eat alone. (GiLLY and MUGGS look anxiously at JOE.) JOE. (Signaling that it s all right) Come on stay! MUGGS. Why, sure, if he s got to eat alone we ll keep him company won t we Gil Mr. Gilbert? GILLY. (Looks at MUGGS, then at MRS. BASCOM) I I don t mind. MRS. BASCOM. (Placing chair R. of table) That s 58 TURN TO THE RIGHT. real good of you. Just set right down. I wont be no time. (She exits into woodshed) ( MUGGS and GILLY stand motionless a moment, JOE watching them.) MUGGS. (Looks after MRS. BASCOM) Your mother (Looks front) And we thought it was a dame! Say (He looks about the kitchen) Can t we clean up a little ? JOE. Sure (Pumps basin of water at sink. MUGGS hangs his hat on rack at door, GILLY puts his on easy chair, they start for sink, and stop half way as JOE is pumping the water) Help yourselves. ( MUGGS and GILLY go quickly for basin, and wash at the same time. GILLY crosses in front of table and is R. of MUGGS at the sink. JOE gets towel from cupboard; they each use an end of it, during which following is spoken.) JOE. Fellows, I d rather drop dead than to have my mother find out about me, and your being here scares me to death. MUGGS. (Crossing to him) Listen, Pete JOE. (Handing towel) Nix on that "Pete." My name s Joe, Joe Bascom and I m in business* (Crosses, takes chair by window and places it L. of table) GILLY. What business ? (GiLLY and MUGGS are both wiping on the same towel. GILLY starts towards JOE with his end of towel. MUGGS pulls him back.) JOE. I dunno just business. Don t try to make it one thing or another. You live in New York but don t give any address, see ? TURN TO THE RIGHT. 59 (GiLLY throws towel in sink, then realising what he has done, takes it and hangs it on the towel rack by the window. ) MUGGS. (Crossing to JOE) Wegotyer. We got yer. Don t think we re goin to get you in wrong. Why, I d rather cut me throat than have her get wise. GILLY. Me, too. Perhaps we d better sneak now. JOE. No, wait for the chuck but for God s sake be earful. MUGGS. (Seeing kettle of preserves at window, leans over table and smells it. To GILLY) That s it (Again leans over and sniffs it) that s the stufr, that brought us here. GILLY. (Goes to kettle) That s what it is We smells it way up the road and we follows the scent right to this door. (Crosses at back and down to easy chair L. Gets hat) MUGGS. (Indicating off R.) She made it, didn t she? JOE. Sure ! MUGGS. (Looking front and smiling) Somehow you d know it was her. GILLY. (Looking front thoughtfully) The way she smiles at us that s what I keeps thinkin of (Holding out his hand as he remembered MRS. BASCOM had done) " I m real glad to see you, Mr. " Say! What s me name? JOE. (After a moment s thought) Gilbert Mr. Gilbert. GILLY. Yes, Gilbert Have I got a first name ? JOE. What s your own first name? GILLY. When I was a kid they called me Dudley. MUGGS. Mine was Lucius. JOE. (Smiling) Well, Dudley Gilbert and Luc ius McCarthy. MRS. BASCOM. (Off R,) All ready, boys. (A pause) 60 TURN TO THE RIGHT, GILLY. Some voice. MUGGS. "Boys." JOE. Sit down, fellows. ( MUGGS goes to chair R. of table, JOE above table, and GILLY puts hat m easy chair, then goes L. of table. BETTY enters with dish of potatoes. As she holds the shed door open the sound of chicken frying outside is heard. GILLY about to sit, stops and looks at her admiringly. MUGGS sits, his back to her. BETTY stops at door) Fellows this is the kid sister, Mr. Gilbert. GILLY. (Recalling what MRS. BASCOM said, and with hand extended) " I m real glad to see you." BETTY. Pleased to meet you, I m sure. (Puts potatoes on c. B.) JOE. ( MUGGS looks at JOE, then rises) Oh ! And Mr. McCarthy BETTY. Pleased to meet you, I m sure. (She takes plates, knives, forks, etc., from cupboard, for MUGGS and GILLY. MUGGS. So am I. (Offering her his seat) You take this chair. BETTY. Oh, no, thank you. Maw an* me have had supper. (Places plate for MUGGS, then crosses and does same for GILLY. Gets the dish of potatoes from cupboard and crosses to L. of JOE) (MRS. BASCOM enters with plait er of broiled chicken.) MRS. BASCOM. (Goes to R. of JOE) Sit right down, boys Land sakes, I m calling you " boys." ( MUGGS and GILLY sit.) JOE. That s all right, mother. They don t mind. GILLY. Oh, no, ma am. MUGGS. (Looking at BETTY) We we like it. (BETTY stands above table on JOE S L., holding dish TURN TO THE RIGHT. 61 of potatoes. MRS. BASCOM on JOE S R., JOE starts to take dish of chicken from his mother.) MRS. BASCOM. (Still holding the platter) You ain t asked the blessing, Joey, dear. JOE. Oh! (MRS. BASCOM and BETTY close their eyes, JOE glances at MUGGS and GILLY, then bows his head. They look at him surprised. He secretly motions them to do the same. They bow their heads. JOE numbles a blessing that ends with an audible "Amen." GILLY still keeps head bowed. They look at him and MUGGS, reach ing under table, kicks him. GILLY quickly straightens up. On " Amen " BETTY comes round to MUGGS and helps him to potatoes, then turns back to GILLY and does the same. Then helps JOE to potatoes. JOE helps them to chicken. MRS. BASCOM gets large pitcher of milk and glass from table at window.) MRS. BASCOM. (To MUGGS) Wouldn t you boys like a nice glass of milk ? MUGGS. Well, I ain t never used it much. MRS. BASCOM. (Filling glass and offering it to him) Well, you try that. MUGGS. ( MUGGS does so gingerly looking at GILLY in surprise) Gee, that s bully ! (Looking at MRS. BASCOM) Ain t there nothin in it but milk? MRS. BASCOM. Phoebe gives real good milk. MUGGS. Phoebe? MRS. BASCOM. Yes, she s a Jersey. ( MUGGS drinks) Pass Mr. McCarthy the bread, Betty. (Takes glass from table at window and then goes to GILLY) You ll have a glass of milk, Mr. Gilbert? (BETTY goes to cupboard and gets jar of jam.) GILLY. Have you got plenty? 62 TURN TO THE RIGHT. MRS. BASCOM. Land sakes, yes. (Filling glass for GILLY, then puts pitcher on table at window, empties and hangs up wash basin) BETTY. (Comes above MUGGS shyly to him) Will you try some of Maw s preserves ? ( Offering him jar, after taking out the spoon, which she later hands to GILLY as she crosses to L. c.) MUGGS. (Takes preserves and gets spoon from holder) Is that what we smelled? (Puts a spoon ful on plate) BETTY. I guess so, Maw s been cookin it to-day. MUGGS. (Tasting it) Say, that s too good to eat. It ought to be set in a pin. (BETTY laughs, crosses to L. c. GILLY reaches over and takes jar of jam and helps himself liberally with spoon BETTY hands him.) MRS. BASCOM. (R. of JOE) Have you got every thing, Joey dear? JOE. Everything, Mother (His arm around her) and it s bully too. I ve been thinkin* I might get my friends to change their minds and stay overnight. MRS. BASCOM. (R. of JOE) Won t that be lovely ! (To MUGGS and GILLY) I do wish you would. JOE. Have you got a place for them ? MRS. BASCOM. Why, yes, Uncle George s room, if they don t mind sleeping together. ( GILLY and MUGGS look at each other.) MUGGS. Oh, no, mum. We don t mind. MRS. BASCOM. It s a nice wide bed Uncle George died in it. (Arranges cloths on hanger) MUGGS. Well, Uncle George ll have nothin on me. MRS. BASCOM. (Goes to hat-rack) Now the boys ll want to talk, Betty, an we must get ready for meetin*. TURN TO THE RIGHT. 0$ (BETTY starts for door L.) MUGGS. (Rises, GILLY does the same, but does not turn around) Good-even , Miss Bascom and thank you BETTY. (Smiling at him) You re welcome, I m sure. (She exits door L V up-stairs) ( MUGGS sits again at table, GILLY does the same, MRS. BASCOM gets hat and wrap from hat-rack, and shawl from easy chair, is about to follow BETTY out but stops and comes back to JOE.) MRS. BASCOM. (L. of JOE) Joey, dear, can t you come to meetin with us? It would be so nice on your first night home. JOE. Why, of course. MRS. BASCOM. Perhaps you boys would like to come too? GILLY. Where is it at, in a church ? MRS. BASCOM. No, it s in the Chapel. GILLY. Oh ! MUGGS. We ll take a chance if you want us to won t we Gilbert ? GILLY. Sure. MRS. BASCOM. Oh, that s lovely. (Goes to door L.) Now, call me, Joey, if you want any thin*. JOE. All right, mother. (MRS. BASCOM turns and looks at them with a happy smile, she exits D. L.) MUGGS. I ve had some swell dreams in my life but nothin like this! (They all eat thoughtfully) What about havin us guys in de church, kid? JOE. It s all right, I guess. It would make an awful hit with her. What do you think, Gilly ? GILLY. Go to church? Why I d go to hell for that old lady she she No wonder you was 64 TURN TO THE RIGHT. worryin all last year. I never seen no one like her. MUGGS. (Deep in thought, looking front) Betty! (JoE and GILLY look at him. MUGGS, suddenly " coming to ") Betty that s the sister s first name, ain t it kid? JOE. Yes, that s it. MUGGS. I was try in* to remember it. (Eats) Suppose the gang could see us now wid our milk an jam. GILLY. I didn t know there was such chuck in the world. MUGGS. Us lookin fer a bum hand-out and fall- in up against this Tiffany food. GILLY. And how can everything be so clean? (About to drink from glass when he notices it is empty. Rises, goes and fills glass from pitcher on table at window) JOE. It s quite a farm. Got a big peach orchard on it Finest fruit in the State. (Gilly sits again, L. of table) MUGG. And you re goin to stay here an run it? JOE. I was but I don t know now. My mother and the kid was figurin they d got to get out just before I come. ( MUGGS and GILLY look at each other) I got to dig up some coin somewhere, right away. MUGGS. What s the matter? JOE. Well, my mother owes a bill to the village Shylock, see ? And before I am wise as to how she stands I make her think I m loaded down with coin and can settle everything up for her. Then I find out this guy has got it all framed to take this farm I don t know exactly how, but I know him, and it s a pipe he s doped out some way he can do it by law. GILLY. How much you got to get ? JOE. The bill my mother thinks I m goin to pay to-night is a hundred and a quarter. MUGGS. (Rising quickly, gets hat from hat-rack) When s the next train for the Bronx? TURN TO THE RIGHT. 65 JOE. No, nothin doin , Muggs. MUGGS. (Comes back R. of table) You needn t be in on this at all. Gilly an* me ll have a roll for you as soon as we can get there an* back. GILLY. (Rising) Sure. I d commit murder for that old lady. JOE. Sit down. Sit down both of you. ( MUGGS and GILLY sit) I know you d both go through for me but I wouldn t let you. I m goin to talk with this guy first an see if I can work it out some way. It s no cinch goin to him because we love each other like a couple of rattlesnakes. I ran away from home on his account. MUGGS. How was that? JOE. (Hesitating) Well I I used to like his daughter. (Looking front) Now I ve got to go to her old man an* beg for mercy. MUGGS. But if he turns you down and you can t give him that hundred an twenty-five bucks to-night, your mother will get wise that you are four-flushing, won t she? JOE. That s what I m afraid of. GILLY. (suddenly) Is there anybody in this town got a hundred and twenty-five ? JOE. Only this guy we owe it to he s got a bar rel of it. GILLY. Where does he keep his barrel ? MUOGS. Say, listen here, Joe I could take it out of his shoe and he d never feel it. GILLY. Aw, what er you talkin about them rubes don t never carry a roll they bury it. JOE. I wouldn t stand for anything like that and if I would you could never get near any of Till- anger s coin. MUGGS. If he keeps any of it in this town, Gilly could (Indicating GILLY) Why that guy taught Houdini all he knows. GILLY. Tillinger, is that his moniker? JOE. Yes, Deacon Tillinger. 66 TURN TO THE RIGHT. MUGGS. What is he a fanner? JOE. No, he s got a big store groceries (GiLLY looks front) and most everythin else. (Rises, gets hat from hat-rack) I ve got to go an* see him now and try to keep him away from here. I d better go and tell my mother I m going out for a walk. I ll be back in a few minutes. (Exits out door L.) MUGGS. (rising) We got to help the kid out some way, Gilly. GILLY. How yer goin to help him if he won t stand fer it? MUGGS. Dig up a roll an* tell him we borrowed it. GILLY. (Rising) We might take a look at this guy Tillinger s dump. (BETTY enters from upstairs door L. She has changed her dress and now wears a very simple street costume, her best.) BETTY. Excuse me, but I saw a friend of mine comin . (She goes up to door of porch. MUGGS crosses to L. She opens door) Come in, Jessie. JESSIE. (Outside) Hello, Betty. Elsie just told me your brother was back. My it must have been a (She enters, sees MUGGS and GILLY. BETTY is very important and self conscious) BETTY. This is Miss Strong, Mr. McCarthy. MUGGS. (Bowing) Tickled to death. (JESSIE comes down L. c. bows, then looks at GILLY.) BETTY. (L. of JESSIE) And Mr. Mr. I m awfully sorry but I ve forgotten your name. GTLLY. Why my name is tell her what it is, will yer? MUGGS. (Trying to think) Sure, I ll tell her what yer name is. It s Oh tell her yourself. You ain t afraid to tell her your name, are you ? TURN TO THE RIGHT. 67 BETTY. Oh, yes, I remember Mr. Gilbert. GILLY. That s it Gilbert. MUGGS. You see I just made him a bet you wouldn t remember it, so we didn t want to tell you till you d had a chance to think. BETTY. Mr. Gilbert Miss Strong. (She puts cruet and sugar bowl on c. B. and gets dish pan and starts clearing the table, picking up the dishes, putting them into the pan. Leaves a cup and saucer -for GILLY) JESSIE. How do you do? GILLY. Hehe ! BETTY. Friends of Joe s from New York. JESSIE. (Going L.) Indeed. GILLY. Yes, just passing through. MUGGS. (Goes to BETTY back of table) Let me help you with them things. BETTY. Oh, no, thank you, don t trouble yourself. MUGGS. (Helps BETTY clear the table) Oh, please. No trouble at all. JESSIE. Did you and Mr. McCarthy come with Mr. Bascom? GILLY. (Crosses to JESSIE) Not with him ex actly sort of after him. JESSIE. Haven t you been here before? GILLY. No, Ma am, not before this. JESSIE. What do you think about our village ? GILLY. Why MUGGS. (Helping GILLY out) It s aces. We re thinkin of wrappin it up an takin it back to New York with us. (Puts dish pan in sink, then he and BETTY finish clearing the table, putting bread, chicken, etc., on table at window, then goes L. of c. T.) (The girls laugh politely.) JESSIE. (Going to table at c.) Can t 1 help? GILLY. Lets me an you carry over this cup. 68 TURN TO THE RIGHT. (They take cup up to table at window) BETTY. (Taking off white table cloth, goes to door, shakes it and folds it, then puts it in drawer of table) Oh, Jessie, Elsie Tillinger wants us to stop by for her. (JESSIE crosses to c. B.) MUGGS. That s the name of the man that owns the grocery store, ain t it ? ( GILLY, on hearing the grocery store mentioned, becomes interested and comes R. of table.) JESSIE. Yes. MUGGS. (Looks at GILLY significantly, is L. of table) You see me and Mr. Gilbert are thinkin* about openin a grocery store ourselves. JESSIE. Are you? GILLY. (Smiling at JESSIE) Oh, yes. JESSIE. Tillinger s a big store that is for such a little place. MUGGS. I d like to see it sometime, to see how business is around here. JESSIE. (Going to window) You could find Deacon Tillinger there now if you wanted to see him the light s still on in the store. (GiLLY goes up R. of JESSIE to window. MUGGS goes up L. of table to window. BETTY has put white cloth in drawer, takes vase of flowers from shelf on wall L. and places it on center- table.) GILLY. (R. of JESSIE) Which light? JESSIE. The big one, just between those two little ones. BETTY. (In front of table) It s an old store but it s a real nice one. TURN TO THE RIGHT. 69 GILLY. (Coming R. c.) How does it look inside? BETTY. Well, in the front part they ve got counters on each side and down the center. One side is all groceries and the other side is drygoods, and in the middle is MUGGS. (Standing R. of BETTY) Barrels of flour, molasses and potatoes. BETTY. Oh, no they keep all the barrels in the cellar. GILLY. (Standing R. of MUGGS) How do they get em in there ? BETTY. Why, they let them down the cellar steps. MUGGS. (To BETTY) Oh, they got cellar steps? Don t they interfere with the show windows ? BETTY. Why the cellar steps ain t in the front of the store they re around in the back, under the office. MUGGS. Oh, I see. (To GILLY) The office is in the back of the store. ( GILLY smiles at JESSIE. To BETTY) We was goin to have our office in the front. (To GILLY) I m always tellin you the back of the store is the best place for an office. GILLY. Well, yer can t get such good light there. JESSIE. (Standing R. of GILLY) There s plenty of light in Deacon Tillinger s office. There s a big window right by the desk. GILLY. By his desk ? JESSIE. No, the book-keeper s desk. The Deacon s desk is over in the other corner near the safe. MUGGS. (To GILLY) Of course, that s the place for it right by the safe. (To JESSIE) The store s been here for some time, eh? JESSIE. Oh, yes, the Deacon s father had it be fore he did. MUGGS. (Crossing to front of table) I like old stores and old desks and old safes. BETTY. (Going up to window) Look! They ve closed up, the light s just gone out. 70 TURN TO THE RIGHT. (GiLLY smiles at JESSIE and goes towards MUGGS. MUGGS and GILLY look at each other.) MUGGS. Ain t it time you was takin your ex ercise, Mr. Gilbert? GILLY. ( Crossing, takes hat from easy chair, then goes up to D. of porch) Sure. I think I ll go out and take a little walk. MUGGS. (Crossing to c. B.) Mr. Gilbert s doctor always makes him take a walk after eatin*. JESSIE. (Crossing to front of table) Good-night, Mr. Gilbert. GILLY. (Opens door) Good-night! BETTY. (Back of table) You re comin back, aren t you? GILLY. (To BETTY) Oh, yes. (To JESSIE) It won t take me long. {Exits to porch) BETTY. (To JESSIE) Oh, Deacon Tillinger said he was comin over here on business. JESSIE. (Going up to porch door) Oh, dear, then we d better go over to Elsie s. BETTY. (Rather hurriedly) Yes, let s. Won t you come along, Mr. McCarthy? MUGGS. How far is it? BETTY. Just down the road a piece. MUGGS. Well, I ll walk down with yer but I can t go in. I got some business with with Mr. Bascom. JESSIE. (Has opened door and is standing on porch) Come along. (Exits) (BETTY goes to door. MUGGS starts to go out door, then steps back and bows to BETTY.) MUGGS. After you. BETTY. (Smiling at him) Thank you. (She exits) (MuGGS delighted at her smile, glances around front a moment, then puts hat jauntily on one side TURN TO THE RIGHT. 71 of his head y arranges coat and tie, and exits, closing door. JOE enters from L.) JOE. Betty! (He goes to woodshed door and looks in, then goes to window and looks out. Evidently sees someone coming. Comes down R. of table c., puts hat on table) Tillinger (Turns to ward porch door. Puts hands in pockets and stands waiting determined. Pause. The door opens and TILLINGER enters. He stops and looks at JOE m great surprise. His face falls, his manner changes) TILLINGER. (After eyeing JOE sharply) You re back, are you ? JOE. (With attempt to be pleasant) Yes, sir won t you sit down, Mr. Tillinger. TILLINGER. (Without moving) I m here to see your mother. JOE. But I d like to talk to you first, please. TILLINGER. They ain t nothin I want to say to you. JOE. I suppose not but I know what you ve come for and my mother wants me to attend to it for her. TILLINGER. Oh ! JOE. She s told me how good you ve been to her, Mr. Tillinger. TILLINGER. (More tolerantly) She has, eh? JOE. Oh, yes. I was just going over to see you but you got here first. Won t you sit down, Mr. Tillinger? (After another look at JOE he goes and sits slowly at L. of table) TILLINGER. (Pauses and eyes JOE shrewdly) Then you understand our agreement, do you ? JOE. (Very pleasantly) Well, I d like to hear it from you to make sure I got it straight. (JoE smiles at him) TILLINGER. This farm s too much for her needs a lot of tending to and money to keep it going, an she s been gettin further an further behind right 72 TURN TO THE RIGHT. along. I ve worried about her quite a bit. Now she can manage first rate in a small place what with doing odd jobs around an finding a place for Betty to work an perhaps you helpin out again like you used to. JOE. I see. TILLINGER. Well, I m givin your Maw the Jones place and five hundred dollars for her equity that s the agreement (Rises, glances at JOE, who is still smiling, then takes large envelope from inside pocket, removes rubber band and takes out papers one at a time, speaking as he does so) Here s a receipt to date for your Maw s bill. Here s my cheque to make up the five hundred, and here s a deed to the Jones property, all free and clear, and this is the deed for your Maw to sign. (Hands the deed to JOE, picks up the other papers and puts them in his envelope, leaving the receipt on the table) JOE. Mr. Tillinger, we d rather hold onto this place a while longer. TILLINGER. What? (Takes deed from JOE. JOE still smiles at him) It s too late for that now. JOE. Why is it too late ? TILLINGER. (Hard mean tone) Because the bargain s all been made and agreed to and only this afternoon I arranged to turn this place over to to a party from New York. JOE. (Struggling to be pleasant) But how could you do that ? My mother hasn t signed anything yet, has she? TILLINGER. Oh, so that s it you think you can hold me up ? JOE. Not at all I TILLINGER. Well, you ll find you can t The terms has all been settled and your mother s took one hundred and twenty-five dollars to bind the bargain. JOE. What! Oh, you mean your bill? TURN TO THE RIGHT. 73 TILLWGER. Yes, I charged it off and here s the receipt. JOE. Suppose I pay it ? (Putting hand in pocket) TILLINGER. (Eyeing him) Can yer pay it? JOE. I say suppose (Laughing) TILLINGER. No supposin about it. I say. can yer? I know yer can t. Then there s the taxes past due and the interest over six hundred dollars it amounts to. JOE. We got the peach crop. TILLINGER. You try to sell it. Peaches ain t worth counterfeit money this year. JOE. (Trying desperately to keep his temper) But listen, Mr. Tillinger you made this bargain to do my mother a favor, because she and Betty were alone here I m back now and I want to stay and look out for them and try my hand at running the place. TILLINGER. You run it ! I know you you can t run nothin an your Maw d be a good sight better off without you than with you. JOE. Perhaps that ain t a bad guess, but just the same I am goin to try it. TILLINGER. No you ain t this farm is mine and I don t want to multiply words with you. JOE. (Going close to him) Well, get this any how you re a dirty crook (Muccs enters from porch door) and you re tryin to rob my mother of this farm. But you ain t never goin to get away with it I ll see you in hell first. (TILLINGER backs away from JOE to L. of table.) TILLINGER. You young (MUGGS closes door loudly.) JOE. Come in, Mr. McCarthy. ( MUGGS com** down L. c. JOE sudden thought) Were you abb 74 TURN TO THE RIGHT. to see the peaches in the moonlight? (Signals to MUGGS) MUGGS. (Surprised, looks front then back at JOE) Sure. JOE. Ever see anything like em? MUGGS. (Looking from TILLINGER to JOE) They re aces, kid they re aces. JOE. Well, my offer goes you can have the whole crop on the trees, just as they are now, for eight hundred dollars. MUGGS. (Looks front, then back to JOE) Eight hundred ? JOE. Eight hundred. MUGGS. (Thinks) You re on! ^ JOE. Can you give me a check in the morning? MUGGS. Sure ! Give it to you any time. (GiLLY enters porch door, comes down L. c. to MUGGS and shows him the roll he has taken from TILLINGER S safe. MUGGS motions him to go around back and give it to JOE. JOE is R. of table c., TILLINGER L. and MUGGS L. c.) TILLINGER. If you re sayin this fer me, I ll tell you it don t fool me at all. I made this bargain fair an square and this receipt binds it and if you think you can fight me you ll find your answer in court. GILLY. (Holding out hand to JOE) How are you, Mr. Bascom ? Glad to see you again. JOE. How d do, Mr. Gilbert? Your partner has just ( GILLY shakes hands effusively with JOE. JOE stops speaking, gives a look of great surprise as they shake hands. GILLY has given him the one hundred and twenty- five dollars) Won t you sit down, Mr. Gilbert? GILLY. Sure! (Sits R. of table) (JoE turns down R. and counts roll of bills GILLY has left in his hands then suddenly looks front. GILLY looks at TILLINGER and smiles.) TURN TO THE RIGHT. 75 TILLINGER. Ugh ! (He starts toward porch door angrily) JOE. (Goes to c. of table) Wait a minute. I want these gentlemen for witnesses. This man is tryin* to rob my mother of her farm an* he is gpin* to try a flim-flam about some money she owes him to do it. (He takes the receipt from the table) He has just presented this bill and I want you fellows to be able to testify that I offered to pay it. (He takes out roll of bills which he puts in his pocket, counts them two fifties, a twenty and a five. Puts roll on table and picks up receipt) I ve got the receipt and there s your money. (TILLINGER looks at money in great surprise, turns as if to go out thinks changes his mind, comes back to table, picks up money, counts it puts it in his vest pocket. Backing up to D.) MUGGS. (Going up to him) Now you blow- see! (The church bell begins ringing and continues until end of act.) TILLINGER. What s that? MUGGS. Blow ! Get out o here, or I ll bust you in the snoot. TILLINGER. Don t you talk to me like that, I ll have the law on you. MUGGS. Mr. Gilbert, will you kindly open the door. (GiLLY crosses below MUGGS and TILLINGER and opens porch door. MUGGS suddenly grabs TILLINGER and pushes him out. MUGGS goes out with him, is heard throwing him off the porch, both talking ad. lib. The church bell be- porch, both talking ad lib. GILLY closes door.) 76 TURN TO THE RIGHT. JOE. (Crossing to GILLY L. c.) Gilly, where did you get that roll ? Where did you dig it up ? GILLY. That guy s got his own money. I copped it out of his safe. (MUGGS re-enters, arranging his coat.) JOE. Good Lord ! How much did you take ? GILLY. There was a big roll there but I only took a hundred and twenty-five. JOE. (Sitting L. of table) Oh, Lord! They ll find it missing in the morning. MUGGS. No they won t. After church Gilly can put it back just as easy as he got it. JOE. What? MUGGS. What do you suppose I rough-housed him for? Here s your dough, kid. (Shows money to JOE then hands roll to GILLY) MRS. BASCOM. (Enters L.) Ready boys? (JoE rises, goes to front of table. GILLY to L. of T. MUGGS back of T. JESSIE and BETTY enter from $orch. MUGGS signals GILLY to go with JESSIE. ESSIE and GILLY exit through porch door. MUGGS and BETTY follow them, smiling and chatting. MRS. BASCOM goes to JOE, sees receipt on table and takes it up, looks up into JOE S face, smiles. JOE, ashamed of the thought of how the bill was paid, takes her arm. She nestles close to him they follow the others out. The church bell is still ringing.) CURTAIN. TURN TO THE RIGHT. 77 ACT II. SCENE: -The BASCOM S back yard. TIME: 10 a. m. the following day. At R. is the kitchen door of the farm house, with a small portico over; above the door is a window; under the window cellar steps. A path supposedly running from the road, is shown below the house. There is another entrance above the house. On the L. side the beginning of the peach orchard is seen. A number of peach trees filled with fruit, arranged as if the orchard ran off to the L. At c. is an old well, with curb around it. The back drop shows a farming country, with the Hudson River in the distance. Up R. c., apparently % mile from the house, is seen a small hill on which stands several maple trees. AT RISE: The stage is empty. When the curtain is well up MRS. BASCOM enters from kitchen door, she is evidently looking for something, searches along house, by the door sill and down cellar steps. BETTY enters from above the house. She watches MRS. BASCOM for a mo- ment before MRS. BASCOM is aware of her presence. Finally MRS. BASCOM looks up and discovers BETTY. BETTY looks at her anxiously; MRS. BASCOM smiles reassuringly. BETTY. (At R. u. E.) You ain t found it, have you Maw ? MRS. BASCOM. No, not a sign of it. (She looks off side of house) 78 TURN TO THE RIGHT. BETTY. Well, I ve looked all along from our porch clear to Deacon Tillinger s front door ! (She indicates path below the house) Hunted on one side of the road goin over, and the other side comin back. MRS. BASCOM. (Crosses to L. of well) Well, it ain t in the kitchen, that s certain, and the Deacon says that s the only room he was in. Well, it s gone and tain t no use looking any more. (BETTY gets basket of filled preserve jars standing near door; a little bundle of labels and saucer of water with small sponge; she carries them to the well. MRS. BASCOM continues search. BETTY suddenly looks up at her.) BETTY. Ma ! Pm glad he lost the money. (Put ting basket on well curb and sits. MRS. BASCOM turns with surprise. BETTY puts saucer and labels on well) I don t care, I am. I hate him, Ma, I just hate him. MRS. BASCOM. (Goes to her) Why, Betty! BETTY. I heard what he said to you when he was here this tnornin . He was too mean for anythin*. (Turns front) The idea of saying this place was his. MRS. BASCOM. But it is, Betty. (BETTY turns to mother) I agreed to sell it to him. BETTY. Why, Ma, Joe told us last night it was all right as long as you hadn t signed any papers. MRS. BASCOM. (Shaking her head) I gave the Deacon my word, Betty (BETTY turns front) but he doesn t want to take the place (BETTY looks at her) only before Joe came home the Deacon sold the orchard to some man in New York, but he s sent for the man to come here to see me, an he is goin to ask him not to take it. (Looks under trees L. u.) BETTY. (Commences work. Takes out ist jar. TURN TO THE RIGHT. 79 Then she bursts out again) But I can t forget the way he acted about losing the money Joe paid him He almost accused the boys of robbing him. (MRS. BASCOM looks at her) And he said he didn t believe they bought the peaches and he was goin to look them up right away. (Puts on label) MRS. BASCOM. (Crosses at back) He ll be sorry that he talked so, when he thinks it over. BETTY. (Looking front) It is curious to have two New York business men (MRS. BASCOM looks front) out in our orchard, picking peaches. MRS. BASCOM. (Comes to her, R. of w.) That s because Mr. Gilbert s doctor ordered him to take exercise. BETTY. (Suddenly remembering) Oh, yes! Mr. Gilbert had to go out an exercise last night right after supper (Putting jar in basket, takes out 2nd. MRS. BASCOM goes up back still hunting) they re workin awful hard, and they ve got about all the kids in town pickin . (Looking at her) Don t you like Mr. McCarthy, Ma? MRS. BASCOM. They re both splendid boys. (Still hunting) BETTY. But Mr. McCarthy s well, he s so funny and he s got the nicest smile! Let Deacon Til- linger look them up. I ain t afraid (Pause) are you? MRS. BASCOM. (Goes to BETTY) Now Betty do stop worryin ! Just think, Joe s home ! Deacon Tillinger s bill s paid The peach crop s sold and we re all well ! Why we ought to be so busy bein* happy there ain t time for anythin else Except the house work (She goes busily to kitchen door) BETTY. (Putting on label) I am happy, Ma! I m always happy after you talk to me. (MRS. BASCOM smiles at her and exits. JESSIE enters above house. She has a child s wagon, which she pushes to entrance below house. She 8o TURN TO THE RIGHT. is dressed prettily and shows she has done every* thing possible to look her best.) JESSIE. (As she sees BETTY) Hello ! BETTY. (Looking up) Oh, hello, Jessie! JESSIE. (Pushes wagon to entrance) Company gone? BETTY. (Looking at her and smiling) No^ they re in the orchard. JESSIE. (Goes to BETTY, snickers) Everybody s wonderin* why in the world they bought the peach crop - BETTY. Well, I guess everybody ll find out soon enough. Did you bring the wagon so that you could help them ? JESSIE. Ma sent me over to see if they d sell her two baskets. (BETTY puts 2nd jar in basket, takes out MUGGS heard off L. singing, " Shall we gather at the River?" the lumty te-tumty te-lum te-tum te-River " "Shall we - He enters, pushing wheel-barrow filled with baskets of peaches. Stops singing as he sees the girls, puts down wheel-barrow, takes off his hat.) JESSIE. (Coquettishly) Good-mornin*. (BETTY puts label on $rd jar.) MUGGS. Is it morning yet? (Going to cellar with wheel-barrow) Seems as if I d been up a week! (Throws hat in basket at cellar) BETTY. Jessie wants to buy some peaches. MUGGS. (Front of w. B.) Sure! BETTY. I guess she d rather see Mr. Gilbert about it JESSIE. (Laughing starting towards L.) He s in the orchard, ain t he? TURN TO THE RIGHT. 81 MUGGS. Oh, he s there all right just fell out o| a tree (JESSIE stops suddenly, groans.) BETTY. Goodness ! MUGGS. Landed plumb on his bean. JESSIE. Was he hurt? MUGGS. Well, he s shook up a little. JESSIE. I ll go and see how he is. (She exits L. u., Tunning) BETTY. He ain t hurt bad. is he ? MUGGS. (Stands L. of w. B.) Oh, he ll be all right. That kind of exercise is good for him. (Starts to unload peaches; placing them at cellar door. Takes first and second basket from L. of w. B.) BETTY. (Laughs, then looking at the peaches) How are you getting along with the peaches? MUGGS. Oh, fine, (Putting ist basket down) but there s a terrible lot of em. BETTY. (Put $rd jar in basket, takes out qth) I hope you ll be able to sell em ! MUGGS. So do I. (Second basket) BETTY. But you knew you could when you bought them, didn t you ? MUGGS. (Putting 2nd basket down) Oh, sure! BETTY. Deacon Tillinger said no one would buy them this year. (Ptits label on 4th) MUGGS. (Looks at her, is R. of w. B.) Have you have you seen the Deacon this morning? (Takes up third basket) BETTY. He was here a little while ago. (Looks at MUGGS) Did you want to see him? MUGGS. (Puts third basket down) Oh, no, I ain t particular about it! BETTY. (Looking at MUGGS) He lost all the money Joe paid him last night. MUGGS. (Turning to her in pretended 8s TURN TO THE RIGHT. went) Lost it, eh! Oh, that s too bad! (BETTY puts 4th jar in basket takes out $th. Trying to speak casually and going toward BETTY) Did the Deacon see Joe? BETTY. No, Joe hasn t come back yet. MUGGS. Oh ! BETTY. He went out before daylight. MUGGS. Yes ? BETTY. Ma said he hired Mr. Tuttle s wagon. MUGGS. Yes ? BETTY. Do you know why ? MUGGS. Perhaps he went for his trunk. BETTY. Perhaps. He didn t bring a thing with him. MUGGS. We didn t either. (BETTY puts label on $th jar) Those you know those things we found on the bed last night, Gee, they were immense ! BETTY. (Laughing) They were two of Uncle George s night gowns. (Puts $th jar in basket takes out 6th. MUGGS taking last peach basket from wheel barrow, begins singing "Shall we gather at the River." BETTY putting label on 6th) We sang that at meetin last night. MUGGS. Yeh! It s a new one on me (Places w. B. near BETTY) I know " The Swanee River " and " On the Banks of the Wabash." (BETTY puts 6th jar in basket also labels saucer, etc.) I like river songs. (Sits in w. B.) Your mother knows all them prayers and songs by heart, don t she? BETTY. Oh, yes. (Looking at MUGGS) They mean everything to her. Why, whenever she s worried she just reads the Bible awhile and then all her trouble goes and she s happy again. MUGGS. You don t say! BETTY. Yes, because she says it makes her be lieve. MUGGS. Makes her believe? BETTY. Believe everythin* is goin* to be all right, and then it is. TURN TO THE RIGHT. 83 MUGGS. (Impressed) What d ye think of that? BETTY. Why all the time Joe was away, somehow she knew he was comin back even when everybody else thought he was dead and last night he walked in just while she was prayin for him to come. MUGGS. (Looking at her) No ! BETTY. Honest ! MUGGS. (Somewhat awed) That s some system, if it works. BETTY. It always does with her. MUGGS. Can you believe things that way? BETTY. I try to but I ain t so good at it as Ma is. Have you ever tried it ? MUGGS. (Rising, shaking his head) I ain t never heard of it (Then earnestly and in a low tone, going closer to her) But it sounds great the way you tell it. (They have stopped work and are looking earnestly at each other. JESSIE and GILLY enter from orchard. Talking as they enter.) JESSIE. If I was you I d see a doctor about it. GILLY. Oh, it ain t bad enough for that. (Dur ing the above MUGGS starts to exit with wheel barrow going back of well where he leaves the wheel-barrow. BETTY rises, takes basket of jars, labels, etc., exits to kitcehn. GILLY suddenly aware that they have reached the house) She bought some peaches. (Crosses to cellar door. To JESSIE, in dicating baskets MUGGS has brought) Will two of these be all right ? JESSIE. (Crosses to him) Yes, splendid ! MUGGS. (R. of well) Say! Why didn t you bring two up from the orchard ? JESSIE. (R. of MUGGS) Because I wouldn t let him carry them, not with his lame back. MUGGS. Why didn t you do it with your hands? (MRS. BASCOM enters from kitchen, with watering- pot. Crosses to L. of w.) Good-morning, Jessie ! 84 TURN TO THE RIGHT. JESSIE. How de do! Mr. Gilbert fell out of a tree and hurt himself real bad, Mrs. Bascom. There s a big bump right there. (She indicates place between GILLY S shoulder blades) (BETTY enters from kitchen stays on porch. GILLY crosses to L. of JESSIE.) MRS. BASCOM. (Crossing to him quickly, leaving watering pot back of well) Let me see ! GILLY. Oh, it ain t nothing, thank you, Ma am. MRS. BASCOM. (Inspecting it tenderly) Why, it s quite a bruise. (GiLLY tries to turn his head and it hurts he winces. MRS. BASCOM exits quickly into kitchen.) JESSIE. Will you put those two on the wagon for me, Mr. McCarthy? (Indicating two baskets of peaches) MUGGS. (BETTY places wagon for him) Sure! \He does so) GILLY. (To JESSIE, smiling at her) Say! We don t want to take this money. (Holds out money to her, three half dollars) JESSIE. (Goes to him) Oh, yes, Ma wouldn t let me accept them for nothing. GILLY. Aw, take some of it back, won t you? JESSIE. No seventy-five cents a basket is cheap enough. (Goes to wagon) MUGGS. Can t I take this home for you? GILLY. (Quickly) I ll do that! MUGGS. Oh, no, not with your lame back. (MRS. BASCOM enters from kitchen door, with small tray on which is cup of hot water, scrap of soft cloth and bottle of liniment. Goes to well.) JESSIE. I don t need any help, thanks. TURN TO THE RIGHT. 85 (MuGGS exits into orchard, pushing wheel-barrow. Singing " Shall zve gather at the River.") BETTY. (To MRS. BASCOM) I m just going to help Jessie home with these peaches, Ma ! MRS. BASCOM. All right, dear. (Girls exit to gether above house, drawing cart after them. GILLY follows them up R. c.) Now you jest sit down over here, Mr. Gilbert. GILLY. (As he goes to well) I I don t want to make you no trouble, Ma am I m all right. MRS. BASCOM. (Gently forcing GILLY to sit) Oh, you ll be real lame to-morrow if it ain t attended to. ( Unbuttons collar of shirt. She bathes bruise carefully and tenderly. As she finishes the bathing) There! GILLY. (Looking up at her) Thank you, Ma am ^(Starts to rise and button his shirt, MRS. BASCOM puts hand on his shoulder) MRS. BASCOM. (Cheerily) Oh, I ain t started yet! (She opens bottle of liniment pours some into palm of her hand. GILLY watches her. MRS. BASCOM smiles at him and he smiles sheepishly) Now this may smart a little GILLY. Oh I don t care about that. It s makin you all this trouble I don t like. MRS. BASCOM. Why, bless you, it ain t a bit of trouble. (Pause as MRS. BASCOM works. Applying liniment and rubbing it in skillfully ) That ain t bad, is it? GILLY. No, Ma am. MRS. BASCOM. (Starts rubbing his neck. GILLY looking front) It would be a shame for you to get hurt while you and Mr. McCarthy are doing so much for us GILLY. I I wish I could do somethm . MRS. BASCOM. Land sakes! Don t you call ty somethin to buy the peach crop when we didn t think it would bring a penny? Why, Betty and 86 TURN TO THE RIGHT. me hardly knew which way to turn before Joe came home (Comes R. of GILLY Rubs neck with L. hand) and then to have you boys come along and buy the peaches. ( GILLY looks down ashamed) Well, as I said to Betty, it was the Lord himself that sent you here. GILLY. (Thinks over what she has said, looks front) I guess He ain t never sent us nowhere. MRS. BASCOM. Oh, yes, he has (Stops work. Smiling as he is looking at her. GILLY slowly looks up at her, realizes it s useless to contradict her) He sends you every where you go. ( GILLY looks front. MRS. BASCOM buttons his shirt collar) There! Now I guess you ll feel different. (Picks up tray, etc.) GILLY. (Rising) I feel different now than I ever did before. I (Looking at her) I ain t used to bavin nobody take care of me much. MRS. BASCOM. Oh, nonsense If you was home your Maw d do the same thing. GILLY. (Shaking his head) No, Ma am I I ain t got no family. (Turns front) MRS. BASCOM. (Sympathetically) Oh! (Then brightly. Hand on his shoulder) Well, she s watch- is* and lovin you just the same as if she was here. (GiLLY looks at her hand on his shoulder f then turns to her. MRS. BASCOM suddenly kissing him on the forehead) There ! that s for your Maw. (Crosses to kitchen door) Now I must see about dinner. (MUGGS enters with another load of peaches, comes around back of well to steps of porch) Mr. Mc Carthy, you ll see that Mr. Gilbert don t do any heavy lifting to-day, won t you ? MUGGS. (R. c.) Yas, Ma am. (Leaves w. B. at steps. MRS. BASCOM smiles at them and exits into house. GILLY stands motionless lost in thought. Goes to GILLY) Say what s the matter? GILLY. (Very earnestly) I got to get out of here, Muggs. I can t lie to that old lady. There s TURN TO THE RIGHT. 8fc ^something all wrong with me. I m off my nut I iguess MUGGS. I know what you mean. I got it too. GILLY. What! MUGGS. Say, when I woke up this mornin* I i couldn t think of nothin* but wishin I was on the fevel, and the more I get sore at myself for wishin , the more I wishes it. GILLY. That s me too (Pause) I wonder if we re goin to die. I heard that s the only time you feel that way MUGGS. We got no time to think of dying. We ;got to get back to the orchard and keep up the I Bluff that we re busy. GILLY. Gee I hope Joe can sell the peaches. MUGGS. (Going to w. B.) He went out before daylight trying to (Seeing girls coming) Sh! (Turns wheel-barrow up R. c.) Well, wire him that we can t let him have more than a hundred baskets. How many did we promise to the Boston people? (Pretends to jest, sees BETTY and ELSIE. MUGOS starts unloading peaches, placing them up R. e. at stone wall) Oh ! (Putting ist basket down) BETTY. Miss Tillinger, this is Mr. McCarthy^ and Mr. Gilbert. (The boys bow.) ELSIE. How do you do ? MUGGS. How do you do BETTY. (Goes on porch) Is Joe home yet? MUGGS. Not yet. You will excuse us, we are terrible busy. (Takes 2nd basket) ELSIE. (Talking to GILLY) Your buying Mrs. Bascom s peaches has given the village quite a sur prise. MUGGS. (Breaking in. Takes up yd basket) No more than it did us. ELSIE. (Surprised) What? 88 TURN TO THE RIGHT. MUGGS. (Quickly. Puts yd basket down) We happen to call on Joe and find just what we d been lookin for. Didn t we Dudley? GILLY. Yes, more than we was lookin for. ELSIE. (To GILLY. MUGGS puts 4th basket at wall) I thought it was almost impossible to sell peaches this year. MUGGS. Oh, no, Ma am not this kind. Now we got to get back in the orchard. ( MUGGS starts wheel barrow to L. of w. GILLY turns to follow him to orchard) BETTY. (Going to R. of w.) But, Mr. Gilbert, you ought not to go in the orchard any more to-day. MUGGS. (Down L. of GILLY) Oh, I m takin* care of him. Don t let him do anythin but sit on the grass and count baskets. Get in, Dudley! ( MUGGS help GILLY to w. B., very carefully GILLY sits in wheel-barrow) Good-morning. ( MUGGS wheels GILLY off to orchard. Singing, "Shall we gather at the River") ELSIE. Was he hurt seriously ? BETTY. Oh, no, I don t think so. Ma war Poking after him. ELSIE. Is she in the house ? BETTY. Yes. ELSIE. (Going to door) I want to ask her about what father said. Oh, Betty, if we could only find the money. (She exits into house) (BETTY starts toward orchard. JOE enters quickly above house, carrying several empty peach baskets and a preserve basket leaves them at back, sees peaches.) BETTY. (Turning and seeing him) Oh, hello. (Goes toward JOE) JOE. (Indicating peaches the boys have brought in) Hello, dear. What s all this? BETTY. The boys are workin in the orchard. TURN TO THE RIGHT. 89 JOE. Oh ! (Starts for orchard) BETTY. (Going to house, calling) Joe s home, Maw. Oh, Joe ! I can tell you a secret. JOE. No time now, sis. BETTY. (Front of well) It s about Elsie TiU- inger. (JoE comes gack to her quickly) She s in love with you, and she told her father she d never marry the other man. Ana I think it s all because you came home. (MRS. BASCOM enters from kitchen, carrying market basket.) JOE. Sh! MRS. BASCOM. Joey, where have you been all morning ? JOE, (Goes to her) Doing a few errands. MRS. BASCOM. Ain t you awful tired? JOE. No, not a bit. Are you going out, dear? MRS. BASCOM. I want to catch the butcher s wagon. It s just about time for him to be at Miss Martin s. JOE. Won t he come here? BETTY. We ain t had him for ever so long. MRS. BASCOM. Betty! BETTY. But we can have him come again now, can t we Joe? JOE. You bet we can. Here s some money! (JoE hands MRS. BASCOM $5 bill) MRS. BASCOM. Goodness, Joey I don t need five dollars. JOE. Yes you do what s five dollars ? (BETTY crosses at back to door.) MRS. BASCOM. We mustn t be wasteful dear just because we ve got plenty. (ELSIE comes to door MRS. BASCOM smiles at her) Shan t be a jiffy. Time you were making the beds, Betty. 90 TURN TO THE RIGHT. BETTY. Yes m. (She starts off) (BETTY goes into house. MRS. BASCOM exits below house.) JOE. Good- morning! (ELSIE goes to him, he sees her worried look) Why, what s the matter, Elsie? ELSIE. Joe, will you tell me what happened when father was here last night. JOE. (After a pause) Hasn t he told you about it? ELSIE. I couldn t reason with him at all. Joe , these men who are here. Do you know them well? TOE. Very well. They re my two best friends. ELSIE. Oh, I m so glad I ve been afraid they were getting you into trouble, serious trouble. TOE. Why? ELSIE. Father thinks they took the money you paid last night. JOE. I m going to see your father, Elsie ELSIE. He s gone out of town, but he said if the men were here when he came back he d turn them over to the Sheriff. JOE. (Looks L., then back to ELSIE) Well, if there is any trouble, it won t do to have you seen here, Elsie, why it might look as though ELSIE. Joe, if I can do anything to help you (Crosses above JOE to well) I don t care how it looks. JOE. (Forgetting everything except that he loves her) Elsie! ELSIE. Do you Do you remember the last time we were here ? What we said to each other ? JOE. Remember? I ll never forget it (She smiles at him and looks away at a little knoll in the distance, up R c, he follows her look) Are are you looking at our hill ? ELSIE. Yes. (She nods her head, still turning away) TURN TO THE RIGHT. gi JOE. Where 1 was going to build our house (Turns front) the times I ve thought of it since and of all the plans we made ELSIE. (Still looking at it) So have I JOE. (Looking front) There s no house there. ELSIE. (Turning to him) Perhaps there will be sometime JOE. (Shakes his head) Everything has changed now. ELSIE. I haven t changed. (As JOE looks up) I m just the same as I was then (Smiling) Joe, even if I have got on a different dress. JOE. (Goes closer to her) Elsie I care more for you than I do for my life or my soul But there isn t a chance in the world I can ever have you even if you were willing. You d be throwing yourself away. Why, I m nothing (Turns away) worse than nothing ELSIE. It doesn t make any difference to me be cause you say you re a failure JOE. It s more than that, Elsie (Turns to her) Why, I m not fit even to look at a girl like you ELSIE. I don t believe it, and Joe I I love you. JOE. Listen, Elsie you ve got to know this now (Turns away) I I was in Sing Sing prison all last year ELSIE. (In horror, sinks on curb of well) Joe! (She gives a little sob) JOE. Yes for robbery! (ELSIE continues to sob. A pause. He glances at her and speaks again quietly) Did you ever know why I ran away ? (She shakes her head) I was ordered off your place; told I d be horsewhipped if I ever spoke to you again. (Smiles unhappily) I thought I could make a for tune in the city and come back and get you. Well, in no time I had a job at a race-track and I was get- tin along a little but the pool box looked so much easier than workin I won the first four bets I made but after a while I d get so excited watchin* 52 TURN TO THE RIGHT. a close finish I d take a drink that s the way it started and that s the way it ended. I d sober up get a job save a little. And then But it wasn t long, Elsie before I realized I d got to lose you. You was growing up to be a lady goin to be sent to a swell school where you d meet fashionable people, while I was well, horses was all I knew. Last Spring a year ago I had a big run of luck I turned a five Dollar note into a roll of over Two Thousand, and I sent my mother word I was comin* home. My last day at the track, I get the biggest tip I ever had it s a dark secret it opens at thirty to one, and at the post it s down to five. It looks like the big chance of my life I put my last nickel on it I stand to win forty Thousand (ELSIE looks up to him) I think of of everything I can do with it from what I find out about the horse, he s got to fall down to lose and that s just what he does. I never mind losin much before but that one got me. (ELSIE looks down) I m laughin an drinkin with everyone I meet, but inside I m dyin thinking of that bank roll that s the last I remember There s a two-year-old named " Fire-Fly " (ELSIE looks at him) in one of the stables, that I m dead in love with. They find me lying in his stall and I ve got the owner s empty pocket-book that had twenty-five hundred in it when he lost it. How or why I took it or what became of the money, I don t knew to this day (Turning away) ELSIE. Joe poor Joe JOE. Please don t give me any sympathy, Elsie I m not worth it ELSIE. (Rises, goes to him) But, Joe I I love you. (JoE looks wonderingly at her) And you never did anything else that was dishonest. Did you? JOE. Yes, the thing last night was dishonest. ELSIE. With father? JOE. Yes the money 1 gave your father came TURN TO THE RIGHT. 93 out of his safe he only had it a minute it was taken away from him and put back in the safe again. BETTY. (Enters from house with dustpan and broom, empties dust into basket by door) Ma ain t back yet, is she? (JOE goes up R. c.) My! Din- ner ll be awful late. It s most noon now. ELSIE. (Crosses to her) Oh, it can t be. BETTY. I jest heard the 1 1 : 40 comin in. (Exits into house) ELSIE. They re expecting father on that train, if you could only give him the money JOE. That s what I wanted to do. I ve been out all morning trying to raise it. ELSIE. I ve got some money I ll lend it to you. JOE. Elsie, I couldn t take your money. ELSIE. (Suddenly) Oh, I know a way, Joe. Don t worry about father, it will be all right. (Exit above house) (MuGGS and GILLY enter from orchard, place wheel barrow above well.) MUGGS. (Comes R. of well. GILLY goes L. of it) Gee, I m glad you re back. JOE. Why what s happened ? MUGGS. Wait till I tell you We re all ready to blow this morning, when we find out that nobody around here believes we bought the peaches, so, to make a bluff, we go out in the orchard and I hire a million kids to help pick em. JOE. How much you payin em? MUGGS. Don t worry, don t worry. I m payin f em in peaches. JOE. (Crosses to GILLY L. c.) Tillinger started that story. He s told the whole neighborhod that you two are crooks, and he s comin round with the big Sheriff. GILLY. The old stiff! After me goin to the trouble of putt in* that coin back in the safe. 94 TURN TO THE RIGHT. MUGGS. (R. c.) What luck did you have? JOE. (c.) None I carted 20 baskets to Center- ville and went to every market, fruit and grocery store in the town. Say! You can t give peaches away MUGGS. Did you have to bring em back? JOE. No, I sold em from house to house, but we can never get rid of them all that way. GILLY. Then your mother ll find out we ve been lyin to her JOE. Gilly, she mustn t find that out. MUGGS. How can we help it ? JOE. Well, I ve got a scheme. It s only one chance in a thousand, but it s something. GILLY. What is it? JOE. Listen! All the way home I m tryin* to think of some excuse why you two bought the crop. I know we can t stall long, because the peaches will begin to spoil MUGGS. There ain t no way to keep em from spoflin , is there ? JOE. Yes, there is. There s one way. GILLY. Eh?^ JOE. Make jam of em. MUGGS. Like we had last night? JOE. That s the idea. GILLY. Holy Jessie James ! JOE. I put a dozen jars of jam in the wagon and it was a pipe selling it. Got 50 cents a jar for it, too. MUGGS. Fifty cents a jar? JOE. I ve spread the story all over the village, we ve organized a peach jam Company. God knows how we can make it all, but we got to try and find some place where it can be done. Great Scott ! If I could only believe it would work. ^ MUGGS, Say ! It will if we believe it. If you be lieve a thing it ll come out just like you believe-* JOE, What are you talking about? ^ TURN TO THE RIGHT. 95 MUGGS. Never you mind just believe. (Crosses to GILLY) Go on, Gilly, believe it. (Slaps GILLY on the back) GILLY. Oh, my back! MUGGS. Never mind your back believe it ! (SAM MARTIN enters hurriedly below house. He wears light checked suit, straw hat, flashy flozving tie, stand up collar, tan shoes with Bull Dog toe.) SAM. (Excited and out of breath) Hello, Joe! I just heard you was home ( MUGGS crosses at back to R. of SAM ) Remember Sam Martin ? JOE. Why sure Hello Sammy, how are you? (Shakes hands) SAM. I m all right. MUGGS. (Coming close to him and looking him over) Say, kid! Where s the circus ? (SAM turns to him) Take me along with you, will you? SAM. I ain t goin to no circus and I don t know you anyway. MUGGS. (Putting arm around his neck) Well, come on, let s get acquainted ! SAM. Go on an* let me alone ! (Pushes MUGGS away) JOE. Nix, Muggs. SAM. (To JOE.) Say, what ails him? JOE. He s all right, Sam He s just a little play ful but he won t bite SAM. Well, I ain t got no time to be playful now I m busy Where s Mis Bascom ? JOE. Gone out. SAM. Is it true she s sold the peaches? JOE. Yes, that s true SAM. Who to? MUGGS. (R. c.) To me. SAM. (Looking at MUGGS) She hain t (MRS. BASCOM enters below house she has brown paper parcel in basket. To JOE) Has she? 96 TURN TO THE RIGHT. JOE. Yes, that s right, Sam. SAM. (Crosses to MRS. BASCOM, R.) How do, Mis Bascom ? MRS. BASCOM. Why, Sammy! How grand you look! SAM. Yes m I been in New York on business. Did you sell him your peaches ? (Points to MUGGS) MRS. BASCOM. Yes, he s bought the whole crop. (SAM goes up to cellar door. MUGGS goes to GILLY at w. B. JOE goes to her) Joey, do you know what they re sayin in the village ? JOE. Yes, mother, and I want to talk to you about that. MRS. BASCOM. Oh, well! I m awful late with the dinner I guess I ll have to get that first. (Goes toward door) JOE. (Holding door open) I can tell you about it at the same time I ll be back pretty soon, Sam. (MRS. BASCOM exits into house, followed by JOE.) SAM. To MUGGS) Say, what are you going to do with the peaches ? MUGGS. Eat em. ( MUGGS and GILLY unload peaches, placing them at cellar door, on the last basket taken off, there is one loose peach that JOE gives to CALLAHAN) SAM. I hsard there was a syndicate that s goin to make Mis Bascom s jam MUGGS. (2nd basket) Do you get that ! There ain t no chance to keep a secret around here. SAM. (Indicating GILLY) Who s he? MUGGS. That gentleman is my partner SAM. Are you two a syndicate? MUGGS. \3rd. Basket) Sure, we re a syndicate. SAM. (Crosses to L. c.) And you re goin to make jam of all that peach crop ? MUGGS. (Ath basket which he places nearest steps of po.-ch GILLY moves w. B. to L. of zvell) Right down to the last peach skin, kid. TURN TO THE RIGHT. 9? SAM. Who s goin to sell it for you? MUGGS. (Going to SAM) Why? Can you sell some? SAM. I can sell it all. MUGGS. You can what ! (GiLLY comes down L. of SAM.) SAM. You give me the chance an I ll show you. MUGGS. Well, you go right ahead and sell em. (Goes up R. c.) GILLY. Say, and hurry back with the money. (Goes up L. c.) SAM. (Taking out paper) Say, if you mean it, how would you like to sign this ? MUGGS. (Coming back to him) What is it? SAM. Oh, it s all square. I just give Mr. Stephens, the lawyer, fifty cents to write it out for ( GILLY comes L., of SAM.) MUGGS. Read it! ( MUGGS and GILLY listen at tentively) SAM. Know all men by these presents, that I, blank the blank of the blank Jam Company, for the sum of One Dollar, lawful MUGGS. One Dollar ! SAM. Oh, that s only the way a lawyer writes it, but what it means so s folks can understand it is that you agree to give me one per cent commission on the Jam, and I guarantee to sell all you can make MUGGS. And you think we d give you all that for one dollar ! Say, listen ! Anybody that wants to do business with this syndicate has got to put up somt money some regular money. SAM. How much do you want me to ptrt tip? MUGGS. How much you got? 98 TURN TO THE RIGHT. SAM. I got most Three Hundred Dollars MUGGS. Kiss me! (Opens his arms to embrace SAM, falls on him) SAM. (Pushing him away) Oh, stop foolin , will you an talk business MUGGS. Just show me that coin. SAM. (Feeling in his inside pocket, takes out bank book with roll of bills in it. MUGGS and GILLY crowd close to him, he pushes them away with his elbows) Oh, I got it all right! If I put up some money, how do I know you re goin to make the jam? MUGGS. I m tellin* you. SAM. I don t believe all I m told Let me put it in here. (Referring to paper) If you don t make the jam, I own the peaches, an I ll give you Two Hundred and fifty Dollars as an advance on the first lot I sell. MUGGS. What do you say, Mr. Gilbert ? GILLY. I say count it and see if he s got Two fifty. MUGGS. You re on, kid hand over the coin. (Starts to grab it) SAM. (Pulling back) Wait a minute MUGGS. It s hard for you to give up, ain t it ? SAM. (Writing) I ain t givin up till I get this signed. I worked four years for this money. What s your name? MUGGS. McCarthy. SAM. I want to write it in this blank What s your first name? MUGGS. (Absent mindedly) McCarthy. SAM. (Looking up) What, your first and last name just the same ? MUGGS. It s my middle name too McCarthy McCarthy McCarthy ! SAM. That s a hell of a name (Offering paper) Put it there. MUGGS. (Shaking hands with him) How are you I TURN TO THE RIGHT. 99 SAM. (Pulling away his hand) No I mean your name MUGGS. (Taking paper and pen) I ll sign it in four places ! Be gettin that Two Fifty ready, kid SAM. (Counting out money) Don t you worry. (JoE enters from house As SAM finishes counting money, MUGGS snatches it from him SAM grabs for it, and MUGGS puts paper in SAM S hand. MUGGS and GILLY count money carefully. Crosses to JOE, hands paper to him) Say, Joe, is this all right? (JoE looks at paper) If it ain t I can make it hot for him (Comes back to MUGGS) It would be obtaining money under false pretences. JOE. (Reads paper in amazement) What the blazes is this ? SAM. I just paid em Two Hundred and fifty Dollars ( MUGGS waves money at JOE) for the right to sell their jam. JOE. (Crosses to MUGGS, MUGGS shows JOE the money. JOE turns to SAM) Where did you get Two Hundred and fifty Dollars? SAM. From the bank! I drew out all I had. Them fellers ain t cheatin me, be they? JOE. What makes you think you can sell it? SAM. Never mind All I want to find out is whether that paper s g>od. JOE. Sure it is SAM. ( Grabs paper, starts off quickly) So long ! JOE. (Stopping him) Here! Wait a minute! Who got you to do this ? SAM. Nobody I done it my own self. JOE. (Turns SAM to his L.) Oh, no you didn t. Tell me the truth now. SAM. (Putting away paper) Honest, Joe Only I found out where I could sell it ! JOE. Where s that? SAM. Not much If I told you you might try to beat me out of my commission ! ioo TURN TO THE RIGHT. JOE. No, Sam No one wants to beat you. We couldn t anyhow you ve got the agreement. SAM. That s right. JOE. Come on, tell us, Sam. SAM. Well, I got a man in New York that ll pay $36.00 a gross for all he can git. And that man is Henry W. Parker ! JOE. Henry W. Parker? MUGGS. Who s he? SAM. Who is he? He s the biggest wholesale grocery in the country, an I was talkin with him just the same as if he was anybody. MUGGS. Sweetheart! (Starts to embrace him. SAM pushes him away) SAM. Now you stop. Say, Joe, keep him away, can t you ? JOE. He s all right, Sam. Now sit down and tell us. SAM. (Sits on well, talks faster and faster as he goes on) Well, Mr. Parker came through here with an automobile party about a month ago they were hungry and they wan t no hotel, so they bought a lot of stuff at the grocery store I waited on him and sold him a jar of Mis Bascom s preserves. (Sees MUGGS close to him and suddenly moves away) A week after that the Deacon commenced to get letters from the Parker Company, and next thing I knew he was tryin to buy this place. Then I heard him tell Mis Tuttle to make some jam for him, an try to have it like your Ma made, an he sent a sample of it to the Parker Co. I suspicioned somethin was goin on, and yesterday when your Ma agreed I could sell some, I says to myself I m goin to see Mr. Parker. I was at his place at 6 o clock this morning, but he didn t open up till 8. When he come he wasn t goin to see me but you bet I got into his office, an I told him the whole thing. As soon as I got started he says into the telephone " Don t let me be interrupted ", he says ; then he told TURN TO THE RIGHT. 101 me the samples he got from Tillinger wasn t the same as what I sold him. Then he tasted some jam from the jar I brought direct from Mis Bascom, and he says, " That s it how much can you get of that ? " and gosh he was excited, an then we figured as near as we could how many jars this crop would make, (Rising) and he was tickled to death and he says " It ll be the biggest thing of the kind on the market." (MUGGS and GILLY grab SAM and "Ring around the Rosey") SAM. (Breaking away. Crosses above JOE to steps of house. JOE catches him by the arm and swings him around front to R. of well) Say, Joe Let s go in the house an get away from him. JOE. Oh, he s all right, he won t trouble you. MUGGS. No, my partner will keep me away. (To GILLY) Hold me ! GILLY. Sure. SAM. (Taking out another sheet of paper) Here s how it figured out Look ! Your orchard is five acres a hundred and thirty-five trees to the acre, countin ten baskets to a tree and sixty peaches to the basket, makes four hundred and five Thou sand peaches, or more than a Hundred Thousand jars. (SAM gives JOE the paper) Parker offered Thirty-six Dollars a gross and, takin out Five Thousand for jars, labels, labor and everything leaves you over Twenty Thousand Dollars MUGGS. (With arms outstretched) Oh! SAM. Look out, now! (Swings at MUGGS who jumps back. JOE grabs SAM and GILLY catches MUGGS) JOE. Sam you re a corker Now do something for me, quick and I may raise that one per cent Get the first train back to New York and find out if Mr. Parker will see me in the morning. 102 TURN TO THE RIGHT. SAM. Will you pay my expenses ? JOE. (Pushing SAM to R.) If the jam business wins out, I ll pay em for the rest of your life. SAM. The next train goes in ten minutes JOE. (Pushes him R.) Well, grab it SAM. But I ain t had no dinner. JOE. Oh, forget your dinner. SAM. (Starts off) But I m gettin awful hungry. I ain t had nothin all day but peanuts. (Exits run ning below house) JOE. (Crossing between MUGGS and GILLY) Boys ! 20,000 a year ! MUGGS. (Holding up two rolls of bills) Here s 125. for the Deacon and 125. for the syndicate. JOE. (Takes the roll for the DEACON from MUGG S right hand) Just give me that (Crosses to R. c.) I want to take it to Tillinger. (CALL AH AN appears above house. He is a man of about 45 years, medium sized, blunt but kindly. His manner is quiet and forceful. He is dressed in a neat business suit and wears a straw hat.) CALLAHAN. (At entrance above house) Say, can you tell me where Mr. Tillinger lives ? ( The three boys glance around. CALLAHAN recognises MUGGS and GILLY) Hello! (Comes down back of well to L. c. GILLY crosses to R. of JOE) MUGGS. Callahan ! JOE. Who? GILLY. (under his breath) A bull! MUGGS. Nailed ! JOE. A detective? GILLY. Sure ! CALLAHAN. (Looking at MUGGS and GILLY in surprise) Well, what s all this about? MUGGS. (Innocently, going to him) Hello, Calla han, what s the matter? CALLAHAN. That s what I want to know. There s TURN TO THE RIGHT. somethin doin (Crosses to R. of MUGGS) or Slippery Muggs and Dynamite Gilly wouldn t be hangin around here. MUGGS. Soft pedals on those names, will you? We ain t doin nothin , are we, Gilly ? GILLY. No, not a thing on the level we ain t. MUGGS. Just pay in a visit to Mr. Bascom here. CALLAHAN. (Looking suspiciously at JOE) How do you do, Mr. Bascom ? JOE. How are you ? CALLAHAN. Do you know these men ? JOE. Yes, they re pals of mine. CALLAHAN. Is that so? (Looks about the place) MUGGS. (To CALLAHAN, indicating JOE) Now don t go mixin him up in anythin he ain t in our business. CALLAHAN. Oh, shut up! (To JOE) You live here? JOE. Yes, sir. (CALLAHAN goes to house, examining the place. GILLY, as soon as CALLAHAN S back is turned, crosses at back to front of well.) CALLAHAN. (Speaking during the above) Well, this looks great! You couldn t have picked ^ out a better spot nice little story for the Chief this is of course that house ain t got a bit of stolen property in it. JOE. No, it hasn t CALLAHAN. (R. of JOE) Oh, no and so there ain t no harm in havin a look through it. (Starts up steps of porch) JOE. (Stopping him) Yes there is you ve got no right to go in there CALLAHAN. (Breaking in) Easy now, don t try to pull anything on me. I m goin to look through every inch of that shack and if you three know what s good for you, you ll be nice See? Nice? (Turns to porch) i<H TURN TO THE RIGHT. MRS. BASCOM. (Opens porch door) Dinner s ready, boys (Sees CALLAHAN) Oh! (Stands smiling at him. CALLAHAN looks at her in great surprise takes off hat) JOE. Mr. Callahan, this is my mother. MRS. BASCOM. (Going to him smilingly and offer ing him her hand) I m real glad to see you, Mr. Callahan. CALLAHAN. (Uncomfortably shaking hands) Thank you. MRS. BASCOM. We re just goin to have dinner won t you stay ? CALLAHAN. You re very kind, but I MRS. BASCOM. Oh, do, it won t take a minute to set another place. JOE. We we ve got a little business to talk over first, mother MRS. BASCOM. Oh, well, don t hurry But you ll get Mr. Callahan to stay JOE. I ll try. MRS. BASCOM. That s right (Turns at door) Come in when you re ready. (She smiles at CALLA HAN and exits into house) CALLAHAN. (Thinks a moment puts on hat) The search thing is off. JOE. Thank you, Mr. Callahan. Why, my mother s always lived in this village. Anybody !! tell you she s all right. CALLAHAN. Say I wasn t born yesterday. I know she s all right, but you want to be careful about the friends you have around you. (Glances at MUGGS and GILLY) GILLY. We re both keepin straight here, Calla han. On the level we are. CALLAHAN. (Crossing to MUGGS. GILLY comes R. of CALLAHAN) I d like to believe that. MUGGS. Want me to tell you how to believe it ? CALLAHAN. No, I want you to get out. MUGGS. Who tipped you off we was here? TURN TO THE RIGHT. 105 CALLAHAN. Nobody. I m on some other busi ness, but I thought I d have to quit it long enough to take you guys back. (Glances at MUGGS and GILLY) MUGGS. Who are you after? CALLAHAN. Not you, I m glad to say. (Looks at MUGGS and GILLY) You behave yourselves now. (Goes up R. to exit above house) MUGGS. You bet. 1 GILLY. Sure. J CALLAHAN. So long ! MUGGS. Bye-byll ,~ GILLY. So-long! } (Together) ( GILLY crosses above MUGGS to L.) TILLINGER. (Entering from below house) Ha! You two scallywags are here yet, be you ? (Crosses to them) (CALLAHAN stops and listens.) JOE. What business is that of yours ? TILLINGER. You ll find it s my business. Your Ma owned up this mornin that this farm was mine, and the man I sold it to s comin here to^claim it. JOE. When he comes we ll talk to him/ TILLINGER. But them rowdies are pickin my peaches, an if they don t clear out an let em alone, I ll have em both in the calaboose. CALLAHAN. (Coming down R.) What s that? JOE. (Desperately) The peaches don t belong to him, Mr. Callahan. TILLINGER. Perhaps the Hundred and twenty-five Dollars they stole last night didn t belong to me ! io6 TURN TO THE RIGHT. CALLAHAN. ( Crosses to and looking from MIJGGS to GILLY) So you have been pulling something! (Turns to him) Is your name Tillinger? TlLLINGER. Yes. CALLAHAN. Perhaps I can be of some help to you. (Shows badge) I m from New York Police Headquarters. TILLINGER. A detective ! I m mighty glad you re here. CALLAHAN. Tell me what the trouble is. TILLINGER. Last night, one of these fellers picked my pocket. CALLAHAN. (Looks at MUGGS, then turns to JILLINGER) Which one? ( MUGGS pulls money out of pocket while CAL- LAHAN S back is turned toward him. Tries to get GILLY to take it GILLY side steps. NOTE: MUGGS has the money in his left hand, he folds it up as small as possible, then turning towards GILLY he stands with his arms akimbo, and slips the money into his left hip pocket. He keeps his left hand closed until after he is supposed to slip the money into TILLINGER S pocket.) TILLINGER. (Doubtfully) Well, I guess they both of em had a hand in it. CALLAHAN. Have you just found it out? TILLINGER. No, I missed it out of my pocket last evenin , but I thought Fd lost it at first spent half the night lookin for it. (He glances savagely at MUGGS and GILLY) Scoundrels ! JOE. He can t prove that any of us took his money, Mr. Callahan. (Goes up R. c.) TILLINGER. I can prove one of em assaulted me. CALLAHAN. (Surprised) Assaulted you? TILLINGER. Yes, he did. (Points at MUGGS) MUGGS. (Crossing to TILLINGER) I didn t TURN TO THE RIGHT. 107 assault you. (To CALLAHAN) Why, Callahan, he was in the kitchen usin insultin language to Mr. Bascom, an all I did was just to push him out easy like that. (He illustrates, and as he does so slips the roll of bills into TILLINGER S right hand vest pocket. JOE does not see this. MUGGS, after the scuffle, goes R. showing his empty hands) TILLINGER. Take your hands oif n me. (Rushes to CALLAHAN for protection) JOE. (Coming down) Nix, Muggs. (Going to TILLINGER) Mr. Tillinger, you lost that money last night. TILLINGER. I never lost a cent in my life. JOE. Oh, yes, you did, for I found it on the porch this morning, and here it is. (He hands TILLINGER SAM S roll of bills. Then crosses to R. MUGGS goes toward TILLINGER, and above him) TILLINGER. (As he conuts the money) Ah, you re givin it back now tryin to keep out of limbo, but you ll find (He is putting the money in his vest pocket. He stops suddenly surprised looks front feels in his pocket, slowly withdraws his fingers with two rolls of bills, takes one roll in each hand) CALLAHAN. What s that ? TILLINGER. (Counting the money, amazed) An other hundred and twenty-five ! (ELSIE comes on -from above house. Comes down R. of MUGGS. She is quite out of breath.) ELSIE. Father ! I just found the money you lost, under the hall sofa ! (She holds out roll of bills to him) MUGGS. (To ELSIE) He s got his money, Ma am. (Snatches one roll of bills from TILLINGER) That s my coin that Mr. Bascom found CALLAHAN. (Crosses to and grabs MUGGS by arm) Hold on ! Let s see about all this. io8 TURN TO THE RIGHT. (They all start talking at once.) CALLAHAN. (Shouting) Wait a minute ! JOE. I can explain it, Mr. Callahan. CALLAHAN. Well, explain it then. JOE. (Uncertainly) I will. Last night I paid him but first, (Goes itp on porch and opens door to house) Miss Tillinger, would you mind going inside ? TILLINGER. (As she reaches steps) Elsie, I want you to go home ! (ELSIE stops.) JOE. She can go this way just as well (ELSIE crosses JOE and exits into house, JOE whispering to her as she crosses) God Bless you ! CALLAHAN. Now then, Mr. Bascom TILLINGER. I can tell you CALLAHAN. (Stopping him) Just a moment I can only hear one at a time. JOE. Mr. Callahan, do you see those peaches ? CALLAHAN. Do you think I m blind ? JOE. (Offering him one) Try one CALLAHAN. (Taking the peach later puts it in his pocket) Say ! What are you tryin to do bribe me? JOE. No, I m tryin to tell you that my mother has an orchard full of them and this man s trying to cheat her out of it. TILLINGER. It s a lie. She was poor and I sold this place to help her and make her comfortable. JOE. You didn t sell it at all. Mr. Callahan, do you think he d sell an orchard of of (Gets paper SAM has given him) 135 trees to the acre, and ten baskets to the tree, sixty peaches to the basket when he knew that those peaches would make more than twenty thousand dollars worth of jam a year (Crossing to TILLINGER. MUGGS starts up R., TURN TO THE RIGHT. 109 CALLAHAN does same to cut him off) You knew all this when you tried to get this place, and I can prove it. (MORGAN enters below house.) TILLINGER. Ah ! Here s the man I sold the place to (JoE turns and recognises MORGAN) Perhaps you d better hear what he s got to say Mr. Morgan. MORGAN. (Going to JOE) Pete Turner! TILLINGER. Why, his name s Joe Bascom. MORGAN. His name s what ? TILLINGER. Joe Bascom, he s the feller that s holdin up the sale of this place. MORGAN. Oh, he won t hold up much longer when I tell you about him. Mr. Tillinger, that man robbed my father of twenty-five hundred dollars he spent last year inin (MRS. BASCOM opens kitchen door and enters. She slowly goes dozvn the steps and above the men. MORGAN S back is to her. CALLAHAN, who has come down on his R., touches MORGAN on the shoulder, he turns, looks at CALLAHAN, his expression changes to one of horror as CALLAHAN slowly shows him his badge.) CALLAHAN. Mr. Morgan, I want you. (Quietly showing badge) Your father sent me for you, he s found out who s been robbing him now. He knows all about those notes, and checks and everything. JOE. (Screaming) Ah! I know now it was you you stole that money you had me sent away for a year you (Rushes at him with arms up lifted) MRS. BASCOM. (Coming between JOE and MOR GAN, she throws her arms about JOE S neck) Joe! JOE. (Embracing her frantically) Mother, I can tell you now. I can tell you everything. CURTAIN. I io TURN TO THE RIGHT. ACT III. SCENE: Same as ACT II. Except a number of changes have taken place. A wide veranda has been built on front part of the house extending off-stage above house. Kitchen window has new shade. On veranda are several porch chairs and a small table, and a small wicker chair is on lawn R. c. Up R. c., in the distance, a new house has been built on the hill. It has three windows on ground floor, which on cue are lighted, and one window in second story, which also may be lighted, after the lights in first floor go out. This upper window has a shade which is slowly lowered after the room is lighted. An auto, with head light and red rear end light, starts on cue from u. R. to house, stops there, and then continues down the hill and out of sight u. L. There is a ground row of hill, trees, bushes r etc., across stage as far back as possible. On the back of this row a track is built on which the auto is drawn by a windlass and string. The auto is about 12 by io inches. The house is about 30 by 16 inches. The peach trees on left are in full bloom. TIME: 8:30 P. M. The next year. At rise, the stage is empty. In the house a dinner party is in progress. They are just finishing. Laughter and chattering heard. There is applause and cries of "Speech!" Then JOE S voice is heard faintly. TURN TO THE RIGHT. in While the following is going on, KATIE, the maid, enters from kitchen door. She is young, good looking and wears a regulation Maid s costume. She is carrying a large tray on which is coffee percolator, four small coffee cups, saucers and spoons, sugar bowl and tongs, cigars, cigarettes, and a table cloth. She places tray on chair on porch. Takes a small wicker table from porch and places it on stage near the steps. Takes the table cover from tray and spreads it on the table, then puts tray on table. Stands L. of table. JOE. (Off-stage in house) It is easy to say this is the happiest evening of my life, because, since Fve been married, that is what every evening has been (There are murmurs of applause " Good boy" " You both look it," " Hope it will always keep up" etc.) My wife and I (Cries of " Oh") have had a wonderful trip but we ve both said the best part of it is getting home. (Cries of " Good" " Glad you re back" " Welcome" etc.) This magnificent banquet, so splendidly arranged by that great social lion our Mr. Samuel Martin (Applause and com ment) Has been a joyful surprise to my wife and me. (The above is not to be distinctly heard in front only an occasional word. There is loud ap plause, cries of "Hear," "Hear," "Some speaker" etc., etc. SAM S voice is heard.) SAM. (Off-stage in house loudly) Now, no nore speeches. You do that at banquets, not dinners. (Laughter and cries of " Well, well! " " What do we do next?" etc. DEACON TILLINGER and MRS. BASCOM come around porch. DEACON has on frock coat and carries a gold headed cane. 112 TURN TO THE RIGHT. MRS. BASCOM wears a plain but rich dress, with a diamond bar-pin on her bosom.) TILLINGER. (Comes R. of well) I ain t narrow minded, but I was brought up to consider that dancin was wicked MRS. BASCOM. (Going around back of well to &,) Nonsense, Deacon! The idea! (Peach blossoms drop from branch as MRS. BASCOM bends it down to smell them) TILLINGER. And when I heard that Joe and Elsie was goin to have dancin at their party to-morrow night I thought twas my duty to speak to the minister about it. (Comes down R. c.) MRS. BASCOM (Comes front of well) What did he say ? TILLINGER. Well, Dr. Hill s a young minister MRS. BASCOM. But, what did he say? TILLINGER. Said he was glad to hear it, and he d be there. (Goes above table) MRS. BASCOM. (Seeing KATIE arranging tray) Mercy sakes, Katie what s that ? KATIE. (Has finished arranging table) Coffee, ma am Mr. Martin told me to put it out here after I served the dessert. (KATIE exits to kitchen) TILLINGER. That Sam Martin s lost his wits. MRS. BASCOM. (Laughing as she sits on weW) If he has, he s doin real well without em TILLINGER. (Coming down R. c.) Oh, he s as smart as they make em about business I mean aH these foolish notions he s got into his head. Twas his idea havin* this dinner at night time, wasnt it? MRS. BASCOM. Oh, yes, he knew that Elsie and Joe d be back tp-day from their honeymoon, aawi bout four o clock, up he drove in his big automob^e with a man cook and the greatest lot of truck and he said he was going to give em a dinner hei*@ TILLINGER. Well, I swan! MRS. BASCOM. He brought another gentlemen, aM TURN TO THE RIGHT. 113 Pressed up, to wait on table but I knew that would hurt Katie s feelin s. TILLINGER. Well, it was a mighty stylish dinner if eatin all them vitals at night don t kill us* And now, coffee in them little cups ! What be we all comin* to! (He helps himself to a cup) MRS. BASCOM. Don t the bride and groom look well and happy ! TILLINGER. (Busy with coffee puts in three lumps of sugar) Yes, they do. Seems like Elsie s been gone a year. MRS. BASCOM. Why, it ain t a month yet. They was married three weeks ago Wednesday. TILLINGER. (About to sip coffee then offers it to MRS. BASCOM ) Won t you have some ? MRS. BASCOM. Why, Deacon I wouldn t sleep a wink. TILLINGER. That pin shows off good on you. Real diamonds, Elsie says. (He inspects MRS. BASCOM s bar-pin) MRS. BASCOM. Yes, I hate to think what it cost * em and what a nice present you got ! TILLINGER. (Holding up cane) Yes, tis but I ain t feeble enough to need it yet thank the good Lord ! (Puts cup on tray) (CALLAHAN enters from below house as DEACON S back is turned.) CALLAHAN. (Doubtfully) Mr. Tillinger? (Rec egnises MRS. BASCOM and crosses to her) Oh, Mrs. Bascom Good-evening (MRS. BASCOM rises.) TILLINGER. (R. of CALLLHAN) Why, if it ain t tbe detective ! MRS. BASCOM. (Shakes hands, is L. of CLLAHAN) Of course, it s Mr. Callahan ! Well, this is a sur prise! 1 14 TURN TO THE RIGHT. CALLAHAN. I didn t recognize your place at first walked right by it you ve done a lot of improvin* since I was here. MRS. BASCOM. Land yes Joe has. CALLAHAN. Well, Deacon? Lost any money lately ? DEACON. Oh! Joe told me all about that, smartest trick I ever heard of. Made me like them boys from the minute I found it out. CALLAHAN. So the Deacon and your son are friends. DEACON. Friends! Why, I m his father-in-law. CALLAHAN. Yes I know that. (DEACON goes up R. c.) Well, I want to see Mr. Bascom on a little matter of business (MRS. BASCOM looks at him} Oh, don t worry, ma am, it s nothing er professional. MRS. BASCOM. They re all in the dining room. (She crosses and goes up on porch, DEACON goes up-stag e) Won t you come right in? CALLAHAN. No, thanks. I d rather see him alone first. (Going to porch) Suppose I step into the kitchen and you tip him off I m here. MRS. BASCOM. (Going to kitchen door) Why certainly, if you want to TILLINGER. I ll go around to the dining room and tell him. CALLAHAN. (To TILLINGER) Thanks and tell him on the quiet. (TILLINGER exits above house. To MRS. BASCOM) After you (He follows MRS. BASCOM into house) (The door remains open.) TILLINGER. (Off) Joe! I got somethin to tell you SAM. (Impatiently as he enters above house) Oh, come on, now ! Come on, Joe ! TURN TO THE RIGHT. 115 JOE. (Off) In a minute, Sam. (MUGGS and GILLY enter around veranda. MUGGS and GILLY are in evening clothes SAM dressed in the height of fashion large white " button- hole", latest shirt ; collar, tie and waistcoat.) MUGGS. (Dozvn by well) What s the idea? ( GILLY looks the table over, then comes down right of it.) SAM. (Takes cigar) This is the right way, I tell you. After dinner all the gentlemen and ladies ought to separate. Us gentlemen ought to have cigars and coffee by ourselves and then pretty soon join era again. GILLY. When do we do that ? SAM. (Disgustedly) Oh, I ll let you know. It s when I say " Supposin we join the ladies." (Stand ing above table) Help yourselves to cigars. ( MUGGS and GILLY each attempt to take a handful. SAM snatches the box away) No, take one apiece. (He looks at them discouraged) My God, (Crossing to L. c. ) but you re provincial ! MUGGS. We re what ? SAM. Provincial. You don t know how to act right. They wouldn t know what to make of you two at one of Henry W. Parker s dinners. (SAM lights cigar with pocket lighter which he carries. GILLY lights cigar with match from tray) MUGGS. And you re pullin off this dinner the way they do at Parker s, are you? SAM. (Crossing to table and draws cup of coffee) S near s I can. But it s hard to do anything right with a couple of rubes like you. ( MUGGS sits at well. SAM offers him a cup of coffee) Coffee? MUGGS. (Looking at cup) Can you spare that much? ;ii6 TURN TO THE RIGHT. SAM. Oh, go on, take it ! (Muccs does so. SAM draws another cup. To GILLY. Using society man" ners) Demi tasse, old boy? GILLY. What? SAM. (Angrily) Do you want some coffee? GILLY. Sure. SAM. (Offering him cup) Well, here. ( GILLY takes it. MUGGS, who has finished his, rises and holds cup out for more.) MUGGS. Next ! (SAM refills his cup and hands it to him.) GILLY. It s all right, ain t it? MUGGS. It s swell. ( MUGGS goes to well and seats himself. He leaves his cup on well later) (GiLLY holds out his empty cup.) SAM. Oh, wait a minute, now till I get some for mysef. (Helps himself) The next dinner I give, I ll have your coffee put in a troff ! (JoE enters from kitchen.) JOE. (Crossing to L. of SAM) Excuse my being late, Mr. Martin I was detained on a little matter of business. Oh, thank you ! (He takes cup from SAM) ( MUGGS puts cup on well and lights cigar.) SAM. (Draws another cup) But business mai lers and dinners don t go together. JOE. He knows, boys. He s getting to be one of the leaders of society. TURN TO THE RIGHT. 117 SAM. (Crossing to L. of well, takes cup with him) And it isn t so easy getting into society as you d think. The Parkers never could have got me in only every one I met said I was so amusing and now I m being invited everywhere. MUGGS. (Rising) Oh, quit boosting yourself. (MRS. BASCOM enters from kitchen. SAM puts cup on well. MUGGS goes L. of SAM. JOE puts cup on tray.) MRS. BASCOM. (As she enters) Your visitor is having some supper, Joe. He s got to go back to New York to-night and I thought (Crosses to SAM, who is R. of MUGGS. JOE is R. of his mother, and GILLY is R. of JOE) Sammie might take him in his automobile. SAM. Delighted, I m sure. JOE. That s fine, dear. MRS. BASCOM. It s been a lovely dinner, Sammie. SAM. Glad you liked it. And we can all afford to have dinners like that every night of our lives JOE. Yes, look at these four successful men, Little Lady. Who do you suppose they owe it to? MRS. BASCOM. (Laughing) You re going to say it s because I always see the jam in the making When I know you only let me do it just to please me. SAM. Don t you believe it ! MRS. BASCOM. Nonsense, Sammie! Anyone can make it the only difference is that I put in a little JOE. (Interrupting) Mother! That s a secret ! MRS. BASCOM. What do you mean, Joe ? JOE. (Putting his arm about her) I mean you put something into every jar of that jam something you don t know about yourself, I guess. And if you do, you mustn t tell or every boy s mother might do the same thing. ,ii8 TURN TO THE RIGHT. MRS. BASCOM. (Kissing him) What a boy yoi are! (Crossing to porch) Don t forget, Sammic, and start off without your passenger. SAM. No, ma am. (MRS. BASCOM exits into kitchen.) JOE. Say, where J s Betty s car? I thought your chauffeur was going to bring ft over here. SAM. He was. It s time he was here now. (Takes out watch in chamois skin case) Betty doesn t know about it yet, does she ? JOE. Not yet. SAM. Wait until she sees it. Say, I want to thank you again for this watch, Joe. Hear it strike ! (Holds it up to MUGG S ear) MUGGS. What do you think of that ? SAM. You and Elsie came home loaded with presents for everybody just as though it was Christ inas. Now, supposin we join the ladies ! (BETTY, ELSIE and JESSIE enter from above house. SAM starts up R. of well. Sees them coming and comes down L. of well. JOE, GILLY and MUGGS also start to go.) MUGGS. (Coming back) It s workin* wrong again, Sam they re comin to join us. ( MUGGS puts cigar on well) BETTY. What became of you all? ELSIE. (Going to MUGGS then crosses to GILLY) Oh, they re talking money and business as they al ways do MUGGS. Well, money don t make a bad topic when you ve got some. (All begin talking in groups MUGGS, BETTY and SAM, L. of well. GILLY and ELSIE, R. c. JOE and JESSIE, c.) TURN TO THE RIGHT. SAM. You are looking quite charm- " ing to-night, Betty. BETTY. Oh, thank you. It was a perfectly lovely dinner. MUGGS. He s showin us how the four hundred eat. JESSIE. I want to thank you again for my beautiful bracelet, Joe. JOE. I knew you d like it Elsie picked it out. ELSIE. I m so glad you could give Joe such splendid reports of the busi ness. GILLY. It was up to us to show him he could get away once in a while. 119 (Spoken " together.) (KATIE enters through kitchen door.) KATIE. Mr. Martin, Mr. Martin, your chauffeur is asking for you. SAM. Is he out in front of the house. KATIE. Yes, sir. (KATIE gets cups from well, removes tray, etc. She exits to kitchen) SAM. Supposin we all go out there Joe s got somethin* to show you. (Offers BETTY his arm) Allow me, Betty. BETTY. Oh, what is it? ^ SAM. Another of Joe s surprises I (Spoken JESSIE. Perhaps it s fireworks > together.) GILLY. (To JESSIE) Can I show ! you the way? J ELSIE. (As she exits on veranda) Come along, Joe. JOE. In a minute, dear. (Catches GILLY by coat sleeve) Gilly! ( MUGGS has started after BETTY and SAM who have gone up L. of well to exit* 120 TURN TO THE RIGHT. Muggs, I want to see you two a minute. (SAM and BETTY, JESSIE and ELSIE exit together, above house talking and laughing) I didn t bring a present for you guys. (JoE is c. MUGGS is on his L. and GILLY his R.) MUGGS. Say, don t Joe GILLY. You re givin us more JOE. (Breaking in) But I thought you might like a picture to remember me by. (He feels in his pocket) MUGGS. I should say I would! GILLY. Did you have em taken while you was away? JOE. (Handing photo to GILLY) Here s yours, Gilly. (Handing one to MUGGS) And here s yours. ( MUGGS and GILLY start as they recognise photos.) GILLY. Joe ! MUGGS. God, Gilly it s us ! GILLY. From the rogues gallery. MUGGS. Sure with the number and everything GILLY. Joe how d you get em ? JOE. Oh, a pinch of salt and Callahan. GILLY. Callahan ? JOE. Yes, and he had some job wouldn t take a cent, either. MUGGS. Say, Old Pal (With tears in his voice) I m going to remember you for this right up to my time for " Lights out ". GILLY. That goes for me too, Joe. (MUGGS and GILLY put pictures in their pockets. BETTY rushes on from above house, wild w&h excitement. GILLY goes R. MUGGS L.) BETTY. Joe! Joe Oh, it s beautiful And the man says I can learn to drive it in no time! Oh, TURN TO THE RIGHT. 121 Joe, you re just a darling I I Oh, Joe ! (She throws her arms around him, and bursts out laugh ing and crying) JOE. (Petting her) Did you see your initials on it? BETTY. Are they? Where? JOE, On the doors. (BETTY rushes back above house f calling ) BETTY. Maw! Maw! (MRS. BASCOM comes onto veranda from kitchen) I got a new automobile ! It s a run-around ! And it s got wire wheels and everything. Hurry, Maw, I want to look at my initials! (BETTY dashes off above house, the boys go to JOE he is between MUGGS and GILLY at well. MRS. BASCOM hurries from veranda after BETTY) MUGGS. That s sure being some happy, Joe ! JOE. (Smiling) I ve felt like yelling that way ever since I was married ( MUGGS and GILLY look away) I tell you it s wonderful when when Oh! Say, boys, do you remember what you promised me when we went into business together? MUGGS. About Betty? GILLY. And Jessie? JOE. Yes. GILLY. And we ve stuck to it, Joe. MUGGS. Sure, we have. We bought two engage ment rings six months ago but we never said nothin about em. SIE. Well, that promise is off. UGGS. Off ! GILLY. Do you mean it? JOE. You agreed to say nothing until you d made good MUGGS. You think we have made good, Joe, honest? JOE. If two fellows ever made good, you have. (Goes up R. c.) 122 TURN TO THE RIGHT. GILLY. I ain t missed Sunday school in forty weeks. (Goes up towards JOE) JOE. I ll see if I can find them for you (JoE exits above house) GILLY. (Coming back to MUGGS) There s some kid! MUGGS. And he s got some sister ! GILLY. And she s got some friend! MUGGS. And now we can ask em. GILLY. And we ve both got bank accounts. MUGGS. And we got em on the level. GILLY. And our mugs ain t in the rogues gal MUGGS. Dudley ! GILLY. Lucius ! (They shake hands.) MUGGS. Joe s lookin for the girls. They ll be here in a minute. GILLY. (Frightened) Can t we both ask em together? MUGGS. What do you mean? GILLY. Somehow, I don t like the idea of being alone when I ask Jessie MUGGS. Afraid ? GILLY. Scared stiff ! MUGGS. Me, too. Got your ring? GILLY. It s up in the room. (Starts to kitchen door) I ll go up and get it. MUGGS. (Turns L.) Bring mine down too. GILLY. Sure. (Comes back) I think 111 send mine to Jessie with a note. MUGGS. (Comes back to GILLY) Oh, you can t propose to a girl that way. I wouldn t mind askin* Jessie GILLY. I wouldn t mind askin Betty! (With sudden idea) Say, Muggs would you do that for me? TURN TO THE RIGHT. 123 MUGGS. Do what? Ask Jessie? GILLY. I d do the same for you. MUGGS. (Sees JESSIE coming above house) Ssh! JESSIE. (To GILLY as she comes doivn R. of him) Joe asked me to bring Betty out here but she s off in her car. It s the cutest thing! And she s just wild about it. GILLY. (Unable to speak at first) Jessie, I ! Excuse me I want to get something ( GILLY exits into house) MUGGS. Jessie (She turns to him) How would you like to to er sit down? JESSIE. Oh, I ain t tired ! MUGGS. But I want to ask you something. JESSIE. Oh ! (Sits right of well) MUGGS. Have you ever thought about getting jnarried ? JESSIE. (Surprised looks front) Why of course I have. MUGGS. Ever thought you would? JESSIE. You don t think I want to die an old maid, do you ? MUGGS. No, sure you don t! (Sits beside her) Jessie, would you will you ? JESSIE. Why, Lucius! I thought you were in love with Betty! (Rising) I couldn t marry you. MUGGS. (Rising) I don t want you to marry me I m askin you for Gilly, JESSIE. You re what? MUGGS. Yes, he made me promise him I would. JESSIE. Well, of all the meanest things I ll never speak to him again as long as I live (She rushes off above house) MUGGS. (Calling after her) Jessie wait a minute listen (He sits doivn by well, looking front hopelessly. GILLY carefully comes to door and peeks out. He sees MUGGS alone) Doming to R. of MUGGS) Did you fix it? 124 TURN TO THE RIGHT. MUGGS. Yes, I fixed it. GILLY. Which way did she go? MUGGS. That way. (Pointing above house) ( GILLY starts after her stops.) GILLY. Here comes Betty. Blow quick ! (MUGGS rises. GILLY tries to push him off L,) MUGGS. Blow yourself. GILLY. But you fixed it for me, now I want to fix it for you. MUGGS. I ll do my own fixin* beat it get outt (Pushes GILLY to L.) (BETTY enters above house.) BETTY. (Comes down R. c. Sees boys) Jessie wants to see you, Dudley. You better go right away. She s awful mad about something GILLY. (Goes up L. of well, starting off above house) Thanks ! MUGGS. (Suddenly running to him up R. c.) Say, wait a minute! (GILLY stops) Did you get that? (BETTY goes L. of well.) GILLY. Eh ? Oh ! Here (Hands MUGGS ring in "box, then exits quickly) ( MUGGS takes ring from box, then puts box in pocket. Keeps ring in hand. BETTY does not see it.) BETTY. JVhy didn t you come to sec my car, Lucius? TURN TO THE RIGHT. 125 MUGGS. I was detained. (He holds ring in right hand by his side. Looks at it meaningly, then breathes on it, and rubs it on his coat sleeve, BETTY sees the ring) Betty I got something terrible im portant to say to you. (ELSIE and JOE come on from below house.) SE. (Seeing them) Hello! UGGS. (Takes BETTY S hand and draws it through his arm) Will you take a little walk in the orchard, Betty? (To ELSIE and JOE) Excuse us a minute (BETTY and MUGGS exit to orchard. ELSIE goes to c. of well, JOE close to her.) JOE. (R. of ELSIE) I guess they don t want anyone around just now. ELSIE. We didn t. JOE. Happy ? ELSIE. (Looks up at him, smiling) Isn t if a wonderful world! JOE. (Turning her head up R. c.) Look! ELSIE. (Looking at house on the hill, up & j&jj Home! JOE. Home! Isn t it a wonderful word! (MRS. BASCOM comes from above \house m veranda.) MRS. BASCOM. (R. of JOE) Joey Sammy and Mr. Callahan are waiting to say good-night to you They re out in the automobile. JOE. Well, we ll go and say good-night to them, and well get Sam to drive us over (Looking at ELSIE) Over ? ELSIE. (Smiling at him) Home! (He kisses her) . JOB. r (Goes to her) Good-night, mother! 126 TURN TO THE RIGHT. MRS. BASCOM. Good-night, boy ! (He kisses her) ELSIE. (Goes to mother) Good-night, mother. MRS. BASCOM. Good-night, darling ! (She kisses her) (ELSIE goes to JOE up R. c.) JOE. (Starting above house with ELSIE) Oh, Sam give us a lift home, will you? SAM. (Away off-stage) Delighted, I assure you. (MRS. BASCOM looks after them as they exit. GILLY and JESSIE enter quickly below house.) JESSIE. Oh, Mrs. Bascom I want to show you something. (JESSIE meets MRS. BASCOM center shows her engagement ring GILLY grining and looking on) MRS. BASCOM. Oh, my dears, I m so glad ! (As MRS. BASCOM is about to kiss JESSIE, MUGGS and BETTY enter from the orchard quickly) BETTY. Maw! Maw! Look! (Shows MRS. BASCOM her engagement ring) MRS. BASCOM. (Kissing her) My darling girl! JESSIE. (Crossing to BETTY MUGGS crosses at back to E. of GILLY) Oh, let s see! (Looks at BETTY S ring) See mine ! (Shows it to BETTY) BETTY. Jessie ! JESSIE. Betty! (They embrace and reverse positions.} MUGGS. Dudley ! GILLY. Lucius! (They embrace) MUGGS and GILLY. Mother ! {Auto starts. Stops at house. After count of five, the lower windows are lighted.) TURN TO THE RIGHT. 127 MRS. BASCOM. (Coming between them) Boys ! (She has an arm around each of them then each kiss her on the cheek) JESSIE. (After lower windows are lighted. Count five then auto starts from house to L,) Dudley GILLY. (Crossing to her) I m going to take her home JESSIE. (Taking his arm) Let s go through the orchard ( GILLY and JESSIE start toward orchard.) MUGGS. Oh, Dudley. Don t hurry back ! (Bell strikes 10 o clock.) GILLY. Don t worry! (JESSIE and GILLIE exit to orchard. As auto passes bushes, lights go out in lower windows.) BETTY. (Going up L. of well with MUGGS) We ll sit on the piazza a litle while. (Light window up stairs. Count five and slowly draw down the shade. This is timed so that as soon as MUGGS and BETTY cross to house the shade is lowered) MRS. BASCOM. (Smiling) As long as you like (BETTY and MUGGS exit above house. As shade comes down, MRS. BASCOM turns front, clasps her hands and raises her eyes toward heaven.) CURTAIN. 128 TURN TO THE RIGHT. APPENDIX. PROLOGUE. HAND PROPS. ON COUNTER. Joe s coat. (Under counter) Shawl. Pawn ticket pinned to shawL Doll Wrapping paper. Rubber bands. Chalk. ON REPAIR TABLE L. Old pressing- cloth. Pressing board. Iron holder and iron. Pipe attached to iron. Small pressing cloth. Needles, thread and thimbKe. Chalk, etc. HANGING BACK OF CURTAIN C. Blue serge suit. Check suit. Several other suits. OFF-STAGE L. c. Bottle of whiskey. OFF-STAGE L. i E. JOE S blue serge vesf A duplicate pair of cheeked trousers with $ic bill in pocket MONEY. ISADORE 4-$x bills, 2 quarters. TURN TO THE RIGHT. 129 LIGHTING PROLOGUE, (At rise.) FOOTS. Blue up full. Amber down to limit. Frosted white enough to tone the blue. FIRST BORDER. Blue y 2 up. Amber J up. THIRD BORDER. Blue up full. Pinks Yt up. (A single globe in entrance L.) 1000 WATT LAMPS ON BACK DROP. ON L. OF STAGE. No. 3 Chocolate, frost and blue. 2 Pink blinded. I Blue. ON R* OF STAGE. No. 4 Blue. 5 Chocolate, frost and blue ON R. OF STAGE THROWING UP AGAINST SIDB BACKING. No. 6 Blue. 7 Bunch light pink % blinded. AFTER CURTAIN is w "** rp. Start lights very slowly up to marks. The first border to keep ahead of foots. FOOTS. Blue down and out. Aniber up to ^ 130 TURN TO THE RIGHT. FIRST BORDER. Blue not touched. Amber up to J4 f ulL THIRD BORDER. Blue not touched. Pink up to full. LAMPS ON DROP AND BACKING. No. 5 Put blue in front and draw of C. F. B. 2 When No. 5 is J4 off draw blinder. 3 Follows No. 2. 4 Put a little frost in to lighten drop. 6 Put a little frost in to lighten backing. All lights to be at high mark when GILLY exits at bade. ACT I. HAND PROP& ON TABLE c. Colored apron. (JESSIE) 3 plates. 2 cups. 2 saucers. Cruet. Pitcher of milk. Knives. Forks. Spoons. Sugar bowl. IN DRAWER. Bottle of flavoring extract White table cloth. ON TABLE AT WINDOW. 2 sticks about 18" long. 2 tablespoons. Bowl of sliced TURN TO THE RIGHT. Ifl ON CHAIR AT WINDOW. Red table cloth. AT SINK. Pump, practical. Wash basin. Dish pan with hot water. Tin quart measure. Two plates. Garbage pail. Dish cloth and wiping cloth. A wooden cloth hanger. Piece of soap. ON FLOOR AT THE CHIMNEY. Preserving kettle and large wooden spoon. ON SHELF OVER SINK. Mirror. Hair comb and brush. Drinking glass. Dish of soap. Two vases of flowers. IN CUPBOARD. Bucket of sugar in lower section. Sugar scoop in bucket. ON FLAT TOP. Plate with cut lemon and squeezer. 2 plates, knives and forks (For MUGGS and GILLY) IN RIGHT DRAWER OF CUPBOARD. Face towels and dish towels. IN LEFT DRAWER OF CUPBOARD. Knives, forks, spoons, etc. UPPER SECTION OF CUPBOARD. Jar of jam and spoon. Glass with spoons in it. Glasses, dishes, cups, saucers, etc. ON SHELF AT CHIMNEY. Clock. 2 lamps with paper bags on chimneys. 132 TURN TO THE RIGHT. ON SMALL STAND L. Bible on top of stand. Album on shelf. MRS. BASCOM S work basket on shelf. Spectacles in work basket. IN DRAWER. TILLINGER S bill. ON SHELF L. Whisk broom. Vase of flowers. ON HAT RACK R. OF DOOR L. c. Parasol ON WALL NEAR SINK. Box of spice. Box of salt. ON CHIMNEY. Several nails on which are hung pots, pans, etc* OFF-STAGS L. Empty jar u. E. 2 prayer books at IT. E. 1 prayer book at parlor entrance. OFF-STAGE R. Basket filled with jars of jam. Jar of chicken broth. Large kettle filled with preserves. (Smoking) 2 kerosene lamps fitted with electric batteries in globes. Bundles with dol! and shawl for JOE. Fuller s earth. FOOD FOR BOY S SUPPER. A dish of potatoes and cream. Spoon. Broiled chicken. Lettuce. Bread. Large pitcher of mitt TURN TO THE RIGHT, 133 CUES FOR EFFECTS OFF-STAGE. . . to help with the dishes. Clock strikes six. when BETTY turns from window after TILLINGER S exit. Clock strikes one. (6 : 30) sit down, fellows. (BETTT opens door) Effect of food cooking outside. Now you blow. See. Church bell rings continuous until curtain. CLOCK. 5: 55 at rise. help with the dishes, Jessie. 6:00 at half past six. 6:15- TILLINGER S exit 6:30 _ Tiffany food. 6:45 Will you kindly open the door. 6:55 MONEY FOR ALL ACTS. GILLY receives two (2) ten and two (2) five dollar bills, 3-silver half dollars. TILLINGER receives two (2) ten and two (2) five dollar bills. SAM receives four (4) ten and six (6) five dollar bills. ELSIE receives two (2) ten and two (2) five dollar bills. TURN TO THE RIGHT. receives four (4) one dollar bills aad two (2) quarters. (Prologue) JOE receives one ( I ) five dollar bill. TILLINGER Large envelope containing two deeds, check, receipted bill. 5AM Order book and pencil. LIGHTING. ACT I. (At rise.) FOOTS. Ambers % up. FIRST BRDER. Ambers J4 up FOURTH BORDER. Pink up full. Blue up full. 1000 WATT LAMPS ON BACK DROP. Numbers commencing at flat and running to drop. ON R. OF s. No. i Blue. 2 Pink. 3 Orange. 4 Pink. ON L. OF s. No. 6 Pink. 7 Pink. 8 Blue. Baby spot in first border pink, covering easychair and stand. (Comes up on cue) Music strip amber in foots to light up MRS. BASCOM S face when she sits at stand to read bible. (Comes up on cue) Baby spot from L. across back of window to JOE S face. TURN TO THE RIGHT. 135 2 oil lamps, students, with batteries, etc. brings them on) A single globe in entrances, R. and L. CUES. On DEACON S first entrance. Lights start slowly down. Foots and 1st border to low mark. 4th border Blue remains up full. Pink comes down to tone blue. 1000 WATT LAMPS. No. 4 Blinded. 2 " 3 " i Blind leaving an opening of about one iadi 7 Blind with No. 2. o Follows No. 7. 8 Follows No. 6. When the DEACON makes his first exit. All lights are down to their low marks, except a very little orange is left in No. 3. When BETTY leaves the window. The orange in No. 3 blue slowly down and are out by time MRS. BASCOM makes her entrance. Darken woodshed entrance before BETTY makes her exit. Turn on light before she makes her entrance. When BETTY enters with the two oil lamps. Foots and ist border come to y% as she opens door. Then to ^ as she walks to table with the lamps. , -As MRS. BASCOM sits in easy- chair. 136 TURN TO THE RIGHT. The music strip in foots comes slowly to full. When MRS. BASCOM rises to meet JOE Music strip down and out. As BETTY brings lamp to stand by MRS. BASCOM. The baby spot in ist border conies up to %. After BETTY places lamp in window. No. 6 Blind is drawn off, leaving: blue. O 99 >f it j 99 99 99 99 99 2 99 99 When ELSIE enters. Foots come to %. 1st border comes to %. (To provide more light lor the comedy scene following) ACT II. HAND PROPS. OFF-STAGE L. 3 E. Wheel barrow. 12 baskets of peaches. I loose peach to go on last load of peaches. OFF-STAGE R. ABOVE HOUSE. Child s wagon. 6 empty peach baskets. I empty market basket. OFF-STAGE R. IN HOUSE. Broom and dust pan. Small tray with bottle of liniment, cup of water and small towel. Empty market basket. Brown paper parcel. (Meat) Small watering pot. OK STEPS OF PORCH. TURN TO THE RIGHT. Basket of filled preserve jars. Labels in box or saucer. Small dish with water and small sponge. ON WELL. L. of well on the curb Bucket and ropft On top of well L. drinking cup. SAM Bank book. Fountain pen. Pencil. An agreement. Piece of paper with figures on it MONEY. SAM 4-$io bills, 6-$5 bills. ELSIE 2-$io bills, 2-$5 bills. DEACON 2-$io bills, 2-$5 bills. JOE i-$5 bill. GILLY 3-silver $j. LIGHTS. FOOTS. Amber and blue up full. ALL BORDERS. Pink, frosted white, and blue up fulL 1000 WATT LAMPS. On L. 1st E. i blue, i pink and blue. 2nd E. 2 pink. 3rd E. i blue, I pink. 4th E. i blue, I pink. On R. Back of set row, on floor i blue. Above house i pink. Spots in fly gallery on R. Back of ist border i frost. Back of 2nd border 2 no mediums. I 3 8 TURN TO THE RIGHT. STRIP LIGHTS. On L. back of orchard set piece I blue.. On L. back of ground row i blue. On R. back of keg drop I blue. BABY SPOTS. On L. first entrance (4) 2 frost, 2 pink. On R. first entrance (4) 2 frost, 2 pink. BUNCH LIGHTS. Through window of house I pink. Above house i blue. NO CHANGE OF LIGHT DURING ACT. ACT III. HAND PROPS. ON STAGE. 2 wicker chairs on porch. i wicker table on porch. 1 wicker chair R. c. on lawn. OFF-STAGE R. IN HOUSE. Tray coffee percolator. 4 cups, saucers, and spoons. Box of cigars, cigarettes. Cigar clipper. Bowl of lump sugar with tongs. Matches in box. Gold headed cane. 2 pictures. 2 rings in boxes. Bell to strike ten o clock. CUE Don t worry. (By GILLY) TURN TO THE RIGHT. 139 LIGHTING. FOOTS. Blue up full Amber down to limit, ALL BORDERS. Blue up full. 1000 WATT LAMPS. ON L. OF STAGE. ist Entrance I light blue, I dark blue. 2nd Entrance I light blue, I dark blue. 3rd Entrance i light blue, i dark blue. 4th Entrance i light blue, I dark blue. On R. back of set row on floor. i dark blue. Above house. i light blue. SPOTS IN FLY GALLERY. Back of ist border I light blue. Back of 2nd border 2 light blue. BABY SPOTS. L. i E. 4 light blue. R. above house i pink. R. in house comes through door I pink. BUNCHES. Through window of house I pink. Above house i light blue. STRIP LIGHTS Same ast ACT II. CUES. When CALLAHAN exits to house, leaving door open. Amber foots come up y^. When JOE and ELSIE exit above house. Amber foots down and out. I 4 o TURN TO THE RIGHT. FOR AUTO AND LIGHTS IN HOUSE ON HILL. Mother Boys. Auto with head lights and rear end light starts from R. Stops at house. Count 5 lower windows are lighted. Count 5 Auto starts downhill to L. As it passes bush* s, turn out lights on lower floor. Sit on the piazza awhile upper window is lighted. Count 5 slowly lower the shade. This is all timed so that as MUGGS and BETTY pass by house to exit, the shade starts down. NOTHING BUT THE TRUTH Comedy in 3 acts. By James Montgomery. 5 males, 6 females. Modern costumes. 2 interiors. Plays 2% hours. Is it possible to tell the absolute truth even for twenty-four hours? It is at least Bob Bennett, the hero of "Nothing but the Truth," accomplished the feat. The bet he made with his partners, his friends, and his fiancee these are the incidents in William Collier s tremendous comedy hit. "Nothing but tile Truth" can be whole-heartedly recommended as one of the most sprightly, amusing and popular comedies of which this country can boast. (Royalty, twenty-five dollars.) Price, 75 Cents, SEVENTEEN X comedy of youth, in 4 acts. By Booth Tarkington. 8 males, 6 females. 1 exterior, 2 interior scenea. Costumes, .modern. Plays 2*/ 2 hours. It is the tragedy of William Sylvanus Baxter that he has ceased to be sixteen and is not yet eighteen. Baby, child, boy, youth and grown-up are definite phenomena. The world knows them and tas learned to put up with them. Seventeen is not an age, it is a disease. In its turbulent bosom the leavings of a boy are at war with the beginnings of a man. In his heart, William Sylvanus Baxter knows all the tortures and delights of love; he is capable of any of the heroisms of his lieroic sex. But he is still *ent on the most humiliating errands by his mother, and depends upon his father for the last nickel of spending money. Silly Bill fell in love with Lolo, the Baby-Talk Lady, a vapid if amiable little flirt. To woo her in a manner worthy of himself (and incidentally of her) he stole his father s evening clothes. "When his wooings became a nuisance to the neighborhood, his another stole the clothes back, and had them altered to fit the* tniddle-aged form of her husband, thereby keeping William afc tome in the evening. But when it came to the Baby- Talk Lady s good-bye dance, not to be present was unendurable. How William Sylvanus again got the dress suit, and how as he was wearing it at the party the negro servant, Genesis, disclosed the fact that the proud garment was in reality his father s, are some of the elements in this charming comedy of youth. "Seventeen" is a story of youth, love and summer time. It is a work of exquisite human sympathy and delicious humor. Pro duced by Stuart Walker at the Booth Theatre, New York, it en joyed a run of four years in New York and on the road. Strongly recommended for High School production. (Royalty, twenty-five dollars.) Price, 75 Centg. SAMUEL FRENCH, 25 West 45th Street, New York Citjr Our New Descriptive Catalogue Sent Free on Request COME OUT OP THE KITCHEN A charming comedy in 3 acts. Adapted by A. E. Thomaa from the story of the same name by Alice Duer Miller, 6 males, 5 females. 3 interior scenes. Costumes, modern. Plays 2% hours. The story of "Come Out of the Kitchen" is written around a Virginia family of the old aristocracy, by the name of Dainger- field, who, finding themselves temporarily embarrassed, decide to rent their magnificent home to a rich Yankee. One of the con ditions of the lease by the well-to-do New Englander stipulates that a competent staff of white servants should be engaged for his sojourn at the stately home. This servant question presents practically insurmountable difficulties, and one of the daughters of the family conceives the mad-cap idea that she, her sister and their two brothers shall act as the domestic staff for the wealthy Yankee. Olivia Daingerfield, who is the ringleader in the merry scheme, adopts the cognomen of Jane Allen, and elects to preside over the destinies of the kitchen. Her sister, Elizabeth, is ap pointed housemaid. Her elder brother, Paul, is the butler, and Charley, the youngest of the group, is appointed to the position of bootboy. When Burton Crane arrives from the North, accom panied by Mrs. Faulkner, her daughter, and Crane s attorney. Tucker, they find the staff of servants to possess so many methods of behavior out of the ordinary that amusing complications begin to arise immediately. Olivia s charm and beauty impress Crane above everything else, and the merry story continues through a maze of delightful incidents until the real identity of the heroine is finally disclosed. But not until Crane has professed his Jove for his charming cook, and the play ends with the brightest prospects of happiness for these two young people. "Come Out of the Kitchen," with Ruth Chatterton in the leading role, made a notable success on its production by Henry Miller at the Cohan Theatre, New York. It was also a great success at the Strand Theatre, London. A most ingenious and entertaining comedy, and we strongly recommend it for amateur production. (Roya^y, twenty-five dollars.) f Price, 75 Cents. GOING SOME Play in 4 acts. By Paul Armstrong and Bex Beach. 12 males, 4 females. 2 exteriors, 1 interior. Costumes, modern and cowboy. Plays a full evening. Described by the authors as the "chronicle of a certain lot of college men and girle, with a tragic strain of phonograph and cowboys." A rollicking good story, full of action, atmosphere, comedy and drama, redolent of the adventurous spirit of youth. (Royalty, twenty-five dollars.) Price, 75 Cents. SAMUEL FRENCH, 25 West 45th Street, New York City Our New Descriptive Catalogue Sent Free oa Request ON THE HIRING LINE Comedy in 3 acts, by Harvey O Higgins and Harriet Ford. 5 males, 4 females. Interior throughout. Costumes, teodern* Plays 2y 2 hours. Sherman Fessenden, unable io induce servants to remain f<H? any reasonable length of time at his home, hits upon the novel expedient of engaging detectives to serve as domestics. His second wife, an actress, weary of the country and longing tor Broadway, has succeeded in discouraging every other cook and Sutler against remaining long at the house, believing that by 00 doing she will win her husband to her theory that country life i> dead. So she is deeply disappointed when she finds she cannot discourage the new servants. The sleuths, believing they had been called to report on the actions of those living with the Fessendens, proceeded to warn Mr. Fessenden that his wife has been receiving love-notes from fiteve Mark, an actor friend, and that his daughter has been planning to elope with a thief. One sleuth causes an uproar in the house, making a mess of the situations he has witnessed. Mr. Fessenden, however, haa learned a lesson and is quite willing to leave the servant problem to ills wife thereafter. (Royalty, twenty-five dollars.) Price, 75 Cent*. A FULL HOUSE A fareieal comedy in 3 acts. By Fred Jackson. 7 males, *7 females. One interior scene. Modern costumes. Time, 2y 2 hours. Imagine a reckless and wealthy youth who writes ardent love letters to a designing chorus girl, an attorney brother- in-law who steals the letters and then gets his hand-bag mixed lip with the grip of a burglar who has just stolen a valuable necklace from the mother of the indiscreet youth, and the efforts of the crook to recover his plunder, as incidents in the story of a play in which the swiftness of the action never halts for an instant. Not only are the situations scream ingly funny but the lines themselves hold a fund of humor at all time<:. This newest and cleverest of all farces was written by Fred Jackson, the well-known short-story writer, and iff backed up by the prestige of an impressive New York success and the promise of unlimited fun presented in the most attrac tive form. A cleaner, cleverer farce has not been seen for many a long day. "A Full House" is a house full of laughs. (Royalty, twenty-five dollars.) Price, 75 Cents. SAMUEL FRENCH, 25 West 45th Street, New York City Our Nw Descriptive Catalogue Sent Free on Reaueat MRS. WIGGS OF THE CABBAGE PATCH Dramatization in 3 acts, by Anne Crawford Flexner from the novel by Alice Hegan Eice. 15 males, 11 females. 1 interior, 1 exterior. Costumes modern and rustic. Plays a full evening. A capital dramatization of the ever-beloved Mrs. "Wiggs and her friends, people who have entered the hearts and minds of a nation. Mrs. Schultz and Lovey Mary, the pessimistic Miss Hazy and the others need no new introduction. Here is characteriza tion, humor, pathos, and what is best and most appealing in, modern American life. The amateur acting rights are reserved for the present in all cities and towns where there are stock companies. Royalty will be quoted on application for those cities and towns where it may be presented by amateurs. Price, 75 Cents, THE FOUR-FLUSHER Comedy in 3 acts. By Caesar Dunn. 8 males, 5 females. 2 interiors. Modern costumes. Plays 2% hours. A comedy of hustling American youth, "The Four-Flusher 1 f is one of those clean and bright plays which reveal the most appeal ing characteristics of our native types. Here is an amusing story of a young shoe clerk who through cleverness, personality, and plenty of wholesome faith in himself, becomes a millionaire. The play is best described as "breezy." It is full of human touches, and develops a most interesting story. It may be whole-heartedly recommended to high schools. (Royalty, twenty-five dollars.) Price, 75 Centi, PALS FIRST Comedy in a prologue and 3 acts. By Lee Wilson Dodd. 8 males, 3 females. 1 interior, 1 exterior. Modern cos tumes. Plays 2Y 2 hours. Based on the successful novel of the same name by P. P. Elliott, "Pals First" is a decidedly picturesque mystery play. Danny and the Dominie, a pair of tramps, enter a mansion and persuade the servants and friends that they belong there. They are not altogether wrong, though it requires the intervention of a judge, two detectives, a villain and an attractive girl to un tangle the complications. A most ingenious play, well adapted to performance by high schools and colleges. (Royalty, twenty- five dollars.) Price, 75 Cents. SAMUEL FRENCH, 25 West 45th Street, New York City Our New Descriptive Catalogue Sent Fre on Request ARE YOU A MASON? Farce in 3 acts. By Leo Ditrichstein. 7 males, 7 fe males. Modern costumes. Plays 2*4 tours. 1 interior. "Are You a Mason?" is one of those delightful farces like "Charley s Aunt" that are always fresh. "A mother and a daughter," says the critic of the New York Herald, "had hus bands who account for absences from the joint household on frequent evenings, falsely pretending to be Masons. The men do. not know each other s duplicity, and each tells his wife of having advanced to leadership in his lodge. The older woman was BO well pleased with her husband s supposed distinction in the order that she made him promise to put up the name of a visiting friend for membership. Further perplexity over the principal liar arose when a suitor for his second daughter s hand proved to be a real Mason. ... To tell the story of the play would require volumes, its complications are so numerous. It ia a house of cards. One card wrongly placed and the whole thing would collapse. But it stands, an example of remarkable in genuity. You wonder at the end of the first act how the fun can be kept up on such a slender foundation. But it continues and grows to the last curtain." One of the most hilariously amusing farces ever written, especially suited to schools and Masonic Lodges. (Royalty, twenty-five dollars.) Price, 75 Centa, KEMPY A delightful comedy in 3 acts. By J. 0. Nugent and Elliott Nugent. 4 males, 4 females. 1 interior throughout. Costumes, modern. Plays 2% hours. No wonder "Kempy" has been such a tremendous hit in New York, Chicago wherever it has played. It snaps with wit and humor of the most delightful kind. It s electric. It s small town folk perfectly pictured. Full of types of varied sorts, each one done to a turn and served with zestful sauce. An ideal entertainment for amusement purposes. The story is about a high- falutin daughter who in a fit of pique marries the young plumber- architect, who comes to fix the water pipes, just because he * "understands" her, having read her book and having eworn to marry the authoress. But in that story lies all the humor that kept the audience laughing every second of every act. Of course there are lots of ramifications, each of which bears its own brand of laughter-making potentials. But the plot and the stpry are not the main things. There is, for instance, the work of the company. The fun growing out of this family mixup is lively and lean. (Royalty, twenty-five dollars.) Price, 75 Gents SAMUEL FRENCH, 25 West 45th Street, New York Of OVT New Descriptive Catalogue Sent Free on Requef* FRENCH S Standard Library Edition Includes Plays by George Kelly Booth Tarkingtoa George Ade George M. Cohan Augustus Thomas Winchell Smith William Gillette Frank Craven Owen Davis Austin Strong A. A. Milne Harriet Ford Paul Green James Montgomery Edward Childs Carpenter Arthur Richman Philip Barry George Middleton Charming Pollock George Kaufman Martin Flavin Victor Mapes Kate Douglas Wiggin Rida Johnson Young Margaret Mayo Roi Cooper Megrue jean Webster George Broadhurst George Hobart Frederick S. Isham Madeline Lucette Rylcy Fred Ballatd Percy MacKaye Willard Mack Jerome K. Jerome R. C. Carton Mark Swan Rachel Crothers W. W. Jacobs Ernest Denny Kenyon Nicholson Aaron Hoffman H. V. Esmond Edgar Selwyn Laurence Housman Israel Zangwill Walter Hackett A. E. Thomas Edna Ferber Justin Huntley McCarthy John Henry Mear* John B. Stapleton Frederick Lonsdale Bryon Ongley Rex Beach J. C. and Elliott Nngeat J. Hartley Manner* Barry Conner* Edith Ellis Harold Brighouse < Harvey J. O Higgint Clare Kummer James Forbes William C. DeMille Louis N. Parker Anthony Hope Lewis Beach Guy Bolton Edward E. Rose Marc Connelly Frederick Paulding Lynn Starling Josephine Preston Peabody Catherine Chisholm Cashing Clyde Fitch Earl Derr Biggers Thomas Broadhurst Charles Klein Bayard Veiller C. Haddon Chamber* Richard Harding Davis Cosmo Gordon-Lennox Grace L. Furniss Martha Morton Robert Housum Carlisle Moore Salisbury Field Leo Dietrichtstein Harry James Smith Eden Phillpotts Sir Arthur Conan Doyle Brandon Tynan Clayton Hamilton Edward Sheldon Richard Ganthony Jullie Lippman Paul Dickey Frank Bacon Thompson Buchanan Edward Paulton Adelaide Matthews William Gary Duncan A. E. W. Mason H. A. DuSouchet Paul Armstrong French s International Copyrighted Edition contains plays, comedies and farces of international reputation; also recent professional successes by famous American and English Authors. Our new descriptive catalogue sent free on request. SAMUEL FRENCH Oldest Play Publisher in the World 25 West 45th Street, NEW YORK CITY RETURN CIRCULATION DEPARTMENT TO- ^ 202 Main Library LOAN PERIOD 1 HOME USE 2 - -- 3 4 5 6 ALL BOOKS MAY BE RECALLED AFTER 7 DAYS 1 -month loans may be renewed by calling 642-3405 6-month loans may be recharged by bringing books to Circulation Desk Renewals and recharges may be made 4 days prior to due date DUE AS STAMPED BELOW ?. ~.f? 19 UNIVERSITY OF CALIFORNIA, BERKELEY FORM NO. DD6, 60m, 12/80 BERKELEY, CA 94720 $ YB 72810 f 4