F^RIOE IS OENTS 
 
Successful Rural Plays 
 
 A Strong List From Which to Select Your 
 Next Play 
 
 FARM FOLKS. A Rural Play in Four Acts, by Arthur 
 Lewis Tubes. For five male and six female characters. Time 
 cf playing, two hours and a half. One simple exterior, two 
 easy interior scenes. Costumes, modern. Flora Goodwin, a 
 farmer's daughter, is engaged to Philip Burleigh, a young New 
 Yorker. Philip's mother wants him to marry a society woman, 
 and by falsehoods makes Flora believe Philip does not love her. 
 Dave Weston, who wants Flora himself, helps the deception by 
 intercepting a letter from Philip to Flora. She agrees to marry 
 Dave, but on the eve of their marriage Dave confesses, Philip 
 learns the truth, and he and Flora are reunited. It is a simple 
 plot, but full of speeches and situations that sway an audience 
 alternately to tears and to laughter. Price, 25 cents. 
 
 HOME TIES. A Rural Play in Four Acts, by Arthur 
 Lewis Tubes. Characters, four male, five female. Plays two 
 hours and a half. Scene, a simple interior — same for all four 
 acts. Costumes, modern. One of the strongest plays Mr. Tubbs 
 has written. Martin Winn's wife left him when his daughter 
 Ruth was a baby. Harold Vincent, the nephew and adopted son 
 of the man who has wronged Martin, makes love to Ruth Winn. 
 She is also loved by Len Everett, a prosperous young farmer. 
 When Martin discovers who Harold is, he orders him to leave 
 Ruth. Harold, who does not love sincerely, yields. Ruth dis- 
 covers she loves Len, but thinks she has lost him also. Then 
 he comes back, and Ruth finds her happiness. Price 25 cents. 
 
 THE OLD NEW HAMPSHIRE HOME. A New 
 
 England Drama in Three Acts, by Frank Dumont. For seven 
 males and four females. Time, two hours and a half. Costumes, 
 modern. A play with a strong heart interest and pathos, yet rich 
 in humor. Easy to act and very effective. A rural drama of 
 the "Old Homstead" and "Way Down East" type. Two ex- 
 terior scenes, one interior, all easy to set. Full of strong sit- 
 uations and delightfully humorous passages. The kind of a play 
 everj4)ody understands and likes. Price, 25 cents. 
 
 THE OLD DAIRY HOMESTEAD. A Rural Comedy 
 in Three Acts, by Frank Dumont. For five males and four 
 females. Time, two hours. Rural costumes. Scenes rural ex- 
 terior and interior. An adventurer obtains a large sum of money 
 from a farm house through the intimidation of the farmer's 
 niece, whose husband he claims to be. Her escapes from the 
 wiles of the villain and his female accomplice are both starting 
 and novel. Price, 15 cents. 
 
 A WHITE MOUNTAIN BOY. A Strong Melodrama in 
 Five Acts, by Charles Townsend. For seven males and four 
 females, and three supers. Time, two hours and twenty minutes. 
 One exterior, three interiors. Costumes easy. The hero, a 
 country lad, twice saves the life of a banker's daughter, which 
 results in their betrothal.^ A scoundrelly clerk has the banker 
 in his power, but the White Mountain boy finds a way to check- 
 mate his schemes, saves the banker, and wins the girl. Price 
 15 cents. 
 
 THE PENN PUBLISHING COMPANY 
 
 PHILADELPHIA 
 
Father Changes His 
 Mind 
 
 ^ Farce in One Act 
 
 By 
 J. WILLARD LINCOLN 
 
 Author of ^^Putti?ig it Over on Father ^^ 
 ** Rather Rough on Robert^'' etc. 
 
 PHILADELPHIA 
 THE PENN PUBLISHING COMPANY 
 
 1918 
 
PS 35^3 
 
 Copyright 1918 by The Penn Pubushing Company 
 
 APR f7 iSi'8 
 
 Father Changes His Mind 
 
 ■S)CI.D 49363 
 
 .^tr^(- 
 
Father Changes His Mind 
 
 CHARACTERS 
 
 Peleg Smith - a rich^ crotchety old farmer who is 
 
 a widower 
 Polly Smith - - his daughter ; twenty, pretty and 
 
 in love with Jim Redlands 
 Jim Redlands - -a young artist who wishes to 
 
 marry Polly 
 Phil Brice - - a yoicng newspaper man and chum 
 
 of Jim 
 Betty Moore - - - an actress andfrietid of Phil 
 Maria Hopkins » » - a very determined widow 
 Helene Dupont ' - - ' - an adventuress 
 Hiram Talker - « - who drives the village hack 
 Joe Harris « . » . . Smith's hired man 
 
 Time.— Thirty minutes. 
 
 STORY OF THE PLAY 
 
 Peleg Smith won't let his daughter Polly marry Jim 
 Redlands, an artist. Jim sends a note to Polly: 
 " Sweetheart, don't be surprised at anything that hap- 
 pens. Pm going to provide your father with a house- 
 keeper and myself with a wife." In response to Jim's 
 advertisement, Betty Moore claims the helpless Peleg. 
 " But I don't want a wife. I didn't advertise. The 
 idea of me marrying ! " Hiram, the village hack 
 , driver, brings another. " If I was you, Peleg, I'd take 
 the first one ! " Hiram gives Peleg a wedding present. 
 Helene Dupont arrives prepared with a license. '' Mr. 
 Smith is the man with the lady in his arms." Peleg 
 refuses them, all : " Clear out, all of you ! '* " Either 
 you marry me or else you pay me ten thousand dol- 
 lars." Peleg refuses to do either and his prospective 
 brides agree to stay until they get satisfaction. Jim 
 to the rescue. *' If you'll get rid of these women I'll 
 give you anything you want." So Jim gets rid of the 
 suitors and wins Father's blessing. 
 
COSTUMES 
 
 Peleg Smith. Old-fashioned cowhide boots ; over- 
 alls tucked into boot tops ; a blue cotton shirt, open at 
 throat ; a gray waistcoat unbuttoned ; a much worn felt 
 hat. Peleg has a goatee which can be made by un- 
 raveling the hemp from a piece of rope, dipping the 
 tow in ink, attaching the other end by glue to a strip 
 of adhesive tape which is affixed to the face and can 
 easily be removed by wetting with a little alcohol. 
 
 Polly Smith. A bright colored gingham dress, 
 with a blue shoulder apron. 
 
 Jim Redlands. Corduroy trousers or knicker- 
 bockers; negligee shirt, string tie; a light coat; straw 
 hat ; a paint box ; canvas and light portable easel. 
 
 Phil Brice. A business suit ; straw hat. 
 
 Betty Moore. Gown and hat in latest style; 
 vanity bag ; large traveling bag ; parasol. 
 
 Maria Hopkins. Plain black dress; black or 
 colored shawl; little black bonnet tied under her chin; 
 hair about face in curls; an old-fashioned carpet bag 
 for which a canvas extension bag may be substituted. 
 
 Helene Dupont. Dressed in loud clothes; big 
 hat ; vanity bag ; parasol ; feather boa ; big trunk. 
 
 Hiram Talker. Khaki trousers ; flannel shirt ; old, 
 faded coat; battered straw hat. 
 
 Joe Harris. " Sneakers " ; old trousers ; flannel 
 shirt; felt hat. 
 
 PROPERTIES 
 
 Wood-box with wood in it. Dish-pan and dishes. 
 Dish towels. Several lithographs or cheap pictures. 
 Paint box, canvas on frame — any painting will do with 
 frame removed ; easel. Parasol and traveling bag for 
 Betty. Carpet or canvas extension bag. Parasol and 
 big trunk for Helene. Letter for Joe to give to Polly. 
 Two newspapers for Maria and Helene. Paper, sup- 
 posed to be a marriage license, for Helene. 
 
SCENE PLOT 
 
 tXT^H/OR BAC/<//VCi 
 
 { \- 
 
 ScENE. — The kitchen of the Smith farmhouse. 
 Door in back c, opening onto porch; doors r. and l. 
 Wood-box up L. Table, with water pail, at R. Dish 
 closet up R. Table c. Two chairs, one r. and one l. 
 of table. A chair against rear wall near door. An- 
 other chair down L. Window l. near rear door. 
 Rugs on floor. Four bright lithographs, or cheap 
 pictures, on walls. 
 
Digitized by the Internet Archive 
 in 2011 with funding from 
 The Library of Congress 
 
 http://www.archive.org/details/fatherchangeshisOOIinc 
 
Father Changes His Mind 
 
 SCENE.— Kitchen of Smith farmhouse. 
 
 {Discovered:— PoiAJY Smith at table up R. washing 
 dishes and singing to herself. Door up c. opens and 
 Jim Redlands enters, paint box, canvas and easel 
 under arm.) 
 
 Jim {as Polly turns), Where's the ogre? 
 
 Polly. You mustn't call Dad that. He may be 
 crotchety, but he's no ogre. 
 
 Jim. All right — but where is he? 
 
 Polly. Gone down to the ten acre lot. 
 
 Jim {placing paint box, canvas and easel on chair 
 near door at rear). Good. Then it will be safe for 
 me to stay a while. 
 
 Polly. What do you mean by safe ? 
 
 Jim. Oh, your father and I had a little conversa- 
 tion yesterday. But don't worry. I've written to my 
 chum, Phil Brice the actor, at the Junction, and we've 
 fixed up a little scheme that will bring your father 
 around. 
 
 Polly. Oh, tell me about It. 
 
 Jim. First, I want a kiss. {Starts toward Polly.) 
 
 Polly {going toward Jim). Just one. {Sees 
 figure passing window up l. and draws back to table.) 
 Oh, dear ! Here's Dad coming now. 
 
 Jim {up R.). He might have waited until I had my 
 kiss. 
 
 (Jim saunters dozvn r. just as Peleg Smith enters 
 
 lip c.) 
 
 7 - 
 
8 FATHER CHANGES HIS MIND 
 
 Peleg {up c, to Jim). You here again? {Comes 
 down c. ) Thought I told you I didn't want you hang- 
 ing round my gal. 
 
 Jim {down r. c.). But, Mr. Smith, I want to marry 
 Polly. I love 
 
 Peleg (c). My gal marry a penniless artist? 
 Not much. Joe, my hired man, could provide a better 
 home for her than an unknown picture feller. 
 
 jiM. I'm not unknown, Mr. Smith. A couple of 
 my pictures have been hung in the spring exhibition. 
 {Crosses l. to chair at door, takes canvas and comes 
 to Peleg.) I've an order for this landscape. It'll 
 bring me a hundred dollars. 
 
 Peleg {taking picture, holds it upside down), A 
 hundred dollars for that! Why, there ain't no head 
 or tail to it. 
 
 (Polly comes down r.) 
 
 Jim (e.g., turning picture). If you hold it right 
 side up perhaps you can see it better. 
 
 Peleg (c.). It's all the same to me, upside down 
 or not. Anybody who would pay a hundred dollars 
 for that thing is crazy. Now if it were one of them 
 {pointing to bright lithographs) I could see why. 
 
 Polly (r.). Oh, Dad! 
 
 Peleg. Go back to your dishes, miss. {To Jim.) 
 And you go about your business — and mind you don't 
 come back here again or there'll be more to it. 
 
 Jim (l. c.). See here, Mr. Smith, this isn't fair. 
 I'm honest. You can look up my references. {Smil- 
 ing.) And I have an income sufficient to support 
 Polly if I don't sell another picture. 
 
 Peleg (c.). I don't 
 
 Polly {going c. to her father and putting her arms 
 about his neck). Oh, Daddy, dear. I love Jim. 
 Why can't we be married ? 
 
 Peleg. Who'd keep house for me if you were 
 married ? 
 
 Jim. Is that all that keeps you from letting me 
 marry Polly ? 
 
FATHER CHANGES HIS MIND Q 
 
 Peleg. No, it ain't all — but it's enough. Now 
 go — and ril go with you to see that you do go. 
 
 (Jim picks up paint box, canvas and easel and exit up 
 c, followed by Peleg. Polly, crying, exit door l.) 
 
 {Enter Joe Harris, r.) 
 
 Joe {catching sight of Peleg through window), 
 Peleg! Oh, Peleg! {Goes up c to door,) I gotta 
 go to the Junction, Back to-morrow. 
 
 {Exit, R.) 
 
 {Enter Peleg, up c.) 
 
 Peleg. But you can't go, Joe. We got all that 
 
 hay to {Stops and looks ahovit in surprise at not 
 
 seeing Joe, then runs to door, l,, and opens it, calling.) 
 
 Joe ! You good-for-nothing- Oh, it's you, Polly. 
 
 Quit that crying and come out here and wash the 
 dishes. 
 
 Polly {from, without), I won't, so there! Even 
 if you are my daddy, you're mean to me. You said I 
 could have anything I wanted if I'd keep house for 
 you and not go to college — and now you won't let me 
 have Jim. 
 
 Peleg (l.). But a husband ain't a thing a girl with 
 money wants. Only poor girls need 'em. Are you 
 coming here to wash those dishes? 
 
 Polly {from withovtt). No ! I'm going to college. 
 
 Peleg (l.). College? Good land! Polly going 
 to college, Joe going to the Junction ! {Shakes fists in 
 air.) Well, not while Peleg Smith is able to move 
 round, they ain't. 
 
 {Exit up c, closing door with a hang.) 
 
 Polly {putting head through door l., looks about, 
 enters, and goes up l. to wood-box). I've a good 
 mind to elope with Jim. 
 
 {Takes stick of wood from box.) 
 
10 FATHER CHANGES HIS MIND 
 
 {Enter Joe, cautiously^ up c.) 
 
 Joe. Is Peleg 'round? 
 
 Polly (up l.). No. 
 
 Joe (at door up c). Then here's a note Jim Red- 
 lands gave me to give you. 
 
 Polly (dropping wood and running up c. to Joe 
 and taking note), Joe, you're a dear! (Exit Joe, up 
 c. Tears open note and reads.) ''Sweetheart: 
 Don't be surprised at anything that happens. Phil 
 Brice and several of his company from the Junction 
 are here. Vm going to provide your father with a 
 housekeeper and myself with a wife. With all my 
 love, Jim." (Sinks into chair by door up c.) Now 
 what can Jim be up to ? 
 
 (Enter Peleg, up c.) 
 
 Peleg. Joe Harris, I don't know where you are, 
 but you're fired. Fll get another hii*ed man. (Polly 
 hurriedly stuffs note into bosom of her dress and cross- 
 ing R. to table begins to rattle the dishes, Peleg, up 
 C-) Stop banging those dishes, Polly. 
 
 Polly (innocently). What's the matter, Dad? 
 
 Peleg. Matter? Everything. That good-for-noth- 
 ing Joe has gone to the Junction and left all the hay- 
 ing — — (Peers out window up l. c.) Hello, who's 
 Hiram bringing here? You got company coming? 
 
 Polly (running up l. c. to window and looking 
 out). No, Dad. 
 
 Hiram Talker (opening door up c). Here's a 
 lady to see you, Peleg. 
 
 Peleg (l. c). A lady to see me? 
 
 Hiram {grinning). So she says. 
 
 (Exit, up c.) 
 (Enter Betty Moore, up c.) 
 Betty. Is Mr. Peleg Smith at home? 
 
 (Polly goes l.) 
 Peleg (l. c). I'm he. 
 
FATHER CHANGES HIS MIND II 
 
 {Enter Hiram with Betty's bag.) 
 
 Hiram {putting bag inside door). Here's your 
 luggage, miss. {Stands in doorzvay.) 
 
 Betty {rushing to Peleg and throwing arms aboiit 
 him). Oh, you dear man. I just know I shall love 
 you. 
 
 Peleg (l. c., disengaging himself, angrily). But I 
 don't want to be loved. 
 
 Betty. Oh, yes you do, you naughty man. You 
 wouldn't want a wife who didn't love you, would yovi? 
 
 Peleg. Me want a wife? 
 
 Hiram {at door, slapping thigh). Haw, haw, haw ! 
 Didn't know you was calculatin' to get spliced, Peleg. 
 
 Peleg. Nor I ain't. 
 
 Betty (l. c). Oh, yes you are— or you wouldn't 
 have advertised. 
 
 Peleg, Advertised? What do you mean? 
 
 Betty {producing paper, which she hands to Peleg, 
 her finger on a paragraph). Why, that's what I 
 mean, of course. I only hope Fm the first to answer. 
 
 Peleg {taking paper and handing it to Polly). 
 Read it, Polly — then perhaps we'll know what this 
 gal's talking about. 
 
 Polly (l., taking paper, reads). "Wanted — a 
 wife. Must be a good cook, kind, pleasant and willing 
 to live in the country. Have plenty of money but a 
 bad temper. Apply in person at the farm of Peleg 
 Smith, Moore's Corners/' 
 
 {Drops newspaper in surprise.) 
 
 Hiram {in doorway up c.). Haw, haw, haw! 
 
 Peleg (l. c, to Hiram). Get out of here ! 
 
 Betty. You've got the temper, all right. But I 
 guess I can stand it— if you have the money, too. 
 
 Peleg. You go with Hiram! 
 
 Betty. Oh, no. You'll like me after you know me. 
 
 Peleg. But I don't want a wife ! I didn't adver- 
 tise. Some wretch put that in. The idea of me 
 marrying ! 
 
12 FATHER CHANGES HIS MIND 
 
 Betty (smiling and picking up her bag). Oh, 
 you'll get used to the idea. I think it was an awfully 
 cute way — so original — of finding a wife. (To 
 Polly.) My dear, will you show^ me my room? 
 
 (Polly goes up c. to her, Betty puts her arm 
 through Polly's and whispers to her,) 
 
 Polly. Yes, indeed. Come with me — er 
 
 Betty. Miss Moore — Betty Moore. 
 
 {Smiles at Peleg^ bohs her head, and exit r. with 
 
 Polly. ) 
 
 Pej^eg (l. c, snatching up paper and staring after 
 her). Well, if this don't beat all. {Shakes paper.) 
 I'd like to lay my hands on the feller who put that ad 
 in the Clarion. {Goes c. and drops into chair at l. 
 of table,) The idea of Polly falling in with her in- 
 stead of ordering her out. Miss Betty, you may think 
 you're going to be Mrs. Peleg Smith, but you ain't. 
 I'll get used to the idea! Awfully cute way — so 
 original — of finding a wife! {Bangs table with fist.) 
 But I don't want a wife ! 
 
 {Enter Hiram, up c, with bag.) 
 
 Hiram. Here's another, Peleg. {Sets bag inside 
 door.) If I was you, I'd take the first one. 
 
 {Enter Maria Hopkins, up c.) 
 
 Maria {glancing about, sniffs). Are you Peleg 
 Smith ? 
 
 Peleg {faintly). Yes. 
 
 Maria {coming dozvn c. to R. of table). Then pay 
 this robber {pointing to Hiram) a quarter. It's an 
 outrage to charge that much for bringing me from the 
 station. 
 
 Peleg {protesting). But I didn't ask you to 
 come — why should I pay? 
 
 Maria {calmly). Because you're going to pay all 
 my bills from now on. 
 
FATHER CHANGES HIS MIND I3 
 
 HiRAM (at doorway). Haw, haw, haw! 
 
 Maria (down r., turning on Hiram). If you think 
 it's so funny, take your pay out in laughing. (To 
 Peleg.) You can give me the quarter instead of him, 
 Peleg, 
 
 Hiram. Yes, go ahead and give it to her, Peleg. 
 You can call it my wedding present to her. When's 
 the ceremony coming off ? 
 
 Maria. Just as soon as dear Peleg and I can draw 
 up the marriage settlement and get to the minister's. 
 (Looking about kitchen.) I can see there are a lot of 
 things need changing, but Til make the best, of it. 
 Now, Peleg, dear, how much money will you settle 
 on your wife? 
 
 Peleg. I don't want a wife. 
 
 Maria (going around table to him with arms out- 
 stretched). Yes you do, Peleg. Anyhow, you're go- 
 ing to have one — and her name's Maria Hopkins. 
 Kiss me, Peleg. 
 
 Peleg (jumping from chair). V\\ die first. 
 
 (Peleg dodges around the table, pursued by Ma.ria. 
 Peleg finally darts for rear door but Maria catches 
 him, ^ip c, throws her arms about his neck and puts 
 head on his shoulder.) 
 
 Hiram (in doorway, up c). Reckon you're caught 
 and branded this time, Peleg. So long. Don't forget 
 I gave you a wedding present. 
 
 (Exit, up c.) 
 
 Peleg (struggling). Let me go. 
 
 Maria (seizing him by zvaistcoat and shaking him). 
 See here, Peleg Smith, don't you talk to me like that. 
 The paper was right in saying you have a temper. But 
 I ain't scared. An}^ woman who could manage Bill 
 Hopkins and send him to his grave can handle a Smith, 
 I guess. Now you come over here and sit while we 
 talk over the money you'll settle on me. (Leads 
 Peleg to chair at r. of table, slams him into it, grabs 
 
H 
 
 FATHER CHANGES HIS MIND 
 
 chair from l., places it beside Peleg and sits dozvn.) 
 How much do I get for marrying you ? 
 
 Peleg. Not a cent ! I won't marry you. I won't 
 marry any one. I don't want a wife. 
 
 Maria. Villain! You have deceived me. My 
 heart is broken. I shall faint! 
 
 (Falls into Peleg's lap.) 
 
 Peleg. Here, stop it. Get up. 
 
 (Shakes Maria, who remains rigid.) 
 
 (Enter Hiram, tip c) 
 
 Hiram (grinning). 'Scuse me, Peleg, for inter- 
 rupting like — but it ain't my fault. I didn't bring this 
 one. But she's surely come to stay. 
 
 (Brings in trunk, assisted by Jim.) 
 
 Peleg (down r., as he sees Jim). You here again? 
 By — 
 
 Jim. Beg pardon, I'm sure. Always hate to in- 
 terrupt family scenes — but the lady asked me to bring 
 her here* 
 
 (Enter Helene Dupont, up c.) 
 
 Helene. So this is my future home ! Doesn't Mr. 
 Smith keep servants? (Sees Peleg holding Maria.) 
 Oh! 
 
 (Jim and Hiram crowd together in doorway up C.) 
 
 Peleg. Who are you? 
 
 Helene (coming down l.). Just at present I am 
 Helene Dupont. (Draws paper from, bosom of dress 
 and waves it.) But soon I shall be Mrs. Peleg Smith. 
 Tell Mr. Smith Miss Dupont wishes to see him, 
 
 Peleg. Hiram, call Joe. 
 
 Hiram. What for? 
 
 Peleg. Don't ask questions, call him. 
 
 (Enter Joe, r.) 
 
FATHER CHANGES HIS MIND I5 
 
 ' Joe (with a grin). Did I hear my name mentioned ? 
 Peleg (to Helene). There's Mr, Smith. 
 
 (Indicating Joe.) 
 
 Helene (down l., looking from Peleg to Joe and 
 then to Jim). Is it? 
 
 Jim (in doorway, up c). Mr. Smith is the man 
 with the lady in his arms. 
 
 Peleg. Pll fix you for that, Jim Redlands. 
 
 Helene (crossing r. to Peleg). Let go that 
 woman and come with me. (Waves paper.) The 
 minister is waiting to marry us. See, here is the 
 Hcense. ^ 
 
 Peleg (weakly), Where'd you get it ? 
 
 Helene (l. of table). Why, at the town clerk's, 
 of course. Come, I told the minister we'd be there 
 right away. 
 
 Peleg (horrified). You told the dominie that! 
 
 Helene. To be sure. And I showed him the 
 license, too. Who is that woman ? 
 
 Maria (coming to, but clinging to Peleg). I am 
 Mrs. Smith. 
 
 Peleg (violently). She ain't! 
 
 (Shakes her off and stands in front of table, c.) 
 i Maria (shaking him). Well, Vm going to be! 
 
 (Exit Jim, r.) 
 
 Hiram (at rear door, jovially). You're some cut- 
 up, Peleg ! See you at the church. And don't forget 
 I've given you a wedding present. 
 
 (Exit, up c.) 
 
 Helene (l. of table, to Peleg). What does this 
 person mean? (Indicating Maria.) 
 
 Peleg (back of fable). She's crazy. 
 
 Maria. Pm not, Pm an honest woman, widow o£ 
 Bill Hopkins — and this is my second husband. 
 
 Helene ( to Peleg) . Then you're already married ? 
 
 Peleg. No— and I ain't going to be. 
 
l6 FATHER CHANGES HIS MIND 
 
 Maria {shaking him). You are, you wretch, you 
 are. You can't trifle v/ith the love of Maria Hopkins. 
 
 Helene {to Peleg). Is she your wife or not? 
 
 Peleg {loudly). No! 
 
 Helene {seizing Peleg's arm). Then you're mine ! 
 {To Maria.) Let him go. See, I have the marriage 
 Hcense to marry him. The town clerk gave it to me. 
 Have you one ? 
 
 Maria. No, but I'll get one ! 
 
 Helene. Then he's mine, because the town clerk 
 gave me the license to marry him. Come, Peleg, dear. 
 I'll save you from this designing woman. 
 
 {Pulls Peleg hy the arm.) 
 
 Maria. You hussy! {Clings to Peleg's neck.) 
 
 {Enter Betty, l., with Polly as Helene and Maria 
 pull Peleg to and fro.) 
 
 Betty. What does this mean? {Rushes to Peleg, 
 down c.) Who are these women, husband dear? 
 
 (Polly comes down r.) 
 
 Helene (l. of Peleg). Husband? 
 Maria (r. of Peleg). Your husband? 
 Betty. Precisely — and I'll thank you to take your 
 hands off him. 
 
 {Crowds in between Helene and Peleg.) 
 
 Maria. But he is going to marry me. 
 
 Helene {to Betty). Have you a license? 
 
 Betty {in dismay). Why, no. 
 
 Helene {gloatingly) , I have — so he's mine. 
 {Waves license.) See, here It Is. Peleg's mine. I've 
 beaten you both to him. 
 
 Betty. You may have a license, but I was here 
 first. So Peleg is mine. 
 
 {Exit Polly, up c. Peleg manages to get to his feet.) 
 
FATHER CHANGES HIS MIND 
 
 ^7 
 
 Maria {to Betty, across Peleg). Have you ever 
 been married ? 
 
 Betty. No. 
 
 Maria {to Helene). Have you? 
 
 Helene. Why, no, 
 
 Maria {triumphantly turning to Peleg). There, 
 Peleg, darling, yon hear them. What do those young 
 girls know about managing a husband compared with 
 me, who buried Bill Hopkins? 
 
 Betty {qtikkly). Suppose we let dear Mr. Smith 
 choose. 
 
 Helene. Not much! I'm the only one who has 
 been given a license to marry him. Come, Pekg, mj 
 own. 
 
 {Pulls him by arm, while Maria pulls the other way.} 
 
 Betty {stoutly holding her place at Peleg's l.). 
 Peleg, dear, why don't you assert yourself? Yom 
 know I was the first. 
 
 Peleg {yanking himself from Betty ami Maria), 
 Clear out, the whole bunch of you. I don't want a 
 wife and I won^t marry any woman on earth ! 
 1 Helene. You won't? And me with the license? 
 
 Peleg. No. 
 
 Helene. Then you'll settle. Here IVe spent my 
 good money coming to Moore's Corners and buying 
 the license. 
 
 {Enter Jim, Phil Brice and Polly, tip c, unnoticed 
 by others. They comrc down r.) 
 
 Peleg. Nobody asked you to. 
 
 Helene. You did, Peleg Smith, by that advertise- 
 ment. Either you marry tne^ or you give me ten thou- 
 sand dollars. 
 
 Maria. If you marry her, you'll give me ten thou- 
 sand dollars, 
 
 Betty. If you marry either of those designing 
 women, you'll give me ten thousand dollars. I came 
 first! 
 
1 8 FATHER CHANGES HIS MIND 
 
 Peleg (sinking into chair r. of table). Some fool 
 put an ad in the Clarion and these women answered it. 
 
 Phil. What did it say? 
 
 Peleg. That I wanted a wife. 
 
 Maria (looking about kitchen}. And you do. I 
 never saw such a mess. Oh, Peleg dear, these other 
 women only want your money — I want you. 
 
 Helene (waving license). Well, do we use this, 
 or do I get the ten thousand ? 
 
 Peleg. We don't use it and you don't get any 
 money. I won't be married. 
 
 Helene. Fve brought my trunk (pointing to it) 
 and I stay— either as your wife or until I get the ten 
 thousand. 
 
 (Pulls chair over and sits beside Peleg.) 
 
 Maria (determinedly). Same here. 
 
 Pel£g (desperately). Land sakes! 
 
 Jim. As I said before, what's the trouble, Mr. 
 Smith? Can I help you? 
 
 Peleg (in desperation). If you'll get rid of these 
 women (indicating Betty, Maria and Helene) I'll 
 give you anything you want. 
 
 Jim. Polly? 
 
 Peleg (faintly). Yes, Polly. 
 
 Jim (to Helene, Betty and Maria). Then I 
 shan't need you any more. Much obliged for helping 
 me change father's mind. (Takes Polly in arms,) 
 
 Peleg (rising and looking angrily from one to an- 
 other). What do you mean, ''shan't need them any 
 longer " ? 
 
 Phil (coming down l.). There, there, Mr. Smith. 
 Don't get excited. 
 
 Helene (downL.). I want my ten thousand. 
 
 Maria (down l. c.). So do I. 
 
 Betty. And I. 
 
 Peleg (faintly, to ]im). I thought you were going 
 to get rid of them? 
 
 Jim. And I get Polly if I do? 
 
 Peleg (weakly). Yes. 
 
FATHER CHANGES HIS MIND 
 
 19 
 
 PiiiL (dozvHR.), These are friends of mine whom 
 I persuaded to help Jim win Polly — and change your 
 mind. 
 
 Peleg. Then I don't have to marry any of them? 
 
 Jim. Ask them. 
 
 Helene. I wouldn't marry such an old grouch as 
 you if you were the last man on earth. 
 
 Betty (down c.). Nor I. 
 
 Maria (downL.c). Nor I. 
 
 Peleg (coming down r. between Polly and Jim 
 and placing the hand of one in the hand of the other). 
 Bless you, my children ! 
 
 Betty. 
 Jim. Maria. 
 Peleg. Helene. 
 
 Polly. 
 Phil. 
 
 curtain 
 
Unusually Good Entertainments 
 
 Read One or More of These Before Deciding on 
 Your Next Program 
 
 GRADUATION BAY AT "WOOD HILI. SCHOOL. 
 
 An Entertainment in Two Acts, by Ward Macauley. For six 
 males and four females, with several minor parts. Time of 
 playing, two hours. Modern costumes. Simple interior scenes; 
 may be presented in a hall without scenery. The unusual com- 
 'bination of a real ''entertainment," including music, recitations, 
 etc., with an interesting love story. The graduation exercises 
 include short speeches, recitations, songs, funny interruptions,^ 
 and a comical speech by a country school trustee. Price, 15 
 cents. 
 
 EXAMINATION DAY AT WOOD HILL SCHOOL. 
 
 An Entertainment in One Act, by Ward Macauley, Eight male 
 and six female characters, with minor parts. Plays one hour. 
 Scene, an easy interior, or may be given without scenery. Cos- 
 tumes, modern. Miss Marks, the teacher, refuses to marry a 
 trustee, who threatens to discharge her. The examination in- 
 cludes recitations and songs, and brings out many funny answers 
 to questions. At the close Robert Coleman, an old lover, claims 
 the teacher. Very easy and very effective. Price, 15 cents. 
 
 BACK TO THE COUNTRY STORE. A Rural Enter- 
 tainment in Three Acts, by Ward Macauley. For four male 
 and five female characters, with some supers. Time, two hours. 
 Two scenes, both easy interiors. Can be played effectively with- 
 out scenery. Costumes, modern. All the principal parts are 
 sure hits. Quigley Higginbotham, known as *'Quig," a clerk in 
 a country store, aspires to be a great author or singer and 
 decides to try his fortunes in New York. The last scene is in 
 Quig's home. He returns a failure but is offered a partnership 
 in the country store. He pops the question in the midst of a 
 surprise party given in his honor. Easy to do and very funny. 
 Price, 15 cents. 
 
 THE DISTRICT CONVENTION. A Farcical Sketch 
 in One Act, by Frank Dumont. For eleven males and one 
 female, or twelve males. Any number of other parts or super- 
 numeraries may be added. Plays forty-five minutes. No special 
 vtcenery is required, and the costumes and properties are all 
 easy. The play shows an uproarious political nominating con- 
 vention. The climax comes when a woman's rights cham-^ 
 pion, captures the convention. There is a great chance to bur- 
 lesque modern politics and to work in local gags. Every 
 part will make a hit. Price, 15 cents. 
 
 SI SLOCUM'S COUNTRY STORE. An Entertainment 
 in One Act, by Frank Dumont. Eleven male and five female 
 characters with supernumeraries. Several parts may be doubled. 
 Plays one hour. Interior scene, or may be played without set 
 scenery. Costumes, modern. The rehearsal for an entertain- 
 ment in the village church gives plenty of opportunity for 
 specialty work. A very jolly entertainment of the sort adapted 
 to almost any place or occasion. Price, 15 cents. 
 
 THE PENN PUBUSHING COMPANY 
 
 PHILADELPHIA 
 
Unusually Good Entertainments 
 
 Read One or More of These Before Deciding on 
 Your Next Program 
 
 A SUBPBISE FARTT AT BRINKLEY'S. An En- 
 tertainment in One Scene, by Ward Macauley. Seven male and 
 seven female characters. Interior scene, or may be given with- 
 out scenery. Costumes, modern. Time, one hour. By the 
 author of the popular successes, ^'Graduation Day at Wood HiU 
 School," ''Back to the Country Store," etc. The villagers have 
 planned a birthday surprise party for Mary Brinkley, recently.^ 
 graduated from college. They all join in jolly games, songs, 
 conundrums, etc., and Mary becomes engaged, which surprises 
 the surprisers. The entertainment is a sure success. Price, 15 centSv 
 
 JONES VS. JINKS. A Mock Trial in One Act, by 
 Edward Mumford. Fifteen male and six female characters, with 
 supernumeraries if desired. May be played all male. Many of the 
 parts (members of the jury, etc.) are small. Scene, a simple 
 interior ; may be played without scenery. Costumes, modern. 
 Time of playing, one hour. This mock trial has many novel 
 features, unusual characters and quick action. Nearly every 
 character has a funny entrance and laughable lines. There are 
 many rich parts, and fast fun throughout. Price, 15 cents. 
 
 THE SIGHT-SEEING CAR. A Comedy Sketch in One 
 A-ct, by Ernest M. Gould. For seven males, two females, or 
 may be all male. Parts may be doubled, with quick changes, so 
 that four persons may play the sketch. Time, forty-five minutes. 
 Simple street scene. Costumes, modern. The superintendent 
 of a sight-seeing automobile engages two men to run the 
 machine. A Jew, a farmer, a fat lady and other humorous 
 characters give them all kinds of trouble. This is a regular gat- 
 ling-gun stream of rollicking repartee. Price, 15 cents. 
 
 THE CASE OF SMYTHE VS. SMITH. An Original 
 
 Mock Trial in One Act, by Frank Dumont. Eighteen males 
 and two females, or may be all male. Plays about one hour. 
 Scene, a county courtroom ; requires no scenery ; may be played 
 in an ordinary hall. Costumes, modern. This entertainment is 
 nearly perfect of its kind, and a sure success. It can be easily 
 produced in any place or on any occasion, and provides almost 
 ^any number of good parts. Price, 15 cents. 
 
 THE OLD MAIDS' ASSOCIATION. A Farcical Enter-i 
 tainment in One Act, by Louise Latham Wilson. For thirteen* 
 females and one male. The male part may be played by a 
 female, and the number of characters increased to twenty or 
 more. Time, forty minutes. The play requires neither scenery 
 nor properties, and very little in the way of costumes. Can 
 easily be prepared in one or two rehearsals. Price, 25 cents. 
 
 BARGAIN BAT AT BI^OOMSTEIN'S. A Farcical 
 Entertainment in One Act, by Edward Mumford. For five males 
 and ten females, with supers. Interior scene. Costumes, mod- 
 ern. Time, thirty minutes. The characters and the situations 
 which arise from their endeavors to buy and sell make rapid-fire 
 fun from start to finish. Price, 15 cents. 
 
 THE PENN PUBLISHING COMPANY 
 
 PHILADELPHIA 
 
Successful Plays for All Girls 
 
 In Selecting Your Next Play Do Not Overlook This List 
 
 YOUNG DOCTOR DEVINE. A Farce in Two Acts, 
 by Mrs. E. J. H. Goodfellow. One of the most popular 
 piays for girls. For nine female characters. Time in 
 playing, thirty minutes. Scenery, ordinary interior. Mod- 
 ern costumes. Girls in a boarding-school, learning that a 
 young doctor is coming to vaccinate all the pupils, eagerly con- 
 sult each other as to the manner of fascinating the physician. 
 When the doctor appears upon the scene the pupils discover that 
 the physician is a female practitioner. Price, 15 cents. 
 
 SISTER MASONS. A Burlesque in One Act, by Frank 
 DuMONT. For eleven females. Time, thirty minutes. Costumes, 
 fantastic gowns, or dominoes. Scene, interior. A grand expose 
 of Masonry. Some women profess to learn the secrets of a 
 Masoni'c lodge by hearing their husbands talk in their sleep, 
 and they institute a similar organization. Price, 15 cents. 
 
 A COMMANDING POSITION. A Farcical Enter- 
 tainment, by Amelia Sanford. For seven female char- 
 acters and ten or more other ladies and children. Time, one 
 hour. Costumes, modern. Scenes, easy interiors and one street 
 scene. Mari^an Young gets tired living with her aunt. Miss 
 Skinflint. She decides to "attain a commanding position." 
 Marian tries hospital nursing, college settlement work and 
 school teaching, but decides to go back to housework. Price, 15 
 cents. 
 
 HOW A WOMAN KEEPS A SECRET. A Comedy 
 in One Act, by Frank Dumont. For ten female characters. 
 Time, half an hour. Scene, an easy interior. Costumes, modern. 
 Mabel Sweetly has just become engaged to Harold, but it's *^the 
 deepest kind of a secret." Before announcing it they must win 
 the approval of Harold's uncle, now in Europe, or lose a possible 
 ten thousand a year. At a tea Mabel meets her dearest friend. 
 Maude sees Mabel has a secret, she coaxes and Mabel tells her. 
 But Maude lets out the secret in a few minutes to another 
 friend and so the secret travels. Price, 15 cents. 
 
 THE OXFORD AFFAIR. A Comedy in Three Acts, 
 by Josephine H. Cobb and Jennie E. Paine. For eight female 
 characters. Plays one hour and three-quarters. Scenes, inter- 
 iors at a seaside hotel. Costumes, modern. The action of the 
 play is located at a summer resort. Alice Graham, in order to 
 chaperon herself, poses as a widow, and Miss Oxford first claims 
 her as a sister-in-law, then denounces her. The onerous duties 
 of Miss Oxford, who attempts to serve as chaperon to Miss 
 Howe and Miss Ashton in the face of many obstacles, furnish 
 an evening of rare enjoyment. Price 15 cents. 
 
 THE PENN PUBLISHING COMPANY 
 
 PHILADELPHIA 
 
The Power of 
 
 LIBRftRY OF CONGRESS 
 
 ■Hi 
 
 Expression and efficiency go han^ g g^g 939 851" 1 
 
 The power of clear and forceful expression bnngs^conJ 
 dcnce and poise at all times — in private gatherings, in public 
 discussion, in society, in business. 
 
 It is an invaluable asset to any man or woman. It can often 
 be turned into money, but it is always a real joy. 
 
 In learning to express thought, we learn to command 
 thought itself, and thought is power. You can have this 
 power if you will. 
 
 Whoever has the power of clear expression is always sure 
 of himself. 
 
 The power of expression leads to: 
 
 The ability to think "on your feet" 
 
 Successful public speaking 
 
 Effective recitals 
 
 The mastery over other mindi 
 
 Social prominence 
 
 Business success 
 
 Efficiency in any undertaking 
 
 Are these things worth while? 
 
 They are all successfully taught at The National School of 
 Elocution and Oratory, which during many years has de- 
 veloped this power in hundreds of men and women. 
 
 A catalogue giving full information as to how any of these 
 accomplishments may be attained will be sent free on requestc 
 
 THE NATIONAL SCHOOL OF 
 ELOCUTION AND ORATORY 
 
 Parkway Building Philadelphia