Barlow. Nothing but the ten commandments.

Yardsley. They aren't bric-a-brac; and I thank you, Mrs. Perkins, for your expression of confidence. I wouldn't intentionally go into the house of another man and toss his Sevres up in the air, or throw his Royal Worcester down-stairs, except under very great provocation.

(Mrs. Perkins and Mrs. Bradley have by this time removed the bric-a- brac from the piano--an upright.) Now, boys, are you ready?

Bradley. Where is it to be moved to?

Yardsley. Where would you prefer to have it, Mrs. Perkins?

Mrs. Perkins. Oh, I have no preference in the matter. Put it where you please.

Yardsley. Suppose you carry it up into the attic, Barlow.

Barlow. Certainly. I'll be glad to if you'll carry the soft pedal.

I'm always afraid when I'm carrying pianos up-stairs of breaking the soft pedal or dropping a few octaves.

Yardsley. I guess we'd better put it over in this corner, where the audience won't see it. If you are so careless that you can't move a piano without losing its tone, we'd better not have it moved too far.

Now, then.

[Barlow, Yardsley, and Bradley endeavor to push the piano over the floor, but it doesn't move.

Enter Perkins with two portieres wrapped about him, and hugging a small stepladder in his arms.

Bradley. Hurry up, Perkins. Don't shirk so. Can't you see that we're trying to get this piano across the floor? Where are you at?

Perkins (meekly). I'm trying to make myself at home. Do you expect me to hang on to these things and move pianos at the same time?

Barlow. Let him alone, Bradley. He's doing the best he knows. I always say give a man credit for doing what he can, whether he is intelligent or not. Of course we don't expect you to hang on to the portieres and the stepladder while you are pushing the piano, Thad.

That's too much to expect of any man of your size; some men might do it, but not all. Drop the portieres.

Perkins. Where'll I put 'em?

Yardsley. Put them on the stepladder.

Perkins (impatiently). And where shall I put the stepladder--on the piano?

Mrs. Perkins (coming to the rescue). I'll take care of these things, Thaddeus, dear.

Bradley. That's right; put everything off on your wife. What shirks some men are!

Yardsley. Now, then, Perkins, lend us your shoulder, and--one, two, three--push! Ah! She starts; she moves; she seems to feel the thrill of life along her keel. We must have gained an inch. Once more, now. My, but this is a heavy piano!

Bradley. Must be full of Wagnerian music. Why don't you get a piano of lighter quality, Perkins? This isn't any kind of an instrument for amateur stage-hands to manage.

Perkins. I'll know better next time. But is it where you want it now?

Yardsley. Not a bit of it. We need one more push. Get her rolling, and keep her rolling until she stands over there in that corner; and be careful to stop her in time, I should hate to push a piano through one of my host's parlor walls just for the want of a little care.

(They push until the piano stands against the wall on the other side of the room, keyboard in.) There! That's first-rate. You can put a camp-chair on top of it for the prompter to sit on; there's nothing like having the prompter up high, because amateur actors when they forget their lines, always look up in the air. Perkins, go sit out in the hall and imagine yourself an enthusiastic audience--will you?-- and tell us if you can see the piano. If you can see it, we'll have to put it somewhere else.

Perkins. Do you mean it?

Mrs. Bradley. Of course he doesn't, Mr. Perkins. It's impossible to see it from the hall. Now, I think the rug ought to come up.

Mrs. Perkins. Dear me! what for?

Yardsley. Oh, it wouldn't do at all to have that rug in the conservatory, Mrs. Perkins. Besides, I should be afraid it would be spoiled.

Perkins. Spoiled? What would spoil it? Are you going to wear spiked shoes?

Barlow. Spiked shoes? Thaddeus, really you ought to have your mind examined. This scene is supposed to be just off the ballroom, and it is here that Gwendoline comes during the lanciers and encounters Hartley, the villain. Do you suppose that even a villain in an amateur show would go to a ball with spiked shoes on?

Perkins (wearily). But I still fail to see what is to spoil the rug.

Does the villain set fire to the conservatory in this play, or does he a.s.sa.s.sinate the virtuous hero here and spill his gore on the floor?

Bradley. What a blood-and-thunder idea of the drama you have! Of course he doesn't. There isn't a death in the whole play, and it's two hours long. One or two people in the audience may die while the play is going on, but people who haven't strong const.i.tutions shouldn't attend amateur shows.

Mrs. Perkins. That's true, I fancy.

Mrs. Bradley. Very. It would be very rude for one of your invited guests to cast a gloom over your evening by dying.

Yardsley. It is seldom done among people who know what is what. But to explain the point you want explained, Thaddeus: the rug might be spoiled by a leak in the fountain.

Mrs. Perkins. The fountain?

Perkins. You don't mean to say you're going to have a fountain playing here?

Bradley. Certainly. A conservatory without a fountain would be like "Hamlet" with Yorick's skull left out. There's to be a fountain playing here, and a band playing in the next room--all in a green light, too. It'll be highly effective.

Perkins. But how--how are you going to make the fountain go? Is it to spurt real water?

Yardsley. Of course. Did you ever see a fountain spurt sawdust or lemonade? It's not a soda-water fountain either, but a straight temperance affair, such as you'll find in the homes of all truly good people. Now don't get excited and raise obstacles. The thing is simple enough if you know how to do it. Got one of those English bath-tubs in the house?

Perkins. No. But, of course, if you want a bath-tub, I'll have a regular porcelain one with running water, hot and cold, put in--two of 'em, if you wish. Anything to oblige.

Yardsley. No; stationary bath-tubs are useful, but not exactly adapted to a conservatory.

Barlow. I brought my tub with me. I knew Perkins hadn't one, and so I thought I'd better come provided. It's out in the hall. I'll get it. [Exit.

Mrs. Bradley (to Mrs. Perkins). He's just splendid! never forgets anything.

Mrs. Perkins. I should say not. But, Mr. Yardsley, a bath-tub, even an English one, will not look very well, will it?

Yardsley. Oh, very. You see, we'll put it in the centre of the room. Just move that table out into the hall, Thaddeus. (Enter Barlow with tub.) Ah! now I'll show you. (Perkins removes table.) You see, we put the tub here in the middle of the floor, then we surround it with potted plants. That conceals the tub, and there's your fountain.

Perkins. But the water--how do you get that?

Bradley. We buy it in bottles, of course, and hire a boy to come in and pour it out every two minutes. How dull you are, Perkins! I'm surprised at you.

Perkins. I'm not over-bright, I must confess, when it comes to building fountains in parlors, with no basis but an English bath-tub to work on.