The Templeton Teapot: A Farce in One Act

By Grace Cooke Strong

The Project Gutenberg EBook of The Templeton Teapot, by Grace Cooke Strong

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org


Title: The Templeton Teapot
       A Farce in One Act

Author: Grace Cooke Strong

Release Date: February 18, 2013 [EBook #42123]

Language: English


*** START OF THIS PROJECT GUTENBERG EBOOK THE TEMPLETON TEAPOT ***




Produced by Dianna Adair, Paul Clark and the Online
Distributed Proofreading Team at http://www.pgdp.net (This
file was produced from images generously made available
by the Library of Congress)






    Transcriber's Note:

    Every effort has been made to replicate this text as faithfully as
    possible. Some changes have been made. They are listed at the end of
    the text.

    Italic text has been marked with _underscores_.
    Bold text has been marked with =equals signs=.




                          NO PLAYS EXCHANGED.

                        BAKER'S EDITION OF PLAYS

                          The Templeton Teapot

                            Price, 15 Cents

                         WALTER H. BAKER & CO.
                                 BOSTON

               COPYRIGHT, 1889, BY WALTER H. BAKER & CO.




A. W. Pinero's Plays

Price, 50 Cents Each


=THE AMAZONS= Farce in Three Acts. Seven males, five females. Costumes,
modern; scenery, not difficult. Plays a full evening.

=THE CABINET MINISTER= Farce in Four Acts. Ten males, nine females.
Costumes, modern society; scenery, three interiors. Plays a full
evening.

=DANDY DICK= Farce in Three Acts. Seven males, four females. Costumes,
modern; scenery, two interiors. Plays two hours and a half.

=THE GAY LORD QUEX= Comedy in Four Acts. Four males, ten females.
Costumes, modern; scenery, two interiors and an exterior. Plays a full
evening.

=HIS HOUSE IN ORDER= Comedy in Four Acts. Nine males, four females.
Costumes, modern; scenery, three interiors. Plays a full evening.

=THE HOBBY HORSE= Comedy in Three Acts. Ten males, five females.
Costumes, modern; scenery easy. Plays two hours and a half.

=IRIS= Drama in Five Acts. Seven males, seven females. Costumes, modern;
scenery, three interiors. Plays a full evening.

=LADY BOUNTIFUL= Play in Four Acts. Eight males, seven females.
Costumes, modern; scenery, four interiors, not easy. Plays a full
evening.

=LETTY= Drama in Four Acts and an Epilogue. Ten males, five females.
Costumes, modern; scenery complicated. Plays a full evening.

=THE MAGISTRATE= Farce in Three Acts. Twelve males, four females.
Costumes, modern; scenery, all interior. Plays two hours and a half.


                  Sent prepaid on receipt of price by

                       Walter H. Baker & Company
              No. 5 Hamilton Place, Boston, Massachusetts




                          The Templeton Teapot

                           A Farce In One Act

                                   By
                           GRACE COOKE STRONG
                  _Author of "Marrying Belinda," etc._

                                 BOSTON
                         WALTER H. BAKER & CO.
                                  1912




The Templeton Teapot




CHARACTERS


    HORACE TEMPLETON, _a collector of antiques_.
    PROF. ALGERNON GATES, _bashful but persistent_.
    LEON BURNETT, _a neighbor of the Templetons'_.
    ERIC DEAN, _Burnett's brother-in-law_.
    MRS. TEMPLETON, _Templeton's wife_.
    HILDA, _his daughter_.
    SUE, _his spinster sister_.
    FANNY BURNETT, _Burnett's wife_.

TIME:--Summer evening of present year.


[Illustration]

COPYRIGHT, 1912, BY WALTER H. BAKER & CO.




The Templeton Teapot


 SCENE.--_Library in the Templeton home, a comfortable old-fashioned
   room, reflecting its owner's love for the antique. A door at R. leads
   into the hall; another door L., opens into an adjoining room. For
   furniture, a large desk strewn with books and papers, several easy
   chairs, and shelves containing books. The room is decorated with
   pieces of old china, dignified candlesticks, and various
   old-fashioned articles. In a prominent position on the mantel is a
   quaint silver teapot._

   (_As the curtain rises, MR. HORACE TEMPLETON is seated at his desk
     writing, surrounded by several ponderous reference books. MRS.
     TEMPLETON enters L., carrying a large basket packed with cast-off
     clothing_.)

MRS. T. (_setting basket on floor near door R._). Hilda! (_Goes to L._)
Hilda! Horace, have you seen----? (_In despair._) Oh, it's of no use.
Sue! (_Enter SUE, L._) Sue, have you seen anything of Hilda?

SUE. She came in here after dinner.

MRS. T. (_looking out R._). She must have gone out, for her wraps are
not in the hall. How unfortunate!

SUE. She will be at home presently. (_Looks at basket._) I wouldn't
leave that basket there, Celia. If--if Professor Gates should happen to
call this evening he would surely stumble over it; the dear man is so
near-sighted.

MRS. T. (_moving basket from door_). It's only a few things that I've
collected for poor Mrs. McLaffety. She's to send her boy for them. Did
Professor Gates tell you that he was coming this evening?

SUE (_moving about nervously_). Why, no--doesn't he usually call on
Tuesday evenings?

MRS. T. (_sitting down_). Yes; and on Wednesday evenings and Thursday
evenings and Friday--I declare, I'm so worried about Hilda that I can't
keep track of anything.

SUE (_in surprise_). Hilda?

MRS. T. Yes, Hilda. For weeks she has not been herself. I know that she
has something on her mind, but I can't find out what it is. Her father
is no help----(_Sound of door-bell._) I'm sure that's the evening paper;
will you kindly get it, Sue? (_Exit SUE, R. MRS. T. rises hurriedly and
goes to desk_.) Horace. (_Pause._) Horace!

MR. T. (_without looking up_). Yes, yes.

MRS. T. (_in exasperation_). Will you give me your attention one moment?

MR. T. (_impatiently pushing aside his work_). Celia, how many times
must I tell you that I'm preparing an article for the press, entitled,
"The Philosophy of our Forefathers as Revealed by their Kitchen
Utensils," and that I cannot endure this constant interruption?
(_Resumes work._)

MRS. T. You shall listen to me. Do you ever wonder at the increasing
frequency with which Professor Gates calls here?

MR. T. (_impatiently_). Well, Gates is a good fellow--fine family--most
distinguished--that sort of thing.

MRS. T. Very true, and moreover, he is in love with Hilda.

MR. T. Nonsense! He's twice her age.

MRS. T. That doesn't matter. Hilda is old for her years; besides, she's
in love with him.

MR. T. You must be mistaken.

MRS. T. (_emphatically_). I am not. Didn't you hear me telling Sue that
Hilda is unhappy, moody, incomprehensible? Those are symptoms--trust me.

MR. T. Well?

MRS. T. I'm trying to determine your attitude toward this marriage.

      (_SUE appears unnoticed in door R., the paper in her hand_.)

MR. T. (_irritably_). You speak as if it were a settled thing.

MRS. T. It is--practically.

MR. T. Well, all I have to say is, if Professor Gates marries Hilda,
they shall have the teapot.

               (_Resumes work. SUE gives a little cry_.)

MRS. T. (_turning violently_). Sue, you frightened me.

SUE. You were speaking of Hilda's marriage?

                 (_Lays newspaper on desk. Sits down._)

MRS. T. Yes; we have the prospect of seeing her settled most
comfortably.

SUE (_in agitation_). I wouldn't--you mustn't--she's too young.

MRS. T. (_sitting down and picking up the newspaper_). Not at all.
(_Glances through paper._) Of course, since you've never married, you
naturally think---- (_Springs from her chair._) For heaven's sake,
Horace, the Wentworths were robbed last night of a thousand dollars'
worth of silver!

MR. T. (_rising hastily and seizing paper_). It can't be possible. Let
me see!

MRS. T. (_weakly_). Burglars!

SUE. It's the third robbery on this street within a week!

MR. T. (_gloomily_). We shall be the next victims, I am confident. Oh,
why have I not carried the teapot to the safe deposit vault?

MRS. T. (_indignantly_). The teapot? I think that we have other articles
quite as valuable as the teapot.

MR. T. (_pacing the floor in great agitation_). Celia, are you crazy?
Consider that teapot, which graced the tables of the English nobility in
the seventeenth century when tea was first introduced into Europe, which
passed into the hands of the Puritans in Cromwell's time, and was
brought to this country in 1680, and which has been in our family for
over two hundred years! Why, it's worth its weight ten times over in
gold! (_Picks up teapot and examines it lovingly._)

MRS. T. I'm sure that no burglar would ever want it. My rings are
another matter.

SUE. We'll have to sit up all night.

MR. T. (_replacing teapot on mantel_). This shall not stay in the house
another day. Fool that I have been to keep it so long.

MRS. T. I'm more anxious about Hilda--out we know not where, and bandits
on every corner. (_Noise without._) Ah, here she is now. (_Enter R.,
HILDA and PROF. ALGERNON GATES in street costumes, the latter
perceptibly agitated_.) Hilda, I'm so relieved that you have come.
Good-evening, Professor.

PROF. G. (_bowing nervously to every one_). Good-evening. Oh, my dear
Mrs. Templeton, such a painful experience for poor Miss Hilda!

MRS. T. What has happened?

MR. T. Some one please explain.

PROF. G. (_sinking into a chair near SUE_). A most horrible fright!
(_Mops his forehead._)

MRS. T. I command you, Hilda, to tell me where you have been.

HILDA (_excitedly removing her wraps and tossing them and her purse in
different parts of the room_). Such an adventure, mother. I was crossing
Elm Street in the shadow of the station, when a horrible man brushed
against me, and, before I could prevent him, grabbed my purse, and was
endeavoring to tear my watch from my waist----

MRS. T. Mercy on us, has the child been robbed?

HILDA. He would have gotten away in a moment, had not a tall gentleman
suddenly appeared from somewhere, who seized the ruffian and held him
until the officer that my screams had summoned arrived.

MRS. T. Then what did you do?

HILDA. The strange gentleman had just offered to escort me home, when we
met Professor Gates, who was kind enough to take me under his
protection.

MR. T. But your rescuer, child? To whom are you indebted?

HILDA. I was so excited that I quite forgot to ask his name.

PROF. G. An unpardonable oversight on our part, Mrs. Templeton.

MRS. T. That is unfortunate! The whole affair is most horrible.

HILDA. Horrible? I think it's splendid!

ALL. Splendid?

HILDA. It was an adventure. I'd never had one before; and, mother, he
was so handsome!

MRS. T. The robber?

HILDA. No, no, the man who caught him. He was so big and masterful--
quite the most attractive man that I have ever seen.

MRS. T. (_glancing apprehensively at PROF. G._). Hush, dear, hush. You
are all unstrung. You must lie down for a few moments. (_Draws HILDA
toward L._) You'll excuse us, Professor?

PROF. G. Certainly. (_Rises affably_). I trust that our dear young lady
will suffer no ill effects from this experience.

MRS. T. Sue, will you please bring Hilda's wraps?

 (_SUE rises and gathers up HILDA'S belongings. Exeunt MRS. T., HILDA
   and SUE, L. PROF. G. watches them from door._)

PROF. G. A most remarkable young woman--Miss Templeton--marvelous
self-control.

MR. T. (_sitting down at desk and looking longingly at his work_). True,
and a most alarming occurrence. Hilda shall not go out alone again.

PROF. G. (_moving about nervously_). You cannot be too careful. And now,
Mr. Templeton (_pausing by desk and clearing throat several times_),
there is something--in fact--I must explain--to be brief, I love Miss
Templeton. If it meets with your approval, I shall be most happy to make
her my wife.

MR. T. Well, well, Mrs. Templeton has hinted at this. But, my dear
Professor, have you thought of the disparity in ages?

PROF. G. (_delightedly_). Considering the marked congeniality of our
tastes, that is hardly worth mentioning.

MR. T. I fear she may prove reluctant----

PROF. G. (_beaming_). I have already ascertained her sentiments; she is
quite willing----

MR. T. (_rising and extending his hand_). Then I am most happy to
connect my family with one so esteemed and ancient as your own; and, as
a further mark of my approval, I shall present you on your wedding day
with the Templeton teapot----

PROF. G. (_nervously_). Why, my dear sir, you quite overwhelm me.

MR. T. As I have no sons, it is appropriate that you should own this
priceless heirloom (_taking teapot from mantel_) which, as you know,
belonged to the Duke of Birmingham when tea was first introduced into
England, passed into the hands of the Puritans in the time of Cromwell,
was brought to this country in---- (_Enter MR. LEON BURNETT, R._) Why,
good-evening, Burnett.

MR. B. Good-evening, good-evening, Professor. I've come over to get
you----

MR. T. (_pushing forward a chair_). Sit down, my friend.

MR. B. (_sitting down_). Haven't time, really. I just want you to come
over to inspect my new burglar alarm--my own invention--greatest device
of the century----

PROF. G. (_fidgeting about_). If you'll excuse me, I'll join the ladies.

MR. T. (_smiling significantly_). Certainly, certainly, Professor.

                                    [_Exit PROF. G., L., with alacrity._

MR. B. (_laughing_). Say, does he board over here?

MR. T. (_sitting down_). No, that is--it's a state secret, Burnett, but
you are like one of the family; Gates is going to marry Hilda.

MR. B. (_springing up in surprise_). No?

MR. T. Yes.

 (_HILDA appears in door L. and listens intently, unnoticed by the
   others._)

MR. B. He's too old.

MR. T. Oh, no, merely a dignified age for a girl so conservatively
reared as Hilda has been. She is much in advance of her years, I assure
you.

MR. B. (_pacing the floor thoughtfully_). I don't like it.

MR. T. I think it a most suitable match, and I am intending to present
the happy pair with my most precious heirloom--the Templeton teapot.

                         (_HILDA disappears._)

MR. B. (_sitting down_). Now, Fanny had always planned Hilda for
Eric--her brother, you know. By the way, we've just received a wire
saying that he was coming this evening. I don't know just what time to
expect him, for he comes and goes like a streak of lightning. I'll be
glad to bring him over and introduce him.

MR. T. Do, by all means. I know him well by reputation. His collection
of antiques is very valuable.

MR. B. Finest private collection in Massachusetts. Eric will hardly
leave it. He's never even been to see us since we moved here. But come
over to see my burglar alarm. I've just set it. It's going to
revolutionize the catching of burglars in this country.

               _Enter MRS. FANNY BURNETT, R., hurriedly._

MRS. B. Oh, Leon, Leon, the burglar alarm is going off! I am sure
there's a burglar in the pantry.

MR. B. We'll see about this. Come, Templeton.

         (_MR. T. takes a revolver from a drawer in the desk._)

MR. T. We'll catch him in the act!

                    [_Exeunt MR. T., MR. B. and MRS. B., R., hurriedly._

 _Enter HILDA, L., in street costume, carrying a letter and a suit-case.
   She places letter on desk, goes to door R., pauses irresolutely, then
   goes to desk, sits down and buries her face in her hands. Enter ERIC
   DEAN, R., with overcoat and suit-case. Drops both, and approaches
   HILDA softly._

DEAN. Who do you think----?

HILDA (_springing up with a little scream_). What--who----?

DEAN (_drawing back in confusion_). I--er--beg your pardon. (_Takes off
his hat._)

HILDA. Why, it's _you_!

DEAN. You?

HILDA. Don't tell me that you're a burglar. How dare you come here?

DEAN (_politely_). I'm not a burglar. My name is Dean--of Boston. I'm
Mrs. Burnett's brother. I thought this was her house, and, as the door
was open, I walked in. I took you for Fanny. (_Looks about._) I guess
I'm in the wrong place.

HILDA (_laughing_). Mrs. Burnett lives next door. Mr. Dean, I've often
heard of you, and I'm glad to know you. (_Extends her hand._) Let me
thank you again for your promptness in rescuing me from that brute and
saving my money.

DEAN (_taking her hand_). It was my privilege. I wish that I might be
always near when you are in danger, Miss----

HILDA. Hilda Templeton.

DEAN (_in delight_). So you're Hilda. Fanny has often told me of you.
What a dear old-fashioned name!

HILDA (_bitterly_). Yes; everything about me is old-fashioned. I was
born in the Middle Ages, Mr. Dean.

DEAN. You hardly look it.

HILDA. But to-night ends it all. To-morrow I shall be free, free to do
as I please for the first time in my life.

DEAN (_looking at her suit-case_). You're not going just as I'm coming?
I'd hoped that we'd be such friends.

HILDA. I'm going to my cousin's in New York--to stay--forever, I guess.

DEAN (_anxiously_). What will you do there?

HILDA (_with enthusiasm_). Something worth while. I'll be an actress, or
a settlement-worker, or a suffragette--I don't care what.

DEAN. And your parents?

HILDA. Hush! They do not know that I'm going. (_Goes to door L. and
listens, tiptoes back. Speaks hurriedly._) My father is a collector of
antiques. I've been brought up in the stifled atmosphere of tradition.
I've never had anything that wasn't at least a thousand years old, or a
friend that didn't belong to a family as ancient as that of Noah. I'm
sick of it----

DEAN. But, my dear girl, you can't----

HILDA (_excitedly_). Listen! Now father is planning to marry me to a man
twice my age, who cares nothing for me, except as a means of acquiring
the teapot--that is, all that the teapot stands for: a family-tree,
prestige, that sort of thing.

DEAN (_incredulously_). The teapot?

HILDA. Don't you know about our teapot? (_Takes teapot from mantel._)
Here it is. (_Sarcastically._) It belonged to somebody when tea was
first introduced into Europe; it was seized by the Puritans under
Cromwell; it was brought to this country in 1680, and has been in our
family for over two centuries. It's what the teapot stands for that I'm
running away from.

DEAN (_taking the teapot and examining it with the eye of an expert_).
It's a beauty--rather a harmless looking object to drive one away from
home.

HILDA (_indignantly_). Don't you dare to make fun of me!

DEAN (_setting down teapot_). I was never more serious in my life.
Listen, Miss Templeton, if you will postpone your departure--just a
little--I will try to adjust matters. There are ways. Will you give me a
trial?

HILDA (_reluctantly_). I've been ready for days----

DEAN (_coming very near_). Will you?

HILDA. I've telegraphed my cousin----

DEAN (_taking her hand_). Will you?

HILDA (_taking teapot_). If you'll take this thing and carry it where
I'll never see it again, I'll not go--yet.

DEAN (_drawing back_). I can't----

HILDA. I won't stay in the house with it another day.

DEAN. But your father----

HILDA (_picking up her suit-case_). Very well. Please let me pass, Mr.
Dean.

DEAN (_desperately_). I'll take--anything--only don't go away. You
mustn't. (_Takes teapot._)

HILDA. Don't ever let me see it again. Hurry.

                        (_Moves toward door L._)

DEAN (_quickly_). After I've seen Fanny, may I come back?

HILDA. Yes, yes, only please go now. (_Sound of voices without door L.
HILDA draws back._) I mustn't let them see me like this--the suit-case.

DEAN. Come this way. (_Points to R._)

HILDA. I'll go to the summer-house and wait. (_Shyly._) Perhaps I may be
there a long time, Mr. Dean.

                                              [_Exit with suit-case, R._

DEAN (_looking after her_). Dear little girl! (_Shakes head at teapot._)
Now here's a quandary: how can I get you back to papa without offending
that divinity? Well, I can't let her go to New York. I'll think it over.

 (_Places overcoat over arm to conceal teapot. Exit, R., with suit-case.
   Noise without. Enter MR. T. with a revolver in one hand and dragging
   DEAN with the other._)

MR. T. Caught in the act! What does this mean? Put down that teapot.
(_DEAN obeys._) Set down the suit-case. (_DEAN obeys._) You show great
discrimination for a burglar. You know what is valuable.

DEAN. Sir, I am not----

MR. T. (_sarcastically_). You're not a burglar? You haven't robbed three
houses on this street within a week, I suppose?

DEAN. Let me explain----

MR. T. (_dragging him toward door L._). Keep your explanations for the
officers.

DEAN (_helplessly_). I assure you----

MR. T. (_pointing revolver at DEAN_). Silence! I need no advice, sir.

     (_Drags DEAN through door L. Sound of slamming door without._)

                 _Enter MRS. T., SUE, and PROF. G., L._

MRS. T. (_wringing her hands_). What has happened?

SUE. It's burglars!

PROF. G. (_picking up teapot and replacing it on mantel_). At least,
this is safe.

                  _Enter MR. T., L., smiling broadly._

MR. T. Congratulate me: I have caught a burglar in the very act of
carrying off the teapot, and I've locked him in the silver-closet!

SUE. The silver-closet?

MR. T. He can't get out.

MRS. T. (_sinking into a chair_). He can fill his pockets with my
spoons.

MR. T. The police will soon empty them. (_Goes to desk._) I must call up
the police station. Where is that telephone book? (_Picks up HILDA'S
letter._) What is this?

                           (_Opens letter._)

MRS. T. (_rising and going to desk_). Hilda's writing! How strange! Read
it, Horace; my nerves are all unstrung.

MR. T. (_reading_). "Dear Father: I am tired of living in the past and
being old fashioned and hearing about the teapot. I want to live for
myself and have friends that don't belong to the best families. I am
going to Cousin Anne's in New York; she will find me something to do
that will keep me busy and happy. Don't worry about me. With love,
Hilda."

MRS. T. Gone! My dear child! What will become of her? (_Sinks into a
chair._)

SUE (_wiping her eyes_). She has gone to New York alone--at night!
(_Cries audibly._)

PROF. G. (_trying to comfort SUE_). My dear Miss Templeton, do not let
your feelings overcome you.

MR. T. (_glaring at PROF. G._). Why doesn't some one do something?
Speak!

PROF. G. (_in embarrassment_). Why--er--this is most unfortunate!

MRS. T. (_indignantly_). Unfortunate? I should say as much. Horace, this
is your fault.

MR. T. That is true. I have been buried in my work and have neglected my
child.

SUE. If some one went to the station----

MRS. T. Why didn't we think of that before? Professor Gates, run to the
station. The train may not have gone.

PROF. G. (_humbly_). Of course, of course, delighted to be of use. Where
is my hat? (_SUE hands him his hat._) Thank you.

MRS. T. (_following PROF. G. to the door_). If you find her, use every
argument to induce her to return.

PROF. G. I'll do my best.

                                                             [_Exit, R._

MRS. T. If we cannot find Hilda to-night, Professor Gates shall go to
New York in the morning.

SUE (_sharply_). Why Professor Gates?

MRS. T. Under the circumstances, we must, out of consideration for his
feelings, allow him to make himself as useful as possible.

MR. T. This affair is most awkward.

MRS. T. I have a feeling that Hilda may not have gone; I'm going to
search the house.

                                                             [_Exit, L._

MR. T. Good heavens, Sue, we've forgotten the burglar!

SUE. He can't get away; you must telephone----

MR. T. (_flying around_). Where is the telephone book?

SUE. I'll find it.

                                             [_Exit, L. MR. T. follows._

 _Enter HILDA softly, R. Looks about cautiously. Sees teapot. Takes it
   and shakes it indignantly._

HILDA (_to herself_). There, I knew it! He didn't take it. He hasn't
even come out. (_Examines DEAN'S suit-case and overcoat._) He's in there
now telling father and making fun of me. The wretch! (_Stamps her
foot._) I might have known that I couldn't trust him. I'll go to New
York now anyway. (_Moves toward R., then comes back._) No, I'll stay out
in the summer-house and confront him with proof of his perfidy. (_Sees
basket._) I'll dispose of this teapot too. (_Hides teapot in basket of
old clothes._) Mrs. McLaffety may find it useful in making the morning
coffee. I'll never forgive Mr. Dean, never, never!

                                                  [_Exit, hurriedly, R._

 _Enter MR. T., L., with telephone book, followed by SUE and MRS. T.,
   the latter in tears._

MRS. T. She's really gone!

MR. T. (_searching the telephone book_). Why, I can't find----

                      _Enter MR. and MRS. B., R._

MRS. B. Why, of all things, Eric hasn't come. We can't understand it.
(_Looks about._) What is the matter?

MRS. T. (_embracing MRS. B._). Oh, Fanny, Hilda has gone to New York----

MR. T. There's a burglar in the silver-closet----

                       (_Drops telephone book._)

MRS. B. Mercy on us! A burglar!

MR. B. What does this mean?

MR. T. (_in great agitation_). A burglar was stealing the teapot, and I
locked him in the silver-closet; and Hilda has run away to Cousin
Anne's!

MR. B. (_irritably_). Somebody explain. What has a burglar to do with
Hilda?

MR. T. He knew the value of the teapot. It belonged to the Duke of----

MRS. T. Hilda was unhappy; she wanted to be like other girls. It's all
her father's fault. (_Bursts into tears._)

MRS. B. Do I understand that there is a burglar in this house?

MR. T. There is----

                          (_MRS. B. screams._)

SUE. Calm yourself, Fanny. My brother, with great presence of mind,
grappled with the thief, relieved him of his booty, and has locked him
in the silver-closet.

MR. B. Bravo! Have you sent for the police?

MR. T. (_picking up telephone book_). I was about to telephone, when we
found Hilda's note----

MRS. T. She's tired of antiques----

MR. T. I have burdened the poor child too much with my hobbies.

SUE. She's gone to Cousin Anne's.

MRS. T. And Professor Gates has gone after her.

MR. B. (_importantly_). Come, I think we'd better attend to that
burglar; he may escape.

MRS. B. (_hysterically_). It's the same one that set off our burglar
alarm. Leon said that the cat did it.

MR. B. That may be. (_Seizes telephone book._) I'll 'phone myself.
(_Starts for door R.; stumbles over DEAN'S suit-case._) What is this?

MR. T. The burglar's suit-case. Doubtless it is full of booty.

MRS. B. (_examining suit-case_). The burglar's? It's my brother's
suit-case. See, the name is on the tag, "Eric Dean." (_All look at
suit-case._) And his overcoat! Oh, my poor brother has been robbed and
murdered! (_Drops into a chair._)

MR. B. Bring along your revolver, Templeton; I'm going to take a look at
that burglar.

MRS. T. (_trying to restrain MR. T._). You'll both be murdered!

MR. T. (_pompously_). I'm not afraid.

       (_Exeunt MR. B. and MR. T., L. SUE listens at the door._)

MRS. B. They should not open that closet door until the police come.

MRS. T. (_putting her hands over her ears_). There'll be firing in a
minute.

SUE. They are bringing him in here!

       (_MRS. B. screams. All retreat to farther side of room._)

                  _Enter MR. T., MR. B., and DEAN, L._

MRS. B. (_running to DEAN and embracing him_). My dear brother, are you
alive?

MR. B. (_to DEAN_). Well, this is a fine position from which to rescue
you. (_Laughs._)

MRS. B. (_angrily to MR. T._). How dare you lock up my brother?

MRS. T. (_weakly_). Horace, what have you done?

MR. T. (_in great embarrassment_). There is some mistake; I am most
grieved. However, the fact remains that I caught this young man in the
act of stealthily removing my valuable teapot.

MRS. B. Alas, my poor brother has spent so much time over his old
antiques that he has lost his mind!

MR. T. I am ready to apologize to Mr. Dean as soon as he explains
his--rather singular appearance in my house.

MRS. B. Eric, did Mr. Templeton find you carrying off the teapot?

DEAN. Yes.

MRS. B. Have you no regard for your family? Why did you do this thing?

DEAN. I have nothing to say.

MRS. B. The poor boy is out of his mind. Leon, we must take him home.

MRS. T. He is as unfortunate as Hilda. Poor Hilda, gone from her
home----!

DEAN (_anxiously_). Do I understand that Miss Templeton has already gone
to New York?

MR. T. We've just found this letter----

MRS. T. How did you know?

DEAN (_quickly_). It was once my good fortune to render Miss Templeton a
slight service, in consequence of which I became aware of her plans. If
you'll excuse me for a moment, I think that I can find her in time to
persuade her from her purpose.

MRS. T. Then go, by all means!

MR. B. Eric, do you know what you are doing?

DEAN. Leave that to me.

                                                             [_Exit, R._

MRS. B. The boy is crazy; he has never seen Hilda in his life.

MR. B. But we couldn't cross him. They say it's dangerous.

MRS. T. If he brings back Hilda, I'll overlook everything.

MRS. B. (_haughtily_). Rest assured, Mrs. Templeton, that when my
brother comes to himself, he will make ample apology.

   _Enter DEAN and HILDA, R., the former carrying HILDA'S suit-case._

MRS. T. (_embracing HILDA_). My dear child, are you still with us? Where
have you been?

HILDA (_nervously_). Mr. Dean found me in the summer-house and persuaded
me to come in, mother. I don't want to go away, but I don't want to
marry----

MRS. T. There, there, child, say no more. Stay with your mother, and you
shall do exactly as you like. (_Sound of door-bell._) Sue, will you
kindly go to the door?

                                                         [_Exit SUE, R._

MRS. B. Oh, Eric, how did you know where to find her?

DEAN (_to HILDA_). Miss Templeton, will you kindly convince these people
that I am neither a burglar nor a lunatic?

HILDA. Mr. Dean saved me from that horrid man this evening, and to
reward him I gave him the teapot. He isn't to blame for anything.

                            _Enter SUE, R._

SUE (_picking up basket_). Mrs. McLaffety's boy has come after this.

MRS. T. Will you kindly hand it to him, Sue? (_Exit SUE, R., with
basket._) Mr. Dean, we are doubly indebted to you.

MR. T. (_shaking hands with DEAN_). I apologize most humbly; but you
must admit that appearances were against you.

MR. B. (_slapping DEAN on the back_). You've certainly distinguished
yourself, old fellow.

MRS. B. (_embracing DEAN_). And you're not crazy--not the least little
bit?

DEAN. I hope not.

MR. T. Mr. Dean, I know that you're a collector and lover of antiques.
In appreciation of your defense and restoration of my daughter, I should
be happy to present you with the teapot, had I not already promised it
to Professor Gates, who is to marry---- Why, it's gone!

           (_Looks frantically for teapot. All look about._)

                            _Enter SUE, R._

MRS. B. Oh, Eric, you haven't----

MR. T. Sue, where have you taken the teapot?

SUE. I didn't---- (_Noise without. All run to door R._) The burglars!

MR. T. They've got it after all!

MR. B. We'll catch them yet.

 _Enter PROF. G., R., hatless, very dusty and disheveled, grasping the
   teapot with both hands._

PROF. G. I couldn't find Miss Hilda, but I've saved it! (_Sees HILDA._)
Oh--what----

 (_Collapses into chair. SUE fans him with newspaper. MR. T. seizes
   teapot._)

MR. T. You've rescued the teapot!

MRS. B. Did you fight with the burglars?

MRS. T. The poor man has been handled most roughly.

MR. B. (_grasping MR. T.'s revolver_). Which way did the fellows go?

PROF. G. (_regaining breath_). No burglar--the McLaffety boy--didn't see
him--collided most forcibly! He spilled his basket; the teapot rolled
out.

MR. T. Do you mean to tell me that the McLaffety boy was stealing the
teapot?

PROF. G. He denied the charge. In fact, he was very saucy, quite rude to
say the least; and he ran away before I could restrain him.

MR. T. Thank heaven you saved the teapot!

MR. B. We'll have the urchin in the House of Correction.

HILDA. I put the teapot in the basket.

ALL (_in surprise_). You?

HILDA. All my life that teapot has stood for what I detest. I wanted to
be free from traditions and stupid conventions and antiques. I was going
away (_glancing at DEAN_); but I didn't, so the teapot had to.

MR. T. Well, this is news to me. Professor Gates, I fear that you will
have to take your bride without the teapot.

PROF. G. (_beaming_). To tell the truth, Sue and I hardly need even so
priceless a gift as the teapot to make our happiness complete. (_Takes_
Sue's _hand._)

 MR. T. }
 MRS. T.} (_in surprise_). Sue?

SUE. Oh, Algernon!

MR. B. (_wonderingly_). Say, the Professor can't be a Mormon.

MRS. B. Leon, hush----

MR. T. Why, why, this is----

PROF. G. I have already had your consent, Mr. Templeton, so I take this
happy occasion to announce----

MR. T. (_recovering himself_). Surely, surely. I had forgotten--the
excitement of the past hour--you understand. We are most happy.

MRS. T. A most appropriate match; the ages are so suitable.

MR. B. (_shaking hands with PROF. G._). Professor, please accept my
congratulations.

DEAN (_doing likewise_). No one has introduced us, Professor, but I wish
you joy.

MR. T. Hilda, can't you say something?

HILDA (_kissing SUE_). I am so happy. Aunt Sue, so very, very glad.

MR. T. I've got to dispose of this teapot; for I can't have my girl
running away again. Mr. Dean, I think that you had better add it to your
collection, as a testimonial of our----

                         (_Holds out teapot_.)

DEAN (_embarrassed_). Thank you, sir, I greatly appreciate your
generosity; but--the fact is--I'm contemplating disposing of my entire
collection.

MR. T. Indeed, you surprise me.

MR. B. Eric, are you crazy? How long have you had that idea in your
head?

DEAN (_looking at HILDA_). Since I've known Miss Templeton.

MR. B. (_laughing_). I see.

MRS. T. I don't understand.

DEAN. I want nothing that is going to prejudice Miss Hilda against me,
Mrs. Templeton.

MRS. B. (_embracing HILDA_). Hilda, how perfectly splendid! (_Shyly._)
But mayn't he have the teapot too?

HILDA. I have no objection to Mr. Dean's having whatever he likes.

DEAN (_taking HILDA'S hand_). Then I take you at your word, Hilda. I
like you better than any heirloom in the world. What do you say?

HILDA (_shyly_). I can imagine conditions in which a teapot might be
very useful.

MR. T. (_putting the teapot into DEAN'S hand_). It looks to me as if the
Templeton teapot was destined to remain in the family.

                             (_All laugh._)


                                CURTAIN




New Publications


THE HOUSE NEXT DOOR

A Comedy in Three Acts

_By J. Hartley Manners_

Eight males, four females. Costumes modern; scenery, two interiors, not
difficult. Well suited for amateur performance. Plays a full evening.
This admirable play, made popular for two seasons by Mr. J. E. Dodson's
striking performance of its leading part, is offered for amateur
performance at a royalty of ten dollars. All the parts are strong and
exceptionally well contrasted. Of especial interest to Hebrew societies
from its able and sympathetic presentment of a man of their race.

_Price, 50 cents_


CHARACTERS

      _The Cotswold Family_              _The Jacobson Family_

    SIR JOHN COTSWOLD, _baronet_.      SIR ISAAC JACOBSON, M. P.
    MARGARET, _his wife_.              REBECCA, _his wife_.
    ULRICA, _his daughter_.            ESTHER, _his daughter_.
    CECIL, _his son_.                  ADRIAN, _his son_.
    VINING, _his servant_.             MAXIMILIAN, _his servant_.

    CAPT. _the_ HON. CLIVE TREVOR.     WALTER LEWIS, _musical agent_.


SYNOPSIS


ACT I

SCENE.--Morning room in Sir John Cotswold's house in the Cotswold Park
Estate, Kensington, London.


ACT II

SCENE.--Drawing-room in Sir Isaac Jacobson's house. Next Door. The same
afternoon.


ACT III

SCENE.--Same as Act I. Three days later.


MARRYING BELINDA

A Farce in One Act

_By Grace Cooke Strong_

Four males, four females. Costumes modern; scenery, an easy interior.
Plays thirty minutes. An easy and entertaining little play exactly
suited for amateur acting in schools or elsewhere. Just the sort of
thing half way between farce and comedy that is best liked. Well
recommended.

                           _Price, 15 cents_




New Plays


LOST--A CHAPERON

A Comedy in Three Acts

_By Courtney Bruerton and W. S. Maulsby_

Six male, nine female characters. Costumes modern; scenery, an interior
and an easy exterior. Plays a full evening. An excellent comedy with the
true college atmosphere but with its scenes away from actual college
life. A breezy lot of college girls in camp lose their chaperon for
twenty-four hours, and are provided by a camp of college boys across the
lake with plenty of excitement. The parts are all good and of almost
equal opportunity, the situations are very funny and the lines full of
laughs. This is sure to be liked by the young people for whom it is
intended, and is strongly recommended for high-school performance.
_Price, 25 cents._


CHARACTERS

    GEORGE HIGGINS, _a Tuft's A. B._                Ernest S. Swenson

    JACK ABBOTT, } _Tuft's sub-freshmen,            Stanley M. Brown
    FRED LAWTON, }   camping with Higgins_          Arthur J. Anderson

    RAYMOND FITZHENRY, _a Harvard student_          Arthur T. Hale

    DICK NORTON,}  _off-hill engineers_             Ernest A. Larrabee
    TOM CROSBY, }                                   Ferdinand Bryham

    MARJORIE TYNDALL, _George's cousin; a
      Smith girl_                                   Helen J. Martin

    ALICE BENNETT,       }                          Dorothy F. Entwistle
    AGNES ARABELLA BATES,} _Jackson girls_          Edith H. Bradford
    RUTH FRENCH,         }                          Marjorie L. Henry
    BLANCHE WESTCOTT,    }                          Beatrice L. Davis

    MRS. HIGGINS, _the chaperon. George's
      mother_                                       Effie M. Ritchie

    MRS. SPARROW, _a farmer's wife_. (_Not in the original cast._)

    LIZZIE,} _her daughters_.
    MANDY, }


SYNOPSIS

    ACT I.--The Girls' Camp at Sherwood, 7 A. M.
    ACT II.--The Fellows' Camp at Sherwood, 8 A. M.
    ACT III.--Same as Act I, 10 A. M.


A BRIDE FROM HOME

A Vaudeville Sketch in One Act

_By Willis Steell_

Two male, two female characters. Costumes modern; scene, an interior.
Plays twenty minutes. A capital sketch of Hebrew life and character,
combining good comedy with genuine pathos. Moves very swiftly and is
very effective. Can be strongly recommended for either vaudeville use or
for amateur theatricals. _Price, 15 cents._




Novelties


THE VILLAGE POST-OFFICE

An Entertainment in One Scene

_By Jessie A. Kelley_

Twenty-two males and twenty females are called for, but one person may
take several parts and some characters may be omitted. The stage is
arranged as a country store and post-office in one. Costumes are rural
and funny. Plays a full evening. A side-splitting novelty, full of "good
lines" and comical incident and character. One continuous laugh from
beginning to end. Strongly recommended for church entertainments or
general use; very wholesome and clean.

                           _Price, 25 cents_


MISS PRIM'S KINDERGARTEN

An Entertainment in One Scene

_By Jessie A. Kelley_

Ten males, eleven females. No scenery or curtain needed; costumes
introduce grown people dressed as children. Plays an hour and a half. A
modern, up-to-date version of the popular "District School," full of
laughs and a sure hit with the audience. All the parts very easy except
the Teacher's, and as it is possible for her to use a book, the
entertainment can be got up with exceptional ease and quickness. Can be
recommended.

                           _Price, 25 cents_


THE VISIT OF OBADIAH

A Farce in Two Acts

_By Eunice Fuller and Margaret C. Lyon_

Thirteen females. Costumes modern; scene, an easy interior, the same for
both acts. Plays an hour. A clever and original play, suited for school
or college performance. Full of incident and offers a great variety of
character and great opportunity for pretty dressing. Irish and negro
comedy parts.

                           _Price, 25 cents_


A PAN OF FUDGE

A Comedy in One Act

_By Maude B. Simes_

Six females. Costumes, modern; scene, an easy interior. Plays
twenty-five minutes. A bright little boarding-school sketch, at once
amusing and sympathetic; tone high and quality good. Confidently
recommended to young ladies as an effective piece easy to get up.

                           _Price, 15 cents_


               _Sent, post-paid, on receipt of price, by_

                 BAKER, 5 Hamilton Place, Boston, Mass.




New Plays


MR. EASYMAN'S NIECE

A Farcical Comedy in Four Acts

_By Belle Marshall Locke_

Six males, four females. Costumes modern; scenery, two interiors and one
easy exterior that may be played indoors if desired. Plays a full
evening. A clever and vivacious play, full of fun and action. Mr.
Easyman's fad of spiritualism leads him into a difficulty that is a
source of endless amusement to the audience. Irish and old maid comedy
parts. Can be recommended.

                           _Price, 25 cents_


CHARACTERS

    MR. STEPHEN EASYMAN, _a wealthy broker_.
    MR. CAREW CARLTON, _his nephew_.
    MR. TOM ASHLEIGH.
    JACKSON, _a servant_.
    MICHAEL FLYNN.
    MR. SHARPE, _a detective_.
    MISS JUDITH CARROLL, _a maiden aunt_.
    MRS. EASYMAN,       } _her nieces_.
    MISS BESSIE CARROLL,}
    DESDEMONA, _the ghost_.


A PAIR OF BURGLARS

_By Byron P. Glenn_

Two males, two females. One act. Costumes modern; scenery, an easy
interior. Plays half an hour. A brisk little curtain raiser of the
"vaudeville" type, moving all the time. Easy and effective; all the
parts young people and well-dressed. Strongly recommended.

                           _Price, 15 cents_


DANE'S DRESS-SUIT CASE

_By Robert C. V. Meyers_

Two males, one female. One act. Costumes modern; scene, an easy
interior. Plays fifteen minutes. An excellent short play to fill out a
bill or to fill in an intermission. All action and lots of fun. All
parts young and well-dressed.

                           _Price, 15 cents_




A. W. Pinero's Plays

Price, 50 Cents Each


=MID-CHANNEL= Play in Four Acts. Six males, five females. Costumes,
modern; scenery, three interiors. Plays two and a half hours.

=THE NOTORIOUS MRS. EBBSMITH= Drama in Four Acts. Eight males, five
females. Costumes, modern; scenery, all interiors. Plays a full evening.

=THE PROFLIGATE= Play in Four Acts. Seven males, five females. Scenery,
three interiors, rather elaborate; costumes, modern. Plays a full
evening.

=THE SCHOOLMISTRESS= Farce in Three Acts. Nine males, seven females.
Costumes, modern; scenery, three interiors. Plays a full evening.

=THE SECOND MRS. TANQUERAY= Play in Four Acts. Eight males, five
females. Costumes, modern; scenery, three interiors. Plays a full
evening.

=SWEET LAVENDER= Comedy in Three Acts. Seven males, four females. Scene,
a single interior, costumes, modern. Plays a full evening.

=THE THUNDERBOLT= Comedy in Four Acts. Ten males, nine females. Scenery,
three interiors; costumes, modern. Plays a full evening.

=THE TIMES= Comedy in Four Acts. Six males, seven females. Scene, a
single interior; costumes, modern. Plays a full evening.

=THE WEAKER SEX= Comedy in Three Acts. Eight males, eight females.
Costumes, modern; scenery, two interiors. Plays a full evening.

=A WIFE WITHOUT A SMILE= Comedy in Three Acts. Five male, four females.
Costumes, modern; scene, a single interior. Plays a full evening.


                  Sent prepaid on receipt of price by

                       Walter H. Baker & Company

              No. 5 Hamilton Place, Boston, Massachusetts




Recent Popular Plays


=THE AWAKENING= Play in Four Acts. By C. H. CHAMBERS. Four males, six
females. Scenery, not difficult, chiefly interiors; costumes, modern.
Plays a full evening. =Price, 50 Cents.=

=THE FRUITS OF ENLIGHTENMENT= Comedy in Four Acts. By L. TOLSTOI.
Twenty-one males, eleven females. Scenery, characteristic interiors;
costumes, modern. Plays a full evening. Recommended for reading clubs.
=Price, 25 Cents.=

=HIS EXCELLENCY THE GOVERNOR= Farce in Three Acts. By R. MARSHALL. Ten
males, three females. Costumes, modern; scenery, one interior. Acting
rights reserved. Time, a full evening. =Price, 50 Cents.=

=AN IDEAL HUSBAND= Comedy in Four Acts. By OSCAR WILDE. Nine males, six
females. Costumes, modern; scenery, three interiors. Plays a full
evening. Acting rights reserved. Sold for reading. =Price, 50 Cents.=

=THE IMPORTANCE OF BEING EARNEST= Farce in Three Acts. By OSCAR WILDE.
Five males, four females. Costumes, modern; scenes, two interiors and an
exterior. Plays a full evening. Acting rights reserved. =Price, 50
Cents.=

=LADY WINDERMERE'S FAN= Comedy in Four Acts. By OSCAR WILDE. Seven
males, nine females. Costumes, modern; scenery, three interiors. Plays a
full evening. Acting rights reserved. =Price, 50 Cents.=

=NATHAN HALE= Play in Four Acts. By CLYDE FITCH. Fifteen males, four
females. Costumes of the eighteenth century in America. Scenery, four
interiors and two exteriors. Acting rights reserved. Plays a full
evening. =Price, 50 Cents.=

=THE OTHER FELLOW= Comedy in Three Acts. By M. B. HORNE. Six males, four
females. Scenery, two interiors; costumes, modern. Professional stage
rights reserved. Plays a full evening. =Price, 50 Cents.=

=THE TYRANNY OF TEARS= Comedy in Four Acts. By C. H. CHAMBERS. Four
males, three females. Scenery, an interior and an exterior; costumes,
modern. Acting rights reserved. Plays a full evening. =Price, 50 Cents.=

=A WOMAN OF NO IMPORTANCE= Comedy in Four Acts. By OSCAR WILDE. Eight
males, seven females. Costumes, modern; scenery, three interiors and an
exterior. Plays a full evening. Stage rights reserved. Offered for
reading only. =Price, 50 Cents.=


                  Sent prepaid on receipt of price by

                       Walter H. Baker & Company

              No. 5 Hamilton Place, Boston, Massachusetts


S. J. PARKHILL & CO., PRINTERS, BOSTON.




    Transcriber's notes:

    The following is a list of changes made to the original.
    The first line is the original line, the second the corrected one.

    HILDA. Don't you know about our teapot? (_Takes teapot from mantle._)
    HILDA. Don't you know about our teapot? (_Takes teapot from mantel._)

    PROF. G. (_picking up teapot and replacing it on mantle_).
    PROF. G. (_picking up teapot and replacing it on mantel_).





End of Project Gutenberg's The Templeton Teapot, by Grace Cooke Strong

*** END OF THIS PROJECT GUTENBERG EBOOK THE TEMPLETON TEAPOT ***

***** This file should be named 42123.txt or 42123.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/4/2/1/2/42123/

Produced by Dianna Adair, Paul Clark and the Online
Distributed Proofreading Team at http://www.pgdp.net (This
file was produced from images generously made available
by the Library of Congress)


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License available with this file or online at
  www.gutenberg.org/license.


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation information page at www.gutenberg.org


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at 809
North 1500 West, Salt Lake City, UT 84116, (801) 596-1887.  Email
contact links and up to date contact information can be found at the
Foundation's web site and official page at www.gutenberg.org/contact

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     [email protected]

Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit www.gutenberg.org/donate

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit:  www.gutenberg.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For forty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.

Most people start at our Web site which has the main PG search facility:

     www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.