eight. So when I was down-town Friday the Missus sent my evenin' dress suit over to Katzes' and had it pressed up and when I come home it was laid out on the bed like a corpse.

"What's that for?" I says.

"For the op'ra," she says. "Everybody wears them to the op'ra."

"Did you ask the Hatches what was they goin' to wear?" I says.

"No," says she. "They know what to wear without me tellin' them. They ain't goin' to the Auditorium in their nightgown."

So I clumb into the soup and fish, and the Missus spent about a hour puttin' on a dress that she could have left off without nobody knowin' the difference, and she didn't have time for no supper at all, and I just managed to surround a piece o' steak as big as your eye and spill some gravy on my clo'es when the bell rung and there was the Hatches.

Well, Hatch didn't have no more evenin' dress suit on than a kewpie. I could see his pants under his overcoat and they was the same old bay pants he'd wore the day he got mad at his kid and christened him Kenneth. And his shoes was a last year's edition o' the kind that's supposed to give your feet a chance, and if his feet had of been the kind that takes chances they was two or three places where they could of got away without much trouble.

I could tell from the expression on Mrs. Hatch's face when she seen our make-up that we'd crossed her. She looked about as comf'table as a Belgium.

"Oh!" she says. "I didn't think you'd dress up."

"We thought you would," says my Frau.

"We!" I says. "Where do you get that 'we'?"

"If it ain't too late we'll run in and change," says my Missus.

"Not me," I says. "I didn't go to all this trouble and expense for a splash o' gravy. When this here uniform retires it'll be to make room for pyjamas."

"Come on!" says Hatch. "What's the difference? You can pretend like you ain't with us."

"It don't really make no difference," says Mrs. Hatch.

And maybe it didn't. But we all stood within whisperin' distance of each other on the car goin' in, and if you had a dollar for every word that was talked among us you couldn't mail a postcard from Hammond to Gary. When we got off at Congress my Missus tried to thaw out the party.

"The prices is awful high, aren't they?" she says.

"Outrageous," says Mrs. Hatch.

Well, even if the prices was awful high, they didn't have nothin' on our seats. If I was in trainin' to be a steeple jack I'd go to grand op'ra every night and leave Hatch buy my ticket. And where he took us I'd of been more at home in overalls and a sport shirt.

"How do you like Denver?" says I to the Missus, but she'd sank for the third time.

"We're safe here," I says to Hatch. "Them French guns can't never reach us. We'd ought to brought more bumbs."

"What did the seats cost?" I says to Hatch.

"One-fifty," he says.

"Very reasonable," says I. "One o' them aviators wouldn't take you more than half this height for a five-spot."

The Hatches had their overcoats off by this time and I got a look at their full costume. Hatch had went without his vest durin' the hot months and when it was alongside his coat and pants it looked like two different families. He had a pink shirt with prune-colored horizontal bars, and a tie to match his neck, and a collar that would of took care of him and I both, and them shoes I told you about, and burlap hosiery. They wasn't nothin' the matter with Mrs. Hatch except she must of thought that, instead o' dressin' for the op'ra, she was gettin' ready for Kenneth's bath.

And there was my Missus, just within the law, and me all spicked and spanned with my soup and fish and gravy!

Well, we all set there and tried to get the focus till about a half-hour after the show was billed to commence, and finally a Lilliputhian with a match in his hand come out and started up the orchestry and they played a few o' the hits and then the lights was turned out and up went the curtain.

Well, sir, you'd be surprised at how good we could hear and see after we got used to it. But the hearin' didn't do us no good—that is, the words part of it. All the actors had been smuggled in from Europe and they wasn't none o' them that could talk English. So all their songs was gave in different languages and I wouldn't of never knew what was goin' on only for Hatch havin' all the nerve in the world.

After the first act a lady that was settin' in front of us dropped somethin' and Hatch stooped over and picked it up, and it was one o' these here books they call a liberetto, and it's got all the words they're singin' on the stage wrote out in English.

So the lady begin lookin' all over for it and Hatch was goin' to give it back because he thought it was a shoe catalogue, but he happened to see at the top of it where it says "Price 25 Cents," so he tossed it in his lap and stuck his hat over it. And the lady kept lookin' and lookin' and finally she turned round and looked Hatch right in the eye, but he dropped down inside his collar and left her wear herself out. So when she'd gave up I says somethin' about I'd like to have a drink.

"Let's go," says Hatch.

"No," I says. "I don't want it bad enough to go back to town after it. I thought maybe we could get it sent up to the room."

"I'm goin' alone then," says Hatch.

"You're liable to miss the second act," I says.

"I'd never miss it," says Hatch.

"All right," says I. "I hope you have good weather."

So he slipped me the book to keep for him and beat it. So I seen the lady had forgot us, and I opened up the book and that's how I come to find out what the show was about. I read her all through, the part that was in English, before the curtain went up again, so when the second act begin I knowed what had came off and what was comin' off, and Hatch and Mrs. Hatch hadn't no idear if the show was comical or dry. My Missus hadn't, neither, till we got home and I told her the plot.

Carmen ain't no regular musical show where a couple o' Yids comes out and pulls a few lines o' dialogue and then a girl and a he-flirt sings a song that ain't got nothin' to do with it. Carmen's a regular play, only instead o' them sayin' the lines, they sing them, and in for'n languages so's the actors can pick up some loose change offen the sale o' the liberettos. The music was wrote by George S. Busy, and it must of kept him that way about two mont's. The words was either throwed together by the stage carpenter or else took down by a stenographer outdoors durin' a drizzle. Anyway, they ain't nobody claims them. Every oncet in three or four pages they forget themself and rhyme. You got to read each verse over two or three times before you learn what they're hintin' at, but the management gives you plenty o' time to do it between acts and still sneak a couple o' hours' sleep.

The first act opens up somewheres in Spain, about the corner o' Chicago Avenue and Wells. On one side o' the stage they's a pill mill where the employees is all girls, or was girls a few years ago. On the other side they's a soldiers' garage where they keep the militia in case of a strike. In the back o' the stage they's a bridge, but it ain't over no water or no railroad tracks or nothin'. It's prob'ly somethin' the cat dragged in.

Well, the soldiers stands out in front o' the garage hittin' up some barber shops, and pretty soon a girl blows in from the hero's home town, Janesville or somewheres. She runs a few steps every little w'ile and then stops, like the rails was slippery. The soldiers sings at her and she tells them she's came to look for Don Joss that run the chop-suey dump up to Janesville, but when they shet down on him servin' beer he quit and joined the army. So the soldiers never heard o' the bird, but they all ask her if they won't do just as good, but she says nothin' doin' and skids off the stage. She ain't no sooner gone when the Chinaman from Janesville and some more soldiers and some alley rats comes in to help out the singin'. The