Price 25 Cents Denison's Select Plays ALL ON ACCOUNT OF POLLY By Harry L. Newton. Comedy in a acts; 6 males, 10 females (2 children). Time, 2^ hours. Price, 35 Cents. AN ARIZONA COWBOY By Sheldon Parmer. Comedy-drama in 4 acts; 7 males. 5 females. Time, 2^4 hours. Price, 35 Cents. A CABIN COURTSHIP By Irene Jean Crandali. Comedy in 3 acts; 5 males, 4 females. Time, 2 hours. Price, 35 Cents. CLUBBING A HUSBAND By Edith F. A. U. Painton. Comedy in 3 acts; 12 fe- males. Time, 2 hours. Price, 35 Cents. A DREAM OF QUEEN ESTHER By Walter Ben Hare. Biblical drama in 3 acts; 3 males, 16 females. Time, 214 hours. Price, 35 Cents. THE KINGDOM OF HEART'S CONTENT By LIndsey Barbee. College comedy in 3 acts; 6 males, 12 females. Time, 214 hours. Price, 35 Cents. THE LAUGHING CURE By Edith F. A. U. Painton. Comedy in 2 acts'; 4 males, 5 females. Time, 1% hours. Price, 35 Cents. LIGHTHOUSE NAN By Sheldon Parmer. Sea-coast drama in 3 acts; 5 males, 4 females. Time, 2^4 hours. Price, 35 Cents. RUTH IN A RUSH By LIndsey Barbee. Comedy in 3 acts; 5 males, 7 fe- males. Time, 2^/^ hours. Price, 35 Cents. A SOUTHERN CINDERELLA By Walter Ben Hare. Comedy-drama in 3 acts; 7 fe- males. Thne, 2 hours. Price, 35 Cents. A TRIAL OF HEARTS By LIndsey Barbee. College comedy in 4 acts; 6 males, 18 females. Time, 2^ hours. Price, 35 Cents. WAY DOWN ALONG By Gladys Ruth Bridgham. Comedy in prologue and 2 acts; 7 males, 3 females. Time, 2 hours. Price, 35 Cents. T. S. Denison & Company^ Publishers 623 S. Wabash Ave. CHICAGO THE ELOPEMENT A ONE-ACT FARCE BY HAROLD P. PRESTON CHICAGO T. S. DENISON & COMPANY Publishers - THE ELOPEMENT ,^^ NOTICE Production of this play is free to amateurs, but the sole profes- sional rights are reserved by the author, who may be addressed in care of the Publishers. Moving picture rights reserved. COPYRIGHT, 1921, BY HAROLD P. PRESTON. COPYRIGHT, 1922, BY T. S. DENISON & COMPANY. SEP 30 1922 ©CI.D b'^OSJ) «>%,♦- I THE ELOPEMENT CHARACTERS. Marjory Fleming The Wife Reginald Adams The Other Man Jack Fleming The Husband Place — Any Large City. Scene — The Flemings' Apartment. Time— The Present. Time of Playing — About Twenty Minnies. TYPES AND COSTUMES Marjory — A young woman of persuasive charm. Wears an attractive gown that does not diminish her comeliness. Reginald — The English "Berty" type ; small and dapper. Wears cutaway coat, gray trousers and spats, silk hat and monocle, and carries a cane. Has a gun in his pocket. Jack — The usual business man type, preferably of large physique. Business clothes. Has a gun with a blank load in his pocket. STAGE DIRECTIONS. Up stage means away from footlights ; down stage, near footlights. In the use of right and left, the actor is sup- posed to be facing the audience. 3 THE ELOPEMENT Scene: A well-furnished living room. A door at the right leads to the entrance hall. A door up left leads to a closet, and another door in the left wall, but down nearer the audience, leads to the kitchenette. A fireplace is in the right zuall, down stage. In the center of the room is a table, with tzuo chairs. A plate of sandwiches is on the table. In the drazi'er of this table is a revolver, with blank load. Against the rear zvall, left of center, is a costnmer or hat rack, upon zvhich hang a cane and hat belonging to Regi- nald, and a hat belonging to Marjory. Betzvccn the tzvo left doors is a small table or stand. A fezv bars of ''Home, Szveet Home" may be played t^ raise the curtain, or the curtain may rise without music. At rise, Reginald and Marjory are on the stage. Reg- inald is seated at the right of the center table. Marjory is standing back of the table, feeding him a sandzmch. As Reginald is biting info the sandzvich, lie jumps suddenly to his feet. Marjory. What is the matter, Reggie? You nearly bit my hand off. Reginald. So sorry, dear. Did you hear a noise? {Looks about.) Marjory. Oh, Reggie, you're tiresome. All you do is hear noises. Haven't I told you that Jack won't be back until Monday? Reginald (looking around apprehensively). He might have forgotten his collar button. (Goes to door right as if looking for something.) Marjory. Nonsense ! Reginald (turning, partly reassured and coming doum center). Husbands a-ways come back in the motion pic- tures. Perhaps they have a psychic sense. 4 THE ELOPEMENT 5 Marjory. You haven't even psychic sense. We're as safe as if we were in the middle of the Atlantic Ocean — Reginald {lifelessly). Ah, that's encouraging. Marjory {crossing to Reginald, and putting her arms about him eagerly). But there's only one way we can be permanently safe, dear. Reginald {shozcing consternation, and removing her arms). Permanently safe? Marjory. We can elope! Reginald {starting back in alarm). Oh, I say! I didn't come prepared for an elopement. I haven't my toothbrush or anything. Marjory. You don't need a toothbrush to elope with. x\ll you need is love and — someone else. Reginald. But I can't brush my teeth with love. Per- haps some other time we might arrange it. {Looks around nervously, as if wanting to escape.) Marjory {advancing tozvard him). There will be no other time. It's now or never ! Reginald {retreating quickly). I tell you the thing is impossible, Marjory. My wife and child would object ;>^renuously if I were to elope with you. Marjory. That is no bar to our elopement. Reginald {hopefully). Did you say "bar"? . IMarjory. I am the new woman ! Reginald. You don't look so terribly new, dear. Marjory. I take what I cannot get. If you will not elope with me of your own free will, I shall abduct you! [Advances as if to embrace him.) Reginald (retreating as far as possible). Not that — not I hat. Anything you say, dear. Marjory {cooingly). There's a dear, good boy. I knew you were dying to run away with me all the time. Now run into the closet and get my suitcase. It's all packed. (Reginald goes to door up left, and exits. Marjory puts on her hat. Reginald returns, dragging a suitcase that is so heavy he can barely lift it.) 6 THE ELOPEMENT Reginald. I say, dear, what have you got in here? Marjory. Just a few clothes. Reginald. One would never think that women's clothes could weigh so much. There seems to be so little to them. I say, old dear, how long is this elopement going to last ? Marjory {turns as she goes toward right door). How long is it going to last? Reginald. Yes, when are we coming back? Marjory. We aren't coming back. Regi'^ald (dropping the suitcase). Good heavens ! What will my family say when they find this out? Marjory. They should be grateful to me for taking you off their hands. Come now, dear, don't dawdle. (She goes to right door. Reginald picks up suitcase and takes hat from hat rack. A doorbell rings off right. Reginald drops the suitcase witJi a crash. He and Marjory look at each other, petrified zvith fright.) Reginald (starting for right door). I must be going now, dear. Toodle-oo. Marjory (tragically, holding him hack). You can't go. It's Jack ! Reginald (starts again). That's why I'm going. Marjory (thrusting him back violently). He'll kill you if he finds you here. He's insanely jealous. Reginald. Hang his sanity. I'm no alienist. I've got* to escape. (The doorbell rings furiously.) Marjory. Quick! The dumbwaiter! Reginald. Ripping ! (The bell continues ringing. Marjory removes her hat. and pushes the suitcase under the table betvjcen the doors at left. Reginald appears stupefied.) Marjory. Hurry, Reggie. I can't give you much time. (Starts to push him through door dozvn left. Sees plate of sandzviches, picks it up and shoves it into his hand. Hurriedly pushes him off stage.) THE ELOPEMENT 7 Reginald (as he disappears). I told you he'd come back. They always do in the movies. (Marjory exits quickly, right, Reginald sticks head from kitchen- ette, then re-enters.) The dumbwaiter's locked! I wonder — (Crosses quickly to right door, and listens. Draws gun from pocket and examines it as he re-crosses to door up left, leading to closet, where he exits quickly.) Jack enters from the right, follozved by Marjory. Jack. Well, dear, I'm back sooner than I expected. (Tosses hat on center table, and takes her roughly in his arms.) Miss me much? Marjory (struggling to get away). Oh, Jack, you're mussing me horribly. (Crosses left of table.) Jack (going donm right of table). Got a wire from the man I was going to see which made it unnecessary to make the trip. Say, Marjory, I'm hungry. Guess I'll go in the kitchenette and rummage around. (Starts for door doz9n left.) Marjory (intercepting him). Oh, there isn't a thing there, Jack. Jack. Why, there was some cold tongue and ham there when I left this morning. Marjory. I ate them both. Jack. Good Lord! You must have had some appetite. There was about a pound of the two. Marjory. Yes, I was fearfully hungry from cleaning house this morning. Jack. Why, this was your music lesson morning. Marjory (confused). It was — but I couldn't go. The icebox was leaking, and I had to stay in until the plumber came to fix it. Jack. Well, I'll just go and see what I can find. (Starts again.) Marjory (coaxingly and flustered). I'll get you some- thing, dear. Jack (good naturedly) . Don't bother. I'll wait on my- self. (Starts to cross. Sees Reginald's cane on costumer. 8 THE ELOPEMENT Goes over and takes it dozen. Turning.) Hello, what's this? Marjory (agitated). A cane. Jack. So it seems. What's it doing here? Marjory. I — I — was using it. Jack. It doesn't belong to me. Marjory (lamely). No. The — plumber — left it here. Jack (coming dozvn). So plumbers carry canes nowa- days, do they? Marjory. This was a most unusual plumber. Jack. So I suspect. (Starts for kitchenette. Sees suitcase. Picks it up and faces Marjory, zvho shozvs fear.) You were planning to run away with a man ! Marjory. He's not exactly a man. Jack. Don't lie to me, woman ! Marjory (crying). Jack, you are wronging me cruelly with this terrible suspicion. (Loud sneeze from closet up left.) Jack. Ha, ha ! Suspicion, bosh I ^^l^at's a sneeze do- ing in that closet if you're as innocent as you pretend? Your lover is hiding in there. I'm going to have him out! (Going to door up left, calls loudly.) Come out of there! (Reginald enters quickly.) Good Lord, betrayed for that! (Crosses center.) Reginald (adjusting his monocle). Warm day, rather. Jack (coming ton^ard him threateningly) . It's going to be hot — for you. What were you doing in that closet? Reginald (confidently). Hunting moths, old dear. Jack (disgusted). Hunting moths? Reginald (brightly). You grasp it, old chappy. I'm a professional moth-hunter. I came here to find a certain moth that Mrs. Fleming had seen about the apartment. Jack. That's a clever alibi. Is this your cane? (Pokes Reginald in the ribs.) Reginald (gasping, takes cane). Yes; thanks awfully. Jack (sneeringly) . So you're a plumber, too, are you? Marjory (quickly). Yes, this gentleman is the plum- ber. THE ELOPEMENT 9 Reginald {looking bewildered). Plumber? (Catches Marjory's eye.) Oh, yes; I'm the jolly old plumber. Righto! Jack. A moth-hunting plumber ! Reginald. You have it. Really Mr. Fleming, you're iv.vfuUy bright, even though you don't look it. I should just love to stay here and chat with you, if I had the leisure, but I really must be going. (Starts for door right.) Marjory. The icebox is quite all right now, is it? Reginald (stopping). Quite. I fixed the carburetor and put a new shoe on the left foreleg. (Starts again. Jack stops him sharply.) Jack. That's enough of this talk. You can't get away with anything like that. I've got you two now, and you're not going to slip away from me as easily as this. What do you mean, you imitation man, by making love to my wife? Reginald (embarrassed). But I say, you know, she made all the love. Marjory. Wretch ! Jack. She did, did she? So much the worse. Reginald. That's what I thought. It has always seemed bad form to me for a woman to make the advances. Now, when my aunt — Jack (roitghly). We haven't time to listen to your fam- ily history. See here. Do you want her? Reginald. Really, my dear fellow, you distress me im- mensely. I have one wife already. Jack. That makes no difiference to-day. Add another to your collection. Marjory. How noble you are. Jack, not to stand in the way of my happiness. Jack (savagely^ to Reginald). But you've got to fight for her! Reginald (nervously) . Oh, I'm not at all athletic. Jack. I didn't mean that I was going to spank you. We'll fight with guns. (Taking gun. from pocket.) Here's yours. I'll get another. 10 THE ELOPEMENT Reginald (taking gun). Good Lord — this is an arsenal! Marjory {throming her arms around Jack). Oh, Jack, you can't do this thing. It's murder ! Jack. He's got twice as much to shoot at as I have. {Brushes her aside. Gets gun from drazi^er in center table.) Marjory {at left). Can't you be big and noble and stand out of my way? Reginald {dozmi right; eagerly). Yes, that would be the splendid thing to do, you know. Just step aside and — Jack {at center). Step up and take your position. Reginald. T'll take under the table, if you don't ob- ject. Marjory {wringing her hands). Oh, this is terrible! How can I stop it? Jack. You can't stop it. You started it. Now you must go through with it. Marjory. Be brave, Reggie, for my sake. Reginald {feebly). Yes, dear. Jack. Marjory, you will count three. At the word three, we turn and fire. Reginald {adjusting his monocle). At least I'll die in full armor. Jack. Now take your position. {He cj-osses left and stands facing wall.) Now, Marjory. (Reginald crosses right and faces wall; leans stick against fireplace or wall.) Marjory {up center). Oh, Jack. I can't. I can't! Jack. Shut up ! Count ! Marjory {counts slozvly; Reginald in comic terror dur- ing counting). One — two — three! (Covers her face witli hands. Men turn and fire. Jack falls. Marjory uncovers her face, and sees Jack; horrified.) You've killed him. Reginald (opens eyes slowly). Am I dead? Marjory (going quickly to him, and shaking him). Did you hear what I said? You've killed him. Good Heavens, Reggie, it's murder in the first degree ! Reginald (zvcakly). Are there degrees of murder? Marjory. Quick; get your wits together, fool! (Shak- THE ELOPEMENT 11 iiig him furiously.) The police may be here any minute. You've got to escape. Reginald (nervously). This is a beastly mess. I'll run ;ilong, then. (Starts for door right.) Marjory (detaining him). You coward! Are you going to run away and leave me alone with the dead body of my husband? Reginald (carelessly). Oh, I'll send the police around to you. jMarjory. And have them arrest me as the murderer? We will both escape. But I must have money. Reginald (fumbling in pocket). Here's a quarter. That's all I have with me. Marjory. Don't be a fool. You have your check book? Reginald. Yes. Marjory. Give me a check for five thousand dollars. Reginald. Good Lord, Marjory. That's a lot of money. Marjory. It's worth anything to escape, isn't it? Reginald. I hadn't figured it was worth so much to me for you to escape. (Crosses to right of center table. Sits dozvn, takes out check book; urites.) Marjory (follozmng him). You heartless wretch! I see you foT the first time in your true colors. You would desert me, my husband dead, without a penny in the world. You may go, if that is the way you feel about it. Reginald (at center table nrifing). Every naught is a drop of blood. It's a big price to pay for kilHng a man you didn't know. (Rising and handing Marjory the check.) I was only jesting, dear. Here's your check. Things can never be the same after this. Can you forgive me for bringing this terrible tragedy upon you? I've been an ass. Marjory. You have — ^and I do. I forgive you every- thing. But go — ^go — (She crosses to Jack''s body. Kneels, her face buried in her hands. Reginald exits right quick- 12 THE ELOPEAIENT ly. Slight pause. Marjory and Jack laugh and rise.) Bob, you sure put that over great. (Sound of police zvhistle heard off stage, in distance.) Jack {dusting his clothes). Sure I did. I'm some actor, if I do say it myself. Say, Mayme, you'd better cash that check at once. Hang it all, this is Saturday. We can't do nothin' till Monday. Marjory {at center). 'Aw, whadda we care, Bob? \\''e'll be miles away from here by Monday. Jack {crossing to her). A good haul, old girl. (Exitlt- ingly.) Five thousand bucks! That'll pay for a good many joy rides, eh, kid? {They embrace.) Reginald appears at right doorway. Reginald {sternly). Sorry to mar such a charming scene, but I'd rather see your hands in the air than around each other's necks. {He has them coz^ered with a gun.) Put them up ! Now come over here with your hands up. {As they cross toward the door he takes center.) This gun's got real bullets. I've had my eye on you for some time. You're a pretty clever team, but I guess my single is the feature act to-day. As for joy rides, you'll find a free one waiting for you outside. (Jack and Marjory exeunt right, slowly zvith upraised hands. Reginald follozvs, keep- ing them covered with his gun.) Get a move on! Curtain. Gettin' Acquainted BY Georgia Earle QUAINT, small- town comedy in 1 act; 1 male, 2 females. Time, 25 minutes.' Scene: A New Eng- land sitting room. Played for three years by the talented authoress herself, on the Keith and Orpheum circuits; in New York, Chicago, Toronto, San Fran- cisco, New Orleans and cities in between, it struck a new note in vaudeville and has been compared with "The Old Homestead," Mary E. Wilkins' stories, etc. CAST OF CHARACTERS. Jane Stewart A Spinster Priscilla Stewart Her Sister, Also a Spinster John Purdy A Wooer for Fifteen Years All have heard of men who courted for years and did not "pop"; most communities can furnish living examples. The idea has never been used before with such clever and sprightly results. Honest, slow-think- ing, yet withal determined John Purdy had spent 15 years just gettin' acquainted with the Stewart sisters, Jane and Priscilla. Finally Jane "goes and gets herself engaged" to another man but decides to bring matters to a focus for Priscilla. She determines to "make it snappy" and poor old John is "railroaded" into camp. Splendid lines and "business" so unusuallj'' clever as to place it almost in a class by itself among one-act plays. Like most talented creations, its simplicity commends it; well adapted to amateur presentation. Very minute directions for staging, acting and "busi- ness." Four excellent half-tone reproductions of scenes. Professional stage rights reserved and a royalty of five dollars required for amateur performance . Price, Per Copy, 35 Cents T. S. Denison & Company, Publishers 623 S. Wabash Ave. CHICAGO Mary's Millions BY Frederick G. Johnson A RURAL COMEDY in 3 acts; 5 males, 6 females, extras optional. Time, 2 hours. Scenes: 1 interior, 1 exterior. CHARACTERS. Jack Henderson A Civil Engineer Jimmie Barnes His Friend from New York Ezra Stoneham The Village Storekeeper Abija Boggs A Human Flivver Victor de Selles An Imported Product Jane Stoneham Ezra's Better Half Eudora Smith The Stoneham's Hired Girl Lola de Selles Victor's Sister Mrs, Mudge Wedded to Her Ouija Board Betty Barlow A Country School Teacher Mary Manners An Heiress to Millions Members of the Choir. "When I go after a side partner, she's going to be a live-wire lady. No corn-fed beauties for mine." "Say — honest — is there anybody in this one-horse town that has a million dollars?" "I've read books, I have, about them slick rascals from the city." "Waitin' for the mail? Looks more like waitin' for the female." "More city folks, I'll bet a doughnut." "I believe in sperrits, but I ain't seen none sense the country went dry." "Stop scratchin'! Ain't j'ou got no company manners?" "He looks like a head waiter and he talks like a bottle of seltzer." "All foreign wild ani- mals looks alike to me." "The greatest doin's since the mill dam busted." "What's been swiped an' who done it?" "Any clues? No, all genuine pearls." "She has chain lightning slowed down like the rural free delivery." "I foller the deeductive method. I don't take no clues off no Fiji board!" "Boy, I sure do hate to take you, but I reckon I got to." "Funny what a difference just a few millions make." "The third degree trimmed with hayseed." "Eudorj', you saj'- the durndest things!" Professional stage rights reserved and a royalty of fifteen dollars required for amateur performance. Price, Per Copy, 50 Cents T. S, Denison & Company, Publishers 623 South Wabash Avenue CHICAGO Whose Little Bride Are You? BY Edith Ellis A FARCE Comedy, in 3 acts; 5 males, 5 females. Time, 2^/^ hours. Scene: 1 handsomely furnished living room. This play was written by the author of "Mary Jane's Pa" and other nation-wide successes. CAST OF CHARACTERS. Dr. Benjamin Bellows. A Sentimental Retired Physician Algernon Clawhammer. . .His Prospective Son-In-Law Augustus May His Butler Simeon Singleton His Old Friend George Tobin His Prospective Step-Son Florence Bellows His Charming Daughter Mrs. MacEckron His Neighbor Dolly MacEckron Her Daughter Maggie Brady The Maid Mrs. Amelia Tobin The Bride-To-Be At the beginning one potential bride is visible; be- fore the final curtain the woods, so to speak, are full of them. The brides range in assortment from the little flapper not yet out of her teens, to the seasoned 200-pound campaigner who has worn the orange blos- soms no less than four times. Matrimonial pairing proceeds even to the butler and the housemaid. Mis- taken identity furnishes an unusual measure of com- plications until it actually becomes a problem as to which little bride is which, or who. Plot, situations and dialogue dovetail perfectly. The incidents are as humorous and rapid-fire as ever went into a play. It is especially adapted to amateurs, the parts being so vividl3^ characterized and the action so continuous that the piece virtually carries itself. Professional stage rights reserved and a royalty of fifteen dollars require d for amateur performance. Price, Per Copy, 50 Cents T, S. Denison & Company, Publishers 623 S. Wabash Ave. CHICAGO Fifty-Fiity BY Frederick G. Johnson A FARCE of love, luck and laughter in 3 acts, by the author of "Mary's Millions"; 5 males, 5 fe- males. Time, IVa hours. Scenes: 2 interiors, an attic studio and a bungalow. CHARACTERS IN THE PLAY. Henry Brown An Artist Paul Green An Author Patrick O'Malley A Janitor Smudge A Valet Cap' A Wanderer Mrs. Podge A Landlady Sophie Bland A Dancer May Dexter An Enthusiast Mrs. Hawley A Collector Josephine A Seeker If there be a moral to this merry comedy of compli- cations, it is that it is possible to get too much of a good thing. Paul and Henry are struggling to achieve fame and bread-and-butter money in literature and art. Utter failure is their lot until one of Henry's paintings, accidentally displayed upside down, is enthu- siastically purchased by an art collector, and the "im- pressionistic painter" becomes the talk of the town. Paul, following the hunch, writes his stories backward, and success follows swiftly. But some innocent fibs, told for reasons of necessity, reach the newspapers, and the pals find themselves headed straight for trouble. Their love affairs go awry, and in the pre- dicaments which follow as a result of their propensity for spinning yarns, they find success an empty thing. A woman who claims to be Paul's wife, an elusive van- ishing painting, a mysterious sea-faring man, a med- dling landlady, all contribute to the mixup. Of course it all comes out happily. Professional stage rights reserved and a royalty of fifteen dollars required for amateur performafice . Price, Per Copy, 50 Cents T. S, Denison & Company, Publishers 623 South Wabash Avenue CHICAGO Denison^s Royalty Plays AND HOME CAME TED By Walter Ben Hare. Comedy in 3 acts; 6 males, 6 fe- males; 2l^ hours. Royalty, ten dollars. Price, 50 Cents. ASSISTED BY SADIE By Walter Ben Hare. Comedy in 4 acts; 6 males, 6 fe- males; 2^ hours. Royalty, ten dollars. Price, 50 Cents. BETTY'S LAST BET By Edith Ellis. Farce-comedy in 3 acts; 5 males, 6 fe- males; 2% hours. Royalty, twenty dollars. Price, 50 Cents. FIFTY-FIFTY By Frederlcl< G. Johnson. Farce In 3 acts; 5 males, 5 females; 2^/4 hours. Royalty, fifteen dollars. Price, 50 Cents. FOR THE LOVE OF JOHNNY By Harry Hamilton. Play in 3 acts; 6 females, 3 fe- males; 21/4 hours. Royalty, ten dollars. Price, 50 Cents. GETTIN' ACQUAINTED By Georgia Earle. Comedy in 1 act; 1 male, 2 females. Time, 25 minutes. Royalty, five dollars. Price, 35 Cents. THE GOLD BUG By Walter Ben Hare. Comedy in 4 acts; 7 males, 7 fe- males; 2^4 hours. Royalty, fifteen dollars. Price, 50 Cents. THE UE THAT JACK BUILT By Georgia Earle. Comedy in 1 act; 2 males. 2 females. Time, 30 minutes. Royalty, five dollars. Price, 35 Cents. MARY'S MILLIONS By Frederick G. Johnson. Comedy in 3 acts; 5 males, 6 females; 2^ hours. Royalty, fifteen dollars. Price, 50 Cents. OLD MAIDS By Fanny Cannon. Comedy in 3 acts; 5 males, 8 fe- males; 2 hours. Royalty, fifteen dollars. Price, 50 Cents. WHEN SMITH STEPPED OUT By Harry Osborne. Comedy in 3 acte; 4 males, 4 fe- males; 2 hours. Royalty, ten dollars. Price, 50 Cents. WHOSE LITTLE BRIDE ARE YOU? By Edith Ellis. Farce-^comedy in 3 acts: 5 males, 5 fe- males; 2*/^ hours. Royalty, fifteen dollars. Price, 50 Cents. T. S. Denison & Coinpany, Publishers 623 S. Wabash Ave. CHICAGO 1-922 LIBRARY OF CONGRES III Denison's Acting Piays Our list comprises hundreds of titles — comedies, dramas, farces, vaudeville sketches, musical comedies and revues, minstrel material, little theatre playlets, etc. All shades of sentiment are rep- resented, and all varieties of talent, number of characters and time required in presentation are provided for In this list. Denison's . Acting Plays contain detailed description of stage business, characters, costumes, settings, and full instructions for staging. Popular Entertainment Books In this series are books touching every feature in the entertainment field; Dialogues for all ages. Speakers, Reci- tations, Monologues, Drills, Entertain- ments, suitable for all occasions; hand- books for home, school and church, etc. Over sixty titles, each written by a specialist in his given line. The books are finely made, clear print, good paper, and each has a most attractive, individ- ual cover design. One of the best and most complete entertainment series published. Send for Complete Descriptive Catalogue T. S. Denison & Company, Publishers 623 S. Wabash Ave. CHICAGO 017 401 571 5