PRICE TWENTY-FIVE CENTS LENA RIVERS By MARIE DORAN This popular and successful comedy drama is now issued in a copyrighted edition. It contains all the plots and complete stage directions, is arranged for 5 male and 4 female characters, runs 2^ hours and has 2 simple in- terior scenes. LOW ROYALTY ^ Price 35 cents per copy Kathleen Mavourneen Neii* Copyrighted Version. This well-known Irish favor- ite entirely revised and rewritten by Marie Doran, and so simplified in stage settings that it can be readily pro- duced by amateurs and stock companies. , Loiv Royalty for Professional Performances. 8 male and 3 female character's. Runs 2 hours ; 1 interior and i exterior scene. Price 25 cents per copy Fitzgerald Publishing Corporation Sucit'Sior to DICK & FITZGERALD l8-Vesey Street, New York HER VICTORY Comedy in One Act By ELEANOR MAUD CRANE Author of ''Just for Fun," "Men, Maids and Maich?nakers," "Pair of Idiots," "A Regular Flirt," ''When a Mans Single," "Next Door," "Little Savage,'' "Billy's Bunga- low," "Rainbow Kimona," "Peggy s Predicament," "In the Ferry House," ''Ye Village Skewl of Long Ago," "Bachelor Maids' Reunion," "Fiai in a Farm House," "Fads and Fa?icies," etc. Copyright, 1920, by Eleanor Maud Crane ^ Fitzgerald Publishing Corporation Successor to Dick & Fitzgerald 18 Vesey Street New York ©CI.0 55 019 JUL I4I92C Her Victory CHARACTERS (In the order of their appearance) May Parker Sculptor Frances Morgan Illustrator Mrs. Finnigan From fair Erin Hazel Reid Dancer Frederika Brent Mural artist Betty Wilson Autlioress Peggy Lawrence Violinist Ruth Wheeler Cartoonist Eloise Taylor Pianist Vera Davenport Designer Jean Webster Fashion artist Grace Foster Interior decorator Laura Jackson Maid of all ivork of the Sunny South Victory Johnson Laura's shadow JosiE Murray Scenic artist Nanette Lyle In the "Movies" Elizabeth Woods ^^* critic Note.— This sketch is so arranged that the number of characters may be cut to accommodate a small cast or in- creased to permit the introduction of specialties, local hits, or native talent. Parts may be doubled if desired. It may be played with or without tableaux. Time. — The present. Locality. — Studio, Washington Square. Time op Playing, — One hour. 3 4 Her Victory COSTUMES May Parker, studio apron or smock over pretty house dress. Frances Morgan, modern street suit, hat, gloves. Mrs. Finnigan, exaggerated or eccentric costume, ex- treme of present style. Laura Jackson, attempt at fine artistic dress. Bright colors, rather startling in effect. Victory Johnson, kinky wig, plaid dress, apron. ToPSY, wig of kinky hair. . The other characters should wear costumes in the present prevailing style, although it is necessary for one of the girls to wear a mannish-looking hat and another is to wear a large cape. INCIDENTAL PROPERTIES Plaster east upon which May is working. Clay for May and Laura. A sketch-book containing several pic- tures for Frances. Fan for Ruth. Check for Josie. A hand-bag and a typewriter for Hazel. Note. — A square wooden box with a waterproof cover of a typewriter drawn over it will give the effect of a typewriter and be easier to handle than the machine it- self. STAGE DIRECTIONS As seen by a performer on the stage facing the audi- ence, R. means right hand; l., left hand; c, center of stage; u. L., up left; d. r., door at right; d. l., door at left ; UP, toward back of stage ; down, toward footlights. Her Victory SCENE. — Studio in Wasliington Square. Door at r. and a door u. l. Key in d. l. Unmounted charcoal and water-color sketches decorate the walls. A plaster J)ust, a bronze statue and two or three clay casts give a good effect. An easel with a drawing- hoard, paper and a piece of charcoal is in the hack- ground. A shelf with a few well chosen or7iaments, among them a blue vase containing money, is down L. . A low table containing tea-things and a fan DOWN R. A rather high table on which stands a plaster cast that May is touching up, is down l. Also some clay near table. A few bits of drapery, a chiffo7i scarf or two in soft pastel shades are thrown over the back of the easel and couch, and several cliairs help to furnish the studio. A scrap basket is at the side of the couch. A tightly folded um- brella is also standing in some corner of the room. DISCOVERED May Parker in modelling apron, working feverishly upon an unfinished plaster cast. Suddenly she drops into a chair, tired and discour- aged. ENTER Frances Morgan d. r., sketch-hook tinder her arm; she does not see May. Prances pidls off her gloves angrily, throws book upon the couch, opens it, takes out a picture, holds it at arm's length a second, then crushes the picture in her hands and tosses it info the scrap basket. Slie is about to destroy a second sketch. 5 6 Her Victory May {springs up and catches Frances' arm) . Frances Morgan, Avhat on earth are you doing? Frances {in surprise). Maj^ how you startled me! May {taking sketch from basket and holding it up). Frances, what does this mean? Frances {taking off her hat and jabbing her hat-pin into it savagely). Oh, May, what's the use? "What is the use of it all? May {her hand on Frances' shoulder as Fan siiiks into chair). Don't, Fan, you mustn't get discouraged now. Was it so awfully hard? Fan {bitterly). Oh, not at all. It was the shortest interview I ever had. It didn't last two minutes. May {surprised). But you've been gone over two hours. Fan. That 's how long he kept me waiting. I had an appointment, you see, so I was only kept waiting two hours. May {leaning forward eagerly). But you did see him ? Fan {nodding). Yes, for exactly tAvo minutes. May {catching up sketch). And he saw your work? Fan {looks over May's shoulder at sketch). Yes, and that was all he did see. The work. Too much detail. Not enough left to the imagination, should suggest more than it reveals, be all suggestion. May {studies sketch admiringly). so fine, so sincere. You hold a mirror up to nature. Fan {shakes her head). Wrong, May, all wrong. Art should suggest. The eye of the beholder supplies the rest. Don't you understand? May. No, I can't say that I do. Fan {goes to easel and catches up bit of cMrcoal. She draws a curved line upon the paper on drawing- hoard then turns to May), Let me illustrate. I draw a line so. What do you see? May {studies the line a second, her head on one side). I see a curved line- A picture to-day In fact it should But your work is Her Victory 7 Fan {in disappoinied tones). Is that all? May. Yes. What else is there for me to see ? Fan {gesticulating as she speaks). A tree swaying in the breeze. A storm is gathering. The clouds lower. Tlie thunder roars. The tempest breaks. The picture is called ' ' Revelation. ' ' May (looks at Fan, then at picture, puzzled). But what is revealed ? Fan {impatiently). The soul of Art. True Art. Wait, I'll give you another chance. {Draws an irregular oval wiih a sweep of the charcoal) Behold, what seest thou? May {tragically). The writhing of a heart in agony. Tei'ror sweeps over her. She is crushed to earth. But lo, she rises triumphant. The picture is called "Re- generation." Fan {looks from May to easel in surprise) . May, do you really see all that ? May {nods serenely) . Of course I do. Fan {looks over May's shoulder and tries to get her view-point ) . Where ? May {points to easel). There. Fan {thoughtfully). Then he was right. There is something in it. May. Wasn't that Avhat you expected me to see ? Fan, Not exactly. But if my pencil can inspire you to such heights, Avho knows to what dizzy altitudes we may attain? Why waste hom^s in a vain attempt to reproduce nature Avhen a stroke of the pencil accom- plishes such miracles as that. {Points to easel) Oh, Art, what crimes are committed in thy name. May {gathers up sketches). Well, you are not going to commit the crime of destroying these. {As Fan tries to take them from her) Unhand me, woman. {As Fan succeeds in gaining possession of sketches) Fan, please let me have them. I think them beautiful and I want them, if you don't. Fan {looks at sketclies and hesitates). But the great- est critic of our age has condemned them. 8 Her Victory May {iviih contempt). Critic? Don't talk to me about critic unless you want to hear me sputter. You know my opinion of them. Fan {setting out tea things). How's the statue com- ing on? May. What statue? Fan. What statue? Why, the statue for the fountain, of course. May {scats herself in dismay). Fan, I can't do it. Fan. Nonsense. You've got to do it. May. I can't. Not without a model. Fan {rises laughingly). Is that all? What al)0ut me? I just guess I can pose. How's this? {Stands with foot extended and one hand raised above her head) May {laughs). Fine. What do you call it? Fan. The Marseillaise crossing the Rhine or the Vengeful Vamp. {Drops pose and speaks seriously) But really, May, you waste inore time. Ma\\ I know it but what can I do? I've tried and tried but I can't go on. I've come to the place where I must have a model and I can't afford to engage one. Fan {looks toward vase on shelf). There's the blue vase. May {quickly). No, Fan, we solemnly vowed never to touch that vase money. Fan {slowly). I know we did, but May {firmly). There are no buts about it. That money is to be saved until we have enough to buy a type- writer for Betty. No editor will read a stoiy to-day un- less it is typed and Betty must have this chance, for that girl certainly can write. Fan. So can you sculpt. Don't you see, May, if you take that money now and hire a real model to poso for the statue for your fountain, why, at the spring exhibi- tion, wlien your orders begin to come in, you can buy the typewriter for Betty and^here you are. May {shakes her head). And suppose the orders do not come in ? Fan {takes down vase). How much have we saved? Her Victory 9 May {takes vase from Fan and replaces it upon shelf) . No, Fan, I shan't touch one cent of that and you mustn't either. Fan. I don't see why not. Betty knows absolutely nothing of our plans for her so she wouldn't be dis- appointed. ENTER Mrs. Finnigan d. r. Mrs. Finnigan {looks about curiously). Is this the studio? Fan {turns to her in surprise). Yes, but how did you get in here 1 Mrs. F. Sure an' Oi walked in. Are you the artist loidy? Fan. We are both artists. Miss Parker is a sculptor and I paint. Mrs. F. {looks at Fan admiringlji) . You do it moighty well. Begorrah, if ye hadn't told me Oi'd niver have guessed it. {To May) You're the wan Oi want ter see. Oi'm thinkin' of havin' a bust made off me husband. May. You mean you want me to model your husband ? Mrs. F. Well, Pat niver wuz no model. He wuz — {With a sigh) jist a mon. May. I wonder if you wouldn't like a l)as-relief ? Mrs. F. {nods and smiles). Now I'll jist lave tliot to you. {With a hurst of confidence) You see, it avuz this way. Mrs. O'Connor, her thot has the flat jist over me, lost her Mike with the flu last month an', would you belave it, she's got him condinsed, in a urn, on the mantel pace in her parlor. Ivery toime I call on her she rams thot urn down me throat. I jist can't stand her airs an- other day. I buried me Pat two years ago this Easter an' Oi haven't the heart to dig him up. Pat always hated so to be jigged about, the saints preserve his sowl ! An' so Oi thought an' Oi thought, an' last night it come to me thot if Oi had a bust off Pat on me pianny, why thot O'Connor woman would be took down a peg. An' thot's why Oi've come to you. 10 Her Victory Fan (doubling up witli laughter behind Mrs. F.'s back). But you say your husband is dead. Mrs. F. Sure. (Proudly) You ought to see the gran' stone Oi put up for him. "Rest in Pace" at the top and "Till we meet again" at the bottom. May. But if your husband is no longer living how can he sit for me? Have you a picture of him that I could copy? Mrs. F. (Iaughi7ig at the thought). A picture of Pat. The saints preserve us. Pat would niver sit for no picture. He always said it was bad luck. May. But, madam, how can I make a bas-relief of a man I never saw ? Mrs. F. (impatiently). Didn't you make thot statoo of Moses down to the Museeum ? May (nods). Why, yes, I did do that sometime ago. Mrs. F. An ' did you iver see Moses ? May (laughing). No, I can't say I ever had the pleasure. Mrs. F. (with sarcasm) . Thin Oi suppose you had a photygraph of him to go by? May (shakes her head). No, none whatever. Mrs. F. (triumphantly). Thin if ye did Moses who died skillions of years ago, why can't ye do me Pat? Fan. She's got you this time, May. May (to Mrs. F.). But this is different. Your friends knew your husband and what he looked like. Mrs. F. (nods slyly). Ah, ha, so thot's it, is it? An' jist because poor Moses didn't have no friends, you took advantage of him. I always thought there wuz a lot of hocus-pocus about this here Art business. (Indig- nantly) Now, young lady, I'm a-going to show you up. You'll do me husband or Oi'll have ye arristcd for an impositor. You kin take your choice. (Folds arms and stands off to ivaich the effect of her words) Fan (seats herself and studies the two ivith interest). I beiievo slie has a detectiv6 waiting outside. Better sur- render, ]\Iay. May (to Mrs. F.). But, my good woman, you don't Her Victory 11 understand. I had in my mind an ideal and when I designed my statue of Moses, I simply carried out that ideal. Mrs. F. (shakes her head grimly). The Bible says plain out, that you shouldn't make no idols nor any gravy images. I don't see how you folks git around that. {Turns to Fan) Thot's why Oi hesitated about me Pat, just at first, you know. Till Oi saw thot 'Con- nor woman's urn. Thot sittled it. Gravy images or no gravy images, Oi'll have a bust of Pat. {Turns to May and opens her hag) How much did you say it would cost? May {frowning). I didn't say. In fact, I can't see my way clear to fill your order at all, with absolutely nothing to go by. Mrs. F. {pats May's shoidder reassuringly). Now darlint, don't you worry. Oi'll give you the go-bys all right. You follow what Oi till you an' you can't miss Pat. May (hesitates). Were you considering bronze or marble? Mrs. F. Whiehiver's the most stylish. Oi'm all for style ivery toime. Say, Oi saw a foine figger down to the five an' ten last week thot wuz terrible classy. All white stuff. You know the kind. May. But that was only plaster. Mrs. F. It said "Choppin" on it. Oi thought it pretty slick. Wait, Oi'll fetch it here an' you kin jist touch it up a bit. Make the nose bigger, an square off the chin an' put a poipe in his mouth an', begorrah, it will pass for Pat hisself. You wait here. Oi'll be roight back. Oi'll git even with thot O'Connor woman yet. [EXIT D. R. May (goes to door and calls after her). Wait. Wait a minute. (A door slams off) Fan (doubles up ivitli laughter). Oh, May, May. That's the funniest thing I ever heard of. A bust of Chopin from the ten-cent store to be remodelled into Pat, 12 Her Victory ENTER HA2EL Reid d. r. Hazel (rushes in, all excitement). Oh, girls, girls, what do you think? The loveliest thing. I'm so happy. I'm so happy. Mrs. Woods is going to give a ball. A real ball and all the big artists are going to be there and Mr. Clemmons, he's that big millionaire from the South, has offered a prize of a thousand dollars for the best in- terpretation of "Victory." And we are all invited, everybody, every artist, that is, and it's to be in two weeks and — isn't it lovely? Isn't it glorious? And what am I going to wear ? May {her hand on Hazel's shoulder). Wait a min- ute. Hazel, wait a minute. Now, what on earth are you talking about? Fan (as Hazel, cjasjjs for breath) . Put on the brakes, Hazel, and go slowly down hill. Hazel. I can't go slowly. (Dances about studio) I am Avild, simply Avild about this. (Stops ahruptly be- fore May) But you haven't answered my question. What am I going to wear? May (looking puzzled). To wear? You? Hazel (impatiently). Yes, yes, to wear. Me. I, Myself. My dear May, wake up. It's to be a ball. A wonderful, glorious ball, and every one is to be in cos- tume. And what am I going to wear? Fan (coming forward). Did you say a prize was to be offered? Hazel. Yes, a thousand dollars. May. For the best costume? Hazel (shakes her head emphatically). No, no, no. For the best interpretation of Victory. Fan (shaking her head at May). But we can't all go impersonating * ' Victory. ' ' Hazel (with a sigh). You don 't have to. Yo^i draw, or sculp, or paint your idea of "Victory" and the best design wins the prize. Fan (sifs near Hazel and leans forward eagerly). What form must the design take? Her Victory 13 Hazel. Any form. Any old thing that the title "Victory" can be applied to. But you don't seem to grasp the main, the most important, the most interesting part of it all. This is to be a costume party and what am / going to wear ? May {to Hazel). What difference docs it make ivhat you wear? (To Fan) Oh, Fan, I]an, do you suppose this dream can possibly come true 1 Hazel {indignantly to FAi>i). What difference? She asks what difference does it make what I wear. {To May, with a toss of her head) I suppose it would make no difference to you if I didn't wear anything at all. Fan (^oMay). She must be mistaken. I'll see Mrs. Woods and find out. {Door heard slamming off r.) Hazel. You needn't. Here comes Frederika. She was at the meeting. I'll call her. (Goes to d. r.) Freddie, in here. We're in here. {To May) Now you'll see. (ENTER Frederika d. r.) Isn't it fine? Isn't it wonderful? Have you planned your costume? Can J ou help me out ? Freddie {to May a7id Fan). Has Hazel told you? Isn 't it perfectly splendid ? Fan {helping Freddie off with her wraps) . We can't make head nor tail out of it. Just one wild jumble of ball, and prize, and Victory, and what is Hazel going to wear? That's the only thing that stands out clearly. Freddie {taking off her gloves and seating herself). Give me a cup of tea and I'll tell you all about it, al- though I'm so excited I don't know whether I can ex- plain or not. It was Mrs. Woods' idea. That woman's an angel. Mr. Clemmons wanted to do something in memory of Frank, his son, you know ? May {ivho has seated herself at low table and is mak- ing tea). Yes, I remember, he was killed in France. Freddie. That boy w^ould have done something big if he had lived. He had it in him. Well, his father wants to erect a fitting memorial. Something different. I^n- usual. So Mrs. Woods suggested his offering this prize 14 Her Victory for the best interpretation of ''Victory." The result to be dedicated to Frank. May (eagerly). And can any one — any one at all compete 1 Freddie (helping herself to cake). Any one at all. Hazel (helping herself to the cake Freddie has chosen). But you haven't told them about the ball. Freddie. The ball? Oh, yes, I forgot. It's simply to bring the competitors together. Did they decide to have it a costume affair, Hazel? Hazel (excitedly) . I should say they did. And these girls (Indicates May and Fan as she addresses herself to Freddie) won't help me out a bit and I haven't a single blessed piece of a dress that will do. ENTER Betty Wilson excitedly d. r. Betty. Oh, girls, have you heard the news? (Catches sight of Hazel) Oh, Hazel, you here, (To girls) Then of course you know all about everything and have decided what she is to wear. May (flourishes teapot) . Have some tea? Betty (seats herself and holds out cut)). Yes in- deed, I'm simply starving. Pass the cakes, Hazel. Hazel. I'm sick of all this nonsense And the way you do not care : The nicest thing about a ball Is the dress you're going to wear. Fan (sipping tea). If somebody doesn't put Hazel out I'll resign. Hazel (sticks out the tip of her tongue at Fan). Hazel is already put out, very much put out by the in- difference of those she once considered her friends. Betty. A true ' friend. Hazel, is one who tells you 3'our faults. Hazel (rises). Then deliver me from true friends. I know all my faults, thank you, and I don't care to be told about them, (To Freddie) Are you going to the ball, Frederika? Her Victory ]!» Freddie (stirs lier tea ihougliifully) . Yes, I think so. Hazel, {rolls her eyes to ceiling in despair). She thinks so. A real live ball, the first this season, and she thinks so. What are you going to wear? May (to Freddie; . But I don't see how we can have anything ready in two weeks. I work quicKly, but two weeks — that's impossible. Freddie. Mr. Clemmons says that genius is inspira- tion. He doesn't expect completed work. It's the idea he is seeKing. A theme, the outline of a story Betty. The synopsis, you mean. Freddie (nods). That's just what I do mean. He doesn't care what form the inspiration takes or how crude the work is. Fan. But suppose the creator cannot develop the theme afterwards? Betty. Mr. Clemmons will have it developed for him. It is originality he is seeking and he does not believe in wasting time on unimportant details. Hazel (comes forward eagerly). That's my idea ex- actly. Here we are Avasting valuable time tnat should be spent planning our costumes. Fan (slips up behind Hazel, pins her arms behind her, ties them securely with her handkerchief and then holds out her hand to May) Your handkerchief, May, just a minute. (Ties May's handkerchief over Hazel's mouth) Now, young lady, have j^ou anything to sny before the sentence is pronounced 1 ( vViihout giving Hazel time to speak) No, then you are condemned to wait in here while we adjourn to Frederika's studio just across the hall for a new kind of salad that she has just invented. At the end of ten minutes, if you have suf- ficiently repented, you may join us. (Fan leads Hazel, who is too surprised to object, to d. l., supposedly a closet, and opens door, pushes her in and closes door, locks it and puts key in her pocket) Freddie (to Fan) . AVho told you about my salad? Fan (laughs). A little bird. 16 Her Victory ENTER Peggy Lawrence, Euth Wheeler, Vera Davenport and Eloise Taylor d. r. Eloise {laughing and talcing plate of cakes from May). You mean things. Why didn 't you wait f or us ? I'm simply starving. Hut H. {taking off her hat). Hello, everybody. Where's Beiiy? {jlU the girls remove their ivraps) Fan. Right by the tea table. Peggy {springing upon a chair). Hear ye, hear ye, all ye good people. A miracle has happened. We are to have a chance. Can you believe it? A real live chance to show what we can do. j\Irs. Woods is going to give a ball in her studio. May. Yes, yes, we know all about it. Are you going to compete ? Peggy. Am I? Just you wait. I am working out the most wonderful theme. This thing has just inspired me. I feel as if I could do anything. Eloise. So do I. I know I shan't sleep for a week. All sorts of ideas are just sizzling. I could hardly sit through the show this afternoon. Freddie. Was it a good one? m Eloise. Fine. I thought the one word act especially ■ clever. May. What on earth do you call a one Avord act ? Ruth. Haven't you ever seen one? There are just two characters and they have a little play between them, each speaking one word at a time. Betty. But I don't understand. You can't have a play Avith just one word. Peggy. Yes you can. It's great. Come on, Ruth, let 's show them how it was done. Ruth {shaking her head). I can't. I don't remem- ber how it went. Peggy. Yes, you do. Here, I'll be the man. {Looks about) Where's my hat? Fine. {As Fan gives her a rather mannish looking hat one of the girls has u'orn in) Now for a coat. This cape will be just the thing. Her Victory 17 {Catches up cape one of the girls has thrown over chair- hack) Got a cane, anybody? (May gives her a tightly folded umbrella) Thanks. Come, Ruth, take this fan. (Gives Ruth fan from table) Ruth {drawing back). I tell you, Peggy, I don't re- member a word of it. Peggy. Nonsense, I 'II prompt you. Sit here. {Places chair c. for Ruth. The girls draw hack and watch) Now I enter. (Goes to d. r., turns, and comes down. Catches sight of Ruth seated c. and starts. Ruth rises) You? Ruth {clutches chair-back). George. Peggy {looks over shoulder anxioushj) . Alone? Ruth {hangs her head). Yes. Peggy {looks at Ruth curiously). Why? Ruth {looks up, shrugs her shoulders, smiles). Luck. Peggy {seats herself). Fine. {Sighs) Ruth {seats herself). Tired? Peggy {shakes head). No. Ruth {smiles). Bored? Peggy {laughs). Hardly. Ruth {roguishly). Stupid? Peggy {nods). Very. Ruth {holds out tray). Smoke? Peggy {pretends to light cigar) . Thanks. Ruth {as Peggy leans back and pretends to puff cigar). Mother? Peggy'' {folds arms). Fine. Ruth. Good. Peggy {leans forward and glares at Ruth). Frank? Ruth {toys ivith fan) . Fine. Peggy {frowns). France? Ruth {shakes head). No. {Drops fan) Peggy (scoivls). Home? Ruth {nods). Yes. {Looks about as if in search of something) Peggy. Handkerchief? {Helps her look) Ruth. Fan. Peggy {jjicks up fan that IIvth has dropped) . Here, 18 Her Victory Ruth {takes fan from Peggy). Thanks. (Peggy takes Ruth's Ifiand and studies it. With raised eye- brows) Why? Peggy {taps her third finger). Ring? Ruth {withdraws hand abruptly and shakes head). No. Peggy. Soon ? Ruth {emphatically). No. Peggy {throws herself at Ruth's feet). Dearest. Ruth {draws back). No. Peggy {takes Ruth's hand). Dear. Ruth {withdraws her hand and rises). No. Peggy {clutches Rvtvl's dress) . Molly. Ruth {with dignity) . Miss Peggy {springs to feet). Never. Ruth. Miss. Peggy {surprised). Why? Ruth {looks over shoulder and speaks in loud whis- per). Papa. Peggy {clutches umbrella fiercely). Brute. Ruth {pleads, her hand on Peggy's arm). Don't. Peggy {draws cape about her). Farewell. Ruth {starts, surprised). No. Peggy {firmly). Yes. Ruth. Why? Peggy. Duty. Ruth. Duty? Peggy {firmly). Duty. Ruth {snaps fingers). Poof. Peggy. Honor, Ruth. Whose ? Peggy. Yours. Ruth {surprised). Mine? Peggy {fingering umbrella). Frank's. Ruth {frowns). Frank's. Peggy. Frank Ruth. Yes? Peggy. Loves Ruth. Loves? Her Victory 19 Peggy. You. (Turns, stalks down) EuTH {follows Peggy and 'places her hand on her arm) . Frank Peggy (sighs). Yes RuTFi. Loves Peggy (draws a digger sigh). Yes. Ruth. Another. Peggy (starts). What? Ruth (points -finger at Peggy). Goose. Peggy (clasps Ruth m her arms). Angel. Ruth (her head on Feggy's shoulder). Dearest. Peggy (clasps her close?-). Darling. (Both turn, face audience and hoiv to r. and l. and pretend to draw curtain. All girls applaud as Peggy and Ruth take seats) Vera Davenport. That Avas clever, but I liked the monologue best. May. Did they have a monologue too? What was it about? Tell us, Vera, that's a duck! Vera. I don't remember it all, but it went something like this. (Takes c. and girls group themselves in hack- ground) I am Delphine going to the Movies. I am to meet my friend there at half-past two and it is now after three. (Waves hand in greeting) Oh, dearie, #/( ere you are. I just couldn't remember whether you said two or three, so I thought I'd better be on the safe side. It makes me so nervous to wait for any one. (Her hand in her hag) No, no, my dear. I insist. This is to be my treat. Oh, of course, if you have the change right there I shan't make a fuss. I think it's so foolish to argue about trifles like the Movies, and sodas and carfare, I just give in every time. Why, the idea. The place is jammed. Who'd have thought there were so many idle people in the world ? Especially men. There's an empty seat right on the aisle. (Starts to sit down, rises and turns as if to some one beside her) I beg your pardon. I didn't see your hat. (To friend) One seat down front? No, no, I won't at all. I'll wait until we can be together. Are you sure you don't mind? Well, o| 20 Her Victory course if it would make you feel belter satisfied. It does wear me to a frazzle to stand. Perhaps you can find one after this picture. {Pretends to squeeze past a line of people) I beg your pardon. Oh, excuse me, was that your foot? I thought it was your bag. I'm sorry. {Looks over shoulder and frowns) Just a second, please. I simply must take my coat off before I sit down. Your little boy will have to have patience. Children are so badly trained these days. {Leans forward and pretends to tap some one on the shoulder) Would you mind tak- ing off your hat? Your hair. Why, the idea! {Looks over shoulder) My hat? Why, it's so small it couldn't possibly bother any one. What? I 7nust. Oh, bother. {Pretends to remove hat) There, I know I look a fright. {Yaivns) News Events. How tiresome. Thought I'd skipped them. Strange custom kissing on both eheel\S. If you don't like a man I should think one cheek would be enough and if you do like him why the cheek? Oh, dear, I do hope they're not going to play the ''Star Spangled" just as I've gotten comfortably settled. {Looks about desperately) There, I've dropped it. {Excitedly to some one ahead) Would you mind get- ting up and looking under your chair? I'm sure it rolled down. Will you ask that man in front of you to look under his? There, I saw that woman two seats ahead stoop down and pick up something. {Waves and calls) Usher, usher, here. Would you mind asking that woman if she picked up a purse? Yes, the woman with the wart on her nose. She didn't? Well, of course she'd say that. In my hand? {Looks down at hand and holds up purse) How funny! There's nothing in it but my powder box, but I'd hate to lose that. {Sud- denly hccomhig interested in picture) How nice! fash- ion pictures! So glad I came. Such an interesting bill. I'm going to have my new crepe meteor made just that way, {Indignanthi) The idea. Coming in late and standing right in front of me at the most exciting part. {Tries in vain to look first one side and then the other) ^tcp^^ sliould be made to wait until the end of a picture Her Victory 21 (Leans forward and prcieixds lo lap pcmnn alicad of her) Madam, madam, will you please be seated"? What? You are seated? Why, the idea! How some people sit up when they sit down, (To person next lier) Beg par- don, but have you the time? {Rises) Oh, my dear, I i-eally can't stay another minute. I just ran in to see those fashion models anyway. No, no, you really mustn't leave because I do. You told me you were wild to see Ihis picture. Yes, I know it's wonderful, but I promised P]'cd I'd be home early for dinner and I've simply got {o have my nails manicured and the girls are so snippy if you come in when tliey're closing. So glad to have had this nice little chat with you. Wish I had time to ask you about the kiddies. Did I tell you Fido had been ill? Oh, my dear, such a time. And the neighbors com- plained so just because he barked. The idea. Why, dogs are made that way. Doesn't the Bible say: "Let dogs delight to bark and bite"? I had to sit up all one night and hold his paw just to keep him quiet. Why, the idea! There's Marjorie White with her new car. {Waves) Marjorie, Marjorie. Why, the idea, I knoiv she saw me and drove right past. How selfish people with cars can be. Now for the Subway. ENTER Jean Webster d. r. Jean. The idea of you all calmly sitting here when the most wonderful thing has happened. :Mrs. Woods May (starting up). The next person who enters that door (Points off r.) and tells us about Mrs. Woods' ball is not going to escape alive. Jean (to May). But just think, we are going to have a chance to show what we can do. This isn't an ordinary ball. There is a prize offered for May (rolling up her sleeves). Go on, go on, but I hope you are prepared to die when you have finished telling us the news. Freddie (starting toivard d. r.). I thought you were all coming to my studio for salad. 22 Her Victory Jean. No, they are coming to mine. The trunks ar- rived to-day. Three big ones packed jammed full of the most gorgeous costumes. Dad picks them up here and there on his travels and sends them when they are full for my studio work. If you need anything for the ball now's your chance. Ruth {throwing her arms around Jean). Jean, you're an angel and your father's a saint. Fan {starts toward d. r.). Come, girls, this sounds too good to be true. May (^0 Peggy). Do you suppose she means it ? Peggy. Of course she does. Jean would lend her head if any one wished to borrow it and her father has a check-book that reaches from here to kingdom come. May {to Fan as girls EXEUNT d. r.). Won't Hazel be wild when she hears about this! Fan {stojxs short in dismay). Hazel! My stars, I forgot all about her! She'll be dead. (Goes to d. l.) May. She'll be perfeetlj^ furious! Fan. Well, this time I shouldn't blame her! {Un- locks door and calls) Hazel! {Looks into closet then turns in dismay to May) Why, she's gone. May {looks into closet then turns to Fan). I won- dered at her being so quiet. How do you suppose she got out? Fan. The transom's open and Hazel can climb like a kitten. {Looking troubled) I 'm awfully sorry. I'm afraid she will be very angry. I wonder where she's gone ? May {her arm ahout Fan). Don't worry, Fan, Hazel's not very far. Besides, she knew you were only in fun. Fan {shakes her head). I'm not so sure. Perhaps I'd better look for her. May. Nonsense ! You're coming with me to see those costumes before all Ihe best ones are chosen. Fan. Lot me leave a note of explanation for her in ease she returns. Her Victory 23 Mat. No, you can do your explaining later. Come, hurry up. [EXEUNT May and Fan d. r. ENTER Hazel and Grace Foster d, l. Grace. Hazel, what nonsense. Hazel {furioushj). That's all right, call it nonsense, call it anything you like, but I'm going to get even with hci', see if I don't. Grace. What are you going to do? Hazel. Never mind what I'm going to do. You'll find out fast enough when the time comes. Grace (trouhled) . I wish you wouldn't talk like that, Hazel, it makes me feel uncomfortable. Hazel (angrily). Maybe you think I felt comfortable shut up in there {Points to closet l.) for hours. Grace {smiles). Not quite hours, Hazel. Hazel. Well, it seemed hours to me. If it hadn't been for you I'd be there yet, and just because I asked what I should wear at Mrs. Woods' ball. The idea. Grace. Well, what are you going to wear ? Hazel. I don't know. That's what's troubling me. I don't know. Grace. How much money have you ? Hazel. Not a cent. Not a single red cent. My check hasn't come from home this month and I'm down and out. Grace {thought f idly) . I wish I could help you, but I spent my last dollar yesterday. Hazel (nods). That's the worst of this art business. AVhcn you 're down and out everybody else is in the same boat. There isn't two dollars in this whole house — {Slowly looks at blue vase) except Grace {quickly). Except what? Hazel {takes down vase). The blue vase. Grace {tries to take vase from Hazel). Hazel, you mustn't touch that. Hazel {keeps vase out of Grace's rcacli) . Why not? I just guess I put my savings in there, too. 24 Her Victory Grace. But that 's for Betty's t.ypewriter. You know Fan has set her heart on getting one for her. Hazel. Fan's dippy about Betty. "Why should ^ve all scrimj) and save just to buy her a tyl)ewriter? Grace. Because no editor will read a thing to-day un- less it has been typed. You know that. Hazel. Of coui'se I know it but I don't see any one breaking their necks trying to buy me one. Grace. Fan says Betty is a genius. Hazel {tossing her head). Well, I'm not saying any- tliing against Betty, but did you read my last poem? Grace (.surprised). Yours? I didn't know you wrote i3oetry. Hazel. I didn't know it myself until last week. I found it out quite by accident. The way most great dis- coveries are made. (Seais herself and leans forward eagerly) Grace, if I tell you something, don't you breathe a word of it to a living soul. Promise? Grace {draws a chair up opposite Hazel excitedly). Sure. Hazel {leans hack). Writing poetry is as easy as pie. Grace {smiles). Well, I can't quite believe that. Hazel. Poetry is the simplest thing in the world. I'll show you exactly how it is done. (Goes to easel and fakes up hit of charcoal) Say you want to write a poem on — well — "Spring," for instance. You get a lot of words tliat rhyme like — ring, sing, bring, fling, and then you string them together like this: {Writes) All the wedding bells now — ring — While the merry birds do — sing — All the Avorld its — {Hesitates, shrugs her shoulders) something bring — Just to greet the lovely — spring. See how it works? You can go back and fill in the hard words afterwards. I Her Victory 25 Grace {:dudies the irords written vpon easel). But I tliouglit there was more to poetry than that. Hazel {nods wisely). There isn't. Not a single solitary thing. Grace. But Betty's poetry sounds different. Hazel. Just because she's been at it longer. She's had more practice. But I can't see that's any reason A\;hy she should have a typewriter given to her any more than to the rest of us. And, by George, it would serve Fan just right if we sliould draw our money out now. It would just serve her right. Grace {lici- arm ah'out Hazel). Hazel, you are not going to do any such thing. You are coming to my room to have supper with me and you are going to forget all about this nonsense. Hazel. I'll go to your room for supper as long as yon are so urgent, but I've forgiven Fan enough limes. Now I am going to pay her back and I've thought of the very best way. Grace (leading Hazel off d. r.). Forget it, Hazel, forget it. [EXEIJNT Hazel and Grace d. r. ENTER Victoria and Laura d. l. Laura ( loolts in cautiously first and finding tJie studio empty, drags in Victoria, a bright little pickaninny, who Tools frightened and ((bout to cry) . Come along in here, you Vickey. Come along in. I'se gwine to sculp you dis time shore as you're a-libbin. Vickey {trying to pidl away from Laura's restrain- ing hand). But I don't want to be scalped, Laura, clar ter goodness I don't. Laura {letting go of Vickey 's arm in amazement). Fo' der Ian' sake, chile, is you plumb crazy? I didn't say scalp. I said sculp. S-k-u-l-l-p-p — Skulp. Vickey {shakes her head vigorously). I don't see no difference atween dem words. Day sounds jist alike ter me an' I don't like der sound. Laura {looks at Vickey in disgust). Dat's cose 26 Her Victory you're so ignrunt. Scalp means i'ur tcr take all der hair offcn you haid like dis here. (Makes the motion of scalping) An' sculp — sculp — well, sculp is — is jus' to sort ob take ycr skin. ViCKEY (starts ivith determination toward the door). Dat's nuff. Dat show am nuff fer me. I'sc goin' home. I ain't a-goin' ter be skalpt nor sculpt nor nuflin. I'se goin' home. Laura (catches Vickey's arm hastily). But, Vickey, wait — wait jus' a minute. Dis sculpin I'se a-gwine ter do ter you won't hurt yer none. Vickey (slipinng away from- Laura). I'se a-goin' home, I tell yer, Laura. My mammy wants me. Laura (indignantly). Yo mammj don't want you 'tall. I done tol' her I'se a-gwine ter take you wif me dis afternoon an' I'se a-gwinc ter do it. Vickey. I 'se a-gwine home. I want my mammy, Laura (patting her pocket and smacking her lips). Umm. You don 't know what I 'se got in my pocket, Vickey (rubl)ing her eyes and sniffing). I want m; mammy. Laura (pretends to peep into pocket). Umm — it slioo am good. (Holds out pocket to Vickey) Want ter feel? Vickey (pushes Laura away). I want my mammy. Laura (stamps her foot impatiently). Stop dat eryin', Victoria Johnsing, an' listen to me. You can't git out of dat air do' (Points off d. r.) cose it's locked an' I done frew der key outer der winder. You jist naturally got ter wait till der young ladies come home. Vickey (kicking with both feet and jumping up and down in fury). I want my mammy, I want my mammy. (Screams) I want my mammy. Laura (catcliing Vickey by the arm and shaking her). If you don't quit dat screachin' a great big goblin will come plum up fru dis year floor an' eat you up quicker dan you kin wink. Vickey. I want my mammy. I want my manniiy. Laura (knocks slyly upon the hack of the chair, then \ I Her Victory 27 fiiops and lisiens. Bends down as if listening io sound from floor). Hear dat? You hear dat noise. Dat's him, (Calls) Go 'way, Mr. Hobgoblin. Dere don't nobody lib here no mo'. (Listens, then nods) Dere now, lie's gone. He don't ncbber come less somebody cries. Now you be a good chile or I'll call him back an' maybe nex' time he won't go 'way so easy. Now git up on dat chair quick. I'se a-gwine ter make you into a statuette. ViCKEY (draws hack reluctantly). But I — I don't want ter be no statue wet, Laura, clar ter goodness I don't. Laura (licr hands on her hijjs). Fo' der Ian' sake, Vickcy Johnsing, what's got into you anyway? Didn't I done buy you a nice cream comb fer ter pay you fur dis? An' didn't you done eat it? You think I'se a-spendin' my money on you fur nuffin? ViCKEY. I know my mammy won't Avant fur me ter be no statue wet. Laura (raps on tahlc). You want me ter call dat air goblin up from der floor? ViCKEY (starts toward door). Let me git Beckey? Beekey will be tickled ter def ter be a statue Avet. Her mammy lets her play in der wash-tub, Laura (in disgust), l^eckey? Why, Beckey won't do 'tall. Didn't you hear Miss Hazel tell Miss May dat dere avuz a prize fur der bes' statue ob Victory? An' ain't you' name Victory? Beckey 's jist Beckey. Dere ain't no prize fur her. ViCKEY (looks about studio). I ain't nebber seed no black statue, Dey's all time made ob white stuff. (Points to plaster casts) Lavra (looks (d)Out thoughtfully) . Dat's so. P'r'aps I'd better dip you in der flour barrel furst. ViCKEY (hacks awaij). No, ma'am. I done floured my hair onct an' mammy most peeled me a-gittin' of it off. No, ma'am, I'se black an' black I stays or I don't git took at all. Laura (points to hronze statue). Dar's one over yon- 28 Her Victory der an' dar's aiiotlier. We Mn make you black, Vickey, so git up on dis year chair afore it gits loo late. Vickey {climbs 7'eluctantlij upon cliair). How cum I stand on dis year chair? I ain't nebber seed no statue wot has tcr stan' on no chair. Laura {gathers up draperies from room and drapes tliem about Vickey and cliair, talking as she does so), Der chair gits all eubbercd up an' you gits cubbcrcd up so you don't look like yo'self no mo', but jist like a statue, dis here way. Now you stan' on der tip ob one toe wif der other foot a-stickin' out a-hind you, dis a-way, an' you hoi' dis fo' a wreath like you wuz an angel wif a crown ob glory. Dare. {Having posed Vickey to her satisfaction) Now you stand dat a-way an' don't yer budge till I make you statue. Vickey {sivaying). But I can't keep dis a-way, Laura, my foot's a-gwine ter sleep. Laura {catches up lump of clay). Let her go an' don't you wake her. Der sounder dat foot sleeps der better I likes it. Vickey {drops her pose). Dar's some one a-eomin', Laura, I hear somebody a-eomin'. Laura {posing Vickey again impatiently) . Dar ain't not. If you budge agin, Vickey Johnsing, I'll — I'll — well, jes' you budge an' you'll see what 11 happen,. Vickey {jumps from chair and clasps Laura about the skirts). It's dat goblin. Lawzee, Laura, it's dat goblin come back. Laura {as the sound of footsteps and voices are heard off). Hide, Vickey, quick, in here, and don't breave. [EXEUNT Laura and Vickey d. l. ENTER Hazel d. r. She stands c. a second hesitating, then takes down the blue vase and deliberately trans- fers the money it contains into the hand-bag she carries. Leaves the blue vase upon the table and EXITS D. R, REENTER Laura and Vickey d, l,, slowly and timidly. Laura {grows bolder as she steps into room and finds Her Victory 29 nobody there). "SVot did I tell you, scare-eat? Dere ain't nobody here 'tall. ViCKEY {looks about sharply and spies the blue vase). Dere wuz somebody here. How cum dat vase walk offen. dat air shelf an' sot hisself up on dat air table? Laura {takes up vase and looks at it with interest). Dis here vase? Dis here vase has been a-sotten on dis yere table all 'long. ViCKEY {shakes her head emphatically) . Um-um — no deedy. Dat air vase is haunted an' I beared der haunt. ENTER JosiE Murray and Nanette Lyle d. r. JosiE {over her shoulder to Nanette, who follows her). This way, Nanette. (T urns, sees Laura) Why, Laura, what are you doing here ? Laura {starting). Lawzee, Miss Jo, you done skeered me most ter deaf. Nanette {taking off her wraps). Where is Miss May, Laura ? Jo {looks about). And Miss Frances? Laura {nervously). I — I — done know. Dey — dey ain 't here. Nanette. So I pe#eeive. Jo. But where are they? Laura. I — I think dey — dey's done gorn out. Jo. Really? You don't say so? And what makes you think they 's done gorn out ? Laura {twisting a corner of her apron). I — I dunno. I — I jes' concluded it. Nanette. And what time do you conclude that they'll be back? Laura {quickly). Dey ain't no tell. Wen dey goes out dey's the out-an-outenest folks eber seed. Nanette {looks from Laura to Vickey). And what are you and your friend doing here? Laura {points in surprise to Vickey). Her? She ain't no frien' ob mine. She's jes' Vickey. Jo. You and Vickey look as if there were mischief brewing. 30 Her Victory Nanette. Does Miss May allow you two the use of lier studio in her absence? Laura (puzzled). Huh? Jo. She means, Laura, does Miss May allow you in here when she 's not home ? Laura. Miss May? Oh, yes, indeed}'. She don't care. She's powerful easy. It's Miss Fan I'se skeered on. She'd raise der roof. Jo. Indeed ? Then why are you here ? Laura (nervously) . Well, me, me an' Vickey, we sort ob circumnabigatin' roun' an' — an' — an' Jo (points to Laura's hand). What's that in your hand, Laura? Laura (looks at clay in her hand in well-feigned sur- pi'ise). My han'? Dat? Oh, dat's jes' some putty. Our winder he rattles something fierce an' — an' granmam she said if she had some putty she could fix it. So — so — I wuz jist a-gwine ter ax Miss May if she'd gib me some ob dis yere when — when you-all comes in. ENTER Fan d. r. Fan (surprised to see girls). ^ 'Why, Josie, how long have you been here, and Nanette, too ? Jo. We ran in to tell yen a bit of news, but I see we're rather late. Fan. Not at all. We're in Jean's studio. Her father has just sent her the most wonderful trunk full of costumes. She is going to help us all out for the ball. I Nanette (eagerly). Do you suppose she has any- * thing I could wear? Fan. I'm sure of it. I just ran back to see if Hazel had come in. There's one dress that she'll be simply wild over. Have you seen her anywhere? | Jo. Hazel? Why, yes, we met her as we were coming * in, but she seemed to be in a great hurry about some- thing and ran right past us. But you haven't asked about my piece of news. Aren't you interested? Fan. You mean the prize offered by Mr. Clennnons? ti Her Victory 31 Jo. No, it's about Betty's typewriter. I've sold my nagaziiie cover and now we can get the typewriter in time for her birtliday. Fan. Jo, how perfectly lovely. Just wait until I call May. [EXIT Fan d. r. Nanette {to Jo). Jo, you didn't tell me you had sold your design. Jo. I wanted to wait until I could get the girls to^ gether. See, here's my check. Isn't it lovely? {Both girls heiid over check) ENTER Fan and May d. r. May. What 's this I hear ? Your magazine cover sold, Jo? Really sold? Jo {holds check aloft). Sold and, what's more, paid for. Cash down. May {sinks into chair in pretended collapse). Some water quick. I'm going to faint. Jo. Half goes home. Five dollars goes for a spread for the girls and the rest goes Fan. Into the blue vase. Nanette. Into what? Fan. The blue vase. May and I have used that for our bank ever since I smashed the green teapot. Jo {takes up vase from table). You don't mean — this? Fan {takes vase from Jo and looks inside). Yes. Why — why — where is it? {Looks up in surprise at girls) Nanette {takes vase fro7n Fa's) . Where's what? Fan. The money. It was there. In the vase. Jo. Are you sure? Fan. Perfectly sure. May and I counted it only this morning. Nanette. Where did you keep the vase ? May {points to shelf). On that shelf. Over there. Nanette {turns to Laura, who has heen standing 32 Her Victory close hy Vickey silently looking on). When we came in Laura was standing by this table with that vase in her hand. Fan ( turns and sees Laura for the first time ) . Laura ? Laura 1 Laura (nervously). Deed, Miss Fan, I nebber teched dat vase. Clar ter goodness I didn't. Nanette. Why, Laura, you had that vase in your hand when we came in. Laura. But it didn't hab nuffin in it. You kin ax Vickey. {Turns suddenly to Vickey, who has been standing open-mouthed) Look a-liere, you Vickey, wot for you a-standin' thar wif yer mouth open an' nuffin in it but yer finger? Speak up an' tell 'em we nebber tetched nuffin outer dat vase. Vickey. We? Laura {shaking her slightly) . Yes, we. You an 'me. Didn 't you hear 'em accusin ' us ? Vickey {shakes her head vigorously). Um-um. I nebbtr heared nuffin 'bout "We." Fan {brushing JjAVRa aside) . Wait a minute, Laura, I'll speak to Vickey. Now, Vickey, come here to me. (Vickey goes a step nearer) What were you and Laura doing in this studio? Vickey {on the verge of tears). Laura, Laura, she — she said she wuz gwine ter scalp me an' — an' I said my mammy would be roarin' mad an' — an' she locked der door an' frowed der key outer der winder an' — an' she said if I didn't be no statue wet der goblin would git me cose my name's "Victry," an' der statue got ter be Vic- try. An' — an' — we heared somebody comin' an' we hide in dar. {Points v. l,.) An ' when we wuz outer der room dat air vase walked plum offer der shelf an' outer dis yere table, an' I sez it's a haunt an' I'se gwine home. {Starts toward d. r.) May {stands before d. r. to stop Vickey). You'll stay right where you are, my lady, till we get to the bot- tom of this. Vickey {whining). But my mammy's a-lookin' fur k Her Victory 33 me, Miss May. If — if I don't hurry she — she'll gib me *'Hail Columbia." (Sobs) Fan {to Laura). Did any one come into the studio Avhile you were here, Laura? Laura {sliakes Iter head). No, ma'am, nary a soul. ViCKEY {between her sobs). Nobody but der haunt. May {impatiently). What haunt are you talking about, Vickey? ViCKEY. Der haunt wot tuk dat air vase offer dat air ■ shelf an' sot it up on dat air table. Fan. What nonsense. Did you see the haunt, Viekey 1 ViCKEY. No, but I heard it mighty plain. May {to Jo). Was there any one in the studio or hall when you came in, Jo, except these two? {Indicates Laura and Vickey) Jo. There seemed to be no one in the whole building but Hazel. Fan. Hazel ? Did you say Hazel ? Jo. Yes. She passed us down-stairs. Fan. Did you stop to speak to her ? Jo. No, we called but she seemed in great haste about something. Nanette. Clrace was waiting outside and I heard Hazel say something to her about getting even with some- body, but I didn't catch the name. Fan {to Vickey). Did Miss Hazel come into the studio, Viekey? Vickey. Didn't I done tol' yer? Thar didn't nobody come into dis year studio but der haunt. Fan. Do you know Miss Hazel when you see her ? May {indignantly). Fan, what are you trying to get at ? Surely you don't think that Hazel would touch that money ? Fan {thoughtfully). I know she was pretty angry and if she thought she could get even with me by teasing this way she miglit May {interrupting). Nonsense. Hazel wanted Betty to have that typewriter as much as we did. Hazel speaks 34 Her Victory quickly and sputters when she is provoked, but she has a heart as big as a house and she wouldn't stand in Betty 's way for a minute. Fan. But somebody's walked off with the contents of the blue vase. ENTER Peggy d. r., wlio stands in doorway and calls. Peggy. Aren't you girls ever coming? Frederika has arranged the tableaux and she wants your opinion. Fan (io Peggy). Just a minute, Peggy. (To girls) Listen, girls, not a word of this to a soul to-night. It's a very serious matter and we must not make any mis- take. [EXIT Peggy d. k. ViCKEY. Kin I go home ? May, No, you cannot. Don't you budge from that spot until I give you permission. Vickey {with a toss of her head). Hum. I budge when I pleases. I don't ax no mission from nobody. ENTER Miss Woods d. r., remains at door. Miss Woods. Girls, you were all so quiet I thought no one was at home. Fan. Miss Woods, how nice; come right in, won't you? Miss Woods (taking the chair Fan offers her). Have you heard about the prize Mr. Clemmons has offered? May. Yes, isn't it wonderful! The girls are simply wild about it. JMiss Woods. I'm not surprised, but mother is so afraid that they Avill lose their heads and not do them- selves justice. She wants them to exhibit their very best work. I wonder if you will let me help you make your selections ? Fan. That would be fine. We'll have a rehearsal and you tell us exactly what you think. Here, Vickey, you run down to Miss Frederika 's room and tell her Miss Woods is here and wants to see everybody. Vickey {stuhhornly) . Um-um. No deedy. Miss Her Victory 35 May done toP me not to budge an' I ain't a-budgin'. You'll have ter ax Laura. Laura. I'll go, Miss Fan, Vickey's dat contrary. Ebbery time you tell her don't do, she up an' does and when you tell her do do she don't. Dat's Vickey. [EXIT Laura d. r. Miss Woods. What is your idea of Victory, May? May. My idea of Victory? Oh, so many thoughts come crowding that it almost overwhelms me. Some- times I seem to see just a girl in the costume of a Red Cross Nurse in the midst of a group of little children. NOTE. — If possible it is very effective here if a curtain could he draivn across the hack of the stage, the tahleau described grouped hack of it, and then the curtain lifted for a few seconds to show each pic- ture. The tableaux make an attractive addition to the play but they arc not essential. A Victory march, violin solo, poem, dance or song could also he introduced here if desired. Miss Woods. What is your idea, Fan ? Fan. I see a wonderful group with uplifted banners and inspired eyes that look far into the future, Nanette. I see a single figure draped in flowing white. She holds aloft a wreath in one hand and in her other there is a sheathed sword. ENTER Hazel d. r. She carries a typewriter which she places at Fan's feet. Hazel (rubbing her arm as if relieved of a great weight). Here's your old typewriter. Now I hope you 're satisfied. Fan (surprised, looking from typewriter to Hazel 'a flushed face). Hazel, where on earth did this eom«, from ? What is it anyway ? Hazel {impatiently). It's the typewriter. Can't, you see it's a typewriter? My dear Fan, don't look so 36 Her Victory stupid. What have we all been saving up for? Betty's typewriter. There it is. Fan. But we can't keep it. It will have to go back. Some one has emptied the blue vase and the money 's^ gone. Hazel. Of course it's gone. I took it. Fan. You? Why? Hazel. My check came this evening unexpectedly. It was just enough with what we had saved to buy the machine. I ran in to tell you about our good luck but no one was here and I didn't dare wait because — well — (Smiling) because I was afraid that check might turn over night into a costume to wear at a certain ball and — well — when it comes to the point, I don't really have to go to that ball. The world wouldn't come to an end if I did stay home. Fan (holding out her hand). Hazel, you're a brick. (To Miss Woods) Do you know what she has done, Miss Woods? We were all saving up to buy a type- writer for Betty. She writes wonderfully, but no editor will read a thing these days unless it's typed. Our Hazel here has been just wild for a new costume ever since she heard about the ball, but to-night when her check came instead of spending it for herself she marched right out and bought this typewriter for Betty. What do you think of that? ]\IiRS Woods. I think Hazel has shown us a fair sam- ple of what the word Victory can really mean. CURTAIN NEW PLAYS BASHFUL MR. BOBBS PRICE 25 CENTS A Farce-comedy in 3 acts, by Walter Ben Hare. 4 males, 7 females. 1 interior. Time, 2^2 hours. The Bashful Mr. Bobbs, has to shoulder the blame for his cousin's (Marston Bobbs) escapades. Introduces an excellent comedy rube character, a comical country landlady, a movie actress, her French maid and other well contrasted characters. The dialogue is bright and snappy. WHOSE WIDOW? PRICE 25 CENTS A comedy in 1 act, by H. C. CTifford. S males, 4 females. 1 interior. Plays SO minutes. Marcella, a young Western girl, arrives at her aunt's wearing a widow's gown, much to everyone's surprise. She assumes the name of Mrs. Loney and is soon made acquainted with persons of that name, presumably relatives of her alleged husband. After many comical incidents Marcella finds her match. Recommended for schools. REGULAR GIRLS PRICE 25 CENTS A patriotic musical entertainment in 1 scene, by M. O. Wallace, for 7 principal girls and as many Sailor Boys (girls). Military Girls, Band Girls as are available. Time, about 1 hour. Gives broad scope for vocal and instrumental talent. ONE HUNDRED PER CENT. AMERICAN PRICE 25 CENTS A patriotic comedy in 1 act, by D. D. Calhoun, for IS or 13 girls. 1 interior. Time, 1 Yi hours. Tells how the girls of a fashionable school do work for "the Cause." Introduces country girl, an Irish detective and six scholars of individual character types. Recommended for schools. PHARAOH'S KNOB PRICE 25 CENTS A comedy in 1 act, by E. J. Craine. 1 male, 12 females. 1 interior. Time, 1 hour. Lieut. Kingston in love with Elizabeth is repulsed by her mother who does not approve of penniless soldiers. He finds an iridescent knob and through its supposed charm he is successful in his suit. ALICE'S BLIGHTED PROFESSION PRICE 25 CENTS A sketch in 1 act, by H. C. Clifford, for 6 or 8 girls. 1 interior. Time, about 50 minutes. Alice, a clientless young lawyer seeking a stenographer, has several applicants but none gives satisfaction. It eventually develops that all the applicants were disguised school friends of Alice's and adopted this method to induce her to give up the profession. Recommended for schools. MADAME G. WHILIKENS' BEAUTY PARLOR PRICE 25 CENTS An entertainment in 2 acts, by V. G. Brown, for 12 or less female characters. 1 interior. Time, if played straight, about 50 minutes. In- troducing among others, French, Irish, colored, rube characters, two sales- ladies, all strongly contrasted, thus giving scope for individuality. HUSBAND ON SALARY, A PRICE 25 CENTS A farce in 3 acts, by J. H. Slater. 3 males, 3 females. 2 interiors. Time, 2 hours. Alice Morley who was disappointed in love is determined to revenge herself upon the male sex. How it works out is cleverly told In this bright farce. Full oi action. COMEDIES AND DRAMAS JOSIAH'S COURTSHIP PRICE 25 CENTS Comedy in 4 acts, by H. C. Dale. 7 males, 4 females. Easily staged. Time, 2 hours. Recommended to dramatic clubs in want of something with good comedy feature and forceful but not too heavy straight business. THE LAST CHANCE PRICE 25 CENTS Comedy in 2 acts, by A. E. Bailey. 2 males, 12 females. 1 interior. Time, 1 }4 hours. Full of action, bright and witty dialogue, incidentally introducing a burlesque on "Lord Ullin's Daughter." For schools and colleges. A LEGAL PUZZLE PRICE 25 CENTS Farce comedy in 3 acts, by W. A. Tremayne. 7 males, S females. 3 interiors. Time, 2J4 hours. This play can be highly recommended, the scenes are easy, the dialogue brisk and snappy, and the action rapid. LODGERS TAKEN IN PRICE 25 CENTS Comedy in 3 acts, by L. C. Tees. 6 males, 4 females. 1 interior. Time, 21/2 hours. A husband with a strong case of the "'green-eyed monster" taking a trip abroad, places his home in charge of a ne'er-do-well nephew. The nephew relits the rooms to tenants, whose diversified characters pre- sent great opportunity for comedy acting. This is adapted from the same work upon which Wm. Gillette's famous "All the Comforts of Home" is based. MISTRESS OF ST. IVES PRICE 25 CENTS Drama of the new South in 3 acts, by G. V. May. 7 males, 5 females. 1 interior. Time, 2^ hours. The cast has a typical southern planter of olde.-i times, his two daughters, a peppery southern major, a lawyer from the North, a comical colored valet, etc., etc. NEVER AGAIN PRICE 25 CENTS Farce in 3 acts, by A. E. Wills. 7 males, 5 females. 1 interior. Time, 254 hours. Fletcher, a crabbed husband, refuses a reference to Dora, a discharged maid. Jn Marie, the new maid, he discovers an attractive dancer to whom he had been very attentive at a recent ball; the schemes devised by the two maids to punish Fletcher lead to many amusing complications and to an unusual climax. PETER PIPER'S TROUBLES jPRICE 25 CENTS Comedy in 4 acts, by J. H. Slater. 5 males. 3 females. 2 interiors. Time, 2^5 hours. The troubles are caused largely by his desire to oblige his friends and are of a social, financial and business variety, all of which are finally overcome. PHYLLIS'S INHERITANCE PRICE 25 CENTS Comedy in 3 acts, by F. H. Bernard. 6 males, 9 females. 1 interior, 1 exterior. Time, 2 hours. Phyllis, Philip's wife, is to inherit a fortune from an East Indian uncle, provided she marries his adopted son, who is about to visit her. Two men call with introductory letters, which she does not read, supposing each in turn to be the adopted son. A RUNAWAY COUPLE PRICE 25 CENTS Farce in 2 acts, by W. A. Tremayne. 4 males, 4 females. 1 interior. Time, 2 hours. A married man of nervous temperament, temporarily in charge of an eloping lady, while the husband-to-be is procuring the license, • is himself accused of having run away with her. The arrival of the absent lover relieves the situation and leads to an unusually effective climax. TOO MANY HUSBANDS PRICE 25 CENTS Farce in 2 acts, by A. E. Wills. 8 males, 4 females. 1 interior. Time, 2 hours. The action is continuous, dialogue snappy and climax so unex- pected, that this farce can be recommended as one of the most laughable COMEDIES AND DRAMAS BILLY'S BUNGALOW PRICE 25 CENTS Comedy in 3 acts, by E. M. Crane. 5 males, 4 females. 1 interior. Time, 2 hours. The amusing episodes of a house-party at Billy's Bungalow on Cedar Island. The situations are both serious and ludicrous with a dramatically elTective climax. BRIDE AND GROOM PRICE 25 CENTS Farce in 3 acts, by Walter B. Hare. S males, 5 females. 1 interior. Time, a full evening. A new play by this well-known author who has so many successes to his credit. \'ery bright, filled with comic surprises and free frsm any coarseness. Recommended for all occasions. BUBBLES PRICE 25 CENTS Comedy in 3 acts, by Jane Swenarton. 4 males, 3 females, 1 exterior. Time, I'/i hours. A sparkling comedy recommended for schools. BUTTERNUT'S BRIDE; OR, SHE WOULD BE A WIDOW PRICE 25 CENTS Comedy in 3 acts, by L. C. Tees ; 1 1 males, 6 females. 3 interiors. Tirne^ 2yi hours. The leading male characters offer uncommon Oppor- tunities for two comedians, while the remaining male parts yield barrels of fun. The female characters are all first-rate, but none of them difficult. COLLEGE CHUMS PRICE 25 CENTS Comedy in 3 acts, by A. E. Wills. 9 males, 3 females. 1 interior. Time, 2 hours. An ambitious young man is transformed through his col- lege surroundings into an atldete of vigor and spirit. Two opposing Civil War veterans and a German professor sustain the comedy parts. COUNT OF NO ACCOUNT PRICE 25 CENTS Comedy in 3 acts, by A. E. Wills. 9 males, 4 females. 1 interior, 1 exterior. Time, 2^4 hours. The action occurs at the "Lion Inn" in the Catskills, the proprietor of which has advertised a Count Nogoodio as so- journing at his hotel. Guests arrive, but no count, whereupon the land- lord induces a tramp to impersonate the count. The tramp creates end- less absurd situations and surprises. A French waitress has an excellent soubrette role. THE DEACON PRICE 25 CENTS Comedy drama in 5 acts, by H. C. Dale. 8 males, 6 females. Time, 2J^ hours. A play of the Alvin Joslyn type, easily staged. Abounds in humor- ous incidents and ludicrous situations, and has much farcical business. DOCTOR BY COURTESY PRICE 25 CENTS Far«e in 3 acts, by Ullie Akerstrom. 6 males, 5 females. 2 interiors. Time, 2 hours. Doctor Sly's father-in-law adopts very strong methods to force Sly into practice, causing all manner of comical situations, which rapidly follow each other and all of which are finally unravelled. GIRL FROM PORTO RICO PRICE 25 CENTS Comedy in 3 acts, by J. LeBrandt. 5 males, 3 females. 1 interior-. Time, 2^A hours. Mr. Mite's fiery daughter, Dina, marries with a view of subjugating her husband and making his life a torture, but finds her mas- ter in Jack, who finally wins her love. HURRICANE WOOING PRICE 25 CENTS Comedy in 3 acts, by W. & T. Giles. 4 males, 3 females. 1 mterjor. Time. \14 hours. In order to inherit a fortune. Jack finds an immediate marriage necessary. His attempts to wed are most ludicrously given m this sketch. Dialogue and action bright and snappy. JOHN BRAG PRICE 25 CENTS Farce in 4 acts, by G. V. May. 8 males, 5 females. 1 interior, 1 ex- terior. Tinie, 2'^ hours. Brag, a sporty old fellow, to save himself from financial ruin pretends to be dead. This leads to all kinds of comiHica- tions. The characters are all good and there is nothing slow in the piece. COMEDIES AND DRAMAS WHAT'S NEXT PRICE 25 CENTS Comedy in 3 acts, by Bob Watt. 7 males, 4 females. 2 interiors. Time, 2)i hours. A specialty play, strong in character parts, tells a ^ood story and keeps the spectators in a state of expectancy about what is to happen next. Children can be used in the first act. A WHITE LIE PRICE 25 CENTS Comedy drama in_J[ acts, by H. C. Dale. 4 males, 3 females. Time, 2J4 hour*. A favorite play with all audiences. It abounds in laughable comedy features and strong situations of serious interest. Each character offers scope for fine acting. WHITE SHAWL PRICE 25 CENTS Farce in 2 acts, by C. L. Dalrymple. 3 males, 3 females. _ 1 interior. Time, 114 hours. A cleverly arranged "Comedy of Errors" in which an elderly doctor's attempt at wooing a young girl already engaged, and the strategy of two young men to defeat the doctor's aims all result in getting things tangled up in. the most ludicrous manner. Woman's wit sets mat- ters right at last. WIDOW'S WILES PRICE 25 CENTS Comedy in 3 acts, by E. H. Calaway. 7 males, 8 females. 3 interiors. Time, 2 nours. An apparently simple plot, but involving unexpected com- plications which arouse the keenest interest in the fate of the leading characters. CHANCE AT MIDNIGHT PRICE 25 CENTS Powerful dramatic episode in 1 act, by C. Stuart. 2 males, 1 female and a non-speaking role for a five-year-old child. 1 interior. Time, 25 minutes. A scoundrel attempts to blackmail a wife and is foiled by an escapev? convict. CONQUEST OF HELEN PRICE 25 CENTS Comedy in 1 act, by R. W. Tag. 3 males, 2 females. 1 interior. Time. 1 hour. A clever play with an excellent female lead, a young man well posted on current events, straight male lead and an Irish servant girl. Very witty, action rapid. FOUND IN A CLOSET PRICE 25 CENTS Comedy in 1 act, by C. Van Valkenburg. 1 male, 3 females. 1 interior. Time, 20 minutes. Bright sketch, practically for 2 girls. What they found in the closet was the means of reuniting an estranged couple. THE HOOSIER SCHOOL PRICE 15 CENTS Farce in 1 act, by W. & J. Giles. 5 males, 5 fem.ales. 1 interior. Time, }4 hour. The rough and ready teacher and his tricky scholars keep the audience in a roar. The teacher is finally squelched by the irate mother of one of his pupils. STANDING ROOM ONLY PRICE 15 CENTS Comedy in 1 act. by D. S. Anderson. 3 males, 1 female. 1 interior. Time, yi hour. Plenty of humor, bright dialogue and rapid action. A very superior female lead. A STORMY NIGHT PRICE 15 CENTS Comedy in 1 act, by K. Kavanaugh. 3 males, 1 female. 1 interior. Time, 40 minutes. The dialogue is crisp, up-to-date and somewhat on the order of a cross-fire sketch. LOVEBIRD'S MATRIMONIAL AGENCY I PRICE 15 CENTS Farce in 1 act, by H. Sander. 3 males, 4 females. 1 interior. Time, •4 hour. Dick, very "short" in money but very "long" in debts, decide* to open a matrimonial agency. The clients, all character parts, are espe- cially good. PLAYS WE RECOMMEND Fifteen Cents Each (Postage, i Cent Extra) Unless Otherwise Mentioned Acts Males Females Arabian Nights Bundle of Matches Crawford's Claim Her Ladyship's Niece Just for Fun (27c.) Men, Maids, Matchmakers Our Boys Puzzled Detective Three Hats Timothy Delano's Courtship Up-to-Date Anne White Shawl Fleeing Flyer From Punkin' Ridge Handy Solomon Hoosier School Kiss in the Dark Larry Love Birds' Matrimonial Agency Married Lovers Ma's New Boarders Mrs. Forester's Crusade New Pastor Relations Standing Room Only Stormy Night Surprises Tangles Little Rogue Next Door 'Till Three P. M, Train to Mauro When Women Rule Won by a Kodak April Fools Fun in a Schoolroom Little Red Mare Manager's Trials Medica Mischievous Bob Cheerful Companion Dolly's Double Drifted Apart Gentle Touch John's Emmy Point of View Professor's Truant Glove Belles of Blackville Sweet Family Conspirators A Day and a Night Gertrude Mason, M.D. In Other People's Shoes Maidens All Forlorn Mary Ann Romance of Phyllis Fuss vs. Feathers Tanglefoot vs. Peruna Great Libel Case Farce Comedy (27c.) Drama Comedy (27c.) Farce Comedy Farce Drama Farce Comedy Farce Sketch Farce Comedy Farce Comedy Farce Comedy Dialogue Minstrel Entertainment Comedy Farce Comedy Mock Trial 6 7 3 4 4 4 4 3 4 3 3 3 3 3 2 5 3 4 4 4 4 2 2 1 1 1 3 2 3 1 1 4 3 2 1 1 1 1 1 1 any no. 8 12 10 7 8 6 5 4 4 18 30m 45m 30m 30m 30m 20m 35 m 40m 30m 30m 40m 20m 15m 15m SOm 30m 40m 35m 45m 35m 40m 25m 20m SOm SOm 20m 20m 20m 2h Ih 40m Ih SOm SOm nih SOm li/4h 30m iy,h 2h 2VWiWAnA^AAAflJVWA/VVVVVVVVV\/VVWVUVWVyVWS LIBRARY OF CONGRESS PLAYS WE RE For Schools and 017 400 950 8 Twenty-five cents (Postage 2 cents extra; Acts Males Females Time Irish Eden Comedy 3 8 6 2h : Kidnapped Freshman Farce 3 12 4 2y4h \ Matrimonial TilT Farce 1 2 1 ih : Little Savase Comedy 3 4 4 2h , Lodg-ers Taken In " 3 C 4 2Vih , Miss Mosher of Colorado " 4 B 3 2h ; Miss Neptune " 2 3 8 IVih , My Uncle from India " 4 13 4 2M!h , Never Again Farce 3 7 5 2h 1 New England Folks Drama 3 8 4 2Vih , Next Door Comedy 3 5 4 2h , Oak Farm Comedy 3 7 4 2y2h , Kiddles " 3 3 3 lV4h , Rosebrook Farm " 3 6 9 i-y4h , Stubborn Motor Car " 3 7 4 2»/2h ■ Too Many Husbands Farce 2 8 4 2h , When a Man's Single Comedy 3 4 4 2h ■ Where the Lane Turned " 7 5 2h 1 After the Honeymoon Farce 2 3 60m I Biscuits and Bills Comedy 3 1 iVih 1 Chance at Midnight Drama 2 1 25m 1 Conquest of Helen Comedy 3 2 Ih 1 The Coward Drama 5 - 2 30m 1 Sheriff of Tuckahoe Western Sk. 3 1 Ih 1 Bashful Mr. Bobbs Comedy 4 7 2»^h 1 Whose Widow " 5 4 50m I Alice's Blighted Profes- Sketch 8 50m I sion Regular Girls Entertainment any no. Ih I lOO'/o American Comedy 15 lVL>h ■ Parlor Patriots *' 12 Ih B Fads and Fancies Sketch 17 Ih I Mr. Loring's Aunts Comedy 13 IVih ■ My Son Arthur " 2 8 %h 1 Sewing Circle Meets Entertainment 10 IVih ■ Every Senior Morality play 8 40m ■ Bride and Groom Farce 5 5 2%h ■ Last Chance Comedy 2 12 11a : Bubbles " 4 3 Hurricane Wooing " 4 3 li/>h ■ Peggy's Predicament " 5 Vjh ■ Found in a Closet " 1 3 20m ■ Slacker ( ?) for the Cause Sketch 3 1 20m ■ Baby Scott Farce 3 5 4 2y4h ■ Biily's Bungalow Comedy 3 5 4 2h ■ College Chums " 3 9 3 2h ■ Delegates from Denver Farce 2 3 10 %h ■ Football Romance Comedy 4 9 4 !«: Held for Postage P^arce 2 4 3 In the Absence of Susan 3 4 6 IVjh ■ Transaction in Stocks Comedy 1 4 1 45m ■ Aunt Dinah's Quilting Entertainment 1 5 11 2h ■ Party Bachelor Maids' Reunion " 1 2 any no. IVjh ■ In the Kerry House " 1 15 11 l%h ■ Uih J Rustic Minstrel Show " 1 any no any no. Ye Village Skcwl of Long Ago ^ " 2 any no. any no. 2h ; Rainbow Kimona *' 2 9 lV.h ' RoRomary Comedy 4 14 IVjh ■ Pharaoh's Knob ftJULfULMJLMJULMJLMJLMJ LJLJIJI-IUUI_ILJLJI. 1 JUL 1 JLMJUL 12 JtJLJULI Ih J LJULMJk