s With a view to obviate the great difficulty experienced by Amateurs (par- ticularly in country houses) in obtaining Scenery, &c, to fix in a Drawing Room, and then only by considerable outlay for hire and great damage caused to walls, we have decided to keep a series of Coloured Scenes Mounted on Canvas with roller, or they can be had unmounted on thirty sheets of strong papei and can be joined together or pasted on canvas or wood, according to require ment. Full directions, with diagrams shewing exact size of Back Scenes, Borders, and Wings, can be had free on application. The following scenes are kept is stock. GrARDBN. ' *"ft- ^ a'ues. The size of the back scene of the smaller one is nearly 10 feet long ,„ ieet high, and extends with the Wings and Border to IB feet long and 8 feet .* The back scene of the large one is 13 feet long and 9 feet high and extends *--> Wings and Border to 20 feet long and Hi ieet high. It is not necessai-y ie the height of the room, as blue paper to represent sky is usually 3 Border complete, unmounted . . Kept in two sizes, 6ame as the Garden Scene, and at similar price. 2366 [POST FREE "I g|| In Great Britain only J OU. i 5 CENT8. FRENCH'S ACTING EDITION • =r HER DEAREST FRIEND. (ROSEMARY REES). V i The AMATEUR FEE for each representation of this '; piece is 15s., payable in advance to SAMUEL FRENCH, [.] Ltd., 26, Southampton Street, Strand, London, W.C. \ i LiONDON : J SAMUEL FRENCH, Ltd., ) PUBLISHERS, s 26, southampton stkbbt, ( strand- New YORR : SAMUEL FRENCH, ( : PUBLISHER, ( 28, WEST 38th STREET. ) BELFAST- J. Nicholson. 26, Church Lane. M) BIRMINGHAM- James Guest, 12, Snow Hill. i ) W.H.SMlTn & Sox, 34, Union St BRADFORD- W. H. Smith & Sox, 5, Dale Street. BRISTOL- E. Toleman, 2, Rupert Street. DUBLIN- Morrow's Library, 12, N^a" °* EDINBUP^'; ..ubinson, 111-115, Leith St. GLASGGW- Wm. Love, 221 , Argyle Street. LEEDS- R. Jackson, 18, Ccramernial St. LIVERPOOL— J. Burkinshaw & Sons, 28-30, Colquitt Street. MANCHESTER- John HEywood, Deansgate and Ridgefield. NEWCASTLE-ON-TYNE- Thoma3 Allan, 18 & 20, Blackett Street. PLYMOUTH- W. Hkarder. 195, Union St PRESTON- J. VV Atkinson, 41, Cannon St. I SHEFF1ELD- Geo. Slater, Fitzalan Sq. BOMBAY - Thacker i C?s ' v > ' T ' CALCUTTA- Thacker, Spink Jt Co. > :. MADRAS- ) B ' HlGGIXBOTHAM & Co SIMLA- —.oive.r, Spink & Co. { u --PE COLONY- J. C. Juta, Cape Town. ' CAPE TOWV— Messrs. Darter & Sons. DURBAN- Vais S latter & Co. MELBOURNE- Will And rape 201, Bourke Street. E. W. Cole, Book Arcade. ) ADELAIDE- IS. S. Wigg & Son. ) Cawthorne & Co. { NEW ZEALAND- J. Braithwaite, Dunedtn. WlLIWAN & AREY, ». SYDNEY- A " Ck,a "''-;' S. J. KlRBY, ) j 561, Gcorgo Street. m NEW DESCRIPTIVE CATALOGUE SENT POS T FREE NO BOOKS EXCHANGED, 6,000 Plays 10,000 Recitations. Send for Catalogue* Post Free. h The Guide to Selecting Plays is now published annually— entirely revised and brought up-to-date. Price Is. HER DEAREST FRIEND HER DEAREST FRIEND By ROSEMARY REES Copyright, 1910, by Samuel French, Ltd New York SAMUEL FRENCH Publisher 28-30 WEST 3 8th STREET London SAMUEL FRENCH Ltd 26 Southampton Street STRAND T gCl.D 22619 HER DEAREST FRIEND Produced at the Coronet Theatre, London, by Mr. Percy- Hutchison, on February 4th, 1907, with the following cast : — Molly Anstruther . Miss Violet Ley Ursula Hammond . Miss Annie Stallman Robert Menteth . Mr. Drew Mackintosh Any make-up articles or wigs used in the perform- ance of "Her Dearest Friend" may be hired or purchased reasonably from Messrs. C. H. Fox, Ltd., 27, Wellington Street, Strand, London. SCENE PLOT £J Chair Piano Door L n Stool Door Fire Chairs and Table n nnn Sofa n* Chair HER DEAREST FRIEND Scene. — Poorly furnished sitting-room in Molly Anstruther's fiat. Art muslin curtains, muslin- covered packing-case for holding cups and saucers, etc. Shabby sofa, cottage piano. Time. — The present, Autumn. Afternoon. As the curtain rises Molly is discovered standing on table nailing up curtains at window. She is girlish and pretty and dressed simply but becomingly. Ursula is lying on the couch by the fire smoking a cigarette. She is dowdily dressed and is very plain, wears eye-glasses, her hair is strained tightly back, and she has a priggish, assertive air. Ursula. You don't know your world, my dear Fancy trusting anything that wears a frock-coat and hat. Molly. Bobby doesn't. He won't. That's one of the things he's so annoying over. Ursula. My dear Molly, all men are wrong 'tins. Molly. Well, Bobby's the exception, then. He isn't a wrong 'un. He's the dearest friend I have in the world except you, and I do so want you to know each other and be friends too. Oh, do like him, Ursula. Ursula. My dear child, when the strap-hangers cease from troubling and the Kaiser is at rest, you can expect me to make a friend of any man. Molly. Oh, I know you despise men because you're so much cleverer than most of them ; but do be nice to Bobby, just for my sake. 8 HER DEAREST FRIEND. Ursula. Why, Molly; T believe you're in love with him ! Molly (hammering violently). Indeed I'm not. (Hits her finger.) Oh, Fve ^hammered my finger. Ursula. How stupid- of you ! No, my dear, the only attributes which men possess and women don't are essentially those of the brute. Molly (still nursing her finger). They can hammer nails without hammering their fingers, though. That's rather talented of them. (Down to table.) Ursula. Don't talk " men " to me, please. Molly. But Bobby's different. He's just (Up to window, she puts some tacks in her mouth.) He's just Bobby. '", : .. Ursula. For goodness' sake, Molly, don't put things in your mouth. It's such a vulgar habit. Molly. Oh, I'm full of vulgar habits. (Up to window.) Ursula. You'll be full of tacks in a minute and that'll be worse. Molly. That certainly sounds more painful. But really you mustn't class Bobby with the ordinary average man. I don't quite know how to describe him, but he's the sort of man who'd be kind to a woman when she's ill. (Down to window.) Ursula. I know the kind. (Gets up from sofa. Crosses R., gets match for cigarette.) A good-to-his- mother sort of person. A man rather like a fish — with the bones out. A filleted-plaice young man. (Crosses R.) Molly. Ursula, you are horrid. He's not a bit like that. I do so want you two to be friends (Sits.) You know, ever since I can remember Bobby seems to have taken the place of all the usual rela- tives ordinary people have and I haven't. He's my sisters and my cousins and my aunts all rolled into one. Ursula (smoking). You'll end by marrying him, my dear. (Crosses back to sofa.) HER DEAREST FRIEND. 9 Molly (turning suddenly). Marrying him ! Haven't I sworn, like you, never to marry, but to live for literature ? (Tacks to table.) Ursula. My dear child, of course you'll marry, and you'll probably imagine you're happy. You haven't my highly-strung temperament. I decline to spend my life as a white slave feeding the brute. (Crosses.) I prefer to develop my own individuality. I'm not the marrying sort, but you'll marry, you'll probably marry your Bobby. Molly (tacks to mantelpiece). Marry Bobby ! Why, he's the last man on earth I'd dream of marry- ing. Marry a man who only cares for musical comedy, says picture galleries bore him, and never reads any- thing but Kipling. Oh, Ursula ! Ursula (with disgust). Kipling ! The prophet of the drunken and debased ! Molly (pulling chair down r.c). Oh, Ursula. Well, I must confess — don't be awfully shocked — I have a sort of sneaking regard for Kipling myself. Ursula. You read that disgusting man ! Molly (putting on table-cloth). Well, I did once to please Bobby, and— I'm afraid I rather liked it — I do try to please Bobby sometimes. He's always been so good to me, but I'm afraid I can't enthuse much over his East End work. Ursula. His East End work ? Molly (to fireplace). Yes, he loves collecting hordes of children from the Slums and giving them parties. He says he likes to hear them laugh. I'm always so busy wondering which would be the easiest way of getting them clean that I haven't time for anything else. I think the only way would be to boil them. Ursula. And the best way too, vile little beasts. The future thieves and murderers of the world. Ugh ! They ought to be got rid of somehow. (Rising.) Well, I must be off. Molly. You're not going ? 10 HER DEAREST FRIEND. Ursula. I must, my dear. I've got an article to finish, " The Sufferings of a Suffragette in Hollo- way." It must go in to-night. Molly. But I've asked Bobby to tea and I want you to meet him. Oh, you must stay. Ursula. It's half -past four now, I'm afraid I can't. Molly. Oh, Ursula, that is mean. Bobby ought to be here at any moment now. You must stay. (Crosses to Ursula.) Have one more cigarette and I'll make the tea at once. The kettle's nearly boiling. Ursula (seating once more and taking cigarette). Well, I'll stay five minutes, not a second longer. Molly. That's a good girl. (Pulls table over hole in carpet). I always have to manoeuvre my furniture when Bobby's coming. I get the table over that hole in the carpet and make the best I can of things generally. Ursula (sneeringly). Is he so very particular, then? Molly. No, but he's got such an uncomfortable habit of wanting to give me new carpets and things if my room looks shabby. (Butter.) Ursula (laughing sneeringly). I shouldn't think a poor stock-broker's clerk could afford much in the way of carpets. Molly. Oh, but Bobby isn't a clerk any more. He's a real live stock-broker. (Back of table. Flowers. ) Ursula. What do you mean ? Molly. Didn't I tell you about it ? Bobby came into his uncle's money some time ago. Oh dear, that'll be another thing to prejudice you against him, his money. You hate wealthy people, but Bobby isn't frightfully rich. It's not more than £1,500 a year. (Arranging flowers.) Ursula (gradually sits up). £1,500 a year ! Molly (putting out tea-cups). And what he makes. Ursula (rising still more). And what he makes. Molly. It does sound rather horridly opulent HER DEAREST FRIEND. 11 though, doesn't it ? And I'm afraid he's got another of your pet abominations, a brand-new motor. Ursula {sitting up very straight). A brand-new motor. Knock heard. Molly. That's his knock. Ursula rises. Oh, don't go, Ursula. Ursula. No, I'll wait a few moments. I think I left my gloves in your room ; I'll get them. Molly. All right ; I'll let him in. Exit l.c. Ursula (slowly). Fifteen hundred a year. (Looks at herself in the glass, putting her hair tidy. ) And what he makes. Glances at door L.c, then crosses room hurriedly to door r. Listens to voices off. Fifteen hundred a" year and a brand-new motor car. Exit door r. Enter Molly and Bobby from door l.c. Molly. I thought you'd have been here earlier, Bobby. I suppose your silly old motor had some- thing the matter with her carburettors or something and stopped on the way. Bobby. Don't abuse the car. She only stopped once, and that was because a cabby swore at her. She hates bad language. Molly. Sit down there by the fire. I'll take your coat. Bobby. Where are you going to sit ? Molly. I'm not going to sit anywhere. I'm going to make the tea. Bobby. Let me help you. (At fire.) Where's Mrs. Thomas ? Out ? 12 HER DEAREST FRIEND. Molly. Yes. Bobby (gets up). That's all right. Now what shall / do. I'm rather good at cutting bread and butter. Molly. There you are, then. Gives him loaf and butter at table. Bobby. This is the first time you've ever let me have tea alone with you since you came to London ; do you know that, Molly ? Molly. You're not going to have tea with me alone now. Bobby drops butter. Bobby. What do you mean ? Molly. My dear friend Ursula Hammond's here. She's in my room. She'll be out in a minute. (Sits.) Bobby. What a mean trick ! Molly. What's a mean trick ? Bobby. Having her here. I thought we were going to have a nice cosy little tea-party all to our- selves. Molly (takes her hand), why won't you ever let me see you alone nowadays ? Molly (pulling her hand away). The kettle's boiling. (Crosses to fireplace, r.) Bobby now gets the kettle and makes the tea. Bobby gets kettle in l. hand. Bobby. Oh — oh — it is hot. Molly. You've burnt yourself. Bobby. Yes, I have. It's very serious. (Pretends his hand is burnt). Changes hand and places slice of bread and butter over handle as sandwich — holding out burnt hand to Molly. Bobby (savagely cutting bread and butter again). Hang the kettle. (Comes l.c.) When am I going to see you alone, Molly ? HER DEAREST FRIEND. 13 Molly (at fireplace). I don't think there's any necessity for you to see me alone. Bobby. You don't want me to ask you to marry me before a roomful of people, do you ? Molly (bending over kettle). You've asked me that before and had your answer. Bobby. Do you think I'm going to take that answer ? Certainly not. I warn you. (Waving the knife). The very next time I meet you at the Green- ways or the Boyds I shall say — no matter how many people are in the room — " Molly Anstruther, when are you going to marry me?" Molly (tarns up). And I'll reply, Never, never, NEVER ! Bobby. That would be very foolish and quite untrue. Molly. It would be neither. Bobby. My good young woman, in the first place it would be foolish because it would provoke an argu- ment that wouldn't interest the other occupants of the room, and in the second place it would be untrue because sooner or later you've got to marry me. Molly (half -vexed). Bobby, you're not nice this afternoon. (Crosses to l.) I don't want you to talk about that. Bobby (quietly). I'll talk about whatever you please, dear. Molly. Go on cutting the bread and butter and I'll do the talking. I asked you here to-day to meet my dearest friend, Ursula Hammond. Bobby. Well ! Molly. I want you to be awfully nice to her. She has such a splendid character. I know lots of people say unkind things about her, but they don't know her as I do. She offends people because she always speaks the truth. Bobby. What an unpleasant person ! Molly. Oh, Bobby, don't be unkind. She's 14 HER DEAREST FRIEND. thoroughly honest, and I think honesty's everything. Don't you like honest people ? Bobby. Hum, I don't know that I care much about the candid friend who insists on pointing out your failings to you on all occasions. How's that for butter ? (Holding up a buttered slice.) Molly. And she's so awfully clever. Bobby. Clever ! (Drops knife, puts down bread.) Molly. Yes, she writes most beautiful poems. Bobby. Poems ! (Making for his coat.) Good Lord, I'm off ! Molly (running after him and pulling him back.) Bobby, come back. Bobby. My dear Molly, what on earth should I have to say to a poetess ? Molly. You'll get along beautifully if you'll only be nice and kind and your dear old self. Bobby. But I've never run up against a poetess before, you know, Molly. What on earth shall I talk about ? Molly. She'll do the talking and you'll be inter- ested. Bobby (doubtfully). Shall I ? Molly. Yes, but she hates the ordinary small-talk of society. She says the froth of conversation must be blown aside before one can partake of the draught of true intercourse. Bobby. Does she ? What does she mean ? It sounds as though it had something to do with beer. Poems ! I think I had better go, Molly. (Going towards door.) Molly. Bobby, how horrid you are ! You're not to go. Bobby. But suppose she tries any of those frothy things on me ? You'd better let me go, Molly. (Goes.) Molly. Bobby, I want you to stay, and I want you to be nice to her. Aren't you going to ? HER DEAREST FRIEND. 15 Bobby (turns and looks at her for a moment). I'll do just exactly what you please, dear. Molly. Dear old Bobby ! She puts out her hand and he takes it as the door opens and Ursula enters. Ursula coughs. Bobby drops Molly's hand and they turn. Ursula has curled her hair, changed into a pretty soft blouse, taken off her glasses and generally smartened herself up. Ursula is carrying her hat and coat. Lays them on table r. Molly. Oh, Ursula, this is Mr. Menteth — Miss Hammond. Bobby ' } ^ ow ^° ^ ou ^° ? {Advance c.) Molly crosses to fireplace. Ursula. I've heard a good deal about you, Mr. Menteth, from Molly. Bobby. I taught Molly to make her first mud pie, Miss Hammond. I hope she's shown her gratitude by telling you of all my good qualities. Molly. Indeed she hasn't. It was a very bad mud pie. Is the car outside ? (Tea-pot on table.) Bobby. Yes, I think I'll tell Timms he needn't wait. This east wind isn't exactly good for his rheumatism. Excuse me just a moment. Exit door c.l. All this time Molly has had her eyes fixed on Ursula, who looks unconscious. Molly. Why, you've altered your hair and curled it. Ursula (crossing to glass over mantelpiece r. and touching her hair). Have I ? Molly (admiringly). It suits you awfully well. And — isn't that my new blouse you've got on ? Ursula (turning and smiling). Yes, dear, I thought you wouldn't mind. Mine was such a dowdy 16 HER DEAREST FRIEND. old thing. I was afraid you'd feel ashamed of intro- ducing me to your Mr. Menteth. So I slipped into this. You don't mind, do you ? Molly. Of course not. It was sweet of you to think of it like that. I know how you hate the bother of dressing. You are really going to be nice to Bobby, aren't you ? Ursula. Yes, child ; if he's a friend of yours, that is quite recommendation enough for me. Molly (delighted). You dear old thing. Enter Bobby door l.c. Now let's have tea. Oh, I meant to make some toast. Ursula. Let me do that. Bobby. I'll help you. Molly. I'll cut the bread. Ursula stirs up fire kneeling in front of fireplace. Molly cuts bread and Bobby stands by her. Bobby. Mind my beautiful slices of bread and butter. Ursula. Did you cut the bread and butter, Mr. Menteth ? What a talented person ! Bobby (giving fork). That's about the only talent I have, Miss Hammond. I'm afraid you and Molly think me a horrid Philistine. (He gives bread.) Ursula. Oh, Molly's wrapped up in literature. (Kneeling. Toasting fork business.) Bobby. The only person I ever met who was wrapped up in literature was an old man in the Mile End Road. He wore five Daily Mails under his coat. Ursula (laughing delightedly). Oh, Mr. Menteth, how absurd you are ! Now, don't be frivolous ; come and help me with this toast. Bobby (takes the toast from her). Let me do it. The fire will scorch your face. Ursula (sighing resignedly). I shan't waste my HER DEAREST FRIEND. 17 time arguing with you. A man with your shaped chin is bound to have his own way in the end. {Sitting in chair.) Bobby. I wish you'd impress that on Molly. She doesn't believe it. Ursula. Oh, Molly's one of those independent spirits, and she'll never recognize that man must lead and woman follow. I believe all true women like to feel themselves dominated by a nature stronger than their own. Molly (puzzled). But you've always said (At table.) Ursula (laughing). Oh, Molly dear, don't contract that awful habit of reminding people of their past utterances. It's so boring. Molly (abruptly). Shall I put the sugar in for you ? Molly pouring out tea. Ursula. Thanks, dear. Tell me some more about the old man in the Mile End Road, Mr. Men- teth. I often wish I had more opportunity of going amongst the poor and helping them, but it's difficult for a woman. If one could only get hold of the children ! Bobby (eagerly). That's just it, Miss Hammond. Get hold of the children. Molly (putting Ursula's tea down beside her). The future thieves and murderers of the world, who ought to be got rid of somehow. Ursula (reproachfully). Molly, how can you 1 Molly. Why, it's what you Molly up l. cupboard. Bobby. That's right, Miss Hammond. I wish you'd lecture Molly. She's always saying unkind things about the poor little beggars, simply because they're not tubbed every day. (At fire.) 18 HER DEAREST FRIEND. Ursula. Molly, isn't that rather cruel of you ! Poor little mites, how are they to blame ? Molly goes back and sits at table. Molly (coldly at table). I'm not the only person who says unkind things about them. Molly takes cup and crosses l. Bobby. (Sits in chair below fire.) You know, Miss Hammond, I own some tenement property in the East End and try to take an interest in the kiddies. I've asked Molly time after time to come down with me and see them, but she always says she wouldn't know what to say to them, or makes some silly excuse of that kind. Ursula (sitting footstool l.). Oh, I should love to (Stops.) Molly back to table. Bobby. Would you come down and see them ? Ursula. There's nothing I'd like so much. Oh, but I should bother you, I should be a nuisance. Molly back to l. of table. Bobby. Not a bit, I'd be delighted. I'm going down on Saturday. Could you come then ? I'll take you down on the car. Ursula. Oh, I should enjoy it so ; to try and brighten those little lives. Move from Molly. Bobby. That's a bargain, then. Will two o'clock do ? Ursula. Yes, beautifully. Molly plate in hand. Molly sits. Bobby. Where shall I call for you ? Ursula. 24, Penrhyn Place. Bobby. You really will come ? HER DEAREST FRIEND. 19 Ursula. Nothing shall stop me. Molly (very coldly from the table). Bobby, if there's any toast, perhaps you'd be kind enough to give me some. Bobby (jumping up and carrying toast to her). I'm so sorry ! (Behind table.) Molly (still very coldly). Oh, you needn't be. Ursula. Before Molly has that toast, she ought to sing us something. Molly. I don't feel like singing. Bobby (at piano). Molly, do. I don't often hear you sing now. Molly shakes her head. Ursula (cigarette case). Molly, don't be affected and refuse. Molly goes to piano. Bobby (up stage a). No song, no toast. (Sits chair c, light cigarettes.) Molly gets up silently, crosses to piano and begins. The others talk and laugh all through. Molly stops after first verse. Molly looks round at others now and again as she plays and sings. Business all through. Bobby. Thanks, Molly. But do you really think so, Miss Hammond ? Ursula. Yes, it's one of the finest books I ever read. Don't stop, Molly. Bobby. Sing that little song I like so much. You know the one. Molly (rising coldly). I've just sung it. Bobby. Have you ? Molly. Yes, but I think you were too busy talking to notice it. My toast, please. (Crosses L. to settee with toast.) Ursula (laughing). Oh, Molly, don't be so fear- fully severe. 20 HER DEAREST FRIEND. Molly sits down and eats her toast l. Bobby. Don't you think his style rather like Kipling's ? Ursula. Yes, but not so fine. Bobby. Oh, you're an admirer of Kipling's, Miss Hammond ? Molly. The Prophet of the drunken and debased. Ursula. You're in a very extraordinary mood to-day, Molly. Don't be so censorious. Bobby. I'm trying to educate Molly up to Kipling, Miss Hammond. Can't you help me ? Ursula. I'm afraid it's hopeless to try and change her opinion on that subject. Bobby turns suddenly and spills tea over Ursula's blouse. Bobby {jumps up). Miss Hammond! I aw sorry. What a clumsy brute I am. I can't tell you how sorry I am. Business with handkerchiefs. Ursula (sweetly). Oh, please don't worry. It's all right. Molly watching. Bobby. I don't know how I could have been such a fool. Ursula. Really, it's nothing at all. It's not of the least consequence. Molly (to herself). My blouse. (Breaks plate). They talk through it business. Bobby picks up plate and goes back. Bobby. What a careless girl ! Molly (rises c). We mustn't keep you, Ursula. Didn't you say you had an article to write or some- thing, and must get away early ? Ursula. Oh, that doesn't matter. Molly. I thought it was so very important. HER DEAREST FRIEND. 21 Ursula. Dear old Molly, I believe that's a gentle hint. I'll get my hat. (Crosses c.) Molly (hurriedly). Oh, please don't go. I only thought you wanted to. Bobby (rising). I think it's more like a hint for me. (Round r. of table.) Molly usually turns me out when she gets bored, don't you, Molly ? Good-bye, Miss Hammond, you won't forget about Saturday afternoon, will you ? Ursula holds his coat c. Oh, don't you bother, Miss Hammond. It's awfully good of you. Ursula. No, it isn't good, I like to help you. It's woman's duty to serve ; it's only when a woman is ill that a man should be the servant. I think you'd be very kind to a woman if she were ill, Mr. Menteth; Molly at the back turns to them, tapping boot. Bobby. Any man would be, wouldn't he ? Molly. Wouldn't he be rather a back -boneless person if he did, rather like a filleted plaice ? Ursula. Molly ! Bobby. Molly's evidently in one of her perverse moods to-night, Miss Hammond. Don't let her worry you. Good-bye. Two o'clock, 24, Penrhyn Place, on Saturday, don't forget. I'll be there with the car. Good-bye. Exit. As he goes out Ursula hums a little tune and crosses to the glass, gazes ad herself contentedly, turns to find Molly staring at her l. Molly. Well. (Down l.) Ursula (r. fireplace). Well. What on earth's the matter, Molly ? You look as cross as two sticks. Molly (trying to control her temper). I don't feel in the least cross, only a little surprised. 22 HER DEAREST FRIEND. Ursula (putting her hat on before the glass). Really, what's surprised you ? Molly. You have. Ursula. I ? In what way ? Molly. By your sudden change of opinion on every subject while you talked to Mr. Menteth. Ursula. My dear child, what earthly business is it of yours what opinions I expressed to Mr. Menteth ? Molly (hotly). Mr. Menteth's my friend. I am not going to have him made a fool of. Ursula (turn). My dear child, Mr. Menteth is surely old enough to look after himself. It seems to me that you are annoyed because he paid me a little attention. Molly. I am not annoyed at all, and if I am it's simply because my only blouse is ruined. Ursula. Good gracious, that's nothing. I'll take it home and have it washed. (Cross L.) Molly (suddenly). You're — you're trying to take Bobby away from me ? Ursula. It didn't occur to me that he required much taking. Molly. But that's what you're doing. You knew we were fond — you knew we were great friends, and you deliberately tried to cut me out with him. Ursula. Please don't talk nonsense. You said you didn't love him, that nothing would induce you to marry him. Is the poor man to go through life a bachelor, then ? If I have attracted him, I can't help that. Besides, every woman has a perfect right to make a provision for her future. Molly. But there's no reason why you should make your provision out of my Bobby. Ursula. Your Bobby ? He didn't strike me as being altogether devoted. Good-bye. I hope you'll feel slightly better tempered next time we meet. I can get out this way, can't I ? (Pointing r.) I'll remember you to your Bobby on Saturday, shall I ? as we are going down in the car. Good-bye. HER DEAREST FRIEND. 23 Exit l. Molly. My Bobby. He isn't my Bobby any more. Cat, cat, CAT ! Suddenly bursts into tears at table. Sobs on. Knocking heard. Enter Bobby l.c. Bobby. The door was open, so I walked in. Did I leave my cigarette case here ? Molly dries her eyes. Molly, you're crying. Molly. I'm not. I'm not. He comes beside her and takes her hand. I've got something — something in my eye. Bobby. Molly, turn round and look at me. Molly (breaking away, crosses to fireplace). I won't. Why should I ? Bobby. Tell me what's the matter ? Molly. There isn't anything the matter. Bobby. Yes, there is. Molly (defiantly). Well, there is. I've just quarrelled with Ursula. (Up.) And she's a cat, a cat, a cat. (Crosses l.) Bobby. Molly, she isn't a cat. Molly. Oh no, of course I'm the cat for saying she's a cat. Bobby. Don't be spiteful, Molly. Molly. I will be spiteful if I want to. Bobby. She's a very charming and a very clever girl. Molly. Oh yes, she is clever, cleverer even than I thought she was. Bobby. And you asked me to be nice to her. Molly. Yes, but didn't ask you to — (cries) — to make love to her. (Crosses r., sits to table). Music. Bobby. Make love to her. Molly, what do you mean ? 24 HER DEAREST FRIEND. He puts his arms round her, she pushis him off. Molly. You asked me to sing. Bobby takes her in his arms.\ And you never listened. You spilt te^ over my blouse. She was wearing it, and you nevlr gave me any toast, and — oh, I hate you. \ Bobby. Molly, when are you going to marry me ? Molly. Never, never, I hate you ! You're going with her on the car on Saturday afternoon at 2 o'clock. Bobby. Suppose I'm getting married instead at that time ? Molly (slowly). You couldn't go then, could you ? Bobby. No, certainly not. Molly. Bobby, you can go and get the special license to-morrow. Bobby. Dear old Molly ! Embrace. Curtain. DRAWING ROOM. mrai >fS^N^|V^f^^ Ouiv Kepi iij cue large size, liie back scene is 13 feet long and y feet higL .»iw e* tends with the Wings and Borders to 20 feet long and 11 J feet high. In the centre is a French window, leading down to the ground, On the left wing is a fireplace with mirror above, and on the right wing is an oil painting. The whole scene is tastefully orns uiented and beautifully coloured, forming a most elegant picture. The above is a representation of a box scene consisting of 38 sheets of paper, the extra sheets being used for the doors each side. £ s d. Back Scene. Border, and 1 Set of Wings, unmounted .. ..200 Ditto, mounted 4 4 Back Scen^, Border, with 2 Sets of Wings as above to form Box ScMne, unmounted 2 10 . Ditto, mounted 5 6 COTTAGE One copy del. to Cat. Div •e is a door 1 ading outside, entre is a window. On the e. The above is a re pre* en- ox Scene), but a Box Scene Prices and size same as NOV 22 1910 FRENCH'S ACTING EDITION LIBRARY OF CONGRESS ch VOLUME 150 2236 The Dentist 2287 Taken for Granted 2238 Just as Well 2239 Hogmany 224U Pansy 2241 A Doctor's Engage- ments 2242 A Duet 2213 My Milliner's Bill, Is. 2244 My Aunt from Cali- fornia 2245 His Life for Hers 2246 The Meeting 2247 The Umbrella Duologue 2248 The Late Lamented 2249 Woman Triumphant 2250 Angelina's Lover VOLUME 151 2251 Chrysanthemums 2252 My First Client 2253 Punctured 2254 Old Pals 2255 Honeymoon Tragedy 2256 Commission 2257 Hal, the Highwayman 2258 Dinner for Two 2269 Ninth Waltz 2260 Human Sport 2261 Collaborators 2262 Mere Man 2263 Packing Up 2264 Paving Guest 2265 'finery Brown VOLUME 152 226 . , Aunt Taicinda 2310 Uncle Dick's Darling VOLUME 153 2281 Mr. Steinmann'o Corner 2282 Ella's Apology 2283 Colour Sergeant 2284 Helpless Couple 2285 First Aid to the Wounded 2286 Correct Thing 2287 Their New Paying Guest 2288 Domestic Entangle- ment 2289 Salt of Life 2290 Time is Money 2291 Wally and the Widow 2292 Deceitful Miss Smiths 2293 Holly Tree Inn 2294 Up-to-date 2295 Bit of Old Chelsea VOLUME 154 2296 Wrong Side of the Road 2297 The Open Door 2298 Prima Donna (Pem- berton) 2299 Lights Out (Pern berton) 2300 Mirror of Time 2301 Three Blind Mice (Muskerry) 2302 Privy Council 2303 Snowed up with a Duchess VOLUME 155 2311 That Horrid Major 2312 Bardwell v. Pickwick 2313 House of Nightingales 2314 Turtle Dovee [der 2315 Superior Miss Pellen- 2316 His Good Genius 2317 Martha Plays the Fairy 2318 Dumb Cake 2319 Proposing by Proxy 2320 Phonnix 2321 Boatswain's Mate 2322 Final Rehearsal 2323 Two Aunts at a Time 2324 Nelson Touch 2325 Convict on the Hearth VOLUME 156 2326 Grey Parrot 2327 Ghost of Jerry Bundler 2328 Bishop's Candlesticks 2329 Peacemaker 2330 Changeling 2331 Wire Entanglement 2332 Pride of Regiment 2333 "1588" 2334 Man on the Kerb 2335 O'Dowd 2336 Impertinence of the Creature 2337 Dramatist at Home 2338 Martha the Soothsayer 2339 Oid Martha Is. 2340 All Through Martha Is. AN AMERICAN CITIZEN BILLY'S LITTLE LOVE AFFAIR BRACE OF PARTRIDGES BRIXTON BUKGLARY CAPTAIN SWIFT CASSIL1S ENGAGEMENT CHARITY THAT BEGAN AT HOME COUNTRY MOUSE DR. WAKE'S PATIENT FACING THE MUSIC FASCINATING MR. VAN- DERVELDT IDLER. IMPORTANCE OF BEING EARNEST IN CHANCERY JEDBURY JUNIOR BARRIER BUILDER OF BRIDGES CAVE OF ILLUSION DANCING GIRL HYPOCRITES JOSEPH ENTANGLED Is. 6d. net Edition LADY HUNTWORTH'S EXPERIMENT LADY WINDERMERE'S FAN LIBERTY HALL LUCKY MISS DEAN MARRIAGE OF KITTY MICE AND MEN MISS ELIZABETH'S PRISONER MISS HOBBS MOLLENTRAVE ON WOMEN MR. HOPKINSGN NEW BOY NIOBE OH ! SUSANNAH ! i ONE SUMMER'S DAY I PARVENU 2s. 6d. net Library Edition JOHN GLAYDE'S HONOUR MANOEUVRES OF JANE MASQUERADERS MIDDLEMAN PASSPORT PERFECT LOVER PETER'S MOTHER PILKERTON'S PEERAGE PRIVATE SECRETARY RETURN OF THE PRO- DIGAL ROCKET [DOM SNUG LITTLE KING- SQUIRE SUNLIGHT & SHADOW TWO MR. WETHERBYS WALKER. LONDON WHEN WE WERL TWENTY-ONE WILDERNESS WISDOM OF FOLIA WOODBARROW FARM MOLLENTRAVE ON WOMEN MRS. DANE'S DEFENCE PERF CT LOVER SILVER KINO WALLS OF JERICHO