35 I NO PLAYS EXCHANGED. Baher'5 Edition or PLAY3 MOTH BALLS Price, 25 Cents J1* m. Pinero's Plays Price, 50 ecnt$ 6acD TUr A M A 7nMi:tty (demurely). Thank you, Cousin Mary. {.Id justing her spectacles, Mary turns her attention to Iter note-book.) Mary (briskly). Let's get to work now. (Clearing her throat, she begins to dictate.) "When Cynthia opened her big, brown eyes " Betty. Beg pardon, but they were blue in the last chapter, Mary. Were they? Well, I have noticed that some of our best authors create heroines with changeable eyes. Betty. Shall I ? Mary. I'll revise the text later. " When Cynthia opened her big, blue eyes she saw a butterfly hovering in her open window " Betty (looking up). But it was December! Mary. That's so. Better make the butterfly into a little frozen sparrow. Editors are so critical nowadays. (Suddenly she throzvs dozvn her note-book and moves to- zvard the younger woman.) I can't keep my mind on my work this morning. I'm too upset. Betty. What is worrying you ? Mary (abruptly). Moth balls! Betty. Moth balls ? Mary. Don't be a parrot, my dear. (She begins to walk nervously up and dozvn.) I had a letter from your Cousin John this morning. Betty (in surprise). John ? Your husband ? Mary. Yes. And he chose to rake me over the coals simply because I failed to pack his fur coat away in moth balls. He says it's ruined. Betty. Too bad. Mary (leaning forward zvith a sudden air of confi- dence). We have had two previous scenes on this sub- ject. John thinks I neglect him terribly because I don't spend my life darning his socks, sewing on buttons for him and keeping the moths out of his clothes. Betty. If T had a husband as attractive as Cousin John those are just the things I'd enjoy doing for him. Mary. Would you? Well, I'd rather write plays and MOTH BALLS 5 books. Vm tired of John's constant demands on me and I think I could do much better work if I were— were free ! (Drawing a long breath.) Betty (in a Utile shocked voice). Oh, Cousin Mary! Mary. It's true. There is nothing as important as my career and John is hampering me. Betty. But if John Mary. I know John simply worships me, — and I don't like to hurt him. (After a nwiuent.) But I've got to regain my independence. I can't be continually harassed by trivial things like Betty (softly). Mothballs. Mary (passing her hand across her sleek, dark head in her characteristic gesture of impatience). It's tragic, — and absurd. I won't stand it. Betty. But if Cousin John loves you so Mary. He has never even looked at any other woman. Perhaps he would do something desperate if I should leave him! (With a genuine expression of distress.) Betty (leaning across the table with an abrupt change of manner). For how many summers have you been coming to this cottage in Massachusetts, Cousin Mary ? Mary, This is my second season. Why? Betty (brushing a blond curl out of her eyes). Are you known as Mary Craig, the famous writer, or ? Mary. Very few people here know that I am Mrs. John Waring. You see, John hates Gloucester and never comes to the place. He says there's nobody here but old maids and cranks. Betty (chuckling). I guess he's right. Mary (zvith an indignant glance). What! Betty (hastily). I didn't mean that the way it sounded. Mary (gathering up her papers from the table. A little pause has ensued after Betty's blunder). I am ex- pecting Miss Gladys Deane, the famous actress, this morning, and I hope you will be particularly polite to her. Betty (surprised) . Gladys Deane is coming here? Mary (nodding). She wishes to talk over some points in my play which she is to produce next fall. I consider MOTH BALLS her the most charming actress on our stage to-day. They say that {She is interrupted by the sound of the door-bell.) Will you please see who that is, Betty ? I have sent Hannah to the post-office for our mail. (Betty rises and leaves the room with her customary unhurried step. A moment later she ushers in, c. bock, Gladys Dkane, a handsome, modishly dressed woman in her late twenties, whose manner is a trifle too assured.) Miss Deane {giving Mary a limp hand). So glad to see you again, Miss Craig. Mary. You haven't changed a particle ! May I pre- sent my cousin, Betty Hughes? Betty — Miss Deane. Miss Deane {extending the tips of her fingers to Betty). How do you do? {To Mary.) Sorry if I'm late, but it's quite a walk from my hotel here and the sun is hot. Mary {bringing forward a chair). Won't you have a glass of water — or iced tea ? Miss Deane {sinking into the chair and fanning her- self languidly). No, thank you. I'm just a little out of breath. Mary {forcibly struck by the actress' languid beauty and the perfection of her attire). You are the most ornamental woman I ever saw, Miss Deane. To look at you no one would ever suspect the prodigious amount of work of which you are capable. Miss Deane {smiling). I've been on the stage ever since I can remember and it's been nothing but hard work all the time. I'm thinking of retiring. Mary {taking a step backward in her amazement). You're thinking of leaving the stage ! Oh, you can't mean that. Miss Deane. But I do ! I want to rest and enjoy life like other people. Betty {demurely). Perhaps Miss Deane expects to — to marry and settle down. Miss Deane {quizzically). Perhaps! Mary. And what will become of my farce, " The Bandbox"? MO'Ili BALLS 7 Miss Deani:. Turn it into a musical comedy and I'll see that it's produced. Mary. Surely you aren't thinking of leaving the stage immediately ! Miss Deane. N-no, not immediately. {Lozvering her voice.) I'll let you into the secret of my incipient romance. It began only last week. Betty. Last week ! Mary. Don't mind the little parrot, Miss Deane. You were saying Miss Deane. I have at last met a man who could in- terest me for the rest of my life. Mary. He must be very clever. Miss Deane. He is clever, handsome, amusing and — attached ! Betty. Attached ! Mary (frowning) . My cousin is a good example of the ancient Greek chorus. Betty. Pardon me. I won't interrupt again. I\Iiss Deane. You mustn't think the man I refer to is in any sense a married flirt. He is too good and honest for that. Mary. His wife ? Miss Deane (a line appearing between her brows). She forced him to indifference by her neglect. She leaves him alone for months at a time, he says, and refuses to look after his comfort in any way. I understand she made quite a scene not long ago just because he asked her to put his fur coat away in moth balls. _, Betty (with a gasp of astonishment). .Fur coat! Moth balls ! Oh, my goodness ! {She giggles hysterically and then clapping her hand- kerchief over her mouth, runs hastily front the room. Miss Deane turns to look after her through her pince-nez. ) Miss Deane. What an extraordinary young girl ! Mary {still in the grip of her intense surprise; she has not changed her position). Did I understand you to say this young man is deeply interested in you? 8 MOTH BALLS Miss Deane. Well, not deeply interested. But he is lonely and susceptible. I dare say I could make him like me better — if he were free. Mary (a shocked note in her voice). He is not think- ing of leaving his wife ! Oh, how dreadful ! ]\Iiss Deane. But from what John says Mary (casually). John ? Miss Deane. John Waring is my friend's name. He comes from a small town in Virginia. But you are en- tirely too famous to have ever heard of him. (There is a Utile pause.) Mary (7vith an effort). When did you see him last? Miss Deane. Yesterday. He is staying at Magnolia and we had a charming luncheon together. You can't imagine how entertaining he is. Mary. Indeed? Miss Deane. Of course our attitude was entirely friendly and proper. We were chaperoned by an elderly cousin of John's. Mr. Barbour Mary. Did he Miss Deane. The nice old dandy confided to me that John's wife is a dowdy little frump, — plain as the pro- verbial pipe-stem, — and is several years older than John. Mary. That isn't so Miss Deane (astonished). I beg your pardon! Mary (confused). I said — is that so? Miss Deane. Well, I mustn't bore you with my per- sonal affairs any longer. Mary (in a stifled voice). You aren't — boring me. Miss Deane (opening her vanity case, she begins powdering her nose). Shall we talk about the disposal of your play ? Mary. If to-morrow would be as convenient ^ Miss Deane (nodding). Very well. I haven't much time to spare now as I am due in Magnolia at one for luncheon (She rises, drazvlng on her long gloves just as the door opens and Betty enters.) MOTH BALLS 9 Betty. You are wanted on the telephone, Miss Deane. Miss Deane {moving tozuard the door with alacrity). Thank you. You'll excuse me a moment, Miss Craig? Mary. Certainly. Betty. You'll find the 'phone on the little table in the hallway. {As the actress leaves the room, Betty goes quickly to Mary, who has dropped her face in her hands.) What's the matter, Cousin Mary ? Mary {hrushing the hack of her hand across her eyes). Miss Deane is b-beautiful, c-clever and c-charming — and I — I'm a fool ! Betty {fearing that her cousin is on the verge of hysterics). Brace up. Cousin Mary. Don't cry. Re- member you said Mary {standing up abruptly). Never mind what I said. Where is your box that came from Altman's this morning ? Betty. It's in my room. Why? (Mary leaves the room R. precipitately without replying and a second later Miss Deane returns.) Cousin Mary wishes you to ex- cuse her for a few minutes. Miss Deane. {She seats herself before her typewriter and Miss Deane resumes her old place by the table. There is a little pause. ) Miss Deane. This seems to be the warmest day we have had. Betty {absently). Does it? Miss Deane. Don't you think so? Betty. Why, yes, I suppose (Miss Deane yawns.) Miss Deane. It will probably rain before evening. Betty. Probably. (Miss Deane moves toward the windozv and stands looking out across the sand dunes.) Miss Deane. What a beautiful view you have from here. Betty. Yes, it is nice. 10 MOTH BALLS (Suddenly Miss Di:anl: approaches BiiTTY and puis a hand on her sJiouIder.) ]\Iiss Deani:. How long has your cousin been mar- ried ? Betty (in surprise). Yon know that she is married? Miss Deane. Yes, of course. Betty. But as a — a friend of John's Miss Deane (sntiling). I am going to marry John Waring's brother. Betty. You are going to marry — Claud? Miss Deane. Yes. Betty (trying to readjust herself). And you are not — interested in John? Miss Deane. Only in the way that the humane society would interest itself in a stray cat. I couldn't bear to see my future brother-in-law neglected and miserable, so I thought if I came here I could frighten Mary out of her selfishness. Betty (impulsively) . I'm glad you came, — glad you are to be a member of our family. ^Iiss Deane (kissing her). Thank you, dear. Of course I may not have done any good to-day, but perhaps if my little bark is ever in danger of the shoals some one will help me steer clear of them. (Picking up her para- sol.) You won't give me away to your cousin just yet, will you? Betty. No, indeed. But you're not going? Miss Deane. I've barely time to make the twelve- forty train for New York. Betty. John is Miss Deane. With his uncle at Magnolia. Please tell " Mrs. Waring " I'm sorry I couldn't wait any longer. Perhaps I'll see you in New^ York this summer. Betty. I — I 'hope so. Miss Deane. Good-bye, then,— Betty. I may call you that? Betty. If you will, — Cousin Gladys. Perhaps you'll write to me? (Miss Deane nods and zvalks briskly out of the room. There-is a shade of wistfulness in Betty's expression as she comes back from the entrance-hall. MOTH BALLS II Suddenly the bedroom door opens and Mary comes in. Her appearance is completely changed. Her hair has been fluffed out about her ears, the disfiguring spectacles are gone and her mannish costume has been replaced by a modish gown which seems to typify the essence of femininity. She wears a smart hat and carries a pink parasol. Betty stares at her in amazement.) This can't be you ? Mary (breathlessly). What's the matter with me ? Betty. You look so different, — so pretty ! Mary. I borrowed some of your clothes. Hope you don't mind. Betty (drawing a long breath). Of course not! You look like a debutante ! Mary (tersely). Thanks. Betty. You seem entirely too young to be the well- known woman writer whose distinguished career Mary (interrupting vehemently). Damn my career! (She moves quickly toward the door at back.) Betty. Where are you going? Mary. I'll take a short cut to Magnolia so as to meet my husband before that — that vampire gets to him. Betty. And then ? Mary. I'll let John see what a " dowdy old frump " he married. If he decides to give me another chance I'll show him how well I can look after his comfort. Betty. Aren't you going to write any more? Mary. Yes, — but John comes first from now on. Oh, Betty, I can make him happy, — if he'll let me. He shall see me just reveling in an atmosphere of darning cotton, home-made preserves and — and moth balls ! (She goes out quickly and Betty is laughing softly to herself as she closes the door.) CURTAIN STEP LIVELY A Comedy in Two Acts By Gladys Ruth Bridgham Four males, ten females. Scenery, one interior ; costumes, modern. Plays two hours. Billings, banker and mill owner^ ruined by the war, feigns illness and keeps to his room to avoid explanations. His sister turns up with three daughters, all bringing new complications, and things come pretty swift for Billings and his son Joe. His niece, Jerusha, a born detective, opportunely turns up, however, and does some Sherlock Holmes work on a very interesting and complicated situation, and brings matters to a highly satisfactory conclusion. Very rapid and exciting ; can be recommended. Price, 2 J cents CHARACTERS Joseph Billings, mill owner and Gwendolyn Smith, her niece. President of Benham Trust Co. MARTHA Holton, Billings' niece. Joseph Billings, Jr., his son. Lucille Loveland, of the " IVin- Theodore Cunningham, his secre- some Winnie Co.'^ tary. CARRY Arry. Horatius Thimple. Nora, the maid. Mary Smythe, Billings' sister. Jerusha Billings. Beverly Smythe '\ ^ ^ Juliet Smythe \ ^ ^u*. ^ Rose-marie Smythe J ^^^shters. JOHNNY'S NEW SUIT A Comedy in Two Acts By Mary G. Balch Two males, five females. Scenery, interiors ; costumes, modern. Plays fifty minutes. Mrs. Larkin tries to make Johnny a new suit to wear at the prize speaking competition, but does not get it further along than basting when the hour arrives. She takes a ciiance on the basting thread holding, but. in the excitement of the occasion the threads break and Johnny's efforts are somewhat complicated. He wins out, however. Howlingly funny and strongly recommended. Pricey 2^ cents DINNER AT SEVEN SHARP A Comedy in One Act By Amabel and Tudor Jenks Five males, three females. Scene, an interior; costumes, modern. Plays forty minutes. Beverly, a patent lawyer, custodian of certain papers important to a rival of the electric company that he represents, baffles, after an exciting experience, an emissary of his opponents, who is in his own employ disguised as an English butler. Very interesting and well recommended. Price, ^/ cents THE DISTRICT ATTORNEY A Comedy Drama in Three Acts By Orrin E. Wilkins Ten males, six females. Costumes, modern ; scenery, two easy inte- nors. Plays a full evening. Bob Kendrick, college athlete and popular man, is in love with Dorothy Seabury, but she will not hear him until he has made a start in life. He runs for the office of District Attorney as part of a political trick of the " boss," Sullivan, but turns the trick and •wins the election. His first official act is the prosecution of the Packing Company of which Dorothy's father is the head, which leads to liis suicide and Dorolliy's alienation. Later, when she knows that his strict pursuit of duty has not spared his own father's name, which was involved in the same scandal, she understands and forgives him. The political thread on which is strung a strong and varied story, introducing lots of comedy and a strong college flavor. Good enough for any purpose ; strongly recom- mended. Price, 2^ cents CHARACTERS Mr. Wm. Seabury, Pres. of Seabury Packing Co. Mr. Herbert Brownell, reporter of the " Tribune,''* Richard Seabury, senior at college. Bob Kendrick, a fixture at the university. Billy Reynolds, /?'^5//w<2?2 at college. P. Homer Sullivan, /^////Vmw. John J. Crosby, district attorney, running for reelection, JiMMiE, office boy. Howard Calvert, Beverly's little brother. Sam, Calvert" s butler. Aunt Hattie, Wm. Seabury s sister. Dorothy Seabury, IVjn. Seabury s daughter, Beverly Calvert, | Peggy Marshall, v Dorothy s chums, Polly Whitney, J Margaret, servant. SYNOPSIS Act I. Drawing-room of the Seabury residence. Act II. The district attorney's office, a few months later. Act III. Same as Act I, one year later. A SUFFRAGETTE TOWN MEETING An Entertainment in One Act By Lilian Clisby Bridghajn Twenty female characters. Costumes, modern ; scenery, an ordinary room or hall— unimportant. Plays one hour. Presents a town meeting as it will be conducted by and by when the ladies have taken full charge of the public business. A shrewd and good-natured satire of present feminine pecuHarities applied to this problem written for laugliing purposes onhj. Just the thing for women's clubs. Price, 2'r- :entr A FOUL TH^ A Comedy Drama in Three Ac»:s By Charles S. Allen Seven males, three females. Costumes, modern ; scenery, one exterioi scene, not changed. Plays two hours. The safe at Irving's factoiy is robbed and three persons are under suspicion, which finally settles most strongly on Verne Gale, the hero, who, to protect Hal Irving, old Irving's son, whom his sister Nellie loves and whom he believes to be the real cul- prit, keeps his mouth shut save for protesting his own innocence. « Uncle " Tim Purdy is loyal to him and, with the aid of Pete Adams, tlie colored pitcher of the Westvale nine, finally discovers the real culprit, A strong play with unusual strength and variety of character and abundance of humorous lines and incidents. Very highly recommended. Ffice, 2^ cents CHARACTERS Tim VM'^TiY, postmaster, chief of police and storekeeper at Westvale, Hiram Rowell, the village expressman. Oliver Irving, manufacturer. Harold Irving, his son. Verne Gale, manager of the Westvale nine. Pollard, Irving s bookkeeper. Pete Adams, colored pitcher on the Westvale nine, Almira Purdy, Tim' s wife. Mabel Remington, Irving s stenographer. Nellie Gale, Verne" s sister. Mejnbers of the ball team, villagers, etc, DADDY A Comedy in Three Acts By Lilli Huger Smith Four males, four females. Costumes, modern ; two easy interiors. Plays an hour and a half. Mr. Brown exhausts all the resources oi science, including smallpox and diphtheria signs, in an endeavor to keep away the admirers of his daughter whom he wishes to keep at home. He finally asks Dr. Chester, who is privately in love with her, to help him to dissuade her from becoming a trained nurse. The doctor does so by mairying her himself. Very clever and amusing; full of wit and of high tone. Strongly recommended. Price, 25 cents CHARACTERS Mr. Wrexson Brown. y//5/ ///& Costumes, modem; scenery, tliree interiors. Play; r-xo and a half hours. THE NOTORIOUS MRS. EBBSMITH ST" l^gT, males, fire females. Costumes, modem; scenery, all interiors. Plays a full erening. THF PROFI ir ATF Playin Four Acts. Seven males, five I nu r IXUrLilun l L, females. Scenery, three interiors, rather eiaborite : c;s:\::.^-r5. n: .iern. Plays a full evening. THE SCHOOLMISTRESS !t-^^^7:^A^.^%^^L'^: em: scenery, three interiors. Plays a full evening. THE SECOND MRS. TANQUERAY ^lir^^Si feir.a'e:. C:s:.Li:.es. :m>ier:i: soenery, :Lree interiors. Plays a fuU evening. ^WFFT T AVFNHFR Comedy in Three Acts. Seven males, ■jTfEiLii LltI Y EiilL/ILA, four females. Scene, a single interior, costumes, iii'>ieri:. Pliv* a full evening. TUF TUTTNnFPRniT Comedv in Four Acts. Ten males, InL InUI^ULlVDULl nine females. Scenery, three interi- ors; oosruxnes, modem. Pi ays a full evening. THF TIM F^ Comee l^lUatn WtLXXtn Ctiittoti of $lap£( A^ YOn I IITP IT Comedy in Five Acts. Thirteen males, four AD IVl) I4AI4 11 females. Costumes, picturesque ; scenery, t»- rled. Plays a full evening. CAMIT T F Brama in Five Acts. Nine males, five females. Cos- AIulLiltti tumes, modern j scenery, varied. Plays a full evening. INflOMAD ^^y ^° ^^^^ Acts. Thirteen males, three females. inUUinAlV Scenery varied j costumes, Greek. Plays a full evening. MADV ^TITABT Tragedy in Five Acts. Thirteen males, four f^- ulAIVl ^lliAAl males, and supernumeraries. Costumes, of the period ; scenery, varied and elaborate. Plays a full evening. THE MERCHANT OF VENICE SiTe','fh?er/a°o>l5J:: IZti^^. picturesque ; scenery varied. Plays a full evening. DirHPI IFf] Play in Five Acts. Fifteen males, two females. Bcen- mvUCMCU ery elaborate ; costumes of the period. Plays a full evening. THF filVAIC Comedy in Five Acts. Nine males, five females. lUU niTALrJ Scenery varied; costumes of the period. Plays a toll evening. SHB STOOPS TO CONQUER SX*U? frm^.et'lc.,.':'.?^ rled ; costumes of the period. Plays a full evening. TWELFTH NIMT; OR, WHAT YOU WILL iX'/.o'^^r^'. three females. Costumes, picturesque ; scenery, varied. Plays a full evening. Sent prepaid on receipt of price by imittt 1^. 'Bafier & Companf Fo. 5 Hamilton Place, Boston, Massachusetts • . J. PARKHILL a CO., PRINTERS. BOSTON. U.S.Ar^