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 BAKER, Hamilton Place 
 
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 raffrri^fcii^fr: 
 
The Cast Rehearses 
 
 A Play in One Act 
 
 By 
 ALICE L. TILDESLEY 
 
 Author of ''Marrying Money " 
 
 NOTE 
 
 This play is published for free performance by amateurs only. 
 Professional companies are forbidden the use of it in any form 
 or under any title, without the consent of the author, who may 
 be addressed in care of the publishers. 
 
 BOSTON 
 
 WALTER H. BAKER COMPANY 
 1921 
 
.^Le^ 
 
 .t) 
 
 i^ 
 
 The Cast Rehearses 
 
 CHARACTERS 
 
 Phyllis Oliver. 
 
 Flora May Oliver, her youjiger 
 
 sister, about thirteeti. 
 Miss Violet van Elsmere. 
 Evelyn. 
 Julie. 
 
 Time : — Before nine o'clock at night. 
 Scene : — Phyllis' sitting-room. 
 
 Copyright, 1921, by Alice L. Tildesley 
 As author and proprietor 
 
 All rights reserved 
 
 ©CI.D 5 8258 
 
 JUL 2771 
 
The Cast Rehearses 
 
 SCENE. — Phyllis's sitting-room. The time is before 
 nine o'clock at night. 
 
 (At the rise of the curtain Phyllis is discovered 
 standing back of table, finishing the packing of her 
 traveling-bag. She is very much excited. She is in 
 a typical girl's room. There are doors R. and l., 
 leading to hall and bedroom, respectively. The walls 
 are decorated with movie-actresses' pictures, kodak 
 snap-shots, party favors, dance- pro grams, etc. There 
 is a dresser d. r., with mirror above it, containing 
 various toilet articles, and man's photograph framed, 
 match-safe, small vase, etc. A settee, with gaudy 
 cushions, is also d. r. A phonograph stands at back 
 of room, with records, etc. A small table is l. c, 
 with chairs R. and l. Telephone is set on this table, 
 wearing a fantastic costume to correspond with the 
 curtains and cushions and other girlish frivolities.) 
 
 Phyllis {going over articles in bag). Night-gown — 
 teddy — stockings — kimono — clean blouse — tooth-brush — 
 where's my comb? Where's my comb? {Darts to 
 dresser for comb, packs it.) Oh dear, what time is it? 
 {Looks at wrist-watch, then notes man's picture on 
 dresser, and rushes over to it. ) Can't go without you ! 
 
 {She kisses the picture, fervently. There is a sound 
 of footsteps on the stairs.) 
 
 Flora May {on the stairs outside). Phyllis — Hey, 
 Phyllis ! 
 
 Phyl. {darting back to bag). Go away! 
 
 3 
 
going? 
 
 THE CAST REHEARSES 
 
 Flora M. You in there, Phyllis ? ; 
 Phyl. Where did you think I wasi Silly?' 
 
 {Stuffing picture in hag.) 
 
 Flora M. {appearing at door r.). O-o ! Where you 
 
 ing? 
 
 Phyl. Nowhere. ... To the rehearsal, of course. 
 
 {Shuts hag with snap.) 
 
 Flora M. What do you have to take the bag for? 
 Phyl. Because. 
 
 {Goes into bedroom and returns with two hats.) 
 
 Flora M. {perching on settee). Can't I go to re- 
 hearsal with you? 
 
 Phyl. I should say not ! 
 
 Flora M. Why can't I? I have to do my dance, 
 don't I ? I have to do my dance in your old play. 
 
 Phyl. {coming to mirror to try on hats). We can't 
 be bothered with little girls at a rehearsal. Oh dear, I 
 wish I knew which to wear. This is such a vile color. 
 I look like a prune in a pan of milk. 
 
 {She looks at herself from all sides in the despised hat.) 
 
 Flora M. {leaping up and snatching hat from Phyl.'s 
 head). Let me try it on. 
 
 Phyl. Flora May Oliver, give me back that hat ! 
 
 {There is a little scuffle, much repetition of "I just 
 wanna see how I look!" and "Give me that hat!" 
 and Phyllis wins.) 
 
 Flora M. {retiring in disgust to chair l. of table, 
 looks at dresser). OV Crosspatch ! Say, who took the 
 doctor ? 
 
 Phyl. {engaged in trying on other hat). What? 
 
 Flora M. Who took the doctor off your dresser? 
 
 Phyl. Nobody. I just put him away. 
 
 {She starts for bedroom with hats.) 
 
THE CAST REHEARSES 5 
 
 Flora M. What for? What did you put him away 
 for? Don't you Hke him any more? Do you care if 
 Mamma doesn't Hke him? {The telephone hell rings, 
 and they both dash for it, hut Flora May wins and hangs 
 onto it, crying.) I am, too, going to answer it. I am, 
 too! 
 
 Phyl. Flora May, give me that receiver. You 
 dreadful girl, give it to me ! 
 
 Flora M. {in front of table, resisting with wriggles 
 
 and stanips). I won't ! I won't ! I won't ! Hello? 
 
 Hello? This is Olivers' Leggo my arm, VhyX-lus! 
 
 It's me. It's Flora May. 
 
 Phyl. Give me that 'phone ! 
 
 Flora M. I won't ! {Into 'phone.) Yes, Phyllis 
 
 is going to rehearsal. Why, to the Club House ! Is it ? 
 {Turning.) Phyllis, it's Evelyn. She says the Men's 
 Club is using the Club House for a special meeting to- 
 night, and you have to rehearse somewhere else. 
 
 Phyl. Let me talk to her. 
 
 Flora M. No, I am! {Into 'phone.) I guess so. 
 I'll ask Mamma. {To Phyllis.) She says, can't they 
 rehearse here? 
 
 Phyl. No they can't ! 
 
 Flora M. {puts down 'phone). I'll go ask Mamma. 
 I bet she'll say they can. 
 
 {She runs out R., already calling, " Mammal ") 
 
 Phyl. {snatching up 'phone, and speaking breath- 
 lessly). Evelyn? That you, Evelyn? This is Phyl. I 
 don't see how we can rehearse here. I haven't any room. 
 I don't feel very well. It isn't, either, a bigger room 
 than yours. Anyway, I wasn't going to rehearsal. I 
 told you I didn't feel well. No — I thought I'd go to bed 
 early. Oh, Evelyn, wouldn't you keep me awake if you 
 rehearsed here? No, Dr. Nick can't come to rehearsal. 
 I mean, I don't think he can come. He — he's got a — a 
 case. 
 
 Flora M. {dashing in again). Mamma says "Yes" 
 — sure pop! 
 
 Phyl. Hush ! Evelyn, can't you go over to Julie's ? 
 
6 THE CAST REHEARSES 
 
 Flora M. (squirming about until she can talk into 
 'phone over her sister's shoulder). Evelyn, Mamma says 
 you can, too, come here if you want to ! 
 
 Phyl. Get away, you horrid Httle thing! (Holding 
 
 'phone out of reach.) No, I'm not mad at you, Ev 
 
 Oh well, come on then, if you must. But for goodness' 
 sake, make them go home early, Evelyn. You will, won't 
 you? 'By! (Hangs up receiver.) Now that's all your 
 fault, Flora May, you little Poke Nose, you ! 
 
 Flora M. (busily poking about room, discovers a letter 
 on the phonograph and picks it up). Whose letter? 
 Whose letter? 
 
 Phyl. Put it down! Give it to me! 
 
 Flora M. (leading a mad chase about room). I bet 
 it's from your old doctor ! I bet it's from Dr. Nick ! 
 
 Phyl. Don't you dare read it! Don't you dare! 
 Don't you know how hateful it is to pry into other peo- 
 ple's letters? (She catches Flora May and captures 
 letter. The door-bell rings down-stairs.) Go down and 
 don't you dare come back to this room again. Hear me? 
 And whoever that is, tell 'em I'll be down. 
 
 Flora M. Mamma said you'd have to rehearse up 
 here. She isn't going to have her living-room torn to 
 pieces, she said. So there ! 
 
 (She goes out R., in outraged dignity.) 
 
 Phyl.^^ Up here? Oh my goodness! (She hustles 
 the bag into the bedroom, twitches chairs back into place, 
 looks at letter clutched in hand and picks up 'phone, 
 jiggling the hook up and down, impatiently.) Hello, 
 hello, hello! Give me Park 343-L. Dr. Nick Atwill 
 there? Oh dear, isn't he? Where is he? Tell him to 
 call Park 651-R. Oh no, don't bother. I forgot I can't 
 talk to him. (Enter Miss Violet van Elsmere, a 
 giddy, a very giddy, old girl, in bright colors and a 
 chickenish hat. She has a funny little tittering giggle, 
 which she exhibits now, as she waves in response to 
 Phyllis' greeting.) Hello, Miss Violet! Never mind 
 telling him anything — good-bye ! 
 
 (She hangs up receiver.) 
 
THE CAST REHEARSES 7 
 
 Miss Violet. Don't you think it's too mean of those 
 horrid men to use the Club House when they know we've 
 only got a week to get up this show? Men haven't any 
 consciences. Oh, do tell me, don't you think Dr. Nick 
 is coming to-night? 
 
 Phyl. Why — a — I don't think so. He has a (hesitat- 
 ing) case. Let me take your things. 
 
 Miss Vi. Oh no, I'll just keep my hat on. I'm just 
 crazy about this hat. (She admires it in the mirror.) 
 And, tee-hee! So is Dr. Nick. You know he boards 
 with us, and he said only to-night, he, he! — that he 
 never saw another hat like it in his life ! I do think he's 
 the cutest thing. To-night he was wearing the sweetest 
 little blue serge belted suit. Teehee ! Have you got any 
 brunette powder? 
 
 Phyl. In that box. (She sits l. of table, uneasily.) 
 
 Miss Vi. (using powder). He says he just adores 
 brunettes, teehee! I am wild about this hat! Listen, 
 Phyllis! (Comes to R. of table.) Don't you think 
 Evelyn ought to have given me the part of the widow in 
 the play? I look a lot more like a widow than Julie 
 does. Anyway, nobody can understand what she says. 
 Besides, I'm sure Dr. Nick would rather play opposite 
 me. I don't think he cares anything about Julie. Now, 
 do you? 
 
 Phyl. I don't know. (Looks at her watch.) 
 
 Miss Vi. Well now, only to-night, when he came 
 down-stairs for his hot water, he always wants hot water 
 for shaving, and he loves to have me fix it for him, he-he ! 
 I get to feel quite married to him, what with fixing his 
 hot water and pressing ^ his trousers. I pressed the 
 trousers he's got on to-night. Took me more than an 
 hour, but of course I didn't mind giving the time, teehee ! 
 Well, I asked him how he liked holding Julie in his 
 arms in this show. It must be fearfully embarrassing, 
 mustn't it ? And he said it was all right, only he'd change 
 the time, the place and the girl. And he looked right at 
 me, he-he-he! 
 
 Phyl. (politely). Did he? (Tucks letter into belt, 
 rather insecurely.) I wonder why the others don't come. 
 
8 THE CAST REHEARSES 
 
 Miss Vi. Won't you ask Evelyn If I can't be the 
 widow ? 
 
 Phyl. {fidgeting with articles on table). Evelyn's the 
 director. She ought to know what she wants done and 
 who can do it. 
 
 Miss Vi. She's just jealous, that's all. She thinks 
 I'd show her up, if I had a decent part. She and Julie 
 always hog the good parts. Who plays the doctor's 
 sweetheart ? Julie ! Who plays his sister ? Evelyn ! 
 
 Phyl. I'm sure I don't want to be his sister. 
 
 Miss Vi. I know, but she gets to kiss him in the 
 third act. What do you do? Just sing and be a maid. 
 And I'm his mother! I just said to Evelyn, I said: " I 
 don't see why I always have to be a mother. That's all 
 you ever give me. I hate being people's mothers." I 
 don't even pat him on the arm. I patted Tom Hender- 
 son on the arm in the last play. {Door-bell rings.) 
 There's the bell. If it's Evelyn, you ask her, won't you? 
 
 {There is a sound of girls* voices and some laughter.) 
 
 Phyl. Oh, I can't. {Goes d. l.) 
 
 Miss Vi. Oh, now, please! {Goes to Phyllis and 
 coaxes. Footsteps sound on the stairs, and Evelyn says: 
 " Goodness, I'm all out of breath! ") There she is. Go 
 on, Phyllis ! 
 
 (Evelyn enters. She is a pretty girl with a decided 
 manner. She kisses Phyllis, who meets her c.) 
 
 Evelyn. Hello, Phyl ! Awfully nice of your mother 
 to let us come. Hello, Miss Vi ! Julie's coming. I 
 dragged her with me. 
 
 (Julie enters. She is a rather French-looking girl.) 
 
 Julie {speaks with slight accent). Oui, I mean, yez. 
 Phyllis, those stair' take my breaths. 
 
 Phyl. Where's your things? 
 
 Julie. We leave him down-stairs with your Mama. 
 Oh-lala!- What you theenk happen us on Main Street? Jft 
 
THE CAST REHEARSES 9 
 
 (Sits arm of chair, r. of table.) 
 
 Phyl. What? (Stands back of table.) 
 
 Julie. We meet thees yong doctor. Neek, you know. 
 Oh la-la ! He is dress' ! He is wear' mos' elegan' blue 
 costume. All cuff here and belt here and white rose in 
 his, O whatyoucall ? Here, you know. He carry a bag, 
 all speek and span with monogram on. 
 
 Eve. (sitting settee). We asked him what he was 
 dolling up for, and he didn't seem to know. Said he 
 couldn't come to the rehearsal, and I don't believe there's 
 an earthly reason why not 
 
 Julie. Evelyn was so angry. She, how-you-say? 
 bawl him out. 
 
 Eve. He knows as well as we do that we only have 
 a week to get this show up. And do you know those 
 wretched Davis boys aren't coming, either? Going to 
 that beastly meeting, they said. 
 
 Phyl. (eagerly). Then do we have to rehearse to- 
 night? Can't we put it off? 
 
 Eve. Put it off? No, we can't. We'll go over the 
 shakiest scenes, even without the men. And you can 
 try your song and Flora May's dance. Oh dear, I'll 
 never get up another show as long as I live, if I ever 
 get out of this one alive ! 
 
 Phyl. Well, then, begin. Why don't you begin ? 
 
 Eve. Let us get our breath. I brought the note Pm 
 supposed to lose in the second act. What did I do with 
 it? Oh, here it is. (She puts it on dresser.) And Pve 
 got the play here. 
 
 Miss Vi. (who has been sitting l. of table, nudging 
 Phyllis). Phyllis. 
 
 Eve. Let's clear off the furniture and go over your 
 song, Phyl. 
 
 Miss Vi. Phyllis, ask her. 
 
 Phyl. Oh dear! Evelyn, Miss Violet wants me to 
 ask you ... 
 
 Miss Vi. Hush ! Don't say I said so. Say you think 
 so. 
 
 Phyl. But I don't care. 
 
 Eve. What do you two want ? 
 
10 THE CAST REHEARSES 
 
 Phyl. Miss Violet wants Julie's part. (To Violet.) 
 I can't help it. I didn't know what to say. 
 
 Julie (rising). My part? My lovely, juicy part? 
 
 Eve. Don't get excited, Julie. She can't have it. 
 I've got this thing cast and it's going to stay cast. Clean 
 off some of this furniture. 
 
 (Julie and Phyllis move table to l. ; Evelyn takes 
 chair hack.) 
 
 Miss Vi. Well, Dr. Nick feels strange about playing 
 with Julie. 
 
 Eve. Let him feel strange. 
 
 Julie. Feel strange ? Oh la-la ! I mean, O Boy ! 
 
 Miss Vi. Of course I don't care for myself, but 
 
 Eve. That's all right, then. Come on, Phyl. 
 
 Phyl. Let's don't go over my song. The chorus isn't 
 here. 
 
 Julie. Evelyn and I will play hoop-la in the back, 
 won't me, Evelyn? 
 
 Phyl. Well, I just won't do the verse, then. Hurry 
 up. (Comes c.) 
 
 (She sings, with musical-comedy gestures and dance- 
 steps the following, or other similar song.) 
 
 " I want someone to flirt with me 
 
 For I'm as lonesome as can be. 
 Say, you ought to see the eyes that I can make. 
 Won't somebody notice me, for goodness' sake? 
 
 I want someone to love me sure — 
 
 But I don't want an amateur. 
 I want someone to teach me everything from A to Z. 
 I want some one to come and flirt with me ! " 
 
 (During song she loses the letter from her belt.) 
 
 Eve. That's horrible. You've got to get some pep 
 into it. 
 
 Miss Vi. I could just see how it ought to be done. 
 
 Phyl. It's nearly nine o'clock, Evelyn. Let's don't 
 bother with it. 
 
THE CAST REHEARSES II 
 
 Eve. It can*t go on like that. I'm going to have a 
 decent show, if I have to kill everybody in it. 
 
 Miss Vi. Let me show her. 
 
 Phyl. I told you I didn't feel well. 
 
 Miss Vi. Do it like this, Phyllis. Isn't this about the 
 way, Evelyn? 
 
 {She does the song, in exaggerated fashion, much to 
 the amusement of the girls.) 
 
 Eve. Oh well, we'll go over it to-morrow night, Phyl. 
 Where's Flora May? 
 
 Phyl. Do we have to go over her dance ? 
 
 Eve. {at phonograph, puts on record). We do! 
 
 Phyl. {goes out r., calling). Flora Ma-ay! 
 
 Julie {spying note Phyllis has lost from belt). Why, 
 here's the note you lose in the second act, Evelyn ! 
 
 (Evelyn puts it into dress. Flora May and Phyllis 
 come hack. Julie and Phyllis sit settee, Miss 
 Violet l., Evelyn stands by machine.) 
 
 Flora M. Here I am. There now, Smarty, I did so 
 have to come ! 
 
 Eve. Take your position, dear. Remember to point 
 your toes. {Starts music. Flora May executes a simple 
 little dance.) That's very nice. Only you must re- 
 member to point your toes. That's all, Flora May. 
 
 Flora M. Can't I stay and see you rehearse? 
 
 Phyl. No, you can't. Scat! (Flora May goes 
 drearily out.) Can't you please hurry, Evelyn? 
 
 Eve. We'll take the scene in the second act, as the 
 curtain goes up. Set the stage, please. 
 
 (Julie and Phyllis put table c, chairs r. and l.) 
 
 Julie. Where are anozzer chair? 
 
 Phyl. I haven't got another chair. {Runs to bed- 
 room wildly, and brings back stool.) Here, this'll have 
 to do. 
 
 Eve. What can we use for teacups ? We're all drink- 
 ing tea, you know. 
 
I^ THE CAST REHEARSES 
 
 {They all rush about madly, finding match-safe, vase, 
 etc., to set table. Phyllis finds box-lid for a tray. 
 Miss Violet gets pair of scissors for a lorgnette; 
 they all talk at once.) 
 
 Phyl. This is my tray, girls. I haven't got a bell. 
 You'll have to say ** ding-a-ling " when you mean you're 
 ringing for me. Now, I'm in the kitchen. 
 
 (She retires to back of stage.) 
 
 Eve. Come on, girls, sit down. You'll have to have 
 the stool, Julie. What did I do with the play? Oh, 
 here ! Now remember, as the curtain goes up, everyr 
 body talks. Ready! 
 . Miss Vi. Boogie, bidgy, a-b-c-d-e-f-g — 
 
 Julie. Oh la-la ! I can't theenk of a theeng. 
 
 Eve. Girls ! Really talk. Say something. Any- 
 thing. Don't fake it. Now, ready! 
 
 {There is a burst of chatter.) 
 
 Julie {lifting match-safe), " Thees is deleecious. 
 Where do you get eet ? " 
 
 Miss Vi. {lifting scissors as lorgnette). "Gerald 
 brought it from China, my dear. By-the-way, I wonder 
 where the dear boy is? He said he'd be home for tea." 
 
 Eve. " I'll ask Mary if he's come in." {Ringing 
 nothing.) Ding-a-ling! 
 
 Phyl. {coming forward and speaking woodenly). 
 " Did you ring, ma'am ? " 
 
 Eve. Phyllis, I told you to come in Right. 
 
 Phyl. {darting r. and coming in again). " Did you 
 ring, ma'am ? " 
 
 Miss Vi. {using lorgnette). "Has my son come in 
 yet, Mary ? " 
 
 Phyl. "' I think I heard him in the library not twenty 
 minutes ago, ma'am." 
 
 Eve. {motioning). Downright! Downright! 
 
 Phyl. Which is down right? Oh yes.* {Moves D. 
 R. ) ** He seemed to be upset about something." 
 
 i 
 
THE CAST REHEARSES 
 
 '3 
 
 Julie (starting up, dramatically). "Upset? He is 
 upset, you say ? " 
 
 Phyl. " I will go and find him, ma'am." Now, do I 
 go out ? I do, don't I ? 
 
 Eve. Don't stand there asking me. Go! 
 
 (Phyllis goes l.) 
 
 Julie (to dresser, tensely). "He has found out. 
 What shall I do?" 
 
 Miss Vi. (rising). "My dear, I think I shall leave 
 you two young things alone. I have a few letters to 
 write before dinner." I don't do a thing in this play but 
 exit. I never saw such a part ! The audience don't get 
 a chance to see me at all. 
 
 (She joins Phyllis, who is anxiously regarding watch.) 
 
 Eve. (turning page). "Is there anything wrong, 
 Helen?" 
 
 Julie. "Wroiig? Why should there be? But no, it 
 is nothing ! " ( With brave, tired smile. ) 
 
 Eve. (carefully losing letter). "You have been 
 strange all day." 
 
 Julie. "All day I have been " 
 
 Eve. That's not your line. (Prompting.) "Strange? 
 I don't " 
 
 Julie. Oui ..." Strange ? I don't know what 
 you mean." 
 
 ( The telephone hell rings. ) 
 
 Eve. If that isn't sickening! 
 
 Phyl. (snatching receiver). Hello? Ye-es, this is 
 Phyllis. Why, 'the girls are here rehearsing. I don't 
 know. Evelyn, when will we be through? 
 
 Eve. Never, at this rate ! 
 
 Miss Vi. . Who is it ? 
 
 Phyl. I'll let you know. You'd better wait until — I 
 simply can't tell. 
 
 Miss Vi. Who is it ? 
 
 Phyl. It's — it's my Sunday school teacher! Hello. 
 
14 THE CAST REHEARSES 
 
 No, I haven't rung off. Can't you wait there a little 
 while ? Well, yes, yes, good-bye ! 
 
 {Hangs up 'phone.) 
 
 Eve. Get off the stage, please. Julie, suppose we take 
 the scene with Dr. Nick. I'll read his lines. Where he 
 finds the note I dropped, you know. 
 
 Julie. Oui, I mean yez. Let me see. Where am I ? 
 Oh, down here in front of the table — so ? " You know, 
 Geral' ? You have discover' ? " 
 
 Eve. " Helen, it is true, then ? " 
 
 JvLiE (drooping). " It is true ! " 
 
 E\^. " I won't believe it. You shall explain." Where's 
 the place ? " You can — you must -" 
 
 Julie. " Geral' ! But no. I took the pearl' because 
 I mus' have money." 
 
 MissVi. Isn't she supposed to be over by the mantel? 
 
 Eve. I am directing this show. Julie. 
 
 Julie. " I mus' have money. I am in debt. O mos* 
 terrible. I am threaten' with police. I am desperate. 
 I take thees pearl. They are a-lone, in Madame's room, 
 speeling out of their case. I see them. I cannot resees'. 
 I take them. I sell them. Ah!" (Crosses to dresser 
 which is supposed to he mantel.) "Then I wake. It is 
 bad dream. I do not know 'ow is it possible I do thees 
 theeng." 
 
 Eve:. " Helen, darling ! " (Approaching her.) 
 
 Julie. " Don' touch me. I cannot bear " 
 
 (Begins to turn azvay to dresser, hut turns to l. in- 
 stead of R.) 
 
 Eve. Don't turn your back to the audience. 
 
 Julie (turning properly). " Don' touch me. I cannot 
 bear it. I have forfeit the right. I am meeserable, 
 un'appy, wretched." 
 
 (Sinks head in arms on dresser top.) 
 
 Eve. Sob. You're supposed to sob there. 
 Julie (sobbing). Meeserable, un'appy, wretched! 
 
THE CAST REHEARSES 
 
 Enter Flora May, r. 
 
 «S 
 
 Flora M. Hey, Phyllis! ^Mamma says come do\vn 
 and tell her which of those books belong to Jessie Pierce. 
 She's going to take 'em over. 
 
 Phyl. All right. {Crosses r. to door.) 
 
 Flora M. Can't I see what you girls are doing? 
 
 Phyl. No, come on down ! [Exits R. 
 
 Flora M. Pigg>-, pigg}', pigg}" ! 
 
 {Follows Phyllis out.) 
 
 !Miss Vi. I don't think that sounds a bit like sobbing. 
 Julie ought to do it like this. {Illustrates.) 
 
 Ent. She does it well enough. Go on, Julie. 
 
 Julie. '' What shall I do ? Thees pearl I cannot re- 
 cover. Your sister have letter only to-day from mans I 
 geev them. He is a- way." 
 
 E\^. {picking up letter). " Is this the letter? " 
 
 Jlxie {sobs). "Yez." 
 
 E\x. {opens it). Let's see. {Reads.) "Sweetheart: 
 At nine o'clock I'll be in the side street with my car. 
 When you hear me honk three times, come down." What 
 on earth is this ? It's not my letter. 
 
 All {crozi'ding to her). Let's see. Let's see. 
 
 'Eve. {reads). " Be sure to bring your bag with what 
 you think you'll need. I've got the license. The Grace 
 Church minister will marr\" us at the rector}*, and my 
 car will take us out of town. I don't think your mother 
 will mind when it's too late to do any good. With a 
 thousand kisses, Ever vours, Xick." 
 
 Julie. Xeek ! That's Xeek Atwill ! 
 
 E\-E. And who's " Sweetheart " ? 
 
 Julie. Phyllis ! Neek and Phyllis ! 
 
 Miss Vi. It's his writing. 
 
 Julie. They're, how-you-say? Eloping! 
 
 E\'E. {sinking on settee). Before we give our show! 
 
 Miss Vi. I think eloping is xtry sneak}-. {Sits l. of 
 Evelyn and an pes eyes.) I wouldn't have thought it of 
 Dr. Nick. He might have told me. I've always meant 
 so much to him. 
 
 Julie {sitting edge of table with note). "When you 
 
l6 THE CAST REHEARSES 
 
 hear me honk three times, come down." Isn't it nine 
 o'clock yet? 
 
 Eve. I don't know. I'd Hke to know what we're 
 going to do with this show. 
 
 Miss Vi. {weeps), I've always taken such trouble for 
 him, too! 
 
 Phyl. {coming back). Girls, have you seen — did you 
 see a letter? 
 
 Julie. I'll say we did! 
 
 Eve. Phyllis, are you going to ruin this show by elop- 
 ing in the middle of it? 
 
 Phyl. What, what do you mean? 
 
 {Horn honks outside.) 
 
 Eve. That's what I mean! Hear it? That's our 
 leading man. 
 
 Miss Vi. Wearing the trousers I pressed this after- 
 noon ! 
 
 Phyl. Can't you have the show anyway ? 
 
 Julie. Whose shoulder am I weep on, please? 
 
 Phyl. We'll come back for the show. {Horn honks 
 again. ) Oh dear ! Oh dear ! Help me, girls. Won't 
 you help me? Honest we'll come back if you'll help me. 
 
 Miss Vi. I think it's very sneaky to elope. 
 
 Phyl. You don't understand. Please, girls. You 
 see. Mamma hasn't a thing against him except that he's an 
 Atwill. Papa had a lawsuit against the Atwills ten 
 years ago about a fence line, and they haven't spoken 
 to us since. But I can't stop loving Nick because Papa 
 and his father fought about a fence line, can I ? 
 
 Eve. Will you promise to have Nick back for dress 
 rehearsal ? 
 
 Phyl. Cross my heart. 
 
 Julie. And teach him his lines? 
 
 Phyl. Honest and true. 
 
 Julie. Then, where's your bag? 
 
 (Phyllis flies for it. The three girls rush about 
 getting hat and coat, etc., going over things in bag, 
 while Miss Violet weeps on settee.) 
 
THE CAST REHEARSES IJ 
 
 Eve. Sure everything's packed in here? 
 
 Phyl. Everything, I think. 
 
 Miss Vi. I wouldn't have believed it of him ! 
 
 Julie. Sit down and let me fix your hair. Listen, 
 he's honking again. 
 
 Phyl. See if I put hankies in, Evelyn. 
 
 Julie. I hope you are mos' happy. 
 
 Eve. For goodness' sake, start right, Phyl. Don't 
 begin by giving in. 
 
 Phyl. No — yes. I won't. 
 
 Julie. He'll geev in first. They all do. 
 
 Eve. And get back for dress rehearsal. You can 
 hear each other's lines all week. 
 
 Julie. Such a honeymoon ! 
 
 Phyl. Yes, anything ! Am I all right ? Get my hand- 
 bag, Julie. Wait a minute. Let's go down the back 
 stairs. 
 
 (The three slip out toward the bedroom, Evelyn 
 carrying hag, Julie hand-hag, and Phyllis all ex- 
 citement, the horn honking madly.) 
 
 Miss Vi. {wiping her eyes). But just the same, he'll 
 miss the way I used to heat his hot water! 
 
 CURTAIN 
 
CAMP FIDELITY GIRLS 
 
 A Comedy in Four Acts 
 
 By Edith Lowell 
 
 Dramatized by permission from the well-known story hy 
 
 Annie Hamilton Donnell 
 
 One male, eleven females. Scenery, two interiors. Plays two hours. 
 A jolly party of girls occupy an old farmhouse for the summer and there 
 discover a secret that makes for the happiness and prosperity of a poor 
 little cripple. A very " human " piece full of brightness and cheer and 
 with a great variety of good parts. 
 
 Price 1 3^ cents 
 
 students at 
 Hatton Hall School. 
 
 CHARACTERS 
 Barbara Wetherell 
 Judy Wetherell, her sister 
 Jessica Thayer 
 
 Mary Shepherd, otherwise Plain Mary 
 Edna Hull 
 Mrs. Tucker, a next-door tieighbor. 
 Johnnie Tucker, known as Johnnie-Son. 
 Barnaby Campbell, a big child, 
 Jennie Brett, a country girl. 
 Cousin Salome. 
 Aunt Elizabeth. 
 Uncle Jeff. 
 
 SYNOPSIS OF SCENES 
 
 Act I. Room at Hatton Hall School. 
 
 Act II. Scene I. Camp Fidelity. Afternoon. Scene II. The 
 next morning. 
 
 Act III. Scene I. Same. Two weeks later. Scene II. Midnight. 
 
 Act IV. Scene /. Same. Six weeks later. Scene II. A half 
 hour later. 
 
 MARRYING MONEY 
 
 A Play in One Act 
 By Alice L. Tilde sley 
 Four females. Scene, an interior. Plays half an hour. The girls seek 
 a job with the millionaire's mother and one of them gets one for life with 
 the millionaire. One eccentric character and three straight. 
 
 Price, 2j cents 
 
 THE OVER-ALLS CLUB 
 A Farce in One Act 
 By Helen Sherman Griffith 
 Ten females. Scene, an interior. Plays half an hour. The " Over- 
 Alls Club " mee,ts for the first time in its denim costume with enthusiasm 
 for economy that only lasts until young Dr. Ellery is announced. Finishes 
 in pretty gowns. 
 
 Price, 2^ cents 
 
OLD DAYS IN DIXIE 
 
 A Comedy-Drama in Three Acts 
 By Walter Ben Hare 
 
 Five males, eight females. Scene, a single interior. Costumes of the 
 period. Plays two hours and a quarter. Beverly Bonfoey, a high type 
 of Southern gentleman, loves Azalea, his mother's waixl, but Raoul 
 Chaudet, a Canadian adventurer, to whom he has given the hospitality of 
 Bonfoey, steals her love. Forced to leave suddenly because of crooked 
 money transactions, he persuades her to elope, but this is prevented by a 
 wonderfully dramatic device. Beverly then challenges Raoul, who shows 
 the white feather and runs away, and Beverly, to save the family honor, 
 assumes the consequences of his swindling transactions. The untying of 
 this knot is the plot of a strong play with a genuine Southern atmosphere 
 written wholly from the Southern point of view. Royalty, iiSio.oo for the 
 first and ^5.00 for subsequent performances by the same cast. 
 
 Price, ^5 cents 
 
 CHARACTERS 
 
 The Prologue, the Goddess of the South. 
 
 Madame Bonfoey, mistress 0/ the plantation. 
 
 Azalea, her ward. 
 
 Nancy, Azalea s sister. 
 
 Cousin Sallie Sellers, /w;« a neighboring estate, 
 
 Phgebe, a little coquette. 
 
 Mary Rose, Phoebe's sister. 
 
 Mam' Dicey, the house mammy. 
 
 Beverly Bonfoey, the young heir. 
 
 Judge Pennymint, his uncle. 
 
 Raoul Chaudet, a visitor frotn Quebec. 
 
 Cameo CLEMM,y>w« the city. 
 
 Unker Shad, a bit of old mahogany. 
 
 Beaux and Belles of Dixie. 
 
 SYNOPSIS OF SCENES 
 
 Act I. The drawing-room of the Bonfoey Plantation in 1849. 
 The letter. 
 Act II. The dinner party. The duel. 
 Act III. An April morning, three years later. The return. 
 
 THE ORIGINAL TWO BITS 
 
 A Farce in Two Acts 
 
 By Hazel M. Robinson 
 
 iVritten for and presented by The Invaders Club of the United 
 
 Baptist Church of Lewiston, Maine 
 
 Seven females. Scene, an interior. Plays twenty minutes. The girls 
 in camp receive a visit from a neighbor and have to borrow the neighbor's 
 own dinner in order to feed them. They almost get away with it — not 
 quite. Irish comedy character, eccentric aunt, rest straight. 
 
 Price^ a^ cents 
 
NO TRESPASSING 
 
 A Play in Three Acts 
 By Evglyn Gray Whiting 
 Six males, five females. Costumes, modern ; scenery, a single OMy rat 
 lerior. Plays two hours. Free of royalty. Lisle Irving, a lively •* city 
 girl," goes down into the country on a vacation and to get rid of a hus- 
 band of her father's choice whom she has never seen, and runs inte the 
 yery man living there under another name. He meets her by accident 
 and takes her to be one of a pair of twins who have been living at the 
 farmhouse. She discovers his mistake and in the character of both twins 
 in alternation gives him the time of his life, incidentally falling in love 
 with him. An unusual abundance of good comedy characters, including 
 one — Bill Meader — of great originality and humor, sure to make a big 
 hit. Strongly recommended. 
 
 Price,^$ cents 
 
 CHARACTERS 
 
 Bill Meader, **on the town.*' 
 
 Jim Meader, son of Bill, a boy of sixteen to eighteen, 
 
 Mr. Palmer, a New England farmer. 
 
 Cleveland Tower, a young city fellow, guest of Raynor, 
 
 Herbert Edmand Raynor, a young Englishman, 
 
 UiK. lKYii<iG, father of Lisle. 
 
 Lisle Irving, a girl of seventeen. 
 
 Peggy Palmer, a girl of eighteen or twenty, 
 
 Mrs. Palmer, Peggy s mother. 
 
 Barbara Palmer, a girl of ten or twelve years,. 
 
 Almeda Meader, a girl about Barbara s a^, 
 
 THE GIRL UP-STAIRS 
 
 A Comedy in Two Acts 
 
 By Gladys Ruth Bridgham 
 
 Seven females. Costumes, modern ; scenery, an interior. Plays an 
 nOVit. Daisy Jordan, crazy to get " on the stage," comes to New York 
 t»«id starves there in a lodging house waiting for her chance. She schemes 
 to get an interview with Cicely Denver, a popular actress, to act before 
 her, but the result is not at all what she intended. A capital play with 
 strong and ingenious opportunities for good acting. RecoameBded. 
 
 Price, 2S cents 
 
 TICKETS, PLEASE! 
 A Comedy in One Act 
 By Irving Dale 
 Four females. Costumes, modern and fashionable; scenery, an in- 
 terior, not important. Plays twenty minutes. Mignon asks Charlotte to 
 get the theatre tickets, Charlotte asks Maude to get them, Maude hands 
 over three to Linda, who leaves two at Mignon's house after she has left 
 home. But they get to the theatre somehow. Bright, funny and char' 
 Mteristio. Strongly recommended. Price, 2$ cents 
 
PROFESSOR PEPP 
 
 A Farcical Comedy with a College Flavor in Three Acts 
 
 By Walter Ben Hare 
 Nine males, seven females. Costumes, modern ; scene, an easy ex< 
 terior, the same for all three acts. Plays two hours and twenty minutes. 
 Professor Pepp, on a vacation trip to Russia, is initiated by Boris Ardoff, 
 a Russian humorist and former pupil of the Professor's, into a Nihilist So- 
 ciety " The Redeemers," and is so unlucky as to draw the red ball which 
 obliges him to murder the Princess Katchakoffsky. In terror he at 
 once flies from Russia, but Boris, to prolong the joke, writes ahead of him 
 to a friend on the faculty, telling the story and revealing the password — 
 " Bumski," With this weapon everybody in turn hac his own way with 
 the terrified Professor, who sees a Nihilist in every bush, A side-splitter 
 with more good parts than any piece of its kind for years. Strongly rec- 
 f^mmended for school or college performance. Frice,^^ cents 
 
 CHARACTERS 
 
 Professor Peterkin Pepp, a nervous wreck. 
 
 Mr. C. B. Buttonbuster, a giddy butterfly of forty-eight 
 
 Howard Green, his son, who had the court change his name, 
 
 .Sim Batty, the police force of a college town. 
 
 Peddler Benson, working his way through school. 
 
 Noisy Fleming, /«.?/ out of high school. 
 
 .Pink Hatcher, an athletic sophomore. 
 
 Buster Brown, a vociferous junior. 
 
 Betty Gardner, the professor s ward. 
 
 Aunt Minerva Boulder, his housekeeper, from Skowhegan, Maint. 
 
 Petunia Muggins, the hired girl. 
 
 Olga Stopski, the new teacher of folk-dancing. 
 
 Kitty Clover, a collector of souvenirs. 
 
 Vivian Drew, a college belle, 
 
 Irene Van Hilt, a social leader. 
 
 Caroline Kay, the happy little freshman. 
 
 Students, Co-eds, etc, 
 
 SYNOPSIS 
 
 Act I. P'ofessor Pepp's residence on the college campus* 
 Act II. Same scene. Surrounded by the nihilists. 
 Act 111. Same scene. A double wedding. 
 
 NOT ON THE PROGRAMME 
 A Comedy in One Act 
 By Gladys Ruth Bridgham 
 Three males, three females. Costumes, modern; scenery, a single W 
 terior. Plays forty minutes. Mrs. Whitney, rehearsing for amateur the- 
 atricals with Vincent Fielding, a dramatic coach, in her own home, is 
 misunderstood by Ophelia Johnson (colored), her maid, who summons the 
 police to straighten out what seems to her a very criminal state of things. 
 *Rastus Brown, a plumber and admirer of Ophelia, helps Officer Hogan to 
 muddle matters into a very laughable state ot confusion. Easy ani 
 vtrongly recommended. PHct. k^; cents 
 
MUCH ADO ABOUT BETTY 
 
 A Comedy in Three Acts 
 By Walter Ben Hare 
 Ten male, twelve female characters, or seven males and seven females 
 by doubling. Costumes, modern ; scenery, two easy interiors. Plays a 
 full evening. Betty, a moving picture star, going south on a vacation, 
 loses her memory from the shock of a railway accident, and is identified 
 as a rival, Violet Ostrich, from a hand-bag that she carries. In this char- 
 acter she encounters the real Violet, who has just eloped with Ned O'Hare, 
 and mixes things up sadly both for herself and the young couple. An 
 exceptionally bright, clever and effective play that can be highly recom- 
 mended. Good Negro, Irish and eccentric comedy parts. 
 
 Pricey J5 cents 
 
 CHARACTERS 
 
 Lin Leoxard, Be«i/'s o?je he.<ti &e<. Ethel Kohler, a high-school admirer 
 
 Major Jartree, of IVichita, not only of Betty. 
 
 bent, but crooked. Violet Ostrich, a film favorilef Ned's 
 
 !^ET> O'Hare, a jolly younp honeymooner. bride. 
 
 Mr. E. Z. Ostrich, luho has written a Mrs. K. M. Diggins, a guest at the Hotel 
 
 ivonderful picture-play. Poinsettia. 
 
 T)R. McNVTT, solid ivory from the neck xq). Daffodil Diggins, her datighter,"Yes, 
 
 Jim Wiles, o high-school senior Mamma ! " 
 
 Archie, a black bell-boy at the Hotel Miss Chizzle, one of the North Georgia 
 
 Poinsettia. Ch izzles. 
 
 Officer Riley,i«Ao always does his duty. Pearlie Brown, Violet's maid, a widoxo 
 
 Officer DuGAN,/ro»i the Emerald Isle. of ebon hue. 
 
 Mr. Ebenezer O'Harb, « sick man and Violet, Violet Ostrich's little girl aged 
 
 a submerged tenth. seven. 
 
 Mrs. Ebenkzer O'Hare, "Birdie," the Diamond, Pearlie' s little girl aged six 
 
 other nine-tenths. and 
 
 Aunt Winnie, Betty's chaperone. Betty, the star of the Movagraph Co. 
 Lizzie Monahan, Betty's maid, with a 
 
 vivid imagination. 
 
 Jartree may double Diigan ; Ned may double Blley ; Jim may double Archie ; 
 Mrs. O'Hare may double Ethel ; Aunt Winnie may double Pearlie and Lizzie 
 may double Miss Cliizzle, thus reducing the cast to seven males and seveu fe- 
 males. The two children have no lines to speak. 
 
 SYNOPSIS 
 
 Act I. Betty's apartments near New York. Married in haste. 
 Act II. Parlor D of the Hotel Poinsettia, Palm Beech, Fla. Three days later. 
 Betty loses her memory. 
 Act III. Same scene as Act II. A full honeymoon. 
 
 JUST A LITTLE MISTAKE 
 
 A Comedy in One Act 
 By Elizabeth Gale 
 One male, five female characters, or can be played by all girls. Cos- 
 t^imes, modern; scenery, an easy interior. Plays forty minutes. Mrs. 
 Ball receives a cablegram from her sister Lucy staling that Jfrry 
 will arrive that day and begging her to be cordial. Mrs. Ball then goes 
 out to hire a cook, leaving three young friends to receive tlie unknown 
 guest. The cook, sent down from the agency in liaste, is greeted and 
 entertained as Jerry and wlien the real Jerry (Miss Cieraldiiie Take) ar- 
 rives she is sent out to the kitclien. After considerable confusion and ex- 
 citement she is discovered to be the "Little Miss Take." Strongly rec- 
 onimended. Price, 2^ cents 
 
RED ACRE FARM 
 
 A Rural Comedy Drama in Three Acts by Gordan V. May. Sevei 
 Males, five females. Costumes, modern ; scenery, one interior, one exte- 
 rior. Plays two hours. An easy and entertaining play with a well-bal. 
 »nced cast of characters. The story is strong and sympathetic and the 
 comedy element varied and amusing. Barnaby Strutt is a great part for 
 *i good comedian ; " Junior " a close second. Strongly recommended. 
 
 Frier, 35 cents 
 
 THE COUNTRY MINISTER 
 
 A Comedy Drama in Five Acts by Arthur Lewis Tubbs, Eight males, 
 five females. Costumes, modern ; scenery not difficult. Plays a full even- 
 fog. A very sympathetic piece, of powerful dramatic interest ; strong and 
 varied comedy relieves the serious plot. Ralph Underwood, the minister, 
 is a great part, and Roxy a strong soubrette ; all parts are good and full 
 of opportunity. Clean, bright and str&ngly recommended. 
 
 Price, J5 ants 
 
 THE COLONEL^S MAID 
 
 A Comedy in Three Acts by C. Leona Dalrymple. Six males, three 
 females. Costumes, modern ; scenery, two interiors. Plays a full even- 
 ing. An exceptionally bright and amusing comedy, full of action ; all the 
 parts good. Capital Chinese low comedy part ; two first-class old men. 
 This is a very exceptional piece and can be strongly recommended. 
 
 /V ice, J5 c€Hti 
 
 MOSE 
 
 A Comedy in Three Acts by C. W, Miles, Eleven males, ten females. 
 Scenery, two interiors ; costumes, modern. Plays an hour and a half. A 
 lively college farce, full of the true college spirit. Its cast is large, but 
 many of the parts are small and incidental. Introduces a good deal of 
 singing, which will serve to lengthen the performance. Recommended 
 highly for coeducational colleges. Price, 25 cents 
 
 OUR WIVES 
 
 A Farce in Three Acts by Anthony E. Wills. Seven males, four fe- 
 males. Costumes, modern ; scenery, two interiors. Plays two hours and 
 a half. A bustling, up-to-date farce, full of movement and action ; all 
 the parts good and effective ; easy to produce ; just the thing for an ex- 
 perienced amateur club and hard to spoil, even in the hands of less 
 practical players. Free for amateur performance. Price, 55 cents 
 
 THE SISTERHOOD OF BRIDGET 
 
 A Farce in Three Acts by Robert El win Ford. Seven males, six fe- 
 males. Costumes, modern ; scenery, easy interiors. Plays two hours. 
 An easy, effective and very humorous piece turning upon the always in- 
 ICTCSting servant girl question. A very unusual number of comedy parts? 
 Ul the parts gooJ. E^y to get up and well recommended. Price, j^tettM 
 
Plays for Junior High Schools 
 
 
 MaUt 
 
 Ftmalti 
 
 TiaM 
 
 frif 
 
 Sully Laim 
 
 3 
 
 4 
 
 '>^ 
 
 irs. 
 
 25c 
 
 Mr. Bob 
 
 3 
 
 4 
 
 ^'A 
 
 « 
 
 25c 
 
 The Man from BraodM 
 
 3 
 
 4 
 
 % 
 
 M 
 
 25c 
 
 A Box of Monkeys 
 
 2 
 
 3 
 
 ^% 
 
 M 
 
 25c 
 
 A Rice Pudding 
 
 2 
 
 3 
 
 IX 
 
 M 
 
 25c 
 
 Class Day 
 
 4 
 
 3 
 
 ^ 
 
 (« 
 
 25c 
 
 Chums 
 
 3 
 
 2 
 
 H 
 
 M 
 
 25c 
 
 An Easy Mark 
 
 5 
 
 2 
 
 % 
 
 <« 
 
 25c 
 
 Pa's New Housekeeper 
 
 3 
 
 2 
 
 I 
 
 l( 
 
 25c 
 
 Not On the Program 
 
 3 
 
 
 .V 
 
 << 
 
 25c 
 
 The Cool Collegians 
 
 3 
 
 4 
 
 i;^ 
 
 « 
 
 25 c 
 
 The Elopement of EUeo 
 
 4 
 
 3 
 
 2 
 
 << 
 
 35c 
 
 Tommy's Wife 
 
 3 
 
 5 
 
 ij< 
 
 « 
 
 35c 
 
 Johnny's New Suit 
 
 2 
 
 5 
 
 54 
 
 (« 
 
 25c 
 
 Thirty Minutes for Refreshment! 
 
 4 
 
 3 
 
 ^2 
 
 C< 
 
 25c 
 
 West of Omaha 
 
 4 
 
 3 
 
 ?4 
 
 << 
 
 25c 
 
 The Flying Wedge 
 
 3 
 
 5 
 
 H 
 
 II 
 
 2yr 
 
 My Brother's Keeper 
 
 5 
 
 3 
 
 Kz 
 
 <l 
 
 25 r 
 
 The Private Tutor 
 
 5 
 
 3 
 
 2 
 
 (1 
 
 35*- 
 
 iMe an' Otis 
 
 5 
 
 4 
 
 2 
 
 • 1 
 
 25c 
 
 Up to Freddie 
 
 5 
 
 6 
 
 i^ 
 
 « 
 
 25c 
 
 . My Cousin Timmy 
 
 2 
 
 8 
 
 I 
 
 l< 
 
 25c 
 
 Aunt Abigail and the Boyf 
 
 9 
 
 2 
 
 I 
 
 {< 
 
 25c 
 
 Caught Out 
 
 9 
 
 2 
 
 ^Vz 
 
 l< 
 
 25c 
 
 Constantine Pueblo Jotirs 
 
 lo 
 
 4 
 
 2 
 
 l< 
 
 35c 
 
 The Cricket On the Hearth 
 
 6 
 
 7 
 
 i;^ 
 
 44 
 
 25c 
 
 The Deacon's Second Wife 
 
 6 
 
 6 
 
 2 
 
 • 4 
 
 35c 
 
 Five fct of Love 
 
 5 
 
 6 
 
 i;; 
 
 il 
 
 25c 
 
 The Hurdy Gurdy Girl 
 
 9 
 
 9 
 
 2 
 
 •♦ 
 
 35c 
 
 Camp Fidelity Girls 
 
 I 
 
 II 
 
 2 
 
 >4 
 
 35c 
 
 Carroty Nell 
 
 
 15 
 
 I 
 
 tl 
 
 25c 
 
 A Case for Sherlock Holmes 
 
 
 10 
 
 i^ 
 
 «< 
 
 35c 
 
 The Clancey Kids 
 
 
 14 
 
 I 
 
 44 
 
 25c 
 
 The Happy Day 
 
 
 7 
 
 5^ 
 
 « 
 
 25c 
 
 I Grant You Three Wishes 
 
 
 14 
 
 >^' 
 
 4< 
 
 25c 
 
 Just a Little Mistake 
 
 1 
 
 5 
 
 ,V 
 
 4< 
 
 25c 
 
 The Land of Night 
 
 
 18 
 
 iM 
 
 4« 
 
 25c 
 
 Local and Long Distance 
 
 t 
 
 6, 
 
 >i 
 
 4< 
 
 25c 
 
 The Original Two Bits 
 
 
 7' 
 
 J^ 
 
 M 
 
 25c 
 
 An Outsider 
 
 
 7 
 
 >4 
 
 4< 
 
 25c 
 
 Oysters 
 
 
 6 
 
 >^ 
 
 U 
 
 25c 
 
 A Pan of Fudge 
 
 
 6 
 
 % 
 
 if 
 
 25c 
 
 A Peck of Trouble 
 
 
 5 
 
 % 
 
 4( 
 
 25c 
 
 A Precious Pickle 
 
 
 7 
 
 % 
 
 4< 
 
 25c 
 
 The First National Boot 
 
 7 
 
 2 
 
 I 
 
 <4 
 
 25c 
 
 His Father's Son 
 
 14 
 
 
 i^ 
 
 44 
 
 35c 
 
 The Turn In the Road 
 
 9 
 
 
 i>^ 
 
 44 
 
 25c 
 
 A Half Back's Interference 
 
 lO 
 
 
 ^z 
 
 44 
 
 25c 
 
 The Revolving Wedge 
 
 5 
 
 3 
 
 I 
 
 <4 
 
 25c 
 
 Mose 
 
 II 
 
 10 
 
 iK 
 
 44 
 
 z^t 
 
 BAKF.R, Hamilton 
 
 Place* Boston, 
 
 Mass. 
 
 
< ^. 
 
 Tin 
 
 2^ hrs. 
 
 2 
 
 i 
 
 Plays and Novelties That Have Been "Winners" 
 
 1 
 
 MtiUi 
 
 J tmalst 
 II 
 II 
 
 7 
 
 12 
 
 15 
 
 10 
 
 6 
 
 !0 
 
 14 
 
 4 
 
 4 
 
 7 
 10 
 
 II 
 
 7 
 10 
 
 16 
 
 7 
 16 
 
 14 
 
 15 
 
 Camp Fidelity Girls 
 
 Anita's Trial 
 
 The Farmerette 
 
 Behind the Scenes 
 
 The Camp Fire Girls 
 
 A Case for Sherlock [lolmet 
 
 The House in Laurel Lane 
 
 Her First Assignment 
 
 I Grant You Three Wishes 
 
 Joint Owners in Spain 
 
 Marrying Money 
 
 The Original Two Bits 
 
 The Over-Alls Club 
 
 Leave it to Polly 
 
 The Rev. Peter Brice, Bachelor 
 
 Mfss Fearless & Co. 
 
 A Modern Cinderella 
 
 Theodore, Jr. 
 
 Rebecca's Triumph 
 
 Aboard a Slow Train la MIzzoary 8 
 
 Twelve Old Maids 
 
 An Awkward Squad 8 
 
 The Dlow'Up of Algernon Blow 8 
 
 The Doy Scouts a© 
 
 A Close Shave 6 
 
 The First National Boot 7 
 
 A Haif^Back's Inte»fcrence 10 
 
 His Father's Son 14 
 
 The Man With the Nose 8 
 
 On the Quiet " 
 
 The People's Money n 
 
 A Regular Rah ! Rah I Boy 14 
 
 A Regular Scream n 
 
 Schmerccase in School 9 
 
 The Scoutmaster 10 
 
 The Tramps' Convention 17 
 
 The Turn in the Road 9 
 
 Wanted— a Pitcher n 
 
 What They Did for Jenkins 14 
 
 Aunt Jerusha's Quilting Party 4 
 
 The District School at Blueberry 
 
 Corners 12 
 
 The Emigrants' Party 24 
 
 Miss Prim's Kindergarten 10 
 
 A Pageant of History Any number 
 
 The Revel of the Year 
 Scenes in the Union Depot •• " 
 
 Taking the Census in Blngvllle 14 S 
 The Village Post-Office 22 
 
 O'Keefe's Circuit 12 
 
 12 
 
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 BAKER, Hamilton Place, ' Boston, Mass. 
 
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 181244