NO PLAYS EXCHANGED. S©JSS?S&<3«3>(aiS3«^ B7\HER'3 Edition or PL7\Y>3 PS 635 •29 L83 Copy 1 BEEEZY POINT. f '^ $A. W. PINERO'S PLAYS. SI /ft k /ft «s /ft /ft /ft /ft /ft /»s Uniformly Bound in Stiff Paper Covers, Price, 50 cents each. The pvablication of the plays of this popular author, made feasible bythe new Copyright Act, under which his valuable stage rights can be fully protected, enables us to offer to amateur actors a series of modern pieces of the highest class, all of which have met witli distinguislied success in the leading English and Ameri(!an theatres, and most of which are singularly well adapted for ama- teur iiertormance. This publication was originally intended for the benefit of readers only, but the increasing demand for tlie plays for acting purposes has far outrun tlieir merely literarv success. With the idea of placing this excel- lent series within tlie reach of the largest possible number of amateur clubs, we have obtained authority to oifer them for acting purposes at an author's roy- alty of , . ^ » Ten Dollars for Each Performance. This rate does not apply toprofessional perj'onnanccs , for which terms will be niaile known on application. 'T'TT-C' A T^TT A "Zr^lMQ I A Farcical Romance in Three Acts. ByAUTlltTR inn. /\lVli-lZ-V>'i>.3. ^Y pi^-nKO. Seven male and live female char- ' ai.'ters. Oostxiines, modern; sci^iiery, an exterior and an interior, not at all difficult. This adniirahle laicc is too well known throat;!) its recent performance by the Lyceum 'i'licatre (>imi)any, New York, to need description. It is especially recummended to yoiuig ladies' schools and colleges. (1st).").) THE CABINET MINISTER. I iJ^^r^L^rLj^ — • — • ' and nine female character.^. Costumes, modern society ; scenery, three interiors. A very amusing piece, in- genious in constrii'dion, and brilliant in dialogue. (1892.) v»/ SI/ Vff FkAMnV'nTnr l a Farce in Three Acts. By ARTH0E W. Pinero. ^1% LJJ\X\LJ I. J-/lV-.rv* Seven male, four female characters. Costumes, niod- \f^ — — ' ern ; scenery, two interiors. This very amu.sing piece was another success iu the New York and Boston theatres, and has been ex- tensively played from manuscript by anuiteurs, for whom it is in every respect suited. It provides an unusual number of capital character parts, is very tunny, and an excellent acting piece. Plays two hours and a half. (1893.) Si SI/ «/ SI/ SI/ SI/ ^!^ s/ SI/ 33€s T'U'C TJ/^TS'D'V T-TiOTSC'C I A Comedy in Three Acts. ByARTHiTB 1 Xlii riyjDDX rH^lXOE-. w. Pineko. Ten male, five female ehar- ' acters. Scenery, two interiors and an ex- terior ; costumes, modern. This piece is best known iii this country through the admirable performance of Mr. John Hare, who produced it in all the principal cities. Its story presents a clever satire of false philantliropy, and is full of interest and humor. Well adapted for amateurs, by whom it has been success- fully acted. Plays two hours and a half. (1892.) T Ar\V RrM nvrTTTrr TT I ^ ^^^y ■'^ F'^"'" ^cts. By Arthur W. J-'jnAJ X D\J\J l^ I. IT \J 1^* I pijfERO. Eight male and seven female char- — — ' acters. Costumes, modern; scenery, four Interiors, not easy. A play of powerful sympathetic interest, % little sombre in key, but not unrelieved by humorous touches. (1892.) ^n BREEZY POINT A COMEDY IN THREE ACTS FOR FEMALE CHARACTERS ONLY BY BELLE MARSHALL LOCKE AUTHOR OF "MARIE'S SECRET," "THE GREAT CATASTROPHE," ETC. BOSTON 1899 -p^ BREEZY POINT. 25128 CHARACTERS. Aunt Debby Dexter, Mistress of Breezy Point. Elinor Pearl, of unknown parentage. AsHRAEL Grant, a workhouse waif. Mrs. Hardscratch, with business propensities. The Hardscratch Twins, who "-never tell ftoihin''." Mkhitible DooLlTTLE, Manufacturer of Catarrh Snuff and Bitters. Bernice Vernon, Laura Leigh, Au7tt Debby' s summer boarders, fresh from board- Edith Norton, ' ing school. Clarice Fenleigh, Fantine, Miss Ver7ion's French maid. Old Clem, the gipsy. N. B. — The characters of the Hardscratch Twins can be eliminated if desired to shorten cast. Costumes of the present day. U(w< TMP96-0 069 33 Copyright, 1898, by Walter H. Baker & Co. 7 ^. -^ ^ BREEZY POINT. PROPERTIES. Act I. — Flowers for Elinor and Ashrael, newspapers on table, travelling-bags for girls, letter for Ashrael, dinner-bell ready off left. Act II. — Pan of water, dish-cloth and dishes for Ashrael, dish- towel for Fantine, camera for Bernice, drawing-portfolio for Clarice, two tin pails for the twins, bag of candy for Laura, work basket with stockings for Aunt Debby, pan of pop-corn for Elinor, carpet-bag, small satchel, band-box and umbrella for Miss Doolittle, glass of lemonade for Elinor, book for Ashrael, dinner-horn for Elinor, pan of apples and knife for Aunt Debby, basin of water, sponge and bandages for Elinor, baskets for Old Clem, glass of wine and crackers for Aunt Debby, tomato can for Laura, letter and valise for Fantine, large bas- ket for Elinor, fan for Clarice. Act III. — Camera for Bernice, small tin box for Miss Doolittle, basket and packages for Ashrael, letter for Edith, satchel and box of roses for Aunt Debby, glass of wine for Ashrael. BREEZY POINT. ACT I. SCENE. — Sitting-room at Breezy Point. Table R., with books, newspapers, etc. Chairs each side, with hassock L. Couch L. Small table, with lamp, at head of couch. Easy-chair by table. Bookcase -up L. Easel, with picture, up R. Door, with portieres C. ELINOR at table R., ASHRAEL, L. of table, discovered, arratiging flowers. Elinor. There, Ashrael ! {Holding up bouquets. This will do for the front chamber. You say that you have filled the vases for the other rooms ? Ashrael. Yes, Miss Elinor, I've put narsturtimums in the room at the head of the stairs, sweet peas in the corner room, an' a mixter in the back chamber. Elinor. A what ? Ashrael. A mixter. Bein' as you're goin' to put that fur- rin maid in that room, I thought a mixed bokay would be more 'propriate for her. Elinor {laughing). You always had a nice sense of the fitness of things, Ashrael. Ashrael. Yes, I'm might pertickler about things fittin' ; an' speakin' of that makes me think, my red bask, that Miss Cuttin' made, iits like all possessed. I can turn 'round twice in it; an' there ain't much chance of fattin' up, bein' as you're goin' to have a house full of summer boarders, every one of 'em high-falutin' girls, who'll want some one to dance attendance on 'em from mornin' till night. Elinor. Bring your waist to me to-night, after supper, Ashrael, and I'll fix it for you. I am sorry to hear you speak so of the young ladies who are coming to stay with us. You know, as well as I, Ashrael, that there is a heavy mortgage on Breezy Point, and it something is not done to meet the payments, dear, patient Aunt Debby will have to leave the only home she 5 6 BREEZY POINT. ever knew. She has been so good to you and me, Ashrael, surely we want to do what little we can to help her. Ashrael {wiping her eyej on apron). You make me feel meaner'n pusley. Miss Elinor. Course I wants to do all I can, but it's in my blood to grumble, an' I can't help it to save my life ! Forgot ? Well, I guess I hain't forgot how Miss Dexter took me out of the poorhouse five years ago, and how you've both been a-doin' for me ever sence. I'll make you proud of me some day ; see if I don't ! Elinor. I hope so, Ashrael. Ashrael. Yes, sir-ree ! I'm still aspirin', an' them work- house imps, who used to call me " Ashes," will find there was a spark lett in 'em, that'll make a blaze one of these days. There, these are all ready now an' I'll jest have time to put 'em on the bureaus an' sweep the front piazza, before the train comes with that tribe of pesky — \rises) er — with the young ladies. {Aside.) My tongue gets longer an' sharper every day ! [Exit L. Elinor. I'm afraid that I feel something as Ashrael does about a crowd of noisy girls invading our quiet place ; but if my little scheme will bring some money to Aunt Debby, and drive that careworn look from her sv^^eet face, I'd be happy in Bedlam. [Rises. Aunt Debby {outside). Vanilla flavoring, Bridget, don't forget. {Enters L.) Ah, you are here, my dear. I'm a little anxious about the pudding, for I'm not quite sure that Bridget is the experienced cook she would have us think she is. Elinor. Sit down a few minutes, Aunt Debby, and get cool. You look a bit " fiustrated," as Ashrael would say. (Aunt Debby sits l. of table r., afid Elinor takes rose from table.) Isn't that a beauty ? I saved it for you. {Pins it on her gown.) We have a few moments before the train comes and let's compose ourselves. [Sits on hassock at her feet. Aunt Debby. Ah, Elinor, I fear this is a w-ild scheme of yours ; and now that the time draws near, I'm afraid this little place, that is so dear to us, will be very dull to those gay school- girls. Elinor. It will be perfectly delightful to them. Aunt Debby, mark my words ! Just think what a humdrum life they must lead at Madame Fmikin's city boarding-school, and what a delight these big meadows, the grove and the lake will be to them ! Aunt Debby. Yes, I know, but Elinor. " But me no buts ! " Two of the girls' parents have gone abroad and they couldn't go home ; one of them has money enough to buy friends, to be sure, but the poor thing hasn't a living relative in the country j and the other can't go to BREEZY POINT. f her home, because there is scarlet fever in tbe house. The girls wanted to be together, and when I read Madame Finikin's advertisement for a nice summer home for them, I knew Breezy- Point was just the place. And then the money, Aunt Debby, just think of that ! We can meet the payment on the mortgage in the fall all right. Aunt Debby. What a treasure you are, Elinor, and what a comfort you have been to me all these years ! Elinor. Sent to you market-fashion. Aunt Debby. I've pictured you many times finding me a little baby in a basket, at your door. Why. didn't you send me to the poorhouse ? Aunt Debby. Because, dear, when I pulled the blanket aside, you raised your tiny arms to me and smiled ; and from that moment, even before I lifted you from your rough nest, you had crept into my heart and I loved you. Elinor. I know it, Aunt Debby, I am sure of it, for I have never felt the loss of a mother's love, only Aunt Debby. Only you want to know who that mother was, dear, I understand ; but there was no mark but the name Elinor on your blanket. Then I called you Elinor Pearl, because you are the little pearl I found ! There was nothing to serve as a clue ; but you came from no poor place, Elinor, for your clothing was of the richest, finest quality. Elinor. Ah, why [Rises. Aunt Debby. There, there, child, dis*niss it from your mind. Eighteen years have gone since then, but some day I fearl that the mystery will be cleared, and in the meantime you have me, my dear. Elinor {throwing arms about her neck). Yes, I have you ! and I ought to be the happiest girl ASHRAEL {showing girls in C). Right this way. They've come, Miss Dexter. {Bus. for ASHRAEL examining girls curiously, tossing head at French maid, etc. Bernice. This is Miss Dexter, I presume. I am Bernice Vernon, and these young ladies are Clarice Fenleigh, Edith Norton and Laura Leigh. [Aunt Debby shakes hands with all of the girls as they are introduced. Aunt Debby, You are welcome to Breezy Point, and I hope you will be happy with us. This is my niece Elinor Pearl, and I am sure she joms me in bidding you welcome. Elinor. Indeed I do ! and I hope you will like this place one-half as well as we do. Bernice. I am sure we shall like it. Edith. We have been in ecstasies over the scenery all the way from the station. 8 BREEZY POINT. Aunt Debby, And now, as you must be tired after your journey, you will want to go to your rooms at once. Ashrael, show the young ladies upstairs. Bernice (as the girls are going out). This is my maid, Miss Dexter. I hope it has not been too much trouble for you to accommodate her. Aunt Debby. None at all, my dear, we have plenty of room. (Ashrael shows them out h.) A bright, pretty lot of girls, Elinor ! Maybe it won't be so bad after all. Elinor. Of course it won't, Aunt Debby. You will be in love with every one of them before a week is over. {Laughing.) Oh, I know your soft heart ! Aunt Debby. At any rate, you occupy the softest place in it, my dear. Elinor. And I'm going to try and keep it, I give you fair warning ! But tell me, what can I do to help you ? Aunt Debby. Not a thing, only look after those girls, if they want anything. I am going to see if Bridget's getting on all right with the dinner, for 1 know they must be hungry. [£xit L. Elinor {folding newspaper, arra7tgiftg table, etc.). Dear Aunt Debby ! She is always thinking of other people, always trying to make them happy. Why, she even signed her home away to raise money to save a worthless brother from disgrace. Ah, well, he is dead and gone and so is the money, and I must try and use my wits, as well as my hands, to save this dear old place. {Dropping into chair L. of table.) What a terrible thing it is not to know your own name ! I wonder if I have a mother in this big world, and why she thrust me, a helpless child, among strangers. I look at the veins in my hands sometimes, and wonder whose blood flows in them. I look in the glass, and long to know if my face is like my mother's ; but, most of all, I want to feel that she was good and innocent ! And yet that doubt is always in my mind. {Buries face in hands, crying.) But I must stop thinking ! How wicked I am, and how it would grieve Aunt Debby to see me like this. {Rises.) I'll run up- stairs and bathe my eyes. {Sound of girls laughing merrily.) How happy they are, those girls ! And I'm going to be happy too! I'm not going to play the role of " Auntjs Doleful," and if I've one bit of energy in my nature it's time to assert it. \_Exit L., singitig, •' It's better to laugh than be sighing." Enter Ashrael, c. Ashrael. There ! I've got 'em located, lugged up hot water enough to drown 'em, an' now I'm to wait here, ready to be at their beck an' call, {sits by table) an' I'm a-goin' to do it cheerful, too, 'cause I said I would. That French maid jest BREEZY POINT. 9 makes me sick ! I'll let her know she can't put upon me ! I'll try to do my level best for those girls, but that critter has jest got to keep out from under my feet ! There's one good thing about it, they all seem to like the place, an' their rooms suited 'em to a T. I couldn't help lafifin' to hear 'em rave over the scenery. I never could see anything so aw^ful wonderful about old Mt. Prospect ; 'tain't nothin' but a mountin anyway ; and Lily Lake ain't much to look at, but they nearly had highstencks over it. I heard 'em a-plannin' to climb Blueberry Hill, to- morrer, to get a view. If they'd gone up tiiere berrym' as many times as I have, an' scratched themselves 'bout to death an' tore their clothes 'most off 'em, they wouldn't be in such a rush to try it. (Rises.) But that's always the way ! Folks that kas to do things don't want to. Goodness gracious ! there's that letter I got from Billy Griffin this mornin' in my pocket now, an' I hain't had time to read it. {Takes it out of pocket.) Billy's well enough in his place, but I'm lookin' higher than to marry a butcher. I'm goin' to aspire as long as I live ! I don't know what it'll amount to, but I'm goin' to be somethin' ; I hain't decided what yet. (Looks at letter.) Dreadful queer penman, Billy is. I hope he likes his place over to Greggsville. It was an awful relief to get him out of here. (Opens letter and reads to herself.) Yes, same old story ! He's fairly dyin' for love of me. (Reads.) " I shall shoot myself before the year is out if you do not consent to be my lawful wedded wife." He got that out of a book I lent him. (Reads.) <• My blood will be upon your head." His blood be upon my head. Well, I guess not ! What an idea ! I 'spose butchers always write kinder bloody. Goodness ! here's that French wriggler. (Puts letter in bosotn.) She makes me think of an angle worm. Enter Fantine, c. Fantine. Oh, you are here, Ashreel. ASHRAEL. Yes, there ain't no mistake about my bein' here! (Sits R. of table.) But Ash-reel ain't my name. Fantine. Oh, pardonnez moi. I thinks you said zat was your name. Ashrael. No, I didn't ! I said Ash, A-s-h. You got that? Fantine. Oui, Ash. Ashrael. No, we ain't Ash, I am. Fantine (laughing). Well zen. Ash. Ashrael. R-a — ra ; do, ra, like the scale, you know. Fantine. Ah, yes, ra. Ashrael. E-1 — the ell of a house, you know. Ash-ra-el ! Fantine. Ah, I haf it now — Ash-rah-eel ! Ashrael. For goodness' sake, don't you know nothin' lO BREEZY POINT. scarcely ? It jest gives me the shivers to hear my name said wrong. Fantine. Ah, nevare rhind such a leetle, small thing as zat ! You like zis place ? 'ASHRAEL. Like it ? Why, I'm dead stuck on it ! I got my health here. Fantine. You were sick ? ASHRAEL. Well, I was boarding where there was a lot of old, helpless people, an' it kinder affected my nerves, so I came over here, an' my physician said I must help round, for piy health. I needed exercise. Fantine. It seems vera quiet here. ASHRAEL. Well, the band don't play every day, an' the streets ain't crowded. Fantine. I lofe ze town, where I can go to some dances an' meet some zhentlemens. Ashrael. Do you know how to waltz ? Fantine. I know how to waltz ? Like a leetle fairy ! Ashrael. I kinder want to learn to waltz. It might come handy. Fantine. I shall teach you. {Rises and goes stage centre.) Come here, Ashrael. (Ashrael ofi her right j Fantine rais- ing skirt.) Place your loot like zis. One! {K^nv^KEL places foot awktuardly.) Now, two! {Asn'B.A'EL imitates.) Three I Now take your skirts like zis an' follow me. "( Waltzing.) 'Tis vera easy. Ashrael {gasing at her). Well, if you think I'm going to hold my dress up like that, show my stockings an' go bobbing round like a five-cent top, you'll get left. I don't want to dance anyway ; it hain't dignified. [^Sits at table as before. Fantine. I lofe it! {Sits -l. of table.) Oh, Ashrael ! I breaks so many hearts. You have no- — what you call the sweet- hearts, here ? ' Ashrael. Nonsense ! the woods are full of 'em. Fantine. In ze woods ! What for do they go in ze woods ? Ashrael, Oh, I mean there is lots of 'em. Beaux to burn ! I'm bothered to death with 'em. Fantine. How lofely ! You shall gif some to me. ASHliAEL. Help yourself. Fantine. Tell me about zose sweethearts ! Ashrael. Well, as a nation, we don't brag much about our beaux. We kinder keep still about 'em. Fantine. And zat lettare, zat leetle billet-doux, I see you hide in your bosom, is zat from one of ze beaux ? Ashrael {aside). I'll bet that girl has got a row of eyes all round her head ; but for the land sake, how did she know his name was Billy ? BREEZY POINT. II Fantine. You speak not, but I see ze leetle ,blusl;i on your cheek ! Ah, tell me about ze lettare. ASHRAEL. Well, there ain't much to tell, {loftily) only the writer of it intends to shoot himself because I won't have him, that's all. Fantine. To shoot heemself ? How gr-r-and ! I should lofe to have a man shoot heemself for me. Ashra.el. I can't say I am fussy about it ; still if he's bound to do it, I can't prevent him. Fantine. Ceretainly not ! It would be vera nice. ASHRAEL. There's one thing certain, I sha'n't give up aspir- ing an' marry a man jest to keep the breath of life in him. Fantine. Geeve up wliat ? AsHRAEL. My high-born asperations. Don't you know what them be ? Fantine. No. Je ne comprend pas. ASHRAEL. Oh, talk United States ! Fantine. Pardonnez moi, I know not what you mean by asperasions. Ashrael. I mean that I'm goin' to be somethin' great sometime ; I don't know jest what ; I ain't decided. {Rocks "Violently.) I may be an opery singer, a dancer Fantine. No, no, I thinks not ! Ashrael. Or an actor. I can't tell. Fantine. Ah, you mean zat you will study to be some great artiste ? Ashrael. I don't know as I shall be an artist. I can't draw a barn. I might be a painter, for I painted the fence and it looked well ; still I can't tell. I don't know what turn my tal- ents will take. Fantine. Where is the man who, for you, will shoot heem- *self? Ashrael. He's over to Greggsville. He's comin' over to- morrer night, an' I'll interduce you if you want to see him. He ain't much to look at, but he's deep, awjul deep. Fantine. Ah, I shall be enchanted, fasceenated. Ashrael. You can try all your French tricks on him that you're a min' ter ; he won't even look at no girl but me. He says he's " loyal to the heart's core." I don't know how fur in that is, hut I guess it's pretty fur. Fantine. What is he's beesness ? Ashrael (rises and walks L.). Oh — he — he — dabbles in blood, cuts and slashes, you know. Fantine. Ah, I see, he is a doctor. Ashrael. Yes, he doctors calves, sheeps, pigs, an' the like, an' when he gets through with 'em they never have another pain. 12 BREEZY POINT. Fantine {rising). He must be gr-r-and in hees profession — a vet-vet-erenerery surziion ! ASHRAEL {aside). Ain't she a greenhorn ! I'll put a flea in Billy's ear not to let on he's a butcher. {Aloud.) How long have you been livin' without work ? Fantine. What you say ? ASHRAEL. How long have you been a maid ? Fantine. Oh, tree year ; but not with Mademoiselle Vere- non only two month. Her maid got married an' I got ze posi- tion ; but I will get married also, when ze chance to me comes. ASHR ael. You'll have quite a chance to rest before it arrives, I reckon, Bernice {outside). Fantine ! Fantine ! Fantine. She is "calling to me. I will see you some more, when it is later,- Ash reel. [Exit c. ASHRAEL. Ashreel ! That makes me fightin' mad to hear her say it that way ; but it's no use tryin' to learn her anything, her head's thick as a board. Ain't she got a soft chance, though ! Jest to comb that girl's hair, hook up her dress, an' little jobs like that ; then she lives in the city, an' prob'ly she'll go across the water with her this fall. I heard 'em say some- thing 'bout it. I'd go with one meal a day the rest of my life, if I could go over there ! Enter Clarice, Laura and Edith, c. Laura. What time do we dine, Ashrael ? I believe that is your name ? Ashrael. Yes, miss, you've got it right, for a wonder. We dines jest as the clock strikes one. ^Exit L, Laura. "We " dines at one, do you hear ? Come on, girls, let's take a run over in the grove yonder ! Bernice is going ; she's getting ready now. Clarice. I do not think I'll go out, Laura, until after the sun goes down. My head is trying to ache and I'm pretty sure it will succeed if I give it half a chance, {sits on couch) but you go, Edith. Edith. No, I'll stay with you.. Run along, Laura, with Ber- nice, and find all the pretty nooks. We'll be with you to-mor- row, sure. Laura. All right ! Take care of your head, Clarice. Edith. And don't you fail to be here at one ! I'm hungry as a bear. Laura. " There are others ! " -Don't worry ; we'll be here. ^ \Exii C. Edith (going back of couch and rubbing Clarice's head). I don't like these headaches ; they are by far too frequent. BREEZY POINT. 1 3 Clarice. Well, as a steady diet, I think, myself, they are not satisfactory. Edith. Why, you aren't one bit lil. Well, I saw Billy Griffin, a-lias, the runaway lover. Girls. No 1 Ashrael. Yes, I did, as true as I live ! and I gave him a lesson he won't forget in a hurry. Elinor. What did you do, Ashrael ? Ashrael. I was just comin' out of Rogerses store when I met him face to face. Bernice. Did he speak ? Elinor. How did he look ? Ashreal. Turrible ! just as if he'd had a fit of sickness. I purtended not to see him, but he walked right up an' said ! «' Oh, Ashrael, how could I ever have done it ! " " Sir ? " said I with an awful vacant stare. " Oh, Ashrael ! " he says agin, "she's a reg'lar fiend, an' I wish I was dead forty times a day ! I'd rather have your little finger, than " " My good man," says I, " you must be insane. I have never sot eyes on you before ! " \Girls laugh. Clarice. Oh, Ashrael ! Elinor. Did you say that ? BREEZY POINT. 45 ASHRAEL. I jest did !. an' he ketched hold of my sleeve, an' says : " You don't know me, Ashrael ? Ah this is more crueller than death ! " Jest then a peiiiceman came along an' I says : "Mister Perlice, here's a man what's crazy as a loon. I was just makin' a few purchases, pre'vus to goin' to Paris, an' he insists on molestin' me. I wish you'd take him in charge." An' he hooked on to Billy's arm in spite of him a tryin' to explain, an' the last thing I seen, he was a yankin' him. down the street. ^Gir/s laugh. Bernice. Served him right, Ashrael. Laura. " Hell hath no iury like a woman scorned ! " Ashrael {shocked, aside to Bernice). Land sake ! does she swear ? Bernice {laughing). Oh, no. That was a quotation, Ashrael. Ashrael. Well, it sounded to me like swearin'. Elinor. You are well rid of that fellow, Ashrael. Ashrael. I reckon I know it. Well, I'll just run upstairs an' slick up your room. Miss Bernice, an' then, if there's any- thing to do, I'll be ready for it. Bernice. Come, Laura, we'll go with you. There are ever so many things to do. Ashrael. Well, I'm just the girl to tackle 'em ! \Exit Bernice, Laura and Ashrael, c. Elinor. How glad I am Ashrael is so happy ! She is a rough diamond, but the worth is there, and polishing will show what she really is. Now I'm going into the garden to pick some currants, and if Aunt Debby doesn't cbme home right away I'll try my hand at currant jelly. Clarice. I'll go with you. Elinor. No, the sun is hot and your head will ache. Just keep cool, my dear, that's my advice. \^Exit L. Clarice. May be she is right. The sun plays havoc with my weak head. {Drops into chair R.) Dear me, I haven't the strength of a mouse. I'm indigo all of the time and it's a perfect force trying to be jolly for, as Lowell says : " When I'm smiley 'round the mouth, I'm teary 'round the lashes." Heigho ! I'd never have believed, two years ago, that any man could have given me such a heartache. Maybe it's Edith's engage- ment that makes my own trouble seem harder. Dear little girl, how happy she is ! I hope nothing will ever happen to destroy her trust. \^Leans head on hand. Enter Edith with letter in hand, c. Edith. Oh, I'm so out of breath and my head is spinning round like a top ! I must find Clafe at once. {Discovers her.) 46 BREEZY POINT, Oh, there you are ! Clarice Fenleigh, I was never so happy in my life ! 1 could scream, dance, run ! Clarice {rising). What in the world is the matter, Edith ! Edith. Lots ! Oh, dear, let me get these gloves oft" and sit down and gather my wits, like a rational being. [Removes hat and gloves. Clarice. Sit here, dear, and get cool. (She sits L. of table R.) Here is a fan. {Gives fan.) You have been rather fiigiity for several weeks, but I've never seen you quite as bad as this. What is it ? {Sits R. of table.) Has some wonderful good fortune befallen Dick ? Edith. Oh, he's the dearest, best boy in all the world ! Clarice. No doubt of it, I shall offer no argument. [Laughs. Edith. And I would hug him, if he were here. Clarice. Oh ! Edith. And so would you. Clarice. No, I wouldn't. Edith. Then you'd be an ungrateful little minx ! Oh, I was positive he'd do it ! but I didn't say a word. Do you see that letter, miss ? [Holding up letter . Clarice. I see an envelope ; cream color, ordinary size, nothing extraordinary to look at. Edith. You just wait ! That letter will make you so happy you won't know where you're at ! That letter is from Dick. Clarice. How can it interest me ? Edith, I thought you had left off using slang. Edith. I don't care a rap about slang ! Oh, dear, where shall I begin ! Clarice {laughing). Begin at the end. Edith. Good idea! Well, then, Miss Clarice Fenleigh, you will be engaged to Charles Grierson, Jr., this very night. Clarice {rising). Edith ! Edith. There, there, sit down and get ready to be happy. (Clarice sits.) Well, you know that day I went driving with Dick? Clarice. Yes. Edith. Well, I asked him if he knew where Charlie was, and he said he left him in the Adirondacks ; that he tried to have him come up here with him, but he refused when he learned you were here. Clarice {bitterly). Naturally. Edith. Well, then, I just told Dick every word that you told me. Clarice. Oh, Edith ! I'll never forgive Edith. Yes, you will, and thank me, too ! Well, Dick said, as I did, that there was some mistake. BREEZY POINT. 47 Clarice. I don't l)elieve it. Edith. Well, you'll have to ! So Dick went straight back to the Adlrondacks the very next day. Charlie had gone from there, and he's been following him from place to place, until he located him a week ago, and this is what Dick says. [Ta^es letter from envelope. Clarice. Oh, Edith, go on ! Edith. Getting a little nervous yourself, aren't you, Miss Placidity ? Well, I shan't read you how it begins, but just what concerns you. Clarice. Yes, yes. Edith {reading letter). " Found Grierson to-day, after chasing him all over the country. He's more deeply in love than any man you ever saw, except one " Oh, dear, I didn't mean to read that, " and that bouquet business caused all the trouble. You see it was like this. Charlie went to the flori§|'s and ordered two boxes of flowers ; English violets for his sister, who was ill, and roses for Miss Fenlei^h. The mistake was, of course, made in delivering the boxes. I've just ex- plained matters and I never saw a happier fellow in my life. We leave here to-day and shall be with you Thursday evening." That's to-night. " Don't say a word ; Grierson has the ring in his pocket and it's a sparkler ! " There, I'm not going to read another line. Why don't you speak ? Clarice (rises and walks L.). I am so dazed, dear, that I'm afraid to speak, afraid to tell you how happy I am, for fear it is not real. Edith. Well, I reckon, you'll find it's real when you see him. I think it's the jolliest thing I ever knew. Clarice {ar7/i about Edith). And you did all this for me ! Sent your sweetheart away, when you would have been so happy to have him near you, and Edith. If he hadn't gone I should never have cared one bit for him, never ! Enter Ashrael c, out of breath. AsHRAEL. Miss Dexter's come ! The stage is at the door ! Where's Miss Elinor ? [Exit L., calling, " Miss Elinor .' Miss Elinor ! " Enter Aunt Debby, Bernice and Laura c, Bernice carry- ing satchel, wraps, etc., "LAXiKA box and umbrella. Girls surround her, Edith. Oh, Aunt Debby, you've come ! [Kisses her. Clarice. And I'm so glad. Do stand back, Edith, and let me have a chance ! [Kisses her. 48 BREEZY POINT. Laura. Sit right down here and let us take your things off. [They seat her at table L., and remove her bonnet, gloves, etc. Aunt Debby. Be careful of that box, Laura, my dear. Laura. I've put it over on the table there. Aunt Debby. Aunt Debby. Hov\' good you all are ! But where's Elinor ? [Elinor and Ashrael running on L. Elinor. Here I am ! {^Embracing her.) I was in the garden and I fairly flew to get here. You don't know how I've missed you. Ashrael, bring a glass of wine. Aunt Debby looks tired. (Ashrael going.) I say, Ashrael! [Aside to her.) Do not tell Aunt Debby that Bridget and Jane are gone. Wait until she rests a little. {To Clarice.) Tell the girls not to mention it. [^Exit Ashrael l.; Clarice whispers aside to Edith, Bernice and Laura. Aunt Debby. I am a liitle tired. Travelling is new busi- ness for me. How good it was of you girls to wait for my return ! I'm afraid it has been a sad inconvenience. Bernice. Laura and I could stay as well as not, and I'm pretty sure Edith and Clarice aren't in any great rush to get back to " Finikins." Edith {mysteriously). I'm not so sure we shall go back. Bernice. What do you mean ? Edith. Just stand back, while I whisper to Aunt Debby. \Pushing girls aside, whispers to AUNT DebbY. Laura. Well, I like that! What's up, Clarice 1 Clarice. I — I am sure — I Edith. Don't ask her, but to-night {mysteriously) when the clock strikes twelve, I will a tale unfold Enter Ashrael l., with glass of wine, Ashrael. This will put some life into you. Miss Dexter. I tell you it seems good to see you again, for, somehow, I couldn't help feelin' that a burglar had broke into the house an' carried everything out of it. And now I'm jest goin' to get luncheon ready for you. Aunt Debby {drinks wine). Tell Bridget Ashrael. Oh, never mind Bridget, she's tired ; I can do it jest as well as she can. ^Exit Ashrael l., winking at girls. Aunt Debby. It's worth going away to receive such a wel- come as this. My heart was very heavy when I left, but now, it's lighter than it has been for years. Elinor. Lean back in your chair, Aunt Debby, and don't try to talk until you get rested. Aunt Debby. I cannot, my dear. Why, I could scarcely BREEZY POINT. 4 9 wait until I got here, I have so much to tell. No, I cannot rest until I have unburdened my heart. Sit down, my dears. Elinor, sit here at my feet. (Bernice and Laura sit at table R., Clarice; and Edith on couch, Elinor at Aunt Debby's feet.) I'm not a good hand at telling fairy-tales, but this sounds so much like one that, as the twins say, I've felt like pinching myself to see if it were true. Bernice. I know it's something nice, for Aunt Debby looks so happy. Aunt Debby. One summer evening, a long time ago, a lonely old maid found a dear little baby, in a basket, at her door. She took the little one to her heart and home, without knowing her parentage. Eighteen years later, when the baby had grown to be a young woman, and the sunshine of the home into which she had come so strangely, an old gipsy woman died, and confessed to this woman that she had stolen this child from a rich family in St. Louis, because they had driven the gipsies oif their land. Elinor. Oh, Aunt Debby ! \Rises and stands beside her much agitated. Aunt Debby. The poor old maid wanted to ascertain if the story was quite true, so she never said a word, but started to find the family the old gipsy had told her of. Bernice. Why, Aunt Debby, that was you ! Edith. And the child was Laura and Clarice. Elinor ! Elinor {kneeling by Aunt Debby). Oh, Aunt Debby, go on ! Aunt Debby. And so the old maid went to St. Louis and found Elinor. Yes ? Aunt Debby. Found the father ! (Elinor kneels and buries face on Aunt Debby's shoulder.) The mother had been dead ten years. {All rise.) Yes, my Elinor, your father awaits his child. He had been ill and was not strong enough to come to you, but he is longing for you every hour. You will be very proud of your father, Elinor, for you are the daughter of the Honorable Richard Arlington, whose name is a power where he is known. Elinor {throwing arms about her neck). Oh, Aunt Debby, I can never leave yoi{. Girls. No, indeed ! Aunt Debby. The sweetest part ot it all to me is that I am to go Vv'ith my little girl, to stay with her always. Elinor. Oh, Aunt Debby, is it true } Bernice. Isn't it glorious ? Clarice. Better than any fairy-tale I ever heard ! Edith. Let me hug you, Elinor. 4 50 BREEZY POINT. Girls. Pass her round. [Edith embraces her and turns her once around into Clarice's arms, same business with Laura and Ber- NICE ; girls all laughing, saying, •' My turn next ; pass her to me." etc. Aunt Debby {giving Elinor box). Your father sent you these flowers, Elinor,, with his dearest love. Girls. Aren't they lovely. [Elinor sits at table R., gazing at flowers lovingly. Laura. Is he rich, Aunt Debby ? Aunt Debby. As the prince in the fairy-tale ! Bernice. But, Aunt Debby, what's to become of us } We can't come to Breezy Point again. Aunt Debby. This will be my summer home and yours, as long- as you wish to make it so. Bernice. Glory ! Edith. Three cheers for Aunt Debby ! Laura. And Lady Elinor ! Clarice. And dear old Girls. Breezy Point ! [Aunt Debby back of Elinor's chair, r., Elinor holds her hands about her neck, looking up into her face lov- ingly. Chair at table left, swung around with back facing stage centre. Edith kneeling in it, facing Clar- ice, who holds her hands, one arm about her. Bernice and Laura centre. Pause for tableau ; then a noise of wheels outside and a loud masculine voice crying " Whoa, whoa, boy!" Ashrael {run7ting on C). Oh, Miss Bernice, they is two young men jest drove up in a buggy an' they're comin' in. \All rise and turn towards door C, forming picture. Bernice. See who they are, Ashrael. \Goes L, Laura {to l.). Yes. hurry, Ashrael. [Clarice and Edith rise and come c, looking up stage j a pause of suspense, then — Ashrael {runniftg in c, in a hoarse whisper). It's Mr, Richard Coleman and Mr. Charles Griersoi). (^Looking off ; aloud.) This way, gentlemen. \^General expectancy j justas the two men are about to enter. CURTAIN. A NEW FARCE COMEDY. THE WIDOW FROM THE WEST. A Farce Comedy in Three acts. By HILTON COON. Five male, three female characters. Scene, an easy interior, the same for all three acts; coscuraes, modern aud eccentric. This piece, whicli was success- fully presented for a s«asou by ilie Don C. Hall Comedy Company, touring the Western States, is a farce comedy of the irresponsible school founded by Mr. Hoyt. Depending largely tor its fun upon the contributions of individual humor of its players, it reciprocates by supplying a strong, if loosely woven, fabric of plot which can be embroidered with " specialties " to any extent. Plot is not usually a strong point in such pieces, but " The Late Mrs. Early," as it has also been called, provides quite enough to carry the interest of the per- formance successfully. The piece has plenty of incident and " business," and room for mucli more, and its characters provide an excellent basis for clever comedians to build " hits " upon. Not recommended for schools or church per* formance, as it is essentially theatrical in character. Price * 15 Cents. SYNOPSIS. .■ ACT I.— The Weeping "Willow Hotel. Indis Guys, the detective. Back from Klondike. " After the ball," The old maid's visit. A clever scheme. The Widow from the West. " If I was n't a married man." Tlie rivals. A tele- gram. Sick abed. Angelina arrives. ACT II. — The two nurses. Sassafras tea. The bell-boy. Touched for two hundred. " Charge it in the bill." The red silk stocking. The detective again. "No one has ever seen my face." A noted criminal. Touched again. "Dis- charging" the boarders. "Ephesus, you have deceived me." Angelina defied. ACT III.— "One-eyed Eddie." The French maid. The widow and the de- tective. Knit vs Nit. "O Dusty! this is so sudden." A cloclc in a fit. The haunted house. Touched again. More fits. "Just like a man's beard." Caught at last. The telegram. "What's the dilf— I've got on pants?" Angelina abol- ished. AN ENGAGING POSITION. A Comedy in Two Acts. By LEWIS E. MACBRAYNE. Three male, three female characters. A briskly and humorously written Uttle comedy, with an ingenious plot, full of ludicrous situations. A society piece, admirably adapted for amateur performance, and caili. g for pretty though not elaborate stage settings, and handsome modern costuming, morning and evening dress. Its story concerns a young society man, who, by a series of mistakes, becomes engaged to three young ladies at one time — a somewhat try- ing and difficult position, the solution of which is ingeniously accomplished with most amusing results. An excellent piece, and a sure hit in the proper hands. Price IS Cents, Sent, postpaid, on receipt of price, by BAKER, 5 HAMILTON PLACE, BOSTON, MASS, A NEW COriEDY. A GILDED YOUTH. A Comedy in Three Acts. By CHARLES TOWNSEND. Originally produced under the title of " Moses." Three male, two female charac- ters. Scenery, three easy interiors; cotsumes, modern. This piece, originally pro- duced by the author and employed by bim for several seasons as part of his repertoire, provides for a full evening's entertainment and yet calls for but five characters. It is unique in ihis paiticular, and meets a want often felt by small professional companies as well as by amateurs. It naturally follows that every part is an important one, since so few people are reqviired to carry the interest of the piece, which is second to none of the author's extensive list, and possesses to the full those qualities of briskness, bustle, wit, humor, and "go" which constitute his professional trademark. Its story is neces- sarily a slender one, but it is complicated with an unusual wealth of humorous incident and ludicrous situation, and its action never flags for an instant. An " all star " com- edy for low comedian, " touch and go" light comedian, old man, old maid, and sou- brette. Strongly recommended. Price 25 Cents. SYNOPSIS. ACT I. — Time, a midsummer afternoon. Long Branch. A romantic maiden. The Colonel gets news. Sam and Sadie. The pitcher of milk and the tale of a cat. Aunt Sadie's " nerves." Moses! Acaseofmix. Sam gains a promise. Trouble threatened. Trouble comes. A grand smash. ACT II. — Five minutes later. Sam's letter. Law and love. Sadie's suggestions. The "Slugger." Sam on his muscle. Moses and the Colonel. More mistakes. " Set- tled out of court." The broken promise. Mosesa wreck. *' I want revenge." A joint- stock love-letter. Sam's device. Aunt Sadie sees a chance at last. Sam reads the Riot Act. Comical climax. ACT III. — An hour later. At the Colonel's. Aunt Sadie grows impatient. Moses more mystified. Sam talks politics with the usual result. The Colonel on the warpath. Sadie's scheme. "' Back me up now." The storm approaches. A cyclone — of fun. Sam's triumph. " After the storm, a calm." A Novelty in Entertainments. APOLLO'5 ORACLE. By ESTHER B. TIFFANY. An entertainment in one act. This novel entertainment is admirably adapted for summer theatricals at hotels or country-houses, not only because it requires no scenery and calls for Greek costumes only, which are easily arranged, b'jt because its fun de- pends as much upon the audience as upon the actors. Two ladies and one boy are re- quired for its representation, and any nt(mber of girls for chorus. Complete with music. Price 15 Cents. Sent, postpaid, on receipt of price, by BAKER, 5 HAMILTON PLACE, BOSTON, MASS. TT-TP TVTT A ^^T^TT? ATHP" I -^ Farce in Three Acts. By Arthiir W. 1 rXC IViT^VJlO 1 XVXi. 1E« piMKRo. Twelve male, four female char- —————————— acters. Costumes, modern; scenery, all interi()r. Tlie merits of this excellent and amusing piece, one of the most popu- lar of its author's plays, are well attested by long and repeated runs in the >i^ principal American tlieatres. It is of the highest class of dramatic writing, and ^i^ is uproariously funny, and at the same time unexceptionable in tone. Its entire \v suitability for amateur performam^e has been shown by hundreds of such pro- fl\ ductions from manuscript during the past three years. Plays two hours and 'A! a half. (1892.) fky l\ nTT-TP TVT/^T'O'P T(^T TQ A Drama in Four Acts. By Arthur W. fl\ 1'^ inc^ l^KJ l\JI\J.\JKJgiie l)iiniant, and its scheme of character especially rich in quaint and humoi'- f^\ ous types. The Hon. VereQueckett and Peggy are especially strong. The piece j^ is in all respects suitable for amateurs. (1804.) THE SECOND MRS. TANQUERAY. if/ f (1804.) Also in Cloth, $1.00. W» W/ *sWFFT T AVFMDFR I ^ Comedy in Three Acts. By Arthur ^1/ i> "^WliJ::.! J^.tt. V liiNl-'IilV. w. Pi.NEKO. Seven male and four female }V. J/ —^——^————^—^—^ characters. Scene, a single interior, the %l/ '!•. same for all three acts ; costumes, modern and fashionable. This well known ^^ ll/ and popular piece is admirably suited to amateur players, by whom it lias been %■/ '- often given during the last few years. Its story is strongly sympathetic, and its ^I^ comedy interest abundant and strong. (1893.) ^I# A Play in Four Acts. By Arthur "W. PiNERO. Eight male and five femalechar- acters. Costumes, modern ; scenery, three interiors. This well-known and powerful pl.iy is not well suited for ainate\n- per- formance. It is offered to Mr. Pinero's admirers among tlie reading public in answer to the demand which its wide discussion as an acted play has createii. THE TIIVIES I A Comedy in Four Acts. By Arthur W. Ptnero. Six ■'••'-'-' ••• x-^'-'J-^J* I niale and seven female charactere. Scene, a single ele- gant interior; costumes, modern and fashionable. An f entertaining piece, of strong dramatic interest and admirable satirical humor. \§£ (1802.) W TMF 'M7T7AK'FP QTTY I A Comedy in Three Acts. By Arthur }'/ xxix^ Wi:tfU \JLrv. jrLA« W. Piner'o. Fight male and eight female %!/ ' characters. Costumes, modern : scenery, Tv, two interiors, not difflcult. This very amusing comedy was a popular feature of %l# the repertoire of Mr. and Mrs. Kendal in this country. It presents a plot of ?K strong dramatic interest, and its incidental satire of" Woman's Rights'" em- MJ ploys some admirably humorous characters, and inspires many very clever lines, ?K its leading characters .are unusually even in strength and prominence, which M# makes it a very satisfactory piece for amateurs. (1894.) !», w LIBRARY OF CONGRESS ^ NEW OPERETTAS FtrK®v.?iIJSL?7^ ^ EDITH'S DREAM. %Xi ©T^txtitd. for Ctiiltirciu Words by MARGARET FEZANDIE and EDGAR MORETTE. Music by EUGENE FEZANDIE, Jr. Eleven characters, girls and hoys, or all girls, as preferred ; te5i or more addi- tional for chorus. Scenery unnecessary; costumes, pretty ai>.licity and perfect practicability. Meither stage nor scenery is den)an