PS 3521 .fl86 M3 1915 Copy 1 TSDENISON &C COMPANY PUBLISHERS CHICAGO DENISON'S ACTING PLAYS Partial List of Successful and Popular Plays. Large Catalogue Free. Price 15c each. Postpaid; Unless Different Price is Given DRAMAS, COMEDIES, ENTERTAINMENTS, Etc. M. F. Aaron Boggs, Freshman, 3 acts, 2^ hrs (25c) 8 8 After the Game, 2 acts, 1 Y^ hrs (25c) 1 9 All a Mistake, 3 acts, 2 hrs. {2Sc^ 4 4 American Hustler, 4 acts, 2^^ hrs (25c) 7 4 Arabian Nights, 3 acts, 2 hrs. 4 5 As a Woman Thinketh, 3 acts, 2^ hrs (25c) 9 7 At the End of the Rainbow, 3 acts, 2^4 hrs (25c) 6 14 Bank Cashier, 4 acts, 2 hrs. (25c) 8 4 Black Heifer, 3 acts, 2 hrs. (25c) 9 3 Brookdale Farm, 4 acts, 2^4 hrs (25c) 7 3 Brother Josiah, 3 acrs, 2 hrs. (25c) 7 4 Burns Rebellion, 1 hr (25c) 8 5 Busy Liar, 3 acts, 2^ hrs. (25c) 7 4 College Town, 3 acts, 2^4 hrs (25c) 9 8 Corner Drug Store, 1 hr. (25c) 17 14 Danger Signal, 2 acts, 2 hrs.. 7 4 Daughter of the Desert, 4 acts, 254 hrs (25c) 6 4 Down in Dixie, 4 acts, 2 '4 hrs {2Sc) 8 4 Dream That Came True, 3 acts, 254 hrs (25c) 6 13 Editor-in-Chiei, 1 hr (25c) 10 Enchanted Wood, 1 M b.(35c).Optnl. Everyyouth, 3 acts, 1 '4 hrs. (25c) 7 6 Face at the Window, 3 acts, 2 hrs (25c) 4 4 Fascinators, 40 min (25c) 13 Fun on the Podunk Limited, IVz brs (2Sc) 9 14 Heiress of Hoetown, 3 acts, 2 hrs (25c) 8 4 High School Freshman, 3 acts, 2 hrs (25c) 12 Honor of a Cowboy, 4 acts, 2i/. hrs. (25c) 13 4 Indian Days, 1 hr (50c) 5 2 In Plum Valley, 4 acts, 2 5^ hrs (25c) 6 4 Iron Hand, 4 acts, 2 hrs.. (25c) 5 4 Jayville Junction, H^ hrs. (25c) 14 17 Kingdom of Heart's Content, 3 acts, 254 hrs (25c) 6 12 Lexmgton, 4 acts, 2J4 h. .(25c) 9 4 Light Brigade, 40 min (25c) 10 Little Buckshot, 3 acts, 214 hrs. (25c) 7 4 Lodge of Kye Tyes, 1 hr.(25c)13 Lonelyville Social (Tlub, 3 acts, 154 hrs .(25c) 10 Man from Borneo, 3 acts, 2 hrs (25c) 5 2 Man from Nevada, 4 acts, 21/^ hrs (25c) 9 5 Mirandy's Minstrels. ... (25c) Optnl. New Woman, 3 acts, 1 hr.,,. 3 6 Old Maid's Club, 154 hrs. (25c) 2 16 Qld Oaken Bucket, 4 acts, 2 hrs (^^5r> 8 6 Old School at Hick'ry Holler, 154 hrs (25c) 12 9 On the Little Big Horn, 4 acts, 21/2 hrs (25c) 10 4 Out m the Streets, 3 acts, 1 hr. 6 4 Prairie Rose, 4 acts, 254 hrs. (25c) 7 4 Rustic Romeo, 2 acts, 254 hrs (25c) 10 12 School Ma'am, 4 acts, 1J4 hrs. 6 5 Scrap of Paper, 3 acts, 2 hrs.. 6 6 Soldier of Fortune, 5 acts, 2i^ h. 8 3 Southern Cinderella, 3 acts, 2 hrs (25c) 7 Third Degree, 40 min (25c) 12 Those Dreadful Twins, 3 acts, 2 hrs (25c) 6 4 Tony, The Convict, 5 acts, 254 hrs (.\5c) 7 4 Topp's Twins, 4 acts, 2 h.(25c) 6 4 Town Marshal, 4 acts, 2 54 hrs (25c) 6 3 Trip to Storyland, 1 '4 hrs. (25c) 17 2i Uncle Josh, 4 acts, 254 hrs. (25c) 8 3 Under Blue Skies, 4 acts, 2 hrs (25c) 7 10 Under the Laurels, 5 acts, 2 hrs. 6 4 When the Circus Came to Town. 3 acts, 254 hrs. (25c) 5 3 Women Who Did, 1 hr. . , (25c) 17 Yankee Detective, 3 acts, 2 hrs. 8 3 FARCES, COMEDIETAS, Etc. April Fools, 30 min 3 Assessor, The, 10 min 3 2 Baby Show at Pineville, 20 min. 19 Bad Job, 30 min 3 2 Betsy Baker, 45 min 2 2 Billy's Chorus Girl, 25 min... 2 3 Billy's Mishap, 20 min 2 3 Borrowed Luncheon, 20 min., S Borrowing Trouble, 20 min..,.- 3 5 Box and Cox, 35 min 2 1 Case Against Casey, 40 min... 23 Convention of Papas, .25 min., 7 Country Justice, 15 min 8 Cow that Kicked Chicago, 20 m. 3 2 T. S. DENISON & COMPANY, Publisher$,154 W. Randolph St. , Chicago The Man Who Game Back A PLAYLET BY KATHARINE KAVANAUGH AUTHOR OF 'Countess Kate," "A Minister Pro Tern," "The Queen of Diamonds, "When the JVorfn Turned," "IVho's a Coward?" "Under Blue Skies," Etc. CHICAGO T. S. DENISON & COMPANY Publishers THE MAN WHO CAME BACK CHARACTERS. AgC-. Thomas Chester TJie lyesertcr Lillian Chester His Daughter Mammy Jinnie The Old Nurse Place — TJiomas Chester's Home, Virginia. Time — The Year 1877, Siunmertime. Time of Playing — About Tzventy Minutes. Note. — With a few changes in the lines this sketch could be played in a plain interior. Notice. — Production of this play is free to amateurs, but the sole professional rights are reserved by the Publishers. COPYRIGHT, 1915, BY EBEN H. NORRIS. 2 / - ^Ws 0470 THE MAX WHO CAME BACK. 3 STORY OF THE PLAY. The play is l.iid in the South, al^out fifteen years after the great civil strife. LiUian Chester, a girl of twenty, whose mother died some ten years previous, helieves her father was killed during the war while serving in the Con- federate army. Through great effort in economy and sav- ing she has just been able to erect in the cemetery a small monument to her father, bearing the inscription, *'To the memory of Thomas Chester, a soldier and a hero." How- ever, he is not dead, but returns and confides to the old colored mammy that he deserted, fell into bad company, finally landed in state's prison and has just been released. When Chester learns from his daughter the great reverence she has for her father's memory and the pride she has in thinking that he was a "soldier and a hero," he decides not to deprive her of the cherished thought. Without mak- ing his identity known, he proceeds upon his way, and as a parting good-bye to his daughter promises to step into the cemetery, view the marble slab and read the inscription thereon, which signifies so much to her. CHARACTERS AXD COSTUMES. Thomas Chester — Age about forty-five. Poorly dressed, the appearance of a tramp. Face made up pale to give eft'ect of prison palor. He shows in actions and voice that he is ])roken in spirit. However, in the end, after his great de- cision to remain to his daughter as dead, he assumes more courage and appears resigned to his fate. EiLLiAN Chester — A sweet girl of about twenty, rather cheaply dressed but very neat and tidy in appearance. She should be of a thoughtful and cheerful nature. The ref- erences to her father should be spoken in tones of tender- ness rather than grief. MA:\rM^' Jinnie. Colored woman of about sixty years. She wears the conventional servant costume — a calico dress, white apron and red bandannas around neck and head. Shows her devotion to Lillian in look and manner. THE MAN WHO CAME BACK. PROPERTIES. A few small potted plants for outside the house; a clothesline on which are hung a few garments. Small empty basket for Lillian. STAGE SETTING. O^tp EXTERIOR BACKING h Fence Bench 1 1 Wood Wings ti Wood Wings Wood Wings STAGE DIRECTIONS. R. means right of stage ; C, center ; R. C, right center ; L., left ; 1 E., first entrance ; U . E., upper entrance ; R. 3 E., right entrance, up-stage, etc.; R.D., right door; E.D., left door, etc. ; D. F., door in flat or back of the stage ; up-stage, away from footlights, down-stage, near footlights ; 1 G., first groove, etc. The actor is supposed to be facing the audience. THE MAN WHO GAME BACK Scene: A plain exterior. A set house R., z^'ood wings L. An old fence ivith gate R. C. in rear. A fetv small potted plants outside the Jioiise. A rustic bench L. A clothesline on which are a feiv garments, arranged at back of stage. Enter Mammy Jinnie from house, looks about and then goes up C. to gate and looks off L. JixxiE. ]\Iissy Lillian! (Listens a moment.) Missy Lillian ! JiNNiE goes L. to ivJiere a short clothesline is hung and is taking down two or three garments when Lillian enters through gate from L. She carries a small empty basket. Lillian. Did you call me, Mammy Jinnie? JiNNiE. Cos I did, honey. Where you all been? Lillian. Fve been to the cemetery. JiNNiE. Miss Lillian, don't you know it ain't healthy to go to cimiteries? Lillian. Now, Mammy Jinnie, you know I don't go often. Jinnie. Often? Dey ain't no use talking, white folks like cimiteries better dan niggers. As fo' ma own self, I only wants to go once and dat'll be when I can't help mah- self. Dey has got to take dis old nigger feet first. Lillian. I only go once a week since my mother died and — Jinnie. Once in a lifetime is enough for dis nigger. Lillian. But now, Mammy Jinnie, that the tablet to my dear father's memory is erected, I expect to go every day to look at it and take flowers. Jinnie. W^hat good is dat goin' to do? Lillian. Don't you think it means something to me to read those words chisseled on that marble slab? Jinnie. I knows what it has done meaned to you all dese years dat you has worked your little fingers to de bone 5 6 THE MAN WHO CAME BACK. to get money to put up dat slab of marble to de memory of a man dat's been dead more dan fifteen years. What do he know about marble slabs nozvF Lillian. Oh, he iniist know how I've worked to put it there. I was too young to know him when he went away to war, but I've loved and revered his memory, and though we have been dreadfully poor, I've been a proud and happy girl to know that my father was a brave man who gave up his life for his country. JiNNiE. Huh! Men is all alike to me — brave or .un- brave. He gave up his life to his country. Well, maybe so ; but in all dese years his country ain't give his widow and baby de price of a pound of pork chops to put in dey moufs. Lillian. That was because we couldn't prove that he died in battle — a mere technicality. JiNNiE. Huh ! Sounds big, but you can't eat 'em. Lillian. What? JiNNiE. Take-no-calicoes. If he died den somebody ought to know somethin' 'bout it. Dat's all ! Lillian. Oh, Mammy, think of the hundreds who died and left no record. They just answered the call of duty and asked no reward. Jinnie. Yes, but fer de life of me, I can't see de sense in puttin' up a monument to a man what ain't dere ! Lillian. It's only a simple marble slab, "To the mem- ory of Thomas Chester, a soldier and a hero." Oh, Mammy, can't you understand what it means to me? Other girls have parents, brothers, sisters, sweethearts. I have only that one blessed thing — the memory of my father. It has kept me strong and brave when my heart was torn with despair. Many times I have said to myself, "You are the daughter of a soldier — be worthy of that honor!" Jinnie. Well, Honey, maybe you is right. As fur me, I kin see more honor in a square meal dan in all de monu- ments in de cimitery. When I think of de chicken stew and de ham an eggs dat's been sacrificed to dat slab of stone, it brings tears to mah eyes. THE AIAX WHO CAME BACK. 7 Lillian. Well, that's all past. Now that it is paid for we shall have pork chops an sweet potatoes for supper. JiNNiK {smacking her lips). U-iim — Lordy! How I do lub de sound ob your voice when you say ''pork chops." Kin we afiford it, Honey? Lillian. Yes, I sold my biggest piece of work today, an embroidered tablecloth, to Mrs. Sanderson. What do you think I got for it? Twenty dollars! JiNNIE. No! Lillian. Yes! JiNNiE. You certainly is one wonderful chile! Lillian! And orders coming in for more. Mammy Jinnie, we'll soon have money in the bank. JiNNiE. Maybe so. In de meantime I'd like to have one of dose pork chops in mah stummick. Lillian (laughs). I'm off to the store now. (Runs to gate, pauses.) Let's see — pork chops and sweet potatoes, wasn't it? And what would you like for dessert? Jinnie. Go 'long, chile, stop your nonsense. Dessert ! Huh ! I don't eben know de meanin' ob de word. Lillian. Oh, I know. A nice, juicy blackberry pie. Jinnie. Now, Miss Lilly, you stop dat! I wouldn't know a blackberry pie if I met it face to face. Don't you mention nuthin' else, 'cause I'm so hungry dis minute I coud eat a stone rabbit, if it was cooked right. (Lillian goes off through gate to R. laughing. Jinnie goes up to gate, looks after her.) Dar she go! De sweetest bit of sun- shine de good Lord ever made. (Coming down toward house, shakes her head and touches her eyes with corner of apron.) If anything should happen to "de memory of Thomas Chester, a soldier and a hero," 'twould break my poor little girl's heart. (Goes slo7^'ly to liouse.) Enter Chester from L., approaches gate and speaks to Jinnie as she is about to enter house. He is a man of forty-five, with the appearance of a tramp, and showing ■ traces of prison pallor. f Chester. Wait, please. Jinnie (tur)is at door). Who dat speak? 8 THE MAN V/HO CAME BACK. Chester. Jinnie — you're Mammy Jinnie, ain't you? JiNNiE. How came you know fiie, Man? Chester. Don't you recognize me, Mammy? Jinnie. You stop dat callin' me ''Mammy"! You nuthin' but a tramp! Chester (entering gate). I must have changed indeed if you don't know me. I'm Thomas Chester. Jinnie (puts her hand to mouth to stifle a scream). Thomas Chester ! My Httle Missy's father ! You lie, man ; you is dead ! Chester. Is that what they think? Well, maybe it is just as well. (Appealingly.) My wife and baby? Jinnie. Your wife is dead ten years. Your little girl thinks you dead. Chester. Dead ? Jinnie. Why, man, you is so dead you has got a monu- ment! Chester. A monument, to me? Jinnie. "To de memory of Thomas Chester, a soldier and a hero." Chester. A soldier and a hero! Jinnie. Lookin' at you, it do sound kinda "fishy." Chester. So they believe I died in battle! Jinnie. Well, didn't yuh? Chester. And my daughter has treasured this memory of me? Jinnie. She's proud of yuh. Worked for years tryin' to save enough money for a slab in de cimitery. It was put up last week and every day she goes there with flowers and reads again de prescription : "A soldier and a hero," Chester (sinks to the bench, Jiis head in his hands). My God ! Jinnie. Is you really Mar's Thomas? Is you really now? Chester. I'm what's left of him. Not much like the original, I'm afraid. Jinnie. You certainly is not. De last time I seed Mar's Thomas he was wearin' a suit ob gray and he was marchin' away to fight de Yanks. De missus, wid little Missy in her THE MAN WTTO CAME BACK. 9 arms, was standin' dere at de door waivin' him .c^ood-bye, and de little Missy, she — Chester (buries his head in his hands). Don't! For God's sake, don't! jiNNiE (crosses to him, speaks pityingly). I reckon you is "Mars Chester all right. But how come you didn't die? W'har you bin all dese years ? Chester (miserably). I didn't die because I was afraid of death. In my first fight I turned and ran. When I saw my comrades falling around me, my heart turned coward — a strange fear gripped me body and soul — I — I — deserted! Jinnie (draws azvay from him). Deserted! Chester. The brand of "coward" is written across my brow. Oh, if I had only had the courage to die in that fight. Jinnie. It is more than fifteen years since then. Whar you bin all dat time? Chester. I went from bad to worse. That cowardly act seemed to rob me of my manhood. I drifted as a tramp to New York. There I lived in the dens along the waterfront, more drunk than sober. One night, in a drunken brawl, I stabbed a man. They called it manslaugh- ter and gave me fourteen years. I'm just out. Jinnie (in horror). A convict! Chester. That's what they call me. Jinnie (sternly). Why did you come back? Chester. I had a craving for my own — no, not to ask for anything — just to see them and go on my way. I've grown old in prison — the way will not be long. Enter Lillian at gate, coming from R. Laughs happily. Lillian (gives basket to Jinnie). There you are, Mammy. Was I long? {Sees Chester on bench.) Oh, excuse me. sir. I didn't see you. Chester rises, cap in hand. His lips tremble, lie looks at her longingly, unable to speak. Jinnie (coming to his rescue). Honey, chile, this is — this is — 10 THE MAN WHO CAME BACK. Chester. A stranger, miss, just stopped a moment to rest. Lillian. Oh, and so you shall. Do sit down again and let Mammy make you a glass of lemonade. The day is warm and you look tired. Chester. That's it. Miss, I'm — tired. (Sits down wearily.) Lillian. Mammy, the lemonade. And in the basket you'll find some of Mrs. Parker's home-made cake. It just came out of the oven and it's delicious. (Jinnie exits into house, looking back and shaking her head, very much zvorried. ) Chester. You are very good, miss, to a stranger. Lillian. I don't feel that you are a stranger. That's peculiar, isn't it? But I suppose it's because — though you may be a stranger to me — you may be some other girl's father, and you look as though you had seen trouble. I — I, too, have seen trouble. Chester (questioningly). Tell me of your own father — Lillian (proudly). My father was a soldier! Chester. And fell — ? Lillian. In the discharge of his duty. Chester (softly). "In the discharge of his duty." No man could do more. Lillian (proudly). ''No man could do more." I'm a proud girl to have had such a father. Chester. I hope you will always cherish that memory of him. If those who have gone watch over us — and I be- lieve they do — it will be sweet for him to know that he has a daughter like you. Enter Jinnie from honse zvitJi tray containing a glass of lemonade and a piece of cake. She crosses to Chester and offers it to him. She is nervous and constrained in her manner. Chester (taking glass and cake from tray). Thank you, Jinnie. Lillian (has crossed to R.). What! You know Mammy's name? THE MAN WHO CA^IE BACK. 11 JiNNiE (quickly). Slioo, clu'le, T done tolc liim. Chester (recollecting himself). Yes, slie — she told me. (Eats and drinks.) Lillian (sits on doorstep). Perhaps yoivll he staying in the neighhorhood and will drop in to see us again some day? JiNNiE. De — de gent'man say he gwine far away from here — he don't belong in dese parts nohow. He got to go back whar he come from soon, Missy. Ain't dat de trufe, Marse? Chester. Yes, I must go. Lillian. Lm sorry. (Chester rises, returns tray to JiNNiE, zvJio crosses to house R. and remains there to curtain.) Chester. I'm more than sorry. Lillian (meeting Chester L. C). Forgive me, but you look sad. I hoped we could help you. (Holds out her hand.) Chester (takes her hand gratefully). You have helped me. You will never know what it has meant to me just to see you. Fll carry the memory of your sweet face with me to the end of my journey — and beyond! Good-bye! (Drops her hand, with cap in hand and shoulders bowed, turns up stage toward gate and ivipes azvay a tear with palm of his hand.) Lillian (remains down stage C. As he reaches gate she speaks). As you pass the little cemetery on your right, will vou stop a moment and look at the stone bearing the name of Thomas Chester? He was my father. Chester (his voice trembles). Yes — Lll stop. (Regain- ing self control and straightening up proudly.) Lillian. And don't forget to read the inscription : "A soldier and a hero." Chester (bravely but with breaking voice). ''A soldier and a hero." Fll remember. (Exits slowly to L., head up and looking straight ahead. Lillian remains C. looking after Jiini. Jinnie stands motionless at door of house.) Curtain The Dream that Came True By LINDSEY BARBEE. Price, 25 Cents Comedy drama in 3 acts; 6 males, 13 females. Time. 214 hours. Scenes: 3 interiors. Characters: Gordon Clay, foreman of the works. Charles Norton, the wealthy owner. Jack Brown, a cub reporter. Bobbie Byrnes, averse to college women. Billy Best, cap- tain of the 'varsity team. Lord Algernon, straight from England. Nan Worthington, one of the people. Margaret, loyal and true. Mrs. Jenkins, a boarding housekeeper. Angelina, her small daugh- ter. Louisa, one of the boarders. Florabel, a poetess. Mehitabel Biddle, a suffragette. Emmy Lou, fond of fairy tales. Mrs. Al- laire, the chaperone. Delphine, a college graduate. Peggy, a Browning fiend. Doris, an athletic girl. Nora, a maid. SYNOPSIS. Act I. — The impending- strike. "It ain't so much the man that makes woman foolish, it's the lack of him." "Being a lady Miss Margaret is being just like you. "If ever the time comes when you need me, I shall stand the test." Act II. — "The strike's on." Gordon tells of his love for an- other. Norton refuses to make terms. Gordon plays his last trump. Margaret bids Nan prove that love is sacrifice. "I am to struggle on — alone." Act III. — "It's good-bye Gordon." "You're a dear, sweet little English Lord but I want to be under the stars and stripes." Nan has her revenge. "The factory girl can be generous." The dream comes true. Under Blue Skies By KATHARINE KAVANAUGH. Price, 25 Cents Comedy drama in 4 acts; 7 males. 10 females. Time, 2 hours. Scenes: 2 exteriors, 2 interiors. Characters: Bruce McCulloch, the man. Dick Warren, Edith's brother. David Joyce, Clare's father. Oscar Weber, a village swain. Old John, the gardner. Williams, a valet. Sleepy Heine. Clare, the girl. Edith, an heir- ess. Sara, the old housekeeper. Mrs. Weber, a troublemaker. Little Elsie and five neighboring women who have only a few lines. SYNOPSIS. Act I. — Mrs. Weber insists on the marriage between Oscar and Clare. "This has got to be settled one way or the other." Clare meets Miss Warren. Oscar finds the letter. "Clare Joyce is my affianced wife." "If you come near me I'll kill you!" Act II. — Scene I: Old John and the flowers. Miss Warren finds Clare and Bruce together. Jealousy. The blow. "I'll make you sorry for this!" Scene II: Going to chapel. The love letter. Miss Warren and Oscar come to an agreement. "You'll never be able to hold up your head again." Humiliation. Act III. — Bruce unhappy. "I was playing with fire and I got my fingers burnt." An unexpected visitor. "Our engagement is at an end." Bruce proposes. The midnight marriage. Act IV. — The next morning. Breakfast. "Clare is not here." Mrs. Weber's story. "Your prayers and tears come too late." Bruce interrupts. "Clare Joyce is my wife." Happiness. T. S. DENISON & COMPANY, Publishers 154 W. Randolph Street, CHICAGO Parlor Matches By WALTER BEN HARE. Price, 25 Cents An engaging comedy of society, 2 acts; 4 males, 5 females. Time, l^/^ hours. Scene: 1 simple interior. Characters: Vance Trelford, a professional hero, wlio doesn't want to be engaged. Don Radey, his cousin, a serious young man, engaged, thank you. 1 erdinand Poppleton, a frivolous young man, likewise engaged. Jorkes, the butler, who may or may not be engaged. Mrs. Seltoon, who believes in engagements. Margaret Seltoon, her elder daugh- ter, engaged to Mr. Radey. Suzanne Seltoon, her younger daughter, engaged to Mr. Poppleton. Gail Lawrence, her waid, engaging and eventually engaged. Abigail Mullen, A. B., her maid, tem- porarily engaged, as it were. SYNOPSIS. Act I. — A morning in June at Solitaire Villa, Dovecote. Mrs. Seltoon smooths out the course of true love. "Whoever heard of a grass widow playing a heroine in a love scene?" "Oh, it's one of th^ best things they do." Mrs. Seltoon seeking a man for her niece. "Wliat is his yearly income?" The butler's opinion of a woman A. B. "Near-sighted, men's shoes, short bediabbled skirts, last year's hat and a banner saying Votes for Women!" Tlie new maid who is a graduate from the Splinterville Normal. The moving picture hero. "Women mal\e me nervous. I always keep out of their way." Symptoms of hydrophobia. "I bark, liow- wow-wow!" "His father is in. oil and vinegar." "Is it a new^ kind