Price 25 Cents In the Trenches Over There PUBLISHED BY The* Dramatic Publishing Company CHARLES H SERGEL . PRESIDENT Practical Instructions for Private Theatricals ByW. D, EMERSON Author of "A Country Romance," "The Unknown Rival,' 1 "Humble Pie," etc. Price, 25 cents He r e is a practical hand-book, describing in detail all tne accessories, properties, scenes and apparatus necessary for an amateur production. In addition to the descriptions in words, everything is clearly shown in the numerous pictures, more than one hundred being inserted in the book. No such useful book has ever been offered to the amateur players of any country. CONTENTS Chapter I. Introductory Remarks. Chapter II. Stage, How to Make, etc. In drawing-rooms or parlors, with sliding or hinged doors. In a single large room. The Curtain; how to attach it, and raise it, etc. Chapter III. Arrangement of Scenery. How to hang it. Drapery, tormentors, wings, borders, drops. Chapter IV. Box Scenes. Center door pieces, plain wings. door wings, return pieces, etc. Chapter V. How to Light the Stage. Oil, gas and electric light. Footlights, Sidelights, Reflectors. How to darken the stage, etc. Chapter VI. Stage Effects. Wind, Rain, Thunder, Break- ing Glass, Falling Buildings, Snow, Water, Waves, Cascades. Passing Trains, Lightning, Chimes, Sound of Horses' Hoofs, Shots. Chapter VII. Scene Painting. Chapter VIII. A Word to the Property Man. Chapter IX. To the Stage Manager. ■?kapter X. The Business Manager. Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO, ILLINOIS IN THE TRENCHES "OVER THERE" A PLAY WITHIN A PLAY IN ONE ACT BY RAGNA B. ESKIL CHICAGO THE DRAMATIC PUBLISHING COMPANY 21 CHARACTERS Sergeant Miller Corporal Wheeler Private O'Toole Private Malcolm = Private Johnson Private Baker George Sharpe, An Orderly Other Soldiers In the Interpolated Play Nurse Gray Stage Manager Patsy Burke . . . . . Who Sings Nurse Baird Mrs. Smith Corporal Field Jake Lieutenant Carson John Baltimore Nurse Zane Mary Baltimore Nurse Holsum Miss Keep Nurse Linder Miss Cairns Copyright, 191 8, by The Dramatic Publishing Company TIME : A February Afternoon. Plays forty minutes. SPECIAL PROPERTIES A well-fitted bomb-proof trench room or "dug-out" ; two tables ; a dozen or more camp chairs ; a musical instru- ment ; two hooks ; a coil of wire ; two blankets ; comfort bags ; suit-case ; a bag filled with "smokes" and cigarettes ; a towel ; a telegram. 2 ©CI.D 49450 MAY -21918 IN THE TRENCHES "OVER THERE" Scene: A bomb-proof trench room that is one of a solidly-built and well- furnished trench tier captured from the Germans. The walls are boarded up, and several rugs are spread across the floor. The entrance door is at the extreme upper right, and a passage connecting with another trench is at the extreme upper left. An electric light hangs from a rafter in the ceiling. The walls are decorated with two American flags, crossed, a small mir- ror with a shelf under it on which are a comb and clothes brush, and with colored magazine covers. A clothes rack with khaki coats, overcoats, sweaters and hats is on the rear wall. Two hooks to be used later to stretch the cur- tain on are in the left wall and the left rear wall. Two cots with blanket covers are set against the rear wall, and four bunks in two tiers are strapped to the wall above them. There is a table at the left and a table in the center of the room. A charcoal brazier stands toward the left front. There are a dozen or more camp chairs around, those not occupied are folded against the right wall. A trench tele- phone hangs near the right door, and a coil of wire for stretching the curtains is near it. At the rise of the curtain, Sergeant Miller, Corporal Wheeler, and Privates O'Toole and Johnson are playing rummy at the center table. Private Baker is writing a let- ter at the other table; his comfort kit lies at one side. Pri- vate Malcolm is sitting on the right hand cot, playing an Hawaiian air on a ukulele e {or other instrument.) After a moment, he changes the air to "Suwanee River," and starts to sing : "All dis world am sad and dreary, Ebrywhere I roam, Oh, darkies, how my heart grows weary, Far from de old folks at home." 4 IN THE TRENCHES "OVER THERE" Baker. [Over his shoulder, gruffly.'] Cut it out! Johnson. [To Baker.] What's the matter, kid? Writing home? Miller. [To Malcolm.] Liven her up, old boy, and soft pedal the home stuff ! Malcolm. [Throwing down his instrument and ris- ing.] Oh, thunderation, you're the most talkative, cheer- ful bunch one could get into ! O'Toole. Thanks for the compliment. We didn't know we desarved it. Wheeler. [Laying down his cards.] I win again. Whose deal ? Miller. [Getting up and stretching himself.] Oh, hang it, I don't want to play cards any more. Can't some- one think of something more exciting? O'Toole. [To Miller.] Try bumping your head against the wall and see if it will rattle. [Plaintively.] But, say, hasn't anyone got a cigarette? Miller. That's the fifty-seventh time you've asked that question today? Johnson. Gee, if we could only stay on top where something was doing. Forty feet under ground may be safe, but it doesn't suit me. O'Toole. Me, neither. Oh, only for a snipe at the Huns! Wheeler. Ah, quit your complaining, and tell me how much longer do you suppose they'll keep us here ? Miller. [To Wheeler.] No, you don't complain, not you ! Well, they can't let us out any too soon for me. This bomb-proof seemed pretty soft after being shelled for two weeks, but this doing nothing except look out for mines is getting on my nerves. Malcolm. If we could only get something to eat ! Miller. Eat! Don't we get the best grub in any army ? Malcolm. Oh, you needn't start preaching. I meant something sweet to eat. [Dreamily.] Say, boys, did you ever go to a candy pull in the country ? IN THE TRENCHES "OVER THERE" 5 Johnson. [Savagely.] Quit it! Malcolm. [Ignoring him J] Or dream that you had all the cigarettes you could smoke ? O'Toole. Say, when do you suppose the Red Cross shipment will come to us. Wheeler. It's been due for two weeks. Gee, if a sub got that ! Malcolm. [Gaily. ~\ You'll go without cigarettes and sweet stuff for another two weeks. [All groan and zvalk about restively.] Miller. [To Malcolm.] Say, play something lively ! Malcolm. [Grandiosely.] If I had an audience that was properly attuned to my artistic sensibilities, I would, but — [He shrugs his shoulders.'] O'Toole. [Smiling.] You mean you'd like a bunch of jack-asses, Malcolm? Malcolm. [Elaborately.] I don't long for what I already have, thank you. Baker. [Still writing.] Oh, shut up. How can a fellow think with this noise? O'Toole. [To Baker.] Well, only fools need to hear themselves think. Johnson. My, aren't we one sweet-tempered crowd! Baker. [Turning around.] Say, what date is it? Miller. Hanged if I know ! Johnson. [Guessing.] The seventeenth, isn't it? [The others shake their heads in doubt.] Baker. Well, that's near enough. But say, what's the month ? Wheeler. [Promptly.] It's April. Malcolm. Go on — April, your grandfather! Do you know it's below zero, up-stairs ! It's February, I tell you. Wheeler. I always thought February was a short month, and gee, we came down here the first of Febru- ary and we've been here a year already. Baker. Well, I'll put February, then, but, say, is it nineteen-seventeen or nineteen-eighteen. Miller. . Gee, Baker, how do you suppose we're going 6 IN THE TRENCHES "OVER THERE" to remember when we lost our calendar ? You don't need to put the year down — they can see it on the post-mark. [Baker seals his letter and puts it in his pocket.] Malcolm. [Yawning.] If only the Huns would try to mine this place, or something would happen ! [A knock is heard.] My prayer is answered ! Miller. Come in ! [Simultaneously with his "come in," the door bursts open, and George Sharpe enters. He is evidently on good terms with Sergeant Miller.] Miller. Why, hello, George ! What's this — a mes- sage, or just a friendly visit? George. [Going over to charcoal stove.] Well, it's both. I want to get warm, if I may, and then, I've got a message, too. Malcolm. [Joyfully.] Do you mean to say we're going to move ? [The others crowd around eagerly for his anszver.] George. No, this isn't anything official, but it's almost as good. O'Toole. [Excitedly.] Have those cigarettes and candy come yet ? George. No, it's something better ! Malcolm. What can it be — something better than going to the front, or getting cigarettes and sweet stuff ! [He slaps George on the shoulders.] Out with it, boy ! George. Well, if you give me time to talk, I'd told you long ago. Baker. Cut out the preliminaries and tell us ! George. Well, then, the nurses' theatrical company is coming to perform before you ! Miller. Really ! Baker. Nurses' theatrical company ! What's that ? Malcolm. [In derision.] Say, you sleepy bonehead, don't you know that the nurses over at the hospital, now that they aren't so busy, have formed a little theatrical company and are coming around to entertain such fat- IN THE TRENCHES "OVER THERE" 7 heads as you, so you won't go mad with the exciting life there is in these bomb-proofs. Baker. [His face lighting up.] You mean real women nurses ! George. [Enjoying the sensation he is making.] Yes, real women nurses, and one of them, Miss Gray, used to be in a real theatrical company — direct it or something like that— Miller. You don't say! But when are they coming? George. Today — in a few minutes. In fact, they ought to be here any second now. Johnson. Women in this place — real women in this place ! Miller. [Taking hold of George by the collar.] Say, George, you're not fooling now? If you are, I'll throw you forty feet up-stairs and let you taste the sleet on your nice bare neck — George. [Indignantly.] I'm not fooling, I tell you, and instead of asking me questions, you'd better get busy fixing up this place for them. Those cots over there look nice, and [To Miller.] — a comb wouldn't hurt your hair. [All except George immediately scramble to put the room in apple-pie order, and to primp themselves — comb- ing their hair, brushing dozen their clothes and putting on their coats.] O'Toole. [Before the mirror.] Sure, and it's so long since I've seen a lady, I won't know how to act. Johnson, how do I look ? Johnson. Ask the ladies for compliments, Irish, not me. Malcolm. [In high good humor.] Gee, Irish thinks he's going to make a hit, but I bet the ladies have more taste than that. O'Toole. [Good-naturedly.] Sure, and you think they're elevated to your style, you Beau Brummel, do you? George. [Who has been looking on with a superior air at the preparations.] Say, we took another trench from the Huns this morning. 8 IN THE TRENCHES "OVER THERE" Miller. [Abstractedly.] Well, that's one more step towards Berlin. [With concern.] Say, George, is this part in my hair straight ? Malcolm's hogging the "see how- nice I look glass," so I can't get near it. George. Well, if the part in your hair is more impor- tant than taking a trench, I'll say it's — still crooked. [Miller continues his efforts to get the part straight.] Malcolm. [To George.] Did you say we took the trench, George ? No, George, we did not take the trench. We are buried forty feet under ground. [He examines his coat critically, and then puts it on a little dubiously.] Say, Irish, does the wrinkle in the back of this coat show ? O'Toole. [Loftily.] If you knew how to act before ladies, you wouldn't turn your back to them. Wheeler. [Nervously.] How many ladies are there, George ? George. [Promptly.] Six, and they're all good- lookers, too. Baker. [Starting up.] Say, we're a nice bunch! Why aren't we up there to conduct them down ? Miller. [Disgusted with his neglect.] Gee, we are a fine bunch, all right. [He starts for the door.] I'll go. The others. Here, let me go. I'll go ! [All except George rush pell mell for the door.] George. Here, hold your horses ! They don't want you ! They've got some men in their company, too. Malcolm. [Disgruntled, as they all go back.] Men! What have they men for ? Aren't we men enough ? George. [Derisively.] Don't you suppose they need men in a play, too? O'Toole. [Sighs.] Yes, I suppose they do, but it's the ladies we want to see. [He siglis again.] it's three months now since I've had sight of the sparkle of a pretty eye, and the bloom of a rosy cheek, and the lilt of a soft, rippling laugh — Miller. [Groans.] Heavens, if he's as mushy as this before they come, what'll he be like after they get here ! IN THE TRENCHES "OVER THERE" 9 Baker. [Contemplatively.] We could put a gas mask on him — George. Oh, yes, and I forgot. They said you were to get hold of as many fellows as can get in this place — [A knock is heard at the door.~\ All. That must be them ! [Miller strides forward to open the door. O'Toole and Malcolm run to get a last glance at themselves in the mirror. Nurses Gray, Patsy Burke, Baird, Holsum, Linder and Zane come in, followed by Lieutenant Carson and Corporal Field. The men in the room salute the lieu- tenant and bozv to the ladies. All the newcomers wear heavy wraps and carry bags and small suitcases.] Miss Gray. [Exclaims.] My, it seems nice and warm here. Carson. [To George.] You told them we were com- ing? George. Yes, sir. Carson. Then shall we consider ourselves introduced ? We can't stop for much formality, as there may be a train- load of wounded this afternoon, and we must be sure to be back in time. But we thought you men who had been down here so long, might like to see our little play — Miller. We certainly appreciate it, sir — and ladies. Miss Gray. [With a smile.] Then, shall we be get- ting ready ? But, first, perhaps we had better take off our wraps. Miller and other hosts. [In contrition.] Oh, par- don us. [They assist the nurses in getting off their wraps. Miss Burke holds on to her little bag.] Miss Burke. [Holding out her bag, which she has opened.] And here is a special present of some chocolate and smokes. Do you care for any ? All the Hosts. Do we ! O'Toole. [Helping himself.] And saving your bright eyes, this is the best present we could have had. Miss Burke. You're Irish, aren't you ? 10 IN THE TRENCHES "OVER THERE" Malcolm. [Laughing.] Murder will out, Irish. Carson. But couldn't we have more men here? I think the room will still hold more. Miss Gray. Oh, yes, the more the merrier. Miller. I was just going to telephone when you came. I'll get the boys from next to us. [He goes to the tele- phone and rings twice.'] Say, you fellows in the "Palace." A play will now be held in the "Grotto." You are cor- dially invited to be present. Admission to those only whose hair is combed as there are LADY ACTRESSES . . . Yes, I said LADIES . . . Capital L-a-d-i-e-s, and if they act as well as they look, it will be some play, believe me. . . . Yes, it's here and right now. Performance is about to begin. Hurry and get a move on yourselves. [He turns to the nurses.] There, was that right? [The nurses smile and nod their heads.] They wouldn't believe it when I said ladies were here. George. Neither would you when I told you. [In an aggrieved tone to the nurses.] Why, he even said he'd throw me forty feet up — Carson. Say, boys, we'll have to use your furniture for our little act. Miller. Oh, certainly, take anything we've got. Miss Gray. May we use the blankets off your cots for curtains, and this wire over here will do to stretch it on, and could we have the safety pins from your comfort kits to pin it over with — Carson. [Indicating upper right corner.] And that corner will do for our stage. Malcolm. [Hunting with his hand for the hooks in the wall.] And here are two hooks that will be just about right to stretch it between — Miss Gray. Why, just the thing. [Pointing to the upper right door.] Could we use that door for our stage entrances? Where does it lead to? Miller. Certainly you may use it. It goes to our ammunition store room. IN THE TRENCHES "OVER THERE" H Miss Burke. Then our play ought to be a sure fire success. O'Toole. [Admiringly.'] Who's Irish now? Carson. We'll need both these tables and four chairs and the suitcases. [The men push the tables and the chairs and the suit- cases in the corner intended for the stage and get down/ their comfort kits, and everyone helps get the blankets ready for the wire. While they are so engaged, the men from "The Palace" bomb-proof come in, with an announc- ing knock at the door, and try not to show their surprise at really seeing the ladies.'] Malcolm. [Teasingly.] Oh, yes, they're real flesh and blood. O'Toole. [Indicating Miss Burke.] If you pinched this one, I'm sure she'd scream. Miss Burke. [Smiling.] I certainly would. Miller. [With a grand bozv.] Ladies, these are the gentlemen from the "Palace," so named because it has a piece of Brussels rug placed in the midst of its floor. [He bozvs again.] Gentlemen of the Palace, these are Ladies from across the Water, and more than that, they comprise the greatest aggregation of actresses the world — or we — have ever seen. O'Toole. [Pretending great admiration.] My, our sergeant can do the grand talk, can't he ? Miss Gray. [Laughing.] He certainly can, but I see our curtain is up now and the actors must retire. [The actors, except Miss Gray, go behind the scenes. George mixes with the nezveomers and tells than how this all happened. The "Grotto" soldiers help straighten things in the room, and also talk to the newcoiners.] Corporal Field. [Sticking his head out from betzveen the curtains, and looking around the room.] There isn't anything here we can use for a desk, is there? No, I guess not. We'll have to improvise chairs. Just hand me four of them, will you? [He receives the chairs and dis- appears.] 12 IN THE TRENCHES "OVER THERE" O'Toole. [To Miss Gray.] What kind of a play is this going to be? Miss Gray. [Brightly.'] A comedy — and no war talk. Miller. [Appreciatively.] That's good — not that we would have said anything if you had given us the gloomiest kind of a tragedy, but we like to have a chance to laugh — Miss Gray. [Quickly.] Don't I know it. And we like to forget, too. [SJie addresses every one.] Perhaps you think I am going to be a little "bossy" now, but you see I am the stage manager. As the action of our play requires a little more space than we have curtained off, we will have to go back to the days of Shakespeare, and regard the curtained part as the inner stage, and the rest of the room as the apron or outer stage, and you gentle- men will be the nobles who are allowed to sit upon the stage. But please, please remember we are only amateurs, and don't make such disparaging remarks as they did in the days of Bill Shakespeare, when they didn't like the way things went. Now, will some of you sit here to the right, [Several of the men take chairs and seat themselves at the extreme right, between the curtain and the foot- lights.] and will the rest of you take seats on the cots and those chairs along the left wall, — and then that will give us the diagonal center of the room clear. [With alacrity, the men do as bidden, some sitting on the camp chairs and cots, and some on the floor. Two or more may remain standing. Brightly.] Now that the stage is ready, I will announce the acts. I will be the banker, or the speaking program, or whatever you will. [She pauses a moment, and then in a comical imitation of a circus barker.] Gentlemen and Soldiers of the Glorious Country across the Sea ! We shall present to you this afternoon the won- derful and mirth-provoking comedy, entitled "Between Trains." But since the actors and actresses have not had time yet to get all their powder and paint on, and in lieu of an orchestra overture, we will present an act previous to the first act. This will be a singing number by Miss Patsy Burke. [The soldiers applaud.] I noticed a uku- IN THE TRENCHES "OVER THERE" 13 lele when I came in. Can someone play the "Wild Irish Rose" on that ? Malcolm. [Steps forward quickly.'] I can. [He takes up the ukulele, and pushes his chair forward and seats himself near the open space on the right. One of the soldiers on the left gives his chair to Miss Gray and seats himself on the floor. The curtains part and Patsy Burke steps from between them and sings. Note. — She may appear either in nurse's uniform or in fancy costume. The soldiers applaud her when she appears and ivhen she has finished.] [Note. — Another specialty number may be introduced now if desired, Miss Gray saying, "Now the second num- ber that precedes our first number is — "] Miss Gray. [After peeping behind the curtain.] They're ready now. [She clears her throat in old school style.] "Between Trains" is now about to begin. You have no programs, but I tjelieve the play will explain itself. The scene is laid in a small railroad junction din- ing room — a great deal of which is necessarily left to your imaginations. [The soldiers smile.] And in the absence of professional stage hands, will you men nearest the curtains pull them back, please ? [The men push back the curtains, and the soldiers Icaji forzvard expectantly to see the stage so revealed. Two of the camp chairs are placed alongside of each other with the two others on top, to simulate a counter desk. This is placed diagonally across the door, just leaving space for the actors to pass back and forth. The two tables with tzvo chairs at each stand in front of the desk. Miss Baird made up as the restaurant manager, Mrs. Smith is standing back of the counter. Mrs. Smith is about fifty years old and rather stout, with her hair in a tight knot. She wears a gingham dress and white apron. Corporal Field, made up as a country waiter, Jake, is flipping off the tables with a towel.] Jake. I wish those trains would hurry up and come in. 14 IN THE TRENCHES "OVER THERE" The four o'clock ain't here yet, and the six-ten's behind time. Mrs. Smith. Yes, it seems funny, and I got such a funny f eelin' today, too. I reckon somethin' must be goin' to happen. I laid awake most of the night for no reason whatsoever, and my eyes they itch, and my nose it itches, and my ears they feel wiggly, and I told Samanthy Jane this mornin' I just knozv somethin's goin' to happen. Jake. [His jaw dropping.'] You don't suppose them robbers is coming to rob you the way they done the pro- prietress in Center Junction yesterday, do you ? Mrs. ^mith. Land 'a mercy, I hope not. And I got sixty-nine cents in the cash drawer, too. [She pretends to look in the cash drawer in the desk.] That is, I got sixty-nine cents, if Sam Hopkins over to the store will give me twenty-five cents for this Canadian quarter, and if he don't think this dime ain't wore too thin. Mercy me, what shall I do ? Jake. [In great distress.] Couldn't you hide it ? Mrs. Smith. But where? They tear open the mat- tresses, and nothin' ain't safe from them nowhere. Jake. [Diffidently.] I notus ladies from the city hide their money on themselves — in their stockin's, I guess it 'tis. Mrs. Smith. [Sharply.'] How do you know? Jake. [Innocently.] I seed them — many times. Mrs. Smith. You did, did you, hey? And then you told Si Brown you was rushed to death with the work here. Well, just ask me for the five cents a day raise, and I'll see you earn it first. [Snorts.] Lookin' at city ladies. But what'll I do with my money? Them robbers was a lady, too, wasn't she ? Dressed real swell, too, wasn't she ? Jake. Yep, them robbers was a lady and a man — one of them gent guys what pushes a chair under a lady when she sets down, and takes of! his lid every time he looks at her. And they come to Center Junction on this same four o'clock express what ain't here yet. Mrs. Smith. [With a heavy sigh.] Well, I just Know IN THE TRENCHES "OVER THERE" 15 something goin' to happen. My ears ain't never tweaked less somethin' does. Jake. And I heerd they offered a re-ward for the capture of them robbers, too. Mrs. Smith. You don't say! How much? Jake. [In awe-struck tone.] Five dollars ! Mrs. Smith. Five dollars! Land a' mercy, ain't some folks got money ! Say, wouldn't it be excitin' if me and you could ketch 'em — Jake. [Weighing the matter.'] It would if we could, but they might get your sixty-nine cents. Mrs. Smith. Dearie me, if only I had some place what was real safe, — I'd go out and hunt for them robbers. [She pretends to be looking for a safe place behind the counter, when a thought suddenly occurs to her. Briskly.] Jake, you face frontwards and dust the rim of that table. Jake. [Dusting the edge of the table.] I don't need to face frontwards for that. Mrs. -Smith. [Stamping her foot.] Jake, I said face frontwards and see that spot on the wall. Jake. [Shamblingly facing forward, and looking with vacant gaze at the pretended zvall.] Well, of all queer notions — [Mrs. Smith turns her back to the audience, and watch- ing to see that Jake does not see her, quickly pretends to stick the money in her stocking. She straightens up at the same moment Jake turns around.] Jake. I don't see no spot there 'cept the one what's been there for twenty-five years, and that ain't new. Mrs. Smith. [Pleased with her strategy.] I was just wantin' you to be observing Jake. If you're goin' to be a detectuv, you might as well learn how. Jake. [Getting excited.] Wouldn't it be just whoopin' if you and me could ketch them thieves, Mis' Smith ? Mrs. Smith. [Correcting him.] Me and you, Jake. Jake. But you ain't got that money hid yet, Mis' Smith. Mrs. Smith. I has. 16 IN THE TRENCHES "OVER THERE" Jake. You has ! I didn't see you put it nowhere. Mrs. Smith. [Triumphantly.] No, I guess you didn't. Jake. [Persisting.] But where did you put it? Mrs. Smith. That ain't none of your business, Jake. Jake. Well, if only that train would come — [Carson off the stage, of course, calls loudly, Toot-toot ! Toot-Toot !] Jake. Oh, there she be ! That's the four o'clock — I can tell her by her whistle. Mrs. Smith. Land a'sakes, I'm gettin' excited. Sup- posin' the robbers should be on this ! [Carson calls in a weaker tone, Toot-a-toot-toot ! Toot-a-toot-toot !] Jake. [Hopping about excitedly.] There's the six o'clock's whistle. She's down by the spur. Two trains to onct ! Mrs. Smith. Mercy me, somethin's goin' to happen. [Carson says, Klang-klang, k-1-a-n-g-K-l-a-n-g.] Jake. There's the four o'clock stopping. Mrs. Smith. [Clutching Jake by the arm.] Now remember, look out for a swell lady and a gent. [The door bursts open, and Carson as John Baltmore, and Miss Zane as Mary, his bride, come in. John is dressed in a neat traveling suit, and Mary wears a "bridey" coat and hat. John escorts Mary to the table at the right, and seats her very politely. Jake and Mrs. Smith exchange meaning glances. John. [To Mary.] This isn't exactly a honey-moon eating place, dear, but anyway it seems clean. [He seats himself and pretends to take up the bill of fare and read it. To Jake, who- has stealthily tip-toed near.] Bring up some fried spring chicken, and please be quick about it. Our train leaves in fifteen minutes. [To Mary.] You like fried spring chicken, love, don't you ? Jake. [Stolidly.'] The fried spring chicken ain't ketched yet. John. But then, why is it on the bill-of-fare? IN THE TRENCHES "OVER THERE" 17 Mrs. Smith. [Coming from behind the desk. In crisp tones.] Because all first-class eatin' joints has fried spring chicken on the bill-o-'-fare. John. Ah, I see ; and this is a first-class eating joint — [Mary giggles.] Mrs. Smith. Well? John. Well, some of this pork tenderloin, then. Mrs. Smith. We ain't got that, neither, and no one ain't never asked for it before, besides. Mary. Dearest, ask them what they have. Jake. [Before John can open his mouth. In sing- song tone.] Pork and beans — hash — spuds — apple pie — coffee — and doughnuts. John. [Pretending to throw down the card.] Well, then, that's what we will have, and bring it in immediately, please. Jake. Yes — sure — Mrs. Smith. [Elbowing Jake out of the way, who gapes at her in astonishment.] It will take ten minutes to serve it. John. But our train leaves in fifteen minutes. Mrs. Smith. [Stiffly.] We don't hurry for nobody. Mary. [To John.] Well, if we have to wait, let's go out on the platform. It's so stuffy in here. John. Yes, let's. [They go out.] Jake. [In sibilant whisper.] It's them all right ! Did you see the way he fixed her chair, and how perlite he was? Mrs. Smith. Yes, it's them, all right. But, you fool, why did you say they could get their beans right away? Now, you see, I got them out of the place, and you can run for Constable Perkins — Jake. He ain't home. He's gone fishin' — ' Mrs. Smith. Just like him — ain't around when the biggest oppertunity this village has ever seen is walking on the platform. Miss Holsum. [Out in hall.] Klang-klang— klang. Jake. There's the six o'clock coming. 18 IN THE TRENCHES "OVER THERE" Mrs. Smith. Well, we don't care nothin' about that — we as good as got the robbers now. Jake. No, we ain't got them. They're at large — out- side. [A fearful thought strikes him] Oh, Mis' Smith, suppose they sneak off on this train. Mrs. Smith. Oh, maybe they got serspicious of me. Oh, run, Jake, quick and see. Jake. [Runs and pokes his head out of the door. Excitedly.] No, they be there yet — they be holding hands. Mrs. Smith. Concocteringtsome scheme, I bet. Jake. Oh, and here comes one lady — no two ladies, cause there's one back of her, from the six o'clock. They're heading this way. Mrs. Smith. [Fearfully.] Was there more than one lady in the hold-up? Maybe, they be what's that word — accomplishments ? Jake. Sh — - Mrs. Smith. Well, we got to shoo them out, too, because we can't have them messing up the place, when we're ketching robbers. Jake. [Withdrawing his head from the door.] Sh — here's the first one. [Miss Holsum comes in. She is very pretty and dressed in a becoming suit and hat. She is Miss Keep, a beginning newspaper woman. Mrs. Smith regards her suspiciously, while Jake is rapidly succumbing to admira- tion for her.] Miss Keep. [Seating herself at the left table. To Jake.] A cup of coffee, please, and a doughnut. [Jake is about to go out when Mrs. Smith intercepts him.] Mrs. Smith. We ain't servin' nothin', Miss, today. Miss Keep. [Disappointed.] Oh. [In charming manner, to Mrs. Smith.] Did a young man and a pretty girl come in on the train just ahead of this? I looked for them, and couldn't see them. IN THE TRENCHES "OVER THERE" 19 [Jake is about to answer "Yes," but Mrs. Smith shakes her head at him warningly.] Mrs. Smith. [Her arms akimbo.] What for do you want them? Miss Keep. Why, er — [The door bursts open and Miss Linder conies in, aggressively. Her tailored suit is on rather severe lines. She is Miss Cairns, a detective.'] Miss Cairns. [In crisp, business-like tones.] Did a well-dressed man and young lady come in on this first train ? Miss Keep. [Brightly.] Why, I've just been inquir- ing for them, too. Miss Cairns. What are you after them for? Miss Keep. Why, I represent the Daily Nezvs. Miss Cairns. Oh, you are one of those newspaper detectives. Well, I came on this job first. Miss Keep. [Rising.'] But I beg your pardon, I was in here first. Wasn't I ? [She appeals to Jake.] [Jake nods his head vigorously, but Mrs. Smith stops him by taking hold of J lis hair.] Miss Cairns. That doesn't make any difference. You newspaper people are always butting into our work. Miss Keep. What do you do? Miss Cairns. I'm from the Soft-Foot Detective Agency. [Decisively.] I don't want to be mean about this, but I have to make good on this case, so I wish you would keep out of it. Miss Keep. But I have to make good on this case, too. [Almost in tears.] The editor told me if I didn't find out about this, I'd lose my job. Jake. There, now, Miss, don't cry. I'll help you get them. . Mrs. Smith. Jake. Miss Keep. They're friends of mine, too. Jake. [Aghast.] Friends of yours? Mrs. Smith. [With an expressive glance at Jake as 20 IN THE TRENCHES "OVER THERE" much as to say, ''Didn't I know it?"] Yes, friends of yours. Miss Cairns. [With contempt.] And you admit it! [She tarns her back on her. To Mrs. Smith.] You haven't answered my question yet. Have those people been in here? Mrs. Smith. You'll have to find that out yourself, Madam. Miss Cairns. Very well, then, I'll go out and look around again. [She turns for the door.] Mrs. Smith. [Thinking quickly, while Jake gasps at her.] Say, come to think of it, they was in here just a minute ago, and they went out. I'll see if I can see 'em. [She runs ahead to the door, and blocks Miss Cairns' passage, while she bobs her head in both directions. Excitedly.] Oh, there they be — up at the south end — they be just goin' off the platform — You'll have to run to ketch them — Miss Cairns. [Shrilly.] Let me by ! [She wedges past Mrs. Smith through the door.] Miss Keep. Oh, let me go, too. [She also runs through the door. Jake runs for the door, too, but is shoved back by Mrs. Smith, zvho closes the door.] Mrs. Smith. No, you don't go, Jake. You help me! Jake. But the five dollars' reward ! You going to let that bossy woman get it ! Mrs. Smith. [In good humor with herself.] And you want to help the pretty one get it? No, Jake, I'm goin' to get it! Jake. [In disgust.] How you going to get it, when you let that woman get the start ? Mrs. Smith. [Tolerantly.] Jake, you must think I'm some fool. [Triumphantly.] I sent them detectuvs to the south end of the platform, and the robbers is down to the north end ! Jake. [Admiringly.] Well, I take it all back, Mis' Smith ! Mrs. Smith. [Shrewdly.] Still, I better be lookin' IN THE TRENCHES "OVER THERE" 21 where they be. [She opens the door and peeps out. In excited whisper.] The robbers be headen' this way — and I can't see the detectuvs — Jake. [Hoarsely.] What shall we do? Mrs. Smith. We got to ketch 'em quick. [She thinks rapidly.] I know ! They'll come in and set down at the table. They'll pretend to anyways before they try to rob us. Then you get behind the gent, and I'll get behind the lady, and then we'll grab 'em both at the same time. Jake. The man's bigger'n me — Mrs. Smith. [Derisively.] 'Fraidcat! Jake. I ain't — but he's likely got a gun — Mrs. Smith. [Snorts.] Well, what's a bullet shot alongside of five dollars ! Jake. [Grumbling.] Yes, but I don't get five dollars for getting shot. I only get half of five dollars. Mrs. Smith. And you can be glad you get it — if you do. Ain't I the one what's usin' the brains? I think I ought to have more'n half. Jake. Yes, but I'm the one what's getting shot ! Mrs. Smith. Shut up, you ain't shot yet. [A noise is heard outside the door.] Sh — now, remember, you take the man, gun or no gun ! [The door opens and John and Mary come in, laughing and evidently very happy. Mrs. Smith and Jake keep stealthily after them.] Jake. [In whisper to Mrs. Smith.] They don't look like robbers ! Mrs. Smith. [Knowingly.] That's to throw us off the track ! [John and Mary seat themselves at the table, still very much engrossed with each other. Mrs. Smith tip-toes behind Mary, and Jake timorously stands back a safe dis- tance from John.] John. [Taking his eyes off Mary and seeing Mrs. Smith.] Are our things ready? Mrs. Smith. [Ominously.] They'll be in a second. 22 IN THE TRENCHES "OVER THERE" Mary. [Mildly.] Why the ten minutes must be up, and you promised to have it ready for us — Mrs. Smith. [Significantly.'] Oh, you'll have lots of time. John. [Looking at his watch, with a little irritation.] Nonsense, we have only five minutes. Serve us, imme- diately, please ! [The door bursts open and Miss Cairns comes in at a run, panting for breath.] Miss Cairns. Oh, there they are ! Mrs. Smith. [To Jake. Squeals.] Now's the time ! Catch him, Jake! [She pins Mary's arms down to her side, and Jake, not daring not to obey her, folds his arms in a vise-like grip around John. For a second, both Mary and John are too astonished to protest.] Miss Cairns. That's right ! Hold them for me ! [She runs back and forth.] John. [Struggling with Jake.] What does this mean ? Here, let me go ! [To Mrs. Smith.] Let go my wife, there ! Mary. Oh, John, help me! Mrs. Smith. [Who is not having much difficulty with Mary's struggles. Indignantly, to Miss Cairns.] Hold 'em for you ! You got your nerve. We're holdin' 'em for ourselves ! Miss Cairns. What do you want them for ? John. [Struggling more vigorously with Jake.] That's what I'd like to know ! Mrs. Smith. [Belligerently.] For the reward, the same as you! For the five dollars ! John. [Angry, yet desiring to laugh.] Heavens, is that all ! Mary. [Indignantly — the others pay no attention to her.] Is that all father thinks we're worth ! Miss Cairns. [Almost screams.] Five dollars! The reward is Five Hundred Dollars! Mrs. Smith and Jake. [Gasp simultaneously.] FIVE HUNDRED DOLLARS! [In their astonish- IN THE TRENCHES "OVER THERE" 23 ment, they both let go of their captives, and Mary flies to John, who closes her tightly in his arms.] Miss Cairns. [Screams.] Oh, don't let them go ! Mary. [Smiling to John.] I knew father wouldn't offer only five dollars. Miss Cairns. [Snorts.] Father wouldn't! That's a new one to put over — John. [Taking the matter as a joke, but still a little puzzled at Miss Cairn's last speech.] Really, my good people, you have spent a lot of energy for nothing. I suppose my father-in-law, in his excitement, offered a reward to stop us, but you see that won't hold good* any longer. We were married just an hour ago. Congratula- tions, and not warrants, are due. [Mrs. Smith and Jake, in utter bewilderment, just gape at each other.] Miss Cairns. [Coldly, with curling lips.] Well, that's a new story to put over. [She turns back the lapel of her coat.] Do you see that star? Well, I know who you are. You are "Sleight-of-hand" Bankes, and your "wife" there is "Light-fingered Nell," and you are wanted for the Smallville Bank forgery. John and Mary. Forgery ! Mrs. Smith. [To Miss Cairns.] Ain't they the rob- bers what robbed Center Junction ? Miss Cairn. [With contempt.] Do you think I bother with robbers ? No, these are forgers. Jake. [Shambling off and nursing his arms that John had wrenched in the struggle.] It's robbers we're after — not forgers. John. [Angrily to Miss Cairns.] Forgers, you call us. Just let me get to a telegraph operator ! [He holds Mary in one arm and starts for the door.] Miss Cairns. [Screams to Mrs. Smith and Jake.] Hold them! Hold them ! [She grabs hold of John, who tries to zvard her off.] Jake. [Obstinately.] I ain't got nothing to do with forgers. 24 IN THE TRENCHES "OVER THERE" Mrs. Smith. [Shrewdly.'] How much of the reward will you give us ? Miss Cairns. [Still struggling with John.] Half — no, I mean, I will give you five dollars apiece — Mrs. Smith. [Joyfully.] Five dollars apiece ! Come on, Jake! Come on! [She also gets hold of John.] Jake, come on ! Jake. Well, for five dollars, I will. [He, too, takes hold of John and Mary, who are having a hard time with their assailants. The door bursts open and Miss Keep comes running in. She carries a telegram in her hand.] Miss Keep. Why, John! Why, Mary! What does this mean? Mary. [Disentangling herself from the fracas and running to Miss Keep.] Oh, Lucy, tell them we're not robbers and forgers. Miss Keep. [As others stop in perplexity.] Forgers ! Why, they're not forgers ! They're elopers ! Miss Cairns. [Grimly.] It will take more than your word for me to believe that, young lady. You said you knew them, and I wouldn't be surprised if you were hired just for this ! Miss Keep. You're Miss Cairns, aren't you? Miss Cairns. That's my name. Miss Keep. [Handing her the telegram.] Then maybe this telegram, which the operator just handed me, may explain matters. Miss Cairns. [Rapidly reading the telegram.] "Sleight-of-hand" Bankes and "Light-fingered" Nell cap- tured. Come home. [In hollozv tone.] Well, evidently you are just elopers, then. I — I beg your pardon. Mary. [In heartfelt tone.] Oh, Lucy, you came just in the nick of time. [Miss Gray, from the side-lines, calls, "Toot-Toot."] Miss Keep. That's our train going. We'll have to run. [John and Mary and Miss Keep, follozvcd by Miss Cairns, all run for the door.] [Joyfully.] And I can get the story for the paper — IN THE TRENCHES "OVER THERE" 25 John. You bet you can! [They all disappear.] Mrs. Smith. [Indignantly to Jake.] What'd she have to raise our hopes for, offerin' us five dollars apiece? [Miss Gray gives the signal and the soldiers quickly drop the curtains.] [Note. — Another specialty number may be introduced now, if it is desired to make the program longer. At the close of the program, the actors come out and the soldiers mix with them, laughing and congratulating them. Miss Burke passes the satchel of smokes and candies.] O'Toole. [Calls to Baker.] Say, Baker, find out what day and month and year it is, so we can mark this down right ! Miller. [To Miss Gray.] You will never know how much this laugh has meant to us ! Carson. [Looking at his watch.] I'm sorry, but that train of wounded may be here soon, and we must go. Miss Gray. Just a second, Lieutenant. Let us sing the national anthem first. All sing "The Star-Spangled Banner." CURTAIN. THE HEART OF A SHAMROCK A PLAY IN THREE ACTS By GEORGE M. ROSENER PRICE, 25 CENTS Acts I, II and III all have the same scene, the Sitting Room in Father 'Neil 's home, and the action occurs in the evening at about 7 o'clock, at about 11 o'clock, and again one hour later. The time is the present at Wild Cat, Colorado. The Cast of Characters includes Father O'Neil, the pastor; Bob, the sheriff; his brother, "The Shamrock"; Laddie, the youngest brother; Grizzly Adams, a cattleman ; May, an Irish rose ; Mrs. Donovan, the housekeeper; Joan, a ranchman's daughter, and Gad, a city waif. This part may be played either as a boy or a girl. This play was published two years ago and has met with great success wherever produced, by both profes- sionals and amateurs. It is easily put on and "acts itself." A fine money-making entertainment. Address orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO, ILLINOIS BLUNDERING BILLY A FARCICAL COMEDY IN THREE ACTS By ANTHONY E. WILLS Author of "Barley's Ranch" "Her Gloves/' etc. PRICE, 25 CENTS The reception room of "The Strathmore, " a family hotel on the shores of San Francisco Bay, near Alameda, California, is the scene where the action of all three acts of this play takes place. Act I, Morning ; Act II, After- noon; Act III, Evening. Two hours are required for the presentation. The five male and three female characters are as follows: Ezra Tuttle, a rich mine owner. Billy Butler, always in trouble. Lieut. Griswold, from the Presidio Reservation. Sing Toy, a servant. Hank Dibble, an Old Salt. Dorothy Tuttle, Ezra's daughter. Clarissa Burnham, a guest at "The Strathmore." Woyo San, a Japanese girl. A popular comedy because it is lively and funny and full of action. "Blundering Billy" has been tried and found always a "winner." Address orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO, ILLINOIS THE DUST OF THE EARTH A DRAMA IN FOUR ACTS By KATHERINE KAVANAUGH Author of "The Professor of Love," "The Girl and the Outlaw," "Corinne of the Circus," etc. PRICE, 25 CENTS This Rural Drama plays two hours and there are six male and four female characters. There are one exterior and two interior scenes, all simple. Each character fur- nishes a good part; interesting plot wound into every line of the play; two charming love stories; the heroine and her story win the audience from the moment the curtain rises. Full of mystery, romance, pathos and fun. CAST OF CHARACTERS David Moore, of Maple Farm Cottage. Susan Moore, his wife. Elizabeth, their daughter. Jerry, their son. Rev. Dr. Templeton, a young divine. Miss Arabella, the village newspaper. John Ryder, the young master of The Maples. Wandering Tom, a mystery. Old Morse, his companion. Nell, "The dust of the earth." Address orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO, ILLINOIS MERCHANT OF VENICE UP-TO-DATE Farce Comedy in Five Acts By WILLIAM SHAKESPEARE Slightly revised and modernized by C. S. Miner, J. H. Emery, R. A. Moore and H. J. Spencer PRICE, POSTPAID, 25 CENTS Excruciatingly funny burlesque of Shakespeare's play, particularly adapted to the requirements of high schools and colleges. Characters, nine male, seven female. Plays about two hours. One interior and three exterior scenes. A very popular piece. The dialogue is bright and full of real wit. DRAMATIS PERSONAE The Duke of Venice. The Professor, an ex-ray Antonio, a Senior — Cap- photographer. tain of High School Policeman. Football Team. Portia, a rich heiress. Bassanio, his friend and Nerissa, her friend. suitor to Portia. Jessica, Shylock's ward. Gratiano, another friend. Miss Abbie S. Threedice, Shylock, a wealthy gam- a teacher. bier. Polly, Portia's maid, An- Tubal, his friend, and tonio's mother. Captain of the Belmont Mrs. Gobbo, Launcelot's Football Team. mother. Launcelot Gobbo, a ser- Football Players. vant to Shylock. Address orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO, ILLINOIS HER GLOVES A FARCE IN THREE ACTS By ANTHONY E. WILLS Author of "Blundering Billy/' "Burley's Ranch,' 9 etc, PRICE, 25 CENTS CAST OF CHARACTERS Walter Dillingham A dealer in real estate, Comedy lead Jefferson Buggles His father-in-law, Character Eobert Slocum A friend of the family, Juvenile Charley Brooks A neighbor, Comedy Jim Ryan A theatrical manager, Comedy Mrs. Ruggles Wife of Jefferson, Old woman Blanche Dillingham Wife of Walter, Lead Dora Ruggles , In love with Slocum, Ingenue Elizabeth Brooks Wife of Charley, Comedy Valeska Bijou A leading lady, Comedy The action of the farce takes place in the home of the Dilling- hams, New Rochelle, New York, during the month of May. ACT I A PAIR OF GLOVES (Afternoon) ACT II THEY ARE LOST (A few minutes later) ACT III THEY ARE FOUND AGAIN (Next morning) One interior scene for the three acts. Modern costumes. Plays an entire evening. Lively, full of complications, uproariously funny. Most admirable for repertoire and stock companies and amateurs. A sure success. Address orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO, ILLINOIS A ROSE O' PLYMOUTH TOWN A ROMANTIC COMEDY IN FOUR ACTS By BEULAH MARIE DIX and EVELYN GEENLEAF SUTHERLAND PRICE, BOUND IN CLOTH, $1.25 BOUND IN PAPER COVER, 50 CENTS This comedy is dedicated to Miss Minnie Dupree, who first impersonated "Rose," the exquisite female leading part. There are four male and four female characters in the play, which takes an entire evening. The cos- tumes are of the period of 1622, in New England. SYNOPSIS Act I — The Kitchen in Captain Standish's house. An early August morning — Stolen Fruit. Act II — The Dooryard of Captain Standish's house. An afternoon in October — A Maid's Toys. Act III — Same as Act I. A night in March — The Red Light on the Snow. Act IV — Same as Act I. The next afternoon — The Better Man. Address orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO, ILLINOIS HICKS AT COLLEGE A Comedy in Three Acts By SARA PRESTON, AMY OLIVER AND RALPH E. DYAR PRICE, 25 CENTS Characters, twelve male, nine female. Plays about two hours. Costumes modern. Three easy interior scenes. A jolly, lively piece — full of comedy and action — well adapted to the needs of schools -and colleges and ama- teurs everywhere. CAST OF CHARACTERS Hiram Hicks The Braino Man Tom Horton Who writes advertisements Fritz Jordan Horton 's chum who plays basket ball Adam Biddicut Professor in Northern University Dean Smiley. Dean of the College of Arts in Northern University Percy Eobbins A recent arrival from "Deah Boston" Adolph Hopkins A lazy boy Bastian Briggs A dig Josh Anderson A basket ball enthusiast Charlie Padlet Eeporter for the ' ' Daily Shriek ' ' Peter The popular proprietor of ' ' The Pal ' * Walker Manager for the Braino Man June Grant ) Seniors, chums, and interested respectively in Polly Porter ) Horton and Jordan Claire Angeline Jc*tes A stage struck girl Susy Spriggins A freshman with a crush Daisy Armstrong An athletic girl Fluff Finley A f usser girl Flora Belle Delamartyr Waitress at ' ' The Pal ' ' Mrs. Cobb Housekeeper at l ' The Quarters ' ' Lily Maid at ' ' The Quarters ' * ACT I. Scene — The Palace of Sweets, familiarly known as ' ' The Pal," the meeting place of town and college. Time — Morn- ing, three days before the championship game. ACT II. Scene — The campus of Northern University. Time — Morning, the day of the game. ACT III. Scene — ' ' The Quarters, ' ' home of the six boys. Time — Evening, the jubilee after the game. Address orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO, ILLINOIS Hageman's Make-Up Book By MAURICE HAGEMAN Price, 25 cents The iN^ortance or" an effective make-up is becoming more appar* ent to the professional actor every year, but hitherto there ha« h«A» no book on the subject describing the modern methods and at the same time covering all branches of the art. This want has now been filled. Mr. Hageman has had an experience of twenty years as actor and stage-manager, and his well-known literary ability has enabled him to put the knowledge so gained into shape to be of use to others. Ihe book is an encyclopedia of the art of making up. Every branch of the subject is exhaustively treated, and few ques- tions can be asked by professional or amateur that cannot be an- swered by this admirable hand-book. It is not only the best make- up book ever published, but it is not likely to be superseded by any other. It is absolutely indispensable to every ambitious actor. CONTENTS Chapter I. Genera! Remarks. Chapter II. Grease-Paints, their origin, components and use. Chapter III. The Make-up Box. Grease-Paints, Mirrors, Fact Powder and Puff, Exora Cream, Rouge, Liquid Color, Grenadine, Blue for the Eyelids, Brilliantine for the Hair, Nose Putty, Wigf Paste, Mascaro, Crape Hair, Spirit Gum, Scissors, Artists' Stomps, Cold Cream, Cocoa Butter, Recipes for Cold Cream. Chapter IV. Preliminaries before Making up; the Straight Make* up and how to remove it. Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lipa, Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up. Chapter VI. Juveniles. Straight Juvenile Make-up, Society Men, Young Men in 111 Health, with Red Wigs, Rococo Make-up, Hands, Wrists, Cheeks, etc. _ Chapter VII. Adults, Middle Aged and Old Men. Ordinary Type of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy Old Age, Ruddy Complexions. Chapter VIII. Comedy and Character Make-ups. Comedy Ef- fects, Wigs, Beards, Eyebrows, Noses, Lips, Pallor of Death. Chapter IX. The Human Features. The Mouth and Lips, tn« Eyes and Eyelids, the Nose, the Chin, the Ear, the Teeth. Chapter X. Other Exposed Parts of the Human Anatomy. Chapter XI. Wigs, Beards, Moustaches, and Eyebrows, Choosing a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Bald Wigs, Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, Wool, Beards for Tramps, Moustaches, Eyebrows. Chapter XII. Distinctive and Traditional Characteristics. North American Indians, New England Farmers, Hoosiers, Southerners, Politicians Cowboys, Minors, Quakers, Tramps, Creoles, Mulattoea, Quadroons, Octoroons, Negroes, Soldiers during War, Soldiers dur- ing Peace, Scouts, Pathfinders, Puritans, Early Dutch Settlera, Englishmen, Scotchmen, Irishmen, Frenchmen, Italians, Spaniard*, Portuguese, South Americans, Scandinavians, Germans, Hollander* Hungarians, Ginsies, Russians, Turks, Arabs, Moors, Caffirs, Aby* sinians, Hindoo's, Malays, Chinese, Japanese, Clowns and Statttarf, Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues. Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO. ILLINOIS LIBRARY OF CONGRESS PLAYo 017 401 282 9 And Entertainment Books. TIjEING the largest theatrical booksellers in W" the United States, we keep in stock the most complete and best assorted lines of plays and en- tertainment books to be found anywhere. We can supply any play or book pub- lished. We have issued a catalogue of the best plays and entertainment books published in America and England. It contains a full description of each play, giving number of char- acters, time of playing, scenery, costumes, etc. This catalogue will be sent free on application. The plays described are suitable for ama- teurs and professionals, and nearly all of them may be played free of royalty. Persons inter- ested in dramatic books should examine our cat- alogue before ordering elsewhere. We also carry a full line of grease paints, fece powders, hair goods, and other "make-up" materials. The Dramatic Publishing Company CHICAGO