PS 635 .Z9 E1335 Copy 1 \' (Denhari-i ^Royalty Tlayi g| Gettin ^ QAcquainteS by Geor^iaEarle nr. S. T)enhon & Company Ihihlhher^ • Chicago "Price 35 CenU Jtaxs. Plays for Schools and Colleges AARON BOGGS, FRESHMAN By Walter Ben Hare. Comedy in 3 acts; 8 males, 8 females. Time, 2V^ hours. Price, 25 Cents. AFTER THE GAME By LIndsey Barbee. Comedy In 2 acts; 1 male, 9 females. Time, li/4 hours. Price, 25 Cents. ALL A MISTAKE By W. C, Parker. Farce-comedy in 3 acts; 4 males, 4 females. Time, 2 hours. Price, 25 Cents. ALL ON ACCOUNT OF POLLY By Harry L. Newton. Con.-edy in 3 acts; 6 males, 10 females. Time, 2i/4 hours. Price, 25 Cents. AS A WOMAN THINKETH By Edith F. A. U. Painton. Comedy in 3 acts; 9 males, 7 females. Time, 2% hours. Price, 25 Cents. AT THE END OF THE RAINBOW By LIndsey Barbee. Comedy in 3 acts; 6 males, 14 fe- males. Time, 2V4 hours. Price, 25 Cents. CIVIL SERVICE By Walter Ben Hare. Drama in 3 acts; 6 males, 5 fe- male.s. Time, 2^ hours Price, 25 Cents. THE CLASS SHIP By Edith F. A. U. Painton. Commencement play- let; 3 males, 8 females. Time, ;55 minutes. Price, 15 Cents. CLUBBING A HUSBAND By Edith F. A. U. Painton. Comedy in 3 acts; 12 fe- males. Time, 2 hours. Price, 25 Cents. A COLLEGE TOWN By Walter Ben Hare. Farce-comedy in 3 acts; 9 males, 8 females. Time, 2^4 hours. Price, 25 Cents. THE DEACON ENTANGLED By Harry Osborne. Comedy in 3 acts; 6 males, 4 fe- males. Time, 2 hours. Price, 25 Cents. THE FIFTEENTH OF JANUARY By LIndsey Barbee. Comedy in 3 acts; 11 males, 10 females. Time, 2V4 hours. Price, 25 Cents. TKE GRADUATE'S CHOICE By Edith F. A. U. Painton. Commencement playlet; 12 females. Time, 35 minutes. Price, 15 Cents. T. S. Denison & Company, Publishers 154 West Randolph Street CHICAGO GETTIN' ACQUAINTED I Gettin' Acquainted A Small Town Comedy BY Georgia Earle AUTHOR OF "The Lie That Jack Built," "The Rented Lady," "The Porch- Climber," "The Lovejoy Twins," "The Villain," "Hit chin' Up Amos" AND CO-AUTHOP. ' The Mark of the Beast,' ' {Produced at the Princess, New York) CHICAGO T. S. DENISON & COMPANY Publishers Please Read Carefully^ HE PROFESSIONAL STAGE-RIGHTS in fhis play are ^ridlly reserved, and all applications for its use should be ad- dressed to fhe publishers . Amateurs may obtain permission to produce it on payment of a fee of five dollars ($5.00) for eack performance, in advance. Correspondence on fhis subject should be addreosed to T. S. Denison & Company, 154 W. Randolph St., Chicago, 111. -o ^o ^::> C/4ttention is called to the penalties provided by the Copyright Law of the United States of America in force July 1, 1909, for any infring,e- ment of the owner's rights, as follows : Sec. 28. That any person who willfully and for profit shall infringe any copyright secured by this Act, or who shall knowingly and willfully aid or abet such infringement, shall be deemed guilty of a misdemeanor, and upon convic- tion thereof shall be punished by imprisonment for not exceeding one year or by a fine of not less than one hundred dollars nor more than one thousand dollars, or both, io the discretion of the court. COPYRIGHT, 1919, BY GEORGIA EARLE CALL RIGHTS RESERVED TMP96-007249 ©C;.D 53JU Uu\i 17 1919 '^0 \ GETTIN' ACQUAINTED CHARACTERS. Jane Stewart A Spinster Priscilla Stewart Her Sister, also a Spinster JoHx PuRDY A Wooer for Fifteen Years Time — TJie Present. Pi^ACE — 7'he sitting-room of the old Stewart Iwuie stead in a small Vermont torcn. Time of Playing — Txcenty-five Minutes. Produced Eighty-first Street Theatre, Neic York City, May 6, 1915. By the fnlloiving players: Jane Stewart Georgia Earle Priscilla Stewart Nellie Callahan John Purdy James O'Neill As played for three years over the Orpheum and Keith Circuits. Jane Stewart Georgia Earle Priscilla Stewart rirginia Russell John Purdy Emmet JVhitney 5 GETTIN' ACQUAINTED COSTUMES AND CHARACTERISTICS. Jane Stewart — Crisp and snappy in her manner, a joung woman of decision and initiative. She is used to running things, and while hkeable and whole- hearted, means to get her own way. She wears a trim white shirtwaist and white skirt, Avith her hair becomingly but simply arranged. Priscilla Stewart — The clinging-vine, adoring type, always trying to smooth things OA^er, Just a little bit of a doormat. She has none of Jane's crispncss of speech, but is much more gentle. She is very feminine in her clothes, a pretty, old-fashioned dimity or organdy, that looks "country" and yet is pretty and attractive, is suitable. Her hair is ar- ranged more softly than Jane's. Her keynote is sweetness and womanliness. John Purdy — Is the honest, slow-thinking, yet withal determined type, when he once gets started. He doesn't show how masterful he is until Jane's teasing finally wakes him up, and then he dominates the situation. His clothes are the "best" clothes of the small town, middle-aged man who makes no pre- tense of being a dude. There is no caricature in John's clothes, it is rather John himself who is uncomfortable and awkward in them, the stiff col- lar particularly causing him inconvenience. He is clumsy and bashful, all "Yankee" but not a "Rube." GETTIN' ACQUAINTED PROPERTY PLOT. Old-fashioned horse-hair furniture, settee or sofa, straiglit-back chairs, arm chair, large old-fash- ioned rocking-chair with rung across the front, small rocker. ]Marble-top table, small old-fashioned table or "stand." What-not, with old-fashioned ornaments on it. Organ and stool. (The organ does not have to bi played.) Hymn books and vases of flowers on organ. Large Bible on marble-top table. Old-fashioned ornaments on mantel, candlesticks, vases of flowers. Andirons at fireplace. Grandfather's clock or old-fashioned mantel clock. Hat rack. Rag carpet. Old-fashioned pictures on wall. Lace or chintz curtains at window. Tidies on chairs. Footstool or hassock. Sofa pillows (2). Match safe and matches. Stone mug. Doorbell (jingle bell if possible). Note. — The effect desired is that of an old-fash- ioned room in a New England home, as unlike the usual stage setting as possible. LIGHT PLOT. Lights full up all through. Bimch lififhts at doors and window. GETTIN' ACQUAINTED CURTAIN CUES. First Curtain — Warning — Jane : "Oh, yes, I liave ! There's Priscilla!" Curtain — John : "Over t' the parson's Avith your witness, to git acquainted !" Second Curtain^ — Warning — John: "You git out now ! I got somctliin' private to say to Priscilla !" Curtain — John : "Ain't agoin' to say nuthin' ! Go- in' to kiss you !" SCENE PLOT. Plain Chamber. Doors R. 3 and L. 2. Interior backing for both doors. Window C. Garden backing for window\ Fireplace and mantel R. 2. Garden Drop < Backing .window ^,0,- ~/ — 1 I o^*^-' n.Z\ 7 n I 1 n ^- " 3 Hat Rack Cha.r^Flowers Table q Footlights 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. ; up stage, away from footlights ; down stage, near footlights. The actor is supposed to be facing the audience. GETTIN' ACQUAINTED The scene is the old-fashioned sitting-room of the Stewart homestead at Medfield, Vermont. There is a window at back C. hung with lace or cretonne curtains, and a stand of flozeers in front of it. There is a door R. 3 leading into the entry from which opens the outside door. TJiere is another door L. 2 leading into the rest of the house. There is a mantel below door at R and a fireplace xvith andirons, etc. TJiere are old-fashioned ornaments on the mantel, brass candlesticks, sea-shells, etc. Old-fashioned pictures and worked mottoes hang on the wall. Up near the "window is a small old- fashioned stand or table on which is a vase of flowers, and a match safe with matches. Near it is a hassock or footstool. About L. 3 is a small organ or melodeon on which are hymn-books, a vase of flowers, and possibly brass candlesticks and candles. Stool in front of organ. Left of C. farther down stage is a marble-top table with a large family Bible on it, Priscilla's work-basket and a lamp. To the left of it is a small rocking- chair without arms, to the right a straight-back horse-hair chair. Over R. is a horse-hair sofa with two sofa pillows on it. Up near window C. is a large old-fashioned rocking-chair with rungs across the front. There is a hat rack near door R. 3. There are other horse-hair chairs set primly against the wall. There is a rag carpet on the floor. There are tidies on the backs of the chairs. At rise, Priscilla is discovered sitting in the small 9 10 GETTIN' ACQUAINTED rock'nig-chair at L. of marble-tof table, down stage, serving. Enter Jane, excitedly. Jane. (^Coming doxvn C.) Priscilla! Priscilla ! ! I've something to tell you! Guess, you never can ! Priscilla. (Rising, startled.) Goodness gracious, what's the matter.'' Jane. ( TriumpJuintly. ) I'm engaged to be married! Priscilla. {Her hands going to her heart.) Then John has proposed to you! Jane. . {Emphatically.) No, John ain't! (Priscilla is xAsibly relieved. Jane crosses to couch and flings her jacket on it.) Land sakes, John ain't the only man in this world, thank goodness, or we'd both die old maids ! Priscilla. {Still rather tremulous.) Not John.? Why — who — there ain't anyone else! Jane. {Crossing to her. She is very brisk in her move- ments and crisp in her speech.) Oh, Sister, you never think of anyone but John, do you.^* Here we've been for the last fifteen years with one beau between us, one hope — John Purdy! GETTIN' ACQUAINTED 1 1 Peiscilla. {Her vuimier is gentle and she is less sharp in her speech.) But he's the only one who ever came a-sparkin', ain't he? -. Jane. {Hanging Iter liat on the rack and going down to the sofa and getting her jacket.) I know, but what c'n you expect in a one-horse town with fifty girls to every single man? {She crosses down to Peiscilla again, jacket in hand.) Now you are really fond of John. I ain't! Priscilla. How 3'ou do talk! {She sits and gees ha-ck to her sewing. ) And John is fond of you ! You wore born for each other. Priscilla. {Pleased.) Oh, Jane, do you think so? Jane. I do ! You were his first love, you should have married him years ago- — before he began to think it over! {She goes up and hangs up the jacket.) Priscilla. {Sewing.) I'm not like you, Jane, and how sh'd I know he wanted me if he never asked me — and he never did ! Jane. {Coming down to the back of tJic chair R. of table — emphatically.) Well, I wanted Billy, and he got the necessary en- couragement, believe me! Result — engaged! {She turns away to C.) 12 GETTIN' ACQUAINTED Priscilla. Billy ! Billy who? Jane. (Turning toward Iter, still C.) And I ain't known him three months ! Pbiscilla. (Rising- scandalized.) Oh, Jane! What will folks say? (Crossing to her.) And who're you talkin' about? (They both clip their ^^g's" but sound their "n's" very distinctly — ^'^ go-in," "talk-in." An idea strikes her — pleased.) You don't mean Mr. Martin, do you — the Superintendent attheFac'try? j^^,^ (Nodding.) Eh-us! (Or A-yus, New England for "Yes"). Why d'ye s'pose I studied type^^Titin' and stenogra- phy? I made up my mind if tliis sleepy old town could wake up and start a big factory, I'd wake up too, and get somewheres! (She crosses to couch.) Priscilla. Why, Jane, you never talked this way before, and you never even mentioned Mr. Martin in that way ! Jane. (Sitting on the arm of the sofa.) Well, there's no use countin' your chickens before they're hatched ! But today Billy told me I was the best Secretary he'd ever had. An' then he said: "Will you marry me?" An' I said: "You bet I will!" (Very slight pause. Rising and sitting on sofa.) So I'm a-goin' to be married ! Priscilla, (Disconsolately, turning back to her chair.) And I'll be left all alone ! GETTIN' ACQUAINTED ^13 Jane. Nonsense ! Now Jolin will be able to make up his mind, and you'll be Mrs. John, as you should have been yeai's ago ! Priscilla. (Shaking her Jtead mournfully.) No, he always liked you better. (She sits.) Jane. Fiddlesticks! He likes i/ou! I rile him! Then he runs to you for sympathy, an' the trouble is, he al- ways gets it! You ought to surprise him once in awhile! Surprise him an' — (she breaks off suddenly as an idea strikes her. Excitedly, clasping her hands and rising.) I've got it! Priscilla. (Also risiihg.) What's the matter.? Jane. (Alight with Jier inspiration, crossing to Priscilla.) I'm a'goin' to give him one last surprise and get s(|uare at the same time ! ( Wariu/ngly. ) Don't you tell him I'm a-goin' to marry Bill Martin ! Priscilla. Why not.? Jane. Never you mind! (Indigruintly.) Wastin' our time all these years, never girin' either of us a chance to say "Yes" or "No" — waitin', till he'd made up his mind! Selfish critter! (Slw crosses to hack of sofa and rearranges pilloxes — she fixes them so that tJiey mil be behind Jier later when she sits dozcm and they are needed in "the business.") 14 GETTIN' ACQUAINTED Priscilla. {Loyally.) Oh, Jane! John ain't selfish! Jane. Ain't he? Well, you wait till I get through with him ! „ Priscilla. {Going to her, imploringly and anxiously.') Now, Jane, what you goin' to do? Jane. Get square! ^^ ^ Jtriscilla. {In great distress.) Oh, Jane, please don't ! Dear me suz ! An' it's time he was here an' you ain't fixed yourself up yet! Jane. No, an' I ain't a-goin' to fix up, either ! Guess if I look good enough for Bill Martin t' ask me t' marry him, I look good enough to see John Purdy for the seven-thousand-six-hundred an' ninety-fifth time! Priscilla. {Much worried.) I wish you'd tell me what you're goin' to do? You frighten me ! , ^ , „ . x {UoorbeU rings.) Priscilla. Ooo-oo-ooh ! There he is now I Jane. All right, you go t' the door! Priscilla, No, no, Jane, I can't ! Now promise me to be care- ful not to hurt his feelin's! {Bell rings again.) GETTIN' ACQUAINTED J5 Jane. (Calmly.) You goin' t' the door? Priscilla. (Frightened.) Oh, no! jj^^^ Then I sh'll have to ! (She exits door R. 3,) Priscilla. (After fluttering helplessly for a minute.) Oh, dear! Oh, dear! (She runs over to the door ^•) Jane. (Off stage.) 'Evenin', John ! John. (Off stage.) 'Evenin', Jane ! _, Priscilla. Oh, dear!! (Huns off stage door L.) Jane entering. Jane. Come on in an' hang up your hat! (She crosses to chair R. of table L. and sits, taking up crochet or knitting work.) John follows her on, looks around inquiringly, hangs up his Jutt, and comes down C. Placid and complacent, looks around. John. (Inquiringly.) Where's Priscilla? _ Jane. She'll be in in a minute! (Lofoks up from her xDork to where he is still helplessly standing. Rather sharply.) Well, set down! 16 GETTIN' ACQUAINTED (John goes up stage, drags down the big rocking- chair to a position between Jane's cJudr and the sofa, and arranges himself comfortably and deliberately. He is deliberate both in speech and action. He has a trick common with many New Englanders of winding his feet in uncomfortable or axvkward po- sitions araund the legs of his chair and around each other, these signs becoming more marked as his dis- comfort increases. But at the begimning of the scene he is quite serene.^ , ^ ^ John. Pretty fair day. , Jane. ( Crisply. ) Fair t' middlin'. _ John. Eh-us. Feels like a weather breeder, don't it? Jane. Do tell! John. Speaks of rain. _ Jane. I want to know! {Slight pause, while John tries to make up his mind whether Jaxf.'s brief, perfunc- tory idioms indicate that slie is ''''cranky," and he hunts up a new subject of conversation.) John. (Finally, expansively.) Jackson asked me to-day would I run for Sheriff! Jane. Did he.? John. Eh-us! Jane. Well, I shouldn't think you'd run f'r anythin'! GETTIN' ACQUAINTED 17 John. (Bridling.) Why not? Jane. (Turning toward him.) You're so slow ! ^ JOHX. (Disgusted.) Humpli! (Pause.) Humph! (Further pau^e as it sinks deeper in.) He seems t' think I'd be 'lected! Jane. Humph ! _ John. (Trying a>gain.) How's Priscilla? _ Jane. Riffht smart. •^ John. How're you? ^ Jane. (Tartly.) Same's usual! ^ John. What's the matter? Got a chip on your shoulder? Jane. No, I ain't, but I was just wonderin'! John. Wonderin' what? , Jane. (Pointedly.) Why you came this evenin'? John. (Astounded.) Why I came? Why, don't I alius come Tuesday nights? 18 GETTIN' ACQUAINTED Jane. Goodness knows you do, and you've been doin' it long enough, too! What I'm a-tryin' to find out is why you come? John. ( Flabbergasted. ) Why — Avhy — why, to visit with you and Prisciha, of course! t Jane. But why do you want to visit with us.? Got any notion in your mind.^* Or has it just got to be a habit .'^ Why do vou conic? , '' *' John. Why — why — (bewildered he struggles for an idea (tnd finally produces one triumphantly.^ To git ac- quainted ! , ^ Jane. For the land sakes ! John. (Getting sensitive and rvrathful.) Oh, of course, if I ain't wanted, I'll be goin'! {He gets up and goes to the hat rack for his hat.) Jane. ( Commandingly . ) John Purdy, you come right straight back here and set down! (After a moments hesitation he comes back in front of his chair but does not sit.) Set down ! (She speaks sharply and he obeys as suddenly as though her tone had pushed him into the chair. She rises and goes up to the back of his chair.) Now, see here, I v/ant to know your intentions ! John. (Rising and edging round his chair, his eyes on her all the time, till he gets on the opposite side with the chair between them, then — ) M — mmy — my — intentions? GETTIN' ACQUAINTED 19 Jane. {Firmly.) Yes, your intentions ! You began to come here fif- teen years ago. There was no one then to ask you what you meant, but now I'm old enough to do mj own askin', an' I want to know ! Do you intend to marry either of us.'^ _ John. {Not knowing which way to look, overcome with embarrassment. ) Why — I — this is so sudden ! Jane. Well, do you.? ^ John. I— I— Priscilla enters from L. shy and anxious. John sees her and with great relief crosses over to her. They meet in front of marhle-top table. Jane crosses in front of couch. ^ John. {Shaking Priscilla's hand effusively.) Why, Priscilla, mighty glad to see you. Where've you been this long while .'^ Was askin' Jane about you. You look fust rate! Priscilt^a. Thank you, John, same to you. {She looks down at her hand which he is still shaking and then up at him, in surprise.) ^ Jane. That'll do, John. {They look at her inquiringly.) Priscilla's hand must be thoroughly shook by this time. {They look down at their hands and then drop them self-consciously and quickly.) An' you ain't a-goin' to wriggle out of answerin' my question that way ! 20 GETTIN' ACQUAINTED John. (Crossing- toward her until he is in front of his own chair. Argumentativeli/.) Who's a-wrigglin'? Jane. So you might jest as well set down again! (John ancl Priscilla look at each other.) Set down! (All three sit down simultaneously. Pause,) Priscilla. (Anxious.) Why — what question, Jane.? Jane. (Fixing the pillows behind h^r back.) John knows. (John wriggles, and finally sits tipped on the edge of his chair, looking very uncom- fortable.) „ Priscilla. (In dismay, clasping her hands.) Oh, what is it.? You don't look comfortable in that chair, John, let me get you the sofy piller. (She goes over to the sofa and yanks the soft pillow sud- denly from behind Jane's back. Jane drops back unexpectedly against the back of the sofa with a little exclamation. Priscilla goes over and puts cushion behind John's head carefully. He looks self- conscious but pleased.) There! That's better! (Pleased with herself, she goes back and sits in chair L. of table. John looks combatively at Jane as if to see what she has to say about it.) Jane. (Sarcastically. ) Yes, get him a sofy piller, but I sh'd think his conscience'd need it more'n his back ! That must be GETTIN' ACQUAINTED 21 very uncomfortable, indeed! (John looks both in- dignant and uncomfortable.) Priscilla. His conscience? Why, what has John done? Jane. We're talkin' about what lie a'm't done, just n'ow, my dear! Priscilla. {Looking inquiringly from one to the other.) Ain't done? John. {Aggrieved.) I don't understand you, Jane, I dunno what's come over you ! You never talked this way before ! Jane. {Knitting.) No, I have wasted" a lot of time, haven't I? John. 'Tain't womanly ! Jane. {Very peppery.) Oh., ain't it? Well, it ain't manly to shilly shally, either ! John. {Rising.) Shilly shally? Who? Jane. {Also rising, as they face each other angrily.) You ! Priscilla. {In consternation, running between them.) Oh, John ! Oh, Jane ! Mercy sakes alive ! ( Turning to John, soothingly.) Set down, John! Set down — {she gently pushes him back in his chair) — and — and — smoke awhile! {She motions Jane to sit, which 22 GETTIN' ACQUAINTED Jane docs ungraciously. To John.) I'll get you the matches. {She runs up to the match safe on the small table up stage and brings it down to L. of John, where she stands lighting the match. In the mean- time John takes out his package of "3 for 5" Vir- ginia cheroots and selects one. Priscilla hands him the lighted match.) Light your cigar! {He takes the match and lights cheroot. Priscii>la catches Jane's disapproving eye and turns her lie ad inde- pendently away. John puffs till he gets the cheroot thoroughly cdight, then throws match on the floor. Priscilla picks it up, a little shocked at his careless- ness, puts it in the match tray on the loxoer table. Goes over to small rocker L. of table, turns and sur- veys John, who is puffing cigar with short angry puffs. As she sits in rocker.) Now you'll feel better! John. {Heatedly.) I have not sliilly-shalHed ! Jane. Have too ! You've been fifteen years niakin' up your mind, and you'd be fifteen more if I'd let you! John. {Rising.) That ain't so. That ain't it ! Jane. Ain't it.^ Do you mean to say you ain't had any intentions right along.'' John. N — n — n o — o — Jane. {Quickly.) Oh ! you ain't.? GETTIN' ACQUAINTED 23 John. {Much flustered.) Well — -no — you see — why, I mean — you're both like my sisters ! •^ Jane. Priscilla, did you hear that? He'll be a brother to us ! ^ John. Great Tophet, Jane, how you do twist everything! {He sits down wrathfully in great disgust.) Priscilla. {Earnestly.) Don't mind her, John ! How you do talk, Jane ! We're always glad to see you, John! (Jane makes a wry face.) And I'm sure we never thought of any- thing else — (Jane turns accusingly toward her, she catches Jane's eye and turns away from her in con- fusion. Pause. She looks at John. He is sitting in a most uncomfortable position with a very injured expression on his face. ) John ! Please, please don't look that way! {He changes to an even more uncom- fortable position. Unhappily.) You don't look com- fortable yet, John! {He is sitting on the edge of his chair with one foot on top of the other.) Let me get you the footstool! {She runs up stage for it.) John. ( Turning to Jane, meets her eye, sees she is amused. Hastily.) No, oh no ! _, Priscilla. Oh, yes! {She puts the footstool at his feet and watches him put first one foot gingerly on it with a look at Jane, then the other. Much pleased with her efforts.) There! Now I'm sure you'll feel better! {She sits R. of table.) 24 GETTIN' ACQUAINTED (John's next ^'business" has been done two ways: 1. By sitting on the edge of the chair with his feet 071 the rather high stool, looking foolish and uncom- fortable. 2. By beginning to rock in his chair until interrupted by Jane's "Go back to the main ques- tion," when he stops abruptly.) Jane. (After the footstool has been placed and Pris- ciLLA is seated. Brief pause. Ominously polite.) If you're quite comfortable now, John, we'll go back to the main question! (John collapses in his chair.) You've been keepin' company with us for years, and we figgered you intended to marry one of us. Which one, we didn't know. Naturally, only one of us could win the prize. {She sizes him up and he looks most unhappy.) But bein' sisters, either was willin' to step aside! But 7iow (rising) you must choose between us ! You say to one of us : "Will you marry Priscilla. (Rising, horrified, all her New England breeding aghast.) Oh— O— h— h— Oh ! ! ! (Over to John.) John, John! Don't listen to her! She's only jokin'! She don't mean it ! She don't want to marry you — Jane. ( Quickly. ) Sjjeak for yourself, Priscilla ! Priscilla. (Desperately.) I don't want to marry you! (She realizes in con- sternation what she has said. John, in extreme sur- prise, gets to his feet, his mouth open.) Indeed I don't, John! I never thought of such a thing! GETTIN' ACQUAINTED 25 You'i'e just our good friend, our brother, as you said. We neither of us want to marry you ! Please, please, forget everything she said ! She loves to tor- ment, you know she does! (John Jias looked more and more dejected during this speech. He droops unmistakably at the end.) Don't look like that, John! Please! Please!! (She turns away, wringing her hands.) Oh dear me suz ! {She goes ozfer in front of rocking-chair. Hopefully.) Let's talk about something else! (Slight pause.) Set down! (All three sit simultaneously. There is an awful pause. Desperately..) What time is it, John? John. (Taking out his icatch. Lugubriously.) Eight o'clock! (Another pause. Nobody helps out.) PUISCILLA. (Earnestly.) Isn't there something I can do for you, John? (John looks slowly around and meets Jane's eye. He shakes his head and sinks back in his chair.) I know! (She rises and goes up to door L. % E.) I'll get you a glass of root beer! (At the door.) It's so refreshing ! _. Jane. (Dryly.) Yes, John, you do look as if you needed sometliing refreshing ! _. Priscilla. Oh, Jane! (She exits door L. 'B E. Jane looks at the door to see that she has really gone; John as though he would like to follow her.) Jane. (Briskly.) Well, as Priscilla don't want you, it only remains 26 GETTIN' ACQUAINTED for jou to decide whether you want me. If not, I'll look somewhcre's else ! John. (Rising in surprise.) Somewhere's else.'* Jane (Calmly.) Eh-us. Maybe you thought you was the only single man in Medfield. John. (Immediately curious.) Who is he.? j^^,^_ (Airily.) I dunno why I sh'd tell you ! John. (With sudden suspicion.) I know ! It's that pesky dude up t' the factory — Bill Martin! j^^^ (Flaring up.) He ain't a dude ! (She puts her knitting down and rises.) Just because he wears good clothes! (She goes down stage.) j^^^^ (Decidedly.) Well, I won't have it ! Jane. You won't have it! Humph! John. (Crossing over to her.) Why he ain't known you three months ! Jane. How long do you expect him to know me — fifteen .years? Jo„n. Quit now ! There's such a thing as undue haste ! GETTIN' ACQUAINTED 27 Jane. Well, nobody ever accused you of any undue haste. John. {Nettled — turning away from her.) Well, I won't have it! Understand? Jane. Like to know what right you have to dictate to me ! T JOHN. I'll make it my right! Jane. {Pinning him down — firmly.) Are you prepared to marry me? John. {Hesitates a second, then his a/ngcr gets the better of him, he comes over to her, bringing his fist down into his other luind.) Yes, by Juniper! (Jane is absolutely astounded by this unexpected answer, and is rather at a loss for a moment. John, seeing her surprise, realizes what he has done, and turns away. He looAs longingly at the door where Priscilla disappeared. ) Jane. {Faltering.) Wh}^, John, this — this is a surprise — I — I — {She looks perplexed. Finally she makes up her mind what to do, laughs. Goes over to John in a brisk, businesslike way. Crisply.) Well, we're engaged now, ain't we? {He turns in surprise.) Well? Ain't you goin' to kiss me? Or put your arm around me? {He looks much embarrassed, so she puts his right arm around her and lays her head on his shoulder. He looks over at door L., terribly unhappy.) GETTIN' ACQUAINTED Well, I never expected this happiness! (She looks up at him and sighs sentimentally. He looks at her, then away again.) I always thought you preferred Priscilla, but it seems it's mc! {Anxiously.) You're sure it's me, John ? You ain't a-bein' rushed into this, by any chance, are you? (John wipes the perspira- tion from his face loith a large handkerchief.) Every- thin's settled now. I'll marry you, John, and Pris- cilla will marry Bill Martin — John. (Pulling away from her, thoroughly startled.) Priscilla? Not Priscilla? Jane. ( Calmly. ) Well, why not Priscilla? You're engaged to me, ain't you? joj,^ {Sputtering in his wrath.) Engaged to you ! Engaged nothin' ! ! You — you — you forced me to pop to you! Jane. {Trying not to laugh.) Why, John, the idea ! John. Hush up now and hear me talk sense! Jane. I'd love to hear you talk sense, John ! John. Smart, ain't you, gettin' me to pop to you when I don't want you ! You talk too much and that kind of a woman ain't no good for any man's comfort ! Jane. {Bubbling over.) Why, John ! John, you sound almost alive I GETTIN' ACQUAINTED 29 John. ( Tu rning xcra thfidly. ) Alive! I'll show you whether I'm alive or not! {He kicks the footstool out of the way and shoves the big rocker up stage. Comes down to Jane.) I'm a-goin' to take Priscilla away from that stuck-up Bill Martin ! Jane. {Jeering.) Yes, you are ! John. Yes, I be! Because I've been waitin' for Priscilla to grow up and git acquainted with me, you think I'm slow! Jane. Not slow, John, just careful! John. Yah! I'll show you! {Over to door L. Calls.) Priscilla ! Priscilla ! ! Pkiscilla entering with mug of root beer. Priscilla. Here's your root beer, John ! John. Root beer, shucks ! That ain't half strong enough for me, the way I feel! When I get through here, I'm a-goin' down to Ed's and get some reg'lar beer! Jane. John, you're improvin'! John. {Turning to her.) You shut up! {To Priscilla.) You set that beer down, Priscilla, and listen to mc! {She sets the mug she carries down on the table hastily.) You ain't a-goin' to maiTy that dude, Bill Martin — 30 GETTIN' ACQUAINTED Priscilla. Why, John, Jane's goin' to — (Jane makes fran- tic signals to her to keep quiet. John interrupts.) John. You're goin' to marry me! You hear? Priscilla. Oh, John, this is so sudden ! John. 'Tain't neither sudden ! It's been comin' on for fif- teen years ! ^ Priscilla. {Still trying to explain.) But, John, Jane's going to — (Jane again makes signals.) ^ ^ ' John. {Interrupting.) Jane, nuthin' ! She's too all-fired smart to suit me! I want a woman that'll do as she's told, and make me comfortable same as Ma made Pa, and you're that kind ! t Jane. But John, you ain't asked her yet ! John. {Turning to Jane.) Don't have to ask her ! I'm a-tellin' her ! The Book says, "Wives, obey your husbands !" {To Pris- cilla.) You a-goin' to obey me, Priscilla.'* Priscilla. {Starting with a little rush toward him, then halting, demurely. ) Y — yes, John ! , •^ Jane. See here, John ! You can't marry Priscilla ; you're engaged to mc ! , GETTIN' ACQUAINTED 31 John. Engaged to jou? I ain't neither! You just got me all kerflummuxed ! Jane. John Purdy, ain't you goin' to marry me? John. No, I ain't. Priscilla. Why — ceee, Jane! Jane. (With an air of finality.) Then I'll sue you for breach of promise ! John. Breach o' promise? You can't! You ain't got no witness ! Jane. Oh, yes, I have ! There's Priscilla ! John. Priscilla? I'll fix that! The law says a wife can't testify 'gainst her husband! (Grabs her up in his arms and runs over to door R.) Jane. John, John, where are you going? John. Over t' the parson's with your witness, to git ac- quainted! (Jane laughs and claps her hands.) Curtain. 32 GETTIN' ACQUAINTED (Or this ending may be used if desired. It begins xcith the speech of Priscilla — -"Y-yes, Jolm !" — twelve speeches before curtain. Use second warning and curtain cues for this.) Priscilla. (Starting with a little rush toward him, and then halting demurely.) Y — yes, John. Jane. Don't be rash, Priscilla. Better wait and think it over ! John. (Turning to Jane.) Huh! You know a lot, don't you! You git out now ! I've got something private to say to Priscilla ! Jane. (Going up to door R. 3 E.) That's right, John ! Get acquainted ! (She makes a quick laughing exit, R. 3 E.) Priscilla. (Going over to John, shyly.) What you goin' to say, John ? John. Ain't a-goin' to say nuthin'! Goin' to kiss you! (He takes Priscilla in his arms in a bear hug and kisses her.) Curtain. Plays for Schools and Colleges THE HIGH SCHOOL FRESHMAN By Charles Ulrich. Comedy in 3 acts; ,12 males. Time, 2 hours. Price, 35 Cents. THE KINGDOM OF HEARTS CONTENT By Lindsey Barbee. Comedy in 3 acts; 6 males, 12 fe- males. Time, 2^4 hours. Price, 85 Cents. MACBETH A LA MODE By Walter Ben Hare. Burletta in 3 acts; 7 males, 7 females. Time, 1^4 hours. Price, 25 Cents. MRS. TUBBS OF SHANTYTOWN By Walter Ben Hare. Comedy-drama in 3 acts; 4 males, 7 females. Time, 214 hours. Price, 25 Cents. PARLOR MATCHES By Walter Ben Hare. Comedy of society in 2 acts; 4 males, 5 females. Time, 1% hours. Price, 25 Cents. A POOR MARRIED MAN By Walter Ben Hare. Farce-comedy in 3 acts; 4 males, 4 females. Time, 2 hours. Price, 25 Cents. A PRAIRIE ROSE By Edith F. A. U. Painton. Comedy-drama in 4 acts; 7 males, 4 females. Time, 2^^ hours. Price, 25 Cents. RE-TAMING OF THE SHREW By John W. Postgate, Shakespearean travesty in 1 act; 6 males. 5 females. Time, 45 minutes. Price, 25 Cents. SAVAGELAND By Walter Ben Hare. Musical comedy in 2 acts; 5 males, 5 females. Time, 2% hours. Price, 50 Cents. SHADOWS By Mary Moncure Parker. Play of today and a dream of the past; 3 males, 4 females. Time, 35 minutes. Price, 15 Cents. SING A SONG OF SENIORS By Lindsey Barbee. Comedietta; 7 females. Time, 30 minutes. Price, 15 Cents. STAR BRIGHT By Edith F. A. U. Painton. Comedy-drama in 3 acts; 6 males, 5 females. Time. 2^^ hours. Price, 25 Cents. A TRIAL OF HEARTS By Lindsey Barbee. Comedy in 4 acts; 6 males, 18 fe- males. Time, 2% hours. Price, 25 Cents. T. S. Denison & Company, Publishers 154 West Randolph Street CHICAGO .,^1?!?'^'^^ O"" CONGRESS iiilillllillllllilll 016 215 119 8 4 Standard and Amateur Plays Our list of plays comprises hundreds of titles, dramas, comedies, farces, vaudeville sketches, monologues, entertainments, etc. All shades of sentiment are represented, all varieties of talent, number of characters and time required in presentation are provided for in this list Popular Entertainment Books Under this heading are found books touching every feature in the entertainment field. Dialogues, for all ages. Speakers, Recitations, Monologues, Drills, Entertain- ments, suitable for all occasions. Jokes, Min- strels, Hand Books, etc. Over sixty titles. These books are not filled with old ma- terial, rehashed and simply made to sell; they are fresh and original matter, each written by a specialist in his given line. The books are finely made, clear print, good pa- per and each has a most attractive, indi- vidual cover design. One of the best and most complete entertainment series pub- lished. Paper Binding Only, Price 35 CenU Each Send for Complete Deacriptive Catologue T.S.Demson& Companf, Publishers 154 West Randolph Street CHICAGO