.R53 13 ^^^ '^lays Qxchani 
 
 I Grant You Three Wishes 
 
 Price, 25 Cents 
 
 WALTER H- BAKERS CO 
 BOSTON 
 
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 detailed information. 
 
 
 
 
 
 BAKER, 5 Hamilton 
 
 Place, Boston 
 
 , Mass* 
 
 
 i 
 
 FM Vy* V^ W^F^F^"^ 
 
 "^^ 
 
 rw- 
 
 WV9 
 
 rr^n^ 
 
 '>IF^^^ 
 
 
I Grant You Three 
 Wishes 
 
 A Fantasy in One Act 
 
 Composed of Prologue, Three Scenes 
 and an Epilogue 
 
 By 
 GLADYS RUTH BRIDGHAM 
 
 Author of "Line Busy," "Five Feet of Love," "Captain Cran- 
 berry, " " Behind the Sce/ies, " "At the Sii^'-n of the Shooting Star, ' ' 
 "The Girl from Upper y Ranch," "Leave it to Polly," "A 
 Regular Scream," "Not ofi the Programme," "A Modern 
 Cinderella," "On the Quiet," "A Regular Rah I Rah ! 
 Boy," "Sally Lunn," "Six Times Nine," "Ctipid's 
 Partner," " Her First Assigtiment," "A Case for Sher- 
 lock Hohnes," "Ring- Around- a- Rosie," "Three of a 
 Kind," "The Turn in the Road," "The Queen 
 of Hearts, " " The House in Laurel Lane, ' ' etc. 
 
 NOTE 
 
 The professional rights in this play are strictly reserved and 
 application for the right to produce it should be made to the 
 author in care of the publishers. Amateurs may produce it with- 
 out payment of royalty on condition that the name of the author 
 appears on all programmes and advertising issued in connection 
 with such performances. 
 
 BOSTON 
 
 WALTER H. BAKER & CO. 
 1920 
 
4 1 GRANT YOU THREE WISHES 
 
 Mrs. M. (with a little cry). And there's the bell! 
 
 (Lois exits hall. Mrs. M. rises and turns towards 
 door; slight pause. Elaine runs in; she is about 
 twenty-one, very attractive; wears travelling cloak 
 over dark silk gown and large hat. Lois steps into 
 room carrying small travelling bag. She places bag 
 on floor near door and withdraws.) 
 
 Elaine (running forward with a glad cry). Grand- 
 mother ! 
 
 Mrs. M. (tremidously, taking the girl in her arms). 
 My dear ! My dear ! 
 
 Elaine. It was so good of you to invite me here! 
 Of course I want to go home, but I had so much rather 
 come here first. 
 
 Mrs. M. I thought it might be that way. Are you 
 tired, dearie? 
 
 Elaine. Not I ! I hardly know what the word means. 
 
 Mrs. M. (zvith a sigh). Ah! I suppose the time was 
 once when I could say the same. (Lois enters with a 
 tray, silver teapot and plate of cakes; she carries them to 
 table, c.) Let Lois take your coat and hat. (Elaine 
 removes hat and coat and hands them to Lois, who takes 
 up travelling bag and withdrazvs.) Come! (Leads way 
 to tea table.) Let us have tea and we can talk. (Sits at 
 R. of table and pours tea; Elaine sits opposite.) I want 
 to know all about my sweet girl graduate. Your dress — 
 your poem — the class supper — the last ball — your beaux. 
 
 Elaine (lightly). Oh, grandmother! How horribly 
 embarrassing! 
 
 Mrs. M. Embarrassing? My dear! Between you 
 and me? 
 
 Elaine (laughing) . How do you know I have any? 
 
 Mrs. M. At your age? With your face? 
 
 Elaine. I had my picture taken for you in the dress. 
 I have brought my poem, a marvelous effort, I assure 
 you. The last supper was rather teary. The last ball — 
 wonderful ! Surely you remember how it was. 
 
 Mrs. M. (softly). Yes, I remember. (Slight pause.) 
 And now my girl is ready to go out into the world 
 
I GRANT YOU THREE WISHES 5 
 
 Elaine (interrupting). Don't remind me, grand- 
 mother ! I beg of you. 
 
 Mrs. M. You don't want to go? 
 
 Elaine. Oh, yes, I do! I want to work — I want to 
 help the family — I want to pay you back the money you 
 have spent on my education. Your wonderful kindness, 
 love and sympathy can never be repaid. 
 
 Mrs. M. Yes, they can, dearie, yes, they can ! They 
 have been repaid already in your happiness, in your letters, 
 in your visits to me. You have given me much of your 
 sweet and lovely self and you have taken me back over, 
 the years of my youth again. But tell me, why do you 
 hesitate to speak of your future? 
 
 Elaine. I believe I'm afraid. I don't seem to be sure 
 of what I really want to do. If you suddenly turned into 
 a fairy godmother and said: " Elaine, I grant you three 
 wishes," I wouldn't know what to choose. 
 
 Mrs. M. (sits quite still, regarding Elaine zvith a 
 strange look). I wonder whatever made you say that? 
 
 Elaine. Just my natural foolishness, I suppose. 
 (Suddenly notices Mrs. M.) What is the matter, grand- 
 mother ? 
 
 Mrs. M. Fifty years ago, Elaine, I came home from 
 college. The same one you came from to-day. 
 
 Elaine. I know, grandmother. How wonderful it 
 seems. 
 
 Mrs. M. (suddenly rising). And here in this room I 
 was given my choice of three wishes. 
 
 Elaine (zvith a cry). Grandmother! (Goes to her.) 
 Tell me ! 
 
 Mrs. M. (leads the zvay to the fireplace; sits in arm- 
 chair; Elaine sits on stool at her feet). My grand- 
 mother lived here then and my sisters Beth and" Alice 
 came with me. Beth and Alice were twins, you know, 
 and I was but a year older, and we graduated together. 
 After dinner we were sitting here telling grandmother 
 about what we wanted to do in life. Beth wanted to be 
 an artist, Alice an actress and I wanted to take up news- 
 paper work. We didn't any of us have an idea how we 
 were going to start on our careers. Grandmother said, 
 
6 I GRANT YOU THREE WISHES 
 
 " I haven't much to give, but one girl may have a thou- 
 sand dollars, another the family jewels and the treasure 
 chest and another may have this house if she will live 
 here widi me for the rest of my life. Elaine, you are 
 the oldest and you may be the first to choose. No one of 
 you can back down. You must all agree. The three 
 offers must be accepted or not any at all." We were 
 surprised and a good deal startled. Surely no one of us 
 wanted to settle down with grandmother in this old place. 
 We talked for a few minutes and then I said I would 
 make a decision in the morning. Then we all went up- 
 stairs for the night. I don't know about my sisters, but 
 there was no sleep for me. I sat by the window and 
 looked out over the lake and meadows and wondered if I 
 could do it, for I would have to be the one to sacrifice a 
 career, I knew that. Beth loved money. She wanted to 
 paint famous pictures, not for the love of art, but for the 
 sake of the money they would bring. The thousand dol- 
 lars would start her studio in New York. Alice was in 
 love with her own beautiful self and adored jewels and 
 clothes. Her idea of a stage career was fame as a beauty 
 — the acting she didn't give a thought to. The family jewels 
 and the old treasure chest of laces, velvets and satins 
 — what an asset to a young actress! And I — it seemed 
 to be my duty to sacrifice my career to start my sisters on 
 theirs. And what was it I was sacrificing? I had no 
 visions of fame and riches — I loved literature for the 
 sake of the thing itself. I don't know how long I sat 
 there, but some time in the night I lighted a candle and 
 came down to this room. The old family Bible was on 
 that table just where it is now. I don't know what 
 prompted me, for I wasn't especially religious, but I went 
 to the table and opened the old book. And there before 
 me were these words — " In that night did God appear 
 unto Solomon and said unto him, Ask what I shall give 
 thee." And I read on to find that Solomon asked for 
 knowledge and wisdom to rule over his people. And 
 suddenly I stood up — alone here in the night — and I said, 
 " Oh, Lord, grant me wisdom and knowledge to do the 
 right thing!" {She stops.) 
 
I GRANT YOU THREE WISHES "] 
 
 Elaine. Oh, grandmother, you aren't going to stop! 
 Tell me what happened to you ! Tell me what happened 
 to the others ! 
 
 Mrs. M. Very well, if you want to hear. I will tell 
 you first of Beth and Alice, and leave my own story for 
 the last. 
 
 CURTAIN 
 
 SCENE I 
 
 SCENE. — The table, c, u removed and screens placed 
 around the room for a background for artist's studio. 
 Posters are fastened to the screens, an artist's easel 
 with a canvas, a pedestal, etc. 
 
 (The fireplace is left in vieiv and Mrs. M. and Elaine 
 sit there watching the scenes. Maggie O'Brien, a 
 scrub zvoman, is mopping up the floor ; she is singing 
 an old-time Irish melody; she suddenly stops in front 
 of a poster of a ballet girl.) 
 
 Maggie. Shure, if youse ain't a sight ! If youse ain't 
 ashamed of yerself, indade I'm ashamed of yese ! 
 
 Enter Lucille Fairfax ; she is a plainly dressed girl 
 about twenty-four or five. 
 
 Lucille {looking about). Why, Maggie, are you 
 alone ? 
 
 Mag. No, ma'am, I ain't. I'se got plinty o' company, 
 sech ez it is ! 
 
 Luc. {looking around at the posters). Oh! And 
 which one were you talking with? 
 
 Mag. Shure, I wuz af ther talkin' to that one ! She 
 looks sassy enough to ansir back but she ain't opened her 
 hid yet. Maybe she's afther havin' some sinse of shame 
 even if she don't look it. 
 
8 I GRANT YOU THREE WISHES 
 
 Luc. {laughing). You don't like Miss McChesney's 
 famous girls ? 
 
 Mag. {indignantly). Like tliim? If yese ask me I 
 thinks they are a disgrace ter the community. I blush 
 fer thim every toime I mop up the floor. 
 
 Luc. Ah, but think of the money they represent ! 
 
 Mag. Shure an' I'd go a long toime widout the money 
 before I'd be afther makin' it on thot trash ! I'll earn me 
 fifteen cints an hour scrubbin' an' kape me conscience 
 clear. 
 
 Luc. {with a sigh). That's the way I have always felt, 
 Maggie, and I am beginning to wonder if it is wise after 
 all. Miss McChesney and I started at the same time. I 
 am living from hand to mouth, and she has everything 
 you can imagine. A country house, a studio on the cape, 
 all kinds of beautiful things, just because I have clung to 
 an ideal and she has worked for money. 
 
 Beth McChesney {entering with a laugJi : she is richly 
 dressed; velvet coat and dress, furs, large hot). That's 
 right ! I didn't get all of your remarks, Miss Fairfax, 
 but I take it you were philosophizing as usual — this time 
 to Maggie. {Laughs.) I am sure she was an apprecia- 
 tive audience. She doesn't approve of me at all, at all ! 
 
 Mag. Shure, miss, yez knows I'm thot fond of yez I 
 worship the ground yez walks on. It's these critters I 
 ain't takin' to. 
 
 Beth {looks around at the posters). I sold another 
 last night and {hands a package to Mag.) here's a dress 
 for little Mamie. 
 
 Mag. {overcome). Shure, miss — shure, miss 
 
 Beth. Never mind, Maggie. I know what you would 
 like to say. Has Aggie been here this morning? 
 
 Mag. Not yet, miss. 
 
 Beth. Are you all through here ? 
 
 Mag. Yes, miss, I'll be afther doin' the stairs now. 
 {Starts to exit; looks back.) Long life, miss, an' good 
 luck to yez ! 
 
 Beth. Thank you. [Exit Mag. 
 
 Luc. {with a sigh). No need to wish you that. You 
 have all the luck there is. 
 
I GRANT YOU THREE WISHES 9 
 
 Beth. You are quite welcome to any part of it you 
 will go after. If you sit back and refuse it when it 
 comes your way I don't know who is to blame but your- 
 self. 
 
 {Removes hat and coat and slips on an apron as she 
 talks. ) 
 
 Luc. I merely refuse to spend all my time working 
 for money alone. I have to do enough foolish things to 
 earn a living. I must spend the greater part of my time 
 working for something worth while. 
 
 Beth {impatiently). What did Mr. Lindsey say about 
 your work? 
 
 Luc. Same as the others. The talent is there, and I 
 must have patience and work sincerely, and it will all 
 come right in time. 
 
 Beth {sits dozun at easel; takes up a brush). Fiddle- 
 sticks ! Lucille, I started in the beginning to make money 
 and haven't I proved that I was right? Can you mention 
 anything I lack? You cannot get anywhere in this world 
 without money. It is the magic key to everything. I 
 started my career by choosing as a gift from my grand- 
 mother — money. Money has brought me everything I 
 want — even the man I love. I'm going to be married, 
 Lucille. 
 
 Luc. You are? To Douglas Dane, I suppose. 
 
 Beth. Yes. It was my money that brought me the 
 invitation to the house where I met him. 
 
 Luc. I am glad for you, Beth, and I hope you will be 
 very, very happy. Money has done much for you, I'll 
 admit, but somehow I am not convinced. I never hear 
 you talk this way but I have a fear that some day your 
 money will turn to dust and ashes in your hands. 
 
 Beth. How very cheerful ! 
 
 Luc. Forgive me ! I didn't mean to say that. It 
 just slipped out. You know how much 1 love you, and 
 that I sincerely wish you happiness. 
 
 Beth. Of course I do, and I wish you the same happi- 
 ness. It is too bad you can't take it when it is within 
 your reach. 
 
10 I GRANT YOU THREE WISHES 
 
 Luc. Mine will come some day, I am sure, but it 
 can't come the same way as yours. 
 
 Beth. No, I don't believe it can. We are not much 
 alike. Must you go? (Rises.) 
 
 Luc. Yes. I have much to do and so have you. 
 
 Beth. Yes, I have. I wish Aggie would come. 
 
 Luc. (from door). She is coming now. Good-bye. 
 
 (Exit; slight pause; Aggie Lyman enters. She is 
 about eighteen, very pretty in a cheap way; she wears 
 a long coat over a Spanish costume.) 
 
 Aggie. I'm sorry I'm late. I ain't feeling very well 
 this morning. 
 
 (Throws off her coat, fastens a hand on her hair, picks 
 up a tambourine.) 
 
 Beth. That's too bad. You don't look just right, 
 that's a fact. I will try to make your time short this 
 morning. 
 
 Aggie. Thanks. You're always good. (Poses by 
 pedestal.) This right? 
 
 Beth. Turn your head a little more. Right hand 
 higher — left foot back about another inch. Fine ! Hold 
 it ! (Goes to zvork.) I am going to give you ten dollars 
 extra this morning, Aggie. 
 
 Aggie. You are? Why? 
 
 Beth. Gracious ! You must feel down and out. 
 Money usually makes you cheer up. 
 
 Aggie. There's some things money don't help, Miss 
 McChesney. I suppose you are in luck again. 
 
 Beth. I should say. Last night I sold that last pic- 
 ture I made of you. 
 
 Aggie. I'm glad. (They are silent for a minute; 
 Aggie suddenly leans on the pedestal, her head buried in 
 her arms, and spbs wildly.) Oh, I can't stand it! I 
 can't ! Oh, God ! I can'tl 
 
 \ Beth (springs to her feet). Aggie! (Goes to her.) 
 What is it ? Tell me ! Let me help you ! 
 \ Aggie. It ain't nothin' you can help ! I — I was goin' 
 to be married — I thought I was — I guess now he didn' 
 
I GRANT YOU THREE WISHES II 
 
 never intend to. He loves me an' I worship him, but I 
 ain't no good to him 'cause I ain't got anything. He goes 
 around in a swell crowd and pretends he's one of them, 
 but he ain't got nothing and he's been going around with 
 me for two years. He's got in with a girl that's got a lot 
 of money and he told me last night that it was the chance 
 of his life. That he loved me but he was going to marry 
 her for her money. 
 
 Beth. Who is the girl? She should be warned. 
 
 Aggie. I don't know. He wouldn't tell me. I sup- 
 pose he thought I'd try to see her, but I wouldn't. I ain't 
 that kind, li he wants her he can have her and he 
 never'll be bothered with me. 
 
 Beth. What is his name? 
 
 Aggie. Harris, really. He comes of a shady family, 
 and he don't want no one to know, so he calls himself 
 Douglas Dane. 
 
 Beth (zvizh a cry). What? 
 
 Aggie. Do you know him? 
 
 Beth. Yes. Why, Aggie, you are talking perfectly 
 wild. Douglas Dane is a gentleman and mingles with the 
 best of people. 
 
 Aggie. Sure he does. You know young Moulton ? 
 
 Beth. Yes. I met Mr. Dane in his house. 
 
 Aggie. Moulton got in his power some way, gambling 
 or something, and he made him take him in with his 
 crowd. He can put on a great front all right. The 
 girl'll find out in time. 
 
 Beth. Yet you would marry him? 
 
 Aggie. Yes. I reckon I'd die for him almost. 
 
 Beth. If you want him, Aggie, you can have him. I 
 am the girl. 
 
 Aggie. Miss McChesney ! If I'd dreamed I'd never 
 said a word. 
 
 Beth (qitickly). Now that's all right, Aggie. You 
 are not to feel badly. You have saved me. Now I will 
 write a note and you take it to him. 
 
 (Takes up some paper and a pencil.) 
 
 Aggie. I'd never dare. He'll never forgive me. 
 Beth (writing rapidly). Yes, he will. You have 
 
12 I GRANT YOU THREE WISHES 
 
 saved him as well as me. He will come to see it after a 
 while. I hope he will do the right thing by you, Aggie. 
 
 Aggie (looking at her curiously). You don't seem to 
 care much, but then you got so many other things, and 
 all your money. 
 
 Beth (zvith a hard laugh). Yes, I've got my money. 
 Put on your coat. (Slips note into an envelope.) Find 
 him and give him this note as soon as you can. 
 
 (Aggie is putting on coat.) 
 
 Aggie. He'll be awful mad. 
 
 Beth (gives Aggie the note). Just at first, perhaps. 
 But he will get over it. 
 
 Aggie. Say, you always been awful good to me. H 
 I'd known I'd died before I'd told you. 
 
 Beth. Don't think of that. Good-bye. (Aggie exits; 
 Beth stands looking after her for a second; then drops 
 down in chair by easel and buries her face in her hands.) 
 Dust and ashes ! Dust and ashes ! 
 
 CURTAIN 
 
 SCENE II 
 
 SCENE. — Alice McChesney's dressing room in a Nezv 
 York theatre. The posters are removed from the 
 screens, and they are hung zvith elaborate costumes, 
 hats, zvraps and so forth. A dressing table zvith mir- 
 ror at R. c. ; a chair dozvn l. and a chair in front of 
 table; table has toilet articles, make-up and a jezvel 
 case. 
 
 (Alice, in an elaborate costume and many jezvels, sits 
 before table making up.) 
 
 Alice (takes up an open letter zvhich is on table and 
 reads from it). " I made a god of money, I believed it 
 
I GRANT YOU THREE WISHES 1 3 
 
 was everything and when the greatest happiness of myhfe 
 shpped from my grasp I found the money was but dust 
 and ashes in my hands. Be careful that the same fate 
 doesn't befall you. I believe you put your beauty, clothes 
 and jewels before everything else. It is a mistake. There 
 is a something that stands first. I don't know what it is, 
 but I believe we should have found out in the beginning. 
 — Beth." {She throws the letter doum.) Ridiculous! 
 
 Joyce Hamilton {knocks and enters; she is made up 
 for stage). Alice! Here is Madame LeFaire. I beg 
 of you to let me stay ! 
 
 Alice. Stay by all means ! Come in, Madame ! 
 (Madame LeFaire, a little French woman, enters; tai- 
 lored suit and hat; carries a large box.) Is it beautiful? 
 
 Madame. Ah ! That doees not eexprees eet, Mees 
 McCheesneey. Ft ees one dreem of beauty! 
 
 Alice. Open it quick ! . Show it to me ! I can't wait ! 
 
 Madame. But, yes! {Opens box.) 
 
 Joyce {with a cry). Oh, Alice! I never saw any- 
 thing so lovely ! 
 
 Madame {looking at Alice anxiously). What you 
 theenk? Ft will do? 
 
 Alice {takes the gozvn and holds it up to her and looks 
 in mirror). Let me see! {Turns zvith a radiant smile.) 
 Yes, it will do. 
 
 Joyce. You certainly are the most beautiful thing I 
 ever saw ! 
 
 Madame. Fet ees marvel! Ees eet not? An' sech 
 'vertisement for Madame. I get fame an' reeches makin' 
 ze gowns for Mees McCheesneey. I go! {Turns and 
 looks back.) I kees votre hand. Mademoiselle. [Exit. 
 
 Alice {sits by table again; Joyce sits down l.). Joyce, 
 Mr. Holt has engaged me for Guy Winthrop's new play. 
 
 Joyce. He has? The star part, you mean? 
 
 Alice. Yes. 
 
 Joyce. Instead of Miss Aldrich? 
 
 Alice. Yes. It's going to be rather a jolt for Aieleen. 
 I always told her beauty could win over — er — talent. I 
 suppose that's what she calls it. And now I have proved 
 the truth of my words. 
 
14 I GRANT YOU THREE WISHES 
 
 Enter Aieleen Aldrich ; she is made up for the 
 stage; her costume is simple and she has a sweet per- 
 sonality in decided contrast to Alice. 
 
 Aieleen. Alice, I have come to congratulate you. 
 The great news is in the evening paper. Her picture ! 
 
 (Hands paper to Joyce.) 
 
 Joyce (looking at paper). I should say so! "Amer- 
 ica's most beautiful actress chosen by Willard Holt for 
 Guy Winthrop's new play." 
 
 Aie. I do congratulate you sincerely. 
 
 Alice. Thank you. It's nice of you when I know 
 
 (Stops abruptly.) 
 
 Aie. Yes. You knew that I wanted it and hoped for 
 it just as you did. 
 
 Alice. You not only hoped, you worked. 
 
 Aie. Yes, I did. I have worked sincerely. You al- 
 ways said that hard work wasn't necessary. I guess you 
 must be right. 
 
 Alice. Try going in for make-up, clothes and jewels. 
 They are the things that really count on the stage. 
 
 Aie. So it seems. I used to think talent and hard 
 work were the things that counted, but I guess you must 
 have had the right idea. Certainly you can't draw any 
 greater prize than to star for Willard Holt. 
 
 Joyce (listening). They are playing the overture. 
 
 Aie. Yes, we must go ! 
 
 (Knock at door.) 
 
 Alice (turning). What is it? 
 
 Joyce (from door). Flowers! 
 
 Aie. (takes box and hands it to Alice). They are 
 from Willard Holt. His name is in great big letters on 
 the box. (Smiles at Alice.) You see he wants every 
 one to know that he has already begun to shower his latest 
 star with honors. 
 
 Alice. Thank you. (Aie. and Joyce exeunt; Alice 
 opens box, takes out roses and a letter; sits by table; 
 
I GRANT YOU THREE WISHES I5 
 
 opens letter and reads.) " Dear Miss McChesney : — I am 
 afraid I have been hasty in giving our plans to the news- 
 papers before we got our contract. I supposed Guy Win- 
 throp would leave everything to me, but he says I cannot 
 have his play unless Aieleen Aldrich is to be the star. Of 
 course I cannot afford to let his play go by me. I have 
 done my best for you, but he had her in mind when he 
 wrote the part and will not listen to anything else. I am 
 going to tell you just what he says, for I believe it is the 
 truth and may be a help to you. ' Miss McChesney's day 
 is nearly over. She has never been sincere. Clothes 
 will last, but beauty fades, and the public must have some- 
 thing besides clothes and jewels. Miss Aldrich has 
 worked hard and everything is before her. Miss Mc- 
 Chesney has never tried to develop what little talent she 
 has and the end of her career is already in sight. Her 
 fame is entirely beauty, clothes and jewels and in a short 
 time they will all have been forgotten.' Pardon me for 
 being so brutally frank, but I want you to see just where 
 I stand. Sincerely yours, Willard Holt." (Alice lis- 
 tens; suddenly starts to her feet.) My call! {Mechan- 
 ically reaches for a necklace and starts to put it on; sud- 
 denly stops, looks at the jewels, lets it fall to the floor.) 
 Dust and ashes ! Dust and ashes ! 
 
 CURTAIN 
 
 SCENE HI 
 
 SCENE. — Screens are removed; same as Prologue, with 
 exception of tea table. 
 
 (Elaine McChesney stands by windozv looking out; 
 it should be remembered that she is supposed to be 
 Mrs. Montfort in her younger days and there 
 should be a resemblance; she is dressed in black. 
 A bell rings; slight pause; Sara, the maid, enters.) 
 
l6 I GRANT YOU THREE WISHES 
 
 Sara. Miss Elaine, Mrs. Newcombe is calling. Do 
 you wish to see her? 
 
 Elaine (turning from windozv). Yes, show her in. 
 
 (Sara exits; reenters follozved by Mrs. Newcombe, a 
 middle-aged ivoman. Sara ivithdrazvs.) 
 
 Mrs. N. (kissing Elaine). My dear, I didn't know 
 how you would feel about seeing any one. 
 
 Elaine. I am glad to see you. It is good of you to 
 come. Sit right down. 
 
 Mrs. N. (taking a chair). I thought perhaps you 
 would be lonely now that every one has gone. 
 
 Elaine. I was just a little. Of course I miss grand- 
 mother more than the others. 
 
 Mrs. N. You intend to remain here? 
 
 Elaine. I don't know. This is my home, but I 
 haven't an idea what I am going to do. I can't seem to 
 look forward. 
 
 Mrs. N. Well, anyway, my dear, you have nothing to 
 regret in looking back. 
 
 Elaine. No, I haven't. Grandmother was happy and 
 I have been happy, too. Sometimes I have thought that 
 I wasn't — that I would have been happier if I had fol- 
 lowed the career I planned, but since I have seen 
 Beth and Alice I am quite contented. Both of them have 
 fame and money, but there seems to be something sadly 
 lacking. At times I have felt that I was a prisoner 
 
 Mrs. N. And now that you are free? 
 
 Elaine. Now that I am free — what? 
 
 Mrs. N. Would you wish to take up the career you 
 thought of in the beginning? 
 
 Elaine. I don't believe so. A few years makes such 
 a difference in the way we look at things. I don't believe 
 I would want to do quite the same things I planned then. 
 
 Mrs. N. But surely you have some idea for the fu- 
 ture. During these years there must have been some- 
 thing you were looking forward to. 
 
 Elaine. I'm not sure about that. I didn't dare to 
 look forward too much. I was just doing my duty, the 
 thing I was pledged to do, and I didn't know how long it 
 
I GRANT YOU THREE WISHES 1 7 
 
 was going to last. No, my future has a great big question 
 mark after it, and I am waiting for an answer, 
 
 Sara {entering with a letter and little book). A letter. 
 Miss Elaine. A special delivery. 
 
 (Hands Elaine the book and a pencil. Elaine signs 
 the book and hands it back to Sara, who gives 
 Elaine the letter and exits.) 
 
 Elaine. Pardon me if I just glance at this? 
 
 Mrs. N. Certainly, my dear. 
 
 Elaine (opens letter). Oh, Mrs. Newcombe, I have 
 my answer! I am going to tell you. I haven't any 
 mother, and grandmother is gone and there isn't any one 
 else. Can't you pretend you are some relation to me? 
 
 Mrs. N. My dear Elaine, nothing could be easier. I 
 could pretend anything where you are concerned, even 
 that you are my own daughter. 
 
 Elaine (goes to her and kneels by her side). Thank 
 you. I told you that in the beginning I wanted a literary 
 career. I couldn't quite give up the idea, so after I set- 
 tled down here with grandmother I found a good deal of 
 time to write little things. I gathered courage after a 
 while and sent some to a magazine. One was accepted 
 and an encouraging letter came with a very small check. 
 It was the start. After that I did many things for many 
 magazines, and one wonderful day James Montfort, the 
 first editor who accepted my work, came down here to 
 see me, and urged me to go to New York and take a posi- 
 tion on his magazine. I explained that I must stay with 
 grandmother, and then he advised me to branch out and 
 try something larger — a book. Well, I did. I have 
 worked on it for nearly three years, and oh, Mrs. New- 
 combe, it is accepted ! It is going to be published ! 
 
 Mrs. N. But, my dear, you have been doing this work 
 all this time ? Why hasn't any one known ? 
 
 Elaine. I didn't write under my own name. Grand- 
 mother knew, and I wrote for love of the work, so why 
 bother about telling any one else? But I haven't told 
 you all. That first visit of Mr. Montfort's wasn't his last. 
 He has been here many times. He has been waiting the 
 
l8 I GRANT YOU THREE WISHES 
 
 same as I have been waiting. Now in this letter he asks 
 if he may come to me. My answer will be one little 
 word, and it means that I am going to be the happiest 
 girl in the world. 
 
 Mrs. N. {putting her arms around Elaine). My 
 dear! My dear Elaine ! I'm so glad! 
 
 Elaine (softly). Wisdom and knowledge first to do 
 the right, and all other things shall be given unto you ! 
 
 CURTAIN 
 
 EPILOGUE 
 
 SCENE. — Tea table is placed in position so that scene is 
 same as Prologue. 
 
 Mrs. M. And that, my dear, is the end of the story. 
 
 Elaine. Thank you so much, grandmother, for show- 
 ing me the way. Grant me first, not riches, nor honor, 
 but an understanding heart. 
 
 CURTAIN 
 
LOST— A CHAPERON 
 
 A Comedy in Three Acts by Courtney Bruerton and W, S. Maulsby, 
 Six male, nine female characters. Costumes, modern; scenery, an m 
 terior and an exterior. Plays a full evening. A lot of college girls in 
 camp lose their cuaperon for twenty-four hours, and are provided by a 
 camp of college boys across the lake with plenty of excitement. The parts 
 are all good, the situations are very funny and the lines full of laughs. 
 Recommended for high-school performance. Price, 25 cents 
 
 THE PRIVATE TUTOR 
 
 A Farce in Three Acts by E. J. Whisler. Five male, three female char- 
 acters. Costumes, modern ; scenery, two simple interiors. Plays two hours. 
 Tells of the endeavors of two college boys to disguise the fact that they have 
 been "rusticated" from the family of one of them. Hans Dinklederfe'-, 
 the leader of a German band, trying to make good in the character of a 
 private tutor, is a scream. All the parts are good. A capital high-school 
 play. Price, 2J cents 
 
 THE REBELLION OF MRS. BARCLAY 
 
 A Comedy of Domestic Life in Two Acts by May E. Countryman. 
 Three male, six female characters. Costumes, modern; scenery, easy 
 interiors. Plays one hour and three-quarters. A clever and amusing 
 comedy with all the parts evenly good. There are many Mr. Barclays all 
 over this country, and Mrs. Barclay's method of curing her particular one 
 will be sympathetically received. Good Irish comedy parts, male and fe- 
 male. Strongly recommended. Price, 2^ cents 
 
 THE TRAMPS' CONVENTION 
 
 An Entertainment in One Scene for Male Characters Only by Jessie A. 
 Kelley. Seventeen male characters. Costumes, typical tramp dress ; 
 scenery, unimportant. Plays an hour and a half. An entertainment in 
 the vaudeville class, with possibilities of unlimited fun. Music can be in- 
 troduced, if desired, though this is not necessary. The opening is very 
 funny and original and the finish — The Ananias Club — can be worked up 
 to any extent. Strongly recommended. Price, 2^ cents 
 
 THE DAY THAT LINCOLN DIED 
 
 A Play in One Act by Prescott Warren and Will Hutchins. Five male, 
 two female characters. Costumes, modern ; scene, an easy exterior. Plays 
 thirty minutes. A very effective play suited for a Lincoln Day entertain- 
 ment. It offers plenty of comedy, and is a piece that we can heartily 
 recommend. Professional stage-rights reserved. Price, 2^ cents 
 
 PA'S NEW HOUSEKEEPER 
 
 A Farce in One Act by Charles S. Bird. Three male, two female char- 
 acters. Modern costumes ; scenery, a simple interior or none at all. Plays 
 forty minutes. Jack Brown, visiting his chum, is tempted by his success 
 in college theatricals to make up in the character of the new housekeeper, 
 an attractive widow, who is expected but does not arrive. He takes in 
 everybody and mixes things up generally. All the parts are first rate and 
 the piece full of laughs. Strongly recommended. Price, 75 cents 
 
TAKING TFIE CENSUS IN BINGVILLE 
 
 An Entertainment in One Act by Jessie A. Kelley. Fourteen males, 
 eight females. Costumes, modern ; scenery, unimporUint. Plays an hour 
 and, a half. One of the always popular go-as-you-please entertainments; 
 lust a lot of laughs strung on a very slender wire of story. Full of eccen- 
 tric character bits and chances for local hits. A sure success for the 
 laughter-loving. Recommended for church societies or intimate com- 
 munities. Price, 2§ cents 
 
 MISS PRIM'S KINDERGARTEN 
 
 An Entertainment in One Scene by Jessie A. Kelley. Ten males, 
 eleven females. No scenery or curtain needed; costumes introduce 
 grown people dressed as children. Plays an hour and a half. Full oi 
 laughs and a sure hit with the audience. All the parts very easy except 
 the Teacher's, and as it is possible for her to use a book, the entertain- 
 ment can be got up with exceptional ease and quickness. Can be recom- 
 mended. Price, 2j cents 
 
 THE PACKING OF THE HOME MIS- 
 SIONARY BARREL 
 
 An Entertainment in One Scene by Mrs. Henry A. Hallock. Ten fa- 
 males. Costumes, modern ; scenery, unimportant. Plays tliirty minuter'. 
 One of those little satires of feminine ways that are so popular even with 
 the ladies; very shrewd and effective, but perfectly good-natured. An as 
 sured success and very easy to get up. Strongly recommended. 
 Price, ij cents 
 
 A MODERN SEWING SOCIETY 
 
 An Entertainment in One Scene by O. W. Gleason Fourteen females. 
 Costumes, modern ; no scenery required. May be easily presented on a 
 bare platform. Plays forty-five minutes. A humorous picture of this 
 much-abused institution, briskly and vivaciously written and full o( 
 -• points." Its characters offer a wide variety of opportunity for local hits, 
 and satire of local characters and institutions. Price, ij cents 
 
 HOW THE CLUB WAS FORMED 
 
 An Entertainment in Three Scenes by Mrs. O. W. Glenson. Eighteen 
 females. Costumes, modern ; scenery, unimportant. Plays one and a 
 half hours. A humorous skit on the Woman's Club suited for perform- 
 ance by either young or middle-aged women. Full of points and chances 
 for local liits and thus a sure laugh-maker. Parts well distributed ; can 
 be recommended. Price, /J" cents 
 
 SCENES IN THE UNION DEPOT 
 
 A Humorous Entertainment in One Scene by Laura M. Parsons. 
 Twenty-four males, eighteen females and eight children, but can be played 
 by less if desired. Scenery, unimportant; costumes, modern. Full oi 
 humorous points and chances lo introduce local hits. Plays from an houl 
 ap, according to specialties introduced. Price, 2'i cents 
 
THE TIME OF HIS LIFE 
 
 A Comedy in Three Acts by C. Leona Dalrymple. Six males, three 
 females. Costumes, modein; scenery, two interiors, or can be played in 
 one. Plays two hours and a half. A side-splitting piece, full of action 
 and a sure success if competently acted. Tom Carter's little joke of im- 
 personating the colored butler has unexpected consequences that give him 
 '• the time of his life." Very highly recommended for high school per* 
 formance. Frice, 2j cents 
 
 THE COLLEGE CHAP 
 
 A Comedy Drama in Three Acts by Harry L. Newton and John 
 Pierre Roche. Eleven males, seven females. Costumes, modern ; scenery, 
 two interiors. Plays two and a half hours. An admirable play for ama- 
 teurs. Absolutely American in spirit and up to date; full of sympathetic 
 interest but plenty of comedy ; lots of healthy sentiment, but nothing 
 " mushy." Just the thing for high schools ; sane, eftective, and not dif- 
 ficult. Price, 2^ cents 
 
 THE DEACON'S SECOND WIFE 
 
 A Comedy in Three Acts by Allan Abbott. Six males, six females, 
 Costumes, modern ; scenery, one interior, one exterior. Plays two hours 
 and a half. A play of rural life specially written for school performance 
 All the parts are good and of nearly equal opportunity, and the piece is full 
 of laughs. Easy to produce ; no awkward sentimental scenes ; can b« 
 strongly recommended for high schools. Price, 25 cents 
 
 THE TEASER 
 
 A Rural Comedy in Three Acts by Charles S. Allen. Four male, three 
 female cliaracters. Scene, an easy interior, the same for all three acts ; 
 costumes, modern. Plays an hour and a half. An admirable play for 
 amateurs, very easy to get up, and very effective. Uraliah Higgins, a 
 country postman, and Drusilla Todd are capital comedy parts, introducing 
 songs or specialties, if desired. Plenty of incidental fun. 
 Price, 2^ cents 
 
 COUNTRY FOLKS 
 
 A Comedy Drama in Three Acts by Anthony E. Wills. Six males, five 
 females. Costumes, modern; scenery, one interior. Plays two and a 
 quarter hours. An effective and up-to-date play well suited for amateur 
 performance. All the parts good and fairly even in point of opportunity ; 
 the ladies' parts especially so. Easy to stage, and well suited for schools. 
 Well recommended. Price, 2^ cents 
 
 THE MISHAPS OF MINERVA 
 
 A Farce in Two Acts by Bertha Currier Porter. Five males, eight fe- 
 males. Costumes, modern ; scene, an interior. Plays one and a hall 
 hours. An exceptionally bright and amusing little play of high class and 
 recommended to all classes of amateur players. Full of action and 
 laughs, but refined. Irish low comedy part. Strongly endorsed. 
 Price, 25 cents 
 
THE VOICE OF AUTHORITY 
 
 A Farce in Three Acts 
 For Female Characters Only 
 By Bertha Currier Porter 
 Seven females. Costumes, modern ; scenery, a plain interior. Plays 
 two hours. Seven girls go camping all by themselves so as to have no 
 men bothering around. After a week of it they decide to send for their 
 brothers and fiances, but they have no sooner done so than they are noti- 
 fied that their camp has been quarantined by the authorities because one of 
 them the day before has been seen holding a baby that has the scarlet 
 fever. The men arrive, but are not allowed to enter, and the girls can- 
 not come out. Trouble follows, ended by the discovery that the baby did 
 not have scarlet fever after all. Full of life and laughs; strongly recom- 
 mended. 
 
 Price, 2_5 cents 
 
 CHARACTERS 
 
 Jean Campbell, the stenographer, engaged to Bert. 
 Priscilla Carter, the nejvspaper woman, engaged to Ralph. 
 Martha Stearns, the cooking teacher, engaged to Max. 
 Gladys Cushing, the butterfly, engaged to Charlie. 
 Margery Whiting, the bride-to-be, engaged to Billy. 
 Elizabeth Kennedy, itidependent, not engaged at all. 
 Dr. E. T. Simpson, the physician. 
 And 
 The Voice of Authority, unseen but all-powerful. 
 
 THE COMING OF ANNABEL 
 
 A Comedy in One Act 
 
 By Alice C. Thompson 
 
 Six females. Costumes, modern ; scene, an interior. Plays thirty 
 
 minutes. A group of village gossips, bent on the slaughter of the char 
 
 acter of a visitor to the town, are routed and reformed by the example of 
 
 Annabel's charity and amiability. Good character. Clever and effective. 
 
 Price, 15 cents 
 
 THE MISSES PRINGLES' LEAP YEAR 
 
 A Comedy in Two Acts 
 By Amatyllis V. Lord 
 Ten females and the apparition of a man. Costumes, modern ; scenery, 
 inimportant. Plays half an hour. The Misses Barbara, Priscilla and 
 Vietsy Pringle, while scorning matrimony in public, have a secret inclina- 
 tion toward it, and taking advantage of leap year, each, without the 
 Knowledge of the others, proposes by letter to Deacon Smith with sur- 
 prising results. Very easy and amusing, requiring no scenery and but 
 little rehearsing. 
 
 Price, i§ cents 
 
TEDDY, OR, THE RUNAWAYS 
 
 A Comedy in Three Acts 
 By Walter Ben Hare 
 
 [^Originally produced at the Waldorf-Astoria, New York City, 
 
 February j6, igi2. ) 
 Four males, four females. Scenery, a single interior , costumes, mod- 
 ern. Plays two and a quarter hours. An eloping couple take refuge with 
 the Junipers when their auto breaks down. The lady explains that they 
 are being pursued by her brothers, so when a sheriff and posse arrive in 
 pursuit of two thieves, Mrs. Juniper locks them down cellar to let the 
 lovers escape. The sheriff gets out and arrests the Junipers whom he 
 accuses of being the thieves. It finally appears that the lady is an author- 
 ess and that she and her husband are posing as thieves in order to get ma- 
 terial for a novel. Full of action ; characters all good ; lots of comedy ; 
 strongly recommended. 
 
 Price, 2J cents 
 
 CHARACTERS 
 Jean MacLean, Little Miss Fixit. 
 Mrs. Juniper, a Young Wife. 
 Victoria, the Girl in the Taxi. 
 Tex ANA, the Girl of the Golden West. 
 Max Juniper, the Perplexed Husband. 
 Alonzo Willing, the Fortune Hunter. 
 Ted Keegan, the Man on the Box. 
 Sheriff Jim Larrabee, Officer 666. 
 Two Deputy Sheriffs 
 
 SYNOPSIS 
 
 Act I. — Living room at Max Juniper's house on a Texas ranch. 
 Spring time. 
 
 Act II. — Same as Act I. The great diamond robbery. 
 Act III. — Same as Acts I and II. The thunderbolt. 
 
 WANTED— A PITCHER 
 
 A Farce in One Act 
 
 By M. N. Beebe 
 Eleven males. Scenery not important ; costumes, modern. Plays half an 
 hour. Hank Dewberry, the crack pitcher of the home nine, is kept from 
 the championsliip game by his skinflini father who wants him to do the hay- 
 ing. Hank's friends try to find a substitute pitcher, with humorous but 
 unsatisfactory results. The elder Dewberry finally releases Hank when 
 one of the players shows him how to win the county championship at 
 checkers, on which he sets liis heart. Hebrew, Irish, Italian and " hay- 
 seed " comedy character parts. Recommended. 
 Price, ij cents 
 
WILLOWDALE 
 
 A Play in Three Acts by Arthur Lewis Tubbs. Seven males, five it 
 males. Scenery, two easy interiors ; costumes, modern. This is a play J 
 exceptional interest and power. Admirably suited lor amateur perforn* 
 ance, all the parts being good. Godfrey is an admirable heavy part, Joeli 
 Lem and Simon capital character parts, Mis' Hazey a novel eccentric bit 
 and Oleander a part of screaming comedy. Plays two hours and a quarter. 
 rrice, 2j cents 
 
 THE VILLAGE SCHOOL MA'AM 
 
 A Play in Three Acts by Arthur Lewis Tubbs. Six males, five females. 
 Costumes, modern ; scenes, an interior and an exterior, or can be played in 
 two interiors. Plays two hours or more. Combines a strong sympathetic 
 interest with an abundance of comedy. The parts are unusually equal in 
 opportunity, are vigorously drawn and easily actable. No dialect parts, 
 but plenty of variety in the comedy roles and lots of amusing incident 
 Can be strongly recommended. Price, 2^ cents 
 
 BAR HAVEN 
 
 A Comedy in Three Acts by Gordan V. May Six males, five females 
 Costumes, modern ; scenery, two interiors and an exterior, not difficult. 
 Plays two hours. An excellent piece, mingling a strongly serious interest 
 with abundant humor. Offers a great variety of good parts of nearly 
 equal opportunity. Admirably suited for amateur performance, and 
 strongly recommended. Price, 2^ cents 
 
 DOWN IN MAINE 
 
 A Drama in Four Acts by Charles Townsend. Eight male, four female 
 characters. This play has no villains, no tangled plot nor sentimental 
 love scenes; yet the climaxes are strong, the action brisk, and the humor 
 genial, and the characters strongly drawn. Can be played in any hall ; 
 scenery, of the easiest sort. Properties, few and simple ; costumes, 
 modern. Plays a full evening. Strongly recommended. Price, 2^ cents 
 
 HIGBEE OF HARVARD 
 
 A Comedy Drama in Three Acts by Charles Townsend. Five males, 
 four females. Modern costumes ; scenes, two interiors and an exterior — 
 the latter may be played as well in an interior, if preferred. Plays a full 
 evening. A clever, up-to-date piece, well suited for amateur performance. 
 No small parts; all good. Good plot, full of incident, no love making, 
 interest strong and sustained. Price, ij cents 
 
 HOW JIM MADE GOOD 
 
 A Comedy Drama in Four Acts by Charles S. Bird. Seven maleSj 
 three females ; two male parts can be doubled. Costumes, modern j 
 scenery, three interiors. Plays two hours. An unusually sympathetic 
 piay, well suited to amateurs. Clean and easy to get up. Recommeudec" 
 to high schools. All tne parts are good.. Price, 2j; cents 
 
«*, .A. .A. ,^ ,JI. ,A. ,«l. .A, ,1^ ,1k. ,ak, ,M. ,ik. ,ik. ,*, ,<k, ,*. ,A. .^dk, ,A, .Ar -A. :. 
 
 i Plays and Novelties That Have Been ' 
 
 ' Winners " 
 
 
 MaUi 
 
 Females Time 
 
 Price 
 
 Royaltf 
 
 1 Anita's Trial 
 
 
 II 
 
 ^Vz 
 
 hrs. 
 
 250 
 
 Free 
 
 
 II 
 
 2 
 
 (( 
 
 25c 
 
 w 
 
 4 Art Clubs are Trumps 
 J Behind the Scenes 
 H The Camp Fire Qirls 
 
 
 12 
 
 % 
 
 « 
 
 25 c 
 
 M 
 
 
 12 
 
 ^Yz 
 
 <i 
 
 25c 
 
 M 
 
 
 15 
 
 2 
 
 « 
 
 25c 
 
 U 
 
 ^ A Case for Sheriocic Holmes 
 J The Farmerette 
 1 Getting the Range 
 
 
 10 
 
 ^'A 
 
 « 
 
 25c 
 
 U 
 
 
 7 
 
 2 
 
 « 
 
 25c 
 
 « 
 
 
 8 
 
 'A 
 
 « 
 
 25c 
 
 U 
 
 i Her First Assignment 
 
 
 10 
 
 I 
 
 (i 
 
 15c 
 
 « 
 
 J Hitty's Service Flag 
 
 
 II 
 
 IX 
 
 « 
 
 25c 
 
 <« 
 
 1 Joint Owners in Spain 
 
 
 4 
 
 A 
 
 " 
 
 25c 
 
 *5.oo 
 
 4 A King's Daughter 
 
 
 II 
 
 2 
 
 i( 
 
 25c 
 
 Free 
 
 J The Knitting Club Meets 
 ' A l^dy to Call 
 
 
 9 
 
 % 
 
 « 
 
 25c 
 
 « 
 
 
 3 
 
 'A 
 
 " 
 
 15c 
 
 « 
 
 4 Leave it to Polly 
 
 
 II 
 
 ^Vz 
 
 « 
 
 25c 
 
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 i The Minute Man 
 
 
 13 
 
 ^A 
 
 (1 
 
 25.. 
 
 « 
 
 1 Miss Fearless & Co. 
 
 
 10 
 
 2 
 
 « 
 
 25c 
 
 i< 
 
 ll A Modern Cinderella 
 
 
 16 
 
 ^A 
 
 " 
 
 25 c 
 
 « 
 
 J Moth= Balls 
 
 
 3 
 
 % 
 
 " 
 
 25c 
 
 «< 
 
 * Rebecca's Triumph 
 
 
 16 
 
 2 
 
 « 
 
 25c 
 
 « 
 
 4 The Thirteenth Star 
 
 
 9 
 
 ^Yz 
 
 " 
 
 25c 
 
 M 
 
 A Twelve Old Maids 
 
 
 15 
 
 I 
 
 " 
 
 25c 
 
 « 
 
 ' An Awkward Squad 
 
 8 
 
 
 X 
 
 « 
 
 15c 
 
 « 
 
 <{ The Blow=Up oi Algernon Blow 
 
 8 
 
 
 Yz 
 
 « 
 
 15c 
 
 «( 
 
 J The Boy Scouts 
 
 20 
 
 
 2 
 
 « 
 
 25c 
 
 « 
 
 * A Close Shave 
 
 6 
 
 
 Yz 
 
 " 
 
 .15c 
 
 « 
 
 l| The First National Boot 
 
 7 
 
 2 
 
 I 
 
 " 
 
 ISC 
 
 « 
 
 J A Haif= Back's Interference 
 
 lO 
 
 
 X 
 
 " 
 
 15c 
 
 'fc 
 
 ^ His Father's Son 
 
 14 
 
 
 iX 
 
 i< 
 
 25c 
 
 « 
 
 «| The Man With the Nose 
 
 8 
 
 
 X 
 
 « 
 
 15c 
 
 <« 
 
 J On the Quiet 
 
 12 
 
 
 ^Yz 
 
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 25c 
 
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 ' The People's Money 
 
 II 
 
 
 IX 
 
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 25c 
 
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 i| A Regular Rah ! Rah ! Boy 
 
 14 
 
 
 IX 
 
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 25c 
 
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 J A Regular Scream 
 
 II 
 
 
 iX 
 
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 25c 
 
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 ^ Schmerecase in School 
 
 9 
 
 
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 15c 
 
 M 
 
 l| The Scoutmaster 
 
 lO 
 
 
 2 
 
 X 
 
 25c 
 
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 J The Tramps' Convention 
 
 17 
 
 
 '^ 
 
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 25c 
 
 l< 
 
 * The Turn in the Road 
 
 9 
 
 
 I>^ 
 
 " 
 
 15c 
 
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 i Wanted— A Pitcher 
 
 II 
 
 
 >^ 
 
 <( 
 
 15c 
 
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 J What They Did for Jenkins 
 
 14 
 
 
 2 
 
 (( 
 
 2SC 
 
 « 
 
 ^ Aunt Jerusha's Quilting Party 
 
 4 
 
 12 
 
 iX 
 
 « 
 
 25 c 
 
 If 
 
 ^ The District School at Blueberry 
 
 
 
 
 
 
 
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 13 
 
 17 
 
 I 
 
 « 
 
 25c 
 
 (t 
 
 ^ The Emigrants' Party 
 
 24 
 
 10 
 
 I 
 
 « 
 
 25c 
 
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 iQ Miss Prim's Kindergarten 
 
 lO 
 
 II 
 
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 it 
 
 25c 
 
 C( 
 
 J A Pageant of History 
 
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 2 
 
 " 
 
 25c 
 
 « 
 
 J The Revel of the Year 
 
 " 
 
 " 
 
 X 
 
 « 
 
 15c 
 
 « 
 
 5 Scenes in the Union Depot 
 
 " 
 
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 25c 
 
 M 
 
 J Taking the Census in Bingville 
 
 14 
 
 8 
 
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 25c 
 
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 ] The Village Post-Office 
 
 22 
 
 20 
 
 2 
 
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 25c 
 
 M 
 
 iQ Women in War 
 
 
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 >^ 
 
 ** 
 
 15c 
 
 <l 
 
 A BAKER, 5 Hamilton 
 
 Place, Boston 
 
 t Mass. 
 
Plays for Colleges and H 
 
 Males Females 
 
 The Air Spy 
 
 Bachelor Hall 
 
 The College Chap 
 
 The ColoaeFs Maid 
 
 Daddy 
 
 The Deacon's Second Wife 
 
 The District Attorney 
 
 The Dutch Detective 
 
 An Easy Marie 
 
 The Elopement of Ellen 
 
 Engaged by Wednesday 
 
 The Farmerette 
 
 For One Night Only 
 
 Hamilton 
 
 Higbee of Harvard 
 
 Hltty's Service Flag 
 
 The Hoodoo 
 
 The Hurdy Ourdy Qlrl 
 
 Katy Did 
 
 Let's Get Married 
 
 London Assurance 
 
 Lost a Chaperon 
 
 The Man from Brandon 
 
 The Man Who Went 
 
 The Man Without a Country 
 
 Master Pierre Patella 
 
 Me and Otis 
 
 The Minute Man 
 
 Mose 
 
 Mr. Bob 
 
 Mrs. Briggs of the Poultry Yard 
 
 Nathan Hale 
 
 Nephew or Uncle 
 
 Professor Pepp 
 
 A Regiment of Two 
 
 The Revenge of Shari-Hot-Su 
 
 The Rivals 
 
 The Romancers 
 
 The Rose and the Ring 
 
 Sally Lunn 
 
 The School for Scandal 
 
 She Stoops to Conquer 
 
 Step Lively 
 
 The Submarine Shell 
 
 The Thirteenth Star 
 
 The Time of His Life 
 
 Tommy's Wife 
 
 The Twig of Thorn 
 
 12 
 
 8 
 II 
 6 
 
 4 
 
 6 
 
 lo 
 
 5 
 5 
 4 
 5 
 
 5 
 II 
 
 6 
 9 
 
 4 
 3 
 
 lO 
 
 6 
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 7 
 
 46 
 4 
 5 
 
 II 
 
 3 
 4 
 15 
 
 8 
 6 
 3 
 9 
 
 3 
 16 
 
 3 
 12 
 
 15 
 4 
 7 
 
 4 
 4 
 7 
 3 
 4 
 6 
 6 
 
 5 
 2 
 
 3 
 II 
 
 7 
 4 
 5 
 4 
 II 
 12 
 
 9 
 
 8 
 
 5 
 
 3 
 9 
 4 
 3 
 5 
 I 
 
 4 
 
 13 
 10 
 
 4 
 7 
 4 
 3 
 8 
 
 4 
 4 
 
 5 
 I 
 
 5 
 4 
 4 
 4 
 10 
 
 4 
 9 
 3 
 
 5 
 
 7 
 
 LIBRftRY OF CONGRESS 
 
 018 603 691 8 4 
 
 Z51 
 
 #5" 
 
 2/2 
 
 « 
 
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 « 
 
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 « 
 
 2 
 
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 « 
 
 50c 
 
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 2 
 
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 15c 
 
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 »x 
 
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 2 
 
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 « 
 
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 « 
 
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 2% 
 
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 25c 
 
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 25c 
 
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 60c 
 
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 For " special " royalties, see catalogue descriptions for 
 detailed information. 
 
 BAKER^ 5 Hamilton Place, Boston, Mass. 
 
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