PS 635 .29 B8296 Copy 1 nternationa! Copyrighted (in England, her Cdl- es, and the United States) Edition of the Works of the Best Authors iiiiiiiniiiiiiiiiiiiiiiiriiiiMiiiiiiiiiMriiiiiiiiiiiiiiiiiiiiiiiiiiMMiiiiiiiiiiiiJiiiiiiililiiillililliiiliiiliiiiiiriiiiMiiiiiiii]. No. 426 Twelve Good Men and True A COMEDY IN ONE ACT BY BESSIE SPRINGER BREENE Copyright, 1922, by Samuel French ♦ A)n(ifci(}'s may produce this play without payvievt of royalty. All other >'ights reserved. Price 30 Cents New York SAMUEL FRENCH Publisher 28-30 West :i8'rH Street London SAMUEL FRENCH, Ltd. 26 Southampton Street STRAND THE REJUVENATION OF AUNT MARY. The famous comedy in three acts, by Anne Warner. 7 males, 6 females. Three interior scenes. Costumes modern. Plays 2J4 hours. This is a genuinely funny comedy with splendid parts for "Aimt Mary," "Jack," her lively nephew; "Lucinda," a New England an- cient maid of all work; "Jack's" three chum.s; the Girl "Jack" loves; "Joshua," Aunt Mary's hired man, etc. "Aunt Mary" was played by May Robson in New York and on tour for over two years, and it is sure to be a big success wherever pro- duced. We strongly recommend it. Price, 60 Cents. MRS. BUMSTEAD-LEIGH. A pleasinfe comedy, in three acts, by Harry James Smith, author of "The Tailor-Made Man." 6 males, 6 females. One interior scene. Costumes modern. Plays 2J4 hours. Mr. Smith chose for his initial comedy the complications arising from the endeavors of a social climber to land herself in the altitude peopled by hyphenated names — a theme permitting innumerable com- plications, according to the spirit of the writer. This most successful comedy was toured for several seasons by Mrs. Fiske with enormous success. Price, 60 Cents. MRS. TEMPLE'S TELEGRAM. A most successful farce in three acts, by Frank Wyatt and Wil- liam Morris. .S males, 4 females. One interior scene stands through- out the three acts. Costumes modern. Plays ZYz hours. "Mrs. Temple's Telegram" is a sprightly farce in which there is an abundance of fun without any taint of impropriety or any ele- ment of offence. .\s noticed by Sir Walter Scott, "Oh, what a tarigled web we weave when first we practice to deceive." There is not a dull moment in the entire farce, and from the time the curtain rises until it makes the final drop the fun is fast and furious. A very exceptional farce. Price, 60 Cents. THE NEW CO-ED. A comedy in four acts, by Mar*e*J)5ran, author of "Tempest and Sunshine," etc. Characters, 4 maje^«? females, though any number of boys and girls can be introducefl in the .action of the play. One interior and one exterior scene, but can be easily played in one inte- rior scene. Costumes modern. Time, about 2 hours. The theme of this play is the coming of a lew student to the col- lege, her reception by the scholars, her trials and final triumph. There are three especially good girls' parts, Letty, Madge and Estelle, but the others have plenty to do. "Punch" Doolittle and George Washington Watts, a gentleman of color, are two particularly good comedy characters. We can strongly recommend "The New Co-Ed" to high schools and amateurs. Price, 30 Cents. (The Above Are Subject to Royalty When Produced) SAMUEL FRENCH, :?S-30 West 38th Street, New York City New an;] Explicit Descriprive Catalogue Mailed Free on Request Twelve Good Men and True A COMEDY IN ONE ACT BY BESSIE SPRINGER BREENE Copyright. 192:^. by Samuel French Amateurs may produce this play zvithout payment of royalty. All other rights reserved. New York SAMUEL FRENCH Publisher 28-30 West 38th Street London SAMUEL FRENCH. Ltd. 26 Southampton Street STRAND ^^;^^ V V StP23'22 TMP92-0086* a\o CAST OF CHARACTERS (In the order of their appearance) Juror Number Occupation No. One Real estate No. Two MilUner No. Three Manicurist No. Four ' Club woman No. Five Schoolteacher No. Six Secretary of IVowan's Party No'. Seven Bride of six weeks No. Eight Housewife (mother of nine) No. Nine Housewife No. Ten Spinster ) ^^j^^^ No. Eleven Spinster ) No. Twelve Prima Donna Scene: A jury room. 2.00 P.M. The curtain falls for a couple of minutes to indicate the passing of several hours. Note : In presenting this play it must be constant- ly borne in mind that the action must be very snappy throughout. The speeches must be picked up in- stantly and there must be no lagging on the cues. In the places where the characters all speak at once, each member of the cast must endeavor to make her- self heard above the rest, thus creating the sense of confusion and the noise so necessary to the comedy element. Twelve Good Men and True Scene ; A jury room. 2.00 P.M. The curtain rises upon a room with tzvo windo^i'S at the back, sliaded zvith green shades that are drazvn up unevenly, and at right a door leading to the court room. At c. and at right angle to the footlights, a long, heavy table, and about it twelve chairs of the type used in an office. There is one larger armchair above the table facing the footlights and facing it ivith back to the footlights another. Dozvn each side of the table are five chairs. On the table in front of the arm chair a ballot box of the sort used in a jury room, piles of paper slips and at each place a pencil. The zvarm Spring sun streams in at the zvindozvs. There is a short pause and then the door r. is opened, and the jury enters, in the order of their numbering. As the last one files in, the door is shut behind them. No. One, the foreman, strides rapidly in. Very businesslike. Short, fat, red- faced. Wears an un- fashionable coat and an impossible hat of violent cerise, on which nods an aggressive feather. Speaks loudly and crisply, and is the bossy type. She seats herself at the head of the table, facing the audience, takes off her coat, adjusts a pair of glasses at a 5 6 TWELVE GOOD MEN AND TRUE perilovis angle and surveys the rest, with hands on her hips. No. Two comes in, smirking at the invisihle door- man, and sinks with what she evidently thinks is "killing" effect, into a seat next but one to the foot of the table. (See diagram for seating arrange- ment.) No. Two is flashily but fashionably dressed in the extreme of the mode. Wears a green, much- beplumed hat. large fur and a dress suitable to a reception. Several expensive bracelets jingle on her arms and vie with the diamonds on her fingers, which she makes sure everyone sees. She also "sports" a lorgnette. Her age is about 35, and she is good- looking, but too much made-up. No. Three walks in with a very "jazzy" walk. She wears a dark silk skirt, a very thin georgette waist and elaborate underwear. A sailor hat is set jauntily on her peroxided hair, and she wears a very expensive fur coat, gray suede shoes with thin gray hose, contrasting with the tan color ones worn by No. Two, and instead of the large bag carried by the latter, a silver arrangement wnth a lip stick, a rouge box, a powder box and eyebrow pencil and a purse rattle together on one chain which she carries in her hand. As she sinks into the chair at the foot of the table, crowding past No. Four, who is making for the same seat, she languidly removes her coat and procuring a huge "chew" of gum, proceeds to chew it rapidly and noisily during what follows. No. Four, an imposing, gray-haired matron, much marcelled and elegantly gowned in simple, correct manner, suited to the occasion, sweeps in and up to the seat, but is forced to step aside from No. Three's onslaught. Raising her lorgnette she gazes at this "specimen" and is about to sweep majestically to a seat as far as possible from this person, but as she gets around the table. No, Five sinks into this chair. TWELVE GOOD MEN AND TRUE 7 No. Five is small, lean, middle-aged, with spectacles. Nervous, deprecating manner, wears a shirtwaist, dark blue silk, cut high in the neck, and fastened with an old-fashioned brooch. She wears a shabby but neat coat and a plain "home-made" hat. No. Six, bustling in, very "tailor-made" young person with huge horn-rimmed glasses and a mas- culine manner, flops into the seat on the foreman's right hand just as No. Four gets to it. No. Seven, small, pretty, young and fashionable, breezes in and preempts the chair on the foreman's left just as No. Four goes for that one. No. Four is getting stiiTer all the time. No. Ten and Eleven trot in and grab the seats on each side of No. Five, so No. Four goes around the other side of the table, but finds herself too late. No. Eight, stout, dowdy, good-natured, a face radiating good nature and an easy-going disposition, has deposited herself next tc No. Six. No. Eight is the mother of nine thriving youngsters. No. Four doesn't think much of sitting next to No. Two, as her expression and business with the lorg- nette states, but it is better than being next to the gum-chewing creature at the foot of the table, but again she is beaten to it. No. Twelve, affecting an undulating walk, and spectacular in her black hat, very large and extreme, her black wrap, her thin, black hose, her black velvet bag containing a large mirror, powder and other first-aids to beauty, her artistic pallor, achieved by liquid powder, and startling red lips, minces along on her high, black, suede pumps, humming a little tune under her breath. She sinks, with "every move a picture," into the seat between No. Two and No. Eight, and No. Four again raising the loranette, dis- gust written large upon her face, sees that No. Nine, a tall, angular, sparse woman, iron-gray hair drawn 8 TWELVE GOOD MEN AND TRUE tightly back in a hard knot, surmounted by a hat boasting some roses of a dyspeptic yellow, a plush coat, gray cotton gloves, and nose glasses, has taken the seat on No. Three's right, leaving only the seat on No. Three's left, and sandwiched in between No. Three and No. Two, No. Four sits bolt upright on the edge of her seat and is oblivious to the attempts of No. Two to ingratiate herself with this important society matron. No. Ten and Eleven resemble each other. Both are thin, very erect, both are dressed alike in a cos- tume of the vintage of 1892 or thereabouts. Both wear hats set high on "rats," both wear old mink "tippits" about their necks, and both talk in a high- pitched, very rapid manner, and one or the other in- variably finishes the sentence the other begins. They are one in thought, actions and speech, and they talk constantly to each other or to the bewildered No. Five who is sitting between them. No. Nine, about to take off her coat, sees the shades are not evenly drawn, gets up, bustles over, pulls them straight, blows some dust off the window- sill, .sees a speck on the glass, takes a duster from the large bag she carries, wipes oft' the glass vigor- ously and returns to her seat, flaps the duster about her chair, says something to No. Eleven, sitting be- side her, about the "dirt everywhere" and settles her- self again in her seat. No. Six takes oft" her coat with a businesslike air, blows her nose loudly and is ready for business. No. Four, still wearing her coat, does not take it off, but fans herself with a handkerchief. As the rustle of seating them subsided, No. One rises and raps on the table. The chatter stops. No. One. (Consulting some notes which she holds in her hands) Now, girls, we might as well TWELVE GOOD MEN AND TRUE 9 get down to brass tacks. I've made a few notes and here's what we've got to decide. James Snodgrass is suing Miss Ameha Stumps for breach of prom- ise No. Six. (JJ'ho has been consulting her notes) Mis's Stumps No. One. LocJk here, young woman, I'm fore- man of this jury, and I'm doing the talking. Let's understand each other right off. No. Six. (Speaking) But James Snodgrass says No. Seven. (Jumping up) Oh, I forgot to tele- phone Archibald. Excuse me just a minute. (Runs over to the door to the disgust of No. One and No. Six, rattles the door and it opens) I want to go out and use the telephone. (Stops short, amazed and angry) I can't? Why, I must. I want to call up my husband. (Furious, she turns to tJie others) This perfectly disgusting man here at the door says I can't telephone Archibald while I'm sitting on a jury. Did you ever hear of anything so silly No. Six. Of course you can't telephone No. Seven. Well, I'd just like to see anybody stop me from calling up my hu.sband. (Tries to push her way out, but is held by the unseen doorman.) No. One. Come back here and sit down and don't be a fool, young woman. No. Seven. But what will Archibald think (She argues zvith the doorman.) No. Six. Let's get started. This, ladies, is the first all-woman jury that has sat on any case since women got their rightful recognition. I consider this to be the opportunity of our lives to show the men once and for all that women are more efficient, more rapid in decisions, more just, less given to prejudice — in short, far better fitted to serve on juries than the men are themselves. 10 TWELVE GOOD MEN AND TRUE No. Three. (Shifting her gum) My Gawd! (To No. FourJ She's one of them walkin' dele- gates. Good night! (No. Four surveys her through lorgnette and moves closer to No. Two, who, intrigued by No. Four's dexterity with the glasses, begins to practice the use of them herself.) No. Seven. (Loudly) But I always telephone Archibald between twelve and two, every day — (Consults watch) — and it's after two now No. Two. (Intent on impressing No. FouRJ He's darn glad of a rest. I'll bet. You know, I've been married four times — and divorced four times, too, and I know men from the ground up, and I'm here to tell you (No. One raps for silence.) No. Four. (Raising lorgnette) Very interest- ing, I'm shore (Draivs back from No. Two.j ("No. One raps, hut all are talking to their neigh- bors. ) No. Eight. I always clean on Tuesdays, turn up the whole house No. Nine. Yep, nine kiddies — and Willie's my youngest ('No. Five is looking wildly from No. Ten to No. Eleven, who are deluging her with conversa- tion.) No. Ten. The Ladies' Aid No. Eleven. Forty-nine suits of woolen under- wear for the Fiji Islanders TWELVE GOOD MEN AND TRUE ii No. Seven. (At door, stamping foot) I think you're a horrid old thing No. Twelve. (Confiding to No. Three, who isn't interested) Caruso heard me sing and he — I sing a perfect high E No. Two. (IVarming to her subject) Yes, sir, I've tried it four times and now I'm thinking of a fifth — you get sort of used to having husbands around — I've got a milHnery store now and No. Ten. (Cutting in in high voice) Four hus- bands — dear me, dear me, how romantic. No. Eleven. (Joining her on last word) — romantic. No. Ten. Pitv's sake, what become of them — did No. Eleven, did they all No. Ten. die? No. Two. Die? Don't make me laugh. Why, the other night I breezed into the Brightlights cafe, and who should I see but Gumming — he was No. i. Well, I said to Jake — he's my new steady — 'There's Gummings' — and I hardly got the words out when who should I see but Solowsky — he was No. Three on my list — say, it was a scream No. Ten and No. Eleven. Dear me. dear me. No. Three. You're some fast worker, I'll say ('No. Four pulls definitely away from this specimen but at the sound of No. Three's voice, she re- members zvhaf is on her right and looking be- tween the devil and the deep sea she pushes back her chair and sits a little distance from the table, bolt upright and fanning herself. No. Six blotvs nose again loudly.) No. Eight. What you got, adenoids ? My Rosa- belle has 'em and the doctor says 12 TWELVE GOOD MEN AND TRUE No. Six. (Rapping for order and glaring at No. EiGHTJ This is a jury meeting, not a clinic No. One. And I'm the foreman — keep your nose in your own affairs and you'll do better, young woman — (Raps) — Kindly — kindly say No. Two. (To No. Threej I got a rich story to tell you, kid No. Three. Spring it — fNo. One, hearing this, stops rapping and leans forward to try to catch it, but No. Two, leaning over, has imparted it to No. Three, zvho roars zvith laughter) That's a bird — where'd you hear that No. Ten. (To No. FiveJ You ain't married — why No. Eleven. Ain't you ? What's your No. Ten. business No. Five. (Nervously rubbing her glasses and putting them on again) Really^I — don'f — why, I teach school. No. One. (Rapping) Listen, we've gotta de- cide about this case No. Eight. (To No. Twelve, posed effectively) My little Willie, he's the youngest — he's the smartest kid — yesterday he says — "Mama, why do fish swim?" I nearly died a-laughin' No. Twelve. (Mirthlessly) Ha, ha No. Eight. Yessum, I've got nine children and No. Ten. Nine — goodness me, Ma had No. Eleven. Ma had fifteen No. Two. And I'll bet she's dead No. Ten. Yes, poor, dear Ma Why, Annie, Ma died sixteen years ago to-day No. Eleven. So she did, poor, dear soul, we should have went to the cemetery TWELVE GOOD MEN AND TRUE 13 No. Three. You're there now and don't know it. old dear f No. Ten and No. Eleven glare.) No. Seven. (At door) I insist on using the telephone — what do I care about the old law. I want to talk to Arch — (The door slams in her face, and she turns around zvith a gasp) — why, the rudeness of that creature No. Six. There should, of course, be women court attaches, then we shall have the right atmos- phere and courtesy No. One. If you'd all close your jaws for about two seconds, I'd like to say No. Eight. (To No. FiveJ School teachin's a hard business, ain't it? No. Ten. (Yelling across to No. FourJ Yes, ma'm. Ma had ten convulsions before she died. No. Eleven. But she looked real natural in her coffin, Manda No. Eight. (To No. Twelve) — home life- No. Twelve. (Languidly assuming another pose) Yes. yes, no doubt the home life is very beau- tiful, but I have my career — Caruso — when he heard me smg No. Nine. (To No. Three j She off again about Caruso? — Well, I live next door to her and have for five years, and I can tell Mister Caruso that she's no canary. — Who's putting coal in the cellar my old man says when she starts a-warbling. No. Six. (To disconsolate No. Seven, 2^'ho has come back to seat and stands tzvisting handkerchief ) Men are coarse brutes, my dear. T never saw one yet that was any good No. Seven. Is that so? — I want you to know that my Archibald is the dearest, best boy on earth 14 TWELVE GOOD MEN AND TRUE No. Two. I'll bet she ain't been married long — two months. (To No. Twelve, ivho supplied the information) In another six weeks No. One. (Yelling) Say — do you want to stay here all night gassin', 'cause if you do. I don't. I've gotta get home. No. Eight. So must I. I i)ut a dish of beans in the oven just before I left. No. Nine. (To No. Eleven j They won't be fit to eat. she's the rottenest cook — I live across the street from her and No. Three. Sure, let's make it snappy. I've got a date. No. Five. (Timidly) Really I think we should come to some verdict — it's what we are here for, isn't it? No. Four. By all means, my good woman. Would you, ah. Madam Chairman, would you. ah. restate the case. There has been so much bab- ble No. One. (IV axing sarcastic) How many know now what we're here to decide ? No. Seven. (Flopping angrily into seat) Per- sonally, I don't care. No. Three. (Tapping forehead to No. Two^ Nothing above the ears there. No. One. If I can make myself heard above the din, I'd like to say that this is a breach of promise case. James — (She finally gains the attention of the others) — James Snodgrass is suing Amelia Stumps for $5,000 dollars' damages — he says she prom- ised to marry him and shortly before No. Ten. He seems like a very nice man, so good No. Eleven, and kind, and No. Ten. handsome — and if you want my opin- TWELVE GOOD MEN AND TRUP: 15 ion, much too good for that Stumjis anyhow ('No. Eleven says "7 think so, too.' ) No. Three. (Powdering nose) Well, you oughta know, kiddo get married. No. Two. If he was wise he wouldn't want to No. One. (Rapping) On the eve of the mar- riage, she called everything ofif, and as he had spent a great deal of time No. Three. It's all he spent, I know them cheap guys No. One. (Fixing Jier ivith a baleful glance) And money — money to the tune of twelve hundred dollars No. Six. It was itemized and- No. Seven. Archii^ald says- No. One. (Very loud to stem the rush of con- versation again beginning ) Twelve hundred is the amount, the lawyer says, and he is out that money. He wants five thousand damages No. Ten and Eleven. He ovtght to get it — the nice man No. Nine. Too much money. No woman's worth that No, Seven. Archibald says No. Three. Afy Gawd, who cares ichat Archi- bald says? No. One. (Ral^ping) We aren't getting any place No. Three. No, you bet we ain't, and T gotta be sitting pretty at 'nve No. Eleven. The poor, dear man, so No. Ten. good-looking. He ought to get more than No. Eleven, five thousand No. Two. SJie ought to get the cash, not tiini- No, Nine. Get out. It's her money already- 1 6 TWELVE GOOD MEN AND TRUE No. Two. And he's after it. He ought to pay her — don't you think he ought to pay her.^ (To No. FouR.j No. Four. (Sfifflx ) Really, I haven't considered it No. Six. (Hearing) You should consider it — women must show that they are just as efficient as men No. Three. We're efficient. I don't think No. One. Will you all shut up and let me talk ? No. Nine. (Sotto voce to No. ElevenJ One of them gassy females, I know her kind No. Twelve. Oh, let's get started and decide something No. One. Well, first of all, 'do you think she ever promised to marry him ? No. Six. If she didn't there wouldn't be any cause for action. No. Four. And that is really the first sensible re- mark that has been made here this afternoon. No. Three. (Busy zvith lip stick) Ain't it the truth ? No. One. All right, let's decide that first. Pass the slips and we'll take a vote on it. (No. Six passes out the paper slips.) No. Seven. What will I put down? (Sucks pen- cil.) No. One. Yes or No. No. Seven. Yes or No, — what? No. Six. (Wearily) Did she or didn't she prom- ise to marry him? No. Seven. But how do I know? I wasn't there and, anyhow, I never meddle in anybody's business. Archibald doesn't like it. TWELVE GOOD MEN AND TRUE 17 No. Ten. She never got a chance to marry him No. Eleven. She'd have jumped at it, such a nice No. Ten. — handsome man. No. Eleven. He's so spic and span and well No. Ten. — spruce. No. Eight. (As No. Six argues ivitli No. Seven J Willie said the cutest No. Nine. (To No. Three; My land, she's off again on that brat of a Willie. No. Eight. "Mama," he says, "Mama" ■ No. One. (Loudly) Put dovi^n on your slips. Yes or No. That's all I ask — (To nobody in par- ticular) I'm near dead now No. Five. I think the lawyer said something about letters she wrote him, saying she would marry him No. Six. (Nodding) That's right, he did. They were introduced as evidence. She wrote a lot of let- ters No. Two. (Waving pencil) There's where she slipped up. Never put anything on paper is my motto, and I've come through four divorce suits without a scratch. No. Nine. Guess they was all too glad to get rid of you to be fussy No. Ten. Isn't it queer how some women man- age to get married No. Eleven. Now we dress plain- No. Ten. but tasty — no gew gaws No. Three. Neat, not gaudy. Good night! No. Seven. There's my slip. (This starts the others and for a moment there is silence as all zvrite.) No. Twelve. (Under her breath, sings) "Oh, that I were sweet sixteen." i8 TWELVE GOOD MEN AND TRUE No. Nine. (To No. Eleven j Sixteen! She'll never see forty again. No. One. Stick the slips in this box. (Box is passed and slips are collected and No. One, aided by No. Six, begins to count them.) No. Ten. It's just like No. Eleven, church. No. Three, (Shifting gum) Only different. No. One. (Reading from slips) "Yes. Yes, Yes, No, Yes. No, Yes — I don't know." I don't know. Whose is this? No. Seven. I can't make up my mind, that's all. No. Nine. None to make up. No. Three. Only one brain, old top, and that's Archibald's. No. Ten. Well, I think it's beautiful to be mar- ried and be so one No. Eleven. — in thought. I do, too. (Both to No. Five j Don't you? No. Five. Oh, yes, yes, yes, indeed. No. Two. Well, I believe in having a mind of my own — I've had four husbands No. Seven. And not a one left either, I no- tice No. Nine. That's a good one No. Two. Say, nobody asked you to chip in. No. Nine. Is that so? No. Two. That's so. You look like something the cat brought in, anyhow. No. Three. Something fragrant from the alley, as it says in the Cosmopolitan No. Two. Do you read the Cosmopolitan ? No. Three. Well. I ain't blind yet. sweetie. No. One. (Finishing the slips') There are 2 against and 9 for No. Four. The issue seems a trifle beclouded. No. Three. (Poking No. Four in the ribs) TWELVE GOOD MEN AND TRUE 19 Clear as mud. old dear. ("No. Four is too full for utterance.) No. Six. She certainly promised to marry him. No. Eight. Then she should have stuck to her bargain. No. Seven. Oh, well, I might as well say Yes. No. One. All right, that leaves ten Yes and two No. No. Ten. She did not say she'd marry him, she never had the No. Eleven. — chance. No, sir. No. Six. You two are "No," then. No. Ten and No. Eleven. (Nodding) Yes, sir, we're NO. No. Three. Ah, come on and change your mind. Make it short and sweet. No. Eight. There's no accountin' for tastes. He might have asked her, you know. No. Six. If he hadn't there wouldn't be any suit, would there? Of course not. No. Ten. (Weakening) Well- No. Two. She had cash — and he was after it- No. Five. Actuated, no doubt, by ulterior mo- tives No. Eleven. Oh, well, to be agreeable Ell say he did ask her. No. Ten. Me, too. No. One. So far, so good. We agreed on that. Now, he spent $1,200 and he wants $5,000. No. Seven. What for? No, One. (Reading from notes) Figuring that he would be reimbursed after the marriage. No. Three. Well, the cheap stiff No. Ten. He needs something for his trouble— r- she'd stop No. Eleven, a clock. No. Seven. Archibald says 20 TWELVE GOOD MEN AND TRUE No. One. If you can drag your mind away from Archibald long enough to No. Six. We have decided that the evidence shows that she did say she would marry him — now. is it or isn't it worth five thousand for him to be jilted? No. One. (From notes) His health has been ruined by worry and sleepless nights, his credit as- sailed due to inability to meet the bills he had run up No. Ten. The poor, dear man No. Eleven. It's a shame. No. One. (Heedless of the interruption) The $1,200 were the whole of his savings. No. Three. Ain't this the limit? Look at the time, near three o'clock, and I gotta date at five. No. Two. You aren't the only one with a beau, dearie. Same here. No. Ten. He ought to get 50,000, the poor No. Eleven. — dear man. No. Two. Soak her for five to pay HIM. I guess not. No. Six. The idea of a woman paying for any- thing. No. Three. It ain't done, that's all. No. Six. Here's the itemized account of what he spent the money for, or so he says : "Theater tick- ets, $200.00. Food at restaurants, $300.00 " No. Three. He ett some of it himself, didn't he? Sure. No. Two. He ate most of it. I know 'em. The gluttons. No. Twelve. (Dreamily and singing the first line of the song) It reminds me of a little thing I used to sing — "I'm eating my heart out for you., dear, to-night, to-night." No. Three. (Powdering nose) Companion TWELVE GOOD AIEN AND TRUE 21 piece to "Where do we feed to-day, honey," 1 sup- pose. No. EouR. This Snodgrass person must he most pecuHar to sue a woman for breach of promise to begin with. I really never heard of it before. Women, doubtful sort of creatures, do so occasion- ally, I am told, but a man, really No. Two. I quite agree with you, Mrs, ah- (Pauscs for name. No. Four surveys her through lorgnette, but does not supply name.) No. One, We will take another ballot then. No. Three. For Pete's sake, yes, I gotta get out of here. No. Seven. Archibald will be wild No. Five. I have a lot of examination papers to go over. No. Eight. I didn't think jin-y duty would take so long. No. Six. It wouldn't if women would all pull together. No. Three. Let's do a little pulling so I can pull out. Pass the box. No. Six. We will ballot on the question, "Is he or is he not entitled to any damages, and if so, how much ?" No. Three. Answer Yes or No. No. Seven. How can we decide how much? My Archibald says he wouldn't take ten million for me. No. Nine. (Writing on slip) He's safe. No. Three. You've said a mouthful. No. Eight. Willie said to his father the other night, "Papa " No. Twelve. (Sings as she ivrites on slip) "I've been roaming. I've been roaming." No. One. Now write down Yes or No. Is he entitled to anv damages? Yes or No. 22 TWELVE GOOD MEN AND TRUE No. Eight. {As she zvritcs) Who started thig jury business for women? No. Six. It is a woman's duty No. Eight. I've got nine children. Lord knows I've done mine. No. Nine. And none of 'em have had a bath in six months. No. Six. All ready. Pass the box. (It is passed back and No. Six and No. One count them out.) No. Twelve. I'm sleepy. No, Five. The air is bad. It gets that way at school. (Gets up and opens the ivindoiv.) No, Ten. Oh, goodness, put that down. No. Eleven. I can't sit in a draft No. Ten. Ma died sitting by an open window. No. Eleven. Do you know, I alius felt I'd go the same way? No. Three. You're darn close to goin' that way right now. No. One. We are lo against any damages and two for damages. No. Four. This is really very trying. No. Two. We'll be here all night. No. Seven. Oh, don't say that. Why, Archi- bald says he can't go to bed unless I am in his arms. (Tittering from No. Ten and No. Eleven. J No. Eleven. 'Tisn't decent No. Ten. When I was a girl I wasn't allowed to mention a bed. No. Three. What did you do, go to roost like a chicken ? No. Nine. I'll bet you roost, young lady. No, Three. At any rate, I'm no old hen. (Rouges, and No. Two powders.) No. Five. Don't juries disagree? No. Six. (Grimly) Looks like it. No. Five. I know, but isn't that usual? TWELVE GOOD MEN AND TRUE 23 No. Three. God never made twelve women that would agree on anything, old girl. No. One. Juries disagree and the\' are dismissed aren't they ? No. Two. Now you're talking. \\c haven't agreed. We'll just disagree and everyhody can go home. No. Four. It is an excellent idea. No. Nine. I want to whitewash my cellar to-day yet. No. Three. Let's beat it. (Gets up.) No. One. (Rising) All right, I'm not stuck on being here. No. Six. When I was delegate to the Woman's Party Convention No. One. (Interrupting) Are we agreed, then to disagree? (All speak together.) No. Six. Yes, yes. No. Five. I think so, too. No. Seven. Goodness, yes. No. Ten and No. Eleven. Certainly. They aren't going to cheat that nice man. No. Three. You bet. No. Two. Sure. No. Nine. It's a good idea. No. Twelve. (Singing) Yes, yes, yes, my darl- ing. No. Eight. As my Tommy says, "You betcha." No. Six. This is a very speedy decision. We should be proud of it. f All gather up cloaks, etc. No. Seven rushes to the door and rattles it. Door opens and she is stopped by someone outside.) 24 TWELVE GOOD MEN AND TRUE No. Seven. But we're all through — we're going home, and I have got to telephone No. One. (Pushing past her) I'm doing the talking here, young lady. (To unseen doorman) We have decided on a verdict. Yes — all right, come on, girls. (All file out rapidly. No. Seven, disgusted, and saving "What a boor" to No. Six. No. Three sticks gum under table, and goes out, getting into coat. No. Ten and No. Eleven talking to- gether: "Such a good-looking, nice man." No. Nine clbozvs past them and is buttonholed by No. ElGHT.j No. Eight. Did I tell you what my Clarence said the other night? "Mama," he said No. Two. (To No. Threej I got my divorces quicker than this. fNo. Five hurries out, putting on glasses again.) No. Twelve. (Resuming her "Dolores," walks and huniming under her breath) Tr la la, la la! fNo. Four, draining an'ay from the rest, surveys them through lorgnette and is Z'cry stiff but re- lieved.) No. Seven. (Crozvding in at door again) But it will only take me a second to telephone (Door shuts and there is a short pause. Then the door opens again and in they come, fairly falling over each other in indignation. All are talking at once.) No. Three. My Gawd ! No. Two. We'll he here all night. No. Nine. Goodness gracious. No. Ten. What did he say? TWELVE GOOD MEN AND TRUE 25 No. Eleven. Dear me, dear me. No. Four. Really very odd way to do. No. One. Don't get so excited. The judge says we've got to agree. No. Six. He said no twelve women could even agree to disagree in less than an hour. That's what makes mc mad. No. Seven. What happens now? No. One. Go back and sit down. He says we've got to agree and we'll have to stay here till we do. No. Three. (As all flop info their seats again) There goes my perfectly good date. (Reaches for gum and begins to chczv it again) I call this Hell ! The curtain falls here for a fezv seconds to indicate the passage of several hours. As the curtain rises, the lights are lighted, and out- side the 7vindo-cVS it is dark. The time is about nine o'clock in the evening. The zvindozv is closed. About the room are piles of papers, slips, large crumbled sheets, and the table is also littered zvith rejected ballots. Jurors No. Two, Three, Six, Seven and Eight have taken off their hats and look mussed and worn to a frazzle. No. Four, not nearly as erect as before, still sits apart from the others, only farther to the right, she has removed her coat at last, but still wears her hat, but it is titled over one ear, giving her a somewhat rakish look. No. Three is still chewing her gum, but slowly and wearily, and No. One, her hat pulled down over her eyes, is resolutely counting ballots. No. Six. head propped wearily on her hand, is looking over No. One's shoulder. No. Ten and No. Eleven, with an expression of duty well done, sit erect and im- maculate in their seats, heedless of the baleful glares 26 TWELVE GOOD MEN AND TRUE cast at them by the others, and apparently deaf to the audible sighs of weariness that fill the air. No. Two is just pulling her hat off and throws it on the floor beside her chair, begins to powder her nose but is too tired. No. Nine is striding wrath fully up and down the room at left. No. Twelve stands draped at the window, hum- ming under her breath. No. Five is snoring softly in her seat and No. Seven, head on arms, is leaning on the table. No. Six. (Blo-cving nose loudly as No. One fin- ished the counting) The results are the same. Ten against damages, two for damages. fNo. Ten and No. Eleven nod to eacJi other with satisfaction.) No. Seven. (Arousing to disphiy a tried face) I think it's beastly! No. Nine. (To No. Twelve) Will you stop that infernal humming for one minute, anyhow ("No. Twelve tosses her head and hums.) No. Five. (Waking) What say No. Two. Someone must be paying you a nice fat sum to stick out like this. No. Ten. I want to see him get $5,000.00 dam- ages No. Eleven. I want to see justice done, that's all. No. Ten. The poor, dear man, spending all his No. Eleven, money on that woman, and now where is he , TWELVE GOOD MEN AND TRUE 27 No. Four. (Vehemently) I wish he was in Jerico ! (The others look at her, amazed.) No. One. (To No. Ten; It does seem to me you could be reasonable No. Six. What difference does it make? No. Nine. (Stamping up and dozvn) I've lost a whole day's cleaning to sit on this jury. No. Three. (In a lost and gone voice) And I've lost a perfectly good date. No. Seven. What will Archibald think No. Eight. Who got my children their supper? No. Nine. Oh, don't try to impress anybody here — they got it themselves as usual. No. Eight. (Losing her temper) Is that so? Well, I'm as good a housekeeper as the next one No. Nine. You keep house like the song bird here. No. Twelve. (Coming down angrily) Indeed! Of course, I consider the source of such remarks, my dear madam, and No. One. (Scrapping over the slips zuith No. Sixj I'll 'tend to the ballots. Don't butt in so much No. Twelve. Those who are gifted by na- ture ("No. Nine laughs) That's what I said. Caruso heard me sing, didn't he, and what did he say? He said that "after that he had no comment to make." No. Nine. (Still walking) I can believe it. No. Two. (To No. Three j Stop chewing that cud. you drive me crazy No. Three. Ain't got far to go, have you, dearie? (All this is taken practically together.) No. One. (Rapping) W^e'll take another ballot. No. Seven. (Spreading out despairing hands) But, what is the use? Look at the ballots we've 28 TWELVE GOOD MEN AND TRUE taken, look at the paper we've wasted — look at the muss No. Nine. (Bouncing info a. chair) I'm looking at it. No. Eight. It reminds me of what my Willie said in the street car. I asked him what he did with the peanut shells, and he piped up so smart : "I put 'em in the pocket of that man what sat next to me." W^ell, I laughed No. One. (Firmly) We will take one more bal- lot, and — (Fixing No. Ten and No. Eleven zvith a fierce glance) — I hope that the ones that don't think like we do, will listen to reason (Begins to pass out the slips again.) No. Two. All this time wasted for a couple of old maids what are stuck on the slant of Snodgrass's eyebrow (Slie says this in an undertone to No. Eight, but No. Ten and No. Eleven hear it.) No. Ten. (Bridling) Old maids, are we? — W^ell, I'd rather be an old maid and be respectable, than be one of them "wife-on-six-months' trial" fe- males like some people I know of No. Eleven. (Nodding) V\le\\, I guess so No. Two. (Furious) All that ails you is that you can't get a man so you've got your eye on Snod- grass No. Ten. (Ignoring the thrust) I'm glad I ain't one of them promiscuous creatures No. Eleven, with a new husband every week. No. Two. (Rapping on the table) Look a-here, I won't let anybody insult ine No. Six. (Rapping) Order, please No. One. I'm running this shebang No. Six. It isn't running — my dear madam — er, chairman — it has stopped dead in its tracks. We^re setting the men a nice TWELVE GOOD MEN AND TRUE 29 No. Nine. That's the word, set. It's all we've done — just set No. Seven. Anyhow. I think that judge is per- fectly horrid No. Four. Certainly, he was anything but cour- teous. No. Seven. Just wait till I tell Archibald. • He'll come right down and give that judge a piece of his mind. No. Two. He hasn't any to spare or he wouldn't have married yoit. No. Seven. (Very angry) Do you insinuate that my Archibald hasn't any brains — I want to tell you now, that he is the cleverest boy in the world, and — oh, well, when cfne is thrown in with such very doubtful people No. Two. Looka here, I'm just as good as you are, or these old hens that are holding up the proces- sion. No. Ten. Don't put us in your class No. Three. My Gawd, nobody could, you're in a class by yourself. No. One. (Rapping) We'll take one more bal- lot — and hurry up No. Seven. I'm tired and I want to go home to my Archibald. (She dashes the slip to the floor and flounces to the zcindozv l.c. No. Five goes after her and tries to console her and No. Seven talks and pouts) No. sir. I want to go home. No. Three. (Holding out her hand) Put it here, kid, so do I. Let's go out and tell the old cherub on the bench that we're through No. Twelve. (Leaning zvearily back in seat) One can go to jail for a remark like that — I won't take any chances. No. Two. I'll ,tell you what. I'll go out and vamp the old boy. then I know we can go home 30 TWELVE GOOD MEN AND TRUE No. Twelve. Then we ivill go to jail. No. Two. Here we go. No. One. Sit down and don't be a fool. No. Seven. (As No. Two sits again) We won't get home to-night. No. Eight. We won't get home till Christmas the way things is now. Why don't you two — (To No. Ten and No. Eleven j — listen to reason? No. Ten. It's a matter of principle No. Nine. You're mashed on Snodgrass No. Four. (Sei'crely) It does begin to look as though a strong motive exists. No. One. We will take another ballot No. Two. I've got writer's cramp now. No. Seven. (Stamping foot at ivindoiv) I won't ballot any more. No. Six. What are you holding out for? No. Ten and No. Eleven. I think he is a very nice man. No. Six. What man, that is a man, expects to be reimbursed for the money his courtship cost him ? No. Seven. Archibald said it was worth any amount to get me. No. Three. Kill it, don't let it sufifer. No. Twelve. I feel faint (Leans back.) No. Three. Pipe the temperamental prima donna. No. Twelve. (Sitting up angrily) Oh, shut up. No. Three. Say, I may be a poor woikin' girl, but I don't take no back talk from you. No. Twelve. You'll take what I give you. No. Three. (Getting up) And you'll take a poke in the eye, for that. (Makes for No. Twelve, who rises and retreats in alarm. No. One raps vainlx for order. No. Ten and No. Eleven jump up, shrieking, "Dear me! Dear me!" ) No. Nine. (Gets up and grabs No. Three's arm TWELVE GOOD MEN AND TRUE 31 and forces her back into seat, aided by No. TwoJ Here, here No. Four. (Rising, horrified) This is too much. No. Eight. Now just calm yourselves No. Seven. Oh, ho, ho, bo hoo, I want Archi- bald. (Roars while No. Five tries to comfort her) I'm scared No. One. (As No. Seven tries to get up) Sit down. No. Five. You're nothing but a big bossy thing and it's no wonder we can't decide anything with you for the foreman. No. One. You— yon idiot (Stops, speech- less with wrath.) No. Six. Oh, shut up. No. Ten. (Settling herself again) Such be- havior No. Eleven. Woman's place is in the home, and No. Three. Your's is in the lunatic asylum. (Sees No. Four surveying the scene through her lorgnette) You make me tired with that monacle. I'll bet you can see a nickle at a hundred yards with- out it. No. Four. Indeed. (Mutters) Impossible per- son. No. One. Pass back the slips and stop cackling. (^No. Three and No. Two freshen up their rnake- U'p. No. Twelve sings again. No. Five pol- ishes glasses nervously and No. Six blows nose. No. Eight sighs audibly, No. Nine yawns, and No. Seven zvipes eyes.) No. One. Were still ten to two! (Then the pent-up fury of the ivomen breaks. All 32 TWELVE GOOD MEN AND TRUE talking at once, all crozvding about the fright- ened spinsters, several pace the floor, stopping to berate No. Ten and No. Eleven, j No. Nine. (Shaking No. Eleven by the arm) Now you've got to quit this No. One. This is awful. No. Five. (Aroused from her mildness) What are -you thinking of ? No. Seven. (Pounces upon No. Ten also) I won't stand any more fooUshness — No. Two, I'll wring your neck. (To No. Eleven.J fNo. Ten and No. Eleven utter little shrieks and once in a while above the din they can be heard saying:) No. Ten. Nice man — cheated by a lot of preju- diced women No. Eleven. I won't do it. I see ;»y duty — poor, dear man No. Four. (Deigning to notice No. Twelve) W^hat time is it, anyhow? No. Twelve. (Over siveefly) It's nine o'clock. No.' Four. (Horrified ) And we have been here sez^en mortal hours deliberating about a person named SNODGRASS? Really! No. Six. (Waving hands) This is what is called a "Hung" jury. No. Three. They oughta both be hung — • — No. Two. Come on now No. Five. W'hy don't you vote yes? No. One. Here, here, we'll take another bal- lot No. Ten. There's no use in any more ballots. I'm going to see that man get his money if we have to stay here all day to-morrow. TWELVE GOOD MEN AND TRUE 33 No. P^LEVEN. And that's our last word. (All crozvd around again and flic liuhbnh is worse than ever. All talk at once and jostle No. Ten and No. Eleven.^ No. Seven. You are wicked old women No. Two. He won't marry either of you. No. One. Here's your women's jury for you. No. Four. (Actually joining in the fray) You are both beneath contempt. No. Three. My Gawd, can you beat it? No. Twelve. You've been bribed. No. Ten. Don't you dare call me a thief. No. Eleven. Don't you dare touch me. No. Ten. Fll call the judge. No. Six. Couple of fools. No. Nine. I'll slap your face. No. Eight. They ought to be horsewhipped. No. Ten and No. Eleven. Dear me, dear me ! No. Seven. All this time away from Archibald and what for? No. Twelve. Let the men sit on juries. No. Two. Sure, they like to fight. No. Six. This is women's day. No. One. And night, too, Em thinkin'. No. Eleven. .$5,000.00 damages, and that's our last word. No. Three. Tt would be if I had a gun. No. Ten. (Shrieking) Help! Help! No. Eleven. Murder! (They try to get azmy by huddling into the corner. All this is taken very fast and all talk at once.) No. EouR. (Getting faint and sinking info her chair) Oh, mercy ! ("No. Twelve applies smelling salts that she fakes 34 TWELVE GOOD MEN AND TRUE from her own hag. During all this there is re- peated knocking at the door.) No. Eight. Hark — hark — someone's at the door. No. Ten and Eleven. (Scuttling for the door) It's the judge — he's come to rescue us. No. Seven. It's Archibald, he's here at last, (She runs to the door and rushes past them. No. Six gets there last, but shoves them all aside. No. One starts for door also. All turn and No. Four sits up.) No. Six. (Opening the door) What is it? (Is surprised at a note that is handed in) From the Judge? Oh, very well. (Begins to tear it open as the door closes again. No. One grabs it out of her hand.) No. One. I'm foreman of this jury yet, and I'll do the reading. ("No. Ten and No. Eleven sneak back and stand at window l.c. trying to settle their ruffled plumage like a couple of angry hens. No. One takes her place at the head of the table) Take your seats and shut your mouths and listen to this. (They crowd about the table, but do not sit. No. Ten and No. Eleven come down l. No. One takes note from envelope, opens it, glances at it and looks astounded. Reads in a breathless manner) "Word has just been received by the Court that the plaintiff, James Snodgrass, and the defendant, Miss Amelia Stumps, have been married this evening. The case is therefore dismissed !" (There is a gasp and the jury is speechless with hor- ror. No. Ten and No. Eleven finallv find voice and shriek, "MARRIED?" No. Two, No. Twelve and No. Nine fall into seats, absolutely overcome.) TWELVE GOOD MEN AND TRUE 35 No. Four. ' (Spreading out her hands) And we — zve've been here scz'en hours! No. Three. (Falling info her seat, clapping her hand to her forehead) "Oh. Death ! where is thy sting?" CURTAIN X, The Touch-Down A comedy in four acts, by Marion Short. 8 males, 6 feitiales, but any number of characters can be introduced in the ensembles. Cos- tumes modern. One interior scene throughout the play. Time, 2'/^ hours. This play, written for the use of clever amateurs, is the story of life in Siddell, a Pennsylvania co-educational college. It deals with the vicissitudes and final triumph of the Siddell Football Eleven, and the humorous and dramatic incidents connected therewith. "The Touch-Down" has the true varsity atmosphere, college songs are sung, and the piece is lively and entertaining throughout. High schools will make no mistake in producing this play. We strongly recommend it as a high-class and well-written comedy. Price, 30 Cents. Hurry, Hurry, Hurry A comedy in three acts, by LeRoy Arnold. S males, 4 females. One interior scene. Costumes modern. Plays 2^ hours. The story is based on the will of an eccentric aunt. It stipulates that her pretty niece must be affianced before she is twenty-one, and married to her fiaiue within a year, if she is to get her spinster relative's million. Father has nice notions of honor and fails to tell daughter about the will, so that she may make her choice untram- meled by any other consideration than that of true love. The action all takes place in the evening the midnight of which will see her reach twenty-one. Time is therefore short, and it is hurry, hurry, hurry, if she is to become engaged and thus save her father from impending bankruptcy. The situations are intrinsically funny and the dialogue is sprightly. The characters are natural and unaffected and the action moves with a snap such as should be expected from its title. Price, 30 Cents. The Varsity Coach A three-act play of college life, by Marion Short, specially adapted to performance by amateurs or high school students. 5 males 6 females, but any number of boys and girls may be introduced in the action of the play. Two settings necessary, a college boy's room and the university campus. Time, about 2 hours. Like many another college boy, "Bob" Selby, an all-round popular college man, becomes possessed of the idea that athletic prowess is more to be desired than scholarship. He is surprised in the midst of a "spread" in his room in Regatta week by a visit from his aunt who is putting him through college. Aunt Serena, "a lady of the old school and the dearest little woman in the whole world," has hastened to make this visit to her adored nephew under the mistaken impression that he is about to receive the Fellowes prize for scholarship. Her grief and chagrin when she learns that instead of the prize Robert has received "a pink card," which is equivalent to suspension for poor scholarship, gives a touch of pathos to an otherwise jolly comedy of college life. How the repentant Robert more than redeems hiniself, carries off honors at the last, and in the end wins Ruth, the faithful little sweetheart of the "Prom" and the classroom, makes a story of dramatic interest and brings out very clearly certain phases of modern college life. There are several opportunities for the introduction of college songs and "stunts." Price, 30 Cents. (The Above Are Subject to Royalty When Produced) SAMUEL FRENCH, 28-30 West 38th Street. New York City New and Explicit Descriptive Catalogue Mailed Free os Request LIBRARY OF CONGRESS 016 102 451 The Return of Hi Jinks A comedy in four acts, by Marion Short, author of "The Varsity Coach," "the Touch-Down," etc. 6 males, 8 females. Costumes modern. One interior scene. This comedy is founded upon and elaborated from a farce comedy in two acts written by J. H. Horta, and originally produced at Tuft's College. Hiram Poynter Jinks, a Junior in Hoosic College (Willie Collier type), and a young moving picture actress (Mary Pickford type), are the leading characters in this lively, modern farce. Thomas Hodge, a Senior, envious of the popularity of Jinks, wishes to think up a scheme to throw ridicule upon him during a visit of the Hoosic Glee Club to Jinks's home town. Jinks has obligingly acted as a one-day substitute in a moving picture play, in which there is a fire scene, and this gives Hodge his cue. He sends what seems to be a bona fide account of Jink's heroism at a Hoosic fire to Jink's home paper. Instead of repudiating his laurels as expected, Jinks decides to take a flyer in fame, confirms the fake story, confesses to being a hero and is adoredl by all the girls, to the chagrin and dis- comfiture of Hodge. Of course, the truth comes out at last, but Jinks is not hurt thereby, and his romance with Mimi Mayflower comes to a successful termination. This is a great comedy for amateurs. It is full of funny situations and is sure to please. Price, 30 Cents. J une A most successful comedy-drama in four acts, by Marie Doran, author of "The New Co-Ed," "Tempest and Sunshine," "Dorothy's Neighbors," etc. 4 males, 8 females. One interior scene. Costumes modern. Plays 2]/^ hours. This play has a very interesting group of young people. June is an appealing little figure, an orphan living with her aunt. There arc a number of delightful, life-like characters: the sorely tried likeabh; Mrs. Hopkins, the amusing, haughty Miss Banks of the glove depart- ment, the lively Tilly and Milly, who work in the store, and ambitiou;; Snoozer; ]\Irs. Hopkins's only son, who aspires to be President of the Uuited States, but finds his real sphere is running the local trolley car. The play is simplicity itself in the telling of an everyday story, and the scenic requirements call for only one set, a room in the boarding house "of Mrs. Hopkins, while an' opportunity is afforded to introduce any number of extra characters. Musical numbers may be introduced, if desired. Price, 30 Cents. Tempest and Sunshine A comedy drama in four acts, by Marie Doran. 5 males and 3 females. One exterior and three interior scenes. Plays about 2 hours Every school girl has revelled in the sweet simplicity and gentle- ness of the characters interwoven in the charms that Mary J. Holmes commands in her story of "Tempest and Sunshine." We can strongly recommend this play as one of the best plays for high school^ pro- duction published in recent years. Price, 30 Cents. (The Above Are Subject tc Royalty When Produced) SAMUEL FRENCH, 28-30 V\ est 3Slh Street, New Yoik City New and Explicit Descriptive Catalogue Mailed Free en Request