DENISON'S ACTING PLAYS Partial List of Successful and Popular Plays. Large Catalogue Free. Price 15c each. Postpaid, Unless Different Price Is Given DRAMAS, COMEDIES, ENTERTAINMENTS, Etc. M. F. Aaron Boggs, Freshman, 3 acts, ZVz hrs , . . . (25c) 8 8 Abbu San of Old Japan, 2 acts, 2 hrs ..(25c) 15 After the Game, 2 acts, 1^ hrs (25c) 1 9 All a Mistake, 3 acts, 2 hrs. (25c) 4 4 All on Account of Polly, 3 acts, 21/4 hrs (25c) 6 10 American Hustler, 4 acts, 2^ hrs (25c) 7 4 As a Woman Thinketh, 3 acts, 2^^ hrs (25c) 9 7 At the End of the Rainbow, 3 acts, 2yi hrs (25c) 6 14 Bank Cashier, 4 acts, 2 hrs. (25c) 8 4 Black Heifer, 3 acts, 2 h. (25e) 9 3 Boy Scout Hero, 2 acts, 1^ hrs. (25c) 17 Brookdaie Farm, 4 acts, 2^ hrs (25c) 7 3 Brother Josiah, 3 acts, 2 hrs. (25c) 7 4 Burns Rebellion, 1 hr (25c) 8 5 Busy Liar, 3 acts, 2^ h. (25c) 7 4 Civil Service, 3 acts, 2^4: hrs. (25c) .6 5 College Town, 3 acts, 2^ hrs. (25c) 9 8 Danger Signal, 2 acts, 2 hrs.. 7 4 Daughter of the Desert, 4 acts, 2^ hrs (25c) 6 4 Deacon Dubbs, 3 acts, 2^4 hrs. (25c) 5 5 Deacon Entangled, 3 acts, 2 hrs. (25c) 6 4 Down in Dixie, 4 acts, 2^/^ hrs (25c) 8 4 Dream That Came True, 3 acts, 2^ hrs (25c) 6 13 Editor-in-Chief, 1 hr....(25c) 10 Enchanted Wood, 1^ h.(35c).Optnl. Everyyouth, 3 acts, l^h. (25c).7 6 Face at the Window, 3 acts, 2 hrs (25c) 4 4 Fun on the Podunk Limited, \y2. hrs (25c) 9 14 Heiress of Hoetown, 3 acts^ 2 hrs. (25c) 8 4 Her Honor, the Mayor, 3 acts, 2 hrs. (25c) 3 5 High School Freshman, 3 acts, 2 hrs (25c)12 Honor of a Cowboy, 4 acts, 2^/^ hrs ....(25c) 13 4 Indian Days, 1 hr. (50c) 5 2 M. F. In Plum Valley, 4 acts, 2^4 hrs ..• (25c) 6 4 Iron Hand, 4 acts, 2 hrs.. (25c) 5 4 Jayville Junction, 1^/^ hrs.(25c)14 17 Kicked Out of College, 3 acts, 21^ hrs (25c) 10 9 Kingdom of Heart's Content, 3 acts, 2J4 hrs.-. .....(25c) 6 12 Laughing Cure, 2 acts, 1^ hrs. (25c) 4 5 Lexington, 4 acts, 2^4 h.^. (25c) 9 4 Little Buckshot, 3 acts, 2^ hrs. (:5c) ^ 7 4 Lodge of Kye Tyes, 1 hr.(25c)13 Man from Borneo, 3 acts, 2 hrs (25c)'' 5 2 Mirandy's Minstrels (25c) Optnl Mrs. Tubbs of Shantytown, 3 acts, 214 hrs (25c) 4 7 New Wortian, 3 acts, 1 hr.... 3 6 Old Maid's Club, iVi hrs. (25c) 2 16 Old Oaken Bucket, 4 acts, 2 hrs ...(25c) 8 Old School at Hick'ry Holler, \Va hrs (25c) 12 On the Little Big Horn, 4 acts, 21/2 hrs (25c) 10 Out in the Streets, 3 acts, 1 hr. 6 Parlor Matches, 2 acts, V/z hrs. (25c) 4 Poor Married Man, 3 acts, 2 hrs (25c) 4 Prairie Rose, 4 acts, 2^ h.(25c) 7 Rummage Sale, 50 min 4 10 Rustic Romeo, 2 acts, 2^ hrs (25c) 10 12 Savageland, 2 acts, 2^^ hrs. (50c) 5 5 School Ma'am, 4 acts, 1^ hrs. 6 Scrap of Paper, 3 acts, 2 hrs.. 6 Sewing for the Heathen, 40 min. Southern Cinderella, 3 acts, 2 hrs (25c) Star Bright, 3 acts, 2^ h. (25c) 6 Teacher, Kin I Go Home? 2 scenes, 35 min 7 3 Those Dreadful Twins, 3 acts, 2 hrs (25c) 6 4 Thread of Destiny, 3 acts, 2^/^ hrs (25c) 9 16 Tony, the Convict, 5 acts, 2^/3 hrs. .(25c) 7 4 Town Marshal, 4 acts, 23,4 hrs (25c) 6 3 Trial of Hearts, 4 acts, 2^ hrs. (25c) 6 18 Trip to Storyland, Wa hrs.(25c) 17 23 Uncle Josh, 4 acts, 2^ hrs. (25c) 8 3 Under Blue Skies, 4 acts, 2 hrs. (25c) 7 10 Under the Laurels, 5 acts, 2 hrs. 6 4 When the Circus Came to Town, 3 acts, 2^ hrs. (25c) 5 3 T.S.DENiSON & COMPANY,Publishers,154W.RandolphSt., Chicago THE WHOLE TRUTH A COMEDY IN ONE ACT FOR FIVE MEN AND FOUR WOMEN BY LINDSEY BARBEE AUTHOR OF ''After the Game/' ''At the End of the Rainbow/' "The Dream That Came True/' "The Fifteenth of January/' "Then Greek Met Greek/' "Her First Scoop/' "The Kingdom of Heart's Content/* "The Promise of Tomorrow/' "Sing a Song of Seniors/' "The Thread of Destiny/' "Tomorrow at Ten/' "A Trial of Hearts/' "When the Clock Strikes Twelve/' "hi the College Days/' "Little Men and Women in Stageland/' etc. CHICAGO T. S. DENISON & COMPANY Publishers THE W HOLE TRUTH CHARACTERS. (Named in order of appearance.) Amy Ross Miss Falkners secretary. Barclay .Miss Falkners chauffeur Phyllis Falkner An heiress Mrs. Hathaway Her companion Alphonse .A butler Reginald Brooke : . .A suitor Montmorency Montmain A poet Mrs. Montmain . . . . ; His wife Lord Harding Another suitor Flace— -Sun Parlor of a Fashionable Hotel. Time — Midsummer Eve. Time of Playing — About Forty Minutes. CHARACTERS AND COSTUMES. Amy — Bright, attractive and exceedingly well-bred. Wears simple summer gown. Phyllis — -Beautiful and stately in appearance but ill at ease in her new role. Wears elaborate evening gown. Mrs. Hathaway — Haughty, affected, drawling in speech in her imposed character; in reality, free and easy, care- less and slangy. Wears elaborate evening gown. Hair slightly gray. Mrs. Montmain — Meek, timid and at first merely an echo of her husband ; later, self-assertive. Wears evening gown which, is not so elaborate as the others. Barclay — Energetic, attractive and thoroughly manly. Chauffeur suit. Alphonse — Conventional butler attire. Reginald — Simple and natural. Evening clothes. Mr. Montmain — Pompous, egotistical and flamboyant at first; later, weak and quite spineless. Evening clothes. Lord Harding — English in appearance and speech. Evening clothes and monocle. copyright, 1917, BY EBEN H. NORRIS. f. ;^ 2 ^.^ ^ . APR 18 1917 ^^-O 46695 ^ THE WIlOl.]-; TRL'TII ^ . STORY OF THE PLAY. Phyllis Falkncr inherits a large fortune from an h^.nL;lish nobleman to whom she has acted as secretary. A peculiar feature of the will entitles Lord Harding, the family son and heir, who has supposedly been killed in battle, to a share of the estate, should he ever return — provided that, within a year, he weds Miss Falkner. The heiress, over- wdielmed by her sudden notoriety and besieged by fortune hunters, flees to America and, acting on impulse, persuades a working girl who is in need of a vacation to impersonate her at a fashionable summer hotel. The supposed Miss Falkner gives a dinner in honor of Lord Harding who has suddenly appeared, declaring that the report of his death was false — and one of the guests asks that she, as hostess, make a wdsh in honor of Midsummer Eve since any wdsh on that night of elves and fairies is sure to be granted. At the suggestion of her secretary, Miss Ross (in reality the heiress), Miss Falkner wishes that, during the evening, noth- ing but the truth be revealed. The atmosphere changes ; each one fully and frankly speaks his mind. Complexities arise, difficulties are straightened and the mystery of the heiress is solved before the magic gift is withdrawn. PROPERTIES. Rugs appropriate to a sun parlor. Wicker furniture upholstered in cretonne of bright colors — three chairs and a long seat. Wicker table with books and flowers. Wicker piano lamp with cretonne shade. Palms, flowers and scarf for Amy. Basket of flowers and book for Barclay. Lor- gnette for Mrs. Hathaway. Cigarette-case, watch, papers and rnonocle for Lord Harding. THE WHOLE TRUTH SCENE PLOT. , Mali . i Door 1 ^^ Piano Lamp 1 French l_ 'window' ly 'A 1 Door / D Chair Chair n Q Table n Chair ..^ STAGE DIRECTIONS. R, means right of the stage; C, center; R. C, right cen- ter; L., left; [/.£., upper entrance; L,2E,, entrance down stage, etc. ; up stage, away from footlights ; down stage, near footlights. The actor is supposed to be facing the audience. THE WHOLE TRUTH Scene: — Sun-parlor in a siuiuiicr hold. Open frciich window of L. of C. in F. revealing landscape drop. Door or archway to hall R. of C. in F. Door or archway to private dining room dozvn R. Palms for R. U. E. and L. U . E. Bright rugs and wicker furniture upholstered in cretonne — a long seat down L., a table with books and flowers at C. Chairs R. and L. of table and down R. Tall piano lamp R. of C. in F. zi'itJi bright shade. Stage is illuminated for late afternoon. Discovered, Amy^ arranging flowers in vase on table. Enter Barclay at hall door. Barclay {crossing to Amy with fancy basket of flowers). Here are the flowers, Miss Ross. Amy {turning). Oh Barclay — you startled me! {As she glances at the flowers.) How lovely! {Takes the basket.) The hotel florist has quite surpassed himself. Barclay. I'm not generous enough to allow him that distinction. I arranged them myself. Amy. Really? Your clever fingers are always working miracles. Barclay. A chauffeur must be a Jack-of-all-trades, you know. Amy. But a Jack-of-all-trades is not necessarily — artistic. Barclay {laughing). Do you mean that / am artistic? Amy. In many ways. Were I a feminine Sherlock Holmes, I should say that you had read much, traveled widely and observed minutely. Barclay. You're making me out a mystery. Amy. Maybe you are. Barclay {shafting his head). Not a bit of it! I'm merely an orainary British soldier, disabled by a bullet, laid low by typhoid and trying to recuperate. 5 6 THE WHOLE TRUTH Amy. In America. Why, so far? Barclay. Because, {After a pause.) Isn't that the answer approved by your sex ? Amy. And why a chauffeur ? Barclay. And why not a chauffeur? Work in the open is what I need. Amy {as she takes a hook from his pocket). For a chauffeur, 'The Guide for Mechanicians" would be much more practical than — Browning. {Holds up book.) Barclay {taking the hook). But I don't need a guide book and I do need a Browning. Amy. Relaxation, I suppose. Barclay. Exactly. Relaxation. {Replaces book in pocket.) Amy {moving to door dozvn R.). Come, turn your glance upon my dinner table. {Points within.) Your basket will be the finishing touch. {He joins her.) Barclay {whistling). Jove, that's ripping! An intimate little dinner of — one — two — three — six covers ! {Sud- denly.) Aren't you in this? Amy. Why should I be? Not only would Miss Falk- ner's secretary be a quiet wren among gay-plumaged birds but it would be a social faux pas for the ambitious hostess. Barclay. And to think that you, with your brains and your breeding, are forced to submit to this crude, untutored adventuress. Amy {raising hand). Remember — you are speaking of my employer. Barclay. And mine. {Bows.) 1 beg your pardon — and hers. {After a moment.) But, seriously — why don't you break away from it? Amy. Daily bread is a necessity — and heiresses are not achieved every day. Barclay {crossing to chair R. of table). Do you believe the story of this Phyllis Falkner? {Leans on back of chair.) Amy. Why not? It is no stranger than those of other unexpected heiresses. Barclay. Perhaps I have not heard it correctly. THE WHOLE TRUTH 7 Amy. I think you have. The pajxTs — for once — provcMl authentic and rehablc. Barclay. Would you mind rcpcatini^ it to mc — as you know it? Amy (seating herself in chair douni R.) Certainly not. Phyllis Falkner was the penniless secretary of an old En^^^- lish nobleman whose only son, Lord Harding, had answered the country's call to arms. The reported death of the son proved a blow from which the old father never recovered, and in his need and loneliness he turned to the equally lonely girl to whom he soon became deeply attached. Upon his death it was found that his entire fortune had been left to Miss Falkner — with one condition. (Hesitates.) Barclay. Yes ? Amy. That should the report of the son's death prove false — and the son himself return — half of the heritage should immediately revert to him, provided — Barclay. Another provision? Amy. An important one : namely, the forfeiture of his half should he fail to wed Miss Falkner within a year after his return. Barclay. But suppose Miss Falkner happened to marry before his return? Amy. The will forced her to wait five years ; ample time for Lord Harding to return were he still alive. Barclay (crossing to L.). Preposterous! Unfair! How could any father demand such a sacrifice? Amy. You must remember that he had learned to love this girl as his own daughter. Barclay. Granted ; but why such an unnecessary entan- glement of two lives? (Stands before her.) Amy. Doubtless an old man's desire to unite the two of whom he was most fond. Barclay. She probably was clever enough to coax him into such an arrangement. Amy. Let us give her the benefit of the doul)t. H she were a schemer, vv^ould she not have thwarted the provision for the possible return of the son? 8 THE WHOLE TRUTH Barclay. Such a provision meant a title. You must grant that from any standpoint affairs are advantageous for her. Amy. You seem interested. Barclay. I am. A man couldn't be Miss Falkner's chauffeur for six weeks without wondering how she ob- tained such a hold over her benefactor. She hasn't brains —nor culture. Amy (quickly). But she has looks — you must acknowl- edge that. Barclay (impatiently) . You women are all alike — looks constitute everything. Amy. We take our cue from the men. Barclay. Oh, no you don't! For not every man cares for a pretty face without an accompaniment of gray matter. Amy. But you can't deny that a pretty face is an open- ing wedge. Barclay. It was in this case, anyway — and an entire fortune is no poor reward. Amy (after a pause). An entire fortune! Then you haven't seen the papers? Barclay. I've been on two days' leave in the city and haven't had time to look at a paper. Amy (rising). And you haven't heard? (Crosses to table and puts basket upon it.) Barclay. Heard what? Amy (facing audience). That Lord Harding arrived here yesterday morning. Barclay (crossing to her right). Lord Harding? Im- possible ! Amy. Nothing is impossible, it seems. The report of his death was false. Upon returning home he learned the true state of affairs- — and set sail immediately for America. Barclay. Is he the — real thing? Amy. He appears to be. Flaunts the family crest and produces papers that seem conclusively to prove his identity. (Sits L. of table.) Till-: WllOLl-: TRUTH 9 Barclay (wliistling). So he's lavii\i^ sic^i^e to llu' licircss? (Sits R. of table.) Amy. He has turned his l)cittcrics full upon Ikt. The wooing is fast and furious. Barclay. And Miss Falkner? Amy. I can't say. As you know, she has a gift of mask- ing her emotions. Barclay. You are kind to put it that way. I'd call it plain stupidity. Amy (reprovingly). Barclay! Barclay. Is young Brooke still in the running? Amy. Apparently. The rivals meet tonight — for the din- ner is in Lord Harding's honor. Barclay. And the other guests ? Amy. Mrs. Hathaway, the inevitable chaperone. (He makes a grimace.) Mr. Montmain, the poet — and incident- ally the social lion of the place — and — sad but necessary — his wife. Barclay (in disgust). That cad of a Montmain. Amy. Isn't he? And yet — how can a cad be a poet? Barclay (laughingly). Another mystery for you. Amy. Perhaps so. Barclay (suddenly rising and going to the hack of her chair). What a beastly artificial atmosphere it is — not the place for you — not the people you should be thrown with. Come away, Amy — come away — with me! (Leans over her. ) Amy (rising and facing him). Barclay! Barclay! Barclay. Oh, you've seen how it is with me — you must have seen ! I haven't much to ofifer you — I can't promise you a cent — but I've my health — and I'll make you happy. Amy (clasping her hands). Oh, do you mean it — do you mean it? Barclay (taking her hands). Oh, you know that I mean it — you know that I've loved you from the first — the very first! Enter Phyllis from hall. Phyllis (in surprise). Why, Barclay! 10 THE WHOLE TRUTH Barclay (releasing Amy's hands ^ turning and bowing). Miss Falkner. Phyllis. I have just sent my maid for the flowers. Barclay. I thought Miss Ross might be ready — so I brought them myself. Amy. Lovely, aren't they? {Takes basket from table.) Barclay {courteously). Your maid is doubtless looking for me. With your permission I'll put an end to her search. {Exit, hall door,) Phyllis {looking after him). Ain't he got lovely man- ners? Amy {in distress). Oh — oh — oh! What did I tell you about ain't f Phyllis {correcting herself with an effort). Isn't. Amy. And you must not use got. Now say it over. Phyllis. Hasn't he lovely manners ? Amy. That's better. If you'll just stop to think — Phyllis {combing down C. to table). But, Miss Ross, I can't think of everything at the same time, and the talking does frighten me so. Amy. Haven't you been getting on nicely of late? Phyllis. Pretty well. Unless I am asked a question, I say, ^^Really!" ^^My word!" and ^Tancy now!" just as you told me. Amy. That's good. Do you raise your eyebrows? Phyllis {raising eyebrows). Oh yes — and shrug my shoulders — so! {Shrugs her shoulders.) Amy. You are quite perfect. And there's no real reason to be frightened, you know. Phyllis {anxiously). But, tonight! What shall I do tonight? I've never given a dinner and I'm sure to do the wrong thing. {Sits R. of table.) Amy. Not at all. Do just as you've been doing and everything will come out all right. Phyllis. But I'm the first to eat — Amy. I'll explain the forks. Phyllis. And a hostess must talk, mustn't she ? THE WHOLE TRUTH 11 Amy. Not necessarily. The guests are u.suall}- glad enough to assume the responsibility. Phyllis. But when they first come in — Amy. Now don't get excited. Til tell you just what to say. {Places basket on table.) Now, let's pretend that Ah-. Brooke is coming in. Phyllis. Oh, you needn't mind al)out Air. Brooke. I can manage hiui. Amy. Then why bother about the others? Phyllis (consciously). Oh, Reggie — Mr. Brooke I mean — is different — that's all. Amy {understandingly) . Oh — I — see! Then we'll take Mrs. Montmain. Watch now. (Phyllis turns and iL^atches her as she advances tozvard hall door with outstretched hand.) Oh, dear Mrs. Montmain — it is indeed a pleasure to have you as my guest. Phyllis. But it ain't — isnt^ I mean — a pleasure. Amy. a hostess must always make believe, you know. Phyllis. Go on. I can remember that speech without your saying it again. Amy (again with outstretched hand). And Mr. Mont- main! I've just been reading your sonnet upon Sunrise. Phyllis (rising). But I haven't been reading it. I can't understand his stuff Miss Ross — and that's all there is about it. (Goes to Amy.) Amy (soothingly). Never mind. Just pretend you do. Clasp your hands — so — (clasps hands) and say, ^'Tell me — is it not symbolic of the potentialities within ourselves?" Phyllis (miserably). Say that again. Amy. Tell me — is it not symbolic of the potentialities — ■ Phyllis (interrupting). What's the word? Amy (slowly). Po-ten-ti-al-ities within ourselves? (Phyllis repeats the sentence mechanically.) That's quite as it should be. Now for his lordship. Phyllis. Give me a good one for him — he gets on my nerves. Amy (pondering). Let's — see. Suppose you make it short and simple. (As she advances toward hall door.) 12 THE WHOLE TRUTH Lord Harding, America is always very glad to have the op- portunity of welcoming England. Phyllis. That suits me. Now how do we go out to dinner? Amy. Alphonse will announce, "Dinner is served.*' Then you are to turn to Lord Harding like this — (turns) and say, *'What a pity that the orchestra can't be playing 'Hands Across the Sea' as we lead the procession." (Takes arm of imaginary partner and walks toward dining-room door.) Phyllis. Let me try that to be sure. (Imitating every tone and gesture that Amy has used.) "What a pity that the orchestra can't be playing 'Hands Across the Sea' as we lead the procession." (Turns and looks hack at Amy.) Is that all? Amy. That's all. The others will follow your lead. (Returns to table and takes basket of flowers.) Now sup- pose we place our centerpiece and learn all about the forks. (Exeunt Phyllis and Amy, door down R.) Enter Mrs. Hathaway from hall. Mrs. H. (looking around). PhylHs? Phyllis (from dining-room). Yes, Mrs. Hathaway. Mrs. H. (coming to C). Come hook my belt. I just ain't got the nerve to let that maid of yours see how hard it is to get my clothes fastened. (Phyllis enters and stands back of her.) Steady, now, while I draw in. (Drazvs in her breath.) Got it, didn't you? This bein' swell is all right in its way, but it ain't comf'table. What with gloves that are stoppin' my circulation and shoes that were made for a hummin' bird — Amy enters from dining-room. Mrs. H. Oh, Miss Ross. (Raises her lorgnette, affects a grande dame air and speaks drawiingly.) Phyllis, you didn't tell me that Miss Ross was receiving with us. Phyllis (hastily). Miss Ross has been arranging the flowers. Amy (turning as she reaches the hall door). And ex- plaining the forks ! (Exit.) Tin-, W'llOLl-: TKi- 111 13 Mrs. H. {returmncj to her foniicr Jiianiicr). Ain't she the swell dame? Exphiinin' the forks — as if we (h(hi't know! {Walks to L.) Phyllis. We dont. Miss Ross tells mc everything; to do. {Drops listlessly in ehair R. of table.) Mrs. H. And looks just about as important as that there hail-the-conquering-hero-comes chauffeur of yours. For hig-h and mighty and stuck-on-themselves servants, Phyllis, nobody's got you beat. {Seats herself on seat down L.) Phyllis. Don't it all seem strange? Mrs. H. Strange F Why, I speiid half of my time pinch.in' myself to see if I'm real — and not in my two-by- four, cookin' over a gas jet and pastin' handkerchiefs on a window pane. {Sighs and settles back.) Say, Phyllis, it's no easy job to think of you as an heiress — a regular heiress, same as you read of in books. Phyllis. Sometimes I think Til never get used to it. Mrs. H. {sitting up straight). Now that's plum foolish- ness. Look at me settlin' down in this gilded cage as if I'd been born to it. And it's thanks to you that I'm a-getfin' the chance — just to think that you'd make me a partner in all this high livin'. Phyllis. You were good to me once. Mrs. H. But, takin' you in when you were minus a job didn't need no such reward as this. Phyllis. An heiress needs chaperoning, you know. Mrs. H. And I guess you'll have to hand it to me that when it comes to h.obnobbin' with crowned heads, nobody gets ahead of yours truly. Phyllis. You do seem to get on with Lord Harding. {Sighs.) I wish / could. Mrs. H. Now, see here, Phyllis, if you've got any silly notion about Reggie Brooke in your mind, get it out. Phyllis {weakly, on the defensive). Reggie knows all the swells. Mrs. H. He may know all the swells, but he ain't wearin' a coronet. 14 THE WHOLE TRUTH Phyllis. Well, he's just as important here in America as Lord Harding is in England. Mrs. H. Don't you think it for a minute. Phyllis. Anyway — Mrs. H. Anyway — nothing! I've got a life-size picture of you wearin' a ta-ra-ra of pearls and havin' a royal trade- mark on all your stationery — and I ain't goin' to have that picture smashed. Enter Alphonse from hall. Alphonse. Mr. Brooke. Enter Reginald. Exit Alphonse. Mrs. H. {rising and hastening to him). Charming of you to come early, Mr. Brooke. Reginald {hastily shaking her hand and rushing to Phyllis). You don't mind, do you? {Takes her hand.) I wanted to see you — alone. Mrs. H. {following him). And ever since \ye've discov- ered the dear Duchess as a mutual friend, I've thought of a dozen things to ask you. {Takes arm and guides him to ^ ^ Enter Alphonse. Alphonse. Mr. and Mrs. Montmain! Enter Mr. and Mrs. Montmain. Exit Alphonse. Phyllis {hastening to Mrs. Montmain). Oh, dear Mrs. Montmain — it is indeed a pleasure to have you as my guest. {Turns.) You know Mrs. Hathaway? (Mrs. Montmain zmth set smile makes her way to Mrs. Hathaway and Reginald and is greeted by them. Phyllis takes Mr. Montmain's outstretched hand.) Oh, Mr. Montmain, I've just been reading your sonnet upon Sunrise. Mr. M. {pompously). My dear young lady, I am most grateful, most delighted that — Phyllis {clasping her hands). Tell me — is it not sym- bolic of the potentialities within ourselves? Mr. Montmain {ecstatically). To think that you can feel with me — that you can understand — that you are a TTTK WIIOT.K TRUTH 15 kindred soul! (As flicy make their ^eay toward the (jroul^ at L.) Maria? Mrs. M. (meekly). Yes, Montmorency? Mr. M. She understands — Mrs. M. Yes, Montmorency. Mr. M. (dramatically). She reahzes what it is that in- fuses my very being when I strive to put into words tlic symboHsm of nature. Mrs. M. (still more meekly). Yes, Montmorency. Mrs. H. Does it really hurt like that every time you write a poem? Phyllis. Mrs. Hathaway, won't you show Mr. and Mrs. Montmain the view from the garden ? It might help him to write another poem. ( Unzmllingly Mrs. Hathaway escorts the MoNTMAiNS outside the French windozv, zvhere they stand, quite visible to audience. Reginald hurries to Phyl- lis. They ztnthdraw to R. 2 E.) Reginald (shortly). What are you going to do about this English chap? Phyllis (zveakly gadfig at him). What do you mean? Reginald (impatiently) . Don't pull off any of that baby stare business. You know what he's after. (After a pause.) Well, what are you going to do ? Phyllis. I don't knovv^ — oh, I don't know ! Reginald. Cut out the Britisher. Phyllis. But I feel that the money is really his. Reginald. Give it to him, then. Phyllis. You mean — Reginald. That I want you — money or no money. Phyllis (in a tremble). Oh, Reggie — Reggie — tliat sounds too good to be true! Reginald. But it is true. (Takes her hand.) Xoz^', what are you going to do ? Phyllis (happily). Don't you know — without my tell- ing you? Enter Mrs. Hathaway and the Montmains from the French zvindow. They hasten to Phyllis and Reginald. Mrs. H. (as they advance). Tell us how you do it, Mr. 16 THE WHOLE TRUTH Montmain — how you write those wonderful, wonderful things. Mr. M. {thoughtfully). I first go into meditation, don't I, Maria? Mrs. M. {meekly). Yes, Montmorency. Mr. M. And when I am imbued with genius, I write down my thoughts fast and furiously. Isn't that correct, Maria ? Mrs. M. {meekly). Yes, Montmorency. Mr. M. And sometimes, when the frenzy of work is over, I am left in complete exhaustion. You often find me in total collapse, don't you, Maria? Mrs. M. {still more meekly). Yes, Montmorency. Enter Alphonse at hall. Alphonse. Lord Harding. Enter Lord Harding. Exit Alphonse. Phyllis {hastening to Lord Harding). Lord Harding, America is always glad to have the opportunity of welcom- ing England. {Turns.) You know Mrs. Hathaway? Mrs. H. {h owing deeply). Your lordship! Phyllis. And Mrs. Montmain? Mr. Montmain? {All how.) And Mr. Brooke? (Reginald glares.) Enter Alphonse from dining-room. Alphonse. Dinner is served. {Exit.) Phyllis {taking Lord Harding's arm). What a pity that the orchestra can't be playing 'Hands Across the Sea' as we lead the procession. {They pass into the dining-room followed by Mr. Mont- main and Mrs. Hathaway, Reginald and Mrs. Mont- main. The curtain is lowered for a moment to indicate a passage of two hours. It rises again upon Phyllis at C, Mrs. Hathaway and Mrs. Montmain at L. Almost im- mediately the gentlemen enter from^ dining-room, and cross to L. Phyllis starts to join group at L.) Lord H. Miss Falkner ? Phyllis. Yes ? Lord H. May I detain you a moment? . THE WHOLE TRUTH 17 Phyllis. Certainly. (They li'alk to /v. 2 /T. 7.'liilc \i\:c.[- NALD and Mr. Montmain join group at L.) Lord H. Business takes me to the city tomorrow. Phyllis (nervously) . That is a short stay here. Lord H. But long enough for me to accomplish what I came for. Phyllis. And that? Lord H. I think you know. (Softly.) Have you an answer ready for me? Phyllis. You really w^ant it? Lord H. Why do you suppose I came to America? Phyllis. To get — your inheritance. Lord H. Don't put it that way. My first thought was to carry out my father's wishes. When I saw^ you, I knew it would be easy. Phyllis. But suppose you hadn't — w^ell — liked me? Lord H. Then I should have gone quietly away — with- out a word. Phyllis. So you want your answer? Lord H. (sentimentally) . I am waiting for that only. Phyllis. Then — I refuse. Lord H. (blankly). I — ^beg — your — pardon? Phyllis. I say I refuse. Lord H. (seizing her arm). You can't mean that. Phyllis (breaking azvay from him). I do mean it. I won't marry you — if that's any clearer. Lord H. (angrily). How dare you? Phyllis. How dare I what? Lord H. Keep my inheritance from me. Phyllis. Pm not keeping it from you — it's mine. Lord H. Not lawfully yours. (Comes closer.) Why, you've got to marry me! Phyllis. Never ! Lord H. (furiously). So it's your nice little scheme to keep all the money, is it? Enter Amy with scarf from hall. Phyllis. I don't want your old money — take it — all of it. Amy (crossing to them). I brought your scarf. Miss 18 THE WHOLE TRUTH Falkner. I thought you might need it. Pardon me for interrupting. Phyllis (taking the scarf). Thank you, Miss Ross. Mr. M. (hurrying to them, followed by others). Ah, Miss Falkner — a discovery on our part. It is Midsummer Eve — a time dear to the hearts of fairies — of elves — and of poets ! Phyllis (mechanically). Really? Mr. M. And 'tis said that a wish made at .this mystic time is always granted. Phyllis (raising her eyebrows). Fancy, now! Mr. M. (pompously). So, Miss Falkner, as queen of our gathering tonight, it devolves upon you to make the fatal wish. Phyllis. Oh, I can't — I don't know what to say — I — (turning) Miss Ross, tell me what to wish. Amy. Suppose you wish that for this evening each one of your guests speaks ''the truth, the whole truth and noth- ing but the truth." Mrs. H. (to Amy.) Why, how dare you? Mr. M. a most remarkable wish ! Phyllis (clapping her hands). Oh, just the thing — just the thing! Mrs. H. (protesting). Phyllis! Phyllis. Hush — all of you! (Slowly and seriously). I wish that on this evening each one of my guests will speak ''the truth, the whole truth and nothing but the truth!" (Phyllis sinks into chair down R., Amy retires just out- side of French window, Mrs. Montmain sits L. of table. Mrs. Hathaway goes to Lord Harding and slips her hand through his arm. Reginald stands back of Phyllis' chair.) Mrs. H. How absurd ! Phyllis is so kind-hearted, Lord Harding, that she agrees to everything that creature says. (Leads him to seat down L., where they seat themselves.) Mr. Montmain, suppose you write us a beautiful ode to Midsummer — that will be much better. Mr. M. (sinking heavily into chair R. of table). I never wrote a line of poetry in my life. Mrs. H. (laughing). Listen to the man! Genius is so Tiir: wiioLr: i^rutii 19 modest! Now we'll give you just five uiiiuitrs io couipose a lovely verse. Mr. M. (pceThlily). I tell }-ou I never wrote :i line of poetry in my life. Mrs. H. (aJLviousIy). Mr. Montniain ! ^7)u're ill! Mr. M. No, I'm not — I'm just telling the truth.. Phyllis (in surprise). But your book that everybody's raving about ! Mr. M. Maria wrote it. Phyllis. What! Mrs. M. (coTiiplacently) . Oh, yes, I wrote it — I've writ- ten all his poems. He couldn't rhyme a word to save his life and he doesn't know pentameter from Sanskrit. Mrs. H. {puzzled). But the hour of meditation — Mrs. M. {vigorously). Meditation — nothing! Just plain loafing, that's all. Phyllis. And the complete exhaustion — Mrs. M. {sniffing). Smoking cigarettes and sleeping one's stupid self away is apt to result in exhaustion. Mr. M. {plaintively) , Maria has the brains. Mrs. M. And he has the nerve. He likes notoriety — I don't — and there we are ! Mr. M. {wiping his eyes). 'Tis a cruel blow that you should know this, Mrs. Hathaway! You have been such an admirer of my — our — I should say — Maria's work ! Mrs. H. Not for a minute ! Why, I couldn't read that stufif at the point of a pistol. Me for the yellow backs ! Mrs. M. {in surprise). Mrs. Hathaway! I don't under- stand. Mrs. H. No, of course you don't. Maybe when I tell you that I'm Birdie Brett, who used to do imitation stunts on the Peerless Vaudeville Circuit, you'll see why I made such a hit as a swell dame. Mrs. M. {in horror). To think that a woman of your age— Mrs. H. Now go slow on the age, friend Maria. This hair ain't so gray as it looks — these wrinkles ain't no sign of age and my feet ain't hurtin' from rheumatiz but from 20 THE WHOLE TRUTH shoes that are three sizes too little. {Kicks off slippers with a sigh of relief.) Don't tell the Duchess, Reggie! Reginald. I don't know the Duchess — I don't know any of the swells. I was never in a hotel before— and my real name's Tom BHss. MRS..H. What's that? Reginald. I've worked hard all my life and when I had saved up a little I made up my mind to have one big vaca- tion, even if it cost me a year's savings. So I bought all these clothes — I pretended to be somebody — Phyllis. Reggie! Reginald. And in reality I'm floor walker at a salary of twelve and a half plunks a week. Phyllis {rising). Reggie! Reginald. Oh, I've been a cad ; I know it. I'm sorry — and if I hadn't really cared for you, Miss Falkner — Phyllis. Don't! Don't call me that — for it ain't my name. I'm Mame Maroney and I'm at Overhead and Un- derfoot's Emporium — glove counter — second aisle to the right! Lord H. {rising). What do you mean? Phyllis. Just what I say. I'm not Miss Falkner — I'm just her figurehead. She bought me — all — this — she's given me this grand vacation. But I'm tired of it all — I'm tired — and I'm going back with Reggie ! (Reginald takes her out- stretched hands.) Mrs. H. Well, Mame — you've gone and done it now! (Barclay appears in hall door.) Mr. M. {weakly). Astonishing! Most astonishing! Lord H. {in thunderous tones). Then — who is Miss Falkner ? Amy enters from French window. Amy. / am! {All rise.) Please be seated until I give my explanation. {Ladies are seated and Amy crosses in front of table and stands there.) You all know the story of my unexpected fortune — for that is my sole claim to notoriety. In order to escape publicity and fortune hunters I came to America, and found that the story of my inher- TIII-: WMIOLI- TRUTH 21 itance had preceded nie. I did not care for the friends — and lovers — whom money attracts. To be frank, I had the desire to be sought and loved — for myself. Mr. M. Astonishing! Most astonishing! (Sits.) Amy. By chance I found Miss Maroney, longing for a vacation. The idea of having her impersonate me came as an inspiration. She agreed — she chose her friend as com- panion (indicating Mrs. Hatiiaw^av) — and the rest you know ! Mrs. H. Well, I never! (To Amy.) And so you're the real Miss Falkner! Amy. The real Miss Falkner — and very grateful to you all for helping me play my little game. Mrs. H. Grateful to its! We're the ones who ought to be handing thanks to you. What have you gotten out of it? Amy. Everything — everything — for I've learned that after all I, myself, count! Lord H. And Fve learned that fate has played me a cruel trick. {Takes step forzvard.) Miss Falkner! Amy {motioning him back). Please don't — for fate has been exceedingly kind, Lord Harding. Lord H. Let me explain. Enter Barclay. Barclay {striding to L. of table). Yes, let him explain. (Lord Harding gazes at him in mingled bciinldenncnt and terror,) And before you begin to speak, suppose you hand over my watch — and my cigarette case. Lord H. {forcing himself to speak). I don't understand. Barclay. Oh, yes you do. (After a nionient.) Fm waiting. {Slowly Lord Harding hands him a icatcli and cigarette case.) And now the papers which you found so useful. Lord H. {weakly). I have no papers. Barclay {quickly). You have them on your person. They are too valuable to you to be far off. (Lord Harding hands papers to him.) And now, before you go, you will 22 THE WHOLE TRUTH tell these friends just who I am. (Lord Harding is silent,) Speak out. Lord H. (with an effort). You are — (hesitates), Barclay. Go on. Lord H. You are — Lord Harding ! Barclay. And we won't stop to introduce you or to say just why you left the army. When I was lying insensible on the field, you thought I was as good as gone, didn't you ? And that you might as well have my possessions.' And after you returned to England and heard of my father's bequest, it flashed into your mind that you might as well raise Lord Harding from the dead, impersonate him and win the heiress for yourself. Unfortunately for 3/0U, I wasn't dead — and I've had the pleasure of checking your little scheme. (Lord Harding walks unsteadily toward the door,) Yes — to leave us is best, Jones — and you're lucky to get ofif so easily. (Exit Lord Harding at hall door,) Mrs. H. Two Lord Hardings — two- Miss Falkners — my head's goin' round and round. Barclay. I owe you all an apology for forcing my own afifairs, but I have saved you from an impostor. I am the real Lord Harding. On learning of my father's strange will I came to America that I might see Miss Falkner for myself. I became her chaufifeur — and I soon became interested in another way. (Appealingly,) Amy — Phyllis — shall I tell them? Amy. Please do. Barclay. Miss Falkner has promised to be my wife. Until a few moments ago I knew her as Miss Ross, the sec- retary. She knew me only as Barclay, the chaufifeur. Amy. Wait a moment — please! I knew you were Lord Harding — the real Lord Harding — from the very first. Barclay (in amazement). You knew that I was Lord Harding ? Amy. Of course. Could I have been your father's sec- retary and constant companion without looking at your pho- tograph each day? Could I have listened to his stories of THE WllOLli TRUTH 23 you — without loving you? Why, if you h.-uhi't coiiu- to mc — and wanted me — I should never have married — ncxcr! Barclay {stepping tozi'ard her). Phyllis! Amy {as she goes to Ii'nii). You see, I am telling- you "the truth, the whole truth and nothin<^^ l)ut the truth!'' {He takes her hands and they zualk slozdy tozcard and out of the French zvindoiv, disappearing from sight. Mr. and Mrs. Montaiain look after them in hezvilderment, Reg- inald and Phyllis become engrossed in each other and Mrs. Hathaway gazes haughtily through her lorgnette.) Curtain. The Press-Agent's Handbook By FREDERICK G. JOHNSON. Price, 25 Cents How to advertise a play. Designed primarily for the use of dramatic clubs and other groups of amateur entertainers. The in- formation is clearly and concisely presented. Fine-spun, untried theories have been studiously avoided. The material is largely the direct result of experience gained by a practical advertising man in promoting the publicity for many amateur entertainments, and his financial success has been the best testimonial for the value of the advice given in this book. CONTENTS. Chapter I. — The Need of a Press-Agent. The Press-Agent Is Responsible — ^Duty of the Press-Agent — Wasting Ammunition — "Learning the Ropes" in Advance. Chapter II. — ^Selecting the Press- Agent. Experience not Essential — Newspaper Training of Value — General Requirements. Chapter III. — Advertising IVlediums. Handbills — Window Cards — Posters and Billboards — News- paper Advertising — Hand -made Posters — Personal Work. Chapter IV. — The Newspaper Campaign. Make Friends — Business First — How Much Appropriation? — A Small Town Advantage — Use All Newspapers — Live up to the Agreement — Getting Acquainted — Exclusive Notices — De- velop Gradually — The Final Week — Depends on Circumstances^- Country Weeklies — Expressing Appreciation. Chapter V. — Preparing News Copy. Readers Must Contain News — Preparation Important — Ex- change of Service — Novelty the Keynote — "New" and "Exclu- sive" — ^Don't Be Offended — Preparing News Copy — Each Notice Complete — -Carbon Copies — Length of Notices — Best Kind of Material — Human Interest Most Important. Chapter VI. — Preparing Advertising Copy. Simplicity tlie Keynote — Good Taste a Requisite — Saving Space — Using a Model — Size of Type — Newspaper Instructions — Teaser Campaign — Hints on Posters. Chapter VII. — The Outdoor Campaign. For the Small Town — Teasers — Follow Up — Posters — Hand- bills — Personal Work. Chapter VIII. — Novel Advertising Stunts. Hand-made Window Cards — The Float — Scenic Float — The Parade — Street Car Hangers. Chapter IX. — Ticket Schemes. Various Methods — On Sale at Stores — Solicitation by Mail — Why It Is Not Advised — Personal Disposal — Selling by Districts — Sale by the Players — Insist on Cash Sales — When Prices Are Scaled — Reserved Seats — Advance Sale — Sale by Contest — Com- plimentary Tickets — Passes for Newspapers — ^When to Give Passes — Copy for Tickets. Chapter X.— Programs. A Regular Formula — A Model Program — Musical Plays — Clearness and Accuracy — Printing Programs^— How Many to Print — Program Advertising. Chapter XI. — Specimen Press Notices. Brief Opening Notice — More Elaborate Opening Notice — First Follow-Up — Second Follow-Up — Third Follow-Up — Fourth Follow-Up — Fifth Follow-Up — Very Short Reader — To Be Used Just Before Date of Performance — Humorous Advance Notice. T. S. DENISON & COMPANY, Publishers 154 W. Randolph Street, CHICAGO DENISON'S ACTING PLAYS Price 15 Cents Each, Postpaid, Unless Different Price Is Given M, r. Winning Widow, 2 acts, IJ^ hrs. (25c) 2 4 Women Who Did, 1 hr...(25c) 17 Yankee Detective, 3 acts, 2 hrs. 8 3 FARCES, COMEDIETAS, Etc. All on a Summer's Day, 40 min. 4 6 April Fools, 30 min 3 Assessor, The, 10 min 3 2 Baby Show at Pineville, 20 min. 19 Billy's Chorus Girl, 25 min... 2 3 Billy's Mishap, 20 min 2 3 Borrowed Luncheon, 20 min.. 5 Borrowing Trouble, 20 min 3 5 Case Against Casey, 40 min... 23 Country Justice, 15 min 8 Cow that Kicked Chicago, 20 m. 3 2 Divided Attentions, 35 min 1 4 Dude in a Cyclone, 20 min.... 4 2 Family Strike, 20 min 3 3 First-Class Hotel, 20 min 4 For Love and Honor, 20 min.. 2 1 Fudge and a Burglar, 15 min.. 5 Fun in Photo Gallery, 30 min.. 6 10 Great Medical Dispensary, 30 m. 6 Great Pumpkin Case, 30 min.. 12 Hans Von Smash, 30 min.... 4 3 I'm Not Mesilf at All, 25 min. 3 2 Initiating a Granger, 25 min.. 8 Irish Linen Peddler, 40 min... 3 3 Is the Editor In? 20 min... 4 2 Kansas Immigrants, 20 min... 5 1 Men Not Wanted, 30 min 8 Mike Donovan's Courtship. 15 m. 1 3 Mother Goose's Goslings," 30 m. 7 9 Mrs. Jenkins' Brilliant Idea, 35m. 8 Mrs. Stubbins' Book Agent, 30 m. 3 2 My Wife's Relations, 1 hr.... 4 6 Not a Man in the House, 40 m. 5 Pair of Lunatics, 20 min 1 1 Patsy O'W^ang, 35 min 4 3 Pat, the Apothecary, 35 min.. 6 2 Persecuted Dutchman, 30 min . 6 3 Regular Fix, 35 min 6 4 Second Childhood, 15 min.... 2 2 Shadows, 35 min 2 2 Sing a Song of Seniors, 30 min. 7 Taking Father's Place, 30 min. 5 3 Taming a Tiger, 30 min 3 That Rascal Pat, 30 min 3 2 Those Red Envelopes, 25 min. 4 4 Too Much of a Good Thing, 45 min. 3 6 Turn Him Out, 35 min 3 2 Two Aunts and a Photo, 20 m. 4 Two Gentlemen in a Fix, 15 m. 2 Two Ghosts in W^hite, 20 min . . 8 Two of a Kind, 40 min -2 3 Uncle Dick's Mistake, 20 min.. 3 2 Wanted a Correspondent, 45 m. 4 4 Wanted a Hero. 20 min 1 1 M. y. Wide Enough for Twd, 4 5 min. 5 2 Wrong liaby, 25 min 8 Yankee Peddler, 1 hr 7 3 VAUDEVILLE SKETCHES. MON- OLOGUES, ETHIOPIAN PLAYS. Ax'in' Her Father, 25 min.... 2 3 Booster Club of Blackville, -5 m.lO Breakfast Food for Two, 20 m. 1 1 Cold Finish, 15 min 2 1 Colored Honeymoon, 25 min... 2 2 Coon Creek Courtship, 15 rrtin. 1 1 Coming Champion, 20 min.... 2 Coontown Thirteen Club, 25 m. 14 Counterfeit Bills, 20 min 1 1 Darktown Fire "Brigade, 25 min. 10 Doings of a l^ude, 20 min.... 2 1 Dutch Cocktail, 20 min 2 For Reform, 20 min... 4 Fresh Timothy Hay, 20 min.. 2 1 Glickman, the Glazier, 25 min. 1 1 Good Mornin' Judge, 35 min.. 9 2 Her Hero, 20 min 1 1 Hey, Rube! 15 min 1 Home Run, 15 min 1 1 Tumbo Jum, 30 min 4 3 X-ittle Red School House, 20 m. 4 Love and Lather, 35 min 3 2 Marriage and After, 10 min.. 1 MeniDhis Mo=e, 25 min 5 1 •Mischievous Nigger,' 25 min.. 4 2 Mistaken Miss, 20 min 1 1 Mr. and Mrs. Fido, 20 min 1 1 Ob, Doctor! 30 min 6 2 One Sweetheart for Two, 20 m. 2 Oshkosh Next Week, 20 min . . 4 Oyster Stew, 10 min 2 Pete Yansen's Gurl's Moder, 10m. 1 Pickles for Two, 15 min 2 Pooh Bah of Peacetown, 35 min. 2 2 Prof. Black's Funnygraph, 15 m. 6 Sham Doctor, 10 min 4 2 Si and I, 15 min 1 Special Sale, 15 min 2 Stage Struck Darky, 10 min.. 2 1 Sunny Son of Italy, 15 min.. 1 Time Table, 20 min 1 1 Tramp and the Actress, 20 min. 1 1 Troubled by Ghosts, 10 min... 4 Troubles of Rozinski, 15 min.. 1 Two Jay Detectives, 15 min.. 3 Umbrella Mender, 15 min.... 2 Uncle Jeff, 25 min 5 2 What Happened to Hannah, 15m. I 1 A great number of Standard and Amateur Plays not found here are listed In Denlson's Catalogue T. S. DENISON & COMPANY, Publishers, 154 W. Randolph St. , Chicago LIBRPRY CONGRESS POPULAR ENTERTi Price, Illustrated Paper C A Partial DIALOGUES IN this Series are found books touching every feature in the enter- tainment field. Finely made, good paper, clear print and each book has an attractive individual cov- er design. List All pupils. Sorts of Dialogues. Selected, fine for older Catchy Comic Dialogues. Very clever; for young people. Children's Comic Dialogues. From six to eleven years of age. Country School Dialogues. Brand new, original Dialogues for District Schools. For country schools. Dialogues from Dickens. Thirteen selections. The Friday Afternoon Dialogues. Over 50,000 copies sold. From Tots to Teens. Dialogues and recitations. Humorous Homespun Dialogues. For older ones. Little People's Plays. From 7 to 13 ye^rs of age. Lively Dialogues. For all 1 ages; mostly humorous. Merry Little Dialogues. Thirty-eight original selections. When the Lessons are Over. Dialogues, drills, plays. Wide Awake Dialogues. Original successful. SPEAKERS, MONOLOGUES Choice Pieces for Little People. A child's 'speaker. The Cornic Entertainer. Recitations, monologues, dialogues. Dialect Readings. Irish, Dutch, Negro, Scotch, etc. The Favorite Speaker. Choice prose and poetry. The Friday Afternoon Speaker. For pupils of all ages. Humorous IVIonologues. Particularly for ladies. Monologues for Young Folks. Clever, humorous, original. Choice collections, pathetic, hu- morous> descriptive, prose, poetry. 15 Nos., per JMo. 26c DRILLS Best Drill Book. The The Very popular drills and marches. Favorite Book of Drills. Drills that sparkle with originality. Little Plays With Drills. For children from 6 to 11 years. The Surprise Drill Book. Fresh, novel, drills and marches. SPECIALTIES The Boys' Entertainer. Monologues, dialogues, drills. Children's Party Book. Invitations, decorations, games. The Days We Celebrate. Entertainments for all the holidays. Good Things for Christmas. Recitations, dialogues, drills. Good Things for Sunday Schools. Dialogues, exercises, recitations. Good Things for Thanksgiving. A gem of a book. Good Things for Washington and Lincoln Birthdays. Little Folks' Budget. Easy pieces to speak, songs. One Hundred Entertainments. New parlor diversions, socials. Patriotic Celebrations. Great variety of material. Pictured Readings and Tableaux. Entirely original features. Pranks and Pastimes. Parlor games for children. Private Theatricals. How to put on plays. Shadow Pictures, Pantomimes, Charades, and how to prepare. Tableaux and Scenic Readings. New and novel; for all ages. Twinklihg Fingers and Sway- ing Figures. For little tots. Yuletfde Entertainments. A choice Christmas collection. MINSTRELS, JOKES Black American Joker. Minstrels' and end men's gags, A Bundle of Burnt Cork Comedy. Monologues, stump speeches, etc. Laughland,via the Ha-Ha Route. A merry trip for fun tourists. Negro IVIinstrels. All about the business. The New Jolly Jester. Funny stories, jokes, gags, etc. Large Illustrated Catalogrue Free T.S. DENISON & COMPANY, Publishers, 154 W. Randolph St. , Chicago