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 Three Dear Friends 
 
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Three Dear Friends 
 
 A Feminine Episode in One Act 
 
 By 
 KATHARINE METCALF ROOF 
 
 Originally produced at B. F. KeiiK s Bijou Theatre, Boston, 
 under the management of Josephine Clement 
 
 BOSTON 
 
 WALTER H. BAKER & CO. 
 1914 
 
Three Dear Friends 
 
 CHARACTERS 
 
 (^1 originally produced at B. F. Keith' s Bijou Theatre, Boston, 
 September 2g, igij. ) 
 
 Mildred ..... Marjorie Fairbanks. 
 
 Peggy ...... Betty Bamicoat. 
 
 Eva ....... Gertrude Breen. 
 
 Mildred's Maid Agnes Cave. 
 
 NOTE 
 
 This play may be performed by amateurs free of royalty and with- 
 out express permission. The professional stage-rights are, however, 
 strictly reserved, and performance by professional actors, given in ad- 
 vertised places of amusement and for profit, is forbidden. Persons 
 who may wish to produce this play publicly and professionally should 
 apply to Katharine Metcalf Roof, The Holley, 36 Washington 
 Square, New York. 
 
 Copyright, 1914, by Katharine Metcalf Roof 
 
 All rights reserved 
 
 TMP96-006718 
 ©OLD .'36103 
 
 FEB 21 1914 
 
Three Dear Friends 
 
 SCENE. — A corner of the drawing-room in Mildred's house. 
 Jt is about quarter before four and is MiL.'s day at home. 
 Mil. is inspecting the tea table. She addresses the Maid 
 who stands awaiting instructions. 
 
 Mil. I think everything is here. Be sure the water is boil- 
 ing. I'll ring when I want it. {Listens.) There is some one 
 now. 
 
 (Peggy comes exuberantly through the open door. She is a 
 pretty girl dressed in the extreme of fashion, rather rest- 
 less and over-animated and extremely well pleased with 
 herself. ) 
 
 Peg. My dear ! (She embraces Mil. effusively.) 
 Mil. (Jo Maid). Bring the hot water now. 
 
 (Maid goes out with silver kettle.) 
 
 Peg. I came early so I would be sure to find you alone. I 
 hope nobody will come. 
 
 Mil. You have something to tell me ? 
 
 Peg. Rather ! 
 
 Mil. Another man ? 
 
 Peg. How did you guess ? It is so satisfactory to tell you 
 things, Milly. You always understand. 
 
 Mil. I've just had a telephone from Eva. She has some- 
 thing to tell me, too. 
 
 Peg. Is she coming this afternoon ? (Mil. nods.) How 
 tiresome of her ! How can you stand that dismal limp crea- 
 ture, Milly? 
 
 Mil. {laughing). Poor Eva ! I thought you used to be 
 such friends ? 
 
 Peg. I got tired of hearing her talk about herself all the 
 time. Then she is always butting into my conversations with 
 
 3 
 
4 THREE DEAR FRIENDS 
 
 Arthur. If you could see how bored he looks ! I suppose one 
 oughtn't to blame her. The poor little thing is simply dotty 
 about him. 
 
 Mil. Arthur ? 
 
 Peg. Arthur Chisholm. That's what I came to talk about. 
 
 Maid enters with the silver kettle which she sets in place 
 over the alcohol lamp. 
 
 Maid. Anything else, miss ? 
 
 Mil. Nothing, thank you. [^Exit Maid. 
 
 Peg. The situation is really getting serious 
 
 Mil. You are speaking of Arthur — Chisholm? 
 
 Peg. {twddifig). Yes. Milly ! what did he say when you 
 asked him what he thought about me? {As Mil. does not 
 answer at once.) You did ask him, didn't you? You prom- 
 ised you would. 
 
 Mil. Yes, I — spoke of you. 
 
 Peg. {jumping excitedly in her chair). Milly / What did 
 he say ? 
 
 Mil. He said you were very vivacious. 
 
 Peg. Vivacious ! That means that one is attractive and er 
 — a — clever, I suppose. I don't know that 1 care about hav- 
 ing men think I am clever. 
 
 Mil. He spoke of how pretty you are. But you are used 
 to having men say that. 
 
 Peg. I see. He didn't take you into confidence. So /am 
 going to because my conscience is really beginning to trouble 
 me. Dicky Warner says 1 am perfectly unfeeling and heart- 
 less. I am afraid I have been rather, but I've made up my 
 mind not to trifle with Arthur Chisholm's affections. There is 
 something so sort of deep and serious about him. It makes 
 you feel as if he wouldn't get over a thing easily. Of course I 
 don't believe in broken hearts and lifelong loves and that sort 
 of thing but when a man looks at you with that look in his 
 eyes 
 
 {Pauses dreamily helping herself to salted almonds.) 
 
 Mil. {busy with the alcohol lamp). Some particular kind of 
 look? 
 
 Peg. Yes, a sort of deep wistful adoring look. And when 
 he said to me 
 
 Mil. {a little hastily). Are you sure you want to tell me 
 what he says to you 
 
THREE DEAR FRIENDS 5 
 
 Peg. (^staring). Why not ? Don't I tell you everything ? 
 
 Mil. {with whimsical humor). A great deal ! But per- 
 haps 
 
 Peg. When he said to me with that deep look — " Did 
 you really remember my chance words about the apple blos- 
 soms, Miss Peggy? But how delightful of you!" it meant 
 more than if another man had said 
 
 Mil. Apple blossoms ? You — sent him some flowers ? 
 
 Peg. {pouting). I sent him some apple blossoms, if you call 
 that sending flowers. Of course one doesn't send a man violets. 
 They came from the country. At least the florist said they did. 
 Besides he is a writer. 
 
 Mil. On economics. 
 
 Peg. Well, whatever it is. I suppose all writers have 
 temperament, favorite flowers and all that sort of thing. And 
 he sent me the most wonderful note. I believe I have it in my 
 bag. {Rummages in her bag.) Here it is. 
 
 {Takes note out of her bag.') 
 
 Mil. Won't you have some tea ? It's just right now. 
 
 Peg. {handing her the note with a giggle). Read it. 
 
 Mil. When I've poured your tea. 
 
 Peg. I'll read it to you. It isn't just what he says. A man 
 who didn't mean anything would say a lot more. But from one 
 of his reserved nature 
 
 Mil. {handing her a cup). Here is your tea. 
 
 Peg. {taking it, setting it down and reading). " I am over- 
 whelmed by your kindness. You hare brought the Spring into 
 
 my dingy room " / have " brought the Spring." You 
 
 see. {Giggles.) He puts it so that it sort of suggests that / 
 am the Spring. Then he signs it, " Faithfully yours." Oh, 
 of course I know that is just a form with some people. But I 
 think he is the kind of man who couldn't write it unless he 
 
 meant some sort of chivalrous fealty You understand. 
 
 No, I don't suppose you do exactly, you are such a quiet little 
 mouse, and you never see much of men. I don't mean that 
 they don't like you, of course. They always say nice things 
 about you — quiet, respectful sort of things. But you never say 
 much about them. Then although he has never actually used 
 the word love there is something in the way he says, "My dear 
 child," that makes you feel 
 
 Mil. {interrupting). I thought you just told me that you 
 were absolutely unfeeling about men ? 
 
6 THREE DEAR FRIENDS 
 
 Peg. I am. That is, I always have been. {Helps herself 
 to chocolates.') But there is something about Arthur Chisholm 
 that makes me feel as if I could keep on caring about him. 
 
 Mil. (Jiastily). You wouldn't, I am sure you wouldn't. 
 
 Peg. {taking another chocolate creani). I would, Milly, I 
 am sure I would ! Course he hasn't actually proposed yet be- 
 cause when I see that look coming into his eyes — I have 
 learned to know what that look in a man's face means — I 
 simply change the subject. I am really sort of afraid to lead 
 him on. Why, if I refused him he might do something 
 desperate — commit suicide or go to Patagonia or something like 
 that. I once knew a man who was crossed in love who went to 
 New Guinea or some such place. 
 
 Mil. Chili, perhaps. 
 
 Peg. Then sometimes when I am talking he jumps up sud- 
 denly and leaves me as if he couldn't trust himself with me a 
 moment longer. Perhaps I ought not to encourage him. 
 {Keeps on absently eating things from the table.') What do 
 you think ? 
 
 Mil. That is rather a difficult question for any one else to 
 answer, Peggy, especially for me because 
 
 Peg. (ifitermpting). I know, you have had so little experi- 
 ence with men. But still you know »/<? pretty well. Dear me! 
 There is that stupid Eva coming up the steps. Now our talk is 
 all spoiled. 
 
 Mil. Don't go. / have something to tell you both 
 
 Peg. {rising and interrupting her). Thanks, dear, but I 
 simply can't stand Eva. I'll come back another time. You 
 
 haven't really given me any advice yet (Maid opens the 
 
 door ushering in Eva, a very thin, solem?t looking girl with 
 large eyes. She is dressed in black and wears a single long- 
 stemmed red rose. She greets Mil. and turns to Peg, Peg., 
 effusively.) Eva ! How tiresome of you to come just as I have 
 to go. 
 
 Eva {unsmilingly). So you were an even earlier bird. 
 
 Peg. Yes, but I am not taking away the dear little worm. 
 
 Mil. {with a smile). Suppose just once the dear little worm 
 should turn {Both girls stare at her gravely.) 
 
 Eva {solemnly, after a mofnent). Oh, it is a joke. 
 
 Peg. {gaily). 1 knew / had never done anything to make 
 Milly turn against me. 
 
 Eva {seating herself as Peg. takes leave). I certainly 
 haven't. Mildred is my best friend. 
 
THREE DEAR FRIENDS 7 
 
 Mil. What would be your definition of a best friend ? Can 
 I give you some tea ? 
 
 Eva. Thanks, dear. Oh, why, one's best friend is some 
 one who is sympathetic and takes a real heart interest in your 
 affairs. Now, Peggy wouldn't care if her best friend broke her 
 neck, so long as there was a man left in the world for her to 
 ogle. 
 
 Mil. {light ly). One would think that you were a despiser 
 of men to hear you talk, Eva. Is it one lump or two ? 
 
 Eva. Three. Oh, no, I don't despise men. But I am not 
 crazy about the whole sex like Peggy. Neither am I indif- 
 ferent like you, Mildred. I don't believe you would care if 
 you never saw one again. 
 
 Mil, Oh, I am not quite so self-sufficient as that. I make 
 one or two exceptions 
 
 Eva {not listening). In fact I came here to talk to you 
 about a man who has gradually come to be a factor in my life. 
 
 Mil. Another factor ? Do I know him ? 
 
 Eva. Yes, you know him slightly. It is the one that I call 
 the Imprisoned Soul. Sometimes I have referred to him as the 
 Dreamer. 
 
 Mil. a sort of masculine sleeping beauty ? 
 
 Eva {her eyes fixed as if on some vision). Yes, his soul is 
 asleep. 
 
 Mil. How did you discover that psychologic peculiarity ? 
 
 Eva {petulantly). You are so literal, Mildred. I mean 
 you can see that he has a deep, intense nature, but that he is 
 not yet emotionally awake. You feel that no woman has yet 
 plumbed his depths, that he has not loved. 
 
 Mil. Is he very young ? 
 
 Eva. Why, no, not especially. What has that got to do 
 with it ? And he is the kind of man that when love comes to 
 him it will be for always. 
 
 Mil. And he is in love with you ? 
 
 Eva. I believe he is, although I am not sure that he himself 
 is aware of it. 
 
 Mil. How has he shown it ? 
 
 Eva {in a low voice). In his silences. 
 
 Mil. Oh ! 
 
 Eva. Silence can say so much. 
 
 Mil. And the interesting thing is, one is never entirely sure 
 just what it says. 
 
 Eva. Eh ? Oh, yes, I dare say it would seem so to matter- 
 
8 THREE DEAR FRIENDS 
 
 of- fact natures like yours. {Takes another lump of sugar.') 
 But to one who has intuition — silence can say the things that 
 are too deep for words. 
 
 Mil. Let me fill your cup. And he has made you feel 
 some pleasant mutual understanding in these eloquent silences 
 of his ? 
 
 Eva {forgeitifig her tea). Oh, he has said things, too — 
 wonderful things ! He has told me that I have a beautiful 
 soul, that I am not like other women. 
 
 Mil. That is unusual. It is more often women who talk 
 about souls, don't you think? 
 
 Eva {annoyed). Well, I don't know that he actually used 
 the word soul. But that was what he implied. You know I 
 sent him some of my verses. One was inspired by him, but, 
 of course, I didn't tell him that. It was called " Thine Eyes." 
 It seemed perfectly natural to show them to him, he being a 
 literary man. 
 
 Mil. He is a poet ? 
 
 EvA. No, but he is a wonderful judge of poetry. He said 
 my verses were unlike any he had ever read, especially the 
 metre. He said it was unique. And I think Arthur Chisholm 
 is a perfectly frank man 
 
 Mil. {with a slight gasp). Arthur Chisholm ! 
 
 Eva. Yes, I told you you knew him. You seem surprised. 
 But of course you would never understand a reserved man like 
 Arthur, you are too quiet yourself. 
 
 Mil. Peggy was speaking about him, too. 
 
 Eva. Peggy ! I suppose she was. My dear, that girl is 
 simply crazy about him. The way she runs after him is per- 
 fectly scandalous. It isn't as if he gave her the least excuse. 
 Of course he is a fascinating man, but if one has any self- 
 respect one doesn't chase after men who are utterly indifferent 
 to one. Mildred, don't you think he has had some great 
 tragedy in his life? 
 
 Mil. I can't say that it ever occurred to me. 
 
 Eva. I suppose not, you are so matter of fact. Yet it 
 seems to me that any one looking at that sombre brow of his, 
 that bitter-sweet smile, could see that he is a man with a past ! 
 
 Mil. Dear me, I hope not ! 
 
 Eva {solemnly). I am sure of it ! 
 
 Mil. He is tremendously busy, you know, and very prac- 
 tical. 
 
 Eva {with a little scream). Practical ! That shows how 
 
THREE DEAR FRIENDS 9 
 
 little you know him. Really, your observation is very super- 
 ficial, if you will excuse my saying so. I know that he has a 
 dead heart or a buried love or something of that sort. 
 
 Mil. I thought you suggested a moment ago that his soul 
 was asleep. 
 
 Eva. Oh, well — it's one or the other. There is something 
 romantic about him. He is always getting sunk in thought ; 
 have you noticed that ? I used to wonder about him. He will 
 sit staring in front of him and not seem to hear a word one 
 says. One day I sat next to him at a musicale. Every one 
 else was talking but he never said a single word. He just sat 
 there lost in thought right through the whole song. I said to 
 him, "A penny for your thoughts" — and he looked up at me 
 like one roused from a trance and didn't answer. I said, "I 
 believe they were about a woman." Then he said (assuming 
 a melodramatic tone), "You are right; they were about a 
 woman ! " 
 
 Mil. It doesn't sound like him 
 
 Eva {hastily'). No, I dare say not — as ^^« know him. But 
 do you know — there was something about the way he said that 
 (staring in front of her), that for the first time made me feel 
 that / was the woman ! 
 
 Mil. You haven't had one of these little cakes. 
 
 {Passes the dish.) 
 
 Eva {absently helping herself). Thanks, dear. Then I 
 noticed how he seemed to seek my society. He has never 
 asked if he could call. I think he is shy about that, but at 
 receptions in the thickest crowds he always manages to find 
 me. In fact he said one time, " There is something so restful 
 about you. Miss Eva. You don't talk a man to death the way 
 some girls do." And I said to him as I just said to you, "I 
 think silence says things that words cannot express." 
 
 Mil. {busy with the teakettle). What did he say to that ? 
 
 Eva. Why, not much. That was the interesting thing. 
 He seemed agitated. He just sort of stammered, "Ah, yes, 
 quite so — I see you understand." And soon afterward he left. 
 Now don't you think when a man is like that — first seeking you 
 out, and calling you restful, then abrupt and agitated, that it 
 seems — significant ? 
 
 Mil. {in a tone noticeable for absence of emphasis or feeling 
 of any kind). Mr. Chisholm is coming in this afternoon. 
 
10 THREE DEAR FRIENDS 
 
 Eva {^excitedly). Really! I didn't know you knew him 
 well enough for that 
 
 Mil. It is my "day." 
 
 Eva {fluttered). I'll stay till he comes. I wish I hadn't 
 promised to go to the tailor's with Bessie. Oh, Milly ! ( Coax- 
 ingly.) Can't you ask us here together some time and leave 
 us alone a little while ? I never see him alone. 
 
 ( The sound of voices in the hail. Mil. rises, looking toward 
 the door.) 
 
 Mil. Some one is coming 
 
 Enter Peg. , /// a flutter of excitement. 
 
 Peg. Oh, Milly, I am all out of breath. I had gone ten 
 blocks before I found I'd lost it, then it occurred to me that I 
 had left it here 
 
 Mil. You left something ? 
 
 Peg. {excitedly). My bag — with the letter (Recalls 
 
 Eva.) There was an important letter in it. 
 
 Eva {coldly). Why didn't you telephone? 
 
 Peg. (haughtily). I wanted my bag. Sorry if I interrupted 
 you. 
 
 Eva (staring out of the window). I believe that's Arthur 
 Chisholm now ! 
 
 Peg. (shrieking). Arthur Chisholm ! I just saw him turn 
 in at the florist on the corner. 
 
 Mil. Girls, I have something to tell you. I would have 
 told you before only I couldn't seem to find the right mo- 
 ment 
 
 Eva. About Arthur Chisholm ? 
 
 Mil. Yes, about Arthur Chisholm — and me. 
 
 Both Girls. You ! 
 
 (A pause, in which they stare at Mil.) 
 
 Mil. (at last, in a quiet voice). Mr. Chisholm and I are 
 engaged. 
 
 Both Giuls (shrieking in chorus). Engaged ! 
 
 Mil. I meant to tell you before. I ought to have, but I 
 couldn't seem to get it in 
 
 (Eva stands stunned, staring ahead of her.') 
 
THREE DEAR FRIENDS II 
 
 Peg. {gathering up her things to depart, turns to address 
 
 Mil.). Arthur Chisholm engaged Xo you / 
 
 Mil. {ha// laughing'). Wretched taste on his part. 
 
 Eva {finding her voice). That man of genius engaged to 
 you / 
 
 Mil. Men of genius always choose inferior wives, you 
 know. 
 
 Peg. Excuse me. I don't wish to be de trop. 
 
 {Hurries toward the door.) 
 Eva {distractedly). I can't see him here 
 
 Peg. {protectingly to Eva, looking daggers at Mil.). Come 
 with me, dear ! 
 
 Maid {at the door announcing). Mr. Chisholm. 
 
 {Both girls rush blindly toward the door as the curtain falls.) 
 
 CURTAIN 
 
New Plays 
 
 LOST— A CHAPERON 
 
 A Comedy in Three Acts 
 By Courtney Bruerton and IV. S. Mauhby 
 
 Six male, nine female characters. Costumes modern ; scenery, an in- 
 terior and an easy exterior. Plays a full evening. An excellent comedy 
 with the true college atmosphere but with its scenes away from actual col- 
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 This is sure to be liked by the young people for whom it is intended, and 
 is strongly recommended for high-school performance. Price, 2^ cents. 
 
 CHARACTERS 
 
 George Higgins, a Tuft's A. B. . . . Ernest S. Swenson 
 
 Jack Abbott, ) luft' s sub-fresh7nen, camp- Stanley M. Brown 
 
 Fred Lawton, I ing with Higgins . . Arthur J. Anderson 
 
 Raymond Fitzhenry, a Harvard student Arthur T. Hale 
 
 Dick Norton, ) /r ? -n •. Ernest A. Larrabee 
 
 TOM Crosby. } 'ff'^'" engineers . . Ferdinand Bryham 
 Marjorie Tyndall, George's cousin: a 
 
 Smith girl Helen J. Martin 
 
 Alice Bennett, "j Dorothy F. Entwistle 
 
 Agnes Arabella Bates, I »y t „ • /. Edith H. Bradford 
 
 Ruth French, [ J'^^'^^on gins jyiarjorie L. Henry 
 
 Blanche Westcott, J Beatrice L. Davis 
 Mrs. Higgins, the chaperon. George's 
 
 mother Effie M. Ritchie 
 
 Mrs. Sparrow, a farmer' s wife. [Not in the original cast.) 
 
 Mandy, l'^^''^'^".^'^^^^^- 
 
 SYNOPSIS 
 Act I. — The Girls' Camp at Sherwood, 7 A. M. 
 Act II. — The Fellows' Camp at Sherwood, 8 A. U. 
 Act III. — Same as Act I, 10 a. m. 
 
 A BRIDE FROM HOME 
 
 A Vaudeville Sketch in One Act 
 By Willis Steell 
 Two male, two female characters. Costumes modern ; scene, an in- 
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 swiftly and is very effective. Can be strongly recommended for either 
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New Plays 
 
 THE PRIVATE TUTOR 
 
 A Farce in Three Acts 
 By E. J. Whisler 
 
 Five male, three female characters. Costumes, modern ; scenery, two 
 simple interiors. Plays two hours. A very brisk and amusing recital of 
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 Price, 25 cents 
 
 CHARACTERS 
 
 Fred Spencer, who believes that exptrience is the best teacher, 
 
 George Carothers, his chum, who also seeks experience. 
 
 Mr. Spencer, his father, who owns an oil well. 
 
 Hans Dinklederfer, his undoing, the leader of a little German 
 
 band. 
 Richard, servant at the Spencers' . 
 Mrs. Spencer, Ned's mother, who feels the responsibility of the oil 
 
 well and has social aspirations. 
 Dolly Spencer, his sister, who has a mind of her own. 
 Miss Snap, a detective. 
 
 SYNOPSIS 
 
 Act I. — Fred Spencer's rooms at Clearfield College. 
 Act II. — The Spencer home. One week after Act I. 
 Act III. — The Spencer home. Ten minutes after Act II. 
 
 MISS PARKINGTON 
 
 A Farce in One Act 
 
 By May E. Countryman 
 
 One male, three female characters. Costumes modern ; scene, an easy 
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 Price, /J cents 
 
New Plays for Female Characters 
 
 THE PURSUIT OF THE PARSON 
 A Mock Trial in One Act 
 
 By Helen Lee Brooks 
 
 Tlurteen females and jury. Costumes of the future ; scenery unimpcr 
 
 tant. Plays one hour. A clever and amusing picture of the days to comt 
 
 Vhen the ladies will run things. Originally presented in Louisville, Ky 
 
 Price, 2^ cents 
 
 CHARACTERS 
 
 Hon. Portia Blackstone, Judge, 
 
 Madame Elizabeth Kent- Coke, Prosecuting Attorney. 
 
 Madame Tomasia Erskine, Attorney for Defendant. 
 
 ** Dotty " Develin, the Defendant. 
 
 Clerk of the Court. 
 
 Sheriff. 
 Witnesses for the Commonwealth Witnesses for Defendant 
 
 Miss Mehitable Simpkins, a Dr. Eleanor Ainsworth, ex<^ 
 
 spinster of uncertain age. pert Oculist and Alienist. 
 
 Miss Nancy Ann Sims, another Mrs. Polly Posy, chum of 
 
 spinster of doubtful age. Dotty. 
 
 Prof. Elvira Jones-Johnson, Prof. Dolly Dimple, Professor 
 
 Instructor of Advanced The- of the Art of Courtship. 
 
 »logy. Forewoman of the Jury and 
 
 eleven jurors. 
 
 THE TRUTH ABOUT JANE 
 A Comedy in One Act 
 
 By Alice C. Thompson 
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 OYSTERS 
 
 A Farce in One Act 
 
 By Alice C. Thompson 
 Six females. Costumes modern; scene, an easy interior. Plays 
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 Pricct IS «^^«^* 
 
New Publications 
 
 THE HOUSE NEXT DOOR 
 
 A Comedy in Three Acts 
 
 By J. Hartley Manners 
 
 Eight males, four females. Costumes modern ; scenery, two interiors, 
 not difficult. Well suited for amateur performance. Plays a full evening. 
 This admirable play, made popular for two seasons by Mr. J. E. Dodson's 
 striking performance of its leading part, is offered for amateur performance 
 at a royalty of ten dollars. All the parts are strong and exceptionally 
 well contrasted. Of especial interest to Hebrew societies from its able and 
 sympathetic presentment of a man of their race. 
 Price, 50 cents 
 
 CHARACTERS 
 The Cotswold Family The Jacob son Family 
 
 Sir John Cotswold, baronet. Sir Isaac Jacobson, M. P. 
 
 Margaret, his wife. Rebecca, his wife. 
 
 Ulrica, his daughter. Esther, his daughter. 
 
 Cecil, his son. Adrian, his son. 
 
 ViNiNG, his servant. Maximilian, his servant. 
 
 Capt. the Hon. Clive Trevor. Walter Lewis, musical agent. 
 
 SYNOPSIS 
 ACT I 
 
 Scene. — Morning room in Sir John Cotswold's house in the 
 Cotswold Park Estate, Kensington, London. 
 
 ACT II 
 Scene. — Drawing-room in Sir Isaac Jacobson's house. Next 
 Door. The same afternoon. 
 
 ACT III 
 Scene. — Same as Act L Three days later. 
 
 MARRYING BELINDA 
 
 A Farce in One Act 
 
 By Grace Cooke Strong 
 
 Four males, four females. Costumes modern ; scenery, an easy Interior. 
 Plays thirty minutes. An easy and entertaining little play exactly suited 
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 Price, /J cents 
 
J1* m* Pinero'$ Plays 
 
 Price, 50 eetit$ EacD 
 
 Miri plf AMMpi Play in Four Acts. Six males, five females. 
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 Plays two and a half hours. 
 
 THE NOTORIOUS MRS. EBBSMITH S^tr ^Ei^Tt 
 
 males, five females. Costumes, modern; scenery, all interiors. 
 Plays a full evening. 
 
 •Flip PROFIIPATF Play in Four Acts. Seven males, five 
 1 "*-• r Ixl/rLilVJrtl El females. Scenery, three interiors, rather 
 elaborate ; costumes, modern. Plays a full evening. 
 
 THF QPHnni MIQTDPQQ Farce in Three Acts. Ninemales, 
 llli:i iJ\..nWLilTlliJ 1 IVEitJkJ seven females. Costumes, mod- 
 ern; scenery, three interiors. Plays a full evening. 
 
 THE SECOND MRS. TANQUERAY ^gt^S^.^^l^e 
 
 females. Costumes, modern; scenery, three interiors. Plays a 
 full evening. 
 
 OtirrrT f AVPISIHFR Comedyin Three Acts. Seven males, 
 OtY£iEi1 ljiW£iliLf£iIV four females. Scene, a single interior, 
 costumes, modern. Plays a full evening. 
 
 THF THTTNnFRRniT Comedy in Four Acts. Ten males, 
 iri" inUlil/EilvDVLil nine females. Scenery, three interi- 
 ors; costumes, modern. Plays a full evening. 
 
 / 
 THF TIMF^ Comedy in Four Acts. Six males, seven females. 
 iriLt lllTlCiiJ Scene. a single interior; costumes, modern. Plays 
 a full evening. • 
 
 THF WFAKTR <1FY Comedyin Three Acts. Eight males, 
 1 riEi TT £i/\IV.£<lV DCiA. eight females. Costumes, modern ; 
 scenery, two interiors. Plays a full evening. 
 
 A WIFE WITHOUT A SMILE ^rn'7ail^^u\llmi?^l: 
 
 Costumes, modern ; scene, a single interior. Plays a full evening. 
 
 Sent prepaid on receipt of price by 
 
 Wsilttv ^. pafeer & Companj» 
 
 No. 5 Hamilton Place, Boston, Massachusetts 
 
LIBRARY OF CONGRESS 
 
 016 103 913 5 
 
 A TT AALrlilllU lour males, six females. Scenery, not diffi- 
 cult, chififly interiors ; costumes, modern. Plays a full evening. 
 Price, 50 Cents. 
 
 THE FRUITS OF ENLIGHTENMENT '^Tj.'.%^^Jri.fZ- 
 
 one males, eleven females. Scenery, c? "^jacteristic interiors ; cos- 
 tumes, modern. Plays a full eveni'g. ..lecommended for reading 
 clubs. Price, 35 Ceuts. 
 
 BIS EXCELLENCY THE GOVERN(lR^^TiHlHxtr%e^ 
 
 males, three females. Costumes, modern ; scenery, one interior. 
 Acting rights reserved. Time, a full evening. Price, 50 Cents. 
 
 MIDFAT HIISRAMl ("omedy in Four Acts. By Oscar "Wilde. 
 IVLiAly UUJUill^l/ Nine males, six females. Costumes, mod- 
 ern ; scenery, three interiors. Plays a full evening. Acting rights 
 reserved. Sold for reading. Price, 50 Cents. 
 
 THE IMPORTANCE OF BEING EARNEST Hit i^° l^^n 
 
 Wilde. Five males, four females. Costumes, modern ; scenes, two 
 interiors and an exterior. Plays a full evening. Acting rights re- 
 served. Price, 50 Cents. 
 
 LADY WINDERMERE'S FAN '^^'"'i^^.:^!^^^ 
 
 males. Costumes, modern ; scenery, three interiors. Plays a full 
 evening. Acting rights reserved. Price, 50 Cents. 
 
 NATHAN HAI F Play '"Four Act. s. By Clyde Fitch. Fifteen 
 uAlUAli UnuLi males, four females. Costumes of the eighteenth 
 century in America. Scenery, four interior's and two exteriors. Act- 
 ing rights reserved. Plays a full evening. Price, 50 Cents. 
 
 THF ATHFR FFIIOW Comedy in Three Acts. ByM. B. Horne. 
 lULi UIUL.a IVLiLiVV gix males, four females.' Scenery, two 
 interiors ; costumes, modern. Professional stage rights reserved. 
 Plays a full evening. Price, 50 Cents. 
 
 THF TVDANKY ftF TFAD'5 Comedy in Four Act?. By C. H. 
 lUli IlllAillll Vr lLAn>3 Chambers. Four males, three fe- 
 males. Scenery, an interior and an exterior; costumes, modern. 
 Acting rights reserved. Plays a full evening. Price, 50 Cents. 
 
 A WOMAN OF NO. IMPORTANCE ^^^J^^^tlTk^l^^, 
 
 seven females. Costumes, modern ; scenery, three interiors and an 
 exterior. Plays a full evening. Stage rights reserved. Offered for 
 reading only. Price, 50 Cents. 
 
 Sent prepaid on receipt of price by 
 
 5^alter !^» l3after d Company 
 
 No. 5 Hamilton Place, Boston, Massachusetts 
 
 • . ' OARKHILL & CO., PRINTERS, BOSTON.