Class L-^D.3j5^5 Book .11-45^3 1914 Author Title Imprint PRICE 15 CENTS fT=rL The Typewriter Lady THE P BUSHING COMPANY Successful Rural Plays A Strong List From Which to Select Your Next Play FARM FOLKS. A Rural Play in Four Acts, by Arthur Lewis Tubes. For five male and six female characters. Time of playing, two hours and a half. One simple exterior, two easy interior scenes. Costumes, modern. Flora Goodwin, a farmer's daughter, is engaged to Philip Burleigh, a young New Yorker. Philip's mother wants him to marry a society woman, and by falsehoods makes Flora believe Philip does not love her. Dave Weston, who wants Flora himself, helps the deception by intercepting a letter from Philip to Flora. She agrees to marry Dave, but on the eve of their marriage Dave confesses, Philip learns the truth, and he and Flora are reunited. It is a simple plot, but full of speeches and situations that sway an audience alternately to tears and to laughter. Price, 25 cents. HOMF TIES. A Rural Play in Four Acts, by Arthur Lewis Tubes. Characters, four male, five female. Plays two hours and a half. Scene, a simple interior^ — same for all four acts. Costumes, modern. One of the strongest plays Mr. Tubbs has written. Martin Winn's wife left him when his daughter Ruth was a baby. Harold Vincent, the nephew and adopted son of the man who has wronged Martin, makes love to Ruth Winn. She is also loved by Len Everett, a prosperous young farmer. When Martin discovers who Harold is, he orders him to leave Ruth. Harold, who does not love sincerely, yields. Ruth dis- covers she loves Len, but thinks she has lost him also. Then he comes back, and Ruth finds her happiness. Price 25 cents. THE OLD NEW HAMPSHIRE HOME. A New England Drama in Three Acts, by Frank Dumont. For seven males and four females. Time, two hours and a half. Costumes, modern. A play with a strong heart interest and pathos, yet rich in humor. Easy to act and very effective. A rural drama of the "Old Homstead" and "Way Down East" type. Two ex- terior scenes, one interior, all easy to set. Full of strong sit- uations and delightfully humorous passages. The kind of a play everybody understands and likes. Price, 25 cents. THE OLD DAIRY HOMESTEAD. A Rural Comedy in Three Acts, by Frank Dumont. For five males and four females. Time, two hours. Rural costumes. Scenes rural ex- terior and interior. An adventurer obtains a large sum of money from a farm house through the intimidation of the farmer's niece, whose husband he claims to be. Her escapes from the wiles of the villain and his female accomplice are both starting and novel. Price, 15 cents. A WHITE MOUNTAIN BOY. A Strong Melodrama in Five Acts, by Charles Townsend. For seven males and four females, and three supers. Time, two hours and twenty minutes. One exterior, three interiors. Costumes easy. The hero, a country lad, twice saves the life of a banker's daughter, which results in their betrothal. A scoundrelly clerk has the banker in his power, but the White Mountain boy finds a way to check- mate his schemes, saves the banker, and wins the girl. Price 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA The Typewriter Lady A Farce Comedy in One Act By EDWARD MUMFORD Author of '■'•Waiting for the Trolley^'' '"''Bargain Day at Bloomstein^s^^ etc. PHILADELPHIA THE PENN PUBLISHING COMPANY 1914 ? Copyright 1914 by The Penn Publishing Company M\ 1; ICI.D 8 7055 The Typewriter Lady CHARACTERS Julius Juniper . . . who thinks he needs help Pkiscilla Pound . . . . who is going to leave Carrie Cowley . . . .a timid young person Georgiana Going sure of a place Belle Beaumont . who feels that blondes are irresistible Sammy Slow a valiant office boy The Expressman .... who gets in ivrong Playing Time. — About forty-five minutes ARGUMENT Mr. Julius Juniper has been so indiscreet as to squeeze the hand of his pretty stenographer, Prissy Pound. Al- though Julius apologizes, and Sammy, the office boy, begs her to stay, Prissy insists on leaving. Carrie Cowley ap- plies, but is very timid, and Sammy scares her off. Geor- giana Going, who has worked for Julius before, comes pre- pared to go to work at once. Prissy has to come to the rescue of Julius and dismisses Georgiana. Before she goes, however, Georgiana tells Prissy that Julius has a girl's picture in his desk. Prissy, though she won't admit it to herself, is jealous. Julius engages Belle Beaumont as stenographer, but she is too good-looking to suit Prissy, who is evidently weakening. Then an expressman is rude to Prissy. Sammy defends her valiantly. The expressman attacks Sammy, and Julius throws the bully out of the office. Prissy is hysterical, and Julius comforts her. Prissy learns that the picture in his desk is her own, and she accepts a new position as Julius' " partner and wife." COSTUMES, ETC. Julius. About thirty. Business suit. Winter overcoat and hat during part of the action. Prissy. About twenty-one. Neat dark dress, suitable for office work, and a dainty apron. Carrie. About eighteen. Winter street costume, very quiet. Everything she does emphasizes her timidity and "greenness." Georgiana. About twenty-two. Winter street cos- tume, with striking and clashing color combinations. A very self-confident young person. Belle. About twenty-five. Blonde. Quite pretty, and knows it. She never forgets that she has a complexion to be cared for — and admired. Sammy. About fourteen. Knee breeches or long trousers, as preferred. Wears apron, reaching from shoulder to ankle. Hands very dirty at first entrance, but face almost clean until later in the play. Expressman. About thirty. A heavy loutish chap, in uniform cap and jumper, with dark trousers. PROPERTIES Prissy. Papers and envelopes. Handkerchief. Type- writer. A pair of man's gloves, without buttons. A large envelope, sealed. Pencil and note-book. Julius. Watch. Note. Georgiana. The drawer of a desk, partly filled with papers. Dust-cloth. Sealed envelope containing a "snap- shot " picture of a girl. Belle. Small mirror and a "vanity-box," containing powder puff, etc., carried in hand-bag. Note in en- velope. Handkerchief. Muff. Sammy. A large tin cup, with a long-handled and dirty brush protruding from it, and black " marking-ink " slopping down the sides. Other Properties. Office furnishings, consisting of two typewriter desks and typewriters, and a table holding some books and letter-files. A large wooden box, off stage, arranged to fall with loud noise. SCENE PLOT INTERIOR BACtSING O RACK FOK HATS, ^^ ETC.. ' DOOR TO SHIPPING BOOM i^ DOOR. TO HALL. \ DOOR TO PRIVATE OFFICE SCENE.— Office of Julius Juniper. Entrances c, r., and L., as shown. Hooks for clothes up r. c. Desk and type- writer down R. Desk and typewriter down l. Table, with books and letter-files, l. Chairs and other office furnish- ings as desired. The Typewriter Lady SCENE. — The office sy goes back to her desk, i..) Say, is that your desk ? Prissy {working). Yes. Georgiana. Well, d'ye mind letting me have it? I always had that one. I'll help you change your things over right now. Prissy. You'd better wait till I leave, to-morrow night. Georgiana. Oh, you're leavin' ? Well, I can see you ain't Juniper's style at all. He likes a real hustler every time. Ain't been here long, have you? Prissy. Three years. (Sammy appears r.) Georgiana. You don't say ! {Looks aroimd.) My, how things have run down here. I always said Juniper had no system at all. Now that table ought to be on the other side. We always had it there. Prissy. Mr. Juniper likes it on this side. Georgiana. Say, girlie, don't I know what Juniper likes. Bul-lieve me, I knovv that man like a book. {Sees Sammy.) Oh, boy, come help me with this table. Sammy {emphatically.) Nothin' doin', kiddo. Georgiana. Well, I like your nerve. Well, I can manage it, I guess. {She begins to lift books and files from table, carrying them r.) {Enter Julius, c. and comes dow7i.) Julius. Well, Miss Pound, what's going on here ? l6 THE TYPEWRITER LADY Prissy {coldly). Why, this young lady says Georgiana. Oh, how d'ye do, Mr. Juniper? My, but you look natural. A little stouter, though, ain't you? (^Holds out hand, but Julius ignores it. ) . Say, you ain't forgotten me a'ready, have you? Julius. Why, your name is familiar, but I can't remem- ber your face. Georgiana {slapping him playfully on the artfi). Oh, go along; that's an old one. 1 was just sayin' you're tlie prize kidder. It's Georgy — Georgy Going. Ain't you glad to see me or anything ? Julius. Oh, yes, of course. Quite a time since I saw you. Georgiana. Say, I just left the lumber company last night. Julius. You're a friend of Miss Pound's, eh ? ' Georgiana. Say, quit your kiddin' ! I'm here to take the job. Julius {nervously retreating up l.). Well, Miss Pound will talk to you. Er — excuse me. {Hastily bolts through door, L. ) Georgiana. Now, ain't that just like a man? Say, I don't believe he knows me yet. I'm goin' in to tell him. {Exit, L.) Sammy {coming down). Say, Miss Prissy {motionifigi..'), is she comin' here to work? Prissy. Oh, I don't know, Sammy. Sammy. Well, I can tell you one thing; she won't last long. Prissy. Now, Sam ! Sammy. Say, leave it to me, that's all. {Hoarse wh's- per.) Machine out of order every day? Oh, no, I guess not ! Prissy. Sara ! {Severely.) Sammy. Ssh ! Not a word. Ink upset on her papers ? Oh, no; never. {Winks.) Prissy. Sam ! You wouldn't. Sammy. Who, me? What you talkin' about? I can't help it if her chair gets weak an' lets her down, can I ? Prissy. Sam, if you play any tricks I'll tell Mr. Juniper. Sammy. Huh! You won't be here. THE TYPEWRITER LADY 1 7 Prissy {weakly). That's so. Well, you mustn't, any- way. Sammy (coming close). Say, Miss Prissy, you stay, won't you ? Honest, it won't seem the same here if you go. He'll miss you terrible. (Julius hastily enters L.) Prissy. Oh, no he won't. He'll have Georgiana. Julius. What's that about Georgiana? Say, Miss Pound, what shall I do with that girl ? Prissy. She seems like a rapid worker. Julius. Rapid? She's a whirlwind — an avalanche. She'll soon own the place again. When she left four years ago I felt like hiring a band to celebrate. And now she's back ! Prissy. Well, send her away. Julius. Huh! You don't, know Georgy. What do you suppose she's doing in there ? (^Motions L.) Prissy. I can't imagine. Julius. Cleaning up my desk. Pulling things out of the drawers — everything ! Sammy. Say, Mr. Juniper, the feller in the next office gimme two mice this morning. What d'ye say I slip 'em in one of the desk drawers — eh ? Julius. Sam, get back to work. Sammy. Yes, sir. (Goes out, r.) Julius. Look here, Prissy, you must Prissy {indignant). Sir ! Julius. Oh, I beg your pardon. That confounded girl has upset me so. And I usually think of you as Prissy, you know. Prissy. Mr. Juniper, you forget yourself. Julius. Oh, I apologize — I apologize. Only it's so, you know. Please get me out of this scrape. There's a good girl. Prissy. You don't deserve it. Julius. I know, I know. But fire Georgy and you can lecture me as much as you like, later. Just think what she's doing to my desk. Prissy. In a week she'll upset the whole office. Julius. In a month she'll ruin the business. Prissy (relenting). Well, for the sake of the busi- ness 10 THE TYPEWRITER LADY Julius. Say, you're a brick, Prissy. Oh, excuse me — excuse me — Miss Pound. I'll send her out to you. {Rushes out L.) {^Ettter Georgiana ' l. She has the dratver of a desk, partly filled with papers, which she is wiping with a cloth.') Georgiana. Well, it's easy to see that man needs some one to look after him. Talk about dust ! Did you want to see me ? Prissy. Yes. Miss Going, there's no place here for you. Georgiana (astonished'). What ! (Julius enters softly l. and tiptoes across to door R., and exit.) Prissy. You've made a mistake. Mr. Juniper doesn't need you. Georgiana. Don't need Say, did he tell you to tell me that ? {Puts desk drawer on table, L.) Prissy. Yes. Georgiana. Well, I want you to understand that no- body can fire me but the boss — see ! The idea. I'll find out about this. {Goes up l.) Prissy. It's no use. He's not in his office. Georgiana {incredulous). Huh ! {Opens door, l.) Well, what do you know about that ? I'll tell Juniper what I think of him, bul-lieve me ! Prissy. Really, you'd better not wait. Georgiana {comijig dotvn a?id looking at Prissy curiously). Say, girlie, I guess you have got some back- bone, haven't you ? Prissy. Maybe. There's your hat. (Georgiana gets hat.) Georgiana, Look here. You're not going to leave, are you ? {She puts on hat and coat.) Prissy. Yes. Georgiana. Well, I don't wonder. How did you stand him for three years? Prissy. Mr. Juniper — has been very kind. THE TYPEWRITER LADY I9 Georgiana. Huh ! No more manners than a goat. Say, who's he sweet on ? Prissy. How should I know ? Georgiana. Listen to that ! {Laughs.) My, I'll bet if I was here I'd know her name in half a day. He's got her picture in the drawer there. iPoirds to drawer on table, l.) Prissy {surprised'). How do you know? Georgiana. Saw it. Here it is. {Takes envelope from drawer.) It's sealed, but if you hold it up to the light {holding it up) you can see it's a girl. Let's open it. {About to do so.) VvassY {snatching envelope). No! Aren't you ashamed ? Georgiana {lightly). Oh, my, you needn't get so peeved. Well, give it to Juniper with my compliments, an' tell him any girl who gets him is welcome to him. So long, girlie. {Holds out her hand.) ^RiszY {taking hafid stiffiy). Good-bye. I hope you find a good place. Georgiana. Place ! Don't fool yourself. I'm goin' to be right here. Tell him I'll be back. He needs some one to look after him. {Shakes fist at door, l.) My, how I hate that man. But I can manage him. Don't you worry about little Georgy. Ta, ta, girlie ! {Laughs, and exit c.) (Prissy stands down c, pressing the envelope to her breast. Finally she looks cautiously around, atid holds it up to the light. Evidently she can see little of the picture in this way. She stands a moment, fighting the temptation to open the envelope. Then, yielding, she puts a finger under the flap. Julius enters R. and Prissy hastily slips the envelope into her dress. Enter Sammy, r.) Julius {joyfully). Well, is she gone ? Is she gone ? {Comes down.) Prissy, Yes, sir. Julius. Hurray ! hurray ! {Dances around like a 20 THE TYPEWRITER LADY boy. Sammy, up c, silently itnitates him. Julius turns and sees Sammy.) Sam ! What are you doing? Sammy [frighlened^. N-nothin', sir, Julius. Well, stop it and get back to work, Sammy, Yes, sir, I'm goin'. {Exit, R.) Julius {to Prissy). Well, you're a wonder. What did she say ? Prissy. She's coming back to see you. Julius. Not if 1 see her first. What's this ? {Sees the desk drawer. '), Did she bring it out here? Prissy. Yes, sir. Julius. Well, that girl has the nerve of a coal baron. (Ficiis up drawer.) if she comes back I'm out — o-u-t — out. Prissy {sitting at desk). Yes, sir. {Exit Julius, l.) (Prissy draws out envelope^ and is about to open it when Belle Beaumont enters c. Prissy shoves the envelope under papers on her desk.) Belle. Good-morning, Prissy. Good-morning. Belle. Is — ah — Mr. Juniper in ? Prissy, Yes. {Rises.) Who shall I tell him Belle {sinking into chair, r., gracefully). Please say that Miss Beaumont is here. {Draws mirror and ^^ vanity box ''^ from her hand-hag or 7fmff, atid arranges veil, hair, etc.) Prissy. Did you say Beaumont ? Belle. Yes. (Prissy goes up l.) Ah, one moment. (Prissy returns.) I forgot. Please hand him this note. (Prissy takes note, and glances at her desk and back to Belle, who is prinking. Exit Prissy, l. /« a moment she retur?is and comes damn to her desk.) Prissy. He'll be here in a minute. {Works savagely.) Belle {drawling). Oh, tha-anks. Is my hat on straight ? Prissy {without looking up). Yes. THE TYPEWRITER LADY 21 Belle. Tha-anks. Do you consider Mr. Juniper nice- looking ? Pkissy. Yes — no. Belle (^pattmg hair). My, I'm sorry. I like to work for nice-looking men, don't you ? Prissy (^j'lji' on her work). Humph! Handsome is as handsome does. Belle. Ah, of course. But if they are good-looking too. The last gentleman I worked for was a dream. Honest. That man had the loveliest eyes. And the cutest little dimple in his chin. He got married, though. Is Mr, Juniper married ? Prissy {shortly). No ! Belle. Honest ? {Looks at herself in mirror, and puts powder on nose.) I guess I'll like this place. Prissy. So you're a stenographer. Belle. Oh, yes, I don't expect to die in the job, though. Prissy. Indeed. (^Keeps on working.) Belle {complacently). Oh, no. I expect to get mar- ried. Don't you? Prissy. No. Belle. Oh, don't give up hope. You're not so bad- looking, really. Prissy {scorfifully). Thanks. Belle. Of course, the men like blondes best. {^Uses mirror.) Now, I do hope Mr. Juniper is (^Enter Julius, l., with note in his hand.) Julius. Miss Beaumont ? Belle {risifig, and giving hand with society air). Oh, Mr. Juniper. So pleased to meet you. Julius. Er — thanks. {He is evidently impressed with Belle's good looks.) I see you have been with my old friend Mr. Tompkins. Belle. Yes. Isn't he a grand man ? And so hand- some. Julius {^glancing at note). He seems to think you are a pretty good stenographer. Belle. Oh, I've had experience. (^Sits, and drops her muff. Julius gallantly restores it with a bow.) Oh, thank you so much, Mr. Juniper. 22 THE TYPEWRITER LADY (Belle smiles sweetly at Julius, and Prissy glares at Belle.) Julius. If you could handle Tompkins' work you could probably do mine. {Looks at note.') I suppose you'll come for the salary he says he paid you ? (Prissy annoyed.') Belle. Oh, yes. Julius (with a glance at Prissy). Well — (^pausing) well, we're going to have a vacancy here, I'm sorry to say. Can you come on Monday ? Belle. Oh, yes. {Beams on hwi.) I think I'll like it here, Mr, Juniper. Julius. I'm sure you will, Monday at nine, then. Belle {rising and dropping handkerchief). Very well — Monday at nine, {Goes up c. Neither Belle nor Julius sees the hand- kerchief.) Julius {opening door, c, galla?ttly). Allow me. Belle. Oh, thank you, Mr. Juniper. {Impressively.) Good-bye. Julius. Good-bye, Miss Beaumont. {Exit Belle, c. Julius remains tip c.) Well, quite a looker, isn't she? Prissy. Oh, 1 don't know. Julius {looking at note). Tompkins says she's the most competent girl he ever had. (Prissy rises and carries papers up r.) Prissy. Oh, she's competent. She's right on the job. Julius. But you don't like her? Prissy {at door r.). I think she's a horrid, bold, artful, designing minx. And I think you're as blind as a bat. That's what I think. There ! {Exit, R.) Julius {staring after her). Well — I'll be darned ! {Exit, L.) (Prissy, after a moment, appears r., looks to make sure he is gone, and comes down c.) THE TYPEWRITER LADY 23 Prissy {bursting with indiguatioii). Oh, oh ! {She sees Belle's handkerchief on the floor, grabs it up, carries it tip C. and throws it out the door. The Ex- pressman is just entering, and it strikes hifn in tlie face.^ Expressman {roughly). Hey — what' re you about ? Prissy {aghast). Oh, I beg your pardon. Expressman. Well, why don't you look what you're doin' ? You threw that rag right in my face. Got them packages ready ? {Comes down.) Prissy. I don't know. I'll see. {Calls.) Sammy! Sammy {entering^.). Yes'm. Prissy. Those packages ready? Sammy. Er — no, ma'am ; not quite. Expressman [loudly). Not quite ! I ain't got time to loaf around here all day. {To Prissy.) Didn't you tell me to call at ten ? Prissy. I thought they would be ready by now. Can't you come a little later ? Expressman. No, I can't. You girls seem to think we have nothin' to do but ride in the elevators. Sammy {coming down and facing Expressman). Say, you big hunk of wind, don't you know how to treat a lady ? (Julius appears tip l.) Expressman {grabbing Sammy's arm and twisting it). You fresh little guy. Pll talk to her the way I like, see? Prissy. Let that boy alone. Expressman {ptishing her rotighly). Don't you butt in. (Julius takes the Expressman by the collar atid jerks him back, throwing him on the floor.) Julius. That will be about enough from you. Expressman {rising). I won't let any fresh kid Julius. Not another word. Get out of here. Expressman {yelling). I want you to understand Julius. I want you to understand nobody can insult a lady in my office. Open the door, Sam. (Sammy runs up and opens door, c. Julius grabs the Ex- pressman, htistles him tip c. and throws him otit the door. Sammy dances delightedly ifi the doorway.) 24 THE TYPEWRITER LADY Sammy. I guess that'll hold you for a while, you fat slob ! (^Exit, c.) (Prissy stands leaning agaitist desk, L. , sobbing hysterically. Julius comes down and puts his left arm around her.') Julius. There, there, little girl. Cheer up. It's all over. Prissy. Oh, I know. I — I can't help it. Julius. Don't cry. He's gone. Prissy {siiddetily realizing where she is'). Oh, let me go. (^Pushes him away.) Julius. Miss Pound — Prissy. Prissy (wiping her eyes). Oh, you were splendid, Mr. Juniper. That man frightened me so. Julius. It'll cost him his job. No man can insult you when I'm around, Prissy. (She looks up at him sudde?ily, and they both laugh.) Except me, Prissy. And I'll never do it again. Look here (He steps toward her.) Prissv (holding him off). Mr. Juniper ! Julius (taking her hand). Prissy, you can't leave me. I need you. Prissy. That blonde girl's coming Monday. Julius. Blondy be hanged. I know what I want at last. I need a partner. Prissy. Mr. Juniper ! Julius. I love you. There, it's out. I want you for a partner — and a wife. Now, Prissy, will you stay ? Prissy. Why — why, Mr. Juniper ! Julius (correcting her). Julius. Prissy (shyly, looking up at him). Julius, {Enter Sammy, c.) Julius. Come here. (He takes Prissy in his arms.) Will you forgive me for being so stupid ? Prissy (suddenly springing away). But what about that girl in your desk ? Julius [puzzled). In my desk ! Prissy. Yes — the picture. Here. (Picks up the envelope and hands it to him.) Julius. What on earth ? {Laughs.) Did Georgy find that ? THE TYPEWRITER LADY 25 Prissy. Yes. Julius {tearing envelope open'). Look ! {Hands her picture.) Prissy. My picture ! Then you loved me all the time. Julius. Yes. But I never knew it till I thought 1 was going to lose you. {Holds out ar?ns.') Prissy. Oh, Julius, you certainly need some one to look after you. Julius. Then you'll stay ? Prissy. Yes. {Goes to him.) Sammy. Hurray ! (Prissy ««^ Julius spring apart.) Julius. Sara, come here. (Sammy comes down, rather frightened.) Let me present you to Mrs. Juniper. (Sammy wipes his hand on his trousers and offers it to Prissy, grinning.) Sammy. Pleased to meet you. Say, them others was no good. Miss Prissy. Julius. And now you run around to the business col- lege and tell them they needn't send a stenographer. I'n: suited. {Takes Prissy' s hand.) Sammy, r. Julius, c. Prissy, l. curtain Unusually Good Entertainments Read One or More of These Before Deciding on Your Next Program GRADUATION DAY AT WOOD HILL SCHOOL. An Entertainment in Two Acts, by Ward Macauley. For six males and four females, with several minor parts. Time of playing, two hours. Modern costumes. Simple interior scenes ; may be presented in a hail without scenery. The unusual com- bination of a real "entertainment," including music, recitations, etc., with an interesting love story. The graduation exercises include short speeches, recitations, songs, funny interruptions, and a comical speech by a country school trustee. Price, 15 cents. EXAMINATION DAY AT WOOD HILL SCHOOL. An Entertainment in One Act, by Ward Macauley. Eight male and six female characters, with minor parts. Plays one hour. Scene, an easy interior, or may be given without scenery. Cos- tumes, modern. Miss Marks, the teacher, refuses to marry a trustee, who threatens to discharge her. The examination in- cludes recitations and songs, and brings out many funny answers to questions. At the close Robert Coleman, an old lover, claims the teacher. Very easy and very effective. Price, 15 cents. BACK TO THE COUNTRY STORE. A Rural Enter- tainment in Three Acts, by Ward Macauley. For four male and five female characters, with some supers. Time, two hours. Two scenes, both easy interiors. Can be played effectively with- out scenery. Costumes, modern. All the principal parts are sure hits. Quigley Higginbotham, known as "Quig," a clerk in a country store, aspires to be a great author or singer and decides to try his fortunes in New York. The last scene is in Quig's home. He returns a failure but is offered a partnership in the country store. He pops the question in the midst of a surprise party given in his honor. Easy to do and very funny. Price, 15 cents. THE DISTRICT CONVENTION, A Farcical Sketch in One Act, by Frank Dumont. For eleven males and one female, or twelve males. Any number of' other parts or super- numeraries may be added. Plays forty-five minutes. No special scenery is required, and the costumes and properties are all easy. The play shows an uproarious political nominating con- vention. The climax comes when a woman's rights cham- pion, captures the convention. There is a great chance to bur- lesque modern politics and to work in local gags. Every part will make a hit. Price, IS cents. SI SLOCUM'S COUNTRY STOKE. An Entertainment in One Act, by Frank Dumont. Eleven male and five female characters with supernumeraries. Several parts may be doubled. Plays one hour. Interior scene, or may be played without set scenery. Costumes, modern. The rehearsal for an entertain- ment in the village church gives plenty of opportunity for specialty work. A very jolly entertainment of the sort adapted to almost any place or occasion. Price, 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA Unusually Good Entertainments Read One or More of These Before Deciding on Your Next Program A SURPBISE PARTY AT BRINKLEY'S. An En- tertainment in One Scene, by Ward Macauley. Seven male and seven female characters. Interior scene, or may be given with- out scenery. Costumes, modern. Time, one hour. By the author of the popular successes, "Graduation Day at Wood Hill School," "Back to the Country Store," etc. The villagers have planned a birthday surprise party for Mary Brinkley, recently graduated from college. They all join in jolly games, songs, conundrums, etc., and Mary becomes engaged, which surprises the surprisers. The entertainment is a sure success. Price, IS cents, JOKES VS. JINKS. A Mock Trial in One Act, by Edward Mumford. Fifteen male and six female characters, with supernumeraries if desired. May be played all male. Many of the parts (members of the jury, etc.) are small. Scene, a simple interior ; may be played without scenery. Costumes, modern. Time of playing, one hour. This mock trial has many novel features, unusual characters and quick action. Nearly every character has a funny entrance and laughable lines. There are many rich parts, and fast fun throughout. Price, 15 cents. THE SIGHT-SEEING- CAR. A Comedy Sketch in One Act, by Ernest M. Gould. For seven males, tvv'o females, or may be ail male. Parts may be doubled, with quick changes, so that four persons may play the sketch. Time, forty-five minutes. Simple street scene. Costumes, modern. The superintendent of a sight-seeing automobile engages two men to run the machine. A Jew, a farmer, a fat lady and other humorous characters give them all kinds of trouble. This is a regular gat- ling-gun stream of rollicking repartee. Price, 15 cents. THE CASE OF SMYTHE VS. SBSITK. An Original Mock Trial in One Act, by Frank Dumont. Eighteen males and two females, or may be all male. Plays about one hour. Scene, a county courtroom ; requires no scenery ; may be played in an ordinary hall. Costumes, modern. This entertainment is nearly perfect of its kind, and a sure success. It can be easily produced in any place or on any occasion, and provides almost any number of good parts. Price, 15 cents. THE OI.D MAIDS' ASSOCIATION. A Farcical Enter- tainment in One Act, by Louise Latham Wilson. For thirteen females and one male. The male part may be played by a female, and the number of characters increased to twenty or more. Time, forty minutes. The play requires neither scenery nor properties, and very little in the way of costumes. Can easily be prepared in one or two rehearsals. Price, 25 cents. BARGAIN BAY AT BLOOMSTElN'S. A Farcical Entertainment in One Act, by Edward Mumford. For iive males and ten females, with supers. Interior scene. Costumes, mod- ern. Time, thirty minutes. The characters and the situations which arise from their endeavors to buy and sell make rapid-fire fun from start to finish. Price, IS cents. THE PENN PUBLISHING COMPANY PHILADELPHIA Successful Plays for All Girls In Selecting Your Next Play Do Not Overlook This List YOUNG DOCTOR DEVINE. A Farce in Two Acts, by Mrs. E. J. H. Goodfellow. One of the most popular plays for girls. For nine female characters. Time in playing, thirty minutes. Scenery, ordinary interior. Mod- ern costumes. Girls in a boarding-school, learning that a young doctor is coming to vaccinate all the pupils, eagerly con- sult each other as to the manner of fascinating the physician. When the doctor appears upon the scene the pupils discover that the physician is a female practitioner. Price, IS cents. SISTER MASONS. A Burlesque in One Act, by Frank DuMONT. For eleven females. Time, thirty minutes. Costumes, fantastic gowns, or dominoes. Scene, interior. A grand expose of Masonry. Some women profess to learn the secrets of a Masonic lodge by hearing their husbands talk in their sleep, and they institute a similar organization. Price, 15 cents. A COMMANDING POSITION. A Farcical Enter- tainment, by Amelia Sanford. For seven female char- acters and ten or more other ladies and children. Time, one hour. Costumes, modern. Scenes, easy interiors and one street scene. Marian Young gets tired living with her aunt, Miss Skinflint. She decides to "attain a commanding position." Marian tries hospital nursing, college settlement work and school teaching, but decides to go back to housework. Price, 15 cents. HOW A WOMAN KEEPS A SECRET. A Comedy in One Act, by Frank Dumont. For ten female characters. Time, half an hour. Scene, an easy interior. Costumes, modern. Mabel Sweetly has just become engaged to Harold, but it's "the deepest kind of a secret." Before announcing it they must win the approval of Harold's uncle, now in Europe, or lose a possible ten thousand a year. At a tea Mabel meets her dearest friend. Maude sees Mabel has a secret, she coaxes and Mabel tells her. But Maude lets out the secret in a few minutes to another friend and so the secret travels. Price, 15 cents. THE OXFORD AFFAIR. A Comedy in Three Acts, by Josephine H. Cobb and Jennie E. Paine. For eight female characters. Plays one hour and three-quarters. Scenes, inter- iors at a seaside hotel. Costumes, modern. The action of the play is located at a summer resort. Alice Graham, in order to chaperon herself, poses as a widow, and Miss Oxford first claims her as a sister-in-law, then denounces her. The onerous duties of Miss Oxford, who attempts to serve as chaperon to Miss Howe and Miss Ashton in the face of many obstacles, furnish an evening of rare enjoyment. Price 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA The Power of Expression Expression and efficiency go hand in hand. The power of clear and forceful expression brings confi- dence and poise at all times — in private gatherings, in public discussion, in society, in business. It is an invaluable asset to any man or woman. It can often be turned into money, but it is always a real joy. In learning to express thought, we learn to command thought itself, and thought is power. You can have this power if you will. Whoever has the power of clear expression is always sure of himself. The power of expression leads to : The ability to think "on your feet" Successful public speaking Effective recitals The mastery over other minds Social prominence Business success Efficiency in any undertaking Are these things worth while? They are all successfully taught at The National School of Elocution and Oratory, which during many years has de- veloped this power in hundreds of men and women. A catalogue giving full information as to how any of these accomplishments may be attained will be sent free on request. THE NATIONAL SCHOOL OF ELOCUTION AND ORATORY Parkway Building Philadelphia