IPS 3525 .05613 E3 :ernational Copyrighted (in England, her Col- Lq^_ 5, and the United States) Edition of the *^2Z Works of the Best Authors |p A iiiiiiitiiiiMiiiiiiiiiriiiiiiiuiiiiiiiiiiiiiiiiiiiiiiiiiiiitiiiiiriiiiiiiiiiiiiiiiiiiiiiiiiiiiittiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiu No. 445 THE ECLIPSE A COMEDY IN ONE ACT BY McELBERT MOORE (With a bow to Clayton E. Gibbs) All Rights Reserved Copyright, 1922, by Samuel French Price 30 Cents New York SAMUEL FRENCH Publisher 28-30 West 38th Street London SAMUEL FRENCH, Ltd. 26 Southampton Street STRAND r,iiiuuiiiuitiMiiiiMiiiiiiiiiiiiniiiiii>MiiiiiiiiitiiiiiiiiinniiirMiiiiiirniiiiiiniiiiiiiiiiiiiriiiiiiiiiiiiiiiiiniiiiMiiniMiiiiinMiiiiMiiiniiiiiii~ MM THE REJUVENATION OF AUNT MARY. The famous comedy in three acts, by Anne Warner. 7 males, 6 females. Three interior scenes. Costumes modern. Plays 2J4 hours. This is a genuinely funny comedy with splendid parts for ' Aunt Mary," "Jack," her lively nephew; "Laicinda," a New England an- cient maid of all work; "Jack's" three chum.s; the Girl "Jack" loves; "Joshua," Aunt Mary's hir.ed man, etc. "Aunt Mary" was played by May Robson in New York and on tour for over two years, and it is sure to be a big success wherever pro- duced. We strongly recommend it. Price, 60 Cents. MRS. BUMSTEAD-LEIGH. A pleasing- comedy, in three acts, hy Harry James Smith, author of "The Tailor-Made Man." 6 males, 6 females. One interior scene. Costumes modem. Plays 2% hoars. Mr. Smith chose for his initial comedy the complications arising from the endeavors of a social climber to land herself in the altitude peopled by hyphenated names — a theme permitting innumerable com- plications, according to the spirit of the writer. This most successful comedy was toured for several seasons by Mrs. Fiske with enormous success. Price, 60 Cents. MRS. TEMPLE'S TELEGRAM. A most successful farce in three acts, by Frank Wyatt and Wil- liam Morris. 5 males, 4 females. One interior scene stands through- out the three acts. Costumes modern. Plays 2J^ hours. "Mrs. Temple's Telegram" is a sprightly farce in which there is an abundance of fun without any taint of impropriety or any ©le- ment of offence. As noticed by Sir Waltef Scott, "Oh, what a tangled web we v/eave when first we practice to deceive." There is not a dull moment in the entire farce, and from the time the curtain rises until it makes the final drop the fun is fast and furious. A very exceptional farce. Price, 60 Cents. THE NEW CO-ED. A comedy in four acts, by Marie Doran, author of "Tempest and Sunshine," etc. Characters, 4 males, 7 females, though any number of boys and girls can be introduced in the action of the play. One interior and one exterior scene, but can be easily played in one inte- rior scene. Costumes modern. Time, about 2 hours. The theme ^J this play is the coming of a new student to the col- lege, her reception by the scholars, her trials and final triumph. There are three especially good girls' parts, Letty, Madge and Estelle, but the others have plenty to* do. "Punch" Doolittle and George Washington Watts, a gentleman of color, are two particularly good comedy characters. We can strongiy recommend "The New CoEd" to high schools and amateurs. Price, 30 Cents. (The Above Are Subject to Royalty When Prodiiced) SAMUEL FRENCH, 28-30 West 38th Street. New York City New and ExplieK Descriprive Catslogiie Mailed Free on RmmnI THE ECLIPSE A COM ED V IN ONE ACT BY McRLBERT IMOORR (\\'ilh a bow to Clayton E. Gibbs) All Rights Reserved Copyright, 1922, by Samuel French New York SAMUEL FRENCH Publisher r38-30 West 38th Street London SAMUEL FRENCH, Ltd. 26 Southampton Street STRAND (g)R|,D 62974 DEC -2 1922 All Rights Reserved "THE ECLIPSE" is fully protected by copyright, and all rights are reserved. Permission to act, to read publicly, or to make any use of this play must be obtained from Samuel French, 28-30 West 38th Street, New York. It may be presented by amateurs upon payment of a royalty of five dollars for each performance, payable to Samuel French one week before the date when the play is given. Professional rates quoted on application. Whenever this play is produced the following notice must appear on all programs, printing and advertising for the play: "Produced bv special arrangement with Samuel French of New York." ' £ to Q. z — if) o uJ To SRIN O'BRIEN-MOORE THE CAST Allan Kemp An artist Reynolds His man Irene A model 4 THE ECLIPSE Scene: Kemp's studio in New York, Time : The present. It is the studio of a successful artist. At the back left there is a skylight. In front of this, at an angle, is an artist's easel, zvith chair, visible to audience. There are doors Right and Left. At back Right Center there is a huge fireplace, Italian style, and a divan facing if. Down stage Center there is a posing stand. To the Right of this is a comfy-chair and a small tea table. It is afternoon of a May day, present time. Discovered: Irene posing in something summerish. Allan Kemp, the artist, is at the easel. He is very nervous and his manner shozvs he is having difficulties. (Enter Reynolds Right zvith tea things which he places on table.) Allan. (Throwing down his brush) Oh! It's no use ! I can't do anything with it ! Irene, get your things and go home ! Irene. (Not believing her ears) Go home ? Reynolds. But, sir, you promised Carter that drawing before you left! 5 6 THE ECLIPSE Allan. I can't help it, Reynolds! Carter'll have to wait. I'm too nervous now to finish it. And it isn't right — I'm forcing it — I — I Oh, I wish I could chuck the whole business ! (He exits l., with an angry stride. Irene starts to cry.) Reynolds. (Sympathetically) Now, Miss Irene, I wouldn't cry. Irene. Oh Mr. Reynolds, he's angry and I know it's all my doin's ! Reynolds. Nonsense ! Irene. But it's so ! He ain't never been like this before. This is the first nifty job he ever gave me and now — oh, Mr. Reynolds, honest I did my best! Reynolds. Sh! Of course you did! Irene. I — I wanted to please him because he's — wonderful! You see he gives me 15 dollars for this and only five for the others — and now that Danny's sick it all helps an awful lot. Reynolds. I see. Now if you'll just dry those pretty eyes and sit here and try some tea, you'll find it soothing. Irene. But Mr. Kemp told me to go home ! And I don't wanta stay if he don't want me to. Reynolds. But I think you'd better. Miss Irene. You see, he's promised this before he leaves on his honeymoon to-morrow — and he keeps his word! Irene. Oh ! then perhaps I'd better stay. (Pause.) But he's angry and if he sees me here Reynolds. Yes — he mustn't see you — now. Sup- pose you sit on the divan until he — until his nerves are better. Irene. Sure. (Starts over, hut sees tea.) Oh, Mr. Reynolds, have I got time for some? I'm thirsty as hell ! Reynolds. Miss Irene — you mustn't talk like that! THE ECLIPSE 7 Irene. Excuse me, Mr. Reynolds, I wasn't think- in'. I ain't home now, am I ? Reynolds. Do you hear that at home? Irene. Sure ! Jerry — he's my brother — he wouldn't be able to talk if it wasn't for he — (Starts to say "hell," hut checks herself.) — ha ! ha ! it looks as though I like to say it, don't it? (She starts to pour tea.) Reynolds. (Stopping her) Allow me, please, Miss Irene ! Let me take it to you on the divan ! Irene. (Runs over to divan, kneels on it and looks over it) Oh, Mr. Reynolds, you're awfully nice! Reynolds. (Giving her the cup) Thank you, Miss. Irene. Oh ! Reynolds. Yes, Miss? Irene. Would it be too much trouble for you to gimme my magazine — I'm reading a peach of a love story by Robert W. Chambers, all about Reynolds. (Getting magazine) No trouble at all. Miss Irene. Irene. And a sheet o' paper, an' a envelope — I gotta pencil! Reynolds. (Getting paper and envelope) There's nothing else, Miss? Irene. Gee, I guess I'm a pest alright, ain't I? An' you so busy with going away. When's Mr. Kemp coming back? (All this in one breath.) Reynolds. Mr. Kemp has not divulged the date of his return, Miss. (He hears Allan returning.) Mr. Kemp is coming. You'd better lie down. Allan. (Returning from L.j A bit of tea, Rey- nolds ! Reynolds. (Getting it) Yes, sir. Allan. Reynolds, why am I so damn nervous? (As h^ takes cup.) Thanks. 8 THE ECLIPSE Reynolds. Well, sir, aren't you to be married to-morrow ? Allan. Of course, but what the devil has that to do with it ? Reynolds, Well, sir, if it were I Allan. It's only my first marriage! It it were my second, third, fourth — I'd know why I was nervous ! A man always gets nervous when his com- mon sense fails him ! Reynolds. You'll get over it to-morrow, sir. Allan. Hm ! Right now I've got an amateur's case of stage fright. Reynolds, I'm scared ! Damn it, I'm scared. To-night I wanted peace — and look what I've got ! (He paces the floor nervously.) Reynolds. (Handling the chair) Why don't you take it easy, sir? This chair Allan. Chair? I can't sit, Reynolds. I'm too upset ! I've got to walk about the old place — I (He pauses and thinks.) That's why I'm nervous — the old place! — the thought of giving this up! Reynolds. Yes, sir — one does get attached to places like this. Allan. Reynolds, it's the last day — the last day! And all the memories link up in my dizzy mind to snap when I need the strength in them to carry me over one more day ! (Pause.) How I hate to leave ! Reynolds. I'll be sorry to leave, too, sir ! There have been many pleasant parties here, sir ! Allan. And many wild ones! Ha! ha! Rey- nolds, as long as I live I'll never forget the first time you got pickled here ! Ha ! ha ! Reynolds. (Shocked) Pickled, sir? Allan. Ha! ha! I'll say so! Everybody was happy, but you — oh, you were deliriously happy — and so considerate. You know it was a perfectly clear moonlight night, yet you insisted Mrs. Lament THE ECLIPSE 9 should wear your rubber boots home to protect her from rain and influenza ! Ha ! ha ! Reynolds. (Coughs, embarrassed, then changes subject) I — I have your trunks ready, sir ! Allan. Forgive me, Reynolds. I won't mention it again. Did you get most everything in them? Reynolds. Nearly everything, sir! There were some things I wasn't sure you'd want — er — now that you're going to be married, sir ! Allan. Skeletons in the bachelor's closet, eh? Pictures and garters and trinkets, I suppose, from the sweet things that found me irresistible? Reynolds. Er — as it happens, sir, these are your ozvn things ! Allan. Oh ! Reynolds. I put them in your student trunk. Allan. That! How time flies! Reynolds. Shall you take it with you, sir? Allan. No, Reynolds — we can't be sentimental now about old junk! Er — what were the things? Reynolds. I — I'll fetch the trunk, sir, and you can look them over. Allan. Do. I'm curious. ('Reynolds exits r. Allan sits in big chair, takes a cigarette. Irene looks over the top of divan, a inagaj:ine in one hand, a pencil in the other, she ducks back as Reynolds reappears witJi trunk.) Allan. (As Reynolds sets trunk down near him) Reynolds, isn't it a laugh I I travelled four years in Europe with that. And to-morrow I leave on a two weeks' honeymoon with three big ones ! Ha! Reynolds. Yes, sir ! I'll make two piles, sir. Here to keep. There to discard. (He drazvs a zvhife 10 THE ECLIPSE satin masquerade costume from the trunk and holds it up.) Now, sir, shall you keep this? Allan. What the ? Oh, yes, I remember. That was the suit I wore to the first masquerade dance I ever attended in Paris. Pure white satin! Huh! / must have looked stunning! And the con- quests I made that night ! (He blows a kiss.) But I wouldn't dare wear it now Reynolds. (Putting it in discard pile) You'll not keep it, sir. Allan. (Jumping up) By all means I'll keep it! That's symbolic of romance. Why, Reynolds, it was in that suit / was first proposed to! • Reynolds. Proposed to, sir ! Allan. By a little French girl who danced two hours wnth me, then begged me to raise my mask — and when I did she kissed me — fervently — on the lips ! Later she proposed — I knew she would. And I had a hell of a time refusing her. But it was good practice. Needless to say, I've improved since. Reynolds. You've always been quite attractive to women, sir. ('Allan smiles and gestures a mod- est disclaim.) It's a great gift, sir! I've often wished I had it. Allan. Reynolds! You? Ha! ha! ha! That's a good joke ! Reynolds. I know women never look at me twice, sir — but I could learn to Allan. Learn? Never! It's a matter of in- stinct, Reynolds. You must be able to place accu- rately the first look a girl gives you. If it's fear — sooth her. If it's modesty — respect her. If it's superiority — ignore her. If it's equality — trust her. And if it's 'come-on, brother!' — kid her! Reynolds. That's clever, sir — and original. I've never heard anything so original ! Allan. Yes, I am rather proud of it. But the THE ECLIPSE ii most important thing I haven't told you. To get on with women, Reynolds, you must flatter them ! Look at my canvases ! Not a line of truth in them ! Flat- tery — flattery, every inch ! Reynolds. You're joking, sir! Allan. Joking? Ha! You've got to tell them all they're beautiful ! But subtly, cleverly. A wo- man hates direct compliments. She likes them when they're placed like light is in a Rembrandt. Rey- nolds, I'm like the sun to all these flowers who pose for me — for no matter who else cherishes them it is my magic that makes them all lift their sv^^eet heads — and bow ! Reynolds. You mean, sir, they're all in love with you? Allan. (Patting him) Clever Reynolds ! (He moves aside and looks at drawing he is making.) Ha! Irene! A pretty Httle thing f Irene />o/?.? up and looks over top of divan.) Did you notice how quiet she was to-day, Reynolds? She's usually quite vivacious, but I suppose my going away's re- sponsible for the change. Hm ! Of course ! f Rey- nolds and Irene exchange glances. Irene is puc- ded.) Too bad I sent her home, it would have been rather nice to see how her type would lift its head and bow ! Ho ! ho ! (^Irene's pusslemenf in- creases.) The poor kid, I suppose she's hopelessly in love with me! ("Irene starts and knocks her tea cup onto the floor, then she sits back out of sight in terror.) What the devil was that! Reynolds. I — I'm sorry, sir — it's Miss Irene. Allan. Irene? Nonsense! I sent her home. Reynolds. I took the liberty of asking her to stay, sir. I thought you would need her to com- plete the drawing. Allan. Mm! 12 THE ECLIPSE Reynolds. She cried herself to sleep, sir, on account of your telling her Reynolds. She can't be asleep now. (He calls.) Irene ! Irene. (Looking over top of divan) Yes, sir ? Allan. Er — you've been asleep? Irene, (Getting off divan) Oh, Mr. Kemp, I'm awfully sorry about the cup. I couldn't help it — it just slipped when you — when I — (Lamely.) — woke up. Allan. I see. Well — er — it's all right, Irene, I — Irene. I guess I shouldn'ta stayed at all. but Mr. Reynolds (She looks at Reynolds. J Allan. Yes, I know. And I'm very glad you did, Irene, — I Irene. I'll pay you for the cup if you'll tell me how much it is ! Allan. Just forget it, my dear. Accidents will happen. Irene. Won't they, though ! That one happened quick as hell — oh! Allan. Irene ! Irene. Gee ! there I go again. Mr. Kemp, honest I dint mean it. Mr. Reynolds knows I dint. It's Jerry's doin's — he's allays sayin' it — he's my brother ! Allan. He ought to know better! (Turns to easel and picks up brush.) Now. Irene, suppose we finish this drawing, I Irene. (Sees the trunk and white satin costume. She runs over and lifts costume) Oh ! What do you know about that? White satin pajamas! Allan. Ha ! ha — er — no, Irene, not quite ! That's an old masquerade costume of mine! Like it? Irene. Yes, sir. It's beautiful. Ain't you goin' to wear it any more? Allan. No, I'm through with it! THE ECLIPSE 13 Irene . Gee, it'd make me the kind of a petticoat I've been dreamin' about for years ! Allan. I'd like to give it to you, Irene, but I've decided to keep it for my Irene. For your wife to make a petticoat out of ? (Reynolds laughs and exits with tea things.) Allan. No — you see, I'm going to keep it as a souvenir of a little romance ! Irene. Oh ! say, and are you keeping this trunk for souvenirs like that? Allan. Yes. Don't you think it's a nice idea? Irene. Well, since you ask me I think it's a hel — er — a crazy idea! Allan. Huh? Irene. It's just like what my brother Jerry does and I think it's awfully silly! Of course, maybe you're different, but Jerry saves all kinds of junk — (^ Allan flinches at the word he himself had used.) — that he gets from girls because he thinks everyone he meets is crazy in love with him ! f Allan is startled.) But, of course, he's young, he's only twenty-two and you're a whole lot older and you ain't got no queer notions like that ! Have you ? Allan. (Evading) Er — I — er — so he imagines every girl he meets is in love with him ? Ha ! ha ! ha ! Irene. Huh ! To hear him talk you'd think no- body else knew nothin' about women. Ha! ha! honest, ]\lr. Kemp, you'd laugh like sixty if you could hear Jerry tell the gang in our kitchen how he gets the girls to fall for him. Me and Ma have a swell time teasin' him about the way he sizes them up! It's awfully funny and it sounds great, but it don't always work. Jerry says everything depends on the first look a girl gives you ! Allan. (Hardly believing his cars — that some- 14 THE ECLIPSE one else is using his pet theory) What! He does! Why I Irene. Yup! He says if she's afraid you gotta just talk gentle to her! Allan. Why, that's my Irene. If she's modest, be civil to her. If she pulls the Ritz, give her the go-by! Allan. Just like my Irene. If she's square, you can take her to a show and sit in the second balcony and she'll go 50-50 on tickets and eats ! Allan. Equality! Irene. And if she gives you the vamp look — Jerry says 'hide your roll and start slow !' Allan. Ha ! ha ! ha ! Well — er — your brother is rather clever, isn't he? Irene. Clever, Mr. Kemp? He ain't clever ! It's only conceited men as talks that way about girls ! Allan. (Taken aback) Oh — er — you think so? Irene. Why — don't you ? Allan, Er— why, I don't— know. I— er — haven't thought much about it, to tell the truth ! Irene. Hm ! It's all Jerry ever thinks about ! He (She spies a look of annoyance on Allan's face.) Oh, I guess I better let up talkin' about Jerry. I — I'm sorry, Mr. Kemp. I — anyway, what Jerrf thinks ain't worth much, is it ? Allan. Oh — maybe not — maybe not! /He col- lects himself and turns to easel.) I wonder if you'll pose for the rest of this drawing, Irene ! You see I expect to leave early in the morning Irene. It's your honeymoon, isn't it, Mr. Kemp ? Allan. (Starting to work) Yes. My honey- moon. Irene. (Mounting stand to pose.) Will you send me a postcard, Mr. Kemp? I ain't never had one from there. THE ECLIPSE 15 Allan. From where? Irene. Why, Niagara Falls, of course! Allan. Ha! ha! My dear child, I'm not going to Niagara Falls ! Irene. Oh ! I thought all honeymoons was Allan. It's a nice place for honeymoons if you like that kind of a place. I am going to Dominica in the British West Indies ! Irene. Oh! that sounds so far away! Allan. Just a few days, that's all ! Irene. (Timidly, after a short pause) Mr. Kemp? Allan. (Working) Yes? Irene. (Again timidly) I — I wonder would you be willing to do me a favor ? Allan. (Busy) Why, I'd be glad to, Irene. What is it? Irene. It's about a letter — I want to write (She says this wistfully and pauses, not wanting to say too much.) Allan. A letter? Irene. Yes. I want to say something and I don't know how to write it or spell it and I want you to help me. Allan. Oh, I see ! W^ell, I guess we can fix it ! Er — ^tell me about the place that's troubling you! Irene. I — it's at the end ! I want to thank some- body for being so kind to me and I want them, to know it's my heart that says it ! Allan. Oh — why, my dear you can tell her in just those words. Nothing could possibly be nicer! Irene. It's not a "her"— it's a "him." (Shyly.) Allan. Oh — well, wouldn't those words do just the same? Irene. (Quickly) Oh, no, sir! They've got to be grander! He — he's a real gentleman and he's used to grand words and I can't just say those — I i6 THE ECLIPSE mean — I'll show you! Can I get down? I wrote the first part when I was on the lounge — I'll get it ! (She leaves the stand, goes to divan, gets letter, returns.) Here it is ! I'll read the start so's you can see! (She reads.) "Dear wonderful you! — Time was when I could not have addressed you with- out incurring your ex-cus-a-ble dis-ap-proval. But I take the liberty of doing so now, trusting to your generous acqui-acqueesance in the light of my love. Now that you are going it is with a deep desire of lasting friendship that I venture to tell you I shall miss you — always !" Allan. Irene! You didn't write that ! Irene. Oh, no, sir. That was in a story by Rob- ert W. Chambers. It's wonderful, isn't it? Allan. Yes — it certainly is — wonderful ! But I'm afraid it won't do for your letter, Irene. You see coming from you — er — it's too — elaborate. Your friend would suspect you — er — copied it ! Irene. But even if he did he wouldn't say nothin' — he's not that kind of a man ! Allan. He must be an unusual chap ! Irene. He is! Allan. I don't know him, by chance, do I? Irene. (Timidly) Yes, sir. Allan. Er — what does he do? Irene. Well — he does kind things! Allan. So? I'm very glad of that. Irene. Yes, sir — no one's been so generous to me as him. Allan. You've never written him before? Irene. Oh, no! I wouldn't write now but he — he's going away, to-morrow ! Allan. (Suddenly realimng sJie means him, puts down his brush) Going away ? Ha! — "and they all lift their sweet heads and bow!" Irene. What's that, sir? THE ECLIPSE 17 Allan. Oh, nothing — I was just thinking — of flowers ! (He gets up and comes down stage.) You can get down now, dear, I've finished. Irene. Oh! May I see it? Allan. Why, yes, if you want to. Irene. (At easel) Oh! it's beautiful! Allan. (Smiling) It's you! Irene. Oh, I think you've flattered me! Allan. Not in the least, my dear. (She comes down.) Now, about your letter— perhaps it will be all right to leave it as you've written it. When I come to think of it I'm sure he'll understand ! Irene. Oh, do you really think so? Allan. I do. (Then to Reynolds, who has- just entered.) Er — Reynolds, will you get Irene's things ? WeVe finished ! Reynolds. Yes, sir. That's fine. (He goes r. to hook where Irene's hat and jacket are hanging.) Then you're not displeased at my asking Miss Irene to stay, sir? Allan. No, indeed, Reynolds ! Quite the con- trary ! I am more than pleased — at the results ! Reynolds. That will be good news to Carter, sir! Allan. Carter? — er — oh, yes! Irene, Reynolds goes with me to-morrow — like to say good-bye to him? Irene. Oh ! Reynolds. (Holding up her jacket) We shall miss you. Miss Irene. I trust you will be very happy — as happy as you've made — others ! Irene. (Timidly, offering her hand) Thank you. Mr. Reynolds. You've been so nice to me. Good- bye! Reynolds. (As he gives her her hat) Good-bye, Miss Irene. (He exits R.J Irene. (Pauses a second, then turns to Allan, i8. THE ECLIPSE who is arranging paint brushes. She fakes letter from bodice) Oh, Mr. Kemp, I wonder if you'd mind taking my letter and — and Allan. And mailing it? You haven't a stamp? Irene. I — I guess I'll be leaving! (She gives him the letter, zvhich he shoves in his pocket zvithoitt looking at, ostensibly to avoid embarrassment for her.) Allan. I'll take good care of your letter. Irene. Thanks. I hope you'll have a lovely honeymoon down in Dom — Dom Allan. Dominica? Irene. Yes. It's harder to remember than Niag- ara Falls ! Allan. Isn't it? Irene. (Offering her hand) Good-bye, Mr. Kemp ! Allan. (Tenderly taking her hand) Good-bye, my dear! (A short pause, then Irene goes out l.) Allan. (Waves to her as sJie goes out, turns and smiles to himself. He then pulls out the letter and starts to open it, when he glances at the zvriting on the envelope. He starts and exclaims) "Reynolds ?" Reynolds. (Enters quickly) Yes, sir? Allan. Huh ? Reynolds. You called, sir? Allan. No. (^Reynolds turns to the brushes at the easel.) Oh — er — somebody left a note for you! Reynolds. (Taking the letter) Thank you, sir ! (He sees the chagrin on Allan's face.) There's nothing wrong, sir? Allan. Just an eclipse of the sun, Reynolds. That's all ! (^Reynolds looks stupidly at him.) (CURTAIN) BILLETED. A comedy in 3 acts, by F. Tennison Jesse and H. Harwood. 4 males, S females. One easy interior scene. A charming comedy, constructed with uncommon skill, and abounds with clever lines. Margaret Anglin's big success. Amateurs will find this comedy easy to produce and popular with all audiences. Price, 60 Cents. NOTHING BUT THE TRUTH. A comedy in 3 acts. By James Montgomery. 5 males, 6 females. Costumes, modern. Two interior scenes. Plays 25^ hours. Is it possible to tell the absolute truth — even for twenty-four hours? It is — at least Bob Bennett, the hero of "Nothing But the Truth," accomplished the feat. The bet he made with his business partners, and the trouble he got into — with his partners, his friends, and his fiancee — this is the subject of William Collier's tremendous comedy hit. "Nothing But the Truth" can be whole-heartedly recommended as one of the most sprightly, amusing and popular comedies that this country cvi boast. Price, 60 Cents. IN WALKED JIMMY. A comedy in 4 acts, by Minnie Z. Jaffa. 10 males, '?. females (al- though any number of males and females may be used as clerks, etc.). .Two interior scenes. Costumes, modern. Plays 2>^ hours. The thing into which Jimmy walked was a broken-down shoe factory, when the clerks had all been fired, and when the proprietor was in serious contemplation of suicide. Jimmy, nothing else but plain Jimmy, would have been a mysterious figurt had it not been for his matter-of-fact manner, his smile and his everlasting humanness. He put the shoe business on its feet, won the heart of the girl clerk, saved her erring brother from jail, escaped that place as a permanent boarding house himself, and foiled the villain. Clean, wholesome comedy with just a touch of human nature, just a dash of excitement and more than a little bit of true philosophy make "In Walked Jtmmy" one rf the most delightful of plays. Jimmy is full of the religion of life, the religion of happiness and the religion of helpfulness, and he so permeates the atmosphere with his "religion" that everyone is happy. The spirit of optimism, good cheer, and hearty laughter dominates the play. There is nnt a dull moment in any of the four acts. We strongly recommend it. Price, 60 Cents. MARTHA BY-THE=DAY. An optimistic comedy in three acts, by Julie M. Lippmann. author of the "Martha" stories. 5 rnales, 5 females. Three interior scenes. Costumes modern. Plays 2^ J hours. It is altogether a gentle thing, this play. It is full of quaint hu- mor, old-fashioned, homely sentiment, the kind that people who see the play will recall and chuckle over to-morrow and the next day. Miss Lippmann has herself adapted her very successful book for stage service, and in doing this has selected from her novel the most telling incidents, infectiovis comedy and homely sentiment for the play, and the result is thoroughly delightful. Price, 60 Cents. (The Above Ape Subject to Royalty When Produced) SAMUEL FRENCH, 28-30 We» t 38th Street, New York City New and Explicit Descriptivs Catjiogue Mailed Free on Request DOROTHY'S NEIGHBORS. A brand new comedy in four acts, by Marie Doran, author of "The New Co-Ed," "Tempest and Sunshine," and many other successful plays. 4 males, 7 female!^. The scenes are extremely easy to arrange; two plain interiors and one exterior, a garden, or, if neces- sary, the two interiors will answer. Costumes modern. Plays lYi hours. The story is about vocational training, a subject now widely dis- cussed; also, the distribution of large wealth. Back of the comedy situation and snappy dialogue there is good logic and a sound moral in this pretty play, which is worthy the attention of the experienced amateur. It is a clean, wholesome pldy, particularly suited to high school production, Price, 30 Cents. MISS SOMEBODY ELSE. A modern play in four acts by Marion Short, author of "The Touchdown," etc. 6 males, 10 females. Two interior scenes. Cos- tumes modern. Plays 2J4 hours. This delightful comedy has gripping dramatic moments, unusual character types, a striking and original plot and is essentially modern in theme and treatment. The story concerns the advetures of Con- stance Darcy, a multi-millionaire's ycung daughter. Constance em- barks on a trip to find a young man who had been in her father's employ and had stolen a large sum of money. She almost succeeds, when suddenly all traces of the young man are lost. At this point she meets some old friends who r.re living in almost want and, in order to assist them through motives benevolent, she determines to sink her own aristocratic personality in that of a refined but humble- little Irish waitress with the family that are in want. She not only carries her scheme to success in assisting the family, but finds romance and much tense and lively adventure during the period of her incognito, aside from capturing the young man who had defrauded her father. The story is full of bright comedy 4ines and dramatic situations arid is highly recommended for amateur production. This is one of the best comedies we have ever offered with a large num ber of female characters. The dialogue is bright and the play is full of action from start to finish; not a dull moment in it. This is a great comedy for high schools and colleges, and the wholesom.e story will please the parents and teachers. We strongly recommend it. Price, JO Cents, PURPLE AND FINE LINEN. An exceptionally pretty comedy of Puritan New England, m three acts, by Amita B. Fairgrieve and Helena Miller. 9 male, 5 female characters. This is the Lend A Hand Smith College yrize play. It is an ad- mirable play for amateurs, is rich in character portrayal of varied types and is not too difificult while thoroughly pleasing. Price, 30 Cents. (The Above Are Subject to Royalty When Produced) SAMUEL FRENCH, 28-30 West 38th Street, New York City Niw aid Explicit Descriptive Catalogue Mailed Free on Requisl m The Touch-Down A comedy in four acts, by Marion Short. 8 males^ 6 females, but any number of characters can be iatroduced in the ensembles. Cos- tumes modern. One interior scene throughout the play. Time, 2Ji hours. This play, written for the use of clever amateurs, is the story of life in Siddell, a Pennsylvania co-educational college. It deals with the vicissitudes »nd final triumph of the Siddell Football Eleven, and the humorous and dramatic incidents consected. therewith. "The Touch-Down" has the true varsity atmosphere, college songs are sung, and the piece is lively and entertaining throughout. High schools will make no mistake in producing this play. We strongly recommend it as a high-class and well-written cojnedy. Price, 30 Cents. Hurry^ Hurry^ Hurry A comedy in three acts, by LeRoy Arnold. 5 males, 4 females. One interior scene. Costumes modern. Plays 2^4 hours. The story is based on the will of an eccentric aunt. It stipulates that her pretty niece must be affianced before she is twenty-one, and married to her fiance within a year, if she is to get her spinster relative's million. Father has nice notions of honor and fails to tell daughter about the will, so that she may make her choice untram- meled by any other consideration than that of true love. The action all takes place in the evening the midnight of which will see her reach twenty-one. Time is therefore short, and it is hurry, hurry, hurry, if she is to become engaged and thus save her father from impending bankruptcy. The situations are intrinsically funny and the dialogue is sprightly. The characters are natural and unaffected and the action moves with a snap such as should be expected from its title. Price, 30 Cents. The Varsity Coach A three-act play of college life, by Marion Short, specially adapted to performance by amateurs or high school students. 5 males 6 females, but any number of boys and girls may be introduced in the .action of the play. Two settings necessary, a college boy's room and the university campus. Time, about 2 hours. Like many another college boy, "Bob" Selby, an all-round popular college man, becomes possessed of the idea that athletic prowess is more to be desired than scholarship. He is surprised in the midst of a "spread" in his room in Regatta week by a visit from his aunt who is putting hi-m through college. Aunt Serena, "a lady of the old school and the dearest little woman in the whole world," has hastened to make this visit to her adored nephew under the mistaken impression that he is about to receive the Feilowes prize for scholarship. Her grief and chagrin when she learns that instead of the prize Robert has rec«yed "a pink card," which is equivalent to suspension for poor scholarship, gives a touch of pathos to an otherwise jolly comedy of college life. How the repentant Robert more than redeems himself, carries off honors at the last, and in the end wins Ruth, the faithful little sweetheart of the "Prem" and the classroom, makes a story of dramatic* interest and brings out very clearly certain phases of modern college life. There are several opportwiities for the introduction of college wags and "stunts." Price, 30 Cents. (The Above Are Subject to Royalty When Produced) SAMUEL FRENCH, 38-30 West 38th Street, New Yof& City New and ExpHeit Descriptive Catalogue Mailed Free es gtequt sfe The Return of Hi Jinks A comedy in four acts, by Marion Short, author of "The Varsity Coach," "The Touch-Down," etc. 6 males, 8 females. Costumes modern. One interior scene. This comedy is founded upon and elaborated from a farce comedy in two acts written by J. H. Horta, and originally produced at Tuft's College. Hiram Poynter Jinks, a Junior in Hoosic College (Willie Collier type), and a young moving _ picture actress (Mary Pickford type), are the leading characters in this lively, modern farce. Thomas Hodge, a Senior, envious of the popularity of Jinks, wishes to think up a scheme to throw ridicule upon him during a visit of the Hoosic Glee Club to Jinks's home town. Jinks has obligingly acted as a one-day substitute in a moving picture play, in which there is a fire scene, and this gives Hodge his cue. He sends what seems to be a bona fide account of Jink's heroism at a Hoosic fire to Jink's home paper. Instead of repudiating his laurels as expected, Jinks decides to take a flyer in fame, confirms the fake story, confesses to being a hero and is adored! by all the girls, to the chagrin and dis- comfiture of Hodge, Of course, the truth comes out at last, but Jinks is not hurt thereby, and his romance with Mimi Mayflower comes to a successful termination. This is a great comedy for amateurs. It is full of funny situations and is sure to please. Price, 30 Cents. J une A most successful com«dy-drama in four acts, by Marie Doran, author of "The New Co-Ed," "Tempest and Sunshine," "Dorothy's Neighbors," etc. 4 males, 8 females. One interior scene. Costumes modern. Plays 2]^ hours. This play has a very interesting group of young people. Juiie is an appealing little figure, an orphan living with her aunt. There are a number of delightful, life-like characters : the sorely tried likeable Mrs. Hopkins, the amusing, haughty Miss Banks of the glove depart- ment, the lively Tilly and Milly, who work in the store, and ambitious Snoozer; Mrs. Hopkins's only son, who aspires to be President of the United States, but finds his real sphere is running the local trolley car. The play is simplicity itself in the telling of an e very-day story, and the scenic requirements call for only one set, a room in the boarding house of Mrs. Hopkins, while an opportunity is afforded t© introduce any number of extra characters. Musical numbers may be introduced, if desired. Price, 30 Cents. Tempest and Sunshine A comedy drama in four acts, by Marie Doran. 5 males and 3 females. One exterior and three interior scenes. Plays about 2 hours. Every school girl has revelled in the sweet simplicity and gentle- ness of the characters interwoven in the charms that Mary J. Holmes commands in her story of "Tempest and Sunshine." We can strongly recommend this play as one of the best plays for high school pro- duction published in recent years. Price, 30 Cents. (The Above Are Subject to Royalty When Produced) SAMUEL FRENCH, 28-30 West 38th Street, New York City New and Explicit Descriptive Catalogue Mailed Free en Request