NO PLAYS EXCHANGED. PS 635 .Z9 N5625 Copy 1 AHER.'5 Edition m or Pl7\y:5 The Go-Between Price, 25 Cents ^..^^SvDv |mi¥| liHrviMHriA' H^^^^SM^^l ^ESF^t^^Di^ ^-'-^I^^^^bH M l^n 3 3 H^K ^^Hl^ .c^jhHB mPi •'1' ^J ? In^^^l ^i\^ '-t Ha^^^Pv\ .\\idB /^^l ^^HI^'X^Mh' Bj^V^ X ^ THF AMA7nN^ Farce m Three Acts. Seven males, five fe- lOEi i%alrkiA\Ji%0 males. Costumes, modern; scenery, not difficult. Plays a full evening. THE CABINET MINISTER ^Xs. 'nJ^'Yernifi: S tumes, modern society; scenery, three interiors. Plays a full evening- HANriY nirM" ^f^rceln Three Acts. Seven males, four fe- MJi\L\Lf I iJi.\,s\. mules. Costumes, modern ; scenery, two inte- riors. Plays two hours and a half. TU17 r* AV I Al?n rfeIT17Y Comedy in Four Acts. Four males, in£i Ui\ 1 L.UIVLI ^U£i A ten females. Costumes, modern; scenery, two interiors and an exterior. Plays a full evening. HIS HOUSE IN ORDER ?:^^r^,^^JrotT^^r^S^Si scenery, three interiors. Plays a full evening. TU17 IIAKHV UnPQr Comedy ill Three Acts. Ten males, ini:i IlUDDl nilRi3Ei Ave females. Costumes, modern; scenery easy. Phiys two hours and a half. |p|C Drama in Five Acts. Seven males, seven females. Costumes, l^ltJ modern ; scenery, three interiors. Plays a full evening. LADY BOUNTIFUL fe';:;lS.^°"c4°ief;«^'oSrir ery, four interiors, not easy. Plays a full evening. i FTTY I^rama in Four Acts and an Epilogue. Ten males, five MjCmI i 1 females. Costumes, modern; scenery complicated. plays a full evening. mMAf'IQTUATI? Farce in Three Acts. Twelve males, milUlMll\i^l£i four females. Costumes, modern; Seecery, all interior. Plays two hours and a half. Sent prepaid on receipt of price by WaUtt H. pafeer & Company Ko. 5 Hamilton Place, Boston, Massachusetts The Go-Between A Dramatic Comedy Playlet By HARRY L. NEWTON Author of "Vaudevillainiesr *'The College Chap, "A Call to Arms;' **The Two-Two Train," etc. BOSTON WALTER H. BAKER & CO, 1917 The Go-Betwecn CHARACTERS Hezekiah Quackenbush, a young farmer. Muriel Burlingham, a vampire. Jane Opendyke, a country girl. Time. — A September morning. Place. — The Quackenbush home. NOTE Hezekiah Quackenbush is in no way a burlesque rube type, but a young and legitimate farmer of to-day. He is awkward and slow in speech, with drawling Yankee dialect. For dress he wears an ill-fitting black suit, colored shirt, high white collar, large white tie and a large white flower in buttonhole. In short, he is gotten up regardless and considers he has done himself proud ; although others might find something to laugh at in his appearance, he is serious at all times. Muriel Burlingham is a woman of the world ; smart in speech and manner. Wears traveling costume, consisting of long auto- mobile coat, auto bonnet and veil. She is cold and calculating — a vampire. Jane Opendyke is a striking contrast to Muriel, as she is a simple country maiden, wearing a plain white dress, with hair worn loosely down the back. She is warm-hearted and impulsive and very much in love with Hezekiah. Copyright, 1917. by Walter H. Baker & Co. Professional stage and movi7ig picfttre rights reserved^]/ "tJ*^ ©cm 4802s> ^0 r" OCT -9 1917 The Go -Between SCENE. — Living-room in the Quackenbush farmhouse. Box setting with doors r., l. and c. Over c. door are hung heavy curtains, opening on porch, hacked by meadow drop. Furniture is old fashioned, with busi- ness desk and swivel chair down r. of c. On desk are a miscellaneous lot of papers, hills, letters, etc., a large check hook and a revolver. At l. is a small table, con- taining magazines ; small chair at r. of table. {At rise, enter Hezekiah Quackenbush, l. He zvears a silk hat tzvo sizes too small, and carries a straw suit-case. He comes in in a cautious manner, and glances nervously all about him. He goes to desk and sets suit-case on floor beside it. As he sets suit-case down his hat falls off.) Hez. {peevishly picking up hat and slamming it hack on head). Drat that hat. It don't seem to be a good fit for me. {Glances about.) Glad there ain't nobody home. {Sits in desk chair.) Great idea of mine to send mother and sister down to the village this morning. Then I dressed up to — to run away and get married. Gosh, but I'm a happy man to-day. Going to get mar- ried to Muriel, the greatest gal in all -creation. Happy? I should say! {His eyes fall on the papers on desk; he picks up several and sorts them over quickly, while his manner changes from gay to grave.) Hum! These here bills kind of worry me. Bills that ain't paid, and nothing left to pay them. {Throws them back; manner changes to care-free one.) But, shucks, I ain't goin' to worry 'bout them, or 'bout nothin'. Just goin' to marry 3 4 THE GO-BETWEEN Muriel — that's all. {Enter Muriel Burlingham from L. She carries a small traveling hag. She stops abruptly as she discovers Hez., makes as if about to speak to him, then changes her mind and begins a cavitious walk toward c. D. When almost there, Hez. hears her and swings about in chair, facing her.) Muriel! MuR. {facing him, coldly). Well? Hez. {rising, goes to her, takes- bag from her, sets it on chair by door, then looks her over admiringly). My darlin', say, but you do look just fine. How do I look? {Turns slowly about for her inspection.) Mvsi. {aside). He looks like a merry-go-round. {To him. ) Gracious, what a make-up ! Hez. {anxiously). Don't you think I'll do? MuR. You'll do all right. {Laughs coldly; comes down to small table and picks up a magazine.) Hez. {following her, bending tenderly over her shoulder). Are you— are you all ready? MuR. {apparently failing to comprehend him). I? Ready? Ready for what? {Toys nervously with magazine.) Hez. {falling back a step in surprise). Why — why — to — to elope. MuR. {in apparent surprise). I? Elope? And with whom, pray? Hez. {astounded) . With — with me, you know. I — that is, you and I had an understanding. You promised MuR. {she interrupts his speech by coldly surveying him from head to foot, breaking into a mocking laugh). Hezekiah Quackenbush ! You are all wrong this morn- ing; you look it and you talk it. Hez. {recoiling in astonishment ; then suddenly break- ing into a hearty laugh). I see. It's some kind, of a joke. You're just tryin' me out. MuR. {aside). Oh, why didn't I make my escape before this yokel saw me? {To him.) Hezekiah THE GO-BETWEEN 5 Quackenbush, we may as well have this over with as quickly as possible. I am not going to elope with any- thing quite as impossible as you. Do I make that clear ? Hkz. (pause, staring stupidly at her, then brightly). Shucks, I see. You've changed your mind 'bout eloping, and will marry me here, in the house, eh? MuR. {laughing coldly). All wrong again. Me marry you? Hezekiah Quackenbush? Me tie myself to a name like that? Nothing at all like that, my dear man. {Laughs scornfully.) Mrs. Hezekiah Quacken- bush ! Oh, gracious ! Hez. {leaning heavily on hack of chair and staring in mingled' astonishment and horror at her). Muriel! Good Lord \ Don't look like that — you — you can't mean what you say ! MuR. {coldly). There, there; please don't get dra- matic. This is getting on my nerves. I Hez. {interrupting, fiercely). After all your promises — your confessions of love for me — you tell me I am ridiculous — make fun of my honest name MuR. {turning from him and starting for c. d.). It is enough that I have changed my mind. The machine is waiting to take me to my train. I must Hez. {seizing her roughly by a wrist as she starts for door and forcing her backward into a chair). By the great Jehoshaphat, gal, you must listen to me ! MuR. {releasing her wrist by an effort, and rubbing it to relieve the pain). Oh! You hurt! Hez. {tenderly). Oh, I didn't mean to do that, dear — forgive me. Sit quiet a moment. {Sternly.) Now then, we will have a little understanding, if you please. MuR. Very good. You shall have all the understand- ing you wish. Look at me, look closely. {He peers into her face.) Do I size up like the sort of a girl who would be content to be the wife of a farmer? Do I? {She returns his stare.) Hez. {tersely). You — said — you — would — be — my —wife ! MuR. {snapping her fingers in his face). That for what I said. . . . You had money when I promised O THE GO-BETWEEN that. Now — now what have you? Absolutely nothing. No money; in debt and with your farm mortgaged for almost its actual value. Hez. (recoiling from her in horror). You taunt me now because everything is gone? You! You, the one who led me on, step by step, until you bled me of every dollar I had MuR. There, there, don't get so dramatic. What's a few dollars more or less? Why, Hezekiah, you're a piker! You might really lose something some day that is of some real value. Money ? Bah ! Hez. {tenderly). It ain't the money, gal; it ain't the money. It's — it's just you. {Drops wearily into desk chair.) ' MuR. {laughing mockingly). You're a fool ! {Quotes.) "A fool there was ! " His name, the fool, was Hezekiah Quackenbush. And then there came a woman one day — Muriel Burlingham. She was " the vampire." {He shudders.) Muriel was a former school chum of your sister Mary. Muriel was as innocent then as — your sister. But a few years make a vast difference, don't they? Muriel had the bitter misfortune to fall in love with — the wrong man. Hez. {turning suddenly toward her). You MuR. {quickly). Oh, we were married all right. My husband was a gambler. A crook. And I — I helped him. I had to. And I stuck to him through everything. It was a case of riches one day and abject poverty the next. We roamed from city to city, evil birds of prey, seeking our victims. {He makes as though to stop her.) Oh, I know it isn't a pleasant story, but I shall feel the better for the telling of it. Listen. This is the part that vitally concerns you. Last June we landed in New York without a dollar. The police had been complained to, and our " trade " was — well, we were not anxious to go to " stir." New York became too hot to hold us, and I looked about for a cooler spot — and a safer one, until our troubles blew over. Then I had an inspiration. I thought of your sister, and wrote her, and THE GO-BETWEEN ' 7 Hez. (bitterly). And this is the way you have repaid her hospitahty ! MuR. Hospitahty? {Laughs bitterly.) My hfe is wrecked; why should I care for others? (Rises.) I have done my duty to the being who calls himself my husband. A woman always does her duty — and bears the blame. I'm going now. Going back to him. (At c. D., picks up her bag.) The vampire has done here. You gave it to me — and I give it to him. Good-bye, Hezekiah Quackenbush. Good-bye, and may the Lord have mercy on us both. (With a half sob and a laugh she parts the curtains stands looking at him for an instant, then suddenly darts through curtains.) Hez. (sitting in dazed manner for an instant, then swinging slowly about in chair, facing door; he finally realizes that she has gone, and springs to his feet and dashes to door, parts curtains and looks after her). Muriel ! Good Lord, gal ! (Sound of auto horn is heard. He turns slowly, comes back to desk and sinks wearily into chair. He slowly draws flozver from buttonhole, crushes it in hand and flings it on floor. Removes neck- tie, crushes it and throzvs it on floor; takes off hat and also throws that on floor. Turns to desk, picks up papers in mechanical manner, one after the other and lays them dozvn again; picks up check book, skims over the pages and lets it fall heavily on desk. ) Gone — all gone ! Love ! Honor! Money! Everything! (His eyes slowly light on the revolver and slowly his right hand moves toward it in a fascinated manner and he picks it up.) "A fool there was ! " And this is his end. . One pull on the trigger and there will be one fool less in the world. It's the only way. Good-bye, mother, sister — yes, good-bye, Muriel ! and the Lord have mercy on us both ! (He places muzzle of revolver to his head, spotlight is thrown on him, then Jane Opendyke's voice is heard off R. ''Mrs. Quackenbush, Mary! Where are youf" Hez. slowly lets arm fall and revolver 8 THE GO-BETWEEN di'ops on desk. He sits dazed and siaring fixedly in front of him.) Enter Jane, r. She carries a hunch of flowers. Jane {calling expectantly). Mary — Mrs. Quacken- bush — where are you? {Discovers him.) Oh, how-de- do, Hezekiah ! Hez. {without shifting his attitude). Well! What do you want ? Jane {not noticing his surly tone; cheerily). Well, I declare. That's a fine reception. . . , Where's everybody ? Hez. {despondently). Gone — all gone! Everybody, everything's gone. Jane {at small table, laying flozvers on it, then glanc- ing curiously at him). Why, what seems to be the mat- ter, Hezekiah? You speak so solemn-like. Where's your mother and sister, and Miss Hez. {sidkily). They're gone, L tell you. Jane {smilingly). Shucks alive, you needn't eat me up. ( Toys with flowers. ) I picked these flowers a few minutes ago, and I thought Maw Quackenbush would kinder like 'em. . . . But '^{Turns as if to go, then stops and looks curiously at him. Aside.) Now I wonder what's the matter with him. I'm a-going for to find out. {Returns to table and picks up one of the flozver stems.) Your maw and sister well* Hezekiah? Hez. {shortly). Yes. Jane. Gone to one of the neighbors maybe? Hez. No. {Impatient shrug of shoidders.) Jane {drawlingly) . O-oh ! . . . {Pause.) Then they didn't go to one of the neighbors? Hez. {very shortly). No — they didn't. Jane {very drawlingly). O-oh ! Maybe they went to town then? Hez. No, they didn't — yes, they did too. {Groans.) Oh, let me alone. Jane. Say, I ain't a-touchin' you. . . . {Pause.) Miss Burlingham go with them? Hez. {half rising from seat; angrily). It's — it's none of your blamed business — no, she didn't. THE GO-BETWEEN 9 Jane {with flower to face and peeking roguishly over top at him). O-oh ! . . . {Pause.) Say, you seem to be all slicked up this morning. Expectin' com- pany maybe ? Hez. {groaning). K\n, shut up; don't rub it in. Jane {with deep sympathy). Oh, I know; you're sick — that's what's the matter maybe. Maybe I can do somethin' for you, Hezekiah? Hez. {despondently). No — nobody can do nothin* for me. {Sighs heavily.) Jane. Oh — oh ! {Suddenly discovers crushed flower on floor, also his necktie; gazes curiously at him.) May- be you got the toothache. I had the toothache once, right in the tooth, and it sure did hurt. Hez. {facing her for the first time). See here, Jane Opendyke, you're meddlin' in things that don't concern you. Jane {drawlingly) . O-oh! . . . Then you ain't got a toothache? Maybe it's your stomach. A good dose of ginger'll fix that. Wait. I'll run down and mix you one. Hez. Ginger won't do me no good. Nothin' will. And I don't want any thin' but — you just go away and leave me alone. Jane. O-oh ! {Picks up necktie and flower from floor and lays them gently on desk; he gives a quick start at sight of them; she takes position hack of his chair, draws his head hack and gently strokes his hair.) Hezekiah Ouackenbush, did anybody ever tell you that you was a fool? Hez. {slozvly straightening up in chair, and then the shot suddenly dawns on him and he springs angrily to his feet and confronts her) . So ! You know all about it, eh ? You been a-spyin' on me, eh ? Jane {calmly forcing him hack in his chair; gently). No, Hezekiah ; I ain't been a-spyin' on you. . . . But I been doin' quite a bit of thinkin', and — there, there; anybody's got a license to think . . . and most every- body's got the same amount of license to talk. {She strokes his hair.) You know, Hezekiah, folks can learn a lot of things and don't have to spy nuther. Some folks 10 THE GO-BETWEEN can put two and two together and make four every time. {Indicates necktie and flower on desk.) But if two and two does make four, a white necktie and a flower don't always make a wedding. {He attempts to draw away from her hut she gently pulls him hack; a little more sternly. ) You behave and hsten to me, Hezekiah Quack- enbush ! There was a time, Hezekiah, when you used to tell me all your troubles — and I told you mine. And there was something else we told each other once, but that was before that — that woman came. Ever since she came things have been a whole lot different. {He attempts protest.) Oh, I could see it, and so could any- body with their eyes shut. . . . Folks all thought at one time that you and me was going to— to get married. You seemed to think quite a lot of me, and I — I — well, I liked you some too. But she came Hez. {roughly jerking loose). Stop! Don't speak her name. I {Sinks wearily hack.) Jane. O-oh! {Smiles knowingly.) Hez. Things are some worse than a girl like you can ever dream of. I was a fool, and now — now I'm a ruined- man! Jane {recoiling in surprise). Ruined? Hez. Yes, absolutely. {Laughs hitterly.) Ain't got a dollar; in debt up to my ears, and — and the farm is mortgaged. Jane. O-oh! {Hangs head.) Hez. Understand me, I ain't layin' no blame on her. She thought she Oh, what's the use? Everything's gone, and she's gone. {Suddenly.) But there's one way out of it all. Just one way.. {Seizes revolver.) Jane {grahhing his arm). No, no, Hezekiah — not that. You mustn't do that. I still got a whole barrel of faith in you. Listen. And I got some money, too. You can have every dollar I got and welcome. It's my mone}^ — money I've saved from my chickens. It's all yours — every cent of it, Hezekiah — every cent. Hez. {with a mirthless laugh). How much money -you got? ■Jane {proudly). Eighteen dollars and sixty cents. Hez. {with another laugh). Why, gal, eighteen dol- THE GO-BETWEEN II lars and sixty cents wouldn't be a drop in the bucket. . , . But I thank you, just the same — thank you just the same, dearie. (Weakly.) I — I — don't seem to feel (Puts a hand to his head,) Jane (bending over him anxiously). Hezekiah, dear, what's the matter? Hez. (sinking hack in chair, both hands to head). It's my — my head. It's all jumbled up inside. I — I can't think. I just seem to Jane (che erf idly). I'll fix that. Men are the most helpless animals in all creation. (Gets sofa pillow, places it under his head on back of chair, lays his head back against it, gets a chair, draws it up and places his feet on it.) There! Now you just be a good boy and stay like that for a jiffy while I run into the kitchen and make you a strong cup of tea, or something. (Runs to door L., turns.) Now don't you move an inch. I won't be a minute. [Exit, l. Hez. (remaining perfectly quiet for an instant, then cautiously moving his head and looking at door, then slowly putting his feet to floor and straightening up in chair, shaking head in despondent manner). No. No, it ain't no use. It's too late now for a cup of tea. Bless her innocent heart ! (Places a hand to head and groans.) Ooo ! My head ! How it does jump. . . . (Pause; then he again gazes in cautious manner all about room, then his eyes light on revolver; his right hand seeks the butt and he finally grasps it. Quickly, and springing to feet.) Now is my chance! "A fool there was," eh? I won't be here to have 'em call me that. (Raises gun to head, then slowly his arm falls and he shakes head.) No. No, not in here. Out there with the blue sky over me, and the trees and the — big outdoors. (One hand to head. ) My God, how my head hurts ! (Staggers weakly to c. d. and through curtains.) Enter Jane, carrying tray, pot of tea and cup and saucer. Jane (not appearing to notice his absence). Now here we are, Hezekiah ; this will sure (Pier further speech is abruptly checked by the dis- 12 THE GO-BETWEEN charge of a revolver off c, and she drops tray to floor with a crash. She stands transfixed, staring fascinated at center door curtains, with one hand on heart and swaying unsteadily on feet. Finally throws a quick, startled glance about room, starts to come down to desk, then slowly turns and begins a slow, uncertain, staggering walk toward center door. A strong light is now thrown on the curtains and a puff of smoke is wafted through them; she stops in tense attitude, with gaze fixed on smoke. At last, by a supreme effort, she pidls herself together; she makes a sudden rush and throws curtains apart. Hez. steps forth, revolver in hand and with broad smiling face.) Hez. {cheerily). Say, gal, you know I just shot the darndest, biggest hen-hawk you ever seen Jane {confusedly, hand on heart). Why, I — I — thought you had — you were dead Hez. Yes, I know . . . but ... I changed my mind. . . . {Holds out his arms.) Come here, gal, goldern ye ! {She falls into his arms with her drawling " 0-oh!" They move down stage, front of desk, and stand with arms clasped about each other. MuR. enters from R., with small bag. She is about to exit c. d. when she discovers them in each other's arms. Softly she tiptoes down, places bag on desk, then with a con- vulsive sob and with handkerchief to eyes, exits c. D., to) CURTAIN TEDDY, OR, THE RUNAWAYS A Comedy in Three Acts By Walter Ben Hare [Originally produced at the Waldorf-Astoria, New York City t February i6, jgi2.) Four males, four females. Scenery, a single interior ; costumes, mod« ern. Plays two and a quarter hours. An eloping couple take refuge with the Junipers when their auto breaks down. The lady explains that they are being pursued by her brothers, so when a sheriff and posse arrive in pursuit of two thieves, Mrs. Juniper locks them down cellar to let the lovers escape. The sheriff gets out and arrests the Junipers whom he accuses of being the thieves. It finally appears that the lady is an author- ess and that she and her husband are posing as thieves in order to get ma- terial for a novel. Full of action ; characters all good ; lots of comedy ; strongly recommended. Price, 2^ cents CHARACTERS Jean MacLean, Little Miss FixiU Mrs. Juniper, a Young Wife. Victoria, the Girl in the Taxi. Texana, the Girl of the Golden West, Max Juniper, the Perplexed Husband, Alonzo Willing, the Fortune Hunter, Ted Keegan, the Man on the Box. Sheriff Jim Larrabee, Officer 666, Two Deputy Sheriff's SYNOPSIS Act I. — Living room at Max Jumper's house on a Texas ranch. Spring time. Act II. — Same as Act I. The great diamond robbery. Act III.— Same as Acts I and II. The thunderbolt. WANTED— A PITCHER A Farce in One Act By M. N. Beebe Eleven males. Scenery not important ; costumes, modern. Plays half an hour. Hank Devi^berry, the crack pitcher of the home nine, is kept from the championship game by his skinflint father who M^antshim to do the hay- ing. Hank's friends try to find a substitute pitcher, with humorous but unsatisfactory results. The elder Dewberry finally releases Hank when one of the players shows him how to win the county championship at checkers, on which he sets his heart. Hebrew, Irish, Italian and " hay Beed " comedy character parts. Recommended. Price^ i^ cents THE VOICE OF AUTHORITY A Farce in Three Acts For Female Characters Only By Bertha Currier Porter Seven females. Costumes, modern ; scenery, a plain interior. Plays two hours. Seven girls go camping all by themselves so as to have no nien bothering around. After a week of it they decide to send for their brothers and fiances, but they have no sooner done so than they are noti- fied that their camp has been quarantined by the authorities because one of them the day before has been seen holding a baby that has the scarlet fever. The men arrive, but are not allowed to enter, and the girls can- not come out. Trouble follows, ended by the discovery that the baby did not have scarlet fever after all. Full of life and laughs ; strongly recom- mended. Price, 2^ cents CHARACTERS Jean Campbell, the stenographer, engaged to Bert. Priscilla Carter, the newspaper woman, engaged to Ralph, Martha Stearns, the cooking teacher, engaged to Max, Gladys Cushing, the butterfly, engaged to Charlie. Margery Whiting, the bride-to-be, engaged to Billy. Elizabeth Kennedy, ijidependent, not engaged at all. Dr. E. T. Simpson, the physician. And The Voice of Authority, unseen but all-powerful. THE COMING OF ANNABEL A Comedy in One Act By Alice C. Thompson Six females. Costumes, modern ; scene, an interior. Plays thirty minutes. A group of village gossips, bent on the slaughter of the char- acter of a visitor to the town, are routed and reformed by the example of Annabel's charity and amiability. Good character. Clever and effective. Price, 15 cents THE MISSES PRINGLES' LEAP YEAR A Comedy in Two Acts By Amaryllis V. Lord Ten females and the apparition of a man. Costumes, modern ; scenery, unimportant. Plays half an hour. The Misses Barbara, Priscilla and Betsy Pringle, while scorning matrimony in public, have a secret inclina- tion = toward it, and taking advantage of leap year, each, without the knowledge of the others, proposes by letter to Deacon Smith with sur- prising results. Very easy and amusing, requiring no scenery and but little rehear^'ing. Price, 7j cetiti CRANBERRY CORNERS A Comedy Drama in Four Acts By Arthur Lewis Tubbs Six males, six females. Scenery, one exterior, one interior; costumeSj' modern. Plays two and a quarter hours. Carlotta, a city girl, is forced by lier fashionable aunt to give up her country lover and promise to marry a wealthy scoundrel who controls the aunt through her past. Tom, the rustic lover, discovers Carlotta's father in a tramp, clears his name, baffles the aunt and frustrates her plot. Dramatic and full of interest ; strongly recommended. Lots of incidental comedy. Price, 2^ cents CHARACTERS Tom Dexter, 07ie of Nature s noblemen. Sidney Everett, of the world worldly, Ben Latham, a wanderer. Andrew Dexter, Tom s father. Hezekiah Wo^YA^'i,, fond of an argument, Nathan Speck, the hired ?nan. Carlotta Bannister, a child of fate. Anastasia Bannister, her " stylish " aunt, from New York. Amelia Dexter, sister of Andrew. Mrs. Muslin, something of a talker, " as you might say.'* Bella Ann, help at the farm. 'Florine, a maid. SYNOPSIS Act L— The yard at Ferndale Farm, Cranberry Corners, on an afternoon in July. The telegram. Act IL — Same as Act I, about a week later. The stranger. Act in. — Residence of Mrs. Bannister, New York City. Three months have elapsed. In the hands of fate. Act IV. — Back at the farm, two weeks later. The silver lining. VEAL BREADED A Comedy in One Act By John M. Francis Three males, three females. Costumes, modern ; scene, an interior. Plays thirty-five minutes. Mr. and Mrs. Armstrong have married one another, both hating veal, but each under a fixed impression that the other likes it. One of the results of a little flirtation of their friend Joyce with Mrs. A.'s pretty aunt is that the truth comes out and the hated meat is no longer the cause of trouble between them. Very original and amusing and strongly recommended. French dialect comedy character. Fricef 75 cents THE BOY SCOUTS A Play for Boys in Three Acts By Walter Ben Hare Twenty males. Scenery, unimportant; costumes, scout and modera Plays two hours. Worth refuses to vote for Tony as a new scout because the latter is poor, but Tony shows in the end that he is a true scout and wins his election. This simple motive underlies lots of characteristic fun and stunts, and offers as a whole a very vigorous and sympathetic picture of the Boy Scout practices, motives, and ideals. Strongly recommended. Price, 2^ cents CHARACTERS Stewart Nipper, known as Nip. Fred Tuck, known as Tuck. Dick Randolph, the patrol leader. WoRTHiNGTON LEONARD, a rich boy. Tony Ardis, a poor boy. Jakie Stein, with business instincts. Chubby Childs, who don't care if he is fat. Watermelon Jackson, a lazy coon. Mrs. Watermelon Jackson, and her seven little coons, (May b4 omitted. ) LiPPY Scudder, who thinks he's a hero. Bub Waldron, going on seven. \ Jack Hall, assistant patrol leader. Plupy Higgins, who likes to study. Lee Waldron, wme athlete. Tom Redway, who plays the piano. Shorty, Harry, Charley, Will and Frank, other Boy Scouts, SYNOPSIS Act L — The meeting of the Boy Scouts of America. Nip and Tuck. Act n.-^A rehearsal in the gym. The stunts of the Scouts. Act HL—Same as Act L Swearing in the new tenderfoot. AUNT ABIGAIL AND THE BOYS A Farce in One Act By Lillie Fuller Merriam Nine males, two females. Scene, an interior ; costumes, modern. Plays one hour. Aunt Abigail, who hates boys, visits Gerald in college and finding him dressed in female costume for theatricals takes hhn for his sister Geraldine. Things are badly mixed up when his friends turn up and see the situation, but in the end Aunty is wholly cured of her dislike for the « boys." Lively and amusing ; recommended for schooisc Price, IS cents JI* m. Pinero's Plays Price, SO erita Cacb MID-CHANNEI ^^""I "' ^^^^ 4^*^- six males, five females. «*iiy\^ii/iLiiiit.L. Costumes, modern; scenery, three interiors. Plays two and a half hours. THE NOTORIOUS MRS. EBBSMITH g^f^'li^TJ males, five females. Costumes, modern; scenery, all interiors. Plays a full evening. THE PROFLICATF f^^^ ^^ ^°^^ ^«*s. seven males, five , K f *^^*^*-*^^i*^ females. Scenery, three interiors, rather elaborate ; costumes, modern. Plays a full eveoing. THE SCHOOLMISTRESS Farce in Three Acts. Nine males, lilt. OV.llV/UL.lTUOH\E.Oi5 seven females. Costumes, mod- ern ; scenery, three interiors. Plays a full evening. THE SECOND MRS. TANQUERAY ^^rl'£^^- females. Costumes, modern; scenery, three interiors. Plavs a full evening. "jo « SWEET LAVENDER Comedyln Three Acts. Seven males, 011L.L.I L.AYi:.l^U£.a four females. Scene, a single interior costumes, modern. Plays a full evening. THE THUNDERROf T Comedy in Four Acts. Ten males, lilt. lllunLr£.IVDUL.l nine females. Scenerv. three interil ors ; costumes, modern. Plays a full evening. Scenery, three interi- a full evening. costumes, modern. Plays THE WEAKER SEX comedy iu Three Acts. Eight males, ini:. TT£.AIVE.a OE.A eight females. Costumes? modern scenery, two interiors. Plays a full evening. A WIFE WITHOUT A SMILE greas,,Z'g/afe1: Costumes, modern ; scene, a single interior. Plays a full evening. Sent prepaid on receipt of price by Walttv H. J^afeer Sc Company NOo 5 Hamilton Place, Boston , Massachusetts THE TIMES Comedy in Four Acts. Six males, seven females iiiL. lllTlLia Scene. a Single interior; :^r£: LIBRftRY OF CONGRESS 017 401 130 8 Cf)e William Wwcxtn CUttton of Pa^fi A^ Vnil I IITP IT Comedy in Fire Acts. Thirteen males, four AD IvU IrlAL 11 females. Costumes, picturesque j scenery, va- ried. Plays a full evening. f* A MIT IF Drama in Five Acts. Nine males, five females. Cos- vAl!iU