publishers cmiflOB—E DENISON'S ACTING PLAYS Partial List of Successful and Popular Plays. Large Catalogue Free. DRAMAS, COMEDIES, ENTERTAINMENTS* Etc. M. F. Aaron Boggs, Freshman, 3 acts, 254 hrs (25c) 8 8 Abbu San of Old Japan, 2 acts, 2 hrs (25c) 15 After the Game, 2 acts, 154 hrs. (25c) 1 9 All a Mistake, 3 acts, 2 hrs. (25c) • 4 4 All for the Cause, 1 act, 154 hrs (25c) 10 All on Account of Polly, 3 acts, 2% hrs (25c) 6 10 And Home Came Ted, 3 acts, 254 hrs (35c) 6 6 Arizona Cowboy, 4 acts, 2}4 hrs (25c) 7 5 As a Woman Thinketh, 3 acts, 254 hrs (25c) 9 7 At the End of the Rainbow, 3 acts, 2% hrs (25c) 6 14 Boy Scout Hero, 2 acts, 1?4 hrs. (25c) 17 Boy Scouts' Good Turn, 3 acts, 1*4 hrs (25c) 16 2 Brookdale Farm, 4 acts, 2% hrs (25c) 7 3 Brother Josiah, 3 acts, 2 hrs. (25c) 7 4 Busy Liar, 3 acts, 254 h. (25c) 7 4 Call 6f the Colors, 2 acts, 1}4 hrs (25c) 4 10 Call of Wohelo, 3 acts, 1J4 hrs (25c) 10 Camouflage of Shirley, 3 acts, 254 hrs (35c) 8 10 Civil Service, 3 acts, 2% hrs. (25c) 6 5 College Town, 3 acts, 254 hrs. (25c) 9 8 Daughter of the Desert, 4 acts, 2% hrs (25c). 6 4 Deacon Dubbs, 3 acts, 2% hrs. (25c) 5 5 Deacon Entangled, 3 acts, 2 hrs. (25c) 6 4 Down in Dixie, 4 acts, 2V 2 hrs (25c) 8 4 Dream That Came True, 3 acts, 254 hrs (25c) 6 13 Editor-in-Chief, 1 hr....(25c) 10 Enchanted Wood, 1J4 h.(35c).Optnl. Everyyouth, 3 acts, 154 h. (25c) 7 6 Face at the Window, 3 acts, 2 hrs (25c) 4 4 Fifty-Fifty, 3 acts, 2 hrs. (35c) 6 8 For the Love of Johnny, 3 acts, 254 hrs .(35c) 6 3 Fun on the Podunk Limited, \y z hrs (25c) 9 14 M. F. Her Honor, the Mayor, 3 acts, 2 hrs. ? (25c) 3 5 High School Freshman, 3 acts, 2 hrs (25c) 12 Indian Days, 1 hr (50c) 5 2 In Plum Valley, 4 acts, 2% hrs (25c). 6 4 Jayville Junction, 1% hrs.(2Sc)14 17 Kicked Out of College, 3 acts, 2% hrs (25c) 10 9 Kingdom of Heart's Content, 3 acts, 254 hrs (25c) 6 12 Lady of the Library, 3 acts, 2 hrs (25c) 5 10 Laughing Cure, 2 acts, 154 hrs. (25c) 4 5 Lighthouse Nan, 3 acts, 254 hrs (25c) 5 4 Little Buckshot, 3 acts, 2J4 hrs. (25c) 7 4 Little Clodhopper, 3 acts, 2 hrs (25c) 3 4 Mirandy's Minstrels. ... (25c) Optnl. Mrs. Tubbs Does Her Bit, 3 acts, 254 hrs (25c) 7 7 Mrs. Tubbs of Shantytown, 3 acts, 2% hrs (25c) 4 7 Old Fashioned Mother, 3 acts, 2J4 hrs (25c) 6 6 Old Maid's Club, 154 hrs. (25c) 2 16 Old Oaken Bucket, 4 acts, 2 hrs (25c) 8 6 Old School at Hick'ry Holler, 154 hrs (25c) 12 9 On the Little Big Horn, 4 acts, 2y 2 hrs (2Sc)10 4 Poor Married Man, 3 acts, 2 hrs '. (25c) 4 4 Prairie Rose, 4 acts, 254 h.(25c) 7 4 Real Thing After All, 3 acts, 254 hrs (35c) 7 9 Rustic Romeo, 2 acts, 2 54 hrs .(25c) 10 12 Ruth in a Rush, 3 acts, 254 hrs. _ (35c) 7 9 Safety First, 3 acts, 254 hrs -. (25c) 5 5 Pivageland, 2 acts, 2J/£ hrs. (50c) 5 5 Southern Cinderella, 3 acts, 2 hrs (25c) 7 Spark of Life, 3 acts, 2 hrs (25c) 4 4 Spell of the Image, 3 acts, 254 hrs (25c) 10 10 Star Bright, 3 acts, 254 h. (25c) 6 5 Those Dreadful Twins, 3 acts, 2 hrs (25c) 6 4 Thread of Destiny, 3 acts, 254 hrs (25c) 9 16 Tony, the Convict, 5 acts, 254 hrs (25c) 7 4 T. S.DENISON& COMPANY, Publishers, 154 W. Randolph St„Chicago O JOY SAN A COMEDY- DRAMA IN ONE ACT FOR TWO MEN AND FOUR WOMEK BY KATHARINE KAVANAUGH M AUTHOR OF 'Countess Kate," "The Fire Escape," "The Man Who Came Back,'' "A Minister Pro Tern," "The Queen of Diamonds," "Under Blue Skies," "When the Worm Turned," "Who's a Coward?" "A Woman's Strategy," etc. CHICAGO T. S. DENISON & COMPANY Publishers F535ZI O JOY SAN -A*l y^^ originally produced by the Blunkall Stock Company, at the Globe Theater, Kansas City, Mo., April 14, 1916. .Ti -*- Stephen Alexander Shaw • Representing His Father's Bank in Tokio Jack Blunkall. Mrs. Alexander Shaw His Mother Nannette Miller. Helen Reese The Girl Who Jilted Him Irene Young. O Joy San ■ -His Japanese Wife Myrtle Bordine. Otako Maid to O Joy San Effie Bordine. Yushi A Jinrikisha Man Emery Blunkall. Place— Japan. Time of Playing — About Forty-five Minutes. Notice. — Production of this play is free to amateurs, but the sole professional rights are reserved by the author, who may be addressed in care of the Publishers. COPYRIGHT, 1919, BY T. S. DENISON & COMPANY. 2 ©GLD 52575 otr lb I91B O JOY SAN STORY OF THE PLAY. Stephen Shaw, a young American, after being jilted in a love affair, goes to Tokio to manage a branch of his father's bank. He falls in love with a little Japanese girl, O Joy San, and they are married. 'They have lived happily together for six months when Shaw's mother arrives unexpectedly in company with Helen Reese, the girl who jilted him and who now has changed her y mind. They are shocked to learn of his marriage and use every means in their power to induce him to leave his little '~=» Japanese wife and return with them to the States. But Shaw now knows the shallowness of Helen Reese's affection and loves his little wife too deeply to even consider such a thing. While he is absent on business, his mother and Miss Reese, with diabolical cunning, succeed in convincing O Joy San that she is standing in the way of her husband's ad- vancement and ruining his career. They make her believe that it is her duty to send him away. O Joy San knows that he will never leave her as long as he believes she loves him, so she consents to accept a sum of money from his mother, five hundred dollars, in payment for relinquishing all claim to being his wife. When Stephen returns and learns and sees that she has accepted money from his mother for this reason, sold him as it were, he is broken-hearted and leaves with his mother and Miss Reese. Returning a moment later for something he has forgotten, he finds O Joy San weeping and pros- trated with grief, with the money she accepted torn into bits. Shaw realizes in a flash that she loves him and has merely been cruelly coerced by his mother and takes her in his arms. They are reunited, never to be separated again. COSTUMES. Stephen — Ordinary summer suit of clothes with shoes to match. Mrs. Shaw and Helen Reese — Pretty summer gowns with hats. 4 O JOY SAN O Joy San — Silk or crepe kimono, an obi (or sash) of contrasting shade, white canvas or cloth slippers without heels. If player has not straight black hair she must wear a Japanese wig, dressed high and smooth, with a number of small Japanese hair ornaments. When the fan is not in use it is closed and stuck in obi or sash. Otako — Kimono of cotton with cotton sash ; same kind of shoes as O Joy wears. No hair ornaments as she is a servant. Yushi — Trousers and straight blouse of blue cotton, low cloth shoes without heels. PROPERTY LIST. Japanese fan for O Joy San. Japanese serving tray with pot of tea, four cups and four small plates with food, for Otako. Pencil and notebook for O Joy San. Letter for Yushi. Letter for Mrs. Shaw. Roll of paper currency for Mrs. Shaw. Suitcase and traveling bag for Otako. For stage furnishings, read carefully description of "Scene" at the beginning of play. STAGE DIRECTIONS. R. means right of the stage ; C, center ; R. C, right cen- ter; L., left; i E., first entrance; U.E., upper entrance; R. 3 E., right entrance up stage, etc. ; R. D., right door ; L.D., left door, etc.; up stage, away from footlights; down stage, near footlights. The actor is supposed to be facing the audience. O JOY SAN Scene: A room in the home of O Joy San in Tokio. A very plain interior, with no windows, but with a very wide center arch; back of this arch have a garden or landscape drop, as far back as possible so as to give a perspective. In the space between the arch and the back drop spread a green floor-cloth, and on this scatter some artificial cherry blos- soms or wistaria. In the interior, just inside the arch, place two very large vases or flozver receptacles, one on each side of arch, and into these receptacles put a profusion of wis- taria and cherry blossom branches. The floor shoidd be bare (unless a floor-cloth of a negative shade is used). On the walls of the interior hang a number of Japanese prints or pictures, and in the middle of the arch suspend a hand- some Japanese lantern. A number of Japanese floor-mats or cushions in one corner, to be used during the play. A small table or stand with a bronze image of a Japanese god up stage, on one side of the arch. No chairs or furniture in the room, zvith the exception of one light-weight arm chair, which is hidden behind a screen in the upper left corner when curtain rises. There is a practical door R. 2 E. and one L. 2 E. Curtain Music. Play any air from "The Mikado," raise curtain slowly and continue music softly until the curtain is voell up. Enter Yushi through arch C, calling "Otako! Otako!" Enter Otako R. 2 E. Otako. Stop those noise, Osha. My mistress, O Joy San, not like those noise. Yushi. 'Merican ladies come see O Joy San. Rickshaw upset and those honorable ladies fall out. Otako (raises her hands in horror). Oh! That is most bad. Where is those ladies? 5 6 O JOY SAN Yushi. They come now. One say she is the mother of our master, honorable Mister Stephen Shaw. Otako (in awe). Then she is august mother-in-law to Joy San. Enter Mrs. Shaw and Helen Reese, brushing each other off and talking at the same time. Mrs. Shaw. I never was so shaken up in my life. Fancy dumping - us out on the road like that. Helen. I never did believe those rickshaws were made to carry people. Mrs. Shaw. Well, they shall never carry me again, if 1 know anything about it. (Both come dozvn stage.) Ah, here is our trusty guide now. (To Yushi.) Do I under- stand you have brought us to my son's house? Yushi (bows respectfully). Ai. This is house of hon- orable Mister Stephen Shaw. Mrs. Shaw (looking at Otako). And who is this girl? Otako (respectfully bows). Me Otako, maid to O Joy San. Mrs. Shaw. Well, tell your mistress we are here. Otako (bows). Ai. (Turns to door R. 2 E. Mrs. Shaw and Helen are down stage L. C.) Yushi (near R. 2 E., speaks to Otako, points to the la- dies' feet). Look! Him got shoes on feet! Otako (turns and looks in surprise). Oh! (Exits R. 2 E.) (Yushi goes to center arch, bows respectfully to the la- dies and exits.) Mrs. Shaw (to Helen, in surprise). What did he say we had on our feet ? Helen. Shoes ! Mrs. Shaw. Well, where in the name of goodness did they expect us to have them? Helen. My dear, I'm sure I don't know. I am not up on their heathenish customs. (Looks around the room.) Can you imagine Stephen living in a place like this? O JOY SAN 7 Mrs. Shaw. I cannot ! It is no bigger than a doll's house. Helen. I wonder if he is at home. Mrs. Shaw. Well, they don't expect him back at the bank today, so we had better wait here. Helen. Don't you think it would have been better to have written him that we were coming? Mrs. Shaw. My dear, he has been my son for a good many years — I know best how to manage him. Helen. He was my sweetheart for two years — I know something about him. Mrs. Shaw. But you didn't know enough to hold him when you had him. Helen. Well, for goodness' sake, don't let us quarrel, or I shall sit right down and cry. Mrs. Shaw. My dear, you may be able to cry, but as for sitting down, I don't see how you are going to accom- plish it. {Looks about the room for chair without discov- ering one.) Helen. Not a chair in sight ! Where in the world do they sit? Mrs. Shaw. They don't sit ! They squat ! Helen {laughs in amused way). Oh, my dear, I do want to see you squat ! Mrs. Shaw. Well, I'm not going to ! They'll get me a chair — or I shall know the reason why. O Joy San {behind R. 2 E., laughs and speaks to some- one). That's all right. Helen. Someone is coming. O Joy San enters at R. 2 E., pauses inside of door and bozvs to them respectfully. O Joy San. Excuse, most honorables. I have just heard that you here. Mrs. Shaw. And who are you? O Joy San. Me O Joy San — wife to those honorable Stephen Alexander Shaw. Helen. So this is his Japanese wife. Mrs. Shaw {to Helen). Rather pretty, isn't she? 8 O JOY SAN Helen. Pretty ! What odd taste ! O Joy San (bows again). Augustness, you are most wel- come to this unworthy house. Will those honorable ladies tell O Joy San she's name? Helen. Merciful heavens ! Did you ever hear such English ! Mrs. Shaw (to O Joy San). I am Mr. Shaw's mother. O Joy San (bozvs profoundly). Oh, most honorable mother-in-law, excuse. (Helen puts her hand to her mouth to hide a smile. Mrs. Shaw glares at Helen reproach- fully.) Mrs. Shaw (severely to Helen). My dear, you may find fault with her speech, but it would do you no harm to borrow a little of her politeness. Helen (bowing). Pardon, most honorable mother-in- law, I'll be good. Mrs. Shaw (to O Joy San). This young lady (indi- cating Helen) is Miss Reese. She was engaged to be mar- ried to my son before he came to Japan. O Joy San. Engaged — to be married — to — O-Shaw? Helen. O-Shaw ! Is that what she calls him? Mrs. Shaw (to O Joy San). What did you call my son? O Joy San. Excuse. I explain. When those honorable Stephen Shaw ask me my name, I say, "O Joy Akinosuki Matsumaro." He laugh and say, "Oh, that is too long. I call you 'O Joy' for short." Then he tell me his name is Ste-phen Alex-ander Shaw. I say, "Oh, that is too long. I call you 'O-Shaw' for short." That is nice name, yes? Mrs. Shaw. I can't say I care for it. My son is not at home, then? O Joy San. Him come soon. Will you please be seat? Helen. She is asking us to sit down. Mrs. Shaw. On what? O Joy San. Oh, excuse — I forgot those chair. (Claps hands twice.) Otako enters R. 2 E. Get those honorable chair — quick! (Otako rims up to screen and brings out arm chair, places it C. rather far down stage. Otako exits after bowing, R 2 E.) O JOY SAN 9 Helen. Only one chair in the house? O Joy San. Those chair belong to O-Shaw. Most hon- orable mother-in-law sit in him. ( Mrs. Shaw sits in chair. O Joy San throws two of the Japanese mats on floor, one on either side of chair.) Now I show those 'Merican lady how to sit Japanese way. See ! You do same like me. (Sinks gracefully to her knees, then sits back, opens her fan and poses gracefully.) Helen. I can't ! And if I should manage it, I'd never be able to get up without assistance. I'll stand, thank you. O Joy San. Will you have tea, augustness? Mrs. Shaw. Yes, please, and something to eat. I'm famished. O Joy San (claps her hands twice). Otako enters R. 2 E. O Joy San. Tea — katsuobushi. Otako. Ai. (Bows, exits R. 2 E.) Mrs. Shaw. How long have you been married to my son? O Joy San. Six months. Mrs. Shaw. Of course you understand this marriage is only temporary — you did not expect it would last for always, did you? O Joy San. Honorable Stephen Alexander Shaw, he say he marry me for all times. Helen (impatiently). But you know that is impossible! O Joy San (to Helen). You say he engaged to you. Why you not marry him? Helen. That is none of your .business. Mrs. Shaw (to Helen). My dear, this little lady is our hostess. She has received us kindly. At least let your breeding equal hers. (To O Joy San.) My son and Miss Reese had a misunderstanding — their engagement was broken — he came to Japan a very sad and disappointed man. It was in that mood, I suppose, that he met and mar- ried you. O Joy San (pathetically). You think so? May be you have come to take him away to those United States, eh? 10 O JOY SAN May be I never see him again. (Stephen is heard whist- ling outside. O Joy San jumps to her feet happily and runs up to center arch.) Oh, there is honorable O-Shaw now. (Mrs. Shaw rises, but she and Helen remain down L. so that Stephen does not see them immediately.) Stephen appears at center arch. Stephen. Ah, there you are, you little bunch of sweet- ness. Glad to see me, eh? (Puts his arm around O Joy San and leads her down R.) O Joy San. Ai. Me most happy. There is most honor- able ladies wait for to see you. (Indicates Mrs. Shaw and Helen.) Stephen. What! (Turns and sees them for the first time.) Mother! Well, of all the — (takes mother in his arms). Come here, you old fraud! Why didn't you let me know you were coming? (Kisses his mother and releases her. Shakes hands with Helen.) And Helen Reese, of all people in the world ! Mrs. Shaw (pats the tears from her eyes with her hand- kerchief). My dear boy, your mother hasn't seen you for a whole year. Don't you suppose I — I — Stephen (puts his arm around Mrs. Shaw affection- ately). Why, you old darling, I'm tickled to death to see you. But you should have written me you were coming. Mrs. Shaw. And you would have written us to stay at home. Stephen. You have already met my wife? (Holding out his hand to O Joy.) Mrs. Shaw. She looks for all the world like a Japanese doll. Stephen. She is the dearest little thing in the world. I call her O Joy. Mrs. Shaw. And she calls you O-Shaw ! Stephen (laughs). Did she tell you? I think it's cute! Helen. Possibly. But it would sound rather odd among your friends at home. Stephen. My friends at home may never have the pleas- ure of hearing it. O JOY SAN 11 Helen (pleased). Ah, then, you don't contemplate tak- ing her back with you. Stephen. No— for the very simple reason that I don't contemplate going back myself. Otako enters R. 2 E. with tray containing tea cups, pot of tea and some small dishes containing bits of dried fish. Places tray on floor in front of O Joy San, who kneels right of chair, preparing to serve. Otako stands near OJOY. O Joy San. Honorable mother-in-law is hungry. Please be seat. Mrs. Shaw (speaks to Stephen as she sits in chair). My dear, tell her to stop calling me "mother-in-law." Stephen (ds he places chair for Mrs. Shaw). Ah, if you but knew in what esteem mothers-in-law are held in Japan, you wouldn't object. Helen (wearily). May I sit down, please? I've been standing for hours. Stephen (laughs). Sorry, Miss Reese, but there's only one chair in the house. (Otako quickly places extra mats on floor whenever anyone sits on floor.) Come, try this! It's easy after the first time. (Stephen sinks to his knees on mat.) Helen. . I simply can't do it ! O Joy San (has been busy pouring tea in cups, she now gives a cup of tea and small dish of the dried fish to Otako.) For honorable O-Shaw. (Otako takes the refreshments to Stephen, who is sitting on opposite side of the chair.' O Joy looks toward Helen, who is standing.) What is mat- ter? Honorable lady no got knees? (Stephen laughs. Helen glares angrily.) Mrs. Shaw (noticing that Stephen is being served first, speaks to O Joy). Ladies first, my dear. Stephen (taking cup and dish from Otako). Not in Japan, Mother. Here is one spot on the globe where poor man comes first. O Joy San (giving another cup and dish to Otako). For those august mother-in-law. 12 O JOY SAN Mrs. Shaw. There she goes again. (Takes cup and dith . from Otako.) O Joy San {same business). For Mees Grease — Helen. Miss Reese — if you please! (Otako serves Helen.) Mrs. Shaw {drinks tea, then tastes the fish, puts it away with a wry face). What in the world is this? O Joy San {disappointed). You no like? Stephen. Oh, don't turn that down, Mother. That's O Joy's favorite dish. She serves that to only very special guests. Helen {tastes it). Merciful heavens ! It tastes like — er — like— Mrs. Shaw. Never mind what it tastes tike ! What is it? Stephen. It's fish. Helen. Impossible! How is it cooked? Stephen. It isn't cooked at all. It is raw and dried. {Both ladies hand back the dishes to Otako, who seems surprised that they do not like it.) Mrs. Shaw. I thought I was hungry — but I'm not. Helen. Here, girl, take it away. Stephen {laughs). Never mind, Mother. I'll see that you have something a la American. (Gives his cup to Otako, who puts them all back on tray.) Mrs. Shaw. I couldn't eat a thing! My appetite has gone ! Besides, I want to have a serious talk with you. (Rises.) 'Stephen (rises). All right, old dear. I'll ask O Joy to excuse us. (O Joy has been helping Otako with the tea things. Otako exits when she has them all on tray, R. 2 E.) O Joy, dear, my mother wishes to talk with me. Will you be good enough to excuse us a few moments? O Joy San (bowing). Ai, me excuse.. When most hon- orable husband desire my unworthy presence, me return. (Exits, bowing R. 2 E.) Helen. Good gracious ! Imagine an American wife kow- tow-ing to her husband like that ! Stephen. Wouldn't suit you, would it, Helen? O JOY SAN 13 Helen. I should say not! If there is any kow-tow-ing to be clone, the husband will do it. Stephen (amused). And to think how close I came to marrying you ! Mrs. Shaw. My dear Stephen, I must say I am disap- pointed in your attitude. I had hoped to find you ready to listen to reason. Stephen. I am. What do you call reason? Mrs. Shaw. I thought, after a whole year in this heath- enish country, you would be anxious to return with us to the States, but I find you disgustingly satisfied with your surroundings. Stephen. My dear mother, I love you very much, but I have no intention of going back home with you. Besides, I am responsible for the Tokio branch of the business, of which father is president. Mrs. Shaw. I have brought with me from your father permission for you to return with us. He has a man ready to sail on the next steamer to take your place here, in case I cable him. Stephen. Is father dissatisfied with my work here? Mrs. Shaw. No, he is more than pleased ; but he knows that I want you at home and he did this to please me. Stephen. And Miss Reese — what part does she play? Mrs. Shaw. I thought the sight of the girl you once loved might help to win you. Helen (crosses to Stephen). See here, Stephen, let's be honest with each other. I will acknowledge I treated you badly a year ago — but I've had all this time to come to my senses. I know how you feel towards me. Your pride was hurt when I broke off our engagement, and you came here and married this Japanese doll to get even. I am will- ing to forgive and forget if you are. We are sailing on the next steamer — pack your things and come with us. I want you, Stephen. I am humbling myself to say that. I want you. (Holds out her hand to him.) Stephen (has stood quietly looking at her while she spoke). I am sorry, Helen, that you have gone to all this 14 O JOY SAN trouble. You are wrong about my being bitter — I'm not! I was a year ago, but O Joy soon drove that out of me; and now I tell you, in all sincerity, that I love no woman in the whole world but my own little Japanese wife. (Helen drops her hand to her side, turns up stage and stands look- ing out in the garden, with her back to the others.) Mrs. Shaw. Well, of course, if that is the way you feel, there is no use saying anything else. Stephen (pats her shoulder good-naturedly) . Not a bit, Mother dear. No one but O Joy herself can ever drive me away from her. (Mrs. Shaw registered the fact that an inspiration has come to her. She repeats his words.) Mrs. Shaw. No one but O Joy herself ! Stephen. Correct. Helen (returning down stage). Your predecessor at the bank, Mr. Seymour, had a Japanese wife when he was here, but he did not think it necessary to take her with him when he returned home. He said it was an understood thing that these marriages were only temporary. In fact, these girls did not want them to be anything else. They always married one of their own race afterwards on the money the Ameri- can husband left them. Stephen. Yes, I heard all that from Seymour himself. This was his house. That little maid, Otako, was his wife. He left her without a twinge of conscience. Helen. But he gave her money to live on comfortably, and he said she was perfectly satisfied to have him go. Stephen. Because she bade him goodbye with a smile on her lips. These women are taught from infancy to hide their sorrows ; they will not make the one they love unhappy, no matter what the sacrifice. Let me tell you something about Seymour's case. A few weeks after he left I hap- pened to find Otako one morning, when she thought herself alone, hugging to her breast and weeping over a piece of soiled silk — it was an old tie that Seymour had discarded when he left. That bit of rag is all she has to remember him by, and she cherishes it as if it were something sacred. O JOY SAN 15 Sometimes, when a Japanese woman is smiling the bright- est, her heart is breaking. Mrs. Shaw. Well, there is no use in continuing the sub- ject at this time. I still hope to take you back with us.. Stephen {smiling). Not a chance, Mother dear. Mrs. Shaw. Will you see us back to the hotel? Helen and I have been on the go since we arrived and we are both in need of a little rest. Helen. That jinrickisha almost finished me. Stephen. Why go back to the hotel ? Why not rest here ? Mrs. Shaw. I see nothing to rest on except the floor, and I seriously object to that. Helen. If I don't sit down soon, I'll drop. Stephen (laughs). Come, let me show you my room. (Opens door L. 2 E.) All the comforts of home. There's a real bed, and if you want my chair, I'll bring it in. Mrs. Shaw. No, I've gotten past the chair stage. I want a bed — just for a fifteen minute nap. Are you with me, Helen? Helen (wearily). With heart and soul. Stephen claps his hands twice. Otako enters R. 2 E. Stephen (to Otako). Ask your mistress to come. Otako. Ai. (Exits R. 2 E.) Helen (looking after Otako). So that was Seymour's wife? Stephen. Yes. When I took this house off his hands I engaged Otako as cook. Enter O Joy San R. 2 E., bows. O Joy San. You want me, augustness? Stephen. Yes. My mother and Miss Reese are going to lie down for a few moments. Will you put some pil- lows on the bed ? O Joy San (in surprise). Those honorable ladies going to sleep in daytimes? What's matter — him sick? Stephen. No, dear, just a little tired. O Joy San. Oh. I fix those pillows. (Runs gracefully across stage and exits L. 2 E.) 16 O JOY SAN Mrs. Shaw. Come along, Helen. (Exits L. 2 E. after O Joy.) Helen (turns back to Stephen). Stephen, are you seri- ous in this? Are you going to make me humble myself more than I have already? Stephen. I thought I had made myself plain, Helen. Helen (slips her arm through his and looks pleadingly into his face). I won't believe it. You are only trying to hurt me in return for what I did a year ago. You loved me then — you can't have forgotten so soon. Stephen (puts his hand on her shoulder to hold her off). My dear girl, I shall always value you as a friend, but the time has gone when I could say that I love you. O Joy San comes to door L. 2 E. in time to hear Ste- phen's last few words, "I love you," and to see Helen clinging to him. She leans against the door for support, but tries to force a smile by the time they see her. O Joy San. Those honorable bed is ready, augustness. Helen (turns, sees O Joy San and realises that she must have heard.) Oh, thank you. (Crosses toward door L. 2 E.) O Joy San (bows respectfully as Helen crosses). Me hope you sleep good. (Helen exits L. 2 E., closes door zvithout further noticing O Joy.) Stephen. Well, O Joy, what do you think of my hon- orable mother? O Joy San (sadly). She very fine lady, but she no like O Joy. Stephen (shakes her affectionately by. the shoulders). Nonsense ! You must not think that. Mother is the best old sport in the world — -she is going to love you to death when she knows you better. O Joy San (shakes her head). She no like Japanese girl for daughter-in-law. She going to take you back to those United States, maybe ? (Looks up into his face searchingly.) 1 Stephen. She is not ! No one but you, yourself, O Joy, shall ever send me away from you. O Joy San (zuith a smile). Oh, that's nice. Stephen. Tell me what you have been doing all day? O JOY SAN 17 O Joy San. I study those 'Merican languages. I put all nice words down in book. See. {Takes small notebook and pencil out of kimono sleeve.) You say just now your hon- orable mother "old sport." I like that. I put him down in book. {Writes in book.) Stephen {laughs). Good heavens ! I'll have to be careful. O Joy San. Every day I learn new 'Merican word. Stephen. Do you know, O Joy, you're getting prettier all the time? O Joy San. Those Mees Grease — she pretty, too, you think ? Stephen. Oh, yes, Helen is not a bad looker. O Joy San. You love her once, she say. Stephen {laughs). Yes, a year ago I thought I couldn't live without her. A man's a funny animal, isn't he, O Joy ? O Joy San {seriously). Yes — he dog-gone funny. Stephen {shocked). O Joy, where do you get such lan- guage ? O Joy San. You say him. Stephen. Well, here's where I swear off right now. You must learn from your English teacher — not from me. O Joy San. My English teacher say, "Where you learn those words?" I say, "From my honorable husband." He say, "Those bad words." Then I hit him on bean with book and walk out. Stephen {laughs). My dear girl, he'll never come back. O Joy San. I should worry ! Yushi enters through center arch with note, which he gives to Stephen, bows and returns to arch as if to exit. Stephen {opening the note). Wait a minute, Yushi. (Yushi pauses at arch. Stephen reads the note, speaks to O Joy.) I've got to run over to the bank for a moment. {To Yushi.) Get the 'rickshaw, Yushi. Yushi. Ai. {Bozvs and exits quickly C.) Stephen. O Joy, tell my mother — never mind, I'll tell her myself. {Knocks at door L. 2 E. Calls.) Hello, Mother — awake ? Mrs. Shaw {from inside). Yes, what is it? 18 O JOY SAN Stephen. I am running over to the bank for a few mo- ments. Don't go until I get back. Mrs. Shaw (inside). All right. Stephen (takes his hat, goes to center arch). I won't be long, O Joy. (Exits.) O Joy San (bows respectfully to him). Sayonara, Hon- orable. After Stephen exits, O Joy goes up to center arch, looks after him, then turns and comes down to center of the stage, pauses and glances at the door L. 2 E. with the thought in her mind that the women behind that door have come to take her husband away; then she turns and is about to exit R. 2 E., when Mrs. Shaw, followed by Helen, enter L. 2 E. O Joy pauses at the sound of Mrs. Shaw's voice. Mrs. Shaw (as she enters). Oh, don't go, girl; I want to speak to you. O Joy San (turns and bows .respectfully) . All right, old sport. Mrs. Shaw (shocked). Old sport! Helen (laughs). Quite different from "Honorable moth- er-in-law." (Bows in imitation of O Joy.) Mrs. Shaw (to Helen). Be quiet! This is our chance. O Joy San. Will honorable ladies sit down? Mrs. Shaw. See here, young woman, I want to talk with you plainly. What will you take to release my son from this so-called marriage with you? O Joy San. Excuse. Me not understand. Mrs. Shaw. Oh, yes, you do. Drop that baby talk and let us arrange this matter before Stephen returns. O Joy San. May be those honorable mother-in-law ex- plain. Mrs. Shaw. I am not your mother-in-law. I do not recognize this arrangement my son has entered into. I will never receive you as my daughter. Do you understand that ? O Joy San (softly). Ai. Helen (to O Joy). See here, you little simpleton, you don't dream that he really loves you, do you ? Can't you un- derstand that he married you because he was angry with me? O JOY SAN 19 Didn't you see me in his arms a few moments ago ? He re- grets with all his soul that he has done this thing, but he is a man of honor and he doesn't see his way out — unless you show it to him. O Joy San. Me show him — what you mean ? Mrs. Shaw. My son has said that he will not leave you unless you tell him to go. I want to know what price you will take to do that? O Joy San. Me — tell — him — to — go? Mrs. Shaw. Yes. You are standing in the way of all his future prospects. You are making him an exile from his home, his parents and his friends. See here. (Takes let- ter from bag.) Here is a letter from his father asking him to come home — but he cannot so long as you hold him here. O Joy San (patiently). I not hold him. Helen. Of course you do. O Joy San. I would go to those United States with him. Helen (laughs). You! Why, you would make a laugh- ing stock of him among his friends, with your funny clothes and pidgin English. (Turns O Joy around for inspection.) Fancy this walking down Fifth Avenue by his side. Mrs. Shaw (to Helen). It will not do to antagonize her. Let me handle her. O Joy San (almost in tears). You excuse? Me like for to go. (Bows to them and turns toward door R. 2 E.) Mrs. Shaw. No ! We must settle this thing now. (Takes roll of money from her bag.) See here. I don't know how much you were hoping to get from my son — but I will double it, whatever it was. Here is -five hundred dol- lars — all I have with me — but I will send you as much more as you ask — if you will give me your word to release him. O Joy San. You make mistake — me no want for money — me only want him — Helen (angrily). The little wretch. She's cleverer than we expected. Mrs. Shaw. I have evidently not offered enough. (To O Joy.) Can't you understand? I will give you all the money you ask — only name it — to give my son back to me. 20 O JOY SAN O Joy San. All the money in the world would not be enough. I no sell him. But — if he not want to stay, I give him to you. Helen. But as long as he thinks you care, he will not go. Don't you understand — you must make him believe you want him to go. O Joy San. .You mean to tell him lie? Helen. Certainly. O Joy San. But I love him. Mrs. Shaw. If you loved him you would not stand in, his way. You would not hesitate to make this sacrifice for him. O Joy San {pathetically). It will be for his good if I send him away? Helen. Now she is beginning to understand. Mrs. Shaw. Yes — it will be for his good — and some day he will thank you for it. Now, be guided by me. My son may return at any moment. Take this money — {forces roll of bank notes into Joy's hand) — and when Stephen re- turns tell him that you wish to marry a man of your own race, and that I have promised you more money than you expected to get from him. You must brighten up and act as if you meant it. Do you understand? O Joy San {sadly). Ai. You think he will believe me? Mrs. Shaw. That depends on you. If you are going to look like that, he won't. He said you Japanese women could smile when your hearts were breaking. Let us see how clever you can be. Helen. My dear, do you think you can trust her? O Joy San {quietly). You need not be afraid, lady. If those honorable O-Shaw want to go, I will not hold him. Mrs. Shaw. Good. Then order his things packed at once. We must be ready to leave the moment we convince him. O Joy San {claps hands twice). Ai. {Behind O Joy's back Mrs. Shaw and Helen enchange a quick glance of satisfaction.) O JOY SAN 21 Otako enters R. 2 E. O Joy speaks to her in lifeless tone. O Joy San. Go to honorable master's room — pack all his things. (Otako looks in amazement at O Joy, then at the other two women, but crosses stage obediently to door opposite and exits L. 2 E. O Joy remains down stage R. facing audience, the money held loosely in her closed hand — the left one. She seems to be in a daze. Mrs. Shaw and Helen are down stage, left of center.) As soon as Otako exits, Yushi appears at the center arch, pauses there without entering room, says to O Joy — Yushi. The master comes. (B.ows and exits the way he came. O Joy starts but does not change her position. Mrs. Shaw speaks to her from across the stage.) Mrs. Shaw. Remember your promise ! Enter Stephen, C, whistling as he approaches, speaks just as soon as he reaches the entrance. Stephen. Hello, everybody. I wasn't long, was I? Well, Mother, did you have your nap? (Throws his hat carelessly into chair and then notices the strained attitude of O Joy.) Why — what's the matter? Mrs. Shaw. Stephen, your — er — wife and I have had an understanding. She has admitted to me that money was her whole object in this transaction. She has accepted from me five hundred dollars, with the promise of more, and now she is willing for this relationship between you to cease, as she desires to marry a man of her own race. Is this not true, O Joy San? (Pause.) Answer! O Joy San (without looking at them). Ai. Stephen. So! (Crosses to O Joy San.) Look at me, O Joy. (She does not look. He takes her gently by the shoulders and makes her face him. He then sees the money, opens her hand and looks at it.) So you have sold me for five hundred dollars, eh? It didn't take you long to make the bargain. Helen. Money is understood in all languages. Stephen. What part had you in this, Helen ? 22 O JOY SAN Mrs. Shaw. None. The girl was only too willing. Stephen {looking at the drooping figure of O Joy — then at the other two — he smiles). I'm sorry, ladies, but you can't pull the wool over my eyes like that. Mrs. Shaw. Stephen, do you doubt my word? Stephen. Oh, I wouldn't go as far as that — but — {looking at O Joy San) — O Joy will have to tell me herself. Mrs. Shaw {irritably to O Joy San). What is the mat- ter with you, girl? You could talk well enough a few mo- ments ago. O Joy San {still not looking at them). What your hon- orable mother say is true — here is the money. {Holds out hand with money.) Otako enters L. 2 E .with two traveling bags, sets them on stage near L. 2 E., then she crosses to R. 2 E. and exits. Stephen {looks on in surprise). Oh, I'm all packed up and ready to go, eh ? Well, I guess that settles it. "Here's your hat — what's your hurry?" Mrs. Shaw. If you had any pride at all, I don't see how you can remain here another instant. Come — let us go. Stephen claps his hands at center arch. Yushi appears. Stephen. Take those bags over to the bank. (Yushi quickly takes the bags and exits C.) (Stephen to Mrs. Shaw.) Now, ladies, I'll see you to the hotel. If I am leaving with you on the next steamer, I shall have to straighten out some business matters this afternoon. Mrs. Shaw {highly pleased). Certainly, dear. Come, Helen. {The two ladies go to center arch, pause there and look back at Stephen and O Joy San.) Stephen {to O Joy San). Well, goodbye, O Joy. It is hardly worth while adding to the pleasure of the occasion by saying that I am deeply hurt, and very much disap- pointed in you. I thought I knew you better. However, I suppose we shall both get over it in time. I wish you happiness, and, as money seems to be what you most desire, I will add a substantial check to what my mother has al- ready given you. {Holds out his hand.) Goodbye, O Joy. O JOY SAN 23 O Joy San {controlling herself with difficulty, takes his hand listlessly.) Goodbye, augustness. Stephen {drops her hand, turns up stage). All right, Mother. Lead the way. (Mrs. Shaw, Helen and Stephen exit through cento- arch, going R. Stephen is in the rear and he casts a side glance toward O Joy as he goes off. O Joy stands motion- less until they have gone. Then she gives way to her sor- row.) O Joy San. Him gone — him gone — forever! {Clasps her hands together — discovers the money there — looks at it with hate.) You — you! {Tears the notes fiercely into bits and stamps on them.) Me hate you — hate you — hate you ! {Drops on her knees after her anger is spent — clasps her hands tightly together — cries softly.) They made me lie to you — they made me lie to you. Now you going back to those big United States and O Joy never see you again. I no want all that money — I only want you — oh, how I going to live without you? {Buries her face in her hands and cries.) Stephen appears quietly in center entrance, looks about, locates his hat, takes it from chair and without looking once at the weeping figure of O Joy San, puts it on and starts up stage resolutely. He stops at entrance, turns and looks at O Joy San. He shows feeling and then notices the torn bits of money scattered about her. He comes down a little to make sure, then throws away his hat, puts his arms ten- derly about her and raises her to her feet. Stephen. My little wife, why — why did you try to fool me like this? O Joy San {clinging to him). You — you come back — you no go Stephen. Of course I'm not going. O Joy San. But your honorable mother and — Stephen. Oh, I'm up to mother's tricks. I'll send them both home about their business. O Joy San. Her money — her most august money? 24 O JOY SAN Stephen. I see you didn't treat it very augustly. I hope it will teach her a lesson that there are other things besides money in the world. • O Joy San. And you going to stay with O Joy always — forever and ever? Stephen. Forever and ever. O Joy San (stands off from him a bit). And you very sure you love me? Stephen. Love you? (Opens his arms to her.) O Joy! O Joy San (runs happily into his arms). O-Shaw! Curtain. DENISON'S ACTING PLAYS Partial List of Successful and Popular Plays. Large Catalogue Free Trial of Hearts, 4 acts, 2J4 hrs. (25c) 6 18 Trip to Storyland, 1J4 hrs.(25c) 17 23 Uncle Josh, 4 acts, 2%. hrs.(25c) 8 3 Under Blue Skies, 4 acts, 2 hrs (25c) 7 10 When Smith Stepped Out, 3 acts, 2 hrs (35c) 4 4 Winning Widow, 2 acts, V/ 2 hrs. (25c) 2 4 Women Who Did, 1 hr...(25c) 17 FARCES, COMEDIETAS, Etc. Price 15 Cents Each All on a Summer's Day, 40 min. 4 6 April Fools, 30 min 3 Assessor, The, 10 min 3 2 Aunt Harriet's Night Out, 35 min 1 2 Baby Show at Pineville, 20 min. 19 Billy's Chorus Girl, 25 min... 2 3 Billy's Mishap, 20 min 2 3 Borrowed Luncheon, 20 min.. 5 Borrowing Trouble, 20 min. ... 3 5 Case Against Casey, 40 min... 23 Country Justice, 15" min 8 Cow that Kicked Chicago, 20 m. 3 2 Divided Attentions, 35 min... 1 4 Family Strike, 20 min 3 3 First-Class Hotel, 20 min .... 4 For Love and Honor, 20 min. .2 1 Fudge and a Burglar, 15 min.. 5 Fun in Photo Gallery, 30 min.. 6 10 Getting Rid of Father, 20 min. 3 1 Great Medical Dispensary, 30 m. 6 Great Pumpkin Case, 30 min.. 12 Hans Von Smash, 30 min.... 4 3 Initiating a Granger, 25 min.. 8 Irish Linen Peddler, 40 min... 3 3 Kansas Immigrants, 20 min... 5 1 Lottie Sees It Through, 35 min. 3 4 Men Not Wanted, 30 min 8 Mother Goose's Goslings, 30 m. 7 9 Mrs. Jenkins' Brilliant Idea, 35m. 8 Mrs. Stubbins' Bdok Agent, 30 m. 3 2 Not a Man in the House, 40 m. 5 Pair of Lunatics, 20 min 1 1 Patsy O'Wang, 35 min 4 3 Pat, the Apothecary, 35 min.. 6 2 Persecuted Dutchman, 30 min. 6 3 Please Pass the Cream, 20 min. 1 1 Second Childhood, 15 min.... 2 2 Shadows, 35 min 2 2 Sing a Song of Seniors, 30 min. 7 Smith's Unlucky Day, 20 min.. 1 1 Taking Father's Place, 30 min. 5 3 That Rascal Pat, 30 min...!. 3 2 Too Much of a Good Thing, 45 min 3 6 Turn Him Out, 35 min 3 2 Two Aunts and a Photo, 20 m. 4 Two Gentlemen in a Fix, 15 m. 2 Two Ghosts in White, 20 min . . 8 M. F. Two of a Kind, 40 min 2 3 Uncle Dick's Mistake, 20 min.. 3 2 Wanted a Correspondent, 45 m. 4 4 Watch, a Wallet, and a Jack of Spades, 40 min 3 6 Whole Truth, 40 min 5 4 Who's the Boss ? 25 min 3 6 Wide Enough for Two, 45 min. 5 2 Wrong Baby, 25 min. 8 VAUDEVILLE SKETCHES, MON- OLOGUES, ETHIOPIAN PLAYS. Price IS Cents Each Amateur, 15 min 1 1 At Harmony Junction, 20 min. 4 Axin' Her Father, 25 min 2 3 Booster Club of Blackville, 25 m.10 Breakfast Food for Two, 20 m. 1 1 Cold Finish, 15 min 2 1 Colored Honeymoon, 25 min... 2 2 Coon Creek Courtship, 15 min. 1 1 Coming Champion, 20 min.... 2 Coontown Thirteen Club, 25 m.14 Counterfeit Bills, 20 min 1 1 Darktown Fire Brigade, 25 min. 10 Doings of a Dude, 20 min 2 1 For Reform, 20 min 4 Fresh Timothy Hay, 20 min.. 2 1 Glickman, the Glazier, 25 min. 1 1 Good Mornin' Judge, 35 min.. 9 2 Her Hero, 20 min 1 1 Hey, Rube! 15 min 1 Home Run, 15 min 1 1 Hungry, 15 min 2 Little Miss Enemy, 15 min.... 1 1 Little Red School House, 20 m. 4 Love and Lather, 35 min 3 2 Marriage and After, 10 min.. 1 Memphis Mose, 25 min 5 1 Mischievous Nigger, 25 min ..42 Mr. and Mrs. Fido, 20 min 1 1 Oh, Doctor! 30 min 6 2 One Sweetheart for Two, 20 m. 2 Oyster Stew, 10 min 2 Pete Yansen's Gurl's Moder, 10m. 1 Pickles for Two, 15 min 2 Si and L 15 min.. 1 Special Sale, 15 min 2 Street Faker, 15 min 3 Such Ignorance, 15 min 2 Sunny Son of Italy, 15 min.. 1 Time Table, 20 min 1 1 Tramp and the Actress, 20 min. 1 1 Troubled by Ghosts, 10 min... 4 Troubles of Rozinski, 15 min.. 1 Two Jay Detectives, 1 5 min . . 3 Umbrella Mender, 15 min.... 2 What Happened to Hannah, 15m. 1 1 A great number of Standard and Amateur Plays not found here are listed in Denison's Catalogue T. S. DEN ISO N & COMPANY, Publishers , 1 54 W. Randolph St. , Chicago LIBRftRY OF CONGRESS POPULAR ENTERTAI Price, Illustrated Paper Cov IN this Series are found books touching- every feature in the enter- tainment field. Finely made, good paper, clear print and each book has an attractive individual cov- er design. A Partial List DIALOGUES All Sorts of Dialogues. Selected, fine for older pupils. Catchy Comic Dialogues. Very clever; for young people. Children's Comic Dialogues. From six to eleven years of age. Country School Dialogues. Brand new, original. Dialogues for District Schools. For country schools. Dialogues from Dickens. Thirteen selections. Friday Afternoon Dialogues. Over 60,000 copies sold. From Tots to Teens. Dialogues and recitations. Humorous Homespun Dialogues. For older ones. Little People's Plays. From 7 to 13 years of age. Lively Dialogues. For all ages; mostly humorous. Merry Little Dialogues. Thirty-eight original selections. When the Lessons are Over. Dialogues, drills, plays. Wide Awake Dialogues. Original successful. SPEAKERS, MONOLOGUES Choice Pieces for Little People. A child's speaker. The Comic Entertainer. Recitations, monologues, dialogues. Dialect Readings. Irish, Dutch, Negro, Scotch, etc. The Favorite Speaker. Choice prose and poetry. The Friday Afternoon Speaker. For pupils of all ages. Humorous Monologues. Particularly for ladies. Monologues for Young Folks. Clever, humorous, original. 015 939 510 8 Mor >rous. Scrap- Book Recitations. Choice collections, pathetic, hu- morous, descriptive, prose, poetry. 15 Nos., per No. 35c DRILLS The Best Drill Book. Very popular drills and marches. The Favorite Book of Drills. Drills that sparkle with originalit". Little Plays With Drills. For children from 6 to 11 years. The Surprise Drill Book. Fresh, novel, drills and marches. SPECIALTIES The Boys' Entertainer. Monologues, dialogues, drills. Children's Party Book. Invitations, decorations, games. The Christmas Entertainer. Novel and diversified. The Days We Celebrate. Entertainments for all the holidays. Good Things for Christmas. Recitations, dialogues, drills. Good Things for Sunday Schools. Dialogues, exercises, recitations. Good Things for Thanksgiving. A gem of a book. Good Things for Washington and Lincoln Birthdays. Little Folks' Budget. Easy pieces to speak, songs. One Hundred Entertainments. New parlor diversions, socials. Patriotic Celebrations. Great variety of material. Pictured Readings and Tableaux. Entirely original features. Pranks and Pastimes. Parlor games for children. Shadow Pictures, Pantomimes, Charades, and how to prepare. Tableaux and Scenic Readings. New and novel; for all ages. Twinkling Fingers and Sway- ing Figures. For little tots. Yuletide Entertainments. A choice Christmas collection. MINSTRELS, JOKES The Black-Face Joker. Minstrels' and end men's gags. A Bundle of Burnt Cork Comedy. Monologues, stump speeches, etc. Laughland,via the Ha-Ha Route. A merry trip for fun tourists. Negro Minstrels. All about the business. The New Jolly Jester. Funny stories, jokes, gags, etc. Large Illustrated Catalogue Free T.S.DENISON & COMPANY, Publishers,154W. Randolph St., Chicago