u£f pmateur DENISON'S ACTING PLAYS Partial List of Successful and Popular Plays. Large Catalogue Free. Price 15c each, Postpaid, Unless Different Price Is Given DRAMAS, COMEDIES, ENTERTAINMENTS, Etc. M. F. Aaron Boggs, Freshman, 3 acts, 2y 2 hrs (25c) 8 8 After the Game, 2 acts, 154 hrs (25c) 1 9 All a Mistake, 3 acts, 2 hrs. (25c) 4 4 American Hustler, 4 acts, 2 l / 2 hrs .(25c) 7 4 Arabian Nights, 3 acts, 2 hrs. 4 5 As a Woman Thinketh, 3 acts, 2Y 2 hrs ....(25c) 9 7 At the End of the Rainbow, 3 acts, 254 hrs (25c) 6 14 Bank Cashier, 4 acts, 2 hrs. (25c) 8 4 Black Heifer, 3 acts, 2 hrs. (25c) 9 3 Brookdale Farm, 4 acts, 2J4 hrs (25c) 7 3 Brother Josiah, 3 acts, 2 hrs. (25c) 7 4 Burns Rebellion, 1 hr (25c) 8 5 Busy Liar, 3 acts, 2% hrs. (25c) 7 4 College Town, 3 acts, 2 J4 hrs (25c) 9 8 Corner Drug Store, 1 hr. (25c) 17 14 Danger Signal, 2 acts, 2 hrs. . 7 4 Daughter of the Desert, 4 acts, 2J4 hrs (25c) 6 4 Down in Dixie, 4 acts, 2v£ hrs <25c) 8 4 Dream That Came True, 3 acts, 2% hrs (25c) 6 13 Editor-in-Chief, 1 hr....(25c) 10. Enchanted Wood, 1& h.(35c).Optnl. Everyyouth, 3 acts, 1 l / 2 hrs. (25c) 7 6 Face at the Window, 3 acts, 2 hrs (25c) 4 4 Fascinators, 40 min (25c) 13 Fun on the Podunk Limited, 1% hrs (25c) 9 14 Heiress of Hoetown, 3 acts, 2 hrs (25c) 8 4 High School Freshman, 3 acts, 2 hrs (25c) 12 Honor of a Cowboy, 4 acts, 2^ hrs (25c) 13 4 Indian Davs, 1 hr (50c) 5 2 In Plum Valley, 4 acts, 254 hrs (25c) 6 4 Iron Hand, 4 acts, 2 hrs. . (25c) 5 4 Jayville Junction, 1% hrs.(25c) 14 17 Kingdom of Heart's Content, 3 acts, 254 hrs (25c) 6 12 Lexington, 4 acts, 2J4 h..(25c) 9 4 M. F. Light Brigade, 40 min (25c) 10 Little Buckshot, 3 acts, 2*4 hrs. (25c) 7 4 Lodge of Kye Tyes, 1 hr. (25c) 13 Lonelyville Social Club, 3 acts, 154 hrs (25c) 10 Man from Borneo, 3 acts, 2 hrs (25c) 5 2 Man from Nevada, 4 acts, 2% hrs (25c) 9 5 Mirandy's Minstrels (25c) Optnl. New Woman, 3 acts, 1 hr,... 3 6 Old Maid's Club, 1J4 hrs. (25c) 2 16 Old Oaken Bucket, 4 acts, 2 hrs (25c> 8 6 Old School at Hick'ry Holler, 1J4 hrs (25c) 12 9 On the Little Big Horn, 4 acts, 2y 2 hrs (25c) 10 4 Out in the Streets, 3 acts, 1 hr. 6 4 Prairie Rose. 4 acts, 2 l / 2 hrs. (25c) 7 4 Rustic Romeo, 2 acts, 2 54 hrs (25c) 10 12 School Ma'am, 4 acts, 1^4 hrs. 6 5 Scrap of Paper, 3 acts, 2 hrs.. 6 6 Soldier of Fortune, 5 acts, 2 1 / £ h. 8 3 Southern Cinderella, 3 acts, 2 hrs (25c) 7 Third Degree, 40 min (25c) 12 Those Dreadful Twins, 3 acts, 2 hrs (25c) 6 4 Tony, The Convict, 5 acts, 254 hrs ,(25c) 7 4 Topp's Twins, 4 acts, 2 h. (25c) 6 4 Town Marshal, 4 acts, 254 hrs (25c) 6 3 Trip to Storyland, 154 hrs. (25c) 17 23 Uncle Josh, 4 acts, 254 hrs. (25c) 8 3 Under Blue Skies, 4 acts, 2 hrs (25c) 7 10 Under the Laurels. 5 acts, 2 hrs. 6 4 When the Circus Came to Town. 3 acts, 254 hrs. (25c) 5 3 Women Who Did, 1 hr. . . (25c) 17 Yankee Detective, 3 acts, 2 hrs. 8 3 FARCES, COMEDIETAS, Etc. April Fools, 30 min 3 Assessor, The, 10 min 3 2 Baby Show at Pineville, 20 min. 19 Bad Job, 30 min 3 2 Betsy Baker, 45 min 2 2 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 Box and Cox, 35 min 2 1 Case Against Casey, 40 min... 23 Convention of Papac, 25 min.. 7 Country Justice. 15 min 8 Cow that Kicked Chicago, 20 m. 3 2 T.S.DENISON & COMPANY, Publishers, 154 W.Randolph St., Chicago SHADOWS A PLAY OF THE SOUTH IN ONE ACT BY MARY MONCURE PARKER AUTHOR OF The Old Oaken Bucket/' "Husbands is Husbands," "When Lu- cindy Goes to Town," Etc. CHICAGO T. S. DENISON & COMPANY Publishers SHADOWS CHARACTERS. PROLOGUE AND THE AWAKENING. Robert Ashton Virginia's Sweetheart Aunt Geranium An Old Colored Mammy Virginia Lee . . . A Southern Maid THE DREAM. Gordon Sanford A Soldier, in Love with Alice Harold Hale The Successful Rival Mrs. Horace Fairfax A Stern Mother of Long Ago Alice Fairfax Her Dutiful Daughter Time — Today and a Dream of the Past. Time of Playing — About Thirty- five Minutes. TMP96-0G6840 COPYRIGHT, 1915, BY EBEN H. NORRIS. ^ /J ©)C!.D 401 66 SHADOWS. 3 STORY OF THE PLAY. Virginia Lee's mother insists upon her marriage with a rich suitor, who has agreed to restore their impoverished estate. Virgina has a sweetheart of her childhood days and hesitates in making a choice, but finally decides upon wealth instead of love. At the opening of the play, Virginia has stopped at the cabin of Aunt Geranium, an old colored mammy, who has spent her life in the Lee household. Aunt Geranium understands the situation and tells Virginia of a similar episode in the life of Virginia's grandmother. Virginia stops to rest and in pondering over the incident and grieving over her own troubles, falls asleep. She dreams of the story just told and the dream characters enter and play their parts — in a dream which seems real. Virgina awakens, the shadows flee and she comes to her senses and her lover. CHARACTERS AND COSTUMES. Aunt Geranium — Old negro mammy. Calico dress, gingham apron and turban, which consists of red bandana handkerchief. Virginia Lee — About nineteen years old. Summer gown and hat or light tailored suit. Robert Ashton — About twenty-three years old. Mod- ern summer suit and straw hat. Mrs. Horace Fairfax — About forty-five years old. Cos- tume of the Civil War period. Alice Fairfax — About nineteen years old. Civil War costume. Hair arranged low on neck with long curl falling over shoulder. Gordon Sanford — Twenty-four years old. Costume of Confederate army officer. If this is not obtainable he may wear long Prince Albert coat, riding boots, broad brimmed hat, high collar and stock. Harold Hale — About forty years old. Light trousers, dark Prince Albert or cutaway coat, riding boots, stock and high collar. 4 SHADOWS. PROPERTIES. Kitchen table, common chairs, clothes rack with white waists, towels and linen hanging on it. Flat iron and stand for iron, tin pail and dipper. Large, comfortable looking but worn-out chair. Basin filled with water used for sprink- ling clothes. Lamp, matches, clothes basket, wooden bench, Revolver for Gordon. Letters for Virginia. Shelf at L. C. in flat on which is small can containing powder to give Virginia. Spoon, glass, etc. Rabbit's foot for Aunt. Scene Plot. i -JWindowf- Clothes Rack I ' Table with with Linen □ Clothes Basket un der Tab le Larn P Ironing Table | | 'Wooden Bench for / / Arm Chair ■— , / / 2 or 3 Persons for Virginia U STAGE DIRECTIONS. R. means right of the stage ; C, center ; R. C, right cen- ter; L., left; R. D., right door; L. D,, left door, etc.; 1 E., first entrance ; U. E., upper entrance ; R. 3 E., right entrance up-stage, etc. ; D. F., door in flat or scene running across the back of the stage ; up-stage away from footlights, down stage, near footlights ; 1 G., first groove, etc. The actor is supposed to be facing the audience. SHADOWS PROLOGUE. Scene: Aunt Geranium's cabin. Simple interior. Cheap funiture but room has a tidy appearance. Doors R. and L. Window C. in flat. See Scene Plot for stage setting. Dream characters, when on stage, remain at R. C, while Virginia is asleep in the chair at the extreme L. C. of stage, near footlights. Curtain rises disclosing Aunt Geranium standing at table ironing. She is singing an old negro melody and is interrupted by Virginia's entrance. Enter Virginia, R. Virginia (coming down R.). Howdy, Aunt Geranium. Aunt Geranium (pausing in her ironing and looking up ) . My Lawd ! Miss Jinny, you certain sho' looks pretty. Whar you gwine, honey? Virginia (who has a troubled, absent-minded air). Why — oh, just to the postoffice, Aunty. Aunt. What's de inattah, chile? De sun's hidin' behin' a cloud. Does somethin 'trouble you ? Virginia (hesitatingly). No — o — nothing much. Aunt (shaking her head doubtfully) . Dat ain't de trufe, baby. An' what you gwine to de pos' office so late fur? Don't you know it will be dark before you gits back ? Virginia. Oh, I wanted to post a letter — (hesitates) well, before I changed my mind. • Aunt (looking up in excitement). Look heah, chile. (Pauses with iron uplifted as a sudden thought strikes her). Don't you know you has to pass the holler on the way to de postoffice? (Puts iron down on table.) Virginia (shrugging her shoulders and smiling a little for the first time since her entrance). Oh, I don't mind that, Aunty. 5 6 SHADOWS. Aunt (in an excited tone). Don't min' dat? (Crosses to Virginia in a mysterious way.) Didn't you never heah of groanin's and moanin's and rattlin' of bones dat goes on in dat holler when de nighttime comes? (Looks about her nervously and walks a step or two up-stage.) Virginia (somewhat amused, yet a trifle petulant). Oh, Aunty, what nonsense. I don't care a snap of my fingers about ghosts. (Crosses L. C. and stands in front of table.) Aunt (in a loud whisper). Sh ! (Comes down-stage quickly.) Does you wan to make dem ghostes mad? Can't tell but dey might be roun' somewheres. Some of dem is mighty rambunctious. Dey has feelin's, chile. (Looks around and takes a step or two up-stage.) Virginia. I haven't any faith in that sort of thing. There is enough real trouble in the world without bothering about unreal spirits. (Crosses R. again as though restless.) Aunt (corning down-stage). Dat's all de Gawd's trufe Fse been tellin' you, baby. I knowed a nigger onct an' he done laughed at ghostes an' he was plum hoodooed. Couldn't eat an' couldn't sleep, an' one night he went clean off de earf and nobody couldn't And hide nor hair of him no mo'. Virginia (sighing). If ghosts were all there was to fear! Aunt (looking at her quickly). What you worryin' about, baby? Virginia. I am so very unhappy, Aunty. Life is just a twisted, knotted tangle and nothing ever does come out right. (Sits dozen dejectedly on bench.) Aunt. Dat's so. Now we grees on dat. Kase I was spectin' to git married las' week an' de fool nigger went and bust de engagement jes' befo' de ceremony. But I got even wid him. (Laughs aloud, holding her sides.) I pretty near busted his fool head open. (Virginia sobs. Aunt is laughing softly and does not hear her at first. As the young girls sobs again the old woman looks around in surprise.) What is it, honey? (Goes to Virginia and pats her gently on the shoulder.) Is you honin fur Mars Robert? (Pro- nounced "hone-in" meaning longing — a negro expression.) Virginia (looking up but not at Aunt). I am not going SHADOWS. 7 to marry Robert — (catches herself quickly) Mr. Ashton, Aunty. Aunt. Ain't gwine to marry yo' sweetheart? Virginia. No, Aunty. This letter tells him so. (Holds up letter and crosses to L.) Aunt (throwing up both hands in amazement). Fo' de Lawd's sake, what's de matter? Virginia (in a disheartened tone). Oh, Aunty, we are so poor, so wretchedly, miserably poor, and I want money and pretty clothes. I'm tired of scrimping and saving and patching and turning this way and that, to make a dime do the work of a dollar. I'm sick of my little school and the daily grind. I want automobiles and furs and diamonds. Robert — Mr. Ashton — can't give them to me. He has a hard enough time to make a living for himself. And — oh, well, I've decided not to marry him, that's all. Aunt (crossing L. to Virginia). Look here, chile, dat's ole Miss talk through and through. She wants you to marry that old Mr. Thing-um-bob, whatever his name is, from de Norf, dat done bought de Scott place. Virginia. I intend to marry Mr. Cleaver, Aunty, and this letter tells him so. (Holds up another letter.) Aunt. Well, you certain sho' has been writin'. Does you love this Mr. Butcher? (Looks at Virginia searchingly.) Virginia (correcting her). Cleaver, Aunt Geranium. Aunt. Well, Cleaver, den. I knowed it sounded kin of meat-axe-y. Virginia (hesitatingly). Why — I — I — Aunt. No you don't, honey. I know you don't love no fat ole man, ole enough to be your father. Virginia. Well, he has money and I need money. Mamma is delicate and I could do so much for her. Aunt. Money is a might convenience, chile, but dat's an awful fat ole man to take to git it. Virginia. No one is forcing me, Aunty. I have made up my own mind. (Suddenly starting to cry.) Oh, Aunty, I'm so miserable. (Puts her head on Aunt's shoulder and the old mammy puts her arms about her.) Aunt. There, now, baby, jes' set down an' rest in 8 SHADOWS. Mammy's ole arm-cheer. Dem letters will keep 'til mawnin'. (Pushes her gently down into the chair.) Virginia. No, no. I must go. (Starts to rise but Aunt gently presses her back into the chair.) I might change my mind. Aunt. No, you jes' keep still. You'se all tired out an' nervous. I'm gwine to give you one of dem sleep powders I makes. Dey'll do you lots of good. (She goes to shelf and takes small can containing a pozvder, which she puts in a glass of water.) You ain't de only pusson what has to wuk out dem puzzles. Member dem ole pictures, honey, of yo' gramma, wid de ruffled skirts? (Mixes pozvder in glass. ) Virginia. Yes, Aunty, I must go. (Sits up in chair.) Aunt. Here, take this, drink, honey. It's mighty soothin' an' you keep still. I'se gwine to manage you jes' as I did when you was a little baby. (Virginia drinks and settles back into her chair.) Well, it was jest after de wah. I was a young nigger den and jes' stuck to the ole place. Lawd knows it was forlorn enough wid de trees cut down an' de fences burnt up. Ole Miss, yo' great gramma, was a proud one, an' when Miss Alice wanted to marry Mars Gordon Sanford, she jes' put her foot down. Dar want no sense in jinin' two paupers, she said. And when rich Mr. Hale done come from Europy after the wah an' asked for Miss Alice's hand, ole Miss was might pleased. Is you sleepy, honey? (Aunt takes clothes from clothes rack and puts in basket which she pulls out from under table.) Virginia (yawning). A little. There was something strange about it all. Wasn't there ? I never heard the whole story. (Yawns and stretches a little as though sleepy.) Aunt (nodding her head slozvly). Yes, something mighty strange. You see, the Sanf ords was blue-blooded and proud, but dey was poor, an' yo' great gramma was proud — um-m, but she was proud. Ole Miss backbone was stiff as ram- rod. It don't do to git mixed up in nobody's love affairs. Gwine to git yo' fingers burnt, sho'. But don't you bother yo' pretty head no mo', chile. Go to sleep. (Looks at the SHADOWS. 9 girl and leans toward her as though to see the effect of the powder.') Go to sleep, an' when you wakes — (Pauses.) Virginia (sleepily). Yes, Aunty, and when I wake — (does ndt finish. Drops off to sleep.) Aunt. Why, dream, dream, honey (speaking tenderly), and when you wakes maybe you'll come to yo' senses. (Looks at her closely.) She's plum gone. Po' tired baby. Well, I reckon I'll take dese clothes to the house and let her git a little res'. (Exits L. with clothes basket, humming softly.) THE DREAM. Lights go down. Spot light on Dream Characters all during the time they are on the stage. If it is impossible to arrange a spot light, leave the lights on, but in this case arm-chair must be placed at back of stage L. and turned so that Virginia faces side view and away from Dream Characters. This arrangement of chair can be mC.de before play begins. Time of dream supposed to be just at close of Civil War. The action of dream must take place between R. of stage and C. Enter Gordon, R. Gordon. She promised to be here — (pauses) if her mother — Enter Alice, R. Alice. Gordon! Gordon. Oh, my dear one. (They embrace. Gordon draws her a step or two down-stage.) Alice. I had such a time to get here. (They hold hands.) Mother keeps at me night and day to marry Harold Hale and she has forbidden me to see you. She is very changed since my brother died. (Shaking her head sadly.) Oh, Gordon, if she should separate us — Gordon. She can't. She shan't. I'll hold you so that no one shall ever take you away. (Drazvs her to him.) Alice. Oh, my dear, it is so wonderful to have you again. Gordon. Wonderful. Why, dear, it is splendid, glorious, just like the most beautiful dream in the world that has come to a reality. (They sit on bench R.) 10 SHADOWS. Alice. I was very sad when you went away to war, and now to have you here again, just as you were — {she does not finish her sentence but just pats his hand gently). Gordon {taking her hands in his). Somehow, Alice, I have dreamed this meeting over and over again, just as it is. When we tramped on and on, cold and hungry, day after day, often in the drizzling rain, wet to the skin, I said, "I am fighting for the sake of the dearest girl in the world." And it spurred me on and made me forget the hardships — Alice {interrupting). Did you really think of me all the time? Gordon. Yes, dear. I am afraid I put you before my country and the cause. Alice (playfully putting her finger on his lips, as though shocked). Oh, Gordon, what treason! Gordon. A very harmless sort of treason. I was ready to die for my country, but I wanted most dreadfully to live for you. Every night I kissed the little miniature you gave me and I said, "God bless the sweetest, prettiest — " Alice {interrupting). Not prettiest. I don't believe you said that. {Smiles play f idly.) Gordon {smiling back happily). Yes, prettiest. I swear it. Alice. Let me see. {With the same playful manner.) I don't believe you have the miniature at all. Gordon {taking miniature from his pocket). Here it is. A faint counterpart of the lovely original. Alice. Gordon, you are a flatterer. Gordon. Don't say that, even lightly, dear girl. My heart and soul are bound up in the thought of you. You have meant more to me than life itself. Alice {becoming suddenly serious — sighs). I almost wish — {pauses). Gordon. What is it, dear? Alice. Oh, I wish that you did not care so much. Gordon {in a quick, astonished tone). Alice! Alice. Well, I mean it. Gordon. Alice, you cannot mean — {pauses and looks at her searchingly). SHADOWS. 11 Alice. I mean — oh, Gordon, we can't marry. (Rises and crosses to C.) Gordon. Can't marry! (In amazement.) What are you talking about, Alice? (Rises quickly from bench.) Alice. We are so poor and mother will never consent. Gordon (crossing to Alice). But, sweetheart, we love each other and nothing else matters. (Takes her hand in his.) What do you think carried me through all the long, hard days of the war? Why, dearest, it was the thought of you. Everything is swept away, but, thank God, I have my health and strength and two strong arms, and I'll work for you — hold you safe. (Puts his arm about her.) Alice. I know, dear ; but there is mother, and I am pow- erless in her hands. She says it's my duty to preserve the honor of the house and to repair our shattered fortunes. We must have money. She'll never give her consent. (She drops her head disconsolately.) Gordon. Nothing shall ever part us. Why, dear, I could not live without you in my future. Life would mean noth- ing. (Takes her hands again.) Alice. But there is mother — Enter Mrs. Fairfax, R., followed by Harold. They are not seen by Alice and Gordon. Mrs. Fairfax motions Harold and he quickly exits R. Gordon (interrupting eagerly and decisively) . I'll make your mother consent. Mrs. Fairfax (coming fonvard at Gordon's last speech, speaking sarcastically). Indeed. Quite the dramatic hero. And so you intend to drive me. By what process, please, is this to be accomplished? Alice (leaving Gordon and standing betzveen the tzvo). Oh, mother dear, don't be angry with Gordon. He loves me so much, he does not realize what he is saying. Mrs. Fairfax (scornfully). Yes, he loves you so much that he is willing to drag you into a life of poverty. Alice (eagerly). No, no, mother. I am his gladly, will- ingly. Mrs. Fairfax (with less scorn but in a determined zvay) . 12 SHADOWS. Child, you do not know of what you are talking. Gordon is as poverty stricken as are we. Gordon (with determination). My dear Mrs. Fairfax, I have my two hands. I am able and willing. I will work and win back everything. The good God has said, by the sweat of his brow man must win out, and I'll toil and toil. The earth shall give back all I've lost. Mrs. Fairfax {dramatically). Meantime my daughter starves and saves and scrimps and grows old and worn before her time. Oh, the inconsiderateness of youth! I have given all I possess, my son, my home, everything, to my country, and what has it profited me? I have devoted my life to this girl, and now, when she might repay me and return a little of my devotion — Alice (interrupting). Oh, don't, mother dearest. I can't bear to hear you call me ungrateful. (Crosses to her mother.) Mrs. Fairfax. I do call you ungrateful. (Alice stands with bozved head and drops both arms at her side as though very unhappy.) Gordon, it is true, Mrs. Fairfax. I have lost everything, but where there's a will there's a way. I will take care of you both. Mrs. Fairfax (with sarcasm). Indeed, and with what, pray? No, if you cannot see what is for your own good, Alice, I will compel you to see. (Goes to door and calls.) Mr. Hale. Enter Harold, R. He goes to Mrs. Fairfax down C. Alice meantime has crossed to Gordon. Mrs. Fairfax. Mr. Hale has asked your hand in mar- riage and I have given my consent. (Crosses to R.) Alice (starting forzvard). But, mother — Harold (takes Alice's hand and raises it to his lips as he bows). My dear Miss Fairfax, your mother has done me the honor of consenting to our marriage. (Alice drazvs azvay her hand slowly as if she did not zvish to be discour- teous and yet as though the zvhole affair zvas most dis- tasteful.) SHADOWS. 13 Gordon {turning to Mrs. Fairfax). And has Alice no voice in the matter? Mrs. Fairfax. Have you? (Alice goes slowly up C. Harold follows her.) Gordon. Yes, madam, I have. I gave myself and all I have fighting for a cause I believed to be just. This man spent the years of war, when his country needed him, trav- eling about Europe, amusing himself. Harold {coming down C. and speaking in a very polite yet somewhat patronizing manner.) I beg your pardon. I was looking after business interests, my dear young friend. Business must go on, you know, even if men will fight with one another. {Turns toward Mrs. Fairfax.) Gordon {excitedly) . Liar is a nasty word, but I happen to know you were whiling away your time in Italy, Switz- erland, Spain — ■ Harold {raising his hand deprecatingly but with the same polite air). Liar is a nasty word. Don't use it before ladies, I beg of you. {Crosses R. to Mrs. Fairfax, then goes up-stage.) Alice {coming down to Gordon). Oh, Gordon, dear, don't have any words — don't. Mrs. Fairfax {impatiently). This is all idle talk. My daughter is to marry Mr. Hale, who will restore our home and give us both the position in life we formerly occupied. She will try to repay a little of the devotion I gave to her. You prate heroically. You have nothing to offer. Gordon {holding his head up proudly). Nothing but my love and a spotless name. You know this man's reputation. {Points to Harold.) Harold {coming dozvn-stage). My dear fellow, Mrs. Fairfax knows that a man of the world is not an angel. Mrs. Fairfax. There is nothing more to be said. Alice does as I say or never will I lay eyes on her again. (Harold goes up C. Alice turns from him.) Gordon. And are you willing to sacrifice your daughter? Mrs. Fairfax. Indeed! Am I less selfish than are you? You offer her — what? An estate laid waste by the enemy, yourself — young, it is true; good looking, I grant — 14 SHADOWS. Gordon (interrupting eagerly but courteously). I do not claim to be worthy of Alice. No man, perhaps, is quite worthy of a sweet woman. I only say, I am strong. I can work and I adore her. Harold (coming dozen C). I am strong. I do not have to work and I adore her. Gordon (ignoring Harold). Oh, Mrs. Fairfax, have you forgotten your youth ? Mrs. Fairfax (with spirit). Thank you for reminding me of my age. (Harold crosses to Mrs. Fairfax.) Gordon. Pardon me. I meant no discourtesy. Harold (lifting Mrs. Fairfax's hand to his lips). Oc- tober glory is more splendid than the daintiness of Spring. Gordon (taking a step or two toward them). Let us have done with pretty pratings. The happiness of two people is at stake. (Harold shrugs his shoulders and turns up- stage a step or two.) Mrs. Fairfax. Two people? Am I not to be considered? I who have cared for that child from her birth? Alice (coming downstage). Oh, mother dearest, you know I love you. (Crosses to her mother.) Gordon (crosses L. of C. to table). Forgive me if I seem selfish. Alice means so much to me. (Stands in front of table with hands resting on it in a dejected attitude.) Mrs. Fairfax. You are thinking only of yourself. Is this your so-called love? Youth is fleeting, and must my child spend her young days and lose her beauty dragging out a hopeless existence? Alice (putting her arms about her). But, mother dear, I would be happy. Mrs. Fairfax. Happiness is a point of view. You would soon grow weary of the grind. You whose dainty hands were never made for rough work. (Alice drops into seat on bench as though discouraged.) Gordon (turning eagerly). I would shield her from every wind that blows. Mrs. Fairfax (superciliously). How? Gordon. With my devotion. SHADOWS. 15 Harold (coining down-stage). Rather airy protection against the wintry storms. Gordon {haughtily). Wait until I ask your opinions ere you vouchsafe them. Mrs. Fairfax. Mr. Hale is quite in this discussion. He is as much interested as are you. Gordon (in a conciliatory yet spirited and manly tone). Listen, I beg of you. I am not quite impecuneous nor im- practical. I can earn a living from the estate. The land is rich and will respond to my efforts. Mrs. Fairfax. It is useless. I will never give my con- sent. Gordon. Alice, by the love we both hold sacred (Turns) Let me hear from your lips what you think. Alice (rising and coming down-stage, stands before her mother and Gordon, clasping both her hands together). Oh, Gordon, I love you, but I do not know which way to turn. Mrs. Fairfax. From the moment she married you, she would be dead to me. (She crosses to extreme R. and Harold comes tozvard her.) Gordon (to Alice, who has turned to her mother plead- ingly although she does not move her position). Alice, don't turn from me, dearest. You have been the one thought of my life for so long. I will live for you, work for you, conquer every obstacle — come — (puts his arms around her). Mrs. Fairfax (turning about and taking a step or two tozvard them). Yes, go and starve and leave me to starve. Alice. Oh, mother, dearest. (Holds out her arms to her.) Mrs. Fairfax (standing proudly and erect). Choose be- tween us. There is no other way. Gordon. Alice, won't you come? (Gordon is desperate, fearing her mother will influence her, yet he believes in her.) Alice (zvith hands clasped in front of her and looking straight ahead). I — I — oh, what shall I do? (Looks at Gordon, then takes a step or tzvo toward her mother.) 16 SHADOWS. Mrs. Fairfax (drawing Alice firmly to her side). She stays with me. Gordon. Alice, will you come? Harold (coming down C). It is possible Mr. Sanford does not realize the condition of affairs. His mother asked me to say nothing at present, but it seems necessary. Gordon (in amazement). My mother! Harold. The beautiful Sanford estate became quite hopelessly involved during the war; in fact — (pauses, his manner is polite, cool and collected, with the air of one about to play a trump card.) Gordon (impatiently). Yes — yes — you — out with it. Harold (deliberately). I became its possessor on yes- terday. Gordon. You! (Starts as though to go tozvard him and then leans against the table as though overwhelmed.) Good God! (Turns quickly.) Alice, you knew of this? (Har- old goes dozvn R.) Alice (reaching out her arms to him). Oh, Gordon, I — I— don't blame me. Mrs. Fairfax (drawing Alice firmly to her). Alice has made her choice. Alice (hesitates, then says brokenly). Yes. (Turns to her mother and drops her head on her breast.) Gordon. There is nothing more to be said. (Starts down-stage, then turns.) May God forgive you. (Exits R. quickly. Outside a shot is heard. Alice screams and rushes to the door.) Alice. Gordon! Gordon! (Lights go out.) THE AWAKENING. Virginia (awakening and crying out). Oh, Aunty, Aunt Geranium! Enter Aunt, L. Aunt. Mali goodness, I done forgot that chile. Wait a minute, baby lamb, an' I'll git a light. (Goes to table at L. and starts to light lamp.) SHADOWS. 17 Virginia. Oh, Aunty, I'm so frightened. Where are they — all those people? (Rises from chair.) Enter Robert, R., unseen by Virginia and Aunt. Aunt (turning around). All dem people? Look heah, chile, don't git spooky till I gits a light. Ain't nobody heah but me. Robert. Yes, there is. I'm here. (Virginia screams.) Aunt (shaking). Oh, please, Mr. Spook, I ain't done nothin'. Robert. What in the name of common sense is the mat- ter? It is I, Virginia. It is I — Robert. (Comes down C. Aunt succeeds in getting lamp lighted.) Virginia. Oh, Robert, is it really you, and you are not hurt or killed or anything? (Runs to him.) Robert. Why, Virginia, you are trembling like a leaf. (Puts his arm about her.) Virginia. Where are those men with pistols and things? (Aunt comes down L.) Robert. There is no one here to hurt you. You are as cold as ice, and Aunt Geranium, you look almost white. Aunt (excitedly). Look heah, boy, dis ain't no time to fool. I tell you, somethin's happened. Take dis rabbit foot, baby, an' wear it aroun' yo' neck. (Gives Virginia rabbit's foot. Goes up-stage and looks around nervously.) Virginia. Oh, Robert, I think — yes, I know it must have been a dream, but it seemed so real. This room was full of strange people, and there was some one — oh, yes, I remember; it was my grandmother, just as she looks in her portrait, young and sweet. And then the shooting — oh, it was dreadful. Aunt (coming down R.). Um-umph! I done tole you not to laugh at spooks. I knowed something was gwine to happen. Dat was Mars Gordon Sanford done killed hisself kase Miss Alice done give him de shake. It was jest about dis time of de yeah. Robert. Don't say any more, Aunt Geranium. Virginia is nervous enough now. (Turns to Virginia and takes her hands in his.) I came to find you, dear. You did not meet 18 SHADOWS. me last night. I waited a long time. You know I was to have my answer. Virginia. I am so sorry, but (hesitates) I couldn't come. Robert (gently). The answer, dear? Virginia. I — I — oh, Robert, perhaps — (drops letters. Robert picks them tip, but Aunt reaches out her hand and takes them quickly before he can see the addresses.) Aunt. Dem's some letters Miss Virginia done writ for me, but I'm gwine to post 'em mahsef. Robert (laughing). Love letters, Aunt Geranium? Aunt. Go way, boy. I ain't tellin' all I knows. You jes' look after Miss Jinny. (Goes to kitchen table and straight- ens things on it.) Robert. What is it, Virginia — yes or no? Aunt (quickly). Lawdy, boy, can't you see it's yes? Virginia. Oh, Robert, dear. I'm so glad to have you here. It's yes a hundred times. (He takes her in his arms.) Aunt. Clar out of her and do your spoonin'. (Makes a move as though driving them out, playfully. Robert and Virginia exit R. gaily. Aunt goes to door and watches them.) Dat chile don' want money. It's just love she wants. (Still watching them.) Der dey goes an' der two shadders follerin'. (Turns and comes dozen C.) Dis heah ole worl's jes' full of shadders. (Goes to big arm-chair and sits dozvn.) Fokes comes an' dey goes, ripens and drops like the fruit on de tree. Ole Mars is gone, old Mistis gone. De substance melts and fades away. Ain't nothing left but shadders. (Drops off to sleep in arm-chair.) Curtain. Macbeth a la Mode By WALTER BEN HARE. Price, 25 Cents School burletta in 3 acts; 7 males, 7 females, also teachers, students, etc., with only a few lines. Time, D/4 hours. No scenery required, merely a front curtain and an easel with placards an- nouncing scenes. Plot: Willie Macbeth is the social leader of the Senior Class. With his friend Banquo he encounters Three Witches, who prophecy that he will pass his examinations, be elected to a class office and will play on the football team. The first two prophecies come true and in Act II, Lady Macbeth, his mother, arranges for him to play on the football team, by drugging the captain. Macbeth flies to the witches for further advice and learns that he will make a touchdown. He does, but runs with the ball toward the enemy's goal, thus losing the game for his own team. Contains five songs: "Fairwell, My Fairy Fay," '"Tact," "The Senior Class," "Music and Laughter" and "Good Night," all sung to college airs. This play is very humorous and particularly adapted for schools. THE WITCHES' CHANT Round about the cauldron go; Mathematics you must know. Let X equal the cold stone, When will Y be thirty-one? Drop that in the mystic pan; Tell me, pray, how old is Ann? Double, double, boil and bubble, •Mathematics makes them trou- ble. Fillet of a fenny snake, In the cauldron boil and bake; Eye of newt and toe of frog, Wool of bat and tongue of dog, Biology makes 'em cut and jab. Thirteen hours a week in lab. Latin, Greek and German, too, Fifty pages make a stew. And to thicken up the mystery. Take two chapters English His- tory. Physics, French and English Lit, Spend an hour on each or git. All night long from six to three, Study math and chemistry. In the hours when you should dream, Write an English twelve-page theme. Work at night and Sunday, too. Outside reading you must do. Next day, when you're on the bunk. Teacher springs exam — you flunk. Double, double, boil and bubble. High school life is full of trouble. Cool it with a Freshman's blood. Then the charm is thick and good. By the pricking of my thumbs. Something wicked this w a y comes. Reminiscences of the Donation Party By JESSIE A. KELLEY. Price, 25 Cents The soliloquy of a minister's wife, with tableaux. For 40 or more characters, both sexes, although the number is optional and it can be presented with a smaller cast. Time, about 35 minutes. The wife at the side of the stage recounts the many amusing incidents of the party, tells who attended and what they brought, etc. The characters appear in pantomime. This entertainment is unique. It fills the demand for something that can be put on "at the last moment." It eliminates the usual long preparations re- quired in producing a play; no parts to memorize and it can be played on any platform. Highly humorous, replete with local hits and strongly recommended for church societies. T. S. DENISON & COMPANY, Publishers 154 W. Randolph Street, CHICAGO Parlor Matches By WALTER BEN HARE. Price, 25 Cents An engaging comedy of society, 2 acts; 4 males, 5 females. Time, 1V 2 hours. Scene: 1 simple interior. Characters: Vance Trelford, a professional hero, who doesn't want to be engaged. Don Radey, his cousin, a serious young man, engaged, thank you. i/erdinand Poppleton, a frivolous young man, likewise engaged, lorkes, the butler, who may or may not be engaged. Mrs. Seltoon, who believes in engagements. Margaret Seltoon, her elder daugh- ter, engaged to Mr. Radey. Suzanne Seltoon, her younger daughter, engaged to Mr. Poppleton. Gail Lawrence, her ward, engaging and eventually engaged. Abigail Mullen, A. B., her maid, tem- porarily engaged, as it were. SYNOPSIS. Act I. — A morning in June at Solitaire Villa, Dovecote. Mrs. Seltoon smooths out the course of true love. "Whoever heard of a grass widow playing a heroine in a love scene?" "Oh, it's one of the best things they do." Mrs. Seltoon seeking a man for her niece. "What is his yearly income?" The butler's opinion of a woman A. B. "Near-sighted, men's shoes, short bedrabbled skirts, last year's hat and a banner saying Votes for Women!" The new maid who is a graduate from the Splinterville Normal. The moving picture hero. "Women make me nervous. I always keep out of their way." Symptoms of hydrophobia. "I bark, bow- wow-wow!" "His father is in oil and vinegar." "Is it a new kind of a bath?" Gail announces her engagement to the moving pic- ture hero. "He's here in town!" "Fall, O walls, and crush me!" Act II. — A dinner party. Ferdy decides to enlist in the army. A reconciliation. Abigail and Adrian Lee of the movies. "Those eyes, that nose, it's him?" "I've seen you propose in white flannels, in feathers, in full evening clothes, in a sailor suit, and in the garbage of a monk, and every time you've won her in the end." Gail and her fiancee. That odious Mr. Trelford. Din- ner is served. Vance Trelford learns that he is engaged. "I ex- pected it all along." "Yes, I begin to think that I did it myself." Sewing for the Heathen By WALTER BEN HARE. Price, 15 Cents Entertainment for 9 ladies, either young or middle-aged. Time, 40 minutes. Can be played on any stage or platform, or even in any room. Very refined. Suitable for church or any society. Char- acters: Mrs. Judd, the hostess. Mrs. Chester, the president. Mrs. R. B. Powers, the stranger. Grandma Gibbs, deaf but persistent. Miss Luella Huggins, so sentimental. Mrs. Strong, a suffragist. Mrs. Meeker, gentle and good. Mrs. Day, a bride. Meelv, the hired girl. SYNOPSIS. An anxious hostess. Meely wants to serve winnv-wurst sand- wiches and noodle soup. The mystery of the jardeniere. The President arrives before she is expected. "It was her hair; she hadn't got it all on yet." Red flannels for the Hottentots in the middle of Africa. A stranger in town, the rich Mrs. Powers. A trip down town. Grandma Gibbs and her ear-trumpet. The rich Mrs. Powers is mistaken for the dressmaker. The meeting of the society. A little tiff. The giddy Miss Huggins is late as usual. A present from the men. "Sewing for the Heathen." T. S. DENISON & COMPANY, Publishers 154 W. Randolph Street, CHICAGO DENISON'S ACTING PLAYS Price IS Cents Each, Postpaid, Unless Different Price Is Given M. F. Documentary Evidence, 25 min. 1 1 Dude in a Cyclone, 20 min.... 4 2 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 a Photograph Gallery, 30 min 6 10 Great Doughnut Corporation, 30 min 3 5 Great Medical Dispensary, 30 m. 6 Great Pumpkin Case, 30 min.. 12 Hans Von Smash, 30 min..-.. 4 3 Happy Pair, 25 min 1 1 I'm Not Mesilf at All, 25 min. 3 2 Initiating a Granger, 25 min.. 8 Irish Linen Peddler, 40 min... 3 3 Is the Editor In? 20 min... 4 2 Kansas Immigrants, 20 min... 5 1 Men Not Wanted,- 30 min 8 Mike Donovan's Courtship, 15 m. 1 3 Mother Goose's Goslings, 30 m. 7 9 Mrs. Carver's Fancy Ball, 40 m. 4 3 Mrs. Stubbins' Book Agent- ^0 3 2 3 3 3 6 5 3 3 2 1 1 3 2 3 4 min My Lord in Livery, 1 hr.... 4 My Neighbor's Wife, 45 min.. 3 My Turn Next, 45 min 4 My Wife's Relations, 1 hr.... 4 Not a Man in the House, 40 m. Obstinate Family, 40 min 3 Only Cold Tea. 20 min . . 3 Outwitting the Colonel, 25 min. 3 Pair of Lunatics, 20 min Patsy O'Wang, 35 min 4 Pat, the Apothecary, 35 min.. 6 Persecuted Dutchman, 30 min. 6 Regular Fix, 35 min,-., 6 Rough Diamond, 40 min 4 3 Second Childhood, 15 min.... 2 2 Smith, the Aviator, 40 min... 2 3 Taking Father's Place, 30 min. 5 3 . Taming a Tiger, 30 min 3 J That Rascal Pat, 30 min 3 2 f. Those Red Envelopes, 25 min. 4 4 Too Much of a Good Thing, 45 min 3 6 Treasure from Egypt, 45 min. 4 1 yfurn Him Out, 35 min 3 2 ^Two Aunts and a Photo, 20 m. 4 Two Bonnycastles, 45 min.... 3 3 Two Gentlemen in a Fix, 15 m. 2 Two Ghosts in White, 20 min. . 8 Two of a Kind, 40 min 2 3 Uncle Dick's Mistake, 20 min.. 3 2 Wanted a Correspondent, 45 m. 4 4 Wanted a Hero, 20 min 1 1 Which Will He Marry? 20 min. 2 8 Who Is Who? 40 min 3 2 Wide Enough for Two, 45 min. 5 2 Wrong Babv. 25 min 8 Yankee Peddler, 1 hr 7 3 VAUDEVILLE SKETCHES, MON- OLOGUES, ETHIOPIAN PLAYS. M. F. Ax'in' Her Father, 25 min 2 3 Booster Club of Blackville, 25 m.10 Breakfast Food for Two, 20 in. 1 1 Cold Finish, 15 min 2 1 Coon Creek Courtship, 15 min. 1 1 Coming Champion, 20 min.... 2 Coontown Thirteen Club, 25 m.14 Counterfeit Bills, 20 min 1 1 Doings of a Dude, 20 min.... 2 1 Dutch Cocktail, 20 min 2 Five Minutes from Yell Col- lege, 15 min .- 2 For Reform, 20 min 4 Fresh Timothy Hay, 20 min.. 2 1 Glickman, the Glazier, 25 min. 1 1 Handy Andy (Negro), 12 min. 2 Her Hero, 20 min 1 1 Hey, Rube! 15 min 1 Home Run, 15 min 1 1 Hot Air, 25 min 2 1 Jumbo Jum, 30 min 4 3 Little Red School House, 20 m. 4 Love and Lather, 35 min 3 2 Marriage and After, 10 min.. 1 Mischievous Nigger, 25 min.. 4 2 Mistaken Miss, 20 min 1 1 Mr. and Mrs. Fido, 20 min 1 1 Mr. Badger's Uppers, 40 min. 4 2 One Sweetheart for Two, 20 m. 2 Oshkosh Next Week, 20 min.. 4 Oyster Stew, 10 min 2 Pete Yansen's GmTs Moder, 10 min 1 Pickles for Two, 15 min..... 2 Pooh Bah of Peacetown, 35 min. 2 2 Prof. Black's Funnygraph, 15 m. 6 Recruiting Office, 15 min 2 Sham Doctor, 10 min 4 2 Si and I, 15 min 1 Special Sale, 15 min 2 Stage Struck Darky, 10 min.. 2 1 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, 15 min.. 3 Umbrella Mender, 15 min.... 2 Uncle Bill at the Vaudeville, 15 min 1 Uncle Teff, 25 min 5 2 Who Gits de Reward? 30 min. 5 1 A great number of Standard and Amateur Plays not found here are listed in Denison's Catalogue T. S. DENISON & COMPANY, Publishers, 154 W. Randolph St. , Chicago POPULAR ENTERT "wwv of congress Price, Illustrated Paper 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. 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. Dialogues for District Schools. For country schools. Dialogues from Dickens. Thirteen selections. The Friday Afternoon Dialogues. Over 50,000 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. Brand new, original, successful. SPEAKERS, MONOLOGUES Choice Pieces for Little People. A child's speaker. The Comic Entertainer. ■Recitations; monologues, dialogues. Dialect Reading's. 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. Monologues Grave and Gay. Dramatic and humorous. The Patriotic Speaker. Master thoughts of master minds. 015 910 Choice collections, ya<.»«.,..~, — __r morous, descriptive, prose, poetry. 14 Nos., per No. 25c. DRILLS The Best Drill Book. Very popular drills and marches. The Favorite Book of Drills. Drills that sparkle with originality. 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 Days We Celebrate. Entertainments for all the holidays. Good Things for Christmas. Recitations, dialogues, drills. 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. Pranks and Pastimes. Parlor games for children. Private Theatricals. How to put on plays. 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 Black American 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, Puhishers, 154 W.Randolph St., Chicago