F>F5ICe 15 CENTS PS 3531 j.0953 'y6 1918 Copy 1 wmmmmma ■iiiMHMNMiiiMaiAMMMMIi YOU'RE IT H. P. Powell Successful Rural Plays A Strong List From Which to Select Your Next Play FARM FOLKS. A Rural Play in Four Acts, by Arthur LEWIS Tubes. For five male and six female characters. Time of playing, two hours and a half. One simple exterior, two easy interior scenes. Costumes, modern. Flora Goodwin, a farmer's daughter, is engaged to Philip Burleigh, a young New Yorker. Philip's mother wants him to marry a society woman, and by falsehoods makes Flora believe Philip does not love her. Dave Weston, who wants Flora himself, helps the deception by intercepting a letter from Philip to Flora. She agrees to marry Dave, but on the eve of their marriage Dave confesses, Philip learns the truth, and he and Flora are reunited. It is a simple plot, but full of speeches and situations that sway an audience alternately to tears and to laughter. Price, 25 cents. HOME TIES. A Rural Play in Four Acts, by Arthur Lewis Tubes. Characters, four male, five female. Plays two hours and a half. Scene, a simple interior — same for all four acts. Costumes, modern. One of the strongest plays Mr. Tubbs has written. Martin Winn's wife left him when his daughter Ruth was a baby. Harold Vincent, the nephew and adopted son of the man who has wronged Martin, makes love to Ruth Winn. She is also loved by Len Everett, a prosperous young farmer. When Martin discovers who Harold is, he orders him to leave Ruth. Harold, who does not love sincerely, yields. Ruth dis- covers she loves Len, but thinks she has lost him also. Then he comes back, and Ruth finds her happiness. Price 25 cents. THE OLD NE'W HAMPSHIRE HOME. A New England Drama in Three Acts, by Frank Dumont. For seven males and four females. Time, two hours and a half. Costumes, modern. A play with a strong heart interest and pathos, yet rich in humor. Easy to act and very effective. A rural drama of the "Old Homstead" and "Way Down East" type. Two ex- terior scenes, one interior, all easy to set. Full of strong sit- uations and delightfully humorous passages. The kind of a play everybody understands and likes. Price, 25 cents. THE OLD DAIRY HOMESTEAD. A Rural Comedy in Three Acts, by Frank Dumont. For five males and four females. Time, two hours. Rural costumes. Scenes rural ex- terior and interior. An adventurer obtains a large sum of money from a farm house through the intimidation of the farmer's niece, whose husband he claims to be. Her escapes from the wiles of the villain and his female accomplice are both starting and novel. Price, 15 cents. A WHITE MOUNTAIN BOY. A Strong Melodrama in Five Acts, by Charles Townsend. For seven males and four females, and three supers. Time, two hours and twenty minutes. One exterior, three interiors. Costumes easy. The hero, a country lad, twice saves the life of a banker's daughter, which results in their betrothal. A scoundrelly clerk has the banker in his power, but the White Mountain boy finds a way to check- mate his schemes, saves the banker, and wins the girl. Price 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA YOU'RE IT A Comedy Sketch in One Act H. PrPOWELL Author of ** Uncertain Silas * PHILADELPHIA THE PENN PUBLISHING COMPANY 1918 Copyright 1918 by the Penn Publishing Company ^ps 17 ms You're It Sao 49360 YOU'RE IT CHARACTERS Ellen Ellsworth - - - -an up-to-date ivtfe Egbert Ellsworth ... - her husband LiZETTE - - - their **Fre7ich " fnaid. Known to her ifitunates as ^'^ Light Fmgered^' Lizzie Rooney Mickey Mulholland - kfiown also as Senor Venustiano VlaZf creator of tJie famous ''Vlaz Valse'' Time. — Thirty minutes. STORY OF THE PLAY Egbert Ellsworth sells an old picture for fifty thou- sand dollars, and telephones the glad news home to his wife, Ellen. Lizette, Ellen's " French " maid, over- hears this and 'phones her crook friend, Mickey Mul- holland, known as Senor Vlaz, creator of the " Vlaz Valse." Mickey steals Egbert's car and arrives. Lizette hides Mickey. When Egbert comes he is un- happy. " You haven't lost the money ? " " No, but somebody swiped our automobile." Egbert puts his wallet in the safe, and he and Ellen depart for a lesson at Mickey's studio. Mickey opens the safe, but still hangs around. " You've got everything you need in your head but brains." Egbert and Ellen return un- expectedly, and catch the thieves. Egbert offers them their liberty in return for a free waltz lesson. Mickey captures Egbert's revolver. " You're it." Lizette gets the wallet and the thieves escape. And then it turns out that Mickey wasn't so smart, after all. COSTUMES, ETC. Egbert. About thirty. Business suit, hat and light overcoat. Ellen. About twenty-seven. At first entrance wears a handsome kimono or other loose house dress. At second entrance wears handsome evening gown, unfastened. Afterward puts on evening coat or wrap, and hat, gloves, etc. Mickey. About thirty. Evening dress. LizETTE. About twenty. Maid's costume of black dress, small lace cap, small apron. PROPERTIES For Egbert: Envelope containing card. Two wallets, similar in appearance, both containing bills. Pistol. Flashlight. For Mickey: Phonograph, records, needles. Other Properties: Telephone on table. Hat- rack. Two bells to be heard off stage — one supposed to be door-bell, the other telephone bell (or buzzer). SCENE PLOT BACKJ/^a I I HATRACK \\ PHOf^QCRAPH I ^ ^^ CHAJR l^J/\fl>OH^ Scene. — Room in Ellsworth home. Door c. dis- closes a hall, with hat-rack. A large French window, covered with heavy draperies, r. Another door l. A phonograph up r. A small iron safe l. This may stand on floor or may be supposed to be concealed in a cabinet, the wooden door of which opens toward the audience, hiding the iron safe door with its combina- tion knob, etc. Telephone on table down r. A low settee R. Chair up l., and other furnishings to give impression of a well-to-do home. You're It SCENE. — A room in the Ellsworth home. Doors c. and L. French window r. Phonograph up r. Settee and table with telephone r. Small safe l. Chair up l. {Curtain rises on empty stage. The * phone rings. LizETTE appears in hall, coming from l. She enters c. door, comes down r., and answers 'phone.) LiZETTE. Meestaire Ellsworth's r-r-r-residence. Oui, M'sieur Ellsworth, I veel call to ze madam. {She crosses to door, l., and knocks thereon.) Ellen (off stage). What is it, Lizette? LiZETTE. M'sieur Ellsworth is onto ze, — what you call heem? — telephone, madam. (Enter Ellen, l. She goes to * phone. Lizette busies herself about the room.) Ellen. Hello, honey. (Pause.) I'm well, thank you, how're you ? (Pause.) That's good. (A longer pause. ) No ! Oh, you can't be serious ! Oh, I can't believe my own ears. Do you mean to say that some feeble mind has given you fifty thousand In God We Trust, E Pluribus Unums for that absurd old picture we had hanging in the kitchen, covering up the hole in the chimney? You say it was a genuine Velasquez. Well, hubby dear, I may not be a judge of art, but I've this to say, Rube Goldberg could deal Mr. Velasquez a royal flush in hearts and still take the pot, according to my notion. (Pause.) Well, I admitted I wasn't 8 you're it much on the high-brow stuff. (Pause.) Yeh, the lower the brow, the easier it is for me to look 'em in the eye. (Another lengthy pause.) Oh, don't do it, honey. Don't do it! Please don't bring all that money home with you (Lizette pricks up her ears at this.) You say the banks are all closed? Well, you just sit on the steps of one of them until it opens up in the morning. (Pause.) Well, of course, you know best, but (Pause.) Oh! will you? Honestly? Goody ! Yeh, I've just been dying to take a lesson from the wonderful Senor Vlaz himself. Just to think, — having that expensive arm around my waist. It makes me feel frivolous. (Pause.) Yes, I agree with you perfectly, — he's a robber, all well and good, — but I'd rather have him teach me the Vlaz Valse than to have a tooth pulled. (Pause.) Yes, I'll be ready in five minutes. (Pause.) Yes, I will .No, I won't Yeh, I'll be ready No, I won't say a word. All right Good-bye. (She hangs up receiver, and waltzes around room in high spirits.) Lizette. Madam is happy to-night. Ellen. Lizette, youVe put your finger right on the trouble. Lizette. M'sieur Ellsworth, he make what you call ze gr-r-r-ran* coup d'etat? Ellen. If that's complimentary, I agree with you. He sold that old chromo we had hanging over the chimney hole in the kitchen for fifty thousand dollars, and he's going to leave the money there in the safe, and we're going to the wonderful dancing master, Senor Vlaz, for a lesson to-night. But don't you breathe a word of it to a soul, Lizette ! Lizette. You may trus' me, madam ! Ellen. I must change my dress, — I want you to hook me up in a minute. (Exit, l.) (Lizette closes the door, after her, listens at it in- YOU RE IT 9 ieiiily for a moment, and then crosses over to the 'phone, and the following monologue ensues in a subdued though audible tone.) LiZETTE. Broadway 6542. Yes. {Pause.) I wish to speak to Senor Vlaz, immediately. {Pause.) Hello, that you, Mickey? Listen to me carefully. The boss just called friend wife on the 'phone and told her he's gonna bring fifty thousand bucks here to-night and leave 'em in a rickety old safe while they beat it to your studio for a dancing lesson. {Pause.) Right you are. Put an assistant on to the lesson and you make this address as fast as an auto can bring you. {Pause.) Geewhilikins, what's the matter with your brain? New York full of other people's automobiles and you tell me you haven't anything to ride in ! Steal one! For goodness' sake, — swipe one! {Pause.) Yes, I'll get hold of the combination of the safe, ail right. Good-bye; somebody's coming. {She hangs tip *phone. Ellen enters, l., dressed in handsome evening gown, with back unhooked.) Ellen (c). Lizette, hook me up, please. (Lizette goes to work and Ellen rambles.) Lizette, take my advice, and if ever you find a man as clever as my hubby, marry him even if you have to give his wife poison to make him available. Honestly, Egbert is the smartest man I ever married — I mean, of course — I mean that — oh, you know, I never was married to any one else — but honestly, Lizette, this man of mine owns and operates the most plausible tongue this side of William Jennings Bryan. Really, I believe that he could talk an Esquimo out of his last sealskin under- shirt on the coldest day in January. {Laughs.) Yes, he certainly can make the English language do things in his favor. Compared to him the ordinary spell- binder looks like a wooden nickel in a hatful of real money. Take me, for instance. I was engaged to be married to an entirely different but thoroughly satis- factory human man, and was of the honest opinion 10 YOU RE IT that there was him and me and nobody else in the wide wide world, when lo and behold, I met Egbert at a dance one night, and you may well imagine my surprise upon awakening the next morning to learn that my name had changed to Mrs. Egbert. He sure does work fast. Now, I ask you, what chance does money stand in a radius of hve miles of such a man ? LiZETTE. Oui, madam. (The bell rings.) Ellen. Doggone it, somebody at the door! Tell 'em Mr. Ellsworth is in jail and that I've run off with the chauffeur. (Exit Ellen, l., and Lizette goes through door c. into hall, returning a moment later, followed by Mickey, who is dressed in super stylish evening togs.) Lizette (dropping her dialect). Quick work, son. Found a car after all, did you ? Mickey. Yeh, daughter, and believe me, when I stepped on the engine irritator of that caboose it talked back at me with all twelve cylinders. (Pauses and then adds plaintively. ) I sure did hate to sell that car. Lizette. Do you mean to say that you copped a de luxe flivver, drove it here and sold it, all inside of five minutes ? Mickey. Sure, I sold it to the motorcycle cop that was chasin' me for speedin'. Lizette. Come, kiss mama. You ain't so dumb as you look. (He kisses her lightly, and door-bell rings again.) Gee, there's the boss. Make yourself invis- ible behind that curtain. (Exit Lizette, c, turning off to R. Mickey steps into French window, and pidls the curtains to. Enter Egbert, c, followed by Lizette. He gives her his hat and coat, which she places on hat-rack. He enters room, she follows.) YOU RE IT II Egbert. Has Mrs. Ellsworth dressed yet, Lizette? (Ellen enters, l., and drops to floor in curtsey.) Ellen. Mrs. Ellsworth has dressed. (Egbert smiles, helps her to her feet, and kisses her. They sit down on settee, his arm about her waist, her head on his shoidder.) Lizette, you may get my wraps, please. (Lizette, with a glance at the curtains, exit l.) So you sold Mr. Velasquez's nightmare for fifty thousand dollars. Honestly, honey, you must have been born with a horseshoe in your mouth. Egbert (glundy). Yes, Em as lucky as Belgium. Ellen (raising her head from his shoidder). Gee, you soimd worse than a letter with a black border. (In sudden terror.) You haven't lost the money, have you ? Egbert. No, but doggone it, some flat-footed, dog- eared, wall-eyed son of a sea-cook swiped our auto- mobile. Ellen. Oh, you poor benighted poached egg, do you mean to sit here and confess that some inhuman barbarian threw that car into gear while you weren't looking? Egbert. Honey, you've figured it out, just like a detective. Ellen. Did you notify the police? Egbert. I should say not. Ellen. Why should you say not? Egbert. H somebody swiped your hat, would you be liable to brag about it to some guy who'd probably make you give up your coat, pants and suspenders? No, ma'am. One robber per night is copious for friend husband. Ellen (admiringly) . My, but you're brainy. — But tell me, where did you lose the car, dearie? Egbert. I called you up from Senor Vlaz's Dansant Castle, and while I was waiting to make an appoint- ment for our lesson the deed was did. Ellen. Well, there's no use crying over a spilt automobile, especially when you've just sandbagged some poor fish for ten times what it cost you. 12 YOU RE IT (Enter Lizette, l., with Ellen's wraps. Ellen rises and LizETTE places cape over her shoulders and hands her her gloves. Egbert crosses over to safe, takes a card from an envelope and opens safe zvith combination which is printed on the card. Lizette gets his hat and coat, while Ellen puts on her gloves. Egbert takes wallet from his pocket, re- moves a sheaf of bills from it, zvhich he riffles in Ellen's face.) Egbert. Fifty thousand unadulterated dollars! Ellen. Believe me, dearie, that's the richest breeze that ever fanned my troubled brow. (Egbert laughs and places wallet in safe, which he then closes and locks. Lizette crosses to him l., holds his coat, and he puts it on. Lizette hands him his hat, and while he is putting it on he slips the envelope containing safe combination in his pocket nearest Lizette. Ellen, R.) Aren't you gonna doll up in your ** soup and fish"? Egbert (l.). Do you v^ant me to be taken for a waiter ? (Lizette slips the envelope from his pocket during this conversation, removes the card, which she sticks in her zvaist, and places envelope hack in Egbert's pocket.) Ellen. You need not w^ait up for us, Lizette. Lizette (l. c). Oui, madam. (Mickey, behind curtains, sneezes violently. Every- body starts.) Ellen. Egbert, there's somebody behind those curtains ! (Egbert crosses to table down r., takes pistol there- from and goes l., keeping face to r.) Egbert. I'm going to count five, and then I'm gonna set this roman candle off in the direction of that YOU RE IT 13 window. (He pauses and levels pistol at curtain. LizETTE, terrified, edges toward the windozv, r.) One — two — three — four — fi (LizETTE, with a cry, dashes the curtains aside, reveal- ing — nothing! The window is open but empty. Egbert dashes out through window. Lizette and Ellen huddle together up c.) Ellen. Oh, Lizette, I'm so glad you did that. I just know I'd have collapsed in a chunk if Egbert had fired that cannon. Lizette. Oui, madam — I was zat — what you call heem ? — ter-r-r-rified. (Enter Egbert through French window.) J ?• {in chorus). Did you find him? Egbert. Nope, he made a clean get-away. ^ (He closes window and pulls curtains to.) Ellen. I guess we'd better not go out now, had we, honey? Egbert. Why not? That yegg is at the other end of Manhattan Island by this time. Lightning won't strike here again to-night. Ellen. Lizette, won't you be afraid to stay here by yourself? Lizette. Oh, oui, madam. I shall be fright — what you call heem? — steef. But I will lock ze doo-r-r-r-rs, get quick in ze bed and pull ze covair way up ovair my — what you call heem? — nut! (Egbert and Ellen laugh heartily, and exit through hall, c. and to r., follozved by Lizette. Iji a moment a door slams and Lizette returns alone. She goes to French zvindow and peers out of it. She closes curtains and goes l. Mickey enters through win- dozv R. and goes up c.) Mickey. Ain't the moon bright to-night? 14 YOU RE IT (LiZETTE utters a startled cry, turns, and on seeing Mickey, runs and pidls curtains over the windozv.) LiZETTE. Gee, Mickey, honey, that was so close, I could just naturally see you doing the lock step. Mickey. My poor cheild, when will you learn? I pulled that sneeze stuff just to start a little excite- ment. I do so hate a dull evening. LiZETTE. Mickey Mulholland, one half of you is nut, one half is jackass and the other two-thirds is just plain old fool. Where were you? (Mickey laughs and kisses her lightly on the cheek.) Mickey. Oh, I was so close he couldn't see me. Now for the little problem in arithmetic. (Lizette hands him the combination to the safe.) I gotta little praise to waft in your direction, kiddo. You can frisk a guy as easy as a prohibitionist can say mean things about booze. (He opens safe, l., removes wallet, which he places in his pocket.) Cribs cracked with neatness and dispatch. Lizette. That would look swell on a sign. Come on, and let's beat it while the beatin's worth mentionin', for this guy Ellsworth is just as liable to double back on his tracks as he is to have grapefruit for breakfast. Mickey. Good for Egbert, an' just to show that I'm just as good a sport as he is, I'll hang around a while an' wait for him. (He goes to phonograph and begins looking over records; selects one and puts it on machine.) Lizette. No other man I ever loved had your talent for huntin' trouble. When you can't find it on the groun', you climb a tree to look for its nest. You got everything in your head that you need but brains. Mickey. Aside from these few trifles, may I have the next dance? Lizette (hopelessly). Yes, if you'll promise to beat it after one record is finished. YOU'RE IT 15 Mickey (mockingly). Your gratitude overwhelms me. (The machine is started, and Micky and Lizette, who should be porticidarly clever dancers, interpo- late a specialty. Toward the end of the dance the door-hell rings. They stop dancing and Mickey dashes to machine and stops it.) Lizette. There now ! Mickey. Can the " I told you so " stuff, turn out the light and follow me. (Lizette turjts switch up c. The stage is darkened, and Mickey and Lizette move over to the French window, R. They sweep the curtains aside, only to he confronted hy Egbert, flashlight in one hand, playing on them, and pistol in other hand, doing likewise.) Egbert. Hands up, quick ! ( Mickey and Lizette silently raise their hands over their heads and hack slowly into the room, followed by Egbert and Ellen, who is nervous and frightened. Egbert, r.) Ellen, turn the lights on. (Ellen goes to switch up c. and stage is flooded with light.) Mickey (l.). Come right on in, Eggy; we've been expectin' you for some time. Egbert. I hope we didn't keep you waiting. Mickey. Your apology is accepted. Egbert. I assure you we consider it quite an honor to entertain the renowned Senor VIaz in our humble home, don't wq, Ellen? Ellen. Y-y-y-yes — s-s-shall I c-c-call the p-p-p- police? Egbert. No, I rather think I can handle Senor Vlaz's case personally. (To Mickey.) I'm going to turn you loose on two conditions. Mickey. Tabulate I l6 you're it Egbert. The first is that you are to give tis each a lesson in your famous dance absolutely free of charge. (Mickey, l., grins and lowers his hands, Lizette, L. c, doing likewise.) Mickey. You're a regular guy, I'll say you are — and as to the lesson, you're on for the very best I know. Egbert. I thank you; and secondly Mickey. I am to turn over to you a wallet con- taining somewhere in the neighborhood of fift}^ thou- sand shekels. Egbert. You're a perfect mind reader. (Mickey tosses the wallet on the floor and Egbert picks it up and slips it into his inside coat pocket. He slips the revolver into his outside overcoat pocket and takes the coat off, laying it on settee, r. front. Lizette helps Ellen off with her wraps, which she lays on chair up l.) Mickey. You teach Mr. Ellsv^orth, Lizette, and I'll request the honor of Mrs. Ellsworth's partnership. (Lizette crosses over to Egbert; Mickey starts the phonograph and both couples dance — this time the dance being frankly instructive in character. Time should be allowed for the Ellsworths to learn the step, and then Mickey intentionally guides Ellen into the settee on which Egbert's coat is lying. He releases Ellen and slips his hand into the pocket containing the revolver. Ellen sees this move. ) Ellen {frantically). Quick, Egbert, quick! (Egbert, l., releases Lizette and dashes for Mickey, who, however, has the revolver waiting for him, and Egbert sensibly stops short, c. Mickey, r. c, taps him on the shoidder with the revolver.) YOU RE IT 17 Mickey. Tag, you're it. {To Lizette, up l.) Get the wallet out of his pocket, Liz. (Lizette re- inoves wallet from Egbert's pocket and gives it to Mickey, who kisses it and drops it into his pocket. Lizette takes Ellen's wraps from chair up l. Mickey and Lizette back toward the French window, R., covering the Ellsworths zvith revolver. At the window Mickey halts.) Mr. Ellsworth, you've been strictly on the square with me, an' so it's only fair of me to warn you that anybody who comes out of this window for the next five minutes is very liable to be perforated with a sudden attack of bad luck. Do you get me? Egbert {soberly), I get you. Mickey. Then, au revoir. {Exit Lizette, r., follozved by Mickey, who quickly draws the curtains. Ellen rushes c. to Egbert, who devotes his attention to calming her, as she is extremely nervous, and when he succeeds he walks over to the window, throws the curtains back, show- ing that Lizette and Mickey have disappeared.) Ellen. I don't mind the money or the wrap so much, but I sure hate to lose Lizette. She was the best maid I ever had. Egbert. Lizette is undoubtedly lost to you for- ever, honey, but you need lose no sleep over the fifty thou. Gaze hither. {He removes a second wallet from his hip pocket, takes out another set of bills and riffles them in Ellen's face.) Ellen {with religious fervor). Oh, revive me again ! Egbert. That little roll that Senor Vlaz took traveling with him can be bought for one dollar a thousand pieces at any toy and novelty store. I never trusted that girl. Ellen. And we got our lesson for nothing, didn't we? i8 YOU RE IT Egbert. Precisely, and I claim that is remarkable enough to deserve celebrating, so put in another needle. (A new needle is placed in the machine, the music is started and as the Ellsworths commence to dance, the curtain slowly falls.) CURTAIN Unusually Good Entertalnmen Read One or More of These Before Deciding on Your Next Program GRADUATION DAY AT WOOD HILX. SCHOOL. An Entertainment in Two Acts, by Ward Macauley. For six males and four females, with several minor parts. Time of playing, two hours. Modern costumes. Simple interior scenes; may be presented in a had without scener3\ The unusual com- bination of a real "entertainment," including music, recitations, .etc., with an interesting love story. The graduation exercises include short speeches, recitations, songs, funny interruptions, and a comical speech by a country school trustee. Price, 15 cents. EXAMINATION DAY AT WOOD HILL SCHOOL. An Entertainment in One Act, by Ward Macauley. Eight male and six female characters, with minor parts. Plays one hour. Scene, an easy interior, or may be given without scenery. Cos- tumes, modern. IMiss Marks, the teacher, refuses to marry a trustee, who threatens to discharge her. The examination in- cludes recitations and songs, and brings out many funny answers to questions. At the close Robert Coleman, an old lover, claims the teacher. Very easy and very effective. Price, 15 cents. BACK TO THE COUNTKY STORE. A Rural Enter- tainment in Three Acts, by Ward Macauley. For four male and five female characters, with some supers. Time, two hours. Tvv'o scenes, both easy interiors. Can be played effectively with- out scenery. Costumes, modern. All the principal parts are sure hits. Quigley Higginbctham, known as "Quig," a clerk in a country store, aspires to be a great author or singer and decides to try his fortunes in New York. The last scene is in Quig's home. He returns a. failure but is offered a partnership in the country store. He pops the question in the midst of a surprise party given in his honor. Easy to do and very funny. Price, 15 cents. THE DISTRICT CONVENTION. A Farcical Sketch in One Act, by Frank Dumont. For eleven males and one female, or twelve males. Any number of other parts or super- numeraries may be added. Plays forty-five minutes. No special 'scenery is required, and the costumes and properties are all eacy. The play shows an uproarious political nominating con- vention. The climax comes when a woman's rights cham- pion, captures the convention. There is a great chance to bur- lesque modern politics and to work in local gags. Every part will make a hit. Price, 15 cents. SI SLOCUM'S COUNTRY STORE. An Entertainment in One Act, by Frank Dumont. Eleven male and five female characters with supernumeraries. Several parts may be doubled. Plays one hour. Interior scene, or may be played without set scenery. Costumes, modern. The rehearsal for an entertain- ment in the village church gives plenty of opportunity for specialty work. A very jolly entertainment of the sort adapted to almost any place or occasion. Price, 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA Unusually Good Entertainments Read One or More of These Before Deciding on Your Next Program A SURPRISE PARTY AT BRINKLEY'S. An En- tertainment in One Scene, by Ward Macauley. Seven male ancj seven female characters. Interior scene, or may be given with- out scenery. Costumes, modern. Time, one hour. By the author of the popular successes, "Graduation Day at Wood Hill School," "Back to the Covmtry Store," etc. The villagers have planned a birthday surprise party for Mary Brinkley, recently graduated from college. They all join in jolly games, songs,' conundrums, etc., and Mary becomes engaged, which surprises the surprisers. The entertainment is a sure success. Price, 15 cents^ JONES VS. JINKS. A Mock Trial in One Act, by Edward Mumford. Fifteen male and six female characters, with supernumeraries if desired. May be played all male. Many of the parts (members of the jury, etc.) are small. Scene, a simple interior ; may be played without scenery. Costumes, modern. Time of playing, one hour. This mock trial has many novel features, tmusual characters and quick action. Nearly every character has a funny entrance and laughable lines. There are many rich parts, and fast fun throughout. Price, 15 cents. THE SIGHT-SEEING CAR. A Comedy Sketch in One Act, by Ernest M. Gould. For seven males, two females, or may be all male. Parts may be doubled, with quick changes, so that four persons may play the sketch. Time, forty-five minutes. Simple street scene. Costumes, modern. The superintendent of a sight-seeing automobile engages two men to run the machine. A Jew, a farmer, a fat lady and other humorous characters give them all kinds of trouble. This is a regular gat- ling-gun stream of rollicking repartee. Price, 15 cents. THE CASE OF SMYTHE VS. SMITH. An Original Mock Trial in One Act, by Frank Dumont. Eighteen males and two females, or may be all male. Plays about one hour. Scene, a county courtroom ; requires no scenery ; may be played in an ordinary hall. Costumes, modern. This entertainment is nearly perfect of its kind, and a sure success. It can be easily produced in any place or on any occasion, and provides almost any number of good parts. Price, 15 cents. THE OLD MAIDS' ASSOCIATION. A Farcical Enter- tainment in One Act, by Louise Latham Wilson. For thirteen females and one male. The male part may be played by a female, and the number of characters increased to twenty or more. Time, forty minutes. The play requires neither scenery nor properties, and very little in the way of costumes. Can easily be prepared in one or two rehearsals. Price, 25 cents. BARGAIN DAY AT BLOOMSTEIN'S. A Farcical Entertainment in One Act, by Edward Mumford. For five males and ten females, with supers. Interior scene. Costumes, mod- ern. Time, thirty minutes. The characters and the situations which arise from their endeavors to buy and sell make rapid-fire fun from start to finish. Price, 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA Successful Plays for All Girls In Selecting Your Next Play Do Not Overlook This List YOUNG DOCTOR DEVINE. A Farce in Two Acts, by Mrs. E. J. H. Goodfellow. One of the most popular plays for girls. For nine female characters. Time in playing, thirty minutes. Scenery, ordinary interior. Mod- ern costumes. Girls in a boarding-school, learning that a young doctor is coming to vaccinate all the pupils, eagerly con- sult each other as to the manner of fascinating the physician. When the doctor appears upon the scene the pvipils discover that the physician is a female practitioner. Price, 15 cents. SISTER MASONS. A Burlesque in One Act, by Frank DuMONT. For eleven females. Time, thirty minutes. Costumes, fantastic gowns, or dominoes. Scene, interior. A grand expose of Masonry. Some women profess to learn the secrets of a Masonic lodge by hearing their husbands talk in their sleep, and they institute a similar organization. Price, 15 cents. A COMMANDING POSITION. A Farcical Enter- tainment, by Amelia Sanford. For seven female char- acters and ten or more other ladies and children. Time, one hour. Costumes, modern. Scenes, easy interiors and one street scene. Marian Young gets tired living with her aunt, Miss Skinflint. She decides to "attain a commanding position." Marian tries hospital nursing, college settlement work and school teaching, but decides to go back to housework. Price, 15 cents. HOW A WOMAN KEEPS A SECRET. A Comedy in One Act, by Frank Dumont. For ten female characters. Time, half an hour. Scene, an easy interior. Costumes, modern. Mabel Sweetly has just become engaged to Harold, but it's "the deepest kind of a secret." Before announcing it they must win the approval of Harold's uncle, now in Europe, or lose a possible ten thousand a year. At a tea INTabel meets her dearest friend. Maude sees !Mabel has a secret, she coaxes and Mabel tells her. But Maude lets out the secret in a few minutes to another friend and so the secret travels. Price, 15 cents. THE OXFORD AFFAIR. A Comedy in Three Acts, by Josephine H. Cobb and Jennie E. Paine. For eight female characters. Plays one hour and three-quarters. Scenes, inter- iors at a seaside hotel. Costumes, modern. The action of the play is located at a summer resort. Alice Graham, in order to chaperon herself, poses as a widow, and Miss Oxford first claims her as a sister-in-law, then denounces her. The onerous duties of Miss Oxford, who attempts to serve as chaperon to Miss Howe and Miss Ashton in the face of many obstacles, furnish an evening of rare enjoyment. Price 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA LIBRftRY OF CONGRESS The Power of Expression and efficiency go hand '™"'''JJ'''''5'''"li'iilillil ^ ^ ^ ^ 018 391 025 5 • The power of clear and forceful expression brings cuim- dcnce and poise at all times — in private gatherings, in public discussion, in society, in business. It is an invaluable asset to any man or woman. It can often be turned into money, but it is always a real joy. In learning to express thought, we learn to command thought itself, and thought is power. You can have this power if you will. Whoever has the power of clear expression is always sure ©f himself. The power of expression leads to: The ability to think "on your feet" Successful public speaking Effective recitals The mastery over other minds Social prominence Business success Efficiency in any undertaking Are these things worth while? They are all successfully taught at The National School of Elocution and Oratory^ which during many years has de- veloped this power in hundreds of men and women. A catalogue giving full information as to how any of these accomplishments may be attained will be sent free on request. THE NATIONAL SCHOOL OF ELOCUTION AND ORATORY Park-way Building Philadelphia