BAKER'S EDITION Of PL7\Y3 fi >CENES IN THE UNION DEPOT Price, 25 Cents <88 v WALTER H BAKER & CO . W. ^tnero's icc, 50 THE AMAZONS Farce In Three Acts - Seven males, five female!. Costumes, modern ; scenery, not difficult. Plays a full evening. THE CABINET MINISTER Farce ta Four Acts - Tenma!es ' nine females. Costumes, modern society ; scenet y, three interiors. Plays a full evening. DANDY DICK Farce in ^^^^ Acts. Seven males, four . females. Costumes, modern ; scenery, two interiors. Plays two hours and a half. THF GAY I ORD OllFX Comed y i* 1 Four Acts. Four males, ten lily L, y Li females. Costumes, modern ; scenery, two interiors and an exterior. Plays a full evening. HI^ HftFKP IV HDTIFD Comedy in Four Acts. Nine'males, four 1113 11UU3C m UWIEtt females< Costume8) mod ern ; scenery, three interiors. Plays a full evening. THF HORRY HORSF Comed y ^ T^ree Acts. Ten males, five females. 'Costumes, modern; scenery easy. Plays two hours and a half. IRIS Drama in Five Acts. Seven males, seven females. Costumes, modern ; scenery, three interiors. Plays a full evening. I ADY ROIINTIFIII Play ^ Four Acts - Eight males, seven fe- L, vv VLt ma i eg _ Costumes, modern ; scenery, four in- teriors, not easy Plays a full evening. I FTTY D rama ^ Four Acts and an Epilogue. Ten males, five fe- males Costumes, modern; scenery complicated, i full evening. Sent prepaid on receipt of price by falter ^. I3afee* & Company No. 5 Hamilton Place, Boston, Massachusetts Scenes in the Union Depot A Humorous Entertainment in One Scene By LAURA M. PARSONS Author of" The Old Main's Convention," " Aunt Jeru- sha's Quilting Party" " The New Woman's Reform Club" " A Variety Contest" " Jerusha Daw's Family Album" "District School at Blueberry Corner t," etc. BOSTON WALTER H. BAKER & CO Scenes in the Union Depot CHARACTERS TICKET AGENT. DEPOT MASTER, MAN AT LUNCH AND CANDY STAND. BOOTBLACK. MRS. SNYDER and daughter MIRANDA. MRS. LARKIN. Miss SOPHIA PIPER. MR. JONES. WOMAN and BABY. UNCLE JOHN. JOSIAH POITER and wife NANCY, MR. ARMSTRONG and five small children. THREE SCHOOLGIRLS (DOT, BESS and TRIX). DUDE. MRS. AMELIA HUMMER. Two ITALIAN MUSICIANS. MR. and MRS. MARTINDALE. BRIDE and GROOM. Two YOUNG LADIES (Rosy and MOLLY). Two YOUNG MEN (Ros and DICK), CASSY and JUPITER, and FATHER. COLLEGE QUARTETTE. LILY, ELIZA, GEORGE, and MR. WHITE HAROLD and FLOSSIE (elopers). MR. and MRS. LINTON {Flossie's parents). COPYRIGHT, 1905, BY WALTER H. BAKER & Co. -;RU- jRL S137101 DIRECTIONS To imitate sounds of trains, tack two pieces of coarse sand- paper on boards and rub together to make sound of escaping steam. Ring large bell and shake walnuts, or something sim- ilar, in a barrel. The sound of car wheels over switches may be made by successive jars of a window-sash. In imitating sounds of departing trains a snare drum may also be used. Stage set in imitation of a railway station. Window for ticket agent ; candy and lunch stand ; railroad maps on wall ; seats or benches as near like those found in depots as can be procured. Such are often found in shoe stores. One row should be near the front for important characters. One door at left rear for outgoing and one at right rear for incoming passengers. Door at side for street entrance. NOTE. In several instances one person may take two parts, thus lessening the total number of people required. A few passengers who have no special part come and go, buy tickets, and patronize the lunch stand. Scenes in the Union Depot SCENE. Union Depot waiting room. Curtain rises show- ing two men asleep, a Bohemian woman with large basket, MRS. BROWN and JOHNNY, and TICKET AGENT at his w.in- dow. MRS. BROWN (shaking JOHNNY). Wake up, Johnny, it's 'most time for the train. The ticket agent says it'll be here in just ten minutes. QOHNNY rubs his eyes, yawns, and falls asleep again while his mother opens a lunch box and takes out a large, thick slice of bread and butter. MRS. BROWN shakes JOHNNY again.) Wake up, Johnny, and eat your breakfast. (JOHNNY takes a large bite and drops asleep. MRS. BROWN wakes him again and makes him eat, and drink milk from a bottle until the sound of an arriving train is heard.) Hurry up drink faster the train's coming. JOHNNY (with mouth full of food). I don't want any more. MRS. B. Well then, hang on to the bottle and come on. (DEPOT MASTER calls train. MRS. B. hastily picks up bundles and exits at left rear, leading JOHNNY by the hand. Passengers from incoming train enter at right rear. Among them are MRS. LARKIN, MR. JONES, Miss PIPER, MRS. SNYDER and MIRANDA. BOOTBLACK carries grip for MR. JONES.) MRS. LARKIN (to AGENT). When does the next train leave for Coffinbury? TICKET AGENT. Four o'clock, madam. MRS. L. Four o'clock ! Eight hours to wait ! Guess I'll have a chance to get acquainted with quite a few folks in that time. (Buys ticket and takes seat. MR. JONES also buys ticket.) BOOTBLACK (to MR. JONES). Shine, mister? (MR. JONES nods assent.) D SCENES IN THE UNION DEPOT MRS. SNYDER (after piling bundles and baskets on seat and floor}. Land sakes, Mirandy, go right back and get my um- brelly. I've left it on the cars. MIRANDA. Why, Ma Snyder, you tied it on to ye. MRS. S. Laws a me, so I did and here it is. Hang on to that hand-bag, Mirandy, I couldn't get along without them pills that's in it no way. (Looking around.) I don't see your Uncle John nowhere. He said he'd meet us. (To AGENT.) Have you seen a man "round here lookin' for me and Mirandy? AGENT. No, madam. BOOTBLACK. I guess I seen him. Did he have a wart on the end of his nose and a big black mole on the left cheek ? MRS. S. (indignantly). Keep still, you young urchin, you don't need to tell everybody 'bout it. It ain't nothin' 'gainst a body to have moles and warts. (Enter UNCLE JOHN at street entrance looking about.) There's Uncle John now. Here we be, John. (They meet, shake hands, and kiss.) How's Emmeline? UNCLE JOHN. She's fine, as you will soon have a chance to see. Have you any luggage? MRS. S. Luggage ! Well I should say so. This satchel and bandbox is ourn, and so is this pail of pie-plant jam, and this basket of head cheese and pickled pigs' feet. (MIRANDA drops a basket.) MIRANDA. Oh, my ! What's in this basket ? MRS. S. Why, Mirandy, it's them eggs we's taking to Emmeline. (Peeks in basket.) You've broke ev'ry last one of 'em, so you have. I packed 'em in your green silk waist so's to protect 'em. MIRANDA (whining). Why, Ma Snyder ! Now I can't go to Cousin Maria's party. UNCLE JOHN. Don't worry, your Aunt 'Lizbeth'll fix you up. Is this all, Susan ? MRS. S. (looking around). I left home with an umbrelly, but the land knows where 'tis now. MIRANDA. Why ma, you tied it MRS. S. Oh, yes, yes, yes. It's most as much bother to tie it to ye as it is to carry it in your hand. But I hain't lost it yet anyhow. There's another basket, Mirandy. What's become of it? MIRANDA. What was in it? MRS, S. Why, it was that old fightin' rooster we killed this 7 mornin'. (To MRS. L.) Excuse me, madam, but I believe this is the basket here by you. MRS. L. (indignantly). Excuse me, madam, but it is not. Tliis is my basket. MRS, S. Well then, we must have left it on the cars. I'd ruther it would be that, though, than my umbrelly. (Picks up bundle.} I guess now we've got all that belongs to us. How glad I'll be to see Emmeline. (Exenht UNCLE JOHN, MRS. S. and MIRANDA at street en- trance. At same entrance enters a woman in great haste carrying a baby. She looks quickly about and approaches MR. JONES.) WOMAN. Oh, kind sir, won't you hold my baby while I go and find my little boy? He got away from me in the crowd. MR. JONES. I couldn't think of it, madam. My train will be here in a very few minutes. WOMAN. Oh, but I'll be back in just a minute. I must find little Harry. (Puts baby into his arms and exits hastily. MR. J. holds baby awkwardly, and nervously looks often at his watch.) Miss PIPER (to MR. J.). Is this your youngest ? MR. J. N-no, it's the oldest. Miss P. Well, now, you don't mean to say there's another younger. Mebbe it's a twin. MR. J. It's not a twin, madam, and there's no youngest or oldest about it. I think he wants you to hold him I'm sure he does. Give your paddy to the lady, Willie, Billy, or what- ever your name is. Miss P. Oh, no, babies always cry when I take them. He'd rather stay with his papa, I know he would. Wouldn't you, baby ? MR. J. Madam, this is not my child. A woman forced it into my arms while she went to find her little boy. My train will be here in five minutes. I am on my way to be married and it will never do to take this child with me. Won't you have mercy on me and hold the child until its mother returns ? Miss P. But mebbe she won't return. MR. J. But she will. (DEPOT MASTER calls train. MR. J. rises and picks up grip.*) Won't some one have pity on me and take this baby ? What would Molly think what would 8 SCENES IN THE UNION DEPOT her folks think ! Oh, I never was in such a plight before. (To Miss P.) You must take him, madam, you must. (Puts child in her arms and rushes out. Sound of depart- ing train.') Miss P. Mercy on me ! What can I, a poor lone female, do with this baby if its mother never comes back. Some- body's always imposing on them that has no one to lean upon. What shall I do? MRS. L. I guess all you can do is to set still and wait till the mother comes back. Enter JOSIAH and NANCY POTTER at street entrance. BOOTBLACK (to JOSIAH). Shine, mister? JOSIAH. Wall now, Bub (looking down at shoes'}, ye don't think ye could do a better job'n that, do ye? My friend's private bootblack fixed 'em up. We've been in the city two weeks visitin' some rich folks and my shoes have been shined like this ev'ry day. They won't need blackin' again fer a year. If 1 you'd jest tackled me on the way in, Bub, you'd likely got a job. (JosiAH and NANCY takes seats ; Miss P. carries baby around and nervously watches the doors.') MRS. L. (to NANCY). So you've been visiting friends in the city, have ye ? NANCY. Yes, we took a sudden start one day and jest locked up the house and went. MRS. L. What train be ye goin' to take ? NANCY. The ticket man said it would be goin' in half an hour. You see we believe in bein* on time. I'd ruther wait a whole hour than run up too near the time. MRS. L. I s'pose ye see lots of sights and had lots of good things to eat. JOSIAH. Wall, as fur as the eatin's consarned I shall be glad to get back home and set down to a bowl of puddin' and milk. I don't think them Welsh rabbits are any better'n the common kind that run back of our barn. As fer eatin' soup with a fork, I jest couldn't do it. Ye see Nancy kept at me all the way in 'bout eatin' with my fork, so I s' posed I'd got to eat ev'rything with it soup and all. Another time NANCY. Oh, say, Josiah, did you get them pictures Mrs. Beebe sent after ? SCENES IN' THE UNION DEPOT 9 JOSIAH. Blast it ! I forgot the name of one of 'em an' 'tother one I couldn't find nowheres. NANCY. How disappinted she'll be ! You're sure you got the name right ? JOSIAH. Land, yes ! I asked for Minervy at the Pump ev'ry time. NANCY. Josiah Potter ! It was the Goddess Minerva and Rebekah at the Well that she wanted. That's the man of it ! MRS. L. What a bother it is to do errands for other folks. I've stopped it I won't be bothered in that way any more. No great things happened to ye while ye's in the city ? JOSIAH. Nothin' serious. (Laughs, ~} Guess I'll have to give ye Nancy's experience. Ye see we got separated one day while we's goin' 'bout the city and couldn't find each other nowheres. When it got to be dinner time Nancy, not bein' used to them funny kind of doors, goes in behind 'em and asks for somethin' to eat. She says she got a good square meal, but it wouldn't do to let the folks at home get wind of it 'cause she'd never hear the last of her eatin' dinner in a saloon. NANCY. I went in there 'cause it said a good dinner for twenty-five cents. 'Twan't no worse than for you to be hustled off to the perlice station, Josiah. MRS. L. How's that? NANCY. Well, you see Josiah kept looking for me in all the stores and peekin' into the women's faces till they 'rested him as a 'spicious character. JOSIAH. Nothin' serious happened to us, though. We found each other 'fore dark. It's queer how they run some things in the city. A gal in one of the stores asked me if I didn't want a hand satchel for my wife. I was lookin' on 'em over. Says I, why, yes, I reckon she'd like one fustrate. I thanked her as perlite as I knew how and started off with it. I hadn't got to the door 'fore somebody grabbed me by the collar an' 'cused me of stealin' it. I s'posed that was one of them days they was givin' things away like ye read 'bout in the paper. Right after that I stepped on a woman's dress an' tore off 'bout two yards of rufflin'. It didn't make her look very happy. I couldn't hear jest what she said, but 'twas somethin' 'bout an old goose. NANCY. Why, Josiah Potter ! How awful you acted. JOSIAH. There's one thing I didn't do. It said on one of them big store winders : " Come in an' have a fit." I hur- ried right by. I've never had a fit yet an' I ain't a goin' to if I can help it. Oh, Nancy, I most forgot that I bought a pres- IO SCENES IN THE UNION DEPOT ent for ye. They was sellin' jewelry awful cheap in one of the stores, most givin' it away, so I bought ye some earrings. The fellow said they had diamonds in 'em. NANCY. How much did ye pay for 'em ? JOSIAH. Two dollars. NANCY (examining them). Josiah Potter ! They ain't worth two cents. You jest throwed that money away. You made a big fool of yourself that time, Josiah. JOSIAH. It beats all how many fools there be in the world, then, for most ev'rybody was buyin' 'em. NANCY. But there ain't any holes in my ears; they growed up long ago. (Sound of arriving train.) JOSIAH. That's our train. (Picks up bundles. DEPOT MASTER calls train. ~) NANCY (to MRS. L.). If you ever get anywhere near Pottersville come an' see us. MRS. L. I surely will. [Exeunt JOSIAH and NANCY. Enter passengers. Among them are MR. ARMSTRONG and five children. Two little girls are hanging to his coat crying, a baby is in his arms, and two boys are fighting over a bag of peanuts. MR. ARMSTRONG buys his ticket and sits down. MR. ARMSTRONG. Boys, stop your fighting. PETER. If Thomas Jefferson don't let me have some pea- nuts I'll bust his head open. (Gir7s cry louder.) MR. A. Stop your crying, girls, or you will wake Na- thaniel up. SARAH (slapping her father's ami). I don't want to go to Aunt Mary's. She's cross. MR. A. All right, we'll leave you here in the depot. SARAH. I don't want to stay here, either. MR. A. Peter, if you don't behave I'll lick you. Give me that bag of peanuts. PETER. There ain't any peanuts it it. Thomas Jefferson et 'em all up. MR. A. Shame on you, Thomas. Don't let rue hear any- thing more from either of you until the train comes. Oh, the trials of a widower with five children ! Miss P. You have quite a charge, I perceive. SCENES IN THE UNION DEPOT II MR. A. Indeed I have, madam. I've had it ever since Matilda was laid away under the sod. Miss P. (sighing}. Misery likes company. MR. A. Are you in trouble, madam ? Miss P. Indeed I am, sir. You wouldn't mind having another child to look after, would you? (PETER turns a somersault. ) MR. A. Peter, behave. (To Miss P.) Not if the child was old enough to look after these little ones. Miss P. But it's not. It's only a baby. MR. A. Madam, you are not trying to dispose of your own child, are you ? Miss P. I haven't any child, sir. I am Miss Sophia Piper. MR. A. Perhaps it is a nephew that you have charge of. Miss P. I don't know who it is, nor what it is, nor how old it is, nor nothing about it. Its mother went off after another child and left it here and it don't look as if she was ever coming back after it. MR. A. You have my sympathy, Miss Piper. Miss P. And you have mine, Mister MR. A. Armstrong. Miss P. (aside). Oh, how supporting the name sounds. MR. A. I cannot tell you how I appreciate your sympathy. A few moments ago I was discouraged, lonely and miserable, but my heart is lighter now. Miss P. I'm so glad to be of any use to you to any one. Enter WOMAN leading little boy. Approaches Miss P. WOMAN. Oh, how good you have been to keep my baby. Thanks ever so much. (Takes baby.} It took me the longest time to find Harry. I'm so much obliged to you, indeed I am. \_Exeunt WOMAN, baby, and little boy. MR. A. Now you will be out of misery, I suppose. Miss P. Really, I shall miss the little fellow for I was getting quite attached to him. Shan't I hold your baby awhile ? MR. A. You are very kind, but I wouldn't like to burden you with him. He is quite heavy. Miss P. It wouldn't be a burden at all. I shall quite enjoy it. (Takes baby.} MR. A. How charming and congenial some people are. 11 SCENES IN THE UNION DEPOT Miss P. (aside}. I'm so glad he thinks so. MR. A. Our train is due in just one hour but I wish it might be an hour late for the time is passing so pleasantly. Kindred spirits, you know. BETTY. Pa, what's kindred spirits? MR. A. Be quiet, Betty. Miss P. I feel the same way. MR. A. I judge that you, too, are lonely at times. Miss P. Very lonely, indeed. MR. A. Have you never longed for a pleasant home and some one to protect you ? Miss P. So often, oh, so often. Such a life would be so delightful, I'm sure. MR. A. Matilda was a very happy woman. I protected her as long as I could, poor thing, and now I am protecting her children. It's pretty up-hill business. Don't slap me so, Sarah I feel at times that I ought to have help about it. Miss P. You surely had, Mr. Armstrong. I think two could manage these children better than one. MR. A. My dear Miss Piper, you are so good. Will you not be the one to help me ? Miss P. Oh, this is so sudden, Mr. Armstrong. I well, really I MR. A. I pray you won't say me nay, for my happiness depends upon your answer. Miss P. Really, Mr. Armstrong, you have drawn so upon my sympathies that I cannot say no. MR. A. Oh, my dear Sophia, how bright life seems to me. I feel now that I can bear any and every trial. Mountains seem like mole hills. BETTY. Pa, what's a mole hill ? MR. A. Keep quiet, Betty. (To Miss P.) There'll be time to .hunt up a parson and be married right away. Shall we not unite our hearts, our hopes, our aims at once, dear Sophia? Miss P. (aside). The sooner the better. (To MR. A.) I'm ready. MR. A. Come, my precious children, your father is going to be made very happy. PETER. Be you goin' to a circus ? THOMAS J. Can we have some more peanuts ? MR. A. The very first thing I shall do will be to buy a whole bag for each of you. [Exeunt at street entrance. SCENES IN THE UNION DEPOT 13 Enter at same entrance three girls from the city talking and laughing. Sound of arriving train. Enter passen- gers, including two ITALIANS, DUDE, and MR. and MRS. MARTINDALE. BESS (pointing to DUDE). Look, look, girls, we're just in time to witness the grand arrival. Isn't he stunning? DOT. Loveliest of the lovely. Just wait till he sees us. TRIX. Look, girls, he's changing his gloves. BESS. Such lily-white hands. DOT. He's mama's darling. TRIX. And papa's little man. BESS. And aunty's pet. BOOTBLACK (to DUDE). Have a shine, yer honor? DUDE (looking down at shoes}. These are patent leathers, don't yer know. (Takes mirror from pocket and adjusts cravat and twirls mustache.} DOT. Bess, go and ask the ticket agent for a bandbox to put him in. (DUDE sees girls and walks over to them.} DUDE. Handsome day, girls. TRIX. Quite. DUDE. Balmy breezes, don't yer know. DOT. Rather too breezy for freshies, don't yer know. (DEPOT MASTER calls train.} Come on, girls, or we will miss our train. [Exeunt girls. Sound of departing train. BOOTBLACK (to DUDE). Don't slip up, Mr. Slicky. [Exit DUDE at street entrance. (MRS. HUMMER, with basket of flowers, rushes in panting for breath and red in the face.} MRS. HUMMER (to AGENT). Give me a ticket for Pottsdam, quick. AGENT. Madam, you're too late, your train is just pulling out. MRS. H. (excitedly}. Well, stop it then till I get on. (To DEPOT MASTER.) Here, mister, you holler at it to stop. I'll pay my fare on the train. DEPOT MASTER. Can't do it, madam. I'm sorry for you but you'll have to wait for a later train. 14 SCENES IN THE UNION DEPOT MRS. H. That train's gone too soon. If you'd ben 'tendin' your business I'd ben on it. I'm on my way to Cousin Jede- diah's funeral and 'Rastus run the horses most to death to get me here on time. I stepped over to Sally Tinker's back door jest "fore we started to tell her I was goin' and to say good-bye, but I wan't there more'n two minutes. She made me eat a strawberry turnover but I most swallered it hull, I was that 'fraid I'd be late. DEPOT MASTER. I guess your two minutes were twenty. MRS. H. The idee ! I never even stopped to tell Sally what Cousin Jedediah died of. Sally showed me the stripe for her new rag carpet, an' a new kind of a sunbonnet pattern, an' a new-fangled machine for buggin' taters, but I merely shot a glance at 'em. She wanted me to taste of her strawberry jam but I jest shut my lips tight an' hurried away. I know I'd got the train all right if you hadn't let it start too soon. DEPOT MASTER. The train left just on time, madam. MRS. H. I don't believe it, an' I ought to have a ticket for nothin' for gettin' left. When does the next train go ? DEPOT MASTER. In two hours. MRS. H. I guess I'll telegraph to Polly Ann to put off the funeral till I get there. (To AGENT.) I want to telegraph to Polly Ann. Supposing mister, you write down what I've got to say. (AGENT writes as MRS. H. dictates.} DEAR POLLY ANN : The train started too soon an' I'm left. If Jedediah knew how bad I feel 'bout it he'd turn over in his coffin. I promised him years ago that I'd let nothin' keep me from 'tendin' his funeral. The flowers I'm bringin' him will be all wilted but they prob'ly won't look any worse'n he does. I'm sending this telegram to tell ye to put off the funeral till I get there. It may be dark but the moon comes up early. If the preacher an' the singers hain't got there when you get this you better put off the funeral till to-morrow for I shall be so tired ridin' on the cars that I shan't be able to keep up under the grief. This ain't my handwritin' but it's from me jest the same. I'm tellin' a feller what to say. Good-bye. Your affectionate cousin, AMELIA HUMMER. AGENT. Three dollars and seventy-five cents, madam. MRS. H. Three dollars and seventy- five cents f What do you mean? Why I thought you could send a telegram for twenty-five cents. AGENT. But you can only send ten words for twenty-five cents, and this message comes to three seventy-five, madam. SCENES IN THE UNION DEPOT 15 MRS. H. Well, I declare! 'Rastus is always sayin' that talk's cheap but I shan't believe it any more. You can jest tear that up, mister, and put down : (Counting each word on her fingers.) The train started off too soon and I got left. (Pays him.} I wouldn't miss 'tendin' that funeral for ten dol- lars but when it comes to payin' three dollars and seventy-five cents for sayin' a few words on paper an' mebbe get cheated out of 'tendin' the funeral besides, I ain't agoin' to do it. I must hurry an' find 'Rastus so's to ride back with him. He was goin' to do some errands. (To DEPOT MASTER.) The next time I come I'll be here early an' see that you don't let the train start 'fore it's time. [Exit. ( The ITALIANS sing or play some musical instruments, pass the hat and exeunt.') MRS. MARTINDALE. I wish you'd see how late our train is, Harry. MR. MARTINDALE. You know already, for I asked just a few minutes ago. MRS. M. What if you did ; ask again. MR. M. Well, I will in a minute. MRS. M. Put down your paper, Harry, and ask him now. Can't you be obliging for once? MR. M. (aside). Some women are so fussy. MRS. M. I wish you'd get me a glass of lemonade and just step outside and see what time it is by the depot clock. MR. M. I can't do three things at once. MRS. M. I didn't ask you to. You men are so stupid. MR. M. Well, which shall I do first ? MRS. M. See what time it is. No, I'm most choked; get the lemonade. (As MR. M. starts off MRS. M. calls him back.} You'd better look at the clock first for there might not be time to drink the lemonade, but oh, dear, I'm most choked. MR. M. It won't do to let you choke, Mamie, so I'll get the lemonade. (MR. M. goes to the refreshment stand.} MRS. L. (to MRS. M.). What a kind husband you have. MRS. M. Oh, he's kind in his way. Like all other men, I suppose takes his own time for doing things. Oh, dear, I'm most choked. I wish he'd hurry up. MRS. L. I wouldn't give a cent for lemonade that was made in a jiffy. You have to give the sugar a little time to dissolve. MRS. M. 1 just expect the train will come and we'll be left. It takes Harry so long to do anything. He stops and talks too l6 SCENES IN THE UNION DEPOT long. (MR. M. re f urns.} At last. {Takes glass and sips a little.} I can't drink this, Harry, it's too sweet. MR. M. The man said it was first-class. MRS. M. I can't help it if he did. It's too sweet and I can't drink it. MR. M. Well, I can. (Drains glass.} MRS. M. (to MRS. L.). You can see what I have to endure. ( To MR. M.) Now bring me a glass of ice water and be quick about it for my throat is so dry I can scarcely swallow. (MR. M. goes for water.} MRS. L. My husband never waits on me the way yours does on you. MRS. M. I should hope not, for you'd have a hard time of it if he did. (MR. M. brings water. MRS. M. takes glass}. I wanted you to bring me a piece of ice in it. It probably would have melted, though; before you got here. (Drinks.} Now see again what time it is and how long before the train'll be here. MRS. L. I should think your husband would want to sit down and rest awhile. MRS. M. Rest ! He wouldn't do anything but rest if I'd let him. He needs exercise to keep him healthy. My, I believe some lemonade would taste good if it was sweet. MRS. L. I'll get it for you. Don't ask him again. MRS. M. Thank you, but you needn't worry about Harry. He won't hurt himself. (MR. M. returns.} MR. M. The train will be here in thirty minutes. It's two- forty now. MRS. M. I wish I had some chocolates. I'm dying for some. MR. M. I suppose you'll have to have them then. (Starts off-} MRS. M. (calling.} I want some more lemonade too, Harry. MRS. L. You're making a slave of your husband, don't you know it? He'll wear out waiting on ye. MRS. M. (laughing}. A slave wear out what are you talking about ? MRS. L. And you'll die sooner than you ought to if you don't stir yourself a little. (MRS. M. looks disgusted and takes another seat. MR. M. returns with candy and lemonade, MRS. M. eats a choco- late and sips lemonade.} SCENES IN THE UNION DEPOT IJ MRS. M. (shivering). Oh, Harry, it's so sour. You'll have to drink this glass, too. MR. M. Give it to me then. (Takes glass and drinks.*) MRS. M. When we get home I'll make some lemonade that's right. Now move our baggage over here, Harry. That woman over there is just horrid and I won't sit by her any longer. MR. M. There's no hurry about it. MRS. M. But what if the train should come before we are ready? MR. M. Well, I'll move the things in a minute. MRS. M. Bring them now, Harry. I can't rest till you do. MR. M. And I suppose I can't either. (Moves baggage and starts off.} MRS. M. Now don't go away again. MR. M. I must have a cigar. MRS. M. No you mustn't. You had one not long ago. MR. M. I had one this morning but I suppose that will have to do. MRS. M. Now sit down, hold this box in your lap and take hold of this grip so you'll be ready to start the minute the train comes. And here's my wrap and umbrella. Where's the box with my new hat in it ? I do believe you are sitting on it, Harry. MR. M. No, it's on the floor right beside me. I can't for- get it. MRS. M. If you should I couldn't go to the opera to-mor- row night. Are you sure you won't forget it, Harry ? MR. M. If I do it won't be your fault. (Sound of arriv- ing train. DEPOT MASTER calls train.) MRS. M. Oh, dear, I'm so afraid we'll leave something. (Takes hold of his arm.) \JExeunt. Enter two or three passengers who walk through the waiting room and exeunt at street entrance. At same entrance enter BRIDE and GROOM, arm in arm. GROOM seats BRIDE and goes to ticket office. GROOM. Do you make special rates to brides and grooms ? AGENT. No, sir. GROOM. What's the fare to New York for two ? AGENT. Thirty dollars. GROOM. Gee whiz ! It costs to take a weddin' tower, don't it? Guess we won't go further'n Albany. Ain't ray wife 1 8 SCENES IN THE UNION DEPOT handsome ? That's her over there. We's married about two hours ago and drove like Jehu to get here. You see we live about five miles out in the country. Be you married and did you take a tower ? AGENT. Do you want two tickets for Albany ? GROOM. Why, yes, I guess we might as well. We've started for somewhere and I don't know's it makes much dif- ference where, just so the money holds out. (Lays down money and takes tickets. Sits down by BRIDE and shells peanuts for her. She leans her head on his shoulder and eats them.') BRIDE. Didn't we fool 'em slick, though, gettin' away? . GROOM. Fine, couldn't have been slicker. Rob and Dick said we couldn't get away without their knowin' it, but we give'm the slip all right. Enter ROSY, MOLLY, ROB, and DICK at street entrance. One of the girls points to BRIDE and GROOM. They ad- vance to where they are sitting and take them unawares. ROB. Ha, ha, here you be havin' a cozy time all to your- self. DICK. You didn't get off so slick after all. You can't fool us. ROB. You'll have to treat, old boy, and the sooner the bet- ter. We'll look after the bride. DICK. Number one cigars for us and number one chocolates for the girls, remember. GROOM (aside}. Guess I'll have to change them tickets for Syracuse. I'm 'fraid the money won't hold out. (GROOM goes to candy stand. MOLLY slyly fastens old shoes onto BRIDE and GROOM'S grip.*) ROSY. When will you be home, Marthy ? BRIDE. We haven't set any time yet. Charley says when the money runs out. How did you know we's here? DICK. Oh, we know everything. Didn't have a bit of trouble finding you. ROSY. Billy Brown told Belle Smith if you are gone very long you'll lose your place in the choir. BRIDE. It's none of Billy Brown's business if we are gone six weeks. He'd find he'd got a job on hand if he tried to put me out. SCENES IN THE UNION DEPOT 19 ROB. That's right, Marthy, and we'll stand by you. DICK. Billy's mad 'cause you didn't invite him to your weddin'. That's where the rub is. MOLLY. Mrs. Brown says she'll never come to see ye. She will, though. She asked me forty questions about the weddin' and said she was goin' over in the inornin' to see your ma 'bout the next sewin' society. BRIDE. Don't you worry, ma knows her. She won't find out anything. (GROOM returns. They eat candy and talk more about the wedding.} ROB. Well, we must be going. Sorry we can't stay and see you off. DICK. Hope you won't get to quarreling before your honey- moon is over. A heap of good luck to ye. [All throw rice and exeunt with many good-byes. GROOM (shaking off rice). Gee whiz ! How the stuff pricks a feller's neck. BRIDE. What a shame they found us. Nobody'd had any idee we're just married if it hadn't been for this rice. (Brushes rice off hat ; to MRS. L.) You wouldn't knowed it, would ye ? MRS. L. Oh, certainly not. I'm not quite sure of it yet. GROOM (indignantly}. You ain't ! Well, we be married. Here's the license right in my coat pocket. (Takes it out and shows it to her.} We ain't 'loping nor pretending to be what we ain't. We're goin' to Albany on the next train, ain't we, little wifey ? (Puts his arm around BRIDE.) BRIDE (with a very sweet smile"). Yes, husband. GROOM. Be you convinced now, madam ? MRS. L. Fully, sir, fully. GROOM. If you ain't I'll send you a copy of the Brierville News. The preacher's goin' to write up the weddin' in fine shape, tellin' all about the weddin' clothes we had on, how many presents we got, what they was and who they's from. We're going to buy twenty-five copies to send to our friends. MRS. L. Suppose you send me a copy anyway. (DEPOT MASTER calls train.} GROOM. That's our train, Marthy. \They pick up baggage and exeunt. 2O SCENES IN THE UNION DEPOT Enter man and two children at street entrance. Man buys tickets and hands them to the girl. FATHER. Keep bub off the track and don't let him get into mischief. Don't forget your bundles. Your train goes at four o'clock. Good-bye. [Exit FATHER. ( Children take seats.') MRS. L. Goin' somewhere, sissy? CASSY. Yessum, goin' to visit Aunt Maggie. JUPITER. I'm goin' too. MRS. L. Of course you be, bubby. What's your name? CASSY. Hisn's Jupiter and mine's Cassiopea. They call us Gassy and Jupy for short. MRS. L. Got any brothers or sisters? CASSY. A whole lot of 'em. (BOOTBLACK listens to conver- sation.) MRS. L. What's their names ? CASSY. Pa named us all after the stars. Mars, he's four- teen they don't nickname him. Mercury, he's twelve. When he's bad pa calls him a reg'lar blue pill. I'm eleven and Jupy's seven. The twins are ten. Their names is Regu- lus and Venus. We call 'em Gus and Veny. Saturn, he's five, Neptune's three and the baby's a year old. Pa said he was the best of the whole lot, so he named him Orion. MRS. L. I guess your pa must be a pretty smart man and you children a lot of little shiners. Guess you had a bran' new dress made to go visitin' in, didn't you ? CASSY. Yessum, and a new sacque, too. Aunt Maggie wrote that white sacques was all the style for little girls, so ma made me one out of a flour sack and I put the trimmin's on it myself. (BOOTBLACK sings the first line of " Thoti Art so Like a flower" adding the word sack.) Ma said if I didn't tell anybody folks would think it was bought at the store. The missionary society give me my hat. MRS. L. (to JUPITER). Did they give you a hat, too ? CASSY. No, ma made one out of pa's for Jupy. It's plenty big enough for him, but ma says he'll grow to it. MRS. L. I suppose you'll have a nice time while you are out to Aunt Maggie's. CASSY. Maybe. Aunt Maggie don't like children, but me an' Jupy are goin' to make her like us. Jupy's takin' her a mud-turtle and I'm takin' her a holder I made all myself. SCENES IN THE UNION DEPOT 21 JUPITER. Don't you think she will like me when I give her the mud -turtle? MRS. L. I'm sure she will, bubby. Do you go to Sunday- school ? GASSY. I do, but Jupy don't. He took bees once with him in a box an' they got out an' stung the superintendent right on the nose. . He called Jupy a wicked little star an' said if he didn't do better he'd make him see a whole lot of stars. One other time he caught a mouse in a box an' took it to Miss Good- well. She's Jupy's Sunday-school teacher. Do you know her ? She looks like you. JUPITER. She's awfully homely. MRS. L. Well, what about the mouse? GASSY. When Miss Goodwell opened the box she screamed awful, an' the next day the preacher called an' told ma to keep Jupy at home till he was a little older. But he's goin' again when we get home. JUPITER. You wouldn't scream at a mouse, would you? MRS. L. No yes well, maybe not. JUPITER. Mice don't hurt folks. You jest ought to see Sinus eat 'em. MRS. L. Whose Sirius ? GASSY. He's Jupy's dog. Pa named him after the dog- star. MRS. L. How long be you goin' to stay at your Aunt Mag- gie's? GASSY. Ma said to stay till she sent us home. MRS. L. What train be you goin' on ? GASSY. Pa said it was the four o'clock. MRS. L. That's the one I'm goin' to take. I've been waitin' for it ever sence eight o'clock this morning. GASSY. Oh, my, you must have seen a lot of folks. MRS. L. Yes I have, more'n I've seen in many a day. It's ben as good as a circus. JUPITER. I went to a circus once. I crawled in under the tent and I saw a boa- subtracter. Did you ever see one? GASSY. He means a boa-constrictor. JUPITER. Where do you live? MRS. L. At Coffinbury. JUPITER. Do they bury coffins there ? GASSY. Don't ask so many questions, Jupy. JUPITER. Why not? Do they have mud-turtles an' fire- crackers an' little boys where you live ? 22 SCENES IN THE UNION DEPOT MRS. L. Lots of 'errij bubby. JUPITER. Have you got any? MRS. L. There's plenty of mud-turtles around but I hain't any firecrackers or little boys. (DEPOT MASTER calls train.'} There's our train. Stay close to me and I'll look after you. [Exeunt. (Sound of departing train. No passengers left in depot. Enter COLLEGE QUARTETTE, at street entrance.} FIRST TENOR. Well, boys, it looks as if we've got it to our- selves. BASS. For five minutes, perhaps. SECOND TENOR. Better try one or two of our songs, hadn't we? BARITONE. We need to bad enough, and we'll have time, for our train is twenty minutes late. BASS (to FIRST TENOR). Buy our tickets first. FIRST TENOR. All right. (Buys tickets, ,) Come on, boys, let's try our songs now. (They group themselves and sing two pieces.} BASS. It's too stuffy in here. Let's wait outside. BARITONE. Our train must be most here by this time. [Exeunt. Enter MR. WHITE and LILY. They go to ticket window. MR. WHITE (to AGENT). How is you? I'm Mr. White and this is Miss Lily. (She makes a sweeping bow.} We've come to meet Miss 'Lizah. How long 'fore de train'll be heah ? AGENT. Three minutes. LILY. What if 'Lizah don't come? MR. W. Nevah you feah. 'Lizah won't miss de weddin'. LILY. She said she was goin' to wear her party dress to travel in so she'll look fine. 'Xpect you an' she'll be steppin' off next. MR. W. 'Xpect we will. 'Lizah's an angel, shuah she is. (Sound of arriving train. Enter ELIZA. She rushes into LILY'S arms. They kiss. MR. W. puts hand on heart and casts side glances at them.} LILY. You look fine, honey deah. Where did you get that lovely hat ? SCENES IN THE UNION DEPOT 23 ELIZA. At {Local milliner.') Enter young colored man at street entrance. MR. W. Hello, Gawge, how is you ? ( They shake hands. MR. W. introduces his friend to LILY and ELIZA.) GEORGE. Gwine to de weddin', I s'pose. MR. W. Shuah, we'll all be dere. GEORGE. Gwine to have a big time, I heah. MR. W. Shuah dey is. Brudder Samson an* Brudder Zion's gwine to do de jinin', Miss Lily's gwine to play de wed- din' march an' me an' 'Lizah's gwine to stan' up wid 'em. (Boy hands dispatch to MR. W. MR. W. reads aloud.) "Sick an' can't come. Am sendin' flowahs on de Numbah Foah." Guess we'd better wait for 'em, den dey'll be shuah to have 'em. If you's in no hurry, Gawge, wait wid us. (All take seats.) Enter HAROLD and FLOSSIE. FLOSSIE. I hope we won't see any one we know. Do you think they'll find us, Harold ? HAROLD. What if they do? I'll protect you, Flossie. I'll fight for you. You sit down here while I buy our tickets. (To AGENT.) Two tickets for Chicago. (Puts tickets in pocket and takes seat by FLOSSIE.) FLOSSIE. Let's walk on the platform. I'm afraid papa and mama will be walking in on us. HAROLD. All right. (As FLOSSIE rises her handkerchief drops to the floor.') \_Exeunt. LILY. Dem's two runaways, shuah. MR. W. Don't wonder he wants her. She's sweet's an angel. GEORGE. Hope de old folks won't find 'em. Enter MR. and MRS. LINTON. MRS. LINTON (wringing her hands). Oh, William, do you think we'll find them? To think our Flossie should do such a thing. MR. LINTON. I'll teach that young upstart a thing or two once I lay hands on him. I'll see if the ticket agent knows anything about them. (To AGENT.) Have you seen a pretty girl around here with a fellow that looks as if he didn't know much? (MRS. L. walks the floor in great distress.} 24 SCENES IN THE UNION DEPOT AGENT. A young fellow bought two tickets for Chicago for train Number Four. There was a young girl with him. MR. L. Then give me two tickets for Chicago. (HAROLD and FLOSSIE start to r center, but on seeing MR. and MRS. L. they quickly draw back. MRS. L. finds handker- chief and sees FLOSSIE'S name.) MRS. L. Oh, William, here's Flossie's handkerchief. She's been here, but where do you suppose she is now ? MR. L. Don't worry. We'll soon find them. They bought tickets for Chicago and we'll follow them. MRS. L. Foolish children ! Won't I give Flossie a scolding. (Sound of arriving train. DEPOT MASTER calls train. Exeunt MR. and MRS. L. and MR. W. MR. W. returns with box. A few passengers enter and take seats. MR. W. Dey come, you see. 'Xpect dey's mighty fine. Brudder Zion's on de way. I see him gettin' in de 'bus. We better take de flowahs right over. \_The two couples lock arms and exeunt. Enter HAROLD and FLOSSIE. FLOSSIE. Where do you suppose they are by this time ? HAROLD. I saw them getting on the train, Flossie, and that's why I backed out. FLOSSIE. Oh, Harold, what if there should be a wreck ! HAROLD. Don't worry, Flossie. When they see we're not on they'll get off and take the next train back. FLOSSIE. All right. It's getting late and I'm most starved. I won't ever elope again. \_Exeunt. (A few passengers settle themselves for the night, arranging pillows out of bundles, wraps, etc. As soon as they are asleep a train arrives and COLLEGE QUARTETTE enters.} FIRST TENOR. It's pretty late, boys, to be getting home. BASS (yawning). Shan't feel much like studying to-morrow. BARITONE. I'm glad we haven't any engagements for to- morrow night. (FiRST TENOR begins humming a good-night song, the others Join in and they sing it through.) CURTAIN New Publications PIECES PEOPLE ASK FOR Serious, Humorous, Pathetic, Patriotic and Dramatic Selections in Prose and Poetry for Readings and Recitations One hundred selections in prose and verse by F. H. Gassaway, O. W. Holmes, Henry Ward Beecher, Alice Gary, R. H. Stoddarcl, Joel Chandler Harris, Charles Dudley Warner, J. M. Bailey, Bill Nye, Phoebe Gary, John Boyle O'Reilly, Irwin Russell, Lucy Larcom, Wendell Phillips, James Russell Lowell, Eugene J. Hall and others. 240 pages. Price, 25 cents ENCORE PIECES And Other Recitations Seventy-three selections in prose and verse by Paul Laurence Dunbar, Carolyn Wells, Ackland Von Boyle, Charles Follen Adams, Hans Breit- mann, F. H. Gassaway, Nora Perry, J. W. Kelley, Belle Marshall Locke, S. A. Frost and others. 210 pages. Price, 25 cents BAKER'S TEMPERANCE DIALOGUES Humorous, Dramatic and Instructive Comprising: "A Drop Too Much," four males, two females; "A Little More Cider," five males, three females ; " The Man With the Deniijohn," four males ; " Seeing the Elephant," five males, two fe- males ; " The Tempter," three males, one female ; " We're All Teetotal- lers," four males, two females. A good collection of bright little pieces, most of which are also published singly at 15 cents each. Price, 25 cents Sent post-paid on receipt of price by Walter H. Baker & Co., 5 Hamilton Place BOSTON, MASS. New Recitations BAKER'S HUMOROUS SPEAKER Readings and Recitations for School or Platform, including pieces in Yankee, English, French, German and Scotch dialect. One hundred and sixty-four selections in prose and verse by Mark Twain, Will Carlton, R. J. Burdette, O. AV. Holmes, Betsy Bobbitt, M. Quad, Bill Xye, Max Adeler, John Phoenix, Artemas Ward and others. 307 pages. PRICE, 25 CENTS. BAKER'S PATRIOTIC SPEAKER A Collection of the Best Patriotic Selections for School or Platform. Seventy-six selections in prose and verse by Will Carlton, F. II. Gass.awny, Bret Harte, Joaquin Miller, T. W. Higginson, John L. Swift, John G. Whittier, Gen. Sherman, II. B. Sargent, T. DeAVitt Talmage and others. Reprinted from The Grand Army Speaker. 149 pages. PRICE, 25 CENTS. Selections from Standard Authors For School and College. Nearly one hundred selections from standard authors, comprising gems from such writers as Shakespeare, Tennyson, Macaulay, Irving, Scott, Dickens, Browning, Byron, Shell, Leigh Hunt, Poe, Haz'itt, Hood, Bayard Taylor, J)e Quincy, Lowell, Owen Meredith, Longfellow, Bryant, Trowbridge, Victor Hugo, Sumner, Webster, and many others. 240 pages. PRICE, 50 CENTS. Sent post-paid on receipt of price by Walter H, Baker & Co., 5 Hamilton Place BOSTON, MASS. New Plays HIGBEE OF HARVARD A COMEDY-DRAMA IN THREE ACTS Five males, four females. Modern costumes ; scenes, two interiors and MI exterior the latter may be played as well in an interior, if preferred. Plays a full evening. A clever, up-to-date piece, well suited for amateur performance. No small parts ; all good. Good plot, full of incident, no love-making, no " heroics," interest strong and sustained. Based on a play that, in its time, had phenomenal popularity and can be strongly recom- mended. Price, 15 cents CHARACTERS WATSON W. HIGBEE, from Montana. HIGGINS, the butler. A good fetlmo with millions, who Eccentric Character. knows neither fear nnr grammar. NANCY WlTHROW, the senator's Character Lead. daughter. An up-to-date, level-headed HON. V. D. WITHROW, a bhie-blooded girl. Juvenile Lead. ex-senator with a tall family tree and MADGE CUMMrSGS,/)-om Montana A a short bank account. First Old Man. quiet sort with temper when needed. LORIN HIGBEE, son of Watson. Cham- Ingenue Lead. pion athlete of Harvard. In love with MRS. BALLOtT, the senator's sister from Madge. Juvenile Lead. New York, who meets her second affin- THEODORE DALRYMPLE, called ity at the eleventh hour. Comedy. " Ted." Worked his way through MRS. MALVINA MEDDIGREW, origi- Harvard, In love with Nancy. nallyfrom Missouri. Must always be Comedy Lead. shown. Comedy. SYNOPSIS ACT I. The lawn at Withrow's. A June afternoon. Planning a dou- ble marriage. ACT II. Parlor at Withrow's. In a tangle. Cupid's arrows go wrong, and everything follows. Good-by, and a roaring climax. ACT III. In Montana, five months later. Hard lines. " Thanksgiving to-morrow, and no chance to steal a turkey." The unexpected happens. Sudden wealth, "A Four-decker weddiu' in a couple or three days." THE OTHER WOMAN A SKETCH IN ONE ACT By Ellis Kingsley \ interior ; costumes minended. Very dn Price, 15 cents Two females. Scene, an interior ; costumes modern. A clever and re- fined sketch, strongly recommended. Very dramatic. Plays twenty min, utes. New Entertainments OUR CHURCH FAIR A Farcical Entertainment in Two Acts By Jessie A. Kelley Twelve females. Costumes modern ; scenery unimportant. Plays an hour and a quarter. A humorous picture of the planning of the annual church fair by the ladies of the sewing circle. Full of local hits and general human nature, and a sure laugh- producer in any community. Can be recommended. Price, 25 cents CHARACTERS MRS. ROBERTS, who wants to be MRS. LAWSON, plump. president. MRS. BROWN, anxious to get new MRS. HENRY, young, giddy, church attendants. fond of novels. MRS. ADDISON, very inquisitive, MRS. JACKSON, the president of MRS. RIDGELY, sensitive. the society. MRS. OTIS, on the dinner com- MRS. BRETT, on the dinner com- mittee. mittee. MRS. THOMPSON, decidedly close. MRS. LEWIS, the minister's wife. MRS. DREW,y'#.r/ married. THE RIVAL CHOIRS An Entertainment in One Scene By Sherman F. Johnson Seven males, four females. Costumes eccentric ; scenery unimportant. Plays one hour. A novelty in musical entertainments, introducing the old choir and the new in competition. A novel setting for a concert, offering an interesting contrast between the old music and the new. Lots of incidental fun, character and human nature. Sure to please. Origi- nally produced in Meriden, Conn. Price, 25 cents A THIEF IN THE HOUSE A Comedy in One Act By R. M. Robinson Six males, one playing a female character (colored). Costumes modern ; scenery, an interior. Plays forty-five minutes. A first-class play for male characters only, of strong dramatic interest with plenty of comedy. A play that can be recommended, in spite of its lack of female characters, to any audience. Price, 25 cents New Farces and Comedies GADSBY'S GIRLS A Farce in Three Acts y Bertha Currier Porter Five males, four females. Costumes modern ; scenery, an exterior and an interior. Plays an hour and a half. An exceptionally bright and vivacious little piece, full of action. The irrepressible Gadsby's adven- tures with the fiancees of three of his friends are full of interest and fun. All the parts good. Well suited for High School performance. Price, 25 cents CHARACTERS RICHARD STANLEY, a lawyer. JOSEPH PARKER, a clerk. MORRIS YOUNG, a medical student. STEVE, the farm boy. Friendly, but not loquacious. MABEL PARKINS, frivolous and dressy ; engaged to Richard. ESTHER CARROLL, botanical and birdy ; engaged to Joseph. GRACE CH ESTER, just girl; engaged to Morris. MRS. DODGE, who takes boarders. MAXIMILIAN HUNNEWELL GADSBY, a butterfly. THE GIRL WHO PAID THE BILLS A Comedy in One Act By Nina Rhoades Two males, four females. Costumes modern ; scene, an easy interior. Plays thirty-five minutes. A clever piece of high class, admirably written and suited to the best taste. A pretty little love story, wholesome and un sentimental in tone. Well recommended. Price, 15 cents THE FIFTH COMMANDMENT A Play in One Act By Willis Steell Three males, one female. Costumes modern ; scene, an interior. Plays twenty minutes. An easy piece of strong dramatic interest, origi- nally produced in Vaudeville by Julius Steger. Free to amateurs; royalty required for professional performance. Price, 15 cents New Plays MR. EASYMAN'S NIECE A Farcical Comedy in Four Acts By Belle Marshall Locke Six males, four females. Costumes modern ; scenery, two interiors and one easy exterior that may be played indoors if desired. Plays a full even- ing. A clever and vivacious play, full of fun and action. Mr. Easyman's fad of spiritualism leads him into a difficulty that is a source of endless amusement to the audience. Irish and old maid comedy parts. Can be recommended. Price, 25 cents CHARACTERS MR. STEPHEN EASYMAN, a wealthy MR. SHARPE, a detective. broker. Miss JUDITH CARROLL, a maiden MR. CAREW CARLTON, his nephew. aunt. MR. TOM ASHLEIGH; MRS. EASYMAN, } her JACKSON, a servant. Miss BESSIE CARROL;., \ nieces. MICHAEL FLYNN. DESDEMONA, the ghost. A PAIR OF BURGLARS By Byron P. Glenn Two males, two females. One act. Costumes modern ; scenery, an easy interior. Plays half an hour. A brisk little curtain raiser of the " vaudeville " type, moving all the time. Easy and effective ; all the parts young people and well-dressed. Strongly recommended. Price, 15 cents DANE'S DRESS-SUIT CASE By Robert C. V. Meyers Two males, one female. One act. Costumes modern ; scene, an easy interior. Plays fifteen minutes. An excellent short play to fill out a bill or to fill in an intermission. All action and lots of fun. All parts young and well-dressed. Price, if cents Novelties HOW THE CLUB WAS FORMED An Entertainment in Three Scenes By Mrs. O. W. Gleason Author of "How the Story Grew" "A Modern Sewing Society," etc. Eighteen females. Costumes modern ; scenery unimportant. Plays one and a half hours. A humorous skit on the Woman's Club suited for performance by either young or middle-aged women. Full of points and chances for local hits and thus a sure laugh-maker. Parts well dis- tributed; can be recommended. Price, 15 cents A MOTHERS' MEETING An Entertainment in One Scene By Arlo Bates Author of "A Business Meeting" "A Gentle Jury," "An Interrupted Proposal" "Her Deaf Ear " etc. Ten females. Costumes modern ; scenery unnecessary. Plays thirty minutes. A good-humored and amusing satire of this institution suited for performance by middle-aged as well as young ladies. Can be made very amusing by the introduction of local p'oints, as in all such entertain- ments. All the parts are good and of nearly equal opportunity. Well recommended. Price, 15 cents MAIDS OF ALL NATIONS An Entertainment in One Scene By Maude Burbank Author of f( A Pan of Fudge," etc. Fifteen females, one male. Costumes of the nations ; scene, the usual tableau arrangements. A pleasant variation of the " Bachelor's Reverie " introducing fifteen pretty girls in the costumes of as many nations. Plays thirty minutes. Recommended for its simplicity and picturesqueness. Its one male character may speak or not, as preferred, and may be played by a girl if desired. Price, 75 cents New Plays THE SISTERHOOD OF BRIDGET A Farce in Three Acts By Robert Elwin Ford Seven males, six females. Costumes modern ; scenery, easy interiors. Plays two hours. An easy, effective and very humorous piece turning upon the always interesting servant-girl question. A very unusual num- ber of comedy parts; all the parts good. Easy to get up and well rec- ommended. Price, 25 cents CHARACTERS EDWARD MASON, a wealthy stock- MRS. MASON, socialist and modern ; scene, a single interior. Plays a full evening. Sent prepaid on receipt of price by Walter 1^ QBafeer a Company No. 5 Hamilton Place, Boston, Massachusetts decent popular THE AWAKENING THE FRUITS OF ENLIGHTENMENT HIS EXCELLENCY THE GOVERNOR AN IDEAL HUSBAND Play in Four Acts. By C. H. CHA Four males, >ix females. Scenery, not dim- cult, chiefly interiors ; costumes, modern. Plays a full evening. Price, 50 Cents. Comedy in Four Acts. ByL. r \\enty- one males, eleven femal. - tumes, modern. Plays a full evening. Recommended for reading clubs. Price, 25 Cents. Farce in Three Acts. By li. M.A KSHALI, : Uree females. Costumes, modern; so nterior. \ed. Time, a lull evening. Price, 5O Cents. dy in Four Acts. ByOs< AI: "\Yiu>K. >"ine malc-- trn; scenery, three interiors. Plays a full evening. Acting rights rt served. Sold for reading. Price, ."><) Ct-nt*. THE IMPORTANCE OF BEING EARNEST ^ e WILDE. Five males, four fern interiors and an exterior. Plays a full evening. Acting ri_ served. Price, 5O Cents. I AflY It AVI 'S FAN Comedy in Fon 3 TAW WILUE. Sv.-v.-ji ma males. ihr.'e interiors. evening. A* I'rice, .">O Ceiii.-. NATHAN HAIF irActs. BVCLYD 11A1IIH11 lll\L,Li century in America. 'iir interiors and : ingr:. -d. Plays a full evening. I'l-ice, 5O ( 'ents. THP HTHFB FFI I AW Comedy in Thr. M. P.. HOUNK. iiit; uiiiLft rEt,L,U" 1 1 stage ri;_' Plays a full evening. Pi-ive, 5O i cuts. THF 111C TV, an interior and :iu exterior; oostin Acting right- a. full evening. I'ri<-- ."<> ( ents. -Mimes, mod. exterior. Plays a full e^ reading only. 1'riee. ."><) Cents. ftF TFAPS Vf 1EAIV3 CiiAMiiEits. Four UK- A WOMAN OF NO IMPORTANCE Sent prepaid on receipt of price by Walter $. "Bafeer & Company No. 5 Hamilton Place, Boston, Massachusetts