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THE DRAMA MAGAZINE FOR YOUNG PEOPLE OCTOBER 2016

UPPER GRADES PBorderlinels. . . .a...... y...... Chs ristina Hamlett 2 DRAMATIZED CLASSIC (F OR UPPER GRADES ) The Canterville Ghost...... Oscar Wilde 12 Adapted by Walter Hackett

MIDDLE AND LOWER GRADES Once Upon a Mayflower ...... Pamela Love 23 The Magic Wishing Ring...... Gwen Chaloner 29 Wanted: A House to Haunt...... Hazel W. Corson 35 Armadillo’s Choice...... Pamela Love 39 Rebecca Motte: American Patriot...... Tara Wise Montgomery 43 Terms of Use • Vol. 76, No. 1

Subscribers . Persons and entities with subscriptions in force at the time of the performance may produce the plays in any issue of this magazine royalty-free, provided the performance is part of a regular school or dramatic club activity. Such persons and entities may also reproduce copies of the individual play being produced for members of the cast, and may videotape or record rehearsals or performances of the play, for use by such members in connection with preparation for a performance of the play. Subscribers may not videotape or record the production of the play for any other reason, and may not reproduce or transmit the production via television or radio, or via the internet or other electronic methods, without the written permission of, and the payment of any required royalties to, Plays/Sterling Partners, Inc. Non-subscribers . Persons and entities that are not current subscribers to this magazine must apply in writing to Plays/Sterling Partners, Inc. for royalty quotations and permission to copy, reproduce, distribute, transmit, publicly display, or publicly perform any of the plays herein. Permission will be granted on a per-performance basis only, and under no condition may permission be transferred. All readers . All rights not expressly granted by these paragraphs are reserved by Plays/Sterling Partners, Inc. If you have a question about the rights granted herein, or would like to request permission to per - form, distribute, transmit, display or copy any of the literary or dra - matic works in this magazine, please contact PLAYS, The Drama Magazine for Young People, 897 Washington St., #600160, Newton, MA 02460.

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PLAYS, The Drama Magazine for Young People (ISSN 0032-1540, USPS 473-810) is published seven times a year, monthly except June, July, August, and September, and bimonthly January/February, by STERLING PARTNERS, INC., 897 Washington St., #600160, Newton, MA 02460. Subscription rates: 1 year, $59.00; 2 years, $109.00. Canadian: Add $12 per year to cover postage. All other for - eign: Add $25 per year to cover postage. Canadian & other foreign sub - scriptions must be paid in U.S. funds drawn on a U.S. bank (or if in U.S. funds drawn on foreign bank, add $4 U.S.). Periodicals postage paid at Boston, MA, and additional offices. POSTMASTER: Send address changes to: Plays/Sterling Partners 897 Washington St. #600160 Newton, MA 02460 Printed in U.S.A. October 2016

The drama magazine for young people What’s in this Pissuel . ays. . Upper Grades Borderlines , by Christina Hamlett 8 actors: 5 female,1 male, and 2 male/female; 30 minutes. Heartbreaking portrait of the struggles and hardships of immigrants to America and the harsh realities of a complex immigration system, as seen when an aunt from Central America comes to California for a family wedding.

The Canterville Ghost , by Oscar Wilde, and adapted by Walter Hackett 10 actors: 4 female, 2 male, 4 male/female; 25 minutes. A Dramatized Classic/Reader’s Theatre: In this good-humored “ghost” story, the Otis family’s kindhearted daughter finds a way for curmudgeonly ghost haunting their house to finally be able to rest in peace.

Middle and Lower Grades Once Upon a Mayflower , by Pamela Love 22+ actors: 7 male, 7 female, 8 male or female; 10 minutes. A large-cast play: The exciting story of the Pilgrims’ ocean voyage on the Mayflower to the New World, as recorded by Pilgrim leader William Bradford in 1620.

The Magic Wishing Ring , by Gwen Chaloner 17 actors: 4 male, 3 female, and 10 male/female; 15 minutes. A large-cast play: Nouns, verbs, adjectives, and the other five parts of speech are explored in this fun tale of pixie dust and imagination.

Wanted: A House to Haunt , by Hazel W. Corson 14+ actors: 3 male, 2 female, 9 male/female; 15 minutes. Friendly ghost is faced with finding a new home at Halloween when his host family moves from a big old creaky house to a new apartment.

Armadillo’s Choice , by Pamela Love 6 actors: male/female; 10 minutes. Animals meet in the desert and learn to respect their differences, without asking each other to change the way they are.

Rebecca Motte: American Patriot , by Tara Wise Montgomery 5 actors: 3 male, 2 female; 15 minutes. South Carolina patriot sacrifices her plan - tation home during the Revolutionary War to help the Colonial Army defeat the British.

OCTOBER 2016 1 Upper Grades Borderlines is protected by U.S. copyright law. It is unlawful to use this play in any way unless you are a current subscriber to PLAYS Magazine (www.playsmagazine.com). Borderlines Touching portrait of the struggles and hardships of immigrants to America, and the harsh realities of a complex immigration system. . . by Christina Hamlett

Characters Angled right is a freestanding door - way with door that opens inward. MARISSA MUÑOZ, spoiled teenager Down left is a table with a computer RAMON , her bad-news boyfriend monitor, paperwork, and two chairs facing each other. A freestanding door - FRANCIA MUÑOZ, Marissa’s mid - way is behind the table. American flag dle-aged mother hangs above doorway. A third door - way is up right of the kitchen. ROSALIE MUÑOZ, Francia’s older Additional entrances/exits are made daughter, 20’s down left. The center aisle is also used. HOLTON, Dept. of Homeland AT RISE : Soft spotlight comes up on Security official open door right, where we see entwined ANITA GUERRERO, Francia’s mid - silhouettes of MARISSA and RAMON. dle-aged sister MARISSA (Giggling ): Ramon, stop! I KAT JACKSON Immigration & have to go. Customs Enforce- JAY RICHARDS ment agents RAMON : Uno más! It’s early.

(Casting note: Although Francia and MARISSA : No más! It’s nearly mid - Anita are not twins, they must be simi - night. lar enough in height, weight and hair color/style for purposes of the plot. ) RAMON (Laughing ): What difference TIME : The present. does it make? ( Bright porch light sud - denly comes on directly above them .) SETTING : Los Angeles. A simple set and MARISSA isolated lighting convey different loca - (Hurriedly ): I’ll see you to- tions without having to use backdrops. morrow. ( She pushes him away, At center is a small kitchen with table smooths her hair and clothes, and and chairs, counter, sink, and hutch. steps inside. As she closes door, lights come up on kitchen, where FRANCIA, 2 PLAYS • playsmagazine.com in a bathrobe, is standing at the table, Rosalie and I were at work. Have you holding a mop that’s in a bucket .) forgotten my sister arrives from Honduras tomorrow? ( ROSALIE, in a FRANCIA (Quiet but firm ): ¿Qué hora es? robe, emerges from upstage doorway .)

MARISSA : Huh? MARISSA : How can I when it’s all you talk about?! FRANCIA (Louder ): ¿Qué hora es? ROSALIE : ¿Qué pasa? Why all the MARISSA (Shrugging ): I don’t know. shouting? Maybe—uh—9:30? MARISSA (Pointing at FRANCIA ): She FRANCIA : It is nearly midnight and doesn’t want me to have a life! ( She well past the time for you to be in bed. pushes past ROSALIE to exit upstage. FRANCIA shakes her head as ROS - MARISSA : No problemo. I’m on my way. ALIE crosses to try to take the mop. ) (She starts toward upstage doorway. FRANCIA wearily resumes mopping .) ROSALIE : It’s late, Mama, and we need to get up in a couple of hours. FRANCIA : Where were you tonight? FRANCIA : Your sister worries me. Dios MARISSA : Out. With friends. mio! I don’t know what to do.

FRANCIA : I was worried. I tried to call. ROSALIE : Well, it’s nothing to be solved tonight. You need your sleep. MARISSA : I must have had my phone turned off. FRANCIA : But I want the house to look perfect! FRANCIA : Why do you lie to me, Marissa? You were out with that boy ROSALIE : It already does because again. you’re in it and she loves you.

MARISSA (Angrily ): BoyFRIEND! And FRANCIA : But I’ve only a little more to his name is Ramon. How many times do. have I told you? ROSALIE : Then let me finish it for you. FRANCIA : And how many times have I Tomorrow is a big day. ( Reluctantly, told you he runs with a bad crowd? FRANCIA hands her the mop .)

MARISSA : You don’t know him like I FRANCIA : Te amo, Rosalie. You are a do! treasure. ( They hug as lights go out. A spotlight comes up at table left, where FRANCIA : I know that you deserve HOLTON sits at computer. ANITA much better. GUERRERO sits opposite him, a suit - case on the ground next to her. As MARISSA : So you stay up late to spy on HOLTON types away, ANITA takes a me? look at her watch .)

FRANCIA : No, I stay up late to clean the HOLTON (Snarkily ): Are we keeping house like you should have done while you from something?

OCTOBER 2016 3 ANITA (Pleasantly ): No, no, Señor ANITA (Laughing ): I rarely knew Holton. I simply had no idea it would where he was when we were married. take so long. How should I know where he is now?

HOLTON (As he continues typing ): I’m HOLTON : Are you gainfully employed, sure you didn’t. Mrs. Guerrero? ( Noticing her puzzled look, he speaks slowly .) Do. You. Have. ANITA : I had hoped to be at my sister’s A. Job? when she gets home. She and my niece work in the Garment District down - ANITA : Not a regular job, Señor Holton. town. Did I mention that? I do what is called the—uh—freelance and sew clothes for people in their HOLTON : Uh-huh. homes.

ANITA : They are working extra hours HOLTON (With suspicion ): So in other to save for my niece’s wedding. Such a words you could walk away at any time pretty bride she’ll be! Would you like to you wanted? see a picture? ANITA : Why should I do that when it is HOLTON : Not really. work that I truly love? ( She indicates her outfit. ) I also make all of my own ANITA (Happily looking around ): This clothes. ( She waits for a compliment is my first time to Los Angeles. It is that doesn’t come. ) very beautiful. HOLTON : The relative you plan to stay HOLTON (Nonplussed ): You’re not even with while you’re here. . .you state that out of the airport. her name is Francia Carmen Ruiz Muñoz and she is the mother of two ANITA : Then it speaks even better of daughters, ages 23 and 16. what awaits when I step outside! ANITA : Sí. HOLTON : A few more questions. You state that your full and legal name is HOLTON : And Mr. Muñoz—what does Anita Maria Ruiz Guerrero? he do?

ANITA : Sí. That is correct. ANITA (Sadly, crossing herself ): He has been gone since Marissa—the younger HOLTON : According to your documenta - girl—was first born. Francia—my sis - tion, you were born in Mexico but cur - ter—has raised them by herself. rently hold Honduran citizenship? HOLTON : Uh-huh. ( Types some more ) ANITA : Sí. I changed my citizenship And the supposed purpose of your visit when I married my husband. to L.A., Mrs. Guerrero?

HOLTON : And what is his occupation? ANITA : It is to help my niece Rosalie sew her wedding dress. My sister ANITA : Oh, we were only together a works very long hours and— short time. When I was very young. HOLTON (Handing her paperwork ): I’ll HOLTON : And his present whereabouts? need you to sign these documents. ( As

4 PLAYS • playsmagazine.com she signs each one, he affixes a rubber ANITA : At least I’m here now. Where’s stamp. He then collects them and your mother? ( FRANCIA emerges from hands her a piece of paper. ) Under the upstage door and rushes to greet terms of your temporary guest visa, ANITA with tears of joy .) Francia! you’ll be allowed to stay for six weeks and not a single second longer. FRANCIA : Anita!

ANITA : Six weeks is not a very long ROSALIE (Patting suitcase ): I’ll just put time. ( He stares at her, stony-faced. this in Mama’s room. ( As she exits She continues, cheerfully. ) Then it is a upstage and lights come up, FRANCIA good thing I can sew muy pronto, si? leads ANITA to the kitchen. A cake (KAT JACKSON emerges from door - and plates are on the table .) way behind HOLTON. She sips a cup of coffee .) FRANCIA : I made a cake. Your favorite! Come sit and tell me about your trip. HOLTON (To ANITA as he points left ): The exit’s that way. ANITA (Puzzled ): Where’s Marissa? Not still at school? ANITA : Then I am free to go? ( He nods and shoos her away .) FRANCIA (Visibly upset ): She has been dating someone. Un hombre muy malo. HOLTON : Sheesh! Why can’t they just stay where they belong? ANITA : She’s too young to be dating a boy, especially a very bad one. KAT : Problem? FRANCIA (As she serves cake ): Try HOLTON : The one that just left? I’d telling that to her. keep an eye on her if I were you. ANITA : Perhaps I will. ( The lights go KAT : Oh? down. Cell phone ringing is heard. Spotlight comes up in center aisle. HOLTON : If you ask me, she’s a little too MARISSA contemplates her phone as happy to be here. RAMON looks on .)

KAT : Is that such a crime? RAMON : Don’t answer.

HOLTON (Smugly ): Not until she com - MARISSA : It’s Rosalie. She never calls mits one. ( The spotlight goes out. unless it’s important. Knock on door is heard. Lights come up right as ROSALIE crosses to open RAMON : What’s more important than door to ANITA .) us? ( He tries to cuddle her and make her laugh while she’s on the call .) ROSALIE (Excitedly ): Tía! Bienvenido! MARISSA (Answering phone ): Hola. . . . ANITA (Hugging her ): Rosalie! How No, I didn’t forget. I’ve been busy. . . .I beautiful you are! don’t know when. When I get there, that’s when. . . .No, I’m not with Ramon. ROSALIE (Taking suitcase ): We were Why all the questions? Silencio! I’m not starting to worry. a child! No! I have to go! ( She ends the call .) My family thinks you’re bad for me.

OCTOBER 2016 5 RAMON : I think they’re bad for you . We and a spotlight comes up in center should run away. aisle on KAT and her co-worker JAY RICHARDS as they drink coffee .) MARISSA : Run where? JAY : All I’m sayin’ is, when does it stop? RAMON : What does it matter if we’re together? KAT : When does what stop?

MARISSA : Oh, Ramon! You say the JAY : They just keep pourin’ in here day sweetest things! ( She throws her arms after day, year after year. It’s like a around his neck as spotlight goes out. noisy, drippy faucet that won’t shut off. A soft light comes up on the kitchen. A sewing machine and basket are on din - KAT : What about the American dream ing table. FRANCIA, dressed for work, and coming here for something better? is draping wedding dress fabric over the back of one of the chairs as a sleepy JAY : More like the American night - ANITA, in a bathrobe, emerges from mare. There’s gonna be nothin’ left for upstage doorway. FRANCIA sees her. ) anyone born here. You think my kids are gonna be able to get a job? FRANCIA : Mi corazón! I did not mean to wake you. KAT : You don’t have any kids, Jay.

ANITA : I was too excited to sleep, think - JAY : Come on, Kat, I’m bein’ hypothet - ing about Rosalie’s dress. ( She crosses ical here. What’s wrong with lockin’ the to look at fabric. ) doors and tellin’ ’em all to go home?

FRANCIA : I’ve made coffee. Let me get KAT : Some of them don’t have a home you some. to go to.

ANITA : Do you always get up this early? JAY : Pffft! That is so not my problem.

FRANCIA : To get downtown, we must KAT (After a beat ): You’re not a people take a train and two buses. person, are you? ( Spotlight goes out on them. Soft light comes up on stage ANITA : It would be faster with a car. right door as ANITA is entering with a bag of groceries. Lights come up on FRANCIA (Wistfully ): If only! ( ROS - kitchen to reveal MARISSA and ALIE, dressed for work, enters upstage RAMON at the table sharing a bottle and takes her coffee cup to sink .) of soda. We can see that progress has been made on the dress .) ROSALIE : Good morning, Tía. Did you sleep well? MARISSA (Jumping up ): Tía! What are you doing here? ANITA : Dreaming of my sobrina’s per - fect wedding day! ANITA : I’ve been living here the past three weeks. . .or have you been too ROSALIE : Come on, Mama. We’ll be “busy” to notice? late. ( They hug goodbyes and exit. ANITA beams at sewing machine, MARISSA : This is my boyfriend, Ramon. excited to start. The lights go down (Indifferent, RAMON drinks his soda. )

6 PLAYS • playsmagazine.com ANITA : Did school let out early today? (The lights go down onstage. A spot - light comes up in center aisle. A con - MARISSA : Um. . .yes. cerned ROSALIE has her arm around a visibly fatigued FRANCIA .) ANITA : What about your school, Ramon? Or are you old enough to ROSALIE : You need to sit and rest a work? ( RAMON ignores her. ANITA moment, Mama. addresses MARISSA .) You know your mother’s rule about not having anyone FRANCIA : But we’ll miss our bus home. over when no one’s here. ROSALIE : There’ll be another one along. MARISSA (Shrugging ): You’re here. There always is.

ANITA : Yes, I am. And I need your help FRANCIA : I don’t know what’s wrong. I with the groceries. ( MARISSA starts to felt fine this morning. move but RAMON grabs her wrist. ) ROSALIE : You said that yesterday, too, RAMON : She’s not the boss of you. and I know you’re not. You’re wearing (MARISSA gives him a pleading look, yourself out. pulls her wrist away and goes to take groceries .) FRANCIA : I’ll rest after the wedding. There’s still a lot to do. ( Suddenly ANITA (To RAMON ): You remind me of points ) Our bus is turning the corner. someone. Someone I did not like very If we run, we can catch it. much. Oh yes, I remember. My ex-hus - band. Many years ago I told him to ROSALIE (Laughing ): Mama, you’re not leave my house. Just as I am now running—( FRANCIA grabs on to telling you to leave this one. ( RAMON ROSALIE as she sinks to the ground. takes his time standing up. He glances ROSALIE screams. ) Mama! ( The spot - down at the wedding dress and starts light goes out. Lights come up on to touch it. ) Don’t touch that. ( RAMON kitchen table. A much subdued smirks, looks at MARISSA and starts MARISSA is sewing beads on the veil. to hold his soda bottle over the fabric. ANITA stands up with the dress, now MARISSA rushes up to stop him .) only missing its sleeves and train .)

MARISSA : Ramon! No! You’ll ruin it! ANITA : We’ll need to clear the table for (He laughs, takes a swig of the soda dinner. ( She holds dress up to herself. ) and strolls to the front door. He turns What do you think? to look at MARISSA and snaps his fin - gers. She looks at ANITA, then back at MARISSA : I wish I had a dress like that. him. ) Maybe later. ( He shrugs and exits. MARISSA starts after him but ANITA : And I wish that won’t be for a ANITA stops her .) very long time.

ANITA : Let him go. He is not worth it. MARISSA : Did you have a dress like Rosalie’s? MARISSA (Sobbing ): But I love him! I love him! ( ANITA comforts her .) ANITA (Shaking head ): We were too eager to marry. I borrowed a nice dress ANITA : I know. I know it all too well. from your mama. We’re the same size

OCTOBER 2016 7 and always liked to trade clothes. ( Cell MARISSA : Because you and Mama phone rings. MARISSA searches have always sat next to each other and under the fabric for it, checks caller keep to yourselves. Nothing would look ID .) different.

MARISSA : It’s Rosalie. ( Answers phone ) ROSALIE : And if she got caught? Hola. ¿Qué pasa? ( Suddenly; in shock ) What? What?! Oh, no! No! ( Trembling, ANITA : Then I’ll just have to make sure she hands phone to ANITA. ) It’s Mama. I don’t. They’re at the hospital. ROSALIE : Tía! You’re not seriously con - ANITA (Into phone ): Rosalie? ( Listens sidering it? thoughtfully ) We’re on our way. (Lights out onstage. After a moment, a ANITA : I won’t have my own sister spotlight comes up on ROSALIE as work herself to death when she can she emerges through upstage doorway. stay here and get better. Besides, I’m It’s clear she’s been crying. As she nearly finished with your dress. I need starts toward kitchen, lights come up something useful to do until I go home. softly. ANITA approaches her, carry - The time will pass faster than you ing two cups of coffee. ) How is she? know it. ( The lights go down onstage. A spotlight comes up in the aisle where ROSALIE : She wants to set her alarm so a smug HOLTON has just walked up she can go to work tomorrow. She to KAT; he carries a file folder .) should have stayed in the hospital, but you know Mama—she was afraid of the HOLTON : Well, well, well, do I know expense. how to call ’em, or what?

ANITA : She needs to do what the doctor KAT : What are you talking about? said and rest for at least a week. HOLTON : That chatty Guerrero woman ROSALIE : But she could lose her job if from Honduras six weeks ago? she’s gone that long. ( MARISSA enters Supposedly here to help out her sister? upstage .) KAT : What about her? ANITA : There must be something we can do. HOLTON (Handing her the folder ): Her visa expired two days ago and she has - MARISSA : Why don’t you just go to n’t checked in yet. If the address in work in her place, Tía? there is legit, it’s time for you and Richards to make a little house call. ROSALIE and ANITA (Ad lib ): What? (He exits toward back of theater as No, no. That’s not possible. ( Etc .) KAT opens folder. Spotlight goes out. Lights come up on kitchen. FRANCIA, MARISSA : You look enough like Mama in bathrobe, is at table, sewing. that nobody would even notice. MARISSA, carrying books, is leaving .)

ROSALIE : And if they did? No, Marissa, MARISSA : Can I get you anything after it’s too risky. Besides, how would she school, Mama? find her way around a factory she’s never been to? FRANCIA : Gracias, but I have every -

8 PLAYS • playsmagazine.com thing I need. And even better, I feel (To FRANCIA ) It’s all right. Go ahead well enough to go back to work on and change your clothes. We’ll wait. Monday. (FRANCIA glances at JAY before hur - rying through upstage door. ) MARISSA (Laughing ): If Tía Anita lets you. If you don’t watch out, she’ll take JAY (To KAT ): Y’know if she goes out a your place permanently! ( MARISSA back window, it’s all on you. ( KAT rolls kisses her mother goodbye and exits. her eyes as lights go out. Phone ringing After a few moments, there is a knock is heard. Spotlight comes up in center on door. FRANCIA goes to open it to aisle, where an anxious MARISSA is KAT and JAY .) on her cell phone .)

JAY : Agent Richards. Agent Jackson. MARISSA : Pick up. Pick up. Pick up. We’re with Immigration and Customs Hola, Rosalie. You have to come home Enforcement, Department of Home- right away. It’s Mama. She’s gone. . . . land Security. Mind if we come in? She left a message in the bathroom. (Without waiting for her to reply, he Two people came to get her. She told steps inside. KAT follows. ) them she was Tía Anita. . . .I don’t know why. But you have to come. FRANCIA : Is something wrong? Hurry! ( Spotlight goes out, then spot - light up on stage down left. A nervous KAT : We’re looking for a Ms. Anita FRANCIA is seated at table. ROS - Maria Ruiz Guerrero. ALIE, accompanied by KAT, emerges from doorway .) JAY : Her visa expired two days ago. Care to tell us where she is? ( FRAN - KAT (To ROSALIE ): Two minutes. ( She CIA looks from one to the other and exits. ROSALIE rushes to sit down, clears her throat. ) looks over her shoulder, then back to FRANCIA. ) FRANCIA : She’s right here in front of you. ROSALIE (In hushed whisper ): Mama! KAT : You’re Ms. Guerrero? Why did you tell them you were Tía Anita? It makes no sense. FRANCIA : Sí. Yes. Yes, I am. FRANCIA : It is all right, Rosalie. Trust JAY (To KAT ): Well, that was easy. ( To me. FRANCIA ) You need to come with us. ROSALIE : But, Mama! These people— FRANCIA (Bewildered ): Right now? they’re going to send you away the day after tomorrow. You need to tell them JAY : Yeah, that’s the general idea. who you really are. If you don’t tell them, I will. FRANCIA (Indicating robe ): But I am not even— FRANCIA : And that will only make it worse. For all of us. The truth is famil - JAY (Snidely ): What part of this wasn’t ia. In the end, it is all that matters. clear? You know Anita would have done the same for me. Please, Rosalie. Say noth - KAT : Good grief, Jay. You want to ing. It is all for the best. ( KAT reap - parade her outside in her bathrobe? pears in the doorway. ROSALIE

OCTOBER 2016 9 squeezes her mother’s hands and MARISSA : Sorry?! What does that stands to go .) mean? She only came here to help sew a dress and you’re treating her like ROSALIE (To KAT ): My aunt would like she’s sowing seeds of destruction! She’s to be able to say goodbye to my mother a good person! A good person! Do you and my younger sister. even know what that means?! Are you people that stupid?! KAT : You’re welcome to bring them here if— KAT (Quietly ): Sometimes, regretfully, we are. ( ROSALIE consoles a weeping ROSALIE : My mother has been very MARISSA. ANITA emerges upstage sick and can’t travel. And my sister—I carrying her suitcase (and wearing the just can’t bring her to a place like this. same dress as FRANCIA).

KAT (After a pause ): I’ll see what I can ANITA : Well, I guess this is goodbye. do. ( With a weak smile, ROSALIE (ROSALIE and MARISSA rush up to blows a kiss to her mother and exits as her as KAT looks on. ANITA address - the light goes out. After a moment, the es ROSALIE .) You will be a beautiful light comes up on ROSALIE and bride. ( To MARISSA ) And you, little MARISSA seated at the kitchen table .) one, I need you to remember that bad boys do not make good husbands. ( To MARISSA (Tearfully ): It isn’t fair. You KAT ) I’m ready now. ( ANITA starts should have done something. You toward the front door .) should have said something. KAT : Just a minute. ROSALIE : There was nothing to do or say, Marissa. It is what it is and from ANITA (Without looking in KAT’s direc - now on we must all play our parts. tion ): Is something wrong? ( You can (Knock on door. ROSALIE opens it to cut the tension with a knife. Very slow - FRANCIA and KAT. ) ly, KAY withdraws a business card from her pocket and holds it out to FRANCIA (To ROSALIE ): How is she? ROSALIE .)

ROSALIE : She sleeps off and on but I KAT : My cousin is an immigration told her you were coming. I think it lawyer in Long Beach. He may be able made her happy. ( FRANCIA looks to to help. ( ROSALIE takes the card as KAT, who nods, and FRANCIA exits KAT escorts ANITA out. MARISSA upstage. MARISSA crosses to KAT .) comes up to look at the card. FRAN - CIA—in a bathrobe—emerges from the MARISSA (Angrily ): It’s not fair! upstage doorway to join them. She indicates the card ROSALIE holds .) ROSALIE (Restraining her ): Marissa! FRANCIA : What is it? MARISSA : You people have no heart, no soul! You have no idea what you’re ROSALIE : It is hope, Mama. And maybe doing, pulling people’s lives apart like even change. ( The lights go down slow - this! She’s done nothing wrong! ly .) Nothing! Do you hear me?! THE END

KAT : I’m very sorry. (Production Notes on next page )

10 PLAYS • playsmagazine.com PRODUCTION NOTES Borderlines CHARACTERS : 5 female, 3 male. If need Angled right is a freestanding doorway be, the roles of Holton and Jay can be with door that opens inward. Down left played by females. is a table with a computer monitor, PLAYING TIME : 30 minutes. paperwork, and two chairs facing each COSTUMES : Marissa is a wannabe fash - other. A freestanding doorway is behind ionista. Ramon dresses like a gang mem - the table. American flag hangs above ber. Francia and Rosalie dress plainly doorway. A third doorway is up right of but neatly; wear bathrobes when indi - the kitchen. Additional entrances/exits cated in text. Anita wears skirt, jacket are made down left. Center aisle is also and blouse in first scene. Holton wears used. suit and tie; Kat and Jay wear black PROPERTIES : Mop and bucket, suitcase, slacks and polo shirts with ICE badges. rubber stamp, cake, plates, sewing SETTING : Los Angeles. A simple set and machine, sewing basket, cups, coffee pot, isolated lighting convey different loca - fabric, cell phones, bag of groceries, par - tions without having to use backdrops. tial wedding dress, veil, soda bottle, fold - At center is a small kitchen with table er, books, business card. and chairs, counter, sink, and hutch. LIGHTING and SOUND : As indicated.

PRONUNCIATION/TRANSLATION GUIDE (listed in the order in which words/expressions appear in text) Uno más (Ooh-no moss) — one more time No más (No moss) — no more Qué hora es (Kay orra ess) — what time is it? No problemo (No pro-blame-oh) — No problem Qué pasa? (Kay pah-sa) — What’s up? Dios mio (DEE-ose mee-oh) — My God Te amo (Tay AH-mo) — I love you Sí (see) — yes Muy pronto (moo-ee PRONT-oh) — very fast Tía (TEE-ah) — Aunt Bienvenido! (Bee-en-vay-NEE-doh) — Welcome! Un hombre (Oon OM-bray) — a young man Muy malo (MOO-ee MAL-oh) — very bad Hola (OH-la) — hello Silencio! (Sill-EN-see-oh) — Silence! Mi corazón (Mee core-ah-ZONE) —my love Sobrina (So-BREEN-ah) — niece Gracias (GRAH-see-ahs) — thank you

OCTOBER 2016 11 Dramatized Classic The Canterville Ghost is protected by (Upper Grades) U.S. copyright law. It is unlawful to use this play in any way unless you are a current subscriber to PLAYS Magazine (www.playsmagazine.com ).

The Canterville Ghost In this reader’s theatre piece, an American family moves into a haunted manor house, has some fun with a lonely ghost, and finds a way for this spirit to rest in peace. . . .

by Oscar Wilde, adapted by Walter Hackett

Characters NARRATOR : When Mr. Hiram B. Otis, the American Minister to England, bought Canterville Chase, everyone LORD CANTERVILLE told him he was doing a very foolish HIRAM B. OTIS thing, as there was no doubt the place was haunted. Indeed, Lord Canterville MRS. LUCY OTIS himself had felt it his duty to mention the fact to Mr. Otis when they came to VIRGINIA, 15 discuss terms. ( Music out .) WASHINGTON 12-year-old CANTERVILLE : We have not cared to JEFFERSON twins live in the place since my grandaunt, the Dowager Duchess of Bolton, was MRS. UMNEY, housekeeper frightened into a fit.

GHOST MR. OTIS : A fit, you say, Lord ELEANORE Canterville? NARRATOR CANTERVILLE : It happened some years ago. My aunt was dressing for dinner. Suddenly two skeleton hands were MUSIC : An eerie theme. Up and under . placed on her shoulders.

MR. OTIS : Oh, come now!

12 PLAYS • playsmagazine.com CANTERVILLE : The ghost has been seen Before they reached the house, some by several living members of my fami - big drops of rain had fallen. The family ly. Lady Canterville often got very lit - was greeted by Mrs. Umney, the aged tle sleep because of the mysterious housekeeper, who had stayed on. She noises that came from the corridor and led them to the library, where tea had the library at night. been laid out. ( Thunder out )

MR. OTIS : I come from a country where MRS. UMNEY : This room affords a fine we don’t believe in ghosts. view of the east garden and the meadow. It was Lord Canterville’s CANTERVILLE : The ghost does exist. It favorite place for spending a quiet hour. has been well known for over three centuries. It always makes its appear - MR. OTIS : Very fine paneling, Mrs. ance just before the death of any mem - Umney. ber of our family. VIRGINIA : And all those wonderful MR. OTIS (Laughing ): Well, so does the books. family doctor, for that matter. But there is no such thing as a ghost. WASHINGTON : Aw, this room’s too dark. Don’t you think so, Jeff? CANTERVILLE : If you don’t mind a ghost in the house, it is all right. Only you JEFFERSON : Kind of spooky, I’d say, must remember, Mr. Otis, I warned Wash. you. MRS. OTIS : Over there by the fireplace, MUSIC : Forte and under. Mrs. Umney—I’m afraid something has been spilt on the floor. NARRATOR : A few weeks later Mr. Otis and his family took the train from Lon- MRS. UMNEY (In a low voice ): Yes, don to Ascot, the nearest railroad station blood has been spilt on that spot. to Canterville Chase. The Otises were a rather formidable family of individuals. MRS. OTIS : How horrid! I don’t care for Mrs. Lucy Otis, for example, had a mag - a bloodstain in the library. It must be nificent constitution and a wonderful removed at once. amount of animal spirits. Virginia, the daughter, was lithe and lovely, and as MRS. UMNEY (Mysteriously ): It is the courageous a girl of fifteen as one could blood of Lady Eleanore de Canterville, find. Then there were the twins, age who was murdered on that very spot by twelve, christened Washington and her own husband, Sir Simon de Jefferson in a rash moment of parental Canterville, in 1575. patriotism. The twins were a bustling law unto themselves. ( Music out ) MR. OTIS : He wasn’t very neat about it! As they drove from the station to Canterville Chase, the Otises were in MRS. UMNEY : Sir Simon survived her fine spirits. It was a lovely July nine years and disappeared suddenly evening. As they entered the avenue of under very mysterious circumstances. the Chase, however, the sky suddenly His body has never been discovered, became overcast. ( Sound of rolling but his guilty spirit still haunts the thunder is heard. It continues under Chase. That bloodstain cannot be NARRATOR .) removed.

OCTOBER 2016 13 WASHINGTON and JEFFERSON (To- Many a night I have not closed my eyes gether ): Gee! A real ghost! for the awful things done here. (Another peal of thunder is heard .) MRS. OTIS : Nonsense! I mean about that stain. I have something right here MUSIC : Mysterious. Up and down in my bag that will clean it up in no under, to indicate passage of time. time. Pinkerton’s Champion Stain Remover and Paragon Detergent. JEFFERSON (Excitedly ): Mother, it’s Watch closely. back again, the bloodstain on the library floor. MRS. UMNEY (Worried ): It can’t be removed, Mrs. Otis. MRS. OTIS : Take the stain remover and wipe it off. VIRGINIA : You don’t know my mother, Mrs. Umney. If she says it can be JEFFERSON : But every time Wash and I removed, it can. clean it off, the stain is there again the next morning. MRS. OTIS (As though scrubbing ): A few. . .brisk. . .rubs, and. . .off it comes. MRS. OTIS : Oh, nonsense! There you are! Clean as a whistle. ( Peal of thunder is heard. MRS. UMNEY JEFFERSON : But it’s the truth. moans. Sound of body hitting floor .) MRS. OTIS : Someone’s playing a joke. VIRGINIA : Mrs. Umney! She’s fainted! MUSIC : Up and out, then sound of MR. OTIS : Here, boys, give me a hand clock striking 12 times. with her. ( Straining a bit ) What a monstrous climate! I guess the old MRS. OTIS (On third stroke ): Hiram. country’s so overcrowded that they (Pause ) Hiram, are you awake? haven’t enough decent weather for everybody. I have always been of the MR. OTIS (Sleepily ): Uhum-m-m! opinion that emigration is the only thing for England. MRS. OTIS : That stain, I don’t under - stand. It was there again this morning. MRS. OTIS : Hiram, what can we do with (Clanking of chains is heard in the dis - a woman who faints? tance. It gets louder as they talk.)

MR. OTIS (Calmly ): Charge it to her as MR. OTIS : Not very nice to spoil the we do for breakage. She won’t faint floor that way. after that. MRS. OTIS : You don’t suppose—oh, but VIRGINIA : She’s coming to. ( MRS. that’s sheer nonsense. ( She pauses .) UMNEY sighs. ) Are you all right now, Hiram, listen. ( Clanking gets louder .) Mrs. Umney? Sounds like chains being dragged.

MRS. UMNEY : Yes, all right now. MR. OTIS (Very calmly ): Oh, my! I was (Sternly ) But let me warn you. Trouble. afraid of this. It’s coming to this house. I have seen things with my own eyes that would MRS. OTIS : Where are you going? What make anyone’s hair stand on end. are you looking for?

14 PLAYS • playsmagazine.com MR. OTIS : You’ll see. Follow me. And be WASHINGTON : I can see the Canterville quiet. ( Sound of door opening, then rattle Ghost hasn’t any sense of humor. of chains. GHOST gives a hollow groan .) MUSIC : Eerie theme, up briefly and out.

MRS. OTIS (Pleasantly ): Why, it’s the GHOST (Fuming ): Never in my brilliant Canterville Ghost. Good evening. and uninterrupted career as a ghost (GHOST moans .) have I been so grossly insulted. Zounds! MR. OTIS (Briskly ): My dear sir, I real - ly must insist upon your oiling those ELEANORE : I pray thee, Sir Simon, con - chains, and I have brought you for that trol thyself. If thee should ask me, I purpose a small bottle of Tammany would say thou art guilty of exaggera - Rising Sun Lubricator. It is said to be tion. completely efficacious upon one appli - cation. There are several testimonials GHOST : Milady Eleanore, I did not to that effect on the wrapper from some request your opinion. And further - of our most eminent native divines. I more, stop using that archaic English. shall leave it here for you on the table. Should you require more, I shall be ELEANORE : I merely said— happy to supply you. GHOST : As my wife you are not entitled MRS. OTIS (Sweetly ): And now good to any opinion. When I murdered you, night. ( Sound of door closing. GHOST I thought I was rid of you once and for groans in rage and disappointment. all. My allowing you to return tem - He grunts. Bottle is dashed to the floor. porarily from your grave is just a cour - Another door opens. ) tesy.

WASHINGTON : There he is, Jeff. Quick. ELEANORE : Concerning these Americans from the Colonies— JEFFERSON : Come on! ( Sound of some - one being hit with pillows ) Stop trying GHOST (Patiently ): The Colonies no to duck, Mr. Ghost. longer belong to England. They are now part of the United States. As for WASHINGTON : Sure! Being hit with pil - these Otises, who offer me lubricating lows shouldn’t bother you. oil for my chains and who throw pil - lows at my head, I shall be revenged on JEFFERSON : Not much, that is. them. (GHOST moans in rage; sound of chains rattling ) ELEANORE : What disguise wilt thou—I mean, will you—wear the next time? WASHINGTON : Hold still. ( Rattle starts to fade away .) GHOST : Perhaps that of Gaunt Gibeon, the Bloodsucker of Bexley Moor. JEFFERSON : Hey, come back. ELEANORE (Eagerly ): May I accompany WASHINGTON : Did you see that? you?

JEFFERSON : He disappeared right GHOST : A woman’s place is in the through the wainscoting. home.

OCTOBER 2016 15 MUSIC : “Rule Britannia.” Up and out. MUSIC : Ironic theme. Up briefly and out. WASHINGTON : Can you see him? GHOST : If only I could have climbed JEFFERSON : Yes. Right by the head of into that suit of armor before they put the stairs. ( Pause ) What’s he doing? in an appearance.

WASHINGTON : Trying to climb into ELEANORE : That suit never did fit you. that suit of armor. Let’s get closer. Quiet as you can, Jeff. ( A crash is GHOST : Lady Eleanore, I wore that heard. GHOST yowls in pain. ) same suit of armor at the Kenilworth tournament three hundred years ago. JEFFERSON (Laughing ): Look—the suit The Queen herself told me what an of armor fell over on him. excellent fit it was. Oh, my shins. Rub some more balm on them. WASHINGTON : Let’s give it to him. (Blowing of breath is heard, as though ELEANORE : Wherever did thou—I using a pea shooter. GHOST yowls. ) mean, where did you get the idea to wear the armor? JEFFERSON : You got him. Now it’s my turn. ( Another quick blowing of GHOST : Oh, from reading a silly poem breath. GHOST yowls. Door opens. ) about a skeleton in armor. Written by some American chap named MRS. OTIS (Coming in ): What are you Longfellow. Ouch! My foot! Be careful! two doing out of bed? ELEANORE : What will you do next? JEFFERSON : Look—the ghost. GHOST : I’ll first need a rest after WASHINGTON : Mother, we’re using our tonight’s fiasco. Perhaps the next time pea shooters on him. Watch! ( Blowing I’ll take you with me. of breath. GHOST yowls .) ELEANORE (Happily ): Oh, splendid, Sir MR. OTIS (Coming in ): Mr. Canterville Simon! But I haven’t a thing to wear. Ghost! Ah, I have it: I’ll not wear my head.

MRS. OTIS : Hiram, what are you doing, MUSIC : A ghostly theme. Up and out. pointing that revolver at the ghost’s head? GHOST (Nervously ): Now, you’re quite positive you know what to do? MR. OTIS : In the name of the United States Government, I command you to ELEANORE : I am to go to Mr. and Mrs. surrender. ( GHOST gives an echoing, Otis’ room and gibber at them from the ghostly laugh, like a madman. ) foot of the bed.

MRS. OTIS : I am afraid you are far from GHOST : Meanwhile I will go to the well. If you will wait, I’ll bring you twins’ bed and sit on their chests. At some medicine for that indigestion. the same time I will stab myself three You will find it a most excellent reme - times in the throat. dy. ELEANORE : And what of the girl?

16 PLAYS • playsmagazine.com GHOST : Virginia? She has never insult - and original spook. Beware of ye imita - ed me. A few hollow groans should do it tions. All others are counterfeits.” for her. ( Hall clock strikes twice .) Tricked again by those Americans! Foiled, outwitted! Revenge, oh, revenge! ELEANORE : Are we off? MUSIC : A light, humorous theme. Forte GHOST : Not a sound out of you until and then segue to ghostly, measured the right moment. This must come as a theme. Hold under. grim surprise. ( Pause ) Straight down the hallway. WASHINGTON (Low voice ): I wish he’d show up. ELEANORE (Suddenly ): Sir Simon! Look—straight ahead. ( She screams .) JEFFERSON : Aw, Wash, let’s go back to bed. GHOST : It’s . . . it’s a . . . ghost. Holding a sword. WASHINGTON : Wait just another few minutes. ELEANORE (Frightened ): We must leave. I’m frightened. JEFFERSON : All right. ( Pause ) You got everything ready? GHOST : You’re quite right. ( Pause ) One moment. This ghost has no right to be WASHINGTON : I think I hear some - here. He’s trespassing. thing. Listen. ( Slight rattle of door handle. Door opens. ) Let him have it, ELEANORE : Trespassing or no, I refuse Jeff. to stand here. JEFFERSON : Here goes! ( Sound of GHOST (Sternly ): You stay, while I GHOST being thumped with a pillow. upbraid this. . .this intruder. ( Boldly ) GHOST yelps in surprise .) Don’t . . like Sir, whoever you may be, I demand being hit with a pillow, huh! ( More that you explain your presence. thumping ) (Pause ) Well, sir, speak! WASHINGTON : Stand back, Jeff. ELEANORE (Nervously ): Don’t go any (Sound of pail of water being tossed as closer, Sir Simon. WASHINGTON speaks ) Nothing like a nice cold pail of water to cool off a GHOST : I shall! Speak or I shall seize ghost. ( GHOST yells. ) you, sir. ( Pause ) Very well! Come here—( Pause, then in a stunned voice ) MUSIC : Up and out. Why, it’s— ELEANORE : I must say, Sir Simon, that ELEANORE : Not a ghost. you’ve mishandled this whole situa - tion, almost from the start. GHOST : Just a white curtain. . .a squash. . .and a sweeping brush. GHOST : Don’t be so annoying. ( He sneezes .) That water they tossed on me ELEANORE : That placard on its chest— has given me a miserable cold. I wish I mean on the curtain. . . you would go to Mrs. Otis’ medicine chest and see if she has any cold pills. GHOST : It says: “Ye Ghost. Ye only true

OCTOBER 2016 17 ELEANORE : I wouldn’t dream of stir - this. During the past few days the color ring from this cell. ( Shuddering ) of the blood on the floor seems to have Getting chased by those awful changed. ( Pause ) Virginia, will you put Americans! ( GHOST sneezes again .) I down that book and listen to me? certainly am sorry I ever came back. VIRGINIA : Yes, Mother. GHOST (Irritably ): Then go back to your grave. MRS. OTIS : Haven’t you noticed? One day the stain was a dull red, the next a ELEANORE : That is just what I intend vermillion. Yesterday it was purple, to do. I have had enough of this mortal and today it was a bright emerald life to know when it is time to leave. green. I never did hear of emerald And if you will heed my advice, you will green blood, did you, dear? do the same. VIRGINIA : Oh, Mother, don’t fool about GHOST : I shall remain. it. I don’t think it is at all humorous.

ELEANORE : You will rue it, mark me. MRS. OTIS : Well, I certainly do. Have you seen him lately? GHOST : Revenge, revenge is what I seek. I shall drive them from this VIRGINIA : The ghost? No, I haven’t. house, once and for all. ( He sneezes. ) MRS. OTIS : Not a sound out of him. You ELEANORE : Then have it, and be done. know, your father’s bottle of Rising I am leaving. And happy I am with my Sun Lubricator is missing. I have an decision. And where I come from, I idea Mr. Ghost has taken it and is shall be able once again to revert to a using it to oil his chains. ( She laughs. ) type of speech that is normal. Thee He might have left a note thanking us. may continue alone. Dost thou under - stand me, milord and late husband? VIRGINIA : You’re being ridiculous.

GHOST (Glumly ): I dost. ( He sneezes .) MRS. OTIS : No, just to the point. By the way, we’re going riding this afternoon. MRS. OTIS (After a pause; fading in ): It Do you want to join us? seems to be coming out all right, doesn’t it, Mrs. Umney? VIRGINIA : No, I believe I’ll stay here and read. MRS. UMNEY (As though exerting her - self ): Yes, just needs a bit of brisk rub - MRS. OTIS (Fading ): If you change your bing, that’s all, Mrs. Otis. Ah! There we mind, let me know. I’ll have the groom are, clean as a whistle. saddle your horse. ( Pause. VIRGINIA hums an old English ballad . Sound of MRS. OTIS : Be certain to check the floor door opening. VIRGINIA stops singing again tomorrow morning. and gasps with surprise. )

MRS. UMNEY (Fading out ): I will do VIRGINIA : Y-you! You’re the— that, ma’am, the very first thing, rest assured. ( Pause ) GHOST (With deep concern ): Yes, I’m the Canterville Ghost. I hope you don’t MRS. OTIS : I quite fail to understand mind my sitting here in the library.

18 PLAYS • playsmagazine.com VIRGINIA : No. In, fact, my brothers are ever heard of emerald green blood? going back to Eton tomorrow, so if you behave yourself, no one will annoy you GHOST (Meekly ): What was I to do? from now on. And I’m sure you’ll be Blood is so difficult to get nowadays. As able to sit in the library as much as you for color, that is a matter of taste. The wish. Cantervilles have blue blood, for instance. GHOST : It is absurd asking me to behave myself. I must rattle my VIRGINIA : The best thing for you to do chains, and groan and walk about at is to emigrate. night. It is my only reason for existing. GHOST : Emigrate? Leave England? VIRGINIA : It is no reason at all for exist - ing, and you know you have been very VIRGINIA : My father will be only too wicked. Murdering your wife! happy to give you free passage.

GHOST (Petulantly ): Well, I quite admit GHOST : But isn’t there a heavy duty on it, but it was a family affair, and it con - spirits of every kind? cerned no one else. VIRGINIA : True, but my father knows VIRGINIA : It is very wrong to kill any - all the Customs officers. There are one. many Americans who would pay any amount of money to have a real live GHOST : Oh, I hate the cheap severity of family ghost. abstract ethics. My wife was very plain, never had my ruffs properly GHOST : I don’t think I should like starched, and she was a bad cook. America.

VIRGINIA : That is not a proper way to VIRGINIA : I suppose because we have talk. no curiosities.

GHOST : But, that’s all over. However, I GHOST : No curiosities! You have your don’t think it was very nice of her manners. brothers to starve me to death, even though I did kill her. VIRGINIA (Stiffly ): Good evening! I will go ask Papa to get the twins an extra VIRGINIA : Oh, Mr. Ghost, I mean Sir week’s holiday, and don’t blame me if Simon, are you hungry? Let me get you they invent several more nasty tricks. a sandwich. GHOST : Oh, no! Please, Miss Virginia, GHOST : No, thank you, I never eat now; don’t go. Stay here with me. I am so but it is very kind of you. You are much lonely, so unhappy, and I really don’t nicer than the rest of your horrid, rude, know what to do. I want to go to sleep, vulgar, dishonest family. and I cannot.

VIRGINIA : It is you who are rude and VIRGINIA : That’s quite absurd. Sleeping horrid and vulgar. As for being dishon - isn’t difficult. est, I know you stole the paints out of my box to furbish up that ridiculous GHOST : I have not slept for over three bloodstain here in the library. Who hundred years, and I am so tired.

OCTOBER 2016 19 VIRGINIA : Poor, poor ghost, have you no mercy on you. place where you can sleep? MUSIC : A thin, unearthly strain. GHOST : Far away beyond the pine woods there is a little garden. There GHOST : Then take my hand. This wall the grass grows long and deep; there will open, and we will disappear. I sig - are the great white stars of the hem - nal once. ( Rap on the wall ) Twice. lock flowers; there the nightingale Another rap ) The panel slides back, sings all night. And the cold, crystal and we disappear. moon looks down, and the yew tree spreads out its giant arms over the MUSIC : Up and out into sound of tele - sleepers. phone ringing, followed by receiver being lifted from hook. VIRGINIA (Softly ): You mean the Garden of Death. MR. OTIS : Hello. . . .Yes, this is Mr. Otis. . . . Oh, yes, Inspector. Any news? GHOST : Yes, Death. Death must be so (Long pause ) I see. Thank you, and beautiful. To lie in the soft brown keep in touch with me. Good night. earth, and listen to silence. To have no (Sound of receiver being replaced on yesterday and no tomorrow. To forget hook ) That was the local police. time, to forgive life, to be at peace. You can help me find all that. MRS. OTIS (Anxious ): Any word?

VIRGINIA : How? MR. OTIS : No.

GHOST : You can open for me the por - MRS. OTIS : There must be something tals of Death’s house, for kindness and you can do, Hiram. love are with you, and they are stronger than Death. ( Pause ) Have you MR. OTIS : Lucy, I don’t know what to ever read the old prophecy on the do. library window? MRS. OTIS : Keep on looking. VIRGINIA : Oh, often. I know it quite well. ( She recites. ) MR. OTIS : But where? The servants “When a golden girl can win have been and still are searching. The Prayer from out of the lips of sin, police have scoured the country for When the barren almond bears, miles around. We’ve covered the house And a little child gives away its tears, and the grounds and the stable. All we Then shall all the house be still can do now is stay by the telephone and And peace come to Canterville.” wait. (Pause ) But I don’t know what it means. MRS. OTIS : Where are the twins? GHOST : It means that you must weep with me for my sins, because I have no MR. OTIS : With Mrs. Umney, looking. tears, and pray with me for my soul, because I have no faith. Then perhaps MRS. OTIS : One thing, at least, is cer - the Angel of Death will have mercy on tain. We know approximately when me. Virginia disappeared. It was around teatime this afternoon. Mrs. Umney VIRGINIA : I will ask the Angel to have had asked her if she didn’t want some

20 PLAYS • playsmagazine.com tea, and Virginia had said no. When MRS. OTIS : Listen. Do you hear music? Mrs. Umney returned, which was in less than a half-hour, the child was MR. OTIS : Yes. nowhere to be found. ( Pause ) You have tried the railway station, haven’t you? WASHINGTON : I hear it, too, Mother.

MR. OTIS : Yes. The police checked. JEFFERSON : So do I. ( Sound of three She’s not been there. Very mysterious, measured, evenly-spaced raps on the the whole affair. paneling. )

MRS. OTIS : I think you should have the WASHINGTON : What do you— pond dragged. MR. OTIS (Tensely ): Quiet! ( Sound of MR. OTIS : Stop talking such nonsense. paneling crashing back. Music out )

MRS. OTIS : I should have insisted that MRS. OTIS : Virginia! she go riding with us. ( Sound of twins’ voices can be heard ad libbing in the WASHINGTON : You all right, Virginia? distance. They gradually fade in .) JEFFERSON : We’re glad you’re back. MR. OTIS : Here come the boys. (Sound of paneling flying shut )

MRS. OTIS : Perhaps they have news. MR. OTIS (Almost angrily ): Where have (Calls out ) Boys, come here. you been?

WASHINGTON : Not a sign. Searched MRS. OTIS : Don’t scold her, Hiram! everywhere. VIRGINIA : Papa, I have been with the JEFFERSON : Even as far as the road to Ghost. He’s dead, and you must come the village. and see him, all of you.

MR. OTIS : It’s late. The pair of you’d MR. OTIS (Sharply ): Nonsense! better get off to bed. VIRGINIA : He had been very wicked, WASHINGTON : Oh, Papa, we wouldn’t but he was really sorry for all he had sleep. done.

JEFFERSON : Besides, we aren’t tired, MRS. OTIS (Anxiously ): Dear, are you and we want to wait up with you. certain you’re all right and not just imagining things? MRS. OTIS : May as well allow them to remain up, Hiram. VIRGINIA : Follow me and you will see that what I say is true. Take a light, MR. OTIS : Very well. someone, for it’s dark where we are going. . .dark and lonely. MUSIC : A thin, unearthly strain (the same theme that introduced the disap - MUSIC : The sliding panel theme pearance of Virginia through the pan - sneaks in again and holds under. eling) sneaks in and holds under. Sound of one knock on panel, then a second and a third, after which panel

OCTOBER 2016 21 bangs open. Music up full, then out. of it, overpowered him They took him here and chained him to the floor. WASHINGTON : Golly! It’s certainly damp down here. MRS. OTIS : That trencher and ewer lying just out of his reach, what did MR. OTIS : Jeff, hold your light up high - they signify? er. VIRGINIA : They held water and food, MRS. OTIS : What is this place, anyhow? carefully placed just out of reach.

VIRGINIA : A secret corridor. ( Pause ) JEFFERSON : And that means he died of Here we are. ( Straining ) Someone help hunger and thirst. me swing this door open. VIRGINIA : Yes. MR. OTIS : Here, I’ll do it. ( Grunting ) Here we. . .go. ( Pause ) Ah, there! WASHINGTON : What a way to die. (Sound of heavy door squeaking open ) VIRGINIA : He was wicked then, but he JEFFERSON (Awed ): It’s a cell. isn’t anymore.

MR. OTIS : Musty smelling. MR. OTIS : You mean, something hap - pened to him this afternoon? WASHINGTON : Look—over in the cor - ner. ( MRS. OTIS screams .) VIRGINIA : Yes, Papa, he repented. And he asked me to see that his remains are MR. OTIS : It’s only a skeleton. buried in the family graveyard. Never again will he haunt this place. VIRGINIA : It’s our ghost, Sir Simon. JEFFERSON (Suddenly ): Look, just out - MR. OTIS (Sharply ): What are you say - side of this grated window. That old ing? withered almond tree has blossomed.

VIRGINIA : That skeleton is our ghost. WASHINGTON : I can see the flowers!

JEFFERSON : Look, he’s chained to the VIRGINIA : He has been forgiven. Poor floor. Sir Simon! I owe him a great deal. He made me see what life is and what MR. OTIS : Suppose you explain all this. death signifies, and why love is stronger than both. VIRGINIA : As we all know, the ghost Sir Simon murdered his wife, the Lady MUSIC : Up and out. Eleanore. Her brothers, upon learning THE END

SOUND EFFECTS Music (eerie, mysterious, light, humorous, etc., as indicated in text); rolling thunder; body hitting floor; clanking of chains; door opening; grunting and groaning; bottle thrown; rattle of door handle; clock striking. Other sound effects may be added as desired. 22 PLAYS • playsmagazine.com Once Upon a Mayflower is protected by Middle & Lower Grades U.S. copyright law. It is unlawful to use this play in any way unless you are a current subscriber to PLAYS Magazine (www.playsmagazine.com ). Once Upon a Mayflower The exciting story of the Pilgrims’ voyage to the New World, as recorded by William Bradford in 1620. . . by Pamela Love

Characters SCENE 1 TIME : September, 1620.

GOVERNOR CARVER, Pilgrim SETTING : The Mayflower, docked in leader Plymouth, England. A railing (may be MRS. CARVER, his wife shown with a rope running across a line of chairs) runs all the way from JOHN both 18, servants stage left to right. The words THE DOROTHY to the Carvers MAYFLOWER appear on a sign hanging MR. BRADFORD from railing, center. Backdrop shows a sunny sky. Another rope running left to MRS. BRADFORD right lies on the stage toward the rear. MR. HOPKINS MRS. HOPKINS AT RISE : The Pilgrims are boarding the Mayflower. NARRATOR is down left. CONSTANCE HOPKINS, 14 CAPTAIN JONES is center, talking GILES HOPKINS, 12 quietly with MR. COPPIN and GOV - DAMARIS HOPKINS, 2 ERNOR CARVER. Behind them, OTHER PILGRIMS are carrying boxes CAPTAIN JONES, captain of the or baskets and cross from left to right. Mayflower MR. COPPIN NARRATOR : In the 1600’s, the Pilgrims were a group of English people who MR. WILLIAMSON wanted to worship differently than the DR. HEALE laws of England allowed. So they NARRATOR moved to Holland, but found it was very difficult to earn a living there. At last, OTHER PILGRIMS they decided to make themselves a new OTHER SAILORS home in America. Governor Carver, William Bradford, and other Pilgrim leaders made the arrangements. There

OCTOBER 2016 23 were many problems to solve, but on MRS. CARVER : And there’s the live - September 6, 1620, the Pilgrims were stock, too. finally ready to go to America on a ship called the Mayflower . ( MRS. CARVER GOVERNOR : Yes, but nothing big like enters left, carrying a basket and look - horses or cows. ing around. She sees GOVERNOR CARVER and hurries over to him. ) MRS. CARVER : True. ( Sighs ) I wish we could have brought a cow, at least. To MRS. CARVER : Oh, there you are, dear. think we had to sell a barrel of butter to William Bradford just told me that help pay for our passage. almost everyone’s on board. The ser - vants will be here in a moment with the GOVERNOR : Sacrifices must be made. rest of our things. MRS. CARVER : I’ll remind you of that GOVERNOR CARVER : Very good. Kath- later when you’re wishing you could erine, this is our ship’s captain, butter your bread! ( GOVERNOR and Christopher Jones. Captain Jones, this MRS. CARVER exit right. JOHN, car - is my wife, Katherine Carver. ( CAP - rying a large box and pretending to TAIN JONES bows to MRS. CARVER .) stagger under its weight, and DOROTHY, carrying a smaller one, MRS. CARVER : Can you get us there enter left. ) safely, Captain? I know it’s a dangerous trip. JOHN : Dorothy, did you know the Carvers are taking a cow to America? CAPTAIN JONES : We’ll do our best, ma’am. DOROTHY : A cow? Are you certain, John? Governor Carver told me we GOVERNOR : Captain Jones told me that couldn’t bring cows on this voyage. some of his crew have sailed to America before. JOHN : He must have changed his mind.

MR. COPPIN : I’ve done that, sir. It’s DOROTHY (Looking around ): Really? I quite a trip, but we know the way. don’t see a cow.

MRS. CARVER : We have faith in you and JOHN (Groaning ): I think there’s one in your crew, Captain Jones. this box! ( DOROTHY laughs and both exit right. MR. HOPKINS and GILES CAPTAIN (To CARVERS ): If you’ll HOPKINS enter right, carrying boxes. ) excuse us, Mr. Coppin and I have some last-minute things to do. ( CAPTAIN MR. HOPKINS : Your mother’s down and MR. COPPIN exit right .) below getting settled, Giles. While I’m helping her, you go find your sisters. MRS. CARVER : Do you think this ship is They came aboard with us, but then big enough to carry all of us? William Damaris ran off and Constance went said there are almost 150 people after her. I haven’t seen them since. I aboard, counting the crew. wonder where they could be.

GOVERNOR : We’ll all squeeze in some - GILES (Shouting ): Constance? Damaris? how. Where are you?

24 PLAYS • playsmagazine.com MR. HOPKINS : I could have done that. MR. BRADFORD : Yes, they are. (Exits right. CONSTANCE enters left, carrying a basket and leading CAPTAIN : Good! ( Turns right; shouts ) DAMARIS by the hand. ) Prepare to set sail, crew! We’re off to the New World! ( All cheer. Curtain ) CONSTANCE : Here we are, Giles. Look * * * who I found with the animals. SCENE 2 TIME : Weeks later. DAMARIS (In a childish voice ): I saw a puppy dog! And chickens! And sheep! SETTING: At sea during a storm. Back- (Barking is heard off left, also baa-ing ground shows storm clouds with light - and clucking .) ning. Sounds of wind, rain, and thunder.

GILES : And I think I saw a cat down NARRATOR : Unfortunately, the May- below. You’ll have plenty of time to flower ran into stormy weather during make friends with it once we set sail. its voyage.

CONSTANCE : And that’s not the only AT RISE : MR. COPPIN and MR. new friend she’ll be making on this trip, WILLIAMSON are center, leaning left is it? ( She and GILES laugh. ) and right together as if the ship is rolling, which they continue to do DAMARIS : Who? throughout the scene.

GILES : You’ll find out in a few weeks. MR. COPPIN : What a storm!

CONSTANCE : Now let’s go find Mama MR. WILLIAMSON : Aye, but I’ve been and Papa. ( HOPKINS children exit through worse. ( JOHN and DORO- right. MR. and MRS. BRADFORD THY enter right. DOROTHY is trying enter left, carrying boxes .) to pull him back. JOHN is holding his hat on. MR. COPPIN and MR. WIL- MRS. BRADFORD : Did you remember to LIAMSON watch and listen to them .) pack paper, William? I know you want to write about our journey to the New DOROTHY : Are you crazy, John? Look at World. those sailors! ( Points ) They can barely stay on their feet. Come back down MR. BRADFORD (Patting box ): Of below, where it’s safe. course I did. There’s some in this box. JOHN : Safe? Dorothy, nowhere is safe MRS. BRADFORD : Some paper is good. on the Mayflower . Or have you forgot - More is better. I brought extra pens, ten how the ship almost broke apart? paper, and ink. DOROTHY : Well, it’s safer below, any - MR. BRADFORD : Good idea. I have a way. And they fixed that broken beam. feeling there will be a lot to write about. (CAPTAIN and GOVERNOR enter JOHN : I don’t care. I’m seasick! I have to right .) get some fresh air!

GOVERNOR : Are all of the passengers MR. COPPIN (To MR. WILLIAMSON ): and livestock on board, Mr. Bradford? Those passengers are always complain - ing about something.

OCTOBER 2016 25 MR. WILLIAMSON (To MR. COPPIN ): grateful to you all. Aye, if it’s not being seasick, it’s the food. Honestly, you’d think they’d never CAPTAIN : Fetch Dr. Heale, Mr. William- seen bugs on their bread before! Just son. ( MR. WILLIAMSON runs out brush them off and dig in, I say. right, and returns with DR. HEALE .) Here’s a patient for you, Doctor. MR. COPPIN : You brush them off first? DR. HEALE : Someone who’s coughing DOROTHY (To JOHN ): Be careful, then. that loudly will probably be all right I’m going below. ( Exits right. JOHN from the dunking he got. However, I crosses left, taking deep breaths and don’t believe there’s a cure for being leaning left to right as if ship is rolling .) foolish enough to go on deck in this weather. ( CONSTANCE runs in JOHN : You know, considering how it right .) It must be contagious. Here’s leaks down below, it’s not much wetter another one! up on deck. Maybe I’ll stay here. I can ask the crew if they could use my hel-el- CONSTANCE : Please Doctor, it’s my el-elp! ( “Help” turns into a shout for mother. Father said to bring you right help as he stumbles sideways, exiting away. ( DR. HEALE and CON - left. A loud splash is heard .) STANCE rush out right. )

MR. COPPIN (Shouting ): Man over - CAPTAIN : It’s always something on this board! ( Crosses left, holds hand over ship. Now what? ( Moments later, a eyes ) baby starts crying loudly .) Well! Sounds like there’s a new passenger on MR. WILLIAMSON : See if you can spot board! ( All cheer. ) him! I’ll get help! ( Runs out right ) JOHN : I’ll remind Mr. Bradford to add MR. COPPIN (Shouting ): I see you! the baby’s name to his list of Pilgrims. (Picks up rope lying on stage and pulls (Curtain ) it tight ) Hold on! ( MR. WILLIAMSON, *** CAPTAIN, and OTHER SAILORS SCENE 3 run in right .) I see him! He’s holding TIME : November, 1620. onto this rope. SETTING : Backdrop shows a sunny sky. CAPTAIN (Taking rope behind MR. COPPIN ): Quick! Everyone hang on. AT RISE : Entire cast is on stage, facing (OTHER SAILORS pick up rope .) Now forward. PILGRIMS are on the right, pull! Pull! ( All back slowly up. ) CREW is on the left. MRS. HOPKINS is carrying “baby.” MR. BRADFORD MR. COPPIN : He’s at the railing! has a piece of paper and quill pen. JOHN stands with CARVERS and CAPTAIN : Hang on! I’ll get him! ( Exits DOROTHY. left, and backs onto stage holding JOHN by both hands. JOHN is wet NARRATOR : At last, sixty-six days later, and missing his hat .) Good work, all! the Mayflower reached its destination. (OTHER SAILORS and MR. COPPIN cheer. ) CONSTANCE (Pointing ): Look at all those bright red and yellow leaves on JOHN (Coughing ): Thank you. I’m so the trees. They’re not as pretty back in

26 PLAYS • playsmagazine.com England or Holland, are they? ( Kneels reached the New World. next to “baby” ) Look, it’s America, your new home, baby brother. CAPTAIN : Well, I’m thankful that because of the tools my passengers MRS. HOPKINS : He has a name, you brought, we were able to fix my ship know. when the main beam broke during that storm. MR. BRADFORD : Yes, and I’ve been meaning to ask, did I spell it correctly GOVERNOR : I’m thankful that because on my passenger list? O-C-E-A-N-U-S? of the crew’s skill and Heaven’s guid - ance, we’re here safely. MRS. HOPKINS : That’s right, he’s our little Oceanus Hopkins! MRS. CARVER : I’m thankful that you were able to pull young John here back MR. HOPKINS : To remind him that he on board. was born on the Atlantic Ocean. JOHN : Not half as thankful as I am, GILES (To CONSTANCE ): I wonder if Mrs. Carver. (All laugh .) they would have named a girl that? DOROTHY : I’m thankful that we’ll soon CONSTANCE : Mayflower would sound be able to cook without all those bugs prettier. aboard ship!

DAMARIS (Pointing out toward audi - JOHN : Not half as thankful as I am for ence ): I wanna play there! that either! ( All laugh .)

CAPTAIN : Crew, prepare the rowboat. MRS. HOPKINS : And of course we’re We’re going to find the best place to thankful for our new son, aren’t we, take our passengers ashore. dear? ( Smiles at MR. HOPKINS, who nods ) MR. BRADFORD : Wait a moment, Captain. As you know, I’m keeping a GILES (In a stage whisper to CON - journal of our voyage to America. We’ve STANCE ): And I’m thankful they did - been through a lot together. I want to n’t name me Oceanus! ( Curtain ) know if there’s anything you want me to THE END write down, now that we’ve finally (Production Notes on next page )

OCTOBER 2016 27 PRODUCTION NOTES Once Upon a Mayflower (Play on pages 23-27 ) CHARACTERS : 16+ male and female. white paper, a quill pen. PLAYING TIME : Approximately 10 min - SETTING : The Mayflower . The ship may utes be represented by a row of chairs with a COSTUMES : White shirts, dark pants or rope running across them, with a sign skirts for Pilgrims, with “Pilgrim hats” reading THE MAYFLOWER hanging from for the males and white scarves or the rope. Another long rope is lying on “Pilgrim caps” for females. Sailors wear the floor toward rear of stage. Backdrop appropriate, more brightly colored shows sunny weather in Scenes 1 and 3, sailor gear. Dr. Heale wears dark stormy weather in Scene 2. clothes but no Pilgrim hat. Narrator LIGHTING : Lights may be flickered to may wear Pilgrim costume or modern represent lightning, if desired. clothing. After John is pulled from the SOUND : Animal sounds (sheep, chick - water, he is wet and missing his hat. ens, and dogs), sounds of wind, rain, PROPERTIES : Boxes and baskets, a baby and thunder, loud splash, baby crying. doll wrapped in a blanket, a piece of

For more information on the Mayflower and its passengers, you may want to consult one or more of the resources listed below.

BOOKS Look at a Pilgrim Voyage . Washington Bradford, William. Of Plymouth D.C.: National Geographic, 2003. Plantation 1620-1647 . (Edited by Whitehurst, Susan. The Library of the Samuel Eliot Morison) New York: Pilgrims: The Pilgrims Before the Knopf, 1952, 1991. Mayflower. New York: PowerKids Cook, Peter. You Wouldn’t Want to Sail Press, 2002. on the Mayflower! A Trip That Took Whitehurst, Susan. The Library of the Entirely Too Long . New York: Franklin Pilgrims: The Mayflower. New York: Watts, 2005, 2013. PowerKids Press, 2002. McGovern, Ann. If You Sailed on the Mayflower . New York: Scholastic, Inc., DVD 1969, 1991. Desperate Crossing: The Untold Story of Philbrick, Nathaniel. Mayflower: A the Mayflower. Produced by Lone Wolf Story of Courage, Community, and War . Documentary Group for the History New York: Viking Penguin, 2006. Channel. Written by Rocky Collins, 2006. Philbrick, Nathaniel. The Mayflower and the Pilgrims’ New World . New WEBSITES York: Puffin Books, 2008. www.pilgrimhallmuseum.org Plimoth Plantation with Peter www.plimoth.org/learn/just-kids/home - Arenstam, John Kemp, and Catherine work-help/mayflower-and-mayflower- O’Neill Grace. Mayflower 1620: A New compact

28 PLAYS • playsmagazine.com The Magic Wishing Ring is protected by Middle & Lower Grades U.S. copyright law. It is unlawful to use this play in any way unless you are a current subscriber to PLAYS Magazine (www.playsmagazine.com ).

The Magic Wishing Ring

Nouns, verbs, adjectives, and other parts of speech are explored in this fun tale of pixie dust and imagination. by Gwen Chaloner

Characters TIME : Late afternoon of a school day. PIXIE SETTING : A wooded park. A thick ring NOAH of green moss encircles a tree and a tree stump. Some bushes are across ANTHONY the upstage right corner. TYLER AT RISE : PIXIE, hiding behind tree, JOSH peers out for a moment, disappears, then peers out from other side. She tip - CASEY toes out cautiously, dances across ALEXIS stage to make sure she is alone, then dances down center and looks at audi - MADELYN ence. She smiles, nods approvingly, CAPTAIN GRAMMAR and opens pouch hanging from her waist. She runs to moss ring and pre - NOUN tends to scatter imaginary dust over it.

VERB PIXIE (Chanting ): PRONOUN A little pinch of Make-Believe, And a puff of Pixie-Glow, ( Skips center, ADJECTIVE pretends to scatter dust over audience ) A wave of Once-Upon-A-Time, ADVERB And hush! For here we go! ( She waves PREPOSITION impishly and skips behind bushes. NOAH, carrying a ball, enters right. ) CONJUNCTION NOAH INTERJECTION (Calling off ): Come on, guys, hurry up. We’ll catch up with the others

OCTOBER 2016 29 at the park. ( ANTHONY enters .) it. ( CASEY, ALEXIS and MADELYN enter right, carrying schoolbooks .) ANTHONY : Coming. CASEY : Alexis, there’s your brother. NOAH (Calling off ): Josh! Tyler, come on, you’re late! ALEXIS : Josh, what are you doing here? Mom said we had to get our homework JOSH (Entering right, followed by done early if we want to go to the game. TYLER ): Don’t wait for me. I can’t go to the park today. JOSH : I know, I know—Tyler and I are doing our homework here. NOAH : Aw, why not? ALEXIS : Oh. I guess that’s O.K. JOSH : I’ve got way too much homework, and my parents said unless I finish it all MADELYN (Suddenly ): Hey, look! It’s a I can’t go to the game tonight. wishing ring! A pixie’s wishing ring!

TYLER : Same with me. OTHERS (Puzzled; ad lib ): What kind of a ring? Where? Show us. ( Etc .) NOAH : But that’s hours away. MADELYN (Pointing ): See? It’s all ANTHONY : And we’re going to the game around this tree. Josh and Tyler are too. both inside a pixie’s wishing ring.

JOSH : I know, but that’s the deal I made JOSH : Oh, come on, are you serious? It’s with my mom and dad. just a ring of moss.

TYLER : And my mom is on my case ever CASEY : What does it mean, Madelyn? since I messed up my last history exam. MADELYN : Don’t you know the rhyme? NOAH : Well, O.K. See you later, then. “Wish inside a mossy ring, Pixie folk will visit you, JOSH (As NOAH and ANTHONY exit And before the sun goes down, left ): O.K. Have a good game. Your third wish will come true.”

NOAH (From offstage ): We will! ( As ALEXIS and CASEY (Brightly ): Oh! JOSH and TYLER walk upstage, PIXIE pokes head out from behind bushes, but JOSH : That’s crazy. they do not see her. PIXIE tiptoes out a few steps, pretends to scatter more dust TYLER : Yeah, and anyway, Josh just from pouch, then hides again .) made a wish, and it didn’t come true.

JOSH (Turning ): Here’s a good place. So JOSH (Surprised ): I did? what are you studying, history? TYLER : Sure. You wished you had histo - TYLER : Yup. ry homework instead of grammar.

JOSH : I wish I had history homework. I JOSH : Oh yeah, that’s right. have to study grammar—the parts of speech—and I don’t understand any of MADELYN : But it’s the third wish that

30 PLAYS • playsmagazine.com comes true. One, two, three. PIXIE : The wishing-ring pixie. You called me out with your third wish. Are JOSH (Mocking her ): One, two, three. you having trouble with your grammar? Phooey, phooey, phooey. I wish you’d leave us alone. JOSH (Confused ): Uh, yeah—you could say so. ( Shakes head ) Who did you say MADELYN : That’s your second wish. you were? You’d better watch out! PIXIE (Brightly ): I’m the wishing-ring TYLER : Leave us alone! We have to study. pixie! Don’t worry, I’ll get you fixed up with your grammar problems. ( She ALEXIS : We’re going. Goodbye. ( ALEX - runs right and blows on whistle. CAP - IS, CASEY, and MADELYN exit left. ) TAIN GRAMMAR enters right .) Ah, I knew you would come when I called JOSH (Shaking head ): A wishing ring! you, dear, kind Captain Grammar.

TYLER : It’s ridiculous. CAPTAIN GRAMMAR : I hope you’re not up to one of your tricks, Pixie. JOSH (Looking closely at moss ring ): It is weird, though, how it’s in sort of a PIXIE : Oh, no, indeed! This is a very perfect ring, isn’t it? serious matter.

TYLER : Yeah, it is kind of cool. . . .Well, GRAMMAR : Well, what is it this time? I’d better get started. Here’s to history! (Sits on ground at left side of tree, fac - PIXIE : A wish. A third wish made inside ing left, opens book and begins read - my wishing ring. ( She points to JOSH .) ing . He remains in this position during the following interactions between GRAMMAR : I see. And how can I help? JOSH, PIXIE, and CAPTAIN GRAM - MAR .) PIXIE : He wished he understood his grammar lessons better. He’s learning JOSH : And here’s to—ugh!—grammar. the parts of speech, and he doesn’t (Sits on tree stump, facing front, and understand them at all. ( GRAMMAR opens grammar book ) Oh, boy. . . . looks at JOSH and shakes head slow - (Yawns ) Oh, I wish . . .( Yawns again. ly. PIXIE runs around GRAMMAR, PIXIE pokes head from behind bushes pleading .) You’ll help him, won’t you? when JOSH says “wish” ) Page twenty- four. ( Leafs through book ) Chapter GRAMMAR (Smiling ): Yes. I’ll help. three. ( Yawns ) I wish . . .I wish. . . (PIXIE claps hands and blows whistle (PIXIE appears again. JOSH chants .) again. Parts of Speech enter. PIXIE The parts of speech. The parts of directs them right. GRAMMAR goes to speech. ( Seriously ) I wish I could figure JOSH .) Josh, do you know the meaning out a good way to learn them. of grammar?

PIXIE (Running out eagerly ): Here I am. JOSH : It’s—well, it’s sort of speaking Here I am. Are you ready? right.

JOSH (Startled; standing ): Who—who GRAMMAR : You have the idea—speak - are you? ing and writing correctly. Using your language properly.

OCTOBER 2016 31 PARTS OF SPEECH (Nodding heads; ad PRONOUN : lib ): Of course. You’ve got it. ( Etc .) It and you and he and she , They and them and you and me , PIXIE : Of course, of course, of course! All are words that take the place Of a noun with ease and grace. GRAMMAR (Holding up hand for silence ): There are many thousands of JOSH (Remembering ): Pronouns take words in the English language. But the place of nouns— it for book, and they there are only eight different kinds of for clowns. words: the eight parts of speech. When you understand that, you have taken a GRAMMAR : Well done, Josh. And here big step toward understanding your are two more of my children. ( ADJEC - language. ( JOSH nods .) My eight chil - TIVE and ADVERB come forward .) dren will tell you about themselves. Adjective and Adverb. Here is Noun. JOSH : They look like twins, too. NOUN (Stepping forward ): I’m Noun. A noun is the name of something. Things NOUN : They are! Adjective is my you smell or touch or taste, things you favorite twin. ( Puts arm around hear or see: sky and pumpkin , books ADJECTIVE ) and paint , a drum , a car , a tree . And names of people, like Theo or Jasmine; VERB : Adverb is my favorite twin. ( Puts names of countries, like France or arm around ADVERB ) Spain ; and names of rivers, streets and towns are all known as proper nouns. NOUN : Nouns are parts of speech that name. They’re full of mischief, that I know. (VERB comes forward .) They tell tales where e’er they go. Ah! Here’s my twin, we share our fame. I, the noun, will name a thing— ADJECTIVE : I tell secrets about the noun; I tell if it’s VERB : And I bring action to that thing! fat or small or bright , or long or tall or For I am Verb. I sing and talk , sit and pink or brown . Like, “the brown dog” or stand , and run and walk . Any action “a dark night.” you can name, any state or any feeling, I’m the master of them all. JOSH : An adjective describes a noun.

NOUN and VERB : ADVERB : And I tell all about a verb. I Hand in hand as twins we go, answer how? and when? and where? The parts of speech you first must know. She sang sweetly , he jumped down . They ran quickly , here or there . JOSH : Nouns and verbs. O.K. Got it. JOSH : Adverbs tell about the verb. PRONOUN (Peeping out from behind NOUN ): And Pronouns, too! GRAMMAR : You’ve met Noun, Verb, Pronoun, Adjective and Adverb. And JOSH : Pronoun? Who are you? here is Preposition. ( PREPOSITION comes forward .) NOUN : Oh, he’s my shadow, always near me, PREPOSITION : Takes my place quite well and clearly. Just a little word am I.

32 PLAYS • playsmagazine.com I go before, I lead the way— each lesson carefully. Like up the stairs, and through the door, And down the street, or on the tray. JOSH (Seriously ): I will. But though I always lead a phrase, And relationship I show, GRAMMAR : Now let me hear you name I can never stand alone— the parts of speech. I need help wherever I go. JOSH (Pointing to each in turn ): Noun, JOSH : A preposition leads a phrase, but Verb, Pronoun, Adjective, Adverb, is too weak to stand alone. To and from Preposition, Conjunction, Interjection. and in and through —they’re all preposi - tions. INTERJECTION (At mention of his/her name, jumping and shouting ): Ouch! CONJUNCTION (Running forward ): I’m Conjunction, for I join GRAMMAR : Well done, Josh. This with that, and that with this. Just a few words— and , but , or— ALEXIS (Calling offstage ): Josh! Josh! Are often used and hard to miss. (PIXIE runs quickly to Parts of Speech I join noun to noun, like ball and book, and hurries them off right .) Or verb to verb, like sing or look. GRAMMAR : Goodbye, Josh. ( Exits JOSH : Conjunctions— and , or , but . Got it. right. PIXIE points at JOSH, who steps back and sits on tree stump as GRAMMAR : One more child, our jump - before, closing his eyes .) ing-jack, Interjection. ALEXIS (Still offstage ): Josh! Where are INTERJECTION : you? ( PIXIE disappears behind tree. Here I come, I make things hum! ALEXIS enters left .) Oh, there you are! I ooh! and ah! and oh! Josh, Tyler, wake up! I cry Oh, my goodness! or Oh, dear me! Indeed! Tut-tut! Oh, no! TYLER (Standing ): I’m not asleep. I’ve been studying history. JOSH : So that’s Interjection! I’ll remem - ber him, for sure. JOSH : And I’ve been studying grammar. (Stands ) GRAMMAR : Now you have met my eight children, Josh, the eight parts of speech. ALEXIS : Well, you looked sound asleep (Each bows as name is mentioned .) to me. Noun, Verb, Pronoun, Adjective, Adverb, Preposition, Con-junction, and JOSH : I couldn’t have been asleep. I saw Interjection. Do you think you’ll remem - them all really clearly. ber them? ALEXIS : Who are you talking about? JOSH : Yes, I think I will. I know I will! JOSH : Noun and Verb and Adjective GRAMMAR : Then your wish has been and Adverb and— granted. ( PIXIE and Parts of Speech cheer. ) If you understand the parts of ALEXIS (Laughing ): You’ve been dream - speech, you’ve made a good beginning in ing. I knew you were. your study of grammar. Be sure to learn

OCTOBER 2016 33 JOSH : No, no. Just test me, and see. such as Oh , and Ah , and—( Pinches (Holds out book. TYLER shrugs, takes ALEXIS on the arm ) book, and he and ALEXIS look at it together .) ALEXIS (Shouting ): Ouch !

ALEXIS : Name the eight parts of speech. JOSH : That’s right. And “ Ouch !”

JOSH : Noun, verb, pronoun, adjective, ALEXIS : That’s not fair. I’ll tell Mom. adverb, preposition, conjunction and Oh, and by the way, Mom wants us to interjection. come home. Dinner’s ready.

TYLER (Surprised ): That’s right. But do TYLER : I’d better get home, too. I don’t you know what they mean? What’s a want to miss any of the game. noun? JOSH : Aren’t you glad you finished your JOSH : A noun is the name of a person, homework, too? place or thing, like America , or book , or Tyler . TYLER : For sure! We were lucky to choose such a quiet place. TYLER : What’s a verb? JOSH : Quiet? JOSH : A verb tells of action, like jump or stand or read ; or it tells of states of TYLER : Yes. I didn’t hear a sound the being, such as is , was , were . whole time. ( JOSH scratches head, looks puzzled .) ALEXIS : And a pronoun? ALEXIS : Come on, you guys. Hurry up. JOSH : A pronoun takes the place of a (Exits left, followed by TYLER ) noun: he , it , who , they. JOSH (Looking carefully all around, TYLER : How about adjectives and then looking at moss ring ): It’s still adverbs? here. All green and soft and round. ( He steps into ring, facing audience .) I wish JOSH : Adjectives describe nouns, like . . .( PIXIE pokes head out from behind athletic Tyler, strong America, or yellow tree, expectantly. ) I wish I— book. Adverbs tell about the verb— where, how, when, why: ran quickly , ALEXIS (Calling offstage ): Josh, come went somewhere , played happily . on! ( JOSH shakes head as if waking up, steps out of ring. PIXIE disappears TYLER : So far, so good. What about behind tree, as JOSH exits left. Then prepositions? And conjunctions? PIXIE comes out, waves after JOSH, and dances into the ring .) JOSH : A preposition goes before a noun. It leads a phrase, like on the chair, to PIXIE : My wishing ring, my wishing the door, before the play. A conjunction ring! ( She pretends to scatter dust in is a joining word. the ring, then opens her arms toward audience. ) Who’ll come next to my wish - ALEXIS : And how about interjection? ing ring? ( Curtain ) THE END JOSH : An interjection expresses feeling, (Production Notes on page 48 )

34 PLAYS • playsmagazine.com Wanted: A House to Haunt is protected Middle & Lower Grades by U.S. copyright law. It is unlawful to use this play in any way unless you are a current subscriber to PLAYS Magazine (www.playsmagazine.com ).

Wanted: A House to Haunt Ghost is faced with finding a new home when his host family moves from big old house to new apartment. . .

by Hazel W. Corson

Characters Creaking, rattling chains, and other MR. SAM LYMAN ghostly sounds are heard, then FELIX MRS. KATHRYN LYMAN runs in, across stage, fans MR. LYMAN with his sleeve, and slips FELIX, a shy ghost behind MRS. LYMAN’s chair. SAMANTHA, a cat FELIX (Whispering in MRS. LYMAN’s OWL, offstage voice ear ): Boo! TWO GHOSTS MRS. LYMAN (Sitting up with a start ): MR. MCMANUS I do believe I had a little cat nap. Did WITCH you feel a draft just now, dear? PIRATE MR. LYMAN (Sitting up ): Yes. I feel one TWO VAMPIRES every night just about this time. SKELETON MRS. LYMAN : Well, we won’t feel any FAIRY drafts in our new apartment. OTHER CHILDREN MR. LYMAN : True. ( Looks around ) I SCENE 1 know this old house is too big for us TIME : Evening . now, but I’m going to miss it.

SETTING : Lymans’ living room. MRS. LYMAN (Patting his hand ): Now, Sam, we’ll still have all our things AT RISE : MR. and MRS. LYMAN are in around us. The living room will look easy chairs, dozing over newspapers. exactly the same. And there’ll be no big lawn to mow or snow to shovel.

OCTOBER 2016 35 MR. LYMAN : No repairing to do. ( Looks rainy days. There’ll never be any peace at watch ) My word! Ten o’clock! and quiet around here. Tomorrow’s a busy day. ( Rises ) Come along, dear. ( MRS. LYMAN turns off SAMANTHA : I like peace and quiet. table light follows MR. LYMAN off. Guess I’ll give the new apartment a try, After a moment, FELIX comes out and after all. Why don’t you come along? starts looking under chairs and into FELIX : Who ever heard of a ghost in an corners. ) apartment? No, I’ll find another old house to haunt. Meantime, I’ll stay in FELIX : Here, kitty, kitty, kitty. Where the belfry of the church. are you, Samantha? ( SAMANTHA enters, yawning and stretching .) SAMANTHA : You and Owl and I will have to get together sometime. SAMANTHA : You’re such a dependable ghost, Felix. Every night at exactly the FELIX : I hope so! I’m going to be so lone - same time, you wake Mr. and Mrs. ly! ( Curtain ) Lyman from their nap so they can go to * * * bed and get a good night’s sleep. SCENE 2 BEFORE RISE : FELIX enters. FELIX : I try my best to keep everything shipshape around here. ( Goes to win - FELIX : This is a fine fix I’m in. Here it is, dow ) That sleepy owl is still dozing. Halloween, and I’ve no place to haunt. I’ll try this house. ( Crosses right, pre - SAMANTHA : I’ll wake him up. ( Goes to tends to knock on door ) window ) Me-owl! Me-owl! TWO GHOSTS (Entering ): Boo! OWL (From offstage ): Whoo! Whoo! FELIX (Jumping back ): Oh, this house is SAMANTHA (Calling ): You know who, already haunted. ( Shyly ) I don’t sup - Owl. Time to wake up! Get going, or pose you have a vacancy? you’ll miss breakfast. 2ND GHOST : No, sorry. Where have you OWL (From offstage ): Hoot! Hoot! been haunting?

FELIX : Samantha, what are we going to FELIX : At the Lymans’ house, but now a do when the Lymans move? family with four children has moved in.

SAMANTHA (Prowling around, sniff - 1ST GHOST : Four children! That’s a lot ing here and there ): I’m staying put. of competition for any ghost. After all, you and Owl will be here. 2ND GHOST : Nobody but a poltergeist FELIX : I’m not staying. The new family could stand it. has four children, you know. 1ST GHOST : Well, you can stay with us SAMANTHA : Four children! Jumping until you find something. cats and dogs! I’m too old to put up with four children. FELIX : Thanks anyway. I’ll just keep looking. FELIX : Children scare me half to death. They’ll probably play in the attic on 2ND GHOST : Why don’t you try the

36 PLAYS • playsmagazine.com McManus house on Church Street? three tries, we let him go. If we do guess, he has to take his mask off and FELIX : Thank you. I will. ( GHOSTS join the circle. Last one to be guessed exit. FELIX crosses back to left. ) This gets the prize. O.K.? ( Children without must be the place. Just to look at it masks join hands and form a circle, scares me half to death, but I’d better singing, “Go in and out the window,” try. This must be the bell. ( Pretends to while PIRATE, FAIRY, and FELIX go ring bell. There is a loud clanking. in and out. They catch PIRATE .) FELIX shivers. MR. MCMANUS enters, carrying cane and a flashlight. ) SKELETON : I know who that is. It’s Robbie Wilson. MR. MCMANUS (Crossly ): A trick-or- treater! Bah! Go away. ( Exits ) PIRATE (Disappointed ): Oh, no! I didn’t think anyone would guess. ( Takes off FELIX (Running right ): Oh, goodness. mask, joins circle. They play again, That old man scares me half to death. this time catching FAIRY .) I’ll try that house. ( Points center ) Perhaps it needs a ghost. ( Goes center, 1ST VAMPIRE : Is it Jenny White? pretends to knock ) (FAIRY shakes head .)

WITCH (At curtain opening ): Oh! Yay! A 2ND VAMPIRE : Andrea Solomon? ghost! ( Grabs FELIX by sleeve ) Come (FAIRY giggles .) on in! ( Curtains open .) * * * PIRATE : It’s Maeve O’Brien! I know her SETTING : A living room decorated for giggle! ( FAIRY takes off mask. ) Halloween. Chairs and tables are cov - ered with sheets. WITCH : The ghost wins the prize. But first, does anyone know who it is? AT RISE : PIRATE, TWO VAMPIRES, SKELETON, FAIRY, and OTHER CHILDREN (Ad lib ): I don’t. Must be CHILDREN are playing games. someone new. Take your mask off! ( Etc .) WITCH enters with FELIX. FELIX : I don’t have a mask. WITCH : Look, everyone! A ghost! WITCH : Just take your sheet off, so we OTHERS (Ad lib ): Great! Every Hal- can tell who you are. loween party needs a ghost. ( Etc .) FELIX (Backing away ): Oh, I can’t! SKELETON (To FELIX ): What’s the matter? You’re shivering. PIRATE : Come on! Take your sheet off! (PIRATE and SKELETON start for FELIX : I’m a nervous ghost. Children FELIX, who runs off. ) scare me half to death. ( All laugh .) SKELETON : Wow! He just vanished into 2ND VAMPIRE : You’re a funny ghost. thin air!

WITCH (To FELIX ): We’re playing a FAIRY : I didn’t even see the door close. game like “go in and out the window.” When we catch someone, we try to WITCH : Wouldn’t that be funny! A real guess who it is. If we don’t guess in ghost visiting a Halloween party. Oh,

OCTOBER 2016 37 well—time for refreshments. ( All cheer. MRS. LYMAN (Sitting up with a start ): Curtain. FELIX peeks around it, then My goodness! I do believe I had a little comes out. ) cat nap. ( MR. LYMAN sits up .) Did you feel a draft? FELIX (Sadly ): Well, it’s back to the bel - fry for me. Why did the Lymans have to MR. LYMAN : Yes. . .first time since move? We were all so happy together. we’ve been here.

SAMANTHA (Entering ): Felix! Felix! MRS. LYMAN : Must be a window open.

FELIX (Happily ): Samantha! MR. LYMAN (Looking at watch ): My word! It’s ten o’clock! Bedtime. SAMANTHA : Listen, Felix, you have to come and haunt the Lymans’ apart - MRS. LYMAN : This is the first time ment. It’s not so bad. There’s a real we’ve gone to bed at our usual bedtime spooky place under the eaves, and the since we’ve been here. windows rattle and the doors squeak. MR. LYMAN : Kathryn, this place is FELIX (Surprised ): Really? In a new beginning to seem like home. building? MRS. LYMAN : It is, isn’t it? I just felt it SAMANTHA : They don’t build apart- tonight. ( Both exit, MRS. LYMAN ment houses the way they used to. turning out table light. FELIX comes Besides, Owl has moved to the tree out - out from behind chair .) side, and the Lymans need you. FELIX : Here, kitty, kitty, kitty. FELIX : They do? Samantha, where are you?

SAMANTHA : They haven’t gotten to bed SAMANTHA (Entering, stretching and on time since they moved, so they don’t yawning ): Well, what do you think? sleep well and they don’t wake up to get my breakfast on time. FELIX : They need me, all right. ( Looks out window ) Owl is still sleeping. FELIX : Oh, my! Maybe I’ll take a run over there and have a look around. SAMANTHA : I’ll take care of that. ( Goes Come on, Samantha. ( They exit .) to window and calls ) Me-owl! Me-owl! * * * SCENE 3 OWL (From offstage ): Whoo? Whoo? TIME : Later that day. SAMANTHA : You know who, Owl. Go SETTING : Living room, same as Scene 1. get your breakfast.

AT RISE : MR. and MRS. LYMAN are OWL (From offstage ): Hoot! Hoot! dozing over papers. FELIX peeks in, runs across stage, fans MR. and MRS. FELIX : There! ( Stretches ) I guess every - LYMAN with sleeve, slips behind thing’s shipshape again. MRS. LYMAN’s chair. SAMANTHA : And about time, too! FELIX (Whispering in MRS. LYMAN’s (Curtain ) ear ): Boo! THE END (Production Notes on page 48 )

38 PLAYS • playsmagazine.com Armadillo’s Choice is protected by U.S. Middle & Lower Grades copyright law. It is unlawful to use this play in any way unless you are a current subscriber to PLAYS Magazine (www.playsmagazine.com ). Armadillo’s Choice

Animals meet in the desert and learn to respect their differences without asking each other to change. . . .

by Pamela Love

Characters I can find some tasty bugs. ( TOR - TOISE enters right .) NARRATOR TORTOISE ARMADILLO : Good morning. I’m Tortoise. What a beautiful shell you have! TORTOISE ARMADILLO : Thanks, your shell looks COYOTE wonderful, too. I’m Armadillo.

JACKRABBIT TORTOISE : Are you visiting? I don’t SPARROW remember seeing you around here before.

TIME : A summer’s day. ARMADILLO : Actually, I’m planning on making this my new home. SETTING : A desert in the American Southwest. Down left is a large cactus. TORTOISE : Great! Let’s be friends. Down right is a large rock. COYOTE hides behind rock, unseen by audience. ARMADILLO : Good idea. I was wonder - ing—can you tell me where to find some AT RISE : NARRATOR enters, stands at good bugs? I want to have breakfast. side of stage throughout play. ARMADILLO enters right. TORTOISE : And you want to invite some bugs to eat with you? NARRATOR : One fine day in the desert, an armadillo found a new place to live. ARMADILLO (Laughing ): No, I eat them. ARMADILLO (Stretching ): What a beau - tiful morning! Time for breakfast. Hope TORTOISE : Afraid I can’t help you with

OCTOBER 2016 39 that. I eat plants. ARMADILLO : I think it was because of me. See, when I get scared, or angry, or NARRATOR : But Armadillo wasn’t the really surprised, I jump. ( Jumps ) This only one in the mood for breakfast. Just time I said, “Boo!” then, a hungry coyote woke up and left its hiding place. ( COYOTE tiptoes out JACKRABBIT : Hey, that’s some super from behind rock. ) jumping!

COYOTE : Ha! Thought I heard voices. ARMADILLO : Thanks, you’re a great Now to get something to eat! ( Tiptoes jumper, too. toward ARMADILLO and TORTOISE. TORTOISE suddenly sees COYOTE. ) JACKRABBIT : I’ll have to try yelling “Boo!” sometime. Hey, let’s be friends. TORTOISE : Yikes! It’s a coyote! Armadillo, hide! ( Hides under shell ) ARMADILLO : That’s a fine idea. You know, I’m hungry. Can you tell me COYOTE : Whoops, it’s a tortoise! Can’t where the best bugs are around here? get inside that shell. My teeth will crack. Oh, well. ( Turns toward JACKRABBIT : What, do bugs run restau - ARMADILLO ) rants where you come from?

NARRATOR : Instead of hiding under a ARMADILLO (Laughing ): No, can you shell, Armadillo had another way of tell me where the yummiest ones to eat reacting to danger. are around here?

ARMADILLO : Boo! ( Jumps as high as JACKRABBIT (Shaking head ): Sorry, no. possible ) I eat plants.

COYOTE (Scared ): Arooo! ( Exits left, TORTOISE (Poking head out of shell, running ) then standing ): Excuse me.

ARMADILLO (Kneeling beside TOR - ARMADILLO (Smiling ): Oh, there you TOISE ): It’s all right now, Tortoise. are. Hello again, Tortoise. Do you know You’re safe. That coyote’s gone. I scared Jackrabbit? him away. TORTOISE (Frowning at JACKRAB - NARRATOR : But the coyote wasn’t the BIT ): Unfortunately. Go away, Jack- only one still afraid. ( TORTOISE trem - rabbit. My friend and I don’t want you bles inside shell. JACKRABBIT enters here. left, jumping. ) ARMADILLO : Hey! What kind of talk is JACKRABBIT : Hi there, I’m Jackrabbit. that, Tortoise? I can be friends with both you and Jackrabbit. ARMADILLO (Standing ): Hi, I’m Arma- dillo. TORTOISE : No, you can’t. Look! ( Points at JACKRABBIT ) JACKRABBIT (Pointing left, over shoul - der ): Say, do you know what’s wrong ARMADILLO (Looking at JACKRAB - with Coyote? Didn’t even stop to chase BIT ): I still don’t understand. me, just ran by as fast as lightning.

40 PLAYS • playsmagazine.com TORTOISE : You don’t? Hello? Or should I TORTOISE : Yes, as hard as my shell. say, ( Taps shell ) Shell-o? You and I (Taps shell ) As hard as your shell, too. have shells, Armadillo. Jackrabbit does - n’t. So Jackrabbit can’t be your friend. ARMADILLO : I also like both of you. It’s as simple as that. Although I’m starting to wonder why.

ARMADILLO (Jumping high ): What! TORTOISE : Well, you can’t be friends with both of us. JACKRABBIT (Smiling ): It’s the other way around, Tortoise. You’re the one JACKRABBIT (Nodding ): Right. For my friend Armadillo and I don’t want once, I actually agree with Tortoise. You hanging around. have to choose between us.

ARMADILLO (Jumping high in the air ): ARMADILLO : I’ll think it over. ( Crosses You too, Jackrabbit? Now what’s the left, lies down next to cactus ) Guess I’ll problem? sleep on it.

JACKRABBIT (To TORTOISE ): See, NARRATOR : Finding a shady spot by a Tortoise? You’re not a jumper, like cactus, Armadillo took a nap, not wak - Armadillo and me. So you can’t be our ing up until the sun was high overhead. friend. It’s as simple as that. ARMADILLO (Stretching, then stand - ARMADILLO (Jumping ): Oh, come on! ing ): Wow, I’m hungry! My tummy was rumbling as loud as a tornado. I never TORTOISE : Just stop that silly jumping, did eat breakfast. Better start digging Armadillo. Then Jackrabbit will go for my lunch. ( Kneels, stars to “dig,” away. pretends to pop bugs into mouth ) Mmm, yummy! ( SPARROW enters JACKRABBIT : Just get rid of that silly left. ) shell, Armadillo. Then Tortoise will go away. SPARROW (Flapping ): Hello! Who are you? TORTOISE : But it’s a whole lot easier to stop jumping than to get rid of a shell. ARMADILLO : My name’s Armadillo. See, I’ve got a shell ( Taps shell ) and you’ll never see me jumping. SPARROW : I’m Sparrow. Want to be friends? JACKRABBIT (Jumping in place ): That’s because you can’t. Jumping is a lot more ARMADILLO : This morning, Tortoise fun than just hiding under a shell, isn’t and Jackrabbit wanted me for a friend. it, Armadillo? It was fun to scare off But then they started bossing me Coyote that way, wasn’t it? around. ( Taps shell ) Sparrow, I have a shell, not feathers like you. I won’t ARMADILLO : But I like jumping and my change that. shell. I don’t want to choose between them. SPARROW : Of course not.

JACKRABBIT (Stops jumping ): Life is ARMADILLO : Oh, and I can’t fly either. tough, and sometimes we have to make That’s also not going to change. hard choices.

OCTOBER 2016 41 SPARROW : Why change at all? We can JACKRABBIT : Look, Armadillo, I’m sorry still be friends. about what I said before. I’d still like to be friends with you. ARMADILLO : But how? The two of us are so different. TORTOISE : Me, too. And. . .and with your friend, Sparrow. SPARROW : You like eating bugs, right? Me, too. Isn’t that enough to start with? JACKRABBIT (Nodding ): If that’s O.K. with Sparrow. ARMADILLO (Laughing ): Do you know where the best ones are? ARMADILLO and SPARROW : Sure!

SPARROW : Of course I do! Look under ARMADILLO : But right now, I’m going the cactus. ( TORTOISE and JACK- to have something to eat. RABBIT cross to cactus .) SPARROW : Sounds like a good plan to TORTOISE : Well, have you made up your me! ( ARMADILLO and SPARROW mind? kneel by cactus, start picking up bugs .)

JACKRABBIT : Yeah, who’s going to be TORTOISE : You know, Jackrabbit. . . your friend, Armadillo? JACKRABBIT : Yes? ARMADILLO : Whoever wants to be my friend, unless they tell me to change TORTOISE : With all that jumping, you who I am. Meet my new friend, probably get around more than I do. Do Sparrow. ( SPARROW waves .) you know where the yummiest plants grow? TORTOISE (Tapping shell ): But Sparrow doesn’t have a shell. JACKRABBIT : I have some ideas. . . (Curtain ) JACKRABBIT (Jumping ): And Sparrow doesn’t jump. NARRATOR : In real life, when it’s star - tled, the nine-banded armadillo can ARMADILLO (Folding arms ): Sparrow jump almost four feet into the air! And doesn’t tell me what to do, either. ( TOR - remember, true friends respect you the TOISE and JACKRABBIT look down, way you are, instead of trying to change thinking it over .) you. THE END

PRODUCTION NOTES Armadillo’s Choice CHARACTERS : 6 male or female. PROPERTIES : None. PLAYING TIME : 10 minutes. SETTING : The desert. Large cactus COSTUMES : May be as simple or elabo - down left, large “rock” (big enough for rate as desired. Tortoise and Armadillo Coyote to hide behind) down right. have “shells.” Jackrabbit has long ears. LIGHTING and SOUND : No special Sparrow has wings. Coyote has a tail. effects. Narrator wears modern clothing.

42 PLAYS • playsmagazine.com Rebecca Motte: American Patriot is pro - Middle & Lower Grades tected by U.S. copyright law. It is unlawful to use this play in any way unless you are a current subscriber to PLAYS Magazine (www.playsmagazine.com ).

Rebecca Motte: American Patriot South Carolinian sacrifices her home to help the Colonial army defeat the British . . . . by Tara Wise Montgomery

Characters Congaree River outside of Charleston, South Carolina. The Redcoats are CAPTAIN M CPHERSON , British approaching. Let us see what events officer unfold. . . . * * * REBECCA MOTTE , Colonial widow SETTING : The home of Rebecca Motte ELIZABETH MOTTE PINCKNEY , on the Congaree River, outside of Charleston, South Carolina. Door and Rebecca’s daughter window are left. FRANCIS MARION, American general AT RISE : REBECCA MOTTE and her HENRY LEE , American colonel daughter, ELIZABETH, are sewing. A knock is heard on the door.

SCENE 1 ELIZABETH BEFORE RISE (Peering out the window ): : NARRATOR enters, Mama, it’s a Redcoat! addresses audience. REBECCA NARRATOR (Standing ): Don’t worry, : We often hear about the Elizabeth. We have been through this brave men who fought in the American before. ( Opens door to CAPTAIN Revolutionary War, but little is known MCPHERSON ) about the courageous women who also sacrificed much for their country. One CAPTAIN MCPHERSON : Good after - such woman was Rebecca Motte, a noon, ma’am. Captain McPherson of widow who showed great patriotism and the British army. selflessness during an important event in the war. The year is 1781 and the set - REBECCA : We have met before, ting is the Motte plantation home on the Captain. I am Rebecca Brewton Motte.

OCTOBER 2016 43 You and your men took residence at my barricade. But the occupation would not family’s town house when your army be for long. A Patriot force led by the occupied Charleston. American general Francis Marion was determined to force McPherson and his CAPTAIN : Why, of course! I remember men to surrender. For five days they you very well, Mrs. Motte. You were laid siege on the Motte home without quite hospitable to my officers and me. success. Before long Marion and General Henry Lee paid a visit to Mrs. REBECCA : What business do you have Motte. here today? * * * SCENE 2 CAPTAIN : I’m afraid we must ask you to SETTING : Farmhouse on the Motte vacate the premises. We feel that your property. As with the plantation home, plantation would be an excellent loca - there are a door and window left. tion for a fort. AT RISE : REBECCA and ELIZABETH REBECCA : A fort? But sir, this is my are sewing. home. My husband died recently. My family and I have nowhere else to go. ELIZABETH : I don’t know how you stand it, Mama. Being so polite to those men CAPTAIN : I noticed a deserted farm - and catering to them so cheerfully, after house about a mile from here. You and they forced us out of our home. your family can stay there. My men and I will occupy your home. REBECCA : Well, my dear, it isn’t always easy. In life, we are all called upon at REBECCA : Surely there are better loca - one time or another to do something we tions for you to choose. Couldn’t you don’t want to do; however, your grand - find another place? After all, this is not parents raised me to be a lady in all cir - the first time my family has provided cumstances. I hope that I have instilled you with headquarters. those values in you as well. Besides, the war can’t last forever. CAPTAIN : There is no use arguing, Mrs. Motte. You and your family can go qui - ELIZABETH : I hope you are right. We’ve etly, or my officers will have to remove already lost Papa, and my dear Thomas you from the premises by force. You is convalescing. I don’t know how much should be flattered that we are sparing longer I can take this. I don’t have your your home rather than burning it to the stamina. ( Gets up to walk around ) ground as we have others. REBECCA : We must stay strong, Eliza- REBECCA (Sighing ): Very well, Captain. beth! The hardest thing for me is that I will go quietly for my children’s sake. as women we can do so little to assist in I would do anything to protect them. the war effort. The men fight coura - geously while we are left behind to tend NARRATOR : So Rebecca and her family to our homes and wait. I wish there was moved to a small farmhouse on her something more we could do to help. plantation while Captain McPherson and his soldiers took possession of her ELIZABETH (Looking out window ): Mama, home. They dug an enormous trench I see two men approaching the house. around her property and cut down many of her beautiful trees to build a REBECCA : Can you see who they are? I

44 PLAYS • playsmagazine.com hope it is not Captain McPherson or one ELIZABETH : Well, by all means, come in, of his men. It’s not quite time for their gentlemen! You don’t want to stand out - supper yet. Since I serve them three side where the British can see you. ( To meals a day, one would think they REBECCA ) Mama, did you hear? would allow us some peace and quiet in between. REBECCA (Standing ): Yes, Elizabeth. General Marion, Colonel Lee. It is a ELIZABETH (Peering out the window ): pleasure. We are honored to have you They’re not wearing red coats. visit our home. I am Rebecca Motte, and this is my daughter Elizabeth Pinckney. REBECCA : That sounds promising! (There is a knock at the door. ELIZA - MARION : Just as you have heard of us, BETH looks at her mother hesitantly .) we have also heard of you. Your family Go on and answer it, dear. Let’s see is well known for its patriotism and love what they want. ( ELIZABETH of the Colonial ideals. answers door to FRANCIS MARION and HENRY LEE .) LEE : We have learned of your recent plight, with the British driving you out FRANCIS MARION (As he and LEE of your home and occupying it as their enter ): Good afternoon, ladies. I am headquarters. General Francis Marion and this is Colonel Henry Lee. REBECCA : That is correct, General.

ELIZABETH : Not the Francis Marion! MARION : We have attempted to force Oh, sir, we are honored! Captain McPherson and his officers to surrender, without success. MARION (Bowing ): The honor is mine. REBECCA : I can’t say I’m surprised. He ELIZABETH : I’ve heard you called “The seems quite relentless. Swamp Fox” because you’ve outsmarted the Redcoats so many times, leading LEE : We do have a plan in place, but I them into the swamps and escaping. am afraid that it will require much co- operation and more sacrifice from you. MARION (Chuckling ): Guilty as charged, ma’am. It’s the only type of REBECCA (Surprised ): I’ll be happy to warfare that seems to be effective with help in any way I can, but I can’t imag - these British. ine what I can possibly do.

ELIZABETH (To LEE ): And you, Sir— MARION : Well, Mrs. Motte, in order to you are called “Lighthorse Harry”? coerce the Redcoats to surrender, we have no choice but to set fire to your LEE : Ah, yes, madam! Some people like home. ( ELIZABETH raises her hand to call me that. to her mouth in alarm .)

ELIZABETH : I have heard it said that LEE : We are so sorry, ma’am, but we you are a great cavalry leader. have exhausted all other means.

LEE : I am surprised that you have heard REBECCA (Gasping ): Burn my home? of me. I am proud to do what I can for our country. MARION : It is the only way. Believe me,

OCTOBER 2016 45 if there were any other alternative, we ed that opportunity. would consider it, but we must force the British from your home, and burning it MARION : It is you who humble us, Mrs. is the only way to do it. Motte.

REBECCA (Her expression becoming LEE : Our men stand waiting for our strong and determined ): I love my orders. home, but I love my country more. You are quite right, gentlemen. It is the only REBECCA : I am coming with you. I way. I am proud to have the opportuni - would like to witness this event. ty to serve the Colonies. NARRATOR : “The Siege of Fort Motte,” LEE : You are a courageous woman, Mrs. as it was called in the history books, Motte. had lasted five days, but with Rebecca Motte’s assistance, it came to a quick REBECCA : As a matter of fact, I think end. Francis Marion’s men set fire to there is something more I can do to the roof of the Motte home with the help help. Please excuse me for just a of the arrows Rebecca had provided. moment. ( REBECCA exits left. The * * * men stand shrugging their shoulders .) SCENE 3 SETTING : Outside the Motte “fort.” May MARION (To ELIZABETH ): I can’t be played before curtain. imagine what more your mother can do to help us. AT RISE : REBECCA and ELIZABETH stand center, looking out over audi - ELIZABETH : I believe I know exactly ence. what she has in mind! ELIZABETH : Oh, look, Mama! General LEE : Your family has already made so Marion and his men are shooting the many sacrifices to the cause. arrows onto our roof!

ELIZABETH : We would do more if we REBECCA : And they are bursting into could. Mama was just saying that to me flames on contact! Just as my brother before you came. ( REBECCA enters said they would! How I wish he could left, carrying arrows .) have been alive to see this!

REBECCA : These are combustible ELIZABETH : Look at all the smoke! arrows. My brother Miles Brewton brought them from East India. REBECCA : I see men running outside! Somehow I knew they might be useful The plan is working! ( CAPTAIN runs to me one day. on, waving a white flag and coughing. He collapses on the ground .) MARION : You amaze me, Madam! CAPTAIN : We surrender! We surrender! LEE (Taking the arrows ): Thank you, ma’am. Because of patriots like you, MARION (Offstage ): Take possession of men and women, our cause will prevail! Mrs. Motte’s home and put out the flames! ( Enters left ) Well, Mrs. Motte, REBECCA : You did not have to pay me thanks to your help we have secured a the courtesy of asking to burn my home. victory. Only true gentlemen would have afford -

46 PLAYS • playsmagazine.com CAPTAIN : You are a clever leader, pare. For everyone! ( Exits with ELIZA - Marion. How did you set the fire so BETH, right ) quickly? LEE : Quite an extraordinary lady! MARION : Combustible arrows, Captain. Supplied by Mrs. Motte! MARION : Extraordinary, indeed. We are fortunate to have Patriots like her. CAPTAIN (Surprised ): Mrs. Motte! (They lead CAPTAIN off right .) (LEE enters left .) NARRATOR : Rebecca, in accordance LEE : Thank goodness we were able to with her generous nature, went on to save your home in the process, Mrs. serve dinner to both Redcoat and Motte. Only the roof burned. The struc - Patriot soldiers that evening. She is a ture is intact! woman to whom we can look as an example of strength and courage during REBECCA : I am most grateful indeed, trying times. When praised for her gentlemen. Losing my home would have bravery later in life, Rebecca replied been worth it to help our cause, but I that she did “what any other American am relieved that it was spared—for my would have done.” children’s sake especially. Now if you will excuse me, I have a dinner to pre - THE END

PRODUCTION NOTES Rebecca Motte: American Patriot CHARACTERS : 3 male, 2 female. Motte on the Congaree River, outside PLAYING TIME : 15 minutes. of Charleston, South Carolina. Door COSTUMES : Rebecca and Elizabeth and window are left. Chairs, tables, wear long dresses and caps in the other furnishings as desired. Scene 2, Colonial style. Soldiers wear appropri - farmhouse on the Motte property. As ate uniforms, red coat for McPherson, with the plantation home, there are a Continental uniforms for Marion and door and window left. Simpler fur - Lee. nishings than in Scene 1. Scene 3 may PROPERTIES : Sewing materials; arrows; be played before curtain. white flag. LIGHTING : No special effects. SETTING : Scene 1, the home of Rebecca SOUND : Knock on door.

OCTOBER 2016 47 PRODUCTION NOTES The Magic Wishing Ring (Play on pages 29-34 )

CHARACTERS : 4 male, 3 female, 10 of Speech wear colorful tunics and male or female. tights, and feathered caps. Children PLAYING TIME : 20 minutes. wear modern school dress. COSTUMES : Pixie wears rose-colored PROPERTIES : Ball, school books. pixie outfit, with leather pouch on a SETTING : A wooded park. A thick ring cord at her waist, and carries small of green moss encircles a tree and a toy musical pipe. Captain Grammar tree stump. Some bushes are across wears long robe with flowing sleeves, the upstage right corner. and tall cap; may carry a scroll. Parts LIGHTING : No special effects.

A House to Haunt (Play on pages 35-38 )

CHARACTERS : 3 male (Mr. Lyman, SETTING : Scenes 1 and 3: Lymans’ liv - Felix, Mr. McManus); 2 female (Mrs. ing room. There are two easy chairs, Lyman, Samantha); 12+ male or lamp and table, and any other furnish - female for all other characters. ings desired. Scene 2: Halloween party. PLAYING TIME : 15 minutes. Same as Scenes 1 and 3, with sheets COSTUMES : Everyday dress for draped over furniture, and Halloween Lymans and Mr. McManus. Others decorations. wear appropriate animal or Halloween LIGHTING : No special effects. costumes. SOUND : Creaking and rattling chains, PROPERTIES : Newspapers; cane; flash - etc.; doorbell. light.

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