The Project Gutenberg EBook of Snowbound for Christmas, by Edna I. MacKenzie

This eBook is for the use of anyone anywhere in the United States and most
other parts of the world at no cost and with almost no restrictions
whatsoever.  You may copy it, give it away or re-use it under the terms of
the Project Gutenberg License included with this eBook or online at  If you are not located in the United States, you'll have
to check the laws of the country where you are located before using this ebook.

Title: Snowbound for Christmas

Author: Edna I. MacKenzie

Release Date: December 3, 2016 [EBook #53654]

Language: English

Character set encoding: UTF-8


Produced by Emmy, MFR and the Online Distributed
Proofreading Team at (This file was
produced from images generously made available by The
Internet Archive)

Snowbound for Christmas



These songs can be used in all manner of entertainments. The music is easy and both music and words are especially catchy. Children like them. Everybody likes them. Sheet music. Price, 35 cents each.

HERE’S TO THE LAND OF THE STARS AND THE STRIPES. (Bugbee-Worrell.) A patriotic song which every child should know and love. The sentiment is elevating. The music is martial and inspiring. May be effectively sung by the entire school. Suitable for any occasion and may be sung by children or grown-ups. Be the first to use this song in your community.

I’LL NEVER PLAY WITH YOU AGAIN. (Guptill-Weaver.) A Quarrel between a small boy and girl. The words are defiant and pert. The boy and his dog have been in mischief, and the small maiden poutingly declares that she will never play with him again, but changes her mind in the last verse. A taking little duet for any occasion, with full directions for motions.

JOLLY FARMER LADS AND LASSIES. (Irish-Lyman.) A decidedly humorous action song prepared especially for district schools. It will make a hit wherever produced.

JOLLY PICKANINNIES. (Worrell.) Introduce this coon song into your next entertainment. If you use the directions for the motions which accompany the music, the pickaninnies will bring down the house. Their black faces and shining eyes will guarantee a “hit.” The words are great and the music just right.

LULLABY LANE. (Worrell.) This song is one which the children, once having learned, will never forget. The words have the charm of the verses written by Robert Louis Stevenson. The music is equally sweet and is perfectly suited to the beautiful words. It may be sung as a solo by a little girl with a chorus of other little girls with dolls, or as a closing song by the whole school.

MY OWN AMERICA, I LOVE BUT THEE. (Worrell.) Here is a song that will arouse patriotism in the heart of every one who hears it. The music is so catchy that the children and grown-ups, too, just can’t resist it. It makes a capital marching song.

NOW, AREN’T YOU GLAD YOU CAME? (Guptill-Weaver.) This is a closing song which is quite out of the ordinary. There is humor in every line. The music is lively. Your audience will not soon forget this spicy song for it will get many an unexpected laugh. The motions which accompany this song make it doubly effective. For any occasion and for any number of children.

WE ARE CREEPY LITTLE SCARECROWS. (Guptill-Weaver.) A weird, fascinating action song. You can’t go wrong with this song. There are four verses and chorus. Complete directions accompany this song so that it may be featured as a song and drill, if desired. For any occasion and for any number of children.

WE’VE JUST ARRIVED FROM BASHFUL TOWN. (Worrell.) This song will bring memories to the listeners of their own bashful school days. They will recall just how “scared” they were when asked to sing or play or speak. The words are unusually clever. The music is decidedly melodious. It makes a capital welcome song or it may be sung at any time on any program with assured success.

WE HOPE YOU’VE BROUGHT YOUR SMILES ALONG. (Worrell.) A welcome song that will at once put the audience in a joyous frame of mind and create a happy impression that will mean half the success of your entire program. Words, bright and inspiring. Music, catchy. A sure hit for your entertainment.

WE’LL NOW HAVE TO SAY GOOD-BYE. (Worrell.) This beautiful song has snap and go that will appeal alike to visitors and singers. It is just the song to send your audience home with happy memories of the occasion.

Paine Publishing Company         Dayton, Ohio

[Pg 1]

Snowbound for



[Pg 2]

Ma Simpson.
Pa Simpson.
Minerva, Oldest Daughter.
Sam, Oldest Son.
Bill   —The In Between’s.
Bobby   —Twins


Act I
Day Before Christmas
Pa Simpson, Overalls and Work Shirt.
Ma Simpson, Gingham Dress and Apron.
Minerva, Red Waist and Blue Skirt.
Sam   —Overalls.
Bobby, Torn Blouse and Good Trousers.
Jennie, Old Dress.
Betty, Old Dress.

Act II
Christmas Morning

Time of Playing—About Twenty-five Minutes.

[Pg 3]

Snowbound for Christmas

Act I

Scene.A living room in the Simpson farmhouse. Toys, books, etc., are strewn around untidily. Children play with these when not talking. Doors Left and Right.

The curtain rises on Ma Simpson knitting by table in Centre, and Pa Simpson reading the newspaper.

Enter Sam, covered with snow

Sam—It’s still snowin’, Ma.

Ma (not looking up)—Yes, Sam.

Sam—It’s been snowin’ for three days, Ma.

Ma—Yes, Sam.

Sam—And tomorrow’s Christmas, Ma.

Ma—Yes, Sam.

Pa (throws down paper)—Do you suppose we don’t know that it’s snowing, and that it’s been snowing for three days and tomorrow’s Christmas. Can’t you tell us something new?

Sam—But, Pa, how are we going to get to town to buy our Christmas presents and things?

[Pg 4]

Pa (gruffly)—We can’t go and that’s all about it. The horses couldn’t plow half a rod through these snowdrifts.

Sam—But whatever are we going to do for Christmas?

Ma (shaking her head)—I guess we will have to do without Christmas this year.

Minerva enters

Minerva—Do without Christmas! Oh, Ma!

Ma (brushing away tears)—I’m sorry Minerva, but with the twins down with the grippe last week and it snowing so hard this week we couldn’t get to town and—and (puts apron to eye). I feel every bit as bad as you youngsters. I’ve always prided myself on giving you a happy Christmas, and to think that I haven’t a thing ready this year. Oh, you poor, poor children (cries).

Pa—Now, see what you’ve done. Run away children and stop pesterin’ your Ma.

Minerva (kissing Ma)—Never mind, Ma. We know it couldn’t be helped. We can do one year without Christmas, can’t we, Sam?

Sam (patting Ma awkwardly)—Of course. Don’t you worry about us kids, Ma. We’ll get along.

Ma—Bless your dear, kind hearts. But the little ones, the twins, how can I tell them that Santa can’t come this year?

[Pg 5]

Pa—Those kids have got enough toys as it is to last them a life time. Look at this room. You’d think a hurricane had struck it.

Ma—I know, I know. But they’ve been stuck in the house so long that they’re bound to get their play things around. It’s not the toys they need, but to tell them Santa won’t be here. Oh, I can’t! I can’t!

Minerva—Perhaps, Ma, we older ones could make them some presents. I could make a dandy nigger doll out of a bottle and a black stocking. Sara Martin showed me how to do it.

Sam—-I’ll go and get my tools right away and make a cradle for the doll.

Minerva—And I’ll give Jennie that ring that’s got too small for me.

Sam—I’ll paint my old sled over for Bobby and give Bill my hockey stick.

Pa—That’s the idea! You kids have got good heads on you.

Sam—Come on, Minerva, let’s get busy.

Exit Minerva and Sam

Ma—The dear children! There’s not a woman living has better children than we have.

Pa (blowing nose)—You’re right there. I guess they take after their ma.

[Pg 6]

Ma—How you do talk! And to think that my own children have to teach their ma a lesson. Here am I moping away because I hadn’t anything ready when I should be hunting up and planning for them. What a silly old goose I’m getting to be (jumps up). I’ll—

Pa—Now, Ma, don’t go and call yourself names. You’re simply tired out working yourself to death for these youngsters and—

Ma—There’s that old Persian Lamb coat I got before I was married. I’ll make muffs and capes out of it for Jennie and Betty. It’s moth-eaten in spots, but there’s plenty good fur left and Minerva can help me make them. And—and—for Minerva I’ll (rubs head) oh, I know, I’ll make Minerva a party dress out of my white silk wedding dress. I ain’t never worn it much, and it’s almost as good as new.

Pa—Not your wedding dress! You ain’t goin’ to cut that up!

Ma—Why ain’t I? Laws-a-me, I can’t wear it anymore. It wouldn’t come within five inches of meeting round the waist, and it’s too old fashioned for Minerva to wear the way it is.

Pa—But your wedding dress, the dress you wore when we two was made one, and you lookin’ like an angel straight out of heaven in it. Oh, I couldn’t bear to see that cut up.

Ma—Now, Pa, don’t you go and talk nonsense. I didn’t know you had that much sentiment in you. To tell the[Pg 7] truth I hate to have it cut up myself, but when it comes to making that dear child happy I’d give her my head on a charger if it would do her any good.

Pa—Who’s talkin’ nonsense now? Well, since you’ve got the girls fixed up I guess I’ll have to think up something for the boys. Blest if I know what I can give them (scratches head).

Ma—It’s awful hard planning for boys. They ain’t so easy pleased as girls with fixed over things. They’re more for animals and such like.

Pa—There you’ve got it, Ma! I’ll give Sam that little black colt all for his own. He’s just crazy about it and Bill—let’s see—what can I give—Oh yes, there’s that Jersey heifer that’s goin’ to be a sure-enough winner some day—I’ll give him that. Then there’s Bobby, what in the dickens can I give that tyke. He’s too young—

Ma (at door)—Hush, I hear him coming.

Bobby rushes in

Bobby—Oh, Ma, what do you think! I found a dozen eggs hid away in the hay-mow.

Ma—Why Bobby, whatever are you doing with your Sunday trousers on?

Pa—How’d you happen to find the eggs?

Bobby—I was jumpin’ off the beam into the hay and I landed right on top of them. Didn’t know they was there. Gee, there was some spill. I guess them eggs was layed last[Pg 8] summer, they smelt like it (pause). That’s why I got my Sunday trousers on, Ma.

Ma—Well, run along now and see that you don’t get any more eggs for if you spoil them trousers you go to bed. You ain’t got any others.

Bobby—All right, Ma. I only wished we had a swing in the barn like Pete Miller’s. Yuh kin go clean to the roof in it. It beats jumpin’ in the hay all holler (runs out).

Pa—The very thing! I’ll put a swing up in the barn for Bobby. I’ll give him a big bag of butternuts to crack to keep him out of the way ’till I git it up.

Ma—And I’ll get Minerva to make taffy to put the nuts in (exit Pa and Ma).

Enter Minerva with bottle and stocking, Sam with chest of
tools and boards

Minerva—I’m so glad I thought of this. It will be different from any doll she’s ever had (puts stocking on bottle). I’ll sew on beads for eyes with white paper pasted on for whites and red for a mouth and—

Sam (sawing wood)—This will be some cradle when I get done, you bet your life.

Minerva (severely)—It’s sure awful, the slang you use. You should cut it out.

Sam (jeeringly)—I should cut it out, eh! Cut it out isn’t slang! Oh my stars! (turns handspring). Say, Sis,[Pg 9] don’t you know that people in stone houses shouldn’t throw glass?

Minerva—No, I don’t, and if I were you I wouldn’t start quoting until I could get it right.

Bobby (outside)—I did hear Santa’s reindeer. I know I did.

Minerva (jumping up)—Here’s the twins. Hide your stuff quick (scramble).

Enter Bobby and Betty

Betty has black sticking-plaster over front teeth to hide them.

Betty—Aw, you didn’t (runs to Minerva). Thanta only cometh at night, don’t ee, Nerva?

Minerva (lifting her on her knee)—Yes, dear, when you’re fast asleep in—

Bobby—But I did hear him, I heard the bells jingle in the roof.

Minerva—Perhaps he’s around seeing if you’re good children and don’t quarrel. You know he doesn’t give presents to bad children.

Betty—Uths hathn’t fighted for two days. Uths been awful good, hathn’t uth, Bobby?

Bobby—Yep, but if Christmas doesn’t hurry up and come I’ll bust, I know I will.

Enter Bill and Jennie

[Pg 10]

Bill—Sam, what do you know, Pa says we can’t get into town. How are we going to buy—

Sam (shakes hand in warning behind twin’s backs)—See here Bill, I—I—

Bill—Say, what’s the matter with you, Sam? Have you got the palsy?

Sam (pulling him to front)—No, but I wish you had. Ain’t you got any sense? Do you want the kids to quit believin’ in Santa?

Bill—No, but how—

Jennie (to Minerva)—Ain’t we goin’ to get any Christmas presents, Nervy?

Minerva—Of course we are, dear.

Jennie—But where are we going to get them?

Betty—From Thanta, of courth. Where elth could you get them?

Minerva—Of course. He’s never failed us yet and I guess he isn’t going to this Christmas either. Twinnies, have you all the pop-corn strings made for the tree?

Bobby—No, let’s go to the kitchen and finish them, Betty (exit twins).

Jenny—But Nervy, where are we goin’ to git them?

Bill—Yes, where? Pa and Ma never got to town and—

Minerva—By making them for each other.

[Pg 11]

Bill and Jennie—By making them!

Sam—Yes, why not? (gets tools, etc.). Sis and I are making our presents.

Bill—What are you makin’?

Sam—Wouldn’t you like to know, now?

Jennie—But, Nervy, made things won’t be real Christmas presents (cries). And I wanted a book, and a pencil box and a ring and—and—a muff and—and—

Minerva (fiercely)—Now see here, Jennie. You stop crying this minute, Ma’s feeling dreadful bad as it is because she can’t give us a real-to-goodness Christmas without store presents—

Bill (shaking her)—Aw, shut up, Jennie. I guess one Christmas without regular presents won’t kill us. And there will be heaps of fun makin’ them and keepin’ secrets and things. I bet I kin make Bobby the dandiest top you ever saw.

Jennie (brightening)—And I’ll make a picture book for Betty.

Minerva—You’re talking now. They’ll be tickled to pieces with them.

Ma (outside)—Minerva, where are you?

Pa (outside)—Sam, come here a minute.

Minerva—There’s Ma calling me! (exit).

[Pg 12]

Sam—There’s Pa calling me! (exit).

Jennie—Say, Bill, I’ve got something thought out for Nervy too.


Jennie—Well, you know that piece of green silk Aunt Mary gave me for a doll’s dress? I’m going to make a bag for Nervy to carry her crochet in and put featherstitching on it with the purple sil—silk—silklene I’ve got.

Bill—Aw shucks, you haven’t time.

Jennie—I have, too, it just takes a few minutes. Boys don’t know nothin’ about sewin’.

Bill—Aw, sewin’. Hockey beats that all to pieces. What kin I give Sam? (picks up magazine). Oh, I know, I’ll cut up the ads in our old magazine and glue them on pasteboard. They’ll make swell picture-puzzles.

Jennie—Oh goody! I just love picture-puzzles.

Bill—I ain’t makin’ them for you, they’re for Sam, I told you.

Jennie—Well, he’ll let me play with them. He ain’t stingy like some people I know.

Bill—Hush, here’s Sam now.

Enter Sam and Minerva

Minerva—Sam and I have thought of presents for everybody but Ma and Pa. What can we give them, I wonder.

[Pg 13]

Sam—Have you kids anything for them?

Bill and Jennie—No.

Jennie—What can we give them?

Minerva—I don’t know. There isn’t time to make much and I’ve promised to help her make the f— (puts hand on mouth).

Jennie—Make what?

Minerva—Make some taffy. Bobby’s cracking nuts for it.

Bill (turning somersault)—Oh, I’ve got an idea.

All—What is it?

Bill—I know what’ll please them more’n anything.

Jennie—For goodness sake, Bill, get up and tell us. Don’t keep us in suspenders.

Bill—Well, I read a story once where a lot of kids instead of givin’ their pa and ma presents, wrote notes promisin’ to do the chores and things they hated most for a whole year without bein’ told and—

Minerva—Oh, that’s a splendid idea!

Sam—It is if we can stick to it.

Jennie—I don’t believe none of us could—not for a whole year.

Minerva—We can if we love them enough to really try. Will you do it?

[Pg 14]

Sam—All right, I’m game.

Bill—So am I.

Jennie—I’ll—has it got to be what you hate the very worst?

Bill—Of course, it ain’t no good to promise something easy. Anyone could do that.

Minerva—And it will show whether you love them enough to sac-to sacer-sacerfice ourselves for them.

Jennie—I, guess I can do it. Anyway I’ll try awful hard.

Minerva—I know you will, Jennie. I’ll go and call the twins.

Sam—Do you think we had better let them in on it.

Minerva—Why, of course, Pa and Ma would be so pleased.

Bill—That settles it. (calls) Bobby! Betty! Jennie, hunt up some paper and pencils.

Enter Twins

Twins—What do you want?

Jennie—We’re talking about the Christmas present we’re going to give Ma and Pa and—

Betty—Why, ithn’t Thanta goin’ to give them any prethents?

[Pg 15]

Minerva—No, dear, Santa just brings presents to children. Would you like to do something that will please Pa and Ma very much?

Betty—Yeth, tell uth what it ith.

Minerva—We are all going to promise to do something we hate doing for a whole year without being told.

Bobby—That ain’t no present.

Sam—Oh, yes, it is the very best kind.

Bobby—But you can’t put a pwomise on a Christmas tree.

Bill—We put notes on instead. Will you do it?

Bobby—I guess so. I like doin’ everything I have to, so it won’t be hard for me to pwomise.

Jennie—Oh, you little lilac. What a fib.

Bobby—It ain’t then.

Jennie—It is too. I could tell you half a dozen things you make a fuss about. Here’s paper and pencils (distributes them).

Minerva—Now let’s get around the table and write our notes. I’ll write yours for you Betty.

Betty—No. I’ll wite it mythelf.

Jennie—You can’t write nothin’ anyone could read.

Betty—I can print then, ith’s eathier to read.

Bobby—So can I. You can spell the hard words for me, Sam.

[Pg 16]

Minerva—You didn’t give me a pencil, Jennie.

Jennie—There wasn’t enough to go around. Bill, see if you have one in your pocket.

Bill—All right (empties pocket full of truck, brings out dead mouse and pencil at last. Girls scream. Minerva jumps on chair).

Minerva—Oh Bill, you nasty boy.

Bill (laughs)—Girls are the beatenest. Afraid of a dead mouse! (puts things back in pocket).

Sam—Let’s get down to business. We haven’t any time to waste.

Minerva—I don’t know which I hate doing worse, washing dishes or dusting (bites pencil).

Jennie—I wouldn’t bite that pencil if I was you. It’s been rubbin’ up against that dead mouse.

Minerva (slipping it down)—Ugh! I’ll not touch it. I’ll use yours when you’re through.

Bobby—I wish you’d keep quiet so that I could think up something to pwomise. I don’t know nothin’ I hate doin’.

Jennie—Oh, Bobby, look at your ears, they’re—

Bobby—I can’t. My eyes ain’t in the back of my head.

Jennie—You didn’t wash behind them this morning.

Bobby (jumping around)—I know, I know, I’ll pwomise to—

[Pg 17]

Sam—Let’s not tell each other what we’re goin’ to promise. There’ll be more fun reading the notes tomorrow.

Betty—Notes don’t make much thow on a Chwismas tree.

Jennie (claps hands)—I’ve got it! I’ve got it! I’ve got it!

Bill—What, a lunatic germ?

Jennie—Let’s put a simpleton of what we’re going to promise on the tree.

Bill—A simpleton, what’ that?

Jennie—Why a sign, of course. You see if Nervy hates dusting, she can put a dust rag on the tree and make Pa and Ma guess what it stands for.

Minerva—Symbol! That’s what she means (laughs). A simpleton! Oh, Jennie, that’s what you are.

Jennie—I ain’t then. They’re the same thing.

Minerva—The same thing, oh—

Sam (excitedly)—By gimminy, Jen, that’s the bulliest stunt yet.

Bill—Oh, boys, it will make the jolliest fun we’ve ever gotten out of a tree in all our lives. Let’s do it.

All—Yes, yes, let’s do it.

Curtain goes down on children writing in various positions, Bobby wags tongue, Betty wiggles whole body, etc.

[Pg 18]

Act II

Scene.The Simpson living-room, tidied table pushed back and Christmas tree decorated with home-made trimmings and presents tied in various ludicrous parcels.

Enter Minerva carrying dishpan with note attached.

Minerva—I go first because I’m the oldest.

Jennie (outside)—That ain’t no fair.

Minerva (finger to lips)—Hush, you don’t want to wake Ma. She didn’t come to bed until near morning (puts dishpan under tree). There, that’s a promise it’ll be mighty hard to keep for if there’s anything under the sun I hate doing it’s washing dishes. Three times a day and there’s 365 days in the year, that washes, let me see—three times five is fifteen, three times six is eighteen, and one to carry is nineteen, and three times three is nine and one’s ten. Good gracious, over a thousand times a year and eight in the family means eight plates, eight cups, eight—a million dishes! Oh dear, I wish our family was smaller.

Enter Sam with armful of wood

Sam—It takes a good sight longer for you to put a dishpan down than for me to drop this wood (slams it down). There’s the first load delivered on the contract. Gee, I wish there was a gaswell on our farm. Perhaps I could persuade Ma to use a coal-oil stove.

Enter Jennie with music roll

[Pg 19]

Jennie—Oh dear, how I hate practising, but Ma says she’s bound she’ll make a musicale out of me. Her chance is better now than it ever was before (puts it on tree).

Sam—Aw, Jen, why didn’t you choose something quiet? Do you want to drive us all insane listening to you running up and down those everlasting scales?

Jennie—It’s your own fault. You said we had to promise what we hate doin’ most and I’m sure—

Minerva—I must get the twins up.

Enter Bill with book-bag

Bill—I had an awful hunt for this bag. Well, I know one person who’ll be mighty glad I made this promise.

Sam and Jennie—Who?

Bill—The school-marm. And the strap will be gitten’ a rest, too, I’m thinkin’. Gee, when I grow up and git in for president I’m goin’ to have every school-marm in the States put in jail who gives homework (puts bag down).

Enter Bobby carrying large bar of soap and Betty with an
alarm clock

Bobby—You’ll not say I didn’t wash behind my ears again, Jennie. I’m goin’ to wash them every mornin’ the water isn’t froze in the pitcher.

Betty—And you can’t call me theepy-head neither cos I’m goin’ to get up first time I’m called every mornin’ ’cept Saturday (Minerva fastens clock on tree. Alarm goes off).

[Pg 20]

Minerva—There, that will waken Pa and Ma.

Bobby—Oh, oh, oh, look at all them presents. Let me see what are mine (goes to tree and examines parcels).

Sam (drags him away)—Here, Bobby, no peekin’ ’til Pa and Ma come.

Enter Pa and Ma

Pa—Laws-a-me, children, what are you doin’ out of bed and—

Ma—And in your nighties, too. You’ll catch your death of cold.

Pa—Yes, and wakin’—well, I swan, what are you doin’ with a woodpile under the tree?

Ma—And a dishpan and book-bag and and—

All—They’re your Christmas presents!

Pa and Ma—Our Christmas presents!

Sam (putting note in Pa’s hand)—Read and see.

Pa (reads)—“I promise to fill up the wood box every morning before school. Your lovin’ son, Sam.” Well now if that ain’t an original Christmas-box and a mighty good one, too.

Minerva—Here’s mine, Ma (hands the note).

Ma (reads)—

“Dear Ma, you need not ever fear
That the dishes won’t be done.
For I’ll wash them throughout the year
And make believe it’s fun.”

[Pg 21]

You dear child, give me a kiss. And to think you hate doin’ dishes so. This is what I call a noble sacrifice.

Minerva—Oh Ma, I’m so glad.

Bill (gives book-bag and note to Pa)—See what a smart boy I’m goin’ to turn into!

Pa (reads)—“To Ma and Pa. I bet you won’t believe me, but I’m goin’ to get my homework up every night ’cept Friday as good as I can.—Bill.” That’s the way to talk, Bill. We’ll all be proud of you some day.

Jennie—Read mine, Ma, read mine.

Ma (reads)—“To whom it may conserve. I, Jennie Simpson, do promise to practice my music lessons faithlessly and preservingly every time Ma says I must. I hope she’ll be mercyfill.”

Ma—I will, Jennie, I promise. Bless your dear heart.

Bobby (takes his off tree)—Here’s mine! Here’s mine! (gives it to Pa).

Pa—Bless my soul! A cake of soap! (reads) “I’ll always keep behind my ears clean where it shows.—Bobby.”

Betty—And mine, and mine (gives to Ma).

Ma—Is that what I heard? (reads) I—I—Oh, I haven’t my glasses. You read it, Betty.

Betty—“I pwomith to git up when I’m called if I’m not too theepy” (all laugh).

Bobby—That ain’t no pwomise.

[Pg 22]

Pa—Yes it is. And now children, you’ve made your Ma and me happier than we’ve ever been in our lives.

Ma—Indeed you have. This shows us how much you love us better’n the costliest gifts in the world could have done.

Bobby—Can’t we get our presents, now?

All—Yes, yes (every one scrambles for presents at once and open them before audience, exclaiming together).

Minerva—A dress, a lovely party dress. Oh! Oh!

Jennie and Betty—Oh the lovely furs (puts them on).

Bill—A hockey-stick. Ain’t it great!

Bobby—Look at my sled.

Pa—Now, boys as soon as you get dressed we’ll go out to the barn and I’ll show you some presents I’ve got for you.

Boys—Oh, goody, goody (Bill and Bobby start for door).

Sam—Hold on kids, before we go, let’s give three cheers for the best Christmas we’ve ever had in all our lives.

All—Hip, hip, hurrah! Hip, hip, hurrah!



AS OUR WASHWOMAN SEES IT. (Edna I. MacKenzie.) Time, 10 minutes. Nora is seen at the washboard at the home of Mrs. McNeal, where, amidst her work, she engages in a line of gossip concerning her patrons, that will make a hit with any audience. 25 cents.

ASK OUIJA. (Edna I. MacKenzie.) Time, 8 minutes. A present-day girl illustrates to her friends the wonders of the Ouija board. Her comments on the mysteries of this present-day fad as she consults Ouija will delight any audience. 25 cents.

COONTOWN TROUBLES. (Bugbee-Berg.) A lively black-face song given by Josephus Johnsing, Uncle Rastus and other Coontown folks. 35 cents.

THE GREAT CHICKEN STEALING CASE OF EBENEZER COUNTY. (Walter Richardson.) A negro mock trial for 9 males, 2 females and jurors. Time, 35 minutes. Any ordinary room easily arranged. From start to finish this trial is ludicrous to the extreme and will bring roars of laughter from the audience. 25 cents.

THE GREAT WHISKEY-STEALING CASE OF RUMBOLD VS. RYEBOLD. (Walter Richardson.) A mock trial for 11 males and jury. The fun increases as the trial proceeds, and reaches a climax when the jury decides who stole the whiskey. 25 cents.

HERE’S TO THE LAND OF THE STARS AND THE STRIPES. (Bugbee-Worrell.) Open your minstrel with this rousing patriotic song. Sheet music. 35 cents.

THE KINK IN KIZZIE’S WEDDING. (Mary Bonham.) Time, 20 minutes. For 7 males and 5 females. A colored wedding that will convulse any audience with laughter. Said to be the funniest mock wedding ever produced. 25 cents.

SHE SAYS SHE STUDIES. A monologue. (Edna I. MacKenzie.) A sentimental high-school girl seated with her books preparing the next day’s lessons, in a highly original and entertaining manner, expresses her views on the merits of her various studies and her unbiased opinion of her teachers, as she proceeds from book to book in the order of her recitation; but when she has finished, you will agree that she is very much more of an entertainer than a student. 25 cents.

SUSAN GETS READY FOR CHURCH. (Edna I. MacKenzie.) Time, 10 minutes. It is time for church and Susan, at her toilet, is excitedly calling for missing articles and her rapid line of gossip about her friends and of certain church activities will bring many a laugh. 25 cents.

THAT AWFUL LETTER. A comedy of unusual merit, in one act. (Edna I. MacKenzie.) For five girls. Time, 30 minutes. Recommended for high schools, societies and churches. Elizabeth Norton, an accomplished college girl from the country, has been reluctantly and rudely invited to visit a city cousin, Margaret Neilson, whom she has never seen. Finding she is expected to be gawky and uneducated, Elizabeth acts the part perfectly. Developments follow thick and fast amid flashes of wit, humor and satire from Elizabeth, who at last reveals her real self. Margaret’s humiliation is complete and there is a happy ending. All the characters are good. The country cousin is a star. 25 cents.

THE UNEXPECTED GUEST. A one-act comedy. (Edna I. MacKenzie.) Six females. Time, 45 minutes. The unexpected arrival of an eccentric aunt throws a family into a state of excitement and dismay, but before the play is over the unwelcome aunt has endeared herself to her relatives in quite an unexpected manner. Funny situations throughout. 25 cents.

Paine Publishing Company         Dayton, Ohio


CHRISTMAS AT PUNKIN HOLLER. (Elizabeth F. Guptill.) One of the most popular Christmas plays published, that abounds in clean, wholesome fun from beginning to end. It depicts the trials of the teacher of an old-fashioned “deestric school” in conducting the last rehearsal for the Christmas Entertainment. Children and grown-ups will be delighted with CHRISTMAS AT PUNKIN HOLLER. 25c.

CHRISTMAS AT McCARTHY’S. (Elisabeth F. Guptill.) A Christmas play for young folks and children that is brimful of fun from start to close and is interspersed with the gentlest pathos. All the characters are good. Easy to produce. No special scenery or costumes. No Santa Claus. Can be played in any schoolroom. 25c.

CHRISTMAS SPEAKIN’ AT SKAGGS’S SKULE. (Marie Irish.) Just published. Humorous entertainment for six boys and eight girls, including Ole, the Swede; Rastus, the negro; bashful Bill; Jeremiah Judkins, the skule clerk; Mis’ Skaggs and Mis’ Hill, the mothers who “help out;” fat little sister; Matildy and Florildy, the twins; Sam who st-t-tut-ters; Tiny, and Miss Emmeline Elkins, the teacher. The speech by the skule clerk and the fake Santy Claus are features. 25c.

CHRISTMAS DIALOGUES. (Cecil J. Richmond.) Every dialogue in this book is decidedly to the point and easy to prepare. They will delight both young and old. The book contains the following: Is There a Santa Clause? (2 small children, Santa Claus and chorus); Herbert’s Discovery (2 boys); The Christmas Dinner (2 little girls, 1 larger girl, and 2 boys); Playing Santa Claus (1 small and 2 larger boys); A Double Christmas Gift (2 small girls, 2 larger girls, and 3 boys). Many customers have told us that the last named dialogue Is worth the price of the book. 25 cents.

EVERGREEN AND HOLLY—SONG AND DRILL. (Elizabeth F. Guptill.) A drill for any even number of boys and girls, or all girls. The girls carry garlands of evergreen while the boys carry wreaths of the same. After a spectacular drill and fancy march they all sing a beautiful Christmas song, which accompanies the drill. Easy to produce and decidedly novel. 25 cents.

GOOD-BYE, CHRISTMAS GROUCHES. (Irish-Lyman.) A jolly Christmas song for any number of boys and girls. It abounds with Christmas cheer and many pleasant surprises. Full of action. Sheet music. This popular song will put “pep” in your Christmas entertainment and will furnish your audience a rare treat. 35 cents.

POINSETTIA DRILL. (Marie Irish.) A drill for 12 or more girls carrying poinsettias. Given to the music of a lively march, interspersed with verses to the tune of the song. “Comin’ Through the Rye.” Several diagrams make clear the following of the directions. One of the most beautiful Christmas drills published. 25 cents.

SANTA CLAUS IS COMING. (Irish-Garster.) Song for little folks. Easy words and simple action. A pleasing little song that the children will enjoy giving and others will enjoy hearing, because of its merry humor. Sheet music. 35 cents.

STARS OF BETHLEHEM. (Irish-Leyman.) A beautiful song of the Christ Child for either solo or chorus. The music is sweet and perfectly suited to the beautiful words. A delightful number for children or adults. Sheet music. 35 cents.

SNOWBOUND FOR CHRISTMAS. (Edna I. MacKenzie.) For 4 boys and 4 girls. Time, 25 minutes. The roads being blocked by a recent snowstorm, the Simpson family has not been able to get to town to do their Christmas shopping. After considerable lamenting by the children over their disappointment, Ma Simpson, Pa Simpson, and the older children determine upon home-made presents, which results in a most pleasant surprise. 25 cents.

TOPSY TURVY CHRISTMAS, A. (Elizabeth F. Guptill.) A decidedly humorous Christmas play for any number of children from six to twelve years old. The children are tired of “minding” and of everything being “just so,” so they start to find a place where things will be different. There is a pleasing surprise for the audience at every turn of the play. 25 cents.

Paine Publishing Company         Dayton, Ohio

End of Project Gutenberg's Snowbound for Christmas, by Edna I. MacKenzie


***** This file should be named 53654-h.htm or *****
This and all associated files of various formats will be found in:

Produced by Emmy, MFR and the Online Distributed
Proofreading Team at (This file was
produced from images generously made available by The
Internet Archive)

Updated editions will replace the previous one--the old editions will
be renamed.

Creating the works from print editions not protected by U.S. copyright
law means that no one owns a United States copyright in these works,
so the Foundation (and you!) can copy and distribute it in the United
States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part
of this license, apply to copying and distributing Project
Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for the eBooks, unless you receive
specific permission. If you do not charge anything for copies of this
eBook, complying with the rules is very easy. You may use this eBook
for nearly any purpose such as creation of derivative works, reports,
performances and research. They may be modified and printed and given
away--you may do practically ANYTHING in the United States with eBooks
not protected by U.S. copyright law. Redistribution is subject to the
trademark license, especially commercial redistribution.



To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full
Project Gutenberg-tm License available with this file or online at

Section 1. General Terms of Use and Redistributing Project
Gutenberg-tm electronic works

1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg-tm electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg-tm electronic work and you do not agree to be bound
by the terms of this agreement, you may obtain a refund from the
person or entity to whom you paid the fee as set forth in paragraph

1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg-tm
electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation ("the
Foundation" or PGLAF), owns a compilation copyright in the collection
of Project Gutenberg-tm electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law in the
United States and you are located in the United States, we do not
claim a right to prevent you from copying, distributing, performing,
displaying or creating derivative works based on the work as long as
all references to Project Gutenberg are removed. Of course, we hope
that you will support the Project Gutenberg-tm mission of promoting
free access to electronic works by freely sharing Project Gutenberg-tm
works in compliance with the terms of this agreement for keeping the
Project Gutenberg-tm name associated with the work. You can easily
comply with the terms of this agreement by keeping this work in the
same format with its attached full Project Gutenberg-tm License when
you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are
in a constant state of change. If you are outside the United States,
check the laws of your country in addition to the terms of this
agreement before downloading, copying, displaying, performing,
distributing or creating derivative works based on this work or any
other Project Gutenberg-tm work. The Foundation makes no
representations concerning the copyright status of any work in any
country outside the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other
immediate access to, the full Project Gutenberg-tm License must appear
prominently whenever any copy of a Project Gutenberg-tm work (any work
on which the phrase "Project Gutenberg" appears, or with which the
phrase "Project Gutenberg" is associated) is accessed, displayed,
performed, viewed, copied or distributed:

  This eBook is for the use of anyone anywhere in the United States and
  most other parts of the world at no cost and with almost no
  restrictions whatsoever. You may copy it, give it away or re-use it
  under the terms of the Project Gutenberg License included with this
  eBook or online at If you are not located in the
  United States, you'll have to check the laws of the country where you
  are located before using this ebook.

1.E.2. If an individual Project Gutenberg-tm electronic work is
derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase "Project
Gutenberg" associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1.E.1 through 1.E.7 or
obtain permission for the use of the work and the Project Gutenberg-tm
trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg-tm License for all works
posted with the permission of the copyright holder found at the
beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including
any word processing or hypertext form. However, if you provide access
to or distribute copies of a Project Gutenberg-tm work in a format
other than "Plain Vanilla ASCII" or other format used in the official
version posted on the official Project Gutenberg-tm web site
(, you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original "Plain
Vanilla ASCII" or other form. Any alternate format must include the
full Project Gutenberg-tm License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works
provided that

* You pay a royalty fee of 20% of the gross profits you derive from
  the use of Project Gutenberg-tm works calculated using the method
  you already use to calculate your applicable taxes. The fee is owed
  to the owner of the Project Gutenberg-tm trademark, but he has
  agreed to donate royalties under this paragraph to the Project
  Gutenberg Literary Archive Foundation. Royalty payments must be paid
  within 60 days following each date on which you prepare (or are
  legally required to prepare) your periodic tax returns. Royalty
  payments should be clearly marked as such and sent to the Project
  Gutenberg Literary Archive Foundation at the address specified in
  Section 4, "Information about donations to the Project Gutenberg
  Literary Archive Foundation."

* You provide a full refund of any money paid by a user who notifies
  you in writing (or by e-mail) within 30 days of receipt that s/he
  does not agree to the terms of the full Project Gutenberg-tm
  License. You must require such a user to return or destroy all
  copies of the works possessed in a physical medium and discontinue
  all use of and all access to other copies of Project Gutenberg-tm

* You provide, in accordance with paragraph 1.F.3, a full refund of
  any money paid for a work or a replacement copy, if a defect in the
  electronic work is discovered and reported to you within 90 days of
  receipt of the work.

* You comply with all other terms of this agreement for free
  distribution of Project Gutenberg-tm works.

1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg-tm electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from both the Project Gutenberg Literary Archive Foundation and The
Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm
trademark. Contact the Foundation as set forth in Section 3 below.


1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
works not protected by U.S. copyright law in creating the Project
Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
electronic works, and the medium on which they may be stored, may
contain "Defects," such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk or
other medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.

of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal

defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium
with your written explanation. The person or entity that provided you
with the defective work may elect to provide a replacement copy in
lieu of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund. If
the second copy is also defective, you may demand a refund in writing
without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO

1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this agreement
violates the law of the state applicable to this agreement, the
agreement shall be interpreted to make the maximum disclaimer or
limitation permitted by the applicable state law. The invalidity or
unenforceability of any provision of this agreement shall not void the
remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg-tm
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of
the following which you do or cause to occur: (a) distribution of this
or any Project Gutenberg-tm work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg-tm work, and (c) any
Defect you cause.

Section 2. Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers. It
exists because of the efforts of hundreds of volunteers and donations
from people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help, see
Sections 3 and 4 and the Foundation information page at

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg Literary
Archive Foundation are tax deductible to the full extent permitted by
U.S. federal laws and your state's laws.

The Foundation's principal office is in Fairbanks, Alaska, with the
mailing address: PO Box 750175, Fairbanks, AK 99775, but its
volunteers and employees are scattered throughout numerous
locations. Its business office is located at 809 North 1500 West, Salt
Lake City, UT 84116, (801) 596-1887. Email contact links and up to
date contact information can be found at the Foundation's web site and
official page at

For additional contact information:

    Dr. Gregory B. Newby
    Chief Executive and Director

Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To SEND
DONATIONS or determine the status of compliance for any particular
state visit

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations. To
donate, please visit:

Section 5. General Information About Project Gutenberg-tm electronic works.

Professor Michael S. Hart was the originator of the Project
Gutenberg-tm concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg-tm eBooks with only a loose network of
volunteer support.

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper

Most people start at our Web site which has the main PG search

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.