PK. JE TWENTY-FIVE CENTS MY LADY DARRELL A DRAMA IN FOUR ACTS , - Joseph Le Brandt HAROLD ROORBACH PUBLISHER 132 Nassau Street, New York 1 WHAT'S NEXT? f A Farce-Comedy in Three Acts, by Bob Watt. © 9 C 1 P/?/C£, 25 CENTS. > Seven male, four female characters, with four utility parts to be doubled by * the preceding. If desired, a lot of school children can be worked into the 3 first act. Two interior scenes, School Room and Pari >r ; easily staged ; can he .^ played in any hall. A "specialty" play that is simply three acts of laugh, y ■% Has a first-rat" leading sotibrette role (Country Girl). Audiences will giggle gi (% over this play for a month and then want to see it played again. t 9 © 9 C (3 CAST OF CHARACTERS. © prietor of Poke's Pine Potion Eccentric Old Man. © (% Zvj-h Sowers, a rustic with. "Injuns" on the brain Eccentric Comedy. ^\ (£ Timothy Trknwith, a specimen from Texas, in search of ^ :s )< is daughter Comedy Old Man. s ^ "Willy N illy, a dudelet from, Gotham Comedy Dude. ^ O Michael McGilp, wan av defoinest Dialect Comedy. © ) © (j Time of Representation, Two Hours and a Half. < O © (3 G 9 SYNOPSIS OF INCIDENTS. © ACT I.— The Bootown District School. Chub's story.— Scheme No. 1.— 5 w "Have .you a week-day and a Sunday name ?"— Poke's Pine Potion.— The *^ 3 compact.— Polly's first lesson in love.— One of the deestrict school hoard.— © Qi Visitors. — " Washington crossing the Alps." — Scheme No. 2.— The school ex- © fj| animation.— Zeph makes a sensation.— The young idea out shooting. — © rj| " Dauged if it ain't like the circus ! " q (^ ACT II.— Moses Madder's Studio in New York. A domestic set-to.— Willy © (3 comes in, In a hurry.— "Bwiug on the girl and tlis minister."— Polly paralyzes © i^J the dude.— "You're a pretty good liar, ain't you ?"— Hiring a "boomer."— #^ ~i Chub and Polly.— Gertie gets gushiug.— Timothy Trenwitb, from Texas.— ^ s Zeph has another conniption.— Getting some points from the widow.— A jolly jt CP row In the house.— Willie gets left.— Madder's schemes grow shaky.— "Past © CJ scalp for Zeph!" © jj ACT III.— Scene as Beforb. A flattering arrangement.— " Look here, I © ain't no angel! "—Polly's plan.— Willie in trouble again.— Gertie and the © (5 widow have another tiff.—" Sufferin' Cyrus, what shall I do ! "—Another © 3 scheme smashed.— Mary Ann Fogarty on the servant question.— Gertie ^1 ,\ catches a man at last.— "The circus is going to begin."— Willie runs amuck g) ,•* with wan av the foinest.— Madder's masterpiece.— The "boomer" takes a ^ £ trick.—" I'm as happy as ef I owned the hull state of Texas ! "—Gertie on the 2* S€ warpath.— "O, Chub, that kerflumuxes me ! "—Willie and the widow.—" I've ^ '3 got a little lie and I can't tell a hatchet."— The last scheme knocked in the © (3 head.— "What's Next?" © %W Copies will be mailed, post=paid, to j ) any address, on receipt of the price. „^=8 © 1 HAROLD ROORBACK, Publisher, 132 Nassau St., New York. © £©©©©©©©©©©©©©©©©©©©©©©©©©©©©©©©©©©©©©©©©© My Lady Darrell OR A STRANGE MARRIAGE ft Drama in Tour Acts BY JOSEPH LeBRANDT Copyright, 1898, by Harold Roorbach e^o*' NEW YORK HAROLD ROORBACH, PUBLISHER 132 Nassau Street <^f^' cp> MY LADY DARRELL. Notice. — The acting rights of this play are reserved. Amateurs may produce it without special permission, but all others must first obtain the consent of the publisher, who holds the copyright. " Any person publicly performing or representing any dramatic or musi- cal composition for which a copyright has been obtained, without the con- sent of the proprietor of said dramatic or musical composition, or his heirs or assigns, shall be liable for damages therefor, such damages in all cases to be assessed at such sum, not less than one hundred dollars for the first and fifty dollars for every subsequent performance, as to the court shall appear to be just. If the unlawful performance and representation be wil- ful and for profit, such person or persons shall be guilty of a misdemeanor and upon conviction be imprisoned for a period not exceeding one year." — U. S. Revised Statutes, Title 60, chapter 3, section 4966. CAST OF CHARACTERS. Alice, afterwards Countess of Darrell LEAD. Viola Vaughn Genteel Heavy. Lady Darrell, Roy 's mother Straight Old Woman. Martha Paisey Character Old Woman. Kate Cripps Emotional Heavy. Mother Cripps Character Old Woman. Lord Roy Darrell Juvenile Lead. George Vaughn, alias Count Jura Genteel Heavy. Armstrong Dale Light Comedy. Sir Geoffrey Rawdon Straight Old Man. Captain Lionel Wyndham Juvenile Man. Joseph Paisey Character Comedy. Job Trotters Character Comedy. Toby Bruce Character Heavy. Dalton, Sergeant of Police Utility. Time. — The Present. Place. — England. Time of Representation. — Two Hours and a Half. Note. — This play can be produced by ten persons (six men and four ladies) by making the following particularly easy doubles. f Lady Darrell. f Martha Paisey. \ Mother Cripps. \ Kate Cripps. Capt. Wyndham. j Joseph Paisey. Job Trotters. \ Dalton. I Toby Bruce. f Armstrong Dale. or \ Job Trotters, 3 SYNOPSIS, Act I. — Scene l. The Paisey Farm. "Now, strike if you dare!" Scene 2. Lord Darrell's Estate. A Strange Marriage. Act II. — A lapse of four months. The Plot. The Insult. The Blow. Act III. — The Abduction. The Recognition. "You are the mur- derer of Capt. Wyndham ! " Act IV. — In London. "I'll rescue her # if it takes the last drop of blood in my veins! " The Beggars' Paradise. Finale. COSTUMES. Alice. Act I. — Common gingham go.wn, with sunbonnet. Act II. — Handsome house-dress. Act III. — A handsome silk wrapper ; slippers. Act IV. — Very ragged dress. In make-up and choice of colors, she should contrast sharply with Viola. Viola. Act II. — Handsome house-dress. Act III. — A tightly fit- ting morning-gown. Act IV. — Dark street dress, hat, and heavy veil. She contrasts in coloring and make-up with Alice, — one blonde, the other brunette. Lady Darrell. Act II. — Handsome house-dress. Act III. — A pretty wrapper. Iron-gray hair. Martha Paisey. Act I. — A common calico dress; handkerchief about neck; sleeves rolled up. Act IV. — A common dress of cheap goods ; bonnet and shawl. Kate Cripps. Act III. — A dark red dress, with fancy kerchief about neck ; bright red kerchief tied around head ; large earrings — a very gipsy-like appearance. Hat and jacket. Act IV. — Same as before, except that she wears a bandage on her head instead of the kerchief. Mother Cripps. A dark woollen dress, very old and faded ; small shoulder shawl ; hood. She has straggling gray hair, with pale make-up. Looks like a witch. Roy Darrell. Act I. — Shooting costume ; fore-and-aft cap ; boots. Act II. — Evening dress. Act III. — Black cutaway coat and vest ; light trousers. Act IV. Scene 1. — Same as in third act. Scene 2. — Beggar's disguise ; viz., ragged coat, trousers, flannel shirt, and slouch hat ; false full beard (on wire). George Vaughn. Acts I., III., and IV. — Dark, shabby suit ; slouch hat. Act II. — Evening dress. Armstrong Dale. Act I. — Shooting costume similar to Darrell's. Act II. — Evening dress. Acts III. and IV. — Black cutaway coat ; white vest ; light trousers. Sir Geoffrey. Act I. — Shooting costume similar to Darrell's. Act II. — Evening dress. Acts III. and IV. — Black Prince Albert coat and vest ; dark trousers. Capt. Wyndham. Shooting costume similar to Darrell's. Or he may wear the undress uniform of a British officer. Joseph Paisey. Act I. — Rough gingham shirt ; straw hat ; rough trousers stuffed into boots. Act IV. — A cheap suit, rather loose and ill fitting ; paper collar on gingham shirt ; soft hat — he should look like a farmer in his best suit, which has had considerable wear. Job Trotters. A cheap suit much too small for him ; " high water " trousers ; very small derby hat with a very narrow brim ; paper collar ; very gay necktie. Toby Bruce. Rough coat and trousers — velveteen, if possible ; coarse shirt ; red kerchief about neck; cap. He has about a week's growth of beard. Dalton. Regulation "Bobby" uniform PROPERTIES, Act I. Scene i. — Tablecloth and black snake whip for Mrs. PAISEY. Novel for Alice. Wheelbarrow, pitchfork, paper and pencil, for Paisey. Bouquet and long paper (poetry) for Job. Scene 2. — Shot-guns for Roy, Dale, Wyndham, and Sir Geoffrey. Roy's gun has a loop of wire attached to the trigger, for Jura to catch hold of. Roy's gun should be cocked before he enters ; great care, therefore, should be exerted to pre- vent a premature discharge and possible accident. Small basket, covered with white cloth, for Alice. Watch and pocket-flask for Dale. Act II. Furniture as per scene-plot. Pictures, bric-a-brac, etc., to dress the stage. Small bell off R. 3 E., to strike the hour. Cases of jewels and bouquet foi Roy. Card and pencil for Jura. Act III. — Bag containing silverware and cases of jewels for Toby. Fire-wood for Mother Cripps. Loaded revolver for Jura. Candle in tin candlestick, lighted, on table L. c. Key for Jura. Diamond ring to give Mother Cripps. Act IV. Scene I. — Locket and carpet-bag for Paisey. Valise for Mrs. Paisey. Scene 2. — Dish-pan, containing potatoes and potato-knife, for Mother Cripps. Placard " Help the Blind," shade for eyes, wooden leg, crutches and coins, for Beggars. Whiskey bottle for Mother Cripps. Coins for Roy. Diamonds in casts and loaded pistol for Jura. Some old quilts and rugs up stage. Candle in candlestick. Furnilure as per scene-plot. Dagger for Mother Cripps. Red fire off R. 3 E. SCENE PLOT, Act I. Scene 1. — Landscape drop in 4 G. Wood wings. Set house, with practicable door and steps, R. 2 E. Water-trough (half of a large barrel), I., c. Pitchfork stands against house, above steps. Scene 2. — Woodland, with wood drop in 4 G., and wood wings. Clear stage. Act II. — Fancy interior boxed in 3 G., backed with a garden or land- scape drop in 4 G. Double door or arch C. in flat. Balustrade behind this opening, to represent a balcony. Doors R. 3 E. and L. 3 E. , backed with interior backings. Door L. I E. , leading to conservatory. Plants in pots near this door. Have heavy curtains or hangings at all doors. Sofa in centre of stage. Fancy table L. C. with small chairs R. and 1.. of it. Piano at L. 2 E. At R. 2 E. a small desk with chair in front of it. Just L. of these stands a screen behind which Alice retires so that she is con- cealed from the c. of stage while remaining in full view of the audience. A mirror hangs against L. wall, or stands on piano. Small stands for 4 statuary or flowers, up R. C. and L. C. against the flat. Pictures, bric-a- brac, etc., ad lib., to dress the stage. This set should be as handsome and tasteful as possible. Act III. Scene I. — A plain chamber in I G. Doors R. C. and L. C. in flat. Scene 2. — Gothic chamber in 3 G. Doors C. in flat, R. 3 E. and L. 3 E. Tack old red curtains over all the doors, and back each door with a dark (stone) backing. At R. 2 E. an old chair without a back. At L. C. an old table with a rickety stool R. of it. Three or four old wooden boxes up L. C, near the flat. Lights half down until climax ; then flash. Use candle during this scene. Act IV. Scene 1. — Street in I G. Scene 2. — Den boxed in, 3 G. A rough kitchen will do, as the scene represents a thieves' den. If possible, raise the drop about four feet above the stage, letting the bottom rest on a bridge or platform. Door C. in the drop, with dark backing, practical steps leading down from this C. door. These steps should be firm, and have posts on each side, to which are attached hand-rails running up to each side of the door. Doors R. 3 E. and L. 3 E. with interior backings. Doors L. 3 E. and C. have practicable bolts. Boxes, barrels, rubbish, etc., about stage. Some old quilts and rugs on floor of stage, on each side of the steps. Old chair, stove, etc. Rough table, with stool L. of it, L. at about 2 E. Candle, burning in candlestick, on table. Lights half down. ABBREVIATIONS, In observing, the player is supposed to face the audience. C. means centre; R. right; L. left; R. c, right of centre; L. c, left of centre; CD., centre door; R. D., right door; L. D., left door; D. R. C, door right of centre; D. l. c, door left of centre; u. F., door in the flat; c. D. F., centre door in the flat; R. D. F. , right door in the flat; L. D. F., left door in the flat; 1 G. , 2 G., 3 G., etc., first, second, or third grooves, etc.; I E., 2 E., 3 E. , etc., first, second, or third entrances, etc.; R. u. E., right upper entrance; L. u. E., left upper entrance; up, up stage or toward the rear; DOWN, down stage or toward the audience; X., means to cross the stage; x. r., cross toward the right; X. L., cross towards the left. R. R. C. C L. C L. MY LADY DARRELL; OR, A STRANGE MARRIAGE. %££ ACT I. SCENE. — The Paisey farm. For description of setting, see scene- plot. Mrs. Paisey is DISCOVERED at door of house. READY Paisey, with wheelbarrow, to enter l. 3 e. Mrs. Paisey {appears at door, shakes table-cloth, and calls). Alice! Alice! Drat the girl, where can she be? Alice, I say! {EXIT, into house.) [Paisey is heard whistling, off l. ENTER Paisey, l. u. e., pjishing wheelbarrow ; he wheels it to C. of stage and sits in it, facing the atidience j takes paper and pencil from his pocket, and begins to fgure. He is very slow of speech and action, and drawls habitually. Paisey. Six times nine — let me see, how much is that? {Cal- culates on fingers.) Fifty-four. {Makes figures on paper.) Now, four's a four. Six and five's {figures on fingers) eleven — one to carry — one and one is two. It's just as I said — there's no money in raising ducks ; they eat more than what they bring, to say noth- ing of all the trouble of looking after 'em. {Puts paper and pencil iiito pocket.) Mrs. P. {calls, inside house). Alice! Alice! Oh, wait till I get her — 111 break every bone in her lazy body ! Paisey {looks slowly toward house). That's my wife. Guess I'd better be moving afore she starts in on me. {About to rise when Mrs. Paisey appears at the door; he sits again.) Mrs. P. Oh, you're back at last, eh? Paisey {meekly). Yes, mother. Mrs. P. {mocking him). " Yes, mother." Where have ye been fer the last three hours? {Comes down steps to R. of Paisey.) Paisey. Feeding the ducks, mother. 8 My Lady Darrell; Mrs. P. Feeding the ducks! Does it take three hours to feed seven ducks? Paisey. Well, mother, some of the ducks had wandered 'way off down in the meadow, and 1 had to drive 'em back. Mrs. P. Did it take three hours to walk down to the meadow and back? Paisey. Well, mother, you see the ducks was in the pond, and I had to wait until they come out on the bank. {He has one foot crossed over the other, and is swinging it.} Mrs. P. Oh, you lazy-bones, you'll make me lose my temper. Paisey {aside). I wish she would lose it, and find another. Mrs. P. Have you seen Alice? Paisey {slowly). No. Mrs. P. Do you know where she is? Paisey. No. Mrs. P. Oh, I'm all out of patience! Paisey {aside). She always is. Mrs. P. What are ye waggin' yer foot fer? [Paisey scratches his head. Now he's scratchin' his head. Don't scratch yer head. [Paisey starts to get up. Now he's gettin' up. [Paisey sits down. READY Job, to enter r. u. e. Now he's sittin' down ag'in — he does it on purpose to aggravate me. {Goes up stage and calls off R. u. e.) Job ! Job ! Paisey. That's right ; call Job. He's got lots of patience. Mrs. P. Job ! Job, I say ! Job {off r. u. e.). Yes, Mrs. Paisey, I'm comin'. Mrs. P. Yes, you're comin', and so is the judgment day. {Comes down r. of Paisey.) ENTER Job, r. u. e. Job. Did ye call, Mrs. Paisey? {Comes down l. ^/"Paisey.) Mrs. Paisey, r. Paisey, in wheelbarrow, c. Job, l. Mrs. P. I've been screeching this half hour. Did I call ! Where is Alice? Job. I dunno. Mrs. P. Here's another bright one. Well, go find her, and tell her to be here in less than a minute, if she knows what's good for her. {EXIT into house.) Job {looks after Mrs. Paisey, then at Paisey; A? "Paisey). Your good wife seems in bad humor. Paisey. Good wife! I'd like to know what's good about her; and as for the bad humor, did ye ever see her in any other kind? Job. Well, she do make you stand around. Paisey. That she do; but she ain't to be compared with my first wife. Or, A Strange Marriage. 9 Job {surprised). Why, be ye married afore? Paisey. Oh, yes ; she was a tartar. {Sighs.) When she died, that ought to have been a lesson to me ; but no, I must take another dose of the same medicine Job. What did she die from? Paisey. Eh ? Job. What did she die from? Paisey. She died from home. Job. No, no; what was the complaint? Paisey. Oh, no complaint — everybody was satisfied. Job. What was the disease. Paisey. Oh, the disease? Well, I can't say exactly. Nothing serious. Job. Nothing serious — and she died of it? Paisey. Well, I tell ye ; the doctors just couldn't seem to agree what ailed her, but 'tween you and me, she was a powerful talker — she took the lockjaw, and when she found she couldn't talk, it struck in and killed her. Job. Don't ye think your good woman is a little hard on Alice? Paisey. 'Tween you and me, I do; but where's the help for it? Job {looks cautiously at house; then confidentially to Paisey). Well, Mr. Paisey, I've thought of a way — now if ye'll help me. Paisey. 'Course I'll help ye {suddenly thinks, hesitates), that is, if mother don't object. Job. We won't let your good woman know nothin' about it. Paisey {astonished). What! Keep it from mother, with her eyes and ears. {Shakes his head.) Ye don't know her. Job. Well, I don't think your good woman — Paisey {interrupting quickly). Now, Job, just oblige me by not callin 1 her my good woman. Job {grins). Jest as ye say. Well, she won't object after it's all over. Paisey {puzzlea). After what's all over? Job. The marriage. Paisey {still puzzled). What marriage? Job. Why, mine and Alice's. Paisey {laughs heartily). Shd' ! man? She won't marry ye. Job {annoyed). Well, I dunno why. I'm not so bad looking. {Draws himself up.) Paisey {looking at him critically) . No ; but ye'd never take a prize at a beauty show. Job {as if arguing) . I'm a good dancer. Paisey. Ye look it. I'll be bound ye can raise the dust with them boots. {Laughs.) Job. Besides, I'll tell ye a secret. {Confidentially .) I've been a-buying her books to read. Paisey. What, them yaller back novels? Job {proudly). Yes; did ye see them? JO My Lady Darrell; Paisey. Mother saw 'em; she built fires with the "Beautiful Wretch "; she made porous plasters out of" Dead Mens Shoes" 1 ; and she stuffed a hole in the attic window with "Three Sewing Girls." Job {aim ost crying). What! I always gets one new one fer every two I take back. Paisey. Well, ye won't take 'em back. Job. Til give her a piece of my mind. (Turns toward house, as if about to enter it.) Paisey. I'd advise you not to ; she said if she found out who brought them books here, she'd scald him. Job {stops, hesitates, and looks at house). Guess I'll let it go. (Deprecatiugly .) I don't like to have words with a woman — 'tain't good taste. Paisey (in a decided tone). No, not with mother. Well, Job, if ye can get Alice to say yes, I'll help ye. Job (eagerly). Ye will? Say, Mr. Paisey, it would take me an hour to thank you. Mrs. Paisey (appears at door). Hain't ye gone yet, Job Trotters ? Job (quickly to Paisey). I'll just thank ye another time. (EXIT quickly, l. u. e. READY to re-enter.) Mrs. P. (comes down steps to R. . ., \ The Devil ! Viola I ^gether,^ Roy , 60 My Lady Darrell; Alice. Roy ! My husband ! Jura. Up, men, up! \_All the Beggars have risen. Seize that man ; he is a police spy ! [Beggars seize Roy, who struggles. Bind him ! [Beggars tie Roy. Alice tries to help him. Mother Cripps seizes her; struggle j forces Alice off L. 3 e., and bolts door. Tie him to that post ! [Beggars tie Roy to post at steps, c. Work this quickly. Jura [laughs j to Roy). You came for your wife; you found her ; but you shall see me carry her away, {Starts towards, door.) Viola {stops him, in terror). No, no, George ; don't attempt it ! {Lays hand zipon his arm.) Save yourself — don't let your blind infatuation ruin your chance of escape. Mother C. (l.). Remember what I told you about a pretty face. [Jura stands c, undecided. Viola {appealingly). Come, George, you have the diamonds, be satisfied. Am I not leaving him ? Come. Jura. Very well, I'll do as you ask. {Points to c. door.) [Viola ascends steps, unbolts door, and stands waiting for Jura. {To Roy.) Curse you, Roy Darrell ! I'm taking the Darrell dia- monds, see? {shows case), but I'm leaving behind the most price- less gem of all. {Points to l. door.) But if 1 don't possess it, neither shall you. {To Mother Cripps.) Do you want revenge on the man who killed your daughter? Well, you can have it — there he is. {Points to Roy.) Mother C. He? Jura. Yes, he. Mother C. {lakes knife from bosom). I'll kill him ! Jura {raises his hand to slop her). That is too easy a death. Listen. The police are coming — we must leave this den forever — burn it — let him roast — there's revenge for you. Mother C. I'll do it ! I'll do it ! Jura. Off with you, mea! [Beggars EXEUNT up steps, and off c. {Hesitates). How can I leave her ! Viola. Come ! [PEA BY Alice, to enter l. 3 e. Jura {starts up 0. ; to Roy). Good-by, Lord Darrell. Some people say there's no hell, but when these old timbers get started, you'll think differently. Would you like to know who killed Cap- tain Wyndham? I did it. Yes, it was I, but the stain is on your name, — the stain of blood. {Laughs ; goes up steps to c. door.) [EXIT Viola, c, PEADY to re-eiiter. Or, A Strange Marriage* 6 \ Good-by, Lord Darrell, and a pleasant journey to hell. {EXIT, c, READY to re-enter.) Mother C. (l.). So you killed my girl? Curse you, I'll make a good warm fire for you. {Gets candle from table l., and holds it in front of his face.) Oh, you're very brave! But when the flames creep upon you, when you see your last minutes come, when your throat is parched and dry — just think of my poor girl, my girl, my girl, that ye killed, killed ! But I'm going to kill you, he, he, he ! {Starts to door r.) Yes, I'm going to make ye a bon- fire, he, he, he ! {EXIT, r. 3 e.) [Roy struggles to free himself RE-ENTER Jura, c. Jura. I can't do it — I can't leave her. {Crosses to l. door j unbolts it ; EXIT, l. 3 e. ; RE-ENTERS with Alice, forcing her c.) Come, come, my beauty. I'll take you if all the police in England stand in the way. Alice. Let me go ! Let me go ! \_They struggle and talk ad lib.; Alice breaks away from him and runs around table, l. ; he follows to table j Alice gets knife that Mother Cripps used for peeling potatoes. Stand off — or, as there is a heaven above, I will kill you ! [Jura stands at bay. Roy {has succeeded in getting gag off"). Alice, Alice, cut these ropes. \_She runs quickly to Roy; cuts ropes. READY to en- ter, Mother Cripps r. 3 e. ; Dale, Sir Geoffrey, Kate, and two Policemen, c. {To Jura.) Now, you cur, it is your life or mine! {Throws off coat.) Jura {throws off coat). So be it ; the man that wins gets the prize. {Points to Alice.) [Jura and Roy have a fist fight ad lib.; at last they clitich and roll over down stage, Jura getting Roy under. Alice picks up Beggar's crutch and strikes Jura on the head ; he falls R. Alice. Come, Roy, come! {Gives him her hand and assists him to his feet.) [Alice and Roy start up c. Jura rises on one knee, draws pistol, and shoots just as they reach the foot of the steps. Jura. You sha'n't escape me ! {Shoots.) 62 My Lady DarrelL ENTER Viola, c. She receives Jura's bullet, staggers, and falls tip r. c. at foot of steps. Fire {red fire) off r. 3 e. ENTER Mother Cripps r. 3 E.y she goes r. c. ENTER Dale, c. ; he comes down and disarms Jura, who is about to fire again. ENTER Sir Geoffrey, Kate, and two Po- licemen, c. One officer goes off R. 3 e. to extinguish fire ; the other handcuffs Jura. Work this very rapidly. Viola, up r. c. Mother Cripps, r. c. Policeman. Dale. Roy. Alice, r., Jura. Kate, c. Sir Geoffrey, l. Kate {to Jura). George, I swore to be even with you ; I have kept my oath. Roy {to Sir Geoffrey). Sir Geoffrey, there is the murderer of Captain Wyndham. Dale {raises Viola's veil). Why, this is Viola Vaughn ! Alice. Yes ; she is the sister of George Vaughn, whom you knew as Count Jura. Dale {picks up case of diamonds, r. c). And, by Jove, here are the Darrell diamonds ! {Gives them to Roy.) Roy, you are fortunate in recovering them. {Goes up c.) [Kate goes a little r., looking at Jura, who glowers at them all. Roy {takes Alice's hand). I am indeed fortunate, for I have recovered the most precious of all gems, — My Lady Darrell. [fust as the curtain is coming down, Mother Cripps tries to escape up c. Dale catches her by the ear, and leads her down l. to position for curtain. PICTURE. Viola. Policeman. Kate. Roy. Alice. Sir Geoffrey. r., Jura. Mother Cripps. Dale, l. CURTAIN. W NEW PARTNER. A Comedy-Drama in Three Acts, by Levin C. Tees. FB.ZCS, 23 CSJJVTS. A realistic play of contemporary interest. It abounds in good sentiments ; has well-drawn, lifelike types of character, a strong plot, moving episodes, and some roaring comedy scenes. There are some particularly fine passages in the second act that will fetch enough applause for a dozen plays. Can be played in any hall, and may be counted on as a sure hit. CAST OP CHARACTERS. James Harcourt. a rich manufacturer First Old Man. John Cartwright, superintendent of the factory ; a man of the people Leading Man. Robert Ferguson, the new partner; a man of the world Genteel Heavy. Dr. Paul Potter, jolly ana 'partial to hypnotism Eccentric Comedy. Jake Abbott, the leader of the strike Eccentric Character. Ebenezer Bellows, a dark " subject" Ethiopian Comedy. J&5S. }™rkmeninthe factory | Eccentric Character. Mrs. Harcourt, a butterfly of fashion First Old Woman. Kate Harcourt, the petted child of fortune, who has an awakening to love and duty .....Leading Lady. Bessie Conway, a slave of toil,. Character Part. Mrs. Potter, whose specialty is skeletons Eccentric Comedy. Time of Representation, Two Hours and a Half. SYNOPSIS OP INCIDENTS. ACT I.— The Belle's Birthday. Harcourt's mansion In New York.— Speed- ing the parting guest.— A morning call. — The gathering storm. — A daughter of fortune, and a son of the people. — "Our future son-in-law " drives a pretty close bargain.— Bellows collapses.— The price of safety.— An explanation.— Master and man.—" Yes, we will speak of this again ; and pray Heaven it may not be too late !"— Tableau. ACT II.— At the Factory. An agreeable surprise.— A fleeting dream.— Old Conway's story. — Cartwright's resolve.— The new partner and the bride elect.— "My daughter" asserts herself.— "I did not know until today, that people live on three dollars a week."— A spirited argument.— The superin- tendent's appeal for the workmen. — The walking delegate.— Charity vs. jus- tice.— " Supply and demand you see, sir."— Cartwright resigns on the spot.— "It is too late— the strike is on ! "—Insult and defiance.— Picture. ACT III.— Home Again. Preparing for festivities.— The doctor mesmerize* the darkey, with startling results.— Mrs. Potter to the rescue.— Kate's awak- ening to love and duty.— "Angels in dress coats."— An unexpected reckon- ing.—" Release that lady ! "—A broken troth and a dissolved partnership.— The working-man's friend.— Bellows has another scare.— " My new partner, Mr. Cartwright, vice Mr. Ferguson, resigned."— The end of the strike.— Happy denouement E3^" Copies mailed, post paid, to any address, on receipt of the price. _£& k HAROLD ROORBACH, Publisher, 132 Nassau St., New York. t ANOTHER "DEACON." Josiah's Courtship A FARCICAL COMEDY- DRAMA IN 4 ACTS By HORACE C DALE. :f»:flic:e, as cents. A broad-gauge play written on the lines of The Deacon. Requiring but little scenery, it can be produced in any ordinary hall, and is specially recommended to dramatic clubs in want of a new play with good comedy features and forceful, but not too heavy, straight " business." Hilarious mirth alternates with deep pathos, and the numerous striking situations of ever-varying character cannot fail to make the play go. The act endings are particularly good, producing uproarious merriment and curtain calls. While the play abounds in taking farcical " business," there are a number of good, strong scenes that afford scope for much dramatic action and wiL call forth the best efforts of all the persons in the cast. CAST OF CHARACTERS. JOSIAH PERKINS, brusque and fickle Eccentric Old Man THOMAS HART, a young lawyer in love with Edna Leading Gentleman RICHARD ROLAND, supposedly wealthy, but heartless and scheming, Genteel Heavy HARRY SHARP, a detective, pierced with Cupid's Dart Walking Gentleman JOE, a mischievous newsboy Juvenile Comedy MIKE, Josiah's valet Irish Dialect Comedy JEFF, Priscilla's man-of all-work Ethiopian Comedy PRISCILLA BROWN, whose affections are centered In Josiah. . .Eccentric Old Maid EDNA, her niece, with a penchant for Mr. Hart Leading Lady BIRDIE, an "angel" who flirts Soubrettb MRS. BLACK, a childless widow Walking Lady Time, the present. Place, Richmond, Va. Time of Playing, 2 hours. SYNOPSIS OF INCIDENTS. ACT I.— Parlor at Priscilla Brown's— A kettle of fish— Josiah gets an " angel " to fix him up— A mistaken embrace and a total eclipse—" Bah, he's been eatin' onions !" — A dusky prophet — The girls' compact — " I's wid yo', pard, ebery time : we'll turn dis yere house upside down "—Sharp, the detective— The " angel " gives some good advice— A wronged and childless widow—" A woman's business"— The rival suitors— An altercation — Jeff's plans begin to work — " Curse you, I'll "—Consternation — Picture. ACT II.- Sharp's office— The detective and the " angel "—A photo in evidence— A trick on the Irishman— Josiah gets excited again— Joe gives the old man a " tip "— An embarrassing predicament— A. providential interruption— A few " p'inted " ques- tions — The "angel" offers some more good advice — '* Is that young rascal trying to cut me out ? " — The story of Josiah's life — An old man's darling — Priscilla scents a mouse — An undress rehearsal— Out of the frying-pan into the fire. ACT III.— Back at Priscilla's— Another embarrassment for Josiah— " By golly, dis am a debbil ob a muss ! " — Priscilla in war paint — Reconciliation — More trouble for Jeff — " I'm in love up to my eyebrows ! " — A spring chicken and an old hen — A bitter encounter— Defiance — Josiah makes a bargain with the " angel " — Confusion worse confounded. ACT IV.— Scene as before— A vote of confidence— A few more pointed question* — "Ef dar's gwine ter be a 'splosion, dis coon will see de fun ebeu ef he gits blowed np "— Mike on a tear —Josiah's ultimatum— A father's confession and an unexpected guest— The " 'splosion "—Tom's exculpation— The biter bit — Father and son— Priscilla relents— "Call in the preacher and let's all be happy !"— The remnants of Mike— Finale. fWCopies will be mailed, postpaid, to any address on receipt of the price. HAROLD ROORBACH, Publisher, 132 Nassau Street, New York. jft :fc .:js Every club that has played "The Deacon" wants "Josiah's Courtship." It will pack the house like a box of sardines. * * * TiTnrn^nir^iiiii.li^iiiiiii^iiiiiiijpii.iiiiiiiiiTiTTT! (10LDEN GULCH. An Original Drama in 3 Acts, by Charles Townsend PRICE 25 CENTS. A new play, with a romantic Western theme, fuH of brisk action, exciting situations and thrilling incidents, and fairly bubbling ever with that bright fun for which its author is justly famous. The wide range of its characters commends the play to dramatic clubs, and the staging is quite simple—but two scenes being required. The movement has a swing and liveliness that always please; there are no talky love scenes; the characters are sufficiently diversified to meet any demands; there is an abundance of comic "busi- ness"; the act-endings are snappy; there are just enough sensational features to sstisfy the popular taste. The construction leaves nothfcug to be desired— the plot is laid in the first act, reaches a climax in the second, and explodes in the third. The author believes that thia will prove the most popular of all his Western plays. CAST OF CHARACTERS. Frank Evarts A governmen* wont George Dixon " Gentleman George," an outlaw Fergus O'Gooligan IVho runs the "Court " Petkr Naggle Landlord of the Golden Gulch hotel Chummy Litewate A New York blossom Broncho Bill A" tough" customer One Lung Celestial and sly Senator Juniper Toots A cullud polertician, Sah Ikey Einstein llivaus ready to sell yon somedings sheap TAXICUM Sniffles Whore strong points are Tracts and " Reform. " Old Magnus (doubles Willi Naggle) A degenerate Indian Jess HortON A madcap of the Sierras Mrs. Nagule Strong-minded, and boss of the shanty Miss Matilda Corey A faded flower from " down East" Time, the present. Place, California. Time of playing, two hours and a quarter. SYNOPSIS OF INCIDENTS. ACT I.— The Golden Gulch hotel.— A musical Chinaman.— " Annie Rooney." — A scheme.— The festive dude and the negro politician.— The Jew Peddler.— Gentleman George makes a purchase.— Jess and the outlaw.— Frank and Naggle compare notes.— "We might hang 'em ou general principles. 5 '— Old acquaintances. — A warning.— The dude on his muscle.— The card-sharper.— The tract distributor.— The game begins.— Frank takes a hand.—" Hands up ! I hold a trump card !"— " I hold another !" ACT II.— Among the hills.— Time, tne next morning.— Ireland and Africa at war.— The "noble red man" joins in.— A big scare, and nobody hurt. — The missionary makes a trial.—" Big fool ! Wah !"— The false message.— -fj The robbery.— Old Ikey in the toils.— The dude investigates and s*rikes a hard customer.— A villainous scheme.— The accusation of murder.—" Stand back ! It's my turn now !" ACT III.— At the hotel, one hour later.— Active prohibition.— Toots and D'Gooligan on a bender.— The Chinese way. — The smashed up missionary.— Toots makes an offer.— Frank a prisoner.— Judge O'Gooligan opens court.— Getting a jury.— " Tut, tut, now, don't say a word."— The judge presents the case. — Some tough evidence. — The verdict.— The end of 'Gentleman Geor ge. "— Fi nale. Copies will be mailed, postpaid, to any address, on receipt ofpriea. HAROLD ROORBACH, Publisher, 132 NASSAU ST., NEW YORK. nnllilllini l'llmi.lliilllunlililjlninliiljlniillilll illJbihMllJlllliiHlllkmillllllinUJkiHIlllhlimA LIBRARY OF CONGRESS f TOWNSEND'S 015 873 568 4 "AflATEUR THEATRICALS). A Practical Guide for Amateur Actors, PRICE, 25 CENTS. This work, without a rival In the field of dramatic literature, covers the en- tire subject of amateur acting, and answers tne thousand and one questions that arise constantly to worry and perplex both actor and manager. It tells how to select plays and what plays to select; how to get up a dramatic club— whom to choose ai id whom to avoid ; how to select characters, showing who should assume particular roles ; how to rehearse a play properly— including stage business, by- play, voice, gestures, action, etc. • how to represent all the passions and emo- tions, from Love to Hate (this chapter Is worth many times the price of the book, as the same information cannot be found in any similar work); how to costume modern plays. All is told In such a plain, simple style that the veriest tyro can understand. The details are so complete and the descriptions so clear that the most inexperienced can follow them readily. The book is full of breezy anecdotes that Illustrate different points. But its crowning merit is that it is thoroughly practical— it is the result of the author's long experience as an actor and man- ager. Every dramatic club in the land should possess a copy of this book, and no actor can afford to be without It. It contains so much valuable information that even old stagers will consult it with advantage. HELMER'S ACTOR'S MAKE=UP BOOK. A Practical and Systematic Guide to the Art of Making-up for tk* Stage, ' PRICE, 25 CENTS. Facial make-up has tiuch to do with an actor's success. This manual Is aperfect encyclopedia of a branch of knowledge most essential to all players. It is well written, systematic, exhaustive, practical, unique. Professional and amateur ' actors and actresses alike pronounce it the best make-up book ever published. i It is simply indispensable to those who cannot command the services of a per- 1 ruqul^r. i CONTENTS. | Chapter I. Theatrical Wigs.— The Style and Form of Theatrical Wigs and Beards. The Color and Shading of Theatrical Wigs and Beards. Directions for 1 Measuring the Head. To put on a Wig properly. Chapter II. Theatrical Beards.— How to fashion a Beard out of Crepe Hair. How to make Beards of Wool. The growth of Beard simulated. Chapter III. The Make-up.— A successful Character Mask, and how to make It. Perspiration during performance, how removed. Chapter IV. The Make-up Box.— Grease Pah-t . Grease Paints In Sticks; Flesh Cream; Face Powder; How to use Face Powder as a Liquid Cream; The various shades of Face Powder. Water Cosmetique. Nose Putty. Court Plaster. Cocoa Butter. Crepe Hair and Prepared Wool. Grenadine. Dorin's Rouge. "Old Man's" Rouge. "Juvenile" Rouge. Spirit Gum. Email Noir. Bear's Grease. Eyebrow Pencils. Artist's Stomp Powder Puffs. Hare's Feet. Camel's-hair Brushes. Chapter V. The Features and their Treatment.— The Eyes : Blindness. The Eyelids. The Eyebrows : How to paint out an eyebrow or mustache; How to paste on eyebrows; How to regulate bushy eyebrows. The Eyelashes : To alter i the appearance of the eyes. The Ears. The Nose: A Roman nose; How to use ( the nose putty; a pug nose; an African nose; a large nose apparently reduced in size. The Mouth and Lips : a juvenile mouth; an old mouth; a sensuous mouth ; a satirical mouth; a one-sided mouth; a merry mouth; a sullen mouth. The Teeth. The Neck, Arms, Hands and Finger-nails: Finger-nails lengthened. Wrinkles: Friendliness and Sullenness indicated by wrinkles. Shading. A Starving Character. A Cut in the Face. A Thin Face made Fleshy. Chapter VI. Typical Character Masks.— The Make-up for Youth; Dimpled Cheeks. Manhood. Middle Age. Making up as a Drunkard: One method; an- , other method. Old Age. Negroes. Moors. Chinese. King Lear. Shylock. Mac- beth. Richelieu. Statuarv. Clowns. Chapter VTL Special Hints to Ladies.— The Make-up. Theatrical Wigs and Hair Goods. T£3T' Copies of the above will be mailed, post-paid, to any address, on r-^eipt of the annexed prices. ^ HAROLD ROORBACH, Publisher, 132 Nassau St., N. Y.