A Night in Tappan. t I COME.DIE.S AND DRAMAS | t 15 CENTS EACH $ A\ m. f. Z fa ALL THAT GLITTERS IS NOT GOLD (The Factory Girl). Comic fa ARABIAN NIGHTS, THE. Farcical comedy ; always a great success with \t/ amateurs ; 3 acts ; 1% hours 4 5 \|/ K BARBARA. Drama; well-written romantic story with touches of genuine V/ •9; humor ; 1 act ; 50 minutes 2 2 ./■ jfJl\ BETSY. Farcical comedy; keeps audience in roars of laughter to final cur- ty /J\ tain ; 3 acts ; 2% hours 7 6 yf/ $ BETWEEN TWO FIRES. Military drama : 3 acts ; 2 hours 8 3 $ $ BROKEN PROMISES. Strong temperance play of unflagging interest, $ fa relieved with much eccentric humor ; 5 acts ; 1% hours 6 3 /K i(\ BY FORCE OF IMPULSE. (Off to the War.) Military drama; comic yf> ^\ and emotional ; 5 acts ; 2% hours • 9 3 ijff W CASTE. Comedy that always delights the public ; 3 acts ; 2% hours 5 3 V&f jg CRAWFORD'S CLAIM; OR, NUGGET NELL. Good rattling Western % fa drama ; 4 acts; 2^ hours 9 3 .•«( $ CRICKET ON THE HEARTH, THE. Dickens story dramatized ; 3 acts ; f, /j\ 2 hours 6 6 ^ fa DEACON'S TRIBULATIONS, THE. Comedy drama. A worthy sue- Xg (n cessor to the ever-popular " Deacon "; 4 acts ; 2 hours 8 4 w fa EAST LYNN E. Standard drama ; 5 acts ; 2^ hours 8 7 jj? ^N ENGAGED. Society comedy ; full of burlesque fun ; 3 acts ; 2% hours 5 5 \t/ fa FROM PUNKIN RIDGE. Domestic drama ; successful wherever produced ; VJ? ?{> i act ; 1 hour 6 3 W /k HOME. Comedy; fresh dialogue and genuine humor combined with a very «% fa strong plot ; 3 acts ; 2 hours 4 3 •!% /ft HONEY-MOON ECLIPSE, A. Comedy marked by spirited dialogue and an \f/ fa abundance of comic incidents ; 1 act ; 30 minutes. 1 2 \f/ fa IMOGENE; OR, THE WITCH'S SECRET. Realistic drama sure of being $ J}? enthusiastically received everywhere ; 4 acts ; 2% hours 8 4 w A IN HONOR BOUND. Drama always given with entire success; 1 act; ^ /)\ %hour 2 2 q|j $ JACK FOR EVERY JILL, A. A most successful comedy ; 1 act ; % hour. 4 4 W JjJ JEMIMA, OR, THE WITCH OF BENDER. Very laughable in its VJj (J? absurd complications ; 3 acts ; 2 hours 4 4 Jg /A JUST FOR FUN. Up-to-date society comedy. The piece is cheerfully «i /^ recommended ; 3 acts ; 2 hours 2 4 ^ fa LA CIGALE. (The Grasshopper.) Comedy sometimes played as "The \j> fft Circus Girl " ; 3 acts ; 3 hours 13 4 $ % LADY OF LYONS, THE. Romantic Drama ; 5 acts ; 2^ hours 8 5 jjj /j\ LADY AUDLEY'S SECRET. Emotional drama ; 2 acts ; 1 J£ hours 4 3 $ & MAJOR ABORN'S PROPOSAL. Comedy in 1 act : about 45 minutes; a W ^ft pretty comedy especially adapted for amateur production 3 2 it/ 1 vjc MARBLE ARCH, THE. Comedy : one of the most popular little plays ; $ fa iact;^hour 2 2 JJ /J\ MARRIED LIFE. Comedy; companion piece to "Single Life"; 3 acts; ^ fa 2 hours 5 5 yf/ ffe MEG'S DIVERSION. Drama ; pathetic, humorous and picturesque ; 2 acts ; W ® 1 % hours 5 3 $ J MEN, MAIDS, AND MATCHMAKERS. Society comedy sparkling with $ /!\ wit, interest and human nature ; 3 acts ; 2 hours 4 4 :j( /|\ MIRIAM'S CRIME. Drama ; the interest in this play is kept up to the very $< /}\ end ; 3 acts ; 2 hours 5 2 vf> fa ■ — w 41 DICK & FITZGERALD, Publishers, 18 Ann St., N. Y. $ A NIGHT IN TAPPAN n Tarce-eemedy in One Act and One Scene BY O. B. DUBOIS Copyright, 1902, by o. B. Dubois NEW YORK DICK & FITZGERALD, Publishers 18 Ann Street THE LIBRARY OF CONGRESS, Two Copies Received JUL 23 1903 Copyright Entry CLASS ,6 XXc. No. COPY Q, A NIGHT IN TAPPAN CHARACTERS Mr. Augustus Betts. Mrs. Augustus Betts. Mr. John Betts. Mrs. John Betts. Bridget. Time. — The present. Locality. — Tappan, N. J. Time of Representation. — About thirty minutes. COSTUMES Mr. Augustus. Winter street garments. Mrs. Augustus. Indoor comfortable clothing. Mr. and Mrs. John. Travelling wraps, etc. Bridget. Bright green pattern calico gown, rather short skirt, gingham apron, thick-soled shoes. PROPERTIES Step-ladder. Hand-bell and lamp on table. Large paper bag, stuffed. Hat box. Large bundle. Lady's trimmed hat. Gown. Tray and dishes. Chairman's mallet. Shot-gun. Quilt. Hand- bag, shawls, travelling wraps. A NIGHT IN TAPPAN dB SCENE. — Dining-room in the suburban home of Mr. Augustus Betts, at Tap pan, New Jersey. The usual furniture and decorations of a dining-room. Door at rear c, and window to left of it. Door at l. 2 e., with transom over it. Mrs. Augustus Betts discovered sitting at table. Mrs. Gus. {rising from the table). Oh, but I'll never put in another winter in this town. Boo ! I'm simply paralyzed with cold. I wonder if the 10:30 train is in? {Taps the bell.) I am sick and tired of waiting night after night for Gus. to get home. ENTER Pridget c. d. Mrs. Gus. Bridget, has the 10 : 30 gone up ? Bridget. It's a cook I am — no human toime-table — and I'll not spind me toime listenin' fer choo-choo cars. Mrs. Gus. I think that you might be civil. You know I am anxious about Mr. Betts. Bridget. He's not coming. Mrs. Gus. How do you know? Bridget. How can he come on th' 10 : 30 whin th' toime's 10 : 45 ? Mrs. Gus. Perhaps the clock is fast. Bridget. Sure, I know it's fast. Mrs. Gus. Well, then you may be wrong, after all. Did you hear the whistle? Bridget. I did not. Mrs. Gus. Then it is possible that he will come, after all. Bridget. He'll not come. Mrs. Gus. How do you know? Bridget. Th' train's gone up. Mrs. Gus. Say, didn't I ask you if you had heard the whistle? Bridget. Sure, yez did. 6 A Night in Tappan Mrs. Gus. And you said you had not. Bridget. That's what I said. I heard th' bell. Mrs. Gus. Then that settles it. He won't be home to-night. Bridget. It's none of me business, but he will be home. Mrs. Gus. How do you know? Bridget. He sent word wid th' man next door. Mrs. Gus. Well, why didn't you tell me? Bridget. This is th' first toime yez axed me. Mrs. Gus. Well, I am glad to know he is coming. Bridget. Yez needn't be so glad, 'cause th' man said that Mr. Betts said that he was to say to me as I was to say to yez that mebby he would and mebby he wouldn't be home. Mrs. Gus. Say, didn't you tell me that you had a recommen- dation from your last place? Bridget. Sure ! Mrs. Gus. Well, for Heaven's sake, let me see it. Bridget. I will not! Mrs. Gus. Why not? Bridget. Say, do you think 1 want to lose me job? [EXIT Bridget u. r. e. Mrs. Gus. Talk to me about cozy suburban homes in Jersey ! The help alone would drive one crazy. I hate it here, and I never would be here now but for the green-eyed monster of jeal- ousy. The idea of Augustus Betts keeping me out here in this hole just because I'm attractive. And Heaven only knows how long I will remain so, since he has taken to buying all of my clothes! {Bell rings off stage.) I suppose that's him now. ENTER Bridget u. r. e. Bridget. A lady and gintleman, mom, to see yez. I told thim about th' boardin'-house across th' street, but they would come in. If they stay wid yez long I'll chuck up me job, see? Mrs. Gus. Show them in at once. ENTER Mr. and Mrs. John Betts c. d. John Betts. This is Mrs. Betts? (Bowing.) Mrs. Gus. Yes, sir. [EXIT Bridget u. r. e. John B. Well, I am John Betts, your husband's brother. This is my wife. (Introduces her.) We were married in Chicago last week and sail for London to-morrow, where I am a dele- A Night in Tappan 7 gate to the Masonic Convention. It's at least fifteen years since I saw Gus., so we ran down to stay over night with you. Mrs. Gus. Why, I am simply delighted ! But isn't it a shame that Gus. hasn't come home yet? ENTER Bridget u. r. e. Bridget. Hey, will I cook th' three dinkey chops in th' mornin' or will yez eat mush? Mrs. Gus. Bridget, this is no time to arrange for breakfast ; but since you put it so abruptly, have both. Bridget. Yez can't have both, 'cause we only got th' mush. Mrs. Gus. I trust that you will pardon our cook's manners. It's one of the things we can't help in Jersey. However, it re- minds me. Make yourself comfortable, and I will prepare a hot lunch for you. Mrs. John Betts. No, please don't. Really, I have such a dreadful headache I could not touch a thing. John B. It's awfully kind of you, but I am going to ask that you allow my wife to retire as soon as possible. Mrs. Gus. Why, certainly; for I know that you are both very tired. Bridget, water and towels for the south bedroom, and I will light the grate. [EXIT l. 2 e. Bridget (coming close to them). So yez are going to stay all night, are yez? John B. With your permission, yes. But may I ask why you are so interested? Bridget. The town is full of robbers. Mrs. John. What! Robbers? Bridget. Yes, an' th' neighbors is out shootin' 'em nights wid shot-guns. Divil a soul in th' town has had a wink of sleep fer a month. Mrs. John. Oh, John, do you hear? Robbers! John B. There, there, now, don't get all worked up. It will only make your head worse. Mrs. John. Oh, but I'm so afraid! I won't lie down to- night. I won't — I won't ! I'll stay up all night. John B. No, you won't. If any one stays up I will. If you think you will rest any easier I will promise to sit up all night and watch. Bridget. Yez won't have to sit up. There's an old lounge over by th' windy yez can curl up on. Mrs. John. All right. But promise me, John, that you will pile all the loose furniture against the doors. 8 A Night in Tappan John B. Anything — anything. Sh! She's coming. Not a word to her now. She is probably more worried and nervous than we are. ENTER Mrs. Gus. l. 2 e. Mrs. Gus. Come, now, for I know that you are both very tired. John B. (picking up grip, etc.). Thank you, thank you. [EXEUNT Mr. and Mrs. John and Mrs. Gus. Betts, l. 2 e. Bridget. Robbers! (Laughs.) There's nothing to steal in th' town but impty lots. Robbers! Sure, if they don't skidad- dle in th' mornin' I'll make it a couple of murders. ENTER Mrs. Gus. l. 2 e. Mrs. Gus. You haven't received any other message from Mr. Betts, have you, Bridget? Bridget (arms akimbo). Say, do you think I'm a tilley-graff operator ? Mrs. Gus. Oh, I have stood all I am going to from you. When my husband comes home I shall ask him to discharge you. Bridget (drawing herself up). Well, one or the other of us has got to git out, and I don't think it will be me. Anyway, it's a shame th' way you treats yer poor husband, givin' up yer own nice warm room to the loikes of thim an' he got to sleep in th' cold one. Oh, my! oh, my! Mrs. Gus. Shut up! Do you hear? Shut up! If I want Mr. Betts to sleep there (indicates r. 2 e.) he will sleep in there. I run this house, not you. [EXIT r. 2 e. Bridget. Ain't she th' sassy old thing? Be gorry, I loike this job. I'd sooner be dead than work where I couldn't sass th' missus. [EXIT u. r. e. ENTER Mr. Augustus Betts c. d., with large paper bag, as if from market, a hat box and a large bundle. Gus. B. Well, I wouldn't live in this town fifteen minutes if it wasn't for my sweet little wife. She simply dotes on this plan. And, of course, I've got to sacrifice personal feeling. Let her enjoy it, I say. We have only lived here a year, and she's a mem- ber of the Old Ladies' Literary Society, the Woman's Christian Workers, the Ladies' Home Mission, the Little Female Helpers of the Poor, and now, by George! they want us to join a whist A Night in Tappan 9 club. But I draw the line. There are fellows in that club that I don't like. ENTER Bridget u. r. e. Bridget. So yez are home? Gus. B. {sarcastically) . No. I'm over in Brooklyn. Bridget. Don't get gay wid me. Do yez want some lunch? Gus. B. Do I? Bring me a broiled chop, a pot of coffee and some buttered toast. [EXIT Bridget u. r. e. Gus. B. {opens the hat box and takes out hat). Plenty of female society and a rare bunch of duds. That's Heaven enough for any woman. {Inspecting the hat.) That's a dream ! That's a dream! Gad, but I've got taste! ENTER Bridget u. r. e., with tray and dishes and places them on table. Bridget. Th' only taste he ever had was th' dark brown kind. Gus. B. {looking at the tray). Say, what was it I ordered? Bridget. What is it I'm givin' yez, Mr. Gus. Betts? It looks loike corned beef an' cabbage. Yez have a foine pair of eyes. [Gus. B., lifting sash, throws one of the dishes out of the window. Bridget. Phat th' divil are yez doin'? Gus. B. Trying to impress you with the fact that I don't like cabbage. [Bridget throws tray out of the same window. Gus. B. Hey, what are you doing? Bridget. Throwin' the corned beef out. Gus. B. What for? Bridget. Oh, I just thought thot mebby ye'd loike ter eat yer lunch out in the yard. [EXIT u. R. E. Gus. B. {shaking his Ust after her). Oh, I've stood all I'm going to from you. In the morning I shall ask Mrs. Betts to discharge you. By George ! I'll wake her up and thrash this cook business out right now. {Tries door l. 2 e.) Hello, what's this? Our bedroom door locked. {Eye to keyhole.) Stuffed, by ginger! Ha! ha! I'll play detective. {Gets step-ladder, u. r. e.) Now, Betts, keep cool. Keep cool, Bettsey, old man, keep cool. {Climbing up, he looks through the transom.) iO A Night in Tappan ENTER Bridget u. r. e. Bridget (aside). Sure, it's many's th' toime I've called him th' same — an old Bettsey. Gus. B. Good Heavens! She's got the furniture packed up ready to move. (Suddenly sliding down and confronting Bridget.) Bridget! Oh, Bridget! Tell me, am I in my right mind ? Bridget. Sometimes I t'ink you're a bit bughouse, sir. Gus. B. Bridget, there's — listen, Bridget! — there's a man in there (pause) on the lounge. Bridget. Sure, there is. Gus. B. Bridget, this is terrible! Bridget. Didn't I tell th' missus so this very evenin' ? Sez I, "It's a shame to treat yer poor husband loike this," sez I. Gus. B. Yes! yes! yes! What did she say? Bridget. Sez she, "Shut up!" like that. "Shut up," sez she. "If I want Mr. Betts to sleep in there (indicating r. 2 e.) he'll sleep there. I run this house," sez she. Gus. B. (excitedly). Terrible! terrible! When did he come, Bridget? When did he come? Bridget. This evenin'. Gus. B. What time? Bridget. Oh, right after we got th' missage thot mebby yez wasn't comin' home. Gus. B. (frantically). Terrible! terrible! Bridget, listen! Tell me the truth. I — I was on the ladder — I — Bridget, who else is in that room? Bridget. Sure, it's Mrs. Betts. Gus. B. Bridget, God bless you ! Here, take these vain bau- bles. They are yours. (Puts the hat on her head hindside be- fore.) That woman shall never wear them. I must depend on you. Watch out till I return. Oh, this will develop in a mur- der! [EXIT c.D. Bridget. Phat th' divil ! He's crazy. Sure, it's Mrs. Betts. Hivins, didn't I hear th' man say, "I'm Mr. John Betts, and this is me wife?" Mebby I'm daffy. I dunno. I dunno. [EXIT u. r. e., with step-ladder. ENTER Mrs. Gus. Betts r. 2 e. Mrs. Gus. Now, I've done it! Now I've done it! And it just struck me. Why, he is liable to come home at any moment, walk right into our room and — Oh, dear, I must put them in A Night in Tappan it the other bedroom. Oh, dear! oh, dear! (Knocks violently at door L. 2 E.) Voice within. Yes, yes, yes! Coming. Mrs. Gus. Oh, Heavens! I forgot to make up an excuse for changing their room. Here they come. Now, what will I do? I — oh ! — I've got to make up something. I'll say that the mos- quito frames in that room are broken, and I'm afraid that the room is filled with mosquitoes. No, no, no ! that will never do, as there are no frames in the windows, and this is January, with a foot of snow on the ground. Now, I'm in a pickle; they are coming. Mrs. John (at l. 2 e., her hair in curl papers and bandage around -her forehead). Mercy me, what is it? What is it? Mrs. Gus. Something very unpleasant. Ha ! ha ! You can't sleep in there. Oh, you must come over to the other room. Oh, dear, I hate to tell you. Ha ! ha ! There's — there's (Hys- terically. ) Ha ! ha. Very unpleasant, you know Mrs. John. Don't tell us, dear, for we know all about it. Honestly, we haven't been able to sleep a wink. Mrs. Gus. (aside). Great Heavens, there must be something in that room! (Aloud.) I — I — I hope they didn't keep you awake ? Mrs. John. Yes, they did. You see, we were looking for them all the while. Bridget said the town was full of them, and the neighbors were out nights hunting them with shot-guns. Come, John, dear, we take the other room. ENTER John Betts, l. 2 e., in dressing-gown and night- cap, carrying all their zvraps, luggage, etc.; also a small gavel. John B. If I ever hit one with this it's shake a day-day to him. [EXEUNT Mr. and Mrs. John Betts r. 2 e. Mrs. Gus. Well, I've stood for a great deal of nonsense from the Jersey mosquito, but that's the first time any one ever had to hunt them with a mallet in my house. Goodness, I am tired ! I must go to bed. [EXIT l. 2 e. Lights down. ENTER Mr. Gus. Betts, c. d., with shot-gun. Gus. B. Oh, I never expected to come to this ! My dream is crushed. My soap-bubble of happiness is busted. (Gets step- ladder u. r. e.) It's a shame to do this. (Wavering.) Maybe L.9fC. Yl A Night in Tappan if I holler at him he will run. No, I'll shoot. I will shoot the shots that will proclaim to all the world — (Looks over tran- som.) Gone! Flew the coop! (Climbs down.) Now, for strategy. I will go temporarily insane. Throw her off her guard, and when, in her remorse, she confesses all I will con- front her. Let me see. I will start in by becoming looney on nursery rhymes. [EXIT l. 2 e. ENTER Bridget u. r. e. Bridget. Holy smoke ! Who's been monkey in' wid th' step- ladder ag'in? Hist! What's that? (Turns down the light and listens at l. 2 e.) Divil a word I hear but "Hey, diddle, diddle! Hey, diddle, diddle! Th' cat an' th' fiddle!" Sure, everybody's goin' bughouse here. I'm off fer a home-made Gin Rickey. [EXIT u. r. e. with step-ladder. ENTER Mrs. Gus. Betts, l. 2 e., excited. Mrs. Gus. Oh, this is awful ! He is out of his mind. I must send for Dr. Smith. (Knocks u. r. e.) Bridget! Oh, she has locked the door. I can't wait. I'll ask his brother to go. (Knocks r. 2 e.) John! John! John! John Betts! Voice Within. Yes, yes, coming. ENTER Mr. John Betts, r. 2 e. John B. Well, well, what is it now? Mrs. Gus. Oh, please go next door and ask Dr. Smith to come in ! Gus. is very sick. Oh, hurry, please ! John B. Why, certainly. [EXIT c. d. Mrs. Gus. Oh, I can't stay here alone ! (Knocks again u. r. e.) Bridget, you must let me in! [EXIT u. R. E. ENTER Mrs. John Betts, r. 2 e., dragging all their luggage, quilt around her shoulders. Mrs. John. These quick changes are driving me wild. Ping, you're in one room ; pong, you're in the other. I suppose this is a case of back to the mosquitoes. Well, if John's asleep I'll go in quietly. (Looks in l. 2 e.) Yes, there he is. [EXITS l. 2 e. A Night in Tappan J 3 ENTER Mrs. Gus. Betts u. r. e. Mrs. Gus. Worse and more of it. Bridget has taken to drink. I can't stay in there. She's roaring drunk ! I will sit down here by the door. If Gus. gets violent Mrs. Betts will be some pro- tection. [EXIT R. 2 E. ENTER Mr. John Betts c. d. John B. Smith's out, and I'm going to bed. I know what's the matter with brother Gus. He's under the influence of The Spirituous Mocker, and that is a family matter, not mine. (Takes position near r. 2 e.) ENTER Mr. Gus. Betts, l. 2 e., with gun. Gus. B. I've got you ! Hands up ! You destroyer of homes, you ENTER. Mrs. Gus., r. 2 e., rushing and throwing her arms around John Betts's neck. Mrs. Gus. Don't shoot him, John ! Don't shoot him ! Oh, my poor, crazy husband ! Don't shoot him ! John B. How dare you, woman! How dare you plead for that man's life in front of me! ENTER Mrs. John l. 2 e. Mrs. John (throws her arms around Gus. Betts's neck). Oh, John, don't shoot him ! Hit him with the mallet, John ! Oh, Mr. Burglar, good Mr. Burglar, please go home before my husband shoots you ! Gus. B. For Heaven's sake, who are you? Turn up the light, somebody, quick. How many wives have I got, anyway? [Mrs. Gus. turns up the light. [Lights up. Mrs. John. O — 0—0—0 — h, it's not John! John! John! John ! ( Crossing to him. ) John B. (aside). Now, for the bluff of my life. (Aloud.) One wife, sir. That's all you have, one good, kind, loving little i 4 A Night in Tappan wife. This woman is my wife, sir. And now — now, sir, explain how — you — came to be in that room with my wife. Gus. B. Oh, Lord, it's up to me ! I — I — I — you can search me. I — I — I thought it was Mrs. Betts. John B. (thundering). And so it was, sir, and I — I, sir, am Mr. Betts. Gus. B. I wonder who in blazes I am? Oh, I'm crazy all right! Back to the nursery rhvmes for me. Hey, diddle, did- dle ! Hey, diddle, diddle ! John B. (changing his voice). Gus., don't you know me? Gus. B. Great suffering suds, it's John! (They rush to joy- ous embrace, and their wives do the same.) Then you are not a hideous destroyer of homes? John B. Me? I guess not! Why, I have just started to make one for myself. Allow me to introduce you to Mrs. John Betts. Mrs. John (shaking Gus/s hand). Then, you are not a burglar? Gus. B. Me? I guess not! This is the last house I would break into if I was in the business. Mrs. Gus. (crossing to him). And you are not crazy, dear? Gus. B. Me crazy? Never! (Hesitating.) At least, not now. And if I have ever suffered from insanity of any form, even of the green-eyed type, I can assure you I am cured. Mrs. Gus. Then it's all explained, except the mosquitoes in our bedroom. All. Mosquitoes in January! Mrs. Gus. Yes. I'll tell you how it was. I Gus. B. Hold ! Let us retire to the library and there fathom this mosquito mystery. Then we will all settle down for a good night's rest. ENTER Bridget u. r. e., drunk. Bridget. Not on your loife! I'm lookin' for throuble! [She has the hat given her by Betts twisted over her face and the dress on. It fails to meet at the back by several inches. She overturns table t chairs, etc., and is only controlled by the efforts of the quartette. They hold her down on the floor, the men holding her arms and the women her feet. CURTAIN. STRIFE. A COMEDY-DRAMA IN FOUR ACTS, BY HORACE DALE. PRICE, 1 5 CENTS. Nine male, four female characters : Juvenile lead, eccentric character, genteel heavy, two walking gentlemen, Dutch character, two negro comedians, policeman, leading lady, walking lady, soubrette and utility. Time of playing, two hours and a quarter. A play for the masses — quick in action, rich in incident, full of laughable situations, abounding in farcical " business," with intensely dramatic climaxes. It can be played in any hall, and meets with the greatest success wherever produced. SYNOPSIS OP INCIDENTS. Act I. Reception Room in Judge Buttons' Mansion. — An eavesdropper. — The Judge in a tantrum. — Guardian and ward. — "A frog he would a-wooing go." — The cause of humanity. — A timely warning — " Go ; and don't enter my house again unless I send for you!" — Echoes of the past. — A gentleman of leisure. — Mistaken identity. — Recognition. — An insult and a blow. — Threatened exposure. — Brought to bay. — A murderous assault. — A son's defence. — Humiliation. — Tableau. Act. II. Julius Goes " a-sparkin'." — Love at first sight. — Raisingthe wind. — Gentleman and workingman. — Rejected aid. — " Strike ! " — An excited visitor. — Wel- come tidings. — Mother and son. — A villain's resolve. — Hans von Sandt in the clutches of the law. — Neb in luck. — The mob's assault. — The mechanic's impassioned appeal. — Conflagration. — " Back, every man of you ! "—Tableau. Act III. — The Judge's Reception Room. — An embarrassing situation. — The mechanic is sent for. — Good intentions and an offered reward. — The workingman's ultimatum. — Reinstatement. — A question of duty. — An interruption. — A cowardly scheme. — Strange revelations. — The serpent's sting. — An interesting episode. — " Hail fellows, well met." — A slight unpleasantness in which Germany goes to the wall.— Tableau. Act IV. Scene as before. — War declared against Hans. — A false attack. — Consternation. — The Judge secures his assailant. — Alienation. — A noble woman's de- fiance. — Indignation. — Accused of crime. — Impending disgrace. — A mother's inter- vention. — Villainy unmasked. — Foiled ! — A great wrong righted. — " Nothing but sun- shine." — Tableau. CRAWFORD'S CLAIM; OR, NUGGET NELL, THE PET OF POKER FLAT. A DRAMA IN PROLOGUE AND THREE ACTS, BY E. L COWLEY AND W. T, BENNETTE. PRICE, 15 CENTS. Nine male, three female characters : Heroic leading man, dialect heavy, Irish comedy, eccentric old man, character juvenile, Chinese comedy, light comedy, character old man, responsible utility, soubrette, walking lady, and character lady. Time of playing, two hours and a quarter. The action is brisk, the language terse, the climaxes thrilling. Humor, pathos, sentiment, and wit are most ingeniously interwoven, while the surprising development of the plot rivets the interest of the spectators from beginning to end. SYNOPSIS OF INCIDENTS. Prologue. — The convict's return. — The story of the past. — A cool proposition. — Mike Moore's tribulations. — "All on account of an advertisement."— The meeting of friends. — Attorney and client. — A snug little boodle. — Baffled ! Act I. The " Pilgrim's Rest." — A giddy Celestial. — A chap in store clothes. — The pet of Poker Flat. — How the " Extra " beat the record from Blazes Bar. — A rat in the soup. — The greaser's little scheme. — The Arkansaw hand. — Tableau. Act II. At Poker Flat. — Joe Bowers to the rescue.- — Ling Ling on his muscle. — A search for an heiress. — "Your little game is busted." — A startling discovery. — A Napoleon of finance. — Left in trust. — The greaser's revenge. — Tableau. Act III. Joe's Home in Denver. — " Begorra here's a transformation for ye ! " — Abigail puts on her war paint. — Ling in hot water. — Jack Davis's account of himself. — ■ "' Great Scott, but I'm just dyin' to sot eyes on that ar gal ! " — The deacon's retreat. — ■ Nell's secret. — "I have come back to claim the woman I love ! " — A visitor is announced. — Turning the tables.— The deacon drives some nails and Bill Mulligan clinches them. — At the end of his rope. — Tableau. t^"" Copies mailed, postpaid, to any address, on receipt of the annexed prices. ^JgS Dick & Fitzgerald, Publishers, 18 Ann Street, New York JUL 23 1903 THE JAIL BIRD A Drama in 5 Acts, by Charles Townsend. Price, 25 Cents. A new play from the pen of Charles Townsend arouses more than ordinary interest among dramatic clubs, and THE JAIL BIRD, a play representing city life, will be found not the least important contribution of this talented writer to the stock of modern acting dramas. The plot resembles that of "The Ticket of Leave Man," but this play is far easier to produce, inasmuch as there are no diffi- cult scenes or properties to handle. It is new in treatment, up to the times, and has proved exceedingly popular on the road during the past three seasons— managers reporting it "a big winner." All of the characters provide scope for effective acting, the interest is con- tinuous, and the comedy portions are warranted to create boisterous mirth. CAST OF CHARACTERS. Matthew Morgan, from "up in York State," who has come to the great city to seek his fortune Leading juvenile man Bill Donovan, alias "Jenkins," alias "the Parson " Character heavy Darby Jones, a New York detective Low comedy Solomon Isaacs, a Jewish "crook" Character comedy Mr. Denham, a wealthy stockbroker , Walking gentleman Joe, a workman Utility Bob "Wilkins. a street urchin Soubrette Jennie Foster, af terward Matt's wife Leading emotional lady Mrs. Babbleton, whose tongue never tires Old woman comedy Time, the present. Place, New York City. Time of playing, two hours and a half. SYNOPSIS OF INCIDENTS. ACT 1.— Place, a room in Isaacs' concert hall on Sixth avenue, New York.— The detective and the crook.— A profitable deal.— Donovan and Isaacs compare notes.— The counterfeit money.— Matt and Dono- van.—" Seeing Lite."— Bitter memories. — Jennie. — Homeless and friendless.— The insult.— The Jew learns a lesson.— Arrested. ACT 2 —Time, two years later.— Place, Jennie Foster's rooms in Mrs. Babbleton's lodging house.— Matt's letter.— Mrs. Babbleton makes a few remarks.— Matt's arrival.— Prison experience.— Bob " blows in."— A specimen of the New York " kid."— Matt refunds the money.— Denham, the broker.— Sunshine ahead. ACT 3.— A lapse of six months.— PI ?ice, ante-room in Denham's office.— Matt's advice.— Bright prospects.— Mrs. Babbleton investi- gates.— Darby's discovery.— A good hearted officer.— Donovan in hot water.— A cunning rascal.— Discharged. ACT 4.— Six months later.— Place, the concert hall again.— Planning a robbery. — The last chance.— Husband and wife.— Jennie's faith.— Bob on a "bender."— The swindlers.— Hunted down.— Matt's despera- tion.—" I'm ready for anything."— Matt's cunning.— Foiled !— Striking tableau. ACT 5.— Half an hour later. —Place, Denham's office.— Darby speaks his mind.— Laying the train.— Matt asserts himself. — A thrill- ing struggle. — Victory !— Sunshine at last. — Finale. Copies wSil be mailed, po jtpaid, to any address on receipt of price. DICK & FITZGERALD, Publishers, 18 ANN ST., NEW YORK. sjL%fx$X*)& COME.DIES AND DRAMAS f to \t/ jg 15 CENTS EACH $ T m. f. « T MY AWFUL DAD. Comedy that always makes a brilliant hit; 3 acts; >K % 2h0Urs 6 6 t /|\ NIGHT IN TAPPAN, A. Farce comedy; excessively funny and sure to yf/ /j\ take ; 1 act ; % hour 2 3 yf/ $ NOT SO BAD AFTER ALL. Comedy ; sometimes plays as " Is Marriage \t/ £ $ SNOWBALL, THE. Farcical comedy ; the popularity of this comedy is un- yf/ /j\ excelled ; 3 acts ; 2 hours 4 3 yf/ jft SOLON SHINGLE. Yankee comedy ; 2 acts ; 1% hours 7 2 \j/ /!y STRIFE. (Master and Men.) Great labor drama; a play for the masses ; JK fe 4 acts ; 2j< hours 9 4 >|J $ SUNSET. Comedy ; requires some acting with reserve force in both comedy yf/ /j\ and pathos ; 1 act ; 50 minutes 3 3 yf/ *ft SWEETHEARTS. Comedy combining fun and pathos ; 2 acts ; 1 hour. .. 2 2 \j/ £ TEN NIGHTS IN A BARROOM. New and simplified version of an old & /!y favorite that will draw hundreds where other plays draw dozens ; 5 acts ; «% /K 2 hours 7 4 «% /ly THREE HATS. Farcical comedy ; one of the greatest favorites ; cannot fail &.-. jk to be a success ; 3 acts ; 2 hours 5 4 «v $ TIMOTHY DELANO'S COURTSHIP. Yankee comedy full of laughable yf/ /j\ incidents; 2 acts ; 1 hour 2 3 yf/ J TRIED AND TRUE. Stirring play of city life, full of brisk action and lively " The County Fair " ; 3 acts ; \% hours 4 4 >»/ >K UNCLE JACK. Drama ; comic, with a good moral ; 1 act ; i^hours 3 4 $ /}vi UNCLE TOM'S CABIN. New version. An old favorite rewritten so that yfj /jy it can be played in any hall ; 5 acts ; 2% hours. 7 5 yf/ /ft UNDER A CLOUD. Comedy drama ; bright, breezy, full of snap and go; \f> /ft 2 acts ; 1 y 2 hours 5 2 yf/ /ft UNEXPECTED FARE, AN. Comedy affording excellent scope for amusing \f> /ft situations and by-play ; 1 act ; y, hour 1 5 \f/ /ft WANDERER'S RETURN, THE." (Enoch Arden.) Drama with strong \f/ /ft plot and effective characters ; 4 acts ; 2 1 /, hours 6 4 \f/ /ft WOODCOCK'S LITTLE GAME. Farce-comedy funny ; 2 acts ; 1 hour.. 4 4 \f/ fft WOVEN WEB, THE. Strong and sparkling drama ; has a military flavor, \f> i/ft and is frequently played under the title of " In Old Virginia " ; 4 acts ; \\j /ft 2% hours 7 3 \f> *ft DICK & FITZGERALD, Publishers, 18 Ann St., N.-Y :$ LIBRARY OF CONGRESS ^££££££££££££££££££££££ COMEDIES ANI in mi mi mil mi in 11 017 401 317 2 25 CENTS EACH M. F. ALL THE COMFORTS OF HOME. Comedy by William Gillette. Only authorized edition of this famous play ; 4 acts ; 2^ hours 10 7 BREAKING HIS BONDS. Strong drama with comic underplay; easily staged ; 4 acts ; 2 hours 6 3 BUTTERNUT'S BRIDE; OR, SHE WOULD BE A WIDOW. Farce comedy for laughing purposes only ; 3 acts ; i l / 2 hours 11 6 CAPTAIN DICK. Effective drama, founded on an episode of the Civil War ; 3 acts; 2 hours... 9 6 DEACON, THE. Comedy drama that is simply immense. Alvyn Joslyn type, old man leading character ; 5 acts ; 2% hours 6 6 EDWARDS THE SPY. Drama ; a brilliant episode of the Civil War ; 5 acts ; 2j^ hours 10 4 ERIN GO BRAGH. Up-to-date Irish drama; both serious and comic in scope, not sensational ; 3 acis ; 2 hours 5 4 GOLDEN GU.CH. (The Government Scout.) Drama that combines fun, sentiment, and exciting situations ; 3 acts ; 2% hours n 3 GYPSY QUEEN, THE. Romantic drama with bright comedy parts; 4 acts ; 2% hours , 5 3 JAILBIRD, THE. Drama of city life, containing a vivid plot with well- diversified interest, together with a pretty love-story ; 5 acts; 2% hours. . 6 3 JOHN BRAG, DECEASED. Farce comedy; one of the best farces ever published ; nothing slow in this piece ; 4 acts ; 2% hours 8 5 JOSIAH'S COURTSHIP. Farcical comedy drama ; uproarious comedy features alternate with forceful, but not heavy pathos ; 4 acts ; 2 hours 74 MAN FROM MAINE. Comedy drama with a wide-awake hero from "Down East " ; 5 acts ; 2% hours 9 3 MISS MOSHER OF COLORADO. Comedy drarna with great " charac- ter " parts ; 4 acts, 2% hours 5 3 MY LADY DARRELL. Drama possessing all the elements of success ; powerful situations, effective stage pictures, and grand climaxes ; 4 acts ; 2Y2 hours 9 6 NIGHT OFF, A. Comedy by Augustin Daly ; printed from the original prompt-copy ; 4 acts ; 2% hours 6 5 PRISONER OF ANDERSONVILLE. Military comedy drama. An excel- lent play for amateurs, as all the parts are good and evenly divided ; 4 acts ; 2% hours 10 4 REGULAR FLIRT, A. Up-to-date comedy, especially recommended to those who have produced the author's "Just for Fun " ; 3 acts ; 2 hours... 4 4 SEVEN-TWENTY-EIGHT. By Augustin Daly. There have been several imitations of this comedy, but none of them approaches the original ; 4 acts ; 2 x / 2 hours 7 4 SHAUN AROON. Stirring drama of home life in Ireland ; a simple real pic- ture of country life in the Emerald Isle ; 3 acts ; 2 hours 7 3 SQUIRE TOMPKINS' DAUGHTER. Strong comedy drama; 5 acts; 2]/^ hours 5 2 STEEL KING, THE. Comedy drama with brisk action; depicts the strug- gle between labor and capital ; 4 acts ; 2 l / 2 hours 5 3 WHAT'S NEXT? Farce comedy: 3 acts; plays 150 minutes; raises 150 laughs 7 4 WHITE LIE, A. Comedy drama; abounds in laughable comedy features and strong situations of serious interest ; 4 acts ; 2% hours 4 3 f f 9 § 9 I f in f t f jjj DICK & FITZGERALD, Publishers, 18 Ann St., N. Y. $