G17Z N4823 Com Newton, Harry Lee The coming champion, Contents: The coming champion. The darktown fire brigade, Memphis Mose, war gorrespondent, The puglilist and the lady. Shylock Bones. What happened to Hannah, PP ices Cente: SENISON'S BLACKFACE T- SERIES The Coming Champion BEE ka T.S.DENISON mSOMPAS, PUBLISHERS — | Picconiite ucieseieeeeieipeaaens MINSTREL WIN DOW CARDS In Two Colors q Minstrel Bones Minstrel Tambo 4 Boy DENISON & COMPANY, Publishers . one size only. On account of the labor 3 Two handsome desions' to be used — in minstrel show advertising, each in & two. colors, mounted on heavy white ; — cardboard, measuring 11 by 17 inches. eS Made €xclusively for our customers — and not obtainable elsewhere. Suitable © for window or showroom display. Sufficient space is left at bottom of cards for announcing date and place of show. Please note: We do not imprint window cards, but the work may be done by a local printer, or the cards may be hand-lettered. We do not ) handle any other designs than those fom listed here. Window cards come in and expense of packing and mailing, each order must be for at least one dozen cards. Quantity orders may be assorted. Be sure to specify designs — wanted. The Designs Minstrel Bones, in black and yellow » ® minstrel Tambo, in black and red Ke Prices Per 50, Postpaid......agme----- 8.75 Per 100, Postpaid... 4 reese e 15.00 ~ ae = oo 623 S. Wabash Ave, CHICAGO | The Coming Champion RecQuonkh DvsoKETCH WITH A BURLESQUE BOXING BOUT BY HARRY L. NEWTON AUTHOR OF ‘* Breakfast Food tor Two,’’ ‘‘A Bundle of Burnt Cork Co-nedy,'’ ‘*4 Cold Finish,’”’ ‘‘ Doings of a Dude,’’ ‘‘A Dutch Cocktail,’ ‘‘Fresh Timothy Hay,’ ‘‘The Heiress of Hoetown,’’ ‘‘Glickman the Glazter,’’ ‘‘Hey, Rube!’ ‘‘Jayvitle Junction,’’ ‘‘ Marriage and After,’’ ‘‘Mr. and Mrs. Fido,’ ‘‘One Sweetheart for Two,’’ ‘‘Oshkosh Next Week,’ ‘‘O’Toole’s Battle of Ante-Up,’’ “ Pickles for Two,’ ‘‘The Pooh Bahot Peacetown,’’ ‘‘St and I,’ ‘‘A Special Sale," “A Tramp With a Tramp,’ ‘‘The Troubles of Rozinski,’’ ‘‘Two Jay Detectives,” ““Uncle Bill at the Vaudevitle,’’ and ‘‘Words to the Wise.”’ as MADH IN U. S. A. CHICAGO T. S. DENISON & COMPANY PUBLISHERS THE COMING CHAMPION CHARACTERS: ALEXANDER "WHITE \..35.cloe. 45 telieuaiee ya eae A Waiter WOOLITTLE) BUAGK ¢ii1s.cent. Ne maa fa ae A Fight Promoter T1iME—Today. TIME OF PLayinc—About Twenty Minutes. COSTUMES. WHITE—Long white apron and waiter’s white coat. Face made up very black. Droll in speech and action, using strong negro dialect. Biack—Flashy suit, loud tie, low shoes displaying socks of bright color. Face made up brown (mulatto). Quick in speech and action and affecting the genteel. STAGE DIRECTIONS. R. means right of the stage; C., center; FR. C., right cen- ter; L., left; Rk. D., right: door; L.D.; left doorveteaiae first entrance; U. E.,; upper entrance, etc|; DY Fiadoorem flat or scene running across the back of the stage; | G., first groove, etc. The actor is supposed to be facing the audience. COPYRIGHT, 1910, BY T. S. DENISON & COMPANY. 2 THE COMING CHAMPION ScENE: A cheap restaurant. Door C. Table covered with red and white tablecloth, dishes, etc., R. of C. Chair at each side of table. Telephone on table. At rise of curtain WHITE is discovered seated in chair, leaning back, with both feet elevated on table, reading news- paper. Then enter BLack, brisk manner. He has a suitcase in one hand, in which is a set of boxing gloves. He goes to table and slams suit case on tt. Brack. Ah, good morning. Reading a paper, aren’t you? Wuite. No. I’m takin’ a bath in a half pint of milk, on board a ship crossing the Rocky Mountains. Brack (laughs). You're all right. (Slaps him heavily on back.) You're a bright boy. (Slaps him again.) WHITE (wincing from the blows and edging away). I’m elad yo’ like me. Brack. You don’t know who I am, do you? Wuiter. No, and you don’t know who I am, nuther. Brack. It doesn’t matter in the least. I like you immense. (Swings a heavy blow. at Wuite’s back, but misses as WHiteE ducks.) Wuite. Say, yo’ got a funny way of likin’ a person. I’m glad yo’ don’t love me. BiacKk. Oh, that’s merely my way, my boy. I’m going to introduce myself. Are you ready? WuiteE (rising from chair and backing away). No, sah. I ain’t ready. If yo’ slap me dat hard when yo’ don’t know me, the Lord knows what yo’ll do to me when yo’ do. 3 4 THE COMING CHAD EIN} Brack. The introduction shall be painless. My name is Doolittle Black, prize fight promoter. Do you get me? Waite (rubbing his shoulder ruefully). Yes, sah. I done got yo’ de fust time. Brack. Good. Now that we are acquainted—oh, by the way. This is a restaurant, is it not? (Looks about.) WHT Thee eS it 1sest0t Biack. The sign outside says it is. Wuite. Well, yo’ musn’t believe in signs. Brack. [I’m going to take a chance. The table reminds me of something to eat. You look like a waiter. I guess Vl eat. (Sets suitcase on floor, then sits at table.) WHITE. Yo’ guess what? Biack}| yeuess dellseat. WuitE. Yo’ got some more guesses comin’, Buack. Say, what is this, a joke? Wuiter. Yo’ said it. This heah cafe am de biggest joke I ever saw. Brack. Well, you eat here, don’t you? Wuite. No, sah. I work heah; but, honest, I don’t eat heah. BLACK (picks up bill of fare). Say, I’ve got an idea. WHITE. Give it to me and I[’ll eat it. Back (laughs heartily). That’s a good joke—very funny Why don't you laugh? Wuirte. I’m too hungry. Brack. Hungry? And working in a restaurant? Then, why don’t you leave? Wuite. I’m too weak. BLAck (scans bill of fare). Let me see— WHITE (interrupting). Do you wish soup? Biack. No. No soup. WHITE (goes to side and yells aff stage). No soup! (Comes back to table.) Biack. Have you any— WHITE (interrupting). No, sah—not a bit. Biack. Why, you don’t know what I was about to ask for. THE COMING CHAMPION. 5 Wuirte. Don’t make any difference—we ain't got it. Will yo’ have some soup? BLack (impatiently). No—no soup. WHITE (goes to side and calls off). No soup. (Comes back to table again.) . BLAcK (running finger up and down bill of fare). Now, what would you say to a nice steak? Wier s NOt .aword, Ld jes\seat it Brack. Well, you suggest something, then. WHITE. Soup? Biack (angrily). No! No soup. WHITE (goes to side and calls off). No soup! (Comes back to table again.) Biack. Say, how many times do I have to tell you that I don’t want soup? Wuirte. I don’t know, sah. What’s de answer? Brack (laughs). Oh, it’s no use to get angry. But you have interested me in this soup of yours. What kind of soup is it? Waite. Shadow soup. Biack. And what kind of soup is shadow soup? Wuite. Well, sah, yo’all takes a chicken and hangs it in the sun, set a plate under it and yo’ have shadow soup. Brack. Great! But hold on. Suppose it’s a cloudy day and there is no sun? Wuite. Den dere am no soup, Brack. Well, well; I'll pass up the soup question. 1! don’t want any. Wuite. Maybe your brother would like some soup. Biack _ I have no brother. Waite. Well, if yo’ did have a brother, would he want some soup? Biack (laughs). You’re a bright boy. Have you got a brother ? Wuirte. Sure. I got three brothers. Two livin’ and one married. Brack. Oh, go on. 6 THE COMING CHAMPION. Wuite. Yo’ know one of mah brothers was a street car conductor for ten years. He had a “pull” wid de company, but yesterday he done git discharged. Brack. Discharged? Why, you just said he had a “pull.” Wuirte. He did, but he didn’t use it on de cash register. BUAGKION HL SEC: Wuite. So did de company. Brack. Have you any children? Waite. Yes, sah. I done got one. It talks all de time. Brack. Boy or girl? — WuitrE. What's de use askin’ foolish questions? Didn't I say it taiked all de time? Biack. I see again. Then you must be married if you have a child. Wuite. Sure, I done got a wife. Buiack. * That’s nice. I wish I had one. Wuite. Yo’ kin have mine. Brack. What? Aren’t you happy? Wuitre. I’m happy, I reckon. Yo’ know my wife am de commander-in-chief in de house. Brack. And what are you? Wuite. I’m only de paymaster. (Telephone bell rings.) Buack. I'll bet that’s for me. (Puts receiver to ear, speaks in phone.) Hello! Hello! Yes, this is Black. What? Yes, I told you I’d wait here till you called up. (Excitedly, after a short pause.) What’s that? Broke his arm? Give me that again. Say, don’t tell me that. Why, the fight will have to be called off. He can’t fight with a broken arm. Find somebody else to take his place? Say, don’t talk silly That's impossible. That fight comes off in a week—hold on, man; don’t ring off—here, just a minute. (Jerks hook up and down several times, then yells in phone.) Hello! Hello! Just a minute—don’t go. (Hangs up receiver, disgustedly. ) Well, what do you think of that for hard luck. (Turns té Wuite.) Wouldn’t that make you tired? Wuirte. Yes, sah. I done been tired fo’ a week. BLACK (rises and paces back and forth excitedly) Just to think. We had everything arranged for this big prize fight THE COMING CHAMPION. 7 —championship battle of the world, mind you—and now Sam Jackson’s gone and broken his arm. Isn’t that a nice oickle to be in? WuiteE. Dat sure am too bad, sah. Brack. Too bad? It’s worse than that. Just think of it. Sam Jackson, colored champion of the world—can’t fight. (Stops suddenly as 1f struck with an idea, looks at WHITE from head to foot.) By George! I’ve got it. You are just the man! WHITE ERE What—what’s de matter? Brack. You shall take Sam Jackson’s place and fight for the championship of the world. Were you ever in a fight? Waite. Well, I had a fight once, but I wasn’t in it. BLacK. Can you fight? Wuite. No, sah. But ’m a darn good runner. Buiack (close to WuitTE, feels of his arms, thumps him in. chest, etc.) Great! Immense! Wonderful! (Slaps him m jaw.) Solid asa rock. (Holding him, jabbing and slapping biz. ) WHITE (trying to get away). Goon, man. What yo’ try- ing to do to me? Biack. Simply testing you, my boy. I used to think there was but one perfect man in the world—but you—say, you've got it all over Sam Jackson. You've got no business being a waiter. You are the coming champion, my boy. WHITE (moving toward door). No, sah. Yo’ am wrong. I’m the goin’ kid, Mister Man. BLtack. Come back here. Fortune is knocking at your door. WHITE (near exit). Jes’ tell Fortune I ain’t in. Brack. Oh, nonsense! Do you realize what it means to your All you got to do is lick the other fellow—that’s all. Wuite. Suppose the other fellow won’t allow me to lick him? Brack. He can’t help himself. You'll put him to sleep with one punch. Wirte. Say, if you'll put him to sleep first, I'll agree to deliver de punch, otherwise I stick to mah present situ- ation. 8 THE COMING CHAMPION, Brack. It’s a cinch, I tell you. Come here. (WHITE comes to table.) Now take off that coat and apron. (Takes off his own coat and vest.) Wuite. I’m purty comfortable like de way I is, sah. Brack (rolling up shirt sleeves). Take ’em off or V’'ll do it for you. WuiteE ¢takes coat and apron off while speaking). Yo got a kind of fierce way about yo’ what I don’t admire. BLACK (opening suitcase.and getting out boxing gloves while speaking). I’m glad to see you’re open to argument. (Throws pair of gloves at Wuite.) Those are yours. WHITE (picking gloves up). Many, many thanks, sah. (Starts for door with gloves.) Biack. Hold on—come back here. Wuite. What fo’? (Near exit.) Brack. Why, I’m not through with you yet. The auspi- cious moment has arrived. (Puts gloves on hands.) Wuite. Looks like de suspicious moment to me. Brack. I must see if you are there with the gloves. Wuite. No, sah. I am heah wid de gloves, and I con- sider dat I shall remain heah. Biack. Your training starts immediately. It will consist of running and boxing. WuHirte. - Yes, sah. I reckon Vill start de funningparc now. Biack. No, you won’t. You come here and box with me. I want to see if you can knock me down. Wuite. Yo’ nevah done nothin’ to me. I don’t want to knock you down. Brack. Cut out the talk—cut it out. You will put on those gloves and we will spar three three-minute rounds. If I kill you I will give you a hundred dollars. WuHiteE (blinks his eyes in terror). Boss, I don’t need a hundred dollars dat bad. Jes’ give me two bits and [ll cali it square. Biack. Oh, I won’t kill you. Come on, now—on with the gloves. (Assumes fighting attitude.) THE COMING CHAMPION. 9 WHITE (putting gloves on in awkward manner). Boss, I’ll put dem on, but honest, I don’t see a bit of hope fo’ mah future. (They move table back out of the way.) Brack. Now put up your hands. WuiteE (puts both hands high above head). Yas, sah. Brack (jabs him in face). You rummie. I could knock your block off if I wanted to. WuiteE (taking gloves off and throwing them on floor in disgusted manner.) Lord sakes! Fust yo ’tell me to put up mah hands, den yo’ punch mah nose ’cause I do. Brack. Oh, I was only kiddin’. Put the gloves on again. That was merely the first lesson in the school of boxing. Waite (rubbing nose ruefully, then holding one hand up and snapping fingers). Teacher, can I go out? Brack. No. Just wait a minute and [ll knock you out. Put on those gloves. WHITE (putting on gloves). Yo: know mah-hands ain’t cold. I don’t need no gloves. Biack. Now, then, are you ready? (Fighting pose.) WuiteE. I is and I ain't. Biack. Oh, by the way. Does your wife know where to send for you? WuitrE. She nevah sends fo’ me. Biack. She will today. ((/akes two or three feints, then slaps WHITE on jaw.) Say, you want to stop those blows, you know. Wuirte. Stop ’em? Lordy sakes, I done did stop it. (Rubs jaw.) Brack. I mean with your hands or arms, you rummie. Now look out. (Dances around Wuitet, then plants two or three stinging blows on neck and face, then stops disgust- edly.) Oh, say, this is too easy. Whoever told you that you were a fighter? Waite. Yo’ did. Brack. I was sure mistaken. Now try and hit me. (Dances about, ducking, etc.) Waite (after vainly trying to hit BLACK). Say, boss, fo’ Lord’s sake, stand still. I can’t hit yo’ if yo’ fly around like dat. 10 THE COMING CHAMPION. Biack. That’s the scientific part of it. Now, see how easy I can hit you. (Soaks WHITE in eye.) , WuiteE (holding gloves to eye). Hold on, boss. Hold on. Have yo’ all got a match ? Brack. A match? What in the world do you want of a match ? Wuite. My lamp is out. Brack. Well, I might as well put out the other one, then. (Dances about Wutte, landing blows on various parts of the body, WHITE covering and trying to evade them.) Come on. Don’t act like an old woman. Come on and toe the scratch. Wuite. Which scratch? Land sakes, I’m all scratches. Brack. [ll show you. Here’s a good one. (Punches WHITE in stomach and Wuite falls to floor.) How'd you like that one? WHITE (sitting up with both hands on stomach). Don’t talk to me. I’m seasick. (Lays flat on floor, looking up.) My, how high the sky is today. Brack. Well, come on and get up. | can’t hit you down there, Wuite. Why can’t yo’? Brack. It’s against Rule Five, Marquis of Queensbury, to hit a man when he’s down. WuiteE. Gosh, I’m glad of dat. I’m goin’ to stay right where I is. I sure do like dat rule. Brack. We'll call that the first round, and now get up for the second round. Wuite. I reckon [ll fight the second round accordin’ to Rule Five, Mar’Cause of Goosberry. I sure am fond of dat rule. Brack. No. Get up. Wuitr. What’s de use? Yo'll knock me down again. (Rises slowly to feet.) Brack. All champions have to get trimmed when they are beginners. Remember, you are the coming champion. ‘WHITE. Yes, sah. (Now ensues about a minute of burlesque boxing, during which BLACK hits WHITE at will, knocking him about stage. THE COMING CHAMPION. 11 WHITE meanwhile trying to hit BLacK, then ending by fall- ing to floor without actually being struck by BLACK.) Waite (holding up hands). Rule Five! Rule Five! Brack. Rule nothing. You fell down without me knock- ing you down. You're a fine fighter. Why, you can’t fight a little bit. WHITE (rising quickly to feet). Yo’ think I can’t, eh? (Pulls off collar and tte, rolls up shirt sleeves, then rolls up legs of trousers to knees.) Yo’ think I can’t fight, eh? Say, does yo’ wife know where yo’ is? (Swings right and soaks BLAckK im neck.) Am dere any final message dat yo’ wish sent to de loved ones at home? (Swings left and soaks BuLack on side of head.) Biack (backing away). Here, here. Hold on. WuHite (following him closely). Yo’ want to stop some of these. (Uppercuts BLack.) Come on and scratch de toe. BLAcK (trying to evade the shower of blows). Let me explain—let me explain. Wuite. Yo’ done gone explained a while back. Now it’s mah turn to explain. (Soaks Brack.) Say, whoever told yo’ dat yo’ was a fighter? (Soaks him again.) Oh, dis am too easy. (Now ensues a repetition of the previous burlesque bo.x- mg, only this time WHuite lands all the blows, knocking BLAcK about stage, kicking him, etc., ending by BLAcK fall- ing to floor froma shower of blows. He lays prostrate there. Wuite takes off one glove and slams it down on BLACK.) Wuitrt. There, doggone you! Take dat! (Takes off other glove and slams that down on BLacK.) And also like- wise and forthwith take dat, too. (Puts one foot on BLACK’s form, raises one hand high above head, posing effect.) De comin’ champion has came. QUICK CURTAIN, Denison’s Black-Face Series Price, 25 Cents Each, Postpaid A DARK SECRET Colored farce of mystery, by Jeff Branen; 4 males, 1 female. Time, 30 minutes. This Screaming story of the adventure of a negro detective and his dusky assistant has made thousands roar when presented on the professional stage, and is now available in print for amateurs everywhere. Three characters are white-face. THE BOOSTER CLUB OF BLACKVILLE A colored comedy concoction, by Harry L. Newton; 10 minutes. Time, 25 minutes. A political burlesque with the funniest negro cast of characters imagin- able. They are all running for some kind of an office; judge, chicken inspector, razor inspector, crap game inspector, etc. Particularly suitable for a minstrel afterpiece. A HENPECKED COON Darky monologue, by Arthur LeRoy Kaser; 1 male. Time, 10 minutes. Ephraneous is unpleasantly aware of the fact that he has a wife, and he ap- peals to all married men for sympathy. The recital of his grievances against his better half is just one laugh after another. AXIN’ HER FATHER Farce, by O. E. Young; 2 males, 3 females. Time, 25 minutes. Old Peppercorn, very deaf, has three daughters, Priscilla, Pamela and Polly. Augustus, Priscilla’s suitor, attempts to ask the old man for permission to marry her. Peppercorn, failing to understand him, and thinking he is insulted, begins the fun. The excitement multiplies with each suc- ceeding incident. WHAT YOU GOT? Blackface comedy act, by Wade Stratton; 2 males. Time, 15 minutes. Julius, a’ “cullud gem manos curious about the contents of Billius’ jug. His curiosity costs him ‘“fo’ bits foh one li’l’ measly shot’”’ and the discovery that Billius has been trying it on the dog. ONE HAMBONE FOR TWO Controversial talking act, by Arthur LeRoy Kaser; 2 females. Time, 10 minutes. Two “cullud” ladies engage in a polite duel for the heart and hand of one Hambone Johnson. Miss Dingleberry, who puts on airs, is sure of her conquest, but it takes Miss Wringer, the lowly laundress, to bring home the bacon—not to mention the ham! T. S. DENISON & COMPANY, 623 S. Wabash Ave., Chicago -Face Series Price, 25 Cents Each, Postpaid LOVE AND LATHER Farce, by O. E. Young; 3 males, 2 females. . Time, 35 misutes. Christopher Columbus Johnson, pro- prietor of a barber shop, forbids his son, Abe Lin- coln, to see Victoria, as Christopher has quarreled with her mother, Mrs. Confusion Smith. She and Victoria come to the shop in turn and are concealed in the barber chairs and their faces lathered. Crowded with fun. DE MELANCHOLY EVOLUTION OF ME Blackface monologue, by Jeff Branen; 1 male. Time, 10 minutes. A broken-down negro actor tells the side-splitting story of his experience with an Uncle Tom’s Cabin troupe that turned itself into a circus side show in a vain effort to keep from strand- ing. A Kansas cyclone dealt the final blow. Fine material for a clever negro impersonator. NO SENSE, NOHOW Negro talking act, by Arthur LeRoy Kaser; 2 males. Time, 15 minutes. A merry skit for two ‘blackface comedians, with laughs well apportioned, neither character being a feeder. The ragtime dis- pute in the “‘Fizzle-Fuzzle language’’ is a scream. Chance for song or dance specialty. THEY’RE IN AGAIN Talking skit, by Arthur LeRoy Kaser; 2 females, Time, 15 minutes. Two ‘‘cullud ladies’ meet on the street and have a heated argument over the cause of their husbands being in jail. Can be played by women, or by men in feminine attire, A hilarious negress comedy. THE MYSTERIOUS SUITCASE By Arthur LeRoy Kaser; 2 males. Time, 15 min- utes. Sam has to carry Harry’s grip, and both ne-. groes have a laughable time trying to Keep the mys- tery from-leaking out. The fact that they stop to rest near a cemetery also gives Sam cause for seri: ous thinking. STICK TO YOUR WORD, GAL Farce by O. E. Young; 4’ males, 1 female. Time, 30 minutes. Pa Skipton, Pocahontas, his daughter, her admirers, Bill Prettyman, Dr. Squizzle and Elder Snuffle. This piece is full of rollicking humor and odd situations and is just the thing for a “wind up” to send everyone home happy. te 4 T: S. DENISON & COMPANY, 623 S. Wabash Ave., Chicago - -VII—426 *- <1 -ean“be obtained complete. from the publishers. ae ‘A..choice eof five complete routines, ¢xpertly piety a tena 9” the convenience of inexperienced amateur minstrel directors. and others seé -modeétn, pr pee constructed first-part.- Instead of being a volume” of “musct neous cross from which to pick and. choose, each ‘book’ gives an exact + cedure to be followed in staging a sure-fire. first-part—complete ‘dialogue .and instructions for action ‘and. stage business from rise “of»curtain to gra These books will prove a salvation forthe many amateur minstrel troup lack the ‘personal counsel and guidance of an experienced director: _ professional in style, yet entirely practical for amateurs, and give: bie tunity for localized jokes. ..Written to order especially “for “troupes” stage an expertly: routined show at.a nominal °cost. de Each first-part will consume. about one hour and can be deed for ‘a tro pe any sizé, large or small; Music is not included, but the KeabesNS song = Swanee Minstrel First-Part,. by John E. Tawra” Price, 25 Ce Dixie Minstrel First-Part, by John E. LaWTrence. «ois .Prite; 25-6 Jubilee Minstrel First-Part, by John EF; Lawrenée. + 2s PRICE, 20 Cet Aiabama Minstrel First-Part, by Arthur Le Roy Kaser. Price, < “26 Cel Darktown. Minstrel First-Part, by Wade. Stratton. .-°.: Hive, 2 Cer ‘When Cork Is King By Wane Stratton: Origuiral Seti . ite Spe te ne Sa pfose hea Dele tine. EMiday A frei on peskert is meds iiails..of all BECB iter : Humocgus MonologugS.. f ” A ae for: Tada fe ee ues Lo Youngs “Sikes: ote Te Be sin Soil a a “NO PLAYS EXCHANGED wre a ge A apoE REDS EDEN anor NTS eine aN oS aw ee a Sedo a errata ote aoa p Say SLE RAN SL NEORNESEES PNR -oFHE ETHIODIAN DRAMA: %% LITTLE NONSENSE NOWAND. THEN IS RELISHED BY THE WISEST MEN” re RENN RUT AES AS RN TOR hana een EER PR 8 RRL EES Se AUIS RE A ET RE SE ER ae Sie as Sete antl Bors DENISON CIT eee UBLISHERS _ CHICAGO. gf aeons PRICE ise a ee ee ee eee S 7 sy? xe aie? 2 i , a ; Lick ‘ 4 x oe een BRI SEIS EN Fs Re OE Et) aT a - SSS aoe Fae Kae a i Ge Pa ty ae Re gia ee Fae: asec Ra CH TOES ee ee SA ARB NERA Se . 4-20 is * ! , ie tees | + wa rs 4 DENISON’S. ACTING NG PLAYS eins Pre aad i Portaint or succeeded Catal Free. i mii 35 Bri ee ape Buckshot,’ 3 ret ts ‘DRAMAS, coMmenies, La aS LE Re. SOT ae : roe 7 9 26 eb ose 6 ew 48 6 6 le c) « Brookdale Farm, 4. 2ets,“ 2% Rustic’ Romeo,” ee hrs. pve ep oewm » «( School. 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LOE © Ge EDE BS No ew Busy, “Lidrys 3 .aacts, BY, iZ irs, Southern Cinderella; o aor, oe 3 be (256) ae Ble eects: 6 eho & eee OE eve We its se tains os tn eC Sa fie o ee ‘eae 3 acts: 2% 5 Third Frephods a0 nie a a r ES: eee 9 eb ea a © bee ® KG ; Tea p> ig iy Cc SO a ee: Store, 1 sae “a de Tipe Peete esas ae as Z 4 a Rm RS ee Bee ee eae es @ wes ee Can rae F 7 ma Pe Danger Signal): 2 ‘acts, Be we 7.45 Tony The vi og Semete | teat " Daughtér®of + the Desert; 3 Topp’ s "Reikad 4 “hts es is oe ae Pe, 7 aes, DY his 2 4 Sa es 6 4 ot A Matshal, a adts wee. i Ma ek in: Dixic,: 4: ante ae bss " 2 Re et ig ge oy 6 3 - ie © Sosa ety, a a, «bee Bivss 5 Vow OP I DAG 72 Bis a Hream> That “Came TL ras; 3 ¢ Fpipte Sth 2h. a 2, ty pee. Bete AIG NTS.2... 4: E25) Woks {Under Bie Skies Ne et ane ee Bditorm-Chitt, J Wr. (25ey¥ 90" ; itp ° eee Enchanted.\W ood, a 34h: (356): Optnl, Sap, ane Se ee > ste i J a} Kveryyouta, 3 acts, a3 was OWhen- the’ Circus = ; is Seated £285). 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DENISON & COMPANY PUBLISHERS MeEmpuis Moss, WAR CORRESPONDENT CHARACTERS: Mempris Most 5 ees Nearly a War Correspondent PHICBERT.NUET2. occu toe eee ee His Companion GENERAL CHILE Con-CarneE.A Mexican Soldier of Fortune PRIVATE-E-GGSHELEY £ sie etnile see eee Half of the Army PRIVATE .PAPRIKA> tte ee ee ee ee The Other Half BIGFOOT “SUE F-7 oc. Saw ae ee ae A Red Cross Nurse ScENE—A Military Encampment. TimME—War Time. PLAcE—Yuma Pass, Mexico. TIME OF PLayinc—A bout Twenty-five Minutes. COPYRIGHT, 1915, BY EBEN H. NORRIS. => MEMPHIS MOSE, WAR CORRESPONDENT. 3 COSTUMES. Mempuis Mose—Ordinary suit, leather leggings and long linen duster covering all. PHILBERT Nutt—Dilapidated clothing and blue cap. Very droll in speech and slow in action. GENERAL CHILE CoNn-CARNE—Misfit, many colored, di- lapidated uniform, with large hat ornamented with a large plume. Wears large mustache, which he strokes in pom- pous, fierce manner. PRIVATE EGGSHELL—Blue coat, brass buttons, white pants and old cap. Carries an old musket. -PRIVATE PaprikKA—Old blue suit, short trousers and straw hat. Carries a battered old sword. Bicroot SuE—Typical darky wench part; calico dress, white apron and sleeves and nurse’s white cap. On one sleeve is a red cross. Note.—While only six characters are wahcevait more may be added at option of producer. Your local military com- pany may act as “the army” and the dialogue may be so aranged that a drill be introduced without detriment to plot | * or action. Neg , fea PROPERTIES. - Rifles for Eggshell and Paprika ; bowl of bread and milk, large spoon and two napkins for Sue; chicken bone for Mose; stretcher for Nutt. STAGE DIRECTIONS. R. means right of stage; C., center; R. C., right center: L., left; 1 E., first entrance; U: E., upper entrance; R. 3 E., right entrance, up stage, etc.; A. D., right door; L. D., left door, etc.; D. F., door in flat or back of the stage; up stage, away from footlights ; down stage, near footlights ; 1 G., first « groove, etc. The actor is supposed to be facing the audience. Mempuis Mose, WAR CORRESPONDENT ScENE: An exterior to represent a mountain pass, with mountain or landscape drop im 3 G. and wood wings. A small white canvas tent at C., with. flaps drawn over open- ing. On center pole peak is a small Mexican flag. (Omit if difficult to procure.) At L. of tent are two nail kegs marked: “Powder.’ A small table and a camp chair in front of tent. At rise, PRIVATE EGGSHELL, Most and Nutt are discov- ered. EGGSHELL is doing sentry duty, pacing to and fro from R. to L. back of tent. Nutr and Mose are seated on nail kegs in despondent attitudes. Mose has one leg heavily bandaged and Nutt wears a bandage on left arm. Curtain music, some well known Spanish air. Nutr. Well, why don’t yo’ say somethin’? Mose. Dere ain't a word to be sayed. (Rubs bandaged leg.) Nutt. Yo’ said a-plenty fo we got to dis heah place in Mexico. Yo’ done talked yo’ head off back in Memphis. (Mose nods head despondently.) Didn’t yo’ say: ‘“Phil- bert, a barber shop ain’t no place fo’ yo’. Yo’ should be a adventuress.” Didn’t yo’ say dat to me? (Mose nods as . before.) Didn’t yo’ also said to me: “Philbert, shinin’ shoes ain’t yo’ vacation in life. Yo’ should co-harmonize wid de higher equivalents. Yo’ should be a soldier o’ for- tune.” Didn’t yo’ said dat to me? (Mose again nods head.) Den yo’ said: “Philbert, cast aside dem ignoble brushes and come wid me. Dere is war in Mexico.” Didn't yo’ say dem words to me? Mose. Ah did, and heah we is. Nutt. Yes, heah we is; prisoners ob war. (Rubs a - hand. over bandage, painfully contorted face.) Mose. Well, dere ain’t nothin’ dishonorable in bein’ a prisoner ob. war. 4 ce MEMPHIS MOSE, WAR CORRESPONDENT. 5 Nutr. Maybe not. But if Ah was fixin’ fo’ to be a prisoner, Ah could a got in jail back in Memphis. Mose. Ah, but, Philbert, dere am a lot ob difference. Nutt. Yes, Ah could a-had mah reg’lar eats back in dat Memphis jail. Mose. Oh, yo’ always think ob eatin’. Nutr. And dat’s all Ah do, is jes’ think ob it lately. Say, man, mah stomach could be arrested fo’ what it thinks ob me. Mose. Shucks, man, dis am merely a condition ob de fortunes ob war. Nutt. Yes, but yo’ didn’t say dis was gwine to happen when yo’ slung dat flowery talk back in Memphis. No, sah. Yo’ say: “Philbert, dem Mexicans couldn't hit de water if dey fell out ob a boat.” Didn’t yo’ say dat? Mose. Well? Nutr. Well, dey had nuther water or a boat, but dey sure did hit us. (Hand to bandage.) Mose. Dat was ’cause we tried to run. Nutt. Tried to run? Man, Ah did run! Ah got three years exercise in jes’ one second. But de faster Ah run, de faster dat bullet run. (Looks cautiously about at Ecc-— SHELL, who has been pacing back and forth.) Dat nigger gets On my nerves. Mose. Nigger? Man, he ain't no nigger. He’s a Mexican. Nutt. Shucks! If he’s a Mexican, Ah’m a dime’s worth of Hungarian goolash. Whatta yo’ reckon dere fixin’ to do wid us? Mose. Oh, soon’s dey find out Ah’m a war correspond- ent, dey’'ll release us. Nutt (disgustedly). War correspondent! Yo’ couldn’t write home and git a thin dime. (Gun ts fired off L. Nutt and Mose exhibit comedy fright. EGGSHELL wheels, faces to L. in a challenging attitude.) EcGGsHELL (calling off L.). Halt! Who comes thar? PAPRIKA (off L.). Friend! EGcGsHELL. Advance, friend, and give de countersign. 6 MEMPHIS MOSE, WAR CORRESPONDENT. Nutt (to Mose). Didn’t Ah tell yo’? Dat’s jes’ plain nigger talk, dat’s all. Enter Paprika from L., whispers to EGGSHELL. EGGSHELL (to PAPRIKA). Yo’ gotta know de counter- sign. Ah got mah orders. Dem orders is dat if yo’ don't say “Fried Chicken,” Ah runs mah bayonet through yo’. PAPRIKA, “Fried Chicken.” EccsHELL. All right. Now who yo’ all shoot at jes’ now? | PAPRIKA. Twasn’t nobody. But Ah thought Ah seen dem two niggers tryin’ ter make a getaway. (Comedy fright by the two.) EGGSHELL. Say, dere ain’t a chance in de world. Paprika. No, dem low-down plain nigger§ am out- classed ’longside ob us Mexicans. EccsHELL. Ah wonder what de general am gwine do wid ’em. pes Oh, jes’ naturally shoot dem at sunrise, dat’s all. Mose (to Nutt, in nervous fright). Yo’ heah dat? Gwine ter shoot us at sunrise. Nutt. Not me. Ah don’t get up dat early. The tent flaps are suddenly flung apart and enter there- from GENERAL Con-Carn_E. He strikes a fierce but comedy pose and strokes mustache for an instant. Then he glowers at the prisoners and they attempt to hide behind each other. GENERAL (sharply). Attention! (EGGSHELL and Pap- RIKA bring their guns to an awkward salute, wheel and march stiffly to the GENERAL, and when within a couple of paces of him, trip and almost fall.) Fall in! EGGSHELL. Yes, sah, we jes’ did, General. Nutt (advancing toward the GENERAL, smiling). Oh, Ah knows yo’. Yo’ was fo’merly a barber back in Mem- phis. GENERAL (fiercely, to Nutr). Silence! (To PAPRIKA.) Anythin’ to repo’t? MEMPHIS MOSE, WAR CORRESPONDENT. 7 PapriKA, Yes, sah. Ah jes’ killed ninety-eight ene- meeses. GENERAL. Aha! Ninety-eight ob de enemy died by yo’ hand? os PAPRIKA. Yes, sah; one hand. GENERAL. Den yo’ kin knock off work fo de day. Yo’ done enough. (PaApriKA salutes in comedy fashion.) Pri- vate Eggshell, what yo’ all-done fo’ yo’ country? EccsHELL. Ah run ’cross seventy-eight enemeeses and cut off dere feet. GENERAL. Cut off dere feet? And why didn’t yo’ cut dere heads off? (Comedy fright by prisoners.) EGGSHELL. Oh, somebody else done dat ’fore Ah got dere. ! GENERAL (violently clears throat, fiercely strokes mus- tache and glowers at the prisoners). Bring de prisoners to headquarters. (EGGSHELL and PAPRIKA go behind Nutt and Mose and prod them with their bayonets, forcing them to the GENERAL. ) Nutt (protestingly to GENERAL). Whatta dey mean by stickin’ us wid dem bay-nets? GENERAL. It means dot yo’ am wanted at headquarters. .- Nutr. Headquarters! Dat ain’t whar dey stuck us wid dem bay-nets. GENERAL. Silence! (Sits at table.) Yo’ am gwine now ter git court-martialed. Nutt. If dat’s somethin’ good ter eat, Ah been ready fo’ two days now. GENERAL. Silence! (To Mose.) What’s yo’ name? Mose. Memphis Mose, sah. GENERAL. Whar yo’ from? Nutt. Yo’ know whar he’s from. Yo’ is from de same place—Memphis. GENERAL (fiercely). Silence! (Each time the GENERAL yells “silence” at Nutt the latter jerks his head sharply in affright and his cap falls to floor.) Nutt (as he stoops, picks up hat and replaces it on head). Doggone dat nigger, anyhow! GENERAL (to Nutr). What’s yo’ name? 8 MEMPHIS MOSE, WAR CORRESPONDENT. Nutt. You know doggone well what mah name is. GENERAL. Whar was yo’ born, and if so, why? Nutt. Ah don’t know. 5 GENERAL. Whatta yo’ mean yo’ don’t know? Didn’t yo’ ever have no mother? Nutt. Af don’t know. GENERAL. Who was with yo’ when yo’ was born? Nutr. My aunt. GENERAL. On what day was yo’ born? Nutt. Thursday. : GENERAL (fiercely and fingering mustache). Aha! Now Ah got yo’. Yo’ don’t know nothin’ ’bout a mother, but yo’ do know what day yo’ was born on. How comes it dat yo’ know what day yo’ was born on? Nutt. ’Cause de next day we had fish. GENERAL (rising to feet with an angry stamp and twirl- ing mustache). Silence! (To Paprika and EGGSHELL.) Take de prisoners away. Take dem to de deepest and darkest dungeon. (They place themsélves on either side of the prisoners.) Nutt (to GENERAL). Say, what’s a dungeon? GENERAL (rising to feet, stamps a foot angrily and strokes mustache). Silence! (To PAprtKa and EGGSHELL.) Take de prisoners to de dungeon. (They place themselves on either side of the prisoners.) Nutt (to GENERAL). Say, what’s a dungeon? Do dat happen to be Mexican fo’ dinin’ room? | GENERAL. Nothin’ like it. Dere ain’t gwine to be no eatin’. Nutt. No eatin’? (GENERAL shakes head.) Den shoot me now. (GENERAL raises his hand as a command for the prisoners to be taken away. The prisoners are between the two soldiers, single file. The four march in a brisk, military fashion once about the stage, the GENERAL places himself at their head and they are about to exeunt R. zvhen— ) . Enter Bicroot Sur. She starts in astonishment, raises her hands with a commanding gesture and the five halt. MEMPHIS MOSE, WAR CORRESPONDENT. 9 Sue. Halt! Doggone yo’, halt! MosE (im glad surprise). Sue! (He opens his arms and SUE rushes and throws herself forcibly against him, knock- ing him to floor and she falling on top. The others show astonishment. The fallen ones scramble to their feet.) GENERAL. What am de meanin’ ob dis? SUE (to GENERAL). Back up, yo’ unemployed load ob coal; back up! Dis am mah sweetheart from Memphis, Tennessee. MosE (kisses SuE). Yo’ sweet little bunch o’ peaches and cream, yo’. Nutt (aside). Dat man always am talkin’ "bout some- thin’ to eat, jes’ ter make me jealous. GENERAL (to SUE). Stand aside! Dose men am prison- ers ob war. SUE (angrily to GENERAL). Don’t yo’ tell me to stand aside or any place else. Yo’ get ‘long and take yo’ doggone army wid yo’, or Ah’ll fetch yo’ a swat dat’ll make yo’ think de provocation ob eternity am arroven. (Threatens him with fist.) GENERAL (to the two privates). Attention! Fall in! Fo’- ward march! (Marches with “army” off R.) : Mose (throwing his arms about SuE). Saved! Saved! Nutt (tugging at his coatsleeve). Ask her fo’ somethin’ ter eat, man, den we'll all be saved. SuE (releasing herself and looking at Nutt in seeming surprise). Whose yo’ friend, Mose, deah? Mose. Ah don’t know. Ah nevah saw him befo’ in all my life. (Comedy business by Nutt.) SuE (to Mose). Den pay no further ’tention to him. We will be happy, jes’ yo’ and me together. MoseE (to Nutr). Yes, little boy, run ‘long and sell yo’ papers. (Nutt, too astonished for speech, staggers to one of the kegs and drops weakly on it, staring at them with wide open mouth and eyes.) Sue. Mah darlin’... Yo’ mus’ be dreadful hungry. (Business by Nutt.) Yo’ jes’ wait heah a second. Ah got some nice things already cooked; lovely eatin’ things. (Kisses him.) Jes’ a minute and Ah’ll be right back. 10 MEMPHIS MOSE, WAR CORRESPONDENT. (Waddles in comedy manner to R., turns and blows a kiss at him, then exits. He blows several kisses in return and stands looking off R. after her.) Nutt (unable to longer restrain himself). Look heah, yo’ possum-eyed, disappointed imitation ob a bottle ob ink— Mose (turnmg and surveying Nutt coldly). Was yo’ ‘dressin’ yo’ conversation to me, sah? Nutt (astounded). Yo’—yo’ mean yo’ don’t disorgan- ize me? Mose. Yo’ face am slightly fa-military, but Ah don’t seem to place yo’. (Nutt drops weakly back on keg.) Enter Suet R. She carries a large bowl filled with bread and milk, a large spoon and two napkins. SuE (to Mose). Heah yo’ is, honey-lamb. Come heah and inaugerate yo’ system wid some ob dis ambigious chicken soup. (MosE smiles broadly and goes to SuE at C. Nutt hurriedly rises and also rushes to her. Sue takes the two napkins and tucks one under each one’s chin, then takes spoon, dips it in bowl and stirs vigorously. Nutt smacks lips in keen anticipation. Sue dips a spoonful, Mose opens mouth wide and she feeds it to him. Then she takes another spoonful, starts to feed Nutr but takes it herself.) | Mose (in keen relish). Mah goodness, sweetheart, but dat sure am beautiful chicken soup. Do it again. (SUE gives him another spoonful, then repeats business of almost feeding Nutt and eating the spoonful herself.) Sue. What became ob dat other feller dat was heah a while back? Mose. Him? Oh, he’s gone. Nutt (opens eyes and tugs at his coat sleeve). No, no; heah Ah is—heah Ah is. (Mose ignores him.) SuE (feeding Mose another spoonful). Ah didn’t care so much fo’ de looks ob him. He had a funny look. © Nutt (attempting to attract her attention). No, not funny; jes’ hungry, lady; jes’ a hungry look, lady; dat’s all. (They ignore him.) SuE (to Mose, puckers up lips and thrusts out her face MEMPHIS MOSE, WAR CORRESPONDENT, 11 in ludicrous manner). Honey-bud, kiss yo’ little angel- face. (They kiss with comedy business. Nutt works up scene.) Now den, one mo’ po ‘tion ob chicken soup. (Feeds MOsE. ) Nutt (aside, disgustedly). Dinner time fo’ some folks, but jes’ 12 o’clock fo’ me. SuE (takes napkin from Mose’s neck and carefully wipes his lips with it, then does the same to Nutt). Come, sweet breath ob evenin’ breeze; come wid me to de canteen, whar Ah will fill yo’ soul and inner man wid pangs ob real delight. Mose (placing an arm about her waist). Ah shall cer- tainly be glad to do dat, mah beautiful bunch of pansy blossoms. Fo’ Ah sure am hungry. (They kiss.) Nutt (aside, disgustedly). Dere ain't no chicken soup *bout dat. Dat am jes’ plain “mush,” dat’s all; jes’ plain “mush.” Mose (to SuE). Let us go to de place whar all is eats and stomachs know no sorrow. SuE. Yes, honey-bunch, we shall go. (They stroll to R., his arm about her waist, and stop at exit R.) Too bad yo’ friend am went. Mose. Yes, it am too bad. Ah know he would enjoy hisself innumerably. He used ter like to eat. (They exeunt. ) Nutt (looking after them, disgustedly). Well, kin ’o’ beat dat? Ah used ter like to eat. Dat ain’t no lie, Ah did used to, but Ah usen’t to no mo’. (Starts for exit R.) Heah’s whar Ah used to eat agin. GENERAL, EGGSHELL and PAPRIKA come marching in from R. and halt Nutt as he is about to exit. Generar. Halt! Nutt. Doggone it, dere’s dat “halt’? man agin. GENERAL. Whar yo’ gwine? Nutr. Ah don’t know, but Ah know whar Ah wish yo’ was gwine. GENERAL. And whar am dat? 12 MEMPHIS MOSE, WAR CORRESPONDENT. Nutt. It’s a long way from heah, and yo’ wouldn’t go if Ah told yo’ to go. GENERAL, Silence! (Nutt’s cap falls off as lis head jerks sharply back.) Ah don’t take no orders from yo’. Yo’ takes orders from me. (Jndicates the kegs.) Yo’ see dem two powder kegs? (Nutt eyes kegs apprehensively.) Well, dem is got to go some place. Nutt. Well, let ’em go. Ah ain’t stoppin’ em. GENERAL. Dey is got to go, and it am too dangerous fo’ mah soldiers to tote ’em, so Ah deploys yo’ to tote ’em. Nutt (comedy fright). Huh GENERAL. Dey am mighty dangerous, so yo’ mus’ be careful. Nutt. Will dey—will dey—blewie? GENERAL: Not if yo ’am careful. Nutt. Say, yo’ bettah git yo’ a regular careful boy. Ah’m too’ careless. GENERAL. Oh, it won’t make any difference if yo’ am blown up; will it? Nutt. No, not to anybody else but me; dat’s all. GENERAL (sharply). Fo’ward march! (EccsHEeLt and PaprIKA force Nutt to kegs.) Now pick ’em up. (Nutt hesitates and they prod him with their bayonets.) Nutt; Ah. kin see Ab got. a fat chance 23 tan none pick ’em up, Ah gets mah tires punctured. GENERAL. Yes. Nutt. Yes, and if Ah does pick ’em up, Ah gits— blewie! GENERAL. Pick ’em up! Fo’ward, march! Nutt. Jes’ a minute, General. Befo’ de blewie comes, couldn’t Ah be spared somethin’ to eat? GENERAL. No, sah. Fo’ward, march! (They prod Nutt with bayonets, he picks up the kegs with comedy fright, they form in line, GENERAL leading, Nutt following him and the two soldiers bring up the rear. Exeunt L.) , Enter SuE and Mose from R. He is chewing on a chicken bone with keen relish. Mose. Dat suttinly was some lunch. MEMPHIS MOSE, WAR CORRESPONDENT. 13 Sue. Lunch? Man alive, if yo’ calls dat a lunch, Ah wonder what yo’d call a meal? Mose (looking searchingly about). Ah wonder whar mah friend went? (Loud explosion off L. Astounded, they run and look off L.) Sue. What was dat yo’ was remarkin’ "bout jes’ fo’ dat explosion? Mose. Ah said Ah wonder whar mah friend went? SuE (shading eyes with one hand and then peering off). Ah don’t persactly know, but he’ll be down in a minute and den yo’ kin ask him. Mose (looking off and up). By golly, Ah nevah saw him git sich a move on hisself befo’ in all mah life. He sure is in a hurry. SuE. Now he’s comin’ down agin. Mose. Yes, Ah reckon he didn’t like it up dar. (The tramp of feet 1s heard off L., gradually drawing nearer.) SuE. Dey am bringin’ him heah on a stretcher. Mose. Poor old Nutt! Ah’m sorry Ah was rude to him. He had his faults, but he wasn’t sich a bad feller after all. SuE. -No, he was only hungry. Mose. Well, he’s cured ob dat now all right. SUE. He sure is. He’s'cured ob everythin’. Enter GENERAL, EGGSHELL and PapriKA, the latter two bearing a stretcher on which lies Nutr. They march solemnly to C. and place stretcher on floor, then all form a half circle about Nutt, the men removing their caps. GENERAL. We done our bestest to stop him after de powder went off, but he jes’ naturally insisted on goin’. Mose. Poor old Nutt! He do look natural, don’t he? SuE. Ah’m sorry now Ah didn’t gib him somethin’ ter eat befo’ he up and died. (Nutt slightly ratses his head and blinks eyes at SUE.) Mose. Yo’ sure he am dead? PapriKA. If he ain’t he done git a powerful shock ter his system. EccsHELL. And it done look like it spread to de rest ob his body. 14 MEMPHIS MOSE, WAR CORRESPONDENT. GENERAL (sighs). Ah’m ’fraid now he am but a rem- nant ob a man. SuE (excitedly). What's dat yo’ say? What’s dat? GENERAL. Ah say, he am but a mere remnant ob a man. SUE (drops on knees beside the stretcher). Man, deah, does yo’ heah dat? Speak! Nutt (raises head and looks inquiringly at her). What’s it? What’s it, lady? SuE. Dat man say yo’ am amere remnant. If yo’ ama remnant, Ah loves yo’ and only yo’. Mose (to Sue). Heah, yo’. What yo’ mean lovin’ dat man? | SuE (picks Nutt up from stretcher, arm about him). Go way, Mistah Memphis Mose. Mention not mah name in endearin’ terms agin. Ah loves yo’ no mo’. Mose (astounded). What’s—what’s de meaning ob dis. Why fo’ yo’ transfer yo’ love to dat man?’ Sur. Why? Because he’s a remnant. And whar am de woman livin’ dat kin resist a remnant? (SUE throws her arms about Nutt, the others form half circle about them, exhibiting intense astonishment, to—) CuRTAIN. Denison’s Vaudeville Sketches *‘A laugh ts worth a hundred groans in any market.”’ Price, 15 Cents Each, Postpaid BREAKFAST FOOD FOR TWO.—Vaudeville sketch, by Harry L. Newton; 1 male, 1 female, Time, 20 minutes.’ Scene: Simple interior. Seldom Sells, a drummer for bottled spring water and condensed milk, and Carrie Samples, a breakfast food demonstra- tor, meet in a small freight office during a snow blockade. Once they were friends, but strangers now; however, while appeasing their hunger with their samples a reconciliation is affected. This sketch is a decided novelty and one of the most choice morsels of humor ever served. THE CABMAN AND THE LADY.—Vaudeville sketch, adapted by William D. Emerson; 2 males, 1 female. Time, 30 minutes. Played a number of seasons with great success by ‘‘Emerson, Caffray and Emerson.”’ It is a scream. A COLD FINISH.—Vaudeville sketch, by Harry L. Newton; 2 males, 1 female. Time, 15 minutes. Scene: An interior. A cheeky life insurance agent forces himself into the home of a wealthy lady. Her attempt to get rid of him is side splitting. It has an unexpected finish which is always a great hit in vaude- she tae Really a two-part sketch, as the iceman has only a few nes. THE COUNTERFEIT BILLS.—Vaudeville sketch, by Harry L. Newton; 1 male, 1 female. Time, 20 minutes. A long lost sailor returns and in explaining his absence to his wife, finds he has steered into rough weather. As a peace-offering he gives her a large ‘‘roll of bills’ and she admits having a second husband named Bill; however both prove counterfeit. There is a dash of wit and a foam of humor in the Old Salt’s tale of adventures that cannot fail to delight. DOINGS OF A DUDE.—Vaudeville sketch, by Harry L. Newton; 2 males, 1 female. Time, 20 minutes. Scene: Simple interior. Maizy von Billion, of athletic tendencies, is expecting a boxing instructor and has procured Bloody Mike, a prize fighter, to ‘‘try him out.’’ Percy Montmorency, her sister’s ping pong teacher, is mistaken for the boxing instructor and has a “‘trying out’ that is a surprise, A whirlwind of fun and action. FRESH TIMOTHY HAY.—Vaudeville sketch, by Harry L. New- ton; 2 males, 1 female. Time, 20 minutes. Scene: Simple rural exterior. By terms of a will, Rose Lark must marry Reed Bird or forfeit a legacy. Rose and Reed have never met and when_he arrives Timothy Hay, a fresh farm hand, mistakes him for Pink Eye Pete, a notorious thief. Ludicrous lines and rapid action. Chance for songs and specialties if desired. “We presented ‘Fresh Timothy Hay’ with great success.’’— Frank §. Wildt, Lancaster, Pa. GLICKMAN, THE GLAZIER.—Vaudeville sketch, by Harry L. Newton and A. S. Hoffman; 1 male, 1 female. Time, 25 minutes. Scene: Simple interior. Charlotte Russe, an actress, is scored by a dramatic paper. With ‘blood in her eye’’ she seeks the critic at the office, finds no one in and smashes a window. Jacob Glickman, a Hebrew glazier, rushes in and is mistaken for the critic. Fun, jokes, gags and action follow with lightning rapidity. A great Jew part. “Under the team name of Herbert and Elliott we are making a big hit with ‘Glickman, the Glazier.’ Your ‘stuff’ is the best ever.” —C. W. Herbert, Spokane, Wash. T. S. DENISON & COMPANY, 154 W. Randolph St., Chicago Denison’s Vaudeville Sketches “A laugh is worth a hundred groans in any market.”? Price, 15 Cents Each, Postpaid THE GODDESS OF LOVE.—Vaudeville sketch, by Harry L. Newton; 1 male, 1 female, Time, 15 minutes. Scene: Simple ex- terior, Aphrodite, a Greek Goddess, is a statue in the park. Ac- cording to tradition, a gold ring placed upon her finger will bring her to life. Knott Jones, a tramp, who had slept in the park all night, brings her to life. A rare combination of the beautiful and the best of comedy, Novel, easy to produce and a great hit. HER HERO.—Vaudeville sketch, by George Totten Smith; 1 male, 1 female. Time, 20 minutes. To test her lover’s courage, a young lady pretends she hears a burglar in an adjoining room and in- sists that he shall investigate. He meets with a surprise which is far from what the jesting maiden had anticipated. Rich com- edy and rapid action. “Used ‘Her Hero’ with great success for six successive weeks.”’ —Herman Nelms, Nashville, Tenn. A HOME RUN.—Vaudeville sketch, by Harry W. Osborne; 1 male, 1 female. Time, 15 minutes. A bit of baseball non- sense introduced into a novel situation. “Inshoots’”’ of wit, “‘fout-curves’”’ of mirth and ‘‘drop-balls”’ of hilarity are put over the ‘‘plate’’ in rapid succession. HOT AIR.—Vaudevillie sketch, by George Totten Smith; 2 males, 1 female. Time, 25 minutes. Briggs and his chum after a night out. Brigg’s wife after an explanation. She finds their lovely ‘‘fairy tale’’ simply ‘‘hot air’’ and they find themselves in “hot water.’ Their ingenuity in extricating themselves from the humid situation is most amusing. IS IT RAINING?—Vaudeville sketch, by Harry L.° Newton and A.'S, Hoffman; 1 male, 1 female. Time, 10 minutes, Otto Swimorebeer, a German, Susan Fairweather, a friend of his. This act runs riot with fun, gags, absurdities and comical lines. “TIT have had expensive sketches, but your’s beat them all.’’— Gust Muech, Milwaukee, Wis. A MISTAKEN MISS.—Vaudeville sketch, by George Totten Smith; 1 male, 1 female. Time, 20 minutes. The maiden expects to meet a very sedate young man, which part he impersonates, ~ although he is quite the opposite. He also makes up as an Irish- man. However, the mistake was not amiss for the mistaken miss, as he proves to be her willing ideal. Strong plot, plenty of “laughs’’ with opportunity for good acting. MR. AND MRS. FIDO.—Vaudeville sketch, by Harry L. Newton; 1 male, 1 female, Time, 20 minutes. Mrs, Fido’s husband and her dog Bruno are sick. Johnson, a dog doctor, who is just over from Sweden, is mistaken for Mr. Fido’s physician, and com- plications arise that create more disturbance than a mustard plas- ter on a small boy. A great Swede part. “We are now playing ‘Mr. and Mrs. Fido’ to crowded houses. Big hit.’’—The Elliotts, Clay Center, Kan. ONE SWEETHEART FOR TWO.—Vaudeville sketch, by Harry L. Newton; 2 females. Time, 20 minutes. It is not recorded in the book of Time when one sweetheart was sufficient for two ambitious maidens. The dialogue and action in this sketch are as magnetic as the breeze from an electric fan. T. S. DENISON & COMPANY, 154 W. Randolph St., Chicago it — sk . iw tee te, et. . . < wh a" Rah cb Fee? nt SRR Ph oy DZ AE Ret Pee a § . hae? ‘ ; a hy’ ey ce ER MILI 5 48 >My Lord in eT: y 1 rt “2 Phese Red Enyelopes, 25. min, Te wes Acer WRN Oa oe 5. ais atone Se Fudge and a Burgtar, J A ae Ghosts in White, 620 min. os « M. Doctmentary Evidence, 25.,mins Dude in a Cyclone, 20 mim... Family Strike; 20 min. First-Class’ Hotel, For Love and Honor, 2 mins. min... Fan in @ Photograph Gallery, 30 min. Greats Doughnut Corporation, Di IVT Sees. cae wis Great Medical Dispensary, 30. in. Sew Pumpkin« Case, 30-anin. .1 ns Von Smash, 30 reba Pd > Many Poet 25 nase. fos ot Mesilf at All, 25 min. Initiating. a Gratiger, 25° mins. “drish Linen Peddier, 40 min... Ts the Editor In? 20. min: nsas. Immigrants, 20 min, .. em Not Wanted, 30° min. Mike Donovan's Courtship, 15m: Mothér Goose’s GoSlings, 30 m. Its. Carver’ 3 Fancy Ball, 40 m. wee “tubbins’ Book poe 39 1 br. My Neighbo:’s 45 unin. My Turn Next, 49° min. My Wife’s Relations, Lehre 3 ie eee 26s munss.t ane eee Ne) One 0900 Ho tO Oh Bw Ww ~ Not a-Man im the Hause, 40 me \Obstinate’ Family,. 40. min . Only Cold “Tea, 20. min > -Outwitting the Colonel, 25 min: Pair of ‘Lunatics, 20. min Patsy -O Wang, 35 min Pat, the Apo 1ecary, 35. Too Much of a Good Thing, 45 ital Fae he dP ai TES Bie es ee ales Preasure from Egypt, 45 min. > fun Ham. Out, 935." tists. o . ST wor Aunts and. a Photo, 20 m. Lwo Bonnycastles, 45 min¢.).. hwo G Jentlemen in a Fix, 15 im fe Go of a. Kind, 40 min. <.. Poe Dick’s Mistake, 20 min. © Wanted a Correspondent, 45 m1. Wanted. a Hero, 20° minw...%. = Which. Will He Marry? 20 min: Who. Is Who? 40. min. Wide Enougli for Two, 43min. Wrone Gaby. 225. whic: . ene? _ Yankee Ped didr: a hr. 6.46 SF. 7 Ata tO Gd) Do Ge a WOW Ae bed BO) F, 1 62 CO DO: KOIKA Habs 9 be 08 BRD OD ROO Gi Got Oo Pwo to oe DOWD OO) Kota bo") G2. OFA NN GD DOE -- DENISON'S ACTING PLAYS _ - Price at Cents Each, Postpaid, Uniess Different Price is ‘Given af ! | ms Ss. parison & COMPANY. Publishers 154 W. Randolph Sf., Chicago ! VAUDEVILLE SKETCHES, MON- OLOGUES, ETHIOPIAN PLAYS... Mik, Axtin’ Her Bather, 25 anitivs 2 Booster Club of Blackville, 25 m.10 Breakfast Food tor Two, 20 an. 4 Cold Fitish, 15 min: = 2 Coon Creek Courtship, 15 mints} Coning Champion, 20 min. 2 Coontown, Thirteen Chub, 25° mel4 te kee Countérfeit “Bills, 20 eke i Doings of a Dude, 20 nau: Zz Duteh Cocktail, 20° min... 23 2 Five Minutes from. Yell Col- Le Pee LS AER 5 os yan sas Secu oe For Reférm, »20 Fe pees ¢ ~. 4 Fresh TimothyHay, 20: min... 2 Glickman, the Glazier, 25 min. I Handy Andy. (Negro), 12 min. 2 Her. Hero, 20 min. Ae wig ey Hey, Rttbet 15 Wn 1 Home Run, eas | hho Rane ie aie 1 pp ARE cae INGO. Fo on aes 2 ae Jaume "RO IRI. 2.2... Hay 4 “ttle Red School House, 20 m. 4 —Love and Lather, 35. min<.). 3 Marriage and. After, 10° min: . 1 Mischievous Nigger, 25% mine 4 Mistaken Miss,:20 mins ie. ho 34 Mr. and Mrs. ido, 20 min. t Mr. Badger’s Uppers, 40: mit, *4 One Sweetheart for Two, 20 m, Oshkosh Next. Week, 20 min... 4 Oyster Stew, 10 “min gue Sse 2 Pete Bey $ Gurl’ 5 pect he 10 Picides Ss br Two, : 15. hae - AS | Pooh Bah of Peacctown, 35 niin. 2 6 Prof.-Black’s Funnygraph, 15m, Recruiting. Office, 15min Sham wee 10° min Stand I 15.min ae Special. Sale, “15 mine. gn. «. 2 Stace Struck’ Darky, $: min 2 Sunny. Son ‘of Italy, 15. min... I Time Table,.20 min... ses Tramp. and the Actress, 20 min. Troubled by Gliosts, 10 mili. T toubtes of Rozinski. 35 min. Two Jay Detectives, 15 min. Umbrella, Mernder, 15 fin. packs. Bill at the Vaudeville, min. tnele Fett: +25. Anat ca we ees Who. Gits de Rear 30 -mi-. > eee — DO Bo et we Dr _-A great number of Standard and Amateur Plays not found here are listed in Denison’s Catalozue SN me pen nearer ad 3 leet anal we ~ ad tS heer RO DS 22 cape mem gee et ores . : . Perma aabsig ht. aia Tg a i i I El ll lt a li lr PA ae an art I ee ey De nan SE Se Clee Sula od wks PSS se x * TREMP Va ~ POPULAR ENTERTAINMENT BOOKS| i Price, Wustrated Paper Covers, 25 cents each. a N this Series The Poetical Entertainer, : For reading. or- speaking. : - act eg As d Pomes ov the Peepul. = He books touching Wit, humor, satire, Eniey pane aie every feature’ | “Scrap-Book -Recitations.. one iges. SHE. eaters 7 Choice collections, pathetic, hu.) HP : morous, descriptives-p rose, hy’ tainment~ field. poetry. 14 Nos, per No. 85e jh Finely ma dé, He good paper, ate chiar a i 4 e Best Dri ook, + tons he a rie Very popular drills ag RNase: 12 { cach Pook aS. The. Favorite Bookvot Drills. ~~ jhe an attrdctixe Drills that sparkle with originahty.< ~~} individual ¢ov- Little Plays With Drills, * t desi For children from’ 6 to 11 sear +, miei The Surprise Drill: Book, Ae DIALOGUES Fresh, novel, drills and marches. its All Serts f Riatogues: : SPECIALTIES 8) 2 elected, fine for older. pupils. - nase Catchy Comic Dialogues. bate nes dialog aritts, © ee Very. clever; for young people. Child ogre te mos i: oe a Children’s Comic Dialogues, ont ee games. ° ras From six to eleven years of age, The Days We Celebrate. =~ —a ars a ate ant aes so peat . eg Schools; Entertainments for all the heli dav Dialogues from Dickens. —— Things for Christm = { ci Thirteen seleeri dae: ecitations, orth bepiva mis The Friday Afternoon Dialogues: | G00d Things for, Tha wines ‘A gem-of abo Ke Say Over 50,000 copies sold. From Tots to Teens. Dialogues and recitations. Humorous Homespun Dialogues. For older ones. Littie People’s Plays, From 7 to 13. years. of age. Lively Dialogues. For all ages; mostly -humorous, Merry: Little Dialogues. Thirty-eight origihal. selections. When ‘the Lessons are Over, Dialogues, drills; plays. Wide Awake Dialogues. Brand new, original, successful, SPEAKERS, MONOLOGUES New and novel;: for all is Choice ‘Piecés. for Little People, Twinklin Fingers and wee : | | Good Things Ss Washington” | 1 A child’s speaker. in igures. For little tots. | | and Lincoln Birthdays. Little Folks’ Budget. Easy pieces to speak, songs: 4 One Hundred eriteptainaen te: is . New parlor diversions, soc Patriotic Celebrations, Great: variety of material, Pranks and’ Pastimes, Parlor ‘ganies for children, ar Private. Theatricals. ; How. to ptt on plays, Shadow Pictures, Pantomimes, Charades, and how to prenare,. Tableaux and Scenic KZ ha ee Re CORR ~ same es ah, The Comic Entertainer, Yuletide Entertainments, Recitations, monologues, dialogues: A choice Christmas collection. Dialect Readin S. MINSTRELS, JOKES 3 Trish, Dutch, Negro, Scotch, -ete, The Favorite Speaker. Black American. Joker. 2 Choice pros¢ and poetry, Minstrels’ and erid. men’s gous. : The Friday Afternoon Speaker. A Bundle of Burnt Cork meets bg For, pupils. of all ages. Monologués, stum com Humorous Monolagues, Particularly for ladies. Monologues for Young Folks. Clever, humorous, original. Monologues Grave and. Gay. Dramatic and humorous, ox Fema ee F ates eat aes a we. ee OO See Pee £ § ize ] NRE HD 8 x re Laughtand, via the Ha-Ha pute, 4 merry trip for fun eee ae Negro Minstrels. All about the business. The .New Jolly Jester, Funny stories, jokes, gags, ete, The Patriotic Speaker. Mindat Dis oie ie nb Master thoughts of master minds: Large Mustrated Catalogue Free — T.S. DENISON & COMPANY, Publishers, 154 W. Randolph St., Chicage - IE Ne HY aa : “ahs Siecanireoeleeeemeneeteaee FF 7 POSITIVELY NO. PLAYS: EXCHANGED. i YP < os a 25 CENTS 2? wi LL ROSSITER vey PUBLISHER . : ee | CHICAGO,! be. a : BAWKSHAW, THE ‘DYSPEPTIO. An ‘up-to- g For both Pi ro ofe: ss si o na t and Am a to ur ‘performances : i ALICE mw BLUNDE EP plete ik dae a 5 by William Lincoln Balch. Characters, four — male, two female. Plays thirty. nite pairs Laban supper-room in “hotel. me odern, Price, 25 cents, — . a Hocus: DETEOTIVE. A conception of come athe for vaudeville entertainments, by Harry L. . Newton, . Plays eighteen “minutes, Scene, &— hotel | parlor, 4 _ Characters, “an “actress - and » tramp, © Av fine act, on the mistaken identity — . order. Good finish and opportunity for intro-— x preteens of. a eens Price, a ( Hee Harry. Le “Newton, Seven male, one female (BOOKING: AGENT. 3 By. ie Newton. characters, which may be altered to more oF Comedian and ‘Tady. Dhiee fteen minutes. . less as cireunstances will allow. eo otal One of the: anh fapid fre 2 meee ie ever -—s neat ‘and eceentric. Scene, country hot The action is brisk, dia- Pte and eke. ‘finish novel and unex- : in “satire on one of man’ S many wo cents... HALFBACK, One act. force: | by . wri ae Price, eents r vi _ office. Plays about thirty minutes. Fun, fast c BUTT. IN OF P BULTONBENDER By Harry L. and furious. “Good parts for’ Rube, Ba r, Newton. Trish comedian ~ Herd og: Playa ‘Blackface, ‘Tramp comedians. ~ ” fifteen minutes, Not) much ~ lot, but bh OL. EOoe comedy and eltty dialogue, — Esice, _ 25 ce cS CHARLOLTE’S. RUSE. “One act. frapies ne Herry L. Newton. One female, three - ‘male _ gharacters. Plays twenty-five minutes, Scene, -. gn easy interior. Costumes, modern. Char- - Totte yne conceives a plan to circumvent _ her eruel father’s object ons to her sweet- heart. She bas him make up as the counter- part of the house servant, and a comedy aes ensues; even she, herself, cannot tell i the two apart. A capital comedy, - full of oe ‘aétion and screaming | finale sti eurtaln. Price, 25 cents. UNTRY VISITOR. WLaughable one act farce, pai! Chris. Lane. - Characters, three male. : Plays fifteen minutes. 4 phn pubite room of buffet. Costumes, two city sports, one rube. This has proved a great bit. ‘fa amateur - theatricals. Price, 25 cents, t cog A COUSIN FROM THE WEST. aN “orl inal - yaudeville skit, by Jef T. Branen. ar: Setar a “rube’’” fe tae va “fulnutes. of real spasm of mirth. A great thing | for an after- ages or opening sBumber for. “ep” shows. - Price, 25 cents. eta ee Farce, by Gillespte and Reilly. _ _ Ohdracters, two wmiale, one female. Hite a tks ee * fifteen minutes. wih piace, ‘Abrary. Costumes, — ees are 25 cents. — 5% elever vaudeville vehicle, by b 7 pee sey “Newton. Jays - fifteen minutes, ~ ‘Characters, an eecentriec middle-aged woman, ‘makes change to refined and up-te-date girl. A Cam sag ooo to introduce specialties if so de« sired. thing to Be but ‘Ima's Visit” is: Certainly m good. Price, 25 cents, nee PRINS” ‘JUMBLE. Comedy, by ‘Harry os FR _ Characters, two male, two eS os ty ran Be minutes. Scene, a sitting- ; , Cos Shy ‘rural. Price, 25 cents. 3 h “GRIN BAR RETT, “Skit for two m Soap comedians, Plays fifteen minutes. « ph ah Bet of funny rapid fire: conversation. — Price, 3 Soeid L, Newton, Plays . fifteen. minutes, : I nes and Cag ah comedian. stumes, med- Oy farce Ae evita : eae che the ranean: mingtes, New. business, seg? Bria 3 Great travesty ‘finale. — Price, 2 ARMLESS FLIRTATION. ‘Gomeay, by Jetrrey * Branen.. Characters, three male, one. bade Plays fifteen minutes. SCene, ‘dint sh pee dn fat. Lee citer, uodern. / Price, i; duced with udeville “success, by Plays twenty minutes.” Characters, a young stock broker and , ad jenlons Syke The nite a -~ @ate version of an old favorite. Written by i form. : Harry L. Newton. Charaétéers, a broken-down THE NEW HEE, - actor and an eccentric’ A ayy Can be played RS act, i tar ry L. Newton, Tw emale, on any stage or platform. Costumes and two. male) ‘characters. “Scene, a- ‘iohoo “room. _ “props”* simple, ‘Tb § little comedy is classed 4 ea Plays” ‘about — Bie RAR minutes. Zhe male among the ‘‘sure-fire’’ vaudeville acts, as the / parte ere “Dut dislogue 1s screamingly fanny, the situationg parts are. on dhe “Sis. Ho okins’ order, MS ie OFk ludicrous’ apd the action brisk. Now that < dine ‘yebicle fo! : i have written the note, who will take {t?’” dances and recitations. While only four char- — -You’ve heard that a thousand: times, but never acters are cast, more may ensily be added af ‘fore bave you been able te obtain a printed ‘the Gasp of performers. Not a dull moment; — a of ae as Godbaines fda No seid cra oe RO Sr Avene eae oe ice, 25. centa, er, Chicago : aoa wressing g gown a of slippers; she : box ets woe several ee Be sored farce is” always funny, ‘Gat ‘tiie nee ai ee. and a “Sig Hopkins’ young woman, who later ood sketch for two women is a hard - 4 - 2B ce re MER. MAGARA’S | ‘FALL, A comic “isch by’ re “hotel” apartment, Pelee, a5 Harry L. y COOK. he an ordinary. parlor. - me y te eanaaviiin. farce, Sie Fac bh aud “Silly Kid,’ The female the intro “nt 18 of songs, “The Pugilist and the Lady’’ A COMEDIETTA. By Harry L. Newron. Copyright MCMVII by Will Rossiter, Chicago, IIl, CHARACTERS. Mr. Nirry Nix, a pugilist. Miss SALuty SMITE, an athletic maiden. FAIRLEIGH WELL, in love with Sally. SCENE. Parlor in the Smite residence, furnished as handsomely as circumstances will permit. Japanese screen in left corner. COSTUMES. Nirry Nix. Make-up of a man about twenty-six. Wears a loud, flashy suit with tight-fitting trousers. Large checked shirt, red tie and diamonds; Derby hat; face well reddened. Speaks in “‘tough dialect.”” Part should be played by a large, well built man. SALLY Smite. At first appearance, wears simple white dress, then changes to athletic costume, consisting of white sweater, navy blue, knee length skirt, black silk stockings and high-heeled Oxfords. This cos- tume may be worn underneath the white dress, so that change may be made quickly. FaIRLEIGH WeELL. Heavy overcoat, winter cap with ear laps, red mittens, woolen scarf about neck, | overshoes, hot water bag fastened with string about | neck. Speaks in a weak voice. Part should be ' 2 THE PUuGILIST AND THE Lapy. played by a smaller man than Nix, but he must be also well built. THE INCIDENT. (Fairleigh Well imagines that he is afflicted with some incurable disease, while, in fact, there is nothing the matter with him. He is madly in love with Sally, but she has become provoked at his weakness and will not listen to a proposal from him. She 1s an admirer of the virile, manly man, even has a weakness for prize fighters. She engages Nijty Nix, a pugilist to give her boxing lessons. He comes to her home; Fairleigh, madly jealous, hides behind a screen; Sally discovers his presence there and is at once struck with the idea of teaching him a good lesson by a flirtation with Nifty. The latter at first believes that Sally is really wn love with him, but later discovers his mistake. Fairleigh suddenly recovers his health, Nix brings the two to- gether and prevails on them to “‘sign articles for a life match.” TIME, an August day, this year. PLACE, anywhere. AcTING TIME, twenty-five-minutes. (Curtain music: “Good old Summer Time.” Enter Sally and Fairleigh, she a little in advance of him and walking quickly, he follows, walking slowly and leaning heavily ona cane. She flings herself into a chair, he stands in center stage, apparently in an exhausted condition.) SaLLy: Good gracious! but isn’t it hot! (Wzpes jace with handkerchief.) WELL: Hot? Sally, I can’t understand what you can be made of. I’m simply chilled through and through. (Goes back to center door and draws © the curtains to.) There’s one thing I can’t stand, and that’s a draft. (Comes down stage again.) SALLY: (Laughs.) Ha, ha! How ridiculous you are. Don’t you want that poor, overworked hot THE PUGILIST AND THE Lapy. 3 water bag placed somewhere on your poor chilled body? WELL: Yes, by Jove! now that you speak of it; I do feel a queer sort of a pain on my left shoulder. Would you mind placing it there, Sally? SALLY: (Rises quickly, goes to him, takes water bag and puts rt on his left shoulder, then slaps him on the back very hard.) There, that’s what you need, a good pounding and not that hot water bag. You should take a good physical culture routine, instead of wearing a pile of overcoats and earmuffs. WELL: (Coughs and chokes as she pounds him on the back.) No, no, Sally. Don’t strike me like that. I’m a very sick man. (Coughs weakly, with hand on chest.) Sauty: Bosh! (Starts walking rapidly and vigor- ously across stage, lejt to right.) It’s all bosh! You are as well and strong as I am this minute. You only think yow’re sick. WELL: (Goes to her side and tries to keep pace with her. She still keeps up her vigorous walking to and fro.) Now, Sally, please don’t bosh me. You do me a great injustice. I’ma physical wreck. It’s only by artificial means that I can keep the breath in my body. My lungs are completely gone. My head throbs with every movement of my body. I?m—I’m—Say, Sally, for goodness sake! What is this, a go-as-you-please? (Stops walking, hand on heart and drawing his breath with an effort.) SauLty: (Stil keeps up her walking.) No, it’s not a go-as-you-please. It’s a go-as-soon-as-you- like, but the quicker you do, the better I shall be pleased. Wei: Oh, Sally, don’t say that. (Drops into a chair.) Don’t tell me to go and never see you again. Satiy: (Stops in front of him.) The idea of a 4 THe PUuGILIST AND THE Lapy. young man like you talking about being ill, and almost ready to die. You're not sick. | Wet: I am sick. Didn’t my physician say that I was? Wasn’t his bill fifteen hundred dollars? SauLy: Fifteen hundred dollars! Well, no won- der you’re sick. That bill is enough to make any- body sick. Wei: (Brightly.) Oh, but I’m very much better, Sally. I really left off my sealskin under- vest this morning. . SaLty: (Laughs heartily.) Fairleigh, as badly as I feel I am compelled to laugh. Sealskin vest and on the first day of August, with the thermometer at 96 in the shade. Wet: But I haven’t been in the shade, Sally. Really, I haven't. SaLty: BOSH! Wri: (Pleadingly.) Please don’t ‘‘bosh’’ me again. When you say bosh to me it strikes me right here. (Places hand on heart.) SaLtLy: Yes, and when I say it, it comes right from here, too. (Puts her hand on her heart.) Wei: But Sally, remember that I love you. SaLtLty: Remember? I wish to goodness that I could forget it. (Starts her walking again.) Don’t talk love to me! Wet: Why not? Am I not just the man you should have? I don’t smoke, swear, gamble, flirt, stay out of nights, scold, tease or anything. Satuy: (Stops and jaces him.) When I marry, Fairleigh, | want a live man and not a corpse, like you are. Why don’t you brace up and gamble, flirt, smoke, swear, stay out of nights, do anything you wish, but be a real live man? WELL: Oh, Sally! Sautty: Don’t Sally me! Go get well, then I might listen to you. Tue PuGILIsT AND THE Lapy. 5 3 Wei: (Eagerly.) I will. The doctor thinks if I should travel a bit that it might help me. Do you think so? | Sautty: Yes, I do. And the sooner you travel the better. So you had better start right now. Wei: Oh, don’t talk that way. And please stop that infernal walking. You make me nervous. SALLY: (Faces him again.) Yes, and you make me—excuse the expression—but you make me sick. Do you suppose for one moment that I would ever marry a remnant like you? I’m a woman, but I’m not looking for any remnants in man. Wet: But didn’t you promise to be my wife? SaLty: Yes, but before you became what you are—a muffled up mummy. (Sadly.) Oh, Fair- leigh, can’t you understand? Can’t you realize that I would feel only smypathy for you if you were really and truly sick, but you’re not— Wet: Didn’t the doctor— Sautyy: I don’t care what the doctor told you. Supposing that an undertaker was to walk in here now and tell you that you were dead. Would you believe him? Wet: I don’t know if that’s a fair comparison. I know that I’m halj dead. Satty: The whole trouble with you is your mind. Your brain soaks up everything everybody tells you —anybody except me. You won’t listen to me. Will you listen to me? No, you won’t. See; I told you So. We tL: Gee friz! Give a fellow a chance, will you? SALLY: You’re too much of a weakling to take a chance on anything. Oh, why aren’t you a great big husky brute of a man. Then I could love you with my whole heart. 6 THE PUGILIST AND THE LaDy. WELL: (Coughs.) The idea! Why don’t you marry a prize fighter? SatLty: That’s a splendid suggestion, even if you did offer it. I believe I’ll act on it. A prize fighter, you say? Yes, that is indeed a splendid idea. Oh, how I could learn to love a real prize fighter! Oh, if I could only marry one! How carefully would I watch him when he trained for his battles. How I would sit and watch the play of his mighty muscles. How I would dwell on his every word and gesture to catch his slightest wish before he could even utter it. I would be his slave—his very slave! How I would cheer him on to victory, and when he returned home to me after one of his contests, I would place a wreath of glory upon his noble brow. Now you know the kind of man whom I could love. LOVE with all my mind, body and soul! Wei: But did you ever stop to think that this big husky brute might come home some time with a jag on? SatLy: I would bathe his fevered brow and put him to bed. Wei: He might hand you an uppercut. Sauuyy: I would kiss the hand and love the upper- cut. We: But he might knock you out. ' Sauuy: If he did I would come back in again. Wei: (Sadly.) Oh, I see it’s no use. It’s all off with me. I don’t see any chance of my marrying you. Satty: Oh, yes there is. There’s just ONE CHANCE. WELL: (Eagerly.) And what is that one chance? SALLY: Go fight (champion pugilist) and win the championship. Tur PUGILIST AND THE Lapy. fs Wett: WHAT! Me fight him? Me? Why, that’s not a chance. SautLty: What is it then? Wet: (Sadly.) Suicide. SauLty: Well, you might just as well have it over with quickly as to sit around the way you do, dying by inches. WELL: Oh, please have a little pity. Satty: I am; I’m having just as little pity for you as I possibly. can. I’ll give you one more chance to redeem yourself in my graces— We_: (Kagerly.) Yes? Sauty: And this is positively your last oppor- tunity. If you will put on the boxing gloves with me, and give me a good beating, Ill love you with all my heart and promise to be your wife. Now, how does that strike you? WeELL: (Groans.) It doesn’t strike me at all. I can’t box and you know it; and even if I could I wouldn’t have the heart to strike you. Sauty: Then your last chance is gone. The man I marry must be a MAN, not a mummy like you. I don’t care what he is just as long as he is strong, healthy, and—well, the bigger the brute he is the better. (Starts for center door; at door stops.) You'll excuse me now, Mr. Well. It is the hour for my boxing lesson— Wei: (Interrupts.) Oh, Sally! (Rises and faces her.) How cruel you are! Give me some little hope, won’t you dear? SALLY: The only hope I can give you, Mr. Well, is this: Go whip somebody and get a reputation, then come to me. Good-bye. (Exit and change to athletic costume.) WELL: (Gasps and sinks back into his chair.) Oh, dear me! What a girl she is! Ever since she came back from Vassar it has been nothing but one. 8 THE PUGILIST AND THE LaDy. physical culture fad after another, and now it’s box- ing. To-day she commences taking boxing instruc- tions from a professional pugilist. (Groans.) How will it all end! Oh, how will it all end! (Reflects jor an instant.) By Jove, I have an idea! (Rises excitedly to his feet.) Ill see that pugilist when he comes, and bribe him to act so tough that he’ll dis- gust Sally, and she will never talk of pugilists again. Then perhaps I’ll have another chance with her. (Hobbles to center door.) I hear somebody down stairs now. I’ll just rush down and see if it’s that pugilist. (Makes a very slow comedy exit.) (Nijty’s voice off stage calls: ‘All right, bo. Til see you later.’?’ A moment later he comes backing on stage through center door, then turns sideways to the audience and looks off stage in the direction he has come. He has his hat inclined over his eyes, is smok- ing a cigarette and in his right hand holds a green- back.) Nirty: Well, huly gee! What was that I just met in the hall? He’s all muffled up like it was Happy Hand me Somethin’ Time, instead of de good old summer time. (Z'urns, comes down stage, stts on edge oj table, looks curiously about, puffing hard on cigarette.) Huly gee, but this is a swell dump! But that guy I just met is sure bad in the head. He’s bugs for fair. He blows up to me, Says somethin’ ’bout jest actin’ natural and I'll queer meself wid de dame; den he slips dis bill in me mit and vamps. (Looks at bill and then puts t in his pocket.) I kin jest see Nifty Nix a-wearin’ real diamonds, and a-ridin’ in benzine buggies if dis ting——- —-—]’m here to give a dame some sparrin’ lessons. Well, I’m here accordin’ to agreement, all right, all right. (Gets off table, stretches arms and legs.) And I’m certainly feelin’ fine and dandy, in de pink of condition and ready to put up de fight THE PUGILIST AND THE Lapy. 9 of me life, give or take twenty pounds. Now, I’m hearin’ dat she’s rich and dead stuck on us fighters. Say, maybe if I make a hit wid her, she’s mine. (Adjusts his necktie, pulls down his cuffs, etc.) Well, at dat I ain’t such a bad lookin’ guy! (Looks all about.) Say, can youse imagine Nifty Nix tied to a bunch of skirts fer de rest of his natural life, and sittin’ in a cosey corner a-smokin’ paper pills, and nottin’ to do but blow de old man’s dough? Gee, I’m beginnin’ to see tings. I must be sound asleep. (Takes a pin from his coat and jabs it into his leg, then gives a yell and jumps.) No, I’m awake, all right, all right. (Szts on table again.) 1 kin picture meself a-livin’ on Easy Street, wid no more trainin’ and no more lookin’ fer matches; no more knockouts and wallops in de jaw; no more nottin’ but jest takin’ tings easy. Skidoo! Here comes de dame now. (He straightens up as Sally is heard singing a lively air off stage, and he glances nervously about him. She enters center door, dressed in athletic costume as described, and carries a pair of boxing gloves in her . hand. She stops short as she reaches center door and looks curiously at Nifty.) Sauuty: I beg your pardon, sir. Nirty: (Whirls about and faces her.) De same to youse, miss, and many of dem. (Takes off his hat and makes an awkward bow.) SaLLy: (Comes down stage.) You are Mr. Nifty Nix, are you not? Nirry: Sure, Mike! (Takes cigarette from his mouth, looks all about for some place to put it, then thrusts at into one of trousers pockets.) SALLy: (Aszde.) How very original he is. (To Nix.) Won’t you sit down for a moment, Mr. Nix? Nirty: (Drops awkwardly into a chair.) Don’t mind if I do, kiddo. (Jumps up immediately, claps 10 THE PUGILIST AND THE LaDy. hand on pocket where he put cigarette, looks wildly around.) SauLty: Why, what’s the matter, Mr. Nix? Nirty: Oh, nottin’. I jest happened to tink of someting. (Puts hand in pocket and pulls out cigarette, then flips rt off stage and rubs hand on pocket. Aside.) Gee, but dat was warm! Sauty: Did you forget something? Nirty: No, but I wish I had. (Rubs hand on pocket.) , SALLY: I have sent for you, Mr. Nix, to come here and give me boxing instructions. Are you a first class boxer? Nirty: I’m one of de best ever. I’m de cham- peen in me class. SAaLLy: (Puzeled.) Champion in your class? Why, do you go to Sunday school? Nirry: (Looks at her in surprise, then slaps his hand on his leg hard and laughs heartily.) Say, dat’s de best yet. ME go to Sunday school? Say, quit yer kiddin’. SALLY: Then what class do you mean? Nirty: Why, de middle weight class, girlie; de middle weight class. SaLtLty: Oh, I see. That means that you weigh just half as much as all the other prize fighters. Nirty: (Winks at audience.) I see dat you are wise to de fightin’ game, all right. SauLy: (Proudly.) Oh, I’m pretty well up in all things pertaining to athletics. I swim, row, hurdle, vault, fence, golf, tennis, and now I’m going to take up boxing— Nirry: Den youse will have de hull bill of fare, won’t youse? SaLtLty: That’s what I want. (Aside.) What a magnificent creature, but what horrible grammar he uses. THE PUGILIST AND THE Lapy. 11 | Nirry: (Rising.) Well, I’m de guy dat’ll hand ‘it to youse on de strictly level proposish, girlie. I never was wrong wid de dames in all me life. Sautuy: I believe you, Mr. Nix. (Looks all about, then draws nearer to him and speaks confiden- tially.) You see, Mr. Nix, I wish to show a certain gentleman that I can be—can be happy and con- tented even though I do not do just exactly as he wishes. Nirty: Oh, I’m wise, all right, all right. Youse has got it in fer dis certain gee and youse are zoin’ to take boxin’ lessons and den hand him a couple of good wallops. SaLty: (Drawing back.) Oh, no—nothing like that. You see, Mr. Fairleigh Well is a—well, he’s a suitor for my hand— Nirty: Ain’t dat what I said? Youse are goin’ to hand him yer hand wrapped up in a boxin’ mitt. (Squares off in a pugilistic manner.) Satty: No, no. You misunderstand me Mr. Well thinks he is a very sick man. I do not believe there is anything the matter with him. I want him to brace up, be a man and go in for athletics I think some sort of a physical culture exercise would be of great benefit to him. Nirty: Youse are right, girlie. Dem physical tortures are just de proper caper for de gee. Turn him over to me. I'll do him good. (Makes pugil- astic motions.) SaLtLy: No, no, Mr. Nix. I don’t want him killed outright, you know; but I do think a fev private lessons from you, delivered in an easy man- ner, would do much to straighten him up. Nirty: Oh, I’d straighten him up, all right. Who is dis gee, anyhow? (Enter Fairleigh, stands in center door, listening.) SALLY: His name is Fairleigh Well, and he is a 11. OF ILL. LIB. 12 THE PuGILIST AND THE Lapy. very nice young man. (She discovers Fairleigh, but he is not supposed to know that she has seen him) Yes, he is a very nice young man—in his own estimation. (Fairleigh is still muffled as before, and now he sneaks behind the Japanese screen.) | Nirty: Oh, I’m wise, all right, all right. He’s one of dem gees wot’s always handin’ demselves bunches of violets. SaLLy: Yes, he thinks he amounts to something. but he doesn’t. (She glances at screen and thea says aside:) I’ll teach Mr. Fairleigh Well a good lesson. (Fairleigh meanwhile has stepped on a chair behind screen and peeked over the top. He makes a wry jace at them.) Nirry: Oh, dere’s a hull lot of gees in dis world like him. Say, wot’s he look like? SaLtuy: He looks like the very mischief. He's all muffled up, and carries a hot water bag about his neck. Nirty: Oh, I seen dat lob. I tought he ee nuts from de first call of time. (Fairleigh shakes his fist at them, then takes the water bag and throws 2 over top of screen and across the stage.) SaLLy: (Not appearing to notice Fairleigh.) _ Mr. Nix, I’ve so longed to talk to a real live prize fighter. I’m so glad you are here. Do you ever realize that you are a very handsome man, Mr. Nix? Nirty: (Swelling out his chest proudly, etc.) Why, cert, cull—excuse me, I mean, girlie. I’m one of the ‘best lookers dat ever landed a knockout on a girl’s heart. (Aside.) Dere’s nottin’ to it. Dis dame is goin’ dippy over me. SALLY: (Glances significantly at screen, ther THE PUGILIST AND THE Lapy. 13 turns coquettishly to Nijty.) It’s strange, Mr. Nix— you don’t mind if I call you Nifty, do you? Nirty: Sure, not; girlie. SauLy: Well, it’s strange, Nifty, that you have never met your affinity. Nirty: Well, you see, girlie, I’ve always drawn de color line. Id never fight a nigger. SALLY: (Laughs.) You misunderstand me. I mean, it’s strange that you’ve never married— Nirty: Oh,nowl’m wise. (Draws nearer to her.) You see, girlie, it’s dis way. I never seen a dame dat I tought was in me own class. Say, do youse know dat youse come nearer to bein’ a proposition in peaches wid me dan any I ever seen? SauLy: (Sighing heavily.) You don’t tell me. Nirty: Sure, I tell you. I’ve seen a bunch of different skirts in me time, but dey was nix wid me till I puts me lamps on youse. (T'ries to put his arm about her, but she draws back.) Gee, I didn’t know dat clinchin’ was barred. (Fairleigh bobs up from behind screen and throws his cap viciously across stage, then shakes his fist at the two.) SaLty: Well, you see, Nifty, I’ve hardly known you long enough to have you— Nirty: (Interrupts.) Oh, dat’s all right, girlie. We'll get acquainted purty quick. (Fairleigh bobs up and sails his overcoat across stage, then shakes his fist and makes faces at them.) Sauty: (Aside.) Mr. Fairleigh Well is evidently getting warm. My treatment is taking effect. (To Nifty.) I hope we shall become very good friends after a while, Nifty. Nirty: Leave it to me, girlie; leave it to me. SaLLy: (Sits on one end oj the sofa, motions him to sit beside her.) Come here, Nifty, and sit down. Nirty: (Swells up proudly, then struts to sofa and 14 THE PUGILIST AND THE Lapy. sits at other end from her.) Gee, I’m glad youse tied a can to dat friend of yours. SaLtuy: (Pweeled.) Tied a can to him? Why, what do you mean? Nirry: Oh, excuse me, girlie; I forgot dat youse wasn’t wise to dat kind of spiel. Yesee, when youse say youse tied a can to a guy, dat means skidoo fer him. SaLtLy: Skidoo? Nirty: Sure. Skidoo! Twenty-three! Blow! Vamp! Git! | Sautuy: Oh, now I know. It means that I am angry with him, and he must go. Nirty: Dat’s de idea, girlie. SaLLy: (Brighily.) Oh, it must be lovely to know how to talk your language. You will teach me, won’t you, Nifty. (Slides a little closer to him.) Nirry: Sure ting. But I tought dat everybody was wise to de plain United States spiel. But dat mummy was no good nohow. He was a dead one fer fair, and ought to be on his way to de morgue. SauLy: (Laughs.) All men can’t be as hand- some and strong as you, Nifty. (He slides towards her.) (Fairleigh bobs up and throws his coat and vest across stage. Then says in a fierce aside: “I'll come down there, Mr. Nijty, and punch your jaw in a minute.’’) Nirty: Well, I ain’t no knocker, girlie, but I couldn’t like dat guy fer money. SauLy: Neither could I, Nifty. (They both slide a little closer together, while Farr- leigh tears off his collar and tie and throws them angrily, then shakes his fist at them.) Nirry: I don’t like to break away from dis clinch, but ain’t it about time we was puttin’ on de mitts fer yer lesson? THE PUGILIST AND THE Lapy. 15 Sauty: Oh, there’s no hurry, Nifty. I’m so happy here beside you. (Leans her head on his shoulder.) Nirty: Well, go as far as you like. I kin stand fer dis all day. (Fairleigh bobs up and throws his outer shirt over screen. His undershirt should be tight-fitting and have short sleeves, and he should wear a belt about the waist of his trousers. After throwing off the outer shirt, he tups over the screen with a crash and then rushes down stage and stands with folded arms in front of Nijty and Sally. She jumps up with a frightened scream. Nifty looks indifferently at Fairleigh.) Wei: You scoundrel! How dare you make love to my Sally! Nirty: (To Sally.) Who’s your friend? Sauty: (Frightened.) Oh, that’s Mr. Well. Nirry: (Rising and putting out his hand to Fair- leigh.) Glad to get hep to youse, Mr. Well. Hope youse are well. WELL: (Drawing away and speaking fiercely.) Do you suppose I come here to shake your hand— the hand of a scoundrel like you. Nirty: (Good naturedly.) Oh, I ain’t so par- ticular. SaLLty: (Pleadingly.) Mr. Nix, please don’t have any trouble with Mr. Well. Nirty: ((Laughs.) Trouble wid him? I should say I wouldn’t have any trouble wid him. Why, he’d be a cinch fer me—no trouble at all WELL: (Frercely.) You big duffer! If it were not for the presence of this lady, I’d knock your ugly head off. (Shakes his fist in Nijty’s face.) SaLLy: (Throws her arms about Fairleigh’s neck.) Don’t, Fairleigh! Please don’t strike him. We.tu: (Shakes loose from her embrace.) Go way from me! You are as bad as he! 16 Tur PUGILIST AND THE LADY. Nirty: Here, here, cull! Just cut dat out! Youse kin trow de gaff inter me, but nix on handin’ her any roasted language. WELL: Oh, I’m not afraid of you. Don’t think for a moment that I am, either. (Strikes a very heroic attitude.) SauLy: (To Fairleigh.) Oh, how like a man you speak and act. I really didn’t know twas in you, Fairleigh dear. I will never have cause to eall you a “‘mummy” again. | Nirty: Huly gee! is dis de mummy guy? SautLy: (Angrily.) Don’t you dare call him a mummy, sir! WELL: No, sir; don’t you dare! Nirry: (Laughs.) Oh, I’m wise to de game now. Youse both love each other— SauLy: (Interrupting.) I don’t love him— Nirty: (nterrupting her in return.) Nix, girlie, don’t cut in now. Let me make my little spiel. (To Fairleigh.) Do youse love dis dame? Wei: What business is it of yours? You come outside for a minute and I’ll soon show you that I _ don’t love you. Nirty: Nix fer you, cull, too. I’m de manager of youse two now, and youse’ll have to pull off dis match de way I say or dere’ll be someting doin’. Now youse two git together and come to a agree- ment, see! WELL: (Friercely.) Never! I shall never speak to Miss Smite again. Nirry: Oh, yes, youse will! (Zo Sally.) Come here, little one. (Sally stands to right of Nifty, Fairleigh to left.) Now youse two kids cut out all dis fierce talk, grab mits and listen to de referee. (He takes their right hands and clasps them together; he stands back of their hands and between the two.) I want to tell youse two kids someting. A hull lot Tue PUGILIST AND THE LaDy. 17 of folks in dis world tink dat a prize fighter ain’t got no heart or no sense. Dey seem to tink dat all he’s got is a pair of tough hands and a ugly jaw. But a hull lot of folks would be fooled if dey was wise to Nifty Nix. I got a heart, kids, and I got a hull bunch of good sound sense up here (taps forehead), and dere ain’t no fighter in de business husky enough to pound dat sense out of me nut— WELL: (Interrupting.) But what has all this to do— Nirry: Nix wid de butt-in, cull. I’m master of ceremonies here, and de show goes me own way. I kin see widout de aid of a telescope dat both of youse is dead stuck on de other. And I kin see wid de naked eye also dat I’m not in youse class. Dat’s where me good sound sense gits in its work, see? (To Fairleigh.) Now youse reach over and kiss de little one smack on de lips, and tell her youse love her most to death. Wei: (Trying to draw away.) Why, the idea! I shall do nothing of— Nirty: (Grabbing Fairleigh’s wrist:) Yes, youse will. If youse don’t I’ll fergit I’m a gentleman, and, and—(looks at Sally) and I’ll slap youse right hard on de wrist. (Zo Sally.) Do youse want dis gent to hand youse a kiss, little one? Satty: (Hangs her head in confusion.) Why— why, Mr. Nix, I— Nirty: Dat’ll do youse, little one. I kin see dat youse do. (Steps back from them.) Now then, clinch and git busy. (Fairleigh and Sally look shyly at each other, then he opens his arms, she rushes into them and they kiss.) Nirty: (Clapping his hands.) Great! Dat’s a good a mix-up as ever I seen. (Picks hat up from table, puts rt on, pulls a cigarette from his pocket and walks to center door. Fairleigh and Sally now clasp 18 THE PUGILIST AND THE LADY. hands, turn and watch his movements. At the door he turns to them and says:) Now, kids, I’m goin’ to blow and leave youse together. But I want ter hand youse a word or two before I skidoo. Youse two must git busy right away and sign articles fer a life match. De little one’s father will sure hang up a purse, and all youse has got to do is start in to train fer de event of yer lives. As fer me—vwell, I know when I’m travelin’ out of me class. Good-by. SauLty: But my boxing lessons, Mr. Nix. Nirry: Cut out de boxin’, little one, and youse’ll make dat kid happy. Leave boxin’ to prize fighters. (Lights cigarette.) Now are youse both willin’ to | sign de articles? Wet: Weare. (Sally bows her head.) Nirry: Den may de Great Referee (points up- ward) bless youse, and give youse a even break. Good-by. (He pulls hat low over forehead, puffs hard on cigar- eitte and walks slowly off stage, through center door.) CURTAIN. BURLESQUE STAGE JEWELRY, Etc. RINGS, STUDS SCARF-PINS Scarf-Pins 8-carat size, each ...20c 10-carat size, each ...35¢ 15-carat size, each ...50c Studs 8-carat size, each ...20c 10-carat size, each ...35¢ 15-carat size, each ...50¢ 15-Carat size These goods are just the thing to ‘‘make ’em laugh.’’ They Rings are extra brilliant and sparkle carat size, each.20c like the ‘‘genuinearticle.”” They 0-carat size, each.35c are fun-makers both on and off 45.carat size, each.50c the stage. Prices quoted include postage, which we prepay. STAGE MONEY 8-carat size Our Stage-Money has the rep- #, ulation of being the best on the market. It is carefully printed on Bond paper, which gives it | that ‘‘crisp’’ sound and feeling of the ‘real goods.’ Stage-Money | can be used in numerous ways, =| and it always causes a laugh | when you ‘‘flash a roll.” KSed Price, per 100, postpaid... . 40¢ “THE ORI “TABLEAU LIGHTS, FIREWORKS, Etc. These goods are made for us by the celebrated Pain’s Pyrotechnie Co. and are positively the highest grade goods on the market. GINAL-POPULAR SONG PUBLISHER Erg GE HAC AOS fy Spark Candles. Throws shower of sparks; | Imported Red Torch. These are as nearly absolutely harmless; perfectly safe. Can smokeless as it is possible to make them be used for Burlesques, Initiations, Comedy and are really the only practical colored fire Acts and all indoor illuminations. Price for indoor use, Absolutely safe and harm- postpaid, 15c each or two for...... 000 00002. 20C less. We strongly cecommend this article. Price, each, postpaid dd i ee ee ee » L5¢ Smoke Pots. For making smoke effects for fire or war scenes. price poctpals, 15c each, Colored Torches with handles. Just the or two for ee esse senses eee ee eoes eee esse oeee coveaoc thing for Parades, Private Displays, ete. Each torch has handle, making it easy and absolutely safe to handle, These torches Tableau Lights, Colored Fire, etc. For gen- burn from 3 to 15 minutes, according to size, eral illuminations for all purposes. eka Seeger crn is anise Res: LO Up i Medium size, each, postpaid......15¢ cans ready for use. Mammoth size, each, postpaid ,,.40¢ 14-lb. can, postpaid.,..,.......206¢ Large size, each, postpaid,.......25¢ %-lb. can, postpaid............40¢ Dbl, Mammoth, each, postpaid...60¢ od Vaudeville Prompter No.3 The only publication of its particular kind—a guide and instructor for all amateurs and professionals. If interested in Concert, Minstrel Show, Vaudeville or Dramatic Performance, or for evening eo ou will find The Prompter contains just the material you are looking or. Aglance at partial contents will convince you our claims are correct. @ Just as expected, No. 3 contains a worldof great stage material, and parodies I e S of the following songs: Annie Moore, Go ’Way Back and Sit Down, Sorrow, af Mamie, Hello, Ma Baby, When [ Think of You, Down where the Cotton Blos- soms Grow, My Lady Hottentot, Good-Bye, Dolly Gray selegronh My Baby, Sweet Annie Moore, Just. for Old Times’ Sake, Blue and Gray, Coon, Coon, Coon, I’m Tired, He Laid Away a Suit of Gray, etc. The above are by the well-known parody-writers Billy Jerome, E. P. Moran, Vincent P. Bryan, H. A. Bailey, Chris Lane and many others. a CET-BACKS, ‘FUNNYISMS FT e A Con- r rs ations versation in One, for two males, by E. P. Moran, is un- © V usually bright and clever, andis goodon any kind ofa bill for five or seven minutes, or you can cutit if you 4 wish, CET-BACKS-—for two males—is by the same author, who has that way about him of being able to write base what you want. Don’t miss the routine of hot stuff. A Few Bits, by Charles Horwitz. Epitaphs, by E. P. oran. Love and Lager Beer, by L. Stanfield, is a choice bit. In comic poetry, The Hobo Artist, The Geographical Song, Bloomers and other warm ones are well worth memorizing—you can use them. ? SKETCHES DIALECT STORIES. No. 3 certainly contains the ‘‘cream” of monologues. Such an assortment to @.) yeXe) Oo wes pick from was never put within yourreach before. There must : be enough material to make up six or eight cracker-jack turns and consequently you can pick out just what you want and fitin the one you’ve been working on so hard. In RAM P SPECIALTY there is nothing left for you to do but learn it, tramp out on the stage and get busy. his is so bright you can see the sparks—if the house is dark. When Smock the Tenor Sang, by L. Stanfield, is an- other clever bit. MISS WISE AND OTHERWISE is a clever sketch for male and female by LewH. Carroll. Mr. Carroll is well known in the vaudeville world as a stage managerand as a man to write clever things for shows, and rewrite and put shows in good shape—makea hit out ofa frost. That being the case, anything you find in print by Lew H. Carroll you can bet your last meal ticket is allO. K. Following this we offera great bunch of HEBREW STORIES with laughs in every line, with justa shade ofalaugh ineven the color line. There are plenty, so take your pick. You’ll find what you wantall right. DUTCH DIALOGUE by thesoubret’s pet, Harry VonTilzer. You allknow Harry—‘our Harry’’—and though he is the acknowledged soubret’s friend, it does not seem to interfere with his writing good stage hits, so don’t overlook this dialogue. It’s funny, very funny—as funny asit would betosee married people happy. SOME LETTERS, by Geo. Totten Smith, are all clever, and each one means a good, hearty laugh. Can be worked in any old place. A clever sketch entitled McCONNELL'S BIRTHDAY is written by E. P. Moran. This act orsketchis fortwo males, Dutch and rish, and in it Mr. Moran has given us some of his very best work. This sketch alone is worth ten times the price of THE PROMPTER, and it is here published for the first time. ; ? ? No. 3contains the words and music ofa fine collection of these Stage Sons iisrccisen summer time, voseytmss U . Words and music Ss by W. R. acd author of She’s Good Enough for Me, Dying Girl’s Request and many other bighits. This, his latest ballad, is on the BECAUSE style, and we think eventually will be one of the hits of the season. CO TO SLEEP YOUR MANIMY’S HERE BESIDE YOu we positively state is one of the prettiest lullaby songs ever written. Words by Paul Armstrong, music by E. A. Van Alstyne, both writers of hits, This song is a gem of the very first water, and has some of the most beautiful bits of harmony ever conceived. You will more than miss it if you do not secure this song ATONCE. NIGCER IN T FENCE, the greatest STOP-BUCK now before the public. Written by Chas. B. Brown, composer of ottest Ever, Mobile Prance and others. The complete piano score is given in No. 3 for the first time. Amateurs or professionals wanting orchestrations of this can secure them through THE PROMPTER at 25c each. e e The plain talk you’ll find in this section to many is worth ten years of their lives. Fromit you may gain ] (@) ‘ : 1a Ss Cc @ one tip that wiil put you on your feet and cause you to 9 wonder why you had been staggering 4ll your life. If he don’t say they are the best editorials you ever read, we will give your money back and you keep the book. How etter can we impress upon you the importance of you reading this matter, asa—A WORD TO THE WISE, TQ AMATEURS AND BECINNERS, etc! Another articleon THE ART OF FACIAL MAKE-UP, by Victor Durand, tells how to make up, Just what to do, how much and kind of powder or grease-paint to use, according to the character impersonated. Tells how to make up young, old, lean or fat; remedy ANY defect. TO AMATEURS, this is of vital importance—to SOME professionals also. All the above and more is included in The Vaudeville Prompter No. 3, which will be sent to any address for 50 cents We cannot in this small space begin to tell you of the great amount of “red-hot stuff’ inthe Prompter. You will see it is not written by one man, but is the finest e ® collection of the best efforts of all the recognized authors of stage material. We uarantee that, after you have a copy, you will not take ten times its original cost for it. There s so much in the Prompter that it will last you many months—parodies, funny bits, get-backs, conversations, monologues, sketches, etc., that you would be willing to pay $10, $15, $25, or $50 for, according to how much you use. We intend that The Vaudeville Prompter shall sell on its merits, not “hot air." We know if you buy one copy, you will buy more. Send at once. Price, soc a copy. BURLESQUE STAGE JEWELRY, Etc. eee) RINGS, STUDS [eee > Wpyae SCARE-PINS [| Scarf-Pins 8-carat size, each ...20c 10-carat size, each ...35¢ 15-carat size, each ...50c . Studs 8-carat size, each ...20c pe: owe 10-carat size, each ...35¢ 1o-carat size 15-carat size, each ...50¢ veautnt sik These goods are just the thing to ‘“‘make ’em laugh.’’ They Rings A \ are extra brilliant and sparkle — carat size, each.20¢ \ WZ, SAAS like the ‘‘genuinearticle.’’ They yo-carat size, each.35¢ “—SZ17 S are fun-makers both on and off 15-carat size, each. 50c = a ee the stage. Prices quoted include Py postage, which we prepay. STAGE MONEY 8-carat size | Our Stage-Money has the rep- q@ utation of being the best on the market. It is carefully printed on Bond paper, which gives it | that ‘‘crisp’’ sound and feeling §| of the ‘real goods.’ Stage-Money can be used in numerous ways, m and it always causes a laugh when you ‘‘fiash a roll.”” Price, per 100, postpaid....40¢ > WILL-ROSSITER : “POPULAR. SONG PUBLISHER. SRIOCAC Od Orhan ue AS TABLEAU LIGHTS, FIREWORKS, Etc. These goods are made for us by the celebrated Pain’s Pyrotechnic Co. and are positively the highest grade goods on the market. Imported Red Torch. These are as nearly Spark Candles. Throws shower of sparks; smokeless as it is possible to make them absolutely harmiess; perfectly safe. Can be used for Burlesques, Initiations, Comedy and are really the only practical colored fire Acts and all indoor illuminations. Price for indoor use, Absolutely safe and harm- postpaid, 15¢c each or two for.......ees ence ee Be less. We strongly recommend this article. Price, each, postpaid ............ccccee cece LSC Smoke Pots. For making smoke effects for fire or warscenes. Price, postpaid, 15c each, Colored Torches with handles. Just the or two for...... sees eeee ere seve reese eeoereeeee Sane ¢ thing for Parades, Private Displays, ete, Each torch has handie, making it easy aud absolutely safe to handle. These torches Tableau Lights, Colored Pire, etc. For gen- burn from 3 to 15 minutes, according tosize, eral illuminations for all purposes. Made ala ho Ree en eae eT a) oe Medium size, each, postpaid......15¢ cans ready for use. Mammoth size, each, postpaid ,..40¢ 4%4-lb. can, postpaid............20¢ Large size, each, postpaid........25¢ %-lb. can, postpaid...........-40€ Dbl, Mammoth, each, postpaid,..60¢ Vaudeville Prompter No.3 The only publication of its particular kind—a_ guide and instructor for all amateurs and professionals. If interested in Concert, Minstrel Show, Vaudeville or Dramatic Performance, or for evening ‘‘Stags,” ou will find The Prompter contains just the material you are looking or. A glance at partial contents will convince you our claims are correct. & Just as expected, No.3 contains a world of great stage material, and parodies ] e & of the following songs: Annie Moore, Go’Way Back and Sit Down, Sorrow, a Mamie, Hello, Ma Baby, When I Think of You, Down where the Cotton Blos- soms Grow, My. Lady Hottentot, Good-Bye, Dolly wt igt | Telegraph My Baby Sweet Annie Moore, Just for Old Times’ Sake, Blue and Gray, Coon, Coon, Coon, I’m Tired, He Laid Away a Suit of Gray, etc. The above are by the well-known parody-writers Biliy Jerome, K. P. Moran, Vincent P. Bryan, H. A. Bailey, Chris Lane and many others. e CET-BACKS, 'FUNNYISMS _ ETC. A Con- nve TS ations versation in One, for two males, by E. P. Moran, is un- usually bright and clever, andis good on any ‘kind ofa bill for five or seven minutes, or you can cutit if you wish, CET-BACKS—for two males—is by the same author, who has that way about him of being able to write ge what you want. Don’t miss the routine of hot stuff. A Few Bits, by Charles Horwitz. Epitaphs, by E. P. oran. Love and Lager Beer, by L. Stanfield, is a choice bit. In comic poetry, The Hobo Artist, The Geographical Song, Bloomers and other warm ones are well worth memorizing—you can use them. : ? SKETCHES DIALECT STORIES. No. 3 certainly contains the “cream” of monologues. Such an assortment to O rirO ©O wes pik from was never put within yourreach before. There must e enough material to make up six or eight cracker-jack turns and consequently you can pick out just what you wantand fitintheone you’ve been working on so hard. In RAM P SPECIALTY there is nothing left for you to do but learn it, aes ae on the stage and get busy. his is so bright you can see the sparks—if the house is dark. When Smock the Tenor Sang, by L. Stanfield, is an- other clever bit. MISS WISE AND OTHERWISE is a clever sketch for maleand female by LewH. Carroll. Mr. Carroll is well known in the vaudeville world as a stage managerand as a man to write clever things for shows, and rewrite and put shows in good shape—make a hit out ofa frost. That being the case, anything you find in print by Lew H. Carroll you can bet your last meal ticketisallO.K. Following this we offera great bunch of HEBREW STORIES with laughs in every line, with justa shade ofa laugh ineven the color line. There are plenty, sotake your pick. You’ll find what you want all right. DUTCH DIALOGUE by thesoubret’s - Harry VonTilzer. You allknow Harry—“‘our Harry’”—andthough he is the acknowledged soubret’s friend, i does not seem to interfere with his writing good stage hits, so don’t overlook this dialogue. It’s funny, ver funny-—as funny asit would betosee married people happy. SOME LETTERS, by Geo. Totten Smith, are ail clever, and each one means a good, hearty laugh. Can be worked in any old place. A clever sketch entitled McCONNELL'S BIRTHDAY is written by E. P. Moran. This act orsketchis fortwo males, Dutch and rish, and in it Mr. Moran has given us some of his very best work. This sketch alone is worth ten times the price of THE PROMPTER, and it is here published for the first time. ‘ No. 3contains the words and music of a fine collection of these ‘4 4 among them the vaudeville or concert stage ballad entitled age Ongs IN THAT COLDEN SUMMER TIME. Words and music Good Eno 5 Girl’s Request and many other big hits. This, his latest ballad, is on the BECAUSE style, and we t better can we impress upon you the importance of yoe reading this matter, aa—A WORD TO THE WISE nother articleon THE ART OF FACIAL MAKE-UP, d All the above and more is included in The Vaudeville Prompter No. 3, which will be sent to any address for 50 cents We cannot in this small space poein to tell you of the great amount of “red-hot stuff’ in the Prompter. You will see it is not written by one man, but is the finest e ® collection of the best efforts of all the recognized puthors of stage material. We guarantee that, after you have a copy, you will not take ten times its original cost for it. There is so much in the Prompter that it will last you many months—parodies, funny bits, get-backs, conversations, monologues, sketches, etc., that you would be willing to pay $10, $15, $25, or $50 for, according to how much you use. We intend that The Vaudeville Prompter shall sell on its merits, mot “hot air.’ We know if you buy ome copy, you will buy more, Send at once. Price, 50¢ a copy. ter No. The No.5 number of the now famous J Rossiter’s Vaudeville Prompter stands —_ and shoulders” above all our previous issues. No. 5 consists of 80 pages of the brightest, smartest, wittiest, cleanest vaudeville material ever put between two covers. Compare it with any other number, and you will readily see that our claim, “The greatest vaudeville publication for the least money” (50 cents), has not been made without good reasons, and here is a partial list of the reasons: Edit ial How to Book Dates in Vaudeville is alone worth a hundred i orl Ss times the price of the volume, and can be found in no other ublication. This article gives complete information on this momentous subject, ncluding a list of all the different vaudeville circuits, the names and addresses of the booking managers, the best time to write for work, and also specimen letters to guide you. Don’t Bea Knocker is another great article, as is also Set Ngee J pa sr ye ree of os fe a peste HR koe CO edelia, Then e Satisfied w e, You’re as Welcome ag Parodies on Popular Songs the Flowersin May, l’ve Got a Feeling for You, In Zanzibar, Always in the Way, Navajo, Three Women to Every Man, Eva (both Hebrew and straight), Meet Me in St. Louis, Louis, Tell Me That Beautiful Story, A Parody Medley, Oh, Didn’t He Ramble, Why Don’t You Go, Go, Go! Like a Star When It Falls From Heaven, Stay in Your Own Back-Yard, a Dutch parody on Bil! Bailey, The Story of the Rose, l’ve a Longing in My Heart for You, Louise, Anona, Maiden with the Dreamy Eyes, Mandy, Mansion of Aching Hearts, O, Promise Me, Down on the Farm, etc. woot one * oom of ip - ane ohn gar ba p Araae : ompiled under this heading are the latest and funni- Gags Jokes, Comic Poetry, Etc. est bits in stories, gags, epitaphs, and comic poetry: just the thing for “encore stuff” or “cut-up” work in the parlor. What’s the ‘Use! @ late bit of tramp verse b Harry L. Newton,isa gem. The Epitaphs are new, nrg He. rae SE hn funny, ne uth ~ to ane oe F ~ » by Aaron Hoffman, and delivered with suc- New Professional Recitations cess the past season by Carroll Johnson, is nothing short of & classic gem. Our first intention was to publish it as a separate volume, but later decided to give our Prompter patrons the first chance atit. THE KIND OF A FELLER I LIKE is a strong bit of character work, as is also the one entitled, PITCHIN’ THE TUNE, which recalls old times, all of which, and more, can be found in the great No. 6. M ] i ) Enough to last you three seasons. Nota bunch of old, worn-out “junk,” but a bunch ONOIOSUES £ ox the brightest monologue material and smartest talk ever written. LOVE IN NOVELS AND LOVE ON THE STAGE will make any audience how] with pe et FIFTEEN MINUTES WITH A PLAYWRIGHT makes ’em yell. Written by Harry L. Newton and done by Mr. Wood, of the well-known vaudeville team of Wood & Ray. Atthe ~equest of many patrons, and with the kind permission of Mr. Wood, we publish it in No. 5. E Bit The incessant demand from both professional and amateur buyers of the Prompter has ncoore bits lead us to gather together several encore bits. They are all new, original, and positively sure-fire, as they have been tried out by prominent vaudeville performers, There are bits for all kinds of acts, both single and double, also dumb acts, and you need have no fear about ett gered snes will suit. : nder this heading we offer our pa- Cross-Fire Conversations, Get-Backs, Etc. trons the best talking acts ever oat together. An act which can be done on any platform, or evenina parlor, isa valuable piece of merchandise to have and to holdin yourpossession. We publish two complete talking acts: One for two males, and the other for two females. Itis hard to get good talking Male i he bot. igh ek will verted ere es in tA bla one’ ie ood minstrel cross-fire, or get-backs, between end-man & Up-to-Date Minstrel Material interlocutor is another adjunct necessary in the show busi- ness, and very difficult to obtain, especially in printed form. Black-face artists constantly pay big sums of money to authors for this kind of material. In No. 5 we have enough of this routine for an entire first part—good, new, bright, up-to-date cross-fire. The cost of this material was very great, but bie en - acetal hs eis Prom Mg ofaabes ompter No. 5 contains complete vaude- Comedy Sketches, Acts, Plays, Turns ville acts. Perhaps you have been in the habit of paying 25 cents for printed acts—perhaps hundreds of dollars—and then have been dissatisfied; but we can safely promise you that there wil! be no cause for complaintin any of these ten. All can be pagent produced, and do not require much talent or cumbersome props to insure their success. We respectfully ask that you kindly mention the author’s name on program, also “Presented by permission of Will Rossiter,” owner of copy- right. A BOGUS DETECTIVE, sketch for comedian and lady, by Harry L. Newton. Cast. Lima Leight, an actress; Coppe M. Awl,a burglar. Time,15min. THE YOUNG ATTORNEY, vaudeville act for male and female, by Jeff T. Branen. Cast: Jess Ketchem, a young lawyer, Florence Holden, his sweetheart. Good, brisk action, clean. comedy, easily produced. Time,14 min. HIS FIFTY KIDS, a vaudeville concoction, by Harry L. Newton. Cast: Fairly Well, @ convivial husband; Mary, his wife. A screaming satire, illustrating what happened when a loving wife tried to buy her hubby’s cigars and keep himhome. Time, 15 min. A COUSIN FROM THE WEST, three-character sketch, by Jeff T. Branen. Cast: Ruthie Dubbles, a city girl; Tootsie Stubbles, her country cousin; Bubbles,@ stupid man-servant. Time, 15 minutes. IMA’S VISIT, a comedy for two females, by Harry L. Newton. Originally produced by the Thurber Sisters, and published with their kind permission. Cast: Jane Juniper, an eccentric woman; Ima Cook, her niece from Melon Center. Time, 15 minutes. THE NEW COOK, a two-character sketch, by Harry L. Newton. Cast: Tom Astor, astock broker, Mrs.Tom Astor, his wife. The lady changes to Irish Biddy. This act has been tried and proved. First produced at Tony Pastor’s Theatre by Mr. and Mrs. Lee J. Kellam, Time, 20min. THE HOTEL HALFBACK, a 20-minute afterpiece. Eight characters, but more may be introduced. All action, plenty of funny situations, and chances to introduce specialties. WHEN JOHNNY COMES MARCHING HOME, by Harry L. Newton. Cast: Morethan Full,a sporty husband; Jane, his wife. Positively the king-bee of all drunken-quarrel acts. CHARLOTTE’S RUSE, a four-character comedy sketch, by Harry L. Newton. Cast: Pyle O. Coyne, a wealthy stock jobber, Charlotte Coyne, his daughter; Knott A. Cent, her sweetheart; John A. Wise, a servant. A 20-minute mix-up. AN OLD SEA DOG, comedy sketch for lrish comedian and soubrette, by Harry L. Newton. Cast: Admiral Clancey, a old eal Daisy caleba, whos. pe Becher to wed. * dheeng eruen ep un. great value to all amateurs. u st of common theatrical terms is given Theatrical Phrases under this heading. Many a theatrical beginner has been ridiculed for ignor- ance of the commonest expressions in stagedom. You can get “wise” by just a little study of these phrases, All the above and more is included in The Vaudeville Prompter No. 5, which will be sent to any address for 50 cents N B You have now read the list of contents, and have probably compared it with previo is numbers of thé e e Prompter. Itis almost double the size of No. 4,isitnot? And while it is double the size of any one or rip ae publication of stage material on the market, we have not increased the price one cent. It is still 50 cents. ted on fine stock, from new type, cover in two colors. Sent to apy address on receipt of the price. | Num e “- - . . = a cial Na 4 * See ee A Van \ ne Y Bo 4 YA AB" . TiS : >» a . i “4 5 : 4, tf tae ad : j by oe ] How to “Put on’ Minstrel Shows There are many so-called minstrel books on the market. These books are generally stale news- paper clippings thrown together, put into a cover, and advertised as a guide for amateurs. We know of so many cases where the amateur has been fooled that we hesitated when we first conceived the idea that a genuine guide for minstrel shows was badly needed. We realized we had to overcome the bad effects of the many worthless books on the market, but finally decided to go ahead, count- pres on our past 18 years of honorable dealing with the public to serve as a guarantee that we again er : e ou the only book of its kind in America. This book fs one of almost 200 pages, and printed from new type on novelty paper. It tells you everything you want to know about how to ‘‘put on’’ minstrels, and starts in with the idea that you have never had any experience in this class of work, and carefully tells you every little detail. ; This book tells you how to select your people among your friends; how to arrange and set the . stage; how to rehearse your people; how to make up and arrange your program, giving a printed form in the book. Gives complete words and music of one of the best medleys ever composed. This indispensable od eormag repre to the amateur, is worth its weight in gold. A red-hot opening mediey means a howling success for your show, if doue properly, and this k tells you how to do it properly, even telling you all the detail ‘stage business” for the end men. This book tells you. the steps and marches, when and how to use them. This book gives you page after page of funny sayings and jokes for the end men, tambos, and bones. Tells you the duty of everyone taking part in the show. Gives you a list of suitable first-part ballads and list of suitable end songs. Gives you lots of comical conversation for the middle man and end men, lots of new and clean stump speeches, all kinds of funny monologues, hundreds of jokes, get-backs, and afterpieces. Tells you how to close the first part, how to open the olio, what kind of acts to put on in the olio, and how to get u a big act for the closing of yourolio. Gives you list of all kinds of make-up, burnt cork, etc., wi prices, and tells you just where to get them. Gives you price-list of tambos and bones. This book also tells you how to black up and how to wash up, or, in other words, tells you the most simple and quickest way to take the “‘black”’ off your face and hands, This book tells you how to dress the first part, and the cheapest, and at the same time most effective, costume to make. Besides all this valuable information, which is now published for the first time, there is in this book enough stage material for a dozen shows. Our aim in putting this book on the market isto enable you to “put on” a first-class minstrel show by following every detail of the given instructions. Any previous ex . ' ence ts positively not necessary if you have this book. Furthermore, the publisher of this book will gladly answer all questions free of charge pertaining to How to “Put on” Minstrel Shows. here is no better way to raise money fora church, camping fund, or any other worthy cause es Charity in any community than by getting up a minstrel show. Heretofore, we admit, without the experience it was a difficult and hard undertaking, but with How to “Put on” Minstrel Shows | within your reach, it is a simple matter. You will be simply amazed at its simplicity, THIS COMPLETE BOOK Sent to Any Address Upon Receipt of FIFTY CENTS ier 4 Fk ne: Pe pee Qe as am Rae ik op se sh nee ee ik OLD SEA ‘poa. A nove skit, ‘by ‘Harry Soe WHEN bnawiene ‘eomes wancurne 0mm ax obD 8 Characters,” ogy oe, br. ard sod+ A vaurleville - _eyclone- of fun, by Harry &, brette. Plays ph pte minutes. Great acs | epee b A _ Scene, an ordinary parlor, | ar. oe tion, new and o ‘oragy’” Irish speeches acters, a. “sport ** husband, and a wilt”. and striking finale. — Chance for “epeciaitics if ve ‘who is. venibinie ‘Or’ bim to come home. 4. ~~ Posie pers ‘Price, .25 cents. . “drunken’’ part for male, not overdrawn ang — ‘CHRISTMAS. EVE. with plenty of witty, clean cross-fire. talk, i Net, by Harry L. IL. Ne A wh comegy arama “-. We have no hesitancy” in pronouncing this to. ee Sayisnd Es an ) his two d daugtees: |) be the best ‘drunken quarrel’’ agt ever writ- e Site! Miraignt.”. This sit le playlest is ful ten, | The Gnale is a “scream.” Price, 25 SR cant interent, i dieely blamed | THE: fouNG ATTOR Vaudeville sketch; | Pate : at, an eas wi fa rz tT, Branen, A pawiees minutes. — y blended | ene es Se ee i daly oe and is & & iS ane ‘Juvenile and Ingenitle. A clever” é ae qohleng t ‘any opal eee. eal + eomedy for two clever iio but not be aieeoaat the title adeges ped being * ‘appr ee Ege of amateurs. oad a oe - Palate only for aoe Serine Bea fie LE ESN begs Me hie about half hour, and the curtain. “9 beautital qualée : debe but oe 1 ish. Price, 25 ce eit ye i oat tee RUSH MESSAGE, By Henry ary L, Newton. Comedian and Natieltes Plays. “pix en A pas 3 A ‘crazy’? act, but | Be that me es ‘em er lg a } cents. — s 2 net BECO -HAND “MAN, By. fats ewton "Plays fifteen. minutes. Hebre y and Rube. fhe, al bcp Shira tevlomee sais © A CRAZY. ee oe monologne, nt 8 Harry ae ne Newton. A screaming comedy — tat on the, famo oa which: is described the funny experiences of — vhs Naty ; ‘an actor’s summer yaeation, He goes to a a Ho pee male, hotel which is run er ab junderta cer, ‘The . & iets or eas Worn j a Had sees a ‘the life of a thoro ar ‘tramp. Ten aE ba Me ‘of thoroughbred: Age cele full of thor-° ; i aes, BOO or bred. comedy, whic is Ts Sra a to con-~ ““gIELy?? ‘WILLIE's a eine. A. roar! Eee ae se an ee ice ~ yille concection, by Smiley— Smyth. A “silly’’ HOT ‘A monologue, by Vrarty Ln New-. od hee shart avh aia Is. on his ‘‘smart’’ city. young “ton. A ie ht and breezy talk, brimtul ot. Will act itself almost, as the — “ughs,”* A freak hotel, where freaks board. mas ile 308 ‘‘business’’ makes an "audience. The © ‘Armless wonder passes the butter with ~ scream. A good. “silly, kid’ ‘get ts hard to_ hts feet, the Dog-fate boy marries the Fat «bor ey this one. aoe bg cents. ey. : ‘woman, d is forced take ont a dog’ A iy license. good idea ee Monologue, Plays. twelve ‘minat Bs” Fe hg 15 cents, VE—ON . FF TH E STAGE, A monos ; logue, by Harry wh S Nostan ‘ove is a subj that touches everybody, We've all been: — touched” - at one time or anether in our lives. ‘Love On and Of the Stage’? is a. comedy conversation “38 a ludicrous seventy: 5 don ef Love a8 it is.in real life, and ag _, appes - f° seen on the stage, A sure-fire hit. Pri fee ; xe When ‘ V8 cents TRUE ‘LOVER'S. NOT. ‘THE MECHANOIAL HUSBAND, A monologue, _ 2 Brit SOO os _ Balch. » : ‘by Garry L. Newton, Every. wom oa now has a chan¢e to get a husband. The ‘‘Mechanical -Husband’’ is a new and great idea, All a- Avoraan has to do is ‘“‘press the button’’ and iG sit pond ach ‘husband does the ‘rest.’" ‘Price, 15 ¥Y FIRST “APPEARANCE, A monologue, a Harry L. Newton, A roaring description of . ‘the timid man’s first appearance on any stage, - ~ You will ange he appreciate this tafk, com-. ‘paring it with the state of your own feelings, “the first time you faced an fa ee | Plays. about fifteen mi ay Tae SLIDE ere AO THE PACIFIC OGAST. oe mono-— Pet ~L. Newton. 2A. happy-go- io pores, we a doctor’ 5 act, wi te Sree pulitanyy Pn eae shis ack ae ane a peeks Bisse ae. SS roarin bur head cents, — son ate de ARIOR Harry L. Serio n minn Veh Eh ade Rohe ‘gentleman. Ss : gees ign fe full of bright, ‘clean co medy, 25° cents. ae i es ct UNCLE ‘TOM’. CABIN, - Burlesque ~~ New P. Characters, two male, - le Plays fifteen m minutes. Scene, exterior, Cos fumes, eccentric, | Price, call ta ae Order. above ook from SRD eo on Harry Tk: Newton. One of '. those “highly. by Bary 1 ‘conversation aie - owhich are always in big demand. Can bo -*fdone'’ anywhere, by anybody. A laugh ie every Nne. Price, 15. cents, is, VI we ROSSI TE R, Publisher, Chicago For the convenience oA our Pace S we Span ist of our several catalogs, any of which will be sent free 1 pon Lee of Feast and |. stamp for POSES Catalog No. ie ~ Joke- This catalog contains a | eurehally one te ‘of te eat humorous books of the day, including many suitable for stage use. é: , a Also all kinds of miscellaneous books on various ‘subjects, ‘such as Toast Books, After Dinner Stories, Dream Books, Fortune Tellers, ede Letter Writers, Physical Culture Books, Song Books and all kinds — 2 of Instruction Books. Cae No. a sent frec es aa of 2-cent selene ae ve ae 2 Cotsen ie Play: ys, Shenae | 7 Minor, Dramas, Wee Material, etc. ‘This catalog contains a specially selected list of the best. Plays, A ee Dramas, Vaudeville Sketches, Comedies, “Monologues, ever oar: Y pertaining to Minstrel Shows, ‘including all necessary materials, 2 complete list of Make-up Materials, Grease-paints, Vee ete. Cate - alog No. 2 sent free ss tn of cent ‘stamp. eons ie 2 Ww Hl Rests Ay “Sheet Music Bulletin n} ISSUED MONTHLY, one complete list of all the very latest - popular vocal and instrumental music, at cut. prices. Send 2-ce: stamp with request to have your : name placed onour ‘Made Bulletin — List and you will receive each 1 new y Bulletin i {pata GE es Address all mail to | : PUBLISHER J. “SHYLOCK BONES.” By HARRY L. NEWTON | “WILL ROSSITER : PUBLISHER 8 see CHICAGO, 1 3 ; BOS BOOKING AGENT. By Harry L. Newton oe BASE, Hates) By a ede cents. as ES ae a _MARMLESS FLIRTATION. | ie ALICE } IN BLUNDERLAKD. A BOGUS. OETECTIVE, “a conception of com “BULTIN OF BUTTONDENDERS. By ‘Harry, Lr Page ath 28 ¢ Saas. CHARLOTTE'S ‘RUSE. ‘Ouk. act “farce, if 2B ‘COUNTRY VISITOR, Fadgnaliee one atk tases A COUSIN FROM THE. se ae origina 2 NE we ‘SELECTED | LIST OF bg : For both Profe e s s st o ane : and Amat eur r perf or mances | Ci & Reaaesitie! edie ne in one act, FIFTY. ‘KIDS. by Harry. L. New ton. Plays twenty minutes — ‘by William Lincoln: Baleh. _ Characters, - four male, two female. Plays. thirty minutes Scene, Sada tea supper-rocm- in hot el te tumes, Price, 25 cents. edy for vaudeville entertainments, by Harry L also buys — him a box of cigars and several Newton. Plays eighteen minutes. Scene, a hotel parlor. Characters, an. ‘actress and_ tramp, A fine act, on the mistaken identity order. Good finish and opportunity for hee oe of Syrian ik Passos contuhar Se Price, a ogue ~ witty, and the finish novel and unex: _ Bled: A great satire on one “Of Man's many _ _ fvibles. Price, 25 cents “THE HOTEL HALFBACK. ‘One act farce, by. Harry L. ~Newton. Seven male, one female ess as. cireumstances will allow. Costumes, Comedian and lady. - Plays fifteen minutes neat and eccentric. — Scene, country hotel One of the. nee pede fire dial gues ever written. Price and furious. Good parts for Rube, Dutch, Newton. Irish comedian and lady. Plays” fifteen minutes. Not much plot, hotel farce is— always. funny, but this is a of nee comedy and ene Mielognes a ies spasm of mirth. A great thing for an after-— Sate Stae ely or opening number for “rep”. shows. . Harry L. Newton. “One female, three | mate UMANITY. Farce, by Gillespie ‘and. Reilly. _ characters. Plays twenty- -five minutes. ‘Scene, | an easy interior. Costumes, modern. Char- - Yette Coyne conceives a plan to circumven \ her cruel — father’s objections | to her sweet- fifteen minutes. Scene, library. Costumes, | -. modern. “Price, 25 cents. : -IMA’S VISIT. A clever vaudeville vehicle, by. as » as the count Harry L. Newton. Plays fifteen minutes. pert of the house servant, and a bes spe ~ Qharacters, an. eccentric middle- -aged woman, Yalxup ensues; even she, herself, cannot te the two apart. A eaxpital. comedy, full o oe mp tapas and big anomie Gnale to to curtain. makes change to refined and up-to-date girl. Good» chance to introduce Specialties if so de-— sired. A good sketch for two women is a hard hing. to find, but. Megrontiat Visit” is certainly g00d. Price, 25 cents. UMPEINS | JUMBLE, — ‘Comedy, by. Harry oe Newton. Characters, two male, two female. Wadi “twenty minutes. Scene, a _ sitting- . Costumes, rural. Price, 25 cents. by Chris Lane. Characters, three | male , Plays fifteen minutes. Scene, ‘public. room © buffet. Costumes, two celty. tren one rube ‘This has proved a great A ~ amateu theatricals. Price, 25 cents. vaudeville | skit, by Jeff T. Branen, » Char getters, @ “rube" girl, a city girl and a scut tering male servant. Twelve minutes of res Na Can be played in an ordinary parlor no special ‘pro s”’ or costumes required. | _yuaranteed ree Seat Price, 25 cents. i “¥ORTUNE-TELLER, Harry L.- Rewtol ern, Plays fifteen, Seth een bustness, suappy Ci ‘ LAM ; HE N A eaudernie: _guecess, by , Alalogue. Great ‘travesty finale. Price EW COOK, ~Warry -L. Newton. Scene, an ordinary parlor. bomedys: by ‘Jeffre Plays twenty minutes. Characters; a young. -. Branen. . Characters, three male, OR tock broker and a jealous wife. ‘The wite | female. Plays fifteen minutes. Scene, dining- changes to Irish biddy part. — Originally pro-- room fg aulaee Costumes, — modern, rice, } youre with-great success Mr. and Mrs. Les - cents. Ae ee: Kellam, Tony Pastor's theatre, New Yor). ‘HAWKSHAW, ‘THE DYSPEPTIC, . ie An n- up-to ie of. the bert ‘acta ever put > into priptest “"date version of an old favorite. Written by form. Price, 25 cents. _ Barry L. Newton. Characters, a broken-down > - aetor and an- eccentric. negro. ea be. played Oh any” ‘stage. or platform. — Costumes” and - 4 **propa”’ simple. j Tails Mttle comedy ds. classec among the ‘sure-fire’ _ vaudeville acts, as th | Gfalogue ia screamingly funny, the situations ~ are ludicrous and the action brisk. “tNow that. I have written the note, who will take it?’ You’ve heard that es thousand ‘times, but neve before have you bean able to obtain a printed ‘veraion of the old favorite. Price, 25 cents. — something doing all the time. Price, 25 cents. | “Order above | goods: from WILL ROSSITER Puvnener Chicago “Trish comedians. Plays fifteen _minutes. — te ae Sune rapid are; ‘conversation. Price, 2 ce MR. SIAGARWS” ‘FALL. “A> comic sketch, by Harry L, Newton. Plays fifteen — minutes. es and ‘Dutch — comedian. Costumes, mod- one act, by Harry L, Newton. — Two fenale, two male | characters. Scene, a -school- -FooM). arts are on the ‘‘Sis Hop kins’’ order. A fine vehicle for the intromiction of songs, | dences and recitations. While eat a four char- ay acters are cast, more may easily be added at | and fad BE ‘second of every minute there’s a bottles of whisky. The action is brisk, dia- ~ characters, which may be altered to more or — office, ‘Playa about thirty minutes. Fun, fast 4 Blackface, | Tramp comedians.:- A ‘‘Rube*’’ | Characters, two male, one female. Plays — Ws and a. “Sis Hopkins’' young woman, who later 5 MESSRS, GRIN & ‘BARERETT. Skit for two | dips ta paar Price, 25 | ‘ ‘THE NEW TEACHER, A waudeville: farce: fa Five: ‘about — thirty-five minutes. The male if parts are Dutch: and ‘‘Silly Kid."’ The female — the option of ‘performers. _ Not a dull moment; _ IS Nova | SHYLOCK BONES. ~~ A BuRLESQUE ON SHERLOCK HoutMeEs. By Harry L. Newron. Copyright MCMVI by Will Rossiter, Chicago, Ill. A vaudeville playlet. Playing time, 20 minutes. Time, any old time. Puacr, London (?). CHARACTERS. SuyLtock Bonss, a defective detective. Dr. Swatson, his friend. Bruuy, Shylock’s office boy. CouUNTESS OUT, in search of her pet dog. Pror. Moore Airity, a regular villain. SCENE. Sitting room in Shylock Bones’ house. Large table at center stage, covered with cloth, which hangs almost to floor. On table are books, papers, call bell and an empty, large tin owl can; also pipes, tobacco and matches. The whole effect of stage setting being to represent a bachelor’s apartment or den. COSTUMES. Suyitock Bones. Face made up thin and white; eyes darkened and lines underneath. Wears long lounging robe and. slippers. Entire effect being a reproduction of the original Sherlock Holmes’ pictures only burlesqued. . Dr. Swatson. Face reddened; wig slightly gray; - long, gray whiskers. Dressed in black cutaway... suit; cane, gloves and high hat. Dignified ap- . pearance. Very delicate in speech and action. . o z | Suytock BoNEs. Bitty. Face red, red wig; dressed in tight fitting suit of blue, or bell boy’?s uniform. Speaks with strong Cockney accent. Eccentric in manner. Countess Our. cerns the troubles of a young business man ey whose wife has the shopping disease. He hits upon a novel ‘‘cure’’ for her “‘disease,’” and his wife finally assures him that she ifs in no danger of a’ ‘‘relupse.’’ Chock full of clever situations, and an act that will surely — - Appeal to all—especially to all men ang: bere: Eh feo Price, 25 cents, a RS ge. ‘ AS Se: gear: IDEA. wre SEE 2 at by Harry LL. xewton. A screaming comedy talking act, in. vhich | is described the funny. experiences of fr, actor’s summer “Vacation, Ke ‘goes to a etel which is run by an undertaker. The actor fe compelled to ride to the. depot in a hearse, sleep in a bapcoedek and is waited on at. -by Harry L. Newton. ithe “aad. story’’ of the life of a Pgehe mend tramp. Ten min- -. mtez of thoroughbred “ehock full of thor-. »-oughbred comedy, wh oh: ‘ts guaranteed to con: _vulse any audience. Price, 15 eents. . HOTEL LIFE. A monologue, by Harry L. New- ton, A bright and breeay talk, brimful of *Naughs.’” A freak hotel, where ‘freaks board. The Armless wonder passes the butter. with - his -feet, the Dog- -face boy marries the Fat woman, and is forced ever ig desired, Costumes, G. A. R.- ~ modern military. Playing» time, ‘fifteen Be utes. This act is written in Mr. Lane’s best -eomedy vein, and tells in- a rapid-fire talk the _ adventures of an old Irish» -elyil war veteran, pirictly clean — a Price, (25 cents. So ‘WEO 18. CLARICE! Hates Plays fifteen Tolawtes. “Lady and ‘gentleman, at refined act, full bright, She cp eer ey ‘Brice, 25. cents. LNG PE ASA PRE et ‘UNCLE TOMS CABIN. _ Darlene, by Harry L. Newton. Characters, two male, two female. which are always in big sepane. Can Plays fifteen minutes. Scene, exterior. Laas “done’" anywhere, by. anybody. A laugh ine _.\ tumes, eccentric. ‘Price, 25. cents. ; every line. Price, 15 cents, ee Irder above oes from WILL f es ‘Publisher Chicago Nae There are many so-called minstrel books on the market.’ These booksare generally stale news- paper clippings thrown together, put into a cover, aud advertised as a guide for amateurs. We know > ef so many cases where the amateur has been fooled that we hesitated when we first conceived the idea that a genuine guide for minstrel shows was badly needed. We realized-we had to overcome © the bad effects of the many worthless books on the market, but finally decided to go ahead, count- — ing on our past 8 years of honorable dealing with the public to serve as a guarantee that we again er you the only book ofitskindim America. = Sy a Res he ne 2h nies ies, eee Ns This book Is one of almost 200 pages, and printed from new type on novelty paper. It tells you everything you want to know about how to ‘“‘put on’”’ minstrels, and starts in with the idea that you | have never had any experience in this class of work, and carefully tells you every little detail. © This book tells you how to select your people among your friends; how to arrange and-set the - stage; how to rehearse your people; how to make up and arrange your program, giving a printed form in the book, Gives complete words and music of one of the best medleys ever composed. This indispensable Opening Medley, to the amateur, is worth its weight in gold. A red-hot opening medley means a howling success for your show, if done properly, and this book tells you how to do it properly, even telling you all the detail “stage business” for the end men, This book tells you the steps and marches, when and how tousethem. This took gives you page after page of funny — sayings and jokes for the end men, tambos, and bones. Tells you the duty of everyone taking part | im the show. Gives you.a-list of suitable first-part ballads and list of suitable end songs. Gives yeu lets of comical-conversation for the middle man and end men, lots of new and clean stump speeches, - all kinds of funny monologves, hundreds of jokes, get-backs, and afterpieces. Tells you how to close the first part, how toopen the olio, what kind of acts to put on in the olio, and how to get up a big act for the closing of your olio. @ives.you list of all kinds of make-up, burnt cork etc., with _ prices, and tells you just where to get them. Gives you price-list of tambos and bones. This book also tells you how to black up and how to wash up. or, in other words, tells you the most simple and ~ quickest way to take the ‘‘black”’ off your face and hands. This book tells you how to dress the first port, and the cheapest, and at the same time most effective, costume to make. Besides ail this valuable information, which is now published for the first time, there isin this book enough stage material for a dozen shows. Our aim in putting this book on the market isto enable you to “puton” _ a first-class minstrel show by following every detail of the given instructions, Any previous experi- ence is positively net necessary if you have this book. Furthermore, the publisher of this \ a aa) ‘ =, ‘= ] will gladly answer all questions free of charge pertaining to Hew to “Put on” Minstrel Shows. There is no better way to raise money for a church, camping fund, or any other worthy cause or charity in any community than by getting up a minstrel show. Heretofore, we admit, without ‘we experience it was a difficult and hard undertaking, but with Hew:te “Put om” Minstrel Shows within your reach, it is a simple matter. You will be simply amazed at its simplicity. You can order this book, Hew te “Put on” Minstrel Shows, povptite duped ane dealer in America (patos, 58 cents im r-cent stamps), but you will save time and trouble by seading to the publisher. Pall at _NO PLAYS EXCHANGED ‘JHE ETHIOPIAN DRAMA "A LITTLE NONSENSE NOW AND THEN 1S-RELISHED BY . a 2 So eS NE ERT 99 THE-WISEST MEN: CHICAGO, . nt CPD os Rag : . s PQS S SSS = = — < TS. DENISON & COMPANY | De _ PUBLISHERS GF What Happened to Hannah = = ~ = “DENISON’S ACTING PLAYS - Partial List of Success fuland Popular Plays. Large Cat Price 15 each, Postpaid, Unless Different Price is Giver “a | Me F. , Light Brigade, -40 nin... €25e) “10-5 . DRAMAS, COMEDIES, Little Buckshét, 3 acts, 24 ‘hrs. ENTERTAINMENTS, Etc. Tadgerm? ee ye 3 is (013 M. F. fF Lonelyville Social Club,-3 acts; Aaron Boggs, Freshman, 3 1% hrs. % ox sas bats hase) ae atts 2Ye hrs a8 (25c). 3-8 Man from ‘Borneo, 3. atts, After the Game, 2. acts, 1% Mt on eho Pa ut Pays WAT S78 tae ot ee Ce ie (250) ly 9 Man éroin Nevada, iv acts, 3 Le Ali a Mistake, 3 acts, * 2. Hrs, Pe ee Sr eee see (256 5 et RBI CD “ese bales tale 6 ts Weere R ; American Hustler, 4 acts, 2% Mirandy's: Minstyels!. * @3e) “Opti y DIS. esas Meas nea s es s(25¢) 7 41 Old Maid’s Cluby 14 hea (ie). 216°" Avabian Nights,,3 acts, 2°hfs.-4° 5 Old -Oaken Bucket, 4. acts,” 2 4x5. Ske Thinketh, > eS 9” Bes. dies teed (250) 8.6 eee gene oe 5c 5 Ab Gal Ene. bE the Ranbew 4 Oe Schl 1 at Tekey ate acts, 274 Mrs... 49. : =£25e). 614 1 On aa Little Big Horn, 4 aie Bank: Cashier, 4 acts, -2) hrs, Bi hes. 2, Phat es (25¢).10 4 “(25¢) BP ae se ai bees 8 4 1° Out in the, Seas 3 acts, bhr, 6-'4 Black | Heifet, 3 acts, 2 > hrs. Prairie’ Rose, 4 aets,; 2% hrs: ZOOS tae he ado ae ee 9 3 (asc) ‘Ss 7 ae Brookdale -Parm, 4 acts, 2% Rastic | ‘Romeo, 2 “acts, 2Y, : | | PEE ohrieo epn esa et (25) FB | bee gc og vos (250/10 Thome j Brother Josiah, 3 acts, e hrs. ; School. Ma? am, ie acts, 134 hrs. 65 "i | C25¢). sie eRe RE Bee oe ge . 3 Sopah of Paper, 3 acts; lirsiee « 6 iy | i. “Burns Rebellion, thr... (250) 8 Soldter of Portus’, $ acts, 2% b Bay hee Dusy. Siar 33 ‘acts, 24 hrs: ; Southern een 3. acts; <2 as eh Below he Mage OT ara, iy ‘ BiG og ae aes (29) ua + = Lollege Town, 3° acts, 2% Third Dogme: 40 mins, (2350) “Eee . Ribs ane nate ae 2 skese) 9 8 — Dreadful Ewins, 3 aa : i Sagege weird Store, Thr, 49.141 th Ws ie 25c) 6 4 1p CPO? 5 ee shee ui eo beats. waa Me 4 5s ; et go a or ae 2 hrs. ‘ ta due he acai ich, he VE ast } augnter 6 esert, & Pobees Twins, 4acts; 2h, ase @ 4S } “acts, 274, Drs, ae (25c) 6 4 Town. Marshal, 4 acts; 2% ae | Down in Dekie, °4 cacts, 2% ; fe ea a oe (256 3 : le Sy hrs. That. Came aes o e243 Trip to Storyland, 1% firs/(25¢ wos ba ee “Ses at Cane , true, Uncle Josh, 4.acts, 2% hrs. (25c) Sees a | acts, 2% ine + © wlee wy €25¢) 6 13 Under. Bltte ies. 4 acts, 4 ee . Rditoran- Chief, 4 bi. +, (25¢)- 10 Leite ar “iss 05 Oe ES ; Enchanted Wood 134 h, (380). )-Optnl |. Under the Laurels, § acts, hrs 6 4p eadegh tes 5 acts, 14." " Wen Sahai etree.) Came ig { 40 o te Sk we eee 8 4 Pelee 6 Town, 3 acts,. 2% hrs. C50) 53 <5 i § eae Ps Window, 3 acts, 2 44 |oWotlen Who Did, J tr. «Sey 17 ih | Faseinators, fi in COR 3] Yankee*Detective, 3 acts, 2 hrs. 8. 3” AP un. ‘on > oe Each, Postpaid, Uniess Different Price. Is Given BONO AWE WARHEAD DM WaNwohomutnBouUqn Gum WowMnw wee - Breakfast Pood for Two, "20 ny? 4 -Love.and Lathere-35 minicc.. = ESE VAUDEVILLE SKETCHES, MON- OLOGUES, ET HMIOMIAN PLAYS. MF Ax’in’) Her Father, 25 imin. b Se Booster Club of Blackville, 25. as 10 Cold, Finish, -15 mins, -.. 560% 2 Coon Creek Courtship,. USomins J ‘Coming Champion, 20 min.... 2 Coontown Thirteen Club, 25 m4 Counterfeit Bills, 20° min...) ; 1.4 Doings of a Dude, 20 min. 2k Duteh Cocktail, 20 min: os. 2: 2 Five, Minutes ‘trom Yell. Col- fepesh TS: atitivs tae 6 bbs ane 2 For Reform, QO nie oss ss ee 4 Fresh Timothy Hay, 20min... 2 Glickman, the Glazier, 25 min. 1 Handy Andy (Negro), 12, min, 2 Her FG; 20.4 tite. 2 as eee ee Hey, Rube! 15 -amin...... $s Home Run, 18 Tih, pie. Hot. ‘Air, 25 WR Ses Sete e ees 7 Jum, 60° Sint. Salina ittle Red School House. 20 me Marriage and: After, “10 “min. Mischievous Ny ger, 25 min. Mistaken Miss, 20 mite. 22.45 Mry.and Mrs, Fido, 20° min. Mr. Badgeér’s Uppers, 40 min. One Sweetheart for Two, 20 im: Oshkosh Next. Week, 20 min. Oyster Stew, Oe iaiiie bs 5 Pete ee ¢ Gurl’s: Moder; 10 Pickles for Pwo tS: many... Pooh Bah of Peacetown, 3¥ min. Prof, Black’s Funnygraph,; 15m. Recfuiting, Office, 15° min>.... Sham. Doctor; 10 min... 04. y Siand 1,15 min agua tes ; Special Sale,.15) mins. 7.4 2: Stage Struck Darky, 10 min. Sunny Son of Italy, 15 min. aame fable, 20 mites. Tramp and the Actress; 20 min. Troubled by Ghosts, 10 mins Troubles of Rozinski; 15° min. Two. Jay: Detectives, 15 amin, UmbreHa “Mender;; 15. min: geen eo at the. Vaudeville, Uncle tefh. WS vrthacee cs oe 5 Who Gits:de Reward? 30 min..$ PM Seer Ree SME ne a ae CO Hoes Oe ng aie RY eas ROW th) pak pet pa he DS th meh A great number of Standard and Amateur Plays not found here are listed in Denison’s Catalogue 4 eg re, ho ee ) ¥ ee 154 W. Randle sts briceee fae fot pres foent = ee a ee oe ne Sr ri ee ee a 3 ‘ 7 : ene. a : POS ARE IGE MED. ELLE EEA NINE PETE POMEL SES SIS ERIE OS ER OT DRSRLE TEBE DERE Ft AIRE ARI AR RES PE ANE EIEE POPULAR ENTERTAINMENT BOOKS. ‘| Oh ee Ca ant ca nar Price, Illustrated Paper Covers, 25 cents exgh.: i books: touching every feature in. the ©enter- tainment field. Finely ma de, good paper, clear print and each book has han. attractive individual cov- er design. DIALOGUES All. Sorts of Dialogues, Selected, fine for older pupils, Catchy Comic Dialogues, Very clevet; for young people. Children’s Comic Dialogués. From six to eleven years of age, Dialogues for District Schools. For country. schools. Dialogues from Dickens. Thirteen selections... . The Friday Afternoon Wace: Over 50,000 ‘copiessold. From Tots to Teens. Dialogues ‘and recitations: Humorous Homespun erase es: For. older..ones. Little People’s’ Plays. From 7 to. 13 yeats of age: Lively Dialogues. For all ages; mostly. humorous. Merry. Littie Dialogues, Thirty-eight original seléctions. When the Lessons are Over. Dialogues, drills. plays. Wide Awake Dialogues. Brand new, original, successful; SPEAKERS, MONOLOGUES Choice Pieces. for Little Peoplé. A. child’s speaker. The Comic’ Entertainer. . Recitations, monologues, dialogues. Dialect Readings. Irish; Dutch, Negro, Scotch, etc. The Favorite Speaker. Choite. prose’ and poetry. Tre. Friday Afternoon For pupils of all ages. Humorous Monologues, Particularly fot ladies, Monologues for Young’ Folks. Clever, humorous, original. Monologues Grave and Gay. Dramatic and humorous, The.Patriotic. Speaker. Master thoughts.of master mirids, The Poetical Ehickt athan! For reading or ‘speakinge Pomes ov the Peepul. Wit, humor, satire; fanny pene Seren. -Book Recitations. —~— hoice collections, pathetic, hes morous, descr ah prose, poetry. 14 Nos., No. 25c. enue The Best Driil Book. Very poptiar drills.and wuttiedas The Favorite Book of Drills. Drills that. sparkle. with originality, Little Plays With. Drills. For children from 6. to 41 years.” The Surprise Driti Book, Fresh, novel, drills and marches. SPECIALTIES The Boys’. Entertainer. Monologues, dialogues, drills. Children’s Party Book, Invitations, decorations, The Days We Celebrate. Entertainments for all the holidays. Good. Things for Christmas. Récitations, dialogues, drills. Good Things for Thanksgiving. gem of 4 Ik. Good Things for. Washington and. Lincoln’ Birthdays, Little Folks’ Budget. . Easy pieces to speak, songs: One Hundred Entertainments, New parlor diversions, socials. Patriotic. Celebrations. Great ‘variety of materi Pranks and Pastimes. '. Parler games for children.- Private Theatricals. How te put on-plays, Shadow. Pictures, Pasian: Charades, and how to p re, 3 Tableaux and Scenic Read ew and. novel; for all eH Twinkling Finger and. Sway. - ing. Figures. . For little tots. Yuletide. Entertainments, A ‘choice Christmas coltec sates MINSTRELS, JOKES Black American Joker, Minstrels’ and end Monologues, stump speeches, Laughiand, via the Ha-Ha Route, A merry trip for fun tourists.” Negro Minst rels, All about thé business: The New Jolly Jester, 3 Funny stories; jokes, gags, ic! pen ep i ll tpl ec ek ah le Sle ED Large Wustrated Catalogue Free men’s Sn A Bundie of Burnt Cork Cc Lit x4 f Fae ies es TRF A RS RE PONDS GSAT ERY a . = : EEE I ELT MRI Ny TC ee, a