XDEJ Urtr'xTT ’ &

i^femoPLor aind oomio drama.

—— m

ONE. TWO, TE

KEGBO SKETCH, IH OJSTE SCENE,

If	SOMETIMES CALLED “BOUNCE."

FV

By JOHN WILD.

A«/L4im£Z>,

By CHARLES WHITE,

(THE CELEBRATED ETHIOPIAN COMEDIAN),

^ Author of “Magic Penny“Jolly Millers” “ Vilikens and Dinah” “The
%; * Coopers,** “Old Pad’s Cabin” ** Rival Lovers,” “Sham Doctor,** “United
States Mail,” “Ma



fic£* “TTueves at the Mill,” “ Black Chemist,” “Daguerreotypes
] 4* Stupid Servant,” “Sam's Courtship” “ Quid; to the Stage,” “Going
' for'the Cup” “Policy Playet',” “The Ghost” “Damon and Pythias,*
■ “Malicious Trespass,” “Vegetable Man,” “ Fisherman s Luck,” “Musi’
% to* Chowder,** “The Draft,” “ Casket of Fun,” “White’s Black Wjt?
- **Burlesque Circus,” “Black Menagerie,” “Skating Carnival,” “Trip
, by Rail,” “Jealous Darkey,” “Musician, Blown', and Dancer,” “Bum-
mer's Hall,” “Peep at Barnam's,” “Nigger Encampment’’ “Streets qf
f Nets York,” “Black-Ey'd William“Doctor Possum’s Lecture,”
“'Storming the Fort, ’ etc. , etc.

* fFixst introduced in Detroit, 1861. under the title of “ Conner’* Dramatic Agen-
i cy afterwards produced at Morris Brothers’ Opera House, Boston, iu 1869, with
riaiprovemente, by John Wild, Hugh Dougherty and Master Barney, who each ap-
i peared in conjunction with. Little Muck m the Monkey.]

AS PEBFOBMED AT THE THEATBE COMIQTJE, N. Y., NOV- 30,1874.

TO WHICH ABK AODBl)

,tion of the Costumes -Cast of the Characters—iSnrrances
Exits—Relative Positions of the Performers on the
Stage and. the whole of the Stage Business.

New York,

ROBERT M. DE WITT, PUBLISHER,

JV'o. 33 Rose Street,

* ''t

v/Wf..

in ordering, please give correctly the title of each piece wanted.?

'	*** These Plays require but one scene, unless otherwise stated. The figures

f^dumus indicate the number of characters—M. male; F. Female.

M. F.

- -, , . „ . , . ..

„ *o thorough and complete to the way of Ethiopian and Comte
printed as those that appear ih the following list Not only are the t

aPTi yflUsyU as vnv>oo uu»v **t,rv	~ w..	^ a

tehh the characters droll, the incidents tany, the language humorous,4mt
“Mtoatiohs. by-play, positions, pantomimic business* scenery, iand tricks.are

ddvrii ana clearly explained that the merest novice could put Q* ■*£****.
included in this Catalogue are all the most laughable and effective pieeeit <

i	yj5® following Plays sent, postage free, on receipt of price—

•‘^SL Absent Minded, Eth. farce.........3

^ African Box, Eth. burlesque, 2 sc. 5
/. iff?. AfricanuB Bluebeard. Eth. musical

burlesque...................... ® 2

*18. Ambition, Irish farce, 2 scenes.... 7

188, Awful’Plot (An), Eth. farce ....... 3 1

*3. Baby Elephant, Eth. sketch, 2 sc. 7 1
43U Bad Whiskey, Irish sketch ....... 3 1

78,*Barney*s Courtship, Irish musical

t b "i	interlude.............. 1 1

" 40, Big Mistake, Ethiopian Bketch... 4
15& Black Brigands, musical burlesque 8
0, Black Chap from Whitechapel,

Ethiopian farce................4

■-10 Black Chemist, Ethiopian sketch., 3
•- »i ,J.L Blaok-Ey’d Will iam, Eth.ske tch,2sc. 4 1
ug’ Black Forrest (The), Eth. farce... 2 1
*ia Black Magiciau, Eth. comicality.. 4 2
*120; Black Statue (The), Eth. farce. A 0

,	wm. % _ u J	Tf»4K ob otoll

? >iW. Bobolino, the Black Bandit, Eth.

musical force............ 2

■ ion Body Snatchers (The), Eth. sketch

f> 2 scenes.......................... • *

78. Bogus Indian, sketch, 4 scenes.... 5
£ go Bogus Talking Machine, Eth. farce 4
24/ Bruised and Cured, Eth. Sketch.. 2
Scios. Charge of the Hash Brigade, comic

? Irish musical sketch.................  2

Christmas Eve iu the South, Eth.

. force............................£

85 -Coal Heaver’s Revenge,Eth. sketch o

iin* obming Man, Eth. sketch, 2 scenes 3
41 Cremation, Etk. sketch, 2 scenes.. 8

u£ Crowded Hotel (The), sketch......4

-140. Cupid’s Frolics, sketch.........£

. iQ Daguerreotypes, Eth. sketch.......3

i 03! Damon and Pythias,Eth, burlesque

££ * 2 scenes.........•• • ■ • • • • •,• • • •• • • J

83 Darkey's Stratagem, Eth. sketch., 3
Darkey Sleep Walker, Eth. Bketch. 3

. i«i, Deaf as a Post, Eth. sketch..... 2

; UJ. Deeds of Darkness, Eth. extrava-

* * - g&nza...............■••• • *..... _

' ^188. Desperate Situation, farce...... o

l£m Dodging the Police, farce......v. 6

/. Don’t Get Weary, musical sketch. 1
'- ' BO* Draft (The),; Eth. sketch, 2 scenes. 6
: 04* Dutchman’s Ghost (The), sketch.. 4

05. Dutch Justice, Dutch sketch....11

871 Editor’s Troubles, farce........ o

* 4 Eh? What is it? Eth. Bketch..... 4

ise}Election Day. Eth. force, 2 scenes. 6
;* 8§fc Bfopetnent (The), farce, 8 scenes.. 4.
02. ExciseTrials, Eth. sketch ... ...10
y1 $5^ Fellow that Looks like Me, inter-
* lode..,... .■ .......................2

88. First Night, Dutch force........

61. Fisherman’s Luck, Eth. sketch..

162. Fun iu a Cooper’s Shop,Eth.efcet* ‘

106. Oambrinus, King of Lager, r '

Eth. burlesque, 2 scenesv......

167. Gentlemen Coon’s Parade,: %

'musical sketch...............

83. German Emigrant, Dutch sketch.*;#^
77. Getting Square on. the

Eth. sketch................ ■

17.	Ghost (The), Eth, sketch..

68. Ghost in a Pawn Shop, Eth. sketch#
31. Glycerine Oil, Eth. sketch, 2

20. Going for the Cup, Eth. interlude*!

82. Good Night’s Rest, sketch........

130. Go and Get Tight. Eth. forceu*.

86. Gripsack (The), sketch...... t

70.	Guide to the Stage, Eth. Sketch*

61. Happy Couple, farce.

142. Happy Uncle Rufus, Eth. musical,'

sketch........................  \

Hard Times, Eth. extravaganza. 1
118. Helen’s Funny Babies, Eth. bu

lesque.................

3. Hemmed In, Eth. sketch...

48. High Jack, the Heeler, Eth. sketch !
68. Hippotheatvon, sketch....,....^^1

160.	How to Pay the Rent, force.....

71.	Iu and Out, sketch...........  1

123. Intelligence Office, Eth. sketch..* x

33. Jealous Husband, Eth. sketch.,

94. Julius the Snoozer, -Eth. hurfc

3 scenes.....................

103. Katrina’s Little Game, Dutch act.. "

1. Last of the Mohicans, Eth. sketch, ;)! r

36.	Laughing Gas, Eth. sketch!..

161.	limekiln Club iu an Uproar (The), .M

Eth. farce..........^

18.	Live Injun, Eth. sketch, 4 scene*. A *
60. Lost Will (The), Eth. sketch.,,.

37.	Lucky Job. farce, 2 scenes.....

90. Lunatic (The), Eth. farce.....^.1

109. Making a Hit, Eth. force, 2 scenes;*^

19.	Malicious Trespass, Eth. sketch*.;?<jp

149. ’Me^iky. Eth. farce--.......... 8*1

151. Micky Free, Irish sketch..,.....

96. Midnight Intruder, force...,.

147. Milliner’s Shop, Eth. sketch..

129. Moko Marionettes, Eth. ecce

city, 2 scenes...............

101. Molly Moriarty, Irish mu

1 117. Motor Bellows, farce .........

1 168. Mr. Mikado, musical burlesque...;

1	44. Musical Servant, Eth,sketch

8. Mutten Trial, Eth. sketch, 2 sc..*, j
1 i 119. My Wife’s Visitors, force.... \

m

ONE, TWO, THREE.

(Sometimes called “BOUNCE.”)

% l&epff #fe*fccft in (Dtw

By JOHN WILD.

ARRANGED

By CHABLES WHITE,

AUTHOR OF	,

“ Magic Penny” “ Jolly Millers,” “Yilikens and Dinah” “ The Coopers,” “Old
Dad's Cabin” .“Rival Lovers,” “Sham Doctor” “United States Mail”
“ Mazeppa,” “ ZThcfe Jeff, ’ 1	‘ ‘ Mischievous Nigger” “Portrait Painter,”

“Black Shoemaker,” “JIop of Fashion,” “The Wreck,” “Mystic Spell,”
“Black Statue,” “ Quack Doctor,” “ Sam's Courtship,” “ Thieves at the
Mint,” “ Slack Chemist,” “ Daguerreotypes,” “Stupid Servant,” “Storming
the Fort,” “ Guide to the Stage,” “Going for the Cup,” “Policy Player,”
“The Ghost,” “Damon and Pythias,” “Malicious Trespass,” “Vegetable
Man,” “Fisherman's Luck,” “Musical Chowder,” “ The Draft,” “Casket
of Fun,” “White's Black Wit,” “Burlesque Circus,” “Black Menagerie,”
“Skating Carnival,” “Trip by Rail,” “Jealous Darkey,” “Musician, Blower
and Dancer,” “Bummers' Hall,” “Peep at Barnum's,” “Nigger Encamp-
ment,” “Black Ey'd William,” “Dr. Possum'J^Lecture,” “A Lucky Job,”
“Streets of New York,” “ The Recruiting Of ice,” etc., etc.

FIRST INTRODUCED IN DETROIT, 1861, UNDER THE TITLE OF

CONNER’S DRAMATIC AGENCY.

AFTERWARDS REPRODUCED AT MORRIS BROTHERS1 OPERA HOUSE, BOSTON, IN 1869,
WITH IMPROVEMENTS BY JOHN WILD, HUGH DOUGHERTY AND
MAST. BARNEY, WHO EACH APPEARED IN T-HIj/CAST.

TO WHICH ARE A D D E Iff* '

A DESCRIPTION OF THE COSTUMES—CAST OF THE CHARACTERS—ENTRANCES
AND EXITS—RELATIVE POSITIONS OF THE PERFORMERS
ON THE STAGE, AND THE WHOLE OF'

THE STAGE BUSINESS.

S8cw SS0*1131

ROBERT M. BE WITT, PUBLISHER,

No. 33 Hose Street.

Entered according toAct of Congress, in the year 1875, by Robert M. De Witt, in
the office of the Librarian of Congress at Washington.2	- ONe, twC, tu&SB.

CAST OF CHARACTERS.

.	Theatre Comique,

New York, Aw, 30ta, 1874.

Tom Pepper, a Bummer from the Circus............... .Mr. John Wild

Mr. Conner, a dramatic Agent..........................Mr. J. A. Graver

Bounce, a Servant, on his Muscle......................Mr. John Queen

McGinnis, a Fresh Mick....................................Mr. Wm. Hart

Delehingler, a Queer Amateur..............................Mr. Wm. West

Nilson, a Vocalist....................................Mr. W. Bartlett

West End, a Walkist.......................................Mr. C. White

TIME OF PLAYING—TWENTY MINUTES.

SCENERY.

Scene—Plain or Fancy Chamber in 3d Grooves, d. in r. f.

3 u. E.

Chair. Table. Chair.

C.

Orchestra.

3 u. E.

\

L. 2 E. ’

COSTUMES.

Tom Pepper—Dirty, ragged costume, or drunkard.

Mr. Conner—White character, modern style.

Bounce—Bather clean, servant style.

McGinnis—Irish character, complete.

Delehingler—Song and dance costume.

Ntlsox—Any awkward female attire.

West End—Tights,-jacket and walking cap

PROPERTIES.

Table and ivoo Chairs; Writing Materials and Books on Table; Letter,
Segar, Sheet of Music; a lot of old pieces of Lumber, Stage Braces, &c., in
the L. 2 E.W (& Q

ONE, TWO, THREE.

Scene.—Plain or Fancy Chamber in 3d Grooves, u. in R. F. Table and two
Chairs, Writing Material and Books on Table; Letter for Nelson ; Sheet
of Music on Table; a lot of old Pieces of Lumber, and Segar for Pepper.
Stage Braces, etc., in the L. 2 e.

Mr. Conner (discovered).

Conner. Jt really is surprising to mo that business is so dull. Transient
theatricals and variety houses can’t be doing much, for I haven’t had a
solicitation for any kind of talent for several days. Well, when it does
come, I suppose it will be with a rush, and I won’t have material enough
booked to fill the orders. My percentage lately has been so small that I
have scarcely made expenses. I think if some of the bad artists would
lessen their terms they would find more encouragement. (Knock heard at
R. 1 e.) Come in.

Enter Bounce.

Bounce. Is this the theatre office where you want people to act out?

Conner. No, sir; this is a dramatic agency office, where we procure
engagements for artists of every specialty. What is your line of
business ?

Bounce. I am an artist wid de brush.

Conner. What, a scene painter?

Bounce. Mo, I’m a whitewashes I can kalsomine, shake carpets, and
^ sometimes do de nice thing in carving.

• C	Conner.	They all belong to	a branch of business that I do not deal	in.

W	Bounce.	Well, ain’t you got any thing else you want done? I	kin

A turn my hand to ’most any thing, and would like a job. I don’t care
_ ^ what it is.

i Conner (side speech). This fellow would make a good lad for my office.

(To Bounce.) Young man, how would you like to be an office boy for me ?
C You won't have much to do; the work is light and easy—and so is the pay.
3	Bounce.	I don’t mind, sir.	What do you want me to do ?

^	Conner.	I want you to do	an errand once in a while, sweep out	and

> dust up the place, go to the post-office, etc., and during business hours
alwa}rs 1 e on hand.

| Bounce. All right, sir; nothing difficult about dat. But how much
h compensation does I receibe fur my physikal capabilities?
x Conner {side speech). Hallo! he’s very intelligent. (To Bounce.) Oh,
b yes, you allude to the salary. We 11, I’ll give you three dollars a week
"X with a molasses cake and glass of beer every day for dinner.

N [ Bounce. ’Muff sed. I close it b}^ ’cepting the terms, and now, waiting
Ah for orders, yours truly. (Tie makes polite boiv.)
h Conner. Yery well. What shall I call you?4

ONE,’ TWO, THESE'.

Bounce. My name is Bounce—Thomas Bounce. Just say Bounce—
neber mind de Thomas, kase I ain’t use to it.

Conner. All right. Now I want to tell you one of the most important
duties you will have to perform, and that is this: you must understand
i that I am often bothered by a lot of would-be pretenders, a sec of regular
gawks and gilderoys, who have no more ability for the positions they
are seeking than a Chinaman has for the presidency. Now, then, when
11 am bothered or annoyed by one of this class, I will give you a cue,

|while I am in conversation with them, whereby you will know my
I intention of wishing to get rid of them, and if I should say One—Two—

I Three, that means that you must put them out. Always be sure that I
say all three of the words.

Bounce (listens attentively). Yes, sir, and de last one, then I hist ’em.

Conner. Yes; at the last sentence you bounce them without further
ceremony. Chuck ’em out, and let ’em know you mean it. After that I
think they’ll take the hint and stay away.

Bounce. Yes, sir; all right. (Takes a chair and sits down quietly over
on l.)

Enter Tom Pepper through d. f., very drunk, staggering, with an old segar

butt in his mouth; he advances to Conner and bumps up against him.

Pepper. Say, do you want to hire a circus rider ?

Conner. No, sir; I think not. (Pepper talks ad lib. and is troublesome.)
Young man, take a walk and get the air, I think it will do you good.
Thomas show this man the door. (Bounce jumps up, takes hold of him to
put him out; they have quite a tussle together, and Thomas finds he has got
his hands full, but succeeds in running him out R. 1 e.)

Bounce. Say, boss, you don’t have much ob dat kind of work for me,
does yer ?

Conner. No, not quite so heavy. I guess you’ve settled that feller, and
I don’t think he will put in an appearance here again for some time.

(Knocking heard at door outside-, r. 1 e.) Some one at the door. Show
’em in.

(Bounce jumps up quickly and goes rapidly to the door, r. 1 e., and re-enter.s
with McGinnis.)

McGinnis. How arc ye, sir ? I’m tould yer the man to get places for
commagins, or the likes of them, that kin sing a good Irish song, or pound
the flu re soundly wid a nate pair of clogs.

Conner. Yes, sir; I keep an office for that purpose, and can procure
you a very fine engagement at the Hogtown Opera House provided you
suit me.

McGinnis. Would yer like a sample of my doings?

Conner. Yes, I would be pleased to see a specimen.

Enter Pepper, comes front and gets in the ivay of Conner and McGinnis.

Conner (calls on Bounce). Here, put that drunkard out. (Bounce goes
for him, and in putting him out Pepper falls down and Bounce falls over
him, but jumps up quickly, and before he gets hold of him Pepper has just
slipped out in time. Bounce goes over to his seat puffing and blowing.) My
dear sir, I hope you will not let this little annoyance interfere with our
business.

McGinnis. Och, not at all, sir! I’m often so meself. Are yez ready
now ?One, two, three.

&

Conner (nods his assent). Yes, sir.

(pjjT* The orchestra plays any clog melody. McG-innis commences to dance
as awkwardly and as bad as possible. Conner gets disgusted. One—
Two—Three, At the last sentence Bounce lays his hands on him and
runs him out R. .1 e. very briskly. Bounce re-enters and takes his place
again; at the same moment, soon as seated, knock is heard at R. 1 e.
Conner. Thomas, see who's at the door. (Thomas goes quickly, and
as he returns Pepper follows him in behind him; Delehingler is behind
Pepper. Bounce gets well over to his seat, on turning round he sees Pepper
and goes for him, but Pepper gets out quickly untouched. Bounce seated
again. Well, sir, what can I do for you?

Delehingler (rather gallus). I want to see if I kin get er situashun.
Conner. What’s your line of business?

Delehingler. I’m a song and dance fakir. Say, cully ^ I kin get away
wid any av ’em.

Conner. My dear sir, I don’t doubt your capabilities, but it is a general
rule with me to exact a trial from all professionals that I am not ac-
quainted with.

Delehingler. G-ood enough, old feller. {To audience) I’ll knock him
silly. {lie prepares himself. The orchestra plays Ilamfat. Me sings about
two lines of a verse very badly, then runs in the patting part of the chorus,
at which time Conner sings out One—Two—Three, when Bounce seizes
him and runs him out quick as possible. Re-enters immediately with a letter.
Boss, de postman just handed me dis letter. Gives the letter to Conner
and sits down.)

Conner {opens the letter and reads in silence). Dear me, this is very im-
portant. Thomas, did you notice any carriage at the door ?

Bounce. I didn’t look, sar. {Knock heard as before.)

Conner. Fly, be quick. (Bounce, runs off.) What, the great Nilson!
.This is certainly a great compliment. {They enter together; Thomas is
bowing her in. Conner also bows very politely.) Madam, to whom am I
indebted for this very unexpected and complimentary visit ?

FTilson. My dear sir, I was informed by the Manager of the Academy
that you required my Services for ten concerts at the Bergen Point Opera
House.

Bounce (laughs at this remark, and jumps up as if to seize hold of her,
when Conner checks him and shakes his head—ah, all; which caution pre-
vents him.)

Conner. Madam, I am very sorry to inform you that the Bergen Point
Opera House is closed for the season. I can fill up the time you say—
ten concerts—in the G-rand Academy at Flatbush, at very fine terms—-
$3,000 per night.

Nilson. Couldn’t you induce the management to make it $5,000 per
night? {At this Bounceywmps up again to lay his hands on her, when he is
cautioned as before not to do so.)

Conner. H you are in as good voice as usual I might persuade them to
accede to your liberal demand.

Yilson. Oil, my dear sir, rather than deceive you in such an important
engagement, I will sing you a little piece to convince you what voice I am
in.

Conner. Oh, madam, I shall feel but too delighted for the honor.
{Orchestra plays “ Pretty Jane.'1)

(Nilson sings half a verse of 11 Pretty Jane.” Bounce makes severalONE, TWO, T II It E E .

attempts to get hold of her, and is surprised that the boss don't say One—
Two—Three; but at the conclusion of her singing Me. Conner tells her she
is engaged. Bounce is astonished.)

Conner. You’re engaged. Thomas show the lady to the sitting room.
(Thomas does so, and shows her off L. 1 e.)

Bounce (to himself). $5,000 a night 1 well, if dat don’t bust up dat con-
cern I’m no judge ob eels.

Pepper (falls in the door in r., gets up and goes out again instantly.)

Enter West End from r. 1 e., he walks in very fast, straight and erect, to
the centre; speaks quickly to Conner. *

West End. My dear sir, I am in capital fix, and would like you to get
me some place where I can walk against time. I think I can beat any
man in the world.

Conner. How fast and how far can you walk?

West End. I can walk a mile in three minutes, or 500 miles in fourteen
hours, without eat, drink or sleep. (While this conversation is going on all
the other characters are g idling in promiscuously from any places)

Conner. Just step out a little and let me see your gait. (He does so.
On going round the stage first time Pepper jumps in from the icing and falls
in behind West End, at this Bounce starts for Pepper, but they both walk
so fast that Bounce emit keep up with them. The other characters get in
the line behind Bounce, and they keep up the walking in a circle. Pepper
has got off and quickly returns with an armful of all the old poles, sticks and
trash he can carry, and lets it fall all about, while he himself jumps up on
the table and upsets every thing. Confusion, bus., and quick close.)

END.

STAGE DIRECTIONS.

B. means Right of Stage, facing the Audience; L. Left; C. Centre; R. C. Right
of Centre ; L. C. Left of Centre. B. F. Boor in the Flat; or Scene running across
the back of the Stage; C. B. F. Centre Boor in the Flat;' R. B. F. Right Boor in
the Flat; L. B. F. Left Boor in the Flat; R, B. Right Boor; L. B. Left Boor; 1 E.
First Entrance; 2 E. Second Entrance; U. E. Upper Entrance; 1, 2 or 3 G. First,
Second or Third Grooves. •

E.	E. C.	C.	L. C. _ L.

gw° The reader is supposed to be upon the stage, facing the audience.JOE RUGGLES

^	OR,']

THE GrIEL MINER.

A COMEDY-DRAMA IN FOUR ACTS. BY FRANK J. DEAN. ,

PRICE 25 CENTS.

Nine male, three female characters. A vigorous, stirring play, de-
picting peculiar types of life in a large city and in the mining districts
of the West. The parts of Joe Ruggles, the miner, Hans Von Bush
(Dutch dialect), and Richard Hamilton, the scheming villain, all
afford opportunity for clever work 5 while the part of Madge (sou-
brette), who afterwards assumes the character of Mark Lynch, is an
excellent one for a bright young actress. This last, and the character
of Bessie (juvenile) could easily be assumed by youths.

Scenery—City street, showing R. R, Station , rocky pass, with set
cabins ; a wood scene, and two plain interiors. Costumes of the day.
Time of playing, two and a half hours.

SYNOPSIS OF EVENTS.

ACT I.—Entrance to Railroad Station.

Looking for a victim—Joe Ruggles—“ Them galoots is worse than grizzlies
“ Morning papers ’’—Madge and Bess plying their trades—“ Can’t you sing Joe a
song?”—Hamilton and his pal confer—Tom Howarth gains important informa-
tion—“ Don’t you dare to lay hands on us! ’’—Hamilton tries to maintain his
authority—1“ Who? Old. Joel”

ACT II.—Doomsday’s Hotel, Dare-devil’s Gulch, California.

The landlord secures a guest—Hans disappointed—1“ Dot is a misdate”—A
ghost story—The “Kid and his sister Did I hurt your highness? ’’—Hans and
Doomsday have another talk—Kate Laurel meets the young miner—“ Yah, dot
vas vot I t’inks”—Madge’s disguise penetrated—She recognizes an old enemy—
“Now, George Smith, take your choice”—Joe Ruggles as a tramp—“Ef yer
think yer can pick on me because I’m han’some ye’ll find me ter hum ’’—Hamil-
ton appears—“ Those two youngsters are mine ’’—The tramp takes a hand.

ACT III.—Wood Scene.

A lively ghost—Hamilton and Smith plan more villainy—Old Joe thinks of
turning detective—Kate Laurel again—“There is a secret connected with my
life”—Kate’s confession—“What do you mean, sir! ’’—Torn Howarth once more

“ Yos you looking for a hotel ? ’’—Planning an abduction—Old Joe as an Irish-
man—“ Phat does yez want wid me?”—Undertakes to be a detective—Takes a
hand in the abduction—“ Do it at your peril! ”

ACT IV.

Hans hears, and tells, the latest news—“I nefer pelieved dot spook peesness”
.—Kate Laurel astonished—Hamilton attempts flight—“ De poys haf got Mr. Ham-
ilton, und dey vill gif him a necktie barty ’’—Arrest of Smith—“ Get out mit my
vay, I vas de Unided States Mail ’’—Torn meets his old friend under new circum-
stances—“ Do you want me, Tom? ’’—Old Joe gives consent—A happy ending.

Single copies sent, post-paid, to any address, on receipt of price.WON BACK

A PLAY IN FOUR ACTS.

By CLIFTON W. TAYLEUR

Six male, four female, characters, A play written in the same vein
as “Held by the Enemy,” “Shenandoah,” “Across the Potomac,” and
other great New York successes. Mr. Tavleur has written many suc-
cessful plays for Maggie Mitchell, Frank Cbanfrau, and others, but
this striking picture of the stirring times of the Great Rebellion sur-
passes them all. Costumes, civil and military of the period. Scenes,
two interiors, and one landscape with Confederate camp, easily man-
aged. Time of playing, two hours and thirty minutes.

PRICE.25 CENTS.

SYNOPSIS OF EVENTS.

ACT I.—Drawing-room, Arlington, Washington—1860,

“ Whom first we love, you know, we seldom wed;

Time rules us all: and life indeed is not
The thing we planned it out, ere hope was dead>

And then, we women cannot choose our lot.”

In fetters—The rivals—North and South—The coy widow—A noted
duelist—An old affection—The dismissal—The rivals meet—“You
shall answer for this ”—Farewell.

ACT II—Same Scene—1860.

“ Who might have been—All, what, I dare not think I
We all are changed. God judges for the best*

God help us do our duty, and not shrink,

And trust in Heaven humbly for the rest.

Broken tios—A Vassar girl’s idea of matrimony—A Washington
savage—Schooling a lover—Affairs of honor—The Northern fire-eater-—
The missing challenge—Betrothed.

ACT III.—Drawing-room in New York Hotel—i86i-

*f With bayonets slanted in the glittering light
With solemn roll of drums,

With starlit banners rustling wings of night,

The knightly concourse comes.’*

To arms'! To arms!—Stand by the flag—A woman’s duty—A skirm*
ish in the parlor—On to Richmond—Reunited—The passing regiment.

ACT IV.—Confederate Camp at Winchester—1864.

“ No more shall the war cry sever, or the winding river he red ;

They banish our anger forever, when they laurel the graves of our dead.’*

A coward’s armor—A hand to hand struggle—Hugh captured—Sen-
tenced to be shot—A ministering angel—Harold King’s revenge—The
attack on the camp—Death of King—After the battle—Won Back.

Single copies sent, post-p"" ' ^ny address, on receipt ©tpris&vEthiopian and Comic Drama.—Continued.

No.

49,

132,

153.

148,

22,

27.

125.

30.

114.

',76.
, 91.
. 87.

135.

92.

9.

57.

66,

-115,

14.

* 105.
~ 45.

" 55.
81.

N 26.
138.

15.
59.

. 21.
160.

80.

; ,84.

M. F.

Night in a Strange Hotel, Ethiopian

sketch.........................  2

Noble Savage, Eth. sketch....... 4	1

-Norah’s Good Bye, Irish musical

"sketch......................... 2 1

No.Pay No Cure, Eth. sketch ... 5

Obeying Orders, Eth. sketch..... 2 1

100th Night of Hamlet, Eth. sketch 7 1
Oh, Hush! operatic olio, 3 scenes. 4 1
One fright in a Bar-Room, Eth.

sketch.......................... 7

One Night in a Medical College,

• Eth. sketch.................   7	1

One, Two, Three, Eth. sketch------- 7

Painter’s Apprentice, Eth. farce... 5
Pete and the Peddler, Eth. and

Irish sketch ................... 2	1

Pleasant Companions, Eth. sketch. 5 1

Polar Bear, Eth. farce...........4	1

Policy Players, Eth. sketch......7

Pompey’s Patients, Eth. interlude,

2 scenes.......................  6

Porter’s Troubles, sketch........6	1

Port Wine vs. Jealousy, sketch... 2 1

Private Boarding, farce..........3	3

Recruiting Office, Eth. sketch.. 5

Rehearsal (The)., Irish farce, 2 sc.. 4 2
Remittance from Home, Ethiopian

sketch.......................... 6

Rigging a Purchase, Eth. sketch.. 3

Rival Artists. Eth. sketch.......4

Rival Tenants, Eth. sketch......4

Rival Barbers’ Shops, Eth. farce.. 6 1

Sam’s Courtship, Eth. farce.....	2	1

Sausage Makers, Eth. sketch, 2 sc. 5 1
Scampini, pantomime, 2 scenes.., 6 3
Scenes In Front of a Clothing Store,

fi^rcG* • *	  7	1

Scenes on the Mississippi, Eth.

' sketch, 2 scenes ........... 6

Serenade (The), Eth. sketch, 2 sc.. 7

No.	M. F.

38.	Siamese Twins, Eth. sketch, 2 sc.. 5

74.	Sleep Walker, Eth. sketch, 2 scenes 3

46.	Slippery Day, Eth. sketch...... 6 1

69. Squire for a Day, Eth. sketch...5 1 „

56. Stage-struck Couple,Eth. interlude 2 1 .

72. Strangers, Eth. burlesque.......... 1 1

13. Streets of New York, sketch,....6

16. Storming the Fort, sketch.......... 5

7. Stupid Seavant, sketch.......... ... 2

121.	Stocks Up! Stocks Down! Eth.

farce.......'................ . 2

154. Sulphur Bath, Eth. farce------- ... 3

47.	Take It, Don’t Take It, Eth. sketch 2

54. Them Papers, Eth. sketch...........3

100. Three Chiefs, Eth. sketch, 2 scenes 6
102. Three A. M., sketch, 2 scenes. ... 3 1
34. Three Strings to one Bow, Eth.,

sketch......................    4	1

122.	Ticket Taker, “Eth. farce.'..    2

2. Tricks, Eth. sketch...........   5	2

104. Two Awfuls, Eth. sketch...........5	,

5. Two Black Roses, Eth. sketch.,... 4 1

28.	Uncle Eph’s Dream, Eth. sketch, 2

scenes...............r.........	3 1

156. United States Mail. Eth. farce.....2 ,2

134. Unlimited Cheek, Eth. sketch.......4 1

62. Yinegar Bitters. Eth. sketch....£ 1

32. Wake up, William Henry, Eth.
sketch.........................  3

39.	Wanted, a Nurse, sketch........	4

75.	Weston, theWalkest, Dutch sketch 7 1

93. What Shall I Take? Eth. farce... 7 1

29.	Who Died First? Eth. sketch.... 3 1

97. Who’s the Actor? Eth. farce........ 4	;

137. Whose Baby is it? Eth. r'-etcli.. . 2 1
143. Wonderful Telephone, Eth: sketch 4 1
99. Wrong Woman in the Right Place,

sketch, 2 scenes..............  2	2

85. Young Scamp, Eth. sketch........ 3

116. Zacharias’ Funeral, Eth. farce.,.. 6

,(pr^=&A Complete Descriptive Catalogue of De Witt’s Acting Plays and De Witt’s ..
lifers’ Ethiopian and Comic Drama, containing Plot, Costumes, Scenery, Time of
I- Representation, and all other information, mailed free and post-paid on application.
Address as on First Pag© of this Catalogue.

PANTOMIME PLAY.

*HUMPTY DUMPTY”

The celebrated Pantomime, as originally played for 1,@@@ nights by the
late Gr-EORGE L. Fox. Arranged by John Denier, Esej.. Eight male,
four female characters.

Price, 25 Cents,

xMaMMaM/

HOW'

TO

MANAGE AMATEUR
j, j jt J, THEATRICALS.

An Indispensable Book for Amateurs*

Plain instructions for constructing and
arranging stage, making scenery, getting
_	up costumes, making up, producing stage

illusions and effects, etc*, together with many valuable suggestions for
managers and players* Handsomely illustrated with six colored plates*
Price, Twenty-five cents each*

\	DE WITT'S ■’	__

Selections for amateur and
j, j,	parlor Theatricals.	f

Nos. i, 2, 3, 4 and 5.	I

^	' !

' Comprising the choicest selections,, from the

very best dramas, comedies, tragedies and
farces, both modern and classic, especially
adapted for presentation by amateurs, and
for parlor and drawing-room entertainments*

^ Price, Twenty-five cents, each number*



iKv - .4LV	-^V JVV