PS 63 5 3-w * \/? t COPYRIGHT, 1889, BY HAROLD ROORBACH S&OOtbadb'S full Descripttbc ^atalOQUe of Dramas, Comedies, Comediettas, Farces, Tableaux-vivants, Guide-books, Novel Entertainments for Church, School and Parlor Exhibitions, etc., containing complete and explicit information, will be sent to any address on receipt of a stamp for return postage. Address as above. ROORBACH'S AMERICAN EDITION. PRICE, 15 CENTS EACH. This series embraces the best of plays, suited to tbe present time The reprints have been rigidly compared with the original acting copies, so that absolute purity of text and stage business is warranted. Each play is furnished with an introductioii of the greatest value to the stage manager, containing the argument or synopsis of incidents, complete lists of properties and costumes, diagrams of the stage settings and practicable scene-plots, with the fullest stage direction-. They are hand- somely printed from new electrotype plates, in readable type, on fine paper. Their complete introductions, textual accuracy, and mechanical excellence render these books far superior in every respect to all editions of acting plays hitherto published. 1. ALL THAT GLITTERS IS NQT GOLD. A comic drama in two acts. Six male, three female characters. Time, two hours. 2. A SCRAP OF PAPER. A comic drama in three acts. Six male, six female characters. Time, two hours. 3. MY LORD IN LIVERY. A farce in one act. Five male, three female charac- ters. Time, fifty minutes. 4. CABMAN No. 93. A farce in one act. Two male, two female characters. Time, lorly minutes. 5. MILKY WHITE. A domestic drama in two acts. Four male, two fem.de char- acters. Time, one hour and three quarters. 6. PARTNERS FOR LIFE. A comedy in three acts. Seven male, four female characters. Time, two hours. 7. WOODCOCK'S LITTLE GAME. A comedy-farce in two acts. Four male, four female characters. Time, one hour. 8. HOW TO TAME YOUR MOTHER-IN-LAW. A farce in one act. Four male, two female characters. Time, thirty-five minutes. 9. LADY AUDLEY'S SECRET. A drama in two acts. Four male, three female characters. Time, one hour and a quarter. 10. NOT SO BAD AFTER ALL. A comedy in three acts. Six male, five female characters. Time, one hour and forty minutes. 11. WHICH IS WHICH ? A comedietta in one act. Three male, three female characters. Time, fifty minutes. 12. ICI ON PARLE FRANCAIS. A farce in one act. Three male, four female characters. Time, forty-five minutes. 13. DAISY FARM. A drama in four acts. Ten male, four female characters. Time, two hours and twenty minutes. 14. MARRIED LIFE. A comedy in three acts. Five male, five female characters. Time, two hours. 15. A PRETTY PIECE OF BUSINESS. A comedietta in one act. Two male, three female characters. Time, fifty minutes. 16. LEND ME FIVE SHILLINGS. A farce in one act. Five male, two female characters. Time, one hour. 17. UNCLE TOM'S CABIN.— Original Version. A drama in six acts. Fifteen male, seven female characters. Time, three hours. 18. UNCLE TOM'S CABIN.— New Version. A drama in five acts. Seven male, five female characters. Time, two hours and a quarter. 19. LONDON ASSURANCE. A comedy in five acts. Ten male, three female characters. Time, two hours and three quarters. SO. ATCHI ! A comedietta in one act. Three male, two female characters. Time, forty minutes. 21. WHO IS WHO ? A farce in one act. Three male, two female characters. Time, forty minutes. 22. THE WOVEN WEB. A drama in four acts. Seven male, three female char- acters. Time, two hours and twenty minutes. 23. MISS MADCAP. A comedietta in one act. Two male, one female characters. Time, twenty minutes. 24. THE DARKEY WOOD DEALER. A farce in one act. Two male, one fe- male characters. Time, twenty minutes. (OVER.) TRIED AND TRUE A DRAMA IN THREE ACTS / 3Y FURLONG Printed from the Author's Manuscript, with the Cast of the Characters, Synopsis of Incidents, Time of Representation, Description of the Costumes, Scene and Property Plots, Diagrams of the Stage Settings, Sides of Entrance and Exit, Relative Positions of the Per- formers, Explanation of the Stage Directions, etc., and all of the Stage Business. Copyright, 1890, by Harold Roorbach. zsirity ¥ NEW YORK HAROLD ROORBACH PUBLISHER Ws. TRIED AND TRUE. CAST OF CHARACTERS. _, _, ,. „ , (A Young Sailor in search Robert Bruce, alias Stumpy Joe, . . . . < f his Sister. .. „ , f A New York Boot-black, Muggins, alias Truthful James, . . . . | From Hohokus> M G% Elliot Greythorne, The " Vampire." James Jackson, j m$ Coadjutors. Snaky Jim, / Geo. Washington Pollux, Of the " Red Light" Saloon. Old Bruce, Good hearted, but weak. Policeman, Useful and ornamental. Lillian Bruce, Robert's sister. Belinda Jane Montrose, A Flower girl. Kate, The forsaken. Time of Playing. — Two Hours and Fifteen Minutes. SYNOPSIS OF INCIDENTS. Act I. — At the " Red Light " saloon. — One of nature's (colored) noble- men. — Muggins strikes a reg'lar gold mine. — The Vampire's plot — A weak minded old man. — A game of bluff. — " You are the thief, and I will prove it ! " — Belinda Jane in search of her sweetheart. — A division of spoils. — Robert Bruce on the track. — " Dat gal takes de oysters." — Lil- lian's misfortune. — The compact of friends. — The Vampire defied. — Grey- thorne wins another trick in the game. — " When Muggins goes back on you, look for him in de cemetery ! " TMPS6-C06411 TRIED AND TRUE. 3 Act. II — The Vampire's rendezvous. — Kate, the unfortunate. — Truthful James of Hohokus, N. G., makes a few observations. — " Stumpy Joe," the new pard. — In the Vampire's toils. — " Now, Elliot Greythorne, we will balance accounts." — The underground cell. — The winning hand. — Lillian's despair and Kate's story. — The Vampire's ultimatum.— " Trust me, and we will baffle this villain yet." — Muggins proves to be the right bower. — " Oh, how I wish I could swaller myself ! " — Snaky Jim's little game. — A struggle for liberty and life. — Recognition. — Tableau. Act III. — Once more on familiar ground. — " Dat missus ob mine, she's a dandy, she is." — Old Bruce in a new dress. — Belinda's good fortune. — Robert and Lillian. — " Christmas, it's Belinda ! " — A horrible tail. — I've brought home scalps enough to cover a hair trunk." — Belinda and Mug- gins compare notes. — The Vampire at his old game. — Greythorne's last chance. — " Dat's right, bust de whole business!" — Muggins comes up smiling. — " If he proves as true to you as he has been to us, you will have no cause to complain." — The Vampire again. — Kate's history — Father and son. — " You've been dancin' de devil's hornpipe for a long time, and now de ole gent is going to pass round de hat." — The Vampire's pal pulls a trigger. — Greythorne's game is up. — Strange disclosures. — Righting a wrong. — A happy reunion. — Tried and True. PROPERTIES. Act I. — Scene 1. — Table and three chairs at R. 2 e. Chinese lanterns across stage in 3c, and about stage. Drinks off L. 2 e. Money for Jackson and Greythorne. Razor, tray, cigar and matches for Pollux. Locket for old Bruce. Knife for Greythorne. Pistol for Robert. Pack of cards concealed in Greythorne's waistcoat. Scene j. — Furniture as per scene-plot. Writing materials, book and lighted candle on table in L. room. Candle on table in r. room. Placard, " Muggins Esq." on back of door r. f. Newspaper and matches for Muggins. Handkerchief, slung shot and letter for Greythorne. Loaf of bread, a ham, two plates and a broken plate, knives and two tumblers in cupboard. Act II. — Pack of cards. Lunch, bottle and glasses on tray, off L. 2 E. Old telescope in carpet-bag, for Truthful. Knife and shovel for Robert. Knife on table. Knife, pistol and whistle for Greythorne. Pistol and stiletto for Kate. Gag and pickaxe for Muggins. Gags and cards for Snaky Jim and Jackson. Knife, pistol, locket (same as that usedin Act I.), and small box containing jewelry, for Snaky Jim. Whistle off stage. Furniture as per scene-plot. Act III. — Furniture as per scene-plot. Basket, with turkey and let- tuce, for Pollux. Mail-bag and packet of letters for Bruce. White patch and dog's tail for Muggins. Slung-shot and knife for Greythorne. Locket in Jackson's pocket. Club and document for Policeman. Bell to ring off L. 3 e. Feather duster. Books, etc., on table. Ring in case for Muggins. Card for Pollux to bring on. Pistol (loaded) for Jackson. Locket for Greythorne. 4 TRIED AND TRUE. COSTUMES. Robert Bruce. — Act I ; Sailor's suit. Act 21; disguised as " Stumpy Joe," seedy suit of clothes, sandy whiskers. Walks lame. Act 111; Neat suit, with black cutaway or Prince Albert coat. Greythorne. — Stylishly dressed, with change for each act. Clothes not exactly in good taste, but rather " loud." Muggins. — Act 1 ; Dressed as a bootblack — very seedy and eccentric. Act II ; Disguised as " Truthful James " — Farmer's ordinary costume. Act III ; Very flashy attire, high collar, bright colored necktie and high hat. Jackson. — Old black suit, Prince Albert coat, slouch hat, full beard. Snaky Jim. — Old suit of every day clothes. Old Bruce. — Act 1 ; Old suit of dark clothes, grey and straggling wig and beard. Act III ; Letter-carrier's uniform, hair and beard neat. Pollux. — Act I ; Waiter's jacket and apron, Act III; neat cutaway suit. Policeman. — Uniform, club and shield. Lillian. — Acts I and II ; Plain dark attire. Act 111 ; neat walking suit. Kate. — Act II; Plain dark attire. Act III ; neat dark walking suit. Belinda. — Act 1 ; Bright light suit, with white apron, collar and cuffs. Carries flower basket. Act III; Very stylish attire. STAGE SETTINGS. Act I, Scene I. Garden Backing A Gate Fence Fence ••• i Table & Chairs TRIED AND TRUE. Act I, Scene j. Corridor Backing Door l ■ i i Door * I I # Dt Table & Chairs I oor Table IChatr Act II. Corridor Backing -\Door h /■ • a • m ToT m \ 1 Boxes ^Barrels 1 Door Boor- /••• ••• \ -Tabled Chairs Tabk&Chairs Act III — 6*^«^ 2. Window and Street Backing -I, Door *- ^ £&** 0*4- ^ Table £ Chairs V 6 TRIED AND TRUE. SCENE PLOT. Act I. Scene I. — Garden in 5 G. ; foliage wings. Cottage or set piece l. 2 e., representing a door leading to the interior of the saloon. Balustrade run- ning across the stage in 3 G., with opening C. Chinese lanterns swinging across, from R. to L., in 3 G., and hanging from other available parts of the scene.' Table and 3 chairs (R., L.,.and back of it) at R. 2 e. Lights full U P' Scene 2. — Street in 1 g. Scene 3. — A double plain chamber boxed in 4 g., backed with corridor in 5 G. Partition C, running back to the fiat. Door in partition. Doors r. F. and L. F., opening upon corridor. Table and chair R. in L. room. Bed l. in l. room. In R. room, a table C with chairs r. and L. of it ; closet up R. Act II. Cellar or plain chamber boxed in 3 c. Corridor backing in 4 g. Door in flat, L. Doors r. 2 E. and l. 2 e. Old tables and chairs L. c. and R. Cot bed up c. Several empty barrels and packing boxes up R., to hide behind. Act III. Scene i. — Street in I G. Door in fiat. Scene 2. — Parlor in 3 g. backed with window backing which shows a street beyond. Doors c. in flat, r. 3 e, and l. 3 E. Sofa l. c. Table and two chairs R. c Chairs up stage. Carpet down. STAGE DIRECTIONS. In observing, the player is supposed to face the audience. R. means right; L., left; C, centre; R. c, right of centre ; L. c, left of centre ; D. F., door in the flat or back scene; R. F., right side of the flat; L. F., left side of the flat; R. D., right door; L. D., left door; c. D., centre door; I E., first entrance ; 2E., second entrance ; U. E., upper entrance ; I, 2 or 3 g., first, second or third grooves ; Up Stage, toward the back.; Down Stage, toward the foot-lights. R. R. C. C. L. C. L. TRIED AND TRUE ACT I. Scene i. — Garden— full stage — exterior of the " Red Light" saloon — lights full up — at rise of curtain Pollux is discovered busying himself about the stage — Jackson is seated at table, R. — lively music for curtain. Jackson. Here, Coffee! Pollux. Coffee? [to Jackson) 'Scuse me, are you distressing your conversation to me, sah ? Jackson. You don't suppose I'm talking to myself, do you? Bring me a beer and be quick about it. Pollux. All right, sah ! Beer it is. {goes to door of house, calls out " One beer ! " and goes in at once and brings it out) Jackson, (after Pollux's exit) Stylish nigger that! I wonder what keeps Greythorne ? Pollux, (speaks on entering) Hyar you is, sah. Ten cents if you please. Jackson. What for? Pollux. Five for the beer, and five for the waitah. Jackson, (hands money) Never mind the waiter. Bring me five cents change. Pollux. 'Scuse me, sah, but dere's no change to come. Jackson. No change! You thieving black (grabbing hold ^/"Pollux to force money from him) Pollux. Hold on, boss! If you're going to raise such a fuss about five cents I'll give you a nickel. Jackson. What ! do you mean to insult me ? Pollux. No, sah? 'Scuse me. Never insult customers inten- tionally, sah. I's too much of a gen'l'man, fordat — 'deed lis. G. W. Pollux ob de " Red Light " is one ob nature's noblemen — you hyar me ! I's a brack diamond, I is ! And de ladies dat know me call me de " dusky Appoller! " Policeman. ( puts head out from behind house, taps on side of house with club to attract Pollux's attention, beckons him over to him and whispers in his ear) 8 TRIED AND TRUE. Pollux. All right, sah. {goes to door, calls out) One beer for a sick gent outside, and he says be sure and make it a schooner. {glass of beer handed out of door — to Policeman, wko is not seen, but takes glass from Pollux) Don't forget to bring back de glass, will yer? {pause, glass returned empty) How is de sick gent now, sah ? {as if to Policeman behind house) Better, eh ! Glad ob dat ! {looking at Jackson — to audience) ' Dere's de fellow dat called me Coffee. Now, to get square on him. {to Jackson, who has gone up, during scene between Pollux and Policeman, as if expecting Greythorne) Say, my friend, 'scuse me, but your visits todis 'stab- lishment am getting to be too close apart. An' as dar am an ordi- nance in dis ward dat all de tenants must place dere garbage on de sidewalk, I's fresh orders from de mayor dat if you don't vacate de premises immejitly, or sooner, dat I's to remove you in sections. Jackson. Why, you infernal Pollux. No back talk, {quickly catches Jackson by seat of trous- ers and back of neck and runs him off upper entrance, where he butts Muggins, who is fust entering, in the stomach-MuGGiNS falls, jumps up and kicks Jackson, who utters a howl and exits — Pollux walk- ing up and down proudly) Dat's de time I got eben wid his lord- ship, and if dat fellar comes in hyar agin' I'll sweep his brains up in a shovel, {pulls razor from pocket and cuts hair) Muggins. Say, look here Mahogany, what kind of a reception do yer call that for to give a young feller as comes in for to patron- ise de bar — say ? Pollux. 'Scuse me, sah, 'scuse me, sah ! Did I hurt yer? Mug. Hurt, me ! Who was that ragbag anyhow ? Pollux, (l.) Why hallo, Muggins, is that you? Mug. (R.) It's my remains! Did you see that snoozer butt me in de stomach when I come into de door ? Oh! He's knocked my supper plum out of focus ! But I got square on him. De next time he tackles me he'll have de rearpart of his trowserloons lined with sheet iron. But say, George Wash., what are you goin' to have? Ask all your friends inside up. It's my treat. Pollux, {goes to door and calls off) Everybody take a drink on Muggins ! Omnes. {inside) Hurrah, for Muggins ! Pollux. Why Muggins, what's up! Mug. Why, de greatest racket in de world. I'm in luck ! Struck a reg'lar gold mine ! Pollux. Tell us about it. [sits, R.) Mug. (c. of stage) Well, I was down by the Hoboken Ferry looking for a job, and I was a running over my part in my head — you know i'm an actor now — yes! sir! In de Grand Duke Theatre. Well, I was running over my part in de new drammy what we're agoin' to put on next week, «» Dropped in de Sewer, or TRIED AND TRUE. 9 de Swim for Life," and I'd just got to de lines — "Den Opodildoc said unto Plum Duff ' strike ! ' " — when somebody struck me on de side of de ear wid a bad apple. Oh ! Dat's de wust earful I ever got in my life. I ain't heard a thing wid dat ear since ! I looked across de street and dere was wooden legged Jimmy a jumpin* up and down and yellin' like an idjiot ! " Hallo, Mug- gins! " says he. "Hi, Jimmy!" says I. "Come quick, Mug- gins," says he, " dey's a human bein' in mortial agony." " I'm with you, Jimmy," says I ; and off he run and me after him into de Hoboken ferry house, and say, George, dere was about a hundred people standin* round seein' a man drownin'! " Muggins," says dey, " you're just the feller. Jump in and save him." " Why don't yer jump in yourself ?" says I. "Oh! W^V spoil our clothes," says dey. " Well," say's I, " my clothes ain't de best in de world, but if my coat was made of gold and my pants was diamond studs, I couldn't stand by and see a poor man drown. Hold my coat Jimmy," says I, and in I went. Well, George, I pulled him out; he was a poor old cove nigh on to sixty years old, and when I got him out ov de water he couldn't speak, so dey took him away in an ambulance ! And I was sneakin' out of the ferry for to get away from de crowd, when dere was a sailor chap come along and grabbed me by de hand and say's he, "my boy, you're a brave lad and I hope to see you again ! " And away he went ! And say, George, I opened my hand and dere, as big as life, was a ten dollar note. Oh, George, dat feller had a heart as big as a barn- door ! Pollux. Well, Muggins, you're a brick ! [rising) Mug. And my father was a bricklayer. But say, I must be goin'. Dat gal of mine is a waitin' for me. I promised to take her to de theatre to-night, Erastus ! Pollux. 'Scuse me, Mr. Muggins, dat's not de appelation given me by my progenitors. Mug. [faints on Pollux) Oh, knock me endless! [to audience) He's swallered a dictionary! Say, if you're a talkin' tome (j shoot lower down, 'cause I don't comprehend your slapsus slinky as we say in Hong Kong ! Pollux. I say my name is not Erastus. My name is George Washington Pollux, Esq., as you know. Muggins. George Washington Pollux, Esq. Say, are you any relation to de hatchet man ov de same name ? Pollux. Have a cigar, Muggins, and stop foolin' wid dis colored gen'l'man. Muggins, [trying to light cigar) Say, what kind ob a cigar is dis ? «* Colorado Spec? " Pollux. No, sah, dat's a seed Havana, dat is. Muggins. Go way ! What are you givin' me — wind ? Dat never seed Havana. IO TRIED AND TRUE. Pollux. Muggins, sing us a song — the one you sung at the Grand Duke's last night. Muggins. All right, I will oblige, {song can be introdnced, or reci- tation, aft or which Greythorne enters, C.) Mug. {sees Greythorne c.) Hallo, boss ! Say, what are you going to have ? It's my treat to-night ! Greythorne. I don't drink with ragamuffins ! Mug. Oh, knock me endless! Did you hear dat? {to Pollux) Don't drink with ragamuffins — My eye, ain't he tuff! Grey, {aside) This fellow's evidently a favorite with the people here ! I'll have to humor him. {to Mug.) Well I don't mind if I do drink with you — waiter, bring me a port wine negus ! Mug. I guess not, you're too late — de shop is closed and de shutters is up. Say, if you want any port wine niggers around here you'll pay for 'em yourself — I've got no money to throw away on a travelling clothesrack like you ! Grey, {threateningly) What's that? Mug. {tips hat a la Mose) Travelling clothesrack, dat's what I said ! Say, George Wash., get on to that nose ; if it ever struck in t' would kill him, sure. (Pollux laughs) Well, good-by Wash. — dat daisy of mine is a waitin' for me ; I've been away two hours and she'll think I've sloped wid some other gal ! If I don't see you again, " par de coo ! " — " Den Opodildoc said unto Plum Duff — Git! " Exit Muggins, c. Grey, {seated at table, R.; clock strikes ten, off~R. I e.) Jackson should have been here long ago ! I wonder if he will be able to induce the old man to come ! If I can only fix it to have the flim- sies put on him, I can then manage the daughter ! She will not consent to marry me, ha ! ha ! She shall be forced to it ! Once the old man is settled, I can easily manage her! But where the devil can Jackson be? I'm getting anxious ! Here, waiter, {to Pollux) make me a hot rum ! Jackson enters Cgoes to Greythorne — Pollux starts for drink, pauses, exchanges looks with Jackson, and waits for other order — then exits for drinks. Grey, {to Jackson) Well, what news? Jackson. He'll be here ! I've fixed it all right. Grey. Good! Have something? Jackson. I don't mind ! Mix me up a hot scotch {to waiter) see ! {Pointing to Greythorne) Pollux. Yes, I see. His nose looks like Clepatrix needle ! (exit into house for drinks) Grey. Jim, I want you to do the planting of the dust as soon as you get a chance. And while he's at the cards you cry out that you have been robbed. A search will follow, the money will be found on the old man, and that will cook him for a while at least. You understand? TRIED AND TRUE. II Pollux, (entering) Here you is, gemmen ! [brings drinks; biz; Grey pays for drinks) Jackson. Yes, yes ! I understand perfectly ! But my money is sure when the job is done ? Enter Old Bruce, C. ; very shaky. Bruce, (aside) What if I should lose to-night! (fakes locket from pocket) This necklace ! I took it from my daughter Lillian as she lay sleeping, that I might try my luck at the cards once more. If I win to-night, I'll never play again — never! — I cannot lose, no no, I cannot lose — ah my darling child, it is all for you — all for you. Grey. Ah Bruce ! So you're here at last, are you ? Well, what will you have ? Bruce. I want something strong — something to steady my nerves — give me some brandy ! (Pollux goes l., and returns with brandy) Grey, (sees locket) Why Bruce, what's that? Bruce. It is my daughter's locket. I want to raise money on it ! I must have it, and there was no other way ! Grey. Go into the bar ; they will advance you something on it! Bruce. Yes, you're right, thanks ! thanks ! (goes into house) Grey. How much of the stuff have you with you ? Jackson. About a hundred dollars. Grey. All right. Are any of the boys here to-night ? Jackson. None. Grey. Here comes Bruce. Now, then, be sure of your game ! Jackson. Ah, you leave that to me. Bruce, (entering from house, speaking) It's no use. They'll not advance me a penny. They won't run any risk, they say. Grey, (seated at R. of table) Well, old man, I'll loan you twenty- five dollars on it. Bruce. Thanks, thanks ! Grey. I suppose you want to get square on me for last night's work? (gives Bruce money) Here you are — ten — five — ten — twenty-five. Bruce. (/# Pollux) Bring the cards, quick ! (handing locket to Greythorne) Pollux. Here am depicture book, (handing cards to Greythorne; they sit at table ; Grey, r., Bruce l., Jack, c.) Bruce, (aside, seated l., of table) I must surely win to-night— I feel I shall win ! — and then Lillian, my darling child, I swear off forever ! (Jackson goes round table and puts money in Bruce' s pocket — music pp. , till end of scene) Grey, (dealing cards) Come, Bruce. Cut for deal, (biz) My deal! (biz) Play! (play) I'll bet you two on this hand! (lays money) 12 TRIED AND TRUE. Bruce. I call you ! {covers money) Grey. Two of a kind ! Bruce. I beat you ! [shows hand, takes money) Enter Robert Bruce, c. ; goes to table where players are, and watches game — they play and bet high. Grey. I see you that five and go you ten better. Bruce, [nervously, aside) I cannot lose — no, no, with this hand it is impossible ! I'll see your ten and make it fifteen better ! Grey. What! you're getting reckless, Bruce. Well, confound it, I can't stand out in the cold — I think old man you're giving me a bluff! Robert, [who has been watching game back of table) Excuse me for intruding, but don't you think you're giving this poor old man a bluff? Grey. You attend to your own affairs. Here, I see the fifteen and go you twenty-five better. Bruce. I've only twenty left. Grey. Well, I see you twenty then ! [lays money) Bruce, [very nervously) I call you ! Grey. I've got just four little kings ! Bruce. I have lost ! lost ! [head falls on table — Grey reaches hand to take money when Robert siiddenly places hand over pile in a defiant manner) Robert. Stop ! Would you wrong a poor old man like this ? You know you've been cheating. (Grey springs up hastily) Cheat- ing! Perhaps it's the last dollar he has in the world! Shame upon you ! Grey. Do you know what it is to deal with a man of my stamp ? It is death ! Robert. Death, you coward ! Yes it is death — sure death to those like this old man, those who cannot defend themselves! [snatches cards frotn Grey's vest) See, how you would wrong this poor old man ! Grey. You shall pay for this ! [starting up) Robert. At any time, or place, convenient to yourself, [takes money from table) Here, sir. [about to hand money to Bruce, who raises head and looks at Robert) What, father, you here ? Can this be possible ! (Jackson goes down R. of Grey.) Bruce, [surprised) Robert! my son ! [biz) Grey, [aside to Jackson) Give the word now, quick! Jackson. I have been robbed ! robbed ! All. Robbed! [general confusion) Enter Policeman, l. Jackson. Yes, robbed ! Of all my money ! Robert. Come father, let us leave this place ! TRIED AND TRUE. 1 3 Grey. Stay ! Stay at least until that man — the one you are so proud of — be searched. Jackson. Yes, search him. [starts to do so) Robert, [defiantly) Stand back ! He is my father ; and the first that dares to lay so much as a finger on him, must answer to me with his life ! If he must be searched / will search him ! [searches) Grey, [aside) Now for a surprise. Robert, [finds money) Father, what does this mean? Grey. It means that your father is a thief! Robert. You lie ! Father, speak ! Say that this charge against you is false. Bruce. I am innocent, Robert. I swear it. Robert. I believe it, father, and will prove it, with the help of Heaven. Grey. What do you mean ? Robert. I mean that this is your work ! (Greythorne pulls knife, and starts for Robert — Robert, draws pistol and holds him at bay — Policeman" puis his hand on Bruce s shoulder, as if to arrest him — Pollux at door of saloon looking on, and Jackson look- ing on triumphantly — quick curiam. Positions. Bruce. Policeman. Robert. Jackson. Grey. Pollux. Scene 2. — Street in 1st Groove. Enter Belinda, l. i e. Belinda. Goodness, gracious ! Here it is after eleven o'clock. I wonder where Muggins can be ! I've spent the whole blessed evening round here looking for him. He said he'd be at the house at seven o'clock and take me to the theatre, and here I've neglected my business and haven't sold a bouquet to night. Ah, he's like all the rest of the boys — you can't believe a word they say ! Exit r., runs into Muggins. Mug. Hello Belinda, is that you ? Bel. [very curtly) Yes, it's me ! Mug. I'm glad to hear it ! Bel. You're a nice young man ! Mug. Of course I am. I can't help being handsome, I was born that way. I can't walk along the street in safety. Bel. I don't doubt it. Oh, you villain ! Mug. I ain't no villain. 14 TRIED AND TRUE. Bel. What are you ? Mug. Mamma's boy. Bel. Mamma's boy ! You must be a back number. I've been hunting after you this whole blessed evening. Mug. Go way, you don't say so ! Say, I've been tryin' to knock a hole through the door of that Mulberry street mansion of yours for the last two hours. Bel. Thought you was goin' to take me to the theatre to-night ? Mug. Well, so I was, but you wasn't in. Bel. No, I went out to look for you ! Mug. Did you find me ? Bel. Why, of course I didn't? Mug. No, I s'pose I must have got out of sight just before you saw me ! But say, Belinda, where are you going to-morrow night ? Bel. Nowhere, why ? Mug. Why, 'cause I want you to go to a hop wid me. Bel. A hop ! Oh isn't that lovely ! Where is it, Mug ? Mug. Hardly able hall ! It's Jim Donavart's sore ear and it's a comin' off to-morrow night. Bel. Jim Donavan's what? Mug. Jim Donavan's sore ear — s-o-u-r-e-r-e — sore ear ! Bel. Oh that isn't sore ear ; it's French, Mug, it's swarry ! Mug. Is it? I thought 'twas sore ear ; well, my early edification has been somewhat overlooked ! But say, will you go ? Bel. Will I go ! Well you bet I will. Mug. Belinda, all the rustycats ob de city is a goin' to be dere, and you and I have got to sing for them. So what do you say we rehearse our song now? Bel. As the Bowery boy says — " I am wid ye." {song intro- duced; exeunt) Enter Greythorne with Jackson, after song. Grey. Well, the old man is out of the way — for the present at least — and very cleverly we did it. Jackson. I'm glad you're satisfied ; and now I've done my part, it only remains for you to do yours. Grey. What do you mean ? Jackson. Why, the money. You promised to pay me as soon as the job was finished. Grey. Yes, yes, so I did. Well, it's too late to take you to my house to-night. Come to-morrow at twelve o'clock and we will settle. Jackson. Twelve o'clock. I'll be there, never fear. I need the money too much to stay away. Exit, R. IE, Grey, {looking after him) And you will find an empty cage. Everything goes swimmingly. The old man is out of the way, TRIED AND TRUE. >5 now for the girl. Confound that young sailor ! He calls the old man his father; then Lillian must be his sister. Well, if he gives me any trouble, I'll soon fix him. Ha, ha, ha! I should like to see Jackson's face to-morrow when he calls for that money at twelve o'clock. Ha, ha, ha ! Exit, R. 1 e. Enter Robert, l. i e. Robert. Where can he have gone ? I tracked him as far as the square below, but there lost sight of him ! He cannot escape me, for I will seek no rest until I have hunted him down and proved my father's innocence. Some one is coming this way. Why, its the chap I saw at the ferry this morning. Enter MUGGINS backward, looking off m. 1 E. Mug. Dat gal takes de oysters ! She's de kind ob a gal to fight injins for! "Den Opodildoc said unto Plum Duff, strike!" (Robert comes down and strikes him on the shoulder) Hey ! Why, hallo boss, is dat you ? Robert. Good evening, my lad ! Talking to yourself? Mug. No, sir, I was rehearsing a part! I'm an actor sir, in de Grand Juke Theatre, and we're going to play a new piece. Come up and see it. The theatre isn't elegant, but it suits de patrons. I'm de leading man. Robert, [laughing) Yes ? How large a salary do you draw ? {looking at Muggins' clothes) Mug. Oh, we don't have no salaries ; we work de common- wealth racket — share and share alike ! Poor biz last week. My share for de week was six cents, and consequentially de wardrobe has to suffer! But say, boss, I want to thank you for all dat money what you gave me to-day ! Robert. Never mind thanking me ; you deserved it, my lad, and much more. But tell me, did you see a man pass here just now — dressed — [explains Grey's dress) Mug. No, but I saw a feller got up in dat style of toggery up in de " Red Light " dis evening. I know him well ! Robert. You do ! Tell me, what's his name? Mug. Well, I can't say as I ever axed him dat, boss ; but I know where he lives when he's home ! He's de leader of a tough crowd — I've heard some say he's a counterfeiter. ■ Robert. Good ! Can you take me there ? Mug. Why, cert ! But it's too late to go dere to-night ! Besides, we'll have to go disguised. Robert. All right. But where can I find you in the morning? Mug. I'll come to your hotel, sir, wid de disguises. Where do you put up? Robert. I arrived in port this morning, and had intended sleep- ing aboard to-night. 1 6 TRIED AND TRUE. Mug. Where does your vessel lay ? Robert. On the other side of the river. Mug. Well, say Cap, you can't go way over dere to-night. Lookee here ! You can come and put up with me if yer like. 'Tisn't much of a place, but you're welcome ! Robert, [takes Mug.'s hand) My lad, I like your face. It looks like an honest one. Mug. I hope so sir, cause it's all I've got. Robert. I've a sister here somewhere in New York, and am anxious to find her. I had no time, to talk to my father, as they hurried him off to jail, and they will not let me see him till after his examination before the magistrate. Mug. Is he in limbo ? Robert. Yes, arrested this very night, and by some scheme of this villain. Mug. How so? Robert. He induced my poor father to play cards, and by cheat- ing, won his last dollar. I happened into the place and saw it all ! Not satisfied with cheating, he accused him of stealing money and had him arrested. While I was attending my father, this fiend made his escape. So I will go with you. Where do you live ? Mug. Oh 'tain't far; only two blocks. Come along. You couldn't miss de house, cause my name is on de door in big letters chalked up wid a blacking brush ! Exeunt R. I e. Scene 3. — Double apartment — very poor — Lillian discovered in room L., writing at table, by candle light — lights half down. Lillian. There! I have just finished writing a letter to dear brother Robert, stating that he will find us here, as we have changed our lodgings since his last was sent. Ah, how delighted I shall be to see him safe at home again ! Home ! Can I call this home ? (sighs) Well, perhaps we shall not always be so poor ! But where can father be? It must be after eleven o'clock. Oh, how terribly he has changed of late ! Drink! drink! What a curse you are! It was so different when Robert was home. Dear Robert, where are you to-night ? (sighs) This Mr. Greythorne, what a bitter curse he has been to us ! The trouble in the bank, father's discharge ! It broke poor mother's heart. Dear mother ! Why, where is my locket? (feels for it) It is gone! Who could have taken it? Father? No, no, surely he would not. And yet he may have taken it for money to gamble with. I will go out and see if he can be found. ( putting on things) Enter Muggins and Robert, room R. Mug. Here we are, boss, dis is de place ; small but convenient. I don't like a big room, 'cause I'm apt to lose myself in some of de corners, (lights candle) TRIED AND TRUE. 1 7 Lillian. How long will this misery last and when will it end ? Exit, door in fiat. Mug. Did you see my name on de door? [opens door, Lillian passes) Robert, [reads) Muggins Esq. So that's your name? Mug. Yes, dat's my nom de plummy as de newspaper fellers say ! Robert. What's your christian name ? Mug. My what? Robert. Why, your first name ! Mug. Muggins. That's the first name I ever had. Robert. Oh, your first name's Muggins is it ? Well, what is your surname — (Muggins scratching head), your last name — eh? Mug. Oh, my last name ? Muggins ! Robt. Muggins can't be your first and last name too. Mug. Yes it is. Muggins is de first, last and only name I ever had! Robt. Impossible ! What was your father's name? Mug. Never had none, leastwise so far as I know ! Robt. But your mother, surely you had a mother! Mug. Oh, no I didn't ! I'll tell you boss ; I reckon I'm a kind of a puzzle. I never had no father nor mother ; and how I got into dis world is a mist'ry. De fust home I remember was an old box down by de Washington market ; but say boss, what's your name ? Robt. My name is Robert Bruce, but my friends call me Bob ! Mug. Well, I'm only a poor bootblack ; but I should like to call you Bob ! Robt. You mean you want to be my friend? [takes hand) Well, from what I've seen of you, I've an idea that I've fpund a friend that I ought to be proud of. Mug. Lord, Bob! I'm getting hungry. I forgot all about it! Let's see what's the bill of fare, [goes to cupboard at back) Ha! look here ! [brings out bread and ham and two plates) Now then, to spread de banquet ! Ah, we must have a table cover. What's dis? [takes newspaper from pocket) Der New York World. Dis will do fust class ! Dese table covers won't stand washing, but the beauty of de ting is you can have a new one every meal, [tears off corner) Here Bot>? Bob. What's this for? Mug. Dat's your snapkin ! Oh, hold on, I forgot de plates. Here you are. Two on 'em. I might almost say three [shows broken plate); dat's for de children! Mounseer, squat-a-voo ! [they sit) Place de electric light in de centre of de table, [puts candle in middle of table) Christmas! I forgot de glasses, (gets them) Ah ! Dis is toney, isn't it ! Bob, what'll you have to drink? 1 8 TRIED AND TRUE. Anything you like now. De firm is wealthy ! Say, Bob, dis is a wonderful meal ! Bob. How so, Muggins? Mug. Because we have delicacies from all parts ov de world. Robt. Oh, the newspaper. Very clever! Who's living in the next room, Muggins? Mug. A young lady, Bob, and a reg'lar out and outer she is too! She lives there with her old father; and say, it's my pri- vate opinion that if ever dere was such a thing as an angel on dis earth, she's one on 'em. Why, sometimes she meets me in de hallway goin' up or down stairs, and de way she says "good mornin'." — Oh lord ! Why my heart thumps agin' my ribs like a forty-horse power engine. Robt. She's your sweetheart, I suppose, eh? Mug. What, she? Bless you, why she wouldn't wipe her old shoes on the likes of me, I should think not. My daisy lives in Mulberry street, and she's de queen of de ward too, chalk it down ! But de angel in de next room, she s a lady, she is ! Robt, You're very enthusiastic, Muggins ; I should like to see her. What's her name? Mug. Christmas, Bob ! I never axed her. It's all I can do to say good day, and den I nearly go through de hole in de stairs! Enter Lillian, d. f. l. Lillian. I have searched everywhere and can get no trace of him ! Where can he have gone ? Heaven grant that no harm has befallen him! [knock at door, l.) Ah! There he is now! {goes to door and opens //—Enter Greythorne) Mr. Greythorne ! {chord) Grey. You* will pardon this abrupt intrusion, and the untimely hour of my visit ; but a message of* the utmost importance com- pelled me to seek you at once ! Lillian. Speak sir, what do you mean ! Grey. Your father is Lillian. My father — speak ; what of him ? Grey. Your father is {pause) Lillian. Dead ! {screams and faints in Grey's arms) Robt. Say, Muggins. What was that ! Mug. It sounds like de angel in de next room ! Grey. I will let her think him dead. Confound it ! She has fainted in my arms ! Robt. All's quiet again. What can it mean ? Mug. Mum's de word, Bob ; perhaps we may hear it again. Grey. How beautiful she looks ! By jove, it almost unmans me ! Confound it, I'm acting like a child ! (Lillian revives) Be calm, Miss Bruce ! TRIED AND TRUE. 1 9 Lillian. How can I be calm! My father dead, and I left here alone ! Oh Robert, my brother, where are you to-night ! [sobbing) Grey. Miss Bruce — Lillian ! Listen to me ; you have always treated me as your enemy. I swear to you that I am now here as a friend ! Lillian, I love you. Be my wife ! Lillian. Would you add to my misery by asking me to become your wife ? Hear me out, Elliott Greythorne ; rather would I beg my bread from door to door than marry you ! Grey. What ! You defy me, do you ! Lillian. Defy you, yes ! Leave this house, and never show your face to me again, (music pp. hurried till curtain, then forte) Grey. You'll not yield to my entreaties, hey? Then I must use force, for I'm bound to have you if I swing for it ! (he seizes her — they struggle — Lillian cries for help) Robt. It sounds like a woman calling for help. Muggins, I'm going to see what the trouble is. Exit Robert, d. r. f. Mug. Go ahead, Bob, and if dere's a scrimmage, count me in ! Grey. Voices in the next room; ah, the light ! (puts out light) Now to silence you, my beauty, (takes handkerchief from pocket, and in doing so, drops letter on floor; puts handkerchief over Lil- lian's mouth) Now to get away from here! (as he ?-e aches door, L. F., Robert enters) Robt. Hold ! Who are you ? What was that cry ? Grey. Out of my way, you fool ! (hits Robert on head with slung shot and exit with Lillian, d. l. f.) Robt. (staggering to chair) That voice ! Surely I have heard it before. Yes, I remember ; it was at the saloon ! It is the very man I am looking for. It is so dark I cannot see. The door (try- ing door) is locked. The wretch has escaped me. Muggins, where are you ? Mug. (knocking on door in partition) Say, Bob, open de door! Robt. It is locked ! Muggins, (at door) The door is locked and the willain bolted. Hold on a minute, Bob. (takes large knife from table) Dis key will open de door. Don't make a noise, for if de landlady hears us, she'll come up wid a shotgun, (forces door open and enters L. room) What's de matter, Bob, are you hurt? Robt. No, it's nothing. A slight hurt, that's all. He clipped me on the head. Muggins. Say, Bob, dat gal was an angel. See, here's her prayer-book. Robert, (takes book, looks at fly-leaf) Great Heavens! Mug- gins, it is my sister's, (staggers) My father arrested; my sister abducted ! I see it all ! This is more of that villain's work ! Now I understand why he had my father arrested — to get him out of the way, to commit this outrage. But I will foil him yet. Now to find this Elliot Greythorne ! Will you help me, Muggins ? 20 TRIED AND TRUE. Muggins. You said I was your friend, Bob, and when Muggins goes back on you look for him in de cemetery. Robert, {taking Muggins' hand) We will hunt him down together, and when we meet face to face, I swear to be avenged for the wrongs he has done me. CURTAIN. ACT II. Scene. — Cellar or plain chamber — the sce?ie represents a dive — two or three persons can be discovered playing cards, etc. — Snaky Jim and Jackson discovered. Snaky Jim. Wall pards, this same fellow were not many leagues away from here when I run agin him. Wall, he bowed and scraped like a French dancing-master, axed about the weather and all that, till we got acquainted like ; so I axed him where he were going, and he said he were bound for no place in 'tickler ; and as he seemed to be of the right sort, why I axed him down here to become one of us ! So Jackson, if he should drap in when I ain't 'round, use him purty ! He calls himself Stumpy Joe ! Jackson. We'll use him the best as we know how ; won't we, pards ? Omnes. Ay, that we will. Snaky, (at door in flat looking off R. ) Hallo ! Here's Kate ! Sh ! Enter Kate, door in flat L. Kate, (to Jim) Where is the Vampire ? Has he returned yet? Snaky. No, miss, he ain't turned up yet ! We're expecting him every minute. He sent word that he'd be here to-day. He has a girl with him. Kate. Girl! What girl ? Snaky. Why, the one he went after. Kate. Oh ! He has her with him has he ? (aside) He shall not have her long if I can prevent it. (to Jim) When he comes, let me know ; I wish to speak with him. Do you hear? Snaky. Yes, miss ! Kate. I wish to see him on business. Exit Kate, door R. Snaky. May I be chawed up, but that woman's a tartar ! Them eyes ov hern go through yer like a streak of lightnin'. I wouldn't be in the Vampire's place and have a leach like that a hangin' to me for a fortin' ! TRIED AND TRUE, 21 Jackson. Nor I ! She'll send him into kingdom come some of these fine days. She hates him vvuss nor the devil himself! (Truthful James heard ofh.) Truthful. {ofL.\ Halloa! Snaky, {going to door) Hallo! Boys, thar's a strange voice; there's somebody comin' this way. Truth, {still off) Hallo, there ! Snaky. Let's see what he looks like ! Halloa ! Who the devil are you ? Enter Truthful, door l. Truth. Wall, a friend I reckon, Square, so far as I know ! I'm registered in the family Bible as James Doolittle, but everybody to hum calls me Truthful James. Snaky, {down R. c.) Wall come down here James, till we have a look at ye. {he comes down) Whar do ye hail from ? Truth, {down C.) Wall, I'm originally from Hohokus, N. G. ; but I've been a wanderin' 'round this 'ere place till I conjure 'twould puzzle human natur' in general and myself in particular to tell whar I vote from at the present writin'. Jackson, (l., turning him round) Wall, a queer old party you are, Truthful. What are you lookin* arter? Truth. Wall, at the present moment I'm lookin' arter most any- thing in the shape of fodder firstly, and a rascally nephy of mine as left his home and run off down here to the city, gol darn his skin, in the second place ! Snaky. Wall stranger, you've a face on you as looks like ther wasn't much pizen in it ; give us your fist. Truth. Pizen ! Wall, I reckon not ! But say, Square, speakin' ov pizen, you ain't got a drop ov gin nowhere about your clothes, I spose ? Snaky. Plenty on it ! Truth. Dew tell ! Wall, now look here Square, I'll make a trade with ye ! I'm reckoned the greatest singer and story teller in the country whar I belong. Now you boys are fond ov a song I 'spose ! Jackson. Yes ! A song ! Out with it ! Truth. Now I'll sing you a song and you shall fill up my bottle and gimme a snack of lunch ; what do ye say ? Is it a trade ? Jackson. Shake, stranger, it's a go! I'll git the provender while you're a singin' your ditty ! Exit Jackson, who returns with lunch which he sets on table, l. c. Truth. Yer see boys, this pesky nephy of mine ran away from home nigh onto ten years ago ; and we ain't heerd a word on him till here about a month ago, when he writ a letter home to my old 22 TRIED AND TRUE. woman sayin' he were here in New York a scoopin' out a fortin'. Snaky. And you're here a lookin' for him, hey ? Truth. Bull's eye the first time, by gosh ! You've struck it Square, presactly ! Ye see, crops to hum hev been pretty good this season, so my old 'oman, Nabby, she kinder conjured I'd better come here and try to find him about a little matter ov money as was left him by his Uncle Zebidee. Wall, I ruther liked the idee myself 'cause I could see him, and mebbe find a customer for my patent rotary pump handle at the same time — here, lemme show this pump handle, [takes from satchel an old telescope which he is about to display) Jackson. Never mind the pump handle ; what's his name ? Truth. Patent rotary pump handle. Works without a sucker. Jackson. Hang your pump handle ! What's your nevvy's name ? Truth. Oh! I thought you were a speakin' of my pump handle. His name when he left home, were Bijah Doolittle ; what it is now I can't presume to say ! Jackson, (to Snaky) Did ye ever hear of Bijah Doolittle in these parts ? Snaky. Never. Truth. Jes* so. I didn't s'pose ye had ! I've travelled nigh on to thirty hours round this place an' I hain't struck nobody what's hearn tell on him yit ! 'Twouldn't surprise me if he has got himself in trouble. Howsomdever, I've 'bout made up my mind to give up the sarch and make tracks for Hohokus, N. G. Snaky. Hohokus, N. G! Say, truthful, what's N. G. for? Truth. Whar did you go tu school, Square ? N. G. stands for New Jarsey, accordin' to my 'rithmetic ; and the Lord willing, I'll make tracks for there at the earliest possible time. Jackson. Wall, Truthful, the boys are waitin' for that song. Truthful. A little more of that pizen, and I will oblige, (drinks; song ifitroduced) Snaky, (after song) Wall, that war a good one! Arter that we must have a drink,' sure ! You won't shirk the critter? Truth. When I do, call the parson, for there's a funeral about to be held ! [whistle heard off stage) Snaky, (going to door in flat) Ha! what's that? (at door) See, it's Stumpy Joe, the new paid ! Enter Stumpy Joe, door in flat ; he conies down c. Snaky. So you found your way, did ye ? Wall, you're right wel- come. Shake ! (Joe shakes hands with him) Joe. I'm much obliged for the welcome, boys, and hope to prove, by my actions, that I am worthy of your confidence. I'm not as strong as I might be, but after I have an hour's rest and a TRIED AND TRUE. * 23 little to eat and drink, you will find me fit for any work you may have on hand, from the passing of a counterfeit bill to the killing of an enemy. Snaky, (to Jackson) Can he suspect we handle the queer? Truth. Wall, boys, I reckon I'll be peelin'out. (goes up to door in flat) Oh, I forgot, (coming down to Joe) Say, Square, (Joe goes to him) You haint seen nothin* ov my nephy Bijah Doolittle around these parts, I 'spose? Joe. (c.) No, stranger, (aside) Is everything all right ? Truth, (l c, aside) Tight as a drum, Bob ! Joe. Are you sure ? Truth. Sure ! Ask me if I'm sure this nose belongs to me. (aloud) Ain't seen him, hey ! Wall, I didn't s'pose ye had ! (goes up) Wall, boys, all over, as we say in Hohokus, and if ever you come that way don't forgit to call on Truthful James of Hohokus, N. G., the man as couldn't tell a lie ! (all laugh, &>c) Exit Truthful, door in flat. Jackson. Wall, he are a good un ! Snaky. That song were the boss, no mistake ! But say, what do you say to a game of cards ? Jackson. Aye, that's the business! Joe, will you take a hand in? Joe. I'll take a hand in by and bye ! (whistle heard off *L.) Snaky. Sh ! Here he is now ! Joe. Who? Snaky, (looking off) The Vampire ! The gal is with him! Come boys, let's sherry ! Exeunt, L. Joe. Now for work ; Lillian must be saved. Exit L., after others. Enter Greythorne, door in flat, leading Lillian ; they come down R. Grey. There, you can rest now for awhile ! Lillian. Have you in your heart no touch of pity, that my tears, my entreaties will not move you ? You see me a poor defenceless girl ; why will you torture me in this way? Grey. Because you are obstinate. Because you will not con- sent to become my wife ! Lillian. Your wife, never ! If you will not give me my liberty., why not kill me and end my suffering ? Grey. Come, this is no time to spend in idle talk! We'll try and find something to eat ! What ho there, Kate ! (Lillian sits at table, R. ) Enter Kate, door R. Grey. Kate, bring us some refreshments, and be quick about it. (Kate starts) 24 TRIED AND TRUE. Lillian. You need not trouble yourself. I could eat nothing. Grey. Then go in there, {pointing to door R.) and rest awhile. (exit Lillian, looking after her) Bah! she's a fool ! If I'd thought she'd have given me so much trouble, I'd never have given her a thought, [to Kate) Leave us. Kate, [who has crossed L. PRICE, 2£ 016 103 313 This work, without a rival in the field ot aramaxic uieraiure, covers cne enure ject of amateur acting, and answers the thousand and one questions that arise constantly to worry and perplex both actor and manager. It tells how to select plays and what plays to select ; how to get up a dramatic club— whom to choose and whom to avoid ; how to select characters, showing who should assume particular rdles ; hew to rehearse a play properly — including stage business, by-play, voice, gestures, action, etc.; how to represent all the passions and emotions, from Love to Hate (this chapter is worth many times the price of the book, as the same information cannot be found in any similar Avork) ; how to costume modern plays. All is told in such a plain, simple style that the veriest tyro can understand. The details are so complete and the descriptions so clear that the most inexperienced can follow them readily. The book is full of breezy .anecdotes that illustrate different points. But its crowning merit is that it is thoroughly practical — it is the result of the author's long experience as an actor and manager. Every dnmatic club in the land should possess a copy of this book, and no actor can afford to be without it. It contains so much valuable information that even old stagers will consult it with advantage. HELMER'S ACTOR'S MAKE-UP BOOK. A Practical and Systematic Guide to the Art of Making tip for the Stage. PRICE, 25 CENTS. Facial make-up has much to do with an actor's success. This manual is a perfect • encyclopedia of a branch of knowledge most essential to all players. It is well written, systematic, exhaustive, practical, unique. Professional and amateur actors and act- resses alike pronounce it the best make-up book ever published. It is simply indis pensable to those who cannot command the services of a perruquier. CONTENTS. Chapter I. Theatrical Wigs.— The Style and Form of Theatrical Wigs and Beards. The Color and Shading of Theatrical Wigs and Beards. Directions for Measuring the Head. To put on a Wig properly. Chapter II. Theatrical Beards. — How to fashion a Beard out of Crepe Hair. How to make Beards of Wool. The growth of Beard simulated. Chapter III. The Make-up.— A successful Character Mask, and how to make it. Perspiration during performance, how removed. Chapter IV. The Make-up Box.— Grease Paints Grease Paints in Sticks ; Flesh Cream ; Face Powder ; How to use Face Powder as a Liquid Cream ; The various shades of Face Powder. Water Cosmetique. Nose Putty. Court Plaster. Cocoa Butter. Crepe Hair and Prepared Wool. Grenadine. Dorin's Rouge. " Old Man's" Rouge. "Juvenile" Rouge. Spirit Gum. Email Noir. Bear's Grease. Eyebrow Pencils. Artist's Stomps. Powder Puffs. Hare's Feet. Camel's-hair Brushes. Chapter V. The Features and their Treatment. — The Eyes : Blindness. The Eyelids. The Eyebrows: How to paint out an eyebrow or mustache; How to paste on eyebrows ; How to regulate bushy eyebrows. The Eyelashes : To alter the appear- ance of the eyes. The Ears. The Nose : A Roman nose ; How to use the nose putty ; a pug nose;an African nose ; a large nose apparently reduced in size. The Mouth and Lips : a juvenile mouth ; an old mouth ; a sensuous mouth ; a satirical mouth ; a one-sided mouth ; a merry mouth ; a sullen mouth. The Teeth. The Neck, Arms, Hands and Finger-nails : Finger-nails lengthened. Wrinkles: Friendliness and Sullen- ness indicated by wrinkles. Shading. A Starving Character. A Cut in the Face. A Thin Face made Fleshy. Chapter VI. Typical Character Masks. — The Make-up for Youth : Dimpled Cheeks. Manhood.' Middle Age. Making; up as a Drunkard : One method ; another method. Old Age. Negroes. Moors. Chinese. King Lear. Shylock. Macbeth. Richelieu. Statuary. Clowns. Chapter VII. Special Hints to Ladies. — The Make-up. Theatrical Wigs and Hair Goods. S3F* Copies of the above will be mailed, post-paid, to any address, on receipt of the annexed prices. „jg^J HAROLD ROORBACH, Publisher, 9 Murray St., New York.