Always order " DE WITT'S » Acting Plays. 
 
 PRICE IS OENXS. 
 
 DE WITT'S ACTING- PLAYS 
 
 (Number 314..) 
 
 THE WINDOW CURTAIN, 
 
 f^^^g^^-^ 
 
 .^2>' 
 
 AND 
 
 CIRCUMSTANTIAL EVIDENCE. 
 
 T^wo :]M:o:^TorJOO-^:JES. 
 
 ADAPTATIONS. 
 
 BY FELIX J. MORRIS. 
 
 TOGETHER WITH 
 
 A description of the Coetumes— Synopsis of the Piece— Cast ol the Characters 
 
 —Entrances and Exits— Relative Positions of the Performers oc 
 
 the Stage, and the whole of the Stage Business. 
 
 ^ti0-S«rk : 
 
 DE WITT, PUBLISHER, 
 
 Ifo, 33 RoBe Street. 
 
 C W^ k COWPIETE DESCRIPTIVE CATAIOBOE OF OE WIH'S ACTING 
 NOW \ PLAYS, AND DE WITT'S ETHIOPIAN AND COMIC DRAMAS, containing 
 RE A n V § Plots, Costame. Scenery. Time of Representation, and every other inf onr -. 
 * f tion, mailed free and poet-paid. 
 
192. 
 166. 
 41. 
 141. 
 
 160. 
 
 70. 
 179. 
 
 25. 
 
 24. 
 1. 
 
 21. Dreams, drama, 5 acts 
 
 186. Duchess de la Valliere, play, 5 acta.. 6 
 
 47. Easy Shaving, farce, 1 act 5 
 
 13). Everybody's Friend, comedy, 3 acts. 6 
 
 200. Estranged, an operetta, 1 act 2 
 
 103. Faust and Marguerite, drama, 3 acts, 9 
 9. Fearful Tragedy in the Seven Dials, 
 
 interlude, 1 act 4 
 
 128. Female Detective, drama, 3 acts,. ..11 
 
 6 3 
 
 6 4 
 2 
 5 
 1 
 7 
 
 DE WITT'S ACTING PLAYS, 
 
 ^- Please notice that nearly all the Comedies, Farces and Comediettas in the following 
 ^isi o/Db Witt's Acting Plats" are very statable for representation in small Amateur Thea- 
 tres and on Parlor Stages, as they need but little extrinsic aid from complicated scenery or 
 expensive costumes. They have attained their deserved popularity by their droU situations, 
 excellent plots, great humor and brilliant dialogues, no less than by the fact thai they are the 
 mmt perfect in every respect of any edition of plays ever published either in the United States 
 <yr Europe, whether as regards purct^y of the text, accuracy and fulness of stage directions and 
 scenery, or elegance of typography and clearness of printing. 
 
 *=^* In ordering please copy the figures at the commer^ement of each piece, which indicate 
 the number of thejnece in " De Witt's List op Acting Plays." 
 
 3^^- Any of the following Plays sent, postage free, on receipt of price— 15 
 cents each. 
 
 l^* The figure following the name of the Play denotes the number of 
 Acts. The figures in the columns indicate the number of characters — M. male ; 
 F. female. 
 No. M. T. No. 
 
 75. Adrienne, drama, 3 acts v • • : '^ o 
 
 114. Anything for a Change, comedy, 13 3 
 
 1(>7. Apple Blossoms, comedy, 3 acts. ... 7 3 
 
 93. Area Belle (The), farce, 1 act 3 2 
 
 40. Atchi, comedietta, 1 act 3 2 
 
 fifl Aunt Charlotte's Maid, farce. 1 act. . 3 3 
 
 Game of Cards (A), comedietta, 13 1 
 
 Bardell vs. Pickwick, sketch, 1 act. 6 2 
 
 Beautiful Forever, farce, 1 act 2 3 
 
 Bells (The), drama, 3 acts 9 3 
 
 67. Birthplace of Podgers, farce, 1 act. . • 3 
 " " Black Sheep, drama, 3 acts 7 5 
 
 Blow for Blow, drama, 4 acts 11 6 
 
 Bonnie Fish Wife, farce, 1 act 3 1 
 
 Breach of Promise,, drama, 2 acts. . 5 2 
 
 Broken-Hearted Club, comedietta, 14 8 
 
 Cabman, No. 93, farce, 1 act 2 2 
 
 Caste, comedy, 3 acts «> 3 
 
 69. Caught by the Cuff, farce, 1 act 4 1 
 
 175. Cast upon the World, drama, 5 acts.lO 5 
 55. Catharine Howard, historical play, 
 
 , 3 acts V 12 5 
 
 80. Charming pair, farce, 1 act 4 i 
 
 65. Checkmate, comedy, 2 acts .6 5 
 
 68. Chevalier de St. George, drama, 3 9 3 
 
 76. Chops of the Channel, farce, 1 act. 3 2 
 
 149. Clouds, comedy, 4 acts 8 7 
 
 121. Comical Countess, farce, 1 act 3 1 
 
 107. Cupboard Love, farce, 1 act 2 1 
 
 152. Cupid's Eye-Glass, comedy, 1 act... 1 1 
 
 52 Cup of Tea, comedietta, 1 act 3 1 
 
 148. Cut off with a Shilling, comedietta, 
 
 1 act 2 
 
 113. Cyrill's Success, comedy, 5 acts — 10 
 199. Captain of the Watch (The), come- 
 dietta, 1 act 4 
 
 90. Daddy Gray, drama, 3 acts 8 
 
 4. Daiidelion'sDodges, farce, 1 act.... 4 
 
 22. David Garrick, comedy, 3 acts 8 
 
 96. Dearest Mamma, comedietta, 1 act, 4 
 
 16, Deare? than Life, drama, 3 acts — 6 
 
 68. Deborah (Leah) drama, 3 acts .7 6 
 
 125. Deerfoot, farce. 1 act 5 1 
 
 7L Doing for the Best, drama, 2 acta.. 5 3 
 
 tH. Dollars and Cents, comedy, S acta. . 9 4 
 
 101. Femande, drama, 3 acts 11 10 
 
 145. 
 102. 
 
 88. 
 
 74. 
 
 53. 
 
 73. 
 
 30. 
 
 131. 
 
 Fifth Wheel, comedy, 3 acts 10 
 
 First Love, comedy, 1 act 4 
 
 Foiled, drama, 4 acts r. . 9 
 
 Founded on Facts, farce, 1 act. . . . 4 
 
 Garrick Fever, farce, 1 act 7 
 
 Gertrude's Money Bos, farce, 1 act. 4 
 Golden Fetter (Fettered), drama, 3 11 
 Goose with the Golden Eggs, farce, c 
 
 1 act 5 
 
 Go to Putney, farce, 1 act 4 
 
 Happy Pair, comedietta, 1 act 1 
 
 151. Hard Ca^e (A), farce, 1 act 2 
 
 8. Henry Dunbar, drama. 4 acts 10 
 
 180. Henry the Fifth, historical play, 5 36 
 
 19. He's a Lunatic, farce, 1 act 3 
 
 60. Hidden Hand, drama, 4 acts 5 
 
 187. His Own Enemy, farce, 1 aot 4 
 
 174. Home, comedy, 3 acts 4 
 
 64. Household Fairy, sketch, 1 act 1 
 
 190. Hunting the Slipper, farce, 1 act. . . . 4 
 
 191. High C, comedietta, 1 act 4 
 
 197. Hunchback (The), play, 5 acts 14 
 
 18. If I Had a Thousand a Year, farce, 
 
 1 act 4 
 
 116. I'm Not Mesilf at All, original Irish • 
 
 stew, 1 act 3 
 
 129. In for a Holiday, farce, 1 act 2 
 
 159. In the Wrong House, farce, 1 act. . . 4 
 
 122. Isabella Orsinj, drama, 4 acts 11 
 
 177. I Sha'l Invite the Major, comedy, 1 4 
 
 100. Jack Long, drama, 2 acts 9 
 
 139, Joy is Dangerous, comedy, 2 acts. . . 3 
 17. Kind to a Fault, comedy, 2 acts. . . . 6 
 
 86. Lady of Lyons, play, 5 acts 12 
 
 72. Lame JJxcuse, farce, 1 act 4 
 
THE WINDOW CURTAIN, 
 
 AND 
 
 CIRCUMSTANTIAL EVIDENCE. 
 
 TWO MONOLOGUES. 
 
 ADAPTATIONS. 
 
 By FELIX J. MORRIS. 
 
 TOGETHER WITH 
 
 A DESCRIPTION OF THE COSTUMES— CAST OP THE CHARACTERS — EN- 
 TRANCES AND EXITS — RELATIVE POSITIONS OF THE PERFORM- 
 ERS ON THE STAGE, AND THE WHOLE OP THE STAGE 
 ll , BUSINESS. 
 
 R'^ 
 
 im 22 lot. 
 
 KEW YORK : 
 
 DE WITT, PUBLISHER, 
 
 No. 33 Rose Street. 
 
 Copyright, 1883, by A. T. B. Db Witt. 
 
 \ --\ 
 
TSJi WINDOW CURTAIN. r) ^3 
 
 ^ t^;^^■ 
 
 CHARACTERS, 
 
 Mks. DeLancy Ponds, a young and elegant widow. 
 Female Voice, in wing. 
 
 TIME OF REPRESENTATION -FIFTEEN MINUTES. 
 
 SCENERY. 
 
 Handsomely furnished bed-room, boxed with alcove, as per diagram. Set scene 
 between 1 and 2. Alcove extending beyond 2. 
 
 O • 
 
 Table. • 
 Bed. 
 
 . Door, practicable, 
 
 Chair.* •••• | | .. 
 
 • ™ Dressing Table. with lock and key. 
 
 Fireplace. Window with^urtains. 
 
 Boots. 
 O* Table and Chair. 
 ♦Easy Chair. 
 
 O 
 
 o 
 ooooooooooooooo 
 
 PROPERTIES. 
 
 Bed in alcove must be neatly made up; handsome dressing table r.; set fireplace 
 K., fire burning (calcium, with red medium); table R. ; lamps burning; one or two 
 books and pamphlets; easy chair R. corner; door L. with handle and practicable 
 lock and bolt; regular door l, ; curtains attached to cornice hang in front of L. 
 window, leaving possible room for a man to stand behind without being noticed, 
 curtains to come within six inches of stage; light-colored carpet down; behind 
 curtains place a pair of high boots (must be in good order), so that the toes can be 
 seen protruding from under the curtains; stuffed with paper, they stand better, not 
 too near each other, they will look as if somebody were standing behind curtains; 
 cliair L. near curtains. Boot toes must be visible to the audience. Prompter will 
 have to shake curtains at the proper cue, by hand, through window. 
 
 N. B.— To render the production realistic and effective, the set and properties 
 must be used according to instructions. 
 
TEE ¥IIDO¥ CURTAII, 
 
 SCENE. — Set handsome bed-room with alcove. See diagram. 
 
 As the curtain rises, Mrs. De Lancy Ponds discovered at door, l., 
 holding letter in hand, speaks off. 
 
 Mrs. De Laxcy Ponds. You are sure this letter is for me ? {speaJcs off, 
 aside) I only arrived in New Yorlc an liour ago. {ajjproaclies lam}) on 
 table, R., examines addi-ess on envelope) Yes, tliat is certainly my name; 
 the writing seems familiar too ! {returns to d. l., speaJcs off) Yes, the 
 letter is for me; you need not wait; I shall require nothing more. Oh ! 
 don't forget to bring up my chocolate in the morning. 
 
 Female Voice {off stage). Very well, ma'am. 
 
 Mrs. p. Shut the outer door, please, {door hangs) That's right; I 
 will lock and bolt mine, {does so, then goes towards fire i)lace, r.) Now 
 to make sure, {sits and opens letter, looks at .signature) Yes, it is from 
 him. {annoyed) The very idea of such presumption ! {reads letter) 
 "Madam. — Ever since you were gracious enougli to pardon the indis- 
 cretion I was guilty of." {speaks) How dare he recall the circumstance! 
 The audacity ! to secrete himself like a burglar in my house, or rather 
 in my aunt's house ! Still, I did forgive liim. {reads) "Ever since you 
 were gracious enough to forgive me, you must acknowledge I have kept 
 my word, and have ceased to importune you; but I did not promise that 
 I would cease either to love, or to gaze upon you on every possible occa- 
 sion. You will not wonder then, that I travelled on the same train with 
 you, from Newport to New York." {speak.<i) Is it possible he was on the 
 same train? {reads) "I secluded myself in a compartment where you, 
 alas, were not." {speaks) I should think not, indeed ; no doubt he was in 
 the smoking car! {reads) "I consoled myself that, at any rate, I was 
 near you, and in case of accident—" {speaks) Upon my word he is really 
 amusing ! {reads) " I should perhaps be fortunate enough to perish with 
 you." {speaks) Perish with me! wh}', he's romantic— a sailor romantic? 
 lia ! ha ! who ever heard of such a thing? (?-eacZs) " Do not be surprised 
 if you encounter, at a respectful distance, be assured, the man who con- 
 secrates to you his entire existence. — Maxwell Brayson, U. S. N." 
 {rises, speaks) This is really going too far; yes, it's beyond endurance 
 
4 - -^_^_ THE WINDOW CURTAIN. 
 
 {said 2^ettishly) to be persecuted in this maiinei-, in liis impetuous, blun- 
 dering, sailor way. I shall be compromised; following me liere is outrage- 
 ous! It would serve him right if I left the hotel this instant; I liave a 
 great mind to— but then, it is late— (Zoo/t5 at watch) too late to think of 
 that; besides, lam so well known here, everybody is attentive ; else- 
 where I should be an entire stranger. Here I feel perfectly at home, and 
 absolutely secure. When I say absolutely, that is as safe as one can be 
 in a hotel. I am always more or less nervous, and never neglect the 
 precaution of looking under the bed, since I read an account in the 
 Herald of a young widow, like myself, returning in the evening to her 
 room in a hotel, just as I am, suddenly discovering a burglar hidden un- 
 der her bed, doubtless waiting for an opportunity to-to— murder her 
 in cold blood. Ugh ! it makes me shudder to think of it. I must con- 
 fess I feel really nervous when I am alone; and why do I allow such 
 thouglits to come into my head ? I invariably travel with my maid, but 
 this morning Barker must, of course, fall ill. I could not delay my 
 journey, as I have to attend my cousin's wedding to-morrow; their house 
 is full of guests, and so I determined to pass the night at the liotel: a 
 most unpleasant arrangement, indeed ! {takes off, ichile speaking, trav- 
 elling wrap, hat. gloves, bracelets, and places them on dressing table) 
 Can my persecutor, Lieut. Brayson, be right {reHectively) in his persist- 
 ency? and widowhood with all its independence, has it not certain incon- 
 veniences Perhaps it has; still this gentleman will have to control his 
 impetuosit}', if he wishes to convince me. I shall never {seated) forget 
 the extraordinary manner in which he apprised me of his love. It was 
 at a ball given by my aunt at Newport. The waltz had just ended, and 
 Lieut. Brayson presented himself. "Madam," said he, m a deep bass 
 voice, "do you know what a thunderbolt is ? " {imitates Iiis voice) As 
 I did not understand him, he proceeded, "It is that sudden, irrresistible, 
 diabolical love which seizes a man and chains him instantaeously to the 
 one woman he loves for life ; at sight of you, Madam, such a love en- 
 thralled me, and— and— in short, will you marry me?" "Marry you," 
 I replied in astonishment. " I hardly have the honor of your acquaint- 
 ance." "Perfectly true, adorable Madam," said he ; "let me describe 
 myself : Maxwell Brayson, Lieutenant United States Navy ; age, thirty- 
 three years ; height, live feet, eleven inches, dark complexion, as you 
 must have observed. Do you admire dark complexions, dear Madam ? " 
 I ventured to state that I had no particular objection to a dark complex- 
 ion, although my late husband was fair. " In that case, I am sure you 
 adore a dark complexion. For further details, have the goodness to 
 consult your aunt, who has known of me ever since I w\as knee-high 
 to a grasshopper." lie left me, determined, as he informed me, to re- 
 new li is visits; I intended to take my departure in a day or two, and 
 never expected to see this extraordinary being again. The following day, 
 returning rather fatigued from a loiig drive, I sought refuge in a little 
 
T.IE WINDOW CURTAIN. 5 
 
 ante-rooni; as I was alone, I reclinea on the lounge, and I was just doz- 
 ing-, when a sligiit noise startled me; looking up, I saw tlio window cur- 
 tain move, just as that curtain mi'j^ht— (turns i-apidl>/ and points at the 
 curtain, l., which is visibly shaken) Good gracious! {stai-is to/eeO Why, 
 that curtain does move ! Can it be possible ? {recovers a little) Sailors, 
 they say, are capable of anything. What nonsense, I ought to know 
 better; simply imagination— nothing else— that curtain certainly did not 
 move, {looks round again, curtain visibly shaken) Look, look there ! 
 1 am not mistaken; it certainly does move, {timidly approaching cur- 
 tain, sees a pair of toes of boots protruding ; pointing to them) All ! 
 {subdued scream, low voice) He is there ! T see liis boots ! {addressing 
 curtain) This is unpardonable, sir. {indignarit) Most unpardonable, and 
 I shall immediately csW— {going towards d. l., checks herself, aside) 
 No, that will not do; it would create a scandal; I should be compro- 
 mised. There is no lielp for it, I must employ persuasion and calmness. 
 Calmness when one is furiously indignant ! To think he is disloyal 
 enough to compromise me, to employ treachery, after assuring me in 
 liis \%ttev— {snatches letter out of pocket during speech, timidly glances 
 at curtain, moves towards l. d., and back at discretion) He certainly 
 said, {reads) "Be assured— '' ah ! here is a postscript! {turns page) 
 " One word more. Madam; which will prove to you my determination 
 not to displease you." {speaks) And he dares to secrete himself in my 
 chamber. It is infamous; he is no gentleman to subject me to such in- 
 dignity ! {reads) " My first idea was to go direct, as you did, to the Ho- 
 tel Bristol, but I determined otherwise; to-morrow in the church where 
 your relative is to be married, I hope to have the felicity of an inter- 
 view," (.spea/j.s) To-morrow ! then who can he 1\\qvq1 {points to cur- 
 tain) Good heavens ! It must be a burglar; New York swarms with 
 them ! {rushes towards door) Help ! {very loud, curtain shakes again ; 
 low intense voice) Ah ! he moves, he would spring out before I could 
 reach the door, {runs back to table) It Is locked and bolted, I dare not 
 even try to escape. What a horrible situation. I — I — iee\—{staggers 
 to chair) as if I should faint. No ; I must be courageous ! {with effort 
 regains composure) Let me think a second. He has not attacked me 
 yet; he knows I am alone; he must have some other plan; he only 
 awaits for me to retire, to quietly murder me! {staggers again) Courage! 
 I must be brave ; doubtless he is watching every move. What is to be 
 done? I'll pretend to read, and think of some way of escape, {sits at 
 table, placing herself so as to watch curtain, takes book off table, 
 reads title) "Celebrated Crimes." {throws it aside) Ah! {suppressed 
 scream) not that! How unfortunate Lieut. Brayson did not carry out 
 his idea ; at my first cry he would have broken open the door, {despair- 
 ingly) Alas! he is not here, and I am lost, lost! I shall only add one 
 more to the number of daily victims in New York; it is an every-day af^. 
 fair here. Yesterday an unfortunate newspaper dealer, to-day it \Yill be 
 
b giv . THE WINDOW CURTAIN. 
 
 my turn. All ! {breaks doum) this is iioiy-ible, horrible! (suddenly takes 
 courage as if an idea had suggested itselj, rises and sai/s) Wiiy, of 
 course, this man would kill only to rob me; 1 will offer him my purse ; 
 it's a fair bargain ; if he has any feeling at all he will innnediately ac- 
 cept the offer. {s2)Qaks to curtain, 'nervously) I— I — know you are there, 
 sir, but do not fear, no harm will come to you; I do not wish to have 
 you arrested, quite the contrary. You are much less to blame than su- 
 Ijerticial and prejudiced individuals imagine; misfortune, misery perhaps, 
 has embittered you against society, has driven you to— to stea— to re- 
 volt, I mean. Ciiiidren, perhaps, poor, starving babes, most likely, dy- 
 ing of hunger, ask you for bread— that would justify your present ac- 
 tion. I have an offer to make you, one that will be mutually agreeable. 
 I offer you my traveling satchel with all the money I liave witli me; I 
 solemnly swear to you, every cent of the money I brought with me from 
 home, is in my satchel. (2)ause) See; I will add my bracelets and rings. 
 {gets bracelets from dressing table, takes rings off fingers) I cannot 
 act fairer. I only keep some toilet articles, of no value whatever to j^ou. 
 {takes them out of satchel, then places other articles in) There, that is 
 all I require. Now, take the satchel, {timidly i^laces satchel on chair, 
 L., near curtains) Be good enough to take it. {retreats to table, pause, 
 speaks) He does not reply— have the goodness to reply, {pause) Oli, I 
 understand, you are afraid I might recognize your voice, [pushes chair 
 timidly nearer curtain) Now, if you just put out your hand, you can 
 reach my satchel without being seen. Take it at once, and get out of 
 the window, exactly as you came in. See, {turns away from cui-tain) 
 I will shut my ej-es, to be sure not to see you. {aside) Will he never go? 
 I cannot hold out much longer, {places hands before eyes, pause, peeps 
 around and sees the satchel untouched) He does not touch it — ah ! me, 
 ah ! me, these burglars are dreadfully obstinate, {despairingly appeals) 
 What do you want, man? What do you want? Merciful powers! I 
 hear the click of an opening knife, {in terror she kneels) In Heaven's 
 name do not kill me, spare my life if you are a man ! (loud knock at door 
 L., pause) Somebody knocking ! 
 
 Female Voice {outside). Oh, if you please, ma'am ! 
 
 Mrs. p. a human voice ! 
 
 Female Voice. Did you find a pair of boots in your room, standing 
 near the window, behind the curtain ? 
 
 Mrs. p. What does she say? 
 
 Female Voice. Left there by a gentleman ? 
 
 Mrs. p. Merciful powers ! Can the burglar be only a pair of boots. 
 Impossible; I cannot have been so weak-minded; somebody is there. At 
 any rate, I will venture ! {raises curtain showing boots on stage) Nothing 
 but a pair of boots and my foolish imagination ! 
 
 Female Voice. Have j'^ou found them, please, ma'am? 
 
 Mrs. p. Yes, I have; they are here. To tliink I should have worked 
 
THE WINDOW CURTAIN. 7 
 
 myself into a state of mortal terror over a pair of boots. Never mind, 
 this is the last time I will travel alone. No more widowhood for me. I 
 will marry Lieutenant Brayson to-morrow, if lie will have me. {knocks 
 repeated. ) 
 
 CURTAJK 
 
 EXPLANATION" OF THE STAGE DIRECTIONS. 
 
 The Actor is supposed to face the Audience. 
 
 D. R. C. 
 
 C. D. 
 
 D. L. C. 
 
 R. U. E. 
 
 R. 3e. 
 R. 2 
 R. 1 E. 
 
 / 
 
 SCENE. 
 
 / 
 
 / 
 
 / 
 
 c. Centre. 
 
 R. Right. 
 
 R. c. Right Centre. 
 
 R. 1 E. Right First Entrance. 
 
 R. 2 E. Right Second Entrance. 
 
 R. 3 E. Right Third Entrance. 
 
 R. u. E. Right Upper Entrance. 
 
 r>. R. c. Door Right Centre, 
 
 L. tr. E. 
 
 \ 
 
 L. 3e. 
 
 \ 
 
 L. 2 E. 
 
 \ 
 
 R. C. C. L. C. 
 
 AUDIENCE. 
 
 L. 1 E. 
 
 L. 
 
 L. Left. 
 
 L. c. Left Centre. 
 
 L. 1 E. Left First Entrance. 
 
 L. 2 E. Left Second Entrance. 
 
 L. 3 E. Left Third Entrance. 
 
 L. u. E. Left Upper Entrance. 
 
 c. D. Centre Door. 
 
 D. L. c. Door Left Centre. 
 
CIRCUMSTANTIAL EVIDENCE. 
 
 CHARACTER. 
 
 Mb. Lafayette Lightwood, a well-to-do lawyer; hair slightly gray on temple*. 
 
 TIME OF REPRESENTATION -TWENTY MINUTES. 
 
 SCENE . 
 
 A Lawyer's private office, well furnished. Boxed scene in 3; window in flat, B.; 
 door iu flat, l.; doors r. and l., between 2 and 3. 
 
 PROPERTIES. 
 
 A handsomely famished room; secretary, large size, full of pigeon-holes, draw- 
 ers, etc., L. c, facing audience; secretary, small, for lady, r., in which, nvhen open, 
 audience can see drawers, papers, books, etc. ; must be full of papers and account 
 books; in one drawer a ring in small case, iu another a note-book, in another a pair 
 of embroidered slippers, not finished, in another a cigar stump. In large secretary 
 revolver, in large drawer, also chisel; fifteen brief forms, all endorsed, for Light- 
 wood to bring on; letter containing photo Lightwood brings on iu coat pocket; 
 large open envelope, containing five enclosures iu billet-deaux form, addressed 
 •' Florence L./' to be handed in door in flat; another letter addressed to Light 
 wood; large envelope is also addressed to Lightwood, " private and confidential ; '' 
 both handed on stage; in long narrow brown paper box a handsome doll, also toy 
 rocking horse, wrapped in paper, both standing on top of large secretary; mantel 
 with centre clock; large mirror on mantel; chairs, sofa, etc.; window handsomely 
 curtained; door in flat, practicable; lock and key; small secretary is locked when 
 curtain goes up, large one open; fireplace, asbestos fire. 
 
CIRCUMSTANTIAL EVIDENCE. 
 
 SCENE.— yl lawyer'' s private office, icell fui-nished. Boxed scene in 3. 
 Window in flat r., door in flat l., doors r. and l., between 2 and 3. 
 
 As curtain rises, Mr. Lafayette Light wood discovered standing in 
 door-way in flat l.. legal papers, briefs, etc., in hands and under 
 arms. Speaks off. 
 
 LiGHTwooD. Mr. Brisket, remember, I am not in to anybod3\ You 
 can see any client for me. Post those letters to Vincent. Send Stubbs 
 with the briefs to Mr. AYhite, the notary; jog White's memory a little 
 about my account. 
 
 Voice {offstage). Very well, sir. 
 
 Light. Tliat's all, I tliink. {comes in, slads and locks d.) At last, a 
 truce to business ! Now I can devote myself to the reception of my darl- 
 ing little wife and children, who return home to-night, after spending 
 tlie summer at the seaside, four long weary months for me. In our cosy 
 chambers here we can shut out law and trouble, and be joyful and merry 
 as bees in a hive. The train will arrive soon with its precious freight. 
 {at desk, l., places, during above remarks, papers in various pigeon- 
 holes. Beads headings of documents) Number 2,307—8—9-10—11— 
 (2->laces each in pigeon-holes as he speaks) all correct. "Weavill's ac- 
 count, {ojjens another brief) $5,270, with costs $9,210, perfectly right. 
 {reads others) Pomeroy vs. Schafer ; Duncan vs. Adams ; yes, in order. 
 There, there, no more of these musty papers, {disposing ofpa2yers raj)- 
 idly, then halting again and reading) Let me see; in re Johnson, 
 $6,400: yes, that's about it— costs in the case pretty heavy, {throws 
 down the rest of the papers in his hands) Confound it, enough of this, 
 enough 1 {looks at clock on mantel) Thirtj'-five minutes past five! they- 
 've arrived at the depot, if the train be on time, (looks at icatch) By 
 Jove! that clock's slow, it's a quarter to six. A few minutes more and 
 I will fold them in my arms, after so many long weeks and months of 
 separation. My own darling Florence, {raphsodically) I can see her 
 alight from the cars, {faces audience) full of anxiety for her little ones, 
 like a hen with her brood of chickens; little Ethel too, looking about 
 for papa. I wonder if the little witch has grown ; and then Fred, Fred- 
 
10 CIRCUMSTANTIAL EVIDENCE. 
 
 cl^'-the-Great, as we call liim, wrig-gliiig and squirming in the nurse's 
 arms. Dear ones all, liow iliey will •liurry to the entrance, little wife 
 looking everywhere for her hul)l)y, until catching sight of my old clerk 
 Joseph, she will know business has detained me at the office, {change 
 from rhapsody to 'petulance) Confound a business, say I, that will de- 
 tain a man, and prevent his receiving the first fond look of wife, the first 
 joys of welcome, the hugs and kisses of his little ones ! I suppose I must 
 grin and bear it ; liere in my cage I can rail at everything, clerks, 
 clients, judges, law itself! {resume ordinary tone again) Darling Flor- 
 ence will be overjoyed to see me. Will the children know me again? 
 Of course they will; what romps we'll have, and what a shoAver of kiss- 
 es ! {takes box off top of bureau) Let's see if they have filled my orders. 
 {opens long brown paper box with doll, takes out doll) Beautiful ! Ex- 
 quisite ! A lovely costume— and what hair— umph ! those eyes are be- 
 witching. Wont Ethel be delighted ! {takes good-sized toy horse, 
 wrapped in pa^ye?', off bureau, undoes 2^(fper) Here's a trotting horse 
 for Fred. What a glorious steed, a perfect mustang of the savannahs. 
 Come, come, little fairy, {to doll) off to bed with you, (puts same in box) 
 and you, War Eagle, to your boundless prairie, once again ! [pilaces horse 
 on top of bureau again, then goes to mirror over mantel) I wonder if 
 Florence will find me altered, (looks close in glass) I do believe there are 
 one or two wrinkles more about the eyes since she left, and I'll swear 
 the gray hairs are a little more visible. Well, if a fellow's wife will go 
 away to the seaside for four months at a time, what can be expected ? 
 Fortunately I feel as young as a three-year-old! {takes letter containing 
 u'ife^s photo out of podcet, looks at it) Florence looks better than ever, 
 dear little woman. The fresh, pure, country air gives a charm to lier 
 beauty, {looks at photo ichile speaking) The same eyes. Those dear lips 
 that seem to smile upon me— ah, you little rogue ! That look of hers, 
 that far-ofT, limpid gaze, that enraptured me years ago. Angel Flor- 
 ence, what chats we will have, what wonders to tell me, what marvels 
 to reveal, [ring outside) Ah, here they are— they've arrived ! One mo- 
 ment, dear ones, and father will be with you! {rushes to d. in flat, un- 
 locks, hand appears with bundle of letters, takes letters, closes and 
 locks D.) Deuce take it! Only business letters ! {looking them over) No, 
 here's an open enveloi)e addressed to me. {large envelope out of which 
 he takes several smaller letters) Containing letters for— who's this — 
 what? Florence 1^., my v^Mq —{excited) man's handwriting! I don't 
 understand it, Wlio the devil dares to write to my wife ? {looks at others) 
 More for her, in the same hand— the seal broken — why should I hesi- 
 tate? it's clandestine correspondence — I won't hesitate, {reads, sup)- 
 pressed rage) 
 
 "My Darlixg Florence.— Destiny sweeps us off our feet. I must 
 write you, the only means of renewing our blissful communing. What 
 an eternity it seems since last we met. I have drifted through exist- 
 
CIRCUMSTANTIAL EVIDENCE. 11 
 
 ence witlioiit tbee; I have not lived. Now you are returning, to-mor- 
 row you will arrive — " {looks at head of note, as if for date. Speaks) 
 Written yesterday ! (re5i«7zes lette?') "We will meet at the usual hour. 
 "What have I not to tell thee? Darling, I have arranged a delightful 
 surprise for you. Be secret as the grave. Yours till death. — Ernest," 
 {utterly overcome) Good Heavens ! this cannot be ! No, no, I am sure- 
 ly blind, mad, the butt of some wicked joke, some frenzied dream, (re- 
 covering, then the rage of a betrayed husSand, intense, terrible, if 200s- 
 sible) It cannot be my wife— my Florence, so devoted, as I imagined, 
 no, no— I cannot forget the past. She did — she does love me; her let- 
 ters breathe affection in every line. Alas! alas! months have passed 
 since we were together, {reads the other letters, rapidly going through 
 them) Um — urn — one fond embrace— um — um — um — dearest Angel. 
 Another letter, and still another, all revealing the same infamy. It is 
 not a drea.m, but foul reality. I cannot disbelieve my eyes ; here's the 
 envelope, and here the address, "To Mr. Lafaj'ette Lightwood— ^^rerrt/e 
 and confidentiaV^ My anonymous correspondent ensures the delivery 
 of the letters into my hands, by adding the words, " private and confi- 
 dential." {sadly earnest) What a blow is this, to me! I, who lived so 
 happily, in unbounded faith and confidence. 'Twas my dehght to honor 
 the wretched woman who has betrayed me and tarnished my good name. 
 In my blind ignorance I saw nothing, suspected nothing ! Aye, labor 
 and toil under a weary load of cares and business troubles ! Go on, fool, 
 'tis all you are fit for! Tied to my business, immured within these four 
 walls from morn till night, what could I expect? Oh. fool, idiot that 
 I am, why did I not devote myself less to business and more to my do- 
 mestic duties ? Could I suspect the wife of my bosom ? could I doubt 
 such devotion, such maternal love? Surely there cannot be such infamy 
 in icoman ! {revengeful rage) Who is the villain that robs me of my hap- 
 piness? where does he hide, this viper— this contemptible, loathsome 
 thing? By the Eternal! I swear to kill him on sight! {opens drawer 
 bui^eau, L.. and takes out revolver, ti'ies it by cocking it savagely) W\\^l 
 a mockery is this ! {places revolver on bureau) How am I to find this 
 seducer — this skulking thief? If I shoot him down in his tracks, I shall 
 only add another crime to their's, and my future, what would it be to 
 me, stained as I should be with the blood of a fellow-creature ? {almost 
 in tears) Oh! my children— my little Freddie, my darling Ethel, who 
 could have foreseen this misery? I cannot bear this trial, I cannot. 
 {breaks down, slight pause, recovering) Come, come, this will not do; 
 'tis a time for action, not for tears. No more weakness; I must meet the 
 VjIow like a man. I will avoid all exposure, sell everything that I possess, 
 and leave the wretched woman with her betrayer. I simply and firmly 
 claim my children. No child of mine shall be contaminated by such a 
 mother! Now for a personal examination, for further proof of her 
 guilt. I'll ransack her room ; there must be further evidence. A 
 
12 CIRCUMSTANTIAL EVIDENCE. 
 
 woman in sucli <a predicament becomes reckless, {goes io d. r., 2 e., 
 stands there talking) Some letter, a plioto, perliaps, or some memento 
 of tlieir cursed intercourse is sure to turn up. But stay, liere is lier fa- 
 vorite secretar}'; let us begin here; let me examine it. {has come from 
 D. R. 2 E. to secretary r., tries to open it, it is locked) Locked, of course, 
 just as I exp3Cted ! Assured of my blind devotion, slie quietly goes off 
 to the seaside, and with a woman's fiendish cleverness, leaves ine to pass 
 my days side by side with this hiding place for all her guilty secrets. 
 To think that a man should be subjected to such an outrage ! I'll break 
 open the lock and know the worst, {takes chisel from drawer of bu- 
 reau L.., forces lock, ransacks everything, throws pcq^ers, hooks, etc., 
 onjioor. Secretary mast befall of i^apers and account books, such as 
 a lady xcould use. Ring outside) A ring, eh ? {turns io D.) To the 
 devil with you, whoever you be! Tliere's no one to answer you, so go 
 on, if you like ! {continues io throw things out and search) Nothing- 
 nothing— nothing ! {rmg, violently, outside) Ring and be hanged to 
 you! {pause) Can it be my wretched wife? What matters it ; let her 
 ring till she's tired, for here there is no longer any home ! {opens drawer 
 in secretary) I knew it — I knew I should discover something! {cakes 
 out case with ring) What's this— a ring? doubtless with an inscription. 
 {reads) "To my darling girl!" A present from her lover, no doubt. 
 Deceitful viper that she is ! Never mind, 'tis most excellent "circum- 
 stantial evidence." Surely mine is the calmness of desi)air. How can I 
 contain myself in the face of it all, but I will be cool, aye, and self-pos- 
 sessed ! {takes note-book out of another drawer, reads on fly leaf, care- 
 ful not to drop written letter in note-book to be used later. Beads) 
 "I love thee, now and forever. Your devoted darling, Florence." Love! 
 love ! How dare she talk of love ? Shameless, lost being ! More evi- 
 dence of her guilt ! {looks in other (Zrawe?-) "What's this? — a half smoked 
 cigar, /haven't touched tobacco for five years ; she even doats on his 
 cigar ends; this is, indeed, infamous! {another drawer) Here again; an 
 unfinished pair of embroidered slippers ! Slippers for the fiend ! The 
 sly vixen must have worked at these secretly. Oh — no matter, only 
 further, and irrefutable circumstantial evidence! {ring violently outside) 
 Aye, indeed, you're in a hurry, are j'ou? Do you think I care for your 
 knocks and rings in such an investigation as this? I had better see if 
 it is that degradetl creature. Yes, I'll confront her in her damnable 
 sin. {goes to D. in flat, with threatening looks and measured movement, 
 unlocks door ra2)idly) Now, Madam, (yery loud) on your kne(^s and 
 ci"d\e-— {sees hand with letter, visible to audience) Oh, it's you, post- 
 man? I thought — I mean — that is— for me — thank you — all right. 
 {locks door again) What new calamity awaits me? {comes down, opens 
 letter, looks at heading) White, the notary! What does he want? 
 {reads) "Dear Lightwood, I had forgotten to enclose this letter with 
 the other. It will explain itself." " Dear Sir. —I feel certain tlic follow- 
 
CIRCUMSTANTIAL EVIDENCE. 13 
 
 ing letters, herewith enclosed, will be of tlie utmost value to you, in 
 l)roviii2; the culpaDility of my wife. The evidence is simply overwhelm- 
 ing-. I need not add one word; I have been deceived by my wife in the 
 I'lost cruel manner." (5j;ea/t5) Ills wife! Here's another poor devil in 
 the same fix ! {reads) "I, who have always been a model husband ! " 
 {speaks) Model husbands are always the victims, {reads) "You will 
 please secure counsel and proceed, at once, in an action for divorce. 
 The seducer and defendant in the case* is no other than Mr. Ernest 
 Sutherland, the artist, whom you may perhaps know. Yours truly, 
 Alexander Lumpkin. P. S. My wife's Christian name is Florence!" 
 (.s^j)ert/.-.s) Can I believe my ej-es? His wife! Old Lumpkin. Florence 
 L. then, is Florence Lumpkin— his Florence and not mine! Hurrah! 
 {wild /jlee) Hmvah I hip! hip! and another! Good Heavens! how 
 tliunliful I am ! Madman that I was ! If I had considered for a mo- 
 ment, how could I allow myself to think such folly! My own dear, 
 faithful little wife. Ha! ha! ha! I could cry for very joy! Poor old 
 Lumpkin! it doesn't matter so much in his case ; he's old enough to be 
 her father ! Ha ! ha ! I can't help laughing, 'pon my soul, I can't i yen- 
 tire change to rakish hilarity) Of course such things can only happen 
 to old fellows like Lumpkin ! Devilish pretty little woman his wife i:^, 
 to be sure, and what a perfectly outrageous flirt she is. By Jove ! what 
 a narrow squeak I had with her at Newport, last summer. She set her 
 cap at me with a vengeance ! Any other fellow would have succumbed, 
 but I'm a paragon of virtue, of course ! We men of the world under- 
 stand these things! Poor Ernest happens to be my particular chum, 
 a most excellent fellow. How could he be so foolish as to be caught in 
 such a trap. I'm not astonished at his infatuation ; she's such a little 
 duck of a woman, a perfect clipper ; but I really thought he was too 
 clever for this. That's the worst of these romantic fellows; they are not 
 deliberate enough. Now I am, if I do say so myself, calmness personi- 
 fied; not a step that is not premeditated, not a wink of the eye that isn't 
 the result of a mathematical calculation ! '^o~{suddenly realizing his 
 assertion) no— I don't mean that -I— I— that is— Avhat the deuce was I 
 saying — oh. of course, about poor Ernest ; I must help the poor fellow. 
 By Jove! I will I'll defend him myself, {clears throat iireparatory to 
 grandiloquent address) Gentlemen of the Jury ! My client, the sup- 
 posed admirer of the wife, is a brilliant artist, who. perhaps, as a stu- 
 dent of the beautiful, may have worshipped, in imagination only, at the 
 foot of the shrine, {moves over to r. bureau, where the ring-case, note- 
 hook, cigar stump and embroidered slippei^s must have been kept all 
 together) My client, gentlemen of the jury, is the soul of \\owov -{warms 
 gradually) a man of unblemished reputation, who is so wedded to his 
 art, that even the seductive charms of young Mrs. Lumpkin herself could 
 not draw him from the patli of rectitude ! What proofs? {gesticulating) 
 I say, gentlemen of the jury, where are your proofs? (hand knocks over 
 
14 CIRCmiSTANTIAL EVIDENCE. 
 
 sli2')2^ers and note-book, out of which falls a letter) Good gracious! I 
 Imtl foi'i^-otten my own case. How* are these proofs to be explained 
 away? (sees note-book and letter on floor. The actor must arrange the 
 letter himself, as so many loai^ers Utter the stage) Hello ! a letter in this 
 note-book ! Must have escaped my attention before. It's addressed to 
 me, and sii;,ned Florence Lightwood. {reads) "Darling Husband! If an 
 accident should happen during our journey by rail, and I have a wretched 
 presentiment that I cannot shake off, you will find some little memen- 
 toes, which please cherish ni memory of your beloved wife. The ring 
 with inscription was given to me by my dear mother, the slippers I 
 hoped to surprise you with, should I live to return, the half-smoked ci- 
 gar you left on the porch of our house the day before we were married. 
 I have kept it ever since. Do not think me foolish, my own, and believe 
 me now and ever your true and devoted wife.— Florence." {kisses letter, 
 then speaks) Poor darling, and 1 dared accuse her, dared entertain a 
 thought derogatory to her angelic womanhood. Miserable coward that 
 I am. Never mind, this will be a lesson to me; our future is still un- 
 dimmed, still full of hope and joy. {looking around) What a deuce of a 
 mess I have made ! This {points to papers scattered everywhere) means 
 jealousy and despair! How can I explain my brutal conduct ! {noise of 
 carriage outside) Ah ! (rush to window) a carriage at the door ! Yes, 
 here they are, here they iive\ {down again to secretary, on knees; 
 throws things into it) What shall I say? Fool that I have been, {knock 
 and ring) I must use my legal wits and square the jury ! They're com- 
 ing up stairs ! {still hurrying papers into secretary) Yes, I hear the lit- 
 tle footsteps, the darlings ! Hello there ! In this room, chickens, in 
 \\(^XQ\ {voice of child, or lady's voice ontside) Papa! Papa! That's 
 Freddy ! Here I am Fred, here ! Wait just half a second, boy. {at 
 child's voice, leaves papers, etc., takes box with doll under one arm, 
 toy-horse under the other) Just one half second, my son. {at door in 
 flat, turns to audience, comes down stage, then in solemn voice says) 
 Ladies and Gentlemen of the Jury— one word of legal advice before we 
 part. Beware of Circumstantial Evidence ! {tJien 7'ushes U2) stage 
 shouting) Florence— children— here's papa ! Here ! 
 
 QUICK CURTAIN. 
 
ETHIOPIAN AND COMIC DRAMA, 
 
 ** Let those laugh now who never laughed before, 
 And those who always laughed now laugh the more.'" 
 
 ISothing so thorough and complete in the way of Ethiopian and Comic Dramai» 
 
 I^Af ever been printed as those that appear in the following list. Not only are the 
 plots excellent, the characters droll, the incidents funny, the language humorous, 
 but a'l the situations, by-play, positions, pantomimic business, scenery, and tricks 
 are sc plainly set down and clearly explained, that the merest novice could put 
 any of them on the stage. Included in this catalogue are all the most laughable 
 aud effective pieces of their class ever produced. 
 
 ^** In ordering, please copy the liguros at the commencement of each plaj'^ 
 which indicate the number of the piece in " De Witt's Ethiopian and Comiq 
 
 PRaMA." 
 
 J^^ Any of the following plays sent, postage free, on receipt of pric;>^ 
 15 CeJits Each. Address, 
 
 ^^;. ■ \. ' . DE WITT, 
 
 jVb. 33 Rose Street, JVew York, 
 
 aw The figures in the columns indicate the number of characters— M. maft» 
 "P. female. 
 
 'jNo. 
 73. 
 107. 
 
 43. 
 
 79. 
 
 4^. 
 6. 
 
 10. 
 11. 
 
 40. 
 
 V.S. 
 ,89. 
 
 ,'24. 
 
 lOS. 
 
 35. 
 
 41. 
 12. 
 53. 
 
 63. 
 110. 
 
 111. 
 
 50. 
 64. 
 
 M. F. 
 
 African Box, burlesque, 2 scene 5 
 Africanus Bluebeard, musical 
 
 Ethiopian burlesque 6 2 
 
 Baby Elephant, sketch, 2 scene 7 1 
 Barney's Courtship, musical 
 
 interlude, 1 act. 1 1 
 
 Bad Whiskey, sketch, 1 scene. 2 1 
 Black Chap from Whitechapel, 
 
 negro piece 4 
 
 Black Clieniist, sketch, 1 scene 3 
 Black-ey'd William, sketch, 2 
 
 scenes 4 1 
 
 Big Mistake, sketch, 1 scene.. 4 
 
 Bogus Indian, sketch, 4 scenes 5 2 
 Bogus Talking Machines (The) 
 
 farce, 1 scene .... 4 
 
 Bruised and C ired, sketch, 1 
 
 scene 2 
 
 Charge of the Hash Brigade, 
 
 Irish musical sketch 2 2 
 
 Coal Heaver's Revenge, negro 
 
 sketch, 1 scene 6 
 
 Cremation, sketch, 2 scenes... 8 1 
 
 Daguerreotypes, sketch, 1 scene 3 
 Dainon and Pythias, burlesque, 
 
 2 scenes 5 1 
 
 Darkey's Stratasjenv, 1 act — 3 1 
 De Black Magician, Ethiopian 
 
 comicality, 1 scene 4 2 
 
 Deeds of Darkness, Ethiopian 
 
 extravaganza. 1 act 6 1 
 
 Draft (The), sketch, 1 act 6 
 
 Dutchman's Ghost, 1 scene... 4 1 
 
 25. 
 
 lOG. 
 
 M. P. 
 
 Dutch Justice, sketch, t scene 11 
 
 Editor's Troubles, farce, 1 see. 6 1/ 
 
 Eh ? What is It ? sketch 4 1 
 
 Elopement (The), farce, 1 scene 4 I 
 Excise Trials, sketch, 1 scene. 10 J 
 Feliow that Looks Like Me, in- 
 terlude, 1 scene 2 * 
 
 Fisherman's liuck, 1 scene.... 2 
 First Night (The), Dutch farce, 
 
 1 act 4 a 
 
 Gambrinus, King of Lager 
 Beer, Ethiopian burlesoue, 2 
 
 scenes T...,. 8 1 
 
 German Emigrant (The), sketch 
 
 1 scene . . . , 3 3 
 
 Getting Sqivire on tiie Call Boy, 
 
 sketch, 1 stene 3 
 
 Ghost (The), sketch, 1 act 2 Q 
 
 Ghost in a Pawnshop, 1 scene. 4 « 
 
 Glycerine Oil, sketch 3 C 
 
 Going for the Cup, interlude.. 4 
 
 Good Night's Rest, 1 scene. ..3 
 
 Gripsack, sketch, 1 bcene 3 
 
 Guide to the Stage, sketch.... 3 
 
 Happy Couple, 1 scene 2 1 
 
 Hard Times, extravaganza, 1 
 
 scene 5 J 
 
 Hemmed In, sketch 3 1 
 
 High Jack, the Heeler, 1 scene 6 
 
 Hippotheatron. sketch 
 
 In and Out, sketch, 1 scene... 2 
 
 Jealous Husband, sketch 2 1 
 
 Julius, the Ibnoozer, 3 Boenes= , Y • 
 
TE WITT'S ETHIOPIAN AND COMIC DRAMA (Continuea). 
 
 103. Katrina's Little Game, Dutch ^ 
 
 act, 1 scene 1 ' 
 
 1. Last of the Mohicans, sketch.. 3 
 
 36. Laughing Gas, sketch, 1 scene. 6 
 
 18. Live Injun, sketch, 4 scenes... 4 
 60. Lost Will, sketch 4 
 
 37. Lucky Job, farce, 2 scenes 3 
 
 \ 90. Lunatic (The), farce, 1 scene.. 3 
 109. Making a Hit, farce, 2 scenes.. 4 
 
 19. Malicious Trespass, 1 scene.... 3 
 B& Midnight Intruder (The), farce, 
 
 ' 1 scene ...6 
 
 lOL Mollie Moriarty, Irish music- 
 al sketch, 1 scene 1 
 
 8. Mutton Trial, sketch, 2 scenes 4 
 44. Musical Servant, sketch, 1 see. 3 
 49. Night in a Strange Hotel, 
 
 Eketch, 1 scene 2 
 
 22. Obeying Orders, sketch 1 scene 2 
 27. One Hundredth Nightof Ham- 
 let, sketch 7 
 
 30. One Night in a Barroom, 
 
 sketch 7 
 
 76. One, Two, Three, 1 f^cene 7 
 
 87. Pete and the Peddler, Negro 
 and Irish sketch, 1 scene 2 
 
 9. Policy Players, sketch, 1 scene 7 
 57. Ponipey's Patients, interlude, 
 
 2 scenes 6 
 
 65. Porter's Troubles, 1 scene 6 
 
 66. Port Wine vs. Jealousy, sketch 2 
 
 91. Painter's Apprentice (The), 
 
 farce, 1 scene 5 
 
 92. Polar Bear (The), 1 scene 4 
 
 14. Recruiting Office, sketch, 1 act. 5 
 
 ; 45. Eemittance from Home, 
 
 sketch, 1 scene 6 
 
 105. Rehearsal (The), Irish farce, 2 , 
 
 scenes • 4 2 
 
 65. Rigging a Purchase, sketch, 1 
 
 scene 3 
 
 SI. Rival Artists, sketch, 1 scene. 3 
 
 26. Rival Tenants, sketch 4 
 
 1 15. Sam's Courtship, farce, 1 act.. 2 1 
 
 I 59. Sausage Makers, 2 scenes 5 1 
 
 80. Scenes on the Mississippi, 
 
 2 scenes 6 
 
 21. Scampini, pantomime, 2 scenes 6 
 84. Serenade(The), sketch,2 scenes 7 
 
 V 38. Siamese Twins, 2 scenes 5 
 
 5 V4. Sleep Walker, sketch, 2 scenes 3 
 ' 46. Slippery Day, sketch, 1 scene. 6 
 
 - €9. Squire for a Day, sketch 5 
 
 B6. Stage-strnck Couple, 1 scene.. 2 
 
 72. Stranger, burlesque, 1 scene... 1 
 
 i and 2 children. 
 
 t 7. Stupid Servant, sketch, 1 scene 2 
 
 1 13. Streets of New York, 1 scene . 6 
 
 \ 16. Storming the Fort, 1 scene.... 5 
 
 i 47. Take it. Don't Take It, 1 scene 2 
 
 * 54. Them Papers, sketch, 1 scene. 3 
 
 100. Three Chiefs (The), 2 scenes . . 6 
 
 102. Three A. M., sketch, 2 scenes. 3 
 
 34. Three Strings to One Bow, 
 
 sketch, 1 scene 4 
 
 2. Tricks, sketch 5 
 
 104. TsvoAwfuls (The), 1 scene.... 5 
 
 5. Two Black Roses, sketch 4 
 
 28. Uncle Eph's Dream, 2 scenes.. 3 
 62. Vinegar Bitters, sket»^, 1 scene 6 
 8S» W»fee Up, WxUiam Henry. ... 3 
 
 No.' M. p. 
 
 39. Wanted, a Nurse, 1 scene 4 
 
 75. Weston the Walkist, Dutch 
 
 sketch, 1 scene 7 1 
 
 93. What Shall I Take ? farce, 1 act 8 1 
 
 29. Who Died First ? 1 scene 3 1 
 
 97. Who's the Actor? farce, 1 
 
 scene 4 
 
 99. Wrong Woman iu the Right 
 
 Place, sketch, 2 scenes 2 2 
 
 85. Young Scamp, sketch, 1 scene. 3 
 
 112. The Coming Man, sketch, 1 act 3 1 
 
 113. Ambition, farce, 2 scenes 7 
 
 114. One Night in a Medical College, 
 
 sketch, 1 scene 7 1 
 
 115. Private Boarding, cop^edy, 1 
 
 scene 5 1 
 
 IIG. Zacharias' Funeral, farce. 1 
 
 scene 5 
 
 117. Motor Bellows, comedy, 1 scene , 
 
 118. Helen's Funny Babies, bur- 
 
 lesque 6 a 
 
 119. My Wife's Visitors, comic 
 
 drama, 1 ^cene 6 I 
 
 120. Body Snatchers (The), Negro 
 
 sketch, 2 scenes 3 1 
 
 121. Stocks Up ! Stocks Down 1 
 
 Negro furce, 1 scene 2 
 
 123. Ticket Taker, Negro farce, 1 
 
 scene 2 
 
 123. The Intelligence Office, Ethio- 
 pian sketob, 1 scene 3 1 
 
 121. Deaf as a Post, Ethiopian 
 
 sketch, 1 scene 2 
 
 125. Oh, Hush 1 Negro Operatic 
 
 Olio, 3 scenes 4 1 
 
 126. Black Statue, Negro favce, 1 
 
 scene 4 S 
 
 127. Blinks and Jinks, Ethl'/fian 
 
 sketch, 1 scene 3 l 
 
DE WITT'S ACTi'NG PLAYS (Continued). 
 
 No. 
 144. 
 
 U. 
 137. 
 111. 
 119. 
 165. 
 
 48. 
 
 32. 
 164. 
 109. 
 
 85. 
 
 87. 
 143. 
 189. 
 163. 
 154. 
 
 63. 
 
 15. 
 46. 
 51. 
 
 184. 
 108. 
 188. 
 169. 
 130. 
 92. 
 193. 
 
 140. 
 
 2. 
 
 57. 
 104. 
 112. 
 185. 
 
 84. 
 117. 
 
 171. 
 H. 
 
 173. 
 176. 
 90. 
 170. 
 
 97. 
 
 172, 
 94. 
 45. 
 
 155. 
 
 178. 
 
 \ 147. 
 
 I 156, 
 
 82. 
 
 62. 
 
 Lancashire Lass, melodrama, 5 acts. 12 3 
 
 Larkins' Love Letters, farce, 1 act.. 3 2 
 
 L' Article 47, drama, 3 acts 11 5 
 
 Liar (The), comedy, 2 acts 7 2 
 
 Life Chase, drama, 5 acts 14 5 
 
 Lixing Statue (The), farce, 1 act. ... 3 2 
 
 Little Annie's Birthday, farce, 1 act. 2 4 
 
 Little Eebel, farce, 1 act 4 3 
 
 Little Ruby, drama, 3 acts 6 6 
 
 Locked In, comedietta, 1 act 2 2 
 
 Locked In with a Lady, sketch, 1 act. 1 1 
 
 Locked Out, comic scene 1 2 
 
 Lodgers and Dodgers, farce, 1 act.. 4 2 
 
 Leap Year, musical duality, 1 act... 1 1 
 
 Marcoretti , drama, 3 acts 10 3 
 
 Maria and Magdalena, play, 4 acts . 8 6 
 
 Marriage at Any Price, farce, 1 act. 5 3 
 
 Master Jones' Birthday, farce, 1 act. 4 2 
 
 Maud's Peril, drama, 4 acts 5 3 
 
 Midnight Watch, drama, 1 act 8 2 
 
 Milky White, drama, 2 acts 4 2 
 
 Miriam's Crime, drama, 3 acts 5 2 
 
 Model of a Wife, farce, 1 act 3 2 
 
 Money, comedy, 5 acts 17 3 
 
 Mr. Scroggins, farce, 1 act 3 3 
 
 Mr. X., farce, 1 act 3 3 
 
 My Uncle's Suit, farce, 1 act 4 1 
 
 My Wife's Diary, farce, 1 act 3 1 
 
 My Wife's Out, farce, 1 act 2 2 
 
 My Walking Photo..,raph, musical 
 
 duality, 1 act 1 1 
 
 Never Keckon Your Chickens, etc., 
 
 farce, 1 act 3 4 
 
 New Men and Old Acres, comedy, 3 8 5 
 
 Nobody's child, drama, 3 acts 8 3 
 
 Noemie, drama, 2 acts 4 4 
 
 No Name, drama, 5 acts 7 5 
 
 Not a Bit Jealous, farce, 1 act 3 3 
 
 Not So Bad as We Seem, play, 5 acts. 14 3 
 
 Not Guilty, drama, 4 ac ts 10 6 
 
 Not Such a Fool as He Looks, drama, 
 
 3 acts 5 4 
 
 Nothing Like Paste, farce, 1 act 3 1 
 
 No Thoroughfare, drama, 5 acts and 
 
 prologue 13 C 
 
 Off the Stage, comedietta, 1 act. ... 3 3 
 
 On Bread and Water, farce, 1 act... 1 2 
 
 Only a halfpenny, farce, 1 act 2 2 
 
 Only Somebody, farce, 1 act 4 2 
 
 One too Many for Him, farce, 1 act. 3 3 
 
 £100,000, comedy, 3 acts 8 4 
 
 Orange Bio soms, comedietta, 1 act. 3 3 
 Orange Girl, drama, in prologue 
 
 and 3 acts 18 4 
 
 Ours, comedy, 3 acts 6 3 
 
 Our Clerks, farce, 1 act 7 5 
 
 Our Domestics, comedy farce, 2 acts 6 6 
 
 Our Heroes, military play, 5 acts. . .24 5 
 Out at Sea, drama in prologue and 
 
 4 acts 16 5 
 
 Overland Pvoute, comedy, 3 acts 11 5 
 
 Peace at Any Price, farce, 1 act 1 1 
 
 Peep o' Day, drama, 4 acts 12 4 
 
 Peggy Green, farre, 1 act 3 10 
 
 Petticoat Parliament, extravaganza, 
 
 in one act , 15 24 
 
 Photographic Fix, farce, 1 act 3 2 
 
 A COMPLETE 
 
 13. 
 194. 
 195. 
 
 158. 
 
 No. M. T. 
 
 61. Plot and Passion, drama, 3 acts 7 2 
 
 138. Poll and Partner Joe, burlesque, 1 
 
 act 10 3 
 
 110. Poppleton's Predicaments, farce, 13 6 
 
 50. Porter's Knot, drama, 2 acts 8 2 
 
 59. Post Boy, drama, 2 acts 5 3 
 
 95. Pretty Horse-Breaker, farce, 1 act.. 3 10 
 
 181 and 182. Queen Mary, drama, 4 acts.38 8 
 
 157. Quite at Home, comedietta, 1 act. . . 5 2 
 196. Queerest Courtship (The), comic op 
 
 eretta, 1 act 1 1 
 
 132 Race for a Dinner, farce, 1 act 10 
 
 183. Richelieu, play, 5 acts 16 2 
 
 38. Rightful Heir, drama, 5 acts 10 2 
 
 77. Roll of the Drum, drama, 3 acts 8 4 
 
 Ruy Bias, drama, 4 acts 12 4 
 
 Rum, drama, 3 acts 7 4 
 
 Rosemi Shell, travesty, 1 act, 4 
 
 scenes 6 3 
 
 School, comedy, 4 acts 6 6 
 
 79. Sheep in Wolf's Clothing, drama, 17 5 
 
 37. Silent Protector, farce, 1 act 3 2 
 
 35. Silent Woman, farce, 1 act 2 1 
 
 43. Sisterly Service, comedietta, 1 act . . 7 2 
 6. Six Months Ago, comedietta, 1 act. 2 1 
 
 10. Snapping Turtles, duologue, 1 act. . 1 1 
 
 26. Society, comedy, 3 acts 16 5 
 
 78. Special Performances, farce, 1 act.. 7 3 
 31. Taming a Tiger, farce. 1 act 3 
 
 150. Tell-Tale He .rt, comedietta, 1 act. . 1 2 
 
 120. Tempest in a Teapot, comedy, 1 act. 2 1 
 146. There's no Smoke Without Fire, 
 
 comedietta, 1 act 1 2 
 
 83. Thrice Married, personation piece, 
 
 lact 6 1 
 
 42. Time and the Hour, drama, 3 acts. . 7 3 
 
 27. Time and Tide, drama, 3 acts and 
 
 prologue 7 5 
 
 1.H3. Timothy to the Rescue, farce. 1 act. 4 2 
 153. 'Tis Better to Live than to Die, 
 
 farce, 1 act 2 1 
 
 1^4. Tompkins the Troubadour, farce, 13 2 
 
 23. Turning the Tables, farce, 1 act ... 5 3 
 
 :f;8. Tweedie's Rights, comedy, 2 acts.. 4 2 
 
 126. Twice KiUed, farce, 1 act 6 3 
 
 56. Two Gay Deceivers, farce, 1 act — 3 
 
 123. Two Polts, farce, 1 act 4 4 
 
 198. Twin Sisters (The), comic operetta, 
 
 lact 3 1 
 
 162. Uncle's Will, comedietta, 1 act 2 1 
 
 106. Up for the Cattle Show, farce, 1 act. 6 2 
 
 81. Vandyke Brown, farce, 1 act 3 3 
 
 124. Volunteei' Review, farce, 1 act 6 6 
 
 91. Walpole, comedy, 3 acts 7 2 
 
 118. Wanted, a Young Lady, farce, 1 act. 3 
 
 44. War to the Knife, comedy, 3 acts. ..54 
 105. Which ofthe Two? comedietta, lact 2 10 
 
 98. Who is Who? farce, 1 act 3 2 
 
 12. "Widow Hunt, comedy, 3 acts 4 4 
 
 5. William Tell with a Vengeance, 
 
 burlesque 8 2 
 
 136 Woman in Red, drama, 3 acts and 
 
 prologue 6 
 
 161. Woman's Vows and Mason's Oaths, 
 
 4 acts 10 4 
 
 11. Woodcock's Little Game, farce, 2 4 4 
 54. Young Collegian (Cantab.), farce, i 3 3 
 
 DESCRIPTIVE CATALOGUE 
 
 of DE WITT S ACTING PLAYS AND DE WITT^S 
 ETHIOPIAN AND COMIC DRAMAS , containing Plot, Costume, Scenery, 
 Time of Representation and every other information, mailed free and poet paid 
 
LIBRARY OF CONGRESS 
 
 014 212 083 5 • 
 
 Ai iBllspasallB Bool lor Aialenrs. 
 
 HOW TO MAHAaE 
 AHATEtm THEATRICALS. 
 
 Being plain instructions for construction and arrangement of Stage, 
 making Scenery, getting up Costumes, "-Making Up" to represent 
 different ages and characters, and how to produce stage Illusions and 
 Effects. Also hints for the management of Amateur Dramatic Clubs, 
 and a list of pieces suitable for Drawing Room Performances. Hand- 
 somely illustrated with Colored Plates. 
 
 Pricef 25 Cents. 
 
 DE WITT'S SELECTIONS 
 
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 AMATEBR Al PARLOR TMATBICALS. 
 
 Nos. 1, 2, 3 & 4. 
 
 Being choice selections from the very best Drama", Comedies and 
 Farces. Specially adapted for presentation by Amateurs, and for 
 Parlor and Drawing Room Entertainments. 
 
 Edch number, 25 Cents, 
 
 PANTOMIME PLAY , 
 
 '^HUMPTY DUMPTY." 
 
 The celebrated Pantomime, as originally played for 1,000 nights by the 
 late GrEORGE L. Fox. Arranged by John Denier, Esq. Eight male, 
 four female characters. 
 
 Price, 25 Cents,