VALTER. H. BAKER $ CO, 
 
 [£25 WINTER STREET^ 
 
 s jV BOSTON 
 
 COPYRIGHT, 1893, BY WALTER H. BAKER & CO. 
 
piays for /Amateur Sfyeatrieals. 
 
 BY CSORGE 7^. BHKER, 
 
 Author of "Amateur Dramas" "The Mimic Stage" "The Social Stage" "The Drawing' 
 Room Stagey "Handy Dramas," " The Exhibition Dramas" "A Baker's Dozen," etc. 
 
 Titles in this Type are New Plays. 
 
 Titles in this Type are Temperance Plays. 
 
 DRAMAS. 
 
 In Four A c's 
 Better than Gold. 7 male, 4 fema!e 
 cliar 25 
 
 In Three Acts. 
 
 urnv F'»l"ks. 6 male, 5 female char, . 15 
 
 The Flower of the Famil*. 5 
 male. 3 female char 15 
 
 Eniisthd fok the War. 7 male, 3 fe- 
 male char . 15 
 
 My Brother's Keeper. 5 male, 3 fe- 
 male char o ... 15 
 
 The Tittle Brown Jay. 5 male, 3 
 female char .... 15 
 
 hi Two A cts. 
 Ahnve the Cloudc. 7 male, 3 female 
 
 char. 15 
 
 One Hundred Years Ago. 7 male, 
 
 4 female char 15 
 
 Among the Breakers. 6 male, 4 female 
 
 char 15 
 
 Bread on the Waters. 5 male, 3 female 
 
 char 15 
 
 Down by the Sea. 6 male, 3 female 
 
 char 15 
 
 Once on a Time. 4 male, 2 female char. 15 
 The J^ast Loaf. 5 male, 3 female char. 1 5 
 
 In One A ci. 
 .stand by the Flag. 5 male char. . . 15 
 Vhe Tempter. 3 male, 1 female char. 15 
 
 COMEDIES AND FARCES. 
 
 A Mysterious Disappearance. 4 
 
 male, 3 female char 15 
 
 1'addle Your Own Canoe. 7 male 
 
 nale char. .,.'...... is 
 
 A Drop too Much. 4 male, v female 
 char IS 
 
 A Little Jtlore Cider. 5 male, 3 fe- 
 male char. 15 
 
 A Thorn Among the Roses. 2 male, 6 
 female char 15 
 
 Never ^ay Die. 3 male, 3 female char. 15 
 
 r Et-iNG the Elephant, 6 male, 3 female 
 char. . . 1*5 
 
 The Boston Dip. 4 male, 3 female char. 15 
 
 The Duchess of Dublin. 6 male, 4 fe- 
 male char. .......<■ 
 
 1'hiktv Minutes for Refreshments. 
 4 male, 3 female char. ...... 15 
 
 We're nil Teetotalers. 4 mr.le, 2 fe- 
 male char. ...... . ... 1 5 
 
 Male Characters Only. 
 
 A Close Shave, ft char. ...... 15 
 
 lic Benefactor. 6 char. <> . • is 
 
 A Sea of Troubles. 8 char. .... 15 
 
 COMEDIES, etc., continued. 
 
 Male Characters Only. 
 
 A Tender Attachment. 7 char. . . 15 
 
 Coals of Fire. 6 char. ...=,.. 15 
 
 Freedom of the Press. <S char. ... 15 
 
 Shall Our Mothers VojU "! 11 char. 15 
 
 Gentlemen of the Jury. 12 char. . . 15 
 
 Humors of the Strike. 8chai. ... is 
 
 My Uncle the Captain. 6 char. . . . 15 
 
 New Brooms Sweep Clean. 6 char. . 15 
 
 The Great Elixir. 9 char 15 
 
 Thi' -Hypochondriac. 3 char 15 
 
 i he. Man with the Demijohn. 4 
 
 char * 15 
 
 The Runaways. 4 char 15 
 
 The Thief of Time. 6 char 15 
 
 Wanted, a Male Cook. 4 char. ... 15 
 
 Female Characters Only. 
 
 A Love of a Bonnet. 5 char 15 
 
 A Precious Pickle. 6 char 15 
 
 No Cure No Pay. 7 char 15 
 
 The Champion of Her Sex. 8 char. . 15 
 
 The Greatest Plague in Life. 8 char. 15 
 
 The Grecian Bend. 7 char. .... 15 
 
 The Red Chignon. 6 char 15 
 
 Using the Weed. 7 char 15 
 
 ALLEGORIES. 
 
 A rrangedjor Music and Tableaux. 
 
 Lighthart's Pilgrimage. 8 female 
 
 char. ............ 15 
 
 The Revolt of the Bees. 9 female 
 
 chat o ..... 15 
 
 The Sculptor's Triumph, i male. 4 fe- 
 male char. 15 
 
 The Tournament of Idyi.court. 10 fe- 
 male char o . 15 
 
 The War of the Roses. 8 female char. 15 
 
 The Voyage of Life. 8 female char. . 15 
 
 MUSICAL AND DRAMATIC. 
 
 An Original Idea. i male, 1 female 15 
 
 Bonbons; or, the Paint King. 6 male, 
 
 1 female char 25 
 
 Capuletta; or, Romeo and Juliet 15 
 
 Restored. 3 male, 1 female char. . 15 
 
 Santa Claus' Frolics 15 
 
 Snowbound; or, Alonzo the Brave, 
 and the Fair Imogens. 3 male, 1 
 
 female char. 25 
 
 The Merry Christmas of the Old 
 
 Woman who Lived in a Shoe. ... 15 
 
 The Pedler of Very Nice. 7 male 
 
 char. 15 
 
 The Seven Ages. A Tableau Entertain- 
 ment. Numerous male and female char. 15 
 
 Too Late for the Train. 2 male char. 15 
 
 The Visions of Freedom, ii female 
 
 char o . . 15 
 
 WALTER H. BAKER & CO., 23 Winter St., Boston. 
 
BLACK BLUNDERS 
 
 3n Ethiopian jFarrc in Etoo Scenes 
 
 EDITED RY 
 
 GKORGE H. COKS 
 
 4- 
 
 BOSTON 
 
 vvvsiy 
 
 1393 
 
X 
 
 CHARACTERS. 
 
 JULIUS CROW, a patent blacking pedlcO J 
 JOCELYN HIGHFLYER, a dandy barber. A * 
 MAJOR RACCOON, a military guardian. 
 SAM CAESAR, in love with Cynthia. 
 POMPEY DUCKLEGS, a hotel-keeper. 
 JOE SQUASHALL, his right-hand man. 
 CYNTHIA RACCOON, a runaway "evening star." 
 MRS. POMPEY DUCKLEGS, landlady. 
 PHILLISEY ANN, a kitchen maid. 
 GUM 
 
 visitors at the Convention. 
 
 JAKE 
 PETE 
 
 Supernumeraries, etc. 
 
 Copyright, 1893, by Walter H. Baker & Co. 
 
 PROPERTIES. 
 
 One pair of pistols,- one loaded ; one hand bell ; one barrel ; one rawhide for 
 Major ; red-hot poker ; one pitchfork ; one gun ; one pocketbook with bank-notes ; 
 one valise ; one umbrella ; ten candles and candlesticks ; one table ; crash outside 
 L. 2 e. ; one dollar piece; single bed, made up nice and clean; blacking-brush; 
 newspaper ; a cone shape cap for Ghost ; straw and flour in barrel ; one long, 
 white gown. 
 
 TMP92-008868 
 
BLACK BLUNDERS 
 
 Scene I. — A Plain Chamber in 2. Pompey and Mrs. Duck- 
 legs, Gum, Jake, and Pete, discovered. 
 
 POMPEY. Well, I suppose you has heard of the convention 
 that's going to be here to-morrow, hasn't you? 
 
 Gum. Why, of course we has. We have all come to be dar, we 
 has. 
 
 Pompey (showing newspaper). Well, did you hear of all de big 
 btigg dat was to be at the convention? 
 
 Gum. No ; read over the list. 
 
 (Read any list of celebrities, local or national.) 
 
 Pompey. Here's one place where it says that everyone, before 
 they can be admitted to the convention, must have — (Enter Joe 
 Squashall, ringing bell.) 
 
 Joe. Supper, gentlemen ! (Exeunt everybody L. except Mrs. D. 
 and ] of..) I say, Missus, dem is de hungriest set of niggers 
 what I never see before. (Knock outside R.) 
 
 Mrs. D. Who's dat knocking at de door? 
 
 Joe. Some more hungry darkies, I suppose. 
 
 (Enter Highflyer and Cynthia, r.) 
 
 High. Ah, waiter, just go below and look to our baggage, and 
 see if — 
 
 Joe. Supper's ready? 
 
 High. No, not if supper's ready, but if you have accommoda- 
 tions for this young lady for the night, d'ye hear? 
 
 Mrs. D. Oh, yes, sir. I'm de missus of this hotel; we have 
 first-rate accommodations. 
 
 High. All right. Now go and call the landlord of the house 
 immediately. 
 
 Job (astde to Mrs. D.). Oh, missus, dem must be some of de 
 Imlc bugs what has come down to the convention. (Exeunt Joe and 
 Mrs. D, L. h.) 
 
 Ilifin. Now, my dearest Cynthia, since you've escaped from 
 that alligator of a father of yours, how do you find yourself on this 
 momentous occasion ? 
 
4 BLACK BLUNDERS. 
 
 Cynthia. Ah, well, dearest Josy ; now let us get married just as 
 soon as we can, dearest Jocelyn. 
 
 High. Yes, my dear ; just as soon as I can find a respectable 
 deacon to perform the ceremony, we will fly to Hymen's H'alter. 
 
 Cynthia. Well, go now and procure one, and I will wait until 
 you return. „ 
 
 High. ( takes her by the hand). What, and leave you here 
 alone ? Oh, never! 
 
 Cynthia. Oh, but you must. 
 
 High. Oh, I couldn't .think of it. 
 
 Cynthia. Yes, sir, you shall. 
 
 High {putting his arms around her waist). But, my dear Cyn- 
 thia, let me explain to you — 
 
 Cynthia. Mr. Highflyer, unhand me, sir ! {Throws him off.) 
 My honor, sir! 
 
 High. {discomfited). Oh, yes ; well, then, dearest Cynthia, 
 since I must leave you, let us have one last farewell kiss. {Busi- 
 ness ad lib.) Now, my dearest Cynthia, while I am gone, be sure 
 you tell no one who I am. 
 
 Cynthia. Be quick, dear Josy, for you know we ran away to 
 get married, and I won't go back until I am married ; so there. 
 
 Major R. {outside). Ah, yes ; this must be the place — I know 
 it must. Come in, Caesar. I know the print of the darky's heel. 
 
 {Enter Major, Cesar, Mr. a?td Mrs. D., Gum, Jake, and 
 Pete, Phillisey Ann and Joe, r. and l.) 
 
 Joe. V/hat's all the muss? 
 
 Major. I'll soon find out. {Sees Cynthia.) Ah, there you 
 are, are you ? {Throws Cynthia from l. to c.) You ungrateful 
 daughter, to run away from your old father in that way. {All 
 range across stage ; Major goes to R. of stage to next man to 
 Cesar.) Show me the villain who stole the affections of my 
 daughter. Was it you? Or you — or you? {To all, until he 
 comes to Highflyer ; looks at him.) Or — no, you look too honest ; 
 it can't be you. {Goes to c. beside Cynthia.) 
 
 Pompey. Why, hasn't you come down to the convention ? 
 
 Cesar. To the convention ? No ! Some rascal has run away 
 with my gal, and I swear to have the satisfaction of a colored 
 gentleman. 
 
 Major. Dat's right ; so you shall. 
 
 Cynthia. O pa ! don't fight, and I'll go home. 
 
 High, {crosses to Major). Oh, no, Major ; I beg of you don't 
 fight — it's decidedly vulgar, I assure you. I'll explain this matter 
 to you satisfactorily. You see, there was a young fellow came along 
 here in company with your daughter, and 1 felt satisfied that some- 
 thing was wrong, so I frightened the fellow nearly out of his wits. 
 He immediately vamosed the- ranch, and left the young lady unpro- 
 tected ; and I have been her protector ever since. 
 
BLACK BLUNDERS. 5 
 
 Major. Well, that was like (he chivalry of the ancient Africans 
 in the time of the wars with the Arabs in the dark ages. You seem 
 to know something about history, eh? (Suddenly.) By the way, 
 what's your name? 
 
 High, {very much confused, and looks at Cynthia). Oh, my 
 name? Why, my name — is — ah — Brown, sir; Mr. Brown, at 
 your service. 
 
 Major. Brown ? I'm glad to know you. Any kin to Jim? 
 
 High. Why, he was my best friend. 
 
 Major. You shall be mine too. But how the deuce that fellow 
 eluded my grasp is a wonder to me. 
 
 {Exit Major, dragging Cynthia, r. h. ; all follow except High- 
 flyer, who calls Ducklegs.) 
 
 High. Say, landlord, you can take this dollar {hands it), and 
 treat the whole party at my expense. D'ye hear, landlord ? 
 
 Pompey. Oh, yes ; I understand. What shall I do with the 
 change ? 
 
 High. Oh, keep it — keep it ; it's a mere trifle. {Exit landlord.) 
 A mere trifle, but it breaks me. Now, if I can only succeed in 
 getting the whole party drunk, I'll secure my dear Cynthia, and 
 clear out, unbeknown to the whole party. {Going r. ; enter 
 Major, l.) 
 
 Major. Ah, Brown, why don't you come down and join the 
 company? I am glad to know a gentleman such as you. Tell me, 
 how can I reward you for rescuing my daughter from the villain 
 that run off with her? 
 
 High. Ah, Major, you flatter me ; you do, upon my word, pos- 
 itively. I was merely performing my duty, I assure you. How- 
 ever, the fact is, Major, your generous offer is very opportune. 
 You see — I've just returned from a Southern tour, and my trunk, 
 which contains my wardrobe and valuables, also my funds, was 
 accidentally left at the last station, and I shall have to stay here 
 until it comes. In the meantime, if you could let me have a few 
 dollars until my baggage arrives, why you can. 
 
 Major. Why, certainly ; how much do you say? Two, three, 
 five dollars, or more ? 
 
 High. More. 
 
 Major. Suppose we say seven? 
 
 High. Call it eleven. 
 
 Major (aside) Very cool. {Aloud.) Very well, sir. Here 
 it is. (Takes purse and counts money.) You see. Tve got the 
 Rhino. I haven't been to Mexico for nothing, hey? {Gives him 
 eleven dollars.) 
 
 1 1 K,H. (palms a fu'eee). I declare, Major, here's a slight mistake. 
 I K'iv is only ten dollars. 
 
 Major. Only ten? Why, I thought I counted it correctly. 
 Well, here is another dollar. {Gives it to him.) 
 
6 BLACK BLUNDERS. 
 
 High, (palms a bad dollar). Major, I declare, here's one piece 
 that is not good ; you look at it. (Holds it up to him.) 
 
 Major. Not good? How in the world did that get into my 
 purse? Well, here is another. (Gives him another.) 
 
 High. Thank you, Major. 
 
 Major (going). Now, Brown, come down below and take a 
 glass of wine with us. (Exit L. h.) 
 
 High. Go on, Major ; I'll soon follow you. The old fool, I've 
 got his money, now I'll cut my stick. (Noise outside.) Ah, some 
 one comes ; I'll lay by and wait my chance. (Exit stealthily l. 2 
 E. ; Enter Julius Crow r. h. with valise and umbrella.') 
 
 Julius. Well, this is a pretty time I've had getting to this house. 
 But now I have arrived, I must look up some place to sleep at 
 to-night cheap. I have got samples of my patent blacking, and if 
 I can only get the prize for my patent, self-polishing, anti-grow- 
 dull-again liquid boot and shoe illuminating paste blacking, why, I 
 will be all right again. But I must first look out for a bed and 
 something good to eat ; then I will look afterwards to business. I 
 wonder where all the waiters is. Hallo ! Anybody around ? Any- 
 body around about ? 
 
 (Enter Phillisey Ann, l.) 
 
 P. Ann. Here I is, massa. 
 
 Julius (aside). Well, that's a pretty nice-looking gal. (Aloud.) 
 Say, what's your name, hey ? 
 
 P. Ann (courtesying) . Phillisey Ann. 
 
 Julius. Well, look here. I want you to call your massa and 
 missus. 
 
 P. Ann. Oh, sir, you can't see them now, sir, for they are 
 down-stairs, busy with the visitors at the convention. 
 
 Julius. Very well, I want a bed. What do you charge for a 
 bed? 
 
 P. Ann. Fifty cents, sir. 
 
 Julius. What — fifty cents for abed ? Why, I can stop at the 
 (local hotel) all night for fifty cents. 
 
 P. Ann. Can't help dat, sar. We haven't got anything cheaper. 
 
 Julius. No, but I want a kind of a lay-down — a tuck-up — a 
 turn-in, or something — kind of a cheap, half-price bed. 
 
 P. Ann. We haven't got anything like that. 
 
 Julius. Then I don't want anything. I'll set up in a chair all 
 night. You can go ; I don't want you any longer. 
 
 P. Ann (holding out her hand). Please, sir, remember the wait- 
 ing maid. 
 
 Julius. Who made you wait ? I didn't. 
 
 P. Ann. Yes, but gentlemen what stops at dis house always 
 gives us girls something. 
 
 Julius. Very well, I'll give you a kiss. 
 
 P. Ann. I charge double price for that. 
 
BLACK BLUNDERS. f 
 
 JULIUS. Do you ? Then I won't have that either. 
 
 P. A nx. Well, you is de meanest, contemptible, colored man I 
 ever see, arid the sooner you get out of this hotel the better. You 
 poor colored trash. {Exit PHILLISEY, L.) 
 
 Julius (crows & la shanghai). Well, that is the greatest piece 
 of extravagance I ever did see. Fifty cents for a bed! And 
 double price for a kiss. I never could stand that in the world. 
 Well, I do declare, what's that ? {Looks off R.) It looks very 
 much like a staircase. Now, up that staircase there must be a 
 room, and in that room there must be a bed, and in that bed I'll 
 creep, and who knows but what I'll be right after all. As Massa 
 Shakespeare says in his tragedy of Gimlet, or Piince of Dunkirk : — 
 
 This is the time when churchyards weep — 
 When dogs are out and cats do sleep. 
 Nobody sees, nobody knows, 
 Nobody's about, so in I goes. {Exit k. h.) 
 
 (Enter -Major, dragging on Philltsey; also Mr. and Mrs. D., 
 Highflyer, Cesar, Gum, Jake, Pete, and Joe.) 
 
 Major {to Phillisey). Why didn't you tell me when he came 
 in ? 
 
 Phillisey. I was afraid a bone might stick in your throat. 
 
 Cynthia. O pa, don't 'spaciate so. 
 
 MAJOR' What did you say — he had a carpet-bag, and spoke 
 of prizes that he intended to get ? 
 
 CESAR. What, take my Cynthia for a prize ? I'll be revenged, 
 by golly! 
 'Mrs. I). Where has he gone to now ? 
 
 PHILLISEY. I don't know. He said as how he was going to set 
 up all night. I think the best thing we can do is to search the 
 house all over and find him. 
 
 MAJOR. Yes; fetch me a rawhide. I'm sure it must be the 
 fellow that run off with my daughter. 
 
 Cesar. Yes ; and I'll go and get me a pair of pistols. 
 
 Phillisey. Yes ; and I'll go and get the broom and a red-hot 
 poker. (Exit.) 
 
 Joe. And I'll get the double-barrelled pitchfork. (Exit L. h. 
 /////■' iedly, ) 
 
 CYNTHIA. And I'll faint away. (Faints in Major's arms.) 
 
 Major. And I'll rawhide the rascal. (Exit, carrying Cynthia.) 
 
 Cesar. And I'll shoot him afterwards. (ExitI*. H.) 
 
 Joe. And I'll cut his throat. (Exit L. H.) 
 
 Hion. And I'll rut my stick. (Exit R. H.) 
 
 Pompey. And I'll go and make out all the bills. (Exit r. h.) 
 
BLACK BLUNDERS. 
 
 Scene II. — A bedroom with bed, l. c, head of bed to flat ; chim- 
 ney R. H. 3 E., with large fireplace ; barrel with cover to it, be- 
 tween bed and fireplace for Crow to get into ; table with candle 
 burning L. of head of the bed ; window, to open, L. u. E. ; Julius 
 Crow discovered. 
 
 Crow. Well, this is pretty comfortable. I'll take a nice sleep 
 here. Fifty cents for abed! I hope there ain't any rats here. 
 {Looks all around the room and under the bed; lifts up the bed 
 clothes.) Well, I guess I'll undress and go to bed. {Takes off 
 coat and vest ; takes off boots, and discovers odd stockings, — a black 
 and a white one.) Well, I declare, that's just like Mrs. Crow to give 
 me odd stockings. Fifty cents for a bed ! {Goes to unbutton sus- 
 penders or pants, then suddenly stops.) Oh, no, I guess I wont, 
 for the house might catch on fire; then, as the white folks say, I 
 would be caught in my " dishabells.^ Fifty cents for abed ! Mrs. 
 Crow always puts a night-cap in my pocket. {Goes to overcoat 
 pocket and gets cap and looks at it.) Well, I do declare, Mrs. 
 Crow has given me her night-cap by mistake. {Puts cap on.) Now 
 I'll go to bed. {Rolls down bedclothes and discovers a very small 
 pillow about a foot long and six inches wide and very thin.) Well, 
 that's a very sickly pillow. Fifty cents for a bed, and such a pillow 
 as that! Never mind, I don't pay anything, so I won't find fault. 
 {Gets into bed and feels of the mattress.) These are the best quality 
 of Irish feathers. {Gets in bed.) Oh, my, how cold the sheets are! 
 Oh, how I wish Mrs. Crow was here to tuck me up! If I only had 
 a warming-pan, how nice it would be. Fifty cents for a bed ! Well, 
 never mind, I'll try and go to sleep. {Lays down and snores, face 
 to R.) 
 
 ( Enter Joe, singing, l. h.) 
 
 Joe {sings). A-sitting on a rail, a-sitting on a rail. 
 
 Sitting on a rail and sleeping very sound. 
 
 {Goes to side of bed and takes Crow's boots. Crow sees him, then 
 starts up in bed ) 
 
 Crow. Here, what do you want with them boots ? Put 'em 
 down and clear out of this. 
 
 Joe. I sha'n't do it. Fse de boots of dis house, and I'm going 
 to clean 'em. • 
 
 Crow. I don't want 'em cleaned. I'll clean 'em myself. So 
 put 'em down and clear out of this 'ere room. 
 
 Joe. No, sir-ree. It's my job to clean 'em, and I'm going to do 
 it. And you has got to give me a bit 'fore you get 'em agin, too, 
 old hoss. {Exit L., singing as before.) 
 
 Crow. Well, that's a pretty way to do, come and take a man's 
 boots without his dissent. Fifty cents for a bed, too ! Never 
 mind. I'll try now and see if I can sleep. {Lays do%un as before, 
 face to R. Enter Phillisey, l. h. ; looks around very slyly to find 
 boots ; not seeing them, she exclaims.) 
 
BLACK BLUNDERS. 9 
 
 PHILLISEY. Well, I declare, if he hasn't got into bed with his 
 boots on ! 
 
 CROW (half awake). Boots, boots! Oh, put 'em down, and I'll 
 pay you in do morning. 
 
 PHILLISEY. Come out of that bed, you dirty rascal. 
 
 Crow {sitting up in bed). Look here, young woman, I'd have 
 you to know that this is a single bed, if you please. ( Pulls clothes 
 up round his neck and looks at her.) 
 
 PHILLISEY. Single or double, how dare you get into bed with 
 your boots on ? 
 
 Crow (sticks his feet from under clothes). Boots ? Do you 
 call them boots — say ? 
 
 PHILLISEY. Well, sir, you haven't paid for the bed. so Til take 
 your clothes for the price. How dare you get into btd with your 
 boots on ? ( Takes his clothes and hat, also candle, and exit in a 
 ra^c ; dark stage.) 
 
 Crow. Here, fotch back that light. Oh, dear. I do wish they'd 
 let me alone — and let me go to sleep. Fifty cents for a bed, and 
 keep a fellow awake all night ! Oh, dear, the candle's gone, and I 
 cannot bear to sleep all alone without a light. I'm afraid I might 
 see something. Never mind, I'll try and go to sleep again. Fifty 
 cents for a bed ! (Lavs down and snores again, face L. Enter 
 HIGHFLYER, R. h., very slyly, with long white nightgown and white 
 peaked high night-cap.) 
 
 Highflyer. Well, this must be the landlord's room. Now. if I 
 could get him to give me back that dollar I loaned him last night, 
 I'd clear out mighty soon. (Calls and pokes Crow with cane.) 
 Landlord ! landlord ! 
 
 Crow (thinks it is a cat). Scat ! 
 
 High, (poking him). Landlo^l ! 
 
 Crow. Scat ! scat ! 
 
 HIGH, (poking hint). Landlord! 
 
 Crow (kicks very high). Scat! scat! scat! 
 
 High. Landlord! Wake up — it's only me. 
 
 Crow (starts up and sees Highflyer, and is frightened). O 
 Lord! Oh. what's that, all dressed in white ? 
 
 High. Don't be frightened ; it's only me. I came from below, 
 and I want to see you. 
 
 CROW. Oh! I thought I smelt brimstone. What does your 
 Devilship want ? 
 
 HIGH. Ah.no, I'm no devil. I want that dollar I gave you to 
 treat the party with last night. I'll treat some other time when I 
 come this way. 
 
 •Crow. Oh. this fellow is a burglar; I'll holler murder. 
 
 High (seizes him). You rascal! If you don't give me back 
 that dollar, I'll cut your throat. 
 
 PHILLISEY {outside L. H.). In that room. Major, I think you'll 
 find him. 
 
 Highflyer. There, you've waked up all the people in the 
 
IO BLACK BLUNDERS. 
 
 house ; but I'll cotch you and shoot you one of these days, that's 
 certain. {Exit R. H. hurriedly.) 
 
 Crow. Yes, you will. Now, that's the most curious fellow what 
 I never see before. Great big ghost robber, fourteen feet high. 
 Fifty cents for a bed! Well, I guess Til turn over and take my 
 nap. {Lays down and snores, face to R. ; enter Major, l. h., with 
 rawhide, and candle lighted; stage light.) 
 
 Major. Ah, there's the rascal in the bed. {Goes to turn around 
 towards the bed, when he blows candle out ; stage dark.) Hallo ! 
 Confound it, the wind has blown my light out! {Sets candle on 
 table.) Never mind, I can whip him in the dark as well as the 
 light. 
 
 Crow (half awake). Set the light down on the table and clear 
 out of this. 
 
 Major. I sha'n't do it. You're a villain. 
 
 Crow (starting up). What! If my wife Dinah heard you say 
 that, she'd give you fits. 
 
 Major. What? Your wife? So you are married, are you? 
 Then you are a double villain, Mr. Highflyer. You see I've found 
 out your real name. 
 
 Crow. That ain't my name ; it's — 
 
 Major. I know ; you call yourself Brown ! 
 
 Crow. Brown? I never knew that before. 
 
 Major. And your first name is Jocelyn. 
 
 Crow. Jocelyn? Well, I think we're all jostlin' here. 
 
 Major. Now, sir, I want you to give me back that eleven dol- 
 lars you borrowed from me last evening. 
 
 Crow. Eleven dollars ! Why, it was one dollar on this side 
 just now; now it's eleven dollars on this side. I think stocks is 
 rising in this market. m 
 
 Major. Will you give me back my money? 
 
 Crow. I ain't got your money ? Now clear out of this room and 
 let me go to sleep. 
 
 Major. I sha'n't do it. I'm going to make you confess to me 
 that you are a swindler, a deceiver, and that your name is Brown. 
 Now, ain't you a swindler? 
 
 Crow. Ain't you a fool? 
 
 Major {whipping him with rawhide). Ain't you a swindler? 
 
 Crow. Oh ! oh ! oh ! oh ! Yes, I am a swindler. 
 
 Major. Now, then, ain't you a deceiver ? 
 
 Crow. Who did ever I deceive? What did ever I deceive? 
 Do I look like a deceiver ? 
 
 Major. Ain't you a deceiver ? {Whips him.) 
 
 Crow. Oh, help! Murder! Watch! Yes, I am a deceiver. ' 
 
 Major. Now, then, ain't you Brown? 
 
 Crow. Oh, I'm black and blue more like. 
 
 Major {whips him). Ain't you Brown ? 
 
 Crow. Oh, yes. Murderation ! Thunder and lightning! 
 Blue murder! Oh, oh, oh! Yes, I am Brown. 
 
BLACK BLUNDERS. I I 
 
 Major. Now, sir, I'm satisfied. 
 
 CROW. You are ; well, 1 ain't. Oh, my poor back ! Oh, my 
 poor back ! 
 
 Major. Now, sir, I'm going to send to you my son-in-law, who 
 will demand the satisfaction of a colored gentleman. {Exit l. h.) 
 
 CROW {jumps out of bed). He will, hey? Well, he won't find 
 me here. Let me see — what shall I do? I'll jump out of the 
 window and call the police. 
 
 {Goes to window and gets out ; as his head disappears, dogs bark 
 very furiously outside ; Crow gets back in the window and runs 
 around the stage with his hand on his hip, exclaiming.) 
 
 Crow. Oh, I'm bitten. I'm bitten ! I am upon my honor. 
 Cesar {outside). Never mind, I'll find him. 
 Crow. Here comes another one. Oh, gracious me, what shall 
 I do ? ril get back into bed again. 
 
 {Gets into bed again with body reversed, his head at the foot of the 
 bed. Enter Cesar r. h. with a pistol i?i each hand and stops 
 and looks at bed.) 
 
 Cesar. Ah, there's the rascal in the bed. 
 
 {Goes to table and lays down pistols, then throws down the bed- 
 clothes at the head of the bed. Crow kicks him in face, and 
 Cesar takes slap. Goes to table and gets pistols, then takes K. 
 H. corner of stage front ; in the meantime, Crow crawls out and 
 gets under bed.) 
 
 Cesar. Come out of there, you black rascal, or Til blow you 
 to pieces ! 
 
 Crow. Oh, don't shoot ; Til come out. {Comes out and sits on 
 foot of bed.) Now, my colored friend, what do you want ? 
 
 Ci SAR { pointing pistols at Crow). Don't friend me, sir. A 
 respectable colored family has been insulted, and the rose of inno- 
 cence has been plucked from the flower-pot of virtue. 
 
 Crow. Oh, this is a poetical burglar. 
 
 Cesar. Now, sir, I demand the satisfaction of a colored gem- 
 man. Now, sir {offering pistols')^ take your choice. 
 
 Crow (takes both pistols). Well, I'll take 'em both, if you like. 
 Say, old fellow, how much did these cost? 
 
 (Cesar crosses to r., takes one pistol.) 
 
 Cesar. Come, sir, will you fight? 
 
 Crow. I don't want to fight; I'll be shot, if I do. 
 
 (Crow fi res off his pistol in the air.) 
 
 Joe (outside). Wake up, massa, there's thieves in the house. 
 \r. There; you have waked up the whole house; but I'll 
 cotch you and shoot you one of these days. {Exit R. in a rage.) 
 
12 BLACK BLUNDERS. 
 
 Crow. Yes, you will, if you cotch me. What will I do with 
 myself? Til throw my carpet-bag out of the window, and follow 
 after it. {Throws carpet-bag through the window, which falls 
 down with a crash like breaking glass.) Oh, my, I do believe I've 
 thrown my carpet-bag bang through a skylight. 
 
 Joe {outside). -Come along, massa, Phillisey's got the red-hot 
 poker, I've got the pitchfork, and you get the double barrel blun- 
 derbuster, and we'll soon catch the thief. 
 
 Crow. Oh, my ! Double barrel pitchforks, and red-hot blun- 
 derbusters — oh, what shall I do ! Ill get up the chimney. Fifty 
 cents for a bed! Oh, my! {Gets up the chimney. Enter Joe 
 with pitchfork, Phillisey with red-hot poker, Pompev with double- 
 barrel gun, and cross slowly to R., retreating, when there is noise 
 made, very frightened, finally go to bed and turn down clothes. 
 Crow not being there, they for ih in an oblique line up and down 
 stage.) 
 
 Joe. I know where he is, massa. {Points to chimney.) He's 
 up the chimney. {Goes to chimney slyly, and pokes the fork up 
 there; Crow hollers, and they all rush offi,. h. i e. Crow comes 
 down shouting with pain.) 
 
 Crow. Oh, oh, oh, oh! Murder! Robbers! Thieves! Oh, 
 my! oh, dear! O Mrs. Crow, Mrs. Crow, did you but know. 
 
 Major {outside). Is he in there yet ? 
 
 Joe {outside r. h.). In that 'ere room, Major. 
 
 Crow. Oh, dear, here they come again. What will become of 
 me? Oh, I'll get into the barrel. {Gets in barrel.) Fifty cents 
 for a bed! O Mrs. Crow, Mrs. Crow! 
 
 {Enter Joe, Phillisey, Pompey, Gum, r. h. ; Major, Cesar, 
 Cynthia, Pete, l. h. ; all with lighted candles held above their 
 head, and form iblique lines up and down both sides of stage. 
 Remain in this position until Julius Crow comes from barrel 
 to the front j then form a line rigid across stage.) 
 
 Major. Have you caught the rascal? 
 
 Joe. I'll cotch him, Major. I'll go to the barrel and get some 
 straw, put it in de fireplace, set fire to it, and smoke him out of the 
 chimney. 
 
 (Joe goes to barrel and lifts the cover ; Crow jumps up and 
 fours ]o~E?sface.) 
 
 Crow. What do you want to do? Do you want to murder me? 
 Joe. Didn't you try to cheat me out of a bit for cleaning your 
 boots? 
 
 Crow. No ! 
 
 Phillisey. Didn't you get into bed with your boots on? 
 
 Crow. No ! 
 
 Phillisey. Didn't you try to kiss me for nothin'? 
 
 Crow. No ! 
 
BLACK BLUNDERS. I 3 
 
 POMPEY. Ain't your name Brown? 
 
 Crow. No ! 
 
 Cesar. Didn't you refuse me the satisfaction of a colored 
 gem man ? 
 
 Crow. No! 
 
 Cynthia. Didn't you cheat my pa out of eleven dollars? 
 
 Crow. No ! 
 
 Major. Didn't you run off with my daughter? 
 
 Crow. No, no, no ! 
 
 Omnes. Then who are you"? 
 
 Crow {coming forward c. ; characters close in and form line 
 across). Well, the fact is, I don't exactly know who I am. That 
 is, I ain't Brown, an' I don't know anything about your daughter; 
 but I am the patent blacking man, and I have come down to this 
 convention to sell my blacking. So give me my carpet-bag and let 
 me go. 
 
 Major. Oh, ho ! I see ! There has been a little mistake here. 
 
 Crow. A little mistake ! Well, I guess if you look on my back 
 you'll find good big beefsteaks, and several cutlets, too. 
 
 Major. Well, you come down to the convention to-morrow. 
 I'll take up a collection and give you the money, if you will say 
 nothing about what has happened here to-night. 
 
 Crow. 'Nuff ced ! I'll do it ; and if the white folks will come 
 every night and see Julius Crow, he'll stand up to the rack, fodder 
 or no fodder. 
 Crow {sings; air, "Few Days"). If you'll come and see fair 
 
 fight — 
 OMNES {chorus). Few days, few days. 
 Major {sings). He'll get whipped to-morrow night. 
 OMNES. For he's going home. 
 Crow. It makes me sigh to see you cry — 
 Omnes. Few days ; few days. 
 Major. To win your smiles he'll ever try. 
 Omnes. For he's going home. 
 Omnes {chorus). From blunders all around you, 
 Few days ; few days. 
 From blunders all around, 
 Friends, good {all blow their lights out) night ! 
 
 {Disposition of characters as the curtain falls.) 
 
 jj^eKUiGB. Crow. U Aj 
 
 y>* 
 
 
 v^ 
 
 *►* - CURTAIN. \ 
 
 K.II. L.H. 
 
Baker's Monthly Bulletin. 
 
 THE BOOK OF DRILLS; Part Second. A collection of enter- 
 tainments for btage, hall or parlor, by Makv B. Hoksk, author of "A Carnival 
 of Days," etc. Containing 5 The KubsbrY Maids' Drill. Arranged for ten 
 little girls of from six to ten years of age. The Japanese Umbrella DniLr,. 
 For twelve girls or young ladies in Japanese costumes. Very picturesque. TiiR 
 Sunflower Chorus; or Grandmoteejer'b Garden. For boys and girls ad 
 libitum. Introducing Songs and recitations. Good NiGKT MARCH. For six of 
 the Very Smallest children. Very quaint and amusing. (1889.) Price, SO Cents* 
 
 THE CHRONOTHANATOLETRON; on, Old Times Made 
 
 New, An Entertainment in One Act. For sixteen girls. Written for the Class 
 Day Exercises at Dana Hall School, Wellesley, Mass., by two members of the 
 Class of '87, and first performed before the members of tlie school and their 
 friends, June 18, 1887, and later at Eilsw rth, Maine, April 6, 1888, No scenery. 
 The " Chronothanatoletron " (or Time and Death Annihilator) is an invention 
 by means of which any woman of any epoch can be brought at once into the 
 presence of the " operator." (1889.) Price, 25 Cents. 
 
 THE COUNTRY SCHOOL. A Farcical Entertainment in Two 
 Scenes. By M. R. Orne. For any number of characters, male or female, either 
 or both, many or few. big or little. Scenery simple; costumes easy ; time in 
 playing, about forty minutes. This sketch carries the spectator back to his 
 school-boy days in the little red school-house. Grown folks, the older and more 
 dignified the better, take the parts of the pupils In "The Country School," put 
 on again the pinafores and pantalettes of their school days and get as much fun out 
 of it as they give. The most uproariously comical entertainment out. Closely 
 similar to "'The Old District School" (Jgl'.QO) and "The Deestrick Skule" (50 
 cents.) (1890.) Price, only 15 4.ente. 
 
 THE TENNIS DRILL, An Entertainment for parlor or lawn. By 
 Margaret Fezandie. This pretty and picturesque entertainment will be a 
 novel and popular feature for a school exhibition, a parlor entertainment, or a 
 lawn party. Sixteen.girls, or less, can take part, regulation tennis suits in two 
 colors, being worn, With fascinating "deerstalkers" and "blazers" to match. 
 It is very easy to get up, tennis apparatus being universally handy, and is highly 
 recommended for its novelty, picturesqueness and equal adaptability for in-door 
 or out-door use. (1S89.) Price, 15 Cents. 
 
 RIO GRANDE. A Drama in Three Acts. By Charles Townsend. 
 Seven male, four female characters. Modern costumes; scenery, one interior 
 and one exterior. Time in playing, two hours and twenty minutes A play of 
 Western "border" life, and one of the finest dramas ever written by this suc- 
 cessful author. Its interest is unflagging, it is full of bright, clean fun and 
 roaring comedy situations alternate with thrilling and pathetic scenes. Every 
 character is a good one and worthy of the best talent. This piece is preceded by 
 a chanter of " Remarks" in which are given, in the author's own words, special 
 instructions regarding the play, the acting of each part, and all necessary details 
 of stage management. (Is91.) Price, 85 Cents. 
 
 A DOUBLE SHUFFLE. A Comedy in One Act. By Hfnry Old- 
 ham HANLoN. Three male and two female characters. Scenery and costumes 
 very simple. An admirable little parlor piece, playing about thirty-five minutes. 
 Fred Somers, a collegian, with a taste for practical joking, tries to play a little 
 joke on his sister and his fiancee, but they succeed in turning the tables com- 
 pletely upon him and his two college chums. Very bright and amusing. A sure 
 hit. (1891.) 
 
 THE CORNER-LOT CHORUS. A Farce in One Act. By Grace 
 Livingston Furnish. Seven female characters avIio speak, and ten .Jury Girls. 
 Costumes, modern and tasteful. Scenery of little or no importance. Plays about 
 forty minutes. This clever little piece, by the author of "A Box ot Monkeys, 
 satirizes the weak side of amateur actors, and with bright and clever performers 
 is a sure success. It affords a chance for elegant dressing, if desired, and tor 
 telling local hits. In its original performance by professional actresses it was a 
 laughing success. (1891.) Price, 85 Cents. 
 
 COUNSEL FOR THE PLAINTIFF. A.Comedy in Two Acts 
 By ST. CLAIR HurD. Four male and five female characters. Scenery, two 
 interiors, easily arranged ; costumes, modern and simple. Plays an hour and a 
 half. This little piece has more "plot " than is usual in plays of its length, and 
 Works up to an exciting climax. Good Jewish comedy character. (1891 ) 
 
Baker's Monthly Bulletin. 
 
 New Plays, 
 
 DIALOGUES, DRILLS AND MISCELLANEOUS ENTERTAINMENTS 
 
 BAKER'S ACTING EDITION. 
 
 Price, 15 cents, unless otherwise stated. 
 
 A RICE PUDDING. A Comedy in Two Acts. By Esther B. Tif- 
 fany. For two male and three female characters. Scene, a simple interior, the 
 game for both acts. Costumes modern and simple, but affording opportunity for 
 elegant dressing, if it is desired. No properties required beyond what may be 
 found in every house. The story of this piece deals with the mishaps of an in- 
 experienced housekeeper in a new house. Its humor is abundant, its satire of 
 the "Cooking School" shrewd, its incidents dramatic, its dialogue brilliant. 
 Time in playing, an hour and twenty minutes. (1888.) Price, 25 Cents. 
 
 ANITA'S TRIAL ; or, Our Girls in Camp. A Comedy in Three Acts, 
 forfemalecharactersonly. By Esther B. Tiffany. Eleven female charac- 
 ters. Its story is entertaining, and its dialogue delicately humorous. One scene 
 only is necessary for the three acts — a camp in the woods, easily arranged. The 
 dresses are simple and picturesque camping costumes. The enormous suc- 
 cess of "Rebecca's Triumph" has created a demand for this sort of piece, to 
 meet which we confidently present "Anita's Trial," in which is solved, with 
 do less success than in its predecessor, the difficult problem of constructing a 
 j>luy of strong human interest without the assistance of male characters. Plavs 
 two hours. (1869.) Price, 25 Cents. 
 
 THE WAY TO HIS POCKET. AComedyinOne Act. By Esther 
 15. Tiffany. For two male and three female characters. Scene, an interior; 
 costumes modern. All its requirements are simple to the last degree, and offer 
 no difficulties. This little play is in Miss Tiffany's best vein, and admirably con- 
 tinues the series of parlor pieces, refined in humor and clever in plan, of which 
 she is the author. Plays about an hcur. (1889.) 
 
 AN AUTOGRAPH LETTER. A Comedy Drama in Three Acts. 
 By Esther B. Tiffany. For five male and five female characters. This is by 
 far the strongest work from this writer's pen, and unites to the sparkle anil 
 grace which characterized her earlier pieces, dramatic power of a high order. 
 As in all her pieces, the dialogue is distinguished by brilliancy, and its humor 
 penuine but refined. Two scenes only, both interiors, are required, and the 
 
 Properties and dresses are simple, modern in character, and easily gotten np. 
 qually suitable for stage or parlor performance. Plays about two hours. (1P89.) 
 
 Price, 25 C»-nts. 
 
 THE BAT AND THE BALL; or, Negative Evidence. A Farce 
 in One Act. Four male, three female characters. Scenery, costumes and prop- 
 erties simple. Time in playing, about forty minutes. Showing the difficulties 
 that may arise from the practice of Amateur Photography. A roaring farce. 
 (1889.) 
 
 SHAMROCK AND ROSE. A romantic Drama of Irish Life during 
 the Rebellion of *98, in Four Acts. By JOHN FITZGERALD MCRPHY. Seven 
 mate and three female characters. Costumes and scenery not difficult. Every 
 part a good one. A sure hit. Printed as played under tbe author's personal di- 
 rection at the Dudley Street Opera House, Boston, and the Newport Opera 
 B -use. Plays two hours and a half . (1887-'890 Price, 25 Cents. 
 
 A FOOL FOR LUCK. A Farcical Comedy in Two Acts. ByW.M. 
 Bbownb. For four male and three female characters. This laughable comedy 
 (f modern society turns upon the mania for stock speculation. The leading 
 COmedy Character is a type of Englishman not unrelated to Lord Dundreary, the 
 Other personages and the scene being American. The dialogue is very bright, 
 tho scenery and costumes very easy. Plays one hour and a half. (18S9.) 
 
 Price, 25 Cents. 
 
Baker's Monthly Bulletin. 
 
 OliT OF HIS SPHERE. A Comedy in Three Acts. By David 
 Hn.uF^ve male, threftemale characters. Scenery, two simple interiors The 
 leading character is an old farmer, whose wish for the comforts of city lite and 
 the ufures of wealth is answered in an unexpected and embarrassing manner. 
 The piece abounds in rustic humor, the contrast between the simple old country- 
 Ja^andhtsclly surroundings being ludicrously emphasized Al the charac ters 
 are good and the piece easy to produce. Plays one hour and a half. (1889.) 
 
 bm THF ENEMY'S CAMP: or, The Stolen Dispatches. A 
 Drama iJ" Fee A?ts E "lj S. J.^kSwn.' Eight male, two female characters 
 Good leading parts, genteel villain, Irish and negro characters. 1 ime of Paying 
 about two hSurs. The plot is concerned with imaginary events of the Rebellion 
 and it teSot unsuited to the needs of Grand Army Posts. Scenery simple ; very 
 easy camp scene. (1889.) m 1 . a„»i^ tf™. 
 
 «SIY TO ONE- ok The Scapegrace. A Comedietta in One Act. *or 
 onemaSamlsixfeinale'characters. By F. A. Matthews C^tmaes those of 
 everyday life ; scenery, not at all necessary. Five types of socu3ty girl are sati- 
 S with a keen hand -the Boston Girl, the Philadelphia Girl the Chicago 
 Girl etc., etc. The dialogue is bright and the situations amusing. The one male 
 character is an excellent one and plays itself. Plays half an hour. 
 
 OUT OF THE SHADOW: OR, A Noble Sacrifice. A Drama 
 in Tl?rVe T AcTs F For sfx SaTe and thTee female characters. B> rA Vatter .and 
 J E Spencer. Costumes modern ; scenery not difficult The scene is laid in 
 aNew England factory town. The story is a strong and dramatic one abound- 
 fngfn effective situations. The hero, an ex-conv.ct has won fortune a ^repu- 
 tation in a new land, but is ever haunted by the shadow of disgrace winch final y 
 romes to him in the person of Ramenoff, a fellow-convict, U he climax of the 
 Sf is Ran^ioffs abandonment of his'pursuit for the love of his daughter 
 whom his avowal will disgrace. Two strong leading parts for men, and goo 
 comedy character. The third act reaches a climax of unusual power and will 
 ehTctiifyaifatXnce. Plays two hours and a half. (1889.) Price, 35 Cent . 
 A BLACK DIAMOND. A Comedy in Two Acts. By M. R. Orne. 
 Three i^le and five female characters. Scene, an easy interior ; costumes mod- 
 ern The leading character is a colored soubrette of the general flavor of lopsy 
 fn"< Uncle Tom » -a great part for a lively comedy actress. Other characters 
 cood. A lively little play. (1890.) ■*_■»* »■ i 
 
 A KFTTLE OF FISH. A Farcical Comedy in Three Acts. Six male, 
 foni^emale characteTs" Costumes, modern ; scenery all £1?^™: J*\? fl ^f 
 ing piece is adapted from the same source from which Mr. Daly derived his popu- 
 lar "T-20-8," and is a sure humorous hit. Time in playing, two hours and a 
 
 qU ^OTE.-Tke sole riqht to publicly perform adaptations from this source U 
 claimed by Mr. Augustin Daly. As, iherejore no right to play it can be given 
 to purchasers of the books, the piece has been withdrawn from sale. 
 
 A ROY OF MONKEYS. A Parlor Farce in Two Acts. By Grace 
 L. FTirniIs. Two male and thre^ female characters. Scene, an easy interior, 
 the same for both acts; costumes modern This clever little .play -of modern 
 society is strong in interest, brilliant in dialogue, sprightly and eyeful in move- 
 ment/ It can be successfully played in a parlor without scenery. j^ra Benga- 
 line, the heroine, is a typical American girl, full of fun and go. A capital part. 
 Plays one hour and a half. (1889.) m . / 
 
 A LION AMONG LADIES. A Parlor Comedy in Two Acts. By 
 WmFJIIcv. Four Kale andf our female characters. Scene, a simple inte- 
 rior the same for both acts ; costumes modern; time in representation, one 
 h^rTlSTttle play was performed by the author and some M«^*JP»* 
 success on several occasions. It is interesting, bright, easy to do and has the 
 unusual feature 5 construction that the female parts two of which are especi- 
 aHyTood are most prominent in the action. Plays an hour and a half. (1890.) 
 
 THE GOLDEN COOSE. A Play for Children, in Four Scenes. By 
 H Cun^nghaS. PfirtsToYten boys and four girls. No singing. Scenery and 
 cokumeseasUv improvised. The characteristic features of this piece are sim- 
 plicity^ both of idea and expression, inexpensively in the getting up, and tho 
 choS'of a subject already familiar to children, and so readily comprehended in 
 dramatic form. Its story, besides, is entirely told In action. Thus since sorne- 
 thhS la always being done as well as said, the juvenile attention ,s firmly held to 
 the Ind, and the interest perpetually excited. Plays three-quarters of an hour. 
 (1890A 
 
AN ENTIRE NOVELTY. 
 
 THE GREAT MORAL 
 
 Dime Show 
 
 AN ENTERTAINMENT IN ONE SCENE. 
 
 By MARY B. HORNE, 
 
 Author of "Tin: PEAK Sisters," Pbof. Baxter's Great Invention-," 
 "The BOOB or Drills," "The Carnival of Days," 
 
 "Pl.ANTATIO.V BlTTEE.S," ETC, 
 
 Nine male, seven female characters. Costumes simple; scenery an ordinary 
 interior, or may bd dispensed with altogether. Plays from half an hour upward, 
 according to the number ami character of additional specialties introduced. 
 Printed exactly as first performed by tha Unity Club, \Vatertown, Mass., on 
 Friday evening, February 5, 1892. 
 
 Tins most amusing entertainment is a burlesque of the ordinary "dime- 
 mi.seuni,"' so-called, but is entirely devoid of the vulgarity of its original, and 
 peifecl lv adapted to church or home performance. The characters arc. save the 
 
 lecturer and her assistant, a ■wonderful collection of "freaks" of nature (some- 
 what assisted by art; who sing, dance or recite, according to their special 
 abilities, in illustration of the explanatory lectu c. It is most elastic in its 
 requirements, can be played on any stage ox* platform-, with or wit mut scenery, 
 ami with a greater or smaller number of characters, according to taste or 
 • . It can be made uproariously funny, and is in character as well as fact 
 
 A SEQUEL TO THE PEAK SISTERS. 
 
 Price, 15 Cents. 
 
 SYInTOPSIS. 
 
 SGEN1 —The exhibition hall of Sister Lteziau's show. Sister Keaiah's intro- 
 ductory lecture. Johuathan, the bashful assistant. Introductory hymn. 
 introduction of the " freaks." I > win. M< < ; i n ; v redivtvus. Daniel's song 
 l.i < iv Xvi;\ ii.. the oelebrated VIexican dwarf. Kioto, the shortest man 
 alive. „,,/ financially. The wouderful Mermaid. The Mermaid's 
 
 Caskiuh Whiie. tl ><iih-d boy. a "rocky" recitation. K \ i.i.ri.t . the 
 
 only specimen of his kind in captivity; illustrated bj cuts. Sig^ok GrALA!*Prj 
 the celebrated Glass Eater. Galassi sings. \ iii gro PENsiijjoso, tin- won- 
 derful two-headed girl; nol to be confounded with the more common two- 
 faced girl. Two ways of eating a pickle. 1 1 » v and [ONBi the G 
 maidens. R wn a ii. Tin roR] i . the blind painter, who paints blinds in full 
 vi.-w of the audience. AH Ciiin and Wr\ l.i Mi, the Chinese twins, ex- 
 tremely well connected from birth. " The Land of Tea.*' K v-r. ■■ >/.i.i -n m. 
 the Turkish vocalist. « I rand finale ami curtain. 
 
B 
 
 LIBRARY OF CONGRESS 
 
 016 102 701 7 <? 
 
 AKER'S SELECTED LIST 
 OF JUVENILE OPERETTA? 
 
 Designed especially for Church, School, and other Amateur Organ- 
 izations. Complete, with all the music and full directions for 
 performance. 
 
 Grandpa's Birthday. In One Act. Words by Dexter Smith; 
 music by C. A. Wiiitk. For one adult (male or female) and three 
 children j chorus, if desired. Price. 25 Cents. 
 
 Jimmy, The Newsboy. In One Act. Written and composed by 
 W. C. Parkeil For one adult (male), and one boy. No chorus. 
 Very easy and tuneful. Price, 25 Cents. 
 
 The Four-leafed Clover. In Three Acts. By Mary B. Horne. 
 For children of from six to fifteen years. Seven boys, seven girls, 
 and chorus. Very picturesque. Price, 50 Cen ;j -. 
 
 Beans and Buttons. In One Act. Words by Wm. H. Lepeue: 
 music by Alfred G. Uobvx. Two male and two female characters; 
 no chorus. Very comical and easy. Price, 50 Cents. 
 
 Hunt the Thimble. In One Act. Words by A. G. Lewis; music by 
 Leo R. Lewis. Two male, two female characters and small cborus. 
 Simple and pretty. Price, 50 Cents. 
 
 Red Riding Hood's Rescue. In Four Scenes. Words by J. E. 
 Estabrook; music by J. Astor Broad. Three male, four female 
 characters and chorus. Price, 50 Cents. 
 
 Golden Hair and the Three Bears. In Five Scenes. By J. AsTpis 
 Broad. Three adults (2 in., 1 f.), eight children and chorus. Music 
 is easy, graceful, and pleasing. Price, 75 Cents. 
 
 R. E. Porter ; or, The Interviewer and the Fairies. In Three 
 Acts. Words by A. G. Lewis; music by Leo R. Lewis. Six male, 
 six female characters, and chorus. Very picturesque and pretty. 
 
 Price, 75 Cents. 
 
 Gyp, Junior. In Two Acts. Words by Earl Marble; music by 
 D. F. Hodges. Two males, one female (adult), three children and 
 chorus. Very successful and easily produced. Price, 75 Cents. 
 
 AlvinGray; or, The Sailor's Return. In Three Acts. Written 
 and composed by 0. A. White. Ten characters, including chorus; 
 can be made more effective by employing a larger number. 
 
 "Price, 75 Cents. 
 
 Catalogues describing the above and other popular entertain- 
 ments sent free on application to 
 
 WALTER H. BAKER & CO., 
 
 THEATRICAL PUBLISHERS, 
 
 No. 23 Winter Street, - Boston, Mass.