VClV J'EHD) : A'eic Farce hii IV. II. If'ilk/ns, entitled ''THECOMLYir .^MSr ^^. AMES' Seriesof i STANDARD AND MINOR DRAMA. P S fo5 5 :\o. «T- FALSE FRIEND, :[ DIMM A, T^ THRKE ACTS, — r.Y - a. S. VAUTROT, WITH CAST OF CHARACTERS, ENTRANCES AND EXITS RELATIVE POSITIONS OF THE PERFORMERS ON THE STAGE DE^ ^^"^fcRIPTWN OF COSTUME, AND THE WHOLE ok THE STAGE BUSINESS, AS PERFORM' ED AT THE PRINCIPAL AMER- ICAN AND ENGLISH THE A TRE& A n ANfK-^. PUl'.r.tSHKll, ^M^^^^^^mM^'Mi^^^ Class _E^_iL3_5_ Book .Z 3 VJ5_8^ GofPghtN"^ COPYRIGHT DEPOSIT. THE FALSE FRIEND, A DRAMA IN TWO ACTS, — BY — / GEO. S. A. VAUTROT, WITH A DESCRIPTION OF COSTUMKS, CAST OF THE CHARACTERS, RELATIVE POSITION OF PERFORMERS ON THE STAGE, ENTRANCES AND EXITS, AND THE WHOLE OF THE STAGE BUSINESS. "* A s performed at the principal American and English Theatres. G^fl^D Kespectfully dedicated to the Arcadian Dramatic Club of Mobile, Ala. Entered according to Act of Congress in the yeaiJL^^i^lf --' A. D. AMES, ~- In the office of the Librarian of Congress, at Washington, CLYDE, OHIO : A. D. AMES, Publisher. THE FALSE FRIEND. ^(•b^ CHARACTEHS: Charles Hall id ay An English Gentleman, William Marlborough A Villain. Pat O'Brien An Irish Servant* Sir Eobprt Lancaster Ben Harris A Villain — Tool of Marlborough. Jim Lynx The Detective. Rose '. Niece of Sir Robert. SCENE— England. TIME— The Present. COSTUMES— Modem. ^— TMP92-007456 Time of performance — One hour and forty-five minute*. THE FALSE FRIEND. ACT I. SCENE FIRST — A handsomely furnished room at the residence of Sir Rob- ert Lancaster. Sir Robert discovered v., reading a newspaper. Table B., chairs, etc. Bell on talk. Sir R. Ah, here it is! (reads) "The good ship, Excelsior, left New York on the ISth. Among the ]iassengers was an Englishman, who had went to America to see the grand Centennial." Now if I am not wrong, I know who this young Englishman is. {looks over the paper) No news ! Bah, these papers are becoming worse and worse. Let me see to-day is the 28th, it will not be long before this young Englishman will arrive, {knock outside, c. ) Come in. Enter William Marlborough, c, comes down to r. Will. Good morning. Sir Robert, reading the morniiig news I see. Has any great event transpired during the last twenty-four hours? Sir R. Nothing of very much note. I see that a certain young English- man is on the way to England. Do you know who it is? Will, (aside) Curse him ! (aloud) It must be Charles Halliday. Sir R. Right, my boy, right I Will. He Mill be here soon ? Sir R. Yes, in a few days. Will. I shall be glnd to see him. Sir R. I am delighted to hear you say so, for I feared that owing to some cause, there was a — a — well, a kind of coldness between you. Will. Oh, no, nothing of the kind. No occasion for any ill feeling be- tween us. Sir R. Ah ! I merely thought that Rose Will. Beg pardon, but how is vour charming niece, this morning? Sir R. A little tired. The effects of the ball last night. Will. Indeed ! Can I see her for a few moments? Sir R. IS o, and I'll tell you why. She told me she would not be at home to any one, and as she is mistress here, that ends the matter. Call this evening. Will. This is really a disappointment. Sir R. Anything important ? Will. No — CO ! Nothing very particular. I will, as you suggest, call this evening. Good morning. Sir Robert, good morning. (exit c. Sir R, 1 wonder what could have been his business with Rose ? I don't half like that fellow, but — well, well ; he is probably good enough in his way. Enter Rose, r. Rose. Dear uncle, who was that gentleman I saw leaving the house ? 4 THE FALSE FRIEND. Sir JR. Mr. William Marlborough. I should have thought you Trould have recognized him, Rose. iJo.se. I only saw him as he passed through the gate. >SVr M. He called to see you. Hose. Did he leave f»ny message for me ? JSir H. None. He said he would call and see you in the evening. I have some letters to write in the library, and will leave you. {exit l. Hose. Dear uncle, how kind he is to me. If it were not for him, I would not have a shelter over my head. Left an orphan as 1 was without money, Iriends, or a home, everything was dark and desolate for me. I remera- beredmother having told me of her brother, who had disowned her because she had disgraced the family by marrying a man beneath her in station, but whom she loved. I wrote to him, but it was with lear, for I thought that as he had disowned the sister, he would not recognize her child. But what a surprise for me, when the answer came, inviting me to share his home, expressing regrets that he had so illtreated his sister, and that I should be to him as a daughter, {knock c.) Ah, I wunder who that can be \ Enter William Marlborough, c. Will. Excuse me, Miss Rose, I thought that I should find Sir Robert here. Rose. Be seated. Uncle will be here presently. {he sits, r.. Rose, h. Will, {looking at paper) Did you notice this item of news ? It will be of much interest to you. Charles Halliday will soon be home. Rose. Indeed ! That is good news. Will. You seem to be very much pleased. Miss Rose. Rose. So I am. He has been absent four months, and I am always pleased to see any of my friends. Will. Mr. Halliday is a very dear friend, I believe — in fact, something more. Rose. You are impudent, sir. He is a friend, nothing more. Will. No intentions of giving offense, but i am very much pleased to hear you say so much, as i know he does not care for you. Rose, {half vexed) It does not matter to me whether he cares for me or not. Will. Are you in earnest? Oh, Rose ! if you v/ould only l^ok upon me as your lover Rose, {laughing) For shame I shame I {lauahing, exit l. Will. Curse her, she's laughing at me. That she loves Halliday, there can be no doubt, but he shall never have her. I have set my mind on the possesion of this girl, and I will have her, by fair means if passible, if not —well I am not the man to be thwarted in my designs. Enter Sir Robert, l. xcith hat, coat and cane. Sir R. Ah ! "William, Rose informed me that you were here. How would you like a stroll over my grounds ? Will. Delighted to accompany you. Sir R. Well, come on then. Will, {aside) I may learn more of this rival, {after putting on hat) Lead on, I am ready. {exit, talking, c. Enter Rose, l. Rose, {picks up paper) Yes, here it is ! He's coming back. I'm so glad. I do like him — no one hears me and I can say so, now. He has never eaid anything to me of love, and Mr. Marlborough says he regards me only as a friend — but he has shown me su many little attentions, that I — I, O, pshaw! Well I don't care — He promised to write to me, and he has not done it. I think he is real mean, so I do. I don't care one bit for him, and if he says anything to me when he comes, I'll snub him. {reads the paper) Yes, he is coming. How I wish he was here now. I don't care to Bee him very much, anyhow. {kisses the paper, — sceyie closed in. THE FALSE FRIEND. 5 BCENE SECO'^V—Landscvpe in 2d grooves. Enter Fat O'Brien , l, Pat. Och, may the divil fly away wid me, but I'm the lonesomest, au' hungriest boy that ever wer seen. Here am I, Pat O'Brien, jest landed in England from the ould sod, niver a ha'penny in me pocket, an' divil a taste of supper or breakfast have I had. Och, bad luck to the day I iver made up me mind to leave the ould country, [xcipes his face on jacket sleeve) Bad cess to the mon whoever he was that said: "Live humble, an' you'll be happy." The blundering baste, he niver had say-breeze fer supper, an' nothin' for breakfast ; the ould sinner, if I only had him here, {flour- ishes stick) Well, never mind, I must be up an' goin' for I must have Bomethin' to ate, an' the divil I care how 1 get it, so I get it. {looks off R.) There's a house beyont, perhaps I may yet get a male, who knows ? (%tarts K., stops, listens) Some one's comin' this way, mayhaps 'tis robbers. 'Tis a moighty foin thing for ye, Pat O'Brien, that ye left yer money at home, or ye moight be aftherlosin it. {turns, looks l.) Who the divils this chap anyhow ? Enter Ben, l. — he is in deep thought To o' the mornin' to yer honor 1 Ben. (starts) Bless me — Who are you fellow ? Pat, An' it's long life to yer honor, but I'm a poor wanderin' Irishman, on the lookout for somethin' to do an' somethin' to ate. {aside) But more for somethin* to ate. Ben, So you want something to do? Bat. Yis, yer honor. Ben, Let me see, you are not afraid of a little danger, are you? Pat. Is it foightin' ye mane ? Ben. Well, there may be something in that line. Pat. {flourishes stick) Then I'm the bye for ye. I'd rather foight than ate, 85 I would. Ben. {aside) I may have use of thia fellow, so I'll {aloud) Well Pat, a friend of mine was talking to me the other day, and he said that he would want some one to work for him, but did not say when; so I'll see him again, and if he is in need of any one, I'll recommend him to you. Pat. Long life to yer honor, may yer honor's shadder niver grow less, an' may bad luck follow ye all yer life Ben. What's that you say ? Pat. (bows) But niver overtake ye. Ben. {aside) These Irish have the queerest way of wishing one good luck, that ever was heard of. Pat. If yer honor would only spake a good word for a poor bye, I'd Ben. Oh, never mind ! if my friend does need you, he'll give you a good round sum for what will have to be done. Pat. But yer honor, d'ye know what koind of work it is your friend ■wants me to do ? Ben. 1 do not. He did not say. Pat. I hope he's in a hurry, for I want to make me fortin*. Pen. How are you going to make your fortune? Pat. Didn't yer honor say that if this friend of yours wanted me, he would give me a good round sum of money ? Ben, I did. Pat. Then yer honor, as anything round is without an ind, a round sum of money, manes money without ind. Ben. That is very good logic. Enter Will, L, Will. I've got rid of {sees Pat and Ben) Hello! Ben, my boy tow do you do? Ben. First rate, Will, and yourself? 6 THE FALSE FRIEND. Will. So, so, (a-v'de to Ben) Who 13 this fellow? £en. (ditto) A poor Irishman, who want's work. Will, (to Fat) Good day, mv friend, Tat. Same to you, sur. Will. My friend says that you are in want of employment. Pat. No sur. £cn. "What. Pat. !No sur. I want somethin' to do, an' somethin* to ate. Will, (laughs) Why, that 13 what I meant. pat, I ax yer pardin, sur. Ben. Don't you think you could give him something to do, Will ? Will. I might have use for him in a couple of v.-eeks. Pat. So thin ve have nothin' fer me to do at prisent ? Will. I believe not. Pat. Thin I'll not hire ye fer my master. Will. Kone of your insolence, fellow. Pat. Eh ! Ben. Come, come, "Will don't quarrel. ( Will looks savagely at Pat Pat. Arrah, ye may look, an' ye'll not say anyihin' ; but if 1 give ye one with this {skov:s stick) bit ov a stick, ye'll see stars. Ben. (Will seems about to advance) Come with me, Will, I wish to talk with you. (.they exit E. Pat. I don't like thira chaps, at all. They're afther no good, or me name's not pat O'Brien, (starts to follow them — stcp» — turns around) Who, the divil is that comin' up the road, (looking l.^ By me soul, he looks like some young lord. I'll wait, he moight want soii^e one — (looks — starts) By the powers he's got a carpet-sack in his hand — Well,Pat O'Brien's not above carryin' baggage. Enter Charles Ilaliday l, (holds out hand to take it) Carry yer baggage, yer honor? Chas. Yes, my good fellow, I am rather weary, so you may carry it if you please. Pat. How much further have ye got to go. I have not had my break- fast yet. Chas. Do you see that house over yonder ? (points ■&.) There is where I live. Come, I will pay you, and give you something to eat. Pat. ISIany thanks, yer honor,"but — but — Chas. Well. Pat. Wouldn't yer honor be afther wantin' a smart boy, to do nothin'. I mean— that is— yis — Ooh, the diril ! what do I mean. Chas. I do not know, ray good fellow. Pat. I want a masther. Chas, You seem to be sn honest sort of a fellow, and — Pat. So I'll hire ye fer my masther. Chas. All right, 'catch hold of that baggage and follow me. (aside) I wonder if he can ? I'll try him. (aioud) Can you keep a secret. Pat. (drops sack — puts hands in pockets) Kin I kape a secret ? Chas. Yes. Pat. Well, listen yer honor, an' judge fer yerself. When I started to this counthry Pat Mahoney, he come to me, he did, an' says he to me, says he, "Pat, I've somethin' to tell ye." "Ye hev ?' says I to him. "Yis," says he. ' all diligent enquiries possible, and if I find that I have not been deceived, he shall never set his foot in this house again. Rose, (aside) ! my poor heart, (aloud) But uncle, you will give him a chance to defend himself? nnes. Good evening. (exit c. Sir R, Well, my boy, have you heard any more about that young fellow of whom we were speaking this morning ? Will. I have not; but Ben has. Sir R. Well then, Ben — if you will allow an old man to call you so. Ben. Certainly, your lordship. Sir R. I 8UV)pose you know to whom we have referance ? Ben. Yes, your lordship ; but then being almost an eatire stronger to all concerned, I would rather not speak. Sir R. That does not make the slightest difference in the world. Ben. lean, then, with all due honesty, vouch for everything that Mr. Marlborough has said. Sir R. And you can take me to this young man ? Ben. I can my lord. Sir R. When will you do so? Ben. To-morrow, if your lordship desires. Sir R. It is my desire to know the lull particulars, as soon as possible. Ben. It shall be as you wish, my lord. Will. Come Ben, it 'is getting late, and time that we should go. {^they rise Sir R. What time shall I meet you? Ben. Say, about nine o'clock. Will, {at centre) Good night, Sir Robert. Sir R. Good night, Will. Ben. Good night, your honor. THE FALSE FRIEND. 13 Sir E. Good night, (exeunt Ben and Will, c.) I can hardly believe this tale about Charles, he was always such an honest young man; but then, who knows what kind of company he kept, while in America. They say, those Americans are very loose iu their morals, {knock) Who can that be, I wonder, (knock) Come in. Enter Fat c. Why, bless my — Who are you ? Pat. [boios — takes off hat — puts it on again.) Och 1 bad luck to these roads. Bay I. Sir R. What do you want? Fat. Shure, an* its one, Sir Robert Lancaster, that has a purty gal named Rose Hazywood, that I'm afther foindin'. Sir R. Then I am the one that you are looking for. Pat. Then this is what I want to give ye. {hands note — while Sir Robert reads, he looks around the roovi.) Sir R. {reading) "Dear Sir: As you are aware by this time, that I have reached home safely, and think, no doubt, that it is strange I have not called on you, I beg to be excused, as I have just returned from a visit to my aunt. With your permission I will call to-morrow. Yours, &c., ChaS. Haliday. (places note on table) He will, with my permission, call to-mor- row. Well, perhaps it will be the last time I will give him my permission. {seats himself at table — reads as he writes) "Mr. Charles Haliday, Dear Sir: Your note has just come to hand ; will be delighted to see you. Yours, Ac. RoBKRT Lancaster, {folds note) Here Pat, here is the answer — take it to your master. Pat. Ail right, your honor, {takes off hat, puts note in it, puts hat on head) It'll go through all safe. {starts Sir R, Look here, Pat. {Pat comes back) Where is your hat? Pat. {clasping hands on head) It's on me head, where it ought to be. Sir R. That is not where it should be. Pat. {astonished) Not where it ought to be? Sir R. No sir. Pat. Shure thin, ye don't want me to wear it on me feet, dy'ef Sir R. No sir, I do not. Pat Thin, where the divil, ought it to be ? Sir R, You should never keep your hat on, while in a gentleman's parlor. Pat. An' how the divil, was I to know you's a gintleuian? ibir R. Get out of my nouse you impudent booby, {advances on Pat, who exits, c.) That infernal Irishman does not seem to know anything. If I had him around me, I would break every bone in his body. {exit c. Enter Rose, L. Rose. I thought I heard uncle talking with some one ; but must have been wrong, (.sees note on table) Ah ! what is this ? — the writing is familiar — there can be no harm in reading it. {readmit) Oh, I am so glad Charles is coming up to-morrow, {knock) Dear me who is that? {kvock) I suppose I'll have to go and see who it is. {goes to door, very timidly and opens it) Why, good evening Mr. Haliday. Enter Charles, c. Chas. Good ^evening, Miss Rose. Is Sir Robert about, I wish to speak to him — iu fact lo offer him an apology. Rose. No sir, he aas just left the house. Chas. I am very glad of — v^at is — I mean — yes I — that is, I want to make an apology for the conduct of "my servant. Rose. So then, it was your servant, I heard with uncle? Chas. I sunp se so. He is an honest fellow; but fond of a joke. He must have made your uncle very angry, judging by what he just told me. Rose. I do not know. I thought I overheard some one here ; but it is of no consequence. U THE FALSE FRIEND. Chas. I am very sorrf this happened, because I know that Sir Robert has a violent temper, and when Pat told tue of the scene that transpired between your un(Ae and himself, tired as I was, I hastened here in the hopes of pacifying him. Rose. You n ed not fear any ill feeling towards you, on that account. Chas Miss Rose, I would like to ask you a question. Rose, \nervousiy) What is it? Chas. Are you — you (desperately) engaged to Mr. Marlborough? "^ .Rose. (in. astonishment) No ! AV ho in the world said I was ? Chas. Is be any tiling to you ? Rose. No ! What it he was, Mr. Curiosity? Chas. It would be a great deal to me. iJo.se. And why would it be ? Chas. {takes her hands) Because I love you, Rose, better than all the -world, and that without you, this world would be a dreary waste. Rose, {coqueiishly) Then 1 am afraid that this world will have to be a 'dreary waste. Chas. {releasivg hands) Oh, Rose, Rose, my darling, do not mock rae. If you knew how your words pierced my heart, 1 am sure you would not have uttered them in that light manner. Rose. I am sure I did not intend to Avound your feelings. Chas. {folds arms) Rose, I had looked forward to thi.^ moment with the greatest pleasure — but — God help me to bear it. I may — I iim anwered — If ever you need a friend, send for Charles llaliday. Good bye. Rose — God .'bless you. {.'starts for door, c.) Rose, {watches him until he goes to open door) Charles ! Chas. {looks around) Did you call me Miss Hazlewood? i2o.se. No, 1 did not ; but where are you going ? Chas. 1 am going home. Good bye, Miss Hazel wood. iJo.se. Good bye, Charles. {goes to door Chas. Did you say anything. Miss Hazlewood ? Rose. "What was that you said a while ago ? Chas. 1 really don't know, {she looks him in. the face — he starts — grasps iher hands) Oh ! Rose, my queen, you love n»e ? Rose, {hides face on hi^ bosom) Yes, I do. Chas. And I may speak to your uncle, may I not ? Rose. Yes. Chas. Thank you, my pet. {looks at ivatch) Dear me, how time flies. 1 should have been home long ago. I'll see you soon, again — at the first op- j)ortunity, and until then good bye. Chas. Good bye, Charlie. {Charles gets nearly to door) Charley 1 Chas. W^hat is it my love ? iJo.se Didn't you forget something? Chas. No, I believe not. Rose. You believe not ? Chas. Ah, I see. {goes to her and kisses her) Now good bye, little sweet heart. ' {going Rose. Good bye, Charlie. ( Charles stops at door, c. — kisses his hand to her she replies to him in the same ivay — exit Charle.'i) He loves me and I have promised to be his Avife. Oh, I am too happy, too happy ! It seems more like some pleasant dream, from which, I may at any time awake. Oh, Ctiarlie ! If you knew how much I love you ; but I am afraid you will nev- er know it. I wonder what uncle will say? Suppose he should say no? But then I don't think he will. He would do most anything for his Rose — Ah ! 1 forgot, what did he mean by what he said this morning? I must find out what it was, and 1 will I I'll ask uncle again in the morning. Oh, ^iear 1 I wish it were morning now. {exit, c. — scene closes — lights up THE FALSE FRIEND. 15 SCENE THIRD — The outside of the tavern of the village of Exeter — Sigriy *' The Moyal George," *'Ale,^' "'porter," d^c, on house, r. — Enter Sir Robert, Will and Ben, l. Ben, This is the place, your honor. Sir R. But wteie is the man of whom you spoke? Ben. I do not see him, my lord. I'll go to the tavern, and see if he's within. WilL Yes, go Ben. {exit Btn to inn) This is rather a nice place, your honor? Sir R. Yes. You are sure that this young man, of whom you speak, is honest and truthful in what he says? Will. I think he is, your honor. \Vhat benefit would it be to him to tell such a story ? aS'iV R. Perha])S he might want to blackmail Cl)arles. Will. Wait until vour lordship sees him, then you can judge for your- self. Re-enter Ben. Ben. The young m«iu has been here ; but has gone again. Sir R. Did you learn where he had gone ? Ben. The landlord said he went down this street, about three minutes ago. Sir R. Then we will follow h;m, as I am most anxious to have this mat- ter settled, {exeunt, h. Enter Pat, r. Fat, 1 wondher, where the divil a mon kin git a glass o' whisky. Here am I wanderin' all over this blissid place, an' tlndin' none, {sees inn) By the powers, there's a tavern, may be it's a dacint dhrink, I kin git in there. {exit to inn Enter Charles, l. Chas. Yesterday, I was ready to curse the day that T arrived home ; but now, every thing has charged, Rose has promised to be ray wife, and it on- ly remains for me to gain her uncle's consent, and I think I can do that be- cause the old gentleman has always liked me. Enter Pat, from inn, Pat. That was an illigant dhrink o' — {sees Charles) — wather. Chas. Why, I'at, how is it you are down here so early ? Pat. You see, yer honor, I am an early riser, an' I thought I would just take a walk before breakfast, yer honor. {wipes mouth Chas. Now, see here, Pat, I want you to tell me the truth. Pat. Shure, masther, an' it's mesilf niver told a lie, in the whole course o' me life. Chas. Why do you come out of the tavern, and wipe your mouth in the way you do. Pat. Shure, your honor, the long walk that I took made me dhry. Chas. And you went in there to get a drink of whisky ? Pat. No, yer honor, it was only wather. Chas. Yes, fire water. Pat. Divil a bit o' fire did I see, anyways. Chas. Well Pat, it is time we are going home. Pat. All right, yer honor, {exit Charles l.) What the divil moight he be afther doin' down here, so airly. May be it was afther a dhrink o' ivather, he was, an thin, may be it's afther a dhrink o' {looks l.) Who's this, anyway ? {goes to l. 3 u. k.) It's the ould man, who tried to kick me out o' house, the other right, an' thim two fellows wid him. They sha'n't see mo here. {exit u 3 k. Enter Sir Robert, Will and Ben — Sir Robert iji a passion. Will, Do you believe the story now, my lord ? 16 THE FALSE FRIEJ^D. Sir Jt. I do, I do ! and I thought Charles an honest man, that was above reproach ; but I find tnat — Ben. I trust that your lordship will not be too severe with the young man, for your neice may — Sii' B. I shall most certainly order him out of the house, if he dares show himself there again. Good morning, gentleman. Will and Ben. Good morning, your honor. {exit Sir Robert, l, ti. k. Ben. The coast is clear, as far as Charles Haliday is concerned, if you can manage the girl. Will. Aye, if I can manage the girl, there's the rub. You say she is in love with Cbarles ? Ben. I am as certain of it as if she had told me so. Will' I am inclined to think so too; but it he has not declared himself, I may stand some chance. I hed a talk with him yesterday morning, and threw out some delicate hints, which he took. Ben. Ha, ha, ha ! Good — very good 1 Will. I also had a talk with Rose, and I took good care to impress upon her that Haliday didn't care a snap for her. Ben. You shouldn't have done that ; but come, let's be going. Will, All right, come on. We will talk of this matter as we go. {exeunt l. SCENE FOURTH — Same as Scene second — Enter Ilose c. — takes seat — looks at watch. Rose. It is nearly time for Charley to come, (starts) Ah, a step I I am sure it is him. {goes to door, c.) Good evening, Charlie. Enter Charles, c. Chas. {shake hands) Good evening, little sweetheart. How do you find yourself this evening? jRosc Oh I I am in splendid spirits. Chas. "Where is your uncle. Rose. Rose, Why — do you wish to see him ? Chas. You know of what we were talking last evening ? Rose. Yes, I do ; but you needn't be in such a hurry, Mr. Impatience. Chas. I am not at all impatient, I merely wish him to know what mj intentions are, in regard to you; but then Rose, my dear — Rose. Hush ! I hear some one coming. Enter Sir Robert, c. Chas. Good evening. Sir Robert. Sir R. Good evening, sir. Rose, {aside) How snappish he is. Sir R. Rose you will please retire, I have some business with Mr. Hali- day, that requires immediate attention. Rose. As you please, uncle, {aside) He and Charles will have a quarrel I am sure. I'll remain close at hand to prevent mischief. {exit Rose, c. Chas. I am surprised. Sir Robert, that I should be treated in such a cool manner, especially by you, above all men. Sir R. And I am surprised that you, above all men, should be the vil- lain you are. Chas. You will have to explain yourself more clearly, sir. Sir JR. I will explain myself very clearly and distinctly, you infernal Chas. Hold ! Sir Robert. Sir R. I will not hold, you scoundrel, you viper, you — you— Enter Rose, xoho runs to her uncle. THE FALSE FRIEND. I7 Jlose. What is the matter, uncle? SirR. {to Charles) Get out of my house, and never let me see your ac- cursed face in it again. •' Chas. Of what am I accused ? Sir R. You ask me— me, ot what you are accused '> Chas. I demand, nay I commnnd you to tell me of 'what I am accused 1 Scr R. And I command you to ^-et out of my house, and never darken n^doors again, and above all. never under any circumstances speak to Rose. But uncle ouf ?' ^' ^"^^ ^"""^ ^'''"° ^"^ ^^^''^' """ '^"^^ ^ ''''^^ '^'' '^^''^"t« *o kick you Chas I go, Sir Robert. Good bye Rose. {husine.s ad Ubtiumfor Rose Sir R. \ou infernal ])uppy, never speak to Rose airain ' Chas. Old man, I trust that you will think of this, uiMi one day 1 may have a chance to right myself; as it is— (looks at Rose) Good bye. Rose I may never see you again, if not I^ Good dav Sir. /ga.// c Sir R. There, I have rid myself of that scoundrel! Rose. Uncle, uncle ! what have you done ? Sir R. I have just sent the most'uublushing scoundrel that ever was. out of my house. ' Rose. And you have done more than that. Oh, uncle if you knew— SirR. {nside) It is as I feared, she is in love with this fellow, and he wHh her. (aloud) \V hy are you weeping. Rose? iJo.se. Uncle, uncle, you have broken my heart. >Sir R. Then I'll have to mend it again. 1 have an offer for your hand. Rose. And pray, who from? •' Sir R. William Marlborough. Rose. I des{)ise the man ! Sir R. Come no nonsense, you must, must, I say— marry him Rose. Uncle, I do not love the man. Sir R, Who said anything about love— William is a gentleman and— Rose. So IS Charles. * Sir R. If ever I hear of you speaking to, or having anything to do with that man, m any manner whatever, out of the house you o-q. Rose, {hides her /ace in her hands) Oh, unele ! *' Sir R My mind is mpde up, either you m'arry William Marlborough within three months or back } ou go to where you came from. ( Rose sinks into a chair sobbcng) Do you hear ? Rose. Yes— I— tiear-^uncle {rises and sinks on her knees before Sir Rob- ert) Ask me to do any thing that a poor, frail woman can do, and I will do It; but for the sake ot the love you bore your mother, do not ask me to marry this man. SirR, {affected) Rose, Charles Ilaliday is a scoundrel: he is unworthy your love. ^ i?05-6. (rwe.s) W^ho told you he was a scoundrel ? Why did you not cive him an opportunity to defend himself ? The worst of criminals have a chance to speak tor themselves, while Mr. Haliday was denied the benefit of knowing or what he was accused . >Sfir^. (a.s(rfc) Sheistoomuchin love with the young rascal. I don't know but what I might have been too hasty, {knock) Come in Enter Will, c. Ah, how do you do, William, I am most happy to see you. Rose, {aside) I begin to suspect— With your permission, uncle, I will re- tire. V ^?J' J^y^'^^ ^^^^ ^^'^11 ^l^ow me to prevail upon her to remain, I should be delighted. Rose, {dignified) No sir. Miss Rose will rot allow herself to be prevailed upon — at least, not by you. ^ / •- IS THE FALSE FRIEND. Wtll, Sir Robert, I would speak to you concerning my marriage with your niece. Have you informed her? iSir R. I have. Will. Do you think she is in love with Haliday ? Sir R. {aside) I do believe it; but I'll not tell him so. {aloud) No, I— don't think she is. Will. What did she eay when you told her that she was to marry me? Sir R. She wanted time to think of it. Will. Well, the quicker she makes up her mind the better. Charles hasn't been here, as yet, has he ? Sir R. Yes, he was here ; but I ordered him out and have forbidden him the house. I place a great deal of confidence in you. Will. I fim pleased my lord that you have this confidence in me— I shall always try to deserve it. Enter Ben, c. Sir R. Why, how do you do, 1 had forgotten all about you. Ben. But I had not forgotten you, my lord, yiuinks at Will, loho nods) But 1 have more news. Will. What is it? Ben. Alter what has happened, 1 don't think I should speak. Sir R. \Vhat, some more work of that villain, Ilaliday. Ben. Yes, your honor, pretty much the same story as you heard this morning. Sir R. and Will- W^hat ? Ben. The poor young woman is in town, looking for Mr. Haliday. Sir R. The infernal scoundrel — can I see her ? Ben. You may by gomg to that address. {gives card Sir R. {reading) <'Mary "jones , Potter's alley, third door from corner of Pearl street." (puts card in pocket) I'll go at once. Good day, gentlemen. Ben and Will. Good day, your honor. {exit Sir R. Viill. How did you manage it? Ben. I found an old pal of mine, who for five pounds, will swear to any thing I wish her to. {laughing) If that tale did not spoil Mr. Haliday's chances, I think when Sir Robert hears the yarn that Molly Jones will spin, he Will be most completely satisfied. Let's go and tase something more congenial to my feelings. Will. All right, come and drink to my success in a bottle of champagne. {exeunt c. Enter Rose, r., agitated. Rose. My bright dream of happiness has been dashed away. All my bright visions have been — Oh, I must not think of it 1 Uncle says that I must marry William Marlborough, or go back to the poverty out of which he raised me ; but marry him I will not. I would die a thousand deaths, before I would sacrifice myself. Oh, Charles, Charles, my darling. Uncle has forbidden you the house — you are not to speak to me. Oh, cruel, cruel, fate I Uncle, uucLn 3'ou know not what you have done, {overcome with emo- tion — covers face with hands — looks up) Enter Pat, advances cautiously. I have a thousjht — 1 will write to him. Uncle told me that he would be absent from home this evening ; but who will I get to take the note ? Pat. {sees Rose about to retreat) Howly Moses 1 Rose, (starts nervously) Who — what — what is it you want, my friend ! Pat. {embarrassed) Iwant — I want — you see mam, I — och, murther, what the divil's the matter wid ye, Patrick O'Brien ! Rose, {angrily) If you don't instantly leave the room, I will call my uncle to put you out ! Pat. An' if he does, the same thing might be afther happenin' to him again, {takes off hat — bows) I ax yer pardin, mam j but I belieye — that is, I will be crazy if I don't gather me siven senses. THE FALSE PEIENB. 19 Ro&e, {aside) What in the world is the matter of the man? (aloud) What in the world can I do for you, my good man ? Fat. Faith, an' that's what I'm afther thiukin' about, mam. (pulls hand- kerchief Jrom hat— note drops— ivipes face— replaces handkerchief— puts hat on head) I am bothered iutirely, so I am. Rose. You have dropped something, Pat. So I have, (picks vp note— hands it to Rose) Eead me the outside kiver o' that billy-duck, will ye, mam. Rose, (reads) "Miss Rose Hazelwood." Why, this is for me. (starts to tear envelope — Pat grabs it ) Pat. Ilowld on a minute, me jewel, Vm not so sure about that, I a'n't. Rose, (eagerly) But it is for me. Rose Ilazelwood. Pat, (shakes head) I believe that was the name me masther said. Faith, an' I know it was somethin' about a Rose an' a wood ; but the divil a on© is it I remember. Say that name again, Miss, if ye plase. Rose. That is my name, Rose Ilazelwood. Pat. (in doubt) I don't know whether that was it or not. Rose, (lays her hand on his arm and looks winningly into his face) Yes, Pat, that is for me. Pat. (shakes head) Och, ye soft-soapin' little divil, ye, how did yc know me name is Pat ? Rose. I guessed it. Pat. Thin guess who this letter is from. Rose. From your master, Charles Haliday. Pat. Sure, I've come to the right market, (gives note to Rose) Hade away, me darlin' an' give me the answer. Shure an' I'm to have two holi- days all to mesilf, if I git back safe. Rose, (reading) "My Dearest Rose : After what has happened, I would not dare visit you again. I write you this, that 1 may bid you farewell" Oh heavens — "I must leave. I could not bear to see you, and not be able to speak to you. Good bye, Rose — one long sad farewell. Yours till . death, Charlks Haliday," (Rose folds note— clasps her hands) Oh, mother, mother, look down upon your daughter. (Pat uncovers head) Help me to bear thia burden, (to Pat) Did your master say when he was going to leave? Pat. Yis mam, day afther to-morrow. Rose. Then I will have time. Wait one moment, (seats herself at table writes) "Dearest Charles : Your note gives me pain, far more than mere words on paper can express. Uncle will be away from home this evening Your own Rose." (gives Pat folded note) Give that to your master — he'll un- derstand what'I mean. Enters Sir Robert c. Pat. Och, murther, here's the ould gintleman. Sir R. Why is this man in the house? Pat. I'll tell yer honor : I was — I was — Sir R. Get out of the house, you infernal Irishman, or I'll kick you out I Pat. An' in kickin' me out you moight be afther havin' the same troub- le you did afore. Sir R. What do you mean? Pat. I mane you're no gintleman, or you'd be afther kickin' Pathrick out o' yer dirthy parlor. {Sir Robert starts for him, exit, c, laughing — RosCf exits R. ) iStr R. What was that Irishman's motive in coming here. Rose? (sees she is not in) Why ! she has gone, I believe that infernal Irishman is the same one I attempted to kick out the other day. I must be going. Rose is aware that I will not be back until to-morrow, so I believe every thing is arranged. (exit G. Enter Charles, l. Chas. Where can she be ? Well, I did not send her word at what time I would come. Her uncle has forbidden my entering the house, or speaking 20 THE FALSE FRIEND. to her. He hurled insult after insult into my face— he denied me the priv- ilege of defending myself) or telling me of what I was accused. Some one has been slandering me. If I only knew who it was — Enter Pat c. — hands Charles note. Well, Pat? Fat. Masther darlin, the ould man's well on his way. Chas. Pat, you are a good fellow— I will have to raise your wages. Pat. I/' any thanks, yer honor, an' I'll accept that same, so I will. Chas. {reads frovi vote) "Uncle will he from home this evening." If it were not that I have made up my mind to leave, I would be the happiest man in the world. Pat. Exceptin' mesilf, masther darlin.' Chas. Give me your hand, Pat. {shake hands) You're a noble fellow j but where is Rose ? She does not know that I am here. Pat. Faith an' she does, f'what the divil are blinds to a windy made for. She knows ye are here. Enter William and Ben, l. Will. Ho, ho. This is the way my gentleman of honor does, is it ? "Waits until the master is gone, then creeps into the house like a thief. Chas. I came in by the front door. It seems as if you and your friend came sneaking in. Will. Have a care how you address me, Mr. Haliday. I am master of the situation, and I tell you to get out of the house. CAas-. {in a rage) You — you — infernal — {draws knife — advances on Will- iam) Draw and defend yourself, you cowardly puppy, or I'll cut you down. Will. Don't Charles — I am not armed. {Ben gets behind Charles — raises knife to slab Charles) Pat. {jumpitig nt Ben) Howld on, ye murtherin hound, I'm at yer service. {^Ben retreats Charles turns — William draws pistol— covers Charles) Enter Pose, who rushes between Will and Charles — screams — as Charles turns William /ires — Bose faints in Charles arms — Will and Ben exit R., followed by Pat, who returns — all very rapidly. Chas. Rose, my darling, are you hurt? Pat. Masther, darlin, did the bullit sthrike ye ? Chas. No, Pat. {Rose recovers) Are you hurt, Rose? jRo.se. {faintly) Only frightened. Chas. If you had been, I never would have forgiven myself. I ought not to have come here, after what has passed between your uncle and my- self. Pose. You will forgive him, Charles ? {exit Pat Chas. And do you ask me to forgive him? Then hard as it is, 1 will. Jiose. And Charles, you will not go away, will you? Chas. Not if you say remain. Bose. Then I say stay — uncle will surely give his consent when he sees that I ana determined, dud Charles, I want you to promise me one thing. Chas. What 13 it? Bose. That no matter what my uncle eays or does, you will not be angry with him. Chas. I promise. Bose. Thank you, Charles. Now, go for Pat rushes in c. Pat. Be ofif wid ye. Here's the ould man comin tearin' up the front walk, wid thim two fchaves on both sides of him. Bose. It is too late— they are here already. Sir B. {outside) I'll kill the infernal scoundrel I JSxit Bose B. — Sir Bobert, Will and Ben rush in c. — Sir Bobert advances on Charles, who keeps out of his way. • THE FALSE FRIEND. 21 What means this impudence ? Had I not forbidden you the house ? Chas. ( folds arms) Yes sir. Sir E. Then how is it I find you here ? Fat. {removes hat— bows) It's ail my fault, yer honor. Sir E. {astonished) Your l^iultl How is that? Fat. Well, ye see, yer honor, I was— Ben. Your lordship should have that Irishman transported for life. ^ Fat. Ye black hearted villain, howld yer tongue, or I'll give ye a taste o this, {shakes stick) Och, me blood biles so, I'm ready to burst, so lam. {they turn to go) Ah, ye murtherin' bla'guards, I'll have at ye yet, er me name's not Pat O'Brien, .,, /• j xv, i. t Chas. Good evening, my lord, T trust that one day you will fand tbat i am not what I am represented as being, by those two. Sir E. Get out of my house, or I shall ask my friends here, to kick you out. , , A > I Pat. {prancing about and shakivg stick) Ax 'em, yer honor. Ax em I Whoop ! That's fwhat I want yer to do. Och, howly Moses ! come and kick me out. v • * j Chas. Your lordship will one day repent the wo-ds you have just used. {exeunt Fat and Charles, C. Sir E. What, he dares threaten me I It's too much, I'll make him re- ^^g^ct. {^^^^ ^-^ ^^ ^ passion will. The last link has been furged, and now it remains for you to— you understand? Fen. Why, is it that you wish me to put Sir Robert out — Will. Hushl Notwithstanding he appeared in a passion just now, he suspects us, and witb him out of the house, and Charles in the city, I stand Si bfit-tGr sliowin*^. Fen. I don't^ee why you should hate this young fellow so bitterly. Will. I hate him because he has stolen the heart of the only woman I ever loved, and whom 1 have sworn to possess. Fen. 1 will get him so completely m the toils that no power can save Will. Do so, and within one month I will give you fifty thousand pounds. {exitc. Fen. Fifty thousand pounds is a very large sum for slitting a— {draws hand across throat) I never did get such a pull for such little work. _ Let me see, I'll go and fix myself up as an old man, watch the house, and if my lord makes friends with Haliday, they will return together. When they are in this room, why enter old man with a pitiful story, get possession of Haliday's knife and when he leaves I am alone with Sir Robert, then one good strong blow, and I have made fifty thousand pounds. So here goes to ■win the money or lose my life. (^a;iY c. Enter Eose, R. Eose. Oh ! wasn't uncle in a terrible passion ? Didn't he say some awful things to Charles ? But then Charles kept his promise. What did he mean by those words : "you will repent ; but then it will be too late"? I am sure he meant no harm. Isn't it delightful to have such a lover as Charley ? He is 80 kind, so good, so gentle. Now look at Mr. Marlborough, every time he comes near me I tremble in spite of myself. Oh, I forget, uncle will not now consent to my marrying Charles, at least he said he would not. Ah, Bome one comes — I'll retire. {exit b. Enter b'ir Eobert and Charles, c. Chas. Why, my lord, you astonish me by what you have just said. I have been rather wild; bat no one can with truth, bring such a charge against me, and to prove to you that I am not afraid, let whoever briniis this charge against me, bring the person of whom you spoke, and 1 will face my accusers, as a man of honor should ? 22 THE FALSE FRIEND. Sir R. My dear boy, it does my old heart good to hear you speak in that way. Think no more ot what has passed between us, and if Rose loves you, why, here's my hand. {shake hands Chas. ThanKs : all I ask is a firm friend and no favors. Enter Ben c, disguised as an old picture peddler. Sir a. How did you get in without attracting the notice of the serv- ants ? Ben. Your honor, I am an old man, weary and foot sore, and would beg a nights lodging. Sir B. I don't believe I can accomodate you. Ben. Then your honor will please examine my pictures, perhaps you will be kind enough to buy one, and thus help an old man to make an hon- est penny. Chas. {aside) I don't like the appearance of this fellow. Sir R. Place your pictures on the table, and we will examine them. {he does so) Come Charles, we will see if we can find one that will suit us. ( Charles goes to table and Ben behind him Chas. {turning over picture) This seems to be a very nice one, ray lord. Sir R. Tut, tut, boy, call me uncle. Ben. {aside) Ho, hoi it is just as was expected. Sir R. Ah, here is a pretty one. {they bend over pictures — Ben takes knife from Charles' coat, and places it in sleeve) Chas. It is very pretty. Look at the expression of that face. He seems to be as happy as I feel at the present moment. Sir R. 1 think Rose will be delighted to hear that I have taken you back to my favor. What do you think ? Chas. If I should express my opinion, I am afraid 1 should be thought Tain, {to Ben) How much for this picture? Ben. Ten pounds, sir. Sir R, {takes out piirse — paT^'s Ben) Here is the money. Chas. It is time I should return home. As I shall not have an opportu- nity of seeing Rose, please inform her that there has been an explanation, will you ? Sir R. I will acquaint Rose with the good news, the first thing in the morning, {exit Charles, c.) Well, old man, I thought you were gone. Ben. Iso, your honor, I have some business which I must finish before I leave. {lai/s bundle on table Sir R. What do you mean, fellow ? Ben. {savagely) I mean that you will never see the sun rise again, {stabs him — Sir Robert falls — lays knife by his side — takes bundle) Help ! Murder I Police ! {exit k. Enter Charles, l., runs to Sir Robert. Chas. What is this I see ! {stoops over Sir Robert and picks up knife — springs to his feet) Enter Wxlliamf c. — stops. Murdered ! Great heaven, murdered ! Will. Help, help, police ! Rose, Rat and police officers rush in from all directions. There stands the murderer, arrest him. {officers advance on either side and take him by his arms — drops knife — is stupefied — Will picks iiv knife) See it is his knife. {shows it to all — Rose screams Chas. {rousing himself) Before God and man, I am innocent ! Will. Do your duty officers. {take Charles to door, C. Chas. Farewell, Rose ; but listen to me : I swear in the presence of the body of your murdered uncle, I am innocent of this terrible crime. Fare- well Rose. THE FALSE FRIEND. 2a Bosc, {screams-runs towards him) Charles, my darling I {fallsin faint PICTURE AND CURTAIN. ACT 11. SCENE FIRST— .4 lapse of three months-inter hr of jml, third grooves-- Charles sitiinq at table. ^, , , ±^ Chas It is now three months since that fatal evening. Oh heavens ! to thinrthat I should be accused, and convicted of a criu.e of which I am in- re^^'^Vi^too much. Rose has not been near -e-she must^th^nk^^^^^ S'^^^^y- j.^^^^^ j-^,^ j^y^^j.^ c— shakes Charles. Jim. Come, rouse up, my man. Chas. (rousing) ^yho ave yon'? Jim. 1 am Jim Lynx, the detective, at your service. Chas. Ah, I recollect. t i f ^ ^rml ? Jim. Now that you have sent for me, what can I do for you / Chas. You are aware of what crime I am charged . Jim. We detectives know everything. Chas Then you know who it was that murdered Sir Robert . wood and myself. Chas. How do you know that? Nevermind. Let me hear your story. , , . p, i Sir Robert and myself had some very hard words ; but afterwards he and I became friends-on the evening he was murdered he mvited me ?ohts house, andwhen we had been in the parlor some minutes, an old ped- dler came in. S; Ylewi^L')ing%TcuJ:s.' He asked us to buy-we examined them, and'SmustVa^vebeen^v^bile examining the P^^nrcouirUly h^: turned towards him-that he stole my knife, ^^^^^^.^/^^ ,^r;i'^, jHo^^ it-i doTiP We finally decided to purchase a picture— Sir Rebel tpaicl tor it i lefrbut had not reached the Lnt gate, when i heard cries of help, murder, pfhce I rushed Lto the house, aii^ saw— you know the ""^Jim. {during speechwas taking notes) Yes, but whom do you suspect? Chas. No one— do you ? Jim. I suspect two men. Chas. ^V^ ho are they? ^^^.^ ^^.^^ ^^^,^^^^^ ^^ Jim. wno are luey : , x« i n I will not tell you now ; but will goand hud tl dim. i- Will liOh tcii y"Li iiu .. , ^^v^ » , vours, and he and I will manage this thing lor you. „+!,,•„„ ^ Chas Do this and my eternal gratitude will be yours, besides something more substantial. ct; 'Gt^dVa^'ceSrttfk.) Oh, G.d 1 I thank Thee for having giv- en me two He frfends-and Rose-that man said she did not believe me guilty. Why is it then that she has not been to see me .' Enter Will, l. Will. Good morning, Mr. Haliday, have you heard any news lately ? WiU. Never^mlndTl'have a proposition to make, to which, if you con- 24 THE FALSE FRIEND. Bent, you will not only save your life, but you will regain your liberty, iou are aAvare that murder is a crime punishable by death ? Chas. Yes ; but my sentence was Will Imprisonment for life; but how long do you suppose you could live in this place ? x r ^ Chas. Ah ! not long. I am already feeling weak and faint : but your proposition ? •' ^ Will. It is this : you know I am rich and have great influence. Prom- ise me that if I succeed in opening your prison doors, you will leave the country. Chas. And Rose ? Will, You must not see her. Chas. Then I will not Will. Rose believes you guilty of murdering her father. Chas. You lie, villain that you are I Will. If I was not master of the situation, I would not take your insults BO tamely. Then you refuse my offer ? Chas. I do» Will. Then listen : you will die the death of a dog. Money is all power- ful, and can do many things in a bold man's hands. After vou have ceased to inhabit this beautiful world, 1 shall marry Rose, and ' Chas. {starts towards him) You infernal _ Will, [points pistol) Keep off, or I will shoot you. And after we are mar- ried, we will sometimes talk about poor Charles Haliday, who was hung for {Charles jumps on him—they struggle— Will drops pistol— Charles throws him doiV7i) Help, murder, murder ! Jlvi and Pat rush in R., and take Charles off Will. Jim. You must not do this, Mr. Haliday. Fat Och, yer murtherin' thafe, an' if I had known 'twas you, I would have helped me masther sthrangle the life out o' ye. ( Charles s ts in chair with head on table) Och, me poor masther. Jim. Come, Mr. Haliday, cheer up. Will. I shall have a Pat. {advancing) Now look a here : the best thini? ye can do is to git out o' here, before I can say Jack Robinson. Will. I will go ; but I shall call upon you as a witness of this assault Mr. Haliday, you shall hear from me again. (exit l. Jim. AYhat is this fellows name, Mr. Haliday? * Chas. William Marlborough. {Lynx starts) You seem surprized. Jim. Dol? {aside) Whew ! I know my men now. {aloud) Well, Mr. Haliday, we have a proposition to make to you. We propose to effect your escape. "^ Chas. And let the world think that I am guilty, and am Jim. The world thinks you «re guilty anyhow. ' C/ias. Well, let me hear your plan. Jim. Our plan is simply to fix you up so your own mother wouldn't know you, and then we will have three working, instead of two. Chas. I consent. When will you make the attempt? Jim. As soon as possible. Chas. May heaven aid you and grant you success. Jim. Well, we must go, so that we can commence our work. Good bye Mr. Haliday. Keep a stout heart. ' Pat. Good bye, masther, darlin. Chas. Good bye, my friends, {shakes hands) I hope soon to see this mvs- tery cleared up. {exit Lynx and Pat, r.) Heaven has heard my prayers, and sent me a friend, when I least expected one. Oh., Rose, Rose I how I long to be with you, so that I may watch your enemies, and mine. Can it be that William Marlborough is implicated? I begin to suspect him. Let THE FALSE FRIEND. 25 him look to himself if my suspicions should prove correct, for my vengeance will be terrible. {siU- at table— scene closes SCENE S'ECO'SD— Interior of tavern at the village— Bar, back, with shelves, bottles, etc. — Tables c. of stage, with chairs. Lynx as bar-keeper — disguised. Jim. F{trtune favors me. From conversation I overheard between those two men, 1 learned they would be here, and something was said about a large sum of money due Harris. Feeling sure that it was somehow connec- ted with the murder of Sir Robert, I determined to be reaay for them. The landlord of this inn, is an old friend of mine, and readily consented to the arrangement, and Jim Lynx is duly installed, for a short time at least, in his stead. But, hark ! some one is coming. 1 am very deaf. Enter Ben and Will, c. Ben. {loudl/) I i^rj, lai dlord. Jim. Aye, aye, sir. Ben. Look lively, and bring us a bottle of your best Avine. Jim. Aye, aye, sir. Here's your wine, gentlemen, {places wine and glass- es on table) Ben. Come fill up. {fill glasses) Here's luck to you. Will. Thank you. (they drink) You do not feel qaite as ner\ous as you did? Ben. I must say that I do not. Will. Then let me hear how you (Ben points to Jim) I say, landlord. {moderately — Jim does not hear) Landlord ! Landlord ! {does not hear — loud- er) 1 say, landlord ! Jim. {starts — during the conversation, was cleaning glasses) Eh, what did you say, gentlemen ? Will. He can't hear, so proceed. Ben. All right, here goes. {Pat sings outside) Who is that? Will. It sounds like that Irishman's voice. Enter Pat, c. Pat. Helloa — hie — Mr. Landlord — hie — I want a — hie dhrink. {staggers to table where Ben and Will are) Jim. You have had too much, already, and I'll not give you any more. {aside) He'll spoil the whole business. Will, {aside to Ben) Let's fill him full, and then pump him dry. Ben. {aside to Will) All right, {to Pat) Here my ^riend, here's a glass of wine. {gives Pat glass Pat. Many thanks. I am— hie — Pathrick — hie — Brien, at yer — hie — sarvice. {drinks — sets glass down Wi'l. I say, Pat, when Pat. Eh, so it is — hie — ye are the — hie — chaps that masther — hie Will. 1 forgive him, and 1 also forgive you for the words you used. {Jim catches hold of Pat) Jim. You must get out of this. I can't have any drunken men here. Pat. Howld on, yer — hie — honor, I'm not dhrunk — I'm Ben. Let him alone, landlord , we'll answer for him. Will. Come, Pat, sit down. {Ben sits, R. of table, Will l., Pat., c. — Jim very much annoyed) Pat. {pours out wine) This is the foinest — hie — liquor that I ever tasted. {presents glass) Here's long life to yer — hie — honor. Ben. Thank you ; but see here, Pat, they tell me that your master is in- nocent of the crime with which he is changed. Pat, {shakes ffst) An' so he — hie — is— .don't yer — hie — believe it? Ben. The evidence was strong against him. Pat. I don't believe — hie — he murthered the old — hie — man. t6 THE FALSE FRIEND. Will. But who could have done it ? Pat. All* that's just f'what I — hie {Jivi drops glass Ben. {loud voice) 'What's the matter landlord ? Jim. Dropped a glass. Ben. You was about to say, Pat, that JPat. I would loik a — hie — nother dbrink. Will. Give him what's left, Ben. {Ben gives wine — Bat drinks Will, Well, who is it you suspect ? Bat. Sus — pect? Who the — hie — divil are ye — hie — talking about? I — hie — don't owe — hie— him any — hie — thing. Landlord — hie — {Jim rur.s to him) do ye — hie — mane to say — hie — that I — hie — owe ye — hie — any- thing? ' {leans head on table Jim. No, who said you did ? Bat. No, an' I'll — hie — not go — hie — home. I'll stay — hie — here, {rolls off chair — motions to Jim) Jim. {aside to Bat) Are you playing 'possum, Pat? Bat. {aside to Jim) An' I'm a grane 'possum, so I am? Jim. Gentlemen, if you wish anytning, call and I'll attend to you. {goes behind bai — arranges things) Wdl. That last drink you gave him was too nnich, Ben. Ben. Here Pat, get up. {shakes him with foot) You would have to shoot a cannon over him t«.» wake him now. Will. 1 am glad, for we have been interrupted so many timei^, that I have almost despaired of hearing yopr story. Ben. {looks at Bat and Jim — Jim is whistling) Well here is the storv : I dressed myself as an old picture dealer. Here landlord quit that infernal whistling! Jim. Beg pardon, your honor, didn't mean any harm. Be7i. I fixed myself up as an old picture dealer, and hung around the house, watching my chance. It was just as you thought, they had made friends. I followed them into the house, and implored them to buy a pic- ture. {Bat takes folded paper from Bell's pocket and puts it in his oion) They examined the pictures and while they were looking at them, I stole Hali- day's knife. Pat. Och, murther I {Ben and Will start— Jim looks up Will. What was that? Ben. This infernal Irishman. I say Pat. {shakes him with foot Will. I had forgotten him — go on. Ben. They finally selected a picture, paid for it, and Haliday left. As soon as I thought he was out ot reach, why I Weil, you know what happened. Jim. {aside)-' R\ght sharp, it was. Ben. Here landlord ! {Ben goes to table) How much do we owe you? Jim. Eight shillings. Will, {gives money) We shall patronize you very often, {exeunt, c. — as they go Bat goes to Jim and they shake hands) Bat. " Thought I was dhrunk, did ye? Och, ye're not shmart, at all. Jim. I really did think you was drunk. Bat. Faith an' I know ye did ; but look here, {gives Jim paper) rade this. Jim. {glances at it) Ha, ha, ha I Bat. {in amazement) Listen. < Robert's parlor— Po&e at table, stitching handker- chief. Rose. It is almost time for Pat to be back — I sent him down to the village about two hours ago, for some worsted. I wonder how poor Charley is get- ting along — he must think it strange that I do not visit him ; but then it is Patrick's fault, he always puts me off when I wish to go. Pat. {outside) Git out o' that, ye ugly baste. Rose. There he is now. I thought he would never come. Enter Pat, c. My worsted, if you please. Pat. Yis, here it is, {gives bundle) an' I hope its the right kind. Rose. Why ? Pat. Bekase I had to run all over the village for it. Rose, That doesn't matter much ; but Pat, sit down, I wish to ask you a question. Pat. {seats himself— jumps up) Och, murther ! The divil take sich chairs, Bay I. Rose, "What is the matter with the chair ? Pat. {scratching head) Faith, an' that's just f'what I'm afther tryin' to found out. Rose. Well, sit down. Pat. {sits on hard bottom chair) I've always bin used to sitin' on benches, an' the loik o' that, an' not on sich fancy fixin's. Rose. Now, Pat, I want you to tell me what you were hinting at yester- day. Pat. Somethin I hinted at yesterday ? Rose. Yes, you said : "never mind,' I'll keep an eye on you, for I suspect that you are ." The rest 1 did not hear. Pat. Arrah, now, Miss, Rose, don't be afther mentionin' a poor divil's failin's. Rose. Now Patrick, that's a good fellow, tell me what you meant by those words. Pat. {aside) The cunnin' little divil, she's afther soft«soapin' me. {aloud) I niver meant anythin' by thim words. THE FALSE FRIEND. 31 Rose You did, and you'll not tell me. i about to cry Pat. Don't cry, Miss Rose, an' I'll tell ye. Rose. There, now you are a good fellow, after all. Pat. Whist now, an' pay attention, as me ould captain used to say. On the day before yisterday, I wint to see me poor masther, an' we were talkin' about one thin' an' another, an' I savs to him, says I : "masther darlin' did ye murther the ould gintleman V "No," says he. "Thin, 'masther' darlm," says I to him, says I, "I have an idea." "You have," says he to me. "'Yis," says I. "Thin," says he to me, "let's have it," says he. "Masther, darlin," says I to him, "wouldn't ye loik to git out o' this ?" "To be shure," says he to me, says he. An' wid that, we put our two heads togither, loik two peas in a pod, an' the consequence is that Rose. What, has he escaped ? Pat. No, he hasn't ; but he has teiv chances to one, o' gittin' out o' that dirthy hole, an' in two days more he'll be as free as aither you, or 1. Rose. Oh, thank you, and thank heaven, also. Oh,rmsogladj but but — but, you haven't told me what you meant by those mysterious words, Pat. So ye want to know why I was speakin' to mesilf ? ' Rose. That's it exactly. Pat. Well thin, me jewel, I niver mane f what I say, or say fwbat I mane. i2o.se. And you will not tell me anything? Pat. Faith, Miss Rose, I have nothin" to tell ye. Rose, {angrily) Then you can go and attend to your own affairs, {exit Pat,. c.) I know very well he means something. 1 wonder if he got the right kind of worsted, {opens bundle) There, now, I told him to get me red worst- and he has brought me yellow tape. But what is this, {picks tip paper) Do my eyes deceive me ? {reads) "Daring escape. The prisoner helped from outside. He undertakes to get out of a third-story window of the jail. The jailor discovers him in time. He cuts the rope which is tied in the cell. The prisoner is dashed to pieces on the prison yard. Last night, which, as all will remember, was a terrible one, one of the prisouers confined in the jail on the charge of murder— all will remember Charles " Oh, heav- ensl how can I read more! "All will remember Charles Haliday, the young man who was convicted of the murder of Sir Robert Lancaster— con- ceived the idea of escaping by means of a rope, furnished by friends out- side. He had tied the rope in his cell, and must have been half way down, when the jailor entered. Seeing, that on account of the storm, it would be^ worse than useless to raise an alarm, he quietly cut the rope, and the unfor- tunate young man was dashed — ^to — pieces — on — the — stones — with which —the— prison— yard— is— paved. His— body— was— in— such— a — state — that— it— had— to— be— buried— immediately." Oii, heavens ! dead, dead, and in a felon's grave I Uobs violently Enter Will,c. Will. What, in tears t Why, my dear Miss Rose, what is the matter ? Rose. Nothing — 1 excuse me.i * , {exit c. Will. Now, I would like to know the reason of this agitation, {reads pa- per, ad libitum) So this then, is the cause of her agitation. Now the road is clear, and William Marlborough, if you do not win, you deserve a rope. I'll go and seek Ben. He will be able to arrange some plan; but who is this old man with Pat. Enter Pat and Charles, R. Pat. Here ve arenow,.Mr. Hobart. {sees Will) Where the divil's Miss Rose? Will. She has just stepped to her room. Can I do anything for you ? Chas. No sir, 1 believe not. Pat. I'll go an' see if me misthress will see ye, sur. Chas. Thank you. {exit Pat, C Will. You are a stranger a bout here, sir ? 32 THE FALSE FRIEND. Chas. It has been some tim'^ since I was in this neighborhood. Will, Then you do not know the current news. Chas. Only that a young man named Haliday, had murdered Sir Robert Lancaster, and was in jail. TFi//. (Aano{in<7 pa;9er) And there you can read of his untimely end. I loved him as a brother, and to think that he should be such a scoundrel. Chas. Then you believe him guilty. {takes spectacles from pocket Will, The proof against him was conclusive. Chas. You were an eye witness ? Will. Not exactly; but I was the principal witness against him. I saw him bending over the body, knife in hand. Chas. {looking up from paper) A horrible fate. Poor fellow, I pity him. Will. So do I; but if he had taken my advice, he would not have died 80 early. If I am not too inquisitive, may I ask what you intend doing here ? Chas. Certainly. I heard that Miss Hazelwood needed a gardener, and as I am one, being rather hard up, I thought I would apply for the place. Will. Success to you. I expect one ot these days, to be Chas. "What ? Will. That doesn't matter ; but I must go and seek a friend of mine, so good day, and gcod luck to you, old man. Chas. Thank you. {exit William, c.) The infernal villain — he little sus- pects who I am. So Haliday has found a grave within the prison walls. Good! This is some of Lynx's work. My greatest trial will come when 1 face Rose. She thinks me dead. Ah I hear some one approaching — It must be her. Enter Bose and Pat — Charles pockets paper — Pat motions for silence. Pat. Miss Rose, this is the ould gintleman, who has come to look afther the place, Andrew Hobart's his name. Rose. You seem to be rather old for such work. Chas. It is true, I am rather advanced in years ; but I still have my strength. i2o.se. Have you spoken to Patrick, about the terms. Pat. He has, ma'am, an' he agrees to iverytbiug. Rose. Then you may take him to the kitchen, and give him a lunch, and then show him where he is to sleep. Pat. All right, mam. Come along, ould man. Chas. May the blessings ot heaven rain down on you, for your kindness to me. {exit Charles and Pat, c. Rose, {sinks into chair) Grd knows that I need them, although you know it not, Mr. Hobart. Was ever a woman placed as I am — uncle murdered — lover dead, ana buried in a prison yard. Ah, it is too much, too much! {hurie'i face in hands Enter Will, c. Will. I see. Miss Rose, that you have oeen made acquainted with news, which I would have kept from you : at least told you in such a manner that you would have been prepared for it. Rose, I love you, and it pains me to see you thus wasting yourself for a man who was unworthy of you. Rose. He was not unworthy — he was innocent. I know it. Will. But now that he is dead, will you be my wife? Rose. I will promise to be your wife on two conditions. Will. Name them. i2o.se. The first is, that for the space of one year, you say nothing to me, whatever, of love or marriage. Will. I promise — and the other condition ? Rose. That before three months, you clear the name of Charles Haliday, of the stain, which now rests upon it. Will. But Rose, how 33 THE FALSE FRIEND. Jiose. You have heara my conditions, accept or reject them, as you think proper. Will. 1 accept your conditions. iJo.se. Thank you — 1 will now retire. (exit, c. Will. Oh woman, woman ! for you, I would murder my own brother. As it is I must give my dearest friend up ; but how cau I do it, without im- plicating myself? No matter, I have the proof. Enter Jim, c. — hides himself. I have the costume he wore, when he murdered Sir Robert. I told him that I had destroyed it; but I have it securely locked in my trunk. I must think it over. [exit, c. — Jiv\ comes forward J^m. There is nothing like following up a fellow. I've been hunting around for three weeks to find that bloody rig. He's going to give his pardner up, is he ? Well, I reckon I'll gis'e em both up. Enter Pat, c. Pat. How are you, misther Jimmy ? Jim. How are you ? How is Mr. Haliday ? Pat. Oh, he's a'll right. c/iw. Tell him that I would like to see him. Pat. All right, Jimmy. {exit, c. Jim. How am I to get that trunk open — I've tried it a dozen times ; but it won't he picked, and I can't get a duplicate key, because the lock is so hid that I can't get an impression of it, and I don't want to break it open, for then he would miss the rig at once, and leave the country. Enter Charles and Pat, c. and I don't want him to do that. Chas. Don't want him to do what? Jim. I don't want Mr. William Marlborough to leave the country. I know where that suit of old clothes is ; but I don't know how to get it. Chas. Where is it kept ? Jim. In a trunk, in his room. We might get out a warrant, arrest them, and search the premises ; but I don't like to do that. I want to get all the proof in my hands first. Chas. Yes, I should like to give them a surprise. Jim. Tuat's it exactly, so if yoa will wait a short time, I think I can manage it. Chas. I am satisfied. Wait and watch, and if you can contrive to get this costume, well and good. If not we will adopt the other plan, {exit Lynx, c. ) Pat. An' if ye don't hurry up, I'll go an' git the ould thing, mesilf, so I will. Chas. You wouldn't do anything without my consent, would you Pat? Pat. Kot unless I have to wait too long. Chas. Well, come, let's go into tho garden again. {exeunt, c. Enter Hose, r. Hose. Mr. Marlborough promised a very difficult thing, still, if he does clear the name of Charles, from the dreadful stain upon it, no matter how much I despise the man, I will marry kim. . Enter Jim, c. Jim. Good morning. Rose. Good morning ; but I have not the pleasure of knowing your name. Jim. My name. Miss Rose, is Jim Lynx, of the London Detective Force. I have been engaged to sift the murder case through. Rose. Then Mr. Marlborough has commenced in earnest ? Jim. No ma'am, Mr. Marlborough does not know that I am here. I wish to have your permission, to have free access to your house at any and all times — do you grant it ? 34 THE FALSE FRIEND. Jiose. Yes sir. Jim. Thank you. That is all. {exit C. jRose. Everything grows so — so — I hardly know what. First I hear Pat use some mysterious words, then this detective, what did he mean. He is engaged on the — the — the murder of my uncle. What, oh what does all this mean ! There is some mystery here, which I cannot fathom. Enter Charles, c. Chafi. Ah, good morning. As the ground is too wet to work, I came ia to read some of my favorite authors. Rose. Any book, which you can find in the house, worthy of perusal, is at your disposal. Chas. Thank you ; but excuse an old man's inquisitiveoess. I have been talking with Patrick, about you and Mr. Haliday. May 1 ask you a few questi(ui3 ? Rose. Yes, any information, that I am posessed of, will be cheerfully given you. Chas. I also wish to ask you a few questions, concerning yourself. i2o.se. {aside) What can he mean? {aloud) You have my permission. Chas. Does this JVr. Marlborough love you ? Rose, He says he does. Chas. Do you love him ? Rose. I do not. Chas. Do you still love Charles Haliday ? Rose, {agitated) I do. Chas. it was proved in court that he was guilty of your uncle's murder. Rose. My heart tells me he was innocent. Chas. But then he is dead. Rose. Yes, he is dead, {aside) Whenever this old man is near me I feel Chas. And knowing that he is dead, has not this Marlborough asked your nand in marriage ? Rose. He has. Chas. And what was your answer? Rose. I promised, on condition that he would, within three months, clear the name of Charles Haliday, from the foul stain which now rests up- on it. Chas. What if I were to tell you that he live ? Rose. Why, what do you mean, old man ? Explain yourself— this sus- pense is terrible. Chas. Then I tell you Charles Haliday lives. Rose. Take me to him, for heaven's sake take me to him. Chas. {pulls off vjig and xchiskers) Rose, he stands beside you. ' Rose, {falls in his arms) Heaven, I thank thee. Chas. Oh, Rose, Rose, my darling, I have looked forward to this meeting, with many misgivings ; but thank heaven, I have found you true. Rose. As if [ could be otherwise ; but how is it that you are alive, and all the papers say that you were killed ? Chas. The jailor must have invented it. As to how I escaped, I will tell you on another occasion. Rose. And why not now, Charles ? Chas. Because I have a little surprise m store for you — you will wait? Rose. Yes; but Charles, I have a question to ask you. Patrick was working around that immense moss rose bush, and by the merest chance in the world, I happened to go there. As I neared the bush, I overheard these words : "never mind, I'll keep my eye upon you, for I suspect^you are " His voice died away, and I could not hear the rest, (starts) What was that? I am sure I heard some one walking. Chas. {hastily putting on disguise) I did not hear any one. THE FALSE FRIEND. 35 Rose. Come this way. {ihey exit b. Elder Ben and Will, c. Will. Xow Ben, I have told you what her conditions are. Ben. Well, the first condition is ea?y enough; but the second is not. WiU. Iso, it is not; but she is firm. If I do not clear Haliday in three months, she will njt marry me. Enter Jim, R. — 'istenlng. Jim. {aside) Ah, ha, thatis the reason you want to give your pardner away, is it ? Will. But this IS not what I wished to talk to you about. Take a chair. {sit down, Ben R., Will, L. of table Pat. {at L. u'ini) Och, the murtherin' villains^ now we'll be af'lher hearin' Bome more bkoily work. Will. What do you think of this old man, who is employed here. Ben. I think him a harmless old man ; but why ? Will. I susjiect him. You read that article in the paper, of Haliday'a daring attempt to escape, did you not? Ben. Yes. Will. It was not the jailor who cut that rope, it was your humble serv- ant. Fat advances, shaking stick, Jim points revolver, both return. Ben. And so you suspect the old man. Will. Precisely. I do not believe this tale about the burial of the pris- oner ; besides this old fellow has a peculiar way of looking at me, whenev- er I pass or speak to him. Ben. I'll watch him. Will. Do so. Now what do you advise. Ben. In the girls case, nothing, as yet — as to the old man, watch him closely. Will. There is another matter, I wish to speak to you about, as this one has been seitled — this Irishman. Fat. {aside) An' it's me, they're afther talkin' about. Faith, an' I'll be all ear*. {places ear outside scene Will. He has either found out something, or suspects too mtich. Ben. Ah, 1 understand, you wish him Will. Exactly, I wish him out of the way, Ben. How much do you consider the job worth ? Will, Just one thousand pounds, Ben. In one week this Irishman will have ceased to exist, {shake hands) I must noAv go, and make my preparations. Will. All right. I'll remain here, and perhaps I may catch a glimpse cf my precious beauty. {Ben exit c, folloioed by Lynx) Ben has a close tongue, a cool head, and above all, he never quarrels about the price of a job , but still, if I wish to win Rose, 1 must give him up, and I'll do it. I will not allow any one to come between us. Fat. {aside) Except Mr. H;aliday, Jim Lynx an' yer humble sarvint. Will, (a.si'ie) Did I not hear some one speak. Who's there? {pause) No answer. I'm getting very nervous of late. Enter Charles, c. I am always imagining all sorts of things. {Charles coughs — WiU turns) Gcod morning, Mr. Hobnrt. I was just wishing to see you, sir. Chas. Then you will have your wish gratified, for here 1 am . Will. You remembfr, in the last conversation we had, I asked you if you were a friend of Mr. Haliday ? Chas. 1 am a friend of Mr. Haliday. Will. Then you have heard something, which in your mind, will shift the guilt on some one, and •36 THE FALSE FRIEND. Enter Pat, suddenly, c. Pat, Mr. Ilobart, thim dirthy cows are in the garden again, atein* ivery blissed thicg. Will, {aside) 1 suspect him more and more. Chas. As I was about to say, on no one can 1 bring my thoughts to rest as the guilty one, as I do not see the motive of the murder. Will, Then you think there was a motive? Chas, Most assuredly. Will. And if you should find what the motive was, you will tell me? CAas. Certainly I will. Pat, Not. Will. What did you say, Pat? Pat. Faith, an' if I said anything it's mesilf don't know it. W'dl. [aside) There is something in ail this that I do not understand. {starts to go Chas. You are not going? Will. Yes. Just mention to Miss Rose that I was here, will you Pat? Pat. 1 will, (aside) If 1 think of it. Will, Now do not forget what you have promised, Mr. Hobart. {exit, c. Pat. That chap is afther suspectic' who ye are. masther darlin'. Take my advice, an' don't have much to say to him, will ye masther darlin' ? Chas. I promise you, Pat. Enter Pose, r. Jtose. "Who is it that has just left, Charles ? Pat. He tould me to tell ye, ma'am. It was Misther William Marlbor- ough. Pose. Oh ! that hateful man — I wish he would not come so often. Enter Lyux, c. Jim. How do you all do ? Chas. First rate, Mr. Lynx— and you ? Jim. All right, {aside to Pat) 1 say, Pat, I want to have a word with you. Pat. {ditto) Just wait awhile, an' ye may. Chas. Come Rose, let's take a walk in the garden. {exeunt, c. Pat. Now me honest detective, fwhat is it ye want to say to me. Jim. It is this— I have found out the disguise that Ben has assumed, so when you leave the house, beware of an Irishman. Pat. An' is it an Irishman, he'll be? Jim. Yes. Pat. Thanks, me friend, give us yer hand, {shake hands) I'll watch fer him, niver fear. Ji7n. All right, (going) Tell your master that I have every thing ready and that in a short time, I am agoing to try and get that disguise. Pat. An' may the howly St. Pathrick grant ye sucniss. (exit Jim, c.) An' if there iver was an honest mon, that same is Jim Lynx, the detective. He has stuck to us, so he has, and I mane to stick to him. (belt rings) Ah, what is that? {exitti. Enter Ben and Will— sit at table. Will, r., Ben, l. Ben. What does Miss Rose mean by these invitations, Will ? Will, I don't know ; but there is something that I would like to Know. Ben. And what is that? Will. What made you and I sleep so late. Ben. Because we went to bed early ; but softly, here comes Miss Rose. Enter Rose c. Rose. Good day, gentlemen. Ben and Will. 'Good day. (Rose sits hy Will, facing both Ben. Miss Rose, 1 was afctonished at receiving your kind note, and would THE FALSE FRIEND. 37 Fose. You are not astonished, are you Mr. Marlborough ? Will. No Tiia'atti, I am not. Hose. We will talk of this later ; but here comes Mr. Hobart. Enter Charles, c. — sits bctweoi Ben and William, little in front of Ben. Will. Good day, Mr. Hobart. Ckas. Same to you, sir. Ben. Glad to see you, old man. Chas. Thank you. Not interrupting the cuiversation in any manner, whatever, gentlemen, 1 would like to relate a strange dream, which I had last night. JRosc. What is it Mr. Hobart? Is it any thing dreadful? Chas. I will leave that tor you to say. Will. Let's hear it by all means. Chas. 1 think it will interest 3^o». Ben. {aside) What did he n^ean by speaking in that manner? Chas. Well, to commence — but remember, it is only a dream. Hose. Do proceed, Mr. Hobart — I am all curiosit)'. Chas. 1 dreamed tliat there were two young men, who were close friends, at least so one of them thought — he had no secrets from the other, who ap- peared sincere. I dreamed that this young man, whose name was Charles, met a young lady, with whom he fell in love, as did his friend, also, and JBen." Here was the bone of contention ? Chas. Yes. Well, the pretended friend of Charles' soon found that he had, no chance with the young Jady. As soon as William found that he bad been distanced by his friend, he went to work to devise some method ot getting rid of his friend. Will. And did he succeed ? Chas. Yes. Ben. How did he do it? Chas. He hired an assassin to do the work, which he, himself, dared not do. This young lady had an aged uncle, and this villain Hose. Hired a man to kill liim ? .Sen. {agitated) And did you dream how the murder was committed ? Chas. I did. The scene is before me, as plainly as if I had been an eye witness, i thought that this young man had just had a quarrel with this uncle; but they became friends again. {Will and Ben look at each other) They were in the parlor ot the old gentleman, when in walked an old ped- dler, who was selling pictures. {Ben clenches fists Enter Pat, L., quietly. They bought one of him, and while they were examining the pictures, the wretch stole the knife, which this young man had in a Ben. Why, heaven ! old man Chas. Be quiet. Remember I am only telling a dream. Will, {agitated) Be quiet, Ben. What in the world is the matter with you ? Chas. Well, as I said before, this old wretch had stolen the knife which Charles carried, and no sooner had Charles left than Hose. The old peddler stabbed the uncle? Chas, Precisely so. Miss Rose. Charles, hearing the cries of the old gentleman, rushed into the house, and there saw the old uncle lying on the floor, with a bloody knife by his side. He picked up the knife, recognized it as his own. He was horrified. He could not move. In this position he was surprised by his friend, who raised the cry of murder, and Will. He was taken to prison ? Chas. Yes, and hot only taken to prison ; but sentenced to remain there all his life. Rose. Horrible. Ben. And did your dream end there ? Chas. No it did not, there is a sequel. 38 THE FALSE FRIEND. Will. What ;s the sequel ? Chas. While in prison, he conceived the idea of escaping ; but how to do) it, was the question, as the cell in which he was confined, was in the thirdl story of the building. At last however, by the aid of some friends, a rope) was given him. He had already been furnished with a file, with which he' had filed the bars nearly in two. He tied.the rope on the opposite side of his cell, got out of the window, and when about half way down, this friend entered, and quick as thought, drew his knife and Will. Cut the rope. Ben. And the poor fellow was dashed to pieces on the rocks beloAv. Chas. Not so. Omr.es. No ? Chas. The rope caught on something on the roof of one of the houses, and broke his fall. Will, {excitedly) What do you mean ? Chas. I mean that your intended victim escaped you, villain that you are. Will, {jumps to his feet, Ben does also.) You mean that Chas. {jirks of beard etc.) I am Charles Haliday. Ben. {draws knife) If you escaped him, you will not escape me. Ben atterii'pts to stab Charles in back — Pat, rushes at Ben. Pat. I'm at yer sarvice, ye murtherin' villain, {hits hiin on head with stick — Ben falls) Enter Jim and police officer — Will runs, c. — fires at Charles — misses him — Jim shoots Will, who stagger, c. — Pose screams — throics herself in Charles' arms. Will. I did all this for your sake, Rose. Farewell. {dies Chas. And may such be the death of every "False Friend." {points at Will. Pat. Ben. Chables. Rose. Jim. Police Officer. Will. CURTAIN. (2^ »5^ To Our Customers. Amateur companies frequently have trouble in procuring Plays well adapted t« their "wants, frequently ordering perhaps five dollars worth in single copies, before anything suitable can be found. All this can be done away with. Our catalogue embraces plays suitable for any and all companies, and if our friends will write to us, stating the re- quirments of their companies, there need be no trouble in this line, at least. If a tem- peranc society wants plays, we have something for them. If a company wants some- thing wtiich is very funny, we can suit them. In fact we have dramas, farces, comedies and tragedies, which mil suit you. Enclose 15 cents per copy for as many sample copies as you may need, and we guarantee to suit you, if you will slate the size of your compa- ny, and whether best adapted to the serious or funny. Give us a trial, at lea'^t. A. D. AMES, Pub., Clyde, Ohle- ^ AHES' S rA3il>ARD AI>I> I?II3tOR 1>KAMA. 28. THIRIY-THREE NEXT BIRTHDAY. A Farce in one act, by John Madison Morton, 4 male, 2 female characters. Scene, outside of hotel, easily- arranged. Costumes to suit tlie characters. This farce should be read to be appreciated, and is a good one as are all of Madison Morton's playa. The com- edy characters are excellent. Time of performance, 35 minutes. 29. THE PAINTER OF GHENT. A Play in one act, by Douglass Jerrold, 5 male, 2 female characters. Scene in Ghent. Costumes of the country and period. This is a beautiful play of the tragic order. The character of the "Paint- er of Ghent." is one of grandeur and fine language. He becomes insane at the loss of children, and being a painter, paints their portraits from memory. A daughter whom he supposes dead, returns to him, and he recovers. A granl pley. Time of performance, 1 hour. 30. A DA Y WELL SPENT. A Farce in one act, by John Oxenf ord, 7 male, 5 female characters. Scenery simple. Costumes, modern. Two clerks in tl;« absence of their "boss" conclude to shut up shop, and have a spree. They get into several scrapes with the females, have numerous hair breadth escapes, and have a terrible time generally. Very amusing. Time of performance, 40 minutes. 31. A PET OF THE PUBLIC. A Fwce in one act, by Edward Sterling, 4 male, 2 female characters. Scene, parlor. Costumes, modern. In this farce, the lady assumes four distinct characters, either of which is good. For an act- ress of versiiitility, it is a splendid piece, and amatuers can also produce it with- out Woubiv. It can either be used for a principal piece, or an afterpiece. Time of perfona ice, 50 minutes. 32. LIT VIFE'S RELATIONS. A Comedietta, in one act, by Walter Gor- don, 4 maL i female characters. Scene, plain apartments. Costumes, modern. A pleasi;;^ little piece well suited to amatuers, school exhibitions, etc. A fel- low marries, her relatives comes to see her, are much more numerous than he has an idea of. The denoument is funny. Time of performance, 45 minutes. 33. ON THE SLY. A Farce in one act, by John Madison Morton, 3 male, 2 female characters. Scene, plain apartment. Costumes, modern. Husbands, don't never fall in love with your wive's dress makers — never squander your money foolishly, never do anything "on the sly," for your wives will be sure to find it out. This farce explains it all. Time of performance 45 minutes. 34. THE MISTLETOE BOUGH. A Melo Drama in two acts, by Charles Somerset, 7 male, 3 female characters. Scene, castle, chamber and wood. Cos- tumes, doublets, trunks, etc. A most excellent Melo-Drama. Plenty of blood and thunder, with enough jolly, rollicking fun to nicely balance it. A great favorite with amatuers. Time of performance 1 hour and 30 minutes. 35. HO W STO UT YO U'RE GETTING. A Farce in one act, by John Mad- ison Morton, 5 male, 2 female characters. Costumes, modern. Scene, a plain room. This is another of Morton's excellent farces. The comedy characters in it are nicely drawn, and it always is a favorite. Easily produced. Time of performance, 35 minutes. 36. THE MILLER OF DERWENT WATER. A Drama in three acts, by Edward Fitzball, 5 male, 2 female characters. Costumes, modern. Scenery, easily arranged. This is a touching little domestic drama, abounding in fine speeches, and appeals to the better feelings of one's nature. The "Miller" is an excellent old man. Two comedy characters keep the audience in good humor. Time of performance, 1 hour and" 30 minutes. 37. NOT SO BAD AFTER ALL. A Comedy, in 3 acts, by Wybert Eeeve 6 male, 5 female characters. Costumes, modern. Scenery, simple and easily ar- ranged. Every character in this comedy is in itself a leading character, and every one very funny. Probably there is not a play in the language in which every character is so funny as this. Time of performance, 1 hour 40 minutes. 38. THE BEWITCHED CLOSET. A Sketch in one act, by Hattie Lena Lambla, 5 male, 2 female characters. Scene, Parson Grime's kitchen. Costumes modern. A lover goes to see his sweetheart, hides in a closet. Old man ap- peare on the scene, thinks the closet bewitched. They upset it. Old man is frightened— runs away. Everything right etc. Time of performance, 15 minutes. 39. A LIFE'S REVENGE. A Drama in 3 acts, by Wm. E. Suter, 7 male?, 5 female characters. Costumes, French, period 1661. Scenery, palace, garden.«, prison. Can be arranged by amatuers but is a heavy piece. A fine leading mjin, heavy raan, a glorious comedy, etc. AJsoleadiug lady, juvenile lady, comedy lady,' etc. This drama was a favorite with Harold Forsberg. Time of perform- ance, 2 hours and 15 minutes. ^ ^ u C' jjO'J'jCr 'jj-JQO'JjOOjG ^jOO.OZ'OO.O aO0jGCXOQjOQ.<:y^ ■6^ ^ 4")'CX0OQtlOt)^DOt)Ot)Ot)0t)Qt)Ot)C)OO'Ga0Qt?O ' 0>Qt)aGQt)C AMES' sta:\i>aro a.i\» miivojr i>raivia. 40. THAT 3IYSTERI0l'S BUNDLE. A Farce in one act, by Kattie Lena Lambla. 2 male, 2 female characters. Costumes, modern. Scenery, a plain room. A Variety peice, yet can be performed by Amatiiers, etc. A IVlysterious bundle figures in this farce, which contains a . Time of performance, 20 minutes. 41. WON AT LAST. A Comedy Drama in 3 acts, by Wybert Eeeve, 7 male, 3 female characters. Costumes modern. Scenery, drawing-room, street and oflBce. Every character is good. Jennie Highi starred on the character of "Con- stance" in this play. Amatuers can produce it. Time of performance, 1 hour 45 minutes. 42. DOMESTIC FELICITY. A Farce in one act, by Hatlie Lena Lambla, 1 male, 1 female character. Costumes modern. Scene, a dining room. The name fully describes the piece. Very funny. Time of performance, fifteen minutes. 43. ARRAH DE BA UGH. A Drama in 5 acts, by F. C. Kinnaman, 7 male, 5 female characters. Costumes modern. Scenes, exteriors and interiors. A most exquisite love story in a play, abounding in scenes of great beauty. The depth of woman's love is beautifully shown. Time of performance about two hours. 44. OBEDIENCE, OR TOO MINDFUL BY FAR. A Comedietta in one act, by Hattie Lena Lambla, 1 male, 2 female characters. Costumes modern. Scenes, plain room and bed room. An old fellow who thinks he is very sick, be- comes vely peevish and particular. A plot is formed to break him of his foolish- ness. Very amusing. Time of performance twenty minutes. 45. ROCK ALLEN THE ORPHAN, OR LOST AND FOUND. A Comedy Drama in one act, by W. Henri Wilkins, 5 male, 3 female characters. Costumes modern. Scenes interiors. Time, during the Kebellion. This play represents the real "deown east" characters to perfection. An old man and woman are al- ways quarreling, and their difficulties are very amusing. Time of performance, one hour and twenty minutes. 46. MAN AND WIFE. A Drama in five acts, by H. A. Webber, 12 male, 7 female charactprs. Costumes modern. Scenery exteriors and interiors. This drama is one of intense interest and is a faithful dramatization of Wilkie Collins' story of the same name. This is said by competaut critics to be the best dram- atization published, and it should be in the hands of every dramatic company in the country. It has become a great favorite. 47. IN THE WRONG BOX. An Ethiopean Farce in one act, by M. A. D, C'Jifton, 3 male characters. Costumes, peddler's and darkey's dilapidated dress. Scene, a wood. Characters represented, a darkey, an Irishman and a Yankee. Time of performance twenty minutes. 48. SCHNAPPS. A Dutch Farce in one act, M. A. D. CTifton, 1 male, 1 fe- male character. Costumes, burlesque German. Scene, a plain room. A neat little piece for two Dutch players, introducing songs and dances. Time of per- formance, 15 to 30 minutes, at the pleasure of the performers. 49. DER TWO SURPRISES. A Dutch Farce in one act, byM. A. D. Clifton, I male, 1 female character. Costumes, peasant's, and old man's and bid woman'3 dress. Scene, a kitchen. A very neat little sketch, introducing songs and dances. Time of performance, about twenty minutes. 50. HAMLET. A Tragedy in five acts, by Shakespeare, 15 male, 3 female characters. Probably no other play by the immortal Shakespeare is produced as frequently as this one. It needs no 'description. Time of performance about two hours aiid thirty minutes. 51. RESCUED. A Temperance Drama in two acts, by Clayton H. Gilbert, 5 male, 3 female characters. This play visibly depicts the dangerous consequen- ces of falling into bad company, the follies of the intoxicating bowl, and shows that even the pure love of a noble girl will be sacrificed to the accursed appetite. The solemn scenes are balanced by the funny portions, and all in all the play is a grand success. Costumes modern. Scenes, interiors some neatly and some handsomely furnished. Time of performance one hour. 52. EENR y GRANDEN. A Drama in three acts, by Frank Lester Bingham, II male, 8 female characters. This drama is sensational in a high degree, abounding in thrilling scenes among the Indians, hair breadth escapes, etc. It should be purchased by every dramatic company that wish something to suit the public. Costumes not hard to arrange. Time of performance two hours. %> hOQOQOQOQ^OQ)Q<^OQiOO/JQjOQ^O^OjO<:bOQOQ/JQ>OQiOQbOQ{ AMES' STAIVOARO AI^I> Iflll^OR DRAMA. ^ O 53. UT IN THE STREETS. A Temperance Drama in three acts, t»y S. N. C!ook, 6 male, 4 female characters. Wherever this drama has been produced it has been received with the greatest entkusiasm. Listeners have been melted to tears at the troubles of Mrs. Bradford, and in the next scene been convulsed with laughter at the drolleries of North Carolina Pete. Costumes modern. Scenes, interiors. Time of performance, about one hour. 54. THE TWO T. J's. A Farce in one act, by INIartin Beecher, 4 male, 2 fe- male characters. Costumes of the day ; scene an ordinary room. This is a cap- ital farce and has two male characters excellent for light and low comedians. Good parts also for old and young lady. Time of performance thirty minutes. 55. SOMEBODY'S NOBODY. A Farce in one act and one scene, b?' C. A. Maltby, 3 male. 2 female characters. Scene, interior. Easily arranged n any parlor or hall, as it can be produced without scenery. Costumes modern with the exception of Dick Mizzle's which is hostler's and afterwards extravagant fashionable. This most laughable farce was first produced at the Drury Lane Theater, London, where it had a run of one hundred and fifty consecutive nights. It is all comic, and has excellont parts for old man, walU in g gent, low comedy, walking lady and chambermaid. Time of performance, 30 minutes. 56. WOOING UNDER DIFFICULTIES. A Farce in one act and one scene, by John T. Douglass, 4 male, 3 female characters. Scene, handsomely furnished apartment. Costumes of the day. Probably no poor fellow ever wooed under more distressing difficulties than the one in this farce. It all comes about through a serious misunderstanding. A crusty old man, and a quarrelsome and very important servant go to make the farce extremely funny. Time of per- formance thirty minutes, 57. PADDY MILES' BOY. An Irish Farce in one act, by James Pilgrim, 5 male, 2 female characters. Scenes, exteriors and interiors. Costumes eccentric, and Irish for Paddy. Probably there is not an Irish farce published so often presented as this one, but it is always a favorite and is always received with great applause. Time of performance 35 minutes. 58. WRECKED. A Temperance play in two acts, by A. D. Ames, 9 male, 3 fe- male characters. Scenes, arawing room, saloon, street and j ail. Costumes mod- ern. The lessons learned in this drama are most excellent. The language is pure, containing nothing to otfend the most refined ear. From the comfortable home and pleasant fireside, it follows the downward course of the drunkard to the end. All this is followed by counterfeiting, the death of the faithful wife caused by a blow from the hand of a drunken husband, and finally the death of the drunkard in the madhouse. Time of performance about one hour. 59. SA VED. A Temperance Sketch in two acts, by Edwin Tardy, 2 male, 3 female characters. Scenes, street and plain room. Nicely adapted to amatuers, Time of performance twenty minutes. 60. DRIVEN TO THE WALL, OR TRUE TO THE LAST. A Play in four acts, by A. D. Ames. 10 male and 3 female characters. For beauty of dialogue, startling situations, depths of feeling there is none on the American Stage supe- rior to this one. The plot is an exceedingly deep one, and the interest begins with the first speech, and does not for a moment cease until the curtain falls on the last scene of the last act. The cast is small and the costumes easily arranged. It can be played on any stage. It has parts for Leading Emotional Lady, Juve- nile Lady, Leading Man, Villain, Character Old Man. First Old Man, Comedy, etc. 61. NOT AS DEAF AS HE SEE3IS. An Ethiopean Farce in one act. 2 male characters. Scene, a plain room. Costumes exagerated and comic. Ex- tremely ridiculous and funny. Time of performance 15 minutes. 62. TEN NIGHTS IN A BAR-ROOM. A Temperance Play in five acts, by Wm. W. Pratt, from T. S. Arther's novel of the same name— 7 male, 3 female characters. This edition is rewritten, containing many new points, and is the best ever presented to the public. Nothing need be said in its praise, as it is too •well known. It is often played, and always successfully. Time of performance about two hours. 63. THREE GLASSES A DAY, Or, The Broken Home. A grand Moral and Temperance Drama, in two acts, by W. Henri Wilkins, 4 male, 2 female charact- ers. Costumes modern. Scenes, interiors. First-class characters for Leading Man, Villain, a genuine down-east Yankee, which is also very funny ; also Lead- ing Lady, and a tip-top Comedy Lady. If a company wishes something with an excellent moral, at the same time running over with genuine humor, buy this. Time of performance about one hour and thirty minutes. <^ o ^ ($ a 64. THAT BOY SAM. An Ethioican Farce in one act, by F. L. Cutler. 8 male, 1 fpmak- chanHur. i-cone, a r^fin ^f cm and comrooD furrilure. C^- tujiies, coniio, to suit the characters. Yery funny, and effoctiially gives the troubles of a "colored gal" in trying to have a beau, and the pranks of "that boy Sara." Time of performance twenty minutes. 65. AN UNWl ]J:031E liLTlBN. A Comic Interlude, in one act, by Geo. A. Munson. 8 male, 1 fcinrlc cl.nracter. Scene, a dining room. Costumes, modern. Companies will find this a very amusing piece, two recroes being very funny— enough t^o to keep an audience in the best of humor. Time of perform- j^nce, twenty minutes. 66. HANS, THE DUTCH J. P. A Dutch Farce in one act, by F. L. Cutler, 3 maleTl female character. An exceedingly funry piece. Hans figures as a Justice in the absence of his master, and his exploits are extremely ludncouB. Costumes modern. Scene, plain room. Time of performar.ce,twenty minutes. 67. THE FALSE FRIEND. A Drama in two acts, by Geo. S. Vautrot. 6 male, 1 female eharact( r. Simple scenery and eostumes. First class characters for leading man, old man, villain, a rollicking Irishman, etc. also a good lead- ing lady. This drama is one of thrilling interest, and dramatic companies wiU invariably be pleased with it. Time of performance, one hour and forty-five minutes. 68. THE SHAM PROFESSOR. A Farce in one act, by F. L. Cutler. 4 male characters. This intenselv funnv afterpiece can be produced by any company. The chanicters are all firs't class, and the "colored individual" is especially fun- ny. Scene, a plain room. Costumes, simple. Time of performance, about twenty minutes. 69. MOTHER'S FOOL. A Farce in one act, by W. Henri Wilkins. 6 male, 1 female character. Like all of Mr. Wil'^ins' plays, this is first class. The characters are all well drawn, it is very amusing, and proves an immense suc- cess wherever produced. Scene, a simple room. Costumes modern. Time of performance, thirty minutes. 70 WHICH WILL HE 3IARRY. A Farce in one act, by Thomas Egerton Wilks. 2 male, 8 female characters. Scene, a street. Costumes modern. Easi- ly arranged on anv sta2;e. A barber hears that one of eight women has fallen heir to some money, not knowing which, he makes love to them all. This, to- gether with the revenge the females have upon him, will prove laughable enough to suit anv one. Time of representation, thirty minutes. 71 THE REWARD OF CRIME, OR THE LOVE OF GOLD. A Drama of Vermonr, in two acts, by W. Henri Wilkins. .5 male, ?> female characters. A drama from the pen of this author is sufficient guarantee of its excellence. Characters for old man, 1st and 2d heavy men, juvenile. A splendid Yankee, livelv enough to suit anv one. Old woman, juvenile woman, and comedy. Coftumes modern. Scene, plain rooms and street. Time of performance, one hour and thirty minutes. Easily placed upon the stage, and a great favorite with amatuers. 72. THE DETjCE IS IN HIM. A Farce in one act, by K. J. Raymond. 6 maie, 1 female character. Scene, a plain room. Costumes modern. This farce is easily arranged, and can be produced on any stage, in fact, m a parlor, ihe pranks of the doctor's boy will keep an audience in roars of laughter,^ every line being full of fun. Time "of performance, thirty minutes. Order this, and you will be pleased. 73 AT LAST. A Temperance Drama in three acts, by G. S. Vautrot. 7 male 1 female character. This is one of the most effective teiiiperance plays ever pub- lished Good characters for leading man, 1st and 2d villain, a detective, old man, a Yankee, and a capital negro, also leading lady. The temptations of city life are faithfully depicted, the efi;'cts of gambling, strong dnuk, etc. Eyery com])anv that orders it will produce it. Costumes modern. Scene, Mobile. Time of performance, one hour and thirty minutes. 74 HOW TO TAME YOUR MOTHER-IN-LAW. A Farce in one act, by Henry J. Bvron. 4 male, 2 female characters. Scene, parlor, supposed to be in the rear of a'grocers shop. Costumes modern. Whiffles the proprietor of the grocery, has a mother-in-law who is always interfering with his busit)-s~. Vari- ous expedients are resorted to to cure her— a mutual friend is calleu i '^'i?' 97 the aid of various disguises frightens the old lady nearly to death, fin..,.y Whif- fles gets on a "ge-lorious drunk," and at last triumphs. A perfect success. Time of performance, thirty-five minutes. V (^ (3 ($ ^ OCOt) AJflES' SrA.lfl>ARO AMI> MII^OR JttRAMA, 16. THE SERF. A Tragedy, in five acts, by R. Talbot Esq.. 6 males, 3 fe- male chanicters. Good parts for 1st and 2nd Tragedian, and Tragic lady, llie character of Ossip is very powerfully drawn. The history of his early love— ot his marriage— the indignities he is made to suffer, and the death of his wife, is " - '•■ " ,_-..^_. ..„j .1 venge are unfolded with a 2 hours and a half. highly wrought ; and his sarcastic levity and deep revenge ai terrible earnestness. Scene, apartments in castle. Time about 17 HINTS ON ELOCUTION AND HOW TO BECOME AN ACTOR. This ^ valuable work has just been published, and contains valuable instructions that ^ amateur actors, and every one that ever expect to make a favorable appearance (^ in uublic, cannot do without it. It teaches you how to become a good and et- ^) iicient reader, reciter, debater, a good actor, how to hold an audience silent, and ^ treats on every subject that is necessary to be acquired in order to become a J good and pleasing actor. (^ 18 THE POACHER'S DOOM. A Drama in 3 acts, curtailed and arranged ^ bv A. D. Ames, 8 male, and 3 female characters. A thrilling drama, always a .^ fa'vorite. Leading man, viliiau, two comedies, old man, loading lady, comedy ^ lady, etc. Costumes modern. Tlie situations in this play, are most excellent. ^ Time of performance, 1 hour and a half. ^ 19 DID I DREAM IT ^ A Farce in one act by J. P. Wooler. 4 male, 3 fe- >r male characters. Scene, drawing room. The question "Did I Dream it" is what ^ the farce is founded upon. Very strange things happen, and a nice httle love ^^ scrape helps to color the plot. A good piece. Costumes simple, lime ot per- ^ forniauce4o minutes. ^^1 20 A TICKET OF LEA VE. A Farce in one act, by Watts Phillips, 3 male, ^ 2 female characters. A plav written by this author is sufficient guarantee ot ^J^ its excellence. Scene, a sitting room, plain furniture. Costumes modern, lime •^J of performance, 35 minutes. This is an excellent farce. ^ 21 A ROMANTIC* ATTACHMENT. A CmnoUietta in one act, by Arthur y^ Wood 3 male, 3 female characters. A most excellent little play, well adapted ^' for school exhibitions, lodges, aniatuers, etc. The scenery is .simple, being a y plain roiiui, is ahvays a favorite with every company whicJi plays it. lime oi V) perform a ij ce, 3rt minutes. y. ■» CiPTAIN SMITH. A Farce in one act, by E. Berrie, 3 male, 3 female ^ ehanu'ters. Tnis excLllei.llittle farce is equally well adapted for school exhi- U bitions, etc., as No. 21. The dialogue is sparkling, n..t a dull speech Irom be- O ginning to end. The plot simple, the piece easily perlormed. Soene, a plain «) i-dom. Costumes modern. Time of pei-fornumce, 30 ml^ut(^'<. CI' •>5 J]! V HEART'S IN THE HIGHLANDS. A Farce in one act, by Wil- H lia'ni Bn.ugh and Andrew Halliday, 4 male, 3 female characters Scene, exte- ( riur of house in tiie lligiilands. Costumes, simple Highland, lliis farce is eas- ^ ily produced and verv elJective is full of fun, caused by the mishaps of two char- fW act('r> who uo Ir.nn the city to the country, and do not know a pig from a roe- (f ) buck, nor a turkey from an ostrich. Time of performance, 25 minutes. rji) •M ' HA^^DY ANDY. An Ethiopean Farce in one act, 2 male characters. i) .Scene a ki'tclien. Costumes, exagerated and comic. Thii 25 SPORT WITH A SPORTSMAN. An Ethiopean Farce, in one act, 2 i) male characters. Costumes, exagerated sportsman's dress, and boyish dress. Cl) Scene, a wood. Time of representation, 20 minutes. A tip top negro tarce. (f ; '>G THE HUNTER OF THE ALPS. A Drama in one act, by William CI? Dimond, D male, 4 female characters. Scene in-door and forest. Costumes, <( . Swiss Kosalvi, the hunter of the Alps leaves his home to procure provisi-.ns to c J keep ids wile and children from starving, meets Felix, a lord, and dymai.ds, (J) and liually implores 01 him money. Felix moved with compassion gives him (R monev and goes with him to his hut, and there discovers tliey are brotboa-s. (< j ThcrJis some line comedy in it. The story is beautifully told, lime of per- ^ formaijce 1 hour. (t) •>7 FFTTER LANE TO GRAVESEND. An Ethiopean Farce >n one act, ( j) •> male characters. Scene, plain room. Costume, exagerated and comic. The (( ) two characters, Ike and Hystericks are very funny, and will keep an audience J) in roars of laughter. Short, easily produced, and a tip top larce. lime oi per- ^ furuiiuice 15 minutes. Ct> A. D. AMES, PQBLISHER, CLYDE, 0. OVR BTfSLYESS-WHAT WE DO. PLATS. We sell everything in the line of dramas and farces, and call th.) attention of our iiunieroiiss patrons to our own list. We think it em- braces play which will suit either professional or amateur companies. If howevt-r you need si meihing, put)lished elsewhere, do not hesitate to send us your orders — our stock is very large, awd we fill promptly.- Stocks of every publisher on hand, LETTERS OF INQUIRY i\ns\\'ered promptly, and we solicitcorrespond- euce. if the business upon which you write concerns you alone, enclose a 3 cent stamp for reply. Amateurs who are puzzled upon any questions relative to the stage will be answered explicitly, and to the best of our abil- ity. 'manuscript PLAYS. Parties who have Mss. to dispose of should wi'ite to us. We will publish whatever may be meritorious, on terms which will be Satisfactory. SHEET MUSIC. Orders for sheet music, or music books will be re- ceived and filled as promptly as possible. C^4 2MiO(T6''^.S' will be sent free to any address. Send a postal card, with yourfiddress, and the catalogue will be sent by the next mail. HOW TO ORDER. It would perhaps seem to every one that any di- roctitins as to 'how to order' plaj's was entirely superfluous ; but not so. We have many instances, and remember to have be^n severely censured by piuties, some < f whom failed to sign their name to their order, or failed to write the st:ite, etc. In the first place, begin your order with the name ol your post ofiice, county and state. If you order from our list, it is not nec- (•s:>ary to designate, only by giving the name of the play ; but if from the lists of other publisher's, state the publishers name, if you know it. Do not write your letters of inquiry on the same sheet with your orders, and make the order always as brief as possible. When completed do not fail to .'iK pi your vnme very plainly.. Attention to these rules will '.nsure the filling of your orders, by return mail. Postage stamps of the denomination of 1, 2 aiid 3 cents, will be taken in any amount less than $3.00. PLAYS TO SUIT COMPANIES. Amateur companies frequently hare Ironble in jirocuring Plays well adapted to their wants, frequently ordering perhaps five dollar's worth in single copies, before anything suitable ean lie found. All this can be done away with. Our catalogue embraces playa suitable for any and all companies, andif our friends will write to us, state- iiig the requirements of their conipanies, there need be n-^ troul)le, in this line at least, if a temperance society wants plays, we have something for then.1. If n couipany wants something which is very funny, we can suit tiieni. In t'ict. we have dramas, farces, tragedies and comedies which vnll suit you. Enclo.se 15 cents per coi)y, for as many copies iis you may need, an!ii- rf ^j/. )f"^^