822 B66aV 189 - Boucicault. After dark. OAK ST. HDSF UNIVERSITY LIBRARY UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN The person charging this material is responsible for its renewal or return to the library on or before the due date. The minimum fee for a lost item is $ 125 . 00 , $ 300.00 for bound journals. Theft, mutilation, and underlining of books are reasons for disciplinary action and may result in dismissal from the University. Please note: self-stick notes may result in torn pages and lift some inks. Renew via the Telephone Center at 217-333-8400, 846-262-1510 (toll-free) orcirclib@uiuc.edu. Renew online by choosing the My Account option at: http://www.library.uiuc.edu/catalog/ MAY 1 4 am Always order “BEWITTS” Acting Flays. PRICE 25 CENTS. Wfc?sS*} de WITT’S ACTING PLAYS (]Xtiiiil>ei* 364.) AFTER DARK. A DRAMA OF LONDON LIFE IN 1868, IN FOUR. A-CTS. (. Authorized adaptation of Messrs. Grange and Dennery's u Les Oiseaux de Prole .”) By DION BOUCICAULT, Author of “ Arrcth-na-Pogue “ Foul Play,” “Kerry,” “ The Bapparee ,” “Formosa,” etc., etc . TOGETHER WITH A Description of the Costumes— Cast of the Characters — Entrances and Exits — Relative Posit ions'' of the Performers on the Stage — and the whole of the Stage Business. . gUro XJovk : THE DE WITT PuiuSHINGr H0U£E, No. 33 Hose Street. \ C OMPLETE DESCRIPTIVE CATALOGUE OF DE WITT’S ACTINCj A. J LAYS and DEWITT’S ETHIOPIAN AND COMIC DRAMAS, containing ot. C ->stume, Scenery, Time of Representation, and all other information, mailed e an 1 post-paid on application. 3DE WITT’S Ethiopian and Comic Drama. 3ft 'Nothing so thorough and complete in the way of Ethiopian and Comic Dramas as ever been printed as those that appear in the following list. Not only are the plott ex- cellent, the characters droll, the incidents funny, the language humorous, but , 11 the situations, by-play, positions, pantomimic business, scenery, and tricks art so plainly put down and clearly explained that the merest novice could put any of them on t2?s stage. Included in this Catalogue are all the most laughable and effective pieces of their kind ever produced. Any of the following Plays sent, postage free, on receipt of price— Fifteen C en i.~ each. In ordering, please give correctly the title of each piece wanted. *** These Plays require but one scene, unless otherwise stated. The figures i;i the columns indicate the number of characters— M. male; F. Female. No. M. F. 141. Absent Minded, Eth. farce 3 1 73. African Box, Eth. burlesque, 2 sc. 6 107. Africanus Bluebeard, Eth. musical burlesque 6 2 113. Ambition, Irish farce, 2 scenes.... 7 133. Awful Plot (An), Eth. farce 3 1 43. Baby Elephant, Eth. sketch, 2 sc. 7 1 42. Bad Whiskey, Irish sketch 3 1 79. Barney’s Courtship, Irish musical interlude 1 1 40. Big Mistake, Ethiopian sketch. .. 4 155. Black Brigands, musical burlesque 8 6. Black Chap from Whitechapel, Ethiopian farce 4 10. Black Chemist, Ethiopian sketch. . 3 11. Black-Ey’dWilliam, Eth. sketch, 2sc. 4 1 146. Black Forrest (The), Eth. farce. ..2 1 110. Black Magician, Eth. comicality.. 4 2 126. Black Statue (The), Eth. farce 4 2 127. Blinks and Jinks, Eth. sketch .... 3 1 128. Bobolino, the Black Bandit, Eth. musical farce 2 2 120. Body Snatchers (The), Eth. sketch 2 scenes . 4 78. Bogus Indian, sketch, 4 scenes. ... 5 2 89. Bogus Talking Machine, Eth. farce 4 24. Bruised and Cured, Eth. Sketch.. 2 108. Charge of the Hash Brigade, comic Irish musical sketch 2 2 148. Christmas Eve in the South, Eth. farce 6 2 35. Coal Heaver’s Revenge, Eth. sketch 6 112. Coming Man, Eth. sketch, 2 scenes 3 1 41. Cremation, Eth. sketch, 2 scenes.. 8 1 144. Crowded Hotel (The), sketch 4 1 140. Cupid’s Frolics, sketch 5 1 12. Daguerreotypes, Eth. sketch 3 53. Damon aud Pythias, Eth. burlesque 2 scenes 5 1 63. Darkey’s Stratagem, Eth. sketch.. 3 1 131 . Darkey Sleep Walker, Eth. sketch. 3 1 124. Deaf as a Post, Eth. sketch 2 111. Deeds of Darkness, Eth. extrava- ganza 6 1 139. Desperate Situation, farce 5 2 159. Dodging the Police, farce 6 3 157 . Don’t Get Weary, musical sketch. 1 1 50. Draft (The), Eth. sketch, 2 scenes. 6 64. Dutchman’s Ghost (The), sketch. . 4 1 95. Dutch Justice, Dutch sketch 11 67. Editor’s Troubles, farce 6 4. Eh? What is it? Eth. sketch 4 1 136. Election Day, Eth. farce, 2 scenes. 6 1 98. Elopement (The), farce, 3 scenes.. 4 1 52. Excise Trials, Eth. sketch 10 1 i?.5. Fellow that Looks like Me, inter- lude.. . 2 l 1 88 . First Night, Dutch farce 4 2 ; 51. Fisherman’s Luck, Eth. sketch. .. 2 152. Fun in a Cooper’s Shop, Eth.sketch 6 106. Gambrinus, King of Lager. Beer, Eth. burlesque, 2 scenes S J. 157. Gentlemen Coon’s Parade, Etl\ musical sketch 3 83. German Emigrant, Dutch sketch. 2 \\ 77. Getting Square on the Cali Boy,, Eth.sketch 3 17. Ghost (The), Eth. sketch 2 58. Ghost in a Pawn Shop, Eth. sketcl 1 4 \ 31. Glycerine Oil, Eth. sketch, 2 sc . . 3 20. Going for the Cup, Eth. interlude , 4 82. Good Night’s Rest, sketch 3 130. Go and Get Tight. Eth. farce 6 86. Gripsack (The), sketch 3 70. Guide to the Stage, Eth. sketch. .. 3 61. Happy Couple, farce 2 'i 142. Happy Uncle Rufus, Eth. musical sketch ! 1 j 23. Hard Times, Eth. extravaganza... 5 l 118. Helen’s Funny Babies, Eth. bur l- lesque 6 3. Hemmed In, Eth. sketch 3 ?' 48. High Jack, the Heeler, Eth. sketch 6 68. Hippotheatron, sketch |9 150. How to Pay the Rent, farce 6 71. In and Out, sketch 2 123. Intelligence Office, Eth. sketch.,.. 2 33. Jealous Husband, Eth. sketch 2 '. 94. Julius the Snoozer, Eth. burlesque! 3 scenes 6 ! 103. Katrina’s Little Game, Dutch act.. 1 ‘ 1. Last of the Mohicans, Eth. sketch. 3 1 36. Laughing Gas, Eth. sketch .67 161. Limekiln Club in an Uproar (The ), Eth. farce 8 > - 18. Live Injun, Eth. sketch, 4 scenes 4 1 60. Lost Will (The), Eth. sketch 4 37. Lucky Job, farce, 2 scenes 3 2 90. Lunatic (The), Eth. farce i 3 109. Making a Hit, Eth. farce, 2 scenef* . 4 19. Malicious Trespass, Eth. sketch. . 3 149. ’Meriky, Eth. farce 3 1 151. Micky Free, Irish sketch 5 96. Midnight Intruder, farce 6 j 147. Milliner’s Shop, Eth. sketch 2 1 129. Moko Marionettes, Eth. eccentri' - city, 2 scenes 4 6 101. Molly Moriarty, Irish musica l sketch 11 117. Motor Bellows, farce 4 158. Mr. Mikado, musical burlesque. . 6 4 44. Musical Servant, Eth.sketch 3 8. Mutton Trial, Eth. sketch, 2 sc.. 4 ** 119. My Wife's Visitors, farce 6 1 AFTER DARK. OF LONDON LIFE IN 1868, IN FOUR ACTS. (Authorized adaptation of Messrs. Grange and Pennery’s “ Les Oiseaux de ProieA) By DION BOUCICAULT, Author of ** Arrah-na-Pogue,” “ Flying Scud u Jeanie Deans,” " Octoroon,” “ Foul Play etc AS FIRST PERFORMED AT THE PRINCESS’S THEATRE, LONDON (UN- DER THE MANAGEMENT OF MR. G. VT.NING), ON WEDNESDAY, AUGUST 12. 1868. TO WHICH IS ADDED A DESCRIPTION OP THE COSTUMES — CAST OF THE CHARACTERS — EN- TRANCES AND EXITS — RELATIVE POSITIONS OF THE PER- FORMERS ON THE STAGE, AND THE WHOLE OF THE STAGE BUSINESS. I CAST OF CHARACTERS . Princess's Theatre , London , August 12, 1868. Old Tom (a Boardman — Character lead) Mr. Vining. Chandos Bellingham (Man About Town — Juvenile Trage- dian) Mr. Walter Lacy. Dicey Morris (Gambling-house Keeper— Character Com- edy) Mr. Domnick Murray. Sir George Medhurst (Juvenile lead) Mr. Montague. Gordon Chumley (Captain of Dragoons— Walking Gent.. Mr. J. G. Shore. Pointer (Police, A Division— Utility) ...Mr. W. D. Gresham. Crumpets (Utility) . Mr. Maclean. Area Jack (a Night Bird — Utility) Mr. Holston. The Bargee (Utility) Mr. Cathcart. Marker (Utility) Mr. Tressidder. Nick (Utility) « Mr. Chapman. Jem and Josey (Negro Minstrel Bus.) Messrs. H. & J. Marshall. Eliza (Sir George’s Wife— Lead) Miss Bose Leclercq. Bose Egerton (Walking Lady) Miss Trissy Marston. Police, Servants, Bailway Passengers, Beggars, Thieves, Gamblers, etc. SCENERY. ACT I. — Scene I. Bailway Station in 5th grooves. 5 L, side, railway station ; doors, marked “ First Class,” “ Second Class, T) Class,” prac. ; boards on the wall, lettered, one over c. closed in space, “ Crystal IP* ace,” one l. 2 g. set, “ Paris — Brighton Baces ; ” the closed in spaces in 3d e. A form passages up stage, in which are cabs with horses, graduated in size, for p spective effect, with lamps lit, heads of horses turned up stage ; lamps from brack< i SCENERY, 3 with glass globes, along the sides; lamp-post r., line of 2d grooves; the built-up structure on stage c. and r. is 10 or 12 feet high, giving view of houses on flat, and view of streets, leading off, r. on r. ; moonlight effect, r. 1 e., upon stage. Roof, l., building, arched glass-and-iron framework, like the Crystal Palace roofs. Scene II.— Garret Interior, in 1st grooves. Dark; shelf n. from flat, seems to be part of a table, of which the legs are painted on flat ; d. r. and l. in r. ; small window R. c. in f. Scene III. — Gambling-house. Interior in 5th grooves. •* -* * Chairs. * ' ' * Closed in. Sideboard. * 1 [£j Backing : c . 1 : Chair. : *1 Pictures of races, prize-fights, ballet-girls, in room r., half of stage, u. E., and on 3 g. flat, l. side ; carpet down in room r. Scene IV.— Street, exterior of houses, in 2d cut of 1st grooves, or 1st cut if Scene V. is a canvas drop ; dark. Scene V . — Street in 1st cut of 1st grooves, or a canvas drop ; upper background, old houses, foreground, open space left by houses having been torn down, with fence before it, on which are bills, posters, etc. ; Temple Bar arch on the left, as if the stage was the south sidewalk ; very dark. Scene VI. — Blackfriars temporary bridge ; view of Thames and St. Paul’s in dis- tance ; night. In 7th grooves. Limelight. ' — — ■ Anchored Lighters. .St. Paul’s... 7 { Arch abut- ment. __ Steamboats at anchor. ^ > Pile of timber. jTrapu } Platform. Steps. | | | i 3 4 SCENER1 Arch crosses stage, high up, from r. 4 e. to l. u. e., the underside being smooth stone-work, dark ; platform l., to bear weight of four or five men, steps down to stage level ; l. wings, thick beams and trestlework ; r. wings, wall, sails and mast of barge r. 1 e., etc. ; trap open for Eliza’s fall from small platform reached from larger one ; pile of timber, cordage, chain cables, and large hewn stone along 4th grooves ; canvas down for water, 4th, 5th and 6th e.’s ; on Flat, view of London around St. Paul’s by moonlight ; transparencies for light in house windows, and the row of lamps along the water-side ; boats at anchor, r., 5th and 6th grooves, ;r profile. ACT II. --Scene I. Arches under a street, in 3d grooves. A A, archways, boarded up ; archway r. is open, with sail-cloth curtain to be let down, to cover the changing of scene ; the closed-in set gives a view over the top of it of houses on flat, as if high above stage level. Scene II. — Yilla and Garden in 7th grooves. Sunlight effect— summer afternoon. • ...... Landscape.... 7 River ,...6 Closed in. Open. ; Bush of lilacs. : £ — Tree. 4 A "W indow. 1 Door. 1 [] A i ° i ■si □ — Trees 3 A Garden chair. □ — Trees . 2 A — Trees. 1 A. A, A, statues on pedestals; R. half of 3d and 4th e. closed in ; villa with per stories shown ; curtains to doorway and to French windows ; carpet down a furniture inside. SCENERY* 5 Scene III. — Garden wall, door inc., in 1st grooves, with trees on upper part of fiat *, wings of trees from last scene left on. Scene I Y. —Interior, 4th grooves. Garden 4 Moonlight. Window. | | Window Door. Chair. | Dressing-table. ..3 Sideboard. Chair. open. Door. *2 R. side very dark ; walls panelled in dark green ; window r. in f. curtained ; win- dow l. in f., French, open to ground ; limelight l. u. e. sends rays to r. front ; doors l. and r. 2 e. practicable ; carpet down. ACT III.— Scene I. Interior of Concert Hall, in 6th grooves. ; ,M * | Door. Stage. — Wing. — Wing. *••*••*••*• ****** Chairs. i ~' ' ' — ' Tables. * * Chairs. ! I Billiard-table. cq *|| * Chair. M chaj iniature stage, elevated, c. in u, e., with row of footlights*, before it, on stage, rs and tables for audience ; chairs about stage ; over d. in f., sign, clock face G COSTUMES. between “ NO ” and “ TICK ; ” on wings l. posters, headed “ Elysian Music Hall.” two gas burners, with shades over billiard table, l. 3 e. Scene II.— (Preceded by a drop-curtain, such as dark velvet, gold-fringed, to give time for the railroad business to be ready) ; cellar in 1st grooves ; dark circular hole c. inF., showing through it the platform on which train of cars cross r. to l.; only the wheels of them are seen from front. Scene III.— Railway Tunnels, in 6th grooves. 6 B : Closed in. : B : 5 : | : Backing. : = = |A| .4 * Rails. Wall. Wall — 3 Wall - 2 Wall — 1 ment Tom and Chumley are clear, run the train across ; decline the rails to l. till at wing, then give it an uprise abruptly to check it in a few yards ; curtain will tail quick, and not rise. ACT IV.— Scene. Same as Scene II., Act II. COSTUMES , ( English , Resent day,) Old Tom. -Aged forty-five, but looks older ; gray hair, short gray moustache ; blue cap, ragged suit ; old shoes tied with colored strings. Act IV.: Fine black suit, cane, hat ; he limps slightly, throughout , shuffling walk. Bellingham.— Black moustache; -white overcoat, light; black hat; black elit; PROPERTIES. t white vest ; gloves ; sporting- man type ; watch and chain ; finger-ring ; breast- pin. Morris.— Jew; side-whiskers; blue velvet figured vest, showy watch-chain, with charms; black cutaway coat; riding trousers; black hat, turned up at the sides, pinched down before and behind, cocked over one eye when worn ; bald on top of head ; fancy scarf ; fancy pocket-handkerchief ; the personator will find 7 it advisable to study it up as a leading character ; Mr. Lomnick Murray’s imitation of the salient peculiarities of the low-lived London Jews- speech and mannerism having strengthened the attractions and made a perceptible proportion of the audience be of that race. Gordon Chumley.— Black suit; watch and chain; moustache, heavy, without points. Medhurst. — Act I. : London cabman ; long coat with cape ; low-crowned felt hat ; whip. Afterwards, black suit, white vest. Pointer. — Policeman ; (see London Illustrated News ;) the helmet to be worn— not the “ City Police hat.” Area Jack, Crumpets, Bargee and Outcasts.— Ragged dresses ; hair short crop, with three-inch long side lock flattened down on the side of temple, or slightly- curled at the point. Jem and Josey.— Negro minstrels ; striped pants, colored stockings ; fancy vests and coats ; white hats ; banjo and bones. Marker.— Black suit ; French moustache, pointed ; white tie ; sporting style. Servant. — Act 11 — Scene II . : Lark livery. Policemen. — Like Pointer. Gamblers.— Usual walking dress. Audience of Music Hall— Usual dress. Eliza.— Act 1. and II. : Faded dress ; bonnet and shawl. Act II.— Scene IV. : White dress— much like Rose’s. Act IV. : Fine house dress. Rose. — Act I. : Walking dress, hat and mantle. Afterwards, white, or other color to suit. Girls for Music Hall audience— As usual ; hair fancifully done up ; hats showy. Beggar-woman.— As usual. PR OPER TIES, [See Scenery'). Act 1. Scene I. : Cabs and horses ; board with posters on it (“ Elysium Music Hall- Great Attraction — The Original Tommy Lodd,” etc.) ; with iron rods, ending in a curved fork by which they are attached to Tom’s shoulders ; long whip, with short lash, for Medhurst; match-boxes for Boy; club for Pointer; com for Morris-, and for Bellingham; newspaper for Morris. Scene ll.: Candle to burn ; whistle for Bellingham to blow ; matches to light. Scene 111. : Pack of cards ; dice and cups, on table ; bottles, decanters, glasses, meat in dishes, ham, chicken, plates, knives, forks and spoons, on cloth on sideboard ; coin and bankbills for Gamblers ; four-branch gaselier in room Com for Chumley ; bull’s-eye lantern for Pointer ; several gunny bags and pieces of sail-cloth for beds ; red lamn to bridge ». . oars and boat-hook foi boat. Act II.— Scene I : Barrel for table : stool; bottle and pewter pint pot on barrel-head , pipe ; sheet of paper, “ Stick No the rest torn off, stuck on flat, c. ; curtain of sail-cloth to recess r. ; bed for recess card-case an* hard for Chumley. Scene II.: Statues garden-seat. Am, 777 . Watch lot “ a Bellingham. Scene IV.: Dressing-table, with s-wine-frlass le bottles, etc., on it; sideboard, tables, chairs; candle to burn, in silvet 8 STAGE DIRECTIONS. holder • necklace and wreath of orange flowers, to fit Eliza. Act 111. — Scent 1.; Chairs tables; liquor bar; billiard-table, cues and balls, sheet of paper lor Bellingham , bank bills for Chcmley m pocket-bcok ; bag to put ever Tom’s head. Scene 11. : Bar to d. in f. to come off; steps to enable Tom to reach hole in flat. Scene ill. : Stones to be pushed out of their places, l. in flat. Act IV . . Cane for Tom ; bell to nng off r. u. e. TIME OF PLAYING-THREE HOURS. 1*5" Notice.— The Railway effect is not derived from Mr. Daly’s “ Under the Gaslight,” but is a London stage machinist’s invention of as early a date as 1843. EXPLANATION OF THE STAGE DIRECTIONS. The Actor is supposed to face the Audience. d. r. c. c. D. r>. l. o. R. U. E. SCENE. L. U. E. L. 3 E. R. 13. L. 1 E. R. 0. a. ' AUDIENCE. h. 0 . L. l. Left. l. c. Left Centre. l. 1 e. Left First Entrance. l. 2 e. Left Second Entrance. l. 3 e. Left Third Entrance. l. u. e. Left Upper Entrance L. r. 1 e. Right First Entrance. r. 2 e. Right Second Entrance. r. 3 e. Right Third Entrance. r. u. E. Right Upper Entrance^ D, r. c. Door Right Centre. o. Centre. r. Right. (wherever this Scene may be.) n. l. c. Door Left Centre. AFTER DARE, ACT I.' SCENE I. — Exterior of Victoria Railway Station f London. sCtasdown in upper entrances , l. and r. f Discover Gentlemen and Ladies passing on and off by the various entran- ces , separately, two by two ; walking slowly or briskly , forming groups , etc. Man selling umbrellas goes from party to party. Match-seller {repeats). Box o’ lights ! box o’ lights, sir ? cigar- lights ! {and goes about stage during opening.) Common liand-bell, large , rings, off l. Commissionaries are called by Gentle- men and take notes or small parcels from them, etc. Railway porters cross stage from l. and exit r. Policeman enters r. and exit l. 1 e. Enter , l. 3 e , from Station, Chandos Bellingham, coming down c., slowly. Enter same Dicey Morris, with a party of Girls and Men, whom he quits at r., they going off r. 2 e. Boy {to Bellingham, c.). Box o’ lights, sir? only one penny, sir. Bel. What’s that you say ? {rouses himself) Only one penny ? Here, confound you ! there’s sixpence for you ! (Boy takes coin , touches his cap, and goes up c.) Be off with you ! {aside) That’s my last sixpence ; — it shrank into a corner like a deer, in my pocket. (Morris comes down to- wards Belltngham) Well, it little matters when I am so unlucky. Morris. Ah ! Mr. Bellingham ! Bel. Dicey Morris ! Mor. Down on your luck, Chandos, old friend? (l. of Bellingham.) Bel. Yes, I backed Lady Elizabeth, and she has let us all in. If I hadn’t had my “ return,” I should have had to walk home. Mor. So should I. Bel. What did you back ? Mor. Blue Gown. Blue Petticuts ! wager on the feminines, and you’re sure to come to grief. So, Chandos, my boy, you are a broken man? Well, I'll mend you! I’ll put you into a trick! I’ll make your hair regularly stand up on end ! {produces newspaper) I wish I my die if 1 don’t ! Just throw your eye over that ! The second column— the sen- sation column ! (Bellingham takes paper .) Bel. {reads). “ George Medhurst.— £50 reward will be paid to any one giving information of this gentleman. He is said to have emigrated for Canada or Australia, in 1856. Apply to G. C., Grosvenor HoteC Pim- lico.’ What does this mean, Dicey 1 Do you know of the man 1 10 AFTER DARK. Mor. It means pounds sterling, and I can lay my hand on the man this blessed minute. Vy, I could have transported him three yearsh ago ! and he knowsh it ! {all off, stage cleared at back .) Bel. What has he done I Mor. Forgery ! He put his father’s name to a bit of paper, sen’ I may live if he didn’t ! ; r Bel. But may he not know of this I Mor. Not likely! I’ll show you him ! {goes to r. 1 e.^AII the other characters have gone off during the above) Hillo ! here ! hi, come here, ^hansom cabby ! _ Come here ! Enter, r. 1 e., Medhurst, with whip in hand* im WaII nrBnf a ttaii nro 4 0 Medhurst. Well, what do you want I Mor. What do I want I have you forgotten me, eh 1 Med. Forgotten you, Dicey Morris ! No ! {sullenly) Not since that day when you called me out of the rank in the Haymarket, and I came like a dog to your call ! And now that you have got me, what do you want of me I Mor. There’ish gratitude for you! Just throw your eye over this! {offers paper) Look at it ! look at it ! Med. {with newspaper ). “ £50 reward — George Medhurst.” Why, what does this mean I Mor. It meansh that the police want to find out about that forgery bu- siness. But it won’t work. You come to me to-night at my place in Little Rupert street, and meanwhile I’ll see the gent what holds that forged paper. Med. I will come, don t doubt, {aside) For i must ! Mor. By the way, where are you living now I Med. 5 1-2 Campton Mews. Mor. Same place. And how ish Mrs. Hayward — pretty well 1 Med. Yes. Mor. That’sh right, {exit Medhurst, r. 1 e.) that’sh right ! {quickly to Bellingham) There ! that’sh the heir to a barrow knightcy and five tousand a year, a-driving a night-cab and picking up hish living in the shtreets. There’sh not much fear of him going near “ G. C.” or the Grosvenor Hotel. Bel. What are you going to do with me, Dicey 1 What do you want with me, when you have got him in your power 1 You wouldn’t take me in as a partner, and show up the good thing to me without security. Come, what’s your game 1 Mor. Well, Chandos, my boy, you know, eight year ago, when you wash transpor — 1 mean, when you emigrated to Australia, 1 called on you at your lodgings. You were living then in Pentonville, with such a fine lady and a little girl ! Bel. And I asked you, if anything should happen to me, to take care of that child ! Mor. I did take care of her — wish I may die if I didn’t ! I brought her up like a lady, like a lady, Bellingham — and, when she grew up, I made her one of my bar-maids Bel. Ah ! what became of her 1 r Mor. Why that man you just saw, fell in love with her at my pla^e, and married her ! {rubs his hands in glee.) Bel. Married her ? * Medhurst. Morris. Bellingham* L. 0. y Mor. {startled).) Yes, married your child, and he's heir to five t’ou- sand a year ! \ Bel. But she was not my child ! __ ^ Mor. Not your child? oh, then, it’sh all off — it’sh all off. ’"I don’t want you in the bishinessh at all ? Bel. What ! you don’t see your way to more than one thousand pounds ? Pshaw ! you hold in your hands the fair fame and honor of an old county family, and you cannot plan to squeeze more that a paltry one thousand pounds out of it ? ( crosses r.) Dicey, you are a low, contempti- ble fellow. Mor. I am, lam! I wish I may die if I ain’t ! (l. c.) Bel. One thousand pounds ; say five thousand ! Mor. Five t’ousand ! you take my breath away. Bel. Leave the game in my hands, (l.) Mor. Yesh, yesh ! you go see this “ G. C.” at the Grosvenor Hotel, Chandos, my dear, {goes l. with Bellingham) I’ll wait at the station here for you. {Exit Bellingham, l. 3 e. Morris goes up c., writing in note- book, studying the newspaper , etc. Music . lively . Laughter , off l.^ Enter , l. 1 e., Old Tom, followed by 'Boys, laughing at and hooting at him .* Boys. Ha, ha ! only twig him, ha, ha ! First B. I say, Tom, how does it feel in the high wind ? {laugh.) Second B. He’s been a-dining with the Lord Mayor ! {all laugh.) First B. Don’t you know ? He’s sent out as a sample of the liquor they sell at the Elysium ! (Tom to lampost, r.) Mor. My establishment, {comes down c.) What’s that about the Ely- sium ? {sees Tom) One of my bill-boards. This is the way my advertis- ing is done. Enter, l. 1 e., Pointer. Pointer {driving Boys up c.). Move on ! move on, there, can’t you ! (c. l. of Morris.) First Boy. You’d better keep your h’eye on him, “ Robert! ” he’s go- ing to make a hole in the water ! {all laugh.) Point. You ought to be ashamed of yourselves to go and worry the poor old man so. (Tom leans against lamp post r. and sings drunkenly to himself ) First B. You stick to him, bobby ! and don’t you leth’anybody touch him ! Vy, he’s sent out by the Temperance Society as a speciraent of the Last Stage of ’Toxication ! (Pointer crosses to Boys, they run off l. 1 E., he seizes one.) Boy {seized by Pointer crying). It wasn’t me ! it was the other boys ! (Pointer and Boys off l. 1 e., they laughing and shouting.') Mor. I’ll report this fellow for disgracing my bill-boards ! {to Tom) What’s your name ? Tom. I ain’t got a name ! Mor. Come, drop it ! drop it ! That won’t do with me. Why thosch boysh just now called you Old Tom ! Tom. Because I live on Old Tom ! Old Tom for breakfast, Old Tom for dinner, Old Tom for supper ha, ha ! It keeps the rain out and I don’t feel hungry. Gin, gin ! give us the coppers for half a quartern ! (r. c ., front.) ♦Tom. B. 0. Morrts. C. up . Boys. 12 AFTER DARK. Mor. Poor fellow, poor old fellow ! I pities him — I pities him, I actually does ! Tom {starts). You pity me ? you? you, Dicey Morris, that keeps the Silver Hell in Rupert street and the Elysium Music Hall over the wa- ter ! Oh, I know you ! I lost my last sovereign over your tables, and my last sixpence over your pewter-bar. And you pity me! You, who picked me up out of the gutter, and clothed me in the rags that you keep for your customers — the livery of sin and degradation ! I must be the meanest wretch in all the town to deserve pity from you. Mor. {testily). Hold your row ! what are you making such a row about ? There’s a shilling, {offers coin) Go and drink it. Tom. A shilling ! a shilling taken over your tables, may be the last drop of some poor devil’s blood, or the only coin of some shop-boy, sto- len from his master’s till to feed one of the painted jades of your Elysium ! Ah I take it from you, Dicey Morris ? No! it would choke me! {goes r.) Mor. Refuse a shilling! It’s shocking what intemperance will bring a fellow to 1 I can’t make him out ! I never come across such a strange fellow. Up G., meeting Bellingham, Gordon Chumley and Rose Egerton, who enter l. 3 e.* Bel. I beg to present to you my friend, Mr. Morris — one who has been a friend to Mr. Medhurst in adversity, {to Morris) These are friends of our dear George. Mor. {salutes vulgarly to Rose). Ah, ah! a friend of Mr. Medhurst — dear me ! (c. l. of Bellingham.) Rose {simply). Oh ! yes, we are cousins, and were brought up to- gether in childhood. Mor. I might have known it by the likeness ! (Bellingham pushes him r.) Bel. {aside). Don’t make a fool of yourself! {aloud to Morris) And this is Captain Gordon Chumley. (Chumley salutes , and Morris lifts his hat awkwardly.) Chumley {aside). He looks like a Jew horse-dealer. As for the other, I cannot make him out ; I have seen his face somewhere before, {aloud) T think, Mr. Bellingham, that we have met. Was it in India or the ' Crimea ? Bel. {as if surprised). Neither. Chum. Then were you ever in Australia ? Mor. {aside). Rather ! something like seven years ! Bel. Never! Chum. Ah, it’s very odd, I beg your pardon. Bel. Don’t mention it. But we are forgetting our friend Medhurst. Rose. I bring news to him. Poor old Sir John has died. Mor. Died! Then he has come in for the money! (Bellingham silences him with a look.) Rose. Yes, Sir John at the last has forgiven him. Chum. But, conditionally. Remembering the wildness of his youth, he imposes upon him a proviso. He must marry to gain the estate. Mor. I call that very unkind for a forgiving father. Bel. {aside to Morris). Hold your tongue! {aloud to Chumley) Oj that condition, eh ? * Morris, xuc. Bellingham. o. \ i G * Chumley. L. O. Rose, ACT I. IB Chum. That he marries Ills cousin. If he refuses, all the property goes to her. A most painful position for the young lady, very painful. Mor. I don’t see it ; not for her. She ish safe to have her share any- how. Bel. ( aside to Morris). Will you keep quiet ! Chum. It is not probable that Mr. Medhurst will rebel against the con- dition. Bel. {to Rose). They say that there is no husband like the reformed rake. I trust that George will prove no exception to the rule. Madam, your servant ! we will go and be the first to break the good fortune to George, {takes Morris r.) Mor. {aside to Bel.). Now it’s all up ! Bel. Better than I hoped. Mor. But he is already married. Bel. His wife must disappear. Mor. I wish she may die if she don’t ! [Exit, with Bellingham, r. 1 e. Chum. Ah, it’s awfully hard on me, Rose, to have to see you for the last time and say good-by. (Tom goes to sleep at foot of lampost, r.) Rose. You are not going to leave me all alone in London 'l Chum. George will soon come to claim his bride. Rose. Oh, when we tell him all, that I — I s __ Chum. You love me 1 I feared as much, while I hoped. You might have spared me that, my task — our task — was hard enough before. But his father has pointed out the only way to restore him to his true position in t lie world. . There can be no one to aid him like you. (Tom rises and staggers down to Chumley’s right, at c., during following) Ask me to help you in what is so right, and not to turn from you till all that is done. So much is duty — and pleasant so far. To part from you will be so hard, now that I know that you love me. {sees Tom) What do you want Tom. {very drunkenly). I saw talking with them — them! {jerks his hand towards r. 1 e.) Don’t have nothing to do with them ! nothing to do. Chum. Why, the man’s drunk, {to Rose, l. front.) Tom {starts). Ehl {sobered somewhat.) It’s Gordon Cnumley. Chum, {amazed). You know me! Tom {aside). He has forgotten me. No wonder ! I have almost forgot- ten myself. ( pathetically) Never mind, never mind L Enter Pointer, l. 1 e. ( \ Pointer. Come, move on ; this won’t do. {pushing Tom r.) Tom {whining). I wasn’t begging. Chum, {to Rose). Stay ! I know him now. He was an old brother- officer of mine. Point, {to Tom). Come, be off. Tom. I’m a-going, ain’t 1 1 Chum. Stay ! (Pointer goes up r. c. a little. Chumley crosses to Tom, r c. front) I know you, don’t 1 1 You are Tom {screams). Ah, don’t speak it, don’t speak it ! Don’t say my name. {whining) I am Old Tom, Old Tom ! [Music. Point. Be off with you ! ( pushes Tom off r. 1 e., and follows him off.) Chum. Poor old Frank ; has he come to this 1 What a depth of mis- ery. Look, Rose ; he used to be the handsomest and gayest in the regi- ment, the pride of the mess. It is to save George from a fate like that, *Tom. K'OfQ. Chumley. c. Rose. Jj. c. 14 ATI Eli DARK. we are working ! For his sake ( drawing Rose to c. up) we must keep our word, (c., with Rose. Scene closes in. SCENE II. — Garret , Interior in 1st grooves. Gas down. Music throughout . Music hurried. Enter, l. d. in f., Medhurst. Medhurst. Eliza, Eliza ! Enter , r., Eliza, with lighted candle . Gas up. Med. Has no one been here 1 Eliza. No ; what brin-gs you home so early 1 ( puts candle on shelf.) Med. I have had an accident with the cab. Eliza. An accident ! You are not hurt, George ! Med. Come here, Eliza. ( both at c.) I am compelled to leave London this night. Even now there may be hunters on my track. I am going to see Morris, who will assist me in my escape. Eliza. Morris! my old employer, Morris 1 Oh, George, don’t trust him ! Med. I must ! I have no choice ! Eliza Oh, what have you done I Med. What I never had heart to tell to you. That’s why I have been forced to go creeping out after dark, driving a night cab for fear that I would be seen — leading a dog’s life, which you consented to share ! Eliza. What better have 1 ever known! You found me a nameless child ! and I never asked more than to have you my own ! and yc« are my own, George, {embraces.) Med. In the depth of my misery there was a deeper still which I have forborne to confide to you. Pardon me for having deceived you. Eliza. You have not deceived me in your love ! What do I care for the rest ! Med. I hear steps by the door. You do not expect anyone at this hour ! Eliza. No ! Shade the light ! (Medhurst covers the candle , Eliza to window c. in f.) There are men below who seem to be looking up here. Med. I must escape by the other way. ( from tins, very hurried) Gain what time you can. Put out the light ! (Eliza puts out candle. Gas down, three-quarter turn) Footsteps on the stairs ! {embraces her) Farewell ! this may be our parting kiss. Good-by, Good-by. {rushes off r., knock l. d in f.) Eliza. Ah! {slowly goes to l. d. in f., and opens it.) Enter Bellingham, l. d. in f. Bel. Where is you husband I Eliza. He has not yet returned from work. Bel. That is false, for h? was here not ten minutes ago. I will see if he is concealed on the premises, {blows whistle at window in f. Pause blow whistle off b. 2 e.) He has escaped by the bnck yard, and will b< soon at Morris’s. You can light the candle again. He’s safe enough You see that I know more of your husband’s doings than you do. Eliza. Who are you ! friend or foe 1 {lights candle . Gas up.) Bel. Look and see. Eliza. Richard Knatchbull ! {chord.) \ ACT I. is Bel. No longer Dick Knatchbull. but Chandos Bellingham. I see you have not forgotten me. Eliza. No, I have not forgotten the man who left my mother die in the workhouse. Bel. And not forgiven me 7 Eliza. She forgave you, long since, but I never will. Bel. This is dutiful language to hear from a daughter. Eliza. You are not my father! Bel. Ah! you know that 7 Then why did you not marry George Med- hurst under your father’s name 7 (aside). If you knew who that father was ! Eliza. Because my mother had implored me with her latest breath not to bear the name which you had tried to disgrace. Bel. It would be well if George Medhurst had not succeeded with g similar experiment on his own. Eliza. What do you mean*! Bel. That he has committed a crime and may be forced to fly. What would you do to save him 7 Eliza. He is my husband, I would lay down my life for him. Bel. Less would do. Give me your hand, (she offers her right hand) The other — the left, (she holds out her left hand) Would you lay down this ring — this wedding-ring for his sake 7 He has committed forgery, the money can be obtained, but to secure his safety, you must sacrifice yourself. Eliza. I do not understand. Bel. It is necessary that he should marry again. Your marriage was made under false names ; you need only go abroad and forget him. Eliza. Forget him ! Bel. Oh, you can name your own terms. As long as you live he wilj be at your mercy. Eliza. I see it all now. You want him to deceive some innocent girl, to induce me to join you to commit a bigamy ! Has George agreed to this 7 Bel. He had no choice. The man whose head is in the jaws of New- gate, is not particular to a shade. Eliza (aside). This is the depth of infamy which he was afraid to con- fide in me. ( wrings her hands.) Bel. You consent 7 Eliza. No ; whatever he may have done — he is my husband — I will share with him, but I will not help him to commit a new crime ! (crosses l.) Bel. And this is what you call love 7 You would rather see the man you love consigned to a convict cell, than let another woman make him happy. Eliza (sobbing). I would die for him, but I will not live in guilt. Bel. Ahem! he has no alternative. Eliza. But I have ! Bel. Will you be silent, at least? Eliza. He has cast me off! I shall be silent as the grave. Bel. Hs does not ask for your approval. He will be content with your silence. Eliza. My silence ! (aside, bitterly) My silence ! (dashes l. d. in f. open) There’s your way. Good-night. Bel. (goes to l. d. in f., looks at Eliza in the eyes) Good-night. [Exit, l. d. in f., hat on. Eliza (to c.). Merciful Heavens, what have I done 1 He said that might be our parting kiss. No ; I cannot part from him like that. I \ I 16 after dark. cannot aid him to commit a wrong, but I can remove the consequences of his fault. I will go to Morris's and wait for him till I see him. Oh, I must see him again. Where is my bonnet and shawl 1 ( takes candle to r. d. in f., passes it off behind , after getting hat and shawl. Gas down) Yes, I shall see him again, and then — oh, George ! ( sobbing repeats) Oh, George ! oh, George ! [Exit, l. d. in f. Scene changes to SCENE III. — Gambling House. Interior. Gas up. Discover Dicey Morris, r. c., coming down , apparently in impatience. Gamblers throwing dice , around table up r. c. Doorkeeper seated at L. D. in f. Waiter by sideboard. Marker (up r. c.). Seven’s the main ! (refer to the “ Rules for Playing Hazard and play the game properly during the business by the other perform- ers in front.) Second Gam. Five ! First Gam. Six! ^ Morris (aside). Not here yet. What is Bellingham up to 1 He’s al most as close as I am; ’wish he may die if he ain’t ! And the cabman , he’s to come at eleven ! and no signs of him yet. Marker. Ten’s the nick. Mor. (aside). What’s he about 1 is he going back on an old friend 1 Marker (comes down to Morris). By the way, sir, I’ve lent Charley three pounds on this half of a five-pound note — he can’t wait till the rest comes up by post. Mor. What I why, he’s borrowed three pounds of me on the other half. He s pulled a clear pound off by the double transaction. (Marker goes up to speak with Gamblers, who laugh at the trick) That’s the worst of my customers — there’s nothing honorable about them. Marker (comes down, aside to Morris). That fellow’s still winning ; we’ve lost thirty pounds. Mor. Bring out the loaded dice. What are you doing I Do you want to ruin me I (Marker goes up r. c.) Enter, l. d., Medhurst. Med. (to Morris). I am followed! Mor. Of course you are! It’s all right ; it shows how much you are looked after since you've come into your fortune, (cads) Waiter, waiter ! bring a glass of champagne for this gentleman. (Waiter brings glass, and Medhurst drinks.) Med. It’s so long since I drank champagne, I scarcely know the taste of it. Mor. Well, I’ve been to the city and seen the gentleman — oh, he’s very reasonable — he seesh that I was right when I said — you’ll pay him ; only give him time — give him time. Med. Come into my fortune I Then my father is dead I Mor. Yes, you are Sir George now ! As good a name as ever wash known, and <£6000 a year! Med. 1 see now what you want with me ! What is your price foy that paper 1 Mor. The gentleman that holdsh it has the conscience to ask half tq^ Med. £30001 Mor. £3000! Isn’t it perfectly disgraceful! So I tells him ; but thej j ACT I. 17 what would be the use of the whole if he brought you to trial ? Better half the fortune than all and you go to Newgate ! Med. 1 believe you hold the document yourself! Mor. Ish it me ? Med. Then why don’t your friend come forward for himself ? Mor. That would be compounding a felony ! And he ish a shentle- mans, moves in the same society as myself ; a man of high prinshiples ! high prinshiples, I tell you ! high prinshiples'. Med. I suppose I must consent. Mor. Of course, of course, there’sh no other way out of it. After nil, you’ve got the other half — I calls it downright generous of him, down- right generous. Med. {aside). I am in their power. Oh, then I will be free ! free from these villains, and that will be the best of all. {aloud) You are not de- ceiving me ? Mor. Sen’ I may live ! I look like deceiving a baronet ! What’ll you have — some money ? Five pounds — ten — fifty ? Here, Marker give this gentleman fifty pounds. ( takes Medhitrst up c.) Renew the acquain- tance of the bones ! Marker. Eight’s the main. Here’s the fifty, sir. Med. {aside). Fifty pounds ! fifty devils ! ( pats notes on corner of table.) Mor. That’s right, George, my boy. Go in ! you’re sure to win ! {music.) Med. How’s the game, gentlemen {somewhat drunk.) Mor. {aside). It’s all right. If Bellingham has only done his bit as well. Where can he be 1 {aloud to Medhurst who comes down) That’s the way, that’s the way, George, my boy, to enjoy yourself ! Ah, I hope to see you in another day or two tooling a phaeton in the Park with a pair of high steppers, and with that lovely girl by your side. Med. What do you mean 1 Mor. I mean, Miss Egerton, your cousin. You can’t have your prop- erty unless you marry her ! Med. Then it was left on condition'? {falls in chair r. c. front.) Mor. There’s fatherly affection for you ! actually a-spreading sugar over the butter ! Marker {to Medhurst). Luck’s turned. Does your money stand, sir I Med. {impatiently). Yes, yes i {to Morris) Then I can’t have it. I am already married to Eliza. Mor. Oh, that was when you made a fool of yourself when a boy. Done under false names — it won’t hold in law. I’ll get you a lawyer’s opinion, a — a — a doctor’s certificate, anything you like ! But you’ve not had a fair taste yet ! Here, waiter, give the gentleman some more champagne! (Waiter brings glass to Medhurst who drinks) That’s right ! you’ll see the thing in the right light now ! Marker. That gentleman’s. He still wins. Mor. {pushes Medhurst up to table). Stick to it, George, my boy, it’s all right! depend upon it, it’ll all come right! (down c.) What keeps Bellingham— oh, here he is ! Enter Bellingham, l. d. in f. Bel. {to Morris). You have him here? {looks at Medhurst gambling it table , glass in hand) He seems sprung. Mor. A little ! I didn’t give him too much till you would be here, to see how you got on with the woman. ) \ 18 AFTER DARK. Bel. I have seen Eliza, she will hold her tongue, {to Medhurst com- ing down c. *) Good evening, Sir George ! allow me to congratulate you on coming into you title. Med. Who is this gentleman? Mor. The friend who holds the forged paper, {introduces them) Ml Bellingham, Mr. Bellingham, Mr. Bellingham ! Bel. I’ve explained to her your position, and she recognizes the ne cessity of her secrecy. She consents to disappear and trouble you n» more. Med. Disappear ? Bel. That is, go abroad. Med. She consents to go from me ? Bel. Yes ; you see, I know her better than you do. Mor. There ; ain’t you ashamed of yourself ? I knew she would act right. She was sure to, or else she hadn’t got any principles. Bel. She sees the difference in your stations. How would you like to have her pointed at in your lordly mansion, by her swell friends of the Elysium ? It is all for the best ; you could never have lived happy with her. Of course, you’ll pay her liberally, and she’ll live very happily without any annoyance to you. Marker. Now, again, sir, at the game, {to Medhurst.' Med. {half aside). I shall never love anyone like her. Mor. Here, waiter, some more champagne. {Music, 11 Won’t go home till Morning.” Scene closes in.) SCENE IY. — Street in 2 d cut of ls£ grooves {if Scene 5 th is not on canvas at a drop, and is a scene in ls£ cut). Gas down . Enter Eliza, bonnet and shawl on, to r. side of d. in F. Eliza. He has not come out yet. Two Gamblers enter d. in f., and exit l. 1 e. Patience, patience ! First Gambler enters d. in f., shakes his fist through open door . First Gam. You are a gang of thieves ! Curse me, if ever I set foot within your accursed den again. It’s regular robbery. [Exit, l. 1 e., furiously . 1 Enter , D. in f., Medhurst, drunk. To c. front. Medhurst. I’ll get a bed at some hotel for the night, see a tailor in the morning, pass my head through Truefitt’s hands, and emerge in the Parks as a new man, leading a new life. Eliza. George ! {chord) Don’t be angry (r. of Medhurst, at c.) at my being here. I could not think of parting from you as I did. But is it true, what they have told me ? Must I go away from you ? Med. Yes — for a time. You shall have everything you require — money, jewels Eliza. George, not money ; do not pay me for my love. George, take me to your arms and ask me to lay down my life for your happiness and V * Medhurst. ». o/o. Morris. o. Bellingham, l. of c. and I will do it. Your embrace will give me strength, and your kiss will seal my lips forever. Med. ( embraces her). I do ask you, Eliza, dear, to save me from a fel- on’s fate. I shall never care for anyone but you. Eliza. I never loved you more, George, than now, when we must part forever. Med. Not forever Eliza. Yes, forever! I do not forget our bond, “ Till death do us part.” Farewell ; kiss me — kiss me, George ; it is for the last time. Med. ( hisses her). How cold your lips are. Eliza {half aside, going l.). They will be colder before morning, {at l.) God bless you, God bless you ! [Exit l. Med. How strange her manner is. I didn’t think sbe would have taken it so kindly. She never said a hard word to me. Ah, no one can ever love me as she has done. "Exit, r. Scene closes in . SCENE Y. — Street , in 1st cut of ls£ grooves. Gas down , Enter , r., Gordon Chumley. Chumley (c.). I cannot rest till I have seen Frank. What can have brought him to such a pitch of misery. I appointed to meet a policeman at Temple Bar*— and here he comes. Enter Pointer, l. Pointer {touches hat to Chumley). He lives, sir, at the Dry Arches, but he is to be found under the bridge. He works on the river by night. Chum. Can you guide me there 'l Point. Well, sir, it’s hardly the place to take a gentleman. The night- birds of London roost there. Chum. I don’t care. Point. Well, sir, put your watch-chain in your pocket; button up your coat ; if you have anything in your coat-pockets, take it out. Chum. All right. Will that do ? (Pointer nods.) Enter , r., Eliza, hat hanging by the ribbons behind , off her head. Eliza {crossing). Which is the way, please, to Blackfriars Bridge'? (l.) Point. Fifth turning on the right. We’re going that way. Will you have our protection 1 Eliza. Not for the world ! {runs off l.) Point. I don’t like the look of the girl ! Chum. Do you know her 'l Point. No, sir. She’s not an unfortunate — you can see that by her face. She is after no good. Come on, sir. Step out, sir. [Exit with Chumley, l. Scene changes to SCENE VI. — Arch of Bridge with view of the River Thames and St. Raul's by moonlight. Gas down in ls£, 2d and 3d entrances. Limelight to work from l. u. e. to platform l. 3 e for Eliza’s entrance there . Discover , Men, Girls and Children asleep in different spots on Stage, Crumpets c., reckoning a handful of money. Crumpets. I can’t make it out. Let’s see— woman and two children, 20 AFTER I>ARK. that’s— one and two is three— no. ( scratches his head) Children is half price ! That’s all right- Enter , l. 2 e., Area Jack: and the BARGEE, coming down steps . Jack. Have you got comfortable lodgings for two gentlemen to-night 1 Crump. Yes, mate. Jack. How much is it I Crump. A brown a nob ! only think, ven it’s a tizzy and tuppence h’oulside ! Jack. And a bath gratis in the morning. Crump. No, you don’t have any bath gratis in the morning 1 the Police have warned me that the first time they catch any of my lodgers in the water they’ll have me h’up for polluting the Thames! Enter , l. 2 e., Jem and Josey. Jem. Hab yer got accommerdation for two gen’lemens as is down on their luck to-night 'l ( comes down steps with Josey.) Jack. Hello ! here's the h’ambassadors from the Theatre R’yal, h’Abyssinia. Crump. Hain’t been lucky to-day 1 Jem. Not worth a punch in the head ! Who’ll paytronize the intellec- tual amusement when they can go into the music hall and get rough-and- tumble with a song over their swipes and pipes 1 Jack. Why for thruppence me an’ the Bargee went h’into the Elysium, and we had three ballets a selection from II Trovytory, and we heard the great Muggings sing a- Walking in the Zoo ! Jem. Ah, yah, yah ! A- Walking in the Zoo ! {sings, the others gradually joining m the chorus of “ Walking in the Zoo,” and give a few steps, finish of a break-down to it) I say, that’s what we shall come to, some of these days. I say, Crumpets, will you give u credit for the night I Crump. No ! Sleep's a cash article here. We don’t do that business on tick here ! Jem ( shoulders his banjo). Well, then, we must try the work’ us ! Jack. Oh, Isay, don't do that ! Here, here’s tuppence I got for rim- ing for carriages at the Adelphi. Jem. You’re a trump! I’ll give you a season ticket for our entertain- ment' Pass him always, Josey. (l. with Josey front ) Crum. ( receiving coin from Jack). All right. Hullo ! here’s a ha’penny too much ! it’s only a penny. Jack. A penny a head, and a ha’penny for the chambermaid. Crum. Here's your beds ! ( gives Jem and Josey beds from a pile at C.) Enter , l. 2 e., Pointer and Chumley, Pointer’s lantern lit and in his belt. Point. This is the place, sir. I don’t see that girl, though it’s sure she passed us. She must have given us the slip. Chum. Perhaps gone over the bridge. Point. Not likely, sir. ( they come down step to c ) I’ll try and find the person you seek. Jack. I say, pals ! here’s a lark ! here’s a broken-down swell come to beg a night’s doss of old Crumpets. Point. No he don’t, lie’s a gentleman, only come down to have a look around. Jack. Well, then, the gentleman ought to stand something for his footing/ ! ACT X. 21 All. That's the ticket i Point, (to Ciiumley). You’d better give them a little something, sir. Chum. Do people live here I Jack. Rayther ! should think they does! Vy, this is Bankside Hotel, unlimited ; airy rooms and the water always laid on. Point. Have any of you seen O.d Tom'? Crum. He went along the foreshore a moment ago. Point. All right. .[Exit, r. 2 e. Crum. You’ll find him in the boat. Jack. More like at the bottom of it, drunk. (All laugh.) Chum, (to Jack). Here’s half a crown for you. Here, comes Dalton. I wan’t to speak with Old Tom — an old friend of mine. If you'll keep it quiet here while we have our talk, there'll be another half crown for you. Jack. Werry good, sir. (tries com between his teeth. Whispers to Others, and all go off l. ; except Woman and Children, who remain asleep.') Pointer enters r. 2 e. Pointer. Here he is, sir ! [Exit up stairs and off l. 2 e. Enter Old Tom, r. 2 e. Chum. Dalton ! Tom (savagely). Ah ! is it for this I have been brought here I to be insulted by your commiseration. Well, you see how low I have sunk. You have seen what I do by day ; at night I sell bills at the doors of the theatres, and eke out my living after midnight by helping a man who trawls for the dead — and often I envy those dead — when I am sober enough to think of such things ! Chum. Have you no friends 1 Tom. I don’t want any ! Chum. You know what true comrades we were to one another. We shar- ed the same meals, the same tent, and when I lay for dead under the can- non on the field, it was you who flew to lift me up and carry me back to our lines, wheTe we arrived, you dripping with blood from a shot in your shoulder. Dalton, do you think I forget I Tom. No ! but I must ! Oh, Gordon, don’t harrow me with memories of the past ; don’t rouse up the devil within me, that I try to drown with drink. Chum. Would you leave me if you found me in the mire without a helping hand I You had a wife — what has become of her I Tom. What! you have not heard what became of the lovely Fanny Dalton I ha, ha! Chum. I see. She died ! Tom. You remember how she clung round my neck when we were or- dered off to the Crimea ; and how I used to weep at her letters, and the postscript that she guided our little child’s hand to write to me I Y ou called me a fool, and laughed at me. You were right. For even then she was the prey of a designing villain. When I returned home, I found that she had fled with him. He was a convicted felon, and when justice seized upon him, she was left in the work-house. Chum. And your child I Tom. No one knows what became of it — no one but that villain, whom the cares of the Government keeps from my vengeance. Oh .’ my bitter- ;st curses light on every letter in the name of Richard Knatchbull ! (r.) Chum. Knatchbull ! why that is the name of a convict that I met in AFTER DARK:. 22 Van Pieman’s Land, (aside) Ah, that face T saw at the railway station to-day. Impossible • oh, if he may have come back 7 Tom (agitated). Well, you have had your say, and I thank you. I will go back to my work — though — (looks at his shaking hands) I am iHifit for any work to-night. Chum. Good-by, Frank Tom. Good-by. [ Exit r., hanging his head in thought. Chum. I was afraid to offer him money. He might have been offended. It was better not. Enter , l., Jack, Crumpets, and the Others, as before , coming down. Enter , l. 2 e., Pointer. Chum, (to Jack). Here’s the half-crown I promised you. (to Pointer) Have you found her I Pointer No ; she must have crossed the bridge. (Chumley to foot of steps) Mr. Crumpets, mind you look after your lodgers. If any of the workmen’s tools are missing, we shall have to break up your nest ! Crumpets (lighting a pipe). All right, Sergeant ! There’s nobody fre- quents my establishment but members of the h upper ten! All. Good-by, Sergeant ! Good-night, Sergeant ! (laughs. Music, piano, long sostenato chords on violin, during the following till direction.) Jack. What a h’orful draft comes in here ! Crumpets, you r’ally oughter hang up curtings in the arch ! you’ll spile my woice next ! (lies down on steps , sings drowsily air of 11 All round my Hat”) All round the squares, I lugs a pair of babbies ; all round the squares, of a quiet arter- noon ; when I sees the people passing by I pinches them fe-ro-ciously ! which makes them blessed babbies cry, and (sleepily) sympathy is riz ! (asleep, mumbles) Sympathy is riz. (All asleep , pause. 3foonlight to l. 3 e. platfotm. Enter , l. 2 e., and to platform l. 3 e., Eliza suddenly. Eliza. Oh, merciful heavens, forgive me for what I am doing ! fare- well, George ! farewell wicked world, it is for his sake ! his sake, (leaps down and exits unseen l. 3 e. Boat ready to work on r. 3 e.) Jem (rises). What’s that I Crump, (rises). Where 7 what 7 (all wake up, lively music.) Jack. Something in the water, (all up c., grouped picturesquely) It’s a woman ! Enter , r., in boat , Tom. Crump. Hunt up a rope somewhere! Tom. It’s all right, I am here ! (all cheer.) QUICK CURTAIN. If Curtain is called up, discover Eliza fainted in Tom’s arms, in boat at c. ACT II. SCENE I . — Arched Vault under a Street, in 3d grooves. Gas up. Discover Eliza sleeping on bed in r. vault. Tom seated at r. c., by barrel , drinking. Tom. I wonder who she is 7 She is not a servant-girl, her hands do Acr Hi { £3 ^ no! Show sigtig 6f Wdrk, Shd is not a Seamstress* Her' firlger# shew no marks of the needle. I wonder What made her do it 1 Eliza (in her sleep); George ! Farewell, George l Tom. Ah < That’s it i George is at the bottom of it, whoever he is. Ever since nine days ago when I picked her out of the Thames, nothing save that name “ George ” has passed her lips* 1 Me?) n., Chumey, ChuM, Dalton, I received your message, and T have come; Tom (rises). You are come to my mansion. Chum Do you live here ? Tom Now that they let me. At first I was worried out of it by the overseer of the parish, but whenever I came out of prison, I came back to here. I told him he would get tired of it before I did. So here I am. Chum. Well, you want me to assist you ? Tom. No, not me ! It’s that poor girl there. Nine days ago I fished her out of the Thames, and she has lain there ever since. It was not love that drove her to it, for there is her wedding-ring on her finger j i( was not want, for she had one pound seven odd in her pockets. Chum. What can I do with her 'l Tom. I don’t know. I thought that you might know of some situation for her. Chum. Without a character 'l I have no knowledge of her but such as you give. Tom. I’m a nice looking article to recommend anybody ! Chum. Stay ! now I think of it, I do know a lady who is in want of a person ; she is about to be married. Tom. Not to you, I hope 7 Chum. No! Tom. That’s right. Chum. I wish she was, for I love her ! Tom. And you think she will take herl Chum. Yes, I shall see her to-day, and if your charge will come to her — here’s her address — ( puts card on barrel-head) I am pretty sure she will not have to return. And now. Dalton, can I do nothing for you I Tom. No 1 I have nothing to live for. Chum. Not even your daughter ? Tom. I have buried my last hope of ever finding her. Chum. Then I will dig it up — and revive it ! (Tom shows interest in what follows) I have not been idle since I last saw you. 1 remembered that I had seen a convict of the name of your wronger in Australia. I inquired about him, and found that he escaped. I traced him from place to place, till I found that he was in New Orleans, where he joined the Confederate Army in 63. The record says that he fell among the killed at the battle of Harper’s Ferry. Tom (bitterly). Ah ! he died like a brave soldier — while I — shall perish like a dog Chum. No. he was not killed. Among the Southern officers who sought refuge in London, I know one General Freemantle. I went to him. He remembered Knatchbull, who had been in his corps, attached to him. In the action, the two had been thrown down by the explosion of the same shell, but both rose unhurt, save that Knatchbull lost a por- tion of his left ear ! Tom. Fate set the felon’s mark on him after all. Chum. If I am not much mistaken he is at this moment in London. If 24 AFTER DARK. so, do not fear, T am ltl the same cage as the reptile, and he cannot es- cape. Leave him to me, and I’ll give you a good account of him. ( Exit , L. Tom. Knatchbull alive ! Knatchbull here ! here ? I may have passed him in the street, {seated up r. c., as before ) looked him in the face 1 Oh, if I had his throat within the grip of these fingers as now ( takes up pewter pot) I grasp this pewter measure, I would — {squeezes pot out of shape) No. I didn t mean to spoil you, old fellow, {sets down the pot) Pah ! a gorilla could Irave done as much. Can you take the demon in that bottle and strangle him ! Yes, I can. I’ll — I’ll give up drink. (Eliza gradually wakes , pushes hair from her eyes , presses her forehead, etc.) I — I mean I will try. I ll — I’ll do it ! I will, by degrees. ( about to drink.) Eliza {rises). Oh, sir! don't, {seizes bottle.) Tom {rises). Leave go ' ( struggle ) I must have it. Eliza, Don’t, you hurt me (Tom lets go bottle , she flings it off's, .) Tom {falls into seat , shaking tearfully). I am a brute. Eliza. No ! Tom. I am a brute. Eliza. No, you are not. You have a good heart under these rags. I esteem you now, but I should love you if — if — Tom. If I did not drink ! Eliza. I cannot feel for you all the interest that you deserve ; but I hope to see you worthy of more than my gratitude some day, soon. After Dark the light will come Tom. I was speaking to a friend about you, my girl; and he has given me this address as one useful to you. Eliza ( takes card). ‘ Miss Egerton, the Lilacs.” Tom. That lady will take you into her service, I hope There you will find a home. This place is not for such as you — I did not pick you up out of the Thames to make you the drudge of a drunken beggar. Pack up your things, my girl ; it is a good way off, and you must be there this afternoon, {after Eliza gets shawl , etc., to make a bundle , Tom closes the sailcloth over arch for the change cf scene. Eliza to r. fronts kneeling, packs bundle) You will write to me sometimes 7 Eliza Oh, often! Tom. What name will you go by 1 Eliza. It little matters now that he has deprived me of the one he gave me. You can call me Fanny Dalton. Tom {starts , excitedly). Fanny Dalton' What! is that your name ! Eliza. It seems familiar to me — it must have been that of one that I held dear in my childhood. Tom {with emotion). Your mother — does she live ! Eliza. No; she died in the St. Pancras Work-house, ten years ago. Tom. And your father — your father 1 Eliza. I never knew him. 1 only know the man who stole my mother from him only to let her die in misery. Tom How was he called ? Eliza. Richard Knatchbull. Tom {aside). Richard Knatchbull ! It is my own child ! Eliza. Why do you look (rises) at me like that I Tom {aside). My child ! and I feel ashamed to own who I am. I am afraid to ask her to come to the arms of this drunkard, clothed in rags ! Ashamed, ashamed ! Eliza What is the matter! Tom. Oh, don’t be frightened, I shall not hurt you again l Go on your way ; I will follow you — but at a distance ; you shall not be dis- graced. by the company of me. ACT II. 25 Eliza. Oh, never ! Tom. Some day, when I shall have other clothes, if I come to you, you will see me sometimes ? You have pity for me now, but in time you will learn something better — you will learn to love me — as if I were in- deed your father ? Eliza. You deserve that name ! Tom. Not yet, not yet ! but by the help of Heaven I will work to gain it. ( sudienly kisses Eliza’s hand) Don’t be alarmed. Go on — I will fol- low you ! go on, go on ! (exit Eliza r.) Oh ! (sob) She was right. After dark the light has come. [Exit, r. Scene changes to SCENE II. — Villa and garden in 6th grooves. Bell rings off r. Enter , r. u. e. ; Bellingham and Morris, Bel. This is the place. Mor. And a fine place it ish Servant enters from d. in house , set front. Bel. Is Sir George Medhurst at home? (Servant Take in my card. [Exit Servant with card, d. in house. Mor. I say, don’t he live in clover here ? Such a beautiful garden ! Why Cremorne is not a figure to it. Bel. Ah, I was born to this sort of thing. I feel at home here. I ex- pand with each breath of the air. Mor. Well, I don’t! It’s too much for me — I’m taken with a pain in the stomach, like I had been out riding. Bel. Give me such a place and the money to keep it up ! Mor. Ah, I should like some one else to keep it up for me ! Enter, d. in house, Medhurst.* Med. So you have penetrated to this place of peace ? You have come to me. What do you want ? Bel. We come now because we did not like to wait longer. It is best to see you on the eve of your marriage. Med. 1 know what you would say, but -go on. Bel. Here is (produces paper) an order for your banker to sell out the stock he has in his hands to the amount of your indebtedness to us. Med. (takes paper). I cannot give you the answer now Bel. Ob, any time before the ceremony. We are in no hurry. Be- sides, we can take advantage of the interval to make the acquaintance of your charming bride. Med. Never ! There is some excuse for your accosting me in my own house ; but there is none to pollute by your presence the lady who is to be my bride. Bel. What ! madness makes you speak like this ! Med. No! it is remorse that makes me speak. Bel. Remorse ! that’s the word of a fool. What has remorse to do with a man who has had all obstacles swept from his path ? *Med. l Bel, 0 . Morris, -V i AFTER DARK. 26 Mon. Remorse ! (aside) When he was poor, he was ready for anything, but now he is rich, he is getting pertickler ! Bel. Well, as you please. There is the paper — sign it and be free of us. Med. Yes, I shall be free from you, but how can I be free from her ? She is dead — she died as much murdered by us as though our own hands had thrust her into the grave. In the night I see her again, and I hear from her icy lips, in a cold breath like that of the dead : “ For your sake, George, for your sake !” ( cross to r. excitedly , and return , up c.) Poor Eliza ! Bel. (sneering). “Poor Eliza!” Pah! are you going to hang her round your neck like a chaplet, forever I Pshaw, man, it’s the change in your living ! (Medhurst falls seated on garden chair , his face in his hand.) It’s your digestion out of order! Mor. Yesh, yesh, it’sh not the mind, it’sh the stomach ! Bel. You are behind the age ; science has done away with all that ancient delicateness. You must not think of remorse ; it is simply nausea. Med. (rises). I am in no mood to speak with you. Leave me now. I will meet you in the shrubbery. Mor. (to Bellingham). What ish the matter with him I Bel. (to Morris). He is a whining cur, and we’ll be lucky to have done with him. (to Medhurst) We will expect your coming. [Exit with Morris, l. 4 e. Med. I have made my own taskmasters, and heavy as is the debt, alas, it must be paid. ‘ Enter , d. in house , Rose Egerton. 1 Rose (crossing to Medhurst, l.). Dear George, you look sad; you are not displeased with mel I wish I could be more kind. Med. You unkind, Rose I Rose. You seem to see the approach of our marriage with regret. Might it not be arranged that I should not be your wife 1 Med. No, no ! I do not shrink from it. On the contrary, I wish you to be my wife. Love me, Rose, love me even more, and (aside) perhaps she whom I have wronged will forgive me for your sake. Enter, r. u. e., Chumley. Med. I must — I will try to throw off my gloominess, (embraces Rose.) Chum, (aside). There they are. I asked Rose to be more kind to him, but she is carrying out my instructions with more fidelity than I could wish, (coms's down) T am not intruding I Med. (rises). Certainly not. Chum. I have obeyed you, and brought that bracelet, (gives Rose jewel-case ) You will see what a good likeness it is of George it contains. Rose (opens case). Oh, how beautiful ! (to Medhurst) Oh, have I again to thank you for something I (to Chumley*) Now, you never give me anything. Chum, (sadly, aside). Have not 1 1 (aloud) Well, I will give you some- thing. You were in need of a servant. Has anybody in the neighbor- hood made an application I Rose. No. * Rose. r. o. Chumley. o. Medhurst. L. O. ACT II. 27 Chum. Then there will be one come to-day whom I will leave to your kind heart. Rose. What is she 7 Chum. I know nothing of her, except her misfortunes, which must have been great. Rose ( crossing to l.). Oh, George, can we take such a person into our house 7 Med. What, Rose 7 A poor creature has lost her way in the storm, and comes to our door, and shall we refuse to let her in because the night is too dark, and she is too poor to enter our splendid house 7 No. Take her in ; and we shall not repent it. Chum. Then she may depend upon having the situation 7 Rose (to r.). Yes, and I shall be glad of her services. My rooms are so overcrowded with wedding finery that it has overflowed into the par- lor, and thence to the library (at r. d. in house , laughingly ), from which places you are duly warned, under penalty of crushing a crinoline or sitting down on a bonnet. [Exit, R. d. in house. Chum. I wanted to speak with you, George. There were two men passed me at the railway station. They came this way. Have they called 7 (Medhurst nods) I hope you have shaken them off. Med. I cannot. I am in their power. Chum. I feared as much. May T be so bold as to inquire 7 Med. You may know all. Tempted by Dicey Morris, in his gambling- house, in a fit of drunken desperation, I forged my father’s name. Chum. And these rascals hold the forgery 7 Med. Yes. Here is a paper which I have but to sign to have that evidence of my guilt restored to me. Chum, (takes paper). You shall do no such thing. Med. Eh 7 ? Chum. Leave me to deal with these rascals. You shall not be ruined ^ by them. Med. What have I done to deserve your interest 7 Chum. You 7 nothing. But I wish her life to be shared with a man whom no one will be able to reproach. I wish her unclouded happiness — for I love her ! Med. You ! Chum. Yes, George, I love her, and with a love so pure that no better proof of its spotlessness can be given than my fearlessness to tell it to you. We are rivals ! Med. Rivals ! and yet you would save me from the consequences of my own crime 1 Ciium. Yes. She says that “ I gave her nothing.” But I shall give her your name, cleared forever from disgrace. Med. Oh ! it shall never be disgraced again ! Chum. For her sake, George, I expect you to keep your word, (they shake hands) Good-by, George. [Exit George, k. d. in house. Enter , r. u. e., Eliza. Chum, (aside). Now, how am I to deal with these villains 7 Eliza. I beg your pardon, sir, but I found the garden-gate open, and 1 came in. Can I see Miss Egerton 7 Chum, (aside). This is she. It is an honest, suffering face, (aloud) The lady will see you at once. I beg you to be seated. Eliza. I beg pardon, sir, I am not the person that you take me for. Chum. Nay, I never make mistakes on such things, I hope. I always 28 AFTER DARK. recognize the gentlewoman, however misfortune may disguise her. {to r. d. in house , speaks to Servant within , who goes off r.) Enter Rose, r. d. in house. Chum. This is the person of whom I spoke, {to Eliza) This is the lady. [ Exit, r. d. in house. Rose.* Poor girl ! ( takes seat r. c.) you look very wearied and dusty. Eliza {faintly). I have walked all the way from Waterloo Bridge. I have been ill, and I am not yet strong. Rose. You wish to enter my service ; what can you do 1 Eliza. I can be faithful, obedient and grateful. Rose {smiles). You have evidently not been accustomed to service. Eliza. No, madam. I — I never was — ah ! I am faint, {hand to fore- head.) Rose {rises). Oh! {supports Eliza) how thoughtless I am. {places Eliza in seat) Don’t cry ! There is something in your manner that as- sures me that you will be invaluable to me — oh ! do not give way to tears thus. Eliza. How can I thank you 7 Such kindness from the hands of strangers makes the coldness of those who were dear to me in times past, seem all the more painful by constrast. Rose. Dry your tears. Come with me — you must not be seen in this dress. Eliza. I have no other, {rises.) Rose. Oh, I beg your pardon. Never mind; we’ll find some of my dresses to replace those poor garments of yours, {music.) [Exit Eliza, leaning on Rose, r. d. in house. Scene closes in. SCENE III. — Garden-wall in 1st grooves. Enter , d. in f., Old Tom. Tom. I have seen her in. Bless her that took her to her. I followed her all the way down here. And now to work — to work ! till I can feel like her father. What a nice place ! how good it smells ! IIow I envy the birds that flit about from tree to tree, and even the vermin that lie out under the shade, {goes l.) Eh 7 I see two figures coming this way. Surely that can’t be Morris! Dicey Morris here'? {hides himself , betwe en wing and scene ) f ^ Bellingham and Morris enter lA — .... ..I. Bellingham. He seems a long time about that paper' Mor. I am not inquisitive, Mr. Bellingham, Jmt howjsjit 'to" be man- aged I __ Bel. I see no difficulty; I present the check and get the money.^, Mor. Look here ! It’s not that I don’t trust you — wish you may die if I do ! but <£5,000 is an awful hatful of money to be in one man’s pocket. It might dazzle hish eyesh v and make himjorget he had a part- ner. Bel. Pshaw l , ^ ^ Mor. I’ll tell you how to do it. Just tear the check in half — each * Rose. Eliza. v Jl. c. c. V - ACT II. 29 keep a piece, and paste it together when we want it cashed — you under- stand 'i Bel. Where in the geological formation of my character do you see any evidence of the vein of green that you are apparently in the thought of working 'l Mor ( passionately ). See here, Mr. Bellingham, yo* are putting on airsh ! and I won’t shtand them — wish I may die if I do ! I hold the capital — that ish the forgery, don’t I 7 Well then ! Bel. Then allow me to open your eyes, Mr. Morris. You hold the forgery 1 ( produces paper ) I beg your pardon j here is the document. {keeps it up out of Morris’s reach.) Mor. {amazed). What ish that 1 Sen’ I may live. Look here ; why I put that in the hands of my banker for safety. Bel. Exactly. By my suggestion. Mor. Ye — yesh ! it was by your suggestion. Chandos, my boy, you have not been robbing the bank, have you 7 Bel. No. Mor. That’sh a consolation. Bel. I simply presented myself at the banker’s, said I was Sir John Med hurst, and wanted to pay an over due bill of mine. I paid the money and obtained the bill — quite in the regular way of business. You called me the junior partner. Why, damme ! I constitute the whole firm. Mor. To be sure ! That’sh quite right, quite right. Chandos, my dear, you wouldn’t go back on an old friend, would you 'l Bel. Go to the station ; I’ll meet you there to leave for London. Mor. All right, all right ! I'm to wait for you at the station 'l Bel. Yes. Go, for I see him coming. [Morris exits d. in f. Enter , l., Chumlev. Chumley. Good-day, sir. Bel. I expected to see Sir George Medhurst. Chum. I know it. But you see me instead. Bel. It was a matter private and important. Chum. I know that ; but still I believe Sir George will not lose bv my intermediation. Bel. {carelessly). I should say not. Chum. I act just as if it were himself. Can you spare me five min- utes 'l Bel. Five minutes 1 no more ; for I must catch the train that leaves *br town in ten minutes, (r. c.) Ciium. I will bo as brief as I can. Sir George has told me by what means he is in the power of Mr. Morris and yourself. Bel. {half -aside). The more fool he ! Ciium. Perhaps we shall alter our opinion on that point before our con- ve: sation is finished. / ' Bel. You know the terms 7 , ^ Ciium. YesjJbut we will only payjjouble what is on the face of the note. Bel. Mr. Morris would never listen to such a proposition.' Chum. Then Mr. Morris mistakes the value of the paper. I rely upon you to undeceive him. Bel. Upon me 'l your confidence does me honor ! Chum. You flatter me. Bel. Not at all ; I listen to you. Chum. I do not forget your perspicuity as shown on other occasions. Bel. “ On other oceasions 'l ” I beg your pardon. 30 AFTER DARK. Ciium. Yes ; seven years ago, I was stationed at Melbourne. (Belling- ham is at first uneasy , then smiles , and afterwards listens coolly ) I was or- dered out to assist the constabulary in the arrest of a notorious bush- ranges, one Richard Knatchbull ! Bel. Richard Knatchbull ? Ah ! and you — a — caught him ? Chum. Ye — es ! we caught him. And while we held him in custody, curiosity impelled me to inspect the wild beast ! Bel. And I suppose you think him like me 1 Chum. Yes; very like you ! The first time that I met you since, at the railway station, I recognized Bel. His features on my face : Ah, poor Dick ! (Chumley is amazed) my elder brother, sir. He has been my ruin ; his reputation has blasted mine; and caused me to live under a false name. So you caught him * You hung him of course ! Chum. No, he escaped. Bel. Did he, indeed ! Ah, he has as many lives as a cgt. Chum. I beg your pardon, Mr. Bellingham. I really thought you were the fellow, and meant to use that belief as a weapon on you. Bel. I saw you did ! But never mind apologies. It is my misfor- tune, not your fault! Chum. I am very sorry that you are not the other scoundrel ! Bel. Don’t mention it. Ciium. But to business ; Sir George will give £5,000 to be released. Bel. My partner would never think of such an idea ! Chum. Six thousand I Bel. It is hopeless! Chum. Eight thousand 'l Bel. It is useless to mention it! Chum. As a last sum, ten thousand I Bel. You are losing time, and shall I miss the train. I have ( watch out ) but five minutes to reach the station. Chum. ( watch out ) You have lost it. Your watch is stopped. Bel. (puts watch to right ear). No. Chum. Why do you test it by your right earl because Richard Knatchbull lost his left ear at Harper’s Ferry. Bel. Checkmate! the game is yours! You have mistaken your pro- fession. Chum. I am a soldier. Bel. Nature has richly endowed you for that of a detective officer. Well, I think you mentioned ten thousand pounds 'I Chum. Sir George would never think of such an idea# Bel. Eight thousand 1 Chum. It is useless to mention it. Bel. Six thousand 1 Chum. Quite hopeless, I assure you. Bel. Then what are your terms 1 Chum. Double that on the face of the note. Bel. If I accept them, you will make no use of the secret in your hands ? Chum. Safety for safety ! When and where shall I have the pleasure to see you ? Bel. At the Elysium Music Hall, in the Broadway, Westminster, to- night. Chum. I will come. , [Exit, i* Morris enters d. in f. Bel. Ah ! you here 1 you have overheard 1 : ACT It. 8 i Mor. Every blessed word! Bel. He will come to the Elysium — he will bring the money with him. You can have nobody within your doors but those you can depend upon. Mor. I know, a private benefit — no one without a ticket. All right. [Exit, d. in f. Bel. And till then, Mr. Gordon Chumley, I’ll not lose sight of you ! [Exit, d. in f. Enter Tom, r. Tom (in d. in f.). And I of you, Richard Knatchbull ! [Exit } d. in f. Scene changes to SCENE IY. — Interior in £th grooves. Discover Rose seated at dressing-table , up c. Rose. She has told me all. And what a story ! What are my sor- rows compared to hers ? Poor soul! so unused to kindness that one gentle word melts her to tears. Enter, r. d., Eliza. Rose (rises). Oh, Eliza ! what a change. Who could make a servant of that? Why, you look as much of a lady as 1 do — a good deal more, I dare say. Eliza (l front). I shall try to be more humble. Rose. I don’t mean that. Eliza. I am not accustomed to this life, madam. Rose. Any one can see that. Do you write a good hand? Eliza. I believe so. I used to copy music when I was employed in a French printing office. Rose. Do you speak French ? Eliza. Yes, madam. Rose. And to copy music you must understand it ? Eliza. I have not. practised for a long while. Rose. And, pray, have you any other accomplishments. Eliza. I can read a little Italian. Rose. Dear me ! I can’t have one for servant who would smile at my attempts to murder Mendelsohn, and who is, I dessay, more familiar with Moliere and Dante than I am with Marshall & Snellgrove !* Oh, what am I to do with her ? where am I to put her ? (walking across to r. an l up c., wringing her hands in playful distress .) Eliza. Oh, don’t send me away. Rose (goes to her, up c.). Send you away ! Oh, you great goose. No, you shan’t be my servant, except to the household in appearance ; but when we are together, as now, you shall be my friend. Yes, we shall be friends, shan’t we ? (makes Eliza take chair ; she kneels beside her ) In the first place, (pretending to cry ) I am going to be married. Isn’t it dread- ful ? Eliza. I wish you much joy. Rose. And my husband — I hope you’ll like him. I think you will, for he is much like you — I mean in manner ; he is so grave and reserved. * “ Marshall & Snellgrove,” a fashionable London dry-goods store. 32 AFTER PARK. He’s my cousin, and we have been betrothed almost since childhood. Poor George ! Eliza (starts). Is hie name George 1 Rose. Yes. George. Don’t you like it? Oh, he’s so generous to me. Only look at all the things I have ! see here ! (takes up necklace) 1 won- der how you would look in it. (puts necklace on Eliza) Oh, Leautiful ! the diamonds look like petrified tears! What's that! off again 7 You are crying. Oh ! Look at this — nice bracelet, isn’t it ? (gives bracelet to Eliza while she arranges veil upon her) There’s his likeness in that ; see if you can find the secret spring. Eliza. No, I cannot find it. Rose. Do you see that ruby heart ? Press on that, and the loving giver will appear. (Eliza stai'ts, opening bracelet) Well ? Eliza. Oh L Who is this ? Rose. My husband, Sir George Medhurst ! (Eltza hangs her head. Enter , l. d., Servant. Servant. Captain Chumley wishes to speak to you, ma’am, before he leaves for London. Rose. Tell him that I will be with him presently. [Exit Servant, l.d. Stay here, dear. I shall not be gone long. [Exit. l. d. Eliza (r.scs). My husband here ! I am under his roof! And she, for whom I have been discarded — she has been kind to me. (tears of veil and necklace and throws thejn up r. c.) Oh, I must leave this place at once. I will go and change this dress for my old clothes, and — (up l. c.) Is this window open ? Yes. I — ah ! some one approaches. Oh ! (stag- gers to chair up ii. c. by table , as before) my husband, (falls, seated , sobbing throughout the following) Oh, oh ! Enter , l. u. e., and by window , l. in f., Medhurst ; comes down , keeping his shadow on Eliza till she rises. Med. (with feeling). Oh, Rose, dear Rose ! 1 have come to tell you what I can keep hidden no longer. You were right when you said that I saw the approach of our wedding-day with aversion. I do not love you — for another has possession of my heart. I ask forgiveness of you — but, oh ! I can never ask forgiveness of her. She is gone — I have murdered her. Eliza (faintly). Spare me, oh, spare me ! Med. And not till that time did 1 know how she loved me. How did she love me ? To the greatest, for she died for me. Oh, can you for- give me 1 Enter , l. d., Rose. Rose. George ! Med. Rose ! you here ? Who is this, then ? (Eliza rises , and he re- cedes to let light fall on her) Oh, my wife ! Eliza. Medhurst. ^ose. r. c. c. l. c. curtain ( music .) ACT III. 33 ACT III. SCENE I. — Interior , Music Hall . Discover Audience, Marker and Party playing billiards , l., Morris, r. c., Crumpets at r. front table, with pack of cards. Jem and Josey, dancing on miniature stage , negro breakdown. Dance ends ; J em and Josey make comic exit. Audience. Order ! encore ! ’core, ’core ! order ! Chairman. Ladies and gentlemen : the rules and regulations of this establishment is that there is no ang-cores. ( sits down, takes a Girl on his knee , and she drinks out of his glass etc.) Audience ( murmur ). Oh, oh ! (Waiter goes round.) Waiter. Give your orders, gen’lemen. Marker. Are they all let I No! here you are! who’s in for dark blue? Enter , d. in f., Area Jack. Jack. Stop a bit ! {to l. c.) How are you playing I Mar. Pool — it’s two shilling’ ; tuppence a life. Jack. Tuppence a life ! Vv, I wouldn’t give tuppence for the life of anybody in the room. ( takes hold of his cravat and imitates hanging by it) Well, what’s for me I Dark blue? I’ll take three to one on dark blue. {sings) “ Oh, the dark girl dressed in blue ; the girl dressed in dark blue ■ — oo — oo ! Mor. Hold your row, hold your row, can’t you ? Do you think you are in a public-house ? {goes up.) Crump. Here, who’ll take a hand ? Jack {cue in hand , crosses to r c.). Want one, old pal? Take me! {sits at Crumpets’ table and they shuffle cards.) Mor. {comes down to pack). Here, here! this sort of thing won’t do — it won’t do, I tell you — I can’t allow games of chance ! Jack {playing). Game of chance ! it ain’t no game of chance ! Why Crumpets’ play reduces it to certainty ! Mar. Now then, who’s turn ? First Player. Here you are, dark blue ! Mar. Oh! he ain’t satisfied unless he’s playing pool and cribbage at the same time. Jack {rises, goes l. to billiard table). Dark blue wanted ? Make way for indigo! where am I? poor thing. Hold open your pockets till I take my play, {plays his ball) Oh, what have I done, {comic distress) I’ve hopped myself over the pocket. Chairman (rises). Ladies and Gentleman, will have the honor of appearing before you as the original Introduces song in character. All join in chorus , pound on table with billiard cues , glass and fists. Mor. (r. c.). What’s Bellingham about — what’s he about? I can’t make him out. I wonder where he is. Enter , d. in f., Bellingham. Mor. Ah, Chandos, my boy ! Here you are at last. Bel. (r. c.). Are you sure of these people? u AFTER DARK. Mok. Of every one of them. They’re all picked men ; they’ve all been “ in trouble.” (Jack goes l. to billiard- table') Look here, Bellingham, lam not inquisitive, but 1 don't understand what’s going on. Bel. There’s no need for you to understand. Mor. You have asked Mr. Chumley to come here. He’ll bring the police at his heelsh. Bel. No, he will not let the police into the secret; that would be be- traying Medhurst. Mor. What do you mean to do ? Bel. Chumley will bring the money with him. He shall have the paper, and yet he shall not go away with it. Mor. It’s a puzzle. Bel. Last year you concealed Jem Morgan on these premises when the police were hot after him. Mor. Yes. Bel. How ? Mor. There was a hole in the wall that led out on the tunnel of the underground railway — it only needed a little work to make it large enough for him to creep out. Bel. Is that hole there still ? Mor. Not likely. I bricked it all up again. Bel. It must be opened once more ! Mar. Dark blue goes ! Jack Let me in. Oh, I pass. ( pretends to faint in Crumpets’ arms.) Mar. You can make a star. Jack ( hopefully ). A star! Oh, oh ! my own, my gee-yiding star! Bel (toe.). What’s the game, Jack? Playing for coppers! Pah! There ! (throws gold coin on billiard-table) there’s a pool for you ! All. Thank’ee, sir. Bel. Waiter, two glasses; my friend is to come yet. And take glasses round behind the scenes. Gentlemen, while I remain here, nobody shall pay for anything ! Crump, (r., table). Waiter, a bottle of the best brandy and a box of cigars ! Waiter gets things , goes off l. 1 e., with waiter of glasses, and returns dur- ing following. Man go$s to d. m f .,as Doorkeeper. The Girls and some Men go out d. in f., gradually, after business of their taking leave of their friends. Crumpets goes up c. Bellingham takes wp a glass from r. table, and pours from a vial into it; then turns the glass around to coat the inside with the liquid. Mor. What are you doing ? Bel. This is a solution of morphine— you see these ten drops? Mor. I can’t say as I do. Bel. I have spread it over the inside of the tumbler. Mor. Have you, indeed ? Bel He will have a glass with me before parting. In an instant the drug will set to work, and he will be benumbed and fall insensible into our power. Mor. Then what will we do with him ? Bel Little, yet much. There will appear in the newspaper to-mor- row an account of the fatal accident on the Metropolitan Railway : a gentleman who had wandered from the street, in a state of intoxication, was found dead on the line. Mor. Don’t! you put me in a cold shiver. ACT III. 85 Tom opens d. in f. Doorkeeper stops him . ToM. Who won’t let me in ? ( drunkenly ) I will come in. ( scuffle . Tom enters) Now, then, who’s going to stop me going into a public house 1 Who’ll turn me out 1 (c.) Mor. ( excited , to Bellingham). Look at that! What will we do with this fellow 1 what will we do with him 1 what will we do I Bel. Is he one of us I Mor. No, not exactly. (Tom is caught by Jack and Crumpets, who carry him to seat up R.) Bel. Give him some liquor, waiter. (< goes up, looks at Tom, who mutters drunkenly to himself) Oh, he’s more than half drunk already ; another glass will make him put his shutters up. ( comes down) He won’t be in the way. Chumley opens d. m f. ; and speaks with Doorkeeper. Mor. Doorkeeper). It s quite right — quite right. Let the gen- tleman come in. You might have known that. (Chumley comes down r. c.) Bel. \to Jack). Go round and tell your comrades that there is a de- tective in the room who is in want of one of them. (Jack and Crumpets and Morris speak with others, who nod and display signs of uneasiness.) Chum. This is rather a curious place for an appointment. Bel. Yes ; but it belongs to my friend Morris, who refuses to let the document out of his possession. By the way, it’s the custom for strangers to spend something for the good of the house. I can’t recom- mend the wine, but the brandy is prime. Waiter, clean glasses. (Wait- er clears the r. front table, but replaces a glass and the one which Belling- ham poisoned. Bellingham and Chumley take seat r. and l. at front of t'dble) There is the document. ( produces paper.) Chum. May I examine it I Bel. Certainly. Mor. {to Doorkeeper). Mind, don’t let anybody in without a ticket. (Bellingham and Chumley drink. Chumley coughs several times during following, as if the liquor hurt his throat.) Bel. You see it is all regular. Chum. It looks genuine enough, {cough) Ah ! All right. There is your money, {gives notes, which Bellingham counts. Chumley gets sleepy, drinks again, hangs his head, lifts it with an effort, presses lvis forehead.) Bel. {aside). So far, so well, {puts up notes. Chumley puts the paper in pocket-book, and then in coat breast-pocket slowly. Bellingham drinks) To our next merry meeting. Chum. I hope not. Bel. As you please. Let Sir George Medhurst know at once ; don’t deprive him of the news that he is free. Chum, {rises). I think I mus — I think I must — I go ! I — I feel queer — give me a glass of water, {supports himself by chair.) Bel. Waiter, glass of ice-water for this gentleman. (Waiter brings glass , Chumley hardly drinks. Waiter takes away glass ; Chumley faUs down into chair , his hat rolling under table) Cover me. Dice} r . {bends over Chumley to take his pocket-book, Morris on his left, before him.) Mar. Round on your player. Play on the red ball. Bel. {flourishes book). All right; it is safe in my possession. Tom {starts up, snatches book from Bellingham). Safer in mine! (Bel- lingham and Morris strike attitude of astonishment.) Mor, What does this mean ? m AFTER DARK. Tom (to c., up). It means that I have frustrated your villainy. Bel. Are you mad 7 Tom. You must be. Mor. What are you doing 1 * Tom. This is one of the crimes so frequent now ; not the open robbery in the day, but done in some hidden den, after dark. But 1 have spoilt your work. Bel. Will you give up that pocket-book or not 7 Tom. I will hand it over to the police. (Morris motions Jack and Crumpets to go to d. in f.) Would you undertake to detain me in a pub- lic place I (goes to d. in f.) Stand aside ! (Jack jerks his thumb over his left shoulder significantly ; Crumpets winks) Ah! I see you would keep me a prisoner, (staggers to c., up.) Bel. Will you return that book I Tom. Never ! (to Players, l.) Friends, these men would have com- mitted a robbery — you will help me. Mar. Round on your player. Tom (aside). They don’t heed me ; they disregard me. Oh, where am 1 1 Bel. Are you satisfied now 7 return that property. Tom. No. There are houses close by ; my voice will attract notice. Help, help! police, police! (Jack and others sing “Not for Joseph” chorus, very noisily, and hammer on stage with cues, etc., drowning Tom’s cries.) Bel. You will have it ! (Tom grapples him. Jack and Crumpets’ put bag over Tom’s head and carry him off r. Chumley has fallen under table r. front, insensible. Knocking d. in F.) All (m a whisper). The police ! Mor. (to Waiter). Take these glasses away. (Waiter^s so, Morris signs for Doorkeeper to open door.) Police enter d. in f. First Policeman. What’s all the row about! Bel. (looking down on Chumley, at his feet). Ha, ha, nothing ! only my friend here has been dining out and — ha, ha, wanted to fight, but he’s quiet now. Mor. Oh, it’s quite right, officer, it’s a benefit for a benevolent object. Depend upon it, it’s all right ! [Exit Police. All. (sneeringly). Good-night, Sergeant, (laugh) Ha, ha, ha ! Jack. All’s serene ! (all dance , “ Not for Joseph.”) Scene closes in. SCENE II.— Cellar in Is* grooves . Gas down. Enter , l., Tom. Tom. Caged, trapped by the villains ! Oh, Gordon Chumley, what have they done with him, since they dragged me here. Where am I . Oh, that fiend Knatchbull. After I had dogged him to this place, and then to lose him at the hour of triumph. Is there no means of escape from this place? (whistle, sound of train approaching , R.) W hats that! (run train R. to L. and off over platform ; sees air-hole in flat) I may be able to climb up and look out. (looks out of hole) It looks ike a long da, k street, with green and red lights in the distance. Oh, I know it, I know it now It is the underground railway, (comes down from steps, light, ACT IV. 37 shown l. 2 e.) What’s that 1 a light in the adjoining cellar. A door ! some one is in the next cellar. Surely that is Dicey’s voice. I may hear what he says. Ah ! a keyhole ! Morris and Knatchbull. What are they car- rying between them 'l The body of a man ! Oh, it is Gordon — Gordon Chumley. They have murdered him and have brought him hereto bury him. What is it they are saying 1 “ Is the hole large enough 1” And Morris says : “ Yes.” Knatchbull speaks : “ Is the line clear V I hear footsteps returning. Ah, what do they say I “ Brick up the hole again !” Ah ! they have thrown the insensible man into some hole or blind well ! ( light removed ) I must escape from this. What’s this under my hand 1 a bar ! a fastening to the door. ( seizes bar ) Come on, come on ! ( through his set teeth — breaks bar away ) Ah ! With this 1 can make the hole larger and escape. To work, Frank Dalton, to work ! I must first find a barrel, or something to stand on to work. Here, here ! [Exit l., groping with bar before him . Scene changes to SCENE III. — Discover Tom at hole l. in fiat , working with bar to widen it ; Chumley on track l. c. Tom. I have got the bricks out — nearly room enough to squeeze through. {suddenly) What’s that lying on the line ! it does not move, yet it looks like a man. Ah, it is Gordon Chumley ! {bell rings faintly , then loudly , whistle , same ; the sound of train approaching begins and is continued till end . Get train ready , r. u. e. Music to correspond ) I must be free now. Gor- don, I am here, I am here ! Oh, God, they have placed him there to die. Gordon, Gordon ! I will save you. Oh, the train ! the coming train ! Good heart, courage, Gordon ! { jumps down , falls upon Chumley and rolls with him upon stage, front, clear ) You are saved, {run train on.) QUICK CURTAIN, ACT IV. SCENE. — Villa and garden , same as Scene II., Act II Gas tip . Discover Eliza and Medhurst, r. c., Rose and Chumley, l. c. Chum. Yes, they thought to obliterate all evidences of their crime by placing me on the way of a passing train. Med. They must not go free after such a climax of villainy. Chum. Old Tom is on their track, and has promised not to lose sight of them. Enter , r. u. e., Pointer. Poin. We have Mr. Morris, gentlemen. Med. Chumley, suppose you step aside. (Chumley goes off \ l. z e.} You can show him in. Two Police bring in Morris, r. u. e. Mor. I tell you it’s some mistake. There’ll be a row about tnisn, see if there don’t. It’s a mistake. I am as innocent as the baby that ifih never born ; wish I may die if I ain’t. What, Eliza ! 38 AFTER DARK, Med. Yes, Lady Medhurst. Mor. Why, they told me, that is, they said as how she was dead. Med. Murdered ! Mor. How d— do you do, ma’am 'l Railly, you looked so much like your ghost that — that I took you for it, at first. Med. You were not satisfied with one victim, but you must try to have another crime to your charge. Mor. Me ! me ! that’sh a mishtake ; never set eyes on the gentleman. Med. Of whom do you speak 1 Mor. Mr. Gordon Chumley, of course.. Med. I never mentioned his name. Mor. ( eagerly ). That’sh just what I say; you never mentioned the gentleman’s name. That’sh quite right Med. Mr. Gordon Chumley ! Enter, l., Chumley, Mor. {aghast). Oh, take me away— on a charge. Chum. I am not dead ; though you and your villainous accomplice made me drugged and insensible. You see, I have survived to convict you. Mor. To conwict me ! conwict me ! How will you do it 1 If you were drugged and insensible, how do you know I had anything to do with it 7 Chum. That’s true ; and on my evidence alone perhaps it would be hard to bring it home to you. Med. {to Pointer). Was anything found on him 7 Poin. No, sir. Mor. {eagerly). You see that ! and they s’arched me — they s’arched my boots, and the wery roots of my hair, they did ; but I came out of the inwestigation as innocent as a child ; wish I may die if I didn’t. Chum. I cannot swear positively that you had a hand in the actual offence. Enter, r. u. e., Tom, leaning on cane. Mor. Of course, you can’t swear to it. You see that the gentleman can’t swear to me ! wish he may die if he can ! Tom. Then I can ! There was nothing found on him because the stolen property is in the possession of his confederate. Chum. \ 0f Bellingham 7 Tom. I followed him and Morris to his lodgings. I squared their cab- man and rode on behind, and through the trapdoor, I heard all their plans. Mor. Oh ! You know, going on like this is not good manners ? Is a respectable householder to be run down in this way 1 T won’t stand it ! Wish I may die if I do. I’m a payer of rates and taxes, and a member of the westry. I won’t stand it ! Tom. I overheard him and Morris agree to keep an appointment here to “ put the screw” on Sir George. You will soon have him here! You can’t deny it! If I press the charge against you, you will run a chance of dying in fetters. Mor. Oh, don't press the charge! I’ll swear to anything! {bell off r. U. E.J Tom. Here he is.* *Eliy*. Med. Tom. Chum. Rose. a. o. c. Morris. ACT IT. 89 Enter , r. u. e., Bellingham, Police close in behind him . Bel. (looks around). Ah! Point. Happy to see you. sir ! Bel. (sternly). I cannot return the compliment !* What! Eliza! Med. Lady Medhurst ! Chum. Mr. Bellingham, you recognize your position 'l Bel. Perfectly. I know all is up. That cringing hound has betrayed me ! Point. Yes, he has made a clean breast of it. And I’ll trouble you to do the same, unless you fear it can be used against you. Bel. I have nothing to say. Point. Well, sir; I’ll expect you to come to Bow Street. We shall require your presence, Mr. Chumley. (goes up.) Bel. (to Chumley, drawing him c. front). If you appear against me, you will consign me to death. You pledged your word that you would not use the secret in your hands. Do as you please, but I relied on your honor. Chum. You tried to kill me last night ; but you have my word. We are quits. Bel. (relieved). Right ! Then there is no one to appear against me. Tom. I will ! Bel. Who are you 1 Tom. Frank Dalton ! the husband of your victim and the father of thir girl ! (embraces Eliza, up c.) Eliza. Father ! Tom. Yes, my child, you may call me so now. Mor. (l. front). Let ush take adwantage of a moment of excitement to forget and forgive everything ! I’m sure, I bear malice to no one ! I wish I may die if I do — there. Bel. Dalton, there is that between us, which you can never forget or forgive. Eliza. My father is not your judge. Bel. No, he is my executioner. Thank you, Mr. Chumley, though your kindness is useless. Officer, I am Richard Knatchbull, escaped con- vict. There is five hundred pounds reward offered for my capture, by the authorities at Hobartstown. Take it, it is yours, on one condition ; that you expend half of it in sending out that cowardly cur there. Point. I will do my best, sir. Now, Mr. Morris, come along. Mor. (dragged up c.). Oh, where are we going to 1 Tom. You are going to the end of that crooked lane, where the guilty find their steps barred by the gates of justice. [Music. Form picture. * * Police. Bel.* * Point. * Morris. Rose* * Chumley. Tom.* * Eliza, * Medhurst. SLOW CURTAIN. ♦Eliza, Med. Bel. Chum; Rose. Tom. Morris. R. O, O. L. G. 3T ust Fntolislioci. JOE RUGGLES; OR, THE GIRL MINER. A COMEDY-DRAMA IN FOUR ACTS. BY FRANK J. DEAN. PRICE 25 CENTS. Nine male, three female characters. A vigorous, stirring play, de- picting peculiar types of life in a large city and in the mining districts of the West. The parts of Joe Ruggles, the miner, Hans Von Bush (Dutch dialect), and Richard Hamilton, the scheming villain, all afford opportunity for clever work j while the part of Madge (sou- brette), who afterwards assumes the character of Mark Lynch, is an excellent one for a bright young actress. This last, and the character of Bessie (juvenile) could easily be assumed by youths. Scenery — City street, showing R. R, Station ; rocky pass, with set cabins 5 a wood scene, and two plain interiors. Costumes of the day. Time of playing, two and a half hours. SYNOPSIS OF EVENTS. ACT I. — Entrance to Railroad Station. Looking for a victim— Joe Ruggles—' “ Them galoots is worse than grizzlies “ Morning papers ’’—Madge and Bess plying their trades— “ Can’t you sing Joe a song?”— Hamilton and his pal confer— Tom Howarth gains important informa- tion— “ Don’t you dare to lay hands on us ! ’’—Hamilton tries to maintain liis authority— “ Who ? Old Joe ! ” ACT II.— Doomsday’s Hotel, Dare-devil’s Gulch, California. The landlord secures a guest— Hans disappointed— “ Dot is a inisdake ”— A ghost story— The “ Kid and his sister “ Did 1 hurt your highness? ’’—Hans and Doomsday have another talk— Kate Laurel meets the young miner— “ Yah, dot vas vot I t’inks ’’—Madge’s disguise penetrated— She recognizes an old enemy— “Now, George Smith, take your choice”— Joe Ruggles as a tramp— “ Ef y< r think yer can pick on me because I’m han'soine ye'li find me ter ham ’’—Hamil- ton appears— “ Those two youngsters are mine”— The tramp takes a hand. ACT III.— Wood Scene. A lively ghost— Hamilton and Smith plan more villainy— Old Joe thinks of turning detective— Kate Laurel again— “There is a secret connected with my life”— Kate’s confession— “What do you mean, sir! ’’—Torn Howarth once more — “ Vos yon looking for a hotel ?”— Planning an abduction— Old Joe as an Irish- man— “ Phat does yez want wid me?”— Undertakes to be a detective— Takes a hand in the abduction— “ Do it at your peril! ” ACT IV. Hans hears, and tells, the latest news— “ I nefer pelieved dot spook peesness ” —Kate Laurel astonished— Hamilton attempts flight— “ De poys haf got Mr. Ham- ilton, und dey vill gif him a necktie barty ’’—Arrest of Smith— “ Get out mit my vay, I vas de Unided States Mail ’’—Toni meets his old friend under new circum- stances— “ Do you want me, Tom? ”—Ohl Joe gives consent— A happy ending. Single copies sent, post-paid, to any address, on receipt of price. DE WITTES Ethiopian and Comic Drama. — C ontinued. s 49. Night in a Strange Hotel, Ethiopian 132. Noble Savage, Eth. sketch 4 1 153. Norah’s Good Bye, Irish musical sketch. 2 1 145. No Pay No Cure, Eth. sketch 5 22, Obeying Orders, Eth. sketch 2 1 27. 100th Night of Hamlet, Eth. sketch 7 1 125. Oh, Hush! operatic olio, 3 scenes. 4 1 30. One Night in a Bar-Room, Eth. skotcli* « 7 114. One Night in a Medical College, Eth. sketch. ... 7 1 76. One, Two, Three, Eth. sketch..... 7 91. Painter's Apprentice, Eth. farce. . . 5 87. Pete and the Peddler, Eth. and Irish sketch 2 1 135. Pleasant Companions, Eth. sketch. 5 1 92. Polar Bear, Eth. farce 4 1 9. Policy Players, Eth. sketch. ...... 7 57. Pompey’s Patients, Eth. interlude, 2 scenes 6 65. Porter’s Troubles, sketch 6 1 66. Port Wine vs. Jealousy, sketch. ..2 1 115, Private Boarding, farce 3 3 14. Recruiting Office, Eth. sketch 5 105. Rehearsal (The), Irish farce, 2 sc. . 4 2 45. Remittance from Home, Ethiopian sketch 6 55. Rigging a Purchase, Eth. sketch.. 3 81. Rival Artists. Eth. sketch.... 4 26. Rival Tenants, Eth. sketch 4 138. Rival Barbers’ Shops, Eth. farce.. 6 1 15. Sam’s Courtship, Eth. farce 2 1 59. Sausage Makers, Eth. sketch, 2 sc. 5 1 21. Scampini, pantomime, 2 scenes. . . 6 3 160. Scenes in Front of a Clothing Store, farce 7 1 80. Scenes on the Mississippi, Eth. sketch, 2 scenes 6 84. Serenade (The), Eth. sketch, 2 sc.. 7 No. M. F. 38. Siamese Twins, Eth. sketch, 2 sc.. 5 74. Sleep Walker, Eth. sketch, 2 scenes 3 46. Slippery Day, Eth. sketch 6 1 69. Squire for a Day, Eth. sketch 5 1 56. Stage-struck Couple, Eth. interlude 2 1 72. Strangers, Eth. burlesque 1 1 13. Streets of New York, sketch 6 16. Storming the Fort, sketch 5 7. Stupid Seavant, sketch 2 121. Stocks Up! Stocks Down! Eth. farce 2 154. Sulphur Bath, Eth. farce 3 47. Take It, Don’t Take It, Eth. sketch 2 54. Them Papers, Eth. sketch 3 100. Three Chiefs, Eth. sketch, 2 scenes 6 102. Three A. M., sketch, 2 scenes 3 1 34. Three Strings to one Bow, Eth. sketch ; 4 1 122. Ticket Taker, Eth. farce 2 2. Tricks, Eth. sketch 5 2 104. Two Awful s, Eth. sketch. 5 5. Two Black Roses, Eth. sketch 4 1 28. Uncle Eph’s Dream, Eth. sketch, 2 scenes 3 1 156. Ljited States Mail. Eth. farce 2 2 134. Unlimited Cheek, Eth. sketch 4 1 62. Vinegar Bitters, Eth. sketch 6 1 32. Wake up, William Henry, Eth. sketch 3 39. Wanted, a Nurse, sketch 4 75. Weston, theWalkest, Dutch sketch 7 1 93. What Shall I Take? Eth. farce 7 1 29. Who Died First? Eth. sketch., 3 1 97. Who’s the Actor? Eth. farce 4 137. Whose Baby is it? Eth. sketch.. . 2 1 143. Wonderful Telephone, Eth. sketch 4 1 99. Wrong Woman in the Right Place, sketch, 2 scenes 2 2 85. Young Scamp, Eth. sketch 3 116. Zacharias’ Funeral, Eth. farce.... 6 .ik^oA Complete Descriptive Catalogue of De Witt’s Acting Plays and De Witt's Ethiopian and Comic Drama, containing Plot, Costumes, Scenery, Time of Representation, and all other information, mailed free and post-paid on application. Address as on First Page of this Catalogue. PANTOMIME PLAY. “HUMPTY DUMPTY.” The celebrated Pantomime, as originally played for 1,$0§ nights by the late Georoe L. Fox. Arranged by John I>eni«r, Es^. Eight male. HO W TO MANAGE AMATEUR Jt * Jt <* 3> j* THEATRICALS. & ^lk A ?w AT \ AT 3NW A ®W- X JT9 X An Indispensable Book for Amateurs. Plain instructions for constructing and arranging stage, making scenery, getting up costumes, making uo, producing stage illusions and effects, etc., together with many valuable suggestions for managers and players. Handsomely illustrated with six colored plates. Price, Twenty-five cents each. v X DE WITT'S -fp j; ; i Selections for amateur and - .4 Parlor Theatricals, j- & I & Nos. t, 2, 3, 4 and 5. ^ jt n Comprising the choicest selections, from the very best dramas, comedies, tragedies and farces, both modem and classic, especially I adapted for presentation by amateurs, and for parlor and drawing-room entertainments. Price, Twenty-five cents, each number, Jt