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Mysteries of an American City: The Monk's Hall manuscript
1755
The Mysteries of an American City
or,
“I Vonders how that’ll work”: Adapting Lippard’s The Quaker City
In this article I want to explore the significance of a find of mine: an adaptation of George Lippard’s 1845 novel, The Quaker City. George Lippard’s The Quaker City, or Monks of Monk Hall is a highly ambitious, satirical narrative which attempts to expose the social stratifications omnipresent in antebellum America through a thumbnail look at vice and corruption in Philadelphia. Lippard’s novel is a lengthy work, broken down into six books, featuring a number of complex, interwoven plot lines, each involving sensational stories of violence and vice. As a consequence, it was a substantial commercial success, but this prominence has proved to be almost inversely proportioned to its critical and academic reception. Academics have written articles mentioning Lippard, and his most successful work; however ,many allow condescension to cloud their interpretations and arguments. While the novel is richly layered and fascinating, some critics have latched onto the idea that it lacks structure and cohesion.@ See, for a summary of this reception, Carla Mulford, ‘[Review of] George Lippard by David S. Reynolds, The Pennsylvania Magazine of History and Biography 107.3: 473-475. I, however, would argue that while the novel appears to be an awkward amalgamation of styles and genres, a common melodramatic and theatrical thread binds the story together.@ I am developing this argument at greater length in my doctoral dissertation, “George Lippard: Melodrama and Theatricality in The Monks of Monk Hall.” To an extent I am here following in the footsteps of almost the only critic to recognize Lippard’s achievement, David S. Reynolds, who acknowledges the stylistic shortcomings while not dwelling on them. It was in the pages of Reynolds’s critical study, alongside Leslie Fiedler’s introduction to the 1970 edition of The Quaker City, that we can encounter an in-depth and well-rounded presentation of Lippard as both an author and a literary and economic force in Antebellum America.
The novel centers mainly on a seduction plot line involving an antagonism between the characters Byrnewood Arlington and Gustav Lorrimer, in which the latter seeks to seduce the former’s sister. This plot line is based on the real life Philadelphian Heberton tragedy of 1843, a court case Lippard himself covered during his time as a journalist. The case dealt with a young rake from Philadelphia, Heberton, who seduced Sarah Mercer, a sixteen year old girl from a well-known family. The Brooklyn Eagle reported, “He refused all honorable attempts at reparation by marriage and was challenged by the brother of the young lady, which he likewise declined. He then left the city in a close carriage, was pursued by young Mercer, and shot through the heart”.@ Brooklyn Eagle, 13 February 1843: 2. Singleton Mercer would become the inspiration for the character of Byrnewood Arlington, and Heberton would appear as the villain Gustav Lorrimer.
Centering on one of the day’s most famous trials and contributing to legal reform (the book helped prompt New York's 1849 enactment of an anti-seduction law), Lippard’s novel, while most widely known for this seduction plot, has a much wider satiric scope than appears on the surface. The Mysteries of the Quaker City is, arguably, a cornerstone of American popular literature, using its depiction of a scandal-riddled Philadelphia as a microcosm for the troubles plaguing the United States during the turbulent years of the mid-nineteenth century by presenting issues such a misguided patriotism, the widening gap in the social strata, and both the moral and the financial crimes of its privileged upper classes. Aside from the harsh realities of seduction, Lippard addresses the issue of bank failures plaguing the United States at this time. These passages most likely harken back to 1838 and 1841, when both the Schuylkill Bank and the Pennsylvania Bank were forced to close their doors. The fact that ordinary men and women lost their savings because of the mismanagement of large banks by the rich was a problem throughout the States at this time, one that Lippard was determined to expose. Lippard also addresses religious hypocrisy, an issue he also explores in various passages and plot lines throughout his other city fictions, such as New York: its upper ten and lower million. It should be noted that city fiction was focused upon, one might even say was obsessed with, the failure of institutions originally intended to afford assistance to those in society who truly required aid. The working class felt betrayed not only by their politicians and bankers but also by their clergy and physicians. The very social constructs meant to protect, defend, and heal society were buckling under the pressure of a rapidly mutating society. Adrienne Siegel argues that city fiction and potboiler novels served
as a mirror of the fears, frustrations, anxieties, and aspirations of the people who read
them[.] They allow the historian to decipher the imaginative symbols by which the American urban community of the mid-nineteenth century sought to understand itself. For embedded in these long-neglected books are the attitudes and assumptions, the illusions and shared daydreams, of a society in crisis.’@ Adrienne Siegel, The Image of the American City in Popular Literature 1820-1870 (Portwashington: Kennikat Press, 1981), p. 8.
Lippard’s novel takes aim at a vast array of social injustices born out of a society in flux, which, in part, explains the immense popularity it achieved.
Lippard begins the novel in an oyster cellar, where we discover Lorrimer and Arlington drinking and placing a bet as to whether Lorrimer can seduce a proper young lady by enacting a sham marriage. The young lady in question is none other than Arlington’s own sister, though neither knows this. The young men set off on an ill-fated journey through the underbelly of Philadelphia, which ultimately takes them to the infamous Monk Hall. It is within the walls of Monk Hall that Lippard brings together the ‘respectable’ members of society to expose their hypocrisy and degradation. As the seduction tale unfolds, Lippard introduces additional plot lines, including one involving mesmerism featuring Ravoni the sorcerer; another featuring a Jew and forgery; another concerning a couple, the Livingstones and the wife’s adultery;, and, throughout, the machinations of the unforgettable Devil Bug, the owner of a den of vice, drunkenness and debauchery within which Lorrimer will seek to deflower Arlington’s sister after their phony marriage and where Dora Livingstone pursues her adulterous course with Colonel Fitz-Cowles. The novel positions itself as a roman a clef, presenting what is, very often, beneath its sensational plot lines, a surprisingly accurate, if hyperbolized, Philadelphia, thinly veiled under a facade of fiction. Unfortunately, for most individuals presented within the novel, the “key” to identifying the real names behind the fabrications was obvious to most inhabitants of Philadelphia. This is more than likely the root cause of what made the work his most controversial and successful.
As can readily be seen, Lippard’s novel falls under the auspices of the “Mysteries of the City” genre, which was certainly not unique to American literature, having already become a well-established and popular genre in both Britain and mainland Europe, one explored by such writers as Eugene Sue and George W. M. Reynolds. However, it saw its Stateside popularity spike during the 1840s. According to Siegel, “between 1774 [and] 1839 only 38 Urban novels were published (20 of these being written in the 1830s), [but] in the single decade of the 1840s writers flooded the market with 173 works of city fiction; [followed] in the 1850s, with yet another deluge of 167 books.”@ Siegel, p. 6.
The city genre proves useful to cultural historians and critics since it tends to address the range of emotions (anxieties, fears, hopes, dreams) of the common man. The “Mysteries of the City” subgenre provided a method of expression for a large portion of underprivileged society which , in a rapidly changing world, lacked the language to articulate the burgeoning anxieties of the booming metropolis. France had Eugene Sue’s The Mysteries of Paris, Britain had G.W.M. Reynolds’s The Mysteries of London, and the United States pre-eminently had George Lippard’s The Mysteries of the Quaker City (the echo of Sue’s and Reynolds’s titles was deliberate). The “City” was presented as the new wilderness during the mid-nineteenth century. Man had built cities to shelter himself from the unknown, the dangers and insecurities of nature – the “Frontier” – only to find other dangers and insecurities rapidly and uncontrollably evolving into an alien space. Siegel explains that “popular literature written during this period of exploding urban growth expressed the pain and anxiety of a society in motion.”@ Siegel, p. 13. Essentially, the city, once built to protect, had become the new stage for all manner of corruption and vice. Those who could afford to live comfortably in the city were often demonized and led lives shrouded in mystery because of the widening socioeconomic gap. The lower middle classes, many of whom were considerably less educated than the elite, sought books and drama that might elucidate a privileged society that felt too far off to understand yet too powerful and oppressive to ignore.
While “City Novels” had become a very popular literary form in the 1840s, one must take note that it is melodrama that provided the language needed to reach the broadest set of readers. As Peter Brooks states, “Melodrama [is] … the one genre that had filled the silence of the post revolutionary period and offered a coherent aesthetic to an untrained audience.”@ Peter Brooks, The Melodramatic Imagination (New Haven: Yale UP, 1976), p. 111. The genre proved ideal as a vehicle for the lower middle classes to engage with polemical issues during the mid-nineteenth century, for it catered to an audience whose tastes and scope of narrative understanding had been primarily learned from the popular theatre. This was especially true before new printing technology provided cheaper publishing techniques, making reading materials available on an unprecedented scale. Arguably, audiences were well versed in the gestural language of the popular theatre, especially when, as was so often the case, it depended upon the melodramatic. Those encoded signs were adopted by the “Mysteries of the City” authors as the language that would guarantee them the widest audience. Not only were popular authors willing to commit scandal and intrigue to the page, but they were more than willing to employ the vernacular of melodrama to cater to an increasingly large segment of society that, thanks to cheaper books, were fast acquiring their own literature. (The price of books dropped dramatically in 1842 due to new technologies in the world of printing.)@ Siegel, p. 10. Melodrama, in essence, became the language of drama for the lower and lower middling classes, and for some of the lower classes in literature, as it took their familiarity with the genre’s symbolic and metaphoric structures in the theatre and recoded them, addressing contemporary issues in the popular sensation novel of the 1840s.
The Monks of Monk’s Hall is a case in point. In 1844, ten paper-covered serials of Lippard’s book were published, and these sold at an astounding rate. After six months a new bound copy, encompassing two-thirds of the finished novel, was published to sales of 48,000 copies. Such unprecedented sales demonstrate the scale of Lippard’s novel as a commercial success whose sensational reputation, despite plagiarism and imitation, ensured that it continued to perform steadily in the marketplace. As David Reynolds states, “the publication of The Quaker City was a landmark event in popular culture. When it appeared in 1845, it sold 60,000 copies in its first year and 10,000 copies annually during the next decade, [making it] the most popular American novel before the appearance of Uncle Tom’s Cabin (1852).”@ George Lippard, The Quaker City, or The Monks of Monk Hall, ed. David S. Reynolds (Amherst: U of Massachusetts P, 1995). Reynold’s introduction gives an excellent overview to the novel and Lippard’s other work. Unsurprisingly, given the novel’s runaway success, in the November of 1844, George Lippard, through an introduction at the offices of Ashbell Green, was approached by successful theatre manager Francis Courtney Wemyss to adapt The Quaker City or The Monks of Monk Hall, for the Philadelphia stage.@ Francis Courtney Wemyss, Twenty-Six Years: or, The Life of an Actor and Manager (New York, 1846), pp.394-400. Not one to miss an opportunity, Wemyss recognized the lucrative potential of making his the first theatre to stage what was becoming one of America’s first best sellers. It should be noted that the Chestnut Street Theatre had previously staged no less than 76 melodramas in the first half of the century, most of which enjoyed multiple runs. Wemyss quickly struck an agreement with Lippard that the dramatization would be prepared within a fortnight of their meeting. Lippard, familiar with deadlines from his work as a journalist and author of weekly serials, finished the five act melodrama and delivered the script to Wemyss as promised. In his memoir, Wemyss wrote, “The scenery was painted, the property arranged, the piece announced for representation.”@ Wemyss, p. 395. It seemed as though Wemyss had a surefire hit on his hands.
However, no sooner had the advertisements for the piece appeared than members of the public, some of whom were featured in the play, began to protest against its performance. It was one thing to read an exposé in the privacy of one’s home and something altogether different to have the characters brought to live in a public forum such as the Chestnut Street Theatre. Singleton Mercer, key player in the Herberton murder case and Lippard’s inspiration for the main character of Byrnewood Arlington, began to protest the production. Indeed, Mercer attempted to purchase two hundred tickets and threatened to cause a riot should the production go on as planned. Wemyss was summoned to appear before Mr. M’Call, the mayor of Philadelphia, to discuss his new drama. Fearing a mob riot and with the play set to open imminently, M’Call, without having read the script or watched the rehearsal to which he was invited, demanded that Wemyss stop the show or face the threat of legal action. Wemyss was left with no choice but to cancel the production and substitute another play in its place. George Lippard’s adaptation was never performed and the script vanished.@ For further reading on the Chestnut Street Theater Incident please refer to Julia Curtis, “Philadelphia in an Uproar: The Monks of Monk Hall, 1844,” Theatre History Studies 5 (1985): 41-47. Extensive archival research has so far failed to unearth the script.
It was in Reynolds’ study of Lippard that I first read a mention of the novel having been adapted for the stage. Plainly such an adaptation was of great importance, for one might argue that Lippard’s novel, if stylistically clumsy in parts, needs to be approached from a different angle, which identifies how both performance and melodrama are essential to its effect and polemical purpose. While Lippard’s novel may appear muddled and disjointed to some critics, there is an attention to the theatrical that acts as a narrative anchor throughout. If in fact the novel was rife with theatricality it would be safe to assume that a stage adaptation would have been a logical next step. Unfortunately, since Lippard’s original script was lost, we are unable to judge Lippard on his merits as a playwright. While this is disappointing, it would be counterproductive to not press forward to study other theatrical adaptions of the work and to consider how these interact with and illuminate what I want to describe as the theatrical procedures in Lippard’s novel (quite apart from any intrinsic merit that such a script might possess). With the transnational nature of the theatre at the time and the weak laws of copyright then in existence, one must assume that pirated adaptations would have appeared both in America and across the Atlantic. After all, one must consider that the original production was halted due to the personal issues raised at the local level in Philadelphia because of the novel’s topical elements and not because of the offensiveness of the content. In other words, the censorship difficulties would not necessarily carry over into other cities or countries.
While the play was composed and intended for performance in Philadelphia, it seemed logical, given the desirability of discovering any scripts and indeed any details of productions, to investigate whether an adaptation was planned for any other theaters in surrounding states, most notably New York. New York was closely linked to Philadelphia, and many of the theatres shared actors, scene painters, and playwrights who travelled between the two cities for work. New York also benefited from being a large city where the personal scandals outlined in the play would not hold the same weight that they did with the Chestnut Street Theatre crowds in Philadelphia. With the help of Odell’s Annals of the New York Stage, I found reference to two different productions of The Quaker City, which took place in the January of 1845 at the Chatham Garden and Park theatre. These performances were reviewed in the Spirit of the Times New York@ Anon, ‘Theatricals’. The Spirit of the Times, New York, 18 January 1845. on January 25th, 1845:
Chatham Theatre. The drama of the “Monks of Monk Hall,” a production based on the lowest passions and abounding in points of grossness and obscenity calls loudly for the appointment of an “examiner of plays.” Assured that authorities of our city are deficient in their restrictions as regards the nature and effect of theatrical representations, we will urge upon them the necessity of appointing some person, qualified for the task, who shall examine and license plays. Here at this theatre we have a piece, conceived in the vilest humor, written in coarse language and introducing upon the stage courtezans of the deepest dye. Is this proper and correct, consistent with just views of public morals? Such a piece will never be condemned by the people themselves; it must be forbidden by public authority, and to prevent the re-occurrence of such things let the custom of European cities be followed and have an examiner appointed.@ Anon, ‘Theatricals’. The Spirit of the Times, New York, 25 January 1845.
Ironically, had there been such a censor we would have had a better chance of preserving, recovering, and studying the rich theatrical history behind one of the first major American global bestsellers. If Americans had created an office and appointed a censor of plays, then copies of the scripts would have been submitted and catalogued as evidence in order to receive a license, as was the case in England. Lacking this, we are left in the unhappy position of having no example of George Lippard’s abilities as a playwright and no evidence of how Americans adapted one of their most successful novels. One thing is certain from Wemyss account, however: namely, that this is not the same script that Lippard himself wrote a few short months before. Wemyss saw the other productions himself and noted that Lippard’s script was written in five acts, no surprise for a man of many words, while the pirated version was written in only two. Wemyss wrote of the production, “I saw a mass of filth and obscenity played at the Chatham Garden as the prohibited play; I could not recognize a line.”@ Wemyss, p. 400. One would be challenged to argue, nevertheless, despite these differences, that it was coincidence that the production appeared at the Park and Chatham Gardens, since the former enjoyed a close professional relationship with the Chestnut Street theatre, often sharing acting companies over the course of the season. The Chatham Garden production, probably inspired by the fate of the Chestnut Street debacle, quite plainly aimed single-mindedly at commercial success via sensationalisation (though goodness knows The Quaker City was sensational enough).
In the end, however (at least so far) the United States has proved a scriptless dead-end. Given that the novel enjoyed some success in Great Britain, this became my next focus. One might assume that the transatlantic journey of Lippard’s novel began with its pirated publication in 1847. However, mentions of the American performances had already appeared in the American theatricals sections of British newspapers only a few weeks after their publication stateside. With steamer packets regularly bound for New York, Boston, New Jersey, and Philadelphia it is evident there were many opportunities to send news back and forth. Theatrical news rarely took more than a fortnight to travel across the Atlantic. There existed a strong link in the transatlantic relationship between the major east coast cities and Great Britain. Much in the way that in the twenty-first century Miami and Los Angeles are of keen interest to the British, during the 1840s American cities often garnered nicknames and personalities that were adopted in both the American and British press. For example, Boston was stereotyped as the intellectual city, New York was the cultural capital, Philadelphia was a city known for its provincial style and small town feel.@ Siegel, pg 112. However, the reports that regularly filled the paper also showed American cities as turbulent hotbeds of unrest, riot, and scandal. The British read short factual pieces on these mysterious “other” cities and by the 1840s craved literature and drama that would expound on these tales and bring the characters vividly to life. Essentially, the British masses wanted to know, as Kathleen Burk stated, “How did Americans think, look, act?”@ Kathleen Burk, Old World New World: The Story of Britain and America (London: Little, Brown Book Group, 2007), pp. 279. The world of the theatre was no exception.
Documentation, specifically about American play scripts, during the nineteenth century, tends to be elusive and ephemeral. With no governing body in place to censor or catalogue scripts for intended productions, many plays became relegated to mere mentions on surviving playbills and newspaper theatrical announcements. Unfortunately, this meant that any search for details about US adaptations of Lippard’s novel quickly ran into the proverbial brick wall. However, it occurred to me that, given the active interest in the US, US cities and the transatlantic appetite for new, exciting literature@ David Dimbleby and David Reynolds, An Ocean Apart: The Relationship Between Britain and America in the Twentieth Century (London: Hodder & Stoughton, 1988), p. 23. (a great deal of that being melodrama), seeking adaptations in Great Britain might prove a productive approach. Furthermore, Great Britain, in contrast to the US, had already implemented a method by which to review, license, and catalogue scripts intended for public performance and so provided a means of seeking out play scripts necessarily lodged to meet the requirements of this control mechanism. One immediately observes the irony of the situation, since censorship is generally regarded as a negative presence because of its repressive tendencies. However, in the case of the Lord Chamberlain’s Plays, censorship has preserved a large body of work which might otherwise have been lost, as has proved to be the case in the United States. A pirated version of fictional The Quaker City was published in Great Britain and, like its American counterpart, it enjoyed healthy sales. It would be a logical assumption that a savvy theatre manager would seize the same opportunity that Wemyss himself attempted to take advantage of only a few years earlier. Adverts for the pirated edition began to surface in the fall of 1847 in Lloyd’s Weekly London Newspaper.@ Advertisements & Notices, Lloyd’s Weekly London Newspaper (London), 260 (14 November 1847). A month later, on 26 December, a lengthy excerpt from the novel was published in the newspaper; an indication of how The Quaker City was a succès de scandale is that a similar treatment was afforded to only one novel in the next year and a half. The novel sold extremely well, and by January 1848 the publisher placed an advertisement in the newspaper claiming Lippard’s novel as “The Greatest Hit Ever Known,” adding “The extraordinary success of The Quaker City induced the publisher to have a duplicate copy set up in type in order to meet the demand.”@ Advertisements & Notices.,Lloyd’s Weekly Newspaper (London), 269 (Sunday, 16 January1848). One week later advertisements for a stage adaptation appeared in both Lloyd’s Weekly and The Era. Lippard is never mentioned, but the advertisement does states that that night would be the “First Night of Mr. Nelson Lee’s extraordinary drama taken from the proof sheets, with the express permission of the publisher”@ Advertisements & Notices, The Era (London), 487 (Sunday 23 January 1848). The emphasis placed on the permission of the publisher rather than the author forces one to question contemporary notions of authorship, ownership and copyright. While pirating a literary manuscript proved common practice and difficult to regulate, the stage was an altogether different beast.
During the year in which the performances took place it was mandated ,by law, that in order to obtain a license for public performance a sample script would have to be submitted to the Lord Chamberlain’s office for review. The Examiner of plays, as the role was named, had the responsibility of reading through scripts and either requesting changes or granting licenses to theaters for upcoming productions. Thankfully for researchers and critics the Lord Chamberlain, once furnished with a copy of a script, would add it to a catalogued collection. Scripts after 1824 filed in this way are now part of the Manuscripts Collection of the British Library. Although, it must be said, no system is foolproof and manuscripts did at times fall through the cracks or escaped licensing altogether, the majority of plays are preserved via this mechanism.@ It should be noted that manuscripts, from the licensing act of 1737, from the years 1737 to 1824 are held in the Larpent Collection at the Huntington Library, San Marino, Ca.
While a number of manuscripts in the Lord Chamberlain’s collection have been catalogued online through various theatre history initiatives, there still exists a large number of manuscripts that require researchers to hunt physically through the indexed card catalogues. It was whilst hunting through these physical cards that I encountered a manuscript entitled “The Mysteries of an American City.” The script was credited to Nelson Lee. This attribution is not necessarily secure. Although the manuscript has what appears to be his signature on the last page, a copyist employed by the theatre could easily have drafted the surviving copy. Whether signed by Lee directly or not, however, it was pretty clear to me I might have unearthed a Lee-based script of an adaptation of Lippard’s novel.
Richard Nelson Lee, the director and author of The Quaker City’s English stage adaptation, moved into theatre work much to the chagrin of his family, which had hoped for a respectable naval career for their son.@ Alan Ruston, “Lee, (Richard) Nelson (1806-1872),” Oxford Dictionary of National Biography (Oxford UP, 2004); online edn., Jan 2008.[http://www.oxforddnb.com/view/article/16304, accessed 18 May 2011] (See Ruston for further information derived about Lee from this source.) Through acquaintances made in the Victorian theatre Lee continued to develop a life in the theatre and eventually took on an acting apprenticeship, working at Richardson’s Booth Theatre and Elliston’s Surrey Theatre. While dabbling with different aspects of the theatre, Lee began what would be a successful and prolific career writing pantomimes. Lee was known as an enterprising man and, once partnered with John Johnson, would go on to manage a number of theatres including the Standard in Shoreditch, where “The Quaker City” (renamed for its debut) would finally be performed. It is worth noting that Nelson Lee’s adaptation was performed at two theaters, both in the East End, at the same time, a practice not uncommon in mid Victorian theatre.
The two-act manuscript itself appears hastily handwritten and heavily stained on certain pages. It became evident that although the manuscript exhibits an almost complete lack of punctuation, the writer utilizes the confines of the page as a means to implement punctuation of sorts and stage direction (for example using the edge of the paper to act as sentence and paragraph breaks). The manuscript itself heavily lifts from Lippard’s original work, with a great deal of its dialogue taken verbatim from the novel. While a majority of the manuscript mirrors Lippard’s novel, there are a number of alterations and additions, both major and minor, which hold significance when seeking to understand the transatlantic theatrical evolution of the narrative from its first serial publication in 1844 in Philadelphia to the opening night four years later in Shoreditch, England.
The British stage adaptation of the novel very much focuses upon the main seduction plot line centered on Byrnewood Arlington, Gustav Lorrimer, and Mary Arlington. Other major plots are either mentioned only briefly, such as Dora Livingstone the adulteress, or, as is the case with the story of Ravoni the Sorcerer, completely omitted. Some of the language is altered perhaps in order to ease cultural differences and to inject euphemism, humour, and elements of the ironic. For example, Lee, when describing unsavory servants, changes the word “slewer”@ “Slewer” :A servant-girl: cf. Dutch slang sluer (or sloor), a poor, common woman. (From John Stephen Farmer and William Ernest Henley, A Dictionary of Slang and Colloquial English (London: G. Routledge & Sons, Ltd 1905), pp. 420. to “nymph of the kitchen.” There are a number of such slight alterations that, although seemingly insignificant, begin to register the transatlantic cultural and linguistic differences between two countries bound closely together throughout history.
Though Lee centers his two act adaptation almost entirely on the novel’s central seduction plot line, he also introduces new characters. The most prominent are Tom Shakespeare and Jemima Skyblue, who imbue the production with the comedic relief expected of melodramatic productions of the period. Through detailed reviews we know that Jemima’s name was changed to Sukey sometime between the Lord Chamberlain’s review of the play and the opening night performance.@ ‘Theatres Etc.’, The Era, 489 (6 February 1848). Setting the Skyblue character aside and focusing on the presentation of the Shakespeare character provides insight into an aspect of the intellectual transatlantic relationship between America and Great Britain. Esther Dunn, in her study of Shakespeare in America, writes, “ Shakespeare for a thousand complex reasons dominated the vigorous young American stage.”@ Esther Cloudman Dunn, Shakespeare in America (New York: Benjamin Blom, Inc 1939), pp. 171. To look through the register of plays on the American stage in all of the major cities at the time one finds a consistent Shakespearean presence. Tourists at the time embarked on pilgrimages to England to visit the home of Shakespeare in order to prove that, as Christopher Mulvey explains, “Shakespeare belonged to America, he was America’s national bard as much as he was England’s.”@ Kathleen Burk, pp. 301. Perhaps, then, the purpose is satirical when Tom Shakespeare, who claims to descend from the great bard, proves to be anything but great. In almost every aside and soliloquy Tom manages to confuse the lines written by his supposed ancestor. One might read this as a statement that while America sought to imitate or even, increasingly, to surpass its parent nation culturally, it still had much to learn.
Perhaps one of the most significant alterations to the British manuscript is the greatly reduced presence of Dora Livingstone in the theatrical adaptation. This reduced profile is significant for two reasons. The first is that, after a year of enjoying excellent sales and top billing on full page advertisements and a successful run at two East End theatres, the publishers reissued the novel under the title Dora the Adulteress, massively abridged and following her story line more centrally. It would seem that for the play, Lee focused on the rape scandal, which would have been known to the British public as the news travelled from stateside to British newspapers; the Mercer trial was a story of international interest. Dora Livingstone is all but omitted from the plot of the script and yet, only a few months after the production, she receives top billing in another edited adaptation of the original and highly successful novel. Secondly, and more specific to the script, Dora Livingstone’s plot centers on her desire to emigrate to England to become a titled aristocrat. I would argue that the omission of this plot line is significant because it retains the more-or-less exotic “otherness” of the narrative. Essentially, it allows the audience to experience the familiar themes of vice, corruption, and sin while displacing the feelings of guilt by projecting the action onto the American “other” without complicating things by having one of the novel’s most corrupt characters travel to Britain to pursue her corrupt ways. The truth is, as newspapers and books from the time demonstrate, every situation that occurs in Lippard’s novel and Nelson Lee’s adaptation was already happening, or had happened, in England. In the stage notes regarding the Oyster Cellar, Nelson Lee informs the reader that it is a place much like Mother H—’s in East London, which had been a notorious saloon and general home to all manners of debauch since before the 1830s.@ Anonymous, How to Live in London (London: Joseph Smith Publishing, 1828), p. 119. However, despite these potential parallels, Lee’s adaptation was written first and foremost to entertain, as opposed to Lippard’s narrative, with its obvious desire to be satirically biting about Philadelphian misbehavior. In fact, Lee judiciously avoided any of the similarities between the U.S. and Britain.
One might also take, for another example, the glaring omission of any reference to the banking crisis which is a great concern of Lippard’s original text. Considering that Great Britain had only just, in 1844, signed the bank Charter Act of 1844, which was followed by the great bank Panic of 1847@ Rudiger Dornbusch and Jacob A Frenkel, “The Gold Standard and the Bank of England in the Crisis of 1847,” National Bureau of Economic Research (1984), pp. 233-276., it would seem logical that an adaptation performed in 1848 might include some of the scenes that address the financial turbulence of the time. What seem to be highlighted in the script are the preconceptions concerning the American capitalist spirit and its willingness to place everything second to the accumulation of financial assets. The English found that “the distinguishing feature of [the] Americans manners of the nineteenth century- their good temper and restraint- was that they were good manners for doing business.”@ Christopher Mulvey, Transatlantic Manners: Social Patterns in Nineteenth-Century Anglo-American Travel Literature (Cambridge: Cambridge UP, 2008), p. 111. Americans were viewed as being groomed for one goal, to acquire wealth by any means necessary.
Lee, it would seem, was concerned not to establish such transatlantic polemical points, nor was he concerned with writing a politically-charged exposé; instead, it seems he aims to entertain whilst slipping in a few damaging asides insinuating an American lack of sophistication via Tom Shakespeare. Jemima/Sukey, Tom’s willful wife, is presented as a headstrong businesswoman who knows what she wants and will not settle for less. The impression of American women at the time was that they possessed “a kind of bread-winning independence” which some believed almost “raised the woman to a level with the man in the business of making a living.”@ Christopher Mulvey, pp. 69. America was, unquestionably, a point of curiosity for the British, and yet there was an air of apprehension when looking at the fledging nation. Thomas Colley Grattan states, “the America of the 1840s presented itself in most unattractive colours. It was once an English colony which waged a successful rebellion and is an independent state with rival interests (rival, that was, to the United Kingdom), unconcerned feelings, and a cotton growing, tobacco chewing, sherry-cobbler drinking, lynch-law practicing, and salve holding population.”@ Christopher Mulvey, pp. 23. One might also question whether a censor, considering the heated debate about adopting an American-style democracy, would allow a play to reflect on the current state of affairs in Great Britain. It would seem that Lee was concerned with presenting an entertaining production that might play on Britain’s preconceived notions of Americans while avoiding any reference that might too closely bridge the transatlantic gap and raise issues that might disturb. Unlike Lippard, Lee was a savvy businessman alert to the censor’s presence, not any sort of idealist with a cause.
One key example of this is that Lee again anticipates a censor’s wishes by adding a sheriff to the production, who arrives just after Arlington murders his sister’s seducer in order to arrest the criminal. There is no evidence that this episode appeared in any other version of the story. Significance can be found in the addition of such a moralizing ending: unlike the novel on which it is based, the play manages to safely fold back the storyline into a hegemonic pattern of retribution for sinfulness and due regard for the powers that be. The original novel, and one can perhaps safely assume the original play penned by Lippard, are inspired by the fact that Byrnewood, the avenger, is allowed to remain a free man. It might be gathered from these changes that Lee was less interested in portraying the actual events of the Heberton tragedy than in presenting a scandalous and sensationalist depiction of the exotic American city landscape. Essentially, “the half-century between 1820-1870 witnessed not only the establishment of every important American twentieth-century city but also the birth of the all-too-familiar unruly metropolis.”@ Adrienne Siegel, pp. 4. It was this “unruly metropolis” that fascinated the public, both Anglo and American. During the mid-nineteenth century the middle and upper-middle classes were more and more often taking trips to the exotic shores of the United States@ Kathleen Burk, pp. 279. ; for those who could not afford such a luxury, American literature and theatrical adaptations (for those less educated) served as their glimpse into a foreign land.
By examining these differences, it is clear that Lee played more than a little on the stereotypical British fears and assumptions regarding America when adapting his two act production. America shared a language and a history, and yet it felt far removed and mysterious; this made it a fantastic and exotic setting with which to entertain the masses. While many of the same issues were taking place on England’s shores, it would have been comforting to project them onto another group of people across an ocean, a group close enough to relate to yet far enough away to provide a deceptively comforting effect of distanciation – an understanding of America “condemned to remain partial, fragmentary, insular.”@ Paul Ricoeur, ‘Ideology, Utopia and Politics, 1991: 268 It was this voyeuristic distancing that Lee exploits in his adaptation of Lippard’s novel.
The changes presented in this introduction are but a sample of the insight one can gain from studying this work’s transatlantic journey. Lippard created a novel that was specifically geared to the corruption of a city in the New World, and yet it resonated with inhabitants of cities all over the United States, Great Britain, and even mainland Europe. The success of both Lippard’s novel and Lee’s adaptation proves that Lippard’s themes were compelling representations of issues affecting both the United States and Great Britain; Lee’s adaptation highlights some of the tensions built into these similarities.
James
Bridges is currently a PhD candidate at the University of Birmingham in
Birmingham, United Kingdom. He is currently researching the work of the
Antebellum author George Lippard. Previous work has included research on the
New Woman author Sarah Grand and Transgression Fiction author Chuck Palahniuk.
Current research interests include Gothic tropes and Gothic villainy, Melodrama
and Theatricality, and the notion of Spectacle. This will be his first
publication.
Monk’s Hall
LORD CHAMBERLAIN'S PLAYS. Vol. CXLV (ff. 1096). Jan.-March 1848 (see also 42999, artt. 9-14, 43000, artt. 13-18, 43001, artt. 4-11). (1) 'The Young Guard' altered from 'The Andalusians', by G. Soane. ff. 39-45b, 46b, 48b, and the original text on ff. MS 43009 : Jan 1848-Mar 1848
(14) 'The Mysteries of an
American City or I vonders how that'll vork', by R. N. Lee. Autograph (?).
ff. 473-565b.
SCENE 1ST
An Oyster cellar in New York= What in England
would be termed a night saloon such as Mother H's-
Byrnewood Lorrimer= Sylvester Petricken
Col-Mutchins Discovered
BYRNEWOOD
Give us your hand, Gus, "-Damme, I like you old fellow, Never-never-knew-until tonight= Met you at Mutchins room, wish I'd known you all my life- Give us your hand my boy
Shakes hands with Lorrimer across the table
LORRIMER
It gives me great pleasure to know such a regular bird as mister Byrnewood= Gentleman I'll give you a toast- come fill your glasses no heeltaps!-Woman woman three times three- hip- hip- hip- hurrah!--
SYLVESTER
Woman!- Woman forever! When we're Babies she nurses us- When we're boys she lathers us, when we're men she bedevils and bewitches us.
COL MUTCHINS
Woman- without her what would be life- a dickey without a plete, a collar without starch!
BYRNEWOOD
We can't help it if we fascinate em, can we Gus--
LORRIMER
All fate my boy all fate= by the bye boys I got a little adventure of my own to tell= Its a story of a sweet girl my boys- about sixteen with large blue eyes - a cheek like a ripe peach and a lip like a rose bud cleft in two- She's as lovely a girl as ever trod the Quaker City- Noble bust- slender waist= small feet and delicate hands Her hair- Damme Byrnewood you'd give your eyes for the privilege of twining your hands through her rich curly tresses-
COL MUTCHINS
Who is this girl; uncover the mystery
LORRIMER
Patience my boy Patience- you don't hear a story like mine everyday in the year= You must know I'm a devil of a fellow among the girls about two weeks ago I was strolling along Chestnut Street with Boney (that's my big wolf dog you know) at my heels= I was just wondering where I should spend the evening- when who should I see walking ahead of me but one of the prettiest figures in the world- in a black silk mantilla, with one of those saucy kiss-me-if-you-dare bonnets on her head she was positively bewitching= as I looked in the face of this lovely girl she to my utter astonishment addressed me in the softest voice and called me-
SYLVESTER
By name
LORRIMER
No- not precisely- she mistook me for some gentleman whom she had seen at a country boarding school I took advantage of her mistake and walked by her side
BYRNEWOOD
And became thoroughly acquainted with her
LORRIMER
You may judge so may judge so when I mention one trifling fact for your consideration This morning at three O'clock= This innocent girl- the flower of one of the first families in the city- forsaking home and friends and all that these sweet girls are wont to hold dear will seek repose in my arms-
BYRNEWOOD
She can't be much- I don't mean to offend you Gus- but I rather think you've been humbuggered by some nymph of the kitchen
LORRIMER
Do you mean to doubt my word sir
BYRNEWOOD
Not at all- Not at all- but you must confess the thing looks rather improbable may I ask whether there was anyone in company with the lady when you met her
LORRIMER
A miss something or other- I forgot her name- a very passable beauty about twenty or so and I may add a very convenient one for she carried my letters- and otherwise favoured my cause with the sweet girl
BYRNEWOOD
And this girl the flower of one of the first families in the city leaves home and friends for you- you will not marry her-
LORRIMER
Ha- Ha- Ha Only a pretend marriage my boy- as for this "life interest" in a woman don't suit my taste- A sham marriage my boy-
BYRNEWOOD
You would be a fool to marry a woman that threw herself in your way in this manner- now do you know her friends are respectable
What is her name
LORRIMER
I know her name and could tell the figure of her father's wealth but have never been within the threshold of his house secret meetings and an assumed name are sometimes wonderfully convenient
BYRNEWOOD
Gus there's a Hundred dollar Bill on the Bank of North America I am as you see some what interested in your story- I will stake this Hundred dollars the girl is not respectable and is not connected with one of the first families of the city
LORRIMER
Book that bet- Mutchins= and now Byrnewood here is another Hundred which I will deposit with yours in Mutchins hands until the bet is decided- come with me, and I'll prove to you that you've lost- you shall witness the wedding ha! ha! and to your own sense of honour will I confide the secret of the lady's name and position
COL MUTCHINS
Folding notes in pocketbook
The bet is booked and the money is safe= I've heard of many rum goes but this is the rummest go of all If I may be allowed to use the expression this question involves a mystery a decided mystery for instance what's the lady's name I say gents let's pick out a dozen names and toss up which will have it
Lorrimer gets up and whispers in the ear of Sylvester
SYLVESTER
Well- as it is your wish I'll do it a cool fifty did you say- I must provide myself with a gown and prayer book= at three O'clock
LORRIMER
At Three
He whispers in the ear of Mutchins
COL MUTCHINS
Yes- yes- Lorrimer- I'll be your confiding uncle a very good idea stern but relenting= I'll bless the union with my benediction- I'll give the bride away
LORRIMER
Come along Byrnewood- here Smokey here's the money for our refreshment I pay tonight mark you gentleman Mr. Petricken and Col Mutchins the hour is three o'clock- don't fail me if the devil stands in your way- here Byrnewood take my arm and let's travel. Then 'hey for the wedding' Daylight will tell who wins
They Exit the others following talking mysteriously as the scene closes
SCENE 2ND
Interior of the Merchant's house
Enter the Merchant and his wife
MERCHANT
Tell thee wife she grows much lovely none in this city can with her compare
WIFE
Nonsense! you will make the child vain yet I must confess though she is mine there is a sort of a likeness to the mother
MERCHANT
Nonsense wife= I shall be making you vain= The likeness I think is on the father's side
WIFE
Well I'm sure= now I remember me she used to be like you when a child but since she has shown the rounded outline of a woman's form the resemblance has certainly favoured me
MERCHANT
Well wife we need both be proud of her and she our hopes delight is here to glad our hearts and make us truly happy
Enter Mary the Merchant's daughter she rushes to her father
MARY
Father-
she embraces him
MERCHANT
My proud fair child-
MARY
My Dear, Dear mother=
She turns and embraces her mother
MARY
You must not detain me long- You know Aunt Emily has been teasing me these two weeks ever since I returned from boarding school= You know I was always a favourite with the dear old soul= She wishes to contrive some agreeable surprise for my birthday= I am sixteen next Christmas and that is three days off= Do let me go that's a good father
WIFE
If your father has no objection to your going= you had better put on your cloak the night is so very cold, and you may suffer from exposure to the winter air.
MARY
Oh! no- no- no mother I do hate these cloaks= they're so bungling and so heavy= I'll just fling my shall around my shoulders and run all the way to Aunt Emily's you know it's only two squares distant in Third Street
WIFE
Old Lewey will see you safe to the door
MERCHANT
Well- well- go along my dear child- take good care of yourself and give our love to your aunt and don't let her find out all your secrets
she starts at the charge given to her by her father which the merchant observes
Why do you look so sad my child What is there in the world to cast a gloom on my Mary's brow- What has caused this change
MARY
Nothing- Nothing indeed- dear father- I was thinking- just thinking of- of Christmas and-
MERCHANT
That should not make you sad my child.
MARY
It shall not father= believe me it shall not=
Rushing to his embrace and then crossing and embracing her mother
Good bye- mother- I'll be back= (suddenly thinking) I'll be back tomorrow.
Exit
MERCHANT
Come wife and see that old Lewey is at his post in the hall= the distance to her aunt's is but short- yet she must not go alone
WIFE
You men- you men- My poor father was the same with me- We cannot be too careful
MERCHANT
Here Tom= Tom Shakespeare
Tom entering and striking an attitude
TOM
Here- most potent grave and reverend Signior-
MERCHANT
Silence with that play jargon and attend to your duty= see William the new footman I desire him to come to my office immediately and I shall require him to take some letters to the post the first thing in the morning
TOM
Your mandate shall be obeyed
MERCHANT
Come wife- come-
They Exit
TOM
Well i do feel a little more comfortable master's a chap after my own heart although he don't like private theatres I should like to prevail upon him to see my Richard= Oh! here comes the new cretur of a footman.
Enter William
TOM
Are you the new cretur?
WILLIAM
The new what-
TOM
The new cretur
WILLIAM
Who do you mean
TOM
Is your name William
WILLIAM
It certainly is-
TOM
Then you're the new cretur how do you do- how do you do
WILLIAM
I'm very well thank you= May I ask who you are
TOM
Tom Shakespeare= related to that chap as wrote all the plays I found it out in a curious sort of a way- I traced out that my grandfather was a butcher= Shakespeare was born in a butcher's shop you know= So you see I must have some genius about me
WILLIAM
But what are you
TOM
They call me Fag- When there's anything uncommonly dirty or disagreeable to do, I'm the cretur if anybody's in a passion they kick or punishes me= if anything is broke I always come in for a blowing up now if master writes a letter never so much too late for the post it's always my fault
WILLIAM
Why you appear to be scapegoat of the establishment
TOM
I don't know what you mean about being a goat in the establishment but I know I has lots to do for five bob a week
WILLIAM
I have no doubt your abilities are underrated
TOM
You're a sensible chap, I'll give you a bit of friendly advice. When you toss with anyone make 'em dab down the tin hard or you'll be done brown
WILLIAM
Your caution may be friendly but as I never indulge in such sports, there's no danger of being done brown as you say-
TOM
Very good= Hang out our banners on the outward walls the cry is shrill they are a coming Ha! Ha! Ha!
Tom strikes an attitude
WILLIAM
What means this sudden outbreak
TOM
You like it you can't help it- It's Human Nature- how do you like this my new reading
Tom rushes to the opposite side
A Horse- A Horse= England Ireland and Scotland for a Horse
WILLIAM
It's remarkably good I dare say
TOM
(Confidentially)
The regular actors say "my kingdom for a horse"- Now the way I give it, I please the Irish and the Scotch as well as the English
MERCHANT
(Without)
Tell William to send them by morning post-
TOM
OK! Crikey that's master= I'd forgot he wants you in the office- "When Greek meets Greek- then comes the tug of war"
He rushes off LH, William RH
Interior of the Merchant's house
Enter the Merchant and his wife
MERCHANT
Tell thee wife she grows much lovely none in this city can with her compare
WIFE
Nonsense! you will make the child vain yet I must confess though she is mine there is a sort of a likeness to the mother
MERCHANT
Nonsense wife= I shall be making you vain= The likeness I think is on the father's side
WIFE
Well I'm sure= now I remember me she used to be like you when a child but since she has shown the rounded outline of a woman's form the resemblance has certainly favoured me
MERCHANT
Well wife we need both be proud of her and she our hopes delight is here to glad our hearts and make us truly happy
Enter Mary the Merchant's daughter she rushes to her father
MARY
Father-
she embraces him
MERCHANT
My proud fair child-
MARY
My Dear, Dear mother=
She turns and embraces her mother
MARY
You must not detain me long- You know Aunt Emily has been teasing me these two weeks ever since I returned from boarding school= You know I was always a favourite with the dear old soul= She wishes to contrive some agreeable surprise for my birthday= I am sixteen next Christmas and that is three days off= Do let me go that's a good father
WIFE
If your father has no objection to your going= you had better put on your cloak the night is so very cold, and you may suffer from exposure to the winter air.
MARY
Oh! no- no- no mother I do hate these cloaks= they're so bungling and so heavy= I'll just fling my shall around my shoulders and run all the way to Aunt Emily's you know it's only two squares distant in Third Street
WIFE
Old Lewey will see you safe to the door
MERCHANT
Well- well- go along my dear child- take good care of yourself and give our love to your aunt and don't let her find out all your secrets
she starts at the charge given to her by her father which the merchant observes
Why do you look so sad my child What is there in the world to cast a gloom on my Mary's brow- What has caused this change
MARY
Nothing- Nothing indeed- dear father- I was thinking- just thinking of- of Christmas and-
MERCHANT
That should not make you sad my child.
MARY
It shall not father= believe me it shall not=
Rushing to his embrace and then crossing and embracing her mother
Good bye- mother- I'll be back= (suddenly thinking) I'll be back tomorrow.
Exit
MERCHANT
Come wife and see that old Lewey is at his post in the hall= the distance to her aunt's is but short- yet she must not go alone
WIFE
You men- you men- My poor father was the same with me- We cannot be too careful
MERCHANT
Here Tom= Tom Shakespeare
Tom entering and striking an attitude
TOM
Here- most potent grave and reverend Signior-
MERCHANT
Silence with that play jargon and attend to your duty= see William the new footman I desire him to come to my office immediately and I shall require him to take some letters to the post the first thing in the morning
TOM
Your mandate shall be obeyed
MERCHANT
Come wife- come-
They Exit
TOM
Well i do feel a little more comfortable master's a chap after my own heart although he don't like private theatres I should like to prevail upon him to see my Richard= Oh! here comes the new cretur of a footman.
Enter William
TOM
Are you the new cretur?
WILLIAM
The new what-
TOM
The new cretur
WILLIAM
Who do you mean
TOM
Is your name William
WILLIAM
It certainly is-
TOM
Then you're the new cretur how do you do- how do you do
WILLIAM
I'm very well thank you= May I ask who you are
TOM
Tom Shakespeare= related to that chap as wrote all the plays I found it out in a curious sort of a way- I traced out that my grandfather was a butcher= Shakespeare was born in a butcher's shop you know= So you see I must have some genius about me
WILLIAM
But what are you
TOM
They call me Fag- When there's anything uncommonly dirty or disagreeable to do, I'm the cretur if anybody's in a passion they kick or punishes me= if anything is broke I always come in for a blowing up now if master writes a letter never so much too late for the post it's always my fault
WILLIAM
Why you appear to be scapegoat of the establishment
TOM
I don't know what you mean about being a goat in the establishment but I know I has lots to do for five bob a week
WILLIAM
I have no doubt your abilities are underrated
TOM
You're a sensible chap, I'll give you a bit of friendly advice. When you toss with anyone make 'em dab down the tin hard or you'll be done brown
WILLIAM
Your caution may be friendly but as I never indulge in such sports, there's no danger of being done brown as you say-
TOM
Very good= Hang out our banners on the outward walls the cry is shrill they are a coming Ha! Ha! Ha!
Tom strikes an attitude
WILLIAM
What means this sudden outbreak
TOM
You like it you can't help it- It's Human Nature- how do you like this my new reading
Tom rushes to the opposite side
A Horse- A Horse= England Ireland and Scotland for a Horse
WILLIAM
It's remarkably good I dare say
TOM
(Confidentially)
The regular actors say "my kingdom for a horse"- Now the way I give it, I please the Irish and the Scotch as well as the English
MERCHANT
(Without)
Tell William to send them by morning post-
TOM
OK! Crikey that's master= I'd forgot he wants you in the office- "When Greek meets Greek- then comes the tug of war"
He rushes off LH, William RH
SCENE 3RD
Third Street on LH. A door with the name Miss E Graham on RH A window alone transparent written on Astrologer= Enter Mary and Lewey an aged Negro
MARY
Lewey, you need not wait I'll ring the bell myself, you had better hurry home and warm yourself and remember Lewey tell father and mother that they need not expect me home before tomorrow at noon, goodnight Lewey
LEWEY
Goodnight, Missa Mary- Lor'Moses lub your soul
(aside)
Dat ar babby's a angel- dat is widout de wings= Good night Missa Mary
Exit
Mary looks around as if wondering whether she should not return She is about to do so when a tall figure in a dark veil drooping over her face stands before her
MARY
Oh, Bessie, is that you= I'm so frightened I don't know what to do- Oh! Bessie Bessie don't you think I had better turn back
BESSIE
(In a husky voice)
He waits for you-
Mary hastily places her arm on that of the stranger and hurries off- At their Exit Lorrimer and Byrnewood Enter
BYRNEWOOD
How feel you Lorrimer
LORRIMER
Almost as cold as charity my boy Do you know I believe vastly in faces= I tell you frankly- that the moment I first saw your face I liked you and resolved you should be my friend- For your sake I am about to do a thing which I would do for no living man
BYRNEWOOD
And that is-
LORRIMER
First listen, my fellow= did you ever hear any rumour of a queer old house down town- where the very devil is played under a cloak- and sin grows fat within the shelter of quiet rooms and impenetrable walls-.
BYRNEWOOD
I'Faith- I've heard of some rumours of such a queer old house, but always deemed them fabulous
LORRIMER
The old house my boy- within its walls this night I will wed my pretty bride- and within its walls my fellow, despite the pains and penalties of our club, you shall enter
BYRNEWOOD
I should like it of all things in the world how is your club styled
LORRIMER
All in good time= you see each member has the privilege once a week of introducing a new friend= the same friend must never enter the club house twice= you will there obtain some fresh ideas of the nature of the secret life of this good Quaker City
BYRNEWOOD
Why Lorrimer you seem to have a pretty good idea of life in general
LORRIMER
Life!- what is it! as brilliant and as brief as a champagne bottle today a jolly carouse in an Oyster Cellar tomorrow a nice little pic-nic party in a grave yard
BYRNEWOOD
What moral do you deduce from all this-
LORRIMER
One word my fellow, Enjoy! Enjoy till the last nerve loses its delicacy of sense; enjoy till the last sinew is unstrung- enjoy till the eye flings out its last glance till the voice cracks and the blood stagnates- and at last-
BYRNEWOOD
Aye- aye- that terrible-at-last-
LORRIMER
When you can enjoy no longer, creep into a nice cozy house some eight feet deep, by six long and two wide= wrap yourself up in a white sheet and tell the worms that they may fall to and make a hearty meal- but tell me my new friend what business do you follow
BYRNEWOOD
Rather an abrupt question= However I'm the junior partner in the Importing House of Livingstone Harvey and Co along Front street
LORRIMER
And I am junior and senior partner in a snug little wholesale business of my own- the firm is Lorrimer and Co- The place of business is everywhere about town and the business itself is enjoyment= Now my dear fellow you know me= have you no interesting little amour for a private ear.
BYRNEWOOD
By heaven I had forgot all about it just before you hailed me a letter was placed in my hand read
He gives the letter to Lorrimer
LORRIMER
Reading
Dear Byrnewood I would like very much to see you tonight- I am in great distress meet me at the corner of Fourth Street at 9 O'clock or you will regret it to the day of your death- -Annie- What a pretty hand she writes- there's the stain of a tear- these things are quite customary
BYRNEWOOD
Taking the letter and putting it in his pocket
I should have liked to have met her tonight= However, it will do in the morning- and now Lorrimer which way
The Bell is heard to strike one
LORRIMER
There goes the state house clock- To the queer old house but we have two hours yet to decide the wager= let's spend half an hour in a visit to a friend of mine the astrologer here as he calls himself= I wonder if the old cove's in bed= no I'faith there= a light in his window and see the door opens
Here the door of the Astrologer's house opens. A figure muffled up in the folds of a large cloak comes out his hat over his eyes he hurries off mysteriously LH-
BYRNEWOOD
Ha! Ha!-Devilish Cunning- but not so cunning as he thinks- I saw his face It's old Grab and Snatch the president of the bank in Fourth Street which everybody says is on the eve of a grand blow up
LORRIMER
The respectable old gentleman has been consulting the stars. However my boy the door is open= Let's enter! And consult this familiar of the fates this intimate acquaintance of the future
They Exit door in flat- as they were about to Enter the house the figure of a female muffled in a cloak is seen to watch them and Exit Suddenly.
Third Street on LH. A door with the name Miss E Graham on RH A window alone transparent written on Astrologer= Enter Mary and Lewey an aged Negro
MARY
Lewey, you need not wait I'll ring the bell myself, you had better hurry home and warm yourself and remember Lewey tell father and mother that they need not expect me home before tomorrow at noon, goodnight Lewey
LEWEY
Goodnight, Missa Mary- Lor'Moses lub your soul
(aside)
Dat ar babby's a angel- dat is widout de wings= Good night Missa Mary
Exit
Mary looks around as if wondering whether she should not return She is about to do so when a tall figure in a dark veil drooping over her face stands before her
MARY
Oh, Bessie, is that you= I'm so frightened I don't know what to do- Oh! Bessie Bessie don't you think I had better turn back
BESSIE
(In a husky voice)
He waits for you-
Mary hastily places her arm on that of the stranger and hurries off- At their Exit Lorrimer and Byrnewood Enter
BYRNEWOOD
How feel you Lorrimer
LORRIMER
Almost as cold as charity my boy Do you know I believe vastly in faces= I tell you frankly- that the moment I first saw your face I liked you and resolved you should be my friend- For your sake I am about to do a thing which I would do for no living man
BYRNEWOOD
And that is-
LORRIMER
First listen, my fellow= did you ever hear any rumour of a queer old house down town- where the very devil is played under a cloak- and sin grows fat within the shelter of quiet rooms and impenetrable walls-.
BYRNEWOOD
I'Faith- I've heard of some rumours of such a queer old house, but always deemed them fabulous
LORRIMER
The old house my boy- within its walls this night I will wed my pretty bride- and within its walls my fellow, despite the pains and penalties of our club, you shall enter
BYRNEWOOD
I should like it of all things in the world how is your club styled
LORRIMER
All in good time= you see each member has the privilege once a week of introducing a new friend= the same friend must never enter the club house twice= you will there obtain some fresh ideas of the nature of the secret life of this good Quaker City
BYRNEWOOD
Why Lorrimer you seem to have a pretty good idea of life in general
LORRIMER
Life!- what is it! as brilliant and as brief as a champagne bottle today a jolly carouse in an Oyster Cellar tomorrow a nice little pic-nic party in a grave yard
BYRNEWOOD
What moral do you deduce from all this-
LORRIMER
One word my fellow, Enjoy! Enjoy till the last nerve loses its delicacy of sense; enjoy till the last sinew is unstrung- enjoy till the eye flings out its last glance till the voice cracks and the blood stagnates- and at last-
BYRNEWOOD
Aye- aye- that terrible-at-last-
LORRIMER
When you can enjoy no longer, creep into a nice cozy house some eight feet deep, by six long and two wide= wrap yourself up in a white sheet and tell the worms that they may fall to and make a hearty meal- but tell me my new friend what business do you follow
BYRNEWOOD
Rather an abrupt question= However I'm the junior partner in the Importing House of Livingstone Harvey and Co along Front street
LORRIMER
And I am junior and senior partner in a snug little wholesale business of my own- the firm is Lorrimer and Co- The place of business is everywhere about town and the business itself is enjoyment= Now my dear fellow you know me= have you no interesting little amour for a private ear.
BYRNEWOOD
By heaven I had forgot all about it just before you hailed me a letter was placed in my hand read
He gives the letter to Lorrimer
LORRIMER
Reading
Dear Byrnewood I would like very much to see you tonight- I am in great distress meet me at the corner of Fourth Street at 9 O'clock or you will regret it to the day of your death- -Annie- What a pretty hand she writes- there's the stain of a tear- these things are quite customary
BYRNEWOOD
Taking the letter and putting it in his pocket
I should have liked to have met her tonight= However, it will do in the morning- and now Lorrimer which way
The Bell is heard to strike one
LORRIMER
There goes the state house clock- To the queer old house but we have two hours yet to decide the wager= let's spend half an hour in a visit to a friend of mine the astrologer here as he calls himself= I wonder if the old cove's in bed= no I'faith there= a light in his window and see the door opens
Here the door of the Astrologer's house opens. A figure muffled up in the folds of a large cloak comes out his hat over his eyes he hurries off mysteriously LH-
BYRNEWOOD
Ha! Ha!-Devilish Cunning- but not so cunning as he thinks- I saw his face It's old Grab and Snatch the president of the bank in Fourth Street which everybody says is on the eve of a grand blow up
LORRIMER
The respectable old gentleman has been consulting the stars. However my boy the door is open= Let's enter! And consult this familiar of the fates this intimate acquaintance of the future
They Exit door in flat- as they were about to Enter the house the figure of a female muffled in a cloak is seen to watch them and Exit Suddenly.
SCENE 4TH
The Astrologer's Chamber
A table with books dreadful and crucibles scattered about a rude iron lamp on the centre of the table the old Astrologer is discovered in an old fashioned arm chair peering over his books
ASTROLOGER
Here they are- Here they are- Here are the nativities of one and all= Those who despise me and yet this little room has seen them all within its walls begging of the humble man some knowledge of the future-
Taking up a sheet
Here is the "horoscope" of a lawyer who takes fees from both sides. His desire is to know, whether he can perjure himself in a case now in court without detection- Noble counselor Ha! Ha!
Taking up another sheet
This is the horoscope of a man of fashion a buck of Chestnut Street and a colonel! He lives I know how; the fashionables who follow in his wake don't dream of his means of livelihood= He has committed a crime and wants to know whether his associate will betray him; i told him he would- The Colonel laughed at me though he paid me for the knowledge= In a week the fine sweet perfumed gentleman will be lodged at the public expense= The good and wise of the Quaker City who despise my name in public are glad to steal to the astrologer's room under the cover of night to obtain some glimpses of their future destiny through the oracle of the stars-
He looks over several books
Yes- Yes- they will be here tonight both of them or there's no truth in the stars- Lorrimer must beware-
At this moment Lorrimer and Byrnewood Enter the room hearing his name mentioned
LORRIMER
Ha! Ha!= an old stage trick that- you didn't hear my footsteps on the stairs did you? oh no oh no come come old boy that claptrap is too stale
ASTROLOGER
Sir- i have much to say to you- last thursday you gave me the day and hour of your birth- you wished me to cast your horoscope you wished to know whether you would be successful in an enterprise which you meditated- am i correct in this
LORRIMER
You are an old humbug= This is my friend- come old fellow to work
ASTROLOGER
(aside)
Humbug! You may alter your opinion- I have given the most careful attention to your horoscope It is one of the most startling ever I beheld you were born under one of the most favourable aspects of the heavens- born it would seem, but to succeed in all your wishes; and yet your future fate is wrapt in some terrible mystery-
LORRIMER
Like a kitten in a wet blanket
ASTROLOGER
I discovered that you were making some new acquaintance at some festival some wine drinking affair this new acquaintance is a man with a pale face and dark eyes so the stars tell me= Your fate and the fate of this young man are linked together till death
LORRIMER
Very good my dear sir- your conclusions are perfect= but you forgot one slight circumstance; I have made no new acquaintance tonight- I have been at no wine drinking- I have seen no interesting young man with a pale face and dark eyes
ASTROLOGER
The stars declare that this very night you first came in contact with the man, whose fate henceforth is linked with your own= the future has a doom in store for one of ye= the stars do not tell me which shall feel the terror of the doom, but that it will be inflicted by one of ye on the other is certain
LORRIMER
Well let us suppose for the sake of argument that I did meet this mysterious young man what follows
ASTROLOGER
The future of the young man is as like yours as night is tonight at the hour of sunset on next Saturday Christmas Eve, a terrible calamity will over take him at the same hour, and in the same manner a terrible calamity will blacken your life forever= I suspect this young man you have brought here is the new acquaintance if so I warn you by your soul, beware of him
BYRNEWOOD
And why beware of me
ASTROLOGER
I warn ye both- beware of eachother! Let this meeting at my house be the last on earth and you are saved- when you first entered I could not identify you with the man who met Lorrimer mid revelry and wine now I can supply the broken chain- You and his new acquaintance are one- within three days one of you will die by the others hand
BYRNEWOOD
What fools we are Lorrimer to stand listening to the ravings of a madman What does he know of the future more than we= perhaps sir as you are so familiar with fate destiny and all that- you can tell us the nature of the adventure on which Lorrimer is bound tonight
ASTROLOGER
The adventure is connected with the honour of an innocent girl= more than this I know not- save that a foul outrage will be done this very night= give up this adventure at once, go back in your course part from one another- never to meet again- advance and you are lost-
Lorrimer stands silent and thoughtful
BYRNEWOOD
Pshaw! Lorrimer you are not frightened by the preachings of this fortune teller you will not give up the girl-
LORRIMER
(recovering)
Give up the girl- never she shall repose in my arms tonight- nor fate- nor destiny- shall scare me back= there's your money mister fortune teller- your croaking deserves the silver- Come Byrnewood let's away
BYRNEWOOD
Wait till I pay the gentleman for our coffins-
gives money
See that they're ready for Saturday night old boy you are hand in glove with some respectable undertaker no doubt and can give him our measure goodbye old fellow goodbye now Lorrimer I'm with you
LORRIMER
(Aside)
To Monk Hall-
They Exit arm in arm
ASTROLOGER
At Christmas Eve at the hour of sunset- one of you will die by the others hand! The winding sheet is woven, and the coffin made- you are rushing madly on your doom
Exit
The Astrologer's Chamber
A table with books dreadful and crucibles scattered about a rude iron lamp on the centre of the table the old Astrologer is discovered in an old fashioned arm chair peering over his books
ASTROLOGER
Here they are- Here they are- Here are the nativities of one and all= Those who despise me and yet this little room has seen them all within its walls begging of the humble man some knowledge of the future-
Taking up a sheet
Here is the "horoscope" of a lawyer who takes fees from both sides. His desire is to know, whether he can perjure himself in a case now in court without detection- Noble counselor Ha! Ha!
Taking up another sheet
This is the horoscope of a man of fashion a buck of Chestnut Street and a colonel! He lives I know how; the fashionables who follow in his wake don't dream of his means of livelihood= He has committed a crime and wants to know whether his associate will betray him; i told him he would- The Colonel laughed at me though he paid me for the knowledge= In a week the fine sweet perfumed gentleman will be lodged at the public expense= The good and wise of the Quaker City who despise my name in public are glad to steal to the astrologer's room under the cover of night to obtain some glimpses of their future destiny through the oracle of the stars-
He looks over several books
Yes- Yes- they will be here tonight both of them or there's no truth in the stars- Lorrimer must beware-
At this moment Lorrimer and Byrnewood Enter the room hearing his name mentioned
LORRIMER
Ha! Ha!= an old stage trick that- you didn't hear my footsteps on the stairs did you? oh no oh no come come old boy that claptrap is too stale
ASTROLOGER
Sir- i have much to say to you- last thursday you gave me the day and hour of your birth- you wished me to cast your horoscope you wished to know whether you would be successful in an enterprise which you meditated- am i correct in this
LORRIMER
You are an old humbug= This is my friend- come old fellow to work
ASTROLOGER
(aside)
Humbug! You may alter your opinion- I have given the most careful attention to your horoscope It is one of the most startling ever I beheld you were born under one of the most favourable aspects of the heavens- born it would seem, but to succeed in all your wishes; and yet your future fate is wrapt in some terrible mystery-
LORRIMER
Like a kitten in a wet blanket
ASTROLOGER
I discovered that you were making some new acquaintance at some festival some wine drinking affair this new acquaintance is a man with a pale face and dark eyes so the stars tell me= Your fate and the fate of this young man are linked together till death
LORRIMER
Very good my dear sir- your conclusions are perfect= but you forgot one slight circumstance; I have made no new acquaintance tonight- I have been at no wine drinking- I have seen no interesting young man with a pale face and dark eyes
ASTROLOGER
The stars declare that this very night you first came in contact with the man, whose fate henceforth is linked with your own= the future has a doom in store for one of ye= the stars do not tell me which shall feel the terror of the doom, but that it will be inflicted by one of ye on the other is certain
LORRIMER
Well let us suppose for the sake of argument that I did meet this mysterious young man what follows
ASTROLOGER
The future of the young man is as like yours as night is tonight at the hour of sunset on next Saturday Christmas Eve, a terrible calamity will over take him at the same hour, and in the same manner a terrible calamity will blacken your life forever= I suspect this young man you have brought here is the new acquaintance if so I warn you by your soul, beware of him
BYRNEWOOD
And why beware of me
ASTROLOGER
I warn ye both- beware of eachother! Let this meeting at my house be the last on earth and you are saved- when you first entered I could not identify you with the man who met Lorrimer mid revelry and wine now I can supply the broken chain- You and his new acquaintance are one- within three days one of you will die by the others hand
BYRNEWOOD
What fools we are Lorrimer to stand listening to the ravings of a madman What does he know of the future more than we= perhaps sir as you are so familiar with fate destiny and all that- you can tell us the nature of the adventure on which Lorrimer is bound tonight
ASTROLOGER
The adventure is connected with the honour of an innocent girl= more than this I know not- save that a foul outrage will be done this very night= give up this adventure at once, go back in your course part from one another- never to meet again- advance and you are lost-
Lorrimer stands silent and thoughtful
BYRNEWOOD
Pshaw! Lorrimer you are not frightened by the preachings of this fortune teller you will not give up the girl-
LORRIMER
(recovering)
Give up the girl- never she shall repose in my arms tonight- nor fate- nor destiny- shall scare me back= there's your money mister fortune teller- your croaking deserves the silver- Come Byrnewood let's away
BYRNEWOOD
Wait till I pay the gentleman for our coffins-
gives money
See that they're ready for Saturday night old boy you are hand in glove with some respectable undertaker no doubt and can give him our measure goodbye old fellow goodbye now Lorrimer I'm with you
LORRIMER
(Aside)
To Monk Hall-
They Exit arm in arm
ASTROLOGER
At Christmas Eve at the hour of sunset- one of you will die by the others hand! The winding sheet is woven, and the coffin made- you are rushing madly on your doom
Exit
SCENE 5TH
A front street with practicable door-
Enter Luke Harvey- an American dressed in Black with a white shirt collar turned down large wristbands- smoking a pipe
LUKE
Queer world this; don't know much about other worlds, but it strikes me that if a prize were offered somewhere by somebody for the queerest world a going, this world of ours might be rigged up nice, and sent in like a bit of show beef- as the premium queer world= no man ever smoked a cigar that tried a pipe, but an ass= last year taken into partnership along with a young fellow whose daddy's worth at least one hundred thousand. Firm now Livingstone Harvey and Co- some weeks ago a respectable old gentleman in white cravat and humpback came to counting house presented a letter of credit drawn by a Charleston house on our firm= for a cool hundred thousand= A forgery and white cravat got it= a great buck of fashion called at the office this evening smelt like a civet cat- dropped this letter from a bundle of notes= valuable letter- wouldn't part with it for a cool thousand rather think it will raise the devil let me see-
Throws away his pipe
I know the hand- a delicate woman's hand Col. Fitz Cowles United States Hotel To drop such a dear creature's letter I loved one- but was jilted yes that- the word jilted- maybe I won't have my revenge- perhaps not very likely not-
He puts the letter in his pocket here= Luke takes out his watch
What can be the time=
He takes out his watch
Mr. Livingstone Enters in a travelling cloak he taps Luke on the shoulder
LIVINGSTONE
Well Luke is the repeater right and the statehouse wrong
LUKE
Ah! Ah! Mr. Livingstone is that you- when did you get back from New York!
LIVINGSTONE
Just this moment arrived I did not expect to return within a week from this time and therefore came upon you by a little surprise I wrote to Mrs. L- yesterday telling her I would not be in town till the Christmas holidays were over= she'll be delighted to see me
LUKE
Rather,-- Have you heard any news of the forger- any intelligence of the respectable gentleman in a white cravat and a humpback
LIVINGSTONE
He played the same game in New York that he played in our city= wherever I went I heard nothing but Mr. Ellis Mortimer of Charleston bought goods to a large amount in all cases they were dispatched to the various auctions and Mr. Ellis Mortimer pocketed the cash
LUKE
And you have no traces of this Prince of swindlers
LIVINGSTONE
None- all the police in New York have been raising heaven and earth to catch him for this week past without success- I have come to the conclusion that he is lurking about the city with the respectable sum of two hundred thousand dollars in his possession- my friend Col. Fitz-cowles gave me some valuable suggestions before I left for New York I will ask his advice in regards to the matter the first thing in the morning.
LUKE
Very fine man that Col. Fitz Cowles Splendid fellow- dresses well- son of an English Earl--
LIVINGSTONE
So I have understood- atleast rumoured so-
LUKE
Got lots of money- no end to his wealth- isn't he a southern planter with acres of niggers with prairies of cotton
LIVINGSTONE
Luke that's a very strange question to ask me= did you not say first how he was the son of an English Earl
LUKE
I believe I did- to tell the truth I've heard both stories about him and some dozen more= who the devil is he
LIVINGSTONE
This Luke is folly- you know that Col. Fitz-Cowles is received in the best society- mingles with the ton of the Quaker city.
LUKE
Fine man that Col. Fitz-cowles very
LIVINGSTONE
Do you know Luke= I think the married men are the happiest in the world- now look at my case for instance= A year ago I was a miserable bachelor- the loss of one hundred thousand dollars- then would have driven me frantic- now I have a sweet young wife to cheer me- her smile welcomes me home; the first tone of her voice and my loss is forgotten= there never was a nobler woman than my Dora- young blooming and but twenty summers old confess Luke that we married men live more in an hour than dull bachelors in a year
LUKE
Oh- Yes- certainly- you may well talk having such a handsome wife- if I wasn't afraid of making you jealous I would say Mrs. Livingstone has the most splendid form ever beheld
LIVINGSTONE
And then her heart Luke- so noble so affectionate so good= I wish you could have seen her where I first beheld her- in a small and meanly furnished apartment- at the bedside of a dying mother! They were in reduced circumstances for her father had died insolvent. He had been my father's friend and I thought it my duty to visit the widowed mother and orphan daughter= By the bye Luke I once saw you at their house in Wood Street did you know the family
LUKE
Miss Dora's father had been kind to me
LIVINGSTONE
Well Luke- here's my house it is lucky I have my dead latch key, I can enter without disturbing the servants-- come upstairs into the drawing room with me I want to have a few more words about the forgery.
LUKE
It would be a pity to wake Mrs. Livingstone a very great pity= by the bye as regards the forgery
LIVINGSTONE
Listen- Last week I received a letter from the Charleston House announcing additional facts= The letter written to our firm intimating the intended visit of Mr. Mortimer to this city had been very carelessly left open for a few moments on the counting house desk and Mr. Monroe was observed glancing over its contents by one of the clerks the Charleston House suspected him of the whole forgery in all its details-
LUKE
Very likely- he saw the letter on the desk= forged the letter of credit and dispatched his accomplice to Philadelphia without delay
LIVINGSTONE
Now for the consequences- on Monday morning next we have an engagement of one hundred thousand dollars to meet which under the circumstance may plunge our house into the vortex of a bankruptcy- unless this imposter is discovered- You see our position Luke?
LUKE
Yes- I see our position and I see your position in more respects than one--
He crosses and looks heartfeltly at Livingstone
Why Livingstone- I tell you what- you won't be able to enter the church next Sunday without stooping= those horns of yours will be so damn'd large
LIVINGSTONE
Mr. Harvey are you mad
Here Luke whispers to Livingstone who suddenly turns pale as if struck by a blow
Harvey- you had better never been born than utter that word again I advise you to leave me= I am losing all command of myself- there is a voice within me tempting to murder you= for heavens sake quit my sight-
LUKE
To her chambers of she is there I am a liar and a dog and deserve to die
Music here, Livingstone rushes to the door opens it and Enters
LUKE
Ha! Ha! Ha! the seeds of my revenge are sown- he returns
Livingstone returns pale and breathless after a moments pause he speaks
LIVINGSTONE
She is not there- she is not there false to her husbands bed and honour
LUKE
False as hell, and vile as false
LIVINGSTONE
This letter doubtless will confess her guilt
he tears it open and reads
Liar and dog-
he seizes Luke by the throat
Your lie was well coined- here is my wife's letter- look here and read and I'll force you to eat your own false words- Expecting I might suddenly return from New York she states she has left home for the night= a school companion on her dying bed solicited my wife's company who could not refuse read sir read-
LUKE
Take your hands from my throat or I'll do you a mischief
LIVINGSTONE
Read Sir- Then crawl home like the detested fiend you have proved yourself= Tomorrow I'll settle with you
LUKE
Tis a very good letter well written and she minds her stops;- read this letter- then see the tact-
LIVINGSTONE
This letter is addressed to Col Fitz-Cowles
LUKE
It was dropped by the colonel in the counting house this evening= the colonel is a very fine man a favourite with the fair sex= read sir read-
Livingstone reads and appears horror struck
LIVINGSTONE
Oh! Heavens and I so loved her-
He buries his face in his hands
LUKE
(aside)
I would I had not told him= and yet I loved her once
LIVINGSTONE
Know you anything of the place named in the letter
LUKE
I do and will lead you there= Come
LIVINGSTONE
Can you gain access to the house to the room
LUKE
Did I not track them thither last night
Livingstone takes from his pocket a pair of pistols-
LIVINGSTONE
Which way do you lead-
LUKE
To the- to the den- the gambling house
Livingstone seizes the arm of Luke
To Monk Hall
They Exit hurridly
A front street with practicable door-
Enter Luke Harvey- an American dressed in Black with a white shirt collar turned down large wristbands- smoking a pipe
LUKE
Queer world this; don't know much about other worlds, but it strikes me that if a prize were offered somewhere by somebody for the queerest world a going, this world of ours might be rigged up nice, and sent in like a bit of show beef- as the premium queer world= no man ever smoked a cigar that tried a pipe, but an ass= last year taken into partnership along with a young fellow whose daddy's worth at least one hundred thousand. Firm now Livingstone Harvey and Co- some weeks ago a respectable old gentleman in white cravat and humpback came to counting house presented a letter of credit drawn by a Charleston house on our firm= for a cool hundred thousand= A forgery and white cravat got it= a great buck of fashion called at the office this evening smelt like a civet cat- dropped this letter from a bundle of notes= valuable letter- wouldn't part with it for a cool thousand rather think it will raise the devil let me see-
Throws away his pipe
I know the hand- a delicate woman's hand Col. Fitz Cowles United States Hotel To drop such a dear creature's letter I loved one- but was jilted yes that- the word jilted- maybe I won't have my revenge- perhaps not very likely not-
He puts the letter in his pocket here= Luke takes out his watch
What can be the time=
He takes out his watch
Mr. Livingstone Enters in a travelling cloak he taps Luke on the shoulder
LIVINGSTONE
Well Luke is the repeater right and the statehouse wrong
LUKE
Ah! Ah! Mr. Livingstone is that you- when did you get back from New York!
LIVINGSTONE
Just this moment arrived I did not expect to return within a week from this time and therefore came upon you by a little surprise I wrote to Mrs. L- yesterday telling her I would not be in town till the Christmas holidays were over= she'll be delighted to see me
LUKE
Rather,-- Have you heard any news of the forger- any intelligence of the respectable gentleman in a white cravat and a humpback
LIVINGSTONE
He played the same game in New York that he played in our city= wherever I went I heard nothing but Mr. Ellis Mortimer of Charleston bought goods to a large amount in all cases they were dispatched to the various auctions and Mr. Ellis Mortimer pocketed the cash
LUKE
And you have no traces of this Prince of swindlers
LIVINGSTONE
None- all the police in New York have been raising heaven and earth to catch him for this week past without success- I have come to the conclusion that he is lurking about the city with the respectable sum of two hundred thousand dollars in his possession- my friend Col. Fitz-cowles gave me some valuable suggestions before I left for New York I will ask his advice in regards to the matter the first thing in the morning.
LUKE
Very fine man that Col. Fitz Cowles Splendid fellow- dresses well- son of an English Earl--
LIVINGSTONE
So I have understood- atleast rumoured so-
LUKE
Got lots of money- no end to his wealth- isn't he a southern planter with acres of niggers with prairies of cotton
LIVINGSTONE
Luke that's a very strange question to ask me= did you not say first how he was the son of an English Earl
LUKE
I believe I did- to tell the truth I've heard both stories about him and some dozen more= who the devil is he
LIVINGSTONE
This Luke is folly- you know that Col. Fitz-Cowles is received in the best society- mingles with the ton of the Quaker city.
LUKE
Fine man that Col. Fitz-cowles very
LIVINGSTONE
Do you know Luke= I think the married men are the happiest in the world- now look at my case for instance= A year ago I was a miserable bachelor- the loss of one hundred thousand dollars- then would have driven me frantic- now I have a sweet young wife to cheer me- her smile welcomes me home; the first tone of her voice and my loss is forgotten= there never was a nobler woman than my Dora- young blooming and but twenty summers old confess Luke that we married men live more in an hour than dull bachelors in a year
LUKE
Oh- Yes- certainly- you may well talk having such a handsome wife- if I wasn't afraid of making you jealous I would say Mrs. Livingstone has the most splendid form ever beheld
LIVINGSTONE
And then her heart Luke- so noble so affectionate so good= I wish you could have seen her where I first beheld her- in a small and meanly furnished apartment- at the bedside of a dying mother! They were in reduced circumstances for her father had died insolvent. He had been my father's friend and I thought it my duty to visit the widowed mother and orphan daughter= By the bye Luke I once saw you at their house in Wood Street did you know the family
LUKE
Miss Dora's father had been kind to me
LIVINGSTONE
Well Luke- here's my house it is lucky I have my dead latch key, I can enter without disturbing the servants-- come upstairs into the drawing room with me I want to have a few more words about the forgery.
LUKE
It would be a pity to wake Mrs. Livingstone a very great pity= by the bye as regards the forgery
LIVINGSTONE
Listen- Last week I received a letter from the Charleston House announcing additional facts= The letter written to our firm intimating the intended visit of Mr. Mortimer to this city had been very carelessly left open for a few moments on the counting house desk and Mr. Monroe was observed glancing over its contents by one of the clerks the Charleston House suspected him of the whole forgery in all its details-
LUKE
Very likely- he saw the letter on the desk= forged the letter of credit and dispatched his accomplice to Philadelphia without delay
LIVINGSTONE
Now for the consequences- on Monday morning next we have an engagement of one hundred thousand dollars to meet which under the circumstance may plunge our house into the vortex of a bankruptcy- unless this imposter is discovered- You see our position Luke?
LUKE
Yes- I see our position and I see your position in more respects than one--
He crosses and looks heartfeltly at Livingstone
Why Livingstone- I tell you what- you won't be able to enter the church next Sunday without stooping= those horns of yours will be so damn'd large
LIVINGSTONE
Mr. Harvey are you mad
Here Luke whispers to Livingstone who suddenly turns pale as if struck by a blow
Harvey- you had better never been born than utter that word again I advise you to leave me= I am losing all command of myself- there is a voice within me tempting to murder you= for heavens sake quit my sight-
LUKE
To her chambers of she is there I am a liar and a dog and deserve to die
Music here, Livingstone rushes to the door opens it and Enters
LUKE
Ha! Ha! Ha! the seeds of my revenge are sown- he returns
Livingstone returns pale and breathless after a moments pause he speaks
LIVINGSTONE
She is not there- she is not there false to her husbands bed and honour
LUKE
False as hell, and vile as false
LIVINGSTONE
This letter doubtless will confess her guilt
he tears it open and reads
Liar and dog-
he seizes Luke by the throat
Your lie was well coined- here is my wife's letter- look here and read and I'll force you to eat your own false words- Expecting I might suddenly return from New York she states she has left home for the night= a school companion on her dying bed solicited my wife's company who could not refuse read sir read-
LUKE
Take your hands from my throat or I'll do you a mischief
LIVINGSTONE
Read Sir- Then crawl home like the detested fiend you have proved yourself= Tomorrow I'll settle with you
LUKE
Tis a very good letter well written and she minds her stops;- read this letter- then see the tact-
LIVINGSTONE
This letter is addressed to Col Fitz-Cowles
LUKE
It was dropped by the colonel in the counting house this evening= the colonel is a very fine man a favourite with the fair sex= read sir read-
Livingstone reads and appears horror struck
LIVINGSTONE
Oh! Heavens and I so loved her-
He buries his face in his hands
LUKE
(aside)
I would I had not told him= and yet I loved her once
LIVINGSTONE
Know you anything of the place named in the letter
LUKE
I do and will lead you there= Come
LIVINGSTONE
Can you gain access to the house to the room
LUKE
Did I not track them thither last night
Livingstone takes from his pocket a pair of pistols-
LIVINGSTONE
Which way do you lead-
LUKE
To the- to the den- the gambling house
Livingstone seizes the arm of Luke
To Monk Hall
They Exit hurridly
SCENE 6TH
Front scene Entrance chamber to Monk Hall
Side door piece on R.H= Enter Lorrimer and Byrnewood- lights down
BYRNEWOOD
I say Gus- what a devil of a way you've led me up one alley and down another backwards and forwards round this way and round that. Damme if I can tell which is north and south except by the moon
LORRIMER
Hist! My fellow don't mention names; cardinal doctrine that in an affair of this kind- remember you pass as my friend= wait a moment we'll see whether old Devil Bug is awake.
Lorrimer goes to the side door R.H and knocks
DEVIL BUG
(without in a course voice)
Who's there= What the devil do you want- Go about your business or I'll call the watch
LORRIMER
I say Devil Bug- what hour of the night is it-
Loud chains fall and the door opens Devil Bug a strange thick set specimen of misshapen flesh and blood Enters
DEVIL BUG
Come in sir- Did'nt know it was you
LORRIMER
This is my friend- you understand me Devil Bug
DEVIL BUG
O'course- but my name is Bijah K. Jones my pertikler friend
LORRIMER
Well Abijah are you satisfied This gentleman I say is my friend
DEVIL BUG
So I s'pose= here Mosquito Glow worm
Two blacks enter
Mark this man- mark him I say this is Monk Gusty's friend
They walk pressingly round Byrnewood and Exit followed by Devil Bug
LORRIMER
This way my fellow- now for the club then for the wager
BYRNEWOOD
This is rather a strange place Gus why don't they have a light
LORRIMER
Secrecy- my fellow- secrecy- those are the police of Monk Hall- certain to be at hand in case of a row= you see the entire arrangement of this place may be explained in one word it is easy enough for a stranger- that's you my boy- to find his way in- but it would puzzle him like the devil to find his way out- that is without assistance- take my arm Byrnewood we must descend to the club room-
BYRNEWOOD
Descend?
LORRIMER
Yes my fine fellow- Descend, for we hold our meetings- one story under ground= it's likely all the monks are now most royally drunk- so I can slide you in among them without much notice= you can remain there while I go and prepare the bride, for your visit.
A shout without Bravo- Bravo
Don't you hear their shouts my boy, faith they must be drunk as judges everyone of them- why Byrnewood you're as still as death
BYRNEWOOD
To tell the truth Lorrimer- this place looks like the den of some wizard- it's so dammed gloomy
LORRIMER
Mark me Byrnewood you must walk into the club room at my back while I salute the monks of Monk Hall you will slide into a vacant seat at the table and mingle in the revelry of the place till I return= hold my arm as tight as you can- there is a staircase near this door- softly-softly- I see it= in a moment we will be in the midst of the monks of Monk Hall
They Exit cautiously as the scene opens to-
Front scene Entrance chamber to Monk Hall
Side door piece on R.H= Enter Lorrimer and Byrnewood- lights down
BYRNEWOOD
I say Gus- what a devil of a way you've led me up one alley and down another backwards and forwards round this way and round that. Damme if I can tell which is north and south except by the moon
LORRIMER
Hist! My fellow don't mention names; cardinal doctrine that in an affair of this kind- remember you pass as my friend= wait a moment we'll see whether old Devil Bug is awake.
Lorrimer goes to the side door R.H and knocks
DEVIL BUG
(without in a course voice)
Who's there= What the devil do you want- Go about your business or I'll call the watch
LORRIMER
I say Devil Bug- what hour of the night is it-
Loud chains fall and the door opens Devil Bug a strange thick set specimen of misshapen flesh and blood Enters
DEVIL BUG
Come in sir- Did'nt know it was you
LORRIMER
This is my friend- you understand me Devil Bug
DEVIL BUG
O'course- but my name is Bijah K. Jones my pertikler friend
LORRIMER
Well Abijah are you satisfied This gentleman I say is my friend
DEVIL BUG
So I s'pose= here Mosquito Glow worm
Two blacks enter
Mark this man- mark him I say this is Monk Gusty's friend
They walk pressingly round Byrnewood and Exit followed by Devil Bug
LORRIMER
This way my fellow- now for the club then for the wager
BYRNEWOOD
This is rather a strange place Gus why don't they have a light
LORRIMER
Secrecy- my fellow- secrecy- those are the police of Monk Hall- certain to be at hand in case of a row= you see the entire arrangement of this place may be explained in one word it is easy enough for a stranger- that's you my boy- to find his way in- but it would puzzle him like the devil to find his way out- that is without assistance- take my arm Byrnewood we must descend to the club room-
BYRNEWOOD
Descend?
LORRIMER
Yes my fine fellow- Descend, for we hold our meetings- one story under ground= it's likely all the monks are now most royally drunk- so I can slide you in among them without much notice= you can remain there while I go and prepare the bride, for your visit.
A shout without Bravo- Bravo
Don't you hear their shouts my boy, faith they must be drunk as judges everyone of them- why Byrnewood you're as still as death
BYRNEWOOD
To tell the truth Lorrimer- this place looks like the den of some wizard- it's so dammed gloomy
LORRIMER
Mark me Byrnewood you must walk into the club room at my back while I salute the monks of Monk Hall you will slide into a vacant seat at the table and mingle in the revelry of the place till I return= hold my arm as tight as you can- there is a staircase near this door- softly-softly- I see it= in a moment we will be in the midst of the monks of Monk Hall
They Exit cautiously as the scene opens to-
SCENE 7TH
Interior of Monk Hall
A long table at which several revellers are discovered drinking at one end of the room hung to the waistcot a large pier glass framed in walnut= on each side two large pictures- behind the chair of the president the effigy of a monk his right hand grasping a goblet of gold a massive chandelier hung in the centre of the scene half the candles alight candelabras on the table half alight giving the scene the appearance of the finish of a revel at the opening of the scene a general shout- wild and reckless giving every possible idea of inspissation= on the L.H of the table is seated Boyd Merivale deep in thought= on R.H a chair vacant- Lorrimer and Byrnewood Enter at back= Byrnewood slinks into the seat R.H directed by Lorrimer- who advances the monks rise and shout a welcome to him.
LORRIMER
I'll be with you in a moment, monks of Monk Hall= an affair on hand-
He Exits
Some of the monks follow others Exit generally leaving a few who are quite drunk to the whole of this Byrnewood seems to pay the greatest attention
BYRNEWOOD
This is indeed one of the mysteries of our Quaker City-
BOYD
You think so do you-
BYRNEWOOD
I do indeed= you my friend if I may so call you seem not to be thoroughly acquainted with their signs and tokens
BOYD
The fact is I have been lured here by one named Mutchins who fancied he might cheat me out of a round sum at the roulette table in the course of the night
BYRNEWOOD
Roulette table-
BOYD
Why my friend don't you know that this is one of the vilest rookeries in the world- I remember when I first got my foot within it's doors! What I beheld then I can never forget
BYRNEWOOD
You have been before then
BOYD
Yes I have and as I perceive you are acquainted with the place I will tell you my experience of a night at Monk Hall- Six years ago on a foggy night in spring I found myself reposing in one of the chambers of this mansion- it was one o'clock when I was aroused by a hushed sound- like the noise of a distant struggle- I listened true I heard no noise but my sleep had been broken and the stories I had heard of Monk Hall came over me- Years before- in my native village- a wild rollicking fellow- Paul western cashier of the county ban-  had indulged my fancy with strange stories of a den situated in the outskirts of Philadelphia= it had three stories of chambers beneath the earth as well as above- a secret spring in the wall of any one of these chambers communicating with a spring concealed beneath the carpet to open a trap door through which the unsuspecting man might be flung by his murderer-
BYRNEWOOD
Horror-Horror
BOYD
This very Paul Western after a visit to Philadelphia with some funds of the bank- suddenly disappeared no one knew whither= all this I remember well as I listened in the lonely room= a sudden impulse came over me I started toward the door with the intention of endeavoring to escape when I heard a sound like the sweeping of a tree limb against a closed shutter- I turned round carelessly to ascertain the cause when at my very back between the bed and wall I beheld a carpeted space some three feet square sinking slowly down, and separating itself from the floor- I had stepped my foot upon the spring= made ready for me to be sure and the trap door sank below me
BYRNEWOOD
Did you encounter no- one- how were the murderers concealed
BOYD
I know not- advancing- I gazed down the trap door= how dark and gloomy the pit looked- far below gleamed a light and a buzzing murmur came up this hatchway of death- stooping slowly down, my eye on the alert- I disengaged a piece of linen from a nail near the edge of the trap door- It was a wristband or a ruffle- it came to my mind at this moment that I had often ridiculed Paul Western for his bachelor ways in wearing ruffles to his wrist- I knew these things at once they belonged to my friend, Paul Western= Tis a short story now the trap closed again How I watched all night till broad day- How I escaped from the house- For Mr. Devil Bug, it seems, didn't suspect that I knew anything- How I returned without any news of Paul Western- are matters as easy to conceive as to tell-
BYRNEWOOD
Why did you not instantly institute a search
BOYD
Blazon my name to the world as a visitor to the wizard den- although I was certain the ruffles belonged to my friend it would have been most difficult to establish this fact in court= never since that night has Paul Western been heard of= let me whisper in your ear- Devil Bug was the real murderer his money the enticement-
BYRNEWOOD
Looking around
Why here's all the room to ourselves all the club except these who are in a confirmed state of drunkenness have disappeared
BOYD
I saw Col. Fitz-Cowles- I know him sneak off a few minutes since- he is after some devil's trick= so wishing you goodnight stranger, I'll vanish! Beware of the Monks of Monk Hall
Exit
Byrnewood being left thus suddenly alone seems lost in thought- he appears to rouse himself and looks carefully round pauses at the drunkard= observes the offering of the monk
BYRNEWOOD
How strange I feel! Can this be the first attack of some terrible disease- or- is it, but the effect of the horrible story related by the stranger- I have read that a feeling like this steals over a man just before some dire calamity breaks over his head= this is fearful as death itself- Lorrimer why does he not return- he has been absent above an hour= what can it mean= How can Lorrimer injure me= How can I injure him Three days hence= Christmas- Ha-Ha I believe I'm going mad- there's a cold sweat on my forehead= Poor Annie why did I not meet her- I feel as though I was walking to my death- the bridal bed- ah!- Lorrimer I'll seek him out though it be to my grave=
He rushes out at back, at the same moment Devil Bug is seen darting in at the opposite side as the scene suddenly closes in the picture
SCENE 8TH
Apartment in the Merchant's house
Enter Shakespeare Tom with a night cap on reading a book as if studying a part a candle alight in his hand
TOM
This is the witching time of night when church yards are sleepy and do yawn= that is a good reading cause it tells the audience the particulars= I'm nearly perfect in Richard= If I make a hit- I'll take that poor milkmaid of ours for better and for worse she's a capital one for business it strikes me she's very fond of chalk= that tally of ours seems to get on wonderfully from day to day= she's the wife for me and no mistake but I must not let love interfere with my professional duties- let me see where did I leave off- Oh!- I know- my liege the Duke of Buckingham is taken "off with his head so much for Buckingham Ha! Ha! Ha!-
He crosses from R to L
That length will let them see I'm not drinking- I expect my tent scene will strike'em all up of a heap I've a new bit of business when I recover myself I strike my head three times and say soft- soft-soft- t'was but a dream-
He strikes the front part of his head
Then the meeting with young Richmond=
He starts
One or both of us the time has come= Here the combat takes place I'm perfect in the blows= One two three- one two three- one two three four five six seven eight- one two three four five- one two three four five
He imitates fighting a combat= stamping about the stage= here the bell is heard to ring violently-
TOM
A'Crikey= There's master ringing his bell= there'll be a regular row= I must only study the tender scenes= Ah! here comes the new slaving William what can he want
Enter William partly undressed
WILLIAM
Hallow Mr. Tom what means this noise disturbing us all in our sleep
TOM
Macbeth doth murder sleep
WILLIAM
I tell you what master means to discharge you in the morning- are you mad
TOM
I am but mad north by north west when the wind is in the south- I know a hawk from a handsaw
WILLIAM
You appear to be very cunning but I tell you what Mr. Tom if you don't go to bed- I'll call in the night watch and you shall be taken to the state house and brought up in the morning before the mayor
EXIT
TOM
The mayor= a horse a horse my kingdom for a horse
He rushes off
Interior of Monk Hall
A long table at which several revellers are discovered drinking at one end of the room hung to the waistcot a large pier glass framed in walnut= on each side two large pictures- behind the chair of the president the effigy of a monk his right hand grasping a goblet of gold a massive chandelier hung in the centre of the scene half the candles alight candelabras on the table half alight giving the scene the appearance of the finish of a revel at the opening of the scene a general shout- wild and reckless giving every possible idea of inspissation= on the L.H of the table is seated Boyd Merivale deep in thought= on R.H a chair vacant- Lorrimer and Byrnewood Enter at back= Byrnewood slinks into the seat R.H directed by Lorrimer- who advances the monks rise and shout a welcome to him.
LORRIMER
I'll be with you in a moment, monks of Monk Hall= an affair on hand-
He Exits
Some of the monks follow others Exit generally leaving a few who are quite drunk to the whole of this Byrnewood seems to pay the greatest attention
BYRNEWOOD
This is indeed one of the mysteries of our Quaker City-
BOYD
You think so do you-
BYRNEWOOD
I do indeed= you my friend if I may so call you seem not to be thoroughly acquainted with their signs and tokens
BOYD
The fact is I have been lured here by one named Mutchins who fancied he might cheat me out of a round sum at the roulette table in the course of the night
BYRNEWOOD
Roulette table-
BOYD
Why my friend don't you know that this is one of the vilest rookeries in the world- I remember when I first got my foot within it's doors! What I beheld then I can never forget
BYRNEWOOD
You have been before then
BOYD
Yes I have and as I perceive you are acquainted with the place I will tell you my experience of a night at Monk Hall- Six years ago on a foggy night in spring I found myself reposing in one of the chambers of this mansion- it was one o'clock when I was aroused by a hushed sound- like the noise of a distant struggle- I listened true I heard no noise but my sleep had been broken and the stories I had heard of Monk Hall came over me- Years before- in my native village- a wild rollicking fellow- Paul western cashier of the county ban-  had indulged my fancy with strange stories of a den situated in the outskirts of Philadelphia= it had three stories of chambers beneath the earth as well as above- a secret spring in the wall of any one of these chambers communicating with a spring concealed beneath the carpet to open a trap door through which the unsuspecting man might be flung by his murderer-
BYRNEWOOD
Horror-Horror
BOYD
This very Paul Western after a visit to Philadelphia with some funds of the bank- suddenly disappeared no one knew whither= all this I remember well as I listened in the lonely room= a sudden impulse came over me I started toward the door with the intention of endeavoring to escape when I heard a sound like the sweeping of a tree limb against a closed shutter- I turned round carelessly to ascertain the cause when at my very back between the bed and wall I beheld a carpeted space some three feet square sinking slowly down, and separating itself from the floor- I had stepped my foot upon the spring= made ready for me to be sure and the trap door sank below me
BYRNEWOOD
Did you encounter no- one- how were the murderers concealed
BOYD
I know not- advancing- I gazed down the trap door= how dark and gloomy the pit looked- far below gleamed a light and a buzzing murmur came up this hatchway of death- stooping slowly down, my eye on the alert- I disengaged a piece of linen from a nail near the edge of the trap door- It was a wristband or a ruffle- it came to my mind at this moment that I had often ridiculed Paul Western for his bachelor ways in wearing ruffles to his wrist- I knew these things at once they belonged to my friend, Paul Western= Tis a short story now the trap closed again How I watched all night till broad day- How I escaped from the house- For Mr. Devil Bug, it seems, didn't suspect that I knew anything- How I returned without any news of Paul Western- are matters as easy to conceive as to tell-
BYRNEWOOD
Why did you not instantly institute a search
BOYD
Blazon my name to the world as a visitor to the wizard den- although I was certain the ruffles belonged to my friend it would have been most difficult to establish this fact in court= never since that night has Paul Western been heard of= let me whisper in your ear- Devil Bug was the real murderer his money the enticement-
BYRNEWOOD
Looking around
Why here's all the room to ourselves all the club except these who are in a confirmed state of drunkenness have disappeared
BOYD
I saw Col. Fitz-Cowles- I know him sneak off a few minutes since- he is after some devil's trick= so wishing you goodnight stranger, I'll vanish! Beware of the Monks of Monk Hall
Exit
Byrnewood being left thus suddenly alone seems lost in thought- he appears to rouse himself and looks carefully round pauses at the drunkard= observes the offering of the monk
BYRNEWOOD
How strange I feel! Can this be the first attack of some terrible disease- or- is it, but the effect of the horrible story related by the stranger- I have read that a feeling like this steals over a man just before some dire calamity breaks over his head= this is fearful as death itself- Lorrimer why does he not return- he has been absent above an hour= what can it mean= How can Lorrimer injure me= How can I injure him Three days hence= Christmas- Ha-Ha I believe I'm going mad- there's a cold sweat on my forehead= Poor Annie why did I not meet her- I feel as though I was walking to my death- the bridal bed- ah!- Lorrimer I'll seek him out though it be to my grave=
He rushes out at back, at the same moment Devil Bug is seen darting in at the opposite side as the scene suddenly closes in the picture
SCENE 8TH
Apartment in the Merchant's house
Enter Shakespeare Tom with a night cap on reading a book as if studying a part a candle alight in his hand
TOM
This is the witching time of night when church yards are sleepy and do yawn= that is a good reading cause it tells the audience the particulars= I'm nearly perfect in Richard= If I make a hit- I'll take that poor milkmaid of ours for better and for worse she's a capital one for business it strikes me she's very fond of chalk= that tally of ours seems to get on wonderfully from day to day= she's the wife for me and no mistake but I must not let love interfere with my professional duties- let me see where did I leave off- Oh!- I know- my liege the Duke of Buckingham is taken "off with his head so much for Buckingham Ha! Ha! Ha!-
He crosses from R to L
That length will let them see I'm not drinking- I expect my tent scene will strike'em all up of a heap I've a new bit of business when I recover myself I strike my head three times and say soft- soft-soft- t'was but a dream-
He strikes the front part of his head
Then the meeting with young Richmond=
He starts
One or both of us the time has come= Here the combat takes place I'm perfect in the blows= One two three- one two three- one two three four five six seven eight- one two three four five- one two three four five
He imitates fighting a combat= stamping about the stage= here the bell is heard to ring violently-
TOM
A'Crikey= There's master ringing his bell= there'll be a regular row= I must only study the tender scenes= Ah! here comes the new slaving William what can he want
Enter William partly undressed
WILLIAM
Hallow Mr. Tom what means this noise disturbing us all in our sleep
TOM
Macbeth doth murder sleep
WILLIAM
I tell you what master means to discharge you in the morning- are you mad
TOM
I am but mad north by north west when the wind is in the south- I know a hawk from a handsaw
WILLIAM
You appear to be very cunning but I tell you what Mr. Tom if you don't go to bed- I'll call in the night watch and you shall be taken to the state house and brought up in the morning before the mayor
EXIT
TOM
The mayor= a horse a horse my kingdom for a horse
He rushes off
SCENE 9TH
The arched chamber with long curtains made to draw up on L.H a sofa on which Mary is discovered asleep= Bessie Enters cautiously through one of the side curtains she looks thoughtfully at Mary
BESSIE
Mary! awake, it is your wedding night
MARY
Rising gently
Has- he come- has- he come
BESSIE
Not yet= Not yet= Tis near the time Mary
MARY
Is it not very strange Bessie
BESSIE
What is strange-
MARY
That I should first meet him, in such a particular manner- that he should love me, that for his sake I should fly to his uncle's mansion and that you Bessie, my dear good friend, should consent to leave your home and bear my company how like the stories we read in books and his stern old uncle you say has relented
BESSIE
Perfectly resigned to the match that's the way with all these relations
MARY
It seems to me there is something deeply touching in a wedding that is held at this hour of the night! Everything is calm and tranquil, the earth lies sleeping, while heaven itself watches over the union of two hearts- that are all in all to eachother
BESSIE
Well handsome as Lorrimer is he ought to be half crazy with vanity when such a bride is hanging on his arm
MARY
Oh, it will be such a happy time there will sit my father and there my mother, in the cheerful parlour on Christmas eve! My father's grey hairs and my mother's kindly face- will be lighted up by the same glow of light and their eyes will be heavy with tears- with weeping for me Bessie- me their lost child as they will call me when behold!- the door opens- Lorrimer enters with me his wife= yes his wife by his side- we fling ourselves at the feet of our father and mother for they will be ours then!- We crave their forgiveness and their blessing Lorrimer calls me his little wife oh! It will be such a happy time! and my brother he will be there too- he will like Lorrimer for his noble heart= Don't you see the picture Bessie! I see it as plainly as though it was this moment before me and my father oh how he will weep when again he clasps his daughter to his arms!
Bess gives a deep sigh and turns away exclaiming
BESSIE
Poor Innocent!--
At this moment Lorrimer Enters through one of the side arches he stands gazing on his victim with deep admiration
MARY
Bessie do not turn away= tell me is not this love a strange mystery- before I loved my soul was calm and quiet- I had no thought beyond my school books! No deeper mystery than my embroidery frame. Now the very air is changed the atmosphere in which I breathe is no longer the same, wherever I move his face is before me= whatever may be my thoughts, the thought of him is never absent for a moment in my dreams I see him smile when awake his eyes seem ever looking into mine Oh! Bessie can his love ever grow cold- will his gaze ever cease to bind me to him as it enchains me now
LORRIMER
Advancing
Mary-
MARY
Lorrimer
She rushes to his embrace
BESSIE
(aside)
His heart has been the highway of a thousand loves-
LORRIMER
Mary my own sweet love-
He kisses her forehead
Now I kiss you as the dearest treasure to me in the wide world= another moment and from these same lips will I snatch the first kiss of my lovely bride= To the wedding room- love To the wedding room
She blushes he appears to assist her-
BESSIE
(aside)
To her wedding room- Ha! Ha! To her destruction
MUSIC he leads her through the curtains in the centre arch during Bessie's side speech- Bessie follows= at this moment Devil Bug Enters from L.H arch through the curtain with a rude lamp he listens at the centre arch seems to exult and retires through the curtains of the R.H arch exclaiming-
DEVIL BUG
I wonders how that'll work
At his Exit= the curtains at back are suddenly drawn up discovering the alter with candles the back a transparent window Petricken as the parson Mutchins as the uncle= Nancy the dame and Bessie Lorrimer and Mary in front of four blacks with torches each having an extinguisher hanging to it= Petricken closes the book the whole party advance
At this moment a loud voice is heard to call Forbear= Forbear- I command ye- The bride turns suddenly pale as death= Lorrimer advances expressing horror and alarm
BYRNEWOOD
Rushes in and wildly exclaims in a heartbreaking
tone
Mary
MARY
Shreiks
My brother
BYRNEWOOD
My Sister
She faints in his arms Picture
LORRIMER
Your name is Byrnewood the lady Mary Arlington
BYRNEWOOD
My name sir is Byrnewood Arlington a name sir you will have cause to remember in this world- devil that you are-
LORRIMER
Monks your duty--
The four blacks clap the extinguishers on their torches in a moment all is darkness= Lorrimer seizes Mary and carries her instantly through the centre curtains the others Exit through the curtains R and L-
BYRNEWOOD
They are bearing my sister away oh! if they harm the slightest hair of this innocent girl- Villains I shall rescue her at the peril of my life
He is about to dart through the curtains of the centre arch when Devil Bug with a candle alight stands in the centre
DEVIL BUG
Ha- Ha- you pass not here mister
Lorrimer returns from centre arch
LORRIMER
Devil Bug- begone and wait without see that Glow worm and Musquito are at hand
Devil Bug Exits
LORRIMER
Now sir I have a word to say to you= it will be to your interest to listen to me
BYRNEWOOD
Fiend
LORRIMER
Do you consent
BYRNEWOOD
You know that I must submit
LORRIMER
You will at least admit- I have won the wager
BYRNEWOOD
I do beseech you tempt me not too far
LORRIMER
At exactly half past three the marriage took place= now sir listen to my proposal give me your word of honor and your oath that when you leave this house you will preserve the most positive secrecy with regard- to everything- you may have witnessed within its walls Promise me this and I will give you my oath- that in one hour from day break- your sister shall be taken to her home, pure and stainless, as when first she left her father's threshold, do you agree to this?
BYRNEWOOD
Sooner than agree to leave these walls without Mary pure and spotless I would yield up my hearts blood are you answered-
LORRIMER
I wished to make a compromise
BYRNEWOOD
a compromise
LORRIMER
Yes a compromise= what have I done with the girl= that you or any young spark would not have done= who was it that entered so heartily into the joke of the sham marriage- when it was named in the oyster cellar? Who was it called the astrologer a knave= a catch penny- a cheat when he advised me to give up the girl- I perceive sir you are touched
BYRNEWOOD
Oh- Mary- Mary- was I placing your honor in the dice box when I made the wager- was it your ruin the astrologer foretold when he urged this devil to turn back in his career= Oh! Mary was it for this- that I loved you as brother never loved sister oh! My poor father
LORRIMER
That little affair of yours with Annie? The letter= I wonder if she has any brother= do you agree to my proposition? yes or no-
BYRNEWOOD
You have had my answer
LORRIMER
You are my prisoner
BYRNEWOOD
Your prisoner--
LORRIMER
Keep cool sir- do you suppose I would let you go forth from this house- when you have it in your power to raise the whole city on my head- you know that I have placed myself under the ban of the laws by this adventure you know that the penetentiary would open its doors to enclose me in case I was tried for this affair sir- you are my prisoner
BYRNEWOOD
The hour is your= Mine will come Do what you will with me but oh! for the sake of heaven wrong not my sister-
LORRIMER
She is in my power-
BYRNEWOOD
Byrnewood grasping him by the throat
You are in my power- you cannot unloose my grasp- Ha- Ha- you grow black in the face- struggle= struggle with all your strength you cannot tear my hands from your throat- you shall die like a felon
MUSIC- A violent struggle ensues Lorrimer fells Byrnewood to the ground
LORRIMER
hallo- Musquito- Glow-worm- Here's work for you-
Musquito Glow-worm and Devil Bug Enter-
LORRIMER
Mark that man, I say-
They instantly spring upon Byrnewood and drag him to the R.H
LORRIMER
Keep double watch outside- tonight-
BYRNEWOOD
On Christmas eve- at the hour of sundown- one will die by the others hand- the winding sheet is woven and the coffin made-
After speech they force him off R.H
DEVIL BUG
Exclaims
I wonders how that'll work Ha!- Ha- Ha-
Exit L.H
The scene suddenly changes to-
The arched chamber with long curtains made to draw up on L.H a sofa on which Mary is discovered asleep= Bessie Enters cautiously through one of the side curtains she looks thoughtfully at Mary
BESSIE
Mary! awake, it is your wedding night
MARY
Rising gently
Has- he come- has- he come
BESSIE
Not yet= Not yet= Tis near the time Mary
MARY
Is it not very strange Bessie
BESSIE
What is strange-
MARY
That I should first meet him, in such a particular manner- that he should love me, that for his sake I should fly to his uncle's mansion and that you Bessie, my dear good friend, should consent to leave your home and bear my company how like the stories we read in books and his stern old uncle you say has relented
BESSIE
Perfectly resigned to the match that's the way with all these relations
MARY
It seems to me there is something deeply touching in a wedding that is held at this hour of the night! Everything is calm and tranquil, the earth lies sleeping, while heaven itself watches over the union of two hearts- that are all in all to eachother
BESSIE
Well handsome as Lorrimer is he ought to be half crazy with vanity when such a bride is hanging on his arm
MARY
Oh, it will be such a happy time there will sit my father and there my mother, in the cheerful parlour on Christmas eve! My father's grey hairs and my mother's kindly face- will be lighted up by the same glow of light and their eyes will be heavy with tears- with weeping for me Bessie- me their lost child as they will call me when behold!- the door opens- Lorrimer enters with me his wife= yes his wife by his side- we fling ourselves at the feet of our father and mother for they will be ours then!- We crave their forgiveness and their blessing Lorrimer calls me his little wife oh! It will be such a happy time! and my brother he will be there too- he will like Lorrimer for his noble heart= Don't you see the picture Bessie! I see it as plainly as though it was this moment before me and my father oh how he will weep when again he clasps his daughter to his arms!
Bess gives a deep sigh and turns away exclaiming
BESSIE
Poor Innocent!--
At this moment Lorrimer Enters through one of the side arches he stands gazing on his victim with deep admiration
MARY
Bessie do not turn away= tell me is not this love a strange mystery- before I loved my soul was calm and quiet- I had no thought beyond my school books! No deeper mystery than my embroidery frame. Now the very air is changed the atmosphere in which I breathe is no longer the same, wherever I move his face is before me= whatever may be my thoughts, the thought of him is never absent for a moment in my dreams I see him smile when awake his eyes seem ever looking into mine Oh! Bessie can his love ever grow cold- will his gaze ever cease to bind me to him as it enchains me now
LORRIMER
Advancing
Mary-
MARY
Lorrimer
She rushes to his embrace
BESSIE
(aside)
His heart has been the highway of a thousand loves-
LORRIMER
Mary my own sweet love-
He kisses her forehead
Now I kiss you as the dearest treasure to me in the wide world= another moment and from these same lips will I snatch the first kiss of my lovely bride= To the wedding room- love To the wedding room
She blushes he appears to assist her-
BESSIE
(aside)
To her wedding room- Ha! Ha! To her destruction
MUSIC he leads her through the curtains in the centre arch during Bessie's side speech- Bessie follows= at this moment Devil Bug Enters from L.H arch through the curtain with a rude lamp he listens at the centre arch seems to exult and retires through the curtains of the R.H arch exclaiming-
DEVIL BUG
I wonders how that'll work
At his Exit= the curtains at back are suddenly drawn up discovering the alter with candles the back a transparent window Petricken as the parson Mutchins as the uncle= Nancy the dame and Bessie Lorrimer and Mary in front of four blacks with torches each having an extinguisher hanging to it= Petricken closes the book the whole party advance
At this moment a loud voice is heard to call Forbear= Forbear- I command ye- The bride turns suddenly pale as death= Lorrimer advances expressing horror and alarm
BYRNEWOOD
Rushes in and wildly exclaims in a heartbreaking
tone
Mary
MARY
Shreiks
My brother
BYRNEWOOD
My Sister
She faints in his arms Picture
LORRIMER
Your name is Byrnewood the lady Mary Arlington
BYRNEWOOD
My name sir is Byrnewood Arlington a name sir you will have cause to remember in this world- devil that you are-
LORRIMER
Monks your duty--
The four blacks clap the extinguishers on their torches in a moment all is darkness= Lorrimer seizes Mary and carries her instantly through the centre curtains the others Exit through the curtains R and L-
BYRNEWOOD
They are bearing my sister away oh! if they harm the slightest hair of this innocent girl- Villains I shall rescue her at the peril of my life
He is about to dart through the curtains of the centre arch when Devil Bug with a candle alight stands in the centre
DEVIL BUG
Ha- Ha- you pass not here mister
Lorrimer returns from centre arch
LORRIMER
Devil Bug- begone and wait without see that Glow worm and Musquito are at hand
Devil Bug Exits
LORRIMER
Now sir I have a word to say to you= it will be to your interest to listen to me
BYRNEWOOD
Fiend
LORRIMER
Do you consent
BYRNEWOOD
You know that I must submit
LORRIMER
You will at least admit- I have won the wager
BYRNEWOOD
I do beseech you tempt me not too far
LORRIMER
At exactly half past three the marriage took place= now sir listen to my proposal give me your word of honor and your oath that when you leave this house you will preserve the most positive secrecy with regard- to everything- you may have witnessed within its walls Promise me this and I will give you my oath- that in one hour from day break- your sister shall be taken to her home, pure and stainless, as when first she left her father's threshold, do you agree to this?
BYRNEWOOD
Sooner than agree to leave these walls without Mary pure and spotless I would yield up my hearts blood are you answered-
LORRIMER
I wished to make a compromise
BYRNEWOOD
a compromise
LORRIMER
Yes a compromise= what have I done with the girl= that you or any young spark would not have done= who was it that entered so heartily into the joke of the sham marriage- when it was named in the oyster cellar? Who was it called the astrologer a knave= a catch penny- a cheat when he advised me to give up the girl- I perceive sir you are touched
BYRNEWOOD
Oh- Mary- Mary- was I placing your honor in the dice box when I made the wager- was it your ruin the astrologer foretold when he urged this devil to turn back in his career= Oh! Mary was it for this- that I loved you as brother never loved sister oh! My poor father
LORRIMER
That little affair of yours with Annie? The letter= I wonder if she has any brother= do you agree to my proposition? yes or no-
BYRNEWOOD
You have had my answer
LORRIMER
You are my prisoner
BYRNEWOOD
Your prisoner--
LORRIMER
Keep cool sir- do you suppose I would let you go forth from this house- when you have it in your power to raise the whole city on my head- you know that I have placed myself under the ban of the laws by this adventure you know that the penetentiary would open its doors to enclose me in case I was tried for this affair sir- you are my prisoner
BYRNEWOOD
The hour is your= Mine will come Do what you will with me but oh! for the sake of heaven wrong not my sister-
LORRIMER
She is in my power-
BYRNEWOOD
Byrnewood grasping him by the throat
You are in my power- you cannot unloose my grasp- Ha- Ha- you grow black in the face- struggle= struggle with all your strength you cannot tear my hands from your throat- you shall die like a felon
MUSIC- A violent struggle ensues Lorrimer fells Byrnewood to the ground
LORRIMER
hallo- Musquito- Glow-worm- Here's work for you-
Musquito Glow-worm and Devil Bug Enter-
LORRIMER
Mark that man, I say-
They instantly spring upon Byrnewood and drag him to the R.H
LORRIMER
Keep double watch outside- tonight-
BYRNEWOOD
On Christmas eve- at the hour of sundown- one will die by the others hand- the winding sheet is woven and the coffin made-
After speech they force him off R.H
DEVIL BUG
Exclaims
I wonders how that'll work Ha!- Ha- Ha-
Exit L.H
The scene suddenly changes to-
SCENE 10TH
Exterior of the Arlington's
Miss Jemima Sky Blue Enters with a yoke and two milk pails calling Milk oh! - milk below? She places her pails down a servant comes to the door and takes in the milk- Jemima makes a chalk on the tally which she returns to the servant who
reenters the house
JEMIMA
Oh dear oh dear what a long walk mine is if I didn't begin at 5 o'clock in the morning they wouldn't get their breakfast milk till dinner time- I think I shall advertise and take a shop- there's money to be made in the hire if a person knows how to use the chalk properly-
She is about to take up her pails when Shakespeare Tom comes out with a bundle on a stick he calls Jemima!- She starts
JEMIMA
Bless me Mr. Shakespeare how you frightened me
TOM
To be or not to be- that's the question
JEMIMA
Why really Mr. Shakespeare it requires consideration
TOM
As Falstaff says= I've got the sack= my blood biles- my heart grieves- liquid fire toddles through my brain and my stomach aches like madness= revenge- Ha-Ha-Ha= I must have revenge
X to R.H
JEMIMA
Who are you going to have revenge on Mr. Shakespeare
TOM
William Jemima not William Tell he was a hero our William the footman I could serve him as the man did in the play at the Walnut theatre the piece was called The Pool of Gore or The Fifteen Murders- its an out and out piece
JEMIMA
It must be very pretty to see all the murders committed I should like it above all things
TOM
Then you shall see me act King Richard the third- but to leave this keen encounter of our tongues and come to matter of a more serious mood as I say to the queen=
JEMIMA
The queen
TOM
Yes in Richard- now that I have got the sack from old Arlington= you Jemima have got a cow and if you want a calf you can't do better than to take me Tom Shakespeare who's related to the immortal bard which lived in a butchers shop= I'd play the slave to you
JEMIMA
I've been thinking Mr. Shakey Speare of your proposal and excuse me- but- I- oh-
TOM
Kneeling
Behold me at your feet me Tom Shakespeare that never bow'd before created man
JEMIMA
Rise Thomas-
TOM
I will Jemima
JEMIMA
Oh! Thomas-
TOM
Oh! Jemima
They affectionately rush into eachother's embrace
TOM
(over her shoulder aside)
A little flattery sometimes does well- but dear Jemima- touching the cow-
JEMIMA
Well Mr. Shakespeare I certainly do require a little assistance that is a sort of a partner
TOM
A sleeping partner= Jemima
JEMIMA
You're a good walker I believe
TOM
Walker= I believe you= I'm a regular postman= you only marry me and I'll settle the milk walk- besides a little other business do say but the word and your willing slave obey's.
JEMIMA
Yes you must love- honour and obey
TOM
Give me your hand upon it
They shake hands
TOM
Hey for Love- Joy-
JEMIMA
and finery
DUETT
TOM
Our days we'll pass in a gay delight with joy and bliss the live long night so happy we will be
JEMIMA
I can milk the cows-
TOM
I'll never kick up rows-
JEMIMA
All that we soon shall see
TOM
List not to any idle tale
JEMIMA
Mind you shall carry the milking pail
TOM
I can serve a hap'oth o' milk
JEMIMA
Go out to tea when I've a mind
TOM
Whenever my love you feel inclined
JEMIMA
Dressed in my scarlet silk
BOTH TOGETHER
Our days we'll pass n gay delight with joy and bliss
the live long night so happy we will be
During the symphony she takes her pails up-
JEMIMA
There's one thing Tom I had forgot That is I'll be master
TOM
And pray why not
JEMIMA
No more do I deserve
TOM
You mean with me to rule the roost I think I'd be a precious sort to leave the frying pan for the fire
JEMIMA
No-no- dear Tom= you should be free to roam about as well as me
TOM
Then you shall drip in silk so lets to church at once away- I'll not live single another day
JEMIMA
Stop till I've sold my milk
BOTH TOGETHER
Our days we'll pass in gay delight with joy and bliss the live long night so happy we will be-
Jemima runs off R.H calling Milk oh- new milk
TOM
Was ever milkmaid in such humour wooed
was ever milkmaid in such humour won
EXIT
Exterior of the Arlington's
Miss Jemima Sky Blue Enters with a yoke and two milk pails calling Milk oh! - milk below? She places her pails down a servant comes to the door and takes in the milk- Jemima makes a chalk on the tally which she returns to the servant who
reenters the house
JEMIMA
Oh dear oh dear what a long walk mine is if I didn't begin at 5 o'clock in the morning they wouldn't get their breakfast milk till dinner time- I think I shall advertise and take a shop- there's money to be made in the hire if a person knows how to use the chalk properly-
She is about to take up her pails when Shakespeare Tom comes out with a bundle on a stick he calls Jemima!- She starts
JEMIMA
Bless me Mr. Shakespeare how you frightened me
TOM
To be or not to be- that's the question
JEMIMA
Why really Mr. Shakespeare it requires consideration
TOM
As Falstaff says= I've got the sack= my blood biles- my heart grieves- liquid fire toddles through my brain and my stomach aches like madness= revenge- Ha-Ha-Ha= I must have revenge
X to R.H
JEMIMA
Who are you going to have revenge on Mr. Shakespeare
TOM
William Jemima not William Tell he was a hero our William the footman I could serve him as the man did in the play at the Walnut theatre the piece was called The Pool of Gore or The Fifteen Murders- its an out and out piece
JEMIMA
It must be very pretty to see all the murders committed I should like it above all things
TOM
Then you shall see me act King Richard the third- but to leave this keen encounter of our tongues and come to matter of a more serious mood as I say to the queen=
JEMIMA
The queen
TOM
Yes in Richard- now that I have got the sack from old Arlington= you Jemima have got a cow and if you want a calf you can't do better than to take me Tom Shakespeare who's related to the immortal bard which lived in a butchers shop= I'd play the slave to you
JEMIMA
I've been thinking Mr. Shakey Speare of your proposal and excuse me- but- I- oh-
TOM
Kneeling
Behold me at your feet me Tom Shakespeare that never bow'd before created man
JEMIMA
Rise Thomas-
TOM
I will Jemima
JEMIMA
Oh! Thomas-
TOM
Oh! Jemima
They affectionately rush into eachother's embrace
TOM
(over her shoulder aside)
A little flattery sometimes does well- but dear Jemima- touching the cow-
JEMIMA
Well Mr. Shakespeare I certainly do require a little assistance that is a sort of a partner
TOM
A sleeping partner= Jemima
JEMIMA
You're a good walker I believe
TOM
Walker= I believe you= I'm a regular postman= you only marry me and I'll settle the milk walk- besides a little other business do say but the word and your willing slave obey's.
JEMIMA
Yes you must love- honour and obey
TOM
Give me your hand upon it
They shake hands
TOM
Hey for Love- Joy-
JEMIMA
and finery
DUETT
TOM
Our days we'll pass in a gay delight with joy and bliss the live long night so happy we will be
JEMIMA
I can milk the cows-
TOM
I'll never kick up rows-
JEMIMA
All that we soon shall see
TOM
List not to any idle tale
JEMIMA
Mind you shall carry the milking pail
TOM
I can serve a hap'oth o' milk
JEMIMA
Go out to tea when I've a mind
TOM
Whenever my love you feel inclined
JEMIMA
Dressed in my scarlet silk
BOTH TOGETHER
Our days we'll pass n gay delight with joy and bliss
the live long night so happy we will be
During the symphony she takes her pails up-
JEMIMA
There's one thing Tom I had forgot That is I'll be master
TOM
And pray why not
JEMIMA
No more do I deserve
TOM
You mean with me to rule the roost I think I'd be a precious sort to leave the frying pan for the fire
JEMIMA
No-no- dear Tom= you should be free to roam about as well as me
TOM
Then you shall drip in silk so lets to church at once away- I'll not live single another day
JEMIMA
Stop till I've sold my milk
BOTH TOGETHER
Our days we'll pass in gay delight with joy and bliss the live long night so happy we will be-
Jemima runs off R.H calling Milk oh- new milk
TOM
Was ever milkmaid in such humour wooed
was ever milkmaid in such humour won
EXIT
SCENE 11TH
The Tower Room
The scene a dark apartment on the R.H a sliding panel the room that Byrnewood is to be confined in as a prisoner
Byrnewood Enters he looks round the apartment and appears in despair at the horror of his situation
BYRNEWOOD
My sister is in his power and I cannot strike a blow in her defence= her brother hears her cry of agony and cannot raise a finger in her behalf= the door is fast
He examines the door-
That strange female told me of some secret panel= worked by a secret spring from the wall= all seems close
MUSIC He searches the apartment carefully at last appears to touch a spring when the panel suddenly slides back= to a chord
BYRNEWOOD
Ha!- Tis here= devil as she is- she has told me truth- it may be to lead me into greater danger= yet what could be her motive= no matter my sister's wrongs cry aloud for vengeance all seems dark within
Here the rattling of chairs is heard without
BYRNEWOOD
Ha! an interruption= For life or death-
Music- He exits through the panel- the noise of the chairs is again heard- accompanied by a loud knocking Devil Bug suddenly darts on.
DEVIL BUG
If you don't go I'll send for the police and have you all taken to the penitentiary-
LUKE
(without)
What time will dinner be ready
DEVIL BUG
Hallo! I didn't know Monk Luke's voice= he seems to have someone with him= "I wonders how that'll work?" The charcoal's burnin
Music he opens the door= Luke Enters followed by Livingstone with a lantern
DEVIL BUG
You'll excuse me= I didn't know your voice= That's the door=
(aside)
I wonders how it will work?
Exit
LIVINGSTONE
Luke- to the room- to the room
LUKE
(aside)
He is calm now- Its too late to go back-
LIVINGSTONE
Luke- to the room- to the room
He looks cautiously about
LUKE
(aside)
He is calm. now= It's too late to go back--
LIVINGSTONE
Luke to the room--
LUKE
Tis rather a spacious one= the back wall is a portion of the wainscotting of the next room= give me your hand- it is firm-- open the lantern= look in-
Livingstone opens the door and looks in with the lantern
LIVINGSTONE
I see nothing but a spacious gallery-
He gives back the lantern to Luke
LUKE
Let us return-
LIVINGSTONE
Still keeping by the door
Not for worlds-- listen-listen-
LIVINGSTONE
Give me back the lantern I have heard enough- I'd know that voice from a thousand give me back the lantern I say- the pistols I have-- come- come- I am calm- come
Music They Enter the door closing it after them
Lorrimer enters R.H leading on Mary-
MARY
My brother consents to our wedding oh! joy- joy-
LORRIMER
It seems that for several days he has seen you walking out with Bess- this excited his suspicions he watched you with all a brother's care= he watched last night to be certain it was you who entered my uncle's house
MARY
And so he watched all night around the building- oh Lorrimer is he not a noble brother-
LORRIMER
At last grown feverish with his suspicions- he rang the bell aroused the servant and when the door was opened rushed madly upstairs and reached the wedding room- you know the rest- after the matter was explained to him he consented to keep our marriage secret until Christmas eve, he has left the house satisfied that you are in the care of those who love you= tomorrow Mary, when you have recovered from the effects of the surprise which your brother's sudden entrance occasioned= tomorrow we will be married
MARY
Starting from him
Married!--- Married--- are we not already married
PICTURE
LORRIMER
Mary--
MARY
Save me save me--- oh Lorrimer save me-
LORRIMER
From what shall I save you
MARY
From myself- oh! Lorrimer you love me- you will not harm me farther= save me from myself
LORRIMER
This is all folly= you don't think I'd harm you-
MARY
It is not Lorrimer that I see tis- an evil spirit= my brother= my poor dear parents betrayed cruelly betrayed- If you have one spark of manhood if every feeling is not dead within you= let me quit this house all my indiscretion now flashes on my brain and there stamps a fearful picture. I on my knees implore beseech you to let me depart.
LORRIMER
Rise. Mary= No danger threatens you- I am with you and will shield you from harm
He lifts her up she breaks away and rushes over tothe L.H side
MARY
Oh! Save me- save me-
LORRIMER
Nay then---
He is about to cross and seize her when the sliding panel suddenly opens and Byrnewood darts out
BYRNEWOOD
My sister-
MARY
My Brother!
She rushes to his arms
Picture
LORRIMER
(aside)
Byrnewood- alive-- what ho! Devil Bug-
He rushes out R.H--
MARY
(recovering)
Oh! Brother Brother- leave me I am not worthy of your touch- I am vile brother oh! most vile= leave me- leave me- for I am lost!-
BYRNEWOOD
Mary- Mary= do not speak thus I- I-
He weeps
MARY
Do not weep for me brother- leave me to my shame oh- leave me-
BYRNEWOOD
Raise your hands with mine Mary- to curse the author of your ruin- lift your voice with mine and curse him
MARY
Oh!Do not curse him- he has wronged me but do not curse him- I beseech you not to bind his head with a curse
BYRNEWOOD
I will be to this wretch= a fate a doom= I am the avenger of my sister's wrong= here before you I swear to visit your ruin on the head of your betrayer this right hand I dedicate to the solemn purpose= he shall die by this hand- there is a wide river before him
LORRIMER
Enters followed by Musquito and Glow-worm
Now sir- again I come to demand---
Byrnewood springing at him and seizing him by the throat
BYRNEWOOD
Villain- murder of a maiden's peace meet the death you merit= vengeance to thy work
LORRIMER
Unhand me- I will not die
At this moment Devil Bug rushes in with a lighted
candle
DEVIL BUG
Here's purty goings on= here Musquito- Glow-worm= come and attend to this leetle family party-
Music
They all rush on Byrnewood and force him on the centre trap= Devil Bug is seen to touch a spring the Secret Panel opens Byrnewood is forced in Mary faints on Lorrimer's arm who covers his face with his other hand
Devil Bug advances with candle in hand walking in the panel
DEVIL BUG
I wonder how that'll work-
Picture
and end of Act
As the curtain descends on the picture ending the
First Act
ACT II
The Tower Room
The scene a dark apartment on the R.H a sliding panel the room that Byrnewood is to be confined in as a prisoner
Byrnewood Enters he looks round the apartment and appears in despair at the horror of his situation
BYRNEWOOD
My sister is in his power and I cannot strike a blow in her defence= her brother hears her cry of agony and cannot raise a finger in her behalf= the door is fast
He examines the door-
That strange female told me of some secret panel= worked by a secret spring from the wall= all seems close
MUSIC He searches the apartment carefully at last appears to touch a spring when the panel suddenly slides back= to a chord
BYRNEWOOD
Ha!- Tis here= devil as she is- she has told me truth- it may be to lead me into greater danger= yet what could be her motive= no matter my sister's wrongs cry aloud for vengeance all seems dark within
Here the rattling of chairs is heard without
BYRNEWOOD
Ha! an interruption= For life or death-
Music- He exits through the panel- the noise of the chairs is again heard- accompanied by a loud knocking Devil Bug suddenly darts on.
DEVIL BUG
If you don't go I'll send for the police and have you all taken to the penitentiary-
LUKE
(without)
What time will dinner be ready
DEVIL BUG
Hallo! I didn't know Monk Luke's voice= he seems to have someone with him= "I wonders how that'll work?" The charcoal's burnin
Music he opens the door= Luke Enters followed by Livingstone with a lantern
DEVIL BUG
You'll excuse me= I didn't know your voice= That's the door=
(aside)
I wonders how it will work?
Exit
LIVINGSTONE
Luke- to the room- to the room
LUKE
(aside)
He is calm now- Its too late to go back-
LIVINGSTONE
Luke- to the room- to the room
He looks cautiously about
LUKE
(aside)
He is calm. now= It's too late to go back--
LIVINGSTONE
Luke to the room--
LUKE
Tis rather a spacious one= the back wall is a portion of the wainscotting of the next room= give me your hand- it is firm-- open the lantern= look in-
Livingstone opens the door and looks in with the lantern
LIVINGSTONE
I see nothing but a spacious gallery-
He gives back the lantern to Luke
LUKE
Let us return-
LIVINGSTONE
Still keeping by the door
Not for worlds-- listen-listen-
LIVINGSTONE
Give me back the lantern I have heard enough- I'd know that voice from a thousand give me back the lantern I say- the pistols I have-- come- come- I am calm- come
Music They Enter the door closing it after them
Lorrimer enters R.H leading on Mary-
MARY
My brother consents to our wedding oh! joy- joy-
LORRIMER
It seems that for several days he has seen you walking out with Bess- this excited his suspicions he watched you with all a brother's care= he watched last night to be certain it was you who entered my uncle's house
MARY
And so he watched all night around the building- oh Lorrimer is he not a noble brother-
LORRIMER
At last grown feverish with his suspicions- he rang the bell aroused the servant and when the door was opened rushed madly upstairs and reached the wedding room- you know the rest- after the matter was explained to him he consented to keep our marriage secret until Christmas eve, he has left the house satisfied that you are in the care of those who love you= tomorrow Mary, when you have recovered from the effects of the surprise which your brother's sudden entrance occasioned= tomorrow we will be married
MARY
Starting from him
Married!--- Married--- are we not already married
PICTURE
LORRIMER
Mary--
MARY
Save me save me--- oh Lorrimer save me-
LORRIMER
From what shall I save you
MARY
From myself- oh! Lorrimer you love me- you will not harm me farther= save me from myself
LORRIMER
This is all folly= you don't think I'd harm you-
MARY
It is not Lorrimer that I see tis- an evil spirit= my brother= my poor dear parents betrayed cruelly betrayed- If you have one spark of manhood if every feeling is not dead within you= let me quit this house all my indiscretion now flashes on my brain and there stamps a fearful picture. I on my knees implore beseech you to let me depart.
LORRIMER
Rise. Mary= No danger threatens you- I am with you and will shield you from harm
He lifts her up she breaks away and rushes over tothe L.H side
MARY
Oh! Save me- save me-
LORRIMER
Nay then---
He is about to cross and seize her when the sliding panel suddenly opens and Byrnewood darts out
BYRNEWOOD
My sister-
MARY
My Brother!
She rushes to his arms
Picture
LORRIMER
(aside)
Byrnewood- alive-- what ho! Devil Bug-
He rushes out R.H--
MARY
(recovering)
Oh! Brother Brother- leave me I am not worthy of your touch- I am vile brother oh! most vile= leave me- leave me- for I am lost!-
BYRNEWOOD
Mary- Mary= do not speak thus I- I-
He weeps
MARY
Do not weep for me brother- leave me to my shame oh- leave me-
BYRNEWOOD
Raise your hands with mine Mary- to curse the author of your ruin- lift your voice with mine and curse him
MARY
Oh!Do not curse him- he has wronged me but do not curse him- I beseech you not to bind his head with a curse
BYRNEWOOD
I will be to this wretch= a fate a doom= I am the avenger of my sister's wrong= here before you I swear to visit your ruin on the head of your betrayer this right hand I dedicate to the solemn purpose= he shall die by this hand- there is a wide river before him
LORRIMER
Enters followed by Musquito and Glow-worm
Now sir- again I come to demand---
Byrnewood springing at him and seizing him by the throat
BYRNEWOOD
Villain- murder of a maiden's peace meet the death you merit= vengeance to thy work
LORRIMER
Unhand me- I will not die
At this moment Devil Bug rushes in with a lighted
candle
DEVIL BUG
Here's purty goings on= here Musquito- Glow-worm= come and attend to this leetle family party-
Music
They all rush on Byrnewood and force him on the centre trap= Devil Bug is seen to touch a spring the Secret Panel opens Byrnewood is forced in Mary faints on Lorrimer's arm who covers his face with his other hand
Devil Bug advances with candle in hand walking in the panel
DEVIL BUG
I wonder how that'll work-
Picture
and end of Act
As the curtain descends on the picture ending the
First Act
ACT II
SCENE 1ST
A street
Enter William with a letter
WILLIAM
Poor Mr. Arlington= he does nothing but fret= the abduction of his daughter and the sudden disappearance of his son will I fear break the heart of one of the best of fathers
Tom is here heard to cry without
TOM
Milk oh! Any milk from the cow
WILLIAM
I should know that voice
Tom Enters with a small milk pail
WILLIAM
What Tom Shakespeare= you have not long been out of a birth-
TOM
What William= well I'm gad to see you although you did get me the sack= I made a capital day's work that day= bless you I married in the afternoon bought a new fourpost bedstead and took possession of a tidy lot of good I can tell you and am now what you may call as times go an honest made man
WILLIAM
Who keeps a cow I suppose Tom
TOM
No- the cow keeps me- with the assistance of a little water
WILLIAM
Well I'm glad to see you so comfortable= this is better than being in Mr. Arlington's service
TOM
Bless you I'm getting on famous I has now as much pocket money as I used to have wages= besides if I runs short in the week= I don't mind telling you= I pass a pump in my milk walk= then I has a little advantage with the quarterly customers= I cuts a notch in the chalk= you can't think how it tells up on the tallys-- I say= I play's Richard tonight
WILLIAM
What you still practice acting
TOM
Practice= I should say- I was perfect= you only come and see me= I'll make every particular hair stand on end- like quils on the top of a porcupine
WILLIAM
Some other time Tom
TOM
You can have a box to yourself if you won't smoke= they never allow smoking in case the show should catch fire-
WILLIAM
While I must refuse= do you Tom know anything of a place called Monk Hall= not a very reputable place I believe
TOM
To be sure I do= our private theatre is just behind it= there's lots of melodramatic villains goes there I can tell you
WILLIAM
Your theatre at the back= I'll go there then Tom- what time does it begin-
TOM
Half past five= here's a ticket if you're there after the curtains up= you'll not be admitted for love or money I can tell you we're quite regular
WILLIAM
(aside)
I shall be punctual= This information may prove of service to poor Mr. Arlington= Tom I thank you
Exit
TOM
Something has struck him all of a sudden= what a tragedy start he gave= Tom- Tom this won't serve the customers for this is the night= what makes me or undoes me quite Milk oh! Milk from the cow
Exit
Enter Luke and Livingstone
LUKE
Well Livingstone you are indeed a man of a thousand= to live with a woman who has so cruelly deceived you and above all let the betrayer life= tis true you promised to be calm but this is a calmness I should say unequalled in the Quaker City
LIVINGSTONE
Luke you know me not- my vengeance will be slow but sure- you know how uncertain life is= if I should die suddenly- I wish you to open this packet and execute the commission it contains= consider this request Luke- as the last of a dying man- will you promise me?
LUKE
I will and do promise you
He takes the packet and grasps his hand in friendship
I will should you die before me open this packet and at every peril at all hazards execute the commission which it names
LIVINGSTONE
Here we part Luke at noon I will meet you at my house on especial business= good morning
Exit
LUKE
I don't suppose anything peculiar will take place between this and sundown= do I?- very likely I don't, possibly I do!- well- well let matters take their course when a woman adorns her husband's forehead with horns she ought to remember that these ornamental branches may be turned into dangerous weapons Ha! In the street in broad daylight
Looking off
I'd swear its him! Ha Ellis Mortimer he turns the corner= Now or never
A street
Enter William with a letter
WILLIAM
Poor Mr. Arlington= he does nothing but fret= the abduction of his daughter and the sudden disappearance of his son will I fear break the heart of one of the best of fathers
Tom is here heard to cry without
TOM
Milk oh! Any milk from the cow
WILLIAM
I should know that voice
Tom Enters with a small milk pail
WILLIAM
What Tom Shakespeare= you have not long been out of a birth-
TOM
What William= well I'm gad to see you although you did get me the sack= I made a capital day's work that day= bless you I married in the afternoon bought a new fourpost bedstead and took possession of a tidy lot of good I can tell you and am now what you may call as times go an honest made man
WILLIAM
Who keeps a cow I suppose Tom
TOM
No- the cow keeps me- with the assistance of a little water
WILLIAM
Well I'm glad to see you so comfortable= this is better than being in Mr. Arlington's service
TOM
Bless you I'm getting on famous I has now as much pocket money as I used to have wages= besides if I runs short in the week= I don't mind telling you= I pass a pump in my milk walk= then I has a little advantage with the quarterly customers= I cuts a notch in the chalk= you can't think how it tells up on the tallys-- I say= I play's Richard tonight
WILLIAM
What you still practice acting
TOM
Practice= I should say- I was perfect= you only come and see me= I'll make every particular hair stand on end- like quils on the top of a porcupine
WILLIAM
Some other time Tom
TOM
You can have a box to yourself if you won't smoke= they never allow smoking in case the show should catch fire-
WILLIAM
While I must refuse= do you Tom know anything of a place called Monk Hall= not a very reputable place I believe
TOM
To be sure I do= our private theatre is just behind it= there's lots of melodramatic villains goes there I can tell you
WILLIAM
Your theatre at the back= I'll go there then Tom- what time does it begin-
TOM
Half past five= here's a ticket if you're there after the curtains up= you'll not be admitted for love or money I can tell you we're quite regular
WILLIAM
(aside)
I shall be punctual= This information may prove of service to poor Mr. Arlington= Tom I thank you
Exit
TOM
Something has struck him all of a sudden= what a tragedy start he gave= Tom- Tom this won't serve the customers for this is the night= what makes me or undoes me quite Milk oh! Milk from the cow
Exit
Enter Luke and Livingstone
LUKE
Well Livingstone you are indeed a man of a thousand= to live with a woman who has so cruelly deceived you and above all let the betrayer life= tis true you promised to be calm but this is a calmness I should say unequalled in the Quaker City
LIVINGSTONE
Luke you know me not- my vengeance will be slow but sure- you know how uncertain life is= if I should die suddenly- I wish you to open this packet and execute the commission it contains= consider this request Luke- as the last of a dying man- will you promise me?
LUKE
I will and do promise you
He takes the packet and grasps his hand in friendship
I will should you die before me open this packet and at every peril at all hazards execute the commission which it names
LIVINGSTONE
Here we part Luke at noon I will meet you at my house on especial business= good morning
Exit
LUKE
I don't suppose anything peculiar will take place between this and sundown= do I?- very likely I don't, possibly I do!- well- well let matters take their course when a woman adorns her husband's forehead with horns she ought to remember that these ornamental branches may be turned into dangerous weapons Ha! In the street in broad daylight
Looking off
I'd swear its him! Ha Ellis Mortimer he turns the corner= Now or never
SCENE 2ND
Apartment in the Ton Hotel Chestnut Street--
The scene furnished as a first rate bed chamber= Draws pier glass= chairs tables
Fitz-Cowles in a rich morning gown discovered finishing a letter- attended by a tiger
FITZ-COWLES
Take this letter Dim to the post- I'll tell you what it is Dim= If ever you whisper a word to anybody, about anything you may have seen or heard- while you travelled about with me these last six months I'll skin you alive= take the letter in and remember
Exit Dim
I have made a proposal with my creditors which they reject a proposal that would have made their fortunes I offered each of them a share in the Grand Gold Mining Company in South Mexico Algernon Fitz-Cowles President= by they're consenting to give up my debt and paying me the trifling sum of $100- there is no persuading these uneducated mechanics to speculate to advantage my servants were actually compelled to tumble 'em down stairs-
Reenter Dim who advances to his master and whispers in his ear
FITZ-COWLES
The devil= open the door Dim- and show the visitor in-
Dim opens the door shows in the humpback Jew and retires
FITZ-COWLES
You are here are you!?= Why is this= why leave your hiding place in broad daylight?!
JEW
I'ave comsh bekos I vanted to comsh-
FITZ-COWLES
You have- have you
folding his arms
You dog- you miserable dog I've a great mind to give you a taste of this-
Seizing a large Bowie knife
JEW
Puts away te carving knife= you will not hurts noboty
FITZ-COWLES
Perhaps you will tell me why you have left your hiding place in broad daylight with all the police at your heels-
(aside)
Curse that Devil Bug= to let him escape
JEW
I tells you vy= it vos- I leave dat nashty plashe= = Bekos dese little hands do all de work and you reap all de profit= you keep your bargain
FITZ-COWLES
And what was the bargain
JEW
Ven the ting vos done you vos to give me ten thousand dollars- I vos den to sail for Europes= not be left to rot wid de tiefs while you walksh Chestnut Street!
FITZ-COWLES
Here you see I was preparing to hurry your departure= listen to this note ready written-
reads
Devil Bug- Our friend leaves us tomorrow, it is all right, aid him as far as you can in everything that concerns his departure The Abbot
Please deliver this note to Devil Bug-
JEW
You vill gif me de monish?
FITZ-COWLES
Of course= I never refuse you anything= excuse me for one moment while I write a note in the next room to my jeweller
Exit
JEW
Vat a fool I vos- ever to part mit it I had it all in mine own hands one time
He looks about the room
Bless mine heart vat is dis a nice gold watch- well I declare= somebody might take it away= I vill prevent dat
He puts it in his pocket= Fitz-Cowles returns with Dim
FITZ-COWLES
Here Dim= take this diamond ring with this note to Melchoir, the jeweller in Fourth Street= hurry back do you hear
Dim receives the note and Exits
(aside)
That note is the death warrant of the Jew-- Now friend Gabby= Ten notes of a thousand dollars each
He takes them from a pocket folds them and hands them over to the Jew
JEW
Now I vill be gone-
Concealing the notes in his pocket-
Dis country is too hot to hold me farewell ven we meet again I hope to see you in better spirits and now I go-
Exit
FITZ-COWLES
To Death!-- If I manage my cards right I am safe- Ha! Ha!- that Jew got some neat letters from my father the Earl of Lyneswood- Lincolnshire England English post marks and all= I showed them to Dora- together with a parchment containing our pedigree= I have used the Jew, and now- Egad! He must retire from the scene- By next Monday morning I can arrange everything! And then as from the decks of a steamer bound for England I gaze upon the receding shores of America= While Dora smiles in my face and the cash rattles in my pocket- then Ha- Ha- Ha how I shall laugh at these fools of the Quaker City
Exit
Apartment in the Ton Hotel Chestnut Street--
The scene furnished as a first rate bed chamber= Draws pier glass= chairs tables
Fitz-Cowles in a rich morning gown discovered finishing a letter- attended by a tiger
FITZ-COWLES
Take this letter Dim to the post- I'll tell you what it is Dim= If ever you whisper a word to anybody, about anything you may have seen or heard- while you travelled about with me these last six months I'll skin you alive= take the letter in and remember
Exit Dim
I have made a proposal with my creditors which they reject a proposal that would have made their fortunes I offered each of them a share in the Grand Gold Mining Company in South Mexico Algernon Fitz-Cowles President= by they're consenting to give up my debt and paying me the trifling sum of $100- there is no persuading these uneducated mechanics to speculate to advantage my servants were actually compelled to tumble 'em down stairs-
Reenter Dim who advances to his master and whispers in his ear
FITZ-COWLES
The devil= open the door Dim- and show the visitor in-
Dim opens the door shows in the humpback Jew and retires
FITZ-COWLES
You are here are you!?= Why is this= why leave your hiding place in broad daylight?!
JEW
I'ave comsh bekos I vanted to comsh-
FITZ-COWLES
You have- have you
folding his arms
You dog- you miserable dog I've a great mind to give you a taste of this-
Seizing a large Bowie knife
JEW
Puts away te carving knife= you will not hurts noboty
FITZ-COWLES
Perhaps you will tell me why you have left your hiding place in broad daylight with all the police at your heels-
(aside)
Curse that Devil Bug= to let him escape
JEW
I tells you vy= it vos- I leave dat nashty plashe= = Bekos dese little hands do all de work and you reap all de profit= you keep your bargain
FITZ-COWLES
And what was the bargain
JEW
Ven the ting vos done you vos to give me ten thousand dollars- I vos den to sail for Europes= not be left to rot wid de tiefs while you walksh Chestnut Street!
FITZ-COWLES
Here you see I was preparing to hurry your departure= listen to this note ready written-
reads
Devil Bug- Our friend leaves us tomorrow, it is all right, aid him as far as you can in everything that concerns his departure The Abbot
Please deliver this note to Devil Bug-
JEW
You vill gif me de monish?
FITZ-COWLES
Of course= I never refuse you anything= excuse me for one moment while I write a note in the next room to my jeweller
Exit
JEW
Vat a fool I vos- ever to part mit it I had it all in mine own hands one time
He looks about the room
Bless mine heart vat is dis a nice gold watch- well I declare= somebody might take it away= I vill prevent dat
He puts it in his pocket= Fitz-Cowles returns with Dim
FITZ-COWLES
Here Dim= take this diamond ring with this note to Melchoir, the jeweller in Fourth Street= hurry back do you hear
Dim receives the note and Exits
(aside)
That note is the death warrant of the Jew-- Now friend Gabby= Ten notes of a thousand dollars each
He takes them from a pocket folds them and hands them over to the Jew
JEW
Now I vill be gone-
Concealing the notes in his pocket-
Dis country is too hot to hold me farewell ven we meet again I hope to see you in better spirits and now I go-
Exit
FITZ-COWLES
To Death!-- If I manage my cards right I am safe- Ha! Ha!- that Jew got some neat letters from my father the Earl of Lyneswood- Lincolnshire England English post marks and all= I showed them to Dora- together with a parchment containing our pedigree= I have used the Jew, and now- Egad! He must retire from the scene- By next Monday morning I can arrange everything! And then as from the decks of a steamer bound for England I gaze upon the receding shores of America= While Dora smiles in my face and the cash rattles in my pocket- then Ha- Ha- Ha how I shall laugh at these fools of the Quaker City
Exit
SCENE 3RD
Apartment in Monk Hall
Enter Lorrimer quieted
LORRIMER
The dream is over and nought left but to reflect on the past reflect did I say- not while enjoyment can be had- the bridal scene Ha! Ha! Ha! a good joke= yet there are some jokes cost a mint of thought- I must seek the aid of those long necked giants the champagne bottles-
As he is about to Exit= Bess suddenly confronts
him
LORRIMER
Well Bess- whats the matter how is the girl- that is to say how is Mary-
BESSIE
She has lain unconscious all day- until a few moments past she has now recovered her reason and does nothing but wring her hands and shriek your name Lorrimer you had better see this girl before you leave the house-
LORRIMER
I will see her tomorrow
BESSIE
Have you a mans heart within your bosom= do not refuse to look upon the ruin which has followed your crime
LORRIMER
Not- tonight- not tonight anytime but tonight
BESSIE
Do what you will with Byrnewood but for the sake of your own self regard do not refuse this request bitterly Lorrimer do I regret my part in this affair= see she has left her chamber= do not fly from her I implore you
LORRIMER
You shall have your way Bess this time= I will but retire awhile to your chamber to observe her and readily return= back= she comes= back
They Exit L- Mary Enters R.H-
MARY
In vain I seek to avoid reflection in vain attempt to elude the shadows of the past which like mournful ghosts stand by my bedside and bitterly remind me of the content and happiness that might have been mine= and which I have witfully cast from me= had I not a happy house- indulgent parents- and did I not leave them= for what- Every feeling of the heart Every throbbing fire of the brain= reiterates the question- and for what- I feel myself a culprit and even at the bar of conscience dare not plead= oh! how shall I answer at that tribunal where all is known and where penitence alone has weight in the appeal
Enter Lorrimer
Mary turns and observes him she starts
MARY
Ah- he- here= leave me I implore you or give me liberty- that lost disgraced and spurned by the world I may seek the church yard and laying beneath the ancient yew tree= within whose summer shades- I have sat in merry childhood with the companions of my infancy weaving garlands of wild roses to deck the grave of my dear grandsire between whose knees I have stood with tear enraptured eye- to hear him tell the tales of long gone past oh! let me fly to that and breath my last- unknown unblessed forgotten and forgot
LORRIMER
This is folly= bred of melancholy do I not love you- does not competence nay affluence woo your acceptance= wherefore thus give that to gloom that would be dedicated to pleasure love and joy-
MARY
You mock me= have I not been deceived, inviegled from my parents by an artful woman who in widow's weeds pretending grief for him- she lost- urged me to meet him I loved= good and forethinking was the caution of my parents that fatal evening when instigated by you I left their home= oh Lorrimer look inward in thine own bosom and if you feel not compunction= how cruel must it be to hang the robber compelled by want and let the greater robber go free= who robs of virtue first and then of life the wretched victim of his own lawless pleasure- where is my brother-
LORRIMER
Safe-no harm can come to him unless madly you bring destruction on yourselves
MARY
Look on me steadfast-- Does he live-
LORRIMER
Why should you doubt it.
MARY
Because he intervened between a heartless seducer and a sister devoted to shame and sorrow whom he would have saved but could not-
LORRIMER
Had he not interposed all would now have been well and you the happy wife of Lorrimer the chosen of your heart
MARY
Wife- look on me well- am I the honoured wife of an honest man- will no one point at my children- when I am low in dust= the dust of the grave- will no one taunt my children then or say poor babes- had they had a better mother- they had borne a better name- when driven to crime and error- by these stinging slurs will they not curse thy name and mine and deprecate the mother- who to a mock marriage- gave up a maidens pride-
LORRIMER
Look around you- how many revel in pomp and joy that might have lost it by prudery and idle form
MARY
But are they happy-- does the rouge that covers their faces- hide the palled countenance beneath- Oh! Lorrimer on my knees I beseech you- let me go- stained with the plague spot of sin upon my brow- let me crawl to the feet of my parents and blest with their forgiveness yield up a being I have so much abused-
LORRIMER
Mary you ask too much I cannot live without you to gain you I have ventured much- would again- be content that you are beloved and strive to banish all thoughts of home
MARY
Banish all thoughts of home and parents dear- of childhood days and merry laughing hours- when each happy evening- but preceded a happy night- teach me to forget but tis a lesson I ne'er shall learn
LORRIMER
To recall the past is impossible
MARY
Could it thou recall it wouldn't thou- I do believe it- for e'en now stands in thine eyes a tear of repentance supplied by nature- but by pride condemned= oh! Then act the manly and the nobler part- secure the happiness of my goal and thine- make me thy lawful wife- receive the best reward a virtuous heart can enjoy- let nature take the reins- nor doubt her happy speeding
LORRIMER
Mary- I feel I could die to make you happy- but circumstances which like a mist you cannot pierce thro'- stands between overshadowing the present- yet may in time be cleared--
MARY
When I am dead-- then too late- will you mourn the wrong that may not be redressed- farewell for from this instant am I lost to thee forever when confidence has fled all love expires- when hope deserts us- the grave is then our only home-- Farewell Lorrimer you will pass the churchyard- with your boon companions look not around in case some tombstone meet thy gaze reminding you of her once loved so cruelly betrayed=
LORRIMER
I cannot hear it- she melts me in my own despight and tears choke the anger that I fain would utter-
He rushes off
MARY
He- has a heart it is not quite debased and I may yet succeed= Oh! my beloved parents let me but see thee smile again then death I welcome thee for I am lost forever
Exit
Enter Devil Bug
DEVIL BUG
I vonders how that'll work Ha- Ha- Ha that feller Byrnewood is like a cat he has a matter o-nine lives- Hallo there! if anyone wants to see Devil Bug he's at home to visitors that gal of Lorrimer's must not be hurt she reminds me of one a purty one- whenever I think of her my eyes grow watery= I struck the feller who had laid his hands upon her- I struck him to the floor- I believe she liked me from that hour Ha- Ha- Ha liked Devil Bug- liked Devil Bug- Ha- Ha- Ha Hallo-- Who's there?
Enter Dim
DEVIL BUG
Ah from Fitz-Cowles Eh!- you're a pretty boy what do you want hear
DIM
A letter from Fitz-Cowles
DEVIL BUG
Opening it
Whats here= the diamond ring- here young indoovidooal= there wasn't no free schools when I was young-
DIM
Reading the letter
Mark it= When ever I send this ring to you= the Jew must retire= he is loaded with cash you can pay yourself signed the Abbot-
DEVIL BUG
Retire young devilsnip- and report yourself at head quarters
Exit Dim
DEVIL BUG
What more visiters
Enter the Jew
JEW
Good Eveningsh
DEVIL BUG
Good Afternoon-
JEW
You know de widow Smolpy-
DEVIL BUG
Know her-- have you seen her
JEW
I have- and- and sold her a goldt watch dat ish, I made her a presentsh- ov de watch
DEVIL BUG
Do I look like a merry young infant-
JEW
I takes five thousand dollars in goldt from de house for de watch Ha- Ha=
DEVIL BUG
Where is it Gabriel--
JEW
Upstairs in your room vat you scratch your fingers on de wall for-
DEVIL BUG
You are good at rithemic How much is five thousand dollars and ten thousand dollars
JEW
Fifteen thousand= vot for you ask'sh
DEVIL BUG
Devil Bug touching the spring
Why in fact Gabriel you can retire=
The trap instantly sinks the Jew exclaiming= Murder- Help- Murder
DEVIL BUG
The gold- the gold= I wonders how that'll work
He rushes out
Apartment in Monk Hall
Enter Lorrimer quieted
LORRIMER
The dream is over and nought left but to reflect on the past reflect did I say- not while enjoyment can be had- the bridal scene Ha! Ha! Ha! a good joke= yet there are some jokes cost a mint of thought- I must seek the aid of those long necked giants the champagne bottles-
As he is about to Exit= Bess suddenly confronts
him
LORRIMER
Well Bess- whats the matter how is the girl- that is to say how is Mary-
BESSIE
She has lain unconscious all day- until a few moments past she has now recovered her reason and does nothing but wring her hands and shriek your name Lorrimer you had better see this girl before you leave the house-
LORRIMER
I will see her tomorrow
BESSIE
Have you a mans heart within your bosom= do not refuse to look upon the ruin which has followed your crime
LORRIMER
Not- tonight- not tonight anytime but tonight
BESSIE
Do what you will with Byrnewood but for the sake of your own self regard do not refuse this request bitterly Lorrimer do I regret my part in this affair= see she has left her chamber= do not fly from her I implore you
LORRIMER
You shall have your way Bess this time= I will but retire awhile to your chamber to observe her and readily return= back= she comes= back
They Exit L- Mary Enters R.H-
MARY
In vain I seek to avoid reflection in vain attempt to elude the shadows of the past which like mournful ghosts stand by my bedside and bitterly remind me of the content and happiness that might have been mine= and which I have witfully cast from me= had I not a happy house- indulgent parents- and did I not leave them= for what- Every feeling of the heart Every throbbing fire of the brain= reiterates the question- and for what- I feel myself a culprit and even at the bar of conscience dare not plead= oh! how shall I answer at that tribunal where all is known and where penitence alone has weight in the appeal
Enter Lorrimer
Mary turns and observes him she starts
MARY
Ah- he- here= leave me I implore you or give me liberty- that lost disgraced and spurned by the world I may seek the church yard and laying beneath the ancient yew tree= within whose summer shades- I have sat in merry childhood with the companions of my infancy weaving garlands of wild roses to deck the grave of my dear grandsire between whose knees I have stood with tear enraptured eye- to hear him tell the tales of long gone past oh! let me fly to that and breath my last- unknown unblessed forgotten and forgot
LORRIMER
This is folly= bred of melancholy do I not love you- does not competence nay affluence woo your acceptance= wherefore thus give that to gloom that would be dedicated to pleasure love and joy-
MARY
You mock me= have I not been deceived, inviegled from my parents by an artful woman who in widow's weeds pretending grief for him- she lost- urged me to meet him I loved= good and forethinking was the caution of my parents that fatal evening when instigated by you I left their home= oh Lorrimer look inward in thine own bosom and if you feel not compunction= how cruel must it be to hang the robber compelled by want and let the greater robber go free= who robs of virtue first and then of life the wretched victim of his own lawless pleasure- where is my brother-
LORRIMER
Safe-no harm can come to him unless madly you bring destruction on yourselves
MARY
Look on me steadfast-- Does he live-
LORRIMER
Why should you doubt it.
MARY
Because he intervened between a heartless seducer and a sister devoted to shame and sorrow whom he would have saved but could not-
LORRIMER
Had he not interposed all would now have been well and you the happy wife of Lorrimer the chosen of your heart
MARY
Wife- look on me well- am I the honoured wife of an honest man- will no one point at my children- when I am low in dust= the dust of the grave- will no one taunt my children then or say poor babes- had they had a better mother- they had borne a better name- when driven to crime and error- by these stinging slurs will they not curse thy name and mine and deprecate the mother- who to a mock marriage- gave up a maidens pride-
LORRIMER
Look around you- how many revel in pomp and joy that might have lost it by prudery and idle form
MARY
But are they happy-- does the rouge that covers their faces- hide the palled countenance beneath- Oh! Lorrimer on my knees I beseech you- let me go- stained with the plague spot of sin upon my brow- let me crawl to the feet of my parents and blest with their forgiveness yield up a being I have so much abused-
LORRIMER
Mary you ask too much I cannot live without you to gain you I have ventured much- would again- be content that you are beloved and strive to banish all thoughts of home
MARY
Banish all thoughts of home and parents dear- of childhood days and merry laughing hours- when each happy evening- but preceded a happy night- teach me to forget but tis a lesson I ne'er shall learn
LORRIMER
To recall the past is impossible
MARY
Could it thou recall it wouldn't thou- I do believe it- for e'en now stands in thine eyes a tear of repentance supplied by nature- but by pride condemned= oh! Then act the manly and the nobler part- secure the happiness of my goal and thine- make me thy lawful wife- receive the best reward a virtuous heart can enjoy- let nature take the reins- nor doubt her happy speeding
LORRIMER
Mary- I feel I could die to make you happy- but circumstances which like a mist you cannot pierce thro'- stands between overshadowing the present- yet may in time be cleared--
MARY
When I am dead-- then too late- will you mourn the wrong that may not be redressed- farewell for from this instant am I lost to thee forever when confidence has fled all love expires- when hope deserts us- the grave is then our only home-- Farewell Lorrimer you will pass the churchyard- with your boon companions look not around in case some tombstone meet thy gaze reminding you of her once loved so cruelly betrayed=
LORRIMER
I cannot hear it- she melts me in my own despight and tears choke the anger that I fain would utter-
He rushes off
MARY
He- has a heart it is not quite debased and I may yet succeed= Oh! my beloved parents let me but see thee smile again then death I welcome thee for I am lost forever
Exit
Enter Devil Bug
DEVIL BUG
I vonders how that'll work Ha- Ha- Ha that feller Byrnewood is like a cat he has a matter o-nine lives- Hallo there! if anyone wants to see Devil Bug he's at home to visitors that gal of Lorrimer's must not be hurt she reminds me of one a purty one- whenever I think of her my eyes grow watery= I struck the feller who had laid his hands upon her- I struck him to the floor- I believe she liked me from that hour Ha- Ha- Ha liked Devil Bug- liked Devil Bug- Ha- Ha- Ha Hallo-- Who's there?
Enter Dim
DEVIL BUG
Ah from Fitz-Cowles Eh!- you're a pretty boy what do you want hear
DIM
A letter from Fitz-Cowles
DEVIL BUG
Opening it
Whats here= the diamond ring- here young indoovidooal= there wasn't no free schools when I was young-
DIM
Reading the letter
Mark it= When ever I send this ring to you= the Jew must retire= he is loaded with cash you can pay yourself signed the Abbot-
DEVIL BUG
Retire young devilsnip- and report yourself at head quarters
Exit Dim
DEVIL BUG
What more visiters
Enter the Jew
JEW
Good Eveningsh
DEVIL BUG
Good Afternoon-
JEW
You know de widow Smolpy-
DEVIL BUG
Know her-- have you seen her
JEW
I have- and- and sold her a goldt watch dat ish, I made her a presentsh- ov de watch
DEVIL BUG
Do I look like a merry young infant-
JEW
I takes five thousand dollars in goldt from de house for de watch Ha- Ha=
DEVIL BUG
Where is it Gabriel--
JEW
Upstairs in your room vat you scratch your fingers on de wall for-
DEVIL BUG
You are good at rithemic How much is five thousand dollars and ten thousand dollars
JEW
Fifteen thousand= vot for you ask'sh
DEVIL BUG
Devil Bug touching the spring
Why in fact Gabriel you can retire=
The trap instantly sinks the Jew exclaiming= Murder- Help- Murder
DEVIL BUG
The gold- the gold= I wonders how that'll work
He rushes out
SCENE 4TH
Exterior of Mr. Shakespeare's house a large board in front written on Mr. Thomas Shakespeare late Jemima SkyBlue- milkman RB Carpets beat- shoes cleaned--
Enter Mrs. Shakespeare
MRS. SHAKESPEARE
Where can that husband of mine be= here's three pair of boots and seven pair of shoes to clean and two carpets to beat= he's always out of the way- hare Thomas Thomas Shakespeare I say
Enter Tom cleaning the top of a milk pail
TOM
Who call's on Shakespeare
MRS. SHAKESPEARE
Why Tom where ever have you been here's lots of work come in and you nowhere to be found
TOM
Work- I'm at work- I'm cleaning this here top of the milk pail for my Richard's shield- I think it will take the conceit out of Richmonds
MRS. SHAKESPEARE
What you are a going a play acting again are you
TOM
I'm going to stun'em there's William the help and my old place has been running about looking for poor Miss Mary who has disappeared like a spirit in a melodrama= he has taken a box ticket he begged to be excused at first- but when he heard me give a speech from the tent scene- he soon altered his mind
MRS. SHAKESPEARE
I've made up my mind if you don't give up these play's- I shall sell the cow
TOM
I tell you Mrs. S- with all due difference the cow is mine but as to my giving up what will some day be a regular profession the thought is impossible
MRS. SHAKESPEARE
Why when I went to see you they laughed at you and told you to go home and sell the milk
TOM
Sheer envy by the gods- here's one of my bills- for the benefit of Octavius Junius Delacort that's my theatrical name= Richard the third will be performed= the king with a humpback- by Mr. Octavius after which hot codlings by the leader of the band= to be followed by a horn pipe in real fetters and hand cuffs and a straight waist coat to conclude with the Blood Red Ruffians of Rugby Hollow everyone in the piece will be dressed in scarlet and have red plumes in their caps- now Jemima that I think will shake their nerves a bit
MRS. SHAKESPEARE
That's all very well- but who's to shake the carpets- I expect there'll be a regular dust about em- that's what I do
TOM
I'll tell you how to lay the dust my dear= go to the ancient follower of our house the slavey that keeps the apple hall- tell him your husband's got to act a very particular part= and if he'll beat the carpets and clean the boots I'll reward him and if I have a good house I'll treat you with a new bonnett
MRS. SHAKESPEARE
Well Thomas= there is some reason in that
TOM
I am as you perceive a little less than kind and more than kind
MRS. SHAKESPEARE
Well you need not talk about your kindness for a paltry bonnett
TOM
That's part of the play- go Jemima at once stand not on the order of going but go at once as Lady Macbeth remarked to the gentleman that was invited to supper
MRS. SHAKESPEARE
You'll be the ruin of our business I know you will
TOM
I tell you its only part of the play
MRS. SHAKESPEARE
Is the new bonnett part of the play-
TOM
No my dear its right down ernest
MRS. SHAKESPEARE
Then I'll go and see to the carpets directly= good bye Thomas bless you
TOM
(aside)
A little gammon sometimes does well= lead on to the tower there await my coming
MRS. SHAKESPEARE
What should I do at the tower
TOM
That's one of the speeches in Richard the Third
MRS. SHAKESPEARE
Oh! Bother Richard-
TOM
Don't bother Richard- give him his regular cue or he can't get on
MRS. SHAKESPEARE
I must get on or there'll be a regular rumpus about the carpets= remember the bonnett Thomas dear
TOM
Yes it will be a dear bonnett one chaste embrace then to the business of the night
They embrace
My soul's in arms and caper for the fray
Tom Exits into house Mrs S- at wing
Exterior of Mr. Shakespeare's house a large board in front written on Mr. Thomas Shakespeare late Jemima SkyBlue- milkman RB Carpets beat- shoes cleaned--
Enter Mrs. Shakespeare
MRS. SHAKESPEARE
Where can that husband of mine be= here's three pair of boots and seven pair of shoes to clean and two carpets to beat= he's always out of the way- hare Thomas Thomas Shakespeare I say
Enter Tom cleaning the top of a milk pail
TOM
Who call's on Shakespeare
MRS. SHAKESPEARE
Why Tom where ever have you been here's lots of work come in and you nowhere to be found
TOM
Work- I'm at work- I'm cleaning this here top of the milk pail for my Richard's shield- I think it will take the conceit out of Richmonds
MRS. SHAKESPEARE
What you are a going a play acting again are you
TOM
I'm going to stun'em there's William the help and my old place has been running about looking for poor Miss Mary who has disappeared like a spirit in a melodrama= he has taken a box ticket he begged to be excused at first- but when he heard me give a speech from the tent scene- he soon altered his mind
MRS. SHAKESPEARE
I've made up my mind if you don't give up these play's- I shall sell the cow
TOM
I tell you Mrs. S- with all due difference the cow is mine but as to my giving up what will some day be a regular profession the thought is impossible
MRS. SHAKESPEARE
Why when I went to see you they laughed at you and told you to go home and sell the milk
TOM
Sheer envy by the gods- here's one of my bills- for the benefit of Octavius Junius Delacort that's my theatrical name= Richard the third will be performed= the king with a humpback- by Mr. Octavius after which hot codlings by the leader of the band= to be followed by a horn pipe in real fetters and hand cuffs and a straight waist coat to conclude with the Blood Red Ruffians of Rugby Hollow everyone in the piece will be dressed in scarlet and have red plumes in their caps- now Jemima that I think will shake their nerves a bit
MRS. SHAKESPEARE
That's all very well- but who's to shake the carpets- I expect there'll be a regular dust about em- that's what I do
TOM
I'll tell you how to lay the dust my dear= go to the ancient follower of our house the slavey that keeps the apple hall- tell him your husband's got to act a very particular part= and if he'll beat the carpets and clean the boots I'll reward him and if I have a good house I'll treat you with a new bonnett
MRS. SHAKESPEARE
Well Thomas= there is some reason in that
TOM
I am as you perceive a little less than kind and more than kind
MRS. SHAKESPEARE
Well you need not talk about your kindness for a paltry bonnett
TOM
That's part of the play- go Jemima at once stand not on the order of going but go at once as Lady Macbeth remarked to the gentleman that was invited to supper
MRS. SHAKESPEARE
You'll be the ruin of our business I know you will
TOM
I tell you its only part of the play
MRS. SHAKESPEARE
Is the new bonnett part of the play-
TOM
No my dear its right down ernest
MRS. SHAKESPEARE
Then I'll go and see to the carpets directly= good bye Thomas bless you
TOM
(aside)
A little gammon sometimes does well= lead on to the tower there await my coming
MRS. SHAKESPEARE
What should I do at the tower
TOM
That's one of the speeches in Richard the Third
MRS. SHAKESPEARE
Oh! Bother Richard-
TOM
Don't bother Richard- give him his regular cue or he can't get on
MRS. SHAKESPEARE
I must get on or there'll be a regular rumpus about the carpets= remember the bonnett Thomas dear
TOM
Yes it will be a dear bonnett one chaste embrace then to the business of the night
They embrace
My soul's in arms and caper for the fray
Tom Exits into house Mrs S- at wing
SCENE 5TH
Chamber in Monk Hall-
Enter Bess leading on Byrnewood
BESSIE
The antidote has taken full effect-- his strength is restored
BYRNEWOOD
My sister- my sister oh! I have been entangled in the mazes of some horrible dream= where am I what does it mean
BESSIE
Down the private staircase and through the small room at its foot you will enter the yard of Monk Hall- scale the fence and you are safed Quick or all is lost= Mark you the gleam of that light flashing from the stairway-- Devil Bug approaches if he sees us all is lost-
BYRNEWOOD
Ha! I remember it all- My sister and the drug it comes like a lightening flash upon my soul
BESSIE
Quick pass through this secret panel and gain the well room or you are Devil Bug's prisoner
BYRNEWOOD
Leave Monk Hall and my sister in the power of the seducer- Never- oh! Mary my true sister I will save you yet the villain shall pay for his crime with his life
BESSIE
Before heaven I swear to rescue your sister= now will you fly= delay one moment longer and your life is in this monster's power- your sister is lost forever
BYRNEWOOD
I go- but I will return again with the power to avenge my sister= my hour will come and my sisters wrong shall be washed out in her seducer's blood-
He darts through the panel which she instantly closes
BESSIE
He has escaped= thank heaven he has escaped-
Enter Devil Bug
DEVIL BUG
You've made a purty spot of business of this matter I do declare=
A noise is heard without
Do you hear that sound= Ha- Ha- Ha= I vonders how that'll work Ha- Ha- Ha-
BESSIE
Heavens he is lost
She slips the keys from Devil Bug's belt
but I will save him yet- will foil ye monster and devil that you are
She rushes out
DEVIL BUG
Werry likely- werry likely- ha- ha- ha- My hearts full of all sorts o'queer tantrums I just now thought I heered something breathin on the stairs I thought I heered my keys a jngling together what a ridiculous fool I am to be sure= let me see= tis true= the key the key- I see it all the key- I hear it in the lock I can pervent em Ha! Ha Ha- I vonders how it will work
He rushes out
Chamber in Monk Hall-
Enter Bess leading on Byrnewood
BESSIE
The antidote has taken full effect-- his strength is restored
BYRNEWOOD
My sister- my sister oh! I have been entangled in the mazes of some horrible dream= where am I what does it mean
BESSIE
Down the private staircase and through the small room at its foot you will enter the yard of Monk Hall- scale the fence and you are safed Quick or all is lost= Mark you the gleam of that light flashing from the stairway-- Devil Bug approaches if he sees us all is lost-
BYRNEWOOD
Ha! I remember it all- My sister and the drug it comes like a lightening flash upon my soul
BESSIE
Quick pass through this secret panel and gain the well room or you are Devil Bug's prisoner
BYRNEWOOD
Leave Monk Hall and my sister in the power of the seducer- Never- oh! Mary my true sister I will save you yet the villain shall pay for his crime with his life
BESSIE
Before heaven I swear to rescue your sister= now will you fly= delay one moment longer and your life is in this monster's power- your sister is lost forever
BYRNEWOOD
I go- but I will return again with the power to avenge my sister= my hour will come and my sisters wrong shall be washed out in her seducer's blood-
He darts through the panel which she instantly closes
BESSIE
He has escaped= thank heaven he has escaped-
Enter Devil Bug
DEVIL BUG
You've made a purty spot of business of this matter I do declare=
A noise is heard without
Do you hear that sound= Ha- Ha- Ha= I vonders how that'll work Ha- Ha- Ha-
BESSIE
Heavens he is lost
She slips the keys from Devil Bug's belt
but I will save him yet- will foil ye monster and devil that you are
She rushes out
DEVIL BUG
Werry likely- werry likely- ha- ha- ha- My hearts full of all sorts o'queer tantrums I just now thought I heered something breathin on the stairs I thought I heered my keys a jngling together what a ridiculous fool I am to be sure= let me see= tis true= the key the key- I see it all the key- I hear it in the lock I can pervent em Ha! Ha Ha- I vonders how it will work
He rushes out
SCENE 6TH
A front street-
Enter Luke
LUKE
The death of Livingstone gives me full power= the packet entrusted to me will doubtless yield important information= I must instantly seek out Byrnewood his aid will be required- he has been seen wandering near the wharf= on opening the stolen watch a paper within its case disclosed the name of Ellis Mortimer it came from the house of Fitz-Cowles he then must be the forger- first to open the packet then to prosecute my plans which will save the firm of Luke Harvey and Co from impending ruin-.
Exit
Loud shouts and laughter is heard without- Tom Shakespeare rushes on dressed as Richard the third- followed by a mob= his face black as if with mud-
TOM
Good luck to you- don't pelt anymore= I don't want to play Othello I would stand a drain but 'pon my soul I have no money I left all I had in my pockets at the private theatre
1ST MOB
Private- I think this is a public performance my friend
TOM
(aside)
I wish I could tip them the double- It is so indeed
1ST MOB
Then you ought to be paid for acting
TOM
Yes but your treasurey is too liberal Hallo! There's young Richmond a coming
1ST MOB
Turning around
Where- Wher-
TOM
A cab- a cab- My kingdom for a cab
The mob follows calling stop him= stop that mutt--
A front street-
Enter Luke
LUKE
The death of Livingstone gives me full power= the packet entrusted to me will doubtless yield important information= I must instantly seek out Byrnewood his aid will be required- he has been seen wandering near the wharf= on opening the stolen watch a paper within its case disclosed the name of Ellis Mortimer it came from the house of Fitz-Cowles he then must be the forger- first to open the packet then to prosecute my plans which will save the firm of Luke Harvey and Co from impending ruin-.
Exit
Loud shouts and laughter is heard without- Tom Shakespeare rushes on dressed as Richard the third- followed by a mob= his face black as if with mud-
TOM
Good luck to you- don't pelt anymore= I don't want to play Othello I would stand a drain but 'pon my soul I have no money I left all I had in my pockets at the private theatre
1ST MOB
Private- I think this is a public performance my friend
TOM
(aside)
I wish I could tip them the double- It is so indeed
1ST MOB
Then you ought to be paid for acting
TOM
Yes but your treasurey is too liberal Hallo! There's young Richmond a coming
1ST MOB
Turning around
Where- Wher-
TOM
A cab- a cab- My kingdom for a cab
The mob follows calling stop him= stop that mutt--
SCENE 7TH
Interior of Mr. Shakespeare's house
Mrs. Shakespeare discovered sitting with a candlenearly burnt out
MRS. SHAKESPEARE
Why did I ever marry= when I was single I could go to bed when I liked- here have I been sitting up for that vegabond of mine till its nearly broad day= when he does come let him look out- I'll stop his playing I warrant me
Here a loud knock is heard at the door
MRS. SHAKESPEARE
You may knock sir= as you've kept me up for your pleasure I'll keep you out for mine
TOM
(without)
Mrs. Shakespeare= tis your Thomas
MRS. SHAKESPEARE
You may go to your play
TOM
There's no play about it- they're pelting me Mrs. Shakespeare
Here a stone is heard followed by a crash
MRS. SHAKESPEARE
Why the fellow's breaking the windows= I'll break his head for him= I'll-
She runs and opens the door Tom runs in quite exhausted and throws himself into a chair Mrs S appears greatly astonished
MRS. SHAKESPEARE
Why he's mad- what have you done with your clothes this comes of your acting I hope the police have taken them all up
TOM
(recovering)
Tis but a dream-
MRS. SHAKESPEARE
A dream indeed= you take care nobody shall dream for you won't let them go to sleep
TOM
I remember now= such an escape Mrs. S-
MRS. SHAKESPEARE
Escape indeed I tell you what Mr. Shakespeare you may water the milk yourself Mr. Shakespeare
TOM
Do you think I'm a pump Mrs. S
MRS. SHAKESPEARE
Pump or no pump= I'll not be played upon in this manner= I'll sell the cow
TOM
What our Meg= No Mrs. S- I'll not act anymore except the part of the leader husband if you promise not to act the part of the jealous wife when you know all you'll pity me- the fact is I was just going on in the tent scene when we heard a scream in the garden at the back William the slavey was standing behind the scenes holding my shield when he recognised the voice of Mary Arlington we jump't out of the window just in time to protect her from a villain they call Devil Bug- in that infernal place they call Monk Hall- when I got back the theatre was shut up so I was obliged to get home as well as I could and a regular battle it was I can tell you= if I had met young Richmond in Bosworth field it would have been nothing to it-
MRS. SHAKESPEARE
And you saved Miss Arlington
TOM
I did-
MRS. SHAKESPEARE
From the grasp
TOM
of a villain-
MRS. SHAKESPEARE
Come to my arms
They rush to each others embrace
TOM
(over her shoulder)
When I love thee not chaise houses come again
MRS. SHAKESPEARE
I forgive you all you are my own dear Thomas once again
TOM
Come then Mrs. Shakespeare bound with triumphant garlands- will I lead you to a conquerors bed
Exit with Mrs. S-
Interior of Mr. Shakespeare's house
Mrs. Shakespeare discovered sitting with a candlenearly burnt out
MRS. SHAKESPEARE
Why did I ever marry= when I was single I could go to bed when I liked- here have I been sitting up for that vegabond of mine till its nearly broad day= when he does come let him look out- I'll stop his playing I warrant me
Here a loud knock is heard at the door
MRS. SHAKESPEARE
You may knock sir= as you've kept me up for your pleasure I'll keep you out for mine
TOM
(without)
Mrs. Shakespeare= tis your Thomas
MRS. SHAKESPEARE
You may go to your play
TOM
There's no play about it- they're pelting me Mrs. Shakespeare
Here a stone is heard followed by a crash
MRS. SHAKESPEARE
Why the fellow's breaking the windows= I'll break his head for him= I'll-
She runs and opens the door Tom runs in quite exhausted and throws himself into a chair Mrs S appears greatly astonished
MRS. SHAKESPEARE
Why he's mad- what have you done with your clothes this comes of your acting I hope the police have taken them all up
TOM
(recovering)
Tis but a dream-
MRS. SHAKESPEARE
A dream indeed= you take care nobody shall dream for you won't let them go to sleep
TOM
I remember now= such an escape Mrs. S-
MRS. SHAKESPEARE
Escape indeed I tell you what Mr. Shakespeare you may water the milk yourself Mr. Shakespeare
TOM
Do you think I'm a pump Mrs. S
MRS. SHAKESPEARE
Pump or no pump= I'll not be played upon in this manner= I'll sell the cow
TOM
What our Meg= No Mrs. S- I'll not act anymore except the part of the leader husband if you promise not to act the part of the jealous wife when you know all you'll pity me- the fact is I was just going on in the tent scene when we heard a scream in the garden at the back William the slavey was standing behind the scenes holding my shield when he recognised the voice of Mary Arlington we jump't out of the window just in time to protect her from a villain they call Devil Bug- in that infernal place they call Monk Hall- when I got back the theatre was shut up so I was obliged to get home as well as I could and a regular battle it was I can tell you= if I had met young Richmond in Bosworth field it would have been nothing to it-
MRS. SHAKESPEARE
And you saved Miss Arlington
TOM
I did-
MRS. SHAKESPEARE
From the grasp
TOM
of a villain-
MRS. SHAKESPEARE
Come to my arms
They rush to each others embrace
TOM
(over her shoulder)
When I love thee not chaise houses come again
MRS. SHAKESPEARE
I forgive you all you are my own dear Thomas once again
TOM
Come then Mrs. Shakespeare bound with triumphant garlands- will I lead you to a conquerors bed
Exit with Mrs. S-
SCENE 8TH
A street
Hurried Music--
Enter Byrnewood
BYRNEWOOD
Brain- Brain be calm my own injuries and they are great I could forgive= but Mary- my sister= that unblushing villain Lorrimer who insults profanes and disgraces our city and yet her brother lives- her brother and her avenger
Enter Luke
LUKE
Byrnewood Arlington compose yourself= but now I saw you rush down Chestnut Street wild and seemingly wreckless= your friends with one voice pronounced you mad
BYRNEWOOD
And is not my sister's fate enough to madden a brother the Daily Black Mail its pages teeming with the dishonour of our house-
LUKE
It is indeed most galling= but you have still the redress of a man
BYRNEWOOD
What may a man do against a coward= ere the sun set one shall die by the others hand the libertine or the avenger
LUKE
Listen to me Byrnewood for I have much to say which concerns us all= the heartless Fitz-Cowles who practiced on Dora Livingstone is discovered- by her husband who in the fatal paroxism first poisoned her and then himself a terrible example to a startled world-
BYRNEWOOD
And the seducer did he escape
LUKE
Not so like his shadow have I followed him= Livingstone left with me a packet to be opened at his death= the which I find explains the entire plan of the forgery on our house proving him the principal- these papers- have I placed in the hands of the authorities Monk Hall has been invested by the police through information from your father and a body of merchants- and the whole gang of villains secured their leader the black soul'd Devil Bug being shot in his attempt to defend his hoarded treasures
BYRNEWOOD
Yet does Lorrimer escape no less deserving of shame and death
LUKE
(aside)
I must lure him from the city or he will commit some desperate deed= Byrnewood be calm= you shall have revenge Lorrimer leaves the city- this night follow me to seek him out and demand that justice he still has the power to offer the restoration of your sister's fame- follow Byrnewood
BYRNEWOOD
Aye- to the death of one- to the death of one
Exit
A street
Hurried Music--
Enter Byrnewood
BYRNEWOOD
Brain- Brain be calm my own injuries and they are great I could forgive= but Mary- my sister= that unblushing villain Lorrimer who insults profanes and disgraces our city and yet her brother lives- her brother and her avenger
Enter Luke
LUKE
Byrnewood Arlington compose yourself= but now I saw you rush down Chestnut Street wild and seemingly wreckless= your friends with one voice pronounced you mad
BYRNEWOOD
And is not my sister's fate enough to madden a brother the Daily Black Mail its pages teeming with the dishonour of our house-
LUKE
It is indeed most galling= but you have still the redress of a man
BYRNEWOOD
What may a man do against a coward= ere the sun set one shall die by the others hand the libertine or the avenger
LUKE
Listen to me Byrnewood for I have much to say which concerns us all= the heartless Fitz-Cowles who practiced on Dora Livingstone is discovered- by her husband who in the fatal paroxism first poisoned her and then himself a terrible example to a startled world-
BYRNEWOOD
And the seducer did he escape
LUKE
Not so like his shadow have I followed him= Livingstone left with me a packet to be opened at his death= the which I find explains the entire plan of the forgery on our house proving him the principal- these papers- have I placed in the hands of the authorities Monk Hall has been invested by the police through information from your father and a body of merchants- and the whole gang of villains secured their leader the black soul'd Devil Bug being shot in his attempt to defend his hoarded treasures
BYRNEWOOD
Yet does Lorrimer escape no less deserving of shame and death
LUKE
(aside)
I must lure him from the city or he will commit some desperate deed= Byrnewood be calm= you shall have revenge Lorrimer leaves the city- this night follow me to seek him out and demand that justice he still has the power to offer the restoration of your sister's fame- follow Byrnewood
BYRNEWOOD
Aye- to the death of one- to the death of one
Exit
SCENE 9TH
Interior of Tom Shakespeare's house
Tom discovered rocking a cradle a bird cage
hanging up a clock L.H
Tom without his shoes
TOM
This is one of the many delights of marriage= my wife's gone out and hid my shoes to keep me indoors= Master Thomas Master Thomas if you wake again this hour you may rock the cradle yourself- talk of being a prisoner- there's that blessed bird- he's got a cage to hop and skip about in while I'm obliged to keep rocking the cradle to get Thomas to sleep and when he is asleep I'm afraid of stirring- in case I should wake him what changes a few month's does make to be sure
Enter Mrs. S-
MRS. SHAKESPEARE
Well Thomas is the child asleep
TOM
As fast as a set piece= I mean a rock- I don't think he hurt himself when he tumbled out of bed this morning
MRS. SHAKESPEARE
If he'd have broken his blessed neck it would have been your fault
TOM
How could it be my fault when I was fast asleep
MRS. SHAKESPEARE
But you had no business to be fast asleep the moment you go to bed you do nothing but sleep
TOM
You're like Lady Macbeth you want to murder sleep
Here a loud knocking is heard
MRS. SHAKESPEARE
Bless me who can that be everybody has had their milk
She runs and opens the door- a servant enters nearly out of breath
SERVANT
Oh! Mrs. Shakespeare there's much doings at the state house all the prisoners from Monk Hall have been taken there chained together= and do you know Miss Mary Arlington who was so cruelly treated after being brought home has fled in a wild and frantic manner in search of her brother= the whole city is up in arms
TOM
There'll be a terrific combat I should like to see the stage arrangement and the drop come down
He gets up and leaves the cradle
MRS. SHAKESPEARE
You'll please to sit down sir I'll go with you my dear and see these villains in chains Tom you stop and mind the baby= if you leave the house when I come back I'll read the riot act-
Exit
Tom falls sorrowfully into his chair and begins to rock the cradle and is seen kicking the cradle as the scene closes
Interior of Tom Shakespeare's house
Tom discovered rocking a cradle a bird cage
hanging up a clock L.H
Tom without his shoes
TOM
This is one of the many delights of marriage= my wife's gone out and hid my shoes to keep me indoors= Master Thomas Master Thomas if you wake again this hour you may rock the cradle yourself- talk of being a prisoner- there's that blessed bird- he's got a cage to hop and skip about in while I'm obliged to keep rocking the cradle to get Thomas to sleep and when he is asleep I'm afraid of stirring- in case I should wake him what changes a few month's does make to be sure
Enter Mrs. S-
MRS. SHAKESPEARE
Well Thomas is the child asleep
TOM
As fast as a set piece= I mean a rock- I don't think he hurt himself when he tumbled out of bed this morning
MRS. SHAKESPEARE
If he'd have broken his blessed neck it would have been your fault
TOM
How could it be my fault when I was fast asleep
MRS. SHAKESPEARE
But you had no business to be fast asleep the moment you go to bed you do nothing but sleep
TOM
You're like Lady Macbeth you want to murder sleep
Here a loud knocking is heard
MRS. SHAKESPEARE
Bless me who can that be everybody has had their milk
She runs and opens the door- a servant enters nearly out of breath
SERVANT
Oh! Mrs. Shakespeare there's much doings at the state house all the prisoners from Monk Hall have been taken there chained together= and do you know Miss Mary Arlington who was so cruelly treated after being brought home has fled in a wild and frantic manner in search of her brother= the whole city is up in arms
TOM
There'll be a terrific combat I should like to see the stage arrangement and the drop come down
He gets up and leaves the cradle
MRS. SHAKESPEARE
You'll please to sit down sir I'll go with you my dear and see these villains in chains Tom you stop and mind the baby= if you leave the house when I come back I'll read the riot act-
Exit
Tom falls sorrowfully into his chair and begins to rock the cradle and is seen kicking the cradle as the scene closes
SCENE 10TH
A street leading to the Wharf=
Enter Petricken and Lorrimer
PETRICKEN
(looking off)
There I told you so- the ferry boat is gone- I think we had better return- I don't much relish standing about in this public place
LORRIMER
Curses seize them- I will leave the Quaker City tonight if I have to swim to yonder shore
Enter a boatman
LORRIMER
Tell me my fellow is there any way of crossing the Camden
BOATMAN
The last ferry boat is gone- but I have a boat lying alongside the wharf will take you over in a jiffy
LORRIMER
Quick then here is a dollar= row us over in time for the New York cares and I'll make it five
BOATMAN
Aye= Aye- Sir= I'll soon be ready
Exit
LORRIMER
Now Petricken I breathe again that foolish wager led to all, no matter= Enjoyment is the word Christmas eve I do defy thee
PETRICKEN
I don't know whats the matter with me- I feel uncommon queer- I don't like going in the boat Lorrimer
LORRIMER
What need you fear= come to enjoyment come man Farewell to the Quaker City farewell for many a day- Ha- Ha- Ha-
They Exit
A street leading to the Wharf=
Enter Petricken and Lorrimer
PETRICKEN
(looking off)
There I told you so- the ferry boat is gone- I think we had better return- I don't much relish standing about in this public place
LORRIMER
Curses seize them- I will leave the Quaker City tonight if I have to swim to yonder shore
Enter a boatman
LORRIMER
Tell me my fellow is there any way of crossing the Camden
BOATMAN
The last ferry boat is gone- but I have a boat lying alongside the wharf will take you over in a jiffy
LORRIMER
Quick then here is a dollar= row us over in time for the New York cares and I'll make it five
BOATMAN
Aye= Aye- Sir= I'll soon be ready
Exit
LORRIMER
Now Petricken I breathe again that foolish wager led to all, no matter= Enjoyment is the word Christmas eve I do defy thee
PETRICKEN
I don't know whats the matter with me- I feel uncommon queer- I don't like going in the boat Lorrimer
LORRIMER
What need you fear= come to enjoyment come man Farewell to the Quaker City farewell for many a day- Ha- Ha- Ha-
They Exit
SCENE 11TH
And last sunset at Christmas eve- view of the Delaware and distant shores of New Jersey= some boats in shore Boatmen standing about
Stage dark--
Enter Lorrimer and Petricken the old boatman bows to them and is going to his boat
2ND BOATMAN
What Mathew- are you mad- don't you see a squall coming on if you attempt to cross you will be lost
PETRICKEN
There Lorrimer we had much better return-
LORRIMER
What will tempt you to cross- I care not for money
BOATMAN
Nor I when my life is at stake when the gloom clears I'll venture but not before
LORRIMER
Tell me friend has the sun really gone down or is this sudden darkness occasioned by any other cause
BOATMAN
It wants five or ten minutes of sunset yet young gentleman
LORRIMER
The gloom seems to hang on everything- why do you not speak Petricken= you stand there like a stone-, why don't you say something man
PETRICKEN
Why the fact is Gus- my spirits are rather low and the wind comes so cold from the river it cuts a fellow like a knife=
LORRIMER
(aside)
The Christmas Eve of former days seem to return to my imagination the form of Mary the betrayed come o'er the scene grim and ghastly as a pall hung over a bed of roses= would that I could set my foot on the Jersey shore all these gloomy fancies would be banished
Lights rise
BOATMAN
See sir the mist has passed away= every ripple is tipped with gold and all is safe
LORRIMER
Now Boatsman prepare=
(aside)
ridiculous prophecy= tis Christmas Eve at the hour of sunset= one of ye will die by the others hand= ha- ha- ha- the shadow is gone from my soul= Come my friend it is Christmas eve and the prophecy is false
Music as he is going to the boat Byrnewood and Luke suddenly stand before him in cloaks CHORD
BYRNEWOOD
Villain- heartless villain give me satisfaction for my sister's wrongs or I will tear it from your heart-
Picture
PETRICKEN
You dare not murder him- I'll summon the authorities
Exit
BYRNEWOOD
Will- you marry- my sister
LORRIMER
To be forced to marry= Never the prophecy is false
BYRNEWOOD
You will not save her from public shame then receive this in the name of Mary Arlington-- Die--
He stabs him
Lorrimer falls
LORRIMER
The prophecy is completed the gloom is upon my soul the vision of Christmas Eve the river and the death= Mary I die- I die
Dies
LUKE
That struggle was the last he is no more
Music Enter Sherriff with his attendants the boatmen return-- Petricken
SHERRIFF
Tis true then= a murder has been committed-
PETRICKEN
And there stands the murderer
BYRNEWOOD
The avenger not the murderer
LUKE
Be composed= Arlington my friend
BYRNEWOOD
He betrayed my sister= he lured her from my father's house she had a brother to revenge her wrong- I am that brother- I destroyed the villain and the libertine now let me meet my fate
SHERRIFF
This must met the cognizance of a higher power- let the body be removed
They bring on a bier and place the body on it at this moment hurried music= Bess enters leading on Mary
BESSIE
Back and let the girl gaze upon the dead form of him whom living she adored all is past now and evil to him who carries enmity beyond the grave
Mary during this stands transfixed
BYRNEWOOD
Behold your enemy and mine my sister
MARY
And your hand gave the blow
BYRNEWOOD
Did he not strike a blow at our peace that annihilated all
MARY
He did- He did- you have been the best of brothers I- the weakest and most culpable of women
SHERRIFF
Bear hence the body-
MARY
Stay- Stay- I pray you pardon me= Brother= I would gaze on Lorrimer for the last time
She kneels by the side of the bier
MARY
Cold- cold as death= bear with me sir a moment the grave will hide him from my sight forever= I love and trusted him he wronged me= let the too credulous maiden take a warning from the fate of poor Mary of the Quaker City-
Here they raise the bier the Sherriff points the officers advance to Byrnewood
Mary turns
MARY
Farewell Lor-- I--
She falls in the arms of her Brother
Picture and the curtain slowly descends
NELSON LEE
And last sunset at Christmas eve- view of the Delaware and distant shores of New Jersey= some boats in shore Boatmen standing about
Stage dark--
Enter Lorrimer and Petricken the old boatman bows to them and is going to his boat
2ND BOATMAN
What Mathew- are you mad- don't you see a squall coming on if you attempt to cross you will be lost
PETRICKEN
There Lorrimer we had much better return-
LORRIMER
What will tempt you to cross- I care not for money
BOATMAN
Nor I when my life is at stake when the gloom clears I'll venture but not before
LORRIMER
Tell me friend has the sun really gone down or is this sudden darkness occasioned by any other cause
BOATMAN
It wants five or ten minutes of sunset yet young gentleman
LORRIMER
The gloom seems to hang on everything- why do you not speak Petricken= you stand there like a stone-, why don't you say something man
PETRICKEN
Why the fact is Gus- my spirits are rather low and the wind comes so cold from the river it cuts a fellow like a knife=
LORRIMER
(aside)
The Christmas Eve of former days seem to return to my imagination the form of Mary the betrayed come o'er the scene grim and ghastly as a pall hung over a bed of roses= would that I could set my foot on the Jersey shore all these gloomy fancies would be banished
Lights rise
BOATMAN
See sir the mist has passed away= every ripple is tipped with gold and all is safe
LORRIMER
Now Boatsman prepare=
(aside)
ridiculous prophecy= tis Christmas Eve at the hour of sunset= one of ye will die by the others hand= ha- ha- ha- the shadow is gone from my soul= Come my friend it is Christmas eve and the prophecy is false
Music as he is going to the boat Byrnewood and Luke suddenly stand before him in cloaks CHORD
BYRNEWOOD
Villain- heartless villain give me satisfaction for my sister's wrongs or I will tear it from your heart-
Picture
PETRICKEN
You dare not murder him- I'll summon the authorities
Exit
BYRNEWOOD
Will- you marry- my sister
LORRIMER
To be forced to marry= Never the prophecy is false
BYRNEWOOD
You will not save her from public shame then receive this in the name of Mary Arlington-- Die--
He stabs him
Lorrimer falls
LORRIMER
The prophecy is completed the gloom is upon my soul the vision of Christmas Eve the river and the death= Mary I die- I die
Dies
LUKE
That struggle was the last he is no more
Music Enter Sherriff with his attendants the boatmen return-- Petricken
SHERRIFF
Tis true then= a murder has been committed-
PETRICKEN
And there stands the murderer
BYRNEWOOD
The avenger not the murderer
LUKE
Be composed= Arlington my friend
BYRNEWOOD
He betrayed my sister= he lured her from my father's house she had a brother to revenge her wrong- I am that brother- I destroyed the villain and the libertine now let me meet my fate
SHERRIFF
This must met the cognizance of a higher power- let the body be removed
They bring on a bier and place the body on it at this moment hurried music= Bess enters leading on Mary
BESSIE
Back and let the girl gaze upon the dead form of him whom living she adored all is past now and evil to him who carries enmity beyond the grave
Mary during this stands transfixed
BYRNEWOOD
Behold your enemy and mine my sister
MARY
And your hand gave the blow
BYRNEWOOD
Did he not strike a blow at our peace that annihilated all
MARY
He did- He did- you have been the best of brothers I- the weakest and most culpable of women
SHERRIFF
Bear hence the body-
MARY
Stay- Stay- I pray you pardon me= Brother= I would gaze on Lorrimer for the last time
She kneels by the side of the bier
MARY
Cold- cold as death= bear with me sir a moment the grave will hide him from my sight forever= I love and trusted him he wronged me= let the too credulous maiden take a warning from the fate of poor Mary of the Quaker City-
Here they raise the bier the Sherriff points the officers advance to Byrnewood
Mary turns
MARY
Farewell Lor-- I--
She falls in the arms of her Brother
Picture and the curtain slowly descends
NELSON LEE
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