ILLINOIS UNIVERSITY OF ILLINOIS AT URBANA-CHAMPA1GN PRODUCTION NOTE University of Illinois at Urbana-Champaign Library Brittle Books Project, 2014.COPYRIGHT NOTIFICATION In Public Domain. Published prior to 1923. This digital copy was made from the printed version held by the University of Illinois at Urbana-Champaign. It was made in compliance with copyright law. Prepared for the Brittle Books Project, Main Library, University of Illinois at Urbana-Champaign by Northern Micrographics Brookhaven Bindery La Crosse, Wisconsin 2014 CHICAGO- ■THE DRAMATIC PUBLISHING COMPANY' BLACK AND WHITE. IN THREE ACTS. Br WILKIE COLLINS and CHARLES FECHTER. €2 § ■ i & AS FIRST PERFORMED AT THE ADELPHI THEATRE, LONDON, UNDEB THE MANAGEMENT OF BENJAMIN WEBSTER, ESQ., ON MONDAY, MARCH 29, 1869. TO WEIGH IS ADDED k DESCRIPTION OP THE COSTUMES—CAST OP THE CHARACTERS_EH' TRANCES AND EXITS—RELATIVE POSITIONS OP THE P£R- FORMERS ON THE STAGE, AND THE WHOLE OF THE STAGE BUSINESS. CHICAGO: THE DRAMATIC PUBLISHING COMPANY.2 BLACK AND Wtt„ CAST OF CHARACTERS. Adelphi Theatre, London^ March 29, 1869* Count Maurice de Leyrac (Lead)...........................Mr. Fechter. Stephen Westcraft (Heavy Character)......................Mr. Arthur Stirling David Michaelmas (Low Comedy or Old Man)..............Mr. Atkins. Plato (1st Low Comedy)....................................Mr. Belmore. Provost Marshal (Utility)...................................Mr. Stuart. Wolf (2d Heavy)............................................Mr. Phillips. Slaves, Planters, Jailors, etc. Miss Milburn (Lead)...................................... .Miss C. Leclercq. Mrs. Penfold (Walking Lady)..............................Miss Lennox Grey. Ruth, a Quadroon (Character)...............................Mrs. Leigh Murray. Slave Girls, etc. TIME OP PLAYING—TWO HOURS. SCENERY ( West Indian^ Winter.) ACT I.—Scene lrf.—Boudoir, verandah, and landscape, in 4th grooves. Night: Moon. Landscape. •........ {Window. |................Open. ........j Window. | ....—-3 Boor. Door. Table and Chairs. Landscape on flat, distant view of high mountains; palmettos in middle distance; cactus and other tropical plants in foreground. Moon, r. c., transparent, which is not to show when this scene is seen by sunlight effect, as Scene 1st, Act 2d. Tubs of orange trees along flat. The windows in 3d groove set are French windows reaching to the foot of the flat, but are not used for entrance ways. The c. opening is large, width of a folding-doorway; curtains of light stuff to all these. Light matting down on stage front of 3d grooves, d. l. and d. r., practicable; vases of flowers, l. and r. front; candelabra, with wax candles burning, against flat. Upper entrance i» arched over by a cane verandah roof. Dressing table, with mirror, L. o.; handle on it. Scene 2d. Forest in 1st grooves, dark.C Bt-AOS A»D WHITE, $ Stem 3d. Hut interior a$4 WQod in 4th grooves. Night. Limelight for moonlight effect in i* u. corner, in the flies, to cast rays upon roof u. e. .................Wood!...........*......................Wood."........... □ Bed. * Stool. Tame, > | 1 oor. |. Door. Hoof let down of ttrfters; high up l. a, is flat, a large window, in ruins, 5 feet wide by 3 feet high, so as to discover Westeraft upon set roof on a level with its sill, A., in u. e. ACT II.—Scene 1st. Same as Scene 1st, Act 1st, sunlight effect. Scene 2d. Plain interior, open l. and r. e., in 1st grooves. Scene 3d. Market-place in 5th grooves. Bright sunlight effect. B □ Landscape. 0 Praet. Door.^ Landscape on flat. Bright sky, horizon of mountains; trees in foreground, with %f sugar-mill roofs, and bell-tower of planter's house. Trees for wings: sky sinks and £ borders. R. side: B, a profile set, representing a market cart, tilted down on the shafts, loaded with melons and yams, blending in with b. lower corner of flat, painted % with clump of plants A, a vegetable stall, with awning, with melons and other fruit, l. side. 1st e., open; 2d e., set house, with pract., d., window above with striped awning; 3d g„ set of wall of house; 3d e., stall of fruit and vegetables; C, profile set of rocks run on to mask side of steps,d . leading l. c. to c.BLACK AND WHITE. ACT III.—Interior in 3d grooves. ............( Window. |.................... □ □ Cabinet. Bed. □ -2 Boor. Chair. : Backing to window in f., bright sky. The room is in a very dingy condition; cobwebs and stains on the walls \ window-sasb opens up; outside shutters open; curtains are full of holes; bed curtains are partly fallen from the canopy frame; the wall papering has a pattern of large rosettes at equal distances, so that on the l. side of window, the rows may allow of eight of these roses between it and l. set, and three roses from the set ceiling; door l. i. e. is not to open, but is ruined so that the lights there show through it; small square of carpet down; the cabinet up b. open one door, with books tumbled out in disorder; waste-paper basket b. i. e., upset, with papers partly out; a table b., with drawer partly open; u. e. by window ar- ranged with open trap, so as to give the idea of stage level being of a room in the first floor over the ground floor; Btepe without for tbe window to be climbed into; small trap in flat, l. o., high up, to be reached by standing on bed. Scene 2d. Prison interior in 1st grooves. Cane walls like those of a calaboose; shackles and chains painted on wall; open l. and b., or with transverse set with door to open l. and r. ; keyhole to L. D. Scene 3d. Same as Scene 3d, Act H. COSTUMES. Note.—The action is about 1830, but the costumer of the Adelphi nhose to habit the characters in dresses of the present day. His dresses, according to that course, are therefore described. The Octoroon costumes will suit very well. Leyrac.—Act I.: Evening dress, note book. Act IT,: Cane, white bat. Act III,: Walking dress. Scene 2d, Act 111.: Handsome suit. Westcbaft.—Panama hat with black ribbon round it, white shirt, loose cravat in sailor fashion, white linen jacket and pants, canvas shoes, carries a bowie within his jacket collar behind right shoulder; may smoke cigarette throughout; face a little browned, black moustache, crescent-shaped, points downward, black short-crop wig, or short curl, heavy eyebrows; passionate disposition and quick with his hands; sharp, quick speech. MicHAELMAS.-BIack hat, dark brown coat, fancy flowered vest, gray pants. PLA™;7^.eg™: eyebrows, tall white bearer hat with loo* crown half off, ragged bnm, luckory shirt, blue trousers coming down to mid-leg, b^k leggmgs, stnped socks, cowhide shoes, long white swallow-tail coat of linen, with buttons of different sorts and colors, pockets, very deep, in the tails. He is very polite, fond of bowing.BLACK AND WHITE. 5 Wolf.—Negro; striped bandanna twisted round his head; savage look, moustache and short beard; light suit. Provost-Marshal.—Blue coat of light stuff, straw hat, light pants. Planters.—Like Marshal and Westcraft. Dark complexions. Guests.—Evening dress, European, and like Westcratt. Secretary to Plato.—Negro. Striped shirt, light trousers, ragged wide-brim straw hat. Carries large book and pencil. Negroes.—Straw hats of all sorts, fancy striped calicoes, bright-colored handker- chiefs. Servant.—Act I.: Livery, white coat. Miss Milburn.—Act 1., Scene 1st: Satin ball dress, with train to be quickly detached, and leave the dress for walking, light mantle for her, ready r. d., jew- elry. Scene 2d: Same dress, mantle worn. Act II. t Scene 1st; House dress, white muslin with a few knots of ribbon. Scene 3d: White walking dress, fancy Leghorn hat with streamers. Act III., Scene 2d: White straw hat, blue dress. Scene 3d: White wedding-dress, Leghorn hat, trimmed with orange-flowers and white lace. Mrs. Penfold.—Ad I.; Handsome ball-dress, jewelry, fan. Acts II. and III.: May come on to form picture ; white muslin walking dress, parasol, straw hat. (Dress of Dora Sunnyside, in " Octoroon," will answer.) Ruth.—Yellow face, hair in curls, fancy striped dress. Scene 2d: Hair loose, face pale. Planters' Wives, etc.—Act /.: Ball dresses. Act II.: Like Mrs. Penfold's second dress, parasols. Slave Women.—Fancy handkerchiefs, calico skirts* Children.—For the Planters' sons and daughters, and for young slaves, in dresses to suit their characters. PROPERTIES (See Scenery.) ACT I., Scene 1st.—Candles in stands; flower vases, tubs for orange-trees; ice creams in cups, on salver, wine glasses and decanter, on table l. ; spring bell. Scene 2d: Books and pencil for Secretary ; cards for Plato. Scene 3d: Bed, table, candle in candlestick, bottle of medicine, pocket-book, paper in it. Act II., Scene 1st: Same set as Scene 1st, Act I.: Cane for Leyrac. Scene 3d: Vegetables, flowers, fruit, for stalls and baskets carried by Negroes. Act 111.: Loose pa- pers, books; cabinet, bed, chairs; carpenters' three-foot rule; table up l. ; let- ter at end of string in small trap, l. c. in f. Scene 2d: Key for jailor; paper for Marshal. Scene 3d: Same set as Scene 3d, Act II.: Rattans for some of the Planters to carry; paper for Westcratt j letter for David. (FOR Br NOP SIS, See Page 34.)6 BLACK AMD WHITE. EXPLANATION OF THE STAGE DIRECTIONS. The Actor is supposed to face the Audience, p. b. o. c. d. d. l. c. S.V.B. SCENE. 9.38. ' / / 8.2 b. ,15. / / AUDIENCE. Ij. \ A \ Ii.SK. L. 2 2 L. 11 \ \ l. Left. L. c. Left Centre. l. 1 e. Left First Entrance. l. 2 e. Left Second Entrance. l. 3 e. Left Third Entrance. l. u. e. Left Upper Entrance (wherever this Scene may be.) p. l. c. Door Left Centre. c. Centre. B. Bight. B. 1 E. Right First Entrance. B. 2 e. Bight Second Entrance. B. 3 e. Bight Third Entrance. b. u. e. Right Upper Entrance* p. b. c. Poor Bigfct Centre.BLACK AND WHITE. ACT I. SCENE I.—Boudoir interior, verandah and landscape in 4th grooves. Moon in flat, r. c. Night effect. Lights in candelabra on stage. Music of waltz. Curtain rises. Discovers Dancers in tr. e., promenading r. and L. Mrs. Penfold, r. c., arranging her bracelets. Enter, l. u. e , looking about him eagerly, Stephen Westcraft. Westcraft (comes on bye. d., and down c.). Not here either? {to Mrs. Penfold) Have you seen Miss Mil bum ? Mrs. Penfold. No. (cease music.) West. She is engaged to me for the next dance, and I can't find her anywhere. I can't understand the lady of the house neglecting her guests in this way. Mrs. P, She has been in the ball-room, hasn't she ? West. Yes, but not to stay long. Hang me if things will go smoothly if she displays as much reluctance to giving me her hand in marriage as she does for a dance with me. Mrs. P. Pshaw ! You are looking at it too seriously, Mr. Westcraft. West. No! I have seen something very curious in her conduct to me lately. Mrs. P. (aside). Oh ! he has noticed that, has he ? More penetration in him than I gave him credit for ! West. She has never been the same woman since her voyage to France. Hang me if 1 don't begin to think that there is another man at the bot- tom of it. (strikes table, l. c., with his hand passionately. Music, bass chord, piano.) Mrs. P. (starts'). Ah! (carelessly) Do you think so? (watches West- craft closely.) West. Yes. Well, I won't judge in a hurry. I'll look again, (saun- ters off l, u. e.) [Promenaders exeunt slowly, l u e Mrs. P. (aside). He evidently suspects something, and cannot be de- ceived much longer. Poor Emily ! I can't understand her. What can be the reason for her strange conduct? (musicfor Miss Milburn's en- trance. Enter, r. d., Miss Milburn, with an absent, weary air. Mrs. P. (lightly.) Oh, here you are come back ? The voluntary eclipse of the star has been missed already. Miss M. You are not dancing, dear ? I really don't know what to do with myself, (takes seat, r. c., languidly.) I think I need rest, (rises) Good-night. (going to r. d.)8 BLACK AND WHITE. Mrs. P. C*top* ^er!)» What nonsense ! Go and hide yourself in slumber on your birthday fete ? Miss M. Don't speak to me of my birthday fete ! I wish I had never had one. (seated r. c.) Mrs. P. And then you are engaged to Mr. Westcraft. He has been looking for you everywhere, (c.) Miss M. Mr. Westcraft! (contemptuously.) Will you please see if there are any ices there ? (Mrs. P. hands her an ice from l. c. table) Let me have some. Thanks. (scarcely tastes it, puts it down wearily.) I—I think I had better retire. Mrs. P. Don't think of it. Miss M. Why should I not stop away ? Mrs. P. Oh ! it would look so bad. How could you 1 Miss M. What if I had a reason? Mrs. P. Oh ! is it a good one % Miss M. I don't know, {abruptly) Oh ! I am so unhappy ! Mrs. P. You unhappy, dear? Miss M. I have a great mind to tell you. (Mrs. P. approaches Miss M. affectionately) I wish to return to Europe. Mrs. P. Ah ! Is London so tempting a place ? Miss M. London ? London is a dreadful smoky, great, busy, slow- going place, where every good thing comes from abroad, even to the money. But Paris is the refuge for the dull and weary, who have the minds to appreciate it. It's the gayest city in the world ! I don't regret London, but I have never been at peace since I have seen Pari^. Mrs. P. Ah, I thought your unrest sprang from something like this. I saw you were sighing for something. Miss M. It is a most charming place! Enter, r. u. e. and by c. d. f., Ruth, with bunch of flowers. Drops on one knee and offers flowers to Miss Milburn.* Miss M. Ruth! {takes flowers.) Why, you ought not to be here. Thank you. You are not strong enough to be out. Do go in, do go in. Ruth. I only wanted to see you and bring you these, with my sincere wishes for your happiness on your birthday. Miss M. My happiness ! (bitterly, almost in tears) I can't bear it! I'll go away—I am only plagued more and more. (kindly) But don't you be pained—it is not your fault, Ruth! Ruth. I did not mean to grieve you, miss, {kisses Miss Milburn's hand, and exits d. f. and off r. u. e.) Miss M. Poor old Ruth ! poor girl \ I was speaking to the doctor about her—he says she is dying of a heart broken, nothing else. Even a slave can love {sighs) Ah ! Mrs. P. But you have not told me what ails your heart. And how are the men there 1 Miss M. The men ? Mrs. P. The men. I suppose they do have gentlemen in Paris ? Miss M. I hardly know. They were much about the same as anywhere else. There was only one, indeed, whom I met more frequently than the others in society. Mrs. P. Ah ! Mr, Westcraft was not altogether wrong, in fearing the influence of the French gentlemen. Miss M. Mr. Westcraft! If he does me the discredit of suspecting me *Miss Milbukn. Euth. Mjbs. Penfold.▲01 X. 9 before marriage, he will do well not to have my hand at all. I can easily refuge him. Mrs. P. Then you do love a French gentleman 7 Poor heart! Come, what was the French gentleman like 1 Miss M. You wouldn't like me to let you suppose I accepted him as a suitor 1 Pshaw! he was of high rank, fashionable, moving in the same society as myself, and so we danced together, and we saw each other. I u iet him everywhere—it was Fate! it was Fate that brought us together ! N») one can resist his fate! It was certainly strange. It was not my latr.lt! How you look at me! (Mbs. P smiles) Don't you understand me '? (rises) I wish I was dead ' (sadly) Do you understand that 1 (to l. and return to c. with emotion.) Mrs.' P. (r. c. up, quietly smiling to herself). So you completely forgot Mr. West,craft ? Miss M; Who said so 1 Have I ever loved Mr. Westcraft ? Mrs. P. I don't know. On what terms did you part with the French gentleman ? Miss M. (affectedly light tone). As the best friends in the world. But I remembered Mr. Westcraft. On the eve of my departuie. my new ac- quaintance wished- to know how he might renew the pleasure I had given him. (r. c.,Mrs. Pinfold to c.) I had to tell him that 1 was going back to the Island of Trin^ad, where he w< uld have to come for it. " When shall I come?" asked in the most matter-of-fact of tones. "Oh, you may come to my birthday f£te, on my plantation, on New Year's Day," said I. (pretended careless Vme) He took out his pocket-book, and wrote that down as business-like' as possible—and—(cmbarassed) we shook nands, and he smiled, and I Aaughed, and there's an end on't 1 (faint forced laugh.) Enter, l. u. e., frowning with annoyance, Westcraf"!-*«-■ West, (aside, coming down c.). She is not in the baH-iia/?jgi. I'll swea to that, (aloud) Oh, there you are ! This is a pretty way of treating thr man with whom you are engaged for the next dance! Je Miss M. I am not well. West. Not well? Plaguey awkward, when they:re forming for the next dance, (bites his lips, etc., in suspicious impatience.)* Miss M. 1 must retire for repose. Mrs. p. I'll go with you, dear, (aside to Miss M.) I have not heard all the story. (Miss Milburn rings bell on table, l. c., and goes towards l. d., followed by Mrc. penfold.f . Miss M. (aside to Mrs. P.). Not now. (Girl opens l. d.) Mrs. P. At least, what is his name 1 (Miss Milburn turns to whisper Servant. The Count de Leyrac! (Miss Milburn starts and turns. Chord.) Enter, l. u. e. to c.. Maurice de Leyrac. Leyrac salutes the Ladies and comes down a little, c. Music of Waltz, piano. Exit Girl, l. d.:f to her.) Servant enters, l. u. e. to d. f. * Miss Milburn. Mrs. Penfold. Westcraft. t Westcraft. c. Mrs. Penfold. l. c. Miss Milburn. X Westcraft, B. Q, Leyrac. Mrs. Penfold. KQ. Miss Milburn. l.10 BLACK AND WHITE. Let. Eh 1 I have not made any mistake ? This is New Year's Day» 1830. This is the Island of Trinidad. This is Miss Milburn's birth- Mil»urn) I like your island, I like your cousin ! I like his rioh-br^'vvn face. I feel assured that I shall oe u'on-AuoJ here, with sucfcb *& pilot (to Westcraft, bowing) to the countless beauties. West. I d-ec-croft doubt your assurance, Mr. Frenchman, but I do doubt fcat y/\>u will see much of this island if 1 am to show it you. t I^et. (fiercely.) Ah ! ( politely). 1 am very sorry to hear of such a loss ? anticipated pleasure West, (contemptuously). All very well, but fine words butter no par- snips. (turns to go up r.) Let. (puzzled). Fine words butter no parsnips ? Oh! more produc- tions of this superb island ! Fine words—butter—parsnips! Indigo, liquorice, sugar, cotton, cochineal, dye-stuffs, oranges, limes, cocaa, pine- apples, fine words, butter, parsnips, (laughs.) Mrs. P. and Miss M. (laugh at Westcraft). Ha, ha, ha ! Let. Why this is the earthly paradise ! (bows to Mrs. P. and Miss M., who take seats, l. c.) and you the angels that inhabit it. (ladies return the $alutef smiling). Enter, l. u. e. to c., Ladt. Ladt (to Westcraft). Are you coming? (Letrac bends over back of Miss Milburn's chair, to chat with her.)f West, (to Ladt). Wait a moment, (to Letrac) If you have got anything to say to Miss Milburn, don't whisper to her, but speak out. Let. Speak out 1 As you do 1 ♦Westoraft. Letrac. Miss Milburn. Mrs. Penfold. b. o. c. l. o. t Lady, up c. Leyrao. Mrs. Penfold. Westcraft. Miss Milburn. O. L. O.act i. 11 West. Yes! Ley. A thousand thanks, but I prefer to whisper! (turns his hack on Westcraft, and continues to speak with Miss M.) West, {goes up c.. passionately). Here, Wolf! (enter, r. u. e. to c., Wolf) The carriage at once. Ley. (to Miss M.). 1 regret I did not arrive earlier. Promenaders enter, l. u. e., to exit b. u. t. Ley. But many thanks for the pleasant evening you have afforded me. (Mrs. Penfold kisses Miss M. and exits r. u. e. on arm of Gentleman. Lady takes Westcraft s arm, but he pauses, looking over his shoulder at Leyrac.) Mibs. M. (to Leyrac, aside). Do not you go yet. I want to speak with you. I shall be back directly. [Exit, r. d. West, (fiercely). Come along, Wolf ! [Exit, r. u. e., with Lady on his arm. and Wolf following. Ley. (looking after Miss M.). Certainly, (lights down, r. and l. d. b's. Leyrac alone). She says I am not yet to bid her good night. Ma foil Miss Milburn must understand well why I am here. Enter, r. d., Miss Milburn. Ah! Miss Milburn, confess ! you were not in earnest when you gave me the invitation to your birthday party 1 Miss M. (laughingly). And you were not in earnest either, when you accepted it. For you to come all Ihe way from Paris on my account, across I don't know how many oceans ! Oh, how very absurd! Ley. The height of absurdity I admit. Mifes M. You like to travel. You were in these seas, and you took the bold part of coming here, on the chance of seeing me again. I sup- posed you had quite forgotten me. LfeY. Forgotten you ! You are right. This is not the action of the most part of men—but then, you are not like the most of women. But I travelled only to reach here. You begin to perceive. Why do you turn away ? Yes, I have come all the way from Paris, I have crossed I don't know how many oceans! for you! And do I not deserve one look 1 (takes her hand) Ah ! (about to draw her to him.) Enter, b. tr. is. to c., David Michaelmas. David Hem! I beg your pardon, sir. (they start and retire from one another, confusedly.) Miss M. Oh ! is not that the old servant you bad with you when in Paris 1 Ley. Yes. (r. c.) Miss M. David? Is not that the name? (offers her hand to David) You rendered me many services when I was in Europe. I am happy to welcome you in Trinidad ? I suppose you are quite a stranger here ? David. Oh ! thank you, not exactly. This is the second time I have been here. Miss M. Oh ! What brought you ? David. Well, my plantation brought me here this time, though it sent me away before, (to Leyrac) A word with you, sir. Ley. (smiling). Have you never heard of the name of Michaelmas, Misr Milburn ? David. That's my second name. U, OF ILL LIB.12 BLACK! AND WHITE. Miss M. I was not aware in Europe that I had the favor of being waited on by the owner of the Michaelmas estate. Ley. I never knew of it myself until just before starting to come to Trinidad, and asking David if he had no objections to accompany me, he told me that he already had a local habitation and a name on the island. N David. Not much to my credit, sir. It was very unexpected that I came into the property. I was very young, and my agents cheated me. I realized all the money on it that I could by mortgages, and went abroad, where 1 lost every penny of it in speculation, and have been a happier man for it ever since. Miss M. It is going to be disposed of by auction. David. And so my presence is needed to sign some papers of the mortgages, (to Leyrac) Only a word, sir. Ley. What do you want 7 (r. c. with David, Miss M. l.) David. It's a woman, sir. Ley. A woman! David. And something unusual in your case, sir ; it's an old woman! one of what they call quadroons in these parts, wishes to see you. Ley. See me ? Oh, it's some mistake. (lightly) Pooh! David. It's no mistake, sir. She says you are in danger on this island. There is something in it, sir. {music, bass, tremolo) Best to see what it means. Ley. Well, wait for me in the shrubbery, and I will come to you. (David bows to him and to Miss Milburn, and exit r. u. e., by d. p.) Singular ! {to c., aloud to Miss Milburn) But the lights are put out and your guests have all gone. Miss M. And you would be going, too? {aside) He said it was ths first time in his life that he ha$ been on this island, and yet a woman already makes an appointment with him. {aloud) Of course I may ex- pect to see you to-morrpw 1 Ley. To-morrow, {going up c., gets his hat) Au revoir! f Exit, d. p. and l. u. e. Miss M. {aside, coining down c.). I heard his man say " a woman.'' He has gone to meet her. If I follow close—(rings bell on l. table.) Girl enters, r. d. My cloak! Girl. Goin' out, missee ! Miss M. My cloak, I say! {exit Girl, r. d.) I will be there, too I Enter Girl with light mantle, r. d. Phoebe! Girl. Yes, missee! Miss M. Sit up for me! [Exit Girl, r. d. Exit Miss M., d. p. and l. u. e. Enter, r. u. e. to c., Westcraft. West, {looking l. u. e.). Going out alone, and at this hour? By heaven ! that Frenchman is at the bottom of all this ! They'll find one more than they expected at their meeting-place, be it where they may. (feels that his knife is ready within his coat at his right shoulder behind, and exits l. u. e., stealthily.) Scene closes m.ACT I. 13 SCENE II.—Forest in 1st grooves. Gas down. Enter, l. to c., David. Enter, l. to l. c., Plato. Plato. Well, sah, you all alone 1 de Count not come? David. He will not be long. We will wait for him here, if you please. Plato. I consider 'um a pleasure to wait any whar wid you, sah. David. Indeed! May I have the honor to know whom I am address- ing ? Plato. I present my compliments and beg to present my card, sah. (gives card.) David. Ah! Enter, l. u. e., Secretary, sleepily. Plato. And allow me to present my secretary. (Secretary goes b. of David at c.) David (reads card). Mr. Plato. Plato. Dat's me, sah. David. Then allow me to congratulate you on your name. Plato (bows). It's 'um pretty good name, sah. David (reads card given by Secretary). Mr. Horace, Mr. Washing- ton, Mr. Spenser, Mr. Shakspeare, Mr. Milton. (Secretary sits r. c., and prepares to go to sleep) All black, sir ? Plato. All brack men, sah. David. Ah! They were all white the last time I heard of them. Might I ask you how you came by the names of Shakspeare and Milton, and so forth ? Plato. We took 'um, sah. Saving your presence, sah. we don't see why de dam white man should hab all de good names to hisself, sah. David. That's a quite ui.answerable reason, Mr. Plato. Plato. I t'ank you, sah. (Secretary goes to sleep) I respect you, sah ! You am de white man dat we men ob color tinks de highest most ob on dis island. David. Thanks. Perhaps you can tell me why I deserve such a com- pliment. All I ever did was to run away from my plantation, which has returned the compliment by running away from me. It's going to be sold for the benefit of the mortgagees. Plato. Answer me, sah. Did you eber try to teach de niggahs on you* plantatium anyt'ing 1 David. Never. Plato. Berry well. Did you ever ax 'um to do any work onless dey agreed to it demselves. David. Never. Plato. Den, dar you hab it. You left de brains ob de nigger sleep in him 'kull; you left de ban's ob de nigger sleep in him pocket. God bress you! you good man ! I offer you my hand. (David, stepping asidet nearly stumbles over Secretary ) David. Then I say, may ignorance flourish, and idleness be the best employment of human science. May I inquire if it was my words or yours that sent this worthy fellow off to sleep, (touches Secretary with his foot. Secretary snores.) Plato. My secrumtary, sah ! he am waiting for my orders before he 2<> to bed. I am oberwhelmed wid de brack business ob dis island. On ! de dam white man will not hab his own way much longer. David. Looking at it from the b.ackest point of view, I am very glad to hear it I14 BLACK AND WHITE. Plato. T'ank you, sah! We hab two great political parties on dis island. David. So have we at home. Plato. I am sorry to hear it, sah ! Dar's de Conserbative Bracks an* de Liberal Bracks. David. Strange coincidence ! we have the Conservative Whites and the Liberal Whites. May I inquire how these political parties differ ? Plato. We hab all on'y de one design in view—dat is de sacred cause ob Freedom ! but we hab two ways ob gettin' it. De Liberal idea am to git up early one fine mornin' an' kill all de white folks on de island. David. A truly liberal programme. But one can understand it, anyhow! Plato. De Conserbative idea am- David. Stop a minute. May I inquire—are you a Conservative 1 Plato ( proudly). I am de Conserbative chief, sah ! Davi6< Speaking as a white man, I am delighted to hear it! Plato. De Conserbative plan is not so bloodthirsty, dough it am much more slow. We found a club, sah J an' little by little we git all de black men on de island to join it, an' den, when all are in it, we demand de white fokes to quit. David. A charming prospect As one of the white men, I shall be glad to leave at once. What is the name of the organizatioa Plato. De club am to be formed to-morrow night, and we propose to call 'um de Thickskull Club. David. The Thickskull Club 1 Why, even your most bitter enemies could not have hit upon a fitter name. Plato. Wait a lilly bit, sah ! Dar's a reason for dat name. Answer me dis hyar 1 What am de most honorable part of de man's body ? Why him head ! Darfore de ticker him head, de more he hab ob de honorable part! See, sah ? Dar you hab bim ! David. A very neat way of putting it, indeed. But a club to be con- stituted like this will be many months in progress. Plato. De longer time, Sah, dat de officers ob de club will be enjoy- in' deir salaries, sah! DaVid. Hum ! I see! Plato. Mr. Secretary! Mr. Secretary! Mr. Michaelmas, I present my compliments, an' would you please to kick de secretary 1 David (touches Secretary, who sits up). I present my compliments, Mr. Plato, and begs you not to mention it. Plato. Mr. Secretary, you have written down de performances for to-morrow night. In de fust place—de band ob music—dat is to say, two fifes an' a drum. Sec. (refers to book). Yes, massa. Plato. De banner wid de crest ob de club—a thick skull, wid de motto ob de club: " Dam all white men, an' down with labor!" Sec. (rises). Yes, massa. Plato. De refresherments for de six committee-men of the club—dat is to say, six bottles of rum punch, (smacks his lips) an' six corkscrews, an' six glasses, to be carried by de committee-men demselves, two by two, one abreast ? An' six chairs for the committee-men, to be carried by de grateful public. Hab you got dem all down 1 Sec. Yes, massa. (turns the book upside down, to write in it.) Plato. Den, Missa Secrumiary, you can go to bed. Sec. T'ank you, massa. (to 7)avtd) Your sarvint, sah ! [Exit, l. Plato. Mr. Michaelmas, I would like to ax you to witness de founda- tion of de club, but dough you are de model white man ob dis island, you are a white man, an' dat am a fatal objection.ACT I. 15 David. Don't mention it. Besides, there might be one of the Liberals in the meeting, and the sight of me might lead to an objection even more fatal than that you allude to. ( Voice of Leyrac, off i,.). David! Michaelmas! David. This way, sir ! this way! Enter, Leyrac, l.* Let. Is she here: David. No, sir. She lives in a hut not far. Plato {bowing, hat in hand). On'y a lilly bit of way, sir. Ley. Who is that man 1 David. I present to you the Conservative chief, Mr. Plato ! (aside to Leyrac) They have Mr. Milton and Shakspeare here, and all the great men. Ley. Ha, ha! David. He has come to show you the way to the house. Plato. Do you present your compliments, sah, and cequest me to lead de way. Ley (lifting his hat). With a thousand apologies for causing you the trouble. Plato. With two thousand thanks for have the honor of giving you so much trouble, (aside, hat on) No dam white man is gwine to be more polite dan me on dis island, (r.) Ley. What's her name ? David. Ruth, the quadroon. (Leyrac shakes his head,) Ley. You have seen her—do you know her ? David. A perfect stranger. Ley. She must be mad, or it's a mistake. David. No mistake, sir, I can assure you. She knew all about you, clearly enough. Ley. I will see her. David. Shall I go with you ? Ley. You might see me to the place, and then go back to the hotel _o wait for me. [Exit, r. David (to Plato). Come along, Mr. Plato ! [Exeunt Plato and David r. Music, tremolo. Gas down a little more. Enter, i,., Westcraft, crossing to r. ; pauses r., looking off r., and then exits R., as if following some one. Scene changes to SCENE III.—Hut interior in 4th grooves. Light on table, r. Gas down three-quarters turn. Gas up in l. u. e., and lime-light effect l. u. e. corner, in the flies. Discover Ruth on couch up r. c., and Girl r. by table. Ruth. Time passes, and still he does not come, (weak voice) Look for him again, my dear. (Girl goes to d. in p.) Look for him again. (Girl opens d. f.) Appear, u. e., outside d. f., David, Leyeac and Plato. * Plato. David.16 black and white. Plato. Dis am de place, sah. Dis am Ruth's hat. (bows and exits, l. U. e.) Ruth. Is he there ? Ley. (on the threshold). Are you speaking to me ? Ruth, {eagerly). Yes, yes, come in ! (sits up.) David. Shall I wait for you here, sir? Let. No. Go back to the hotel and wait for me there. (David bow» and exits, l. u e. Girl goes out d. f., shutting it behind her after showing in Leyrac.) L oi, at me. Am i really the person you want to see ? (re* moves his hat.) Ruth. Yes. (Leyrac puts hat on table.) Ley. You know my name? Ruth. Your name is Maurice de Leyrac. Will you move the light a little closer 1 (Leyrac moves table nearer head of bed) Thanks, (leaning on one elbow, hoarsely, eagerly) What has brought you to Trinidad? Ley. What interest can you have in my movements ? Oh, this is absurd, (kindly) I don't wish to speak harshly to you, my good woman, but you cannot expect me to stop here by your bed to hear your sick delusions. Ruth. What evil wind brought you again to this accursed island ? Ley. The poor woman is wandering, (gets his hat.) Ruth. Do you come to Trinidad of your own free will ? Ley. Of my own free will. Come, you are too ill—you are undei some error. I—my time is precious. But—but, ther&~(puts down his bat)—is there anything I can do for you before I go 7 Ruth. I want you to look back in your mind. What is the first thing that you remember, the first, first thing in your mind 1 Ley. (interested, but still a little careless of tone). The first thing I re- member % (thinking.) Ruth. Do I live in your mind 1 Look at me ! yes, look at me! pray, jh, pray, look at me ! (leans forward.) Ley. (shakes his head) The first thing that I remember ? is—is being Dn board a ship with my father and mother. Ruth (sighs disappointedly). Ah! (sadly) My memory goes back to a time farther than yours—when the Count and Countess de Leyrac adopted you for their own son. Ley. Adopted me 1 Ruth. Adopted. Ley. (increduously). I am not the son of the Count and Countess 1 Ruth. You are not their son. Ley. (staggered^. Ah! {quickly) Oh! she is mad. Ruth. I am not mad. Is this the truth or is it not ? The Count and Countess had no other children, and brought you up in France. Ley. Oh ! you speak the truth so far. Ruth. When you spoke to them of your infancy, were you not sur- prised that they should always change the conversation to another sub- ject 1 Ley. (quickly). Over and over again! Ruth. Ah ! and when they died and left you in charge of a guardian, did he not carefully keep from you the family papers ? Ley. Groat heavens ! yes ! Ruth. Am I mad now 7 Ley. You say I was adopted. Then my parents, my real parents—do they still live 1 * Ruth. One is dead. Ley. My mother 1 Ruth. No ! your father,ACT I. 17 Let. Then my mother lives! Ruth. Yes. His name was Brentwood. His widow— Ley. My mother! Ruth (hanging her head). Not your mother! his wife / Ley. Then who was my mother % Ruth. A slave-girl on your father's plantation. Ley. A slave ! Ah ! (bitterly) It has been the one dream of my life to live worthy of my birth ! And I was never so proud and glad of it as this day. And now \—(sadly) Is my mother living, say you ? Ruth {timidly). Do you blame her ? Ley. {forcibly). God forbid ! Ruth. You are not ashamed ? Ley. It is not my fault. I am sure, not hers. You would not keep me in suspense unless you feared for her. Where is she? Ruth. Oh ! don't look at me ! (hides face with hands) Don't look at me! Ley. Why not 1 You asked me to look at you an hour since, and now—Ah ! (forcibly) you are—my mother! oh 1 mother ! (falls on knees by bedside) kiss me. (they embrace.) Westcraft appears on roof outside window in p., moonlight upon him. West, (aside). The lamp is moved, I cannot see, but I can hear! I can hear! Ley. (rises) Hark ! There is something moving outside (stands trem- bling with agitation, trying to recover his composure, dashes away a tear, etc.) Ruth. Nay. 'tis only the night wind coming down from the moun- tains, and rustling the dry leaves of the thatch. Ley. Let me look and make sure, (opens d. in f., and looks out. Moonlight on him, picture. Music, piano, tremolo). Enter, r. D., remaining there, Miss Milburn. Miss M. (aside). What has brought him to Ruth's cottage 1 (keeps herself hid, though seen from the front.) Ley. No, there is no one. (doses d , retiring to bedside). I see no living creature, 1 heard nothing but the wind. Ruth. Come here to me, I have not said what I wanted to say. Ley. (tenderly). You are too weak, mother. Not now; when you are stronger. Ruth. My time is too short for me to linger. Listen. When your father was on his death bed, he thought of me, he wrote to me, but his jealous wife destroyed his letters. He wanted to see me, but his jealous wife stopped the messengers. He had something to send to me, but thanks to his wife, I never received anything. Ley. Go on, mother, (holding her hand in his.) Ruth. His will left all his property, the plantations, houses, slaves and growing things to his widow. She hated me. Ley. Ha! Ruth. I don't complain. I deserved it. She was in her right. But she hated you, and you had never harmed her. She delayed in hervengeance until you were born, and then—then she sold us to the highest bidder in the market place! Ley. Ah ! Ruth. Wait. She repented of this when her time came for her to die. She had destroyed nearly all things which your father had left to be given to me, Put she had not destroyed everything I A pocket-book left18 BLACK AND WHITE. among papers, as of no importance, had escaped her jealous eye?, and later, it fell into my hands. Ley. Where is that pocket-book ? Ruth. Still in my possession. Search under my pillow, my son. Ley. (gets book from under pillow eagerly). Empty! Roth. No, a little scrap of writing—it is your father's hand. Ley. My father's hand % Ruth. Read it. Ley. " The duplicate letter to the Provost-Marshal is hidden—my room —the old wing-" Mother, I cannot make out what follows 7 Can you ? Ruth (shaking her head). No more than you can. All clue to the hid- ing place died with Mr. Brentwood's death. Keep that pocket-book. It proves that your father thought of me at the Jast. You were but a child when there came to the island a wealthj French noble, the Count, with the Countess de Leyrac. They took a fancy to you, and wished to adopt you. They promised to treat you like their own son. Ley. Thank heaven ! They did, mother. th< y did ! Ruth (tearfully). I had to choose between parting with you and hav- ing you grow up on the plantation amongst the slaves. Ley. Yes, mother! Ruth. I tried hard to bear it. But it broke my heart! (wandering, hand to forehead, to collect her thoughts) 1 had something more to tell you. Did I say that we were sold in the market-place. Ley. Yes. Ruth. And the Count and Countess took you away—to—to England. Ley. (rises). To England, say you ? God bless them! when my feet touched the soil of England, I became a free man ! mother, a free man ! Ruth. But when you touched the soil of this island again, the laws of fiee England lost their hold, and you have become again what you were. Your old master that bought you can claim you for his own. You must leave me! Ley. Leave you, mother! Never ! Ruth. Oh, why did you come back Again ? Go, go ! While you remain here, you are under the shadow of the J .sh, you are a slave! Ley. A slave! {hides his face, Ruth falls back and dies) Mother! {bends over her) She has fainted. Oh, God ! her breath has ceased to come and go ! her heart is still! Ah! dead ! she is dead! (falfa upon Ruth, embracing her, kissing her hand.) Miss M. (in disgust and pain, aside). A slave ! (sobs and faints, sup- porting herself by the door post.) West, {triumphantly, aside), A slave ! (smiles, music, solemn.) quick curtain. ACT II. SCENE I.—Interior, same as Scene Z, Act 1. Enter, r. u. e. to c., and on by d. f., Leyrac. with hat on and with cane. Enter, r. d., Girl. Ley. Your mistress is up 1 She was to see me this morning. (Girl curtseys and exit r. d. Leyrac looks round) The sun shines brightly, and the fruit and flowers gleam, but I freeze in the ghastly moonlight of last night—the night my mother died 1 All seems dead to me now,ACT II. 19 and yet I breathe, I think, I move and live ! (music) Ah! you whom I love! Emily! oome to me with your light footfall and your gentle smile ! come and give me the courage to tell you what I learnt last night! (music for Miss Milburn's entranced) Miss Milburn enters, r. d., her air is constrained, full of forced repugnance towards Leyrac. Miss M. I am told you wish to see me. (affects not to see that Leyrac expected to shake hands with her, remaining r.) Ley. You did me the honor to permit me to call on you this morning. Miss M. (absently). Yes, I remember. Ley. I beg your pardon. You are not looking like your usual self this morning. Miss M. Indeed, I am not well. Ley. Will you let me offer you a chair 1 Miss M. Thank you, no. (sits on sofa, r. o. Leyrac is surprised) I have one. (aside) I wonder if I ought to offer him a chair? There is grief in his ejres. Why does he come here? I fear I know what he is going to tell me. (aloud) Won't you take a chair ? Ley. No, thank you. I am a changed man to what I was last night. I have many things to speak to you about. So do not notice if I am strange in my manner, (aside) Oh, how shall I tell her ? (aloud) But, I see, I fatigue you. Miss M. No. Pray, what do you think of our island by daylight 1 Ley. All that is lovely is here. I think the view splendid. But, pardon me—I—I—Miss Milburn, you were good enough last evening to let my servant see me here. He brought a message froVn a stranger* That stranger—Oh ! Emily ! (she rises, startled) Have I offended you ? - Miss M. (resumes seat, hesitatingly). N-no ! (aside) Oh, my heart! (aloud, coldly) I have no obiections to hear you. Ley. Emily, will you hear me as no other woman would ? Will you feel for me as no other woman can feel for me 1 (takes her hand.) Miss M. (rises). Let go my hand ! Ley. (kneels to her). Oh! let it rest here one moment, one little mo- ment in mine own. Suppose—try to suppose I have been moved from my high place —thrust down into a lower sphere, unworthy of the dust from off thy feet! Would there remain one hope for me—could I look up from my misery and see your love as a star above me ? May I hope you would be the same to me ? Miss M. Pity, oh, pity ! (takes away her hand?) vLey (rises). Pity ^ (scornfully) Pity! No creature living wants pity as I need it! My misery robs me of my courage—it makes me sin against my honor ! The words I have to utter die upon my lips, while those I would have sealed up rush out, despite me. (draws Miss M. to c., on his left) Emily, come to my heart ! Hove you ! (s'od. (aloud) You are looking the other way this time, Mr. Plato 1 Plato. I an*admiring de beauty ob my native market-place. Lubly market-place, sah! David. I see. (drops coin in Plato's pocket.) Plato. Ky! David. Now then, I want a guide to take me to the old wing. Plato. Nobody is allowed to go dar, sah. Dey wouldn't let you dar eben if you axed David. Then I shall go without asking. Plato. You want a guide, sah ? David. Yes. Can you find me one to point me out the room in which Mr. Brentwood died ? Plato. I am the only living man that knows de ole wing. David. Ah I (aside) I have been too hasty with my second crown. I will weigh the next more carefully. Mr. Plato, no, you needn't look the other way yet. I should like to take a walk along the road to the north. The rest of the sovereign will be found under the window of Mr. Brent- wood's room. Plato. Dar won't be any risk to me, sah ? David. None. Plato. Misser Michaelmas, dis is just do mornin* for a walk along de coast road to de norf. Permit me to offer you my arm, sah 1 David. Thank you. Plato (going l. with David). Mine the pebbles in the road, sah ? Don't 'tep in de puddle ! (at l. d. ) Dis way, sah, dis way. Out ob de way dar, you white niggahs! Mine de 'tep, sah ! [Exit, with David, l. 2 e. d. Enter, b. tr. e., coming down c., Westcraft. West. The Frenchman is coming at last. Ah! (in satisfaction) I am glad of it. (cane m ha?id) Let her but come as I am correcting him. and it will be just the triumph I want. (l. c .front.) Enter, r. u. e , followed by Wolf, Leyrac * Both come down. Slaves and Planters stroll on and off, by u. e.'s. * Wolf. Leykac. Westcbast. R. O, C. A. O.26 BLACK AND WHITE. West. So you have come at last ? Ley. You have sent me a message relative to that whip which you hold in your hand. Do you wanl another lesson such as I taught you this morning ? Are you responsible for the insolence of this man 1 (imeaning Wolf.) West. Settle it with the man ! (Wolf looks at Leyrac and smiles de- fiantly) What does it matter to me ? Ley. Hark ye, Mr. Planter, I gave you the option of settling our quarrel like a gentleman. West. Are you so vain as to imagine that any friend of mine would take a message to you t (All on for picture.) Ley. Is that your answer f West. All my answer, yes. Ley. (drawing glove off). Then, take mine ! (strikes Westcraft across face with;glove.) Excitement. Semi-ctrcle formed of Spectators behind Wolf, Leyrac and Westcraft. Pause, West. Bear witness, all of ye, that he has struck me in the facfe with his glove. Ley. What! do you call witnesses to your degradation ? Is there no shame in you ? West, {sternly, with suppressed passion). Wait a bit. You shall see. Wolf. Wolf. Master ? (to c.) West. How many years'experience have you had in flogging my slaves ? (Leyrac r. c.) Wolf. Four years! West, (gives Wolf cane). Could you flog a slave with that canel Wolf (lays blow right and left with cane, making it whistle in the air). Yes! West, {points to Leyrac). Seize that man ! (confusion, Women stand back affrighted.) Voices. No, no ! the French gentleman! West. Who calls him a French gentleman ? He is a slave! Ley. What 1 All. Oh I (emotion.) West, (to Leyrac, tauntingly) The wind on the leaves of the roof last night was I! (Leyrac falls back confounded) Ha! you see ! he can- not deny it! (murmurs. The Planters fall away from Leyrac and side with Westcraft) Stand back ! would you break the laws ? You know what is the penalty when a white man is struck by a slave. (Wolf gets three or four Negroes to prepare to rush on Leyrac.) Ley. (fiercely). Wolf ! if you want to see a coward, look at your master. Wolf. Ha. ha ! now, then, boys ! (they seize Leyrac, struggle. Hur- ried music.) West, (laughing). Seize him up! That's right! Bear him to the whipping post. (Leyrac kneels to him.) Enter, b. u. b , down c., Miss Milburn. Her hat falls off. She puts aside Wolf and Slaves as they drag Leyrac up c. Miss M. Hold ! (embraces Leyrac, who is kneeling, exhausted,') West. Are you mad ! you are touching him 1 Miss M. I am touching him.act m. 27 West. You see h& people around you? Miss M. {scornj dly). I see the people. West. He is a giavc; I Miss M. (with great force). I love him. (Negroes and the foreign mer- chants cheer. Hurrah! The Planters silence the Negroes. All for*n picture.') Slaves. *0*0*0*0* ♦ 0*0*0 *0 Planters. *Miss Milburn. * Leyrac. ♦Wolf. *Westcbaft. slow curtain. ACT III. SCENE I.—Interior in Zrd grooves. Gas down in house and on stage, except u. e. and l. 1 e.} off stage. ( Voice of Plato r. u. eorner). Dis am de winder ob Massa Brentwood's room, sah. ( Voice of David, same). Place the steps. Now, stand out of the way. (hammers on shutters, opens them. Cobwebs fall and ere torn apart. Cai gradually on, quarter turn. David opens window sash. Gas on, half-turn.'] David enters by window and stands r. c., a little up, looking round as if puzzled by the darkness after the sun light. Gas up full %n house and on stage. David. If every house-breaker felt as I do at present, the ancient and honorable profession of house-breaking would be at a discount. The foul air is fighiing bravely with the damp oppression of the death-room. Mr. Plato, (at c ) Plato (shows his head at window, as if he were on ladder there). Yis, Misser Michaelmas. David. You found the tools'? Where is that measuring rule that we borrowed of the carpenter as we came along 1 Plato {gives rule, putting his arm into room with great caution). Here am de rule, sah. David. Thank you. Are you not coming in, Mr. Plato ? Plato (in fright). N-n-no, tank you, sah ! David. There's nothing here but the things just as they were left when it was closed up. What are your objections to coming in ? Plato. Coming into dat room, sah! I hab reasons obmy own. You see dis nose on my face 1 (taps nose.) David. Well, it is rather flat, but still it is a nose. What then ? Plato. What den, sah 1 A good deal, den, sah. Do you smell nuf- fin, Mr. Michaelmas ? David. I can't sniffle like that, but I can only notice the smell of a room that has not been aired for years.28 BLACK AND WHITE. Plato. You call dat de 'mell ob a room dat hab not been aired for yeah, sah ? David. That's all. What do you call it ? Plato {solemnly). I call dat de 'mell ob a ghose, sah! David. A ghost's smell! ha, ha! Plato. An' my nose hab strong objections to dat 'mell. 1 present my compliments to Massa Brentwood, and beg to leab him alone wid you, sah. Good-morning, Misser Michaelmas! David. Good-morning. (Plato disappears) It seems the blacks have a host of virtues, amongst which is a delicate instinct for a ghost. Where is that paper? (gets paper from pocket) "My room in the old wing." So far, so good. "Six along and three across." A matter of measurement. Suppose (hesitates) I begin with the bed ? (goes to bed, measures its length with rule.) Plato (head appears at window). Misser Michaelmas ! David. Well, my friend with the delicate nose, (continues his measur- ing) what now ? Plato. I present my compliments, and beg to add a lilly posescript. David. Well? Plato. S'pose you find any money in dat room ? David. Money ? Plato. I goes shares, sah, wid you, sah. Misser Michaelmas, I beg to wish you good-morning, (disappears.) David (impatiently). Oil, good-morning, (music, mysterious) Another talent of Mr. Plato's—a keen eye for the main chance, (shakes his head) No, it is clear Mr. Brentwood has not confided his secret to his bed. Stop ! I'll try the floor, (goes r.) I have been measuring in feet—now I will measure in yards, (me mures stage across from r.) Four—six—twelve —fourteen—confound it! (l. c ) it comes just in the middle of a board. Well, three across, (measures down from flat) Here is the point. The board is loose, (lifts board a little, stamps on the floor) Ugh ! plenty of crawling creatures, at all events—spiders, centipedes, and such odd things—but not a line of written paper. I will try some other plan. Plato (shows his head as before). Misser Michaelmas ! David. You, again? If you keep climbing up and down those steps much more, you'll convert them into a treadmill. What business has prompted you now ? Plato. I present my compliments, and beg to offer another lilly pose- pcript. David. Your conversation is like youn^ ladies' letters, all postscripts. Plato. Why should two genblemen dispute about de money? I say, sah, you give me a dirty, lilly ten pounds down, and you hab all you git. David, I present my compliments, an' I beg to decline your offer. Good-morning, Mr. Plato. Plato (disgusted). De drefful greediness ob de white man am some- fin'awful to behold. Mr. Michaelmas ! Mr. Michaelmas! you are not going to lose a fortune for de sake of a liliy Lrumpetry ten poun' note ? Don't you do it, sah ! you'll git 'nuff money to pay off all de debts on you' estate. David. I shall have to be quick about it, as it is to be disposed of to- day for the benefit of the mortgagees. Plato. Did you speak, sah ? David {shortly). No! Plato. You say you will gib me de ten poun' down ? David. Go to the devil! (r. ) Plato {solemnly). I renounce de debble, sah! I forgib you, MisserACT in. 29 Michaelmas! When all de money comes tumbling out ob de wall 'bout your ears, you'll be sorry for dis ! J)avid (laughs). Comes tumbling out of the wall! ha, ha! does he thi/ik—eh? Why not, after all % Plato. Misser Michaelmas, you hab transgressed ag'nist de laws ob politeness. As a polite man myself, I beg to mention anoder lilly pose- scripi! David. Oh, bother! PLAio. No boder, sah—it's a pleasure. I want to make a poppersi- tion. I present my compliments and beg to offer you my hat, sah ! all de mov*ey dat you fine, you put in him hat, an' all de money what tumbles froo dat hat comes to me, and all de money what stops in de hat, goe»^ to you. (throws hat in.) David (examines hat and puis his arm through it). All the money that does not ^amble through the hat comes to me ? Thank you for nothing. (tosses hat to Plato) Have 1 been measuring all this time instead of counting ? Where will I commence 1 Oh, the pattern on the wall. Plato, ulisser Michaelmas, won't you hab de hat, wid Misser Plato's compliments. David. Pshaw ! (looks up at fiat, r.) The window is in the way. I will try the top row of roses on the other side, (to l ) " Six along "— down from that—one—two—three—that's the rose. But how to reach it. (stands tipon bed.) Plato. I don't know whether I am most frightened ob losing de money or oV> seein1 de ghost! (sits up on window-sill, about to enter) Does yer see de nuyney, sah ? David {with joy). Oh ! Plato (in terror). Ky ! (tumbles out of window.) David (eagerly, hand at trap in fiat) Here is a piece of the matting loose and a bit of string hanging from it—a letter at the end of the string! Hurrah ! (gets off bed and runs to window with letter in his hand. Knocks the dust off it) I can hardly read it for joy ! " Duplicate of the letter to the Provost-Marshal." Oh, my master I I must go back to town without delay. Plato (shows his head). Misser Michaelmas ! David. Out of the way! Plato. Hab you foun' de money 1 David. Out of the way ! 1 am going to jump for it! Out of the way! (Plato disappears, David leaps out of window, waving letter.) Plato (as if he had been jumped upon, screams). A-a-ahl Scene closes in. SCENE II.—Prison interior in 1st grooves. Enter, r., Jailor. Enter, r., Miss Milburn. Miss M. I want to speak to the Count de Leyrac. Here is the magis- trate's order, (gives paper. Jailer looks at paper, bows, crosses to l., un- locks l. d., and then goes off l., pros, e.) Enter, l. d., slowly, Leyrac, but seeing Miss Milburn, approaches her eagerly. Let. Good-morning, my darling. You are most welcome! Miss M. I bring you good news, Maurice. Let. You were sure to be the first to bring that, (takes her hand.)30 BLACK AND WHITE. Miss M. The sympathies of everybody on the island are with you. The magistrates themselves are all in your favor. There is proof that you insulted Mr. Westcraft in the market-place, but none that you are a slave. You are only known as the Count de Leyrac. Oh! what a charming thing Justice is—when it is on your own side ! You will pass a formal examination, and leave the court as free as other men. But how you look at me. Do you so admir* me 1 Ley. I admire you, and I love you with all my heart and soul ! Miss M. You must have patience, my love. Come, come, my hand has nothing to do with it. Ley. Is the day so far off when the hand will be mine ? Miss M. Ah! that may be nearer than you have expected. Mr. Westcraft insisted on my giving a definite answer to his pretensions. I shall find much pleasure in so doing. Ley. I who am to stand as one of them amongst the slaves! can I concern myself with marriage ? Miss M. Now, I dislike you. Ah, hear me! I almost rejoice that your misfortunes have come. I can prove my esteem of you by saying: Slave or free, I love you ! Maurice, will you take my hand ? Ley. As the hand of my wife ? Miss M. {smiling). If you have no objections, sir! Ley. And when will we be married ? To-day ? Miss M. You are in a great hurry, sir ! Ah ! it is not easy to say so, but I know you will not think the worse of me for it, but—but I have hastened the time of our marrriage. Ley. You! Ah, I understand, {gloomily) Your friends- Miss M. No! You don't understand. My friends may suppose what they like, and say what they will. Marriage, in my eyes, is too sacred to be made a refuge from the opinion of the world. I have no parents —you are an orphan. To me you are the world. Slave or free, what is that to me? To-morrow there is a ship sails for France—will you go with it, and take me witli you, as your wife? Ley. Emily ! (embraces her) Does there a man live who is worthy of you ? Miss M. I think there does. Enter, r., paper in hand, Provost-Marshal. Marshal, Count Maurice de Leyrac, I regret that I have an tu*» pleasant commission to perform, (r.) Ley. (c., with Miss M. on his left). What is it, sir ? Mar. It is my official duty here to be present at the sale of slaves. Miss M. My dear Provost-Marshal, that duty will be rendered less unpleasant by one exception to-day. Mar. I am glad to hear it. Ley. Stay, Emily. It is for me not to permit any thoughts injurious to my love of truth to be circulated. As far as regards me, your duty must be exercised. Miss M. My darling, you are not bound to criminate yourself by re- vealing the secret of your birth. Mar. You have only to remain silent. Mr. Westcraft has no written proof—and so matters will be in what is popularly termed a dead-lock. Ley. I am not bound to volunteer any evidence that will injure me, but, if questions are directly put to me, I must not in honor permit my silence to pass for consent. Mar. I must ask you certain leading questions, which will be regis- tered in the records of the court.ACT III. 31 Let. tfheri, corrie what may I will not deny the mother that bore me ! I am the son of Ruth the Quadroon ! (Miss M. tries to check his speaking.) Miss M. Oh ! think of me ! Don't speak of that! Mar. Though the consequences may be of such grievous import to yourself. Ley. Knowing far more of the consequences than you think ! Mar. Sir, I respect you! (offers his hand which Leyrac eagerly takes.} Ley. Ah ! thank you ! Miss M. (to Marshal). I will not be behind my husband in truth and self-sacrifice ! Slave or free, you shall have the haild that I prom- ised you! Mar. Miss Milburn, you are a woman in a thousand! Miss M. No! (embraces Leyrac) I am only a woman who loves. Enter, r., paper in hand, Westcraft. Miss M. What do you want here ? West. Ah! To tell you that the so-called Count de Laryac is in- cluded in the bill Of sale. Does he deny he is a slave 1 Mar. Alas ! he will speak the truth. West. You are wanted to attend the sale. Mar. When? West. In an hour. Miss M. (joyfully) Then there is time to do what I wish for. Mr. Marshal, you were an old friend of my father's. Mar. Yes. Miss M. Well, will you do me a favor? I know you will. The rec- tor is at my house, and all is ready for the ceremony; will you attend and give me away 1 Mar. With the greatest pleasure! West. Remember you are answerable for that man. Miss M. (tauntingly). The Provost-Marshal shall not lose sight of him, sir! West. I shall have the pleasure, Miss Milburn, of attending the sale and buying your husband. Miss M. I shall attend and outbid you ! [Exit Marshal, r., Miss M. and Leyrac to r. West. (c.). What! would you spend all your fortune on him 1 Miss M. (looking back, at r. d.). To the last mark ! [Exit, r., with Leyrac, affectionately. West, (alone). Baffled! She meant what she said ! And her fortune is more than mine. How shall I act ? Let me see—(reads paper) u All the property composing the Michaelmas estate, moveables, standing crops and in store and mill, cattle, slaves and buildings—" " To be sold at public auction, unless previously disposed of by private contract! " (repeats excitedly) How did I come not to see that! by private sale ! he's mine t he's mine at last! [Exit, r. Scene changes to SCENE III.—Market-place in bth grooves, same as Scene III., Act II, Groups and market-people as before. Planters, some with rattans and cowhides, strolling about, note-books in hand, smoking, etc. First Planter. What can all this mean ? The first lot of the niggers hasn't yet a-rived. Second Planter. It begins to look like no sale.32 BLACK AND WHITE. First P. Who'll come along of me around to the Provost-Marshal's (going up.) Second P. (up r.). Oh! here comes the Provost-Marshal. Entert r. it. e., coming down c.. Marshal, Miss Milburn on Leyrac's arm. All flock around them. Mar. What does this all mean ? Second P. There's no sale. First P. It ought to have been begun half an hour ago. Mar. I will go to my office and see what has caused the delay. Enter, r. u. e., Westcraft.* West. The sale is stopped. All. Stopped! — Miss M. (to Leyrac). What does he mean? (uneasy. Leyrac tries to quiet her.) West. Yes. The notice has been sent to your office, (to Miss M.) It means that you rated your husband at the value of all your fortune, and I have rated my revenge at the whole value of mine. That is my slave ! Take leave of your wife and come ! Miss M. (clinging to Leyrac). He cannot part us! I will go with you! anywhere! West. I forbid it! I forbid his wife to live on my plantation ! He l as married without his master's consent. Miss M. (to Marshal). Oh ! they cannot separate me from him 1 Mar. {affected). I fear that the—the laws, in fact, he can. West. Do you hear that 1 Ley. Mr. Planter, your slave wishes a word with you on the subject of his wife. West. Ha, ha! so you have found your tongue at last. You were si- lent enough the last time we met. Ley. The last time that we met, and the other times that we have met, I was conscious that I came in between you, and the woman of your love. Besides, I was once or twice guilty of having given way to my passion towards you. Yet, I bore many an insult from you before I turned to chastise. I offered you the satisfaction of a gentleman, but you refused it. Then I insulted you in the public market place. Still you were the injured man. West. 1 was the injured man. (loftily) Pray, how is it that I am not so now 1 Ley. Your conduct this day to me in the presence of my wife! If the wrong I had done you had been a thousand times what it is, what you have done would be exacting its requital ten-fold ! You refused to meet me sword in hand, and waited till you might hold the slave-whip. Vil- lain, you have taken the coward s vengeance ! You strike at me through my wife's hearl! Reptile! you forbore the sting until she was on my bosom. (Planters stand back from Westcraft. Wolf enters, r. u. e., and comes down r., to stay behind Westcraft) Tiger! you waited for this moment to tear her from me f (Miss Milburn sobs, clinging to Ley- rac. Tenderly) What, tears ! Don't cry ! Your tears are a part of h*s vengeance ! Look up ! (fiercely. as before) Your slave defies you ! Never can you sever what God and man hnve brought together ! The prison is not strong enough to hold me ! the whip is not twisted that can tama •Marshal. West. Miss M. Leybao. b. c. o* l. o.ACT III. 3S me ? the laws not made that can keep me from her. Now, here she is ! on her husband's breast! heart to heart! part us—part us, if you dare ! and, by Heaven! you will do it at the peril of your life ! West, {laughs). Ha! my prison will hold you. Miss M. {sobbing). No, no! West. My lash will tame you ! But I waste words on you. Wolf ! Ley. Try it! West. For the last time, will you follow me? {Business. Leyrac tries to release himself from Miss M. in order to fight with Wolf and other Negroes.) Enter, r. u. e., waving letter, David. David. Oh, master! (All fall back from Leyrac) I have found it! {looks around, puzzled) What can have happened 1 You forget, sir—it is the letter that was hidden. Ley. No matter I (tries to restore Miss M. to consciousness out of her faint, l.) David. But it may be of some importance. Oh! there is something wrong here J Ley. Another time, good David ! I cannot attend to it now. David. But it's the Brentwood letter! I found it by the instructions in the pocket-book of Ruth the quadroon. West. What's that about Ruth the quadroon f If it concerns her son I claim an interest in it as his master. Let it be taken care of for me. David {to Marshal). It is directed to yon, sir. Mar. (takes letter). To me! Mr. Brentwood's handwriting! Men- tion of a duplicate letter addressed to me—1 1 sever received any letter— could his jealous wife have suppressed it? Ah! {opens letter.) West. There, now, will you follow me? {specks to Wolfanimatedly.) David {aside). I understand now ! he is a slave on his plantation. Oh! Mar. {aside). A few moments' delay will be a grace for his poor wife. (reads letter and evinces surprise and joy) What is this I see! can I credit it! West. Come; don't read it to yourself, but r ead it aloud. Mar. You wish me to read it aloud. Ha, ha! Thanks to your in- terference, Mr. Westcraft, I have read this now when I might otherwise have deferred it, and repented my delay all the rest of my life. I hold here in my hand a paper of manumission signed and sealed by Mr. Brentwood, in favor of the son of Ruth. West. What's that you say ? {all are amazed.) Mar. I congratulate you, Mr. Westcraft. You have bought the Mi- chaelmas estate, but you have not bought Maurice de Leyrac. West. It's a forgery! I dispute it! Mar. A man like you always disputes the truth! (Planters flock round Marshal to examine the papers.) West. I'll spend every penny I have to contest it. David (l. c.). You can't! for you have spent every penny you have to buy my estate. West. Oh! curse you all! (they laugh at him. He and Wolf and several Negroes go up and exeunt r. u. e.) Miss M. I live again. You are free ! {takes Leyrac's handt c.) Leyrac. No ! {kisses her hand) I am your slave ! {Picture.) j * Marshal. * Leyrac. * Miss M. * David. CURTAIN.34 black and white. SYNOPSIS. The wealthy planters in Trinidad are enjoying themselves at a ball. Stephen W estcraft, a planter, inquires of his friend, Mrs. Penfold, if she has seen Miss Milburn, and intimates his opinion "that there is another man at the bottom of it." Mrs. JP. admits, to nerself, that there is " something strange about Emily's absence." Westcraft has retired, and Miss Emily Milburn erters, jaded and careworn. Mrs. P. rallies her upon her lack of spirits at her birthday feie. Miss M. wearily rejoins, 1 I wish I had never had one." At length, after some questioning by Mrs. P., the young lady says that she would like to go back to Paris. Then she admits that she hadT met with a "French gen- tleman of hia;h rank, moving in the same circles as myself. I met him every- where—it was Fate 1" Mrs. P. responds, "so you entirely forgot Mr. West- craft ?" Miss M. goes on to tell how she remembered her engagement to Mr. W., and had returned to keep her word. She tells, however, that the French gentleman had remarked that he would like to see her again, and she had in- vited him to be present at her fete day. He had taken the date, and other particulars, and said, in a business like manner, that he would be present on my birthday fete, on this New Y ar's Day. While West, is running about the rooms seeking Miss M. a servant enters, and announces the Count de Leyrac. He soon singles out Miss M., salutes her, and she takes his hand. West, in- trudes on their conversation, but receives some cutting repartees from Ley., and gets very angry at both him and Miss M. Leyrac and Miss M. being left together, they grow very loving and confiding, when David Michaelmas enters. Miss M. recognizes him as the man who attended upon Ley., in Paris, and gives him a genial welcome, and expresses her surprise that she should be welcomed by the man who once owned the "Michaelmas estates." David tells Ley. that a quadroon woman wants to see him, and quietly intimates that it is on an im- Eortant matter. Miss M. partly overhears, and thinks it strange that her lover as been on the island but a few hours and already has a lady after him. Ley. goes to keep appointment, and Miss M., throwing a scarf about her person, fol- lows to learn the meaning of it all. Avery amusing scene ensues, in which David meets Plato, a shrewd, conceited, consequential darkey. He is a " king pin " among his fellows, and likes David, because, in the bygone times, he was always easy with the "niggahs." Ley. comes on and is iutroduced with all the formalities to Plato, who then leads him to the hut of Ruth, the quadroon. Meanwhile West, is tracking Miss M., who ha* followed Ley. The n xt scene is one of startling effect, for Ley. learns that Ruth, once a lovely slave girl, is his mother 1 She is folded to the young gentleman's heart, and tells how he has been deprived of property left him by nis father, and also of the deed of manumission which would have made him free—for he was born a slave 1 Miss M. learns this much from her place of hiding. Ruth gives Ley. a clue to the discovery of the papers. West, has also learned that Ley. is legally a slave. In act second Ley. calls to see Miss M., and an affecting scene takes place. The young lady strugg es between her love and the inherited antipathy she feeln for a slave. "Oh! the shame of it!" she sobbingly exclaims. West. enters, and brutally orders Ley. to leave the house. Ley. tells him to take his hat off in a lady's house, and as he fails to obey, the youth strikes it off with his cane. West, offers to draw bowies, but Ley. cows him with a look. In the next scene, Ley. takes counsel with David, and the latter tells him that he will go at once and hunt for the missing papers. Wolf, a slave, comes in, and gives Ley. an insolent message from his master West. The next scene shows an open market, which can be made more or less realistic, as the stage admits of it. Many of the characters are in here, and David and Plato go off to try to find Will, etc., and a very amusing lot of adventures they encounter. West. claims Ley. as his slave in the market place, and orders Wolf to tie him up and flog him. Miss M. rushes in, and throws herself between Wolf and Ley. West, tells her "he is a slave!" "I love him!" she exclaims, and the curtain descends on a splendid tableau. In act three, Ley. is in jail, the Marshal tells him that he is obliged to take him to the block to sell him. It is suggested that he need not convict himself of being a slave—but he says if the question is plainly put to him, he will not deny that he is the son of Ruth, the quadroon. The closing scenes are highly effective ; showing the successful hunt of David, the baffling of the vindictive West., the proclaimed freedom of Ley., and his union with Miss M.TWO NEW PL Ays A MIDSUMMER MADNESS A VAUDEVILLE SKETCH IN ONE ACT By Charles Townsend, Author of "Broken Fetters" " Borderland" "A Social Outcast" "Vaca- tion," " A Shattered Idol " Etc.% Etc. Characters : Three male, two female. Scene: A Summer Cottage on a July morning. Price, 15 Cents BURIED TREASURE — OR — THE CONNECTICUT BUCCANEERS AN ORIGINAL FARCE IN ONE ACT By R. F. Greene Six Male Characters. A most amusing sketch, with excellent parts for old Yankee and theatrical characters, based on the ever-inter- esting theme of Captain Kidd's buried treasure. Scene : Dining-room in plainly-furnished far*»house. Acting Time : Thirty minute? Price, 15 Cents The &b«ve will be sent, postpaid, on receipt of price. Complete descriptive catalogue of De Witfs Acting Plays and De Wlift Ethiopian and Comic Dramas sent free on afpiiemUon*JUST PUBLISHED. TBI GIRL FROM KLONDIKE — OR — WIDE-AWAKE NELL A THREE-ACT COMEDY-DRAMA By Frank Dumont Author of" Mr, Mikado" 41 Helen's Funny Babies44 The Rainmakers* 44 McFadderCs Elopement" Etc. Characters : Eleven male, three female. Acting Time : Two hours. A very effective play, introducing juvenile, soubrette, comedy and heavy characters, the scenery consisting of rocky passes and rude interiors. ©•srnsroiFSis. ACT I. The Meeting—"You are after justice,are you?"—Rem- iniscences—The forged receipts—" Mabel shall never be your wife! "—Clarence and Kirby grapple—Violence averted by Burton—" You shall not leave me 1"—" Help ! Help! "—Nell to the rescue—" The papers in the desk " Can this be the assassin?"—The actor obtains an engagement—Strategy—At the stockade—"I am the victim of your plotl"—The last chance for freedom—Mabel's visit—" A rope 1 A rope! "— The strategists appear—The parson has his say—" Who, in Heaven's name, are you ?"—" Wide-A wake Nell! " ACT II. " Help ! or I perish! "—Tracking the fugitive—Acciden- tally betrayed—Nell arrives in time—The escape from the win- dow—" Where is the trait jr ?"—" Fire upon her, fire !"—Pow- hattan plays his part—Guffy appears as a new recruit—Nell asks Tom Bascom to leave the gang—4 4 You are not my father! "—" To do or die ! "—Guffy's plight—Friends arrive —The Indian—" To-morrow you become Mrs. Kirby!"— Mabel's struggle—The Indian to the rescue. ACT III. The regulators aroused—" She is now my wife !"— Clarence surrounded by outlaws—Captain Nell on the trail again—Kirby confesses—Trouble brewing—Nell confronts Kirby^-" Vengeance is mine 1 "—The plot fails—" Hurrah for our side!" Price, 25 Cents. Sent postpaid on receipt of price. 'omtleie descriptive catalogue of De Witt's A ding Plays and D* Wittfs Ethiopian and Comic Dramas sent free on application.WON BACK A PLAY IN FOUR ACTS. By CLIFTON W. TAYLEUR Six male, four female, characters, A play written in the same vein &s " Held by the Enemy," "Shenandoah," " Across the Potomac," and other great New York successes. Mr. Tavleur has written many suc- cessful plays for Maggie Mitchell, Frank Cbanfrau, and others, but this striking picture of the stirring times of the Great Rebellion sur- passes them all. Costumes, civil and military of the period. Scenes, two interiors, and one landscape with Confederate camp, easily man- aged. Time of playing, two hours and thirty minutes. PRICE,.....25 CENTS. synopsis of events. ACT I.—Drawing-room, Arlington, Washington—i860 " Whom first we love, you know, we seldom wed; Time rules us alii and life indeed is not The thing we planned it out, ere hope was dead. And then, we women cannot choose our lot." In fetters—The rivals—North and South—The coy widow—A noted duelist—An old affection—The dismissal—The rivals meet—"You shall answer for this "—Farewell. ACT II—Same Scene—1860, ** Who might have been—Ah, what, I dare not think I We all are changed. God judges for the best* God help us do our duty, and not shrink, And trust in Heaven humbly for the rest- Broken tios—A Yassar girl's idea of matrimony—A Washington savage—Schooling a lover—Affairs of honor—The Northern fire-eater— The missing challenge—Betrothed. ACT III.—Drawing-room in Nev* York Hotel—x86lr 44 With bayonets slanted in the glitfeHng light With solemn roll of drums, With starlit banners rustling wings of flijflit, The knightly concourse comes. y To arms! To armsStand by the flag—A woman's duty—A slrirm* Ish in the parlor- On to Richmond—"Reunited- Tne passing regiment ACT IV.—Confederate Camp at Winchester—*864. *' No more shall the war cry sever, or the winding river be red; They banish our anger forever, when they laurel *ht graves of 09tr A coward's armor—A hand to hand struggle—Hugh captured—Sen- tenced to be shot—A ministering p.ngel -Harold King's revenge—Tb* attack on the camp- Death of J&iv.g—After fclw battle—"Won Bad** f)iA£tt copies mnt, pomt-p*"* ' **ny addtfewi, ©!> of erie*Just Published. A SOCIAL OUTCAST. A DOMESTIC DRAMA IN ONE ACT, BY CHAS. TOWNSEND, Atttborof " Borderland," 44 Broken Fetters," 44 Vacation," Etc. Three male, two female characters. A capital little play, printed from the author's acting copy as performed under his management. "Lawrence Emmet," the outcast and tramp, and "Kenmore," the genteel villain, are strong characters; the two female characters, leading lady and ingenue, also being excellent. Fun and pathos inter- mingled enlist and retain the attention of an audience from beginning to end. Scene, a nicely furnished reception or drawing room. Costumes, simple, of the present day. Time of playing, thirty minutes. Price, 15 Cents. SYNOPSIS OF EVENTS. Genie expresses her ideas to " Kenmore"—Julia's birthday party—The Judge talks politics—and discloses a secret—141 am not her father!"—Emmet appears on the scene—44 Yer aff, there, Guvnor " •-Kenmore devises a scheme—" I'd rather talk dollars "—The disguise detected—The scheme develops—Julia's distress—M Tell me it's not true}"—Emmet gets a square meal, and has a talk with Genie— Kenmore's scheme seems to flourish, but his offer is refused—44 A word from me and back he goes to prison "—The letter opened—" My own, own child l"—Kenmore finds his match—Emmet throws off his dis« guise—The Judge makes an acknowledgment—Kenmore discomfited My own father J"—Tableau. Copies sent, postpaid,Jo any address on receipt of the prfofeHICK'RY FARM ONE OF THE BEST PLAYS EVER WRITTEN FOR AMATEURS A COMEDY DRAMA OF NEW ENGLAND LIFE, IN TWO ACTS, BY EDWIN M. STERN. PRICE, 25 CENTS. 3ix male, two female characters. This play deals with the same pfr&ses of life as " The Old Homestead " and " The County Fair," and is written m the same comedy vein which has rendered these two pitices so popular. The courtship of the Irish alderman is one of the most ludicrous scenes ever written, while the scenes between the old farmer and his daughter are mo.*, touching and pathetic. Scenery, * set cottage and a plain room* Costumes of the day. Time of pL ing, an hour and a half. SYNOPSIS OF INCIDENTS. ACT I. HICK'RY FARM HOUSE. Barkwood's Plot—Skinner tempted—Money ! Gold !—Zekiel ap- pears—"Be you Ann Maria's boy?"—Fortune's reminiscences—The deed must be stolen !—Hard cider—Aunt Priscilla's love—The alder- man's brogue—" Dear departed Hezekiah"—Jessie's secret—" Then you still love me?"—"Larry McKeegan's courtin' "—The uwiddy" suc- cumbs—" Zekiel's fav'rit' song "—McKeegan's ghost—Jack Nelson makes a discovery—Jessie has gone !—" Heaven help me !"—Zekiel's prayer. ACT II. IN FORTUNE'S SHANTY. Zekiel's misfortunes—The rent collector—Darkwood's insult—" Vil- lain, you lie!"—Skinner's remorse—The New York detective—The bank robbery—Darkwood threatens—Jessie returns—The alderman married— "Sure it's a darlint little woife she is"—Zekiel's happiness—"Gosh ! I ain't felt so gol-darned happy sinct I wuz a boy !"—A trap for Dark- wood—Jack and Jessie reunited—Priscilla pacified—Darkwood at bay— 44 Sfcand aside, as you yalue your lives !"—The detective fires—" You've done for me this time !"—Zekiel's forgiveness—Old Hick'ry farm restored. C«pi«s Mat jwst-poid, to aqt address on receipt of prko.TOE RUGGLES ^ OR, THE GIEL MINER. A COMEDY-DRAMA II FOUR ACTS. BY FBAM J. DEAH. PRICE 35 CENTS. Nine male, three female characters. A vigorous, stirring play, de- picting peculiar types of life in a large city and in the mining districts of tfce West. The parts of Joe Ruggles, the miner, Hans Von Bush (Dutch dialect), and Richard Hamilton, the scheming villain, all afford opportunity for clever work; while the part of Madge (sou- brette), who afterwards assumes the character of Mark Lynch, is an excellent one for a bright young actress. This last5 and the character of Bessie (juvenile) could easily be assumed by youths. ! Scenery—City street, showing R. R. Station 5 rocky pass, with set cabins} a wood scene,and two plain interiors. Costumes d*v. Time of playing, two and a half hours. SYNOPSIS OF EVENTS. ACT I.—Entrance to Railroad Station. Looking for a victim—Joe Rugbies—1" Them galoots is worse than grizzlies,v— " Morning papers "—Madge and Bess plying their trades—" Can't you sing Joe a song?"—Hamilton and his pal confer—Tom Howarth gains important informa- tion—" Don't you dare to lay hands on us! "—Hamilton tries to maintain hjfi authority—"Who? Old Joel" ACT II.— Doomsday's Hotel, Dare-devil's Gulch, California. The landlord secures a guest—Hans disappointed—" Dot is a misdake "—A, ghost story—The "Kid and his sister'—" Did I hurt your highness?"—Hans and Doomsday have another talK—Kate Laurel meets the young miner—" Yah, dot vas vot I t'inks "—Madge's disguise penetrated—She recognizes an old enemy— "Now, George Smith, take your choice"—Joe Ruggles as a tramp—"Ef yer think yer can pick on me because I'm han'some ye'll find me ter hum "—Hamil- ton appears—" Those two youngsters are mine "—The tramp tafc^ ,• hand. ACT III.—Wood Scene. A lively ghost—Hamilton and Smith plan more villainy—Old Joe thinks of turning detective—Kate Laurel again—" There is a secret connected with my life"—Kate's confession—"What do you mean, sir! "—Tom Howarth once more —1" Vos you looking for a hotel ? "—Planning an abduction—Old Joe as a Irish- man—"Phat does yez want wid me?"—Undertakes to be a detective Takes &j hand in the abduction—" Do it at your peril! " ACT IV. ; Hans hears, and tells, the latest news—" I uefer pelieved dot spook peesness " —Kate Laurel astonished—Hamilton attempts flight—" De poys haf got Mr. Ham-! ilton, und dey vill gif him a necktie barty "—Arrest of Smith—" Get out mit my vay, I vas de Unided States Mail "—Tom meets his old friend under new circtun-, stances—" Do you want me, Tom ? "—Old Joe gives consent—A happy ending, j Single copies sent, post-paid, to any address, on receipt of price.HAGEMAN'S MAKE-UP BOOK, By MAURICE HAGEMAN. Author of "What Became of Parker," "Prof. Robinson," "Hector/* "Mr Mulcahy," "The First Kiss," "By Telephone," "To Rent," etc. Price, 25 cents. The importance of an effective make-up is becoming more apparent to the professional actor every year, but hitherto there has been no book on the subject describing the modern methods and at the same time covering all branches of the art. This want has now been filled. Mr. Hageman has had an experience of twenty years as actor and stage-manager,and his well-known literary ability has enabled him to put the knowledge so gained into shape to-be of use to others. The book is an encyclopaedia of the art of making up. Ev«jry branch of the subject is exhaustively treated, and few questions can be tasked by professional or amateur that cannot be answered by this admira- ble (hand-book. It is not only the best make-up book ever published, but ifc is Hot likely to be superseded by any other. It is absolutely indispensable to every ambitious actor. CONTENTS. C hapter I. General Remarks. Chapter II. Grease-Paints, their origin, components and use. Chapter III. The Make-up Box. Grease-Paints, Mirrors, Face Powder and Pu S, E xora Cream, Rouge, Liquid 'Color, Grenadine, Blue for the Eyelids, Br:'lliantine for the Hair, Nose Putty, Wig Paste, Mascaro, Crape Hair, Spi rit Gum, Scissors, Artists' Stomps, Cold Cream, Cocoa Butter, Recipes for Cold Cream- Chapter IV. Preliminaries before Making up; the Straight Make-up *b<] how to remove it. Chapter Y. Remarks to Ladies. Liquid Creams, Rouge, Lips, Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up. Chapter VI. Juveniles. Straight Juvenile Make-up, Society Men- Young Men in 111 Health, with Red Wigs, Rococo Make-up, Hands, Wrists. Che eks, etc. Chapter VII. Adults, Middle Aged, and Old Men. Ordinary Type of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy Old Ag& Buddy Complexions. Citaapter VIII. Comedy and Character Make»ups. Comedy Effects. Wi^s, Beards, Eyebrows, Noses, Lips, Pallor of Death. Chapter IX. The Human Features. The Mouth and Lips, the Eyes and Eyelids, the Nose, the Chin, the Ear, tne Teeth. Chapter X. Other Exposed Parts of the Human Anatomy. > Chapter XI. Wigs, Beards, Moustaches, and Eyebrows. Choosing »V7ig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Bald Wigs, Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, Wool, Beards for Tramps, Moustaches, Eyebrows. C hapter XII. Distinctive and Traditional Characteristics. North American Indians, New England Farmers, Hoosiers, Southerners, Politicians. Cowboys, Miners, Quakers, Tramps, Creoles, Mulatoes, Quadroons, Octo- roons, Negroes, Soldiers during War, Soldiers during Peace, Scouts, Path- finders, Puritans, Early Dutch Settlers, Englishmen, Scotchmen, Irishmen, Sreiichmen, Italians, Spaniards, Portuguese, South Americans, Scandina- vians, Germans, Hollanders, Hungarians, Gipsies, Russians, Turks, Arabs, Moors, Caffirs, Abyssinians, Hindoos, Malays, Chinese, Japanese, Clowns and Stai uary, Hebrews, Drunkards, Lunatics, Idiots, Misers, Roguese Address Orders to THE DRAMATIC PUBLISHING COMPANY, CHICAGO, ILLINOIS.PLAYS BEING the largest theatrical booksellers in the United States, we keep in stock the most complete and best assorted lines of plays and entertainment books to be found in this country. We can supply any play or book pub- lished. We have issued a 144-page catalogue of the best 1500 plays and entertainment books published in the U. S. and England. It con- tains a full description of each play, giving number of characters, time of playing, sceneiy, costumes, etc. This catalogue will be sent free on application. The plays described are suitable for ain- ateurs and professionals, and nearly all of th^m may be performed free of royalty. Persons in- terested in dramatic books should examine cfur catalogue before ordering elsewhere. The Dramatic Publishing Company, chicago.This book is a preservation facsimile produced for the University of Illinois, Urbana-Champaign. It is made in compliance with copyright law and produced on acid-free archival 60# book weight paper which meets the requirements of ANSI/NISO Z39.48-1992 (permanence of paper). Preservation facsimile printing and binding by Northern Micrographics Brookhaven Bindery La Crosse, Wisconsin 2014