635 y 1 AMES' SERIES OF STANDARD AND MINOR DRAMA, NO. 119. THE FORTY-NINERS 1^ WITH CAST OF CHARACTERS, ENTRANCES, AND KXITS, RELATIVE POSITIOHS rg, OP THE PERFORMERS ON THE STAGE, DESCRIPTION OF COS- TUMES, AND THE WHOLE OP THE STAGE BUSINESS, AS PERFORMED AT THE PRINCIPAL AMERICAN AND ENGLISH THEATRES. CLYDE, OHIO: A. D. AMES, PUBLISHER. AMES' SERIES OF ACTINa PLAYS. PRICE FIFTEEN CENTS EACH. — CATALOGUES FREE. NO, M. P. 32 A Capital Match, fai'ce, 1 act, by J. M. Morton 3 2 30 A Day Well Spent, farce, 1 act. by John Oxenford 7 5 2 A Desperate Game, comic drama, 1 act, by Morton 3 2 75 Adrift, temp drama, 3 acts, by C. W. Babcock, M.D 6 4 80 Alarmingly Suspicious, comedietta, 1 act, J. P. Simpson. ..4 3 39 A Life's Keveuge, drama, 3 acts, by W. E. Suter..- 7 5 78 An Awful Criminal, farce, 1 act, by J. Palgrave Simpson...3 3 15 An Unhappy Pair, ethiop'n farce, 1 act, by G. W. H. Griffin ..1 1 65 An Unwelcome Eeturn, com'intrd, 1 act, by Geo. A.Munson3 1 31 A Pet of the Public, farce, 1 act, by Edward Sterling 4 2 21 A Romantic Attachment, comed'tta, 1 acl, oy Arthur Wood... 3 3 43 Arrah DeBaugh, drama, 5 acts, by F. C. Kinnaman 7 5 73 At Last, temperance drama,, 3 acts, by G. C. Vautrot 7 1 20 A Ticket of Leave, farce, 1 act, by Watts Phillips 3 2 100 Aurora Floyd, drama, 2 act, by W. E. Suter 7 3 89 Beauty of Lyons, dom drama, 3 acts, by W. T. MoncriefF.,11 2 8 Better Half, comedietta, 1 act, by T. J. Williams 5 2 98 Black Statue, ethiopean farce, 1 act, by C. White 3 2 113 Bill Detrick, melo drama, 3 acts, by A. Newton Field 6 4 86 Black vs White, farce, 1 act, by Geo. S. Vautrot 4 2 14 Brigands of Calabria, rom drama, ] act, W. E. Suter 6 1 22 Captain Smith, farce, 1 act, by E. Berrie 3 3 84 Cheek will Win, farce, 1 act, by W. E. Suter 3 49 Der two Surprises, dutch farce, 1 act, by M. A. D. Clifton ..1 1 72 Deuce is in Him, farce, 1 act, by R. J. Raymond 5 1 19 Did I Dream it? farce, 1 act, by J. P. Wooler 4 3 42 Domestic Felicity, farce.. 1 act, by Hattie L. Lambla ....1 1 60 Driven to the Wall, play, 4 acts, by A. D. Ames lO 3 27 Fetter Lane to Gravesend, ethiopean farce 2 13 Give me my Wife, farce, 1 act, by W. E. Suter..... 3 3 117 Hal Hazard, military drama, 4 acts, by Fred G. Andrews. ..8 3 50 Hamlet, tragedy, 5 acts, by Shakespeare 15 3 24 Handy Andy, ethiopean farce, 1 act 2 66 Hans, the Dutch J. P., dutch farce, 1 act, by F. L. Cutler.. .3 1 116 Hash, farce, 1 act, by W. Henri Wilkins 4 2 52 Henry Granden, drama, 3 acts, by Frank L. Bingham 11 8 17 Hints on Elocution and how to become an Actor, 103 How Sister P. got Child Baptized, etho farce, 1 act, 2 I 76 How He Did It, comic drama, 1 act, by John Parry 3 2 74 How to tame Mother-in-law, farce, 1 act, by H. J. Byron. ..4 2 35 How Stout You're Getting, iarce, 1 act, by J. M.Morton 5 2 26 Hunter of the Alps, drama, 1 act, bv Wni. Dimond. 9 4 47 In the Wrong Box, etho farce, 1 act", by M. A. D. Clifton 3 95 In the Wrong Clothes, farce, 1 act, , 5 3 77 Joe's Visit, etho farce, 1 act, by A, Leavitt &. H. Eagan 2 1 11 John Smith, farce, 1 act, by W. Hrncock 5 3 99 Jumbo Jum, farce, 1 act 4 3 82 Killing Time, farce, 1 act, 1 1 9 Lady Audley's Secret, drama, 2 act, by W. E. Suter 6 4 3 Lady of Lyons, drama, 5 acts, by Bulwer '2 5 104 Lost, temperance drama, 3 acts, by F. L. Cutler 6 2 106 Lodgings for Two, comic sketch, 1 act, by F. L. Cutler 3 ^^* Catalogue continued on next page of cover. I The Forty-Niners, OR The Pioneer s Daughter, A PICTURESQUE AMERICAiSr DRAMA, IN FIVE ACTS, Dramatized from his ovm popular stonj of the same title r BY T. W. HANSHEW, AUTHOR OP Emotions; Leadvilh; Folic Far ine ; Ariadne; My Uncle; Will- o'' -the- Wisp; Black Mask ; Oath Bound; Tiger Hunter ; Wrecked Life ; Dead i/et Living; Miner's Oath; Out of the Grave; Hilt to Hilt; Shot in the Dark ; Broken Vows; Vow of Silence; Faithful unto Death ; The Lifer ; Friendship; A Woman's Destiny; Mistaken, To the Death; Etc., Etc, Printed from the Original Manuscript, with the original casts of characters, synopsis of incidents, costumes, relative positions, and all the stage business carefully marked, as performed un- der the direction of the author. COPYEIGHT SECTJEED, 1879. CLYDE, OHIO". A. D. AMES. PUBLISHER Ok 2 THE 'FORTY-NINERS. ^Q f] ^^l Original Cast of Characters, Brooklyn, N. Y. Academy of Music, May 13th. 1879. Richard Delraayne, a vxyntcry, ^ Hawley Brings a miner j^ T. W. Ilanshew Mary Ann Flam, an old craythur, \ Ananias Budge, a hmiimcr^ J Joe Wistoa, a ' Forty-Niner E. Bnttain Gaspard Leroy, the gold viine king J. F. lierne Craven Leroy, hi.^s half brother J. B. Browne Wun Lung, the heathen Frank Budworth Carmion Gutli, parson at the Peaks 11. Gwynette Matt Mathers, a 'Forty joiner Chas. H. Havens CliffCushard, "' Aleck Peters, " W. I Riker Bi^.Lib, a sluice robber J. Allison Kate Delmayne, the loanderer , Miss Anna Wakeman Margeret Gath, calledhy the miners 'Meg the .Su'ilight' Mrs. E. Brittain Mollie Maglone, chaynberrnaii at Leroy Dale Miss Nellie Sanford Jessie Leroy, the spoiled child Josie Brittain Miners, Vi^•ilants. As performed by the T. W. HfinsLew CoTi.bination, in the principal thea- tres in the United states, during the seasons of '79 and '80. Richard Delmayne, ^ Hawley Briggs ' ^^ ^y^ Hanshew Mary Ann i-lam, ( Ananias Budge, j Joe Wiston IV. J. Shea Gaspard Leroy George Wilkes Craven Leroy W. H. Hamilton Y/un Lung J. L. Sanford Carmion Gath F. 0. Savage I^Jatt Mathers T. Point CliffCushard J. F. Fay Aleck Peters E. S. RoWe Big Lib .«■. F. Boylan Kate Delmayne Miss Helen Adell Margaret Gath Miss Sara Laspelles Molly Maglone Miss !Nellie Satiford Jessie Leroy • Little Amy Slavin Miners, Vigilants, Etc. SYNOPSIS. ACT I. — June 5th. 1S53. Sunlight canon — dawn. The living and the dead. ACT l\.—June 5th. 1853. The cabin on the Peaks— night. The broken home. ACT III. — August 10th. 1856. The parlors of Leroy Dale — evening. Deserted. ACT lY .—December S4th. 1856. Dead Man's Gulch in the heart of the Sierras — midnight. The murder in the snow. ACTY.— June 5th. 1857. The Silver Sand Ravine — sunset, Light at last. - - ' THE 'FORTY-NINERS. PROPERTY PLOT. ACT FIRST. — Picka"xes for miners — dirfc and shovel in trap, r. — blank letter for Gaspard. Thunder, lightnuig and rain. Cannon ball for sound of stage wheels. ACT SECOND. — Table and chairs l. — dresser with dishes and table cloth up stage, Jj. Fire in fireplace, r. Meat and bread to be eaten, for miners. Lighted lantern ready, l. 1 e. Thunder, lightning and rain. Stool under window in r. flat — candle on table, l. Pickaxe for Cashard — bible for Matt — demijohn for "Wun Lung. ACT THIRD. — Fancy furniture — sofa up stage, r. Basket of ribbons and flowers— basket of beads and handkerchiefs, stick and blind man's shade. Doll — marriage certificate — money and duster. Pistol, not loaded. Fancy lamp burning on the table, up stage L. ACT FOURTH.— Vine to cover elects on the house. Snow falling through the act. Two pistols, and two guns, not loaded. Knife. Whiskey flask and rope — bag containing bottle and dummy packages. Mattress behind bridge break fall. Meal, for snow, for characters. ACT FIFTH. — Chairs R. and c. Embroidery frame, basket of work, and hank of wool for Meg. Pistol, not loaded — rope. Bible — needle and thread. COSTUMES. Richard Ddmiyne. — Act!. Blue flannel shirt, open at the neck, sleeves rolled up ; light, wide brimmed hat ; grey tweed breeches tucked in boots ; miner's belt, with dipper and smelter attached; pickaxe; dark, curly wig, with hair falling on shoulders"; full beard and mustache ; complexion dark. Act 3. Smooth face; black dress with gaudily-colored overskirfc looped up behind ; shawl ; large bonnet, full of bright flowers ; basket of ribbons on arm ; red scratch wig ; face made up very red for Irish woman j. underneath this dress, for quick change, black trousers tucked in boots ; hickory shirt open at neck, sleeves rolled up ; belt with revolver at back. Act 4. Torn coat and vest over red flannel shirt ; tattered breeches tucked in old boots ; rope around waist; old muffler around neck; black disguise beard on wire, and, dark wig ; battered hat ; white meal to represent snow, scattered over person. Act 5. Mustache, complexion lighter; short hair; broad brin^med black hat ; white shirt; large open collar ; cuff's to turn over sleeves of coat ; black tie at throat , black frock coat ; black pantaloons tucked in boots new and clean ; watch and chain. Joe Wiston. — Act 2. Same as Delmayne of act first, but of diff'erent color. — Act 3. Old clothes basket on arm ; stick ; revolver ; red wig and a blind man's shade. Acr 4. A miner's outfit ; overcoat and muffler. Act 5. Light suit corresponding with Delmayne's of same act. Gaspard Leroy. — Act.1. Light suit; cutaway coat, pantaloons tucked in boots ; dark curly wig and mustache. — • — Act 3. Handsome dark suit very fashionable, pantaloons over boots. Act 3. Miner's suit to correspond with Delmayne's of act first; overcoat. Craven Leroij. — Act 1. Complexion pale and cadaverous; black wig and goatee ; dark suit in accord with Gaspard's. Act 3. Handsome light suit very fashionable. Act 4. Same as Gaspard's; pea jacket; knife in belt. Act 5. Same worse for wear; shirt open, sleeves rolled up. Carmion Gath. — White shirt, wide collar, cuffs turned over black coat ; black pants not in boots ; white wig and beard ^ black slouch hat, Costumes continued on last page. THE FORTY-NINERS. ACT I. SCENE FIRST, — Sunlight Canon. Davm, Mountain drop in fifth grooms. Bridge crossing a working waterfall, c, and, resting upon platform R. u. K. and L. u. E., masked in hy rocks. Return piece, l. u. e. Set cottage, mask' ed in by rocks, with practicable door, or platform up stage, l. Bank down stage R. Set rocks, R. and l. Trap door open, c. Miners below shoveling up dirt. Lights medium at rise of curtain, growing brighter with the day, and fading gradually as the storm comes up. The Miners discovered working at the diggings* Opening Chorus. To the west, to the west, To the land of the free- To the new El Dorado That crowns liberty ; "Where a man is a man If he's willing to toil, And the humblest may gather The fruits of the soil. Mat. Ah, gold, gold! What a power thou art, to woo us from the peace of home, the arms of wives, or Clif. Or the kisses of sweethearts, eh, comrade ? A fickle jade, is for- tune, but 'tis sweet to see her great golden eyes peeping up from the dark em- brace of the earth — sweeter than the lips we love, or the smile of Sunlight herself. She has no use for sluggards, and what wonder then, there are rich and poor here in the heart of the great Sierras, as in the glitter of the cities of the East. Mat. Eight thar, pard ! But the slow-pokes are on the way, I see them yonder, coming down the peaks, and with them, the strangest, boldest, anA best man at the diggings — Hawley Briggs. Music — Cheers R. u. e. The Miners cross the rocks, and come down to work, followed by Delmayne, disguised as Hawley Briggs, who comes down c. Mat. {to Delmayne) You are in time, pard, Clif was but a moment ago, berating the sluggard, and now Del. And now he puts in an appearance. Mat. I did not mean it so. Del. And yet you said it. True, I am to-day a sluggard, for memory, like an iron chain, has held me to my cabin, and grief, like the gaunt, shadowy wings of plague sweeping through the air, dims even the scarlet shafts of sunrise, among the peaks of the mighty Sierras. Clif. Yet I'll wager there is one whose face, even despair, could not cloud to your eyes. 'Tis she, who, like an angel froni above, flits among us with her kindly words, and lures even your sad lips to smiling. THE FORTY-NINERS. 6 Del. You mistake ; the nuggets alone can do that. Clif. Just as if Mistress Gath vvasn't the biggest kind of a nugget ! Mat. Or jev/el. Heaven will it the setting may be wofthy of the gem. Clif. I rather think that Briggs, here, will be the happy man. Del. How like a fool you talk ! {crosses r. — sits Mai. Are your eyes so dimmed by the luster of the gold that you can't perceive who is the man? Bah, a fool could- tell you ! Del. Then why does he not continue ? Clif. One for you, mate. But since you are so much in the dark, I will enlighten yon. 'Tis no other than the handsome Leroy. Del. {quickly) Not Craven? Clif. Bah, no I His half brother, Gaspard, whom he accompanies to the mines to overlook the property of their father. The Craven is well named, Briggs, you will find that out when you see him. Del. Perhaps ; but I can wait. Clif. But I say, let's to work, pard, we're losing time. {they go up and dig Del. {aside) Then my heart spoke truly ! He it is she loves, not the rough miner, the fugitive from justice, but the man of millions, the God of this chaotic spot. And yet — oh, madness ! will my heart never break and end the story ? Music — Margaret Gath enters from the parsonage, and covies doion c. — All rise and greet her. Omnes. Morning, Miss, good morning 1 Meg. Good morning to you all. You see I am up with the sunlight. Mat. You couldn't help it, Miss, for you are the sunlight yourself. Meg. Flatterer, beware ! Del. He but speaks the truth, Miss Margaret. The hardy miners have called you the sunlight of the Sierras, and you see they are right, for al- ready the rising sun streams more brightly through the canon, as if to vie .with its earthly rival. Meg. Thanks, a thousand thanks ! But compliments are poor fare for a hardy gold digger. This is my father's birthday, and in the parsonage lies spread a breakfast for all. Music — cheers. Miners all exit up rocks and into cabin except Dehnaync. Meg. Go, kindly hearts, and may the blessings you so often bestow upon me, fall like rain upon him. Yes, Gaspard, 'tis of you alone I think — you my lord, my husband, the father of my child, {rumble) What noise was that? Is it the Fulsom stage bearing him to meet me, or is it — {turns, sees Delviayne, starts) You here ? How you frightened me ! — I thought you had gone with the miners. Del. Oh, no, Sunlight! Meg. {aside) Oh, if Gaspard should return and this man see us meet! I must get him to leave, {aloud) Why do you sit there so downcast. Haw- ley? {laughs) You look as though the last friend upon earth had deserted you, and the hangman stalked behind. Del. {starting up) The hangman 1 {recovering) Where Judge Lynch alone holds court, that is a strange person to mention. Miss Gath. And yet 1 know not if it be out of place. Meg. {laughing) Am I then in the presence of a criminal? {music Del. {crosses to c.) No, no, no ! Margaret Gath, have you ever heard of men wrongfully accused of crime, fleeing from justice, that blinded by cir- cumstances gropes after them 'till life itself becomes a hell, and every rod of ground trembles beneath their feet — till the voice of the pursuer rings forth in every blast, the scaffold, the cap, looms up in every shadow, till, the whole world hoots after them, murderer, murderer I and God alone, whispers — innocent? {breaks down sobbing 6 THE FORTY-KINERS. Meg. How wildly you talk. You are ill I Del. Ayould to heaven, I could die ! Look! look there where the shad- ow of that boulder falls across the gulch— look, I say ! Do you see all I have pictured in that shade ? Meg. No, no, no I Heaven forbid ! Bel. {sadly) Yes, you have said it— Heaven forbid ! Your path is all roses . mine, the dull jagged passes of the mighty Sierras. The peaks, like fino'ers beckon off; the sunlight mocks : the shadows madden. Good bye ! "^ {goes up and turns from house Meg. Y''ou are leaving the house? Dei {lowly and with intensity) I have told you all I dare. The Sunlight mocks me now — Good bye ! Gazes at her fixedly for a moment; repeats the xoords sadly and reels of r. ti. E. Meg. Poor Hawley ! There is something back of all this ; heaven grant it raay be only an Ironest heart which some woman will one day learn to value. Music G-ath e-nters from cabin, followed Iqj cheers of miners — Meg assists him down and kisseshim impulsively. Gath. There, there. Sunlight, you smoth-er me with your caresses ! Ah ! my child, I would be willing to have a birthday evey week to know how true your heart is to mine so near the brink of the Great Unseen. Yet what a lovely earth this is to leave ! These tall frowning cliffs havelook- ed down upon me for years — since the hour, when wooed from city life by the soft and sweet tones of Fortune, I came with you, my child, to labor on alike for you and for my fellow man. Here lived I, poor still, till '49, like a heaven-sped message swept out from the beart of the great Sierras, and fired the country trom pole to pole. You have been a treasure to me, my darling, and it cheers my fading years to see you loved by all, from the poor homeless, wretched woman, Kate, to whom you stretched a help- ing hand, to the lowest, hardest miner at the peaks. Mer;. And are the men enjoying the birthday breakfast, papa? Ga^th. Yes, Sunlight, but it is for you to entertain them, 1 have receiv- ed news that there is sickness at Dresmer Gulch, "and I am on my way to do all in my power to alleviate the sufferings of the unfortunate. The gath- ering mist among the peaks betoken a coming storm. Go in, my child ; there, kiss me again, and now — good bye. {exit h. 1 e. Meg. Again those words — " Good bye." They fall upon my heart like the avalanche adown the canon, they fill me with dread, and yet I know not why. {loind and distant thunder — leaves falling) ISTo, no, I'll not despair, for heaven never intended that the true heart should, {lights down) A cloud has swept before the face of the sun, the shades gather ; a storm is brewing, and still Gaspard comes not. {music, thunder and lightning) Oh, what wo- man's fear is this at my heart? V/hat if the stage should have fallen from the pass and been dashed into the gulch below? "What if — {thunder, lightning and heavy rain She turns to go up the rocks to cabin, l. u. e., and meets Graven L&roy face to face—thundtr and lightning — she recoils ivith a shriek. Craven Leroy. Meg ! Meg. Sir ! Cra. I beg your pardon — I^.IirsGaih! {crosses ^., down, stage) It is rain- ing, you should not be out i]i ihis storm in so thin a dress, leave that to men who have business of imporlaut. ^ Meg. {aside) Oh, if I only dared ask him of Gaspard, but he has bidden me be silent, be secret. {thunder and light^iing — she recoils Cra. Shall I assist you up the pass ? I THE FOBTY-NINERS . 7 Meg. (proiullj/) No, I can go a-lone ! {goes up rocks to cabin— looks off) Nothing I I can see nothing. The clouds lower over the mountain peaks it is darkness beyond, where is he, where is he I {e:cits into cabin. Music ceases Cra. Proud as Lucifer ! And she it is that now stands between me and the wealth I covet — for Gaspard has told me of the secret of his marriao-e. Madness ! to be put aside like a broken toy at the caprice of a dotino- old man whose love for his elder son, makes him unjust to the youno-er. °The last mail brought me news that my father was on the brink of tlie grave. Hum ! he once dead, Gaspard becomes a millionaire; he in his turn dead f possess all. Then shall this mountain girl and her brat stand between me and fortune? {noise of lolieels and cheers) Ah, Fulsom stage! Speak of the devil and he is bound to appear. Gaspard is here 1 {Micsic Enter, Gaspard h. a. e. Gaspard Leroy. Craven, my brother, and waiting in the rain ? You are more zealous than the hardy miners who have already betaken themselves to shelter. The stage was delayed, else had I been here before to greet my darling wife. Cra. {aside) His wife ! {aloud) Gaspard, you astonish me. Were I you with only one frail life between me and a fortune, it would be some- thing more than a pretty face that should tempt me into the noose of mat- rimony. Gasp., Shame on you, Craven. Do you think Cra. Yes ! Once our father dead, once you a millionaire, even the pret- ty face of Margaret Gath will pall upon you, besides the courtly grace and elegance of the women of your new sphere. Again I say, once our father dead Gasp. Silence, man j Have you no heart? It is of this I would speak. The early morning's mail brought me this, {gives liirn letter) Read it, I cannot say the words. {music Cra. Signed ''Jermiah Dawson." Our father's lawyer ! Then he is Gasp. Dead. Cra'. {aside) Dead! This woman and her child— again that thought ! {reads Gasp. Well ? Cra We are lost ! Our father must have been mad when he made such a will. If you die without issue, legitimate or otherwise, all descends to me, but should you marry within throe years after his death, all reverts to our cousin Frauklyn, and we are left penniless, {aside) I must remove that woman. Gasp. You know the worst now. I am here to renounce that fortune, and claim my wife. Cra. {aside) Madness ! he would destroy me also, {aloud) Gaspard, you are wrong. Gasp. Wrong ! What other course is left open to me? Cra. Flight and concealment. Gasp. You say Cra. Persuade this girl to go with you, command her not to speak a word of your marriage, and at the end of three years, Aved her. {aside) And if you die during that time, I'm a made man. Gasp. Craven, you tempt me, I tremble, I fear, and yet — I will do it! Your words have saved me ; I owe all to you, and I shall not forget the debt. (exit into cabin l. — micsic ceases Cra. Nor I, the interest. Fool! flutter like the moth around the can- dle, but it will singe your wings. Then, from your ashes, like the fabled Phcenix, 1 vvill arise — the gold-mine king. Ah ! someone comes, it is not yet time for me to depart. . {retires up stage hi 8 THE FORTY-NINERS. Enter, Big Lib, l. 1 e., comes 0. Lib. Well, civilization's below par. What's the use of schools, preach- ers and the like, if a man can't have what he wants. {Graven apj^ears lis- tening) You see yer neighbor's horse, you want it — you can't have it, and if you borrow it by night, for the space of a few years, it's called thieving, and Judge Lynch comes down upon you like a fifty pounder. Now, that's what I call hard, and if I had the job of law-making, wash me in a sluice bucket if anybody should have to work, {sees Craven) 'Morniu' guv'ner. Cra. {aside) The very man I seek. An unscrupulous scoundrel who ^vouid stop at nothing. Lib. 'Mornin', sir, I said. Cra. Good morning, Lib. {coines down) Hark ye, a word with you, my man. Are you afraid of blood ? Lib. Why, I wash in it. Cra. Are you afraid of — murder ? Lib. What do you take me for — a heathen? Nary a skeer. Pipe your whistle, pard, I'm your man for a little dust. Cra. Hark ye. {ivhispers to him) You know the girl ? Lib. Rather. But I say, guv'ner, the boyees don't love me too well and I'd string sure if they knew I had a hand in this. You'll see me through square now, won't you ? Cra. Yes. Hush ! I hear footsteps. Retire. {Lib goes r. 3 e., Craven L. 1 B {thunder^ lightning and rain Music — Kate Dehnayne drags herself across rocks, r. u. b., totters down to c, and falls. She is clad plainly and has an old shaiol over her head. Thun- der atid lightning. Kate. Crash, crash, mad thunders, roar on storm, there is no grave for me. It vvas just such a day as this that he forsook me — just such a day as this when iirst the durk blots of shame and infamy fell upon the pure, un- sullied pages of my life. Oh, God ! it is hard to live and harder still to die. No news of Richard, no news of John I Three weary years have crossed the blackness of my life, and in the dark future still I see despair and mis- ery, twin-sisters of my fate, pass 'fore me hand in hand. Why am I here? What am 1 waiting for ? I dare not give myself an answer, but my heart is beating till it chokes me. Who I am none guess, what I am they can see. The devil knov/s me if they don't, {miners laugh within cabin) They are there now at the birthday breakfast. Down heart, in, in to laugh, to sing, to drown the past, {goes up rocks to parsonage — miners laugh again) Ah I laugh on, 'tis for men to smile, but women, Niobe like, must weep forever- more, {exit Kate into cabin Music kept up, Enter Dehnayne R. u. e., comes doion r., sits on bank, business. Del. 1 cannot find repose. In every lurking shadow I hear a voice cry- ing : "I know you Richard Delmayne, despite your disguise !" Then it is I strive to free myself from it, but it is not to be. Three years ago that cry first rang in my ears, when in a fit of rage and shame I struck my sister's betrayer dead at my feet, and so I fled into the mountains. From that hour it has haunted me by night, maddened me by day, and Kate, my sister — where is she now? {sigth'i) I wonder if this lurking dread is to draw me back all my life from happiness and chain me to despair. It seems so, for scarce had the chill grown lesser by the gentle breath of love stealing into my heart, ere this Leroy steps in and blights it. Leroy ! humph! 1 won- der if he is the hard, cruel fiend, the miners who have seen his half broth- er, call him. {rises and goes to house) Heaven will it differently for Mar- garet's sake, {opens door and starts back) Gaspard Leroy and Meg together I Ha! they are coming this way, I must conceal myself, {exit quickly r. 1 B. THE FORTY-NINERS. 9 Enter, Gaspard and Meg from cabin, down C. Meg. Oh, Gaspard, it is cruel to bid me fly and leave my father to mourn me lost, when but one word would spare him all, and that word — Gasp. I forbid you to speak. If you go with me, yoii have entered the house for the last time. See there, where the clouds gather thickly around Filmer's Peak — in one minute they will surround them. I will give you till then to choose. {Delviayne appears r. 1 e. — listening horrified Meg. Gaspard, be merciful 1 Gasp. The clouds are on the peak. Speak, choose, me or desertion. {thunder and lightning Meg. You ! {falls into his arms — Dehnayne disojjpears Gasp. Meg, my darling, I knew it 1 {rumble of loheels) Hark, already the stage passes up the gulch ; you must have a hat — I will get it. {exit into cabin Meg. Stay, Gaspard ! I must enter the house again. Music forte — S^e runs up, tohen Big Lib springs in and throxos his coat over her head — she screams and faints in his arms. Lib. We want you, my beauty. {Craven darts in L. 1 B. Cra. Quick ! hurl her into the gulch ! {Delmayne rushes in r. 1 e., knocks him down Del. Not while 1 live. Delmayne is darting upon Craven again, when Gaspard enters quickly from the cabin. Cra. That man would steal Meg I {points to Delmayne Gaspard kyiocks Delmayne dovjn, and rushes off with Meg, followed by Lib. Craven is about to follow when Delmayne springs up clutching him, knock- ing off his hat. Del. Stay ! My God ! you living ! John Garston, the betrayer of my sister. Villain ! {Kate appears at door of cabin, screams Del. {seeing her) Kate, sister 1 Kate. Richard, brother ! Del. Go, coward, I give you your life, mine is broken forever. TJt,rows Craven down and stands over him with upraised hands, QUICK CURTAI.N'. 10 THE FOBTY-NiNEIiS. ACT II. SCENE FIRST.— InUrior of the parsonage. Kitchen in fourth grooves, box set. Door L.F., practicable. Gauze wi7idoio r. f., practicable. Bench beneath loindoio. Set -^re-place with fire burning, v.p stage. R. Set door L. 2 E. Dresser, with table-cloth and. dishes on it, up stage L. Table and chairs R. Noise of storm heard, Iv/htning seen through gauze xoindoio, which has mountain backing. Night. Kate Ddniayne discovered at loindow. Music — Thunder and lightning at rise of curtain. Kate. How the thunders rumble and crash ; how the swollen stream roars in its tumultuous course adown the ragged gulch. Ugh ! it is a fear- ful night, {closes icindow and comes doivn to table h., sits) The sinfulness, the shan:!e of raj life commenced in storm : I wonder if it is fated so to close. What mad freak of fortune drifted nie into the path of Margaret Gath? 'Tis three days since she found me, a houseless, miserable wretch and brought me here to shelter — here in the Great Sierras, where I fancied myself free from the dark shadows of the past ; but it is not to be, for he is here, he and Richard also. Oh, heaven! if the good impulse which over- came him this moi-ning should pass away, and they meet on the mountains — Ugh! the thougiib chills my very blood, {clock strikes) Nine o'clock, and Mr. Gath hos' not yet returned, nor Miss Meg, either. Oh, how the storm grows, I'll go and look for Miss Gath. Takes candle from table and goes up to door, it is flung open suddenly/ and Joe Wiston appears. Light goes out — Lights down, Joe. Phew ! I'm wetter'n a drownded rat. Kate. Oh, Joe, how you frightened mc ! Joe. Did I? Wall that's hearty. Whar's the parson? Kate. He's out. Joe. {goes to fire) Phew! And Sunlight? Kate. She's out too. Let ine light the candle, please. Joe. Give it to me, I was allers some at raisin' a spark, {lights it at fire and gives it to her. Lights up) Thar! {aside) Pight smart gal that, next to Sunlight, she's the pootiest piece o' caliker at the peaks, {aloud) Have any o' the boys shown up yet? Kate. No ; are they coming ? Joe. Yes, to present the parson with a bible. We're going to have a reg- 'lar blow-oufc. I come up to help, so fork out your dishes; whar's the table rag? {business) Thar you are ; now I'll travel on a bit and wake up the 'boja. (going Kate. You're not going, Joe? Joe. Yes, I am. You aren't afraid, are you? Kate. Afraid? Of what? Joe. Why, bein' alone. Kate, {aside) He little knows how long I have been so. {aloud mechan- ically) No. Joe. Oh ! {aside) Slope, young man, that means. Well, I'll travel along, {goes to d. in f.) It's a bad night for Sunlight and the parson to be out. {lightyiing) Jewhittaker 1 what a flash. I'm olf. {exit— is seen to pass the windoio, strikes against Craven Leroy who is coming up the cliff) Beg pardiu' stranger. {Craven passes on towards door) Don't like that feller. Wonder what he's up to. Phew! goin' in, as I live— Thar's eummat up and I'm goin' to larn it. {Music— opens window and blows out candle Lights down THE FORTY-NINERS. 11 Kate. How dark it grows. The wind has blown out the candle; I will re-light it and fasten the window, (rises and goes up, Craven Leroy enters D. in p., «!^ei!.s her face to face — she recoils) Ah, John Garston, you here ! {comes down l. Cra. Hush ! not that name, now. \comes down b. Kate. It was false, then, like the man who bore it. Joe. {at loindoio) Hello I Thar's summat in the wind. Cra. Are we alone ? Kate. Quite. Craven Leroiy removes overcoat and hat, lays them on chair hy window, then comes down stage R. Kate. You grow familiar, sir. Joe. {low) Just what I war a thinkin'. Cra. KaLo, I have come to tell you to-night that Kate. Stop ! I read your thoughts at onoe. You fear the anger of my brother and have come to tell me that I must turn him from his path. Cra. Kate, you Avrong me. I love Kate. You love ! ha, ha, ha ! You are like the wild beast that brings to an end that which it loves and hates. You told me once you loved me, and I — God pity me — I believed you, and allowed you to win me by false, unholy vows, to change my pure, unsullied life for a blotted title and a lost existance as your mistress. Cra. Kate, that love is not yet dead. Kate, {quickly) Liar 1 it is. {Craven raises hand to strike her) "Well, strike, I am but a woman. Callous and cruel, has the devil who is writ- ing your story, driven every good angel away? Cra. How dare you talk thus to me? You know me, Kate Delmayne. Kate. Too long, and too well. Who placed the brand of infamy upon my brow? Who lured me from my home, 'till the innocent girl became a hard, worldly woman ? Who wrecked my life, who made me what I am to-night, an outcast, a Magdalen ? Who? Why, you, John Garston, and you have the impudence to enter this house and tell me I know you I Cra. Woman ! Kate, {turns on him fiercely) No, — devil ! Have you ever seen a child building itself a house of cards, tremble a-ii it places one card upon another, fearful that the foundation is too weak and the whole structure will fall in a mass of ruins ? ]\Iy life is a house of cards ; and one by one you have built them up until the foundation totters and will bear no more. You and I are done forever, John Garston ; there is the door— Go ! Joe Wiston S'prings in througli ivindow and comes down C. Joe. Hold on a minute, Miss Kate; just let me kick him out. Cra. Who are you, fellow ? Joe. I'm a man — what are you? Just saj"^ the word. Miss Kate, and I'll knock him flatter'n one of old Huldy Sparkins' flap-jacks. Kate. No, no, Joe. Do not strike him; he is beneath .you. Cra. And how high above him are you? Tell him what he does. Tell him that he protects a fallen creature whom even the miners at the peaks would scorn to own. Tell him Joe. She needn't say a darned v/ord. I was there at the window and heard it all. Cra. Then you know whom jon j)rotect ? Joe. Yes ; I protect a woman against a darned scoundrel named Craven Leroy. Look here : you just said even the lowest miner at the peaka would scorn to own her, didn't you ? Well, you're a liar ! Cra. Scoundrel I Joe. Oh, it ain't perlite to mention your own name fust. What do you want here, anyhow ? — Git out ! 12 TEE FORTY-NmERS. Cra. "What do you mean, fellow? Joe. {get's hat and coat and handa to Craven) You've wora out your wel- come — git ! Oh, you needn't stop to put on your coat, 'cause we're in a hurry to scrub up the floor, ri,2;ht whar you stand. {Graven goes up stage Cra. {at the door) Good night, Miss Delmayae; as for this fellow,! shall not forget him. {exit d. in p. Joe. {calls after him) Saay, leave us a lock of your hair for remem- brance. Oh, Miss Kate, why didn't you let me have a 'paste' at him ? Kate. You have been very kind to me, Joe. Joe. Git out— hev I?— Shake, {takes her han'.) Kingdom come, I feel the shivers a goin' clar through me. Why, what a hand— it ain't bigger'n a minute. Kate. I am proud to take your hand, Joe, for you are a man. Joe. {laughs) Git out ! Ila, ha, ha! She calls that a hand. Why, it looks like a salt cod alongside o' hern. Mat. {luithoid) Joe, oh, Joe ! Give us a light. {business of Ending candle and lighting it — Lights up Joe. Hello! thar's the boys, {holds candle up to loindoio) Thar, the pass is as light as day. Up yer c(mies. Music — Cheers graduallj/ coming nearer. The miners are seen to pass win- dovj and enter door l. f. loith bags and bundlen. Mat. {ivith book) Dump the grub on the board, boyees. Here's the bi- ble, Joe. I say, whar's the parson ? Kate. He's out. Mat. Out? Kate. Yes ; left this morning for Dresmer's Gulch, and has not since re- turned. Mat. Phew! And Sunlight? Kate. She's out too. Mat. What! out in the mountains in a storm like this? Is the gal mad? Gone Avith the parson, perhaps. Kate. No ; she left an hour after he did and has not since returned. _ ' Mat. Well, here's a 'go.' But I say, boys, we came to have a surprise party, and I vote we have it now. Omnes. So do I ! So do 1 1 Mat. All right then, fire ahead. {they\hit at table and eat ravenously Joe. {n. corner) Well, thar's hogs for yer. Hyre, I say, boyees, play light on that grub, I'm hungry, {sits and eats with others, Joe at keadof table Mat. Give me three more biscuits. Joe. Peters, equalize them beef. Peters. I'm no hog — thar ! Throws hand-full of meat on his plate, they cat noisily xohen Joe suddenly stops and holds icp Ms hand. Joe. Oh, fellers ! {all stop) A thought— I say, whar's the whiskey ? Omnes. The whiskey, the whiskey ! ) Tnnpihp-r Mat. Whar's the jig water! J J.ogeuier. Peters. By the Etarnal ! That almond eyed heathen, Wun Lung has it and— jumpin' bullfrogs and boot-jacks, look thar I Peters points to tvindow, all turn; lightning, Wun Lung with a demijohn is seen at vjindow. He is very drunk and has an old plug hat on his head — They spring up with a yell, and pull him through door and drag him 0. Joe. Whar's that whiskey ? ] Hat. Ante up with the juice. V Together. Omnes. Whar is it, whar is it? j Joe. Do ye hyar ? Whar's the whiskey ? THE FORTY-NINERS. 13 Wun Lung, {smites, rubs stomach) Alle gonee. Omnes. What I One— two — three ! They seize him, rapidly run him up stage and bounce him Out of the window. Orash. All come doion B. Joe. Dnrn his cheek, not another drop of whiskey to be had short of Trnckee. Saay, boyees, what air we goin' to do ? Kate. Drink water, {all grab chairs and rush at her, insulted at the word Joe. {interposes) Hold on, boy ess, she's a woman, but Miss Kate don't insult us again. Kate. But there's nothing else, and you (can't eat without something to drink, after. Come now, try it. Here, I'll fill the cups and you shall try and empty them, {they look at each other and laugh, then take cups and go R. Joe. (holding up cup) Boyees, a toast. Omnes. Aye, aye, a toast. Joe. Here goes. Here's thet we may never be forced to make the ac- quaintance of a stronger ag'in. All. Hurrah ! They drink — loud shout, each man clasps his stomach, squirts out the water and prances around as though in a spasm. Omnes. Oh, oh, oh ! Kate, {alarmed) Good heaven, men, what is the matter I Omnes. Oh, oh, oh ! Kate. Joe, speak to me. What have I done? Joe. Dun 1 Why, gal, you've ruined the hull gang of us. Pizened the bardiest set of workers in the hull Sierra chain, and — and— Enter, Gath d. f., comes down r. Omnes. The parson. Whoop! {they rush back to table— >Mat gets bible, they urge him on Mat. {advancing) Well, you see, parson, we have — that is, well — {looks back in despair — they urge him on) This night we — well,'we — er — er — {gives book to Peters) Can't git it, pard. Peters, {advances) Well, you see, parson- Joe. He said that ! Peters. Well, the lact is, we want to — to— Joe. Good, good ! Go on ! Peters. Well we want to — to — to — Joe. That's it, that's it. Peters. Well— er — er— {pompously) Sir, you see before you a party who are — wbo are — I say fellers, what are we? Joe. Hyar, give it to me I {takes book, advances proudly) Feller citi- zens! {all lau^h) On this most suspicious— (a// laugh— he rushes to table, Mat whispers in his ear ; he sjniles) Oh, yes. {advaiices) On this most au- spicious occasion, we want to — to — well, we want to — Well, we want to give you this book — See? 'cos as how you was once a miner yourself, and now you've panned the dust and are a parson, you aren't none of your stuck-up sort, {struts back) That's about the proper thing, Gath. I suppose I ought to make a long speech, lads, but it's not my way. I thank you for your gift and rest assured I shall always remember those who so kindly remembered me. Joe. Now then, boyees. Hip, hip — Omnes. Hooray ! Joe. Another. Omnes. Hooray I Joe. Another ! Omnes. Hooray I 11 THE FORTY-NIKERS. Joe. Tiger— r—r— ^ . , Gath. There, return to your meal, lads, for I know you must be hun- gry, {they go back to table) But where is Meg, Kate ? {Music Kate- She is out, sir. , . _. Gath. Out! Out in the mountains such a night as this! You are dreaming. AVhen did she go ? , , . - Kate. She left about an hour after you did, sir, and has not since re- turned. Gath. Ah, what fear is this at ray heart? She may have fallen down the ravine and been dashed to pieces. Quick; girl, bring me the lantern, I will go and seek her. {exit Kateh. 1 E. Joe. Hold on, parson, I'm with yer. Oinnes. And 1, and I ! {cdl gather around him Enter, Kate with lantern, l. 1 e. Kate. Here is the lantern, sir. {Joe snatches it— Lightning Gath. Quick then, there is no time to lose. Come come ! Tkey all rush up token the door is flung open and Cliff appears, one hand be- hind his back, jpick-axe over shoulder — they recoil. Gath. CliiT, pale and trembling. Speak man, what has happened? Clif. Parson, whcre's Sunlight? Gath. We are seeking her. Go on. Clif. I was walking down by the falls near the stage pass, and on the very edge I found— this. {".hows Meg's hat Gath, My daughter's hat ! Omnes. Meg's ! Clif. The ground was torn up as though from a struggle, and bore the print of men's feet. Gath. Mercy for my child, heaven, mercy I To arms, lads, we'll find the body and track the assassins. Come, come. They are rushing up stage when Delmayne suddenly appears in the loindoio c. — Thunder and lightni'ng. Del. Stay! Gath. Briggs! Why do you stay us now? Wo are seeking for Meg, my daughter, she is Del. {coining down 0.) Lost to you forever; she has flown with Gaspard Leroy, she is dishonored. Delmayne comes doion c. Craven Leroy passes window, enters door and comes down behind miners, R., to extreme corner. Gath. Powers of mercy, IMeg, Meg. Del. Oh, sir, think not that I stood calmly by and saw it all. I would have died for her sake, but the villain felled me to the earth, and Cra. It is false. Omnes. False ! Del. {horrified) John Garston — you! Cra. Your daughter has been abducted, Mr. Gath, by the brother of that woman, the man who stands before you. Richard Delmayne, whom you know as Hawley Briggs, planned and carried it out himself, so haug him. Omnes. Hang him, hang him. {they rush upon Delmayne Joe. {grasps a chair and spri7igs between them) Stand back, all of you. I'm not goin' to see a pard o' mine strung up in that manner, while I've got strength enough to face the music. I tell you our pard has spoken the truth, and that man thar — Craven Leroy — is a liar. THE FORTY-NINERS. 15 Del. {grasps his hand) God bless you, lad, I may be years in accom- plishing the task I have now set myself, but I will hunt for Margaret Gatfa, and I will find her, even though she be hidden at the world's end. Joe. (to Craven.) What do you say to that, my bloomer? Cra. That tlic man is a liar, and as I hope for mercy hereafter I have spoken the truth. Ilang him I Otnncs. Hang him, hang him. They all rush forward a'jain, Joe once more lifts chair — Debnayne seizes Craven by ike throat and flings him doion L. c. Del. Liar in your teeth, and thus I wrest the secret from your black heart. Delmai/ne snatches pickaxe from Cliff ayid is aboxd to strike Craven, when Gath catches it and stays him — Kate with hands extended in horror^ is in corner l. Music. Tnunder and lightning. QUICK CURTAIN. THERE IS SUPPOSED TO BE A LAPSE OP THREE YEARS BETWEEN THE SECOND TUIRD ACTS. ACT III. SOE .YE FIRST.— The parlor at Leroy Dale. Fancy chamber in fourth grooves. Large bay loindow c, practicable, backed by garden drop in fifth grooves. Box set. Set dooi's r. 2 e., and l. 2 e. Carpet, elegant furni- ture. Sofa u., easy chairs h., curtain and lambrequin at window. Fan- cy table R., loith bronze laynx> burning upon it. Night calcium behind win- dow c, which is gauze, and bolts from toithin. Night. Lively music at rise of curtain. Molly Malone dusting. Molly Malone. Wurra, wurra there seems to be no rest for the poor. Here it is after tin o'clock at night un me wid the dusther in me hand yet. Faix, I might have known it whin I left Ne'Yark to come out to this divel desarted Calil'orny, all fur the sake of bcin' near me own swate Moike, him as id out on thim big hills beyant, diggin' fur goold. Faith, he said he'd Boon have me kivered wid jewels, an' have an illegant jauntin' car fur ma to ride in, but he's been diggin' fur these three yeai's an' divil a bit jnore does he make than 'ud kape himself. Wan day, though, he'll take out a big nugget an' make me a leddy — just loike missus, (barrin' the brogue.) Ah, buL she's the swate crathure' fur ye, an' that husband av hers — Wurra, but he's tlie divil himself, an' what wid the drinkin' he does an' the noigLts he he's stayin' out wid that brother av his, an' feller they calls Lib, he's driviu' the swate sowl inty her grave, so he is. An' she, poor darlint, she does nothin' but chry an' -ax fur her ould father — whereiver he is. I heard thim lalkin' about it wan noight an' I do belave he'd a struck her if it hadn't -been fur Miss Jessie. Arrah, but there's the spunky little gos- soon fur ye. She has the swate face av her mother, and the pluck av three men loike her father, if she is only seven years ould. 16 THE FORTY-NINERS. Jessie, -{without r.) How dare you take away my doll ! MoL There she is now j havin' her own way as usual. Enter, Jessie door r. Jes, You shan't take away my doll, I hate you, and I don't care if you are as big as my papa. Mol. What's the matter now, dearie? Jes. Uncle Craven wants to take away my doll, and send me to bed. Mol. Sure ye should mind your uncle, darlint. Jes. "What, when 1 don't like him? no I won't. I tell you what, Molly, he's worse than Blue Beard, and 1 hate him. He makes my mmama and papa quarrel, and I know he don't like either of them. Mol. Sure, ye shouldn't talk loike that, darlint, yer only a child. Jes. I don't care. Papa told me something yesterday. MoL An' what was it? Jes. Children and fools spead the truth. Mol. Arrah, but it's the wise little head ye have on thim two purty lit- tle shoulders, an', be the sowl av me, 1 think you're right. Meg. {without l.) Jessie, dear, it's bed time. Mol. There's yer mother callin' ye, run along now loike a little dear. {Jessie crosses to door Jes. {at door) I'm going; but Molly, if my Uncle Craven comes in here, you just slap his face. He makes my mamma unhappy, and if I was a man as big as my papa, I'd throw him out the window — that's what I would do. {exit l , slamming door Mol. Faix, I'm sure ye would. An b}*- the piper av Killarney, ye'd sarve the divil right. ( Wan Lung appears at window c.) Blue Beard was it she called him ? Faix, but he's wuss nor a dozen av him. Wun L. Hello, Ilish ! Mol. Eh ? {turns) Would ye look at that now, the bauld headed baste av Mr. Craven's. What are ye doin' there now ? Go on wid ye or I'll be afther hittin' ye over the head wid me daster. Wuri L. Me alle samee Melica man — dam hungry. Mol. Well, the kitchen's the place fur the loikes av ye. Be off now. Wun Lung enters through windoio — comes down, c. Wun L. Ilish gal a too muchee gab — Ilish gal shutee up. Mol. What! tShut up is it? An' to a leddy loike me ? Do ye] know what I have a mind to do wid ye ? I have a mind to chuck yer out av the windy, so I have, ye bauld headed John Chinaman yer? Wun L. No, no, you no callee me John — callee me Char — lee. Mol. Well, a healthy lookin' Ctiarley you are. Where's that washin' ye took away two weeks ago? Wun L. Me blingee to-m.ol. Fifteen piece, two shirtee, four col — Mol. Four what? Wun L. Four col — lound neckee— col. Mol. Arrah, collars, ye baste — col, Ugh ! Wun L. Eight haukcher. Mol. Eight what-cher ? Wun L. Ankcher — chew. Allee samee blowee nose. MoL Handkerchief you mane^ yer blackguard, Wun L. Chiff. Ankcher, allee samee. Two pair dlaw. MoL Gloves, is it? Faix, an' we give no gloves out in the wash. Wun L. No glove — dlaw. Savvy ? Mol. Faix, I don't 'savvy.' Two pair of dlaw ; what the divil do yer call thim? Wu7i L. Dlaw — dlaw. Allee samee pullee up. Mol. {screams) Oh, ye baste, don't ye know what thim are? Thim are underclothes. I THE FORTY-NINERS. 17 Wun L. Dlaw — underdo* allee samee. Mol. How much will they be ? Wicn L. Sleven five cen'. MoL Sleven-five cen'. Ye baste, why don't ye spake the English lan- guage as I do, an' say, sivinty foive cinLs. Wun L. Sliviu floi cin' allee samee. Mol. When'll you bring 'em home ? Wun L. Fly'atloo o'clock. Mol. You're goin' to fly at two o'clock, is it? Wun L. No, no. Savy, Mon, Wen, Sat, Flya tloo 'clock. MoL Oh, Friday at two o'clock, eh ? Wuyi L. Yah, yah. Mol. All right. Now thin be off wid ye fur I want to lock up the house. Wun L. Charley belly hungly. Mol. Didn't I tell ye to go to the kitchin ? Go on now, or I'll pitch ye out av the windy. Wun L. Ilish gal no pitchee Charlee; Charlee lovee. MoL Be the powers he's not all haythen, the durthy ,Chinnay, there's a bit av f» man about him afther all. Sure, an* who is it ye lovee? Wun L. Me lovee like blaze ; plutty flace, led headee, me lovee Ilish gal. Mol. What? She grabs him by the mck and pantaloons, runs him up stage and flings him out of bay window — He falls, springs up and puts finger to nose. Wun L. Ilish, Ilish. Finnigan, Finnigan ! {rushes of'h. Mol. Och, och, bring me some wather or I'll faint entoirly. (falls into a chair) Oh, Moike, Moike, why war'n ye here to protect me? Wurra, wur- ra, what did I iver come to Californy for? Music — Delmaiyne disguised as Mary Ann C Flam appears at loindow c. Basket of ribbons on arm. Del. Faith will ye buy some ribbins, purty miss ? Mol. Eh? Och, it's only a peddler. Wha^ are ye doin' sellin' ribbons at this hour of the night. Be off wid ye now. Del. Sure, darllnt, they're illigant, an' jist as chape as dirt. Mol. I tell ye I don't want ony now, go on. Del. Sure, ye haven't seen thim. Look at this? A purty little cap, jist fit fur that lovely head. {shows cap Mol. Oh, but it's a beauty. Wha.t do you ask fur it 1 Del. Only one 'bit,' me darlint, look at it now. Mol. A bit it is. Come in, come in, but be aisy, fur I'd lose me place if the mistress found ye here. Delmayne enters, and comes down c, Del. Sure I'll make no more noise than a mouse. Och, but you're the purty soight wid that on yer head. Wan bit only, darlint, dirt cheap. Joe Wision. {without) Handkerchieves, bades! {He appears at loindow, basket, stick, etc., disguised as a blind man MoL What, another av thim? Del. Sure, ma'am, that do be me brother Peter. He's stone blind, ma'am' but he has a lovely stock. Come in, Peter. Enter, Joe at window, Delmayne assists him down R. Mol. Be quiet now. Joe. Thank ye, misi. Och but I know you're a purty lass be the sound 18 THE FOETY-NINERS. av your voice. Euy some beads and help a blind man who can't see out av his eyes. Mol. Poor 90\vl ! an' are ye blind, now. _ Joe. Yes, ma'am, I can't hear a word. MoL Sure, I'm sorry fur ye. I'd buy something from ye, but, (gives coin to Delviai/ne) I've jist paid yer sister the last bit av money I have down stairs. '^^- \ ( Together.) Sure, we'll wait till ye go up and git more. Mol' Arrah, but I darsn't risk it, I know yer honest, but the master might hear av it. Del. Faith, we won't stir a peg. Look here, me jewel, here's a string av hades an' a roll av ribbon all fur a bit. Sure, ye'll help us, darlint, we're very poor. Mol. Oh, but they're chape, (aside) I may niver git the chance ag'in. Faix, I'll risk it. (aloud) Wait here now an' I'll git the money, and mind ye, not a step must ye stir. Del. Divil a step, darlint. (exit, Molly l. 1 e., pause, both men drop basket and grasp hands c. Del. Joe ! Joe. Briggs ! (chord) Heavens, man, where have you been keeping yourself these three years ? What have you been doing ? Del. Keeping ray vow and hunting for Margaret Gath. I heard that you were in touni and wrote you a letter to meet me here in your present disguise. Joe, old boy, do you know where we stand? Joe. (surprised) l^o, where ? Del. Under the same roof with the woman I seek. Joe. (astounded) Meg ! Del. Is here, living with Gaspard Leroy, and her child. Joe. Her child ! Del. (sadly) Yes born four years before she fled with him. Joe. Oh, the villain. Del. Aye, villain indeed, and I loved her so. Joe. But what are you going to do? Del Save her. She is unhappy with this man — he 111 uses her. I love her, and stained as she is, I'll take her away from this place as an honora- ble woman — my wife. Ah, what noise was that? Quick, watch your op- portunity and get back into the house when I give the signal. Here's the Irish girl returning, (they get baskets and stand c, as she left tkem, Del- mayne whispers to Joe and drops ribbon on floor) Enter, Molly l. 1 e. Mol. There they are now, as meek as two lambs, (advances) Here yo are. Here's yer money, and now, good night. (Music — they go up c, — Delmayne opens window — Molly sees Joe pass out Del. Good night, darlint and — Och hone, there's one av me purty rib- bons on the floor, would ye plaze pick it up, me back is weak wid the rheumatics. Molly goes to pick up ribbon, Joe darts back in, and hides behind sofa E. Molly returns. Fanny business ab lib between Delmayne and Molly. Del. Thank you darlint. Och, but it's the sharp gurl ye are. Faith ye use yer eyes well, me jewel. Good night to ye, ma'am. Come along Peter. Handkerchiefs, bades ! (exit Voices heard to die away in the distance. Quick change for Delmayne, back to miner, smooth face. Mol. There she goes, poor ould craythur, now I'll put out the light lock up the house and go to bed. (puts out light — Lights down — Calcium THE FORTY-NINERS. 19 sirongih^ough gp,u3e window — MoUy locks it.) "Wurra, but it's a be&utiful nlffW $6 Itis, now reissue will come here and sit in the moonlight and cbry out hfiX beautiful eyes, so she will, poor sowl. An' that baste av a husband Moike, he'll be home at nine o'clock every night or I'll know the rayson why. * {exit l. 1 e. Change of music — Joe comes from behind sofa, goes to window, whistles ; the signal is ansivered and Delviayne re-appears dressed as a miner, face smooth. Del. Is the girl gone? Joe. Yes, and the house as quiet as the grave. Del. All right, let me in. (Joe unbolts loindow Enter, Delmayne through windoio. Joe. Now what's the next move? Del. Why, find Meg, and— Hist ! shelter, I hear footsteps. Hide your- self. {Joe behind table h., Delmayne behind sofa r. — Change of music Enter, Margaret door l., richly dressed but very pale, goes to xoindow c. Meg. What a lovely night it is. The pale, mellow light of the moon streams down through the interlaced boughs of the oak and lays like bars of silver across the path. Still Gaspard comes not. Alas, for the many days gone before ; a shadow has flitted past and dimmed the_ young morn- ing of my joy. Oh, the utter loneliness of the place; were it not for my child, I should go mad. What have I done that I should be thus forsaken — tossed aside like a blotted leaf whose story long since has ended. Father, home, friends, all, I gave up for him, till my breaking heart bursts forth in the appeal — Gaspard, come back to me, oh, come back ! {sinks on her knees extending her arms in the moonlight. Joe and Del. rise Del. {touching her) Meg! Joe. {ditto) Sunlight! Meg. {rises) Ah, men here at this hour of the night. Back, back I or I call for help. Who are you ! Del. {draws nearer) Look, now ! Meg. Hawley Briggs i and he — {Joe draws near) Joe Wiston. Speak, Hawley — my father, is he living ? Del. I haven't seen him — since the day you fled. Joe. {coldly) Oh, he's liviug yet. Meg. Thank heaven for that. But why are you here? What do you come for? Del. Why, to save you, Meg. Meg. Save me ? Joe. Yes, and take you home. Meg. I cannot go. My place is here. Del. {horrified) Here, here ? with Gaspard Leroy, your betrayer ? Meg. No ! With Gaspard Leroy, my husband. My lips were sealed for three year, but uow the time is past, and let this attest my truth, {shows marriage certi^caie) He made me his wife in the sight of God; now I prove it in the sight of man. Del. {brokenly/) Oh, my heart is broken. Gasp, {ivithout— sings) "Rolling home in the morning, boys." Del. {starts) Ha! What's that? Meq. 'Tis my husband's voice— should he see you here, his jealous rage would know no bounds. Hide yourselves ! {Joe darts into Meg's chamber i..] No, no, not there — Too late, too late ! * If Molly sings, a song may be introduced to give Delmayne time to change. 20 THE FOETY-NINERS. She hides in curtains of tvindow c, Delmai/ne behind sofa E.. Gaspard comes to window and knocks. Gasp. Hello ! The window is locked. Never mind, I see a light in Craven's room ; I'll get him to let me in the side door. {sings, "Boiling home etc.,^^ disappears. Delmai/ne springs up to fly Meg. {quickly) Do not attempt to leave the house now, you would be seen. Conceal yourself, he is coming ! Delmayne goes back behind sofa — Margaret sits on it shielding him, takes up book and reads. Enter, Craven and Gaspard, door R. Gasp, {as he enters) Nonsense, man. Cra. {ditto) I tell you I heard voices here. Gasp. Pshaw, you are foolish. Hello, my dear, not in bed yet? Such a ridiculous idea of Craven's. He vows he heard voices here. Meg. {aside) I am lost 1 Cra. No, I swear it, and male ones at that. Your wife is not alone. Meg. {crosses to door l.) You are mistaken, sir. Good night. Cra. {crosses before Gaspard to c.) One moment, madam. Are you alone ? Answer me, and your husband will believe you — will you not, Gaspard? Gasp. Yes. 3feg. Sir, I spare you the scorn you merit. I see your drift, but my husband has not sunk so low as to allow you to address me thus. Cra. This is no answer, madam. Meg. Gaspaid? Gasp. The easiest way is the best, my dear. Tell him he is mistaken. Cra. If she can. Meg. Your head is flushed with wine, sir. Good night, Cra. Speak, madam — has there not been a man here? Ha ! you are in haste to enter your chamber — perhaps he is concealed there. Meg. Sir ! Ora. At all events I will see. {Music — he advances) Meg. {at door) No, no, no ! You must not enter this room. Cra. {to Gaspard) You see ! {to Meg) Let me in. Meg. {to Gaspard) No, no, no ! Bid him begone, Gaspard. Gasp. No, your actions betray you. Let him enter. Meg. No, no ! ( Craven seizes her) You shall not ! Cra. Let me pass. Meg. No, no ! {he flings her aside) Fly, Joe, fly ! {Joe enters quickly rushes across stage and off e. door r^r* I ^Together.) A man ! Meg. {rushes to him) Oh, Gaspard, it is all a mistake, it is Gasp. Our separation ! Meg. No, no ! Oh, Gaspard, hear me ! Gasp. Not one word. Craven — the child ! Craven rushes into room, l. — Jessie shrieks and is carried on in her night- dress — Gaspard grabs her. Jessie. J y^<^9^^'^^^') Mamma, mamma ! Meg. Gaspard, Gaspard, listen to me. Gasp, Never 1 Enter, Joe quickly door b; Joe. Then hear me ! THE FORTY-NINERS. 21 ■Joe seizes Graven and flings him r., he falls, as he springs up Dehnayne leaps upon sofa and levels pistol at his head. Del. You stand back 1 Meg faints — Joe darts toward Gaspard who levels pistol and holds Lights up him back. QUICK CURTAIN. FIRST PICTURE.— Craven in r. corner, Delmayne on sofa with pistol leveled at Craven's head — Joe l. corner — Gaspard up stage c. with Jessie in his arms, and pistol extended at Joe, Meg at his feet senseless — Calcium strong through window. SECOND PICTURE.— Craven on knee, DelniTi/ne clutches hi^ throat, and leveling pistol — Joe on his knees c, holding Meg's head — Gaspard pass- ing out of the toindow with Jessie in his arms, her arms extended towards her mother — Calcium. ACT IV. SCENE FIRST— Dead Man's Gulch in the heart of the Sierras, full extent of stage. Snowy mountain drop backing. Set snowy rocks masking in flat forms r. u. e. and l. u. e., high. Ruined bridge spans the gap between them, down lohich the frozen waterfall hangs, the icicles pendant and the water falling behind them, carrying down great masses of ice at stated pe- riods. High platform with return piece l. 2 e., masked in by snowy rocks upon which stands a two story hut, the interior of upper half seen. ' Win- doiv facing audience leads into this room. Door practicable below. Set rocks at all the wings. Midnight. Snow falling thick and fast. Calci- um behind bridge falls full upon the waterfall, bringing out a light back ground. Cleets up side of hou^e to window, covered by a vine. Lights low. Solemn and impressive music. Noise of waterfall faintly heard. Raise curtain slowly. Craven Leroy standing on edge of gulch high, leaning on gun and looking ofK. u. E. Craven, {disguised as a miner) What a heaven-deserted spot is this 1 The tall gloomy peaks fill me with strange emotions, and my heart al- most fails me as I look down these broken chasms. Yet in the past when purity alone reigned here {touches heart) there was a grandeur, a sub- limity about this spot now eternally lost in the mad passion for gain. Pshaw ! I am a child. Thus far up the ladder, shall I wiih my own hands dash it from beneath me? Now when all is my brother's and his will made in my favor ? No ! Reign still, thoughts of evil and of hate, Gaspard Leroy must be removed. 'Tis nigh upon the hour of his return from Truokee, whither he has gone to procure food and cover up all traces of our flight with the child. Jessie, {in hut) Papa ! Cra. 'Tis Jessie I Shall I strike now while we are alone or — No, Gaa- patd ml^ht suspect, and to open his eyes now, is to ruin all. {comes down) I can wait. 22 THE FORTY-FINEKS. Enter, Jessie from hut, runs to him. Jes. Papa! (starts) Oh, ifs you is it ? Where's my papa? Gra. He will return soon. Jes. I'm tired of living here in this old hut with Big Lib. Besideo, I want some pretty dresses. I hate these old rags and I won't wear them — [tears shawl off and throws it down gulch) There ! You may tell my papa what I have said, when he returns. I don't want to stay here, and I won't. {exit into hut slamming door Cra. Well, curse you for an obstinate little brute. The wilfulness of your father, and courage of your low-born mother are plainly written upon that young brow, but it is against that wilfulness and that indomitable courage I have pitted myself, and I'll conquer both or die in the struggle. {whistle heard R. u. E.) Ha, the signal. 'Tis Gaspard returning from Truckee. Music — Big Lib enters from hut l. Lib. Thar's the signal, guv'ner. Enter, Gas^oard r. u. y.., followed by Wun Lung, who has a bag of provision. Gaspard carries gun and is disguised as a miner. Crosses bridge and comes down h. to c. Gasp. Craven, my brother, you have well kept the watch. Where is Jessie ? Cra. She is in the hut. Have you brought the provision ? Gasp. Yes, Wun Lung has them. Unload China. Wun L. Allee lilee, me do. {takes bundles from bag) Clackers. {Lib takes them) Loafee bled, meatee, cheesee, Ian, Ian — {takes out flask, smiles) Glog, Charlee likes glog — Charlee gletee dam drunk, {goes to drink, Big Lib kicks him, he screa^ns) Oh I Hello, dammee. {exit quickly into hut followed by Big Lib Music — Gaspard goes up to peak, looks of both sides — Craven leans his gun by the door. Gaspard comes down and lays hand on Craven's shoulder, is deeply agitated^ Gasp, {loio) Has any one been here ? Cra. No 5 why do you ask ? Gasp. As I passed the forks of Eloranda one mile down the cut, a figure dashed hurriedly across the path and disapeared in the brushwood beyond. I halted for a moment, then my ear caught the rumble of wheels, I turned in time to see a wagon roll across the flats, driven by the man I had seen. Craven, we must leave this spot to-morrow night. That man was Hawley Briggs. Cra. {aside) Delmayne here ! (aloud) You are sure of that ? Gasp. It is impossible for me to be mistaken. Cra. You anticipate danger then, from his presence here? Gasp. What should make me think otherwise? That man defended Meg, he attempted to stay my flight with Jessie. What now more prob- able than that his presence here betrays a plot to rob me of my child. C7-a. And in that case — Gasp. In that case I will fight to the last gasp. I will take the watch to-night myself, and before he shall wrest Jessie from me, with my own hands I will hurl her down yuuiier gulch, (drags Graven up and points down gulch) Look, do you see those rocks that look like pebbles in the path ? It is four hundred feet slieer fall to those. Do you think a humaii being once dashed from the edge of this ravine would ever again prove an object of dispute ? THE FOETY-NINEES. 23 Cra. Never? Come away, the sight chills my very blood, {comes down) One false step — only one — and you are food for beasts and birds, (aside) ITis Avords have cast a new light across my path ; shall he by chance take that false step? [Gaspard has come down and partially overhears Gasp. You were remarking — Cra. Oh, nothing. Merely commenting upon the scenery, that was all. {exit CYaven into hut Gasp, {transfixed) Am I dreaming? I fancied I heard — pshaw, these threatening dangers fill me with cruel misgivings; Craven is devotion itself to my interests. A single suspicion in his direction is more than unkind. [puts gun beside Cr aven\s and goes up) What a tiresome night it is. I feel strangely wakeful when all around me reigns that peace and quietude which alone should induce slumber. I wonder what that fellow was lurk- ing around here for? It cannot be that my suspicions are unfounded and Margaret seeks not to regain our child. I wonder where she is to-night? Three years ago I would scarcely have dreamed of this bitter sequel to my tale of bliss. Three years ago! Ah, how apt man is to build himself cas- tles the rougher hands of the world must ever delight in tearing down. Jessie enters from hut, runs to him. Jes. Oh, there you are. Where is mamma? You promised to bring her with you. Have you kept your word? Gasp. Not yet my child. {attempts to kiss her, she stops him Jes. No! You told me once that lying lips were unfit to kiss, and if it is wrong in ^a child, it is worse in one of older years. Gasp, {winces — aside) How mj words recoil upon me. {aloud) There, there, child, come into the house ; the night air is too chilly for you. JTe leads her up the rocks, loth ezit into house — Jessie instantly re- appears in the upper part of hut. Jes. {kneeling xvith clasped hands) Papa hasn't kept his word, but God will. Please heaven look down upon my slumbers. Guide my dear friends to this spot— (1ft/ .n'c — Joe and Mnit cppear on the rocks r. u. e., cross and descend slcicly uhile she is speaking) — and restore me to the arms of the mother who brought me up to love and trust in Thee. {she lies doicn and falls aslce]:) — Joe and Matt come c. Joe. {looking around) Well, of all blooming places, this is about the bloom- ingest. Mat. {lew) Sh-h! Not a word above a whisper, it would betray us. You are sure the child is here? Joe. {lew) Sure ! Why just as Fure as I am Ihar's as many nuggets in these old peaks as ever came out of 'em. Delmayne toithoiit r. u. e, is heard to sing drunkenly, both men run up and look Mat. Confusion! It is some drunken beast coming up ttie cut through the forks. Hide yourself. Joe darts ofi,. 1 e,, Mat r. 1 e. Gaspard runs on fr^m hvt as Delmayne dis- guised as a drunken mdner appears on the bridge. IJe has a lohiskey flask in his hand, a rope around his waist, ragged clothes pantaloons in boots, rough wig and heavy whiskers, hat pulled over face. He is singing drunkenly. Gasp, {as he enters) What noise was that ! (.sees Delmayne) Hello there who are you ? Del. Was zat — hie — your biz — niz ? Havver — hie — drink. Gasp. No I 2 4 THE FOBTY-NmERS. Del. S'all right — hie — nee'n't git yer bac' — hie — kup. {sings and de- scends B. c.) "All git drunk, all git drunk, all git — " Gasp, {grasps his arm) Look her6, my man, what's your name ? Del. My name's — hie — Ananias Budge. Havver — hie — drink? Gasp, {curtli/) No. Del. S'all right, {is about to pass him, makes cross whe^i Gaspard grasps his arm.) Gasp. See here, I want to see your face. Del. Well — hie — yer can't do it ! Gasp, {angrily) I want to see your face. Del. Well — hie— yer can't do it. Gasp, {shakes knife under Ddmayne's hat — slowly) I want to see your face. Del. {pushing back hat) AVell — hie — yer kin do it. Gasp, {looks at him, gives a sigh of relief — aside) Good, my fears are groundless. He is a stranger. {goes up R., leans against rock, burying his face in his hands Del. Ain't — hie — a booty ? Wouldn't — hie — yer like to kiss me for my muzzer ? {moves slowly to l., till his back is to the guns, puts hand behind him and pours lohiskey down the barrels, talking all the while) Yer ain't — hie— werry sociable, pard, eh ? Wassher — hie — down ! Viewing booties — hie — of nature? S'all right, {comes c. quickly) Mebby — hie — yer don't know rne ? I'm the — hie — worst man in the S'erras. I'm the — hie— terror o' Shirt- tail canon, an' — hie — ( Gaspard turns) I'm out for fun — hie — out here tu raise — {loudly) — Jesse ! Gaspard utters a cry and springs to Mm — Jessie springs up in hut — Del- mayne very drunk. Del. S'all right, s'all right 1 J-e-s-s-e — Jesse! {Gaspard is re-assured, Jehie crouches under toindoio listening, Dehnayne motions her to silence with hand behind back) Good — hie — night, pard, good night. Havver drink? Gasp, (surly) No, fnol I Del. All right— hie— fool I {reels off h. 1 b., sings) **We'll all git drunk." Gasp. Curse that fellow! He gave me a start it will take hours to quiet down. I know one thing ; I'll be miles away from this spot by to-morrow night. Gaspard goes up and sits on bridge, his legs hanging over gulch ; back to house. Lights pipe ayid. smokes. Craven, knife in hand enters from hut and'sees him. At the same time Dtlmayne re-enters l. 1 e., and hides be- hind rock watching Craven. Music. Cra. {low) Fate plays into my hands. The hour for action draws on. I must be cautious ; from the rocks beyond I can creep upon him and then — one blow and I am made forever. Crqiven creeps sloioly up the rocks and off h. tx. e. Dehnayne springs up seizes vine and clambers up the side of house into the window. Jes. {quickly) Who are you ? Del. {loio) Hush, Jessie ! I'm a friend. Quick, knot this rope around you. Now then, out of the window! Delrfiayne ties rope around her waist and lowers her to the ground, she runs off R. 2 E. Craven is seen to steal up the bridge to Gaspard. Delmayne climbs down and follows Jessie during the following conversatioyi. Cra. {aside) My heart fails me and yet — {I'aises knife Gasp, {sees him) Craven, and armed ! {attempts to rise, Graven seizes lit^ and fo->'Ces him over edge of the gulch, raises knife.) THE FORTY-XINERS. 25 Cra. Yes, Craven, the man whom you have robbed of his inheritance. Too long have my plana resulted in bitterest failure ; now the outcast shall drift into wealth and affluence upon his brother's blood. Gasp. Mercy, Craven 1 Cra. My heart is dead to it. {forces him further over Gasp. Craven, Craven ! Mercy ! Spare my life and half my fortune shall be yours. Cra. All, or none. You offer me riches; I give you — the grave. Craven pushes Gaspard off into the gulch — with a fearful cry Gaspard disajypeai's — Craven stands transfixed. Cra. Safe, safe ! (comes down c. — Delmayne crosses quickly behind him with Jessie and runs on the bridge.) Help, help, help 1 Big Lib and Wun Lung rush on from hut and seize guns. [Craven c, Big Lib L., Wun Lung k. Lib. T/hat's the matter ? Cra. My brother has fallen into the gulch. Come, come I {runs up, sees Delmayne) Who are you ? Ha, the child 1 fire upon him 1 {they at- teoyipt to fire guns but they toill not discharge.) Cra. (madly) Fool, give me the child ! I>el. You come and take her if you dare ! Delmayne tears off wig and whiskers, levels pistol at Craven. Mat and Joe enter r. and l., knock down Lib and Wun Lung and stands over them with leveled revolvers. — Picture. QUICK CURTAIN. J^^ This climax must be worked up quickly, Joe and Matt entering the very moment Delmayne levels pistol. ACT V. SCENE FIRST.— The Silver Sand Ravine. Full extent of stage. Moun- tain drop, sunset effect. Set cabin with trellis of flowers R. 2 E., door practicable. Rocks mask in flat forms and return piece h. v. E. A cas" cade of silver sand falls R. u. e. Set rocks all entrances. Warm effect. Gath c, reading from bible on his knee. Meg on chair r., embroidering, basket of xoork at her side. Jessie kneels near her rolling ball of wool. Kate on chair h., mending miner\s shirt, Joe nicely dressed leans over her watching. Lively music at rise of curtain. Gath. (reads) ''And when he cometh home, he calleth to-gether hia friends and neighbors, saying unto them, rejoice with me, for I have found my sheep which was lost." Meg. (looking up) And you are glad at toy return, dear father ? Gath. Glad, child? Even when I thought you lost to virtue and to honor, my arms were open to you ; but as this man's wife and not the crea- ture of his fancy, my heart is light once more at the restoration of Sun- light to the Sierras. Jes. {runs to him) And I'm so glad to have a grandpa. 26 THE FORTY-NINERS. Gath. Bless its dear heart. {kisses her Meg. Richard has not called to-day ? Joe. No ; he's down at the claim. You see, we bought a bit of land the boys had given up — bought it dirt cheap — and luck seemed to play square into our hands from the very first. In three days we struck a vein of the pure metal ; opened a sluice, and to-day we're the richest men in the whole Sierra chain. Delmayne's a queer fellow ; he's worth a fortune now, but still you find him ever at the mines, overlooking the work just as though he hadn't a penny in the world, (looks off r. u. e.) As I live, here he is now, coming down the fiats. Work's over and he's just dropping in to say good day', and then be off to his cabin. Music — Enter, Delmayne dressed as a well-to-do mine owner, r. u. e. Jes- sie ricns to meet him, he kisses her and comes down r. c, Jessie goes r. of Meg. Del. Good day to you all. "Well, Joe, my boy, we're made now. Joe. What? You don't mean Del. A six ouncer, pare, this time. What do you think, Meg ? We've taken out the biggest nugget of the season. Meg. I'm sure you deserve your luck. Gath. If ever a man did. {rises) But come, Kate, it is time to prepare the evening meal. Of course you remain, boys? Joe. Rather ! {Kate crosses to Delmayne kisses him and txits into house with Gath) There, that's just itl Whenever I try to get a word with that gal, some one dr-.)ps in, and she drops out. But the words are on my lips and I'm goin' to hang on until I get a chance to ''pop," {exit into house after Kate Del. {up stage) Ho has gone. How my heart beats. That's a deuced nice child, but I wish she'd get out. {coming down c.) I say, Jessie, didn't I hear you say you were going to gather some fi.ower3 for mamma ? Jes. Oh, dear no. Papa Dick ; don't you know mamma never lets me go from her sight now ? Del. But mamma will let you go just this once if — if I ask it. Meg. {aside) Ah ! Del. Won't you, Sunlight? Meg. {aside) How my heart beats ! Do I read his words aright? {aloud) If you wish it. You may go now, Jessie, but don't stray too far. Jes. Oh, no, mamma. {hurries off over rocks h. v. ^. Del {aside) We are alone, {draws nearer) Margaret, I have come to say farewell. Meg. Farewell ! Dei. {aside) How the words move her 1 Do I dream ? {aloud) Yes, farewell, tor I am going away. Back to the city with its serpent lures and its hollow mockery of life — back — back {moved) to live again, to — to — forget. Meg. {springs up) Forget ! No, no, you must not go. You must — Del. Seek the shadows of a new life, to forget the shadows of the old. {Joe appea.rs at doorway — listens) Where, I know not, why — can't you guess ? Oh, Margaret, it is to be far away from you, far away from the memory of past dreams, (passionately) Meg — Sunlight — are 3''ou Lblind? Can you not see my folly ? I have dared to look up to the sun, but it is too bright for me ; I have dared — {breaks down Meg. Go on, go on ! Del. No — no, do not tempt me ! Oh, heaven ! I can no longer stifle the words. Y*^hy do you look at me so? On your lips hang my future life. It is for yoii to say, go, or stay — Margaret, my life, my soul, I love you ! 3^eg Richard— stay ! {falls into his arms Del. My Sunlight at last ! THE FOETY-NINERS. 27 Joe. {in doorway) Hem ! {they start) Oh, don't mind me, I was there, I saw it all. Well, {comes doion and raises hands semi- tragically) bless you my children. That's the proper caper. Del. Congratulate me, Joe ; I'm the happiest man on earth. {they shake hands Joe. Well, I aren't. Del. Why, what's the matter now? Joe. Nothing — I popped to Kate — that's all. Del Well, she didn't refuse you? Joe. No ; but she didn't say she'd have me either. She says she won't think of marrying till the stain is taken from her name. {Delmayne is moved) Now, Dick, I ask you, how in the world am I going to do that ? If that Craven Leroy would show up, it would be a diflferent thing ; but he aren't likely to do that seeing as how the miners are after him for the mur- der of ghis half brother, and hismonument would be the first tree if they caught him. Look here, Dick, old man, I never was cut out for single life but if that are sister o' yourn don't marry me, why, hang me if I don't die a spinster. Music — Confused sound of distant voices — Jessie shrieks without l. u. e. Meg. ) Joe. y {Together.) What's that! Del. J Joe. {rushes up) Hello, thar's the miners chasing a man down the peaks at lightning speed ! {Jessie shrieks) Why, hang me, if he ain't got a child in his arms. ^y* I {Together.) A child ! {sound of voices kept up Joe. Yes, why, look — it's no mistake — it is Jessie I Meg. Oh, for mercy's sake save my child ! {Jessie skrieks Joe. Ah, he turns the cut — he is coming this way. Now — ah, look Dick, look Sunlight, we should know that face. It is Craven Leroy I {Meg screams Enter, Kate and Gath, from house. 'Gath I (^o^re^Aer.) What's the matter ? Meg. My child, my child ! {voices nearer Del. Stand back, all of you; he has not yet seen us ! Joe goes L., the others n. Ijoud shouts^ Craven Leroy in rags, pale and liv- id dashes down the rocks l. u. k., with Jessie screaming in his arms — he is about to dart off r. 2 e., when Delmayne steps before him toith leveled pistol. Del. You stand back ! Craven utters a shriek of dismiy, drops Jessie who is caught up by Meg — he turns to fly l., but is met by Joe who levels pistol. Joe. Don't run ag'in that, pard, for it means six months consumption. Cra. Trapped ! Maledictions ! what does this mean ? {voices low kept up Joe. A pretty considerable you can bet yer boots. Do you hear that noise? It's the old 49ers, with the devil in 'em coming down the peaks to hang you up to the nearest tree. Cra. {cringes) Mercy, mercy ! Joe. We don't sell it here. Kate, my gal, I swore I'd win you, and now I'm goin' to keep my word. Parson, join these two hands. Don't lose a 28 THE FORTY-NINERS. second, for in one minute the boys will be down upon ng. Quick now, make this the quickest marriage and the shortest ceremony ever heard tell on, for in five minutes this gal must be a widder. Sharp's the word now, for Judge Lynch won't be kept waitin'. (Joe joins hands, shouts draw near Gath. Will you take this woman for your wedded wife? Cra. No ! (Joe and Dzlmayne level pistols) Yes ! Gath. Will you take this man to be your wedded husband ? Kate. Yes. {loud shout, miners appear on rocks L. u. e., with a rope Gath. Then I pronounce you man and wife. ^5 the last words leave Gath's lips the men seize Craven, throw the noose around his neck and drag him off h. u. e., shouting. Joe. Thar boys, take him on his weddin' '-'tower." Kate, my gal, now will you have me? {open his arms, she crosses and falls into tf^em Kate. Yes, Joe, and with heaven's help I'll atone for the past by love and honor in the future. Joe. Hooray I I soy, parson, you'll have a couple to splice in the morn- ing. I)eL {leads Meg forward) Yes, and another couple here, father, Gath. How's this? Why, Meg, you seem in as much of a hurry for a second husband as Kate, here. Meg. Yes, dear father, because like hers the first was a fancied love, and again like her, the second is a real one. {embraces Delmayne Loud shouts, all the miners re-enter l. u. e. Mat. He's gone ! Joe. What, dead? I^at. As a door nail.* {miners cheer Del. Ths shadow is past, dear lore, the sun sets in gold and crimson be- hind the hills, and it is light at last. Meg. {looks up at him) Yes, Richard, and to eternity. pel. {to audience) But what shall I say to you who have borne with my mfthy passions so generously? I have gained the jewel for which I s|;rove, bp it will sparkle the brighter if it be set in your approbation. I haye ^ut one boOn to crave — that you may be as happjr always as I now afai, Add sl^ould sorrow come, that its shadows may pass away as effectually as mine h&ve done, here in the Sierras, among — The Forty-Niners. ^Situations at close. Miners. Miners. Gath: Jessie. Meg. Delmayne Kate, Joe. All seated but Delmayne, Joe and Miners, CURTAIN. THE rOETY-NINERS. 29 NQTE. — The music and the right to illustrated printing of this piece, may be obtained by addressing the publisher. COSTUMES— CONTINUED. Wun Lung. — Act 2. Chinese dress ; plug hat. Act 4. Linen duster very ragged. Matt Mathers. — Same as Delmayne in act 1. ClifCushard. " *' Big Lib. u u Miners. " " Kate Delmayne, — Act 1. Dark hair; black dress very plain ; shawl over head. Act 5. Light muslin dress. Margaret Gath. — Act 1. "White muslin dress, blue sash; white leghorn hat, blue streamers ; golden blonde hair. Act 3. Magnificent toilet of pale blue satin, and diamond jewelry. Act 5. Plain black velvet dress, long train. Molly Maglone. — Conventional Irish servant girl's dress, extravagant ; sleeves rolled up, duster in hand ; fiery red hair. Jessie Leroy. — Act 3. White muslin dress with blue sash and blue silk stockings and shoes, change to night-dress. Aqt 4, Dark ragged dress and shawl: torn shoes. Act 5. "Wliite muslin dress and black sash, b'ack stockings and shbes. "AMATEUR THEATRICAL RECORD." A Paper Especially for Amateurs. We call your attention to this advertisement of "The Amateur Theatrical Record," a paper now being issued by us, and earnestly ask your support of the same, not only good will, but subscription. Please read carefully. Tke Object. There are hundreds of Amateur Companies in the United States and Canada, and thousands of Amateur players, and some organiza- tions give performances during the entire year, others for a few months on- ly. This class of people had no paper devoted to their interests until the Record was established. In its columns are noticed aZZ new plays, as is- sued, all manner of inquiries relative to the stage are answered. A complete list of our Edition of dramas is given in each issue. Correspondence from Amateur Companies is given, stating what is produced, and with what suc- cess. An important feature is the publication of a short farce in each issue, making the value in a year $1.80, for these alone — more than three times the charge for subscription. Everything is done, that can be, to make it of great value to the people it is published for. Is a 6 column folio, and issued monthly from our office. "We want a correspondent in every city, town and hamlet, where a public entertainment is given, to send us programmes, and report the success of the performances. An important item in the life of the paper, is a good list of paying subscri- bers. We do not wish to make money on it — only desire it to pay its own way. Our profit will be on our Plays. The subscription will be 50 cents per year — 30 cents for six months, and 15 cents for three months. Any person who may wish to form a club, w^ill on application receive special rates. To any one ordering Plays to the a.mount of $ 3.00, from our own list at one time, the paper will be sent free for one year. We expect to make the RECORD of so much value to every Amateur, that they cannot afford to be without it. You who read this, will you please enclose the subscription price in 1, 2 or 3 cent postage stamps, and send to us at once. A favor will be shown us, by every one interested, if they will work a lit- tle for us. Send us the name of the Manager of every Amateur Company you know of, and we will send him a sample copy of the paper. We want to know the addre^'s of every Manager in the United States and Canada. We wish to receive a letter from every person who may read this, with a subscription, also any suggestion, etc. about the paper. Address A. D. AMES, Dramatic Publisher, CLYDE. OHIO. A. D. AMES, PUBLISHER, CLYDE, 0. OT/R BUSIXESS-WE:^T WE DO. PLATS. We sell everything in the line of dramas and farces, and cali tho attention of our numerous patrons to our own list. We think it em- braces play which will suit either professional or amateur companies. If however yoVl need something, published elsewhere, do not hesitate to send us your orders — our stock is very large, aad we fill promptly.— Stocks of every publisher on hand. LETTERS OF INQUIBY answered promptly, and we solicit correspond- ence. If the business upon which you write concerns you alone, enclose a 3 cent stamp for reply. Amateurs who are puzzled upon any questions' relative to the stage will be answered explicitly, and to the best of our abil- ity. MANUSCRIPT PLAYS. Parties who have Mss. to dispose of should write to us. We will publish whatever may be meritorious, on terms which will be satisfactory. SHEET MUSIC. Orders for sheet music, or music books will be re- ceived and filled as promptly as possible. CATALOGUES will be sent free to any address. Send a postal card, with your address, and the catalogue will be sent by the next mail. HOV/ TO ORDER. It would perhaps seem to every one that any di- rections as to 'how to order' plays was entirely superfluous ; but not so. We have many instances, and remember to have been severely censured by parties, some cf whom failed to sign their name to tbeir order, or failed to write the state, etc. In the first place, begin your order with the name of your post office, county and state. If you order from our list, it is not nec- essary to designate, only by giving the name of the play; but if from the lists of other publishers, state the publishers name, if you know it. Do not writo your letters of inquiry on the same sheet with' yoiir orders, and make the order always as brief as possible. When completed do not fail to sign your name very plainly.. Attention to these rules will Insure the filling of your orders, by return mail. Postage stamps of the denomination of 1, 2 and 3 cents, will be taken in any amount less than $3.00. PLAYS TO SUIT COMPANIES. Amateur companies frequently have trouble in procuring Plays well adapted to their wants, frequently ordering perhaps five dollar's worth in single copies, before anything suitable can be found. All this can be done away with. Our catalogue embraces plays suitable for any and all companies, andif our friends will write to us, state- ing the requirements of their companies, there need be no trouble, in this line at least. If a temperance society wants plays, we have something for them. If a company wants something which is very funny, we can suit them. In fact, we have dramas, farces, tragedies and comedies which wilt suit you. Enclose 15 cents per copy, for as many copies as you may need,, and we guarantee to suit you, if you will state the size of your company, and whether best adopted to the serious or funny. Give us a trial at least. MA GNESIUM TABLEA U LIGHTS. There is scarcely a person who has not been annoyed by the smoking of colored fires, which are so often used on tableaux, and whole scenes in dramas have been ruined by the coughing and noise always attendant on their use. We earnestly recom- mend the use of the Magnesium lights. They can be ignited with a common match, aad burn with wonderful brilliancy. There is no danger in their use;, they make no smoke and are cheap. Price, 25 cents each, by mail, post paid. Ynose who do not know how to burn them, will be instructed by addressing the publisher. I RECENTLY PUBLISHED. t5 An entirely new and original Nautical and Temperance Drama, hy the Am- "g ateur' s favorite author, W. Henri Wilkins, entitled ; THE TURN OF THE TIDE, 3 OR I WRECKED IN PORT. u & ,&,