COPYRIGHT, 1889, BY HAROLD ROOR8ACH 3£toorbact)'s full UescrtytibC Catalogue of Dramas, Comedies, Comediettas, Farces, Tableaux-vivants, Guide-books, Novel Entertainments for Churoh, School and Parlor Exhibitions, etc., containing complete and explicit information, will be tent to any address on receipt of a stamp for return postage. Address as above. ROORBACffS AMERICAN EDITION. PRICE, 15 CENTS EACH. This series embraces the best of plays, suited to the present time. The reprints hav«. been rigidly compared with the original acting copies, so that absolute purity of text and sta§g business is "warranted. Each play is furnished with an introduction, of the greatesrValue to the stage manager, containing the argument or synopsis ol: incidents, complete lists of properties and costumes, diagrams of the stage settings* and practicable.scene-plots, with the fullest stage directions. They are hand., somely printed Trom new electrotype plates, in readable type, on fine paper. Their complete introductions, textual accuracy, and mechanical excellence render these books far superior in every respect to all editions of acting plays hitherto published. 1. ALL THAT GLITTERS IS NOT GOLD. A c6mic drama in two acts. Six male, three female characters, Time, two hours. 2. A SCRAP OF SgAPER. A comic drama in three acts. Six male, six female characters. Time, two hours. 3. MY LORD IN LIVERY. A farce in one act. Five male, three female charac- ters. Time, fifty minutes. 4. CABMAN No. 93. A farce in one act. Two male,- two female characters. Time, lorty minutes. . 5. MILKY WHITE. A domestic drama in two acts. Four male, two female char* acters. Time, one hour and three quarters. 6. PARTNERS FOR LIFE. A comedy in three acts. Seven male, four female characters. Time, two hours. 7. WOODCOCK'S LITTLE GAME. A comedy-faice in two acts. Four male, four female characters. Time, one hour. 8. HOW TO TAME YOUR MOTHER-IN-LAW. A farce in one act. Four male, two female characters. Time, thirty-five minutes. 9. LADY AUDLEY'S SECRET. A drama in two acts. Four male, three female characters. Time, one hour and a quarter. xo. NOT SO BAD AFTER ALL. A comedy in three acts. Six male, five female characters. Time, one hour and forty minutes. 11. WHICH IS WHICH ? A comedietta in one act. Three male, three female characters. Time, fifty minutes. 12. ICI ON PARLE FRANCAIS. A farce in one act. Three male, four female characters. Time, forty-five minutes. 13. DAISY FARM. A drama in four acts. Ten male, four female characters. Time, two hours and twenty minutes. 14. MARRIED LIFE. A comedy in three acts. Five male, five female characters. Time, two hours. 15. A PRETTY PIECE OF BUSINESS. A comedietta in one act. Two male, three female characters. Time, fifty minutes. l5. LEND ME FiVE SHILLINGS. A farce in one act. Five male, two female characters. Time, one hour. 17. UNCLE TOM'S CABIN.— Original Version. A drama in six acts. Fifteen male, seven female characters. Time, three hours. 18. UNCLE TOM'S CABIN.— New Version. A drama in five acts. Seven male, five female characters. Time, two hours and a quarter. 19. LONDON ASSURANCE. A comedy in five acts. Ten male, three female characters. Time, two hours and three quarters. 20. ATCHI ! A caunedietta in one act. Three male, two female characters. Time, forty minutes. 21. WHO IS WHO? A farce in one act. Three male, two female characters. Time, forty minutes. 22. THE WOVEN WEB. A drama in four acts. Seven male, three femaU char- acters. Time, two hours and twenty minutes. y&fAny of the above ivill be sent by mail, post-paid, to any address, on receipt 0/ the price. HAROLD ROORBACH, Publisher, 9 Murray St., New York. A CASE FOR EVICTION . A COMEDIETTA IN ONE ACT BY S. THEYRE SMITH New American Edition, Correctly Reprinted from the Original Authorized Acting Edition, with the Original Cast of the Characters, Argument of the Play, Time of Representation, Scene and Property Plots, Diagram of the Stage Setting, Sides of Entrance and Exit, Relative Posi- tions of the Performers, Explana- tion of the Stage Directions, etc., and all of the stage Business. Copyright, 1890, by Harold Roorbach. NEW YORK HAROLD ROORBACH PUBLISHER \ A CASE FOR EVICTION CAST OF CHARACTERS. St. James' Theatre, London, Dec. jyth, 1883. FRANK Mr. Alexander. Dora Miss Linda Dietz. Mary (a servant} ' Miss Whitty. Time of Representation — Thirty Minutes. THE ARGUMENT. A young husband and wife having formed the acquaintance of Major O'Golly, a companionable Irish gentleman, invite him to spend a few days with them, which invitation he accepts and settles himself for weeks instead, making himself unpleasantly at home in spite of his hosts' numerous sugges- tions that their only spare-room is needed for other guests. The young couple are in despair that their first year of married life should be made so miserable, for this man's presence is a constant bone of contention and the wife is sorely vexed that her husband does not do something to get rid of their guest ; but he reminds her of the delicacy of his position ;— that he is a young physician anxious for practice, and that the Major's ill-will might do him infinite harm ; so they must bear with him until he chooses to go. But finally when the maid-servant threatens to leave in consequence of the Major's familiarity the husband determines to find out definitely when he intends to leave, but is met with one of the Irishman's funny stories and made helpless with laughter, to the disgust of his wife, who declares that she shall tell their guest plainly to go. The Major's gift for pathos proves as great as his fund of humor; arid he soon has the tender-hearted woman crying bitterly and she leaves him without carrying out her design. Relief comes with the unexpected arrival of Mrs. Major O'Golly whose pres- ence has the effect of sending her lord out of the house in a most stealthy A CASE FOR EVICTION. 3 manner and she is not slow to follow. The door is ordered to be locked and chained ; but before it is done two welcome guests arrive, and so glad to see them are the husband and wife that they hope they will stay until they think it another Case for Eviction. COSTUMES. Morning dress for Frank and Dora. Print gown, white cap, linen collar and cuffs for Mary. PROPERTIES. Furniture as per scene plot. Letters, bell, writing materials, stationery case, stethoscope, books, etc., on table, r. Books on book-case up l. Flowers in vase, and lady's fancy work on small table, L. Cornet off stage. Newspaper for Dora. Two letters, visiting card and telegram for Mary to bring in on a salver. STAGE SETTING AND SCENE PLOT. Window Sofa J) 00r Scene. — Fancy chamber boxed in 3c, backed with corridor backing in 4c Doors c. and l. 3 E. Window r. 3 e. Sofa up R., book-case up l., against flat. Small table L., with arm chair R. of it. Large writing table r., with revolving chair R. of it and small chair L. of it. Fireplace at l. i e. Carpet down. N. B. Set scenery is not essential to the action, and may be dispensed with if preferred. STAGE DIRECTIONS. In observing, the player is supposed to face the audience, r., means right; l., left; c, centre; r. c, right of centre; L. c, left of centre; D. r 4 A CASE FOR EVfCTlON'. f., door in the flat or back scene; R. f., right side of the flat; L. F., left side of the flat; R. d., right door; l. D., left door; C. D., centre door; I E., first entrance; 2 e., second entrance; U. E., upper entrance; I, 2 or 3 g., first, second or third grooves ; up stage, towards the back ; down stage, towards the footlights. R. R. C. L. C. L. Note. — The text of this play is correctly reprinted from the original authorized acting edition, without change. The introductory matter has been carefully prepared by an expert, and is the only part of this book protected by copyright. A CASE FOR EVICTION. Scene. — A doctor s consulting room ; large pedestal writing table, R., with writing materials, stationery case, stethoscope, books, &*c ; door, c ; door, u. e. l. ; window, u. e. r. ; bookcase with books against l. f. ; fireplace, ie.l. ; sofa against R.fiat; small table, L., with lady s easy chair R. of it ; vaseforfloiverson L. table; lady s work on L. table ; revolving library chair R. ofR. table. Frank and Dora enter from C. door. Frank. But, my dear Dolly, don't lay all the blame upon me. (sits R. ofR. table, and begins to open his letters) Dora, (sitting, L.) But, my dear Frank, where am I to lay it? Frank, (impatiently) Why should you lay it anywhere ? Dora. Because I will not consent to bear it myself. Frank. You ought to bear your share of it, at any rate. Dora. Why, you cannot say, Frank, that / asked this man here. Frank. If you did not ask him, you agreed to my doing so. Dora. I ! what did I say ? Frank. You said you knew he would be pleased to come. Dora. Did I ? I wish I knew when he would be pleased to go. Is there no way of getting the odious creature out of the house? Couldn't you speak to the landlord or something? Frank. The landlord ! what business is it of the landlord's ? Dora. Well, I thought fixtures were the landlord's business. Then couldn't you — couldn't you Oh, Frank ! why did you ask him to stay here? (opens newspaper) Frank. Oh, dear ! That eternal question ! I wonder how often you have asked me that in the last month ? Dora. A good many times, I dare say, for it has been the longest month I ever knew. Why did you, love? Frank. W T hat is the use of asking questions like that? Do you want the whole history repeated daily? That we met Major O'Golly at Buxton, and that we found him such a pleasant com- panion 6 A CASE FOR EVICTION. Dora. Don't say we, dear. Frank, [louder) Such a pleasant companion that we asked him Dora. You mean you, love. Frank, [angrily) That we asked him to stay with us for a few days. Dora. And he has stayed a few weeks. Frank. I know that, don't I? Dora. And how much longer is he going to stay ? Frank. How on earth can I tell? Dora, [rises) But, Frank, it's unbearable. This dreadful Irish- ' man establishes himself in our best bedroom, makes my drawing- room his sitting-room, criticises my poor little dinners, interferes with my servants, has a latch-key and keeps what hours he pleases, turns night into day and day into night, Sundays into week days and — no, never week days into Sundays — [crosses to R. table) Of all the dreadful creatures to have in a house ! — Oh, Frank ! Do — do get him out ! Frank, (r. of R. table) My darling, how can I ? I can't use actual physical force ; and as for hints and suggestions and so forth, I've simply exhausted the whole language of innuendo with- out moving an eyelid of him, or only an eyelid, for he turns every- thing off with a wink, and then [smiling as if at the recollection) it's difficult to say anything more, for he's a wonderfully funny fellow, there's no doubt of that, nuisance as he is in a house. Dora. I don't think him funny at all. If there is anything wonderful in him it is a pathetic gift he has — a power of working on your feelings and all that. But he is odious altogether, [rises; sits on chair, l. ) Frank, [rising and half sitting on R. table) Well, I've done all I can, but he won't take a hint. When I told him that I wanted Jack Trevor to stay a short time, with us, only we had not another room Dora, (^jl.) I remember, he said "Sure an these small houses break your heart entohely." [aside) It kept out Mr. Trevor though, which was a mercy, [aloud] And don't you remember, Frank, when I told him quite plainly that I expected my cousin Sophie Crumples, and that she would want to go into his room Frank. I recollect; said he should be " deloighted." [aside) It blocked out Sophie Crumples, however, and that was worth anything. Dora. Ah ! odious creature ! Oh Frank ! Can't you do some- thing ? Frank. Do something ! My dear Dora, do consider the delicacy of my position; [gets to c.) that I'm a young doctor waiting for patients — who don't come, confound them! — and how very par- ticular I have to be to offend no one. This fellow might do me a A CASE FOR EVICTION. 7 lot of harm if he liked. So let us bear with him as best we can till he chooses to go. He can't stay for ever. Where is he now ? Dora. That's just what I'm dying to tell you. Where do you think ? Frank. If you are dying to tell me why do you ask me to guess? Smoking in the drawing-room? Dora. Not this morning. Frank. Lecturing the servants? Dora. Not just now. Frank. Speaking to the cook about the dinner? Dora. Oh! he has done that already. Frank, {impatiently) Where is he then? Dora. In bed. Frank, [astonished) In Dora, {sharply) Bed. Frank. In bed! at this hour! one o'clock! Why, he was at breakfast. He must be ill. I had better go to him. He may want {as if to go) Dora, {rises) Frank ! You would never try to cure him if he were ill — would you? You would never stop the only way by which we can hope to get rid of him ? Frank. What do you mean ? Dora. Well, it is the only way. He will never go as long as he is alive, I'm sure. Enter, Mary, c. Mary. Please, ma'am, the Major's calling for seltzer water and brandy. Dora. There ! The house might be an inn. Frank, (r. of k. table) Well, you know where they are. Exit, Mary, c. Dora. What ! he is to have it, is he ? [sits, l. ) Frank. My love, we can't deny him the common necessaries of existence, {sits on table, r.) Dora, {at work) The necessaries of existence ! Well, I wonder what you would have said if some friend of mine — if Sophie Crum- ples, for instance — had come and occupied the house as this wretch of yours has done. Frank, {aside) I'll be hanged if Sophie Crumples ever has the chance. Dora. She might have gone to bed at one o'clock, I suppose. Frank. Whatever hour she went it would have been all one to me. (re-enter Mary, c.) Well, what is it now ? Mary, (c.) Major O'Golly says, sir, that on second thoughts he should prefer whiskey. (Dora laughs ironically) Frank. Well, well, well— take it Win, Exit, Mary. Dora, {sarcastically) Do all your friends require spirits in a morning, Frank? 8 A CASE FOR EVICTION. Frank. You'll know when Jack Trevor comes what my real friends are like. Dora, [aside) If I am to wait till then I shall never know. Mr. Trevor shall never stay here, [aloud) " He should prefer whiskey." I think it's disgusting. Frank. So it is ; no doubt it is — or would be in an Englishman. But these Irishmen — whiskey's mother's milk to them. Dora. Indeed ! It's more like being brought up by the bottle, I think. And you may say what you like, P>ank, about the neces- sity of not offending him because you're a doctor, but how you can expect patients to come when you have such a man as this in the house, I don't know. Frank, (r. of R. table) Why, how should he prevent them? I dare say the public take him for a patient. They see him at the door daily. They must suppose he comes here for something. Dora. But they can't suppose he came here for good. A patient ! He doesn't look a bit like a patient. Frank, (gets to C.) Pooh! Dolly! How should you know what a patient looks like ? Dora, (bitterly) How should I, indeed — in this house? Frank. You need not sneer at me for my ill-success, Dora, at any rate. Dora, (rises) No, no, my darling ! I did not mean it for a moment. But this dreadful man ! I am so vexed I don't know what I say. Frank. Vexed ! and who isn't vexed? (savagely) I am so vexed I should like to kick somebody. Dora, (coaxingly) Well, why not, dear! I dare say he would go then. Frank. Hang it ! You can't kick a man in your own house. Dora. No, but I mean kick him out of the house, Frank. Re-enter, Mary, c. Mary. Oh dear! oh dear! Please ma'am, is there any Polly Nary water? Dora. What? Mary. Polly Nary water, ma'am. Major O'Golly savs he's been thinking it over again, and he'd sooner have Polly Nary water with his whiskey. There's more "go" in it ma'am, the Major says. Dora. Oh, then for mercy's sake, let him have some, Frank. Frank, (r. of R. table) There is none. Tell him there is no Apollinaris water ; and that if seltzer water won't do, I'm afraid he must go without. Mary. Yes, sir. Exit, c. Dora. Frank! listen! I've got an idea. (Frank^AC.) I know how to make him go. Borrow money of him. A CASE FOR EVICTION. 9 Frank. Eh? By Jove! Dolly, that's a good notion. We've never tried that at any rate. Yes. Where is some paper ? [sits R. of table r. ) It might [writes) " Dear O'Golly . . . could . . . oblige me infinitely . . sorry to trouble you . . . would you mind lending me five pounds? . . . forgive this . . . " There! (re-enter, Mary, C.) Ah! I just want you. Take this to Major O'Golly and wait for an answer, {folding note) Mary. Yes, sir, but — this note from the Major. Frank. Eh? Mary. And I was to wait for an answer to that. Frank. Oh — just open it, Dolly, will you, while I finish this? ( directing en v elope ) Dora, {opens note) The wretch ! Frank. Eh ? {reprovingly, with a glance towards Mary) My dear ! Dora. Well! who could help it? Just listen, {reads) " My dear boy, lend me a tr^ner and make me your slave for life. I'll pay you again in no time." I suspect that's true enough. Then here's some Latin, {reads) " ' Bis dat qui cito dat,' which means, send it in two fivers and be quick about it." {indignantly) It doesn't, does it, Frank? Frank. Of course it doesn't. Confound the impudent bog- trotting Dora, {reprovingly, with a glance at Mary) My love ! Frank. Well, I only meant — {to Mary) My compliments to Major O'Golly. and I'm sorry I can't oblige him. {tears his own note) Mary. Yes, sir. And if you please, ma'am, I should wish to give warning. Dora. (l. o/k. table) Very well. I'm not surprised to hear it. I expect all the servants will give warning, and I can't complain if they do. Frank. What on earth do you want to leave for ? Mary. I'm very sorry, sir, but — my health is not strong, and Major O'Golly he — he wants so much attendance, and Dora. Of course — of course. You see, my dear — {to Mary) Very well. {Mary going) Frank, {passes behind table to door, c.) Stop, Mary! don't be silly — I'm going to speak to Major O'Golly now. He is in his bedroom, I think ? Mary. No ; just gone into the drawing-room, sir. Frank. Very good — I shall be back directly, Dora. Dora. Oh ! my dear, you will find out Frank. I am determined to have a distinct answer when he means to go ! Exit, C. Dora. Oh, dear Frank ! Be firm ! {gets to R. of*, table) IO A CASE FOR EVICTION. Mary, (c.) I'm very sorry, ma'am. I'm sure till the Major came I had no cause to complain of my place at all. Dora. There's no explanation necessary. I tell you I think you are quite right to leave. Your work must be double what Mary. Oh ! it isn't the work. I'm not afraid of work, ma'am. Dora. Not of fair work, I'm sure. But the trouble Major O'Golly gives must Mary. Oh ! I don't mind the trouble, ma'am. Dora. I don't quite understand, then — I think Mary. Well, ma'am, you see — it isn't — now master's gone I can tell you — it isn't the work. The Major's too free, ma'am. Yes, ma'am, kissing the servants and all that. Dora, {horrified} Kissing! You don't mean that he has dared Mary. Oh ! yes, ma'am — he's dared it a long time, but he done it this morning. Dora, [in consternation) Well ! And whom did he kiss ? Mary. Me, ma'am! Yes, ma'am. I'd no ^sooner taken the wire off the seltzer-water, and was struggling with the cork, than the Major — he seized the opportunity, ma'am. Dora. It's shameful ! it's horrible! You should have told your master this before he went to speak to Major O'Golly. Mary, [bashfully) Yes, ma'am! But one doesn't like to men- tion such things before gentlemen — and they only laugh, I've noticed. They don't seem to think so much of them as we do. Dora. It's too disgusting — when my husband hears of this he — [laughter heard offR. c.) What's that ? Mary. That's the Major laughing, ma'am. He is a funny gen- tleman and that's true. Dora. Funny ! Ah ! your master is insisting on his going and the horrid creature is trying to laugh it off. [laugh of two voices) Mary. Aren't they both laughing it off, ma'am? Dora. No, surely, [laugh) Yes — ah! they must have arranged it all with good humor then. Well, that is better, no doubt' Run away, Mary ; they may want you to call a cab, perhaps. (exit, Mary, c.) He must have consented to go; and if he has there will be no necessity for my mentioning his disgusting behavior. Frank would be furious, I'm sure. I cannot understand the way men treat women, [rises, crosses to L.) Look at Frank's friend, Mr. Trevor, the way he behaved to Sophie Crumples — simply deserted her because — just because — well, he knew she didn't mean it. He knew perfectly well that he had only to ask again. Ah ! I hate him. He shall never come to this house, I'm determined. Major O'Golly is bad enough — makes my life miserable, and — [gets to table,!,. Frank re-enters, laughing, C.) Oh, my darling ! [running to him) Is he going ? Frank, [seated h. of K. table) Eh? [speaking through suppressed A CASE FOR EVICTION. II laughter) He is the most amusing fellow I ever met. I declare he'd make a cow laugh. Dora. Yes, dear, he's very amusing indeed. When does he go ? Frank, {absently) What? [through laughter) He has a story ready for every possible contingency that simply makes you ill with laughing. Dora. Yes, dear, I know. When does he go? Frank, [absently) H'm ! [through laughter) What a face it is, by Jove ! There is a cock of the eye that begins with half a wink, and develops into [laughing) Dora. Frank ! When does he go ? Frank. H'm? What? Eh? Oh! Go? I don't know. Dora, [indignant surprise) You don't know ! Frank. No, he made me laugh so that I couldn't think of his going. Dora. Do you mean he is to remain ? Frank. No, no ; of course not. Dora. Then, Frank, when is he going ? Frank. Upon my word, my dear, I can't say. I suppose he'll stay a short time longer. Dora. Then you mean to say you didn't send him off? Frank. No ! He sent me off. [laughing) Dora, [walks to L. c, and back to c, annoyed) I declare, Frank, I did not think you were so weak. I did not think that when you had fairly made up your mind about a thing you would be diverted from your purpose by a wretched joke. However, you will have to make him go now, for since you went, something has come to my ears that makes it impossible for him to remain longer under the same roof with me. Frank, [rising) What on earth do you mean ? Dora. Why — but you must promise me not to be violent about it. You must promise me, Frank. Frank. Why can't you say what you mean ? If it is anything to be violent about I certainly won't promise. Dora. No, no, it isn't. Frank. Then what's the good of my promising? Now, hang it all, what is it, Dora ? Dora. Well, my dear, if you'll be quite calm, he — now be patient, Frank! — he — Major O'Golly, you know — I declare I'm almost ashamed to mention it — but he—Oh, Frank ! — [in a low, horrified tone) he kisses the servants ! Frank, [indifferently) Oh! [dropping into chair, R.) That all? Ha! ha! Dora. That all ! — and you can laugh ! Frank, [still grinning) No, no. I didn't laugh, did I ? Dora. Yes, you did, and you're laughing now. Why, I think his conduct is disgusting. 12 A CASE FOR EVICTION. Frank. So it is — so no doubt it is — at least it would be in an Englishman; but these Irishmen, somehow they are different. Dora. Different ! Ain't they to behave themselves properly ? Frank. Upon my word, Dolly, I don't know. Dora. But in the house, Frank. Frank. In the House ! Nay, by George ! that's where they behave worst of all. Dora. I don't know what you mean. But, of course, you will speak to him about this ? Frank, (rises) I declare I can't, Doll. I should laugh. Dora. Then, if you won't, I will. Frank. All right. You will do it far better than I should. Dora. I shall tell him plainly that he must go. (goes up C. door) Frank. Do, and I wish you all success, (as she is going) Take care he don't make you laugh. Dora. Make me laugh? I am not so weak. Exit, C. Frank. Weak ! Ha ! ha ! Weak for laughing at a witty thing ! (rising and walking room) Women have no more sense of humor than a Highlander. Is it the petticoat that does it, I wonder? They are all the same. Look at that cousin of hers, Sophie Crum- ples. Did any one ever tell that girl a story without her saying at the end of it, "And did so and so do so and so?" She has not the sense to see the point of the story, you know, and so wonders why you stop there. By Jove! how I hate that girl ! I always disliked her, but the way she treated Jack Trevor was unpardon- able ! leading him on, and leading him on, and then when he pro- posed — Bah ! it's too disgusting. No ! sooner than she should be a guest in my house I — (glancing out of the window) By Jove ! a telegraph boy ! (knock at front door) Yes, by all that is fortunate. Is the luck turned at last? How delighted Dolly will be ! A summons to the country perhaps, (goes to door) Here you are, Mary ! Bring it in quick, {gets R. ofR. table) Mary appears at door. Mary. What in, sir? Frank. Why, the telegram. You've got a telegram there, haven't you ? Mary. Yes, sir ; for Major O'Golly. Frank. For Major ! Oh! Oh, very well! all right, (exit Mary, c. ; he crosses to fire-place l.) This fellow is a perfect curse. All my letters and telegrams are for him. How can a man get on when the very means of communication with the outer world are closed against him by this pernicious son of Erin ? Ah me ! another morning gone and nothing done. What's come to all the patients? Is the world grown healthier all of a sudden — or only wiser? Confound this O'Golly ! My home is not my own. I'm a sort of major domo, my wife a mere housekeeper to this inso- A CASE FOR EVICTION. 13 lent intruder, who (Dora re-enters, C, kerchief to her eyes) You are laughing ! Dora. (R. C.) I'm not, I'm c — c — crying. Frank. Why? What for? What's the matter now? Dora. Oh, Frank ! He — he touched me. Frank. Touched you ! Has he had the audacity ( springing up furious) Dora. No — no, I don't mean that. Affected me, I mean. Frank. Oh ! I see W 7 ell, will he go ? Dora, {absently) Eh? {in a tearful voice) Oh! how he has suf- fered ! (sits L. ofR. ladle) Frank. Has he, indeed? Will he go? Dora, [absently) What? (as before) And how nobly he has borne it! Frank. Oh! no doubt. Will he go? (l.