SAVED FROM THE WRECK ,Z A DRAMA IN THREE ACTS V THOMAS K. SERRANO PRICE 15 CENTS NEW YORK HAROLD ROORBACH. PUBLISHER g Murray Street THE ACTING DRAMA. PRICE 15 CENTS EACH. I Single Life. a Boarding School. 3 The Spitfire. 4 Irish Dragoon. 3?y;^ SAVED FROM THE WRECK. 3 COSTUMES. Atwood. Grey suit, autumn overcoat, silk hat and patent leather shoes. Light hair, moustache and side-whiskers. Latoik. Dark suit, cull-skin shoes, derhy hat. Black hair and heard, sli<^htly tinged with giey. Gigglp:. Fashionahly dressed (a la dude), patent leather shoes, silk hut, etc. Jewelry, eye-glass and cane. Katcraft. Dark trousers tucked in heavy hoots, 1)1 ue flannel shirt, soft slouch hat and pea-jacket. His hair is iron gray and he wears a grizzly heard. Hakley. Light trousers tucked in heavy hoots, a neat hlue flan- nel shirt, neck-tie, i^ea-jacket and derhy hat. Black curly hair, hut no heard. MuLLiN. In dress, huild and appearance similar to Latuur. . 1 )i important factor of the play. Sammy. Dark trousers tucked in l)oots, flannel shirt, neck-tie and sh)nch hat. Light hair, l)ut no heard. Fizzles. Dark navy hlue suit and silk luit. Sandy hair and moustache. ALvDELiNE. Fashionahly attired, wrap, parasol, etc. Blonde hair, ex(|uisitely arranged. Elsie. Caml)ric polka-dotted dress, slippers, etc. Light hair, arranged in girlish fashion with a ril)hon. Mrs. Katckaft. Matronly attire, dark dress, white apron, etc. Black hair, tastefully arranged, slightly tinged with grey. PROPERTIES. Acts I and II. An old fashioned bufiet, L. II., on which bottles, glas.ses, and decanters are arranged. Sofa K, H. Tables R. C. and L. C. Chairs K. and L. of tables. Easy chair near tireplace. Grate tire C. Screen, five feet high, before tire. Clock, writing ma- terials and lamps, ready to light, R. and L., on mantel shelf at fireplace. Curtains at windows, looped back. Pocket-book con- taining banknotes, and pistol for Atwood. Pocket-book, letters and documents for Latour. Knives and pistols for Katcraft and MuLLiN. Letter lor Sammy. Card for Giggle. Pencil for MuL- LIN. Tray, glasses and l)ottles ready at prompt stand. Basket. Crash (glass) readj for use. Matches on table, L. Handcuft's. j)is- tol, and photograph for Fizzles. Pipe and tobacco lor Latour. Money for Giggle. Lighted cigarette lor Giggle. Powder in paper for CLINCHER. Kain outside. Act IIL Halved banknotes and documents in pocket-book, and pistol for Atwood. See that one of Mulltx's slioes is marked on the top " No. 17." Whistle ami knife for Katcraft. Lett<'rand warrant for Fizzles. Memoranda and ])encil fur J^ATOiK. Letter (patched) for Giggle. Taljie aud chairs R. C. Canvas cot up R. U. E. Lighted lamp, writing materials, jug of water aud glass on 4 SAVED FROM THE WRECK. table. Coils of rope piled np high, R. and L., above doors. Strong rope, an inch thick, for Katckaft. Nautical bric-a-brac ar- ranged about stage. STAGE SETTINGS. Acts I and II. /J/o./..» Bci<.k. a 1 Door T abte & i Do Act III, Scene 2. Mar.ne B'^rh.ny SCENE PLOT. ACTS I and II. Sitting-room in the Atlantic House at Barnegat. Plain chamber boxed in 4 G. Doors R. U. E. and L. U. E. Doors R. 2 E. and L. 2E. (Note : Door R. 2 E. should open up stage, so as to screen Giggle at close of Act I.) Windows R. and L. at back. Mantel shelf and fireplace SAVED FROM THE WRECK. 5 C, at back, "with grate fire. The scene is backed with a marine landscape which is seen through the windows R. and L. Backings at all entrances. ACT III. Scene 1. — A landscape in 1st grooves. Scene 2. — Storage room on the ground floor of the light-house, boxed iu 4 G. Doors R C. and L. C.,at back. Window C, in alcove. Doors R. 2 E. and L. 2 E. The scene is backed with a marine land- scape which is seen through the window C. Moonlight effect on the backing, if practicable. Have suitable backings at all entrances. STAGE DIRECTIONS. The player is supposed to be facing the audience. R. means right ; L., left; C., centre; R. C, right of centre ; L. C, left of centre ; D. F., door in the flat or scene running across the back of the stage; R. F., right side of the flat; L. F., left side of the flat; R. D., right door; L. D., left door ; 1 E., first entrance; 2 E., second entrance; U. E., upper entrance; 1, 2 or 3 G., first, second or third grooves; up stage — toward the back ; down stage — toward the footlights. K- RC. C. L. C. L. SAYED FEOM THE WRECK. ACT I. Scene: Sitting room, neatly furnished, in the Atlantic House — Barnegat. Time, afternoon. As the curtain rises, Elsie is discovered waiving her handker- chief, while looking out of IVijtdow r. Enter Atwood r. U. E. Atwood. [On entering.) Ah, good day, Miss Elsie. [Comi7ig down C.) Was that one of your admirers, passed me just now? Elsie. [Down r.) Yes, Squire — one of them. Atw. I'll wager, I know one who has a better chance than he of winning you. Elsie. Do you mean Harley ? Atw. [Perplexed.) Harley] Who is he ? Elsie. My father's assistant at the light-house. Atw. Ah, yes, an ignorant boatman. You surely do not love such a booby ? Elsie. I don't know whether I love him, but one thing I do know ; 1 don't like you, or any one else, who speaks ill of him. Atw. Why, you surprise me. Miss Elsie! I always thought your ambition was of a higher plane. A young and pretty girl like you should have aspirations above this rookery of a place — and the love of a penniless boatman. Elsie. And for what should I change it ? Atw. For the love of a man who would find you wealth, and change that cambric gown for one of silk, and cover those pretty fingers with diamonds. Elsie. And who is the lover to do this? Atw. [Advancing to her.) I. 6 SAVED FROM THE WRECK. 7 Elsie. {^Retreating a step.) You ? Atw. [Business as before.) Yes, I. Elsie. {^Business as before.) But you have a wife already. Atw. True ; but I can at least make you my protegee. Elsie. Pardon me, Squire ; in this old rookery, as you call it, I was born and reared, and taught by my mother to be an industri- ous and honest girl. If I prefer a cambric gown and the honest love of a penniless boatman to your diamonds, you must please score it to my ignorance. {Xes l.) Enter Harley, r. u. e. Atw. Listen ere it be too late, Elsie. If you wed the boatman your life will be one of poverty ; if you accept my protection, it will be one of luxury. Come, which shall it be? Harley. {Coming dowft C, unseen.) Yes, which shall it be? The boatman's wife, or the ':^q^\x€ s protegee ? Elsie. {Going to Harley.) Why, the boatman's wife, Harley! Atw. You've been eavesdropping, scoundrel! Were we equals, I should chastise you for this intrusion. {Starts to go up stage, but is intercepted by Harley.) Har. A word with you, sir. Whatever there may be twixt our stations of life, remember, I come from a family that do not insult women. Go! {Xes down r. in thought.) Atw. I trust, Miss Elsie, the next time I have the pleasure of a tete-a-tete with you, it will not be interrupted, especially by a nobody. Exit R. U. E. Elsie, (l.) Vl-a.x\q.^\ {He takes no notice.) Harley, dear Harl. (r.) Don't speak to me any more. Elsie. Why not? Harl. For encouraging that fellow. Elsie. I don't encourage him, indeed I don't. {Going to him.) Harley, dear, you don't suppose I could prefer him to you ? Harl. I don't know. Elsie. I am very sorry if I have offended you. Harl. {Turniiig round and kissing her.) There! say no more about it. Elsie. Why, Harley, your clothes are wet ! Harl. Yes, my dear, but I am none the worse for a little sea water. 8 SAVED FROiM THE WRECK, Elsie. Unless it cools your love. • Harl. Ah ! it would take all the water in the broad Atlantic to do that Elsie. {Pointing to his clothes.) But how did it happen ? Harl. As I was pulling homeward from the lighthouse, I noticed a boat drifting seaward, and in it was a lady — I went to her rescue, and Elsie. And you saved her? Harl. Well, she'd have been drowned if I hadn't gone ; and — and — well, I have no wish to speak further on the subject. Enter MRS. Katcraft L. U. E. Mrs. Katcraft. [Down c.) Why, it's Harley ! [Kisses him.) W^ell, I am so glad you have come home. Why, you are wet through ! Harl. Never mind, Mrs. Katcraft. A kiss from Elsie will keep the cold out. Mrs. K. Now, Harley, don't you fill my girl's head with a lot of nonsense ; and above all, make no engagements. Rememberyou may yet find your parents. Harl. Oh ! if you could assist me ? Mrs. K. Ah, I know but little more than you ! When you w-ere left in the charge of my husband about eighteen years ago, by a stranger who Enter Clincher Katcraft, r. u. e., accompatiied by Mullin, who remains up c. Clincher. {Down i..) Hello! gossiping again ? ( 7.) Atw. The carriage is here. Will you not ride home, Made- line? Mad. Thank you, no — at least not at present. Exit, L. u. E. Mrs. K. How polite ! What a happy couple they must be. Exit, L. u. E. Atw. At her death ! Oh, if the devil would but place the means within my grasp! [Retires up stage C.) Enter Clincher and Mullin, r. u. e. Clincher. Honesty — ha ! ha ! ha ! — My notion of honesty is keeping out of prison. Atw. Mind you do keep out. 28 SAVED P^ROM THE WRECK. Clinch. {^Surprised.) Phew! the Squire ! Atw. Who is this with you ? Clinch. A friend. Atw. {^Looking at y[.\iiSL.\^.) Um ! answers the detective's de- scription, and hke the portrait. Ah, how do you do, Michael MuUin — {Xhig to him.) Mullin. Eh! that ain't my name. Atw. No, of course not; that's why you turned pale. Return- ing to Sing-Sing is even worse than the light-house — oh, come, I know you. Mul. Curse you, I'll — {Draws knife — Clincher stops him.) Atw. Keep quiet and listen to me. I can speak freely to you both, because you are both in my power. Clinch, (r.) How? Atw. Because you. Clincher Katkraft, keep stolen and smug- gled property at the light-house; and you [To Mullin.) are an escaped convict. Atw. As you entered, you saw a carriage at the door? Clinch. Yes, your wife's. Atw. (l.) It will have to cross the bridge over the creek. Is that bridge safe ? Clinch. (C.) You know it ain't — why, if it wasn't for one particu- lar support that I knows of, when the carriage crossed the person inside would Atw. Be killed, eh ? Clinch. Yes. Atw. Well, if an accident should happen to that bridge to- ■ night I M'r- } WelU- f Atw. I'd give $500 to some deserving charity. Clinch. We are that deserving charity. (7^ Mullin.) What do you say, partner? It can be done without risk. Mul. 1 say — do it. Clinch. How is the money to be paid? Atw. After the accident, or you might forget to do it. SAVED P^ROM THE WRECK. 29 Clinch. No; before the accident, or you might forget to pay. Atw. {Selecting from wallet five $100 notes. ) Well ! here are five one hundred dollar bills. We'll cut them in halves— each half being useless without its mate. You shall keep these {Gives them half notes), and I'll keep these. Now, after the accident, you can have these halves. Clinch. That will do. (7'^Mullin.) Here, let's divide. {Gives MuLLiN two afid a half of the notes.) Mai. {Looking around, sees Fizzles^/ Window -l.) Ah! look out, we are watched. I'm off. {Drops bills, rushes to l. 2 e,, and stumbles against Latour, who enters; Fizzles disappears; Clincher afid Atwood look out of window, l.) Latour. ( lo MuLLiN.) Mind where you are running ! Mul. I'm in a hurry. Exit, MuLLiN, L. 2 e. Latour sits on chair near fire, c. Atw. I cannot see anyone — ( Taking head in from window.) Clinch. Perhaps he's gone round to the back of the house. Fizzles. (Enters i^.i'E.., looking back.) Was it he that I passed? {Sees Latour.) No ! He is here ! {Advaticing to Latour.) Lat. Here's who? Do you want to put those bracelets on me again ? Fiz. Tricked again, confound it I Exit, R. u. e. Atw. You must be mistaken. Clincher. {Advaming down c.) Here is your share of the bills. {Picking up bills dropped by MuLLiN ; giving them to Latour, whom he mistakes for the former. ) Clinch. Come along. The bridge will break, the carnage will fall and, oh ! if I could only get my wife into it. Exit Atwood, l. u. e. Enter MuLLiN, R. u. E., coming towards Cli'scher. Clinch. Come along, Mullin. {Going towards R. 2 E.) MuUin. {Partly aside.) Doubled him again. Clinch. Are you coming, Mullin, or do you intend standing there all night? Mul. {Following him.) You needn't shout in that fashion, CHncher. I'm coming. Exit, with Clincher, r. 2 E. Lat. {At fire.) What's this accident ? Loosen the supports and get rid of his wife ! Can it be, that they are planning a murder 30 SAVED FROM THE WRECK. wo under the disguise of an accident? {Examines notes.) T\ halves and a quarter of three ^loo bills, eh! I'll see what this means. [Rises.) Enter Madeline cmd Mrs, Katcraft, l. u. e. Madeline. [Conmig to c.) I am much obliged to you for your attention. Mrs. Katcraft. I hope, madam, we shall be honored by your presence more often. Mad. That you will, Mrs. Katcraft. (Enter Atwood, l. u. e.) I'm prepared to return home. Squire. Is the carriage ready? Atw. (l.) Yes, my dear; [Aside.) ready to carry you to your death. Shall I spare her? I'll give her another chance. [Alotid.) A word my dear ; will you let me have the money ? Mad. Not while I Hve, Squire. Atw. [Aside.) Then let my plans do their worst. Madam, I await you. [Bowing to Madeline.) Mad. [To Mrs. Katcraft.) Till we meet again, adieu. Exit with Atwood, r. u. e., a/te?' Mrs. Katcraft has opened door; she follows off, Lat. [Coming down C.) My wife ! Gig. ( Who enters R. u. E.) What ! Lat. Where is she going ? Gig. To her carriage, to drive home. Lat. Ha ! which way ? Gig. The nearest way, of course, across the bridge. Lat. Great heavens ! I see it all ; she is to be the victim. There is no time to be lost. [Going up c. rapidly to R. u. e.) Gig. Where are you going ? Lat. To prevent a crime ! Exit, r. u. e. Gig. [Sittittg at table, R.) His wife ! Oh, here's a how dye do! a pretty how dye do! Ha! ha! ha ! (Enter Atwood, r. 2 E. , and Xes to l.) How would you like to lose your wife, sir, and her fortune, too? Atwcxjd. Her fortune! Ah, no! If I lose my wife, I gain a fortune. Gig. Oh, no, you wouldn't. Atw. Oh, yes, I should. At her death her fortune reverts to her husbeind. SAVED FROM THE WRECK. 31 Gig. But you are not her husband. At>v. Not her husband ! Then who is ? Gig. Who? Ha! ha! ha! Why, Joseph Latour. Atw. Ah ! impossible. I was legally married to her. Gig. So was he ; only he was married first, ha ! ha! ha! Atw. Idiot! Gig. She was married before — had a row — husband went to sea — supposed to be drowned — was saved fro?}i the wreck — married you — came into a fortune from your father, at his death, after her marriage with you — husband now turns up, and you are nowhere — like the man in the balloon that never came down again. Oh, Squire Atwood, if I don't laugh, I shall burst like the man who swallowed the bombshell. Atw. [Aside.) If this be true, I am lost indeed ! (^5 /le rushes to door, R. u. E., crash is heai-d, like the breaking of timbers ^ followed by a scream.) Too late! [Giggle laughs; Mullin enters R. u. E.) Ah I the bridge ? Mullin. [Coming down Q..) Broken down. [Taps Giggle on shoulder; he looks round, sees Mullin, and immediately stops laughing. ) Gig. I'll make myself scarce. Exit, R. 2 E. Atw. But the carriage ! Mul. Is smashed to pieces. Atw. And my wife ? Enter Latour, r. u. e., carryi7ig^\kT>Ki.i-i^^^ fainting. Xatour. [Placing Madeline in chair near screen.) Is safe, Squire Atwood. Mul. [Aside to Atwood.) Curse it ! All our work for nothing ! I must see, Clincher. Exit, r. 2 e. Enter Mrs. Katcraft, l. u. e. Mrs. Katcraft. Bless and preserve us, what has happened ? Lat. Something was wrong with the bridge. I was hastening to overtake the carriage, and had just reached the side — the horses' feet were on the bridge — when I seized the lady and dragged her out as the bridge, the horses, and the carriage sank below. Mrs. K. [Attending VihTi^iA'tiY..) An accident ! Lat. (r.) Or an attempted murder, eh. Squire .'' 32 SAVED FROM THE WRECK. Madeline. (7vd'2//'Z/z>?^.) What is this? — Where am I ? And where is he who saved me ? {Sees Latour.) Ah, Uving— Oh ! my brain is wandering. Lat. (7^ Mrs. Katcraft.) Quick! some water. Mrs. X. {At back of chair.) Bless and preserve us, yes. {Xes to buffet, pou7's water into glass and gives it to Latour.) Mad. [c. at back.) Am I dreaming — no — no, you were lost off Cape Hatteras — I — oh — impossible ! The memories of twenty years return — my husband ! — my husband ! Atw. {Advancing to her.) Your husband is here, madam. Mad. {With a shudder.) No, no, not you ! The child that was taken from me, where — where is he ? Atw. (l. c.) The child ! {Takes glass of water fromlAvji. Kat- craft.) I will give it to her. Leave us, Mrs. Katcraft. Mrs. K. If you wish it — yes, sir — {Goes to Latour, r.) Atw. (l.) Here, take this, madam. {Offering glass of water.) Mad. No, no, I Lat. {Going "R. towa7-ds ^\aT)^ia^^.) Permit me. Atw. Excuse me — this lady is my wife. Lat. Are you sure of that ? Atw. Arise, madam, and follow me. Mad. No, no, I cannot — the shock — I Atw. Madame, I have discovered your secret — that when you married me you had a husband living. Mad. I believed he was dead. Atw. But you did not tell me that you had a child. I have heard this husband say it is alive — but let him beware before he claims you as his wife. Lat. ( Who has been in conversation with Mrs. Katcraft, quickly turns to him.) Beware, and why ? Atw. ( 7.) Aye, murdered! I overheard your plot, and know that you had sent a helpless woman to her death. Atw. 'Tis false ! You have no proof. Lat. But I have. These half bank-notes. [Shows bank-notes.) Now, Squire Atwood, we can deal on equal terms. 34 SAVED P^ROM THE WRECK. Atw. {Aside.) Trapped! I must see Clincher, ancf at once. I have a bold and desperate game to play. [Falls into thought.) Lat. Squire Atvvood ! Come, what is your reply ? That woman shall never cross your threshold again. [Seeing Mullin, who enters R. u. E.) But this is neither the time nor place to settle our accounts. [Xing to '^.) Atw. Be it so— to-morrow. Lat. Aye ! to-morrow. Atw. (^wV?'^ ^ Mullin.) Where's Chncher? Mullin. Down by the shore. Atw. [Aside.) I must strike a desperate blow to-night. Good; to-morrow— he may not live to see the morrow. Exit, R. 2 E. Lat. ( Goes to table R. ; sits l. ) What can be done, and how can I save her from disgrace ? I must have time to think. Mul. [Seated R. of table.) You don't seem in very good spirits. Lat. Do you think so ? Mul. I want to speak to you, Mr. Latour. Mrs. Katcraft. ( Who enters L. u. E. ) Poor lady ! She is ill indeed. I have called Elsie to attend to her. She shall sleep in her bed to-night. Exit, r. u. e. Mul. It seems strange that people should say that you and I are so much alike; they might make a mistake. Lat. How do you mean ? Mul. Well, for instance, if anything happened to you what is to prevent me saying I were you. Lat. Proofs my friend. I carry upon my person, at all times, documents that would prove who I am. [Producing package of letters from coat pocket.) There, they are. [Replaces them.) Mul. [Aside.) It's all right. I must have those papers. Lat. Thus far, those papers have proved invaluable. I would have been taken to Sing-Sing to finish your time were it not for them. Mul. Eh ! What do you mean ? Lat. Nothing much, only a detective has been here and mis- taken me for you. Mul. Ah! Lat. Don't be alarmed. I said nothing to betray you. Enter Giggle rt«^ Mrs. Katcraft, r. u. e. J SAVED P^ROM THE WRECK. 35 Giggle. {Smoking cigarette.') Mrs. Katcraft, is my bed ready? Mrs. Katcraft. Of course it is. Gig. Then I will prepare to take possession of it. Now, my dear Mrs. Katcraft, there's another thing of as great importance; my sour mash. I must have a soothing tonic, as the baby says who wants his paregoric. You will prepare an extra quantity — say a half-pint and leave it on your quaint bulTet. {Pointing to buffet.') Should I crave in the night for a drink, I can have it without disturbing any one. {Goes to table i..,stts R. H., and takes his shoes off. ) Mul. (r. at table.) Will you have a drink? Lat. {Rising.) No! I'll go to bed. I have suffered one deep and bitter disappointment, and had best prepare myself for an- other. If it should be as Clincher Katcraft says, and this boy is really unworthy, better, far better, to have gone down on the " Sovereign of the Sea" off Cape Hatteras. Mrs. K. Your room sir, is the third one, this way along the hall. {Pointing I., u. e.) Lat. Thank you. Good-night. Exit, l. u. e. Gig. Mrs. Katcraft, give me a sour mash, a sort of a night cap. (Mrs. Katcraft goes to buffet; Giggle sees her, arranging drink, which she brings to him. ) Ah, I see you anticipated my previous remark, and prepared the liquor in advance. Mrs. K. The amount already drunk by you, gave the thought. I had no wish to be aroused at night, only to hear you calling aloud for a sour mash. Gig. Wonderful head, ha ! ha! ha! You can't have too much of a good thing — like the lady who had twins twice running. Ha ! ha! ha! h — {Suddenly stops, as y[.\]\AA^ looks at him.) I shall really get drunk if I don't let up on sour mashes. {Slowly his head falls on table — the stupor from liquor is quite perceptible in him.) Enter Clincher, r. u. e. Clincher. {Aside.) The Squire has offered me double the money to put this Latour out of his way. Shall I take Mullin or do the job on my own account ? {Sees Mrs. Katcraft 7iearfire, watch- ing hiyn.) Hullo! wife — where is Mr. Latour? Mrs. K. Just this minute gone to bed. He seemed low-spirited, 36 SAVED FROM THE WRECK. r poor gentleman, I intend to take him some brandy ; it may help to cheer him a bit— at least it will assist him to sleep easy. Clinch. Prepare it right away; I'll take it to him. [Aside.) I've got a drug. I'll shp it into the liquor and make him sleep the slumber from which there's no waking. Mrs. K. ( Who has prepared drink at buffet.) There's a toddy that will soothe his feelings, I'll be bound, {Going up stage.) Clincli. Hurry up — give it to me. [Taking glass — aside.) This will do its duty. [Slips powder into glass and Exit l. u. e. Mrs. YLatckavt fastens door ^. u. e., aiid arratiges the place for the night.) Mul. [Seated l..) Why should I take CUncher in the swim — ■why not have the game all to myself? He's drugged that liquor. I could get into the house later on — when they are all in bed — get his clothes and that precious packet and pocket book. The game is in my hands. [Rain heard without, which continues till end of act.) Enter Clincher, l. u. e. Mrs. K. Clincher, I've fastened up the place for the night, ex- cept the side door [Pointi?tg to D. l. 2 e.) I'll leave you to fasten that when these gentlemen [Pointing to Mullin and Giggle) retire, or go. Good night. Exit, L. u. e. Muf-} Good night. Mul. ( Rises .) I ' m o ff. Clinch. What, ain't you going to remain here to-night? Mul. No! I'm off the job anyhow to-night. I'm going. Open the door and let me out. Clinch. Oh ! if that's your style, all right. (Opens door, r. u. e.) There, and glad to get rid of you. Mul. The same to you — and go to the devil. Exit, R. U. e. Clinch. I wonder what his game is ; had he drunk too much, or was he only shamming? No matter, he's gone, and it's all the better. (Mullin looks in at window l.) It's a big price Squire Atwood pays. [Looks out of window r.) Ah, the tide is on the ebb— and his body will go out to sea. (Giggle begins to snore at table.) What's that? I'll go up stairs and see if the women folk SAVED FROM THE WRECK. 37 are asleep. ( Takes lamp from mantel at back, and goes towards L. u. E.) And then — well then, I'll make my mind up. Exit L. u. E. [Lights down.) Gig. [Waking up.) Hullo! where the devil am I, and where the devil is my room ? Everything is going round. I'm asleep — hie — it's too hot — hie — for — hie — me — hie — [Rises and staggers towards door, l. u. e.) This is my room. Exit L. 2 E. , after taking off his shoes and leaving them near fi?'eplace. Enter Mull in through wimiow l. Mullin. [At window.) So far, all right. I' 11 take off my boots lest I make a noise — and I will steal a march on Clincher Katcraft. Exit L. U. E, after removing his shoes and leaving them near Giggle's. Gig. [Re-entering.) I'll have another sour mash, if I fail in the attempt. [Puts on one of his own and one ^Mullin's shoes.) I must put on my boots ; my feet seem strange on this floor. Ha ! ha ! ha ! This is hunting a sour mash in the dark. I wonder whether I'll stumble across any other mash. — [Goi?tg to btffet, gets bottle and glass and Exits L. 2 E. , laughing. ) Enter Harley, Window l. Harl. This jacket is wet again. ( Takes Jacket off and places if on chair before fire, while speaking.) I'll place it before the fire, while I see Elsie. [Noise.) Some one is Q.Q>Ymx\%. -—[Hides behind screen; Enter Clincher without light ; Harley slips away through L. u. e. Clincher. It's all right. Now is the time. I'll throw him out of that window [Pointittg to window r.), and he will fall into the wa- ter below and be carried out to sea. Why, he's coming this way. [Sees Mullin, who enters backwards. He puts o?t one of his own and one .) Have you brought me the other halves, as you promised ? Atw. [Aside to Clincher.) Yes, they are in my pocket. ( Takes bank-notes from pocket-book, and puts them into his side pocket.) You shall have them directly. [Direct to Fizzles.) I don't think he can have left the court yet, Fizzles ; you mustn't lose him this time. Prove him to be Michael Mullin, bring this mur- der home to him, and obtain his conviction at any cost. Fiz. Eh! You seem very anxious to convict. Enter Harley with Elsie, L. Harley. No matter whom, so long as it is not himself. Ah, Squire Atvvood, you laid your plans well — the husband killed, and the son convicted of his murder. You tried your best to send me to the scaffold; mind you do not find your way to it yourself. Atw. I ! Absurd. Harl. Yes, you and your accompHce there. Elsie. Hush ! Harley, hush ! 40 SAVED FROM THE WRECK. Clinch. I won't have my daughter associating with criminals. Come with me. [Xes to Elsie, who clings to HARLEY/ goes to fable R. c. down stage, pours out zuater into glass from jug and returns to her, speaking all the while. ) Atwood. Where you should be, with your husband at the light- house of Barnegat. (Clincher is seen looking off, out of win- dow, C.) Mad. 1 remember now, you met me on the road — seized me and I — oh — {Swoons. ) Atv.'. [Going towards Clincher.) The effects of the drug have not passed away. [At window.) How's the tide ? Clinch. On the ebb. We won't have to wait long to dispose of her. Atw. {Pointing off r. , out of window.') What light is that burn- ing? Clinch. It means all right ; the lights are worked with levers in the room above. No. i lever turns on a white light — that means all right. No. 2 turns on a red light — that's a danger signal, and is turned on when assistance is needed from the shore. If I were to turn on the red light, the life saving station would bring assist- ance here in ten minutes. (Madeline slightly revives.) Atw. [At side of cot.) Hush! see, she is reviving. Mad. Why am I brought here ? Atw. You hold in your name and to your account one hundred thousand dollars, which I cannot touch without your authority. Awkward circumstances compel me to leave the country. Clinch. [Do^un C.) Very awkward circumstances. Atw. But before going, you must do me a favor. Sign this document. [Produces document.) 46 SAVED FROM THE WRECK. Mad. {Rising m cot.) Document! let me see it. , Atw. [Giving it to her.) Merely an authority from you to your bankers to withdraw and hand over to me the bonds and other easily convertible securities which are lodged there in your name, and which I at once will turn into cash. Mad. What would you do? Atw. Take your money and leave for Europe, and never return to America again. Mad. [Rising from cot.) And what if I refuse? Atw. I shall have to kill you first and forge it afterwards. Come, your signature. Mad. Never ! I will not beggar my son for the sake of a villian like you. Atw. Then, your life ! [RitsJiitig at her.) Mad. ( With defiance. ) Take it ! Clinch, [q. interposing.) Give her a little time to think. I've got my valuables to pack, and you must help me. If I lend you a hand with your plundering job, you must lend me a hand with mine, Atw. (r. c.) Be it so ; but we can't leave her here alone. Clinch. [Producing rope.) Lend me a hand to bind her — ( They lash her to cot.) Mad. Cruel and remorseless villains, not satisfied with my death, you would tortue Clinch. [Finishi7ig tying Madeline.) Theie, that's all right. Atw. That is a strange knot. Clinch. Yes ! it's a knot the devil himself couldn't untie — unless he knew the secret, and nobody knows that but myself and Elsie. Exeunt both L. c, up stage. Enter Elsie, r. 2 e. Elsie. And Elsie means to do it. Mad. Eh! Elsie. Courage, Madame. After I left you I came here with Harley, who will soon return. [Unties knot as she is speaking.) We were here together, when we saw Clincher and Mr. Atwood in the boat — but we did not know that you were with them. {Siip- porting Madeline to window.) Mad. He must hasten or he will be too late. Ah, the signals ! [Looking out of wijtdow.) SAVED FROM THE WRECK. 47 Elsie. I understand them. You hide behind those [Pointing L., near l. 2 e.) coils of rope while I go and put on the red light for assistance from shore. (Madeline hides behind coils of rope near L. 2 E. Elsie Exits l. 2 e.) Enter Clincher and Atwood, l. c. Atwood. {Going towards cot.) Now then, your answer? Clincher. Damn it ! she's gone. Atw. She must have released herself. Clinch. I'll take my oath she never untied that knot. Atv(i. [Sees Madeline.) Ah! there she is. [He pursues her about stage ; she screaming. ) Mad. Help! help! [At window looking out.) Ah! the boat has gone. (Clincher and Atwood seize her.) Clinch. Ah, you will not escape us so easily, Atw. [Looking out of window.) Look! look there ! [Pointing out of wifidow R. ); the danger signal ! Clinch. [As he is going off.) Curse it ! I'll have it down in a jiffy. Bind her to those coils of rope. [Pointing R. ; Atwood binds her, while Clincher goes offi.. 2 e.) Atw. Aye! as tight as Chncher did. You'll not escape this time. ( Ties her to coils of rope r.) Ah, my pretty one, you had better consent to my wish. The tide has began to ebb fast and your time is drawing nigh. Mad. Monster! Atw. Will you sign the paper? Mad. Never ! Elsie rushes on through l. 2 y.., and hides behind rope L. Clincher Enters l. 2 e., inuch excited. Elsie disappears l. 2 E. Atw. (c.) Have you removed the danger signal ? Clinch, (l. C.) Yes, no fear of it again. Atw. [Looking and pointing K. out of window.) Look there ! Clinch. The place is haunted, or there's some one there — man, woman, or devil, let them look to themselves. [Draws knife, rushes to l. 2 e. Elsie /z^/f playini;, 'I wo liours and a half. SYNOPSIS OF EVENTS. Act L Ix>vf, vs. Imi"UI_sf..—D oiler- clutch's ofTice.— A fruitless journey, a li.-ap of accumulaterl business and a chapter of unparalleled impudence.— News from the ♦luiit.— A poor gill's trouble and a lawvii's big lir^art. — Hil- da's sad story.— '" I Ml s-parture in search of a clue — Themeetnigoftrirnds.— One of nature's noblemen.— Maitland betrays his secret by a slip of tlie tongue.— ^The ball at IJeachwood. — Twosi)oonevs,fresh from college.los-- their heads and their hearts. — "Squashed, by Jupiter! '—Trusting innocence and polished villainy. — The interrupted tryst. — An honest' man's avowal.— A picture of charming simpli- citv.— Munlell and Hilda meet face to face. — "I dare you to make another victim I" — A scoundrel's discomfiture. — Tableau. ActH. The Sr.rARATioN.— The Mait- land homesti-ail. — Anastasia's doubts. — A warm welcome and its icy reception. — Forebodings and doubts.-^Father and son. — S<"arching questions. — A domestic ^torm and a parent's command. — A foiled villain's wrath. — Enlisting for the war. — The collapse of the cowards. — " It 's no use, 'Dolphy, the jig 's up !" — Hilda's synjpathy aiul Adnennc's silent dtspair.— The result of impulse. — The Lither pleads for his son. — Anastasia and Dollrrchitch. — Coriolanus comes to grief. — (loodand bad news. — Husband and wife. — Reginald fb'inands an ex- planutii>n. — A h:ind without a heart. — 'i'he s<'paration. — A n<-w recruit. — Too Lite: tlie roll is signed. — Tableat. Act HL Duiv vs. Lmpulsf.. — Four years later. — .\ camp in the army. — Ixjnging*. — "Only six miles from home !"— The skileton in the «:losct. — A father's yearning for his child. — A s.oman-liatf-r in love. — T)ollerclutch's unishment of vil- lainy. — Good news. — " Hurrah, the war is over; Lee has surrenost-paiii, /<» any addrfss on recri/>t of thr ad7^.CH, PiaV)lishier 9 MVICICAV »X., I^JK'W Y'^ORK. LIBRARY OF CONGRESS 017 400 184 4 • HoUinger Corp. pH 8.5