PS 3089 
 .T33 U7 
 Copy 1 
 
 COPYRIGHT, 1889, BY HAROLD ROORBACH 
 
 Hoorbacft'S full Desmptibe Catalogue of Dramas, Comedies, Comediettas, Farces, 
 Tableaux-vivants, Guide-books, Novel Entertainments for Church, School and Parlor 
 Exhibitions, etc., containing complete and explicit information, will be sent to any address 
 on receipt of a stamp for return postage. Address as above. 
 
ROORBACH'S AMERICAN EDITION. 
 
 PRICE, 15 CENTS EACH. 
 
 This series embraces the best of plays, suited to the present time. The reprints have 
 been rigidly compared with the original acting copies, so that absolute purity of 
 text and stage business is warranted. Each play is furnished with an introduction 
 of the greatest value to the stage manager, containing the argument or synopsis of 
 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 from 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. 
 
 I. ALL THAT GLITTERS IS NOT GOLD. A comic drama in two acts. Six 
 
 male, three female characters. Time, two hours. 
 3. A SCRAP OF PAPER. 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-farce 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. 
 
 10. NOT SO BAD AFTER ALL. A comedy in three acts. Six male, five female 
 characters. Time, one hour and forty minutes. 
 
 II. WHICH IS WHICH ? A comedietta in one act. ThVee male, three female 
 characters. Time, fifty minutes. 
 
 12. ICI ON PARLE FRANgAIS. 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. 
 
 X6. LEND ME FIVE SHILLINGS. A farce in one act. Five male, two female 
 characters. Time, one hour. 
 
 17. UNCLE TOM'S CABIN.— Orijginal 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 
 ctiaracters. Time, tAO hours and three quarters. 
 
 30. ATCHI ! A comedietta 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, furty minutes. 
 
 S3. THE WOVEN WEB. A drama in four acts. Seven male, three female char- 
 acters. Time, two hours and twenty minutes. 
 
 33. MISS MADCAP. A comedietta in one act. Two male, one female characters. 
 Time, twenty minutes. * 
 
 34. THE DARKEY WOOD DEALER. A farce in one act. Two male, otTe fe- 
 male characters. Time, twenty luinuies. 
 
 (OVER.) 
 
UNDER A CLOUD 
 
 AN ORIGINAL COMEDY DRAMA IN TWO ACTS 
 
 BY 
 
 CHARLES TOWNSEND 
 
 Author's Edition, with the Cast of the Characters, 
 Synopsis of the Incidents, Time of Representation, 
 Description of the Costumes, Scene and Prop- 
 erty Plots, Diagram of the Stage Setting, 
 Sides of Entrance and Exit, Relative 
 Positions of the Performers, Remarks 
 on the Play, Explanation of the 
 Stage Directions, and all 
 of the Stage Business. 
 
 Copyright, 1890, by Harold Roorbach. 
 
 2(r<^il 1/ 
 
 NEW YORK 
 
 HAROLD ROORBACH 
 
 PUBLISHER 
 
 \XS^^ 
 

 3 
 
 i 
 
UNDER A CLOUD. 
 
 CAST OF CHARACTERS. 
 
 ■rv^.. .Tx. T^/r^^T^,, \ Tracey's clerk; a whole souled, inaptly 
 
 Donald Morley, -< . ^ y- ,, . , w at- 
 
 ' ^ (^ • young fellow ; in love with Aina. 
 
 Louis DURKIN, Another clerk ; a " pious '^ fraud. 
 
 Mr. Tracey, A wealthy merchant. 
 
 Parker Sharp, A reporter on " The Morning Breeze.''^ 
 
 Darby Smith, A keen detective ; Alorley^s friend. 
 
 Nina Tracey, The merchant''s daughter. 
 
 JosiE Ward, Her frieiid ; engaged to Sharp. 
 
 Time. 
 
 -The present day. An interval of one year between the first and 
 second Acts. 
 
 Time of Represention — One Hour and Thirty Minutes. 
 
 SYNOPSIS OF INCIDENTS. 
 
 Act I. — Ante-room adjoining Mr. Tracey's private office in New York 
 City. — A December morning. — The " moral " young man. — Sporting news. 
 — Bad luck. — The wrong horse wins. — " Another dip into Old Tracey's 
 cash-box." — The two clerks. — " You're a jolly buffer ! " — Morley speaks 
 his mind. — Durkin's dilemma. — " For Heaven's sake, Morley, you 
 won't tell him ? " — Morley's promise. — Tracey and Durkin. — Wild oats. 
 — The appointment. — The detective arrives. — How thieves are 
 caught, — Tracey explains. — Darby gives an opinion. — " Bosh ! " — 
 The marked bills. — " It's an old plant, but it may work." — Tracey is 
 puzzled. — The subscription paper. — Durkin's hypocrisy, — Morley's liber- 
 ality, — A few puns. — "Ring the bell!" — A battle of wit. — Sharp tells a 
 weighty secret. — The proposal. — More fun. — Durkin's villainy. — Chang- 
 
4 UNDER A CLOUD. 
 
 ing the bills. — A talking match. — Trouble ahead. — «• The private mark ! " 
 — Darby's doubts. — Poor Morley. — Disgraced ! — Nina's faith. — Tableau. 
 Act II. — A lapse of one year, — Scene, same as before. — A rascal's 
 triumph. — The tramp. — " Me name is Billy the Bum ! " — The trust funds. 
 — Josie and Sharp. — " Bother the moon ! " — The tramp returns. — A big 
 story of a big dinner. — " Me name will be mud ! " — The plot. — The tramp 
 gets mad. — '< Do yer own robbing ! " — The agreement. — Nina and Dur- 
 kin. — A cunning scoundrel. — " I am not perfect, though I try to be." — 
 Nina's terror. — The alternative. — The warning note. — <* Something is 
 going to happen." — The dummy package. — The tramp and his "pal." — 
 Paying the price. — The mock robbery. — Durkin gets his head in the 
 noose. — " A special edition," — The tramp on hand, — Durkin's wonderful 
 nerve. — The rope begins to tighten. — "Another special edition!" — The 
 trap is sprung, — " Who are you ? " — Righted at last. — Finale. 
 
 COSTUMES. 
 
 Morley. — ACT 1. — Stylish suit, for business wear ; overcoat, silk hat, 
 gloves. ACT II. — Tramp's suit — all rags and tatters ; no collar, cuffs nor 
 tie ; broken derby hat a size too small ; full beard, very bushy, mounted 
 on wire so as to be removed ; rough, unkempt wig ; no overcoat ; worn- 
 out shoes. 
 
 DuRKiN. — Suit of black throughout. 
 
 Mr. Tracey. — ACT I. — Dark, easy fitting business suit; silk hat, 
 gloves, overcoat. ACT II. — About the same. 
 
 Sharp. — ACT I. — Dark coat and vest; gray trousers ; light overcoat ; 
 derby hat. ACT II. — Same suit; dark overcoat ; silk hat. 
 
 Smith. — ACT I. — Plain sack suit; overcoat; slouch hat. ACT II. — 
 First dress. — A " tramp " rig, much the same as Morley 's. Second dress. 
 — Same as Act I. 
 
 Nina. — Elegant street dress for each act. 
 
 Josie. — Same style as Nina, contrasting colors, and a trifle more pro- 
 nonce. 
 
 PROPERTIES. 
 
 Act I. — Newspaper for Durkin; packet of letters for Tracey ; sub- 
 scription paper — a sheet of legal cap — for Nina ; wallet and bills for 
 Morley; envelopes and paper on desk; bank-notes for Durkin; writ- 
 ing pad and pencil for Sharp. 
 
 Act II. — Cigar for Durkin; money for Durkin; large, bulky white 
 envelope for Morley ; another of same sort for Durkin ; writing pad and 
 pencil for Sharp; watch for Durkin ; letter for Tracey; walletand bills 
 for Durkin; rope and towel; handcuffs for Darby. 
 
 STAGE DIRECTIONS. 
 
 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. F., door in 
 
UNDER A CLOUD. 5 
 
 the flat or back scene; R. F., right side of the flat; l. f., left side of the 
 flat; R. u., right door; L. D., left door; C. D., centre door; I E., first en- 
 trance; 2 E., second entrance; u. e., upper entrance; I, 2 or 3 G., first, 
 second or third grooves ; UP stage, toward the back ; DOWN stage, toward 
 the footlights. 
 
 R. R. C. C. L. C. L. 
 
 STAGE SETTING AND SCENE PLOT. 
 
 hierior Backing 
 'Doer > 
 
 Scene. — No change. — Ante-room adjoining Tracey's private office, in 
 4 G., with interior backing in 5 G. Carpet down; office sofaL. C, against 
 flat; chair L. front; table and chairs R. front. 
 
 REMARKS ON THE PLAY. 
 
 The following hints will give an insight into the varying characteristics 
 of each part, and should be carefully studied. 
 
 MoRLEY is about 25 years of age. His character is that of a jolly, brisk, 
 lively young New York gentleman of the present day. He dresses stylishly 
 but in the best of taste and his bearing is that of a cultured, refined young 
 gentleman. When accused of dishonesty at the close of the first Act he 
 should be simply indignant. But the closing speech must be given for- 
 cibly and with intense feeling. In the second Act he retains the rough, 
 uneducated speech of the pretended tramp until the very last, disguising 
 his voice as much as possible, as it is his purpose to deceive the audience 
 entirely regarding his identity. He must wear a rough, heavy full beard 
 mounted on wire so that it can be thrown off" — together with the wig — 
 when he finally makes himself known. 
 
 DuRKiN is exactly opposite to Morley in every respect. He is sly, 
 not frank ; cowardly, not bold ; selfish, not liberal. It is a detestable 
 character, and therefore should be given to a good actor, as it admits of 
 
6 UNDER A CLOUD. 
 
 some excellent work. Durkin should be smooth and oily in speech, 
 except when aroused by passion, and until the last scene should assume a 
 fawning manner toward Tracey. 
 
 Tracey is a man of about 50 — kind hearted, earnest and pleasant in 
 manner. His hair and beard should be slightly powdered, and the 
 "crows' feet" about the eyes faintly outlined. 
 
 Sharp is full of snap and life. He is brisk in action and quick in 
 speech ; and every movement should convey the idea of the lively, " bust- 
 ling " reporter. His <' business " of writing needs careful rehearsal and may 
 be exaggerated a trifle for effect. His age is about 25. 
 
 Smith is a man of 40, He is cool, collected and positive in manner, as 
 his character is that of a keen, sharp detective who is accustomed to judg- 
 ing men for what they are, not for what they pretend to be. His speech 
 and bearing indicate a strong, forcible character, lacking in refinement, but 
 shrewd and fertile in resources. As the tramp in the second act he must 
 be fully disguised both in voice and appearance. 
 
 Nina is a girl of 18, spirited, lively, but gentle and refined in manner. 
 In the first act she is full of fun and merriment until the trouble arises over 
 the marked bills. Then she becomes anxious — is indignant at the charge 
 against Morley, and her refusal to believe him guilty should be forcibly 
 expressed. In the second Act her bearing is more reserved, and her feel- 
 ings of dislike and fear toward DuRKiN must be clearly shown. 
 
 JosiE has a soubrette role, and the part should be played throughout 
 with entire freedom from restraint. Brisk action, quick speech and a gen- 
 eral "hurrah" style are necessary to a proper portrayal of this character. 
 
 The play should receive careful rehearsal, giving particular attention to 
 the tableaux and climaxes. 
 
UNDER A CLOUD. 
 
 ACT I. 
 
 Scene. — Ante-room, adjoining Tracey's private office, in 4 G, 
 Table and chairs, R. Q. front. Chair v., front. Office sofa L. c. 
 against flat. Carpet down. Doors C. in flat, R. u. E. and L. i e. 
 
 Enter DURKIN, C. D. 
 
 Durkin. [looking at paper) Now let me see what the Daily 
 Breeze has to say about yesterday's events. News at second 
 hand is rather slow, but I can stand it if it is ^<9C»</ news, {sits R., 
 feet on table) Now we have it. [reads) •* Sporting News — The 
 Turf." Ah, that's what interests me — the turf. If my character 
 were not so entirely above reproach how I should like to attend 
 the races in person, instead of betting money on the sly. [reads) 
 "The great event of the day was the ever-famous Suburban." 
 Eh! What's this? "Lone Star won at a canter — Ladybird left 
 at the quarter, and Sensation nowhere." Curse the luck ! [rises) 
 Nowhere! That's just where I am. Nowhere! [crushes paper : 
 flings it down) The horse I backed as a dead sure winner! Oh, 
 I could shoot him and the jockey too ! Well — it means another 
 dip into old Tracey's cash box. How it will all end the devil only 
 knows. Bah! Why should I care? If old Tracey smells a rat 
 he cannot suspect me. I have covered my tracks too nicely for 
 that, [looks off) Ah, here comes Morley. Now, Durkin, my boy, 
 put on your sanctimonious face. Ahem ! 
 
 Enter MORLEY, C. D. 
 
 Morley. Good morning, Louis. 
 
 Dur. Good morning, Mr. Morley. 
 
 Mor. I heard a ripping good story on my way down this morn- 
 ing. Ha, ha, ha ! It was a good one. You see 
 
 Dur. Excuse me, Mr. Morley, but you know I never listen to 
 ripping good stories. 
 
8 UNDER A CLOUD. 
 
 Mor. {aside) Oh, what a muff! — I say, Durkin, have you seen 
 the morning Breeze? 
 
 Dur. No, sir. I never read that detestable worldly paper. I 
 dare say it is yonder on the desk if you want it. 
 
 Mor. Thank you. {picks tip paper) I declare ! This paper looks 
 as if it had been in the wrong end of a slugging match. Who has 
 been stamping on it ? 
 
 Dur. I have no idea. At the same time it is only right and 
 proper that such vile sheets should be crushed. 
 
 Mor. Don't you read the papers? 
 
 Dur. Yes. I carefully scan each copy of the Weekly World 
 of Woe as soon as issued. It carefully catalogues all the cur- 
 rent misery and sorrow of the world, and I find it very cheerful 
 reading. 
 
 Mor. Well, you're a jolly buffer! I suppose you would con- 
 sider a visit to a graveyard as the height of dissipation. 
 
 Dur. I never dissipate. I leave that to the unregenerate like 
 yourself. 
 
 Mor. Look here, Durkin, I believe you are a fraud. 
 
 Dur. Sir! 
 
 Mor. And a hypocrite. 
 
 Dur. Sir ! Do you dare 
 
 Mor. Stuff! Don't get on your high horse with me. We are 
 both young men, and I look at this matter from a common-sense 
 point of view. Youth is not the time for moping, whining, nor the 
 " blues "— unless one has the dispepsia. And from the way you 
 eat I am certain that your digestion is all right. 
 
 Dur. A good digestion goes with a sound mind. 
 
 Mor. But is your mind sound ? That's the question.- It strikes 
 me if I had as much on my mind as you 
 
 Dur. [rising, excitedly) What do you mean ? Do you dare to 
 insinuate 
 
 Mor. Easy, my dear fellow — easy. I mean that horses, cards 
 and wine suppers do not, as a rule, add to a man's peace of mind. 
 You indulge in these things, Durkin, to an alarming extent. It 
 may be all right — if you can afford it. I can't. I like a good time 
 and usually manage to have it. But your gait would bankrupt me 
 in a month — and my salary is much larger than yours. (Durkin 
 paces stage nervously) Don't get excited. It may be all right. But 
 I am certain that Mr. Tracey would not like it. 
 
 Dur. For Heaven's sake, Morley— you won't tell him? 
 
 Mor. I am no tale bearer. If you will promise to put the brakes 
 on I will keep mum — provided of course— {with meaning) that you 
 are squandering ^(??^r^7w« money. 
 
 Dur. Certainly— of course. Neither of us would shield a thief. 
 I admit — in confidence — that I have gone a little too far. But I 
 give you my word of honor as a Christian ■ 
 
UNDER A CLOUD. 9 
 
 Mor. Say, as a man. 
 
 Dur. As a man, that I will break off all my gambling habits now 
 and forever. I have been 
 
 Mor. No matter what you have been. If you will be a man in 
 future, I will stand by you. Now brace up and behave your- 
 self. Exit, L. I E. 
 
 Dur. Curse him ! He has found me out. What am I to do ? 
 So long as he remains here I am in danger. He is my rival in 
 love — for Nina Tracey loves him. He is my rival in business — 
 for he is a favorite with everybody. But old Tracey still believes 
 me perfect. Let me think, [rapidly) let me think. If I can only 
 put up a job on him so that Tracey will turn him out. What shall 
 it be ? What shall it be ? 
 
 Enter Tracey, c. d., carrying packet of letters. 
 
 Tracey. Ah, Louis, good morning. 
 
 Dur. Good morning, sir. 
 
 Tra. Promptly at work, as usual. 
 
 Dur. Yes sir. I have been here for an hour. 
 
 Tra. I like your apphcation, Louis. You are the right sort of a 
 young man. Honest, sober, steady, reliable. 
 
 Dur. Thank you, sir. I try to be. 
 
 Tra. Has Morley come yet? 
 
 Dur. A moment ago, sir. He is in your private office. 
 
 Tra. A moment ago, eh? He is never on time. He is far dif- 
 ferent from you. 
 
 Dur. You should not judge him harshly, sir. He is young, and 
 S07ne young men must sow their wild oats. 
 
 Tra. Um. Probably. But the crop is always a failure unless 
 gathered very early in hfe. But here — look over these letters, 
 check up the remittances and give the orders to the stock clerk. 
 
 Dur. Yes, sir. [takes letters and goes towards, u. E.) 
 
 Tra. And Durkin 
 
 Dur. Yes, sir. 
 
 Tra. I am not to be disturbed for half an hour. 
 
 Dur. Very well, sir. [aside) Something is up. I will keep my 
 eyes open. Exit, R. u. E. 
 
 Tra. [ate. D.) Come in now, if you please, sir. 
 
 Enter Darby Smith, C. D. 
 
 Darby. Coast all clear, eh ? 
 
 Tra. Yes. 
 
 Dar. Good. I always like to talk on the quiet. 
 
 Tra. That is a part of your profession, I suppose. 
 
 Dar. Exactly. It would never do to scare the birds. 
 
10 UNDER A CLOUD. 
 
 Tra. I was surprised when you told me that you were a detec- 
 tive from the Central Office. 
 
 Dar. No doubt of it. I suppose you had the popular idea of a 
 detective, common with most people. You imagined I would 
 come here done up in some wonderful disguise, going about on 
 tiptoe, a sayin' "hush" and lookin' wonderful wise an' myste- 
 rious — now didn't you? 
 
 Tra. {sniili7ig) Well, I confess I did look for something out of 
 the ordinary run of men. 
 
 Dar. 'Course you did. But, bless yer heart, boss, we detectives 
 never do anything of the kind. The crooks would queer us in no 
 time an' pipe off our lay afore you could say Jack Robinson, ef we 
 did that. 
 
 Tra. Do you mean to say you never assume disguises? 
 
 Dar. Mighty seldom. 'Course we tog out accordin' to the plant, 
 but as a general thing your real detective is a very ordinary 
 lookin' man who spots his bird by common-sense means. Your 
 " Ole Sleuths " will do very well for story papers or dime novels, 
 but they'd have mighty little show against a smart crook. 
 
 Tra. Then how do you work ? {they sit) 
 
 Dar. Accordin' to the job. If a safe is busted we sizes up ther 
 job to find out whether a vet or a softy did it. If it's done scientific, 
 by workin' the combination or a clever handhn' of the blow pipe 
 and sectional jimmy, we know that it's done by an old hand. 
 There's not more than a dozen good crooks in the country. 
 They're under cover most of the time, and we invites them in- 
 stanter to give an account of themselves when they're not. Then 
 it's wit against wit — for those fellows cover their tracks mighty 
 clever. We may be sure that they did the job, but if we can't 
 Prove it we're stumped. Though I may say that we seldom fail 
 to fetch 'em in time. It's practical knowledge that does the busi- 
 ness. I'm not hefty in booklearning but I can locate a man by a 
 mere trifle — an' that reminds me. What's the trouble with you? 
 
 Tra. Well, Mr. Smith, I'm sorry to say that for the first time in 
 my business career I have a thief in my employment. 
 
 Dar. Money or goods ? 
 
 Tra. Money. 
 
 Dar. Who handles the chink? 
 
 Tra. Eh? 
 
 Dar. Who dabs the shiners — fingers the rhino — flips the flimsies ? 
 Don't you twig? Well then, who — controls — the — cash? 
 
 Tra. Oh — I see. I have two confidential clerks who have access 
 to my funds. 
 
 Dar. Names ? 
 
 Tra. Donald Morley and Louis Durkin. 
 
 Dar. Tell me about them — age, habits, haunts, associates, etc. 
 
UNDER A CLOUD. II 
 
 Tra. Both are young men, about 25 years of age. Morley is a 
 brisk, burly, popular young man, a general favorite, and, I fear, a 
 trifle wild. 
 
 Dar. Um. Drink, — gamble ? 
 
 Tra. I think not, I believe he takes a glass of beer occasionally. 
 But I am sure he never gambles. 
 
 Dar. Does he sing, whistle, enjoy athletic sports ? 
 
 Tra. Yes — but what an odd question ! 
 
 Dar. Not at all. The man who sings or whistles at his work has 
 a clear conscience. Such a man is never a sneak thief. And if 
 he enjoys athletic sports he is too manly to stoop to a dirty action. 
 
 Tra. I hope you are right, 
 
 Dar. I know I am right. I've been chasing crooks too long to 
 be mistaken on that point. Now for the other. 
 
 Tra. Oh, Louis Durkin is above suspicion. 
 
 Dar. Ah ? [aside) He's the one ! 
 
 Tra. Yes. Mr. Durkin is a thoroughly reliable young man. He 
 is strictly temperate, exceedingly moral, and a professed Christ- 
 ian. 
 
 Dar. Bosh ! 
 
 Tra. What do you mean ? 
 
 Dar. Just what I say — bosh ! Now mind you, I've nothing 
 against religion. When a man is a real up and upper I says all 
 right. But when a man pretends to be a real up and upper and 
 aint, I says " bosh." Young fellows as a rule aint hefty on reh- 
 gion unless they're prigs er Miss Nanceys er hyppercrites. Not 
 but what they ought ter be, fer I think genuine religion's a power- 
 ful good thing fer everybody, young or old. But young men 
 mostly don't have the real article. They can't settle down to it no 
 more'n a colt can settle down to haulin' hoss cars. 'Tain't in 'em. 
 
 Tra. But Louis Durkin has the real thing. I could trust him 
 anywhere. 
 
 Dar. All right. I'll shadow 'em both fer awhile and let you 
 know the result. 
 
 Tra. I think I have a better plan. 
 
 Dar. [rising) All right. That lets me out. Good day. 
 
 Tra. Hold on. Wait until I tell you. 
 
 Dar. [sits) Fire away. (Durkin appears listening at k. u. e.) 
 
 Tra. My plan is this. 1 have marked certain bills, and placed 
 them in my cash drawer. Whoever spends that money must 
 needs be the thief. 
 
 Dar. It's an old plant, but it may work. 
 
 Dur. [aside) Ah ha ! 
 
 Tra. I am sure it will. I am sorry to do it though, for it seems 
 like a contemptible trick. 
 
 Dar. Justice is never contemptible. Any means are fair to 
 punish the guilty. 
 
12 UNDER A CLOUD. 
 
 Tra. Very well. Keep your eye upon these young men and 
 find out where the money goes. The mark is a small red cross at 
 the lower left hand corner, front and back — the bills are fives and 
 tens. 
 
 Dar. Correct. That's all then ? 
 
 Tra. I believe so. (Durkin disappears) 
 
 Dar. I'll report as soon as I hit their swipes. An' ef you 
 copper the jag, tip me a flip an' I'll be on hand to snap the darbies. 
 Good day. Exit c. D. 
 
 Tra. Copper the jag — tip me a flip — snap the darbies — what on 
 earth was he talking about ? Exit L. i e. 
 
 Enter DuRKiN, R. u. E. 
 
 Dur. So, so, Mr. Tracey, we have been employing a spotter 
 have we ? And we hope to catch somebody napping, do we ? 
 Five and ten dollar bills, each one marked with a red cross. There 
 is nothing like keeping posted. 
 
 Enter Nina and]o^VE., c, D. 
 
 Dur. Ah ladies, good morning. 
 
 Josie. Is it? I thought it very disagreeable. 
 
 Dur. Outside — yes. But in here a ray of sunshine — or — I should 
 say, two rays of sunshine — have made it bright as midday, [aside) 
 The httle vixen ! 
 
 Josie. [aside) The hateful thing ! 
 
 Nina. We have called on business, Mr. Durkin. Is papa here ? 
 
 Dur. He is in his private office. Shall I call him? 
 
 Nina. Not now. We are soliciting subscriptions to the Ladies* 
 Aid Fund. You will help us? [produces paper) 
 
 Dur. What is the object ? 
 
 Nina. To aid the deserving poor. 
 
 Dur. I am afraid not. The poor deserve no help. To aid such 
 people is to encourage poverty. Pride and poverty go hand in 
 hand. It is against my principles to aid or abet anything of the 
 sort. 
 
 Josie. F^z^r principles ! Where have you hidden them ? 
 
 Dur. I fail to comprehend. 
 
 Josie. No — you — don't ! Now if we were raising money to send 
 missionaries away to be eaten up by savages I suppose you would 
 contribute freely. 
 
 Dur. I certainly should do all I could to help convert the 
 heathen. 
 
 Josie. Charity begins at home. 
 
 Enter MoRLEY, L. I E. 
 
 j'oSe! } ^^' ^^- ^o^ley, will you give- 
 
UNDER A CLOUD. 13 
 
 Mor Certainly. What do you want— advice or money ? 
 Nina. Not advice. Mr. Durkin, has flooded the market with 
 
 Tosie. [half aside') He is very liberal that way. 
 
 •' ^ -^ Exit Durkin, disgusted, r. u. e. 
 
 Mor. Then it is money. What's it for— an asylum for stray \ 
 poodles, homeless cats or decrepit dudes ? 
 
 Nina. To aid the deserving poor. . 
 
 Mor I will give you something dnectly— if you will promise to 
 keep my name off your paper. I don't wish to pose as a philan- 
 
 Nina. Very well. Put your donation in an envelope and mark 
 \\.'* pro bono publico^ . t ^^ ,^««- 
 
 Mor. I will But don't expect a staggering gift, for I am not 
 quite a Vanderbilt. . ^ i j 
 
 Tosie. We don't want Vanderbilt— we want Gould. 
 
 Mor. Gold? Oh— ring the bell somebody. Miss Ward— has 
 made a pun ! 
 
 Enter Sharp, C. d. 
 
 Sharp. Then she ought to be re-ward-ed ! 
 
 Mor. And you too. Sharp ? Will nobody get a gun ? 
 
 Sharp. No, I'm not too Sharp— just sharp enough ! 
 
 Nina. If this continues, I shall go mad. 
 
 Sharp. Mad ? Impossible ! I don't beheve you could even lose 
 your temper, Miss Tracey. 
 
 Mor. (sinks into seat) Bury me under the lilies, and see that my 
 grave's kept green ! ,^ cu 5 
 
 Tosie. What's the news, Mr. Sharp? ^. , , 
 
 Sharp. One cent a copy. Ask me something hard. 
 
 Josie. What's going on? 
 
 Sharp. Time and— the gas metre. 
 
 Mor. Ding dong, ding dong. ding dong - 
 
 Sharp. Something unusual happened last night 
 
 Nina, "lyes! [each side of S^h^^) 
 
 Josie. I ^ 
 
 Sharp. At Delmonico's 
 
 ^^".^' I Yes, yes. 
 
 Josie. ) 
 
 Sharp. Don't you tell 
 
 ^^'^.^- 1 No. no, no ! 
 Josie. ) 
 
 Sharp. 'Sh 
 
 Sharp. (7/^ry mysteriously) I had a square mealf 
 
14 UNDER A CLOUD. 
 
 Nina, f Qj^ J l^^^^y^ away disappointed) 
 
 Mor. I say, Sharp, do the publishers of the Breeze allow you to 
 roam around without a keeper? 
 
 Sharp. I scorn the base allusion. By the way, Morley, is Mr. 
 Tracey in a good humor this morning .'* 
 
 Mor. Spare him. He seems nervous. 
 
 Sharp, [to the ladies) Let's storm the citadel. He won't dare 
 wither me with a look when you are by, and it is absolutely 
 necessary that I see him regarding the Merchants' Annual 
 Banquet. 
 
 Josie. " Up Guards, and at 'em." Ahem — Shakespere. 
 
 Mor. No use ; it's a hopeless case. 
 
 Sharp. Never mind him. Forward the Light Brigade ! 
 
 Exit with ladies, L. I E. 
 
 Mor. [takes wallet from pocket) Let me see — how much can I 
 afford to donate ? [counts bills — Durkin appears listening, R. u. E.) 
 Five, ten, fifteen, twenty. I guess I can stand twenty, though I 
 shall have to go light on cigars for awhile. But, bless her heart, 
 what are cigars compared to a smile from her ! There you go, 
 twenty, [places money in envelope but does not seal it — DuRKiN dis- 
 appears) 
 
 Enter NiNA, L. i E., holding her ears, 
 
 Nina. They are all talking at once. 
 
 Mor. We will send for the mayor. 
 
 Nina. What for ? 
 
 Mor. To read the riot act. 
 
 Nina. You better call out the police. 
 
 Mor. Don't. Sharp would make a column or two of it, and our 
 photographs would all be published in the Sunday papers. 
 
 Nina. Which would conyict us of every crime in the calendar. 
 
 Mor. Those papers do print rather tough pictures. The Breeze 
 has one electrotype which has done duty for every man from Adam 
 down to McGinty, to say nothing of representing Mrs. Langtry, 
 Queen Victoria and the Woman with the Iron Jaw. 
 
 Nina, [at L. I E. ) They have quieted down. 
 
 Mor. Shall I send for the coroner ? % 
 
 Nina. It's only a calm before a storm. 
 
 Mor. Here is my donation, [gives envelope) 
 
 Nina. Oh, thank you. [peeps into envelope) Twenty dollars ! 
 Why, Donald, can you spare that much ? 
 
 Mor. [mock grandeur) With the utmost ease. Know ye not that 
 I am related to a plumber? 
 
 Nina. I will try to repay you some day. 
 
 Mor. You can repay me a million fold by allowing me to make 
 you another present. - 
 
UNDER A CLOUD, 1 5 
 
 Nina. Of what ? 
 
 Mor. My name. 
 
 Nina. Why — Mr. Morley — Donald I mean — I 
 
 Mor. You know that I love you, Nina, [taking her hand] If I 
 had Shakespere's flow of words or Apollo's lyre 
 
 Nina. Oh ! Oh, my ! 
 
 Mor What is the matter ? 
 
 Nina. I can't bear a liar. 
 
 Mor. Who's a liar? 
 
 Nina. You said Apollo. 
 
 Mor. Then I Apolo — gize ; and I 
 
 Nina, [throws eiwelope on desk) Mr. Morley! [places her hand 
 upon his head) Just as I feared. Softening of the brain ! 
 
 Mor. Well, I'll be hanged ! 
 
 Nina. You ought to be for perpetrating such a hideous pun. 
 Come out into the corridor and get a mouthful of fresh air. [they 
 goupc.) 
 
 Mor. [at c. D.) Halt! Present arms! [embraces '^I'i^^) Salute 
 your officer ! [kisses Nina) 
 
 Nina. h\\, you ! Exeunt C. D. 
 
 Enter DuRKiN R. u. e., bank-notes in hand. 
 
 Dur. Here we have them, [cautions business) Fives and tens, 
 marked with a red cross, [exchanges bills ivith those in the enve- 
 lope) I think that Mr. Donald Morley will not trouble me very 
 long. The man who would give away twenty dollars to the poor 
 is a fool, [pockets bills that were in the envelope) I am not a fool. 
 Now for the earthquake ! Exit quietly, R. u. E. 
 
 Enter Tracey, Sharp and ]o^ye., l. i e.. all talking at once. 
 
 Tra. f But I won't 
 
 Josie. I But I will 
 
 Sharp. Exactly, exactly 
 
 Tra. [others quiet) Do you suppose I care anything about it? 
 
 Sharp. ( Not in the least. 
 
 Josie. I Of course you do. 
 
 Sharp. I only wanted to say — [all go up and down stage ex- 
 citedly) 
 
 Tra. f I won't take it ! 
 
 Josie. \ You certainly must ! 
 
 Sharp. I A word or two ! 
 
 Tra. In plain English, Mr. Sharp, I positively refuse, once and 
 for all, to act as chairman. I never even made a motion in my 
 life. 
 
 Sharp. Then I suppose we have been standing still ever since 
 we entered the room. 
 
l6 UNDER A CLOUD. 
 
 Tra. Not that kind of motion. 
 Josie. Parker means r^^wmotion. 
 
 Sharp. I object. This is too much of a good thing as the man 
 said when he tumbled into the wine vault. 
 
 Enter NiNA and Morley, c. d., unseen by others. 
 
 Mor. [aside to Nina) Here — now I must get to work. Good bye 
 for the present. Exit R. u . E. 
 
 Nina. Is the storm ended? 
 
 Tra. Yes — I suppose I must accept that chairmanship. But if I 
 get everything tied into hard knots you must not blame me. 
 
 Nina. Now my dear old papa, how much will you donate to our 
 society ? 
 
 Tra. [half aside) Oh Lord ! 
 
 Josie. Don't be like Mr. Durkin ; the horrid thing wouldn't give 
 a penny. 
 
 Nina. Follow Mr. Morley 's good example. He gave us a whole 
 lot of money. 
 
 Tra. Indeed ? (Sharp and Josie ^(? up l.) 
 
 Nina. Yes indeed. Twenty whole dollars. Here they are. 
 [picks up envelope) See for yourself. 
 
 Tra. [examining bills') The private mark ! [sits at C, overcome) 
 
 Nina. Why, father, what is it? 
 
 Tra. Nothing child— I — [aside) My God ! This is terrible ! 
 
 Nina, [kneeling beside Tracy) Are you ill? 
 
 Tra. No, my child. 
 
 Nina. Perhaps you think Donald gave more than he could 
 afford. If so, I will return it. 
 
 Tra. It is not that, my child, [aside) What shall I do? 
 
 Nina, [aside) What can be the matter? [rises and goes to R. 
 front) 
 
 Tra. [aside) That boy whom I loved as a son ; whom I trusted 
 as I would my own honor ! He, above all others, to be guilty of 
 such a crime! It is shameful, shameful. But then, [resolutely) 
 Justice shall be done, though the heavens fall. 
 
 Enter Darby, c. d. comes down C. 
 
 Dar. I've got a mighty good clue, and 
 
 Tra. [rising) It is unnecessary, for I have found the thief! 
 All. [astonished) The thief? 
 
 Enter DuRKiN, R. u. E. 
 
 Dar. [sees Durkin) Good ! [aside to Tracey) Shall I nip 
 him? 
 
 Tra. You are mistaken. He is not the man. 
 
UNDER A CLOUD. 1/ 
 
 Dar. The deuce you say ! I'm dumb ! 
 
 Tra. Tell — tell Mr. Morley to come here. 
 
 Dur. Yes sir. Exit R. u. E. 
 
 Dar. You don't mean to say you suspect 
 
 Tra. No. I am certain. Guard the door. ( Darby goes to 
 
 C. D.) 
 
 Enter MoRLEY R. u. E., followed by Durkin. 
 
 Mor. You sent for me, sir ? 
 
 Tra. Mr. Sharp, not a word of what you hear must even be re- 
 peated. (Sharp bows) Donald Morley, have you ever had reason 
 to complain of your treatment here? 
 
 Mor. (c.) No, sir. 
 
 Tra. (l. c.) Have you received fair and satisfactory wages ? 
 
 Mor. More than fair, sir. 
 
 Tra. Can you afford to donate funds to charity ? 
 
 Mor. Why — [confused) that is — oh, Nina, have you betrayed 
 me ? 
 
 Nina. (r. c.) I forgot. I am sorry, Donald, and I 
 
 Tra. Stand back! Never speak to that man again. 
 
 Mor. Mr. Tracy ! 
 
 Nina. Father ! 
 
 Mor. What does he mean ? 
 
 Tra. I mean that my daughter shall not associate with a thief. 
 
 Mor. [indignantly) Do you refer to me, sir? By heaven 
 
 Tra. Aye, to you Donald Morley. I have been robbed for a 
 long time, and at last I set a trap to catch the thief. The bait 
 tempted you, and the trap is sprung. Go, I shall make no charge 
 against you. Go your way, but never let me see your face again. 
 
 Mor. Mr. Tracey, I demand justice. I refuse to 
 
 Tra. Silence, I tell you! Another word and I will place you 
 under arrest, [aside) No, no, I could not do that, [sits) 
 
 Nina. Do not answer him, Donald. Can't you see that he is 
 nearly crazed with grief? Remember, Donald, that I love you, 
 and though all the world believe you guilty, 1 do not. [einbraces 
 him) 
 
 Mor. Heaven bless you for that, Nina. Someday I'll prove my 
 truth, and then, [fiercely, pointing to Durkin, who has come down 
 to R. front) let the guilty man beware ! 
 
 SLOW CURTAIN. 
 
 For encore tableau, Morley is embracmg Nina, while Tracey 
 sits with bowed head, l. Sharp has both arms around Josie and 
 
1 8 UNDER A CLOUD. 
 
 is writing on a pad behind her back, [he is facing the audience) 
 Darby is down r. c, pointing at Durkin who shrinks. 
 
 QUICK CURTAIN. 
 
 ACT II. 
 
 Scene. — Same as Act i — A lapse of one year — Durkin discovered 
 seated with feet on desk, snwking a cigar. 
 
 Dur. This what I call comfort. I am monarch of all I survey — 
 at least to all intents and purposes. Since I got rid of Morley I 
 have had things all my ownway. Tracey is going to the dogs finan- 
 cially — thanks to my clever manipulation of his affairs — and in 
 about another six months I shall have the business and he will 
 have the experience. Louis Durkin, my boy, you're a slick 'un, 
 you are. There are no flies about you, my boy. 
 
 Enter Morley, c. d., disguised as a tramp. 
 
 Mor. I say, boss 
 
 Dur. [startled] Well, what in the deuce ^o yoti want? 
 
 Mor. Nothin'. 
 
 Dur. Then get out with you. Travel now. 
 
 Mor. Travel ? He, he, he ! Say boss, I hain't done nuthin' fer 
 years but travel. He, he, he ! 
 
 Dur. Who are you ? 
 
 Mor. Me name is Billy the Bum. I'm a up an* down sooner I 
 be — sooner do nothin' than anything. 
 
 Dur. What do you want here, I say again? 
 
 Mor. Ain't pertickler. Thought ye might have some spare 
 change which you'd hke ter invest in a handy man. I'm blame 
 near starved, dyin' fer a drink, an' this yere costume ain't jest wot 
 I wears when I dines wid me friends at Delmonico's. 
 
 Dur. Do you want work? 
 
 Mor. Ain't pertickler anxious. Might hook onter suthin' light 
 pervidin' 'tain't menial. We gentlemen of leisure don't degrade 
 ourselves by competin' wid der furrin' pauper labor — bet yer sweet 
 life. 
 
 Dur. Can you keep your mouth shut? 
 
 Mor. Sartin — 'cept I'm invited to crook me elbow. Then it will 
 fly open. 
 
 Dur. I mean can you keep a close tongue and let whiskey alone 
 for awhile ? 
 
UNDER A CLOUD. 19 
 
 Mor. Kin I ? You jest cough up some chink, put me onter de 
 lay, an' I'm yer huckleberry. I'm ready fer anything fromqueerin' 
 a safe to usin' er sand bag if it pans out der shiners. 
 
 Dur. I have no safes to " queer " nor sand bags to use. But if 
 you will keep sober and mind your p's and q's I may find some- 
 thing for you to do on the quiet But remember, if you blab I will 
 railroad you into Sing Sing on the jump. 
 
 Mor. It's a bargain, boss. 
 
 Dur. All right. Here is some money, [gives money") Get your- 
 self something to eat, and then return here for orders. 
 
 Mor. C'rect. Mum's de word, as I sez ter Jay Gould when he 
 axed me wot wine I'd have, {goes up] 
 
 Enter Tracey, c. d., looks sharply at M0RI.EY who pauses, then 
 exit, c. D. — Tracey carries a large, bulky white envelope. 
 
 Tra. Who is that fellow ? 
 
 Dur. Only a tramp, sir. 
 
 Tra. What did he want? 
 
 Dur. The usual thing — money. He seems to be an honest, 
 respectable fellow in hard luck, so I helped him a little and told 
 him to come back. 
 
 Tra. What for? 
 
 Dur. He begged for work, sir, and I thought we might find 
 something for him to do. 
 
 Tra. That is right, Louis. When an honest man wants work, 
 help him if you can. Has Mr. Livingston been here to-day ? 
 
 Dur. No, sir. (Morley enters at C. D., stops suddenly and listens) 
 
 Tra. If he calls before two o'clock give him this packet which 
 you will find in the safe. It contains fifty thousand dollars in gold 
 certificates — the trust funds of his estate. If he does not call before 
 the hour mentioned deposit the funds, as I should feel nervous if 
 the money remained here. Ah, Louis, things are going badly. I 
 hflpe to pull through all right, but we must retrench — we must 
 retrench. Exit, L. i e. 
 
 Dur. Certainly, my dear Tracey ; we must retrench — and I will 
 start the ball rolling by retrenching that snug little fifty thousand 
 at the outset. Ah — I have it. That tramp will prove a blessing 
 in disguise for me. [pauses] It's an elegant scheme — elegant — and 
 I'll work it. ' Exit Morlev. 
 
 Enter Tracey, l. i e. 
 
 Tra. I have placed the money in the safe, Louis. 
 Dur. Very well, sir. 
 
 Tra. I am going out for luncheon. If Livingston calls and 
 wishes to see me personally, tell him that I will return shortly. 
 Dur. Yes, sir. 
 
20 UNDER A CLOUD. 
 
 Tra. And if neither of us is here before two, be sure to deposit 
 the funds. Exit, c. D. . 
 
 Dur. Oh yes, I will deposit them — safely Mr. Tracey, safely. 
 Now for a master stroke. Exit, r. u. e. 
 
 Enter JosiE and Sharp, c d. 
 
 Josie. Parker dear, you ought not to neglect duty Hke this. 
 
 Sharp. Duty my dear ? Duty ? What greater duty can I have 
 than making love to you? It is the sum total of my worldly exist- 
 ence — without which I would fade away like the blasted 
 
 Josie. Parker ! 
 
 Sharp, —blasted fig tree. 
 
 Josie. Oh ! I thought you were going to swear. 
 
 Sharp. I swear — " not by the moon, the inconstant moon" 
 
 Josie. Oh, bother the moon I 
 
 Sharp. Don't. I envy it. The moon gets full every month and 
 never has a big head in the morning. 
 
 Josie. I thought that Nina would be here. 
 
 Sharp. Poor girl ! Do you remember that it was just a year ago 
 to-day since Morley was turned out? 
 
 Josie. What a shame it was. For I believe 
 
 Sharp. So do I • 
 
 Josie. That Durkin stole the money. 
 
 Sharp. Durkin be 
 
 Josie. He will. 
 
 Sharp. Tracey seems all broken up. 
 
 Josie. He ought to be. And when that Durkin is once behind 
 the bars 
 
 Sharp. Jug not, that ye be not jugged. Let's go into Tracey's 
 room. I've a few items I want to grind down. And — [^shaking 
 finger warningly') don't you say a word while I am writing. 
 
 Josie. Condemn me to death, and be done with it. 
 
 Exeunt, L. i E.* 
 
 Enter DuRKiN, R. u. e. 
 
 Dur. My tramp ought to be back by this time unless he is eating 
 up a restaurant. I wonder if I can trust him ? And why should I 
 not? He will be deeper in the mud than I am in the mire. 
 Besides, if he should try to peach it would only result in putting 
 him behind the bars. Yes, on the whole, I think that I can trust 
 him. 
 
 Enter Morley, C. d. 
 
 Mor. Ready for biz, boss? I'm thar. Ginger! I feel jest hke 
 an alderman, fer I've had a reg'lar up an' down out an' out square 
 meal. 
 
UNDER A CLOUD. 21 
 
 Dur. Have you been eating all this time ? 
 
 Mor. Sartin. I seed a sign in front of a hash house sayin' " all 
 ye kin eat, fer 50 cents." Sez I, that's my heft, so I goes in an' 
 perceeds ter hist in ther grub. Didn't I shng things? Wal, 
 ruther. I seed ther perprietor gittin' white around ther gills, an 
 when I got down ter ther fifth piece o' pie he kum up ter me an' 
 offered ter buy er sell. He sed 'twould only be er question of 
 time afore I had ther hull shebang down my throat, an' he'd like 
 ter strike a trade with me afore I swallered a waiter er two. Sez I, 
 " I ain't proud ; bring on yer waiters ! " 
 
 Dur. But 
 
 Mor. That's jest wot he did. He butted, an' kicked, an' snorted 
 an' kicked — but 'twarnt any use. Finally I agreed ter comper- 
 mise, an' he paid me ten dollars in hard plunkers to let him off. 
 Then I told him as how I'd got a job near by, an' that I'd paternise 
 him every day, an* hanged if he didn't go off his base kerflum ! 
 Gone stark starin', rip tearin' crazy. Took ten peelers to hold 
 him. Thinks I want ter eat him, fried in ile. 
 
 Dur. I don't wonder. 
 
 Mor. Wal now boss, let's git down ter biz. Whatever yer lay 
 is, sing yer song an' I'll jine ther chorus. I sorter hope it ain't a 
 serciety racket, cos I ain't togged out fer that sort er thing. Ye 
 see I discharged me valet yisterday an' 
 
 Dur. [impaiieiitly) That's enough. Sit down and I will tell you 
 my plan. 
 
 Mor. Cert, [stops, brushes off" chair) Excuse me. I'm pertickler 
 not ter sile me clothes. Thar ain't another suit like this in New 
 York. Thar, [sits) Now squeal. 
 
 Dur. Do you want ten years in state's prison ? 
 
 Mor. Do I want the moon ? 
 
 Dur. Probably not. But if you ever repeat what I am going to 
 tell you, or go back on me in any way 
 
 Mor. Me name will be mud. I see. Perceed. 
 
 Dur. Briefly then, I want you to bind and gag me and rob the 
 safe in yonder, [indicates l. i e.) Take whatever money you can 
 find, toss the books and papers about, and go. 
 
 Mor. Go whar ? 
 
 Dur. To the Devil, for all I care. 
 
 Mor. I'm purty near him now, boss. 
 
 Dur. No impudence, fellow. 
 
 Mor. Don't git riled. What do I git fer the risk ? 
 
 Dur. There is no risk. I will describe my assailant as being a 
 totally different man from you. 
 
 Mor. Wot's yer scheme'anyhow? 
 
 Dur, That is my affair. 
 
 Mor. But wot ef I'm nailed? 
 
22 UNDER A CLOUD. 
 
 Dur. That is your affair. But you will not be even suspected 
 unless you get drunk and blab. 
 
 Mor. You say thar'll be boodle in ther safe? 
 
 Dur. Yes. 
 
 Mor. How much ? 
 
 Dur. Well — I'll put in a hundred dollars. 
 
 Mor. A hundred devils ! S'pose I'd risk doin' time fur such a 
 spec? {rises indignantly) Ef that ain't ther biggest gall I ever 
 seed ! ( going) 
 
 Dur. [anxiously rising) But hold on 
 
 Mor. Bah ! Do yer own robbin', Mr. Man! Ye can't play me 
 fer a sucker! [going) 
 
 Dur. Stop! [i/[OKL¥N pauses) How much do you want? 
 
 Mor. Now yer talkin' sense. How much do I want, eh ? 
 [returns, front) Wal, I'll tell ye. I wants a cold thousand, cash 
 down ; five hundred fer me, an' five hundred fer me pal. 
 
 Dur. Your pal ? 
 
 Mor. Sartin. You ain't sich a softy, be you, as ter want me ter 
 do this job alone ? Why, that would gin ther fake dead away. 
 Yer a tough, wiry chap, an' no one bum like me could get away 
 with you single handed. Why, bless you boss, ther peelers 'ud 
 twig sich a racket too easy. 
 
 Dur. But your pal 
 
 Mor. Oh, he's all right. 
 
 Dur. Well, come back in about half an hour. The coast will 
 be clear then. 
 
 Mor. Kerect. Half an hour — all right, boss, [goes C.) 
 
 Enter NiNA, c. D — looks at Morley, first carelessly, then intently 
 with visible start — MoRLEY/z///y hat over his eyes, bows low and 
 exit C. D. — all this unseen by Durkin. 
 
 Nina, [intensely) Mr. Durkin 
 
 Dur. Ah, Miss Nina, I am 
 
 Nina. Who was he ? 
 
 Dur. That man ? Merely a poor fellow whom I have been help- 
 ing a little. 
 
 Nina. I thought — oh — very well. Is papa here ? 
 
 Dur. Not at present. 
 
 Nina. Then I will go. [starts C.) 
 
 Dur. Wait a moment, Miss Nina. I have something that I wish 
 to say. 
 
 Nina, [surprised ) To me ? 
 
 Dur. To you. Won't you please be seated ? 
 
 Nina. I cannot remain, Mr. Durkin. 
 
 Dur. Your interest demands that you hear me. 
 
UNDER A CLOUD. 2$ 
 
 Nina. Then wait until papa is present. Whatever j^z^ have to 
 do with mjy interests should be told to him. 
 
 Dur. It is of him that I would speak. 
 
 Nina. Then speak /o him, sir, I will hear nothing froni you. 
 Let me pass. 
 
 Dur. So be it. And your father's ruin follows you through that 
 door. 
 
 Nina. What do you mean ? 
 
 Dur. Did I not speak plainly ? I repeat, then, that if you pass 
 that door without hearing me, your father is a ruined man. 
 
 Nina. I don't believe you. I know your sly, scheming nature, 
 Louis Durkin, I lay the ruin of Donald Morley at your door, but 
 I defy you to ruin my father, [crosses] 
 
 Dur. How uncharitable you are. / ruin Donald Morley, my 
 friend and fellow-clerk? / ruin your father — who has been more 
 than a father to me ? 
 
 Nina. If you do not, who will ? 
 
 Dur. You. 
 
 Nina, You grow insulting, sir. I shall not hear another word. 
 
 Dur. You need not unless you choose. Leave if you will, and 
 when your father is a ruined man — aye, perhaps disgraced — how 
 pleasant it will be to think that you might have saved him with a 
 word. 
 
 Nina, You terrify me. What is it ? 
 
 Dur, I thought you would not hear me ! 
 
 Nina, But I will. Go on, please, go on ! 
 
 Dur. Won't you be seated ? We can talk so much more com- 
 fortably, 
 
 Nina, (sz/s) Make haste — hurry. 
 
 Dur. [st'fs) Haste makes waste. Therefore I never hurry. 
 
 Nina, [impatiently) Will you speak, sir .-^ 
 
 Dur. I am speaking. First, then, your father is on the verge of 
 ruin. Certain contracts which I can place in his hands would 
 avert disaster and, with proper care, all would go well with him. 
 
 Nina. And you will give him these contracts ? 
 
 Dur, With the greatest pleasure. 
 
 Nina. Oh, thank you. I was sure you would not do otherwise. 
 [rises^ 
 
 Dur. Wait a moment. I have not yet finished, [she sits) You 
 spoke a few moments ago of my scheming nature 
 
 Nina. Pardon me. I was thoughtless, crueL 
 
 Dur. Granted. You were severe. Miss Nina, for Heaven knows 
 / was never guilty of any wicked schemes. That is why I told 
 you of your father's circumstances. Those contracts I will place 
 in his hands 
 
 Nina. Well? 
 
 Dur. On one condition. You cannot expect me to do good 
 
24 UNDER A CLOUD, 
 
 entirely without reward. I am not perfect, though I try to be, and 
 I admit that I am selfish enough to ask one favor in return for 
 saving your father from ruin. 
 
 Nina, And that is ? 
 
 Dur. Your hand in marriage. 
 
 Nina. Never, sir ! [rises and crosses '^.) 
 
 Dur. [seated, coolly) Never is quite a long time, Miss Nina, longer 
 than your father's term of imprisonment will be. 
 
 Nina. I will not hear such words about my father. He has 
 committed no crime. 
 
 Dur. Possibly not — if you were both judge and jury. 
 
 Nina. I shall see him at once and expose your shameful threats, 
 coward that you are. 
 
 Dur. Do. And bid him good bye at the same time, for your 
 next interview with him will be inside the prison walls. 
 
 Nina, [greatly agitated) Mr. Durkin, are yo\x telling the truth? 
 
 Dur. Upon my honor, [bowing, haiid over heart) 
 
 Nina. And is my hand the only alternative ? 
 
 Dur. The only one possible. Now, Miss Nina, when you con- 
 sider this matter in a reasonable light you will see that I am acting 
 as any fair and honorable gentleman would act. I have never 
 persecuted you with my attentions, for that would be villainous ; 
 and I am happy to say that I am no villain. I love you, in a 
 gentlemanly way, and am quite wiUing to make you my wife. 
 Then by my help your father will regain his old time prestige, and 
 none but ourselves will be any the wiser. 
 
 Nina. Give me a little time to consider. 
 
 Dur. Most certainly. Take all the time you want, only, [look- 
 ing at watch) I shall ask for your decision in about ten minutes. 
 And remember — not a word to your father ! 
 
 Nina. Ten minutes ? 
 
 Dur. That is ten times as long as it ever takes me to decide a 
 question. Of course if you were buying a bonnet I should expect 
 you to be all day about it ; but this is quite a different thing, [goes 
 up^.) 
 
 Nina, (l., aside) What a cold blooded savage ! Exit, L. i E. 
 
 Dur. I think you can — [turns) the deuce! She has gone in 
 there where the money is. [looks^off, l. i e.) And that vixen Josie 
 is there along with that cursed reporter ! They are coming out. 
 Good. I will chnch matters by getting hold of those trust funds, 
 which will put this family completely under my thumb. 
 
 Exit, R. U. E. 
 
 Enter JosiE, Nina and Sharp, l. i e., Nina^^<?5 up l. 
 
 Sharp. There, ladies, I flatter myself that I have ground out 
 some news items which will make the world "stand and gaze Hke 
 Joshua's moon at Aijalon." 
 
UNDER A CLOUD. 25 
 
 Josie. And turn EH Perkins green with envy. 
 
 Sharp. That is an indirect and elegant way of saying that I have 
 been writing thumpers. 
 
 Josie. Parker 
 
 Sharp. Yes, my dear. 
 
 Josie. What is a thumper? 
 
 Sharp. A thumper is — ahem — an unreliable fabrication, doubly 
 distilled. To illustrate: If I say "The dude has brains," I utter a 
 fabrication ; but if I say " The dude is a lovely bird and -a. social 
 necessity," I deserve to be driven into the ground with a mallet. 
 
 Josie. Nina dear, what troubles you ? 
 
 Nina, {seated v..) Don't ask me, dear — for I cannot tell you. But 
 I am very unhappy. 
 
 Josie. My poor Nina. Can we not help you 1 
 
 Sharp. If you have any wrongs which you want righted, say 
 the word and behold ! Your champion is here. The Morning 
 Breeze will arise in its might, and, with the thunder of a thousand 
 cyclones utterly demohsh at one fell swoop the — [pauses) the 
 
 Josie. Rubbish ! 
 
 Sharp. Crushed again. 
 
 Enter Tracey, c. d. , open letter in hand. 
 
 Tra. [nods to others) How do you do? (l. C, front, aside) I 
 really wonder what this means ? [the others converse together) This 
 is certainly a mysterious note, [reads) "Replace the envelope 
 containing trust funds with another of the same appearance. Let 
 no one see you, and keep mum. Darby Smith." That's the 
 detective, [reads) " P. S. Keep the funds in hand until you hear 
 from me, and see that your private office is clear of visitors for the 
 next half hour." — Something is up. I'll do it. Exit, L. i E. 
 
 Sharp. I feel in my bones that — a — something or other — is going 
 to happen. 
 
 Josie. Quite right Parker. You will happen to invite us out to 
 luncheon, and we will happen to accept. Come, Nina. 
 
 Nina. No, no Josie. I cannot go. 
 
 Josie. But indeed you shall. Only a few moments — long enough 
 to pick a bit of quail, bite a few strawberries and have an ice. 
 [they go up C.) 
 
 Sharp, [sings, aside) " I have fifteen dollars in my inside 
 pocket." [spoken) Quail, three dollars, strawberries — in Decem- 
 ber — fifty cents apiece, and ices — oh lord ! 
 
 Josie. Come Parker, we are waiting. 
 
 Sharp, [aside) Yes — and this spread will keep my tailor waiting. 
 
 Josie. [ate. D., as NiNA exits) Parker! 
 
 Sharp. Yes, my dear, [aside) It's bankruptcy — one cent on the 
 dollar ! Exit with Josie, c. d. 
 
?6 UNDER A CLOUD, 
 
 Enter Tracey, l. i e., with the large envelope. 
 
 Tra. There — I have secured the funds and have left a dummy 
 package in their place. Now for the next act of the drama. 
 
 Exit C. D. 
 
 Enter Durkin, r. u. e. 
 
 Dur. I hope the coast is clear by this time, {goes to l. i e.) 
 Good ! Now for some quick work. Exit, L. i e. 
 
 Enter Darby and Morley — the forjner is disguised like Morley. 
 
 Mor. {as he enters, c. D.) Come erlong, pard. Here's whar I 
 hang out. Ain't I in luck? 
 Dar. I should snort ! 
 Mor, Now ole pal, keep yer head level, an' all will be O. K. 
 
 Enter Durkin, l. i e., with large envelope — he does not see the 
 others at first. 
 
 Dur. {reads p'om envelope') ** Trust friends, Livingston estate." 
 It's all right, and I — [sees the others) the Devil ! 
 
 Mor. Three of a kind, boss. We're all devils more er less, but 
 I 'spect you's de biggest. Been doin' a little jayhawkin' on yer 
 own account ? 
 
 Dur. No sir ! These are private papers, {places the envelope in 
 his inside coat-pocket) Who's that fellow ? 
 
 Mor. 'Y\\2X gent — if yer please, Mr. Man — is me pal. His name 
 is Bobby the Freezer, cos he freezes onto wotever he gits a holr^ 
 of. We's pals, we is. Fur ten years we've tramped an' stole, 
 an* done time, an' vi^orked de growler, an* never had more'n oni 
 fight a week atween us. We uster fight every day, but one day 
 wen I'd knocked Bobby's two eyes into one, an' he had a chattel 
 mortgage on me hair 
 
 Dur. {impatiejttly) Enough of this. Are you ready to begin 
 operations.? 
 
 Mor. Soon as you shell out de shiners. 
 
 Dur. I'll pay you when the job is finished. 
 
 Mor. {pointing to eye) Do yer see anything green thar, boss? 
 Nixy. It's plunkers in de fist er we flunks de job. Ain't dat sq 
 pard? 
 
 Dar. I should snort ! 
 
 Dur. Well — [takes wallet from pocket) hero's yoxxr vaorxey. Five 
 hundred dollars each, [gives money) Now get to work. 
 
 Mor. 'Scuse me, boss, till we counts de funds. Wen we gents 
 does business wid a crook we wants ter be sure dat all are straight 
 — don't we pard? 
 
 Dar. I should snort ' [they count bills) 
 
UNDER A CLOUD. 2/ 
 
 Dur. Well — make haste, 
 
 Mor. Dat's all right. But ef you's been shovin' any queer on 
 us, look out fer trouble. Now, tell us wot ter do. 
 
 Dur. Here's a piece of rope and a towel. Bind me to this chair, 
 and gag me with the towel. Then ransack the safe, scatter the 
 books and papers about, and skip. Hurry up now. 
 
 Mor. C'rect, boss. Lend a hand, pard. {they bind and gag 
 DURKIN ««<^/ exeunt L, I E. Pause. Then they re-enter, L. IE.) 
 
 Mor. Dat room looks as ef a turnado hed broke loose. Is dat 
 all, boss? (DuRKiN nods^ Den I reckon we'd better take a stroll, 
 pard. 
 
 Dar. I should snort ! Exit with Morley, c. d. Pause. 
 
 Enter Tracey, C. d. 
 
 Tra. [looking off Q. Ti.) Suspicious looking characters. Wonder 
 if they — [turns, sees Durkin) Hello ! What's all this? Durkin ! 
 [comes down) Durkin! Why, if he isn't bound and gagged! 
 [loosens him) Louis — Louis, who did this? 
 
 Dur. [staggers to his feet) Robbers ! [sits again as if overcome") 
 
 Tra. Robbers ? 
 
 Dur. Yes. I was assaulted — taken unawares. I made a des- 
 perate, deadly struggle sir, but finally was overpowered. 
 
 Tra. Those tramps ? 
 
 Dur. Yes sir — one of them the man whom I had befriended. 
 
 Tra. The wretch ! 
 
 Dur. And the trust funds, oh the trust funds — the fifty thou- 
 sand dollars ! 
 
 Tra. Stolen ? 
 
 Dur. Yes sir — besides other money. 
 
 Tra. Good heavens ! This is ruin ! 
 
 Enter Sharp, Nina and Josie, c. d. 
 
 Sharp. What's the commotion, anyhow ? 
 
 Tra. Mr. Durkin has been assaulted and I have been robbed. 
 
 Sharp. Good gracious ! Here's an item. Tell me all about it 
 — full particulars. When did it happen? Who did it? How, 
 when, where ? How many were there ? How much was taken ? 
 Anybody killed? Give me the facts if you can ; if not, guess at it. 
 Tell me something anyhow, and we'll get out a special, [writes on 
 pad) 
 
 Enter MoRLEY, C. D. 
 
 Mor. Now boss, I'm ready for work. 
 
 Dur. Sieze him ! Stop him ! Shoot him ! He is one of the das- 
 tardly thieves, [setisation) 
 
28 UNDER A CLOUD, 
 
 Josie. Thieves! Oh murder ! Save me, somebody ! [throws her 
 arms around Sharp ivho continues writing without heeding her) 
 Tra. Are you sure ? 
 
 Enter Darby c. d., made up and dressed as in first Act. 
 
 Dur. Am I sure ? Mr. officer, arrest that man. 
 
 Dar. What for? (Josie ^^(?i /<? Nina) 
 
 Dur. For robbery. He stole fifty thousand dollars from our 
 safe. : 
 
 Mor. Dat's a lie. How cud I swipe dat boodle when you's 
 got er in yer inside pocket all der time ? 
 
 Dur. What! 
 
 Mor. Look an' see. Mebbe he'll deny it. (Tracey steps quickly 
 to DURKIN and takes envelope from him. Pause) 
 
 Tra. How is this, sir ? 
 
 Dur. [confused) Why — I — I — you see — that is 
 
 Tra. Well sir? 
 
 Dur. [with an effort) I — I was so confused that I forgot I had it. 
 Now I remember, [with more confide7ice) I had taken the money 
 to deposit it in the bank, just as those scoundrels assaulted me. I 
 resisted with all my strength, and in the confusion — but never 
 mind. Arrest that man. The other one must be near by. 
 
 Dar. You are right. He is here. 
 
 Dur. Here ? 
 
 Dar. [former tone) I should snort I 
 
 Dur. You? 
 
 Dar. Correct. 
 
 Mor. An' here is de money de bloke paid us to bind, gag and 
 rob him. 
 
 Sharp, [looks up) Jerusalem ! Another extra edition ! Give me 
 room ! [writes rapidly) 
 
 Dur. It's a lie ! 
 
 Dar. It's the truth. 
 
 Dur. Mr. Tracey, do you believe 
 
 Tra. That you are a scoundrel ? Certainly. Examine that 
 package. 
 
 Dur. [opens envelope) Blank paper ! 
 
 Tra. Exactly. We gave you enough rope, and you have hung 
 yourself, Louis Durkin. You sought to entangle me as you did 
 poor, innocent Donald Morley. But, thanks to this keen detec- 
 tive, you have failed. 
 
 Dur. Played upon ! Duped ! But I'll have revenge, [springs 
 at Tracey, when Morley interposes and hurls him off) 
 
 Mor. No you don't I 
 
 Dur. Who are you ? 
 
 Mor. [throwing off disguise) Donald Morley/ 
 
UNDER A CLOUD. 29 
 
 Tra. Donald ! Can you ever forgive me? {offers hand) 
 
 Mor. With all my heart, [takes his hand) 
 
 Sharp. Great Scott ! Another extra edition ! {writes) 
 
 Dar. Mr. Durkin, suppose we take a little stroll down the street 
 
 to an elegant hotel where they will board you free of charge. 
 
 And afore goin', let me present you with some beautiful jewelry, 
 
 warranted solid — steel, {handaiffs Durkin) 
 
 Sharp. Holy smoke ! Another special — {writes) 
 Tra. {to Morley) Can I offer you any reparation ? 
 Mor. Thus, {embraces Nina — Tracey bows) 
 
 PICTURE. 
 
 Darby. Durkin. 
 Sharp. Josie. Morley. Nina. Tracry. 
 
 QUICK CURTAIN. 
 
UNCLE TOM'S CABIN (NEW version.) 
 
 A MELODRAMA IN FIVE ACTS, BY CHAS, TOWN SEND. 
 PRICE, 15 CENTS. 
 
 Seven male, five female characters (some of the characters play two parti). 
 Time of playing, 2X hours. 'I his ii a new acting edition of a prime old favorite, 
 so simplified in the stage-setting as to be easily represented by dramatic clubs and 
 travelling companies wiih limited scenery. Unclb Tom's Cabin is a play that never 
 grows old ; being pure and faultless, it commands the praise of the pulpit and sup- 
 port of the press, while it enlists the favor of all Christians and heads of famili«. It 
 will draw hundreds where other plays draw dozens, and therefore is sure to fill any hall. 
 
 Synopsis of Incidents : Act I. — Scene /.—The Shelby plantation in Kentucky. — 
 George and Eliza. — The curse of Slavery. — The resolve. — Off for Canada. — " 1 won't 
 be taken — I'll die first." — Shelby snd Haley. — Uncle Tom and Harry must be sold. — 
 The poor mother. — "Sell my boy!" — The faithful slave. Scene II. — Gumption 
 Cute. — " By Gum • " — Marks, the lawyer. — A m»d Yankee. — George in disguise. — A 
 friend in need. — The human bloodhounds. — The escape. — " Hooray fcr old Var- 
 mount ! " • 
 
 Act II.— St. Clare's elegant home.— The fretful wife.— The arrival.— Little Eva.— 
 Aunt Ophelia and Topsy. — " O, Golly! I'se so wicked!" — St. Clare's opinion. — 
 " Benighted innocence." — The stolen gloves. — Topsy in her glory. 
 
 Act 111. — The angel child. — Tom and St. Clare. — Topsy's mischief. — Eva's re- 
 quest. — The promise. — pathetic scene. — Death of Eva. — St. Clare's grief. — " For thou 
 art gone forever." 
 
 Act IV. — The lonely house. — Tom and St. Clare. — Topsy's keepsake. — Deacon 
 Perry and Aunt Ophelia. — Cute on deck. — A distant relative. — The hungry visitor. — 
 Chuck full of emptiness." — Cute and the Deacon. — A row. — A fight. — Topsy to the 
 rescue. — St. Clarewounded. — Death of St. Clare. — "Eva— Eva — I am coming " 
 
 Act V. — Leeree's plantation on the Red River. — Home again. — Uncle Tom's 
 noble heart. — " My soul ain't yours, Mas'r." — Legree'scruel work. — Legree and Cassy. 
 — The whiteslave. — A frightened brute. — Legree's fear. — A life of sin. — Marks and 
 Cute. — A new scheme. — The dreadful whipping of Uncle Tom.— Legree punished at 
 last.— Death of Uncle Tom. — Eva in Heaven. 
 
 THE WOVEN WEB. 
 
 A DRAMA IN FOUR ACTS, BY CHAS. TOWNSEND. 
 PRICE, 15 CENTS. 
 
 Seven male, three female characters, viz. : leading and second juvenile men, so- 
 ciety villain, walking gentleman, eccentric comedian, old man, low comedian, leading 
 Juvenile lady, soubrette and old woman. Time of playing, 2^ hours. The Woven Web 
 is a flawless drama, pure in thought and action, with excellent characters, and pre- 
 senting no difficulties in costumes or scenery. The story is captivating, with a plot 
 of the most intense and unflagging interest, rising to a natural climax of wonderful 
 power. The wit is bright and sparkling, the action terse, sharp and rapid. In touch- 
 ing the great chord of human sympathy, the author has expended that rare skill 
 which has given life to every great play known to the stage. This play has been 
 produced under the author's management with marked success, and will prova 
 an unquestionable attraction wherever presented. 
 
 Synopsis or Incidents: Act I.— Parkhurst & Manning's law office, New York. 
 — Tim's opinion. — The young lawyer. — " Majah Billy Toby, sah ! " — Love and law. 
 — Bright prospects.— Bertha's misfortune. — A false friend. — The will destroyed. — A 
 cunning plot. — Weaving the web. — The unseen witness. — The letter. — Accused. — 
 Dishonored. 
 
 Act II. — Winter quarters. — Colonel Hastings and Sergeant Tim.— Moses.- A 
 message. — Tim on his dignity. — The arrival. — Playing soldier. — The secret. — The 
 promise. — Harry in danger. — Love and duty. — The promise kept. — " Saved, at the 
 loss of my own honor ! " 
 
 Act III. — Drawing-room at Falconer's.— Reading the news. — " Apply to Judy ! " 
 — Louise's romance. — Important news. — Bertha's fears. — Leamington s arrival. — 
 Drawing the web. — Threatened. — Plotting. — Harry and Bertha. — A fiendish lie. — Face 
 to face. — " Do you know him ? " — Denounced. — " Your life shall be the penalty ! " — 
 Startling tableau. 
 
 Act IV. — At Uncle Toby's.— A wonderful climate. — An impudent rascal. — A bit 
 of history.— Woman's wit. — Toby Indignant. — A quarrel. — Uncle Toby's evidence. — 
 Leamington's last trump. — Good news.— Checkmated.- The telegram. — Breaking 
 th« web. — Sunshine at last. 
 
 p^ Copies mailed, postpaid, to any address, on receipt 0/ the annexed prices. ^JgH 
 
SAVED FROM THE WRECK. 
 
 A DRAMA IN THREE ACTS, BY THOMAS K. SERRANO. 
 PRICE, 15 CENTS. 
 
 Eight male, three female characters : Leading comedy, juvenile man, genteel 
 villain, rough villain, light comedy, escaped convict, detective, utility, juvenile 
 lady, leading comedy lady and old woman. Two interior and one landscape scenes. 
 Modern costumes. Time of playing, two hours and a half. The scene of the action 
 is laid on the New Jersey coast. The plot is of absorbing interest, the "business" 
 effective, and the ingenious contrasts of comic and serious situations present a con^ 
 tinuous series of surprises for the spectators, whose interest is increasingly maintained 
 up to the final tableau. 
 
 SYNOPSIS OF INCIDENTS. 
 
 Act I. The Home of the Light-house Kf.epek. — An autumn afternoon. — 
 The insult. — True to herself. — A fearless hent. —1 he unwelcome guest. — Only a 
 foundling.— An abuse of confidence. — The new partner.— 'I'he compact. — The dead 
 brought to life. — Saved from the wreck. — Legal advice. — Married for money.— A 
 golden chance. — The intercepted letter. — A vision of wealth.— The forgery. — Within 
 an inch of his life. — The rescue. — Tableau. 
 
 Act II. Scene as before ; time, night. — Dark clouds gathering. — Changing 
 the jackets. — Father and son. — On duty. — A struggle for fortune. — Loved for himself. 
 —The divided greenbacks. — The agreement. — An unhappy life. — The detective's mis- 
 take. — Arrested. — Mistaken identity. — 1 he likeness again. — On the right track — The 
 accident. — "Will she be saved ? " — Latour's bravery. — A noble sacrifice. — The secret 
 meeting. — Another case of mistaken identity. — The murder. — " Who did it ? " — The 
 torn cuff. — "There stands the murderer!" — " 'Tis false!" — The wrong man mur- 
 dered. — Who was the victim ? — Tableau. 
 
 Act III. Two Days Later.— Plot and counterplot,— Gentleman and convict.— 
 The price of her life. — Some new documents. — The divided banknotes. — Sunshine 
 through the clouds. — Prepared for a watery grave. — Deadly peril. — Father and daugh- 
 ter.— The rising tide.— A life for a signature.— True unto death.— Saved.— The mys- 
 tery solved,— Denouement. — Tableau. 
 
 BETWEEN TWO FIRES. 
 
 A COMEDY-DRAMA IN THREE ACTS, BY THOMAS K. SERRANO. 
 
 PRICE, 15 CENTS. 
 
 Eight male, three female, and utility characters : Leading juvenile man, first and 
 second walking gentleman, two light comedians (lawyer and foreign adventurer), 
 Dutch and Irish character comedians, villain, soldiers; leading juvenile lady, walk- 
 ing lady and comedienne. Three interior scenes ; modern and military costumes. 
 Time of playing, two hours and a half. Apart from unusual interest of plot and skill 
 of construction, the play affords an opportunity of representing the progress of a 
 real_ battle in the distance (though this is not necessary to the action). The comedy 
 business is delicious, if well worked up, and a startling phase of the slavery questioa 
 is sprung upon the audience in the last act. 
 
 SYNOPSIS OF INCIDENTS. 
 
 Act I. At Fort Lee, on the Hudson.— News from the war.— The meeting, 
 — The colonel's strange romance.— Departing for the war.— The intrusted packet. — An 
 honest man. — A last request. — Bitter hatred. — The dawn of love. — A northerner's 
 sympathy for the South. — Is he a traitor ? — Held in trust. — La Creole mine for sale. — 
 Financial agents. — A brother's wrong. — An order to cross the enemy's lines. — For- 
 tune's fool. — Love's penalty. — Man's independence. — Strange disclosures. — A sha- 
 dowed life. — Beggared in pocket, and bankrupt in love. — His last chance. — The re- 
 fusal. — Turned from home. — Alone, without a name. — Off to the war. — Tableau. 
 
 Act II. On the Battlefield. — An Irishman's philosophy. — Unconscious of 
 danger,— Spies in the camp. — The insult. — Risen from the ranks. — The colonel's prej- 
 udice. — Letters from home. — The plot to ruin. — A token of love. — True to him. — 
 The plotters at work. — Breaking the seals. — The meeting of husband and wife. — A 
 forlorn hope. — Doomed as a spy. — A struggle for lost honor. — A soldier's death.^ 
 Tableau. 
 
 Act III, Before Richmond.— The home of Mrs. De Mori.— The two docu- 
 ments. — A little misunderstanding. — A deserted wife. — The truth revealed. — Brought 
 to light. — Mother and child. — Rowena's sacrifice. — The American Eagle spreads his 
 wings. — The spider's web. — True to himself. — The reconciliation. — A long divided 
 home reunited. — The close of the war, — Tableau. 
 
 fe# Copies mailed^ postpaid., to any address.^ on receipt of the annexed prices. ,.^gj 
 
H. THEYRE SMITH'S PLAYS. 
 
 Price, 1 5 Cents Each. 
 
 A CASE FOR EVICTION. One male and two female characters— light comec 
 lady comedian and servant. Interior scene ; modern costumes ; time of pla^ 
 thirty minutes. This breezy little play is so true to life that everybody enjo 
 and, as a matter of course, it is always highly successful. A young husband _ 
 wife have a visitor who makes them twice glad— glad when he comes and dc " 
 glad when he goes. The difficulties that the young couple experience in gf( 
 rid of their guest, without hurting his feelings, are laughable in the ext . 
 The guest, by the way, is heard but not seen—-wV\cV fact gives rise to ' 
 comical business. No scenery whatever is required; and as every-day cost' 
 are worn, the piece can be produced successfully without the slightest troubh 
 
 CUT OFF WITH A SHILLING. Two male and one female charac ^J 
 juvenile man, old man and lady comedian. Scene, a sitting-room ; moder 
 turaes; time of playing, forty-five minutes. An exceedingly popular play, of 
 unusual opportunitu s for good acting. A young man who has married wi ^ 
 his uncle's consent is cut off with a shilling. But the uncle meets his nepi 
 wife — not knowing who she is — and is so captivated by her wit, grace and b( ' 
 that, on learning who she is, he changes his mind, reinstates his nephev . 
 allows the latter to return the shilling. The dialogue is witty, the action j ■* 
 and the situations effective. 
 
 A HAPPY PAIR. One male, one female character— both light comedy. See 
 nicely furnished room ; modern costumes ; time of playing, forty-five minute: 
 brisk little play, full of action and giving numerous opportunities for clever ^ 
 While entirely free from all "low-comedy" business, it contains enough h 
 to be highly diverting. The quarrels of the " happy pair," and their final 
 ciliation can not fail to please, and the play is sure to give entire satisfy 
 either in the parlor or as a " curtain raiser" or afterpiece. 
 
 MY LORD IN LIVERY. Four male and three female characters— light come 
 low comedian, old man, utility, lady comedian and two walking ladies. I 
 scene ; modern costumes ; time of playing, fifty minutes. An unusually b 
 piece brimming over with wit and humor. The three young ladies who pen 
 comic servant to meet them on terms of equality under the belief that he 
 nobleman masquerading like themselves — the happy-go-lucky young nobl 
 who is mistaken for a bur-lar — the comical old butler — all have a vast dea 
 laughable by-play and business. This play was a pronounced success in J 
 York, and has been presented to crowded houses in all the principal cities of 
 country. The ease with which it may be staged, and the invariable success wV 
 attends it, make My Lord in Livery peculiarly adapted to the use of amateui 
 
 UNCLE'S WILL. Two male and one female characters — juvenile lead, ol 
 and lady comedian. Scene, a sitting-room ; costumes, modern ; time of pi 
 thirty minutes. This brilliant little play is a prime favorite in both Euroj 
 America, and is admirably adapted to the use of amateurs. The wit 
 like a diamond, and the dainty bits of humor scattered here and there kee; 
 constant ripple of pli^ased excitement. Each character is a star part. Th^ 
 ing young naval ofBcer, the comical old man — in which Mr. Davidge i a 
 
 pronounced hit at the Fifth Avenue Theatre, New York — and the brig and 
 spirited young lady, all are first class and worthy of the best talent in any dramatic 
 club. 
 
 WHICH IS WHICH. Three male, three female characters— juvenile man, old 
 man, utility, two juvenile ladies and old woman. Scene, a studio ; costumes, 
 modern ; time of playing, fifty minutes. Excellent and much patronized by 
 amateurs. The amusing perplexities of the poor arti-t, who can not tell which of 
 his visitors is the heiress and which her penniless friend — who mistakes one for 
 the other — who makes love to the rich girl, supposing that she is poor, and deter- 
 mines to marry her in spite of her supposed poverty — and who finally discovers 
 that he has proposed to the heiress after all — combine to make this a delightful 
 play. ^ 
 
 ^^" A ny of the above ivill be sent by mail, postpaid, to any address, on receipt 
 c/the annexed prices. As there are several editions of these plays offered /or sale, 
 good, bad and indijferent, purchasers ivill consult their own interests, when order- 
 i^St ^y ipeci/ying Roorback's edition. „^^ 
 
 HAROLD ROORBACH, Publisher, 9 Murrav St., New York. 
 
TOWNSEND'S 
 
 ''AMATEUR THEATRICALS 
 
 A Pr actual Guide for Amateur Actors. 
 PRICE, 25 CENTS. 
 
 J ? 
 
 This work, without a rival in the field of dramatic literature, covers the entire sub- 
 ject of amateur acting, andanswers the thousand and one questions that arise constanil- 
 to worry and perplex both actor and manager. It tells how to select plays and whr. 
 plays to select ; how to get up a dramatic club— whom to choose and whom to avoid 
 how to select characters, showing who should assume particular r^/^j/ hcwto rehear? 
 a play properly — including stage business, by-play, voice, gestures, action, etc.; how i 
 re^)re^ent all the passions and emotions, from Love to Hate (this chapter is worth man 
 times the price of the book, as the same information cannot be found in any simil; 
 work) ; how to costume modern plays. All is told in such a plain, simple style thL 
 the Veriest tyro can understand. The details are so complete and the descriptions s 
 clear that the most inexperienced can follow them readily. The book is full ol breez 
 anecdotes tliat illustrate different points. But its crowning merit is that it is thorough!. 
 I'KACTicAL— it is the result of the author's long experienceas an actor and manager 
 Every dramatic club in the land should possess a copy of this book, and no actor cai 
 afford to be without it. It contains so much valuable information that even old stager 
 ■will consult it with advantage. 
 
 H ELM ER'S 
 
 ACTOR'S MAKE-UP BOOK. 
 
 A Practical and Systematic Guide to the Art of Making up for the Stage. 
 
 PRICE, 25 CENTS. 
 
 Facial make-up has much to do with an actor's success. This manual is a perfecl 
 encyclopedia of a branch of knowledge most essential to all players. It is well written 
 systematic, exhaustive, practical, unique. Professional and amateur actors and act- 
 resses alike pronounce it thk best make-up book ever published. It is simply indis 
 pensable to those who cannot command the services of a perruquier. 
 
 CONTENTS. 
 
 Chapter I. Theatricai- Wigs.— The Style and Form of Theatrical Wigs and 
 Beards. The Color and Shading of Theatrical Wigs and Beards. Directions foj 
 Measuring the Head. To put on a Wig properly. 
 
 Chapter II. Theatrical Beards. — How to fashion a Beard out of Crepe Ha 
 How to make Beards of Wool, The growth of Beard simulated. 
 
 Chapter III. The Make-up. — A successful Character Mask, and how to make it. 
 Perspiration during performance, how removed. 
 
 Chapter IV. The Make-up Box.— Grease Paints. Grease Paints in Slicks ; Flesh 
 •Cream ; Face Powder ; How to use Face Powder as a Liquid Cream ; The various shad(i 
 of Face Powder. Water Cosmetique. Nose Putty. Court Plaster. Cocoa Butti:. 
 Crepe Hair and Prepared Wool. Grenadine. Dorin's Rouge. " Old Man's" Rou^. 
 *' Juvenile" Rouge. Spirit Gum. Email Noir. Bear's Grease. Eyebrow Penci's. 
 Artist's Stomps. Powder Puffs. Hare's Feet. Camel's-hair Brushes. 
 
 Chapter V. The Features and their Treatment. — The Eyes: Blindness. The 
 Eyelids. The Eyebrows : How to paint out an eyebrow or mustache ; How to paste 
 on eyebrows ; How to regulate bushy eyebrows. The Eyelashes : To alter the appef.r- 
 ance of the eyes. The Ears. The Nose : A Roman nose ; How to use the nose putty ; 
 a pug nose; an African nose ; a large nose apparently reduced in size._ The Mouth 
 and Lips : a juvenile mouth ; an old mouth ; a sensuous mouth ; a satirical mouth ; a 
 one-sided mouth ; a merry mouth ; a sullen mouth. The Teeth. The Neck, Arms, 
 Hands and Finger-nails : Finger-nails lengthened. Wrinkles: Friendliness and Sulle n- 
 ness indicated by wrinkles. Shading. A Starving Character. A Cut in the Face. A 
 Thin Face made Fleshy. 
 
 Chapter VI. Typical Character Masks. — The Make-up for Youth: Dimpled 
 •Cheeks. Manhood. Middle Age. Making up as a Drunkard : One method ; another 
 method. Old Age. Negroes. Moors. Chinese. King Lear. Shylock. Macbet h. 
 Richelieu. Statuary. Clowns. 
 
 Chapter VII. Special Hints to Ladies.— The Make-up. Theatrical Wigs ai nd 
 Hair Goods. 
 
 ^W° Copies of the above will be mailed., post-paid^ to any address^ on receipt of 
 the annexed prices. ,^^^ ' 
 
 HAROLD ROORBACH, Publisher, 9 Murray St, New Yor.C,. 
 
 \ 
 
ROORBACH'S AMERICAN 1 
 
 LIBRARY OF CONGRESS 
 
 Hi, 
 
 « 011ft R0)4 087 9 ^ 
 
 018 604 087 
 
 J. MURDER WILL OUT. A farce in oi 
 
 thirty minutes. 
 5. APRIL FOOLS. A farce in one act. Three male characters. Time, thirty 
 
 minutes. 
 '. OLD CRONIES. A comedietta in one act. Two male characters. Time, 
 
 thirty minutes. 
 \. CUT OFF WITH A SHILLING. A comedietta in one act. Two male, one 
 
 female characters. Time, forty-five minutes. 
 . A CASE FOR EVICTION. A comedietta in one act. One male, two female 
 
 characters. Time, thirty minutes. 
 , A HAPPY PAIR. A comedietta in one act. One male, one female characters. 
 
 Time, forty-five minutes. 
 , UNCLE'S WILL. A comedietta in one act. Two male, one female charac- 
 ters. Time, thirty minutes. 
 . POPPING THE QUESTION. A farce in one act. Two male, four female 
 
 characters. Time, forty minutes. 
 . THAT RASCAL PAT. A farce i.i one act. Three male, two female charac- 
 ters. Time, thirty minutes. 
 . SOLON SHINGLE. A comedy in two acts. Seven male, two female charac- 
 ters. Time, one hour and a half. 
 . NOT SUCH A FOOL AS HE LOOKS. A comedy in three acts. Five 
 
 male, four female characters. Time, two hours and a half. 
 . OUR BOYS. A comedy in three acts. Six male, four female characters. Time, 
 
 two hours. 
 , CASTE. A comedy in three acts. Five male, three female characters. Time, 
 two hours and half. 
 ,-. HOME. A comedy in three acts. Four male, three female characters. Time^ 
 
 two hours. 
 ',. MEG'S DIVERSION. A drama in two acts. Five male, three female charac- 
 ters. Time, one hour and three quarters. 
 . MIRIAM'S CRIME. A drama in three acts. Five male, three female charac- 
 ters. Time, two hours. 
 1, BY FORCE OF IMPULSE. A drama in three acts. Nine male, three female 
 
 characters. Time, two hours and a half. 
 ,2. BETWEEN TWO FIRES. A comedy-drama in three acts. Eight male, 
 
 three female characters. Time, two hours and a half, 
 o SAVED FROM THE WRECK. A drama in three acts. Eight male, three 
 female characters. Time, two hours and a half. 
 
 A LESSON IN ELEGANCE. A comedietta in one act. Four female charac- 
 ters. Time, thirty minutes. 
 
 WANTED, A CONFIDENTIAL CLERK. A farce in one act. Six 
 male characters. Time, thirty minutes. 
 
 THE TRIPLE WEDDING. A drama in three acts. Four male, four female 
 characters. Time, one hour and a quarter. 
 .-' SECOND SIGHT; OR, YOUR FORTUNE FOR A DOLLAR. A farce 
 ' , in one act. Four male, one female characters. Time, one hour. 
 
 UNDER A CLOUD. A comedy-drama in two acts. Five male, two female 
 characters. Time, one hour and a half. 
 
 .STRIFE. A comedy-drama in four acts. Nine male, four female characters, 
 j Time, two hours and a quarter. 
 
 1 TRIED AND TRUE. A drama in three acts. Eight male, three female char- 
 j ters. Time, two hours and a quarter. 
 [CRAWFORD'S CLAIM. A drama in prologue and three acts. Nine male. 
 
 48 
 49 
 50. 
 
 51 
 
 52. JTEN NIGHTS IN A BAR ROOM. New Copyright Version. A drama 
 * ^ in five acts. Seven male, four female characters. Time, two hours. 
 
 Anjf of the above Tuill be sent by mail ^ post-paid, to any address^ on receipt 
 ice. 
 
 ROLD ROORBACH, Publisher, 9 Murray St.. New York. 
 
 \three female characters. Time, two hours and a quarter. 
 
 tl