A COLLECTION OF
SCARCE AC'ING. TRAGEDIES, COIIIEDIES, DRAMAS, 
FARCES ANlD DBURLETTAS.
X IFOt N  rt lCE AND STYLE.
Bach Number %12l cts....10 FoI,o Dollar..;                    -. 0.l.
N. i N I WASH IN  GTON    E, BOTO.
I  I  I  I  VIA 1: I 1 H  I  i   I  Hi
I~~LLOoTi




Spencer's Boston Theatre.
Price, 12 1-2 Cents, each. Ten for One Dollar.
BOUND VOLUMIES, I                         31.
VOL. I.                     VOL. VI.                        VOL. XI.
1 Moll Pitcher,              41 Love and Loyalty.           81 The Mummy.
2 The Forest Rose,  42 Robber's Wife.                       82 The Review.
3 Swiss Swains,  43 happy Man,                            [ 83 Lady of the Lake.
4 Bachelor's Bedroom,        44 Dumb Girl of Genoa.         84 Still Water Runs Deep.
5 Sophia's Supper,          145 Wreck Ashore,               85 Man of Many Friends.
6 A Roland for an Oliver,! 46 Clari.                      86 Love in Livery.
7 Black-syed Susan,          47 Miller and his Men.         87 Antony and Cleopatra.
8 John Bull,                 48 Wallace.                    88 The Scholar.
VOL. II.                      VOL. VII.   -                 VOL. XII.
9 Satan in Paris,            49 Madelaine.                  89 Helping Hands.
10 More Blunders than one,   50 Betsey Baker.                90 Aladdin.
11 Rosina Meadows,            51 The'ireman,                91 Trying it on.
12 The Dumb Belle,            52 No. 1, Round the Corner,   92 Ste-.',,Yo' 1nlre.
13 My Aunt,                   53 Teddy Roe.                  93 Young Wife & 01 4
14 Spring ani Autumn,         54 Grist to the Mill.          94 Last Man,    (Unsb'la
15 Six De rees of Clime,      55 Object of Interest.         9-5 Belles' Stratagem,
16 Limelick Boy,              56 Two Loves and a Life.       96 Crinoline.
VOL. III.                    VOL. VIII.                     VOL. Xi i.
17 Presumptive Evidence,      57 Anne Blake.                 97 Old and Young.
18 Man and Wife,              58 My Fellow Clerk.            98 A Family Failing.
19 The Sergeant's Wife,       59 Bengal Tiger.               9! The Young Scamp,
20 Masks and Faces,           60 The Steward.               10 The Adopted Child.
21 Merry Wives of Windsor,   61 Capt. Kyd.                  101 The Turned Iead.
22 Nature and Philosophy,     62 Nick of the Woods.         102 A Match in the Dark,
23 Agnes (le Vere,            63 The Marble Heart.          10: Advice to liusbands.
24 Shandy.I'.aguire,         64 Laughing Hyena.             104 Raffaelle.
VOL. IV.                      VOL. IX.                      VOL. XIV.
25 Wild Oats,                 65 Second LF.                 107. Rntl Oakley.
26 Michael Erle,              66 The VicteVanqi      ed.    lo() The British Slave.
27 Teddy the'iler,           67 Our Wife                    107 Siamese Twins,
28 Spectre Bridegroom        1 68 Dream at Sea.              r)%   A Life's Ransom,
2.) Idiot Witness,            69 l y Husband's Mifor.          t Sent to the Tower.
30 Willow Copse,               79) Yankee Land.                 Giralda,
31 Matteo Falcone,            71'1orah Cs insa,             ll Time Tries all,
32 People's Lawyer,         7|2       l'S.othin~             1Ella Rosenburg.
VOL. V.                        YOL. X.                       VoL,. xv.
33 Jenny Lind,                73 The First Night.            113 Somebody Else.
34 Comedy of Errors,          74 The Rake's Progress.        114 Warlock of the Glen
35 Lucretia Borgia,           75 Pet of the Petticoats.      115 Zeli ia,
36 Surgieon of Pais.  76 The Eaton Boy.                      116 Lades' Battle,
37 Patrician's Daughter,      77 Wandering  Minstrel.       117 Art of Acting,
38 The Two Buzzards,          78 Wanted 1000 Milliners.   118 Beat ice,
39 Shoemaker of Toulouse,   79 Poor Pillicoddy.             119 The Lady of the Lions,
40 Moment)us Questin.         80 Breach of Promise.          120 Neighbor Jackwood,
WILLIAM%'% SPENCER,
PUBLISHER,
4 W:WASHIING.TON S,
it             ~           BOSTON.




SPENCE'S BOSTON THEATRE.
No. XV.
THE SIX DEGREES
OF
CRIME:
OR
WINE, WOMEN, GAMBLING, THEFT MURDER
AND THE SCAFFOLD.
A ME-LO DRAMA,
nt Six iarto.
BY  F. S  HILL.
WITH EDITORIAL REMARKS, ORIGINAL BILL, ORIGINAL CASTS,
STAGE BUSINESS, STAGE DIRECTIONS, PLOTS OF
THE SCENERY, PROPERTIES, ETC., ETC.
WM. V. SPENCER,
128 WASHINGTON ST., (CORNER OF WATII,)
BOSTO N.
1856.




EDITORIAL REMARKS.
This Drama was originally produced at the old Warren Theatre, in this
city, under the management of the late Mr. Wm. Pelby, (a gentleman whose
energy, talent and tact, did much for the Dranma in tiae "Atha is of Ame. ica,")
on the 15th of Jan., 1834, for the benefit of its author, Mr. Frederic S. Hill -
at that period a promising young*actor in the " Juvenile' and " Comedy "
business, and the author of several successful plays. A crowded audience
greeted the young Author-actor on his benefit night, and " the Six Degrees "
made in theatrical parlance, " a decided hit "- in fact created afurore. It
was announced for repetition on the succeeding night, and was played for
eight successive times, when it was for some unaccountable reason withdrawn
to give place to another new Drama produced for the benefit of one of the ladies of the Corps Dramatique. The new production failed to create the impression Mr. Hill's had done, and consequently after two more performances it was
"'shelved " and a placard issued by manager Pelby, stated that;' numerous
applications having been made for the repetition of the Six Degrees of Crime
he had consequently laid aside numerous novelties in preparation and would
present the new Drama every night untilfitrther notice." A run of eight more
consecutive nights further testified to its popularity, when it was withdrawn
-the proceeds of the last night being for the benefit of the author, who,
having had advantageous offers for his Drama from the managers of the NewYork and Philadelphia theatres, proceeded immediately to those cities and
met with like success. In April he returned to Boston, and on the 7th of
that month the play was revived —the author again appearing as Julio. It
was repeated during that season sixteen times, when it was withdrawn and
not again produced till January 5th, 1835, when it was again revived and
played some eight or ten nights. Subsequently it has-been a favorite role of
many of our popular actors: in the hands of W. H. Sedley Smith, J. R. Scott,
Ed. Eddy, E. S. Conner, the younger Booth, Hudson Kirby, H. A. Perry,
W. Marshall, the lamented Brelsford. the late W. G. Jones, and many others,
it has been everywhere received with unmistakable favor. The "great
public" admire the play, and it is not to be wondered at, for the plot,
though simple, is aided by highly interesting and effective situations, and the
interest increases to an unusual degree with the progress of the drama. The
dialogue is often arch and lively, but seldom humorous and never witty —
it however deserves the praise of being natural, whatever may be the value
of that praise. It is now presented to the public and the profession, with
all the advantages of a marked book, with property and scene plots, and we
do not doubt that it will meet with a continuation of favor, and more general
too, for we place it within the reach of all. If our brethren of the profession
are aided in what we have been at some toil and trouble to " get up," our
task is accomplished.                                        0.
BOsTON, OCTOBER, 1854.




CAST OF CHARACTERS.
AS PLAYED IN BOSTON.
ORIGINAL CAST                 NATIONAL       MUSEUM,
WARREN THEATRE, 1834.             1849-50.        1849.
JULIO DORMILLY,   -   F. S. Hill,    Booth, Jr.     L. Mestayer.
Charles,               [Fenno,       Keach,         Muzzy.
Ferdinand,   His asso-   Rice,       J. Munroe,    Whitman.
Robert,       ciates.   A. Dickson,  Vincent,       W. Warren.
Lacaille,               J. S. Jones,  S. D. Johnson, Thoman.
Michael, the Blk Parson, Phillimore,    S. Johnston,   Curtis.
Francois, -   -       Houpt,         W. G. Jones,   J. A. Smith.
Commissary of Police,  Maynard,      F. Muncoe,    Aiken.
Master of Ceremonies,  -             Taylor,        Toohey.
Joseph   -   -   -   Benson,         Ring,          Howe.
Banker,          -   Eberle,         Williams,
Eugene Herbert,       -              Willis,
1st Gambler, -   -   Clements,       Munson,        J. P. Price.
2d   C  -   -       -                Shaw,          Williams.
Gen d' Arme, -        -              Sanford,       G. Peering.
Mad. Doucet, -   -   Mrs. Asbury,   Mrs. Vincent,  Mrs. Judah.
Louise, her daughter,   Miss Pelby,    Miss Mestayer, Miss Gann.
Elomire, -   -   -   Mrs. Conway,  Mrs. Western,  Mrs. H. Mestayer
Julia,       -   -   Miss Kerr,      Miss Hoyt,     Miss Mason.
Amanda, -   -   -   Mrs. Kinlock,  Mrs. Johnson, Miss Thompson.
Sophia,  -       -  Mrs. La Forest, Miss Pratt,    Miss Vincent.
Caroline, -   -   -   Mrs. Pelby,    Miss Parker,   Miss Simpson.
Fanny,  -   -   -   Miss Lane,       Mrs.W.G. Jones, Miss A. Phillips.
Lizette,.   -   -   Mrs. Phillimore, Miss Mack,    Miss Rees.
Amelia,     -  -      Mrs. Thayer,   Mrs. Ring.




iv
MEMOI R
OF
MR. FREDERIC S. HILL.
Frederic S. Hill was born in Boston in 1805; his father being a somewhat
noted shipmaster who had accumulated a handsome fcrtune in the "fur
trade," on the North West coast of America. The son received a liberal
education and graduated with honor. At quite an early age he evinced poetical talent and, when scarce twenty, published a volume entitled' The
Harvest Festival and other Poems." which was deemed a literary production
of no ordinary merit and met with unequivocal success. His father dying
suddenly, left him in possession of a very handsome competence at the age
of twenty-two; and eschewing the law, which he was at the time studying in
the office of the late Judge Hubbard, he commenced the publication of a
" Literary and Critical Redielw" called the " Lyceum," which appeared simultaneously in Boston and Philadelphia. He at the same time edited a
Christmas Offering. In early life he led to the altar a worthy young lady -
Miss Blake. One child, a son, was the offspring of this marriage, and he now
resides in Boston, esteemed and beloved for the noble qualities which he possesses. In 1830, the subject of this memoir was induced to purchase an hebdomadel, entitled " The Galaxy," which at the end of eighteen months, he
was compelled to relinquish, as well as his publishing business, and go
into chancery. Rendered desperate by misfortune (without any preparation)
he determined to adopt the dramatic profession, and in 1832, made his
"first appearance on any stage" in the character of " Hotspur," at the
Richmond Hill Theatre, New York, under the management of Richard
Russell. IIis debut was eminently successful, and his performance pronounced the best first appearance ever made in that city. After playing Romeo,
Orlando, and several other characters, he returned to Boston and joined Mr.
Pelby's forces at the " Old Warren," where he rapidly rose in public estimation. About this period, Mr. W. H. Sedley Smith (then of the Tremont
Theatre,) offered a silver vase as a prize, for an address to be delivered at his
benefit. A fireman's address, written by Mr. Hill, obtained the prize, and
its merits as a literary production elicited the encomiums of the press and
public. In 1835, Russell and Thorne, having leased the theatres in New
Orleans, Louisville, Cincinnati, and Natchez, tendered him the stage management and general agency, which he accepted, and during three years
filled with honor to himself and emolument to them. It was in this period
he produced the " Shoemaker of Toulouse " and other plays, and was an
immense favorite in the " Sunny South."  In 1839, manager Pelby offered
him a " star" engagement, with the subsequent stage management of the
National, ( Boston,) but when on the eve of his departure from the South,
he was seized with a violent brain fever, from which he arose shattered in
mind and body, and, on his arrival in Boston, was entirely unable to fulfil
his engagement. From that time, his theatrical career which promised so
bright a future, was over in a great measure. In 1846, he played at the
Tremont, and revived the "Six Degrees  with great splendor. His last
appearance on the boards was at the Howard Athenveum, (Boston,) in the
charaeter of Cassio, for the benefit of Mr. Ford, in 1851. His favorite parts
were Romeo, C'Larles Surface, Charles Austencourt, Julio Dormilly, Tactic,
Sir Thomas Clifford and Cassio. In the latter he wasquite celebrated, and
many who have witnessed his performance of that character have pronounced
it a matchless personation.
lie was well known as a writer for the public press and of numerous " Opening Addresses." etc., etc., etc. His plays were the " Six Degrees of Crime,"
"Shoemaker of Toulouse," " Chevaller de Faublas," (never acted,) " Ten
Quakeresses," " Culpid on Crutches" and many local pieces. lie died on
the 7th of April, 1852, leaving a large circle of friends to mourn the loss of
one who, apart from his brilliant talents, was distinguished by a peculiar
amiability of disposition which endeared him to all. The curtain drops, and
thus ends the busy scene of the Actor's life.                  e
BOSTON, October, 1854.




PROPERTIES.
ACT I.
SCENE I.-Handsomely laid table, with dessert for 7; Raised
seat at head for Julio; 7 wine, and 7 champagne glasses; 7 chairs;
handsome candelabra lighted on table; baskets of fruit on table;
2 decanters of wine; 1 bottle champagne; 4 emptybottles; napkin for Joseph; pocket book with two folded papers for Michael;
port folio and pocket book with a cheque ready L. H. 1 E. for
Joseph; roll of money for Mad. Doucet; written letter for Julio
and folded blank paper; whip to crack and cannon balls to roll
t. IH. U. E; small parcel, square, 5 inches by 3, for Charles; bank
notes for Julio.
ACT II.
SCENE I.-Handsome chandelier suspended; 6 chairs on;
gorgeous banquet behind door in c.
ACT III.
SCENE I.-Chandeliers; large roulette table L. H. up and
down stage; elevated seat at head for banker; roulette and ball
on table; roulette cloth; trunk filled with bank notes and silver
on table; branch on table; 2 card tables, lighted branch on each;
1 table on working trap with candlesticks; 3 packs of cards;
backgammon board and dice box; table R. H. 1 E. with pen, ink,
paper, wafers and lighted candle on it; 8 chairs on; bow and
violin ready for banker, L. H. 3. E.; bank notes and specie for
everybody in scene; 2 loaded pistols, sure; ready L. 1. 1 E.; 2
loaded guns ready L. H. 3. E. for explosion; small waiter with
decanter of wine and glasses ready L. H. 1 E.; tablets and
pencil for Charles; small parcel, neatly folded and tied, 5 inches
by 3 for Charles; wand for commissioner of police; heavy club
ready L. II. 1 E. for the three knocks; piece of coin for Charles;
guns for 6 Gens d'Armes.
ACT IV.
SCENE I.-Lighted street lamp, practicable, suspended on post;
short ladder for police sup't; pannier for Lacaille; in it a rope-ladder and someapples; 2 cigars and a match-box for Ferd.; very old,
dirty, ragged handkerchief for Lacaille; pocket book for Ferd.; 2
keys precisely alike, one for Francois the other for Lacaille; small
pistol for Julio; Large rusty knife for Lacaille; 2 pistols for
Robert; one loaded, sure to fire; the other not loaded; purse
with money, for Michael; 3 large bags of money in house; gun
sure to fire behind the house; pistol sure to fire for Charles;
lighted candle and cloak behind house for Francois.
ACT V.
SCENE I.-Bed on for Louise; short ladder projecting into the
window in flat; small table on; light burning; 2 chairs; dark
lantern for Julio; dagger, pistol, and blood; crash ready L. H. 1 E.




vi
ACT VI.
SCENE I.-Table and cover and 2 chairs on; 6 spoons for
Joseph; small waiter, with black bottle of wine and 2 glasses;
pistol for Lacaille.
SCENE II.-Broken cords for Julio, 3 pieces; dagger for MichaeL
SCENERY.
ACT I.
SCENE 1.- C. door, fancy — three grooves - Door R. H. 3d E.
Tormentors used.
ACT II.
SCENE 1.-Ducal Arch and Palace — C. doors open and
backed by a chamber R. H. - Tormentor used - Set door L. H.
2d E. - Chandeliers suspended -Four and five grooves.
ACT III.
SCENE 1.-Magnificent Saloon-C. door open, backed by
good chamber — Four and five grooves - Long C. trap to sink
and rise with Table with Roulette, Cards, etc., etc. - Square trap
on R. H. and L. H. to sink and rise with Tables - Tormentors
used -Window L. H. 3d E.
Act IV.
SCENE 1. - Street - Set house R. H. 2 E. — Lamp suspended.
Wings: 3 Woods R. H., 1 Street R. H., 4 Streets L. a.'     Perspective,
R.Il.lL. H.
{ Set house, window above  { Set house C., - Iron bracket and
steps, and balcony.      Lamp, L. C. -Cleets on cor. L. H.
ACT V.
SCENE 1. -3 door Saloon - gauze windows c. —backed by
street - Three and four grooves - Set door L. H. 2. E. with iron
bolt to open on and up the stage.
ACT VI.
SCENE I. - Handsome chamber -Large window in c. -venetian blinds practicable —backed by street —Three grooves —
Set door L. H. 3. E. - Set door R. H. 2. E. backed.




THE
SIX DEGREES
OF
CRIME.
ACT I.
FIRST DEGREE-WINE!
SCENE I.-Handsome Dining Room at Julio Dormilly's.
JULIO, FERDINAND, CHARLES, ROBERT and LACAILLE disc'd
seated at table —JOSEPH in attendance-Banquet handsomely setCandelabras.  Curtain rises on
GLEE - (" Wine cures the gout, boys," &c.)
Julio. (C.) Bravo, bravo, mjy boys; now a bumper of Champagne to put us all in voice, and then, hey for another song!(Joseph hands wine.) Drink, boys, drink a draught all'round from
this sparkling fount —this source of all our joys.
Chas. Oh Julio! you are a happy dog, to be left at your age
the master of a splendid fortune.
Ferd. Yes, and still a happier dog to have such good friends to
show him how to spend it.
Julio. Well boys, if I am a happy fellow, you won't deny that I
have done my best to make you all as happy as myself; now answer, have n't we all lived gloriously these three months past?
Ferd. Gloriously? we've lived like divinities! it has been nectar and ambrosia with us, and could the old cock (who was so
devilish goodnatured as to die one day and leave you all the
money) only look out of his quiet grave and see his son so brisk
and gleesome, he'd dance a rig-a-doon on his own tombstone.
Chas. Well, peace to his memory: let's drink him in a bumper.




8                  THE SIX DEGREES               [ACT I.
Julio. There. (All drink.) Now let the dead rest: shall we
waste our time in talking of dead men when there are scores of
bright eyes and pretty ankles we ought to be thinking of? 
Ferd. Fill, fill, and we'll drink a health, five fathoms deep, to
all pretty girls, and may the devil fly away with the old and
ugly ones.
CGias. Pray, Julio, is Susannah still your favorite'Sultana?
Julio. What, the widow?
Rob. Yes, the widow, (aside to Ferd.) the widow that never
was a wife, by-the-way.
Julio. Oh, no! Susannah has been in disgrace a long while,
more than eight days, I believe; indeed, I begin to think seriously of supplying the place of her successor.
Ferd. And who is the new object?
Julio. That's a secret as yet, but she's a sweet creature, only
seventeen, and as beautiful as an angel.
Rob. Where did you find this new charmer?
Julio. At the Royal Academy. I dropped in by mere chance,
just to hear some of the pretty pupils pipe away for half an hour
or so, when suddenly a celestial voice startled me from a vague
sort of a reverie into which I had fallen. The creature's tones
went to my very soul. I raised my glass and beheld the face
and figure of one of the finest girls in the world. In an instant
I found myself seized with a sort bof delirium-my blood went
tingling to my very fingers' end, aud my whole system was in a
high fever.
Ferd. Ha! ha! ha! Poor Julio; why, to hear you talk one
would suppose this was the first time in your life you had ever
been in a high fever at the sight of a petticoat.
Julio. I applauded my divinity whenever she sang, like a madman, for I was determined she should observe me. My design
succeeded, our eyes met; and eventually I found an opportunity
in passing her, to touch, as if by accident, her dear little hand.
Gods! how it set my pulses going. I was just on the point of
addressing her, when an old dragon of a duenna pounced upon
her and bore her off in triumph. From that day to this I have
not seen her, and I languish for the creature like a turtle-dove
for its mate.
Rob. Poor young man! he must be sent into the country, and
kept upon milk diet.




SCENE I.]              OF CRIME.                      9
Julio. Oh! well boys, laugh while you may; but there will
soon be an addition to our company, of one whose very face will
be a wet blanket upon your mirth.
Chas. What Master Michael, the man in black?
Julio. Yes, the Black Parson!
Chas. What in the devil's name does he do here?
Julio. Why, my father was his banker, but as I have business
enough to look after in spending my own money, I don't want
the trouble of taking care of another person's. He is about to
withdraw his funds from my hands, and a good riddance, say I.
Ferd. Don't let him distress you to-day; we'll take him in hand.
Chas. You should take him and that office-lad of your father's,
and clap them down together.
Julio. What, poor Francois? Oh! I don't wonder at his being
serious. You see he's the son of a
Omnes. Of whom?    [Exit Joseph R. i. I. v. with bottles, c.
Julio. By-the-way, that's a secret, and I mustn't blab; it was
communicated to me by my father on his death-bed. The old
gentleman left Francois a legacy of one thousand crowns.
Rob. A thousand crowns! What did he scatter his money
about in that foolish way for, when there were so many excellent'
ways of disposing of it?
Chas. As, for instance, putting a small portion of it in our
way, eh! Robert.
Rob. In my way; bless you, I would n't grumble at fifty such
obstacles. It wouldn't have been at all in my way.
Chas. Why nobody ever thought giving money was in your
way.
Joseph. [Entering R. I. E.] Mr. Michael is inquiring for you, sir.
Chas. Aha! the Black Parson.
Julio. Show him up. [Exit Joseph R. I. E.] Now, my friends,
if this fellow attempts to moralize, cut him short. You understand.
[Re-enter Joseph, R. I. B. showing in Michael.]
Afich. This is well —always drinking, always carousing. You
make a good beginning, Mr. Dormilly.
Julio. Yes sir, and we intend to make a devilish good ending.
Mtch. "Idleness, young gentlemen, is the mother
Ferd. Of all vices." It is an old proverb, and somewhat musty.




10                  THE SIX DEGREES.               [ACT I.
Julio. Take a chair, sir, and you will philosophise more at your
ease.  Sit here in the midst of us-Joseph, a clean glass —
moisten your clay with a glass of wine, and your philosophy will
flow more glibly.
Mich. Thank you, M. Dormilly, I have but a few moments to
remain.
Rob. At least, M. Michael, you'll drink a glass to our speedy
reformation.
Mich. I never drink WINE.
Ferd. Allow me to act as your proxy.
MIich. I should never select so bad a representative. M. Dormilly, you know what brings me here, and you will oblige me by
facilitating my business, and suffering me to take my leave.
Chas. What, so soon? we were flattered with the belief that
we should have the pleasure of your society for the rest of the
e-ening.
Mich. I have no inclination, sir, to make myself the jack-pud
ding for the amusement of a parcel of monkeys -however well
dressed they may be, or however carefully they may conceal their
tails.
Rob. Curse me if that is n't a settler.
Mich. I assure you, gentlemen, whatever you may think of
me, that my ardent desire is to turn each and all of you from the
course you are pursuing. Young men! your pleasures blind and
bewilder you. "IDLENESS IS THIE:FIRST ROUND OF THE LADDER
THAT LEADS TO DISGRACE."  The company you keep will soon
conduct you to the second-there is yet time for you to return,
but do it quickly, for when you are once half-way, there is little
chance of your retracing your steps.
Rob. Gentlemen, I rise to propose the health of the Black
Parson and his last sermon.
Omnes. [Rising and filling glasses.] The Black Parson and his
last sermon, ha! ha! ha!
MAlich. [Giving paper to Julio.] Will you oblige me by settling
this account?
Julio. Call again to-morrow, friend.
Mich. I demand it now, sir.
Julio. Oh! very good. [To Joseph.] Bring me my portfolio
from my desk. [Exit Joseph, L. H. U. E. Julio comes down.]




SCreE r.]               OF CRIMB.                      II
When I am once well rid of you, I trust I shall never set eyes on
your ugly face again.
Mich. You are pleased to flatter me, sir.
[Re-enter Joseph with portfolio containing pocket-book.]
Julio. Here is your money, ready for you, sir.
Mich. I thank you, sir.
Julio. You had better satisfy yourself that the sum is correct.
Mich. [Counting notes.] It is what I am now doing.
Julio. Favor me with a receipt in full.
Mich. It is ready for you, sir. [gives it.] Now, sir, farewell.
I repeat the wish that you just now expressed, that we may never
meet again. I very much fear, however, that we shall come in
contact but too often.
Francois. [Without R. H.] We must see him.
Mad. Doucet. [ Without a. H.1 I tell you that I will go in —and
that's flat.
Julio. Eh! who have we here? [returns to seat,] more company?
[Enter Francois, Mad. Doucet and Louise, R.. I. I. E.]
Mich. Oh! Francois, my good fellow, I am happy to see you.
Persevere in your industrious path, and you will reach the reward
of your efforts. [Exit R. H. I. E.]
Julio. [Seeing Louise.] What do I see? By Heavens! it is my
angel.
Chas. Who is she?
Julio. The very divinity I was just now telling you of.
Ferd. Aha! this is rather a singular encounter, Julio; you
might as well confess you made an assignation, and forgot that we
were to be with you the same hour. Confess! confess!
Julio. I swear, "by all the gods on high Olympus" I could
not have been more astonished had the man in the moon dropped
down.
Louise. [Aside.] Surely that must be the gentleman who gazed
at me so earnestly at the Academy.
Fran. I have called, M. Dormilly, in compliance with your
request.
Julio. All right, Francois; I'll attend to you in a moment.
Mad. D. I thought, your honor, that as my son-in-law was
coming to see you, I'd just throw on my shawl and call up with
him, just to



12                  THE,1IX DEGREES               [ACT t
Julio. What! Is Francois your son-in-lawv
Mad. D. Just to bring you the quarter's rent that has been due
these three weeks. I find that if I don't bring you the money,
you never come for it. To be sure, ours is not the most elegant
street in the city for a fine gentleman to visit; however the money
is just as good as if it came from a fashionable square, and
through a whiter pair of hands. And so, sir, as I don't like to
keep what don't belong to me, I just tied up the cash in the corner of my handkerchief, and here it is.
Julio. Did I understand you that Francois was your sol-inlaw?
Mad. D. Why, he is n't exactly my son-in-law yet, but he soon
will be. We're getting everything ready for the wedding, and
Louise, she is making up all the night-caps and putting such frills
and flounces on her night-gowns! Ain't you, Louise?
Louise. [Confused.] Mother! how can you?
Mad. D. Why, you know there's as pretty a fit-out as ever
was seen, and then the new petticoats and loose gowns to wear in
the morning, and the pretty little baby-caps, because you know
it's as well to have everything in season for fear of accidents.
Louise. [Vexed.] Mother! I beseech you.
Julio. I believe I have had the pleasure of seeing the young
lady before.
Mad. D. Eh! what? seen her before? why bless me, Louise,
how is this, Louise?
Louise. It was at the -at the Concert, mother.
Mad. D. At the Concert -sweet pretty voice, has n't she, sir?
Ah! well, well, take your money, sir, and Francois, finish your
business as soon as you can, for you know we must tramp down
to the notary's for a license..Julio. [Aside.] I have no time to lose; she recognizes me and
she must be mine. Ferdinand, Charles, this way, I want your aid.
Ferd. Aha! you're for giving chase to the young lady that has
been making such a plentiful supply of bed-linen and baby-caps.
Well! it's a pity she should lose her time.
Julio. Pooh, pooh, nonsense! I want your ingenuity. You
must contrive some plan.
Cmas. Oh! if there's any frolic going on let's have a hand in it.
Julio. Madame, I will fetch you a receipt. Francois, wait till




SCENE I.]               OF CRIMI.                     13
I return. Gentlemen, follow me to the next room; you'll find
coffee there. [Aside to ti/en.] Show yourselves men of genius and
she's mine.
Rob. Genius! why such a face and such an ankle would inspire the Black Parson himself with genius. Come along!
[Exeunt Charles, Julio, Robert, Ferd. and Lacaille, L. H. I E.]
Fran. You never told me, Louise, that you knew M. Dormilly.
Mad. D. Why, bless me! what ails the boy?
Louise. Do you call it knowing a person, when you have never
seen him but once in your life, and that in a concourse of people.
Fran. But I did n't like his impudent way of looking at you;
and somehow I don't exactly feel right.
Mad. D. I'll be hanged if the boy is n't jealous. Why, Francois, do you expect Louise to carry her eyes in her pockets and her
face in her apron when a man is by? Now, for my part, when I
see a nice young fellow looking at me, I always spruce up and
look as charming as I can- and where's the harm I Should like
to know.
Fran. Because you and Louise are good at heart, you think
everybody else is so.
Mad. D. Well, I'm the happier for it, ain't I?
Fran. Yes, but you ought never to think of educating your
daughter for a condition above that in which it has pleased Providence to place her.
Mad. D. And why so? Is there any harm in trying to be as
good and as grand as your neighbors a
Fran. Yes, very often. NTow, Louise, profiting by your examples and instructions, without doubt, would have made an excellent housewife.
Mad. D. Well 
Fran. But as a pupil of the Academy, she will naturally acquire
a disgust for the common-place drudgeries of common life.
Mad. D. And so you think, because she has been taught to
trill and quaver, that she do n't know how to put a pot on the fire
or darn a pair of stockings.
Louise. It's always the way with you, Francois. You are constantly trying to find something to scold me about-you're never
satisfied a moment without saying something that is disagreeable
to me.
2




14                  THE SIX DEGREES.               [ACT I.
Fran. My dear Louise, if you did but know the cause of that
melancholy which has weighed upon my spirits ever since I was
a child, you would not wonder at my manner of expressing my
feelings. I should be the happiest man living if I were assured
that your affection for me was like that I feel for you, and to tell
the truth, I have my fears that this is not the case; but I am
always anticipating some misfortune.  One word, one single
word, from you, Louise, would set my heart at rest.
Mad. D. Oh well, Louise, if one word will do him so much
good, give him two, and that will make him completely happy.
Louise. Francois, you know you have a way of making me feel
very unhappy. You are never in good humor with me; never
satisfied with what I do. If you go on in this way I am sure I
shall begin to wish you at Jericho, or any where else, out of my
way.
Mad. D. Well, then, be good children.  Give him a kiss,
Louise, and make it all up. [They embrace.] That's right - and
now my lad, come here. [Takes him aside.] One may be good and
virtuous in any condition in life; and in those conditions where
one is most exposed to danger there is the more merit in behaving
properly. I don't see why you should not be just as happy with
Louise, as my own dear, dead and gone husband was with me,
poor man. Ah! well, he's in heaven now, and I'm sure I'm
thankful for it. I am but a poor fruit-woman, but I believe I can
boast that I never set my ten commandments in my good man's
face in all my life, and that is more than a good many of your
high-born ladies can brag of, I'll be sworn.
Louise. [Aside, seeing Julio return.] Ah! he comes again; I
feel a blush mantling my cheek, and a strange tremor rans
through all my frame. I hope Francois will not observe it.
Why is this fluttering at my heart?
[Julio and friends re-enter, L. I. E. unobserved by 3Mad. D. and Fran
who are L. H. cor. - Louise a. i. cor.]
Julio. [Aside to Charles.] You understand.
Chas. Perfectly. It is as plain as A. B. C. [Cross behind with
friends and exeunt R. D. IU. E. Julio comes down to Mad. D.]
Jul. Excuse me for having detained you so long. Mad. Doucet,
here is your receipt —Francois, I have a few words to speak to
you, and if the ladies will retire, for a moment, into this apartment - [Indicates R. D. U. E.]1




SCENE I.1               OF CRIME.                        15
Fran. I heve no secrets from them, sir. One of them I have
long regarded as my mother; the other, I trust, will soon be my
wife.
Julio. I wish to fulfil the dying request of a father, and what
I have to communicate is for your ear alone.
lead. D. Well, it's right you should be left together; Louise
and I will wait in the next room. But I hope you'll not be long.
Julio. Certainly not, our business will occupy but a few minutes.
Mlad. D. Come Louise. This way did you say, sir?
Louise. [Aside.] Heavens; with what pain he regards me.
AIan. D. Come along child, what the deuce ails you.
[iliad. D. and Louise exeunt R. D. U. E.]
Fran. We are alone, sir.
Julio.. On his death-bed though struck so suddenly that he
hardly had time to arrange his affairs to his mind, he spoke of
your services, and charged me to place this in your hands. [Gives
Fran. a letter.]
Fran. For me?.Julio. Read!
Fran. [Reading.] "Poor Francois: You have effaced by your
good conduct the stain that rested upon your name. I wish to encourage you in your endeavors to merit the esteem of your equals; that
esteem can only be withheld by an unjust and ridiculous prejudice.
iMy son will place in your hands three hundred francs. I know it
will increase: may it be the means of insuring you that happiness
which is ever the reward of honesty and probity. From yourfriend.
DORMILLY."
My kind and generous benefactor, I swear before Heaven, and
in the presence of your son, that I will prove myself worthy of
your bounty and esteem.
Julio. Hold, Francois, here is the port-folio, it is yours. [ Gives it.]
Fran. How can I evince my gratitude for this unlooked for
munificence?
Julio. By persevering in the course you have hitherto pursued.
Be prudent, be wise, be virtuous; for prudence, wisdom and
virtue - [Aside.] they are a devilish long time about this business
- prudence, wisdom and virtue, as my honored father used to say,
are the surest and only guides to happiness; [Aside, annoyjed.]
-idle block-head \; what can they be about?




is                721m slt 1EEE& [ACT Z.
Fran. Let me assure you, sir, that you shall never have occasion to blush that your bounty was bestowed on poor Francois.
Julio. [Aside.] I do not like this delay.  Has the baggage
escaped?
Fran. And now, sir, with your leave, I will rejoin Louise and
her mother.
Julio. Oh, yes, certainly; in a moment. [Aside.] They have
managed this affair very awkwardly- curses on their stupidity.
Francois, I had another word to say to you respecting - a- arespecting
Fran. Respecting what, sir?
Julio. [ Who has been listening eagerly.] Yes!
Fran. Sir!
Julio. True, I had forgotten. I wish you to understand that
my father desired you should keep his bequest a profound secret,
and you will now perceive why I thought it necessary this interview should be a private one.
[Tumult in Room R.. U. E. -Mad. D. loudly exclaiming "Rascals! 
Scoundrels! " —whip cracks - sound of coach going off R. I.]
Mad. D. [Outside.] Unhand me, villains. [Rushing in.] I am
almost suffocated with rage —but I'll be revenged, I'll be revenged!
Fran. For heaven's sake what is the matter? Where is Louise?
Mad. D. The drunken villains, they have seized her by main
force and dragged her out of the house.
Fran. Follow me instantly. [Going-stops suddenly.] Stay,
Mi. Dormilly, what is the meaning of this outrage?
Julio. Oh, the servants, perhaps, or
Fran. Servants! but I must look myself to this. [Exit t. D.u. E.]
Julio. My good womanMad. D. Don't you "good woman" me!
Julio. This, I imagine, is only a bit of pleasantry-some frolic
that my friends have undertaken, perhaps.
Mad. D. A frolic is it? ecod, it's a frolic will cost some of you
rather dearly - oh! if I did n't set my "pickers and stealers "
into some of their faces- but come, no haggling; let them fetch
her back, this moment, or by all the saints in the calendar, I'll
begin my old work againFran. [Re-entering.] Hold, mother, she is not there. This is




SCENE I.]              OF CRIME.                      17
an affair that concerns me, M. Dormilly. Louise is my betrothed,
and I demand, sir, as a right, that you instantly restore her to me.
Julio. You take a very high tone, young man.
Fran. No higher, sir, than the occasion warrants.  Do not
compel me to forget that you are the son of my old benefactor.
Answer me immediately —where is my Louise?
Mad. D. Speak out, and that quickly, or I'll be down on you
myself, and landlord or no landlord, I'll play the very devil with
you. By St. Dennis, my nose is as hot as red pepper.
Julio. This is too much. Begone, both of you; leave the house,
both of you, or I'll have you bundled out of the window.
Mad. D. What! put me out of the window. Let me see the
rascal that dares to lay his hand upon me. Let him come on -
let him come on.
[Re-enter Ferd. and gents,from  R. D. U. E. -Joseph and servants
enter, R. 2 E.]
Ferd. Hurrah! what's all this? what, Julio, are you. going to
have a set to along with the old lady; form a ring then -a ring
-let's have fair play.
Mad. D. You want a ring do you? I'll give you one on the
nose. [Seizing Ferd, by the nose.]
Ferd. Help! Help! I'm in trouble.
Julio. [To servts. L. H.] Put these insolent people out of doors,
directly.
Fran. Stay —hold off your hands, M. Dormilly, give me back
my Louise, or answer to me personally, for this infamous,
cowardly outrage.
Omnes. Ha! ha! ha!
Fran. If you have one speck of that honor which you boast so
much, you will meet me foot to foot - choose your weapons -
name your time -but let it be soon.
Julio. Gentlemen, give me your advice, since this peremptory
youth persists in his design for a little amusement, pray inform
me, whether, as a gentleman of standing in society, I can condescend to meet in the field, a man whose father left his head upon
the SCAFFOLD!
t Fran. [With a cry of horror.] Oh! unfeeling monster! you
have betrayed a secret, which a fiend from Hell would have
deemed sacred. There is the accursed present of your father;
2*




18                  THE SIX DE;GREES.            [ACT I.
[Flings it at his feet.] take it back and tremble, for Heaven's
vengeance, sooner or later, will overtake you. Come mother, we
must seek the bench of justice for redress. [Rushes off R. I. E.]
Mad. D. Yes, ecod, and if we don't get justice there, I'll take
the matter into my own hands; and if I do, some of you scoundrels shall smoke for it. [Exit it.. E.]
Ferd. Capital! excellent! By Jove, I've a great mind to make
love to the old woman.
Charles.- No! no! Ferdinand, I'm afraid she'll lead you by the
nose.
Julio. Joseph, take this port-folio - [Gives it.] carry it to
Francois -it is his property, and I have nothing to do with it.
Now, my friends, for the beautiful Louise.
[Exeunt Omnes z. D. U. z.]
[QuICX DROP.]
END OF ACT I.
FIRST QUADRILLE, for opening scene in ACT II.
1ST LADY AND BANKER.
Ei           Set No. 2. 
N          f A Position       o
~ e        min rear.
1ST GAMB. AND SOPHIA.
ROBERT AND JULIA.
Set No. 1.
o       Position  1
a i 3  |   0in fiont.     M  
CHARLES AND ELOMIBE.




SCENE I.1              Or CWmL.                       19
ACT II.
SECOND DEGREE-WOMEN!
SCENE I.-Splendid Saloon brilliantly lighted with Candelabra,
Chandeliers, etc.
CHARLES, FERD., ROBERT, LACAILLE, and all the gentlemen.
ELOMIRE, CAROLINE, FANNY, JULIA, AMANDA, LIZETTE,
and all the ladies, in a Quadrille. Music No. 2. At end of
Quadrille, Joseph and servants hand refreshments and exeunt
R. H. — Ladies come down front — Gents retain positions, and
converse in pantomime.
Elomire. But my dear Fanny, how came you to be so late?
Why bless me, I expected to have a full hour's conversation with
you and Caroline before any body came, and I have so many
things to tell you.
Fanny. Dear me, and I've such news for you.
Elomire. Have you, my love? let's hear it. I'm all attention.
Caroline. Yes, my dear Fanny, let's have it at once, before the
next quadrille.
Fanny. You remember the prettk Victorine?
Caroline. What! the daughter of our old friend Renard, the
banker?
Elomire. She that fell in love with young Frederick, the old
sweetheart of our little Sophia, and ran away with him last
Christmas?
Fanny. The same —her brother you know, followed them
across the water, and shot him through the head.
Caroline Well what became of her? There was always a great
deal of mystery about the affair.
Fanny. Bless your little soul, I've fathomed the whole of it,you must know that after that cruel affair, she became an opera
dancer.
Amanda. An opera dancer! oh the wretch, she ought to have
been burnt at the stake.
Fanny. Yes, and her pretty face and voice made an impression
— an immense impression; there were no less than four affairs
of honor took place on her account, and two of her lovers were
run through and through with small swords.
Julia. What a lucky girl! now there are two of my idolators,




20                  THE SIX DEGREES.              [ACT II.
so very pertinacious in their devotions, that I should feel positively
rejoiced, if somebody would run them through with a small sword.
Caroline. Well, about our friend, Victorine?
Fanny. Why, having made in the last two years such a sweet
little sum of money, and having had almost a fortune in bracelets,
diamonds, necklaces and rings, given her by her doting admirers,
she started forth for the shores of a La Belle France once more:
but a gale of wind having driven the vessel far out to sea, she
was taken by a private cruiser -carried to the Mediterranean,
and there retaken by a barque of the Dey of Algiers.
Amanda. Heavens and Earth! what a shocking catastrophe!
Fanny. Nay, not half so shocking as you may imagine, for the
Dey of Algiers no sooner put eyes upon her, than he fell in love
with her, bought her at once for five thousand sequins, and put
her into his harem at the head of ehis 7654 wives.
Amanda. Gracious powers! what a fortunate creature!
Julia. Has he actually 7654 wives? thank Heaven, I am not
one of them.
Elomirs. Why not my love?
Julia. Because if he divides his time and society among them,
you would not stand the slightest chance of seeing him oftener
than once or twice, in three or four years.
Elomire. The very reason I should think it delightful.
Caroline. But my dear, have you heard the newest news?
Omnes. What is it? What is it?
Caroline. Why, I was told this morning in confidence, and I
would not wish it to go any further, that the married ladies of
Paris have sent a petition to the Chamber of Deputies praying
that an article may be introduced into the penal code, as a check
for the future infidelity of their husbands.
Elomire. Ridiculous! I hope you have no faith in such an
absurdity.
Fanny. An absurdity?
Elomire. To be sure it is; are not all the laws made by the men,
and do you think they would be such monstrous fools as to curtail
themselves of their own liberty?
Fanny. Oh, fie! my dear; you positively make me blush.
Elomire. Do I? [Aside.] I am glad to find that any thing can
make her blush -an affected little puss.




SCENE I.]               OF Col.                          21
[Enter Joseph, r. H. 1. E. announcing M. Dormilly, and as Julio
enters he exits.]
Julio. Ladies, I kiss your hands. My fair Fanny, still as romantic as ever. Elomire, where is the fair heroine of the fete?
Elomire. Still in the hands of my'"femme de chambre"
Julio. By the way ladies, how happens it that you are not
Elomire. Hush i here she comes.
[l~usic No. 3. Louise enters L. H. 2 E. very elegantly dressed —
Elomire hastens to meet her —gives her hand to Louise and leads
her centre. Julio is L. H. 1. E.]
Julio. By Jove, she is not so out of the way — considering she
is the daughter of a fruit woman. It rather goes against my conscience ts take her from poor Francois, but I don't know how it
can well be helped.
Elomire. My beauty, do you know what mischief you are
doomed to make in our gay circle?
Caroline. [Aside.] No such great affair after all; what a horrible
dress she has got on.
Amanda. [Aside.] A good figure, but she has not learned to
walk.
Fanny. [Aside.] she is too tall, and her feather is too short.
Julia. [Aside.] A baby face - good features- but no expression.
Lizette. [Aside.] She only wants a fruit-basket in her hand, to
look like just what she is.
Louise. Oh my poor mother, when I think of you.
Julio. My dear Louise, how is this? You have been weeping.
Elonire. Come, come, my love; you must dry those beautiful
eyes; they are positively inflamed. This will never do, let me
introduce you to two or three of my particular friends. [Taking
Crouise up and introducing her in dumb show to guests.]
Julio. I don't like this crying: I am afraid she thinks too much,f her old mother and former lover. Louise, my love, [Louise
omes down.] look up -nay, let me have one kind glance from
hose bright, dear eyes.
Louise. Julio, I cannot. I feel like a guilty, ungrateful wretch,
rnad all the brilliance of the scene around me, cannot banish from
kcy mind the recollection of the state of innocence and peace from
which you so lately lured me.




22                  THE. SIX DEGREES                [ACT II.
Julio. What! has my Louise ceased so soon to love her faithful Julio?
Louise. No! no, Julio; my heart is wholly yours; do not
reproach me -but my poor mother -    [Bursts into tears.]
Julio. Nay, nay do not give way to these gloomy retrospections.
Why does the dance cease?
Charles. [Gazing at Louise L. H.] Save us, what a metamorphosis. I must make my devoirs.
Ferd. [L. H.] Aha! the pretty little silk worm has burst its egg
and comes out a butterfly of the first water. Let nothing now
be thought of but pleasure -[Mich. enters suddenly R. H. 2. E.]
Mich. And DEATH!                   [Mlusic N~o. 4 —chord.]
Louise. Gracious Heavens! what voice was that?
Julio. What is it dearest, that alarms you?
Louise. [Frightened.] It isMich. [Touching Julio on shoulder.] Your servant, lM. Dormilly
Julio. Damnation! am I to meet you then, whichever way I
turn? I thought sir, we were quits, and that I had requested you
to dispense with your charitable advice and long-winded sermons.
Mich. You, I grant, are no longer indebted to me, but I believe
I am still in your debt.
Julio. Well, sir, I gave you a receipt in full for all demands of
whatever name and nature.
Mich. Oh! sir, 1 wish not to interfere with any arrangements
of yours. My only object here, this evening, was to congratulate
M'lle Louise on the recent change in her situation. [Crosses Julio
to Louise.]
Louise. Sir! [ Crosses to Julio.]
Julio. Nay, Louise, do not listen to that croaking raven.
Mich. I wish you much joy of your prospects. [Exit R.. H. 1. E.
among crowd.]
Jnlio. Scoundrel! let me but - eh! where is he?
Ferd. Why it's either the devil or Dr. Faustus; he was here
but an instant ago, and egad, he has disappeared like a ghost at
the first cock-crowing.  Don't you perceive a stobng smell of
brimsrone?
Chas. Come, my friends, the dance -the dance, my friends I
[Gentlemen take partners.]
Julio. [To Elomire.] How came that man here?




SCENE I.j              OF CRIHE.                       23
Elomire. I could not shut my doors against him: he was introduced by the Chief of the Police Department.
Julio. By the Chief of the Police? What can be the meaning
of it? No matter; we will inquire into that to-morrow. Now,
my friends, proceed with your quadrille.
[Music No. 5.- Quadrille —at the end of which, Mad. Doucet is
heard in loud altercation outside. She bursts in R. H. 1 E., pushing Joseph aside as he endeavors to detain her. Francois enters
after her- both greatly excited.
Mad D. Did n't I tell you, you smooth-skinned rascal, that I
would come in in spite of your teeth. And do you think to stop
me? Take that for your impudence. [Slaps Joseph's face.]
Fran. I am sure she is here.
Louise. My mother! where shall I hide my head.
Elomire. Allow me to inquire into the cause of this intrusion
into my house.
Mad. D. Intrusion! I come to look for my daughter, and if
the devil himself had stood in the doorway I would have rapped
his sconce for him if he had tried to stop me. I tell you I come
for my daughter; give her up to me, or, by all the saints in the
Calendar, I'11l
Fanny. [L. H. C.] Mercy on me! was there ever such a horrid
catastrophe; I shall positively expire if they don't remove that
dreadful old woman. Ferdinand, support me, or I shall faint.
Mad. D. Faint! ecod, you little ill-looking minx, if I had hold
of you, I'd take you by the ears and souse you into a wash-tub.
Fanny. Oh! [Falls into Ferd's arms.]
Mad. D. 5Where's my daughter, I say?
Fran. Yonder she sits. Louise!'t is she.
Julio. [To iliad. D.] My good woman, if you'll listen to me,
I'll convince you that you have nothing whatever to complain
of, andHliad. D. Silence! you good-for-nothing scoundrel. Why do
I find my daughter here, harnessed up among them devils in the
shape of women?
Louise. Mother! mother! [Rushing across to Mad. D. — is
withheld by Julio.]
Mad. D. Quick! quick, girl; off with your gewgaws, and
trample them under your feet, and then follow me instantly out
of this atmosphere of contagion.




24                  THE SIX DEGREES.              [ACT IL
Amanda. Why, the woman's a perfect fury; she'11 murder
somebody.
[Francois crosses behind to L. H. corner.]
Julio. [To Louise.] What, Louise! will you leave your faithful
Julio, who adores you — idolizes you —loves you more than life I
Fran. Louise! dear Louise!
Mad. D. Well, Miss! do you mean to stand here like a statue
all night? Once more I tell you, off with this frippery —these
accursed trinkets, and come to your home. [Stamps with rage,
and crosses Julio suddenly —at the same time seizing the arm of
Louisa roughly.] I order you!
Fran. Nay, good mother; you hurt her arm.
Mad. D. You are a fool!
Fran. [To Louise.] Do you still refuse to listen to the earnest prayers of your Francois?
Louise. Heaven assist me- I know not what to do.
Elomire. Good woman, release your hold. You are inflicting
a serious injury upon the young lady's arm.
Mad. D. Release her!
[They force Louise from Mad. D., who is thrown by Julio to R. Hr.
corner.]
Mad. D. She is my own child, and if she refuses to follow me,
by all that's good above me, I'll strangle her here —here, on
this very spot, and with these very hands.
[Music No. 51 — Mad. D. crosses as if to rush upon Louise - Ferd.
interposes, and after a long struggle, throws her over to R. H. corner- Louise rushes to Julio.]
Mad. D. What! you have foiled me, have you. Well, she
will not come — stay then, poor depraved victim, since nothing
will recall you to yourself. Pursue the course you have begun.
You blush for your poor old mother! Aye! let the blush come
into your cheek, but remember, that though my voice is rough
and my manners coarse -remember that I have always been an
honest woman. [Louise shudders.] What! you shudder, do
youl Go, wretch that you are —I have nourished a serpent
in my bosom till it has gained strength to sting me to the
heart. Henceforward you are to me as if I never had borne you.
Farewell.  Come, Francois, the air is too impure for us to
breathe —let us begone. Farewell, and take a mother's curse I
A MOTHER'S BITTER CURSE!!




SCENriE I.|            OF CRIMf. 
[Music No. 6. Louise utters a piercing shriek —rushes towards
Mad. D. - totters and is falling -Julio catches her. Miad. D.
going off, totters and falls against R. H. wing - Francois is L. H.
in attitude of despair —the others form  animated groups —
curtain falls on tableau and picture.
END OF ACT II.
DISPOSITION OF ClARACTERS
AT
FALL OF CURTAIN.
LIZETTE and AmALDiA.
RoB. and JULIA.                       LACAILLE and -CB.
FERD. and FANNY              CHAS. and ELOMIRE.
JULIO and LOUISE.
B. H.- MAD. D.'FRANCOIS. -L.H.
Picture- end of Act. I.
FANNY            AMANDA
and              and
FERDINAND.      Ms. I'OF CER.
--
LIZETTE                              IST L-AD
and              Position            and
1ST GAMB.        of characters in     2d GAXB.
2D QUADRILLE, 
CAROLINE            ACT 2.             JULIA
and            Music No. 5.           and
LACAILLE.                             ROBERT.
JULIO            CHARLES
and               and
LOUISE.          ELOMIRE.
3




26                  THE SIX DEGREES.            [ACT III.
ACT  III.
THIRD DEGREE —GAMBLING!
SCENE I.- Magnificent Saloon - lighted with chandeliers -gaming
tables of all descriptions, in operation - everybody engaged in play
-Miusic No. 7.
Banker. Make up your game, gentlemen.
Julio. One hundred francs on the black.
Bank. The game is made. [Turns roulette.] 13, black loses —
red wins.
Julio. Curse on the luck. Another hundred on the black.
Bank. 3, black loses -red wins.
Julio. Again! Damnation!
Chas. Don't be impatient, Julio; the black has lost nineteen
times in succession - try the red.
Bank. Make up your game, gentlemen.
Julio. Two hundred on the red.
Bank. The game is made. 23, black wins —red loses.
Julio. There it is again, you see; if I had only gone on as
before.
Chas. Tush! man, try it again; your luck must turn soon.
Julio. Three hundred on the black.
Bank. Game is made. 22, red wins —black loses.
Julio. [Coming down to Chas.] Well, I'm cleaned out.  Did
you ever know such infernal luck?
Chas. Never! It is now eight days since you had a tolerable
stroke of good luck; and are you actually as bad off as you were
telling me of this morning?
Julio. As true as there's a sun in the heavens. I have lost,
within this house, an hundred thousand francs. I have now
pledged and sold every article of property on which a sous could
be raised, rand I have, within the last three hours, sunk my
last six hundred francs.
Chas. Upon my word, you are very unlucky, for you know
you only wanted a stroke of good luck to get back into the vein
of good fortune.
Julio. Cursed forever be the day when you first induced me to
enter this hell upon earth.
Chas. Oh, of course, if you are unlucky I am to te reproached




SCENE I.]              O  CRIME.                       57
for it. Perhaps you have forgotten that before I introduced you
into this brilliant and private circle, your fortune was more than
three-fourths gone; and that your success here has supported
you and your extravagance for many a long day.
Julio. For heaven's sake, leave me. What's to be done?
Gracious God! what is to become of me?
Chas. What if you write a line to Louise?
Julio. This very money which I have lost was all she had in
the world. I borrowed it of her this morning.
Chas. The devil you did! that's extremely unpleasant; but
she certainly has a splendid collection of diamonds and other
valuable ornaments- why not borrow them.
Julio. Upon my word, a very excellent idea. I'11 write for
them immediately. But stay; she will probably refuse to send
them.
Chas. Let me advise you, my boy; write a note to her, stating
that yon have just now won a large amount of money, and say
you wish to accompany her this evening, to the assembly, as soon
as she can possibly prepare herself. She having no suspicions, will
come at once, and doubtless, with most of her jewels, and once
here, you know, she wouldn't like declining the loan of them
for a temporary convenience.
Julio. Yes, that's the true plan-very good —very good
indeed. Who waits?
Joseph. [Coming down.] Here, sir, at your service.
Julio. Provide me with pen, ink and paper.
Joseph. At the table [L. H.] you will find them, sir. [Bows
and retires up.]
Julio. [To Chas.] In the meantime you can watch the progress
of the game, and calculate upon the chances of success.
[Julio writes - Banker declares progress of game till Julio finishes
- Charles noting on card.]
Julio. [To Joseph.] There it is. Forward that note without a
moment's delay. [Joseph bows and exits R. H.]
Chas. Now, Julio, mind what I tell you. My calculations
upon the game are infallible, only we have not followed up our
plan long enough. Now pray, be calm; I shall take my station
at the table, and while we are waiting for Louise, I will mark
down on a card every game that is made. [Returns to table and
minutes game.]




98                 TH.Et DYEuRS                 [ACT Il.
Julio. In less than two years a fortune, that I thought inexhaustible, has been squandered away-swallowed up at the
gaming table, and what can I do if fortune still continues to frown
upon me? I am good for notbing-my energy is all gone —
my faculties are impaired by dissipation - my brain is burning
under the excitement of-    Oh!  this is too much; these reflections will drive me mad, [Servant crosses from L. to t. bearing
wine and glasses on waiter.]  Oh, wine! Pour me out a brimming goblet of wine. [Takes large goblet of wine from servant's
hand and hastily swallows it. Exit servant R. H.] Why did I not
profit by the counsels of him who I know would have been my
friend- the one whom I drove from my house with ribald jests.
Why did I not pursue the path which worthy Michael marked
out for me?
[Michael enters IR. H. 1 E.- touches Julio on shoulder.]
Mich. Michael is here!              [Musie Noa. 8, chord.]
Julio. Great Heavens! are you or-are you not my evil genius,
destined forever to meet me at every turn, and dive into my very
thoughts.
Mich. You soliloquise so loudly, sir, that one can hardly fail of
hearing you, if within a reasonable distance.
Julio. You heard me, then?
Mich. I did, and permit me to say -it is one step towards reform when one begins to feel the agony of remorse — but something more is necessary. You must strive, by a future life of
rectitude to atone, in some degree, for past misconduct.
Julio. May I ask what it is that prompts. you to offer your
counsels before they are required?
Mich. My conscience, young man. Listen to me. What has
become of the fortune accumulated by your father, in a life-time of
labor i Has it not, in two short years, been squandered away on
libertines and coquettes, the depraved and vicious of one sex,
and the foolish and contemptible of the other. Where is now
your habitual abode? A gambling-house, maintained clandestinely - the resort of well-diessed sharpers, and liable at any
moment to the descent of the police., But it is not too late for
you to retrace your steps. "You have climbed up three rounds of
the ladder" —- you can yet save yourself from impending ruin.
Jtdlio. What would you have me. d; descend to manual labor 




SCENE I.]               OF caIM.                        29
Ml~ich. And why not; have you not two good arms' With them
why should you come to want 2 Become a shoe-bla(ck if necessary.
1st Gainb. Five hundred francs is my stake.
Julio. This indecent raillery is out of place.
Bank: Double Zero! I clear the board..7ulio. Have done with your lecture, if you please.
1st Gamb. By hell and all its furies! I'm a ruined man.
[Exits in despair through c. door.]
il~ich. Well, sir, if you can see, in my exhortation, heartfelt
and earnest as it is, what you call "indecent raillery," I fear
that you are only bent on your own destruction. [Pistol shot heard
L. H. U. E. All start np and come down.]
Omnes. What's that? What's the matter?
MIich. Nothing of consequence -'t is only an unfortunate gambler who has blown out his brains.
Omnes. Oh! is that all 
Ferd. Aha! that's nothing; we have no brains to blow out.
Julio. Gracious God! what a catastrophe!
Bank. Make up your game, gentlemen; we are losing time.
Mich. Observe, young man! mark what are the usual re.
sources of the desperate gambler - he flies for relief either to
suicide or crime, and then, what follows?
Julio. Enough! leave me, I beseech you; my brain is bewildered, and I am already more than half mad,
Yl.ich. And will you not reflect'?
Julio. Reflect! I tell you't is reflection that makes my heart
burn and my pulses throb like -      No, away! leave me to
myself.
[Mlichael looks at him with compassion, and exits R. H. 2 E. Music
1Nq. 9. Julio stands despondingly.]
Julio. Here, waiter, bring mle wine.  [Joseph brings him decanter anl wine-glass on salver.]  No, not these nutshells —give me
a goblet - something in which I can take a draught that will lull
my aching brow. [Fills largest goblet, and drinks quickly -Joseph
retires back.] So! now I am better. Oh! here comes Louise,
then all is not yet lost.
[Enter Louise and Elomire L. H. 1. E.]
Louise. My dear friend, do not quit me, I beseech you.
3*




30                 THE SIX DEGREES               [ACT II.
EElomire. Now my dear Louise, don't make yourself unhappy.
Julio. So you have come at last, Louise, I have something to
say to you in private.
Louise. But good Heavens, what means this madness? you
appear agitated. Your note informed me that you had been
highly successful in your play.
Julio. Yes, fortune at first did favor me, but I have been unlucky again and lost all that I had won in the early part of the
evening. You must assist me, Louise.
Louise. Assist you! how, Julio? You know I lent you to-day
every franc I had in the world.
Julio. Yes, but these diamonds.
Louise. What! my diamonds!
Julio. You surely can dispense with them this evening? You
must lend them to me for a few minutes.
[Elomire has crossed L. and signs Louise not to give jewels to Julio.]
Louise. But, my dear Julio, you would not pledge my Jewels,
would you?
Julio. What! do you hesitate?
Louise. Only think for a moment, the appearance I should
make after having worn them into the room.
Julio. Louise! no more evasions - I must have them.
Louise. [With suppressed indigation.] Must! It is not thus you
will obtain them.
Julio. What! do you refuse to comply? Do not compel me
madam, to resort to other measures than entreaty. I am not
anxious to be a party to a scene which will be a disgrace to
us both.
Louise. Julio, enough! you have sundered the tie that bound
us together. I leave you, and forever. [She is leaving —Julio
catches her rudely by the arm.]
Julio. Hold! you stir not one step.
Louise. [Very low.] Julio you hurt my arm. I pray you let
me go.
Julio. Your diamonds!
Louise. You will break my wrist. For Heaven's sake, have
compassion on me.
Julio. [Continuing to press Louise's wrist with violence.] Your
diamonds, then I




ScENC I.1             OF CRIME.                      $1
Louise. [Shrieking with pain.] Ah!
Elomire. [Coming down, L. a.]  Good Heavens! what is the
meaning of this?
Julio. Madam! the affair does not in the least concern your
ladyship - begone I
Louise. [Entrectingly.] Julio, for the love, of heaven, release me.
Julio. Give me the diamonds!
Louise Here, take them, and release me from this horrid torture.
There are the diamonds. [Gives them.] Now I am free to say
farewell to you, forever.
Julio. No, not yet. What! you would abandon me, would
you, now that my ruin is complete? Louise, you do not know
me -do not excite my rage, or you shall find my hate is deadly
as my love has been intense. Who waits X [Joseph comes down.]
I have some articles on which I wish to obtain a loan. Lead me
to the Director.
Joseph. This way, sir. [Exit with Julio, s, a,]
Elomire. [Rushing to Louise, who is in tears in a. a, cor.] Why
did you give him the jewels, my dear child?
Louise. Why, look there! [Strips up her sleeve and shows marks
of Julio's violence.] Look there, and ask me why!
Elomire. Was there ever such a brute? Well, my dear, you
have now a good reason for leaving him -why should you be
obliged to stay with him and share with him the misery of poverty which he has brought upon himself.
Louise. Leave him? And what is to become of me? Oh!
what shall I do? My mother, my mother, my dear mother - yet
no! I will not think of her, or I shall grow mad.
Elomire. Listen to me Louise. You know the young American who proposed to marry you, and has followed you from place
to place like your shadow -well, and why not accept his offer?
Louise. Oh, no! no, Julio.
Elomire. What! you still love Julio, then?
Louise. Love him! no, I never loved him. I was dazzled and
bewildered by his flattery —won by his seductive tongue, but my
heart remained untouched.
Elomire. Then why hesitate? Why not fly from him at once?
What do you fear?
Louise. I fear his jealousy -his vengeance. he forbade my




39                  THE SIX DEGREES.             [ACT III.
departure even now, and I know too well his horrible — his dire
revenge, to attempt to escape from his fetters.
Elomire. Tush, tush, child-marry this young American at
once- then you may laugh at the fury of Julio. Depend upon
it my dear girl, that you will never know another minute's comfort, while you remain dependant on this madman.
Louise. Hush! here he comes!
[Re-enter Julio eagerly counting money.]
Julio. Two thousand francs, ah, that will do very well. Now
to try once more to find the lucky vein. [Approaching Louise.]
Make yourself perfectly easy Louise. In five minutes I shall
return your diamonds. Well, Charles my boy, what color now?
Charles. [Referring to card.] The black, Julio, the black-I
have kept a sure account, and the red has come up twenty-two
times in succession. The black is sure, sure as day light.
Bank. Make up your games, gentlemen.
Julio. Stay, one thousand francs on the black!
Elomire. Let us profit by the present moment; they are all
engaged. Let us begone at once.
Louise. Should he perceive us!
Elomirae. Oh there's no danger while he has so much money on
the table.
Louise. My fate is in your hands, dispose of me as you will.
Elomire. Come, come, now is our time. [Exit, hurrying off
Louise R. H. 1. iE.]
Bank. 29; red wins -black loses.
Julio. Ten thousand devils.
Charles. But I tell you'tis impossible this luck should continue.
Try the black again.
Bank. Make up your game, gentlemen.
Julio. There! one thousand francs on the black-the next
moment then decides my fate.
Bank. Double zero! I clear the board.
Julio.'T is done and I am a beggar.
Chas. Pooh! nonsense man, don't make a fool of yourself.
Julio. Leave me, what now remains for me but DEATH 1
Chas. Tush! that is the last resource, there are others left yet.
Julio. How- where? tell me!
Chas. Hush! man, speak lowver. [Drawing Julio down to L. H.




SCEWE I.1              OF CRIM.          -3.
corner -produces a small package manifesting great satng froid.]
Do you see that 
Julio. What is it?
Charles. Gunpowder!
Julio. What's to be done with it?
Chas. Can't you guess?
Julio. I tremble at the very thought of what you propose.
Chas. You see the piles of gold and silver and the heaps of
bank-notes upon the table.
Julio. Well, Charles!
Chas. Suppose we were to place a small charge of this under
the table, and then, by accident you know, clap a spark of fire to
it - there would be the very devil to pay, would n't there; well
in the midst of the tumult and bustle, don't you think there might
be pretty pickings?
Julio. What a damnable Idea.
Charles. What! your're scrupulous, then? Now omly hear me
through, and then if you make any reasonable ob'ectioas, I'll
acknowledge myself in the wrong. Just tell me what the difference is between the bankers you see yonder, who are despoiling
the ninnies around their tables, and the highway robber who puts
a pistol to your head, and demands your watch and pocket. book?
Now only tell me any reasonable way of getting out of the scrape
we're in, (for we mntst acknowledge it's a cursed bad scrape to
be without money,) and I'11 renol nce all idea of what I just now
proposed. You cannot.
Julio. No matter, I never will cousent to this plot of hell,
Choas. Oh very well, just as you please. I shall blow up the
bank "just by way of experiment" and when the blow-up takes
place, you may help to pick up the money or not, just as yqu
please.
Julio. And am I indeed sunk so low?
Robert. [at table L. H.] I played that diaQa4u myself,
2d Gamb. No, sir, it was mine.
Bobert, Mine, sir, if you please.
2d Gamb. You lie!
Robert. What! the lie, scoundrl I' [Throws cards in his face —
2d Gamb raises chair -general tumult, during which 3 distinct
knocks are heard L. H. 1 E. Omes quai e,]  Bank. gush! [fgqe to
dvor cautiously - returns, and says in low tone,] "It is the Police."




34                  THE SIX DEGRIEES                  IACT III.
Omnes. The Police!
Bank-. Away with the tables - gentlemen, your instruments -
ladies, take your places - quick - a waltz. [Stamps three times on
floor - tables sitnk through stage — three of the gamblers take violins
and play a waltz.]
Police Officer. [ TVithout L. H. D.] Open, in the name of the law.
[Banker opens door - Officer and file of Gens d'Armes enter -waltz
and music cease.]
Bank. May I be permitted to inquire the cause of this ex
traordinary visit?
Officer. I act in pursuance of an order from the Police Department.
Bank. I await, with due deference your examinations. Pray
sir, be minute in your observations.
Officer. I shall do my duty, sir!
[Music No. 11, Officer passes around room examining. Ferd. is in
R. i. corner and whispers him as he passes.]
Ferd. [Aside to officer as he passes.] They were warned of your
coming.
Officer. All right.  [To banker.] We beg your pardon for this
interruption of your innocent amusement, but we must obey
orders.
Bank. No apology is necessary.
[Music. No. 12 — Gens d'Armes exeunt L. H. D. - waltz is resumed
- banker locks door after their exit.]
Robert. [At L. H. window.] They are gone — they are turning
the corner of the street- we are safe.
Banker. Very well; we will resume our amusements. Excuse
these little interruptions.
[Music No. 13. Banker stamps on floor again -tables rise and
scene resumes its former appearance.]
Omnes. Ha! ha! ha!
Julio. Hold, Charles -have you not relinquished your damnable design?
Charles. Why, since you are so scrupulous about it, I suppose
I must.
Julio. Come then, let's begone.
Charles. Stop, stop - not so fast - I've just cornered a Napoleon here, in my waist-coat pocket.




SCENE..1               OF ClIUME.                       35
Julio. A Napoleon! giv-e it nme, Charles, perhaps -
Charles. Well, well, don't be in such a devil of a fluster about
it. [Aside.] Now to get him out of the way. There it is; and
now contrive to do something handsome with it.
Julio. Thanks, thanks my friend, I have yet some hope. [Goes
to roulette table.]
Charles. Now I am not such a raw one as to trust to hope —
I mean to make sure of something. Now to give these good
folks a rouse. [ Gets among crowd; places petard under roulette table.]
Bank. Make up your game.
[Music No.14 -Explosion - shrieks - all start up - money precipitated towards front — Charles throws himself in it -pockets all
he can get hold of- Ferd. unobserved slips to L. H. D. opens itfile of Gens d'Armes enter —cross the stage, enclosing Julio and
Charles.
Julio. We axe lost!  Great heavens! how to escape! how to
escape!
[Michael suddenly appears B. H. 1. E. and exclaims, " This way."
Julio and Charles escape R. H. 1. E. - the others make an attempt
to escape- Gens d'Armes present bayonets -Michael follows Julio
and Charles.]
[PICTURE! QUICi DROP!1
END OF ACT DI.




6                  THE SIX DEGREES                [ACT IV.
ACT IV.
FOURTH DEGREE — THEFT!
SCENE I. — Street, with set house R. H. 2 E.-Lamp suspended
- Dark stage —Music No. 15-Enter Police Officer and two
men cautiously from L. H. with ladder —place it against wall and
exeunt R. H. 1 E. - Enter;FERD. followed by LACAILLE R. H.
disguised as a Fruiterer -pannier on his back -they sit down on
steps of house.
Lac. Aha! well, we're here at last.
Ferd. Yes, this is the house. By-the-way, Laeaille, there' a
lamp that stands in a very awkward kind of a situation.
Lac. Yes, and I told you that somebody ouglht to see to it.
Ferd. That charge was communicated to Robert.
Lac. To Robert? Oh, well, he'11 take care of it then — he is
now on the look out for the patrol, so that we may know which
way they take, for these gentlemen of the guard are very troublesome when they see folks trying to break into other folks' houses.
Ferd. I believe everybody is a-bed.
Lac. No, there are more to come in yet. The head clerk, who
keeps the cash, with the old woman. Robert saw them just now
in the pit of the theatre.
Ferd. But the play must be over by this time -'tis past
midnight.
Lac. Oh they have stepped into some restaurant's, I suppose,
to pick up a supper and wet their whistles. It won't be long
before they get here.
Ferd. They must n't find us under the window.
Lac. The driver of the cabriolet whom I have enlisted, knows
them, he understands the whole business, and he'11 take care to
warn us of their return. Afterwards he'll have his coach ready
to take care of our people in case of pursuit.
[Ferd. lights cigarfrom match.]
Ferd. Have a cigar?
Lac. Yes; one may as well draw a whiff or two to pass away
the time. [Lights his cigar.]
Ierd. By the way, Lacaille, what became of your brother
Rosignol?
Lac. Rosignol? Poor fellow! [Draws out a ragged handkerchief




SCENE I.]              OF CRIME.                       87
-wipes his eyes.] I never can think of him without being obliged
to blow my nose; Rosignol, my friend, met with an accident one
day in the court of Assizes.
Ferd. An accident  V What was it? One of the old fashioned
sort, eh l
Lac. Yes, poor young man, he borrowed a gentlman's watch
one day last June, and they hung him out to dry, one of the
warmest days of the next July. A nice, gentlemanly fellow was
Rosignol, he had the sweetest way of taking your handkerchief,
or pocket book you ever saw in your life.
Ferd. I dare say he was much missed in the community in
which he moved.
[Robert sings outside L. H. 1. E.]
Lac. Hush!'tis Robert!
Ferd. Let us see. [They conceal themselves.]
Rob. [Enters with a lamplighter's torch —goes up steps.] Yes,
the cross I watched is still here. [Lacaille whistles.] Attention!
[ Whistles in response - Lacaille and Ferd. join him.] Ah! my
friends, the night trampers are on the move - they'11 pass in two
or three minutes, and then we shall all be quiet.
Ferd. Come then, right face- let's off.
Lac. You two be off —there's no fear of me — I'll speak a
word or two to them as they pass. You take a turn or two
around the square and come up the other street.
[tlusic No. 18 — Patrol enter L. H. 1 E. - turn R. II. around house
- Lacaille remains as if unable to arrange his panniers.]
Corp. Hallo, friend, what are you about there?
Lac. Just taking a little bit of rest; this damned pannier is as
heavy as half an ox- won't you give me a lift with it. [C Crporal assists him.] As, ah, thank you, Corporal -help yourself to
an apple. Which way do you go?
Corp. Straight forward, as far as the Boulevards.
Lac. Ah! well, my way lies up the other street; good right
to you. [Moving up street.]
Corporal. Good night. Attention men- forward.
[Music Nro. 19- Exeunt Patrol R. H. 1. E.]
Lac. All right, my friends —much obliged to you for the
information. [Re-enter Robert and Ferd. L. H. 1. E.] Wh3 the
devil don't that head clerk and the old woman come home 
4




38                THE SIX DEGREES               [ACT IV.
Ferd. It certainly is very rude of them to keep us waiting so
long in the street, especially as we only want what money they
have got in the house.
Lac. If he had a young woman with him, I should not wonder
at his keeping such bad hours.
Rob. It wont do for me to blow out the light before they come.
Ferd. No, no-meanwhile, Lacaille, let us all understand our
several parts.
Lac. You, Ferdinand, get into the garden with me - I have
a key for all the locks in the back of the house; we will then
mount to the parlor, which will lead to the bankers private room
up there, [pointing to balcony.] in that room, is an iron chest
containing all the cash. You shall open the window while I pick
the lock of the money chest; Robert shall stand below and catch
the money bags; the coachman shall take them from him, and
if we only had one more hand to carry them to the carriage, all
would be right.
Ferd. You told me that Charles would be here.
Lac. Why, Charles has a little game of his own to look to.
He has got hold of a gentleman from the country that he wants
to use up a little.
[2d Gambler outside L. H. 1. E. as a postillion, sings " Yes, they're
coming -yes they're coming. Look out! look out! "]
Rob. Bravo! bravo! that's the signal —the clerk is on his
way —now, boys, on the alert.
[Music No. 20.  They conceal themselves-Mad. Doucet and
Francois enter L. lI. 1. E.]
Fran. Now if you had only followed my advice, you would n't
have been so weary.
Mad. D. I'm not weary my child; its only the terrible rheu.
matism that troubles me.
Fran. Yes, but in a coach you wouldn't have felt any
inconvenience.
Mad. D. What, a coach — going and coming too? no, no,
child - I don't want to be the ruin of you. In the first place
there was the ticket to the play, and then afterwards the supper,
and mercy on us, such a supper! Lord, lord! — I've got the
smack of the delicious rum-jelly on my lips now - but bless your
heart, don't you suppose I know these things cost money.




SCENE I.1              OF CRIMSI.                    39
Fran. Why, it is n't holiday with you every day in the year,
and once in a while you know —
Mad. D. Ah, good boy, you love to see me happy, do n't you?
Well, well, you're the only person in the world that cares a straw
about me now. [Sighs.] Ah, me! once there was another.
Fran. Nay do n't indulge in gloomy retrospections.
MHad. D. When that poor wretch, Iouise, abandoned her
mother, you took pity on me and comforted me in the midst of
my distress, and bound up the wounds of my broken heart - it
was you, Francois, that said " If I cannot be your son-in-law, I
will be as your own child to you." Yes, you are my child -my
only child. [Sobs and rests on his arm.]
Fran. Come, come, mother, do n't let us finish a day of happiness, in this gloomy manner.
Mad. D. Pardon me, my dear Francois. There are moments
when my heart is so full that tears will come- but it's all one.
I do n't want to have the -dark cloud that sometimes comes over,
make me forgetful of the debt of gratitude I owe you.
Fran. Do n't speak of that; have n't you contributed to my
present happiness and prosperity -have n't your carefulness and
economy enabled me to keep everything snug and comfortable at
home -have n't we assisted, consoled and loved each other mutually? We have, and we will, to the very last moment. Come,
mother, let us in. [ Cheerfully. I
Mad. D. Now do n't set up all night at your writing.
Lac. [Aside.] Oh, no, that would be very disobliging.
Fran. Why, no, my books are all written up, fair, square and
clean, and I've nothing to do but to jump into bed directly.
Mad. D. Well, well, I feel a little sleepy myself —I don't
think I shall lie awake long. You've got the key, hav n't you n
Fran. Yes, here it is. [Unlocks door —leaves key in it.]
Mad. D. [Down stage.] Lord, lord, how wonderful it is, that
that poor girl should n't have been willing to give up every thing
for poor Francois.
Fran. [Comes down stage.] Come, mother, come, lean on me.
[Lacaille steals key from door —drops another on stage -conceals
himself.]
Mad. D. Ah me, I begin to feel that I am getting old.
Fran. Why where is the key? I surely left it in the door.




40                  THE SIX DEGREES.              [ACT It.
Mad. D. I heard it drop.
Fran. Yes, here it is - [Picks up key.] in, mother, in.
[Exeunt with ilad. D. into house.]
Lac. [Advancing.] I've got the key.
Rob. Bravo, Lacaille!
Lac. Now to our work. [Steps hecard n. tu. E.] Hush! some
one else is coming. What a devil of a night this is!
[Ihey stand aside - Charles and Julio enter fom street R. H. H...]
Julio. I would give millions to revenge this wrong.
Chas And you have not a single sous.
Julio. The infamous wretch, I am sure she saw me, for she
turned pale as death as she entered the carriage. I do n't know
what it was -something bewildered my senses and dazzled my
eyes; the punch I had taken, the rage that overwhelmed me,
turned every thing red — my eyes seemed to be swimming in
blood, and it was this confusion of all my faculties that saved
her. I was unable to stir a step, and my limbs trembled under
me like the leaves of an aspen. If I had then this damned
pistolChas. Which flashed in the pan, as you tried to blow out your
brains, when we escaped from that sporting house. Poor wet
chicken that it was, to show the white feather in the hour of
danger.
Julio. And I have been a witness of the treachery of Louise.
Did I not tell you that the young American was in love with
her? The woman must have lost her senses to listen to him,
knowing as she does, my character.
Chas. Why yes, you have a kind of jealous way with you.
Julio And she has the audacity to abandon me, to leave me for
another man.
Chas.  Why, it's natural enough, you know, the young
American is very rich, and you are rather the worse for wear;
besides, they say he has married her.
Julio. No matter! married her, has he? Damn him-I'll
have his heart- I know where they lodge, and this night - no
matter, no matter.
Chas. My dear boy, don't get into a fever; I've told you
about this little atffair of ours to-night.
Rob. [Advancing R. Il.] You're a fool, Charles -do you know




SCENE I.]               OF CRIME.                      41
that your imprudence may get us into a cursed scrape. Julio,
you know our secret; speak out at once; are you with us, or
against us?
Lac. [L. H.] Answer speedily, or, for safety's sake we shall be
obliged to give you a taste of our cold steel, my lad o' wax.
[Showing poignard.]
Chas. No more threats -Julio will no more abandon his boon
companions iithe hour of danger. Is it not so, Julio, my friend?
Rob. Hark! there is somebody else approaching.
Lac. It is a single gentleman.
Rob. Now there's a good occasion, Julio, for you to give us
some proof of your fidelity.
Julio. Do you want a proof 
Rob. As you are only an apprentice - yes!
Chas. Humor them, Julio- do as they wish.
f[ Mfusic No. 21. —Julio grasps his pistol -all retire back —  ichael
enters R. H. 1. E. -Julio advances and presents pistol.]
Julio. Your purse!
Mich. What?
Julio. Your purse, sir, or your life.
M~ich. My purse -stop a moment. [Draws purse from his
pocket - throws it at Julio's feet - then crosses L. H.] M. Dormilly
you get on bravely- You have reached the fourth round of the
ladder!                                   [Exit L. H. 1. E.]
Julio. It is Michael, and he recognizes me — let me conceal my
agitation- there, gentlemen, are you satisfied?
[All come down front.]
Chas. Oh, yes — you'll do. [Aside.] Your neck will become
a slip-noose as well as any other young man's.
Rob. Bravo, Julio,-it was very well done. I'll extinguish
the lamp -you, Julio, shall stand upon the balcony and throw the
money bags to me. [Aside to Lacaille.] I'11 keep a bright eye
upon Julio —never fear; I'11 pass them to Ferdinand, and he
shall take them to the cabriolet.
[Music No. 22. - Lacaille, Charles and Robert climb over wallJulio under balcony -Ferdinand upon the look-out.]
Julio. Never have I felt such sensations, as steal upon me at
this moment. In what am I engaged? Powers of mercy! I am
a thief- a house breaker. Oh if my father could see me now,
the associate of these cut-throats.            4*




42                  THE SIX DEGREES                   [ACT IV.
Ferd. [To some one off R. H. 1. I.] Hist! hist!
Lac. [From balcony.] They sleep as sound as rocks.  [Th/rows
over rope ladder.] Now my fine fellows, up with you.  [Retires
into house.]
Julio. It is accomplished —I am now a finished thief!
[Julio climbs up andfollows Lac. into house - the instant Julio disappears, Ferd. steps from corner and locks door - Julio and Lacaille
re-enter on balcony - Ferd. goes R. H. 1. E.]
Lac. [To Julio.] Charles is at the money-chest —stand there
till I bring out the pretty little sacks. [Goes into house and returns, bringing out sacks- each marked " 1000 Francs."
Ferd. [Speaking off at wing R. H. 1. E. I Are your people all
ready?
[Enter police officer R. H. 1. E.]
Officer. Yes, they are in the garden and in the house; your
gentlefolks will all fall into the snare.
Ferd. Lest there should be any suspicions, you must arrest
me too.
Officer. Of course. [Pistol shot in house.]
Charles. Every man look out for himself- we are betrayed!
lMusic No. 23- Charles jumps from window - rushes down L. H.
1. E. - guards appear - level their muskets at him. Robert jumps
from balcony -rushes down R. H. 1. HE.- two guards appear there
- Lacaille gets down -is seized by guards R. H. 2. E. Julio is
coming down ladder, when Francois appears on balcony and throws
a cloak over him- Ferd. comes down c. — Robert and Charles
fire at him - he falls dead in centre.]
Rob. and Chas. Take the REWARD of thy treachery!
[PICTURE!  GRAND TABLEAU!]
END OF ACT IV.




SCENE I.j              OF CRIME.                      43
ACT V.
FIFTHI DEGREE-A IURDER!
SCENE I.- Music NVo. 24.- A handsome bed chamber -Bed on
R. R.- SoJfi on L. H.- Table with lamps, toilet furniture, etc.Dead body of EUGENE lying on stage —LouISE asleep on sofa
-Julio by her side standing with a dagger in his hand.
Julio. She sleeps soundly: they came late from the ball, and't is her first leaden sleep, and he too; he sleeps the sleep of
death - he made no resistance. I smote him to the heart with
a single blow, as he lay in her arms - he stirred not - gasped not,
and she slept on -heard nothing, suspected nothing. Poor girl,
this morning she was to have left this place with her new lord,
for the sunny skies of Italy. Dream on, Louise - dream a little
longer of your companion - he has gone before you, but you will
soon follow him "to that bourne from whence no traveler returns." All! she stirs, she wakes - what, not yet? -'t is time to
arouse her then; I am weary of watching. What ho! Louise!
Louise!
Louise. [Starting from sleep.] Husband! Eugene, where are you.
Julio. Call louder on him -perhaps he'll hear you.
Louise. [Starting up.] Heavens! you here, Julio! Where is my
husband? where is Eugene?
Julio. [Points to body.] Look there!
[Music NVo. 25- Chord!]
Louise. [Shrieks.] Horror! horror!! wretch, murderer! Julio,
this is your work.
Julio. Yes,'t was I that did it - you abandoned me in the hour
of misery and poverty -abandoned me, to revel in his wealth.
In your new found joy, you forgot the squalid wretchedness, the
agony, the despair of him, you once called " your Julio." In
the bitterness of my heart, I swore by the God who made me, that
I would not be the only sufferer. I swore it, and here I am!
Have I not kept my oath?
Louise. Spare me, oh man of blood, spare me, I entreat you!
Julio. I could have murdered you at one blow while you slept,
as I did him.
Louise. Why! oh why did you not?
Julio. Because you would not then have known whose hand it
was that dealt the blow. - Because I should have been but half
revenged.




44                   THE SIX DEGREES                 [ACT V.
Louise. And would you kill me? Julio, would you shed the
blood of your Louise 3
Julio. Of my Louise! Devil! If you have any prayer to
breathe, be quick, [seizes her,] you have not long to live.
Louise. Grant me but time to repent —time for prayer —
for tears.
Julio. Not another minute-'t is time my work was done.
Louise. [Starting in desperation - wrenches dagger fiom Julio.J
Villain, desperate and bloody villian- I will not die! [Rushes to
window. 1 What ho! there; help! murder, murder, help!
Julio. [Dragging her from window.] Vain hope! you cannot,
shall not escape my vengeance.
[Noise outside - loud cries of " open, open! "]
Louise. Ah, they come - they come! assassin, loose your hold.
[Mtisic No. 26. -Julio drags Louise towards door, and fastens it
with bolts.].Julio. They are too late.
Louise. [W4ith choked and rapid utterance.] Give me my life
and fly to save your own - conceal yourself- I will say nothing
- reveal nothing.
Julio. I, myself, will take care of that.
Louise. [Struggling violently.] Save me quick, or I perish!
Julio. No human power can save you now —wretched, miserable girl.
Louise. Break open the door!
[M1usic No. 27.- Voices outside, "open i! open!"  Julio drags her
up stage - strangles her - crash - the door is forced - citizens
and police rush in - recoil in horror.]
Omnes. Seize the assassin. Drag him to Justice!
[As they rush on Julio -he draws pistol - keeps them at bay.]
Julio. The first who approaches me is a dead man! [He feels
the heart of' Louise -finds she is dead.] I am the murderer - now
I am ready for you.
[Throws down the pistol — guards enter and form behind - Michael
enters R. H. 2. E. - approaches Julio — taps him on shoulder —
Julio starts -gazes wildly at Michael, in great terror.]
MlWich. You have now reached the fifth degree — the sixth is
the punishment of crime -THE SCAFFOLD!
[PICTURE.]
END OF ACT V.




SCENE I.]               OF CRIME.                        45
ACT VI.
SIXTH DEGREE-THE SCAFFOLD!
ScErNi I. -A handsome chamber - Venetian blinds - lattice work
in flat, so that action without can be seen, as Julio describes it afterwards -Enter JOSEHH, BERTHIER, and servants R. H. U. E.
Joseph. Make haste then boys, or we shall be too late - they've
returned from the wedding, and the guests will want to get to the
table as soon as possible. Out with that champagne, and cut the
corks of half-a-dozen bottles, d' ye hear — they're all as dry as
chips, for they have had nothing but holy water to-day.
Berth. By the way, it's a queer sort of an affair, this same
marriage.
Joseph. Why, yes; but a year or so ago, and Master Francois
was as poor as either you or I; and here he is married to-day to
the daughter of our master, one of the richest bankers of Paris.
Why, Francois has n't a single relative living that any body ever
heard of.
Berth. There's Madam Doucet.
Joseph. Yes, but she's no relation of his — to be sure he has
taken care of her, as if he were her son, but they say she's only
one of his friends. No one seems to know anything about him
either, except M. Michael there, the man they used to call the
Black Parson.
Berth. Oh, well, some folks are born with a silver spoon in
their mouths, and I'm sure M. Francois is one of the lucky ones.
Joseph. There, there, shut up that ugly mouth of yours, and
go about your business.
[Exzelnt servants R. i. - Enter Ilad. D. and Francois L. H. 1 E.]
Fran. I have reached at last the summit of my wishes. I have
obtained a beautiful and virtuous wife —the esteem of all my
friends, and the confidence of my wealthy patron, who has given
me his daughter's hand. Heaven has richly rewarded my labors,
and I can truly say I am the happiest of men. [Turns to Mad.
D. who is in tears at R.. w.] Well, my good mother, how are
vou now?
MlIad. D. Well, my son, quite well.
Fran. And yet you tell me so with tears in your eyes.
Mgfad. D. Can a mother, think you, refrain from tears when the




46                 TlHE SIX DEGREES               [ACT VI.
once loved treasure of her heart is torn from her, sent into another
world with all her unrepented sins upon her head, as mine has
been. Poor, poor Louise! [Bursts into tears.]
Fian. Nay, good mother, do not yield yourself wholly to this
overwhelming grief. Come, let ume lead you to the dining-room.
Mad. D. No, no. I should cut but a sorry figure in the midst
of your gay friends - no - I will go to my chamber - I wish to
be alone for the res t of the day.
Fran. And why, mother?
Maid. D. You shall know all, to-morrow.
Fran. I must know it now, dear mother, or I shall believe
this is but a pretext of yours, to avoid us on our wedding-day.
Mad. D. What! would you cherish such a thought of her
whom you have so long called mother? I wished to conceal from
you for the present, the source of my - but, since you doubt
my word, listen. The unfortunate Jnlio Dormilly sent for me -
I saw him in prison, and he told me he could not die in peace, if
I did not pray for him on the day of his death. I go to my
chamber, Francois, to offer up my petitions to the throne of
mercy, for him  and that poor child. Oh, Louise! Louise!
[ Weeps violently.]
Fran. On the day of his death! What mean you, mother?
When is he to die?
Mad. D. This very evening at eight o'clock, and the time
draws nigh. From our window we shall see the crowd -the
scaffold, and uplifted axe.
Fran. Heavens! this day! and I have chosen this for my wedding day.
Mad. D. And what of that? You knew not when he was to
expiate his crime. But I must hasten to my solemn duty, and
on my knees in agony of soul, pour out the supplications of a
broken heart, [Exit i. H. 2. E.]
Fran. Her words have chilled me to the heart; the day that
sees me at the pinnacle of happiness, is that which closes forever
the infamous career of my first benefactor's darling son - and it
it is almost beneath my own window, that he surrenders up a life
forfeited to the terrible retribution of the laws; while I have
wiped away by persevering industry and honesty, the stain affixed
upon me by a father who suffered on the scaffold. He has




SCENE I.]              OF CRIME.                     47
mounted step by step, the perilous ascent of crime, and now
stands upon the scaffold, the spectacle of an assembled multitude
- the object of their detestation -of their curses.
[Enter Michael L. H.- Fran. turns towards him.]
Ah, my friend, have you arrived at last. We looked for you
at the ceremony.
Mich. I come now to apologise for my absence -believe me,
I should have been most happy to have been able to be present
at your wedding, had not affairs of great importance detained me.
Fran. Say no more about it. I know that you must have been
engaged in urgent business, or you would not have failed to see
your friend Francois made happy. I hope you come now however, to pass the remainder of the evening with us.
Mich. It is impossible -my duty calls me elsewhere.
Fran. But is your duty of such a nature, that it cannot be
dispensed with until to-morrow?.Mich. It cannot, my friend, or I would not hesitate a moment
to yield to your solicitation.
Fran. Promise me then, that you will come for five minutes tonight —I solicit it most earnestly. Do not let me think in this
most happy day of my life, that I am abandoned by those whom
my heart cherishes most dearly.
Mich. Francois, what I am about to say to you, grieves me
deeply. It will be neccessary that you and I part to meet no
more.
Fran. Part to meet no more! You astonish me! And why?
Mich. Because it is no longer proper that the relation which
existed between us when you were alone in the world, should
continue, now that you have kindred - honorable kindred.
Fran. Do you then suspect them and me of pride and meanspiritedness so great, as to look with any other than kindly feelings on those to whom we feel under such mighty obligations.
Mich. Listen to me, my young friend; you have never known
me but by the lively interest I have always felt in your welfare
and by the counsels, often severe, but always well meant, which
I have given you. What then would won say, and think, if you
should find, in knowing this individual, that you could not continue your acquaintance with him, without a blush upon your
cheek, when you acknowledge to the world that he was your
friend I




48                  THE SIX DEGREES               [ACT VI.
Fran. Answer me one question, and I give you the reply you
demand. Have you ever done or failed to do aught to impeach
your character as a man of honor and probity?
-Mich. Never! by Heaven - never! I swear it!
Fran. Then you are still my friend - what matters it whence
you derived your birth, or who you are, so that you can lay your
hand upon your heart and'say that you have neve failed in your
duties as a man. I call Heaven to witness, that I will never blush
to acknowledge you as my friend - that I shall always be proud
to press you to my heart..Mich. F'rancois you know not what you do -but I. will not
take advantage of your generosity, nor accept that friendship,
which if you were to offer me to-morrow[Enter Joseph a. H. 1 H,.]
Joseph. You are inquired for, sir, in the dining room.
Fran. I'11 come immediately
[Exit Joseph R. H. 1 E.]
My friend, believe me, when I say that my professions to-morrow
will be the same that I have made to day.    [Exit R. H. U. E.]
Mich. To-morrow we shall see - ah! should he speak the truth,
should he prove himself still the same -'yet, why should I expect
him to be exempt from the feelings common to the rest of society.
[Clock strikes eight.] No, no, he will shun me, like the rest.
Eight o'clock; it is time I was on the spot.
[Altsic No. 28. - L. H. D. bursts open —Julio enters, in convict's
dress —with broken cords on arms —frantic with terror — he
rushes to Michael in desperation.]
Julio. Whoever you are, for the love of God, have mercy on me.
Mil1cA. Julio!
Julio. Great Heaven, Michael!
Mjich. You here at this hour, and in this dress?
Julio. Yes I was bound to the car. I saw the horrible instrument of death. I sat upon my coffin, and my winding sheet was
wrapped around me, my blood curdled as we approached the
place, and with one tremendous effort I burst the cords that
bound me — leaped from the car —broke from the crowd, and
how, I know not, made my way to this place - but I implore you
as you hope for mercy, do not deliver me up. Conceal me, I be
scech yo l.
|Falls on2 his knees to Michael.]




SCENE II.]              OF CRIME.                        49
Hich. Rise, miserable man! I would conceal you, were it in
my power -but how?.Julio. No matter how, or where, but do not let me die!
[Distant murmurs heard.]
Mich. Do you not hear their cries?.Julio. I hear nothing —see nothing - but that fatal axe!
Hide me -hide me!
i;ch.  [At window L. F.]  Already they are in full pursuit.
They direct their steps this way. Fly! fly!
Julio. Fly! whither, by this window'   [Goes to it.] Ah! they
have discovered me and I am lost.
[ Voices, outside. " There he is, follow! follow! "]
Quick, close the doors, let them not tear me hence.
fich. How can you escape their vigilance?  You but delay
your fate a few short moments.
Julio. Moments, say you  -to me they are an eternity; one
moment more, and they will be upon me.
Mich. Only one way remains.
Julio. Quick! speak it, and I will bless you to my dying hour.
M2ich. One way to save you from the degradation of a public
execution.
Julio. What! must it still be death?
Mich. Poor youth, think of your fate. Be a man once more -
take this knife -strike boldly, and avoid all disgrace.
Julio. [Takes knife.] Never, never! The steel did not tremble
in my hand when I struck to my fellow creature's heart. But
look, look there! I have been an assassin —have committed
murder -but I am a coward!
[ Voices heard nearer - "follow, follow."]
Ml4ich. Do you think what it is to die upon the scaffold?
Jlulio. Give me the knife - I'11 try. [AMakes an effort, but can
not strike.] No, no, I cannot, Michael.
Mlich. What say you, Julio?
[Crash of outer door heard.]
Julio. Save me firom infamy, for my father's sake!
~ich. Well! for thy father's sake, then    [Stabs him with
poignard-Julio groans, and falls into his arms.]  It is accomplished.
[M1usic NTo. 29. - Everybody - Citizens, Gens d'Armes, 4tc. -rush
5




50             THE SIX DEGREES OF CRIME.            [ACT VI.
on stage L. H. D.- Fran. and Joseph rush on R. H. D. -Fran.
in horror and consternation recoils at the scene.]
Fran. Heavens! Michael, what have you done?
Mich. My duty!
Sran. Your duty! who are you, then 
[M3ichael throws off clergyman's robe, and discovers un.form of the
"Executioner of Paris." — Music No. 30, as Michael speaks.]
Mich. I am the Public Executioner!
Omnes. The Executioner!
[They all recoil with horror and amazement — Michael's right
hand, holding the knife, is extended towards heaven-Curtain
falls slowly to melancholy
MUSIC.
[GRAND TABLEAU AND PICTURE.]
END OF THE PIECE.