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No.
CLXXXIX.
FRENCH'S STANDARD
DRAMA
THE
STREETS of
A DRAMA,
BY THE
NEW YORK
IN FIVE ACTS
****
CLUB
WITH
LIST ...
THE SEA HORSE
EDWARD
J.
MOORE
Drama
Woman, Interior
(Little
1
Theatre)
Man,
1
It is a play that is, by turns, tend...
FRENCH'S STANDARD DRAMA
^be Hcttng
No.
lEMtion.
CLXXXIX.
THE
piiBoniwvieii
©rama
21
BY THE
acts.
in Jfitie
* * * *...
Cast of tbe Cbaracter0.-[THE
poor or
new yorkj
Wallack's Theatre, December, 1857
Captain Fairweather,
Gideon Blooucooi...
—
THE POOR OF
ACT
%t ;panic
SCENE.
NEW YORK
I.
of IS37.
New
The private
York; door
office of a banking house in
a...
—
THE POOR OF NEW YORK
4
[Leaves keys on desk and shews a check to Bloodgood.]
building committee of St. Peter's new chu...
—
THE POOR OF NEW YORK
5
Bad. Think not?
Blood.
[Impatiently.]
Neither philosophy nor imper-
my employment.
do not ca...
THE POOR OF NEW YORK
6
Capt. Glad to see you,
ing at an hour
Blood.
Badger
I
am
when
at
sir.
You will pardon my i...
—
THE POOR OF NEW YORK
flowers;
and
my
after Paul Jones
is
eldest
—a
— my
sailor's
son Paul
whim;
and
sleet acr...
—
THE POOR OF NEW YORK
8
A
Capt.
trouble.
thousand thanks.
Now
I
am
relieved of all
'
Bad. [Aside.] That's true....
THE POOR OF NEW YORK
9
Re-enter Edwards.
Edw. Your daughter,
sir; Miss Alida is in the carriage
screaming to be admitt...
—
—
THE POOR OF NEW
10
Y&^
Sir, I have changed my mind; here is your rehave the goodness to return me the deposit I I
...
THE POOR OF NEW YORK
11
Bad. [Aside.] Things are getting complicated here.
Capt. Yes I see it all. He is going to fly wi...
—
THE POOR OF NEW YORK
12
[Examines the Captain's pulse and eyes.]
habits.
useless, sir.
He
is
It is
dead.
Blood....
—
[A
—
lapse of twenty years
is supposed to intervene between
the First and Second Acts]
ACT
'Che iganic
SCENE
I.
...
—
—
THE POOR OF NEW YORK
14
[Looks around.] No;
Here
I
—hunger
am
incog
cries aloud.
goes.
Puffy. Why, bless me...
—
—
—
THE POOR OF NEW YORK
15
—
government contracted it paid off a number of employees, and Mr. Paul was discharged....
— — —
THE POOR OF NEW YORK
16
Re-enter Livingstone.
my
Liv. I think I dropped
Paul
—am
I
[Recognizing them.']
coa...
—
THE POOR OF NEW YORK
17
Mrs. F. Beware, Mr. Livingstone, how you seek to
new
Dur acquaintance; recollect
re-
my
d...
THE POOR OF NEW YORK
18
—
—
—
my dear friend will you believe me my
are the same towards you
nay more tender,
more si...
—
!
—
'
!
THE POOR OF NEW YORK
19
him for an orator; one of them
says on tablets.
this Speech; they take
takes
d...
THE POOR OF NEW YORK
20
Alida. Pooh! what's five hundred? You made ten
thousand in Michigan Southern last week I heard y...
——
THE POOR OF NEW YORK
21
Blood. How grand she looks! That girl possesses my
whole heart.
Puffy. Reserve a little for m...
—
—
—
THE POOR OF NEW YORK
22
Lucy.
dame
have seen him.
I
He and
Paul called at
Ma-
Victorine's.
Mrs. F. Is y...
—
—
THE POOR OF NEW YORK
to go into them, thar,
them
for
you
it
is
Miss Lucy's
23
—so
I
brought
to look at.
...
THE POOR OF NEW YORK
24
Dan. Let me take your coat and hat, sir.
Thank you. [Exit Dan and Mrs. Puffy.] How
like the old ...
I
THE POOR OF NEW YORK
25
is magnificent.
[Mrs. i^uffy rises.
Mrs. P. Oh, sir, you make me feel good.
Dan. [Holding the...
—
—
ACT
A Room
SCENE.
III.
in the house of
Gideon Bloodgood,
the furniture and ornaments are in a style of exaggera...
—
THE POOR OF NEW YORK
Alida. Fifth Avenue! that jest
is stale.
27
Fifth
Avenue
is
a shop where the richest fortunes ...
THE POOR OF NEW YORK
28
Alida. Judge my nature by your own
from anger never from shame.
—
—
I
may
blush
Enter Edwa...
—
—
I
THE POOR OF NEW YORK
Alida.
Am
Mark. Not
I in
the
at all
29
way?
—the
fact
is,
Miss Bloodgood
—my
bu...
THE POOR OF NEW YORK
30
Blood. [Ringing the
bell.]
to serious inconvenience.
Mark. Oh, no. [Aside.]
every
difficulty...
—
THE POOR OF NEW YORK
31
against Badger, who is coolly entering.] I have told you
already that my master is not to be s...
—
!
THE POOR OF NEW YORK
32
Blood. [Looking inquiringly at Badger.] So you we
here again. I thought you were dead.
Bad...
THE POOR OF NEW YORK
Blood.
Indeed,
33
Mr. Badger, your romance
original.
quite
is
—
Bad. Ain't it! never heard it...
—
THE POOR OF NEW YORK
34
the
of
villains
—because
document and secured
it
the clerk had picked
in his pocket. I do...
THE POOR OF NEW YORK
Bad. Not quite;
don't you?
man
—
I feel
interested in this
35
young
gentle-
Blood. Not at all...
THE POOR OF NEW YORK
36
Masdmilian, vamosi Show
me
to the banquetting-hall.
[Exit, with Edwards.
Blood. Your situatio...
!
THE POOR OF NEW YORK
37
Take
this letter instantly to the office of the Superintendent of Police. [Exit Edwards.] Ha...
—
—
—
THE POOR OF NEW YORK
38
Lucy. Well, Miss Bloodgood,
render you in this matter.
Alida. I beg your pardon
—he
ha...
—
THE POOR OF NEW YORK
39
good, that had I not been thus rescued from ruin, I had
no other resource but a Colt's revolve...
—
THE POOR OF NEW YORK
40
husband should not have pecuniary relations with you
so, as you are in want
here is
at least, ...
THE POOR OF NEW YORK
41
Bad. Well played, my dear Gideon, but, knowing the
character of the society into which I was ven...
—
ACT
SCENE
Puffy
I.
Union Square
IV
—Night.
The snow
falls.
discovered, r. h., with a pan of roasting chestPaul c...
—
THE POOR OF NEW YORK
43
Mrs. P. You thought to give old mother the sHp, you
undootiful villin
but I've found ye both. ...
—
THE POOR OF NEW YORK
44
Enter Mrs. Fairweather.
Mrs. F. I cannot return to our miserable home without
food for my chi...
—
—
THE POOR OF NEW YORK
[Tkey advance. Bloodgood puts
his
hand
45
into the
breast of his coat.
—
Bad. Ah, my dear ...
—
THE POOR OF NEW YORK
46
Enter two
Gentlemen from Hotel
[Cries.] Here's lucifers
—they
talk.
—three cents a hundred...
— —
—
THE POOR OF NEW YORK
47
—
Dan. All right, sir to the Brevoort House. Here,
lazy cuss, shoulder this trunk, and e...
—
—
!
—
THE POOR OF NEW YORK
48
——
—the—Bowery— — —you
I
Lucy. [Stammering.] I I
Gent. What do you want?
Lucy.
[Fai...
—
—
THE POOR OF NEW YORK
49
—
SCENE
The
II.
vestibule of the
Academy
of
Music.
Enter Alida and Livingstone. Mu...
—
THE POOR OF NEW YORK
SO
mother
money,
—your meet —
you
sister
I will
stay, let
me
first
go home, and get
where d...
THE POOR OF NEW YORK
—"Yes
51
—
[Places the newssa"
spread the table cloth.
paper over the table.] It's cold here, the...
—
—
—
THE POOR OF NEW YORK
52
and dine at Delmonico's. James, more champagne. [Takes
a drink from bottle.] Thank you
L...
—
THE POOR OF NEW YORK
S3
Blood. How much do you want for it?
Bad. Stay a moment. Let us see. You have had for
twenty ye...
—a
THE POOR OF NEW YORK
54
—
Blood. [Aside.] He has me in his power I must )deld.
[Aloud.] I will return, then, in an h...
—
—
THE POOR OF NEW YORK
Enter Lucy,
5S
ivith a brazier of charcoal, alight.
Mrs. F. That's done. [Going towards clos...
—
—
THE POOR OF NEW YORK
56
—
door and enters with Livingstone; they start back
Livingstone breaks the window, and Paul...
THE POOR OF NEW YORK
57
Paul. Robbed!
Blood. Scoundrel!
Bad. I've got the proofs.
Paul.
Bad.
The
I
proofs?
have 'e...
—
—
ACT V
SCENE I. Brooklyn Heights, overlooking the city of
New York and its harbors. The stage is occupied by a
neat g...
—
THE POOR OF NEW YORK
59
Mrs. F. That's a disease hereditary in your family.
Paid. [Rising.] I will tell you why Living...
——
—
—
—
THE POOR OF NEW YORK
60
But knowing this man to be a felon, whom we
be able at any hour to unmask, can we a...
— —
—
—
THE POOR OF NEW YORK
61
was for your sake
accepted this hated union to save you and
yours from poverty but wh...
—
I
THE POOR OF NEW YORK
62
Enter Mrs, Puffy, with Dan's hat.
Mrs. P. Here's your hat, Dan.
Bad. Quick! Dan, my son f...
—
—
THE POOR OF NEW YORK
63
Dan. [Seeing Badger climbing into the window.] Stop!
stop!
[Badger leaps
in
and disappea...
—
THE POOR OF NEW YORK
64
Alida. I did not inquire.
picture of misery, while
congratulate
and
— but
I
my
know
An...
Poor Of New York, hi-light
Poor Of New York, hi-light
Poor Of New York, hi-light
Poor Of New York, hi-light
Poor Of New York, hi-light
Poor Of New York, hi-light
Poor Of New York, hi-light
Poor Of New York, hi-light
Poor Of New York, hi-light
Poor Of New York, hi-light
Poor Of New York, hi-light
of 80

Poor Of New York, hi-light

Published on: Mar 4, 2016
Published in: Education      Business      
Source: www.slideshare.net


Transcripts - Poor Of New York, hi-light

  • 1. ^ u—
  • 2. c>^cj^.^e S'c'i - r&icesq;K ^ Vit^&esei*> ._ ^l(a^L -/'<w-<^H''<, -tU.-fvd.H^fit iJI^^--^^-?^. ''H f4aJ ttviy^^^^U ^.^?.>^ K^o^
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  • 4. No. CLXXXIX. FRENCH'S STANDARD DRAMA THE STREETS of A DRAMA, BY THE NEW YORK IN FIVE ACTS **** CLUB WITH LIST OF CHARACTERS, STAGE BUSINESS, COSTUMES, RELATIVE POSITIONS, &c, &c. As performed at the PRINCIPAL ENGLISH AND AMERICAN THEATRES. New York SAMUEL FRENCH PUBUSHER 25 WEST 45th STREET London SAMUEL FRENCH, Ltd. 26 Southampton Street Strand, W.C.2
  • 5. THE SEA HORSE EDWARD J. MOORE Drama Woman, Interior (Little 1 Theatre) Man, 1 It is a play that is, by turns, tender, ribald, funny and suspenseful. Audiences everywhere will take it to their hearts because it is touched with humanity and illuminates with glowing sympathy the complexities of a man-woman relationship. Set in a West Coast waterfront bar, the play is about Harry Bales, a seaman, who, when on shore leave, usually heads for "The Sea Horse," the bar run by Gertrude Blum, the heavy, unsentimental proprietor. Their relationship is purely physical and, as the play begins, they have never confided their private yearnings to each other. But this time Harry has returned with a dream: to buy a charter fishing boat and to have a son by Gertrude. She, in her turn, has made her life one of hard work, by day, and nocturnal love-making; she has encased her heart behind a facade of toughness, utterly devoid of sentimentality, because of a failed marriage. Irwin's play consists in the ritual of "dance" courtship by Harry of Gertrude, as these two outwardly abrasive characters fight, make up, fight again, spin dreams, deflate them, make love and reveal their long locked-up secrets. "A burst of brilliance!"— N.Y. Post. "I was touched close to tears!"— Vi7/nge Voice. "A must! An incredible love story. beautiful play?"— A^eu.7iow.sc Newspapers. "A major new play- A wright!"— V«nVfy. ROYALTY, $50-$35 THE AU PAIR MAN HUGH LEONARD (Little 1 Man, Theatre) 1 Woman, Comedy Interior The play concerns a rough Irish bill collector named Hartigan, who becomes a love slave and companion to an English lady named Elizabeth, who lives in a cluttered London town house, which looks more like a museum for a British Empire on which the sun has long set. Even the door bell chimes out the nationanthem. Hartigan is immediately conscripted into her serin return for which she agrees to teach him how to be a gentleman rather after the fashion of a reverse Pygmalion. The play is a wild one, and is really the never-ending battle between England and Ireland. Produced to critical acclaim at Lincoln al vice Center's Vivian Beaumont Theatre. ROYALTY, $50-$35 ^:SSSSSSSSSSSSSSSSSS3SSSSSSSSS9SSSSS$SSSSi #3
  • 6. FRENCH'S STANDARD DRAMA ^be Hcttng No. lEMtion. CLXXXIX. THE piiBoniwvieii ©rama 21 BY THE acts. in Jfitie * * * * CLUB. TO WHICH ARE ADDED — — Description of the Costume Cast of the Characters Entrances and Exits, Relative Positions of the Performers on the Stage, and the whole of the Stage Business. H0 iperformet) at Mallack'e ^beatre, December, 1857 ISBN 573 60275 New York SAMUEL FRENCH PUBLISHER 25 WEST 45th STREET 1 London SAMUEL FRENCH, 26 Ltd. Southampton Street Strand, W.C2
  • 7. Cast of tbe Cbaracter0.-[THE poor or new yorkj Wallack's Theatre, December, 1857 Captain Fairweather, Gideon Blooucooi), Badger, Mark Mr. Mr. Mr. Mr. Mr. Mr. - ... Livingstone. Paul, Puffy, Dan, . Blake. Norton. Lester. Sotliern. A. H. Davenport. Sloan. Mi;. T. B. Johnson. Daniels, Mri Tree. Edwards, Mr". Mrs. FairweatUjer, Mrs. Puffy, Mrs. Blake. Mrs. Cooke. Mrs. Hoey. Mrs. J. H. Allen. 8 -19£2 Alida, Lucy, Levere. - - >|UmC5?4lODERN. The First Act occurs dtin>»g*the Commercial Panic of Jim*g^he remainder of the Drama takes place during the Panic of 1857. 1837. The STAGE DIRECTIONS. n L. means First Entrance. Left. R. First Entrance, Right. S. E. L. Second Entrance, Left. S. E. R. Second Entrance, Right. U. E. L. Upper Entrance, Left. U. E. R. Upper Entrance, Right. C. Centre. L. C. Left Centre. R. C. Right of Centre. T. R. Third Entrance. Right. Door Right. D. L. Door Left. U. D. L. Upper Door, Right. Left. T. E. •** The reader Elntered according to is supposed to Act of Congress, L. Third Entrance, Centre Door. D. R. Upper Door, Left. U. D. R. C. E. D. be on the Stage, facing the Audience. In the year One Thousand Eight Hundred and DION BOUCICAULT, In the Clerk's Office of the District Court of the United States for the Southern District of New York. Fifty Seven by Printed in the United States of America
  • 8. — THE POOR OF ACT %t ;panic SCENE. NEW YORK I. of IS37. New The private York; door office of a banking house in at back, leading to the Bank; Door l. h., leading to a side street. at desk. Enter Edwards, l. Gideon Bloodgood h. d. f., seated, c, with a sheet of paper. — Edw. The stock list, sir; second board of brokers. Blood. [Rising eagerly.] Let me see it. Tell the cashier to close the Bank on the stroke of three, and dismiss the clerks. [Reads. — So my [Exit Edwards. expected, every .gtock is down further still, and last effort to retrieve my fortune has plunged me into as I [Crushes up the paper.] To-morrow, my amount of eighty thousand dollars will be protested. To-morrow, yonder street, now so still, will be filled with a howling multitude, for the house of Bloodgood, the Banker, will fail, and in its fall will crush hundreds, thousands, who have their fortunes laid up here. utter ruin? drafts to the Re-enter Edwards. Edw. Here are the keys of the safe 3 sir, and the vault.
  • 9. — THE POOR OF NEW YORK 4 [Leaves keys on desk and shews a check to Bloodgood.] building committee of St. Peter's new church have applied for your donation. It is a thousand dollars. Blood. Pay it. [Exit Edwards.] To-morrow, New York will ring from Union Square jtojhe Battery with the news -"Bloodgood has abscondedl but to-morrow I all is shall be safe on board the packet for Liverpool prepared for my flight with my only care in life, my only hope— my darling child her fortune is secure [rises.] The — — — — The affair will blow over; Bloodgood 's bankruptcy will soon be forgotten in the whirl of New York trade, but Alida, my dear Alida will be safe from want. Re-enter Edwards. Edw. Here, sir, are the drafts on the Bank of England 70,000 dollars. [Hands papers to Bloodgood, who places them in his pocket-book. Blood. Are the clerks all gone? Edw. All, sir, except Mr. Badger. Blood. Badger! the most negligent of all! That is strange. Edw. His entries are behindhand, he says, and he balancing his books. [Sits. Blood. Desire him to come to me. [Exit is Edwards. Enter Badger, smoking cigar. Bad. You have asked for me. Blood. Yes; you are strangely attentive to business to-day, Mr. Badger. Bad. Everything has a beginning. Blood. Then you will please to begin to-morrow. Bad. To-morrow! no sir, my business must be done that's my to-day. Carpe diem— make most of to-day philosophy. Blood. Mr. Badger, Philosophy is not a virtue in a — banker's clerk.
  • 10. — THE POOR OF NEW YORK 5 Bad. Think not? Blood. [Impatiently.] Neither philosophy nor imper- my employment. do not catch the precise word. Blood. [Sternly.] Go, sir, go! I discharge you. Bad. Go ^discharge 'me? I am still more in the dark, I can underst^Titi'*my services not being required in a house that goes on, but where the house is ready to burst up the formality of telling a clerk he is discharged, does seem to me an unnecessary luxury. Blood. [Troubled.] I do not understand you, sir. Bad. [Seating himself on a desk, deliberately dangling his legs.] No! well I'll dot my i's and cross my t's, and make myself plain to the meanest capacity. In business there are two ways of getting rich, one hard, slow and tinence. You are discharge^' from Bad. Pardon me! I I troublous: this is called labor; Blood. Sir! Bad. Allow me to finish. The other easy, quick and demanding nothing but a pliant conscience and a daring mind is now pleasantly denominated financiering but when New York was honest, it was called fraudulent bankruptcy, that was before you and I were born. Blood. What do you mean? Bad. I mean that for more than two years I have watched your business transactions; when you thought me — — my eyes were everywhere: in your books, in your your vaults; if you doubt me question me about your operations for the last three months. Blood. This is infamous! Bad. That is precisely the word I used when I came to the end of your books. Edw. [Outside.] This way, sir. idle, safe, in Enter Edwards, with Captain Fairweather. Blood. [To Badger, in alarm.] Bad. All Edw. [Introducing Captain good. Not a word. right. F.] This is Mr. Blood-
  • 11. THE POOR OF NEW YORK 6 Capt. Glad to see you, ing at an hour Blood. Badger I am when at sir. You will pardon my intrudam told, is closed. the bank, I your service, sir. [He makes a sign jar to retire, but the latter remains. Bad. [To Captain.] You good has no secrets from me. may speak, I am in his sir; Mr. Blood- confidence. Capt. [Sits.'] I am a sea-captain, in the India Trade. voyages are of the longest, and thus I am obliged to leave my wife and two children almost at the mercy of circumstances. I was spending a happy month with my darlings at a little cosy place I have at Yonkers while my My ship was loading, when this internal commercial squall set the — my fortune, 100,000 of thirty years' hard —was invested the United States Bank — was the livelihood of my wife— the food of my children— hurried my brokers and sold saved in dollars, all fruits in toil little it to I out. I myself just in time. Blood. I admire your promptitude. Capt. To-morrow I sail for China; for the last three weeks I have worried my brains to think how 1 should bestow my money to-day I bethought me of your house the oldest in New York your name stands beyond suspicion, and if I leave this money in your hands, I can sleep nightly with the happy assurance that whatever happens to me, my dearest ones are safe. Bad. You may pull your nightcap over your ears with — — — that established conviction. Capt. Now, I "know your bank is closed, but if you will accept this money as a special deposit, I will write to you how I desire it to be invested hereafter. Blood. [Pensive.] You have a family? Capt. Don't talk of them tears of joy come into my eyes whenever I think of those children and my dear wife, the patient, devoted companion of the old sailor, whose loving voice murmurs each evening a prayer for — — those who are on the sea; and my children, sir, two little angels; one a fair little thing we call her Lucy she is the youngest all red and M'hite like a little bundle of — — —
  • 12. — THE POOR OF NEW YORK flowers; and my after Paul Jones is eldest —a — my sailor's son Paul whim; and sleet across der, I only hear three voices my —we named him when the ship when the squall well, sir, m> creaking and groaning under drives the hail 7 feet, face, — through amidst the thunthe gloom I can see only three faces, pressed together like three angels waiting for me in heaven, and that heaven is my home." forgetting that these things can't But, how I do talk, sir interest you. Blood. They do, more than you imagine. I, too, have a ^ild only one a motherless child! Capt. Ain't it good to speak of the little beings? Don't darling it fill the heart like a draught of sweet water? torments here is their fortune I have it in my hand it is here I have snatched it from the waves; I have won it across the tempest; I have labored, wrestled, and suffered for it; but it seemed nothing, for it was for them. Take it, sir. [He hands a pocket-book.] In this pocket- — — — — My — — book you will find one hundred thousand dollars. May I take your receipt, and at once depart for my vessel? Bad. [Aside.] This is getting positively interesting. Blood. Your confidence flatters me, sir. You desire to money with me as a special deposit? Capt. If you please. Will you see that the amount place this is correct? Blood. [Counting.] Mr. Badger, prepare the receipt. Bad. [Writing.] "New York, 13th of December, 1837. " [To Captain.] Received, on special deposit, from Your name, sir? Capt. Captain Fairweather, of the ship Paul and Lucy, of New York. Bad. [Writing.] Captain Fairweather, of the ship Blood. One hundred thousand dollars quite correct. Bad. [Handing receipt to Bloodgood, and watching — — him closely as he takes the pen.] Please sign the receipt. [Aside.] His hand does not tremble, not a muscle moves. What a magnificent robber! Blood. [To Captain.] Here is your receipt.
  • 13. — THE POOR OF NEW YORK 8 A Capt. trouble. thousand thanks. Now I am relieved of all ' Bad. [Aside.] That's true. Capt. I must return in haste to the Astor House, where I fear I am late. GoodI dine with my owners at four day, Mr. Bloodgood. Blood. Good-day, Captain, and a prosperous voyage to you. [Exit Captain Fair weather. Badger opens ledger.] — What are Bad. you doing, Mr, Badger? I am going to enter that special deposit in the ledger. Blood. Mr. Badger! Bad. Mr. Bloodgood! Blood. [Brings him down.] I have been deceived in you. I confess I did not know your value. Bad. [Modestly.] Patience and perseverance, sir, tells in the long run. Blood. Here are one thousand dollars I present them — you your past services. Bad. [Takes the money, and walks over to the ledger on the desk, which he closes significantly.] And for the to for present service? Blood. What do you mean? Bad. My meaning is as clear as Croton. I thought you were going to fail I see I was wrong you are going to — ^ — abscond.} Blood. Mr. Badger! this language Bad. This deposit is special you dare not use it in your business; your creditors cannot touch it ergo, you mean ; make a and there's but one — way — absconsion! absquatulation. Blood. [Smiling.] It is possible that this evening I may take a little walk out of town. Bad. In a steamboat? Blood. Meet me at Peck Slip, at five o'clock, and I will to raise hand you double the sum Bad. [Aside.] In all I gave you. three thousand dollars.
  • 14. THE POOR OF NEW YORK 9 Re-enter Edwards. Edw. Your daughter, sir; Miss Alida is in the carriage screaming to be admitted. Blood. Tell the nurse to pacify her for a few moments. Edw. She dare not, sir; Miss Alida has torn nurse's [Exit. face in a fearful manner already. Bad. Dear, high-spirited child! If she is so gentle now, what will she be when she is twenty, and her nails are fully developed? Blood. [Takes hat.] I will return immediately. [Exit. Bad. [Following Bloodgood with his eyes.] Oh, nature, wonderful mistress! Keep close to your daughter, Bloodgood, for she is your master! Ruin, pillage, rob fifty families to make her rich with their misery, happy in their tears. I watched him as he received the fortune of that noble old sailor not a blink his heart of iron never quailed, but in this heart of iron there is a straw, a weakness, by which it may be cracked, and that weakness is at the door and is — — his own child — children! They are the devil in disguise. I — have not got any except my passions, my vices a large family of spoilt and ungrateful little devils, who threaten their loving father with a prison. Edw. c:-:^vv-p«»M.'>-^'i3!;<«'-' r^ * you, sir, he is not in. pass I say. [He enters very much agitated.] Where is he? Where is he? Bad. [Surprised.] What is the matter, sir? [Outside.] I tell Capt. [Outside.] Let Capt. Mr. this instant. Bad. me Bloodgood— I must not hear me? see him —speak to him Do you But— He has not gone. Bad. Sir— Capt. Ah! he is here! Capt. , Re-enter Bloodgood. Blood. What is the meaning of this? [Trying to restrain his Capt. Ah! you it is you — —
  • 15. — — THE POOR OF NEW 10 Y&^ Sir, I have changed my mind; here is your rehave the goodness to return me the deposit I I with you. emotion.] — ceipt; left — Blood. Sir! Capt. I have another investment for this sum, and I beg you to restore it to me. Blood. Restore it! you have a very strange way, sir, of demanding what is due to you. Capt. It is true; pardon me but I have told you it is all I possess. It is the fortune of my wife, of my children, of my brave Paul and my dear little Lucy. It is their future happiness, their life! Listen, sir; I will be frank with you. Just now, on returning to my hotel, I found the owners of my ship waiting dinner for me, well, they were speaking as merchants will speak of each other- your name was mentioned I listened and they said It makes me tremble even now they said there were rumours abroad to-day that your house was in peril. Blood. I attach no importance, sir, to idle talk. Capt. But I attach importance to it, sir. How can I leave the city with this suspicion on my mind that per- — haps I — — — — have compromised the future of Blood. Sir! Capt. Take back your receipt, my family. and return me my money. Blood. You know sir, that Return to-morrow. Capt. No. You received it my is after deposit banking hours. after banking hours. Blood. I am not a paying teller, to count out money. Capt. You did not say so, when you counted it in. Enter Edwards. Edw. The driver says you will be late for the Blood. [Trying to stop him.] That will do. Capt. What [Exit Edwards. did he say? [Runs to the window.] A car- riage at the door
  • 16. THE POOR OF NEW YORK 11 Bad. [Aside.] Things are getting complicated here. Capt. Yes I see it all. He is going to fly with the fortunes and savings of his dupes! [Tearing his cravat.] Ah! I shall choke! [Furiously to Bloodgood.] But I am — am here in time. Blood. Sir. Capt. To-morrow, you said return to-morrow but tomorrow you will be gone. [Precipitates himself on Bloodmoney, my money. I will have it this instant! good.] Do not speak a word, it is useless, I will not listen to you. money, or I will kill you as a coward should be killed. Robber! Thief! Bad. [Aside.] Hi! hi! This is worth fifty cents reserved seats extra. Blood. [Disengaging himself.] Enough of this scandal. here, villain, I — — My My — You shall have your money back again. — — it me ah! [In pain.] My head! [To Bloodgood.] Be quick, give it to me, and let me go. [Staggering and putting his hands to face.) My God! what is this strange feeling which overcomes me? Bad. He is falling, what's the matter of him? [Captain F. falls in chair c. Blood. His face is purple. [Takes pocket-book and commences to count out money. [Soft music to end of act. Capt. I am suffocating; some air. I cannot see; every- Capt. Give thing is black before my eyes. Am I dying? O, no, no! it cannot be, I will not die. I must see them again. Some water quick! Come to me my wife my children! Where are they that I cannot fold them in my arms! [He — — — f earf idly into the face of Bloodgood for an instant, and then breaks into a loud sob.] Oh, children my poor, poor, little children! [After some con- looks strangely and my — vtdsive efforts to speak his eyes become fixed. Blood. [Distracted.] Some one run for help. Badger, a doctor quick. Bad. [Standing over Captain.] All right, sir, I have that is how T learned most of my loose studied medicine —
  • 17. — THE POOR OF NEW YORK 12 [Examines the Captain's pulse and eyes.] habits. useless, sir. He is It is dead. Blood. [Horrified.] Dead! [Bloodgood's attitude is one of extreme horror. This position gradually relaxes as he begins to see the advantages that will result from the Captain's death.] Can it be possible? Bad. [Tearing open the Captain's vest. The receipt conjails on the ground.] His heart has ceased to beat — gestion in all its diagnostics. Blood. Dead! — the symptoms well developed the causes natural, over-excitement and sudden emotion. Blood. [Relaxing into an attitude oj cunning.] Dead! Bad. You are spared the agony of counting out his Bad. Apoplexy money. Blood. Dead! Bad. [Sees receipt on ground.] Ha! here is the receipt! Signed by Bloodgood. As a general rule never destroy a receipt there is no knowing when it may yet prove use[Picks it up, and puts it in his pocket. ful — Tableau. END OF ACT I
  • 18. — [A — lapse of twenty years is supposed to intervene between the First and Second Acts] ACT 'Che iganic SCENE I. II. of IS57. The Park, near Tammany Hall. Enter Livingstone. Liv. Eight o'clock in the morning! For the last hour I have been hovering round Chatham street I wanted to — my overcoat to some enterprising Israelite, but I could not muster the courage to enter one of those dens. Can I realize the fact? Three months ago, I stood there the fashionable Mark Livingstone, owner of the Waterwitch yacht, one of the original stock-holders in the Academy of Music, and now, burst up, sold out, and reduced to breakfast off this coat. [Feels in the pocket.] What do I feel? a gold dollar undiscovered in the Raglan of other days! [Withdraws his hand.] No; tis a five-cent piece! sell — Enter Puffy, with a hot-potato arrangement. Puffy. Past eight o'clock! I am late this morning. Liv. I wonder what that fellow has in his tin volcano it smells well. Ha! what are those fimny things? Puffy. Sweet potatoes, sir. Liv. Indeed! [Aside.] If the 13 Ah! Union Club saw me
  • 19. — — THE POOR OF NEW YORK 14 [Looks around.] No; Here I —hunger am incog cries aloud. goes. Puffy. Why, bless me, if it ain't Mr. Livingstone! Liv. The devil! He knows me I dare not eat a morsel. — — in BroadPuffy. I'm Puffy, sir; the baker that was way served you, sir, and your good father afore you. — Liv. Oh, Puffy — ah, true. [Aside.] him anything? { I wonder I if owe — over-speculated like Puffy. Down in the world now, sir the rest on 'em. I expanded on a new-fangled oven, that was to bake enough bread in six hours to supply the whole United States got done brown in it myself ^subsided into Bowery expanded again on woffles, caught a second time obliged to contract into a twelve foot front on Division street. Mrs. P. tends the indoor trade I do a locomotive business in potatoes, and we let our second floor. My son Dan sleeps with George Washington No. 4, while Mrs. P. and I make out under the counter; Mrs. P., bein' wide, objects some, but I says says I "My dear, everybody must contract themselves in these here hard — — — — — — times." Liv. So you are poor now, are you? [Takes playfully. a potato, — — for I hurt Puffy. Yes, sir; I ain't ashamed to own it nobody but myself. Take a little salt, sir. But, Lord bless you, sir, poverty don't come amiss to me I've got no pride to support. Now, there's my lodgers Liv. Ah, your second floor. A — widow lady and her two grown children poor Puffy. as mice, but proud, sir they was grand folks once; you — can see that by the way they try to hide it. Mrs. Fairweather is a Liv. Fairweather the widow of a sea captain, who died here in New York, twenty years ago? — my lodgers? Puffy. Do you know Liv. Three months ago, they lived in had a clerkship in the Navy Yard. Puffy. But when the panic set in, Brooklyn— Paul the United States
  • 20. — — — THE POOR OF NEW YORK 15 — government contracted it paid off a number of employees, and Mr. Paul was discharged. Liv. They are reduced to poverty and I did not know it. No, how could I? [Aside.] Since my ruin I have avoided them. [Alo2{d.] And Lucy I mean Miss Fairweather? bless Puffy. She works at a milliner's, in Broadway her sweet face and kind smile me and my wife, we could bake ourselves into bread afore she and they should come talk of going through to want; and as for my boy Dan fire and water for her he does that every night for nothing. Why, sir, you can't say "Lucy," but a big tear will come up in his eye as big as a cartwheel, and then he'll let out an almighty cuss, that sounds like a thousand — — — — — — o' brick. Enter Paul and Mrs. Fairweather, dressed in black. Liv. Oh! [In confusion, hides the potato in his pocket, and hums an air as he walks away. Aside.] I wonder if they know me. Mrs. F. Ah, Mr. Puffy. good Puffy. What, my second floor. Mrs. Fairweather morning, Mr. Paul; I hope no misfortune has happened you are dressed in mourning. Mrs. F. This is the anniversary of my poor husband's death; this day, twenty years ago, he was taken away from us we keep it sacred to his memory. — — Paul. It was a fatal home he had 100,000 day dollars for us. on When my his person father left —when he was found lying dead on the sidewalk of Liberty street, he was robbed of all. Mrs. F. From that hour mistortune has tracked us we have lost our friends. that reminds me why where is Mr. Puffy. Friends — — — Livingstone there's his coat Paid. Livingstone! Puffy. We were talking of you, slipped away. — when you came up. He
  • 21. — — — THE POOR OF NEW YORK 16 Re-enter Livingstone. my Liv. I think I dropped Paul —am I [Recognizing them.'] coat. mistaken? Mrs. F. No, Mr. Livingstone. Good morning, Paul. Liv. Sir! We Paul. sir. —Mr. Livingstone! —have I offended you? could not expect you to descend to visit us in our poor lodging. Mrs. F. We cannot afford the pleasure of your society. Liv. Let me assure you that I was ignorant of your misfortunes and if I have not called it was because a because [Aside.] What shall I say? [Aloud.] I have been absent from the city; may I ask how is your sister? Paul. My sister Lucy is now employed in a millinery store in Broadway she sees you pass the door every day. — — — — — Liv. [Aside.] — The devil — I must confess my — ruin, or appear a contemptible scoundrel. Paul. Livingstone I cannot conceal my feelings, we were schoolmates together and I must speak out Liv. [Aside.] I know what's coming. Paul. I'm a blunt New York boy, and have something of the old bluff sailor's blood in my veins so pardon me if I tell you that you have behaved badly to my sister Lucy. Liv. For many months I was a daily visitor at your house I loved your sister. Paul. You asked me for Lucy's hand I gave it, because I loved you as a brother not because you were — — — — — — rich. To retrieve my fortunes so that I might speculated in stocks and lost all I possessed. enrich Lucy and her family, I involved myself in utter Liv. [Aside.] marry To — I ruin. Paul. The next day I lost my clerkship duced to poverty, and you disappeared. — — —we were re- let me sacrifice Liv. I can't stand it I will confess all every feeling but Lucy's love and your esteem
  • 22. — THE POOR OF NEW YORK 17 Mrs. F. Beware, Mr. Livingstone, how you seek to new Dur acquaintance; recollect re- my daughter earns a pittance behind a counter I take in work, and Paul now seeks for the poorest means of earning an honest crust of — bread. Liv. And what would you say if I were no better off than yourselves if I too were poor if I Pu^y. You, poor, you who own a square mile of New — — York? Enter Bloodgood. Mr. Bloodgood! Blood. Ah, Livingstone why do you not call to see us? You know our address Madison square my daughter Alida will be delighted. By the way I have some paper of yours at the bank, it comes due to-day ten thousand dollars, I think you bank at the Chemical? Liv. Yes, I do that is did, bank there. Blood. Why don't you bank with me, a rich and careless fellow like you with a large account? I Liv. Yes [Aside.] He is cutting the ground from Liv. — — — — — —— under my — — — — — feet. ^ • - — — pardon me, sir, but I was about to call on you to-day to solicit employment. Blood. I'm full, sir, indeed I think of reducing salaries, everybody is doing so. Liv. But you are making thousands a week? Blood. That is no reason that I should not take advantage of the times [Recognizing Puffy.] Ah, Mr. Patd. Mr. Bloodgood — Puffy, that note of yours. Puffy. Oh, Lord! [Aside.] It is the note Mrs. Fairweather gave me for her rent. Blood. My patience is worn out. Puffy. It's all right sir. Blood. Take care it is. [Exit. Pu§y. There goes the hardest cuss that ever went to law. •'"*" .''J!f^ ^.>'^--.'
  • 23. THE POOR OF NEW YORK 18 — — — my dear friend will you believe me my are the same towards you nay more tender, more sincere than ever but there are circumstances I cannot explain. Liv. Paul feelings — Mrs. F. planation. Liv. — But —we ask no you— me Mr. Livingstone, say no more I ask something — — let me visit ex- let return to the place that I once held in your hearts. Puffy, Baker. Dinner at Puffy. 219 Division street half past one come to-day, sir do, sir. Paul. We cannot refuse you. Mrs. F. I will go to Lucy's store and let her know. Ah! Mr. Livingstone she has never confessed that she loved you but you will find her cheek paler than it used to — — — — be. — — [Exit. Paul. And now to hunt for work to go from office to office pleading for employment— to be met always with the same answer -"we are full" or "we are dischargings hands" Livingstone, I begin to envy the common laborer who has no fears, no care, beyond his food and shelter I am beginning to lose my pity for the poor. Liv. The poor! whom do you call the poor? Do you know them? do you see them? they are more frequently found under a black coat than under a red shirt. The poor man is the clerk with a family, forced to maintain a decent suit of clothes, paid for out of the hunger of his children. The poor man is the artist who is obhged to pledge the tools of his trade to buy medicines for his sick wife. The lawyer who, craving for employment, buttons up his thin paletot to hide his shirtless breast. These needy wretches are poorer than the poor, for they are obliged to conceal their poverty with the false mask of content smoking a cigar to disguise their hunger they drag from their pockets their last quarter, to cast it with studied carelessness, to the beggar, whose mattress at home is lined with gold. These are the most miserable of the Poor of New York. [A small crowd has assembled round Livingstone during — — — — — —
  • 24. — ! — ' ! THE POOR OF NEW YORK 19 him for an orator; one of them says on tablets. this Speech; they take takes down what he Enter Policeman, Pu§y and crowd. Bravo bench — — Come I say this What have I done? Police. Liv. — Bravo—Hurrah— get on the No Police. stumping won't do. to the population allowed in the Park. Liv. Stumping! Reporter. Herald. Liv. Oblige me [Rushes Oh! SCENE with your name, n. Exterior of off, sir, for the followed by Paul. Bank, Nassau Bloodgood's Street. Enter Bloodgood. Blood. [Looking at papers.] Four per cent a month if this panic do but last, I shall double my fortune! Twenty years ago this very month ay, this very day I stood in yonder bank, a ruined man. Shall I never forwhen I and my accomplice carried out get that night the body of the old sailor and laid it there. [Points l.] I never pass the spot without a shudder. But his money ha! — — ^^at founded my new fortune. ; »2^^' Enter Alida. Alida, my j dear child, what brings you to this part of the city? Alida. Blood. week. I want two thousand My dollars. dearest child, 1 gave you five hundred last
  • 25. THE POOR OF NEW YORK 20 Alida. Pooh! what's five hundred? You made ten thousand in Michigan Southern last week I heard you tell Mr. Jacob Little so. — But— Blood. Come, don't stand get the money I must have Alida. — Blood. Well, Not my darling, fooling about it; go in and it. if you must. Will you step in? I'm not going into your dirty bank. I've seen all your clerks they're lioT worth looking at.^ Blood. I'll go and fetch it. [Exit. Alida. This is positively the last time I will submit to this extortion. [Opens a letter and reads.] "My adored Alida I fly to your exquisite feet; I am the most wretched of men. Last night, at Hall's, I lost two thousand dollars it must be paid before twelve o'clock. Oh, piy queen! my angel! invent some excuse to get this money from your father, and meet me at Maillard's at half-past eleven. When shall we meet again alone, in that box at the opera, where I can press my lips to your superb eyes, and twine my hands in your magnificent hair? Addio carissimal The Duke of Calcavella." I wonder if he showed that to any of his friends before he Alida. I. — — — sent it! Re-enter Bloodgood, followed by Puffy. Blood. I you plenty tell you, sir, it must be paid. I Puffy. You gave me the time necessary for tain execution in the Marine Court. r have given of time. you to ob- Blood. Alida, my love, there is a draft for the money. [Gives her notes. She takes them.] And now, will you do me a favor? Do not be seen about so much, in public, with that foreign Duke. Alida. I never ask you for a draft but you always give me a pill to take with it. Blood. I don't like him. [Exit. Alida. I do bye-bye. —
  • 26. —— THE POOR OF NEW YORK 21 Blood. How grand she looks! That girl possesses my whole heart. Puffy. Reserve a little for me, sir. This here note, it was give to me by my 2d floor in payment of rent. It's as good as gold, sir when they are able to pay it. I'd sooner have it Blood. Mr. Puffy, you are the worst_kiri(i_of man, you are a weak honest fool, you are always failing always the dupe of some new (swindler .") w ,». Puffy. Lord love yoilT^rrl'Tf you was to see the folks you call swindlers the kindest, purest 2d floor as ever drew God's breath. I told them that this note was all right for if they know'd I was put about, along of it, I believe they'd sell the clothes off their backs to pay it. Blood. [Aside.] This fellow is a fool. But I see, if I levy execution the note will be paid. [Aloud.] Very good, Mr. Puffy. I will see about it. — — — — — — — — there when folks says Puffy. You will! I knew it I says you're a hard man no no more'n a rich man's got to be. Blood. Very good. [Aside.] I'll put an execution on his house at once. [Aloud.] Good morning, Mr. Puffy. — [Exit. Puffy. Good morning, sir. So, I'm floated off that mud bank. Lord, if he had seized my goods and closed me up -I'd never a dared to look Mrs. Fairweather in the — [Exit. face agin. SCENE III. The — interior of Puffy's house. A poor but neat room window at back. arranging dinner. Mrs. Fairweather is Enter Lucy, with a box. Lucy. My dear mother. Mrs. F. My darling Lucy. Ah, your eye is bright again. The thought of seeing Mark Livingstone has revived your smile.
  • 27. — — — THE POOR OF NEW YORK 22 Lucy. dame have seen him. I He and Paul called at Ma- Victorine's. Mrs. F. Is your work over, Lucy, already? Lucy. What we expected has arrived, mother. This dress is the last I shall receive from Madame Victorine she is discharging her hands. Mrs. F. More misfortunes and Paul has not been [A knock. able to obtain employment. — Enter Mrs. Puffy. Mrs. P. May I come in? it's only Mrs. Puffy. I've been over the oven for two hours! Knowing you had company I've got a pigeon pie such a pie! um oo mutton kidneys in it and hard biled eggs love ye! then I've got a chicken, done up a way of my own. I'll get on a clean gown and serve it up myself. Mrs. F. But my dear Mrs. Puffy really we did not mean to incur any expense Mrs. P. Expense! why, wasn't them pigeons goin' to waste they was shot by Dan and we can't abide pigeons, neither Puffy nor I. Then the rooster was running round always raisin' hereafter early in the mornin' a noosance, it was— — — — — — — — — — — — — — Enter Dan. — Dan. Beg pardon, ladies I just stepped in Lucy. Good day, Dan. [Aside to Mrs. Puffy.] Dan. Day, miss! — Oh! mother, ain't she pootty this mornin'? Mrs. P. [Smoothing her hair.] What have you got there, Dan'el? Dan. When I was paying the man for them birds Creation! mother—you're like [Mrs. p. kicks him.] the stocks you can't move a'thout crushin somebody well, he'd got this here pair o' boots ornder his arm why, ses I, if ever der was a foot created small enough — —
  • 28. — — THE POOR OF NEW YORK to go into them, thar, them for you it is Miss Lucy's 23 —so I brought to look at. Lucy. They are too dear for me, Dan, pray give them back. — Dan. Well, ye see the man has kinder gone. Miss some time next fall he said he'd call again Mrs. F. Dan Mrs. Puffy you are good, kind, dear when the friends of our better days have deserted souls us when the rich will scarcely deign to remember us you, without any design, but with the goodness of God in your hearts— without any hope but that of hiding your I owe you kindness, you help me. Give me your hands too much already but you must bestow on us no more out of your poverty. Mrs. P. Lord, Mrs! just as if me and Puffy could bestow any thing and what's Dan fit for? Dan. Yes what's I'm fit for? Mrs. F. Well, I will accept your dinner to-day on one condition that you will all dine with us. Mrs. P. Oh my! Dine with up-town folks! "^'^ '"^ Z,«cy. YesThdeed, Dan, you must. ""^""U/'i^^ Dan. Lord, miss! I aint no account at dinin' with ^.y^ v^v folks I take my food on the fust pile of bricks, anyhow. Mrs. P. I'm accustomed to mine standin', behind the — — — — — — — — — — — — counter. — Dan. We never set down to it, square out except on Sundays. Mrs. P. Then it don't seem natural we never eat, each of us is employed a helping of the other. Dan. I'll fix it! father, and mother, and I, will all wait on you. Lucy. [Laughing.] That's one way of dining together, — certainly. Enter Paul and Livingstone. Liv. this is! Here we are. Why, what a comfortable little cage
  • 29. THE POOR OF NEW YORK 24 Dan. Let me take your coat and hat, sir. Thank you. [Exit Dan and Mrs. Puffy.] How like the old times, eh, Lucy? [Sits by her. Mrs. F. [Aside to Paul.] Well, Paul, have you obtained employment? Paul. No, mother; but Livingstone is rich he must have influence, and he will assist me. Mrs. F. Heaven help us! I fear that the worst is not Liv. — come. — Paid. Nonsense, mother cheer up! Is there anything you have concealed from me? Mrs. F. No nothing you need know. [Aside.] If he knew that for five weeks we have been subsisting on the — charity of these poor people. Enter Mrs. Puffy with a pie, jolloived by Dan with a roast chicken and Puffy, loaded with plates and various articles of dinner service. Mrs. P. Here it is. Lucy. Stay we must lay more covers; help me, Paul. Liv. Let me assist you. [They join another table to the first. Mrs. F. Mr. and Mrs. Puffy and Dan dine with us. Paul. Bravo! [Dan begins dancing about. Liv. Hail Columbia! Lucy. Why, Dan what's the matter? Dan. Oh, nothing, miss. Lucy. How red your face is! Dan. Don't mind, miss. Mrs. P. Oh Lord! I forgot that dish; it has been in the oven for an hour. Dan. It aint at all hot. [Paul touches it and jumps away.] It's got to burn into the bone afore George Washington No. 4 gives in. [Lays down the plate they all sit. I have not felt so happy Puffy. Now, this is agreeable — — — since I started my forty horse — power oven.
  • 30. I THE POOR OF NEW YORK 25 is magnificent. [Mrs. i^uffy rises. Mrs. P. Oh, sir, you make me feel good. Dan. [Holding the table.] Mother can't express her Liv. This pie feelings without upsetting the table. Enter two Sheriff's Officers. Paul. What persons are these? Puffy. What do you want? First Sheriff's Officer. I am the Deputy Sheriff come at the suit of Gideon Bloodgood, against Susan — — Fairweather and Jonas Puffy amoimt of debt and costs, one hundred and fifty dollars. Paul. My mother! Oh, Mrs. FairPuffy. He said he would see about it weather I hope you will forgive me I couldn't help it. Deputy Sheriff. I do not want to distress you; Mr. Livingstone will perhaps pay the debt or give me his — — — — check. Paul. Livingstone! Liv. [After a pause.] I cannot help you. Yes, I will rather appear what I am, a ruined man, than seem a — contemptible one have been so but — I am I never penniless, broken felt my poverty '-^Tableau. END OF ACT H — weeks now. for till I
  • 31. — — ACT A Room SCENE. III. in the house of Gideon Bloodgood, the furniture and ornaments are in a style of exaggerated richness, white satin and gold. Bloodgood is discovered writing at a table on one side, Alida seated reading a newspaper on the other. What Blood. are you reading? The New York Herald. Blood. You seem interested in Alida. it? Alida. Very. Shall I read aloud? [Goes on writing. Blood. Do. [Reads.] "Wall street is a perch, on which a row of human vultures sit, whetting their beaks, ready to fight over the carcass of a dying enterprise. Amongst these birds of prey, the most vulturous is perhaps Gid Bloodgood. This popular financier made his fortune in the lottery business. He then dabbled a little in the slave last week by a trade, as the Paraquita case proved, speculation in flour he made fifty thousand dollars, this operation raised the price of bread four cents a loaf, and now there are a thousand people starving in the hovels of New York we nominate Gid for Congress, expenses send round the hat." to be paid by the admiring crowd Alida. — — — Father! [Rises.] Are you not rich? Blood. Why do you ask? Alida. Because people say that riches are worshipped in New York, that wealth alone graduates society. This is false, for I am young, handsome and your heiress am refused admission into the best families here whose intimacy I have sought. Blood. Refused admission! Is not Fifth Avenue open yet I to you? 26
  • 32. — THE POOR OF NEW YORK Alida. Fifth Avenue! that jest is stale. 27 Fifth Avenue is a shop where the richest fortunes are displayed like the dry goods in Stewart's windows, and like them, too, are changed daily. But why do we not visit those families at whose names all men and all journals bow with respect, the Livingstones, the Astors, Van Renssalaers. Father, these families receive men less rich than you and honor many girls who don't dress as well as I do, nor keep a — carriage. Duke of Calcavella at my feet? The Duke de Calcavella is an adventurer to whom you lend money, who escorts me to my box at the Blood. Is not the Alida. opera that he may get in free. Blood. You minx, you know you love him. f—* Alida. I am not speaking of love but of marriage. Blood. Marriage! Alida. Yes, marriage! This society in New York which has shut its doors against me, it is from amongst these families that I have resolved to choose a husband. Blood. [Rising.] Alida, do you already yearn to leave me? For you alone I have hoarded my wealth men have thought me miserly, when I have had but one treasure in the world and that was you, my only child. To the rest of my fellow creatures I have been cold and calculating, because in you alone was buried all the love my heart could feel my fortune, take it, gratify your caprices take it all, but leave me your affection. Alida. You talk as if I were still a child. Blood. I would to God you were! Oh, Alida, if you knew how fearful a thing it is for a man like me to lose the only thing in the world that ties him to it! Alida. Do you wish me to marry the Duke de Cal- — ' — — cavella? Blood. A roue, a gambler! Heaven forbid! Alida. Besides, they say he has a wife in Italy. I shall forbid him the house. No, you won't. Blood. His reputation will compromise yours. Blood. Alida.
  • 33. THE POOR OF NEW YORK 28 Alida. Judge my nature by your own from anger never from shame. — — I may blush Enter Edwards. Edw. Mr. Mark Livingstone. this is the first time that name has ever been announced in this house. Blood. He comes on business. Tell Mr. Livingstone I cannot see him. Beg him to call at my office to-morrow. Alida. Show him up. Blood. Alida! Alida. [Sharply to Edwards.] Do you hear me? Blood. This is tyranny I I [In a rage to Edwards.] Well, blockhead, why do you stand staring there? Don't you hear the order? Show him up. [Exit Edwards. Alida. Livingstone 1 ——— Alida. Livingstone! Enter Mark Mark. Mr. Bloodgood Livingstone. — Miss Bloodgood — [Bows.] I am most fortunate to find you at home. Alida. I trust that Mrs. Livingstone your mother, and Miss Livingstone your sister, are well? Mark. [Coldly.] I thank you. [Gaily.] Allow me to assure you that you were the belle of the opera last night. Alida. in Yet you did not flatter me with your presence our box. Mark. You noticed my absence! you render me the happiest and proudest member of my club. Alida. By the way, papa, I thought you were going to be a member of the Union. Mark. Ahem! [An awkward silence.] He was blackballed last week. Blood. I think, ness with me. Mr. Livingstone you have some busi-
  • 34. — — I THE POOR OF NEW YORK Alida. Am Mark. Not I in the at all 29 way? —the fact is, Miss Bloodgood —my business can be explained in three words. Blood. Indeed! Mark. I am ruined. Alida. Ruined! Mark. father lived in those days when fancy stocks were unknown, and consequently was in a position to leave me a handsome fortune. I spent it extravagantly foolishly. mother, who loves me "not wisely but too well," heard that my name was pledged for a large amount, Mr. Bloodgood held my paper she sold out all her fortune without my knowledge, and rescued my credit from dishonor. Blood. Allow me to observe, I think she acted honor- My — — My — — ably, but foolishly. Bloodgood.] She shared my father's [Turns to Alida.] finding I was such good pay, your father lent me a further sum of money, with which I speculated in stocks to recover my mother's loss I bulled the market lost borrowed more the crisis came I lost again until I found my- Mark. [Bows to ideas on these matters; well, — — — — — — self ruined. Blood. [Rising.] Mr. Livingstone, I anticipate the obyour present visit you desire some accommodation I regret that it is out of my power to accord it. If you had applied to me a few days earlier I might have been able to but a at the present moment it is quite — ject of — — —— impossible. Mark. — — — Impossible the usual expression [Rising aloud.] I regret exceedingly that I did not fall on that more fortunate moment to which you allude a thousand pardons for my untimely demand Blood. I hope you believe that I am sincere when I say Mark. Oh! I am sure of it. Accept my thanks good morning. Miss Bloodgood. am [Aside.] familiar with it. — —
  • 35. THE POOR OF NEW YORK 30 Blood. [Ringing the bell.] to serious inconvenience. Mark. Oh, no. [Aside.] every difficulty. [Aloud.] you I trust A will not revolver will relieve Good be put me of day, Mr. Bloodgood. [Exit. Blood. I like his impudence! To come to me for assishis tance! Let him seek it of his aristocratic friends club associates who black-balled me last week. Alida. [Who has been seated writing at table.] Father, — come here. Blood. What is it? am writing a letter Blood. To whom? Alida. To Mr. Livingstone. Alida. I Blood. Alida. To which I wish you to sign. Livingstone! Read it. Blood. [Reads.] "My dear sir, give yourself no further anxiety about your debt to me; I will see that your notes and if the loan of ten thousand dollars will are paid serve you, I beg to hold that amount at your service, to be repaid at your convenience. Yours truly: [Throwing down letter.] I will write nothing of the kind. you will write nothing else. Alida. You are mistaken Blood. With what object? Alida. I want to make a purchase. Blood. Of what? a husband who is a gentleman Alida. Of a husband and through whom I can gain that position you cannot with all your wealth obtain you see the thing is cheap [She rings a bell. there's the pen. Blood. Is your mind so set on this ambition? — — — — — — Alida. If it — cost half your fortune. [ Bloodgood signs. Enter Edwards. [To servant.] Deliver this letter immediately. Edw. [Takes the letter and is going out, when he runs
  • 36. — THE POOR OF NEW YORK 31 against Badger, who is coolly entering.] I have told you already that my master is not to be seen. Bad. So you did but you see how mistaken you were. There he — — can see him distinctly. Badger! [To Edwards.] You is Blood. wards. I may go, Ed- — Bad. [To Edwards.] James get out. Blood. What can he want here? Bad. Respected Gideon, excuse my not calling more promptly, but since my return from California, this is my first appearance in fashionable society. Alida. [Proudly.] Who is this fellow? Bad. Ah, Alida, how is the little tootles? You forget me. Alida. How can I recollect every begging impostor who importunes my father. Bad. Charming! The same as ever changed in form but the heart, my dear Gideon, the same ever, is hard and dry as a biscuit. Alida. Father, give this wretch a dollar and let him go. Bad. Hullo! Miss Bloodgood, when I hand round the hat it is time enough to put something in it. Gideon, ring and send that girl of yours to her nurse. — Alida. Is this fellow Blood. Hush! my mad? dear! Alida. Speak out your business my — I am familiar with all father's affairs. Bad. All? I doubt it. Enter Edw.ards, followed by Lucy. Edw. This way. Miss. [To Alida.] Here is your dress maker. Ha! you are the young person morning walking with Mr. Livingstone? Alida. [Eyeing Lucy.] I ^-^ met ""v^ this Ljicy. Yes, Alida. madam. Hum! follow me, and let me <^ " see if you can attend on ladies as diligently as you do on gentlemen. [Exeunt Alida and Lucy.
  • 37. — ! THE POOR OF NEW YORK 32 Blood. [Looking inquiringly at Badger.] So you we here again. I thought you were dead. Bad. No; here I am Hke a bad shilling, come back again. I've been all over the world since we parted twenty years ago. Your 3,000 dollars lasted me for some months in California. Believe me, had I known that instead of absconding, you remained in New York, I would have hastened back again ten years ago, to share your revived fortunes. Blood. I am at a loss to understand your allusions, sir, nor do I know the object of your return to this city. We have plenty of such persons as you in New York. — — . Bad. The merchants of San Francisco did not think so, me home. Blood. What do you mean? Bad. I mean the Vigilance Committee. Blood. And what do you intend to do here? Bad. Reduced in circumstances and without character, the only resource left to me is to start a bank. Blood. Well, Mr. Badger; I cannot see in what way * these things can affect me Bad. Can't you? Ahem! Do you ever read the Sunday ^ for they subscribed to send papers? Blood. Never. Bad. I've got a romance ready for one of them allow me to give you a sketch of it. Blood. Sir Bad. The scene opens in a bank in Nassau street. Twenty years ago a very respectable old sea captain, one winter's night, makes a special deposit of one hundred thousand dollars nobody present but the banker and one clerk. The old captain takes a receipt and goes on his way rejoicing but, lo! and behold you! in half an hour he returns having ascertained a fact or two, he demands his money back but while receiving it he is seized by a fit of apoplexy, and he dies on the spot. End of Chapter One. — — — — —
  • 38. THE POOR OF NEW YORK Blood. Indeed, 33 Mr. Badger, your romance original. quite is — Bad. Ain't it! never heard it before, did you? no! Good! Chapter Two. [Pointedly.] The banker and his clerk carried the body out on the sidewalk, where it was discovered, and the next day the Coroner's Jury returned a verdict accordingly. The clerk receiving 3,000 dollars unknown. The banker reYork, and on the profits of this plunder to be established a colossal fortune. End of Part No. 1 continued in our next. Blood. And what do you suppose such a romance will be worth? Bad. I've come to you to know. Blood. I am no judge of that. Bad. Ain't you? well in Part No. 2, I propose to relate that this history is true in every particular, £ind I shall advertise for the heirs of the dead man. Blood. Ha! you know his name then? Bad. Yes, but I see you don't. I wrote the acknowledgment which you signed you had not even the curiosity then to read the name of your victim. Blood. Really, Mr. Badger, I am at a loss to underhush money mained left for parts New in — — — — Do you mean any way to me? stand you. applies in to insinuate that this romance Bad. It has a distant reference. Blood. Your memory is luxurious perhaps it can furnish some better evidence of this wonderful story than the word of a convict ejected from California as a precaution of public safety. Bad. You are right my word is not worth much. — — Blood. I fear not. Bad. But the receipt, signed by you, is worth a good deal. Blood. [Starting.] Ha! you lie! Bad. Let us proceed with my romance. When the banker and his clerk searched for the receipt, they could not find it a circumstance which only astonished one —
  • 39. — THE POOR OF NEW YORK 34 the of villains —because document and secured it the clerk had picked in his pocket. I don't insinuate that this applies in any way up the mean to to you. Blood. Villain! Bad. Moral As a general no knowing when they never destroy receipts not prove useful. Blood. Were it so, this receipt is of no value in your hands the heirs of the dead man can alone establish a : it is rule, may — claim. — Bad. [Rising.] That's the point calculate the chance my finding them, and let me know what it is worth. Blood. What do you demand? Bad. Five thousand dollars. Blood. Five thousand devils! Bad. You refuse? Blood. I defy you find the heir if you can. of — Enter Edwards. Edw. Mr. Paul Fairweather! Enter Paul. Badger starts, Blood. Your business, sir, then jails with me. laughing in a chair. —but the — your tenant Paul. Oh, pardon me, Mr. Bloodgood have seized the furniture of our landlord — officers of my mother. I come to ask your ruin awaits two poor families. Bad. Oh, Supreme Justice! there is the creditor, and there is the debtor. Paul. mother my sister I plead for them, not for a debt mercy —utter owed by My — — for myself. Blood. I have waited long enough. Bad. [Rising.] So have I. [To Paul.] Have you no friends or relations to help you? Paid. None, sir; my father is dead. [Bloodgood returns Blood. Enough of this. to his table. [Rings the bell.
  • 40. THE POOR OF NEW YORK Bad. Not quite; don't you? man — I feel interested in this 35 young gentle- Blood. Not at all; therefore my servant will show you both out so you may talk this matter over elsewhere. Bad. [To Paul.] Your name is familiar to me was your father in trade? — — Paul. He was a sea captain. Bad. Ah! he died nobly in some storm, — I suppose the ship? Paul. No, sir, he died miserably! ten years ago, his body was found on the sidewalk in Liberty street, where he fell dead by apoplexy. Blood. [Rising.] Ah! last to leave his Enter Edwards. Bad. James, show us out — we'll talk over this matter elsewhere. Blood. No Bad. Ah, you can —you—you that remain. Leave the young man Edwards. was quite [Exit Edwards. us, I told interesting. Alphonse, get out. My Blood. dear Mr. Badger, I think we have a little business to settle together? Bad. Yes, my dear Gideon. [Aside to him.] Stocks have gone up I want fifty thousand dollars for that — receipt. Blood. Fifty thousand! Bad. [Aside.] You see the effect of good news on the market quite astounding; ain't it? Blood. If you will step down to the dining-room, you refresh yourself, while I see will find lunch prepared what can be done for this young man. Bad. [Aside.] What are you up to? You want to fix him to try some game to euchre me. Go it! I've got the take out all the line you receipt; you're on the hook — — — — want. [CaUs.] Ho! without there! Enter Edwards.
  • 41. THE POOR OF NEW YORK 36 Masdmilian, vamosi Show me to the banquetting-hall. [Exit, with Edwards. Blood. Your situation interests me; but surely, at your age you can find employment. — Paul. Alas, in these times, sir, it is — impossible. I would work, yes, at any kind of labor submit to anything, if I could save my mother and my sister from want. Blood. Control your feelings: perhaps I can aid you. Paid. Oh, sir, I little expected to find in you a benefactor. Blood. My correspondents at Rio Janeiro require a book-keeper are you prepared to accept this situation? but there is a condition attached to this employment that may not suit you you must start by the vessel which sails to-morrow. — — Paid. To-morrow! Blood. I will hand you a thousand dollars in advance mother and sister; they of salary, to provide for your had better leave this city until they can follow you. You hesitate. Paid. Oh, Blood. my gratitude that renders me silent. accept? the terms are two thousand dollars sir, 'tis You a year, Paul. [Seizing his hand.] Mr, Bloodgood, the prayers of a family whom you have made happy, will prosper your life. God bless you, sir! I speak not for myself, but for those still more dear to me. Blood. Call again in an hour, when your papers of introduction and the money shall be ready. Paid. Farewell, sir. I can scarcely believe my good fortune. Blood. So, [Exit. now to secure Badger. [Sitting down and He must, at any risk, be prevented from communicating with the mother and daughter until they can be sent into some obscure retreat, I doubt that he is in possession of this receipt, [Rings a bell.] but I will take an assurance about that, [Rings. writing.] Enter Edwards.
  • 42. ! THE POOR OF NEW YORK 37 Take this letter instantly to the office of the Superintendent of Police. [Exit Edwards.] Ha! Badger, when you find the heirs of the estate gone, you will perhaps come down in your terms. You did not remain long enough in California to measure wits with Gideon Bloodgood. [Exit. Enter Lucy. Lucy. do I will me hasten from my this best, miss, to please you. Oh, let house Enter Mark Livingstone. Mark. Lucy! Lucy. Mark! Mark. What brings you here? What Lucy. brings the poor into the saloons of the rich? • Enter Alida, unseen by the others. [Aside.] Alida. Mr. Livingstone here, and with this girl! My Mark. will light I have news, bright news, that your eyes I am once more rich. relate my good fortune, let me hear from dear Lucy, up a smile But before I you the consent Lucy. Mark. you with — in to share it. What do you mean? I mean, dearest one, that all my I love you — I love reckless, foolish, worthless heart. Alida. [Advancing.] Mr. Livingstone, my father is waiting for you in his study. Mark. A thousand pardons. Miss Bloodgood; I was not aware excuse me. [Aside.] I wonder if she overheard me. [To Lucy.] I will see you again this evening. — [Exit. Alida. [To Lucy, who is you. Mr. Livingstone loves overheard you. word with you? do not deny it, I have going.] Stay; one
  • 43. — — — THE POOR OF NEW YORK 38 Lucy. Well, Miss Bloodgood, render you in this matter. Alida. I beg your pardon —he have no account to I is to be my husband, Lucy. Your husband? Alida. my Be quiet and listen. Mr. Livingstone father has come to his aid; but one is ruined word from me, to save him from destruction, will be withdrawn. Lucy. But you will not speak that word? Alida. That depends Lucy. On what? his acceptance of your hand? he does not love you. Alida. That is not the question. Lucy. You have overheard that he loves me. Alida. That is no concern of mine. Lucy. And you will coldly buy this man for a husband, knowing that you condemn him to eternal misery! Alida. You are candid, but not complimentary. Let us hope that in time he will forget you, and learn to endure me. Lucy. Oh, you do not love him. I see, it is his name you require to cover the shame which stains your father's, and which all his wealth cannot conceal. Thank Heaven! his love for me will preserve him from such a cowardly scheme, and the hand, extended Alida. I will make him rich. What would you make him? Lucy. I would make him happy. you give him up? Alida. Will Lucy. Never! Alida. Be it so. Re-enter Mark. — is Mark, Lucy, dear Lucy, do you see that lady? she my guardian angel. To her I owe my good fortune Mr, Bloodgood has told me her own handwriting. Now, all, let and me see, this letter is in confess. Miss Blood-
  • 44. — THE POOR OF NEW YORK 39 good, that had I not been thus rescued from ruin, I had no other resource but a Colt's revolver. Lucy. Mark! Mark. Yes, Lucy I had resolved I could not endure the shame and despair which beset me on all sides. But let us not talk of such madness let us only remember that I owe her my life. Alida. [Aside.] And I intend to claim the debt. Mark. More than my life I owe to her all that happiness which you will bestow upon me. — — — Lucy. Me! me! — Mark! Mark. Impossible! Lucy. I —No, impossible. it is cannot be your wife. Mark. What mean you, Lucy? Lucy. [With a supreme effort.] I Mark. You jest, Lucy yet, no — do not love you. —there are — I tears in your eyes. Lucy. [Looking away.] Did I ever tell you that I loved you? Mark. No, it is true but your manner, your looks, I thought Lucy. You are not angry with me, are you? Mark. I love you too sincerely for that, and believe me I will never intrude again on your family, where my presence now can only produce pain and restraint; may I hope, however, that you will retain enough kindness towards me, as to persuade your mother to accept my friendship? It will soothe the anguish you have innocently inflicted, if your family will permit me to assist them. Have you the generosity to make this atonement? but you owe it to me. [Lucy I know it will pain you all falls, weeping, in a chair.] Pardon me. Miss Bloodgood. Farewell, Lucy. [To Alida.] I take my leave. [Exit. Alida. He has gone— you m.ay dry your eyes. Lucy. Oh! I know what starvation is I have met want face to face, and I have saved him from that ter- — — — rible extremity. Alida. He offered you money; I should prefer that my
  • 45. — THE POOR OF NEW YORK 40 husband should not have pecuniary relations with you so, as you are in want here is at least, not at present some assistance. [Offers her purse to Lucy. Lucy. [Rising.] You insult me. Miss Bloodgood. Alida. How can an offer of money insult anybody? Lucy. You thought I sold my heart no I gave it. Keep your gold, it would soil my poverty; you have made two fellow-beings unhappy for Hfe God forgive you! — — — — — [Exit. Re-enter Bloodgood. Blood. What is the matter, Alida? Re-enter Badger. Bad. Your cook is your wine choice. [He now suppose we do a little perfect, pockets the napkin.] Well, business. Blood. [Rings each other. bell.] It is time we began to understand Enter Edwards. Has that letter been delivered? [Edwards bows, and at a sign from Bloodgood, Bad. Do you exit. wish to enter into particulars in the presence of this charming creature? Blood. Her presence will not affect our business. Re-enter Edwards, and two Police Officers. Bad. Just as you please. to What proposition have you make? Blood. I propose to give you into custody for an tempt to extort money by threats and intimidation. 1st. Pol. You at- are our prisoner. Bad. Arrested! Blood. Let him be searched; on his person will be found a receipt signed by me, which he purloined from my desk yonder.
  • 46. THE POOR OF NEW YORK 41 Bad. Well played, my dear Gideon, but, knowing the character of the society into which I was venturing, I left the dear document safe at home. Good morning, Gid Miss Bloodgood, yours. General Colonel take care — of me. — — [Goes up with Policemen. END OF ACT UI
  • 47. — ACT SCENE Puffy I. Union Square IV —Night. The snow falls. discovered, r. h., with a pan of roasting chestPaul crouches in a corner of the street. nuts. Puffy. Lord! how cold it is. I can't sell my chestnuts. thought if I posted myself just here, so as to catch the grand folks as they go to the opera, they might fancy to take in a pocket-full, to eat during the performance. I Enter Dan, with two trunks on his shoulders, followed by a Gentleman. if Dan. There is the hotel. I'll wait here while you see you can get a room. [Exit Gentleman, into hotel. Puffy. Dan, my boy, what cheer? Dan. This is the fust job I've had to-day. Puffy. I've not taken a cent. Dan. Have you been home to dinner? Puffy. No; I took a chestnut. There wasn't more than enough for the old woman and you, so I dined out. Dan. I wasn't hungry much, so I boried a bit o' 'bacca. Puffy. Then the old woman had all the dinner, that's some comfort one of us had a good meal to-day. Dan. I don't know, father she's just ugly enough to go and put it by for our supper. — — Enter Mrs. Puffy, with a tin can. Puffy. Here she is. Mrs. P. Ain't you a nice pair? For five mortal hours I've been carryin' this dinner up and down Broadway. Dan. I told you so. 42
  • 48. — THE POOR OF NEW YORK 43 Mrs. P. You thought to give old mother the sHp, you undootiful villin but I've found ye both. Come, here's _your suppers I've kept it warm under my cloak. Puffy. Lay the table on the gentleman's trunk. Dan. [Looking into the tin can.] A splendid lump of bread, and a chunk of beef! Puffy. Small feed for three human beings. — — Dan. Here goes. Puffy. Stay, Dan. [Placing his hands over the bread.] God bless us, and pity the Poor of New York. Now, I'll share the food in three. Dan. [Pointing to Paul.] Father, that cuss in the suppose you have the corner there looks kinder bad food in four. Mrs. P. I don't want none. Give him mine I ain't at . ^* — — all cold. Dan. Mother, there's a tear on the end of your nose break it off. Mrs. P. Get out. Dan. [Takes a piece 0} bread, and goes to Paul.] Hello, stranger! He's asleep. Mrs. P. Then don't wake him. Leave the bread in his lap. [Dan places the bread, softly, beside Paul, and rejoins the party they eat. let me — Enter a Gentleman, followed by Badger. Bad. [Very ragged, with some opera books in one hand, and boxes of matches in the other.] Book of the they will charge you double opera, sir? take a book, sir inside. Well, buy a box of lucifers a hundred for three cents. [Dodging in front of him, to prevent him passing.] — — — — Genuine Pollak's try one. [Exit Gentleman Badger changes his tone, and calls after him.] If you're short of cash, I'll lend you a shilling. He wants all he has got to pay his omnibus. Jerusha! ain't it cold! Tum-iddy-tumiddy-tum. [Performs a short dance, while he hums a banjo melody.] I could play the banjo on my stomach, while all my shivering anatomy would supply the bones. i
  • 49. — THE POOR OF NEW YORK 44 Enter Mrs. Fairweather. Mrs. F. I cannot return to our miserable home without food for my children. Each morning, we separate in search of work, in search of food, only to meet again at night their poor faces thin with hunger. [She clasps ker hands in anguish.] Ahl what's here? yes, this remains — it is goldl Bad. [Overhearing her opera, word.] Gold! last Book of the ma'am? Mrs. F. Tell me, friend, where can I buy a loaf of bread at this hour? Bad. There's a saloon open in the 4th avenue. [Aside.] — Gold she said gold. Mrs. F. Will they accept some food? [Shows a ring to Badger. Bad. [Eagerly.] Let me see it. [Looks round. Mrs. F. It is my wedding ring. [Badger examines it by the light of the Druggist's window. Bad. [Aside.] I can easily make off with it. [Rubs his nose with the ring while he considers. Mrs. F. My children are starving I must part with it to buy them bread. Bad. [Whistles hesitates and returns the ring.] Go along, go, buy your children food, start, and don't show that ring to anybody else. You deserve to lose it for showing it to such a blackguard as I am. [Exit Mrs. Fairweather. this pledge for — — — Enter Bloodgood. Blood. What's the time? The opera must be nearly over. [Looks at his watch by the light of the Druggist's window. Bad. Book of the opera, sir only authorized edition. [Recognizing him.] Bloodgood! Blood. Badger! —
  • 50. — — THE POOR OF NEW YORK [Tkey advance. Bloodgood puts his hand 45 into the breast of his coat. — Bad. Ah, my dear Gideon [Suddenly.] Take your hand out of your breast come! none of that I've a knife up my sleeve that would rip you up like a dried codfish before you could cock that revolver you have — — there so handy. Blood. [Withdrawing his hand.] Bad. Oh, no! am You are mistaken. have not been ten years in California for nothing you were just thinking that you could blow out my brains, and swear that I was trying I not. I — to garrote you. What do you want? want your life but legally. A week ago, I came out of prison you had removed the Fairweather family I could not find a trace of them but I found the receipt where I had concealed it. To-morrow I shall place it in the hands of the District Attorney with my confession of our murder of the Sea Captain. Blood. Murder Bad. Only think what a fine wood cut for the Police Gazette we shall make, carrying out the dead body beBlood. Bad. — — tween us. Blood. in — I Demon! Bad. There the Herald Blood. be a correct plan of your back office Bloodgood Tragedy. to my house to-morrow, and bring that will —headed—the Come document with you. Bad. No, sir ee! once caught twice shy. You owe me a call. Come to my house, to-night and alone. Blood. Where do you live? Bad. Nineteen and a half Cross street, Five Points fifth floor, back my name is on the door in chalk. — — — Blood. In an hour I will be there. Bad. In an hour. Don't forget to present my compliments to your charming daughter sweet creature! the image of her father how I should like to write something [Exit Bloodgood. in her album. — —
  • 51. — THE POOR OF NEW YORK 46 Enter two Gentlemen from Hotel [Cries.] Here's lucifers —they talk. —three cents a hundred. [Gentlemen shake hands and separate. [Following one off.] Here's this miscellaneous stock of lumber, just imported from Germany, to be sold out an alarming sacrifice, in consequence of the present state of the money market. [Exit importun'mg the gentleman, who tries to escape. Puffy. Come, mother, we must get home Mrs. P. Dan, have you seen nothing of poor Mrs. Fairweather and her children? Dan. No, mother I can't find out where they have gone to I guess they've quit New York. Mrs. P. God help them wherever they are! Puffy. Come, mother. [Music Puffy and Mrs. P. go out Dan goes up and speaks with gentleman. — — — — — — Enter Lucy. the place. The sisters of charity in me that I might find work at this address. [Reads paper.] 14th street. Oh, Heaven! be [Exit. merciful to me, this is my last hope. Lucy. This Houston is street told Paul rises and comes forward. My Paul. limbs are powerless. How long have I slept another long day has passed I have crept there? round the hotels the wharves I have begged for work but they laughed at my poor thin form the remnant and I was thrust of better days hung in tatters about me — — — — — — — from the door, by stronger wretches than I. To-day — I applied to get employment as a waiter in a hotel but no, I looked too miserable. Oh, my mother! my poor mother! my dear sister! were it not for you, I would lie down here and die where I was born, in the streets of New York.
  • 52. — — — THE POOR OF NEW YORK 47 — Dan. All right, sir to the Brevoort House. Here, lazy cuss, shoulder this trunk, and earn a quarter you Enter a Porter. Paul. Yes —oh, gladly! — [Paul and the Lave yer hoult you dandy Porter. It's myself will do that same. Porter seize the trunk.] — chap wid the black coat. Paul. He called to me. — that ud be takin' the Porter. Is it the likes of you bread out of the mouths of honest folks.-. Paul. God help me! I have not tasted bread for two days. C, The Lord save us! why take the trunk and welkim. [Paul didn't ye say so? trying to lift it.] [Exit Dan. [Exit Gentleman. Gent. Come along, quick! I can't Paul. [Unable to lift it, staggers back.] I I am too weak from hunger. Porter. Look at this, my jewel. [Tossing the trunk on all right, yer honor! his shoulder.] That's the way of id —— — [Exit Porter. Paul. [Falling against the lamp-post in despair, on his you who have refused to me the force knees.] Oh, God! to earn my bread, give me the resignation to bear your — will. Re-enter Lucy. — Lucy. The lady was from home they told me to call I would oh, could I see some kindly face next week I would ask alms. beg, yes — — Enter a Gentleman. Sir— pardon me Gent. Eh? —would you — i, . ' >'•" ' ' Porter. , ^ •--;> r^
  • 53. — — ! — THE POOR OF NEW YORK 48 —— —the—Bowery— — —you I Lucy. [Stammering.] I I Gent. What do you want? Lucy. [Faintly.] The if if please Gent. Just turn to the right, and keep straight on. Lucy. Oh coward! coward! — [Exit. I have not the courage to ' beg., Enter Mrs. Fairweather. Mrs. F. They refused to take my ring— they said I had it They drove me from the house. To what have come! to beg in the streets yes, for them, for my stolen I — — — children Paul. [Rising.] Let — me return to our home perhaps mother, or Lucy may have found work. Mrs. F. Sir! sir! In the name of your mother help my poor children. Lucy. [Covering her face with one hand, and holding out the other.] For pity's sake give me the price of — — — Paul. Mother!! Lucy. Brother! j My > Together. Mrs. F. My Son! j Paul. Oh, mother! my own Lucy! my heart is broken! [They embrace.] Have you concealed from me the extent of your misery? Mrs. F. My son! my poor children! I cannot see you die of hunger and cold! and I will bring you Paul. Take Lucy home, mother — food. Mrs. F. Paul, promise to a dishonorable act. me that nothing will tempt you - Paul. Do not fear, mother; the wretched have always one resource they can die! Do not weep, Lucy in an hour I will be with you. [Exeunt Lucy and IVIrs. F. I will go and await the crowd as they leave the Academy of Music amongst them Heaven will inspire some [Exit. Christian heart to aid me. — — —
  • 54. — — THE POOR OF NEW YORK 49 — SCENE The II. vestibule of the Academy of Music. Enter Alida and Livingstone. Music within. How strange that my father has not returned. to look for the carriage. Alida. I will remain here. [Exit Livingstone. At last I have won the husband I desire. He is entangled in my father's debt: in one month hence I shall be Livingstone's wife. Our box is now crowded with the first people in New York. The dear Duke still makes love to me to which Livingstone appears indifferent so much the better once Mrs. Livingstone he may do as he likes Alida. Mark. Allow me — — and — — so will I. Enter Paul, Paul. Ah! 'tis she —Alida Bloodgood. wonder they permit such vagabonds Alida. I to hang about the opera. Re-enter Livingstone. Mark. The carriage is ready — [Recognizing Paul.] Paul. Paul. Livingstone! Mark. Great heaven! In what a condition do you. Paid. We are poor I find —we are starving. Alida. Give the fellow a dollar, and send him away. Mark. dear Alida, you do not know this is a — My school-fellow Alida. ah! I I — an old friend know that you are keeping me Duke of Calcavella on the see the in the cold steps yonder, smoking a cigar. He will see me home, don't let me take [Exit. you from your old friend. Mark. [.Aside.] Cold heartless girl! [Aloud.] Come, Paul, come quickly, bring me to where I shall find your —
  • 55. — THE POOR OF NEW YORK SO mother money, —your meet — you sister I will stay, let me first go home, and get where do you at your lodgings — live? — Paul. Number nineteen and a half Cross street Five Points I will wait for you at the door. Mark. In less than an hour I shall be there. [Exeunt. — SCENE.—iVo. 19y2 Cross street—Five Points. Two ad^. joining attic rooms. That of Badger, l. h. That of the Fairweather family r. h. Music. Lucy is seated c. and Mrs. Fairweather kneels r. Lucy. Surely an hour has passed and Paul has not returned. Mrs. F. Oh, merciful father! protect my poor children. Enter Badger in his attic r. h. with his box of matches. scrapes several which do not light. Mrs. F. rises and goes to window. He x^ Bad. One hundred matches like that for one cent. [Lighting one.] Oh, lucky chance! Here's one that con[Lights a candle in a bottle. descends. Mrs. F. Day after day goes by no hope the future worse than the present dark dark. Oh! this load of wretchedness is too much to bear. Lucy. The candle is going out. Mrs. F. So much the better, I shall not be able to see your tears. [Lucy rests her face on her hands. Bad. [Taking a bottle from his pocket.] There's the concentrated essence of comfort the poor man's plaster for the inside. Lucy [Aside.] Is there no way to end this misery? None but death! Bad. [Taking from pocket a slice of bread and meat wrapped in a bit of newspaper.] Here's my supper. [Addressing an imaginary servant.] James, lay the table — J.V J — — — —
  • 56. THE POOR OF NEW YORK —"Yes 51 — [Places the newssa" spread the table cloth. paper over the table.] It's cold here, there's a draught in James, champagne. Thank you, this room, somewhere. [Drinks and eats. James. Mrs. F. [Aside, coming down r.] If Paul had only Lucy to support, they might live why should I prolong my life only to hasten theirs? [Examining the wall.] Bad. The draught comes from I must see my yes there are great chinks in the wall landlord and solicit repairs. A new family moved into the next room, yesterday; I wonder who they are? Lucy. The wretched always have one resource they can die! Bad. [At his table eating he has taken the blanket from his bed and wrapped it about his shoulders.] Now let us do a little business. James, turn up the gas. Yes [He snuffs the candle with his fingers.] Thank sa! you. Ahem! James, Bloodgood is coming for the receipt — — — — — — — — bequeathed set upon Lucy. mouth it, to me by the old sailor. What price shall we James? [Aside.] less to feed When —Paul I am will gone, there will be one have but one care to pro- vide for. Mrs. F. [Aside.] In this room, we had some charcoal is enough left to bestow on me an easy death. [Mrs. Fairweather exits by door r. h. Bad. I think $50,000 would be the figure—Oh, what a prospect opens before me 50,000 dollars I should resume specie payments. Lucy. [Looks into r. h. room.] What is mother doing? ah, she is lighting the pan of charcoal on which we pre- —there — — pare our food to leave me —ah! — the thought! —could induce Hem. —The deadly fumes of that I alone. her fuel bestow on me an easy death. Mrs. F. [Re-enters.] It is there now, now, while I have the courage of despair. Bad. 50,000 dollars! I'll have a pair of fast trotters, will —
  • 57. — — — THE POOR OF NEW YORK 52 and dine at Delmonico's. James, more champagne. [Takes a drink from bottle.] Thank you Lticy and Mrs. F. [Together.] Mother Lucy. Lucy. Dear mother I have just thought of a friend a a fellow work girl, from whom I may get assis- — — —— tance — — Mrs. F. Go, then, my child yes go at once. Lucy. I fear to go alone. Come with me, you can wait at the corner of the street until I come out. Mrs. F. [Putting on her bonnet. Aside.] When she is out of sight, I can return and accomplish my purpose. Lucy. [Casting a cloak over her head. Aside.] I will come back by another way. Mrs. F. Come, Lucy. Lucy. I am ready, mother. [Aside.] She does not think that we are about to part forever. Mrs. F. [Aside.] My poor child! Lucy. Kiss me mother, for my heart is cold. [They embrace. Bad. [Cogitating.] 50,000 dollars! I'll have a box at Grace church and a pew at the opera. [Exeunt. Lucy. Mother, I am ready, Bad. [Finding his bottle empty.] What's the news? Let us consult my table cloth. What journal have we — here? [Reads.] "Chevalier Greely has got a the Herald— What's here?— [Reads.] It's — villainy ^you lie, and you know it." No! it's new hat." "You liethe Tribime. Enter Bloodgood. Blood. Ah, Mr. Badger. Bad. Please to wipe your my carpet is new. the sofa. Blood. Come, you I sir, feet, before you come in glad to see you. Take a seat upon [Pointing to bed. to business. You have the receipt with am suppose? Bad. You know I've got come. I it, or you would not have
  • 58. — THE POOR OF NEW YORK S3 Blood. How much do you want for it? Bad. Stay a moment. Let us see. You have had for twenty years in your possession, the sum of $100,000, the profits of one robbery well, at eight per cent, this sum would now be doubled. Blood. Let me see the document, and them we can — estimate its value. Bad. [Draiving receipt front pocket.] Here it is. Blood. [Springing towards him.] Let me have it. Bad. Hands off! Blood. [Drawing pistol.] That paper, give it me, or I'll blow your brains out! Bad. [Edging slowly towards the bed.] Ah! that's your calculation. Now you are in my power. an old dodge, but ineffective. Come, no violence I'll give you the paper. Blood. A bullet is good argument. Bad. [Drawing from beneath his pillow two enorBlood. Bad. — It's pistols.] A brace of bullets are better still! Blood. Damnation! Bad. Derringer's self-cocking. Drop your hand, or I'll blow you into pi. So, you took me for a fool: that's where you made a mistake. I took you for a thorough rascal, that's where I did not make a mistake. Now, to mous — — business. Blood. [Surlily.] How much do you want? Bad. Fifty thousand dollars! Blood. Be it so. Bad. In gold, or Chemicals. Blood. Very well. To-morrow Bad. No to-night. — Blood. To-night! Bad. Yes; I wish to purchase a brown stone house on ihe avenue early in the morning. Blood. Come with me to my house in Madison square. Bad. No, thank you. I'll expect you here in an houf with the money.
  • 59. —a THE POOR OF NEW YORK 54 — Blood. [Aside.] He has me in his power I must )deld. [Aloud.] I will return, then, in an hour. Bad. Let me light you out. Mind the bannister don't break your precious neck, at least, not to-night. No, go in front, will you? I prefer it. Blood. What for? Bad. [With pistol and candle.] A fancy of mine want of confidence. A want of confidence, in fact, pervades the community. [Exeunt. — — Re-enter Lucy. I took a cross street, and ran rapidly home. Now alone; the fumes of the charcoal will soon fill this Lucy. I am They say small room. hesitate more — let tears, me it is — an easy death but let me not where there are no sleep the long sleep no more suffering. [Exit into closet, e. h. Re-enter Badger. Bad. So! that is settled. I hope he will be cautious and escape the garroters. James, my chibouque. [Takes Re-enter Mrs, Fairweather, Mrs. F. Poor Lucy! as we parted forever. r. his pipe. h. I dared not look back upon her, Despair hastened my steps. My poor children! I have given you all I had, and now I hope my wretched life will serve you in your terrible need. Come, courage; let me prevent the fresh air from entering. [Takes bits of linen and stops window and door. Bad. [Snuffing.] I smell charcoal burning charcoal where can it come from? Mrs. F. Now let me stop the door. Bad. [Smoking.] It's very odd; I've a queer feeling in my head; let me lie down awhile. [Lies on his bed. —
  • 60. — — THE POOR OF NEW YORK Enter Lucy, 5S ivith a brazier of charcoal, alight. Mrs. F. That's done. [Going towards closet, and meeting Lucy.] Now the hour has come. Lucy. The moment has arrived. [Sets Mrs. F. Lucy! Lucy. Mother! Mrs. F. My child, what is this? down the brazier. For what purpose are you here? Lucy. And you, mother, why have you fastened those apertures so closely? Like me, you wished to die! Mrs. F. No, no, you shall not die! my darling child you are young life is before you hope happiness. Lucy. The future! what is it? The man I love will soon wed another. I have no future, and the present is a — — — torture. Mrs. F. Hush, my child, hush! Lucy. Is it not better to die thus, than by either grief or hunger? Mrs. F. [Falling in a chair.] Already my senses fail me. Lucy my child, live, live! Lucy. [Falls at her feet.] No; let us die together thus, mother as often I knelt to you as a child, let me pray for those we love. Mrs. F. Oh, merciful Judge in heaven, forgive us forgive my child and let your anger fall on me — — — alone Lucy. God Mark, may bless my dear brother hap— —you be—[Murmurs the — —and you my dear rest of the prayer. very cold! I feel quite sleepy. I must not go to sleep. [Sings in a low voice.] "Oh, down in ole Virginny." Paul. [Without knocking.] Mother, open the door, why is the door locked? Mother, mother! Open, mother, open! [Knocks violently. Mrs. F., arising, tries to reach the door, but cannot, and falls. Paul bursts open the Bad. It's
  • 61. — — THE POOR OF NEW YORK 56 — door and enters with Livingstone; they start back Livingstone breaks the window, and Paul runs to his mother.] Too late! too late! They have committed suicide! Mark. They the live still. Quick, bear them outside into air. [Carries Lucy out while Paul assists his mother into the next room. Bad. How hot — cannot could drink a dozen such bottles. Let me try my legs a bitWhere's the door? I can't see it my head spins round come, Badger, no nonsense now, God! I'm suffocating! Am I going to die, to die! like that old sea captain? [Tears off his cravat.] Justice of Heaven! I am strangling. Help! help! Bloodgood will return and find me helpless, then he will rob me of the receipt, as I robbed the old sailor I know him of old he is capable of it, but he shall not have it! There, in its nook, if I have strength to reach it safe. [Drags himself it is safe along the floor, lifts up a loose board, puts the receipt beneath it and falls exhausted.] There! Paid. [Entering r. h. room.] I heard smothered cries for help they came from this floor. [Exit. [Starting up.] breathe. Have I it is here drunk too much? Nonsense! I I — — — — — — Enter Bloodgood, l. h. room. Blood. Here I am. Badger. [Starts back, suffocated.] a suffocating atmosphere! where is he? ha! is he What intoxicated? Paul. [Entering l. h. room.] Perhaps the cry came from here, dead? Blood. Paul Fairweather! Paul. Gideon Bloodgood! Bad. [Raising his head.] What names were those? Both of them! Together here! [To Paul.] Listen while I yet have breath to speak -listen! Twenty years ago, that man robbed your father of $100,000! —
  • 62. THE POOR OF NEW YORK 57 Paul. Robbed! Blood. Scoundrel! Bad. I've got the proofs. Paul. Bad. The I proofs? have 'em safe back-wards, aghast. insensible; —Paul —th —ah [Falls Bloodgood stand you'll find 'em END OF ACT atid IV
  • 63. — — ACT V SCENE I. Brooklyn Heights, overlooking the city of New York and its harbors. The stage is occupied by a neat garden, on a natural terrace of the heights—on a table, with the L. H., a frame cottage, prettily built breakfast laid, l. h., at which Mrs. Fairweather and Paul are seated. — Enter Mrs. Puffy, from the cottage, with a teapot. Mrs. P. There's the who would think that tea. Bless we were me, how hot in the month it is to-day! of February? [Sits. Mrs. F. Your husband Paul. Here he comes. is late to breakfast. Enter Puffy, gaily. How is everybody? and above everybody, how [Sits at table. Miss Lucy this morning? Mrs. F. Poor child! her recovery is slow the fever has abated but she is still very weak. for a whole month she hovered Paul. Her life is saved Puffy. is — — over the grave. PuQy. But how is it we never see Mr. Livingstone? our benefactor is like Santa Glaus he showers benefits and blessings on us all, yet never shows us his face. Mrs. F. He brought us back to this, our old home he obtained employment for Paul in the Navy Yard. Pu§y. He set me up again in my patent oven, and got me a government contract for Navy biscuit. Mrs. P. He is made of the finest flour that heaven ever put into human baking; he'll die of over-bigness of the — heart. 58
  • 64. — THE POOR OF NEW YORK 59 Mrs. F. That's a disease hereditary in your family. Paid. [Rising.] I will tell you why Livingstone avoids our gratitude. Because my sister Lucy refused his love — because he has sold his hand to Alida Bloodgood and he has given us the purchase money. Puffy. And amongst those who have served us, don't let us forget poor Badger. Enter Badger, behind. Bad. They are talking of me. Mrs. F. [Rising.] Forget him forget the man who watched Lucy during her illness, with more than the tenderness of a brother! A woman never can forget any one who has been kind to her children. Mrs. P. Them's my sentiments to a hair. Bad. You shan't have cause to change them. Paul. Badger! Bad. Congratulate me. I have been appointed to the police. The commissioners wanted a special service to lay on to Wall street. Roguery, it seems has concentrated there, and we want to catch a big offender. Mrs. P. They all go to Europe. I That accounts for the drain of specie. [Mr. and Mrs. P. take off the breakfast table. Mrs. F. I will tell Lucy that her nurse has come. Puffy. [Exit into cottage. Paul. Now, Badger, Bad. Bad, sir. the news. To-night Mr. Livingstone is to be mar- ried to Alida Bloodgood. What I dare not accuse Bloodgood you can produce the proofs and perhaps the wretch has discovered and destroyed them. Bad. I think not. "VV^en I recovered from the effects of the charcoal, the day after my suffocation, I started for my lodging I found the house shut up, guarded by a servant of Bloodgood 's the banker had bought the place. But I had concealed the document too cunningly; he has Patd. shall I do? of this robbery, unless — not found it. — —
  • 65. —— — — — THE POOR OF NEW YORK 60 But knowing this man to be a felon, whom we be able at any hour to unmask, can we allow Livingstone to marry his daughter? Paul. may Enter Livingstone. Liv. Paul, I have Lucy come to bid you farewell, and to see for the last time Enter Lucy. Lucy. For the last time, why — so [Paul and Badger run to assist her forward. Liv. Lucy, dear Lucy. — Bad. Now take care sit down Lucy. Ah, my good kind nurse. [She ways by my side. Bad. Always ready with a dose I —well now this noble — You are al- of nasty medicine, ain't ready I've got another dose kind heart, Lucy; sits.] —do you see looks through two honest well tell me what you see it blue eyes into your face there Lucy. Why do you ask me? [Troubled. Bad. Don't turn your eyes away the time has come when deception is a crime, Lucy look in his face, and confess the infernal scheme by which Alida Bloodgood — — compelled you to renounce your love. Liv. Alida! Lucy. Has she betrayed me Bad. No! you betrayed yourself one night in the ravings of your fever, when I held your hands in the paroxysm of your frenzy, I heard the cries that came from your poor wounded heart; shall I repeat the scene? Lucy. [Hiding for face in her hands.] No, no. Liv. Paul, is this true? have I been deceived? Paul. You have Lucy confessed to me this infamous bargain, extorted from her by Alida Bloodgood, and to save you from ruin she sacrificed her love — —
  • 66. — — — — THE POOR OF NEW YORK 61 was for your sake accepted this hated union to save you and yours from poverty but whisper one word, tell me that ruin of fortune is better than ruin of the heart. [Lucy falls upon his neck. Bad. Hail Columbia! I know a grand party at Madison Square that will cave in to-night hi! I shall be there to congratulate that sweet girl. Liv. Lucy! dear Lucy, look up. It alone that I — — — — Enter Dan. a Dan. Mother! mother! where's my hat, quick, there's fire in New York. [He runs into the house and re- enters with a telescope; looks off towards the city. Bad. Yes, and there is a fire here too, but one we don't want put out Paul. Now Mark, I can confess to you that documents exist proofs of felony against Bloodgood, which may at any moment consign him to the State Prison and transfer to our family his illgotten wealth. — Liv. Proofs of felony? fire is in Chatham street. Twenty years ago he robbed Dan. The Paul. my 100,000 dollars. Bad. And I was his accomplice in the act; the plunder between us Dan. No it isn't in Chatham street — I see it father of we shared plainly Cross street, Five Points. Bad. [Starting.] Cross street it is in Liv. —where, where But if these proofs —these documents [R7171S Up. exist, where are they? Dan. It is the tenement house two doors from the corner. our old lodging! you ask where They are yonder, in that burning house—^fired by Bloodgood to destroy the papers he could not find curses on him! Bad. Damnation! it is are these proofs, these documents? —
  • 67. — I THE POOR OF NEW YORK 62 Enter Mrs, Puffy, with Dan's hat. Mrs. P. Here's your hat, Dan. Bad. Quick! Dan, my son for our lives! Dan! the fortunes of Lucy and Paul and the old woman are all in that burning house. — [Dan begins to thrust his trousers into his boots. Enter Mrs. Fairweather and Puffy. Count me in to save or perish in the flames. it [They run off l. Tableau SCENE II. Stage dark. The exterior of the tenement house, No. 19^ Cross street, Five Points the shutters of all the windows are closed. A light is seen through the round holes in the shutters of the upper windows presently a flame rises it is extinguished then revives. The light is seen to descend as the bearer of it passes down the staircase, the door opens cautiously Bloodgood, disguised, appears he looks round closes the door again—locks it. — — — — — — — Blood. In a few hours, this accursed house will be in The receipt is concealed there and it will be consumed in the flames. [The glow of fire is seen to spread from room to room.] Now Badger do your worst — — ruins. am — [Exit. safe! [The house is gradually enveloped in fire, a cry outside heard "Fi-er!" "Fi-er/" it is taken up by other other churches voices more distant. The tocsin sounds take up the alarm bells of Engines are heard. Enter a crowd of persons. Enter Badger, without coat or hat he tries the door finds it fast; seizes a bar of iron and dashes in the ground floor window, the interior is seen in flames. Enter Dan. is — — — —
  • 68. — — THE POOR OF NEW YORK 63 Dan. [Seeing Badger climbing into the window.] Stop! stop! [Badger leaps in and disappears. Shouts from the mob; shout, Dan leaps out again black and burned, staggers forward and seems overcome by the heat and smoke. The shutters of the garret fall and discover Badger in the upper floor. Another cry from the crowd, a loud crash is heard, Badger disappears as if falling with the inside of the building. The shutters of the windows fall away, and the inside of the house is seen, gutted by the fire; a cry of horror is uttered by the mob. Badger drags himself from the ruins and falls across the sill of the loiver window. Dan and two of the mob run to help him forward but recoil before the heat; at length they succeed in rescuing his body which lies c. Livingstone, Paul and Puffy rush on. Dan kneels over Badger and extinguishes the fire which clings to parts of his clothes. Dan leaps in— another — SCENE The Drawing-Room in Bloodgood's ManMadison Square illuminated. Music within. III. sion, in — Enter Bloodgood. Blood. The evidence of my power on earth can reveal the crime is destroyed —no past. Enter Alida, dressed as a bride. My from dearest child, to-night you will leave this roof; but this home in your father's heart, none can displace you. Alida. Oh, dear papa, do take care of my flounces you men paw one about as if a dress was put on only to be rumpled. Blood. The rooms below are full of company. Has Livingstone arrived?
  • 69. — THE POOR OF NEW YORK 64 Alida. I did not inquire. picture of misery, while congratulate and — but I my know And do is there, looking the female friends pretend to they are dying with envy these feelings constitute the happiest you no heart? of your life? Alida, have — I have a heart but it is like yours. an iron safe in which are kept the secrets of the past. Alida. Yes, father, It is The duke spite. Blood. day me all Enter Edwards. Edw. The clergjnnan is robed, sir, and ready to perform the ceremony. Blood. Let the bridesmaids attend Miss Bloodgood. The curtains are raised, and the Bridesmaids enter. Bloodgood goes up and off, and immediately returns with the bridal party. Welcome, my kind friends. [Alida speaks aside with the Your presence fills me with pride and joy but where is the bridegroom? has no one seen my son-in-law? Edw. [Announcing.] Mr. Mark Livingstone. — duke.] Enter Livingstone. Blood. Ah! at last. What a strange costume for a bridegroom. Alida. [Turns, and views Livingstone.] Had I not good reasons to be assured of your sincerity, Mr. Livingstone, your appearance would lead me to believe that you looked upon this marriage as a jest, or a masquerade. Liv. As you say, iMiss Bloodgood, it is a masquerade but it is one where more than one mask must fall. Blood. [Aside.] What does he mean? Alida. You speak in a tone of menace. May Blood. Perhaps I had better see Mr. Livingstone alone he may be under some misapprehension. — —