The Project Gutenberg eBook of Under a Veil: A Comedietta in One Act This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: Under a Veil: A Comedietta in One Act Author: Sir Randal H. Roberts George M. Baker Release date: August 10, 2016 [eBook #52764] Language: English Credits: Produced by David Edwards, ellinora and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) *** START OF THE PROJECT GUTENBERG EBOOK UNDER A VEIL: A COMEDIETTA IN ONE ACT *** Produced by David Edwards, ellinora and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) Transcriber Notes Obvious spelling errors corrected, punctuation made consistent. An advertisement in the text uses a Unicode character "White Right Pointing Index" (U+261E) for a right pointing hand. If the font in use on the reader's device does not support it, this character, ☞, may not display correctly. Italic text is represented by underscores surrounding the _italic text_. Bold text is represented by equals signs surrounding the =bold text=. Small capitals have been converted to ALL CAPS. ------------------------------------------------------------------------ No. 2. =Just Published.= The “Popular Edition” of =Baker’s Reading Club= and =Hand Speaker=. Nos. 1, 2, and 3. 50 selections in each. Price 15 cents each. THE GLOBE DRAMA. ALL THE WORLD’S A STAGE UNDER A VEIL. By Sir Randall Roberts, Bart., and George M. Baker. BOSTON: GEORGE M. BAKER & CO., 41-45 Franklin Street. Copyright, 1876, by GEORGE M. BAKER. ------------------------------------------------------------------------ Spencer’s Universal Stage. _A Collection of COMEDIES, DRAMAS, and FARCES, adapted to either Public or Private Performance. Containing a full description of all the necessary Stage Business._ PRICE, 15 CENTS EACH. ☞ No Plays Exchanged. 1. LOST IN LONDON. A Drama in 3 Acts. 6 male, 4 female characters. 2. NICHOLAS FLAM. A Comedy in 2 Acts. By J. B. Buckstone. 5 male, 3 female char. 3. THE WELSH GIRL. A Comedy in 1 Act. By Mrs. Planche. 3 male, 2 female char. 4. JOHN WOPPS. A Farce in 1 Act. By W. E. Suter. 4 male, 2 female char. 5. THE TURKISH BATH. A Farce in 1 Act. By Montague Williams and F. C. Burnand. 6 male, 1 female char. 6. THE TWO PUDDIFOOTS. A Farce in 1 Act. By J. M. Morton. 3 male, 3 female char. 7. OLD HONESTY. A Comic Drama in 2 Acts. By J. M. Morton. 5 male, 2 female char. 8. TWO GENTLEMEN IN A FIX. A Farce in 1 Act. By W. E. Suter. 2 male char. 9. SMASHINGTON GOIT. A Farce in 1 Act. By T. J. Williams. 5 male, 3 female char. 10. TWO HEADS BETTER THAN ONE. A Farce in 1 Act. By Lenox Horne. 4 male, 1 female char. 11. JOHN DOBBS. A Farce in 1 Act. By J. M. Morton. 5 male, 2 female char. 12. THE DAUGHTER of the REGIMENT. A Drama in 2 Acts. By Edward Fitzball, 6 male, 2 female char. 13. AUNT CHARLOTTE’S MAID. A Farce in 1 Act. By J. M. Morton. 3 male, 3 female char. 14. BROTHER BILL AND ME. A Farce in 1 Act. By W. E. Suter. 4 male, 3 female char. 15. DONE ON BOTH SIDES. A Farce in 1 Act. By J. M. Morton. 3 male, 2 female char. 16. DUNDUCKETTY’S PICNIC. A Farce in 1 Act. By T. J. Williams. 6 male, 3 female char. 17. I’VE WRITTEN TO BROWNE. A Farce in 1 Act. By T. J. Williams. 4 male, 3 female char. 19. MY PRECIOUS BETSY. A Farce in 1 Act. By J. M. Morton. 4 male, 4 female char. 20. MY TURN NEXT. A Farce in 1 Act. By T. J. Williams. 4 male, 3 female char. 22. THE PHANTOM BREAKFAST. A Farce in 1 Act. By Chas. Selby. 3 male, 2 female char. 23. DANDELION’S DODGES. A Farce in 1 Act. By T. J. Williams. 4 male, 2 female char. 24. A SLICE OF LUCK. A Farce in 1 Act. By J. M. Morton. 4 male, 2 female char. 25. ALWAYS INTENDED. A Comedy in 1 Act. By Horace Wigan. 3 male, 3 female char. 26. A BULL IN A CHINA SHOP. A Comedy in 2 Acts. By Charles Matthews. 6 male, 4 female char. 27. ANOTHER GLASS. A Drama in 1 Act. By Thomas Morton. 6 male, 3 female char. 28. BOWLED OUT. A Farce in 1 Act. By H. T. Craven. 4 male, 3 female char. 29. COUSIN TOM. A Commedietta in 1 Act. By Geo. Roberts. 3 male, 2 female char. 30. SARAH’S YOUNG MAN. A Farce in 1 Act. By W. E. Suter. 3 male, 3 female char. 31. HIT HIM, HE HAS NO FRIENDS. A Farce in 1 Act. By E. Yates and N. H. Harrington. 7 male, 3 female char. 32. THE CHRISTENING. A Farce in 1 Act. By J. B. Buckstone. 5 male, 6 female char. 33. A RACE FOR A WIDOW. A Farce in 1 Act. By T. J. Williams. 5 male, 4 female char. 34. YOUR LIFE’S IN DANGER. A Farce in 1 Act. By J. M. Morton. 3 male, 3 female char. 35. TRUE UNTO DEATH. A Drama in 2 Acts. By J. Sheridan Knowles. 6 male, 2 female char. 36. DIAMOND CUT DIAMOND. An Interlude in 1 Act. By W. H. Murray. 10 male, 1 female char. 37. LOOK AFTER BROWN. A Farce in 1 Act. By George A. Stuart, M. D. 6 male, 1 female char. 38. MONSEIGNEUR. A Drama in 3 Acts. By Thomas Archer. 15 male, 3 female char. 39. A VERY PLEASANT EVENING. A Farce in 1 Act. By W. E. Suter. 3 male char. 40. BROTHER BEN. A Farce in 1 Act. By J. M. Morton. 3 male, 3 female char. 41. ONLY A CLOD. A Comic Drama in 1 Act. By J. P. Simpson. 4 male, 1 female char. 42. GASPARDO THE GONDOLIER. A Drama in 3 Acts. By George Almar. 10 male, 2 female char. 43. SUNSHINE THROUGH THE CLOUDS. A Drama in 1 Act. By Slingsby Lawrence. 3 male, 3 female char. 44. DON’T JUDGE BY APPEARANCES. A Farce in 1 Act. By J. M. Morton. 3 male, 2 female char. 45. NURSEY CHICKWEED. A Farce in 1 Act. By T. J. Williams. 4 male, 2 female char. 46. MARY MOO; or, Which shall I Marry? A Farce in 1 Act. By W. E. Suter. 2 male, 1 female char. 47. EAST LYNNE. A Drama in 5 Acts. 8 male, 7 female char. 48. THE HIDDEN HAND. A Drama in 5 Acts. By Robert Jones. 16 male, 7 female char. 49. SILVERSTONE’S WAGER. A Commedietta in 1 Act. By R. R. Andrews. 4 male, 3 female char. 50. DORA. A Pastoral Drama in 3 Acts. By Chas. Reade. 5 male, 2 female char. 55. THE WIFE’S SECRET. A Play in 5 Acts. By Geo. W. Lovell. 10 male, 2 female char. 56. THE BABES IN THE WOOD. A Comedy in 3 Acts. By Tom Taylor. 10 male, 3 female char. 57. PUTKINS; Heir to Castles in the Air. A Comic Drama in 1 Act. By W. R. Emerson. 2 male, 2 female char. 58. AN UGLY CUSTOMER. A Farce in 1 Act. By Thomas J. Williams. 3 male, 2 female char. 59. BLUE AND CHERRY. A Comedy in 1 Act. 3 male, 2 female char. 60. A DOUBTFUL VICTORY. A Comedy in 1 Act. 3 male, 2 female char. 61. THE SCARLET LETTER. A Drama in 3 Acts. 8 male, 7 female char. 62. WHICH WILL HAVE HIM? A Vaudeville. 1 male, 2 female char. 63. MADAM IS ABED. A Vaudeville in 1 Act. 2 male, 2 female char. 64. THE ANONYMOUS KISS. A Vaudeville. 2 male, 2 female char. 65. THE CLEFT STICK. A Comedy in 3 Acts. 5 male, 3 female char. 66. A SOLDIER, A SAILOR, A TINKER, AND A TAILOR. A Farce in 1 Act. 4 male, 2 female char. 67. GIVE A DOG A BAD NAME. A Farce. 2 male, 2 female char. 68. DAMON AND PYTHIAS. A Farce. 6 male, 4 female char. 69. A HUSBAND TO ORDER. A Serio-comic Drama in 2 Acts. 5 male, 3 female char. 70. PAYABLE ON DEMAND. A Domestic Drama in 2 Acts. 7 male, 1 female char. _Descriptive Catalogue mailed free on application to_ GEO. M. BAKER & CO., 41-45 Franklin St., Boston. ------------------------------------------------------------------------ UNDER A VEIL. A Comedietta in One Act. BY SIR RANDAL ROBERTS, BART., AND GEORGE M. BAKER. BOSTON: GEORGE M. BAKER AND COMPANY, 41 FRANKLIN STREET. 1877. ------------------------------------------------------------------------ CHARACTERS. CHARLES DEVEREAUX. PRITCHARD. ELIZABETH. WAITER. Costumes modern. COPYRIGHT. BY GEO. M. BAKER. 1877. ------------------------------------------------------------------------ UNDER A VEIL. SCENE I.—_Two rooms right and left, stage divided in the centre; a door of communication between rooms, fastened by a bolt on either side; small tables, sofas, and arm-chairs. Practicable doors_, 1 E. L., 2 E. L., _and_ 2 E. R. _Window at back of_ R. _room. Door at back of_ L. _room_. _Pri._ (_advancing towards table_). Beg pardon, sir. _Cha._ (_lazily_). All right. _Pri._ Beg pardon, sir, exceedingly sorry to disturb you; (_to_ WAITER) he’s asleep. _Cha._ (_snores_). _Pri._ (_loudly_). I’m really very sorry to wake you, sir. _Cha._ (_still lying on sofa_). What! you don’t mean to say it’s twelve. _Pri._ Twelve! ah, to be sure, the hour I was to wake him for the ball. No, sir, it’s only ten o’clock; but (_looking at him_) he’s asleep again—the devil! (_Calling loudly._) I’m really pained to awake you, sir— _Cha._ (_half rising and yawning_). What on earth’s the matter? Oh, it’s you, Mr. Red Lion, is it? [_Sinks back._ _Pri._ Beg pardon, sir, I am not Red Lion: it is my neighbor of the next hotel I suppose you allude to. Here, sir, you are in the first and best hotel in the town,—the White Horse. _Cha._ (_stretching himself on sofa_). All right, with all my heart, then, Mr. White Horse. What is it? _Pri._ Well, sir, the fact is, I’m in a dreadful fix—a most awkward predicament, out of which I cannot extricate myself without your assistance. You see, sir, if you will only pardon it, but my daughter was only married to-day. Yes, sir, married; in fact, sir, she was married to make her happy—you know, sir,—you understand! And, sir, just as we are having a little dance in honor of this marriage, which takes up all our spare accommodation, a lady and her maid arrive, asking for rooms; and, as they require two beds in one room, I dared to hope that perhaps, sir, you would oblige me by changing this room for the next one. You see, sir, that the bedroom belonging to this sitting-room has two beds, whilst in here (_throwing open door in centre partition_) there is only one bed, though in all respects furnished in the same manner. If you, sir, would oblige me by just looking in (_on turning to_ CHARLES, _finds him asleep_)—Confound it, he’s asleep again! (_To audience._) An idea occurs to me; (_turning to_ WAITER) here, George, catch hold of one end of this sofa. (_They take sofa, and carry it into next room with_ CHARLES _asleep on it_.) There, I don’t believe he’ll find it out; here, George, his luggage. (_Brings baggage, but leaves letter._) There, now, that’s all right, and now (_entering next door, and closing with bolt_) I can fetch the ladies up. [_Exit._ _Re-enter_ PRICHARD _ushering in_ LUCY _and_ ELIZABETH. PRICHARD _carrying candle_. CHARLES _asleep in_ R. H. _room_. _Pri._ These are the rooms, madam. This door leads into the bedroom. [_Shows door_ 1 E. L., _and_ ELIZABETH _takes luggage in_. _Luc._ Many thanks. Don’t forget the horses at six o’clock to-morrow morning. _Pri._ To the moment, madam. (_Aside to_ ELIZABETH, _who has re-entered_.) If you can find time, join us downstairs. Don’t forget; I shall expect you. _Eliz._ All right; as soon as missus has done with me. [_Exit_ PRI. _Cha._ (R. H., _waking up_). Hullo! there’s somebody talking in the next room. [_Listens, sitting up._ _Luc._ You seem to know the landlord, Elizabeth? _Eliz._ Oh, yes, ma’am, I’ve known him for some time: his wife was a friend of mine, and his daughter that married to-day is my godchild. _Luc._ Indeed! Then I suppose you’d like to join them downstairs. You can go, and I’ll open my things myself. _Eliz._ Oh, thank you, mum! [_Exit_ L. 2 E. LUCY _unpacking her boxes_, L. H. _Cha._ (_sitting on side of sofa_, R. H.). By Jove! one hears every thing that is going on next door. Seems to be a lady and her maid—not very gentlemanly to listen, Master Charley, but it’s interesting. Ah, well! when I was young this might have led to an adventure. I should never have rested until I had made the acquaintance of my fair neighbor,—for I suppose she is fair,—whilst now there’s not the slightest danger. Confound it! I must see this woman, though. (_Rising, and going towards door._) Hullo! I could have sworn the lock of the door was on the other side just now. That’s deuced funny. (_Looking round the room._) Why, where the mischief am I? and how on earth did I get here? _Luc._ (_looking at her watch_). Half-past ten. _Cha._ Ah! I understand. I thought I had a terrible nightmare. A frightful monster held me by the feet, and another by the head; it appears, however, that these monsters must have been the Red Lion or the White Horse, and my room has been given to this lady, whoever she may be, to suit their convenience. Well, I don’t care very much about seeing her. All women are alike—just as cats are all alike. (_Stoops down to examine the door._) Why, there’s no lock! only a bolt. Well, I can’t help that; let’s see if we can’t get another nap until it’s time to go to the ball. [_Returns to sofa._ _Luc._ (_book in hand, seated on sofa_). This “Voyage round the World” is always a charming book to read. _She puts her book upon the table, and leans her head upon her arm as if to read book; perceives letter._ _Luc._ Why, here’s somebody’s letter! (_Takes it up, coming down front._) Not very ladylike to read it, I suppose; but all women are curious. Seems to be unfinished. Of course it’s very wrong to read this letter (_reads_),— “MY DEAR GEORGE,—As I quite anticipated on my return from home, the Government appointment I expected has been given to another. Pardon me, if on receiving this intelligence, I quitted London without bidding you adieu—and as it seems”— This is really too bad of me,— “that I am too lazy to do any thing, as you all of you always said”— [_Pausing._ What on earth does that mean? I should much like to see the author (_reading again from letter_),— “I intend as soon as I have realized what property I have, to go to Baden, and once more try my luck at the tables. If I win, I shall found a hospital; and if I lose—well, in that case, the only thing I can see for me to do is to join my mother.” [_Finishing reading letter._ That’s all; this gentleman has got no further, or else he has taken away the end of it. [_Commences re-reading in a low tone._ _Cha._ (_rousing himself_). Oh! I can’t lay here any longer. Morpheus won’t come to my aid. What shall I do? Well, I might just as well finish my letter to George. Why! what the deuce have I done with it? (_Searches in his pockets._) Why, it seems to me I left it on the table before I went to sleep. [_He looks upon the table._ _Luc._ (_again reading letter_). “In that case, the only thing I can see for me to do is to join my mother.” _Cha._ (_striking his forehead_). Confound it! I’ve left it in the next room. _Luc._ (_putting down letter, and taking up book_). After all, I’m not George, and I’ve no right to read that letter. _Cha._ But then my letter must be in the power of this woman. It appears to me that I’ve a perfect right to— [_Knocks gently at door._ _Luc._ Good gracious! there’s some one knocking. Who is there? What do you want? _Cha._ A thousand pardons, madam. I am the person who inhabited a few minutes ago the room you now occupy; and by accident in leaving the room I left an unfinished letter. _Luc._ (_aside_). Dear me! This is the young gentleman that’s too lazy for any thing. _Cha._ Would you be kind enough to return me my letter? _Luc._ (_embarrassed_). Sir, I’ll ring in order that your letter may be brought to you. _Cha._ A thousand pardons, madam; but pray don’t trouble to ring. Can’t you slip it under the door? _Luc._ Oh, certainly! There it is. [_Passes letter._ _Cha._ Thanks. (_Aside._) A charming voice,—soft as a bird’s; and, if the plumage only corresponds—(_He goes to examine fastening._) Confound this bolt! Infamous hotel! (_He returns to table, and prepares to write._) By the way, I should like to know if she’s read this (_looking at letter_). Well, there’s a very old method for ascertaining that: ask her. (_Goes to door, and knocks._) Madam, pardon me— _Luc._ What do you want, sir? _Cha._ Madam, my letter was left open on the table; and in taking it up—without, of course, the slightest desire—your eye must naturally have fallen upon it, and— _Luc._ (_aside_). I understand. (_Aloud._) I don’t understand you, sir; and, inasmuch as I’ve done what you desire, I must beg that we have no further conversation, as I shall refuse to answer. _Cha._ Why, may I ask? I was asleep just now, and dreaming charmingly. If you like, I’ll tell you the dream. _Luc._ Certainly not, sir. _Cha._ Very good: it’ll keep for another time; but then, inasmuch as it was you that woke me up, permit me at least to converse with you as a compensation. _Luc._ (_aside_). He is not stupid. _Cha._ I beg pardon: did you speak? _Luc._ (_aside_). What have I to dread? He seems a gentleman. (_Aloud._) Well, sir, proceed, as you consider yourself aggrieved; only remember that I trust to your feelings as a gentleman, and your discretion. _Cha._ Madam, you may depend upon it. (_Wheeling arm-chair to door, and speaking through keyhole._) Are you married? _Luc._ (_affronted and aside_). Upon my word! (_Aloud._) Do you call that discretion, sir? _Cha._ Most certainly; as a subject of conversation I see nothing against it. Society prescribes certain forms of conversation; and, to ascertain what forms to use, one must know whether one is speaking to a widow or a young girl, to an old maid or a married woman. _Luc._ In—I—I am married. _Cha._ (_aside_). So much the worse. I, madam, am a bachelor, and I’m going to Baden. Where may you be going? _Luc._ A long way off, sir. _Cha._ To— _Luc._ To rejoin my husband, naturally. _Cha._ By the way, madam, do you love your husband? _Luc._ Excuse me, sir, but, if you don’t mind, we’ll change the conversation. _Cha._ Whatever pleases you, madam, pleases me. (_Pause._) A charming hotel, madam, is this Golden Lion. So well furnished, so well decorated! My goodness me! it gives me the inclination to set fire to the place. _Luc._ If you’ve any such intentions, sir, pray remember that I’m in the hotel. _Cha._ Very good; only just remember, that, in not setting fire to the hotel, I’m saving your life. (_A pause._) By the way, madam, now I come to think of it, you do not love your husband. _Luc._ Sir! _Cha._ When one is compelled to separate one’s self from a husband that one loves, one is not so light-hearted as you were just now, and— _Luc._ Really, sir! _Cha._ Madam, pardon me, but you do not evidently possess a husband who would make you cry out in the words of Sterne, “Oh, Love, king of gods and men!” Now, if it had been my fate to have crossed your path, I swear that— _Luc._ And I swear to you, sir, that I would never marry a man who was too lazy to do any thing. _Cha._ Madam, you have read my letter. _Luc._ I, sir? oh, dear, no! I can assure you I only looked at it. By the way, would you mind informing me how it is that you came to inhabit this room? _Cha._ Well, the fact is, I went to sleep on the sofa: I’ve some faint recollection of the landlord coming in and asking me something about moving out; but he was so long about it that I fell asleep again, and during that time I fancy he had me quietly carried, sofa and all, into the next room. By the way, I have a charming idea. _Luc._ May I venture to ask it? (_Aside._) I should like to have a look at this man. _Cha._ Madam, in the East, you are aware that a veil is a protecting wall between man and woman. If you would endeavor to put on such a veil, and would do me the honor of granting me an interview,—the landlord can supply us with refreshments,—we can converse more easily than through this partition; in fact, we shall be in the East; and, further, I pledge myself on my honor as a gentleman, that nothing shall in any way cause you to regret our interview. _Luc._ (_aside_). His letter announces that he intends to risk his fortune. What if I could dissuade him? it would at least be the act of a Christian, and—and a woman. _Cha._ What! not a word? must I then beseech you in song?— (_Sings._) Oh! let my voice persuasive Penetrate to your inmost heart; Oh! list to my prayer so plaintive, Through the door that keeps us apart. _Luc._ I consent, but upon one condition; and that is, that you explain to me how it is that a man can be too lazy to do any thing. _Cha._ Very good; at least I will explain to you the meaning of this somewhat bad joke. _Luc._ Sir, upon these conditions in a few moments I shall be prepared to meet you—in China. _Cha._ Madam, in a few minutes I shall have the honor of presenting myself. (_Goes to window, calling._) Mr. Red Lion, or Mr. White Horse! _Luc._ (_aside_). I suppose I’d better alter my dress a little for the occasion. [_Exit_ L. 1 E. _Cha._ (_coming down stage_). He has absolutely condescended to hear me,—this landlord. Upon my word, I’m rather pleased with this little adventure; if I’d gone to the ball, at any rate, I should never have heard so sweet a voice. _Enter_ PRICHARD, _slightly intoxicated._ _Pri._ For nobody else but you, sir, would I have disturbed myself upon the auspicious occasion. To-day! yesterday! did I tell you that my daughter was married? Yes, sir, to make— _Cha._ You couldn’t do better, my dear White Horse, if you intended giving your daughter a husband. Just listen to me for a moment; you will oblige me by going up—yourself, mind—into that lady’s room next door. _Pri._ Marrying one’s daughter, sir, when one is a father, is a grave responsibility; my emotions— _Cha._ Of course you feel as a father; you will be good enough to take up plenty of candles, some flowers— _Pri._ So long as she’s happy, so long as—(CHARLES, _movement of impatience_)—candles, sir, yes, sir, and flowers; yes, sir. _Cha._ Afterwards you will bring up some refreshments; tea, for instance. _Pri._ Tea, sir? _Cha._ Yes; tea, tea, tea. _Pri._ Senna tea? _Cha._ No, confound you, ordinary tea! _Pri._ Ordin— ordmorary— onding (_Charles impatient_)—You’re not ill, I hope, sir? _Cha._ Not in the least, thanks. (_Going, Charles stops him._) Ah, by the way, landlord, that lady in the next room—what sort of a person is she? _Pri._ Char—ming, sir; be-a-u-ti-ful. Oh! she’s much handsomer than her father; but if hereafter he should betray her, if he should— _Cha._ Who the devil are you talking about? _Pri._ My shon-in-law. _Cha._ Confound your son-in-law! _Pri._ Yes, sir, certainly, sir: that’s what I say, and— _Cha._ Be off, and do what I told you. _Pri._ Yes, sir, directly; but you’ll understand that on such an auspicious— _Cha._ There, there—be off; Red Lion—he’s gone. _Pri._ (_turning at door_). White Horse Hotel, sir, please. [_Exit._ _Cha._ (_alone_). I suppose he’ll do what I’ve told him. I ought to change my coat too. Upon my honor (_dressing himself_), I’m delighted with my evening; and somehow or another, oddly enough, I feel quite curious to see this woman; in fact, I begin to be interested. It’s so long since I’ve been in the least interested—yes, it’s six months since any thing of the kind has happened. And my heart is, after all, but human: it detests a void. [_Goes on dressing._ _Enter_ PRICHARD _and_ GEORGE, L. 2 E., _carrying candelabra and vase of flowers_. _Pri._ (_still drunk_). George, your conduct is schandalush: your master’s daughter is married to-day, and you take no more notish of the event than a cow, than a cow or calf; you’ve no heart, George, you’ve no shoul. _George._ But, sir— _Pri._ Hold your tongue; pray for her happiness, and go down and tell her I’m coming. [_Exit_ GEORGE. _Enter_ LUCY 1 E. L., _veil in hand, and long cloak on, hiding figure_. _Luc._ (_perceiving flowers_). Oh, what a charming change! I congratulate you, sir. _Pri._ I’ll tell her, madam, she will be delighted; such a day, you understand, madam. If she’s only happy! May heaven— _Cha._ He’s having a reel in the next room now. _Luc._ Who are you talking about? _Pri._ Eh, my daughter, madam; at this moment she’s so happy—may she be so all her life! and as to your maid, madam, she dances as if my daughter’s happiness depended on her legs, you understand. Madam, of course I mean— _Luc._ Perfectly; be good enough to open that door, and show the gentleman in, who is in there. [_Sits down, and puts on veil._ _Pri._ But, madam— _Luc._ Do what I tell you. _Pri._ (_hesitating, yet opens door of communication, and enters_ CHARLES’S _room_). Sir! _Cha._ All right, I’ve heard; you can announce me. _Pri._ You wrote your name in my book; but you see, sir, my daughter’s— _Cha._ You’ve forgotten it; say Mr. Charleston King. _Pri._ (_re-entering_ L. H.). Mr. Charles, son of a king! _Luc._ Son of a king! _Cha._ (_entering_). Charleston King, at your service, madam. _Pri._ (_aside, going_). A veiled woman in my house on such a day! [_Exit._ _Cha._ (_taking a chair near_ LUCY). It is really too good of you, madam, to receive a man in your rooms who you never saw; and I scarcely know how to thank you. _Luc._ You will thank me, sir, by explaining how it is that one can be— _Cha._ Too lazy for any thing. _Luc._ Precisely. If you will take the chair near you, you can be seated. _Cha._ Well, you see, in this world men have all sorts of faces. (PRICHARD _enters with tea-tray_.) Confound this fellow! Just as I was getting on so nicely! _Pri._ (_putting down tea_). Madam— _Cha._ Talking of faces, let me draw your attention, madam, to this one (_pointing to_ PRI.’S _face_). There is a face that has committed faults—crimes. _Pri._ Crimes! Faults! Me, madam! me, sir! Here is the best tea, which upon this auspicious day— _Cha._ That’ll do. _Pri._ Crimes! Faults! Yes, madam, your maid has charmed us to such an extent with her dancing on this auspicious— _Luc._ (_taking no notice of_ PRI.). Go on talking, sir, whilst I pour out the tea. _Cha._ Well, madam, in consequence of my misfortune my lifetime has indeed been a miserable one,—sorrow upon sorrow, faults accumulating upon faults. _Pri._ (_leaving_). Crimes! Faults, indeed! [_Exit._ _Cha._ My friends always insisted on declaring that I was too lazy to do any thing; and the unlucky star that I was born under, gossiping tongues, and certain circumstances all combined, seemed to favor such a prediction. _Luc._ But, sir, was this merited? (_Making tea._) Will you have a cup of tea, Mr.—Mr.— _Cha._ (_absorbed_). Apollo. _Luc._ Mr. Apollo. _Cha._ Madam! Ah, a thousand pardons. I was absorbed in thinking of my miserable self. _Luc._ (_getting interested_). Have you no relations? _Cha._ I had an uncle, a well-known merchant, but he died two years ago. _Luc._ And didn’t he leave any thing? _Cha._ Oh, dear, yes; he left a very nice fortune. In fact, he adopted this young lady on purpose to do that. _Luc._ Oh, that wasn’t right. _Cha._ I don’t know that it’s wrong; but it is not on account of this that I owe him a grudge. I heard that the only way in which he could discharge an obligation to a friend of his was by adopting this friend’s daughter, who was left an orphan, a very charming person, I heard; at least, so I was told, for I refused to put my foot inside his house. _Luc._ Curious determination! _Cha._ Pardon me: not at all. The fact is, he insulted me,—he made me a present. _Luc._ A present! what could it be? _Cha._ “_A very handsome dressing-case_” (_a waltz is heard playing outside_), with my name engraved upon it, and below my name the following compliment: “Too lazy to do any thing.” I was furious, but I wanted a dressing-case: so, as I wanted a dressing-case, I kept it. I’ll trouble you for another cup of tea, at least if you don’t find me too lazy for that? [_Handing cup._ _Luc._ With pleasure. [_Hands cup._ _Cha._ Thanks; don’t let’s talk of my unfortunate self any more; a little more sugar, please. _Luc._ This country band really plays that waltz charmingly. _Cha._ (_listening and pondering_). Yes, oh, yes; how often have I heard that air, and how happy have I been! _Luc._ That waltz? _Cha._ My mother used to play it to me when _I was a little child_! _Luc._ Have you any control over yourself? _Cha._ Most certainly, a good deal even; ask me to prove it. _Luc._ You would not grant what I ask. _Cha._ I wouldn’t. Ah, madam! you want to send me away. _Luc._ Not at all: only I wished to explain to you, that, never having worn a thick veil in a room, I’m simply stifling. _Cha._ I can quite believe you. Nothing, nothing is so dangerous as a thick veil: you must take it off at once,—you must. _Luc._ If you can sufficiently control yourself to sit in a chair here without turning your head, I will sit behind you, and we can finish our conversation without my being stifled. _Cha._ (_reproachfully_). What, madam! _Luc._ Well, you must choose; for, as I don’t want to die of suffocation, I shall be forced to give you your _congé_. _Cha._ (_taking chair down front of scene, and sitting_). Madam, this is the second time it is my good fortune to save your life to-night, in return for which— _Luc._ (_advancing with a cup of tea in one hand, whilst with the other she keeps him down in the chair_). Then, sir, I am to understand that, notwithstanding all the misfortunes connected with your nickname, you have still hope. _Cha._ Yes,—hope, that poor little creature that nothing can kill. _Luc._ It is, then, this hope that takes you to Baden? _Cha._ Baden is, as far as I’m concerned at this moment, my last hope in this world; then, if my luck is once more against me, if fortune fails to help me, if that poor little creature, hope, succumbs to bad luck, why, then— _Luc._ You’ll go and join your mother. _Cha._ Yes, madam, I shall go. [_Endeavoring to turn round._ _Luc._ If you do that, I shall have to tie you with my handkerchief. Don’t you think now, joking apart, that it would be wiser, without tempting fortune at Baden, to go to your “mother at once”? (_Waltz music again._) She’d play to you again. (_Listening._) Come, do you hear that waltz? and when you hear it once more by her side,—that dear mother,—you’ll be happy, and— _Cha._ Ah! then, in reading my letter, you evidently did not understand, did not comprehend. _Luc._ Comprehend what? _Cha._ The country that my mother is gone to. _Luc._ No. _Cha._ It is the Country of Peace, of Repose,—the only land from which the mother cannot return to console her child. _Luc._ (_making a movement as if to show herself_). Then, sir, am I to understand that if you lost—you would—(_stops, and reseats herself_)—he has no mother! _Cha._ It would not interest you, madam, to learn all these details; but please to remember that you are not my friend George, and that I’ve not absolutely gone on my knees to you to read my letter. _Luc._ (_aside, looking at_ CHARLES). Just imagine if it were him! (_Rising with animation._) Well, sir, I don’t repent of having read your letter: in fact, I congratulate myself on having done so; and I am also glad to see you here, for now I can implore you, beseech you, to renounce such fatal plans; to beg of you with clasped hands to do so, in the name of your mother. _Cha._ Madam! _Luc._ Listen, sir. I cannot explain to you my object in being so curious; but what is your name? _Cha._ Charleston King. _Luc._ Sir! _Cha._ That is my veil. If you want to take it off, remove your own. _Luc._ No, sir: that is impossible; but— _Cha._ In that case, madam, I am Charleston King, too lazy to do any thing, but quite at your service. _Luc._ (_aside_). What shall I do? (_Looking round, sees flowers._) Ah! (_Takes a sprig of May, and comes towards_ CHA.) Sir, we are about to part, probably never to meet again; would it be repugnant to your feelings to accept a souvenir? _Cha._ Pardon, madam, but you don’t propose giving me a dressing-case? _Luc._ Don’t be alarmed. The souvenir I give you, do you promise to keep it? _Cha._ For ever, madam, I swear it. (_Aside._) What can it be? _Luc._ (_kissing sprig, and leaning against back of_ CHA.’S _chair_). Take it. _Cha._ (_looking at it, but not taking it_). A sprig of May! _Luc._ Upon which I have just left a kiss. (CHA. _moves_.) You have sworn never to part with it. Good! Should you persist in your fatal project, at the moment when you are about to commit this frightful act, perhaps my poor little sprig may catch your eye; perhaps it will remind you of the days of your childhood, those happy days that have fled away; those Sundays when your mother’s smile was upon you as you filled your little arms with flowers, and brought your childish offering to her knees. _Cha._ Keep still, my heart! _Luc._ If you should have such thoughts, your courage will be tried; for, in speaking to you of me, my little sprig will also remind you of your mother; and if you should still desire— _Cha._ (_seizing sprig_). No, no! I have no longer any such desire (_seizing her hand, and kissing it, slides upon his knees_). I swear it to you on my knees. But I must see the angel who—(_Lifts his head, when_ LUCY _turns away_). Ah, cruel! This hand at least I hold. [_Covers it with kisses._ _Luc._ Give me my hand, sir, or else— _Cha._ Or else— _Luc._ Tell me your name. _Cha._ Shall I see your face? _Luc._ No, no! I cannot possibly— _Cha._ Madam, I implore you! I beseech you! _Eliz._ (_outside_). It’s me, mam. There’s no key. _Luc._ Elizabeth!—Get up at once, and return to your room, I implore you! _Cha._ Madam, I obey you; but— _Luc._ (_going towards door_). Thanks, sir, and don’t forget my lecture. _Cha._ (_entering his room_). In thinking of you, madam, I shall always remember it. [_Exit._ LUCY _opens door_. _Eliz._ (_entering_ 2 E. L.). Why, the key’s fallen out. (_Aside._) She’s been up to something, I know. [_Replaces it._ _Luc._ (_still upset_). You must be tired, Elizabeth. Go to bed, my good girl, go. [_Reseats herself, and takes up book._ _Eliz._ (_takes off tea things_). I tired! Oh, no, mum! (_Returns._) Surely thirty waltzes or quadrilles wouldn’t tire me much; and there’s only two hours to sleep. It’s not worth while going to bed: so, if you please, mum, I’ll sit up with you. [_Sits on sofa._ _Luc._ It must, then, be that nephew, the son of his sister, of whom Mr. Mortimer always avoided speaking to me. _Cha._ (_in next room, uneasy_). What on earth made her so anxious to know my name? _Luc._ At any rate, I have his promise: that’s some consolation. By the way, Elizabeth, did you know Mr. Mortimer’s nephew? _Eliz._ Well, yes,—little Charley Devereux. Oh, yes! I recollect; and I—I—(_falling asleep and dreaming_) thank you, sir: I don’t dance any more. _Cha._ And to think she’ll leave without my seeing her face! It’s abominable! [_Rises._ _Luc._ (_Looking at_ ELIZABETH). She’s asleep, poor thing! She’ll catch cold. [_Covers her with her cloak._ _Cha._ Ah, this window! Perhaps there’s a veranda. [_Goes to window._ _Luc._ How can I ascertain for certain that he is Mr. Mortimer’s nephew? I must know it somehow. _Cha._ No road here; perhaps by the other staircase. I shall just go in without knocking, as if I had forgotten; that’s it: here goes. [_Exit, slamming door._ _Luc._ That noise was in his room. I think he’s gone out. If I was certain that dressing-case he spoke of would tell me! (_At door._) Sir, Mr. King! No answer. What have I to fear? [_Enters room, closing door._ _Cha._ (_gently opening_ 2 E. L. _door_). Yes, this is the room. (_Looking round._) She sleeps; my handkerchief too. Now, my charming girl, let me see your face. (_Takes candle, starts back._) Confound it! Well, there’s the end of my dream. [_Heaves a sigh, and goes out._ _Eliz._ (_starting up_). There’s somebody in the room. (_Goes to door at back, and looks in._) I knew she was up to something: I’ll find it out, see if I don’t. [_Exit_ 1 L. E. _Luc._ (_searching_). Ah, here it is at last,—Charles Devereux. It’s he, it’s he! (_She returns hastily, and bolts door._) Ah, how my heart beats! what shall I do now? (_Thinking._) The fact is, he’s very nice, notwithstanding his nickname. _Cha._ (_entering, and falling into arm-chair_). Another dream, that takes itself off to the land of dreams. (_Striking table._) No, it’s always the same. If you were to go to a masked ball where there was only one woman—oh, love! oh, frenzy! the mask falls, ugh! no more love, no more frenzy. The woman’s ninety, and ugly as—heaven knows what. _Luc._ He’s come in. (_Calling at door._) Mr. King! _Cha._ And such a voice! _Luc._ Sir. _Cha._ Woke her up, I suppose. Madam— _Luc._ Sir, I should like to have a few words of explanation with you. _Cha._ (_running to fasten door_). Oh, by jingo! _Luc._ He’s locked himself in. (_Aloud._) Pardon me, sir, for troubling you; but—but—if I mistake not, you are Mr. Charles Devereux, the nephew of Mr. Mortimer. _Cha._ I suppose you mean, madam, that that gentleman was my uncle. I don’t dispute the fact. (_Aside._) How the mischief did she find that out? Ah! it’s that confounded landlord told her. _Luc._ Well, sir, I’ve a most important communication to make to you from his adopted child. _Cha._ But I don’t want to hear what she’s got to say, madam. You know her? _Luc._ Yes, sir, I know her; and I also know that she has been seeking you for a long time, in order to give you up a fortune which by right belongs to you. _Cha._ What you propose, madam, is ridiculous. I could never accept a farthing. _Luc._ But suppose in seeing her you happen to like her, and that— _Cha._ I shall never like her. _Luc._ Perhaps you might. If she were like me, for instance? _Cha._ Never, madam. I’m sworn celibacy,—a knight of Malta, in fact. _Luc._ (_aside_). What an extraordinary change! (_Aloud._) Mr. King, I’m in the greatest danger, and you alone can save me. _Cha._ Madam, I’ve saved you twice to-night, and I distinctly refuse to do it any more. _Luc._ (_aside_). He’s absolutely getting impertinent. Sir, I have something to return to you that belongs to you,—a pocket-handkerchief. _Cha._ Thanks: I’ve got it,—one with a monogram. I really believe I must barricade my door. [_Puts furniture against door._ _Luc._ He’s got it! Why, he must have come in here, then; and—and—of course he saw Elizabeth with my cloak round her. I see. Ha, ha, ha! _Cha._ Confound her, she’s laughing! She laughs too as if she was only twenty. _Luc._ So, sir, you refuse to open the door? _Cha._ Quite impossible, madam. I’m gone, I’m a long way off, I’m on my road to Baden. _Luc._ Pleasant journey, sir. (_Aside._) It can’t be helped, I must have recourse to more violent means. [_Exit_ L. D. _Cha._ I verily believe she’s going to burst the door in: I’d better bolt. The devil! this is becoming serious. It almost reminds me of my adventure amongst the savages in Africa, where the daughter of a king, with rings in her nose, took a violent fancy to me. The king favored the marriage, and told me quietly that I had the choice, if I didn’t marry his daughter he’d eat me. I at once answered, “Your Majesty, I prefer to enter your family to your mouth; I’ll marry your daughter to-morrow.” And during the night I escaped to the coast. Let us do the same, and escape to the coast. [_Makes for door._ _Pri._ (_appearing at door drunk_). Miss Lucy Mortimer wishes to have the honor of seeing you, sir. _Cha._ Miss who, did you say? _Pri._ Well, sir, beg pardon, it’s your cousin’s uncle or your uncle’s cousin. _Cha._ Ask the lady to walk in, wretched man. _Pri._ (_announcing_ LUCY, _who is in_ ELIZABETH’S _cloak with a thick veil on_). Miss Lucy Mortimer. _Cha._ (_advancing, confused_). Madam, I thought I— _Luc._ (_speaking to him in a disguised voice, and throwing back veil_). Well, sir, what do you think of me? _Cha._ Ah, madam! Even the most confused man in the world could but confess that you are charming. (_Aside._) If my neighbor were only half as pretty! Charming is not the word; but, excuse me, you come here at five in the morning, and ask me what I think of you. Well, that’s all right, I suppose; but pardon me if I go further, and venture to ask in the most humble manner in the world a little question. _Luc._ (_same voice_). I’m listening. _Cha._ I scarcely know how to put it, but by what curious coincidence do you come to know my name? _Luc._ (_in ordinary voice_). Because, sir, I found out. (_Points to dressing-case._) Because it’s the name of a kind, frank, brave young fellow, whom I really don’t find too lazy for any thing, and whom I’ve also learned to know as too honorable to misinterpret. _Cha._ That voice! impossible. (_Points to_ L. H.) It can’t be you. Who could I have seen there just now? _Luc._ My maid, who was asleep whilst I was here, reading your name. _Cha._ Why, it’s like a dream. But your husband, madam— _Luc._ He too has gone to that land of rest. _Cha._ You are then— _Luc._ Miss Lucy Mortimer, your cousin, who can no longer retain the fortune that so justly belongs to you. _Cha._ (_confused_). But I absolutely refuse to— _Luc._ Ah, if you refuse me, I shall ask you to give me back my sprig of May. _Cha._ (_kneeling_). Never. I will keep it to the last moment of my life, and with it the hand I now hold. [_Sinks on his knee. Door opens._ _Luc._ Get up: here’s some one coming. _Enter_ PRICHARD, R. 2 E. _Pri._ Madam, sir, the postilions are harnessed: I mean the horses. _Cha._ Confound that landlord!—Come here, landlord. (_Takes_ PRI. _up_ C.) Did you ever hear that this hotel of yours was infected with a malady of the most infectious character? _Pri._ Sir, I beg most distinctly to state that— _Cha._ Landlord, you’re very drunk. [_Pushes him through door into next room, where he falls on sofa._ _Luc._ Oh, Charles, dear! I hope we sha’n’t catch it. _Cha._ Don’t be afraid, dear: the malady which I allude to is one from which we are both of us suffering, and it is one that has but one remedy for its cure. (_To audience._) Dear friends, the malady is love: the remedy is marriage. If any of you are suffering from some of the premonitory symptoms of this insidious disease, you will, I feel sure, accord us your utmost sympathy. But if there should be any here who have not yet been attacked, and who wish to avoid contagion, let me strongly recommend them to avoid, upon any pretence whatever, a conversation with a lady which is to be carried on * * * * * UNDER A VEIL. _Curtain._ ------------------------------------------------------------------------ “=Books that our Teachers ought to have on hand to SPICE UP with now and then.=”—ST. LOUIS JOURNAL OF EDUCATION. GEO. M. BAKER’S READING CLUB and HANDY SPEAKER, BEING _Selections in Prose and Poetry_, SERIOUS, HUMOROUS, PATHETIC, PATRIOTIC, and DRAMATIC. FRESH and ATTRACTIVE PIECES for SCHOOL SPEAKERS and READING CIRCLES. In the words of the GOSPEL BANNER,— _‘From grave to gay, from lively to severe,’ In poetry and prose a judicious mixture here; Beside outlandish dialects, full of words odd and queer, Which stir one’s sense of humor as they fall upon the ear, Pleasant to those who read or speak as unto those who hear._ Published in Parts, each Part containing Fifty Selections. Paper Covers, 15 cents each. Printed on Fine Paper, and Handsomely Bound in Cloth, price, 50 cents each. READING CLUB NO. 1. “We have many readers and books that purport to furnish pieces for the use of amateur speakers and juvenile orators. But the great defect in nearly all of them is, that their selections are made from the same series of authors. We are surfeited _ad nauseam_ with ‘The boy stood on the burning deck,’ ‘On Linden, when the sun was low,’ ‘My name is Norval!’ or, ‘My voice is still for war.’ But in this volume, the first of a series, Mr. Baker deviates from the beaten track, and furnishes some fifty selections which have not been published before in any collection of readings. Mr. Baker has himself written many pieces for the amateur stage, and achieved a reputation as a public reader, so that he is eminently qualified by his own experience for the task of teaching others.”—_Phil. Age._ READING CLUB NO. 2. “Mr. Baker deserves the thanks of the reading public for his indefatigable endeavors in the field of light and agreeable literature. The selections are made with good taste, and the book will be of great value for its indicated purpose.”—_New Haven Courier._ “In its adaptation to day schools, seminaries, colleges, and home reading, the work will be found very superior in its variety and adaptability of contents.”—_Dayton (Ohio) Press._ READING CLUB NO. 3. “This is one of those books that our teachers ought to have at hand to _spice up_ with now and then. This is No. 3 of the series, and they are all brim full of short articles, serious, humorous, pathetic, patriotic, and dramatic. Send and get one, and you will be sure to get the rest.”—_St. Louis Journal of Education, Jan. 1876._ “The young elocutionist will find it a convenient pocket companion, and the general reader derive much amusement at odd moments from its perusal.”—_Forest and Stream, N. Y., Jan. 6, 1876._ READING CLUB NO. 4. (_Just Ready._) _Sold by all Booksellers, and sent by mail, postpaid, on receipt of price._ LEE & SHEPARD, Publishers, Boston. ------------------------------------------------------------------------ Dickens’s Dramatic Readings. COMPILED BY HIMSELF. _Comprising the Famous American Readings._ In Neat Paper Covers. Price, 15 cts. Each. NICHOLAS NICKLEBY (at the Yorkshire School). THE STORY OF LITTLE DOMBEY. MR. BOB SAWYER’S PARTY. A CHRISTMAS CAROL. DR. MARIGOLD. BOOTS AT THE HOLLY TREE INN. NICHOLAS NICKLEBY (short reading). BARDELL AND PICKWICK. DAVID COPPERFIELD. MRS. GAMP. This style, for the use of readers and schools, is worthy of examination. Also, in one handsome 12mo volume, illustrated. $1.50. _The Independent Household Dickens._ CHARLES DICKENS’S WORKS. _A new edition in fifteen 12mo vols. Elegantly bound and handsomely illustrated._ Price per Volume, $1.50. DAVID COPPERFIELD. PICKWICK PAPERS. DOMBEY AND SON. OLD CURIOSITY SHOP. OLIVER TWIST. CHRISTMAS STORIES. { EDWIN DROOD. { CHILD’S HIST. OF ENG. TALE OF TWO CITIES. NICHOLAS NICKLEBY. LITTLE DORRITT. BLEAK HOUSE. GREAT EXPECTATIONS. OUR MUTUAL FRIEND. MARTIN CHUZZLEWIT. BARNABY RUDGE. In issuing this new edition, which will be furnished either in sets or separate volumes, the publishers offer the best edition for the price in the market. LEE & SHEPARD, Publishers, 41-45 FRANKLIN ST., BOSTON. ------------------------------------------------------------------------ Plays for Amateur Theatrics BY GEORGE M. BAKER _Author of “Amateur Dramas,” “The Mimic Stage,” “The Social Stage,” “The Drawing-Room Stage,” “Handy Dramas,” “The Exhibition Drama,” “A Baker’s Dozen,” &c._ =Titles in this Type are New Plays.= =_Titles in this Type are Temperance Plays._= DRAMAS. _In Three Acts._ _Cts._ =The Flower of the Family.= 5 male, 3 female char. 15 ENLISTED FOR THE WAR. 7 male, 3 female characters 15 MY BROTHER’S KEEPER. 5 male, 3 female char. 15 =_The Little Brown Jug._= 5 male, 3 female char. 15 _In Two Acts._ =Above the Clouds.= 7 male, 3 female characters 15 =One Hundred Years Ago.= 7 male, 4 female char. 15 AMONG THE BREAKERS. 6 male, 4 female char. 15 BREAD ON THE WATERS. 5 male, 3 female char. 15 DOWN BY THE SEA. 6 male, 3 female char. 15 ONCE ON A TIME. 4 male, 2 female char. 15 =_The Last Loaf._= 5 male, 3 female char. 15 _In One Act._ STAND BY THE FLAG. 5 male char. 15 =_The Tempter._= 3 male, 1 female char. 15 COMEDIES AND FARCES. =A Mysterious Disappearance.= 4 male, 3 female char. 15 =Paddle Your Own Canoe.= 7 male, 3 female char. 15 =_A Drop too Much._= 4 male, 2 female characters 15 =_A Little More Cider._= 5 male, 3 female char. 15 A THORN AMONG THE ROSES. 2 male, 6 female char. 15 NEVER SAY DIE. 3 male, 3 female char. 15 SEEING THE ELEPHANT. 6 male, 3 female char. 15 THE BOSTON DIP. 4 male, 3 female char. 15 THE DUCHESS OF DUBLIN. 6 male, 4 female char. 15 THIRTY MINUTES FOR REFRESHMENTS. 4 male, 3 female char. 15 =_We’re all Teetotalers._= 4 male, 2 female char. 15 _Male Characters Only._ A CLOSE SHAVE. 6 char. 15 A PUBLIC BENEFACTOR. 6 char. 15 A SEA OF TROUBLES. 8 char. 15 A TENDER ATTACHMENT. 7 char. 15 COALS OF FIRE. 6 char. 15 FREEDOM OF THE PRESS. 8 char. 15 =Shall Our Mothers Vote?= 11 char. 15 GENTLEMEN OF THE JURY. 12 char. 15 HUMORS OF THE STRIKE. 8 char. 15 MY UNCLE THE CAPTAIN. 6 char. 15 NEW BROOMS SWEEP CLEAN. 6 char. 15 THE GREAT ELIXIR. 9 char. 15 THE HYPOCHONDRIAC. 5 char. 15 =_The Man with the Demijohn._= 4 char. 15 THE RUNAWAYS. 4 char. 15 THE THIEF OF TIME. 6 char. 15 WANTED, A MALE COOK. 4 char. 15 _Female Characters Only._ A LOVE OF A BONNET. 5 char. 15 A PRECIOUS PICKLE. 6 char. 15 NO CURE NO PAY. 7 char. 15 THE CHAMPION OF HER SEX. 8 char. 15 THE GREATEST PLAGUE IN LIFE. 8 char. 15 THE GRECIAN BEND. 7 char. 15 THE RED CHIGNON. 6 char. 15 USING THE WEED. 7 char. 15 ALLEGORIES. _Arranged for Music and Tableaux._ LIGHTHEART’S PILGRIMAGE. 8 female char. 15 THE REVOLT OF THE BEES. 9 female char. 15 THE SCULPTOR’S TRIUMPH. 1 male, 4 female char. 15 THE TOURNAMENT OF IDYLCOURT. 10 female char. 15 THE WAR OF THE ROSES. 8 female char. 15 MUSICAL AND DRAMATIC. AN ORIGINAL IDEA. 1 male, 1 female char. 15 BONBONS; OR, THE PAINT KING. 6 male, 1 female char. 25 CAPULETTA; OR, ROMEO AND JULIET RESTORED. 3 male, 1 female char. 15 SANTA CLAUS’ FROLICS. 15 SNOW-BOUND; OR, ALONZO THE BRAVE AND THE FAIR IMOGENE. 3 male, 1 25 female char. THE MERRY CHRISTMAS OF THE OLD WOMAN WHO LIVED IN A SHOE. 15 THE PEDLER OF VERY NICE. 7 male char. 15 THE SEVEN AGES. A Tableau Entertainment. Numerous male and 15 female char. TOO LATE FOR THE TRAIN. 2 male char. 15 THE VISIONS OF FREEDOM. 11 female char. 15 GEO. M. BAKER & CO., 41-45 Franklin St., Boston. =Baker’s Humorous Dialogues.= Male characters only. 25 cents. =Baker’s Humorous Dialogues.= Female characters only. 25 cents. *** END OF THE PROJECT GUTENBERG EBOOK UNDER A VEIL: A COMEDIETTA IN ONE ACT *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate. While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.