{"1": {"fulltext": "DRAMATIC LIBRARY\\nVol. I No. 135\\nJuly 28, 1898 PUBLISHED WEEKLY\\nSubscription Price, $7.50\\n\u00e2\u0096\u00baS 2359\\nM178\\n/Ji^i^^^\\ntti^ Pena Publishing (?n\\\\paii\\\\^\\nPhiladelphia\\nENTERED AT THE PHILADELPHIA POST OFFICE AS SECOND CLASS MATTER", "height": "3525", "width": "2246", "jp2-path": "intoilsmelodrama00mcin_0001.jp2"}, "2": {"fulltext": "SHOEMAKBR S\\nB^st Selections\\nFOR\\nREADINGS AND RECITATIONS\\nNumbers 1 to 25 No^a/ Issued\\nPaper Binding, each number, 30 cents\\nCloth 50\\nThis series was formerly called The Elocutionist s\\nAnnual, the first 17 numbers being published under\\nthat title. The change in name is made because it is\\nbelieved a more appropriate title is thus secured.\\nTeachers, Readers, Students, and all persons who\\nhave occasion to use books of this kind, concede this\\nto be the best series of speakers published. The differ-\\nent numbers are compiled by leading elocutionists of\\nthe country, who have exceptional facilities for securing\\nselections, and whose judgment as to their merits is in-\\nvaluable. No trouble or expense is spared to obtain the\\nvery best readings and recitations, and much material is\\nused by special arrangement with other publishers, thus\\nsecuring the best selections from such American authors\\nas Longfellow, Holmes, Whitlier, Lowell, Emerson,\\nAlice and Phoebe Gary, Mrs. Stowe, and many others.\\nThe foremost English authors are also represented, as\\nwell as the leading French and German writers.\\nSold by all Booksellers and Newsdealers, or mailed\\nupon receipt of price.\\nXHE I\u00c2\u00bbBT\u00c2\u00ab?J I\u00c2\u00bbrBI^ISHING COMPANY\\n923 Arcli Street\\nPliilaclclpliia", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0002.jp2"}, "3": {"fulltext": "IN THE TOILS\\nA Melodrama in Five Acts\\nJ 3\\nBY\\nJohn T. Mclntyre\\nWith Cast of Characters, Time in Representation, Description of\\nCostumes, Scene and Property Plots, Entrances and Exits,\\nand all of the Stage Business\\n;^^RY OF COt^.\\n^r i H\\n^^nMiiris%\\n\u00e2\u0096\u00a0\u00e2\u0096\u00a0r,\\n^fi? oFCcr^?^\\nPhiladelphia\\nThe Penn Publishing^ Company\\nJ 898", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0003.jp2"}, "4": {"fulltext": "\\\\io\\nC- C \u00c2\u00bbCCC\u00c2\u00ab0(\\nCbi^kibifi ^1898^ bV The Pznn PuELlskiNG Company\\nVtD.", "height": "3520", "width": "1903", "jp2-path": "intoilsmelodrama00mcin_0004.jp2"}, "5": {"fulltext": "In the Toils\\nCAST OF CHARACTERS\\nNed Benington A wanderer\\nRobert Severen A man with a fear\\nGideon Grind A shyster lawyer\\nJack Oakleigh An adventiu^er\\nRichard Morton A young barrister\\nBud Brady A tough nut to crack\\nRob Hanlon A detective\\nSlugger Rafferty A shoulder hitter\\nHelen Morton Richard s sister\\nMrs. Brady Bud s mother\\nMaggie Riley Who lives out with GiHnd\\nPoliceman, Italians, Street Venders, Loungers, Etc.\\nTime in Representation, about Three Hours.", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0005.jp2"}, "6": {"fulltext": "COSTUMES\\nNed Benington, age, about 30. Act I. Rather loud\\nbrown check suit, somewhat worse for wear brown derby\\nhat russet shoes. Has a dissipated look, and seems reck-\\nless as to consequences. Brown wig and mustache.\\nAct II. Same costume, but has lost his reckless look.\\nAct III. Well and quietly dressed. Black cutaway coat\\nand striped trousers black derby hat. Act IV. Dark sack\\nsuit and derby hat. Act V. Same as in Act IV.\\nGideon Grind, age, about 55. Act I. Cutaway coat\\nand mixed trousers, both sHghtly shiny. Smooth shaven,\\ngray wig. Same in Act II. Act III. Same, with over-\\ncoat and derby hat, both a bit seedy. Act IV. Same,\\nwithout overcoat.\\nJack Oakleigh, age, 40. Act I. Loud clothes, fairly\\ngood in quality sack coat and silk hat. Smooth face.\\nSame, with soft hat, in Act II. Act III. Dark suit, derby\\nhat, and overcoat. Act IV. Same, without overcoat.\\nAct v.\u00e2\u0080\u0094 Same.\\nBud Brady, age, 20. Act I. Double-breasted black\\nor blue coat and vest light checked trousers tan shoes\\npearl slouch hat, and red necktie. Act II. Same. Act IV.\\nSame, change to black soft hat, and dark necktie.\\nAct V. Same as Act IV, except change to loud blue and\\nwhite dotted necktie and striped trousers.\\nRobert Severen, age, 50. Act III. Elegant black cut-\\naway coat, with dark trousers, and patent leather shoes\\ndark spring overcoat, and silk hat on hat tree in office.\\nAct IV. Same. Act. V. Same, change to frock coat.\\n4", "height": "3469", "width": "1960", "jp2-path": "intoilsmelodrama00mcin_0006.jp2"}, "7": {"fulltext": "IN THE TOILS 5\\nRichard Morton, age, 30. Act IV. Dark soiled\\nclothes, light brown wig and mustache. Make up very\\npale. Act V. Neat dark walking suit; dark hat, and\\nwalking stick. Has lost his pallor.\\nRob Hanlon, age, 30. Act I. Dark walking suit, with\\nsack coat soft hat. Change in Act II to sack suit of light\\nmaterial brown derby hat. Act V. Same as Act II.\\nSlugger Rafferty. Act II. Very tough costume.\\nHat pulled down over eyes, and walk with elbows bent and\\nhead dropped and shoved forward.\\nMaggie Riley, age, 18. Act I. Loose blouse waist,\\nrather gay in color. Sleeves rolled up in Scene i. Short\\nskirt black stockings and shoes, the latter slightly run\\ndown at the heel. Hat with feathers in Scene 2. Costume\\nshould be a bit shabby. Act III. Same, with coat. Act\\nIV. Newsboy costume. Tattered coat and trousers, with\\nwell-worn shoes ragged soft hat loose blouse shirt,\\nopen at neck. Act V. Loose waist, dark skirt, longer\\nthan in Act I. Neat shoes and stockings. Whole cos-\\ntume is much neater than in previous acts.\\nHelen Morton, age, 25. Act II. Neat walking dress\\nof dark material hat and coat. Act III. Black dress and\\ncoat linen collar and caffs plain black hat. Act IV.\\nSame.\\nMrs. Brady, age, 50. Act II. Dark colored house\\ndress, with white kerchief crossed on bosom red wig.\\nAct. III. Same, without kerchief, and with hat and coat.\\nAct v.\u00e2\u0080\u0094 Same as Act II.\\nConventional dress for Waiters, Policeman, Italians,\\netc., etc.", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0007.jp2"}, "8": {"fulltext": "PROPERTIES.\\nAct I. Newspaper clipping for Grind detective badge\\nfor Hanlon roll of bills for Oakleigh bottles, glasses,\\nand liquors for bar.\\nAct II. Table cloth and dishes for Mrs. Brady sew-\\ning materials, and valise with papers inside, for Helen\\nMorton revolver for Rafferty.\\nAct III. Duster for Mrs. Brady revolver in desk for\\nSeveren knife for Oakleigh.\\nAct IV. Newspapers for Maggie revolvers for Oak-\\nleigh, Bud, and Benington; knives and rope for\\nItalians.\\nAct V. Call bell for Severen door bell to ring out-\\nside two knives for Severen.", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0008.jp2"}, "9": {"fulltext": "SCENE PLOT\\nDIAGRAM OF SCENE I, ACT I\\nScene Office setting, boxed. Rather shabby furniture.\\nDoors, R. I E., R. u. E., L. u. E., and c. in flat. Windows R. and\\nL. in flat. Desk and chairs r. c. Haircloth sofa and chair\\nL. Book case with legal books down l. A motto or two\\non wall.\\nDIAGRAM OF SCENE 3, ACT I\\nScene Cafe, boxed set. Doors, r. i e. and l. i e. Bar\\nat back, with mirror, drinking glasses, and bottles. Tables\\nup R. and down L.", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0009.jp2"}, "10": {"fulltext": "IN THE TOILS\\nAct II\\nDIAGRAM OF SCENE I, ACT II\\nScene Living room at Mrs. Brady s home. Doors\\nR. I E. and c. in flat. Table l. c. Fireplace L. Sofa R. c.\\nChairs about room. Windows R. and L. in flat.\\nAct III\\nELE-VATOR A PICTUi;es\\nDIAGRAM OF SCENE\\nScene Interior of Granite Office Building. Corridor r.\\nRobert Severen s oflice, l. Entrances r. u. e. and r. i e.\\nPartition A A, with practical door c. Window l. c. Ele-", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0010.jp2"}, "11": {"fulltext": "IN THE TOILS 9\\nvator cage L. in flat. Desk, with papers on top, chairs in\\nfront and at side, up L. Sola up c. Easy chairs about\\nroom. Hat tree up l. Pictures each side of window.\\nAct IV\\nrzD\\nPRUtT5TANP\\nDIAGRAM OF SCENE I, ACT IV.\\nScene\u00e2\u0080\u0094 A street in 4th g. Entrances r. and l. Stores\\nin flat with wares exhibited through windows and on pave-\\nment. A, second-hand clothing store B, pawn shop witli\\nthree gilt balls in front C, another clothing store U,\\nbutcher s shop. Italian s fruit stand on pavement up R.\\nPedestrians moving in front of stores. Peddlers crying\\ntheir wares.\\nDOOR\\nDIAGRAM OF SCENE 2, ACT IV", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0011.jp2"}, "12": {"fulltext": "lO\\nIN THE TOILS\\nScene 2, Act IV\\nScene Room in tenement house, boxed set. Doors\\nR. T E., L. u. E., and c. in flat. Rough finished walls. Table\\nmade of a large box, with two wooden stools at side and\\nend, up R. Smoky lamp up L. Fireplace with embers of\\nfire at l. front. Stools about room. Chair L.\\nDIAGRAM OF SCENE\\nScene Drawing room, handsomely furnished. Doors\\nR. I E. and c. in flat. Heavy portieres hanging at L. 2 e.\\nCabinet with drawers up R. Sofa up l. Table, with two\\nchairs R. c, and other chairs about room.", "height": "3511", "width": "1924", "jp2-path": "intoilsmelodrama00mcin_0012.jp2"}, "13": {"fulltext": "IN THE TOILS\\nACT I\\nSCENE I. Office Gideon Grind. For description, see\\nscene plot. Enter Grind, r. i e.\\nGrind, {calling) Maggie Maggie I say. Curse the\\nbrat, where is she now\\n{Enter Maggie, l. u. e.)\\nMaggie. Were you a-calHn me\\nGrind. I have been bellowing about the house for the\\nlast half hour. Did you deliver that message to Mr. Oak-\\nleigh yesterday\\nMaggie. Yes I gave it right into his own hooks.\\nGrind. Was there an answer?\\nMaggie. Yes, but I forgot what it was.\\nGrind. Forgot Look you, you hussy, you had better\\nmind yourself or I ll take a whip to you.\\nMaggie. No you won t, either You walloped me when\\nI was a kid, but I m too big for that now. An you look a-\\nhere, Grindsey, I ain t no hussy, see I m a lady, I am, an\\ndon t you forget it.\\nGrind. Bah, you poor-house brat, you would have\\nstarved in the gutter had not I given you a home and\\npampered you with the best of everything. {Sits dow?i at\\ndesk and fumbles with papers^\\nMaggie, {aside) Best of everything Well gee-whizz\\nif that s the best I wouldn t like to tackle the worst. Pickled\\ntripe and cold water for breakfast, shadow soup for dinner\\nand sometimes bread that you couldn t cut with a hand-\\nsaw.\\nGrind. Curse the man, why does he not come\\nMaggie, {aside) Listen to the old sinner praying. Won-\\nder what he d say if he knew I read the note I took to Jack\\nOaklelgh yesterday? I wouldn t have done it, only he for-\\ngot to seal the envelope. It s not right to put temptation\\nin my way, like that. Grind s old enough to know better.\\nII", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0013.jp2"}, "14": {"fulltext": "12 IN THE TOILS\\n{K7iock at door in flat}) Here s Oakleigh now. I d better\\nchase myself or the old mug 11 fire me.\\n{Exit Maggie, l. u. e.)\\nGrind. {Ope?is door) Ah! it is he. You are late, Jack,\\nI had given up hopes of you.\\n{Enter Oakleigh, door in flat.)\\nOakleigh. Deuced sorry to have kept you waiting.\\nGrind. I had urgent business that required my immediate\\nattention. But now that I am here, what s in the wind\\nSomething lucrative, I trust.\\nGrind. Lucrative is too weak a word. If we pull the\\nwires properly ^we can live like bloated bond-holders for\\nthe remainder of our lives.\\nOakleigh. Indeed You interest me. And now, my\\ndear Grind, if it would not be asking too much, would you\\nmind giving me the particulars of the little scheme you have\\nin mind?\\nGrind. Listen, and I will explain the nature of my\\nspeculation. A short time ago I happened to be out on\\nsome business and was detained until late. On my way\\nhome I stumbled over a young man who was lying on the\\nsidewalk. At first I thought him drunk, but subsequently\\ndiscovered that he was sick. He was well dressed every-\\nthing about him spoke of means. I called a cab and had\\nhim taken to my home out of charity, of course.\\nOakleigh. Well, that s good. I can imagine Gideon\\nGrind picking a man out of the gutter and bringing him\\nhome out of charity. No designs upon his valuables in\\ncase he died, of course. Very good, Gideon you are quite\\na humorist. {Laughing^\\nGrind. To cut it short, he grew delirious from his\\nravings I learned that he was the representative of an Eng-\\nlish law firm, and had come to this country in search of the\\nheir of a large estate in the south of England, one Edward\\nBenington, formerly of Boone County, Kentucky.\\nOakleigh. The deuce\\nGrind. I have heard you speak of an acquaintance of\\nthat name, and, if I mistake not, he hailed from that very\\ncounty.\\nOakleigh. Yes I have a friend of that name, the last\\nof a family regarded as being enormously wealthy in ante-\\nbellum days. His father was a confirmed gambler, and\\nscattered his dollars about like dirt. I met him on a Missis-\\nsippi River steamer in the early sixties. The son ran away", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0014.jp2"}, "15": {"fulltext": "IN THE TOILS I3\\nfrom home at the age of sixteen, and has since been travel-\\ning about the world in search of adventure. I ran across\\nhim at a race-track a short time ago, and, as he seemed to\\nbe pretty well heeled, I struck up an acquaintance with\\nhim by recalling some anecdotes of his father.\\nGrind. It is the very man We are in luck, Jack.\\nOakleigh. The deuce we are I say, Grind, let a little\\nlight on this matter, will you\\nGrind. This young Englishman of whom I speak has\\ndocuments, secured from the lawyer of the Boone County\\nBeningtons, tracing their genealogy to the time of their\\nemigration.\\nOakleigh. Well?\\nGrind. I know where those papers are.\\nOakleigh. Humph What good are they to us\\nGrind. Don t 3^ou begin to see my drift. Young Ben-\\nington, according to report, has never returned to Ken-\\ntucky. The friends of his boyhood would not recognize\\nhim if they fell over him. If we secure possession of the\\ndocuments and get young Benington out of the way,\\nwhat s to hinder a young man of your talents from getting\\nthe genealogical tree, former connections, and private trans-\\nactions of the Beningtons by heart, assuming the name of\\nEdward Benington, and laying claim to the estate\\nOakleigh. An excellent plan But can it be carried\\nout?\\nGrind. Without doubt. In the first place, you have the\\nconfidence of young Benington. How easy it would be to\\nget him into a scrape and land him in jail for a good long\\nterm.\\nOakleigh. That s all well enough. But the young\\nlawyer will split when he hears of the imposition.\\nGrind. I have provided for that. He is safe under lock\\nand key and in a place from which he would have some\\ndifficulty in escaping.\\nOakleigh. Good! You have a great head for detail,\\nGrind pray accept my congratulations. But in regard to\\nthe documents you say you know where they are the\\nquestion is, can we get them into our possession\\nGrind. I have not overlooked that point. {Drawing\\nslip of paper from his pocket)} Here is a personal which I\\nclipped from a newspaper, {reads) Any information rela-\\ntive to the whereabouts of Richard Morton will be thank-\\nfully received by his sister, Helen Morton, 89 Blank Street.\\n{To Oakleigh) My barrister is the person inquired after in\\nthe personal. From what he said during his delirium I", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0015.jp2"}, "16": {"fulltext": "14 IN THE TOILS\\nlearned that the papers in question were in the possession\\nof his sister, who accompanied him to this country. I have\\nnot the least doubt but that we can secure them in good\\ntime.\\nOakleigh. Bravo, Grind! You are an arch plotter.\\nNow it seems to me that the first step should be the cook-\\ning of Benington s goose. The trick will be easy, because\\nthe police have an eye on him on account of his shady as-\\nsociates. But I must leave you, Grind. I have an appoint-\\nment at Maynard s with this very man. I ll see you to-\\nmorrow and we will discuss this affair in detail. Good-\\nnight.\\nGrind. Good-night, Jack keep your eyes open.\\nOakleigh. You can depend upon me.\\n{Exit Oakleigh, door in flat)\\nGrind. The first step is taken I can feel half of the\\nBenington fortune in my pocket at this moment. And it\\nwill be before many days, {chuckling and rubbing his hands)\\nbefore many days.\\n{Exit Grind, r. u. e., a?id enter Maggie, l. u. e.)\\nMaggie. Ho Ho Up to some more crookedness, are\\nyou, you dried up old scarecrow. Going to have a man\\npinched for nothin are ye goin to swipe somethin off that\\nsick fellow s sister, are ye Well, I guess not. Giddy, nor\\nyou either, Jack Oakleigh. I ll block your little game, or\\nmy name ain t Maggie Riley.\\n{Exit Maggie, door in flat)\\nSCENE 2 A street set in ist g.\\n{Enter Bud Brady.)\\nBud. Well, say, this yanks the doughnut. I ll never back\\nanother scrapper as long as I m on the dirt. Here I goes\\nbehind the Port Richmond Cyclone, jist to oblige me\\nfriends. An he was a peach, he was. Why, the mug that/\\nhe was up against pasted the face off him. An jist because^\\nI gave him a steer about upper-cuttin de jay, he ups an\\nbangs me on de mug. An that ain t all Reddy O Toole\\njist told me that Casey, the special s, lookin fer me wid a\\nsearch warrant fer aidin and abettin a prize fight. It s dead\\nwrong, that s what it is. They all impose on me because\\nI m litde.", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0016.jp2"}, "17": {"fulltext": "IN THE TOILS I5\\n{Etiter Maggie, r.)\\nMaggie. No, siree I ain t a-goin to let that mug get\\npinched for nothin why Bud Brady\\nBud. Hello, Mag Where ye goin in such a rush\\nMaggie. That s my business. You look here. Bud\\nBrady, I ve got a bone to pick with you. Where was you\\nlast night Don t you know it was Wednesday, an fellows\\nalways go to see their girls on Wednesday nights\\nBud. Well, look at that Say, Mag, I forgot all about it.\\nMaggie. I don t believe it you ain t stuck on me or\\nyou wouldn t forget to come and see me. I was onto you\\nthe other night when you were a-monkeyin around that\\nKatie Murphy that works for the Dublin dressmaker.\\nBud. {aside) I knowed that ud get me me into\\ntrouble. To Maggie) What I tell you is on the dead level,\\nMag. I was up at Casey s Hall the Aurora Borealis Asso-\\nciation was givin their grand annual spasm. Say, it was\\nout o sight The police backed up a patrol wagon an\\npinched the whole gang. You ought to went, Mag.\\nMaggie. Indeed! Well, Mr. Brady, when I go out\\na-drivin I don t do it in a patrol wagon. I am a lady, I am,\\neven if me old man is doin time.\\nBud. I s pose you keep a carriage now, an pair o grays\\nan a big duck with whiskers to drive em, eh\\nMaggie. I never said I did. But if I was a young man\\nan was in love with a young lady, I d invite her to take a\\nspin in the park Sunday afternoons, any way.\\nBud. But how could I do that The bloke what keeps\\nthe livery stable charges two plunkers an hour for an old\\nhat rack of a plug that you could see through. I can t afford\\nthat, Mag I only make four per week.\\nMaggie. You always have enough to take in them\\nscrappin matches an free-an -easies, but when yer out with\\nme yer always broke, can t even buy me a lemonade with a\\nstraw in it or a plate of pink ice-cream.\\nBud. {aside) She s twisted because she can t pull my leg.\\n{To Maggie) Now, say, Mag, didn t I buy you a hat full of\\npeanuts to put in yer stockin last Christmas On the dead,\\nnow, didn t I\\nMaggie. That s right Throw it up to me If I d known\\nye d shoot off about it afterwards I wouldn t have took em.\\n{Cries.) Bud Brady, I ll never speak to you again as long as\\nI live.\\nBud. Ah Say, Mag, stop yer slobberin\\nMaggie. {stampi?ig her foot) I won t\\nBud. Ye know I d make ye a present of a house on West", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0017.jp2"}, "18": {"fulltext": "1 6 IN THE TOILS\\nWalnut Street if I had the stuff. {Puts his arm around\\nher.) Stop soakin yer apron an I ll take you down to\\nSwinghammer s ice-cream joint and blow ye off to soda\\nwater.\\n(Maggie hesitates, then lays her head o?i his shoulder. They\\nexit L., Maggie still sobbi?ig.)\\nSCENE 3. Maynard s Cafe. For description, see scene\\nplot. Bartenders and waiters about room. Enter HAi ihON\\nand a policeman, R. e.\\nHanlon. I ve my eye on a pair of queer sprinklers,\\nSlater. Make it a point to be on hand in case I need your\\nassistance.\\nPoliceman. Very well, sir. {Steps back to bar)\\n(^;2/^r Benington, l. i y.., followed by a crowd. They all\\nwalk to the bar)\\nBenington. Call for what you want, boys it s my treat.\\nThe wager was won and lost fairly.\\nHanlon. {aside) That young fellow has an honest look,\\nbut, if we are to judge men by the company they keep, he s\\ncrooked. He s been hand and glove with Jack Oakleigh,\\nthe slipperiest bird in to.wn, for some time. I ll keep my\\neye on you, my friend, and find out what you re made of.\\n(Benington crosses over to table in ceyitre and sits down.)\\nBenington. Well, this is a pretty state of affairs, I must\\nsay. Here I am, stranded in a strange city without a five in\\nmy clothes a fitting wind-up to a roving life. For fifteen\\nyears I have wandered about the world, spending my money\\nin dissipation. I cannot recollect one dollar that has gone\\nto feed the hungry or clothe the naked all went in a whirl\\nof profitless pleasure. But now that I am at the end of my\\nrope I will settle down. This is a good city for a man of\\nenergy I will stay here and begin life anew. I have been\\nan infernal fool, but my future shall radically differ from my\\npast. To-night winds up the page of prodigality in my ca-\\nreer to-morrow I turn over a new leaf\\n{Enter Maggie, l. i e.)\\nMaggie, {aside) I wonder if that man Benington s here\\nnow Maybe this duck knows him. To Benington)\\nExcuse me, mister, do you know any one by the name of\\nBenington here", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0018.jp2"}, "19": {"fulltext": "IN THE TOILS 1 7\\nBenington. Why yes that s my name.\\nMaggie, {aside) Well, look at that, I struck it the first\\ntime To Benington) Well, I ve got somethin to tell ye,\\nsomethin you ll be mighty glad to know. {Enter Oak-\\nLEiGH, L. I E.) Gee-whiz, {Aside) If there ain t that mug\\nOakleigh I d better skip or he ll drop to my game.\\n{Exit Maggie, r. i e.)\\nBenington. {looking after her.) Well, that s a queer\\ngirl I wonder what she wished to tell me.\\nOakleigh. {slapping Benington 07i shoulder) Well, Ned,\\nmy boy, how do you find things\\nBenington. Poor, Jack, mighty poor.\\nOakleigh. {laughing) What s this, Ned Benington, the\\njolliest blade in the Quaker City, down with an attack of\\nblue devils Come, come, old man, what s the trouble,\\nperhaps I can remedy it.\\nBenington. In the first place I m broke, in the second\\nI have had an attack of conscience.\\nOakleigh. {laughi?ig) Is that all I supposed it was\\nsomething serious. Don t you know, my boy, the latter in-\\nvariably follows at the heels of the former. {Aside) Here s\\nmy chance Jack Oakleigh you have the devil s own luck.\\nTo Benington) I happen to be pretty well heeled at\\npresent, Ned, and can loan you a hundred.\\nBenington. Thank you, old fellow fifty will be plenty.\\nOakleigh. But I have nothing smaller than a hundred.\\nBenington. Then we will break it on a bottle. {Raps\\non the table arid waiter crosses over) A bottle of dry, Jack-\\nson, and be spry\\nWaiter. Yes, sir have it here in a moment, sir. {Goes\\nto bar)\\nOakleigh. {handing note to Benington) Here you are,\\nNed if you want any more you know where to come.\\nBenington. Thank you, Oakleigh I ll not forget this.\\nOakleigh. {aside) No I hardly think you will.\\nWaiter puts a bottle a?id glasses on table. Benington hands\\nhim the bill)\\nWaiter. I will bring your change at once, sir.\\nHanlon. {aside) I ll have a peep at that note. {Steps up\\nto waiter) I m a police detective. {Shozvs his badge) Let\\nme see that note.\\nWaiter. Yes, sir here it is, sir.\\nOakleigh. {aside) By all that s black, there s Hanlon,\\nthe fly cop, examining the queer. My scheme has worked", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0019.jp2"}, "20": {"fulltext": "l8 IN THE TOILS\\nquicker than I expected. I must get out of this, or I ll go\\nup the flue with Benington.\\n{Exit Oakleigh, l. i e.)\\nHanlon. Just as I expected, counterfeit.\\nBenington. Hello! Where the deuce has Oakleigh\\ngone Here, waiter where s my change\\nHanlon. Ha, Oakleigh has scented danger and es-\\ncaped. I d give five years of my life to put that man behind\\nthe bars. But I ve got his pal that s some comfort.\\nBenington. Waiter, I say, hello there Where s my\\nchange\\nHanlon. {laying his hand on Benington s shoulder)\\nThe only change you ll get, young fellow, is a change of\\nclothes and climate.\\nBenington. i^Hsifig) What do you mean\\nHanlon. That you are under arrest.\\nBenington. Under arrest And for what\\nHanlon. For shoving the queer. To policeman) Slater,\\ntake this man in charge.\\n{Policeynaji seizes Benington.)\\nBenington. Release me, you scoundrel, or you shall re-\\npent this outrage upon an innocent man.\\nHanlon. I would advise you to keep quiet, young fel-\\nlow everything you say now will be used against you at\\nthe trial.\\n{Enter Bud and Maggie, r. i e.)\\nBenington. Trial Do you mean to say that I shall be\\ncompelled to submit to the indignity of atrial for an offense\\nI unwittingly committed. I declare before Heaven that I am\\nguiltless of intentional crime\\nBud. That s on the dead level, Mr. Hanlon. That man s\\ninnocent, an what s more, he s the victim of a plot,\\nHanlon.\\nWaiters. i\\nPoliceman, f P^^^\\nLoungers. J\\nMaggie. Yes, the victim of a plot, an I can prove it\\ncurtain", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0020.jp2"}, "21": {"fulltext": "ACT II\\nSCENE I. Mrs. Brady s home. For description, see scene\\nplot. Mrs. Brady arrangitig the tea table. Helen sew-\\ning.\\nMrs. Brady. Shure, I dunno what could have come\\nover him at all, at all. Five weeks is a murderin long time\\nto shtay away widout sayin a word. An then to leave his\\nsister all alone in a strange place, wid divil a cent till bless\\nherself wid. Faix it beats me, so it do, an that s the truth.\\nHelen. He complained of feeling unwell when I last\\nsaw him, and I have often thought that, perhaps, he had\\nbeen taken ill among strangers who, not knowing him,\\nhave been unable to communicate with me.\\nMrs. Brady. But, shure, you went to the police station\\nan all av the hospitals, an sorra the thing could they tell\\nye about yer missin brother.\\nHelen, {weeping) No, nothing, Mrs. Brady. I sometimes\\nthink him dead.\\nMrs. Brady. Tut, tut, tut Sorra the bit av him s dead.\\nYou ll soon have him back alive an well. {Aside) It\\nwouldn t do to tell her, but I ve been to the morgue ivery\\nmornin fur a week back, an ivery time expectin to see\\nhim stretched out cold an stiff. He had money about him\\nan he s met wid foul play, an that s the opinion of Nancy\\nBrady.\\nHelen. Another thing of which I wished to speak is\\nyour disinterested kindness. But for you I should now be\\nfriendless, penniless and homeless in this great city. Poor\\nRichard had all our funds and letter of credit upon his per-\\nson when he disappeared, and upon his failure to return\\nMrs. Brady. The blaguard landlord turned you out.\\nDivil a stroke av work I ve done fer him since, the thafe av\\nthe world\\nHelen. I should have gone mad in my despair had you\\nnot held out a helping hand, given me a home and found\\nme ernployment. I can never thank you sufficiently for\\nyour kindness to a poor, friendless girl.\\nMrs. Brady. Arrah darlin don t be talkin to me. I\\nonly wish I could give ye a better home than this an feed\\nye on spring chicken instead of kidney stew. Shure here\\nI m blatherin here {blustering about), an Bud ll soon be\\nhome, an will be as mad as a hatter if his supper ain t\\nstandin ready fer him. Musha but I don t know what s\\n19", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0021.jp2"}, "22": {"fulltext": "20 IN THE TOILS\\ncome over the boy since he took up wid the gang of\\nblaguards on the corner beyant. He s gettin to be a reg-\\nular scalawag, so he is. To see the walk on him {swagger-\\ning about) you d think he owned the biggest part av the\\nCity Hall. {Enter ^\\\\5V door in fiat) Ah! here s the bla-\\nguard now.\\nBud. How do, Miss Morton Heard anything of your\\nbrother yet\\nHelen. No, Bud, nothing and I sadly fear I never\\nshall.\\nBud. Don t say that YeVe always got a chance until\\nyer laid out stiff. Your brother s all hunkey. I ll bet he s\\nout on a batter, and U turn up all O. K. when he gets braced\\nup. Supper ready, mom\\nMrs. Brady. Faith an it s not, an it won t be for an\\nhour.\\nBud. Well, say Yer dead slow Get a move on, will\\nye? I m goin down to O Hallihan s to see a scrap.\\nMrs. Brady. Begorra, them scrappin matches ll be the\\ndeath av ye yet d ye mind that, now\\nBud. Ah Yer twisted, old lady. I can put up my fives\\nwith any of em, see {Strikes pugilistic attitude and dances\\nabout))\\nMrs. Brady. Arrah, look at the style of the spalpeen,\\nlook at him now {Seizing a plate from the table) Sit down,\\nye omadhaun, or I ll knock ye down.\\nBud. What do ye think of me style, mom\\nMrs. Brady. Faith, an I ll knock some of the st3 le out\\nav ye if ye don t keep better hours. Where were ye last\\nnight\\nBud. Oh, down to Maynard s Cafe.\\nMrs. Brady. Maynard s Cafe, is it? An what the divil\\nwere ye doin in a swell place like that?\\nBud. Why, ye see, the beaks pinched a bloke an took\\nhim to the jug in a ding-ding.\\nMrs. Brady. The beaks pinched a bloke, is it? Faith,\\nan Mrs. Flannigan s parrot pinched me wid his beak last\\nMonday, an begorra, I kin feel it yet. But what the divil s\\na bloke an a ding-ding, I dunno. Bud Brady, I want ye\\nto keep away from that Slim Jim s laundry Sure I be-\\nlieve the pig-tailed blaguard s been learnin ye to jabber\\nChinese!\\nBud. Oh, ye don t catch on. A beak s a copper an a\\nbloke s a man. The man was arrested for shovin the\\nqueer.\\nMrs. Brady. Oh, that s it Why the divil didn t ye say", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0022.jp2"}, "23": {"fulltext": "IN THE TOILS 21\\nthat in the first place, an not go blatherin about ding-dings\\nan the Hke av that Did ye know the man\\nBud. His name was Edward Benington. He said he\\ncame from Kentucky.\\nHelen. Edward Benington! And from Kentucky!\\nWhy, that is the name and native place of the man Richard\\nwas in search of The name is a most uncommon one.\\nSurely this is not a coincidence.\\nMrs. Brady. Arrah, look at that, now. Here he has a\\nfortune comin to him an gets himself into jail for passin\\ncounterfeit money. It ll be a long time a-fore he ll enjoy his\\ngood luck, I m thinkin\\n(A knock at door in flat.)\\nBud. That s some one knockin at the door, mom.\\nMrs. Brady. Av course there is you lu-nat-ic D ye\\nthink the door could knock at itself? Open it an see\\nwho s there.\\nBud. {opening door) Well, what d ye want\\n{Enter Slugger Rafferty, c.)\\nSlugger. I m lookin fer a young lady named Morton.\\nHelen, {arisiiig) That is my name.\\nSlugger. I ve got a note fer ye from a duck that says\\nhe s yer brother. {Hands her the note)\\nHelen. My brother! Thank God! Tidings from him\\nat last Now a weight is lifted from my heart in the knowl-\\nedge that he is alive. Where is he {To Slugger) Why\\ndid he not communicate with me before and relieve me of\\nthis dreadful suspense?\\nSlugger. Don t know. Maybe the note ll tell ye.\\n(Helen opens envelope and reads)\\nBud. {aside to Mrs. Brady.) Say mom d ye know who\\nthat tough-lookin mug is\\nMrs. Brady. I do not, an I don t want to. D ye think\\nI have nothin to do but go around gettin acquainted wid\\ntough mugs, as ye call thim\\nBud. That s Slugger Rafferty, the collar-an -elbow\\nwrestler. He can down anything in the ward from a glass\\nof lager to Duckey McFee.\\nMrs. Brady. From the looks av him, I think he prac-\\ntices most on the lager.\\nHelen. Richard has been ill, is not yet strong enough\\nto leave his bed. Oh, Mrs. Brady to think of his tossing in\\nthe agonies of fever and me not beside him to nurse him", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0023.jp2"}, "24": {"fulltext": "22 IN THE TOILS\\nback to health and life. He asks me to come to him at\\nonce {putting on her bonnet and coat), and desires me to\\nbring the papers concerning the Benington case with me.\\nMrs. B rady. But you ll wait for supper, Miss Helen.\\nDo, darlin it ll give ye strength.\\nHelen. No; I must go at once. I cannot delay an\\ninstant. The documents are in my grip I shall take them\\nas Richard directs.\\n{Exit Helen, r. i e.)\\nSlugger. Say, old woman, tell her to get a gait on, will\\nye\\nMrs. Brady. Old woman, is it? Begorra, ye black\\nmuzzled divil, I want ye to know that I m no old woman\\nd ye mind that now\\nSlugger. Ah, don t git cranky about it I don t want no\\nmuss with a woman, I don t, see\\nBud. Well, say, ye galvanized Turk, maybe ye d like a\\nlittle mix up with the old woman s son Take off yer coat\\nan I ll thump yer ribs loose. {Squajdng off at Slugger.)\\nSlugger. Ah, what s the matter with ye, ye chump I d\\nparalyze ye in a punch.\\nMrs. Brady. Here, here! I ll have no monkey shines in\\nthis house. Shut up now or I ll settle the pair av ye.\\n{Enter Helen, r. i e., with small valise})\\nHelen. I am quite ready. Good-bye, dear Mrs. Brady\\n{kissing her) you were my only friend in the hour of need.\\nGood-bye, Bud.\\nBud. Good-bye, Miss Morton,\\n{Exit Helen and Slugger, c.)\\nMrs. Brady, {calling from doorway^ Good-bye, darlin\\nDon t forget to let us know how yer poor brother s gettin\\non. {Closing the door) Arrah, but she s the- sweet creature\\nBud. Ain t she, though. Say, I wish she d do that to me.\\n{Smacking his lips.)\\nMrs. Brady. Do what?\\nBud. Kiss me yum yum\\nMrs. Brady. Kiss ye, is it Begorra, ye Port Richmond\\ndude, d ye think a real lady like that would kiss a big, dirty-\\nfaced blackguard like ye\\nBud. Why, ain t I good looking\\nMrs. Brady. Arrah, go long out av that {Seizing a\\nbroom) If ye don t want yer looks spoiled, ye ll quit makin\\na show av yerself.", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0024.jp2"}, "25": {"fulltext": "IN THE TOILS 23\\nBud. But on the dead level, I don t like this.\\nMrs. Brady. An ye ll like it less if I welt ye wid this\\nbroom.\\nBud. Ah I ain t kiddin now. I mean I don t like Miss\\nMorton s goin out with that duck, Rafferty. He s a tough\\nnut, he is he d strangle his grandmother for the price of\\nthe growler.\\nMrs. Brady. Shure, Buddy boy, when I come to think\\nav it, the spalpeen had a divilish look. Whorra Whorra\\nWhy did I let her go at all, at all\\nBud. I ll chase em up, an if Rafferty tries to ring in any\\ncrooked work, down goes his shanty.\\n{Exit Bud, c.)\\nMrs. Brady, {calliiig from doorway) Bud Brady, if ye\\ndon t bring Miss Helen back safe an sound, an smash the\\ndivil out of that schooner-hoister Rafferty, I ll have ye sent\\nto the penitentiary for Hfe. {Closing door) Somethin bad ll\\nhappen to the creature. 1 feel it in me bones. Whorra\\nWhorra Why did I let her go An Bud, too. I hope he\\nwon t get hurt. Begorra the young blaguard would fly at\\nthe divil himself if his blood were up.\\n{Exit Mrs. Brady, r. i e.)\\nSCENE 2. Exterior of Grind s office, set in ist G. Door\\nin flat, c, leading into office. E7itrances R.aiid l. Lights\\nhalf up. Enter Helen and Slugger Rafferty, r.\\nSlugger. This is the house. {Knocks at the door in flat)\\nHelen, {aside) I am getting nervous. The neighborhood\\nis so deserted and the buildings so dark and gloomy.\\n{Door opens and enter Grind, c.)\\nSlugger. This is the lady you sent me for.\\nGrind. Ah, my dear young lady I m delighted at your\\ncoming. The young man can hardly restrain his impatience\\nto see you. {Aside) And that s the truth, only the young man\\nhappens to be Jack Oakleigh.\\nHelen. Oh, sir, take me to him at once I have been\\nso long in suspense that I cannot delay seeing him one mo-\\nment longer than is necessary.\\nGrind. You are not a whit more anxious than he is. Will\\nyou walk in\\nSlugger, {aside) To my parlor, said the spider to the fly,\\nThey all exit, door in fiat. Enter Bud, r.)", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0025.jp2"}, "26": {"fulltext": "24 IN THE TOILS\\nBud. Well, I m onto the joint he s steered her to. It was\\nthe old duck that Mag works for that let em in. I could see\\nthat front of his five blocks away. Well, say {looking up at\\nhouse), Miss Morton s brother might be in that ranch, but I\\ndon t believe it. Anything old Grind puts his hooks on must\\npan out the gilt, an he ain t particular what it is. I think I ll\\nput me lamps on the back part of this shebang maybe I can\\nget inside an find out what s on the carpet.\\n{Exit Bud, l., and enter Benington, r.)\\nBenington. Well, this is a most surprising train of\\nevents. That girl, Maggie Riley, is a brick. She not only\\nsucceeded in getting me out of the clutches of the law but\\nshowed me that Jack Oakleigh, a man whom I deemed my\\nbest friend, gave me the bogus money for the sole purpose\\nof getting me into trouble. Well and good, Mr. Oakleigh\\nI will endeavor to return the compliment, and perhaps in\\nan equally disagreeable manner.\\n{Enter Hanlon, l.)\\nHanlon. Ah Well met, Mr. Benington accept my\\napologies for the trouble I gave you last night. Will you\\nshake hands I trust you bear me no ill will.\\nBenington. Certainly not. Appearances were against\\nme, and you but did what you thought your duty {shake\\nhands).\\nHanlon. You show your good sense. There is some-\\nthing in store for you. This girl, Maggie Riley, has put me\\non the track of an exceedingly sharp game. I cannot\\nreveal its nature at present, but subsequent developments\\nwill prove most surprising to you. By the way, I want to\\ngive you a tip. When you get into a strange city, don t\\ngrow intimate with every gentlemanly fellow you run\\nacross. Men of Oakleigh s stamp have ruined more young\\nmen than any other sort of crook in the city.\\nBenington. Thank you your advice is good.\\nHanlon. I must leave you, as I have work on hand\\nthat will keep me jumping till morning. Good-night.\\nBenington. Good-night.\\n{Exit Hanlon, r., a7zd etiter Bud, l.)\\nBud. {aside) I m dead sure now that there s something\\ncrooked goin on. I heard that fly duck Oakleigli chinnin\\nto oldGrind, an when that team pulls together straight peo-\\nple want to keep tlieir lamps wide open. Hello! blame\\nme, if there ain t the young fellow that Oakleigh tried to put", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0026.jp2"}, "27": {"fulltext": "IN THE TOILS ^5\\nin the jug. Now if I go a-huntin up the cops I might be\\ntoo late to help Miss Morton. I ll bet a nickel this fellow s\\ndead sore on Oakleigh an ud go into this thing with me if\\nI gave him the brace. Excuse me, young fellow {to Ben-\\nington), I want to ask you a question.\\nBenington. a dozen if you wish.\\nBud. One U do the trick. Don t a gentleman always\\nhelp a lady in distress\\nBenington. A true gentleman will do so, always.\\nBud. On the dead, now, are you a gentleman\\nBenington. Well-er-yes I make some pretension to\\nthe title.\\nBud. a pair of crooked mugs has steered a lady into that\\njoint there. I ain t onto their game, but you can bet yer\\nlife it s on the cross. You know one of the birds his name\\nis Oakleigh.\\nBenington. Oakleigh, well he s a greater scoundrel\\nthan I imagined. My friend, if I can be of any assistance\\nto the lady I am at your service. It shall never be said that\\nNed Benington refused succor to a woman in distress.\\nBud. Say, when I first put me lamps on you I knowed\\nyou were built on the correct plan, There s a window open\\naround at the back of the house. An say, when we once\\nget inside, an I get a chance to put up me hooks with that\\nmug Rafferty, I ll put him to sleep so quick that he ll think\\nhe was struck by lightnin\\n{Exit Bud and Benington, l.)\\nSCENE 3. hiterior of Grind s office, same as Act i, Scene i.\\nFor description, see scene plot. Eriter Grind and Helen,\\ndoor in flat.\\nHelen. I beg of you, sir, to take me to my brother im-\\nmediately.\\nGrind. Restrain yourself, my dear young lady you\\nshall see him in good time. Meanwhile I desire to ask a\\nfew questions.\\nHelen. Proceed, sir.\\nGrind. First, allow me to summon a very dear friend\\nof Richard s, a very dear friend indeed. Mr. Oakleigh\\n{calling),\\n{Enter Oakleigh, left door)\\nAllow me to present. Miss Morton, your brother s firmest\\nfriend. Oakleigh, this is Richard s sister.\\n(Helen and Oakleigh bow)", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0027.jp2"}, "28": {"fulltext": "26 IN THE TOILS\\nOakleigh. Miss Morton, I am delighted. {Aside) Fine\\ngirl, that.\\nGrind. With your permission, Miss Morton, we will\\nnow proceed to business. Your brother s mission to America\\nwas to hunt up the heir of a certain estate, was it not\\nHelen. It was, sir.\\nGrind. He has important documents, proving the right-\\nful claim of one Edward Benington, of Boone County, Ken-\\ntucky, has he not\\nHelen. You have been correctly informed, sir. (Aside)\\nI begin to fear these men. What means all this questioning\\nGrind. In the note written at your brother s dictation,\\nhe requested you to bring these documents with you. Have\\nyou done so\\nOakleigh. (aside) The point at last\\nHelen. I have done as Richard desired.\\nOakleigh. (aside) Good!\\nGrind, (rubbing his hands) Will you let me see them\\nHelen. The documents are of great importance. I shall\\nrequire to see my brother first, then act according to his\\ndesires.\\nOakleigh. (aside) Humph It will be more difficult\\nthan we anticipated.\\nGrind. But, my dear young lady, your brother has\\nauthorized me to examine them.\\nHelen. You will pardon me if I insist upon seeing him\\nbefore the papers leave my possession.\\nGrind. And I insist that you turn them over to me.\\nJack, lock the door\\n(Oakleigh locks door in flat)\\nHelen. What is the meaning of this\\nOakleigh. It means that we want those papers and in-\\ntend to have them.\\nGrind. And that we have a nice little cage to lock you\\nup in until Jack Oakleigh proves to the satisfaction of the\\ntrustees of the estate that he is Edward Benington.\\nHelen. Oh, Heaven I see it all now. You have de-\\ncoyed me here to rob me of the papers entrusted to my\\ncare But you shall not have them I will defend my trust\\nwith my life\\nOakleigh. You had better submit, girl.\\nHelen. You shall kill me first. Allow me to go from\\nthis place at once and unmolested, or I shall give an alarm.\\n(Oakleigh seizes her, and Grind takes the docutne?its from\\nthe grip) Help Help", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0028.jp2"}, "29": {"fulltext": "IN THE TOILS 27\\nOakleigh. Hush j^ou little fool there is no one here\\nto help you\\n{Enter Benington, r. i e.)\\nBenington. You mistake, Jack Oakleigh I am here\\nOakleigh. [releasing Helen) The deuce! {Grasping\\nGrIxMd s ar7n?j It s Edward Benington.\\nHelen. Oh, sir! Save me from these ruffians I implore\\nof you\\nGrind, {to Oakleigh) The foul fiend, seize him how\\ncame he here\\nBenington. Compose yourself. Miss you are perfectly\\nsafe under my protection.\\nOakleigh. You are out there, Ned Benington you\\nhave played directly into our hands. Instead of one pris-\\noner we now have two {catliiig). Rafferty {Enter Slugger,\\nleft door.) Cover tiiat man (Slugger draws revolver\\nand points it at Benington.) If he attempts to move,\\nshoot him down Now, Ned Benington, who holds the win-\\nning hand {Enter Bud through ivindow in flat, seizes re-\\nvolver and knocks doivn Slugger.)\\nBud. {pointing revolver at Oakleigh and Grind) Bud\\nBrady, you brace of beats an it s a full house\\nquick curtain", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0029.jp2"}, "30": {"fulltext": "ACT III\\nSCENE. Corridor i?i the Granite Office Building. Sev-\\neren s office, L. For desct-iption, see sce?ie plot. Sev-\\ner en seated at desk reading letter.\\nSeveren. So this very perplexing hunt is ended at last,\\nand the heir of the Benington millions has made his appear-\\nance. Well, I am heartily glad of it; the case has been a\\nmost complicated one. Let me see the heir writes that\\nhe will call at noon. I trust he will have no difficulty in\\nproving his identity, as I should like to wind up the affair\\nat once and have done with it.\\n{E7iter Mrs. Brady and Maggie., r. i e.)\\nMaggie. Say, them elevators is out o sight. This beats\\nkeepin house for old Grind all to bits, Mrs. Brady. Since\\nyou got me here helpin you to clean these offices I m hav-\\nin a dead easy thing of it. A steam lift to hoist me up to\\nthe tenth floor, an a most nothin to do when I get there.\\nMrs. Brady. Arrah, quit yer clatter. Maggie allanna!\\nor we wont get started to-day. This is Mr. Severen s day,\\nan if there s any one inside we ll have to roust them out.\\n{Knocks at office door)\\nSeveren. Come in.\\nMrs. Brady, {eiitering office with Maggie) Good-mornin*\\nto ye, Mr. Severen. It s sorry I am to be disturbin 3 e, sir;\\nthis is yer cleanin day, an we ve come to slick up a bit.\\nSeveren. True, Mrs. Brady I had forgotten {rising\\nand taking np his hat and oveixoat from hat tree). I will\\nattend to some outside business and be out of your way at\\nthe same time.\\n{Exit Severen, closing office door, r. i e.)\\nMrs. Brady, {remoimig hat and coat) Arrah but he s\\nthe nice man. A real gentleman, if there ever was wan.\\nMaggie. Say, Mrs. Brady, you know Bud\\nMrs. Brady. Of course I know Bud Shiire, an it ud\\nbe a queer thing if I didn t know me own son.\\nMaggie. Well-er-did he tell ye that I mean did he\\ntell ye anything\\nMrs. Brady. Faith an he did, that He told me that he\\nswept the sidewalk with Owen Grady s boy Dinnis fer\\ncallin me a red-headed owld scarecrow, more power to\\nhim.\\n28", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0030.jp2"}, "31": {"fulltext": "IN THE TOILS 29\\nMaggie. Didn t he tell ye anything else\\nMrs. Brady. Divil a thmg. {Bustling about with duster\\nand arranging things on desk.)\\nMaggie. Didn t he tell ye that me an him was en-\\ngaged\\nMrs. Brady. Engaged, is it Faith he did not, or I d\\na-broke the blaguard s head\\nMaggie. Well, it s true we are engaged.\\nMrs. Brady. Shure yer jokin\\nMaggie. Not a bit you can ask Bud himself.\\nMrs. Brady. Is it you that s engaged to my boy, Bud\\nMaggie. To your boy. Bud.\\nMrs. Brady, \\\\laughing) Arrah, begorra that takes the\\ncake Bud Brady engaged, an him only makin four dol-\\nlars a week! {Laughing) Shure the big gommouch must\\nbe crazy and ye must be the same, Maggie Riley. Troth,\\nthe pair av ye could starve to death right nicely on that\\nmuch money\\nMaggie. But we re not going to be married till Bud gets\\nhis job in the post-office. He says he s got a pull in hi^ divis-\\nion, an it won t be long.\\nMrs. Brady. But, sure, if ye are not goin to be married,\\nwhat the divil are ye engaged for, I dunno\\nMaggie. Because {sodding) I love Bud and Bud loves\\nme. {Cries.)\\nMrs. Brady, {aside) Shure an I do believe that she thinks\\nwell of the boy. Arrah, don t cry, darlin {To Maggie) I\\nwas only jokin\\n{Enter Benington and Helen, r. u. e.)\\nI d rather have yerself fer my Bud s wife than any other\\ngirl in the world. They emdraee.)\\nHelen. Are you quite sure that Mr. Severen s office is on\\nthis floor\\nBenington. The porter said so, at any rate. Ah here\\nit is. {Knocks at office door.)\\nMrs. Brady. Hush, Maggie, allanna there s some one\\nat the door. {Opens door) Shure, an is it yourself, Miss\\nHelen, and ye, too, Mr. Benington\\nHelen. What! You here, you dear, good old soul!\\n{Kisses Mrs. Brady.)\\nBenington. Good morning, Mrs. Brady. We have called\\nto see Mr. Severen.\\nMrs. Brady. An he s jis this minute gone out. I sup-\\npose it s advice ye d be after askin of him. Troth an if", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0031.jp2"}, "32": {"fulltext": "30 IN THE TOIL\\nthey came to me for advice {aside), I d tell them to go to\\nthe first parson, faith an I would that.\\nMaggie. Say, Mr. Benington, I seen old Grind and Jack\\nOakleigh this mornin why don t ye have them pinched fer\\nkidnappin Miss Morton\\nBenington. Simply because Mr. Hanlon advised me\\nnot to do so. He is of the opinion that if given plenty of\\nrope they will, eventually, hang themselves. Do you think\\nMr. Severen will be gone long, Mrs. Brady\\nMrs. Brady. He didn t say, sir but it s meself that s ex-\\npectin him back directly.\\nBenington. Then we will wait.\\nMrs. Brady. Very well, sir. {Aside) Come, Maggie,\\ndon t ye see we re in the way Shure an if two s a com-\\npany an three s a crowd, begorra four s a whole mob\\n{going).\\nHelen. I trust we have not interfered with your duties,\\nMrs. Brady.\\nMrs. Brady. Not a bit av it, not a bit.\\n{Exit Mrs. Brady a?id Maggie, r. i e.)\\nBenington. What a veritable rough diamond is that\\nwoman So crude and primitive .without, but perfect and\\nflawless within.\\nHelen. I alone know the full measure of her kindness.\\nBenington. {Aside) Now is my golden opportunity.\\nBrace up, Ned there s no telling when you shall again have\\na chance so favorable.\\nHelen. A penny for your thoughts, Mr. Benington.\\nBenington. I was thinking of one of God s fairest\\ncreatures.\\nHelen. Which one of them, pray\\nBenington. A woman.\\nHelen. Indeed! {Turning away\\nBenington. Need I say who that woman is Taking\\nher hand) Need I say that it is yourself?\\nHelen. Mr. Benington!\\nBenington. Nay, do not seek to withdraw your hand\\nlet me keep it in my possession forever. I love you, Helen\\nlove you with all the ardor and strength of my soul. My\\nlove for you is the purest and holiest thing in my life. It is\\nnot a sudden attachment that springs up one moment only\\nto die the next but one that has had time to mature and\\nripen the love of a man who, though young in years, is\\nold in experience. When I first saw you I had the good\\nfortune to save you from injury in a runaway accident. You", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0032.jp2"}, "33": {"fulltext": "IN THE TOILS 3I\\nwere then but a girl, yet your face has remained graven on\\nmy heart. For montlis I hunted the streets of London in\\nthe hope of meeting you again, but in vain. I knew not\\nwhere to seek I was ignorant of even your name. But I\\nmeet you again, after the lapse of five long years, and again\\nhave the happiness of saving you from danger a danger\\nincurred in a brave defense of my rights. Lest you again\\nslip out of my life, I make bold to tell you of my love, and\\nask you to become my wife. Miss Morton Helen say\\nthat one little word, a word that will make me the happiest\\nfellow in all this world.\\nHelen. Since the time of which you speak the image of\\nmy gallant preserver has been enshrined within my heart.\\nSince that time a love for him has been smoldering within\\nmy breast. And now it bursts into flame and compels me\\nto answer Yes.\\nBenington. My darling They embrace}^ My cup of\\njoy is full Soon, when I have balked the designs of those\\nschemers, you shall be the charming mistress of my home,\\nand I the proud possessor of the sweetest little wife in all\\nthe world.\\nHelen. Don t flatter me you will find me like other\\ngirls. We all have our faults.\\nBenington. True, but yours must be charming ones. At\\nany rate, I am willing to take you as you stand, the bad quali-\\nties along with the good. But come. Mr. Severen seems\\ndetermined not to return as long as we remain. Let us\\ntake a stroll by the time we return he shall, perhaps, have\\nput in his appearance.\\nHelen. Willingly the air is very close and oppressive.\\nThey go out into the corridor^\\nBenington. I believe that the police headquarters is\\nsomewhere in this neighborhood. We will call there and\\nendeavor to see Mr. Hanlon, and learn what progress he is\\nmaking toward the recovery of my family records.\\n{Exit Benington and Helen, r. u. e.)\\n{Enter Severen, r. i e.)\\nSeveren. {entering (9^^^),Humph My caller has not yet\\narrived. {Sitting down at desk and taking up papers}} Rather\\ndilatory, it seems to me.\\n{Enter Oakleigh, r. r e.)\\nOakleigh. Now for some delicate manoeuvering. It", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0033.jp2"}, "34": {"fulltext": "32 IN THE TOILS\\nwill require the touch of a master to play the part up to the\\nstandard of a shrewd lawyer. {K?iocks at office door.)\\nSeveren. Come in.\\nOakleigh. {enteri?ig office) Have I the honor of address-\\ning Mr. Severen\\nSeveren. I am Mr. Severen. Be seated, sir to what am\\nI indebted for the honor of this {Staggering back) Mer-\\nciful Heaven Jack Oakleigh\\nOakleigh. {aside) My old pal, Bob Severen, by all that s\\nblack 1 Curse the luck, why was I not warned by the name.\\nI must persuade him that he is mistaken or all is lost. 7^o\\nSeveren) Sir, I perceive that you have mistaken me for\\nanother.\\nSeveren. Mistaken! Would to Heaven that I were.\\nYou are that infamous blackleg. Jack Oakleigh. I have good\\ncause to remember you. I paid you a price for your silence\\nand to leave the country. 1 demand to know why you have\\nreturned,\\nOakleigh. {aside) This is the devil s own mess. Ah by\\nthe eternal, I have an idea. My power over him now is as\\ngreat as it was ten years ago. {To Severen) I will admit\\nthat I was once known as Jack Oakleigh, but my true name\\nis Edward Benington.\\nSeveren. What You Edward Benington\\nOakleigh. I am Edward Benington, and have docu-\\nments proving my rightful claim to the Benington estate.\\nSeveren. Ha! So that is your game? You may de-\\npend that I shall nip it in the bud.\\nOakleigh. You will not.\\nSeveren. I know you to be an impostor and will de-\\nnounce you as such.\\nOakleigh. Again I say you will not. Denounce me as\\nan impostor and I will denounce you as a murderer.\\nSeveren. Hush For pity s sake, hush Some one\\nmay hear!\\nOakleigh. {laughing) Ah, that brings you to your senses\\ndoes it You probably forgot why you paid me the sum of\\nfive thousand dollars some ten years ago. Bob Severen, the\\nlaw has not forgotten your crime. I can send you to the\\ngibbet at my pleasure. Listen to me With your assist-\\nance I can prove to the satisfaction of the trustees of the\\nestate that I am the heir. Refuse to aid me, and you suffer\\nthe consequences.\\nSeveren. Man, have you no pity in your heart Have\\nmercy upon my family if you will have none upon me.\\nOakleigh. It rests solely in your own hands. Co-operate\\nwith me, or I will brand you as an assassin", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0034.jp2"}, "35": {"fulltext": "IN THE TOILS\\n33\\nSeveren. You must give me time I cannot think my\\nbrain is in a whirl Merciful Heaven I shall go mad.\\n{Si?iks down at his desk.)\\nOakleigh. {looking at his watch) I can give you but a\\nshort time to consider. My lawyer waits below. I shall re-\\nturn with him in a few moments and shall expect a definite\\nanswer. {Going, aiid pausing at the door) Remember what\\nawaits you should you refuse. {Goes into the corridor) The\\ngame is ours all is over but the shouting.\\n{Exit Oakleigh, r. i e.)\\nSeveren. This is terrible. My one great sin recoils\\nupon me To have him reappear after all these years of\\nseeming security makes it doubly hard to bear. He is\\ndestitute of conscience, and would crush me like a worm\\nwere I to refuse his demands. There is but one mode of\\nescape {opens drawer in desk and takes out revolver), and\\nthat is here. It requires but a slight pressure of the finger\\nand care and trouble will be things of the past. But, were\\nI to commit self-murder, what would it avail me Tis not\\nfor myself I fear, but for the disgrace the revelation would\\nbring upon my wife and boy. That man is a fiend in-\\ncarnate he would pursue me even beyond the grave, and\\nby blacking my memory, would visit upon the head of my\\ninnocent boy the ignominy of his father s crime. No no\\ntis a cowardly and needless act I would sink my soul into\\nperdition and it would avail me naught.\\n{Enter Grind a7id Oakleigh, r. i e.)\\nOakleigh. As my lawyer, Grind, you will inform Sev-\\neren that you intend taking immediate steps to secure pos-\\nsession of the estate in my behalf. If he admits in your\\npresence that I am Edward Benington, all is well and\\nshould young Benington turn up we shall feel safe. {Knocks\\nat door and enters office, followed by Grind.)\\nSeveren. {arising) What, so soon\\nOakleigh. Just so. I desire to present my attorney,\\nMr. Grind. {Aside to Severen) Not a word in his pres-\\nence.\\nGrind, {bowing) I am delighted to meet so eminent a\\ngentleman. I have taken the liberty of waiting upon you,\\nsir, in behalf of my client, Mr. Benington.\\nSeveren. You must pardon me I can give no infor-\\nmation regarding the case until I have had time to weigh\\nthe proofs of your client s identity. I must have more time\\nto enter into this affair; {aside to Oakleigh) otherwise\\nyou can do your worst.", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0035.jp2"}, "36": {"fulltext": "34 IN THE TOILS\\nOakleigh. {aside) I must not goad him too far. (7b\\nSeveren) Very well, we will call in a day or two. Mr.\\nGrind will leave the documents proving my identity. Per-\\nhaps when we call again you will be ready to talk business.\\n{He opens office door and steps out into corridor, followed by\\nGrind. Severen stands ifi doorway. Enter Bening-\\nTON a7id Helen, r. i e.)\\nBenington. {to Helen) And now, having seen Mr. Han-\\nIon What Grind and Oakleigh here\\nGrind, {to Severen) My client, sir, possesses all the\\nnecessary documents and can prove to the satisfaction of\\nthe English courts that he is Edward Benington.\\nBenington. {advancing) You lie you shriveled old\\nscoundrel\\nOakleigh. Curse the luck That fellow again\\nBenington. {to Severen) You are Mr. Severen, I pre-\\nsume. Sir, I am Edward Benington that man {pointing to\\nOakleigh) is an impostor\\nOakleigh. You lie, curse you\\nGrind, {aside to Oakleigh) Now is the time to test your\\npower over Severen. Bring him to his knees now or you\\nnever will.\\nOakleigh. {aside to Severen) The time has come to de-\\nclare in my favor. Refuse, and by Heaven I will hand you\\nover to the law.\\nSeveren. {Aside to Oakleigh) Spare me In Heaven s\\nname, do not compel me to commit this crime\\nOakleigh. {still aside) You have the alternative\\nchoose\\nSeveren. {to Benington) Sir, I am convinced that this\\nman is the person I seek\\nBenington. Then you, too, are leagued with these rascals\\nto defraud me of my rights Is this the way you guard\\nyour trust\\nSeveren. {aside) This is more than I can endure! I\\nshall go mad mad {Enters office and sinks dozen at desk.)\\nBenington. Then I am to understand that I have three\\nto cope with. Well, the more the merrier. I shall find\\nmeans to thwart you all. Take heed, you precious pair of\\nscoundrels They say the devil takes care of his own if\\nthis be true, he will require the thousand eyes of Argus and\\nneed to keep his vigil incessantly to guard you from my\\nvengeance. Walks up the stage)\\nOakleigh. {aside to Grind) We shall have trouble with", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0036.jp2"}, "37": {"fulltext": "IN THE TOILS 35\\nthat young fool. I recommend silencing him at once, for\\ngood and all. Are you with me, Grind\\nGrind. To the death\\nOakleigh. Good! We must get the girl out of the way\\nalso. Takes off his coat and hands it to Grind) Throw this\\nover her head to prevent any outcry. Then carry her down\\nto our hack and drive, as though the devil were after you,\\nto Nicola s I ll attend to the rest.\\n(Grind throws coat over Helen s head)\\nHelen. Help! help!\\nBenington. {rushing upon Grixp) Unhand her, you\\ninfernal scoundrel\\n(Oakleigh seizes Benington, bnt is throw7i off. Bening-\\nton turns upon him)\\nOakleigh. {drawing knife) You have crossed my path\\nfor the last time.\\n(Benington closes with him and is stabbed)\\nBenington. Good Heaven! lam stabbed! {Falls to\\nthe floor)\\n{Exit Grind, carrying Helen, r. i e.)\\nSever en. {springing up) What s that It sounded like\\na struggle. {Opens door)\\nBenington. Helen! Helen Where are you? They have\\nabducted her Jack Oakleigh, your coward s life shall pay\\nfor this day s work {Efideavors to rise)\\nOakleigh. Curse you, I ll make a clean job of it!\\n{He rushes at Benington with the knife, but Severen co7i-\\nfronts him with drawn revolver)\\nSeveren. Back, you murderous wretch Lay but a\\nhand upon him and I will rid the world of one viper, at least.\\nquick curtain", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0037.jp2"}, "38": {"fulltext": "ACT IV\\nSCENE \u00e2\u0080\u0094South Street on Saturday night. Night lights.\\nFor description, see scene plot. A crowd passing to a7id\\nfro. Venders crying out their wares. Enter Oakleigh\\nand Grind, l.\\nOakleigh. Well, well! I did not credit you with so\\nmuch enthusiasm in the cause, Grind. What a blood-\\nthirsty old reprobate you are, to be sure. But you are\\nwrong the less bloodshed we have the better for all hands\\nconcerned especially the victims.\\nGrind. Bah You are growing chicken-hearted.\\nOakleigh. No only sensible.\\nGrind. We can t keep them prisoners forever. We\\nmust, in the long run, either liberate them or kill them.\\nOakleigh. The former mode is preferable to the latter.\\nGrind. And the moment they secure their liberty they\\nwill denounce us.\\nOakleigh. That does not necessarily follow. I have a\\nway to prevent it.\\nGrind. Indeed And how would you proceed\\nOakleigh. I shall marry the girl.\\nGrind. Marry her! You are jesting.\\nOakleigh. I was never more serious in my life. The\\nfact is, the witch has captivated me. She is a lovely girl,\\nfull of fire and spirit, just the sort of a woman I admire.\\nGrind. Ah I see you are in love. But look you. Jack\\nOikleigh, if you imperil our prospects by your nonsense I\\nwill be revenged.\\nOakleigh. Hov dense you can be. Grind, when you\\nhave the mind. Can you not see that I intend marrying\\nher as much through self-interest as for her charms.\\nGrind. Explain yourself\\nOakleigh. As can be easily perceived, the girl is proud\\nof both her birth and social standing. Were I once her\\nhusband she would not proclaim me an impostor, of course\\nnot for my sake, but for her own. It is hardly likely that\\nshe would allow any qualms of conscience to mar her social\\nposition. I have had much to do with women and know\\nthe animal well.\\nGrind. But her brother?\\nOakleigh. She would prevail upon him to act likewise\\nand for a like reason.\\n36", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0038.jp2"}, "39": {"fulltext": "IN THE TOILS\\n37\\nGrind. All easy enough to talk about. You have\\noverlooked the most important point will the girl con-\\nsent?\\nOakleigh. Of course not.\\nGrind. And how do you propose to surmount that ob-\\nstacle\\nOakleigh. We will use threats.\\nGrind. As we have discovered, she is not a girl to be\\nintimidated by threats.\\nOakleigh. Perhaps not but we have her brother in\\nour power.\\nGrind. Ha You mean\\nOakleigh. To force her to comply through fear of in-\\njury to her brother.\\n{Enter Maggie, disguised as a newsboy, l. e.)\\nGrind. Good It strikes me that your plan is a feasible\\none.\\nMaggie, {calling out) Here s your Bulletin an Telegraph.\\nTelegraph, sir To Grind.)\\nGrind. No! Get out!\\nMaggie. Full account of the sluggin match in Smoky\\nHollow.\\nGrind. Be off with you, or I ll call an officer!\\nMaggie. Baboon escaped from the Zoo from the de-\\nscription he must be your brother. Don t yer want ter hear\\nfrom yer long-lost relation\\nGrind. If I get my hands on you {Makes a rush at\\nMaggie.)\\nMaggie, {eluding him) Say, ye old mug, if ye hit me, I ll\\nput the gang onto ye, an they ll punch that front of yours,\\nsee\\nOakleigh. Come, come. Grind. {Laughing) Don t\\nbother with the gutter-snipe. He s too many for you.\\n{They walk It will require us to put my plan into im-\\nmediate execution delay may ruin all.\\n{Exit Grind a7id Oakleigh, r.)\\nMaggie, {calling after them) Go throw mud at yerself, ye\\nold mummy go up to the City Hall and look for yerself in\\nthe rogues gallery. Just come back here again an I ll\\npaste ye in the teeth. That s the fiyest pair of crooks out-\\nside of Cherry Hill. {Soliloquizi?ig) But I ll find out where\\nthey ve got Miss Morton if I have to dog em for a month.\\nI ain t doin a thing but cuttin a caper in these duds of\\nJimmy O Brien s. Frocks ain t in the same game. Hello I", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0039.jp2"}, "40": {"fulltext": "38\\nIN THE TOILS\\nThere they go around the corner. Here ye are! Paper!\\nFull account of the butchery in Lombard Street\\n(^Exit Maggie, r. EnterV \\\\3xy ajid Benington, l.)\\nBExNTINGTON. This is the place where Maggie agreed to\\nmeet us and report progress, is it not\\nBud. Correct. D ye see that big window in the Dutch\\nbakery over there\\nBenington. That one yonder\\nBud. That s the one. I broke that with an organ-grinder\\nthe other night. An would you believe it, the Dutchman\\ngot twisted an wanted to have me pinched.\\nBenington. {lauglmig) Very rude in him, I m sure.\\nWe are early {lookijig at watch) it lacks a half-hour of the\\nappointed time.\\nBud. It s only by good luck yer here at all. If Jack\\nOakleigh had put his knife into the right spot yer friends\\nwould have been invited to meet at two and go at three.\\nBenington. Not good luck, Bud, but the will of Provi-\\ndence. Had not my watch-case turned the blade, it would,\\nin all probability, have finished me. As it was, it inflicted\\na wound that momentarily deprived me of my strength.\\nDoubtless that rascal, Oakleigh, believes me dead.\\nBud. He tried to make sure of it, that s a fact.\\nBenington. I have Robert Severen to thank for my pres-\\nervation. What an impenetrable man is that After openly\\ndeclaring himself leagued with my foes he saves my life,\\nwhen to have left me perish would have furthered their in-\\nterests. His motives are inexpHcable I cannot fathom\\nthem.\\nBud. It ll all come hunkey, after a while. Hello here\\ncomes Maggie. Say, she makes a birdy boy, don t she\\n{Enter Maggie, r.)\\nMaggie. We ve got em I ve cornered em at last.\\nBenington. I ^j^^^^.\\nBud. I\\nMaggie. On Carpenter Street, in the big Italian tene-\\nment! Miss Morton s there as sure as Mickey Flaraty s\\ncross-eyed.\\nBud. That s a tough joint Them dagoes would stick a\\nbloke with a stiletto as quick as they would push the\\npitcher.\\nBenington. If it were the lower regions, I d enter it in\\nquest of her. Come, we will secure the assistance of the\\npoHce.", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0040.jp2"}, "41": {"fulltext": "IN THE TOILS 39\\nBud. Hold on {gj -aspuig his arm) Don t be in a rush.\\nGet the pohce an ye ll make a mess of it. If the dagoes\\nsaw a squad of coppers comin they d slope an we d lose\\nour game.\\nBenington. Then, in Heaven s name what s to be\\ndone?\\nBud. What s the matter with doin the job ourselves\\nYou ve got a gun an so have I. Let us once get inside that\\nshebang an we ll make things hum\\nBenington. Then let us go at once. Good Heavens\\nWe know not what is happening her and I idling here.\\n{Starts toward r.)\\nBud. Don t get rattled. Just go rushin into things head\\nfirst an the gutter snipes will cook yer goose.\\nBenington. You are right. It will require a cool head\\nand a steady hand to outwit these scoundrels. Maggie,\\nfollow after us and watch on the outside after we enter the\\nhouse. If we do not reappear within an hour, summon\\nthe police.\\nMaggie. I ll have a patrol wagon down there in two\\nshakes.\\nBenington. And now for desperate work. Come, Bud,\\nand summon all your grit.\\nBud. I m good for any three dagoes in the city. If they\\nkick up a muss, I ll fill Carpenter Street full of busted mac-\\naroni.\\n{All exit, R.)\\nSCENE 2, The interior of an Italian tenemeyit house.\\nLights doim. For description, see scene plot. Enter\\nHelen, r.\\nHelem. What a fateful journey this has been Little\\ndid I dream when I left my London home that such an ex-\\nperience awaited me in America. Imprisoned in this vile\\nden by men, who in their cupidity would not hesitate at\\nactual murden Hesitate they have already committed it\\nDid I not hear Ned cry out that he was stabbed Did I not\\nhear him fall to the floor in, possibly, his death agonies\\nAnd Richard what have they done with him If they\\nhave crimsoned their hands in the life blood of one man,\\nwould they hesitate at the repetition of the crime? Good\\nHeavens, these men are demons Why should I undergo all\\nthis What have done to merit all this suffering I\\ncannot endure it I would that I were dead! Then, at\\nleast, I should be free from the clutches of these monsters.", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0041.jp2"}, "42": {"fulltext": "40 IN THE TOILS\\n{Exit Helen, l., mid enter Benington and Bud, door in\\nfiat)\\nBenington. Thus far we have succeeded in evading\\ndetection. But I fear to open a door lest some of these\\nItalian thugs be behind it.\\nBud. We must lay low an wait. Ha there s some one\\ncoming. We are in for it now.\\nBenington. Never say die. If their intentions be hostile,\\nwe will give them a warm reception.\\nBud. Pull yer gun They draw revolvers)\\n{Enter two Italians, door in fiat)\\nFirst Italian. Diavolo Who are you\\nSecond Italian. What-a for you-a com-a here\\nBenington. {to Bud) We must take them off their guard\\nif possible. {To Italians) We are health inspectors and\\nhave come to look into the sanitary arrangements of this\\nhouse.\\nFirst Italian. You-a lie You-a com-a here to-a spy\\nSecond Italian. You-a never leave-a this house alive\\nThey both draw knives)\\nBenington. Hold {Pointiiig revolver) Another step and\\nyou are dead men.\\nBud. Drop them pig-stickers {poi?tts revolver), or I ll put\\na slug in yer thinkers.\\nThe Italians drop their knives)\\nBenington. Bud, open that door.\\n(Bud opens door, r.)\\nNow, you pretty pair, face about and march into that\\nroom.\\nThe Italians hesitate)\\nBud. March, you son of an organ grinder, march\\nThey all exit r. Enter Helen, l.)\\nHelen. I fancied I heard voices Ah They are re-\\nturning. I will not withdraw, but confront them and de-\\nmand my liberty.\\n{Enter Grind and Oakleigh, door in fiat)\\nGrind. Ah Here is the fair enslaver, Jack. You have\\nan excellent eye for female beauty.", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0042.jp2"}, "43": {"fulltext": "IN THE TOILS 41\\nOakleigh. I trust I see you in good health, Miss\\nMorton.\\nHelen. Health never intrudes itself upon such a squalid\\nden as this.\\nOakleigh. You need not remain here, if you so desire.\\nHelen. Have I ever expressed a desire to remain?\\nOakleigh. You do not grasp the meaning.\\nHelen. Then do not speak in enigmas, sir.\\nOakleigh. I have the honor of making you a pro-\\nposal.\\nHelen. Of what nature, sir\\nOakleigh. Of marriage.\\nHelen. Sir, you insult me\\nOakleigh. My proposal is a perfectly honorable one.\\nHelen. Honorable! What has a man such as you in\\ncommon with honor\\nGrind. Have a care, girl! We are not to be trifled\\nwith.\\nHelen. I care not for your threats. Though but a weak,\\ndefenseless girl, I defy and despise you\\nOakleigh. Would you prefer remaining a prisoner in\\nthis filthy place to being happy as my wife\\nHelen. I would pass the remainder of my life in abject\\nmisery rather than become the wife of a man whose hands\\nare stained with human blood\\nOakleigh. I see that threats of a personal nature will\\nnot affright you. But we shall see how you stand the test\\nwhich I have prepared. Grind, bring him in.\\n{Exit Grind, door ijiflat)\\nHelen Morton, I have determined that you shall be my\\nwife, by fair means or foul. I have already exercised the\\nfair now I shall try the foul.\\n{Enter Grind, Morton, Bud, a?id Benington, door in flat,\\nthe two latter disguised as Italiaiis. Morton s hands are\\nbound behind his back?)\\nMorton. Helen How came you here\\nHelen. Richard! My brother! {Rushes toward him^\\nOakleigh. {gi^asping her arm) That will follow in good\\ntime.\\nGrind, {to Morton) We have brought her here to com-\\nfort you, my dear sir to comfort and console you. {Chuck-\\nli?ig.)\\nMorton. You treacherous toad {Kicks hitn) I often", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0043.jp2"}, "44": {"fulltext": "42 IN THE TOILS\\nwonder why Heaven permitted such a viper as you to pass\\nfrom under its creating hand and hve\\nOakleigh. Enough of this. We are not here to pay\\ndoubtful compliments, but for business. Richard Morton,\\nI have just made your sister a proposal of marriage, and she\\nhas refused.\\nMorton. Refused {Struggli?ig with Benington and\\nBud, who hold him) Curse you If I were free I would\\nstrangle you\\nOakleigh. Compose yourself and listen to reason. I\\nasked your sister s hand as a gentleman should.\\nMorton. A gentleman\\nOakleigh, She refused me. We now mean to adopt\\nmeasures to force her to comply.\\nHelen. Threats will not avail you. Though you torture\\nme, I will still refuse\\nOakleigh. We shall see. {To supposed Italians) Do\\nyour work. They stir up embers in fireplace, and put sev-\\neral small iron bars into the flames) We shall now try a\\nnew mode of persuasion.\\nHelen. Merciful Heaven What would you do\\nOakleigh. In their own country these men were\\nbrigands, and were accustomed to torturing their prisoners\\nuntil they forced them to pay a ransom for their release.\\nDo you see those irons They will soon be at a white\\nheat. Swear to become my wife within four-and-twenty\\nhours, or your brother shall be turned over to the tender\\nmercies of these men\\nHelen. Demon You dare not\\nOakleigh. You shall see. Bind him to that chair\\n{to supposed Italians).\\nThey bind Morton to the chair)\\nGrind. When you hear the hiss of his burning flesh\\nyou will be glad to accede to our demands.\\nMorton. She shall never consent, you fiends though\\nyou murder me, she shall still refuse\\nHelen. Are you human Has your greed for gold\\nfrozen every stream of kindness in your hearts Do what\\nyou will with me, but spare my brother {falls upon her\\nk?iees). See, upon my knees I implore you not to commit\\nthis dreadful deed.\\nOakleigh. Do you consent\\nMorton. She shall never consent.\\nGrind. Do your work, men.", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0044.jp2"}, "45": {"fulltext": "IN THE TOILS 43\\nHelen. No, no, no in God s name I appeal to you\\n{to supposed Italians).\\nOakleigh. Curse you, you yellow-skinned dogs Will\\nyou do as you are bid\\nBenixgton, We will not.\\nGrind. That is not Nicola s voice! {Grasping Oak-\\nleigh s arm^ These men are spies\\nOakleigh. Spies! Then they shall never live to tell\\nof what they saw here this nio:ht. {Draws revolver\\nBud. Another step and I ll make a sieve out of ye.\\n{Points revolver\\nGrind. Who are you, in the fiend s name?\\n(Benington and Bud throw off their disguises)\\nBenington. Friends of the helpless and champions of\\npersecuted\\nQUICK CURTAIN", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0045.jp2"}, "46": {"fulltext": "ACT V\\nSCENE. Drawing-room m house of Robert Severen.\\nFor description see scejie plot. Severen seated at a\\ntable, R.\\nSeveren. This villainous piece of business has gone\\ntoo far. The insolent effrontery of that scoundrel, Oakleigh,\\nhas roused within me a spirit of desperation and defiance.\\nI will submit to his dictation no longer driven to bay even\\nthe rat will turn and show its fangs. He has hounded me\\nwith the relentless persistency of a blood-hound, rendering\\nme capable of any deed to throw off his intolerable yoke.\\nHe shall swear this night to haunt me no more, or his hand\\nshall lose its cunning and his lips be sealed forever in the\\ndarkness of the grave. {Rings bell)\\n{Enter Maggie, door in flat)\\nMaggie. Did you ring, sir\\nSeveren. I did. I am expecting a visitor. When he\\narrives show him here. Do 3^ou understand\\nMaggie. Yes, sir.\\nSeveren. My sole reason for engaging you and Mrs.\\nBrady during the absence of my family and servants, was\\nthat I could depend upon you not to pry into what did not\\nconcern you. Under no circumstances must yourself or\\nMrs. Brady molest me during my interview with the person\\nI am expecting.\\nMaggie. Very well, sir.\\n{Exit Maggie, door 171 flat)\\nSeveren. Should this meeting terminate as I fear it will,\\nI am prepared to engage these conspirators with their own\\nweapons, black treachery, low cunning, and if occasion\\ndemands violence.\\n{Exit Severen, r. i e., and enter Bud, door i}iflat)\\nBud. Well, say! {looking aroimd) This goes right up\\nfront. The old woman and Mag will be too swell to talk to\\na fellow if they hang up their hats in this joint long. But\\nthey won t be long here if they don t keep their lamps open.\\nTlie front door was wide open an I waltzed right in without\\nsendin up me card. They want to put a chain on that\\nopenin or some fly duck ll float in here an swipe the silver.\\nI wonder where Mag an the old woman is\\n44\\nLofC.", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0046.jp2"}, "47": {"fulltext": "IN THE TOILS 45\\n{Enter Maggie, door in flat)\\nMaggie. Gee-whiz If there ain t Bud. Well, don t he\\njust look on the front seat of the band-wagon. But I m\\nsomething of a swell now meself. Just watch me knock\\nhim off his balance. {Coughs.)\\nBud. {perceiving her) Hello, Mag! I was just wonderin\\nwhat part of the joint ye hung up in. Say, ye look right\\nup to date in them new duds.\\nMaggie. Sir! How dare you address me without an in-\\ntroduction How dare you call my habiliments duds\\nBud. Eh\\nMaggie. Have you suddenly become bereft of the sense\\nof hearing, or are your educational deficiencies the cause of\\nyour failure to comprehend what I articulate. {Aside) That\\nought to stupefy him.\\nBud. The grub ain t good in this neighborhood, Mag, is\\nit Been lunchin off Webster s Unabridged, eh\\nMaggie. The feed s out o sight. But, oh. Bud, when I\\nwalk around this scrumptious drawing-room I must sling a\\nbig bluff or I d bust. Say, Bud How nice you look in yer\\nnew polka-dot tie. An say on the dead now {feeling the\\nleg of his tronsers) how much did you give fer the bags\\nBud. a dollar thirteen. The dollar was plugged an I\\ngot Goldenstein to chalk up the thirteen till pay-day. But\\nI ve got slashin good news, Mag; a job in the post-ofiice,\\nsalary one hundred a month, an it s a lead-pipe cinch all\\nI ve got to do is to fire the bums off the steps. We can\\ncome up to the scratch now, Mag say the word, an we ll\\nget the knot tied a-Sunday.\\nMaggie. Oh, Bud Won t that be nice. {Embracijig\\nhim)\\nBud. Well, ye can just bet your sweet life it will. But\\nthat ain t all. Ye know that little brick house at the end of\\nMcGerrigal s Alley Well, McGerrigal says he ll let us\\nhave it fer three plunkers a month cheaper than any one\\nelse, because I licked the tax-collector fer him one day last\\nweek.\\nMaggie. Won t that be just on the top of the heap\\nBud. Won t it though But I ve got somethin else yet.\\nWhen I was buyin the togs I struck a bargain with Gold-\\nenstein. He s goin to furnish the joint fer us an he s\\ngoin to do it cheap. If he don t I ll take the gang down\\nthere an we ll clean out the shebang.\\nMaggie. An just to think when we are housekeepin\\nI can dust, an* sweep, an cook, an make the bed, an have", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0047.jp2"}, "48": {"fulltext": "46 IN THE TOILS\\neverything lookin nice when you come home from work.\\nAn in the evenin you can smoke yer pipe\\nBud. An push the can if any of our friends come to see\\nus. I tell ye, Mag, it ll be bang up\\nMaggie. I ll be awful glad to have a home of my own.\\nI ain t had one since mother died an the old man started\\nto booze. (Cries.)\\nBud. An ye were only a kid then, too. I remember\\nwhen ye lived in Slattery s Court an chased the bottle fer\\nthe old man. Ye ve had hard lines, Mag, but it s all over\\nnow. Ye ll never be sorry for it if ye run double with me,\\nI m a tough mug, but me heart s all right. Shut off the\\nwater-works, Mag after we re married I ll give ye me\\nwages every Saturday night. (Maggie embraces him.)\\n{Enter Mrs. Brady, door in flat)\\nMrs. Brady, {aside) Arrah, would ye look at them slob-\\nberin over one another What the divil s Maggie a-cryin\\nabout, I dunno\\nBud. But say, Mag. There s one thing I don t like.\\nMaggie. What s that\\nBud. I don t like to leave the old woman.\\nMrs. Brady, {aside) Lave me, is it! Begorra, they re\\ngoin to be married\\nMaggie. Leave her Why, say. Bud, ain t she goin to\\nhang up her bonnet with us\\nBud. I d like her to, but\\nMaggie. You thought I d kick, eh\\nBud. That s just it.\\nMaggie. I thought you were acquainted with me Your\\nmother s a real old Irish lady. She was a mother to me\\nafter me own mother died. D j^e think, after that, I d take\\nher son away from her an give her the go-by You look\\nhere. Bud Brady if she don t put her feet under our table,\\nI ll give ye the dead shake, an marry Hans Swartz, the\\nDutch butcher.\\nMrs. Brady. Oh! That s the darlin She wouldn t\\nsee a poor old creature left alone. Weeps loudly)\\nBud. Sufferin Jerusalem There s the old woman, an\\nshe s piped off all we said\\nMrs. Brady, {holding out her aj^ms) Maggie, darlin\\nMaggie. Mrs. Brady\\nThey embrace and weep together)\\nMrs. Brady. Oh, the blaguard To want to leave his\\npoor old mother all alone", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0048.jp2"}, "49": {"fulltext": "IN THE TOILS 47\\nBud. But say, mom I didn t want to leave ye.\\nMaggie. Yes, you did you said you did. {Still weep-\\ning)\\nBud. Well, say, this is enough to drive a fellow to smoke\\ncigarettes.\\n{A bell rings off L. c.)\\nMaggie, {drying her eyes) It s the man Mr. Severen s\\nbeen expectin I m to show him in here.\\n{Exit Maggie, door in flat)\\nMrs. Brady. Come down to the kitchen, me bucko\\n{takes Bud by the ear). Leave your old mother, will ye, ye\\nthafe av the world. Faith an I ll knock that out av yer\\nhead, if I break a flat-iron doin it.\\nThey exit, r. i e., Mrs. Brady leading Bud by the ear. Enter\\nMaggie aiid Benington, door in flat)\\nMaggie. Mr, Severen s been expectin ye. Sit down\\nhe ll be here in a minute.\\n{Exit Maggie, door in flat)\\nBenington. Expecting me There must be some mis-\\ntake, Maggie Hello, she s gone. Can it be that Severen\\nhas anticipated this visit and prepared some plausible\\npshaw I am harsh with the man. Calm reflection makes\\nit obvious that he was forced to act as he has, I shall en-\\ndeavor to wring a confession from him. {A bell rings\\noff L. c.) Ah It seems that Severen is to have another\\ncaller.\\n{EnteryihQQiY., door i?iflat)\\nMaggie. Mr. Benington, it s Jack Oakleigh. I left the\\nfront door open an he s comin down the hall.\\nBenington. Ah Coming to have a conference with\\nSeveren, I ll be bound. Could I but overhear what will be\\nsaid Ha the portieres the very thing Not a word {to\\nMaggie) to Severen or Oakleigh that I am here.\\nMaggie, Quick! Here he is. (Benington conceals\\nhimself behind the portieres)\\n{Enter Oakleigh, door hi flat)\\nOakleigh. The door was ajar and I took the liberty of\\nwalking in. Pray announce me to Mr, Severen. {Exit\\nMaggie, door i7i flat) This would be a neat crib for a good\\nprofessional to try his hand on. I shall have to give the\\nboys a tip.", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0049.jp2"}, "50": {"fulltext": "4$ IN THE TOILS\\n{Enter Severen, door in flat.)\\nSeveren. Ah! You have arrived. {Looking at his\\nwatch) You are punctual.\\nOakleigh. And now that I m here, what do you want\\nSeveren. To talk over this imposition, this scheme to\\ndefraud young Benington of his rights.\\nOakleigh. I thought this matter settled for good. You\\nacknowledged me the rightful claimant in the presence of\\nBenington himself, and have since written the English\\nauthorities that everything is settled.\\nSeveren. I have communicated no such intelligence,\\nand, what is more, do not intend doing so.\\nOakleigh. Bob Severen, if I thought you were playing\\nme false, I would\\nSeveren. No threats. I have done with you and your\\nschemes. I refuse to be a party to your villainy. Further-\\nmore, you shall forego this nefarious plot and keep your\\nlips sealed concerning any act of mine of which you may\\nh^ve knowledge.\\nOakleigh. {Laitghing) You don t ask much, Severen in\\nfact, you are quite modest. {Grasping his arm) You forget\\nthat I hold your reputation, your very life, in the hollow of\\nmy hand. And yet you presume to dictate to me as to what\\nI shall and shall not do. You forget, my good friend, what\\nan interesting story I could tell the police officials of New\\nYork City. You forget that the body of a man was found\\none morning, shot through the heart, in a deserted gam-\\nbling hell. The murderer was never discovered, and the\\nfact has been a thorn in the side of the authorities ever\\nsince. I need hardly say that they would be delighted if\\ninformed where they could lay their hands upon him. And\\nthis information I propose to give them if you do not act\\nstrictly in accordance with my desire.\\nSeveren. You scoundrel! You know full well that I\\nshot John Ogden in self-defense.\\nBenington. {aside) John Ogden Can it be the same\\nIf so, I begin to see the light.\\nOakleigh. Perhaps so. But would a jury believe me,\\nthe witness, or you, the accused murderer\\nSeveren. Stop! No more insults, or you shall rue it.\\nJohn Ogden, as you know, drew his weapon on me because\\nI accused him of cheating at cards. My act was clearly one\\nof self-preservation. You were the only witness to the\\naffair, and, like the contemptible scoundrel that you are,\\nyou threatened to denounce me as a murderer unless I paid\\na heavy sum for your silence. In my terror I allowed you to", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0050.jp2"}, "51": {"fulltext": ";n the toils\\n49\\nbleed me, to spare rti} family the disgrace of a trial. But\\ndo you think because I was weak enough to allow you to\\nextort money from me then that I will submit to you ex-\\nerting your power over me whenever it pleases you to do\\nso No, Jack Oakleigh, you have a different man to deal\\nwith. Do you remember the concluding words of my note\\nrequesting your presence here to-night\\nOakleigh. I can t say that I do.\\nSeveren. Then I will refresh your memory. The\\nwords were these Call at the hour named, and we will\\nsetde this matter once and forever. I have endeavored to\\npersuade you to forego your purpose, but in vain. There\\nremains but one other mode of argument. {Opens a drawer\\nin the cabinet)\\nOakleigh. {aside) The fool must have taken leave of\\nhis senses to defy me in this way\\n(Severen takes two knives from the drawer and throws them\\nupon the floor.)\\nSeveren. Select the one which you prefer.\\nOakleigh. Severen What would you do\\nSeveren. Give you a chance for your cowardly life.\\nYou have hunted me down, and now I stand at bay. Take\\nup one of those knives and fight for your life.\\nOakleigh. And if I refuse\\nSeveren. Then I will kill you with as little compunc-\\ntion as I would a rabid dog.\\nOakleigh. {aside) This is more than I bargained for.\\nThe man is stark, staring mad.\\nSeveren. Quick I will give you ten seconds to choose.\\nWalks toivard the portieres}^\\nOakleigh. {aside) You would murder me, would you\\n{Picks up one of the knives, holds it behiiid him and advances\\ntoivard Severen.) I do not desire any violence, Severen\\n{to Severen) doubtless we can come to a peaceable un-\\nderstanding.\\nSeveren. It must be one thing or the other. I will not\\nparley or\\nOakleigh. Then die, you fool {Striking at him ivith\\nknife)\\nBenington. {dashing the knife from his hand) Not just\\nyet, my friend\\nSeveren. Benington!\\nOakleigh. j Curse you, you again\\nBenington. Your humble servant.\\nSeveren. You have saved my life", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0051.jp2"}, "52": {"fulltext": "50 IN THE TOILS\\nBenington. Then we are quits. (Oakleigh makes for\\ndoor in flat, but Benington bars his ivay You are not\\nleaving us so soon, my boy. Stay a little, I have a story to\\ntell which will interest you and Mr. Severen exceedingly.\\nMr. Severen, doubtless you are surprised at my presence\\nin your house. I came with the intention of thanking you\\nfor saving me from the murderous ferocity of this gentle-\\nman {boiving to Oakleigh), little dreaming that I should\\nhave the opportunity of clearing myself of the debt of\\ngratitude I owed you. During your conference I over-\\nheard Oakleigh accuse you of the murder of a certain\\nJohn Ogden. You will be greatly surprised to learn that I\\nhave proof positive that John Ogden is still alive.\\nSeveren. Merciful Heaven, I thank thee\\nOakleigh. It s an infernal lie\\nBenington. It is the truth. You could not have seen\\nthe newspaper accounts, Mr. Severen, of the finding of\\nOgden desperately wounded, and of his refusal to give the\\nname of his assailant.\\nSeveren. No. I left the city at once in order to leave\\nmy crime as far behind as possible. I forbore reading the\\nnewspapers that I might forget.\\nBenington. That accounts for it. Perhaps you are sur-\\nprised at my intimate knowledge of the case. The fact is,\\nI met this same John Ogden at Monte Carlo about a year\\nago. We became very intimate and, in a communicative\\nmoment, he told me of his narrow escape from death.\\nSeveren. Then this man s power over me is at an end.\\nI now see my way clear toward securing you your rights\\nand placing him behind prison bars.\\nOakleigh. {aside) It seems to me the jig s up, {Aloud)\\nSurely you would not be so cruel. {To Severen) What!\\nPut a former crony behind the bars of a nasty jail Perish\\nthe thought. You are not yourself, you are excited, con-\\nfused, and will think better of it anon.\\nSeveren. Your flippancy will not save you.\\n{A bell rings off l. c.)\\nHark There is some one at the door. Taps bell on\\ntable)\\n{Enter Maggie, door in flat)\\nSee who is at the door.\\n{Exit Maggie, door in flat)\\nOakleigh. Don t you know, my dear fellow, that Scrip-\\nture admonishes those who would be virtuous to turn the", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0052.jp2"}, "53": {"fulltext": "r\\nIN THE TOILS -j\\n(Enter Maggie, door in flat)\\nMaggie. It s old Grindsey, an he s pinched\\n(Enter, door in flat Hanlon, Grind, and Policeman Po-\\nLICEMAN holding Grind by tlic shoulder)\\nato r^sX i\u00e2\u0080\u009e the toi,s --P\\nco^a^b ^o e r 4^!^ apprehended my esteemed\\n5^// r/;^^j- L. c.)\\nSever EN. Maggie, attend.\\n(Exit Maggie, door in flat)\\nis herr necessary, Mr. Hanlon your prisoner\\n(Oakleigh makes a dash for the door i?iflat. Enter Bud\\nand confro7its him)\\nold man. ^^t Oakey,\\n(^/^/^r Maggie, Morton, and Helen, \u00c2\u00ab^^^r zV^yf^/.)\\nMaggie. Mr. an Miss Morton\\nMorton. Pardon me, Mr. Severen, I did not know that\\nmyself. 1^^ unto\\nSeveren. Yes they are in a fair way of receiving their\\nhel at last, and the Benington estate has found an\\nsh^lTemr nto ^F l V ded. I\\nsnail return to England as soon as possible\\nBenington. You shall return alone. Your sister remains\\nin the land of the free and the home of the brave She 1 L\\nconsented to become Mrs. Benington at once", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0053.jp2"}, "54": {"fulltext": "52 IN THE TOILS\\nHelen. You are not angry, Richard\\nMorton. Angry Why should I be You would be\\nmarried some time or other, and I may as well lose you\\nnow as later. Another thing {exteiidmg his hand to Ben-\\nington) your affianced is a man after my own heart.\\nBenington. {shaking his hand) You shall never repent\\ngiving her to me. It shall ever be my foremost thought to\\nmake her happy.\\nHanlon. With your permission, Mr. Severen, we will\\nremove the prisoners.\\nOakleigh. Well, good-bye, everybody, I trust that you\\nwill call upon us now and then, even if it is only to make\\ninquiries concerning our health.\\nGrind. My curse, my black bitter curse, rest upon you\\nall.\\nPoliceman. Here, here None of that. Strike a gait\\nnow, or I ll club you.\\n{Enter Mrs. Brady, right door)\\nMrs. Brady. Ah, ha! So yer pinched at last, are ye, ye\\nold son av a gun Bad luck go with you to yer big board-\\ning house on Cherry Hill\\n{Exit Hanlon, Grind, Oakleigh, and Policeman, door\\ni?i flat)\\nBenington. Here are friends to whom we owe not a\\nlittle. {Shakes hands with Bud and Maggie.) You shall\\nnever regret having raised your hands in defense of the\\nhelpless.\\nBud. I always did have a hankerin for the under dog in\\na fight.\\nMaggie. I d a-done almost anything to knock the pins\\nfrom under the feet of that leather-faced shrimp. Grind.\\nBud. Ladies and gents, me an Mag s goin to be spliced\\nnext Sunday afternoon, an we invite you all to the wed-\\ndin.\\nMrs. Brady. An if ye ll come it s a good time ye ll\\nhave. Troth an I ll make my Bud s weddin take the shine\\noff any that s ever took place in the ward.\\nHelen. Dear Mrs. Brady, I want to thank you for all\\nyour goodness to me, and my brother also wishes to thank\\nyou. (Morton shakes Mrs. Brady s hand) We can never\\nrepay you never.\\nMrs. Brady. Then don t try, darlin So this is yer", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0054.jp2"}, "55": {"fulltext": "IN THE TOILS 53\\nbrother. Faith, it s many a time I gave him up fer dead, I\\ndid that.\\nMorton. But you see I am very much ahve. We can\\nafford to look back upon it all and treat it as an unpleasant\\ndream.\\nSever EN. To me it shall ever be a dreadful reahty. For\\ndays I have felt that my name, my very life, hung in the\\nbalance. But, thank Heaven, I am forever out of the\\nTOILS.\\nslow curtain", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0055.jp2"}, "56": {"fulltext": "", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0056.jp2"}, "57": {"fulltext": "", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0057.jp2"}, "58": {"fulltext": "", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0058.jp2"}, "59": {"fulltext": "practical Elocution\\nmat\\nBy J\u00c2\u00ab Wo ShoemakeRj A. M.\\n300 pages\\nCloth, Leather Back, $i.2B\\nThis work is the outgrowth o!\\nactual class=room experience, and is\\na practical, common-sense treatment\\nof the whole subject. It is clear and\\nconcise^ yet comprehensive, and m\\nabsolutely free from the entangling\\nare so frequently found in books of\\nConversation, which is the basis of all true Elocution,\\nIf regarded as embracing all the germs of speech and\\nfection\u00c2\u00bb Prominent attention is therefore given to th g\\ncultivation of this the most common form of human @3g=\\npression.\\nGeneral principles and practical processes are pre=\\nsented for the cultivation of strength, purity, and flexi-\\nbility of Voice, for the improvement of distinctness and\\ncorrectness in articulation, and for the development of\\nSoul Power in delivery=\\nThe work includes a systematic treatment of Gesture\\nm its several departments of position, facial expression,\\nand bodily movement, a brief system of Gymnastics\\nbearing upon vocal development and grace of move-\\nment, and also a chapter on Methods of Instruction, for\\nteachers.\\nSold by all booksellers, or sent, prepaid, upon receipt\\nof price\\nThe Penn Publishing Company\\n923 Arch Street, Philadelphia\\nA9f-22 mOl", "height": "3484", "width": "2022", "jp2-path": "intoilsmelodrama00mcin_0059.jp2"}, "60": {"fulltext": "LIBRARY OF CONGRES!\\nJUN 17 11\\nSHOEMAKER\\nmm\\n015 762 732 6\\nTfhe National School\\n^f Elocution and O^^tory\\nODD FELLOWS^ TEMPLE\\nBroad and Cherry Streets\\nPhiladelphia\\nPERSONS wishing^ to obtain practical trainingf and\\nartistic culture in Elocution and Oratory should\\nattend this institution.\\nIt is the oldest chartered school of expression in\\nAmerica.\\nIts students and graduates, numbering thousands,\\nare to be found in all parts of this country and\\nCanada, occupying prominent positions as Public\\nReaders, Teachers of Elocution, Clergymen, Lecturers,\\nActors, etc.\\nInstruction thorough in all that pertains to a well-\\nrounded elocutionary education.\\nA corps of eminent teachers, each a specialist in his\\nown department. All facilities first-class.\\nIn addition to the regular Day Classes there are\\nspecial Evening and Saturday courses.\\nSpecial Summer course. Private instruction. Grad-\\nuating courses one and two years. Illustrated catalogue\\ngiving full information sent on application.\\np f MRS. J. W. SHOEMAKER\\nPrincipals\\nGEORGE B. HYNSON, ESQ.", "height": "3521", "width": "1970", "jp2-path": "intoilsmelodrama00mcin_0060.jp2"}}