SYNOPSIS OF INCIDENTS.
Act I. The Home of the Light-house Keeper.—An autumn afternoon.—The insult.—True to herself.—A fearless heart.—The unwelcome guest.—Only a foundling.—An abuse of confidence.—The new partner.—The compact.—The dead brought to life.—Saved from the wreck.—Legal advice.—Married for money.—A golden chance.—The intercepted letter.—A vision of wealth.—The forgery.—Within an inch of his life.—The rescue.—Tableau.
Act II. Scene as before; time, night.—Dark clouds gathering.—Changing the jackets.—Father and son.—On duty.—A struggle for fortune.—Loved for himself.—The divided greenbacks.—The agreement.—An unhappy life.—The detective's mistake.—Arrested.—Mistaken identity.—The likeness again.—On the right track.—The accident.—"Will she be saved?"—Latour's bravery.—A noble sacrifice.—The secret meeting.—Another case of mistaken identity.—The murder.—"Who did it?"—The torn cuff.—"There stands the murderer!"—"'Tis false!"—The wrong man murdered.—Who was the victim?—Tableau.
Act III. Two Days Later.—Plot and counterplot.—Gentleman and convict.—The price of her life.—Some new documents.—The divided banknotes.—Sunshine through the clouds.—Prepared for a watery grave.—Deadly peril.—Father and daughter.—The rising tide.—A life for a signature.—True unto death.—Saved.—The mystery solved.—Dénouement.—Tableau.
[BETWEEN TWO FIRES.]
A COMEDY-DRAMA IN THREE ACTS, BY THOMAS K. SERRANO.
PRICE, 15 CENTS.
Eight male, three female, and utility characters: Leading juvenile man, first and second walking gentleman, two light comedians (lawyer and foreign adventurer), Dutch and Irish character comedians, villain, soldiers; leading juvenile lady, walking lady and comedienne. Three interior scenes; modern and military costumes. Time of playing, two hours and a half. Apart from unusual interest of plot and skill of construction, the play affords an opportunity of representing the progress of a real battle in the distance (though this is not necessary to the action). The comedy business is delicious, if well worked up, and a startling phase of the slavery question is sprung upon the audience in the last act.