Just as she was stealthily mounting the parapet to throw herself into the river, the child caught sight of her, ran forward with a shrill cry more animal than human, and seizing the woman's dress dragged back upon it with all her little strength.

Then there came suddenly upon the scene two other characters who had already figured in the play, a tall, handsome, athletic gentleman dressed in the fashion, attended by a slim-figured lad who was as refined in dress and appearance as the little girl clinging to her mother, who was mournfully hideous in her rags and repulsive poverty.

These two, the gentleman and the lad, prevented the attempted suicide, and after a tableau on the bridge where the audience learned that the man and woman were brother and sister, the scene was transferred to the interior of one of the slum tenements in the East Side of London.

Here the scene painter and carpenter had done their utmost to produce an exact copy of a famous court and alley well known to the poor creatures who make up a part of the outcast London humanity.

The rags, the crowding, the vileness, the broken furniture, the horrible animal existence forced upon creatures made in God's image were so skilfully shown in this scene that more than one elegant woman in the theatre, seated like Rose Sterling in a sumptuous box surrounded with silk hangings and velvet covered railing, caught herself shrinking back a little as if contamination were possible from the nearness of this piece of scenery.