In the turmoil and excitement, with the orchestra boiling like a huge kettle, and necks stretched over the railing of the balcony as the people there strove vainly to discover the cause of the confusion, the abrupt cessation of activity on the stage was forgotten by the audience. The actors had stammered their way through lines rendered meaningless by the drama before the footlights. Now the slow descent of the curtain put an end to the evening’s entertainment. The actors, chattering, hurried toward the stage-stairs. Like the audience they peered toward the nucleus of the trouble in bewilderment. A buxom old lady, in garish clothes—the very fine imported actress billed in the character of Madame Murphy, “keeper of the public house”—her name was Hilda Orange; the slight, graceful figure of “the street waif, Nanette”—Eve Ellis, leading-lady of the piece; the tall robust hero of “Gunplay,” James Peale, attired in a rough tweed suit and cap; the juvenile, smart in evening clothes, portraying the society lad who had fallen into the clutches of the “gang”—Stephen Barry; Lucille Horton, whose characterization of the “lady of the streets” had brought down a shower of adjectives from the dramatic critics, who had little enough to rant about that unfortunate season; a vandyked old man whose faultless evening clothes attested to the tailoring genius of M. Le Brun, costumer extraordinary to the entire cast of “Gunplay”; the heavy-set villain, whose stage-scowl was dissolved in a foggy docility as he surveyed the frantic auditorium; in fact, the entire personnel of the play, bewigged and powdered, rouged and painted—some wielding towels as they hastily removed their make-up—scampered in a body under the lowering curtain and trooped down the stage-steps into the orchestra, where they elbowed their way up the aisle toward the scene of the commotion. Another flurry, at the main entrance, caused many people despite Doyle’s vigorous orders to rise in their seats for a clearer view. A group of bluecoats were hustling their way inside, their night-sticks ready. Doyle heaved a gargantuan sigh of relief as he saluted the tall man in plainclothes at their head. “What’s up, Doyle?” asked the newcomer, frowning at the pandemonium raging about them. The bluecoats who had entered with him were herding the crowd to the rear of the orchestra, behind the seat-sections. People who had been standing tried to slip back to their seats; they were apprehended and made to join the angry cluster jammed behind the last row. “Looks like this man’s been murdered, Sergeant,” said Doyle. “Uh-huh.” The plainclothes man looked incuriously down at the one still figure in the theatre—lying at their feet, a black-sleeved arm flung over his face, his legs sprawled gawkily under the seats in the row before. “What is it—gat?” asked the newcomer of Doyle, his eyes roving.