JANE SHORE
girl, and under her influence he reformed and he converted his fellow-criminals. The author had been a police-court reporter—before he became a theatrical press-agent—and his crooks were real and their lines true, though his plot was "bunk," as he admitted. It was supposed to show the saving influence of a "good, pure woman" upon the criminal mind.
The star had already objected to talking "thieves' slang," and his lines had been rewritten. Now he objected to the unrequited ending of his devotion to the child's mother—so she was made a widow; she fell into his arms at the final curtain—and Faro Nell had to cherish the only unrequited passion in the play. This, however, left the star still a reformed criminal. The author improvised for him a noble motive of revenge upon a world that had done him wrong, but it was not sufficient.
"I'll lose them," the star said, referring to the audience. "I'll lose them if I steal that child."
The difficulty was overcome by making Faro Nell take the actual guilt of the kidnapping, and he assumed the responsibility in order to protect her, because she loved him—poor soul, she loved him. And then, in the second week of rehearsals, he arrived glowing with an idea. The hero should not be a criminal at all. He should be an honest, though desperate, man whose child had been kid- napped and whose wife had died of grief. He had joined the criminal band to learn their secrets and
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