OLIVER TWISTAdapted by

Mark Landon SmithCopyright 2011 by Mark Landon Smith

SONGS: 23-26 minutes

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OLIVER Adapted by Mark Landon Smith

Scene One: The Orphanage We find ourselves in dark and dreary rural England. Lights are dim…fog rolls in. Onstage is a gate or heavy wooden door over which is a sign reading “Olive Creek Orphanage.” At this door we find BUMBLE, a rather nasty man who, pounding furiously on the door or gate as the music fades, lights rise and fog rolls in…

BUMBLE Mr. Mann! Mr. Mann!

MR. MANN, also a rather nasty person, enters rather flustered and startled…

MR. MANN Oh, I am everso very sorry, sir!

MR. MANN unlocks the gate or door. BUMBLE pompously pushes it open with his walking stick and enters.

MR. MANN I had forgotten that the gate was locked on the inside, on account of the dear children.

BUMBLE Do you think this respectful, Mr. Mann? To keep the parish officer waiting when he comes here on business?

MR. MANN Business, Mr. Bumble…?

BUMBLE I’ve come for the boy Oliver Twist. Do you know anything of where he comes from?

MR. MANNMother came to us poor. She brought her child into the world, took one look at him and died without leaving a name or address.

BUMBLEDid she have a purse? A ring? A locket? Anything with information?

MR. MANN (Beat.) No, sir.

BUMBLE(Resignedly)Well, nothing else for it then I suppose. Oliver is too old to stay here. I’ll have to decide which workhouse he’ll be sent to. Let me see him at once.

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MR. MANN (Sweetly.) At once, Mr. Bumble. (Screaming over his shoulder.) OLIVER!

OLIVER enters and stops.

MR. MANN COME HERE YOU NASTY LITTLE BOY BEFORE I… (He catches himself and continues…sweetly.) Now, Oliver, Mr. Bumble has come to see you. He wants to help you. So be on your best. (Grabbing his arm tightly.) Understand?

OLIVER (Wincing with pain.) Yes, Mr. Mann.

MR. MANN (Moving OLIVER to BUMBLE.) Mr. Bumble is the director of workhouses. He has come to decide what’s to be done with you.

BUMBLE Oliver, you are an orphan, and for eight years…

MRS. MANN(Correcting Mr. Bumble)Nine.

BUMBLEFor nine years Mr. Mann has fed you, clothed you, and taken care of you. It’s time that you work and pay back your debt. Then you will no longer be a burden to the state.

OLIVER A burden?

MR. MANN A burden…

BUMBLE (Tapping his cane firmly on OLIVER’S head.) Let’s go, boy.

BUMBLE and OLIVER start to leave.

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MR. MANN Good day, Mr. Bumble.

BUMBLE Good day to you, Mrs. Mann.

MRS. MANN And watch out for Oliver. He has a mind of his own. Whipping him helps.

BUMBLE Don’t worry, I will take care of him. (To OLIVER.) This way.

When they leave, Mr. Mann peers off stage to check that they’ve gone, then he moves to a small box. He takes out a gold locket and holding it to the light reads….

MR. MANNAgnus… no last name…not much to go on. (Dismisively) I won’t tell Mr. Bumble about this. No, no, better for me to hold on to it. Poor Oliver doesn’t need this in the workhouse.

Mr. Mann puts the locket back in the box and leaves the stage. Lights go down.

Scene Two: The Workhouse Two boys turn the set piece as two others enter with a bench which they set centerstage. Upon the bench are six bowls and six large spoons. Another boy enters carrying a pail with a ladle which he gives to BUMBLE who releases OLIVER. The boys grab their bowls and spoons and quickly form a line in front of BUMBLE with OLIVER in the back. One boy hands OLIVER a bowl and a spoon.

OLIVER Thank you. Song: Food Glorious Food

BUMBLE spoons gruel into each boys bowl in turn. Upon receiving their meager rations, the boys return to the bench, (or benches), and with their bowl in their laps and spoon poised…wait. OLIVER gets his portion and sits with the other boys and starts to eat.

BUMBLE (Swiping OLIVER’s hand with his walking stick.) Wait, impatient boy! We must first give thanks. (To the other boys.) Let us pray. (The boys, including OLIVER, fold their hands.) O Lord, Giver of Life. We thank Thee for Thy kindness. For Thy generosity, to all these miserable creatures. Forgive them of their sins. May they find happiness in Thy mercy. We thank Thee O Lord for the food you have blessed us with today. Amen.

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BOYS Amen.

OLIVER Amen.

The BOYS and OLIVER quickly devour their food. The BOYS and OLIVER finish…then…

OLIVER Mr. Bumble, sir.

BUMBLE What is it?

OLIVER (Timidly)Please, sir. I want some more.

The BOYS look shocked.

BUMBLE What?!

OLIVER(Uncertain)Please, sir. I want some more?

BUMBLE (To OLIVER.) More?! You want some more?! Is that all you do – take, take, take? Don’t you know the Poor Laws?

OLIVER No, sir.

BUMBLE Boys?

BOYS The Poor Laws state that you get one bowl for supper. No more. No less.

OLIVER I didn’t know, sir. I am sorry.

BUMBLE Sorry? Sorry? It’s too late to be sorry. (BUMBLE strikes OLIVER with his hand on the forehead. OLIVER falls to the floor. BUMBLE drags OLIVER across the stage.)

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To the dark rat-filled cellar you go. Where you’ll stay all alone – with only the vermin to keep you company. And without food – you, greedy wretch, or water, until…God gives me the strength to forgive you. You ungrateful child. You miserable good for nothing.

BUMBLE throws OLIVER into a dark corner as the BOYS exit. The lights fade on a crying OLIVER as the music rises.

Lights rise, Oliver is prodded awake by BUMBLE’s cane and pulled to his feet. The town is waking up as BUMBLE leads Oliver through it.

Song: Boy for Sale

BUMBLE, leaving OLIVER, crosses to the opposite side of the stage and is met by a sinister looking SOWERBERRY.

BUMBLE (Extending his hand.) So, Mister, you are interested in the boy?

SOWERBERRY (Ignoring BUMBLE’S hand.) For the right price I am.

BUMBLE Only three pound ten shillings for such a hard-working, intelligent lad as Oliver.

SOWERBERRY Three pounds.

BUMBLE Three pounds five shillings for him. Not a shilling less.

SOWERBERRY Three pounds. Not a shilling more.

BUMBLE (Beat.) I will bring you the boy.

SOWERBERRY Three pounds, Mr. Bumble.

BUMBLE (Mimicking SOWERBERRY as he moves to where OLIVER is) “Three pounds, Mr. Bumble. Three pounds.” Come here, child.

OLIVER Please, sir. Don’t beat me again!

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BUMBLE Get up!

OLIVER Don’t strike me. I beg you, please.

BUMBLE You will apprentice for Mr. Sowerberry. The undertaker. If he accepts you. Now, come with me.

BUMBLE grabs OLIVER’S hand and moves to SOWERBERRY.

BUMBLE Mr. Sowerberry, here! I’ve brought you the boy.

OLIVER makes a bow.

SOWERBERRY Oh, so this is the boy, is it? Dear me, he is very small.

BUMBLE Why, he is. Rather small. There is no denying it. But he’s strong for his size. He’ll grow, Mr. Sowerberry. He’s clever and quick with the mind.

SOWERBERRY Oh, I dare say he will be on my food and drink. I see no saving in parish children, for they always cost more to keep than they’re worth.

BUMBLE (Looking at OLIVER, wanting to be rid of him.) Three pounds, sir.

SOWERBERRY Two pounds ten shillings.

BUMBLE Two pounds ten shillings it is.

SOWERBERRY All right, Bumble, it’s a deal.

SOWERBERRY shakes hands with BUMBLE to seal the deal.

BUMBLE I am most grateful.

BUMBLE puts out his hand. SOWERBERRY pays him the two pounds ten shillings. BUMBLE starts to leave.

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BUMBLE You drive a hard bargain. Good day, Mr. Sowerberry.

OLIVER Mr. Bumble, sir. Don’t leave me with him, please.

BUMBLE Good riddance, boy.

BUMBLE exits leaving OLIVER with MR. SOWERBERRY.

Scene Three: Sowerberry Undertaker’s

SOWERBERRY Cheer up a bit now, you will have food and drink. And a bed, under the counter. You don’t mind sleeping among the coffins, do you? But it doesn’t much matter whether you do or you don’t, for you can’t sleep anywhere else. Come, Oliver, to your new home.

SOWERBERRY grabs OLIVER’S hand as the lights and set change.

SOWERBERRY Mrs. Sowerberry? We’re home.

MRS. SOWERBERRY enters.

MRS. SOWERBERRY (Eyeing OLIVER.) So this the new boy, it be? Rather small, ain’t he?

SOWERBERRY Yes, wife, he is small. There’s no denying it. But he’ll grow.

MRS. SOWERBERRY On our food and drink. I see no saving in orphan children, for they cost more to keep than they’re worth. (Grabbing OLIVER violently.) Little bag ‘o bones, know where you belong? With the rats and dead bodies.

MRS. SOWERBERRY violently throws OLIVER into a dark corner. MRS. SOWERBERRY and SOWERBERRY exit. OLIVER, now alone, takes in his surroundings silently, then curls up in a corner and attempts to sleep. All is quiet until there is suddenly a deafening pounding on the door. OLIVER rises and crosses to the door and tries to undo the chain. NOAH CLAYPOLE, a bratty teenager, is behind the door.

NOAH Open the door, will you?

OLIVER

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I will directly, sir. (Fumbles with the lock)

NOAH I’ll whop you when I get in. You just wait and see, workhouse. Now open this door! OLIVER finally gets the chain unlatched. NOAH enters.

NOAH NOAH grabs OLIVER by the collar. If that ever happens again, you’ll be in need of one of them coffins, understand?

OLIVER Yes, sir.

NOAH You don’t know who I am, I suppose, workhouse?

OLIVER No, sir.

NOAH I’m Noah Claypole and you’re under me, workhouse. How’s your mother, boy?

OLIVER She’s dead.

NOAH What did she die of, workhouse?

OLIVER Of a broken heart I’ve been told.

NOAH A broken heart? No, no…she died to get away from you, workhouse.

OLIVER That’s enough.

NOAH Yeah…that’s right. The only way she could be rid of you was to die.

OLIVER Don’t say anything more to me about her; you’d better not.

NOAH Better not! Your mother didn’t care two figs for you, she didn’t.

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OLIVER Don’t say that!

NOAH Your mum was nothing but gutter trash!

OLIVER with years of anger unleashed, grabs NOAH by the throat, shakes him, gives him a heavy blow and NOAH falls to the floor.

NOAH (On the floor screaming.) Help! Mr. Sowerberry, Oliver’s gone mad!

SOWERBERRY rushes in and pulls OLIVER off of NOAH.

SOWERBERRY (Grabbing OLIVER.) You, workhouse criminal. Ungrateful little beast!

OLIVER Sir, he said my mother was gutter trash!

SOWERBERRY She was what he said and worse.

OLIVER (Tries to escape from his clutches but can’t.) It’s not so. No, no, no, no!

SOWERBERRY You despicable creature. You are going back to the workhouse. You’re not worth seven pounds. You’re not worth seven pence. At the workhouse, they’ll know how to punish you.

SOWERBERRY tries to grab OLIVER. OLIVER breaks loose from him. He runs. Lights change. Chase music. OLIVER runs as SOWERBERRY chases him. OLIVER hides. SOWERBERRY passes and doesn’t see him. Eventually, after searching, SOWERBERRY gives up and leaves. Lights dim as night approaches. OLIVER shivers and tries to make himself comfortable on the ground.

Song: Where is Love

OLIVER falls asleep and lights go down. Lights rise on OLIVER still sleeping. The ARTFUL DODGER comes up to OLIVER and taps him on the shoulder. OLIVER jumps with fright.

DODGER Hey, who you hiding from, the law? (OLIVER is silent.) The law, huh?

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OLIVER I have to run away, sir.

DODGER Going to London?

OLIVER Any place but here, sir. As far away as I can.

DODGER To seek your fame and fortune, I bet. Got any lodging, money?

OLIVER No, sir.

DODGER Hard cheese, eh?

OLIVER Sir, do you live in London?

DODGER Yes, I do. I suppose you want some place to sleep tonight, don’t you?

OLIVER nods.

DODGERAnd what might your name be?

OLIVEROliver, Oliver Twist.

DODGER(Bows with a flourish)Jack Hawkins at your service. Known to my intimate friends as the Artful Dodger. (Puts out his hand. This first frightens OLIVER.) Glad to meet you, Oliver.

OLIVER (Cautiously takes DODGER’S hand.) Glad to meet you, too.

DODGER Well, Oliver, I’ve got to be in London tonight. I know a respectable old gentleman who lives there. He’ll give you lodging for nothing and never ask for the change.

DODGER smiles at his own playfulness.

OLIVER

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You sure the old gentleman won't mind?

DODGER Mind?

Song: Consider Yourself

They put their arms around each other, laughing. Lights change. Evening. They continue their walk to London. During the following the set changes to the attic.

Scene Four: Fagin’s Attic

DODGER You’ll like the respectable old gentleman very much.

OLIVER Sir, does he beat you?

DODGER Oh, no.

OLIVER Sir, does he call you names?

DODGER Only in the most respectable way.

OLIVER And he feeds you?

DODGER Three good meals a day.

OLIVER Is he Santa Claus?

DODGER (Laughs hysterically.) You are a funny young child, you’re a stitch. (OLIVER is suddenly sad, insulted.) Hey, cheer up. I was only having a bit of fun, I was.

OLIVER (Gives a smile.) I know you were, Dodger.

DODGER Well, look ahead, Oliver. Home. A hidden attic above the town hall. Don’t worry, there’s plenty of room for all. Now, come.

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DODGER leads OLIVER toward the attic. Whistles.

FAGIN (In darkness.) Who’s there?

DODGER Plummy and Slam! Is the old gentleman home?

FAGIN Enter, Dodger.

FAGIN, a shriveled old man dressed in a greasy flannel gown, is busy hanging up wet handkerchiefs to dry on a rope. He has CHARLIE, ALGY, NEWMAN, PECK and WORLEY with him.

DODGER Hello, Fagin.

FAGIN Dodger, who is your guest?

DODGER Meet my friend, Oliver Twist.

FAGIN How do you do, Oliver. (Puts out hand. OLIVER is frightened) I should be honored with your intimate acquaintance.

OLIVER Thank you, sir.

FAGIN And these, young gentlemen, are my boys.

BOYS Hello, Oliver. Welcome.

OLIVER Hello.

FAGIN Oliver, we are very glad to meet you. (Shakes his hand enthusiastically) Oliver, if you’ll excuse me, dear. Dodger, I need to speak with you.

PECK (As FAGIN leads DODGER downstage) Ah, don’t you worry, Fagin. We’ll take good care of Oliver.

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WORLEY That’s right. (To OLIVER) Sit down here and tell us all about yourself.

OLIVER cautiously sits.

FAGIN (To DODGER) Dodger, why did you bring this frail child to me?

DODGER He’ll be a terrific addition to our gang.

FAGIN He doesn’t look like a thief at all.

DODGER That’s just the point. He is so innocent looking no one would ever suspect him of being a thief.

FAGIN Mm…(FAGIN smiles to OLIVER and gives a wave. OLIVER smiles back and waves.)I see exactly what you tell me. (Moves to OLIVER and puts his arm around him.) Welcome to our little family, Oliver. (Follows the direction of Olivers gaze) Ah, you’re staring at the handkerchiefs, eh, my lad?

OLIVER I’ve never seen so many, sir.

FAGINWe hung them up, ready for the wash, that's all.

OLIVERIs this a laundry then, sir?

NEWMAN That's right, a laundry.

FAGINNot exactly, my boy. I suppose a laundry would be a very nice thing, indeed! But our line of business pays a little better. Don't it, boys?

Song: You Got to Pick a Pocket

FAGINWell, Oliver my boy, what do you think?

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OLIVER Then I can stay, sir?

FAGIN For as long as you like. (Pats OLIVER on the back. OLIVER is all smiles.) Now let me show you your bed. It’s right over there.

OLIVER My own bed? (Looks at pieces of rags as covers.) With mattress and covers. And a pillow. Oh, thank you, sir. Thank you!

FAGIN Only the finest arrangements for our new friend.

OLIVER (Sitting on bed. Feeling the covers and pillows.) What do you want in return, sir? To repay you…for my debt?

FAGIN Don’t worry about that for now. We’ll think of something, right, Dodger?

DODGER Right. We’ll rack our brains real hard. Won’t we, boys?

EVERYONE, except for OLIVER, laughs.

OLIVER Good, because I don’t want to be a burden. I want to pay my debt.

FAGIN Ease your mind, don’t worry. Tonight get a good night’s rest. (To DODGER.) You’ve done it again, Dodger. No one will ever expect him to be a little criminal.

DODGER He’ll make us all very rich.

FAGIN Very rich, indeed.

Light change as music rises.

Scene Five: Fagin’s Attic It is the next day. OLIVER is sleeping in his bed. The BOYS are gone. FAGIN enters and tip toes to his secret hiding place. He takes out a small chest, opens it and takes out sparkling jewels, gold jewelry, etc…

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FAGIN Oh, my fabulous treasures…my priceless friends…my great possessions.

OLIVER is stirring in his bed. He sits up and notices FAGIN. FAGIN quickly closes lid of the chest with a loud thud.

FAGIN What’s that? What do you watch me for? Why are you awake? What have you seen?

OLIVER I wasn’t able to sleep any longer, sir. (Meekly.) I am very sorry if I have disturbed you, sir.

FAGIN How long have you been awake, Oliver?

OLIVER I just woke up, sir.

FAGIN Are you sure?

OLIVER Upon my word, sir, I just woke up.

FAGIN Tush, tush, my dear, I believe you. (Beat.) Of course I know you just woke up. Did you see any of my pretty things?

OLIVER Yes, sir.

FAGIN They are my little property. All I have to live upon, in my old age.

OLIVER Yes, sir.

DODGER (Offstage, whistling) Plummy and Slam! Is the old gentleman home?

FAGIN Oliver. I hear Dodger and the rest coming. Would you be so kind as to unlock the door for them?

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OLIVER Right away, sir. OLIVER exits. FAGIN quickly puts chest in secret hiding place. CHARLIE, DODGER, ALGY, NEWMAN, PECK and WORLEY enter.

FAGIN (Glancing at the boys.) How did you do so far, this morning? What you got there, Algy?

ALGY showing, but not handing pocketbooks over. FAGIN swiftly takes pocketbooks from ALGY.

FAGIN Ingenious workmanship, is it not, Oliver?

OLIVER Very fine, sir.

CHARLIE laughs uproariously.

FAGIN And what have you got there, Charlie Bates?

CHARLIE (CHARLIE produces handkerchiefs.) Wipes.

FAGIN (Swiftly grabs them.) Mmmmm…They’re very good ones, Charlie, very. We’ll have to remove the monograms with a needle. Oliver, I’ll teach you how to do that, if you’d like?

OLIVER Oh yes, sir, I would like to learn that very much. I want so much to learn a craft so I can make it on my own.

NEWMAN Learn a craft… (He laughs uproariously.)

FAGIN That’s enough, Newman.

NEWMAN Sorry, sir.

FAGIN Come on, let’s see what the rest of yous got.

NEWMAN

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(Producing a snuff box.) Snuff box.

FAGIN (He swiftly takes it and feels its weight.) Pure silver, it feels. Very nice. (Beat.) Peck?

PECK (Producing several hairpins.) Hairpins, sir, plucked from the finest heads in all of London.

FAGIN (Swiftly taking the hairpins and examining them.) Nice work, Peck.

PECK (Bowing.) Thank you, sir.

FAGIN Worley?

WORLEY (Produces a wallet.) One fine fat wallet plucked from the pocket of a fine fat aristocrat.

FAGIN (Swiftly take the wallet and opens it.) And full of fine fat money. An excellent haul, lads! Well done!

DODGER Oy – what about me?

FAGIN Ah, yes, how could I forget? And what did you bring old Fagin, Dodger?

DODGER (Producing a necklace.) A beautiful necklace, sir. Pearls, at that.

FAGIN (Swiftly takes the pearls and runs them over his teeth.) Nothing like the sound of pearls on the morning! (Beat.) Oliver, would you like to be able to bring me such treasures?

OLIVER Very much indeed, if you’ll teach me, sir.

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NANCY (Offstage, whistles.) Plummy and Slam! Is the old gentleman home?

FAGIN It’s Nancy. Algy, let her in.

ALGY moves to let NANCY in.

NANCY Hello, all.

FAGIN Nancy, dear, I’d like you to make the acquaintance of Master Oliver Twist.

NANCY Hello, Oliver, a pleasure to meet you.

OLIVER (Bowing.) A pleasure, my lady.

THE BOYS “My lady?”

NANCY (Bowing back to OLIVER.) A pleasure, my fine young gentleman. (THE BOYS are snickering) Don't take any notice of them 'cause you've got manners and they ain't.

DODGER What do you mean I ain't got no manners? I'm a regular gent. (Offering NANCY his arm) Permit me to assist you across the road.

NANCYI was only going to the palace. (To one of THE BOYS) Doorman, a cab, if you please.

DODGER(To NANCY) Allow me the privilege to escort you in my own carriage. After you, your grace.

NANCY Oh, Sir Artful, you are too kind.

Song: I’d Do Anything

FAGIN Get to work then! No argument. There's fine pickings. Get out, earn your keep.

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And, Oliver, you’ll start learning today. Right now. Boys take Oliver with you. Teach him the finer points of your… your craft.

DODGER Right, Fagin. Oliver, you’ll have the great honor of learning from The Artful Dodger, himself.

CHARLIE And The Legendary Charlie Bates.

WORLEY The Wily Worley…

ALGY The Agile Algy…

NEWMAN The Nimble Newton…

PECK And The Peck Pocket…

The BOYS laugh.

OLIVER I will finally have a skill that I can use for the rest of my life.

DODGER Well, let’s get to it, Oliver.

CHARLIE Your first day of work.

PECK Exciting, ain’t it?

OLIVER My first day of learning a craft.

FAGIN That’s it Oliver, a craft. No doubt you’ll do me proud. (Sees the boys out and turns to Nancy rubbing his hands). He’s learning a trade from the master.

NANCY He doesn’t belong in this rat hole.

FAGIN You’re very wrong, Nancy. He belongs here. Here with his new family. Now, let’s get down to business, how did you do last night?

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NANCY (Shows him watch.) I have here a fine gold watch. What can you give me for it, Fagin? FAGIN swiftly grabs it from her hands. His eyes light up.

NANCY It’s pure gold.

FAGIN (Takes a bite on it.) Not quite.

NANCY Come on, Fagin, it’s pure gold and you know it. What can you give me for it?

FAGIN Let me give it some thought.

NANCY Give me back the watch. (FAGIN doesn’t; she roughly grabs it from him.) You can give it some thought while it’s in my pocket. Fagin, Oliver doesn’t deserve to live among us. Let him go, before it’s too late. Before he becomes one of us.

FAGIN In time, maybe. NANCY The exact words you told me when I first came to you – after escaping from the workhouse. You called me your friend, you promised to help me. Look at me now. It’s too late for me, but not for him. (Leaves sadly).

Lights change as music rises…

Scene Six: London Street OLIVER and THE BOYS move downstage. Lights fade on FAGIN. LONDONERS, well-dressed, now pass by. DODGER puts his hands in his pockets and the other BOYS, except OLIVER, follow suit. DODGER signals OLIVER to put his hands in his pockets, which he awkwardly does. The BOYS begin to saunter among the LONDONERS.

DODGER The first thing you have to do, Oliver, is know the territory.

CHARLIE And look out carefully for any constables. DODGER quickly clutches OLIVER.

OLIVER

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What’s the matter?

DODGER Look over there…

OLIVER I see an old woman.

PECK A rich old woman.

WORLEY You can tell by the way she’s dressed.

CHARLIE Now, Oliver, we’re going to need your help.

OLIVER What do you want me to do?

NEWMAN Go up to her. Beg for a shilling or whatever.

OLIVER But I don’t need any money. Fagin said he would take care of me.

ALGY Do as Newman says.

CHARLIE Aw, he’s too green. OLIVER moves toward the OLD WOMAN. OLIVER stands there trembling. DODGER quickly runs to him and prods him toward the OLD WOMAN. OLIVER moves near the OLD WOMAN. She notices him and smiles at him. OLIVER smiles back.

OLIVER How do you do, ma’am. Can you spare a crown?

OLD WOMAN I beg your pardon?

OLIVER Would you please give me a crown?

OLD WOMAN Why?

OLIVER I understand you’re rich. I’m sure you have one crown to

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spare.

The BOYS have moved behind the OLD WOMAN.

OLD WOMAN Let me see what I have in my purse. I keep it in a very safe place.

OLD WOMAN takes purse from her bag. CHARLIE and DODGER bump her and her purse falls to the ground. DODGER grabs it. He and the other BOYS run. OLIVER, seeing this, looks in shock.

OLD WOMAN Help! I’ve been robbed.

OLIVER They’ve robbed you!

OLD WOMAN (Grabbing OLIVER.) Constable, help! Help!

CONSTABLE comes running in. OLIVER sees him and escapes from OLD WOMAN and runs. Chase music. CONSTABLE now chases OLIVER around stage.

CONSTABLEHold that boy! Stop!

OLD WOMAN Stop! Thief!

SHOPKEEPERS Leave him to us!

OBSERVERStole the lady’s purse.

SHOPKEEPERS We'll catch him!

TOWNSPERSON He went that way!

Oliver hides behind barrels.

CONSTABLEHave you seen him?

SHOPKEEPERNo. He's disappeared.

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TONWSPERSONHe's gone.

Oliver jumps up to run. Shopkeeper chases after him.

SHOPKEEPERCome here!

CONSTABLECome here, you!

Oliver runs into an Observer who grabs him and hold on despite Oliver struggling to get free.

OBSERVERHere!

SHOPKEEPERThere's the lady he stole from. (Pointing the victim out to the constable)

Constable grabs onto Oliver by the scruff of his neck and pulls him towards the old woman.

CONSTABLECan you identify this boy as the thief, ma’am?

OLD WOMANYes. Well, he was with them.

CONSTABLEHe’ll need to go before the magistrate then, and you’ll need to come to testify, ma’am.

Scene Seven: Fagin’s Attic

FAGIN has DODGER by the collar and is yelling at him.

FAGINWhy didn't you bring him back with you?

DODGERHow could I help it?

FAGIN(Pacing in agitation)A fine thing! Oliver in the lockup.

PECKIn the morning he's in front of the beak!

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WORLEYFor pinching a wallet.

DODGERSo he goes to jail. What's it matter?

NANCYI'm afraid he may say something which will get us into trouble.

BILL SIKESThat's very likely. We’re blowed upon.

NANCYAnd I'm afraid, you see... that if the game was up with us... it might be up with a good many more.

FAGIN has been collecting his possessions and is sneaking towards the door when BILL SIKES spots him.

BILL SIKES(Grabbing FAGIN by the collar)Why, you miserable... sneaking, treacherous old...

NANCYNo, Bill!

BILL SIKES(Takes FAGIN’s possessions from him. FAGIN grasps at his box but misses it.)You go down to that court in the morning and find out what happens!

FAGIN(Startled into forgetting about his box)Me? Go to court? With a magistrate sitting there?

NANCYI'll go. They won't know me.

FAGINGood girl. Clever girl.

BILL SIKESAnd if he does talk, you come and tell us quick. Quick!

FAGIN'Cause then we'll have to look after ourselves, won't we?

BILL SIKESYou won't have to look after yourself, Fagin, 'cause I'll look after you… Believe me.

FAGIN

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I always believe you, Bill.

Scene Eight: The CourthouseLights come up on courthouse with judge pounding his gavel. Oliver is dwarfed behind a podium. The OLD WOMAN stands in front of the JUDGE. The constable and several witnesses are present. NANCY is at the back with her hat pulled low over her face.

JUDGESilence. Silence in court. (Looking at a witness) Well, what crime is this one charged with? He looks a thorough-paced old reprobate to me… Speak up, man! (To CONSTABLE) What's he charged with?

CONSTABLEHe's not charged at all, Your Worship. This gentleman appears against the boy.

JUDGEBoy? What boy? I see no boy.

CONSTABLE The boy in the dock, Your Worship.

JUDGE(Peering over the podium and seeing OLIVER) Oh, yes. Stand up, boy. I can't see you.

CONSTABLEHe is standing up, Your Worship.

JUDGEDon't be impertinent. Put him on a box.

Oliver is put on a box.

JUDGEWell, what's he charged with?

CONSTABLEPicking pockets, sir.

JUDGEWhat's your name?

Oliver remains silent.

JUDGEHmm. And does your father knowyou're here?

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CONSTABLEHe's an orphan.

JUDGEWhere do you come from?

Oliver remains silent. JUDGE Where do you live?

Oliver remains silent. JUDGE Who looks after you?

CONSTABLE He doesn't seem able to say where he lives... or anything else, sir.

JUDGE A liar as well as a thief?(Oliver remains silent.)And insolent into the bargain. That settles it. The boy is committed to three monthswith hard labor.

MR. BROWNLOW(Standing up) This is disgraceful! I demand to be heard. You've not yet...

JUDGESir!

MR BROWNLOWI was there.JUDGE(To BALIFF or CONSTABLE as he leaves the room)Remove this lunatic. Clear the court.

BALIFF moves to take OLIVER. Witnesses and others present begin to disperse until stopped by MR. BROWNLOW’s declaration.

MR. BROWNLOWI will speak! I saw what happened. It was outside my shop. Two other boys stole this woman’s purse. This child had nothing to do with it.

OBSERVER 1But sentence has been passed!

OBSERVER 2Hasn't it?

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MR. BROWNLOWThe judge didn’t specify where the boy was to go to serve his sentence. Bring the boy to me. (BALIFF looks uncertainly towards the CONSTABLE, who nods in assent. BALIFF brings OLIVER to MR. BROWNLOW who puts his hand on OLIVER’s shoulder)I take full responsibility for him.

CONSTABLEI've done my share then.

Tips his hat to MR. BROWNLOW and leaves.

BALIFFAs have I. Good day to you sir.

BALIFF leaves, as do the observers. Nancy begins to leave, but pauses on the edge of the stage to hear what MR. BROWNLOW and OLIVER say. MR. BROWNLOW looks kindly at OLIVER.

MR. BROWNLOWNow, come on.

OLIVERWhere are we going?

MR. BROWNLOWAt least I can make some amends. You're coming home with me. My carriage is outside.

Scene Nine: The Brownlow Home Lights rise on OLIVER, who is in a pleasant bedroom. There is a portrait of a young woman on the wall. OLIVER is looking out the window at the town below. As he sings, different townspeople join in.

Song: Who Will Buy?

OLIVER turns and his attention is caught by the woman in the portrait. He is admiring it when ROSE comes in.

ROSE Good morning, Oliver. You’re looking much better. OLIVER doesn’t hear her as he is engrossed with the portrait.

ROSE Oliver?

OLIVER Good morning, Rose.

ROSE

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You seem fascinated with the lady in the picture.

OLIVER What a beautiful face she has. Who is she, Rose?

ROSE My cousin, who once lived here for a short time.

BROWNLOW enters.

BROWNLOW How’s our young guest doing?

ROSE Good morning, father. Oliver is doing very well.

OLIVER I am very grateful, Mr. Brownlow, sir, for your kindness towards me.

BROWNLOW Think nothing of it Oliver. You were unjustly accused.

ROSE And on top of all you’ve told us about your life. The beatings, starvation, those criminals…

BROWNLOW Rose…dear… (Beat.) You’re safe here, Oliver. (Stirring himself and taking on an upbeat tone)Now, I think we’re expected downstairs for tea. Oliver, Rose…

ROSE takes OLIVER by the hand and leads him off, BROWNLOW following.

Scene Ten: Fagin’s AtticIn darkness, hear BILL SIKES madly laughing. Lights up on SIKES, NANCY, FAGIN, and THE BOYS.

BILL SIKES All I think about is bargin’ into Brownlow’s home and grabbing the wretched boy. Nancy says Oliver is there.

FAGIN And that Brownlow has servants with pistols protecting Oliver.

NANCY That’s right, Bill, so don’t you go near there.

FAGIN

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Oliver knows too much about us, Nancy, dear. Once he can travel, he’ll bring the police to the neighborhood. He’ll lead them to us. It would be my end – and Bill’s. We must get ahold of Oliver soon.

NANCY But not to kill him.

BILL SIKES To kill him.

NANCY Bill, don’t harm the boy.

FAGIN Hush, Nancy, my dear, Bill and I promise that we will not harm the boy if… we just need your help in getting him.

NANCY No!

BILL SIKES It’s not for you to say yes or no. You and the boys will bring him back.

NANCY You will not harm him.

BILL SIKES We will not harm him.

FAGIN I promise, on my word.

BILL SIKES (Glaring at THE BOYS and NANCY) Bring him back! (SIKES exits)

Scene Eleven: The Brownlow HouseOLIVER is looking at the portrait of the young woman. The doorbell sounds. ROSE is sitting sewing and MR. BROWNLOW is working at a desk.

OLIVERCan I answer it, Rose?

ROSEThank you, dear.

OLIVER opens door and is handed a parcel by a MESSANGER BOY.

MESSANGER BOY

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Books from Mr. Jessop.

OLIVERThank you.(To MR. BROWNLOW)Please, sir, these books came for you.

MR. BROWNLOWGood.(Unwraps parcel and looks through books)Wait, there are some to go back.

OLIVERThe boy's gone. Can I take them? I know where the shop is. Please let me take them. I'll be very quick.

MR. BROWNLOW(Pauses as though hesitant to accept, perhaps hesitant to trust OLIVER)All right. (Smiles) Rose, the books are on the table beside my bed.

ROSE returns the books, which MR. BROWNLOW ties together.

MR. BROWNLOWNow then... (sits at desk to write a note and get out money) you will take those books to Mr. Jessop and tell him... you have come to pay the four pounds ten that I owe him.(Hands OLIVER a five pound note) This is a five pound note,so there'll be ten shillings change.

MR. BROWNLOW(Looking up at OLIVER) You under...(Seems to be startled by something about OLIVER’s face)Understand?

OLIVER nods to BROWNLOW who, still startled, has turned to stare at the portrait of the young woman.

OLIVER(Catching the direction of MR. BROWNLOW’s gaze) She's a very pretty lady, isn't she, sir?

MR. BROWNLOW(Still contemplative and staring at the portrait) Yes.

OLIVER(Taking the books from MR. BROWNLOW’s hands)I'll take the books for you.

OLIVER leaves. ROSE, is still looking down at her sewing.

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ROSEA new suit of clothes, valuable books and a five pound note in his pocket. You expect him to come back? MR. BROWNLOW If he does, I'll eat my head with my hat on it. Look at that portrait. Do you see a likeness to Oliver?

ROSE(Sewing slows, she lays it down, and slowly, contemplatively moves to the portrait)That's my cousin who ran away, isn't it?

MR. BROWNLOWExactly so. (Pause. Shaking his head as if to clear it. Then, dismissively) A young, innocent face. Nothing more. A mere coincidence.

ROSEI'm not so sure. I contacted the woman at the orphanage Oliver told us of. She believes he was born in a workhouse at Dunstable. But that was all she could tell us.

Scene Twelve: London Street LONDONERS, well-dressed, now pass by. OLIVER is moving with purpose, swinging the books. DODGER is crouched behind a barrel with several others of THE BOYS close by. NANCY comes on with a basket. OLIVER sees her and rushes up to her.

OLIVERNancy!(Hugging her)

NANCYOliver! You’re looking well in your new togs. (THE BOYS are edging closer to OLIVER with a burlap sack. NANCY is looking uncomfortable) Oliver it ain’t right, I’m sorry for being party to this…

OLIVERWhat, Nancy? You’ve only been kind…

THE BOYS pull the sack over OLIVER’s head and bundle him into a cart.

OLIVER Help! Help!

DODGER(To NANCY who is looking uncertain and disturbed)Get in the cart.

Nancy gets in the cart and they move off the stage.

Scene Thirteen: Fagin’s Attic

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Lights up on the boys with OLIVER, bag over his head, struggling to get free. NANCY is crying in the corner. BILL is sitting sullenly at a table. DODGER pulls the bag off OLIVER’s head.

DODGEROliver's back!

CHARLIELook at his togs!

ALGY He's got boots, too. Quite the little gent.

NEWMANLovely bit of stuff.

FAGINDelighted to see you looking so well, my dear. (Examining OLIVER’s clothes) The Dodger will give you another suit for fear you spoil that Sunday one.

PECK(Finding the five pound note and waving it in the air)Look at this!

DODGER(Snatching it and holding it behind him) I'll bank it for you.

FAGIN(Peering behind DODGER trying to see)What's that?

PECK moves behind DODGER to reclaim the note, but DODGER turns to face PECK, keeping the leaving the note behind his back and exposed to FAGIN)

PECKThat's mine.

FAGIN(Snatching the note from DODGER and clasping it to himself)No, no, my dear. Mine. Ours. You shall have the books.

DODGERYou hand it over, you avaricious old skeleton.

PECKThat's for our share of the trouble.

THE BOYS are in an uproar, clamouring to get the note.

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FAGINYou keep the books. Start a library.

OLIVER Mr. Brownlow will be here after you if he finds out...

THE BOYS and FAGIN freeze and look at OLIVER who they have forgotten. FAGIN casts a quick glance at BILL who also has stopped what he’s doing and is staring at OLIVER. The silence is ominous.

OLIVER(Defiant inspite of the silence)you've got his books and money.

BILL SIKES(As BILL slowly stands, DODGER and THE BOYS nervously leave. BILL approaches OLIVER menacingly)So he'll be out here, will he? Out here? After us?(Grabbing OLIVER by the scruff of the neck) What did you tell him about us?

OLIVERNothing!

BILL SIKES(Pushing OLIVER away from him) Fagin, I'll wager this young rat's told him everything. (Advancing towards OLIVER who’s backing into a corner) What did you tell him?

NANCY(Running to put herself between BILL and OLIVER)No! Leave him alone!

BILL SIKES(Threateningly)You stand off me!

FAGIN(Nervously)No violence.

NANCY(To Bill)You'll have to kill me before I let you lay a hand on that boy.

BILL SIKESJust don't you tempt me. You keep out of this.

NANCY(Desperate)

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If he says he didn't tell him, he didn't tell him. So help me, if you do anything to him Bill, I'll put the finger on all of you and I don't care if I hang for it!

BILL SIKES(Accusingly)Do you know who you are and what you are?

NANCYYou don't have to tell me.

BILL SIKESA fine one for the boy to befriend.

NANCYYes, I am! God help me! And I wish I'd been struck dead before I'd lent a hand to bring him back here.

FAGIN(To BILL SIKES, who is still towering threateningly over NANCY and OLIVER)I'm asking you, is violence necessary?

BILL SIKES(Taking deep breaths and staring at NANCY for a few more moments, turns and moves away slightly grudgingly)Not yet, Fagin. Not yet.(Turning back suddenly and glaring at OLIVER)But if this godforsaken little good-for-nothing... has uttered one word, one word, mind you...

NANCY(To OLIVER, nervously)Get to bed.(OLIVER looks uncertain about leaving NANCY)Get to bed, I said!

OLIVER leaves the room.

BILL SIKES(To FAGIN)Have you ever heard the sound a chicken makes... when they're wringing its neck?

FAGIN Can't say I've had the pl...

BILL SIKESThey squawks, Fagin. They squawks. Not a very pretty sound.

FAGINNo, Bill.

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BILL SIKESAnd then they die, don't they?

FAGINYes, Bill. I mean, no, Bill.

BILLThen, they say, some even start squawking before that event. They get what you might call a premonition. Now then...you wouldn't be having no premonition of that sort by any chance, would you?

FAGINNot me, Bill. The lips are sealed.

BILL SIKESI'm glad. 'Cause if anyone here should lead the law to me... and I gets to hear of it... then it will be your neck... your scraggy old neck. You think about it, Fagin.

BILL takes his hat from the table, gives FAGIN one more cold stare, and leaves. FAGIN gingerly puts a hand to his neck. Scene Fourteen: The Brownlow House At rise we find GILES and NANCY.

GILES I’m sorry, but you can’t see Miss Brownlow. You have no business here.

NANCY I have to see her. It may save a life.

ROSE enters.

ROSE What is it, Giles?

NANCY Miss Brownlow, I am about to put my life and the lives of others in your hands. I am a girl that was part of Fagin’s gang.

ROSE (Face lights up in recognition) You’re Nancy, the girl Oliver has talked about. He said you were good to him. (Remembers the situation and her face drops) But if it’s him you’ve come to see, it’s too late. He’s left, didn’t come back from an errand.

NANCY looks away, ashamed. ROSE notices.

ROSEWhat is it?

NANCY

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It's about the boy.

ROSE(Pauses, intent. Turns to Giles)Giles, call father. (To Nancy) Is there news of him?

NANCYHe's in danger. He was dragged off the day you sent him out with the books. (MR. BROWNLOW comes in while NANCY is talking and joins ROSE)

ROSEWho took him?

NANCYMe and someone else.

MR. BROWNLOWYou took him by force?

NANCYYes! I wish I'd never been part of it.

MR. BROWNLOWWhere is he now? Who is this other person you speak of? Can you take me to him?

As MR. BROWNLOW is questioning her, NANCY is shaking her head.

ROSE(In desperation)You want to help him, don't you?

NANCYYes!

ROSE Then at least tell us where he is!

NANCYI can't! But I'll bring him to you. Not here. It's too far.

MR. BROWNLOWWhere then?

NANCYThe London Bridge tonight at midnight. But you've got to come alone.Promise you'll come on your own.

MR. BROWNLOW hestitates.

NANCY

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You don't trust me, do you? But you've got to.

MR. BROWNLOWI'll be there.

NANCYThank God. Now let me go.

ROSEWait! Is the boy hurt? Ill-treated?

NANCYI can't say no more. Please! Be at the bridge at Midnight, I’ll bring Oliver.

MR. BROWNLOWMidnight, on the bridge.

NANCY leaves, distressed.

Scene Fifteen: Fagin’s Attic Chimes of Big Ben strike eleven. FAGIN, THE BOYS, OLIVER are fast asleep. NANCY comes in quietly and wakes OLIVER, hushing him. As OLIVER is rubbing his eyes, she collects his belongings in a bundle and then beckons for him to follow her. Suddenly there is a pounding from off stage.

BILL SIKES (Offstage.) Fagin! Fagin!

NANCY thrusts the bundle under the bed, indicates that OLIVER should lie down and be quiet, and moves away from his bedside. FAGIN and THE BOYS begin to wake. A light comes on.

NANCY (From across the room)It’s Bill.

FAGIN (Getting up and putting on his robe. To WORLEY.) Go let him in.

WORLEY lets in BILL SIKES. NANCY goes to him.

NANCY You made it, Bill. I’m so glad.

BILL SIKES (Ignoring NANCY.) I couldn’t get in the house. The windows were all barred. I need him (Pointing at OLIVER).

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NANCY Bill! Please.

BILL SIKES (Moves to OLIVER and shakes him awake.) He’s small enough. He’ll do. The Huntley house is barred, like a prison – except for one small window in the kitchen. The boy will easily fit through this window. Once in, he’ll open up the door and the house will be mine. Fagin, you’ll be able to fence fine silver now, won’t you?

FAGIN Easily.

OLIVER (Now sitting on the edge of the bed)Mr. Fagin, sir. I don’t wish to go.

BILL SIKES You have no choice, boy.

NANCY Bill, don’t get him involved. Please.

BILL SIKES I need him. Come on.

OLIVER (To BILL SIKES.) I won’t go.

BILL SIKES You will if I say you will.

BILL SIKES grabs OLIVER and starts carrying him off.

OLIVER Nancy, help me! Help me, please!

BILL SIKES puts his hand over OLIVER’s mouth and they exit as lights change and music rises.

Scene Sixteen: London Bridge ROSE and BROWLOW appear as the Chimes of Big Ben strike midnight. They look around but see noone and wait for a few seconds before NANCY comes on stage, looking nervously behind her. Unseen by her is DODGER, who is following a little ways behind. He hides in the shadows hearing all.

NANCY

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Not here. I am afraid to speak to you here. Come away…out of the public road. This way.

BROWLOW This is far enough. Why must we speak in the dark? Where is Oliver?

NANCY He is being used, against his will, in a burglary. I fear it’ll go wrong and someone will be hurt. We have to stop them.

MR. BROWNLOWWhere are they? We must summon the police.

NANCY First, you must do me a favor. After you have Oliver…let Fagin and Bill Sikes be.

BROWNLOW But they are criminals and the police will –

NANCY You are a wealthy man. You can keep the police off their tails.

BROWNLOW But…

ROSE Look what she’s done, Father.

BROWNLOW Very well. Nothing will be reported.

NANCY Thank you, sir. Now quickly, follow me. I will lead you to them.

As they leave, DODGER, turns to leave in the opposite direction. He moves to FAGIN who is in the shadows downstage.

DODGERShe’s taking the lady and gent to Oliver.

FAGINDid she, did she tell them about us?

DODGERShe mentioned you, but made them promise that you would come to no harm.

FAGINShe’s a good girl is Nancy.

DODGER

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Bill is going to be right mad when Nancy leads them to him.

FAGINBill? She’s taking them to Bill?! He’ll kill her. I have to stop her.

Glancing around, his gaze falls on his jewellery box. He grabs it up and exits.

Scene Seventeen: The Huntley House The set changes to the Huntley house. A lantern is seen coming from upstage. Fog rolls in. Behind the lantern is BILL SIKES with OLIVER. They move to Huntley’s window.

BILL SIKES Oliver, this is the window that I will put you through. You’ll take this lantern once you’re inside. Go softly up the steps along the little hallway. Go to the kitchen and unbolt the door. We will quickly unburden them of their silver and jewels. Do you understand all that, boy?

OLIVER I don’t want to –

BILL SIKES Silence! Another word from you and I’ll put you out of your misery, do you hear me? Now go on, up you go. And be quiet! (BILL SIKES picks up OLIVER and raises him to the window and then through it. OLIVER is on the other side of the window. BILL SIKES hands him lantern.) Don’t try anything. Or I’ll fix you once and for all, boy. Now hurry!

OLIVER moves toward the door. Unseen by OLIVER and SIKES, JEEVES, a servant, enters from upstage with a small candle and pistol. OLIVER trips in the darkness.

JEEVESWho’s there?

HUNTLEY(Offstage.) Thief! Burglar!

JEEVESSummon the police sir.

OLIVER hides and JEEVES makes a careful search of the house. AT the same time, NANCY comes in with MR. BROWNLOW and ROSE, who hold back while NANCY approaches BILL.

NANCY Bill! You’re safe!

BILL SIKES(Not having seen MR. BROWNLOW and ROSE)

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What are you doing here?

NANCY Bill, this man is here for Oliver. You have to let him go.

BILL SIKESYou ratted me out!

NANCYNo Bill, this gentleman and lady told me tonight that they will help you. You won’t have to face kidnapping charges. You and Fagin will be free men! We can all start a new life!

MR. BROWNLOW(Stepping forward)If you’ll just…

BILL SIKES panics and grabs NANCY and holds her as a hostage.

BILL SIKES One more move and I’ll hurt the girl.

ROSEPlease, don’t!

BROWNLOW Don’t harm the girl.

ROSE Let her go! I beg you.

BILL SIKES We’re going to leave and you had better not make a move or sound.

BILL starts to edge away with NANCY.

Inside the house, OLIVER jumps up to run and JEEVES fires at OLIVER. OLIVER falls. HUNTLEY enters with candle.

HUNTLEYI’ve summoned the constable.

JEEVES Mr. Huntley, I shot him, sir, the scoundrel!

HUNTLEY(Moving candle toward OLIVER on floor.) What have you done?

JEEVES

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What?

HUNTLEY Look, it’s nothing but a small boy. He’s bleeding. HUNTLEY and JEEVES rush to OLIVER’s side. JEEVES runs and brings a cloth to bandage OLIVER who is being comforted by HUNTLEY.

Meanwhile, outside FAGIN has entered and sees NANCY being held hostage. He approaches BILL from behind, unseen, and slams his box down on BILL’s head. BILL collapses, the treasures from FAGIN’s box scatter, and NANCY rushes to ROSE who comforts her. The CONSTABLE enters and looks around confused.

CONSTABLEI received word of a burglary.

Scene Eighteen: The Brownlow Home As the lights rise, the music fades. We find BROWNLOW quietly conversing with the CONSTABLE. OLIVER is sitting quietly a bandage on his leg. ROSE enters.

ROSE Father, they have arrived.

BROWNLOW (MRS. MANN enters.) Constable, pay close attention.

MRS. MANNDo my eyes deceive me or is that little Oliver? Oh, O-l-i-v-e-r! If you only knew how much I missed you.

OLIVER is shielded behind ROSE’s skirt.

MR. BROWNLOW(Getting her attention)Mrs. Mann. The reason for your presence? You told us in the telegram that Oliver was born in the workhouse at Dunstable. You told us you knew nothing of his parentage.

MRS. MANNYes, well the instant I received your communication regarding dear Oliver...I decided we must take the first coach to London.

MR. BROWNLOWWhat have you tell me that somehow escaped your mind earlier?

MRS. MANN(Producing the locket proudly) This locket belonged to the boy's mother before she passed away.

OLIVER, obviously intrigued, starts to come out from behind ROSE.

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MR. BROWNLOW(Accusingly)You've kept this all these years?

MRS. MANN(Clutching the locket to herself possessively)Why should I not?

MR. BROWNLOW(Barely containing his anger)Did it not occur to you that this might provide the answer... to the boy's parentage, his identity, his very name?

MRS. MANNBut he had no name. The mother was destitute, alone.

MR. BROWNLOWIt was your duty to show this evidence to some higher authority. Your behavior was shameful!

MRS. MANNHow dare you speak to me so! (Again, straightening herself up proudly) I only came here to help you.

MR. BROWNLOWYou came here hoping to profit from your own greed and dishonesty.

MRS. MANNIf you think the locket don't properly belong to me...

CONSTABLE takes the locket from MRS.MANN and lays it on MR. BROWNLOW’s desk.

MR. BROWNLOWBe quiet, woman! (Throwing some coins on the table) Your reward. Take it.

MRS. MANN greedily collects the coins off the table.

MR. BROWNLOWThink yourself lucky you're not in the hands of the law. (To GILES) Show her out.

MRS. MANN(Mumbles as she leaves, GILES leading the way)There's gratitude for you.

MRS. MANN(Over her shoulder)I hope this unfortunate circumstance won't deprive me of my job.

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MR. BROWNLOWMy hope, madam, is that it will. (Turning to the CONSTABLE, dismisses him) Thank you, Constable.

CONSTABLEGooday, sir.

ROSEFather, the locket. I didn't really see.

ROSE moves to the desk and she and her father look at it.

MR. BROWNLOWI recognized it at once. I gave it to my niece Agnus on her 19th birthday.

ROSESo after she left us…

MR. BROWNLOW She must have made her way to that workhouse...and had her baby there.

OLIVER has been standing some distance away, looking uncertain. When MR. BROWNLOW mentions his niece’s child, both he and ROSE turn to look at OLIVER and smile. MR. BROWNLOW beckons OLIVER over and hands him the locket.

MR. BROWNLOWThis, Oliver, is yours. It belonged to your mother. A beautiful woman with a kind heart. Your mother and my niece. (Turning to look at the picture) That’s why you look so much like her.

ROSE(Hugs OLIVER)That means we’re cousins Oliver. Cousins!

MR. BROWNLOWI hope you will stay with us Oliver. You have a home with us.

THE END

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