SCENE VI.
Mandeville's apartment, decorated with splendid
paintings, the centre consisting of the assassination
of Julius Cæsar—a Banditti's cavern—a blood
stained Murderer, &c.—an appropriate sopha in
the Scene.
Enter Mandeville, gloomily meditating, seems to
curse his fate and unexecuting arm, which failed him
in compleating his Rival's murder at the altar—his
eyes appear, at length, rivetted on the painting of the
murderer, which becomes transparent—horror struck
he throws away his dagger—the assassination of
Julius Cæsar strikes his fancy—he hastily snatches
it up again, and, throwing himself into the attitude
of the Brutus of the picture, determines on revenge
—the view of the Banditti confirms him, and he
determines, by the aid of similar characters, to compleat
the murder of his friend, and hastily rings
a bell—Fitzhugh, alarmed, enters, to whom he intimates
his determination, and dispatches him to
procure aid; then throws himself on the sopha in
great agitation—visionary objects arise before him,
and, rushing forward, he wildly grasps at an air
drawn dagger and pistol which appear within his
clutch, and are in reality tendered him by Strongbow
and his associate, who are introduced by Fitzhugh
—bell tolls—his terror encreases—he bribes the
Outlaws, and, terror struck, accompanies them,
with Fitzhugh on their murderous project.
Exeunt.
