A “Mellerdrama” company is billed for a one night stand in a tank town in a lurid production entitled “Lizzie, the Poor Working Girl.” The picture of the “heavy” in make-up, unfortunately resembles that of a horse thief and wife-beater in the vicinity, for whose capture there has been a great reward offered. A village rube with Sherlock Holmes instincts, discovers the similarity, and makes his revelations to a few choice cronies, urging secrecy. The natural result is a town agog with excitement. And the company enthuses over a crowded house. But the villagers are there for a purpose. This soon becomes apparent. Chas. Dudley, the “heavy,” off the stage, is merely a mild-mannered, brow-beaten husband to the leading lady, and answers the name of Henry, but on the stage. Well, it’s different. He is busily engaged in ferociously choking the heroine in one of the most thrilling moments in the play, when one of the rubes, unable to restrain his cupidity, makes a grab for the prize, and the whole reward-dazzled audience, in an endeavor to “beat him tew it,” begin clambering onto the stage. The villain bolts, so does the hero and a “dead man.” The manager attempts explanations, but in vain. To the stage door surges the mob, where with tar and feathers, a rail and other implements of welcome, the bad one’s appearance is awaited. In wild terror, the “white livered villain” observes their business-like preparations, then sneaking out of a side window, runs for it. He is captured and pleads for mercy. His wife receives the information that her husband is being tortured for wife-beating. Henry a wife-beater. How excruciatingly funny. He is about to be strung up when his wife appears and demands his release. She theatrically pulls off his fierce mustache, which he has forgotten to remove in his fright, showing that his ferocity is merely a shell. She then takes her hubby in hand, and her treatment of him vindicates him beyond the shadow of a doubt from suspicion of wife-beater.