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diff --git a/18677-h/18677-h.htm b/18677-h/18677-h.htm new file mode 100644 index 0000000..fa8585e --- /dev/null +++ b/18677-h/18677-h.htm @@ -0,0 +1,1589 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" /> +<title>The Project Gutenberg eBook of The Ghost of Jerry Bundler, by W. W. Jacobs and Charles Rock</title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + + body{margin-left: 10%; + margin-right: 10%; + } + + a {text-decoration: none;} + + img {border: none;} + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + color: gray; + font-style: normal; font-weight: normal; font-variant: normal; + background-color: inherit; + } /* page numbers */ + + .bbox {border: solid 2px; margin-top: 1em; margin-bottom: 1em;} + .bbox p {margin: 0.5em 1em 0.5em 1em;} + + .center {text-align: center;} + .smcap {font-style: normal; font-variant: small-caps;} + + .spkr {font-style: normal; font-variant: small-caps;} + .loc {font-style: normal; font-variant: small-caps; text-transform: lowercase; font-size: 99%;} + .sd {margin-left: 7%; margin-right: 7%; + padding-top: 0.5em; padding-bottom: 0.5em; + font-style: italic;} + .isd {font-style: italic;} + tr.stgtbl td {vertical-align: top; width: 6em;} + .adsp {padding-top: 1em;} + + .caption {font-weight: bold;} + + .figcenter {margin: auto; text-align: center;} + + hr.full { width: 100%; } + pre {font-size: 75%;} + // --> + /* XML end ]]>*/ + </style> +</head> +<body> +<h1>The Project Gutenberg eBook, The Ghost of Jerry Bundler, by W. W. Jacobs +and Charles Rock</h1> +<pre> +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre> +<p>Title: The Ghost of Jerry Bundler</p> +<p>Author: W. W. Jacobs and Charles Rock</p> +<p>Release Date: June 24, 2006 [eBook #18677]</p> +<p>Language: English</p> +<p>Character set encoding: ISO-8859-1</p> +<p>***START OF THE PROJECT GUTENBERG EBOOK THE GHOST OF JERRY BUNDLER***</p> +<p> </p> +<h3>E-text prepared by Sigal Alon, Fox in the Stars,<br /> + and the Project Gutenberg Online Distributed Proofreading Team<br /> + (http://www.pgdp.net/)</h3> +<p> </p> +<hr class="full" /> +<p> </p> +<p> </p> + +<h1>THE GHOST<br /> +OF JERRY BUNDLER</h1> + +<h4><br />BY</h4> +<h2>W. W. JACOBS and CHARLES ROCK</h2> + +<h5>ADAPTED FROM W. W. JACOB'S STORY "JERRY BUNDLER"</h5> + +<hr style="width: 3em;" /> +<p class="center">Copyright, 1908, by W. W. Jacobs and Charles Rock</p> +<hr style="width: 3em" /> + +<p>CAUTION: Professionals and amateurs are hereby +warned that "<span class="smcap">The Ghost of Jerry Bundler</span>," +being fully protected under the copyright laws +of the United States, is subject to a royalty, +and anyone presenting the play without the consent +of the owners or their authorized agents will be +liable to the penalties by law provided. Applications +for professional and amateur acting rights must be +made to Samuel French, 25 West 45th Street, +New York.<br /></p> + + + +<div class='center'> +<table border="0" cellpadding="8" cellspacing="10" summary=""> +<tr> + <td>New York: <br /> + SAMUEL FRENCH<br /> + Publisher<br /> + 25 West 45th Street</td> + <td>London:<br /> + SAMUEL FRENCH, Ltd.<br /> + 26 Southampton Street <br /> + Strand</td> +</tr> +</table></div> + +<h3>ALL RIGHTS RESERVED</h3> + +<div class="bbox"> +<p>Especial notice should be taken that the possession of +this book without a valid contract for production first +having been obtained from the publisher, confers no right +or license to professionals or amateurs to produce the play +publicly or in private for gain or charity.</p> + +<p>In its present form this play is dedicated to the reading +public only, and no performance, representation, production, +recitation, or public reading, or radio broadcasting +may be given except by special arrangement with Samuel +French, 25 West 45th Street, New York.</p> + +<p>This play may be presented by amateurs upon payment +of a royalty of Five Dollars for each performance, +payable to Samuel French, 25 West 45th Street, +New York, one week before the date when the play is +given.</p> + +<p>Whenever the play is produced the following notice must +appear on all programs, printing and advertising for the +play: "Produced by special arrangement with Samuel +French of New York."</p> + +<p>Attention is called to the penalty provided by law for +any infringement of the author's rights, as follows.</p> + +<p>"<span class="smcap">Section 4966</span>:—Any person publicly performing or representing +any dramatic or musical composition for which +copyright has been obtained, without the consent of the +proprietor of said dramatic or musical composition, or his +heirs and assigns, shall be liable for damages thereof, such +damages, in all cases to be assessed at such sum, not less +than one hundred dollars for the first and fifty dollars for +every subsequent performance, as to the court shall appear +to be just. If the unlawful performance and representation +be wilful and for profit, such person or persons shall be +guilty of a misdemeanor, and upon conviction shall be imprisoned +for a period not exceeding one year."—U. S. +Revised Statutes: Title 60, Chap. 3.</p> +</div> + + +<hr style="width: 65%;" /> +<h2>THE GHOST OF JERRY BUNDLER.</h2> +<hr style="width: 25%;" /> + + +<h3>Cast at The Haymarket Theatre.</h3> + +<h4><span class="smcap">Sept. 9, 1902.</span></h4> + +<table border="0" cellpadding="4" cellspacing="0" summary="Cast at The Haymarket Theatre."> +<tr><td style="width: 10em;"><span class="spkr">Hirst</span></td><td>Mr. Cyril Maude.</td></tr> +<tr><td><span class="spkr">Penfold</span></td><td>Mr. George Trollope.</td></tr> +<tr><td><span class="spkr">Malcolm</span></td><td>Mr. Lewis Broughton.</td></tr> +<tr><td><span class="spkr">Somers</span></td><td>Mr. Marsh Allen.</td></tr> +<tr><td><span class="spkr">Beldon</span></td><td>Mr. H. Norton.</td></tr> +<tr><td><span class="spkr">Dr. Leek</span></td><td>Mr. Wilfred Forster.</td></tr> +<tr><td><span class="spkr">George</span> (a waiter)</td><td>Mr. Charles Rock.</td></tr> +</table> + +<p><span class="smcap">Note.</span>—Penfold, Malcolm, and Beldon represent different +types of Commercial Travellers.</p> + + +<h3>Original Cast.</h3> + + +<table border="0" cellpadding="4" cellspacing="0" summary="Original Cast."> +<tr><td style="width: 10em;"><span class="spkr">Penfold</span></td><td>Mr. Holman Clarke.</td></tr> +<tr><td><span class="spkr">Malcolm</span></td><td>Mr. Holmes Gore.</td></tr> +<tr><td><span class="spkr">Hirst</span></td><td>Mr. Cyril Maude.</td></tr> +<tr><td><span class="spkr">Somers</span></td><td>Mr. Frank Gillmore.</td></tr> +<tr><td><span class="spkr">Doctor Leek</span></td><td>Mr. C. M. Hallard.</td></tr> +<tr><td><span class="spkr">Beldon</span></td><td>Mr. Cecil Ramsay.</td></tr> +<tr><td><span class="spkr">George</span> (a waiter)</td><td>Mr. Mark Kinghorne.</td></tr> +</table> + +<p><i>First produced, St. James's Theatre, London, June 20, 1899.</i></p> + +<p><i>Revived. Her Majesty's Theatre, June 20, 1902. Same cast +as above except Mr. Frank Gillmore, whose part was played by +Mr. Charles Rock. The Herman Merivale Benefit Matinee.</i></p> + +<p><i>Haymarket Theatre. Sept. 9, 1902. Ran 100 performances.</i></p> + +<p><i>Avenue Theatre. Dec. 20, 1902. Ran 38 performances.</i></p> + + +<div class="figcenter" style="width: 703px;"> +<img src="images/stage.png" width="703" height="449" alt="" title="" /> +</div> + + +<p><span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span></p> +<h2>THE GHOST OF JERRY BUNDLER.</h2> +<hr style="width: 25%;" /> + + +<p class="sd"><span class="smcap">Scene.</span>—The Commercial Room in an old-fashioned +hotel in a small country town. An air of old-fashioned +comfort is in evidence everywhere. Old sporting prints +on the walls.</p> + +<p class="sd">On the table up <span class="loc">C.</span> are half a dozen candlesticks, old-fashioned +shape with snuffer attached. Two pairs of carpet +slippers are set up within fender. Red curtains to +window recess. Shutters or blinds to windows. Armchair +and about six other chairs in the room. One +old-fashioned settle. One small table. Clock. Decanter +of water, half a dozen toddy tumblers. Matches, +etc. The only light is a ruddy glow from the fire. Kettle +on hob. Moonlight from <span class="loc">R.</span> of window when shutter +is opened. Practical chandelier from ceiling or lights +at side of mantelpiece. <span class="spkr">Doctor's</span> coat and muffler on +chair up <span class="loc">L.</span>, his cap on mantelpiece.</p> + +<p class="sd">All lights out, dark stage. Opening music. Curtain +rise—ticking of clock heard. Wind, then church clock +chimes, the Lights come very slowly up, when the red +glow is seen in the fireplace the low murmurs of the +characters heard, and gradually get louder as lights +come up to when <span class="spkr">Somers'</span> voice tops all.</p> + +<p class="sd">(The stage occupied by all characters except <span class="spkr">George</span> the +waiter. Discovered, <span class="spkr">Penfold</span>, sitting in arm chair <span class="loc">L.</span> +of fire, above it. <span class="spkr">Doctor Leek</span> standing above fire +and leaning on mantel-shelf. <span class="spkr">Hirst</span> sitting on settle<span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span> +below fire and nearest to audience. <span class="spkr">Somers</span> seated on +settle with him but above him. <span class="spkr">Malcolm</span> and <span class="spkr">Beldon</span> +on chairs <span class="loc">R. C.</span>, facing fire. <span class="spkr">All</span> are smoking, +and drink from their respective glasses from time to +time. <span class="spkr">Somers</span> has just finished a story as Curtain +rises.)</p> + +<p><span class="spkr">Omnes.</span> Oh, I say, that sounds impossible, etc.</p> + +<p><span class="spkr">Somers.</span> Haunted or not haunted, the fact remains +that no one stays in the house long. It's been let to +several tenants since the time of the murder, but they +never completed their tenancy. The last tenant held +out for a month, but at last he gave up like the rest, +and cleared out, although he had done the place up +thoroughly, and must have been pounds out of pocket +by the transaction.</p> + +<p><span class="spkr">Malcolm.</span> Well, it's a capital ghost story, I admit, +that is, as a story, but I for one can't swallow it.</p> + +<p><span class="spkr">Hirst.</span> I don't know, it is not nearly so improbable +as some I have heard. Of course it's an old +idea that spirits like to get into the company of human +beings. A man told me once, that he travelled down +by the Great Western, with a ghost as fellow passenger, +and hadn't the slightest suspicion of it, until the inspector +came for tickets. My friend said, the way that +ghost tried to keep up appearances, by feeling in all its +pockets, and even looking on the floor for its ticket, +was quite touching. Ultimately it gave it up, and with +a loud groan vanished through the ventilator.</p> + +<p class="sd">(<span class="spkr">Somers</span>, <span class="spkr">Malcolm</span> and <span class="spkr">Leek</span> laugh heartily.)</p> + +<p><span class="spkr">Beldon.</span> Oh, I say come now, that'll do.</p> + +<p><span class="spkr">Penfold</span> <span class="isd">(seriously)</span>. Personally I don't think it's +a subject for jesting. I have never seen an apparition +myself, but I have known people who have, and I consider +that they form a very interesting link between us +and the after life. There's a ghost story connected +with this house, you know.</p> + +<p><span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span><span class="spkr">Omnes.</span> Eh! Oh? Really!</p> + +<p><span class="spkr">Malcolm</span> <span class="isd">(rising and going to mantelpiece, takes up +his glass of toddy)</span>. Well, I have used this house for +some years now. I travel for Blennet and Burgess—wool—and +come here regularly three times a year, and +I've never heard of it. <span class="isd">(Sits down again on his chair, +holding glass in his hand.)</span></p> + +<p><span class="spkr">Leek.</span> And I've been here pretty often too, though +I have only been in practice here for a couple of years, +and I have never heard it mentioned, and I must say I +don't believe in anything of the sort. In my opinion +ghosts are the invention of weak-minded idiots.</p> + +<p><span class="spkr">Penfold.</span> Weak-minded idiots or not, there is a +ghost story connected with this house, but it dates a +long time back.</p> + +<p class="sd">(<span class="spkr">George</span>, the waiter, enters <span class="loc">D. L.</span> with tray and +serviette.)</p> + +<p>Oh, here's George, he'll bear me out. You've heard of +Jerry Bundler, George?</p> + +<p><span class="spkr">George</span> <span class="isd">(<span class="loc">C.</span>)</span>. Well, I've just 'eard odds and ends, +sir, but I never put much count to 'em. There was +one chap 'ere, who was under me when fust I come, he +said he seed it, and the Guv'nor sacked him there and +then. <span class="isd">(Goes to table by window, puts tray down, takes +up glass and wipes it slowly.)</span></p> + +<p class="sd">(<span class="spkr">Men</span> laugh.)</p> + +<p><span class="spkr">Penfold.</span> Well, my father was a native of this +town, and he knew the story well. He was a truthful +man and a steady churchgoer. But I have heard him +declare that once in his life he saw the ghost of Jerry +Bundler in this house; let me see, George, you don't +remember my old dad, do you?</p> + +<p class="sd">(<span class="spkr">George</span> puts down glasses over table.)</p> + +<p><span class="spkr">George.</span> No, sir. I come here forty years ago +next Easter, but I fancy he was before my time.</p> + +<p><span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span><span class="spkr">Penfold.</span> Yes, though not by long. He died when +I was twenty, and I shall be sixty-two next month, but +that's neither here nor there.</p> + +<p class="sd">(<span class="spkr">George</span> goes up to table <span class="loc">C.</span> tidying up and listening.)</p> + +<p><span class="spkr">Leek.</span> Who was this Jerry Bundler?</p> + +<p><span class="spkr">Penfold.</span> A London thief, pickpocket, highwayman—anything +he could turn his dishonest hand to, +and he was run to earth in this house some eighty +years ago.</p> + +<p class="sd">(<span class="spkr">George</span> puts glass down and stands listening.)</p> + +<p>He took his last supper in this room.</p> + +<p class="sd">(<span class="spkr">Penfold</span> leans forward. <span class="spkr">Beldon</span> looks round to +<span class="loc">L.</span> nervously.)</p> + +<p>That night soon after he had gone to bed, a couple of +Bow Street runners, the predecessors of our present +detective force turned up here. They had followed +him from London, but had lost scent a bit, so didn't +arrive till late. A word to the landlord, whose description +of the stranger who had retired to rest, pointed to +the fact that he was the man they were after, of course +enlisted his aid and that of the male servants and +stable hands. The officers crept quietly up to Jerry's +bedroom and tried the door, it wouldn't budge. It was +of heavy oak and bolted from within.</p> + +<p class="sd">(<span class="spkr">Omnes</span> lean forward, showing interest.)</p> + +<p>Leaving his comrade and a couple of grooms to guard +the bedroom door, the other officer went into the yard, +and, procuring a short ladder, by this means reached +the window of the room in which Jerry was sleeping. +The Inn servants and stable hands saw him get on to +the sill and try to open the window. Suddenly there +was a crash of glass, and with a cry, he fell in a heap +on to the stones at their feet. Then in the moonlight,<span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span> +they saw the face of the highwayman peering over the +sill.</p> + +<p class="sd">(<span class="spkr">Omnes</span> move uneasily.)</p> + +<p>They sent for the blacksmith, and with his sledge-hammer +he battered in the strong oak panels, and the first +thing that met their eyes was the body of Jerry Bundler +dangling from the top of the four-post bed by his own +handkerchief.</p> + +<p class="sd">(<span class="spkr">Omnes</span> sit back, draw their breath, and are generally +uneasy. Slight pause.)</p> + +<p><span class="spkr">Somers.</span> I say, which bedroom was it? <span class="isd">(Earnestly)</span>.</p> + +<p><span class="spkr">Penfold.</span> That I can't tell you, but the story goes +that Jerry still haunts this house, and my father used to +declare positively that the last time he slept here, the +ghost of Jerry Bundler lowered itself from the top of +his four-post bed and tried to strangle him.</p> + +<p><span class="spkr">Beldon</span> <span class="isd">(jumps up, gets behind his chair, twists +chair round; nervously)</span>. O, I say, that'll do. I wish +you'd thought to ask your father which bedroom it +was.</p> + +<p><span class="spkr">Penfold.</span> What for?</p> + +<p><span class="spkr">Beldon.</span> Well, I should take jolly good care not +to sleep in it, that's all. <span class="isd">(Goes to back.)</span></p> + +<p class="sd">(<span class="spkr">Penfold</span> rising, goes to fire, and knocks out his pipe, +Leek gets by arm-chair.)</p> + +<p><span class="spkr">Penfold.</span> There's nothing to fear. I don't believe +for a moment that ghosts could really hurt one. +<span class="isd">(<span class="spkr">George</span> lights candle at table.)</span> In fact, my father +used to say that it was only the unpleasantness of the +thing that upset him, and that, for all practical purposes, +Jerry's fingers might have been made of cotton +wool for all the harm they could do.</p> + +<p class="sd">(<span class="spkr">George</span> hands candle, gets to door and holds it open.)</p> + +<p><span class="spkr">Beldon.</span> That's all very fine, a ghost story is a +ghost story, but when a gentleman tells a tale of a<span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span> +ghost that haunts the house in which one is going to +sleep, I call it most ungentlemanly.</p> + +<p class="sd">(<span class="spkr">Beldon</span> places his chair to <span class="loc">L.</span> of table <span class="loc">R.</span> <span class="spkr">Penfold</span> goes +up to <span class="loc">C.</span> <span class="spkr">Leek</span> sits in arm chair. <span class="spkr">Beldon</span> goes to +fireplace.)</p> + +<p><span class="spkr">Penfold.</span> Pooh! Nonsense. <span class="isd">(At table up <span class="loc">C.</span>)</span>.</p> + +<p class="sd">(During his speech George lights one of the candles.)</p> + +<p>Ghosts can't hurt you. For my own part, I should +rather like to see one.</p> + +<p><span class="spkr">Omnes.</span> Oh, come now—— etc.</p> + +<p><span class="spkr">Penfold.</span> Well, I'll bid you good-night, gentlemen.</p> + +<p class="sd">(He goes towards door <span class="loc">L.</span> <span class="spkr">George</span> opens it for him; he +passes out as they all say.)</p> + +<p><span class="spkr">Omnes.</span> Good-night.</p> + +<p class="sd">(<span class="spkr">Hirst</span> rises, crosses to <span class="loc">L. C.</span>)</p> + +<p><span class="spkr">Beldon</span> <span class="isd">(up <span class="loc">R.</span>, calling after him)</span>. And I hope +Jerry'll pay you a visit.</p> + +<p><span class="spkr">Malcolm</span> <span class="isd">(rises, goes to fire)</span>. Well, I'm going to +have another whisky if you gentlemen will join me. I +think it'll do us all good after that tale. George, take +the orders.</p> + +<p class="sd">(<span class="spkr">George</span> comes down with salver to table <span class="loc">R.</span>, gathers up +glasses.)</p> + +<p><span class="spkr">Somers.</span> Not quite so much hot water in mine.</p> + +<p><span class="spkr">Malcolm.</span> I'll have the same again, George.</p> + +<p><span class="spkr">Beldon.</span> A leetle bit of lemon in mine, George.</p> + +<p><span class="spkr">Leek.</span> Whisky and soda for me, please.</p> + +<p><span class="spkr">Hirst.</span> Whisky!</p> + +<p class="sd">(<span class="spkr">George</span> goes to table <span class="loc">R.</span>, collects glasses, crosses to door +<span class="loc">L.</span> speaks.)</p> + +<p><span class="spkr">George</span> <span class="isd">(to <span class="spkr">Malcolm</span>)</span>. Shall I light the gas, Mr. +Malcolm? <span class="isd">(At door.)</span></p> + +<p><span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span><span class="spkr">Malcolm.</span> No, the fire's very comfortable, unless +any of you gentlemen prefer the gas.</p> + +<p><span class="spkr">Omnes.</span> No, not at all—etc.</p> + +<p><span class="spkr">Malcolm.</span> Never mind, George. <span class="isd">(This to <span class="spkr">George</span> +as no one wants the gas.)</span> The firelight is pleasanter.</p> + +<p class="sd">(Exit <span class="spkr">George</span> for orders <span class="loc">L.</span>)</p> + +<p class="sd">(<span class="spkr">Beldon</span> gets <span class="loc">C.</span>)</p> + +<p><span class="spkr">Malcolm</span> <span class="isd">(at fire)</span>. Does any gentleman know +another——?</p> + +<p><span class="spkr">Somers</span> <span class="isd">(seated <span class="loc">R.</span>)</span>. Well, I remember hearing——</p> + +<p><span class="spkr">Beldon</span> <span class="isd">(up <span class="loc">C.</span>)</span>. Oh, I say—that'll do.</p> + +<p class="sd">(<span class="spkr">Omnes</span> laugh.)</p> + +<p><span class="spkr">Leek.</span> Yes, I think you all look as if you'd heard +enough ghost stories to do you the rest of your lives. +And you're not all as anxious to see the real article as +the old gentleman who's just gone.</p> + +<p><span class="spkr">Hirst</span> <span class="isd">(looking to <span class="loc">L.</span>)</span>. Old humbug! I should +like to put him to the test. <span class="isd">(<span class="loc">C.</span>)</span> <span class="isd">(Bus.)</span> I say, suppose +I dress up as Jerry Bundler and go and give him a +chance of displaying his courage? I bet I'd make the +old party sit up.</p> + +<p><span class="spkr">Malcolm.</span> Capital!</p> + +<p><span class="spkr">Beldon.</span> A good idea.</p> + +<p><span class="spkr">Leek.</span> I shouldn't, if I were you.</p> + +<p><span class="spkr">Hirst.</span> Just for the joke, gentlemen <span class="isd">(<span class="loc">C.</span>)</span>.</p> + +<p><span class="spkr">Somers.</span> No, no—drop it, Hirst.</p> + +<p><span class="spkr">Hirst.</span> Only for the joke. Look here, I've got +some things that'll do very well. We're going to have +some amateur theatricals at my house. We're doing a +couple of scenes from "The Rivals," Somers, <span class="isd">(pointing +to <span class="spkr">Somers</span>)</span> and I have been up to town to get the +costumes, wigs, etc., to-day. I've got them up-stairs—knee-breeches, +stockings, buckled shoes, and all that +sort of thing. It's a rare chance. If you wait a bit,<span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span> +I'll give you a full dress rehearsal, entitled "Jerry +Bundler, or the Nocturnal Stranger." <span class="isd">(At door <span class="loc">L.</span>)</span>.</p> + +<p><span class="spkr">Leek</span> <span class="isd">(sneeringly)</span>. You won't frighten us, will +you?</p> + +<p><span class="spkr">Hirst.</span> I don't know so much about that—it's a +question of acting, that's all.</p> + +<p><span class="spkr">Malcolm.</span> I'll bet you a level sov, you don't +frighten me.</p> + +<p><span class="spkr">Hirst</span> <span class="isd">(quietly)</span>. A level sov. <span class="isd">(Pauses.)</span> Done. +I'll take the bet to frighten you first, and the old boy +afterwards. These gentlemen shall be the judges. +<span class="isd">(Points to <span class="spkr">Leek</span> and <span class="spkr">Beldon</span>.)</span></p> + +<p><span class="spkr">Beldon</span> <span class="isd">(up <span class="loc">C.</span>)</span>. You won't frighten us because +we're prepared for you, but you'd better leave the old +man alone. It's dangerous play. <span class="isd">(Appeals to <span class="spkr">Leek</span>)</span>.</p> + +<p><span class="spkr">Hirst.</span> Well, I'll try you first. <span class="isd">(Moves to door and +pauses.)</span> No gas, mind.</p> + +<p><span class="spkr">Omnes.</span> No! no!</p> + +<p><span class="spkr">Hirst</span> <span class="isd">(laughs)</span>. I'll give you a run for your +money.</p> + +<p class="sd">(<span class="spkr">George</span> enters, holds door open.)</p> + +<p class="sd">(Exit <span class="spkr">Hirst</span>.)</p> + +<p class="sd">(<span class="spkr">George</span> passes drinks round. Five drinks. <span class="spkr">Somers</span> +takes the one ordered for <span class="spkr">Hirst</span> and puts it on the +table <span class="loc">R.</span> <span class="spkr">Beldon</span> sits <span class="loc">R. C.</span> <span class="spkr">George</span> crosses to table, +puts two drinks down, goes to fire and gives drinks, +then up to table, puts tray down, takes up glass and +begins to wipe it, gets down <span class="loc">L.</span> for lines.)</p> + +<p><span class="spkr">Leek</span> <span class="isd">(to <span class="spkr">Malcolm</span>)</span>. I think you'll win your bet, +sir, but I vote we give him a chance. Suppose we +have cigars round, and if he's not back by the time +we've finished them I must be off, as I have a quarter +of an hour's walk before me. <span class="isd">(Looks at watch.)</span> He's +a friend of yours, isn't he?</p> + +<p><span class="spkr">Somers.</span> Yes, I have known him a good many +years now, and I must say he's a rum chap; just crazy<span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span> +about acting and practical joking, though I've often +told him he carries the latter too far at times. In this +case it doesn't matter, but I won't let him try it on the +<i>old gentleman</i>. You see we know what he's going to +do, and are prepared, but he doesn't, and it might lead +to illness or worse; the old chap's sixty-two and such +a shock might have serious consequences. But Hirst +won't mind giving up that part of it, so long as he gets +an opportunity of acting to us.</p> + +<p><span class="spkr">Leek</span> <span class="isd">(knocks pipe on grate)</span>. Well, I hope he'll +hurry up. It's getting pretty late. <span class="isd">(To <span class="spkr">Somers</span>.)</span></p> + +<p><span class="spkr">Malcolm.</span> Well, gentlemen, your health!</p> + +<p><span class="spkr">Somers.</span> Good luck.</p> + +<p><span class="spkr">Leek.</span> Hurrah!</p> + +<p><span class="spkr">Beldon.</span> Chin-chin!</p> + +<p><span class="spkr">Leek.</span> By the way, how is it you happen to be +here to-night?</p> + +<p><span class="spkr">Somers.</span> Oh, we missed the connection at Tolleston +Junction and as the accommodation at the Railway +Arms there was rather meagre, the Station Master advised +us to drive on here, put up for the night, and +catch the Great Northern express from Exton in the +morning. <span class="isd">(Rises, crosses to <span class="loc">L.</span>)</span> Oh, George, that +reminds me—you might see that 'Boots' calls us at 7 +sharp.</p> + +<p class="sd">(<span class="spkr">Beldon</span> rises, goes up to them to fire.)</p> + +<p><span class="spkr">George.</span> Certainly, sir. What are your numbers?</p> + +<p><span class="spkr">Somers.</span> 13 and 14.</p> + +<p><span class="spkr">George.</span> I'll put it on the slate, special, sir. <span class="isd">(Goes +to door <span class="loc">L.</span>)</span></p> + +<p><span class="spkr">Leek.</span> I beg pardon, gentlemen, I forgot the cigars; +George, bring some cigars back with you.</p> + +<p><span class="spkr">Beldon.</span> A very mild one for me.</p> + +<p><span class="spkr">George.</span> Very well, sir. <span class="isd">(Takes up tray from sideboard.)</span></p> + +<p class="sd">(Exit <span class="loc">L.</span>)</p> + +<p class="sd">(<span class="spkr">Somers</span> sits <span class="loc">R. C.</span>)</p> + +<p><span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span><span class="spkr">Malcolm.</span> I think you were very wise coming on +here. <span class="isd">(Sits on settle <span class="loc">R.</span>)</span> I stayed at the Railway +Arms, Tolleston, once—never again though. Is your +friend clever at acting?</p> + +<p><span class="spkr">Somers.</span> I don't think he's clever enough to frighten +you. I'm to spend Christmas at his place, and he's +asked me to assist at the theatricals he spoke of. +Nothing would satisfy him till I consented, and I +must honestly say I am very sorry I ever did, for I +expect I shall be pretty bad. I know I have scarcely +slept a wink these last few nights, trying to get the +words into my head.</p> + +<p class="sd">(<span class="spkr">George</span> enters backwards, pale and trembling.)</p> + +<p><span class="spkr">Malcolm.</span> Why! Look—what the devil's the +matter with George? <span class="isd">(Crosses to <span class="spkr">George</span>.)</span></p> + +<p><span class="spkr">George.</span> I've seen it, gentlemen. <span class="isd">(Down stage +<span class="loc">L. C.</span>)</span></p> + +<p><span class="spkr">Omnes.</span> Seen who?</p> + +<p class="sd">(<span class="spkr">Beldon</span> down <span class="loc">R.</span> edge of table <span class="loc">R.</span> <span class="spkr">Leek</span> up <span class="loc">R. C.</span> +<span class="spkr">Somers</span> up <span class="loc">R.</span>)</p> + +<p><span class="spkr">George.</span> The ghost. Jer—Bun—</p> + +<p><span class="spkr">Malcolm.</span> Why, you're frightened, George.</p> + +<p><span class="spkr">George.</span> Yes, sir. It was the suddenness of it, +and besides I didn't look for seeing it in the bar. +There was only a glimmer of light there, and it was +sitting on the floor. I nearly touched it.</p> + +<p><span class="spkr">Malcolm</span> <span class="isd">(goes to door, looks off, then returns—to +others)</span>. It must be Hirst up to his tricks. George +was out of the room when he suggested it. <span class="isd">(To +<span class="spkr">George</span>.)</span> Pull yourself together, man.</p> + +<p><span class="spkr">George.</span> Yes, sir—but it took me unawares. I'd +never have gone to the bar by myself if I'd known it +was there, and I don't believe you would, either, sir.</p> + +<p><span class="spkr">Malcolm.</span> Nonsense, I'll go and fetch him in. +<span class="isd">(Crosses to <span class="loc">L.</span>)</span></p> + +<p><span class="spkr">George</span> <span class="isd">(clutching him by the sleeve)</span>. You don't +know what it's like, sir. It ain't fit to look at by yourself,<span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span> +it ain't indeed. It's got the awfullest deathlike +face, and short cropped red hair—it's—</p> + +<p class="sd">(Smothered cry is heard.)</p> + +<p>What's that? <span class="isd">(Backs to <span class="loc">C</span> and leans on chair.)</span></p> + +<p class="sd">(<span class="spkr">All</span> start, and a quick pattering of footsteps is heard +rapidly approaching the room. The door flies open +and <span class="spkr">Hirst</span> flings himself gasping and shivering into +<span class="spkr">Malcolm's</span> arms. The door remains open. He has +only his trousers and shirt on, his face very white +with fear and his own hair all standing on end. +<span class="spkr">Leek</span> lights the gas, then goes to <span class="loc">R.</span> of <span class="spkr">Hirst</span>.)</p> + +<p><span class="spkr">Omnes.</span> What's the matter?</p> + +<p><span class="spkr">Malcolm.</span> Why, it's Hirst.</p> + +<p class="sd">(Shakes him roughly by the shoulder.)</p> + +<p>What's up?</p> + +<p><span class="spkr">Hirst.</span> I've seen—oh, Lord! I'll never play the +fool again. <span class="isd">(Goes <span class="loc">C.</span>)</span></p> + +<p><span class="spkr">Others.</span> Seen what?</p> + +<p><span class="spkr">Hirst.</span> Him—it—the ghost—anything.</p> + +<p><span class="spkr">Malcolm</span> <span class="isd">(uneasily)</span>. Rot!</p> + +<p><span class="spkr">Hirst.</span> I was coming down the stairs to get something +I'd forgotten, when I felt a tap—<span class="isd">(He breaks off +suddenly gazing through open door.)</span> I thought I saw +it again—Look—at the foot of the stairs, can't you +see anything? <span class="isd">(Shaking <span class="spkr">Leek</span>.)</span></p> + +<p><span class="spkr">Leek</span> <span class="isd">(crosses to door peering down passage)</span>. No, +there's nothing there. <span class="isd">(Stays up <span class="loc">L.</span>)</span></p> + +<p class="sd">(<span class="spkr">Hirst</span> gives a sigh of relief.)</p> + +<p><span class="spkr">Malcolm</span> <span class="isd">(<span class="loc">L. C.</span>)</span>. Go on—you felt a tap——</p> + +<p><span class="spkr">Hirst</span> <span class="isd">(<span class="loc">C.</span>)</span>. I turned and saw it—a little wicked +head with short red hair—and a white dead face—horrible.</p> + +<p class="sd">(Clock chimes three-quarters.)</p> + +<p class="sd">(They assist him into chair <span class="loc">L.</span> of table <span class="loc">R.</span>)</p> + +<p><span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span><span class="spkr">George</span> <span class="isd">(up <span class="loc">C.</span>)</span>. That's what I saw in the bar—'orrid—it +was devilish. <span class="isd">(Coming <span class="loc">C.</span>)</span></p> + +<p class="sd">(<span class="spkr">Malcolm</span> crosses to <span class="loc">L.</span> <span class="spkr">Hirst</span> shudders.)</p> + +<p><span class="spkr">Malcolm.</span> Well, it's a most unaccountable thing. +It's the last time I come to this house. <span class="isd">(Goes to <span class="loc">R.</span> of +<span class="spkr">Leek</span>.)</span></p> + +<p><span class="spkr">George.</span> I leave to-morrow. I wouldn't go down +to that bar alone—no, not for fifty pounds. <span class="isd">(Goes up +<span class="loc">R.</span> to arm-chair.)</span></p> + +<p><span class="spkr">Somers</span> <span class="isd">(crosses to door <span class="loc">R.</span> then returns to <span class="loc">R. C.</span>)</span>. It's +talking about the thing that's caused it, I expect. +We've had it in our minds, and we've been practically +forming a spiritualistic circle without knowing it. +<span class="isd">(Goes to back of table <span class="loc">R.</span>)</span></p> + +<p><span class="spkr">Beldon</span> <span class="isd">(crosses to <span class="loc">R. C.</span>)</span>. Hang the old gentleman. +Upon my soul I'm half afraid to go to bed.</p> + +<p><span class="spkr">Malcolm.</span> Doctor, it's odd they should both think +they saw something.</p> + +<p class="sd">(They both drop down <span class="loc">L. C.</span>)</p> + +<p><span class="spkr">George</span> <span class="isd">(up <span class="loc">C.</span>)</span>. I saw it as plainly as I see you, sir. +P'raps if you keep your eyes turned up the passage +you'll see it for yourself. <span class="isd">(Points.)</span></p> + +<p class="sd">(They all look. <span class="spkr">Beldon</span> goes to <span class="spkr">Somers</span>.)</p> + +<p><span class="spkr">Beldon.</span> There—what was that?</p> + +<p><span class="spkr">Malcolm.</span> Who'll go with me to the bar!</p> + +<p><span class="spkr">Leek.</span> I will. <span class="isd">(Goes to door.)</span></p> + +<p><span class="spkr">Beldon</span> <span class="isd">(gulps)</span>. So—will I. <span class="isd">(Crosses to door <span class="loc">L.</span> +They go to the door. To <span class="spkr">Malcolm</span>.)</span> After you. <span class="isd">(They +slowly pass into the passage. <span class="spkr">George</span> watching them. +All exit except <span class="spkr">Hirst</span> and <span class="spkr">Somers</span>.)</span></p> + +<p><span class="spkr">Somers.</span> How do you feel now, old man?</p> + +<p><span class="spkr">Hirst</span> <span class="isd">(changing his frightened manner to one of assurance)</span>. +Splendid!</p> + +<p><span class="spkr">Somers.</span> But—<span class="isd">(a step back.)</span></p> + +<p><span class="spkr">Hirst.</span> I tell you I feel splendid.</p> + +<p><span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span><span class="spkr">Somers.</span> But the ghost—<span class="isd">(Steps back to <span class="loc">C.</span>)</span></p> + +<p><span class="spkr">Hirst.</span> Well, upon my word, Somers—you're not +as sharp as I thought you.</p> + +<p><span class="spkr">Somers.</span> What do you mean?</p> + +<p><span class="spkr">Hirst.</span> Why, that I was the ghost George saw. +<span class="isd">(Crosses to <span class="loc">L. C.</span>)</span> By Jove, he <i>was</i> in a funk! I followed +him to the door and overheard his description +of what he'd seen, then I burst in myself and pretended +I'd seen it too. I'm going to win that, bet—<span class="isd">(<span class="spkr">Voices</span> +heard. Crosses to <span class="loc">R.</span>)</span> Look out, they're coming back. +<span class="isd">(Sits.)</span></p> + +<p><span class="spkr">Somers.</span> Yes, but——</p> + +<p><span class="spkr">Hirst.</span> Don't give me away—hush!</p> + +<p class="sd">(Re-enter <span class="spkr">Malcolm</span>, <span class="spkr">Leek</span>, <span class="spkr">Beldon</span> and <span class="spkr">George</span> <span class="loc">L.</span>)</p> + +<p class="sd">(<span class="spkr">Beldon</span> and <span class="spkr">George</span> go up to back <span class="loc">C.</span>)</p> + +<p><span class="spkr">Hirst.</span> Did you see it? <span class="isd">(In his frightened manner.)</span></p> + +<p><span class="spkr">Malcolm</span> <span class="isd">(<span class="loc">C.</span>)</span> I don't know—I thought I saw +something, but it might have been fancy. I'm in the +mood to see anything just now. <span class="isd">(To <span class="spkr">Hirst</span>.)</span> How +are you feeling now, sir?</p> + +<p><span class="spkr">Hirst.</span> Oh, I feel a bit better now. I daresay you +think I'm easily scared—but you didn't see it.</p> + +<p><span class="spkr">Malcolm.</span> Well, I'm not quite sure. <span class="isd">(Goes to +fire.)</span></p> + +<p><span class="spkr">Leek.</span> You've had a bit of a shock. Best thing +you can do is to go to bed.</p> + +<p><span class="spkr">Hirst</span> <span class="isd">(finishing his drink)</span>. Very well. Will you, +<span class="isd">(rises)</span> share my room with me, Somers?</p> + +<p class="sd">(<span class="spkr">George</span> lights two candles.)</p> + +<p><span class="spkr">Somers</span> <span class="isd">(crosses to <span class="loc">L. C.</span>)</span>. I will with pleasure. +<span class="isd">(Gets up to table <span class="loc">C.</span> and gets a candle)</span>. Provided you +don't mind sleeping with the gas full on all night. +<span class="isd">(Goes to door <span class="loc">L.</span>)</span></p> + +<p><span class="spkr">Leek</span> <span class="isd">(to <span class="spkr">Hirst</span>)</span>. You'll be all right in the morning.</p> + +<p><span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span><span class="spkr">Hirst.</span> Good night, all. <span class="isd">(As he crosses to door.)</span></p> + +<p><span class="spkr">Omnes.</span> Good night.</p> + +<p class="sd">(<span class="spkr">All</span> talking at fire, not looking to <span class="loc">L.</span> as <span class="spkr">Hirst</span> and +<span class="spkr">Somers</span> exeunt. <span class="spkr">Hirst</span> chuckles and gives <span class="spkr">Somers</span> a +sly dig.)</p> + +<p><span class="spkr">Somers.</span> Good night.</p> + +<p><span class="spkr">Malcolm</span> <span class="isd">(at fireplace)</span>. Well, I suppose the bet's +off, though as far as I can see I won it. I never saw +a man so scared in all my life. Sort of poetic justice +about it. <span class="isd">(<span class="spkr">Leek</span> with revolver in his hand, is just +putting it into his pocket. Seeing him.)</span> Why, what's +that you've got there?</p> + +<p><span class="spkr">Leek.</span> A revolver. <span class="isd">(At fire.)</span> You see I do a lot +of night driving, visiting patients in outlying districts—they're +a tough lot round here, and one never knows +what might happen, so I have been accustomed to +carry it. I just pulled it out so as to have it handy. +I meant to have a pot at that ghost if I had seen him. +There's no law against it, is there? I never heard of +a close time for ghosts.</p> + +<p><span class="spkr">Beldon.</span>—Oh, I say, never mind ghosts. Will <i>you</i> +share my room? <span class="isd">(To <span class="spkr">Malcolm</span>.)</span></p> + +<p class="sd">(<span class="spkr">George</span> comes down a little, holding candle.)</p> + +<p><span class="spkr">Malcolm.</span> With pleasure. I'm not exactly frightened, +but I'd sooner have company, and I daresay +George here would be glad to be allowed to make up a +bed on the floor.</p> + +<p><span class="spkr">Beldon.</span> Certainly.</p> + +<p><span class="spkr">Malcolm.</span> Well, that's settled. A majority of three +to one ought to stop any ghost. Will that arrangement +suit you, George?</p> + +<p><span class="spkr">George.</span> Thank you, sir. And if you gentlemen +would kindly come down to the bar with me while I +put out the gas. I could never be sufficiently grateful, +and when <span class="isd">(at door)</span> we come back we can let the +Doctor out at the front door. Will that do, sir?</p> + +<p><span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span><span class="spkr">Leek.</span> All right; I'll be getting my coat on. +<span class="isd">(<span class="spkr">George</span> gets to door. They exit at door <span class="loc">L.</span> <span class="spkr">Leek</span> picks +up his coat off chair up <span class="loc">L.</span>, puts it on and then turns up +trousers. Footsteps heard in flies, then goes to the window +<span class="loc">R.</span>, pulls curtain aside and opens the shutters of the +window nearest the fire. A flood of moonlight streams +in from <span class="loc">R.</span> Clock strikes twelve.)</span> By Jove, what a +lovely night. That poor devil did get a fright, and no +mistake. <span class="isd">(Crossing down to fireplace for his cap which +is on the mantelpiece. <span class="spkr">Malcolm</span>, <span class="spkr">Beldon</span> and <span class="spkr">George</span> +return—the door closes after them.)</span> Well, no sign of it, +eh?</p> + +<p><span class="spkr">Malcolm.</span> No, we've seen nothing this time. +Here, give me the candle, George, while you turn out +the gas.</p> + +<p><span class="spkr">Leek.</span> All right, George, I'll put this one out. +<span class="isd">(Turns out gas below fire.)</span></p> + +<p class="sd">(<span class="spkr">Malcolm</span> and <span class="spkr">Beldon</span> are up at sideboard, <span class="spkr">George</span> +having put the other gas out, goes up to them and is +just lighting the candles for them. The <span class="spkr">Doctor</span> is +filling his pipe at mantel-shelf, and stooping to get a +light with a paper spill. <span class="spkr">Leek</span> whistles and lights +spill. The handle of the door is heard moving. +<span class="spkr">Omnes</span> stand motionless—<span class="spkr">Malcolm</span> and <span class="spkr">Beldon</span> +very frightened. They all watch. The room is lit +only by the firelight which is very much fainter than +it was at the beginning of the play, by the candle +which <span class="spkr">George</span> holds, and by the flood of moonlight +from the window.)</p> + +<p class="sd">(The door slowly opens, a hand is seen, then a figure appears +in dark breeches, white stockings, buckled shoes, +white shirt, very neat in every detail, with a long white +or spotted handkerchief tied round the neck, the long end +hanging down in front. The face cadaverous, with +sunken eyes and a leering smile, and close cropped red +hair. The figure blinks at the candle, then slowly +raises its hands and unties the handkerchief, its head<span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span> +falls on to one shoulder, it holds handkerchief out at +arm's length and advances towards <span class="spkr">Malcolm</span>.)</p> + + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr class="stgtbl"><td colspan="2"> </td><td colspan="2"><i>Table</i></td></tr> +<tr class="stgtbl"><td colspan="4"> </td><td><span class="spkr">George</span></td></tr> +<tr class="stgtbl"><td> </td><td><span class="spkr">Leek</span></td><td style="width: 5em;"><span class="spkr">Beldon</span></td><td style="width: 5em;"><span class="spkr">Malcolm</span></td></tr> +<tr class="stgtbl"><td> </td><td><i>Chair</i></td></tr> +<tr class="stgtbl"><td><i>Fire</i></td><td colspan="4"> </td><td><span class="spkr">Hirst</span></td></tr> +</table></div> + +<p class="sd">(Just as the figure reaches the place where the moonbeams +touch the floor, <span class="spkr">Leek</span> fires—he has very quietly +and unobtrusively drawn his revolver. <span class="spkr">George</span> drops +the candle and the figure, writhing, drops to the +floor. It coughs once a choking cough. <span class="spkr">Malcolm</span> +goes slowly forward, touches it with his foot, and +kneels by figure, lifts figure up, gazes at it, and pulls +the red wig off, discovering <span class="spkr">Hirst</span>. <span class="spkr">Malcolm</span> gasps +out "<span class="spkr">Doctor</span>." <span class="spkr">Leek</span> places the revolver on chair, +kneels behind <span class="spkr">Hirst</span>. <span class="spkr">Malcolm</span> is <span class="loc">L. C.</span>, kneeling. +At this moment <span class="spkr">Somers</span> enters very brightly with +lighted candle.)</p> + +<p><span class="spkr">Somers.</span> Well, did Hirst win his bet? <span class="isd">(Seeing +<span class="spkr">Hirst</span> on floor, he realizes the matter)</span>. My God, you +didn't—I told him not to. I told him not to!! I +told him—<span class="isd">(falls fainting into arms of <span class="spkr">George</span>.)</span></p> + +<p class="center sd">Curtain.</p> + + + +<h3>PICTURE.</h3> + + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr class="stgtbl"> + <td colspan="2"><span class="spkr">Beldon</span></td> + <td colspan="2"><span class="spkr">George</span></td> +</tr> +<tr class="stgtbl"> + <td><span class="spkr">Leek</span><br /> (<i>kneeling</i>)</td> + <td><span class="spkr">Hirst</span><br /> (<i>seated on floor</i>)</td> + <td><span class="spkr">Malcolm</span><br /> (<i>kneeling</i>)</td> + <td><span class="spkr">Somers</span><br /> (<i>at door <span class="loc">L.</span></i>)</td> +</tr> +</table> +</div> + + +<p class="isd"><span class="smcap">Note.</span> When played at The Haymarket the piece +finished with a different ending as given below. <span class="spkr">Mr. +Cyril Maude</span> fearing the above tragic termination would +be too serious.</p> + +<p class="isd"><span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span>From <span class="spkr">Somers'</span> entrance.</p> + +<p class="sd"><span class="spkr">Somers</span> enters with lighted candle, and exclaims very +brightly.</p> + +<p><span class="spkr">Somers.</span> Well, did Hirst win his bet?</p> + +<p class="center sd">Slight pause.</p> + +<p><span class="spkr">Hirst</span> <span class="isd">(suddenly sitting up)</span>. Yes. <span class="isd">(Turning to <span class="spkr">Dr. +Leek</span>.)</span> You're a damned bad shot, Doctor. <span class="isd">(Then +to <span class="spkr">Malcolm</span>.)</span> And I'll trouble you for that sovereign.</p> + +<p class="center sd">The remaining characters express astonishment.</p> + +<h4>CURTAIN.</h4> + + +<hr style="width: 65%;" /> + +<div class="bbox"> +<h2><i>MARY'S ANKLE</i></h2> + + +<p>A comedy in 3 acts. By May Tully. Produced originally +at the Bijou Theatre, New York. 6 males, 4 females. 1 interior, +1 exterior scene. Modern costumes.</p> + +<p class="adsp">This brisk and peppery farce is one of the cleanest and most hilariously +amusing plays of recent years. It is the story of ambitious but +impecunious youth. "Doc" Hampton, without a patient, "Stocksie," +a lawyer devoid of clients, and "Chub" Perkins, a financier without +capital, are in a bad way. In fact, they are broke and it is a real +problem for them actually to get food. Mary Jane Smith is the +heroine with the ankle. The three pals meet her first as a solicitor of +funds for the poor and again as the victim of an automobile accident.</p> + +<p>A rich relative, "Doc's" uncle, inclined to be a tightwad but good +at heart, comes upon the scene and seeing Mary, immediately takes it +for granted that she is his nephew's wife, having been informed by +a bogus wedding invitation that the ceremony had just taken place. +The fictitious wedding had been arranged by the boys in a moment +of need in order to get "Doc's" family in the West to send on wedding +presents that could be pawned. As his wedding present, the +Uncle insists that "Doc" and Mary accompany him to Bermuda. The +situation is tense, but Mary has a sense of humor, and saves the day.</p> + +<p class="adsp">(Royalty, twenty-five dollars.) <span class="smcap">Price 75 Cents</span>.</p> + + + +<h2><i>WILD WAVES</i></h2> + + +<p>A comedy in 3 acts. By William Ford Manley. Produced +originally at the Times Square Theatre, New York. +30 males, 15 females. 4 interior scenes. Modern costumes.</p> + +<p class="adsp">A rollicking farce about what transpires behind the microphone of +a broadcasting studio. The most popular singing artist in Station +WWVW is Roy Denny. Through some mischance it comes about that +the Denny "golden voice" is really John Duffy. Duffy, being a +nervous lad, has always failed miserably from microphone fright +whenever he has attempted to sing under his own name. When he +croons under Denny's name he kindles the divine hope in female +breasts clear across this palpitating country. But Denny receives all +the credit. This hoax destroys Duffy's personal love life and results +in a conspiracy inside Station WWVW. As a sort of undercurrent to +the narrative it introduces satiric bits about the buncombe of radio +broadcasting. The play offers fine opportunities for the introduction +of musical numbers and comedy acts.</p> + +<p class="adsp">(Royalty, twenty-five dollars.) <span class="smcap">Price 75 Cents</span>.</p> +</div> + + +<div class="bbox"> +<h2><i>THE MIDDLE WATCH</i></h2> + + +<p>A farcical comedy in 3 acts. By Ian Hay and Stephen +King-Hall. Produced originally at the Times Square +Theatre, New York. 9 males, 6 females. Modern costumes +and naval uniforms. 2 interior scenes.</p> + +<p class="adsp">During a reception on board H. M. S. "Falcon," a cruiser on the +China Station, Captain Randall of the Marines has become engaged to +Fay Eaton, and in his enthusiasm induces her to stay and have dinner +in his cabin. This is met with stern disapproval by Fay's chaperon, +Charlotte Hopkinson, who insists that they leave at once. Charlotte, +however, gets shut up in the compass room, and a gay young American +widow accepts the offer to take her place, both girls intending +to go back to shore in the late evening. Of course, things go wrong, +and they have to remain aboard all night. By this time the Captain +has to be told, because his cabin contains the only possible accommodations, +and he enters into the conspiracy without signalling the Admiral's +flagship. Then the "Falcon" is suddenly ordered to sea, and +the Admiral decides to sail with her. This also makes necessary the +turning over to him of the Captain's quarters. The presence of the +ladies now becomes positively embarrassing. The girls are bundled into +one cabin just opposite that occupied by the Admiral. The game of +"general-post" with a marine sentry in stockinged feet is very funny, +and so are the attempts to explain matters to the "Old Man" next +morning. After this everything ends both romantically and happily.</p> + +<p class="adsp">(Royalty, twenty-five dollars.) <span class="smcap">Price 75 Cents</span>.</p> + + + +<h2><i>NANCY'S PRIVATE AFFAIR</i></h2> + + +<p>A comedy in 3 acts. By Myron C. Fagan. Produced +originally at the Vanderbilt Theatre, New York. 4 males, +5 females. 2 interior scenes. Modern costumes.</p> + +<p class="adsp">Nothing is really private any more—not even pajamas and bedtime +stories. No one will object to Nancy's private affair being made public, +and it would be impossible to interest the theatre public in a more +ingenious plot. Nancy is one of those smart, sophisticated society +women who wants to win back her husband from a baby vamp. Just +how this is accomplished makes for an exceptionally pleasant evening. +Laying aside her horn-rimmed spectacles, she pretends indifference and +affects a mysterious interest in other men. Nancy baits her rival with +a bogus diamond ring, makes love to her former husband's best friend, +and finally tricks the dastardly rival into a marriage with someone +else.</p> + +<p>Mr. Fagan has studded his story with jokes and retorts that will +keep any audience in a constant uproar.</p> + +<p class="adsp">(Royalty, twenty-five dollars.) <span class="smcap">Price 75 Cents</span>.</p> +</div> + + +<div class="bbox"> +<h2><i>TAKE MY TIP</i></h2> + + +<p>A comedy in 3 acts. By Nat N. Dorfman. Produced +originally at the 48th Street Theatre in New York. +7 males, 6 females. 1 interior scene. Modern costumes.</p> + +<p class="adsp">Few of us have escaped getting our fingers burnt in the crash of +the stock market, and even those of us who have, have heard enough +about it to take a sympathetic and amused interest in the doings of +Henry Merrill when he tries to buck the game and grow rich. The +play starts just two months before the crash. Henry, of the local +soap works, is so heavy an investor in an oil stock that he is made +a thirty-sixth Vice President of the Corporation. Not being the kind +of fellow who would forget his friends in this time of good fortune, +he lets them all in on the good thing. Being humanly greedy, the +friends jump at the chance to profit.... In the second act, after +Henry's daughter has eloped, the friends are presenting Henry with +a diamond-studded wrist watch, as a token of their esteem, when +news comes of the Wall Street upheaval and all are wiped out. Things, +however, are not as bad as they look, for Henry, who has an invention +to revolutionize the soap industry, sells the idea for a large price and +everything is all right again.</p> + +<p class="adsp">(Royalty, twenty-five dollars.) <span class="smcap">Price 75 Cents</span>.</p> + + + +<h2><i>PETER FLIES HIGH</i></h2> + + +<p>A comedy in 3 acts. By Myron C. Fagan. Produced +originally at the Gaiety Theatre, New York. 8 males, 6 +females. 1 interior scene. Modern costumes.</p> + +<p class="adsp">This delightful comedy concerns one Peter Turner who caddied +for the Morgans, the Kahns and the Guggenheims on the links at +Miami. It was during one of these rounds on the golf links that +Peter fell over and killed a stray dog. The local paper built the story +up so that Peter becomes a nation-wide hero who saved the lives of +many people by strangling a mad canine. By the time the story +reaches his home town, Rosedale, New Jersey, Peter has become the +boon companion of all the money kings—at least in the public mind—and +Peter does his best to foster the deception. Carried away by +his imagination he pretends to be a friend of the great, persuades his +brother-in-law to buy an option to a ninety-acre lot on the assumption +that "Guggenheim" is to build a golf course there, obtains +$10,000 from the local banker and then becomes badly involved in his +deceptions. After Peter endures the ridicule of his townsfolk and +the ire of the banker there suddenly appears on the scene a representative +of "Guggenheim" who wants the acreage not for a golf course +but an air field, and promptly turns over a check for $75,000 for +a part of it.</p> + +<p class="adsp">(Royalty, twenty-five dollars.) <span class="smcap">Price 75 Cents</span>.</p> +</div> + +<p> </p> +<p> </p> +<hr class="full" /> +<p>***END OF THE PROJECT GUTENBERG EBOOK THE GHOST OF JERRY BUNDLER***</p> +<p>******* This file should be named 18677-h.txt or 18677-h.zip *******</p> +<p>This and all associated files of various formats will be found in:<br /> +<a href="http://www.gutenberg.org/dirs/1/8/6/7/18677">http://www.gutenberg.org/1/8/6/7/18677</a></p> +<p>Updated editions will replace the previous one--the old editions +will be renamed.</p> + +<p>Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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