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diff --git a/18677.txt b/18677.txt new file mode 100644 index 0000000..1500cdf --- /dev/null +++ b/18677.txt @@ -0,0 +1,1356 @@ +The Project Gutenberg eBook, The Ghost of Jerry Bundler, by W. W. Jacobs +and Charles Rock + + +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 www.gutenberg.org + + + + + +Title: The Ghost of Jerry Bundler + + +Author: W. W. Jacobs and Charles Rock + + + +Release Date: June 24, 2006 [eBook #18677] + +Language: English + +Character set encoding: ISO-646-US (US-ASCII) + + +***START OF THE PROJECT GUTENBERG EBOOK THE GHOST OF JERRY BUNDLER*** + + +E-text prepared by Sigal Alon, Fox in the Stars, and the Project Gutenberg +Online Distributed Proofreading Team (http://www.pgdp.net/) + + + +THE GHOST OF JERRY BUNDLER + +by + +W. W. JACOBS and CHARLES ROCK + +Adapted from W. W. Jacob's Story "Jerry Bundler" + + + + + + + +Copyright, 1908, by W. W. Jacobs and Charles Rock + +Caution: Professionals and amateurs are hereby +warned that "The Ghost of Jerry Bundler," +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. + +New York: London: +Samuel French Samuel French, Ltd. +Publisher 26 Southampton Street +25 West 45th Street Strand +All Rights Reserved + +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. + +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. + +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. + +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." + +Attention is called to the penalty provided by law for any infringement +of the author's rights, as follows. + +"SECTION 4966:--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. + + + + +THE GHOST OF JERRY BUNDLER. + + +Cast at The Haymarket Theatre. + +SEPT. 9, 1902. + +HIRST Mr. Cyril Maude. +PENFOLD Mr. George Trollope. +MALCOLM Mr. Lewis Broughton. +SOMERS Mr. Marsh Allen. +BELDON Mr. H. Norton. +DR. LEEK Mr. Wilfred Forster. +GEORGE (a waiter) Mr. Charles Rock. + +NOTE.--Penfold, Malcolm, and Beldon represent different types of +Commercial Travellers. + + +Original Cast. + +PENFOLD Mr. Holman Clarke. +MALCOLM Mr. Holmes Gore. +HIRST Mr. Cyril Maude. +SOMERS Mr. Frank Gillmore. +DOCTOR LEEK Mr. C. M. Hallard. +BELDON Mr. Cecil Ramsay. +GEORGE (a waiter) Mr. Mark Kinghorne. + +_First produced, St. James's Theatre, London, June 20, 1899._ + +_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._ + +_Haymarket Theatre. Sept. 9, 1902. Ran 100 performances._ + +_Avenue Theatre. Dec. 20, 1902. Ran 38 performances._ + +[Illustration] + + + + +THE GHOST OF JERRY BUNDLER. + + +SCENE.--_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._ + +_On the table up C. 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 R. of window when shutter is opened. +Practical chandelier from ceiling or lights at side of mantelpiece. +DOCTOR'S coat and muffler on chair up L., his cap on mantelpiece._ + +_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 +SOMERS' voice tops all._ + +(_The stage occupied by all characters except GEORGE the waiter. +Discovered, PENFOLD, sitting in arm chair L. of fire, above it. DOCTOR +LEEK standing above fire and leaning on mantel-shelf. HIRST sitting on +settle below fire and nearest to audience. SOMERS seated on settle with +him but above him. MALCOLM and BELDON on chairs R. C., facing fire. ALL +are smoking, and drink from their respective glasses from time to time. +SOMERS has just finished a story as Curtain rises._) + +OMNES. Oh, I say, that sounds impossible, etc. + +SOMERS. 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. + +MALCOLM. Well, it's a capital ghost story, I admit, that is, as a story, +but I for one can't swallow it. + +HIRST. 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. + +(_SOMERS, MALCOLM and LEEK laugh heartily._) + +BELDON. Oh, I say come now, that'll do. + +PENFOLD (_seriously_). 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. + +OMNES. Eh! Oh? Really! + +MALCOLM (_rising and going to mantelpiece, takes up his glass of +toddy_). 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. (_Sits down again on his chair, holding +glass in his hand._) + +LEEK. 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. + +PENFOLD. Weak-minded idiots or not, there is a ghost story connected +with this house, but it dates a long time back. + +(_GEORGE, the waiter, enters D. L. with tray and serviette._) + +Oh, here's George, he'll bear me out. You've heard of Jerry Bundler, +George? + +GEORGE (_C._). 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. +(_Goes to table by window, puts tray down, takes up glass and wipes it +slowly._) + +(_MEN laugh._) + +PENFOLD. 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? + +(_GEORGE puts down glasses over table._) + +GEORGE. No, sir. I come here forty years ago next Easter, but I fancy he +was before my time. + +PENFOLD. 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. + +(_GEORGE goes up to table C. tidying up and listening._) + +LEEK. Who was this Jerry Bundler? + +PENFOLD. 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. + +(_GEORGE puts glass down and stands listening._) + +He took his last supper in this room. + +(_PENFOLD leans forward. BELDON looks round to L. nervously._) + +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. + +(_OMNES lean forward, showing interest._) + +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, +they saw the face of the highwayman peering over the sill. + +(_OMNES move uneasily._) + +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. + +(_OMNES sit back, draw their breath, and are generally uneasy. Slight +pause._) + +SOMERS. I say, which bedroom was it? (_Earnestly_). + +PENFOLD. 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. + +BELDON (_jumps up, gets behind his chair, twists chair round; +nervously_). O, I say, that'll do. I wish you'd thought to ask your +father which bedroom it was. + +PENFOLD. What for? + +BELDON. Well, I should take jolly good care not to sleep in it, that's +all. (_Goes to back._) + +(_PENFOLD rising, goes to fire, and knocks out his pipe, Leek gets by +arm-chair._) + +PENFOLD. There's nothing to fear. I don't believe for a moment that +ghosts could really hurt one. (_GEORGE lights candle at table._) 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. + +(_GEORGE hands candle, gets to door and holds it open._) + +BELDON. That's all very fine, a ghost story is a ghost story, but when a +gentleman tells a tale of a ghost that haunts the house in which one is +going to sleep, I call it most ungentlemanly. + +(_BELDON places his chair to L. of table R. PENFOLD goes up to C. LEEK +sits in arm chair. BELDON goes to fireplace._) + +PENFOLD. Pooh! Nonsense. (_At table up C._). + +(_During his speech George lights one of the candles._) + +Ghosts can't hurt you. For my own part, I should rather like to see one. + +OMNES. Oh, come now---- etc. + +PENFOLD. Well, I'll bid you good-night, gentlemen. + +(_He goes towards door L. GEORGE opens it for him; he passes out as they +all say._) + +OMNES. Good-night. + +(_HIRST rises, crosses to L. C._) + +BELDON (_up R., calling after him_). And I hope Jerry'll pay you a +visit. + +MALCOLM (_rises, goes to fire_). 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. + +(_GEORGE comes down with salver to table R., gathers up glasses._) + +SOMERS. Not quite so much hot water in mine. + +MALCOLM. I'll have the same again, George. + +BELDON. A leetle bit of lemon in mine, George. + +LEEK. Whisky and soda for me, please. + +HIRST. Whisky! + +(_GEORGE goes to table R., collects glasses, crosses to door L. +speaks._) + +GEORGE (_to MALCOLM_). Shall I light the gas, Mr. Malcolm? (_At door._) + +MALCOLM. No, the fire's very comfortable, unless any of you gentlemen +prefer the gas. + +OMNES. No, not at all--etc. + +MALCOLM. Never mind, George. (_This to GEORGE as no one wants the gas._) +The firelight is pleasanter. + +(_Exit GEORGE for orders L._) + +(_BELDON gets C._) + +MALCOLM (_at fire_). Does any gentleman know another----? + +SOMERS (_seated R._). Well, I remember hearing---- + +BELDON (_up C._). Oh, I say--that'll do. + +(_OMNES laugh._) + +LEEK. 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. + +HIRST (_looking to L._). Old humbug! I should like to put him to the +test. (_C._) (_Bus._) 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. + +MALCOLM. Capital! + +BELDON. A good idea. + +LEEK. I shouldn't, if I were you. + +HIRST. Just for the joke, gentlemen (_C._). + +SOMERS. No, no--drop it, Hirst. + +HIRST. 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, (_pointing to +SOMERS_) 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, I'll give you a full dress rehearsal, entitled "Jerry Bundler, or +the Nocturnal Stranger." (_At door L._). + +LEEK (_sneeringly_). You won't frighten us, will you? + +HIRST. I don't know so much about that--it's a question of acting, +that's all. + +MALCOLM. I'll bet you a level sov, you don't frighten me. + +HIRST (_quietly_). A level sov. (_Pauses._) Done. I'll take the bet to +frighten you first, and the old boy afterwards. These gentlemen shall be +the judges. (_Points to LEEK and BELDON._) + +BELDON (_up C._). You won't frighten us because we're prepared for you, +but you'd better leave the old man alone. It's dangerous play. (_Appeals +to LEEK_). + +HIRST. Well, I'll try you first. (_Moves to door and pauses._) No gas, +mind. + +OMNES. No! no! + +HIRST (_laughs_). I'll give you a run for your money. + +(_GEORGE enters, holds door open._) + +(_Exit HIRST._) + +(_GEORGE passes drinks round. Five drinks. SOMERS takes the one ordered +for HIRST and puts it on the table R. BELDON sits R. C. GEORGE 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 L. for lines._) + +LEEK (_to MALCOLM_). 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. (_Looks at watch._) He's a friend of yours, isn't +he? + +SOMERS. Yes, I have known him a good many years now, and I must say he's +a rum chap; just crazy 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 _old gentleman_. 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. + +LEEK (_knocks pipe on grate_). Well, I hope he'll hurry up. It's getting +pretty late. (_To SOMERS._) + +MALCOLM. Well, gentlemen, your health! + +SOMERS. Good luck. + +LEEK. Hurrah! + +BELDON. Chin-chin! + +LEEK. By the way, how is it you happen to be here to-night? + +SOMERS. 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. (_Rises, crosses to +L._) Oh, George, that reminds me--you might see that 'Boots' calls us at +7 sharp. + +(_BELDON rises, goes up to them to fire._) + +GEORGE. Certainly, sir. What are your numbers? + +SOMERS. 13 and 14. + +GEORGE. I'll put it on the slate, special, sir. (_Goes to door L._) + +LEEK. I beg pardon, gentlemen, I forgot the cigars; George, bring some +cigars back with you. + +BELDON. A very mild one for me. + +GEORGE. Very well, sir. (_Takes up tray from sideboard._) + +(_Exit L._) + +(_SOMERS sits R. C._) + +MALCOLM. I think you were very wise coming on here. (_Sits on settle +R._) I stayed at the Railway Arms, Tolleston, once--never again though. +Is your friend clever at acting? + +SOMERS. 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. + +(_GEORGE enters backwards, pale and trembling._) + +MALCOLM. Why! Look--what the devil's the matter with George? (_Crosses +to GEORGE._) + +GEORGE. I've seen it, gentlemen. (_Down stage L. C._) + +OMNES. Seen who? + +(_BELDON down R. edge of table R. LEEK up R. C. SOMERS up R._) + +GEORGE. The ghost. Jer--Bun-- + +MALCOLM. Why, you're frightened, George. + +GEORGE. 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. + +MALCOLM (_goes to door, looks off, then returns--to others_). It must be +Hirst up to his tricks. George was out of the room when he suggested it. +(_To GEORGE._) Pull yourself together, man. + +GEORGE. 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. + +MALCOLM. Nonsense, I'll go and fetch him in. (_Crosses to L._) + +GEORGE (_clutching him by the sleeve_). You don't know what it's like, +sir. It ain't fit to look at by yourself, it ain't indeed. It's got the +awfullest deathlike face, and short cropped red hair--it's-- + +(_Smothered cry is heard._) + +What's that? (_Backs to C and leans on chair._) + +(_ALL start, and a quick pattering of footsteps is heard rapidly +approaching the room. The door flies open and HIRST flings himself +gasping and shivering into MALCOLM'S 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. LEEK lights the gas, then goes to R. of +HIRST._) + +OMNES. What's the matter? + +MALCOLM. Why, it's Hirst. + +(_Shakes him roughly by the shoulder._) + +What's up? + +HIRST. I've seen--oh, Lord! I'll never play the fool again. (_Goes C._) + +OTHERS. Seen what? + +HIRST. Him--it--the ghost--anything. + +MALCOLM (_uneasily_). Rot! + +HIRST. I was coming down the stairs to get something I'd forgotten, when +I felt a tap--(_He breaks off suddenly gazing through open door._) I +thought I saw it again--Look--at the foot of the stairs, can't you see +anything? (_Shaking LEEK._) + +LEEK (_crosses to door peering down passage_). No, there's nothing +there. (_Stays up L._) + +(_HIRST gives a sigh of relief._) + +MALCOLM (_L. C._). Go on--you felt a tap---- + +HIRST (_C._). I turned and saw it--a little wicked head with short red +hair--and a white dead face--horrible. + +(_Clock chimes three-quarters._) + +(_They assist him into chair L. of table R._) + +GEORGE (_up C._). That's what I saw in the bar--'orrid--it was devilish. +(_Coming C._) + +(_MALCOLM crosses to L. HIRST shudders._) + +MALCOLM. Well, it's a most unaccountable thing. It's the last time I +come to this house. (_Goes to R. of LEEK._) + +GEORGE. I leave to-morrow. I wouldn't go down to that bar alone--no, not +for fifty pounds. (_Goes up R. to arm-chair._) + +SOMERS (_crosses to door R. then returns to R. C._). 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. (_Goes to back of table R._) + +BELDON (_crosses to R. C._). Hang the old gentleman. Upon my soul I'm +half afraid to go to bed. + +MALCOLM. Doctor, it's odd they should both think they saw something. + +(_They both drop down L. C._) + +GEORGE (_up C._). 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. +(_Points._) + +(_They all look. BELDON goes to SOMERS._) + +BELDON. There--what was that? + +MALCOLM. Who'll go with me to the bar! + +LEEK. I will. (_Goes to door._) + +BELDON (_gulps_). So--will I. (_Crosses to door L. They go to the door. +To MALCOLM._) After you. (_They slowly pass into the passage. GEORGE +watching them. All exit except HIRST and SOMERS._) + +SOMERS. How do you feel now, old man? + +HIRST (_changing his frightened manner to one of assurance_). Splendid! + +SOMERS. But--(_a step back._) + +HIRST. I tell you I feel splendid. + +SOMERS. But the ghost--(_Steps back to C._) + +HIRST. Well, upon my word, Somers--you're not as sharp as I thought you. + +SOMERS. What do you mean? + +HIRST. Why, that I was the ghost George saw. (_Crosses to L. C._) By +Jove, he _was_ 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--(_VOICES heard. Crosses to R._) +Look out, they're coming back. (_Sits._) + +SOMERS. Yes, but---- + +HIRST. Don't give me away--hush! + +(_Re-enter MALCOLM, LEEK, BELDON and GEORGE L._) + +(_BELDON and GEORGE go up to back C._) + +HIRST. Did you see it? (_In his frightened manner._) + +MALCOLM (_C._) 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. (_To HIRST._) +How are you feeling now, sir? + +HIRST. Oh, I feel a bit better now. I daresay you think I'm easily +scared--but you didn't see it. + +MALCOLM. Well, I'm not quite sure. (_Goes to fire._) + +LEEK. You've had a bit of a shock. Best thing you can do is to go to +bed. + +HIRST (_finishing his drink_). Very well. Will you, (_rises_) share my +room with me, Somers? + +(_GEORGE lights two candles._) + +SOMERS (_crosses to L. C._). I will with pleasure. (_Gets up to table C. +and gets a candle_). Provided you don't mind sleeping with the gas full +on all night. (_Goes to door L._) + +LEEK (_to HIRST_). You'll be all right in the morning. + +HIRST. Good night, all. (_As he crosses to door._) + +OMNES. Good night. + +(_ALL talking at fire, not looking to L. as HIRST and SOMERS exeunt. +HIRST chuckles and gives SOMERS a sly dig._) + +SOMERS. Good night. + +MALCOLM (_at fireplace_). 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. (_LEEK with revolver in his hand, is just +putting it into his pocket. Seeing him._) Why, what's that you've got +there? + +LEEK. A revolver. (_At fire._) 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. + +BELDON.--Oh, I say, never mind ghosts. Will _you_ share my room? (_To +MALCOLM._) + +(_GEORGE comes down a little, holding candle._) + +MALCOLM. 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. + +BELDON. Certainly. + +MALCOLM. Well, that's settled. A majority of three to one ought to stop +any ghost. Will that arrangement suit you, George? + +GEORGE. 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 (_at door_) we come back we can let the Doctor out at +the front door. Will that do, sir? + +LEEK. All right; I'll be getting my coat on. (_GEORGE gets to door. They +exit at door L. LEEK picks up his coat off chair up L., puts it on and +then turns up trousers. Footsteps heard in flies, then goes to the +window R., pulls curtain aside and opens the shutters of the window +nearest the fire. A flood of moonlight streams in from R. Clock strikes +twelve._) By Jove, what a lovely night. That poor devil did get a +fright, and no mistake. (_Crossing down to fireplace for his cap which +is on the mantelpiece. MALCOLM, BELDON and GEORGE return--the door +closes after them._) Well, no sign of it, eh? + +MALCOLM. No, we've seen nothing this time. Here, give me the candle, +George, while you turn out the gas. + +LEEK. All right, George, I'll put this one out. (_Turns out gas below +fire._) + +(_MALCOLM and BELDON are up at sideboard, GEORGE having put the other +gas out, goes up to them and is just lighting the candles for them. The +DOCTOR is filling his pipe at mantel-shelf, and stooping to get a light +with a paper spill. LEEK whistles and lights spill. The handle of the +door is heard moving. OMNES stand motionless--MALCOLM and BELDON 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 GEORGE holds, and by the flood of moonlight from the +window._) + +(_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 falls on to one shoulder, it holds handkerchief +out at arm's length and advances towards MALCOLM._) + + _Table_ + GEORGE + LEEK BELDON MALCOLM + _Chair_ + +_Fire_ HIRST + +(_Just as the figure reaches the place where the moonbeams touch the +floor, LEEK fires--he has very quietly and unobtrusively drawn his +revolver. GEORGE drops the candle and the figure, writhing, drops to the +floor. It coughs once a choking cough. MALCOLM 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 HIRST. MALCOLM gasps out +"DOCTOR." LEEK places the revolver on chair, kneels behind HIRST. +MALCOLM is L. C., kneeling. At this moment SOMERS enters very brightly +with lighted candle._) + +SOMERS. Well, did Hirst win his bet? (_Seeing HIRST on floor, he +realizes the matter_). My God, you didn't--I told him not to. I told him +not to!! I told him--(_falls fainting into arms of GEORGE._) + +_Curtain._ + + + + + PICTURE. + + BELDON GEORGE + LEEK HIRST MALCOLM SOMERS +(_kneeling_) (_seated (_kneeling_) (_at door L._) + on floor_) + +NOTE. _When played at The Haymarket the piece finished with a different +ending as given below. MR. CYRIL MAUDE fearing the above tragic +termination would be too serious._ + +_From SOMERS' entrance._ + +_SOMERS enters with lighted candle, and exclaims very brightly._ + +SOMERS. Well, did Hirst win his bet? + +_Slight pause._ + +HIRST (_suddenly sitting up_). Yes. (_Turning to DR. LEEK._) You're a +damned bad shot, Doctor. (_Then to MALCOLM._) And I'll trouble you for +that sovereign. + +_The remaining characters express astonishment._ + +CURTAIN. + + + + * * * * * * * + + + +MARY'S ANKLE + + +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. + +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. + +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. + +(Royalty, twenty-five dollars.) PRICE 75 CENTS. + + + + +WILD WAVES + + +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. + +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. + +(Royalty, twenty-five dollars.) PRICE 75 CENTS. + + + + +THE MIDDLE WATCH + + +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. + +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. + +(Royalty, twenty-five dollars.) PRICE 75 CENTS. + + + + +NANCY'S PRIVATE AFFAIR + + +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. + +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. + +Mr. Fagan has studded his story with jokes and retorts that will keep +any audience in a constant uproar. + +(Royalty, twenty-five dollars.) PRICE 75 CENTS. + + + + +TAKE MY TIP + + +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. + +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. + +(Royalty, twenty-five dollars.) PRICE 75 CENTS. + + + + +PETER FLIES HIGH + + +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. + +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. + +(Royalty, twenty-five dollars.) PRICE 75 CENTS. + + + +***END OF THE PROJECT GUTENBERG EBOOK THE GHOST OF JERRY BUNDLER*** + + +******* This file should be named 18677.txt or 18677.zip ******* + + +This and all associated files of various formats will be found in: +http://www.gutenberg.org/dirs/1/8/6/7/18677 + + + +Updated editions will replace the previous one--the old editions +will be renamed. + +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. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. 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