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diff --git a/24702-8.txt b/24702-8.txt new file mode 100644 index 0000000..2bb1b61 --- /dev/null +++ b/24702-8.txt @@ -0,0 +1,3817 @@ +Project Gutenberg's The Ghost Breaker, by Paul Dickey and Charles Goddard + +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 Breaker + A Melodramatic Farce in Four Acts + +Author: Paul Dickey + Charles Goddard + +Release Date: February 27, 2008 [EBook #24702] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE GHOST BREAKER *** + + + + +Produced by K Nordquist, David Cortesi, Renald Levesque +and the Online Distributed Proofreading Team at +https://www.pgdp.net (This file was produced from images +generously made available by The Internet Archive/American +Libraries.) + + + + + + + + + + THE GHOST BREAKER + + By PAUL DICKEY and CHARLES GODDARD + + [Illustration: FRENCH'S STANDARD LIBRARY EDITION] + + SAMUEL FRENCH, 25 West 45th St., New York + + + + +TRANSCRIBER'S NOTE + +Two minor typos were corrected and a Table of Contents and +List of Illustrations have been added. + + + + CONTENTS + + (Supplied by Transcriber) + + Cast List p. 3 + ACT I p. 5 + ACT II p. 19 + ACT III p. 39 + ACT IV p. 56 + Stage Manager's Plot p. 70 + Carpenter's Plot p. 71 + Property Plot p. 72 + Electrician's Plot p. 73 + + ILLUSTRATIONS + + (Supplied by Transcriber) + + Plate based on Act I p. 17 + Plate based on Act II p. 24 + Plate based on Act III p. 48 + Plate based on Act IV p. 56 + + * * * * * + + + Pollyanna + + +The glad play, by Catherine Chisholm Cushing, after the novel by Eleanor +H. Porter. 5 males, 6 females. 2 interiors. Costumes, modern. Plays +2-1/4 hours. An orphan girl is thrust into the home of a maiden aunt. In +spite of the trials that beset her, she manages to find something to be +glad about, and brings light into sunless lives. Finally Pollyanna +straightens out the love affairs of her elders, and finds happiness for +herself in Jimmy. "Pollyanna" gives a better appreciation of people and +the world. It reflects the humor and humanity that gave the story such +wonderful popularity among young and old. + +Produced in New York, and for two seasons on tour. Royalty, $25.00. +Price, 75 cents. + + + + + Martha By-the-Day + + +An optimistic comedy in 3 acts, by Julie M. Lippmann, author of the +"Martha" stories. 5 males. 5 females. 3 interiors. Costumes, modern. +Plays 2-1/2 hours. + +Full of quaint humor, old-fashioned, homely sentiment, the kind that +people who see the play will recall and chuckle over tomorrow and the +next day. + +Miss Lippmann has herself adapted her successful book for the stage and +has selected from her novel the most telling incidents, infectious +comedy and homely sentiment for the play, and the result is thoroughly +delightful. Royalty, $25. Price, 60 cents. + + + + + Seventeen + + +A comedy of youth, in 4 acts, by Booth Tarkington. 8 males, 6 females. 1 +exterior. 2 interiors. Costumes, modern. Plays 2-1/2 hours. + +It is the tragedy of William Sylvanus Baxter that he has ceased to be +sixteen and is not yet eighteen. Seventeen is not an age, it is a +disease. + +In his heart William knows all the tortures and delights of love. But he +is still sent by his mother on errands of the most humiliating sort and +depends on his father for every nickel, the use of which he must justify +before he gets it. + +"Silly" Bill fell in love with Lola, the "Baby-Talk Lady," a vapid +little flirt. To woo her in a manner worthy of himself (and of her) he +steals his father's evening clothes. When his wooings become a nuisance +to the neighborhood, his mother steals them back, and has them let out +to fit the middle-aged form of her husband, thereby keeping William at +home. + +But when it comes to the "Baby-Talk Lady's" good-bye dance, not to be +present was unendurable. Now William again gets the dress suit, and how +he wears it at the party, and Genesis discloses the fact that the proud +garment is in reality his father's makes up the story of the play. + +"Seventeen" is a work of exquisite human sympathy and delicious humor. +Royalty, $25.00. Price. 75 cents. + + SAMUEL FRENCH. 25 West 45th Street, New York City + + New and Explicit Descriptive Catalogue Mailed + Free on Request + + * * * * * + + + + + The Ghost Breaker + + A MELODRAMATIC FARCE IN FOUR ACTS + + BY + + PAUL DICKEY AND CHARLES GODDARD + + Copyright, 1909, by Charles W. Goddard and Paul Dickey + Copyright assigned, 1914, to Sanger & Jordan + + ALL RIGHTS RESERVED + +CAUTION: Professionals and amateurs are hereby warned that "THE GHOST +BREAKER," being fully protected under the copyright laws of the United +States, the British Empire, and the other countries of the Copyright +Union, 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 the amateur acting +rights must be made to Samuel French, 25 West 45th Street, New York, +N.Y. + + New York: + SAMUEL FRENCH + Publisher + 25 West 45th Street + + London: + SAMUEL FRENCH, LTD. + 26 Southampton Street + Strand + + Royalty on this play payable to our + Los Angeles Office + SAMUEL FRENCH + + * * * * * + + + + + "THE GHOST BREAKER" + + + _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, public +reading or radio broadcasting may be given by amateurs 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 +twenty-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 by amateurs 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 CAST + + PRINCESS MARIA THERESA OF ARAGON. + WARREN JARVIS, _of Kentucky_. + NITA, _the Princess' Maid_. + HOUSE DETECTIVE, _Manhattan Hotel_. + RUSTY SNOW, _Warren Jarvis' Colored Servant_. + DETECTIVES, _from Police Headquarters_. + HOTEL PORTER. + STEWARD, _on S.S. Aquitania_. + CARLOS, _Duke d'Alva_. + DOLORES, _the Innkeeper's Daughter_. + VARDOS, _Messenger to the Missing Prince_. + DON ROBLEDO, _a Soldier of Fortune_. + PEDRO, _the Innkeeper_. + MAXIMO, _a Spanish Soldier_. + GASPAR, _a Villager_. + JOSE, _Chauffeur_. + + TIME: _The Present_. + + ACT I. _A Room in the Hotel Manhattan, New + York. Five A.M._ + + ACT II. _A Cabin on Board S.S. Aquitania. Same + Morning._ + + ACT III. _An Old Tavern, Segura, Spain. Evening._ + + ACT IV. _The Castle. Same Night._ + + * * * * * + + + + + THE GHOST BREAKER + + + + + ACT I + + +SCENE: _Room 1121, Manhattan Hotel, New York City._ + +_At rise stage dark. Moonlight streams through the window. Small clock +strikes five. Pause. Tower clock strikes. Two gun-shots heard off stage +right. Door slams off stage. Footsteps heard coming along corridor, +growing hubbub and commotion._ PRINCESS _pokes head through curtains._ +R. _door bursts open and_ WARREN JARVIS _enters hurriedly, in long coat +over evening dress, closing and bolting the door behind him._ + +_Princess._ Madre de Dios! (_Showing only her head._) (JARVIS _kicks in +door, shuts it, and throws his shoulder against it._) Who's there? + +JARVIS. Sh! Don't make any noise. + +PRINCESS. (_Winding her dressing gown closely about her and coming a +little way into the room_) What do you want? + +JARVIS. Silence! + +PRINCESS. (_Switches on lamp on right table_) How dare you enter! + +JARVIS. Sh! Not a sound--do you understand? + +VOICE OFF. (R.) What's the row? + +SECOND VOICE. (R.) Somebody fired a pistol. + +PRINCESS. What right--? + +JARVIS. Quiet! + +VOICE. Where'd he go? Look on the fire-escape. + +SECOND VOICE. No, he's on this floor. + +PRINCESS. What is it? What do you want here? What have you done? + +JARVIS. (_Turning to her_) Now, it's all right. I'm not going to harm +you. If you will just keep quiet. Is that clear to you? + +PRINCESS. Is it money you want? All the money I have is on that dressing +table. (_Pointing._) Take it and go. + +JARVIS. I'm not a burglar. I don't want your money. + +PRINCESS. Well, then, what do you want? (_Sound of running in corridor +coming toward door_ R.) + +JARVIS. Listen---- (_Turns back to door._) They're coming here. (_To_ +PRINCESS) They mustn't search this room, do you understand--you must put +them off--I'm not what you think I am. (_Running dies away._ JARVIS +_turns to_ PRINCESS.) Is there no way out through that door? (_Indicates +door_ 5R.) + +PRINCESS. That is my maid's room. + +JARVIS. The fire-escape--where is it? + +PRINCESS. In the hall opposite. + +JARVIS. I thought that red light meant in here. Hell! I beg your pardon. + +PRINCESS. Well, why don't you go? + +JARVIS. I can't go that way. (_Indicating door_ 6L.) They'll be waiting +for me in the hall. + +PRINCESS. Well, what do you expect me to do? + +JARVIS. The light fooled me. I thought that door led to the fire-escape. + +PRINCESS. You said that before. + +JARVIS. Ha! Ha! + +PRINCESS. Is the situation so amusing? + +JARVIS. I beg your pardon. I'm not laughing at you. I blundered in here +by mistake. I'm in a tight fix. I can't leave by that door. I must find +some other. (_Sees door 8, across to door 8, and, disgusted, exclaims +when he sees there is no way out there. Notices blood on hand and starts +to put handkerchief around it._) + +PRINCESS. (_Going down stage_ C.) What's happened? You're wounded! Those +shots I heard---- + +JARVIS. I almost stopped one of the bullets. + +PRINCESS. Your hand is bleeding. + +JARVIS. Please--I don't see how the devil---- (_Runs up and puts up shade +at window 3, sees there is no way out._) Damn! + +PRINCESS. You have evidently shot someone and are making me shield you +from justice. + +JARVIS. (_Coming down_) No, not from justice--but from the law. + +PRINCESS. I thought they were the same. + +JARVIS. No, not always--there would be no justice for me at the hands of +the law. + +PRINCESS. Well, that is not for me to decide. + +JARVIS. But you shall decide--at least you shall listen and if you find +me guilty--I'll--well, I'll take that door or, or anything you say. + +PRINCESS. Your presumption is indeed ridiculous. + +JARVIS. Hardly ridiculous--I am arguing for my life. + +PRINCESS. Can any decision be more unjust than mine must be at the point +of a pistol? + +JARVIS. (_Lays pistol on dressing table_ L. _and crosses to_ R. _of_ +PRINCESS.) There is nothing to prevent your calling for help now--after +all, it doesn't matter much whether the end comes today or the day +after. + +PRINCESS. The end? Then why don't you give yourself up? + +JARVIS. That would not have been the end. You don't understand, I know, +but I'm not flying from Justice. There was in this a case of shoot or be +shot. (_Sound of running toward door 6._) Listen--they're here now. +(JARVIS _crosses door 8._) + +HOUSE DETECTIVE. (_Knock outside door_) Anybody in here? (_Knock._) Open +the door. + +JARVIS. It's up to you to do with me as you like. (_Princess points to +door_ L. JARVIS _exits._) + +NITA. (_Off stage door 5_) Madame--Madame--(_Enters._) What is it? +(_Running to mistress for protection._) Something dreadful must have +happened. (_Knock on door repeated._) What shall I do? + +PRINCESS. Open it, Nita. (NITA _opens door reluctantly._) + +HOUSE DETECTIVE. (_In doorway_) Are you all right in here? + +NITA. (_Holding door open_) Si--Seņor. + +PRINCESS. What is it, Nita? + +NITA. (_Indicating_ PRINCESS) My mistress, Seņor. + +HOUSE DETECTIVE. (_Inside of door--removing hat_) Excuse me, madame, I'm +the house detective. Are you all right in here? + +PRINCESS. Yes. + +HOUSE DETECTIVE. We're sorry to bother you, but we're looking for +someone and we thought he might have come in here. If you want anything +we'll be out here in the hall. Good night! + +NITA. (_Shuts door and runs to_ PRINCESS C.) Forgive me, Madame, but I +am so frightened. What is it? What is it? + +PRINCESS. Control yourself, Nita. Go to bed, child. (NITA _goes to door +5._) I won't need you till six o'clock. (_Exit_ NITA.) + +JARVIS. (_Entering_ L.C.) Thank you. Would you mind bolting that door +again? He might return. (PRINCESS _crosses to door and bolts it._) Do +you know what a feud is? + +PRINCESS. Feud? Spain is the home of feuds. + +JARVIS. So is Kentucky. That's where I came from. You're Spanish? + +PRINCESS. Yes. + +JARVIS. Then you'll understand--those shots you heard, that was the end +of a feud. I was called home suddenly by the death of my father--shot in +the back--feud--man after man--two families--the Marcums and my own had +shot each other down. Then my Dad fell and I was left to fight it out +alone. + +PRINCESS. Couldn't you? + +JARVIS. Couldn't I? God only knows what I've been through since. Those +two shots you heard--that was the finish. This morning when I got back +to my hotel, there was a message waiting for me. It was signed Jim +Marcum, head of the family, and proposed that, as we were out of +Kentucky, we meet and end the feud amicably. He asked me to meet him at +this hotel in his room--no matter what hour--he would be waiting. He was +leaving at six in the morning and wanted it settled. It was a pretty +scheme. I knew the man and I saw the trap. I came over here prepared and +went directly to his room. It was on this floor. I flung open the door +and met Jim Marcum face to face. He was waiting. Without a word he +fired. I fired, and he dropped. Now do you understand why the law would +not give me justice? + +PRINCESS. Did you kill him? + +JARVIS. I don't know--I didn't wait. + +PRINCESS. What are you going to do? + +JARVIS. I don't know. Do you know what it means to fight single-handed +against fearful odds--to fight an endless fight alone? + +PRINCESS. Yes--yes--I know. + +JARVIS. Endless fight--without even a single word of encouragement? + +PRINCESS. Yes, I know what it means. + +JARVIS. You know? How could you know? How could any woman know? + +PRINCESS. Yes, I do know, because I too am fighting against fearful +odds. + +JARVIS. There is no man to fight for you? + +PRINCESS. No man left who dares. + +JARVIS. God, if there had only been some woman to fight for in my fight! + +PRINCESS. Your mother? + +JARVIS. She's gone, too. + +PRINCESS. Are you alone? + +JARVIS. Alone. + +PRINCESS. If you're caught it means your life. + +JARVIS. Yes. + +PRINCESS. Suppose I decide to help you? + +JARVIS. What do you mean? + +PRINCESS. You have no fear of death? You are not afraid of ghosts? + +JARVIS. No, I'm not afraid of ghosts. + +PRINCESS. If you escape from here it will be because I helped you--we +might say I saved your life, if what you tell me is true--and if I do +it, it will be from a selfish motive entirely--it will be because I have +work for you. Do you understand? Work--hard work--dangerous work. It may +mean your life in the end. + +JARVIS. You are frank, anyway. + +PRINCESS. It's a chance--and you have nothing to lose. + +JARVIS. And if I agree? + +PRINCESS. You will begin by taking the ancient feudal oath of my +country. + +JARVIS. Oath? Isn't my word good enough? + +PRINCESS. You will pardon me if I insist. + +JARVIS. Very well--I'll swear the blackest oath you can utter. Let's +hear it. + +PRINCESS. What's your name? + +JARVIS. Jarvis. + +PRINCESS. Your full name? + +JARVIS. Warren Jarvis. + +PRINCESS. Kneel, then, Warren of Jarvis. (JARVIS _kneels on both +knees._) No, not that way--on one knee. + +JARVIS. I beg your pardon---- + +PRINCESS. Now repeat this oath: "I, Warren of Jarvis----" + +JARVIS. "I, Warren of Jarvis----" + +PRINCESS. "Seņor of all the domains, fiefs, keeps and marshes of Warren +of Kentucky----" + +JARVIS. Whew---- "Seņor of all the domains, fiefs, keeps and marshes of +Warren of Kentucky--" + +PRINCESS. "Do convey to Maria Theresa, of Aragon, all my worldly titles +and possessions----" Now take my left hand in both of yours and repeat, +"--and receive them back as vassal and retainer." + +JARVIS. "And receive them back as vassal and retainer." + +PRINCESS. "And do faithfully fight in my lady's cause according to the +feudal laws of Castile and Aragon." + +JARVIS. "And do faithfully fight in my lady's cause according to the +feudal laws of Castile and Aragon." + +PRINCESS. Arise, vassal. (JARVIS _arises and kisses her hand._) That is +part of the ceremony, but I meant to omit it. + +JARVIS. I thought that the only sensible part. I beg your pardon--but +who on earth is this Maria Theresa that I am hired man to? + +PRINCESS. I--am Her Highness--Maria Theresa--Princess of Aragon. + +JARVIS. Good night! You a Princess! And I have been ordering you around +with a gun. (_Sound of running for a moment._) Sh! (_Crosses to door_ +R., _listens._) It's all right, but how am I going to get out? They've +got me in a trap here. + +PRINCESS. The trunk---- + +JARVIS. The trunk? What about it? + +PRINCESS. I am sending it on board the Aquitania at six o'clock. + +JARVIS. (_Dragging trunk down stage_) You mean to get in it? Good Lord, +is it big enough? + +PRINCESS. I think so--and no one could possibly suspect---- (JARVIS +_takes out trays--locket drops out--back to audience._) Oh---- + +JARVIS. What is it? + +PRINCESS. It's nothing--I mean it's all right--it's just a locket. + +JARVIS. Did I break it? + +PRINCESS. No---- (JARVIS _takes contents out of trunk._) I broke it +myself on purpose--yesterday. It means a great deal to me and perhaps to +you. Some day you may know the reason why. + +JARVIS. (_Gets in trunk_) Would you mind putting this lid down? +(PRINCESS _puts down lid of trunk on_ JARVIS. _Grunts._) O-oo-ou-ugh! +(_Raises lid and stands up in trunk._ PRINCESS _raises lid all the way +back as soon as_ JARVIS _shouts._) I'll die in there. + +PRINCESS. But it's a chance. + +JARVIS. You're _right_! I'll _take_ it. (_Gets out of trunk and goes to +trays._) What are we going to do with these? + +PRINCESS. We had better send those by messenger. + +JARVIS. (_Turning_) Hold on--I've got it. No, you had better 'phone. +(PRINCESS _crosses to 'phone_ R.) Ask the operator to give you the Hotel +Belmont, across the street. My room is 417. Rusty, my servant, is there +now, waiting for word from me. (_He crosses to_ PRINCESS.) He can be +trusted. Tell him to come here at once--and say "Warren." That will +fetch him. + +PRINCESS. 417? Hello---- Connect me with the Hotel Belmont, please. + +JARVIS. Remember, ask for room 417. + +PRINCESS. Yes, I know. Hello, hello! Is this the Belmont?--Give me room +417. + +JARVIS. Ask if it's Rusty and be sure and say "Warren." + +PRINCESS. Hello--is this Mr. Rusty? Well, listen carefully. You are to +come right over to the Manhattan Hotel, across the street from where you +are. A bellboy will be waiting for you at the desk, and he is to bring +you right up to room 1121. + +JARVIS. And tell him to keep his mouth shut---- + +PRINCESS. And--and--don't talk to anyone.... What's that? "Warren." +He'll be coming right over. + +JARVIS. Now get the clerk downstairs, and tell them to look out for +Rusty and send him up here. + +PRINCESS. Hello, hello! I'm expecting a man-- + +JARVIS. A colored man. + +PRINCESS. A colored man. To get some things. He will come right to the +desk. Please send him up at once. It is very important. (JARVIS _takes +out knife and begins boring hole in trunk from inside out. This hole +should be already cut and covered with a label._) What are you doing +that for? + +JARVIS. Got to breathe. I think I can---- (_Apparently the knife +breaks._) Confound it! + +PRINCESS. What did you do? + +JARVIS. Snapped the blade. Now how am I going to cut a hole in that +trunk? + +PRINCESS. (_Crossing to dresser_) Will my shears do? + +JARVIS. If they are not too large. Where are they? (PRINCESS _gives_ +JARVIS _shears._) Thank you. What time does the boat sail? + +PRINCESS. Nine o'clock. + +JARVIS. Good--that will give Rusty time to get aboard with these trays +and my baggage. + +PRINCESS. We've ten minutes before they call for the trunk. (_Knock at +door 6._ PRINCESS _looks at_ JARVIS_, who makes gesture cautioning +silence and exits door_ L. PRINCESS _crosses and opens door._) Come in, +please. + +RUSTY. (_Enter across center_) Where's Marse Warren----? (_Enter_ JARVIS +_across to_ RUSTY.) Lord bless you, Marse Warren--I certainly thought he +got you! + +JARVIS. (_Patting_ RUSTY _on the back_) Never mind what you thought. +Help me with these--it's ten minutes to six--we sail for Europe in three +hours. + +RUSTY. Three hours! Good Lord! You mean we---- + +JARVIS. Yes, you and I. What are we going to wrap these in? (_Picking up +trays._) + +PRINCESS. Here, this will do. (_Handing steamer rug from chair._) + +JARVIS. Fine! (_Spreading steamer rug on trunk and putting tray on it, +wraps up tray during speech._) Take these, with our baggage, to the +steamship Aquitania--Cunard Line. Buy accommodations. Mind, you won't +see me till after we get out at sea. Keep in your stateroom and sit +tight till you hear from me. You understand? Cunard Line--and the clerk +at our hotel will attend to everything and get the tickets. Then you pay +the bill. Now get hold of this money. (JARVIS _gives_ RUSTY _money._) I +beg your pardon! This is Rusty. Rusty, this is the Princess of Aragon. + +RUSTY. How do you do, Mrs. Princess? + +JARVIS. There--that will do. Now do you understand? + +RUSTY. Yes, sir. I take everything to the steamboat--get +accom--ac-commoda--accommoda---- + +JARVIS. Accommodations. + +RUSTY. Accomo--accommoda---- I know what you mean. (_With smile at_ +PRINCESS.) For us and Mrs. Princess? + +JARVIS. No, no--not for the Princess--just for we two. + +RUSTY. Oh, yas, sir, I understand perfectly, sir. + +JARVIS. (_Gives parcel to_ RUSTY) Now, then, what's the name of the +boat? + +RUSTY. The Aqui-tania. + +JARVIS. What's the name of the line? + +RUSTY. The Cunard. + +JARVIS. Now be off, and don't miss that boat. (PRINCESS _opens door._) + +RUSTY. (_Exiting_) No, sir, I won't miss it. + +PRINCESS. (_As_ RUSTY _reaches door_) Good-bye, Rusty. + +RUSTY. (_Turning_) Good-bye, Miss--er--Princess. + +(JARVIS _resumes work on trunk._ PRINCESS _crosses to_ JARVIS.) + +PRINCESS. Can you do it? + +JARVIS. I think so--yes, it's going--there it goes--through! + +PRINCESS. Make another. (_She crosses to the dresser._) + +JARVIS. Haven't time. I'll widen this one a little. Remember this trunk +must not go in the hold of the ship. Have it marked "Wanted" and "This +end up." I will lie with my head this way. I'll put the shears in here, +and I can cut another hole from the inside if it gets too stuffy. + +PRINCESS. (_Takes revolver from dressing table and gives it to_ JARVIS) +And you better take this, too. + +JARVIS. How do you know you can trust me? + +PRINCESS. I don't--I have to take that chance. + +JARVIS. You must have a pretty good reason. + +PRINCESS. I have. + +JARVIS. Now, before I get in this, there's just one or two things I +would like to know. What about the ghost? + +PRINCESS. Are you afraid? + +JARVIS. Lord, no, I just wanted to know--that's all. + +PRINCESS. You'll know in time, Mr. Jarvis. + +JARVIS. Are you really--a sure thing--Princess? + +PRINCESS. Why did you say that? + +JARVIS. Oh, I don't know. Somehow you're not quite like what I thought a +Princess would be. + +PRINCESS. I'm sorry. + +JARVIS. Oh, I didn't mean it that way. I mean that you're different from +the popular idea of a Princess. You have more understanding--more +sympathy--more heart. + +PRINCESS. (_Icily_) In that respect, sir, you will find me quite like +your popular idea. + +JARVIS. (_Squelched_) I wonder if that hole will let in enough air? + +PRINCESS. I hope so. (PORTER _knocks._) It must be the men for the +trunk. Who is it, please? + +PORTER. Trunks. + +JARVIS. (_Getting into trunk_) Remember? This trunk must not go into the +hold of the ship. You must have it marked "Wanted" and "This side up." +You might add, "With Care," if you've a mind to. + +PRINCESS. Are you all right? + +JARVIS. No. + +[Illustration: "THE GHOST BREAKER" _See Page 17_] + +PRINCESS. (_Shuts trunk, crosses and opens door_) The trunk is ready. + +PORTER. (_Enter and cross with truck_ L. _of trunk_) Very good, ma'am. + +PRINCESS. Have the other trunks gone? + +PORTER. Yes'm, last night. + +PRINCESS. This goes on the special wagon, Porter. + +(_Enter_ HOUSE DETECTIVE _and sees broken door._) + +PORTER. (_Setting trunk on end_) Yes, mum. I'll see that a special +sticker is put on it. + +PRINCESS. (_Crosses left of trunk_) Have it marked "Wanted" and "This +end up." + +PORTER. (_Putting trunk on truck_) You'll find it in your room when you +get down to the steamer. + +PRINCESS. And, Porter, handle it gently. + +PORTER. Shore, I never smashed one in my life. (_Starts off_ R.) I'll +handle it like it had glass on the inside, so don't worry one little +bit. + +HOUSE DETECTIVE. (_Stopping trunk_ C. _to_ PRINCESS) Just a minute, +Porter. How did that lock get broken? + +PRINCESS. (_Frightened, but trying not to show it_) It was broken when I +came. + +DETECTIVE. How long have you been here? + +PRINCESS. We came yesterday. + +DETECTIVE. How long are you going to stay? + +PRINCESS. We sail this morning for Europe. + +DETECTIVE. Huh! Excuse me, Madame, but the police are making an +investigation and they would like to take in this room. Do you mind? + +PRINCESS. No. + +DETECTIVE. What time does your boat sail? + +PRINCESS. We are sailing at nine o'clock. + +DETECTIVE. Does this trunk go on board? + +PRINCESS. (_Relieved_) Yes, I want it to go on a special wagon. + +DETECTIVE. All right, Porter. Go ahead. (_Exit_ PORTER _with trunk. To +the Police who are supposed to be off_ R.) Come in. + + CURTAIN + + + + + ACT II + + +SCENE: _An elegantly furnished stateroom on the S.S. Aquitania._ + +AT RISE _is empty, shuffling and murmuring of crowd on deck. "All +visitors ashore!" heard in distance._ + +_Door_ L., _leading to promenade deck outside; door_ R. _leading to +another room; windows or portholes in rear looking out; closet down_ R. +_Lights full up, amber and white._ + +_Trunk that was carried off stage in first act discovered stage_ C., +_wrong side up. Markings that were put on it first act are now upside +down. Trunk on end. When curtain rises up trunk begins to rock back and +forth as though something inside was trying to turn it over. When +probable laugh has died away, door_ L. _opens. Stateroom_ STEWARD _is +showing_ PRINCESS _and_ NITA _in_. + +STEWARD. (_Opening door_ L. _and standing aside to allow_ PRINCESS _and_ +NITA _to enter._ PRINCESS _enters first and trunk upside down +immediately catches her eye. When_ PRINCESS _well in room, enter_ NITA, +_who stumbles over raised sill. Solicitously_) Oh, I'm sorry! Did you +hurt yourself? (STEWARD _lays bags and satchels on seat, back to +audience._) Rather inconvenient, those doors, till you get used to them, +but necessary to keep out the water in rough weather. + +PRINCESS. (L., _paying very little attention to_ STEWARD, _only anxious +to get rid of him and_ NITA _so she may turn trunk over._) You don't +anticipate a bad passage, Steward? + +STEWARD. (R., _fussing about_) Rather uncertain at this season, but your +location is good, Madam, and you'll find she's as steady as a church. + +PRINCESS. (_Looking around as_ STEWARD _arranges things fussily_) This +is very pleasant. (NITA _arranges bags and grips on window seat._) + +STEWARD. Quite the best suite on board, Madam. Here is the clothes +press, and the other rooms are off there. (_Opening door_ L. _and +closing it again._) If you want anything--(_Points_ L.)--there is the +telephone. (_Notices trunk in middle of room for first time. Takes +hold._) I'll place your trunk---- (_Starts to move trunk and drags it to +side._) + +PRINCESS. (_Quickly stopping him_) Never mind now, Steward. You can +place it later. (STEWARD _releases trunk, but does not set it down._) +You might turn it right side up. + +STEWARD. (_Noticing labels_) Oh, I'm sorry! (_Turns trunk._ PRINCESS +_sighs._) I hope the contents are not upset, madam. + +PRINCESS. I hope not. + +STEWARD. Anything more, Madam? + +PRINCESS. (_Anxious to get him out of room_) Not now, thank you, +Steward. How soon do we sail? + +STEWARD. Very soon now. (_Voices off calling, "All ashore!" four times; +voice approaches and dies away._) They're already calling "All ashore," +Madam. (_Exit and closes door._) + +Nita. (L.C.) Your Highness has the key to this trunk? + +PRINCESS. (C.) Yes--yes--you may--leave this trunk as it is, Nita, till +later. (_Crosses to_ R.) Go to your room and get settled; then unpack +the other trunks. I'll call you when I want you. + +NITA. (_Going toward door_ R.) Yes, your Highness. (_When_ R., _near +door, stops suddenly and timidly says_) Will your Highness pardon me if +I am mistaken in thinking I recognize the DUKE, your exalted cousin, +among the passengers? + +PRINCESS. (_Without showing_ NITA _that she is startled, but audience +sees it_) My cousin, impossible. He is at Madrid. + +NITA. (_In excellent servant style, yet knowing she is right_) Yes, your +Highness. (NITA _bows and exits_ R., _closing door._) + +PRINCESS. (_Quickly fumbles with keys--selects right one, inserts in +lock, unlocks and opens lid. Just as lid up_) Are you all right, Mr. +Jarvis? (_Knock at door as_ PRINCESS _starts to raise lid._) Wait---- +(_Shuts down lid again. Knock repeated._ PRINCESS _crosses and opens +door_ L., _disclosing_ DUKE. _Exclaims in dismay_) Carlos---- + +DUKE. (_Raising hat--standing in open door_) Fair cousin--if I but knew +you were as pleased as surprised at seeing me. (_During speech he has +entered; takes_ PRINCESS' _hand and carries it to lips and kisses it._) + +PRINCESS. Why did you leave Spain? + +DUKE. (_Shuts door_) First say you are glad to see me. + +PRINCESS. Why are you here? + +DUKE. (R.C.) Are you not glad to see me? + +PRINCESS. (L.C.) Why, of course, Carlos, I--I'm always glad to see you. +But why have you come to America? + +DUKE. Who could bring me to America but you? + +PRINCESS. How did you find me? + +DUKE. It wasn't easy. Spain had no attraction for me after you left, and +I followed. Is not that true devotion? (_Two long whistles._ PRINCESS +_gets up confusedly as though she would not listen and goes to window +back._) + +PRINCESS. (_Up to window_ C.) Oh, come! We are starting! Let's go out +on deck--I want one last look at America. + +DUKE. Thank you, cousin, I can do very well without it. + +PRINCESS. Oh, Carlos, don't be absurd! Please. (_Whistle._) We'll be +gone in ten minutes. (_She goes toward door._ CARLOS _gets up and opens +it for her. Not wanting to_, PRINCESS _exits, followed by_ CARLOS, _who +closes door after him. Trunk lid raised slowly after_ PRINCESS _and_ +DUKE _exit_. JARVIS' _head appears and looks about. Throws back lid and +stands up. Gets cigarette and matches out of pocket, lights and smokes. +Expresses satisfaction. Lifts one leg to step out of trunk; gets stitch +in back at movement._) + +JARVIS. Oh--oh--Lord! (_Carries this business at far as legitimate. With +every movement getting out of trunk finds new pain._) If I only had that +last baggage man by the neck! Oh--a--oh, Lord! (_Crosses left and drinks +water._) Well, I'm all here, most all. (_Feels elbow that is evidently +skinned. Shoes are bent up from being doubled up in trunk. Sees them._) +My feet are bent. (_Goes to stoop down to get them--gets stitch in back. +Drinks._) Oh--oh--o! (_Hobbles over to looking glass, then to telephone_ +R.) Hello--hello--give me Mr. Jarvis' stateroom. Please--Jarvis--Warren +Jarvis. No. I don't know the number. All right. (_Pause._) Hello--Rusty? +Come on up here quick and bring me an overcoat, cap and scarf. What's +that? Hold on, I'll see. (_Pause, then opens door_ L. _and looks at +number on outside; shuts door; back to telephone_) Stateroom +A--promenade deck--and bring up that big bundle--quick, now! (_Hangs +up--crosses and looks out window._) Well, good-bye, America. I don't +know when I'll see your shores again. (_Shuts trunk and sits on it._) If +Rusty gets here before that Exalted Cousin returns, I'll be all right. +Hm--ouch!--I wonder what the game is? (_Knock at door._) Go away--we're +all very ill. (JARVIS, _uncertain who it is, starts to hide. Door opens +very cautiously. Enter_ RUSTY _carrying bundle of trays taken in first +act_.) + +RUSTY. (_Looking over shoulder_) I knows where I'm goin', all right. + +JARVIS. Come on in, Rusty. + +RUSTY. (_Crosses to back of trunk_) How did you get on board? + +JARVIS. I came in that trunk. + +RUSTY. You came in that trunk? + +JARVIS. Did you see any signs of the police? + +RUSTY. No, sir. + +JARVIS. Are you sure? + +RUSTY. Yes, sir. + +JARVIS. Did you look? + +RUSTY. No, sir. (_Handle of door_ R. _rattles._ JARVIS _to open door._ +Princess _enters._) + +RUSTY. How de do, Mrs. Princess? + +PRINCESS. How do you do, Rusty? (_Exclamation_ C.R.) Oh, there you are! +You're all right, aren't you? + +JARVIS. (_Rubbing sore places_) Yes, I'm all right. + +PRINCESS. But your hand--you must have that attended to at once. + +JARVIS. That's all right. I'll see the ship's surgeon. + +PRINCESS. Do, please. + +JARVIS. (R.) You can go now, Rusty. Oh, listen! What is the number of +your stateroom? + +RUSTY. Number Seven twenty-nine. + +JARVIS. Seven twenty-nine. Now get this: Go there, lock yourself in, and +don't talk to anyone. You're deaf and dumb--understand?--deaf and dumb. + +RUSTY. I got you first. (_Exit upper deck._) + +PRINCESS. There is something I must tell you. My cousin, the Duke +D'Alva, is on board this boat. + +JARVIS. (_Whimsically_) He professes to love you devotedly. + +PRINCESS. You overheard? + +JARVIS. (_Pointing to trunk_) The trunk. It wasn't my idea, you know. +(_With feeling--yet knowledge_) You are afraid of him? Why? + +PRINCESS. Well, he is very powerful--and I may be driven into his hands. + +JARVIS. You mean--you might have to marry him? + +PRINCESS. (_Looking nervously toward door_ C.) Yes, if you fail. + +JARVIS. (_Breath being taken away_) If I fail--Say, hold on a minute! +Things are coming too fast for me. I--you--how do I---- + +PRINCESS. (_Interrupting_) He may come back any minute--and I don't dare +tell him what happened at the Manhattan Hotel--but he will want to know +who you are and why you are with me. + +JARVIS. That's what I want to know. You forget I am completely in the +dark. + +PRINCESS. (_Looking out of window_) The police can't be on board now. +(_Down stage._) + +JARVIS. (_Going to window beside her, and then back again_) You can't +tell until you see who goes ashore with the pilot. They may be working +on Rusty as a clue, but it won't lead them to anything so long as they +don't connect him with me. We'll take no chances until we get past the +danger line. Now let's get down to business. What is the matter--and +what am I to do? + +PRINCESS. (_Hesitating_) I hardly know how to begin--it seems absurd in +this broad daylight to talk of ghosts--but the fact is, my castle is +haunted. + +JARVIS. (_Laughing_) Spooks? + +[Illustration: "THE GHOST BREAKER" _See Page 34_] + +PRINCESS. (_Very seriously_) Call it anything you like, but the +castle is haunted, just the same. My grandfather was one of the +wealthiest nobles in Spain. When he died my father went to take +possession of his estate in Segura. He found the town full of weird +stories of uncanny happenings--the castle was deserted, everyone had +fled and all told of something in armor that stalked the halls at night. + +JARVIS. O-o-o-o-o-o-o-h! + +PRINCESS. My father laughed at the silly natives and said he would go +into the castle and show them how foolish their fears were. He went, and +was never seen again. + +JARVIS. (_Naturally deeply interested_) What happened to him? + +PRINCESS. No one knows. He disappeared--vanished utterly, without +leaving a single clue--and the treasure's gone. + +JARVIS. (_More interested at word Treasure_) Treasure--what treasure? + +PRINCESS. My grandfather is known to have converted all his wealth into +Spanish gold. It amounted to about a million dollars in your money. + +JARVIS. How long ago was that? + +PRINCESS. Fifteen years ago. Since then two other men have +disappeared--just as my father did--and now, the Duke tells me that my +brother has entered the castle. You see it runs in the blood. Up to a +week ago my brother had sent me a cable every day, then suddenly the +messages ceased. All this week not a word. Now I know--my brother has +entered the castle, and--well, that is the end. + +JARVIS. Why did you leave Spain? + +PRINCESS. A part of the legend was that a plan had been made showing +just where the treasure was located--but this plan could never be found. +Only by accident I learned that this plan had been hidden in the back of +a locket and the locket, I discovered, had been sold and was in +America. It was to find this locket that I left my brother and came +here. + +JARVIS. Then my work now is to find your brother and solve the mystery? +All right! We'll explain to the Duke that you are taking me to Spain for +no other purpose than to solve the mystery. In America we've had +trust-breakers and strike-breakers, and now why not Jarvis, the Ghost +Breaker? + +PRINCESS. Why, yes, why not? Carlos would believe almost anything of you +Americans. + +JARVIS. (_Whimsically_) And you will tell him you have made me +a--er--what is it? A vassal? + +PRINCESS. (_Almost shyly_) I think not--not just yet. + +JARVIS. By the way, your--er--just how should a perfectly good vassal +address his Princess? + +PRINCESS. (_Hesitatingly_) Highness--is correct. + +JARVIS. Highness--tell me, your Highness, a vassal doesn't amount to +much, does he? I thought he was a piker. + +PRINCESS. (_Mystified_) A piker--a man who carries a pike? + +JARVIS. (_Trying to explain_) No, no--a piker is a tin horn. + +PRINCESS. Tin horn? + +JARVIS. Well, a sort of pawn in this game of chess--along with your +kings and queens and castles and things. (_Seriously, yet playfully_) +Could a good, hard-working, reliable vassal work his way up to be a Duke +or a Lord, or something like that? + +PRINCESS. (_Almost playing with him_) You're an ambitious vassal, aren't +you? I'm afraid you wouldn't be content with being anything less than a +king. + +JARVIS. (_Meaningly_) A king--a prince--or a bandit. + +PRINCESS. A bandit? And why a bandit? + +JARVIS. A king might command--a prince request--a bandit seize. + +PRINCESS. Seize what? + +JARVIS. (_Daringly_) That which a mere vassal can only admire. (_Knock +at door. Both brought back to earth._) + +PRINCESS. There he is now. + +JARVIS. Hooray! + +PRINCESS. What shall I call you? + +JARVIS. (_Whispering_) Oh, any old thing--Warren, Mr. Warren. (_Pause._ +PRINCESS _crosses to door, hesitates a moment, then opens it._) + +PRINCESS. Come in. + +(_Enter_ DUKE. _Stops at sight of_ JARVIS.) + +DUKE. Oh, I'm intruding. (_Spoken as though he expected_ JARVIS _to +go._) + +PRINCESS. Allow me to present Mr. Warren, whom I am bringing from +America to solve the mystery of the castle. My cousin, Duke D'Alva. +(_She crosses_ L.) + +JARVIS. (_Cross to_ DUKE--_easily_) Glad to know You. (PRINCESS _back_ +R.) + +DUKE. (_Patronizingly_) I am honored. Interesting task you have +undertaken. May I ask if that is your regular profession? + +JARVIS. That is my business, solving mysteries, looking up the family +skeleton, hunting out spooks. What we call in America a Ghost Breaker! + +DUKE. Ghost Breaker? A strange calling. I indeed never heard of anything +more extraordinary. + +JARVIS. It is not surprising, your Excellency. We are living in an age +of specialists--and like every other profession, this calls for its own +peculiar training. + +PRINCESS. (_Interrupting_) I am so glad you are here, cousin--you will +be able to tell Mr. Warren, so much better than I, all the +circumstances. + +DUKE. I'll be delighted to throw any light I can on the mystery, but +first tell me--(_To_ PRINCESS)--why did you leave your brother to come +to America? + +PRINCESS. (_Takes locket from reticule_) This little locket is what +brought me to America. + +DUKE. (_Crosses to her, holding out hand to take it_) May I see it? + +PRINCESS. (_Takes out memo._) No, Carlos, you may see the locket--no one +must see the memorandum. + +DUKE. Memorandum? + +PRINCESS. Yes. + +JARVIS. (_Seated on trunk--to_ DUKE) A wise precaution. + +DUKE. (_Picking up locket_) Curious old piece of work--and you came all +the way to America for this? + +PRINCESS. Yes. + +DUKE. You were very fortunate to find it so soon. (_Cross_ R.) + +PRINCESS. I knew where to go to find it--and yet I was nearly too late. +Think of it, after that dear old locket had lain in an antique shop for +ten years, suddenly in one day there came two inquiries for it. (JARVIS +_sits looking at_ CARLOS.) Mine was the second. A distinguished-looking +gentleman had been there in the morning, described it roughly to the old +man and got him to hunt for it. He had just found it when I came in. I +doubled the distinguished-looking gentleman's offer and got it. +(_Another look at_ DUKE.) Who do you suppose wanted that locket, Carlos? + +DUKE. (R._, being cornered and with effort to throw it off lightly_) I +see that it has already occurred to you that I am the +distinguished-looking gentleman whose offer you doubled. + +PRINCESS. (_With curiosity_) But how did you learn about the memorandum, +Carlos? (JARVIS _sits on trunk._) + +DUKE. I didn't, Cousin. I had not the slightest suspicion that the +locket contained the supposed secret. I was merely following my pet +hobby, trying to recover some of those precious heirlooms which have +been scattered to the four winds. (_Quickly_) You would be surprised, +Mr. Warren, to see the collection I have already rescued and which some +day may be yours, Maria. + +JARVIS. (_Breaking in impatiently_) Well, so much for the treasure. Now +let's hear about the ghost. What's your opinion of this, your +Excellency? Do you put any stock in ghosts? + +DUKE. Yes, Mr. Warren, I am convinced there are such things. + +JARVIS. You believe that this castle is haunted? + +DUKE. I know it. + +JARVIS. You think this ghost is dangerous to encounter--that it is the +cause of the deaths and disappearances in the castle? + +DUKE. I do. + +JARVIS. Well, what do you think about that? Ghosts---- That's a pretty +broad term, your Excellency. Can you tell me just what you believe this +ghost is? + +DUKE. There are certain occult forces in this world, Mr. Warren, that +science cannot fathom, and some of them are manifested in that castle +now. A priest might call it a demon or a fiend; a psychologist, perhaps +a returning spirit. I can't say--but I know there is something real, a +malignant force which lurks in that castle, and while it haunts those +halls, it is madness for any man to expose himself there. + +JARVIS. Have you ever seen this ghost? + +PRINCESS. My brother has. + +JARVIS. What? + +PRINCESS. Twice. + +JARVIS. Good night! + +PRINCESS. So has my father, and the others when they disappeared. No one +has seen it three times and lived. + +JARVIS. (_Interrupting and looking at_ DUKE) In just what way do you +connect this spook with the treasure? + +DUKE. Spook? I see no connection. What do you mean? + +JARVIS. Oh, there is always money where the ghost walks. + +DUKE. I don't know what your experience has been, Mr. Warren. You are +evidently a brave man--but you have yet to encounter a real ghost. + +JARVIS. Brave! It takes no bravery to fight a coward. That is what this +ghost is--it's a coward like every other ghost. I tell you that men are +not half so afraid of spirits as spirits are afraid of men. Face the +supernatural--and it is beaten to a frazzle before the fight begins. +Spooks--horse-thieves--and peevish wild-cats can all be tamed by the +same little charm. + +PRINCESS. (_Mystified_) Charm? + +DUKE. (_Leaning forward_) What is it? + +JARVIS. I'd hate to tell you. It's part of my system. (_Taking out +pistol._) + +DUKE. (_Scornfully_) I had been hoping, Mr. Warren, that you had some +subtle method of handling this problem, but you evidently propose to +meet the forces of the supernatural with firearms. I--I may tell you +that this specter has been shot at before without the slightest effect. + +JARVIS. (_Smiling_) Quite likely, your Excellency. I have seen rifle +fire that had not the slightest effect on a wild-cat for the very +reason that the firing was wilder than the cat. + +DUKE. (_As though pitying him_) I am sorry for you Mr. Warren. You will +find the ghost more real than the treasure. + +PRINCESS. (_Rising_) But the treasure is real, Carlos. Would I have +crossed the ocean for this locket unless I knew? Why, with this paper +anybody--a total stranger--could walk right up to the very stone that +hides it---- + +JARVIS. (_Meaningly_) Pretty dangerous paper to have around. Look out +somebody does not get there ahead of you. + +DUKE. (_Meaningly to_ JARVIS) Yes, it is a dangerous paper--if it leads +anyone into the castle. + +JARVIS. (_Laughingly_) Well, your Excellency, I'd go a long way for the +fun of unravelling a good mystery with a little spice of danger thrown +in. + +DUKE. You needn't have gone so far, Mr. Warren. You are leaving a very +unusual case behind you in New York. The papers are full of it. Have you +read them? (_Picking up newspaper._) It will interest you too, Cousin. +You were at the Manhattan last night, I believe. + +PRINCESS. Yes! (JARVIS _and_ PRINCESS _look at each other and_ DUKE +_reads from newspaper._) + +JARVIS. Why, no---- (_Glancing at trunk._) I was so wrapped up in my +baggage I really didn't have a chance. (_Looks at_ PRINCESS.) + +DUKE. "Pistol duel in Manhattan Hotel. Colonel James Marcum, a prominent +and wealthy Kentuckian, nearly met his death at five o'clock this +morning in a pistol duel in his room at the Manhattan Hotel." (_Glancing +down a little further_) "At a late hour the police had no clue to the +identity of his assailant, except the remarkable fact that the person is +still hiding somewhere in the hotel." + +JARVIS. (_Interrupting_) He's probably a long way from the hotel by +this time. + +DUKE. (_Looking at paper_) They say that he couldn't have gotten out +without being seen. + +JARVIS. That's the theory of the police or reporters. + +DUKE. What do you think? + +JARVIS. He might have escaped in a thousand ways--but that work is +hardly in my line. That belongs to the "Gum-shoes." + +DUKE. Gum-shoes? + +JARVIS. Yes, ordinary detectives. (_Enter_ NITA.) + +NITA. Excuse, Madame---- + +PRINCESS. No, Nita! Not just yet. I'll call you when I want you. + +JARVIS. We are keeping you from getting settled, I am afraid. (_Cross +toward door._) So, if you will excuse me, I'll see you at luncheon, +perhaps. Hooray! I am glad to have made your acquaintance, your +Excellency. + +DUKE. Thank you, Mr. Warren, I find you most interesting. I shall be +glad to hear more of your remarkable profession. (WARREN _crosses to +door and opens it, disclosing two detectives and steward._) + +DETECTIVE. Are you Miss M. T. Ar--ra--gan? + +PRINCESS. (L.C.) Yes! + +DETECTIVE. You was at the Manhattan Hotel last night? + +PRINCESS. Yes. + +DETECTIVE. The lock on your door was broken? + +PRINCESS. Yes. + +DETECTIVE. (_Removes hat_) I am from headquarters, Madame, and I have +orders to clear up one or two little matters with that affair at the +hotel last night. + +DUKE. Orders, orders! To break in here--what headquarters? + +DETECTIVE. Police headquarters. + +DUKE. Do you know whom you are addressing? + +DETECTIVE. Say--that will be about all from you! + +PRINCESS. Yes, Carlos. Please let me attend to this matter. Won't you +come in, gentlemen? + +DETECTIVE. Thanks. (_Realizing they are already in the room_) That's +all, Steward. (_Exit_ STEWARD; _enter_ DETECTIVES, _closing door._ +JARVIS _slips wounded hand into coat pocket._) + +JARVIS. Yes, we were just discussing that mystery, Inspector. + +DUKE. You are, I take it, one of the--er--gum-shoes? (JARVIS _laughs and +goes up stage._) + +DETECTIVE. (_Glaring angrily for a moment, walks over toward him and +shouts in his face_) Gum-shoe! Say, are you trying to be funny? + +DUKE. Well, sir, you are talking rather loud and with undue asperity. I +presume I have offended you. + +DETECTIVE. _You presume!_ That's a hot one! Say, who are you, anyhow? + +DUKE. I am Carlos Hernando Duke D'Alva. I have other titles, but they +would hardly interest you. + +DETECTIVE. Dook de Alver--and then some, eh? Ain't that nice? Well, if +you was the Archbishop of Canterbury I'd run yer in and take yer 'shore +if yer give me any more lip! (_To_ PRINCESS, _sucks his teeth +contemptuously and turns his back on_ DUKE. _Produces notebook from +pocket and addresses_ PRINCESS.) As you was saying when we was +interrupted, you was in the hotel when the shooting occurred. Did you +hear it? + +PRINCESS. Yes, I heard two shots. + +DETECTIVE. Did you hear anything else? + +PRINCESS. Yes, I heard some people running near my door. + +DETECTIVE. Any one come in? + +PRINCESS. Yes, my maid was frightened and came in. + +DETECTIVE. Aha! How did the lock on your door get broken? + +PRINCESS. It was broken when I came. I explained all that at the hotel. + +DETECTIVE. Um--all right. What about the colored man who came to your +room and carried away a large bundle. + +PRINCESS. That was my servant. I sent for him. They were purchases I +made too late to put in my trunk. They are here, unopened; you may +examine them if you wish. + +DETECTIVE. That's all right, Miss, but what do you know about this? +(_Produces knife from pocket--walks slowly to her, examining it._) The +initial on it is "W." + +PRINCESS. Did I leave that? Thank you. I'm so glad you found it. + +DETECTIVE. Then it's yours? Who is W? Your name is Aragon, I believe. + +PRINCESS. I am Maria Theresa of Aragon. + +DETECTIVE. But who is W? + +PRINCESS. Why, er, it isn't W--you had it upside down. It is M--Maria +Theresa. + +DETECTIVE. That's all right, ma'am. Now there's just one thing more. + +DUKE. (_Cross and touch_ DETECTIVE _on arm_) You will pardon me, but I +wish to inform you that this man's name is Warren---- + +DETECTIVE. (_Crossing toward him_) Say! Who's conducting this inquiry, +you er me? + +DUKE. But, my dear man---- + +DETECTIVE. I am not your dear man. Cut that! You get out of here. +(_Forces him toward door._) + +PRINCESS. Yes, do go, Carlos. Leave us to attend to this matter. I am +sure we can finish this better without you. + +DUKE. I merely wished to point out---- + +DETECTIVE. (_Interrupting and hustling_ DUKE _out_) You hear what the +lady says. (SECOND DETECTIVE _cross to_ DUKE.) Cut it, or out yer goes, +and if ye butt in again I'll fan yer. Do you hear? (SECOND DETECTIVE +_slaps_ DUKE _on arm, motions him to door_ R.) + +DUKE. (_At door_) Infernal outrage! I shall report this to the King! + +DETECTIVE. To the King, huh? Did you get that, Tom? Well, what do you +know about that? (SECOND DETECTIVE _closes door._) + +JARVIS. Don't be disturbed, gentlemen; he's quite harmless. You heard +him talking about the King--he suffers from Regalmania. He has grandiose +ideas. + +DETECTIVE. (_Aside_) What does that mean, Tom? + +SECOND DETECTIVE. (_With gesture to head_) Wheels. + +DETECTIVE. You mean he is crazy? + +JARVIS. Yes, he is at times; but he is not at all dangerous. + +DETECTIVE. You lookin' out for him? + +JARVIS. Yes, that's my job. + +DETECTIVE. Sorry I had to be rough with him like that, Miss, but you saw +he was gumming the game. I'm going back to New York in the pilot boat +shortly and there wasn't no time to waste. Now just one question more. +How do you account for the blood on that knob of your door? + +PRINCESS. Blood, on my door---- Why, I---- + +JARVIS. I think I can explain that, Inspector. + +DETECTIVE. Go ahead, then. + +JARVIS. (_Cross_ C.) Allow me. + +PRINCESS. Certainly. + +JARVIS. The colored man, the one you were talking about, the one who +brought the bundle, that bundle there, carelessly broke the blade of +that knife and cut his hand. That was it, wasn't it? You see the large +blade is snapped off near the handle. + +DETECTIVE. Where is this colored man now? + +PRINCESS. He is in stateroom 729. + +DETECTIVE. All right, I will just take a look at him. 729? Sorry to +bother you. They was the Chief's orders. Good-bye. (_Exit._) + +PRINCESS. But his hand isn't cut. + +JARVIS. (_Cross to 'phone_) No, not yet--but it soon will be. Hello, +give me 729. (_Pause._) Hello, hello, hello, Rusty? Damn it all, answer +me, do you hear me? (_Pause._) Yes, I know I did, but I am telling you +to talk now. Do just what I tell you and do it quick. Take your knife +and cut your left hand. What? No, no, you a--damned fool, don't cut it +off, but just enough to make it bleed a little and then tie it up with a +handkerchief. Never mind. Do it quick, and remember, don't answer +questions. You're deaf and dumb again. (_Hangs up receiver and turns to_ +PRINCESS.) By gee, you're game! You certainly buffaloed that Detective. +Then your cousin Carlos broke in at the psychological moment to scatter +their gum-shoe wits. (_Laugh._) + +PRINCESS. They believe he's crazy. + +JARVIS. That's just it. Now they won't listen to him. Yes, he'll be +crazy, all right. Do you think you can handle him? + +PRINCESS. Yes, you have your hand dressed. + +JARVIS. Then I'll hunt up the ship's surgeon--and be back directly. Gee, +you're game! (_Cross to door_ R. DUKE _enters at door_ R. JARVIS +_turns._) Crazy! That's funny! (JARVIS _exits, laughing._) + +DUKE. (_Showing suppressed emotion, stands_ R.C. _glaring at_ PRINCESS) +Well! + +PRINCESS. Well! + +DUKE. Well, I'm waiting! + +PRINCESS. For what, Carlos? + +DUKE. For some explanation. Who is this man Warren? + +PRINCESS. He is a professional ghost breaker, as he explained. + +DUKE. How did you find him? + +PRINCESS. I met him quite by accident. + +DUKE. What do you know about him? + +PRINCESS. Why, he is as well known in America as you are in Spain. + +DUKE. Indeed! (_Cross to center._) Well, he will be better known when I +turn him over to the police. + +PRINCESS. Why, Carlos, what do you mean? + +DUKE. I think you know that which I mean, Maria. (DETECTIVE _sticks head +in door._) + +DETECTIVE. It's all right, Madame, but you might have told us that your +nigger was a dummy. + +DUKE. (_To_ PRINCESS) One moment, gentlemen, one moment. (DETECTIVES +_enter._) If this person is famous, these gentlemen should know him. Do +you know Warren, the Ghost Breaker? + +DETECTIVE. The what? + +DUKE. The Ghost Breaker! + +DETECTIVE. (_Both grinning_) He's off again, Tom. (_Enter_ JARVIS.) + +DUKE. Now we'll see. Is this man Warren, the Ghost Breaker? (_Warren +winks at_ DETECTIVES.) + +DETECTIVE. (_To_ SECOND DETECTIVE) He's hip, all right. + +JARVIS. Agree with anything he says. + +DUKE. (_Furiously_) Answer my question--is this man Warren, the Ghost +Breaker? + +DETECTIVE. Now, that's all right, Dook. Sure he's a Ghost Breaker, ain't +he, Tom? + +SECOND DETECTIVE. Surest thing you know. + +DUKE. Sacristi, am I, Carlos Hernando D'Alva, to be mocked at by two +grinning, bull-necked scullions? (_Ship's officer appears in door._) + +SHIP'S OFFICER. Hurry up, there, if you're going ashore with the pilot! + +DETECTIVES. (_As they go through door_) You're all right, Dook, old boy! +Ghost Breaker! Ha, ha! (_They exit._) + +DUKE. (_Crossing toward door_) I'll see the Captain. + +JARVIS. (_Back against door_) I think not just yet! + + CURTAIN + + + + + ACT III + + +SCENE: _The main room of an Old Spanish tavern, Segura, Spain. Singing +and mandolins heard from Wine Room._ + +AT RISE, MAXIMO, _an old discharged Spanish veteran, and_ GASPAR, _a +villager, discovered playing cards at table down_ C. _This continues +some time._ MAXIMO _slaps down cards exultantly, leans back in chair and +laughs._ GASPAR _stares peevishly at cards._ + +DOLORES _discovered gazing out of window_, D.L. _Enter_ VARDOS, _old +follower of_ PRINCE BASILLIO, C.L., _carrying basket, covered by lid or +napkin. Seeing_ DOLORES. _Spaniard on steps._ + +_Lights full up, amber and white. Blue lights behind in windows_, R. +_and_ L. + +VARDOS. Still watching for a signal, Senorita? + +DOLORES. (_Turning to_ VARDOS) Yes, Vardos. Have you any news? + +VARDOS. Nothing. Here's the basket of food untouched as usual. This is +the fifteenth night. + +DOLORES. Once tonight I thought I saw a light in the tower, Vardos. + +VARDOS. If you did, Senorita, it was an unblessed flame. + +DOLORES. You haven't given up hope, have you, Vardos? + +VARDOS. I gave up hope when the Prince went into the castle. Tonight I +waited till an hour past sundown, and twice I called. Once a wail came +back to me. It sounded like a sigh of the damned. When I called the +second time, something moved in the turret of the keep, like a man +waving; and my heart leaped for joy. Then, with a harsh cry, a black, +ugly bird flew from the turret straight toward where the sun had set--on +my left, mind you, the sinister side, the left, the left! (_Castanets +heard off stage, left_.) + +DOLORES. Oh, if her Highness were only here. + +VARDOS. What can she do? + +DOLORES. She would go straight to the castle, and will Segura have it +said that they let her go alone as they did the Prince? + +VARDOS. God forbid it should come to that. (_Gives basket._) Good night, +Senorita. (_Start for door down_ R.) + +DOLORES. Good night--(_Crosses_ C.)--Vardos. You will go again tomorrow +night? + +VARDOS. Yes, Senorita, willingly, until I know it is useless. (_Off +stage voice: "Bravo, Senorita!"_) Good night! (_Off stage voice: "Bravo, +Senorita!" Laughing and clapping of hands. Exit_ C. VARDOS.) + +(_Exit_ MAXIMO, GASPAR _and_ SPANIARD, _door_ R. DOLORES _lifts napkin +and looks into basket; crosses and exits_ D.R. Enter door L.C. ROBLEDO; +_stands, looks about insolently for a second_.) + +ROBLEDO. Eh--hey, you, Pedro! (_Receiving no answer, he crosses to +table_ L.C., _bangs crop on table and shouts again_.) Hey, you, Pedro! +What's the matter here? Where are you? (_Enter_ PEDRO, _door_ R. +_Seeing_ ROBLEDO, _is immediately scared and anxious to please_.) + +PEDRO. Oh, Senor Robledo! + +ROBLEDO. Wake up! What's the matter with you? + +PEDRO. One thousand pardons, Senor. What can I do for you? + +ROBLEDO. My horse is outside; he has had a hard ride. Wash him off, and +don't give him any water until he is cool. + +PEDRO. Yes, Senor, it shall be just as you say. (_Starting._) + +ROBLEDO. And leave the saddle on. I may want to use him again. + +PEDRO. Yes, Senor. Yes, Senor. (_Starts toward door_ C. ROBLEDO _halts +him_.) + +ROBLEDO. Where is your daughter? + +PEDRO. I will call her, Senor. (_He crosses to door_ R., _calling_.) +Dolores, Dolores! She will come, Senor. She will come. (_Cross to door_ +L.C.) + +ROBLEDO. And, Pedro---- + +PEDRO. Yes, Senor---- + +ROBLEDO. If that rat-infested larder of yours is empty, get it filled +before the Duke arrives. + +PEDRO. The Duke coming here, Senor! When? + +ROBLEDO. Tonight! Don't stand and stare. Hurry up and see to my horse. + +PEDRO. Yes, Senor. Yes, Senor. (_Exit door_ L.C. DOLORES _entering_ R.) + +DOLORES. Yes, Father? (_Sees_ ROBLEDO.) Oh, it's you. + +ROBLEDO. (_Pause--cross toward her_) Well, well! Can't you say you're +glad to see me? + +DOLORES. I can, but I won't. Where's my father? + +ROBLEDO. Never mind your father. I want to talk to you. + +DOLORES. You do? Well, you won't in that tone. (_Start to cross left._) + +ROBLEDO. (Intercepting her C.) I won't hey?--And why not? You little +spit-fire! + +DOLORES. What do you want to say to me? + +ROBLEDO. You little devil! (_She starts away; he grasps her wrist._) +Come here! (_Throws her quickly and easily around stage_ L., _still +holding her wrist._) Say, what's come over you these days? You are about +as fond of me and as sweet tempered as a tigress. What have I done? + +DOLORES. It is what you have not done, Don Robledo. For fifteen days +your Prince has been in need of you and you have not had the courage to +go to him. (_Enter_ MAXIMO _door_ R. _and beckons_ GASPAR _and_ +VILLAGERS _up_.) Let go my wrist! (_Struggling._ MAXIMO, GASPAR _and_ +VILLAGERS _watch end of scene_.) Let go my wrist! + +ROBLEDO. Wait a minute! Wait a minute! You can't get away. Do not try. +(_She strikes him, frees herself and crosses_ L. _to window_.) You +little cat, I'll trim those claws! (VILLAGERS _laugh_. MAXIMO _nudges_ +GASPAR.) + +GASPAR. Sh! sh! sh! Look out! + +ROBLEDO. (_To them_) Well, what are you laughing at? + +MAXIMO. Why, why---- (_Stammering._) + +GASPAR. A jest in the wine room, Senor. + +ROBLEDO. Huh! Lucky for you! Get out of my way! (_Pushes them aside and +swaggers through door_ R.) + +DOLORES. Gaspar! Maximo! Come here quickly! + +MAXIMO. (_Crossing to_ DOLORES) What is it? + +GASPAR. What is the matter? (_Crossing to_ DOLORES.) + +DOLORES. A light! A light in the castle! + +GASPAR. I thought I saw it a while ago. + +MAXIMO. I don't see it. + +DOLORES. But I tell you I did see it. (_She runs_ R.C., _calling_) +Father--Father--come quickly. + +PEDRO. (_Entering_ R.) What is it? What are you looking at? (_Cross_ C.) + +DOLORES. (L.C., _pointing out window_) A light--a light in the castle. +I saw it! + +PEDRO. (_Going to window_) Nombre de Dios. (MAXIMO _and_ GASPAR _back +to_ L.C.) + +DOLORES. (C. _to_ GASPAR _and_ MAXIMO) Well, why don't you do something? +Are you going to stand there like scared sheep, and let a man, your +Prince, signal to you in vain? + +ROBLEDO. Who's the little devil tearing to pieces now? (C. _cross to_ +DOLORES.) + +DOLORES. You, Don Robledo, sword-fighter, toreador, fire-eater, hero of +a hundred duels--you--Don Robledo--coward! (_He chucks_ DOLORES _under +the chin. She throws his hand off._) I asked you to go into the castle +and rescue your Prince. I ask you now to answer the signal that I just +saw in the tower window. Perhaps your Prince has just crawled to that +tower window where he can see our lights. Perhaps he has burned +something, a scrap of paper, in the hope that some of you gentlemen +would notice it and come to his assistance, but he doesn't know what +cowards you are or he wouldn't have wasted his matches. Don +Robledo--coward! + +ROBLEDO. Coward, never! A fair fight in the open and I'll meet the best +man that walks the earth. (_Turns to_ VILLAGERS.) Any two or three! (_To +table_ L.) + +DOLORES. I don't ask you to kill one or two or three of these poor +whimpering sheep! I ask you to dare something. (DUKE _enters_ C.) I ask +you and these gentlemen--(_Point to_ VILLAGERS)--to go to the aid of +your Prince--and there isn't a man among you who dares! God, how I could +love such a man! + +DUKE. (_Down_ C., _sarcastically to_ DOLORES) A pretty speech, Senorita! + +ROBLEDO. (_Seeing_ DUKE, _removes hat and bows_) Your Excellency! + +GASPAR. The Duke D'Alva! (VILLAGERS _remove hats and bow to_ DUKE.) + +PEDRO. His Excellency! + +VILLAGERS. The Duke, His Excellency, etc. + +DUKE. Charming sentiments you express for your fellow townsmen, whose +healthy common-sense prevents them from rushing to a fool's death. +Still, all fools are not dead yet. One of them will be here tonight. And +you, Senorita, will doubtless be pleased to look upon him, as he has +come all the way from America for the privilege of entering the castle +and playing your hero. + +DOLORES. (_To_ ROBLEDO) And did her Highness have to go all the way to +America to find him? + +DUKE. Yes, he's from America, where all the fools come from. (_Everybody +laughs but_ DOLORES. _To_ ROBLEDO) A word with you alone, Senor. + +(ROBLEDO _looks at_ GASPAR _and_ MAXIMO. PEDRO, _scared, motions_ +VILLAGERS _off to_ R. PEDRO, MAXIMO _and_ VILLAGERS _exit door_ R.) + +DOLORES. Can I get your Excellency anything? + +DUKE. Don't mind me. I'll look out for myself. Her Highness will be here +very soon and will doubtless remain here for the night. I drove ahead to +prepare you. + +DOLORES. Yes, your Excellency! (_Bowing--exit door_ R.) + +DUKE. (_Half sits on table_ L., _watches_ DOLORES _off_. _To_ ROBLEDO) +You've got work before you--Robledo. + +ROBLEDO. (_Center_) I'm ready, Excellency. + +DUKE. (_Rising, across to_ ROBLEDO) Yes, but this American may be +dangerous. + +ROBLEDO. In what way? + +DUKE. Unless he is stopped he will go into that castle tonight--and I +look upon you to stop him. He is coming here to solve the mystery and +to find the Prince. I shall endeavor to stop him, but if I fail, +Robledo, it rests with you. + +ROBLEDO. I can assure your Excellency I will convince the American that +his presence in the castle tonight is quite unnecessary. Have you any +instructions? + +DUKE. Any way you please, Robledo--means are of no consequence in this +world. What I want is results. Only don't underestimate your man. He +will shoot, and I think he will shoot quick. + +ROBLEDO. Good! (_Enter_ PEDRO _door_ R. _with tray and bottles and two +glasses. Cross and put them on table up_ C.) + +DUKE. (_Taking coin from pocket_) Here, take this and have them drink to +my health and that of her Highness! (ROBLEDO _bows and exits_ R.) + +PEDRO. Is there anything else your Excellency desires? + +DUKE. Yes, hot water, soap and towels. (_Looks at hands._) + +PEDRO. This way, your Excellency. (_Exit_ DUKE _and_ PEDRO _upstairs and +off_ L.) + +ROBLEDO. (_Heard off stage_ R.) To his Gracious Excellency, the Duke +D'Alva! + +VILLAGERS. (_Off stage_) The Duke! The Duke! The Duke! + +(_Enter_ DOLORES R., _crossing to window_ L.) + +ROBLEDO. Louder, you beggars, louder, or I'll give you something to yell +for! + +VILLAGERS. (_Much louder_) The Duke! The Duke! Long live the Duke! The +Duke! etc. + +(_Lights seen of automobile approaching._) + +DOLORES. Her Highness! (_Calls_) Father! Father! + +PEDRO. (_Entering_) What is it, Dolores? + +DOLORES. Quick! Her Highness is here! + +PEDRO. Her Highness! (_He bustles downstairs._) Her Highness! (_Calls +off_ R.) Her Highness! + +(VILLAGERS _enter door_ R. _Enter_ PRINCESS, NITA _and_ JOSE _in motor +clothes_. PRINCESS _comes_ C. JOSE _door_ L. NITA _left center up +stage_. DOLORES L.C. PEDRO _right center_, C. VILLAGERS _in door_ R., +_bowing low_.) + +PEDRO. Your Highness does my humble inn great honor---- (VILLAGERS +_bow_.) + +PRINCESS. Thank you. (_She nods to_ VILLAGERS, _extends her hand to_ +DOLORES, _who carries it to her lips, curtseying_.) + +DOLORES. Your gracious Highness, we are ill prepared for this great +favor. Your exalted cousin gave but short warning of your coming. + +PRINCESS. My child, any place to remove the dust of travel will do for +the present. Jose, I shall want the car later. + +NITA. (L.C.) Your Highness is not thinking of going on to the castle +tonight? + +PRINCESS. I must have news. + +NITA. But you're all worn out. You're all unstrung. + +PRINCESS. When Mr. Warren comes, tell him I will be down directly. + +DOLORES. I will tell the Senor American, your Highness. + +PRINCESS. Thank you. (_Exit_ PRINCESS _and_ NITA, PEDRO _showing them +upstairs_.) + +(_Enter_ JARVIS D.C.; _followed by_ RUSTY, _both carrying suitcases_. +DOLORES _bows_. RUSTY _comes to_ DOLORES. JARVIS L.C. RUSTY _crosses_ +JARVIS _to_ L. DOLORES _returns bow_.) + +DOLORES. Gentlemen--a man! + +JARVIS. Rusty, we're discovered! Did you by any chance address me, +Senorita? + +DOLORES. I called the attention of these valiant gentlemen of Segura to +the only man who dares to enter the castle. + +JARVIS. How did you know? + +DOLORES. All Segura knows by this time. + +(_Enter_ ROBLEDO _door_ R., _pushing through_ VILLAGERS; DOLORES _tries +to stop him; he pushes her aside, swaggering toward_ JARVIS.) + +ROBLEDO. So you're the brave American, Senor? + +JARVIS. I'm an American. (_Turning to_ RUSTY _on_ L.) Here's another +one. (RUSTY _salutes_.) We're both Americans. + +ROBLEDO. And you both want to die? (RUSTY _makes wry face and big +eyes_.) + +JARVIS. (L.C.) Well, I'm not really anxious about it, Senor. + +ROBLEDO. Better keep out of the castle, then. + +JARVIS. Oh, you mean that ghost? Oh, I'm not afraid of a little thing +like that, Senor. + +ROBLEDO. No? (_Turns to_ DOLORES C.) Well, Senorita, we gentlemen of +Segura will drink to your American. (_To_ JARVIS) The maddest fool that +ever came to Spain! (ROBLEDO _crosses to_ DOLORES, _chucks her under +chin, laughing_. DOLORES _throws his hand off; motions Villagers off, +and exits after them_. JARVIS _and_ RUSTY _watch them off_.) + +RUSTY. He's a nice man. + +JARVIS. Pile the bags up there, Rusty. (_Put bags on table_ L.) + +RUSTY. Yas, sir. + +JARVIS. Looks like we were in for a warm reception. + +RUSTY. Yas, sir, 'tis a trifle warm. (_Crosses below table_ L., _back to +audience_.) + +DOLORES. Pardon, Senor. Her Highness wishes me to tell you that she will +be down directly. + +JARVIS. Thank you, Senorita, and who, may I ask, was the cheerful +individual that flattered me with such a toast? + +DOLORES. (_At_ C., _looking after_ ROBLEDO--_crosses to_ JARVIS) Don +Robledo, Senor. + +JARVIS. Don Robledo--sounds dangerous, but doesn't mean much to me. + +DOLORES. It may mean much before you reach the castle. Let me tell you +something. Quick, your hand, Senor! No, the other one. (_Grasps his +hand._) I'll pretend to read your palm. Every one of those breaks in +your life-line means a moment when you stood face to face with death, +and yet, see those little squares of protection around each break! Senor +American, there is one break which you have not yet reached, and the +protecting square is not perfect like the others. + +JARVIS. I reckon that square will take care of itself when the time +comes. + +DOLORES. But the time is now, Senor. + +JARVIS. So--and are the senorita's eyes so sharp that she can tell the +day and the hour? + +DOLORES. Not my eyes, Senor American, but my ears. (DUKE _comes +downstairs_.) In all my experience I have seen but one hand like +yours--it speaks of danger, and that hand belongs to Don Robledo. + +DUKE. (_Still on stairs_) Well, Mr. Warren! + +DOLORES. Pardon, Senor! (_Curtsies to_ JARVIS _and steps back from +him_.) + +JARVIS. Good-bye, Senorita. Many thanks for your occult wisdom. I'll +take good care of that little square. (DOLORES _crosses, bows to_ +DUKE, _exits_ R., _closing door_.) + +[Illustration: "THE GHOST BREAKER" _See Page 46_] + +DUKE. (_Coming down_) Well, Mr. Warren, looking into the future? (_Lays +coat on table_ C. JARVIS L.C.) + +JARVIS. Yes, Duke. The immediate future promises to be very interesting. +A dark man is to cross my path. + +DUKE. (R.C.) Do you believe in such foolery? + +JARVIS. I like to, on this occasion, for I hope it means someone I very +much want to meet. + +DUKE. Mr. Warren, I feel a certain responsibility for Her Highness' +actions, and the prospect of your death tonight is most uncomfortable. + +JARVIS. You think I won't come back? + +DUKE. I think if you go to that castle tonight you take your life in +your hands. + +JARVIS. I've got a pretty good grip. + +DUKE. Look here. You Americans are shrewd traders. You get dollar for +dollar when you bargain. You are not giving away your life for nothing. +Now, what was the price? + +JARVIS. Oh, not very much. The deal was made on bargain day. My life +happened to be a little below par. + +DUKE. Very well, I will release you from your end of the bargain. + +JARVIS. Your Excellency, I am overwhelmed, but the price is paid and +we're on the job, aren't we, Rusty? + +RUSTY. Yas, sir, we most certainly is! + +DUKE. I suppose that means that you will keep faith with Her Highness? + +JARVIS. Yes. + +DUKE. I never saw a man quite so anxious to be killed; but there it is: +Fools rush in where angels fear to tread. + +JARVIS. I'd rather be an energetic fool than an angel with cold feet. + +DUKE. I am sorry for you. + +JARVIS. (_Crossing to_ DUKE) Your Excellency, I decline your offer and +your advice and your sympathy, and I'll tell you why. I once saw a +gambler lay down four aces. Just think of it: four fat aces. He looked +the dealer straight in the eye and said: "The play ain't natural." Now, +you tried to have me arrested on the steamer, you have tried to block me +in every move I have made. Now, all of a sudden you express the utmost +anxiety as to what's going to happen to me in the castle. You even offer +to buy me off. You advise me to stay out. Shall I take your advice? No. +"The play ain't natural." + +DUKE. You have intruded into a matter which you neither understand nor +appreciate. If, as you say, the play seems unnatural, throw the cards +and stay out of the game. + +JARVIS. No, I'll stay right in the game, but I am going to watch the +dealer. Well, come along, Rusty. (_Cross to_ RUSTY.) Let's see if we can +find the landlord. (_Picking up bags._) + +RUSTY. I'd like to find a piece of chicken. + +JARVIS. Chicken, Rusty? What put that in your head? + +RUSTY. I's powerful hungry, Marse Warren. + +JARVIS. What--again? + +RUSTY. No, sir--it's the same old hunger. + +JARVIS. Well, Rusty, you are not going to get anything to eat until we +finish the job. + +RUSTY. Good Lord, have I got to wait till you're dead before I eat? +(_They start with bags to cross to stairway. Enter_ PRINCESS _on +stairs_.) + +DUKE. Well, all Segura will be buzzing with your ghost hunt tonight. The +whole town will sit up to hear of the outcome. + +JARVIS. And where are you going to get the returns, Duke? + +DUKE. Unfortunately, I must leave at once. I have an urgent summons to +Madrid. + +JARVIS. Well, that's too bad. I'm sorry you're leaving us. Won't you +even be around at the finish, your Excellency? + +DUKE. I am sorry, Mr. Warren, but I must go. + +JARVIS. Well, I call that a shame. + +PRINCESS. (_Coming downstairs--to_ PEDRO _entering_ R.) Pedro, this is +Mr. Warren. Attend to his wants. + +PEDRO. (_Bowing_) Yes, your Highness! (PRINCESS _crosses_ L.C. PEDRO +_goes upstairs_.) This way. (JARVIS _and_ RUSTY _following_ PEDRO +_upstairs_.) + +JARVIS. Your Highness, I'd like a couple of good horses and two good +lanterns. + +PRINCESS. Pedro. + +PEDRO. Yes, your Highness. (PEDRO _exits_.) + +DUKE. Lanterns? Looking for an honest man, Mr. Warren? (C. _Lays hat on +table_ C.) + +JARVIS. (_Over banister_) Not in this neck of the woods, your +Excellency. (_Exit_ JARVIS _and_ RUSTY.) + +PRINCESS. Carlos, what news of my brother have you heard? + +DUKE. (L.C.) Nothing, Maria. + +PRINCESS. And yet you are leaving for Madrid. + +DUKE. The message is from His Majesty. + +PRINCESS. But why must you go so soon? + +DUKE. You know my ride is a long one. + +PRINCESS. But, Carlos, my brother may be dying, dead--and yet you have +not the time and the courage to help me find him. + +DUKE. What need of me? You have your Ghost Breaker. + +PRINCESS. So, Carlos, that is your excuse? + +DUKE. I make no excuse, Maria. I need none. That Yankee adventurer +stands between you and me. Send him away, and I will do anything you +ask. I'll put off my journey now to the King. I'll send one of my men +into the castle to find your brother. + +PRINCESS. Yes, you will send one of your men--but you are not brave +enough to go there yourself. Yet you ask me to send away this man who of +all is willing to sacrifice even his life for me. + +DUKE. If he stays, I'll go. + +PRINCESS. Very well, then you force me to choose. I do. I choose a man. + +DUKE. You love him? + +PRINCESS. Perhaps. (R. _Turns away_.) + +DUKE. Well, Maria, you are sending him to his death. (_Enter_ JARVIS _on +stairs_.) Success to you, Mr. Ghost Breaker, when you beard the spectre +in his den. (_Takes hat and coat from table._) + +JARVIS. (_Coming downstairs_) Thank you, your Excellency. (_With mock +dignity_) I'll do my best. (_Changes expression._) To put salt on the +spectre's tail. + +DUKE. Good-bye! (_Exit_ L.C.) + +JARVIS. Good-bye. + +PRINCESS. (C.) Mr. Warren, we must start at once. + +JARVIS. Courage--if your brother is there, I'll find him. You must be +patient and remain here where you are safe, and try to rest. + +PRINCESS. I cannot rest until I know what has happened to him. I shall +go mad if I am left alone. + +JARVIS. But it is not safe for you to go. + +PRINCESS. Nevertheless, Mr. Warren, I will go to my brother tonight. + +JARVIS. Now, my dear child! (_Pause._) I beg your pardon, but +please--oh, please let me insist on one condition. + +PRINCESS. Name it. + +JARVIS. Let me go ahead and look over the ground. I will signal when it +is safe to follow. + +PRINCESS. How can you signal? + +JARVIS. With a light--(_Cross to window_ L.)--from one of those towers. +You can see it from here. You won't have long to wait. It will shine +within an hour. + +PRINCESS. (L.C.) But if you--if it does not shine? + +JARVIS. Well, then I'll be too busy swapping lead for brimstone with Mr. +Spook to stop and hang a lantern. + +PRINCESS. Oh, but you are brave! You must have the locket with the +memorandum. (_Start to stairs._) + +JARVIS. Yes, of course, where is it? + +PRINCESS. It's in my room. I won't be long. (_On stairs._) + +JARVIS. Suppose you give me that, and we'll start at once. + +PRINCESS. Very well. (_Exit upstairs and off._) + +JARVIS. (_Calling_) Rusty! Oh, Rusty! + +RUSTY. (_Off_) Yas, sir! Yas, sir! + +JARVIS. Bring down my hat and coat. We're starting. + +RUSTY. Yas, sir. + +JARVIS. (L.C.) I wouldn't change places with that spook for all the +gold--(_Enter_ RUSTY)--that she thinks is in that castle. (RUSTY _comes +down with hat and coat_.) Oh, don't hurry like that, Rusty--I hate to +see you hurry. + +RUSTY. (_On bottom step_) I smell something cooking--smells like a +Spanish pork chop. (_Gives hat and coat to Jarvis._) + +PRINCESS. (_Calling from upstairs_) Mr. Warren--Mr. Warren---- (_Darts +up steps; is met half-way by_ PRINCESS.) Mr. Warren---- + +JARVIS. Well? + +PRINCESS. The locket! + +JARVIS. The locket gone? + +PRINCESS. Yes. + +JARVIS. And the memorandum? + +PRINCESS. Gone, too. + +JARVIS. Quick, Rusty! The horses! + +RUSTY. Yas, sir. + +JARVIS. We've no time to lose. + +RUSTY. Yas, sir. (_Exits._) + +JARVIS. (_Both on stairs_) Your Highness, I've struck the first trail of +the spook that is haunting your castle. + +PRINCESS. You think---- + +JARVIS. I think your cousin has not gone to Madrid. Time is everything +now. + +PRINCESS. You know the way? + +JARVIS. North road--second turn to the right. + +PRINCESS. Yes, that leads to the postern gate. + +(_Enter_ ROBLEDO--_stands in arch under stairs, revolver drawn_.) + +JARVIS. I understand. (_Starting._) + +PRINCESS. Wait! This little cross! Will you wear it for me tonight? +(_Slips chain over_ JARVIS' _head_. ROBLEDO _looks up and steps back in +alcove_.) + +JARVIS. Only for tonight? + +PRINCESS. You may never see tomorrow. + +JARVIS. If I don't see you tomorrow, forgive me for telling you tonight +that I love you. (_Raises hand to stop her reply._) Don't rebuke me +tonight. Wait until tomorrow, if tomorrow ever comes. (_Pause._) And now +your humble vassal goes forth in his lady's cause--and while all Segura +waits, ghosts and Ghost Breaker shall stalk those halls. Your Highness, +within the hour I will hang your signal from the castle. (_Carries her +hands to his lips._) + +PRINCESS. God be with you! (_Exits upstairs._) + +JARVIS. (_Watching her off_) Highness.--Highness---- (_Starts to go._ +ROBLEDO _cocks revolver_. JARVIS _stops, listens, looks around, starts +to fold coat, whistles "Dixie," moves downstairs until near lamp, throws +coat at lamp--lights out. Pause. Two shots are fired in the dark._ +JARVIS _crosses left_ C. ROBLEDO _crosses down_ R.C., _falls on second +shot. Pause._ JARVIS _whistles "Dixie."_ _Exits door_ L.C.) + + CURTAIN + + + + + ACT IV + + +SCENE: _The Hall of the Knights, in the haunted castle. On walls a few +old weapons, thick dust everywhere. Moonlight streams through round +window high in wall_ R., _striking picture. Curtain rises slowly while +orchestra plays "I Dreamed I Dwelt in Marble Halls." Wind moans through +grated windows, rats squeal and cross moonlight on floor; light flickers +on tower wall._ + +(_Enter_ JARVIS _from door_ L. _with lantern unlit--turns and calls +cautiously._) + +JARVIS. Come on in, Rusty. (_Enter_ RUSTY _with lighted lantern_.) +They've been in this room. Do you smell that, Rusty? (_Cross_ R.) + +RUSTY. (L.C.) Marse Warren, I'm so scared I can't smell nothin'. + +JARVIS. The room's full of it--somebody's been carrying a smoky lantern. +(_Dull thud off left._) + +RUSTY. Good God Almighty, what's that? (JARVIS _crosses_ R.C. _over +table, lights lantern and then stands looking around room._) I want to +go home! (_Put lantern down_ C.) + +JARVIS. (_Looking about_) We've been in this room before. + +RUSTY. Is this where that poundin' came from? (_Cross_ C. _to Jarvis_.) + +JARVIS. I reckon that pounding and the smoky lanterns went together. +(RUSTY _sees armor on stairs; backs into_ JARVIS _and sinks to knees; +head on floor_.) + +[Illustration: "THE GHOST BREAKER" _See Page 62_] + +RUSTY. O---- oh! + +JARVIS. (_Whirls with gun drawn_) What's the matter? + +RUSTY. (_Pointing to armor on stairs_) Look--look--look at them big +black things--see 'em standin' there? + +JARVIS. (_Laughing; putting away gun_) These are the same black things +that scared you before--don't you remember? + +RUSTY. I'm so scared I can't remember anything! + +JARVIS. They're nothing but suits of armor. Get up on your pins and +don't you bump me again. (RUSTY _rises_.) The next one of those rear-end +collisions and I'm liable to let some moonlight into you. You've been +treading on my heels ever since we came in here, and when I stop you +bump into me. + +RUSTY. I'm powerful scared I might lose you! + +JARVIS. A fine chance! (_Looking about._) Well, Rusty, we've been +through this old castle pretty thoroughly now, from dungeon to tower, +and not a sign of the Prince or the Duke or any one else, unless they +pound or carry a smoky lantern. It's a clue, Rusty, it's a clue. We'll +stick right here till we find out where it leads. I'll swear the Duke +never went to Madrid, but came straight here from the inn. (JARVIS +_crosses to fireplace_ R. RUSTY _follows_.) Get away from me. (_Strikes +a match and holds in chimney._) There's a fine chance for a fire. Good, +it draws. The chimney's clear. Now, then, bust up the table and start a +fire. + +RUSTY. How can I break it? Oh, it's rotten! + +JARVIS. You won't feel half so scared with a good blaze behind you. +(RUSTY _picks up pieces of table_.) I'll scout around a bit. + +RUSTY. (_Drops pieces of table_) Don't you do no scoutin' outside this +room! + +JARVIS. Well, come on, Rusty--get busy and build that fire. + +RUSTY. (_Dropping to floor and begins fussing with foot_) Just as soon +as I get this here shoe off. + +JARVIS. (_Looking at him_) What's the matter with your shoes? (_Cross_ +L.C.) + +RUSTY. 'Tain't my shoe--it's my foot. You know I was holdin' them horses +and waitin' and waitin' for you to come out. Dem guns went off and all +dem horses jumped right on me. + +JARVIS. There were only two horses, Rusty. + +RUSTY. I was countin' their feet. + +JARVIS. Well, tie up your shoe and get busy. (_Looking around._) + +RUSTY. Yas, sir. (_Rises, picks up pieces of table, crosses to +fireplace._) + +JARVIS. This room was probably used as a banquet hall. + +RUSTY. (_Gathering up few pieces of table and taking them to fireplace, +puts them on fire; looks up_) Yeah--when we goin' to eat? + +JARVIS. Not till we have finished this job. + +RUSTY. (_Putting pieces of table on fire--still at fireplace, back to +audience_) Tuesday--Wednesday--Thursday---- Ah can't wait no longer than +Saturday. (_Strikes match and lights fire. Glow from fire._) + +JARVIS. (_Runs up steps at back, looking left_) That way leads through +those two long rooms to the postern gate. + +RUSTY. (_Looking up_) That's where that black thing followed me. +(_Crosses to_ JARVIS L.C. _slowly_.) + +JARVIS. Well, a black thing followed me, treading on my heels every step +I've taken. + +RUSTY. Oh, I couldn't see where I was steppin'. + +JARVIS. (_Looking about_) That goes to the Armory. + +RUSTY. (L.C. JARVIS _on steps_) Ah seen eyes in there, and a cold, +grimy, green, slimy smell in there. Ain't that where that broad-faced +bird flew at me and I fell down them slippery stairs? + +JARVIS. (_Laughing_) That broad-faced bird was an owl, Rusty--just a +common, ordinary owl. You know what an owl is. + +RUSTY. O--ooh--ooh! + +JARVIS. (_Sees door_ R.C.) Where can that door lead to? That's it. +(JARVIS _goes to the door in_ R.C. _Steps on trap and falls suddenly._) +Wow! That was a close one. (_Lantern goes out._) + +RUSTY. (_Advancing_) Lord, Marse Warren, what is it? (_Starts up to +Jarvis._) + +JARVIS. Get back! Give me that lantern. (RUSTY _hands lantern_.) Give me +your hand. Can you hold me? (RUSTY _holds out hand and_ JARVIS +_cautiously steps on trap door; it sinks and other end rises_.) God! I +thought so. Water and a long drop! No wonder people disappear in this +castle. Good Lord, what if her brother went down there? Rusty, whatever +happens, keep clear of this. If you step on this you will never see +Kentucky again for sure. (_Groan heard off left._) + +RUSTY. Did you hear that groan? (_Wind changes to low moan._) + +JARVIS. Groan---- There it is again. It sounded just like a man. + +RUSTY. Ough! Ough! + +JARVIS. Shut up! (_Crosses to_ L.C.) + +RUSTY. Marse Warren--look out! + +JARVIS. Listen! (_Crosses and stands moment at door. Wind moans._) I +guess it's the wind. (_He crosses to fireplace._) This place is getting +on my nerves. + +RUSTY. (R.C.) That wasn't no wind, Marse Warren. Ah hope to die if that +wasn't a sure enough human groan. (_He looks at picture_ L.) And Ah want +to tell you som'pin' else. Have you ever been in church or somewhere and +all of a sudden a feelin' come over you that there was eyes a-starin' at +the back of your head? You just knowed it--until you couldn't stand it +no longer, and just turned around and see who it was? + +JARVIS. Why, yes, Rusty, I have had that happen. Why? + +RUSTY. That's just the way I feel now, like there was eyes a-lookin' at +me. (_Turns to picture._) You see that picture? Seems like that feller +was lookin' at me--like he'd step right out of the frame. (_He points to +armor on steps._) Or them two battleship boogies--just jump right down +here. + +JARVIS. It's been a good many years since those boys jumped, Rusty. +(_Noise off stage of running._) Hark! Listen! (_He crosses to_ L.C., +_pistol drawn; stands listening._) Somebody's running--coming this +way---- (_Dull thud at back._) + +RUSTY. I want to go home! + +JARVIS. What do you know about that? + +RUSTY. I don't want to know nothin' about it. + +JARVIS. I thought so. + +RUSTY. What is it? + +JARVIS. The man with a smoky lantern has been up those stairs. + +RUSTY. You ain't goin' up there, is you? + +JARVIS. I am not--because the Duke or some of his men are probably +waiting for me at the top of the stairs with a big long gun, and I'm no +book hero. + +RUSTY. Suppose it's the Prince? + +JARVIS. Well, suppose it is the Prince. He might blow my head off, +because he doesn't know what I came here for--and if it's someone else, +they'll blow my head off, because they do know. + +RUSTY. (_Looks at ceiling and following supposed sounds with head_ +R.C.) Sounds like somebody was runnin' round. + +JARVIS. (C.) They're trying to scare us, Rusty. They're probably +watching every move we make. That's where that pounding comes from. Why +don't they shoot? They're trying to scare us, like they did the poor +boobs down in the village. (RUSTY _crosses to fireplace_.) They want to +get us out of here. They want to get us out of this room. Rusty, someone +was working in the room. Now, where was he working? Where was he---- + +RUSTY. (_Meanwhile has crossed to mantel and picked up hammer and +chisel_) Look here, Marse Warren--look y'ere! (_A few steps from +fireplace._) + +JARVIS. (_Crossing to_ RUSTY) What is it, Rusty? + +RUSTY. (_Handing them to_ JARVIS) Look at them. + +JARVIS. Where did you find them, Rusty? + +RUSTY. (_Pointing to mantel_) Up there. + +JARVIS. Good boy, Rusty! Now I'll tell you something. These are his +tools. Someone was working in this room, so we've beaten him to it. Now, +where was he working? (_Hands on floor._) Mortar on floor. (_Hands on +mantel._) Mortar on the mantel----(_Puts down tools, looking up and +pointing._) Look at that! That's where he was working, Rusty, and we've +beat him to it--we've beat him! + +(_Long pause. Both turn simultaneously and look at picture._ JARVIS +_draws revolver_. RUSTY _turns to_ JARVIS _and sees that he looks at +picture_.) + +RUSTY. (_Scared voice_) Did you feel that, too? + +(JARVIS _crosses slowly and cautiously to picture; feels all around +picture and lights a match to examine it; passes light all around +frame_.) + +JARVIS. (_Backing away_) By God, that's weird! You could feel that just +as plain---- (_Backs to steps and sits on balustrade, over which figure +in armor is standing._) By God, that's weird! (_In awed voice. Figure +in armor raises sword slowly directly behind_ JARVIS.) + +RUSTY. (_Looking at picture_) It sure is, Marse Warren, it sure is---- +(RUSTY _turns just in time to see sword raised above Jarvis' head; +screams_) Look out! (_Ducks behind table in turret_ R. _Fight then takes +place between figure in armor and_ JARVIS. _Figure finally gets on trap_ +R.C. _and disappears out of sight_.) Where is he? (_From behind +hiding-place._) + +JARVIS. Water and a long drop. There's another of the Duke's men gone to +hell. + +RUSTY. I knowed them battleship boogies was spooks. + +JARVIS. (Picks up sword man in armor dropped; C.) We'll just take a look +at this other fellow. (_He goes to make a swipe at figure on other side +of stairs--sees_ RUSTY.) What's the matter? Are you scared? + +RUSTY. You can't scare me--I'm scared already. + +(JARVIS _makes feint at figure. No response; feints again, as though to +strike, meaning to draw man out if he is in armor; no response; goes up +steps, knocks armor over._) + +JARVIS. I guess he's harmless. (_Drops sword at foot of steps._) + +RUSTY. A--ah! (_Running up steps and picking up armor._) I'll just fix +him so he won't jump no more! (_Cross to trap._) + +JARVIS. What are you going to do? + +RUSTY. I'm going to sink this other battleship! + +JARVIS. Hold on--wait a minute. I reckon we can use that. It takes a +thief to catch a thief, they say. We'll just outspook Mr. Ghost. Now, +come on, Rusty. Get into this hardware as fast as you can. + +RUSTY. Marse Warren, I don't want to be no spook! + +JARVIS. Listen! Somebody was working in this room. It's a cinch that the +treasure is here, and it's a bigger cinch he'll come back to get it when +we've gone. + +RUSTY. You ain't going to leave me here alone? + +JARVIS. Sure, I'm going to put you in this, so you can watch. I'm going +to make a bluff that we're both gone. You'll be as safe as a church in +this. No one would ever think of looking for one of us in this armor. +You watch, and when he starts to work, then yell your head off. + +RUSTY. I'll yell so loud they will hear me in Kentucky. + +JARVIS. You give your best yell, and then I'll nail him. + +RUSTY. If you don't nail him--he'll nail me! + +(_Business_ JARVIS _putting armor on_ RUSTY. _Breastplate, back and legs +are put on together; belt fastened around waist first, then legs; next +collar; then arms; last helmet; this done during the following +dialogue._) + +RUSTY. Marse Warren, you must think a heap of Miss Princess to go +prowling around in this boogy house in the dark. + +JARVIS. What makes you think that? + +RUSTY. Marse Warren, I knowed you since you was a baby. + +JARVIS. What's that got to do with it? + +RUSTY. She 'gin you that jewelry that's hanging round your neck, didn't +she? She's kind of crazy about you, too, ain't she? + +JARVIS. How do you know? + +RUSTY. Aw--I know, all right. + +JARVIS. But how do you know? + +RUSTY. Waal, I'm goin' to tell you, and then you'll know how I know. +Just before them horses all jumped on me, when I was waitin' for you in +the road, I heard a window go up, slap, and there was the Princess +a-lookin' at the moon, just like a picture in the moonlight; just +a-lookin' at the moon, and she says--she says---- + +JARVIS. What did she say? + +RUSTY. Well, no lady never talks that way at the moon unless she's in +love. + +JARVIS. What did she say? + +RUSTY. She says--looking at the moon, she says, "The world has begun all +over again for me." And then she went right on and says, "God be with +you, my American!" I'm the only American around here 'cept you, Marse +Warren. + +JARVIS. You heard her say that? God bless you for that, Rusty! (_With +helmet in hand._) Here, put your head into this Stetson. + +RUSTY. Oh! Oh! + +JARVIS. What's the matter? + +RUSTY. Full of spider webs. + +(JARVIS _puts helmet on again_.) + +JARVIS. Gloves--here. How do you feel? + +RUSTY. All in. Do I look like a spook? + +JARVIS. You're a wonderful sight! (_Pushing him away._) Now, Rusty, get +over here. Where is your sword? (JARVIS _down steps_; RUSTY _sneezes_.) +I never heard of a ghost sneezing before. + +RUSTY. Marse Warren, I'm catching cold. + +JARVIS. (_Up steps to_ RUSTY) Now, Rusty, keep your ears and eyes open. +Don't move a muscle. If any one comes, yell your head off, but don't +sneeze. + +RUSTY. Marse Warren, I want to go home! + +JARVIS. We haven't any home, Rusty. + +RUSTY. Marse Warren, I don't ever expect to get out of this boogy house +nohow. (_Call is heard off stage_ L.) + +JARVIS. Well, Rusty, there is something. (_Faint call heard; very +indistinct._) What's that? I'd almost swear that was a call or a groan. +(_Another call_; JARVIS _blows out lantern_.) There it is again. (_Light +is thrown on door as by someone carrying lantern. Pause._) Hark! Listen! +There's a light, Rusty. It's coming this way. It's coming, Rusty! It's +coming back. Remember the high sign, Rusty, and don't sneeze. + +(JARVIS _hides above door_ L. _Enter_ DOLORES _and the_ PRINCESS _and_ +MAXIMO _carrying lantern_ D.L., _cautiously coming forward._) + +DOLORES. No one here either, your Highness. (_Cross stage_ R.C.) + +PRINCESS. (C.) We must go on, Dolores. We must find him before it's too +late. Oh, I never will forgive myself for sending him to this dreadful +place! + +DOLORES. (_Cross to fire_) Look! Here is a fire. They've been in this +room. (MAXIMO _comes across at back with lighted lantern to_ R.C.) + +PRINCESS. Perhaps they have already been killed. + +JARVIS. Your Highness! (L.C.) + +PRINCESS. Mr. Warren--Mr. Warren! Thank God you are still alive! + +JARVIS. Your Highness--it's madness for you to come to this place. How +did you get here? + +PRINCESS. (_Crossing toward him_) Heaven only knows. We have been +wandering through this dreadful place for hours, calling to you--trying +to find you before it was too late. + +JARVIS. Too late? What do you mean? + +PRINCESS. My brother is safe, thank God! + +JARVIS. Where is he? + +PRINCESS. On his way to get help from the King. + +JARVIS. Where has he been? + +PRINCESS. Right here in this castle, a prisoner--since the day he +entered. + +JARVIS. A prisoner? + +PRINCESS. Yes, he succeeded in making his escape tonight, and has gone +direct to the King for help. + +JARVIS. How did you learn this? + +DOLORES. (C.) From Robledo. Your bullet went straight, Senor. He is +dying. He confessed to the Holy Father. I promised to be with him at the +end. (_Weeps._) + +JARVIS. (_Crosses to_ DOLORES, C.) The end---- (_Realizing_ DOLORES +_cared for Robledo._) Then--you---- I didn't know. I might have---- I'm +sorry. + +DOLORES. 'Tis better so, Senor. My Prince still lives. (JARVIS _steps +back_ C.) + +PRINCESS. (_Cross to_ DOLORES) Oh, Dolores, my poor child! Maximo, take +her back to the inn as quietly as possible. (_They exit._) Oh, Mr. +Warren, let us leave this dreadful place! + +JARVIS. Not I, your Highness. You go with them, and wait for me at the +inn. + +PRINCESS. You cannot persuade me again, Mr. Warren. I will remain. + +JARVIS. Please. + +PRINCESS. Return with us, then. + +JARVIS. Your Highness, I promised to solve the mystery of this castle +and to find the treasure. My task is an easy one now. + +PRINCESS. Then I will share it with you. + +JARVIS. And you groped your way through this old castle to find me. You +are game. + +PRINCESS. You faced death, perhaps, for me. + +JARVIS. You're trembling--you're frightened--you're cold--your hands are +cold! + +PRINCESS. Oh, I'm not---- + +(JARVIS _takes_ PRINCESS _to fire; she sits._) + +JARVIS. Come over here. You must have been scared to death prowling +through the blackness. + +PRINCESS. Every nerve of my body is on edge with the happenings of this +dreadful place! + +JARVIS. Oh, don't cry! Go on, then--cry--cry--cry some more. Just +forget you are a Princess and cry, that's it. That's fine. I'll round up +this spook tonight for good, and then the vassal's task is done. His +fate is in your hands, Highness. What's to become of him? (_Love +scene._) Don't send me away. I've loved you from the first, and I shall +always love you. I'm no Prince or Duke. I know I'm just a plain American +citizen, a man--and all the man in me cries out that I love you! Don't +send me away. + +PRINCESS. You must go. + +JARVIS. You're going to send me away? + +PRINCESS. Yes, you must leave Spain. Your life would never be safe here. +(DUKE _sneezes from behind picture_.) + +PRINCESS. What was that? (_She goes to lower end of fireplace_; JARVIS +R.C.) + +JARVIS. Oh, see, that--that's Rusty. + +PRINCESS. That would frighten anyone. + +JARVIS. I figured that I might need a ghost myself, but Rusty disobeyed +orders. Rusty, I told you not to sneeze. + +RUSTY. Dat was somebody else, Marse Warren! I didn't sneeze! + +PRINCESS. Mr. Warren. + +JARVIS. Don't move. Your Highness, I've got your ghost at last. +(_Pointing gun at picture._) There is somebody behind that picture! Come +out, or I'll shoot you full of holes. + +DUKE. (_Lights at window change to red._ DUKE _coming out_) Don't shoot. + +JARVIS. (C.) Your Excellency, you're a long way from Madrid. + +DUKE. Madrid---- You fool, you have fallen right into the trap. +(_Crosses_ C.) What I have done has been for your sake, Maria. I +purposely deceived him, so that I might get here ahead of him and +watch. See, there are his tools. (_Crosses_ R.) And you yourself +interrupted him at his work. (_Points over mantel._) + +JARVIS. That's an unlucky gesture. How did you know the treasure was +there? + +DUKE. That's where you were working. + +JARVIS. You forgot I have never seen the memorandum. + +DUKE. Until you stole it. Can't you see, Maria? + +PRINCESS. Yes, one of you two stole the locket. + +JARVIS. Which one of us two? (_Walking over to_ DUKE.) You can't lie +yourself out of this. Twice tonight you tried to have me murdered. Why +didn't you have the nerve to come out in the open? I told you all ghosts +were cowards--but you haven't got the courage of a rabbit. If it weren't +for her, I'd blow your damned head off, and send you down after that +other poor devil! You've got him to answer for, sooner or later. Now, +see here--give me that locket---- No, give her the locket--or, by the +living God, I'll break your---- Come on! + +PRINCESS. (_Light outside and first border and foots change to amber_) +Carlos! + +DUKE. (_Cross to_ C. _and_ PRINCESS; _gives locket_) You play a good +game, Mr. Warren. Are all Americans like you? + +JARVIS. They all play the game in Kentucky. + +DUKE. (_Cross to door_ L.) And I thought all Americans were fools. + +JARVIS. I saw that from the first, and it helped. + +DUKE. Mr. Warren, take her advice, and return to Kentucky. (_Exit_ L.) + +JARVIS. Say, hold on---- + +PRINCESS. (_Stopping_ JARVIS C.) What kind of a place is Kentucky? + +JARVIS. God's good country, lady. Must I go back alone? + +PRINCESS. You must go, but you need not go alone. + +JARVIS. You mean----? Say it! Say it! + +PRINCESS. I love you! (_They embrace._) + + SLOW CURTAIN + + +(_Second Curtain_) + + +(RUSTY _comes down steps and off_ L.) + + * * * * * + + + + + STAGE MANAGER'S PLOT + + +Act I-- + +Manhattan Hotel at five o'clock in the morning. Stage dimly lighted by +night lamp from side of bed. Theresa is sleeping. Modern, up-to-date +hotel room. Furniture dark and a general atmosphere of the best. + +Act II-- + +Stateroom on S.S. "Aquitania," with doors leading off to bath and +bedroom of the suite. White walls, dark plush hangings and gold +furniture. Dark carpet. Atmosphere of a liner just before leaving dock. + +Act III--An old Spanish tavern on the outskirts of Segura with a +suggestion of past refinement, but now in a condition of decay. Mandolin +and guitar heard in wine room at opening, with singing. + +ACT IV-- + +An old Spanish castle, deserted, crumbling, covered with the dust of +ages. Wind effect, etc., to create an atmosphere of spookiness at rise. + +The House Detective in the First Act doubles Pedro, the innkeeper, in +the Third Act. + +Hotel Porter in First Act doubles Vardos in Third Act. Also can do the +fight in armor. + +Steward in Second Act doubles Jose in Third Act. + +Maximo and Gaspar are unimportant characters in the opening of the Third +and can be played by extras. + +The best results in this play are obtained from a fast, snappy tempo +throughout. + + + + + CARPENTER'S PLOT + + +ACT I-- + _Interior as per diagram._ + 1 Horizon drop. + 3 Backings. + 2 Doors, down left and right. + Window back R. and L. center. + +ACT II-- + _Ship's Stateroom:_ + 3 Doors, R.C., R.1 and L.3. + 1 Horizon ring. + 1 Backing. + +ACT III-- + _Interior Spanish Inn:_ + Stairway C. Leading into upper part of house. + Door to L. of staircase. + Door R.1 leading to wine room. + Window left 1. + Door left 1. + 3 Backings. + Stairs, platforms, and parallels. + +ACT IV-- + _Interior Old Spanish Castle:_ + Stone masonry in ruins. + Heavy stone windows with bars. + Fireplace R.1. + Stairway C. four steps with heavy balustrade + leading through heavy door to armory. + Break-away picture immediately L. of stairway. + Door R.1 L.2C. + 2 Backings. + Trap through stage C.R. above the middle line. + + + + + PROPERTY PLOT + + +ACT I-- + 1 Dressing Table. + 1 Toilet Set. + 1 Locket in case. + 1 Settee. + 2 Armchairs. + 1 Telephone. + 1 Canopy over bed. + Curtains and window shades. + 1 large flat trunk. + 2 Steamer Rugs with strap handles. + 2 Small Trays in trunk. + Scissors, Knife, and Trunk Truck. + +ACT II-- + 1 Gold Settee. + 2 Gold Armchairs. + 2 Gold Side chairs. + 1 Pedestal with silver tray and pitcher. + 1 Long Bench with cushions. + 1 Telephone. + 4 Small Curtains. + Newspapers, Magazines. + Knife. + Steamer Rugs. + Hand Baggage. + Locket and Case. + Boat Whistle (suggest compressed air auto tank). + +ACT III-- + 2 Stools. + 2 Tables, old and heavy Spanish. + 1 Set Bench and Arm. + Lunch Basket. + Tray, with wine bottle and two glasses. + Hand Baggage. + Playing Cards. + 2 Pistols. + 1 Long Chain Necklace, with gold cross. + +ACT IV-- + 2 Suits Armor. + 2 Swords. + 1 Break-away Table. + 1 Break-away Chair. + 1 Break-away life-size picture of Henry V. + 1 Set Fire-Dogs. + Hammer and Chisel. + Wind effect. + Stand for Armor. + 3 Lanterns. + 1 Revolver and Cartridges. + Locket and Case. + Fan for fire. + Trap through stage. + + + + + ELECTRICAL PLOT + + +ACT I-- + +Rise dark, two blue pan lights back of window, two baby spots off left; +one focussed on bed and the other on door down R.1. Red fire-escape +light shows door R. when opened. Night lamp on table near bed. + +ACT II-- + +Lights full up, white and amber, strip light off door right. Lights +straw for sun effect at back. + +ACT III-- + +Blue on back drop. Stage full up, amber and white. Strips off right and +left. Large lamp on newell post at foot of stairs. Stage dark at lamp +crash. + +ACT IV-- + +Stage dark, blue baby spot for moonlight, through window right. Blue on +back drop. Fire glow, half up with lanterns on your foots and borders. + + * * * * * + + + + + Clarence + + +Comedy in 4 acts by Booth Tarkington. 5 males, 5 females. 2 interiors. +Costumes, modern. Plays 2-1/2 hours. + +One of the "five million", Clarence served where he was sent--though it +was no further than Texas. As an entomologist he found--on this side of +the ocean--no field for his specialty, so they set him to driving mules. + +Now, reduced to civil life and seeking a job, he finds a position in the +home of one Wheeler, a wealthy man with a family. And because he'd "been +in the army" he becomes guide, philosopher and friend to the members of +that distracted family group. Clarence's position is an anomolous one. +He mends the plumbing, tunes the piano, types--off stage--and plays the +saxophone. And around him revolves such a group of characters as only +Booth Tarkington could offer. It is a real American comedy, at which the +audience ripples with appreciative and delighted laughter. + +Those marvelous young people, Cora and Bobby, are portrait sketches +warranted to appeal to everyone. + +Royalty, $25.00. Price, 75 cents. + + + + + The Charm School + + +Comedy in 3 acts by Alice Duer Miller and Robert Milton. 6 males, 10 +females. (May be played by 5 males and 8 females). (Any number of school +girls may be used in the ensembles). 2 interiors. Costumes, modern. +Plays 2-1/2 hours. + +A young automobile salesman just out of his 'teens inherits a girl's +school and insists on running it himself, according to his own ideas, +chief of which is that the dominant feature in the education of the +young girl of today should be CHARM. + +In the end the young man gives up the school and promises to wait until +the youngest of his pupils reaches a marriagable age. + +"The Charm School" has the freshness of youth, the inspiration of a +novel idea, the charm of originality, and wholesome, amusing +entertainment. We strongly recommend it for high school production. + +First produced in New York, then toured the country. Two companies now +playing it in England. Royalty, $25.00. Price, 75 cents. + + + + + A Full House + + +Farcical comedy in 3 acts. By Fred Jackson. 7 males, 7 females. 1 +interior. Modern costumes. Plays 2-1/2 hours. This newest and funniest +farce was written by Fred Jackson, the well-known story writer, and is +backed up by the prestige of an impressive New York success and the +promise of unlimited fun presented in the most attractive form. A +cleverer farce has not been seen for many a long day. "A Full House" is +a house full of laughs. Royalty, $25. Price, 75 cents. + + +SAMUEL FRENCH. 25 West 45th Street, New York City + New and Explicit Descriptive Catalogue Mailed + Free on Request + + + + + The Famous Mrs. Fair + + +A play in 4 acts. By James Forbes, author of "The Commuters", "The +Traveling Salesman", etc. 3 males, 10 females. 2 interiors. Costumes +modern. Plays 2-1/2 hours. + +Mrs. Fair was a major abroad and won a medal for bravery. Her husband +was displeased when Mrs. Fair came home to a fame which lifted her out +of his life. The dissatisfaction grew as she became absorbed in public +functions. Mr. Forbes traces the widening of the rift between husband +and wife with great skill in the first two acts. These are light comedy. +In the third the mood becomes serious and we find that Mrs. Fair's +absence from home has set the husband to philandering and the daughter +to intimacy with a gay set. Indeed, only through the joint efforts of +husband and wife to save the girl from danger, is harmony again +established. + +A true comedy, written with keen insight. Royalty, $35.00. Price, 75 +cents. + + + + + Nothing But the Truth + + +Comedy in 3 acts. By James Montgomery. 5 males, 6 females. Costumes, +modern. 2 interiors. Plays 2-1/2 hours. + +Is it possible to tell the absolute truth--even for twenty-four hours? +It is--at least Bob Bennett, hero or "Nothing But the Truth", +accomplished the feat. The bet he made with his business partners, and +the trouble he got into is the subject of William Collier's tremendous +comedy hit. "Nothing But the Truth" can be whole-heartedly recommended +as one of the most sprightly, amusing and popular comedies. Royalty, +$25.00. Price, 60 cents. + + + + + On the Hiring Line + + +Comedy in 3 acts, by Harvey O'Higgins and Harriet Ford. 5 males, 4 +females. 1 interior. Costumes, modern. Plays 2-1/4 hours. + +Sherman Fessenden, unable to induce servants to remain at his Jersey +home, hits upon the expedient of engaging detectives as domestics. + +His second wife, an actress, weary of the country, has succeeded in +discouraging every other cook and butler against remaining long, +believing that she will convince her husband that country life is dead. +So she is deeply disappointed when she finds she cannot discourage the +new servants. + +The sleuths, believing they are called to report on those living with +the Fessendens, warn Fessenden that his wife has been receiving +love-notes from an actor friend, and that his daughter is planning to +elope with a supposed thief. + +One sleuth causes an uproar making a mess of the situations he has +witnessed. Fessenden, however, has learned a lesson and is willing to +leave the servant problem to his wife. + +Enjoyed long runs in New York and Chicago. Royalty, $25.00. Price, 75 +cents. + + +SAMUEL FRENCH, 25 West 45th Street, New York City + New and Explicit Descriptive Catalogue Mailed + Free on Request + + + + + Daddy Long-Legs + + +A charming comedy in 4 acts, by Jean Webster. 6 males, 7 females, and 6 +orphans, but by easy doubling of some characters, may be played by 4 +males, 4 females and 3 orphans. The orphans appear only in the first act +and may be played by small girls. 4 easy interiors. Costumes modern. +Plays 2-1/2 hours. + +The New York Times wrote the following: + +"If you will take your pencil and write down, one below the other, the +words delightful, charming, sweet, beautiful and entertaining, and then +draw a line and add them up, the answer will be 'Daddy Long-Legs'. To +that result you might even add brilliant, pathetic and humorous, but the +answer even then would be just what it was before--the play which Miss +Jean Webster has made from her book, 'Daddy Long-Legs'. To attempt to +describe the simplicity and beauty of 'Daddy Long-Legs' would be like +attempting to describe the first breath of Spring after an exceedingly +tiresome and hard Winter." + +Enjoyed a two-years' run in New York and was then toured for over three +years. Royalty, $25.00. Price, 75 cents. + + + + + To the Ladies + + +A hilarious comedy in 3 acts, by George S. Kaufman and Marc Connelly. 11 +males, 3 females. 3 interiors. Costumes, modern. Plays 2-1/2 hours. + +The authors of "Dulcy" have divulged a secret known to every woman--and +to some men, though the men don't admit it. + +The central figures are young Leonard Beebe and his wife Elsie, a little +girl from Mobile. Leonard is the average young American clerk, the kind +who read all the "Success" stories in the magazines and believe them. +Elsie has determined to make him something more. She has her hands +full--even has to make an after dinner speech for him--but she does it +and the play shows how. + +Helen Hayes played Elsie and Otto Kruger impersonated Leonard in New +York, where it ran a whole season. Here's a clean and wholesome play, +deliciously funny and altogether a diverting evening's entertainment. +Royalty, $25.00. Price, 75 cents. + + + + + Three Live Ghosts + + +Comedy in 3 acts by Frederick Isham and Max Marcin. 6 males, 4 females +(2 policemen). 1 interior throughout. Costumes, modern. Plays 2-1/2 +hours. + +"Three Live Ghosts" is brim full of fun and humor and is sure to keep +audiences in gales of laughter. The New York critics described it as the +most ingenious and amusing comedy of the season, genuinely funny. It +played a fall season in New York, then toured the big cities. A lively +comedy of merit. Royalty, $25.00. Price, 75 cents. + + + SAMUEL FRENCH, 25 West 45th Street, New York City + New and Explicit Descriptive Catalogue Mailed + Free on Request + + * * * * * + + + + + FRENCH'S + + Standard Library Edition + + + Includes Plays by + +Clyde Fitch +William Gillette +Augustus Thomas +George Broadhurst +Edward E. Kidder +Percy MacKaye +Sir Arthur Conan Doyle +Louis N. Parker +R. C. Carton +Alfred Sutro +Richard Harding Davis +Sir Arthur W. Pinero +Anthony Hope +Oscar Wilde +Haddon Chambers +Jerome K. Jerome +Cosmo Gordon Lennox +H. V. Esmond +Mark Swan +Grace L. Furniss +Marguerite Merrington +Hermann Sudermann +Rida Johnson Young +Arthur Law +Rachel Crothers +Martha Morton +H. A. Du Souchet +W. W. Jacobs +Madeleine Lucette Ryley +Booth Tarkington +J. Hartley Manners +James Forbes +James Montgomery +Wm. C. de Mille +Roi Cooper Megrue +Edward E. Rose +Israel Zangwill +Henry Bernstein +Harold Brighouse +Channing Pollock +Harry Durant +Winchell Smith +Margaret Mayo +Edward Peple +A. E. W. Mason +Charles Klein +Henry Arthur Jones +A. E. Thomas +Fred. Ballard +Cyril Harcourt +Carlisle Moore +Ernest Denny +Laurence Housman +Harry James Smith +Edgar Selwyn +Augustin McHugh +Robert Housum +Charles Kenyon +C. M. S. McLellen + +French's International Copyrighted Edition contains plays, comedies and +farces of international reputation; also recent professional successes +by famous American and English Authors. + + Send a four-cent stamp for our new catalogue + describing thousands of plays. + + SAMUEL FRENCH + + Oldest Play Publisher in the World + + 25 West 45th Street NEW YORK CITY + + + + + +End of the Project Gutenberg EBook of The Ghost Breaker, by +Paul Dickey and Charles Goddard + +*** END OF THIS PROJECT GUTENBERG EBOOK THE GHOST BREAKER *** + +***** This file should be named 24702-8.txt or 24702-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/4/7/0/24702/ + +Produced by K Nordquist, David Cortesi, Renald Levesque +and the Online Distributed Proofreading Team at +https://www.pgdp.net (This file was produced from images +generously made available by The Internet Archive/American +Libraries.) + + +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. 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