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.

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SAMUEL FRENCH

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THE END