



Produced by K Nordquist, David Cortesi, Renald Levesque
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                             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'  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--Senor.

PRINCESS. What is it, Nita?

NITA. (_Indicating_ PRINCESS) My mistress, Senor.

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. "Senor of all the domains, fiefs, keeps and marshes of Warren
of Kentucky----"

JARVIS. Whew---- "Senor 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 <DW52> man.

PRINCESS. A <DW52> 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 <DW52> 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 <DW52> 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 <DW52> 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
<DW65> 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

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                            Includes Plays by

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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
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Edward Peple
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Charles Klein
Henry Arthur Jones
A. E. Thomas
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Harry James Smith
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farces of international reputation; also recent professional successes
by famous American and English Authors.

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End of the Project Gutenberg EBook of The Ghost Breaker, by
Paul Dickey and Charles Goddard

*** 