THE GHOST BREAKER

By PAUL DICKEY and CHARLES GODDARD

SAMUEL FRENCH, 25 West 45th St., New York

CONTENTS
(Supplied by Transcriber)

LIST OF ILLUSTRATIONS
(Supplied by Transcriber)

Pollyanna

The glad play, by Catherine Chisholm Cushing, after the novel by Eleanor H. Porter. 5 males, 6 females. 2 interiors. Costumes, modern. Plays 2¼ 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 2½ 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 2½ 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

"THE GHOST BREAKER"
All Rights Reserved

Especial notice should be taken that the possession of this book without a valid contract for production first having been obtained from the publisher, confers no right or license to professionals or amateurs to produce the play publicly or in private for gain or charity.

In its present form this play is dedicated to the reading public only, and no performance, representation, production, recitation, public reading or radio broadcasting may be given by amateurs except by special arrangement with Samuel French, 25 West 45th Street, New York.

This play may be presented by amateurs upon payment of a royalty of twenty-five dollars for each performance, payable to Samuel French, 25 West 45th Street, New York, one week before the date when the play is given.

Whenever the play is produced by amateurs the following notice must appear on all programs, printing and advertising for the play: "Produced by special arrangement with Samuel French of New York."

Attention is called to the penalty provided by law for any infringement of the author's rights, as follows:

Section 4966:—Any person publicly performing or representing any dramatic or musical composition for which copyright has been obtained, without the consent of the proprietor of said dramatic or musical composition, or his heirs and assigns, shall be liable for damages thereof, such damages, in all cases to be assessed at such sum, not less than one hundred dollars for the first and fifty dollars for every subsequent performance, as to the court shall appear to be just. If the unlawful performance and representation be wilful and for profit, such person or persons shall be guilty of a misdemeanor, and upon conviction shall be imprisoned for a period not exceeding one year.—U.S. Revised Statutes: Title 60, Chap. 3.

THE CAST

Princess Maria Theresa of Aragon.

Warren Jarvis, of Kentucky.

Nita, the Princess' Maid.

House Detective, Manhattan Hotel.

Rusty Snow, Warren Jarvis' Colored Servant.

Detectives, from Police Headquarters.

Hotel Porter.

Steward, on S.S. Aquitania.

Carlos, Duke d'Alva.

Dolores, the Innkeeper's Daughter.

Vardos, Messenger to the Missing Prince.

Don Robledo, a Soldier of Fortune.

Pedro, the Innkeeper.

Maximo, a Spanish Soldier.

Gaspar, a Villager.

Jose, Chauffeur.

TIME: The Present.

Act I. A Room in the Hotel Manhattan, New York. Five A.M.

Act II. A Cabin on Board S.S. Aquitania. Same Morning.

Act III. An Old Tavern, Segura, Spain. Evening.

Act IV. The Castle. Same Night.

The Ghost Breaker

ACT I

Scene: Room 1121, Manhattan Hotel, New York City.

At rise stage dark. Moonlight streams through the window. Small clock strikes five. Pause. Tower clock strikes. Two gun-shots heard off stage right. Door slams off stage. Footsteps heard coming along corridor, growing hubbub and commotion. Princess pokes head through curtains. r. door bursts open and Warren Jarvis enters hurriedly, in long coat over evening dress, closing and bolting the door behind him.

Princess. Madre de Dios! (Showing only her head.) (Jarvis kicks in door, shuts it, and throws his shoulder against it.) Who's there?

Jarvis. Sh! Don't make any noise.

Princess. (Winding her dressing gown closely about her and coming a little way into the room) What do you want?

Jarvis. Silence!

Princess. (Switches on lamp on right table) How dare you enter!

Jarvis. Sh! Not a sound—do you understand?

Voice Off. (r.) What's the row?

Second Voice. (r.) Somebody fired a pistol.

Princess. What right—?

Jarvis. Quiet!

Voice. Where'd he go? Look on the fire-escape.

Second Voice. No, he's on this floor.

Princess. What is it? What do you want here? What have you done?

Jarvis. (Turning to her) Now, it's all right. I'm not going to harm you. If you will just keep quiet. Is that clear to you?

Princess. Is it money you want? All the money I have is on that dressing table. (Pointing.) Take it and go.

Jarvis. I'm not a burglar. I don't want your money.

Princess. Well, then, what do you want? (Sound of running in corridor coming toward door r.)

Jarvis. Listen—— (Turns back to door.) They're coming here. (To Princess) They mustn't search this room, do you understand—you must put them off—I'm not what you think I am. (Running dies away. Jarvis turns to Princess.) Is there no way out through that door? (Indicates door 5r.)

Princess. That is my maid's room.

Jarvis. The fire-escape—where is it?

Princess. In the hall opposite.

Jarvis. I thought that red light meant in here. Hell! I beg your pardon.

Princess. Well, why don't you go?

Jarvis. I can't go that way. (Indicating door 6l.) They'll be waiting for me in the hall.

Princess. Well, what do you expect me to do?

Jarvis. The light fooled me. I thought that door led to the fire-escape.

Princess. You said that before.

Jarvis. Ha! Ha!

Princess. Is the situation so amusing?

Jarvis. I beg your pardon. I'm not laughing at you. I blundered in here by mistake. I'm in a tight fix. I can't leave by that door. I must find some other. (Sees door 8, across to door 8, and, disgusted, exclaims when he sees there is no way out there. Notices blood on hand and starts to put handkerchief around it.)

Princess. (Going down stage c.) What's happened? You're wounded! Those shots I heard——

Jarvis. I almost stopped one of the bullets.

Princess. Your hand is bleeding.

Jarvis. Please—I don't see how the devil—— (Runs up and puts up shade at window 3, sees there is no way out.) Damn!

Princess. You have evidently shot someone and are making me shield you from justice.

Jarvis. (Coming down) No, not from justice—but from the law.

Princess. I thought they were the same.

Jarvis. No, not always—there would be no justice for me at the hands of the law.

Princess. Well, that is not for me to decide.

Jarvis. But you shall decide—at least you shall listen and if you find me guilty—I'll—well, I'll take that door or, or anything you say.

Princess. Your presumption is indeed ridiculous.

Jarvis. Hardly ridiculous—I am arguing for my life.

Princess. Can any decision be more unjust than mine must be at the point of a pistol?

Jarvis. (Lays pistol on dressing table l. and crosses to r. of Princess.) There is nothing to prevent your calling for help now—after all, it doesn't matter much whether the end comes today or the day after.

Princess. The end? Then why don't you give yourself up?

Jarvis. That would not have been the end. You don't understand, I know, but I'm not flying from Justice. There was in this a case of shoot or be shot. (Sound of running toward door 6.) Listen—they're here now. (Jarvis crosses door 8.)

House Detective. (Knock outside door) Anybody in here? (Knock.) Open the door.

Jarvis. It's up to you to do with me as you like. (Princess points to door l. Jarvis exits.)

Nita. (Off stage door 5) Madame—Madame—(Enters.) What is it? (Running to mistress for protection.) Something dreadful must have happened. (Knock on door repeated.) What shall I do?

Princess. Open it, Nita. (Nita opens door reluctantly.)

House Detective. (In doorway) Are you all right in here?

Nita. (Holding door open) Si—Señor.

Princess. What is it, Nita?

Nita. (Indicating Princess) My mistress, Señor.

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. "Señor of all the domains, fiefs, keeps and marshes of Warren of Kentucky——"

Jarvis. Whew—— "Señor of all the domains, fiefs, keeps and marshes of Warren of Kentucky—"

Princess. "Do convey to Maria Theresa, of Aragon, all my worldly titles and possessions——" Now take my left hand in both of yours and repeat, "—and receive them back as vassal and retainer."

Jarvis. "And receive them back as vassal and retainer."

Princess. "And do faithfully fight in my lady's cause according to the feudal laws of Castile and Aragon."

Jarvis. "And do faithfully fight in my lady's cause according to the feudal laws of Castile and Aragon."

Princess. Arise, vassal. (Jarvis arises and kisses her hand.) That is part of the ceremony, but I meant to omit it.

Jarvis. I thought that the only sensible part. I beg your pardon—but who on earth is this Maria Theresa that I am hired man to?

Princess. I—am Her Highness—Maria Theresa—Princess of Aragon.

Jarvis. Good night! You a Princess! And I have been ordering you around with a gun. (Sound of running for a moment.) Sh! (Crosses to door r., listens.) It's all right, but how am I going to get out? They've got me in a trap here.

Princess. The trunk——

Jarvis. The trunk? What about it?

Princess. I am sending it on board the Aquitania at six o'clock.

Jarvis. (Dragging trunk down stage) You mean to get in it? Good Lord, is it big enough?

Princess. I think so—and no one could possibly suspect—— (Jarvis takes out trays—locket drops out—back to audience.) Oh——

Jarvis. What is it?

Princess. It's nothing—I mean it's all right—it's just a locket.

Jarvis. Did I break it?

Princess. No—— (Jarvis takes contents out of trunk.) I broke it myself on purpose—yesterday. It means a great deal to me and perhaps to you. Some day you may know the reason why.

Jarvis. (Gets in trunk) Would you mind putting this lid down? (Princess puts down lid of trunk on Jarvis. Grunts.) O-oo-ou-ugh! (Raises lid and stands up in trunk. Princess raises lid all the way back as soon as Jarvis shouts.) I'll die in there.

Princess. But it's a chance.

Jarvis. You're right! I'll take it. (Gets out of trunk and goes to trays.) What are we going to do with these?

Princess. We had better send those by messenger.

Jarvis. (Turning) Hold on—I've got it. No, you had better 'phone. (Princess crosses to 'phone r.) Ask the operator to give you the Hotel Belmont, across the street. My room is 417. Rusty, my servant, is there now, waiting for word from me. (He crosses to Princess.) He can be trusted. Tell him to come here at once—and say "Warren." That will fetch him.

Princess. 417? Hello—— Connect me with the Hotel Belmont, please.

Jarvis. Remember, ask for room 417.

Princess. Yes, I know. Hello, hello! Is this the Belmont?—Give me room 417.

Jarvis. Ask if it's Rusty and be sure and say "Warren."

Princess. Hello—is this Mr. Rusty? Well, listen carefully. You are to come right over to the Manhattan Hotel, across the street from where you are. A bellboy will be waiting for you at the desk, and he is to bring you right up to room 1121.

Jarvis. And tell him to keep his mouth shut——

Princess. And—and—don't talk to anyone.... What's that? "Warren." He'll be coming right over.

Jarvis. Now get the clerk downstairs, and tell them to look out for Rusty and send him up here.

Princess. Hello, hello! I'm expecting a man—

Jarvis. A colored man.

Princess. A colored man. To get some things. He will come right to the desk. Please send him up at once. It is very important. (Jarvis takes out knife and begins boring hole in trunk from inside out. This hole should be already cut and covered with a label.) What are you doing that for?

Jarvis. Got to breathe. I think I can—— (Apparently the knife breaks.) Confound it!

Princess. What did you do?

Jarvis. Snapped the blade. Now how am I going to cut a hole in that trunk?

Princess. (Crossing to dresser) Will my shears do?

Jarvis. If they are not too large. Where are they? (Princess gives Jarvis shears.) Thank you. What time does the boat sail?

Princess. Nine o'clock.

Jarvis. Good—that will give Rusty time to get aboard with these trays and my baggage.

Princess. We've ten minutes before they call for the trunk. (Knock at door 6. Princess looks at Jarvis, who makes gesture cautioning silence and exits door l. Princess crosses and opens door.) Come in, please.

Rusty. (Enter across center) Where's Marse Warren——? (Enter Jarvis across to Rusty.) Lord bless you, Marse Warren—I certainly thought he got you!

Jarvis. (Patting Rusty on the back) Never mind what you thought. Help me with these—it's ten minutes to six—we sail for Europe in three hours.

Rusty. Three hours! Good Lord! You mean we——

Jarvis. Yes, you and I. What are we going to wrap these in? (Picking up trays.)

Princess. Here, this will do. (Handing steamer rug from chair.)

Jarvis. Fine! (Spreading steamer rug on trunk and putting tray on it, wraps up tray during speech.) Take these, with our baggage, to the steamship Aquitania—Cunard Line. Buy accommodations. Mind, you won't see me till after we get out at sea. Keep in your stateroom and sit tight till you hear from me. You understand? Cunard Line—and the clerk at our hotel will attend to everything and get the tickets. Then you pay the bill. Now get hold of this money. (Jarvis gives Rusty money.) I beg your pardon! This is Rusty. Rusty, this is the Princess of Aragon.

Rusty. How do you do, Mrs. Princess?

Jarvis. There—that will do. Now do you understand?

Rusty. Yes, sir. I take everything to the steamboat—get accom—ac-commoda—accommoda——

Jarvis. Accommodations.

Rusty. Accomo—accommoda—— I know what you mean. (With smile at Princess.) For us and Mrs. Princess?

Jarvis. No, no—not for the Princess—just for we two.

Rusty. Oh, yas, sir, I understand perfectly, sir.

Jarvis. (Gives parcel to Rusty) Now, then, what's the name of the boat?

Rusty. The Aqui-tania.

Jarvis. What's the name of the line?

Rusty. The Cunard.

Jarvis. Now be off, and don't miss that boat. (Princess opens door.)

Rusty. (Exiting) No, sir, I won't miss it.

Princess. (As Rusty reaches door) Good-bye, Rusty.

Rusty. (Turning) Good-bye, Miss—er—Princess.

(Jarvis resumes work on trunk. Princess crosses to Jarvis.)

Princess. Can you do it?

Jarvis. I think so—yes, it's going—there it goes—through!

Princess. Make another. (She crosses to the dresser.)

Jarvis. Haven't time. I'll widen this one a little. Remember this trunk must not go in the hold of the ship. Have it marked "Wanted" and "This end up." I will lie with my head this way. I'll put the shears in here, and I can cut another hole from the inside if it gets too stuffy.

Princess. (Takes revolver from dressing table and gives it to Jarvis) And you better take this, too.

Jarvis. How do you know you can trust me?

Princess. I don't—I have to take that chance.

Jarvis. You must have a pretty good reason.

Princess. I have.

Jarvis. Now, before I get in this, there's just one or two things I would like to know. What about the ghost?

Princess. Are you afraid?

Jarvis. Lord, no, I just wanted to know—that's all.

Princess. You'll know in time, Mr. Jarvis.

Jarvis. Are you really—a sure thing—Princess?

Princess. Why did you say that?

Jarvis. Oh, I don't know. Somehow you're not quite like what I thought a Princess would be.

Princess. I'm sorry.

Jarvis. Oh, I didn't mean it that way. I mean that you're different from the popular idea of a Princess. You have more understanding—more sympathy—more heart.

Princess. (Icily) In that respect, sir, you will find me quite like your popular idea.

Jarvis. (Squelched) I wonder if that hole will let in enough air?

Princess. I hope so. (Porter knocks.) It must be the men for the trunk. Who is it, please?

Porter. Trunks.

Jarvis. (Getting into trunk) Remember? This trunk must not go into the hold of the ship. You must have it marked "Wanted" and "This side up." You might add, "With Care," if you've a mind to.

Princess. Are you all right?

Jarvis. No.

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.