-
ST BREAKER
and CHARLES CODDARD
sch as west sins. New Yor.





“THE GHOST BREAKER”
All Rights Reserved
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evised Statutes: Title 60, Chap. 3.


The Ghost Breaker
ACT I
SCENE: Room II21, Manhattan Hotel, New York
City.
At rise * dark. Moonlight streams through the
zwindow. 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 eve-
ning 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?
5


6 THE GHOST BREAKER
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!


THE GHOST BREAKER 9
JARVIs. (Entering L.C.) Thank you. Would
you mind bolting that door again? He might re-
turn. (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?


I6 THE GHOST BREAKER
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 vou’ve a mind to.
PRINCEss. Are you all right?
JARVIs. No.


THE GHOST BREAKER 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, Por-
"ter.
(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 PRIN-
CESS) 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?


2O THE GHOST BREAKER
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 ar-
ranges 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 con-
tents are not upset, madam.
PRINCEss. I hope not.
STEwARD. Anything more, Madam?
PRINCESS. (Anxious to get him out of room)
'', 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,” Ma-
dam. (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.


THE GHOST BREAKER 23
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, un-
certain 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. PRINCEssenters.)
RUSTY. How de do, Mrs. Princess?
| PRINCEss. How do you do, Rusty? (Exclama-
tion 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.
JARv1s. That's all right. I’ll see the ship's sur-
geon.
PRINCEss. Do, please.
JARVIS. (R.) You can go now, Rusty. Oh, lis-
ten | 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.)


THE GHOST BREAKER 4I
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?


46 THE GHOST BREAKER
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. DOLO-
REs 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 VILLAG-
ERs, extends her hand to DOLORES, who carries it to
her lips, curtseying.)
DOLOREs. Your gracious Highness, we are ill pre-
pared 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 un-
strung.
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 carry-
ing suitcases. DOLORES bows. RUSTY comes to


|


THE GHOST BREAKER 5I
JARVIs. And where are you going to get the re-
turns, 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 enter-
ing R.) Pedro, this is Mr. Warren. Attend to his
WantS.
PEDRO. (Bowing) Yes, your Highness! (PRIN-
CESS 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.)
JARv1s. (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 cour-
age 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
U. OF ill- lib.


THE GHOST BREAKER 53
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.)
JARv1s. (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. War-
ren—Mr. Warren (Darts up steps; is met half-
way by PRINCEss.) Mr. Warren
JARvis. Well?


54 THE GHOST BREAKER
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.)
JARv1s. (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 Ma-
drid. 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, re-
volver 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.)


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. Cur-
tain rises slowly while orchestra plays “I
Dreamed I Dzvelt in Marble Halls.” Wind
moans through grated windows, rats squeal and
£ moonlight on floor; light flickers on tower
zvall.
(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? (JAR-
VIS 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
56





THE GHOST BREAKER 67
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 be-
come 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.
JARv1s. I figured that I might need a ghost my-
self, but Rusty disobeyed orders. Rusty, I told you
not to Sneeze.
RUSTY. Dat was somebody else, Marse Warren?
I didn't sneezel -
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


68 THE GHOST BREAKER
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 memo-
randum.
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 an-
swer 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 Amer-
icans 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 1 go
back alone?


THE GHOST - BREAKER 71
The best results in this play are obtained from a
fast, snappy tempo throughout.
CARPENTER’S PLOT
ACT I-
Interior as per diagram.
I 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.I and L.3.
I Horizon ring.
I Backing.
ACT III—
Interior Spanish Inn:
Stairway C. Leading into upper part of house.
Door to L. of staircase.
Door R.I leading to wine room.
Window left I.
Door left I.
3 Backings.
Stairs, platforms, and parallels.
ACT IV— -
Interior Old Spanish Castle:
Stone masonry in ruins.
Heavy stone windows with bars.
Fireplace R.I.
Stairway c. four steps with heavy balustrade
leading through heavy door to armory.
Break-away picture immediately L. of stairway.
Door R.I L.2C.
2 Backings.
Trap through stage c.R. above the middle line.


72 THE GHOST BREAKER
PROPERTY PLOT
ACT I-
1 Dressing Table.
I Toilet Set.
I Locket in case.
I Settee.
2 Armchairs.
1 Telephone.
I 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—
I Gold Settee.
2 Gold Armchairs.
2 Gold Side chairs.
I 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
2 Stools.
2 Tables, old and heavy Spanish.
I Set Bench and Arm.
Lunch Basket.
Tray, with wine bottle and two glasses.
Hand Baggage.


74 THE GHOST BREAKER
through window right. Blue on back drop.
Fire glow, half up with lanterns on your foots
and borders. -


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