PS 3537 T859 D8 1918 A A 3 I 2 ; 3 I 3 I 2 | ! LJMS OF OUDE A Drama in One Act By AUSTIN STRONG^'^ereity of California ^"^ IRVINE ^ SAMUEL FRENCH Incorporated 1898 T. R. EDWARDS, Managing Director 25 West 45th Street, New York City SAMUEL FRENCH, Ltd. 26 Southampton St., Strand, London PRICE 50 GENTS DRUMS OF OUDE A Drama in One Act By AUSTIN STRON LIBRARY of California IRVINE SAMUEL FRENCH Incorporated 1898 T. R. EDWARDS, Managing Director 25 West 45th Street, New York City SAMUEL FRENCH. Ltd. 26 Southampton St., Strand. London PRICE 50 CENTS Every Little Theater Worker and Student of Amateur Dramatics Should Have a Copy of MAKING THE LITTLE THEATER PAY A Digest of Organization, Production, Financing and Advertising By OLIVER HINSDELL Managing Director of The Dallas Little Theater Profusely Illustrated Bound in Cloth Price, $1.60 Postpaid SAMUEL FRENCH Incorporated /8pS T. R. EDWARDS, Managing Director 25 West 45th St. New York City DRUMS OF OUDE A DRAMA IN ONE ACT BY AUSTIN STRONG COPYRIGHT, 1918, BY AUSTIN STRONG All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that "DRUMS OF OUDE," being fully protected under the copyright laws of the United States of America, the British Empire, including the Dominion of Canada, and the other countries of the Copyright Union, is subject to a royalty, and any one presenting the play without the consent of the owner or his authorized agents will be liable to the penalties by law provided. Applications for the profes sional and amateur acting rights must be made to Samuel French, 25 West 45th Street, New York, N. Y. New York SAMUEL FRENCH PUBLISHER 25 WEST 45xn STREET London SAMUEL FRENCH, LTD. 26 SOUTHAMPTON STREET, STRAND Drums of Oude All Rights Reserved "DRUMS OF OUDE" is fully protected by copyright in the United States of America, the British Empire, including the Dominion of Canada and all countries of the Copyright Union, and all rights reserved. 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 except by special arrangement with Samuel French, 25 West 45th Street, New York, N. Y. It may be presented by amateurs upon payment of a royalty of Ten Dollars for each performance, payable to Samuel French one week before the date when the play is given. Professional rates quoted on application. Whenever the play is produced the following notice must ap pear on all programs, printing and advertising for the play: "Produced by special arrangement with Samuel French of New York." Printed in the United States of America by J. J. LITTLE AND IVES COMPANY, NEW YORK THE DRUMS OF OUDE BY AUSTIN STRONG Dedicated to my wife Mary Strom? A. S. CHARACTERS CAPTAIN HECTOR MCGREGOR LIEUTENANT ALAN HARTLEY SERGEANT McDouGAL STEWART, the sentry Two HINDUSTANI SERVANTS MRS. JACK CLAYTON, Hartley's sister A PRIVATE SCENE: An interior of a palace in Northern India, occupied by British troops. TIME : Spring of 1857. The Drums of Ottde is copyright, 1918, by; Austin Strong. All acting rights, both professional and amateur, are reserved in the United States, Great Britain, and all countries of the copyright union, by the owner. Application for the right of performing this play or reading it in public should be made to Samuel French, 25 West 45th Street, New York City. THE DRUMS OF OUDE Music before curtain rises to be of that mysterious, nervous Indian quality, in a minor key, with the barbaric drum-beat measure throughout. All lights out. Theater in total darkness. Drumming is heard from beyond the stage, mingled with faint cries. This drum ming must be great in volume, yet low in key. It stops short. Repeats itself and again stops short. The curtain has gone up in the darkness. The audience first becomes aware of the moonlit Indian City, in the distance, over the top of an in tervening forest. Then they see the outline of the archway and the stage itself, which is a store-room in an old Indian Palace, now occupied by the British. There is no furniture in the room except a piano, R., and a business desk, R., rear. A large Indian carpet is upon the floor. The only decorations are two crossed swords on either side of the arch. Sentry STEWART, in Highland uniform, passes beyond the arch, in the moonlight, from R. to L. Pause. He returns. Pause. Then again from R. to L. The drumming swells in the distance and seems to come from the Indian City. As the SENTRY appears on his return beat, the drumming ceases. He halts center of archway and turns a puzzled face towards the audience and listens intently. Dead silence. He is seen to breathe a sigh of relief, straighten himself and continue his stolid march. Silence. Then with a crash door L. bursts open and MCGREGOR slides in. He shuts the door softly and swiftly and listens intently with his ear to the panels. He gives a glance at the open arch, 5 6 THE DRUMS OF OUDE then takes three steps center, stoops, takes hold of the corner of carpet and flings it back. Rises, goes back to door L. and listens at panels again. Then returns center and opens a trap-door which was beneath the carpet. The trap-door is three feet square and eight inches thick. He looks carefully in and then closing it returns the carpet to its place, stands on it, and listens intently, his eyes to the audience. He then draws from his left-hand coat pocket a large leather cigar case. Chooses a cigar and returns case. He then slowly backs to wall R. When he reaches it he strikes a match upon it with a downward sweep of his hand. He lights cigar and carefully putting out the match, he as~ sumes a graceful, easy position, his back against the wall, his hands rammed deep in his coat pockets and his right foot crossed over his left, his eyes always on the corner of the carpet. STEWART, the sentry, is seen to pass at rear. He halts again and listens as if he heard something. He turns his face towards the audience to listen better, and with a start becomes aware of MCGREGOR'S presence. He brings his musket sharply to the shoulder, comes down the stage and halts three paces from MCGREGOR, his face towards the audience. He makes the stiff soldier's salute, right hand across the body. MCGREGOR continues smoking and regarding the carpet. (Pause.) MCGREGOR (cigar between his teeth). Well, Stewart? STEWART. Please, sir! Beg pardon, sir, but did you 'ear anything, sir? MCGREGOR. Eh? STEWART. Listen, sir! (MCGREGOR removes the cigar from his mouth and listens. Dead silence.) MCGREGOR. What do you mean? STEWART (intensely). Listen, sir! (The drumming heard. It stops abruptly.) There, sir! MCGREGOR. Well? THE DRUMS OF OUDE STEWART. Beg pardon, sir but me and the men don't fancy it, sir. MCGREGOR. That will do, Stewart. STEWART. Yes, sir! (Salutes stiffly faces about marches out and resumes sentry duty, and is seen at stated inter vals passing and repassing beyond the arch. Door L. softly opens and two HINDUSTANI SERVANTS enter, one bearing a standard lamp with a red shade. The lamp is lighted. The other bears a small table which he places at L. center. The standard lamp is placed near the business desk. SERGEANT MCDOUGAL enters L. with PRI VATE, both in Highland uniform and carrying telegraphic apparatus. They cross the stage and exeunt door R. After a moment ticking is heard from that room. The two SERVANTS have by this time returned with the two wicker chairs, which they place R. and L. and then exeunt. SERGEANT MCDOUGAL and PRIVATE return through door R. The PRIVATE crosses stage and exits door L. SERGEANT MCDOUGAL comes down center. Enter FIRST and SECOND HINDUSTANI SERVANTS through door L. They go over to MCGREGOR and salaam deeply be fore him.) MCGREGOR. I want you to serve supper up here for two. (They do not move. A pause.) Did you hear what I said? I said serve supper supper up here for two. (They salaam and exeunt softly.) McDouGAL. The telegraph is in working order, sir! (He faces about and goes towards door L. Just as he is about to exit ) MCGREGOR. Sergeant ! McDouGAL (stopping abruptly}. Y-y-yes, sir! MCGREGOR. How many men on guard duty? McDouGAL (in a surprised tone}. Seven, sir! (Pause.) MCGREGOR. Wake the others up ! McDouGAL (his tone more surprised). B-b-beg p-pardon, sir! 8 THE DRUMS OF OUDE MCGREGOR. Double the sentries. Put Neill and ten men on the ground floor with orders to let no one enter except women and civilians. Take the rest yourself and string them along the walls. North and West sides as much as possible, towards the dome. McDouGAL. Yes, sir! (Is about to exit.} Pardon, sir but but do you know when the regiment will be back? MCGREGOR. Can't say, McDougal. McDouGAL. Thank you, sir. (Is about to exit.) MCGREGOR. Sergeant ! McDouGAL. Yes, sir! MCGREGOR. Lieutenant Hartley will take command. Kindly wake him up with my compliments and ask him up here. McDouGAL. Yes, sir. (Exits.) (Drumming is heard again. SENTRY is seen to pass from R. to L., then L. to R. MCGREGOR still regards the cor ner of the carpet, the cigar between his teeth. Door L. opens and LIEUTENANT HARTLEY enters; a tall fair- haired English lad, garrulous and pink-cheeked. He is buttoning his tunic and wears the expression of one who has been aroused from a deep sleep. He looks vaguely about for MCGREGOR, but does not see him.) MCGREGOR. Ah, Hartley. HARTLEY (in a thick, sleepy voice}. Oh, there you are didn't see where you were at first. Why in thunder (yawns') d-d-did y-y-you w-wake me u-up at this hour? Must be near one or two or something your man bounced me out of bed as if the house was afire. (Goes over to table and mixes brandy and soda.) And why have you moved up to this outlandish store-room? (Drinks glass, his voice becoming more awake.) Shifted all your things, too! (He pauses, and then becoming wide awake he suddenly asks.) I say, McGregor, what's up? MCGREGOR. Listen! (The drumming a shade louder.) HARTLEY. Oh, that's the Mohurrum business they're hav- THE DRUMS OF OUDE 9 ing. Guess the beggars will keep it up all night. They tell me it is a religious festival they hold here once a year. (HARTLEY takes a few strides nearer MCGREGOR.) I say, you don't think there is anything nasty about it, do you? MCGREGOR. India is a queer place, Hartley. HARTLEY. By Jove come to think of it I did you hear that queer rumor this morning? MCGREGOR. Rumors. You're all alike, you youngsters. I was the same myself once well, out with it! HARTLEY. Something about a small cake ! MCGREGOR (sharply}. What? Quick where was it seen? HARTLEY (blithely}. The chaps I was talking to said that it was a sure sign that these devils meant mischief. They .. called it the fiery cross of India and they said that this little cake passes from hand to hand from village to village and the message which means mutiny and dis aster flies faster than our telegraph! MCGREGOR. Oh, yes I know all that But where was it seen? HARTLEY. This morning on the steps of the Mission! (A pause while HARTLEY watches face of MCGREGOR who goes on smoking. HARTLEY, in an eager voice.} I say by Jove you don't think there's a chance for a row, do you ? MCGREGOR. Hartley. HARTLEY. Yes, old chap? MCGREGOR. You are standing over forty tons of gunpow der! HARTLEY (standing back and looking down at the carpet). What! MCGREGOR. Beneath you is the magazine! HARTLEY. The magazine! (Stooping and lifting edge of carpet.} I didn't know it was here! Thought it was by the Colonel's quarters. MCGREGOR. Hartley, these Sepoys want that powder. HARTLEY. Eh? 10 THE DRUMS OF OUDE MCGREGOR. I'm afraid they will be disappointed. HARTLEY. I say, McGregor do you really think MCGREGOR. The regiment is away we don't know when it will be back. The town is full of strangers. . . . (Pause.) Hartley, there are women in this town white women English women. HARTLEY. Rather. And, by Jove, there's my sister, Mrs. Clayton, the widow I hadn't thought of her ! MCGREGOR. Well, you see I had, Hartley! HARTLEY (surprised). Why, what do you mean . . . ? MCGREGOR. Only that I bribed her woman her faithful ayah to bring her here tonight under some pretext or other. I expect her any minute now. HARTLEY. I say, that was clever of you! (Pause. MC GREGOR goes over center for the first time and looks through archway. HARTLEY, in a queer voice.) You have known my sister, Mrs. Clayton, a long time out here, haven't you? MCGREGOR. I remember her before she left England when you were still at Sandhurst. HARTLEY. She used often to write me of you. MCGREGOR (turning). She did? HARTLEY. You have been a better friend to her than ever Clayton, her husband, was. MCGREGOR. The man's dead, Hartley. HARTLEY. Oh yes, I know but it was all the mater's fault she ever married him. (Pause. HARTLEY goes over to MC GREGOR in a shy, boyish manner.) I say, McGregor give us a chance if there's a row? MCGREGOR (smiling). I woke you up for that purpose. You'll take command of the walls in a few minutes. I I don't trust anyone here except myself. That is why I had my things shifted. (Takes out watch.) The Colonel ought to be near Bandagaar by this time. You stay here a moment I'll telegraph along the line. (Goes toward the door at R.) HARTLEY. McGregor ! THE DRUMS OF OUDE 11 MCGREGOR. Eh? HARTLEY. You're a brick to give a fellow such a chance thanks ! MCGREGOR (laughing}. Don't be too sanguine, Hartley it's a bad habit. Perhaps, after all, this is nothing. (Exits into next room, at R., and after a moment is heard telegraphing. HARTLEY takes another look at the magazine, then goes to the center of the archway and listens a moment to the drumming, which, by fine degrees has grown louder. The SENTRY passes at rear, but doesn't see HARTLEY. HARTLEY goes over R. to business desk and idly looks over it. Picks up a newspaper, looks at it a moment, and then drops it. He sees writing materials upon the desk. He seats himself, spreads paper, leans forward and dips pen in ink.} HARTLEY (as he writes}. "Dear mater . . . This is the slowest station in Northern India . . . there is nothing to do ... no society . . . nothing! Sis is practically the only Englishwoman of any account, except the Major's wife and Mrs. Indermaur. By the way, Captain Mc Gregor, my senior, you remember him . . . the chap Sis used to write us about. . . . Well, he's a thoroughbred and dead nuts on Sis ... has been all his life, it seems. I think McGregor is the only man Sis ever cared a straw about, but she won't have a word said against Clayton's memory." . . . (HARTLEY leans back in his chair, lifting his pen and searching the ceiling for ideas. Then leans forward and continues writing in silence. Door L. softly opens and FIRST and SECOND SERVANTS glide noiselessly in, walking as Orientals do, straight from the hips. They move about quietly setting the table. The drumming ceases suddenly. The SERVANTS raise their heads slowly and look deep into each other's eyes, across the table. They both come forward center without changing their relative positions or shifting their gaze from each other's eyes. They stand center a moment listening. Then a THE DRUMS OF OUDF. small white cake, the size of a griddle cake, flies through the archway and falls between the SERVANTS. The FIRST SERVANT drops on one knee and covers the cake with his right hand, and watches his companion. SECOND SERVANT takes four deliberate steps backwards, which brings him immediately behind HARTLEY, who is deep in his letter. SECOND SERVANT slowly draws from his bosom a pistol which he levels at HARTLEY'S neck, about two feet distant. HARTLEY blots letter with a satisfied air, throws down pen, leans far back in his chair, which brings the muzzle of the pistol within two inches of his neck. He passes his hand through his hair and reads.) (Reading in a satisfied air) . . . "and I always wear my flannels as you asked me to, and take my two grains of quinine regularly. I forgot to say in my last letter that Spifly Watkins may have my cricket bat. I shan't need it again, but don't let any one touch my fishing rod on any account! (Leans for ward to underline "any") You needn't be anxious about me, mother dear there is no danger in India. It's positively dull, it's so safe. Love to everybody shall write the girls next mail. Your affectionate son, Alan Hartley. P.S. I repeat don't let anyone touch my fish ing rod." (The ticking of the telegraph is heard to stop suddenly. SECOND SERVANT hides pistol in his bosom. FIRST SERVANT rises and hides cake in his sash. Both assume position at door L., one immediately behind the other watching HARTLEY intently. HARTLEY rises, folds letter, slips it into envelope, and is about to lick it when he becomes aware of the two Indians staring at him. He is taken aback. They drop their eyes salaam, and exeunt to gether.) HARTLEY (taking five paces after them and stopping with a startled expression). By Gad, I didn't know those men were in the room. I wish these servant fellows would laugh or make a noise, or anything instead of bowing THE DRUMS OF OUDE 13 and gliding about. (With, a slight shudder.) Makes a fellow feel deuced uncanny! MCGREGOR (entering with, papers which he throws on busi ness desk, then comes center, sits). Can't get the Colonel yet. They haven't reached the station or they have passed it. HARTLEY (still looking after the servants}. I say, Mc Gregor, do you trust those two servants of yours ? MCGREGOR (laughing and coming forward). Implicitly. . . . Come, my dear boy, take a seat and have some sup per. (Motions HARTLEY to a seat opposite to him at the table.} I would trust those two men with my life. HARTLEY. Well, I suppose you know. For myself, I don't like them. Fact is, I never liked the looks of any of these vermin they're so damned slippery. MCGREGOR. Hartley, may I give you a piece of advice? HARTLEY (taking a large piece of toast. His mouth full). Go ahead. MCGREGOR. You are new to India you have only joined the regiment three weeks, and you have an imagination. . . . My boy, quell it stifle it for if you let it grow in this hotbed of rumors and strange noises, it will devour you! I have seen brave men made cowards by it. ... Sherry? HARTLEY. Thanks. (MCGREGOR pours it out.} Perhaps you're right, but talking of rumors do tell me more about this chuppattie cake! MCGREGOR. Fact is, no one knows much about them. A chuppattie cake is the commonest thing in India. Why, it's the food of the people it's their bread. HARTLEY. These chaps told me it was a signal of mutiny they told me of a sentence that went with it do you know it? MCGREGOR. "Sub lal hogga hi." (Pronounced "Sub lal hoyarggi") HARTLEY. And what does that mean, pray? MCGREGOR (slowly). Everything is to become red! 14 THE DRUMS OF OUDE HARTLEY (watching MCGREGOR, who goes on calmly eating}. Do do you believe in it ? McGREGOR. Depends, Hartley, where I saw one. HARTLEY. What do you mean? MCGREGOR. If I saw a chuppattie in an out-of-the-way place HARTLEY (eagerly). Yes? MCGREGOR (smiling). India's a queer place, Hartley, (Pause.) I remember when I was with a Sepoy regiment once, the Colonel had us out on a surprise inspection one night, and we found that a corporal had two chuppatties under his pillow. . . . (Pause.) We had a narrow es cape that night. (They both rise suddenly to their feet.) HARTLEY. Did you hear that? MCGREGOR (listening). Yes. HARTLEY. Sounded like . . . sounded like a whistle! MCGREGOR. Sit down! (They both sit down. Enter the TWO HINDUSTANI SERVANTS with more dishes for dinner.) MCGREGOR (to FIRST SERVANT). Abdul, that lamp is smok ing turn it down. (FIRST SERVANT crosses the stage to R. to standing lamp, which he lowers. He listens all the while intently, with his eyes fixed upon his companion, who is immediately behind HARTLEY. As he reaches center of stage on his return, unnoticed by himself or any of the others, the chuppattie falls from his sash to the floor near MC GREGOR. Exeunt SERVANTS softly.) HARTLEY (using a siphon). I don't like those two men! MCGREGOR. Oh, you will get over that, Hartley. (Door L. bursts open and SERGEANT MCDOUGAL enters, breathless he salutes and stands.) MCGREGOR (going on eating). Well, McDougal? McDouGAL (breathlessly). Please, sir Mrs. Cameron, Miss Williams and five other ladies, Mr. Palmer and Judge Lawson with some civilian gentlemen, have come into the walls, sir! They seek protection, sir! They're afraid of a rising, sir! MCGREGOR. Ah! Is is Mrs. Clayton with them? THE DRUMS OF OUDE 15 McDouoAL. N-n-no, Sir! P-p-please, s-sir what'll I do with them, sir*? MCGREGOR (thoughtfully). Well, I can't very well leave this room. . . . HARTLEY (rising abruptly). I'll go! MCGREGOR. Sit down I want you here, Hartley! Mc- Dougal, put the ladies in the Mess Room and see that they are properly cared for. Give the gentlemen mus kets and put them on the North Side as much as possible. Lieut. Hartley will take command in a few minutes. Mo Dougal ! McDouoAL. Yes, sir! (About to exit.) MCGREGOR. And McDougal McDouGAL. Yes, sir! MCGREGOR. If Mrs. Clayton comes, show her up here. McDouGAL. Yes, sir. (Salutes and exits.) (They go on eating in silence. HARTLEY tries to hide his excitement and watches MCGREGOR excitedly. At last, with a great show of unconcern he drains his cup of coffee, uses a napkin, throws it down, and speaks in an obviously careless manner.) HARTLEY. My sister. . . . You think she will get here safely? MCGREGOR. I have known this servant of hers for years. Your sister will be here don't you worry. (Rises another pause. HARTLEY tries again to hide his excitement.) HARTLEY (obviously making conversation). I say, McGregor I am interested about these chuppattie cakes tell me what does one look like? MCGREGOR (going over to business desk. He gets cigar box from a drawer and returns across stage. He pauses in the center and looks out into the moonlight.) Hartley, I don't see that sentry ! (He remains silent a moment, looking out, then comes over to the table and throws the cigar box among the dishes.) Have a cheroot? (Business, of HARTLEY choosing one. MCGREGOR puts a match into the candle and facing audience holds it in the 16 THE DRUMS OF OUDE air, his eyes to the ceiling.) What's a chuppattie look like? Why, let me see if I can describe it to you. (Lights cigar thoughtfully then looks upon the floor, match still burning in his right hand. Sees cake at his feet. Shakes out the lighted match slowly. Puts it carefully in the saucer. Takes a draw at his cigar, all the while examin ing the cake intently.) Well, it looks like a griddle cake . . . it's thick and er white. (Leans down and picks up with his right hand and weighs it.) Weighs about an ounce looks deuced indigestible! (HARTLEY at this word is in the act of lighting his cigar under the candle shade. MCGREGOR carelessly throws cake on table and it falls with a clatter among the dishes.) Some thing like that, Hartley. HARTLEY (sternly, back). My God how did that get here? MCGREGOR (looking over the heads of the audience). I told you India was a queer place, Hartley. (HARTLEY puts his cigar on his plate and watches MCGREGOR'S face excitedly.) MCGREGOR (slowly). The first thing to be done, Hartley, is to see if that sentry is there. HARTLEY (quickly). I'll go and see! (Turns and runs towards arch.) MCGREGOR. Stop/ (HARTLEY stops abruptly.) Are you armed ? HARTLEY (with a rising inflection). No! (Looks about.) McGREGOR. You will find one in the left-hand drawer of my desk. (HARTLEY goes to desk, opens drawer, takes out pistol, comes back center holding the pistol in front of him. Is seen to collect himself, square his shoulders and march out into the moonlight with military step. Halts without, his back to the audience.) What do you see ? HARTLEY. All the men seem to be at their posts. I see Mr. Palmer and Judge Lawson they have given them muskets. MCGREGOR. And Stewart the sentry? (HARTLEY disap pears R. of archway, then returns at a run. He arrives breathless at MCGREGOR'S side.) HARTLEY (in a whisper). They've cut his throat! THE DRUMS OF OUDE 17 MCGREGOR. Hartley! Hartley! (Draws his cigar sharply from his mouth. Pause.) Hartley, would you mind going into that room and telegraphing ? HARTLEY (flying to the door R., breathless with excitement). What will I say? MCGREGOR. Get Bandaggaar. ... If they don't answer get Sir John at Hadraa . . . then the Bulbud Residency. . . . Repeat the one word "massacre" till someone answers you! (Exit HARTLEY, banging the door. Then the sound of the machine repeating the same message over and over again. Drumming begins again. MCGREGOR stands a moment longer looking over the heads of the audience, then goes quickly to the business desk and begins pulling out with feverish hurry papers and documents which he tears to pieces. His cigar between his teeth. Door L. opens with a bang and the TWO HINDUSTANI SERVANTS burst into the room, wildly searching for the lost chuppattie cake. FIRST SERVANT is seen feeling in his sash. MCGREGOR turns sharply around.) What the devil (SERVANTS immediately salaam and make a pretense of going towards the table.} Oh yes, we have finished you may clear away the things. (He turns his back to them and goes on tearing up the papers. As soon as his back is turned, FIRST SERVANT signals through door at L. and out troop all the other SERVANTS. They tiptoe down stage, all with their eyes on MCGREGOR'S back. They pass through arch and one by one leap lightly over the parapet and out of sight. When all have gone' MCGREGOR speaks through his teeth, still tearing up his papers, his back to the empty stage.} Look here, you men I didn't like the way you burst into the room just now! (Pause, he goes on tearing up papers.) What did you mean by it? (Pause.) I said, what did you mean by it? (He turns sharply.} Look here, when I ask a question I expect an answer. . . . (The words die on his lips as he sees the empty stage.} (Stands silent a moment, looking at the untouched supper 18 THE DRUMS OF OUDE table. Then takes three deliberate steps backwards, which brings him to R. of arch. He raises his hand and unhooks one of the Indian swords that decorates the wall, and throws it lightly on the desk within easy reach. He then leans comfortably on the side of the archway, looking out into the moonlight, smoking his cigar. A sound of running feet ap proaching. MCGREGOR'S hand is seen to move towards the sword on the desk. He continues smoking and looking out.} A WOMAN'S VOICE. Captain McGregor! Captain McGregor! (MCGREGOR removes the cigar from his mouth and gives a quick look at the magazine door. Then, breathless and half crying with excitement, MRS. CLAYTON enters wildly and leans fainting against wall L. of archway. She covers her eyes with her arm.) MRS. CLAYTON (wildly). Captain McGregor . . . your men . . . your men showed me up here ... the town is rising! Save me! Save me! MCGREGOR (in a polite voice, carefully putting cigar out in a small ash-tray beside him on the desk). Why, how do you do, Mrs. Clayton? MRS. CLAYTON. No no no the Sepoys they're rising where is my brother? I escaped just in time! . . . McGREGOR (wheeling on an easy chair towards her). I know, but won't you sit down? . . . Your brother is here ... in the next room. MRS. CLAYTON. Can't you hear them? . . . they're coming . . . we'll all be massacred ! MCGREGOR. Come, Mrs. Clayton. . . . (Forces her gently into a chair). Sit down. Your nerves are all awry. Calm yourself ! MRS. CLAYTON. Calm myself! . . . Listen! (They listen a moment to the drumming.) MCGREGOR (going over to the table, taking a decanter with which he fills a small glass) . Why, you know what that is, Mrs. Clayton; it's the Mohurrum business religious affair pious riot quite harmless. Won't you try some of ray sherry ? (Offers glass.) THE DRUMS OF OUDE 19 MRS. CLAYTON (waving glass aside}. Captain McGregor, the natives are pouring into the town by thousands ! They are collecting at the bazaar! There is danger! I feel it here! (Puts hand on heart.) MCGREGOR. Do you think, Mrs. Clayton, that if there was much danger I would be here enjoying a cigar alone? MRS. CLAYTON. I I I suppose after all I I I I have let my nerves get the better of me ... but, oh, Captain McGregor just as I was going to bed I began to hear that horrid, queer noise they are making! (Listens a moment.) I called Rebottie you know her my faithful ayah. Well, she told me that all the servants had fled ! MCGREGOR (laughing). You can no more keep a native from a Mohurrum than a small boy from a circus. My servants have left me, too! MRS. CLAYTON. But this kind of thing never happened to me before ! We flew to the stables to saddle our own horses, but they were all gone they had taken them too. ... So we ran here on foot choosing the back street. I could see the town was full of strangers they are pouring from all quar ters ! When we came to your gates they sent me up here ! MCGREGOR. They did right but after all this, you must calm yourself. (Gives her the glass again, which she reluctantly drinks. While she is in the act, he turns his head slowly and looks through the archway.) MRS. CLAYTON (weakly.) I'm afraid I've made an awful fool of myself. You'll have to forgive me, Captain McGregor. You know, really, I am not often frightened, but India has always been a land of horror to me. Full of sounds and strange noises terrible terrible silences . . . and always those eyes looking at you ! One can't help thinking of what these Sepoys will do when they are once let loose ! Remem ber that Oude massacre. . . . Massacre ! Massacre ! . . . I can't get that word out of my brain. MCGREGOR (still listening and not looking up). Come rest a bit. You're worn out! MRS. CLAYTON (suddenly, after a pause). But I can't stay 20 THE DRUMS OF OUDE here it's late! If you really think, Captain McGregor, that there is no cause for alarm, will you forgive a silly woman and let her return home ? MCGREGOR (slowly}. Won't you stay a bit? ... Your brother is here. MRS. CLAYTON. I'd like to ... (laughing} but it's growing very late ! MCGREGOR. Then I'll call Stewart and have him take you home. (Goes toward arch, thinking deeply. Then stopping.) By the way, won't you in the meantime play me something on my new piano? I had it shifted up here with my other things I want you to try it for me. (Reluctant, yet to humor him, she pulls off her gloves and goes towards the piano. She pauses to put her gloves upon the table, and sees the chuppattie cake lying among the dishes. She turns quickly with a face full of horror to MC GREGOR, who is leaning against the archway and looking out.} MRS. CLAYTON (in an awed and intense voice}. How did this get here ? MCGREGOR. Eh? ... Oh ... the chuppattie. . . . Why, you know, I rather like them. Always have them for sup per. . . . I'm quite an Indian in my tastes. MRS. CLAYTON (with a short laugh of relief}. You must think I'm an awful coward but you know the rumor of these cakes, and that awful sentence, "All is to become red!" (Stands still, looking down at it with a frightened face.} MCGREGOR. Come you have been badly frightened, and I don't blame you. Do try my piano and forget for a moment this country which you detest so heartily ! (MRS. CLAYTON goes over to the piano, seats herself and commences playing "THE WATER LILY" softly and with deep feeling. The drumming goes on. HARTLEY is heard repeat ing the one word incessantly on the telegraph. MCGREGOR keeps his position at the side of the archway, looking out. MRS. CLAYTON plays for some time in silence.} MRS. CLAYTON (stopping abruptly, and 'm a queer voice}. Did you call that man to take me home, Captain McGregor ? THE DRUMS OF OUDE 21 MCGREGOR. Yes. MRS. CLAYTON. I didn't hear you. MCGREGOR {coming down stage and leaning over the edge of the piano). He will be here in a moment. (She goes on playing again, looking up at him. His voice changes to one of emotion). That was the melody you played at the Maha rajah's ball. MRS. CLAYTON. You remember that*? MCGREGOR. Remember! . . . My life is made up of mem ories. (Pause.) I remember the day when a fresh, young English girl arrived on the decks of a great East Indiaman and how we cheered her pretty face ! I remember a mili tary wedding at Calcutta and Mrs. Jack Clayton, the toast of the regiment. And then I remember when I first saw you in mourning. ... I remember many things! (Sighs.) {Here a long pause. MCGREGOR turns his face slowly and looks through archway). MRS. CLAYTON (her voice low and full). You have been a loyal friend! (She plays.) MCGREGOR (turning to her with a smile). How wonderfully you play ! (A pause.) What a strange and beautiful thing awakened memory is ! One can live again those hours one has thought forever lost. Do you can you remember and live over those wonderful days in the old bungalow by the river the queer lights and tall shadows when in the gaiety of your heart you called me Major Dobbin? MRS. CLAYTON. Because you were so awkward and were always upsetting my tea cups and things oh, yes I re member. MCGREGOR. I thought you called me Major Dobbin because I was so faithful. MRS. CLAYTON. Perhaps I did. (She plays on a moment, and then stops and sits looking out into the moonlight in silence, MCGREGOR watching her intently the while.) What a dear fellow you were, Major Dobbin ! Ah, a woman never forgets a man's friendship in a time like that and it seems 22 THE DRUMS OF OUDE I can never get the chance (turning to him) to thank you enough ! MCGREGOR. Thank me! ... Why, I stood by you, as you call it, because I couldn't help myself because you're the only woman worthy of the name . . . because you took your trouble like a thoroughbred . . . because . . . because you are beautiful . . . because you're straight and tall and your hair is brown . . . because you're true, and clean-hearted . . . because, old friend, I have loved you all my life ! MRS. CLAYTON (her voice broken). Major Dobbin! MCGREGOR (coming to her side and kneeling on one knee). Aye Major Dobbin as ever was! MRS. CLAYTON (putting her hand on his shoulder and looking down into his eyes). You know 'way down deep in your heart that you were the first and only one and now, old friend, tried and trusted after all these years of silence and pain here is your reward. (With a low laugh.) A poor thing, Major, but myself my honor my life my my (tenderly drawing his head with both hands to her bosom and putting her lips to his hair) . . . my Major Dobbin! (MCGREGOR raises his head and their lips meet. MCGREGOR then stands straight and breathes deep.) MCGREGOR. It was worth it it was worth the waiting for! (The sound of a chair being violently overturned in room at R".) MRS. CLAYTON. What is that? (Door bursts open and HARTLEY bursts in.) HARTLEY (shouting). McGregor! McGregor! MCGREGOR (going quickly up to him and speaking in a calm, rapid voice). Ah, Hartley . . . (turning) here is Mrs. Clayton, your sister . . . she sought our protection, thinking that perhaps this Mohurrum was a Sepoy rising, but I have assured her that there is no .cause for alarm. HARTLEY (breathlessly). It's all right, Sis ... you needn't be alarmed . . . I I I if there had been any danger we would have heard of it. MRS. CLAYTON. You must forgive us poor women our cow- THE DRUMS OF OUDE 23 ardice, Alan it is only when we realize our helplessness that we are frightened! Sometimes I wish that I were a man a soldier a Highlander like yourselves instead of a woman who has to wait and listen . . . and listen . . . and listen! HARTLEY (blatantly}. It is not all beer and skittles being a man, I can assure you, Sis . . . Why, do you know just now . . . ! MCGREGOR (sharply}. Hartley! HARTLEY. Eh? MCGREGOR. Would you kindly take a message for me ? HARTLEY. Pardon me, Sis. (She inclines her head and goes on playing, her eyes to the keys. HARTLEY goes over to MC GREGOR and both watch her as they speak.} MCGREGOR (in an undertone}. Well, what is it? HARTLEY (in an excited whisper}. They have cut the wires! MCGREGOR. Ah I thought as much! HARTLEY. Sir John says, don't let them get the powder ! MCGREGOR. He needn't worry. MRS. CLAYTON (stopping her playing and looking up}. Is your man ready, Captain McGregor? (Politely.} It is growing very late ! MCGREGOR. I am sending your brother to hurry him up. (MRS. CLAYTON goes on playing.} HARTLEY (to MCGREGOR). Well? MCGREGOR. You'll take command now at once, as they will be on us in a moment. Hold them off as long as possible. I'll stay here and watch that powder. (Points to the corner of the carpet.} I daren't trust anyone in this room except myself. If they once get over the walls. . . . HARTLEY. We're lost! MCGREGOR. If they once do, Hartley. . . . HARTLEY. Yes ? MCGREGOR. Have the bugler sound the charge so that I can hear it. Make him play it loudly, mind you! HARTLEY. And then ? MCGREGOR. I shall blow up the magazine! HARTLEY. By Jove 24 THE DRUMS OF OUDE McGREGOR. Quick say a word to your sister, and go! (HARTLEY backs down stage, watching MCGREGOR, who is looking out into the moonlight he feels the air behind him for his sister.} HARTLEY (as he reaches her. She continues to play}. I say, Sis, I'm going for the man. I won't be back myself he'll see you safe home. I want to say good good-night! MRS. CLAYTON (continuing her music}. Good-night, old fel low! HARTLEY. Sis ? MRS. CLAYTON (stopping and looking around). Yes, Alan? HARTLEY. Pardon my asking, but has McGregor said any thing to you ? MRS. CLAYTON (looking up and smiling}. Yes. HARTLEY (with enthusiasm}. I'm glad! (Bending and kiss ing her tenderly.} Good-night, old girl ! MRS. CLAYTON. Good-night, my brother ! HARTLEY (goes up to MCGREGOR and gives him his hand in silence.} I congratulate you. . . . By Jove, you are a brick. . . . (Lower.} Good-bye! (MCGREGOR gives him his hand in silence and HARTLEY exits, drawing his pistol. MCGREGOR remains a moment looking after him, and then comes down stage and leans on the piano and watches MRS. CLAYTON as she continues to play softly. A Sepoy's head and shoulders rise up stealthily from behind the balustrade beyond the arch. First an arm appearing, then a turban, and then a white-trousered leg is thrown over the balustrade. MCGREGOR turns quickly and sees the Sepoy who instantly drops out of sight. MRS. CLAYTON has seen nothing and continues playing dreamily. MCGREGOR goes at once to the desk and quickly opens a drawer and takes out a black coil of fuse. He comes down center. He throws back the corner of the carpet, opens the magazine door, gives a quick look through the archway, and lowers one end of the fuse deep into the magazine?) MRS. CLAYTON (not looking up}. Ah! I'm so happy. . Tell me, dear, you like my brother *? THE DRUMS OF OUDE 25 MCGREGOR (backing and uncoiling fuse). Rather! (MC GREGOR leaves end of fuse near center.) MRS. CLAYTON. I suppose India will spoil him like all the rest but it's like a breath of old England to see his boyish honest face ! MCGREGOR. Rather. . . . (He says this as he is in the act of taking one of the silver candlesticks, removes the shade, and places it with the lighted candle near the end of the fuse.) MRS. CLAYTON. I remember when I first saw India how ter rified I was the bronze and blackened faces. . . . (She happens to look around. She stops playing and rises slowly. MCGREGOR is standing over the lighted candle with his hands rammed in his coat pockets. He is looking out into the moonlight. She looks from him to the open magazine, and back to him again.) MRS. CLAYTON. What are you doing? MCGREGOR (turning his face towards the audience). You will pardon me I have lied to you. I am afraid, after all, there is danger. (A pause MRS. CLAYTON remains perfectly still.) I thought perhaps I'd spare you unnecessary alarm, but I'm afraid I can't you see, the regiment is not on time. I know you for a thoroughbred you've the blood of soldiers in your veins. So I can tell you plainly how we stand ? MRS. CLAYTON (after drawing a quick breath). Tell me! MCGREGOR. That door you see open is the powder magazine. . . . You know what it means if these Sepoys capture it You know what it means if I let them capture you. You know what it means when they get an Englishwoman in their power ! My Highlanders will hold them off as long as pos sible, and if they fail . . . you see my duty*? MRS. CLAYTON (after a pause, while she struggles with her self). Yes! MCGREGOR. I thought it would seem a hard thing to do, but with you beside me why, girl, I am going to blow up that magazine. . . . Will you stand by me ? MRS. CLAYTON. With my last breath ! ( The sound of mus ket shooting without, rapid and terrifying.) 26 THE DRUMS OF OUDE MCGREGOR. Ah, they've begun already! {They stand lis tening.) Tell me if you hear the bugle call! {The noise without becomes deafening. Savage yells, hoots and firing. The sky through the archway turns scarlet as if the city were afire. Suddenly the standing lamp at R. is shot to pieces by a stray bullet. MRS. CLAYTON screams, but still stands beside piano.) What's that? {They listen. A sudden lull in the battle and a tiny call is heard gallantly playing in the distance. MCGREGOR slowly leans down and takes the lighted candlestick in his hand and looks up at MRS. CLAYTON. She goes to him. He then slowly and carefully touches the fuse with the lighted candle. It burns with great display towards the magazine. Together they watch the fuse as it hisses and splutters towards the yawning pit. The noise without be comes deafening. The red light flares more brilliantly when suddenly the noise stops. Dead silence.) MRS. CLAYTON {dashes for MCGREGOR'S side). Stop it! Stop it! {She flies to the fuse and stamps it out.) Can't you hear it? ... Listen! {Pause. They both listen. Then far away in the dis tance is heard fife, drum and bagpipes playing, "The Camp bells Are Coming, Ye Ho, Ye Ho." It swells louder at each approaching step. HARTLEY enters wildly, his coat torn off his back; he car ries his smoking revolver, which he waves madly.) HARTLEY {hoarsely, and with excitement). McGregor Mc Gregor it's all right! The Highlanders are here ! We're saved saved ! {Exits reeling and shouting.) (MCGREGOR puts the candle out by striking the flame with his open palm and catches MRS. CLAYTON just as she faints, falling backwards into his arms. Curtain falls on this tableau now lit with red fire smoke and resounding with rousing British cheers, drums and bag pipes.) CURTAIN NEW VOLUMES OF ONE ACT PLAYS ROCKING CHAIRS and other comedies By ALFRED KREYMBORG Contains "Rocking Chairs," "Adverbs," "Helpless Herberts," "Not Too Far From the Angels," "Trap Doors." i BOUND VOLUME PRICE $1.60 POSTPAID THREE JOHN GOLDEN PLAYS One Act Fantasies By MR. GOLDEN Contains "The Clock Shop," "The Robe of Wood," and "The Vanishing Princess." i BOUND VOLUME PRICE $1.35 POSTPAID BRAINS AND OTHER ONE ACT PLAYS By MARTIN FLAVIN Contains "Brains," "A Question of Principle," "An Emergency Case," "Casualties," "The Blind Man," and "Caleb Stone's Death Watch." i BOUND VOLUME PRICE $1.60 POSTPAID For Complete list of all publications, send for our 256-page catalog SAMUEL FRENCH Incorporated 1898 T. R. EDWARDS, Managing Director 25 W. 45th St. New York City. Every Little Theater Worker and Student of Amateur Dramatics Should Have a Copy of MAKING THE LITTLE THEATER PAY A Digest of Organization, Production, Financing and Advertising By OLIVER HINSDELL Managing Director of The Dallas Little Theater Profusely Illustrated Bound in Cloth Price, $1.60 Postpaid SAMUEL FRENCH Incorporated 1898 T. R. EDWARDS, Managing Director 25 West 45th St. New York City Short Plays from AMERICAN HISTORY and LITERATURE SCHOOL EDITION For Classroom Use in Grammar Schools By OLIVE M. PRICE Preface by Dr. WILLIAM M. DAVIDSON Superintendent Pittsburgh Public Schools CONTENTS LANTERN LIGHT A Play of New England Witchcraft EVANGELINE Based on Longfellow's Poem HIAWATHA Based on Longfellow's Poem LITTLE LADY DRESDEN An Incident at Mount Vernon AROUND THE BLUE WIGWAM A Play About Pocahontas and Captain John Smith WHITE ASTERS An Americanization Playlet MEMORIES A Commencement Pageant Notes on Staging, Costumes, etc. SAMUEL FRENCH Incorporated 1898 T. R. EDWARDS, Managing Director 25 WEST 45xH STREET, NEW YORK CITY Price $1.35 Postpaid FRENCH'S Standard Library Edition Includes Plays by George M. Cohan Clare Kummer Jean Webster Clyde Fitch Martin Flavin William Gillette Earl Derr Eiggers Augustus Thomas George Broadhurst Frank Craven Percy MacKaye Louis K. Parker Arthur Richman Alfred Sutro Willard Mack Sir Arthur Pinero Anthony Hope Tom Gushing Oscar Wilde Haddon Chambers Jerome K. Jerome Lee Wilson Dodd H. V. Esmond George Kelly Samuel Shipman Hermann Sudermann Eida Johnson Young Catherine Chisholm Gushing Kate Douglas Wiggin Leo Dletrichtstein Arthur Law Rachel Crothera Martha Morton Harvey O'Higgins Harriet Ford W. W. Jacobs Madeleine Lucette Eyley George Ade Edith Ellis A. A. Milne Lewis Beach Marc Connely Geo. S. Kaufman Lennox Robinson Salisbury Field Bayard Veiller Owen Davis Booth Tarkington Victor Mapos J. Hartley Manners James Forbes James Montgomery Edward Childs Carpenter Win. C. de Mille Boi Cooper Megrue Edward E. Rose Israel Zangwill Henry Bernstein Harold Brighouse Channing Pollock George Middleton Winchell Smith Margaret Mayo Edward Peple Guy Bolton A. E. W. Mason Charles Klein Henry Arthur Jones A. E. Thomas Fred. Ballard Kenyon Nicholson Cyril Harcourt Carlisle Moore Ernest Denny Laurence Housman Harry James Smith Edgar Selwyn Augustin McHugh Robert Housum. J. C. & Elliott Nugent Philip Barry Walter Hackett French's International Copyrighted Edition contains plays, comedies and farces of international reputation; also recent professional successes by famous American and English Authors. Send a four-cent stamp for our new catalogue describing thousands of plays. SAMUEL FRENCH Incorporated 1898 Oldest Play Publisher in the World 25 West 45th Street, NEW YORK CITY One Act Plays for Stage and Study FIRST SERIES Twenty-five Contemporary Plays by Well-Known Dramatists, American, English, and Irish Preface by AUGUSTUS THOMAS CONTENTS The Man Upstairs Augustus Thomas The Mayor and the Manicure George Ade The Red Owl William Gillette The Rector Rachel Crothers A Flower of Yeddo Victor Mapes Deceivers Wm. C. De Mille The Girl Edward Peple Peace Manoeuvres Richard Harding Davis Moonshine A rthur Hopkins The Dying Wife Laurette Taylor The Little Father of the Wilderness Austin Strong and Lloyd Osbourne The Robbery Clare Kummer Such a Charming Young Man Zoe Akins Judge Lynch /. W. Rogers, Jr. The Widow of Wasdale Head Sir Arthur Pinero Dolly's Little Bills Henry A rthur Jones The Man in the Bowler Hat A. A. Milne Lonesome-Like Harold Brighouse Hanging and Wiving /. Hartley Manners Op-o'-Me-Thumb Frederick Fenn and Richard Pryce Phipps Stanley Houghton Spreading the News Lady Gregory A Minuet Louis N. Parker The Ghost of Jerry Bundler W. W. Jacobs Wealth and Wisdom Oliphant Dow* SAMUEL FRENCH Incorporated 1898 T. R. EDWARDS, Managing Director 25 West 45th St., New York City 1 bound volume. Price $3.15 Postpaid YOU AND I Comedy in 3 acts. By Philip Barry. 4 males, 3 females. 2 interiors. Modern costumes. Plays 2y 2 hours. Maitland White is prosperous, still young, happily married, and devoted to his wife and only son. But he is not content, because his ambition in life is to be a painter. Fate has driven him into a business which he despises, and his heart is set upon his boy becoming a great architect. But Roderick falls in love with Veronica, and announces his intention of abandoning his profession, marrying her, and seeking a job in the factory. The father is grieved, and his wife induces him to retire from business and forget his troubles in the pursuit of art. No sooner said than done, and he succeeds in producing a picture which delights him. But everything goes wrong. His investments fail, his place at the factory is filled, and he is threatened with ruin. To add to his perplexities, Veronica breaks her engagement with Roderick in order that he may be free to follow his studies, just at the moment when there is no money to pay for them. At this juncture Mrs. White and an old friend, Geoffrey Nichols, arrange a ball, at which the picture shall be sold at auction. She invites connoisseurs and announces that $4,000 has been bid. Maitland is delighted, until he is crushed by the discovery that the purchaser is his old "boss," who proposes to use it for adver tising. He even offers Maitland his old position and rich remuneration if he will dedicate his art to the service of the factory. At first the latter spurns the proposal, but his pride is overcome by a realization of his own limitations, and he sacrifices inclination to parental duty. An especially attractive play for high schools, colleges, and Little Theaters. Price, 75 Cents. THE YOUNGEST Comedy in 3 acts. By Philip Barry. 4 males, 5 females. 1 exterior. Modern costumes. Plays 2% hours. The success of "You and I," by the same author, was recently augmented by this brilliant comedy, now published for the first time. "The Youngest" is an ingenious variation of the Cinderella theme, in which the hero, a downtrodden son, comes into contact with a charming busybody. The youngest eventually learns to assert himself, and turns upon his oppressors in splendid style. A very human and appealing comedy of contemporary American life, particularly to be recommended for production by high schools. Price, 75 Cents. (The Above Are Subject to Royalty When Produced) SAMUEL FRENCH, 25 West 45th Street, New York City New and Explicit Descriptive Catalogue Mailed Free on Request One Act Plays for Stage and Study SECOND SERIES Twenty-one Contemporary Plays, never before published in book form, by American, English, Irish, French and Hungarian Writers Preface by WALTER PRICHARD EATON CONTENTS The Drums of Oude Austin Strong Young America Pearl Franklin and Fred Bollard The Prairie Doll Edward Child* Carpenter The Passing of Chow-Chow Elmer L. Rice The Dickey Bird Harriet Ford and Harvey O'Higgins Meet the Missus Kenyan Nicholson The Same Old Thing Roi Cooper Megruv Red Carnations Glenn Hughes Saved /. W. Rogers, Jr. The Man Who Died at Twelve O'Clock Paul Green A Question of Principle Martin Flavin And There Was Light Charles O'Brien Kennedy Among Thieves William Gillette The Corsican Lieutenant Robert Housum, On the Racecourse Lady Gregory The Black Bottle Seumas O'Brien The Knife Henry A rthur Jones Claude Herman Ould The Idealist , OKphant Down At the Telephone Andre de Lordo The Host Ferenc Molnar SAMUEL FRENCH Incorporated 1898 T. R. EDWARDS, Managing Director 25 West 45th St., New York City 1 bound volume. Price $3.15 Postpaid ni LIBRARY rersity Salifornla ^^ Act Plays Stage and Study FIRST SERIES Twenty-five Contemporary Plays by Well-Known Dramatists, American, English, and Irish Preface by AUGUSTUS THOMAS CONTENTS The Man Upstairs Augustus Thomas The Mayor and the Manicure George Ade The Red Owl William Gillette The Rector Rachel Crothers A Flower of Yeddo Victor Mapes Deceivers Wm. C. De Mille The Girl Edward Peple Peace Manoeuvres Richard Harding Davis Moonshine A rthur Hopkins The Dying Wife Laurette Taylor The Little Father of the Wilderness Austin Strong and Lloyd Osbourne The Robbery Clare Rummer Such a Charming Young Man Zoe Akins Judge Lynch /. W. Rogers, Jr. The Widow of Wasdale Head Sir Arthur Pinero Dolly's Little Bills Henry Arthur Jones The Man in the Bowler Hat A. A. Milne Lonesome-Like Harold Brighouxe Hanging and Wiving /. Hartley Manners Op-o'-Me-Thumb Frederick Fenn and Richard Pryce Phipps Stanley Houghton Spreading the News Lady Gregory A Minuet Louis N. Parker The Ghost of Jerry Bundler W. W. Jacobs Wealth and Wisdom Oliphant Down SAMUEL FRENCH Incorporated 1898 T. R. EDWARDS, Managing Director 25 West 45th St., New York City 1 bound volume. Price $3.15 Postpaid FEB 1 3 llllllill"" ro QOO ? DATE DUE PRINTED IN US A