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lison's Miscellaneous
oY W& OF THE
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Descriptive
T.S.DEIMISON ^ COMPANY Pu
62? South Waba^h Ave. CHICAGO
BY WAY OF THE SECRET
PASSAGE
A COMEDY-DRAMA IN THREE ACTS
BY
LINDSEY BARBEE
AUTHOR OF
'All on a Summer's Day," "After the Game," "The Dream That Came
True," "The Kingdom of Heart's Content," "The
Thread of Destiny," Etc.
CHICAGO
T. S. DENISON & COMPANY
PUBLISHERS
BY WAY OF THE SECRET
PASSAGE
CHARACTERS.
MRS. SHERMAN The Hostess
BETTY DREW Her Niece
RUTH . . 1
RITA. . . [ House Guests of Mrs. Sherman
ALICE. . j
HANNAH A Maid
MADAME DREW Of Revolutionary Days
ANNETTE . . . . ")
CAROLINE. . . . > Her Daughters
ELIZABETH . . )
WENONAH . . . '. An Indian Maid
JOHN HARVEY Of the Patriot Army
NOTE. The character of John Harvey can easily be assumed by
a girl, if it is not desirable to have a man in the cast.
SCENE Just Out of Trenton, New Jersey.
TIME The Present.
TIME OF PLAYING About One and Three-quarter Hours.
ACT I. Hannah's story. Christmas night.
ACT II. Rita's dream. Christmas night, 1776.
ACT III. Betty's Surprise. The day after Christmas,
SETTING The living room in the Drew home.
COPYRIGHT, 1916, BY EBEN H. NORRIS.
MADE IN U. S. A.
BY WAY OF THE SECRET PASSAGE.
SYNOPSIS FOR PROGRAM.
ACT I. Betty's engagement dance on Christmas night
proves a great success and many discussions follow as the
girls chat over their chocolate. The relics of th.e Drew
home and its historic associations prove of never-failing
interest to the members of the house party, for Mrs. Sher-
man and Betty have many anecdotes and traditions to relate.
Rita rejoices in the fact that the house has both a ghost
and a secret passage. The portrait of Mrs. Elizabeth Drew,
Betty's great-great-grandmother, excites much admiration.
Hannah, a trusty servant of the house, tells the story of
Mistress Elizabeth's romantic career and declares that on
every Christmas night the ghosts of the happy pair haunt
the very room in which they are sitting. Rita begs to spend
the night in the haunted room, but is laughingly escorted
to her own bed as sleepy goodnights are said. When all is
quiet, Rita, lighted by "Lafayette's candle," appears again
and after gazing fearfully about her, cuddles into the big
chair and dreams a dream.
ACT II. Scene I. The Christmas dance ends with a
heated argument in which Mistress Elizabeth stands her
ground. Wenonah brings a message and John Harvey
gains an interview with his lady love. His secret mission
is made known to Mistress Elizabeth and the marked chart
r is put into her hands. Shots, pursuit and th.e secret passage.
Scene II. Where is Elizabeth? Many answers to the
question. The mysterious tapping. Elizabeth makes a
dramatic entrance and brings astounding news.
ACT III. "And then I awoke !" The girls urge Rita to
test the revelation of the dream by showing them the secret
passage. "Not till Betty comes !" Betty's puzzling absence
is discussed. Another mysterious tapping. Rita touches
the spring and the panel slides back. "He's waiting for me
at the end of the secret passage!"
2055223
BY WAY OF THE SECRET PASSAGE.
STORY OF THE PLAY.
Rita, Alice and Ruth are house guests of Mrs. Sherman
and her niece Betty in their home near Trenton, a Revolu-
tionary mansion with many attendant traditions. It is Christ-
mas night and all have returned from a Christmas dance
given in honor of Betty's engagement to a young army offi-
cer who is spending his holidays in Trenton while waiting
for his commission. After the usual desultory conversation
which follows in the wake of a Christmas festivity, Rita
roams restlessly around the room, admiring and comment-
ing upon many interesting and historic things The ques-
tions concerning the family portraits are answered by Mrs.
Sherman and Betty, with, many anecdotes and traditions, and
Rita, charmed by the atmosphere of the place, declares that
all it needs to make it quite perfect is a ghost and a secret
passage. Mrs. Sherman laughingly asserts that both ghost
and secret passage are included in the family associations
and calls upon an old family servant for a "story." Hannah
tells the story of a Christmas night in '76 when a certain
Elizabeth Drew, a loyal little patriot in the midst of a
staunch Tory family, aided and abetted Washington's army
in its sudden descent upon the Hessians at Trenton. For
the story went her lover was with the patriot army, and
on this historic night she not only effected his escape by
means of the secret passage, but also carried an important
message to headquarters and subsequently married him.
Wherefore according to tradition each Christmas night
th.e ghosts of the happy pair walk and talk together in this
very room, and may be seen by those who have the inner
eye. Rita begs to sleep in the "haunted room," but Mrs.
Sherman laughingly objects, and Betty refuses to reveal the
whereabouts of the secret passage until the morrow. After
all have retired, Rita steals into the room, curls up in the
big chair, prepares to keep vigil and falls asleep.
Her dream is portrayed in the second act. Mistress Eliz-
abeth's defiant defence of the patriot cause ; the stolen inter-
view with her lover; his discovery and his flight by thi
BY WAY OF THE SECRET PASSAGE. 5
secret passage; her sudden decision to carry the message
to headquarters and its dramatic consequences, all come to
Rita in slumberland, and when the morning comes she tells
her thrilling story. Betty has been called into the city by
a mysterious telephone message and Rita absolutely refuses
to reveal the secret passage until her return. All of a sudden
a faint tapping is heard, a tapping which, upon investiga-
tion, seems to come from beyond the wall. Rita touches the
spring and the panel slides back revealing Betty, flushed
and excited. After a storm of questions she gives the fol-
lowing account of her movements. By appointment she has
met her soldier lover for a morning ride. She finds he has
received his commission, and, yielding to his urgent pleas,
marries him. Like Elizabeth of old, she decides to bring
the news by way of the secret passage.
CHARACTERS AND COSTUMES.
MRS. SHERMAN Vivacious, thoroughly up to date.
RUTH, RITA, ALICE Typically modern in every respect.
All wear elaborate evening gowns and coats in first act.
Simple morning gowns in last act.
BETTY DREW Bright, audacious, full' of life. She wears
an evening gown in the first act, a riding suit in the last.
HANNAH Quiet and dignified. She wears conventional
maid's costume with white apron. She should be middle-
aged in appearance.
MADAME DREW Haughty and imperious.
ANNETTE AND CAROLINE Argumentative and self-assert-
ive.
All wear evening gowns of the time of the Revolution in
Scene I. Morning gowns of the same period in Scene II.
ELIZABETH Quick in repartee, self-willed, a trifle defiant
but altogether charming. She wears quaint and elaborate
evening gown, with long dark coat in Scene II.
JOHN HARVEY Earnest, impulsive and enthusiastic. He
wears long military coat, soft hat and high boots.
WENONAH Stolid, slow of speech. Wears the Indian
garb of those days.
BY WAY OF THE SECRET PASSAGE.
PROPERTIES.
ACT I Grand piano and piano bench with rug ; music for
piano. Colonial sofa ; two colonial chairs ; colonial table
with old-fashioned mirror above ; hassock ; old-fashioned
desk and chair; three large oil paintings, two of women in
old-fashioned costumes, one of a man in colonial dress ; two
brass candlesticks with candles, matches, bric-a-brac, books,
etc., for mantel ; andirons, hearth set and simulated fire for
fireplace ; vase of flowers for table ; rugs, drapes, curtains ;
pillows for sofa; switch for electric lights; call button;
sliding panel. Evening coats and dance programs for Mrs.
Sherman and the girls. Engagement ring for Betty. Tea
cart, chocolate pot, cups and saucers, napkins for Hannah.
Christmas greens and mistletoe if desired.
ACT II Candelabra and lamps for piano and table ; two
candlesticks with lighted candles for mantel ; old-fashioned
curtains for windows ; old-fashioned piano if possible ; even-
ing cloaks, gloves, etc., for Madame Drew and her daugh-
ters. Slouch hat and paper for John. Long dark coat for
Elizabeth. Sewing for Madame Drew.
ACT III Embroidery for Ruth. Duster for Hannah.
Wedding ring and riding crop for Betty.
SCENE PLOT.
Doorh
OHassock Desk ' Mantel ' L__J \
Window Desk-chair
Door
'Q Table D Chair Piano
Bench/
Q Chair
,H/ Piano
STAGE DIRECTIONS.
R. means right of stage; C., center; R. C., right center;
L., left ; U. E., upper entrance ; 2 E., lower entrance, etc. ;
D. F., door in flat or scene running across the back of the
stage ; up stage, away from footlights ; down stage, near
footlights. The actor is supposed to be facing the audience.
BY WAY OF THE SECRET
PASSAGE
ACT I.
SCENE: Living room in the Drew home. Full stage.
Large door R. of C. in F, revealing hall beyond with wain-
scot backing. Practical door L. U. E. Windoivs R. U . E.
and R. 2 E. Mantel and open fireplace with andirons; hearth
set, etc., at C. in F. Desk and desk chair R. of mantel.
Sofa L. of mantel. Grand piano and piano bench covered
with Oriental rug, L. 2 E. Table between ztnndows with
old-fashioned mirror above. Large chair at C. and at R. 2 E.
Hassock at R. U. E. Large gold-framed paintings above
the desk, the mantel and the sofa. Handsome rugs, cur-
tains and drapes. Books, bric-a-brac and two brass candle-
sticks with candles for mantel. Pillows for sofa. Vase of
floivers for table. Music for piano. Simulated fire for
grate. Call button by door L. U. E. Switch for electric
lights R. of door in F. For use in second and third acts,
a sliding panel should be made in wall L. of mantel.
All furniture should be colonial in st\le. The subjects of
the paintings should be in old-fashioned costumes. If pos-
sible, old-style chandelier or side lights. Christmas deco-
rations if desired.
At rise, stage is well illuminated and clear.
Enter MRS. SHERMAN, RITA, RUTH and ALICE at R. of
C. in F., MRS. SHERMAN in advance.
MRS. SHERMAN (advancing to chair at C, followed by
ALICE). Lights all on for us. Are you too tired, girls, for
a cup of chocolate?
RITA (throwing coat on hassock R. U. E). Too tired?
Do we look it?
RUTH. Too tired? That's just your pretty, tactful way
of saying, "Hungry again, girls?"
8 BY WAY OF THE SECRET PASSAGE.
ALICE (as MRS. SHERMAN attempts to unfasten her coat~).
May I help you? (Unfastens the coat and lays it on piano.)
MRS. S. Thank you, Alice. Ruth, dear, will you ring for
Hannah? (Ruxn touches call button by door L. U. E. and
throws her coat on sofa.) And Rita, are you clever enough
to resurrect a bit of fire? (RiTA takes poker and stirs up
fire.) Your chaperone will rest now, an it please you.
(Seats herself in chair at C.)
Enter HANNAH, L. U. E.
MRS. S. Hannah, will you make us some of your good
chocolate? (Looks around.) There are four of us and
Miss Betty will be here in a moment.
HANNAH. Yes, Mrs. Sherman. (Exit L. U. E.)
RITA (zvarming her hands at fire). This is some Christ-
mas day ! 'Twixt the holly berry and everybody's nose there
is no difference.
ALICE (seating herself on piano bench and throwing her
coat beside her). Why don't you say lips instead of nose
it's so much more poetical.
RUTH (crossing to unndozv R. U. E. and raising shade).
Hasn't it been a Christrrras-y Christmas? Lovely crunchy
snow, frosty air, sleighbells
Enter BETTY, R. of C. in F.
BETTY. Communing with nature, Ruth, or merely count-
ing the stars ? Or (tragically) can it be that you were spying
upon Jack and me?
MRS. S. Why didn't Jack come in for a cup of choco-
late?
BETTY (crossing to RITA at fireplace)* Dear Auntie, how
could he know of such midnight dissipation? Anyway, I
thought it was time for him to go.
RUTH (coming to chair R. 2 E. and seating herself). So,
I suppose he went
BETTY (languidly sinking into desk chair and slipping her
coat from her shoulders) . A soldier's first duty is obedience.
RITA (crossing room and dragging hassock down R.
toward C.). Well, Betty, it has been one grand, glorious
engagement party. I'd be the cockiest girl in America if I
BY WAY OF THE SECRET PASSAGE. 9
could be so launched upon the sea of matrimony. (Throws
coat from hassock to back of chair R. 2 E. and seats herself
on hassock.)
BETTY. Dear child, your figure of speech is poor.
"Launched upon the sea of rrratrmony" might appeal to the
prospective wife of a naval officer, but it doesn't make a hit
with anyone who intends to marry an army man.
RITA. Well, then, how does "Plunged upon the battle-
field" do?
BETTY. Savors too much of domestic warfare. Try
again.
RITA. My, but you're hard to please.
BETTY. Why shouldn't I be ? It's no small responsibility
to live up to a man who has more virtues even than brass
buttons. (Holds out hand and flashes her engagement
ring.)
MRS. S. (laughingly). My dear, my dear, do you realize
that every engaged girl since the beginning of time has given
the world this very sentiment, expressed in different words?
BETTY. Oh, no, Auntie ; you're mstaken. No other en-
gaged girl has ever had such an inspiration for rhapsodies.
RUTH (shrugging her shoulders). Just you wait. Brass
buttons tarnish.
BETTY (composedly). Not to such an extent that they
can't be polished up.
ALICE. And if you don't mind my saying so, mere sins
of omission would rather get on my nerves.
BETTY. You prefer one of commission, I suppose. Well,
at present I should too at least the military commission
that has its origin in Washington. For just as soon as that
comes presto, change we jump upon the honeymoon ex-
press and dash away into the Land of Connubial Bliss.
RITA (groaning). More figures of speech. My head is
reeling from them.
BETTY. And my feet are still keeping time to that last
delicious dance. (Rises and rushes to MRS. SHERMAN.)
Up, Auntie. Hie you to the piano and we'll have a final
whirl in honor of the day! (MRS. SHERMAN protests but is
dragged by all four to the piano. She strikes up a spirited
10 BY WAY OF THE SECRET PASSAGE.
time and the four girls engage in a gay modern dance ivhich
is interrupted by the entrance of HANNAH, L. U. E., with
a tea cart bearing chocolate pot, cups and saucers and nap-
kins.}
MRS. S. {reseating herself at C.). Hannah, you've saved
the day or is it night ? For something to drink is the only
thing that will settle this mad crowd.
RITA. Something to drink usually has the opposite effect
I've been told. Beware, my friends, of too much Christmas
spirit. (The girls seat themselves as before. HANNAH
wheels cart R. of MRS. SHERMAN, passes the chocolate and
then, at a nod from MRS. SHERMAN, u'itli drains L. U. E.)
ALICE (after a pause). Oh, I just hate to go to bed!
RUTH. Who dares to say anything about bed?
ALICE. Well, we're obliged to go sometime, aren't we?
RUTH. I don't want to think that this day can ever
end. It's been just one succession of wonderful events ever
since we emptied our stockings early this morning.
ALICE. All due to our hostesses. Any particular joy that
Betty doesn't think of, Mrs. Sherman does.
MRS. S. That's prettily said, Alice. Will you allow the
hostesses to say that seldom have they had such inspiration
for their efforts?
ALICE. That's prettily said, too.
RITA. This house is a delight to me something new and
interesting each day. Why, I can scarcely close my un-
worthy eyes in sleep for looking at my particular bed. Imag-
ine sleeping with the hours carved above your head, festoons
of poppies at your feet and two dear cherubs for foot posts
one with finger on mouth to represent silence, the other
holding an hour glass to remind you that tempus fugit. .
MRS. S. A Florentine bed. It has been in the family
since the beginning of time.
RUTH. There's a real Chippendale desk in my room.
BETTY. Belonged to a literary ancestor, dear. She wrote
such gems as "Lines on a Fallen Leaf" and ''After Dancing
with A. B. C."
ALICE. Well, I wouldn't trade the little old-fashioned
worktable in my room for all of that. It has brass snuffers
BY WAY OF THE SECRET PASSAGE. 11
MRS. S. And was the property of my grandmother. If
you peep into the little drawer, you'll find the thimble she
used when fashioning all the dainty bits that went into her
wedding chest.
RITA (rising and walking toward mantel). Everything
has a history that's what makes it all so thrilling. Why,
I suppose even this candlestick has been soaked with asso-
ciations. (Takes candlestick from mantel.)
BETTY. More likely with candle grease.
MRS. S. Those identical candlesticks, Rita, were used by
Lafayette when he passed the night at the home of our
Revolutionary ancestor.
BETTY. Notice that we say our Revolutionary ancestor
singular number. Most of our progenitors were hot, pep-
pery, old-fashioned Tories, and this particular patriot stands
forth "fair as a star, when only one is shining in the sky."
RUTH (rising and placing cup and saucer on tea cart).
The old mirror is my favorite. (Goes to mirror above
table.) I wonder how many belles of ancient days it has
reflected.
BETTY. Lots of 'em our family has always been fond
of primping.
ALICE. The lady above the mantel is downright magnifi-
cent. She takes my breath away.
BETTY. Quite so. She took away her husband's, too.
When he came to die he had no fear of the King of Ter-
rors he had lived with the Queen too long.
MRS. S. (reprovingly). Betty! Betty! What will the girls
think ! Alice, the lady in question simply lived ahead of her
time and was correspondingly assertive, efficient and we
must admit it domestically tyrannical. Her youngest son
came to America and founded this branch of the family.
(Places cup on tea cart.)
RITA (placing cup and saucer on tea cart). Whose picture
is above the desk? (Seats herself R. 2 E.)
BETTY. That is the youngest son, previously mentioned.
He was a gay old sport according to reports. Slew Indians
by the ten thousands, burned witches with impunity, was
12 BY WAY OF THE SECRET PASSAGE.
a terror of the road on week days and a pillar of the church
on the Sabbath.
MRS. S. Betty, stop your nonsense and ring for Hannah.
BETTY (rising). But I like him just the same for he
had the courage of his convictions and established his rights
in this new world. (Pushes button). I like men who ac-
complish things who fight for what they want who stand
for real principles who (hesitates)
ALICE. Wear brass buttons.
BETTY. Exactly. How did you guess it?
RUTH (seating herself on hassock). Don't stop the illus-
trated lecture, but tell me about her. (Points to picture
above sofa.)
BETTY (curtsying). Allow me to introduce Elizabeth
Drew, my great-great-grandmother, of whom I am the un-
worthy namesake. Step up ladies and gentlemen, and take
a closer view.
Enter HANNAH L. U. E. She takes BETTY'S extended
cup, also ALICE'S and places them on the tea-cart, lingering
as she does so.
RITA (enthusiastically). Isn't it delicious? All that you
need to make everything quite perfect is a ghost oh yes,
and a secret passage.
MRS. S. Suppose we tell you that we have them both.
RITA (clasping her hands). Really?
BETTY. Every well regulated family has a ghost, al-
though I believe it's usually called the skeleton in the closet.
RITA. But a real ghost a real secret passage
MRS. S. And a real story! (Glances at HANNAH, who
stands back of her.} Suppose we have Hannah tell us
about it.
RUTH (rsing and pushing HANNAH on hassock). A story
a story! Sit right here. (As HANNAH resists.) Oh, you
must you must! (HANNAH glances inquiringly at MRS.
SHERMAN.)
MRS. S. (nodding). Yes you must. It's just the story
for Christmas night. (RUTH crosses back of C. and sits
on floor L. of MRS. SHERMAN.)
BY WAY OF THE SECRET PASSAGE. 13
RITA. But I want to hear of the ghost the secret pas-
sage and
BETTY (seating herself on piano bench by ALICE). Dear
child, it is Christmas, ghost and secret passage all rolled
into one and only Hannah can describe the bargain in sat-
isfactory terms.
HANNAH. You see, Miss Rita, my mother was hous-
keeper in the Drew family and her mother before her. The
stories have been told me so often that it's natural for me
to feel a part of them all.
MRS. S. Just as it's natural for the Drew family to feel
that grandmother, mother and daughter have been very in-
dispensable to its welfare and happiness.
HANNAH (smoothing her apron). It was in 1776, you re-
member, that
ALICE (interrupting). Now, Hannah, begin with "Once
upon a time" that makes it a real story.
HANNAH. Well, once upon a time Mistress Elizabeth
Drew lived in this very house with her mother and two
sisters and a very wilful and independent young lady she
was
RUTH (interrupting). Now we understand why Betty
bears her name.
HANNAH. Those were Revolutionary days and families
were divided against each other. Madame Drew and two of
her daughters were strong Tories, but Mistress Elizabeth
chose to differ and became a staunch little rebel. To make
matters worse, her lover joined General Washington's
forces.
RITA (sighing). Another soldier lover! It does run in
the family.
HANNAH. The British had set the Hessians to guard
Trenton and on Christmas night, 1776, there had been great
carousal in the camp, for they were given to cards and drink.
Washington, as you remember, chose this night to cross the
Delaware and surprise the Hessians, and as a sort of spy
he sent on this patriot lover of Mistress Elizabeth, who was
to find the weak places in the camp of the enemy and report
to the general at the moment of his landing
14 BY WAY OF THE SECRET PASSAGE.
ALICE. Don't tell me he was drowned or shot, or
BETTY. Of course not, silly. How could there be a story
without the hero ?
HANNAH. A Christmas ball had been given in the town,
from which Madame Drew and her daughters returned very
late. Hot words had been said about the patriot cause and
Mistress Elizabeth was in a defiant mood. So, when a trusty
little maid told her that her young lover was lurking around
trying to get a glimpse of her, she forgot the danger of his
being there in a Tory house, opened that door (pointing to
L. U. E.) and called him in, while the little maid kept guard.
(She pauses, girls come closer in their interest.) Now, John
Harvey for that was his name was a very foolish fellow,
for after he had found out what he wished to know about
the Hessians and where the camp was open to attack, he
would have been quite safe had he kept hidden. But no, he
must get a word with his lady, and being young and very
much in love, he ventured forth.
RUTH. If he hadn't we shouldn't have had the story.
Go on, Hannah.
HANNAH. Hardly had he told Mistress Elizabeth of his
important mission and important news and how he feared
pursuit, when the little maid rushed in, shaking with fright,
and declaring that the house was being watched by two
Tory soldiers. Then, I have no doubt, Master Harvey re-
alized how foolhardy he had been and how he had no right
to risk his life unnecessarily when he was in his country's
service. There was the clank of a sword, the sound of a
footstep (BETTY rises noiselessly and goes to witch R. of
door in F.) the flash of a lantern (BETTY turns off the
lights).
MRS. S. (in alarm). Why (turning around) Betty!
BETTY (raising her finger). Sh-h-h ! We are now ap-
proaching the first mention of the secret passage. We shall
soon have our first news of the ghost. It is right, seemly
and most appropriate that we be in utter darkness. (Stands
back of MRS. SHERMAN.)
HANNAH. Mistress Elizabeth had to think for two. So
her mind turned to the secret passage, knowing that it led to
BY WAY OF THE 'SECRET PASSAGE. 15
the lower garden where the horse was tethered. In a jiffy
she started him on his way, then slid back the panel into its
proper place and waited. Soon came a pistol shot, another ;
then the sound of horses' hoofs on the smooth, hard-trodden
snow, and the knowledge that the Tory soldiers were hot in
pursuit.
RITA. Then I supposed she fainted.
HANNAH. Not Miss Elizabeth. She had too much at
stake. Her lover was due to report to Washington. Sup-
pose he had been captured, or wounded, or killed ! What of
the message? Without hesitation she threw a long, dark
coat over her ball dress and entered the secret passage.
RITA. Bully for her
ALICE. Oh, the story quick, quick !
HANNAH. Well, Master Harvey was wounded and cap-
tured ; but he managed to escape and arrive at headquarters
a few moments after Mistress Elizabeth, had given the mes-
sage. Of course there was only one end to the story. So
the two were wedded immediately with the good General's
blessing. (Rises.)
RUTH. Did they live happily ever after?
HANNAH. So happily that every Christmas night their
ghosts come back to this very room. (Moves to L. U. E.
with tea cart.) And now, Mrs. Sherman, allowing me to
say it, all of you should go to bed.
RITA. Bed, after knowing that the ghosts are here right
now? (Looks over shoulder.}
ALICE. Don't look so supernatural, Rita. You make the
creeps go up and down my spine. Oh, do let's go to bed.
BETTY (turning on lights and yawning}. So say we all
of us.
RITA (rising and seising both of BETTY'S hands}. Not a
step ! Betty, do ydu know where that secret passage is ?
BETTY. I certainly do.
RITA. Then tell me this minute or
BETTY. Or what?
RITA. I'll invoke the spirit of your ancestress.
BETTY. According to tradition, she's already here. You
can't scare me
16 BY WAY OF THE SECRET PASSAGE.
RITA. Then tell me, Betty where is the secret passage ?
(Looks curiously around.}
BETTY. Tomorrow I'll demonstrate but not tonight.
RITA. Then I'll find out for myself. I will, I will!
HANNAH (at L. U. E.}. Good night, Mrs. Sherman.
Good night, young ladies.
ALL. Good night.
RUTH. And think up another story for tomorrow, Han-
nah. (Exit HANNAH, L. U. E.}
MRS. S. (rising and taking coat from piano}. I'll let you
all sleep extra late in the morning so that we may make up
for this extra dissipation.
RITA. Oh please, Mrs. Sherman please, Betty please,
everybody let me sleep here tonight. Why, it's a chance
that will never come my way again, and I'd never forgive
myself if I refused to hobnob with a ghost. Think of what
I might add to science think of the data upon spiritual-
ism I might give to the world.
MRS. S. And think of the nervous wreck I'd have on my
hands. No my dear, your rest is worth, more than any tra-
ditional ghost. (Moves around, straightens pilloivs, etc.}
ALICE (rising, taking coat and walking toward R. of C.
in F.) Anyway, there's no place to sleep.
RITA (leaning over back of chair at C.}. This is as good
as any bed.
BETTY (taking RITA'S coat from chair at R. 2 E. and
throwing it around RITA'S shoulders). Better than your
Florentine bed? Heresy!
ALICE (turning and yawning}. Oh, hurry up! (BETTY
takes RITA by ear and inarches her R. of C. in F.)
MRS. S. (hurrying to mantel}. Wait, Rita! (BETTY and
RITA turn. MRS. SHERMAN takes candlestick from mantel
and lights it.} As a peace offering, take Lafayette's candle
and light yourself to bed. (Hands candlestick to RITA.)
RUTH (rising, crossing to sofa and throwing her coat
over her arm}. Wait, and let me guard the other side of
the prisoner. (Exeunt RUTH and BETTY until RITA between
them, R. of C. in F.}
MRS. S. (with hand on electric light switch): Ready,
BY WAY OF THE SECRET PASSAGE. 17
Alice? (ALICE nods and goes out R. of C. in F.) Then
out goes the light. (Turns out light and exit R. of C. in F.
Stage clear.)
BETTY (behind the scenes). "How far this little candle
throws its beams !" Look out for that step, Ruth. (Sound
as if climbing steps.)
RUTH (plaintively). Oh, please hurry. I'm so sleepy
that (fretfully) stop poking me, Alice.
ALICE. Well, the ghost is poking me.
RUTH. Ghosts don't poke.
ALICE. And .1 can feel it brush past me. Ugh !
BETTY. Don't call my famous ancestress it. She objects
and I object. Here's your door, Rita
RITA. I want to sleep downstairs
BETTY. Nay, nay, fair love. Good night and pleasant
dreams. (Sound of door being shut.)
RUTH (sleeply singing) Good night, ladies ! (The others
take up the strain, sing through one verse the sound grad-
ually dies ai(.<ay. Silence for a few moments.)
Enter RITA, R. of C. in F. in fancy negligee and slippers,
hair unbound, carrying the lighted candle. She peers ner-
vously around, pulls shades doztm as far as possible, glances
in mirror, holding the light high above her head and finally
seats herself in chair at C. Once more she turns nervously
around, then blows out the candle, sets the candlestick on
the floor and cuddles into the chair.
CURTAIN.
18 BY WAY OF THE SECRET PASSAGE.
ACT II.
SCENE I : Same setting as in Act I with a few changes.
An old-fashioned piano and stool, if possible, should take
the place of the more modern instrument. The rase of
flowers, the switch for electric lights, the call button and
all modern trifles should be removed. Curtains of the colo-
nial days should be at the windows. Lighted candles on
mantel and lamps or candelabra on pianv and table should
furnish the light. If Christmas greens are used in both
acts, the arrangement in Act II should be different from
that in Act I. Stage is clear and well illuminated at rise.
ELIZABETH enters hastily from R. of C. in F. and crosses
to C., where she stands, throwing her cape to chair and defi-
antly pulling off her gloves. She is followed by MADAME
DREW, ANNETTE and CAROLINE. ANNETTE and CAROLINE
throw their long capes on sofa. MADAME DREW folloivs
ELIZABETH to C.
ELIZABETH. No, mother, I shall never again drink a
toast to His Majesty the King never! (Stamping foot.)
Never! I
MADAME DREW (angrily). Elizabeth! (Sinks on chair
R. 2 E.)
ELIZABETH. I couldn't be true to my conscience and pro-
pose the health of a man who has tried to crush the spirit
of liberty in his own people, to dictate where he should only
advise who is a narrow, selfish tyrant who
ANNETTE (rushing to ELIZABETH and placing hand over
her mouth). Hush, Elizabeth, hush! You must not say
such things you must be more careful or something will
happen, somebody will hear
ELIZABETH (sarcastically). "Something will happen,
somebody will hear!" Annette, do you think I'm afraid!
CAROLINE (angrily). Well, you will be, when a red-
coated soldier comes your way!
ELIZABETH (tossing her head). Oh, no I won't, Caroline.
There'll be a blue and buff one to rescue me.
BY WAY OF THE SECRET PASSAGE. 19
MADAME D. Elizabeth, this nonsense must stop. We
have endured enough from you, and only our position as a
family, together with our recognized loyalty to the king, has
saved you from unpleasant situations. Fortunately people
regard this attitude of yours as the harmless poise of an
emotional girl.
ELIZABETH. Oh, do they ! Then it's my duty to let them
know that the poise consists of decided opinions ; that
CAROLINE (interrupting'}. Please don't disgrace us pub-
licly again. (Seats herself on sofa.) Tonight, when you
refused to drink the toast to the king, I could have died
with mortification.
ANNETTE. It was worse than meeting the enemy. (Flops
on the piano stool.}
ELIZABETH. The only enemy that you fear, my dear
sister, is, "What will people say?"
MADAME D. Public opinion is not to be scorned. Eliz-
abeth, you are the daughter of a house whose loyalty
to royal word has been traditional ; whose every associ-
ation has been identical with that of the mother country.
You are making no requital when you pledge your adher-
ence to a rebellious faction.
ELIZABETH (kneeling by her). Mother, can't you un-
derstand that it is a question of principles with me?
MADAME D. Principles ! Nonsense. You should have
no principles contrary to those of your family.
CAROLINE. You should have no allegiance to anyone
save the King!
ELIZABETH (rising). The King (Scornfully.) The
King! Let him be careful or he'll forfeit the name. Tyr-
anny cost one monarch his head ; another his throne.
(Advances to C.)
ANNETTE (whispering). Hush! Someone may be list-
ening.
ELIZABETH. Who cares? I've nothing to be ashamed of .
CAROLINE (spitefully). But we have.
ELIZABETH (turning). Meaning me?
CAROLINE. Meaning you. It is not reasonable to sup-
pose that we enthuse over your conduct.
20 BY WAY OF THE SECRET PASSAGE.
ANNETTE. And we are not particularly proud of your
admiration for a fanatical crowd that is too narrow-minded
and mercenary to pay an ordinary tax to its mother country.
ELIZABETH. Do you think for a moment that a paltry
forty thousand pounds a year is at stake?
CAROLINE. Then what is it, pray?
ELIZABETH. The right of petition, the privilege of self-
taxation, the liberties of popular assemblies. (Leans on
back of chair.')
MADAME D. Fiddlesticks ! It all results in one thing
disloyalty and rebellion to the King.
ELIZABETH (turning). No, mother. At the beginning
of the trouble the King had no more loyal subjects than
those in America. Had he recognized the fundamental
principles of English liberty
MADAME D. (rising and pulling down curtain at window
R. U.E.). You're talking like a book. What are the "fun-
damental principles of English liberty," as you call them?
ELIZBETH. The substance as well as the form of self-
government.
CAROLINE (scornfully). And do you think that this
handful of untrained men can stand against the disciplined
troops of the British?
ELIZABETH. Wait and see.
ANNETTE (petulantly). We are waiting. The result
will be that the rebels will be placed under heavier penal-
ties for their insubordination, and that those who have been
loyal to the King will profit thereby.
ELIZABETH. Again I say, wait and see.
ANNETTE. Again I say, we are waiting.
CAROLINE. Lexington and Concord have meant nothing
to the provincial cause.
ELIZABETH (ironically). The British made a splendid
retreat. The Americans could hardly keep up with them.
ANNETTE. And surely, Bunker Hill was a British victory.
ELIZABETH. It's a great thing, of course, to win from
adversaries who have no ammunition.
MADAME D. (coming doivn R. to R. 2 E.). What can
you say of Long Island White Plains? Why, the Colo-
BY WAY OF THE SECRET PASSAGE. 21
nists' cause is already doomed. Their general has been
forced to retreat into Pennsylvania ; their troops are al-
ready dwindling; it is merely a matter of days until they
surrender.
ELIZABETH. Washington is not yet beaten, nor is he
wholly discouraged. If you don't mind my repeating it,
wait and see.
MADAME D. It's such a forlorn hope. It will mean
nothing but humiliation for all those concerned. Don't
be foolish, Elizabeth.
ELIZABETH. Just what is it that you wish me to do?
ANNETTE. Stop talking, for one thing.
MADAME D. (laying hand on ELIZABETH'S arm). Insure
your position in royalist society by severing all interest in
this mistaken rebellion.
CAROLINE (sharply). Give up John Harvey.
ELIZABETH. And why?
ANNETTE. He isn't your equal.
ELIZABETH. His family is quite as good as ours ; a little
better, if facts be known.
MADAME D. His enlistment in the Colonial army has
forfeited all right to family ties. (Seats herself at C.)
ELIZABETH. There are many to dispute that point,
mother. As a trusty aide to General Washington, he is
quite living up to family traditions, I think.
CAROLINE. Well, the question is, will you give him up?
ELIZABETH. To that and all other requests of a similar
nature most decidedly, no!
ANNETTE (rising). Oh, I'm so tired. War, war
everything war ! Our town guarded by a lot of Hessians
ELIZABETH (interrupting). Who have been hired by the
British (scornfully) hired!
CAROLINE. It isn't fair it isn't fair! Soldiers instead
of suitors, bugles instead of serenades, drills instead of
ANNETTE. Minuets! Come, let's have one. (Seises
CAROLINE and pulls her to her /eet.) Just to drive away
the thought and talk and worry of it all. (Turning.)
Elizabeth, will you play for us?
22 BY WAY OF THE SECRET PASSAGE.
ELIZABETH. I'm in no mood for music. (Crosses and
stands at side of piano.}
ANNETTE. Then, mother. (MADAME DREW protests.)
Oh, you must; you must! (ANNETTE and CAROLINE force
her to piano stool.) And (glancing at ELIZABETH), be
sure that you weave into the music the strains of "God
save the King!"
CAROLINE and ANNETTE dance a stately minuet. ELIZA-
BETH silently ivatches them. Just before the end of the
dance, WENONAH, an Indian maid, appears in the door-
ivay R. of C. in F. and stands irresolute, unseen by all
save ELIZABETH. ELIZABETH, seeing her, starts forward,
but WENONAH lays a finger upon her lips in token of si-
lence and quietly withdraws.
MADAME D. (rising from piano). Not another note,
girls. We're all tired and surely you've had enough danc-
ing for one night. To bed, all of you. (CAROLINE and
ANNETTE listlessly take their coats from sofa and go
slowly out of door R. of C. in F., yawning and talking
together.')
ELIZABETH. I'll put out the lights mother.
Enter WENONAH, R. of C. in F.
ELIZABETH. Here's Wenonah, and she'll help me.
MADAME D. (seeing WENONAH). Why are you up,
Wenonah? Surely your mistress can do without you on
this particular night.
ELIZABETH (hastily). It's Wenonah's pleasure to wait
for me. Perhaps she wants to hear about the ball.
MADAME D. Hasten, then, and be sure that the windows
are fastened. There are many marauding soldiers these
nights and one can't be too particular. Good-night, Eliza-
beth, and think carefully over what has been said to you.
(Exit R. of C. in F.)
(ELIZABETH stands motionless for a few moments until
all is still, then seises WENONAH and draws her to C.)
ELIZABETH. Wenonah, what is it?
WENONAH. He waits there. (Points outside.)
BY WAY OF THE SECRET PASSAGE. 23
ELIZABETH (excitedly). He John? No, you are mis-
taken.
WKNONAH (shaking head). No he wait. He say put
light in window when alone. (ELIZABETH seises candle from
mantel and rushes to window. She is about to place it in
ivindow, when WENONAH catches her arm.) No danger.
I tell him I bring him (inquiringly) here?
ELIZABETH (replacing candle on mantel). Here, We-
nonah here. Quickly quickly. (Exit WENONAH, L. U. E.)
In a few moments she reappears, ushering in JOHN
HARVEY, wearhig a long army cape, high boots and a hat
pulled over his eyes.
ELIZABETH (holding out hands). John John!
JOHN (throwing off hat and rushing to her). Betty!
Oh, it's worth a thousand risks just to see you again ;
just to hear your voice just to know that it's you !
ELIZABETH (anxiously). A thousand risks, John. What
do you mean ? Are you in danger ?
JOHN. A man is seldom out of danger these days,
Betty. I'm just in a little more deeply tonight that's all.
ELIZABETH. You mean
JOHN. I've been followed.
ELIZABETH (going to WENONAH, who is standing L. U.
E.). Wenonah, watch outside watch carefully. Keep
hidden, and if you see a soldier a soldier, Wenonah or a
stranger, come back and let us know. Do you under-
stand ?
WENONAH. I understand. (ExitL.U.E.)
ELIZABETH (pushing JOHN in chair at C.). Sit there.
Rest while you can. (Drags hassock from R. U. E. beside
him and seats herself). Now, tell me all. Why are you
here ? Why
JOHN. I must tell you quickly, for there is only a mo-
ment. Washington is crossing the Delaware now and he
will attack the Hessians' camp early this morning. He
sent me on to find the weak places in the defence of the
camp. I am to report to him upon his landing.
ELIZABETH. He sent \ou he trusted vou that much !
24 BY WAY OF THE SECRET PASSAGE.
JOHN. The Hessians are in the midst of high carousal.
The camp is carelessly guarded. (Takes paper from
pocket and points as he explains.} See here and here
and here an attacking army might easily enter and as
easily overwhelm. (ELIZABETH takes the paper and closely
examines it.} It is our chance our chance and we must
not fail.
ELIZABETH. You said you were followed.
JOHSN. I was ; but they've lost my trail. One would
hardly look for a Continental soldier in a Tory house, I'm
thinking.
ELIZABETH. Oh, I wish it were not a Tory house, John.
I truly do.
JOHN. You're a brave little rebel, Betty, and I know
you have many battles to fight these days.
ELIZABETH. Oh, I do, John. I do. They can't under-
stand.
JOHN (quickly}. They can't accept your standard and
they won't accept me. Is that it? (ELIZABETH nods.} Are
you sorry, Betty, that you've championed our cause that
you've cast your lot with mine?
ELIZABETH (proudly}. Sorry? Sorry, when I know
I'm on the side of right? When just having you has made
me the proudest and happiest girl in the United States-
that is to be ?
JOHN (bending over her}. Betty Betty!
ELIZABETH. Is everything so desperate as they tell me?
Is the enemy so strong?
JOHN. We've had dark days, Betty, but brighter ones
are coming, and nothing is impossible with General Wash-
ington at our head. Think of him now, crossing that
frozen river dauntless amid discouragements and dangers
that would crush any other man.
ELIZABETH. And trusting you to help him in this great
move. Oh, I'm proud, John; very proud. (Looks at
paper.} This means much to him, doesn't it?
JOHN. It means almost the certainty of victory.
Enter WENONAH, L. U. E.
BY WAY OF THE SECRET PASSAGE. 25
ELIZABETH (rising). Wenonah, what is it?
WENONAH (in terror). Horses down there. (Point-
ing.) Soldiers around house listening watching.
JOHN (rising). They've tracked me. I'm sorry, Betty.
It's hard on you and I should never have risked this chance
of seeing you.
ELIZABETH. Oh, John, it's of you I'm thinking you
and the message.
JOHN (grimly). Not for a moment will I fail, Betty.
My hpnor is at stake. The country is in need, and noth-
ing shall stop me. (Takes hat and prepares to go L. U. E.)
ELIZABETH (catching his arm). John, you can't go that
way. It will mean death to you. Wait. Let me think.
(Suddenly.) Where is your horse?
JOHN. Down in the garden.
ELIZABETH (excitedly). Then I can save you! I can
save you ! Look ! (Rushes to mantel, touches spring and
slides back the panel, revealing secret passage.) This is
the secret passage of our house. It leads to the garden.
Here (places lighted candle in JOHN'S hand), follow the
path it will take you to the summer house. They will
not be watching for you there. You can make your escape.
Oh, hurry, hurry! QOHN enters passage.)
JOHN (turning). Bless you, Betty and goodbye!
ELIZABETH. Goodbye, John goodbye. (Shuts panel.)
Watch, Wenonah, watch. (Exit WENONAH, L. U. E.)
There is a tense silence for several moments. Then a
pistol shot rings out another and still another. WENONAH
rushes in from L. U. E.
WENONAH. They follow they shoot!
ELIZABETH (to herself). If they wound him, if they
capture him, what of the message? (Glances at paper
which she still holds in her hand.) The General must
know. John's honor must be saved. The country must
not suffer. (Suddenly.) Wenonah, my coat. (Pointing
.to R. of C. in F.) There the long black one. (Exit WE-
NONAH R. of C. in F., returning almost immediately ^vith
coat. ELIZABETH throws it around herself , places paper in
her bodice, takes the other candle from the mantel.)
26 BY WAY OF THE SECRET PASSAGE.
Come, Wenonah! (Enters secret passage followed by
WENONAH. The panel slides back.}
(Here the curtain is loivered for a moment to indicate the
passing of a few hours.}
SCENE II. The same as Scene I. At rise, MADAME DREW
is seated at R. 2 E. with sewing. CAROLINE is reclining
upon sofa. ANNETTE is at piano. Stage brightly illumi-
nated, since it is noon.
CAROLINE (sitting upright}. Do stop that strumming,
Annette. My head is fairly splitting.
ANNETTE. Due to the frequency with which you drank
the King's health last night. Don't blame the music.
MADAME D. (reprovingly}. Due also to the late hour
at which you ceased your frivolity.
ANNETTE (turning on piano stool}. Early hour, you
mean, mother.
CAROLINE (rising and strolling to window R. U. E.}.
Did you hear the shots last night?
ANNETTE (yawn-ing}. Which shots? Any different
from the shots we're hearing all the time?
CAROLINE. Different in that they were close at hand.
ANNETTE (carelessly}. The Hessians were target prac-
ticing, perhaps.
CAROLINE (ironically). At the dead of night? Very
likely.
MADAME D. Hot in pursuit of an escaped soldier, I
suspect.
ANNETTE. The pursuit is a possible thing; but I argue
any kind of hotness on a Christmas night in New Jersey.
MADAME D. What a blessing it is that our home is out
of Trenton. These two or three miles take us far from
the reminders of war.
CAROLINE. And, incidentally, from the unpleasant neces-
sity of looking at the Hessians. (Shudders.) Ugh! How
I hate them.
ANNETTE. I'd never admit it to Elizabeth, but I do
think that England might have managed to fight without
the help of hired soldiers.
BY WAY OF THE SECRET PASSAGE. 27
MADAME D. Speaking of Elizabeth, it's time for her
to be up. There's no excuse for such late hours.
CAROLINE. She's probably angry over what we said
last night.
ANNETTE. More likely that she's out on one of her
long tramps.
MADAME D. She hasn't breakfasted. I've inquired. (Ris-
ing.) I'll send Wenonah to waken her.
CAROLINE. Oh, no you won't. Wenonah has departed
nobody knows where.
MADAME D. Nonsense! I left her with Elizabeth last
night. They were about to put out the lights.
ANNETTE. Put out the lights? Why, the housemaid
found the lamps still burning this morning, and the candles
flickering in their sockets.
MADAME D. (going toward mantel). That's strange
very strange.
CAROLINE. It isn't strange that Wenonah has left, if
that's what you mean. Even her devotion to Elizabeth
couldn't draw her entirely from her Indian life.
MADAME D. But to go without a word. (Stands by
mantel.)
ANNETTE (rising). That's the Indian of it. Still, she
may be back by night time. Who knows? (Goes to CARO-
LINE, R. U. E.)
MADAME D. (sternlv). I shall waken Elizabeth myself.
(E.vit R. of C. in F.)
ANNETTE. What do you find in the landscape that's so
absorbing? (Puts arm about CAROLINE'S shoulder.)
CAROLINE. Something must have happened in the town.
Such passing and repassing on the road soldiers, towns-
people and
ANNETTE. What a pity we're no nearer. It's tantal-
izing not to know. (Peers out windozv.)
CAROLINE. Shall we send a servant to find out? Or
do you feel like playing spy?
Enter MADAME DREW, hastily, R. of C. in F.
28 BY WAY OF THE SECRET PASSAGE.
MADAME D. (in agitation). She's not there she's not
there!- (Advances to C. hurriedly.)
ANNETTE (crossing and standing R. of MADAME DREW).
Now, mother, there's nothing- to make you so excited. Eliz-
abeth doubtless has gone out on a morning walk.
MADAME D. But her bed has not been slept in. (Sinks
in chair at C. CAROLINE crosses back of MADAME DREW
and stands at her left.)
CAROLINE (patting MADAME DREW'S shoulder). Before
you know it she'll be walking in with some adventure to
relate, some
MADAME D. (interrupting). But the shots last night
the disappearance of Wenonah. Something has happened.
I know it I feel it.
ANNETTE. The shots? No, no. (Looking at CARO-
LINE.) Do you suppose
CAROLINE. Oh, surely not.
MADAME D. How do we know but that she was carried
off?
ANNETTE. Without a sound? (Looks around.) With-
out any sign of resistance? (Shakes head.) I can't be-
lieve that.
CAROLINE. And why should anyone carry off Elizabeth?
(Suddenly.) Unless unless
MADAME D. (sharply). Unless what?
CAROLINE. Unless her reckless talk last night about the
King
MADAME D. (quickly). Has caused her capture? They
wouldn't dare they wouldn't dare
ANNETTE. Oh, yes, they would, mother. Anything is
dared in war times.
MADAME D. (proudly). Not by His Majesty's soldiers!
CAROLINE. I'm not so sure of that. Soldiers are soldiers.
ANNETTE. And there is no such liberty as free speech
among the enemies of Britain.
MADAME D. (in despair). What are we to do?
CAROLINE. In Elizabeth's own words wait and see.
MADAME D.- Wait? Do nothing? When she may, even
now, be a captive in the British army?
BY WAY OF THE SECRET PASSAGE. 29
ANNETTE. Why the British?
MADAME D. (in surprise). What do you mean?
ANNETTE. Didn't she say that if a red-coated soldier
carried her off, there'd be a blue and buff one to rescue
her?
MADAME D. You mean John Harvey?
ANNETTE. John Harvey.
CAROLINE (excitedly). Then it was he last night who
came for her who was fired upon who (three regular
taps sound). What was that? (Tapping continues.)
ANNETTE (crossing to door L. U. .). A servant,
doubtless. (Opens door, looks out and closes it again.)
Xo one here. (Tapping continues.)
CAROLINE. The window, perhaps. (Goes to each win-
dow in turn.) No. (Tapping continues.)
MADAME D. (nervously). Can it be the wind?
CAROLINE (gazing out window). There is no wind.
MADAME D. This is not a natural sound. (Pauses.
Tapping continues.) It frightens me. (Crosses L. of C.)
ANNETTE (listening). It conies from that wall. (Points
toward mantel.)
MADAME D. Impossible!
ANNETTE (going toward mantel). Something in the
chimney, perhaps.
CAROLINE (excitedly). Wait hush let me listen.
(Tapping continues.) That tapping comes from the secret
passage.
ANNETTE. The secret passage! Someone is there. ( In-
quiringly.) Shall I open it? (MADAME DREW nods. AN-
NETTE touches spring, the panel slides, revealing ELIZABETH,
still zvearing the dark coat over her ball gown.)
MADAME D. (hysterically). Elizabeth!
ANNETTE. Where have you been?
MADAME D. Why have you frightened us this way?
ELIZABETH (wearily). Don't ask me questions. I'm so
tired so tired!
CAROLINE (taking ELIZABETH'S hand). Come in; you're
cold you're wet
ELIZABETH. I can't come in until I give my message.
30 BY WAY OF THE SECRET PASSAGE.
It isn't a welcome one, but you must hear it. This morn-
ing General Washington surprised the Hessian camp, took
a thousand prisoners and captured a thousand stands of
arms. (Steps inside.}
MADAME D. It isn't true it can't be true.
ELIZABETH. But it is true. I saw it. I was a part of it.
MADAME D. Explain yourself.
ELIZABETH. General Washington sent John ahead to
reconnoitre, to find the weak places in the camp defence
and to report before the attack.
ANNETTE. Ah, I begin to understand. He came here,
didn't he? He was discovered
ELIZABETH (excitedly). Then you heard the shots?
(Calming herself.) Yes, he did come. He showed me
the plan of attack, and when W r enonah warned him of
pursuit, I sent him through the secret passage. (Pauses.)
CAROLINE (eagerly). And then?
ELIZABETH. I feared his capture. I feared the message
would never reach headquarters. Wenonah helped me sad-
dle my horse and I rode my fastest to General Washington.
MADAME D. (angrily). I shall never forgive you for
this treachery, Elizabeth never!
ELIZABETH. Oh, mother, you will some day you must!
CAROLINE (sarcastically). Well, a pretty sight you are
and a fine name you've made for yourself after this mad
performance.
ANNETTE. All for a common spy who neglects his duty,
allows himself to be taken prisoner and
ELIZABETH. Oh, but he escaped. He rode into camp
shortly after my arrival. General Washington makes much
of him, trusts him, and
MADAME D. Doubtless laughs at you for your ridiculous
part in the matter for forcing yourself into affairs that do
not concern you or yours.
ELIZABETH. Mother, listen.
MADAME D. No, I'll not listen. I have been lenient
with you too long, Elizabeth. Henceforth I'll see that you
are far removed from the scenes of this disgraceful re-
bellion.
BY WAY OF THE SECRET PASSAGE. 31
ELIZABETH. More than ever, mother, have I pledged
my loyalty to the patriot cause.
MADAME D. How dare you?
ELIZABETH. For not an hour ago, with the good Gen-
eral as witness, I became John Harvey's wife. (All attempt
to speak.) No; not a word not a word! I'm too happy
for reproaches. This very room is full of sweetest memo-
ries and each Christmas night in the years to come it will
he haunted by the happy spirits of the two who found
love, freedom and victory by way of the secret passage !
CURTAIN.
ACT III.
SCENE : Same as Act I. Hassock is placed R. of chair
at C. Stage well lighted as it is morning.
At rise, RITA is seated at C., ALICE on hassock and
RUTH R. 2 E. with embroidery.
RITA (dramatically). And then I awoke!
ALICE (sighing). It's wonderful, Rita, perfectly won-
derful ! Did you really see them ?
RITA. Every one heard them talk and almost touched
them.
RUTH. That second helping to mince pie yesterday cer-
tainly gave you a large and elegant nightmare. (Emphat-
ically.) That's all / have to say.
RITA. No nightmare about it. 'Twas a regular con-
nected story.
RUTH. With cerebral excitement as its basis.
RITA. I don't know what cerebral excitement is, and
whatever it is, it isn't what caused my dream. I saw all
those people, I tell you. I know what they said. The
memory of them is so distinct that (breaks off abruptly
and gazes fixedly over left shoulder).
ALICE (nervously). Rita, what is it? (Rises.)
RITA. The little Indian maid Wenonah, they called
her. (ALICE walks to L. U. E., opens door, looks out and
closes it.
32 BY WAY OF THE SECRET PASSAGE.
RUTH (rising'). Where?
RITA (still gazing into space). Over by the door.
(Pauses and then turns to RUTH.) 'Tis in my mind's eye,
child, so don't get frightened.
RUTH. You begin to get on my nerves. (As she is
about to seat herself R. 2 E. RITA shrieks.) Heavens!
What is the matter?
RITA. You were just about to sit on Madame Drew.
She is there (pointing to chair R. 2 E.) with her sewing,
and she isn't the kind of person one can sit on with im-
punity.
RUTH (spitefully). From all reports, it strikes me that
she is the very one that needs sitting on so here goes!
(Seats herself heavily and resumes work.)
RITA (looking over left shoulder at ALICE, who is com-
ing toward C.). Alice, Alice, you walked right over An-
nette's toes then and bumped into Elizabeth herself.
Haven't you any respect for real personages ?
RUTH. What about yourself. It seems quite likely that
you're trespassing, too. Who sat in that chair? (Points
to RITA'S chair.)
RITA (complacently). John Harvey.
ALICE. You're not playing fair. You can't have the
only man, even if he is just a ghost. Get up and give me
a chance. (Tries to pull RITA from chair.)
RITA (forcing ALICE on hassock). No, no, Alice. You
must sit just where Elizabeth sat at my I mean, John
Harvey's feet.
ALICE (struggling). I sit on no man's feet! (As RITA
holds her down.) Help! Help!
RUTH. Humor the poor lunatic, Alice. Hunks of
mince pie and chunks of imagination have done their worst.
She thinks she is John Harvey. (Mockingly.) What
wouldst thou, noble youth? (Rises and goes toward man-
tel.)
RITA (taking an imaginary paper from her gown and
pointing). See here and here and here an attacking
army might easily enter and as easily overwhelm.
BY WAY OF THE SECRET PASSAGE. 33
ALICE (shaking her head}. Alas, milord! Tis written
in blank verse I cannot read.
RITA (disgustedly). Now, who isn't playing- fair? I'm
doing my best to visualize the scene for you and you re-
fuse to get into the spirit of the thing. (RUTH strikes
three resounding whacks upon the fireplace. RITA jumps
and turns half around.} Goodness, what was that?
RUTH (sarcastically). The shots. Don't you recognize
them? Oh, come, now; get into the spirit of the thing.
ALICE (mockingly). Is't thou, Wenonah?
RUTH (striking an attitude). Faith, and it's the young
gintleman I would be afther warnin'. There's a pair of
Uncle Sam soldier boys what's a trackin' him and a-howlin'
bloody murther. And, beggin' your grace, sor, they're
usin' bullets so reckless like that you'd best be makin'
thracks or you'se a dead one!
Enter HANNAH, L. U. E., with duster.
RUTH. Holy Saint Pathrick presarve your soul!
HANNAH (dusting sofa). What is it, Miss Ruth play
acting ?
RUTH. Only a movie, Hannah, to illustrate Rita's thrill-
ing account of Elizabeth crossing the Delaware, or Fought,
Bled and Married, All-of-a-Sudden !
RITA (rising and going L. U. E.}. They're making fun
of me and my dream. Couldn't it have been true, Hannah ?
Couldn't I have seen it just as it happened long time ago?
HANNAH (pausing in work}. 'Tis the second sight
the inner eye that's been given you, Miss Rita. Only on
Christmas night could the vision have come to you.
RITA. Then you don't doubt that it was real that 'twas
more than a dream?
HANNAH (dusting piano}. Doubt? Never in the world.
Time just rolled back for you and made you a very part
of what happened in this room so many years ago.
RUTH (sitting in desk chair}. Now, Hannah, do you
mean to say that this imaginative child would have had
this extra vision had you not told her the story beforehand ?
HANNAH. It would have come to her, Miss Ruth; it
34 BY WAY OF THE SECRET PASSAGE.
would have come. 'Twas Christmas night the time for
revelation.
ALICE. But science says
HANNAH. Science doesn't understand everything, Miss
Alice any more than we do. (Crosses back of ALICE to
L. of stage and continues her dusting.)
RITA. And science shall not spoil my beautiful dream.
(Stands before picture over sofa, back to audience.) Isn't
she lovely, Hannah? You should have seen her sweep in
that door (pointing to R. of C. in F.), fling up her little
head and stand her ground.
Enter MRS. SHERMAN, R. of C. in F.
MRS. S. The dream again, Rita? (Stands by RITA and
looks tip at the picture.)
RUTH. The dream, again? It promises to be now and
forever. Don't ask her to repeat it, Mrs. Sherman, for
I've heard it four times already. (Wailing.) Please don't
let her tell it.
MRS. S. Well, it was an experience, we must admit
one of the unusual things that sometimes come to one.
The "atmosphere" must have been intense, my dear, to
have supplied so vivid and realistic a picture to you. (Sits
on sofa.)
RUTH. Embryo psychic powers, I'm thinking "seventh
daughter of a seventh daughter."
ALICE. Wouldn't it be thrilling to have a clairvoyant
for one's dearest friend.
RITA. Joke if you wish, dear friends, but you're jealous
of my experience and you know it. (Sits by MRS. SHER-
MAN.)
RUTH. And any little scepticism which we happen to
have would quickly disappear if you'd put the Q. E. D. to
your proposition and touch the spring to the secret passage.
RITA. You think I don't know.
ALICE. Oh, no, we don't. We just ask you to demon-
strate what you do know?
RITA (emphatically). Not till Betty comes. Not till
Betty comes. How many times must I say it?
BY WAY OF THE SECRET PASSAGE. 35
MRS. S. Betty's absence begins to worry me. I can't
account for it.
RITA (tragically). Have you searched her room? Has
her bed been slept in?
MRS. S. (laughing). Very much slept in. No excite-
ment there, Rita.
ALICE. Betty isn't given to early rising.
MRS. S. That also puzzles me.
HANNAH (pausing in her work}. But the telephone
message
MRS. S. (in surprise). The telephone message?
HANNAH. Weren't you told? The message came early
this morning. Miss Betty snatched a piece of toast, drank
a cup of coffee and rode to town before the rest of you
\vere up.
MRS. S. Oh, so that's it. Then we need worry no longer,
for it's quite evident that Jack was at the other end of the
wire. (Exit HANNAH R. of C. in F.)
ALICE (sighing). It must be heavenly to be in love.
MRS. S. But a great trial to the families of the parties
involved.
RITA (thoughtfully). Has there ever been any opposi-
tion to Jack?
MRS. S. (in surprise). Opposition? Why, no. What
made you ask?
RUTH. Dear Mrs. Sherman, she wants Betty to elope
through that secret passage and rival the escapade of her
ancestor.
MRS. S. (laughing). You funny child. I fear that
your romantic soul must do without the extras this time.
In Betty's own forceful language, we "fell" for Jack at
first sight.
RITA. What a shame ! His being a socialist or a raving
anarchist would certainly have added local color.
ALICE. And Betty would have defied opposition and
ridden away on his motorcycle with the same spirit that
animated the Elizabeth of other days.
MRS. S. Alas, I fear that nothing but the conventional
wedding is in store for Betty with the usual sequence
36 BY WAY OF THE SECRET PASSAGE.
of rice and old shoes. (Three knocks sound.) Come in!
(Pause.) Why, I heard a knock.
ALICE. So -did I. (Tapping continues.)
MRS. S. I'll open the door. (Rises and goes L. U. E.,
opens door, looks out and closes door.) There's nothing
here. (Tapping continues.)
RUTH (jumping up). Maybe it's Betty at the window.
(Rushes to each window in turn and looks out.) No.
(Stands by window R. U. E.)
MRS. S. (coming down L.). Perhaps it's the wind.
RUTH (looking out). But there is no wind. (Tapping
continues. Meamvhile RITA has risen in great excitement.)
RITA (clasping her hands). It's it's in the secret pas-
sage.
RUTH. There you go again. Are you sure that you
know where the secret passage is? (Tapping continues.)
RITA (excitedly}. Oh, it is from the secret passage it
is. (Seising MRS. SHERMAN.) Mrs. Sherman, tell them
that I'm right.
MRS. S. Let me listen. (Pause. Tapping continues.)
It certainly comes from that direction. (With excitement.)
Oh, I wonder if it could be so if anyone would use it !
RITA. May I open it ? Now? And test the revelation of
the dream? (MRS. SHERMAN nods, RITA touches spring,
the panel slides, revealing BETTY in riding suit.)
ALL. Betty! (MRS. SHERMAN and RITA stand L.).
RUTH (coming toward R. of mantel). Where have you
been?
BETTY. Down in the city with Jack. He telephoned for
me. I thought you knew.
ALICE. Why did you come this way? (Points to
passage. )
BETTY. Didn't I say that I'd reveal its whereabouts to-
day? (ALICE joins RUTH R. of mantel.) Well, I've kept
my promise. (Steps inside.)
RUTH. Suppose there had been no one here to release
you, you harum-scarum thing ! !
BETTY. Then I should have gone back the way I came.
RJTA (impressiveily). But someone was here.
BY WAY OF THE SECRET PASSAGE. 37
BETTY. And doubtless Auntie touched the spring with
proper dignity.
MRS. S. But Auntie didn't.
BETTY. Then who did?
MRS. S. Rita.
BETTY (in surprise). Rita! How could she?
RITA. I had a dream, Betty a perfectly wonderful
dream. (Comes close to BETTY and starts to tell her.)
BETTY (interrupting). And you're going to tell me all
about it some other time, my dear. I'm not dealing in
dreams today (rapturously) only in glorious realities.
RUTH. Betty! Something's happened.
BETTY. Everything's happened ! The sun, moon and
stars have changed their courses the bottom of the
world's dropped out and I'm just beginning to live!
MRS. S. Why, Betty!
BETTY. I'll give you three guesses.
RITA (eagerly). Washington has surprised the Hessians
and has taken a thousand prisoners and has captured a
thousand stands of arms. (BETTY stares at her in amaze-
ment.)
RUTH. Don't mind her. She's as crazy as you.
MRS. S. (suddenly). Betty Betty has Jack received
his commission?
BETTY. Auntie guessed right the very first time. It
came this morning, and he goes tonight. (Joyfully.) He
goes tonight !
ALICE. Betty, you are crazy. How can you smile when
he is going?
BETTY. Because I'm going with him!
MRS. S. (anxiously). Betty, wh.at do you mean?
BETTY (rushing to MRS. SHERMAN). Oh, Auntie, I'm a
harum-scarum thing, but you'll be good to me, won't you?
(Puts arm around MRS. SHERMAN'S neck.) I met Jack
this morning. When he told me the commission had come,
I couldn't let him go. I couldn't say no to his pleadings
so (she hesitates) so I married him this morning!
(Waves her hand displaying ivedding ring, then turns and
faces picture oi'er sofa.) Oh, you dear lady of other days!
38 BY WAY OF THE SECRET PASSAGE.
(Kisses her hand to the picture.) I know now just how
you felt it's in the blood, I'm thinking and I've brought
the self-same message in the self -same way, on the self-
same morning! {As they gather around her.) Not a word
not a word ! Jack will help me explain. {Breaks away,
rushes to secret passage and turns.) He's waiting. Shall
I bring him to you by way of the secret passage?
CURTAIN.
HE'S MY PAL
By LILLIAN MORTIMER
Price, 35 Cents
Comedy-drama in 3 acts; 6 men, 6 women. Time, 2* hours.
Scene: 1 interior. Would you give up the girl you loved to your
best pal, if it was for his happiness and hers, particularly if you
owed your life to him? This is Wally Allen's hard dilemma, which
threatens to wreck the peace of Ma Averill's happy family of
boarders. It makes three other persons beside Wally thoroughly
unhappy: his pretty little fiancee, who does not love him; his be-
loved pal, who has sacrificed an arm for him; and the quiet little
ugly-duckling-swan girl who is secretly in love with him. With
her aid, Wally, who is a game sport, practices a kindly deception
upon his pal, with a view to breaking his engagement and leaving
the lovers free to marry. His self-sacrifice eventually brings hap-
piness to all. A delectable play, overflowing with lively humor and
pathos. The minor roles include: a henpecked husband, who learns
a new trick in handling a domineering wife; two cocky young
salesmen; a breezy and slangy beauty specialist; a comical darky
cook; and the motherly boarding-house keeper, guardian angel of
lovers.
THE NEW FUR COAT
By ALLEN GRANT EVANS
Price, 25 Cents
Comedy in 1 act; 1 man, 1 woman. Time, 15 minutes. Mrs.
Morley has a perfect formula for working hubby for a new fur
coat: Give him a good dinner; then drive him to the verge of
homicide by a stream of prattle; and weep when he gives way
to exasperation. Tears are trumps. A good-natured satire on
married life.
T. S. DENISON 8C COMPANY, Publishers
623 S. Wabash Ave., CHICAGO
MY DIXIE ROSE
By MABEL KEIGHTLEY BENNETT
Price, 35 Cents
Comedy-drama in 3 acts; 5 men, 3 women. Time, 2*4 hours.
Scene: 1 interior. Charming, lovable, mischievous Dixie Rose!
Life to her seems to be all daring horseback rides and innocent
flirtations and rollicking jokes, until trouble crosses her path in
the form of a persistent elderly suitor. This sinister person de-
mands that she marry him to save her beloved father, a southern
colonel of the old school, from financial ruin and disgrace, and
her lover from indictment for an offense that later turns out to be.
"framed." The lover, however, arrives in time to prevent the
hated marriage and forces the plotter to reveal the great secret
of Dixie's identity, namely, that she is the Colonel's granddaughter
and also heiress to a large fortune. A stirring drama, colored by
the alluring romance of the old South and the vigorous enterprise
of the new. Cast includes: the peppery but soft-hearted old
colonel; Dixie's jealous but devoted lover; his haughty father; a
hard, selfish beauty of the adventuress type; and a youthful en-
gaged couple, who are perpetually quarreling.
By ORRELLE FIDLAR CORNELIUS
Price, 25 Cents
Comedy in 1 act; 1 man, 6 women. Time, 35 minutes. Impelled
by malicious village gossip, a sweet old-fashioned mother plans to
give up her home and live with her married daughter. But finding
herself unwelcome and out of sympathy with the younger genera-
tion, she remains in the old home among her beloved neighbors.
Delightful compound of tears and laughter.
T. S. DENISON & COMPANY, Publishers
623 S. Wabash Ave., CHICAGO
: '| Denisons \
ft Monologues %
Readings j
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Descriptive
T.S. DENISON 6- COMPANY Publishers
623 South Wabash Ave. CHICAGO
The chalk-talk entertainer is always looking for new
material for his programs. Here are three how-to-do-it
chalk-talk handbooks which he will find indispensable.
HOW TO CHALK TALK. Discusses the principles
of chalk talking, materials and equipment, how to ar-
range programs, how to make trick pictures, etc. A be-
ginner's book, yet full of excellent material for the
experienced artist. Profusely illustrated.
CHALK TALK STUNTS. Contains a wealth of ma-
terial, practically- all humorous, in which everything is
made simple and easy for the chalk talk entertainer.
It has 55 full-page illustrations, with a full line of
patter in snappy prose or verse for each picture.
CHALK TALKS FOR SUNDAY SCHOOLS. Pro-
vides eighteen complete chalk talks, fully illustrated for
chalk talkers who entertain Sunday schools and young
people's religious societies. Themes are drawn from the
Bible, from folk lore, legends, animal stories, and every-
day life.
Price, Board Binding, Each Volume, $1.00
Send for Descriptive Circular
T.S.DENISON &> COAARANV
623 J". WABASM XX.VE.