'ACk JIN EX 056 lison's Miscellaneous oY W& OF THE PASSAGE FROM Mrs. Edmund Andrews 5ftl Surf Street Chicago, Illinois T.S.DENISON & COMPANY Publishers CHICAGO MB Price, 30 Cents penison's Plays Cover the field S4undrecls or 17i/ble.r In tke^e Jerie.r 5end for Comple/re 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(. COAARANV 623 J". WABASM XX.VE.