________________________________________________
_ ACT IV
SCENE: The Hall of the Knights, in the haunted castle. On walls a few old weapons, thick dust everywhere. Moonlight streams through round window high in wall R., striking picture. Curtain rises slowly while orchestra plays "I Dreamed I Dwelt in Marble Halls." Wind moans through grated windows, rats squeal and cross moonlight on floor; light flickers on tower wall.
(Enter JARVIS from door L. with lantern unlit--turns and calls cautiously.)
JARVIS.
Come on in, Rusty.
(Enter RUSTY with lighted lantern.)
They've been in this room. Do you smell that, Rusty?
(Cross R.)
RUSTY.
(L.C.) Marse Warren, I'm so scared I can't smell nothin'.
JARVIS.
The room's full of it--somebody's been carrying a smoky lantern.
(Dull thud off left.)
RUSTY.
Good God Almighty, what's that?
(JARVIS crosses R.C. over table, lights lantern
and then stands looking around room.)
I want to go home!
(Put lantern down C.)
JARVIS.
(Looking about)
We've been in this room before.
RUSTY.
Is this where that poundin' came from?
(Cross C. to Jarvis.)
JARVIS.
I reckon that pounding and the smoky lanterns went together.
(RUSTY sees armor on stairs; backs into
JARVIS and sinks to knees; head on floor.)
RUSTY.
O---- oh!
JARVIS.
(Whirls with gun drawn)
What's the matter?
RUSTY.
(Pointing to armor on stairs)
Look--look--look at them big black things--see 'em standin' there?
JARVIS.
(Laughing; putting away gun)
These are the same black things that scared
you before--don't you remember?
RUSTY.
I'm so scared I can't remember anything!
JARVIS.
They're nothing but suits of armor.
Get up on your pins and don't you bump me again.
(RUSTY rises.)
The next one of those rear-end collisions and I'm liable
to let some moonlight into you. You've been treading on my
heels ever since we came in here, and when I stop you bump into me.
RUSTY.
I'm powerful scared I might lose you!
JARVIS.
A fine chance!
(Looking about.)
Well, Rusty, we've been through this old castle pretty thoroughly now, from dungeon to tower, and not a sign of the Prince or the Duke or any one else, unless they pound or carry a smoky lantern. It's a clue, Rusty, it's a clue. We'll stick right here till we find out where it leads. I'll swear the Duke never went to Madrid, but came straight here from the inn.
(JARVIS crosses to fireplace R. RUSTY follows.)
Get away from me.
(Strikes a match and holds in chimney.)
There's a fine chance for a fire. Good, it draws.
The chimney's clear. Now, then, bust up the table and start a fire.
RUSTY.
How can I break it? Oh, it's rotten!
JARVIS.
You won't feel half so scared with a good blaze behind you.
(RUSTY picks up pieces of table.)
I'll scout around a bit.
RUSTY.
(Drops pieces of table)
Don't you do no scoutin' outside this room!
JARVIS.
Well, come on, Rusty--get busy and build that fire.
RUSTY.
(Dropping to floor and begins fussing with foot)
Just as soon as I get this here shoe off.
JARVIS.
(Looking at him)
What's the matter with your shoes? (Cross L.C.)
RUSTY.
'Tain't my shoe--it's my foot. You know I was holdin' them
horses and waitin' and waitin' for you to come out.
Dem guns went off and all dem horses jumped right on me.
JARVIS.
There were only two horses, Rusty.
RUSTY.
I was countin' their feet.
JARVIS.
Well, tie up your shoe and get busy.
(Looking around.)
RUSTY.
Yas, sir.
(Rises, picks up pieces of table, crosses to fireplace.)
JARVIS.
This room was probably used as a banquet hall.
RUSTY.
(Gathering up few pieces of table and taking
them to fireplace, puts them on fire; looks up)
Yeah--when we goin' to eat?
JARVIS.
Not till we have finished this job.
RUSTY.
(Putting pieces of table on fire--still
at fireplace, back to audience)
Tuesday--Wednesday--Thursday----
Ah can't wait no longer than Saturday.
(Strikes match and lights fire. Glow from fire.)
JARVIS.
(Runs up steps at back, looking left)
That way leads through those two long rooms to the postern gate.
RUSTY.
(Looking up)
That's where that black thing followed me.
(Crosses to JARVIS L.C. slowly.)
JARVIS.
Well, a black thing followed me,
treading on my heels every step I've taken.
RUSTY.
Oh, I couldn't see where I was steppin'.
JARVIS.
(Looking about)
That goes to the Armory.
RUSTY.
(L.C. JARVIS on steps)
Ah seen eyes in there, and a cold, grimy, green, slimy
smell in there. Ain't that where that broad-faced bird
flew at me and I fell down them slippery stairs?
JARVIS.
(Laughing)
That broad-faced bird was an owl, Rusty--just a common,
ordinary owl. You know what an owl is.
RUSTY.
O--ooh--ooh!
JARVIS.
(Sees door R.C.)
Where can that door lead to? That's it.
(JARVIS goes to the door in R.C. Steps
on trap and falls suddenly.)
Wow! That was a close one.
(Lantern goes out.)
RUSTY.
(Advancing)
Lord, Marse Warren, what is it?
(Starts up to Jarvis.)
JARVIS.
Get back! Give me that lantern.
(RUSTY hands lantern.)
Give me your hand. Can you hold me?
(RUSTY holds out hand and JARVIS cautiously
steps on trap door; it sinks and other end rises.)
God! I thought so. Water and a long drop! No wonder people disappear in this castle. Good Lord, what if her brother went down there? Rusty, whatever happens, keep clear of this. If you step on this you will never see Kentucky again for sure.
(Groan heard off left.)
RUSTY.
Did you hear that groan?
(Wind changes to low moan.)
JARVIS.
Groan---- There it is again. It sounded just like a man.
RUSTY.
Ough! Ough!
JARVIS.
Shut up!
(Crosses to L.C.)
RUSTY.
Marse Warren--look out!
JARVIS.
Listen!
(Crosses and stands moment at door. Wind moans.)
I guess it's the wind.
(He crosses to fireplace.)
This place is getting on my nerves.
RUSTY.
(R.C.) That wasn't no wind, Marse Warren.
Ah hope to die if that wasn't a sure enough human groan.
(He looks at picture L.)
And Ah want to tell you som'pin' else. Have you ever been in church or somewhere and all of a sudden a feelin' come over you that there was eyes a-starin' at the back of your head? You just knowed it--until you couldn't stand it no longer, and just turned around and see who it was?
JARVIS.
Why, yes, Rusty, I have had that happen. Why?
RUSTY.
That's just the way I feel now,
like there was eyes a-lookin' at me.
(Turns to picture.)
You see that picture? Seems like that feller was
lookin' at me--like he'd step right out of the frame.
(He points to armor on steps.)
Or them two battleship boogies--just jump right down here.
JARVIS.
It's been a good many years since those boys jumped, Rusty.
(Noise off stage of running.)
Hark! Listen!
(He crosses to L.C., pistol drawn; stands listening.)
Somebody's running--coming this way----
(Dull thud at back.)
RUSTY.
I want to go home!
JARVIS.
What do you know about that?
RUSTY.
I don't want to know nothin' about it.
JARVIS.
I thought so.
RUSTY.
What is it?
JARVIS.
The man with a smoky lantern has been up those stairs.
RUSTY.
You ain't goin' up there, is you?
JARVIS.
I am not--because the Duke or some of his men are
probably waiting for me at the top of the stairs
with a big long gun, and I'm no book hero.
RUSTY.
Suppose it's the Prince?
JARVIS.
Well, suppose it is the Prince. He might blow my head off,
because he doesn't know what I came here for--and if
it's someone else, they'll blow my head off, because
they do know.
RUSTY.
(Looks at ceiling and following supposed sounds with head R.C.)
Sounds like somebody was runnin' round.
JARVIS.
(C.) They're trying to scare us, Rusty. They're probably watching every move we make. That's where that pounding comes from. Why don't they shoot? They're trying to scare us, like they did the poor boobs down in the village.
(RUSTY crosses to fireplace.)
They want to get us out of here. They want to get us
out of this room. Rusty, someone was working in the
room. Now, where was he working? Where was he----
RUSTY.
(Meanwhile has crossed to mantel
and picked up hammer and chisel)
Look here, Marse Warren--look y'ere!
(A few steps from fireplace.)
JARVIS.
(Crossing to RUSTY)
What is it, Rusty?
RUSTY.
(Handing them to JARVIS)
Look at them.
JARVIS.
Where did you find them, Rusty?
RUSTY.
(Pointing to mantel)
Up there.
JARVIS.
Good boy, Rusty! Now I'll tell you something. These are
his tools. Someone was working in this room, so we've
beaten him to it. Now, where was he working?
(Hands on floor.)
Mortar on floor.
(Hands on mantel.)
Mortar on the mantel----
(Puts down tools, looking up and pointing.)
Look at that! That's where he was working, Rusty, and
we've beat him to it--we've beat him!
(Long pause. Both turn simultaneously and look at
picture. JARVIS draws revolver. RUSTY turns
to JARVIS and sees that he looks at picture.)
RUSTY.
(Scared voice)
Did you feel that, too?
(JARVIS crosses slowly and cautiously to picture;
feels all around picture and lights a match to examine
it; passes light all around frame.)
JARVIS.
(Backing away)
By God, that's weird! You could feel that just as plain----
(Backs to steps and sits on balustrade,
over which figure in armor is standing.)
By God, that's weird!
(In awed voice. Figure in armor raises
sword slowly directly behind JARVIS.)
RUSTY.
(Looking at picture)
It sure is, Marse Warren, it sure is----
(RUSTY turns just in time to see sword raised above Jarvis' head; screams)
Look out!
(Ducks behind table in turret R. Fight then takes place between figure in armor and JARVIS. Figure finally gets on trap R.C. and disappears out of sight.)
Where is he?
(From behind hiding-place.)
JARVIS.
Water and a long drop. There's another of the Duke's men gone to hell.
RUSTY.
I knowed them battleship boogies was spooks.
JARVIS.
(Picks up sword man in armor dropped; C.)
We'll just take a look at this other fellow.
(He goes to make a swipe at figure
on other side of stairs--sees RUSTY.)
What's the matter? Are you scared?
RUSTY.
You can't scare me--I'm scared already.
(JARVIS makes feint at figure. No response; feints again,
as though to strike, meaning to draw man out if he is in
armor; no response; goes up steps, knocks armor over.)
JARVIS.
I guess he's harmless.
(Drops sword at foot of steps.)
RUSTY.
A--ah!
(Running up steps and picking up armor.)
I'll just fix him so he won't jump no more!
(Cross to trap.)
JARVIS.
What are you going to do?
RUSTY.
I'm going to sink this other battleship!
JARVIS.
Hold on--wait a minute. I reckon we can use that. It takes
a thief to catch a thief, they say. We'll just outspook
Mr. Ghost. Now, come on, Rusty. Get into this hardware
as fast as you can.
RUSTY.
Marse Warren, I don't want to be no spook!
JARVIS.
Listen! Somebody was working in this room. It's a cinch
that the treasure is here, and it's a bigger cinch he'll
come back to get it when we've gone.
RUSTY.
You ain't going to leave me here alone?
JARVIS.
Sure, I'm going to put you in this, so you can watch. I'm going to make a bluff that we're both gone. You'll be as safe as a church in this. No one would ever think of looking for one of us in this armor. You watch, and when he starts to work, then yell your head off.
RUSTY.
I'll yell so loud they will hear me in Kentucky.
JARVIS.
You give your best yell, and then I'll nail him.
RUSTY.
If you don't nail him--he'll nail me!
(Business JARVIS putting armor on RUSTY. Breastplate, back and legs are put on together; belt fastened around waist first, then legs; next collar; then arms; last helmet; this done during the following dialogue.)
RUSTY.
Marse Warren, you must think a heap of Miss Princess
to go prowling around in this boogy house in the dark.
JARVIS.
What makes you think that?
RUSTY.
Marse Warren, I knowed you since you was a baby.
JARVIS.
What's that got to do with it?
RUSTY.
She 'gin you that jewelry that's hanging round your neck,
didn't she? She's kind of crazy about you, too, ain't she?
JARVIS.
How do you know?
RUSTY.
Aw--I know, all right.
JARVIS.
But how do you know?
RUSTY.
Waal, I'm goin' to tell you, and then you'll know how I know. Just before them horses all jumped on me, when I was waitin' for you in the road, I heard a window go up, slap, and there was the Princess a-lookin' at the moon, just like a picture in the moonlight; just a-lookin' at the moon, and she says--she says----
JARVIS.
What did she say?
RUSTY.
Well, no lady never talks that way
at the moon unless she's in love.
JARVIS.
What did she say?
RUSTY.
She says--looking at the moon, she says, "The world has
begun all over again for me." And then she went right on
and says, "God be with you, my American!" I'm the only
American around here 'cept you, Marse Warren.
JARVIS.
You heard her say that? God bless you for that, Rusty!
(With helmet in hand.)
Here, put your head into this Stetson.
RUSTY.
Oh! Oh!
JARVIS.
What's the matter?
RUSTY.
Full of spider webs.
(JARVIS puts helmet on again.)
JARVIS.
Gloves--here. How do you feel?
RUSTY.
All in. Do I look like a spook?
JARVIS.
You're a wonderful sight!
(Pushing him away.)
Now, Rusty, get over here. Where is your sword?
(JARVIS down steps; RUSTY sneezes.)
I never heard of a ghost sneezing before.
RUSTY.
Marse Warren, I'm catching cold.
JARVIS.
(Up steps to RUSTY)
Now, Rusty, keep your ears and eyes open.
Don't move a muscle. If any one comes, yell
your head off, but don't sneeze.
RUSTY.
Marse Warren, I want to go home!
JARVIS.
We haven't any home, Rusty.
RUSTY.
Marse Warren,
I don't ever expect to get out of this boogy house nohow.
(Call is heard off stage L.)
JARVIS.
Well, Rusty, there is something.
(Faint call heard; very indistinct.)
What's that? I'd almost swear that was a call or a groan.
(Another call; JARVIS blows out lantern.)
There it is again.
(Light is thrown on door as by someone carrying lantern. Pause.)
Hark! Listen! There's a light, Rusty. It's coming this way. It's coming, Rusty! It's coming back. Remember the high sign, Rusty, and don't sneeze.
(JARVIS hides above door L. Enter DOLORES
and the PRINCESS and MAXIMO carrying
lantern D.L., cautiously coming forward.)
DOLORES.
No one here either, your Highness.
(Cross stage R.C.)
PRINCESS.
(C.) We must go on, Dolores. We must find him before
it's too late. Oh, I never will forgive myself for
sending him to this dreadful place!
DOLORES.
(Cross to fire)
Look! Here is a fire. They've been in this room.
(MAXIMO comes across at back with lighted lantern to R.C.)
PRINCESS.
Perhaps they have already been killed.
JARVIS.
Your Highness! (L.C.)
PRINCESS.
Mr. Warren--Mr. Warren! Thank God you are still alive!
JARVIS.
Your Highness--it's madness for you to come to this place.
How did you get here?
PRINCESS.
(Crossing toward him)
Heaven only knows. We have been wandering through this
dreadful place for hours, calling to you--trying to
find you before it was too late.
JARVIS.
Too late? What do you mean?
PRINCESS.
My brother is safe, thank God!
JARVIS.
Where is he?
PRINCESS.
On his way to get help from the King.
JARVIS.
Where has he been?
PRINCESS.
Right here in this castle,
a prisoner--since the day he entered.
JARVIS.
A prisoner?
PRINCESS.
Yes, he succeeded in making his escape tonight,
and has gone direct to the King for help.
JARVIS.
How did you learn this?
DOLORES.
(C.) From Robledo. Your bullet went straight, Senor.
He is dying. He confessed to the Holy Father.
I promised to be with him at the end.
(Weeps.)
JARVIS.
(Crosses to DOLORES, C.)
The end----
(Realizing DOLORES cared for Robledo.)
Then--you---- I didn't know. I might have---- I'm sorry.
DOLORES.
'Tis better so, Senor. My Prince still lives.
(JARVIS steps back C.)
PRINCESS.
(Cross to DOLORES)
Oh, Dolores, my poor child!
Maximo, take her back to the inn as quietly as possible.
(They exit.)
Oh, Mr. Warren, let us leave this dreadful place!
JARVIS.
Not I, your Highness.
You go with them, and wait for me at the inn.
PRINCESS.
You cannot persuade me again, Mr. Warren. I will remain.
JARVIS.
Please.
PRINCESS.
Return with us, then.
JARVIS.
Your Highness, I promised to solve the mystery of this
castle and to find the treasure. My task is an easy one now.
PRINCESS.
Then I will share it with you.
JARVIS.
And you groped your way through this
old castle to find me. You are game.
PRINCESS.
You faced death, perhaps, for me.
JARVIS.
You're trembling--you're frightened
--you're cold--your hands are cold!
PRINCESS. Oh, I'm not----
(JARVIS takes PRINCESS to fire; she sits.)
JARVIS.
Come over here. You must have been scared to death
prowling through the blackness.
PRINCESS.
Every nerve of my body is on edge with the happenings of this dreadful place!
JARVIS.
Oh, don't cry! Go on, then--cry--cry--cry some more. Just forget you are a Princess and cry, that's it. That's fine. I'll round up this spook tonight for good, and then the vassal's task is done. His fate is in your hands, Highness. What's to become of him?
(Love scene.)
Don't send me away. I've loved you from the first, and I shall always love you. I'm no Prince or Duke. I know I'm just a plain American citizen, a man--and all the man in me cries out that I love you! Don't send me away.
PRINCESS.
You must go.
JARVIS.
You're going to send me away?
PRINCESS.
Yes, you must leave Spain. Your life would never be safe here.
(DUKE sneezes from behind picture.)
PRINCESS.
What was that?
(She goes to lower end of fireplace; JARVIS R.C.)
JARVIS.
Oh, see, that--that's Rusty.
PRINCESS.
That would frighten anyone.
JARVIS.
I figured that I might need a ghost myself,
but Rusty disobeyed orders. Rusty, I told you not to sneeze.
RUSTY.
Dat was somebody else, Marse Warren! I didn't sneeze!
PRINCESS.
Mr. Warren.
JARVIS.
Don't move. Your Highness, I've got your ghost at last.
(Pointing gun at picture.)
There is somebody behind that picture!
Come out, or I'll shoot you full of holes.
DUKE.
(Lights at window change to red. DUKE coming out)
Don't shoot.
JARVIS.
(C.) Your Excellency, you're a long way from Madrid.
DUKE.
Madrid---- You fool, you have fallen right into the trap.
(Crosses C.)
What I have done has been for your sake, Maria. I purposely
deceived him, so that I might get here ahead of him and watch.
See, there are his tools. (Crosses R.) And you yourself
interrupted him at his work.
(Points over mantel.)
JARVIS.
That's an unlucky gesture.
How did you know the treasure was there?
DUKE.
That's where you were working.
JARVIS.
You forgot I have never seen the memorandum.
DUKE.
Until you stole it. Can't you see, Maria?
PRINCESS.
Yes, one of you two stole the locket.
JARVIS.
Which one of us two?
(Walking over to DUKE.)
You can't lie yourself out of this. Twice tonight you tried to have me murdered. Why didn't you have the nerve to come out in the open? I told you all ghosts were cowards--but you haven't got the courage of a rabbit. If it weren't for her, I'd blow your damned head off, and send you down after that other poor devil! You've got him to answer for, sooner or later. Now, see here--give me that locket---- No, give her the locket--or, by the living God, I'll break your---- Come on!
PRINCESS.
(Light outside and first border and foots change to amber)
Carlos!
DUKE.
(Cross to C. and PRINCESS; gives locket)
You play a good game, Mr. Warren. Are all Americans like you?
JARVIS.
They all play the game in Kentucky.
DUKE.
(Cross to door L.)
And I thought all Americans were fools.
JARVIS.
I saw that from the first, and it helped.
DUKE.
Mr. Warren, take her advice, and return to Kentucky.
(Exit L.)
JARVIS.
Say, hold on----
PRINCESS.
(Stopping JARVIS C.)
What kind of a place is Kentucky?
JARVIS.
God's good country, lady. Must I go back alone?
PRINCESS.
You must go, but you need not go alone.
JARVIS.
You mean----? Say it! Say it!
PRINCESS.
I love you!
(They embrace.)
SLOW CURTAIN.
(Second Curtain)
(RUSTY comes down steps and off L.)
* * * * *
STAGE MANAGER'S PLOT
Act I--
Manhattan Hotel at five o'clock in the morning. Stage dimly lighted by night lamp from side of bed. Theresa is sleeping. Modern, up-to-date hotel room. Furniture dark and a general atmosphere of the best.
Act II--
Stateroom on S.S. "Aquitania," with doors leading off to bath and bedroom of the suite. White walls, dark plush hangings and gold furniture. Dark carpet. Atmosphere of a liner just before leaving dock.
Act III--An old Spanish tavern on the outskirts of Segura with a suggestion of past refinement, but now in a condition of decay. Mandolin and guitar heard in wine room at opening, with singing.
ACT IV--
An old Spanish castle, deserted, crumbling, covered with the dust of ages. Wind effect, etc., to create an atmosphere of spookiness at rise.
The House Detective in the First Act doubles Pedro, the innkeeper, in the Third Act.
Hotel Porter in First Act doubles Vardos in Third Act. Also can do the fight in armor.
Steward in Second Act doubles Jose in Third Act.
Maximo and Gaspar are unimportant characters in the opening of the Third and can be played by extras.
The best results in this play are obtained from a fast, snappy tempo throughout.
CARPENTER'S PLOT
ACT I--
Interior as per diagram.
1 Horizon drop.
3 Backings.
2 Doors, down left and right.
Window back R. and L. center.
ACT II--
Ship's Stateroom:
3 Doors, R.C., R.1 and L.3.
1 Horizon ring.
1 Backing.
ACT III--
Interior Spanish Inn:
Stairway C. Leading into upper part of house.
Door to L. of staircase.
Door R.1 leading to wine room.
Window left 1.
Door left 1.
3 Backings.
Stairs, platforms, and parallels.
ACT IV--
Interior Old Spanish Castle:
Stone masonry in ruins.
Heavy stone windows with bars.
Fireplace R.1.
Stairway C. four steps with heavy balustrade leading through heavy door to armory.
Break-away picture immediately L. of stairway.
Door R.1 L.2C.
2 Backings.
Trap through stage C.R. above the middle line.
PROPERTY PLOT
ACT I--
1 Dressing Table.
1 Toilet Set.
1 Locket in case.
1 Settee.
2 Armchairs.
1 Telephone.
1 Canopy over bed.
Curtains and window shades.
1 large flat trunk.
2 Steamer Rugs with strap handles.
2 Small Trays in trunk.
Scissors, Knife, and Trunk Truck.
ACT II--
1 Gold Settee.
2 Gold Armchairs.
2 Gold Side chairs.
1 Pedestal with silver tray and pitcher.
1 Long Bench with cushions.
1 Telephone.
4 Small Curtains.
Newspapers, Magazines.
Knife.
Steamer Rugs.
Hand Baggage.
Locket and Case.
Boat Whistle (suggest compressed air auto tank).
ACT III--
2 Stools.
2 Tables, old and heavy Spanish.
1 Set Bench and Arm.
Lunch Basket.
Tray, with wine bottle and two glasses.
Hand Baggage.
Playing Cards.
2 Pistols.
1 Long Chain Necklace, with gold cross.
ACT IV--
2 Suits Armor.
2 Swords.
1 Break-away Table.
1 Break-away Chair.
1 Break-away life-size picture of Henry V.
1 Set Fire-Dogs.
Hammer and Chisel.
Wind effect.
Stand for Armor.
3 Lanterns.
1 Revolver and Cartridges.
Locket and Case.
Fan for fire.
Trap through stage.
ELECTRICAL PLOT
ACT I--
Rise dark, two blue pan lights back of window, two baby spots off left; one focussed on bed and the other on door down R.1. Red fire-escape light shows door R. when opened. Night lamp on table near bed.
ACT II--
Lights full up, white and amber, strip light off door right. Lights straw for sun effect at back.
ACT III--
Blue on back drop. Stage full up, amber and white. Strips off right and left. Large lamp on newell post at foot of stairs. Stage dark at lamp crash.
ACT IV--
Stage dark, blue baby spot for moonlight, through window right. Blue on back drop. Fire glow, half up with lanterns on your foots and borders.
[THE END]
Charles Goddard's play: Ghost Breaker: A Melodramatic Farce in Four Acts
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