635 88 y 1 I; PRICE TWENTY-FIVE CENTS W^ SOMEWHERE IN TEXAS BY HARRY VAN DEMARK THE PENN PUBLISHING COMPANY PHILADELPHIA Successful Rural Plays A Strong List From ¥/hich to Select Your Next Play FARM FOIiKS. A Rur^l Piay in Four Acts, by Aars^m Lewis Tubes. For five male and six female characters. Time of playing, two hours and a half. One simple exterior, two ea^ (interior scenes. Costumes, modern. Flora Goodwin, a farmer's daughter, is engaged to .Philip Burleigh, a young New Yorker. Philip's mother wants him to marry a society woman, and by fal'Sehoods makes Flora believe Philip does not love her. Dave Weston, who wants Flora himself, helps the deception by intercepting a letter from Philip to Flora. She agrees to marry Dave, but on the eve of their marriage Dave confesses, Philip learns the truth, and he and Flora are reunited. It is a simple 'plot, but full of speeches and situations that sway an audience aiterhately to tears and to laughter. Price, 25 cents. HOME TIES. A Rural Play in Four Acts, by A&thus Lewis Tubes. Characters, four male, five female. Play« two hours and a half. Scene, a simple interior — same for all four acts. Costumes, modern. One of the strongest plays Mr. Tubbs has written. Martin Winn's wife left him when his daughter Ruth was a baby. Harold Vincent, the nephew and adopted scm of the man who has wronged Martin, makes love to Ruth Winn. She is also loved by Len Everett, a prosperous young farmer. When Martin discovers who Harold is, he orders him to leave Ruth. Harold, who does not love sincerely, yields. Ruth ^dis- covers she loves Len, but thinks she has lost him also. Th&n he comes back, and Ruth finds her happiness. Price 25 cents. ^ THE OI.D NEW^ HAMPSHIRE HOME. A New England Drama in Three Acts, by Frank Dumont, For seven males and four females. Time, two hours and a half. Costumes, modern. A play with a strong heart interest and pathos, yet rich in humor. Easy to act and very effective. A rural drama of the "Old Homstead" and "Way Down East" type. Two ex- terior scenes, one interior, all easy to set. Full of strong sit- uations and delightfully humorous passages. The kind of a play everybody understands and likes. Price, 25 cents* THE OLD DAIRY HOMESTEAD. A Rural Comedy in Three Acts, by Frank Dumont. For five males and four females. Time, two hours. Rural costumes. Scenes rural ex- terior and interior. An adventurer obtains a large sum of money from a farm house through the intimidation of the farmer's niece, whose husband he claims to be. Her escapes from the wiles of the villain and his female accomplice are both starting and novel. Price, 15 cents. A WHITE MOUNTAIN BOY. A Strong Melodrama in Five Acts, by Charles Townsend. For seven males and four females, and three supers. Time, two hours and twenty minutes. One exterior, three interiors. Costumes easy. The hero,^ a country lad, twice saves the life ©f a banker's daughter, which results in their betrothal. A scoundrelly clerk has the banker in his power, but tlie White Mountain boy finds a way to check- mate his schemes, saves the banker, and wins the girl. Price 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA Somewhere In Texas A Melodrama in Three Acts By HARRY VAN DEMARK Author of The Ranchman;' '*A Texas Ranger C **Her Friend the Enemy;' etc. PHILADELPHIA THE PENN PUBLISHING COMPANY I 9 I 8 ^ >^ ^.^y v^/AfPot^ Scene. — Room in house of Colonel Gallitin. Back 6 [SCENE PLOTS drop shows yard and moonlight effect. Door tip L. and others r. and down l. Fireplace L. Bay window and seat up c. (may be omitted). Couch and rocker r. Table and two chairs l. Other furnishings, bookcases, chairs, pictures, as desired. It should be a comfortable but not luxurious room. Act III fxrgff/o;? BACKUP a Scene. — Cabin of Lige Harvey. Back drop shows mountain exterior and moonlight. Doors up c. and at R. Window up l. (may be omitted). Fireplace L. Pistol hangs in holster by fireplace. Table and chairs up r. Lamp and dishes on table. Rough bench down r. Stool and pail up L., near door. Other furnishings as desired to make a rough cabin or shack. Somewhere in Texas ACT I Scene. — Street in village of Mesa (pronounced May 2a). Store with window and door up l, (See Scene Plots.) Telephone on counter or table inside open window. Hotel at l. Rough bench down R. Wood wings r. and L. (At rise of curtain Hike Maynard comes out of hotel L. and looks cautiously about, then motions to some one inside. Enter Dan Hartley, l. They move slowly down c.) Hike (c). Look here, Hartley, we've gotta have your help. Dan (l. c, half -scared). Yuh mean you're goin' t' do up Rufe Bronson? Hike. Yes; do him so clean he'll never know what happened. Dan. But, Hike Hike. Now, shut up, an' listen t' me! Dan. Well, ain't I listenin'? (Acts as if he doesn't want to hear.) Hike. I want you to go home and git your shot- gun Dan. Oh, say, now, Hike Hike. Then you come back here, hide yourself where you can git a good view of the street, an' shoot Bronson when he comes fer his mail. Dan {beginning to shake). Sh-sh-shoot Rufe Bron- son? Hike (impatiently). Yes; shoot Rufe Bronson! 9 SOMEWHERE IN TEXAS Dan. Now, look here, Hike Hike. Shut up, an' do as I tell you ! Dan. It's a mean job — I don't like it! {Shakes his head.) Hike {as he steps hack and looks him over, a sneer ^ curling his lips) . You're a nice specimen to com- plain like that, ain't you now? Dan. Well, I ain't much of a man, Hike, but I — I {Pauses and looks about uneasily.) Hike {threateningly). Look here — d'you want me t* tell th* sheriff about that little affair at Whisperin' Swamp ? Dan {grasping his arm, and looking furtively about). Aw, look here, Hike, don't squeal on me ! (Hike laughs sneeringly.) I — I didn't mean t' do it — honest, I didn't ! You won't say nothin', will yuh ? Hike. That all depends. Dan {pleading). Oh, I'll do anything y' say, now, Hike — anything y' say ! Hike. Then go fetch your shotgun, like I told yuh. Dan. All r-r-right. Hike. Rufe Bronson is too dangerous a man to live in these parts. Dan {drawing himself up in an effort to appear brave). Well, I'll shoot him if you say so. Hike. I never did like him, nohow. I'll shoot him — sure I will! Hike. Then buck up ! What makes you so nervous ? Dan. I ain't nervous, Hike. I — I ain't feelin' well t'-day— that's all. But I'll shoot Rufe Bronson. Hike. Well, Rufe's apt to show up here most any minute. He alius comes fer his mail about this time. {Pushes Dan over to hotel and hands him a coin.) Go in and git up your courage, Dan. Dan {in doorway, bracing up). Courage, Hike? I got th' courage of a lion. Hike. Well, tell the boys I want to see 'em. Dan {as he goes). All right. Hike— I'll tell 'em—I'll tell 'em. lO SOMEWHERE IN TEXAS (Exit, L., into hotel.) (Hike goes up and looks off, l., taking out his watch as he does so, then comes down stage again. Enter from hotel, l., his cronies, Gabe Sandel and Cal Wilson.) Gabe. What d'ye want with us, Hike? Hike. Sh! {Looks about — speaks impressively and draws them down c.) I've fixed it with Dan Hartley. Cal. D'ye think he'll do it? Hike {down c). He will if we keep him up to it. He's a holy terror when he's lit up. Gabe {chuckling). Ain't he, though? I remember the time he shot up the town. Wasn't a soul t' be seen on the street as far as th' eye could reach. Cal {down l. c). Nobody'd come out — 'fraid Dan'd perforate 'em. Hike. With Rufe Bronson out of the way we'll have things in our own hands. Cal. An' that means th' Gray Riders'll be out again. Hike. Shut up! Don't mention those words above a whisper. Gabe {down l. c). That's right, Cal — ain't nobody near, though. Hike. We can't take no chances. Cal. D'ye think Rufe Bronson suspects? Hike. Of course, he suspects. Didn't he tell Mort Milton that things was in a pretty bad state around here, an' if certain folks didn't look out they'd find their necks in nooses? Suspect us? Well, I should say he does! Gabe. Well, if he's figurin' on makin' trouble, he'll likely do it, unless we git to him first. I don't hanker after Rufe Bronson much, but nobody's ever accused him o' crawfishin' on any sort of a proposition. Hike {savagely) . That's just the reason he's got to go. If he stays here he'll break up this band of ours, and that won't set well at all. He's gotta die! II SOMEWHERE IN TEXAS Gabe (swallowing hard). That word "die" kinder sticks in my craw. Hike. Can't — can't yuh say it a little easier ? Hike. I alius say just what I mean. You boys know that. Cal. Yes, we know you do. But this is an awful dirty piece o' business. Hike. I admit all that, but if Dan Hartley shoots him who's going to blame us ? Cal. No one, I reckon. But s'pos'n he fails ? Hike. Then Mr. Bronson will have a pleasant little call from — er — well you know who — some dark night, after which he'll mysteriously disappear, leavin' no trace behind. (Noise heard in store up L. ) Sh ! Here comes the postmaster ! (They move over r.) (Enter Mort Milton from post-office, up l.) MoRT (pausing and surveying them). Say, what you fellers plottin' about ? Hike. Nothin' — nothin', Mort. Jest a little confab about th' dance up at Colonel Gallitin's to-morrow night. We kinder feel slighted at not gittin' an invite. MoRT (coming down c). Well, I s'pose Rufe Bron- son'U be there all right. They say he's kinda sweet on Miss Mollie. Hike. I don't see what she sees to admire in the upstart. Gabe. It's because he dresses in them fine clothes, an* cuts such a swell dido when he goes to see her. Cal. I hear he bought a dress suit last month. MoRT. What! A reg'lar clawhammer? Cal. Yep. Gabe. Who was tellin' yuh, Cal ? Cal. Sam Snodgrass was up tuh San Angelo when Rufe ordered it. Sure enuff broadcloth, with white tokay vest an' silk hat. Hike, You mean a pee-kay vest. 12 SOMEWHERE IN TEXAS Cal. Darned if I do. I said to-kay, an' I'll stick to it! MoRT. I s'pose he'll be wearin' it to th' dance. Most o' th' other young bloods'll be there. Rufe never struck me as bein' so much on style, so I reckon if he's breakin' out with it now, he's sure enuff in love. Gabe. Maybe it's in honor o' that San Angelo gal that's comin' tuh visit th' Gallitins. Hike. What gal's that, Gabe? Gabe. Darned if I ever heard her name. Some one told me the Gallitins was expectin' her, an' I s'pose Rufe Bronson'll kinder feel 'at she's his game. Hike. I s'pose it's that Miss Eagan. Well, enough o' this foolishness. You fellers come with me. See you later, Mort. MoRT. All right. Hike. (Hike, Gabe and Cal, talking, exeunt, down r. At the same time Dan Hartley comes out of hotel and exit up l. Mort starts into store, up l., when horse's hoofs are heard approaching off r. He turns.) Hello! Somebody comin' down th' road yonder. Won- der who it is ? {Shades his eyes with his hand. ) Why, it's Colonel Gallitin. Mus' be comin' after his mail. {Hoofs pause off r., and enter Colonel Gallitin, up R.) Colonel. Hello, Mort. Mort. Howdy, kunnel. Colonel. Nothing new about the fellows who robbed your store, I suppose. Mort. Not a thing, kunnel. Them fellers certainly made a clean get-away. But the sheriff, he says he'll nail 'em yet. Colonel. Well, anything the sheriff says he'll do he usually does. Any mail to-day? Mort. Afternoon mail ain't in yet, but I got a postal card that come this momin*. 13 SOMEWHERE IN TEXAS Colonel (brushing dust from his clothes with a pair of gauntlets). A postal, eh? MoRT. Yep. Frum Miss Sylvy Eagan of San Angelo. Reckon she must be comin' down to th' dance. Colonel. You rascal ! Have you read the card ? MoRT {apologetically), I didn't mean no harm, kunnel, but you know th' law says it's a peniten- tiary offense tuh write a threat on a postal card, so I alius read 'em tuh make sure folks is up-' holdin' th' law. Colonel {laughing). Oh, you do, eh? I'm sure that's your only object in reading other people's mail. MoRT. Yes, suh, kunnel — of course it is. Colonel. Well, get me the card. And, by the way, you haven't seen anything of that nigger, Dike Flinders, have you? MoRT. No, kunnel. I ain't seen him. Want him? Colonel. Yes. I sent him with that old mule of mine for a load of cotton-seed hulls, and I haven't seen him since. Well — get the card. MoRT. All right, kunnel. {Starts into post-office, L.) Colonel. And, Mort! MoRT {turning in doorway). Yes, kunnel. Colonel. I reckon it's a good thing the law doesn't make it a penitentiary offense to write threats in a letter. You'd have your hands full then. MoRT. I reckon you're right. {Steps inside and re- turns immediately with postal, reading card aloud.) This is what she says: "Dear Mollie. Will be with you Tuesday, sure, and as the dance isn't till Wednesday night, we'll have time for a good old-fashioned chat. Sincerely, S. E." That's what she says, kunnel. There surely ain't no threat about that. Want tuh read it? Colonel. No; you've saved me the trouble. But I reckon Mollie will. {Takes card and puts it in his pocket, recollects something, takes it out, looks at it. ) Why, there's no name signed here. Only the initials, and the postmark doesn't even show San Angelo. 14 SOMEWHERE IN TEXAS MoRT (looking at Colonel over his glasses, and chew- ing vigorously). Is that so, kunnel? Kinda funny, ain't it ? Colonel {sternly). How did you know this card was from Miss Eagan? MoRT {embarrassed) . Well, yuh see now, kunnel Colonel. How did you know it ? MoRT. Jest what Fm tryip' tuh tell yuh, kunnel. I heard Gabe Sandel say he thought it must be her. Then Hike Maynard said Colonel {angrily). Gabe Sandel! Hike Maynard! MoRT. Yep — that's right. Colonel. How did they know Miss Eagan was com- ing down here? MoRT. I dunno. Colonel. Have you been telling them about my mail ? MoRT. No, sir, not exactly, kunnel. Yuh see, some o' th' boys was around a while ago, an' Gabe Sandel says, " Th' Gallitin dance must be in honor o' that San Angelo gal," and Hike Maynard says by way of reply, says he, " You must mean Sylvy Eagan." Then I seen the initials on the card an' I knew what I knew. I tell yuh, kunnel. Hike an* Gabe's kinder slighted 'at they didn't git no invite tuh th' dance. Colonel. Oh, they're slighted, are they? Do you suppose I want a lot of good-for-nothings running loose on my premises? MoRT. Nope — I sort o* reckon yuh don't. Colonel. Hike Maynard and his crowd will not be invited to my house if they live to be a hundred years old. MoRT. D'ye know what Hike says, kunnel ? Colonel. I don't care what he says. MoRT. He says there's too much aristocracy here- abouts, an' that it oughter be reg'lated. He's down on the 'ristocrats, and he's down on th' niggers, an' there you are. Colonel. I thank heaven, sir, there is an aristocracy "hereabouts," as you express it. If we had to mix with the rabble which composes at least half 15 SOMEWHERE IN TEXAS of the Mesa citizenship, I'd say, God help our daughters! Things have certainly changed since I was a boy! MoRT. Well, I don't want no hand in th' scrimmage. O' course, yuh know, kunnel, a feller in my line o' business must be friends with everybody. Colonel {flourishing postal). Well, be friendly if you have to, but if you read any more of my mail I'll have you removed from office. MoRT. Oh, kunnel, yuh wouldn't do that ! Colonel. Try me ! MoRT (gating at him over his glasses). Nope — I'd rather stop readin' th' mail. But it'll be a sore disapp'intment to the boys, 'cause they kinder likes to be kept informed as to what's goin' on on your plantation. Colonel. Just let me catch you telling Hike May- nard anything about my affairs. It will be a sorry day for you, and I hope you'll remember it. {Exit, up R. Horse's hoofs heard, receding. Mort chuckles. ) Mort {calling after him). Reckon I'll remember what you say. You're a bad man tuh git mixed up with. {A train whistle is heard in the dis- tance.) By cracky, there's the afternoon train. I must see about gittin' the mail. {He looks off up L. Train effects, if desired, heard off l., finally stopping. Mort darts into the store and gets his hat, comes out immediately, and looks off L. again.) Hi ! There comes a gal up the sidewalk. Must be Miss Eagan from San Angelo. {Looks around.) Seems like some o' th' Gallitins'd oughter be here tuh meet her. {Stands up c.) {Noise of train, receding, is heard, and finally stops. As the noise dies away, enter, up L., Sylvia Eagan. She is carrying a suit-case.) Sylvia {seeing Mort and putting suit-case down). Good-afternoon. i6 SOMEWHERE IN TEXAS MoRT. Good-afternoon. {Bows.) Sylvia. Have you seen anything of Miss MoUie Gallitin? MoRT. No, I ain't, miss. Th* kunnel rode up a while back fer his mail, but I ain't seen Miss MoUie nor Ainsley about here t'-day. Mebbe they'll come down later, Lemme take your suit-case. {Goes to her and takes it.) Sylvia. You are very kind. MoRT. Oh, don't mention it, ma'am. Sylvia {annoyed). Strange some of the Gallitins are not here. They were expecting me. I wrote them two days ago. MoRT. Well, like as not they didn't git your postal till t'-day. Sylvia. How did you know I wrote a postal? MoRT. Er — ahem ! — I — er — I jest 'lowed 'at yuh did. Sylvia. I wonder if the postmaster would know ? MoRT. Well — er — ahem! — he might. Yuh can't tell. Sylvia. Where can I find him ? MoRT. I'm him ! Sylvia. Oh, you're the postmaster? MoRT. Yep ; I'm him, an' he's me. Sylvia. How fortunate! Then you can surely tell me if the Gallitins got my card. MoRT. No, I wouldn't know, honest, I wouldn't. We git so many postal cards, it's hard tuh remem- ber who takes 'em out, an' that's a fact, Miss {Pause.) Sylvia. Eagan — Sylvia Eagan. MoRT. Yuh see. Miss Eagan, Fm a strict believer in the old adage that every feller shall keep his nose out o' t'other feller's business. I never read any o* my customers' mail. No, indeed! Sylvia. Well, that's commendable in you, I'm sure, Mr.— er {Pause.) MoRT. Milton, ma'am — Mort Milton. Sylvia. What would you advise me to do? 17 SOMEWHERE IN TEXAS MoRT. I advise yuh tuh come intuh my store an* wait till some one comes. Sylvia. I suppose that would be best. MoRT. Right this way. I got th' suit-case. Right this way, (He leads the way up l. Sylvia follows. As they go Dike Flinders, Colonel Gallitin's negro, enters, shuffling, up r.) Dike. Mistah Milton — oh, Mistah Milton ! MoRT {pausing up l.). Well, what d'ye want? {Sees him.) Oh, it's you. Dike Flinders! Say, the kunnel's lookin' fer yuh. Dike {startled). Has de kunnel done been heah? MoRT. Yep. It's a wonder you didn't pass him. Sylvia. Oh, he must be coming back for me. I'll wait in the store. {Exit, up l.) Dike. I gotta fine de kunnel right away. Whar yo' reckon I kin cotch him, Mistah Milton? MoRT. Think I saw him go intuh th' Delmonico Hotel, Dike, but I ain't sure. You might try 'phonin' him. {Points to 'phone in window of store.) Be keerful of the apparatus, though — I jest had it put in. Th' hotel number's fifty-six. Dike. Thank yuh, sah. Dat's what I'll do— I'll 'phone de kunnel at de hotel. (Goes to window, reaches through and gets 'phone.) MoRT. What's wrong? Dike. E-nuff! MoRT. Where's your mule? Dike. Magnolia? She done balk, sah, an* now she's standin' up de street dar, en won't move an inch. MoRT {laughing). That's the way with mules — they're like some humans — they sure are ornary critters. (Exit, laughing, into store, up l.) Dike (speaking into 'phone). Hello — hello, dar! i8 SOMEWHERE IN TEXAS {Pause.) Please, ma'am, gimme number fifty- six. Huh? Yas'm, dat's it — fifty-six. {Pause.) Hello! Am dis de Delmonico Hotel? {Pause.) Well, I wants to talk tuh Marse Kunnel Gallitin. {Pause.) Hello! Dat yo', Marse Kunnel ? Dis is Dike. I done rung yo' up, sah, tuh tell yuh dat — dat Magnolia she done balk down de street heah. Huh ? She done balk — halk, sah. She {Pause.) 'Bout half an hour ago, sah. {Pause.) Yas'r, I bus' her in de haid, sah. {Pause.) Yas'r, I done wear de whip handle out on her, sah. {Pause.) Yas'r, I kick her in de belly 'bout eight times, sah. {Pause.) Marse Kunnel, I would 'a' kick her some more, but I hurt mah toe de las' time I kick her, sah. {Pause.) Twis' her tail? No, sah — not me, sah! A gem'man f rum San Angelo, sah, he twis' her tail. {Pause. ) No, sah, I don' reckon he's daid — not exactly daid. But de doctah done took him intuh de drug sto', sah. {Pause — chuckles.) Yas'r, it suah was foolish, wa'n't it? {Pause.) Huh? Oh, yas'r, I done set fiah under Magnolia, sah. {Pause.) No, but it done burn de harness clean off 'n her, sah. {Pause.) De cart? Yas'r, done burn de cart too — all but one wheel. {Pause.) Yas'r, I save de hulls, sah, by dumpin' 'em in de road. Shall I come back tuh de plantation, or shall I wait fer Magnolia tuh move, sah? {Pause.) Yas'r, I'll wait right heah till yo' sends de dynamite. {Hangs up receiver and mops his brow. Enter Sylvia and Mort from store.) Dat suah is a fool mule. {Stands up c.) Mag- nolia don' know w'en she's well off. Betcha Marse Kunnel done blow dat mule tuh heaben ! MoRT {looking off^ r.). Reckon it's about time some o' them Gallitins was showin' up. Miss Eagan. Sylvia. I quite agree with you. MoRT. But don't be uneasy. We'll get you out there somehow. Sylvia. I'm not uneasy, and please pardon me if I seem impatient. 19 SOMEWHERE IN TEXAS MoRT {to Dike). Dike, go over to the hotel and tell Kunnel Gallitin if he's still there that Miss Eagan is at my store. Dike. All right, Mistah Milton, I tell him. I reckon Magnoliall be right dar when I gits back, {Chuckles; exit, r.) MoRT. Dike's workin' f er the kunnel. He'll find him if he's still in town. {Goes R.) {At this moment a shot is heard off l., followed by a drunken shout, Sylvia starts up r. Dan Hart- ley enters, l., a shotgun in his hand, into which he is trying to jam another shell.) Sylvia {grasping Mort's arm). What's the matter with him? MoRT. Got a little too much, I reckon. Go intuh the store. {She does not obey. Dan sees her.) Dan {leering at her). Hello, sweet one! Waitin* f er me, eh ? Well, gimme a kiss, darlin' ! {He starts toward Sylvia. She screams, and runs down R. MoRT gets between her and Dan.) MoRT. Look here, Dan Hartley — can't yuh see you're scarin' th' lady? Dan. Now you jest close your face, Mort Milton! H ye don't yuh'll git it filled so full o' shot yuh won't know t'-day frum yisterday. {To Sylvia.) Now for the kiss, gal ! Sylvia {frightened). You brute! Don't dare come near me! {She moves further away from him. He staggers slowly toward her, down r. She runs up stage, just as horse's hoofs are heard off R., growing louder, then Rufe Bronson's voice off stage.) Rufe. Hold up there, Hartley, you ruffian! Sylvia. Help me, please! {Runs across l.) Dan. That's Rufe Bronson. I've got tuh git him! I've got to ! 20 SOMEWHERE IN TEXAS (Runs up c, gun in hand and looks off r. just as Rufe runs in.) Rufe (savagely). Drop that gun, Hartley! Dan. I won't, Bronson. You take that ! (Staggers, brings gun to his shoulder and fires.) Rufe (dodging, then he knocks muzzle of gun up in the air). Who are you shooting at, you coward! Dan. I'm shootin' at you, an' I'll (Raises gun again. Rufe grasps it by the muzzle and turns it away. They stand looking into each other's eyes.) Rufe. If you shoot at me again. Hartley, don't miss, or I'll kill you ! Dan. I won't miss next time ! Rufe. Yes, you will, because you couldn't hit the side of Mort Milton's store. Dan (savagely, as he jerks gun out of Rufe's hands), I'll show yuh what I kin hit, you low-down cotton raiser! I'll learn you who's yer master around these parts! Here's where I blow yuh plum to Rufe. Don't say it! You're irresponsible, and I don't want to hurt you. Dan (leering toward Sylvia, who is down l.). I'll be with yuh in a minute, dearie, soon's I do fer this upstart. I'll Rufe. Drop that gun! Dan. I won't! Rufe (up r. c, hand to his hip pocket). Drop it, or I'll blow daylight clean through you! (Pause.) Drop it! (Dan has half -raised the gun.) I'll give you till I count three! (Counts slowly.) One ! Two ! Drop it ! ( The gun clatters to the ground. ) Pick up that gun, Mort ! Take it into the store and don't let him have it till he's sober. Mort. Jest as you say, Rufe — jest as you say. (Goes up c, picks up gun and carries it up l.) 21 SOMEWHERE IN TEXAS RuFE {to Dan). I ought to thrash you within an inch of your Hfe! Dan {up c, whining), Yuh wouldn't pick on a pal, would yuh, Rufe ? RuFE. A pal, Hartley ? Don't make me laugh ! But I couldn't have shot you. The only weapon I have about me is this! {Pulls a quirt out of his hip-pocket and laughs.) Dan. But — I've got to talk to the lady now. Rufe. If you say one word to her, I'll break every bone in your body! Dan {leering at Sylvia again). He don't want me to talk to yuh, Miss. He Rufe. I warned you, Hartley ! (Hits him. Dan falls and lies still.) Sylvia {going up c). Oh, sir, I hope you haven't killed him! Rufe {lifting his hat). No such luck, miss. {To MoRT.) Pick up this trash and take it into your store. It's a bad looking object to be lying around here, especially since there's a lady present. (Bows low to Sylvia.) MoRT. All right, Rufe. Reckon he'll come around all right? {Goes to Dan.) Rufe. Sure, he's only stunned. {Turns to Sylvia.) Can I be of any further help to you, miss? My name is Rufe Bronson. Sylvia {her face lighting up as she extends her hand). Oh, I have heard of you from Mollie Gallitin. I am Sylvia Eagan, of San Angelo. (They move slowly down r. Mort assists Dan to his feet, and takes him into store, up l.) Rufe. You've come down to the dance, haven't you ? Sylvia. You're a fine guesser, Mr. Bronson. Rufe. ^ I suppose I ought to apologize for the town, Miss Eagan. I'm sorry any one in Mesa would 22 SOMEWHERE IN TEXAS insult a lady. But you know it takes all sorts o£ people to make a community, and I reckon Mesa's no exception to the rule. {Looking back.) I reckon he won't repeat the offense very soon. Sylvia. Are you sure he isn't badly injured? RuFE. No. Don't worry about him — he deserved all he got. Sylvia. He probably did not realize what he was doing. But have you seen Mollie Gallitin? She was to meet me, or send her brother, Ainsley. RuFE. I haven't seen either of them to-day, but then I've been away most of the time. Strange one of them is not here, though. They are usually very punctual. Sylvia. Do you live near them? RuFE. Yes; our plantations are only a mile apart. Most likely your mail miscarried. But never mind — they'll be glad to know you're here. Sylvia. Oh, I'm not worried about my welcome. But in the meanwhile RuFE. In the meanwhile, I wouldn't think of leav- ing you here, Miss Eagan. I reckon I can find some sort of a conveyance in town, and I'll be pleased to drive you out. Sylvia. That's kind of you, but RuFE (bowing). Now, don't say another word. I'm only doing my duty toward womankind. Sylvia (laughing). What a pretty speech. I had supposed the days of the cavaliers were over. RuFE. Will you wait for me here ? Sylvia (looking rather uneasily about). Yes — I — I suppose so. RuFE (smiling). Oh, you have nothing more to fear from Dan. He knows the next time he insulted you I'd kill him, and he'll think a long while before he tries anything like that. Here, take this quirt (Hands it to her.) If any one bothers you while I am gone, don't hesitate to strike. Sylvia. Thank you. Only — don't — ^be long. I must admit that my nerves are on edge. SOMEWHERE IN TEXAS RuFE. I'm sorry. (Regretfully.) Maybe I should have put a hole through him. Sylvia. With what — ^your quirt? RuFE (laughing). That's so — I'd forgotten I left my " weepon " at home. Quirt's as good as anything for Dan, though. Ordinarily, I'd have let him run his course — he gets a spell like this quite often — but I saw you and I don't want you to have a bad impression of our young and growing city. Sylvia. But he might have shot you ! RuFE. Oh, no — not to-day. He couldn't hit the side of a bam at ten feet, let alone a man. Now, I'm going to hunt up a vehicle. I'll be back in a jiffy. Sylvia. All right, Mr. Bronson — many thanks. (RuFE tips his hat. Exit, up l. Enter Mort from store. Goes to Sylvia, r.) Mort. I'm right sorry Dan annoyed you, miss. Sylvia. Oh, don't mention it any more, Mr. Milton. Mort. If I hadn't been an old codger with rheumatic j'ints, I'd 'a' took a hand in th' scrimmage myself. Sylvia. You did all you could, I'm sure. Is he recovering? Mort. Who, Dan? (She nods.) Oh, he's all right. I got him locked in th' ice chest, an* I don't reckon he'll make no trouble. Sylvia. But he'll suffocate. Mort. No danger o' that. Ventilation's mighty good. More apt tuh freeze. But you're tired. Why not sit down on th* bench and rest ? Sylvia. Thanks. (Sits on bench down r.) (Ainsley Gallitin comes in hurriedly from r. Sees Mort.) Ainsley. See here, Milton, have you seen > (Sees Sylvia.) Oh, there you are! (Comes down r. to her.) 24 SOMEWHERE IN TEXAS Sylvia {springing up). I'm glad to see you, Ainsley, (MoRT goes hack into store, up l.) Ainsley. Same here! {Starts to pull her closer — she holds back.) Oh, I say, now, aren't you going to kiss me? Sylvia. Why, you've no right to expect that ! Ainsley {boldly). When are you going to give me the right? Sylvia. Perhaps never. Let's not talk of that now. Ainsley. But Sylvia. Can't you see how nervous I am ? Ainsley. Nervous? What's the matter? Sylvia. Merely a scare. One of your villiage ruf- fians — a man named Hartley — insulted me. Ainsley. Insulted you? Why, I'll Sylvia. Oh, don't bother! He met his deserts, and is now locked in Mr. Milton's ice chest. Ainsley. Surely Mort Milton didn't tame the scoundrel ! Sylvia. No. He was tamed very effectively by your friend, Mr. Bronson. Ainsley {with a start). Bronson! Rufe Bronson! Sylvia. Well, really, I didn't ask his given name. Ainsley. He's no friend of mine. Sylvia. Oh, I thought Ainsley. How did you come to meet him? Sylvia. Why, I'm trying to tell you how he came to my aid and subdued Mr. Hartley. Ainsley. And you were not introduced? Sylvia. Of course not ! How silly ! Ainsley. It's not silly at all — and it's a good thing I came along. Sylvia. I don't believe I understand you, Ainsley. Ainsley. Why, you must leave this fellow Bronson alone. Sylvia. Leave him alone ? You mean Ainsley. He's an interloper — an unwelcome intruder in Mesa. Sylvia. I don't like to hear you say such things — he seemed very nice to me. 25 SOMEWHERE IN TEXAS Ai^^'Li^Y. But you must understand, Sylvia, that • Sylvia. I understand myself, and I am a very good judge of human nature. If I am not mistaken Mr. Bronson is every inch a gentleman. AiNSLEY. You're wrong. He Sylvia. Well, anyway, I like him very much. AiNSLEY. Why, he's not fit to touch the hem of your skirt. Sylvia. Don't be melodramatic, Ainsley! What have you against Mr. Bronson ? AiNSLEY. I hate him! Sylvia. That is evident. AiNSLEY. He came here and bought a plantation next to us, and has had the temerity to insist that he can raise better cotton. Sylvia {archly). Perhaps he can. AiNSLEY. Don't tantalize me! Just tell me when you'll marry me, and we'll let the Bronson matter drop. Sylvia. Are we to thrash that all out again? AiNSLEY. Yes. Sylvia. Then I wish I'd stayed in San Angelo. AiNSLEY. I want you to marry me at once. Sylvia. Don't talk nonsense. AiNSLEY. This isn't nonsense — to me! Now, lis- ten {They talk down r., he pleading, she growing more frigid. Mort comes out of store, l., just as enter, R., Hike, Gabe and Cal.) Hike. What was that shootin' a while ago, Mort? Mort. A little gun play by Dan Hartley. (Hike and his companions exchange glances. They go up c.) Hike. Did— did he shoot anybody? Mort {up l.). No, but it wasn't his fault. He tried to shoot Rufe Bronson. Hike {with feigned surprise). Well, what d'ye think of that! {Winks at Gabe and Cal.) Where's Dan now? 26 SOMEWHERE IN TEXAS MoRT. In my ice chest, sort o' laid out cold. Hike (looking around uneasily), Where's Bronson? MoRT. I reckon he's gone after a hoss an' buggy tuh take th' lady home. Hike (surprised). Lady? What lady? MoRT. Miss Eagan of San Angelo. (Jerks thumb r.) Hike. Miss Eagan is here, eh? Well, I'd like tuh meet her. Gabe (nudging him). Go interduce y'self, Hike. Hike. I believe I will. (Sound of wagon off R., mingled with voices.) Hello! Who's that? (MoLLiE Gallitin enters hurriedly, R.) Oh, good-momin', Miss Gallitin. (She gives him a contemptuous glance and, sweeping past him, goes up to Mort. Mort hows. ) MoLLiE. Have you seen anything of a young lady, Mr. Milton? Mort. I s'pose you mean Miss Eagan? There she is with your brother, Miss Mollie. (Points. At the same moment Sylvia sees her, jumps up and runs to her. They embrace. AiNSLEY seems to resent his sister's intrusion.) MoLLiE. You must excuse me for being late. I came near losing a wheel off the surrey. Sylvia. Accidents will happen, and I'm glad to see you now. AiNSLEY. You needn't have come, Mollie — I would have brought Sylvia home. MoLLiE. Well, I'm here now, and we'll both take her home. (AiNSLEY, with a curl of the lip, half turns away.) How about the mail, Mr. Milton? Mort. The afternoon mail ain't come up yet. (Hike and his cronies have been talking in under- tones up R. since his rebuff by Mollie. Hike now steps forward and tips his hat.) 27 SOMEWHERE IN TEXAS Hike. Miss Gallitin, I'd like a word with you. MoLLiE (frigidly). Well — what is it? Hike. We feel as though we oughta have an invite to th' dance to-morrow night. AiNSLEY (down R., angrily). Now, see here, May- nard Hike (turning on him). You keep out o' this. I'm addressin' your sister. MoLLiE. Had we wanted you at the dance, we should have invited you. (Turns away.) Hike (with a sneer). I suppose by that you mean we ain't good enough? AiNSLEY. Yes, that's exactly what she means! Hike. For the last time, you keep out o' this! (To MoLLiE.) There's altogether too much of this aristocracy business around here, and we've made up our minds to put a stop to it. MoLLiE. What do you mean? (Enter RuFE, up l.) Hike. That unless we git an invite tuh your dance and are treated same as your other guests, we'll be awful peevish, an' may cause some trouble. RuFE (confronting Hike). What do you mean by trouble, Maynard? Hike. Say, now you're buttin' in. This ain't none o' your business. RuFE. I'm making it my business. AiNSLEY. The Gallitins can attend to their own affairs, Bronson. MoLLiE (to AiNSLEY — rcprovingly) . Ainsley! RuFE (to Ainsley). When I start a thing I usually finish it. (To Hike.) Now, Hike, you hike! Hike (with a threatening move toward his hip pocket). I oughta fix you fer this, Bronson! (RuFE has his hand in his left coat pocket, so that what appears to he the barrel of a revolver is pointing toward Hike.) RuFE. Hold on! I've got you covered, and if you 28 SOMEWHERE IN TEXAS think I can't shoot straight through my pocket you just try to pull that gun! Hike. You've got th' drop on me this time. But wait — wait! Next time you'll have more than Dan Hartley tuh deal with. RuFE. Oh, so you put him up to that shooting business, did you? (Hike sneers.) I had my suspicions. Well, you know what happened to Dan, and it isn't impossible for you to get a similar dose. Hike. Don't brag! RuFE. Listen. Call it bragging if you will, but I mean business. I've had dealings with you and your gang ever since I've been in Mesa, and none of you ever got the best of me. You've lied to me, you've stolen from me, you've tried to have me shot. You've been pinning notices on my door lately, too. Hike. That's a lie ! RuFE. It's the truth! What is more, I know the name of every Gray Rider in the county, and the next man of the bunch that fools with me will be shot so full of holes he'll never know what hit him. I reckon we understand each other now. So you can beg Miss Gallitin's pardon I Hike. Not on your life ! RuFE. It's either that or the worst licking you ever had! Hike (as he hesitates) , Just one more score to settle with you! RuFE. I don't mind that. Beg her pardon! Quick! Hike (ungraciously). 1 — I beg your pardon, Miss Gallitin. MoLLiE. Well, it isn't granted ! Hike. I'll be even for this — even with all of you. RuFE. Well, clear out with your gang, there. You only contaminate the atmosphere of a peaceful village with your presence. (Goes R. toward Sylvia.) 29 SOMEWHERE IN TEXA8 (Hike and the hoys talk in undertones as they with- draw slowly L. RuFE hows to Sylvia, and they talk, R. AiNSLEY clenches his teeth, with a black look at RuFE. Colonel Gallitin enters, up r., just as Hike, Gabe and Gal, hands on hack pockets, as if to draw their guns, start for Rufe. ) Hike. Now, you listen to us, Rufe Bronson Colonel {pistol in each hand — covering them). I reckon Mr. Bronson has no disposition to listen to such trash as you! Rufe (laughing). Ah, colonel, up to your old tricks ! (Hike and his cronies withdraw slowly, mutter- ing, L. Rufe goes up r. to Colonel.) Would you mind lending me one of your guns? Colonel. Sure, my boy, but you don't need two. 1*11 keep 'em covered. Rufe. I don't need two, but I kinda feel the need of one! Ainsley. But what's that in your coat pocket? {Points.) Rufe {laughing). I had my finger pointing at May- nard. I — I left my gun at home ! {Takes the gun from Colonel's hand. Hike and his friends mutter, hut Rufe and Colonel keep them covered.) CURTAIN 30 ACT II Scene. — Sitting-room at Colonel Gallitin's. Doors up L., down L., and at r. Fireplace at l. Table and chairs down l. and couch and rocker down r. Bay window and seat up c. {may he omitted). Lighted lamp, magazines, newspapers, books on table, {At rise of curtain Mollie enters, l., and goes to table. She seems to be looking for something. Martha, the old negro servant, comes in at back, hears music, chuckles audibly. Mollie turns and smiles. ) Martha. Lawsee, it suah do soun* good tuh heah dat music. Wat's dey playin', Miss Mollie? (Comes down l.) Mollie. A good old Irish air, Martha — " Where the River Shannon Flows." (Another tune may be substituted if desired.) Martha. An' dey's dancin' to dat? Mollie. No; not enough here to dance yet. The orchestra is merely entertaining the guests. Martha. Whar's de new lady ? i Mollie. New lady? Oh, you mean Miss Eagan? Martha. Yas'm. Mollie. Oh, she's around somewhere. Martha. Dat gal suah is some stunner! Mollie (laughing). Yes, Sylvia is a remarkably pretty girl. Martha. Ree-markable don' 'gin tuh express it, Miss Mollie. She am as beau'ful as a lil' rosebud jes* bloomin* intuh a rose, er a ten-acre patch all cohered wif watahmelyuns. (Smacks her lips.) 31 SOMEWHERE IN TEXAS MoLLiE (still laughing) . Well, don't tell Miss Eagan that! Martha. Why not, Miss MoUie ? (MoLLiE goes r.) MoLLiE. She might not care to be compared to a watermelon patch. {Exit, R., laughing,) (Colonel enters, l., and takes newspaper from table.) Colonel. Bring my slippers, Martha. Martha. Yas'r — yas'r. (Exit, L. Colonel sits before the fireplace and spreads the paper out on his knees, feels for his spectacles, finds them, wipes them off with hand- kerchief and puts them on. Martha comes in h., with slippers and bootjack. Colonel pulls off his boots; she puts on his slippers, grunts and rises. ) Colonel. Now my pipe. Martha. Yas*r. (Gets it off of mantel and hands it to him. Enter Mrs. Gallitin, l.) Mrs. G. (as she sits r. of table). The Gray Riders were out again last night. Colonel. I'm not surprised. Mrs. G. Fm not surprised, either, but I think it's a terrible state of affairs. Colonel. They'll be regulated in due time by the sheriff. Mrs. G. I understand the sheriff is afraid to act. Colonel. That's merely a rumor. I know him — he has courage. Mrs. G. But if it should prove true. Colonel. I know the sheriff, I tell you. He's laying plans now to catch the offenders. Why worry, my dear — they haven't bothered us yet. Mrs. G. Well, I shan't feel safe a minute sinc^ that 3i SOMEWHERE IN TEXAS incident at Milton's store yesterday. Hike May- nard usually keeps his word, and when he swears vengeance he usually wreaks it on some one. Colonel. I don't believe he'll bother any one in our neighborhood. Where were the Riders last night ? Mrs. G. At Tom Willoughby*s, over on the bayou road. It seems one of Tom's negroes stole some- thing from Milton's store a few days ago, at least, they think he did. The Riders demanded that Tom discharge him, and when Tom refused they entered the servants' quarters and took the negro out and flogged him. Colonel. Maybe he deserved it. Mrs. G. Well, what have we laws and courts for I'd like to know! Colonel. Yes, if Milton suspected any one of steal- ing his goods he should have sworn out a search warrant before he accused any one. Mrs. G. Hike Maynard claims they found some of the stolen goods in the negro's possession. Colonel. And what did the nigger say to that ? Mrs. G. Said he got it from some one else — another negro — and did not know it had been stolen. He offered to give it up, and the Gray Riders took it. But they flogged him just the same. (Martha enters l. and listens.) Colonel (rising and pacing back and forth up stage). There's no question but what we have some thiev- ing niggers around here. Yet there are white people around here just as mean or meaner. Who told you all this ? Mrs. G. Ainsley. Colonel. Where is he? Mrs. G. Out on the gallery. Colonel. If you're going out, tell him I w^ant to see him. Mrs. G, Very well. (Goes up and exit at hack.) Martha. Marse Kunnel, yo' doesn't *spect dat mx people am all thieves, does yer? 33 SOMEWHERE IN TEXAS Colonel. Well, I know that you are not, if that's any comfort. Martha. Dat suah am a pow'ful comfort, sah. Colonel. But some of the blacks are capable of anything. But at that, there's a court of law, and they should be tried and if guilty, punished. Martha. Yas'r, Marse Kunnel — ^you'se alius right. {Exit, L., shaking her head. Enter Ainsley, door at back.) Ainsley {rather sullenly). Want to see me? Colonel. Yes. Sit down. (Ainsley sits l. of table, facing his father. Colonel sits r. of table.) Who told you the Gray Riders were out last night? Ainsley. No one — I saw them. Colonel. You saw them? Ainsley. Yes. I went over to Tom Willoughby's to look at a horse. It was good and dark when I started home. I had reached a point in the timber by the bayou bridge when I heard horses coming like the wind from behind me. I thought it rather unusual, so I drew aside in the thick undergrowth. I had no sooner concealed myself than they flashed by like a streak. But it was moonlight, and I could make out their gray robes. Colonel. How many were there? Ainsley. Well, I should say eight or ten. I didn't have time to count them. Colonel. H'm! This is getting serious. Ainsley. Something will have to be done to stop it — that's sure. Colonel. But what? Ainsley. I don't know. Colonel. I suppose we'll have to rise up in sufficient numbers to put them down. I'll tell you what I think — if Hike Maynard were out of the way, the Gray Riders would soon cease to exist. Ainsley {turning away, rather uneasily). You think he's the leader? Colonel. I know it. And he has such a hold over 34 SOMEWHERE IN TEXAS his men that they do everything he says. He's got courage, and it's too bad he won't turn it to some decent account. There's only one man around here he's afraid of. AiNSLEY. You mean i^Pause.) Colonel. Rufe Bronson. AiNSLEY {disgusted). Huh! Colonel. One look from Rufe's eye seems to make Maynard hesitate. It doesn't exactly make a coward of him, but there is something about Rufe that Hike fears, and when one man feels toward another as he does toward Rufe, sooner or later he'll get what's coming to him — or he'll leave the country. AiNSLEY. Sandel and Wilson are sore on Rufe, too. Colonel. Why? Because he hired them to pick cotton, and discharged them when they got too lazy to earn their salt. AiNSLEY. Oh, they're a good-for-nothing lot, but Bronson's not much better himself. Colonel. Oh, come now (Erter Sylvia and Mollie, r. They come down R. Colonel and Ainsley rise. ) Mollie. What's the argument? Sylvia. Didn't I hear some one mention Mr. Bron- son? Colonel. Why, yes — we — that is (Throws a glance at Ainsley, who turns away.) Mollie (laughing). Oh, that's all right — keep your secrets. (Enter Mrs. Gallitin, at back. Comes down c.) Mrs. G. I wonder where Rufe Bronson is? (Sits R. of table.) Colonel. Hasn't he come yet?. 35 S03IEWHEBE IN TEXAS {Stands behind table.) MoLLiE. No, and he's usually so punctual. Sylvia. He's one of the most interesting men Fve met. How about it, Colonel Gallitin? Colonel. Who? Rufe? Well, I s'pose you're right. Sylvia. Tell me about him, won't you? I'm just dying for some information. Colonel. There's not much to tell beyond the fact that Rufe isn't overfond of cotton raising. His plantation was left as a heritage from his father, and he feels duty bound to uphold the family tradition for honest and faithful effort. That's why he's here. MoLLiE. What makes you think Rufe doesn't like cotton raising, papa? He never said anything about it to me. Colonel (laughing). And you thought he had told you everything, I suppose ? MoLLiE. No, I didn't mean that I (Pause.) Colonel. I came upon Rufe in a sort of a temper the other day, Miss Eagan. He'd figured it all out in his mind. He was a regular slave to King Cotton. I told him he had no cause for com- plaint. Then he said : " Now, look here, colonel — you've lived in Mesa all your natural life, peaceful and contented with what came your way. But I am younger than you, and I'm tired of these immutable conditions; drudgery day in, day out of the cotton planter without incident or emotion to lend it interest." I told him he ought to get married. " That would make no differ- ence," he said. " The days here are duller, the nights are duller. There is no interest after the sun has set, nothing to do, colonel, only ride over to your place for a chat, and to be frank with you," he said, " even that grows monotonous." (Laughs heartily.) Think of Rufe telling me to my face that our society grew monotonous, Mollie. MoLLiE. Just like him, though, isn't it, daddy? 36 SOMEWHERE IN TEXAS 'AiNSLEY. Well, if Bronson isn't careful the Gray Riders will give him all the excitement he craves — and more. Sylvia. The Gray Riders? You make me shudder. Who are they ? Colonel. You had a good view of some of them down at Milton's store yesterday afternoon. Sylvia. Those men Mr. Bronson had trouble with — they were Colonel (nodding). Gray Riders— yes. MoLLiE. And they've sworn to kill Rufe, Sylvia. Sylvia. How dreadful ! How can you all take it so calmly? Colonel. No other way to take it. We must be prepared for the worst when the Gray Riders are out. Sylvia. They must be something like the Ku Klux Klan, of whom I've often heard my father speak. Colonel. No. The Ku Klux were a body of brave men who arose to avenge insults to womanhood and the wrongs of a rotten government during the reconstruction period in the South. They may have made mistakes but they tried to mete out justice with a fair and even hand. But the Gray Riders who infest this country are more like a band of White Caps, and do nothing but take revenge on people they dislike, be they white or black. Sylvia. Has Mr. Bronson earned their displeasure? Colonel. He has refused to mix with men of their class, for which I honor him. Then, too, he has discharged several of them from his plantation because they were too lazy to work. Now they seek vengeance, but they'll have to go some to get even with Rufe. MoLLiE. He's had two encounters with Maynard already, and Hike got the worst of it both times. Sylvia. And does Mr. Bronson live alone? Mrs. G. Yes, but he doesn't seem to mind it, except, as the colonel says, he gets lonesome sometimes. I think he lacks sociability. 37 SOMEWHERE IN TEXAS MoLLiE. Oh, mamma, you know better than that. Mrs. G. {laughing). Oh, I don't blame him, after you've refused him so many times. That would make any man unsociable. MoLLiE. Why, mamma, you don't realize what you're saying ! AiNSLEY. Well, you needn't be so careful — every- body knows it — if it's anything to be proud of ! Sylvia {sobering quickly). Then — then, I am to con- gratulate you, Mollie? MoLLiE. Of course not — it's nonsense! There is nothing between Mr. Bronson and myself. Mrs. G. Then it's not his fault. Colonel {laughing). Oh, let's change the subject. Pleasant weather to-night. Mrs. G. Well, you can change the subject, but I know what I know ! Ruf e Bronson — — {As she speaks the door at hack opens and Rufe enters hurriedly.) Rufe {gaily). Who calls Rufe Bronson? {Comes down c. and shakes hands with Colonel.) Mrs. G. {embarrassed). Oh — I — that is — we were wondering if you'd forgotten the dance. Rufe {laying his hat on the table) . No — only a little late — that's all. Which accounts for my rushing in unannounced. Colonel {slapping him on the shoulder). That's all right — perfectly proper — ^you'll always have a second home with us. (Rufe goes r. and greets girls.) Rufe {as he shakes hands with Sylvia). You're a witness to what he says. Sylvia. Am I to take it that you'd like to make your home here, Mr. Bronson? Rufe {surprised at her tone). Eh? Why — ^yes — of course. One would travel a long way to find a more hospitable family than the Gallitins. 38 SOMEWHERE IN TEXAS MoLLiE. A very pretty compliment, for whicK I thank you, Sir Knigiit. (Drops him a curtsey.) RuFE {as he discovers Ainsley standing down L.), Oh, hello! Ainsley (almost rudely). Good-evening! (Hurries up stage and exit, door at back.) (RuFE starts slightly at the rebuff, but quickly regains his composure. Mollie speaks quickly to relieve the situation.) Mollie. The dance will be beginning in a few min- utes, Rufe, and I made Sylvia reserve her first for you. Rufe. Say, you had the right idea ! I hope she hasn't entirely filled the rest of her card. Sylvia. All but one dance, and that I'm planning to sit out with somebody. Rufe. I'm somebody, and I claim to be a good sitter. ( Offers an arm to each of the girls, and they go off R., laughing. Colonel looks after them, smiling. Comes down r.) Colonel. I can't help liking that boy. Mrs. G. Well, is there any reason why you should not like him ? Colonel. None — though Ainsley seems to find any number of them. Mrs. G. Oh, Ainsley is young, and doesn't under- stand matters. He looks on Rufe as an intruder in the community. Colonel. I was just wondering if Miss Eagan had anything to do with his most recent outburst. You know Ainsley was late getting to town yes- terday, and Rufe met Miss Eagan and saved her from insult at the hand of Dan Hartley. Mrs. G. I tell you Rufe's in love with Mollie. (Rises.) Colonel. Now, Jennie, listen to me. Rufe undoubt- 39 SOMEWHEBE IN TEXAS edly likes Mollie — but you mustn*t let your mother's eyes lead you astray. I'd wager my plantation that Rufe doesn't think of Mollie in the way you mean. Mrs. G. {crossing to door l.). Well, perhaps you're right — but he's missing the chance of his life — I know that. {Exit.) (Colonel, chuckling, settles down to read again in chair R. of table. Ainsley comes hurrying in at back. Comes down l.) Ainsley. Has he gone? Colonel {looking up). He? Who? Ainsley. Why, Bronson. Colonel. Gone into the other room. Say — ^what's the matter with you and Rufe? Ainsley. I don't like him. Colonel. I know that. Ainsley. He's trying to force his modem methods of raising cotton where they're not wanted. Colonel. His methods are good — a dam sight better than ours, I must admit. Ainsley. Well, who taught him? Colonel. Huh ! I don't know. Ainsley. He seems to think pretty well of himself. Colonel. Maybe he does — but I've never heard him bragging about it. Ainsley. Well, I can raise cotton as well as he can, and the methods of my father and grandfathers are good enough for me. Colonel. This is a progressive age. Bronson's check- ing of the boll weevil problem was a clever thing. Ainsley. What did he do ? Merely took some other feIlow*s brains, gave them a new twist and claimed the honors. Colonel. No use to argue with you — I see that. Ainsley. Not about Bronson. I can hardly keep my hands off his throat. 40 SOMEWHERE IN TEXAS Colonel. Look here — you're going too far. Rufe has never injured you — in fact, he has done his best to be friends. Now, I'm with you when you're right, but I'm against you when you're wrong, and this time you're wrong. AiNSLEY {flaring up), I'll show you before I'm through ! Colonel. No you won't. If you monkey with Bron- son, he'll probably turn you over his knee and paddle you — and I'm hanged if I can see how I can interfere! {Picks up paper and exit, R.) (AiNSLEY gazes after him, clenching and imclenching his hands. There is a knock at door at back. AiNSLEY starts, then going up, cautiously opens it. Enter Hike Maynard.) Hike. Well, here I am ! AiNSLEY {hand to lips), Sh! {Looks furtively about.) Hike. Say, what's the matter with yuh ? AiNSLEY. I don't want my folks to know I sent for you. Hike {with a sneer). Why? Think I'll disgrace yuh? AiNSLEY. It's not that. I've a proposition to make you. Hike {with a wise nod). Oh, I see. Well — spill it. Or perhaps we'd better go outside to talk. AiNSLEY. Not with this dance going on — too many people fooling around. We're safer here. (They move down stage. Ainsley stands down l. Hike sits in Colonel's easy chair, r. of table, lights a cigar and crosses his legs. Ainsley re- sents this, starts to speak about it, thinks better of it, and closes his lips.) 41 SOMEWHERE IN TEXAS Hike. Now, I'm ready to listen to anything you've got to say. AiNSLEY. What I've got to say I can say in a hurry. I want to get square with Rufe Bronson. Hike. Say, bo, is it possible that you an' me are goin' to agree right off the bat? So yuh don't like Rufe? AiNSLEY. I hate him! Hike. Nothing strange about that. I been hatin' him ever since I knew him. AiNSLEY. That's why I sent for you. Hike. You must have a plan. What is it ? AiNSLEY. I haven't a plan — that's the trouble. I just want to see him done for, that's all. Hike. Done for? Killed, d'ye mean? AiNSLEY. No, no — we can't go as far as that ! Hike (with a sneer). Kinda chicken-hearted, eh? AiNSLEY. I just want to run him out of the country. Hike. Disgrace him, too, mebbe, eh? AiNSLEY. Say, do you know anything about him? Hike. I know he's a bad guy tuh fool with, but I been handlin' bad ones all my life. AiNSLEY. Well, what can you do? How can you get rid of him? Hike. I might frame up a story — make him out a villain, or somethin' like that. AiNSLEY. The story would have to stand the acid test. Hike. Acid test? What's that? AiNSLEY. I mean, you'd have to be able to prove any charges you made. Hike. That's easy. I was just thinkin* the other day of a little plan. I been waitin' fer the right time tuh spring it. AiNSLEY. What is it ? Hike. Well, before I go intuh details, mightn't it be well fer us tuh come tuh terms ? AiNSLEY. Oh, I don't expect you to work for nothing. Hike, Not as long as your daddy's got th' coin, eh? AiNSLEY. Say, leave my father out of this. Hike. Oh, don't worry — I can keep a secret. 42 SOMEWHERE IN TEXAS AiNSLEY. I'm not afraid of your telling any one. And it's none of my father's business what I do with my money. Hike. You said a mouthful then. AiNSLEY. ril give you a hundred dollars the day Rufe Bronson leaves Mesa. Hike. Oh, no! AiNSLEY. What's the matter ? Hike. In the first place a hundred is not enough ; in the second place, th' money's gotta be paid in advance. AiNSLEY. Well, we won't quarrel about that. Hike. My price is two hundred — not a cent less. AiNSLEY. How do I know you'll get him out of the way? Hike. Listen — when I put this scheme through there won't be no comeback. He'll be gone from these parts like a houn' dog chased by a pack o' wolves. AiNSLEY. What's your scheme? Hike. Sure you was tuh know about it ? AiNSLEY. What do you mean? Hike {rising, goes to Ainsley). If you ain't to figger in th' transaction, hadn't you better leave it strictly up to th' Gray Riders ? Ainsley. The Gray Riders ? You mean {Pause.) Hike. Sure! The Gray Riders are goin' tuh git your friend, Mr. Bronson. Ainsley. But remember, no violence! Hike. Oh, we ain't plannin' him no physical harm. But if he catches th' dickens after he gits out o' our hands, don't blame us. Ainsley. All right. {Pulls out wallet.) Here's the money. {Hands it to Hike.) Hike. Want a receipt ? Ainsley. No ; your word is enough. Hike {grinning). I see — a gentleman's agreement. Ainsley {starts to make an angry retort, hut thinks better of it). Well — don't lose any time. 43 SOMEWHERE IN TEXAS Hike. How long is this here dance goin' to hold? AiNSLEY. Oh, for several hours yet. Hike. Then don't be surprised if something happens t'-night. {Goes up to door at back.) S'long! {Waves a hand at Ainsley. Exit,) (AiNSLEY stands down L., thinking. Slowly he clenches his fists, then a light of triumph appears in his eyes. He drops into chair at l. of table and brings his hand down with a resounding thump. ) THE CURTAIN DESCENDS TO DENOTE THE LAPSE OF TWO HOURS {As curtain rises again on same scene, the stage is empty. Rufe and Sylvia, laughing, enter, r.) RuFE {leaning over and seizing Sylvia's hands as she sits on couch, r.). Now, IVe got you where I want you ! Sylvia {withdrawing her hands). You mustn't do that! RuFE. Why? Sylvia. Why, youVe only known me two days ! RuFE {ardently). Seems like I'd known you all my life. Sylvia. What a pretty compliment. RuFE. Pretty girls deserve pretty compliments. Sylvia. Oh, come, now ! RuFE. How long would I have to know you to {Pause.) Sylvia. To— what? Rufe. Don't you know? Sylvia {letting her eyes fall). Of course not. Rufe. Well, how long would I have to know you to — to ( Pause. ) 44 SOMEWHERE IN TEXAS Sylvia, Weil? RuFE. To — to — that is — I mean — to — to love you — no, no — that's not what I mean, for I love you now Sylvia. Why, Mr. Bronson! RuFE. Can't you call me Rufe? Sylvia. What — after two days? Rufe. Why don't you try it just to see how it feels? Sylvia {laughing). Well — all right — Rufe. Rufe {proudly). Now, there's class to your con- versation ! Sylvia. You don't think me bold ? Rufe. Of course not. It isn't how long you've known me, but how you met me. Sylvia. That's so — and I met you Rufe. You met me on the village square — the sky was blue and your eyes were too — the weather was fair, and so was your hair Sylvia {laughing). Then a man got gay and you chased him away! {Rises.) Rufe. Fine — but seriously, now, can't we — er (Pause.) Sylvia. Oh, don't! Rufe. Don't what? Sylvia. You're the first man w^ho has ever looked at me with such tantalizing eyes. Rufe. You're jollying me now. Sylvia. You think you're not the first? Rufe. If I am all the others were fools ! Sylvia. Why, Mr. Bronson! Rufe. Rufe ! Sylvia. Well— Rufe ! Rufe. Will you marry me? Sylvia. Oh, this is so sudden! Rufe. Please be original — that's what the girls in the newspaper jokes all say. Sylvia. Of course, if you really mean what you say {Pause — she looks away.) Rufe (eagerly). Yes — if I mean what I say — you'll 45 SOMEWHERE IN TEXAS Sylvia (laughing). I'll box your ears and send you on your way. RuFE. That'll be all right, if you'll promise to marry me. Sylvia. Please be serious. RuFE. I am. Sylvia. Oh, I don't mean about marriage. RuFE. Oh, come— let's be serious about marriage. Sylvia. No ; let's not. RuFE. I've never met a girl just like you. Sylvia. That's because I have no twin. RuFE. You know what I mean. Sylvia. How many times have you made these pretty speeches to other girls ? RuFE. Never! You're the first girl I ever really cared for. Sylvia. If you must reveal the secrets of your past, please be truthful. RuFE. On my honor ! Sylvia. But I know nothing about you. RuFE. What do you want to know? Sylvia. Oh, I meant no offense! RuFE. You can't offend me. I'll give you an ac- counting of every minute since I left the nursing bottle. Sylvia {laughing). You're so funny ! RuFE. Then laugh, but while you're laughing, say you'll marry me. Sylvia. I think I'd better be getting back to the ball- room. (Starts.) RuFE. Don't go I (Seizes her hand. She makes an effort to withdraw it. He refuses to let go. She finally sighs and allows it to remain in his hand.) Sylvia. You're hurting my hand. RuFE. Sorry. It's only because I love you. Sylvia. Do you hurt the things you love ? RuFE. No ; and I'm not hurting you. You only want an excuse to get away. 46 SOMEWHERE IN TEXAS (They look at each other a moment. She smiles, he smiles, then both hurst into a hearty laugh.) Sylvia. I'll stay as long as you wish. RuFE. Then I'll (As he leans toward her, Ainsley comes quickly in at hack. They separate, hut not he fore he has caught the drift of things.) Sylvia. Come in, Ainsley. {He comes down to them slowly.) Ainsley {with a sneer). Don't let me interrupt your tete-a-tete. Sylvia {flushing). I don't know what you mean! Ainsley. I suppose you think I haven't eyes. Sylvia. I don't like your tone. Ainsley {nodding toward Rufe). Then you can thank him for what I've said. Rufe. See here, Ainsley, you're carrying things too far! Ainsley. Am I ? Perhaps you'll stop me. Rufe. I know you don't like me, but that is no reason for your taking such an arrogant tone with Miss Eagan. Ainsley. If Miss Eagan knew you as well as I do she wouldn't blame me. Sylvia. Mr. Bronson is an invited guest in your home, Ainsley, and under the circumstances your remarks are quite out of place. Ainsley. I don't care if they are — I don't care what you think! Rufe. Well, remember this — the affairs of Miss Eagan and myself do not concern you in the least. Ainsley. Then I'll make them my concern! I'm not going to stand here and hear you say that {He is interrupted by a heavy knock on door at back. There is a slight pause, then Ainsley runs up and throws open the door. Hike, Gabe and Cal, 47 SOMEWHERE JN TEXAS attired as Gray Riders, enter. Cal carries rope. Hike has a whip. Sylvia screams,) Sylvia (to Rufe). It's you, Rufe — they're after you, RuFE. Don't worry about me. (MoLLiE runs in R., Colonel, Mrs. G. and Martha l. AiNSLEY sulks up c. HiKE coMcs down c. and faces Rufe. Colonel goes up to Hike.) Colonel. What do you mean by this unwarranted intrusion ? Hike {pointing to Rufe). The lady was right — we've come for him ! Colonel. Well, you'll never touch him while he is under the Gallitin roof. Hike. Don't fool yourself. We'll take him when we're ready. Colonel. I demand an explanation of your presence here! Hike. Oh, we're goin* tuh give you that. I take it you're not anxious to number snakes among your friends. Colonel. " Snakes " ? What do you mean by that ? Hike. I mean that the Gray Riders are death on snakes, and there's one viper that's going to git his t'-night. Colonel. I don't understand what you mean. Hike. Say, you know Mary Harvey, don't you ? Colonel. Mary Harvey. {Thinks.) You mean Hike. The daughter of ole Lige Harvey, who lives on the mountain back there. Colonel. I know them — yes. But what have they to do with your presence in my house ? Hike {with a grin). Ah— thereby hangs a tale! Colonel. Come, come! My patience won't last much longer. Hike. Do you remember the man, Hackett, who come intuh th' mountains two years ago an' insulted Mary Harvey and killed her brother, Ben ? Colonel. Why, yes, I remember the incident well. ButstillT 48 SOMEWHERE IN TEXAS Hike. Colonel, if you met this man Hackett face to face what would you do? Colonel. I'd thrash him if I knew he was a guilty man. Hike. I thought you would! {Hands him a whip.) Well, it's about time for you to begin ! Colonel. What do you mean? Hike. I mean that the man who insulted Mary Harvey an' killed her brother Ben stands there. {Points to K\]¥^.) He's Hackett! Rufe {surprised at the accusation). Why, you don't know what you're talking about I Colonel. Just keep calm, my boy. {To Hike.) Don't you realize that you can't make such accusa- tions without proof? Hike. It happens I've got all the proof you want. Rufe. See here, Maynard — what's your game? Hike. Fair play fer every one — it's the motto of the Gray Riders. Rufe. But you must have some reason for trying to tack this story on to me. Hike. We're tacking it onto you because you're a guilty man, Rufe. That's not it — there's something behind all this. Hike. Weil, when ole Lige Harvey gits his hands on yuh you won't feci quite so sassy. Colonel. Surely you're not going to Hike {pistol in hand). Goin' to take him tuh Lige's cabin — yes. Lige has been waitin' fer two years tuh meet him. Rufe. Your story is a tissue of falsehoods. Why, Colonel Gallitin and the others all know I've been in Mesa only two months, and that before I came I never saw the place in my life. Hike. But you took a huntin' trip down this way two years ago, under th' name o' Hackett, an' that's when all this happened. Rufe. I tell you I've never been near this place till two months ago. Colonel. I believe he speaks the truth. 49 SOMEWHERE JN TEXAS Hike. Well, colonel, when Lige Harvey gits through with him, if there's anything left o* Mr. Bronson, he's yours. {To Rufe.) Now, come along! RuFE. I refuse! Sylvia. Of course he refuses! He is innocent of these charges. Aren't you, Rufe? Rufe. Of course. I tell you there's something strange behind all of this. It's some scheme of Maynard's for revenge. Hike. It's a scheme tuh see fair play. We've sus- pected you fer some time, but we waited till we got our proof. Rufe. If you have the proofs you talk about now is the time to produce them. Hike. Oh, no — we're goin' to let Lige Harvey do that. Come along! Sylvia (to Ainsley). Please do something — don't let them take him away ! Ainsley {with a shrug) . If you ask me, he deserves whatever punishment Lige Harvey wants to give him. Sylvia. You don't mean that you believe this absurd story ? Ainsley. Yes. {Turns away.) Hike. Tie his hands. (Gabe and Cal seize Rufe, tie his hands and lead him up toward door.) Sylvia. Won't somebody save him? You, colonel! Colonel. He's got the drop on me, Miss Eagan — perhaps it will be best to let matters take their course. Sylvia. Oh, how I wish I were a man ! Rufe {to Hike). All right, Maynard, I'll go to Lige Harvey's with you. I don't know Harvey, and he doesn't know me, but there must be some sense of justice in his heart, and when he's through with me, look out, for I'm going to get you and get you good ! 50 SOMEWHERE IN TEXAS {They lead him out hack. Sylvia falls sobbing on couch, R. MoLLiE and Mrs. G. run to her. Colonel gravely shakes his head, while Ainsley smiles sneeringly.) CURTAIN 51 ACT III Scene. — Cabin of Lige Harvey. Door up c. Win- dow up L. (may be omitted). Fireplace mantel L. Table and chairs and cupboard up r. Bench down R. Dishes and lamp on table. Pistol in holster hanging at mantel. Stool with pail of water up c, near door, and nail over it to hang dipper on. {At rise of curtain Mary Harvey is discovered at fire- place, L., dipper in hand, dipping water from kettle into a coffee-pot. She pauses, thinking, puts the pot down in front of the fireplace. Her lower lip trembles, indicating that she is laboring under some unusual emotion. There is a noise off R. She jumps, then, recollecting herself, picks up coffee-pot and takes it to table, r. There is a slight pause, then Lige Harvey enters r. He carries a shotgun, and there is a grim look on his face. Mary gives him a half-scared glance, and turns away.) Lige {roughly). Well? Mary. Your coffee is on the table, dad. {Hangs dipper on wall up c.) Lige. I don't want it. Mary. But you said {Comes down i.,) Lige. Fve changed my mind! {He goes up stage, pulls rough curtain aside at window and peers out.) They oughta be here by now. (Mary starts, but is silent.) I say, they oughta be here by now. ,-Mary. I heard you. Lige {turning on her) . What's the matter with you ? Mary. N-n-nothing. Lige. Seems to be. You've lost your git-up-an'-git. 52 SOMEWHERE IN TEXAS (Comes down c.) Mary (l.). I'm sorry. LiGE. You ain't half as sorry as I am. You oughta be glad Hike Maynard's discovered this yaller- livered scoundrel. Mary. Of course I'm glad, but (Pause.) LiGE. But what? Mary. Are you sure it's the right man ? LiGE. The right man? Of course. Hike Maynard don't make no mistakes. Mary. I dunno. LiGE. Well, what do ye know? Mary. I dunno. LiGE. You make me tired! If I was you Td wanta git my fingers intuh Hackett's face an' claw his eyes out. Mary. I thought Hike said this feller's name was Bronson ? LiGE. That's his right name. He jest moved on a plantation down Mesa w^ay two months ago. When he was here two year ago he went by the name o' Hackett — at least that's what you an' Ben told me — I never seen him. Hike was the only feller that seen Hackett after he shot Ben. He wouldn't lie about a thing like that. Mary. I dunno. LiGE. Well, when this feller was here he told you his name was Hackett, didn't he? Mary. Yes. LiGE. An' like a blame fool, you believed him. Mary. Yes — I believed him. LiGE. As if a feller brought up rich like him would ever be decent to mountain folks. Mary. I don't care fer myself — it's his killin' Ben. LiGE. Kinda riles yuh, don't it? Well, it oughta. (Clenching his hands.) Wait till I git my hands on th' scoundrel's throat. Mary (with considerable spirit). You ain't goin' to do nothin', dad, till I've seen him. (Goes to him, c.) 53 SOMEWHERE IN TEXAS LiGE. No, 'course I ain't — ^but after that {His fingers close caressingly about the shotgun.) Mary. Hike may 'a' made a mistake. LiGE. Ain't no chance, I tell yuh. Mary. I dunno. LiGE. Hike's got eyes, an' he saw Hackett when he was gittin' out o' these parts two year ago. Mary. I dunno. LiGE. Gee, but Hackett's got his nerve tuh come back here an' settle down under another name. Mary. It don't seem natural. LiGE. You're right — it don't. Mary. Ain't no human bein', no matter how omary, goin' tuh do that, dad. LiGE. Aw ! (His tone indicates that she doesnH know what she is talking about.) Mary. Nope — it ain't natural. LiGE. Well, you take a good look at this feller, an* then you give it to me straight. Mary. I ain't never lied to you, have I ? LiGE. No, an' I don't want yuh to, 'cause I ain't never laid hands on a woman yit. Mary. No, an' yuh ain't goin' to — not if th' woman's me! LiGE. Well, jest remember, Mary, this feller shot my boy — your brother — down in cold blood. Mary. I ain't likely tuh f ergit. LiGE (in a whining tone). Killed him in cold blood — d'ye hear me — cold blood ! Mary. Shut up! You make me see it like it was yisterday. (Fists clenched.) LiGE. That's th' way 1 want yuh to see it. Mary (half to herself). In cold blood! (Her face takes on a ferocious expression.) (Sound of hoofs comes from a distance, growing louder. They listen, and exchange glances.) 54 SOMEWHERE IN TEXAS LiGE. Yuh hear? Mary (in a hoarse whisper). It's them! LiGE (pointing r.). You git in there an' don't yuh show your face till I call ye. Mary. But you'll call me, dad — you'll call me? ^LiGE. Oh, I'll call yuh all right, an' then Mister Bron- son, or Hackett, or whatever his name is, will have tuh reckon with th' Harveys. It's an eye f er an eye, an' a tooth f er a tooth ! (Hoof beats grow louder and pause outside. There is the sound of voices off at back. Mary, with a quick intake of the breath, hurries out r., closing door. LiGE, a determined look on his face, seizes his gun and going up flings open door at back.) Hike (in doorway). We've got him! LiGE. Bring him in! (Comes down r.) Hike (turning to Gabe and Cal). Bring him in, boys, an' yuh needn't be too gentle when yuh handle a snake. (Gabe and Cal bring Rufe in, and give him a push down c, where Lige faces him. Rufe's hands are tied behind his back. There is a slight pause as they glare at each other.) Rufe (c). Don't you know me, Harvey ? I'm Rufe Bronson. (Hike, Gabe and Cal come down L.) Lice (r.). That's what you say! Rufe. Investigate my record, and you'll find that I've never been in Mesa till two months ago. Lice. Hike Maynard says your name's Hackett, an* that it was you who killed my boy. Rufe. He lies ! Lice. I've known Hike all my life, an' I ain't never known him to tell no lie. Rufe. Well, he's told you one now. Lige. Hike was the only human bein' who saw 55 SOMEWHERE IN TEXAS Hackett after he killed my Ben an' insulted my Mary, an' if he says you're Hackett — that settles it — ^you're Hackett! RuFE. You're doing me an injustice, Harvey, as you'll learn to your regret. LiGE. I ain't much of a hand at regrettin', RuFE. Well, you'll regret this! LiGE. About th' only thing I ever regretted much was that I couldn't git a-hold o' Hackett after he put my boy away, but it looks like everything comes tuh him that waits. RuFE. If I were really this man Hackett, or had posed under that name, it would be different. If he did what you say he did, he deserves any pun- ishment you can give him. But my name is Bronson, and If you'll take the trouble to investi- gate, you'll find that I wasn't in this part of the country two years ago. LiGE. I don't expect no skunk like Hackett to admit that he was ever here before, but there's one test that'll tell the tale. RuFE. I'm ready for it ! LiGE. Yuh don't even ask what it is. RuFE. I don't care what it is — I tell you, I'm ready! Hike {to Lige). Yon mean {Pause.) LiGE {nodding). Mary! Hike {uneasy). D'ye think she oughta see him? Lige. See him? Why, she's gotta see him. Hike. But wouldn't it be better tuh take him out an' shoot him an' let her see him afterwards? Lige. I dunno — I hadn't thought much about that. RuFE. I'll settle this. Bring Miss Harvey in. Lige {surprised). You mean yuh wanta see her — an' want her tuh see you ? Rufe. Yes — she will tell you that I'm riot the man you seek. Lige. Well, you got some nerve, Hackett, or what- ever your name is. Don't you s'pose Mary'U recognize you ? Rufe. If I'm willing to take the chance, you should be. Hike. Don't listen to him, Lige — he's jest makin' a 56 SOMEWHERE IN TEXAS grand-stand play. Do what I tell yuh — take him out an' shoot him first. RuFE {turning on him). You keep out of this, May- nard — it will be your turn next. Hike. When Lige gits through with you, I'm willin' tuh take my chances with whatever' s left. RuFE {to Lige). I demand to see Miss Harvey! (Mary steps suddenly in r. She stops as she sees RuFE, and her lip trembles slightly.) Mary (r.). Some one called Miss Harvey — that's me! RuFE (c). I called you, Miss Harvey. These men insist that I came here under the name of Hackett two years ago, killed your brother and insulted you. Take a good look at me and tell them frankly if you have ever seen me before to-night. Lige {down r.). Yes, take a good look, Mary — an* then you tell us straight ! (Mary slowly approaches Rufe, looking him in the eye. He does not flinch. There is a slight pause as a sneer curls her lips.) RuFE. Have you made up your mind? Mary. Yes. Lige. Well? Mary. I don't know if he's Hackett or Bronson, but I do know he's the man who insulted me two years ago! RuFE {astounded). What! Lige {grimly). I hope you're satisfied now, Mister Bronson ! RuFE. I am not satisfied. Miss Harvey is joking, and a joke at this time seems unjust — to me. (Mary turns away.) Tell them, Miss Harvey, that you don't mean what you say. This is a serious matter. Mary {turning on him) . I said it, an' I say it again — you're th' man that insulted me two year ago ! RuFE. Oh, come, now 57 SOMEWHERE IN TEXAS LiGE. I reckon that's enough! {To Hike.) Go about your business, Maynard, an' leave this man tuh me! Hike. All right, Lige, but we'll be back later tuh see that your work's well done. {In front of Rufe.) An' in case there's anything left tuh do, we'll finish th' job! Good-night, Mr. Rufe Bronson, alias Hackett. ( With a harsh laugh he goes up stage, ) Come on, boys! An' don't fergit, Lige — we're comin' back. {Exeunt Hike, Gabe and Gal. Hoof heats outside, receding and finally dying out.) Lige {his gun ready). It's about time fer you tuh say your prayers, Bronson. Rufe. Now, listen to me — this affair has gone far enough. Lige. Not far enough fer me I Rufe. I tell you I am not the man you seek. As for your daughter, she is either laboring under a delusion, or is concerned in a scheme for my downfall. Mary. I ain't laborin' under no delusion. I know what I know ! Lige. She's th' court o' last resort with me. That's why I tell you — say your prayers. Rufe. You'll never get me without a struggle, Har- vey. I wasn't born to submit peacefully to an injustice like this. Lige. Fine speeches won't git you nothin'. {Raising gun.) I'm goin' to Mary {running between them). Wait! Lige {lowering gun). What's the matter? Mary. I've always been a good girl to yuh, ain't I, dad? Lige. Why, yes. What Mary. Then I want tuh ask a favor of yuh, now. Lige. Yuh ain't goin' tuh ask me tuh let him off? Mary. No; I jest want th* pleasure o* shootin' him myself I 53 SOMEWHERE IN TEXAS LiGE (admiringly). That's th' way I like tuh hear yuh talk ! But what about th' sheriff ? You can't own up to th' crime. Mary. Wait till later, dad, an' I'll tell yuh about that. Gimme th' gun! {Takes it out of his hands.) Now, you go in there. {Points R.) An' don't you disturb my party till you hear me shoot. {Aims at Rufe.) LiGE. Gal, yuh got pluck! I'm proud of yuh! If you want me, yell ! RuFE {to Lige). Are you going to stand by and see me murdered ? Lige. I'm goin' to let my little gal take th' law intuh her own hands with th' man who insulted her an* killed my Ben. {To Mary.) You shoot him, honey — an' don't yuh miss! {Exit, R.) Rufe (indignantly). How can you stand for a thing like this ? Mary. I ain't goin' tuh stand fer it! {Lowers gun.) Rufe. What ! You Mary. I know you ain't Hackett. Rufe. But you said Mary. Yes, I said it, 'cause if I hadn't dad would 'a' said I was lyin' to shield yuh, an' then he'd 'a' killed yuh anyhow. Rufe. You've a wise head, Miss Harvey. Mary. Well, I ain't nobody's fool, an* I ain't goin' tuh see no innocent man suffer fer somethin' he never done. (She unties his hands.) Rufe. I must escape. You'll help me ? Mary. Yes; that's why I got dad out o' th* way. But we must give them Gray Riders time tuh git down th' mountain. I guess Hike Maynard's peeved at somethin' you done. Rufe. I discharged him from my plantation for lazi- ness, and he's sworn to be revenged. But I never suspected he'd trump up a charge like this. Mary. Hike was th' only feller who seen Hackett 59 SOMEWHERE IN TEXAS after he killed Ben, an' that's what makes dad so certain. An' he jest wouldn't 'a' took my word. RuFE. I hardly know how to thank you. Mary. Aw, yuh needn't try. I ain't done much. RuFE. It's a strange old world. A moment ago everything looked dark. Mary. Things alius looks dark to me. RuFE. I'm sorry. Mary. Yuh needn't be. I'm doomed tuh live an' die here in this cabin, jest like th' other Harvey s have done before me. RuFE. If I ever get a chance to help you, I'll come back. Mary. Say, you better make tracks out o' this coun- try before Hike Maynard gits yuh. Take my advice. RuFE. And after I'm gone, you'll tell your father the truth? Mary. I'll do all I kin, you bet on that ! LiGE (off R., impatiently). What's th' matter, Mary? Mary {running quickly to door r.). Now, you stay where you are. I'm jest recallin' a few things tuh Mister Bronson's mind. Remember, this is my party — you're through ! LiGE (dissatisfied). Oh, all right — I'm leavin' it tuh you. Mary (softly, to Rufe). You'll have tuh go. RuFE. I'm willing. (He starts up stage. , The sound of hoof beats comes again from off at back. They pause, listening, and exchange glances.) Mary. Somethin's wrong — Hike's comin' back ! Rufe. Well — he said he would ! Mary. Yes, but he didn't mean so quick. Rufe. Where can I hide? Mary. I don't know of no place. What'll we do now? Rufe. Only one thing I can see — you'll have to tell the truth and try to make it stick. If you can 60 SOMEWHERE IN TEXAS square it with your father, I'll undertake to make Maynard like it. Mary. I'll do all I kin, Mister Bronson — I'll do all I kin ! (Runs to fireplace and gets a pistol out of holster hanging there. ) Here — you take this ! {Hands it to him.) If I don't make it stick, you shoot, an' shoot tiih kill. You start on Hike, an' leave dad tuh me! {Fingers gun caressingly.) RuFE {admiringly). You're a great Httle girl ! Mary. Maybe I am, an' maybe I ain't, but them words sounds good tuh me! {Hoof heats pause outside. Rufe, down L., examines the pistol. Mary goes up r. and stands, gun poised ready for action. Enter quickly at hack Colonel, Ainsley, and Sylvia. At the same moment Lige enters r.) Rufe {down l.) Well, this is a surprise! Colonel (c). Thank heaven we arrived in time! {Unties Rufe's hands.) Sylvia {running to Rufe). They haven't harmed you? Rufe. Not yet. Lige (r. ) . What d'ye mean by intrudin' on my place ? Colonel. I'm Colonel Gallitin. Lige. I know ye by sight. Colonel. There's been a grave mistake made here. Lige {indicating Rufe). Yuh mean about him? Colonel. Yes. Lige. Ain't no mistake 'at I kin see. (Mary comes down r. c. to Lige.) Mary. But there is, dad — there is ! Lige. But a while ago yuh said Mary. I said this man was th' one that insulted me, but he ain't. I ain't never seen him before t'-night. I was afraid you'd think I was lyin' to yuh an' shoot him down. 6i SOMEWHERE IN TEXAS LiGE. Somebody's got tuh do some explainin' here. Colonel. I'm prepared to do that. {Grasping Ki^s- LEY hy the arm and puUing him forward.) Here's the scamp that's responsible for the whole affair. (To Ainsley.) Now, you talk, and talk quick ! Ainsley (l. c, shamefacedly). It's all my fault. (To RuFE.) I'm sorry, Bronson. I never liked you, but I didn't realize I could ever go as far as this. My conscience hurt me after I paid Hike Maynard to fake up this Hackett story. I couldn't stand it, so — I — I told my father. (To Lige.) It was a mistake, Harvey — Bronson has never been near Mesa till two months ago. He had never heard of the Hackett matter till Maynard accused him at our house to-night. Lige. Well, of all the low-down dirty tricks, you've pulled th' worst I ever heard ! Ainsley. That's enough. I'm sorry. What more can a fellow say? Rufe (extending hand). No more. Let's forget it — and be friends 1 Ainsley. That suits me. (Grasps Rufe's hand,) Lige (to Rufe). Stranger, looks like we mighty near put yuh under th' sod fer somethin' yuh didn't do. (Crosses l. to Rufe and extends his hand.) I'm sorry to — will you accept this? Rufe. With pleasure. (They shake.) Lige. That Hike Maynard is a cur — I see it now. Wait till I git my hands on him. Colonel. Too late, Harvey. On the way up here we met the sheriff and his posse leading Hike and his friends to jail. Caught 'em in the mountains. Got proof they were the chaps that robbed Milton's store. They're due for the penitentiary. Sylvia (to Rufe). Then the last danger is gone, I'm so glad! Rufe. Not half as glad as I am. (Takes her in his arms and kisses her.) Sylvia. Oh, Rufe! Before all these people? 62 SOMEWHERE IN TEXAS RuFE. I contend that I have a perfect right to kiss the future Mrs. Bronson! (Looks at Colonel, who laughs and nods. Rufe kisses her again.) AiNSLEY Colonel Rufe Mary Sylvia LiGE CURTAIN 63 Successful Plays for All Girls In Selecting Yo«u: Next Play Do Not Overlook This Liot YO^NO DOCTOR DBVINII. A Farce in Two Acts, by M«s. E. J. H, GooRFStLew. One of the most popular plays iQT girls. For mv^e £«a»aie eharacters. Time in piaylog, thirty minwtes. Sceoary, ©i«dinary interior. Mftd- ern cestumes. Girls in a bo&rdia$^-school, learning 'ihat a young doctor is cormng t© vaccinate all the pupils, eagerly con- sult each other as to the manner of jFaseinating the phyaician. When the doctor appears upon the acetic the pupils discover that the physician is a female practitioner. Price, 15 cents. SISTER MASONS. A Burlosfliue in On«,Act, by Framk Dtjmont. For eleven fesnales. Time, thirty minutes. Costumes, fantastic gowns, or dominoes. Scene, iaterior. A grand expose of Masonry. Some women profess to learn the secrets of a Masonic lodge by hearing their husbands talk' in their sleep, and they institute a similar organiaation. Priee, 15 cents. A COMMANDING POSITION. A Farcical Enter- tainment, by Amelia Sanpord. For seven female char- acters and ten or more other ladies and children. Time, one hotir. Costumes, modern. Scenes, easy interiors and one street scene. Marian Young g«ts tired living with her aunt, Miss Skinflint. She decides to "attain a commanding position." Mariarl tfies hospital nursing, college settlement work and school teaching, but .decides to go back to housework. Price, 15 cents. HOW A WOMAN KEEPS A SECRET. A Comedy in One Act, by Frank Dumont. For ten female characters. Time, half an hour. Scene, an easy interior. Costumes, modern. Mabel Sweetly has just become engaged to Harold, but it's "the deepest kiijd of a secret." Before announcing it they must win the approval of Harold's uncle, now in Europe, or lose a possible ten thousand a year. At a tea Mabel meets her dearest friend. Maude sees Mabel has a secret, she coaxes and Mabel tells her. But Maude lets out the secret in a few minutes to another friend and so the secret travels. Price, 15 cents. THE OXFORD AFFAIR. A Comedy in Three A«ts, by Josephine H. Cobb and Jennie E. Paine. For eight female characters. Plays one hour and three-quarters. Scenes, inter- iors at a. seaside hotel. Costumes, modern. The action of the play is located at a summer resort. Alice Graham, , in order to chaperon herself, poses as a widow, and Miss Oxford first claims her as a sister-in-law, then denounces her. The onerous duties of Miss Oxford, who attempts to serve as chaperon to Miss Howe and Miss Ashton in the face of many obstacles, luraish an evening of rare enjoyment. Price 15 cents. THE PENN PUBUSHING COMPANY PHILADELPHIA The Power of Expression Expression and efficiency go hand in hand. The power of clear and forceful expression brings confi- dence and poise at all times — ^in private gatherings, in public discussion, in society, in business. It is an invaluable asset to any man or woman. It can often be turned into money, but it is always a real joy. In learning to express thought, we learn to command thought itself, and thought is power. You can have this power if you will. Whoever has the power of clear expression is always sure of himself. , , , . Jhe power of expression leads to: ==^B The ability to think "on your feet" Successful public speaking Effective recitals The mastery over other minds Social prbminence Business success Efficiency in any undertaking Arc tiiese things worth while? They are all successfully taught at The National School of Elocution and Oratory, which during many years has