l',.t'.'4t hand reluctantly.) Ryder. If I thonghi. it was the Rossmore woman I'd have her father sent out of this country and the woman too Jefferson. It is not — (Pulls hand away abruptly) Ryder. You know I trust you Jeff — now think it over about Kate — and don't decide hastily — (Turns upstage and walks zvith him then back to desk) There, there now, run away; there's a good lad, for I have to study the advance report of the Inter Railway Commerce-Commissions and get it back to Washington to-night. (Ryder holds up a typewritten document) Jefferson. Do you mean to say that you see it before the Senate or the Ryder. (Reading document) Take a tip from Washington, my boy, and jump with the cat. At present I'm the cat. (Enter Bagley c.) Bagley. Will you see Miss Green now? Ryder. Ah — yes — show her in — (Exit Bagley C.) Think it over Jefferson— — Jefferson. I have thought it over — and 1 have decided to go Ryder. Think it over agrain— — 46 THE LION AND THE MOUSE, Jefferson. It's no use; my mind is made up. (Exits c.) Ryder. (Bus. glances over document; then comes to a paragraph that apparently atmoys him — Telephone rings — throws down document — seises telephone on table — listens a moment) Mr. Ryder is out — (Pause) He's busy — (Phone rings again — shuts off telephone — picks up document) JoRKiNS. (Announces quietly) Miss Green, sir. (Enter Shirley c. She watches Ryder — Ryder smokes hard, throzvs dozvn the document ana sees Shirley looking at him — he is evidently surprised at her youth — and takes the cigar out of his mouth and rises.) Shirley. Oh, please go on smoking— -I don't mind it in the least. i Ryder. Thank you. (Throws cigar in ash tray on desk — looks closely at her) Are you Miss Green? Shirley. That's my non-de-plume, yes. Are you Mr. Ryder? Ryder. Yes, won't you sit down ? Shirley. Thank you. (Sits opposite him at table) Ryder. (Inspecting Shirley very closely) I rather expected — you're younger than I thought you were, Miss Green, much younger. Shirley. Time will remedy that — T rather ex- pected to see Mrs. Ryder. (Bus. zvith letter) Ryder. Yes — she — wrote — ^but — T — I — wanted to see you — (Bus. picks tip book) — about — this Shirley. Oh, have you read it? Ryder. I have — I — er — T am sure your time is valuable — so I'll come straight to the point— I wanf: to ask you where you got the character of the central figure ; the Octopus, as you call him, John Broderick. Shirley. From imagination, of course. THE LION AND THE MOUSE. 47 Ryder. You've sketched a pretty big man here— {Bus. opens book at marked placed) Shirley. He has big possibiHties — but I think he makes very small use of them. Ryder. On page 22, you call him the greatest ex- amplar of individual human v^ill in existence to- deiy. And you make indomitable will and energy as the keystone of his marvellous success. Shirley. Yes. Ryder. On page 28 you say " The machinery of his money-making mind typifies the laws of perpetual unrest — it must go on — ^go on — -relent- lessly — resistlessly — making money — making money — and continuing to make money — it cannot stop until the machinery crumbles. Do you mean to say I couldn't stop to-morrow if I wanted to ? Shirley. You? Ryder. Well — it's a natural question — every man sees himself in the hero of a novel, as every woman does in the heroine — we're all heroes and heroines in our own eyes — I'm afraid — (Shuts book) but — what's your private opinion of this man you drew the character. What do you think of him as a type; how would you classify him? Shirley. As the greatest criminal the world ever produced. Ryder. Criminal ? (Astonished) Shirley. He is avarice — egotism — and ambi- tion incarnate — he loves money becau? i he love3 power better than manhood or womanhood Ryder. Um — rather strong Shirley. Of course, no such man really ex- isted. Ryder. Of course not. (Looks closely at her to see if she is conscious but she appears not to see him. Then business — looks through book. He is thoughtful) Shirley. But you didn't ask me to call merely 48 THE LION AND THE MOUSE. to find out how I liked my work. That sounds like an interview in a Sunday paper. Ryder. (Laughs) No — I want you to under- take a little work for me. (Opens box) I want you to put my autobiography together from this material — (He takes out several voluminous fools- cap documents, ninnher of letters, etc., which he places on the table) I want to know — where you got the details of that man's life. (Sits down, takes up book) Shirley. For the most part, imagination — news- papers — magazines — ^you know the American Mil- lionaire is a very overworked topic — and naturally I've read Ryder. Well, I refer to what you haven't read ; what you couldn't have read ; this is what I mean — (Bus. turns back to book) "As evidence of his petty vanity, when a youth he had a beautiful Indian girl tatooed just above his forearm." Now who told you I had my arm tatooed when I was a boy? Shirley. Have you? Why, what a coincidence. Ryder. (With sarcasm) Yes — well — let me read you another coincidence. (Reads from book) ** The same eternal long black cigar between his lips." Shirley. General Grant smoked — all men who think deeply along material lines smoke Ryder. Well — well — let that go — how about this ? " John Broderick loved when a young man a girl who lived in Vermont, but circumstances separated them." I loved a girl when I was a lad and she lived in Vermont, and circumstances separated us — that isn't a coincidence — for presently you make John Broderick marry a young woman who had money — I married a girl with money and — Shirley. Lots of men marry for money Ryder. (Sharply) I said with money, not for money — ^but this, this is what I can't understand^ for no one could have told this but myself — (Reads) THE LION AND THE MOUSE. 49 " With all his physical bravery, and his personal courage, John Broderick was intensely afraid of death. It was in his mind constantly." (Rises) Who told you that? I — I've never mentioned it to a Hving soul. Shirley. Most men who amass money are afraid of death, because death is about the only thing that can separate them from their money. Ryder. Why, you are quite a character. (Both laugh) This fellow Broderick is all right, but I don't like his finish. (She laughs — then both laugh together) Shirley. It's logical. Ryder. You're a curious girl — upon my word — you interest me — I want you to make as good a book of this chaos as you did out of your own imagina- tion. (Takes more manuscripts out of box) Shirley. So you think your life is a good ex- imple to follow. (Looking carelessly over papers) Ryder. Isn't it ? Shirley. Suppose we all wanted to follow it, suppose we all wanted to be the richest, the most powerful personage in the world Ryder. Well?^ (Back of desk) Shirley. I think it would postpone the Era of the Brotherhood of Man, indefinitely — don't you? Ryder. I never looked at it from that point of view — (Sits) You're a strange girl — ^you can't be more than twenty or so? Shirley. I'm twenty- four — or so ] Ryder. Where did you get these details ? Come, ' take me into your confidence. Shirley. I have taken you into my confidence and it cost you a dollar and a half. (Points to hook, then bus.) I'm not so sure about this Ryder. You don't think my life would make good reading? — Shirley. It might. (Looking over papers) But I don't consider mere genius in money making 50 THE LION AND THE MOUSE. IS sufficient provocation for rushing into print— You see unless you came to a bad end, it would have no moral Ryder. Upon my word — I don't know why I'm so anxious to have you do this work. I suppose it's because you don't want to — you remind me of my son — ah — he's a problem Shirley. Wild ? Ryder. No, I wish he were. Shirley. Fallen in love with the wrong woman, I suppose. Ryder. Something of the sort — How did you guess ? Shirley. Oh, I don't know. So many boys do that — besides I can hardly imagine that any woman would be the right woman unless you selected her yourself. Ryder. Do you know you say the strangest things ? Shirley. Truth is strange, isn't it ? I don't sup- pose you hear it very often. Ryder. Not in that form Shirley. {Bus. zvith letters) All these from Washington consulting you on politicks and finance. They won't interest the world. Ryder. Your artistic sense will tell you what to use. Shirley. Does your son still love this girl? Ryder. No. Shirley. Yes, he does. Ryder. How do you know ? Shirley. From the way you say he doesn^t Ryder. You're right again — the idiot does love her. Shirley. (Aside) Bless his heart — {Aloud) Well, I hope they'll both outwit you Ryder. {Laughs, more interested in her than ever) Do you know. I don't think I ever met any- one in my life quite like vou. THE LION AND THE MOUSE. 51 Shirley. What's your objection to this girl? Ryder. Every objection. I don't want her in my family. Shirley. Any thing against her character ? (Bus. with papers to hide interest) Ryder.- (Back to desk) Yes — no — not — that I know of, but because a woman has a good character, that doesn't necessarily mean that she should make a desirable match, does it? {Starts back to chair) Shirley. It's a point in her favor, isn't it? Ryder. Yes — es — ^but •■ Shirley. You are a great student of men, aren't you, Mr. Ryder? Ryder. Yes — I — (In front of chair) Shirley. Why don't you study women ? That would enable you to tmderstand si great many things that I don't think are^quite clear 10 you now Ryder. (Standing) I will — I'm studying you — but I don't seem to be making much headway — (Sits) A woman like you whose mind isn't eaten up with the amusement habit has great possibilities, great possibilities. Do you know you're the first woman I ever took in my confidence? 1 mean at sight — I'm acting on sentiment — something — I rarely do. I don't know why — I like you, upon my word, I do, and I'm going to introduce you to my wife — my — son — (Bus. with telephone) And you're going to be a great friend of theirs. You are going to like them — You Shirley. What a commander in chief you would make. How natural it is for you to command. I suppose you always tell people what they are to do, and how they are to do it. You are a natural bom general. You know, I've often thought that a Napoleon and Caesar and Alexander must have been domestic leaders as well as Imperial Rulers. I am sure of it now. Ryder. (Nonplussed) Well — of — all — (Gets 52 THE LION AND THE MOUSE. up one step from chair and hows) Will you please do me the honor to meet my family Shirley. {Smiling sweetly) Thank you, Mr. Ryder — I will — {Looks at paper to conceal de- light) t (Ryder shakes his head, gives her up as a conun- drum.) Ryder. (At telephone) Hello, hello, is that you, Bagley? (A pause) Get rid of General Dodge. I can't see him to-day. I'll see him to-morrow at the same time. (Hangs up) Eh? (Shirley bus. with papers, startled, nearly drops, utters a slight cry) What's the matter? Shirley. Nothing — nothing — (Aside, looks at Ryder — tries to abstract letter from papers, but he casually catches her eye — This bus. most important — she pretends to he indifferent when Ryder looks at her) Ryder. (To Shirley) Well, well, consider the matter settled — when will you come? Shirley. (In a peculiar hoarse voice, showing she is under a strain) You want me to come here? (She is frightened, looks at letter then at Ryder — he catches her eyes, leans on desk, then at letter she is reading) Ryder. Yes, I don't want these papers to get out of the house — hello, what's that ? Excuse me — ■ (Sees that she is reading and realises it is an im- portant private paper, takes it away from her) How on earth did they get there — Curious — they're from the very man we were speaking of — (Takes keys out of pocket and opens drazvers) Shirley. You mean Judge Rossmore? Ryder. (Suspiciously) How do you know it was Judge Rossmore? I didn't know his name was mentioned. Shirley. I saw his signature THE LION AND THE MOUSE. 53 Ryder. Oh — {Locks letters in drawer) SiiiRLEY. He's the father of the girl you dishke, isn't he? Ryder. Yes — he's the — the — {Ends sentence with a gesture of impatient anger) Shirley. How you hate him. Ryder. Not at all. I disagree with his politics and his methods — and I know very little about him except that he is about to be removed from office. Shirley. Oh — about to be — {Rises and drops paper) Then it is decided even before he is tried — {Starts to pick up papers) Ryder. No, no, allow me. {Picks up papers and goes hack to box for papers) Shirley. If I remember correctly some of the newspapers seem to think he is innocent of the charge of which he is accused Ryder. {Thoughtfully) Perhaps Shirley. In fact most of them are on his side. Ryder. Yes. Shirley. Whose side are you on? Really and truly Ryder. Whose side am I on? I — Oh, I don't know that I am on any side — I don't know that I give it much thought — I Shirley. Do you think this man deserves to be punished ? Ryder. Why do you ask? {On feet) Shirley. I don't know — it interests me — {Try- ing to he calm) That's all — it's a romance — ^your son loves the daughter of this man ; he's in disgrace, many seem to think unjustly. {With some emotion) And I have heard from some source or other — you know I — {With great caution, hut keeping the fact from Ryder) know a great many newpaper men, in fact, I have done newspaper work myself — I have heard that life has no longer any interest for him — that he is not only disgraced but beggared; tVat he is pining aw«^ — slowly dying of a broken 54 THE LION AND THE MOUSE. heart. (Sits all through this scene — she tries to be light) Ah, why not come to his rescue — You who are rich, so powerful Ryder. My dear girl— you don't understand — Iiis removal is a necessity. Shirley. You think this man is mn-^ciint. Ryder. Even if I knew it, I couldn't mcve. Shirley. Not if you knew? Do you mean to say if you had the absolute proof you couldn't help him? Ryder. I could not betray the men who have been my friends — it's Shirley. Oh, it is politics— that's what the papers said and you believe him innocent — (Laughs) Oh, I think you are having a little joke at my expense just to see how fai you can lead me. I dare say Judge Rossmore deserves all he gets — Oh, yes, he deserves it. (Ryder watches her curiously) Please forgive me — I — (Laughs to conceal emotion) It's the artistic imaginative temperament in full work- ing order — a story of hopeless love between two people — with the father of the girl hounded by politicians and financiers. It was too much for one - — ha! ha! I forget where I was. (She watches Ryder furtively — yiervous — wipes perspiration from face — Crosses r.) (Senator Roberts followed by Kate enters c, comes down, Kate on l.) Senator. I assumed the privilege of an old friend and passed by the guard, Kate gave Bagley a countersign and got through with it. Ryder. Glad to see you Senator. Sorry to have kept you waiting — Miss Green allow me to introduce Senator Roberts and Miss Rohevts— (All bozv) Senator, this is the young woman who — (Shows book) She is the one who did it. Kate. Oh, really — (Crosses to desk) THE LION AND THE MOUSE. 55 Senator. God bless my soul! You don't say so ! So young and so — so — indeed this is an unex- pected pleasure — {Crosses r.) Did you know that your book has been quot'^d in our Senate Chamber by one of the Populist Members, as the mirror in which a commercial Octopus could gaze upon him- self Shirley, (r. c.) Really — I- Ryder. (Taps bell) I'll order some tea — you*d like a cup of tea — wouldn't you Miss Green, so would you Kate. Kate. Tea in the sanctum sanctorum — What will Mr. Bagley think — Father, do you hear? Senator. Yes, but I prefer soda and whiskey-^ (Crosses l. c.) Kate. Miss Green if you only knew what eX" cepional honors were being heaped upon us— (Enter Jorkins.) Ryder. Tea — Jorkins — here (Enter Jefferson.) Jorxins. Here, sir? Ryder. Yes, here (Exit Jorkins.) Jefferson. Excuse* tny interrupting, Father, but I leave to-morrow and before I go — (Down to l. to R.) Ryder. We'll talk about that to-night — I want you to meet Miss Green. Miss Green, this is my son, Jefferson — (Looks at paper on desk) Jefferson. (Starts) *Miss Green Ryder. Yes, Miss Green, the writer — (Going up) Shirley. I am pleased to meet you, Mr. Rvder. 56 THE LION AND THE MOUSE. {Holds out her hand — he is dumbfounded — stares at her face — he doesn't see her outstretched hand) Ryder. {Rather amazed) Why don't you shake hands with her — She won't bite you — {Crosses up and R. c. Shirley and Jefferson shake hands) Kate — Miss Green — (Kate comes down r. c.) I want you to know this Httle girl very well — she's going to be my son Jefferson's wife — {The girls smile at each other) And I want you to look after Jefferson — (Enter Bagley c, followed by Servant with tea tray. To Shirley) I want you to talk to him the same as you did to me — {Bus. with Roberts) Jefferson. Shirley- Shirley. Miss Green Jefferson. Miss Green, may I get you some tea. Shirley. Thank you — yes Ryder. Senator, the young man has a will of his own — but he will come to our way of thinking ^-he'll come around Jefferson. Sugar ? — Shirley. One lump please — (Jefferson brings down tea) and later on I want to get the key of that left hand corner drawer Jefferson. Father's private desk? Shirley. Hush Jefferson. {Crosses to Ryder) Father, I've changed my mind — I'm not going away — {Business) CURTAIN. THE LION AND THE MOUSE. 57 ACT III. At Rise: — Music, DISCOVERED: — Ryder at bookcase R. looking over stock list and books. As curtain rises he crosses to L. gets a cigar from box on table; lights it as he starts to cross r. {Enter Mrs. Ryder.) Mrs. Ryder. I'm so glad you are alone dear. I just want a few words. Ryder. Very well then I'll — (Starts to throw azvay cigar in fireplace) Mrs. Ryder. (Hesitates) Go on smoking. Don't mind me. Ryder. Thank you — well • Mrs. Ryder. Oh, dear! Ryder. Is there anything I can do for you my dear. (Shakes her head) Mrs. Ryder. I wanted to speak to you about — about Jeff — (Bus. — Ryder shozvs impatience) Now, give me five minutes John — the boy is so unhappy —He wants to please us, but Ryder. But he insists upon pleasing himself ■ Mrs. Ryder. I'm afraid his affection for Miss Rossmore is deeper than you realize Ryder. Miss Rossmore. I am sorry my dear, that you seem inclined to listen to Jefferson. It only encourages him in his attitude towards me. Kate will make him an excellent wife ; the other woman will drag him down ; are you willing to sacrifice your son's dignity and honor to a mere boyish whim? Mrs. Ryder. It's very hard for a mother to chdse. Miss Green says — (Sits l.) 58 THE LION AND THE MOUSE. Ryder. Have you consulted Miss Green on the subject? (Leans on chair r.) Mrs. Ryder. Yes, I don't know how I came to tell, but I did — I seem to tell her everything. I find her such a comfort— Do you know, John, I haven't had an attack of nerves since that girl has been in the house. She seems to ward them all off. Ryder. I wish she'd ward this Rossmore girl off. I wish she — (Pause) If she were Kate she wouldn't let Jeff slip through her fingers. (Goes to books) Mrs. Ryder. No, I've often wished that Kate were more like her. Kate is a very nice girl, a charming tactful girl, but she isn't Miss Green. How that girl does grow on me. Kate is so— (Shakes her head) Ryder. (Crosses to desk — hack to her) She is the daughter of my friend — Senator Roberts, and she is Jeff's affianced wife, theyVe been engaged two years, and he'll keep his word — or — Caroline — go back to the ballroom, spread the report among your guests that the wedding is to take place four weeks from to-morrow. He'll keep his word for Kate's sake. I know that boy. Tell Miss Patterson she'll do the rest. Mrs. Ryder. Four weeks from to-morrow, a month. (Rises, crosses r.) Ryder. Yes, a month. ( Telephone rings on desk, Ryder hus. Picks up receiver) Mrs. Ryder. Four weeks from to-morrow. (Stop music. Bell down-stage on table.) Ryder. Hello. Who? (Pause) Senator Roberts? (Pausing — looking serious) Send him up at once — (Bus. Hangs up receiver) What is he doing away from Washington ? Oh, my dear. Go back to the Ball room and do as I ask you about Jefferson, please. THE LION AND THE MOUSE. 59 Mrs. Ryder. Yes, but I — very well. (Up to c.) Ryder. Oh, Caroline, what did Miss Green say? Mrs. Ryder. She says we are quite right from our point of view. Ryder. Ah ! Mrs. Ryder. But, that our point of view is a mistake. Ryder. Oh, indeed! (Enter Senator Roberts.) Mrs. Ryder. Ah, good-evening, Senator. I sup- pose I can't tempt you to dance. Roberts. Thank you — no — I — I've been led a pretty dance already — I — (Pause) Mrs. Ryder. Well, good-bye. Don't keep him here long, Senator. (Exits c.) Ryder. Why have you left Washington at a critical moment like this ? The Rossmore impeach- ment needs every frend we have. Roberts. (Down to desk) Family matters. Politics will have to be side-tracked until it's — it's settled — about four o'clock this afternoon Mrs. Roberts informed me over long distance that she has come into possession of correspondence, show- ing my daughter is planning to run off with Mr, Bagley. Ryder. Bagley ? Roberts. Yes, eight o'clock to-morrow morning is the appointed hour for the elopement. Ryder. (Ring bell dozvn table) They're both here, Bagley and Kate — ha Roberts. Who the devil is this Bagley? (Sits R. of desk) Ryder. English — blue blook — ^no money — (Sits) Roberts. That's the only thing we seem to get over here. We furnish the money; they furnish the blood. Damn this blue blood I don't want anv of it in mine. 6o THE LION AND THE MOUSE. (Enter Jorkins.) Ryder. Mr. Bagley, here, at once. Jorkins. Yes — sir — (Exit c.) Roberts. I was sorry to leave Washington, at such a time, but I'm a father and Kate is more to me than this Rossmore impeachment. Besides her marriage to your son Jefferson is one of the ambitions of my life. Ryder. That point is settled. The wedding is set for one month from to-day. Roberts. Mr. Bagley seems to have unsettled it. Ryder. The only thing Mr. Bagley has unsettled is his own future. (Pause) How is the Rossmore case going? Roberts. Not so well as it might; there's a lot of maudlin sympathy for the Judge. He's a pretty sick man and the papers are for him, unanimously ; one or two of the Western Senators are talking corporate influence — and trust legislation — and when it comes to a vote the matter will be settled on party lines. Ryder. That means that Judge Rossmore will be removed? Roberts. Yes, with five votes to spare. Ryder. That's not enough, there must be at least twenty; let there be no blunders, Roberts. (Enter Bagley) The man is a menace. The im- peachment must go through. Bagley. Do you want me, sir? Ryder. Yes, Mr. Bagley — (Business — look at him — Bagley is afraid) What steamer leaves to- morrow for England ? Bagley. To-morrow Ryder. To-morrow Bagley. Let me see. White Star, North Ger- man Lloyd, and I think the Transatlantic. Ryder. Have you any preference? Bagley. No sir, not at all. THE LION AND THE MOUSE. 6i Ryder, Then you go abroad on one of these ships to-night. Your things will be packed and sent to you before the ship sails to-morrow. (Senator crosses r, and sits.) Bagley. (Crosses to desk) But sir — I — I — Fm afraid Ryder. I observe that, your hands shake. Bagley. No, no — no — I mean I Ryder. You mean you have other engagements? Bagley. Oh, no — no — ^but Ryder. No other engagements? Bagley. No. Ryder. None at eight o'clock to-morrow morn- ing? Roberts. With my daughter? Bagley. No — no — certainly not — under no cir- cumstances with your daughter — the idea Ryder. (Rings bell) Perhaps she had an en- gagement with you Bagley. Let me see. There was something said about an early morning walk — a constitutional. Roberts. Oh, an appetizer. Bagley. Yes, an appetizer, I recommended it as an excellent tonic — for her health — I thought she looked quite pale and er — I — (Enter Jorkins.) Ryder. Ask Miss Roberts to come here, I want to speak to her. (Business writes) Jorkins. Yes — sir — (Exits c.) Roberts. So you thought my daughter looked pale, and a little walk at eight o'clock in the morn- ing with you would be a healthy thing for her. Well, it may be, but it wouldn't be a healthy thing for you. Bagley. Not with me — oh, dear no — alone — 1 62 THE LION AND THE MOUSE. cold her that early rising is conducive to rosy cheeks. 1 read it in a poem. It runs something like this; not exactly, but something. If you would have a rosy cheek. Then you the rising sun must seek. Roberts. Your cheeks needl^no roses. Bagley. It's one by the minor poets. Roberts. Very minor, I should say. Ryder. Then your plans in regard to Miss Roberts did not extend further than an early morn- ing constitutional. Bagley. (Goes very near desk) No sir. Roberts. You never proposed to run away with her Bagley. (Horrified) Run away with her? Roberts. And marry her? Bagley. {In horror) And marry her? Roberts. Did you ever make love to her? Bagley. (Aghast) Make love to her? Roberts. Yes, make love to her — did you? Bagley. This is almost a personal question— this is hardly fair — Oh, dear what shall I say (E titer Kate c.) Kate. (To Ryder) Did you want to see me? (To Senator) Father, when did you come back? I thought you were in Washington — (Sees Bag- ley. Realizes that something serious has happened. Realizes that she is found out. Then looks back at her father and Mr. Ryder; then at Bagley; tJien back at her father. This business ad. lib.) Roberts. Well Kate. Well — (Looks down on floor as if shy) I suppose he has told you everything. Roberts. Yes, everything (Bagley about to speak catches Ryder's eyei and subsides.) THE LION AND THE MOUSE. 63 Kate. {Laughs nervously) Well — (Looks at father, laughs nervously, but does not smile) Roberts. Have you anything to add? Kate. (Shakes her head) No — (^Sighs) It's all true. Roberts. What is true? Kate. That we intended to run awa}'' — and get married — isn't it? Fitzroy. (Pause) Bagley. I — I beg you will not refer to me. Kate. Fitz ! Roberts. Never mind about Fitz — I'll attend to Fitz presently. Bagley. I — I assure you. Roberts. And you were to meet him at eight o'clock to-morrow morning for the express pur- pose of getting married? Kate. Since Fitzroy has told you everything — I — I think perhaps we had better ask your permis- sion. Roberts. My permission eh? Kate. And your forgiveness. Roberts. (Rises) And what of Jefferson Ryder? Kate. One can't think of everybody in these matters. Mr. Bagley will explain, that, he knows that Jefferson doesn't care — Mr. Bagley will Ryder. Mr. Bagley leaves for England to-night. I am afraid he will have no time to explain any- thing. Kate. England Roberts. Ah, — ^that settles it — (Crosses to c. and takes Kate's arm) Get your things on and prepare to go to Washington with me early to- morrow morning. Kate. Washington ? Roberts. Yes, Washington — for an early morn- ing constitutional. (To Bagley) Bon voyage—* Mr. Bagley — (Taking her out) Come Kate. 64 THE LION AND THE MOUSE, Kaie. I don't want to go to Washington. Never mind Fitz. You know where to write. Father, I think you're very unkind. I won't go — I won't go — (Tries to release her arm — but cannot — Exit with Senator) Ryder. (Hands letter to Bagley) Your in- structions sir, to be opened when you arrive in England ? (Enter Jkfferson c. He is quite excited.) Bagley. (Completely non-plussed — knocked out) I— I Ryder. Good night, sir. Well, Jeff. Bagley. (Brace up as if to speak — with posi- tive emphasis) Sir — I — (Catches Ryder's eye. Ryder rises) Yes — sir — good night, sir — ^good night, sir — (At door exit c.) Jefferson. Now then, Father. Ryder. Let's go into the ballroom, Jefferson. Don't turn down the light, Father. I want to talk to you. Ryder. (Down to end of desk) My dear boy, your errand is written all over your face. You wish to know who has dared to spread the report that your marriage is to take place in a month from to-day. Jefferson. I have no need to ask, Father. I know your methods. I am not going to call your attention to the absurdity of attempting to in- fluence me in the choice of a wife by such means, but I demand that these blows in the dark, these polit- ical moves, come to an end. They're unfair to me, they're brutally unkind to Kate and they're un- worthy of you. Ryder. How dare you presume to criticise my actions? (Puts down cigar) Jefferson. You have forced me to do so, not only do I refuse to carry out your plans in regard THE LION AND THE MOUSE. 65 to Kate Roberts, but I intend to marry Miss Ross- more as soon as she will consent to become my wife. (Looks at father who looks at him but does not anszver) She is acquainted with all the cir- cumstances of my so called engagement to Kate, and if I can succeed in overcoming her prejudices to my family — (Ryder laughs) — to you — we've tried the poor girl pretty sorely, Father, you and I — you, with your deadly hatred and persecution of her father, and I with this trumpery pretence of an engagement with Kate Roberts, cowardly fear of your displeasure, but I am afraid no longer, and I tell you openly, finally, that I intend to make Miss Rossmore my wife — (Pause — looks at Ryder — Ryder makes no reply. Weakenmg a little) You've forced me to — to defy you, Father — I'm — I'm sorry. Ryder. (With much self-control) All right Jeff, my boy, you're sorry so am I. You've shown me your cards, and I'll show you mine. (Sits l. with bitter hatred) When I get through with Judge Rossmore at Washington, I'll start on his daughter. This time to-morrow he'll be a dis- graced man, and in a week she'll be a notorious wo- man. Jefferson. Father! Ryder. There is sure to be something in her life that won't bear inspection. There is in every- body's hfe — I'll find out what it is. (Jefferson stands as if unable to answer) Where is she now? She can't be found. No one knows where she is; not even her own mother. Something is wrong. The woman is hiding. What — what is she hiding (Jefferson goes to door c. Pause — silence.) Jefferson. Why she- Ryder. Well, that is all? Tefferson. That's all — (Exits c.) 66 THE LION AND THE MOUSE Ryder. Leave your address with your mother- • {Tries to read — then bangs fist on desk) Shirley. (Enter) May I come in, Mr. Ryder £ Ryder. Yes, come in. Shirley. (In a low voice) I want to see you on a — very important matter. I've been waiting to see you all evening, but I shall only be here a few days longer — I — {With emotion) I want to ask you a great favor, perhaps the greatest you were ever asked. {As i^ afraid) I want to ask you for mercy — for mercy to — {T'f^rn-^ to him sees that he is preoccupied) Mr. Ryder? Ryder. {As if awakening out of a dream) Eh —forgive me, I didn't quite catch what you were saying. {Pause) For the first time in my life I am face to face with defeat — defeat of the most ignominious kind — incapacity — inability — to reg- ulate my domestic affairs. I can rule a govern- ment, but I can't guide my own family, my own son. {Enraged) I am a failure — a failure — sit down — {She sits) Why, why can't I rule my own household — why can't I govern my own son? Shirley. Why can't you govern yourself Ryder. Now, you can help me by not preach- ing. This is the first time in my life I ever called on a living soul for help. I'm only accustomed to deal with men. This time there's a woman in the case, and I need your woman's wit. Shirley. How can I help you? Ryder. {With suppressed excitement) I don't know. As I told you I'm against a blank wall — a blind alley. I can't see my way. I'm ashamed of myself, ashamed. Did vou ever hear the fable of " The Lion and The Mouse." Well, I want you to gnaw with your sharp woman's teeth at the cords which bind my son to this Rossmore woman? I want you to be the mouse. Set me free of this dis- graceful entanglement. Shirley. How ? THE LION AND THE MOUSE. 6; Ryder. Ah — that's it, how? Can't you think. You're a woman ! You have youth, beauty — bril- liancy — and — {Suddenly, as if struck with an in- spiration, looks at her) By George, I have it! Marry him yourself. Kate Roberts can't hold him; she hasn't the mentality you have, if you can force him to let go of this woman. Why not? His mother once told me you had great influence over the boy. At one time she actually thought it was your influence that kept him here. {Pause — ■ Shirley looks at him, hut cannot answer) Come what do you say ? Shirley. You — ^}^ou must give me time to think — time — to — I — I — {Passes her hand over her face as if thinking) Suppose I don't love your son, — I should want something — something to Ryder. The boy will inherit millions — I don't know how many. Shirley. {Sits) No — no — not money — it's — it's something else — man's honor — a man's life — it means nothing to you. {Aside quickly) Ryder. You can win him, if you make up your mind to. A woman with your resources can blind him to any other woman. Come, you have light enough to attract a moth of Jefferson's calibre. I'll temporize with him ; get him to stay a few vveeks longer, and by then you'll have him caught. Shirley. But if he loves Judge Rossmore's daughter ? Ryder. It's for you to make him forget her — « and you can Shirley. But Kate Roberts, she— she loves him Ryder. Kate Roberts is playing fool with some- one else. My onl, desire is to separate him from this Rossmore gi 1, ?^ ar^ cost. You must help me. {His sternness ; elaxes somezvhat) Do you know that I shall almost bo glad to think that you won't have to leave me. You h"ve been here nearly eight 68 THE LION AND THE MOUSE. weeks. Mrs. Ryder is quite taken with you, and I — (His eyes rest on her kindly) I shall miss you when you go. Shirley. You ask me to be your son's wife, and you know nothing of my family ? Ryder. I know you. Shirley. No — no — you don't, nor do you know your son. He has more constancy — more strength of character than you think and Ryder. So much the greator victory for you Shirley. Ah, don't you love your son? Ryder. That's where you are mistaken. I do love him and it's because I love him that I'm such a fool in this matter. Don't you see if he marries this girl, it would separate us ; and I should lose him. I don't want to lose him. If I welcome her to my home it would make me the laughing stock of all my friends and business associates. I should have to welcome her father, the very man who — • ah — it would be beyond words. (Shirley looks at him, shakes her head) Come what do you say? (Telephone rings — Ryder goes to desk) Shirley. (Aside) What shall I do — what shall I say? (Crosses c.) Ryder. (Rings bell) Judge Stott — no — (Pause) Waiting over an hour — (Pause) In- sists, does he? Well, if he refuses to go, have him put out. (Pause) Life and death. What's that to do with me. Tell him Shirley. (Crosses to table) One moment. You must see him, Mr. Ryder. I know who he is. Your son has told me. Ryder. Wait a moment. Shirley. Judge Stott is one of Judge Ross- more's advisers. See him ; you may find out some- thing about the girl, you may find out where she is. Don't you see you must see him. If Jefferson finds out you have refused to see her. father's THE LION AND THE MOUSE. 69 friend on a matter of life and death; it will only make him sympathize more deerly with the Ross- more, and you know sympathy is akin to love and that's what you want to avoid, isn't it ? Ryder. (Hesitates) Upon my word, you may be right yet. Shirley. (Lightly) Am I to help you or not? You said you wanted a woman's wit. Ryder. Yes — but still. Shirley. Then you'd better see him. Ryder. (At phone) Hello, is that you Jepson? Send Judge Stott up. (Throws phone on table. To Shirley) That's one thing I don't like about you. I allow you to decide against me — and then I agree with you. (Looks at her admiringly) I'll predict that you will bring that boy to your feet within a month. Somehow I feel that he is at- tracted to you already. Thank heavens, you haven't a lot of troublesome relatives. I think you said you were almost alone in the world. Don't look so serious, after all Jeff is a fine fellow, and believe me, quite an excellent catch, as the world goes. Shirley. Oh, don't — don't please — my position is so false, you don't know how false it is. (Crosses R.) (Enter Judge Stott c. Preceded by Jorkins, Stott looks at Shirley, but doesn't indicate that he knozus her, as Ryder turns Shirley signals Stott to speak. Ryder waves secretary to go. Secretary exits.) Jorkins. Judge Stott, sir. Shirley. Perhaps I'd better go. Ryder. No, Judge Stott will detain me but # very few moments. (Shirley sits r. c, listens intently. Her anxiety w obvious to the audience. Not to Ryder.) 70 THE LION AND THE MOUSE. Stott. (c.) I must apologize for intruding at this unseemly hour, sir, but time is precious. ^ The Senate meets to-morrow to vote, and if anything is to be done for Judge Rossmore, it must be done to- night. Ryder, (c.) I fail to see why you address yourself to me in this manner, sir. ^ Stott. As Judge Rossmore's friend and coun- sel, sir, I am impelled to ask your help at this crit- ical moment. Ryder. The matter is in the hands of the United States Senate, sir. Stott. They are against him. Not one Senator I have spoken to holds out any hope for him. If he is impeached it will mean his death. Inch by inch his life is leaving him. The only thing that can save him is the good news of the Senate's re- fusal to impeach him. Ryder. I can do nothing, sir. Stott. As I understand they will vote on strictly party lines, and the party in power is against him. He's a marked man. You — you — have the power to help him — ^you — (Ryder makes a gesture of impatience) When I left his bedside to-night — I promised to return to him with good news. I have told him that the Senate ridicules the charges against him ; I must return with good news. He is very ill to-night, sir. (Meaningly to Shirley) If he gets much worse we shall send for his daughter. Shirley. (Aside) Father! (Shirley busi- ness) Ryder. His daughter — where is his daughter? Stott. She is trying to save her father. (Shirley nods affirmatively.) Ryder. (Crosses to Stott) You didn't come hce to-night merely to tell me this. THE LION AND THE MOUSE. 71 Stott. No, sir. (Business with letters he takes out of his pocket) These letters from Judge Ross- more to you show you are acquainted with the fact that he bought these shares as an investment, and did not receive them as a bribe. Ryder. (Looks at letters over Stott*s shoulder, leaves him, and then opens drawer L., looks for papers, then speaks) Why don't you produce them before the Senate ? Stott. I tried to© but it was too late. The case was closed and could not be re-opened. (Shirley business) I only received them last night, but if you come forward and declare Ryder. I can do nothing in the matter, sir. Stott. Then I shall publish them in every news- paper in the United States. Ryder. Do as you please. That will not effect the issue. (Looks at letters) The Judge writes to ask the values of the shares as an investment. That doesn't prove that he did invest in them, or account for all the stock he had in his possession, in fact it proves nothing, you are a lawyer, you ought to know that. Stott. It proves you to be a basis of conspiracy to put Judge Rossmore off the bench. If we can- not prove it legally we can morally and I shall publish these letters. Ryder. Publish them by all means — I have been attacked by the papers before, and I guess I can stand it again, keep them, I don*t want them. (Crosses to desk) You don't suppose that if they had been of any value, I should have left them around, do you? And now, sir, I wish to know how it comes that you have in your possession private correspondence addressed to me. Stott. That I cannot answer. Ryder. From whom did you receive these let ters? 72 THE LION AND THE MOUSE. {Bus. — Shirley clutches chair as if afraid.) Stott. I must decline to answer. Shirley. (Rises about to speak. Both Ryder and Stott look at her) I wish to make a state- ment. Stott. (Anticipates her) Judge Rossmore's life and honor are at stake, and no false sense of delicacy must cause the failure of my object to save him. I must decline to answer. Ryder. (Furiously rings bell) Do you suppose I don't know who sent them; do you suppose that I don't know that this man, this Judge, whose honor is at stake, and his daughter — who most likely has no honor at stake — ^between them have made a liar and thief of my son ! False to his father, false to his fiance, and you, sir, have the presumption to come here and ask me to intercede for this man. (Enter Jorkins c.) Ask Mr. Jef- ferson to come here at once. Jorkins. Yes sir. (Exit c.) (Stott in whisper. Looks at Shirley quickly.) Ryder. And now, sir, I think nothing remains to be said. Stott. As you please. Good-night. (Goes up, turns and looks at Shirley and exits c.) Ryder. Good night. (To Shirley) Now you see what she has done to my son. (Crosses c. and then tip and down) Shirley. Yes, it's the girl's fault, (r. c.) Oh, you must make allowances for him. One's sym- pathy gets aroused in spite of one's self. Even I feel sorry for these people. Ryder. (Crosses to l.) Don't — sympathy is weakness. (Enter Jefferson c.) Jefferson, (c.) You sent for me. Father? THE LION AND THE MOUSE. 73 Ryder. (l.) What of the letters in this drawer ? Jefferson. What letters? Ryder. The letters that were in the left hand comer drawer. Jefferson. Why — I — I ► Ryder. You took them? Jefferson. Yes. Ryder. And sent them to Judge Stott? Jefferson. Yes. Ryder. (Shirley starts) As I thought. You deliberately sacrificed my interests to save this wo- man's father, you hear him; Miss Green. {With great self-control) Jefferson, I think it's time that you and I had a final accounting. (Shirley starts up) Please don't go Miss Green. As the writer of my autobigraphy you are sufificiently ac- quainted with my family affairs to warrant you being present at the epilogue. Besides I want an excuse for keeping my temper. For your mother's sake, boy, I have overlooked your little eccentric- ities of character. We have arrived at the parting of the way ; you have gone too far. The one aspect of this business I cannot overlook is your willing- ness to sell your own father for the sake of a wo- man. Jefferson. My father wouldn't hesitate to sell me if his business and political interests warranted the sacrifice. Shirley. Ah^ please don't say those things Mr. Jefferson. I don't think he quite understands you, Mr. Ryder, and if you will pardon me, I don't think you quite understand him. Do you realize that there is a man's life at stake — that Judge Rossmore is almost at the point of death — ^And that favorable news from the Senate Chamber to-morrow — is perhaps the only thing that can save him? Ryder. (Sits) Judge Stott's story has quite aroused your sympathy 74 THE LION AND THE MOUSE. Shirley. Yes — I — I must confess my sympathy is aroused. I do feel for this father whose hfe is slowly ebbing away ; whose strength is being sapped daily, hourly, by tiie thought of his disgrace, the injustice that is being done him. I do feel for the wife of this suffering man. Ryder. Now, we have a complete picture, the dying father, the sorrowing wife — and the daugh- ter — what is she supposed to be doing? Shirley. (With meaning) She is fighting for her father's life — and you — {To Jefferson) should have pleaded — pleaded — not demanded. It's no use trying to combat your father's w^ill. Jefferson. She is quite right, Father. I should have implored you. I do so now. I ask you, for God's sake to help me. Ryder. (Sees his son's altitude change — for a moment, pauses, rises) His removal is a political necessity. If this man goes back on the bench every paltry Justice of the Peace, every petty official will think he has a special mission to tear down the structure that hard work and capital has erected. No, this man has been especially conspicu- ous in his eflForts to block the progress of amal- gamated interests. Shirley. And so he must die. Ryder. He is an old man, he is one, we are many. (Down to end of desk) Jefferson. He is innocent of the charge brought against him. Shirley. Mr. Ryder is not considering this point. All he can see is that it is necessary to put this poor man in the public pillory to set him up as a warning to others of his class, not to act in ac- cordance with the principles of the truth, and jus- tice, not dare obstuct the car of Juggernaut set in motion by the money gods of the world. Ryder. Survival of the fittest, my dear. THE LION AND THE MOUSE. 75 Shirley. Oh, use your great influence with this governing body for good. Ryder. (Moving) By George, Jefferson — I give you credit for having received an excellent ad- vocate. Shirley. Suppose — suppose — this daughter- promised that she will never — never see your son again ; that she will go away to some foreign coun- try. Jefferson. No, why should she. If my father isn't man enough to do a s'mple act of Justice with- out bartering a woman's happiness, his son's happi- ness — let him rot in his own self justification. (Looks up stage. Shirley goes up stage as if overcome) Ryder.^ (Crosses to Jefferson) Jefferson, my boy, you see how this girl pleads your case for you ; she loves you. (Bus. Jefferson) BeHeve me she does — she's worth a thousand of the other woman. Make her your wife and I will do anything you ask. Jefferson. Make her my wife? (Turning to control himself — cannot believe his ears — conceals his joy) Make — her — my wife. Ryder. Come, what do you say? Jefferson. Yes — ^yes — (Unable to speak — sees that he will betray himself) I cannot ask her now, Father — sometime later. Ryder. No — to-night at once. (Crosses up L. c. Jefferson turns, looks at father) Miss Green, my son is much affected by your disinterested ap- peal in his behalf — he — he — ^you can sa^ e him from himself — My son — wishes — yoa — he — asks you to be his wife — is it not so, J ffcrson? Jefferson. Yes — ^yes — my wife — (Laughs hysterically) Shirley. Oh — no — no — Mr. Ryder I cannot. (Comes down c.) I — I can't. Ryder. (Appealingly) Why not — ah, don't— ^ decide hastily — (Dozvn to her l. c.) 76 THE LION AND THE MOUSE. Shirley. (Down) I cannot marry your son with these lies upon my lips. I cannot go on with this deception. I told you — you did not know who I was, who my people were. My story about them, my name, everything about me is false. Every word I have uttered is a lie, a fraud, a deception. 1 wouldn't tell you now, but you trusted me. And are willing to entrust your son's future in my keep- ing — but I can't keep back the truth from you. (Jefferson business) Mr. Ryder I am the daugh- ter of the man you hate. I am the woman your son loves. 'Twas I who took the letters and sent them to Judge Stott. I am Shirley Rossmore. Ryder. You? (Turns) Shirley. Yes, yes, I am. Now listen to me. Mr. Ryder. (Ryder turns azvay) Dgn't turn away from me. Go to Washington on behalf of my father and I promise you I will never see your son again. Never, never. Jefferson. Shirley ! Shirley. Jeff, forgive me, my father's life. Jefferson. You are sacrificing our happiness. Shirley. No happiness can be built on lies. We have deceived your father. But he will for- give that, won't you, and you will go to Washing- ton. You will save my father's honor, his life. You will — you will. Ryder. (Turns on) No — no — I will not. You have wormed yourself into my confidence by means of lies and deceit. You have tricked me, fooled me to the very limit. Oh, it's easy to see how you have beguiled my son into the folly of loving you. And you have the brazen effrontery to come here and ask me to plead for your father? No, no, let the law take its course. And now, Miss Rossmore will you please leave my house to-morrow morning. (Crosses to lower end of desk) Shirley. (Jefferson moves hack of chair. Shirley turns to him in fury) I will leave your THE LION AND THE MOUSE. 77 house, to-night. Do you think I would remain an- other hour beneath the roof of a man who is as bhnd to justice, as deaf to mercy, as incapable of human sympathy as you are? Ryder. Leave the room. (l. of desk) Jefferson. Father ! Ryder. You have tricked him as you have tricked me. Shirley. It is your own vanity that has tricked you. You lay traps for yourself and walk into them. You compel everyone around you to lie to you; to cajole, to praise, to deceive you, at least you cannot accuse me of flattering you. I have never fawned upon you as you compel your family, your friends, your dependents to do. Ryder. {Controls self with difficulty) Please go. Jefferson. Yes — ^let us go Shirley. {Goes tO' ward Shirley) Shirley. No, Jeff, I came here alone, and Vm going alone. Jefferson. No, you are not. I intend to make you my wife. Shirley. No. Do you think I could marry a man whose father is as deep a discredit to the hu- man race as your father is. No, I couldn't Jeff. I couldn't marry the son of such a merciless tyrant. (Ryder sits) He refuses to lift his voice to save my father. I refuse to marry his son. {Crosses to desk) You think if you lived in the olden days— (Ryder is dumbfounded) — you'd be a Caesar or an Alexander, but you wouldn't — You'd be a Nero — a Nero — sink my self-respect to the extent of marrying into your family. Never. I am going to Washington without your aid. I am going to save my father if I have to go on my knees to every United States Senator at the Capitol. I'll go to the White House. I'll tell the President what you are. Marry your son, indeed! Marry your aon! 78 THE LION AND THE MOUSE, No thank you Mr. Ryder. {Exit hastily as cur- tain is falling) (Ryder looks at son, he is literally " out") CURTAIN. ACT IV. Scene: — Shirley^s suite in the Ryder Establish" ment. Time: — Seven a. m. the next morning. (As the curtain rises it is still dark. Enter maid D. r. with tray on which is pot of tea, etc. She knocks on door, d. l., waits for an an- swer. ) Maid. Seven o'clock, Miss. Shirley. {Off stage) All right Maid. Shall I bring your tea in, Miss? {Enter Shirley, d. l.) Shirley. No, thank you, I'll drink it in here. Maid. Why you haven't been to bed. Miss. Shirley. No, I couldn't sleep, Thurza. I was too anxious, I would have left here last night, if I could have gotten away, so — {Bus. pours tea) I must catch that early train to Washington, if I missed it, I — I dare not think what would happen. Maid. But I promised to call you in time, Miss — {Crosses to l. c.) Shirley. Yes — ^yes, I know but — {Bus. drink- ing tea) I didn't finish packing until nearly five; it was hardly worth while going to bed. Besides THE LION AND THE MOUSE. 79 I was too tired to sleep. I just sat and thought — and thought. {Business) Maid. (Pauses) Can I do anything for you, Miss? Shirley. (Starts out of reverie) No — there are only a few things to go in my dress suit case. Have a cab here in half an hour. Maid. Yes, Miss. (Crosses to R.) Oh, Miss, Mr. Jorkins said master wants to see you as soon as you finished your tea. Shirley. Mr. Ryder? Impossible. Maid. (Shocked) But Miss? (Pause) Mr. Ryder expects you. Shirley. Please give Jorkins my message. I cannot see Mr. Ryder. {Knock on d. r. Maid goes to door, opens it, sees Jorkins.) Maid. (Very mysteriously) He is here now. Miss — (Enter Jorkins half zvay — Bus. Jorkins and Maid) Mr. Ryder is waiting to see you down- stairs. Shirley. Tell Jorkins to come in. (Maid opens door zvide, defferentially. Enter Jorkins pompously.) Jorkins. Yes, Miss. Shirley. Please inform Mr. Ryder that it is impossible for me to see him. (Business Jorkins tries to conceal his surprise.) Jorkins. Yes, Mi^s, but, Mr. Ryder desires SnirxEY. P'^ise deliver my answer as I give it. I cax.nct see him. (Jorkins raises his eyes in horror; tries to speak, bows and exits. Maid gasping.) 8o THE LION AND THE MOUSE. Shirley. (Laughs) Take away the tray. (Rises) I'll finish packing. (Dozvn L.) (Enter Mrs. Ryder in dressing gozvn, looks as if she is just out of bed; hurried; she is badly made up and rather a^kew; very excited arid perturbed.) Mrs. Ryder. My dear Miss Green, what is this I hear — going away suddenly without giving one moment's warning? Shirley. (Smiling) But I wasn*t engaged in- definitely. Mrs. Ryder. I know — I know — I was thinking of myself. IVe grown so used to you, how shall I get on without you? My poor nerves — no one un- derstands me as you do. Dear me — (Sits, r. c.) The whole house is upset — Mr. Ryder never went to bed at all last night ; he sat and smoked all night in the library. Jefferson is going away too — for- ever, he says. If he hadn't come and woke me up to say good-bye, I should have never known that you intend d to Icavs us. I call it downright de- sertion. Do change your mind, dear — (Shirley exits end comes right back, Mrs. Ryder, to Maid — aside) Tell Mr. Jefferson to come up at once. Maid. Yes, Ma'am. (Takes tea tray and exits D. r.) Shirley. Did your son tell you who I am? Mrs. Ryder. No, dear. Shirley. I am the daughter of Judge Ross- more. Mrs. R\T)er. My dear, that's not your fault; you're yourself — and that's the main thing. I half promised that I would ask you to see Jeff before you went; that is if yea insist on going. (Rises — goes up stage to Shirley) Shirley. It is better that I did not see him. Mks, Ryder. Ah, but you don't understand— THE LION AND THE MOUSE. 8i Ryder, but for Jefferson's sake I must tell you, and ' * (Pauses) . My dear girl, I feel like a traitor to Mr. . ^ you will take his mother's word, won't you? My dear, he never cared a snap of his finger for Kate Roberts. Shirley. I know — it isn't that — didn't he tell you that Mr. Ryder — and my father — [Exit l. as Jefferson enters, d. r.) Mrs. Ryder. Ah, there you are, Jefferson — come in, dear — she is waiting to see you — I think I've put everything right between you. (Turns and sees that Shirley has disappeared) And now I must go back to bed. I'm nearly dead with sleep. (Crosses l.) Your father must never know that I brought you two together^ (Goes to door — returns to Jefferson) Perhaps he'd better not know that I've been here at all. (Enter Jorkins, d. r.) JoRKiNS. Mr. Ryder's compliments, Madam, he wished to see you in the library. Mrs. Ryder. Oh, dear, you see he's found out already — oh, what a man. I can't come, Jorkins, I'm T— I'm in bed and asleep. I mean — I ought to be — I — (Weakens) I think I'd better go, eh, Jeff? Very well, Jorkins, I'll be there in a moment. Now understand I have not brought you two together again. Jefferson. (Disappointed at Shirley's ignor-* ing him) No, Mother, I'm afraid you have not. Mrs. Ryder. Why don't you go, Jorkins — oh, dear, why do people get up in the middle of the night. (Exits followed by Jorkins) (Jefferson stands disconsolately watching room L. Enter Shirley d. l. She goes over to the writing desk. Bus, with books.) g2 THE LION x\ND THE MOUSE. Jefferson. Mother said she had put everything right between us, but I am afraid she was mis- taken. Shirley. Your mother does not understand, neither do you. Nothing can be put right. Noth- ing can ever be right again in this world for me until my father is restored to honor and position. Jefferson. I say that as sincerely as you do. Nothing can ever be right in this world to me again until your father is restored to honor and position and to that end I am going with you to Washing- ton. Shirley. No, Jeff. Jefferson. Shirley, all my life I have listened to another voice than my own — now I am listening to the promptings of my own heart, my own con- science. I know that my father was instrumental in placing Judge Rossmore where he is to-day. And I am going to let the world know what I know. Shirley. Then you are going to betray your own father ! Oh, Jeff ! Jefferson. I am going to speak the truth. Shirley. Yes, but you are doing this for my sake— not for the sake of the truth — if Judge Rossmore were not my father, would you move in his behalf — would you? Jefferson. That is not the question — he is your father — and I Shirley. But I can't accept such a sacrifice. It's because you love me that you will make this move. You*d never forgive yourself. You'd never forgive. Bitterly as Mr. Ryder hates my father, bitterly as he hates me now — I will do him the jus- tice to recognize his love for you, Jeff. (Jeffer- son sits c.) You cannot betray the father who loves you. Ah, it's out of the question. When I plead for my father in Washington I must do so without the knowledge that I have influenced you against your father. No — somehow or other the THE LION AND THE MOUSE. 83 truth will come out— I feel it. I know it, but not through you. Jefferson. I know you are right, Shirley, but it's all against my feeling, my instincts. I don't want to betray my father and I do want to help you — am I always to be cursed with indecision. Shirley. Let me decide for you Jefferson. It's always someone else who de- cides for me, and as usual I obey — ^Oh, what must you think of me — no wonder I can't win your love. Shirley. Jeff, we mustn't speak of that now — ■ (Enter Ryder) — until this matter is settled. I can never see you or your father again. (Crosses down L.) Jefferson. Why do you always associate us ? Shirley. He is your father — he — (Sees Ryder — picks up things she has been collecting and walks out of the room zvith quiet dignity) Ryder. (Crosses to L. c.) Hum — I rather thought I should find you here, but I didn't quite expect to find you, so to speak, on your knees, drag- ging your pride in the mud. Jefferson. It's where our pride ought to be. Ryder. So she has refused you again? Jefferson. Yes, she still objects to my family. (Goes up stage) Ryder. Your family in general — me in partic- ular, yes I gleaned that much as I came in — (Looks at door l.) She's a curious girl, with curiously in- verted ideas — I must see her before she goes — (Goes to door l. about to knock, turns to Jeffer- son) Do you mean to say she has done with you — cut all ties between you? Jefferson. Yes. Ryder. Finally ? Forever ? Jefferson. Yes, finally — forever. (Crosses up R. c.) Ryder. Does she mean it? (Jefferson nods his head) Um — it's like her, just like her 84 THE LION AND THE MOUSE. (Knocks at door) Oh, yes — it's like her — all right. Shirley. (Offstage) Who is it? Ryder. (Abruptly) I wish to speak to you. (Looks at Jefferson) In my hbrary, alone. Shirley. I must beg you to excuse me — I can- not see you. Jefferson. Why do you add to the girl's misery — hasn't she suffered enough already? R\T)ER. (Crosses to c.) Do you know what she has done? (Jefferson shakes his head) She has insulted me grossly. (Angrily) So grossly that I — I — (Takes out check) I never was so humiliated in my life. She has returned the check I sent her last night in payment of her work. I mean to make her take that money ; it's hers — she needs it. Her father's a beggar; she must take it — it's only flaunting her contempt for me in my face, and I won't permit it. (Goes up stage R. stands there — down c ) Jefferson. Father, you are as incapable of doing that girl justice — as I am. She is far above our conception of womanhood as good is above evil — not five minutes ago I offered to go with her to betray you — and she refused — because — she said that you loved me, and that she could not tear the thought of a son betraying his father — see what your selfishness has driven me to — see what you have made of me — ^you have destroyed me as you are helping to destroy our national integrity. She showed you whac you were last night, she showed me what I was to-day — ^you were right. When you said that I would sell you for her, I would, but it's you who have made me what I am. Do you think she'll ever marry me now? Ryder. Yes, and don't be a damn fool. I know a woman better than you do. Whatever you did, you did for her sake — well that settles it — she seoi THE LION AND THE MOUSE. 85 the power she has. Do yon think she'll let it go now? Jefferson. She has higher instincts than ours Father, she doesn't love power. Ryder. All r:;^lit- -granted everything you say — she's human — isn't she, — well, she'll come around — they all do. Jefferson. But her father? Ryder. He'll be all right ■ (Enter Roberts d. r.) Roberts. I got your telephone message — ^they said that you were up her. (He sees Jefferson) Ryder. It's all right — ^he knows. Roberts. Ryder, it can't be done — we can't re- treat now — the Rossmore impeachment must go through-— — Ryder. (Roars) What ! Roberts. We -can't march up a hill and march down again. The JUnited States Senate is not the King of France. Rydeil Senator, you have read the morning papers — well — (Bus. with papers) They roasted me well— -they've accused me of crime in all the branches. Rossmore's friends have published his letters — Oh, it's lovely! (Up stage) Roberts. The Rossmore impeachment must go through. Ryder. No — The Senate must yield to public opinion. Roberts. But 1 have worked for it, how can 1 work against it now ? It can't be done. Jefferson. It nnct be done. Ryder. It will be done. If every Senator has to eat his own speeches. Roberts. I don't se e • ■ Ryder. Well, 1 do. We'll go together on a special train to Washington. Don't you see it wili 86 THE LION AND THE M0U3£. be doing the proper thing you know — yielding to pitbHc opinion and just think how easy it will make it for your brother's Erie Canal Proposition. Roberts. Um — I suppose it can be done. Ryder. I thought so {Enter Jorkins.) JoRKiNS. Senator Roberts, there's someone on the telephone for you. (Exits) Roberts. Oh, I'll bet it's something about Kate all right. (Exits d. r.) (As soon as Roberts exits, Jefferson comes dozvn stage.) Jefferson. Thank you. Father. (Shakes hands) Ryder. It's all right, my boy. But understand it's not for the man — it's for the girl. Jeff, I've had a hard niglit, not a wink of sleep. She said a few things to me, didn't she Jefferson. And you said a few things to me, Father. Ryder. I'm sorry. (Puts arm around Jeffer- son) Jefferson. Oh, that's all right. I'm afraid that she Ryder. No, don't be afraid — leave me alone for SL moment. (Jefferson goes to door) And — and • — be around — (Jefferson exits r. Ryder stands for a fe7v moments as if unable to move. Looks at D. r. after his son, then at check, which he still holds in his Jiand, then at d. l. ; finally to d. l., knocks un- certainly. There is no anszver — he knocks again) Shirley. (Off stage) Who is it? Ryder. (Firmly) I want — (Subsides with an effort — then mildly) Won't you come out for a moment, Miss — er — Rossmore? (With consider- THE LION AND THE MOUSE. 87 able effort — hesitates) I want to speak to you. I want a few words with you. Shirley. I have already told you that I could not see you, Mr. Ryder. Ryder. Yes, I know, but I want to see you very much — please come out. (Enter Shirley) Ah, that's a good girl. (Goes to c. as if ashamed of himself. Shirley comes out slowly. She has hat on and is putting on gloves. She is surprised at his tone — she looks at him quietly, waits for him to speak. Ryder holding out check) Why did you do this? Shirley. Because I didn't want your money. Ryder. It was yours, you earned it. Shirley. No, I came here hoping to influence you to help my father. The work I did was part of the plan, part of the scheme. It happened to fall in my way. I took it as a means to get your ear. Ryder. But it is yours, please take it. Shirley. No — I can't tell you how low I should fall in my own estimation if I took your money. (Contemptuously) Your money — Why it's all there is to you — it's your God. Shall I make your God my God — No — Mr. Ryder. Ryder. (Crosses r., sits) And so I contaminate even good money. Shirley. Money itself is either good or bad — (Crosses to R. c.) It's the spirit that gives it — the spirit that receives it. Money creates happi- ness, but it also creates misery. It destroys in- dividuals as it does nations — it has destroyed you for it has warped your soul. Ryder. No — I Shirley. I repeat it — money — the power it has given you has dried up the well springs of your heart. Maid. (Entering r.) Cab's at the door, Miss. (Exits) 88 THE LION AND THE MOUSE. Ryder. You won't need it. (Rises) I — I came here to tell you that I — (As if ashamed of himself) Ah, you've made it very hard for me to speak. (Shwly) I've seen Senator Roberts and I'm going to VVr. hington. Shifley. My father Ryder. It's all about your father. He'll not be impeached. The matter will be adjusted; you've beaten me. I acknowledge it, but you're the first living soul who has beaten John Ryder. Shirley. You mean that you are going to help my father? R\T)ER. Not for his sake — ^not for his sake • Shirley. Ah, the principles of the thing. Ryder. Never mind the principles — it's for vou. Shirley. {Shakes her head) And I haci no faith Ryder. (Pauses as if ashamed — crosses to R. c.) I'm going to Washington on behalf of your father because I — I want you to marry m}^ son. Yes, I want you in my family, close to me ; I want your respect, my girL I want your love. I want to earn it. I know I can't buy it There's a weak link in every man's chain and that's mine, I always want what I can't get. I can't get your love un* irss I cam it Oh, don't tell me I can, because I know I can't. (Sees ihat she is pensive and doesn't spjak) Why, you look aknost disappointed ; you've g-^i-ed your point, you've beaten me — ^your father is loing to be restored to you. You are going to tii-rry the man you love — ^is thrX the right time? (Locks at watch) i leave in fif.^n mmw v for W^ihington. Will you trust me to go alone, or will you go with me? Shirley. I trust you, but 111 go wi h yotL (Crosses to il) It's very good of you to allow me to win you over. Ryder. You won me over last night when you THE LION AND THE MOUSE. 89 put up that fight for your father — we*re not going alone. (Goes to door) Jeff — Jeff Shirley. He'll be the happiest man in the world — father — father — I wajit to laugh and I feel like crying (Enter Jefferson.) Jefferson. He has told you? (Crosses down to her c.) Shirley. Yes. (Enter Roberts. Everybody turns and looks at him. ) Roberts. Kate has gone off with Bagley. (Om- inously) Jeff, my boy Ryder. Oh, he'll get over it, won't you? (Roberts exits) Mind, we leave for Washington in ten minutes. (Exits r.) Shirley. We'll be there. Jefferson. Together ? Shirley. Together. CURTAIN, THE LION AND THE MOUSE. KEY TO GROUND PLAN OF ACT I. The pittinf?-room of a Loni? Island cottage. It Is neat, but plain and old fashioned. Ligh*; "wood-work, wall paper, etc. (Autumn — Afternoon) A— Returns. Al-Teaser (14 ft. Trim) B— Backing, 3' owing red brick wall, covered with vines. Bi— Backing, showing village street, etc. (This is a flipper to " B "J C- Wing 11 ft. high. D- Arch 8 ft. high. E— Bay Window, with ceDing-plece. etc. F— Jog 14 ft. high. G- Wing 14 ft. high. H— Jog 2 ft. wide, 14 ft. h!gh ; from one leg of arch " HI " HI- Arch 2u ft. wide, I'i ft. high. H2— Wing 6 ft. wide, 14 ft. high ; forming other leg of arch " HI * H3- H4. H.5- (See plan of ceiling) I- Wing 4 ft. -wide. 12 ft. high, J— Door. K— Platform 12 ft. high, (Entrances to be made under this) L— Stops to stage. M— Hall backing; set under platform "K". N— Angle-steps, at top of flight *' O ". O— Stops. P- Platform (Landing) 2 ft. high a— stops. R— Balustrade-posts, Rl- Balustrades. S— Balustrade-post and column ; extending from platform ''p" vxf to and supporting ceiling " Ht " See ceiling-plan. T— Balustrade-post, at top of steps *' O *'. ¥" i^% I'o /!' u-'^u- \ Painted same as set. V— Flat 18 ft high. S W— Wing 12 ft. high. 8 ft. wide. Wl— Casement window. (Not practical). X— Wing 14 ft high. 12 ft. wide. Y- Door. Z— • Dining-room backing. BB— Dark interior backing, CC— Door. DD— Fireplace backing. EE— Fireplace opening. FF— Br.cking, showing village street. (Slmllarto "B!"! GG- Ceiling, 14 ft. trim. 1 Chairs. 2 Armchairs, 3 Easy Chair, 4 Mantel. 5 Bookcase. 6 Stands 7 Table. 8 Settee. NOTE FOR CARPENTER: Moulding at top edge of pieces " W " and " J " and at same height on left part of flat " V" this mouldmg is also on bottom edge of the ceiling H4 " along the cut-out section. 9 Table. 10 Sofa. 11 Piano. 12 Piano stool. 33 Hatrack. 14 Window-seat 15 Tabaret. 16 Whatnot THE LION AMD THE MOUSE. 91 CD i a > Z o a 1^ ®\/ fe) C> ■5 — dS (? pj — I ?x- . " I I n^ ^ ® ^ s 92 THE LION AND THE MOUSE. ill P i. Al 'Olio 4- m ' • •-4 X IXS S I >D g ^ £ 1 1 , - -^ u to 1 :3ti > Q^ ^a m2 t K ' 9 QQ £ n 10 I z > Z.\A ir> 2i i: ;3W lU a: H > •-• i 'i' O JiJU 1 2:,^ -?{_> dof 3 Ul-< "^t. ^o aiQ THE LION AND THE MOUSE. 93 PROPERTY PLOT. Place: — New York. Period: — The present. ACT L (Sitting-room of a Long Island Cottage — Neat but plain and old-fashioned.) Ground cloth. Medallion. Rugs. Carpet on steps and platform up r. Portieres at window arch down r. Portieres at window up l. c. Scrim curtains at bay window do\vn R. Scrim curtains at window up l. c. Roller-shade (Dummy) at window up L. c. Mantel and fireplace down l. Square piano down r., obliqued, keyboard upstage. Piano-stool above and r. of piano. Hatrack in corner below door up r. Whatnot in upper l. corner. Table (marble-top) l. c. Small table up c, l. of stair-landing. Tabaret below small table. Stand back of settee up c. L. Stand R. of bookcase up l. Stand above window down r. Bookcase up l. Sofa below stairs up c, faces front. Settee in corner of stair-landing up c. h* Easy-chair at fireplace down L. Armchair l. of piano r. Armchair r. of table l. c. Chair l. of table l. c. Chair below window down r. Window-seat in window down R. 94 THE LION AND THE MOUSE. Bell-rope below door up l. PRACTICALLY con- nected to a tinkle-bell off l., attached to back of wing. Old-fashioned pictures on walls. Old-fashioned portraits (in oval frames) on walls. At Fireplace — Coal-grate. Fender, etc. On Mantel — Lambrequin. Ornaments. Vase with cheap flowers. Modern photos. Written letter. On Bookcase up l. — Old-fashioned clock (set at 3 : 30). Vase with cheap flowers. Four photos (modern) un framed. Law books and other books on shelves. On Piano — Large oil-lamp, with shade. Bowl, with cheap flowers. On Table l. of stair-landing — Large oil-lamp (with shade). On What-not — Ornaments. Sea-shells, curios, etc. On Stand back of settee up c. L. — Fern on holder. On Stand r. of bookcase — Books. Magazines. On Stand doWn r. — Large vase. On Tabaret up c. l. — Small palm in jardiniere. On Window-seat— 1 Sofa ^ Sofa pillows. Settee — J On Hat-rack — Two hats. Cane. Umbrella. On Table l. c. — Two law books. Two stock- broker's reports. Several legal documents. Pad of writing paper. Pencil. Matches in stand. Ash-tray. SIDE L. u. e. — Tinkle-bell (of different' tone to that at- tached to bell-cord). R. u E. — Carriage-wheel effect. R. 3 E. — Door slam. Traveling bag ; steamer rug in sb^wl strap (St^'^t) THE LION AND THE MOUSE. 95 R. 3 E. — Steamer trunk. Thirty-inch trunk. Hat-trunk (used for seat). HAND (Expressman) (All have seen use and have many foreign hotel and Rail road labels.) Deetle — Cards in black leather card-case. Miss Nesbitt — Hand-bag with four visiting cards, 4 large business cards, 6 small printed tickets, small note-book, small pencil. Jefferson — Cards in card-case; N. Y. paper with cut of woman in it. Shirley — Traveling bag. Stott— -Cigar ; matches ; 4 documents ; paper money 96 THE LION AND THE MOUSE. LIGHT PLOT. ACT L Bunch back of window down r. Red bunch back of window down R. (to go on at cue.) Bunch R. and l. of window up l. c. Red bunch r. and l. of window up l. c. (to go on at cue). Strip (3 — lamp) on platform off R. Strip (3 — lamp) over door up r. Strip (2 — lamp) over door up l. Strip (2 — lamp) over door l. 2. Coal-grate in fireplace l. (Not lighted). AT RISE Foots and ist Border full up. Red Foots and ist Border ^ up. it's too recent. (Shirley) READY truly first and only — (Shirley) GRADUALLY Lower white lights to J4» Raise red foots to full. Red Bunches on to fulL THE LION AND THE MOUSE. 97 98 THE LION AND THE MOUSE. PROPERTY PLOT. ACT IL (^Handsome Library — Carved Oak Furniture,) Floor cloth (painted as hard- wood parquet flooring). Small medallion under desk L., and obliqued to same angle as desk. Fur rug at fireplace r. Rug in front of doors c. Large rug back of doors c. Massive mantel and fireplace r. Tapestry portieres at window-arch L. Heavy lace curtains at bay window L, Large bookdase r. of doors c. Large bookcase l. of doors c. Cabinet (or cellaret) with door (key to this door to Bagley) above mantel. Stand below mantel. Table at l. end of bookcase r. c. (with lower shelf). Small table above window l. Large table desk (5 ft. long) down l. c, obliqued with line of left wall. This desk is massive and rich. Row of drawers above and below knee-hole, on l. side of desk. Key to 2nd drawer from top, down-stage, for Ryder. Short settee r. c. Easy-chair at fireplace. High-backed armchair L. of desk. Chair down l. Chair r. of desk. Chair r. end of bookcase r. c. Footstool below easy-chair. Davenport against backing of doors ^ THE LION AND THE MOUSE. 99 Stand R. of davenport. Stand L. of davenport. At Fireplace — Large andirons. Fender. Shovel, poker and tongs in stand. Gas-log, lighted. (Electrician) On Mantel — Two large low pieces of dark pottery. On Table up l. — Books, magazines. On Stand down r. — Handsome bust of " Na- POLEON ". On each Bookcase — Large bronze figure. Books (8 or 10 to be removed) on shelves. In Cabinet — Box of long black cigars (Practical). Other cigars and cigarette boxes. On Davenport — Sofa pillows. On Stands r. and l. of davenport — Palm in jardiniere. On Table up c. d. — Books, magazines. On Desk l. c. — Large brass mounted blotter-pad (on left side). Large double inkstand. Calen- dar in stand. Paper and envelopes in rack. Engagement pad. Scratch-pad. Blotters. Pens. Pencils. Paper-weights. Paper-knife. Pile of opened letters under weight. 2 Piles of folded documents. Draft of an Act of Congress. Matches in heavy brass combination holder and ashtray. Two New York Evening papers (on r. side). Two desk-phones at upper end. (Electrician). House-phone (Enghsh style) on lower end. (Electrician). Typewritten document with backing, on upper end of desk- pad. Well-bound novel on upper end, with 6 slips for book-marks at intervals between leaves. Small ornamental tap-bell. SIDE R. u. e. — ^Tin dispatch-box, with 10 letters, 4 written manuscripts, 8 documents. (Jorkins) Salver, visiting card. (Jorkins) too THE LION AND THE MOUSE. Mahogany tray with handles : — Silver pot filled with hot tea ; milk in silver creamer ; sugar and tongs in silver sugar-bowl ; shoes of lemon and lemon fork on small dish ; 6 five o'clock teacups, saucers and spoons. (Servant) HAND Roberts — New York Evening paper; matches in case. Bagley — Bunch of keys on ring and chain, with key to cabinet door ; list of names on writting-pad ; silver pencil ; visiting-card. Kate — Note, in opened envelope (Not mail). Mrs. Ryder — Typewritten letter on large note- paper, in square envelope opened, addressed to "Mr John B. Ryder, 1214 Fifth Ave., Manhattan (mail). Ryder — Bunch of keys on ring and chain, with key to dispatch-box used by Jorkins and key to laid drawer on down-stage side of desk. THE LION AND THE MOUSE. loi LIGHT PLOT. ACT n. Bunch back of stained-glass window up c. Red bunch back of stained-glass window up C. Bunch back of window down L. Red bunch back of window down Lo Long strip over double-doors c. Long red strip over double-doors c. Large fire-log in fireplace r. (Lighted) Amber and orange bunch in fireplace l. Dome chandelier hanging over desk l. (Not lighted in Act II). Two-arm bracket with dark shades above mantel. Two-arm bracket with dark shades below mantel. Two-arm bracket with dark shades up R. c. Two-arm bracket with dark shades up l. c. (Brackets not lighted in Act II.) Two desk telephones on upper end of desk L. House-phone (English style) on lower end of desk. Two sets of telephone-bells (of different tones) concealed in window L. to be rung from off stage). Buzzer concealed in desk L., to be rung from off stage. Button under lower L. edge of desk L., to ring buzzer off stage up r. Push-switch L. of doors c. AT RISE Foots and ist Border full up. Red Foots and ist Border full up. All Bunches and strips full up. deserves to be punished (Shirley) I02 THE LION AND THE MOUSE. READY. the one who did it (Ryder) Very gradually — Lower White lights to J^. PROPERTY PLOT. ACT HL (Same as Act H. Eight weeks later,) Strike — Tea things. Strike — Papers, etc., that were in dispatch-box. Stri KE — Dispatch-box. Slightly re-arrange articles on desk and the furniture. SIDE R. u. E. — Chairs and music stands. Piano and stool. HAND Stott — Three of the letters that were in dispatch- box in Act H. LIGHT PLOT ACT in. Blue bunch back of stained-glass window up c. Blue bunch back of window l. Other strips and bunches as in Act II. Brackets on. Dome chandelier on. Amber light in hall. Foots and ist Border J4 up. Red Foots and ist Border j^ up. THE LION AND THE MOUSE. 103 MUSIC CUES. ACT III. (Orchestra on stage, r. u. e. immediately after rise.) No. I. . . . . • (as soon as possible after rise) Waltz pp until telephone rings. the devil is this Bagley? (Roberts) Ready. No. 2 is the Rossmore case going? (Ryder) One Step pp until ril attend to Fitz presently. (Roberts) r, .... combat your father's will. (Shirley) Ready. No. 3 money-gods of the world. (Shirley) Waltz andante (pp) until curtain. 104 THE LION AND THE MOUSE. THE LION AND THE MOUSE. 105 PROPERTY PLOT. ACT IV. {Dainty and white boudoir — white or mahogany furniture. ) Ground cloth. Light medaUion, Rugs. Light rug back of door l. Dark rug back of door r. Portieres at window-arch R. Single portiere at door r. Single portiere at door l. Scrim curtains at bay-window R. Mantel and fireplace up l. c. Window-seat in window R., upholstered in same material as portieres. Book-case down l. Table-desk in window R. Table c. l. Console table down r. Tabaret l. of console-table. Tabaret below mantel L. Pedestal in corner up c. Easy-chair r. c. Arm-chair at fireplace. Small chair below desk R, Chair below door L. Stool L. of table c. l. Dressing-table against backing of door L. Pedestal above dressing table. Dainty, handsome pictures on walls. Pictures on backing over dressing table. At Fireplace — Brass andirons. Fender. Poker, shovel and tongs in stand. Two half -burnt logs. Ashes. io6 THE LION AND THE MOUSE. On Mantel — Clock. Ornaments. Two photos in silver frames. On Bookcase — Vase with faded flowers. Doors backed by curtain of same material as portieres. On Table c. — Books. On Console Table — Bowl of faded flowers. On Tabaret r. — Fern in holder. On Tabaret l. — Tall vase. On Pedestal up c. — Statuette. On Window-seat — Sofa pillows covered with same material as portieres. On Desk — Dainty desk-set, inkstand, etc. Note- paper and envelopes in rack. Pens. Paper- weight. Several books. lo mailed envelopes, open. Calendar in frame. Desk-lamp. (Electrician). On Dressing Table back of door l. — Lace cover. Toilet articles (for woman) ad lib. On Pedestal r. of dressing table — Vase of flowers, SIDE R. I E. — Tray: — Doiley; small china teapot, with hot tea; milk in creamer; sugar and tongs in sugar-bowl; cup; saucer and spoon; plate of small biscuit ; napkin. L. 2 E. — Clean chair for Shirley. HAND Ryder — Written check; watch and fob. Roberts — New York morning paper. THE LION AND THE MOUSE. 107 LIGHT PLOT. ACT IV. Blue bunch above and below window R. Red bunch above and below window r. (to go on at cue) White bunch above and below window R. (to go on cue) , Two small orange bulbs in ashes of fireplace. (On at rise — they gradually dim off towards end of Act) Strip (2 — lamp) over door l. Strip (2 — lamp) over door r. ( I — lamp on at rise — turn other lamp on after lights are up) Two-arm bracket, Light shades, below window R. Two-arm bracket, Light shades, below door L. (Not practical.) Small desk lamp on desk r. (Not practical). AT RISE Foots and ist Border % up. Blue Foots and ist Border J^ up. Blue Bunches full up. (immediately after rise) GRADUALLY— Bring White bunches up to 5^ then dim bhie bunches out and bring red bunches up to full; then white bunches up to full. minutes or two ahead of lights on stage. and 1st Border. Make the entire change in ten minutes. Keep the lights — change back of window a few At same time make corresponding changes in foots io8 THE LION AND THE MOUSE. DRESS PLOT. Place :— New York. Period : — The present. Act I. Autumn. Afternoon. Act n. Winter. Afternoon. Act in. Two months later. Night. Act IV. Dawn, the next morning. Ex- Judge Stott — (Age 55) Act I. Dark walking suit, hat, etc. Act II. Frock suit, etc. Judge Ross more — (Age 65) Black frock suit, felt hat, etc. Jefferson Ryder — (Age 24) Act I. Walking suit, hat, etc. Act II. Afternoon suit. Act III. Evening dress, white gloves, etc. Act IV. Sack suit. John Burkett Ryder — (Age 50) Act II. Frock suit. Act III. Evening dress. Act IV. Frock suit. Senator Roberts — (Age 60) Act II. Black frock coat, gray trousers, etc. Act III. Cutaway suit. Act IV. Same as Act III. Hon. Fitzroy Bagley — (Age 35) Afternoon frock suit. (Very English in style) Rev. Pontifex Deetle — (Age 45) Clerical coat, vest, collar, hat, etc. Black trousers, black gloves. JoRKiNS — (Age 50) Act II. Butler's costume. Dress coat, high-cut , THE LION AND THE MOUSE. 109 black vest, gray striped trousers, four-in-hand tie, etc. Act hi. Same as Act H except dress vest and black string tie. Act IV. Same as Act IIL Footman — Livery. Expressman — Rough trousers, boots, hat, shirt, etc. Shirley Ross more — (Age 22) Act I. Handsome traveling costume, coat, hat, gloves, etc. Act II. Neat walking suit; hat, gloves, etc. Act III. Handsome evening gown, gloves, etc. Act IV. Neat walking dress, hat, gloves, etc. Mrs. Ryder — (Age 42) Act II. Elaborate afternoon costume, hat, gloves, etc. Act III. Elaborate evening gown, gloves. Act IV. Handsome dressing-gown, slippers, etc., ( somewhat dishevelled ) . Kate Roberts — (Age 20) Act II. Handsome afternoon dress, hat, gloves, etc. Act hi. Handsome evening gown, gloves. Mrs. Rossmore — (Age 55) Handsome afternoon house dress. Miss Nesbitt — (Age 25) " Smart " walking dress ; hat, gloves, etc. (Considered "the thing" in a small Long Island village, but a bit belated in style). Miss Jane Beetle — (Age 40) Old-fashioned, plain black silk dress; lace collar with a cameo breast- pin ; hat, black silk " mits " ; black silk reticule, etc. EuDOXiA — (Age 30) Calico dress, long bib-apron. Maid — (Age 20) Maid's white uniform, cap, apron, etc. no THE LION AND THE MOUSE. COSTUMES PLOT. Mr. Beetle — Clergyman's coat, vest, trousers and hat. Footman — Dress coat with silver buttons; club Vest; trousers with narrow silver braid down the sides. CURTAIN CALLS. ACT I. 1st CALL — Shirley, Jefferson. 2nd CALL — Shirley, Jefferson. ACT n. 1st CALL — Those on at Curtain. 2nd CALL — Shirley, Jefferson, Ryder. 3rd CALL — Shirley, Jefferson. ACT in. 1st CALL — Jefferson and Ryder. 2nd CALL — Shirley, Jefferson, Ryder. 3rd CALL — Shirley, Jefferson, Ryder. ACT IV. Shirley, Jefferson, Ryder. The Return of Hi Jinks A comedy in four acts, by Marion Short, author of "The Varsity Coach," "The Touch-Down," etc. 6 males, 8 females. Costumes modern. One interior scene. This comedy is founded upon and elaborated from a farce comedy in two acts written by J. H. Horta, and originally produced at Tuft's College. Hiram Poynter Jinks, a Junior in Hoosic College (Willie Collier type), and a young moving picture actress (Mary Pickford type), are the leading characters in this lively, modern farce. Thomas Hodge, a Senior, envious of the popularity of Jinks, wishes to think up a scheme to throw ridicule upon him during a visit of the Hoosic Glee Club to Jinks's home town. Jinks has obligingly acted as a one-day substitute in a moving picture play, in which there is a fire scene, and this gives H9dge his cue. He sends what seems to be a bona fide account of Jink's heroism at a Hoasic fire to Jink's home paper. Instead of repudiating his laurels as expected, Jinks decides to take a flyer in fame, confirms the fake story, confesses to being a hero and is adored) by all the girls, to the chagrin and dis-. •omfiture of Hodge. Of course, the truth comes out at last, but Jinks is not hurt thereby, and his romance with Mimi Mayflower comes to a successful termination. This is a great comedy for amateurs. It is full of funny situations and is sure to please. Price, 30 Cents. J une A most successful comedy-drama in four acts, by Marie Doran, author of "The New Co-Ed," "Tempest and Sunshine," "Dorothy's Neighbors," etc. 4 males, 8 females. One interior scene. Costumes modern. Plays 2J4 hours. This play has a very interesting group of young people. June is an appealing little figure, an orphan living with her aunt. There are a number of delightful, life-like characters: the sorely tried likeable Mrs. Hopkins, the amusing, haughty Miss Banks of the glove depart- ment, the lively Tilly and Milly, who work in the store, and ambitious Snoozer; Mrs. Hopkins's only son, who aspires to be President of the United States, but finds his real sphere is running the local trolley car. The play is simplicity itself in the telling of an every-day story, and the scenic requirements call for only one set, a room in the boarding house of Mrs. Hopkins, while an opportunity is afforded ta introduce any number of extra characters. Musical numbers may be introduced, if desired. Price, 30 Cents. Tempest and Sunshine A comedy drama in four acts, by Marie Doran. 5 males and 3 females. One exterior and three interior scenes. Plays about 2 hours. Every school girl has revelled in the sweet simplicity and gentle- ness of the characters interwoven in the charms that Mary J. Holmes commands in her story of "Tempest and Sunshine." We can strongly recommend this play as one of the best plays for high school pro- duction published in recent years. Price, 30 Cents. (The Above Are Subject to Royalty When Produced) SAMUEL FRENCH, 28-30 West 38th Street, New York City Hew and Explicit Descriptive Catalogue Mailed Free en Request p The Touch-Down A comedy in four acts, by Marion Short. 8 males, 6 females^ tut any number of characters can be introduced in the ensembles. Cos* tumes modern. One interior scene throughout the play. Time, 2}^ hours. This play, written for the use of clever amateurs, is the story ©f life in Siddell, a Pennsylvania co-educational college. It deals with the vicissitudes and final triumph of the Siddell Football Eleven, and the humorous and dramatic incidents connected therewith. "The Touch-Down" has the true varsity atmosphere, college song's are sung, and the piece is lively and entertaining throughout. High schools will make no mistake in producing this play. We strongly recommend it as a high-class and well-written comedy. Price, 30 Cents. Hurry^ Huny^ Hurry A comedy in three acts, by LeRoy Arnold. 5 males, 4 females. One interior scene. Costumes modern. Plays 2J4 hours. The story is based on the will of an eccentric aunt. It stipulates that her pretty niece must be affianced before she is twenty-one, and married to her fiance within a year, if she is to get her spinster relative's million. Father has nice notions of honor and fails to tell daughter about the will, so that she may make her choice untram- meled by any other consideration than that of true love. The action all takes place in the evening the midnight of which will see her reach twenty-one. Time is therefore short, and it is hurry, hurry, hurry, if she is to become engaged and thus save her father from impending bankruptcy. The situations are intrinsically funny and the dialog;ue is sprightly. The characters are natural and unaffected and the action moves with a snap such as should be expected from its title. Price, 30 Cents. The Varsity Coach A three-act play of college life, by Marion Short, specially adapted to performance by amateurs or high school students. 5 males 6 females, but any number of boys and girls may be introduced in the action of the play. Two settings necessary, a college boy's room and the university campus. Time, about 2 hours. Like many another college boy, "Bob" Selby, an all-round popular cdllege man, becomes possessed of the idea that athletic prowess is more to be desired than scholarship. He is surprised in the midst of a "spread" in his room in Regatta week by a visit from his aunt who is putting him through college. Aunt Serena, "a lady of the old school and the dearest little woman in the whole world," has hastened to make this visit to her adored nephew under the mistaken impression that he is about to receive the Fellowes prize for scholarship. Her grief and chagrin when she learns that instead of the prize Robert has received "a pink card," which is equivalent to suspension for peer scholarship, gives a touch of pathos to an otherwise jolly comedy of college life. How the repentant Robert more than redeems himself, carries off honors at the last, and in the end wins Ruth, the faithful little sweetheart of the "Prom" and the classroom, makes a story of dramatic interest and brings out very clearly certain phases of modern college life. There are several opportunities for the introduction of college songs and "stunts." Price, 30 Cents. ^ (The Above Are Subject to Royalty When Produced) \ \ SAMUEL FRENCH, 28-30 We^t 38th Street, New York City I New and Exoiicit Oiscrigtive Catalogue Mailed Free oo Reouest y RD 41 ; BILLETED. A comedy in 3 acts, by F. Tennison Jesse and H. Harwood. 4 males, 5 females. One easy interior scene. A charming comedy, constructed with uncommon skill, and abounds with clever lines. Margaret Anglin's btg success. Amateurs will find this comedy easy to produce and popular with all audiences. Price, 60 Cents. NOTHING BUT THE TRUTH. A comedy in 3 acts. By James Montgomery. 5 males, 6 fema!es. Cos- tumes, modern. Two interior scenes. Plays 2^^ hours. Is it possible to tell the absolute truth— even for twenty-four hours? It ie— It least Bob Bennett, the hero of "Nothing But the Truth," accomplished th« feat. The bet he made with his business partners, and the trouble he got into — with his partners, his friends, and his fiancee — this is the subject of William Collier's tremendous comedy hit. "Nothing But the Truth" can be whole-heartedly recommended as one of the most sprightly, amusing and popular comedies that ftis country can boast. Price, 60 Cent«. IN WALKED JIMMY. A comedy in 4 acts, by Minnie Z. Jaffa. 10 males, 2 females (although any number of males and females may be used as clerks, etc.) Two interior scenes. Costumes, modern. Plays 2^ hours. The thing into which Jimmy walked was a broken-down shoe factory, when the clerks had all been fired, and when the proprietor was in serious contemplation »f suicide. Jimmy, nothing else but plain Jimmy, would have been a mysterious figure bad it not been for his matter-of-fact manner, his smil« and his everlasting humanness. He put the shoe business on its feet, won the heart of the gifl slerk, saved her erring brother from jail, escaped that place as a permanent boarding house himself, and foiled the villain. Clean, wholesome comedy with j«8t a touch of human nature, just a dasfa •i Mccitement and more than a little bit of true philosophy make "In Walked Jimmy" one of the most delightful of plays. Jimmy is full of the religion of life, the religion of happiness and the religion of helpfulness, and he so permeates the atmosphere with his "religion" that everyone is happy. The spirit of optimism, oood cheer, and hearty laughter dominates the play. There is not a dull moment u any of the four acts. We strongly recommend it. Price, 60 Cents. MARTHA BY-THE-DAY. An optimistic comedy in three acts, by Julie M. Lippmann, author oi the "Martha" stories. 5 males, 5 females. Three interior scenes. Cos- tumes modern. Plays 354 hours. It is altogether a gentle thing, this play. It is full of quaint humor, c«4- fashioned, homely sentiment, the kind that people who see the play will reoaN and chuckle over tomorrow and the next day. Miss Lippmann has herself adapted her very successful book for stage service, and in doing this has selected from hei novel the most telling incidents, infectiova comedy and homely sentiment for the play, and the result is thoroughly delightftd. Price, 60 Cents. (The Above Are Subjact to Royalty Wlien Produced) f'AMUEL FRENCH, «8-30 We*t 38th Street, New York City New and Explicit DescriptiTe Catalogue M'aied Free on Request FRENCH'S Standard Library Edition Clyde Fitch William Gillette Augustus Thomas George Broadhurst Edward E. Kidder Percy Mac Kay e Sir Arthur Conan Doyle Louis N. Parker R. C. Carton Alfred Sutro Richard Harding Davis Sir Arthur W. Pinero Anthony Hope Oscar Wilde Haddon Chambers Jerome K. Jerome Cosmo Gordon Lennox H. V. Esmond Mark Swan Grace L. Furniss Marguerite Merrington Hermann Sudermann Rida Johnson Young Arthur Law Rachel Crothers Martha Morton H. A. Du Souchet W. W. Jacobs Madeleine Lucette Rylcy Includes Plays by Booth Tarkington J. Hartley Manners James Forbes James Montgomery Wm. C. de MUle Roi Cooper Megrue Edward E. Rose Israel Zangwill Henry Bernstein Harold Brighouse Channing Pollock s Harry Durant Winchell Smith Margaret Mayo Edward Peple A. E. W. Mason Charles Klein Henry Arthur Jones A. E. Thomas Fred. Ballard Cyril Harcourt Carlisle Moore Ernest Denny Laurence Housman Harry James Smith Edgar Selwyn Augustin McHugh Robert Housum Charles Kenyon C. M. S. McLellan French's International Copyrighted Edition con- tains plays, comedies and farces of international reputation; also recent professional successes by famous American and English Authors. Send a four-cent stamp for our new catalogue describing thousands of plays. SAMUEL FRENCH Oldest Play Publishfi: in the World 28-30 West 38th Street, NEW YORK CITY LIBRARY OF CONGRESS 015 973 870 A