xt7g7940sd74 https://exploreuk.uky.edu/dips/xt7g7940sd74/data/mets.xml Baker, George Pierce, 1866-1935. 19261922 books b92-170-30117221 English Brentanos, : New York : Contact the Special Collections Research Center for information regarding rights and use of this collection. American drama 20th century.Manley, William Ford. Crowsnest. Kister, Mark Alexis. Hard heart. Bray, Louise Whitefield. Mis' Mercy. Ketchum, Arthur. Other one. Plays of the 47 workshop : third series / George PIerce Baker. text Plays of the 47 workshop : third series / George PIerce Baker. 1926 2002 true xt7g7940sd74 section xt7g7940sd74
THE HARVARD PLAYS
A Collection of One Act Plays
SELECTED AND EDITED BY PROF. GEORGE P. BAKER
Vol. 1. Plays of the 47 Workshop, 1st Series
THREE PILLS IN A BOTTLE, by Rachel L. Field.
A fantasy, including a dance, for 4 men, S women, I child; 35
minutes.
THE GOOD MEN DO, by Hubert Osborne.
A drama on Shakespeare's death, costume, for 3 men, 3
women; 30 minutes.
TWO CROOKS AND A LADY, by Eugene Pillot.
An exciting crook play, for S men, 3 women; 20 minutes.
FREE SPEECH, by W.. Prosser.
An amusing satire, for 7 men; 20 minutes.
Vol. II. Plays of the Harvard Dramatic Club,
Ist Series
THE FLORIST SHOP, by Winifred Ilawkridge.
A comedy, for S men, 2 women; 45 minutes.
THE BANK ACCOUNT, by Howard Brock.
A drama of modern life, for I man, 2 women; 25 minutes.
THE RESCUE, by Rita C. Smith.
A drama of New England life, for 3 women; 40 minutes.
AMERICA PASSES BY, by Kenneth Andrews.
A pathetic comedy, for 2 men, 2 women; 30 minutes.
Vol. 111. Plays of the Harvard Club, 2nd Series
GARAFELIA'S HUSBAND, by Esther W. Bates.
A drama of New England life, for 4 men, I woman; 30 minutes.
THE FOUR-FLUSHERS, by Cleves Kinkead.
A satirical farce, for 3 men. 2 women; 30 minutes.
THE HARBOR OF LOST SHIPS, by Louise W. Bray.
A tragedy of Fisherfolk, for 2 men, 1 woman, I boy; 25 minutes.
SCALES AND THE SWORD, by Farnham Bishop.
An exciting drama of social justice, for 6 men, I woman, 1 boy,
refugees and militiamen; 25 minutes.
Vol. IV. Plays of the 47 Workshop, 2nd Series
THE PLAYROOM, by Doris Halman.
A touching fantasy, for 2 men, 2 women, 2 children; 30
minutes.
THE FLITCH OF BACON, by Eleanor Hinkley.
A livelv comedy, costume, for 5 men, I woman; 20 minutes.
COOKS AND CARDINALS, by Norman C. Lindau.
A farce-comedy, for 3 men, 2 women; 25 minutes.
TORCHES, by Kenneth Raisbeck.
A tragedy, costume, for 2 men, 2 women; 1 hour.
Vol. V. Plays of the 47 Workshop, 3rd Series
THE CROWSNEST, by Wim. F. Manley.
A war play for S men; 15 minutes.
THE HARD HEART, by M. A. Kister, Jr.
Tragedy for 6 men, 2 women, I child; 25 minutes.
MIS' MERCY, by Louise Whitefield Bray.
Drama of the sea for 2 men, 2 women, 1 youth; 20 minutes.
THE OTHER ONE, by Arthur Ketchum.
Hobo drama for S men; 20 minutes.
Vol. VI. Plays of the 47 Workshop, 4th Series
THE STRONGEST MAN, by Elizabeth Higgins Sullivan.
A tragedy for S men, 2 women, 1 boy; 35 minutes.
THE SLUMP, by Frederic Lansing Day.
A tragedy for 2 men, 1 woman; 25 minutes.
THE MOURNER, by James Mahoney.
A sprightly comedy for S men, 1 woman; 25 minutes.
BROTHERHOOD, by William H. Wells.
A drama for 9 men; 20 minutes
PUBLISHED BY BRENTANO'S, NEW YORK
I
PLAYS OF THE
47 WORKSHOP
THIRD SERIES
THE CROWSNEST
By Wm. F. MANLEY
THE HARD HEART
By M. A. KiSTER, JR.
MIS' MERCY
By LOUISE WHITEFIELD BRAY
THE OTHER ONE
By ARTHUR KETCHUM
NEW. YORK
BRENTANO'S
1926
PUBLISHED JUNE, 19it
SECOND PRINTING, NOVEMBER, 19"
MANUFACTURED IN THE UNITED STATES OF AMERICA
Attention is called to the penalties provided by law for any
infringements of the dramatist's rights, as follows:
"Sec. 4966: - Any person publicly performing or representing
any dramatic or musical composition for which copyright has
been obtained, without the consent of the proprietor of said
dramatic or musical composition, or his heirs and assigns, shall
be liable for damages therefor, such damages in all cases to be
assessed at such sum, not less than one hundred dollars for the
first and fifty dollars for every subsequent performance, as to
the court shall appear to be just. If the unlawful performance
and representation be wilful and for profit, such person or persons
shall be guilty of a misdemeanor, and upon conviction be im-
prisoned for a period not exceeding one year." - U. S. Revised
Statutes, Title 60, Chap. 3.
This page in the original text is blank.
PREFACE
THE four plays in this volume are all genuine
products of the 47 Workshop, that is, written by
men or women who have been members of the
courses in playwriting. Produced at regular per-
formances before 47 Workshop audiences, they
have been corrected in accordance with their
criticisms. At first sight, The Crowsnest and The
Other One may seem difficult to produce; but
nothing is asked for in the way of setting and
lighting these plays which has not been found
possible with the very limiting conditions at
Agassiz House, Radcliffe College, where the
Workshop plays are given. The stage on which
they were originally given is only twelve feet deep
by twenty feet wide. Even this twenty nar-
rows steadily towards the back to fourteen feet.
On this stage it is quite impossible to raise the
scenery out of sight above the proscenium arch;
and the lighting board is very simple. Given a
dimmer, all the desired effects in The Crowsnest
or The Other One may easily be gained on a stage
quite inadequate as compared with the profes-
sional stage.
The plays included were chosen from a large
number because they were specially liked by the
vii ]
PREFACE
audiences before which they have been given.
Heretofore, the volumes of one-act plays issued
have, in the main, aimed at requiring very simple
settings. It is hoped that this volume will meet
the need of two kinds of organizations: those
which depend chiefly on the acting for the results
gained; and also those which are quite as in-
terested in lighting and scenery. Of course, Mis'
Mercy and The Hard Heart are more difficult
than either of the others, for, depending little oIi
lighting or setting, they must stand or fall on the
acting given them. The Hard Heart has been
printed because it thoroughly justified the belief
of those who chose it for production that in spite
of its unusual method of exposition, it would be
clear and would convey to an audience exactly
the emotions intended.
It may seem wise, perhaps, to repeat here a
statement made in the second series of 47 Work-
shop plays as to the attitude of the 47 Workshop
and its authors toward performances of its plays:
"The growing number of presentations of such
plays in settlement houses, schools and colleges,
and experimental theatres is very encouraging,
but a word must be said in protection of the
authors. The chief reason why there has been in
this country a larger number of really good one-
act plays in the last few years is this: they could
be written with some justifiable anticipation that
they would be played repeatedly and bring in a
small royalty each time. Few people, least of all
young dramatists, can afford to write even one-act
[ viii ]
PREFACE
plays for free performances by anyone who cares
to use them. There is, however, a curious feeling
in many minds that because the one-act play is
short, it cannot have cost much labor, and that
its author should be glad to have it given as may
be desired without recompense. Though the 47
Workshop is always ready to consider special
reasons why the usual small royalties required for
presentation of the plays printed for it and The
Harvard Dramatic Club should be remitted, it has
found it necessary in almost every instance to
insist on the regular fee. Only in that way can it
insure a succession of other short plays likely to
be as satisfactory to its public as the plays
already published. This statement may, perhaps,
save misunderstanding and disappointment in the
future."
The 47 Workshop is much interested in the
performances of its one-act plays given increas-
ingly throughout the country. It welcomes in-
quiries as to details of the original productions,
and also comments as to the merits and demerits
of the plays. Indeed, it would welcome any sug-
gestions from people using its plays as to the kinds
which they need. It cannot promise to make
an effort to have' the desired pieces written, but it
will make up any future volumes with such sug-
gestions in mind.
GEORGE P. BAKER.
[ ix ]
This page in the original text is blank.
THE CROWSNEST
BY
WILLIAM F. MANLEY
This page in the original text is blank.
THE CROWSNEST
The setting for The Crowsne8t, though seemingly com-
plicated, was really cheap and easy to construct.
Two effeccs are of special importance for this play;
first, an illusion of space not only in an expanse of night
sky, but in the height of the crowsnest from the deck of the
old hooker; second, a feeling of mystery to conform to
the mood of the play. As the 47 Workshop stage is very
small-the proscenium opening being a scant twenty by
eleven feet-it was necessary to gain these effects under
difficulties.
The units indispensable for action are: a crowsnest large
enough to hold three people; the mast of a ship; two rope
ladders; a spar of sufficient strength to bear the weight of
the Kid; a ship's lantern; and a sky backing or cyclorama
of some sort. For the mast, two ordinary wood columns,
obtained from a planing mill, eight feet long and nine inches
in diameter, were used. When these were bolted together
side by side, they made a very substantial lower section of
the mast. As all the strain and action of the play was on
and below the spar, which was placed on top of this eight-
foot section, the remainder of the mast was a framework
of light wood, tapering toward the top, over which canvas
was stretched. This section was notched half way through
at the bottom and upward for a distance of eighteen inches
so that it would fit on the lower section of the mast and
give the impression of the two sections spliced together.
Two light iron bands held the sections in place. The spar
was made from a ten-foot, four-by-six-inch piece of ash,
rounded and tapered to the ends. At the center it was
bolted to the top of the lower section of the mast. Ropes
attached to either end of the spar and guyed to rings at
the base of the mast warranted its not tipping when the
Kid's weight was thrown on one end. A two-foot iron
railing of three-quarter-inch pipe extended around three
sides of the crowsnest-the back unprotected-to the
[I1 ]
THE CROWSNEST
rope ladder which, stretched taut, reached on the left from
the intersection of the spar with the mast to the three-foot
platform at the base of the mast to which it was bolted.
Although the crowsnest was but three feet off the floor, an
effect of great height was gained in two ways: first, by
setting the mast almost against the proscenium arch so
that the crowsnest seemed to overhang the audience;
second, by introducing, a foot beneath the crowsnest,
another spar, seventeen feet long, to which a sail was
reefed, very tight at the ends but bulging out in folds
to the stage floor near the center. Behind the sail the char-
acters lay concealed until time for their entrance. Then
by grasping the lower rungs of the rope ladder and slowly
dragging themselves up a rung at a time, with their entire
momentum coming from the pull on their arms, the effect
was the same as if they had climbed up through a trap
door in the stage. A second and narrower rope ladder,
five feet to the right of the mast and six feet up stage, ex-
tended from the floor, at a slight angle with the mast, out
of sight into the flies. This was used by the Kid in getting
to the spar. The few guy ropes used to help steady the
mast and crowsnest against the strain became, by equip-
ping part of them with fake pulleys, part of the rigging of
the ship. The mast and spars were painted in blues and
weather-beaten grays, little of which could be discerned
except around the lantern. The sail was of dark smudged
cloth, very old and tattered.
For a background a cyclorama was used that reached in
a prolonged curve from one edge of the proscenium arch
to the other, extending not more than twelve feet beyond
the arch at the deepest point. This was lighted dimly in
deep midnight blue and gave the illusion of limitless space.
A box light on the floor behind the mast and directed up-
ward produced this effect. This arrangement prevented
any light from striking the floor or any shadows from the
rigging on the sky. As all light was directed on the sky,
the entire outline of mast, spars, and crowsnest was in
silhouette except where a ship's lantern against the mast
threw a dull glow over the crowsnest. A small 'amber spot-
light, concealed overhead and directed downward, served to
light the characters, faces and seemingly came from a
natural source,-the lantern.
When Peturson put out the lantern, the spotlight also
went out and the following scene between him and the Kid
was strikingly played in silhouette against the sky. The
[ 2,]
THE CROWSNEST
winking of the signal light in the distance was obtained
with a pocket flashlight, pressed against the cyclorama
from behind so that it showed through faintly, as from a
distance. Later, when Jo-,Jo was thrown into the sea, all
the lights went off just as he was about to go over the rail.
His cry, the splash, and the " Ah " from the deck below,
came out of total darkness. This not only simplified mat-
ters greatly, but strongly appealed to the imagination of
the audience. For the effect of dawn, the first border was
brought on so slowly and kept so dim that the scene ap-
peared to be in a thick misty fog.
ROLLA L. WAYNE.
De8igner of the Setting Used
by The 47 Workshop.
[ 3 ]
CHARACTERS
THE GREENHORN KID
JO-JO, COCKNEY A. B.
MR. PETURSON, THE MATE
Copyright, 1921, by Wm. Manley. Permission for
amateur or professional performances of any kind must
first be obtained from The 47 Workshop, Harvard College,
Cambridge, Mass. Moving Pictures rights reserved.
THE CROWSNEST
SCENE: The old hooker Jessamine, beating her
way down the South American coast. Only the
mast shows against the background of sky and
sea. Stars gleam beyond the masthead, deep
glowing and warm. Against the sky the crows-
nest shows boldly. It is inclosed by dark canvas,
torn and weather-beaten. From it a ladder of
rope leads to the deck. Just above the mast there
is a spar, and from its end another ladder leads
down to the deck. Stage in semi-darkness.
CURTAIN: Discovered, two men in the crows-
nest. Two bells sound as the curtain rises.
Jo-Jo [shaking his companion who leans
against the mast] Hi! Wike up. This ain't a
bloomin' bunk.
KID [in a surly voice] I'm not asleep.
Jo-Jo. Then 'old yer 'ead up.
[A moment's silence and the Kid yawns.]
KID. Ain't it almost time to go below
Jo-Jo. If yer'd keep yer silly ears open yer'd
know what time it was! [He scratches a match
and lights his pipe. His plug falls to the floor
of the nest and he takes down the lantern that
ha'ng on the mast to recover it] Yer'll never
[ 5 ]
THE CROWSNEST
learn ter be a sailor if yer don't keep yer ears
open.
KID [rebelliously] I don't want to be a sailor.
Jo-Jo. Tired of it already, are yer An' on
yer first cruise! Well - so was I, twenty years
ago: I'm still 'ere.
KID. Don't you eier get sick of it
Jo-Jo [mimicking him] Aye, I gets sick of it.
[in his natural voice] Specially when they sticks
me up 'ere with a blinkin' little 'alf baked swab,
what don't even know 'ow ter wash a deck proper!
KID. Yea, that's all I do - wash decks! And
freeze up here all night. B-r-r-r! Say Jo, why do
they need two guys up here
Jo-Jo. Thought yer liked ter stand watch
Yer begged the Mite ter let yer come with me the
first time.
KID. Well, it was all right -at first. But
now it's always the same. Everything's the same
on this old hooker - except the grub! That gets
worse every day.
Jo-Jo. Yer'd better go 'ome an' run a bloomin'
bootcher shop!
KID. Why, we haven't seen a whale - or even
an iceberg. It's just like working on shore -
only you got no place to go, and you sleep in a
dirty hole with a pack of swine!
Jo-Jo. I notice they washes their face about
as often as you do, me lad.
KID -[breaking in on him] Say -
Jo-Jo. Well -
KID. Say! What 'ud they do if I give 'em the
[ 6 ]
THE CROWSNEST
slip! Beat it when we come to port, and didn't
come back again!
Jo-Jo. Well, now, I guess they'd tike the ship
'ome just the sime.
[A pause and Jo-Jo adds banteringly]
What would you do all alone in a blinkin' South
American port Join the army, ehl
KID [eagerly] D'you think they'd take me
Jo-Jo [after a hearty chuckle] Tike yer
Sure they'd tike yer! Always lookin' fer brave
young bloods, they are. Why - when I was yer
age I was a-general.
KID. A general! You!
Jo-Jo. Well, I had ter be a colonel first. Why,
I was president of their blighted country, till their
bloody revolution went to pieces - then I slid out
o' the country 'id in a box o' bananas!
KID. When you were my age, Jo-Jo! Say-
say, how many revolutions you been in
Jo-Jo. Oh, a dozen or more, me lad.
KID [sighing] Gee! If I could do something
like that I'd stay at sea. I wouldn't mind the
work, if only there was a little excitement!
Jo-Jo. You follows the sea long enough, me
lad, an' yer'll get all the excitement yer wants!
KIn. Yes, but not on this old hooker! It's the
last time I'll ever sign up on a tramp fruit ship.
Jo-Jo ['mysteriously] Fruit ship, yer said, lad
KID. Well, ain't she a fruit ship
Jo-Jo [piling on the mystery] Ah!
KID. What do you mean
Jo-Jo. Ah! That's the question.
[ 7 ]
THE CROWSNEST
KID. I guess I ought to know! I handled
crates of bananas down in the hold till I could
hardly stand up.
Jo-Jo. It's a big 'old, Sonny, an' you didn't
'andle every crate what went into it.
KID. Huh
Jo-Jo. A big 'old, Sonny-a big 'old.
What's more-there's room fer more than ba-
nanas. Boxes, maybe-'id underneath: long
boxes; 'eavy ones!
KID. Rifles!
Jo-Jo. Shush!
KID. Rifles-and ammunition!
Jo-Jo. Shut up, will yer! D'yer want us ter
'ave our bloody 'eads bashed in
KID [breathless] Who are they for
Jo-Jo. What was that yer said Did yer
'ighness h'address a question ter me
KID [shaking him] Who are thev for, Jo!
Jo-Jo [in a deep voice] Ever 'ear of a revolu-
tion! Rifle runnin'! Yer'll 'ang 'igher than that
rope if yer caught!
KID. When do we land
Jo-Jo. Not in the daytime - yer can make up
mind ter that!
KID. Tonight, then!
Jo-Jo. Aye, tonight!
KID. Gosh!
Jo-Jo. Aye, an' fer a damn good reason!
Bananas in the 'old: very valuable fruit down 'ere
-an' the sunlight spoils 'em.
KID [very wise] Oh, it's not that, Jo.
[ 8 ]
THE CROWSNEST
Jo-Jo. Or maybe - maybe there's a blinkin'
cruiser waitin' at the mouth o' the 'arbor: Wait-
in' ter tike 'em off fer breakfast!
KID. How do you know all this
Jo-Jo. Aye, 'ow does I know all this -that's
the question.
KID [springing to the side of the nest] Look,
Jo! Is it -the cruiser!
Jo-Jo. What are yer talkin' about Who
said anythin' about a cruiser
KID. The light - the light out there!
Jo-Jo. That's the coast: shore-lights, sonny!
KID. Gee! I bet it is the cruiser! Do you
think they'll see us
Jo-Jo. They'll 'ear us if yer don't keep yer
trap closed!
KID [delightedly] We're in real danger now,
ain't we, Jo
Jo-Jo [yawning] Aw, shut up. I'm sick o'
'earin' yer gabble.
KID. I bet there'll be shooting!
Jo-Jo. Shut up, shut up, or I'll slap yer face.
[He looks towards shore and says fervently] I
wishes I was ashore, with a tidy bottle o' rum
at me elbow, 'earin' some gal 'it at a bloomin'
tambourine-that's what I wish.
KID [one sinner to another] Say, Jo! Swede's
got a bottle o' rum hid down in his sea-chest.
Let's pinch it. I'm dry as hell!
Jo-Jo. You! Gawd-listen to 'im talk.
KID. It'll kinda-help us to keep our nerve
up, Jo!
[9]
THE CROWSNEST
Jo-Jo [moving towards the ladder] Well, well
-bless 'is little 'eart!
KID. Lemme go for it, Jo!
Jo-Jo. Take yer 'ands off me: don't yer think
I can steal me own liquor
KID [slumping against the rail] Aw, you never
will let me do nothing!
Jo-Jo. [on the ladder] 'Old yer 'ead up, me
precious an' don't go to sleep, an' I'll bring
yer a thimbleful, maybe.
KID. Aw, shut up!
Jo-Jo [on the ladder out of sight] Yer all alone
now, so don't let 'er run on no bloomin' reefs.
Don't let the cruiser catch us, captain! [His
laughter is heard as he goes down.]
KID - [his head slumped down on to his arms]
Aw, go to hell!
The Kid looks out to sea, then emits a dis-
illusioned grunt. He yawns, stretches and set-
tles himself against the rail. His head droops
lower and lower. The stage goes gradually
darker. The light of the sky changes from grey-
blue to a deep turquoise. From the sea a light
blinks, then blinks four times, rapidly. The Kid
straightens up and notices the light. Once more
it blinks; once, followed by four quick dashes:
- - - -. The Kid springs to the side of the nest
and whispers " Jo-Jo! " several times The ladder
sways and bangs against the nest. Someone is
coming aloft. A man enters the nest. It is not
Jo-Jo.
[ 10 ]
THE CROWSNEST
MATE [speaking with a Swedish accent]
Where's Cho
KID. He's sick; he's gone below.
MATE. Sick, oh [fiercely] Douse thad light!
KID [hurriedly] Yes, sir! [He takes down the
masthead light and as he does so he involuntarily
swings it.]
MATE. Quid thad! [He grasps the light and
cautiously blows it out, shielding it with his coat.]
Haf you been fooling wid thad light
KID. I haven't touched it, sir. Is anything
wrong
MATE. Dere's dirty work aboard!
KID. P'raps the light was swinging with the
roll of the ship, or maybe - someone on the ladder
underneath the crowsnest, sir. We couldn't a
seen 'em from here.
MATE [grabbing him] Don't lie to me!
KID. I'm not lying, Mr. Peturson!
MATE. How long haf you been up here alone
KID. Not more'n a minute, sir. I wonder you
didn't pass him on deck.
MATE. See here! You sure he went down the
mast ladder
KID. There ain't no other way, sir.
MATE [pointing] How about thad ladder ub
dare
KID. But I saw him go down, sir.
MATE. Sick, eh
KID. Yes, sir.
MATE. If he was sick why didn't he come to
the pridge and let me know he was going pelow!
[ 11 ]
THE CROWSNEST
KID. He was coming right baok, just as soon
as he got a bit of a drink.
MATE [laying hold of the Kid] You see thad
wader down dare How'd you like me to drob
you right into some shark's pelly!
KID [crying out in pain] Leggo! You're hurt-
ing me!
MATE. We're ten miles from shore. If you're
lying to me you'll swim in, see!
KID. I'm not lying sir - so help me God I'm
not!
MATE. Then why did you tell me Cho went pe-
low for a drink I just looked into the fo'castle.
He wasn't dare!
KID [stubbornly] He told me he was going
below for a drink.
MATE. Sick, eh
KID. No sir. I just told you that 'cause I
was afraid you wouldn't like his leaving watch.
MATE [sneering at him] Bud you kep preddy
good watch yourself
KID. I wasn't alone for more'n a minute.
MATE. Don't dry to hide anything from me,
sonny! I heard you whisbering down thad
ladder!
KID [breathless] Mr. Peturson, I did see some-
thing, but I didn't think you and the Captain
wanted -
MATE. Well!
KID. Mr. Peturson! I saw a light-out
there! It's the cruiser, ain't it, sir
MATE. Who's been dalking to you!
[ 12 ]
THE CROWSNEST
KID. No one, sir.
MATE. You're a preddy wise kid. Dis your
first cruise
KID. I used to work on a ferryboat, sir!
MATE [savagely] If I tought you was mixed
ub in this business I'd trow you overboard, you
whelp!
KID. I'm not mixed up in it, sir - but I know
there's something below beside bananas!
MATE. What's dat!
KID. Something heavier than bananas!
MATE. You're a smard boy: I suppose you
guessed dat.
KID. No, sir. Someone told me.
MATE [quick as a flash] Was it Cho-Cho
KID [confused] I - mustn't tell, sir.
MATE [earnestly] See here, lad! Id'll mean
fifty poun' for you if you dell the truth. Did you
see Cho touch dat light
KID. No, sir - except just to look for a knife
he dropped when he was cutting his plug,
MATE [triumphantly] So! He went to all the
drouble of daking down the light. [Then] Do you
know why he did that, poy
KID. No sir,-'less he was afraid a match
would blow out.
MATE. Then I'll dell you! He swung dat
light to giv' away our position to that cruiser
out there!!
KID. Golly! Traitors aboard!
MATE. That kinda surbrises you Well, it
[ 13 ]
THE CROWSNEST
don't surbrise me! I never yet trusted these
damned limys!
KID. Why would he do it
MATE. Gold! Money! - Thad's what they
pay for thad kind of pusiness. If we're caught
it means the hanging of every man on poard-
except him. You better dell all you know, lad.
KID. I don't know nothing else, sir.
MATE. Dere are five tousand rifles in the hold
of dis shib. We ged ten dollars a gun! If you
do as I say you ged one tousand of thad pile!
KID. A thousand! - What is it, sir
MATE. Shiver my timbers, lad! Aren't you
afraid
KID [magnificently] What's the dope, lad
I'm your man!
MATE. Go pelow to my cabin. You'll find a
gun under my pillow. Pring it pack as quick as
you can move.
KID. Aye, aye, sir!
MATE. Hurry! Don't led him see you!
KID [on the ladder] Keep up your courage,
lad! I'll be back!
[He goes below. The mate makes a hurried
examination of the nest with a flash light. The
ladder sways again. Someone is coming up from
below. ]
Jo-Jo [on the ladder, out of sight] Si, kid!
old out the bloomin' lamp. I can't 'ardly see.
[No reply. Jo enters the nest] What ch'er
mean by lettin' the lamp go out - Gone ter sleep
'ave yer Hi! wike up.
[ 14 ]
THE CROWSNEST
[He draws a small signal lamp (red) from
under his coat, and lifts it up and down several
times. ]
MATE [straightening up] Well, Cho-Cho!
Jo-Jo. Mr. Peturson!
1VIATE. Aye, and douse thad light.
Jo-Jo. Captain's orders, sir.
MATE. Douse thad light!
Jo-Jo. You don't run this 'ere ship! [The
Mate swings at him. Jo ducks and pulls a gun.]
You whimper an' I'll shoot yer through the guts,
so 'elp me Gawd!
MATE [hands over head] So you're the dirdy
snake thad's been doing all dis! I susbected you
all along, you damned limy!
Jo-Jo. You be careful o- your language. If
yer don't, mister Mite, I'll put a 'ole through yer.
MATE. You've god me now, but when dis ting's
over I'll ged you, don't forged dat- I'll ged
you!
Jo-Jo. Yes, an' when yer lined up agin a
bloomin' wall with the rest 'o yer bloody crew,
an' they shoots ye full o' 'oles yer'U do a lot a
'arm, won't yer
MATE [with trembling voice] See here, Cho-
Cho! You wouldn't turn over your old ship-
mates, Cho-Cho Why, it would mean the death
of every man on board!
Jo-Jo. Except me! It means a tidy thousand
poun' fer me, an' a major-general's commission in
their bloody army, if yer please! [He takes the
signal light from where he has hung it on the mast
[ 15 ]
THE CROWSNEST
and begins to swing it. The light from the sea
answers. The mate groans in helpless rage]
She ain't much 'o a cruiser from my way a
thinkin' -but she's faster than this 'ere old box.
Any news for the missis, Mite, when I gets back
ter Lunnon 'Ow yer was brave ter the end, 'an
wouldn't let 'em bandage yer bloomin' eyes
[He hangs the lamp on the mast and the Mate
moves for him. Jo turns like a flash and jams the
gun against his ribs. They are very close.] None
o' that ! -'Ow does yer like the feel o' that against
yer belly
[Voices from below, becoming louder and louder.
At least a dozen men must be assembled at the
foot of the mast.]
VOICE. The Mate's aloft, boys!
KID [on deck] Are you there, Mr. Peturson
Jo-Jo [to the Mate] Shut -up!
VOICE. Go get him, Swede! [Ladder sways]
JO-JO [pulling another gun] Stay where you
are! Another inch an' I shoot!
VOICE ON LADDER. Go to hell ! - [A forearm
and fist appear, grasping upward. Jo shoots.
Thud as body falls to deck, followed by groan of
dismay. ]
Jo-Jo. That's one, an' I got enough left for
heverybody, so step up, mites!
KID [below] Don't shoot! You'll hit the Mate.
MATE. Plaze away, poys!
KID. Leave him to me, lads!
VOICE. Aye, let the Kid get him!
Jo-Jo rsneering over the edge] Aye, let the Kid
[ 16 3
THE CROWSNEST
get 'im, you white livered skunks! There ain't
a man in the crew what's got pluck enough to come
an' get me hisself! [Signal light blinks from the
sea] Yer see that, lads Don't worry - I'll tike
the news 'ome ter yer gals. [A figure appears on
the ladder leading to the spar above the nest. Jo-
Jo, leaning over the side, does not see it.] Twice as
nice as dyin' in bed an' no funeral hexpenses.
Buried by the gov'n'ment, as it were. Now the
Mite 'ere, 'e 's goin' ter 'ave me 'anged. What
ch'er think o' that, lads - have ol' Jo-Jo 'anged!
- Don't stand so quiet, mites. Yer look up 'ere
as though yer 'spected the Hangel Gabriel ter
come down the bloomin' mast fer yer! Just wait,
lads-
[Here the Kid, who has crept along the spar, a
huge knife in his teeth, reaches the mast, and drops
into the nest on to Jo-Jo. Great roar below.]
MATE. Hold his arm, lad!
[A shot rings out in the nest and the stage goes
black.] Over with him, lad!
Jo-Jo [screaming] Don't! Oh Gawd, mites --
don't! [Silence - then four bells sound. Very
slowly the light begins to grow until it reaches the
cold grey of early dawn. Jo-Jo is smoking in the
crowsnest. The Mate is seen climbing up ladder.
The Kid leans against the rail in sleep.]
MATE [entering nest] Hi, Jo-Jo!
Jo-Jo. 'Lllo, sir. [Points to Kid] He's a pretty
one! Couldn't keep 'is blessed eyes open all night.
[Shakes Kid] Hi! Wike up. [kid wakes with a
start, a little cry. He sees Jo and jumps at his
[ 17 ]
THE CROWSNEST
throat. Jo slaps his face. The Kid begins to
cry.
KID [in bewilderment] You-you!
MATE. Yes, me. Go pelow and wash the aft
deck, you swab.
KID [meekly and in a dazed voice] Yes, sir.
He crawls down the ladder, glancing yearninqly
aloft as
THE CURTAIN FALLS
[ 18 j
THE HARD HEART
BY
M. A. KISTER
CHARACTERS
PAPERE FLAIRY
MAMERE FLAIRY
DELOR FLAIRY
LUCILLE GUESTIER
HAROLD GUESTIER
JOSEPH RAMEAU
LITTLE VICTOR
DEROCHIE
MCDONALD
GUARDS
Copyright, 1922, by M. A. Kister. Permission for
amateur or professional performances of any kind must
first be obtained from The 47 Workshop, Harvard College,
Cambridge, Mass. Moving Pictures rights reserved.
THE HARD HEART
[Flairy's dining-roomt. Left, a door leading
into the parlor; center rear, a door and window
opening upon the porch. Mainere is sitting,
right; Delor stands by the rear door; and Papere
is crossing toward him as the curtain rises.]
MAMERE. Dark - will the dark hurt him,
then
DELOR [glancing at her, laughs.]
PAPERE. I don' know. But I know it's a
night to stay in. Now you have my word on it.
[He locks the porch-door, and returns toward
the parlor, stopping long enough to hold up the
key.]
Show me how you get out now!
DELOR [throws up the window.]
MAMERE. He goes to look for his gun.
DELOR. Eh
MAMERE. He hopes to find it in the top-
drawer.
DELOR. Will Papere try keeping me in with
a gun [Laughs.]
MAMERE. You kn