The Fleeing Flyer. s DIOC & FITZGERALD, Pttblishers, NEW YORK, PLAYS FOR FEMALE CHARACTERS ONLY X5 CENTS EACH ■F CRANFORD DAMES. 2 Scenes; 13^ hours 8 GERTRUDE MASON, M.D. 1 Act; 30 minutes 7 CHEERFUL COMPAiS"IO]S^. 1 Act; 25 minutes 2 EESSON 11^ ELEGANCE. 1 Act;- £0 minutes 4 MAIDENS ALL FORLORN. 3 Acts; 1^ hours 6 MURDER WILL OUT. 1 Act; 30 minutes 6 ROMANCE OF PHYLLIS. 3 Acts; 1 14 hours 4 SOCIAL ASPIRATIONS. 1 Act; 45 minutes 5 OUTWITTED. 1 Act; 20 minutes 3 WHITE DOVE OF ONEIDA. 2 Acts; 45 minutes 4 SWEET FAMILY. 1 Act; 1 hour 8 BELLES OF BLACKVILLE. 1 Act; 2 hours ... 30 PRINCESS KIKU. (35 cents) ... 13 RAINBOW KIMON A. (25 cents.) 2 Acts; IJ^ hours 9 MERRY OLD MAIDS. (35 cents.) Motion Song 11 PLAYS FOR MALE CHARACTERS ONLY . J5 CENTS EACH M APRIL FOOLS. lAct; 30 minutes 3 BYRD AND HURD. 1 Act; 40 minutes 6 DARKEY T\^OOD DEALER. 1 Act; 20 minutes 3 ^VANTED, A. MAHATMA. 1 Act; 30 minutes 4 HOLY TERROR. 1 Act; 30 minutes 4 MANAGER'S TRIALS. 1 Act; 1 hour 9 MEDICA. 1 Act; 35 minutes 7 NIGGER NIGHT SCHOOL. 1 Act; 30 minutes 6 SLIM JIM AND THE HOODOO. 1 Act; 30 minutes 5 WANTED. A CONFIDENTIAL CLERK. 1 Act; 30 minutes 6 SNOBSON'S STAG PARTY. 1 Act; 1 hour 12 PICKLES AND TICKLES. 1 Act; 20 minutes 6 HARVEST STORM. 1 Act; 40 minutes 10 CASE OF HERR BAR ROOMSKI. Mode Trial; 2 hours... 28 DARKEY BREACH OF PROMISE CASE. Mock Trial. 22 GREAT LIBEL CASE. Mock Trial; 1 Scene; 2 hours 21 ' RIDING THE GOAT. Burlesque Initiation; 1 Scene; IJ^ hours DICK & FITZGERALD, Publishers, 18 Ann Street, N. Y. THE FLEEING FLYER B ^atcc m One Bet BY F, J. VREELAND Copyright, 1914, by Dick & Fitzgerald NEW YORK DICK & FITZGERALD 18 Ann Street THE FLEEING FLYER. < — ■?%^A^ CHARACTERS. |^^ George Humphries, age about 27 Engaged to Florence James Ryder, age about 27 Aviator Sheriff Hopkins, age about 50. Deputy Sheriff, age about 36. Florence Gleason, age about 25. Grace Gleason, age about 20 Florence's sister Mrs. Humphries, age about 50 George's mother Time. — The present. Locality. — A country town. Time of Playing. — One and one-quarter hours. COSTUMES. Modern, and appropriate to the characters portrayed. INCIDENTAL PROPERTIES. Matches, hammock and books for Humphries. Barograph for Ryder. Mackintosh in closet, for Florence. Bottles in window-seat. Bell off stage. STAGE DIRECTIONS. As seen by a performer on the stage, facing the audience, b. means right hand; l., left hand; c, center of stage; r. 1 e., right first entrance, l. 1 e., left first entrance, d. l. c, door left of center in rear flat. Up means toward back of stage; DOWN, toward footlights. ^ TMP92-007593 JAN -3 1914 ■ g)GLD 35531 THE FLEEING FLYER. SCENE. — Sitting-room of the Humphries house in the country. A Sunday afternoon in summer. Large hay window in c, rear flat. Window-seat with lid; several cushions on ivindow-seat, and numerous bottles in the window-seat. Closet with door, at r. ; mackintosh, etc., hanging in closet. Table with a lamp, up r. Chair at l. of table. Doors at r. 1 e., l. 1 e., and l. of c, in rear. Chairs and other furnishings. Netrsj}apcrs on table and ivindoic-seat. DISCOVERED Florence in chair l. of table, trying to read a newspaper, despite the semi- darkness of the room. Grace on window-seat. Florence. Light the lamp, please, Grace. It's getting so stormy I can hardly read. Grace {not moving). Why not try lighting it yourself for a change, Florence? Florence {laying down paper with ominous calmness). So, Miss Grjico, yon think you can keep on in the gay way you've done ever since we've been here, do you? Well, you'll just stop it, — especially with George. You're altogether too friendly with him for an intended sister-in-law. Grace {tossing her head). Friendly, indeed! It's your young man who's friendly. Why don't you regulate him better? Florence {sharply). That'll do, Grace! You shan't run him down, even if he is to become your brother-in-law. {She picks up paper indignantly) ENTER George Humphries l. 1 e. He is a young man too languid to make up his mind whether or not life is a bore. Humphries {glancing at the sisters as he subsides into a 3 4 The Fleeing Flyer. chair). Hello! Why all the strongly suppressed emotion on this holy Sabbath? Floeence (looking sconifully at Grace). Oh, I just asked Grace to light the lamp, George. But she considered me one of those family troubles that are better kept dark. Grace. I didn't! Humphries. Never mind, Grace. I'll stand up for you. (Rises and goes over to the lamp, taking out a match) Florence. Now, George, let her do it. Humphries (lighting lamp). No, Florence, your charm- ing sister should be allowed to disturb herself only by the ordinary style of brother-in-law. (Strolls over to the windoiv) Florence (giving paper a short, fierce shake). Oh! (Resumes reading angrily) Humphries. My, how stormy it's become, — outside, I mean. I hope it doesn't prevent the aeroplane flight at the fair grounds — don't you, Grace? (Grace turns away silently) Florence (resentfully). Here are some headlines that say they may not have the flight under any conditions. Humphries. Kindly favor us with a recital of them. Florence (reading). "Sheriff means to stop flight for world's height record — against law on Sunday — but promoters determined to send up a man." Humphries. Has the man a name? Florence. Let me see. (Runs eye down paper. With sur- prise) Why — it's James Ryder! Humphries ) . • .^ -r -r^ ^ . Grace i (*w^'P^'*^^<^)- James Ryder! Grace. Why, Florence, that can't be your old beau! Humphries (suddenly aroused from his languor). What's that? (To Florence) When was Jimmie Ryder your beau? Florence (assuming the airy languor Humphries has cast off). Oh, several years ago, at our last acquaintance. Humphries. To be continued in your next, I suppose? Florence. Now don't be silly. Jimmie is probably a better hand at killing himself for money than at killing time for me. Grace (protestingly) . Florence! Florence. Did I make one of your idols tumble in the dust? Grace. I don't care, Mr. Ryder was a nice man, and you shan't talk like that, even if he didn't become my brother-in- law. (She tosses her Head, turns her hack on her sister, and reads paper eagerly) The Fleeing Flyer. 5 ENTER L. 1 E., Mrs. Humphries, a fussy old lady who is always arranging things, closing doors, etc. Mrs. Humphries. Who left out that hammock with all those books? Florence. I did, Mrs. Humphries. Humphries. Then I suppose it's up to me to bring them in. Nobody else would rather? Florence, Jimmie Ryder might. (Humphries makes a gesture of uneasiness) Grace. Oh, do you think he'll come? Mrs. Humphries. Who? Humphries (resentfully). Jimmie Ryder, a former lord- in-waiting of Florence's. Mrs Humphries. The idea ! He certainly shan't come, not if I — (Vivid flash of lightning and loud clap of thunder out- side. Florence and Grace jump to their feet loith exclama- tions of fright) Florence, (hurriedly). I — I think I'll go up to my room. Humphries. And hide in the closet. Mrs. Humphries (as she, Grace and Florence move toward R. 1 E. ). George, bring in that hammock. (Loud clap of thunder) [EXIT all ladies hastily r, 1 e. Humphries. Dash the hammock! (Dashes out d. l. c. In the play of lightning outside a man i7i a mackintosh is seen to peer into the room, open a loindow and step in, limping a little as he rubs his left knee vigorously. At the same moment Humphries RE-ENTERS d. l. c. carrying a ham- mock containing books in his left hand. Drops hammock on his left foot) Jimmie Ryder! (Grabs his foot ivildly and hops about on his right leg) Ryder. Humphries, by George! What luck! (Extending right hand, while his left continues rubbing knee) Awfully glad to see you again. Humphries (on one leg, shaking hands). Glad to see you — (Rubbing foot) confound it! Why are you making such a fuss? Ryder (rubbing with increased vigor). Nearly fell down that old hidden well outside. Say, hide me away, will you? Humphries (in his surprise standing on hurt foot). Hide you away! (Snatching up foot again) Confound it! Why? Ryder. Sheriff's after me. You know — Sunday flying. Humphries. But why should he think you're around here? Bypb^ (pointing out window toward l.) My aeroplane'^ 6 The Fleeing Flyer. over there — gasoline gave out. And this is the nearest house. Humphries. Then — then wouldn't it be safer to cut and run for it? Ryder. Out in this open country, with the sheriff and his deputies on horseback? Fine weather for such a frolic! Be- sides, they're only a mile or so up the road. You'll have to hide me quickly. Humphries {limping irresolutely up and down). Yes — er — but I have some friends staying with me Ryder. Well, I don't want to crowd anyone out of a room. Just give me a place to hide. Humphries. But I don't want my friends brought into any trouble Ryder (impatiently). Oh, nonsense, none of you'll run any risks. Just put it up to them. You'll see they'll agree fast enough. Humphries. But — but if everybody knew the secret the sheriff might hear of it. Ryder. Oh, stop trifling. Won't you do this for the sake of old acquaintance? I'm not here to visit anyone. I'm anxious to be off and get my barograph calibrated and endorsed. Humphries. You are? Ryder. Yes, — to confirm the new altitude record I made this afternoon, (He takes harograph from his pocket) Here it is! (Humphries examines barograph) Come, you won't refuse greatness when he's thrust upon you. (Storm outside is subsiding) Humphries (reluctantly). All right. But — let me see-p where shall I hide you? (Removing cushions and pilloivs from icindow-scat, and lifting lid) How would this do? Ryder. The very thing! (Leaning over and looking in) But it won't help to lie on all these bottles. (He lifts a brown bottle out of window-seat) Humphries (taking more bottles out of window-seat). Oh, the family medicines. We'll put them all here. (Puts bottles in closet at r.) Ryder (inspecting label of bottle he has just picked out of seat). You say these are family medicines? Humphries (still in closet). Yes. Why? Ryder. H'm ! You have queer names for family medicines. Humphries (emerging from closet). What do you mean? Ryder. This label says " Wilson's Whiskey." And in a dry The Fleeing Flyer. 7 county like this! Well, I'm dry too. {Uncorks bottle and lifts it to his lips) Humphries {grahhing his arm). You fool, that's hair- wash! Ryder. Hair- wash? Isn't that wasting good whiskey? It would go to your head anyway. Humphries. No, no! Some of these are home-made medicines, put in old bottles. {Picking out several) See! The others have the name of the medicine on their labels. {With a sigh Ryder relinquishes bottle and Humphries puts it in closet) Ryder. Somebody's coming! {Squeezes hastily into itindoW' seat and lowers cover. Humphries leaps on window-seat just before Florence ENTERS r. 1 e. The storm has ceased) Florence. Where's that newspaper? {Teasinghj) I want to see if there's anything more about Jimmie Ryder. {Pick- ing np the paper) When I read in the paper about such a lofty aviator, it seems to bring me very near to him. {8he sits on loindow-seat) Humphries {scowling and making way for her nervously and looking anxiously down at cushions). I don't see why you take such a perverted interest in him. Florence. Perverted? Why? Humphries. Well, he was always so flighty. Florence {looking up from paper). Flighty? Why, you talk as though he were beneath you. {She looks out window toward l. then suddenly drops paper on window-seat) Why, what's that? Humphries {starting and looking out ivindow in opposite direction). I see nothing! Florence. No, over here! I do believe it's — an aeroplane! Humphries. No, a cow ! Florence. What, with that kind of tail? Humphries. Nonsense! Only your fancy — it's too dark to see anything. Florence {disregarding him). It must be Jimmie's, then! {Rapturously) Oh, isn't it splendid! And — why, there are some men riding around it. (Humphries looks out window in alarm. Florence goes toward closet r.) Humphries {turning around sharply). What are you going to do? Florence. Get a mackintosh and find out about Jimmie, of course. 8 The Fleeing Flyer. * Humphries. No, you'd better go to your room. Florence (coolly). Oh, indeed! And why, if you please? Humphries. You — you might find the aviator badly in- jured — may be killed. It's quite the thing, you know. Florence {indignantly). Then why don't you go out and help the poor man? Bring him here! Humphries. But there isn't any poor man! Florence (pushing him). Go and see. Humphries. I can't. I don't dare budge. I — I'm feeling out of sorts. Florence (softening). Then let me get you some medicine out of the window-seat. Humphries (alarmed). Oh, no, no! It's nothing, really. I'll bear up bravely, thank you. Florence (stiffening again). Then you could go out and see about poor Jimmie. Humphries (taken ahacTc). But — er — I might get caught in some more Florence (scornfully). Rain? Humphries. No — thunder. (Looking out iiindow) Quick! The sher — the storm's coming! (Standing np and taking her arm) There's a better closet up stairs. (She frees her arm and marches disdainfully toivard r. 1 e. Remorsefully) Don't be angry. I [EXIT Florence r. 1 e. unheeding. Humphries clutches his hair and sinks hack on window-seat, then jumps up at the sound of a vigorous tapping underneath him. He puts aside cushions, etc., and lifts lid. Ryder's face appears, purple and distressed. Ryder (thickly, waving his arms). Stand back! Give me air. (Pants heavily. Suddenly) Say, who was that? Her beautiful voice Humphries (savagely). Nobody you've a right to know, confound you! (Glancing out of ivindoiv) Here, get back, the sheriff has come! (Pushes Ryder down. Loud ringing of bell off stage. Humphries slams down lid and hurls hack cushions, etc., then EXITS d. l. c, cautiously closing door after him. Florence peeps in at r. 1 e., steals to closet r. and looking warily toivard d. l. c, removes mackintosh from closet, then donning it hastily EXITS r. 1 e.) ENTER Humphries, Sheriff Hopkins and a Deputy-sheriff, D. L. c. The i'leeing Flyer. 9 Sheriff (to Deputy). Look around up stairs. [EXIT Deputy l. 1 e.) Humphries. But I tell you, sheriff, you won't find him here. Sheriff. And I tell you I will find him here. (Goes to window-seat, to the alarm of Humphries, kneels on it and opens a window) Hi, Evans, search the cellar! The rest of you kin kindly lay around outside the house, — only don't snore too loud! (Shutting ivindoiv and turning to Humphries) Now, young feller, will you give him up? Humphries {irritably). Do you think I'm running a road house for highflyers? If he's been here he's already made him- self scarce. Sheriff. We'll soon see about that, lemme tell you, they may allow this here Sunday flyin' in furrin parts, but not in this United States. (Opens closet door and looks in. Spies bottles on floor, picks up brown one and reads label) Well! So that's why the errynort come here ! Looks like you are runnin' a road-house fer highflyers. You know this little col- lection o' yourn is agin the law in this county? Humphries. Why, confound it! those are only family medicines. (Putting several others on table) Look! Sheriff. They be, be they? I'll just make sure fer myself. (Uncorks bottle in his hand) Humphries. Oh, no doubt of it. (Sheriff drinks, then sets bottle on table hastily. An awful expression crosses his face, he rushes out d. l. c. Lid of icindow-seat rises and Ryder's head bobs up) Ryder (thickly). Say now, who was she? Humphries (rushing to Ryder). Get back, you fool! (Crams Ryder down and sJiuts lid) ENTER Sheriff d. l. c. Sheriff (wrathfully, shaking his finger). I've a good mind to take you along fer tryin' to poison me and interfere with the law. ENTER Deputy, l. 1 e. Deputy. Sheriff, there's a door locked upstairs. Humphries. It's only a store-room — full of more family medicines. Sheriff. Come along. We'll see if these ain't another Idnd. 10 The Fleeing Flyer. Humphries. Very well, since you want to sample them too. Sheriff (to Deputy). Here, you, you needn't come in on this. {Pointing to R.) You better keep watch out back. (EXIT Deputy r. 1 e. Sheriff and Humphries EXIT l. 1 e. Lid of window-seat rises and Ryder's apoplectic coun- tenance appears. He hangs over edge of window-seat limply, panting heavily) ENTER Grace quietly r. 1 e., unseen hy Ryder. She starts when she observes him. Grace. Mr. Ryder! (Ryder pops hack in tvindow-seat, slamming lid. Grace goes over and taps on it. No ansiver. Lifts lid, Ryder looks up at her in surprise) Ryder. Why, if it isn't Grace! {Shaking hands) Hello, Grace, how are you? {Still holding her hand) My, but you've become quite a young lady. Perhaps I'm not to call you Grace any more. Grace. You may, — if you like. Ryder. Of course I like. I guess we're still friends, even if you have changed. You really have, you know. You've grown taller and pretty — different. You must be as large as your sister. {Drops her hand abruptly at word sister. With formal politeness) Er — how is your sister? Grace {quickly). All right — how did you get here? Ryder {ruefully). Oh, escaping from the sheriff, of course, for trying to break my neck on Sunday. Grace {anxiously). Oh, did you fall? Ryder. No, but the height record did. That is, it went up. Grace. And who stowed you away here? Ryder. Humphries. The house is surrounded. But for Heaven's sake take me away ! Grace. Why? Ryder. This seat is likely at any minute to turn into a coffin. Grace {after reflecting a moment). Come, I know a way out back! (Ryder climbs out) [EXIT both quickly, r 1 e. ENTER Humphries breathlessly l. 1 e. Humphries {in a stage ivhisper, peeping, fearfully out L. 1 E.). Quick, Ryder, come out! It's your only chance^ The Fleeing Flyer. 11 (Noise outside e.) Sh! {Leaps frantically on lid and sits there apprehensively, then steals nervously to r. 1 e., ducking his head hastily out the door several times) Come on! It's all right. I've given the sheriff the slip. Hurry up! Don't be so scared! Confound you! why don't you come out? (Rushes angrily over to windotv-seat, lifts lid and sees empty interior) Good Lord! Flown again! ENTER Mbs Humphries e. 1 e. Mrs. Humphries (rather disturbed). Where has Florence gone? Humphries (startled). Why, isn't she in the house? Mrs. Humphries. I can't find her anywhere. Humphries (letting lid slam and sitting down, staggered). Good Heavens! Both of them gone together! ENTER Sheriff briskly l. 1 E. Sheriff. So here you are! Well, sonny, will you tell me where he is? Humphries. Go to blazes! Sheriff. Don't think I'd find him there. Humphries (almost foaming at the mouth). I tell you, sheriff, as true as I'm standing here I don't know! I wish to Heaven I did! Sheriff. Mislaid him, have you? Maybe a trip to jail will spruce up your memory. Mrs. Humphries. Take my son to jail! How dare you! Sheriff. I got to enforce the law, and I'm after a man he's suppressed. Mrs. Humphries. Nonsense! Who is it? Sheriff. Name o' James Ryder. Mrs. Humphries. James Ryder! Why that's Florence's former — (To Humphries) Didn't I say that man was not to come here? I hardly thought you would welcome him. Humphries. I didn't! Mrs. Humphries. Then why don't you give him up? Humphries. But I haven't got him! Oh, if I could only get him once! Mrs. Humphries (to Sheriff). You see? He isn't here. Sheriff. Excuse me, ma'am, but he is. Mrs. Humphries. Then why don't you look for him, instead of dragging my poor boy off to jail? %2 The Fleeing Flyer. • Sheriff (sulmissively). I done my best, ma'am. I looked all over. Mrs. Humphries. Look again! We'll all look. (To Humphries) Come, look your best. (Sheriff EXITS meekly ivith Mrs. Humphries and George l. 1 e. Mrs. Humphries fussily closes door after them) ENTER Grace and Ryder quickly r. 1 e., go over to window- seat. Grace (lifting lid). Get in before the deputy catches us. Ryder (climbing into window-seat). What'll you do? Grace (going d. l. c). Lead him off the track. Ryder (loivering lid with a groan). And then good-bye to this Turkish bath. Grace. Surely, slip off. (Stands a moment d. l. c. watching until the Deputy appears r. 1 e., then EXITS d. l. c. slam- ming door behind her) Deputy (rushing toward d. l. c). Sheriff! Hey, sheriff! (Trips on floor, scrambles to his feet again) Sheriff, sheriff! ENTER Sheriff suddenly l. 1 e. Sheriff. Well? (They collide. Deputy is bowled over, Sheriff staggers back against door) Deputy (scrambling to his feet). I've nearly got 'em. Sheriff (tartly). Nearly? You mean you've got 'em bad. Deputy. I mean that errynort and a girl — looks like a runaway couple. Sheriff. Where did they go? Deputy (pointing d. l. c). Through there. Sheriff. Come! (They dash out d. l. c. Lid of window- seat lifts a little, while Ryder peers around, taking deep breaths, then it closes, as footsteps are heard) ENTER Humphries l. 1 e. Humphries (despairingly clutching his hair). Good Heavens! Where is she? (Ryder lifts lid and rises before him. Humphries staggers back as though he has seen a ghost) You! (Recovering himself and starting forward furiously to clutch Ryder) Where is she? (Ryder pops back The Fleeing Flyer. 13 into window-seat. Humphries lifts lid, clutches Ryder hy the throat and hauls him out. Fiercely) Where is she? Ryder {in a strangled voice, grabbing Humphries' hands). Leggo ! I've been choked enough. Humphries {shaking him furiously). Tell me where she is! Ryder. All right. I'll tell. (Humphries relaxes grip. Ryder feels his throat tenderly and gasps for breath) Well, she's gone Humphries. Gone ! Ryder. Why yes, out there,— to draw the sheriff and deputy away. Humphries {explosively, moving toward d. l. c). Oh, she has, has she? Ryder. Say, why do you act like grand opera over this? Humphries {turning near the door). Why? Don't you know we're engaged? Ryder {wincing and sitting down on the window-seat, crushed). Good Lord! {Despondently) No chance for me in the family. Humphries {calmer). Her sister still remembers you — with interest. {Severely) But mind, if I ever catch you again Ryder {dejectedly). All right. EXIT Humphries d. l. c. Outside door is heard to slam. Ryder rises spiritlessly, stands motionless a second, picks np coats, drops them disconsolately, and sits down again with a sigh. Starts up again as Grace ENTERS d. l. c. Grace {in dismay). You! Oh, why haven't you gone? Go, go! Ryder {reluctantly). But the sheriff will get me! Grace, He's fallen down the old well. Ryder {delightedly). Oh, did you lead him into it? {Ex- tending his arms impulsively) Oh, I could — {Recollecting himself) No, I can't! {Turns his hack on her moodily and folds his arms) Grace. Oh, go, go! Ryder. Oh, what's the use? Wish I was down the well! Grace {stamping her foot in vexation). Why, oh, why don't you leave? Ryder. But why get rid of me when you've got rid of the 3herifie? 14 The Fleeing Flyer. m Grace. But he's being fished out by all his men. The way is clear now. ENTER Florence r. 1 e. wearing mackintosh. Florence {advancing cordiaUy, loith outstretched hand). Why, Jimmie Ryder! How are you? {They shake hands) But you're not going, are you? {Hangs mackintosh in closet) You really must stay. Ryder. Oh, no, I can't. Florence. Why? Ryder, I'm running away from the sheriff. Florence. Where is he? Ryder. Down the old well. Grace kindly led him into it. Florence. Wait. You must tell George. He'll be only too glad to help you away. Grace. He knows already. Florence. What's he doing now? Ryder. Looking for Grace. Florence. What ! Ryder. Yes. He became — er — rather excited when he found she'd gone off with me. {Feels neck tenderly) Florence {ominously). Oh, he did, did he? Ryder {glancing with a preoccupied sigh at Grace who is looking out of window). Can't say I blame him. {Recollect^ ing himself) That is, I — er Florence {frigidly). Oh, you don't! Ryder. Yes — no — er Florence {tvith freezing dignity). You needn't explain. I have my own opinion of coquetry. {Glares at her sister, who glares back, as Ryder, hetween the two sisters, turns dejectedly away from Florence just in time to mistake Grace's angry glance for himself. He is taken aback) Ryder {pointing to himself). Me? {Extending hands protestingly totvard Grace) What have I done — (ENTER Humphries d. l. c. Ryder starts guiltily and wheels around, extending hands toivard Florence. Feverishly) When will you go with me Humphries {advancing threateningly). Florence! And you! At it again! Ryder. At what again? Humphries {fiercely). Don't tell me you don't know what you're doing. The Fleeing Flyer. 15 Rydeb (angrily). Now look here, will you stop your nonsense? Humphries. Will you stop yours? Ryder. Mine? (With a gesture toward Florence) I didn't start this! Humphries. What! You didn't! Florence {interposing letween Ryder and Humphries). Stop! {Pushing Ryder toward r.) Don't stop! Ryder {to Humphries). No! I wasn't anxious for this! You suggested it. Humphries. / suggested it! Good Heavens! The man's mad! Florence, get behind me. Florence {coolly). Not till you've told me why you ran after Grace. Humprhies. Grace! Nonsense! Why do you say that? Florence. Jimmie said so. Humphries {turning irately upon Ryder). So, you're a liar too ! Ryder. Liar yourself! Why do you deny the truth? Humphries. The truth! Good Heavens! He is cracked! Grace {who has been looking out tvindow toward l.). Quick, the sheriff's coming! (Ryder makes a frantic dive, head foremost, into window-seat, tut sticks half-ivay, with toildly waving legs. Grace attempts to shut lid on him and piles sofa cushions on top) ENTER Sheriff d. l. c, wet and draggled, rushes over and pulls Ryder out by the legs. Humphries. Careful, sheriff, he's mad! Sheriff {dragging Ryder toward d l. c). By gum, mad or not, here's where I do some enforcin' o' the law at last! Ryder {struggling). Let me go! Sheriff. Yes, if we was over to Europe I'd let you go. But not in the land o' the free! {Continues to pull Ryder) Ryder. Sheriff !— Florence \ Grace C {blocking Sheriff's way). Sheriff! Humphries ) Sheriff. Git away, or you'll all come! {To Grace) By gum, I guess I'll take you along anyway, fer leadin' me off into that well. Humphries. What! That isn't right! Sheriff (tartly), Objectin' again, eh? I've a derned good 16 The Fleeing Flyer. mind to take you too. I been keepin' an eye on you, young feller. You hid this errynort, and I'll bet you put her up to drowndin' me. Humphries. Oh, you're mistaken. You didn't follow her. Sheriff (wrathfully). Do I look like I didn't? Humphries. But she can't be the one who led you off. Sheriff. Do you mean to sujest I lost my senses down that well? If it wasn't her, who was it, smarty? Humphries (stepping in front of Florence with folded arms). I refuse to tell! Sheriff. Oh, you can't fool me that way. (Pointing to Grace) I know it was her. Humphries (perplexed). Are you sure? Sheriff (irately). Sure? Say, what's the matter with you? (Going to Humphries) By gum, you'll join us too. I guess you're the one that's crazy. Florence (interposing). You shan't arrest him! Sheriff (shaking his finger at her). Interferin' with the law, eh? Well, youll keep him company! Florence (placing herself beside Humphries). Very well, then! (Sheriff is disconcerted) Arrest him if you must, but don't say he's crazy! He's the only intelligent man here. Humphries (earnestly). Florence, do you believe that? Florence. Certainly. Don't you? Humphries (reproachfully). Then why did you go off with him? (Indicating Ryder) Florence. Go off with him ! The idea ! Now you're not intelligent. (Humphries and Ryder start and turn excitedly toward each other) Humphries and Ryder (together). Say, who did you think — (Stop and glare at each other) Sheriff (taking Ryder's right arm). Come along! Humphries and Ryder (together). Was it — (Stop and glare again. Then very loud and fast) Did you mean Florence that time? Humphries. Yes ! Ryder. No ! Humphries. What! Then it tvas Grace I was running after, though it was Florence I had in mind all the time! Ryder (eagerly). Then — then you're engaged Humphries. To Florence, of course. Ryder (freeing his right arm from the Sheriff's hold and shaking hands heartily with Humphbues). Many happy re- The Fleeing Flyer. IT turns — I mean congratulations! (Continues shaking hands vigorously until the Sheriff recaptures Ryder's arm) ENTER Mrs. Humphries l. 1 e. Mrs. Humphries {advancing severely on Ryder). Is this Jimmie Ryder, Florence's Humphries. Yes. Mrs. Humphries. Then take him out of the house at once, sheriff ! Sheriff. Yes'm ! Humphries. But it's all right, mother. I don't want him to go. Sheriff (pulling Ryder toward d. l. c). Oh, don't you? Well, I guess your ma knows best. (To Ryder) Come along! My clothes is ticklin'. Ryder (swinging doggedly away from Sheriff's grip). See here, sheriff, give me a chance to have my say. Can't you overlook this? It would be only a small matter, but you would be doing a service to the biggest thing to-day. Now- adays everybody with the least intelligence is crazy about flying. Why, over in Europe the highest persons would give their lives for a flight. Sheriff. You come along. I ain't never favored that furrin truck. Grace. But he's just made a new altitude record. Ryder (taking out barograph eagerly). Yes, here's the instrument that shows how high I went. Sheriff. What do I care how high you went, so long's you came down fer me to git you? Out you go ! The town's anxious to have me tell 'em about this. Grace (desperately). But — but, sheriff, he's beaten all the great foreign aviators. (Picking up newspaper and showing it to Sheriff) See, this tells about their records. (The Sheriff stops and looks at barograph and newspaper, then goes and opens window) Sheriff. Hey there, stop chewin' grass and spread your- selves all around the house. Don't let anything get by you. (Shuts window) Humphries. What's that for? Sheriff. So's he don't get away. Ryder (dejectedly). Then you're not going to let me off? 18 The Fleeing Flyer. Sheriff. I'm going to bring the whole blamed town here! (Goes to D. L. c.) Ryder (in alarm). The whole town! Why? Sheriff. To celebrate your beatin' them furriners! Mrs. Humphries. But on Sunday! Sheriff. Dern Sunday! [EXIT d. l. c. Ryder (to Grace). I'd rather it was to celebrate my meet- ing you again. Grace. I prefer it as it is — in honor of you. Curtain. 1 JEMIMA OR THE WITCH of BENDER COMEDY IN THREE ACTS By H. ELLIOTT McBRIDE PRICE 15 CENTS Four male, four female characters. A farmer, an old bachelor, another farmer and a Yankee; also a farmer's wife, his aunt, a Yankee girl and an aspiring maid. A series of surprises, which are effectual of their pur- pose. Time of playing, ij^ hours, i interior scene. SYNOPSIS OF INCIDENTS. Act I.— Jemima's mistrust and little scheme. The old maid's mistak*. Jonah's perplexities. Jeremiah's dilemma. The Witch. "Beware." Act II.— Bolivar's oil craze. Invoking the Witch. Bolivar's terror. The old maid's resolve. Act III.— The old maid's despair. Jeremiah and Sarah. The Witch's revenge. The old maid happy. Jemima herself again. OUT IN THE STREETS A TEMPERANCE PLAY IN THREE ACTS By S, N. COOK PRICE 15 CENTS Six male, three female characters and a little girl. An old gentleman, plausible rascal, dissolute son, young lover, darkey servant, policeman. Elderly lady and her daughter, widow and child. Time of playing, i hour. A tale of oppression and retribution. 3 interior and i street scene. SYNOPSIS OF INCIDENTS. Act I.— An irascible father, a sensible wife and an independent daughter. The fawning rascal dismissed. The rascal and his son. The ejection. Act II.— The robbery. Out in the streets. The recognition. At home. The widow's story. Act III.— The rascal unmasked. The double arrest. The widow com^j to her own. A happy wedding. A DOCTOR BY COURTESY A Farce in Three Acts, by Ullie Akerstrom PRICE 25 CENTS CHARACTERS Dr. Jos. Sly, a physician (?) Light Comedy Henri Duval, a French merchant Character Chas. Jenkins, Sly's father-in-law Comedy old man Freddie West, a dude Character Michael, a hallboy Irish character Policeman, one of the finest. Florette Duval, Duval's Wife Lead Emily Sly, Sly's Wife Juvenile Martha Jenkins, Jenkins's wife Old woman Ida Gaygirl, of the ballet Soubrette Gretchen, Florette's maid servant Character Two Interior Scenes. — Time of Representation — Two hours. SYNOPSIS Act I. — Sitting-room in Sly's office. Mr. Jenkins resorts to heroitf measures to boom his son-in-law's medical practice. Two women prepare i trap. Old associates draw Sly into folly. Clouds begin to gather. Act II. — Room in the house of Monsieur Duval. Florette's physiciaw (by proxy) arrives. A startling prescription. Matters become worse and worse. A jealous husband and three doctors (?). Act III. — Same as Act I. The "green-eyed monster" appears in the Sly family. The story of a scratched face and a shower-bath. Explana- tions restore harmony, and Dr. (?) Sly retires from active work. COLLEGE CHUMS A COMEDY OF COLLEGE LIFE IN THREE ACTS. BY ANTHONY E. WILLS PRICE 25 CENTS A realistic sketch of College life and its influence. Wallace, an in- dolent aimless young man, on entering college is hazed by fellow collegiates, led on by Thorne, the bully of his class. He turns on the bully and thrashes him soundly. Out of revenge, he is so ingeniously accused of theft by the bully, that the crime appears to carry conviction. Finally the real thief exonerates him and the bully is expelled. There are some very funny passages between two opposing veterans of the war, and in the love making of a German professor. In due course the inevitable young lady comes on the scene with the usual results. A capital play, full of interest through- out. CHARACTERS Franklyn Risley, Dean of the University Character Friederich von Weber, Professor of German Character Wallace Findlay, "The Babe" Lead Howard Thorne, "The Bully" Heavy Arthur Kingsbury. Capt. of College Team Straight Paul Dinsmore, a Sophomore Straight Clifford Paige, manager of College Team Straight John Findlay, Wallace's father Character Alec, an old colored attendant Character Mrs. Almira Dinsmore, Paul's mother Old Lady Grace Dinsmore, her daughter Lead Toby Sprague, the watchman's daughter Ingenue One Interior Stage-setting. — Time of Representation — Two hours. MILITARY PLAYS I 25 CENTS EACH M. F. BY THE ENEMY'S HAND. 4 Acts; 2 hours lo 4 EDWARDS, THE SPY. 5 Acts; 2^4 hours ; ... 10 4 PRISONER OF ANDERSON VILLE. 4 Acts; 2^ hours.. 10 4 CAPTAIN DICK. 3 Acts; H^ hours 9 6 ISABEL, THE PEARL, OP CUBA. 4 Acts; 2 hours 9 3 LITTLE SAVAGE. 3 Acts; 2 hours; 1 Stage Setting 4 4 BY FORCE OF IMPULSE. (15 cents.) 5 Acts; 2}4 hours 9 3 BETWEEN TWO FIRES. (15 cents.) 3 Acts; 2 hours 8 3 RURAL PLAYS 25 CENTS EACH MAN FROM MAINE. 5 Acts; 2J4 hours '. 9 AMONG THE BERKSHIRES. 3 Acts; 2J4 hours 8 OAK FARM. 3 Acts; 2J^ hours; 1 Stage Setting 7 GREAT TVINTERSON MINE. 3Acts;2hour8 6 SQUIRE THOMPKINS' DAUGHTER. 5 Acts; 2}4 hours 5 WHEN A MAN'S SINGLE. 3Act8;2hour8 4 FROM PUNKIN RIDGE. (15 cents.) 1 Act; 1 hour... 6 LETTER FROM HOME. (15 cents.) 1 Act; 25 minutes 1 ENTERTAINMENTS 25 CENTS EACH AUNT DINAH'S QUILTING PARTY. 1 Scene 6 ' BACHELOR MAIDS' REUNION. 1 Scene 4 30 IN THE FERRY HOUSE. 1 Scene; li^ hours 19 15 JAPANESE WEDDING. 1 Scene; 1 hour 3 10 MATRIMONIAL EXCHANGE. 2 Acts; 2 hours 6 9 OLD PLANTATION NIGHT. 1 Scene; 1^^ hours 4 4 YE VILLAGE SKE^VL OF LONG AGO. 1 Scene. 13 12 FAMILIAR FACES OF A FUNNY FAMILY 8 11 JOLLY BACHELORS. Motion Song or Recitation 11 CHRISTMAS MEDLEY. 30 minutes 15 14 EASTER TIDINGS. 20 minutes 8 BUNCH OF ROSES. (15 cents.) 1 Act; l^g hours 1 13 OVER THE GARDEN TV ALL. (15 cents) 11 8 DICK & FITZGERALD, Publishers, 18 Ann Street, N. Y LIBRARY OF CONGRESS 25 CENTS EAC ® M. F. BREAKING HIS BONDS. 4Act6;2hour8 6 3 BUTTERNUT'S BRIDE. 3 Acts; 2}^ hours 11 6 COLLEGE CHUMS. 3 Acts; 2 hours; 1 Stage Setting 9 3 COUNT OF NO ACCOUNT. 3 Acts; 23^ hours 9 4 DEACON. 5 Acts; 21.^ hours 8 6 DELEGATES FROM DENVER. 2 Acts; 45 minutes 3 10 DOCTOR BY COURTESY. 3Act8;2hours 6 5 EASTSIDERS, The. 3 Acts; 2 hours; 1 Stage Setting 8 4 ESCAPED FROM THE LAW. 5 Acts; 2 hours 7 4 GIRL FROM PORTO RICO. 3 Acts; 2>^ hours 5 3 GYPSY QUEEN. 4 Acts; 2i^ hours 5 3 IN THE ABSENCE OF SUSAN. 3 Acts; IJ^ hours 4 6 JAILBIRD. 5 Acts; 21^ hours 6 3 JOSIAH'S COURTSHIP. 4Acts;2hours 7 4 MY LADY DARRELL. 4 Acts; 23^ hours 9 6 MY UNCLE FROM INDIA. 4 Acts; 2i^ hours 13 4 NEXT DOOR. 3Acts;2hours 6 4 PHYLLIS'S INHERITANCE. 3 Acts; 2 hours 6 9 REGULAR FLIRT. 3Acts;2hours 4 4 ROGUE'S LUCK. 3Acts;2hours 5 3 SQUIRE'S STRATAGEM. 5 Acts ; 2i^ hours 6 4 STEEL KING. 4 Acts; 2i^ hours.... 5 3 WHAT'S NEXT? 8 Acts; 2}^ hours 7 4 WHITE LIE. 4Act8; SJ^hours 4 3 WESTERN PLAYS 25 CENTS EACH ROCKY FORD. 4Act8;2hours 8 GOLDEN GULCH. 3 Acts; 2^4 hours 11 RED ROSETTE. 3Act8;2hours 6 MISS MOSHER OF COLORADO. 4 Acts; 23^ hours. ... 5 STUBBORN MOTOR CAR. 3 Acts; 2 hours; 1 Stage Setting 7 CRAWFORD'S CLAIM. (15 cents.) 3 Acts; 214 hours. 9 DICK & FITZGERALD, Publishers, 18 Ann Street, N. Y