PS 3503 R53 G5 1915 Copy I PLAYS EXCHANGED. or Plt\ ys The Girl From Upper 7 Price, 25 Cents H. OP. Pinero's Plays Price, 50 gents €acb THF A M A 70N^ Farce in Three Acts. Seven males, five fe- lllCi AlTIA^wliO males. Costumes, modern; scenery, not difficult. Plays a full evening. THE CABINET MINISTER £±, 'Sj'SJSSfc Sf tumes, modern society; scenery, three interiors. Plays a full evening- riAlSIHY rifflC Farce in Three Acts. Seven males, four fe- UnliU 1 l/l\sfv males. Costumes, modern; scenery, two inte- riors. Plays two hours and a half. THI7 C AV I riPH niTI«Y Comedy in Four Acts. Four males, inLll/il 1A/I\IS ViULiA ten females. Costumes, modern; scenery, two interiors and an exterior. Plays a full evening. UIQ MniTQE IN A!?ni7R Comedy in Four Acts. Nine males, IlliJ nUUOEi 111 \JE\UL,i\ four females. Costumes, modern; scenery, three interiors. Plays a full evening. TUI7 HfHlKY UftRQE Comedy in Three Acts. Ten males, lnEi nUDDI IlUIVOEi five females. Costumes, modern; scenery easy. Plays two hours and a half. TDIC Drama in Five Acts. Seven males, seven females. Costumes, lIVliJ modern ; scenery, three interiors. Plays a full evening. I Any ROITNTIFIT? Play in Four Acts. Eight males, seven Lu\U 1 DvsLlllirULi females. Costumes, modern; scen- ery, four interiors, not easy. Plays a full evening. I FTTY ^ >rama * n Four Acts and an Epilogue. Ten males, five *«■•* * * females. Costumes, modern;, scenery complicated. Plays a full evening. .•• : THF MAPICTR ATI? Farce in Three Acts. Twelve males, IHEi lTin.\Uk71 I\rt. I £a f our females. Costumes, modern; soenery, all interior. Plays two hours and a half. Sent prepaid on receipt of price by Salter $. $afcer & Company No. 5 Hamilton Place, Boston, Massachusetts The Girl from Upper 7 An Original Comedy in Three Acts By GLADYS RUTH BRIDGHAM Author of "Leave it to Polly" "A Regular Scream" "Not on the Programme" "A Modem Cinderella" "On the Quiet," "A Regular Rah/ Rah! Boy," "Sally Lunn,""Six Times Nine," "Cupid's Partner," "Her First Assignment," "A Case for Sher- lock Holmes," " Rin g- Around- a- Rosie" "Three of a Kind," "The Turn in the Road" "The Queen of Hearts" etc. BOSTON WALTER H. BAKER & CO. 1915 The Girl'froui Jpper 7 CHARACTERS (As originally produced in High School Hall y Somer-v'tlle, Mass., January 27, I Irene Gordon ( j Fleurette, Mrs. Brent's maid Genie McShane . George Toomey Earle Cushing Ralph Binney Clayton Ellis Frank Bradley . Russell Cook Horace Gilmore Phyllis Noyes Lillian Edwards . Ret a Meyers . Edna Noyes Adelaide Furlong Gladys Stone Helen Anderson Mario?i Hersey Grace Taylor Beatrice Simmons Miss Bridgham Plays About Two Hours Copyright, 1915, by Walter H. Baker & Co. ©CI. D 40644 MAY 14 J9I5 The Girl from Upper 7 ACT I SCENE. — An old ranch house which is being used as the office of the W. R. 6" C. R. R., at the foot of the Upper f trail. The scene should be exceedingly rough, the characters wear- ing western costumes, high boots, large hats and so forth. Exits r., L. a?id c. ; table with a telephone in the background a little to the left ; table with typewriter right front ; a seat with a fur robe thrown over it near the centre door ; table in the centre of stage covered with papers, writing materials and so forth. ( When the curtain rises Edward Fielding sits at table in ce?itre ; he is leaning forward with his head on his arms, asleep.) Douglas Mason {outside). Ned! Ned I Where are you? (Mason e?iters, c, stops, and looks at Field, in astonishment.) Well, I'll be Say, come to life, will you? This is no time to be sleeping ! (Shakes Field.) Say, Mr. Rip Van Winkle, this isn't Sunday morning ! Field, {sitting up and looking rather dazed). What's the matter ? Mason. What do you think you are doing ? Field. Dreaming, and it's darned mean of you to wake me up ! I was dreaming there were a whole lot of girls in here all dancing around and Mason {impatimtly). Say, will you come out of it ? You are a hot one to leave in charge. Any one could come in here and pinch everything in sight, yourself included. Field, {still about half asleep). Well, they wouldn't be get- ting much. {Suddenly realizes what he has said.) That is, I mean 4 . THE GIR!t FROM UPPER J Mason (breaking in upon him). That's right ! They wouldn't. Field. You're fresh, aren't you ? What do you want of me, anyway? Mason. Hughes wants the plan of the road and he also wants you to run off a list of the employees who live around here and are likely to be friendly to the Lower 7 gang. Hurry up ! I am to wait and take them down to him and I don't care about dallying very long. Hug"hes is usually pretty good- natured but he is peppery enough to-day. Field. I don't wonder. The heat is enough to make any one swear. Here's your plan. {Hands him the plan which he takes from the papers on the table ; crosses to typewriter and begins to run off the list. Mason sits at his place at centre table ; spreads out the plan and looks it over as he talks.) Mason. A lot you know about the heat in here asleep ! You ought to go down on the road. It's fierce ! Thank heaven it's cooling off a little.. Say, Ned, if ever any one was in for trouble, Hughes is. Field. You really think so ? Mason. I know so, unless that manager from New York arrives mighty quick. The whole responsibility rests upon Hughes, and I believe we have got to back him up in a mighty unpleasant scrap. Field. What's happened ? Anything new ? Mason. Yes. Steve Malone has been down on the road talking to the boys. He says we are running our tracks on the Lower 7 land and we've got to quit. To tell the truth I don't believe Hughes knows where he is running the tracks. It's darned hard to tell from these plans. Mr. McShane could tell in a minute. I believe he is sure of every inch of ground. Any message from Upper 7 this afternoon ? Field. Not directly. Lewt Benson dropped in, and he said they have a trained nurse at Upper 7 and a physician staying right there all the time. He says McShane is in bad shape. He also siad he heard that McShane's son arrived last night. Mason. His son ? Well, no doubt he will come down and take charge of things. That will be good news to Hughes. It's a pity he hadn't been here to lay down the law to Malone. He is getting mighty unpleasant, and the men are more than half inclined to listen to him. THE GIRL FROM UPPER 7 r Field. Naturally. He's their own kind. Here's the list. (Jtises and hands Mason the list.) Mason. All right. Ned, there's something I want to say to you if you will promise not to get sore with me. Field. Fire ! I'll take anything from you, old man. Mason. Where were you last night, and the night before that, and the night before that ? And I could go back quite a number of nights .and still go back some more." ' Field, {turning away with a laugh and 'sitting down at type- writer again}. Now, that isn't fair. You said that you wanted to say something, and instead you are asking me to say something. J Mason. I don't suppose it's any of my business and proba- bly I'm a regular old Betty, but it's the truth that I am worried about you. (Field, laughs.) I wish you wouldn't take it that way, Ned. (Goes to Field, and places his hand on his shoul- der.) If I had a brother I couldn't care for him more than I do for you. Field. I know it, Dougie. You are the best fellow that ever lived, and I don't deserve one-half the loyalty and affec- tion you bestow upon me. I have important business that I am looking into. Mason. I wish you would let me go with you if you feel called upon to spend every night out. You haven't been out here long, and you don't know the ways of the boys around here We are too close to Lower 7 to suit me. Malone has a tough bunch over there. You aren't safe. Field. Well, I should fret ! Mason. Laugh if you want to. I'm talking good common sense. Another thing, when you are up all night you aren't fit to work the next day. Do you suppose if you went to bed at night you would sit around here sleeping instead of working ? I wish it had been Hughes who found you in here as I did. He might get up courage enough to tell you to stay in to-night. He is as worried about you as I am, but he doesn't dare to say so. Field. I hadn't noticed that Hughes was at all shy. m Mason. Not where the work is concerned. If he could just find out that you are neglecting your work you would hear trom him quick enough. Field. Perhaps McShane's son will discover what a no- 6 • THE GIRL* FROM UPPER J count employee I am and you will have the pleasure of seeing me squelched. Mason. Hope I do ! I'll be in the cheering section when it happens. We'll be up pretty soon. (Goes toward door.') Hughes is going to . let the men off early. The heat has done every one out. [Exit, c. (There is a slight pause. Field, begins to work on type- writer. Mary Hawkins ru?is in, c. She is about four- teen ; she is very pretty ; has long black curls ; wears a gingham dress and a sunbonnet. She carries some books and a lunch basket, and is followed by Rev. John Blake, who also carries some books. ) Mary (very much excited). Mr. Fielding, have you seen my father ? Field. No. Blake. I saw him just a minute ago, Mary. What is the trouble ? Mary. We don't dare to go home from school ! Field. Why ? Mary. There's a fight down at Lower 7. Some of their men are in the lower corral right where we go by from school, and one of them is waving a six-shooter in the air, and one of them shouted for us not to go by. The children are just down the road and they don't dare to go any further. I wasn't afraid. I was going right down there, but the children held onto me and I couldn't get away from them. (Mary's eyes flash as she talks.) Blake. I will go with you, Mary, and find your father. (He places his books on the table and exits, c, with Mary. There is another slight pause as Field, goes on with his work. Rose Hawkins comes to door, c. Rose is a typical western girl, very pretty, in a western riding costume.) Rose. May I come in, please ? Field, (hurrying forward to greet her, and very much pleased to see her). Miss Hawkins ! (She enters, and they shake hands.) Rose (glancing about). Oh, are you alone, Mr. Fielding? THE GIRL FROM UPPER 7 7 Field. Yes, the boys are all down on the road. Won't you sit down ? Just a minute, you know, and rest ? Rose {hurriedly, glancing about as if uncertain of the pro- priety of her presence in the office). Oh, no, thank you, I really couldn't. I have been to the post-office and I was just going home. I met Joe Hinckley, and he said some of their boys were in a fight and the children didn't dare to go by from school. I was so worried about Mary. Have you seen her ? Field. Yes. She is all right. She was here for a minute and Mr. Blake has gone with her to find your father. Rose. Oh, I'm so relieved. If anything happened to Mary it would kill father. He fairly idolizes her, you know. Field. Yes, I have noticed that he takes from her what he wouldn't stand from Noah for half a second. Rose. Or from me, either. Field, {laughing) . Mary certainly has plenty of spirit. Rose. Oh, it isn't anything to laugh at. It's dreadful, and we are all to blame. We spoil her completely. You see, mother died when Mary was only ten days old. She has mother's face and mother's name, and we have all been her willing slaves. I have tried so hard to be all that mother would have been to her, and sometimes I feel as if I had failed completely. Field. No, you haven't, Miss Hawkins. You are a won- derful sister to Mary, and every one thinks so. Mary is all right. She needs a lot of vim to live in this part of the country. Rose. I'm beginning to think she does. Things have always been quiet enough up here ; but since you began to build the railroad, it seems as if there had been nothing but trouble. Field. Well, now, Miss Hawkins, it is hardly fair to blame us. Rose. Noah saw the Black Raider last night. Field. Oh, Miss Hawkins, that's a little steep, you know. I'm afraid Noah was stretching it. Rose. I don't believe so. He came tearing into the house after father and they both went out. Field. Really ? What was the raider like ? Rose. I guess Noah didn't stop long enough to get a very good view. He said he had a black mask and a long black cloak wrapped around him. Field. That sounds interesting, doesn't it? 8 THE GIRL FROM UPPER J Rose. .Yes, very ! ( Walks to door.) Field. Must you go? Rose. Yes, I shouldn't have stayed as long. Good-bye. Field. Good-bye. (Rose exits, c. Field, goes to table ; takes a cloak and mask from the drawer ; holds them up and laughs as he looks at them.) Dangerous property ! (Hears some one coming ; slips them wider robe on seat. Francis Hughes and Mason enter, c. Mason throws his hat itito a chair and both sit doivn and look disgusted.) Mason (as he drops into chair). Darn ! Hughes. Will some one kindly tell me what to do next? Field. For heaven's sake, what has happened ? I have to stay cooped up here and sling ink and rattle the ivories while you fellows have all the fun. Mason. Fun ? You can go out in my place in the morn- ing, and more than welcome. Field. Are we really going to have a row, Hughes ? Hughes. It looks very much like it, unless we stop work on the road. Malone seems to want trouble, and I don't under- stand why. He jumps at every possible excuse to make a fuss. Field. Oh, he's just naturally ugly. It's growing chronic with him. You wouldn't stop work on the road, would you? Hughes. Stop ? For a piker like Steve Malone? I thought you had worked with me long enough to understand me better than that. Field. I beg your pardon. I did know better. Of course you will fight it out, and I will fight with you when the time comes. Mason. And I. Hughes. Thanks, fellows. I appreciate your loyalty more than you can know. I needed a bracer and you have given it to me. I want to fight with you, not lead you, and I wish we had a good man to follow. For heaven's sake, why don't they hustle a manager out here from some direction? I am no more fit to fill this position ! Either of you would do twice as well, and it's mighty nice of you to be willing to take orders from me. Mason. Hughes, you shouldn't feel that way. We're mighty glad to have a man like you in the place to take orders from. Field. That's right, Hughes ! You are doing great work. THE GIRL FROM UPPER J g You are just the one to keep things going for McShane. You know the country around here so well, and half the time we don't know what we are doing and we just bluff it out. Mason (to Hughes). Did anyone tell you that McShane's son had come on from the East ? Arrived last night ? Hughes (with interest). No. Where did you get that? Field. Lewt Benson told me. ( Walks to door, c. , and stands looking out. ) Hughes. Well, thank heaven if it's true. Say, our little servant hasn't shown up, has he ? Field. He has not. Hughes. I would give a good deal to know where he dis- appeared to all of a sudden. Field. Ah, here comes our little Noah's ark I Enter Noah Hawkins, c. Noah. You think that's funny, I suppose, but I tell you I'm getting awfully sick of it. It's bad enough to have a Jonah for a father without being related to the ark. Mason. There, Noah, forget it ! It isn't like you to be peevish. Noah. I can tell you what has become of your servant. He's working at Upper 7. All. What? Field. Well, leave it to me. I'll go up at the first oppor- tunity, and I'll make our almond eyed little menial see more stars than there are in the flag. Mason (to Noah). How do you know he is up there ? Have you been to Upper 7 ? Noah. No. Tokio brought me a message this noon to bring to Mr. Hughes, and he told me he was working there. I hope this isn't very important. (Hands Hughes a note.) This is the first chance I've had to come down. Dad went away this morning, and he left me enough work for sixteen men, and I couldn't leave without doing at least half the things I was told. Hughes. Of course not. (Opens the note and reads it.) Well — for What the deuce ? Is this message from Mr. McShane's son ? Noah. He hasn't any son. Hughes. Who is G. McShane ? Noah. His daughter. 10 THE GIRL FROM UPPER 7 All. Daughter ? * Noah. Yes. Genie, I think her name is. Mason. Do you know what you are talking about? Or are you just guessing at it ? Noah. Why, I know. I ought to know. I have talked with Miss McShane. Hughes. You have ? Well, will you kindly tell me if she is a little out in the upper story ? Noah. Well, I guess not so you'd notice it. Mason. What has she written to you, Hughes ? Do you mind telling us ? , Hughes. Not at all. It isn't of a private nature. Or if it is, it's so darned private that no one but herself knows the meaning. [Reads.) " My dear Mr. Hughes : — Sit tight and attend to your knitting and I will see you soon. G. McShane." All. What? Hughes. See for yourselves ! Noah. Yes, that sounds just like her. Mason. The deuce it does ! What's the matter with her? Noah. She's kind of queer. She told me her father wanted her to come down here and take charge of things until a mana- ger gets here from New York, or Boston, or some place. Any- way it's going to take about a week for him to get here, and the Lord help you while she is running things. Believe me, there's some female at Upper 7, and if she doesn't move you fellows around some. Field. Well, good-night ! How old is she? Mason. What does she look like ? Noah. Oh, she's about forty-eight or none, I should say. She's a tall, angular, broad-shouldered suffragette-looking lady, who looks as if she had a hand in ruling the universe. Mason. Well, I protest ! Field, (indignantly). What right has McShane to send her down here interfering in something she doesn't know anything about ? Hughes. Now, see here, fellows, she is McShane's daughter, and we certainly must show her respect no matter what she says or does. It can't last but a few days at the most, and probably Noah's imagination has run away with him a little. Noah. Wait and see ! Hughes. I don't know how you fellows feel but I for one want to hold down my job here. I certainly shan't get in wrong with Miss McShane if I can help it. THE GIRL FROM UPPER J II Noah. Better not. Take it from me. Say, I'm going to leave my books here and come back later. {Places some books on the table and exits, C.) Hughes. Heavens, I'm starved ! Ned, I guess it's about your turn to get dinner for us. Field. Well, you have another guess. Hughes. The first day Tokio stepped out I got the dinner, and the second day Mason. I did. Field. Yes, a swell feed you gave us ! A can of Camp- bell's chicken soup ! Hughes. And last night Mr. Blake officiated. It is cer- tainly up to you, Ned. Field. I tell' you there is nothing doing. I'm completely worn out, and (Hughes and Mason both rush to him and stand over him, threatening him.') Hughes. Like fun you are ! Mason. What do you think of us ? You are too lazy to live ! Hughes. I guess you will take your turn ! Field. I guess probably I will ! [Exit, R. Hughes (throwing himself down on seat). Gee ! I'm tired ! Mason. Don't say a word ! (Exits, l. ; returns with a box. He places the box on the table, c. ; pulls the table to l., leaving a clear stage. He sits down by table, opens box and takes out a lot of stockings.) Say, Hughes, can you lend me a pair of stockings ? Hughes. Lend you a pair ? You had better return the four pairs you have already borrowed. I am wearing the last pair of clean ones I am blessed with. Some of us will have to take a hand at washing if we can't find a new servant pretty soon. Mason. These are all clean, but Tokio vamoosed before he did the mending. Hughes. Aren't any of those yours? Mason. Yes, here's a pair ; but Great Scott (putting his hand through a large hole in the heel), I can't wear these. Hughes. Fill up the vacancies and you can. Mason. By Jove, I believe I'll try ! (Gets out a darning 12 THE GIRL FROM UPPER "J needle and some cotton.) Say, I don't believe we appreciated Tokio to the full. He certainly was the handy little man to have around. Qee ! It's a good thing a darning needle has a large eye.* {Threads the fieedle with an effort.) E?iter Field., r., an apron tied around his neck, stirring a mixture in a bowl. Field. Say, you heartless wretches, you used up all the canned goods, and I'm having to make something. Mason {sticking the ?ieedle in his thumb). Ow ! Mother ! (Field, and Hughes laugh.) That's right ! Laugh ! It went pretty nearly all the way through ! Field, {stirring the mixture). , Say, have either of you fel- lows any idea if this is thick enough ? Mason. Let's have a look. {Crosses to Field., and Hughes follows. They look at the mixture with interest.) - Hughes. Heavens ! What an excruciating odor it has. Mason. What is it ? Field. Great Scott ! I don't know ' Hughes } ,. , 7 >. j Don't you know what you are Mason \ {together). | makhl g ? Field. No, I haven't the least idea. Enter Genie McShane, c. She is about eighteen ; very pretty ; full of life ; she is dressed strictly up to date and looks anything but in keeping with her surroundings. Genie. May I come in, please? {The felloivs stand staring at her in astonishment.) Field, {suddenly remembering his appearance). Well, I guess I'll be excused. {Makes a hurried exit.) Genie. I really hope you will pardon my intrusion. You see, I am lost, and I thought perhaps some one in here could tell me where I am. {Looks from one to the other.) Perhaps you can't after all. I don't know, though {walking up to Hughes), you look quite intelligent. Perhaps you can tell me. {Speaks very rapidly.) You see, you are here and I'm where you are, and if you know where you are you can tell me where I am. THE GIRL FROM UPPER J 1 3 Mason (looking dazed). Why — you — I — we — you am I mean I are I Genie. You don't know where you are after all. It's too bad ; but never mind. Mason {indignantly). Why, of course I know where I am, and where you are, too, for that matter. You are in Sedhill County, at the foot of the Upper 7 trail. This is an old ranch house which is being used as an office of the new railroad. It also serves as— a— er— club for employees of the road. Does that help you ? . Genie. Oh, yes, thank you very much. If you don t mind I think I'll rest a few minutes. I'm glad this is an office. It's quite decorous to rest in an office, isn't it? (Sits down at table.) I might as well make myself useful while I ^ stay. (Takes up Mason's stocking and darns it.) You know just at first I thought this was a class in domestic science. It's too bad you haven't a sewing-machine here. It would be a whole lot easier to seam this up on a sewing-machine. (Speaks to Mason as she glances at Hughes.) Pardon me, but is this other young man a deaf mute ? Mason. Oh, no! He can talk and can also hear fairly well. __ . Genie. Isn't that nice? (Smiles at Hughes.) You know I'd just love to hear you say something. Hughes. I'm sorry if I have been lacking in courtesy, but to tell the truth you knocked every idea out of my head that I ever had or ever hope to have. There are very few young ladies living around here, and those few are not just like you. Would you mind telling us if you suddenly dropped into our midst from heaven ? Genie. O-o-o-o ! I knew I'd love to hear you talk. You have a splendid voice. It's a shame for you to remain silent so long at a time. You have paid me the nicest compliment I ever had. In my wildest dreams I never could hope to be likened to an angel. I must be improving. That will be joy- ful news to Ma and Pa and all the teachers I ever had. Enter Steven Malone, c. He is a rough-appearing ranch- man. Mal. {regarding Genie in astonishment). Well, I'll be hanged ! . , , T Genie. No doubt about that. You have just the look. 1 don't believe you will have to wait long, either. I 4 ° THE GIRL FROM UPPER 7 ( Mal. {advancing toward Genie). Smart, ain't yer? (Hughes and Mason regard Mal. with apprehension, and hughes steps forward as Mal. ze/tf/^ /to£/^ Genie.) mT E ' T?uf*7}*} \ F* the ori S inal lktl e prize package. Mal. Huh! I didn't know you fellows had a caller Genie. 1 hey haven't. I'm not calling. I'm visiting. I'm perfectly at home and I think I shall stay for dinner Hughes (regarding Mal. anxiously). I think whatever you have to say, Malone, had better wait until a little later in JT^ * °u' n °J Let , him Sa ? k now ' rm sur e I should CX u£ He l00ks as if he might say such Mal. Wal, I don't know how interesting it'll be, but I am' going ter say nothin' it would hurt a Sunday-school teacher ter listen to. I jes want to say this, Hughes. You hev been running your tracks on Lower 7 land fer quite a spell back lo-morrow morning your men will take up those tracks ! IjEnie. You just bet they won't ! Mal Wal I'd like to know what in thunderation you've got to do with it? y Genie I guess you'll find I have considerable to do with this an?ir G McShane ' and rm representing my father in (Mason and Hughes regard her with both surprise and interest.) Mal. (with a sneer). Are you the new manager they've been telling about that was coming from the East? Genie. No, I'm not. He'll be here before long, and in the meantime Mr. Hughes will continue to run things here ■ and you can take this from my father, through me, that our men will go right on as they have started. Mal. Well, you can take this from me : if your men don't clear the tracks off Lower 7 land to-morrow morning, my men win go down to the road and you'll have one lively scrap. Genie. We'll be right there waiting for you. Mal. You want a fight, do you ? Genie. No, you are the one who wants it, and if you want it you can have it. We know what we are doing, and we are going ahead. 6 ' Mal. All right. You're some spunky for a gal, but I'll THE GIRL FROM UPPER 7 l S bet you'll be sorry before you get through that you run up agin' Steve Malone. (Mal. steps close to Genie. Hughes interferes^ Hughes. You have said just about enough. Now, get | \_Exit Mal., c. >U Genie. Great big, horrid thing, to come in here and talk to me that way. (Begins to cry.) Hughes) (together, as they ( Don't do that J Mason rush toward her). { Don't cry Miss McShane Genie (wiping her eyes on Mason's stocking, which she still holds in he/hand). All right. If you don't want me to, I won't Now, what will we do next ? Hughes. Don't you think, Miss McShane, that you took rather an unfair advantage of us ? Genie. Perhaps I did, but it was a lot of fun. You were so surprised. You are Mr. Hughes, aren't you ? {Shakes hands with him.) Hitches Yes (Introduces Mason.) Mr. Mason. llmTishakTng hands with Mason). And the domestic young man in the apron was ? Hughes. Mr. Fielding. !•«-.« Genie. Perhaps I haven't helped things any by making an enemy of Mr. Malone. Hughes. I'm afraid you haven t. Genie. Well, dad said not to let him frighten us Will you take me down on the road and explain things? Dad .tried to tell me, but the doctor won't let him talk much, and I m afraid I don't fully understand. . Hughes. There's really a manager coming to take your father's place ? Genie. Oh, yes, we're going to have a manager. Hughes. Would you mind telling me just what you meant by " sit tight and attend to your knitting " ? Genie (laughing at him). Well, you see, dad was worry- ing about ending you a message, so I told him I would send on! I suppose lit may have been a little odd, but it was all I could think of. - Mason How is your father, Miss McShane ? Genie ' Oh, poor dad is in pretty bad condition, I m afraid. It's strange how people where I am are always having nervous lD THE GIRL FROM UPPER 7 prostration. I wasn't more than five when mother had it and when I went to- Madame* Morey's school, I hadn't beei there more than a month when she had it. Now dad's goHt and I ) ffi ' ta £ 1 s £y around here very long one of you will W it Mason {looking after them for a minute; going to door r < Say, Ned, have you died out there ? ' s 'g 'o aoor, r. ;. Field {coming to door, K .). You think it is a great joke I suppose, for me to make a show of myself ! S f^it Enter Blake c. Blake should be represented as about thirty years old should be tall, quiet and dignified. He is quukly followed by Fawn-No-Feaid, a striking-lfolinl y cTs"Le SlrL ShS S ' WUld Wa " a W»- A*J lris L TLe^l°J w g i aS '„■ >< <»-m and pre- forfetT {Speaking in a "f' ' l ™> drawl-,. Fawn never rJtf\ Y ° U have " 0thin § t0 remember as far as I'm con- HWt I told" 1 " 3 ' TtF'* to me again ' You »nd«Sa£d ' ? good as I am? V." V l 7° y T br ° ther aWd ? ou ar e just as Sw /, I 0X i ha ~ nt spoken t0 Mr - Mason. tofe:X ( le„XLr GreetinS ' "■*" ^ F ™ ■<*• Mason. Hughes ? Fawn. Yes. Blake. Where is he ? Mason. Gone down on the road feetTz'thlTor k T S ' She W J U Wait C' 83 * * B "^'s (ZJ! fl J, BLAKE Slfs down somewhat embarrassed s4 he ^r2d / -L Ab ." nt K br °, ther g ° eS With the fair ^aidfo see tne great road the white brothers build Ma*™ M~qu d0 f S sbe mean b y the fa ir maid ? night hane S daUghter - She came to Upper 7 last h j3LAKE {both surprised and startled). Genie McShane Mason. Yes. Do you know her? shoula K c E omeo k urh V ere. er '" *" EaSt brf ° re l ever drea ^ * THE GIRL FROM UPPER 7 1 7 Fawn. The fair maid will know trouble. They are ene- mies at Lower 7 ranch. Blake. I'm glad you are friends with us, Fawn. I was talking with your father the other day and I'm afraid he doesn't like us very well. Fawn. You build the road and the big engine will come and bring the white people more and more. They push us on and on to the setting sun and there will be no place for the red children. Fawn and her father love the Eagle's nest. (Sud- denly jumps to her feet.) Listen ! Fawn will return ! [Exit , c. Blake (looking after her). Now, what in the world did she hear ? Mason. Give it up. She would hear a blade of grass shoot. (Laughs.) You are quite a hit with the red maid, Mr. Blake. Blake. It isn't funny, Douglas. It's sad. She imagines I saved her life once. I gave her some medicine when she was so sick she thought she was dying. I was up on the Eagle's nest and her father called me to their shack. It's a dreadful thing that a girl like Fawn should be brought up in such a way. Mason. How does she happen to have such a curious kind of an education ? She talks pretty good English, but she has an Indian way of expressing herself. Blake. Her father was a Carlisle graduate and he married a white girl. She died when Fawn was born and her people tried to take Fawn away from her father. He turned against the white race and brought his child out here and built a shack on the Eagle's nest. He has brought Fawn up as an Indian girl, with Indian beliefs and customs, and yet he has educated her in such a way that you wonder what she is. She should have been brought up among her mother's people. She is a very remarkable girl. (Mary, Noah andEzRA Simpson enter, c. They make a noisy entrance, all laughing, and Mary pushing them through the door.) Hello ! m \ (together). Good-afternoon, Mr. Blake. Blake. Well, Mary, you didn't go home after all? Mary. No, sir. I met Noah, and daddy said I could stay down if I wanted to until Noah was ready to go home. Ezra. Say, what do you think? Noah saw the Black Raider last night ! i8 THE GIRL FROM UPPER J Blake. Really ? Noah. Yes, -sir. * Mary. ' And daddy went out and tried to catch him. I'll bet he gets him yet. Noah. I'll bet he does, too, and I hope I'll be there to help. Ezra. Have you heard the latest about him ? Mason. No. What's he been doing now ? Ezra. Robbed the Sedhill bank last night. Noah. And I saw him near our house. He has wings, I guess. Mason. He rides, of course ? , ' Ezra. Well, no one ever saw him on a horse. Blake. Well, if you boys are going to do any reciting we had better start in. (He crosses to table, l. Ezra and 'Noah follow him ; they take 7ip some books and are about to start in when Genie and Hughes enter, c.) Genie. Why, John Blake, I didn't know you were here. (Shakes hands with him.) Blake. Oh, yes, I have been here for many months. I'm glad to see you again, Genie. Genie. And I to see you. What are you doing out here ? Blake. Oh> teaching school through the week and preach- ing on Sunday. Mason. And acting as a brother to us fellows and a good Samaritan to every one for miles around. Blake. Oh, you exaggerate ! All. No, he doesn't. Enter Fitzhugh Montmerry-Loveland, c. He is a typical Englishman; walking-stick, monocle, and so forth. Mont. I say, pardon me. Will you tell me if I'm on the way to Upper 7 ? (Noah, Ezra and Mary double up with laughter. Blake tries to stop them.) Noah. Look who's here ! Ezra. Where did it come from ? THE GIRL FROM UPPER J IO, Genie {recovering from her surprise'). What do you want at Upper 7 ? Mont. Why, I have a letter of introduction to a chap by the name of McShane. A chap that's building a railroad, don't you know. Genie. I am his daughter. He is seriously ill, and you couldn't see him if you went up there. Mont. By Jove, I'm sorry to hear it. Perhaps under the circumstances I had better give you my letter of introduction. {Hands her the letter.) Genie. Excuse me. {Opens letter and reads it; shakes hands with Mont.) Enter Fawn, c. Fawn (/ mother ! i Irene. Oh, dear ! Flos. How disgusting ! Gen. Yes, extremely tiresome of mother ! Mur. I wish I knew where Tom was ! {All exeunt, l., with Susan.) Enter Mont., c. He takes off his hat and fans himself with it; sits down ; throws his arms back of his head ; yawns. Fleu. enters, c, dressed in cloak and mask. She goes up back of Mont., and places a six shooter against his head.) Mont, {turning). Oh, I say, what a deucedly unpleasant surprise, don't you know ! {She forces him to rise.) I say, old top, what's the trouble, anyway ? {She forces him around backward in a circle.) I say ! Cease your bally nonsense, will you? I'm no exhibition dancer, don't you know? Point the bally gun the other way for a change. You might have a sudden chill, don't you know, and if you did it would be mighty unpleasant for me, don't you know. What the deuce you want, old top? {Gives her his pocketbook.) There! That's every blooming cent I have, don't you know. You will have the satisfaction of knowing I'll have to swim back to England, don't you know. Oh, I say, you've got my money, why not quit the bally nonsense, don't you know? {She forces him out, c, and follows.) Enter Mal., r. His wrists are fastened together and he looks anything but happy. He is quickly followed by Blake. Blake. Where do you think you are going, Malone ? Mal. Oh, don't worry, I ain't going far. I don't like the company out there. I wish Hawkins would hurry up and remove me from yer midst. Blake. Malone, do you think you have any reason for speaking to me that way ? Mal. No, I ain't. You've been mighty square to me always, but you can't think I'm feelin' specially social jest now. Blake. No, I understand, Steve, and I'm sorry from the bottom of my heart. I always believed there was a whole lot of good in you and I'm disappointed. THE GIRL FROM UPPER 7 53 Mal. I reckon probably you are, but a heap o' good that's likely ter do me. (Rose enters, c.) Now, you come along ter gloat over me ! % Rose. You know I wouldn't do a thing like that. I didn t know you were here. I'm sorry, Mr. Malone; sorry in spite of what you have done. Mal. Huh ! I only wish I'd been a little more successful. I'd know yer couldn't marry Fielding arter I'm tucked away. Blake {sternly). Malone, you don't realize what you are saying ! Come, Miss Hawkins. (Rose exits, R. Blake goes to door, c.) Douglas, where are you ? Mason {stepping to door). Right here, Mr. Blake. What is it ? Blake. I only want to know that you are where you can see this door. Mason {glancing in at Mal.). Oh, leave that to me. Don't you worry. (Mason exits. Blake exits, r. Mal. throws himself into a chair by the table.) Enter Fawn, l., softly ; goes to door, c, and looks out ; goes back of Mal. and places her hand on his shoulder. Mal. {turning ivith a start). Gosh! You're enough to scare a feller to death. Where the deuce did you come from? Fawn {warningly). Hush ! Mal. See here, Fawn ! Get me out o' this ! I don't know how you got in here, but you can get me out the same way. Fawn. White chief go away ? Mal. Well, you bet ! Get me out and this crowd won't be able to see my heels for dust. Fawn. And you will not betray Fawn's father? Mal. No, not if I get away, I won't. Your father can look out for himself, but if I have to stand trial I'll get even with you for giving me away. I'll tell all I know. I won't stand the whole of the blame alone. Fawn. Come ! Mal. {holding out his hands to her). Unfasten these darned knots ! Fawn. No time ! Come ! 54 THE GIRL FROM UPPER 7 {She starts toward door^h. Mal. rises to follow. Blake enters; R.) Blake. Malone ! Fawn ! What are you doing ? Malone, I guess the safest place for you is out there (pointing, r.), whether you like the company or not. (Mal. exits, r. Fawn stands leaning against the table.} Fawn, I thought you were our friend. Instead you are Malone' s friend. Fawn. No ! Fawn hates the white chief ! Blake. Yes, it looks very much like it ! Fawn. Fawn betrayed him to you. Blake. Yes, I know you did, and now you try to help him get away from us. I don't understand. Fawn. You have the money, the papers. You don't need the white chief. Blake. No, I guess we don't. We can get along very nicely without him. Fawn. Then why not let the white chief go ? Blake. Fawn, it isn't possible that you don't understand. He must be put where he can do no more harm. Fawn. White chief would go away. Blake. Yes. No doubt of that. He would be glad to. Fawn. Harm you no more. Blake. He has never harmed me any as far as that goes, but I'm not the one to be considered. What's the matter, Fawn? Why do you want Malone to escape? I believe in my heart he is the Black Raider. Fawn. No. Blake. Who is then ? Come ! Tell me ! There is strong suspicion against Malone. I don't believe Hawkins will find any Black Raider, The more I think about it, the more sure I am that Malone is the man. Fawn. No ! Blake. Well, where did he get the money and the bank papers ? Fawn. You have them all. Let the white chief go 1 Blake. Fawn, if Malone is in any way innocent he can prove it when he comes to trial. Fawn. Let the white chief go ! Blake. Fawn, you are shielding some one ! The Black Raider ! You are making a mistake ! If Malone had an ac- complice, tell who he was and help Malone that way. Malone is certainly half guilty or he wouldn't have the stolen property THE GIRL FROM UPPER 7 55 in his possession. And another thing, you must remember that he shot at Mr. Fielding, although I never knew him to draw his gun on any one that way before. Fawn. White chief loves the Mountain Rose. Blake. Yes, I know he was crazy with jealousy, but that doesn't excuse him. Tell me what you know. Fawn. Fawn cannot tell. Blake. I will be a friend to you, Fawn, and help you to do the right thing if you will only tell me what you know. Fawn. Fawn cannot betray her own. Blake {puzzled). Your own? Your own? (Suddenly.) Fawn ! Your father ! It isn't possible that he is the Black Raider ? Fawn. Fawn's father hates the white people. Blake. Yes, yes, I know, but I never dreamed Fawn. You will let the white chief go, and Fawn and her father will go many miles to the setting sun, and the Eagle's nest will know them no more. Blake. No, you must not do that. It is wrong for you to live with such a man even if he is your father. You must come away from him and let him answer for his wrong-doing. Fawn. No. Fawn loves the red father. Fawn will stay by him. Fawn's heart aches. Blake (sympathetically). Yes, of course it does. Fawn. You will let the white chief go ? Blake. Child, I can't ! Fawn. Fawn loves the red father. Blake. Fawn, if I let Malone go and you and your father disappear at the same time, Mr. Hawkins will understand and he will trace your father. Fawn. Will try, but never find Fawn's father. Blake. Does Malone know where you would go ? Fawn. Yes. Blake. I understand. Fawn. And you will let the white chief go ? Blake. You don't know what you ask of me, Fawn. Fawn. Fawn loves her red father. Fawn will be left alone. White brother let the white chief go ! Blake. How do you think I can let him escape ? All the boys are watching this house and guarding the doors. Fawn. Fawn knows a way. Blake (in despair). Indeed? If there is anything you don't know I have yet to learn what it is. Well, go in there 56 THE GIRL FROM UPPER 7 (pointing, l.), and wait for^me. (Fawn exits, l. Blake goes to door, r.) Genie ! Just a minute, please ! (Genie enters, r.) Genie, I would give a good deal to be able to talk with your father for a few minutes. As I can't see him you must answer for him. Genie. Oh, no, John, no — I Blake. That won't do, Genie. I want you to help me. Help me to do the right thing. Genie. I help you, John ? Blake. Yes. Now, listen, Genie, and don't make any fool- ish talk. Listen and try to stand' in your father's place and answer as he would answer. Genie. Yes, John. Blake. I wish to let Malone escape. Genie (in astonishment). Let Malone escape ? Blake. Yes. Genie, Malone is guilty, but not half as guilty as he seems. He has an accomplice. That accomplice is the Black Raider. Together they have been a bad pair and they should suffer ; but, Genie, others will have to suffer more. There are Malone' s parents over on the Eagle's nest. They are the ones who must really suffer. The Black Raider has a daughter. That daughter has been our friend and has be- trayed Malone to us that we might recover the stolen property. She brought me to you to-night. Genie. Fawn, the Indian girl ! Her father is Blake. Hush ! She asks that we spare her father. She will go away with him. Malone will go away and we will never hear from them again. Genie. But, John, you are letting them go from us to per- haps do the same thing again. Blake. Yes, there is that side of it. There is also another side. I have always believed in the good in Malone. A new start in another place, perhaps, makes him a better man. Genie. But, John, our government ? Our laws in regard to such men? Don't they count? Blake. Yes, they do, Genie. I realize all that. But if we do this thing we shall have to set aside the laws of man and think only of the higher law. The red sister was ready to help the white sister. Now she asks us to spare her father. It is your father who should stand where I do. What would he say ? Genie. Let Malone go. Blake. You mean that ? Genie. Yes. THE GIRL FROM UPPER J 57 Blake (going to door, r.). Malone ! (Mal. enters, r. Genie guards door, c.) Malone, you are going far away where you will never be heard from again. Mal. Away ? You mean that Blake. Yes, we are going to let you escape. We are doing it for Fawn's sake, and the sake of your parents. Wherever you go, Malone, you are to write to me and I will take your father and mother to you no matter how far it is. That is the one thing I exact of you. You will send for them and live with them after this and make a new start in life. You will promise me that ? Mal. Yes, I promise. Blake {cutting the cords that bifid Mal.'s wrists'). I still believe in you, Malone, and I want you to also promise that you will try to redeem the past. Mal. Yes, I will try, Mr. Blake. Blake. Fawn will show you a way to get the start of Haw- kins and the boys, and then it rests with you. Take my horse. You know where you will find him, and this will help you on your way later. (Gives him some money.) Mal. No, Mr. Blake, I can't do that. I can't take your money. Blake. You must ! You will need money later, and you can't stop now for any of your belongings. You understand that? Mal. Well, rather ! Blake (going to door, l.). Fawn ! (Fawn enters, l.) Now ! Quick as you can ! Mal. Mr. Blake, will you shake hands with me? Blake. With all my heart. (Takes him by the hand.) Remember, Steve ! A new start for the sake of the old couple who love you and believe in you. Mal. I promise, Mr. Blake. Genie (going forward and offeringMAL. her hand). Good- bye, Mr. Malone. Mal. (grasping her hand). Good-bye, Miss McShane. You're all right, you are. [Exit, Mal., l. Fawn starts to follow. Blake. Fawn, I will see you again before you leave the Eagle's nest. Fawn (sadly). No. White brother will never see Fawn again. Fawn and the red father will be many miles from the Eagle's nest before the rising sun. 58 THE GIRL FROM UPPER 7 * Blake. 'But, Fawn, there are many things I would like to say to you. Fawn. No time for that. Fawn will remember all the white brother has told to her. Genie. And I want to talk to you, too, Fawn. You have done so much for me in such a short time, and now you are going away and there will be no chance for us to be friends. But you will not forget me, Fawn? (Takes a r big from her finger and slips it on Fawn's finger.) When you look at this, re- member that you have a white sister. . Fawn. Fawn will not forget. ( With a meatiing glance at Blake.) Fair maid will be happy here. Fawn's heart aches. (She exits with bowed head.) Genie (standing looking after her for a second, then turning to Blake). Well, we have done it, John ! Partners in an effort to defraud our government and abet the escape of a criminal. Blake (taking her hand). No, not that, Genie. Partners in an effort to redeem a fellow man. (They stand silent for a second. Blake suddenly looks R., with a warning glance ; draws Genie out c.) Enter Noah and Mary, r. Noah. Dad's an awful long time. I wish he'd taken me. I'd landed the Black Raider before this time. Mary. You wouldn't land a mosquito, Noah. (She stands looking at the college flags on the wall.) You haven't even spunk enough to ask dad to send you away to school. Noah. Is that so ? Mary. Yes, that's so ! Enter Hughes and Haw., c. Noah. What luck ? Hughes. None at all ! I'm so darned disgusted ! (Hughes exits, r. Haw. sits down and looks down and out.) Mary. You didn't find the Black Raider, dad ? Haw. There ain't any sech thing as a Black Raider ! Never wuz and never will be ! Don't talk to me any more 'bout any sech person 1 Mary. All right, dad. Talk about me. I'm a whole lot THE GIRL FROM UPPER J 59 more interesting than the Black Raider, anyhow. Say, can I go to Harvard when I grow up ? Haw. Gosh all Caesar, Mary, gals don't go to Harvard ! Mary. Don't they? Why not? Haven't they ever been? Haw. No, o' course not ! Mary. Well, it's time they did ! I'm going, anyway ! Haw. I wouldn't be a mite surprised, Mary, not a mite, that they probably take you in when you git there. You al- ways manage ter git yer own way. Mary (going around back of Noah). Fraid cat I Don't dare to ask him ! . Noah. Is that so? {Steps toward Haw .) Father — er— father — I — er — father Mary (standing back of him, imitating him). Yes, father ! Haw. What be the matter with you, Noah ? Be you tongue- tied all of a sudden ? Noah. No, sir, I'm not ! I just want to ask you if you care if I get a job and go to work ? Haw. A job? Wal, what in tarnation? Ain't we got work enough around home fer you to do ? Noah. More than enough ; but you see, I want a paying job. Haw. Wal — gosh' 11 — what do you want o' so much money all of a sudden ? Noah. I want to go to the academy down at Sedhill. Haw. Oh, .thet's it? Yer wants some higher edication. Wat good yer think thet's goin' ter do yer? I ain't never hed no higher edication, an' look at me ! I'm gettin' along all right. You can't go ter no 'cademy in Sedhill. That's set- tled. It's jest so much foolishness ! An' yer goin' ter stay right at home an' work fer yer father fer quite a spell longer. Understand ? Noah (turning away). Yes, sir. Mary. Now see here, father Haw. That'll do fer you, Mary. I'm talkin', an' I ain't got through. (To Noah.) Where'd Mr. Blake learn all the tomfoolery he's got stored away in his head ? Noah ((indifferent/y). Harvard. Haw. Harvard, eh? Wal, if he can git enough into yer head ter pass yer through thet'll be a good place fer you to go. Noah (in astonishment). Harvard? Me? Haw. I'd like ter know the reason why not ? If Harvard's too good for my son I'll find out the reason why. 60 THE GIRL FROM UPPER 7 Noah. You don't honestly mean that you would send me to Harvard ? Haw. Yes, you and Mary can run along together. Noah. Well, great Scott ! Enter Hughes and Ezra, r., greatly excited. Ezra rushes out L., and returns. Hughes. Where's Malone? He isn't out there and I just happened to remember that he wasn't in here when we came in ! Haw. (getting excited}. Nice time to remember it ! Ezra (pointing l.). He isn't in there ! He isn't in the house ' Haw. Come on, quick ! [Exeunt, Haw., Hughes and Ezra, c. Enter Girls, l., followed by Susan. Irene. What is it ? Flos. Where's Douglas? Mur. Where's Tom ? Oct. (Jo Mary). Do you know what has happened ? Mary. Malone has escaped. Enter Fleu., c., dressed in cloak and mask. She crosses stage and exits, L. Girls. Oh, help ! Help ! The Black Raider ! (Blake and Tom rush in, r.) Enter Mason, Field., Rose, Genie, Hughes and Haw., c. Haw. He came in here ! I saw him ! Where did he go? (Enter Mont., c.) Keep cool, gals ! Where did he go? Girls (pointing, l.). In there ! Be careful, Mr. Hawkins ! Haw. Let me at him ! In the name o' the law ! [Exit, l. Mont. Get him, old top ! Get him ! Fleu. (outside). Help ! Help ! (Haw. drags her in, L. She has the cloak half off and has removed the mask.) Haw. Gosh all Csesar ! Look what I've ketched ! That French doll o' Mis' Brent's ! Girls. Fleurette ! THE GIRL FROM UPPER J 6 1 Susan (dropping into a chair). I am quite overcome ! Mont, {regarding Fleu. in astonishment'). B-bb-by Jove ! Fleu. Oh, I faint ! I faint ! Tom. Well, faint ! It's all the same to me ! I've resigned ! (Fleu. suddenly decides not to faint.) Haw. Gosh all Caesar ! I've resigned, too ! I'm sick o' my job ! Malone's escaped, and look what I've ketched ! This ain't no work at all fer a live man ter be doin' I Where'd yer git them contraptions ? Fleu. Oo-oo, deear ! Fleurette try to play ze zhoke on ze young ladees, an' she lose ze young ladees an' she hev one dreedful time, an' one, two, tree mans chase her, an' she only play ze zhoke on Meester Montmerry. (Hands him his pocketbook.) Mont. Thanks awfully, don't you know. Fleu. I peecked ze zings up on ze floor over by ze door. Tom. By Jove, I guess that was what was hidden under that robe. Field. Quite true. They belong to me. All. What ? Rose. Oh, Ned ! Mont. Dear me ! Susan. I knew it ! Mason. Ned, isn't it about time you gave us an explana- tion ? We have all tried hard to believe in you, and you know that I would to the end, but still I think there is an explanation coming to us. Blake. Yes, Ned, I think the time has come for you to speak. Field. All right. Here goes ! One night when you fel- lows were sleeping the Black Raider paid us a visit. It was quite a while ago, when we first began to hear about him. He fooled around this room for a few minutes, didn't touch a thing, and didn't seem to be interested in anything but the plan of the road which was here on the table. He hadn't any idea that he was being watched, and when he left I followed him. I felt positive it was Malone ; and when he went to Lower 7, I felt sure. A day or two later we began to hear some lively stories of the Black Raider, so I began to go out nights in the hope of catching Malone in the act. You see, I knew Malone wanted to marry Miss Hawkins, and at that time I didn't know 62 THE GIRL FROM UPPER 7 * how much she cared for him, and — well, I didn't want her to marry the kind of a man I believed Malone to be. I wouldn't speak, for I hadn't any evidence against him, and I haven't now. Malone was the Black Raider a few nights. Of that I am sure, but he never did any damage. He had an accom- plice who was the real Black Raider, and on the nights the exciting things happened, I had Malone spotted and he wasn't doing a thing. Haw. Where'd you get this stuff? {Points to the mask and cloak.") Field. I bought the mask. I had the cloak. When I found there were two of them, I thought if I dressed as the Black Raider, I might be able to fool Malone some night and get at the truth, but it didn't work. Malone got on to me, but he thought I was Hughes. Haw. Wal, gosh all Caesar ! Young man, I'm glad I ain't got ter arrest you, anyhow. Field. So am I, Mr. Hawkins. You see, I want to be your son-in-law, and that wouldn't have been a very good start. Haw. You want to Wal, what in tarnation? See here, do you think for a minute that you can hev my Rose ? Why, I couldn't live without Rose. I guess she'll stay right in my house for quite a spell longer. That's what I guess. Field. Oh, that's all right. She can live at home if you like, and I'll go over and live with you. Enter Ezra and Noah, r. Ezra. Mr. Blake, your horse is gone. I guess that ac- counts for Malone's disappearance. Haw. Yes, an' he's got more than a start. We can't do nothin' more till daylight. How did he git out o' this house ? Genie. I shouldn't think it made any difference how he got out. The fact is that he is out. And what about the tracks on Lower 7 ? Who is going to settle that affair ? Now he is gone Lower 7 is without a manager. All. That's right, too. Mason. As far as that goes, we are without a manager. Genie. No, we are not. John, what did you do with that paper I handed you just before we left the house ? (Blake hands her a paper.) Mr. Hughes, I brought this from the THE GIRL FROM UPPER J 63 East with me. It is your appointment as manager here in my father's place. You see, my father is really a stockholder in the road and one of the officers. He came out here as a temporary manager until he could find the man fitted for the place. You are that man, Mr. Hughes. Hughes. Why, Miss McShane, I Boys. Good work, old man ! Congratulations. Blake. I can't tell you, Hughes, how glad I am that this has come to you. You had better make your first duty the finding of Lord Loveland. Hughes. Isn't it possible, Mr. Montmerry, for you to help us find the owner of Lower 7 ? Mont. Oh, ya-as, I think I could do that, don't you know. Mason. Why, you said you hadn't the least idea where Lord Loveland was. Mont. Quite true. You see, he died about two months ago, and I haven't the least idea where he went, don't you know. Ezra. Well, great Scott ! Who am I working for ? Who owns Lower 7 ? Mont. I do, don't you know. All. You ? Mont. Ya-as. You see, Lord Loveland was my uncle. He did me a great injustice a few years ago, don't you know, and we haven't been on real friendly terms, don't you know. Before he died, he found out his mistake, and as a recom- pense he left me his bally ranch, don't you know. As far as I'm concerned you can run your tracks all over it, don't you know. I'm going to take some shares in the new road, by Jove, and I fancy I can stand having some of it laid on my own land, don't you know. Hughes. Well, thank heaven that's settled ! What a day this has been ! Mason. Yes, and do you realize it all began with the coming of Miss McShane ? Genie. That's right ! Blame it on me ! I wish I had stayed in the East with mother. Mason. I wasn't thinking of blaming you, Miss McShane. You are a pretty handy person to have around. You mended my stocking. Field. Saved me from Malone. Rose. Yes, saved him for me, Miss McShane. 64 THE GIRL FROM UPPER 7 Tom. Gave me a chance to distinguish myself. Blake. Helped me make a decision. Hughes. Brought me the greatest thing that has ever come into my life. (As they speak each steps forward, for?tiivg a half-circle around Genie.) Genie (looking at them in pleased surprise). Gracious ! Have I done all that ? I guess I didn't realize. Well, if that's the case, I'm awfully glad I came to Upper 7. CURTAIN JL &!♦ Pinero's Plays Price, SO ee:ite Cacb MID fHANNFl Play in Four Acts. Six males, five females. miu-V/lirvilllJ^Li Costumes, modern; scenery, three interiors. Plays two and a half hours. THE NOTORIOUS MRS. EBBSMITH JSTSfflR males, five females. Costumes, modern; scenery, all interiors. Plays a full evening. THF PROFTirATF Play in Four Acts. Seven males, five UILi l nv/lLluniL females. Scenery, three interiors, rather elaborate ; costumes, modern. Plays a full evening. THF ^rHOni MIQTRFQQ Farce in Three Acts. Nine males, lllEi L>\^nUULilTlUlIV£ii30 seven females. Costumes, mod- ern; scenery, three interiors. Plays a full evening. THE SECOND MRS. TANQUERAY ZgfSSXi females. Costumes, modern; scenery, three interiors. Plays a full evening. ^WFFT I AVFNHFR Comedy in Three Acts. Seven males, UTTEiEil LJ\ V£i lily Ei IV. four females. Scene, a single interior, costumes, modern. Plays a full evening. THF THITWnFRRfll T Comedy in Four Acts. Ten males, Ill£i inUllL/EiIvDV/Lil nine females. Scenery, three interi- ors; costumes, modern. Plays a full evening. THF TIMF^l Comedy in Four Acts. Six males, seven females. * "*-' 1 llTlLiiJ Scene, a single interior; costumes, modern. Plays a full evening. THF WFAKTR ^FY Comedy in Three Acts. Eight males, 1 fl£i YT £i/ti\.E.Iv uLA eight females. CostumeB, modern; scenery, two interiors. Plays a full evening. A WIFE WITHOUT A SMILE 8KSi£S»ifi! Costumes, modern; scene, a single interior. Plays a full evening. Sent prepaid on receipt of price by Salter £. pafeer & Company No. 5 Hamilton Place, Boston, Massachusetts 018 683 681 5 w OI « 603 681 * Cije William barren gduiuu' of Paps f&ricf, 15 Centg «Barf> A^ YOn I IKF IT Come(i y "* F^ 6 Acts. Thirteen males, four AD IWU Lla.L, It females. Costumes, picturesque ; scenery, va- ried. Plays a full evening. CA Mil T p Drama in Five Acts. Nine males, five females. Cos- Hl!llLfL,L. tumes, modern ; scenery, varied. Plays a full evening. INfiOMAR Play m Five Acts. Thirteen males, three females. ll!UVfllAI\ Scenery varied ; costumes, Greek. Plays a full evening. MABY STTIABT Tragedy in Five Acts. Thirteen males, four fe- 1T1AIV1 JIUAA1 males, and supernumeraries. Costumes, of the period ; scenery, varied and elaborate. Plays a full evening. THP MPDPHAVT HP VPNIPP Comedy in Fire Acts. Seventeen 1UC ITIEHWIIAII 1 Vr YEillVE males, three females. Costumes, picturesque ; scenery varied Plays a full evening. BirHFI IFI1 ^* la y in Five Acts. Fifteen males, two females. Scen- fMvllLiylLiU er y elaborate ; costumes of the period. Plays a full evening. THF RIVAI S Comedy in Five Acts. Nine males, five females. 11LL nl T ALt J Scenery varied; costumes of the period. Plays a full evening. SHE STOOPS TO CONQUER 2SS&S SS^rthJSyZ ried ; oostumes of the period. Plays a full evening. TWELFTH NIOHT; OR, WHAT YOD WILL %SflJrJSZ three females. Costumes, picturesque ; scenery, varied. Plays a full evening. Sent prepaid on receipt of price by Salter $. I3a6et & Company No. 5 Hamilton Place, Boston, Massachusetts S. J. PARKHILL & CO , PRINTERS. BOSTON. U.S.A.