



Produced by David Edwards, Gonçalo Silva and the Online
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  THE
  GLOBE
  DRAMA

  ALL THE WORLD'S
  A STAGE


  AFTER TAPS


  BOSTON:
  WALTER H. BAKER & CO.
  NO. 23 WINTER STREET.

  Copyright 1876 by GEORGE M. BAKER


         {=SHAMROCK AND ROSE.= Four Acts. Ten characters.     Price, 25c.
         {=IN THE ENEMY'S CAMP.= Three Acts. Ten characters.  Price, 15c.
         {=OUT OF HIS SPHERE.= Three Acts. Eight characters.  Price, 15c.
  NEW    {=ANITA'S TRIAL.= Three Acts. =For All Girls.=       Price, 25c.
  PLAYS. {=A RICE PUDDING.= Two Acts. Five characters.        Price, 25c.
         {=AN AUTOGRAPH LETTER.= Three Acts. Ten characters.  Price, 25c.
         {=THE WAY TO HIS POCKET.= One Act. Five characters.  Price, 15c.
         {=THE BAT AND THE BALL.= One Act. Seven characters.  Price, 15c.




Plays for Amateur Theatricals.

BY GEORGE M. BAKER,

_Author of “Amateur Dramas,” “The Mimic Stage,” “The Social Stage,”
“The Drawing-Room Stage,” “Handy Dramas,” “The Exhibition Dramas,” “A
Baker's Dozen,” etc._

  =Titles in this Type are New Plays.=
  _Titles in this Type are Temperance Plays._


DRAMAS.

_In Four Acts._

  =Better than Gold.= 7 male, 4 female char.                   25

_In Three Acts._

  =Our Folks.= 6 male, 5 female char.                          15
  =The Flower of the Family.= 5 male, 3 female char.           15
  ENLISTED FOR THE WAR. 7 male, 3 female char.                 15
  MY BROTHER'S KEEPER. 5 male, 3 female char.                  15
  =_The Little Brown Jug._= 5 male, 3 female char.             15

_In Two Acts._

  =Above the Clouds.= 7 male, 3 female char.                   15
  =One Hundred Years Ago.= 7 male, 4 female char.              15
  AMONG THE BREAKERS. 6 male, 4 female char.                   15
  BREAD ON THE WATERS. 5 male, 3 female char.                  15
  DOWN BY THE SEA. 6 male, 3 female char.                      15
  ONCE ON A TIME. 4 male, 2 female char.                       15
  =_The Last Loaf._= 5 male, 3 female char.                    15

_In One Act._

  STAND BY THE FLAG. 5 male char.                              15
  =_The Tempter._= 3 male, 1 female char.                      15


COMEDIES AND FARCES.

  =A Mysterious Disappearance.= 4 male, 3 female char.         15
  =Paddle Your Own Canoe.= 7 male 3 female char.               15
  =_A Drop too Much._= 4 male, 2 female char.                  15
  =_A Little More Cider._= 5 male, 3 female char.              15
  A THORN AMONG THE ROSES. 2 male, 6 female char.              15
  NEVER SAY DIE. 3 male, 3 female char.                        15
  SEEING THE ELEPHANT. 6 male, 3 female char.                  15
  THE BOSTON DIP. 4 male, 3 female char.                       15
  THE DUCHESS OF DUBLIN. 6 male, 4 female char.                15
  THIRTY MINUTES FOR REFRESHMENTS. 4 male, 3 female char.      15
  =_We're all Teetotalers._= 4 male, 2 female char.            15

_Male Characters Only._

  A CLOSE SHAVE. 6 char.                                       15
  A PUBLIC BENEFACTOR. 6 char.                                 15
  A SEA OF TROUBLES. 8 char.                                   15
  A TENDER ATTACHMENT. 7 char.                                 15
  COALS OF FIRE. 6 char.                                       15
  FREEDOM OF THE PRESS. 8 char.                                15
  =Shall Our Mothers Vote?= 11 char.                           15
  GENTLEMEN OF THE JURY. 12 char.                              15
  HUMORS OF THE STRIKE. 8 char.                                15
  MY UNCLE THE CAPTAIN. 6 char.                                15
  NEW BROOMS SWEEP CLEAN. 6 char.                              15
  THE GREAT ELIXIR. 9 char.                                    15
  THE HYPOCHONDRIAC. 3 char.                                   15
  =_The Man with the Demijohn._= 4 char.                       15
  THE RUNAWAYS. 4 char.                                        15
  THE THIEF OF TIME. 6 char.                                   15
  WANTED, A MALE COOK. 4 char.                                 15

_Female Characters Only._

  A LOVE OF A BONNET. 5 char.                                  15
  A PRECIOUS PICKLE. 6 char.                                   15
  NO CURE NO PAY. 7 char.                                      15
  THE CHAMPION OF HER SEX. 8 char.                             15
  THE GREATEST PLAGUE IN LIFE. 8 char.                         15
  THE GRECIAN BEND. 7 char.                                    15
  THE RED CHIGNON. 6 char.                                     15
  USING THE WEED. 7 char.                                      15


ALLEGORIES.

_Arranged for Music and Tableaux._

  LIGHTHART'S PILGRIMAGE. 8 female char.                       15
  THE REVOLT OF THE BEES. 9 female char.                       15
  THE SCULPTOR'S TRIUMPH. 1 male, 4 female char.               15
  THE TOURNAMENT OF IDYLCOURT. 10 female char.                 15
  THE WAR OF THE ROSES. 8 female char.                         15
  THE VOYAGE OF LIFE. 8 female char.                           15


MUSICAL AND DRAMATIC.

  AN ORIGINAL IDEA. 1 male, 1 female                           15
  BONBONS; OR, THE PAINT KING. 6 male, 1 female char.          25
  CAPULETTA; OR, ROMEO AND JULIET
    RESTORED. 3 male, 1 female char.                           15
  SANTA CLAUS' FROLICS.                                        15
  SNOW-BOUND; OR, ALONZO THE BRAVE,
    AND THE FAIR IMOGENE. 3 male, 1 female char.               25
  THE MERRY CHRISTMAS OF THE OLD
    WOMAN WHO LIVED IN A SHOE.                                 15
  THE PEDLER OF VERY NICE. 7 male char.                        15
  THE SEVEN AGES. A Tableau Entertainment.
    Numerous male and female char.                             15
  TOO LATE FOR THE TRAIN. 2 male char.                         15
  THE VISIONS OF FREEDOM. 11 female char.                      15




  AFTER TAPS


  A Drama in Three Acts


  COMPLETED BY
  RACHEL E. BAKER

  FROM NOTES AND UNFINISHED MANUSCRIPT OF THE LATE
  GEORGE M. BAKER


  BOSTON
  1891




CHARACTERS.


  GORDON GRAHAM                  _Colonel in Union Army_

  ROGER CARRUTH.

  PINKERTON POTTS                  _Major in Union Army_

  BIJAH BRIGHT                     _The Standard-bearer_

  RANDOLPH NEWCOMB                _A Southern gentleman_

  PETE                              _A small contraband_

  PATRICK KILROY                               _Private_

  RUTH GRAHAM                    _Colonel Graham's wife_

  DOROTHY GRAHAM               _Colonel Graham's sister_

  POLLY PRIMROSE.

  SOLDIERS AND GUARD IN ACT II.


  ACT I.—“Shot in the back.”

  ACT II.—“After Taps.”
    SCENE 1.—Noon.      SCENE 2.—Evening.

  ACT III.—“Home Again.”

Costumes of the period.


COPYRIGHT, 1891, BY RACHEL E. BAKER.




AFTER TAPS.




ACT I.

SHOT IN THE BACK.


SCENE.—_Handsome apartment in the house of_ COLONEL GRAHAM _in_
BALTIMORE. _Door opening into hall, centre. Wide window_, R.C. _Mantel
with fireplace_ L. _in flat. Glass over mantel. Door_ R. _in flat.
Table_ L.C. _Lamp on table, books. Chair beside table_ L. _Arm-chair
near mantel. Door_ L. _in flat. Curtain raised to tune of “Yankee
Doodle,” by drum and fife at head of a company of Union troops, seen
passing window._ POLLY PRIMROSE, _discovered with duster in hand,
alternately peeping out of window and dancing about stage, singing_.

POLLY (_sings_).

    “Father and I went down to camp,
      Along with Captain Gooding;
    And there we saw the girls and boys,
     As thick as hasty pudding.
    Yankee Doodle keep it up,
      Yankee Doodle Dandy,
    Mind the music and the steps,
      And with the girls be handy.”

(_Speaks._)

Another thousand of Maine's boys marching down into Dixie. Bless their
dear hearts! If this keeps on much longer, there will be none left for
the hopeful Down-East girls and full-blown spinsters, whose natural
expectations are warm corners in the hearts of these brave heroes.
What a queer lot of men. Some have left their sweethearts behind them,
I suppose. Heigho! There's no one to leave me behind. When I think
of the good times Down East, it just makes my mouth water. I'd give
a week's wages to catch a glimpse of some familiar face. (_Coming
down._) I wish I were a man. Nothing I'd like better than to join
those ranks and march with them; but here I must stay and dust chairs
(_dusts spitefully_) and tables. I know the military tic-tacs—no,
that isn't right. I mean tactics. (_Executes manual with duster._)
Present—arms—no—feathers. Order—feathers. Indeed, I'd like to,
for my next winter's bonnet, if there were only some one to pay the
bill. Right shoulder, feathers. (_Carries duster to left, in place of
right._) Ha, ha, if any one could see me now, they would take me for a
condensed, awkward squad. (_Music outside._ POLLY _marches up and down
with duster at right shoulder_.) I can feel the military thrill down to
the tips of my toes. Think of the excitement when the bugle calls, and
you hear the cry, “Charge feathers—charge!” (_Charges with duster at
door_ C., _into the face of_ BIJAH BRIGHT, _who appears with flag; he
is bespattered with mud_.)

BIJAH. Phew! pooh—ah, choh! (_Sneezes._) What are you trying to
do, smother a fellow? Giving us the great Othello act, with me as
Desdemona! (_Looks at_ POLLY.) Why, no!—yes, it is, Polly—Polly
Primrose.

POLLY. Bijah Bright! Well, I declare!

BIJAH (_taking both of_ POLLY'S _hands_). Why, the sight of you is good
for a pair of diseased optics.

POLLY. But why are you here in this house?

BIJAH. It must have been the magnetism of your bright eyes, Polly.
When I was marching along, I felt so drawn towards this house, sez
I to myself, sez I, here, Bijah, is the place to find rest for your
weary bones, and rations for an aching void. And, behold, I find you,
my long-lost treasure. (_Tries to embrace_ POLLY, _who steps aside_.)
Ah, Polly Primrose, the way you've played tag with that vital organ of
my being, the heart that beats for you alone, would frighten any other
man, but I've jest made up my mind,—

    “A sweetheart's a sweetheart,
      As all the world knows,
    And Polly's my Polly,
      Wherever she goes.”

POLLY. Don't be so sure of that, Mr. Bright. Don't flatter yourself
that you are the only man that calls me, “My Polly.”

BIJAH. Let me but find him. He'll wish he hadn't been born.

POLLY (_laughing_). Same Bijah Bright. Don't be worried
(_coquettishly_), for I think you will find me the same Polly.

BIJAH (_taking both her hands_). Wal, now, that's something like. When
the temperature of your society is at zero, it makes my very blood
congeal.

POLLY. Where did you come from?

BIJAH. Right from Oldtown, Polly, chuck full of patriotism and peace.

POLLY. Seems to me those two words don't jine well, Bijah. Patriotism
and fight make the best partnership.

BIJAH. The fighting is all wrong, Polly. Do you see that flag? You bet,
I'm proud of it. I've made a big wager that I can carry that flag from
Oldtown to New Orleans.

POLLY. How do you get along?

BIJAH. Thus far, swimmingly; from Oldtown to Baltimore has been a
triumphant march, but just here I've struck something.

POLLY. From the looks of that eye, and the mud on that coat, I should
say something had struck you. Bijah, you're a crank. Your peace and
flag won't stir anything down this way. If you are not both suspended
from a tree before you reach New Orleans, you may think yourself
lucky. If your wits were as sharp and dazzling as your name, you would
shoulder your gun and join that regiment.

BIJAH. Oh, Polly, you're way off. No such work for me. I am the
Standard Bearer. (_Takes flag._) Think of the glory that will shine
like a halo about my name. When posterity shall gently drop a tear for
memory's sake, and in the language of the poet thus speak of one you
knew so well:

    There was a youth named Bijah Bright,
    Who gloriously did lead the fight.
    No sword or musket carried he
    To shed life's blood on land or sea;
    His honest arm the flag did wave,
    And urging on the soldiers brave,
    The cause was won: a noble fight,
    And thanks are due to Bijah Bright.

POLLY (_beaming with admiration_). I declare, Bijah, jest as much of a
poet as ever. Do you remember some of your poetry at the exhibition of
the Oldtown School?

BIJAH. Indeed I do. When old Deacon Sasafrass visited the school he
always wanted something original; so, one day, thought I'd give it to
him. Let me think—yes, I have it. (_Recites with awkward gestures._)

    Our yaller hen has broke her leg,
    Oh, never more she'll lay an egg.
    The brindle cow has gone plumb dry,
    And sister Sue has spoiled a pie.
    Thus earth is full of sin and sorrow,
    We're here to-day and gone to-morrow.

Ha, ha, Polly! Those were good times in Oldtown. Do you remember them?

POLLY. Do I? Don't I?

BIJAH. When I thought you were the purtiest girl in town; when the
sight of you in your best bib and tucker made me feel as though there
were an ice-cream factory in full operation on one side, and a hot air
furnace on the other.

POLLY. Oh, Bijah!

BIJAH. But times are changed. The girls are changed, but you, Polly,
are still a purty—

POLLY. Oh, Bijah!

BIJAH. Old girl.

POLLY (_indignantly_). Bijah!

BIJAH. Now, don't get excited, Polly; I'm by no means a blooming flower
in the garden of youth myself. I've lived long enough to find out that
money is the root of all evil; that an old rat is more capable from
experience of keeping out of traps than a young one; that life may be
worth living, but it isn't worth much of anything else; that an old
sweetheart is at least a blessed memory; and so, when this cruel war is
over, I'm going to lay my heart at the feet of—Miss Polly Primrose.

POLLY. Oh, Bijah!

BIJAH. In the meantime, as I am rather hungry, a bite of something from
the cupboard wouldn't go bad.

POLLY. Then come with me.

BIJAH. Thanks, Polly; but before I accept of your hospitality, who is
the proprietor of this establishment?

POLLY. Colonel Gordon Graham.

BIJAH. What? You don't mean it. (_Aside._) Here's luck. (_Aloud._) That
grand old fellow?

POLLY. Do you know him?

BIJAH. Know him? Wal, I guess. Shot in the back. A dastardly trick.

POLLY (_holding out hand_). Bijah, give me your hand; you are my friend
for life. The colonel is one of the bravest and best of men. The
shot that brought him down could not keep him there: for, beckoning
to two of his men, he was