ULES ECKERT GOODMAN
Play without intermission by Philip Barry. Produced
originally by the Theatre Guild at the Martin Beck The-
atre, New York. 5 males, 4 females, i exterior scene. Mod-
One of the most striking and original plays ever written by an
American, and on the occasion of its production in New York it
aroused heated controversy. It is the most ambitious and brilliant play
Mr. Barry has ever attempted, and is concerned with the baffling
problems which every adult human being is at some time forced to
face. The characters seem hardly to exist at all in relation to other
people, which is surely the reason why Mr. Barry discovered (some-
what as Chekov discovered) that to invent a plot for them would be
to deprive them of the kind of reality he was after. These people are
essentially introspective, centripetal, literally self-seeking. And what
are they after? Just an answer to the question that every thinking
human being must ask himself and vainly: What is life? What is
death? Where are we going, and why? What is the meaning of past,
present and future? Published only in bound form.
"A glittering play of unreality and magic to quicken the pultei and
itir the minds . . ." Richard Lockridge, N. Y. Sun.
(Royalty on application.) PRICE $2.00 per copy (in cloth).
THE FARMER'S WIFE
Comedy in 3 acts. By Eden Phillpotts. Produced origi-
nally by Charles Coburn in New York City. 9 males, 13
females. 2 interiors. Modern costumes.
This delightful comedy of English people was one of the long run
successes in London before coming to New York. The story is concerned
with Samuel Sweetland, a Devonshire farmer and a widower, who de-
cides to marry again. Aided and abetted by his housekeeper, Araminta,
he makes out a list of the various eligible women in the county and pro-
poses to them in turn. But they all refuse him, and in the end he finds
at home, in Araminta, the one woman.
(Royalty on application.) PRICE 77 CENTS.
A PLAY IN FOUR ACTS AND TEN SCENES
JULES ECKERT GOODMAN
Dramatized from the story of
ROBERT LOUIS STEVENSON
BY THE PUNCH & JUDY THEATRE COMPANY, INC.
All Rights Reserved
CAUTION: Professionals and amateurs are hereby warned that
"Treasure Island," being fully protected under the copyright laws
of the United States of America, the British Empire, including the
Dominion of Canada, and the ether countries of the Copyright Union,
is subject to a royalty, and anyone presenting the play without the
consent of the owners or their authorized agents will be liable to
the penalties by law provided. Applications for the acting rights
must be made to Samuel French, at 25 West 45th Street, New York
City, or at 811 West 7th Street, Los Angeles, Calif.
SAMUEL FRENCH, INC.
25 WEST 4STH ST., NEW YORK, N. Y.
811 WEST 7TH ST., Los ANGELES, CALIF.
SAMUEL FRENCH, LTD., LONDON
SAMUEL FRENCH (CANADA), LTD., TORONTO
All Rights Reserved
Especial notice should be taken that the possession of
this book without a valid contract for production first
having been obtained from the publisher, confers no right
or license to professionals or amateurs to produce the
play publicly or in private for gain or charity.
In its present form this play is dedicated to the reading
public only, and no performance, representation, produc-
tion, recitation, public reading, or radio broadcasting may
be given except by special arrangement with SAMUEL
FRENCH, 25 West 45th Street, New York, or at 811 West
7th Street, Los Angeles, Calif.
This play may be presented by amateurs upon payment
of a royalty of Twenty-Five Dollars for each performance,
payable to SAMUEL FRENCH, at 25 West 45th Street,
New York, or at 811 West 7th Street, Los Angeles, Calif.,
one week before the date when the play is given.
Professional royalty quoted on application to Samuel
French, at 25 West 45th Street, New York, or at 811
West 7th Street, Los Angeles, Calif.
Whenever the play is produced the following notice
must appear on all programs, printing and advertising for
the play : "Produced by special arrangement with SAMUEL
Attention is called to the penalty provided by law for
any infringement of the author's rights, as follows :
"Section 4966: Any person publicly performing or
representing any dramatic or musical composition for
which copyright has been obtained, without the consent
of the proprietor of said dramatic or musical composition,
or his heirs and assigns, shall be liable for damages there-
of, such damages, in all cases to be assessed at such sum,
not less than one hundred dollars for the first and fifty
dollars for every subsequent performance, as to the court
shall appear to be just. If the unlawful performance and
representation be wilful and for profit, such person or
persons shall be guilty of a misdemeanor, and upon con-
viction shall be imprisoned for a period, not exceeding one
year." U. S. Revised Statutes: Title 60, Chap. 3.
A FRUIT SELLER
BILL BONES THE " CAPTAIN *
LONG JOHN SILVER
CPTAIN FLINT The Parrot
BEN GUNN The Maroon
THE SCENES OF THE PLAY.
ACT I. The Admiral Benbow Inn, Black Hill
ACT II. SCENE i The quay at Bristol.
SCENE 2 The quay at Bristol, a few
SCENE 3 The Hispaniola at anchor
off Treasure Island some weeks later.
ACT III. SCENE I Treasure Island at dawn, the
SCENE 2 The stockade, an hour later.
SCENE 3 The Hispaniola adrift, night
of the same day.
ACT IV. SCENE i The stockade, the follozving
SCENE 2 Spyglass Mountain; the
SCENE 3 Ben Gunn's Cave.
The story of " Treasure Island " is so well known
that only a brief resume need be indulged in here
to freshen everybody's memory, and how can this
be done half so well as in the words of the im-
mortal little hero, " Jim " Hawkins :
" Squire Trelawney, Dr. Livesey, and the rest of
these gentlemen having asked me to write down
the whole particulars about Treasure Island, from
the beginning to the end, keeping nothing back but
the bearings of the island, and that only because
there is still treasure not yet lifted, I take up my
pen in the year of grace 17 , and go back to the
4 TREASURE ISLAND.
time when my father kept the ' Admiral Benbow '
Inn, and the brown old seaman, with the sabre cut,
first took up his lodging under our roof.
" I remember him as if it were yesterday, as he
came plodding to the inn door, his sea-chest follow-
behind him in a hand-barrow ; a tall, strong, heavy,
nut-brown man; his tarry pigtail falling over the
shoulders of his soiled blue coat; his hands ragged
and scarred, with black, broken nails ; and the sabre
cut across one cheek, a dirty, livid white, I remem-
ber him looking round the cove and whistling to
himself as he did so, and then breaking out in that
old sea-song that he sang so often afterwards :
* Fifteen men on the dead man's chest
Yo ho ho, and a bottle of rum.' "
SCENE : Interior of " Admiral Benbow Inn '". Be-
fore the curtain goes up there is heard singing
in loud boisterous voices. When the curtain
rises the CAPTAIN is seen seated at the head
of the table with five or six men about the table.
(Stools for table not chairs) AH drinking and
the CAPTAIN broivb eating them.
CAPTAIN. (Seated table R. Singing with villagers
before curtain goes up)
" Fifteen dead men on a dead man's chest
Yo ho ho, and a bottle of rum.
(Curtain. Cross to head of table c. Sits) Wait!
Wait I say We'll sing that over and louder every-
one of you sing Sing now (They sing)
Fifteen dead men on a dead man's chest
Yo ho ho, and a bottle of rum
Drink and the devil had done for the rest
Yo ho ho, and a bottle of rum
(Hits on table with his tankard) That's enough-
Silence I say! (As a man gets up) Where you
MAN. I am going home, sir
CAPTAIN. (Thunders at him) Sit down! Sit
6 TREASURE ISLAND.
down! by thunder you'll do as I say (The man
fearfully sits down. The CAPTAIN draws his cutlass
and places it on the table in front of him) Not one
of you leaves, do you hear?
THE MEN. Yes Yes
CAPTAIN. It's a foggy evening and I'll have com-
pany company (Hits on the table with the end
of his cutlass) Mrs. Hawkins! Mrs. Hawkins I
(MRS. HAWKINS rushes in from the taproom L. c.)
MRS. HAWKINS. (L. of table) Yes yes, Cap-
CAPTAIN. Why don't you come when you hear
me More drinks, Mrs. Hawkins
MRS. HAWKINS. (Pleadingly) Oh, please
CAPTAIN. What! Did you hear what I said!
Did you !
MRS. HAWKINS. Very well, sir, I'll get it ! (Goes
out to taproom L. c.)
CAPTAIN. You two, there what were you whis-
pering about I saw you I'll have no whisperings,
you hear Well Why don't you speak?
A MAN. If you please, sir
CAPTAIN. Who told you to speak (Hits on the
table with end of cutlass) Mrs. Hawkins! Mrs.
Hawkins! I'll have the rum! Rum! Rum you
A MAN. Let me go get it for you, sir.
CAPTAIN. Sit down.
ANOTHER MAN. (Getting up) It's late and we
CAPTAIN. Sit down, I say ! (The men sit down)
Not a man leaves I'll not be left alone with those
faces out there in the frog-
A MAN. But there are no faces
CAPTAIN. Who asked you to speak By thunder,
TREASURE ISLAND, 7
I've seen men run through for less Rum! Rum!
MRS. HAWKINS. (Coming in with tankards of
drinks. R. of table) Coming Coming, sir
THE MEN. (Getting tip) But indeed, we've had
CAPTAIN. What's that-
ANOTHER MAN. (Getting up) And we must go
CAPTAIN. What !
(Enter DR. LIVESEY.)
MRS. HAWKINS. (Pleadingly) Oh, please, sir
you're driving all my business away
CAPTAIN. Driving it away I'm holding it here,
madam. Sit down (As the men still stand and
edge tozvard the door) What, you refuse You
refuse to sit down and drink with me Then, by
thunder, we'll see.
(With a cry the men rush out R. c. The CAPTAIN
rushes up to go after them and comes face to
face with DR. LIVESEY who enters.)
DR. LIVESEY. (R. c.) Hello! What's all this !
CAPTAIN. (L. c. Thunders at him) Silence be-
tween decks !
DR. LIVESEY. Are you addressing me, sir !
CAPTAIN. Aye, that I am ! (Pounding on the
table with the end of his cutlass) Silence, I said !
DR. LIVESEY. (Firmly) Stop that!
CAPTAIN. What's that?
MRS. HAWKINS. (Comes dozvn R. Terribly
afraid) Oh, please sir, please
CAPTAIN. (Coming tip angrily toward DR.
LIVESEY) Now say that again !
DR. LIVESEY. I said for you to stop if and I
3 TREASURE ISLAND.
CAPTAIN. (Holding his cutlass in his hand)
Why you rum puncheon weak-livered swab you
bandy legged lubber I'll show you !
DR. LIVESEY. (Firmly) Put down that cut-
CAPTAIN. What you-
DR. LIVESEY. (Staring CAPTAIN down) Put it
down, or upon my honor you shall hang next as-
sizes Put it down (DR. points. The CAPTAIN
gives zt'cry)^ And now you listen to me I warned
you against* drinking before You had a stroke and
much against .my will I dragged you headforemost
out of the grave And now, Mr. Bones
CAPTAIN. That's not my name
DR. LIVESEY. Well it will serve alright and I
tell you this one glass -of rum won't kill you, but
if you take one you'll take another and I'll stake
my wig if you don't break off short, you'll die
vou understand? Die and go to your own place
like the man in the Bible
CAPTAIN. Well, that's my business
DR. LIVESEY. Yes, and this is mine I am a
magistrate as well as a doctor and if I find the
least complaint about you hereafter I'll take means
to have you routed out of this Now then away
CAPTAIN. This is a free inn
DR. LIVESEY. You heard what I said Go!
CAPTAIN. (On stairs) You'll pay for this
you'll see (He starts upstairs)
DR. LIVESEY. That's alright. And remember the
very name of rum is death for you.
CAPTAIN. (Goes out. Door upstairs) Huh!
MRS. HAWKINS. (Very afraid) Oh, sir, I'm so
glad you came he's got all the people round here
so afraid they'll hardly come to the inn any more
we're all in mortal terror of the man, sir !
DR. LIVESEY. In spite of my warning that it
would kill him, he's been drinking, eh?
TREASURE ISLAND. g
MRS. HAWKINY. (Sits) Oh, yes, sir drinking
and singing that horrid song and blowing his nose
so loud, sir, it sounds like the report of a cannon
(As DR. LiVESEY smiles) You may laugh but I
never knew a man to put such fierceness into the
blowing of his nose. And when I asks him for
money, sir why why that's when he blows his
nose the loudest.
DR. LIVESEY. I dare swear he owes you for his
MRS. HAWKINS. That he does, sir. Oh, I appeal
to you as magistrate he's ruining me, sir ruining
me ! (Placing chair c.)
DR. LIVESEY. Mrs. Hawkins Squire Trelawney
and I have been watching your lodger for some
MRS. HAWKINS. (Mysteriously) He's given Jim
a silver penny every month to keep his eye open
for a sea- faring man with one leg!
DR. LIVESEY. Ah, has he now !
MRS. HAWKINS. And that's the worst of it the
influence he has over my boy
DR. LIVESEY. Jim's a good boy, I'll be bound
MRS. HAWKINS. That he is, sir. Jim's the best
boy in the world. The Captain is filling his head
with stories you should have heard the stories as
he told about that boat (Indicates picture over
DR. LIVESEY. (Looks at picture and reads title)
Flint's Treasure Ship.
MRS. HAWKINS. He's got the boy so worked up,
with his horrid tales of pirates and sea fights and
treasure hunting that the lad is fair bewitched with
the idea of going to sea and Oh, sir (Rise)
He's all I have. I want my money but I don't want
my boy in his company. (Puts chair back to table)
DR. LIVESEY. I think I can promise you both,
Mrs. Hawkins Squire Trelawney is to meet me
io TREASURE ISLAND.
MRS. HAWKINS. Oh, sir, I hope there isn't going
to be any fighting
DR. LIVESEY. Can you keep a secret, Mrs.
MRS. HAWKINS. As close as the grave, sir
DR. LIVESEY. You can, eh? Come here to the
window (As she starts to the window) No, it's
so foggy you can't see but there's a little lugger
down at Kitt's Hole I suspect that's the boat our
friend is looking for
MRS. HAWKINS. What what is it?
DR. LIVESEY. (Confidentially) Smuggler
MRS. HAWKINS. Oh!
DR. LIVESEY. That's what your Captain is that's
why he's waiting for one special seaman and that,
Mrs. Hawkins, is what the Squire and I have been
waiting for I've got men all over the countryside
Now, if we can keep an eye on the Captain (Enter
JIM from taproom) we'll get the whole crew of
them Oh, I say You say Jim is close to the Cap-
MRS. HAWKINS. Hand and glove more's the
DR. LIVESEY. Jim.
JIM. Yes, sir Come over here
MRS. HAWKINS. (Crossing) That horrid man
has had enough for to-day. The doctor wants to
talk to you (Exits)
DR. LIVESEY. Sit down.
JIM. (R. Comes over and sits at the table)
Thank you, sir.
DR. LIVESEY. Jim, since your father died your
mother has had only you to help her
JIM. I do my best, sir.
DR. LIVESEY. I know you do quite right, my
boy. Jim, your mother tells me the Captain hasn't
paid for his board and lodging.
JIM. He hasn't. Not since the first day, sir. He
was at that door calling for a glass of rum, " This
TREASURE ISLAND. II
is a handy little cove," says he. " Much company ? "
DR. LIVESEY. Oh, he asked that, did he ?
JIM. And when he heard as how there was very
little, he says, " This is the berth for me." So in
he comes with his sea-chest, and throws down three
pieces of gold. " You can tell me when I've worked
through that," says he.
DR. LIVESEY. Well, he has " worked through "
it, hasn't he?
JIM. Oh, yes, sir, and much beside.
DR. LIVESEY. Jim, if your mother is to get what's
owing her you must watch his every move to-
night I shall be there in the village the least
thing that looks suspicious any strangers that call
him any attempt of the Captain to leave you send
me word by your mother no matter what hap-
pens don't you leave him for one moment
JIM. (Slightly afraid but trying to hide it) Yes,
sir no, sir yes, sir (JiM sits R. of table)
DR. LIVESEY. Jim, there's a nasty fog out there
a fog, that hides things on the sea A fog".\like that
is bad for ships on good business, but it's^good for
ships on bad business These men are on bad busi-
ness (With sudden change of tone) Hawkins,
I am a magistrate
JIM. Yes, sir
DR. LIVESEY. Hawkins, I appoint you an officer
of the crown
JIM. (Startled, arises) Dr. Livesey.
DR. LIVESEY. (Salutes him) An officer of the
crown, Hawkins !
JIM. (Awkwardly returns the salute) Aye
DR. LIVESEY. You're the only one who can watch
without suspicion You're not afraid, Hawkins?
JIM. (Fearfully) No no, sir I I'm not
(DR. LIVESEY'S hands on JIM'S shoulders.)
12 TREASURE ISLAND.
DR. LIVESEY. Then we'll unravel this mystery be-
fore midnight Keep your eyes open Remember
officer of the crown! (Exits DR. LIVESEY R. c.)
(JiM salutes. During the last two preceding
speeches there is heard a song as if the singer
CAPTAIN. (On stairs) Jim, is he gone?
CAPTAIN. That swab of a doctor
CAPTAIN. Then go fetch me some rum, Jinr
CAPTAIN. Rum a whole tankard of it fetch it
to my room. (Starts azvay)
JIM. But, Captain the doctor said
CAPTAIN. The doctor be blowed I (With sud-
den change of manner. He now becomes almost
whiningly kind) Nay come here, Jim I'm not
meaning to be hard with you you've been my
friend You're the only one I can trust. (Con-
fidentially) And if ever I need someone it's to-day
there's things brewing to-day, Jim. (Looks fear-
fully over his shoulder at the window) I can feel
it in the air.
JIM. It's just the fog, Captain.
CAPTAIN. Aye the fog. It's full of faces, Jim
the fog (Keeps looking aroun'd furtively at the
window) Every step of the way from the cove I've
seen 'em faces Jim like those of Flint's crew up
there They've been all around me they're (Sud-
denly st-ares at the window) See see there at the
JIM. (Crosses to window c.) Why, there's noth-
ing there !
CAPTAIN. Didn't you see a face a face with an
ugly look on't.
JIM. (Goes to the door R. c. and looks out)
TREASURE ISLAND. 13
There's not a person on the road. (Comes back into
the room c.)
CAPTAIN. Faces faces everywhere in the fog
(Turns suddenly) You've kept your eye open
for a sea-faring man with one leg?
JIM. Yes, sir though it's no pay I've had these
several weeks. (Down c.)
CAPTAIN. What! (Roars at him)
JIM. I said I'd had no pay and (As CAPTAIN
takes out his handkerchief to blow his nose) That's
alright, sir. You needn't mind.
CAPTAIN. (Blows his nose) No pay, eh. Well
well (Starts to roar and then changes his mind)
Well, there's your pay, lad take it take it I'm
needing friends to-day (As JIM takes the money)
There's a little lugger down at Kitt's Hole Keep
your eyes open watch the road and Jim any-
one asks for me you don't know me. You never
heard o' me ? Understand ?
JIM. Not even the sea-faring man with one leg?
CAPTAIN. No! None of 'em Bring my rum
upstairs now and keep your eyes open (Turns
and glances at window) There there he is again
see 'im lookin' in that window.
JIM. I tell you there's no one nothing.
CAPTAIN. Nothin', eh? It's the whole crew of
'em in the fog there the whole crew of 'em and
it's going to be a fight but we'll beat 'em yet
Give me that rum quick (Goes upstairs)
(JiM goes timidly to the window and looks out; then
he draws back. Finally he gets up his courage
and goes to the door, looks out timidly, then
grows bolder, goes outside, looks up and down
and finally comes in and closes the door. He
exits to the taproom. For a moment the stage
is empty. Upstairs the CAPTAIN can be heard
singing his song. Finally a face is seen peering
at the window. Then the face disappears and
14 TREASURE ISLAND.
soon the door opens and a man enters. "A
pale tallowy creature, wanting two fingers of
the left hand, and though he wore a cutlass he
did not look much a fighter." He is BLACK
DOG. For a -moment he stands listening to the
singing and nodding sardonically. He is mak-
ing for the entrance upstairs ivhen JIM returns
with a tankard of rum. BLACK DOG wheels
quickly at L.)
JIM. (Surprised and startled L. c.) 1 I didn't
hear you come in
BLACK DOG. (L. at stairs} Umph ! Tidy little
place Very tidy. Come here, sonny. Come nearer
here. And what have you there? (Goes up to JIM
who tries to draw back)
JIM. Some rum, sir
BLACK DOG. (Sniffs it} Urn rum it is good,
JIM. (Fearing he is to take it) It's for the
gentleman upstairs, sir.
BLACK DOG. For the gentleman upstairs. Good
strong rum for the gentleman upstairs You know
what I think ?
JIM. (Back down c.) No, sir.
BLACK DOG. I think it is just the sort of stuff
that'd suit my old mate, Bill Now, what do you
JIM. I don't know your mate, Bill, and so
BLACK DOG. Don't you, now that's too bad
What might you call your gentleman upstairs?
BLACK DOG. Well, my mate Bill might be called
JIM. (Starting to go) I'm sure he isn't the
BLACK DOG. We'll put it for argyment your cap'n
has a cut on one cheek and that the right one
(JiM starts) Ah, well I told you Now, is my
mate, Bill, here?
TREASURE ISLAND. 15
JIM. (Up two steps) I'll go upstairs and let him
BLACK DOG. No, you won't. (As JIM still starts
to cfo, he thunders at him) Stop, I say, or Stop!
JIM. But, sir, I must tell the Captain.
BLACK DOG. ( Then fawning again as JIM stops)
There there lad I'm meaning you no harm.
Why, I have a son of my own as like you as two
blocks and he's all the pride of my 'art. But the
great thing for boys is discipline, sonny. But you
see I planned this as a great surprise to Bill bless
his 'art and I couldn't have you spoil it. (He
takes out his cutlass and tries it)
JIM. Oh, sir I hope there's not going to be any
CAPTAIN. (Upstairs) Jim! Jim! Where's my
BLACK DOG. (Motions JIM to keep silent)
Sh-sh ! Bill and me's old friends he'll be glad to
see me Bill will. Bless his 'art
CAPTAIN. (Still upstairs) Jim Jim
BLACK DOG. Sh-sh not a word or I'll wring
your neck. (Grasps JIM by the throat and urges
him back of the stairs L.)
JIM. What are you doing, sir?
BLACK DOG. Giving Bill a surprise a little sur-
( The CAPTAIN comes down the stairs. )
CAPTAIN. (Furious) Jim! Where has he
gone Jim, I say (Goes to c. head of table) Jim!
BLACK DOG. (Speaks when CAPTAIN gets above
table. Steps out with cutlass drazvn as CAPTAIN
turns) Hello, Bill!
CAPTAIN. (Stops short as if stunned) You
BLACK DOG. Come, Bill. You know your old
16 TREASURE ISLAND.
CAPTAIN. Black Dog! What do you want?
(Moves toward him)
BLACK DOG. Just come to see my old shipmate,
Billy, and talk over old times.
CAPTAIN. (Bitterly) Old times, huh? (Moves
toward BLACK DOG)
BLACK DOG. (Circles to R. of table) A sight of
times we've seen Bill, us two, since I lost them
talons. (Holds up mutilated hand)
CAPTAIN. Now, look here, you've runned me
down here I am. Well then, speak up! What is
BLACK DOG, That's you, Bill always to the
point. (Significantly to JIM) I'll just have a glass
JIM. Here, sir. (Makes as if to offer the
BLACK DOG. (Sinister) That's for the gentle-
man upstairs I'll have my own (As JIM hurries
toward taproom) Don't hurry back. (JiM takes
hold of the taproom door to close it) Leave that
open ! None of your keyholes for me, sonny.
(JiM goes out at taproom door.)
CAPTAIN. (Fiercely) Well, out with it
BLACK DOG. Now, we'll talk square like old ship-
CAPTAIN. Old shipmates, huh?
BLACK DOG. Sure, Bill we're all here Morgan
and Hands and Pew and O'Brien.
BLACK DOG. Aye, Silver. He's in command
down there on the little lugger
CAPTAIN. A nice little lugger it must be.
BLACK DOG. We all sailed with Flint and what
we got like gentlemen of fortune belonged to
BLACK DOG. Aye/ to Flint; and Flint to Flint's
TREASURE ISLAND. 17
crew and that's what we've come for what we're
going to get.
CAPTAIN. Go on. Out with it all.
BLACK DOG. There's money about you, Bill
Bones (Sits R. of table) Money as belongs to us