By J. M. Barrie
The prolific Scotish writer and dramatist J. M. Barrie is most famed for his production of Peter Pan. Born in Kirriemuir, Forfarshire in 1860, he graduated Edinburgh college and commenced operating as a journalist. quickly after he released his first novel larger lifeless becaming a well-liked author with many winning novels. After his most renowned paintings Peter Pan he nonetheless persisted to put in writing on developing many extra cherished stories.
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COLONEL. ' ALICE. ' Here something happens to Amy's skirt. She has opened the door to hear, then in alarm shut it, leaving a fragment of skirt caught in the door. There, unseen, it bides its time. ' COLONEL, enjoying himself, 'Let us tell her, Steve! ' COLONEL. 'We mustn't tell you, Alice, because it is a woman's secret--a poor little fond elderly woman. Our friend is very proud of his conquest. See how he is ruffling his feathers. ' But Alice's attention is directed in another direction: to a little white object struggling in the clutches of a closed door at the back of the room.
She strokes her mother soothingly. ' ALICE. ' AMY. ' ALICE. ' Helped by encouraging words from Amy she departs on her perilous enterprise. The two conspirators would now give a handsome competence to Cosmo to get him out of the room. He knows it, and sits down. ' GINEVRA. ' COSMO. ' He pauses at the door. 'I say I believe you're trying to get rid of me. ' AMY. ' COSMO. ' As soon as he has gone they rush at each other; they don't embrace; they stop when their noses are an inch apart, and then talk.
AMY, pressing Ginevra's hand, 'I will do my duty. ' II Night has fallen, and Amy is probably now in her bedroom, fully arrayed for her dreadful mission. She says good-bye to her diary--perhaps for aye. She steals from the house--to a very different scene, which (if one were sufficiently daring) would represent a Man's Chambers at Midnight. There is no really valid excuse for shirking this scene, which is so popular that every theatre has it stowed away in readiness; it is capable of 'setting' itself should the stage-hands forget to do so.