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Contents ( 55)
  1. Chapter One
  2. FAR TO GO
  3. Chapter Two
  4. THE POSTCARD
  5. Chapter Three
  6. THE RED DRESS
  7. Chapter Four
  8. THE INTERVIEW
  9. Chapter Five
  10. ABOUT THE PLAY
  11. Chapter Six
  12. KATIE
  13. Chapter Seven
  14. THE CALENDAR
  15. Chapter Eight
  16. MISS GREY HAS A PLAN
  17. Chapter Nine
  18. HER LADYSHIP HEARS THE STORY
  19. Chapter Ten
  20. LESSONS
  21. Chapter Eleven
  22. REHEARSALS
  23. Chapter Twelve
  24. LICENCES
  25. Chapter Thirteen
  26. A LETTER
  27. Chapter Fourteen
  28. CHRISTMAS
  29. Chapter Fifteen
  30. PRECAUTIONS
  31. Chapter Sixteen
  32. A SCARE
  33. Chapter Seventeen
  34. MARGARET’S GONE!
  35. Chapter Eighteen
  36. THE SEARCH BEGINS
  37. Chapter Nineteen
  38. A TELEGRAM FOR LIZA
  39. Chapter Twenty
  40. THE PRISONER
  41. Chapter Twenty-one
  42. THE SEARCH GOES ON
  43. Chapter Twenty-two
  44. HOPE
  45. Chapter Twenty-three
  46. QUEEN ELIZA
  47. Chapter Twenty-four
  48. A WHISTLE IN THE DARK
  49. Chapter Twenty-five
  50. THE END
  51. Keep Reading …
  52. About the Author
  53. Books by Noel Streatfeild
  54. About the Publisher

It is very difficult to listen to words you know perfectly well. That time Margaret truly tried but still Sir John was not pleased.

‘You may be listening now, I think you think you are. But I don’t believe the audience will know you are. An actor must show he is listening, he must react.’

Finally they finished with that scene and went on with the rest of the act. Sir John did not criticize her again and Margaret had no further trouble. But inside she was worried because she knew what Sir John had said was true, she had been only partly listening. It was something new about acting and she had an uncomfortable feeling it was something she did not quite understand.

They had seldom rehearsed the last scene for it was almost entirely pageantry and music, but two weeks before the play opened the cast were told that much of the next week would be spent on the last act. This meant that several more children came to rehearsals. The one who had the most to do was called Simon; he was a page. He was a terribly thin little boy who did not seem to want to mix with the other children. Margaret tried to talk to him because he reminded her of Peter, Lavinia’s brother, who had escaped with her on the canal boat, but she did not have much success because he seemed scared to talk and only said ‘Yes’ or ‘No’.

Liza, her eyes twinkling, watched Margaret’s efforts. ‘It won’t do no good, he’s scared to talk, he’s one of Ma Mud’s kids. That’s not her real name but it’s what we call her.’

‘Who is she?’

‘No one knows, turns up with two or three kids, orphans she says they are, and starts them earning money for her. Simon and one or two others she fixes in the theatre, but mostly they goes in the sweat shops.’

‘What are they?’

‘Where smart clothes is made. They aren’t allowed to use little kids no more but she gets by with it. She can smell a copper a mile away, Ma Mud can.’

‘Poor Simon looks terribly thin, do you think she gives them enough to eat?’

Liza shook her head. ‘No one knows for certain sure, but it’s said she feeds ’em dead cats and rats!’

Margaret shuddered. ‘Sounds like the Matron of that orphanage I was in. She didn’t give us cats and rats, but she would have if she dared.’

After that talk, Margaret, with the help of Katie, gave Simon little treats: a piece of chocolate, a slice of cake and once at dinner, when Miss Grey was not looking, they made him a meat sandwich.

‘Poor Simon, we can help now when we see him all day, but it won’t be so easy when the play starts.’

‘You leave it to me,’ said Liza. ‘I’ll find a way to give ’im what you get; that Ma Mud ’angs out in the street next to ours. When I sees ’er comin’ I crosses over, for I think she’s a witch.’