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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/75857-0.txt b/75857-0.txt new file mode 100644 index 0000000..d61fedf --- /dev/null +++ b/75857-0.txt @@ -0,0 +1,5388 @@ + +*** START OF THE PROJECT GUTENBERG EBOOK 75857 *** + + + + + +DADDY LONG-LEGS + + +By JEAN WEBSTER + + + FRENCH’S STANDARD LIBRARY EDITION + + + SAMUEL FRENCH, 28-30 West 38th St., New York + +------------------------------------------------------------------------ + + + + + BILLETED. + +A comedy in 3 acts, by F. Tennison Jesse and H. Harwood. 4 males, 5 +females. One easy interior scene. A charming comedy, constructed with +uncommon skill, and abounds with clever lines. Margaret Anglin’s big +success. Amateurs will find this comedy easy to produce and popular with +all audiences. Price, 60 Cents. + + + NOTHING BUT THE TRUTH. + +A comedy in 3 acts. By James Montgomery. 5 males, 6 females. Costumes, +modern. Two interior scenes. Plays 2½ hours. + +Is it possible to tell the absolute truth—even for twenty-four hours? It +is—at least Bob Bennett, the hero of “Nothing But the Truth,” +accomplished the feat. The bet he made with his business partners, and +the trouble he got into—with his partners, his friends, and his +fiancée—this is the subject of William Collier’s tremendous comedy hit. +“Nothing But the Truth” can be wholeheartedly recommended as one of the +most sprightly, amusing and popular comedies that this country can +boast. Price, 60 Cents. + + + IN WALKED JIMMY. + +A comedy in 4 acts, by Minnie Z. Jaffa. 10 males, 2 females (although +any number of males and females may be used as clerks, etc.). Two +interior scenes. Costumes, modern. Plays 2½ hours. The thing into +which Jimmy walked was a broken-down shoe factory, when the clerks had +all been fired, and when the proprietor was in serious contemplation of +suicide. + +Jimmy, nothing else but plain Jimmy, would have been a mysterious figure +had it not been for his matter-of-fact manner, his smile and his +everlasting humanness. He put the shoe business on its feet, won the +heart of the girl clerk, saved her erring brother from jail, escaped +that place as a permanent boarding house himself, and foiled the +villain. + +Clean, wholesome comedy with just a touch of human nature, just a dash +of excitement and more than a little bit of true philosophy make “In +Walked Jimmy” one of the most delightful of plays. Jimmy is full of the +religion of life, the religion of happiness, and the religion of +helpfulness, and he so permeates the atmosphere with his “religion” that +everyone is happy. The spirit of optimism, good cheer, and hearty +laughter dominates the play. There is not a dull moment in any of the +four acts. We strongly recommend it. Price, 60 Cents. + + + MARTHA BY-THE-DAY. + +An optimistic comedy in three acts, by Julie M. Lippmann, author of the +“Martha” stories. 5 males, 5 females. Three interior scenes. Costumes +modern. Plays 2½ hours. + +It is altogether a gentle thing, this play. It is full of quaint humor, +old-fashioned, homely sentiment, the kind that people who see the play +will recall and chuckle over to-morrow and the next day. + +Miss Lippmann has herself adapted her very successful book for stage +service, and in doing this has selected from her novel the most telling +incidents, infectious comedy and homely sentiment for the play, and the +result is thoroughly delightful. Price, 60 Cents. + + + (The Above Are Subject to Royalty When Produced) + + --------------------------------------------------------- + + SAMUEL FRENCH, 28-30 West 38th Street, New York City + New and Explicit Descriptive Catalogue Mailed Free on Request + +------------------------------------------------------------------------ + + + + + DADDY LONG-LEGS + + + A COMEDY IN FOUR ACTS + + + + + BY + + JEAN WEBSTER + + + + + _All Rights Reserved_ + + + CAUTION.—Professionals and amateurs are hereby warned that “DADDY + LONG-LEGS,” being fully protected under the copyright laws of the + United States, Great Britain and Canada, 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. Application for amateur acting rights must be made to + SAMUEL FRENCH, 28-30 West 38th Street, New York. Applications for + professional acting rights must be made to Henry Miller, Henry + Miller Theatre, 124 West 43d Street, New York City. + + + NEW YORK │ LONDON + SAMUEL FRENCH │ SAMUEL FRENCH, LTD. + PUBLISHER │ 26 SOUTHAMPTON STREET + 28-30 WEST 38TH STREET │ STRAND + +------------------------------------------------------------------------ + + + + + COPYRIGHT, 1912 (IN NOVEL FORM), BY THE CENTURY CO. + + COPYRIGHT, 1914, BY JEAN WEBSTER + + COPYRIGHT, 1922, BY SAMUEL FRENCH + + + + +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, production, recitation, or public +reading may be given except by special arrangement with Samuel French, +28-30 West 38th Street, New York. + +This play may be presented by amateurs upon payment of a royalty of +Twenty-Five Dollars for each performance, payable to Samuel French, +28-30 West 38th Street, New York, one week before the date when the play +is given. + +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 French of New York.” + +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 +compositions, or his heirs and assigns, shall be liable for damages +thereof, 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 conviction +shall be imprisoned for a period not exceeding one year.”—U. S. Revised +Statutes: Title 60, Chap. 3. + +------------------------------------------------------------------------ + + + + + CHARACTERS + + + JERVIS PENDLETON + JAMES MCBRIDE + CYRUS WYKOFF + ABNER PARSONS + GRIGGS + WALTERS + JUDY + MISS PRITCHARD + MRS. PENDLETON + JULIA PENDLETON + SALLIE MCBRIDE + MRS. SEMPLE + MRS. LIPPETT + SADIE KATE } + GLADIOLA } + LORETTA } ORPHAN CHILDREN + MAMIE } AT THE JOHN + FREDDIE PERKINS } GRIER HOME + CARRIE } + +------------------------------------------------------------------------ + + + + + SYNOPSIS OF SCENES + + ACT I + +The dining-room of the John Grier Home on Trustees’ Day. + + ACT II + +Judy’s college study, an afternoon in May, one year later. + + ACT III + +The sitting-room at Lock Willow farm, summer, three years later. + + ACT IV + +Mr. Pendleton’s library, two months later. + +------------------------------------------------------------------------ + + + + + DADDY LONG-LEGS + + + + + ACT I + + +_SCENE: The dining-room of the John Grier Home on Trustees’ Day. A plan + and full description of the scene will be found at the end of the + play._ + + +_DISCOVERED: At Rise, Two Orphans are seated down stage at table L. of + C. SADIE KATE R. of table and LORETTA on the stool below table, + engaged in cleaning silver. GLADIOLA is up stage behind upper table + R. polishing a cup. After the curtain is well up, GLADIOLA mounts on + chair before cupboard to place cup in cupboard and FREDDIE PERKINS + enters at lower R. I._ + + _They are dressed exactly alike in stiffly starched gingham + pinafores (blue) with a row of white china buttons down the back and + a suggestion of red flannel petticoat showing beneath. Each child + has her hair strained back tightly and braided into two pig-tails. + They sit nervously and work steadily and silently with no attempt at + childish chatter. Freddie Perkins is about nine years old and is + dressed in dark knickerbockers and a jumper made of the same striped + blue gingham that the girls are wearing. His hair is shaved close to + his head._ + + _He carries a rolled-up rag rug over his shoulders, and as he + passes, he purposely knocks against SADIE KATE. She hits back + viciously and proceeds with her work. Freddie up and exits C. and L. + 2 and 4 talking, 2 wipes 4’s nose._ + + _GLADIOLA on chair at back, in wiping a cup lets it slip from her + hands and crash to the floor. She backs against the table C. and + stands horrified, staring at the pieces._ + + _LIGHTS begin to dim shortly after rise._ + + +GLADIOLA. It’s one o’ them best cups! + +SADIE KATE. Oh my goodness! You’ll get it! + +GLADIOLA. What’ll I do? + +SADIE KATE. Hide it, quick! + +MRS. LIPPETT. (_Off stage_) Get out of my way! + +LORETTA. She’s coming! Oh, she’s coming! + +SADIE KATE. (_To GLADIOLA, snatching up one of the cups and leaning +over, rolling it along the floor to GLADIOLA_) Say ye knocked this off +wid yer elbow. + + +(_They resume their work in stolid silence. GLADIOLA gets down on her + knees and hands and places the broken pieces under table-legs at R. of + C. then stands behind table as MRS. LIPPETT enters from the pantry. + She is a hard-faced, domineering woman of about forty with an + unpleasant voice that grows shrill when she loses her temper. She is + wearing a polka-dotted silk dress, very tight and rather fussily made + with a profusion of cheap lace trimmings. It is turned up from the + bottom and pinned so that she will not soil it._) + + +MRS. LIPPETT. (_Holds entrance until GLADIOLA is up_) What was that +noise? (_Stands inside U. R._) + +GLADIOLA. I knocked this off with my elbow, ma’am. + +MRS. L. (_Crossing to C._) I thought you’d broken something! Come, come. +Sadie Kate! Are you going to be all day at this? (_Picks up spoons, +examines them critically, hands one back_) Polish that again! (_Crosses +to table R., looking over preparations_) Oh, good heavens, the +sandwiches aren’t made! Where’s Judy Abbott? She ought to be here to +look after things! + +SADIE KATE. She’s up in the nursery, ma’am, trying to keep the babies +quiet so they won’t disturb the trustees. + +MRS. L. Well, you go up and tell her to come down immediately. I never +knew anyone like that girl. She’s always somewhere else. (_SADIE KATE +rises and MRS. L. turns to her sharply_) Hurry up! Don’t stand there +staring! (_Pushes SADIE KATE, who exits R. I. Exit 2 and 4. As GLADIOLA +brings down spoon to table, lower R. MRS. LIPPETT is looking over the +dishes_) Why, we’re one cup short. I thought I got down enough! +(_GLADIOLA, in fear, starts to tiptoe off to R. I. Stopping abruptly as +MRS. L. calls her name_) Gladiola Murphy! Come here! (_GLADIOLA +approaches her apprehensively_) You stand on that chair and get down +another one of those best cups. + +GLADIOLA. (_Going up, gleefully_) Yes, ma’am! + +MRS. L. And mind you don’t drop it! + +GLADIOLA. No, ma’am. (_Up to cupboard for a cup._) + +MRS. L. (_Looks thoughtfully over tray to see what is missing_) Napkins. +(_Bustles off R. and exits R. 2 E. As she is going off FREDDIE enters at +C. Seeing MRS. LIPPETT going off he throws a kiss after her. Looking +around and seeing that he is unobserved, he goes down to table R. to +sugar bowl. Putting his hand in he pulls out a fist full and stuffs it +into his mouth. Puts his hand in again, gets another fistful and stuffs +it into his pocket. As he puts his hand in again SADIE KATE enters R. I. +and catches him. She crosses in between tables to R. of FREDDIE._) + + +SADIE KATE. Freddie Perkins, you let that sugar alone! (_FREDDIE makes a +face at her_) I’ll tell Mrs. Lippett! + + +(_GLADIOLA turns and comes down R. of FREDDIE, putting cup on tray._) + + +FREDDIE. I dare you to! + +GLADIOLA. Freddie Perkins, you just put that sugar back. I’ll tell Mrs. +Lippett. + +FREDDIE. I dare you to! (_SADIE KATE crosses over L._) + +ANOTHER CHILD. She’ll say I did it. (_Both GLADIOLA and SADIE KATE push +and shove FREDDIE._) + +FREDDIE. All right, keep your hair on. I’ll put it back. + +GLADIOLA. You’d better, you’d better, you fresh thing! + + +(_SADIE KATE returns to her task at L. table and GLADIOLA goes back to + cupboard on chair, back to audience. FREDDIE looks around and seeing + that they are not watching him, goes down to sugar bowl again and + seeing the salt cellar, smiles and takes it up and begins to pour the + salt into the sugar-bowl._) + + +[Illustration: The girls sit at the table, their backs turned, as +Freddie pours salt into the sugar bowl.] + +FREDDIE. I’m putting it back! (_Continues to pour salt until he hears +MRS. LIPPETT speaking off stage._) + +MRS. L. (_Off-stage_) Why, you good for nothing child, keep out from +under my feet! + +FREDDIE. (_Puts down sugar-bowl and salt cellar and runs off C. and L. +exclaiming_) All right, I put it back! + + +(_One child to cupboard, other child down and around to bench L., sits + on floor. MRS. LIPPETT enters with napkins and dish of sliced lemons, + crosses and sets them on the tray on table R._) + + +MRS. L. Hasn’t Judy Abbott come down yet? + +SADIE KATE. No ma’am! + + +(_GLADIOLA comes down with a cup which she places on tray L. of MRS. + L._) + + +MRS. L. Oh, for the land’s sake! (_Picking up sugar bowl, looks in, is +about to set it down when she catches sight of the mark of grimy +fingers_) Gladiola Murphy! Aren’t you ashamed? That’s a pretty looking +sugar bowl to send up to the trustees. You take it into the pantry and +wash it. (_She gives the bowl to GLADIOLA, faces her toward the pantry +and starts her with a shove. Examines a flamboyant watch that is pinned +to her waist._) Half past four! It’s time to make the tea. (_Goes up and +turns on lamp R. of C. arch_) Where _is_ that Abbott girl? She’s enough +to try the patience of a saint! (_Turns up lamp L. of arch C. foots come +up 3-4 full. Her back is turned as JUDY enters at R._) + + +(_JUDY is a vividly alive young girl of 18, dressed in the same blue + gingham that the others wear, but made in a more becoming manner. + There is a suggestion of challenge in her manner. There is an air of + all-conquering youth. Neither MRS. LIPPETT’S harshness nor the sordid + air of the asylum has succeeded in cowing her. She crosses to R. of C. + and stands, looking speculatively at MRS. LIPPETT’S back. Two children + at cupboard up to pantry._) + + +JUDY. (_Crosses to R. C. sweetly_) Do you want me to help, Mrs. Lippett? + +MRS. L. (_Turning quickly_) Well, Miss Jerusha Abbott! It’s about time +you turned up! You are the only lady of leisure in this institution +to-day. (_Comes down C._) + +JUDY. I’m sorry. The nurse had to look after the sick babies and we +couldn’t leave the others alone. + +MRS. L. You always have plenty of excuses. + +JUDY. That new little red-headed child has licked all the green paint +off the Noah’s Ark— + +MRS. L. And what do you think I was doing? Cutting the cake with one +hand and receiving the guests with the other? + +JUDY. That red-headed child has swallowed some green paint— + +MRS. L. I don’t care what that red-headed child has swallowed. I’m more +interested in what the trustees are going to swallow. + +JUDY. (_Speaking very hurriedly_) That red-headed child has licked the +green paint off the roof of the Noah’s Ark, and I think you’d better +send for the doctor. + +MRS. L. Will you stop talking and get to work? + +JUDY. (_Going R._) It was _green_ and I’m afraid it will disagree with +him. + +MRS. L. You get those tea things ready. + +JUDY. (_Going U. R. to pantry_) Green paint’s made of arsenic. It’s +poison. I learned that in chemistry. + +MRS. L. You’ve learned altogether too much! You were a great deal more +useful before you got that education! (_Goes back to children at L._) + +JUDY. (_At pantry U. R. C. with a gleam of mischief_) Mrs. Lippett⸺ + +MRS. L. (_Over her shoulder_) Well? + +JUDY. Did you put those two guinea pigs into the babies’ bath tub? + +MRS. L. (_Whirling about_) Guinea pigs! + +JUDY. I think they’re guinea pigs. Little brown and white animals ... +about so big. + +MRS. L. Oh, good heavens! Those horrible boys!—What did you do with the +beasts? + +JUDY. I didn’t touch them. I thought— + +MRS. L. (_Crossing to table R._) Quick! Get them away before the +trustees find them. + +JUDY. (_Coming down R._) I thought maybe that generous new trustee you +were telling us about brought them as a present for the babies. + +MRS. L. And you thought I was planning to keep them in the nursery +bathtub? + +JUDY. It’s so seldom used! (_Exits R. I. E. GLADIOLA down to R. of MRS. +L. Other girl to cupboard_) + +MRS. L. (_Turns back muttering angrily_) Guinea pigs! (_GLADIOLA comes +down from the pantry with sugar bowl she has cleaned and puts it on +tray_) If I had my way the whole race of boys would be swept off the +face of the earth. (_SADIE KATE and LORETTA titter, then hastily repress +themselves_) Yes—and girls too! (_Little girl laughs_) That’s enough! +Clean up this mess. They’re likely to come in here. (_GLADIOLA lingers +near MRS. LIPPETT who slaps and drives her away. LORETTA rises and takes +pan and wash material across R. and up into pantry_) I suppose they’ll +be snooping all over the place. (_SADIE KATE brings spoons and places +them on tea tray in front of MRS. LIPPETT, who slaps her. SADIE KATE +crosses over R. to GLADIOLA. LORETTA comes down from pantry and joins +them_) These visiting days are enough to make a person sick. (_The +orphans stand waiting for further orders. GLADIOLA is lower R. near +door. LORETTA L. of GLADIOLA and a little above. SADIE KATE L. of +LORETTA and a little above, so they stand in a diagonal line. A buzz of +conversation and laughter heard off C. Little child cries. MRS. LIPPETT +hastily unpins her skirt_) Here they are now! Gladiola, pull up your +stockings. (_GLADIOLA pulls up her stockings_) Loretta, wipe your nose. +(_LORETTA stoops to use her petticoat_) No, no! Not on your skirt. +(_SADIE KATE gives LORETTA handkerchief_) Sadie Kate, brush back your +hair. You, too, stand up straight! (_To all_) If any of the trustees or +lady visitors speak to you, you say “Yes, ma’am”—“No, ma’am” and smile. + +ORPHANS. Yes ma’am, no ma’am. + + +(_MISS PRITCHARD and MR. CYRUS WYKOFF enter C. MISS P. is a charming, + old-fashioned gentlewoman between fifty and sixty, with an air of + kindly sympathy for everyone. MR. WYKOFF, a short, chubby, bald-headed + man, is pompous and dignified, with an exaggerated idea of his own + importance. He wears a brown suit which fits him quite snugly—a pair + of tortoise-rimmed spectacles, and a gold watch chain. MRS. LIPPETT + crosses to C. to receive them._) + + +MISS PRITCHARD. (_Coming down C._) Well, Mrs. Lippett! We’re here again! + +MRS. L. Miss Pritchard! (_They shake hands and MISS PRITCHARD crosses to +R. C. to children. She speaks to 1st child and each child in turn shake +their heads “Yes, ma’am,” “No, ma’am,” as ordered by MRS. L._) Mr. +Wykoff! + +WYKOFF. (_L. of MRS. LIPPETT_) How de do, ma’am. Thought we’d look about +a little before refreshments. (_Crosses to L. examining._) + +MRS. L. (_Down C._) It’s a pleasure to welcome you. I always look +forward to the first Wednesday of every month. + +MISS P. (_Turns to 2nd child_) We have Mr. Jervis Pendleton with us +to-day. + +MRS. L. I believe we are indebted to you, Miss Pritchard, for inducing +him to serve. + +MISS P. (_Turns to 3rd child_) Yes, he is an old family friend. + +WYKOFF. Good thing to get some fancy philanthropists on the board of an +institution like this. Their ideas aren’t always practical but their +checks are. + +MISS P. (_Crossing to WYKOFF_) Poor little dears! They’re not like +children. So little spirit! + +WYKOFF. (_L. of MISS P._) They are not a very classy lot. + +MRS. L. (_R. of MISS P._) It is awful depressing to live with them. + +MISS P. And how is my dear Judy Abbott? + +MRS. L. A great trial. + +WYKOFF. She’s the one we’re educating? + +MISS P. (_Nodding_) Her teachers say that she is very brilliant. + +MRS. L. Oh, she’s smart enough—I’m not denying that. But impertinent! + +MISS P. She’s a spirited girl and needs tact. (_Crosses over to L._) + +MRS. L. (_Momentarily forgetting herself_) Tact! She needs a good +thorough whipping. And I’m sorry she’s grown too big to get it. +(_Crosses to R.C._) + +WYKOFF. (_Crosses to L. of MRS. L._) That’s the proper spirit, ma’am. +Keep ’em in their places. (_JERVIS and FREDDIE are heard out in hall C. +and L., playing ball. MISS PRITCHARD goes up stage L. and around to C. +to join JERVIS. JERVIS backs on stage laughing and chatting as the ball +passes between him and FREDDIE. At sound of JERVIS’ voice WYKOFF turns +and sees him, and turns back to MRS. LIPPETT_) Mr. Pendleton! (_Crosses +L. to children, MRS. LIPPETT crosses to R. of C. FREDDIE catches sight +of her, and rushes off as JERVIS comes in at C. WYKOFF passes up and +between tables, inspecting everything. MISS PRITCHARD joins JERVIS as +JERVIS comes in and they saunter down stage C._) + + +(_JERVIS PENDLETON is a man-of-affairs, quiet and self-contained, but + evidently used to having his own way. He has a somewhat grim sense of + humor and an air of nonchalance which in reality covers a keen + penetration. His manners are courteously deferential, but with a + suggestion of indifference underneath, which he just politely manages + to suppress._) + + +JERVIS. Ah, dear lady! (_MISS PRITCHARD L. of JERVIS._) So this is the +dining room! Charming apartment. + +MRS. L. (_Left of C._) I believe I have never had the pleasure of +meeting Mr. Pendleton. + +MISS P. (_L. of JERVIS_) Our matron, Mrs. Lippett. + +JERVIS. (_Shaking hands_) Very happy to meet you, madam. (_Turns to MISS +P._) + +MRS. L. (_C. of table R._) The asylum has a great deal to thank you for. +Your two dear boys are doing so well. + + +(_The ORPHANS at R. begin to fuss and fidget. LORETTA scratches her + head. GLADIOLA stands on one foot, then on the other, and SADIE KATE + tries to keep both quiet._) + + +JERVIS. (_Vaguely. Hands in coat pockets_) My two dear boys? + + +(_WYKOFF off up back, looking around with back turned._) + + +MRS. L. That you are sending to technical school. + +JERVIS. Oh, yes, yes! The young engineers! Doing well, are they? That’s +good. (_Crosses over to children._) + +MRS. L. I trust their reports are sent every month as you requested. + +JERVIS. Yes, I believe so. (_MISS PRITCHARD up to back and joined by +WYKOFF_) My secretary looks after them. (_Sits on bench, studies +children intently. To the nearest girl_) Come here, little girl, and +shake hands with me. (_They back off_) Oh, don’t be afraid! I won’t +bite. (_JERVIS crosses L. C. in front of LIPPETT._) + +MRS. L. (_Behind JERVIS and over his shoulder cautioning children. +Softly_) Oh, children, children dear, this is the kind gentleman who +sent the candy and peanuts and tickets to the circus. Shake hands with +him, darling. + + +(_LORETTA advances, watching MRS. LIPPETT and offers JERVIS a limp + hand._) + + +JERVIS. (_Arm around GLADIOLA_) And are you a good little girl? + +GLADIOLA. (_Wilting with embarrassment_) Y-yes, ma’am—no, ma’am. + +JERVIS (_Rising, his arm about GLADIOLA, crossing over L. C. to MISS +P._) Happy, bubbling, laughing childhood! (_MRS. LIPPETT shooes children +up into pantry and turns on lamp at R._) Nothing so beautiful in the +world! + + +(_Children exit L. at MRS. L.’S gesture._) + + +MRS. L. (_Coming to R. C._) It’s a great pleasure to live with them. I +always say that it keeps me young and happy and innocent myself. + +JERVIS. (_Picks up cap from L. table. Striking cup with his knuckle, to +MISS P._) Durable! + +WYKOFF. (_Coming down C._) Can’t indulge any artistic ideas in a place +like this. + +JERVIS. (_Turns around and sees text at back C._) Of course! Of course! +Ah! (_Indicating text_) The Lord will provide! (_To MISS P._) Very +touching! + +MRS. L. (R. C.) You wouldn’t want us to bring them up without religion? + +JERVIS. (_Deprecating the idea_) No, no. But why not teach them the +truth? The Lord will provide for the rich. The poor must provide for +themselves. (_Turns to MISS P. and sets cup on table._) + +WYKOFF. (_C. and R. of JERVIS_) Well, I’m a practical man, Mr. +Pendleton. I don’t know as I follow you in all your new-fangled +philosophy, but I⸺ (_JERVIS turns and faces him._) + +JERVIS. Yes⸺ + +WYKOFF. Er—I’m convinced⸺ + +JERVIS. Yes—yes⸺ + +WYKOFF. Er—er—I’m convinced! (_Turns to MRS. L._) Here, here, Mrs. +Lippett, this floor ought to be scrubbed. (_MRS. L. crosses to him and +they go up and out C., WYKOFF complaining about conditions and MRS. L. +excusing them. MRS. L. turns on lamp in hall as she exits._) + + +(_At cue “This floor ought to be scrubbed,” the children come down from + pantry in single file, and march off R.I.E. JERVIS crosses to R. of C. + watching them, and stirred to pity by their dejected and whipped + manner._) + + +JERVIS. (R.) Poor little kiddies. (_Turning to MISS P._) There’s nothing +in it. + +MISS P. (L.) What do you mean, Jervis? + +JERVIS. Why, you can’t bring them up like chickens in batches of a +hundred like chickens in an incubator. It isn’t natural—it won’t work. + +MISS P. (_To L. C. Sits R._) Jervis! (_He turns_) I hate to be always +begging. But there’s one of these children for whom I should so love to +manage a future. + +JERVIS. (_Good-naturedly_) Another promising engineer? + +MISS P. No—this time—it’s a girl. + +JERVIS. (_In consternation_) A girl! My dear lady! + +MISS P. And such a pretty one! + +JERVIS. (_Amazed, crossing over L._) Oh, no! You can’t catch me with +that bait! + +MISS P. She’s more than pretty. (_Sits bench R. of table L._) + +JERVIS. (_Wearily. Hands in pocket, crosses down R._) I know—she has a +good record and deserves⸺ + +MISS P. She has the worst record of any child in this Home. + +JERVIS. (_Interested_) What! + +MISS P. She doesn’t lie out of her misdemeanors as the others do. She is +disobedient and impertinent but⸺ + +JERVIS. And just what is it you want me to do for this pretty, +disobedient, impertinent young person? (_Up around table R._) + +MISS P. I want you—to send her to college. + +JERVIS. What? To college? From an orphan asylum? Impossible! + +MISS P. She’s eighteen. (_JERVIS faces front_) And ready to graduate +from the High School. + +JERVIS. (_Facing MISS P._) So? I thought they never kept them after +fourteen? + +MISS P. Judy Abbott was so unusually bright that the Board of Trustees +let her stay on and attend the village school. + +JERVIS. Very generous! + +MISS P. Of course it saved hiring someone to take care of the younger +children. + +JERVIS. Thrifty and generous. + +MISS P. And she has done remarkable work in English. Her teachers say +that she would make an author if she had the training. + +JERVIS. An author? There are too many authors in the world already. +(_Crosses to her._) I don’t wish to make any more. + +MISS P. (_Solemnly_) Suppose she should be a genius? Have you any right +to keep her down? + +JERVIS. If she were a genius I couldn’t keep her down. Do you think she +would placidly stand all this? (_With a comprehensive gesture about the +room_) She would rise and mutiny if she had any spirit. + +MISS P. But she’s only eighteen, and if you only knew⸺ + +JERVIS. (_Facing MISS P., stubbornly shaking his head_) We all have the +right to a few prejudices. You know yourself that you won’t eat bananas. +No reason in the world except that you don’t like bananas. Now I have an +antipathy, too, I don’t like girls. Never did like ’em. Never will like +’em. + +MISS P. (_Rises. JERVIS walks L. MISS PRITCHARD rises_) You are a +crabbed, ill-natured, hard-shelled, old bachelor, and you don’t know +what you are talking about! You’ve never known any girls. + +JERVIS. Never known any? That precious sister-in-law of mine has a +daughter coming on exactly like her. + +MISS P. Baby Julia? + +JERVIS. (_Turns away_) Baby Julia enters college next September. + +MISS P. Think of that! + +JERVIS. I might arrange for your impertinent orphan to room with my +aristocratic niece. (_Chuckles at the idea_) That would be rather a neat +joke on the Pendleton family! + +MISS P. (_With asperity_) My little Judy deserves a chance for her own +sake. + +JERVIS. You damned her chance when you said she was pretty. + +MISS P. Why? + + + _Children READY_ + + +JERVIS. Why? Why, I’d no sooner get her educated than some young +whippersnapper would come along and want to marry her. Education thrown +away. I’d rather put my money into a permanent investment. + +MISS P. Do you really mean it, or is it just one of your stupid jokes? + +JERVIS. (_Seriously_) I really mean it. How could one of these orphans +compete with the class of girls she would meet in college? (_Crosses +R._) + +MISS P. But you haven’t seen my Judy. + +JERVIS. No. But I have seen this institution and I know that no child +that was ever born could live eighteen years in the John Grier Home and +have spirit enough left to fight the world. (_Crossing L. C._) + +MISS P. But my Judy’s different. Give her a chance. + +JERVIS. My dear Miss Pritchard! In college your little Judy wouldn’t +have a chance. Do you think they’d take in an outsider—from an orphan +asylum? + +MISS P. It’s not fair. + +JERVIS. (_Bitterly_) Nothing’s fair. But it’s a fact. Don’t you see that +it would be no kindness to the girl? We should just be showing her a +glimpse of a bigger, more beautiful life, such as she has never dreamed +of, and then forbidding her to enter. No, no. Society has thrown away +your little Judy—(_Hands in pockets_)—and it’s too late now to pick up +the pieces. + +MISS P. (_L.C., crushed_) Yes—but it’s cruel. + +JERVIS. (_To MISS P., drawing her hand through his arm_) Well! Well! +Come and let’s have a look at that scandalous dark playroom. (_Going up +C._) Maybe you can induce me to build a new one. (_They go out C. and +L._) + + +(_As JERVIS and MISS P. exit both ad lib, SADIE KATE pokes her head into + room, R. I., then crosses in front to R. C. and turns to beckon the + others on._) + + +SADIE KATE. Come on! (_Coming R. C. GLADIOLA, LORETTA and MAMIE enter +R._) Now’s your chance! (_GLADIOLA crosses in front and up to get the +broken cup. SADIE KATE over to C. and up a little._) Take it and dump it +back of the barn! + + +(_Two other girls go on and in front of table to L., two little girls + stop R., one takes up cup, other stops. Littlest girl enters R. and + gets on bench and embraces JUDY._) + + +MAMIE. (_R. at end of lower table. LORETTA by R. I. E._) Yes, hurry, +before somebody comes and catches you. (_A sound is heard off R. in +pantry._) + +SADIE KATE. Somebody’s coming! + + +(_GLADIOLA jumps up and the orphans assume a know-nothing attitude until + they see it is JUDY. JUDY enters C. and crosses between tables with + tray of sandwiches, stands between MAMIE and LORETTA down stage and + GLADIOLA up stage. SADIE KATE is on line with JUDY across at C._) + + +JUDY. Well, Chicks, what’s the matter? + + + _READY Sammy_ + + +ORPHANS. (_Laughing_) Nothing. + +JUDY. (_Cheerfully_) Well, run now, and wash your hands and faces and +make yourselves beautiful, ready to pass the things. + + +(_The children go up into pantry, SADIE KATE passing at back with + GLADIOLA. JUDY crosses to C. and puts tray on lower end of table L. + Then she goes up to cupboard and gets black box and comes down between + tables at R., opens box on bench behind first table and takes out caps + and aprons. During scene she is humming gaily to herself, “Comin’ + through the Rye.” MRS. LIPPETT enters._) + + +MRS. L. (_Coming down C._) I’m glad to see that somebody’s carefree. +(_JUDY stops her song_) Is everything ready? + +JUDY. (_At work smoothing out aprons_) Yes, Mrs. Lippett. + +MRS. L. Seems though everything’s gone wrong to-day. And just when we’ve +got a rich trustee up from New York. (_Turning to L. window R._) He’s +out in the play-yard now, talking to Freddie Perkins, with a hole in his +pants that big. (_JUDY laughs_) Well, what are you laughing at? It’s no +laughing matter. Can’t you keep that child mended? + +JUDY. I mend Freddie Perkins’ trousers every day of my life. There’s no +trousers left any more. Nothing but patches. + +MRS. L. (_L. C., looking over at sandwiches_) Did you make those +sandwiches? + +JUDY. Yes, Mrs. Lippett. I know they’re pretty thick. But the bread was +so fresh I couldn’t cut it. I’m awfully sorry. + +MRS. L. (_Going up C. Mollified_) Well, maybe they’ll taste all right. +Look sharp now. I don’t want any more hitches. (_Exits C._) + +GLADIOLA. (_Poking her head into room_) Judy, has she gone? + +JUDY. Yes, and it’s time for you to go! Come, fly into these. (_Led by +GLADIOLA the ORPHANS come down R. GLADIOLA and LORETTA to lower R. and +begin playing. MAMIE and SADIE KATE to R. of JUDY, who gives to each of +them cap and apron she has been straightening out. They are regulation +waitress’ aprons, about three inches longer than the children’s dresses. +The caps are muslin bows fastened to an elastic. MAMIE and SADIE put on +the aprons, JUDY buttoning MAMIE’S and MAMIE buttoning SADIE’S apron. +They fasten behind. While they put on the caps GLADIOLA and LORETTA are +down R. JUDY crosses to L. C., gets tray and sandwiches and gives them +to MAMIE. MAMIE up C. JUDY takes tray of cups at R. C., gives them to +SADIE KATE. SADIE up to MAMIE at C. JUDY to R. C._) Now please be +careful, children, and don’t make any mistakes. + + +(_The ORPHANS go out C. and L. JUDY, with a tired sigh, comes down front + and sits on bench in front of table R. GLADIOLA kneels on bench beside + her and LORETTA on floor, kneeling. She caresses them in a manner that + shows her loneliness and longing for love._) + + +GLADIOLA. Judy! Tell us a story. + +LORETTA. Cinderella! + +GLADIOLA. No! Tell us Noah’s Ark. I’ll be the lion. (_Growls and throws +her arms around JUDY, pretending to devour her._) + +JUDY. Not now, dear. Some other time. + +BOTH. Yes, now! + +JUDY. Poor Judy’s so tired. This is the first time I’ve sat down since 5 +o’clock this morning. + +LORETTA. Tell it while you are sitting down. + +JUDY. I must learn my lesson for school to-morrow. + +GLADIOLA. What? ’Rifmatic? + +JUDY. No, not ’rifmatic. French. + +LORETTA. What’s French? + +JUDY. Tu es enfant très bon et je t’aime beaucoup. + + +(_The children laugh. FREDDY PERKINS enters C. from L. A large + three-cornered rent in the back of his trousers._) + + +FREDDIE. (C.) When are we going to have supper? + +JUDY. (_Good-naturedly, scolding_) Freddie Perkins, turn around, sir! +(_FREDDIE makes turn._) + +FREDDIE. What’s the matter? (_Children laugh. FREDDIE turns back to +them._) What are you laughing at? Cut it out! Cut it out! + +JUDY. You bad, bad boy, to tear your clothes. (_Discovers a rent in the +shoulder of his shirt_) You disgraceful little rag-a-muffin! + +FREDDIE. (_Sits L. of JUDY_) I don’t care, I’m hungry! + +GLADIOLA. So’m I. + +LORETTA. Me, too. + +JUDY. You can’t have supper till the trustees go. + +GLADIOLA. I hate trustees. + +LORETTA. So do I. + +FREDDIE. What’s to-day? Beans? (_Pause_) Or corn meal mush? + +LORETTA. This is Wednesday. + +GLADIOLA. It’s corn meal mush. + + +(_The children all join in the ORPHAN’S yell while JUDY frantically + tries to make each child be quiet. The last line tapers off into a + dying wail._) + + +ORPHANS: + + Mush! Mush! Corn meal mush! + Slush! Slush! Same old slush! + How I hate it, + Corn—meal—mush! + +JUDY. Hush, you naughty children. + + +(_FREDDIE sits on floor._) + + +GLADIOLA. Judy, tell us a story. + +JUDY. No, no, no! + +GLADIOLA _and_ LORETTA. (_Imitating her_) Yes, yes, yes! + +JUDY. (_Pleading_) Children! I’m so tired! + +FREDDIE. (_Rising_) Draw us a picture! + +JUDY. I’ve no paper! + + +(_Children run around looking for paper. LORETTA goes around behind + table and discovers box cover. GLADIOLA takes the cover from LORETTA + and brings it to JUDY._) + + +GLADIOLA. Draw it on this. + + +(_JUDY looks dubious. Sits as before and LORETTA R. of GLADIOLA to + former position. FREDDIE L. of JUDY._) + + +JUDY. But I haven’t any pencil! + +FREDDIE. (_Turning away disgustedly_) Oh, gee! + +JUDY. I can’t draw with my finger, you know. + +FREDDIE. (_Discovering piece of chalk in his pocket_) Here’s a piece of +chalk. + +JUDY. Very well—Mercy! It’s all over sugar. + +FREDDIE. Did I give you sugar? (_Grabs chalk in an attempt to lick the +sugar off. JUDY gets it back._) + +JUDY. Oh, you bad, bad boy! (_FREDDIE to C._) Well, what shall I draw? + +GLADIOLA. Elephant! + +LORETTA. Circus! + +FREDDIE. Cowboy chasing Indians! (_Gives imitation of a wild Indian._) + +JUDY. Oh, something easy. I’ll draw a bad little boy who’s torn his +clothes. + + +(_Children begin to laugh at FREDDIE and cry “Shame, shame.”_) + + +FREDDIE. (_Coming down domineeringly_) Cut it out! Cut it out! + +JUDY. Freddie! (_FREDDIE turns away shamefacedly_) What’ll I draw? + +GLADIOLA. Oh! Draw a trustee! + +LORETTA. Yes, draw a trustee! + +FREDDIE. Yes, one of those guys that goes around like this. (_Crosses +over L. and gives imitation of WYKOFF_) “This won’t do, Mrs. Lippett! +This won’t do!” (_Comes back to C._) “And this floor must be scrubbed” +... (_Goes to C._) “I tell you it won’t do, Mrs. Lippett” ... (_Comes +down C. and stands puffing himself out á la Wykoff. The children watch +him in ecstasy, laughing and applauding._) + +GLADIOLA. Yes—and make him fat. With a gold watch chain! + +FREDDIE. And with a pair of searchlights! + +JUDY. (_Drawing_) There’s his body. And there’s his head. (_While +drawing the eye-glasses, FREDDIE begins to laugh. JUDY turns to him_) +What are you laughing at? + +FREDDIE. Those searchlights. + +JUDY. And there’s his searchlights. And those are his arms and those are +his legs. + +LORETTA. (C.) And where’s his gold watch chain? + +JUDY. And that’s his watch chain! (_Holds the picture front and they all +laugh._) + +[Illustration: The children are gathered around the drawing of the +Trustee] + +GLADIOLA. (_Takes picture from JUDY_) It looks exactly like a June bug. + +JUDY. (_Takes picture back from GLADIOLA, writing at bottom_) “This +looks like a June bug, but is meant to be a portrait of any trustee.” + + +(_The children laugh. FREDDIE takes the picture and marches around with + it, followed by GLADIOLA and LORETTA._) + + +CHORUS. Looks like a June bug! Looks like a June bug! + + +(_They go over L. as SADIE and MAMIE return with a half-emptied plate of + sandwiches which they place on table._) + + +SADIE KATE. Gee! You ought to see them eat! + + +(_JUDY goes up to SADIE KATE and MAMIE. The others stop singing and + hungrily look at the sandwiches. FREDDIE puts the picture on table L. + of C. and crosses over to JUDY, followed by LORETTA and GLADIOLA._) + + +FREDDIE. Can I have a piece of bread? + +GLADIOLA. Me, too! + +LORETTA. I’m hungry. + +JUDY. (_After a moment’s hesitation_) Yes, you may all have one piece. + + +(_They help themselves joyously. FREDDIE gets first piece and biggest to + the disgust of the others. He goes triumphantly to lower L. and sits + on bench. They keep up a chatter._) + + +FREDDIE. Say! (_Children all stop noise to listen_) I played a joke on +those trustees! (_Boasting._) + +JUDY. (_Coming down R._) Freddie Perkins! (_Suspiciously_) What have you +done? + +FREDDIE. I ain’t goin’ to tell. + + +(_Trustees are heard talking angrily at back off L._) + + +GLADIOLA. (_Crosses up to door_) Cheese it! They’re coming! + +JUDY. (_Surprised_) Scamper out, children! + + +(_FREDDIE at first sound has bolted L. GLADIOLA and LORETTA in front of + lower table. MAMIE and SADIE KATE between tables R. GLADIOLA, LORETTA + and MAMIE exit lower R. SADIE exits R. 2. E. MRS. LIPPETT enters C., + followed by a group of trustees and visitors, MISS PRITCHARD looking + worried, WYKOFF indignant, JERVIS amused. JUDY is at table R. of C. + MRS. LIPPETT R. of C. PARSONS L. of C. MISS PRITCHARD and JERVIS stand + at back. They have all been talking outside and it has grown in volume + until they are well on and in place._) + + +MRS. L. (_With sugar bowl_) Judy Abbott, what is the meaning of this? + +JUDY. (_Bewildered R., about middle of table_) The sugar bowl? + + +(_MISS PRITCHARD crosses at back and down L._) + + +MRS. L. (_L. end of table_) It’s full of salt! (_JUDY turns and looks +after FREDDIE._) + +WYKOFF. We put salt in our tea. + + +(_JUDY bursts into quick laugh. JERVIS crosses R. and down L. of tables, + back turned to JUDY and amused by the scene._) + + +MRS. L. When you have finished laughing, perhaps you will tell us how it +came there? + +JUDY. I don’t know. + +MRS. L. Of course you don’t know. You never know anything. + +MISS P. It was a mistake. + +WYKOFF. (L. C.) Bad management. Bad management! + +JUDY. (_Apologetically_) I didn’t know about it, of course—I’m very +sorry it happened! + + +(_MRS. LIPPETT sees the empty plate and crumbs on table._) + + +MRS. L. What’s this? (_They all turn and look_) So, you’ve been stealing +the refreshments that were left? + + +(_PARSONS goes up C._) + + +JUDY. The children were hungry—it’s after their regular supper-time—and +I gave them each a piece of bread and butter. + + +(_PARSONS discovers the broken cup._) + + +WYKOFF. Mrs. Lippett, does this young woman run this institution? + +PARSONS. (_Coming down C. with broken china_) Here! Here! What’s this? +(_JUDY stares in amazement._) + +MRS. L. (_Turning upon her sharply_) How did that get broken? (_JUDY is +silent_) Well—don’t stand there staring! + +WYKOFF. Another little joke? + +MRS. L. Answer me, Judy Abbott. Did you break that cup? + +JUDY. (_With dignity_) No, Mrs. Lippett, certainly not! + + +(_PARSONS puts broken cup on tray at his R._) + + +MRS. L. Who put it there? + +JUDY. I don’t know. + +MRS. L. Seems as though you are old enough to take a little +responsibility. + +JUDY. (_Miserably_) I try to, Mrs. Lippett—but I can’t be in two places +at once. And to-day while the nurse was taking care of the sick babies⸺ + +MRS. L. I’ve heard that excuse before. (_Turns to trustees_) You see, +ladies and gentlemen, the kind of stupidity I have to work against. This +is our prize orphan—the one we have educated—but I can’t trust her with +a simple thing like sending in tea. + +WYKOFF. (_Turns up L. to table_) Doesn’t pay to educate ’em out of their +class. + +MRS. L. These children are the most deceitful creatures I have ever +known. It’s enough to make one lose one’s faith in human nature. + +JUDY. (_Facing MRS. L. quietly_) If you would _trust_ the children, they +would not deceive you. + +MRS. L. So now, you are going to be impertinent, are you? + + +(_WYKOFF discovers picture on table L._) + + +MISS PRITCHARD. (_Pleasantly, tries to end the discussion_) Dishes will +get broken—suppose we join the others. + + +(_WYKOFF is examining the picture which he has casually picked up._) + + +WYKOFF. (_Facing front explosively and showing picture_) Good heavens, +Madam! What does this mean? Do I look like a June bug? (_Comes and +exhibits it C. to MRS. L._) And may I ask who is the artist? + + +(_JUDY stands staring at the others with something of the air of a + hunted animal._) + + +MRS. L. (_With ominous quietness_) Is that one of your drawings? + + +(_WYKOFF shows it to trustees at C._) + + +JUDY. Yes, Mrs. Lippett. + +MRS. L. Have you anything to say? + +JUDY. (_Miserably_) I can’t draw. I just do it to amuse the children. + +WYKOFF. To amuse the children? Madam, is this the kind of respect that +you teach? + + +(_CODMAN puts picture on table at his L._) + + +MRS. L. (R.C.) How do you dare make fun of a trustee of the John Grier +Home? + +JUDY. (_R., frightened_) I—I didn’t mean to make fun of anybody. + +MRS. L. Oh! I suppose you think that is a fitting way to show gratitude +for all that’s been done for you? This Home has given you every mouthful +you ever ate, and as a result, you ridicule your benefactors. I’ll tell +you this, Miss Judy Abbott—you’ll be finishing school next month and +then you’ll be put to work. The kind of place you’ll get will depend on +your record here. + +WYKOFF. (C.) And when you have to shift for yourself, young woman—then +maybe you won’t think life so funny. + + +(_Other Trustees nod approval._) + + + _READY Dim Foots_ + + +JUDY. (_Wearily_) I don’t think it’s so very funny now. + +MRS. L. Oh, there’s no use trying to make anything decent of her. I +shall send you to a boarding house keeper who wants a little slavey to +wash the dishes. + +JUDY. I shall be very happy to go. Any place, anywhere will be better +than this. + +MRS. L. (_Beside herself_) You ungrateful little—imp! What do you mean? + +JUDY. (_Commencing in low, intense tone, gradually rising to a fever of +rebellion_) I mean—I don’t feel any gratitude because I have nothing to +be grateful for. There is no charity about it. I have earned my living +in the John Grier Home. I have worked from the time I was a tiny child. +For three years straight I polished brass door knobs until you +discovered that I was clever enough to do other things. And you haven’t +kept me all this extra time just for my own good. When I was eleven +years old that lady wanted to adopt me. But you made her take another +child instead, because I was useful. I might have had a home, too—like +other children—and you stole it away from me. And you call me ungrateful +because I’m glad to go? I don’t care _how hard_ it will be. I can make +my own way in the world. Just give me a chance. Anywhere—out of the +shadow of this asylum, and I will prove what I am good for. I’ve lived +eighteen years in prison. I _hate_ the John Grier Home! (_As she hurls +this last defiance she turns and runs out R._) + + + _DIM_ + + +[Illustration: Judy points accusingly at the trustees.] + + +(_JERVIS has turned his back to the scene and stands down L. with folded + arms and head bowed in deep thought, for JUDY has won his admiration + by her plucky stand. After a pause the trustees recover from their + astonishment._) + + +MRS. L. You see! You see! + +WYKOFF. The quicker you pack her off the better. + +MISS P. The child didn’t know what she was saying! + +CODMAN. Insubordination! + +PARSONS. Bad example. + +WYKOFF. Demoralize the whole institution! + +PARSONS. She must be punished! + + +(_They start to go, shaking their heads and talking excitedly at once._) + + +MRS. L. And punished severely. Oh, if you knew what I have to put up +with⸺ + + +(_They go off C., the excitement and tumult gradually dying down. MISS + PRITCHARD follows them up to C., trying to pacify them. JERVIS eases + over to R. of C._) + + +MISS P. (_Coming down C._) I am sorry this had to happen before you, but +really, really, we have no right to be angry. + +JERVIS. Angry? Oh, no, no! (_Crosses over R. of C._) I was only +hesitating because—well—I must be sure I’m doing the best thing for the +girl. But, by jove! (_Turns to MISS P._) It was great to see that little +thing rise up and demand her right to live. She shall have it! (_Looks +off R. I. E. and then slaps his hand as having arrived at a decision._) + +MISS P. (C.) What! + +JERVIS. (_Turns to MISS P._) I’ll send her to college! + +MISS P. (_Joyfully_) That _is_ generous! + +JERVIS. (_Gruffly_) Nonsense! I’m interested. I’d like to see if the +girl really can pull it off! + +MISS P. She will be so _grateful_. + +JERVIS. (_Crossing L._) No, no. None of that. She’s never to know who +does it. + +MISS P. She will want to thank you. + +JERVIS. Well, she can’t. I won’t have it. Why! She’s had to give thanks +for every mouthful she ever ate! I wonder she didn’t choke. This college +business comes as a free gift from Heaven. + +MISS P. Don’t you want to watch her progress? + + + _READY Sadie Kate_ + + +JERVIS. From a distance. They can send me her reports. + +MISS P. A college doesn’t send reports. + +JERVIS. (_Sits. Thinking out loud_) Well, let me see. We’re to make a +writer of the girl? H’m—there’s no better practice in composition than +good, old-fashioned letter writing. She may write me a letter on the +first of every month, telling about her studies and her daily life—just +such a letter as she would write to her parents—if—she had any. + +MISS P. She will have to know your name. + +JERVIS. Tell her Smith. John Smith. She will address her letters to Mr. +John Smith—in care of my secretary, just as the boys do their reports. +But she’s never to expect any answer. (_Rises_) I can’t have Judy a +nuisance. + +MISS P. I will explain the best I can. (_Rises._) + +JERVIS. And don’t explain to anyone else. We must keep it a secret +(_Looks off R. I. E._) for the girl’s sake. Let her forget the asylum. +(_Back of MISS P._) Blot the word “orphan” out of her mind. (_Turns +up._) + + +(_SADIE KATE enters from L.2E. and puts a spoon on lower table._) + + +MISS P. (_Crosses to R. of JERVIS_) Sadie Kate, run quick and call Judy +Abbott. + + +(_SADIE exits R., calling “Judy—Judy.”_) + + +JERVIS. (_Going up C._) And now I must run. I don’t want the child to +see me. Get her some pretty frocks—and all that sort of nonsense. +Good-bye. (_Ad lib._) + + + _DIM_ + + +MISS P. Good-bye! Thank you! Thank you! (_Follows him up stage and +watches him off as JUDY dejectedly enters at R. She comes to R. C. to +MISS P. MISS P. turns, sees JUDY and goes to her._) + +JUDY. (_With dead voice_) Well—what are they going to do with me? + +MISS P. (_Very kindly_) Nothing dreadful. + +JUDY. (_Sits on bench L._) I didn’t mean to break out that way—but when +you think bitter thoughts for years and years, some day—suddenly—they +just won’t stay inside you any longer. (_Turning away._) + +MISS P. Judy—(_Sits by JUDY_)—I have good news for you. (_JUDY faces +front_) Something wonderful is going to happen to you. + +JUDY. (_Slowly facing MISS P._) Wonderful? + +MISS P. Judy—a gentleman—one of our trustees—is going to send you to +college. + +JUDY. (_Rising. MISS P. also_) To college? Me? (_MISS P. nods +affirmatively to her question_) Oh! + +MISS P. With pretty new frocks and everything. + +JUDY. (_To MISS P._) You mean—I’m going just like any other girl—who has +a real father and mother? + +MISS P. Yes, dear. + +JUDY. (_Slowly grasping the situation and as though choking over her +joy, crosses over L._) _Oh, oh_, oh! It sounds just like the fairy +stories I make up to tell the children. + +MISS P. It’s true, dear. + +JUDY. (_Turning to MISS P. breathlessly_) Who is he? + +MISS P. No one you know. + + + _READY Light_ + + +JUDY. He wasn’t here? To-day? Not one of those men? + + + _WARN CURTAIN_ + + +MISS P. Yes. + +JUDY. I didn’t look at them. What’s he like? What’s his name? + +MISS P. You are not to know his name—his real name. You may call him Mr. +Smith. + +JUDY. Smith? + +MISS P. Mr. John Smith. He will be your guardian. + +JUDY. My guardian! I’ll belong to him? And I won’t belong to the asylum +any more? I’ll belong just to him? + +MISS P. Yes, dear! + +JUDY. (_Turns—crying_) Oh, I’m so happy! I’m so happy! (_Turns to MISS +P._) Where is he? I want to tell him. I want to see him. + +MISS P. You cannot see him, dear. + +JUDY. But I want to know what he’s like. I’ll never bother him—never—if +I may see him just once. So I can think about him. Oh, please, please, +just this once? Please, please! (_Sobbing, she places her head on MISS +P.’S shoulder, who lays her arms around JUDY tenderly and mothers her. A +spotlight off L., swinging around on a pivot, throws a light through +upper window around the room, indicating the approach of an +automobile._) + +MISS P. Hush, dear. I promised to keep it a secret. (_JUDY sobs again_) +But, he’s there—outside now! (_Horn_) Waiting for his car. (_JUDY turns +quickly, but MISS P. holds her at arm’s length_) No, no, dear—it’s too +dark to see his face, but there, reflected on the wall, you can see his +shadow! (_She releases JUDY, who crosses to table, looking off through +window L._) + +JUDY. Oh, if I could only see his face. At last I have the shadow of a +father. Oh, my daddy—my daddy⸺ (_Laughing_) Look—what funny long legs +the shadow has. I never saw such long legs. I know⸺ (_Turning to MISS +P._) I’ll call him my dear, old Daddy Long-Legs. + + + CURTAIN + + + 1st Curtain—Grown-ups and Judy—not Jervis. + 2nd Curtain—All children. Jervis. + 3rd Curtain—All children. + 4th Curtain—Judy. + + + + + ACT II + + +SCENE: _JUDY’S college study, an afternoon in May, one year later. A + plan and full description of the scene will be found at the end of + the play._ + + +AT RISE: _JULIA and SALLIE are discovered hastily putting the room in + order. JULIA down L., with a child’s broom, is sweeping and working + up stage to couch. Sweeps dust under rug. SALLIE, at R., is dusting + picture R. of window, then crosses down to chair L. of table C. and + holds up Tam-o’-shanter cap and tennis racquet._ + + +SALLIE. (_R. up, comes down_) What on earth shall I do with these? + +JULIA. (_L. down. Crossing to R. of table_) Dump them under the couch. +(_SALLIE goes up and throws things under the couch. JULIA picks up a +coat and a sweater from the floor C._) Isn’t it just our luck to have +the whole family come bursting in without a word of warning? (_Crosses +R. and throws things into room R.2._) + +SALLIE. (_Coming L. of table to chair—Crosses L._) Your mother and Miss +Pritchard did look shocked when they saw this room. (_Crosses L., +throwing basket-ball and mask into room U.L. under couch._) + +JULIA. (_Crossing to chair R. of table, picking up racquet and coat_) +They ought to let us know before they surprise us. I invited them for +the reception this evening. I didn’t ask them to spend the day. +(_Crosses R., throws things into JUDY’S room and closes door._) + +SALLIE. (_To desk L. for golf bag at desk back R._) If they had waited +to come with the men on the five o’clock train⸺ (_Sets golf bag above +desk in corner._) + +JULIA. (_R. of C._) We should have been ready. + +SALLIE. (_Crossing C. behind table_) Shut your desk, Julia⸺ (_Which is +R. below door_) It’s a sight. + +JULIA. (_Pointing to desk up stage R.C. and then crossing down R. to +close desk_) No worse than yours. (_Crosses R._) + +SALLIE. (_Crosses up, closes desk and then crosses over L. by +couch—getting duster from couch and throwing it in room U.L., closing +door_) And look at Judy’s, in perfect order! + +JULIA. Are there chairs enough? + +SALLIE. (_Coming down, counting chairs and crossing over R.C._) Mrs. +Pendleton, Miss Pritchard, Judy, Julia, Sallie, brother Jimmie—(_Turning +to L. of chair up stage by door_)—and Mr. Jervis Pendleton. + +JULIA. (_Crossing up to R. of chair_) That chair won’t do for Uncle +Jervis. + +SALLIE. Why not? + +JULIA. It wobbles on its back leg. (_Rocking chair._) + +SALLIE. (_Coming down R.C._) Oh, I forgot. (_Cross R. Indicates chair +down R._) + +JULIA. (_Crossing to table C._) I nearly dropped when mother said Uncle +Jervis was coming. + +SALLIE. (_Picks up book from floor R.C. and crosses to desk at R._) Why +shouldn’t he? + +JULIA. Oh, I bore him to death. This is the first time in years he has +taken the slightest notice of me. (_Crosses up and puts fencing foils +behind couch._) + +SALLIE. Men love to visit a girls’ college. It’s like going to the +menagerie and watching the animals eat. + +JULIA. (_Crossing C. back of table and looking despondently at the +table_) What’ll we ever do with this mess? + +SALLIE. (_Crossing to R. of table, seizing two corners of the cover_) +You take the other end and we’ll carry it into your room. (_Moves toward +the door R., but JULIA, holding the other end of cloth, holds back._) + +JULIA. No! We’ll put it in yours. (_She starts towards door U.L. and +SALLIE holds her back._) + +SALLIE. It’s full up. You couldn’t squeeze a postage stamp into my room. + +JULIA. We’ll take it into Judy’s and dump it on the bed. + +SALLIE. Poor Judy! (_Laughing, they go to room down L. and exit. Series +of slight crashes heard. SALLIE returns and crosses to table up stage +and picks up a teacup from tray. JULIA returns with the cover for table +and crosses below table arranging cover, and goes behind table. SALLIE +blows into the cup._) My, these teacups are awfully dusty! + +JULIA. (_Behind table C._) Oh! It won’t show when the tea is in. + +SALLIE. Where’s the kettle? (_Both girls look around the room._) + +JULIA. (_Cross R._) The kettle? The kettle? Oh, under the couch. +(_SALLIE goes to couch, kneels down and gets kettle. A knock is heard on +the door_) Good gracious, who’s that? + +SALLIE. (_Crossing to table C. with kettle_) Set that chair over the +inkspot. + + +(_JULIA sets chair R. of table, over the inkspot and SALLIE goes up with + kettle to table above as MRS. PENDLETON and MISS PRITCHARD enter._) + + +JULIA. Ah, Mother! + +MRS. PENDLETON. (_Coming down_) Well, girls, still at work? (_Crosses to +L. of table C._) How quickly you have put your room in order! (_MISS +PRITCHARD closes door._) + +JULIA. (_Behind C. table_) Oh, there’s nothing like a college education +for teaching one to be a good housekeeper. (_Goes up to window seat, +putting odds and ends on seat into the top drawer; MISS PRITCHARD coming +down to R. of C. table._) + +SALLIE. (_Coming down L. of C. table_) Did you like the basket-ball +game, Mrs. Pendleton? + +MRS. P. (_Sitting L. of table_) It was very unladylike. + +JULIA. (_Facing front_) Where’s Judy? + +MISS P. (_Sitting R. of table_) She had to go to a rehearsal. (_Sits._) + +SALLIE. She has too many engagements. (_Up to couch, arranging pillow._) + +MRS. P. Julia, what sort of people does Judy Abbott come from? + +JULIA. (_Coming R. of MRS. PENDLETON_) I haven’t the slightest idea, +Mother. + +MRS. P. Doesn’t she ever mention her family? + +JULIA. She told me that she was descended from the first man ever hanged +in the United States. (_After laugh—a knock sounds on the door at back. +JULIA crosses to open it._) + +MRS. P. What an extraordinary thing to boast of! + +JULIA. (_Opens door and takes card from the maid_) Mr. James McBride. +(_Crosses R.C. SALLIE crosses to C._) Here’s your brother, Sallie. + +SALLIE. (_Above C. table_) Ask him to come up. + +MRS. P. Have you permission? + +SALLIE. Just going to get it. The room’s upholstered in chaperones. +(_Crosses to desk and arranging it._) + +MRS. P. (_Turning to maid_) There will be another gentleman. Have the +maid send him up when he comes. + +MAID. Yes, ma’am. (_Closes door._) + +MRS. P. (_To MISS PRITCHARD_) Jervis is taking such an interest in +Julia’s college career. + +JULIA. (_R.C. Turning to them_) Yes, I wonder what struck him all of a +sudden. + +MRS. P. He proposed coming of his own accord. + +MISS P. That’s very nice! + +JULIA. (_Turning front_) What are we going to give them to eat? + +SALLIE. (_Crosses to L. of JULIA_) Oh, I wonder! + +MRS. P. (_Shocked_) Haven’t you prepared? + +JULIA. We’ve been too busy. + +SALLIE. (_Crosses to C. above table_) Judy promised to make some fudge. + +JULIA. She forgot it. (_Crosses L. of JUDY’S desk._) + +MRS. P. But you don’t want candy for tea? + +JULIA. Oh, yes, you do. It takes away your appetite so you don’t mind +what you get for dinner. (_Knock on door. SALLIE crosses to R. and opens +door. JIMMIE MCBRIDE enters._) + +SALLIE. Oh, hello, Jimmie. (_MRS. PENDLETON and MISS PRITCHARD both +rise._) + +JIMMIE. (_Kissing SALLIE_) Hello, sis. (_SALLIE and JIMMIE come down +stage._) + +SALLIE. Miss Pritchard, do you know my brother? + + +(_MISS PRITCHARD rises—SALLIE takes JIMMIE’S hat and crosses to couch + with it. JIMMIE exchanges greetings with MISS PRITCHARD._) + + +MISS P. Delighted to meet you! + +MRS. P. (_Crossing to C. of table_) How do you do, Jimmie? + +JIMMIE. (_Crossing to MRS. PENDLETON_) Mrs. Pendleton! (_Shaking hands +with her._) + +JULIA. (_At L._) Good afternoon, Jimmie! + + +(_JIMMIE crosses to JULIA as MRS. PENDLETON crosses to MISS PRITCHARD R. + of table by chair._) + + +JIMMIE. (_Crosses to R. of JULIA_) Miss Julia Pendleton. (_Bowing +elaborately_) Yours to command! Well, I never was invited up here +before. Why am I thus honored? + +SALLIE. (_Coming down R. of JIMMIE_) We’re giving a tea. + +MRS. P. I wonder what’s become of my brother-in-law. He should have been +on your train. + +JIMMIE. An opulent gentleman who takes a taxi? + +JULIA. Yes. + +JIMMIE. My trolley passed him on the hill. + + +(_A knock sounds on door. JULIA crosses to open door._) + + +SALLIE. Ah—voila. + + +(_JULIA opens door and JERVIS enters._) + + +JULIA. Ah! Uncle Jervis. (_Kisses him and closes door, then takes box of +candy he has brought and with an air of mock obsequiousness turns to +announce him in the manner of a butler_) The Honorable Mr. Jervis +Pendleton, and five pounds of candy! + + +(_Positions are JERVIS at R., JULIA L. of JERVIS, MISS PRITCHARD R. of + table C., MRS. PENDLETON L. of MISS PRITCHARD, SALLIE L. of table, and + JIMMIE L. by JUDY’S desk._) + + +JERVIS. (_Coming down to greet MISS PRITCHARD, and then MRS. PENDLETON +as MISS PRITCHARD crosses to R., and sits at desk. SALLIE gets a pair of +scissors from shelf underneath table and helps JULIA open box of candy. +JERVIS turns to JULIA as MRS. PENDLETON crosses to R., taking chair L. +of MISS PRITCHARD_) Ah, ladies, I trust I’m not late! + +JULIA. Early. We haven’t permission to have you yet. This is Sallie +McBride, my roommate. (_JERVIS crosses to R. of table, shakes hands with +SALLIE, who then joins JULIA above table._) And her brother, Jimmie! + +JIMMIE. Oh! I say⸺ + +JULIA. Oh, pardon—Mr. James McBride of Yale. + +JERVIS. (_C. of table. JIMMIE crosses to shake hands with him_) How do +you do? + +JIMMIE. How are you? + + +(_SALLIE drops down L. of JIMMIE and JULIA L. of SALLIE._) + + +JERVIS. Is this your first visit, Mr. McBride? + +JIMMIE. No—fourth. + +JERVIS. Fourth? Well, well—very devoted brother. + +SALLIE. Yes, isn’t he? (_Giving short burlesque laugh_) Ha!—Oh, by the +way, Jimmie⸺ (_JERVIS starts to cross R. and up—back turned._) You won’t +be able to see Judy Abbott this time. (_JERVIS stops to listen._) + +JIMMIE. Why not? + +SALLIE. Why, because she⸺ + +JULIA. Has the mumps! + +JIMMIE. Oh, I say! Why didn’t you telegraph me not to come? + +SALLIE. I thought you came to see me. + +JIMMIE. Well, in a way, I did. + +SALLIE. And in a way you didn’t. + +JULIA. Calm yourself. She hasn’t the mumps. + +SALLIE. She’ll be here in a few minutes. (_Crosses in front to R. MRS. +PENDLETON and MISS PRITCHARD._) + +JIMMIE. (_Crosses L. and sits at desk_) Ah, I breathe again. + +JERVIS. (_R.C. Watches JIMMIE, then turns to JULIA, politely +interested_) And—who is Miss Judy Abbott? + +JULIA. Our other roommate. We three have this study together. + +JERVIS. I see. A very pleasant arrangement. + +JULIA. Sit down, Uncle Jervis. Don’t mind us. We’re getting the tea. + + +(_JERVIS turns to the wobbly chair and is about to sit when SALLIE + screams and hastily crosses, preventing him also from occupying chair. + As she screams, JERVIS starts back and JIMMIE jumps up._) + + +SALLIE. Oh! This chair isn’t comfortable. (_Takes JERVIS’S hat and +gloves, goes down behind C. table_) Take _that_ chair. (_Indicating +chair over inkspot. JERVIS comes down, and is about to move chair over +to MRS. PENDLETON. SALLIE puts hat and gloves on couch._) + +JULIA. (_Hastily interposing, screams and again JERVIS starts +back—JIMMIE up L.C._) No, no. You mustn’t move it, Uncle Jervis. + +JERVIS. (_Puzzled_) Why not? + +JULIA. Well, take that chair. (_Indicates chair L. of table._) + +JERVIS. Thanks! I’ll stand! (_Turns to L. of MRS. PENDLETON. SALLIE has +gone to tea table and JULIA turns up and joins SALLIE. She stands on +couch. JIMMIE crosses over R. at back between MRS. PENDLETON and MISS +PRITCHARD._) + +SALLIE. (_Holding up bottle_) We’re all out of alcohol. + +JULIA. Maybe there’s enough in the lamp. + +SALLIE. (_Opening matchbox_) Oh, we’re all out of matches. + +JERVIS. (_Turns, takes match-safe from pocket and crosses up to table_) +Allow me. + +SALLIE. (_L. of table_) Thank you. Will you please light that? +(_Indicates the spirit lamp._) + +JULIA. (_Peering into sugar bowl_) Only one lump of sugar! + +MRS. P. I don’t take sugar. + +JULIA. Do you take sugar, Uncle Jervis? + +JERVIS. Four lumps! (_With back to audience, pretending to light lamp._) + +JULIA. We’ll borrow some. (_Up to couch_) Where’s the tea? + +SALLIE. In the bookcase. (_JULIA begins to look at one end of bookcase_) +No, no. Back of Kipling! (_JULIA goes to C. shelf as SALLIE holds up +cream pitcher. JERVIS saunters down R.C._) We haven’t any cream. + +JULIA. We’ll give them lemons. + +SALLIE. Lemons, lemons! Oh, here’s one. (_L. of C. table, and taking a +tobacco skull from table; takes out one decrepit lemon._) + +JERVIS. Is that a lemon? + + +(_JULIA comes down L. with tea-caddy._) + + +SALLIE. Yes. + +JERVIS. It looks it. (_Sits R. of table. SALLIE returns lemon and skull +to table._) + +JULIA. (_Peering into the caddy_) We’re all out of tea. + +MRS. P. Oh, my dear! + +MISS P. I’m not in the least hungry. + +JIMMIE. (_Crossing to L. of MRS. PENDLETON_) I am. + +JULIA. (_Down L. SALLIE L. of table_) You all came too early. This party +hasn’t commenced yet. + +SALLIE. (_To JULIA_) Julia, you hunt around and find something to eat +while I get permission from the Dean. (_Crosses over R.C. and up, +opening the door._) + +MRS. P. (_Rising_) I should like to meet the Dean. (_Joins SALLIE up +stage._) + +JULIA. (_Up to table with tea-caddy_) Good idea, Mother. She can see +with her own eyes that you are a perfectly capable chaperon. (_MRS. +PENDLETON and SALLIE exit. JERVIS drops behind table C. JULIA crosses +over R._) Come along, Jimmie. (_JIMMIE crosses up to her as JERVIS goes +down L. of C. table._) It’s not proper to leave you here. + +JERVIS. Proper to leave me? + +JULIA. (_Turning to him_) Mercy, yes! When a man’s as old as _you_ are⸺ + +JERVIS. Yes, I know. He ought to be chloroformed. + +JULIA. (_Laughs_) And don’t let the kettle boil over. (_Exits with +JIMMIE, closing door._) + +JERVIS. (_Crossing to R. of table C., and a little eagerly_) Have you +seen her? + +MISS P. Yes. + +JERVIS. Well? + +MISS P. (_Crossing to JERVIS_) Oh, she’s wonderful! I don’t believe +you’d recognize her. + +JERVIS. I was trying to remember the other day what she looked like. All +I can recall is a mass of light hair and a pug nose. + +MISS P. You’ll be surprised. + +JERVIS. (_Cross L._) No. Nothing will surprise me any more. + +MISS P. What do you mean? + +JERVIS. I’ve had nineteen letters from Judy this winter. + +MISS P. You answer them? + +JERVIS. _No!_ Of course I don’t answer them. I told you I wouldn’t. + +MISS P. But you _read_ them? + +JERVIS. Yes, certainly. Why not? + +MISS P. I was afraid—maybe you’d turn them over to your secretary. + +JERVIS. (_Down in front of table, hands in pockets_) Oh, no! Little +Judy’s letters are not the sort I could allow my secretary to read. + +MISS P. (_Anxiously_) What are they like? + +JERVIS. (_Teasing her_) Disgraceful! + +MISS P. (_Horrified. Rises_) What? + +JERVIS. Shocking! + +MISS P. Jervis! + +JERVIS. Scandalous! + +MISS P. Oh, no! + +JERVIS. She makes love to me. + +MISS P. The child thinks you are her father. + +JERVIS. The child knows perfectly well that I am not her father. + +MISS P. She thinks you are an old man. + +JERVIS. (_Rises. Indignantly_) I’m not an old man. I won’t be treated +like an old man. + +MISS P. Please don’t be angry⸺ + +JERVIS. She draws pictures of me. (_Sits L. of table._) + +MISS P. Oh! I’m sorry⸺ + +JERVIS. She draws me bald-headed—without any hair—and legs that are +long. + +MISS P. (_Firmly_) It’s not right. + +JERVIS. She calls me “Daddy Long-Legs.” + +MISS P. I shall give her a good scolding. I can’t have her treating you +with disrespect. + +JERVIS. I think I rather like being treated with disrespect. + +MISS P. (_Reproachfully_) You were joking? + +JERVIS. I think Daddy Long-Legs is a very nice name. + +MISS P. Then you don’t regret taking charge of her? + +JERVIS. Regret it? My dear lady! Her letters alone have been worth the +price of admission. + +MISS P. You must see the child. + +JERVIS. See her? Well, rather. You didn’t suppose I came up here to look +at my niece. (_Cross to C.L. to table._) + +MISS P. (_Sits R. of C._) Jervis⸺ (_He stops C. of table and turns to +her_) It was foolish putting Judy in with those two girls. + +JERVIS. Why? + +MISS P. You know how particular your sister-in-law is about the people +Julia meets and if she ever discovers the truth⸺ + +JERVIS. (_Hands up in mock horror and walks back of table_) There’ll be +the deuce to pay! + +MISS P. (_To R. of table_) I don’t know why you insisted⸺ + +JERVIS. (_Comes down_) What else _could_ I do? I had to keep track of +the girl somehow. Now, under cover of visiting my niece, I can very +conveniently keep an eye on my ward. + +MISS P. But why all this secrecy? It would be simpler if you would just +come out openly and say you were the child’s guardian. + +JERVIS. Come out openly? My dear lady—you don’t know what a parcel of +interfering women I’ve got in my family. They talked enough about the +boys I am educating. Do you think they would swallow a girl? + +MISS P. It might be awkward. + +JERVIS. When five women, with nothing to do, devote their energies to +arranging one’s life—a simple man might as well throw up his arms and +sink. (_Sits L. of table R._) + +MISS P. I don’t blame you for being a woman-hater. (_JERVIS laughs_) +But—make an exception in little Judy’s case. + +JERVIS. (_Rising and coming to L. of MISS P._) Oh, Judy and I are going +to be great friends. + +MISS P. I hope so. + +JERVIS. Why, of course we are. I feel a proprietary interest in the +girl. She belongs to me. + +MISS P. Yes, yes, but the future, Jervis. + +JERVIS. The future? + +MISS P. It’s all very well now, but—what are we going to do with her +when the vacations come? We can’t send her back to the Home! + +JERVIS. That’s all settled. I’m going to send her to a farm in +Connecticut. Lock Willow’s the name. + +MISS P. Lock Willow? + +JERVIS. Mrs. Semple’s place, you know, my old nurse Lizzie Semple. + +MISS P. Oh, yes. + +JERVIS. She wanted to spend the summer with the McBrides’, camping +somewhere. I knew what was best for her. + + +(_MISS PRITCHARD is about to speak when they hear someone at the door. + MISS PRITCHARD says “Hush” and turns to R. as JERVIS crosses to L. and + up. MRS. PENDLETON entering._) + + +MISS P. (_Crossing R., sits at desk_) Hush!—What a pretty room the girls +have! + + +(_MRS. PENDLETON brings down a plate of buns to table._) + + +JERVIS. Yes, isn’t it charming. What have you there? (_Crosses over to +L. to MRS. PENDLETON._) + +MRS. P. Oh, something Sallie stole from a sophomore’s room. (_Crosses to +L. of table as JULIA enters—JERVIS going up to tea table L. of C._) This +is a very messy way in which to live. + +JULIA. (_With a package of crackers, places it on table C._) Kettle +boiled? (_Goes up to tea table._) + +MISS P. (_Looking into kettle, gives kettle to JULIA_) There’s no water +in it. (_JULIA starts to exit with kettle._) + +MRS. P. (_Sitting L. of table_) Oh, daughter, dear. (_JULIA comes down +behind table. JERVIS crosses to L. of MISS PRITCHARD._) I’ve been +speaking to the Dean about having you and Sallie room alone next year. + + +(_JERVIS has crossed and joined MISS PRITCHARD. They exchange looks._) + + +JULIA. Why? + +MRS. P. There’s something queer about Judy Abbott. + +JULIA. That’s what makes her popular. You never know what she’s going to +say next. + +MRS. P. I prefer to _know_ what people are going to say next. + +JULIA. Now, Mother, don’t you interfere. Here, open these +crackers—(_Passes box to her_)—and—behave. (_Exits with kettle R.C._) + +JERVIS. (_L. of MISS PRITCHARD, quietly_) Julia is coming on. + +MRS. P. I never did approve of college for girls. + +MISS P. Her roommates are _both_ charming. + +MRS. P. The McBrides are very good people. The father owns a factory. + +MISS P. (_Turning to JERVIS_) Makes overalls! + +JERVIS. (_Shuddering, crossing to armchair_) Overalls! My dear Florence! + +MRS. P. They are very wealthy. + +JERVIS. (_Bowing to her_) Oh, well, in that case⸺ + +MRS. P. But I don’t know where Judy Abbott comes from. + +MISS P. I told you that I knew her guardian. Mr. Smith is a charming +man, what more do you want? (_Rising, crossing to JERVIS, turning +helplessly to him_) You know him, Jervis, Mr. _Smith_⸺ + +JERVIS. Smith? + +MISS P. Mr. John Smith. + +JERVIS. Oh, John Smith⸺ (_Crossing to R. of table_) Yes—yes, John Smith. +Splendid chap. Belongs to my club. Thoroughly respectable. + +MRS. P. Yes, but Julia isn’t rooming with him. (_JERVIS turns from her +to MISS PRITCHARD. Hopelessly MISS PRITCHARD sits in chair R._) Who’s +the girl? (_Rising_) Who was her father? + +JERVIS. If this little Judy Abbott was fitted by nature to appreciate +the best, it belongs to her, no matter who her father was. (_Crosses +over to R._) + +MRS. P. (_Crosses over L. to desk_) Oh, dear, it’s awful the way the +different social classes are getting all mixed up. + +JERVIS. Awful! Isn’t it? (_Crossing to MISS PRITCHARD._) + +MRS. P. At least we old families can stick together. (_Sits._) + + +(_Enter SALLIE with tea, followed by JULIA with water and JIMMIE with + sugar. JIMMIE closes door after him. Their manner is mock jubilant._) + + +SALLIE. (_Crossing to L. of tea table_) Tea! + +JULIA. (_Crossing to R. of SALLIE._) Water! + +JIMMIE. (Crossing to R. of JULIA) Sugar! + + +(_SALLIE and JULIA put the water and tea into teapot. JIMMIE stands with + back to audience, taking his handkerchief, spreads it across his vest + front in imitation of a waiter._) + + +JULIA. (_Facing front_) At last this function is ready to begin. + +JIMMIE. (_Facing front_) The tango tea will now begin. (_MISS PRITCHARD +rises and JERVIS puts her chair at wall above desk. JIMMIE does a tango +step down to JERVIS and MISS PRITCHARD while SALLIE and JULIA sing a +tango tune. To MISS PRITCHARD_) Sugar or lemon? + +JERVIS _and_ MISS PRITCHARD. (_JERVIS crosses to L. of MISS PRITCHARD_) +Lemon! (_JIMMIE tangoes to L. of table._) + +JIMMIE. (_To MRS. PENDLETON_) Sugar or lemon? + +MRS. P. Lemon. + +JIMMIE. (_Tangoing to R. and up above table_) Three lemons. I beg your +pardon. + + +(_SALLIE comes down with cup of tea to JIMMIE, JERVIS and MISS PRITCHARD + have eased over to JIMMIE, leaving stage free and clear up R. for + JUDY’S entrance. JIMMIE takes teacup from SALLIE and turns, almost + upsetting the tea by bumping into JERVIS. JERVIS takes teacup from + JIMMIE, passes it to MISS PRITCHARD. SALLIE has gone back to the table + and JULIA has taken a cup of tea down to MRS. PENDLETON and returns to + SALLIE at the tea table._) + + +SALLIE. Jimmie, pass those buns! + +JIMMIE. (_Taking plate of buns of table C._) The stolen buns? (_Turns to +JERVIS and MISS PRITCHARD_) Have a stolen bun? (_Without waiting, +crosses over L. to MRS. PENDLETON. JERVIS and MISS PRITCHARD, laughing +at him, ease up stage R. of C._) Have a stolen bun? Do have a stolen +bun. (_A vigorous knocking is heard. MRS. PENDLETON rises_) The police! +Caught with the goods! (_Does a funny little dodge to L. of MRS. +PENDLETON._) + + +(_The positions as JUDY enters are: MISS PRITCHARD R. and up. JERVIS L. + of MISS PRITCHARD, so that JUDY doesn’t notice them at first. At the + knock JULIA comes down to behind table and SALLIE down to L. of table + C. MRS. PENDLETON is over L. of SALLIE and JIMMIE L. of MRS. + PRITCHARD. Enter JUDY. As she opens the door and stands in hall-way, + she waves her hand and says “Good-bye” to classmates who laughingly + respond. JUDY swings into the room, slamming the door behind her and + leans against the door._) + + +[Illustration: Judy leans against the closed door of the room as the +others look at her from across the stage.] + +JUDY. (_With a laugh_) Oh, I beg your pardon! (_Comes down a bit_) I +forgot we were giving a ball. + +SALLIE. (_Pointing accusing finger at her_) Judy Abbott, where’s that +candy? + +JUDY. (_Crossing to R. of C._) Oh! + +JULIA. That you promised to make! + +JUDY. Oh, I’m awfully sorry. (_Crosses to the table and her eye lights +on box of candy. She raises it amusedly and says solemnly_) The Lord +will provide! (_JERVIS turns away, smiling_) I learned that in my youth, +and it’s true. (_MRS. PENDLETON turns up and JUDY catches sight of +JIMMIE. JERVIS turns to JULIA, motions for introduction_) Jimmie +McBride! Are you here again? + + +(_JIMMIE crosses L. of table as JULIA drops down R. of JUDY._) + + +JULIA. Oh, Judy, my uncle, Mr. Pendleton, my roommate Miss Abbott! +(_JULIA crosses L., taking teacup from MRS. PENDLETON up to table. +JERVIS comes forward and bows with some ceremony, holding out his hand +to JUDY._) + +JERVIS. This is a pleasure. + +JUDY. (_Without paying much attention, shakes hands_) How do you do? +(_Without allowing him to finish she turns quickly to JIMMIE and shakes +hands with him very cordially. JULIA takes MISS PRITCHARD’S cup to tea +table as MISS PRITCHARD goes down R. and sits at desk. JERVIS drops down +and over to R. of armchair._) Jimmie, how do you manage to get away from +Yale so often? + + +(_MRS. PENDLETON works up and across at back and over R., takes chair + above desk, placing it L. of MISS PRITCHARD, sits. JERVIS, nonplussed + at JUDY’S turning to the younger man, works over R. of armchair. JULIA + and SALLIE drop down behind JIMMIE._) + + +JIMMIE. (_His hand on his heart_) There’s a magnet draws me. + +SALLIE. (_Forces JIMMIE down into chair_) Jimmie, sit down and behave +yourself. + + +(_JIMMIE rises and turns indignantly to SALLIE, who comes L. of JIMMIE. + JULIA above chair. JUDY turns to L. of armchair._) + + +JERVIS. (_Is about to move armchair from over ink spots to near table +for JUDY_) Will you⸺ + +JUDY. (_Hastily pops into chair_) Oh, no, thank you. This is just where +I like it. + +JERVIS. (_R. of JUDY_) Is there anything the matter with that chair? + +JUDY. (_Innocently looking it over_) I don’t see anything the matter +with it. + +JERVIS. Is it nailed to the floor? + +JUDY. (_Looks at him and across at GIRLS_) No, it isn’t—but that’s a +very good idea. (_SALLIE and JULIA laugh with her_) Where’d all that +candy come from? Did you bring it, Jimmie? + +SALLIE. (_With satirical laugh at JIMMIE. Crosses up and around R. back +of table_) Jimmie! Huh! + +JUDY. You shouldn’t be so reckless with your allowance. + +JIMMIE. Well, I⸺ + +JULIA. (_To above table at C._) A token of affection from Uncle Jervis. +(_Crosses L. of SALLIE._) + +JUDY. (_Looking at JERVIS_) Oh, really. Uncles must be rather nice. I +never saw an uncle before. (_They all look at her._) + +MRS. P. What? + +JUDY. But I’ve often read about them. + + +(_JERVIS turns up stage, back turned to scene, enjoying JUDY’S + replies._) + + +MRS. PENDLETON. And haven’t you any uncles of your own? + +JUDY. Never _had_ anything of the sort. + +MRS. P. (_Turning to MISS PRITCHARD_) What in the world does she mean? + +JUDY. I never had any uncles nor aunts nor fathers nor mothers nor +brothers nor sisters nor grandmothers—nothing! + +MRS. P. Mercy, child! What happened to them? + +JUDY. They were all swallowed up by an earthquake before I was born. + + +(_Everybody laughs—MRS. PENDLETON crosses to MISS PRITCHARD and sits, + and JERVIS comes R. of JUDY._) + + +JERVIS. You occupy a unique position, Miss Judy. Allow me to +congratulate you. (_Holding out his hand._) + +JUDY. (_Regarding him with surprise_) Do you want me to shake hands with +you again? I just did it. (_Giving him her hand and rising_) Oh, I’m +willing to, but I thought you mustn’t shake hands with the same man more +than once in an afternoon. (_Releases hand_) I read that in a book of +etiquette. + +JERVIS. What’s a book of etiquette between friends? + +JUDY. I thought it took a long time to be friends with a man. + +JERVIS. (_Playfully_) One minute is sometimes enough, with a man. + +JUDY. (_Stepping back_) Do you want to know something—_funny_? (_SALLIE +goes up to couch._) + +JERVIS. I should love to know something—_funny_. + +JUDY. You’re the first man I ever spoke to. + +JIMMY. (_Crossing to L. of table, SALLIE above table R. of JUDY_) Oh, +Judy Abbott! + +JUDY. I mean the first real man. (_JERVIS sits on rocking chair. JIMMIE +crosses over to JULIA at L. JUDY to C. of table. JERVIS over to MRS. +PENDLETON and MISS PRITCHARD, and above them_) Oh, you’re not a man. + +SALLIE. (_Coming down to L. of JUDY_) How did the rehearsals go? + +JUDY. (_C. in front of table_) Awful. Bessie Carter is the leading man +and I’m the leading woman. And in the middle of the most touching +scene—what do you think happened? + +ALL. What? + +JUDY. Her mustache dropped right into my lap. + + +(_General movement. JIMMIE and JULIA start up stage, JIMMIE to table for + candy, JULIA to sofa, SALLIE over to L., JUDY up R. of table. JIMMY + offers candy—JUDY declines. SALLIE shoves chair L. of table in. JIMMIE + and SALLY up to couch—sit with JULIA, JIMMIE C., SALLIE R., JULIA L., + JUDY to C. of table as MRS. PENDLETON crosses to armchair and sits. + JERVIS to L. of MISS PRITCHARD. They all laugh. JIMMIE takes box of + candy, SALLIE joins JULIA and JIMMIE at L. They go up and sit on + couch. JUDY follows SALLIE over L. and goes up behind table C._) + + +MRS. P. (_Crossing to chair R. of table at C. and sitting_) Oh, Miss +Judy—to come back to that earthquake. + + +(_JERVIS shows by manner to MISS PRITCHARD his apprehension of MRS. + PENDLETON’S attitude to JUDY._) + + +MISS P. Florence! (_JERVIS anxious for JUDY._) + +MRS. P. You don’t remember either of your parents? + +JUDY. (_Behind table_) I lost them both, before I was born. + + +(_JERVIS relieved, smiles at MISS PRITCHARD._) + + +MRS. P. But who took care of you? + +JUDY. Different people. I have a _guardian_—who looks after me now. +Daddy Long-Legs. + +MRS. P. Who? + +JUDY. (_Quietly_) Daddy Long-Legs. + +JERVIS. (_Leaning over chair L._) That isn’t his real name. + +JUDY. Just the pet name I call him by. + +MRS. P. And what is the profession of this Mr.—Mr.—er⸺ + +JUDY. Mr. Long-Legs. He is an educator. + + +(_JERVIS sits L. of MISS PRITCHARD._) + + +JIMMIE. An educator? Sounds like a biscuit! + + +(_A laugh from JUDY and the GIRLS._) + + +MRS. P. By the way, Miss Judy, do you come from the New England Abbotts +or the Virginia Abbotts? + +JUDY. I believe—well, to tell the truth, I hardly know. My father never +took any interest in his family. + +MRS. P. And don’t you take an interest? + +JUDY. Very little. I have never even joined the Daughters of the +Revolution. (_Crosses to MISS PRITCHARD, who rises. JERVIS is R. of MISS +PRITCHARD._) When will you see my guardian again? + + +(_MRS. PENDLETON rises and goes up to couch. JIMMIE and the GIRLS rise. + SALLIE helps MISS PRITCHARD with her coat._) + + +MISS P. Very soon. + +JUDY. Tell him I love him dearly. Then give him a kiss for me. + +MISS P. Judy, Judy, what dreadful things you say. (_Turns up stage._) + +JERVIS. I don’t wonder it embarrasses you. (_Crossing to JUDY. JIMMIE +comes down, putting candy on table._) I think such messages should be +delivered in person. + + +(_MISS PRITCHARD joins MRS. PENDLETON up C._) + + +JIMMIE. (_Coming R.C. L. of JUDY_) Oh, Judy, is it true you Freshmen +aren’t allowed to dance to-night? + +JUDY. (_A step to JIMMIE_) No. The gymnasium is not big enough. + +JIMMIE. I can’t dance with you at all? + +JUDY. (_Soothingly_) But you may have a nice long promenade up and down +the bowling alley and all around the swimming tank. + +JIMMIE. (_Grumbling_) I don’t want to walk all evening. I want to dance. + +JUDY. Oh! + + +(_MRS. PENDLETON leaves up stage group and drops down to L._) + + +JERVIS. Then in that case you might bestow that promenade upon me. + +JUDY. (_To JERVIS_) Oh, thank you. (_Turns and looks JIMMIE up +and down_) I’d hate not to have any partners—(_Turning to +JERVIS_)—especially at my first dance. + + +(_JIMMIE turns up and over R._) + + +MRS. P. (_Down L._) Your first dance? + +JUDY. (_A step to C._) This will be my first dance—(_Indicates +JERVIS_)—my first man—and my first evening gown. + + +(_MISS PRITCHARD down to MRS. PENDLETON._) + + +MRS. P. Mercy, child, how were you brought up? + +JUDY. Very simply. We didn’t dress for dinner. + + +(_JERVIS feels the hurt in her voice and turns away R._) + + +MISS P. If we are going to see the campus⸺ (_MISS PRITCHARD and MRS. +PENDLETON go up stage to JULIA and SALLIE._) + +JIMMIE. (_Comes down R. of JUDY_) You promised to show me your running +track. + + +(_MRS. PENDLETON crosses to door U.R._) + + +JUDY. Oh, no, indeed. You don’t like to walk with me. Run along and join +the others. I’m going to put the room in order. (_Moves C._) + + +(_MRS. PENDLETON opens door and exits._) + + +JULIA. (_Crossing to door_) Come along, Jimmie. (_JIMMIE crosses to +her._) She’ll catch us. + + +(_JIMMIE exits with JULIA and SALLIE crosses to door._) + + +JERVIS. (_At R._) This doesn’t seem fair. + +JUDY. It’s my turn. Besides, I’d rather. Sallie and Julia would just +poke the dishes under the couch. + +SALLIE. Judy thinks we’re shiftless. + +JUDY. You didn’t have my training. + + +(_SALLIE exits, MISS PRITCHARD crosses to door as JERVIS goes up and + waits for MISS PRITCHARD to pass._) + + +SALLIE. (_Going out_) Will you come along, Miss Pritchard? + +MISS P. I’ll follow with Judy. (_JERVIS exits, leaving door open. MISS +PRITCHARD comes down to JUDY. They embrace_) Judy—I wanted a chance to +see you alone, dear. + +JUDY. Isn’t it wonderful that this is Judy Abbott? + +MISS P. Yes, yes! But you must remember—it is better not to mention the +asylum. (_Sits R. of table._) + +JUDY. I haven’t told a soul. + +MISS P. But you say such very surprising things. + +JUDY. But how can I help it? You don’t know what it feels like to be +shut up in the dark for eighteen years and then suddenly be dumped right +out into the world. + +MISS P. I know⸺ + +JUDY. The cat’s out of the bag a dozen times a day, but I grab it by its +tail and pull it back. + +MISS P. (_Laughs_) Yes, you must. People like—like Mrs. Pendleton would +never understand. + +JUDY. Do you know, she wanted to know my mother’s maiden name. + +MISS P. Oh! + +JUDY. I never saw such an inquisitive old thing. I’m going to put her in +a book. + +MISS P. That’s the way to take it. + +JUDY. (_Lightly_) She doesn’t bother me. + +MISS P. You like the girls here? + +JUDY. (_Nods_) Yes—they like me, too. But it’s only because I don’t wear +blue gingham. (_Crossing to R. of MISS PRITCHARD and turning_) You can +accomplish anything you want to in this world—if you only have the right +clothes. + +MISS P. My dear! + +JUDY. I’m wearing silk stockings. (_Sticks out foot and exhibits them_) +Isn’t that a joke? Tell Mrs. Lippett when you see her. + +MISS P. (_Embracing her_) Judy Abbott! + +JUDY. (_Sits on arm of chair_) Jerusha Abbott—wearing silk—I wonder +where she got that name. Jerusha Abbott. + +MISS P. What do you mean? + +JUDY. I suppose she took “Jerusha” off a tombstone. But I don’t know +where she picked the “Abbott.” Unless, maybe, out of the first page of +the telephone book. + +MISS P. (_Distressed_) Why, my dear child, what an idea! + +JUDY. (_Crosses in front of table_) I’d—I’d sort of like to know. + +MISS P. (_Rises anxiously—following her, turns her round_) You are +happy, dear? + +JUDY. (_Rising, facing MISS PRITCHARD and throwing off her momentary +soberness_) Happy! I’m so happy every moment that excited little thrills +chase up and down my back. I can’t wait to see everything and try +everything. I want to live faster and faster to make up for the time +I’ve lost. + +MISS P. (_Rising and crossing to her_) Child! Child! You must face life +soberly. It holds many disappointments for us all. + +JUDY. No! No! I’ve left all my troubles at the John Grier Home! Wait! I +want to show you something. + + +(_Exits L. JERVIS appears at open door of room, comes down R., leaving + door open._) + + +JERVIS. I was sent to order you out to look at the library. + +MISS P. (_Crossing to JERVIS at R._) I’m just waiting for Judy. + +JERVIS. You might leave me to do that and I’ll have a chat with her as +we come along. + +MISS P. Isn’t she sweet? + +JERVIS. (_About to express his delight, changes his reply to a +non-committal_) Yes—er—er—she does very well. + +MISS P. Now, do you take back what you said? Is it a bad investment to +educate a girl? + +JERVIS. Doesn’t it strike you that she’s pretty familiar with that young +McBride? + +MISS P. No! + +JERVIS. It’s just what I told you. We’ll no sooner get her educated than +some young whipper-snapper will come along and want to marry her. + +MISS P. He isn’t a whipper-snapper. He’s a nice boy. + +JERVIS. He’ll be wanting to marry her. + +MISS P. Well—when she’s through college⸺ + +JERVIS. (_Crossly_) I don’t care to have my ward throwing herself away +on an overall factory. + +MISS P. (_With a laugh_) Nonsense! + + +(_JUDY is heard off stage saying “Just a moment, MISS PRITCHARD.” JERVIS + cautions MISS PRITCHARD quietly and escorts her up to door L. She + exits and he closes door and comes down R., as JUDY comes from the + room L., holding up in front of her a white evening frock, so that it + completely shuts off a view of the room._) + + +JUDY. (_By door_) Look at my new gown that I’m going to wear to-night. +Daddy gave it to me. Did you ever see anything so lovely? + +JERVIS. (_R. of C._) Well—I’m not much⸺ + +JUDY. (_Lowering gown and looking over top in consternation_) Oh, good +gracious sakes alive! How did you get here? + +JERVIS. Through the door. + +JUDY. Where’s Miss Pritchard? + +JERVIS. Library. I told her we’d come along. + +JUDY. (_Laughing_) Oh, I’m sorry. Just a second. (_She dives back into +room, leaves the gown and re-appears, crosses to C._) Ready? + +JERVIS. (_R. by armchair_) That library doesn’t appeal to me very much. +Let’s wait here. + +JUDY. (_Dubiously_) Without a chaperone? + +JERVIS. I’m an uncle. + +JUDY. And then, of course—you’re old. + +JERVIS. Yes, exactly. I’m old. (_Motions to armchair_) Suppose we sit +down here and have a cozy, elderly flirtation all by ourselves. (_JUDY +sits—JERVIS gets chair at R. and comes back and sits R. of JUDY._) + +JUDY. (_With a laugh_) Oh, I’d love to have a flirtation with a +Pendleton! That would be a beautiful joke. + +JERVIS. Why a joke? + +JUDY. You wouldn’t understand—you know before I came to college I never +realized that anything so superior ever existed as a Pendleton. + +JERVIS. Oh, I see. You’ve had quite a dose of Julia. + +JUDY. She has mentioned her family. I feel that it’s a great honor to be +seated in your presence. + +JERVIS. (_Gruffly_) You rub some sense into my niece. + +JUDY. I’m trying to do my best—but Gee Whiz! + +JERVIS. What? + +JUDY. Oh! Isn’t it ladylike to say—Gee Whiz? + +JERVIS. Never! + +JUDY. Don’t you approve of slang? + +JERVIS. Not from you! (_Turns away._) + +JUDY. Would you like to hear me swear? + +JERVIS. No! + +JUDY. I could. I’ve picked up quite a large vocabulary from all the +tough little Bowery boys I’ve known. + +JERVIS. Where did you ever know any tough little Bowery boys? + +JUDY. I used to be connected with a—charity. + +JERVIS. What sort of charity? + +JUDY. Oh, for children. A lot of nice, kind, benevolent old Johnnies +used to come every month and pat them on the head and murmur, “Poor, +homeless, little waifs!” And then find fault with the way the floors +were scrubbed and have refreshments, and go home, and forget all about +them for another month. It was very sweet. + +JERVIS. And what part did you play in this little comedy? + +JUDY. I? Oh, I used to watch them, and smile a little behind their +backs. (_She gets up in a sudden access of fierceness_) I hate +charitable people. (_JERVIS rises. JUDY turns and faces him contritely_) +I didn’t mean that! The only man I love in all the world is charitable. +(_She notices that he has risen again, suddenly_) Do you have to stand +up every time I do? + +JERVIS. (_Takes chair back of table R._) It’s a polite thing for a +gentleman to do. + +JUDY. It must be an awful nuisance to be a gentleman. + +JERVIS. Eh? + +JUDY. I’m glad I’m not one. + +JERVIS. I’m glad, too. + +JUDY. You don’t like my manners, do you? + +JERVIS. You have very—sudden manners. + +JUDY. I learned them out of a book. Cost a dollar and fifteen cents. + +JERVIS. It pays to get a good quality. + + +(_JUDY takes book from shelf under table, goes back to armchair. Sits._) + + +JUDY. Sit down. (_JERVIS sits and JUDY reads from book_) “A lady never +accepts presents from a man but flowers and candy.” + +JERVIS. How about that new frock? + +JUDY. From Daddy Long-Legs? Oh, that’s different. He belongs to me. + +JERVIS. (_Leans forward interestedly_) Oh! + +JUDY. (_Turns another page_) “When a lady breaks her engagement to marry +a man, she returns all his presents.” That’s a very useful thing to +know. (_Rises, JERVIS also rises, laughing heartily. JUDY tosses book on +table with a laugh_) Isn’t it silly? (_Crosses to C. in front of +table._) + +JERVIS. (_Crosses to armchair_) You stay kind-hearted and don’t hurt +people’s feelings—and that’s all the manners you need. + +JUDY. (_Turning to him_) You know, Mr. Pendleton, I like you. You are so +sort of sensible, and grown-up⸺ + +JERVIS. And old⸺ + +JUDY. I wish I had an uncle! I wish I had a _lot_ of family. + +JERVIS. I am entirely at your disposal. Anything you wish—by adoption. + +JUDY. Really? + +JERVIS. Yes. + +JUDY. I want a grandmother more than anything in the world. Will you be +my grandmother, Mr. Pendleton? + +JERVIS. No, I take that offer back. (_To armchair_) We’ll just be +friends. + +JUDY. (_With a sigh_) It’s sometimes awfully lonely without a family. + +JERVIS. It’s sometimes awfully lonely with a family. + +JUDY. (_Thoughtfully_) But at least I’ve escaped one thing. I never get +homesick. (_Turns away._) + +JERVIS. (_Breaks situation_) Where are you spending your vacation this +summer? + +JUDY. On a farm in Connecticut. But I wanted to go to the McBrides’ camp +in the Adirondacks. + +JERVIS. Well, why don’t you go? + +JUDY. Daddy Long-Legs wouldn’t let me. + +JERVIS. (_A step to C._) I see. Who owns this farm? (_Hands in +pockets._) + +JUDY. Mrs. Semple. + +JERVIS. Mrs. Semple? + +JUDY. Lock Willow’s the name. + +JERVIS. Lock Willow! Well, well. Isn’t that a coincidence. Lizzie Semple +was my nurse when I was a little shaver. + +JUDY. (_A step back_) Your nurse? + +JERVIS. Yes. + +JUDY. Gee whiz! (_Turns away._) + +JERVIS. Take care. + +JUDY. (_Turns to him_) She must be awfully old. + +JERVIS. Well, she’s coming on. It’s some time since I sat on Lizzie’s +lap and had my face washed. + +JUDY. (_Laughs_) How funny! + +JERVIS. (_Crossing to C. of table_) I occasionally motor through that +country and stop for a little fishing. Maybe I’ll see you. + +JUDY. That will be very nice. (_Suddenly crosses over to L. and up as +JERVIS, stunned by his abrupt dismissal, turns front_) Thanks. + +JERVIS. (_Crossing over R. and then turning to her_) And what are you +doing in college? Have you learned anything? + +JUDY. (_Coming to L. of chair, reproachfully_) Have I learned anything? +The area of the convex surface of the frustum of a regular pyramid is +half the product of the sum of the perimeters of its bases by the +altitude of either of its trapezoids. + +JERVIS. (_Bowing_) That is very impressive. + +JUDY. (_Behind table_) I’ve finished—physiology. I know all about your +insides. + +JERVIS. Um—yes⸺ + +JUDY. (_Crossing to armchair_) I hope you never touch alcohol, Mr. +Pendleton. It does dreadful things to your liver. + +JERVIS. Thank you—I will remember. + +JUDY. (_Sitting in armchair_) Did you know that we used to be monkeys? + +JERVIS. (_Sitting R. of JUDY_) I’ve heard rumors. + +JUDY. You, just as much as me. + +JERVIS. And why not? + +JUDY. But, of course, the Pendletons are descended from very superior +monkeys—with beautiful silky hair and extra long tails. + +JERVIS. Oh! + +JUDY. Did you ever read Hamlet? + +JERVIS. Yes. + +JUDY. Isn’t it corking? + +JERVIS. Eh? + +JUDY. Every night I put myself to sleep by pretending that I’m the +heroine of whatever book I’m reading. Do you ever do that? + +JERVIS. I never have. + +JUDY. Just now I’m Ophelia! + +JERVIS. Ophelia? + +JUDY. Hamlet and I are married. The King and Queen are dead. But Hamlet +didn’t kill them. They just died of—pneumonia. + +JERVIS. Um—much more modern idea. + +JUDY. You know—Hamlet and I are having a perfectly lovely time. I’ve +entirely cured him of being melancholy. He attends to the governing and +I look after the charities. We’ve just founded the most remarkable +orphan asylum. All of the children are happy. + +JERVIS. And you, Miss Judy? Are you happy? + +JUDY. Happy? (_Rises—JERVIS, too_) I’m the happiest person in the whole +wide world. + +JERVIS. Tell me the secret. + +JUDY. We have ice-cream twice a week—(_Goes to R. of table_)—and we +never have corn-meal mush. + +JERVIS. That’s something. + +JUDY. (_R. of table, facing him, hands on table_) And I’ve lots of +friends, and I’ve passed my examinations, and I’ve won a short story +prize⸺ + +JERVIS. Good! + +JUDY. And I’ve made the basket-ball team—(_Stands up_)—and I have eight +new dresses—all of them different colors, and not, not one blue gingham. +(_Turning away._) + +JERVIS. You don’t admire blue gingham? + +JUDY. No! I shudder at the thought! (_Crosses over L._) Talk about +something else quick. (_Goes up. JERVIS glances about the room._) + +JERVIS. What shall we talk about? (_Turning up a little_) Did you girls +furnish this room yourselves? + +JUDY. (_Coming to table C._) The expensive things are Julia’s. It’s +awful the way she wastes money. + +JERVIS. (_Over to R. of armchair—sternly_) If I had a girl who belonged +to me I’d give her an allowance and I’d make her keep within it. I hope +your guardian makes you keep within your allowance. + +JUDY. (_Laughs and shakes her head_) No, he doesn’t. He gives me lots of +extra things. + +JERVIS. That won’t do. He’ll spoil you. + +JUDY. (_Facing him_) Oh! But it’s such fun to be spoiled—(_Facing +front_)—when you never have been. + + +(_JERVIS leans over armchair, looking at her tenderly. JUDY reads the + expression and turns abruptly to L._) + + +JERVIS. And which of all these things did you choose? (_Turns up._) + +JUDY. (_Behind table_) This rug—do you like it? + +JERVIS. Yes—very pretty. + +JUDY. And that window seat. (_Going up C._) It used to be a bureau, but +I took off the looking-glass and upholstered the top. (_JERVIS goes up a +little also_) You pull the drawers out like steps and just walk up. +(_She does it and sits on the top_) Wouldn’t you like to try it, Mr. +Pendleton? It’s very comfortable. + +JERVIS. (_Coming down R. of chair and pulling it up and off of ink +spot_) I think I’ll stay on dry land. + + +(_JUDY, in consternation, quickly descending from bureau._) + + +JUDY. (_Hastily coming down_) No, no, no! (_L. of chair_) Now, you’ve +done it! + +JERVIS. (_Staring at the spot_) What’s that? + +JUDY. Family skeleton. We keep it under the chair. I bought the rug for +half price because it had an ink spot. + +JERVIS. A what? + +JUDY. Ink spot. + +JERVIS. You call that a spot? (_Cross R._) I’d call it a pond. + +JUDY. (_Sets chair down on spot with a slam_) If people would just leave +our furniture alone, it would never show. (_To R. of table._) + +JERVIS. (_R. of chair_) I’m sorry, Miss Judy. I won’t offend again. But +tell me, what sort of a man is your guardian? + +JUDY. Daddy Long-Legs? + +JERVIS. Yes. + +JUDY. Oh, he’s sort of tall—and skinny. He’s getting a little shaky now, +and has to walk with a cane. He’s bald up here—but he has a nice fringe +of white hair all around here. + +JERVIS. Oh, yes, quite a beauty. + +JUDY. He’s a sweet lamb. And I love him more than anything in the whole +world. + +JERVIS. That must make him very happy. + +JUDY. (_Facing him_) He doesn’t know it. I wouldn’t tell him to his +face. It would spoil him. (_Turns away._) + +JERVIS. Maybe it would do him good. It would give him a fresh interest +in life to think that a nice girl like you cared for him. + +JUDY. (_Suddenly—turning to him. Sits on table_) When I get through +college, I’m going to live with him. + +JERVIS. (_Startled_) Are you really? Does he want you? + +JUDY. Not now. But he will when he knows me better. + +JERVIS. Maybe you’ll change your mind when you know him better. + +JUDY. Oh, no, I sha’n’t. I have it all planned. I am going to read out +loud to him, and plump up his pillow, and warm his slippers, and wrap up +his throat in camphorated oil, and _always_ make him wear his rubbers +when he goes out. + +JERVIS. (_Dubiously_) That’s very touching. + +JUDY. I am going to be awfully firm with him. + +JERVIS. Oh, you are, are you? (_JUDY nods head_) Does he ever come to +see you? (_JUDY shakes her head_) No? Why not? + +JUDY. He doesn’t care anything about me, really. + +JERVIS. Nonsense, of course he does. + +JUDY. I just pretend. You must have somebody to love, and he’s all I +have. So I make believe that he cares. + +JERVIS. Maybe he does care—more than you think. + +JUDY. (_Facing him, with a flash of fire_) No, he doesn’t! He’s a +horrid, cross, old thing, with a mouth that turns down like that, and a +perfectly dreadful temper. + +JERVIS. So! And doesn’t he ever write to you? + +JUDY. No! + +JERVIS. And don’t you write to him? + +JUDY. Yes, I write to him all the time—whenever I get lonely. But he +doesn’t even read my letters. + +JERVIS. How do you know? + +JUDY. He throws them in the waste basket. + +JERVIS. Oh, no, you’re wrong. He keeps them tied together with a piece +of red tape, and locked in a drawer of his desk, and winter evenings +when he’s all alone in his dark library, he gets them out and reads them +over; and then he sits and looks in the fire and wonders what little +Judy is doing, and wishes she were there to talk to him. + + +(_JUDY listens with a pleased smile and faces him._) + + +JUDY. I like to think he does⸺ (_Turning away_) But it’s only +pretending. (_Crosses L. and up behind chair L. of table._) + + + _WARN CURTAIN_ + + +JERVIS. I wonder! I wonder! + + +(_JUDY throws of her momentary sadness and faces him with a sudden + change of manner._) + + +JUDY. Do you know that I am a genius? + +JERVIS. Are you really? + +JUDY. Yes. That’s why my guardian is sending me to college. I’m going to +be a great author. + +JERVIS. That’s very nice. + +JUDY. (_With a quick laugh_) Wouldn’t it be a joke on my guardian, if I +turned out not to be a genius at all—but just a plain girl? (_Crossing +to L. of table._) + +JERVIS. What an idea! Of course you’re a genius. + +JUDY. (_Down L._) Do you think it would be fair to Daddy Long-Legs, if, +after being educated to be a writer, I should give it up and marry +somebody instead? + +JERVIS. (_Coming to R. of table_) No! I do not! + +JUDY. I’ll tell you what I’ll do. I’ll write a wonderful novel and make +an awful lot of money and give it all to Daddy—and then I’ll be free to +marry anybody I choose. + +JIMMIE. (_Entering suddenly and standing by door_) I say, Judy Abbott⸺ + +JUDY. (_Crossing to him. They exit, laughing and chatting_) Oh, Jimmie! +I forgot all about you. You want to see the running track—well, come +right along. + + +(_As JUDY crosses to JIMMIE, JERVIS turns and follows her movements. + When she is off—he faces front, puzzled and nonplussed, as the curtain + descends._) + + + CURTAIN + + + 1st Call—Everybody. + 2nd Call—Judy. + + + + + ACT III + + +SCENE: _The sitting-room at Lock Willow farm, summer, three years later. + A plan and full description of the scene will be found at the end of + the play._ + + +DISCOVERED: _At rise SALLIE, seated L. of table, looking more mature and + womanly than in the preceding act, is discovered at rise, + interestedly engaged in writing a letter. JIMMIE enters U.L., + wearing a slight mustache and dressed in flannels. He enters, + humming a song and carrying a gun._ + + +JIMMIE. (_Throws cap on piano_) Well—got him! (_Places gun R. of +what-not._) + +SALLIE. (_Looking up_) What? + +JIMMIE. (_Crosses to L._) Woodchuck! + +SALLIE. (_Resumes writing_) That’s good! + +JIMMIE. (_Crosses to door U._) Oh—Mrs. Semple! + +MRS. SEMPLE. (_Off stage R._) Y-e-s⸺ + +JIMMIE. The deed is done. (_Turns to SALLIE, who pays no attention, +crosses R. of table_) I’ve been lying on my stomach for two hours, +waiting for that old cuss to stick out his head. Gee, I’m stiff. (_Goes +through gymnastics._) + +SALLIE. (_Looks up and laughs despairingly_) My dear Jimmie, won’t you +ever grow up? You’ve been out of college two years, and you act like a +Freshman. + +JIMMIE. (_Turning to mirror over mantel up R. and twirling his +mustache_) Freshman! Did you ever see a Freshman with a mustache like +that? (_SALLIE resumes writing. To mantel_) I say, where is Judy? +(_Crosses to C. above table._) + +SALLIE. She drove to the village, to send off the manuscript of her new +book. + +JIMMIE. Well, why didn’t she ask me to go along? + +SALLIE. You were occupied. + +JIMMIE. (_Sits R._) I could have postponed that woodchuck until +to-morrow. + +SALLIE. To-morrow! Jimmie McBride, you must go home to-day. You had no +business stopping off here at all. + +JIMMIE. You visit Judy for two weeks. I should think I might have two +days. + +SALLIE. Father needs you in the factory. + +JIMMIE. Factory? Work—work—work! It’s awful the way we men have to work +to keep you women in idleness and luxury. + +SALLIE. You? Work! Ha! It’s Judy who knows how to work! + + +(_MRS. SEMPLE enters R. and JIMMIE rises._) + + +MRS. S. (_Crossing to R. of JIMMIE_) Well, did you get the critter? +(_Crosses to R. of table._) + +JIMMIE. (_Weeping into his handkerchief_) It’s all over. (_Crosses to +piano—sits and picks out a one-fingered tune._) + +MRS. S. I’m real glad. He et all the tops off my young carrots. (_Up R., +looking around the room—to set things in order—but no halt in the +lines_) Mr. Jervis usually keeps the woodchucks pretty well shot-up; but +he ain’t been here lately. + + + _PHONE READY_ + + +JIMMIE. (_Turning interestedly_) Is Mr. Pendleton in the habit of +coming? + +MRS. S. (_Crosses down a little R._) Off and on. + +JIMMIE. (_Curiously_) Off and on? + +MRS. S. (_Continuing_) ⸺for a little fishing. + +JIMMIE. Fishing! + +MRS. S. I’m always glad to see him, it makes it cheerful for Miss Judy. + +JIMMIE. (_Rising_) Oh, fishing? + +MRS. S. (_Crossing to piano, looking at picture of JERVIS over window_) +I can’t realize that Mr. Jervis ain’t still the little boy in that +picture. Seems like he belonged to me. But of course I was only his +nurse and after he growed up, he sort of drifted off. (_Sitting R. of +table. JIMMIE at window._) + +JIMMIE. (_Comes down R._) Until Miss Judy commenced coming—and then he +sort of drifted back, eh? + +MRS. S. Oh, he’s awful fond of _fishing_. (_Phone rings, one long, +followed by three short_) Telephone! (_Crossing to R._) + +SALLIE. That’s not our number! + +MRS. S. 13! The Weavers! Wonder who’s talking to ’em? I’ll just find +out. (_She waddles off R. SALLIE resumes writing and JIMMIE crosses +above table C._) + +JIMMIE. (_Crossing above table_) Don’t you think it’s darned queer for +Jervis Pendleton to be visiting up here? + +SALLIE. No! She’s his old nurse! + +JIMMIE. Nurse? Maggie Flannigan is my old nurse, but I don’t spend my +_summers_ with her. + +SALLIE. (_Mocking MRS. S._) Mr. Pendleton’s awful fond of fishing. + +JIMMIE. Fishing! Rats! (_Crosses to chair R. by fireplace._) + +MRS. S. (_Entering—crosses to up R._) That was Jim Weaver talking to +their doctor. It’s awful the way Jim Weaver swears over the telephone. I +think every lady on the line ought to complain. Miss Judy had the +telephone put in. We never had one till she came. Don’t know what we’d +do without it now. (_Sitting R. of table, crosses to R. for workbasket +on table and returns to R. of table and sits and begins work on +knitting_) Miss Judy does have more ideas! The first summer she was here +she and Mr. Jervis knocked out the whole wall side of the house and had +that window put in. Makes it look like all outdoors. It’s fine for the +summer, but they ain’t here in the winter. (_Grunt. Workbasket on +table_) And then she had that piano put in tuther room. The last I +heard, they was planning a pergolley in the garden. But he ain’t been up +here for a month or so and I guess the pergolley notion has sort of +dropped. I don’t know what she’ll think of next. + +JIMMIE. (_Rises, twirling mustache with self-satisfied air_) She’ll be +getting married next, and then⸺ + +MRS. S. (_Looks across at JIMMIE_) When she does marry, I hope it will +be to a man that amounts to something, and not to some trifling, +good-for-nothing young fellow who’s afraid of work. + +JIMMIE. (_Gives himself a burlesque punch and turns up_) Ooh! + +MRS. S. (_Putting workbasket on table_) Land sakes! (_Looks at clock on +mantel_) What time does your train go? I mustn’t let you miss it! + +JIMMIE. (_Sweetly_) Thanks! + +MRS. S. Too bad you weren’t here when Miss Judy left; she could +a-carried you to the station. + +JIMMIE. Oh, I can postpone going until to-morrow, if it isn’t +convenient⸺ + + + _READY PHONE_ + + +MRS. S. Oh, it’ll be _convenient_⸺ (_Telephone rings, one long and one +short. MRS. SEMPLE rises_) The Widow Dowd! I wonder who’s talking to +her? (_Hurries off R. JIMMIE turns to SALLIE._) + + + _READY PHONE_ + + +JIMMIE. (_Above table_) Are you writing a book, too? Is it catching? + +SALLIE. (_Gathering up pages_) I’m just writing a _note_ to Gordon. + +JIMMIE. A note? You’ve got it bad! I hope when I get engaged, my girl +won’t write me notes like that and expect an answer. + +SALLIE. (_Having enclosed note in envelope, rises_) Jimmie, wait a +second! (_Crosses to L._) I’ll get a stamp. (_Goes upstairs and off, as +MRS. SEMPLE enters at R._) + +MRS. S. (_To R. of table_) That was Mrs. Iry Hatch wantin’ to borrow the +Widow Dowd’s ice-cream freezer.—Now what do you s’pose she wants to make +ice-cream for in the middle of the week? (_Phone rings: two long and +three short rings_) There it goes again! That’s our number. I don’t get +no rest! (_Hurries Off R. SALLIE enters._) + +SALLIE. (_Downstairs on landing to JIMMIE_) Oh, Jimmie! The Postman is +coming up the road. Give him this and see if there is any mail for us. + + +(_CARRIE enters U.L. Crossing to C., carrying a broom and dust cloth; as + JIMMIE turns to exit._) + + +JIMMIE. (_Going up and off L. MRS. SEMPLE enters R. and crosses up to +CARRIE at R.C. SALLIE to L. of table, closing writing desk_) I fly! + +MRS. S. Carrie! Carrie! Mr. Jervis has just telephoned from the station. +He’s driving up and he’ll be here in half an hour. (_CARRIE crosses to +door R._) Ain’t it lucky I made that jelly cake? (_Calls off R._) +Carrie! Carrie! You go and clean the best bedroom. + +CARRIE. But Mr. McBride’s in it! + +MRS. S. (_R.C. above table_) Just set his things right out in the hall. +He’s going in a few minutes. + +CARRIE. (_Upstairs_) Yes’m! (_Exits upstairs._) + +MRS. S. (_Crossing to R. to foot of stairs door and speaks to CARRIE_) +And Carrie—don’t tell Miss Judy. She ain’t heard nothing from him in a +long time and we’ll just fix up a little surprise. + +CARRIE. (_Off stage_) No’m. + + +(_MRS. SEMPLE closes door, as JIMMIE enters L. with mail. MRS. SEMPLE + crosses to R. of table and sits._) + + +JIMMIE. (_Coming to C. above table_) Hello, Sis! Mail! + +SALLIE. (_L. of table_) Oh, did you get a letter for me? + +JIMMIE. No! An advertisement for you. (_Gives her large music envelope_) +Gordon’s tired of writing. (_Gives mail, wrapped magazine to MRS. +SEMPLE_) For you, Mrs. Semple! All for Judy. (_Takes remaining letters +up R. and lays them on work-table._) + +SALLIE. (_Taking sheet music from envelope_) This is from Gordon. Oh, +it’s a song he wants me to sing. (_Sits at piano._) + +JIMMIE. You! Sing a song! Ha! (_To table above MRS. SEMPLE._) + +MRS. S. (_Sits R. of table looking over magazine._) And here’s +instalment three of the remarkable serial by that rising young author, +Jerusha Abbott. + +JIMMIE. I say, look at the pictures. Aren’t they corkers? + +MRS. S. I don’t know how she does it—I couldn’t write a book, not if you +was to pay me for it. + + +(_JIMMIE turns up to window with a laugh._) + + +JIMMIE. Oh, by jove—here she is now! (_Crosses and exits L., leaving +door open as JUDY is heard “helloing” off stage. JIMMIE and JUDY carry +on a chatter outside as MRS. SEMPLE goes through her speech with SALLIE +playing the air on piano with a gradual crescendo, ending on the word +“famous” as JUDY steps inside._) + +MRS. S. Now, ain’t that grand? To see her name printed right out in +letters half an inch high! I always said that Judy was going to be +_famous_. + + +(_JUDY enters and comes to L.C., carrying hat in one hand and millinery + bag in other. SALLIE rises as JUDY enters. JIMMIE follows JUDY, + carrying a small market basket, ladened with bundles._) + + +JUDY. Hello, everybody! + + +(_JIMMIE crosses behind JUDY and sets basket on table C._) + + +SALLIE. (_At L._) Good gracious! What’s all that? + +JUDY. (_Coming down L. of table, SALLIE to L. of JUDY, JIMMIE L. of MRS. +SEMPLE_) I am September Santa Claus. I’ve brought you all a present from +the village store. (_JUDY removes coat and puts hat and coat on +windowseat._) + +JIMMIE. (_Crosses down R._) I like the way you set me to catching +woodchucks. (_JUDY comes down L. of table_) And then go off on a +pleasure drive. + +JUDY. When we take a tramp in for the night, we expect him to work for +his board. + +MRS. S. What kept you so long? We were afraid old Grover had run away +with you. + +JUDY. Oh, I stopped to give the money to old Mrs. Barber. (_Explaining +to JIMMIE_) They’re an awfully poor family, who have had such bad luck. +I wrote to Daddy Long-Legs about them, and he sent me a check for a +hundred dollars for them. + +SALLIE. (_Crossing to JUDY, arms around her_) What did she say? Was she +pleased? + +JUDY. (_Laughs_) She said, “Thank the Good Lord,” but I told her it +wasn’t the good Lord. It was my Guardian. + +MRS. S. But it was the good Lord that put it into his head. + +JUDY. (R.) Oh, no, it wasn’t! I put it in his head myself. (_Takes two +haying hats from bag she had placed on the table, as JIMMIE crosses to +table above MRS. SEMPLE_) Look! The latest importations in fall +millinery. One for Sallie and one for Judy, to save the skin on our +noses when we go blackberrying. (_Tries hat on SALLIE, who turns and +crosses over L. to mirror, below staircase, to try on hat herself as +JUDY turns and takes from basket a flour sifter. Holding up sifter_) A +new flour sifter for Mrs. Semple. (_JIMMIE has unwrapped a package +containing pink cambric, which JUDY takes from him_) And last, but not +least—here is some stuff to make aprons for Carrie. + +MRS. S. (_Examining the material_) Landsakes! What did you pay for that +a yard? + +JUDY. Fifty cents. + +MRS. S. Fifty cents! Why didn’t you get blue checked gingham? + +JUDY. Oh! + + +(_JIMMIE crosses to window, twirling mustache. Sits on arm of chair._) + + +MRS. S. You could of got that for 12 cents a yard. + +JUDY. (_Shuddering and turning up, as SALLIE crosses up to JUDY and puts +hat on piano_) Oh! + +JIMMIE. (_At R._) I never saw anything so silly, as the way you women +fuss over clothes. + +JUDY. (_Facing JIMMIE. SALLIE behind JUDY_) Silly, eh? I heard of +another man who grumbled about women’s clothes being silly, until +finally his wife, to please him—adopted dress reform. And then⸺ + +JIMMIE. Then what? (_Twirling mustache._) + +JUDY. He eloped with a chorus girl. (_Looks of horror from MRS. +SEMPLE._) + +MRS. S. Good grief. + +SALLIE. Oh, Jimmie, do let that mustache alone. Kill it, but don’t worry +it to death. + + +(_JIMMIE crosses to SALLIE and they exchange shots in a light tone as + JUDY plays the prelude to the song. SALLIE cautions JIMMIE to be quiet + and stands above JUDY ready to turn pages for her. JIMMIE stands L. of + table, leaning against chair and watching JUDY. MRS. SEMPLE sits back + in her chair R. of table, ready to listen with great satisfaction._) + + + _SONG “INFAMY”_ + + +JUDY. Where did you get it? + +SALLIE. Gordon sent it. + +JUDY. (_Crosses to L. of table_) Oh, has the mail come? (_JIMMIE quickly +crosses to R. and returns with letters_) Any letters for me? + +JIMMIE. (_To table, sits on table, handing letters to her_) A +million-dollar check from your publishers. (_Takes magazine from table_) +Instalment three of the great American novel by Jerusha Abbott. + +JUDY. (_Having looked through letters_) Is this all? + +JIMMIE. All! Were you expecting a love letter, too? + +JUDY. (_Sitting L. of table_) Don’t be silly, Jimmie! (_Opening one +letter, laying others on table_) I wonder what my publishers have to say +of the idea of my new book. + + +(_SALLIE sits at piano and softly plays the song._) + + +JIMMIE. (_C. above table_) What’s the name of your new book? + +JUDY. “The Rufus Gaunt Home.” + + +(_JIMMIE above table, JUDY sits L., MRS. SEMPLE R._) + + +JIMMIE. “The Rufus Gaunt Home?” That is a cheerful title! Is it an +insane asylum or just a poorhouse? + + +(_SALLIE looking out window._) + + +JUDY. It’s—an orphan asylum. + +JIMMIE. An orphan asylum? Oh, I say, if you’re going to write a book, +why don’t you choose a subject you know something about? + +JUDY. (_Looks up from letter then around to JIMMIE; then slowly faces +front again_) That’s just what my publisher asks. + +SALLIE. But wait till he reads it! It’s a beautiful book—isn’t it, Mrs. +Semple? + + +(_During this scene, JIMMIE devotes all his attention to JUDY._) + + +MRS. S. Of course it’s beautiful. Everything Miss Judy writes is +beautiful—but I did think the book you wrote that first summer was +grand! + +JUDY. (_Laughs_) It was dreadful! When I got back to college I borrowed +the engineer’s furnace. I felt as though I cremated my only child. The +next morning I started a new one. I am an awfully optimistic person. I +think if I lost a husband and seven children I’d bob up the next day and +hunt for a new set. + +MRS. S. You can say what you please, but I like hero-ines rich. + +JUDY. But my heroine can’t be rich, she is in an asylum. + +MRS. S. Are you plumb set on that asylum? + +JUDY. Yes, I’m plumb set! + +MRS. S. You see the trouble is, nobody will ever want to marry her, if +she’s out of an orphan asylum. + +JUDY. Oh!—But she doesn’t get married. + +MRS. S. Folks won’t read it unless it’s got a love story. + +JIMMIE. You bet! We’ve got to have a love story. + +JUDY. But she’s just a little girl. She doesn’t grow up. + +MRS. S. I’ll tell you how you can fix it, Miss Judy; if you’re set on +having her an orphan. Get over them troubles in the asylum as fast as +possible, and then discover that she ain’t no orphan at all. She got +stolen out of her cradle when she was a baby, and her father is a real +millionaire, he spends fifteen years searching for his lost daughter, +and he recognizes her by a strawberry mark on her left arm. + +JIMMIE. (_Crosses R._) What’s a strawberry mark? + +MRS. S. That’s the way you tell lost children. + +JIMMIE. Oh! + +JUDY. But things don’t happen that way. It wouldn’t be true. + +MRS. S. Land sakes! Miss Judy, nobody cares if a book’s true, so long as +it’s comfortable—that’s the way I’d write it. Then you’d oughta make her +grow up, and marry someone real nice like⸺ + +JIMMIE. (_Down to R. of MRS. SEMPLE_) Like me. + +MRS. S. (_Turning to him_) You—never. No—like Mr. Jervis. + +JIMMIE. (_Goes R._) Ha! I think I see the proud and haughty Mr. +Pendleton marrying a grimy little orphan out of an asylum. (_Up C. above +table_) No, Judy, I am sorry but I’m afraid we can’t fall in love with +your hero-ine. + +CARRIE. (_Enters R. to R. of MRS. SEMPLE_) Mrs. Semple, we are all out +of molasses. + +MRS. S. (_Rising_) Oh, Miss Judy, did you forget the molasses? (_Takes +market basket and hands it to CARRIE. NOTE: All the bundles were +replaced in basket as soon as used by JUDY._) + +JUDY. (_Rising_) I left the jug in the buggy—Jimmie, would you mind +going down to the barn and getting it? + + +(_CARRIE has made her exit with the basket; MRS. SEMPLE has taken work + basket from table and crosses to place it on work-table at R._) + + +JIMMIE. (_Going, mimicing MRS. SEMPLE_) Land sakes! I don’t get no rest! + +MRS. S. (_At R., comes back to R.C._) Oh, Miss Judy, we’re going to have +a surprise to-night. + +JUDY. (_Crossing to MRS. SEMPLE_) A surprise? + +MRS. S. (_Crossing down to door R._) Something you ain’t expecting! + +JUDY. (_To chair R. of table_) What is it? + +MRS. S. (_Shaking her head_) I ain’t going to tell. (_Goes out R._) I +ain’t going to tell. + + +(_As MRS. SEMPLE exits, JUDY sits R. of table, facing away from SALLIE + in a sad and dejected mood. A brief pause—and SALLIE turns—notes + JUDY’S attitude._) + + +SALLIE. (_Rising from piano. Standing above table_) What’s the matter, +Judy? (_Crossing to L. of table_) Don’t worry about what that old +publisher says. He hasn’t even read the book. It’s the best thing you’ve +ever written. + +JUDY. (_Standing L._) Because it’s true! + +SALLIE. It’s wonderful, Judy—the imagination you have! Why, the +atmosphere of that asylum seems as real as though you’d seen it with +your own eyes. I don’t know how you do it! I couldn’t picture the inside +of an asylum and the way a little orphan girl feels—not if my life +depended on it. + +JUDY. (_Slowly rising_) It didn’t require any imagination. Those are the +things that really do happen. + +SALLIE. (_To front of table_) Yes, but how, how do you know? (_Sits on +stool, facing JUDY._) + + +(_JUDY turns away from SALLIE and faces up stage, then suddenly returns + to SALLIE, taking chair and bringing it down and sits a little above + SALLIE._) + + +JUDY. Oh, Sallie! I want to tell you _the truth_. I can’t stand it any +longer—this pretending and pretending to be something I am not. I don’t +belong with all you other girls, who have homes and families. I try to +be silly and laughing and care-free like the rest of you; but—I’m only +an impostor. + +SALLIE. What do you mean? + +JUDY. You wondered that I knew so well how the little orphan girl felt. +I knew because—I myself was that little girl. + +SALLIE. You! + +JUDY. My childhood was one long, sullen stretch of revolt. I was brought +up in an asylum—in blue-checked gingham. Oh, I feel sometimes—(_SALLIE +sympathetically puts her arm on JUDY’S shoulder_)—as if those miserable +checks had stamped themselves on my very soul. And then one +day—suddenly—like a miracle, Daddy Long-Legs came and lifted me out of +all that misery—and gave me freedom and a chance to live. Oh, I was +delirious with joy. I thought every trouble in the world was ended. + +SALLIE. I can imagine what it would mean to lose one’s parents. + +JUDY. I don’t know what I am or where I came from. Oh, I try to be +sensible and courageous, but I feel sometimes as though I could never +escape from the shadow of my childhood. I dream about it at night, I +wake up shivering in the dark, feeling as though I must run faster and +faster, because Mrs. Lippett is after me with her arm outstretched to +grab me back. + +SALLIE. Why, Judy, you’re growing morbid. All this makes no difference. + +JUDY. Not with you, perhaps. But to others⸺ + +SALLIE. Who? + +JUDY. Well, do you think Julia Pendleton’s mother would have let her +daughter associate with me if she had known? I know how much they think +of family. + +SALLIE. It doesn’t matter what the Pendletons think. + +JUDY. And perhaps they know already. + +SALLIE. Why? + +JUDY. Well—Jervis—Mr. Pendleton used to come here frequently for a few +days’ fishing and he and I became very good friends. We went tramping +and fished for trout, read books together and had such good times. But +for a long while now he has stayed away and I wonder why. Unless—he has +learned the truth. (_Rises._) + +SALLIE. (_Rising also_) It doesn’t matter, Judy, he doesn’t count. Some +day some other man will come and ask you to be his wife. + +JUDY. And I would have to _tell him_ about the _John Grier Home_. + +SALLIE. (_Putting her arm around JUDY’S waist_) He would marry you just +the same. + +JUDY. Yes—through kindness perhaps—through pity. But when I told him if +I saw a look of doubt on his face, if I saw the slightest shadow, oh, +Sallie—(_Turning to SALLIE_)—I couldn’t _bear_ it! It would _kill_ me! +(_Sobs and buries her head on SALLIE’S shoulder. SALLIE tenderly mothers +her._) + +SALLIE. (_After a pause; lifts JUDY’S head_) Oh, Judy! You speak as +though someone has already come. (_JUDY shakes her head, and slowly +crosses to L._) Has someone already come? + +JUDY. (L.C.) No, no! I was only pretending. + +SALLIE. (_Following JUDY a step_) But he’ll come and be proud to do so. +You are going to be a famous author. + +JUDY. I don’t want fame. (_Crosses to staircase_) I just want—happiness. + +SALLIE. (_Crossing to piano_) Poor Judy! + + +(_JUDY starts upstairs, halting, as MRS. SEMPLE enters at R. and + excitedly crosses up C. to window._) + + +MRS. S. (_Going up C._) _He’s coming!_ + +JIMMIE. (_Crosses down to R. and exits with jug_) Yes, here I am. + +MRS. S. (_Coming down C. above table after laugh_) No, I don’t mean +you—I mean Master Jervis. + + +(_JUDY pauses on stairs as JERVIS enters and comes down L. of MRS. + SEMPLE._) + + +JERVIS. (_Taking her in his arms_) Well, Lizzie, how are you? Bless your +heart. + +MRS. S. Bless yours, Master Jervis. The sight of you does my old eyes +good. + +JERVIS. (_Taking her face between his hands and kissing her eyes_) Ah! +Bless them—bless them! + +SALLIE. (_Left by piano_) How do you do? + +JERVIS. (_Crossing to SALLIE_) Ah, Miss McBride—this is an unexpected +pleasure⸺ (_Sees JUDY on the stairs and advances to her. JUDY comes to +meet him and SALLIE crosses at back over to MRS. SEMPLE._) + +JUDY. And how are you, Mr. Pendleton? + +JERVIS. (_Coming down C. and then front of table_) Mr. Pendleton—oh! +Have I been away so long that Jervis is forgotten? + +JUDY. Well, you must admit you’re something of a stranger to our gates. +We began to fear we had been forgotten. + +JERVIS. What! May I hope then that I’ve been missed? + +MRS. S. (_Up R. Coming down R. of table_) Missed! Why, Master Jervis, +the five weeks you’ve been away seems like an age⸺ + +JERVIS. (_Crossing to L. of MRS. SEMPLE_) Oh, you flatterer⸺ (_JIMMIE +enters and stands R. of MRS. SEMPLE. A look passes between JIMMIE and +JERVIS_) Oh! And Mr. McBride! + +JIMMIE. (_Coming down_) How do you do, sir? + +JERVIS. (_As they shake hands_) And you.... (_Crosses to JIMMIE._) + +JIMMIE. Nicely, thanks. + +MRS. S. Oh, Master Jervis—Mr. McBride shot that woodchuck you tried to +get. You know that one you tried to get—the one that ate up all my young +carrots. + +JERVIS. I congratulate Mr. McBride upon succeeding where I failed. +(_Turns and crosses over to JUDY_) No, I shall not presume to hope that +I had been missed. (_JERVIS and JUDY turn up a step above piano as +SALLIE crosses down to L. of JIMMIE._) + +SALLIE. Come along, Jimmie—the time has come for you to go⸺ (_Crosses to +L. and upstairs._) + +JIMMIE. (_Following SALLIE_) I was thinking that myself. + +MRS. S. (_Coming down R._) Oh, Mr. McBride—(_JIMMIE stops at L.C. below +JERVIS and JUDY_)—I told Carrie to put your things out in the hall. + +JIMMIE. Eh? + + +(_SALLIE waits at head of stairs._) + + +MRS. S. You don’t mind, do you? + +JIMMIE. Oh, no, no! Not at all. (_Crosses to foot of stairs—then turns_) +You’re sure you didn’t put them in the _road_? + +MRS. S. Oh, no! (_Exits off R._) + +SALLIE. Oh! Come on, Jimmie! + + +(_Exits. JIMMIE on stairs starts to sing dolefully as he goes up and + off, his last line heard off stage._) + + +JIMMIE. (_Singing_) + + I’m coming—I’m coming— + For my head is bending low— + I hear those angel voices calling + +(_Off stage, closing door_) Go! Go! Go! + +MRS. S. (_Entering R._) Oh, where’s your bag, Master Jervis? Yer old +room is ready for you. + +JERVIS. (_Crossing R. to MRS. SEMPLE_) No, no, Lizzie, I haven’t come to +stay. + + +(_JUDY looks at JERVIS and then slowly turns back to piano._) + + + _DIM LIGHTS—SUNSET_ + + +MRS. S. Didn’t come to stay? + +JERVIS. Well—not this time. (_JUDY sits at piano_) The man who drove me +here is waiting—I must catch the 7:30 train. + + +(_JUDY plays softly the song she has sung._) + + +MRS. S. Why, it hardly seems worth while yer coming for so short a time. + +JERVIS. Oh, I hope not, Lizzie. (_Looking over his shoulder at JUDY_) I +trust it will prove—oh, so worth while⸺ + +MRS. S. (_Looks from JERVIS to JUDY and understands why_) Oh! Well, +ye’ll have a cup of tea? + +JERVIS. Yes. + +MRS. S. And I’ve got some of that jelly cake you used to like when you +were a little boy, Master Jervis. (_Exits R._) + + +(_JERVIS, closing door after her and turning slowly at door, looking + across to JUDY. JUDY has finished playing, rises and looks across at + JERVIS. JERVIS breaks the scene._) + + +JERVIS. (_Moves chair. Crossing up to R. of table, JUDY going to L. of +table_) Well, Judy, it seems to me I’ve been away so long I’m sure there +is much to tell me. How are affairs at Lock Willow? How’s old Grover? + +JUDY. Well⸺ + +JERVIS. Cautious and sedate as ever? + +JUDY. (_Sitting L. of table_) The same. + +JERVIS. And how’s the new book? How’s that progressing? + +JUDY. Cautiously, too, like old Grover, under the restraining influence +of my publisher. + +JERVIS. Oh, that’s not fair. Your imagination should have free rein. + +JUDY. It’s flattering to know that—you still take interest in our small +affairs. + +JERVIS. I shall never cease to do that, not for a single moment. + +JUDY. That is difficult to believe. + +JERVIS. And why? + +JUDY. Well—five weeks away and not a word or sign or token. + +JERVIS. Yet every moment of those weeks you’ve been in my thoughts. I +went away, I stayed away because of something I had learned. + +JUDY. (_Apprehensively_) About me? + +JERVIS. Concerning both of us—the truth of which has forced itself upon +me, and it became a problem I’ve been trying hard to solve. + +JUDY. A problem? How⸺ + +JERVIS. (_Sitting R. of table_) A conflict of my heart and mind in which +I can find no peace. And so I’ve come back to ask that you decide. The +freedom of our comradeship has gone and I am a dependent now upon your +answer. I love you, Judy. + +JUDY. Jervis! + + + _WARN_ + + +JERVIS. With a love so deep, so great that it overpowers what the +world would call my sense of right, but how could I help it? You came +into my gray existence like a spirit of Spring and sunshine, bringing +to it an interest that I had never known. But the difference of our +years forbade that I should recognize the truth and so I deceived +myself that your friendship was my sole desire. And the play-time of +my life began. And then the thought thrust itself upon me that I was +deceiving _you_. My reason mocked and ridiculed my love. That I, past +youth, should offer youth the remnant of a life ... and so I went away +to fight it out alone. I feared perhaps your sympathy might lead you +into that greatest sacrifice, a loveless marriage. Then hope +transformed me with the thought that in my great love, you might find +some measure of content. And so, quite conquered, beaten in the +struggle between my reason and my love, I ask your aid, remembering +always that beyond all else your own happiness is at stake. Have no +thought of the hurt that might come to me, and yet, if somewhere in +your heart there is a spark of feeling for me that my devotion might +warm into a glow of love, oh, give me the blessed chance to try—and +so, dear heart, I’m waiting—fearing—hoping—will you be my wife? +(_Pause._) + +JUDY. (_Shaking her head slowly_) I cannot—I cannot! + + + _WARNING CURTAIN_ + + +JERVIS. (_Rising_) Oh, Judy, are you sure? Is there something that I +cannot hope to put aside? + +JUDY. (_Rises, her back turned to him, slowly_) Yes. + +JERVIS. (_Goes back of table. Looks upstairs with thought of JIMMIE_) I +think I understand. And so the sun of all my happiness has set. + +JUDY. (_Crosses to piano—murmurs in suffering_) Oh, please—please⸺! + +JERVIS. (_Back of JUDY_) I know, I know, I’m a coward. Forget my folly +in speaking to you of this. I should have known. (_Takes hat from table +and crosses to L. of JUDY_) Tell them all I could not stay. Make some +excuse for me, and some day when my reason reigns supreme let me come +back to you, dear comrade—till then, God bless and keep you, +Judy—always, always, always! (_Turns and slowly goes up and off U.L._) + + +(_JUDY is at piano and as JERVIS goes off, sinks to her knees and throws + herself on chair below piano, crying bitterly as curtain descends._) + + + CURTAIN + + + + + ACT IV + + +SCENE: _MR. PENDLETON’S library, two months later. A plan and full + description of the scene will be found at the end of the play._ + + +AT RISE: _GRIGGS is discovered at the desk, engaged in writing. When + curtain is well up, the doorbell is heard ringing off R. A pause, + and the MAID crosses at back from L. to R. A moment later, MISS + PRITCHARD enters at C. The MAID follows MISS PRITCHARD and exits off + L. MISS PRITCHARD goes down back of table._ + + +MISS PRITCHARD. How do you do, Mr. Griggs? + +GRIGGS. (_Rising on MISS PRITCHARD’S entrance_) Miss Pritchard! Good +afternoon! + +MISS P. How is Mr. Pendleton? (_To L. of table, sits._) + +GRIGGS. The wound is entirely healed. But he doesn’t improve as much as +we could wish. He’s very low in spirits! + +MISS P. I am so sorry! I’ve been away, and I only just heard about the +accident this morning. How did it happen? + +GRIGGS. It happened four weeks ago, on a hunting trip in Canada. The gun +exploded and he got his hand poisoned. + +MISS P. How dreadful! Is he able to see people? + +GRIGGS. He’ll be able to see you, Miss Pritchard. You’re such an old +friend, but he’s hardly strong enough for relatives yet. + +MISS P. Where is he? + +GRIGGS. Well, the doctor’s with him just at this moment—if you don’t +mind waiting⸺ + +MISS P. Not in the least. But I’ve been shopping all the afternoon, and +I’m nearly famished. (_Rises_) I think I’ll beg a cup of tea from the +housekeeper. (_Turns as if to go, and GRIGGS turns to desk to ring bell +for housekeeper_) Oh, don’t trouble. I know the way. She and I are old +friends! (_Crosses up to C., and GRIGGS turns to desk to resume writing. +MISS PRITCHARD turns at C._) Oh, Mr. Griggs, I asked a young lady to +meet me here. Should she come, will you please let me know? + +GRIGGS. Certainly. (_Sits at desk._) + + +(_MISS PRITCHARD exits off C. and L. and WALTERS comes downstairs and + into the room._) + + +WALTERS. (_Up stage R. of arch_) Oh, Mr. Griggs—the doctor is just +going! And Mr. Pendleton is coming down. + + +(_JERVIS comes downstairs, preceded by DOCTOR. They stand at foot of + stairs as WALTERS exits R. to open door for DOCTOR._) + + +JERVIS. (_Shaking hands with DOCTOR_) All right, Doctor, I’ll behave. +I’ll follow directions—good-bye! (_DOCTOR exits off R. and JERVIS comes +into the room C. He wears a long dressing gown, and is pale and somewhat +irritable_) Oh, good afternoon, Griggs! + +GRIGGS. (_Crossing to R. of JERVIS_) Good afternoon, Mr. Pendleton. I +trust you are feeling better. + + +(_WALTERS crosses at back and goes upstairs off L._) + + +JERVIS. Yes, yes! Thanks! A good deal better. (_Crossing to armchair +front of fire._) + +GRIGGS. (_Crossing to desk R. for papers_) Do you feel able to take up +the matter of those bonds? + +JERVIS. No, not just yet. But there is a matter I wish to discuss. You +remember that several months ago I spoke to you about settling a certain +definite sum upon Miss Abbott? + +GRIGGS. Yes, sir, I remember. + +JERVIS. That was before my accident, and I’ve not yet had a chance to +arrange the matter. I want you to look up some good securities. +Something paying about six per cent, you know, stability—that’s what I +want! You understand? + +GRIGGS. Yes, sir, I understand. I’ll make a list. + +JERVIS. Be good enough to attend to that immediately. And, Griggs, I +want you to take down a letter—(_GRIGGS takes note-book from desk and +comes to C. above table, ready to receive notes_)—to Miss Abbott. +Something to the effect that Mr. Smith has been led to believe that she +is considering the question of marriage with Mr. James McBride, and +that, if her happiness is at stake, he approves of the step, and wishes +her every joy. Then put in a word about Mr. Smith’s belief that a +married woman ought to be independent of her husband in financial +matters; and that he has created a little trust fund which he sends as a +wedding present. Say he feels that with her final settlement in life, +his own share in her career is at an end. That he thanks her for the +four years of charming letters she has been good enough to send and with +this final expression of his esteem he begs to remove his shadowy +presence from her life. Sign it—(_WALTERS comes downstairs with tray and +medicine to L. of table_)—and bring it to me to look over. (_Sinks into +armchair as though exhausted. He seems in a moment to have become the +old man that JUDY thinks him._) + +GRIGGS. And you’ll attend later to the matter of those bonds? + +JERVIS. Yes, yes, that’s all just now. I’m not up to much business yet. + + +(_GRIGGS up and exits off L. WALTERS comes down to R. of armchair. On + tray he has a medicine bottle, partly filled, a glass and a medicine + graduate._) + + +WALTERS. Your medicine, sir. + +JERVIS. (_Very quietly_) Take it away! It doesn’t do any good! + +WALTERS. But, if you please, sir, the doctor said⸺ + +JERVIS. (_Rising, crossing to R. of table_) Oh, take it away! + +WALTERS. (_Following him to R._) Now, Mr. Jervis, you should have taken +it at four o’clock. It’s half past now, and the other kind comes at +five. It isn’t best to mix them, sir. They ought to come in layers. +(_Places tray on corner of table. The drinking glass placed handily for +JERVIS. Sits R. of table._) + +JERVIS. Walters, you’re a good man, but you’re obstinate. Now, when I +say a thing, I mean it. (_Sits R. of table._) + +WALTERS. (_With patient persistency_) But Mr. Jervis, you promised the +doctor that if he’d let the nurse go, you wouldn’t make any trouble for +me. (_Takes graduate in left hand and bottle in right._) + +JERVIS. (_Rises and takes glass in R. hand_) Oh, very well. + +WALTERS. (_Starting to pour medicine_) One teaspoon, sir. Just one. + + +(_JERVIS takes bottle from WALTERS and begins to pour the contents into + the glass, then drinks it as the horrified WALTERS takes bottle from + him, remonstrating. JERVIS sets glass on the tray and turns to + WALTERS._) + + +JERVIS. There! I have taken the whole lot. Now, I hope you’re satisfied. +Don’t let me hear the word “medicine” again! (_Sits R. of table, WALTERS +takes tray and crosses to L. of C. and exits L. as JULIA enters C. from +L. of JERVIS, and WALTERS exits off L._) + +JULIA. (_Behind JERVIS, kissing him on cheek over L. shoulder_) Hello, +Uncle Jervis! (_Crossing to R._) Feeling better? + +JERVIS. (_Surprised_) How did you get in? + +JULIA. Through the basement—along with the butcher. You are going to +have chicken for dinner. + +JERVIS. Umph! Thanks! + +JULIA. That brute of a Walters will never let me in. + +JERVIS. He has orders. + +JULIA. This is the third time I’ve called. And your own relative. + +JERVIS. Julia, I’m not well enough to talk, the doctor says I have to +keep quiet. + +JULIA. You can’t fool me. You see lots of people. You are just cross. + +JERVIS. (_Rising_) Yes, that’s it—I’m cross! I am not fit company for +anyone! (_Crossing to L. of table and sits_) Now you run along. + +JULIA. (_Crosses to R. of JERVIS, above table_) Ah, nunkey, don’t be +cross. I won’t bother you. But I want your advice about something +important. I want you to talk to mother. + +JERVIS. No—no! I’m not strong enough to talk to your mother. + +JULIA. Oh, please, Uncle Jervis, it’s very important! Please! + +JERVIS. Well, well, what is it? + +JULIA. (_Resting on chair L. of table_) Mother’s picked out someone +_she_ wants me to marry. + +JERVIS. Well, marry him! + +JULIA. But I don’t like him! + +JERVIS. Why don’t you like him? + +JULIA. Well, he’s got a long mustache that looks like a chicken wing, +and no chin. + +JERVIS. Very well, don’t marry him! + +JULIA. And _I’ve_ picked out exactly the man I _do want_ to marry. + +JERVIS. Very well, then marry him. + +JULIA. Mother doesn’t think he’s good enough to marry me. + +JERVIS. Nonsense! Anybody’s good enough to marry you. + +JULIA. (_Rising and crossing to his L._) Uncle Jervis! (_Cross L._) + +JERVIS. No, no—I don’t mean that! + +JULIA. I tell you now if she doesn’t let me, I’ll elope. + +JERVIS. Yes, please elope! + +JULIA. Yes, but I don’t want to elope. (_Sits on arm of armchair._) + +JERVIS. Why don’t you want to elope? + +JULIA. I want some wedding presents. + +JERVIS. If you’ll only elope, and leave me alone, I’ll give you a +wedding present. I’ll give you twenty presents. (_Crosses R._) + +JULIA. Yes, but won’t you talk to mother? + +JERVIS. What’s her objection? + +JULIA. Well, his father owns a factory. + +JERVIS. A factory? + +JULIA. Yes—makes—overalls. + +JERVIS. (_Puzzled_) Overalls? + +JULIA. Yes—you know! Things that wind up and over. Mother doesn’t think +they’re nice! + +JERVIS. What’s his name? + +JULIA. Jimmie McBride. + +JERVIS. (_Rising_) Did he ask you? + +JULIA. (_Laughing_) Yes, of course he did. + +JERVIS. (_Turning front_) I don’t understand⸺ + +JULIA. Oh, I see. You thought he was heart-broken over Judy Abbott. He +liked her. She’s a nice girl, but he’s in love with me. + +JERVIS. (_Shakes hands vigorously_) Well, I’m delighted to hear it! Now +you run on and elope. + +JULIA. Yes, but the wedding presents? + +JERVIS. (_Swings her around to R. of him_) I’ll give you all the wedding +presents you want if you’ll only elope. + +JULIA. (_Working up C. to C.L._) I’ll take a country house⸺ + +JERVIS. Yes. + +JULIA. A pearl necklace⸺ + +JERVIS. Yes, yes! + +JULIA. And a touring car! + +JERVIS. Anything you want, but for goodness’ sake elope! + + +(_MISS PRITCHARD enters to R. of JULIA at C._) + + +JULIA. (_Turning to MISS PRITCHARD_) Oh, Miss Pritchard! Don’t stay. +He’s in a dreadful temper! + +JERVIS. Oh, yes—please stay! + +JULIA. Oh!—Well, good-bye, Mr. Bear—and don’t forget my presents. (_She +exits up and off R._) + + +(_MISS PRITCHARD crosses to JERVIS, shaking hands._) + + +JERVIS. This is a pleasure! + +MISS P. You’re sure I won’t tire you? + +JERVIS. (_Sits R._) Tire me—no—no! Here—sit down! (_Crossing to +armchair_) I’m already tired to death of my own company. (_Swings +armchair around to face chair L. of table_) Another week of this and +I’ll be strangling Walters, just for the sake of a little excitement. +(_MISS PRITCHARD crosses and sits in armchair_) You don’t mind if I +prowl about? (_Crosses over to R._) I’ve been shut up so long that I +feel like a caged hyena. (_Crosses up back to C. behind table._) + +MISS P. I hear that Julia’s engaged⸺ + +JERVIS. And I thought he was interested in our little Judy! + +JERVIS. The same idea crossed my mind. + +MISS P. Jervis! (_He faces her. Crosses to her. She rises_) I came to +talk to you about Judy. + +JERVIS. Yes? + +MISS P. (_Crossing to him eagerly_) Are you sure I won’t bore you? + +JERVIS. No, no! Sit down! Please go on! (_MISS PRITCHARD sits L. of +table and JERVIS at fireplace._) + +MISS P. She’s not happy! + +JERVIS. What’s the matter? + +MISS P. She is brooding over something. + +JERVIS. It’s that young McBride. If that confounded young cub⸺ +(_Rising._) + +MISS P. No. I’ve seen his sister and I know it’s not that. + +JERVIS. What is it, then? + +MISS P. Jervis, I’m going to talk to you quite frankly. + +JERVIS. (_Sits again_) Go on, say anything you like! + +MISS P. Well, then—I think you have been very much in the wrong in your +dealings with Judy. + +JERVIS. What more could I do? + +MISS P. I don’t mean as her guardian—John Smith—Daddy Long-Legs—whatever +you wish to call yourself—I am speaking of your behavior in your own +character, as Jervis Pendleton. + +JERVIS. What have I done? + +MISS P. You have been playing a double part. As Judy’s guardian you made +her spend her vacation on that farm. Then as Jervis Pendleton, you went +and visited her. + +JERVIS. You’re not insinuating⸺ + +MISS P. I’m not insinuating. I know that you have been very unthoughtful +of her happiness! + +JERVIS. I’ve thought of nothing else for four years! + +MISS P. Yes, to you it meant nothing, but you were simply amused in +watching the child’s development. + +JERVIS. My dear lady⸺ + +MISS P. But it was very unfair to Judy. She is an abnormally +inexperienced child. She has been shut away from the world all her life, +and then to be thrown with a man like you⸺ + +JERVIS. Like me? + +MISS P. With your knowledge of the world—your experience. It’s a type +that is very fascinating to a young girl! + +JERVIS. I? Fascinating? Why, I’m old and world-weary and done for. +Little Judy is standing on the edge of life. What chance would I have of +interesting her? + +MISS P. Of course I know it’s impossible. A girl of her antecedents⸺ + +JERVIS. That’s nothing to me and you know it. I don’t care where she +comes from—Judy is herself, that’s all I care! But this is beside the +point. The girl is not interested in me, except as she is interested in +every human being. + +MISS P. I am not sure! + +JERVIS. I am! You have let your imagination run away with you. + +MISS P. On one thing I am going to insist. She must know the truth about +Daddy Long-Legs! + +JERVIS. Why spoil her illusions? She looks upon me as a nice, fatherly +old man. I am neither quite so nice, nor quite so fatherly as she +thinks. + +MISS P. This mystery has gone too far! + +JERVIS. Don’t you see the position you place me in? She already knows me +as a friend. I can’t appear now as a benefactor, demanding gratitude and +a reward. + +MISS P. I understand. (_Rises_) Jervis, last week she sent her guardian +a letter. + +JERVIS. Why, she hasn’t sent a word in two months. + +MISS P. Begging him to advise her about something important. + +JERVIS. Are you sure? + +MISS P. Yes. + +JERVIS. (_Starts_) I’ve never received it. They’ve been keeping my +letters back. (_Rises, and starts to cross R. to ring for GRIGGS. MISS +PRITCHARD places restraining hand on his arm._) + +MISS P. It doesn’t matter, Jervis. She can tell you what it was herself. + +JERVIS. What do you mean? + +MISS P. After talking with Sallie McBride, I determined to take matters +into my own hands, and yesterday I sent a telegram to Judy, asking her +to meet me here to-day. + +JERVIS. Here! + +MISS P. And now you must tell her the truth! + +JERVIS. No—not to-day! + +MISS P. Yes—to-day. She should be here now at any moment. + +JERVIS. (_Alarmed, sits on table_) I’m a sick man. + +MISS P. Jervis Pendleton! (_GRIGGS enters from L. and crosses down R. to +desk, for note-book on table_)—you’re a coward! + +JERVIS. (_Sees GRIGGS and turns_) Oh, Griggs, did a letter come last +week for John Smith? (_Crossing to C._) + +GRIGGS. Why, yes, sir. + +JERVIS. (_Crossing to R. of table_) Why wasn’t it given to me at once? + +GRIGGS. (_Taking letter from drawer of desk_) I’m sorry, sir. Doctor’s +orders, and I forgot to call your attention to it this morning. + + +(_JERVIS snatches letter from him and hastily opens it, crossing over L. + to MISS PRITCHARD. GRIGGS to R. of table, awaiting instructions._) + + +MISS P. (_As JERVIS crosses to her_) Now, we shall see—(_JERVIS stops +and MISS PRITCHARD not wishing to presume_)—unless⸺ + +JERVIS. (_L. of table_) Oh, no, no! (_Motions her to be seated. Turns +and notes GRIGGS’ presence and dismisses him_) That’s all, Griggs, +that’s all! (_GRIGGS goes up and off L. JERVIS sits L. of table. He +opens letter and reads aloud to MISS PRITCHARD._) + + “Dearest Daddy Long-Legs, + + “For four years you have stood in the background brooding + over my life, and I have loved you very much, but I want to + see you. I want to touch your hand, I want to know that you + are real. + + “Something has happened and I need your advice. Maybe you + know where I came from? Maybe you know who I am? You must + tell me the truth, even if it’s dreadful. I’d rather know + than imagine. It’s very important that I should know; for + perhaps it will change my whole life. May I tell you a + secret, Daddy dear? I love another man besides you.” + + +(_A look between JERVIS and MISS PRITCHARD. JERVIS hastily continues._) + + + “But he comes from a family all full of ancestors—and I’ve + never had the courage to tell him about the John Grier + Home....” + + +(_MISS PRITCHARD begins occasionally to dab her eyes with + handkerchief._) + + + “I let him go away believing that I didn’t care. And now I + miss him and miss him and miss him! The whole world seems + empty and aching. I hate the moonlight because it’s + beautiful and he is not here to see it with me.” + + +(_MISS PRITCHARD is affected by the reading, and JERVIS tries to conceal + his emotion._) + + + “Yesterday I heard that he has had an accident”— + + +(_Pause. Looks at his hand, then to MISS PRITCHARD._) + + + —“and has been very ill....” + + +(_Looks at MISS PRITCHARD and hastily continues._) + + + “I know he is unhappy, and I have been thinking, maybe—I + ought not to let anything in the world stand between us. + But, of course, I may be wrong, because I had a funny + bringing up. May I come and talk with you just once? I will + never, never bother you again. + + “Yours always, + + “JUDY.” + + +(_JERVIS rises slowly and MISS PRITCHARD also. JERVIS looks at her. MISS + PRITCHARD is weeping. JERVIS, feeling he must do something in his joy, + hugs MISS PRITCHARD. JERVIS laughing—MISS PRITCHARD crying—and after a + pause, JERVIS’S eyes fall upon the postscript._) + + +Hello! What’s this postscript? + + “Have you a butler? I am afraid of butlers”— + + +(_Another look at MISS PRITCHARD. WALTERS enters with tray, comes C. + above table._) + + + “and I don’t know who to ask for at the door.” + + +(_He squares his shoulders as if throwing off a weight. He is happy, + excited and full of energy._) + + +WALTERS. Your medicine, sir. + +JERVIS. (_Turning to him_) What do I want with medicine? (_Crosses over +to R. WALTERS, looking at him in blank amazement_) I’m tired of this +invalid business. (_To MISS P._) Will you excuse me while I get in some +clothes suitable for a smart young chap like me? Take it yourself! (_He +runs out and upstairs while WALTERS stares after him in horrified +bewilderment._) + +WALTERS. Do you think—it’s dangerous? + +MISS P. (_Crossing up C., laughing_) Don’t worry, Walters, he’ll +recover. (_Exits L._) + + +(_As MISS PRITCHARD exits, WALTERS crosses to L. to armchair. GRIGGS + enters to C._) + + +GRIGGS. Oh, Walters! Where’s Mr. Pendleton? + +WALTERS. He’s gone out⸺ + +GRIGGS. Gone out? + + + _READY BELL_ + + +WALTERS. Of his mind, sir. (_Swings armchair around to face the fire._) + +GRIGGS. (_Crosses to desk at R. and places typed letter to JUDY on the +desk_) Oh, Walters, please call Mr. Pendleton’s attention to this on his +return. + + +(_Bell rings off R. and MAID crosses L. to R. at back._) + + +WALTERS. Certainly, sir. (_Goes to mantel as GRIGGS exits off L._) + + +(_A pause—and the MAID returns, followed by JUDY._) + + +MAID. (_Up C., motioning JUDY into the room_) I’ll let Miss Pritchard +know you’re here! + + +(_LIGHTS. Dim Foots. Take 5 minutes to end of act._) + + +JUDY. Thank you. (_MAID exits off L. and JUDY comes down into room, +looking around wonderingly. WALTERS is at mantel, back turned to JUDY +and concealed by the armchair. JUDY comes to R. of table and looks +around to L., as WALTERS turns towards her. His head and shoulders are +visible to JUDY and she is startled, thinking it to be “Daddy +Long-Legs”_) You—you are⸺ + +[Illustration: Walters stands in front of Judy, who leans nervously +against the armchair] + +WALTERS. (_Stepping below chair_) The butler, Miss. (_JUDY, frightened, +turns to go up C.L. and WALTERS crosses to chair L. of table_) Who is it +you wish to see, please? + +JUDY. (_Coming down R. of table_) Oh, I wish to see Mr.—Mr.—er⸺ How is +the old gentleman? + +WALTERS. (_Startled_) The old—old—oh, yes, Miss! He’s far from well. + +JUDY. Oh, I’m so sorry. I haven’t heard—I hope it isn’t serious? + +WALTERS. (_To L.C., above table_) He’s pretty bad, Miss. He can’t seem +to pick up. + +JUDY. Oh, and, of course, at his age he must be very feeble? + +WALTERS. Feeble, Miss? (_Turning and looking upstairs, then turning back +to JUDY_) Well, not exactly feeble, Miss—er—between ourselves, he’s a +little bit out of his head! + +JUDY. (_Troubled, stepping back to R._) Oh! I’m so sorry! Why—who⸺ + + +(_MISS PRITCHARD enters C., crosses down to JUDY, as WALTERS sees MISS + PRITCHARD and goes up and off L._) + + +MISS P. (_Embracing JUDY_) Judy, dear! (_Takes JUDY’S furs and puts them +on desk and turns to her_) You’re late! Did you have any trouble finding +the house? (_Sits at desk._) + +JUDY. Oh, no, the taxicab brought me straight to the door, but when I +got here I was afraid to ring the bell. I walked twice around the block +to get up my courage—but I needn’t have been afraid. The butler is such +a nice fatherly old man. + +MISS P. (_JUDY bus. Spotlight from lower R. through window—focussed +before rise and thrown up stage—covers JUDY_) Did my telegram surprise +you? + +JUDY. (_Sits R. of table_) If I live to be ninety-nine, I shall never +forget how surprised I was when I read that message.—Yesterday, before +it came, I was feeling so discouraged and unhappy and down, as though +all the light had gone out of the world for me—and then—when I learned +that I was to see Daddy Long-Legs! He has made things right for me +before—maybe he can do it again! Oh, I was so excited that I couldn’t +sleep last night—not a single wink. Mrs. Semple called me this morning +at four o’clock. I ate breakfast in the kitchen by candle light, and +drove five miles to the station through the most glorious October dawn. +The sun came up and all of the trees were crimson, and the cornfields +and stone walls covered with frost—the air was so clear and keen and +promising. I just felt something was going to happen! And all the way in +the train, the rails kept singing: “You’re going to see Daddy Long-Legs! +You’re going to see Daddy Long-Legs!” And all the time I had the feeling +that maybe before the journey ended, I should see someone else—someone +dearer—dearer than Daddy.... (_She turns to hide her tears from MISS +PRITCHARD, who rises and crosses to her._) + +MISS P. (_Tenderly_) My dear! + + +(_JUDY turns to her and observes portrait over the mantel. Crosses over + to L. of table to get a better look and observes a resemblance, slowly + turns around to MISS PRITCHARD._) + + +JUDY. Why—whose portrait is that? + +MISS P. (_To R. of table_) That is his brother. (_JUDY turns back to +picture_) His eldest brother who is dead. + +JUDY. (_To MISS PRITCHARD_) Daddy Long-Legs’ brother? + + +(_JERVIS starts to descend stairs._) + + +MISS P. Yes. + +JUDY. (_Turning to picture again_) Strange!—(_JERVIS swings down into +room to R. without observing JUDY. MISS PRITCHARD crosses up to JERVIS +and meets him a little above R. of table. Tenderly indicates JUDY’S +presence and quietly exits off L. JERVIS comes down to R. of table, on +line with JUDY_)—it looks so like—so very—so _very_—(_Turns to MISS +PRITCHARD_)—like—(_Sees JERVIS_)—Jervis! (_Drops her head._) + + + _DIM MORE_ + + +JERVIS. Judy! + +JUDY. Why are you here? + +JERVIS. (_Playfully_) Why are you here? + +JUDY. I came to see Daddy Long-Legs. + +JERVIS. And have you seen him? + + + _WARN CURTAIN_ + + +JUDY. No. (_Raising her head and looking at him and noticing his pallor, +and taking a step to C._) Oh, you’ve been ill? + +JERVIS. (_Taking a step to R. of JUDY_) Yes, and quite a little sad. + +JUDY. (_Again with head drooping_) I’m sorry. + +JERVIS. (_Tenderly_) Oh, Judy! Judy! Why did you send me away from you? + +JUDY. (_Turning from him_) Please, please don’t ask me why! + +JERVIS. May Daddy Long-Legs know? + +JUDY. Yes—he knows. + +JERVIS. Oh, my dear, my dear, and did you think my love for you so mean +that a matter of your birth could make me pause? You are you—that’s all +I ask, my great, my only need⸺ + +JUDY. My birth—then—you know? + +JERVIS. I have known it always—always—since I first heard a child’s +voice crying out for freedom. From the day a careless hand threw in her +path a grain of hope—a grain which lodged in the richness of her soul +and grew before his watchful eyes, into a wondrous flower.... + +JUDY. (_Turning to him_) Then—you are⸺ + +JERVIS. Oh, Judy, couldn’t you have guessed that _I was Daddy +Long-Legs_? + + +(_JUDY slowly raises her eyes to his and reads the great meaning as + JERVIS puts his arms around her and gathers her in embrace—as the + curtain descends._) + + + CURTAIN + +------------------------------------------------------------------------ + + + + + ACT I + +SCENE: _The scene shows the dining-room of the John Grier Home. A bare, + dreary room with plastered walls. Main entrance at C. leading into a + bare hall outside. R. of C. is a large cupboard; partly opened; + shelves covered with cheap fringed paper and filled with plates; + dishes and earthenware crocks. On the lowest shelf is a black + paste-board box containing white muslin caps and aprons. R. of + cupboard is an entrance leading into the pantry, at back a low shelf + on which are various kitchen pans. At lower R. is an entrance + leading to children’s department. Above it another entrance with + door leading to kitchen. Entrances lower R., back R. and C. are open + entrances. At L. are two large windows through which is seen the + porch outside and the yard beyond._ + + _The room is furnished with four long tables, two R. of C. are + placed across stage R. to L. Two L. of C. are placed up and down + stage. Table L. of C. is lower, for the smaller children. + Dimensions, 8 × 2, stand 22 inches high, other tables 8 × 2 stand 28 + inches high, benches on each side of tables, and stools at end, 18 + in. high. Benches and stools for small table 14 in. high. The tables + are covered with white marble oil-cloth and rest on horses. The + tables are set for the next meal. A large soup-plate, cup and + soup-spoon at each plate. 14 at a table. On each table a large + salt-cellar. Table L. of C. down stage is cleared and a dish-pan + with polishing rags and soap placed there for the orphans to clean + the teaspoons for the Trustees’ tea. On lower table R. at L. end is + a tray containing cups, saucers and sugar bowl to be sent to the + Trustees’ room. Salt-cellar on this table filled with sugar, not + salt._ + + _The only decoration in the room is a large lettered illumined + text, painted over door at C. “The Lord will provide.”_ + + _The light at rise is of late afternoon dimmed at cue to dark + evening and coming up a little as MRS. LIPPETT turns on bracket + lights. Off stage at R. 2 E. is a table. On table a tray containing + two plates of bread sandwiches for Judy, also napkins and dish of + sliced lemons for MRS. LIPPETT._ + + + ACT II + +_THE SCENE shows a prettily furnished college study. At C. back is a + large bay window flanked by smaller windows R. and L., through which + is seen the college campus and country beyond. R. of window at R. is + the entrance into the room, the door opening on and down stage. A + hall at rear, leading off R. At R. middle of plot, a door opening + off into JUDY’S room and above it, L., a door opening off into + SALLIE’S room._ + + _Between doors L. is JUDY’S desk, with chair. This desk is well + arranged. Over it a small sign stolen from some store by the girls, + reading “We study to please.” Above the sign a large framed picture + of Mona Lisa. On wall above upper door L. is tacked a college poster + of the Freshmen’s Tree ceremonies. Under window L. of C. is a round + table on which is a tea tray containing cups, saucers, spoons, + teapot, cream pitcher and empty sugar bowl. Also a spirit lamp, + empty alcohol bottle and empty box of matches. L. of this table a + couch and pillows in disorder. Under R. end of couch the kettle. + Over couch, tacked on wall, is a Princeton college pennant. Above + couch, fastened on wall, a bookcase with books. On wall above case + hangs a large rabbit’s head (papier mache). At C. a large bureau + with upholstered top sets in the box window. Drawers to open like + steps. On top, pillow, books and a memorandum case are scattered, + later put in top drawer by JULIA. A large, ornamental Japanese + lantern hangs above in C. Shade curtains on windows, with draperies + in front on all windows. C. draperies hang to floor, side draperies + to window length. On side window sills, small vases filled with + spring field flowers. Before window R. of C., SALLIE’S desk, in wild + disorder, with chair. R. of desk an oak armchair with one short leg, + the “wobbly” chair. Above chair a large picture of Sir Galahad. + Tacked on wall at window, a college poster of “Field Day” with an + illustration of JUDY running C., copied from book (Daddy Long-Legs). + Above SALLIE’S desk a small stolen sign, “No smoking allowed.” Over + door at back a larger stolen sign, “Our success is not mere talk.” + On door outside an old-fashioned brass knocker. Below door at R. is + JULIA’S desk, also in disorder, and chair. Another single chair a + little L. and up from this desk. On door R. a poster of the + Sophomore’s Cotillion. On wall R. and L. of door R. a large + picture._ + + _At C. on floor a pretty medallion rug, about 12 × 15. At R. of + rug from C. a large inkspot about a foot in diameter. At C. to left + a combination flat-topped desk with shelves at R. and L. R. of table + a large rattan armchair with hour-glass shaped bottom, caned to + floor, concealing inkspot later. An oak armchair L. of desk. On + shelf L. of desk, a tobacco jar, skull, with two aged lemons. Also a + pair of scissors. On shelf R. of table, a small book for JUDY. Cover + on desk and it is covered with a heterogeneous mass of vases, books, + ink bottles, tennis balls and a pair of fencing foils. Chair R. of + desk has a sweater and tennis racquet, and a feather duster for + SALLIE. On floor by inkspot are a couple of girls’ out-of-door coats + and a note-book. On chair L. of desk is a fencing mask, a basket + ball, a tennis racquet, a tam-o’-shanter, also child’s sweeping + broom for JULIA. On chair by JUDY’S desk a golf bag with sticks._ + + _Off L.I.E. is a small crash and an extra cover for C. table, same + material as one on stage which JULIA takes on after crash avoiding + waste of time. Also a gown for JUDY. On table off stage back R. a + table with box of candy for JERVIS, card and tray for maid, plate of + buns for MRS. PENDLETON, cup of sugar for JIMMIE, cup of tea for + SALLIE and kettle of hot water and box of tea biscuits for JULIA._ + + + ACT III + +SCENE: _The sitting room at Lock Willow Farm._ + + _The room is that of an old-fashioned New England farmhouse, flat + ceiling to mid-stage, and then sloping down at back. A large window + at center with cushioned seat, through which is seen the garden + outside, a stone wall beyond, and in the distance, a rolling + landscape of Connecticut._ + + _A jut at left extends on about one-quarter of stage to L. of C. + L. and down stage to about 7 feet from curtain line. In front of jut + at lower L. presenting a side view to audience a short flight of + stairs with white spindle posts and mahogany rail lead to a door + opening off stage to the living rooms above. At upper L. side of jut + is the main door leading into the yard. At the lower R. is a door + opening of the kitchen._ + + _A fireplace at middle right, filled with ferns and goldenrod. An + old-fashioned, three-cornered colonial cupboard in upper R. corner. + The walls are covered with a soft-shaded cretonne of green and white + stripes, blended with a small rose pattern of flowers. The doors, + windows, fireplace and all woodwork are in ivory white, and a + mahogany baseboard extending around the room._ + + _The furniture is all old colonial mahogany. A mahogany drop-leaf + table at C., a lacquered single chair at R. of table, an armchair at + L. and a mahogany upholstered stool below table. An old cashmere + covering on table, and an old-fashioned inlaid desk with writing + materials on table for SALLIE._ + + _At R. in front of mantel, an upholstered mahogany armchair with + tidy. At R. above mantel a square work-table; a small work-basket on + table. At L. of cupboard an armchair, L. of window a what-not filled + with shells, vases, and odds and ends of ornaments. At stage L. a + small mahogany upright piano, with single mahogany chair and + cushioned seat for JUDY. Music on piano. Below piano another single + chair. At lower L. below stairs a small mahogany card-table, leaf + raised against wall. On table an old clock and pair of old-fashioned + silver candlesticks with partly burned candles. Over table, an old + mahogany mirror._ + + _In lower front side of jut—on wall, on a diagonal line with + staircase are hung some old family silhouettes. Over piano (on side + wall of jut) hangs an oil painting of JERVIS PENDLETON at the age of + four. Above piano near door hangs an old framed engraving of George + Washington. Over what-not at L. back hangs a large engraving of Gen. + Grant and family, flanked by smaller old framed pictures of Lincoln + and Jackson. At L. back between window and cupboard hangs a colored + Martha Washington and below a small engraving of Washington at + Valley Forge. Over mantel at C. hangs an old-fashioned, oblong + mirror, with top picture panel. On either side of mirror hangs + old-fashioned life-size crayons in oval frames of MR. and MRS. + SEMPLE. On either side of fireplace, flanking the SEMPLE pictures, + are small characteristic pictures of colonial subjects. An old + copper warming pan hangs at lower end of fireplace._ + + _A large rag medallion on floor at C. and around the room some + hand-braided rugs. White shade curtains at C. overhung with lace + curtains. A plaited valance across top of window with side + draperies, and cushioned seat in window with hanging drape to match + top of valance—all of same material (green and mahogany water stain) + serve as a picture frame to window and complete the room. Off stage + to R. is a telephone bell. Off stage at lower L. a stamped envelope + for SALLIE. Off stage L. U. the other properties for CARRIE, JUDY + and JIMMIE._ + + _The light outside is a soft September afternoon of rich amber. + Within the room the light is full but not bright. Dimmed at end of + act into a mellow sunset._ + + + ACT IV + +SCENE: _The scene shows JERVIS PENDLETON’S library, a dark, + richly-furnished man’s room. The room is panelled in Circassian + walnut and topped by a green and gold frieze. The entrance C. is a + square arch, hung with curtains partly open and topped with + lambrequin. It leads to the hall outside. The back wall in hall is + tapestry covered; stairs at C. lead up and off L. A grandfather’s + clock at R. of stairway. In room at R., a large window corresponding + in width to arch at C., hung with curtains and lambrequin at C. + arch, and lace curtains. In front of window a desk, and on desk, + writing materials and papers, a push button at L. of desk and a + telephone at R. of desk. A lower (L.) drawer of desk opens, and in + it is a written letter addressed “John Smith.” On desk papers for + GRIGGS, a stenographer’s note-book and extra note-book which GRIGGS + returns for in Act._ + + _A long library table at C., running L. and R., a chair at each + end. On table C. a book rack and books. At back of either side of + entrance are large bookcases filled with books and ornamented on top + with large vases. At R., above desk, a teakwood table and large + lamp. At L. a mantelpiece and open grate fire with steel fender. + Above the mantel a painted portrait of JERVIS PENDLETON’S brother. + On mantel a library clock and vases. Before fireplace a large, + upholstered armchair._ + + _Off stage L., on table, a tray containing a glass, bottle of + medicine, with small quantity of medicine for JERVIS to drink and + the medicine graduate. An additional bottle for WALTERS and second + entrance with medicine change. A doctor’s surgical bag, typewritten + letter for GRIGGS (JUDY’S letter). Off stage R., a doorbell._ + + _The time is late afternoon of an October day._ + + _At R., through window, a spot-lamp spreads over desk. Practical + fire in grate at L._ + + +------------------------------------------------------------------------ + + + + + PROPERTY PLOT + + ACT I + +1 ground cloth; 1 large cupboard, with shelf; cheap fringed shelf paper; +plates, dishes and earthenware crocks in cupboard; 1 black box, +containing 2 white aprons and lace caps on shelf; in pantry, low shelf, +containing various kitchen pans; 7 benches; 7 stools; 4 oilcloth covered +tables; 4 horses for same; tables 8 feet by 2 feet—28 inches high; 1 +table only 22 inches high; 2 benches 22 inches high; 4 tables as +described; 4 benches same height; 4 dozen plates—white enamel; 4 dozen +mugs—white enamel; 4 dozen tablespoons; 1 salt cellar filled with sugar +(not salt); 2 black Japan trays; 1 tea set (6 cups, 6 saucers, 1 sugar +bowl, 1 cream pitcher); 4 large salt cellars; 2 dishpans; 1 wash basin; +polishing cloths, soap and towels; extra cups to break; 1 dozen +teaspoons; 4 kitchen chairs; 1 shelf—in pantry. + +Properties Off Stage R. 1 E.—1 rag rug; on property table, 1 tray +containing 2 plates of bread sandwiches, 1 dish of sliced lemon; 6 +napkins. + + + PROPERTY PLOT + + ACT II + +Desk with chair; desk well arranged. (Judy’s desk.) Over it, small sign +reading: “We study to please.” Above sign, large framed picture of Mona +Lisa; college poster of Freshman’s Tree ceremonies; tacks to tack it on +wall; round table; on table, a tea tray containing cups, saucers, +spoons, tea pot, cream pitcher and empty sugar bowl; spirit lamp; empty +alcohol bottle; empty match box; couch and pillows in disorder; kettle; +Princeton college pennant tacked on wall; bookcase, with books to hang +on wall; papier mache rabbit’s head tacked over bookcase; large bureau +with upholstered top and drawers to open like steps; on top, pillows, +books and memoranda case are scattered; large ornamental Japanese +lantern hangs above in C. Shades on windows, with draperies to window +length; on side window sills, small vases filled with spring field +flowers; another desk in wild disorder (SALLIE’S desk) with chair; old +oak armchair with one short leg—the “wobbly” chair; large picture of Sir +Galahad; college poster of “Field Day” with illustration of JUDY +running, copied from book (Daddy Long-Legs). Small sign, “No Smoking +Allowed.” Another sign, “Our success is not mere talk.” Old fashioned +brass knocker for door. Another desk, also in disorder (JULIA’S desk) +and chair; another single chair; poster of Sophomore’s Cotillion; large +pictures on wall; pretty medallion rug, about 12 × 15; large inkspot on +rug; combination flat top desk with shelves at R. and L. Large rattan +arm-chair with hour-glass shaped bottom, caned to floor (to conceal +inkspot). Oak arm-chair; tobacco jar; skull; 2 aged lemons; pair of +scissors; small book; cover on desk; mass of vases, books, ink bottles, +tennis balls; 1 pair fencing foils on desk; chair at desk; sweater; 2 +tennis racquets; feather duster; 2 (girls’) out-of-doors coats; +note-book; fencing mask; basket-ball, tam-o’-shanter; child’s sweeping +broom; golf bag with sticks. + +Properties Off Stage L. 1 E.: small crash; extra cover for C. table, +same material as one on stage; gown for JUDY; on table R. at back, a +table with box of candy, card and tray, plate of buns, cup of sugar, cup +of tea, kettle of hot water, box of tea biscuits. + + + PROPERTY PLOT + + ACT III + +Fire-place (middle right) filled with ferns and goldenrod; all furniture +is old Colonial mahogany. Old fashioned 3-cornered Colonial cupboard; +drop leaf table; lacquered single chair; arm-chair; upholstered stool; +old cashmere cover on table; old fashioned inlaid desk; writing +materials; upholstered arm-chair; tidy; square work-table; small +workbasket; arm-chair; what-not with shells, vases, odds and ends of +ornaments; small mahogany upright piano; cushioned seat; music on piano; +another single chair; small mahogany card table, leaf raised; old clock; +pair old fashioned silver candlesticks; partly burned candles; old +mahogany mirror; old family silhouettes; oil painting of JERVIS +PENDLETON at age of 4; old fashioned engraving of George Washington; +large engraving of General Grant and family; old framed pictures of +Lincoln and Jackson; colored Martha Washington; small engraving of +Washington at Valley Forge; old fashioned oblong mirror with top picture +panel; old fashioned life-size crayons in oval frames of MR. and MRS. +SEMPLE; warming pan; large rag medallion; several hand braided rugs; +white shades; lace curtains; plaited valance for top of window, with +side draperies; cushioned seat in window; hanging draperies to match top +of valance—all same material. + +Properties Off Stage R.: telephone bell; off lower L. stamped envelope. +L.U. the other properties for CARRIE, JUDY and JIMMIE. + + + PROPERTY PLOT + + ACT IV + +Grandfather’s clock; curtains, topped with lambrequin for arch; +curtains, lambrequin and lace curtains for window; desk; writing +materials and papers; push button L. of desk; telephone R. of desk; +letter addressed “John Smith” (in lower L. drawer of desk); papers; +stenographers’ note book; extra note book; long library table; 2 chairs; +table; book rack; books; bookcase filled with books (at entrance) large +vases (on top); teakwood table; large lamp; mantelpiece; open fire +grate; steel fender; painted portrait of JERVIS PENDLETON’S brother; +library clock and vases (on mantel); large upholstered chair. + +Properties Off Stage: L. on table, tray with glass, bottle of medicine, +small quantity of medicine for Jervis to drink; medicine graduate; +additional bottle; doctor’s surgical bag; typewritten letter. Off R. +door-bell. + + + ELECTRICAL PLOT + + ACT I + +Foots, amber and white up one-half at rise. + +Foots dimmed at cue to one-fourth up. (Bunch lamps and strips dim on +same cue.) + +At window L. and amber and white bunch lamp above and below on each +backing. + +At windows L. a 7 blue light strip on each backing up full through Act. + +Over doors C. and R. of C. a three-lamp strip dimmed at cue as above. + +Over doors at R., R.1 E., R.2 E.—a two lamp strip. + +Bracket lamps, one at R. between doors, one R. of C. door, one L. of C. +door, and one in C. of C. hallway to be turned on by MISS LIPPETT at +cue. + +Footlights come up a trifle when brackets are on. + +A five-lamp strip (32 power lamps) in foots at C. up full through Act. + +A spot lamp off L. upper window, to swing on pivot, into and around the +room, indicating the approach of a motor car, at near end of Act, cue +from JUDY “I can think about him. Please! Please!” + + + ELECTRICAL PLOT + + ACT III + +The light outside is a soft September afternoon, of rich amber. + +Within the room the light is full but not bright. + +Dimmed at end of Act into a mellow sunset. + + + ELECTRICAL PLOT + + ACT IV + +The time is late afternoon on an October day. At R. through window, a +spot lamp spreads over desk. Practical fire in grate over L. + +LIGHTS. Placement. Fixtures NOT ON. + +Floods outside window R. + +Bunches Amber in arch C. + +Spot in window R.1 to hit R.C. + +Proc. Spot to hit Briss, R.C. + +Proc. Spot to hit chair L. of table. + +RISE FULL UP. Briss ENT. DIM. FTS. to 1/2—5 min. + +Rise door bell R. + +Red 1 5. + +Red—Foots. + +Amber—Foots. + +White—Foots. + +------------------------------------------------------------------------ + +[Illustration: Stage diagram of Act I: The Orphan Asylum] + +[Illustration: Stage diagram of Act II: Judy’s Study at College] + +[Illustration: Stage diagram of Act III: Sitting Room at Farm House] + +[Illustration: Simplified stage diagram of Act III: Sitting Room of Farm +House] + +[Illustration: Stage diagram of Act IV: Pendleton’s Library] + +------------------------------------------------------------------------ + + + + + THE REJUVENATION OF AUNT MARY. + +The famous comedy in three acts, by Anne Warner. 7 males, 6 females. +Three interior scenes. Costumes modern. Plays 2¼ hours. + +This is a genuinely funny comedy with splendid parts for “Aunt Mary,” +“Jack,” her lively nephew; “Lucinda,” a New England ancient maid of all +work; “Jack’s” three chums; the Girl “Jack” loves; “Joshua,” Aunt Mary’s +hired man, etc. + +“Aunt Mary” was played by May Robson in New York and on tour for over +two years and it is sure to be a big success wherever produced. We +strongly recommend it. Price, 60 Cents. + + + MRS. BUMSTEAD-LEIGH. + +A pleasing comedy, in three acts, by Harry James Smith, author of “The +Tailor-Made Man.” 6 males, 6 females. One interior scene. Costumes +modern. Plays 2¼ hours. + +Mr. Smith chose for his initial comedy the complications arising from +the endeavors of a social climber to land herself in the altitude +peopled by hyphenated names—a theme permitting innumerable +complications, according to the spirit of the writer. + +This most successful comedy was toured for several seasons by Mrs. Fiske +with enormous success. Price, 60 Cents. + + + MRS. TEMPLE’S TELEGRAM. + +A most successful farce in three acts, by Frank Wyatt and William +Morris. 5 males, 4 females. One interior scene stands throughout the +three acts. Costumes modern. Plays 2½ hours. + +“Mrs. Temple’s Telegram” is a sprightly farce in which there is an +abundance of fun without any taint of impropriety or any element of +offence. As noticed by Sir Walter Scott, “Oh, what a tangled web we +weave when first we practice to deceive.” + +There is not a dull moment in the entire farce, and from the time the +curtain rises until it makes the final drop the fun is fast and furious. +A very exceptional farce. Price, 60 Cents. + + + THE NEW CO-ED. + +A comedy in four acts, by Marie Doran, author of “Tempest and Sunshine,” +etc. Characters, 4 males, 7 females, though any number of boys and girls +can be introduced in the action of the play. One interior and one +exterior scene, but can be easily played in one interior scene. Costumes +modern. Time, about 2 hours. + +The theme of this play is the coming of a new student to the college, +her reception by the scholars, her trials and final triumph. + +There are three especially good girls’ parts, Letty, Madge and Estelle, +but the others have plenty to do. “Punch” Doolittle and George +Washington Watts, a gentleman of color, are two particularly good comedy +characters. We can strongly recommend “The New Co-Ed” to high schools +and amateurs. Price, 30 Cents. + + + (The Above Are Subject to Royalty When Produced) + + ------------------------------------ + + SAMUEL FRENCH, 28-30 West 38th Street, New York City + New and Explicit Descriptive Catalogue Mailed Free on Request + +------------------------------------------------------------------------ + + + + + Transcriber’s Notes + + +This file uses _underscores_ to indicate italic text. Stage directions +are spaced inconsistently in the original printed text (e.g., “R. I. E.” +vs. “R.I.E.”) and are reproduced here as they appear in print. On p. 25, +a stage direction has an orphan embrace Judy before she has entered; on +p. 104 there appears to be a missing or misattributed line, as Jervis is +given two lines in a row (beginning “And I thought...” and “The same +idea...”). As the correction is not clear in either case, the passages +have been left as printed. + +One line and one stage direction in Act 1 reference a character named +“Codman,” who does not appear elsewhere in the play but appears to be +one of the Trustees; this is possibly intended to be Wykoff. + +Below is a list of itemized changes from the original text. Other minor +inconsistencies, such as differences in hyphenation (e.g. “armchair” vs. +“arm-chair”, “carefree” vs. “care-free”), have been left as printed. + + • p. 6: Removed italics from mistakenly italicized line (Say ye knocked + this off...) + • p. 9: Corrected “flambuoyant” to “flamboyant” (Examines a flamboyant + watch...) + • p. 10: Corrected “today” to “to-day” (...in this institution to-day) + • p. 11: Added missing period in “R. I. E.” (Exits R. I. E.) + • p. 13: Corrected “today” to “to-day” (...Jervis Pendleton with us + to-day) + • p. 23: Corrected “tres” to “très” (Tu es enfant très bon...) + • p. 26: Corrected “Lippet” to “Lippett” (This won’t do, Mrs. + Lippett!...) + • p. 26: Supply missing period after “...upsetting the tea by bumping + into Jervis.” + • p. 69: Corrected “Mrs. Pritchard” to “Miss Pritchard” in stage + direction. + • p. 105: Corrected “imposisble” to “impossible” (Of course I know it’s + impossible...) + • p. 105: Corrected “he” to “be” (She should be here now...) + • p. 116: Corrected “Lippet” to “Lippett” (...as Mrs. Lippett turns on + bracket lights.) + • p. 119: Supply missing comma after “At L. of cupboard an armchair,” + • p. 119: Corrected “Sllie” to “Sallie” (...writing materials on table + for Sallie.) + • p. 124: Corrected “ink-spot” to “inkspot” (...to conceal inkspot) + + New original cover art included with this eBook + is granted to the public domain. + + + +*** END OF THE PROJECT GUTENBERG EBOOK 75857 *** diff --git a/75857-h/75857-h.htm b/75857-h/75857-h.htm new file mode 100644 index 0000000..6d0e31f --- /dev/null +++ b/75857-h/75857-h.htm @@ -0,0 +1,6432 @@ +<!DOCTYPE html> +<html lang="en"> + <head> + <meta charset="UTF-8"> + <title>Daddy Long-Legs | Project Gutenberg</title> + <link rel="icon" href="images/cover.jpg" type="image/x-cover"> + <style> + body { margin-left: 8%; 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} + .transcribers-notes { width: 80%; margin: auto; padding: 0 1em; + background-color: #E3E4FA; border: 1px solid silver; + page-break-before:always;margin-top:4em; } + i > span.sc, i > span.fss {font-style:normal; } + .admatter p {font-size:small; } + .hidden {visibility:hidden; } + div.chars {font-size:85%; } + </style> + </head> + <body> +<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 75857 ***</div> + +<div class='figcenter id001'> +<img src='images/title-page.jpg' alt='' class='ig001'> +</div> +<div> + <h1 class='c000'>DADDY LONG-LEGS</h1> +</div> +<p class='c001'><span class='large'>By JEAN WEBSTER</span></p> + +<div class='nf-center-c1'> +<div class='nf-center c002'> + <div>FRENCH’S STANDARD LIBRARY EDITION</div> + </div> +</div> + +<div class='nf-center-c1'> +<div class='nf-center c002'> + <div>SAMUEL FRENCH, 28-30 West 38th St., New York</div> + </div> +</div> + +<div class='pbb'> + <hr class='pb c003'> +</div> + +<div class='nf-center-c0'> +<div class='nf-center c004'> + <div><span class='large'>BILLETED.</span></div> + </div> +</div> + +<p class='c005'><span class='small'>A comedy in 3 acts, by F. Tennison Jesse and H. Harwood. 4 +males, 5 females. One easy interior scene. A charming comedy, +constructed with uncommon skill, and abounds with clever lines. +Margaret Anglin’s big success. Amateurs will find this comedy easy +to produce and popular with +all audiences.</span> <span class="price"><span class='small'>Price, 60 Cents.</span></span></p> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div><span class='large'>NOTHING BUT THE TRUTH.</span></div> + </div> +</div> + +<p class='c005'><span class='small'>A comedy in 3 acts. By James Montgomery. 5 males, 6 females. +Costumes, modern. Two interior scenes. Plays 2½ hours.</span></p> + +<p class='c005'><span class='small'>Is it possible to tell the absolute truth—even for twenty-four hours? +It is—at least Bob Bennett, the hero of “Nothing But the Truth,” +accomplished the feat. The bet he made with his business partners, +and the trouble he got into—with his partners, his friends, and his +fiancée—this is the subject of William Collier’s tremendous comedy +hit. “Nothing But the Truth” can be wholeheartedly recommended +as one of the most sprightly, amusing and popular comedies that this +country can +boast.</span> <span class="price"><span class='small'>Price, 60 Cents.</span></span></p> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div><span class='large'>IN WALKED JIMMY.</span></div> + </div> +</div> + +<p class='c005'><span class='small'>A comedy in 4 acts, by Minnie Z. Jaffa. 10 males, 2 females (although +any number of males and females may be used as clerks, +etc.). Two interior scenes. Costumes, modern. Plays 2½ hours. +The thing into which Jimmy walked was a broken-down shoe factory, +when the clerks had all been fired, and when the proprietor was in +serious contemplation of suicide.</span></p> + +<p class='c005'><span class='small'>Jimmy, nothing else but plain Jimmy, would have been a mysterious +figure had it not been for his matter-of-fact manner, his smile and +his everlasting humanness. He put the shoe business on its feet, won +the heart of the girl clerk, saved her erring brother from jail, escaped +that place as a permanent boarding house himself, and foiled the +villain.</span></p> + +<p class='c005'><span class='small'>Clean, wholesome comedy with just a touch of human nature, just +a dash of excitement and more than a little bit of true philosophy +make “In Walked Jimmy” one of the most delightful of plays. +Jimmy is full of the religion of life, the religion of happiness, and +the religion of helpfulness, and he so permeates the atmosphere with +his “religion” that everyone is happy. The spirit of optimism, good +cheer, and hearty laughter dominates the play. There is not a dull +moment in any of the +four acts. We strongly recommend it.</span> <span class="price"><span class='small'>Price, 60 Cents.</span></span></p> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div><span class='large'>MARTHA BY-THE-DAY.</span></div> + </div> +</div> + +<p class='c005'><span class='small'>An optimistic comedy in three acts, by Julie M. Lippmann, author +of the “Martha” stories. 5 males, 5 females. Three interior scenes. +Costumes modern. Plays 2½ hours.</span></p> + +<p class='c005'><span class='small'>It is altogether a gentle thing, this play. It is full of quaint humor, +old-fashioned, homely sentiment, the kind that people who see +the play will recall and chuckle over to-morrow and the next day.</span></p> + +<p class='c005'><span class='small'>Miss Lippmann has herself adapted her very successful book for +stage service, and in doing this has selected from her novel the most +telling incidents, infectious comedy and homely sentiment for the play, and the +result is thoroughly delightful.</span> <span class="price"><span class='small'>Price, 60 Cents.</span></span></p> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div>(The Above Are Subject to Royalty When Produced)</div> + </div> +</div> + +<hr class='c006'> + +<div class='nf-center-c0'> + <div class='nf-center'> + <div>SAMUEL FRENCH, 28-30 West 38th Street, New York City</div> + <div><b>New and Explicit Descriptive Catalogue Mailed Free on Request</b></div> + </div> +</div> + +<div class='pbb'> + <hr class='pb c003'> +</div> + +<div class='nf-center-c0'> +<div class='nf-center c004'> + <div><span class='xlarge'>DADDY LONG-LEGS</span></div> + </div> +</div> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div><span class='large'>A COMEDY IN FOUR ACTS</span></div> + </div> +</div> + +<div class='nf-center-c0'> +<div class='nf-center c004'> + <div><span class='large'>BY</span></div> + </div> +</div> + +<div class='nf-center-c0'> + <div class='nf-center'> + <div><span class='large'>JEAN WEBSTER</span></div> + </div> +</div> + +<div class='nf-center-c0'> +<div class='nf-center c004'> + <div><i>All Rights Reserved</i></div> + </div> +</div> + +<p class='c007'>CAUTION.—Professionals and amateurs are hereby warned +that “DADDY LONG-LEGS,” being fully protected +under the copyright laws of the United States, Great +Britain and Canada, 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. Application for amateur acting +rights must be made to <span class='sc'>Samuel French</span>, 28-30 West +38th Street, New York. Applications for professional +acting rights must be made to Henry Miller, Henry +Miller Theatre, 124 West 43d Street, New York City.</p> + +<div class='c002'></div> +<table style="width:100%"><tr> +<td style="text-align:center"> +<span class='sc'>New York</span><br> +SAMUEL FRENCH<br> +<span class='sc'>Publisher</span><br> +<span class='sc'>28-30 West 38th Street</span> +</td> +<td style="border-left:1px solid black;width:1em;"></td> +<td style="text-align:center"> +<span class='sc'>London</span><br> +SAMUEL FRENCH, <span class='sc'>Ltd.</span><br> +<span class='sc'>26 Southampton Street</span><br> +STRAND +</td> +</tr></table> +<div class='pbb'> + <hr class='pb c003'> +</div> + +<div class='nf-center-c0'> +<div class='nf-center c004'> + <div><span class='sc'>Copyright, 1912 (in Novel Form), by The Century Co.</span></div> + </div> +</div> + +<div class='nf-center-c0'> +<div class='nf-center c003'> + <div><span class='sc'>Copyright, 1914, by Jean Webster</span></div> + </div> +</div> + +<div class='nf-center-c0'> +<div class='nf-center c003'> + <div><span class='sc'>Copyright, 1922, by Samuel French</span></div> + </div> +</div> + +<p class='c008'></p> +<div class='box'> + +<p class='c005'>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.</p> + +<p class='c005'>In its present form this play is dedicated to the reading +public only, and no performance, representation, production, +recitation, or public reading may be given except by +special arrangement with Samuel French, 28-30 West 38th +Street, New York.</p> + +<p class='c005'>This play may be presented by amateurs upon payment +of a royalty of Twenty-Five Dollars for each performance, +payable to Samuel French, 28-30 West 38th Street, +New York, one week before the date when the play is +given.</p> + +<p class='c005'>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 +French of New York.”</p> + +<p class='c005'>Attention is called to the penalty provided by law for +any infringement of the author’s rights, as follows:</p> + +<p class='c005'>“<span class='sc'>Section 4966</span>:—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 compositions, or his +heirs and assigns, shall be liable for damages thereof, +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 conviction +shall be imprisoned for a period not exceeding one +year.”—U. S. Revised Statutes: Title 60, Chap. 3.</p> + +</div> +<div class='pbb'> + <hr class='pb c003'> +</div> + +<div class='nf-center-c0'> +<div class='nf-center c004'> + <div><span class='large'>CHARACTERS</span></div> + </div> +</div> + +<div class='chars'> + +<table class='table0'> + <tr> + <td class='c009'><span class='sc'>Jervis Pendleton</span></td> + <td class='c010'> </td> + <td class='c011'> </td> + </tr> + <tr> + <td class='c009'><span class='sc'>James McBride</span></td> + <td class='c010'> </td> + <td class='c011'> </td> + </tr> + <tr> + <td class='c009'><span class='sc'>Cyrus Wykoff</span></td> + <td class='c010'> </td> + <td class='c011'> </td> + </tr> + <tr> + <td class='c009'><span class='sc'>Abner Parsons</span></td> + <td class='c010'> </td> + <td class='c011'> </td> + </tr> + <tr> + <td class='c009'><span class='sc'>Griggs</span></td> + <td class='c010'> </td> + <td class='c011'> </td> + </tr> + <tr> + <td class='c009'><span class='sc'>Walters</span></td> + <td class='c010'> </td> + <td class='c011'> </td> + </tr> + <tr> + <td class='c009'><span class='sc'>Judy</span></td> + <td class='c010'> </td> + <td class='c011'> </td> + </tr> + <tr> + <td class='c009'><span class='sc'>Miss Pritchard</span></td> + <td class='c010'> </td> + <td class='c011'> </td> + </tr> + <tr> + <td class='c009'><span class='sc'>Mrs. Pendleton</span></td> + <td class='c010'> </td> + <td class='c011'> </td> + </tr> + <tr> + <td class='c009'><span class='sc'>Julia Pendleton</span></td> + <td class='c010'> </td> + <td class='c011'> </td> + </tr> + <tr> + <td class='c009'><span class='sc'>Sallie McBride</span></td> + <td class='c010'> </td> + <td class='c011'> </td> + </tr> + <tr> + <td class='c009'><span class='sc'>Mrs. Semple</span></td> + <td class='c010'> </td> + <td class='c011'> </td> + </tr> + <tr> + <td class='c009'><span class='sc'>Mrs. Lippett</span></td> + <td class='c010'> </td> + <td class='c011'> </td> + </tr> + <tr> + <td class='c009'><span class='sc'>Sadie Kate</span></td> + <td class='c010' rowspan="6"><img src="images/bracket.jpg" style="height:9em;" alt="Bracket connecting the last six names in the list."></td> + <td class='c011'> </td> + </tr> + <tr> + <td class='c009'><span class='sc'>Gladiola</span></td> + + <td class='c011'> </td> + </tr> + <tr> + <td class='c009'><span class='sc'>Loretta</span></td> + + <td class='c011'><span class='sc'>Orphan Children</span></td> + </tr> + <tr> + <td class='c009'><span class='sc'>Mamie</span></td> + + <td class='c011'><span class='sc'>at the John</span></td> + </tr> + <tr> + <td class='c009'><span class='sc'>Freddie Perkins</span></td> + + <td class='c011'><span class='sc'>Grier Home</span></td> + </tr> + <tr> + <td class='c009'><span class='sc'>Carrie</span></td> + + <td class='c011'> </td> + </tr> +</table> + +</div> +<div class='pbb'> + <hr class='pb c003'> +</div> + +<div class='nf-center-c0'> +<div class='nf-center c004'> + <div><span class='large'>SYNOPSIS OF SCENES</span></div> + </div> +</div> + +<div class='nf-center-c0'> + <div class='nf-center'> + <div>ACT I</div> + </div> +</div> + +<p class='c005'>The dining-room of the John Grier Home on +Trustees’ Day.</p> + +<div class='nf-center-c0'> + <div class='nf-center'> + <div>ACT II</div> + </div> +</div> + +<p class='c005'>Judy’s college study, an afternoon in May, one +year later.</p> + +<div class='nf-center-c0'> + <div class='nf-center'> + <div>ACT III</div> + </div> +</div> + +<p class='c005'>The sitting-room at Lock Willow farm, summer, +three years later.</p> + +<div class='nf-center-c0'> + <div class='nf-center'> + <div>ACT IV</div> + </div> +</div> + +<p class='c005'>Mr. Pendleton’s library, two months later.</p> + +<div class='pbb'> + <hr class='pb c003'> +</div> +<div class='chapter'> + +<div class='nf-center-c0'> +<div class='nf-center c004'> + <div><span class='pageno' id='Page_5'>5</span><span class='xlarge'>DADDY LONG-LEGS</span></div> + </div> +</div> + +<div> + <h2 class='c012'>ACT I</h2> +</div> + +<p class='c013'><i><span class='sc'>Scene</span>: The dining-room of the John Grier Home +on Trustees’ Day. A <a href='#stage141'>plan</a> and <a href='#scene-1'>full description</a> +of the scene will be found at the end of the play.</i></p> + +<p class='c014'><i><span class='sc'>Discovered</span>: At Rise, Two Orphans are seated +down stage at table <span class='fss'>L.</span> of <span class='fss'>C.</span> <span class='sc'>Sadie Kate</span> <span class='fss'>R.</span> of +table and <span class='sc'>Loretta</span> on the stool below table, engaged +in cleaning silver. <span class='sc'>Gladiola</span> is up stage +behind upper table <span class='fss'>R.</span> polishing a cup. After +the curtain is well up, <span class='sc'>Gladiola</span> mounts on +chair before cupboard to place cup in cupboard +and <span class='sc'>Freddie Perkins</span> enters at lower <span class='fss'>R. I.</span></i></p> + +<p class='c015'><i>They are dressed exactly alike in stiffly +starched gingham pinafores (blue) with a row +of white china buttons down the back and a +suggestion of red flannel petticoat showing +beneath. Each child has her hair strained back +tightly and braided into two pig-tails. They sit +nervously and work steadily and silently with +no attempt at childish chatter. Freddie Perkins +is about nine years old and is dressed in dark +knickerbockers and a jumper made of the same +striped blue gingham that the girls are wearing. +His hair is shaved close to his head.</i></p> + +<p class='c015'><span class='pageno' id='Page_6'>6</span><i>He carries a rolled-up rag rug over his +shoulders, and as he passes, he purposely knocks +against <span class='sc'>Sadie Kate</span>. She hits back viciously +and proceeds with her work. Freddie up and +exits <span class='fss'>C.</span> and <span class='fss'>L.</span> 2 and 4 talking, 2 wipes 4’s nose.</i></p> + +<p class='c015'><i><span class='sc'>Gladiola</span> on chair at back, in wiping a cup +lets it slip from her hands and crash to the +floor. She backs against the table <span class='fss'>C.</span> and stands +horrified, staring at the pieces.</i></p> + +<p class='c015'><i><span class='sc'>Lights</span> begin to dim shortly after rise.</i></p> + +<p class='c016'><span class='sc'>Gladiola.</span> It’s one o’ them best cups!</p> + +<p class='c005'><span class='sc'>Sadie Kate.</span> Oh my goodness! You’ll get it!</p> + +<p class='c005'><span class='sc'>Gladiola.</span> What’ll I do?</p> + +<p class='c005'><span class='sc'>Sadie Kate.</span> Hide it, quick!</p> + +<p class='c005'><span class='sc'>Mrs. Lippett.</span> (<i>Off stage</i>) Get out of my way!</p> + +<p class='c005'><span class='sc'>Loretta.</span> She’s coming! Oh, she’s coming!</p> + +<p class='c005'><span class='sc'>Sadie Kate.</span> (<i>To <span class='sc'>Gladiola</span>, snatching up one +of the cups and leaning over, rolling it along the +floor to <span class='sc'>Gladiola</span></i>) <a id='tn-sayye'></a>Say ye knocked this off wid +yer elbow.</p> + +<p class='c017'>(<i>They resume their work in stolid silence. <span class='sc'>Gladiola</span> +gets down on her knees and hands and places +the broken pieces under table-legs at <span class='fss'>R.</span> of <span class='fss'>C.</span> +then stands behind table as <span class='sc'>Mrs. Lippett</span> enters +from the pantry. She is a hard-faced, domineering +woman of about forty with an unpleasant +voice that grows shrill when she loses her temper. +She is wearing a polka-dotted silk dress, +very tight and rather fussily made with a profusion +of cheap lace trimmings. It is turned up +from the bottom and pinned so that she will not +soil it.</i>)</p> + +<p class='c016'><span class='sc'>Mrs. Lippett.</span> (<i>Holds entrance until <span class='sc'>Gladiola</span> +is up</i>) What was that noise? (<i>Stands inside <span class='fss'>U. R.</span></i>)</p> + +<p class='c005'><span class='pageno' id='Page_7'>7</span><span class='sc'>Gladiola.</span> I knocked this off with my elbow, +ma’am.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> (<i>Crossing to <span class='fss'>C.</span></i>) I thought you’d broken +something! Come, come. Sadie Kate! Are you going +to be all day at this? (<i>Picks up spoons, examines +them critically, hands one back</i>) Polish that +again! (<i>Crosses to table <span class='fss'>R.</span>, looking over preparations</i>) +Oh, good heavens, the sandwiches aren’t +made! Where’s Judy Abbott? She ought to be +here to look after things!</p> + +<p class='c005'><span class='sc'>Sadie Kate.</span> She’s up in the nursery, ma’am, +trying to keep the babies quiet so they won’t disturb +the trustees.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> Well, you go up and tell her to come +down immediately. I never knew anyone like that +girl. She’s always somewhere else. (<i><span class='sc'>Sadie Kate</span> +rises and <span class='sc'>Mrs. L.</span> turns to her sharply</i>) Hurry up! +Don’t stand there staring! (<i>Pushes <span class='sc'>Sadie Kate</span>, +who exits <span class='fss'>R. I.</span> Exit 2 and 4. As <span class='sc'>Gladiola</span> brings +down spoon to table, lower <span class='fss'>R.</span> <span class='sc'>Mrs. Lippett</span> is looking +over the dishes</i>) Why, we’re one cup short. I +thought I got down enough! (<i><span class='sc'>Gladiola</span>, in fear, +starts to tiptoe off to <span class='fss'>R. I.</span> Stopping abruptly as +<span class='sc'>Mrs. L.</span> calls her name</i>) Gladiola Murphy! Come +here! (<i><span class='sc'>Gladiola</span> approaches her apprehensively</i>) +You stand on that chair and get down another one +of those best cups.</p> + +<p class='c005'><span class='sc'>Gladiola.</span> (<i>Going up, gleefully</i>) Yes, ma’am!</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> And mind you don’t drop it!</p> + +<p class='c005'><span class='sc'>Gladiola.</span> No, ma’am. (<i>Up to cupboard for a +cup.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> (<i>Looks thoughtfully over tray to see +what is missing</i>) Napkins. (<i>Bustles off <span class='fss'>R.</span> and exits +<span class='fss'>R.</span> 2 <span class='fss'>E.</span> As she is going off <span class='sc'>Freddie</span> enters at <span class='fss'>C.</span> +Seeing <span class='sc'>Mrs. Lippett</span> going off he throws a kiss +after her. Looking around and seeing that he is +unobserved, he goes down to table <span class='fss'>R.</span> to sugar bowl. +<span class='pageno' id='Page_8'>8</span>Putting his hand in he pulls out a fist full and stuffs +it into his mouth. Puts his hand in again, gets another +fistful and stuffs it into his pocket. As he puts +his hand in again <span class='sc'>Sadie Kate</span> enters <span class='fss'>R. I.</span> and +catches him. She crosses in between tables to <span class='fss'>R.</span> of +<span class='sc'>Freddie</span>.</i>)</p> +<p class='c016'><span class='sc'>Sadie Kate.</span> Freddie Perkins, you let that sugar +alone! (<i><span class='sc'>Freddie</span> makes a face at her</i>) I’ll tell +Mrs. Lippett!</p> + +<p class='c017'>(<i><span class='sc'>Gladiola</span> turns and comes down <span class='fss'>R.</span> of <span class='sc'>Freddie</span>, +putting cup on tray.</i>)</p> + +<p class='c016'><span class='sc'>Freddie.</span> I dare you to!</p> + +<p class='c005'><span class='sc'>Gladiola.</span> Freddie Perkins, you just put that +sugar back. I’ll tell Mrs. Lippett.</p> + +<p class='c005'><span class='sc'>Freddie.</span> I dare you to! (<i><span class='sc'>Sadie Kate</span> crosses +over <span class='fss'>L.</span></i>)</p> + +<p class='c005'><span class='sc'>Another Child.</span> She’ll say I did it. (<i>Both +<span class='sc'>Gladiola</span> and <span class='sc'>Sadie Kate</span> push and shove <span class='sc'>Freddie</span>.</i>)</p> + +<p class='c005'><span class='sc'>Freddie.</span> All right, keep your hair on. I’ll put +it back.</p> + +<p class='c005'><span class='sc'>Gladiola.</span> You’d better, you’d better, you fresh +thing!</p> + +<p class='c017'>(<i><span class='sc'>Sadie Kate</span> returns to her task at <span class='fss'>L.</span> table and +<span class='sc'>Gladiola</span> goes back to cupboard on chair, back +to audience. <span class='sc'>Freddie</span> looks around and seeing +that they are not watching him, goes down to +sugar bowl again and seeing the salt cellar, +smiles and takes it up and begins to pour the +salt into the sugar-bowl.</i>)</p> + +<div class='figcenter id001'> +<img src='images/08-plate.jpg' alt='The girls sit at the table, their backs turned, as Freddie pours salt into the sugar bowl.' class='ig001'> +</div> + +<p class='c016'><span class='sc'>Freddie.</span> I’m putting it back! (<i>Continues to +<span class='pageno' id='Page_9'>9</span>pour salt until he hears <span class='sc'>Mrs. Lippett</span> speaking off +stage.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> (<i>Off-stage</i>) Why, you good for nothing +child, keep out from under my feet!</p> + +<p class='c005'><span class='sc'>Freddie.</span> (<i>Puts down sugar-bowl and salt cellar +and runs off <span class='fss'>C.</span> and <span class='fss'>L.</span> exclaiming</i>) All right, I put +it back!</p> + +<p class='c017'>(<i>One child to cupboard, other child down and +around to bench <span class='fss'>L.</span>, sits on floor. <span class='sc'>Mrs. Lippett</span> +enters with napkins and dish of sliced lemons, +crosses and sets them on the tray on table <span class='fss'>R.</span></i>)</p> + +<p class='c016'><span class='sc'>Mrs. L.</span> Hasn’t Judy Abbott come down yet?</p> + +<p class='c005'><span class='sc'>Sadie Kate.</span> No ma’am!</p> + +<p class='c017'>(<i><span class='sc'>Gladiola</span> comes down with a cup which she places +on tray <span class='fss'>L.</span> of <span class='sc'>Mrs. L.</span></i>)</p> + +<p class='c016'><span class='sc'>Mrs. L.</span> Oh, for the land’s sake! (<i>Picking up +sugar bowl, looks in, is about to set it down when +she catches sight of the mark of grimy fingers</i>) +Gladiola Murphy! Aren’t you ashamed? That’s +a pretty looking sugar bowl to send up to the +trustees. You take it into the pantry and wash it. +(<i>She gives the bowl to <span class='sc'>Gladiola</span>, faces her toward +the pantry and starts her with a shove. <a id='tn-flamboyant'></a>Examines +a flamboyant watch that is pinned to her waist.</i>) +Half past four! It’s time to make the tea. (<i>Goes up +and turns on lamp <span class='fss'>R.</span> of <span class='fss'>C.</span> arch</i>) Where <em>is</em> that +Abbott girl? She’s enough to try the patience of a +saint! (<i>Turns up lamp <span class='fss'>L.</span> of arch <span class='fss'>C.</span> foots come up +3-4 full. Her back is turned as <span class='sc'>Judy</span> enters at <span class='fss'>R.</span></i>)</p> + +<p class='c017'>(<i><span class='sc'>Judy</span> is a vividly alive young girl of 18, dressed in +the same blue gingham that the others wear, but +made in a more becoming manner. There is a +<span class='pageno' id='Page_10'>10</span>suggestion of challenge in her manner. There +is an air of all-conquering youth. Neither <span class='sc'>Mrs. +Lippett’s</span> harshness nor the sordid air of the +asylum has succeeded in cowing her. She +crosses to <span class='fss'>R.</span> of <span class='fss'>C.</span> and stands, looking speculatively +at <span class='sc'>Mrs. Lippett’s</span> back. Two children +at cupboard up to pantry.</i>)</p> + +<p class='c016'><span class='sc'>Judy.</span> (<i>Crosses to <span class='fss'>R. C.</span> sweetly</i>) Do you want me +to help, Mrs. Lippett?</p> + +<p class='c005'><a id='tn-today1'></a><span class='sc'>Mrs. L.</span> (<i>Turning quickly</i>) Well, Miss Jerusha +Abbott! It’s about time you turned up! You are +the only lady of leisure in this institution to-day. +(<i>Comes down <span class='fss'>C.</span></i>)</p> + +<p class='c005'><span class='sc'>Judy.</span> I’m sorry. The nurse had to look after +the sick babies and we couldn’t leave the others +alone.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> You always have plenty of excuses.</p> + +<p class='c005'><span class='sc'>Judy.</span> That new little red-headed child has licked +all the green paint off the Noah’s Ark—</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> And what do you think I was doing? +Cutting the cake with one hand and receiving the +guests with the other?</p> + +<p class='c005'><span class='sc'>Judy.</span> That red-headed child has swallowed some +green paint—</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> I don’t care what that red-headed child +has swallowed. I’m more interested in what the +trustees are going to swallow.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Speaking very hurriedly</i>) That red-headed +child has licked the green paint off the roof of +the Noah’s Ark, and I think you’d better send for +the doctor.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> Will you stop talking and get to work?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Going <span class='fss'>R.</span></i>) It was <em>green</em> and I’m afraid +it will disagree with him.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> You get those tea things ready.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Going <span class='fss'>U. R.</span> to pantry</i>) Green paint’s +<span class='pageno' id='Page_11'>11</span>made of arsenic. It’s poison. I learned that in +chemistry.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> You’ve learned altogether too much! +You were a great deal more useful before you got +that education! (<i>Goes back to children at <span class='fss'>L.</span></i>)</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>At pantry <span class='fss'>U. R. C.</span> with a gleam of mischief</i>) +Mrs. Lippett⸺</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> (<i>Over her shoulder</i>) Well?</p> + +<p class='c005'><span class='sc'>Judy.</span> Did you put those two guinea pigs into +the babies’ bath tub?</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> (<i>Whirling about</i>) Guinea pigs!</p> + +<p class='c005'><span class='sc'>Judy.</span> I think they’re guinea pigs. Little brown +and white animals … about so big.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> Oh, good heavens! Those horrible +boys!—What did you do with the beasts?</p> + +<p class='c005'><span class='sc'>Judy.</span> I didn’t touch them. I thought—</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> (<i>Crossing to table <span class='fss'>R.</span></i>) Quick! Get them +away before the trustees find them.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Coming down <span class='fss'>R.</span></i>) I thought maybe that +generous new trustee you were telling us about +brought them as a present for the babies.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> And you thought I was planning to keep +them in the nursery bathtub?</p> + +<p class='c005'><span class='sc'>Judy.</span> It’s so seldom used! <a id='tn-rie'></a>(<i>Exits <span class='fss'>R. I. E.</span> +<span class='sc'>Gladiola</span> down to <span class='fss'>R.</span> of <span class='sc'>Mrs. L.</span> Other girl to cupboard</i>)</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> (<i>Turns back muttering angrily</i>) Guinea +pigs! (<i><span class='sc'>Gladiola</span> comes down from the pantry with +sugar bowl she has cleaned and puts it on tray</i>) If +I had my way the whole race of boys would be swept +off the face of the earth. (<i><span class='sc'>Sadie Kate</span> and <span class='sc'>Loretta</span> +titter, then hastily repress themselves</i>) Yes—and +girls too! (<i>Little girl laughs</i>) That’s enough! Clean +up this mess. They’re likely to come in here. +(<i><span class='sc'>Gladiola</span> lingers near <span class='sc'>Mrs. Lippett</span> who slaps +and drives her away. <span class='sc'>Loretta</span> rises and takes pan +and wash material across <span class='fss'>R.</span> and up into pantry</i>) I +<span class='pageno' id='Page_12'>12</span>suppose they’ll be snooping all over the place. (<i><span class='sc'>Sadie +Kate</span> brings spoons and places them on tea tray in +front of <span class='sc'>Mrs. Lippett</span>, who slaps her. <span class='sc'>Sadie Kate</span> +crosses over <span class='fss'>R.</span> to <span class='sc'>Gladiola</span>. <span class='sc'>Loretta</span> comes down +from pantry and joins them</i>) These visiting days +are enough to make a person sick. (<i>The orphans +stand waiting for further orders. <span class='sc'>Gladiola</span> is lower +<span class='fss'>R.</span> near door. <span class='sc'>Loretta</span> <span class='fss'>L.</span> of <span class='sc'>Gladiola</span> and a little +above. <span class='sc'>Sadie Kate</span> <span class='fss'>L.</span> of <span class='sc'>Loretta</span> and a little +above, so they stand in a diagonal line. A buzz of +conversation and laughter heard off <span class='fss'>C.</span> Little child +cries. <span class='sc'>Mrs. Lippett</span> hastily unpins her skirt</i>) Here +they are now! Gladiola, pull up your stockings. +(<i><span class='sc'>Gladiola</span> pulls up her stockings</i>) Loretta, wipe +your nose. (<i><span class='sc'>Loretta</span> stoops to use her petticoat</i>) +No, no! Not on your skirt. (<i><span class='sc'>Sadie Kate</span> gives +<span class='sc'>Loretta</span> handkerchief</i>) Sadie Kate, brush back +your hair. You, too, stand up straight! (<i>To all</i>) +If any of the trustees or lady visitors speak to you, +you say “Yes, ma’am”—“No, ma’am” and smile.</p> + +<p class='c005'><span class='sc'>Orphans.</span> Yes ma’am, no ma’am.</p> + +<p class='c017'>(<i><span class='sc'>Miss Pritchard</span> and <span class='sc'>Mr. Cyrus Wykoff</span> enter <span class='fss'>C.</span> +<span class='sc'>Miss P.</span> is a charming, old-fashioned gentlewoman +between fifty and sixty, with an air of +kindly sympathy for everyone. <span class='sc'>Mr. Wykoff</span>, +a short, chubby, bald-headed man, is pompous +and dignified, with an exaggerated idea of his +own importance. He wears a brown suit which +fits him quite snugly—a pair of tortoise-rimmed +spectacles, and a gold watch chain. <span class='sc'>Mrs. Lippett</span> +crosses to <span class='fss'>C.</span> to receive them.</i>)</p> + +<p class='c016'><span class='sc'>Miss Pritchard.</span> (<i>Coming down <span class='fss'>C.</span></i>) Well, Mrs. +Lippett! We’re here again!</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> Miss Pritchard! (<i>They shake hands and +<span class='sc'>Miss Pritchard</span> crosses to <span class='fss'>R. C.</span> to children. She +<span class='pageno' id='Page_13'>13</span>speaks to 1st child and each child in turn shake their +heads “Yes, ma’am,” “No, ma’am,” as ordered by +<span class='sc'>Mrs. L.</span></i>) Mr. Wykoff!</p> + +<p class='c005'><span class='sc'>Wykoff.</span> (<i><span class='fss'>L.</span> of <span class='sc'>Mrs. Lippett</span></i>) How de do, +ma’am. Thought we’d look about a little before +refreshments. (<i>Crosses to <span class='fss'>L.</span> examining.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> (<i>Down <span class='fss'>C.</span></i>) It’s a pleasure to welcome +you. I always look forward to the first Wednesday +of every month.</p> + +<p class='c005'><a id='tn-today2'></a><span class='sc'>Miss P.</span> (<i>Turns to 2nd child</i>) We have Mr. +Jervis Pendleton with us to-day.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> I believe we are indebted to you, Miss +Pritchard, for inducing him to serve.</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Turns to 3rd child</i>) Yes, he is an old +family friend.</p> + +<p class='c005'><span class='sc'>Wykoff.</span> Good thing to get some fancy philanthropists +on the board of an institution like this. +Their ideas aren’t always practical but their checks +are.</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Crossing to <span class='sc'>Wykoff</span></i>) Poor little dears! +They’re not like children. So little spirit!</p> + +<p class='c005'><span class='sc'>Wykoff.</span> (<i><span class='fss'>L.</span> of <span class='sc'>Miss P.</span></i>) They are not a very +classy lot.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> (<i><span class='fss'>R.</span> of <span class='sc'>Miss P.</span></i>) It is awful depressing +to live with them.</p> + +<p class='c005'><span class='sc'>Miss P.</span> And how is my dear Judy Abbott?</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> A great trial.</p> + +<p class='c005'><span class='sc'>Wykoff.</span> She’s the one we’re educating?</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Nodding</i>) Her teachers say that she is +very brilliant.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> Oh, she’s smart enough—I’m not denying +that. But impertinent!</p> + +<p class='c005'><span class='sc'>Miss P.</span> She’s a spirited girl and needs tact. +(<i>Crosses over to <span class='fss'>L.</span></i>)</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> (<i>Momentarily forgetting herself</i>) Tact! +She needs a good thorough whipping. And I’m +sorry she’s grown too big to get it. (<i>Crosses to <span class='fss'>R.C.</span></i>)</p> + +<p class='c005'><span class='pageno' id='Page_14'>14</span><span class='sc'>Wykoff.</span> (<i>Crosses to <span class='fss'>L.</span> of <span class='sc'>Mrs. L.</span></i>) That’s the +proper spirit, ma’am. Keep ’em in their places. +(<i><span class='sc'>Jervis</span> and <span class='sc'>Freddie</span> are heard out in hall <span class='fss'>C.</span> and <span class='fss'>L.</span>, +playing ball. <span class='sc'>Miss Pritchard</span> goes up stage <span class='fss'>L.</span> and +around to <span class='fss'>C.</span> to join <span class='sc'>Jervis</span>. <span class='sc'>Jervis</span> backs on stage +laughing and chatting as the ball passes between him +and <span class='sc'>Freddie</span>. At sound of <span class='sc'>Jervis’</span> voice <span class='sc'>Wykoff</span> +turns and sees him, and turns back to <span class='sc'>Mrs. Lippett</span></i>) +Mr. Pendleton! (<i>Crosses <span class='fss'>L.</span> to children, <span class='sc'>Mrs. Lippett</span> +crosses to <span class='fss'>R.</span> of <span class='fss'>C.</span> <span class='sc'>Freddie</span> catches sight of her, +and rushes off as <span class='sc'>Jervis</span> comes in at <span class='fss'>C.</span> <span class='sc'>Wykoff</span> +passes up and between tables, inspecting everything. +<span class='sc'>Miss Pritchard</span> joins <span class='sc'>Jervis</span> as <span class='sc'>Jervis</span> comes in +and they saunter down stage <span class='fss'>C.</span></i>)</p> + +<p class='c017'>(<i><span class='sc'>Jervis Pendleton</span> is a man-of-affairs, quiet and +self-contained, but evidently used to having his +own way. He has a somewhat grim sense of +humor and an air of nonchalance which in reality +covers a keen penetration. His manners +are courteously deferential, but with a suggestion +of indifference underneath, which he just +politely manages to suppress.</i>)</p> + +<p class='c016'><span class='sc'>Jervis.</span> Ah, dear lady! (<i><span class='sc'>Miss Pritchard</span> <span class='fss'>L.</span> of +<span class='sc'>Jervis</span>.</i>) So this is the dining room! Charming +apartment.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> (<i>Left of <span class='fss'>C.</span></i>) I believe I have never had +the pleasure of meeting Mr. Pendleton.</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i><span class='fss'>L.</span> of <span class='sc'>Jervis</span></i>) Our matron, Mrs. Lippett.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Shaking hands</i>) Very happy to meet +you, madam. (<i>Turns to <span class='sc'>Miss P.</span></i>)</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> (<i><span class='fss'>C.</span> of table <span class='fss'>R.</span></i>) The asylum has a great +deal to thank you for. Your two dear boys are +doing so well.</p> + +<p class='c017'><span class='pageno' id='Page_15'>15</span>(<i>The <span class='sc'>Orphans</span> at <span class='fss'>R.</span> begin to fuss and fidget. <span class='sc'>Loretta</span> +scratches her head. <span class='sc'>Gladiola</span> stands on +one foot, then on the other, and <span class='sc'>Sadie Kate</span> +tries to keep both quiet.</i>)</p> + +<p class='c016'><span class='sc'>Jervis.</span> (<i>Vaguely. Hands in coat pockets</i>) My +two dear boys?</p> + +<p class='c017'>(<i><span class='sc'>Wykoff</span> off up back, looking around with back +turned.</i>)</p> + +<p class='c016'><span class='sc'>Mrs. L.</span> That you are sending to technical school.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Oh, yes, yes! The young engineers! +Doing well, are they? That’s good. (<i>Crosses over to +children.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> I trust their reports are sent every +month as you requested.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Yes, I believe so. (<i><span class='sc'>Miss Pritchard</span> up +to back and joined by <span class='sc'>Wykoff</span></i>) My secretary looks +after them. (<i>Sits on bench, studies children intently. +To the nearest girl</i>) Come here, little girl, +and shake hands with me. (<i>They back off</i>) Oh, +don’t be afraid! I won’t bite. (<i><span class='sc'>Jervis</span> crosses <span class='fss'>L. C.</span> +in front of <span class='sc'>Lippett</span>.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> (<i>Behind <span class='sc'>Jervis</span> and over his shoulder +cautioning children. Softly</i>) Oh, children, children +dear, this is the kind gentleman who sent the candy +and peanuts and tickets to the circus. Shake hands +with him, darling.</p> + +<p class='c017'>(<i><span class='sc'>Loretta</span> advances, watching <span class='sc'>Mrs. Lippett</span> and +offers <span class='sc'>Jervis</span> a limp hand.</i>)</p> + +<p class='c016'><span class='sc'>Jervis.</span> (<i>Arm around <span class='sc'>Gladiola</span></i>) And are you +a good little girl?</p> + +<p class='c005'><span class='sc'>Gladiola.</span> (<i>Wilting with embarrassment</i>) Y-yes, +ma’am—no, ma’am.</p> + +<p class='c005'><span class='pageno' id='Page_16'>16</span><span class='sc'>Jervis</span> (<i>Rising, his arm about <span class='sc'>Gladiola</span>, crossing +over <span class='fss'>L. C.</span> to <span class='sc'>Miss P.</span></i>) Happy, bubbling, laughing +childhood! (<i><span class='sc'>Mrs. Lippett</span> shooes children up into +pantry and turns on lamp at <span class='fss'>R.</span></i>) Nothing so beautiful +in the world!</p> + +<p class='c017'>(<i>Children exit <span class='fss'>L.</span> at <span class='sc'>Mrs. L.’s</span> gesture.</i>)</p> + +<p class='c016'><span class='sc'>Mrs. L.</span> (<i>Coming to <span class='fss'>R. C.</span></i>) It’s a great pleasure +to live with them. I always say that it keeps me +young and happy and innocent myself.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Picks up cap from <span class='fss'>L.</span> table. Striking +cup with his knuckle, to <span class='sc'>Miss P.</span></i>) Durable!</p> + +<p class='c005'><span class='sc'>Wykoff.</span> (<i>Coming down <span class='fss'>C.</span></i>) Can’t indulge any +artistic ideas in a place like this.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Turns around and sees text at back <span class='fss'>C.</span></i>) +Of course! Of course! Ah! (<i>Indicating text</i>) +The Lord will provide! (<i>To <span class='sc'>Miss P.</span></i>) Very touching!</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> (<span class='fss'>R. C.</span>) You wouldn’t want us to bring +them up without religion?</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Deprecating the idea</i>) No, no. But +why not teach them the truth? The Lord will provide +for the rich. The poor must provide for themselves. +(<i>Turns to <span class='sc'>Miss P.</span> and sets cup on table.</i>)</p> + +<p class='c005'><span class='sc'>Wykoff.</span> (<i><span class='fss'>C.</span> and <span class='fss'>R.</span> of <span class='sc'>Jervis</span></i>) Well, I’m a +practical man, Mr. Pendleton. I don’t know as I +follow you in all your new-fangled philosophy, but +I⸺ (<i><span class='sc'>Jervis</span> turns and faces him.</i>)</p> + +<p class='c005'><span class='sc'>Jervis.</span> Yes⸺</p> + +<p class='c005'><span class='sc'>Wykoff.</span> Er—I’m convinced⸺</p> + +<p class='c005'><span class='sc'>Jervis.</span> Yes—yes⸺</p> + +<p class='c005'><span class='sc'>Wykoff.</span> Er—er—I’m convinced! (<i>Turns to +<span class='sc'>Mrs. L.</span></i>) Here, here, Mrs. Lippett, this floor ought +to be scrubbed. (<i><span class='sc'>Mrs. L.</span> crosses to him and they go +up and out <span class='fss'>C.</span>, <span class='sc'>Wykoff</span> complaining about conditions +<span class='pageno' id='Page_17'>17</span>and <span class='sc'>Mrs. L.</span> excusing them. <span class='sc'>Mrs. L.</span> turns on lamp +in hall as she exits.</i>)</p> + +<p class='c017'>(<i>At cue “This floor ought to be scrubbed,” the children +come down from pantry in single file, and +march off <span class='fss'>R.I.E.</span> <span class='sc'>Jervis</span> crosses to <span class='fss'>R.</span> of <span class='fss'>C.</span> watching +them, and stirred to pity by their dejected +and whipped manner.</i>)</p> + +<p class='c016'><span class='sc'>Jervis.</span> (<span class='fss'>R.</span>) Poor little kiddies. (<i>Turning to +<span class='sc'>Miss P.</span></i>) There’s nothing in it.</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<span class='fss'>L.</span>) What do you mean, Jervis?</p> + +<p class='c005'><span class='sc'>Jervis.</span> Why, you can’t bring them up like chickens +in batches of a hundred like chickens in an incubator. +It isn’t natural—it won’t work.</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>To <span class='fss'>L. C.</span> Sits <span class='fss'>R.</span></i>) Jervis! (<i>He turns</i>) +I hate to be always begging. But there’s one of +these children for whom I should so love to manage +a future.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Good-naturedly</i>) Another promising +engineer?</p> + +<p class='c005'><span class='sc'>Miss P.</span> No—this time—it’s a girl.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>In consternation</i>) A girl! My dear +lady!</p> + +<p class='c005'><span class='sc'>Miss P.</span> And such a pretty one!</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Amazed, crossing over <span class='fss'>L.</span></i>) Oh, no! You +can’t catch me with that bait!</p> + +<p class='c005'><span class='sc'>Miss P.</span> She’s more than pretty. (<i>Sits bench <span class='fss'>R.</span> +of table <span class='fss'>L.</span></i>)</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Wearily. Hands in pocket, crosses down +<span class='fss'>R.</span></i>) I know—she has a good record and deserves⸺</p> + +<p class='c005'><span class='sc'>Miss P.</span> She has the worst record of any child +in this Home.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Interested</i>) What!</p> + +<p class='c005'><span class='sc'>Miss P.</span> She doesn’t lie out of her misdemeanors +<span class='pageno' id='Page_18'>18</span>as the others do. She is disobedient and impertinent +but⸺</p> + +<p class='c005'><span class='sc'>Jervis.</span> And just what is it you want me to do +for this pretty, disobedient, impertinent young person? +(<i>Up around table <span class='fss'>R.</span></i>)</p> + +<p class='c005'><span class='sc'>Miss P.</span> I want you—to send her to college.</p> + +<p class='c005'><span class='sc'>Jervis.</span> What? To college? From an orphan +asylum? Impossible!</p> + +<p class='c005'><span class='sc'>Miss P.</span> She’s eighteen. (<i><span class='sc'>Jervis</span> faces front</i>) +And ready to graduate from the High School.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Facing <span class='sc'>Miss P.</span></i>) So? I thought they +never kept them after fourteen?</p> + +<p class='c005'><span class='sc'>Miss P.</span> Judy Abbott was so unusually bright +that the Board of Trustees let her stay on and attend +the village school.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Very generous!</p> + +<p class='c005'><span class='sc'>Miss P.</span> Of course it saved hiring someone to +take care of the younger children.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Thrifty and generous.</p> + +<p class='c005'><span class='sc'>Miss P.</span> And she has done remarkable work in +English. Her teachers say that she would make an +author if she had the training.</p> + +<p class='c005'><span class='sc'>Jervis.</span> An author? There are too many authors +in the world already. (<i>Crosses to her.</i>) I don’t wish +to make any more.</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Solemnly</i>) Suppose she should be a +genius? Have you any right to keep her down?</p> + +<p class='c005'><span class='sc'>Jervis.</span> If she were a genius I couldn’t keep her +down. Do you think she would placidly stand all +this? (<i>With a comprehensive gesture about the +room</i>) She would rise and mutiny if she had any +spirit.</p> + +<p class='c005'><span class='sc'>Miss P.</span> But she’s only eighteen, and if you only +knew⸺</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Facing <span class='sc'>Miss P.</span>, stubbornly shaking his +head</i>) We all have the right to a few prejudices. +You know yourself that you won’t eat bananas. +<span class='pageno' id='Page_19'>19</span>No reason in the world except that you don’t like +bananas. Now I have an antipathy, too, I don’t +like girls. Never did like ’em. Never will like ’em.</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Rises. <span class='sc'>Jervis</span> walks <span class='fss'>L.</span> <span class='sc'>Miss Pritchard</span> +rises</i>) You are a crabbed, ill-natured, hard-shelled, +old bachelor, and you don’t know what you +are talking about! You’ve never known any girls.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Never known any? That precious sister-in-law +of mine has a daughter coming on exactly +like her.</p> + +<p class='c005'><span class='sc'>Miss P.</span> Baby Julia?</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Turns away</i>) Baby Julia enters college +next September.</p> + +<p class='c005'><span class='sc'>Miss P.</span> Think of that!</p> + +<p class='c005'><span class='sc'>Jervis.</span> I might arrange for your impertinent +orphan to room with my aristocratic niece. +(<i>Chuckles at the idea</i>) That would be rather a neat +joke on the Pendleton family!</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>With asperity</i>) My little Judy deserves +a chance for her own sake.</p> + +<p class='c005'><span class='sc'>Jervis.</span> You damned her chance when you said +she was pretty.</p> + +<p class='c005'><span class='sc'>Miss P.</span> Why?</p> + +<div class='c018'><i>Children READY</i></div> + +<p class='c016'><span class='sc'>Jervis.</span> Why? Why, I’d no sooner get her educated +than some young whippersnapper would come +along and want to marry her. Education thrown +away. I’d rather put my money into a permanent +investment.</p> + +<p class='c005'><span class='sc'>Miss P.</span> Do you really mean it, or is it just one +of your stupid jokes?</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Seriously</i>) I really mean it. How +could one of these orphans compete with the class +of girls she would meet in college? (<i>Crosses <span class='fss'>R.</span></i>)</p> + +<p class='c005'><span class='sc'>Miss P.</span> But you haven’t seen my Judy.</p> + +<p class='c005'><span class='sc'>Jervis.</span> No. But I have seen this institution +and I know that no child that was ever born could +<span class='pageno' id='Page_20'>20</span>live eighteen years in the John Grier Home and +have spirit enough left to fight the world. (<i>Crossing +<span class='fss'>L. C.</span></i>)</p> + +<p class='c005'><span class='sc'>Miss P.</span> But my Judy’s different. Give her a +chance.</p> + +<p class='c005'><span class='sc'>Jervis.</span> My dear Miss Pritchard! In college +your little Judy wouldn’t have a chance. Do you +think they’d take in an outsider—from an orphan +asylum?</p> + +<p class='c005'><span class='sc'>Miss P.</span> It’s not fair.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Bitterly</i>) Nothing’s fair. But it’s a +fact. Don’t you see that it would be no kindness to +the girl? We should just be showing her a glimpse +of a bigger, more beautiful life, such as she has +never dreamed of, and then forbidding her to enter. +No, no. Society has thrown away your little Judy—(<i>Hands +in pockets</i>)—and it’s too late now to pick +up the pieces.</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i><span class='fss'>L.C.</span>, crushed</i>) Yes—but it’s cruel.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>To <span class='sc'>Miss P.</span>, drawing her hand through +his arm</i>) Well! Well! Come and let’s have a look +at that scandalous dark playroom. (<i>Going up <span class='fss'>C.</span></i>) +Maybe you can induce me to build a new one. (<i>They +go out <span class='fss'>C.</span> and <span class='fss'>L.</span></i>)</p> + +<p class='c017'>(<i>As <span class='sc'>Jervis</span> and <span class='sc'>Miss P.</span> exit both ad lib, <span class='sc'>Sadie +Kate</span> pokes her head into room, <span class='fss'>R. I.</span>, then +crosses in front to <span class='fss'>R. C.</span> and turns to beckon the +others on.</i>)</p> + +<p class='c016'><span class='sc'>Sadie Kate.</span> Come on! (<i>Coming <span class='fss'>R. C.</span> <span class='sc'>Gladiola</span>, +<span class='sc'>Loretta</span> and <span class='sc'>Mamie</span> enter <span class='fss'>R.</span></i>) Now’s your +chance! (<i><span class='sc'>Gladiola</span> crosses in front and up to get +the broken cup. <span class='sc'>Sadie Kate</span> over to <span class='fss'>C.</span> and up a +little.</i>) Take it and dump it back of the barn!</p> + +<p class='c017'><a id='tn-embraces'></a>(<i>Two other girls go on and in front of table to <span class='fss'>L.</span>, +<span class='pageno' id='Page_21'>21</span>two little girls stop <span class='fss'>R.</span>, one takes up cup, other +stops. Littlest girl enters <span class='fss'>R.</span> and gets on bench +and embraces <span class='sc'>Judy</span>.</i>)</p> + +<p class='c016'><span class='sc'>Mamie.</span> (<i><span class='fss'>R.</span> at end of lower table. <span class='sc'>Loretta</span> by +<span class='fss'>R. I. E.</span></i>) Yes, hurry, before somebody comes and +catches you. (<i>A sound is heard off <span class='fss'>R.</span> in pantry.</i>)</p> + +<p class='c005'><span class='sc'>Sadie Kate.</span> Somebody’s coming!</p> + +<p class='c017'>(<i><span class='sc'>Gladiola</span> jumps up and the orphans assume a +know-nothing attitude until they see it is <span class='sc'>Judy</span>. +<span class='sc'>Judy</span> enters <span class='fss'>C.</span> and crosses between tables with +tray of sandwiches, stands between <span class='sc'>Mamie</span> and +<span class='sc'>Loretta</span> down stage and <span class='sc'>Gladiola</span> up stage. +<span class='sc'>Sadie Kate</span> is on line with <span class='sc'>Judy</span> across at <span class='fss'>C.</span></i>)</p> + +<p class='c016'><span class='sc'>Judy.</span> Well, Chicks, what’s the matter?</p> + +<div class='c018'><i>READY Sammy</i></div> + +<p class='c016'><span class='sc'>Orphans.</span> (<i>Laughing</i>) Nothing.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Cheerfully</i>) Well, run now, and wash +your hands and faces and make yourselves beautiful, +ready to pass the things.</p> + +<p class='c017'>(<i>The children go up into pantry, <span class='sc'>Sadie Kate</span> passing +at back with <span class='sc'>Gladiola</span>. <span class='sc'>Judy</span> crosses to <span class='fss'>C.</span> +and puts tray on lower end of table <span class='fss'>L.</span> Then she +goes up to cupboard and gets black box and +comes down between tables at <span class='fss'>R.</span>, opens box on +bench behind first table and takes out caps and +aprons. During scene she is humming gaily to +herself, “Comin’ through the Rye.” <span class='sc'>Mrs. Lippett</span> +enters.</i>)</p> + +<p class='c016'><span class='sc'>Mrs. L.</span> (<i>Coming down <span class='fss'>C.</span></i>) I’m glad to see that +<span class='pageno' id='Page_22'>22</span>somebody’s carefree. (<i><span class='sc'>Judy</span> stops her song</i>) Is +everything ready?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>At work smoothing out aprons</i>) Yes, +Mrs. Lippett.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> Seems though everything’s gone wrong +to-day. And just when we’ve got a rich trustee up +from New York. (<i>Turning to <span class='fss'>L.</span> window <span class='fss'>R.</span></i>) He’s +out in the play-yard now, talking to Freddie Perkins, +with a hole in his pants that big. (<i><span class='sc'>Judy</span> laughs</i>) +Well, what are you laughing at? It’s no laughing +matter. Can’t you keep that child mended?</p> + +<p class='c005'><span class='sc'>Judy.</span> I mend Freddie Perkins’ trousers every +day of my life. There’s no trousers left any more. +Nothing but patches.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> (<i><span class='fss'>L. C.</span>, looking over at sandwiches</i>) Did +you make those sandwiches?</p> + +<p class='c005'><span class='sc'>Judy.</span> Yes, Mrs. Lippett. I know they’re pretty +thick. But the bread was so fresh I couldn’t cut it. +I’m awfully sorry.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> (<i>Going up <span class='fss'>C.</span> Mollified</i>) Well, maybe +they’ll taste all right. Look sharp now. I don’t +want any more hitches. (<i>Exits <span class='fss'>C.</span></i>)</p> + +<p class='c005'><span class='sc'>Gladiola.</span> (<i>Poking her head into room</i>) Judy, +has she gone?</p> + +<p class='c005'><span class='sc'>Judy.</span> Yes, and it’s time for you to go! Come, +fly into these. (<i>Led by <span class='sc'>Gladiola</span> the <span class='sc'>Orphans</span> +come down <span class='fss'>R.</span> <span class='sc'>Gladiola</span> and <span class='sc'>Loretta</span> to lower <span class='fss'>R.</span> +and begin playing. <span class='sc'>Mamie</span> and <span class='sc'>Sadie Kate</span> to <span class='fss'>R.</span> +of <span class='sc'>Judy</span>, who gives to each of them cap and apron +she has been straightening out. They are regulation +waitress’ aprons, about three inches longer than +the children’s dresses. The caps are muslin bows +fastened to an elastic. <span class='sc'>Mamie</span> and <span class='sc'>Sadie</span> put on +the aprons, <span class='sc'>Judy</span> buttoning <span class='sc'>Mamie’s</span> and <span class='sc'>Mamie</span> +buttoning <span class='sc'>Sadie’s</span> apron. They fasten behind. +While they put on the caps <span class='sc'>Gladiola</span> and <span class='sc'>Loretta</span> +are down <span class='fss'>R.</span> <span class='sc'>Judy</span> crosses to <span class='fss'>L. C.</span>, gets tray and sandwiches +<span class='pageno' id='Page_23'>23</span>and gives them to <span class='sc'>Mamie</span>. <span class='sc'>Mamie</span> up <span class='fss'>C.</span> +<span class='sc'>Judy</span> takes tray of cups at <span class='fss'>R. C.</span>, gives them to <span class='sc'>Sadie +Kate</span>. <span class='sc'>Sadie</span> up to <span class='sc'>Mamie</span> at <span class='fss'>C.</span> <span class='sc'>Judy</span> to <span class='fss'>R. C.</span></i>) +Now please be careful, children, and don’t make any +mistakes.</p> + +<p class='c017'>(<i>The <span class='sc'>Orphans</span> go out <span class='fss'>C.</span> and <span class='fss'>L.</span> <span class='sc'>Judy</span>, with a tired +sigh, comes down front and sits on bench in +front of table <span class='fss'>R.</span> <span class='sc'>Gladiola</span> kneels on bench beside +her and <span class='sc'>Loretta</span> on floor, kneeling. She +caresses them in a manner that shows her loneliness +and longing for love.</i>)</p> + +<p class='c016'><span class='sc'>Gladiola.</span> Judy! Tell us a story.</p> + +<p class='c005'><span class='sc'>Loretta.</span> Cinderella!</p> + +<p class='c005'><span class='sc'>Gladiola.</span> No! Tell us Noah’s Ark. I’ll be +the lion. (<i>Growls and throws her arms around +<span class='sc'>Judy</span>, pretending to devour her.</i>)</p> + +<p class='c005'><span class='sc'>Judy.</span> Not now, dear. Some other time.</p> + +<p class='c005'><span class='sc'>Both.</span> Yes, now!</p> + +<p class='c005'><span class='sc'>Judy.</span> Poor Judy’s so tired. This is the first +time I’ve sat down since 5 o’clock this morning.</p> + +<p class='c005'><span class='sc'>Loretta.</span> Tell it while you are sitting down.</p> + +<p class='c005'><span class='sc'>Judy.</span> I must learn my lesson for school to-morrow.</p> + +<p class='c005'><span class='sc'>Gladiola.</span> What? ’Rifmatic?</p> + +<p class='c005'><span class='sc'>Judy.</span> No, not ’rifmatic. French.</p> + +<p class='c005'><span class='sc'>Loretta.</span> What’s French?</p> + +<p class='c005'><a id='tn-tres'></a><span class='sc'>Judy.</span> Tu es enfant très bon et je t’aime beaucoup.</p> + +<p class='c017'>(<i>The children laugh. <span class='sc'>Freddy Perkins</span> enters <span class='fss'>C.</span> +from <span class='fss'>L.</span> A large three-cornered rent in the back +of his trousers.</i>)</p> + +<p class='c016'><span class='sc'>Freddie.</span> (<span class='fss'>C.</span>) When are we going to have supper?</p> + +<p class='c005'><span class='pageno' id='Page_24'>24</span><span class='sc'>Judy.</span> (<i>Good-naturedly, scolding</i>) Freddie Perkins, +turn around, sir! (<i><span class='sc'>Freddie</span> makes turn.</i>)</p> + +<p class='c005'><span class='sc'>Freddie.</span> What’s the matter? (<i>Children laugh. +<span class='sc'>Freddie</span> turns back to them.</i>) What are you laughing +at? Cut it out! Cut it out!</p> + +<p class='c005'><span class='sc'>Judy.</span> You bad, bad boy, to tear your clothes. +(<i>Discovers a rent in the shoulder of his shirt</i>) You +disgraceful little rag-a-muffin!</p> + +<p class='c005'><span class='sc'>Freddie.</span> (<i>Sits <span class='fss'>L.</span> of <span class='sc'>Judy</span></i>) I don’t care, I’m +hungry!</p> + +<p class='c005'><span class='sc'>Gladiola.</span> So’m I.</p> + +<p class='c005'><span class='sc'>Loretta.</span> Me, too.</p> + +<p class='c005'><span class='sc'>Judy.</span> You can’t have supper till the trustees go.</p> + +<p class='c005'><span class='sc'>Gladiola.</span> I hate trustees.</p> + +<p class='c005'><span class='sc'>Loretta.</span> So do I.</p> + +<p class='c005'><span class='sc'>Freddie.</span> What’s to-day? Beans? (<i>Pause</i>) Or +corn meal mush?</p> + +<p class='c005'><span class='sc'>Loretta.</span> This is Wednesday.</p> + +<p class='c005'><span class='sc'>Gladiola.</span> It’s corn meal mush.</p> + +<p class='c017'>(<i>The children all join in the <span class='sc'>Orphan’s</span> yell while +<span class='sc'>Judy</span> frantically tries to make each child be +quiet. The last line tapers off into a dying +wail.</i>)</p> + +<p class='c016'><span class='sc'>Orphans</span>:</p> + +<div class='lg-container-b'> + <div class='linegroup'> + <div class='group'> + <div class='line'>Mush! Mush! Corn meal mush!</div> + <div class='line'>Slush! Slush! Same old slush!</div> + <div class='line'>How I hate it,</div> + <div class='line'>Corn—meal—mush!</div> + </div> + </div> +</div> + +<p class='c005'><span class='sc'>Judy.</span> Hush, you naughty children.</p> + +<p class='c017'>(<i><span class='sc'>Freddie</span> sits on floor.</i>)</p> + +<p class='c016'><span class='sc'>Gladiola.</span> Judy, tell us a story.</p> + +<p class='c005'><span class='sc'>Judy.</span> No, no, no!</p> + +<p class='c005'><span class='pageno' id='Page_25'>25</span><span class='sc'>Gladiola</span> <i>and</i> <span class='sc'>Loretta</span>. (<i>Imitating her</i>) Yes, +yes, yes!</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Pleading</i>) Children! I’m so tired!</p> + +<p class='c005'><span class='sc'>Freddie.</span> (<i>Rising</i>) Draw us a picture!</p> + +<p class='c005'><span class='sc'>Judy.</span> I’ve no paper!</p> + +<p class='c017'>(<i>Children run around looking for paper. <span class='sc'>Loretta</span> +goes around behind table and discovers box +cover. <span class='sc'>Gladiola</span> takes the cover from <span class='sc'>Loretta</span> +and brings it to <span class='sc'>Judy</span>.</i>)</p> + +<p class='c016'><span class='sc'>Gladiola.</span> Draw it on this.</p> + +<p class='c017'>(<i><span class='sc'>Judy</span> looks dubious. Sits as before and <span class='sc'>Loretta</span> +<span class='fss'>R.</span> of <span class='sc'>Gladiola</span> to former position. <span class='sc'>Freddie</span> <span class='fss'>L.</span> +of <span class='sc'>Judy</span>.</i>)</p> + +<p class='c016'><span class='sc'>Judy.</span> But I haven’t any pencil!</p> + +<p class='c005'><span class='sc'>Freddie.</span> (<i>Turning away disgustedly</i>) Oh, gee!</p> + +<p class='c005'><span class='sc'>Judy.</span> I can’t draw with my finger, you know.</p> + +<p class='c005'><span class='sc'>Freddie.</span> (<i>Discovering piece of chalk in his +pocket</i>) Here’s a piece of chalk.</p> + +<p class='c005'><span class='sc'>Judy.</span> Very well—Mercy! It’s all over sugar.</p> + +<p class='c005'><span class='sc'>Freddie.</span> Did I give you sugar? (<i>Grabs chalk +in an attempt to lick the sugar off. <span class='sc'>Judy</span> gets it +back.</i>)</p> + +<p class='c005'><span class='sc'>Judy.</span> Oh, you bad, bad boy! (<i><span class='sc'>Freddie</span> to <span class='fss'>C.</span></i>) +Well, what shall I draw?</p> + +<p class='c005'><span class='sc'>Gladiola.</span> Elephant!</p> + +<p class='c005'><span class='sc'>Loretta.</span> Circus!</p> + +<p class='c005'><span class='sc'>Freddie.</span> Cowboy chasing Indians! (<i>Gives imitation +of a wild Indian.</i>)</p> + +<p class='c005'><span class='sc'>Judy.</span> Oh, something easy. I’ll draw a bad little +boy who’s torn his clothes.</p> + +<p class='c017'>(<i>Children begin to laugh at <span class='sc'>Freddie</span> and cry +“Shame, shame.”</i>)</p> + +<p class='c016'><span class='pageno' id='Page_26'>26</span><span class='sc'>Freddie.</span> (<i>Coming down domineeringly</i>) Cut it +out! Cut it out!</p> + +<p class='c005'><span class='sc'>Judy.</span> Freddie! (<i><span class='sc'>Freddie</span> turns away shamefacedly</i>) +What’ll I draw?</p> + +<p class='c005'><span class='sc'>Gladiola.</span> Oh! Draw a trustee!</p> + +<p class='c005'><span class='sc'>Loretta.</span> Yes, draw a trustee!</p> + +<p class='c005'><a id='tn-lippett1'></a><span class='sc'>Freddie.</span> Yes, one of those guys that goes around +like this. (<i>Crosses over <span class='fss'>L.</span> and gives imitation of +<span class='sc'>Wykoff</span></i>) “This won’t do, Mrs. Lippett! This won’t +do!” (<i>Comes back to <span class='fss'>C.</span></i>) “And this floor must be +scrubbed” … (<i>Goes to <span class='fss'>C.</span></i>) “I tell you it won’t +do, Mrs. Lippett” … (<i>Comes down <span class='fss'>C.</span> and stands +puffing himself out á la Wykoff. The children +watch him in ecstasy, laughing and applauding.</i>)</p> + +<p class='c005'><span class='sc'>Gladiola.</span> Yes—and make him fat. With a gold +watch chain!</p> + +<p class='c005'><span class='sc'>Freddie.</span> And with a pair of searchlights!</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Drawing</i>) There’s his body. And +there’s his head. (<i>While drawing the eye-glasses, +<span class='sc'>Freddie</span> begins to laugh. <span class='sc'>Judy</span> turns to him</i>) What +are you laughing at?</p> + +<p class='c005'><span class='sc'>Freddie.</span> Those searchlights.</p> + +<p class='c005'><span class='sc'>Judy.</span> And there’s his searchlights. And those +are his arms and those are his legs.</p> + +<p class='c005'><span class='sc'>Loretta.</span> (<span class='fss'>C.</span>) And where’s his gold watch +chain?</p> + +<p class='c005'><span class='sc'>Judy.</span> And that’s his watch chain! (<i>Holds the +picture front and they all laugh.</i>)</p> + +<div class='figcenter id001'> +<img src='images/26-plate.jpg' alt='The children are gathered around the drawing of the Trustee' class='ig001'> +</div> + +<p class='c005'><span class='sc'>Gladiola.</span> (<i>Takes picture from <span class='sc'>Judy</span></i>) It looks +exactly like a June bug.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Takes picture back from <span class='sc'>Gladiola</span>, writing +at bottom</i>) “This looks like a June bug, but is +meant to be a portrait of any trustee.”</p> + +<p class='c017'>(<i>The children laugh. <span class='sc'>Freddie</span> takes the picture and +marches around with it, followed by <span class='sc'>Gladiola</span> +and <span class='sc'>Loretta</span>.</i>)</p> + +<p class='c016'><span class='pageno' id='Page_27'>27</span><span class='sc'>Chorus.</span> Looks like a June bug! Looks like a +June bug!</p> + +<p class='c017'>(<i>They go over <span class='fss'>L.</span> as <span class='sc'>Sadie</span> and <span class='sc'>Mamie</span> return with +a half-emptied plate of sandwiches which they +place on table.</i>)</p> + +<p class='c016'><span class='sc'>Sadie Kate.</span> Gee! You ought to see them eat!</p> + +<p class='c017'>(<i><span class='sc'>Judy</span> goes up to <span class='sc'>Sadie Kate</span> and <span class='sc'>Mamie</span>. The +others stop singing and hungrily look at the +sandwiches. <span class='sc'>Freddie</span> puts the picture on table +<span class='fss'>L.</span> of <span class='fss'>C.</span> and crosses over to <span class='sc'>Judy</span>, followed by +<span class='sc'>Loretta</span> and <span class='sc'>Gladiola</span>.</i>)</p> + +<p class='c016'><span class='sc'>Freddie.</span> Can I have a piece of bread?</p> + +<p class='c005'><span class='sc'>Gladiola.</span> Me, too!</p> + +<p class='c005'><span class='sc'>Loretta.</span> I’m hungry.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>After a moment’s hesitation</i>) Yes, you +may all have one piece.</p> + +<p class='c017'>(<i>They help themselves joyously. <span class='sc'>Freddie</span> gets first +piece and biggest to the disgust of the others. +He goes triumphantly to lower <span class='fss'>L.</span> and sits on +bench. They keep up a chatter.</i>)</p> + +<p class='c016'><span class='sc'>Freddie.</span> Say! (<i>Children all stop noise to listen</i>) +I played a joke on those trustees! (<i>Boasting.</i>)</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Coming down <span class='fss'>R.</span></i>) Freddie Perkins! +(<i>Suspiciously</i>) What have you done?</p> + +<p class='c005'><span class='sc'>Freddie.</span> I ain’t goin’ to tell.</p> + +<p class='c017'>(<i>Trustees are heard talking angrily at back off <span class='fss'>L.</span></i>)</p> + +<p class='c016'><span class='sc'>Gladiola.</span> (<i>Crosses up to door</i>) Cheese it! +They’re coming!</p> + +<p class='c005'><span class='pageno' id='Page_28'>28</span><span class='sc'>Judy.</span> (<i>Surprised</i>) Scamper out, children!</p> + +<p class='c017'>(<i><span class='sc'>Freddie</span> at first sound has bolted <span class='fss'>L.</span> <span class='sc'>Gladiola</span> and +<span class='sc'>Loretta</span> in front of lower table. <span class='sc'>Mamie</span> and +<span class='sc'>Sadie Kate</span> between tables <span class='fss'>R.</span> <span class='sc'>Gladiola</span>, <span class='sc'>Loretta</span> +and <span class='sc'>Mamie</span> exit lower <span class='fss'>R.</span> <span class='sc'>Sadie</span> exits +<span class='fss'>R. 2. E.</span> <span class='sc'>Mrs. Lippett</span> enters <span class='fss'>C.</span>, followed by a +group of trustees and visitors, <span class='sc'>Miss Pritchard</span> +looking worried, <span class='sc'>Wykoff</span> indignant, <span class='sc'>Jervis</span> +amused. <span class='sc'>Judy</span> is at table <span class='fss'>R.</span> of <span class='fss'>C.</span> <span class='sc'>Mrs. Lippett</span> +<span class='fss'>R.</span> of <span class='fss'>C.</span> <span class='sc'>Parsons</span> <span class='fss'>L.</span> of <span class='fss'>C.</span> <span class='sc'>Miss Pritchard</span> +and <span class='sc'>Jervis</span> stand at back. They have all +been talking outside and it has grown in volume +until they are well on and in place.</i>)</p> + +<p class='c016'><span class='sc'>Mrs. L.</span> (<i>With sugar bowl</i>) Judy Abbott, what +is the meaning of this?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Bewildered <span class='fss'>R.</span>, about middle of table</i>) +The sugar bowl?</p> + +<p class='c017'>(<i><span class='sc'>Miss Pritchard</span> crosses at back and down <span class='fss'>L.</span></i>)</p> + +<p class='c016'><span class='sc'>Mrs. L.</span> (<i><span class='fss'>L.</span> end of table</i>) It’s full of salt! +(<i><span class='sc'>Judy</span> turns and looks after <span class='sc'>Freddie</span>.</i>)</p> + +<p class='c005'><span class='sc'>Wykoff.</span> We put salt in our tea.</p> + +<p class='c017'>(<i><span class='sc'>Judy</span> bursts into quick laugh. <span class='sc'>Jervis</span> crosses <span class='fss'>R.</span> and +down <span class='fss'>L.</span> of tables, back turned to <span class='sc'>Judy</span> and +amused by the scene.</i>)</p> + +<p class='c016'><span class='sc'>Mrs. L.</span> When you have finished laughing, perhaps +you will tell us how it came there?</p> + +<p class='c005'><span class='sc'>Judy.</span> I don’t know.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> Of course you don’t know. You never +know anything.</p> + +<p class='c005'><span class='sc'>Miss P.</span> It was a mistake.</p> + +<p class='c005'><span class='pageno' id='Page_29'>29</span><span class='sc'>Wykoff.</span> (<span class='fss'>L. C.</span>) Bad management. Bad management!</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Apologetically</i>) I didn’t know about it, +of course—I’m very sorry it happened!</p> + +<p class='c017'>(<i><span class='sc'>Mrs. Lippett</span> sees the empty plate and crumbs on +table.</i>)</p> + +<p class='c016'><span class='sc'>Mrs. L.</span> What’s this? (<i>They all turn and look</i>) +So, you’ve been stealing the refreshments that were +left?</p> + +<p class='c017'>(<i><span class='sc'>Parsons</span> goes up <span class='fss'>C.</span></i>)</p> + +<p class='c016'><span class='sc'>Judy.</span> The children were hungry—it’s after their +regular supper-time—and I gave them each a piece +of bread and butter.</p> + +<p class='c017'>(<i><span class='sc'>Parsons</span> discovers the broken cup.</i>)</p> + +<p class='c016'><span class='sc'>Wykoff.</span> Mrs. Lippett, does this young woman +run this institution?</p> + +<p class='c005'><span class='sc'>Parsons.</span> (<i>Coming down <span class='fss'>C.</span> with broken china</i>) +Here! Here! What’s this? (<i><span class='sc'>Judy</span> stares in amazement.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> (<i>Turning upon her sharply</i>) How did +that get broken? (<i><span class='sc'>Judy</span> is silent</i>) Well—don’t +stand there staring!</p> + +<p class='c005'><span class='sc'>Wykoff.</span> Another little joke?</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> Answer me, Judy Abbott. Did you +break that cup?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>With dignity</i>) No, Mrs. Lippett, certainly +not!</p> + +<p class='c017'>(<i><span class='sc'>Parsons</span> puts broken cup on tray at his <span class='fss'>R.</span></i>)</p> + +<p class='c016'><span class='sc'>Mrs. L.</span> Who put it there?</p> + +<p class='c005'><span class='pageno' id='Page_30'>30</span><span class='sc'>Judy.</span> I don’t know.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> Seems as though you are old enough +to take a little responsibility.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Miserably</i>) I try to, Mrs. Lippett—but +I can’t be in two places at once. And to-day while +the nurse was taking care of the sick babies⸺</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> I’ve heard that excuse before. (<i>Turns +to trustees</i>) You see, ladies and gentlemen, the +kind of stupidity I have to work against. This is +our prize orphan—the one we have educated—but +I can’t trust her with a simple thing like sending in +tea.</p> + +<p class='c005'><span class='sc'>Wykoff.</span> (<i>Turns up <span class='fss'>L.</span> to table</i>) Doesn’t pay +to educate ’em out of their class.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> These children are the most deceitful +creatures I have ever known. It’s enough to make +one lose one’s faith in human nature.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Facing <span class='sc'>Mrs. L.</span> quietly</i>) If you would +<em>trust</em> the children, they would not deceive you.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> So now, you are going to be impertinent, +are you?</p> + +<p class='c017'>(<i><span class='sc'>Wykoff</span> discovers picture on table <span class='fss'>L.</span></i>)</p> + +<p class='c016'><span class='sc'>Miss Pritchard.</span> (<i>Pleasantly, tries to end the +discussion</i>) Dishes will get broken—suppose we +join the others.</p> + +<p class='c017'>(<i><span class='sc'>Wykoff</span> is examining the picture which he has +casually picked up.</i>)</p> + +<p class='c016'><span class='sc'>Wykoff.</span> (<i>Facing front explosively and showing +picture</i>) Good heavens, Madam! What does this +mean? Do I look like a June bug? (<i>Comes and +exhibits it <span class='fss'>C.</span> to <span class='sc'>Mrs. L.</span></i>) And may I ask who is +the artist?</p> + +<p class='c017'><span class='pageno' id='Page_31'>31</span>(<i><span class='sc'>Judy</span> stands staring at the others with something of +the air of a hunted animal.</i>)</p> + +<p class='c016'><span class='sc'>Mrs. L.</span> (<i>With ominous quietness</i>) Is that one +of your drawings?</p> + +<p class='c017'>(<i><span class='sc'>Wykoff</span> shows it to trustees at <span class='fss'>C.</span></i>)</p> + +<p class='c016'><span class='sc'>Judy.</span> Yes, Mrs. Lippett.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> Have you anything to say?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Miserably</i>) I can’t draw. I just do it +to amuse the children.</p> + +<p class='c005'><span class='sc'>Wykoff.</span> To amuse the children? Madam, is +this the kind of respect that you teach?</p> + +<p class='c017'><a id='tn-codman-sd'></a>(<i><span class='sc'>Codman</span> puts picture on table at his <span class='fss'>L.</span></i>)</p> + +<p class='c016'><span class='sc'>Mrs. L.</span> (<span class='fss'>R.C.</span>) How do you dare make fun of +a trustee of the John Grier Home?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i><span class='fss'>R.</span>, frightened</i>) I—I didn’t mean to make +fun of anybody.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> Oh! I suppose you think that is a fitting +way to show gratitude for all that’s been done +for you? This Home has given you every mouthful +you ever ate, and as a result, you ridicule your benefactors. +I’ll tell you this, Miss Judy Abbott—you’ll +be finishing school next month and then you’ll be +put to work. The kind of place you’ll get will depend +on your record here.</p> + +<p class='c005'><span class='sc'>Wykoff.</span> (<span class='fss'>C.</span>) And when you have to shift for +yourself, young woman—then maybe you won’t +think life so funny.</p> + +<p class='c017'>(<i>Other Trustees nod approval.</i>)</p> + +<div class='c018'><i>READY Dim Foots</i></div> + +<p class='c016'><span class='pageno' id='Page_32'>32</span><span class='sc'>Judy.</span> (<i>Wearily</i>) I don’t think it’s so very funny +now.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> Oh, there’s no use trying to make anything +decent of her. I shall send you to a boarding +house keeper who wants a little slavey to wash the +dishes.</p> + +<p class='c005'><span class='sc'>Judy.</span> I shall be very happy to go. Any place, +anywhere will be better than this.</p> + +<p class='c005'><span class='sc'>Mrs. L.</span> (<i>Beside herself</i>) You ungrateful little—imp! +What do you mean?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Commencing in low, intense tone, gradually +rising to a fever of rebellion</i>) I mean—I don’t +feel any gratitude because I have nothing to be +grateful for. There is no charity about it. I have +earned my living in the John Grier Home. I have +worked from the time I was a tiny child. For three +years straight I polished brass door knobs until +you discovered that I was clever enough to do other +things. And you haven’t kept me all this extra time +just for my own good. When I was eleven years +old that lady wanted to adopt me. But you made +her take another child instead, because I was useful. +I might have had a home, too—like other children—and +you stole it away from me. And you call me +ungrateful because I’m glad to go? I don’t care +<em>how hard</em> it will be. I can make my own way in the +world. Just give me a chance. Anywhere—out of +the shadow of this asylum, and I will prove what I +am good for. I’ve lived eighteen years in prison. +I <em>hate</em> the John Grier Home! (<i>As she hurls this +last defiance she turns and runs out <span class='fss'>R.</span></i>)</p> + +<div class='c018'><i>DIM</i></div> + +<div class='figcenter id001'> +<img src='images/32-plate.jpg' alt='Judy points accusingly at the trustees.' class='ig001'> +</div> + +<p class='c017'>(<i><span class='sc'>Jervis</span> has turned his back to the scene and stands +down L. with folded arms and head bowed in +deep thought, for <span class='sc'>Judy</span> has won his admiration +by her plucky stand. After a pause the trustees +recover from their astonishment.</i>)</p> + +<p class='c016'><span class='pageno' id='Page_33'>33</span><span class='sc'>Mrs. L.</span> You see! You see!</p> + +<p class='c005'><span class='sc'>Wykoff.</span> The quicker you pack her off the better.</p> + +<p class='c005'><span class='sc'>Miss P.</span> The child didn’t know what she was +saying!</p> + +<p class='c005'><a id='tn-codman-line'></a><span class='sc'>Codman.</span> Insubordination!</p> + +<p class='c005'><span class='sc'>Parsons.</span> Bad example.</p> + +<p class='c005'><span class='sc'>Wykoff.</span> Demoralize the whole institution!</p> + +<p class='c005'><span class='sc'>Parsons.</span> She must be punished!</p> + +<p class='c017'>(<i>They start to go, shaking their heads and talking +excitedly at once.</i>)</p> + +<p class='c016'><span class='sc'>Mrs. L.</span> And punished severely. Oh, if you +knew what I have to put up with⸺</p> + +<p class='c017'>(<i>They go off <span class='fss'>C.</span>, the excitement and tumult gradually +dying down. <span class='sc'>Miss Pritchard</span> follows +them up to <span class='fss'>C.</span>, trying to pacify them. <span class='sc'>Jervis</span> +eases over to <span class='fss'>R.</span> of <span class='fss'>C.</span></i>)</p> + +<p class='c016'><span class='sc'>Miss P.</span> (<i>Coming down <span class='fss'>C.</span></i>) I am sorry this had +to happen before you, but really, really, we have no +right to be angry.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Angry? Oh, no, no! (<i>Crosses over <span class='fss'>R.</span> of +<span class='fss'>C.</span></i>) I was only hesitating because—well—I must +be sure I’m doing the best thing for the girl. But, +by jove! (<i>Turns to <span class='sc'>Miss P.</span></i>) It was great to see +that little thing rise up and demand her right to +live. She shall have it! (<i>Looks off <span class='fss'>R. I. E.</span> and then +slaps his hand as having arrived at a decision.</i>)</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<span class='fss'>C.</span>) What!</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Turns to <span class='sc'>Miss P.</span></i>) I’ll send her to college!</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Joyfully</i>) That <em>is</em> generous!</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Gruffly</i>) Nonsense! I’m interested. +I’d like to see if the girl really can pull it off!</p> + +<p class='c005'><span class='pageno' id='Page_34'>34</span><span class='sc'>Miss P.</span> She will be so <em>grateful</em>.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Crossing <span class='fss'>L.</span></i>) No, no. None of that. She’s +never to know who does it.</p> + +<p class='c005'><span class='sc'>Miss P.</span> She will want to thank you.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Well, she can’t. I won’t have it. Why! +She’s had to give thanks for every mouthful she +ever ate! I wonder she didn’t choke. This college +business comes as a free gift from Heaven.</p> + +<p class='c005'><span class='sc'>Miss P.</span> Don’t you want to watch her progress?</p> + +<div class='c018'><i>READY Sadie Kate</i></div> + +<p class='c016'><span class='sc'>Jervis.</span> From a distance. They can send me her +reports.</p> + +<p class='c005'><span class='sc'>Miss P.</span> A college doesn’t send reports.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Sits. Thinking out loud</i>) Well, let me +see. We’re to make a writer of the girl? H’m—there’s +no better practice in composition than good, +old-fashioned letter writing. She may write me a +letter on the first of every month, telling about her +studies and her daily life—just such a letter as she +would write to her parents—if—she had any.</p> + +<p class='c005'><span class='sc'>Miss P.</span> She will have to know your name.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Tell her Smith. John Smith. She will +address her letters to Mr. John Smith—in care of +my secretary, just as the boys do their reports. +But she’s never to expect any answer. (<i>Rises</i>) I +can’t have Judy a nuisance.</p> + +<p class='c005'><span class='sc'>Miss P.</span> I will explain the best I can. (<i>Rises.</i>)</p> + +<p class='c005'><span class='sc'>Jervis.</span> And don’t explain to anyone else. We +must keep it a secret (<i>Looks off <span class='fss'>R. I. E.</span></i>) for the +girl’s sake. Let her forget the asylum. (<i>Back of +<span class='sc'>Miss P.</span></i>) Blot the word “orphan” out of her mind. +(<i>Turns up.</i>)</p> + +<p class='c017'>(<i><span class='sc'>Sadie Kate</span> enters from <span class='fss'>L.2E.</span> and puts a spoon +on lower table.</i>)</p> + +<p class='c016'><span class='pageno' id='Page_35'>35</span><span class='sc'>Miss P.</span> (<i>Crosses to <span class='fss'>R.</span> of <span class='sc'>Jervis</span></i>) Sadie Kate, run +quick and call Judy Abbott.</p> + +<p class='c017'>(<i><span class='sc'>Sadie</span> exits <span class='fss'>R.</span>, calling “Judy—Judy.”</i>)</p> + +<p class='c016'><span class='sc'>Jervis.</span> (<i>Going up <span class='fss'>C.</span></i>) And now I must run. +I don’t want the child to see me. Get her some +pretty frocks—and all that sort of nonsense. Good-bye. +(<i>Ad lib.</i>)</p> + +<div class='c018'><i>DIM</i></div> + +<p class='c016'><span class='sc'>Miss P.</span> Good-bye! Thank you! Thank you! +(<i>Follows him up stage and watches him off as <span class='sc'>Judy</span> +dejectedly enters at <span class='fss'>R.</span> She comes to <span class='fss'>R. C.</span> to <span class='sc'>Miss +P.</span> <span class='sc'>Miss P.</span> turns, sees <span class='sc'>Judy</span> and goes to her.</i>)</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>With dead voice</i>) Well—what are they +going to do with me?</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Very kindly</i>) Nothing dreadful.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Sits on bench <span class='fss'>L.</span></i>) I didn’t mean to break +out that way—but when you think bitter thoughts +for years and years, some day—suddenly—they just +won’t stay inside you any longer. (<i>Turning away.</i>)</p> + +<p class='c005'><span class='sc'>Miss P.</span> Judy—(<i>Sits by <span class='sc'>Judy</span></i>)—I have good +news for you. (<i><span class='sc'>Judy</span> faces front</i>) Something wonderful +is going to happen to you.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Slowly facing <span class='sc'>Miss P.</span></i>) Wonderful?</p> + +<p class='c005'><span class='sc'>Miss P.</span> Judy—a gentleman—one of our trustees—is +going to send you to college.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Rising. <span class='sc'>Miss P.</span> also</i>) To college? +Me? (<i><span class='sc'>Miss P.</span> nods affirmatively to her question</i>) +Oh!</p> + +<p class='c005'><span class='sc'>Miss P.</span> With pretty new frocks and everything.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>To <span class='sc'>Miss P.</span></i>) You mean—I’m going just +like any other girl—who has a real father and +mother?</p> + +<p class='c005'><span class='sc'>Miss P.</span> Yes, dear.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Slowly grasping the situation and as +<span class='pageno' id='Page_36'>36</span>though choking over her joy, crosses over <span class='fss'>L.</span></i>) <em>Oh, oh</em>, +oh! It sounds just like the fairy stories I make up +to tell the children.</p> + +<p class='c005'><span class='sc'>Miss P.</span> It’s true, dear.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Turning to <span class='sc'>Miss P.</span> breathlessly</i>) Who +is he?</p> + +<p class='c005'><span class='sc'>Miss P.</span> No one you know.</p> + +<div class='c018'><i>READY Light</i></div> + +<p class='c016'><span class='sc'>Judy.</span> He wasn’t here? To-day? Not one of +those men?</p> + +<div class='c018'><i>WARN CURTAIN</i></div> + +<p class='c016'><span class='sc'>Miss P.</span> Yes.</p> + +<p class='c005'><span class='sc'>Judy.</span> I didn’t look at them. What’s he like? +What’s his name?</p> + +<p class='c005'><span class='sc'>Miss P.</span> You are not to know his name—his +real name. You may call him Mr. Smith.</p> + +<p class='c005'><span class='sc'>Judy.</span> Smith?</p> + +<p class='c005'><span class='sc'>Miss P.</span> Mr. John Smith. He will be your +guardian.</p> + +<p class='c005'><span class='sc'>Judy.</span> My guardian! I’ll belong to him? And +I won’t belong to the asylum any more? I’ll belong +just to him?</p> + +<p class='c005'><span class='sc'>Miss P.</span> Yes, dear!</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Turns—crying</i>) Oh, I’m so happy! I’m +so happy! (<i>Turns to <span class='sc'>Miss P.</span></i>) Where is he? I +want to tell him. I want to see him.</p> + +<p class='c005'><span class='sc'>Miss P.</span> You cannot see him, dear.</p> + +<p class='c005'><span class='sc'>Judy.</span> But I want to know what he’s like. I’ll +never bother him—never—if I may see him just +once. So I can think about him. Oh, please, please, +just this once? Please, please! (<i>Sobbing, she places +her head on <span class='sc'>Miss P.’s</span> shoulder, who lays her arms +around <span class='sc'>Judy</span> tenderly and mothers her. A spotlight +off <span class='fss'>L.</span>, swinging around on a pivot, throws a light +through upper window around the room, indicating +the approach of an automobile.</i>)</p> + +<p class='c005'><span class='pageno' id='Page_37'>37</span><span class='sc'>Miss P.</span> Hush, dear. I promised to keep it a +secret. (<i><span class='sc'>Judy</span> sobs again</i>) But, he’s there—outside +now! (<i>Horn</i>) Waiting for his car. (<i><span class='sc'>Judy</span> +turns quickly, but <span class='sc'>Miss P.</span> holds her at arm’s length</i>) +No, no, dear—it’s too dark to see his face, but there, +reflected on the wall, you can see his shadow! (<i>She +releases <span class='sc'>Judy</span>, who crosses to table, looking off +through window <span class='fss'>L.</span></i>)</p> + +<p class='c005'><span class='sc'>Judy.</span> Oh, if I could only see his face. At last +I have the shadow of a father. Oh, my daddy—my +daddy⸺ (<i>Laughing</i>) Look—what funny long +legs the shadow has. I never saw such long legs. +I know⸺ (<i>Turning to <span class='sc'>Miss P.</span></i>) I’ll call him my +dear, old Daddy Long-Legs.</p> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div>CURTAIN</div> + </div> +</div> + +<div class='lg-container-l c019'> + <div class='linegroup'> + <div class='group'> + <div class='line'>1st Curtain—Grown-ups and Judy—not Jervis.</div> + <div class='line'>2nd Curtain—All children. Jervis.</div> + <div class='line'>3rd Curtain—All children.</div> + <div class='line'>4th Curtain—Judy.</div> + </div> + </div> +</div> + +</div> +<div class='chapter'> + +<div> + <span class='pageno' id='Page_38'>38</span> + <h2 class='c012'>ACT II</h2> +</div> + +<p class='c013'><span class='sc'>Scene</span>: <i><span class='sc'>Judy’s</span> college study, an afternoon in May, +one year later. A <a href='#stage142'>plan</a> and <a href='#scene-2'>full description</a> of +the scene will be found at the end of the play.</i></p> + +<p class='c014'><span class='sc'>At Rise</span>: <i><span class='sc'>Julia</span> and <span class='sc'>Sallie</span> are discovered hastily +putting the room in order. <span class='sc'>Julia</span> down <span class='fss'>L.</span>, with +a child’s broom, is sweeping and working up +stage to couch. Sweeps dust under rug. <span class='sc'>Sallie</span>, +at <span class='fss'>R.</span>, is dusting picture <span class='fss'>R.</span> of window, then +crosses down to chair <span class='fss'>L.</span> of table <span class='fss'>C.</span> and holds up +Tam-o’-shanter cap and tennis racquet.</i></p> + +<p class='c016'><span class='sc'>Sallie.</span> (<i><span class='fss'>R.</span> up, comes down</i>) What on earth +shall I do with these?</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i><span class='fss'>L.</span> down. Crossing to <span class='fss'>R.</span> of table</i>) Dump +them under the couch. (<i><span class='sc'>Sallie</span> goes up and throws +things under the couch. <span class='sc'>Julia</span> picks up a coat and +a sweater from the floor <span class='fss'>C.</span></i>) Isn’t it just our +luck to have the whole family come bursting in +without a word of warning? (<i>Crosses <span class='fss'>R.</span> and throws +things into room <span class='fss'>R.2.</span></i>)</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Coming <span class='fss'>L.</span> of table to chair—Crosses <span class='fss'>L.</span></i>) +Your mother and Miss Pritchard did look shocked +when they saw this room. (<i>Crosses <span class='fss'>L.</span>, throwing basket-ball +and mask into room <span class='fss'>U.L.</span> under couch.</i>)</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Crossing to chair <span class='fss'>R.</span> of table, picking up +racquet and coat</i>) They ought to let us know before +they surprise us. I invited them for the reception +this evening. I didn’t ask them to spend the day. +(<i>Crosses <span class='fss'>R.</span>, throws things into <span class='sc'>Judy’s</span> room and +closes door.</i>)</p> + +<p class='c005'><span class='pageno' id='Page_39'>39</span><span class='sc'>Sallie.</span> (<i>To desk <span class='fss'>L.</span> for golf bag at desk back <span class='fss'>R.</span></i>) +If they had waited to come with the men on the five +o’clock train⸺ (<i>Sets golf bag above desk in +corner.</i>)</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i><span class='fss'>R.</span> of <span class='fss'>C.</span></i>) We should have been ready.</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Crossing <span class='fss'>C.</span> behind table</i>) Shut your desk, +Julia⸺ (<i>Which is <span class='fss'>R.</span> below door</i>) It’s a sight.</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Pointing to desk up stage <span class='fss'>R.C.</span> and then +crossing down <span class='fss'>R.</span> to close desk</i>) No worse than yours. +(<i>Crosses <span class='fss'>R.</span></i>)</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Crosses up, closes desk and then crosses +over <span class='fss'>L.</span> by couch—getting duster from couch and +throwing it in room <span class='fss'>U.L.</span>, closing door</i>) And look at +Judy’s, in perfect order!</p> + +<p class='c005'><span class='sc'>Julia.</span> Are there chairs enough?</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Coming down, counting chairs and +crossing over <span class='fss'>R.C.</span></i>) Mrs. Pendleton, Miss Pritchard, +Judy, Julia, Sallie, brother Jimmie—(<i>Turning to <span class='fss'>L.</span> +of chair up stage by door</i>)—and Mr. Jervis Pendleton.</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Crossing up to <span class='fss'>R.</span> of chair</i>) That chair +won’t do for Uncle Jervis.</p> + +<p class='c005'><span class='sc'>Sallie.</span> Why not?</p> + +<p class='c005'><span class='sc'>Julia.</span> It wobbles on its back leg. (<i>Rocking +chair.</i>)</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Coming down <span class='fss'>R.C.</span></i>) Oh, I forgot. +(<i>Cross <span class='fss'>R.</span> Indicates chair down <span class='fss'>R.</span></i>)</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Crossing to table <span class='fss'>C.</span></i>) I nearly dropped +when mother said Uncle Jervis was coming.</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Picks up book from floor <span class='fss'>R.C.</span> and crosses +to desk at <span class='fss'>R.</span></i>) Why shouldn’t he?</p> + +<p class='c005'><span class='sc'>Julia.</span> Oh, I bore him to death. This is the +first time in years he has taken the slightest notice +of me. (<i>Crosses up and puts fencing foils behind +couch.</i>)</p> + +<p class='c005'><span class='sc'>Sallie.</span> Men love to visit a girls’ college. It’s +<span class='pageno' id='Page_40'>40</span>like going to the menagerie and watching the animals +eat.</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Crossing <span class='fss'>C.</span> back of table and looking despondently +at the table</i>) What’ll we ever do with +this mess?</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Crossing to <span class='fss'>R.</span> of table, seizing two corners +of the cover</i>) You take the other end and +we’ll carry it into your room. (<i>Moves toward the +door <span class='fss'>R.</span>, but <span class='sc'>Julia</span>, holding the other end of cloth, +holds back.</i>)</p> + +<p class='c005'><span class='sc'>Julia.</span> No! We’ll put it in yours. (<i>She starts +towards door <span class='fss'>U.L.</span> and <span class='sc'>Sallie</span> holds her back.</i>)</p> + +<p class='c005'><span class='sc'>Sallie.</span> It’s full up. You couldn’t squeeze a +postage stamp into my room.</p> + +<p class='c005'><span class='sc'>Julia.</span> We’ll take it into Judy’s and dump it on +the bed.</p> + +<p class='c005'><span class='sc'>Sallie.</span> Poor Judy! (<i>Laughing, they go to room +down <span class='fss'>L.</span> and exit. Series of slight crashes heard. +<span class='sc'>Sallie</span> returns and crosses to table up stage and +picks up a teacup from tray. <span class='sc'>Julia</span> returns with the +cover for table and crosses below table arranging +cover, and goes behind table. <span class='sc'>Sallie</span> blows into the +cup.</i>) My, these teacups are awfully dusty!</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Behind table <span class='fss'>C.</span></i>) Oh! It won’t show +when the tea is in.</p> + +<p class='c005'><span class='sc'>Sallie.</span> Where’s the kettle? (<i>Both girls look +around the room.</i>)</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Cross <span class='fss'>R.</span></i>) The kettle? The kettle? Oh, +under the couch. (<i><span class='sc'>Sallie</span> goes to couch, kneels +down and gets kettle. A knock is heard on the door</i>) +Good gracious, who’s that?</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Crossing to table <span class='fss'>C.</span> with kettle</i>) Set that +chair over the inkspot.</p> + +<p class='c017'>(<i><span class='sc'>Julia</span> sets chair <span class='fss'>R.</span> of table, over the inkspot and +<span class='sc'>Sallie</span> goes up with kettle to table above as +<span class='sc'>Mrs. Pendleton</span> and <span class='sc'>Miss Pritchard</span> enter.</i>)</p> + +<p class='c016'><span class='pageno' id='Page_41'>41</span><span class='sc'>Julia.</span> Ah, Mother!</p> + +<p class='c005'><span class='sc'>Mrs. Pendleton.</span> (<i>Coming down</i>) Well, girls, +still at work? (<i>Crosses to <span class='fss'>L.</span> of table <span class='fss'>C.</span></i>) How quickly +you have put your room in order! (<i><span class='sc'>Miss Pritchard</span> +closes door.</i>)</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Behind <span class='fss'>C.</span> table</i>) Oh, there’s nothing +like a college education for teaching one to be a +good housekeeper. (<i>Goes up to window seat, putting +odds and ends on seat into the top drawer; +<span class='sc'>Miss Pritchard</span> coming down to <span class='fss'>R.</span> of <span class='fss'>C.</span> table.</i>)</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Coming down <span class='fss'>L.</span> of <span class='fss'>C.</span> table</i>) Did you +like the basket-ball game, Mrs. Pendleton?</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> (<i>Sitting <span class='fss'>L.</span> of table</i>) It was very unladylike.</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Facing front</i>) Where’s Judy?</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Sitting <span class='fss'>R.</span> of table</i>) She had to go to +a rehearsal. (<i>Sits.</i>)</p> + +<p class='c005'><span class='sc'>Sallie.</span> She has too many engagements. (<i>Up to +couch, arranging pillow.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> Julia, what sort of people does Judy +Abbott come from?</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Coming <span class='fss'>R.</span> of <span class='sc'>Mrs. Pendleton</span></i>) I +haven’t the slightest idea, Mother.</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> Doesn’t she ever mention her family?</p> + +<p class='c005'><span class='sc'>Julia.</span> She told me that she was descended from +the first man ever hanged in the United States. +(<i>After laugh—a knock sounds on the door at back. +<span class='sc'>Julia</span> crosses to open it.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> What an extraordinary thing to boast +of!</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Opens door and takes card from the +maid</i>) Mr. James McBride. (<i>Crosses <span class='fss'>R.C.</span> <span class='sc'>Sallie</span> +crosses to <span class='fss'>C.</span></i>) Here’s your brother, Sallie.</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Above <span class='fss'>C.</span> table</i>) Ask him to come up.</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> Have you permission?</p> + +<p class='c005'><span class='sc'>Sallie.</span> Just going to get it. The room’s upholstered +<span class='pageno' id='Page_42'>42</span>in chaperones. (<i>Crosses to desk and arranging +it.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> (<i>Turning to maid</i>) There will be another +gentleman. Have the maid send him up when +he comes.</p> + +<p class='c005'><span class='sc'>Maid.</span> Yes, ma’am. (<i>Closes door.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> (<i>To <span class='sc'>Miss Pritchard</span></i>) Jervis is taking +such an interest in Julia’s college career.</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i><span class='fss'>R.C.</span> Turning to them</i>) Yes, I wonder +what struck him all of a sudden.</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> He proposed coming of his own accord.</p> + +<p class='c005'><span class='sc'>Miss P.</span> That’s very nice!</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Turning front</i>) What are we going to +give them to eat?</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Crosses to <span class='fss'>L.</span> of <span class='sc'>Julia</span></i>) Oh, I wonder!</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> (<i>Shocked</i>) Haven’t you prepared?</p> + +<p class='c005'><span class='sc'>Julia.</span> We’ve been too busy.</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Crosses to <span class='fss'>C.</span> above table</i>) Judy promised +to make some fudge.</p> + +<p class='c005'><span class='sc'>Julia.</span> She forgot it. (<i>Crosses <span class='fss'>L.</span> of <span class='sc'>Judy’s</span> desk.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> But you don’t want candy for tea?</p> + +<p class='c005'><span class='sc'>Julia.</span> Oh, yes, you do. It takes away your +appetite so you don’t mind what you get for dinner. +(<i>Knock on door. <span class='sc'>Sallie</span> crosses to <span class='fss'>R.</span> and opens +door. <span class='sc'>Jimmie McBride</span> enters.</i>)</p> + +<p class='c005'><span class='sc'>Sallie.</span> Oh, hello, Jimmie. (<i><span class='sc'>Mrs. Pendleton</span> +and <span class='sc'>Miss Pritchard</span> both rise.</i>)</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Kissing <span class='sc'>Sallie</span></i>) Hello, sis. (<i><span class='sc'>Sallie</span> +and <span class='sc'>Jimmie</span> come down stage.</i>)</p> + +<p class='c005'><span class='sc'>Sallie.</span> Miss Pritchard, do you know my +brother?</p> + +<p class='c017'>(<i><span class='sc'>Miss Pritchard</span> rises—<span class='sc'>Sallie</span> takes <span class='sc'>Jimmie’s</span> +hat and crosses to couch with it. <span class='sc'>Jimmie</span> exchanges +greetings with <span class='sc'>Miss Pritchard</span>.</i>)</p> + +<p class='c016'><span class='pageno' id='Page_43'>43</span><span class='sc'>Miss P.</span> Delighted to meet you!</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> (<i>Crossing to <span class='fss'>C.</span> of table</i>) How do you +do, Jimmie?</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Crossing to <span class='sc'>Mrs. Pendleton</span></i>) Mrs. +Pendleton! (<i>Shaking hands with her.</i>)</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>At <span class='fss'>L.</span></i>) Good afternoon, Jimmie!</p> + +<p class='c017'>(<i><span class='sc'>Jimmie</span> crosses to <span class='sc'>Julia</span> as <span class='sc'>Mrs. Pendleton</span> +crosses to <span class='sc'>Miss Pritchard</span> <span class='fss'>R.</span> of table by chair.</i>)</p> + +<p class='c016'><span class='sc'>Jimmie.</span> (<i>Crosses to <span class='fss'>R.</span> of <span class='sc'>Julia</span></i>) Miss Julia Pendleton. +(<i>Bowing elaborately</i>) Yours to command! +Well, I never was invited up here before. Why am +I thus honored?</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Coming down <span class='fss'>R.</span> of <span class='sc'>Jimmie</span></i>) We’re +giving a tea.</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> I wonder what’s become of my brother-in-law. +He should have been on your train.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> An opulent gentleman who takes a +taxi?</p> + +<p class='c005'><span class='sc'>Julia.</span> Yes.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> My trolley passed him on the hill.</p> + +<p class='c017'>(<i>A knock sounds on door. <span class='sc'>Julia</span> crosses to open +door.</i>)</p> + +<p class='c016'><span class='sc'>Sallie.</span> Ah—voila.</p> + +<p class='c017'>(<i><span class='sc'>Julia</span> opens door and <span class='sc'>Jervis</span> enters.</i>)</p> + +<p class='c016'><span class='sc'>Julia.</span> Ah! Uncle Jervis. (<i>Kisses him and +closes door, then takes box of candy he has brought +and with an air of mock obsequiousness turns to +announce him in the manner of a butler</i>) The Honorable +Mr. Jervis Pendleton, and five pounds of +candy!</p> + +<p class='c017'><span class='pageno' id='Page_44'>44</span>(<i>Positions are <span class='sc'>Jervis</span> at <span class='fss'>R.</span>, <span class='sc'>Julia</span> <span class='fss'>L.</span> of <span class='sc'>Jervis</span>, <span class='sc'>Miss +Pritchard</span> <span class='fss'>R.</span> of table <span class='fss'>C.</span>, <span class='sc'>Mrs. Pendleton</span> <span class='fss'>L.</span> +of <span class='sc'>Miss Pritchard</span>, <span class='sc'>Sallie</span> <span class='fss'>L.</span> of table, and +<span class='sc'>Jimmie</span> <span class='fss'>L.</span> by <span class='sc'>Judy’s</span> desk.</i>)</p> + +<p class='c016'><span class='sc'>Jervis.</span> (<i>Coming down to greet <span class='sc'>Miss Pritchard</span>, +and then <span class='sc'>Mrs. Pendleton</span> as <span class='sc'>Miss Pritchard</span> +crosses to <span class='fss'>R.</span>, and sits at desk. <span class='sc'>Sallie</span> gets a pair of +scissors from shelf underneath table and helps <span class='sc'>Julia</span> +open box of candy. <span class='sc'>Jervis</span> turns to <span class='sc'>Julia</span> as <span class='sc'>Mrs. +Pendleton</span> crosses to <span class='fss'>R.</span>, taking chair <span class='fss'>L.</span> of <span class='sc'>Miss +Pritchard</span></i>) Ah, ladies, I trust I’m not late!</p> + +<p class='c005'><span class='sc'>Julia.</span> Early. We haven’t permission to have +you yet. This is Sallie McBride, my roommate. +(<i><span class='sc'>Jervis</span> crosses to <span class='fss'>R.</span> of table, shakes hands with +<span class='sc'>Sallie</span>, who then joins <span class='sc'>Julia</span> above table.</i>) And her +brother, Jimmie!</p> + +<p class='c005'><span class='sc'>Jimmie.</span> Oh! I say⸺</p> + +<p class='c005'><span class='sc'>Julia.</span> Oh, pardon—Mr. James McBride of +Yale.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i><span class='fss'>C.</span> of table. <span class='sc'>Jimmie</span> crosses to shake +hands with him</i>) How do you do?</p> + +<p class='c005'><span class='sc'>Jimmie.</span> How are you?</p> + +<p class='c017'>(<i><span class='sc'>Sallie</span> drops down <span class='fss'>L.</span> of <span class='sc'>Jimmie</span> and <span class='sc'>Julia</span> <span class='fss'>L.</span> of +<span class='sc'>Sallie</span>.</i>)</p> + +<p class='c016'><span class='sc'>Jervis.</span> Is this your first visit, Mr. McBride?</p> + +<p class='c005'><span class='sc'>Jimmie.</span> No—fourth.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Fourth? Well, well—very devoted +brother.</p> + +<p class='c005'><span class='sc'>Sallie.</span> Yes, isn’t he? (<i>Giving short burlesque +laugh</i>) Ha!—Oh, by the way, Jimmie⸺ (<i><span class='sc'>Jervis</span> +starts to cross <span class='fss'>R.</span> and up—back turned.</i>) You won’t +be able to see Judy Abbott this time. (<i><span class='sc'>Jervis</span> stops +to listen.</i>)</p> + +<p class='c005'><span class='sc'>Jimmie.</span> Why not?</p> + +<p class='c005'><span class='pageno' id='Page_45'>45</span><span class='sc'>Sallie.</span> Why, because she⸺</p> + +<p class='c005'><span class='sc'>Julia</span>. Has the mumps!</p> + +<p class='c005'><span class='sc'>Jimmie.</span> Oh, I say! Why didn’t you telegraph +me not to come?</p> + +<p class='c005'><span class='sc'>Sallie.</span> I thought you came to see me.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> Well, in a way, I did.</p> + +<p class='c005'><span class='sc'>Sallie.</span> And in a way you didn’t.</p> + +<p class='c005'><span class='sc'>Julia.</span> Calm yourself. She hasn’t the mumps.</p> + +<p class='c005'><span class='sc'>Sallie.</span> She’ll be here in a few minutes. (<i>Crosses +in front to <span class='fss'>R.</span> <span class='sc'>Mrs. Pendleton</span> and <span class='sc'>Miss Pritchard</span>.</i>)</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Crosses <span class='fss'>L.</span> and sits at desk</i>) Ah, I +breathe again.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i><span class='fss'>R.C.</span> Watches <span class='sc'>Jimmie</span>, then turns to +<span class='sc'>Julia</span>, politely interested</i>) And—who is Miss Judy +Abbott?</p> + +<p class='c005'><span class='sc'>Julia.</span> Our other roommate. We three have +this study together.</p> + +<p class='c005'><span class='sc'>Jervis.</span> I see. A very pleasant arrangement.</p> + +<p class='c005'><span class='sc'>Julia.</span> Sit down, Uncle Jervis. Don’t mind us. +We’re getting the tea.</p> + +<p class='c017'>(<i><span class='sc'>Jervis</span> turns to the wobbly chair and is about to sit +when <span class='sc'>Sallie</span> screams and hastily crosses, preventing +him also from occupying chair. As she +screams, <span class='sc'>Jervis</span> starts back and <span class='sc'>Jimmie</span> jumps +up.</i>)</p> + +<p class='c016'><span class='sc'>Sallie.</span> Oh! This chair isn’t comfortable. +(<i>Takes <span class='sc'>Jervis’s</span> hat and gloves, goes down behind +<span class='fss'>C.</span> table</i>) Take <em>that</em> chair. (<i>Indicating chair over +inkspot. <span class='sc'>Jervis</span> comes down, and is about to move +chair over to <span class='sc'>Mrs. Pendleton</span>. <span class='sc'>Sallie</span> puts hat +and gloves on couch.</i>)</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Hastily interposing, screams and again +<span class='sc'>Jervis</span> starts back—<span class='sc'>Jimmie</span> up <span class='fss'>L.C.</span></i>) No, no. You +mustn’t move it, Uncle Jervis.</p> + +<p class='c005'><span class='pageno' id='Page_46'>46</span><span class='sc'>Jervis.</span> (<i>Puzzled</i>) Why not?</p> + +<p class='c005'><span class='sc'>Julia.</span> Well, take that chair. (<i>Indicates chair +<span class='fss'>L.</span> of table.</i>)</p> + +<p class='c005'><span class='sc'>Jervis.</span> Thanks! I’ll stand! (<i>Turns to <span class='fss'>L.</span> of +<span class='sc'>Mrs. Pendleton</span>. <span class='sc'>Sallie</span> has gone to tea table and +<span class='sc'>Julia</span> turns up and joins <span class='sc'>Sallie</span>. She stands on +couch. <span class='sc'>Jimmie</span> crosses over <span class='fss'>R.</span> at back between <span class='sc'>Mrs. +Pendleton</span> and <span class='sc'>Miss Pritchard</span>.</i>)</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Holding up bottle</i>) We’re all out of +alcohol.</p> + +<p class='c005'><span class='sc'>Julia.</span> Maybe there’s enough in the lamp.</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Opening matchbox</i>) Oh, we’re all out +of matches.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Turns, takes match-safe from pocket +and crosses up to table</i>) Allow me.</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i><span class='fss'>L.</span> of table</i>) Thank you. Will you +please light that? (<i>Indicates the spirit lamp.</i>)</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Peering into sugar bowl</i>) Only one +lump of sugar!</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> I don’t take sugar.</p> + +<p class='c005'><span class='sc'>Julia.</span> Do you take sugar, Uncle Jervis?</p> + +<p class='c005'><span class='sc'>Jervis.</span> Four lumps! (<i>With back to audience, +pretending to light lamp.</i>)</p> + +<p class='c005'><span class='sc'>Julia.</span> We’ll borrow some. (<i>Up to couch</i>) +Where’s the tea?</p> + +<p class='c005'><span class='sc'>Sallie.</span> In the bookcase. (<i><span class='sc'>Julia</span> begins to look +at one end of bookcase</i>) No, no. Back of Kipling! +(<i><span class='sc'>Julia</span> goes to <span class='fss'>C.</span> shelf as <span class='sc'>Sallie</span> holds up cream +pitcher. <span class='sc'>Jervis</span> saunters down <span class='fss'>R.C.</span></i>) We haven’t +any cream.</p> + +<p class='c005'><span class='sc'>Julia.</span> We’ll give them lemons.</p> + +<p class='c005'><span class='sc'>Sallie.</span> Lemons, lemons! Oh, here’s one. (<i><span class='fss'>L.</span> +of <span class='fss'>C.</span> table, and taking a tobacco skull from table; +takes out one decrepit lemon.</i>)</p> + +<p class='c005'><span class='sc'>Jervis.</span> Is that a lemon?</p> + +<p class='c017'>(<i><span class='sc'>Julia</span> comes down <span class='fss'>L.</span> with tea-caddy.</i>)</p> + +<p class='c016'><span class='pageno' id='Page_47'>47</span><span class='sc'>Sallie.</span> Yes.</p> + +<p class='c005'><span class='sc'>Jervis.</span> It looks it. (<i>Sits <span class='fss'>R.</span> of table. <span class='sc'>Sallie</span> +returns lemon and skull to table.</i>)</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Peering into the caddy</i>) We’re all out +of tea.</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> Oh, my dear!</p> + +<p class='c005'><span class='sc'>Miss P.</span> I’m not in the least hungry.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Crossing to <span class='fss'>L.</span> of <span class='sc'>Mrs. Pendleton</span></i>) I +am.</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Down <span class='fss'>L.</span> <span class='sc'>Sallie</span> <span class='fss'>L.</span> of table</i>) You all +came too early. This party hasn’t commenced yet.</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>To <span class='sc'>Julia</span></i>) Julia, you hunt around +and find something to eat while I get permission +from the Dean. (<i>Crosses over <span class='fss'>R.C.</span> and up, opening +the door.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> (<i>Rising</i>) I should like to meet the +Dean. (<i>Joins <span class='sc'>Sallie</span> up stage.</i>)</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Up to table with tea-caddy</i>) Good +idea, Mother. She can see with her own eyes that +you are a perfectly capable chaperon. (<i><span class='sc'>Mrs. Pendleton</span> +and <span class='sc'>Sallie</span> exit. <span class='sc'>Jervis</span> drops behind table +<span class='fss'>C.</span> <span class='sc'>Julia</span> crosses over <span class='fss'>R.</span></i>) Come along, Jimmie. (<i><span class='sc'>Jimmie</span> +crosses up to her as <span class='sc'>Jervis</span> goes down <span class='fss'>L.</span> of <span class='fss'>C.</span> +table.</i>) It’s not proper to leave you here.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Proper to leave me?</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Turning to him</i>) Mercy, yes! When a +man’s as old as <em>you</em> are⸺</p> + +<p class='c005'><span class='sc'>Jervis.</span> Yes, I know. He ought to be chloroformed.</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Laughs</i>) And don’t let the kettle boil +over. (<i>Exits with <span class='sc'>Jimmie</span>, closing door.</i>)</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Crossing to <span class='fss'>R.</span> of table <span class='fss'>C.</span>, and a little +eagerly</i>) Have you seen her?</p> + +<p class='c005'><span class='sc'>Miss P.</span> Yes.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Well?</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Crossing to <span class='sc'>Jervis</span></i>) Oh, she’s wonderful! +I don’t believe you’d recognize her.</p> + +<p class='c005'><span class='pageno' id='Page_48'>48</span><span class='sc'>Jervis.</span> I was trying to remember the other day +what she looked like. All I can recall is a mass of +light hair and a pug nose.</p> + +<p class='c005'><span class='sc'>Miss P.</span> You’ll be surprised.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Cross <span class='fss'>L.</span></i>) No. Nothing will surprise me +any more.</p> + +<p class='c005'><span class='sc'>Miss P.</span> What do you mean?</p> + +<p class='c005'><span class='sc'>Jervis.</span> I’ve had nineteen letters from Judy this +winter.</p> + +<p class='c005'><span class='sc'>Miss P.</span> You answer them?</p> + +<p class='c005'><span class='sc'>Jervis.</span> <em>No!</em> Of course I don’t answer them. +I told you I wouldn’t.</p> + +<p class='c005'><span class='sc'>Miss P.</span> But you <em>read</em> them?</p> + +<p class='c005'><span class='sc'>Jervis.</span> Yes, certainly. Why not?</p> + +<p class='c005'><span class='sc'>Miss P.</span> I was afraid—maybe you’d turn them +over to your secretary.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Down in front of table, hands in pockets</i>) +Oh, no! Little Judy’s letters are not the sort +I could allow my secretary to read.</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Anxiously</i>) What are they like?</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Teasing her</i>) Disgraceful!</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Horrified. Rises</i>) What?</p> + +<p class='c005'><span class='sc'>Jervis.</span> Shocking!</p> + +<p class='c005'><span class='sc'>Miss P.</span> Jervis!</p> + +<p class='c005'><span class='sc'>Jervis.</span> Scandalous!</p> + +<p class='c005'><span class='sc'>Miss P.</span> Oh, no!</p> + +<p class='c005'><span class='sc'>Jervis.</span> She makes love to me.</p> + +<p class='c005'><span class='sc'>Miss P.</span> The child thinks you are her father.</p> + +<p class='c005'><span class='sc'>Jervis.</span> The child knows perfectly well that I am +not her father.</p> + +<p class='c005'><span class='sc'>Miss P.</span> She thinks you are an old man.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Rises. Indignantly</i>) I’m not an old +man. I won’t be treated like an old man.</p> + +<p class='c005'><span class='sc'>Miss P.</span> Please don’t be angry⸺</p> + +<p class='c005'><span class='sc'>Jervis.</span> She draws pictures of me. (<i>Sits <span class='fss'>L.</span> of +table.</i>)</p> + +<p class='c005'><span class='sc'>Miss P.</span> Oh! I’m sorry⸺</p> + +<p class='c005'><span class='pageno' id='Page_49'>49</span><span class='sc'>Jervis.</span> She draws me bald-headed—without any +hair—and legs that are long.</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Firmly</i>) It’s not right.</p> + +<p class='c005'><span class='sc'>Jervis.</span> She calls me “Daddy Long-Legs.”</p> + +<p class='c005'><span class='sc'>Miss P.</span> I shall give her a good scolding. I +can’t have her treating you with disrespect.</p> + +<p class='c005'><span class='sc'>Jervis.</span> I think I rather like being treated with +disrespect.</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Reproachfully</i>) You were joking?</p> + +<p class='c005'><span class='sc'>Jervis.</span> I think Daddy Long-Legs is a very nice +name.</p> + +<p class='c005'><span class='sc'>Miss P.</span> Then you don’t regret taking charge of +her?</p> + +<p class='c005'><span class='sc'>Jervis.</span> Regret it? My dear lady! Her letters +alone have been worth the price of admission.</p> + +<p class='c005'><span class='sc'>Miss P.</span> You must see the child.</p> + +<p class='c005'><span class='sc'>Jervis.</span> See her? Well, rather. You didn’t suppose +I came up here to look at my niece. (<i>Cross to +<span class='fss'>C.L.</span> to table.</i>)</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Sits <span class='fss'>R.</span> of <span class='fss'>C.</span></i>) Jervis⸺ (<i>He stops +<span class='fss'>C.</span> of table and turns to her</i>) It was foolish putting +Judy in with those two girls.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Why?</p> + +<p class='c005'><span class='sc'>Miss P.</span> You know how particular your sister-in-law +is about the people Julia meets and if she +ever discovers the truth⸺</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Hands up in mock horror and walks +back of table</i>) There’ll be the deuce to pay!</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>To <span class='fss'>R.</span> of table</i>) I don’t know why you +insisted⸺</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Comes down</i>) What else <em>could</em> I do? +I had to keep track of the girl somehow. Now, +under cover of visiting my niece, I can very conveniently +keep an eye on my ward.</p> + +<p class='c005'><span class='sc'>Miss P.</span> But why all this secrecy? It would be +simpler if you would just come out openly and say +you were the child’s guardian.</p> + +<p class='c005'><span class='pageno' id='Page_50'>50</span><span class='sc'>Jervis.</span> Come out openly? My dear lady—you +don’t know what a parcel of interfering women +I’ve got in my family. They talked enough about +the boys I am educating. Do you think they would +swallow a girl?</p> + +<p class='c005'><span class='sc'>Miss P.</span> It might be awkward.</p> + +<p class='c005'><span class='sc'>Jervis.</span> When five women, with nothing to do, +devote their energies to arranging one’s life—a simple +man might as well throw up his arms and sink. +(<i>Sits <span class='fss'>L.</span> of table <span class='fss'>R.</span></i>)</p> + +<p class='c005'><span class='sc'>Miss P.</span> I don’t blame you for being a woman-hater. +(<i><span class='sc'>Jervis</span> laughs</i>) But—make an exception in +little Judy’s case.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Rising and coming to <span class='fss'>L.</span> of <span class='sc'>Miss P.</span></i>) +Oh, Judy and I are going to be great friends.</p> + +<p class='c005'><span class='sc'>Miss P.</span> I hope so.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Why, of course we are. I feel a proprietary +interest in the girl. She belongs to me.</p> + +<p class='c005'><span class='sc'>Miss P.</span> Yes, yes, but the future, Jervis.</p> + +<p class='c005'><span class='sc'>Jervis.</span> The future?</p> + +<p class='c005'><span class='sc'>Miss P.</span> It’s all very well now, but—what are +we going to do with her when the vacations come? +We can’t send her back to the Home!</p> + +<p class='c005'><span class='sc'>Jervis.</span> That’s all settled. I’m going to send her +to a farm in Connecticut. Lock Willow’s the name.</p> + +<p class='c005'><span class='sc'>Miss P.</span> Lock Willow?</p> + +<p class='c005'><span class='sc'>Jervis.</span> Mrs. Semple’s place, you know, my old +nurse Lizzie Semple.</p> + +<p class='c005'><span class='sc'>Miss P.</span> Oh, yes.</p> + +<p class='c005'><span class='sc'>Jervis.</span> She wanted to spend the summer with +the McBrides’, camping somewhere. I knew what +was best for her.</p> + +<p class='c017'>(<i><span class='sc'>Miss Pritchard</span> is about to speak when they hear +someone at the door. <span class='sc'>Miss Pritchard</span> says +“Hush” and turns to <span class='fss'>R.</span> as <span class='sc'>Jervis</span> crosses to <span class='fss'>L.</span> +and up. <span class='sc'>Mrs. Pendleton</span> entering.</i>)</p> + +<p class='c016'><span class='pageno' id='Page_51'>51</span><span class='sc'>Miss P.</span> (<i>Crossing <span class='fss'>R.</span>, sits at desk</i>) Hush!—What +a pretty room the girls have!</p> + +<p class='c017'>(<i><span class='sc'>Mrs. Pendleton</span> brings down a plate of buns to +table.</i>)</p> + +<p class='c016'><span class='sc'>Jervis.</span> Yes, isn’t it charming. What have you +there? (<i>Crosses over to <span class='fss'>L.</span> to <span class='sc'>Mrs. Pendleton</span>.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> Oh, something Sallie stole from a sophomore’s +room. (<i>Crosses to <span class='fss'>L.</span> of table as <span class='sc'>Julia</span> enters—<span class='sc'>Jervis</span> +going up to tea table <span class='fss'>L.</span> of <span class='fss'>C.</span></i>) This is a +very messy way in which to live.</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>With a package of crackers, places it +on table <span class='fss'>C.</span></i>) Kettle boiled? (<i>Goes up to tea table.</i>)</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Looking into kettle, gives kettle to +<span class='sc'>Julia</span></i>) There’s no water in it. (<i><span class='sc'>Julia</span> starts to +exit with kettle.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> (<i>Sitting <span class='fss'>L.</span> of table</i>) Oh, daughter, +dear. (<i><span class='sc'>Julia</span> comes down behind table. <span class='sc'>Jervis</span> +crosses to <span class='fss'>L.</span> of <span class='sc'>Miss Pritchard</span>.</i>) I’ve been speaking +to the Dean about having you and Sallie room +alone next year.</p> + +<p class='c017'>(<i><span class='sc'>Jervis</span> has crossed and joined <span class='sc'>Miss Pritchard</span>. +They exchange looks.</i>)</p> + +<p class='c016'><span class='sc'>Julia.</span> Why?</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> There’s something queer about Judy +Abbott.</p> + +<p class='c005'><span class='sc'>Julia.</span> That’s what makes her popular. You +never know what she’s going to say next.</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> I prefer to <em>know</em> what people are going +to say next.</p> + +<p class='c005'><span class='sc'>Julia.</span> Now, Mother, don’t you interfere. Here, +open these crackers—(<i>Passes box to her</i>)—and—behave. +(<i>Exits with kettle <span class='fss'>R.C.</span></i>)</p> + +<p class='c005'><span class='pageno' id='Page_52'>52</span><span class='sc'>Jervis.</span> (<i><span class='fss'>L.</span> of <span class='sc'>Miss Pritchard</span>, quietly</i>) Julia +is coming on.</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> I never did approve of college for girls.</p> + +<p class='c005'><span class='sc'>Miss P.</span> Her roommates are <em>both</em> charming.</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> The McBrides are very good people. +The father owns a factory.</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Turning to <span class='sc'>Jervis</span></i>) Makes overalls!</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Shuddering, crossing to armchair</i>) Overalls! +My dear Florence!</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> They are very wealthy.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Bowing to her</i>) Oh, well, in that +case⸺</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> But I don’t know where Judy Abbott +comes from.</p> + +<p class='c005'><span class='sc'>Miss P.</span> I told you that I knew her guardian. +Mr. Smith is a charming man, what more do you +want? (<i>Rising, crossing to <span class='sc'>Jervis</span>, turning helplessly +to him</i>) You know him, Jervis, Mr. <em>Smith</em>⸺</p> + +<p class='c005'><span class='sc'>Jervis.</span> Smith?</p> + +<p class='c005'><span class='sc'>Miss P.</span> Mr. John Smith.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Oh, John Smith⸺ (<i>Crossing to <span class='fss'>R.</span> of +table</i>) Yes—yes, John Smith. Splendid chap. Belongs +to my club. Thoroughly respectable.</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> Yes, but Julia isn’t rooming with him. +(<i><span class='sc'>Jervis</span> turns from her to <span class='sc'>Miss Pritchard</span>. Hopelessly +<span class='sc'>Miss Pritchard</span> sits in chair <span class='fss'>R.</span></i>) Who’s the +girl? (<i>Rising</i>) Who was her father?</p> + +<p class='c005'><span class='sc'>Jervis.</span> If this little Judy Abbott was fitted by +nature to appreciate the best, it belongs to her, no +matter who her father was. (<i>Crosses over to <span class='fss'>R.</span></i>)</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> (<i>Crosses over <span class='fss'>L.</span> to desk</i>) Oh, dear, it’s +awful the way the different social classes are getting +all mixed up.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Awful! Isn’t it? (<i>Crossing to <span class='sc'>Miss +Pritchard</span>.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> At least we old families can stick together. +(<i>Sits.</i>)</p> + +<p class='c017'><span class='pageno' id='Page_53'>53</span>(<i>Enter <span class='sc'>Sallie</span> with tea, followed by <span class='sc'>Julia</span> with +water and <span class='sc'>Jimmie</span> with sugar. <span class='sc'>Jimmie</span> closes +door after him. Their manner is mock jubilant.</i>)</p> + +<p class='c016'><span class='sc'>Sallie.</span> (<i>Crossing to <span class='fss'>L.</span> of tea table</i>) Tea!</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Crossing to <span class='fss'>R.</span> of <span class='sc'>Sallie</span>.</i>) Water!</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (Crossing to <span class='fss'>R.</span> of <span class='sc'>Julia</span>) Sugar!</p> + +<p class='c017'>(<i><span class='sc'>Sallie</span> and <span class='sc'>Julia</span> put the water and tea into teapot. +<span class='sc'>Jimmie</span> stands with back to audience, taking +his handkerchief, spreads it across his vest +front in imitation of a waiter.</i>)</p> + +<p class='c016'><span class='sc'>Julia.</span> (<i>Facing front</i>) At last this function is +ready to begin.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Facing front</i>) The tango tea will +now begin. (<i><span class='sc'>Miss Pritchard</span> rises and <span class='sc'>Jervis</span> puts +her chair at wall above desk. <span class='sc'>Jimmie</span> does a tango +step down to <span class='sc'>Jervis</span> and <span class='sc'>Miss Pritchard</span> while +<span class='sc'>Sallie</span> and <span class='sc'>Julia</span> sing a tango tune. To <span class='sc'>Miss +Pritchard</span></i>) Sugar or lemon?</p> + +<p class='c005'><span class='sc'>Jervis</span> <i>and</i> <span class='sc'>Miss Pritchard</span>. (<i><span class='sc'>Jervis</span> crosses to <span class='fss'>L.</span> +of <span class='sc'>Miss Pritchard</span></i>) Lemon! (<i><span class='sc'>Jimmie</span> tangoes +to <span class='fss'>L.</span> of table.</i>)</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>To <span class='sc'>Mrs. Pendleton</span></i>) Sugar or +lemon?</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> Lemon.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Tangoing to <span class='fss'>R.</span> and up above table</i>) +Three lemons. I beg your pardon.</p> + +<p class='c017'><a id='tn-bumping'></a>(<i><span class='sc'>Sallie</span> comes down with cup of tea to <span class='sc'>Jimmie</span>, +<span class='sc'>Jervis</span> and <span class='sc'>Miss Pritchard</span> have eased over +to <span class='sc'>Jimmie</span>, leaving stage free and clear up <span class='fss'>R.</span> +for <span class='sc'>Judy’s</span> entrance. <span class='sc'>Jimmie</span> takes teacup from +<span class='sc'>Sallie</span> and turns, almost upsetting the tea by +bumping into <span class='sc'>Jervis</span>. <span class='sc'>Jervis</span> takes teacup from +<span class='pageno' id='Page_54'>54</span><span class='sc'>Jimmie</span>, passes it to <span class='sc'>Miss Pritchard</span>. <span class='sc'>Sallie</span> +has gone back to the table and <span class='sc'>Julia</span> has taken +a cup of tea down to <span class='sc'>Mrs. Pendleton</span> and returns +to <span class='sc'>Sallie</span> at the tea table.</i>)</p> + +<p class='c016'><span class='sc'>Sallie.</span> Jimmie, pass those buns!</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Taking plate of buns of table <span class='fss'>C.</span></i>) The +stolen buns? (<i>Turns to <span class='sc'>Jervis</span> and <span class='sc'>Miss Pritchard</span></i>) +Have a stolen bun? (<i>Without waiting, crosses +over <span class='fss'>L.</span> to <span class='sc'>Mrs. Pendleton</span>. <span class='sc'>Jervis</span> and <span class='sc'>Miss +Pritchard</span>, laughing at him, ease up stage <span class='fss'>R.</span> of <span class='fss'>C.</span></i>) +Have a stolen bun? Do have a stolen bun. (<i>A vigorous +knocking is heard. <span class='sc'>Mrs. Pendleton</span> rises</i>) +The police! Caught with the goods! (<i>Does a funny +little dodge to <span class='fss'>L.</span> of <span class='sc'>Mrs. Pendleton</span>.</i>)</p> + +<p class='c017'>(<i>The positions as <span class='sc'>Judy</span> enters are: <span class='sc'>Miss Pritchard</span> +<span class='fss'>R.</span> and up. <span class='sc'>Jervis</span> <span class='fss'>L.</span> of <span class='sc'>Miss Pritchard</span>, so +that <span class='sc'>Judy</span> doesn’t notice them at first. At the +knock <span class='sc'>Julia</span> comes down to behind table and +<span class='sc'>Sallie</span> down to <span class='fss'>L.</span> of table <span class='fss'>C.</span> <span class='sc'>Mrs. Pendleton</span> +is over <span class='fss'>L.</span> of <span class='sc'>Sallie</span> and <span class='sc'>Jimmie</span> <span class='fss'>L.</span> of <span class='sc'>Mrs. +Pritchard</span>. Enter <span class='sc'>Judy</span>. As she opens the +door and stands in hall-way, she waves her +hand and says “Good-bye” to classmates who +laughingly respond. <span class='sc'>Judy</span> swings into the room, +slamming the door behind her and leans against +the door.</i>)</p> + +<div class='figcenter id001'> +<img src='images/54-plate.jpg' alt='Judy leans against the closed door of the room as the others look at her from across the stage.' class='ig001'> +</div> + +<p class='c016'><span class='sc'>Judy.</span> (<i>With a laugh</i>) Oh, I beg your pardon! +(<i>Comes down a bit</i>) I forgot we were giving a +ball.</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Pointing accusing finger at her</i>) Judy +Abbott, where’s that candy?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Crossing to <span class='fss'>R.</span> of <span class='fss'>C.</span></i>) Oh!</p> + +<p class='c005'><span class='sc'>Julia.</span> That you promised to make!</p> + +<p class='c005'><span class='sc'>Judy.</span> Oh, I’m awfully sorry. (<i>Crosses to the table +<span class='pageno' id='Page_55'>55</span>and her eye lights on box of candy. She raises it +amusedly and says solemnly</i>) The Lord will provide! +(<i><span class='sc'>Jervis</span> turns away, smiling</i>) I learned that +in my youth, and it’s true. (<i><span class='sc'>Mrs. Pendleton</span> turns +up and <span class='sc'>Judy</span> catches sight of <span class='sc'>Jimmie</span>. <span class='sc'>Jervis</span> turns +to <span class='sc'>Julia</span>, motions for introduction</i>) Jimmie McBride! +Are you here again?</p> + +<p class='c017'>(<i><span class='sc'>Jimmie</span> crosses <span class='fss'>L.</span> of table as <span class='sc'>Julia</span> drops down <span class='fss'>R.</span> +of <span class='sc'>Judy</span>.</i>)</p> + +<p class='c016'><span class='sc'>Julia.</span> Oh, Judy, my uncle, Mr. Pendleton, my +roommate Miss Abbott! (<i><span class='sc'>Julia</span> crosses <span class='fss'>L.</span>, taking +teacup from <span class='sc'>Mrs. Pendleton</span> up to table. <span class='sc'>Jervis</span> +comes forward and bows with some ceremony, holding +out his hand to <span class='sc'>Judy</span>.</i>)</p> + +<p class='c005'><span class='sc'>Jervis.</span> This is a pleasure.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Without paying much attention, shakes +hands</i>) How do you do? (<i>Without allowing him +to finish she turns quickly to <span class='sc'>Jimmie</span> and shakes +hands with him very cordially. <span class='sc'>Julia</span> takes <span class='sc'>Miss +Pritchard’s</span> cup to tea table as <span class='sc'>Miss Pritchard</span> +goes down <span class='fss'>R.</span> and sits at desk. <span class='sc'>Jervis</span> drops down +and over to <span class='fss'>R.</span> of armchair.</i>) Jimmie, how do you +manage to get away from Yale so often?</p> + +<p class='c017'>(<i><span class='sc'>Mrs. Pendleton</span> works up and across at back and +over <span class='fss'>R.</span>, takes chair above desk, placing it <span class='fss'>L.</span> of +<span class='sc'>Miss Pritchard</span>, sits. <span class='sc'>Jervis</span>, nonplussed at +<span class='sc'>Judy’s</span> turning to the younger man, works over +<span class='fss'>R.</span> of armchair. <span class='sc'>Julia</span> and <span class='sc'>Sallie</span> drop down +behind <span class='sc'>Jimmie</span>.</i>)</p> + +<p class='c016'><span class='sc'>Jimmie.</span> (<i>His hand on his heart</i>) There’s a +magnet draws me.</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Forces <span class='sc'>Jimmie</span> down into chair</i>) Jimmie, +sit down and behave yourself.</p> + +<p class='c017'><span class='pageno' id='Page_56'>56</span>(<i><span class='sc'>Jimmie</span> rises and turns indignantly to <span class='sc'>Sallie</span>, who +comes <span class='fss'>L.</span> of <span class='sc'>Jimmie</span>. <span class='sc'>Julia</span> above chair. <span class='sc'>Judy</span> +turns to <span class='fss'>L.</span> of armchair.</i>)</p> + +<p class='c016'><span class='sc'>Jervis.</span> (<i>Is about to move armchair from over +ink spots to near table for <span class='sc'>Judy</span></i>) Will you⸺</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Hastily pops into chair</i>) Oh, no, thank +you. This is just where I like it.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i><span class='fss'>R.</span> of <span class='sc'>Judy</span></i>) Is there anything the matter +with that chair?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Innocently looking it over</i>) I don’t see +anything the matter with it.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Is it nailed to the floor?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Looks at him and across at <span class='sc'>Girls</span></i>) No, +it isn’t—but that’s a very good idea. (<i><span class='sc'>Sallie</span> and +<span class='sc'>Julia</span> laugh with her</i>) Where’d all that candy come +from? Did you bring it, Jimmie?</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>With satirical laugh at <span class='sc'>Jimmie</span>. Crosses +up and around <span class='fss'>R.</span> back of table</i>) Jimmie! Huh!</p> + +<p class='c005'><span class='sc'>Judy.</span> You shouldn’t be so reckless with your +allowance.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> Well, I⸺</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>To above table at <span class='fss'>C.</span></i>) A token of affection +from Uncle Jervis. (<i>Crosses <span class='fss'>L.</span> of <span class='sc'>Sallie</span>.</i>)</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Looking at <span class='sc'>Jervis</span></i>) Oh, really. Uncles +must be rather nice. I never saw an uncle before. +(<i>They all look at her.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> What?</p> + +<p class='c005'><span class='sc'>Judy.</span> But I’ve often read about them.</p> + +<p class='c017'>(<i><span class='sc'>Jervis</span> turns up stage, back turned to scene, enjoying +<span class='sc'>Judy’s</span> replies.</i>)</p> + +<p class='c016'><span class='sc'>Mrs. Pendleton.</span> And haven’t you any uncles +of your own?</p> + +<p class='c005'><span class='sc'>Judy.</span> Never <em>had</em> anything of the sort.</p> + +<p class='c005'><span class='pageno' id='Page_57'>57</span><span class='sc'>Mrs. P.</span> (<i>Turning to <span class='sc'>Miss Pritchard</span></i>) What +in the world does she mean?</p> + +<p class='c005'><span class='sc'>Judy.</span> I never had any uncles nor aunts nor +fathers nor mothers nor brothers nor sisters nor +grandmothers—nothing!</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> Mercy, child! What happened to them?</p> + +<p class='c005'><span class='sc'>Judy.</span> They were all swallowed up by an earthquake +before I was born.</p> + +<p class='c017'>(<i>Everybody laughs—<span class='sc'>Mrs. Pendleton</span> crosses to +<span class='sc'>Miss Pritchard</span> and sits, and <span class='sc'>Jervis</span> comes <span class='fss'>R.</span> +of <span class='sc'>Judy</span>.</i>)</p> + +<p class='c016'><span class='sc'>Jervis.</span> You occupy a unique position, Miss +Judy. Allow me to congratulate you. (<i>Holding out +his hand.</i>)</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Regarding him with surprise</i>) Do you +want me to shake hands with you again? I just did +it. (<i>Giving him her hand and rising</i>) Oh, I’m willing +to, but I thought you mustn’t shake hands with +the same man more than once in an afternoon. (<i>Releases +hand</i>) I read that in a book of etiquette.</p> + +<p class='c005'><span class='sc'>Jervis.</span> What’s a book of etiquette between +friends?</p> + +<p class='c005'><span class='sc'>Judy.</span> I thought it took a long time to be friends +with a man.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Playfully</i>) One minute is sometimes +enough, with a man.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Stepping back</i>) Do you want to know +something—<em>funny</em>? (<i><span class='sc'>Sallie</span> goes up to couch.</i>)</p> + +<p class='c005'><span class='sc'>Jervis.</span> I should love to know something—<em>funny</em>.</p> + +<p class='c005'><span class='sc'>Judy.</span> You’re the first man I ever spoke to.</p> + +<p class='c005'><span class='sc'>Jimmy.</span> (<i>Crossing to <span class='fss'>L.</span> of table, <span class='sc'>Sallie</span> above +table <span class='fss'>R.</span> of <span class='sc'>Judy</span></i>) Oh, Judy Abbott!</p> + +<p class='c005'><span class='sc'>Judy.</span> I mean the first real man. (<i><span class='sc'>Jervis</span> sits +on rocking chair. <span class='sc'>Jimmie</span> crosses over to <span class='sc'>Julia</span> at <span class='fss'>L.</span> +<span class='sc'>Judy</span> to <span class='fss'>C.</span> of table. <span class='sc'>Jervis</span> over to <span class='sc'>Mrs. Pendleton</span> +<span class='pageno' id='Page_58'>58</span>and <span class='sc'>Miss Pritchard</span>, and above them</i>) Oh, +you’re not a man.</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Coming down to <span class='fss'>L.</span> of <span class='sc'>Judy</span></i>) How did +the rehearsals go?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i><span class='fss'>C.</span> in front of table</i>) Awful. Bessie +Carter is the leading man and I’m the leading +woman. And in the middle of the most touching +scene—what do you think happened?</p> + +<p class='c005'><span class='sc'>All.</span> What?</p> + +<p class='c005'><span class='sc'>Judy.</span> Her mustache dropped right into my lap.</p> + +<p class='c017'>(<i>General movement. <span class='sc'>Jimmie</span> and <span class='sc'>Julia</span> start up +stage, <span class='sc'>Jimmie</span> to table for candy, <span class='sc'>Julia</span> to sofa, +<span class='sc'>Sallie</span> over to <span class='fss'>L.</span>, <span class='sc'>Judy</span> up <span class='fss'>R.</span> of table. <span class='sc'>Jimmy</span> +offers candy—<span class='sc'>Judy</span> declines. <span class='sc'>Sallie</span> shoves +chair <span class='fss'>L.</span> of table in. <span class='sc'>Jimmie</span> and <span class='sc'>Sally</span> up to +couch—sit with <span class='sc'>Julia</span>, <span class='sc'>Jimmie</span> <span class='fss'>C.</span>, <span class='sc'>Sallie</span> <span class='fss'>R.</span>, +<span class='sc'>Julia</span> <span class='fss'>L.</span>, <span class='sc'>Judy</span> to <span class='fss'>C.</span> of table as <span class='sc'>Mrs. Pendleton</span> +crosses to armchair and sits. <span class='sc'>Jervis</span> to <span class='fss'>L.</span> of <span class='sc'>Miss +Pritchard</span>. They all laugh. <span class='sc'>Jimmie</span> takes box +of candy, <span class='sc'>Sallie</span> joins <span class='sc'>Julia</span> and <span class='sc'>Jimmie</span> at <span class='fss'>L.</span> +They go up and sit on couch. <span class='sc'>Judy</span> follows +<span class='sc'>Sallie</span> over <span class='fss'>L.</span> and goes up behind table <span class='fss'>C.</span></i>)</p> + +<p class='c016'><span class='sc'>Mrs. P.</span> (<i>Crossing to chair <span class='fss'>R.</span> of table at <span class='fss'>C.</span> and +sitting</i>) Oh, Miss Judy—to come back to that earthquake.</p> + +<p class='c017'>(<i><span class='sc'>Jervis</span> shows by manner to <span class='sc'>Miss Pritchard</span> his +apprehension of <span class='sc'>Mrs. Pendleton’s</span> attitude to +<span class='sc'>Judy</span>.</i>)</p> + +<p class='c016'><span class='sc'>Miss P.</span> Florence! (<i><span class='sc'>Jervis</span> anxious for <span class='sc'>Judy</span>.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> You don’t remember either of your +parents?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Behind table</i>) I lost them both, before +I was born.</p> + +<p class='c017'><span class='pageno' id='Page_59'>59</span>(<i><span class='sc'>Jervis</span> relieved, smiles at <span class='sc'>Miss Pritchard</span>.</i>)</p> + +<p class='c016'><span class='sc'>Mrs. P.</span> But who took care of you?</p> + +<p class='c005'><span class='sc'>Judy.</span> Different people. I have a <em>guardian</em>—who +looks after me now. Daddy Long-Legs.</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> Who?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Quietly</i>) Daddy Long-Legs.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Leaning over chair <span class='fss'>L.</span></i>) That isn’t his +real name.</p> + +<p class='c005'><span class='sc'>Judy.</span> Just the pet name I call him by.</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> And what is the profession of this Mr.—Mr.—er⸺</p> + +<p class='c005'><span class='sc'>Judy.</span> Mr. Long-Legs. He is an educator.</p> + +<p class='c017'>(<i><span class='sc'>Jervis</span> sits <span class='fss'>L.</span> of <span class='sc'>Miss Pritchard</span>.</i>)</p> + +<p class='c016'><span class='sc'>Jimmie.</span> An educator? Sounds like a biscuit!</p> + +<p class='c017'>(<i>A laugh from <span class='sc'>Judy</span> and the <span class='sc'>Girls</span>.</i>)</p> + +<p class='c016'><span class='sc'>Mrs. P.</span> By the way, Miss Judy, do you come +from the New England Abbotts or the Virginia Abbotts?</p> + +<p class='c005'><span class='sc'>Judy.</span> I believe—well, to tell the truth, I hardly +know. My father never took any interest in his +family.</p> + +<p class='c005'><span class='sc'>Mrs. P.</span> And don’t you take an interest?</p> + +<p class='c005'><span class='sc'>Judy.</span> Very little. I have never even joined the +Daughters of the Revolution. (<i>Crosses to <span class='sc'>Miss +Pritchard</span>, who rises. <span class='sc'>Jervis</span> is <span class='fss'>R.</span> of <span class='sc'>Miss Pritchard</span>.</i>) +When will you see my guardian again?</p> + +<p class='c017'>(<i><span class='sc'>Mrs. Pendleton</span> rises and goes up to couch. <span class='sc'>Jimmie</span> +and the <span class='sc'>Girls</span> rise. <span class='sc'>Sallie</span> helps <a id='tn-msmrs'></a><span class='sc'>Miss +Pritchard</span> with her coat.</i>)</p> + +<p class='c016'><span class='sc'>Miss P.</span> Very soon.</p> + +<p class='c005'><span class='pageno' id='Page_60'>60</span><span class='sc'>Judy.</span> Tell him I love him dearly. Then give +him a kiss for me.</p> + +<p class='c005'><span class='sc'>Miss P.</span> Judy, Judy, what dreadful things you +say. (<i>Turns up stage.</i>)</p> + +<p class='c005'><span class='sc'>Jervis.</span> I don’t wonder it embarrasses you. +(<i>Crossing to <span class='sc'>Judy</span>. <span class='sc'>Jimmie</span> comes down, putting +candy on table.</i>) I think such messages should be +delivered in person.</p> + +<p class='c017'>(<i><span class='sc'>Miss Pritchard</span> joins <span class='sc'>Mrs. Pendleton</span> up <span class='fss'>C.</span></i>)</p> + +<p class='c016'><span class='sc'>Jimmie.</span> (<i>Coming <span class='fss'>R.C. L.</span> of <span class='sc'>Judy</span></i>) Oh, Judy, +is it true you Freshmen aren’t allowed to dance to-night?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>A step to <span class='sc'>Jimmie</span></i>) No. The gymnasium +is not big enough.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> I can’t dance with you at all?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Soothingly</i>) But you may have a nice +long promenade up and down the bowling alley and +all around the swimming tank.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Grumbling</i>) I don’t want to walk all +evening. I want to dance.</p> + +<p class='c005'><span class='sc'>Judy.</span> Oh!</p> + +<p class='c017'>(<i><span class='sc'>Mrs. Pendleton</span> leaves up stage group and drops +down to <span class='fss'>L.</span></i>)</p> + +<p class='c016'><span class='sc'>Jervis.</span> Then in that case you might bestow that +promenade upon me.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>To <span class='sc'>Jervis</span></i>) Oh, thank you. (<i>Turns and +looks <span class='sc'>Jimmie</span> up and down</i>) I’d hate not to have +any partners—(<i>Turning to <span class='sc'>Jervis</span></i>)—especially at +my first dance.</p> + +<p class='c017'>(<i><span class='sc'>Jimmie</span> turns up and over <span class='fss'>R.</span></i>)</p> + +<p class='c016'><span class='pageno' id='Page_61'>61</span><span class='sc'>Mrs. P.</span> (<i>Down <span class='fss'>L.</span></i>) Your first dance?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>A step to <span class='fss'>C.</span></i>) This will be my first +dance—(<i>Indicates <span class='sc'>Jervis</span></i>)—my first man—and my +first evening gown.</p> + +<p class='c017'>(<i><span class='sc'>Miss Pritchard</span> down to <span class='sc'>Mrs. Pendleton</span>.</i>)</p> + +<p class='c016'><span class='sc'>Mrs. P.</span> Mercy, child, how were you brought up?</p> + +<p class='c005'><span class='sc'>Judy.</span> Very simply. We didn’t dress for dinner.</p> + +<p class='c017'>(<i><span class='sc'>Jervis</span> feels the hurt in her voice and turns away <span class='fss'>R.</span></i>)</p> + +<p class='c016'><span class='sc'>Miss P.</span> If we are going to see the campus⸺ +(<i><span class='sc'>Miss Pritchard</span> and <span class='sc'>Mrs. Pendleton</span> go up stage +to <span class='sc'>Julia</span> and <span class='sc'>Sallie</span>.</i>)</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Comes down <span class='fss'>R.</span> of <span class='sc'>Judy</span></i>) You promised +to show me your running track.</p> + +<p class='c017'>(<i><span class='sc'>Mrs. Pendleton</span> crosses to door <span class='fss'>U.R.</span></i>)</p> + +<p class='c016'><span class='sc'>Judy.</span> Oh, no, indeed. You don’t like to walk +with me. Run along and join the others. I’m going +to put the room in order. (<i>Moves <span class='fss'>C.</span></i>)</p> + +<p class='c017'>(<i><span class='sc'>Mrs. Pendleton</span> opens door and exits.</i>)</p> + +<p class='c016'><span class='sc'>Julia.</span> (<i>Crossing to door</i>) Come along, Jimmie. +(<i><span class='sc'>Jimmie</span> crosses to her.</i>) She’ll catch us.</p> + +<p class='c017'>(<i><span class='sc'>Jimmie</span> exits with <span class='sc'>Julia</span> and <span class='sc'>Sallie</span> crosses to +door.</i>)</p> + +<p class='c016'><span class='sc'>Jervis.</span> (<i>At <span class='fss'>R.</span></i>) This doesn’t seem fair.</p> + +<p class='c005'><span class='sc'>Judy.</span> It’s my turn. Besides, I’d rather. Sallie +and Julia would just poke the dishes under the +couch.</p> + +<p class='c005'><span class='pageno' id='Page_62'>62</span><span class='sc'>Sallie.</span> Judy thinks we’re shiftless.</p> + +<p class='c005'><span class='sc'>Judy.</span> You didn’t have my training.</p> + +<p class='c017'>(<i><span class='sc'>Sallie</span> exits, <span class='sc'>Miss Pritchard</span> crosses to door as +<span class='sc'>Jervis</span> goes up and waits for <span class='sc'>Miss Pritchard</span> +to pass.</i>)</p> + +<p class='c016'><span class='sc'>Sallie.</span> (<i>Going out</i>) Will you come along, Miss +Pritchard?</p> + +<p class='c005'><span class='sc'>Miss P.</span> I’ll follow with Judy. (<i><span class='sc'>Jervis</span> exits, +leaving door open. <span class='sc'>Miss Pritchard</span> comes down +to <span class='sc'>Judy</span>. They embrace</i>) Judy—I wanted a chance +to see you alone, dear.</p> + +<p class='c005'><span class='sc'>Judy.</span> Isn’t it wonderful that this is Judy Abbott?</p> + +<p class='c005'><span class='sc'>Miss P.</span> Yes, yes! But you must remember—it +is better not to mention the asylum. (<i>Sits <span class='fss'>R.</span> of +table.</i>)</p> + +<p class='c005'><span class='sc'>Judy.</span> I haven’t told a soul.</p> + +<p class='c005'><span class='sc'>Miss P.</span> But you say such very surprising things.</p> + +<p class='c005'><span class='sc'>Judy.</span> But how can I help it? You don’t know +what it feels like to be shut up in the dark for eighteen +years and then suddenly be dumped right out +into the world.</p> + +<p class='c005'><span class='sc'>Miss P.</span> I know⸺</p> + +<p class='c005'><span class='sc'>Judy.</span> The cat’s out of the bag a dozen times a +day, but I grab it by its tail and pull it back.</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Laughs</i>) Yes, you must. People like—like +Mrs. Pendleton would never understand.</p> + +<p class='c005'><span class='sc'>Judy.</span> Do you know, she wanted to know my +mother’s maiden name.</p> + +<p class='c005'><span class='sc'>Miss P.</span> Oh!</p> + +<p class='c005'><span class='sc'>Judy.</span> I never saw such an inquisitive old thing. +I’m going to put her in a book.</p> + +<p class='c005'><span class='sc'>Miss P.</span> That’s the way to take it.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Lightly</i>) She doesn’t bother me.</p> + +<p class='c005'><span class='sc'>Miss P.</span> You like the girls here?</p> + +<p class='c005'><span class='pageno' id='Page_63'>63</span><span class='sc'>Judy.</span> (<i>Nods</i>) Yes—they like me, too. But +it’s only because I don’t wear blue gingham. (<i>Crossing +to <span class='fss'>R.</span> of <span class='sc'>Miss Pritchard</span> and turning</i>) You can +accomplish anything you want to in this world—if +you only have the right clothes.</p> + +<p class='c005'><span class='sc'>Miss P.</span> My dear!</p> + +<p class='c005'><span class='sc'>Judy.</span> I’m wearing silk stockings. (<i>Sticks out +foot and exhibits them</i>) Isn’t that a joke? Tell +Mrs. Lippett when you see her.</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Embracing her</i>) Judy Abbott!</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Sits on arm of chair</i>) Jerusha Abbott—wearing +silk—I wonder where she got that name. +Jerusha Abbott.</p> + +<p class='c005'><span class='sc'>Miss P.</span> What do you mean?</p> + +<p class='c005'><span class='sc'>Judy.</span> I suppose she took “Jerusha” off a tombstone. +But I don’t know where she picked the “Abbott.” +Unless, maybe, out of the first page of the +telephone book.</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Distressed</i>) Why, my dear child, what +an idea!</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Crosses in front of table</i>) I’d—I’d sort of +like to know.</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Rises anxiously—following her, turns +her round</i>) You are happy, dear?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Rising, facing <span class='sc'>Miss Pritchard</span> and +throwing off her momentary soberness</i>) Happy! +I’m so happy every moment that excited little thrills +chase up and down my back. I can’t wait to see +everything and try everything. I want to live faster +and faster to make up for the time I’ve lost.</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Rising and crossing to her</i>) Child! +Child! You must face life soberly. It holds many +disappointments for us all.</p> + +<p class='c005'><span class='sc'>Judy.</span> No! No! I’ve left all my troubles at the +John Grier Home! Wait! I want to show you +something.</p> + +<p class='c017'><span class='pageno' id='Page_64'>64</span>(<i>Exits <span class='fss'>L.</span> <span class='sc'>Jervis</span> appears at open door of room, +comes down <span class='fss'>R.</span>, leaving door open.</i>)</p> + +<p class='c016'><span class='sc'>Jervis.</span> I was sent to order you out to look at +the library.</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Crossing to <span class='sc'>Jervis</span> at <span class='fss'>R.</span></i>) I’m just waiting +for Judy.</p> + +<p class='c005'><span class='sc'>Jervis.</span> You might leave me to do that and I’ll +have a chat with her as we come along.</p> + +<p class='c005'><span class='sc'>Miss P.</span> Isn’t she sweet?</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>About to express his delight, changes +his reply to a non-committal</i>) Yes—er—er—she +does very well.</p> + +<p class='c005'><span class='sc'>Miss P.</span> Now, do you take back what you said? +Is it a bad investment to educate a girl?</p> + +<p class='c005'><span class='sc'>Jervis.</span> Doesn’t it strike you that she’s pretty +familiar with that young McBride?</p> + +<p class='c005'><span class='sc'>Miss P.</span> No!</p> + +<p class='c005'><span class='sc'>Jervis.</span> It’s just what I told you. We’ll no +sooner get her educated than some young whipper-snapper +will come along and want to marry her.</p> + +<p class='c005'><span class='sc'>Miss P.</span> He isn’t a whipper-snapper. He’s a +nice boy.</p> + +<p class='c005'><span class='sc'>Jervis.</span> He’ll be wanting to marry her.</p> + +<p class='c005'><span class='sc'>Miss P.</span> Well—when she’s through college⸺</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Crossly</i>) I don’t care to have my ward +throwing herself away on an overall factory.</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>With a laugh</i>) Nonsense!</p> + +<p class='c017'>(<i><span class='sc'>Judy</span> is heard off stage saying “Just a moment, +<span class='sc'>Miss Pritchard</span>.” <span class='sc'>Jervis</span> cautions <span class='sc'>Miss +Pritchard</span> quietly and escorts her up to door <span class='fss'>L.</span> +She exits and he closes door and comes down +<span class='fss'>R.</span>, as <span class='sc'>Judy</span> comes from the room <span class='fss'>L.</span>, holding up +in front of her a white evening frock, so that it +completely shuts off a view of the room.</i>)</p> + +<p class='c016'><span class='pageno' id='Page_65'>65</span><span class='sc'>Judy.</span> (<i>By door</i>) Look at my new gown that +I’m going to wear to-night. Daddy gave it to me. +Did you ever see anything so lovely?</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i><span class='fss'>R.</span> of <span class='fss'>C.</span></i>) Well—I’m not much⸺</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Lowering gown and looking over top in +consternation</i>) Oh, good gracious sakes alive! +How did you get here?</p> + +<p class='c005'><span class='sc'>Jervis.</span> Through the door.</p> + +<p class='c005'><span class='sc'>Judy.</span> Where’s Miss Pritchard?</p> + +<p class='c005'><span class='sc'>Jervis.</span> Library. I told her we’d come along.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Laughing</i>) Oh, I’m sorry. Just a second. +(<i>She dives back into room, leaves the gown +and re-appears, crosses to <span class='fss'>C.</span></i>) Ready?</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i><span class='fss'>R.</span> by armchair</i>) That library doesn’t +appeal to me very much. Let’s wait here.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Dubiously</i>) Without a chaperone?</p> + +<p class='c005'><span class='sc'>Jervis.</span> I’m an uncle.</p> + +<p class='c005'><span class='sc'>Judy.</span> And then, of course—you’re old.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Yes, exactly. I’m old. (<i>Motions to armchair</i>) +Suppose we sit down here and have a cozy, +elderly flirtation all by ourselves. (<i><span class='sc'>Judy</span> sits—<span class='sc'>Jervis</span> +gets chair at <span class='fss'>R.</span> and comes back and sits <span class='fss'>R.</span> of +<span class='sc'>Judy</span>.</i>)</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>With a laugh</i>) Oh, I’d love to have a +flirtation with a Pendleton! That would be a beautiful +joke.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Why a joke?</p> + +<p class='c005'><span class='sc'>Judy.</span> You wouldn’t understand—you know before +I came to college I never realized that anything +so superior ever existed as a Pendleton.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Oh, I see. You’ve had quite a dose of +Julia.</p> + +<p class='c005'><span class='sc'>Judy.</span> She has mentioned her family. I feel that +it’s a great honor to be seated in your presence.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Gruffly</i>) You rub some sense into my +niece.</p> + +<p class='c005'><span class='sc'>Judy.</span> I’m trying to do my best—but Gee Whiz!</p> + +<p class='c005'><span class='pageno' id='Page_66'>66</span><span class='sc'>Jervis.</span> What?</p> + +<p class='c005'><span class='sc'>Judy.</span> Oh! Isn’t it ladylike to say—Gee Whiz?</p> + +<p class='c005'><span class='sc'>Jervis.</span> Never!</p> + +<p class='c005'><span class='sc'>Judy.</span> Don’t you approve of slang?</p> + +<p class='c005'><span class='sc'>Jervis.</span> Not from you! (<i>Turns away.</i>)</p> + +<p class='c005'><span class='sc'>Judy.</span> Would you like to hear me swear?</p> + +<p class='c005'><span class='sc'>Jervis.</span> No!</p> + +<p class='c005'><span class='sc'>Judy.</span> I could. I’ve picked up quite a large +vocabulary from all the tough little Bowery boys +I’ve known.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Where did you ever know any tough little +Bowery boys?</p> + +<p class='c005'><span class='sc'>Judy.</span> I used to be connected with a—charity.</p> + +<p class='c005'><span class='sc'>Jervis.</span> What sort of charity?</p> + +<p class='c005'><span class='sc'>Judy.</span> Oh, for children. A lot of nice, kind, +benevolent old Johnnies used to come every month +and pat them on the head and murmur, “Poor, homeless, +little waifs!” And then find fault with the way +the floors were scrubbed and have refreshments, +and go home, and forget all about them for another +month. It was very sweet.</p> + +<p class='c005'><span class='sc'>Jervis.</span> And what part did you play in this little +comedy?</p> + +<p class='c005'><span class='sc'>Judy.</span> I? Oh, I used to watch them, and smile +a little behind their backs. (<i>She gets up in a sudden +access of fierceness</i>) I hate charitable people. +(<i><span class='sc'>Jervis</span> rises. <span class='sc'>Judy</span> turns and faces him contritely</i>) +I didn’t mean that! The only man I love in all the +world is charitable. (<i>She notices that he has risen +again, suddenly</i>) Do you have to stand up every +time I do?</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Takes chair back of table <span class='fss'>R.</span></i>) It’s a +polite thing for a gentleman to do.</p> + +<p class='c005'><span class='sc'>Judy.</span> It must be an awful nuisance to be a gentleman.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Eh?</p> + +<p class='c005'><span class='sc'>Judy.</span> I’m glad I’m not one.</p> + +<p class='c005'><span class='pageno' id='Page_67'>67</span><span class='sc'>Jervis.</span> I’m glad, too.</p> + +<p class='c005'><span class='sc'>Judy.</span> You don’t like my manners, do you?</p> + +<p class='c005'><span class='sc'>Jervis.</span> You have very—sudden manners.</p> + +<p class='c005'><span class='sc'>Judy.</span> I learned them out of a book. Cost a dollar +and fifteen cents.</p> + +<p class='c005'><span class='sc'>Jervis.</span> It pays to get a good quality.</p> + +<p class='c017'>(<i><span class='sc'>Judy</span> takes book from shelf under table, goes back +to armchair. Sits.</i>)</p> + +<p class='c016'><span class='sc'>Judy.</span> Sit down. (<i><span class='sc'>Jervis</span> sits and <span class='sc'>Judy</span> reads +from book</i>) “A lady never accepts presents from +a man but flowers and candy.”</p> + +<p class='c005'><span class='sc'>Jervis.</span> How about that new frock?</p> + +<p class='c005'><span class='sc'>Judy.</span> From Daddy Long-Legs? Oh, that’s different. +He belongs to me.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Leans forward interestedly</i>) Oh!</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Turns another page</i>) “When a lady +breaks her engagement to marry a man, she returns +all his presents.” That’s a very useful thing to +know. (<i>Rises, <span class='sc'>Jervis</span> also rises, laughing heartily. +<span class='sc'>Judy</span> tosses book on table with a laugh</i>) Isn’t it +silly? (<i>Crosses to <span class='fss'>C.</span> in front of table.</i>)</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Crosses to armchair</i>) You stay kind-hearted +and don’t hurt people’s feelings—and that’s +all the manners you need.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Turning to him</i>) You know, Mr. Pendleton, +I like you. You are so sort of sensible, and +grown-up⸺</p> + +<p class='c005'><span class='sc'>Jervis.</span> And old⸺</p> + +<p class='c005'><span class='sc'>Judy.</span> I wish I had an uncle! I wish I had a <em>lot</em> +of family.</p> + +<p class='c005'><span class='sc'>Jervis.</span> I am entirely at your disposal. Anything +you wish—by adoption.</p> + +<p class='c005'><span class='sc'>Judy.</span> Really?</p> + +<p class='c005'><span class='sc'>Jervis.</span> Yes.</p> + +<p class='c005'><span class='sc'>Judy.</span> I want a grandmother more than anything +<span class='pageno' id='Page_68'>68</span>in the world. Will you be my grandmother, +Mr. Pendleton?</p> + +<p class='c005'><span class='sc'>Jervis.</span> No, I take that offer back. (<i>To armchair</i>) +We’ll just be friends.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>With a sigh</i>) It’s sometimes awfully +lonely without a family.</p> + +<p class='c005'><span class='sc'>Jervis.</span> It’s sometimes awfully lonely with a family.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Thoughtfully</i>) But at least I’ve escaped +one thing. I never get homesick. (<i>Turns away.</i>)</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Breaks situation</i>) Where are you +spending your vacation this summer?</p> + +<p class='c005'><span class='sc'>Judy.</span> On a farm in Connecticut. But I wanted +to go to the McBrides’ camp in the Adirondacks.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Well, why don’t you go?</p> + +<p class='c005'><span class='sc'>Judy.</span> Daddy Long-Legs wouldn’t let me.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>A step to <span class='fss'>C.</span></i>) I see. Who owns this +farm? (<i>Hands in pockets.</i>)</p> + +<p class='c005'><span class='sc'>Judy.</span> Mrs. Semple.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Mrs. Semple?</p> + +<p class='c005'><span class='sc'>Judy.</span> Lock Willow’s the name.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Lock Willow! Well, well. Isn’t that a +coincidence. Lizzie Semple was my nurse when I +was a little shaver.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>A step back</i>) Your nurse?</p> + +<p class='c005'><span class='sc'>Jervis.</span> Yes.</p> + +<p class='c005'><span class='sc'>Judy.</span> Gee whiz! (<i>Turns away.</i>)</p> + +<p class='c005'><span class='sc'>Jervis.</span> Take care.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Turns to him</i>) She must be awfully +old.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Well, she’s coming on. It’s some time +since I sat on Lizzie’s lap and had my face washed.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Laughs</i>) How funny!</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Crossing to <span class='fss'>C.</span> of table</i>) I occasionally +motor through that country and stop for a little +fishing. Maybe I’ll see you.</p> + +<p class='c005'><span class='sc'>Judy.</span> That will be very nice. (<i>Suddenly crosses +<span class='pageno' id='Page_69'>69</span>over to <span class='fss'>L.</span> and up as <span class='sc'>Jervis</span>, stunned by his abrupt +dismissal, turns front</i>) Thanks.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Crossing over <span class='fss'>R.</span> and then turning to her</i>) +And what are you doing in college? Have you +learned anything?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Coming to <span class='fss'>L.</span> of chair, reproachfully</i>) +Have I learned anything? The area of the convex +surface of the frustum of a regular pyramid is half +the product of the sum of the perimeters of its bases +by the altitude of either of its trapezoids.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Bowing</i>) That is very impressive.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Behind table</i>) I’ve finished—physiology. +I know all about your insides.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Um—yes⸺</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Crossing to armchair</i>) I hope you never +touch alcohol, Mr. Pendleton. It does dreadful +things to your liver.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Thank you—I will remember.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Sitting in armchair</i>) Did you know that +we used to be monkeys?</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Sitting <span class='fss'>R.</span> of <span class='sc'>Judy</span></i>) I’ve heard rumors.</p> + +<p class='c005'><span class='sc'>Judy.</span> You, just as much as me.</p> + +<p class='c005'><span class='sc'>Jervis.</span> And why not?</p> + +<p class='c005'><span class='sc'>Judy.</span> But, of course, the Pendletons are descended +from very superior monkeys—with beautiful +silky hair and extra long tails.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Oh!</p> + +<p class='c005'><span class='sc'>Judy.</span> Did you ever read Hamlet?</p> + +<p class='c005'><span class='sc'>Jervis.</span> Yes.</p> + +<p class='c005'><span class='sc'>Judy.</span> Isn’t it corking?</p> + +<p class='c005'><span class='sc'>Jervis.</span> Eh?</p> + +<p class='c005'><span class='sc'>Judy.</span> Every night I put myself to sleep by pretending +that I’m the heroine of whatever book I’m +reading. Do you ever do that?</p> + +<p class='c005'><span class='sc'>Jervis.</span> I never have.</p> + +<p class='c005'><span class='sc'>Judy.</span> Just now I’m Ophelia!</p> + +<p class='c005'><span class='sc'>Jervis.</span> Ophelia?</p> + +<p class='c005'><span class='pageno' id='Page_70'>70</span><span class='sc'>Judy.</span> Hamlet and I are married. The King +and Queen are dead. But Hamlet didn’t kill them. +They just died of—pneumonia.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Um—much more modern idea.</p> + +<p class='c005'><span class='sc'>Judy.</span> You know—Hamlet and I are having a +perfectly lovely time. I’ve entirely cured him of +being melancholy. He attends to the governing and +I look after the charities. We’ve just founded the +most remarkable orphan asylum. All of the children +are happy.</p> + +<p class='c005'><span class='sc'>Jervis.</span> And you, Miss Judy? Are you happy?</p> + +<p class='c005'><span class='sc'>Judy.</span> Happy? (<i>Rises—<span class='sc'>Jervis</span>, too</i>) I’m the +happiest person in the whole wide world.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Tell me the secret.</p> + +<p class='c005'><span class='sc'>Judy.</span> We have ice-cream twice a week—(<i>Goes +to <span class='fss'>R.</span> of table</i>)—and we never have corn-meal mush.</p> + +<p class='c005'><span class='sc'>Jervis.</span> That’s something.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i><span class='fss'>R.</span> of table, facing him, hands on table</i>) +And I’ve lots of friends, and I’ve passed my examinations, +and I’ve won a short story prize⸺</p> + +<p class='c005'><span class='sc'>Jervis.</span> Good!</p> + +<p class='c005'><span class='sc'>Judy.</span> And I’ve made the basket-ball team—(<i>Stands +up</i>)—and I have eight new dresses—all of +them different colors, and not, not one blue gingham. +(<i>Turning away.</i>)</p> + +<p class='c005'><span class='sc'>Jervis.</span> You don’t admire blue gingham?</p> + +<p class='c005'><span class='sc'>Judy.</span> No! I shudder at the thought! (<i>Crosses +over <span class='fss'>L.</span></i>) Talk about something else quick. (<i>Goes +up. <span class='sc'>Jervis</span> glances about the room.</i>)</p> + +<p class='c005'><span class='sc'>Jervis.</span> What shall we talk about? (<i>Turning +up a little</i>) Did you girls furnish this room yourselves?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Coming to table <span class='fss'>C.</span></i>) The expensive +things are Julia’s. It’s awful the way she wastes +money.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Over to <span class='fss'>R.</span> of armchair—sternly</i>) If +I had a girl who belonged to me I’d give her an allowance +<span class='pageno' id='Page_71'>71</span>and I’d make her keep within it. I hope +your guardian makes you keep within your allowance.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Laughs and shakes her head</i>) No, he +doesn’t. He gives me lots of extra things.</p> + +<p class='c005'><span class='sc'>Jervis.</span> That won’t do. He’ll spoil you.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Facing him</i>) Oh! But it’s such fun to +be spoiled—(<i>Facing front</i>)—when you never have +been.</p> + +<p class='c017'>(<i><span class='sc'>Jervis</span> leans over armchair, looking at her tenderly. +<span class='sc'>Judy</span> reads the expression and turns +abruptly to <span class='fss'>L.</span></i>)</p> + +<p class='c016'><span class='sc'>Jervis.</span> And which of all these things did you +choose? (<i>Turns up.</i>)</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Behind table</i>) This rug—do you like it?</p> + +<p class='c005'><span class='sc'>Jervis.</span> Yes—very pretty.</p> + +<p class='c005'><span class='sc'>Judy.</span> And that window seat. (<i>Going up <span class='fss'>C.</span></i>) +It used to be a bureau, but I took off the looking-glass +and upholstered the top. (<i><span class='sc'>Jervis</span> goes up a little +also</i>) You pull the drawers out like steps and +just walk up. (<i>She does it and sits on the top</i>) +Wouldn’t you like to try it, Mr. Pendleton? It’s +very comfortable.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Coming down <span class='fss'>R.</span> of chair and pulling it +up and off of ink spot</i>) I think I’ll stay on dry +land.</p> + +<p class='c017'>(<i><span class='sc'>Judy</span>, in consternation, quickly descending from +bureau.</i>)</p> + +<p class='c016'><span class='sc'>Judy.</span> (<i>Hastily coming down</i>) No, no, no! +(<i><span class='fss'>L.</span> of chair</i>) Now, you’ve done it!</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Staring at the spot</i>) What’s that?</p> + +<p class='c005'><span class='sc'>Judy.</span> Family skeleton. We keep it under the +<span class='pageno' id='Page_72'>72</span>chair. I bought the rug for half price because it had +an ink spot.</p> + +<p class='c005'><span class='sc'>Jervis.</span> A what?</p> + +<p class='c005'><span class='sc'>Judy.</span> Ink spot.</p> + +<p class='c005'><span class='sc'>Jervis.</span> You call that a spot? (<i>Cross <span class='fss'>R.</span></i>) I’d call +it a pond.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Sets chair down on spot with a slam</i>) +If people would just leave our furniture alone, it +would never show. (<i>To <span class='fss'>R.</span> of table.</i>)</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i><span class='fss'>R.</span> of chair</i>) I’m sorry, Miss Judy. I +won’t offend again. But tell me, what sort of a +man is your guardian?</p> + +<p class='c005'><span class='sc'>Judy.</span> Daddy Long-Legs?</p> + +<p class='c005'><span class='sc'>Jervis.</span> Yes.</p> + +<p class='c005'><span class='sc'>Judy.</span> Oh, he’s sort of tall—and skinny. He’s +getting a little shaky now, and has to walk with a +cane. He’s bald up here—but he has a nice fringe +of white hair all around here.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Oh, yes, quite a beauty.</p> + +<p class='c005'><span class='sc'>Judy.</span> He’s a sweet lamb. And I love him more +than anything in the whole world.</p> + +<p class='c005'><span class='sc'>Jervis.</span> That must make him very happy.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Facing him</i>) He doesn’t know it. I +wouldn’t tell him to his face. It would spoil him. +(<i>Turns away.</i>)</p> + +<p class='c005'><span class='sc'>Jervis.</span> Maybe it would do him good. It would +give him a fresh interest in life to think that a nice +girl like you cared for him.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Suddenly—turning to him. Sits on +table</i>) When I get through college, I’m going to +live with him.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Startled</i>) Are you really? Does he +want you?</p> + +<p class='c005'><span class='sc'>Judy.</span> Not now. But he will when he knows me +better.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Maybe you’ll change your mind when +you know him better.</p> + +<p class='c005'><span class='pageno' id='Page_73'>73</span><span class='sc'>Judy.</span> Oh, no, I sha’n’t. I have it all planned. +I am going to read out loud to him, and plump up +his pillow, and warm his slippers, and wrap up his +throat in camphorated oil, and <em>always</em> make him +wear his rubbers when he goes out.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Dubiously</i>) That’s very touching.</p> + +<p class='c005'><span class='sc'>Judy.</span> I am going to be awfully firm with him.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Oh, you are, are you? (<i><span class='sc'>Judy</span> nods +head</i>) Does he ever come to see you? (<i><span class='sc'>Judy</span> +shakes her head</i>) No? Why not?</p> + +<p class='c005'><span class='sc'>Judy.</span> He doesn’t care anything about me, really.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Nonsense, of course he does.</p> + +<p class='c005'><span class='sc'>Judy.</span> I just pretend. You must have somebody +to love, and he’s all I have. So I make believe +that he cares.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Maybe he does care—more than you +think.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Facing him, with a flash of fire</i>) No, +he doesn’t! He’s a horrid, cross, old thing, with a +mouth that turns down like that, and a perfectly +dreadful temper.</p> + +<p class='c005'><span class='sc'>Jervis.</span> So! And doesn’t he ever write to you?</p> + +<p class='c005'><span class='sc'>Judy.</span> No!</p> + +<p class='c005'><span class='sc'>Jervis.</span> And don’t you write to him?</p> + +<p class='c005'><span class='sc'>Judy.</span> Yes, I write to him all the time—whenever +I get lonely. But he doesn’t even read my +letters.</p> + +<p class='c005'><span class='sc'>Jervis.</span> How do you know?</p> + +<p class='c005'><span class='sc'>Judy.</span> He throws them in the waste basket.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Oh, no, you’re wrong. He keeps them +tied together with a piece of red tape, and locked in +a drawer of his desk, and winter evenings when he’s +all alone in his dark library, he gets them out and +reads them over; and then he sits and looks in the +fire and wonders what little Judy is doing, and +wishes she were there to talk to him.</p> + +<p class='c017'><span class='pageno' id='Page_74'>74</span>(<i><span class='sc'>Judy</span> listens with a pleased smile and faces him.</i>)</p> + +<p class='c016'><span class='sc'>Judy.</span> I like to think he does⸺ (<i>Turning +away</i>) But it’s only pretending. (<i>Crosses <span class='fss'>L.</span> and up +behind chair <span class='fss'>L.</span> of table.</i>)</p> + +<div class='c018'><i>WARN CURTAIN</i></div> + +<p class='c016'><span class='sc'>Jervis.</span> I wonder! I wonder!</p> + +<p class='c017'>(<i><span class='sc'>Judy</span> throws of her momentary sadness and faces +him with a sudden change of manner.</i>)</p> + +<p class='c016'><span class='sc'>Judy.</span> Do you know that I am a genius?</p> + +<p class='c005'><span class='sc'>Jervis.</span> Are you really?</p> + +<p class='c005'><span class='sc'>Judy.</span> Yes. That’s why my guardian is sending +me to college. I’m going to be a great author.</p> + +<p class='c005'><span class='sc'>Jervis.</span> That’s very nice.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>With a quick laugh</i>) Wouldn’t it be a +joke on my guardian, if I turned out not to be a +genius at all—but just a plain girl? (<i>Crossing to <span class='fss'>L.</span> +of table.</i>)</p> + +<p class='c005'><span class='sc'>Jervis.</span> What an idea! Of course you’re a +genius.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Down <span class='fss'>L.</span></i>) Do you think it would be +fair to Daddy Long-Legs, if, after being educated +to be a writer, I should give it up and marry somebody +instead?</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Coming to <span class='fss'>R.</span> of table</i>) No! I do not!</p> + +<p class='c005'><span class='sc'>Judy.</span> I’ll tell you what I’ll do. I’ll write a +wonderful novel and make an awful lot of money +and give it all to Daddy—and then I’ll be free to +marry anybody I choose.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Entering suddenly and standing by +door</i>) I say, Judy Abbott⸺</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Crossing to him. They exit, laughing and +chatting</i>) Oh, Jimmie! I forgot all about you. +<span class='pageno' id='Page_75'>75</span>You want to see the running track—well, come +right along.</p> + +<p class='c017'>(<i>As <span class='sc'>Judy</span> crosses to <span class='sc'>Jimmie</span>, <span class='sc'>Jervis</span> turns and follows +her movements. When she is off—he faces +front, puzzled and nonplussed, as the curtain +descends.</i>)</p> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div>CURTAIN</div> + </div> +</div> + +<div class='lg-container-l c019'> + <div class='linegroup'> + <div class='group'> + <div class='line'>1st Call—Everybody.</div> + <div class='line'>2nd Call—Judy.</div> + </div> + </div> +</div> + +</div> +<div class='chapter'> + +<div> + <span class='pageno' id='Page_76'>76</span> + <h2 class='c012'>ACT III</h2> +</div> + +<p class='c013'><span class='sc'>Scene</span>: <i>The sitting-room at Lock Willow farm, +summer, three years later. A <a href='#stage143'>plan</a> and <a href='#scene-3'>full description</a> +of the scene will be found at the end of the play.</i></p> + +<p class='c014'><span class='sc'>Discovered</span>: <i>At rise <span class='sc'>Sallie</span>, seated <span class='fss'>L.</span> of table, +looking more mature and womanly than in the +preceding act, is discovered at rise, interestedly +engaged in writing a letter. <span class='sc'>Jimmie</span> enters <span class='fss'>U.L.</span>, +wearing a slight mustache and dressed in flannels. +He enters, humming a song and carrying +a gun.</i></p> + +<p class='c016'><span class='sc'>Jimmie.</span> (<i>Throws cap on piano</i>) Well—got him! +(<i>Places gun <span class='fss'>R.</span> of what-not.</i>)</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Looking up</i>) What?</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Crosses to <span class='fss'>L.</span></i>) Woodchuck!</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Resumes writing</i>) That’s good!</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Crosses to door <span class='fss'>U.</span></i>) Oh—Mrs. Semple!</p> + +<p class='c005'><span class='sc'>Mrs. Semple.</span> (<i>Off stage <span class='fss'>R.</span></i>) Y-e-s⸺</p> + +<p class='c005'><span class='sc'>Jimmie.</span> The deed is done. (<i>Turns to <span class='sc'>Sallie</span>, +who pays no attention, crosses <span class='fss'>R.</span> of table</i>) I’ve been +lying on my stomach for two hours, waiting for +that old cuss to stick out his head. Gee, I’m stiff. +(<i>Goes through gymnastics.</i>)</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Looks up and laughs despairingly</i>) My +dear Jimmie, won’t you ever grow up? You’ve been +out of college two years, and you act like a Freshman.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Turning to mirror over mantel up <span class='fss'>R.</span> +<span class='pageno' id='Page_77'>77</span>and twirling his mustache</i>) Freshman! Did you +ever see a Freshman with a mustache like that? +(<i><span class='sc'>Sallie</span> resumes writing. To mantel</i>) I say, where +is Judy? (<i>Crosses to <span class='fss'>C.</span> above table.</i>)</p> + +<p class='c005'><span class='sc'>Sallie.</span> She drove to the village, to send off the +manuscript of her new book.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> Well, why didn’t she ask me to go +along?</p> + +<p class='c005'><span class='sc'>Sallie.</span> You were occupied.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Sits <span class='fss'>R.</span></i>) I could have postponed that +woodchuck until to-morrow.</p> + +<p class='c005'><span class='sc'>Sallie.</span> To-morrow! Jimmie McBride, you +must go home to-day. You had no business stopping +off here at all.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> You visit Judy for two weeks. I +should think I might have two days.</p> + +<p class='c005'><span class='sc'>Sallie.</span> Father needs you in the factory.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> Factory? Work—work—work! It’s +awful the way we men have to work to keep you +women in idleness and luxury.</p> + +<p class='c005'><span class='sc'>Sallie.</span> You? Work! Ha! It’s Judy who +knows how to work!</p> + +<p class='c017'>(<i><span class='sc'>Mrs. Semple</span> enters <span class='fss'>R.</span> and <span class='sc'>Jimmie</span> rises.</i>)</p> + +<p class='c016'><span class='sc'>Mrs. S.</span> (<i>Crossing to <span class='fss'>R.</span> of <span class='sc'>Jimmie</span></i>) Well, did +you get the critter? (<i>Crosses to <span class='fss'>R.</span> of table.</i>)</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Weeping into his handkerchief</i>) It’s +all over. (<i>Crosses to piano—sits and picks out a one-fingered +tune.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> I’m real glad. He et all the tops off +my young carrots. (<i>Up <span class='fss'>R.</span>, looking around the room—to +set things in order—but no halt in the lines</i>) +Mr. Jervis usually keeps the woodchucks pretty well +shot-up; but he ain’t been here lately.</p> + +<div class='c018'><i>PHONE READY</i></div> + +<p class='c016'><span class='pageno' id='Page_78'>78</span><span class='sc'>Jimmie.</span> (<i>Turning interestedly</i>) Is Mr. Pendleton +in the habit of coming?</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> (<i>Crosses down a little <span class='fss'>R.</span></i>) Off and on.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Curiously</i>) Off and on?</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> (<i>Continuing</i>) ⸺for a little fishing.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> Fishing!</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> I’m always glad to see him, it makes it +cheerful for Miss Judy.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Rising</i>) Oh, fishing?</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> (<i>Crossing to piano, looking at picture of +<span class='sc'>Jervis</span> over window</i>) I can’t realize that Mr. Jervis +ain’t still the little boy in that picture. Seems +like he belonged to me. But of course I was only +his nurse and after he growed up, he sort of drifted +off. (<i>Sitting <span class='fss'>R.</span> of table. <span class='sc'>Jimmie</span> at window.</i>)</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Comes down <span class='fss'>R.</span></i>) Until Miss Judy +commenced coming—and then he sort of drifted +back, eh?</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> Oh, he’s awful fond of <em>fishing</em>. (<i>Phone +rings, one long, followed by three short</i>) Telephone! +(<i>Crossing to <span class='fss'>R.</span></i>)</p> + +<p class='c005'><span class='sc'>Sallie.</span> That’s not our number!</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> 13! The Weavers! Wonder who’s +talking to ’em? I’ll just find out. (<i>She waddles +off <span class='fss'>R.</span> <span class='sc'>Sallie</span> resumes writing and <span class='sc'>Jimmie</span> crosses +above table <span class='fss'>C.</span></i>)</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Crossing above table</i>) Don’t you think +it’s darned queer for Jervis Pendleton to be visiting +up here?</p> + +<p class='c005'><span class='sc'>Sallie.</span> No! She’s his old nurse!</p> + +<p class='c005'><span class='sc'>Jimmie.</span> Nurse? Maggie Flannigan is my old +nurse, but I don’t spend my <em>summers</em> with her.</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Mocking <span class='sc'>Mrs. S.</span></i>) Mr. Pendleton’s +awful fond of fishing.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> Fishing! Rats! (<i>Crosses to chair <span class='fss'>R.</span> by +fireplace.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> (<i>Entering—crosses to up <span class='fss'>R.</span></i>) That was +<span class='pageno' id='Page_79'>79</span>Jim Weaver talking to their doctor. It’s awful the +way Jim Weaver swears over the telephone. I +think every lady on the line ought to complain. +Miss Judy had the telephone put in. We never had +one till she came. Don’t know what we’d do without +it now. (<i>Sitting <span class='fss'>R.</span> of table, crosses to <span class='fss'>R.</span> for +workbasket on table and returns to <span class='fss'>R.</span> of table +and sits and begins work on knitting</i>) Miss +Judy does have more ideas! The first summer +she was here she and Mr. Jervis knocked out the +whole wall side of the house and had that window +put in. Makes it look like all outdoors. It’s fine +for the summer, but they ain’t here in the winter. +(<i>Grunt. Workbasket on table</i>) And then she had +that piano put in tuther room. The last I heard, +they was planning a pergolley in the garden. But +he ain’t been up here for a month or so and I guess +the pergolley notion has sort of dropped. I don’t +know what she’ll think of next.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Rises, twirling mustache with self-satisfied +air</i>) She’ll be getting married next, and +then⸺</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> (<i>Looks across at <span class='sc'>Jimmie</span></i>) When she +does marry, I hope it will be to a man that amounts +to something, and not to some trifling, good-for-nothing +young fellow who’s afraid of work.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Gives himself a burlesque punch and +turns up</i>) Ooh!</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> (<i>Putting workbasket on table</i>) Land +sakes! (<i>Looks at clock on mantel</i>) What time +does your train go? I mustn’t let you miss it!</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Sweetly</i>) Thanks!</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> Too bad you weren’t here when Miss +Judy left; she could a-carried you to the station.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> Oh, I can postpone going until to-morrow, +if it isn’t convenient⸺</p> + +<div class='c018'><i>READY PHONE</i></div> + +<p class='c016'><span class='pageno' id='Page_80'>80</span><span class='sc'>Mrs. S.</span> Oh, it’ll be <em>convenient</em>⸺ (<i>Telephone +rings, one long and one short. <span class='sc'>Mrs. Semple</span> rises</i>) +The Widow Dowd! I wonder who’s talking to her? +(<i>Hurries off <span class='fss'>R.</span> <span class='sc'>Jimmie</span> turns to <span class='sc'>Sallie</span>.</i>)</p> + +<div class='c018'><i>READY PHONE</i></div> + +<p class='c016'><span class='sc'>Jimmie.</span> (<i>Above table</i>) Are you writing a book, +too? Is it catching?</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Gathering up pages</i>) I’m just writing +a <em>note</em> to Gordon.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> A note? You’ve got it bad! I hope +when I get engaged, my girl won’t write me notes +like that and expect an answer.</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Having enclosed note in envelope, +rises</i>) Jimmie, wait a second! (<i>Crosses to <span class='fss'>L.</span></i>) I’ll +get a stamp. (<i>Goes upstairs and off, as <span class='sc'>Mrs. Semple</span> +enters at <span class='fss'>R.</span></i>)</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> (<i>To <span class='fss'>R.</span> of table</i>) That was Mrs. Iry +Hatch wantin’ to borrow the Widow Dowd’s ice-cream +freezer.—Now what do you s’pose she wants +to make ice-cream for in the middle of the week? +(<i>Phone rings: two long and three short rings</i>) +There it goes again! That’s our number. I don’t +get no rest! (<i>Hurries Off <span class='fss'>R.</span> <span class='sc'>Sallie</span> enters.</i>)</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Downstairs on landing to <span class='sc'>Jimmie</span></i>) Oh, +Jimmie! The Postman is coming up the road. +Give him this and see if there is any mail for us.</p> + +<p class='c017'>(<i><span class='sc'>Carrie</span> enters <span class='fss'>U.L.</span> Crossing to <span class='fss'>C.</span>, carrying a broom +and dust cloth; as <span class='sc'>Jimmie</span> turns to exit.</i>)</p> + +<p class='c016'><span class='sc'>Jimmie.</span> (<i>Going up and off <span class='fss'>L.</span> <span class='sc'>Mrs. Semple</span> +enters <span class='fss'>R.</span> and crosses up to <span class='sc'>Carrie</span> at <span class='fss'>R.C.</span> <span class='sc'>Sallie</span> to +<span class='fss'>L.</span> of table, closing writing desk</i>) I fly!</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> Carrie! Carrie! Mr. Jervis has just +telephoned from the station. He’s driving up and +<span class='pageno' id='Page_81'>81</span>he’ll be here in half an hour. (<i><span class='sc'>Carrie</span> crosses to door +<span class='fss'>R.</span></i>) Ain’t it lucky I made that jelly cake? (<i>Calls +off <span class='fss'>R.</span></i>) Carrie! Carrie! You go and clean the +best bedroom.</p> + +<p class='c005'><span class='sc'>Carrie.</span> But Mr. McBride’s in it!</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> (<i><span class='fss'>R.C.</span> above table</i>) Just set his things +right out in the hall. He’s going in a few minutes.</p> + +<p class='c005'><span class='sc'>Carrie.</span> (<i>Upstairs</i>) Yes’m! (<i>Exits upstairs.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> (<i>Crossing to <span class='fss'>R.</span> to foot of stairs door and +speaks to <span class='sc'>Carrie</span></i>) And Carrie—don’t tell Miss +Judy. She ain’t heard nothing from him in a long +time and we’ll just fix up a little surprise.</p> + +<p class='c005'><span class='sc'>Carrie.</span> (<i>Off stage</i>) No’m.</p> + +<p class='c017'>(<i><span class='sc'>Mrs. Semple</span> closes door, as <span class='sc'>Jimmie</span> enters <span class='fss'>L.</span> +with mail. <span class='sc'>Mrs. Semple</span> crosses to <span class='fss'>R.</span> of table +and sits.</i>)</p> + +<p class='c016'><span class='sc'>Jimmie.</span> (<i>Coming to <span class='fss'>C.</span> above table</i>) Hello, Sis! +Mail!</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i><span class='fss'>L.</span> of table</i>) Oh, did you get a letter +for me?</p> + +<p class='c005'><span class='sc'>Jimmie.</span> No! An advertisement for you. +(<i>Gives her large music envelope</i>) Gordon’s tired +of writing. (<i>Gives mail, wrapped magazine to <span class='sc'>Mrs. +Semple</span></i>) For you, Mrs. Semple! All for Judy. +(<i>Takes remaining letters up <span class='fss'>R.</span> and lays them on +work-table.</i>)</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Taking sheet music from envelope</i>) +This is from Gordon. Oh, it’s a song he wants me +to sing. (<i>Sits at piano.</i>)</p> + +<p class='c005'><span class='sc'>Jimmie.</span> You! Sing a song! Ha! (<i>To table +above <span class='sc'>Mrs. Semple</span>.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> (<i>Sits <span class='fss'>R.</span> of table looking over magazine.</i>) +And here’s instalment three of the remarkable +serial by that rising young author, Jerusha Abbott.</p> + +<p class='c005'><span class='pageno' id='Page_82'>82</span><span class='sc'>Jimmie.</span> I say, look at the pictures. Aren’t they +corkers?</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> I don’t know how she does it—I couldn’t +write a book, not if you was to pay me for it.</p> + +<p class='c017'>(<i><span class='sc'>Jimmie</span> turns up to window with a laugh.</i>)</p> + +<p class='c016'><span class='sc'>Jimmie.</span> Oh, by jove—here she is now! (<i>Crosses +and exits <span class='fss'>L.</span>, leaving door open as <span class='sc'>Judy</span> is heard “helloing” +off stage. <span class='sc'>Jimmie</span> and <span class='sc'>Judy</span> carry on a chatter +outside as <span class='sc'>Mrs. Semple</span> goes through her speech +with <span class='sc'>Sallie</span> playing the air on piano with a gradual +crescendo, ending on the word “famous” as <span class='sc'>Judy</span> +steps inside.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> Now, ain’t that grand? To see her +name printed right out in letters half an inch high! +I always said that Judy was going to be <em>famous</em>.</p> + +<p class='c017'>(<i><span class='sc'>Judy</span> enters and comes to <span class='fss'>L.C.</span>, carrying hat in one +hand and millinery bag in other. <span class='sc'>Sallie</span> rises +as <span class='sc'>Judy</span> enters. <span class='sc'>Jimmie</span> follows <span class='sc'>Judy</span>, carrying +a small market basket, ladened with bundles.</i>)</p> + +<p class='c016'><span class='sc'>Judy.</span> Hello, everybody!</p> + +<p class='c017'>(<i><span class='sc'>Jimmie</span> crosses behind <span class='sc'>Judy</span> and sets basket on +table <span class='fss'>C.</span></i>)</p> + +<p class='c016'><span class='sc'>Sallie.</span> (<i>At <span class='fss'>L.</span></i>) Good gracious! What’s all +that?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Coming down <span class='fss'>L.</span> of table, <span class='sc'>Sallie</span> to <span class='fss'>L.</span> +of <span class='sc'>Judy</span>, <span class='sc'>Jimmie</span> <span class='fss'>L.</span> of <span class='sc'>Mrs. Semple</span></i>) I am September +Santa Claus. I’ve brought you all a present +from the village store. (<i><span class='sc'>Judy</span> removes coat and puts +hat and coat on windowseat.</i>)</p> + +<p class='c005'><span class='pageno' id='Page_83'>83</span><span class='sc'>Jimmie.</span> (<i>Crosses down <span class='fss'>R.</span></i>) I like the way you set +me to catching woodchucks. (<i><span class='sc'>Judy</span> comes down <span class='fss'>L.</span> +of table</i>) And then go off on a pleasure drive.</p> + +<p class='c005'><span class='sc'>Judy.</span> When we take a tramp in for the night, +we expect him to work for his board.</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> What kept you so long? We were +afraid old Grover had run away with you.</p> + +<p class='c005'><span class='sc'>Judy.</span> Oh, I stopped to give the money to old +Mrs. Barber. (<i>Explaining to <span class='sc'>Jimmie</span></i>) They’re an +awfully poor family, who have had such bad luck. +I wrote to Daddy Long-Legs about them, and he +sent me a check for a hundred dollars for them.</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Crossing to <span class='sc'>Judy</span>, arms around her</i>) +What did she say? Was she pleased?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Laughs</i>) She said, “Thank the Good +Lord,” but I told her it wasn’t the good Lord. It +was my Guardian.</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> But it was the good Lord that put it +into his head.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<span class='fss'>R.</span>) Oh, no, it wasn’t! I put it in his +head myself. (<i>Takes two haying hats from bag +she had placed on the table, as <span class='sc'>Jimmie</span> crosses to +table above <span class='sc'>Mrs. Semple</span></i>) Look! The latest importations +in fall millinery. One for Sallie and one for +Judy, to save the skin on our noses when we go +blackberrying. (<i>Tries hat on <span class='sc'>Sallie</span>, who turns +and crosses over <span class='fss'>L.</span> to mirror, below staircase, to try +on hat herself as <span class='sc'>Judy</span> turns and takes from basket a +flour sifter. Holding up sifter</i>) A new flour sifter +for Mrs. Semple. (<i><span class='sc'>Jimmie</span> has unwrapped a package +containing pink cambric, which <span class='sc'>Judy</span> takes from +him</i>) And last, but not least—here is some stuff +to make aprons for Carrie.</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> (<i>Examining the material</i>) Landsakes! +What did you pay for that a yard?</p> + +<p class='c005'><span class='sc'>Judy.</span> Fifty cents.</p> + +<p class='c005'><span class='pageno' id='Page_84'>84</span><span class='sc'>Mrs. S.</span> Fifty cents! Why didn’t you get blue +checked gingham?</p> + +<p class='c005'><span class='sc'>Judy.</span> Oh!</p> + +<p class='c017'>(<i><span class='sc'>Jimmie</span> crosses to window, twirling mustache. Sits +on arm of chair.</i>)</p> + +<p class='c016'><span class='sc'>Mrs. S.</span> You could of got that for 12 cents a +yard.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Shuddering and turning up, as <span class='sc'>Sallie</span> +crosses up to <span class='sc'>Judy</span> and puts hat on piano</i>) Oh!</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>At <span class='fss'>R.</span></i>) I never saw anything so silly, +as the way you women fuss over clothes.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Facing <span class='sc'>Jimmie</span>. <span class='sc'>Sallie</span> behind <span class='sc'>Judy</span></i>) +Silly, eh? I heard of another man who grumbled +about women’s clothes being silly, until finally his +wife, to please him—adopted dress reform. And +then⸺</p> + +<p class='c005'><span class='sc'>Jimmie.</span> Then what? (<i>Twirling mustache.</i>)</p> + +<p class='c005'><span class='sc'>Judy.</span> He eloped with a chorus girl. (<i>Looks of +horror from <span class='sc'>Mrs. Semple</span>.</i>)</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> Good grief.</p> + +<p class='c005'><span class='sc'>Sallie.</span> Oh, Jimmie, do let that mustache alone. +Kill it, but don’t worry it to death.</p> + +<p class='c017'>(<i><span class='sc'>Jimmie</span> crosses to <span class='sc'>Sallie</span> and they exchange shots +in a light tone as <span class='sc'>Judy</span> plays the prelude to the +song. <span class='sc'>Sallie</span> cautions <span class='sc'>Jimmie</span> to be quiet and +stands above <span class='sc'>Judy</span> ready to turn pages for her. +<span class='sc'>Jimmie</span> stands <span class='fss'>L.</span> of table, leaning against chair +and watching <span class='sc'>Judy</span>. <span class='sc'>Mrs. Semple</span> sits back in +her chair <span class='fss'>R.</span> of table, ready to listen with great +satisfaction.</i>)</p> + +<div class='c018'><i>SONG “INFAMY”</i></div> + +<p class='c016'><span class='sc'>Judy.</span> Where did you get it?</p> + +<p class='c005'><span class='sc'>Sallie.</span> Gordon sent it.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Crosses to <span class='fss'>L.</span> of table</i>) Oh, has the mail +<span class='pageno' id='Page_85'>85</span>come? (<i><span class='sc'>Jimmie</span> quickly crosses to <span class='fss'>R.</span> and returns +with letters</i>) Any letters for me?</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>To table, sits on table, handing letters +to her</i>) A million-dollar check from your publishers. +(<i>Takes magazine from table</i>) Instalment three +of the great American novel by Jerusha Abbott.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Having looked through letters</i>) Is this +all?</p> + +<p class='c005'><span class='sc'>Jimmie.</span> All! Were you expecting a love letter, +too?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Sitting <span class='fss'>L.</span> of table</i>) Don’t be silly, Jimmie! +(<i>Opening one letter, laying others on table</i>) +I wonder what my publishers have to say of the idea +of my new book.</p> + +<p class='c017'>(<i><span class='sc'>Sallie</span> sits at piano and softly plays the song.</i>)</p> + +<p class='c016'><span class='sc'>Jimmie.</span> (<i><span class='fss'>C.</span> above table</i>) What’s the name of +your new book?</p> + +<p class='c005'><span class='sc'>Judy.</span> “The Rufus Gaunt Home.”</p> + +<p class='c017'>(<i><span class='sc'>Jimmie</span> above table, <span class='sc'>Judy</span> sits <span class='fss'>L.</span>, <span class='sc'>Mrs. Semple</span> <span class='fss'>R.</span></i>)</p> + +<p class='c016'><span class='sc'>Jimmie.</span> “The Rufus Gaunt Home?” That is +a cheerful title! Is it an insane asylum or just a +poorhouse?</p> + +<p class='c017'>(<i><span class='sc'>Sallie</span> looking out window.</i>)</p> + +<p class='c016'><span class='sc'>Judy.</span> It’s—an orphan asylum.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> An orphan asylum? Oh, I say, if you’re +going to write a book, why don’t you choose a subject +you know something about?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Looks up from letter then around to +<span class='sc'>Jimmie</span>; then slowly faces front again</i>) That’s just +what my publisher asks.</p> + +<p class='c005'><span class='pageno' id='Page_86'>86</span><span class='sc'>Sallie.</span> But wait till he reads it! It’s a beautiful +book—isn’t it, Mrs. Semple?</p> + +<p class='c017'>(<i>During this scene, <span class='sc'>Jimmie</span> devotes all his attention +to <span class='sc'>Judy</span>.</i>)</p> + +<p class='c016'><span class='sc'>Mrs. S.</span> Of course it’s beautiful. Everything +Miss Judy writes is beautiful—but I did think the +book you wrote that first summer was grand!</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Laughs</i>) It was dreadful! When I got +back to college I borrowed the engineer’s furnace. +I felt as though I cremated my only child. The +next morning I started a new one. I am an awfully +optimistic person. I think if I lost a husband and +seven children I’d bob up the next day and hunt for +a new set.</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> You can say what you please, but I like +hero-ines rich.</p> + +<p class='c005'><span class='sc'>Judy.</span> But my heroine can’t be rich, she is in an +asylum.</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> Are you plumb set on that asylum?</p> + +<p class='c005'><span class='sc'>Judy.</span> Yes, I’m plumb set!</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> You see the trouble is, nobody will ever +want to marry her, if she’s out of an orphan asylum.</p> + +<p class='c005'><span class='sc'>Judy.</span> Oh!—But she doesn’t get married.</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> Folks won’t read it unless it’s got a love +story.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> You bet! We’ve got to have a love +story.</p> + +<p class='c005'><span class='sc'>Judy.</span> But she’s just a little girl. She doesn’t +grow up.</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> I’ll tell you how you can fix it, Miss +Judy; if you’re set on having her an orphan. Get +over them troubles in the asylum as fast as possible, +and then discover that she ain’t no orphan at all. +She got stolen out of her cradle when she was a +baby, and her father is a real millionaire, he spends +<span class='pageno' id='Page_87'>87</span>fifteen years searching for his lost daughter, and +he recognizes her by a strawberry mark on her left +arm.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Crosses <span class='fss'>R.</span></i>) What’s a strawberry mark?</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> That’s the way you tell lost children.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> Oh!</p> + +<p class='c005'><span class='sc'>Judy.</span> But things don’t happen that way. It +wouldn’t be true.</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> Land sakes! Miss Judy, nobody cares +if a book’s true, so long as it’s comfortable—that’s +the way I’d write it. Then you’d oughta make her +grow up, and marry someone real nice like⸺</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Down to <span class='fss'>R.</span> of <span class='sc'>Mrs. Semple</span></i>) Like +me.</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> (<i>Turning to him</i>) You—never. No—like +Mr. Jervis.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Goes <span class='fss'>R.</span></i>) Ha! I think I see the proud +and haughty Mr. Pendleton marrying a grimy little +orphan out of an asylum. (<i>Up <span class='fss'>C.</span> above table</i>) +No, Judy, I am sorry but I’m afraid we can’t fall +in love with your hero-ine.</p> + +<p class='c005'><span class='sc'>Carrie.</span> (<i>Enters <span class='fss'>R.</span> to <span class='fss'>R.</span> of <span class='sc'>Mrs. Semple</span></i>) Mrs. +Semple, we are all out of molasses.</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> (<i>Rising</i>) Oh, Miss Judy, did you forget +the molasses? (<i>Takes market basket and hands +it to <span class='sc'>Carrie.</span> NOTE: All the bundles were replaced +in basket as soon as used by <span class='sc'>Judy</span>.</i>)</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Rising</i>) I left the jug in the buggy—Jimmie, +would you mind going down to the barn +and getting it?</p> + +<p class='c017'>(<i><span class='sc'>Carrie</span> has made her exit with the basket; <span class='sc'>Mrs. +Semple</span> has taken work basket from table and +crosses to place it on work-table at <span class='fss'>R.</span></i>)</p> + +<p class='c016'><span class='sc'>Jimmie.</span> (<i>Going, mimicing <span class='sc'>Mrs. Semple</span></i>) Land +sakes! I don’t get no rest!</p> + +<p class='c005'><span class='pageno' id='Page_88'>88</span><span class='sc'>Mrs. S.</span> (<i>At <span class='fss'>R.</span>, comes back to <span class='fss'>R.C.</span></i>) Oh, Miss +Judy, we’re going to have a surprise to-night.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Crossing to <span class='sc'>Mrs. Semple</span></i>) A surprise?</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> (<i>Crossing down to door <span class='fss'>R.</span></i>) Something +you ain’t expecting!</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>To chair <span class='fss'>R.</span> of table</i>) What is it?</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> (<i>Shaking her head</i>) I ain’t going to +tell. (<i>Goes out <span class='fss'>R.</span></i>) I ain’t going to tell.</p> + +<p class='c017'>(<i>As <span class='sc'>Mrs. Semple</span> exits, <span class='sc'>Judy</span> sits <span class='fss'>R.</span> of table, facing +away from <span class='sc'>Sallie</span> in a sad and dejected +mood. A brief pause—and <span class='sc'>Sallie</span> turns—notes +<span class='sc'>Judy’s</span> attitude.</i>)</p> + +<p class='c016'><span class='sc'>Sallie.</span> (<i>Rising from piano. Standing above +table</i>) What’s the matter, Judy? (<i>Crossing to <span class='fss'>L.</span> of +table</i>) Don’t worry about what that old publisher +says. He hasn’t even read the book. It’s the best +thing you’ve ever written.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Standing <span class='fss'>L.</span></i>) Because it’s true!</p> + +<p class='c005'><span class='sc'>Sallie.</span> It’s wonderful, Judy—the imagination +you have! Why, the atmosphere of that asylum +seems as real as though you’d seen it with your +own eyes. I don’t know how you do it! I couldn’t +picture the inside of an asylum and the way a little +orphan girl feels—not if my life depended on it.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Slowly rising</i>) It didn’t require any +imagination. Those are the things that really do +happen.</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>To front of table</i>) Yes, but how, how +do you know? (<i>Sits on stool, facing <span class='sc'>Judy</span>.</i>)</p> + +<p class='c017'>(<i><span class='sc'>Judy</span> turns away from <span class='sc'>Sallie</span> and faces up stage, +then suddenly returns to <span class='sc'>Sallie</span>, taking chair +and bringing it down and sits a little above +<span class='sc'>Sallie</span>.</i>)</p> + +<p class='c016'><span class='pageno' id='Page_89'>89</span><span class='sc'>Judy.</span> Oh, Sallie! I want to tell you <em>the truth</em>. +I can’t stand it any longer—this pretending and pretending +to be something I am not. I don’t belong +with all you other girls, who have homes and families. +I try to be silly and laughing and care-free +like the rest of you; but—I’m only an impostor.</p> + +<p class='c005'><span class='sc'>Sallie.</span> What do you mean?</p> + +<p class='c005'><span class='sc'>Judy.</span> You wondered that I knew so well how +the little orphan girl felt. I knew because—I myself +was that little girl.</p> + +<p class='c005'><span class='sc'>Sallie.</span> You!</p> + +<p class='c005'><span class='sc'>Judy.</span> My childhood was one long, sullen stretch +of revolt. I was brought up in an asylum—in blue-checked +gingham. Oh, I feel sometimes—(<i><span class='sc'>Sallie</span> +sympathetically puts her arm on <span class='sc'>Judy’s</span> shoulder</i>)—as +if those miserable checks had stamped themselves +on my very soul. And then one day—suddenly—like +a miracle, Daddy Long-Legs came and +lifted me out of all that misery—and gave me freedom +and a chance to live. Oh, I was delirious with +joy. I thought every trouble in the world was +ended.</p> + +<p class='c005'><span class='sc'>Sallie.</span> I can imagine what it would mean to +lose one’s parents.</p> + +<p class='c005'><span class='sc'>Judy.</span> I don’t know what I am or where I came +from. Oh, I try to be sensible and courageous, but +I feel sometimes as though I could never escape from +the shadow of my childhood. I dream about it at +night, I wake up shivering in the dark, feeling as +though I must run faster and faster, because Mrs. +Lippett is after me with her arm outstretched to +grab me back.</p> + +<p class='c005'><span class='sc'>Sallie.</span> Why, Judy, you’re growing morbid. All +this makes no difference.</p> + +<p class='c005'><span class='sc'>Judy.</span> Not with you, perhaps. But to others⸺</p> + +<p class='c005'><span class='sc'>Sallie.</span> Who?</p> + +<p class='c005'><span class='sc'>Judy.</span> Well, do you think Julia Pendleton’s +<span class='pageno' id='Page_90'>90</span>mother would have let her daughter associate with +me if she had known? I know how much they think +of family.</p> + +<p class='c005'><span class='sc'>Sallie.</span> It doesn’t matter what the Pendletons +think.</p> + +<p class='c005'><span class='sc'>Judy.</span> And perhaps they know already.</p> + +<p class='c005'><span class='sc'>Sallie.</span> Why?</p> + +<p class='c005'><span class='sc'>Judy.</span> Well—Jervis—Mr. Pendleton used to +come here frequently for a few days’ fishing and he +and I became very good friends. We went tramping +and fished for trout, read books together and +had such good times. But for a long while now he +has stayed away and I wonder why. Unless—he +has learned the truth. (<i>Rises.</i>)</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Rising also</i>) It doesn’t matter, Judy, +he doesn’t count. Some day some other man will +come and ask you to be his wife.</p> + +<p class='c005'><span class='sc'>Judy.</span> And I would have to <em>tell him</em> about the +<em>John Grier Home</em>.</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Putting her arm around <span class='sc'>Judy’s</span> waist</i>) +He would marry you just the same.</p> + +<p class='c005'><span class='sc'>Judy.</span> Yes—through kindness perhaps—through +pity. But when I told him if I saw a look of doubt +on his face, if I saw the slightest shadow, oh, Sallie—(<i>Turning +to <span class='sc'>Sallie</span></i>)—I couldn’t <em>bear</em> it! It +would <em>kill</em> me! (<i>Sobs and buries her head on <span class='sc'>Sallie’s</span> +shoulder. <span class='sc'>Sallie</span> tenderly mothers her.</i>)</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>After a pause; lifts <span class='sc'>Judy’s</span> head</i>) Oh, +Judy! You speak as though someone has already +come. (<i><span class='sc'>Judy</span> shakes her head, and slowly crosses to +<span class='fss'>L.</span></i>) Has someone already come?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<span class='fss'>L.C.</span>) No, no! I was only pretending.</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Following <span class='sc'>Judy</span> a step</i>) But he’ll come +and be proud to do so. You are going to be a +famous author.</p> + +<p class='c005'><span class='sc'>Judy.</span> I don’t want fame. (<i>Crosses to staircase</i>) +I just want—happiness.</p> + +<p class='c005'><span class='pageno' id='Page_91'>91</span><span class='sc'>Sallie.</span> (<i>Crossing to piano</i>) Poor Judy!</p> + +<p class='c017'>(<i><span class='sc'>Judy</span> starts upstairs, halting, as <span class='sc'>Mrs. Semple</span> enters +at <span class='fss'>R.</span> and excitedly crosses up <span class='fss'>C.</span> to window.</i>)</p> + +<p class='c016'><span class='sc'>Mrs. S.</span> (<i>Going up <span class='fss'>C.</span></i>) <em>He’s coming!</em></p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Crosses down to <span class='fss'>R.</span> and exits with jug</i>) +Yes, here I am.</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> (<i>Coming down <span class='fss'>C.</span> above table after +laugh</i>) No, I don’t mean you—I mean Master Jervis.</p> + +<p class='c017'>(<i><span class='sc'>Judy</span> pauses on stairs as <span class='sc'>Jervis</span> enters and comes +down <span class='fss'>L.</span> of <span class='sc'>Mrs. Semple</span>.</i>)</p> + +<p class='c016'><span class='sc'>Jervis.</span> (<i>Taking her in his arms</i>) Well, Lizzie, +how are you? Bless your heart.</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> Bless yours, Master Jervis. The sight +of you does my old eyes good.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Taking her face between his hands and +kissing her eyes</i>) Ah! Bless them—bless them!</p> + +<p class='c005'><span class='sc'>Sallie.</span> (<i>Left by piano</i>) How do you do?</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Crossing to <span class='sc'>Sallie</span></i>) Ah, Miss McBride—this +is an unexpected pleasure⸺ (<i>Sees <span class='sc'>Judy</span> on +the stairs and advances to her. <span class='sc'>Judy</span> comes to meet +him and <span class='sc'>Sallie</span> crosses at back over to <span class='sc'>Mrs. Semple</span>.</i>)</p> + +<p class='c005'><span class='sc'>Judy.</span> And how are you, Mr. Pendleton?</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Coming down <span class='fss'>C.</span> and then front of +table</i>) Mr. Pendleton—oh! Have I been away so +long that Jervis is forgotten?</p> + +<p class='c005'><span class='sc'>Judy.</span> Well, you must admit you’re something of +a stranger to our gates. We began to fear we had +been forgotten.</p> + +<p class='c005'><span class='sc'>Jervis.</span> What! May I hope then that I’ve been +missed?</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> (<i>Up <span class='fss'>R.</span> Coming down <span class='fss'>R.</span> of table</i>) +<span class='pageno' id='Page_92'>92</span>Missed! Why, Master Jervis, the five weeks you’ve +been away seems like an age⸺</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Crossing to <span class='fss'>L.</span> of <span class='sc'>Mrs. Semple</span></i>) Oh, +you flatterer⸺ (<i><span class='sc'>Jimmie</span> enters and stands <span class='fss'>R.</span> of +<span class='sc'>Mrs. Semple</span>. A look passes between <span class='sc'>Jimmie</span> and +<span class='sc'>Jervis</span></i>) Oh! And Mr. McBride!</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Coming down</i>) How do you do, sir?</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>As they shake hands</i>) And you…. +(<i>Crosses to <span class='sc'>Jimmie</span>.</i>)</p> + +<p class='c005'><span class='sc'>Jimmie.</span> Nicely, thanks.</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> Oh, Master Jervis—Mr. McBride shot +that woodchuck you tried to get. You know that +one you tried to get—the one that ate up all my +young carrots.</p> + +<p class='c005'><span class='sc'>Jervis.</span> I congratulate Mr. McBride upon succeeding +where I failed. (<i>Turns and crosses over to +<span class='sc'>Judy</span></i>) No, I shall not presume to hope that I had +been missed. (<i><span class='sc'>Jervis</span> and <span class='sc'>Judy</span> turn up a step above +piano as <span class='sc'>Sallie</span> crosses down to <span class='fss'>L.</span> of <span class='sc'>Jimmie</span>.</i>)</p> + +<p class='c005'><span class='sc'>Sallie.</span> Come along, Jimmie—the time has come +for you to go⸺ (<i>Crosses to <span class='fss'>L.</span> and upstairs.</i>)</p> + +<p class='c005'><span class='sc'>Jimmie.</span> (<i>Following <span class='sc'>Sallie</span></i>) I was thinking +that myself.</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> (<i>Coming down <span class='fss'>R.</span></i>) Oh, Mr. McBride—(<i><span class='sc'>Jimmie</span> +stops at <span class='fss'>L.C.</span> below <span class='sc'>Jervis</span> and <span class='sc'>Judy</span></i>)—I +told Carrie to put your things out in the hall.</p> + +<p class='c005'><span class='sc'>Jimmie.</span> Eh?</p> + +<p class='c017'>(<i><span class='sc'>Sallie</span> waits at head of stairs.</i>)</p> + +<p class='c016'><span class='sc'>Mrs. S.</span> You don’t mind, do you?</p> + +<p class='c005'><span class='sc'>Jimmie.</span> Oh, no, no! Not at all. (<i>Crosses to foot +of stairs—then turns</i>) You’re sure you didn’t put +them in the <em>road</em>?</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> Oh, no! (<i>Exits off <span class='fss'>R.</span></i>)</p> + +<p class='c005'><span class='sc'>Sallie.</span> Oh! Come on, Jimmie!</p> + +<p class='c017'><span class='pageno' id='Page_93'>93</span>(<i>Exits. <span class='sc'>Jimmie</span> on stairs starts to sing dolefully +as he goes up and off, his last line heard off +stage.</i>)</p> + +<p class='c016'><span class='sc'>Jimmie.</span> (<i>Singing</i>)</p> + +<div class='lg-container-b'> + <div class='linegroup'> + <div class='group'> + <div class='line'>I’m coming—I’m coming—</div> + <div class='line'>For my head is bending low—</div> + <div class='line'>I hear those angel voices calling</div> + </div> + </div> +</div> + +<p class='c005'>(<i>Off stage, closing door</i>) Go! Go! Go!</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> (<i>Entering <span class='fss'>R.</span></i>) Oh, where’s your bag, +Master Jervis? Yer old room is ready for you.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Crossing <span class='fss'>R.</span> to <span class='sc'>Mrs. Semple</span></i>) No, no, +Lizzie, I haven’t come to stay.</p> + +<p class='c017'>(<i><span class='sc'>Judy</span> looks at <span class='sc'>Jervis</span> and then slowly turns back +to piano.</i>)</p> + +<div class='c018'><i>DIM LIGHTS—SUNSET</i></div> + +<p class='c016'><span class='sc'>Mrs. S.</span> Didn’t come to stay?</p> + +<p class='c005'><span class='sc'>Jervis.</span> Well—not this time. (<i><span class='sc'>Judy</span> sits at +piano</i>) The man who drove me here is waiting—I +must catch the 7:30 train.</p> + +<p class='c017'>(<i><span class='sc'>Judy</span> plays softly the song she has sung.</i>)</p> + +<p class='c016'><span class='sc'>Mrs. S.</span> Why, it hardly seems worth while yer +coming for so short a time.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Oh, I hope not, Lizzie. (<i>Looking over +his shoulder at <span class='sc'>Judy</span></i>) I trust it will prove—oh, so +worth while⸺</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> (<i>Looks from <span class='sc'>Jervis</span> to <span class='sc'>Judy</span> and understands +why</i>) Oh! Well, ye’ll have a cup of tea?</p> + +<p class='c005'><span class='sc'>Jervis.</span> Yes.</p> + +<p class='c005'><span class='sc'>Mrs. S.</span> And I’ve got some of that jelly cake +you used to like when you were a little boy, Master +Jervis. (<i>Exits <span class='fss'>R.</span></i>)</p> + +<p class='c017'><span class='pageno' id='Page_94'>94</span>(<i><span class='sc'>Jervis</span>, closing door after her and turning slowly +at door, looking across to <span class='sc'>Judy</span>. <span class='sc'>Judy</span> has finished +playing, rises and looks across at <span class='sc'>Jervis</span>. +<span class='sc'>Jervis</span> breaks the scene.</i>)</p> + +<p class='c016'><span class='sc'>Jervis.</span> (<i>Moves chair. Crossing up to <span class='fss'>R.</span> of table, +<span class='sc'>Judy</span> going to <span class='fss'>L.</span> of table</i>) Well, Judy, it seems to +me I’ve been away so long I’m sure there is much +to tell me. How are affairs at Lock Willow? +How’s old Grover?</p> + +<p class='c005'><span class='sc'>Judy.</span> Well⸺</p> + +<p class='c005'><span class='sc'>Jervis.</span> Cautious and sedate as ever?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Sitting <span class='fss'>L.</span> of table</i>) The same.</p> + +<p class='c005'><span class='sc'>Jervis.</span> And how’s the new book? How’s that +progressing?</p> + +<p class='c005'><span class='sc'>Judy.</span> Cautiously, too, like old Grover, under the +restraining influence of my publisher.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Oh, that’s not fair. Your imagination +should have free rein.</p> + +<p class='c005'><span class='sc'>Judy.</span> It’s flattering to know that—you still take +interest in our small affairs.</p> + +<p class='c005'><span class='sc'>Jervis.</span> I shall never cease to do that, not for a +single moment.</p> + +<p class='c005'><span class='sc'>Judy.</span> That is difficult to believe.</p> + +<p class='c005'><span class='sc'>Jervis.</span> And why?</p> + +<p class='c005'><span class='sc'>Judy.</span> Well—five weeks away and not a word or +sign or token.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Yet every moment of those weeks you’ve +been in my thoughts. I went away, I stayed away +because of something I had learned.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Apprehensively</i>) About me?</p> + +<p class='c005'><span class='sc'>Jervis.</span> Concerning both of us—the truth of +which has forced itself upon me, and it became a +problem I’ve been trying hard to solve.</p> + +<p class='c005'><span class='sc'>Judy.</span> A problem? How⸺</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Sitting <span class='fss'>R.</span> of table</i>) A conflict of my +heart and mind in which I can find no peace. And +<span class='pageno' id='Page_95'>95</span>so I’ve come back to ask that you decide. The freedom +of our comradeship has gone and I am a dependent +now upon your answer. I love you, Judy.</p> + +<p class='c005'><span class='sc'>Judy.</span> Jervis!</p> + +<div class='c018'><i>WARN</i></div> + +<p class='c016'><span class='sc'>Jervis.</span> With a love so deep, so great that it overpowers +what the world would call my sense of right, +but how could I help it? You came into my gray +existence like a spirit of Spring and sunshine, bringing +to it an interest that I had never known. But +the difference of our years forbade that I should +recognize the truth and so I deceived myself that +your friendship was my sole desire. And the play-time +of my life began. And then the thought thrust +itself upon me that I was deceiving <em>you</em>. My reason +mocked and ridiculed my love. That I, past youth, +should offer youth the remnant of a life … and +so I went away to fight it out alone. I feared perhaps +your sympathy might lead you into that greatest +sacrifice, a loveless marriage. Then hope transformed +me with the thought that in my great love, +you might find some measure of content. And so, +quite conquered, beaten in the struggle between my +reason and my love, I ask your aid, remembering +always that beyond all else your own happiness is at +stake. Have no thought of the hurt that might come +to me, and yet, if somewhere in your heart there is +a spark of feeling for me that my devotion might +warm into a glow of love, oh, give me the blessed +chance to try—and so, dear heart, I’m waiting—fearing—hoping—will +you be my wife? (<i>Pause.</i>)</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Shaking her head slowly</i>) I cannot—I +cannot!</p> + +<div class='c018'><i>WARNING CURTAIN</i></div> + +<p class='c016'><span class='pageno' id='Page_96'>96</span><span class='sc'>Jervis.</span> (<i>Rising</i>) Oh, Judy, are you sure? Is +there something that I cannot hope to put aside?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Rises, her back turned to him, slowly</i>) +Yes.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Goes back of table. Looks upstairs +with thought of <span class='sc'>Jimmie</span></i>) I think I understand. +And so the sun of all my happiness has set.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Crosses to piano—murmurs in suffering</i>) +Oh, please—please⸺!</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Back of <span class='sc'>Judy</span></i>) I know, I know, I’m +a coward. Forget my folly in speaking to you of +this. I should have known. (<i>Takes hat from table +and crosses to <span class='fss'>L.</span> of <span class='sc'>Judy</span></i>) Tell them all I could not +stay. Make some excuse for me, and some day +when my reason reigns supreme let me come back +to you, dear comrade—till then, God bless and keep +you, Judy—always, always, always! (<i>Turns and +slowly goes up and off <span class='fss'>U.L.</span></i>)</p> + +<p class='c017'>(<i><span class='sc'>Judy</span> is at piano and as <span class='sc'>Jervis</span> goes off, sinks to +her knees and throws herself on chair below +piano, crying bitterly as curtain descends.</i>)</p> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div>CURTAIN</div> + </div> +</div> + +</div> + +<div class='chapter'> + +<div> + <span class='pageno' id='Page_97'>97</span> + <h2 class='c012'>ACT IV</h2> +</div> + +<p class='c013'><span class='sc'>Scene</span>: <i><span class='sc'>Mr. Pendleton’s</span> library, two months +later. A <a href='#stage145'>plan</a> and <a href='#scene-4'>full description</a> of the scene +will be found at the end of the play.</i></p> + +<p class='c014'><span class='sc'>At Rise</span>: <i><span class='sc'>Griggs</span> is discovered at the desk, engaged +in writing. When curtain is well up, +the doorbell is heard ringing off <span class='fss'>R.</span> A pause, +and the <span class='sc'>Maid</span> crosses at back from <span class='fss'>L.</span> to <span class='fss'>R.</span> A +moment later, <span class='sc'>Miss Pritchard</span> enters at <span class='fss'>C.</span> The +<span class='sc'>Maid</span> follows <span class='sc'>Miss Pritchard</span> and exits off <span class='fss'>L.</span> +<span class='sc'>Miss Pritchard</span> goes down back of table.</i></p> + +<p class='c016'><span class='sc'>Miss Pritchard.</span> How do you do, Mr. Griggs?</p> + +<p class='c005'><span class='sc'>Griggs.</span> (<i>Rising on <span class='sc'>Miss Pritchard’s</span> entrance</i>) +Miss Pritchard! Good afternoon!</p> + +<p class='c005'><span class='sc'>Miss P.</span> How is Mr. Pendleton? (<i>To <span class='fss'>L.</span> of +table, sits.</i>)</p> + +<p class='c005'><span class='sc'>Griggs.</span> The wound is entirely healed. But he +doesn’t improve as much as we could wish. He’s +very low in spirits!</p> + +<p class='c005'><span class='sc'>Miss P.</span> I am so sorry! I’ve been away, and I +only just heard about the accident this morning. +How did it happen?</p> + +<p class='c005'><span class='sc'>Griggs.</span> It happened four weeks ago, on a hunting +trip in Canada. The gun exploded and he got +his hand poisoned.</p> + +<p class='c005'><span class='sc'>Miss P.</span> How dreadful! Is he able to see people?</p> + +<p class='c005'><span class='sc'>Griggs.</span> He’ll be able to see you, Miss Pritchard. +You’re such an old friend, but he’s hardly +strong enough for relatives yet.</p> + +<p class='c005'><span class='pageno' id='Page_98'>98</span><span class='sc'>Miss P.</span> Where is he?</p> + +<p class='c005'><span class='sc'>Griggs.</span> Well, the doctor’s with him just at this +moment—if you don’t mind waiting⸺</p> + +<p class='c005'><span class='sc'>Miss P.</span> Not in the least. But I’ve been shopping +all the afternoon, and I’m nearly famished. +(<i>Rises</i>) I think I’ll beg a cup of tea from the housekeeper. +(<i>Turns as if to go, and <span class='sc'>Griggs</span> turns to +desk to ring bell for housekeeper</i>) Oh, don’t trouble. +I know the way. She and I are old friends! (<i>Crosses +up to <span class='fss'>C.</span>, and <span class='sc'>Griggs</span> turns to desk to resume writing. +<span class='sc'>Miss Pritchard</span> turns at <span class='fss'>C.</span></i>) Oh, Mr. Griggs, +I asked a young lady to meet me here. Should she +come, will you please let me know?</p> + +<p class='c005'><span class='sc'>Griggs.</span> Certainly. (<i>Sits at desk.</i>)</p> + +<p class='c017'>(<i><span class='sc'>Miss Pritchard</span> exits off <span class='fss'>C.</span> and <span class='fss'>L.</span> and <span class='sc'>Walters</span> +comes downstairs and into the room.</i>)</p> + +<p class='c016'><span class='sc'>Walters.</span> (<i>Up stage <span class='fss'>R.</span> of arch</i>) Oh, Mr. Griggs—the +doctor is just going! And Mr. Pendleton is +coming down.</p> + +<p class='c017'>(<i><span class='sc'>Jervis</span> comes downstairs, preceded by <span class='sc'>Doctor</span>. +They stand at foot of stairs as <span class='sc'>Walters</span> exits +<span class='fss'>R.</span> to open door for <span class='sc'>Doctor</span>.</i>)</p> + +<p class='c016'><span class='sc'>Jervis.</span> (<i>Shaking hands with <span class='sc'>Doctor</span></i>) All +right, Doctor, I’ll behave. I’ll follow directions—good-bye! +(<i><span class='sc'>Doctor</span> exits off <span class='fss'>R.</span> and <span class='sc'>Jervis</span> comes +into the room <span class='fss'>C.</span> He wears a long dressing gown, +and is pale and somewhat irritable</i>) Oh, good afternoon, +Griggs!</p> + +<p class='c005'><span class='sc'>Griggs.</span> (<i>Crossing to <span class='fss'>R.</span> of <span class='sc'>Jervis</span></i>) Good afternoon, +Mr. Pendleton. I trust you are feeling better.</p> + +<p class='c017'>(<i><span class='sc'>Walters</span> crosses at back and goes upstairs off <span class='fss'>L.</span></i>)</p> + +<p class='c016'><span class='pageno' id='Page_99'>99</span><span class='sc'>Jervis.</span> Yes, yes! Thanks! A good deal better. +(<i>Crossing to armchair front of fire.</i>)</p> + +<p class='c005'><span class='sc'>Griggs.</span> (<i>Crossing to desk <span class='fss'>R.</span> for papers</i>) Do you +feel able to take up the matter of those bonds?</p> + +<p class='c005'><span class='sc'>Jervis.</span> No, not just yet. But there is a matter +I wish to discuss. You remember that several +months ago I spoke to you about settling a certain +definite sum upon Miss Abbott?</p> + +<p class='c005'><span class='sc'>Griggs.</span> Yes, sir, I remember.</p> + +<p class='c005'><span class='sc'>Jervis.</span> That was before my accident, and I’ve +not yet had a chance to arrange the matter. I want +you to look up some good securities. Something +paying about six per cent, you know, stability—that’s +what I want! You understand?</p> + +<p class='c005'><span class='sc'>Griggs.</span> Yes, sir, I understand. I’ll make a list.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Be good enough to attend to that immediately. +And, Griggs, I want you to take +down a letter—(<i><span class='sc'>Griggs</span> takes note-book from desk +and comes to <span class='fss'>C.</span> above table, ready to receive notes</i>)—to +Miss Abbott. Something to the effect that +Mr. Smith has been led to believe that she is considering +the question of marriage with Mr. James +McBride, and that, if her happiness is at stake, he +approves of the step, and wishes her every joy. +Then put in a word about Mr. Smith’s belief that a +married woman ought to be independent of her husband +in financial matters; and that he has created a +little trust fund which he sends as a wedding present. +Say he feels that with her final settlement in +life, his own share in her career is at an end. That +he thanks her for the four years of charming letters +she has been good enough to send and with this +final expression of his esteem he begs to remove +his shadowy presence from her life. Sign it—(<i><span class='sc'>Walters</span> +comes downstairs with tray and medicine to <span class='fss'>L.</span> +of table</i>)—and bring it to me to look over. (<i>Sinks +<span class='pageno' id='Page_100'>100</span>into armchair as though exhausted. He seems in a +moment to have become the old man that <span class='sc'>Judy</span> thinks +him.</i>)</p> + +<p class='c005'><span class='sc'>Griggs.</span> And you’ll attend later to the matter of +those bonds?</p> + +<p class='c005'><span class='sc'>Jervis.</span> Yes, yes, that’s all just now. I’m not +up to much business yet.</p> + +<p class='c017'>(<i><span class='sc'>Griggs</span> up and exits off <span class='fss'>L.</span> <span class='sc'>Walters</span> comes down +to <span class='fss'>R.</span> of armchair. On tray he has a medicine +bottle, partly filled, a glass and a medicine graduate.</i>)</p> + +<p class='c016'><span class='sc'>Walters.</span> Your medicine, sir.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Very quietly</i>) Take it away! It doesn’t +do any good!</p> + +<p class='c005'><span class='sc'>Walters.</span> But, if you please, sir, the doctor +said⸺</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Rising, crossing to <span class='fss'>R.</span> of table</i>) Oh, take +it away!</p> + +<p class='c005'><span class='sc'>Walters.</span> (<i>Following him to <span class='fss'>R.</span></i>) Now, Mr. Jervis, +you should have taken it at four o’clock. It’s +half past now, and the other kind comes at five. It +isn’t best to mix them, sir. They ought to come in +layers. (<i>Places tray on corner of table. The drinking +glass placed handily for <span class='sc'>Jervis</span>. Sits <span class='fss'>R.</span> of +table.</i>)</p> + +<p class='c005'><span class='sc'>Jervis.</span> Walters, you’re a good man, but you’re +obstinate. Now, when I say a thing, I mean it. +(<i>Sits <span class='fss'>R.</span> of table.</i>)</p> + +<p class='c005'><span class='sc'>Walters.</span> (<i>With patient persistency</i>) But Mr. +Jervis, you promised the doctor that if he’d let the +nurse go, you wouldn’t make any trouble for me. +(<i>Takes graduate in left hand and bottle in right.</i>)</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Rises and takes glass in <span class='fss'>R.</span> hand</i>) Oh, +very well.</p> + +<p class='c005'><span class='pageno' id='Page_101'>101</span><span class='sc'>Walters.</span> (<i>Starting to pour medicine</i>) One +teaspoon, sir. Just one.</p> + +<p class='c017'>(<i><span class='sc'>Jervis</span> takes bottle from <span class='sc'>Walters</span> and begins to +pour the contents into the glass, then drinks it +as the horrified <span class='sc'>Walters</span> takes bottle from him, +remonstrating. <span class='sc'>Jervis</span> sets glass on the tray and +turns to <span class='sc'>Walters</span>.</i>)</p> + +<p class='c016'><span class='sc'>Jervis.</span> There! I have taken the whole lot. +Now, I hope you’re satisfied. Don’t let me hear +the word “medicine” again! (<i>Sits <span class='fss'>R.</span> of table, <span class='sc'>Walters</span> +takes tray and crosses to <span class='fss'>L.</span> of <span class='fss'>C.</span> and exits <span class='fss'>L.</span> as +<span class='sc'>Julia</span> enters <span class='fss'>C.</span> from <span class='fss'>L.</span> of <span class='sc'>Jervis</span>, and <span class='sc'>Walters</span> exits +off <span class='fss'>L.</span></i>)</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Behind <span class='sc'>Jervis</span>, kissing him on cheek +over <span class='fss'>L.</span> shoulder</i>) Hello, Uncle Jervis! (<i>Crossing to +<span class='fss'>R.</span></i>) Feeling better?</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Surprised</i>) How did you get in?</p> + +<p class='c005'><span class='sc'>Julia.</span> Through the basement—along with the +butcher. You are going to have chicken for dinner.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Umph! Thanks!</p> + +<p class='c005'><span class='sc'>Julia.</span> That brute of a Walters will never let +me in.</p> + +<p class='c005'><span class='sc'>Jervis.</span> He has orders.</p> + +<p class='c005'><span class='sc'>Julia.</span> This is the third time I’ve called. And +your own relative.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Julia, I’m not well enough to talk, the +doctor says I have to keep quiet.</p> + +<p class='c005'><span class='sc'>Julia.</span> You can’t fool me. You see lots of people. +You are just cross.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Rising</i>) Yes, that’s it—I’m cross! I +am not fit company for anyone! (<i>Crossing to <span class='fss'>L.</span> of +table and sits</i>) Now you run along.</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Crosses to <span class='fss'>R.</span> of <span class='sc'>Jervis</span>, above table</i>) Ah, +nunkey, don’t be cross. I won’t bother you. But +<span class='pageno' id='Page_102'>102</span>I want your advice about something important. I +want you to talk to mother.</p> + +<p class='c005'><span class='sc'>Jervis.</span> No—no! I’m not strong enough to talk +to your mother.</p> + +<p class='c005'><span class='sc'>Julia.</span> Oh, please, Uncle Jervis, it’s very important! +Please!</p> + +<p class='c005'><span class='sc'>Jervis.</span> Well, well, what is it?</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Resting on chair <span class='fss'>L.</span> of table</i>) Mother’s +picked out someone <em>she</em> wants me to marry.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Well, marry him!</p> + +<p class='c005'><span class='sc'>Julia.</span> But I don’t like him!</p> + +<p class='c005'><span class='sc'>Jervis.</span> Why don’t you like him?</p> + +<p class='c005'><span class='sc'>Julia.</span> Well, he’s got a long mustache that looks +like a chicken wing, and no chin.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Very well, don’t marry him!</p> + +<p class='c005'><span class='sc'>Julia.</span> And <em>I’ve</em> picked out exactly the man I +<em>do want</em> to marry.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Very well, then marry him.</p> + +<p class='c005'><span class='sc'>Julia.</span> Mother doesn’t think he’s good enough to +marry me.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Nonsense! Anybody’s good enough to +marry you.</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Rising and crossing to his <span class='fss'>L.</span></i>) Uncle Jervis! +(<i>Cross <span class='fss'>L.</span></i>)</p> + +<p class='c005'><span class='sc'>Jervis.</span> No, no—I don’t mean that!</p> + +<p class='c005'><span class='sc'>Julia.</span> I tell you now if she doesn’t let me, I’ll +elope.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Yes, please elope!</p> + +<p class='c005'><span class='sc'>Julia.</span> Yes, but I don’t want to elope. (<i>Sits on +arm of armchair.</i>)</p> + +<p class='c005'><span class='sc'>Jervis.</span> Why don’t you want to elope?</p> + +<p class='c005'><span class='sc'>Julia.</span> I want some wedding presents.</p> + +<p class='c005'><span class='sc'>Jervis.</span> If you’ll only elope, and leave me alone, +I’ll give you a wedding present. I’ll give you twenty +presents. (<i>Crosses <span class='fss'>R.</span></i>)</p> + +<p class='c005'><span class='sc'>Julia.</span> Yes, but won’t you talk to mother?</p> + +<p class='c005'><span class='sc'>Jervis.</span> What’s her objection?</p> + +<p class='c005'><span class='pageno' id='Page_103'>103</span><span class='sc'>Julia.</span> Well, his father owns a factory.</p> + +<p class='c005'><span class='sc'>Jervis.</span> A factory?</p> + +<p class='c005'><span class='sc'>Julia.</span> Yes—makes—overalls.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Puzzled</i>) Overalls?</p> + +<p class='c005'><span class='sc'>Julia.</span> Yes—you know! Things that wind up +and over. Mother doesn’t think they’re nice!</p> + +<p class='c005'><span class='sc'>Jervis.</span> What’s his name?</p> + +<p class='c005'><span class='sc'>Julia.</span> Jimmie McBride.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Rising</i>) Did he ask you?</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Laughing</i>) Yes, of course he did.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Turning front</i>) I don’t understand⸺</p> + +<p class='c005'><span class='sc'>Julia.</span> Oh, I see. You thought he was heart-broken +over Judy Abbott. He liked her. She’s a +nice girl, but he’s in love with me.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Shakes hands vigorously</i>) Well, I’m +delighted to hear it! Now you run on and elope.</p> + +<p class='c005'><span class='sc'>Julia.</span> Yes, but the wedding presents?</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Swings her around to <span class='fss'>R.</span> of him</i>) I’ll +give you all the wedding presents you want if you’ll +only elope.</p> + +<p class='c005'><span class='sc'>Julia.</span> (<i>Working up <span class='fss'>C.</span> to <span class='fss'>C.L.</span></i>) I’ll take a country +house⸺</p> + +<p class='c005'><span class='sc'>Jervis.</span> Yes.</p> + +<p class='c005'><span class='sc'>Julia.</span> A pearl necklace⸺</p> + +<p class='c005'><span class='sc'>Jervis.</span> Yes, yes!</p> + +<p class='c005'><span class='sc'>Julia.</span> And a touring car!</p> + +<p class='c005'><span class='sc'>Jervis.</span> Anything you want, but for goodness’ +sake elope!</p> + +<p class='c017'>(<i><span class='sc'>Miss Pritchard</span> enters to <span class='fss'>R.</span> of <span class='sc'>Julia</span> at <span class='fss'>C.</span></i>)</p> + +<p class='c016'><span class='sc'>Julia.</span> (<i>Turning to <span class='sc'>Miss Pritchard</span></i>) Oh, Miss +Pritchard! Don’t stay. He’s in a dreadful temper!</p> + +<p class='c005'><span class='sc'>Jervis.</span> Oh, yes—please stay!</p> + +<p class='c005'><span class='sc'>Julia.</span> Oh!—Well, good-bye, Mr. Bear—and +don’t forget my presents. (<i>She exits up and off <span class='fss'>R.</span></i>)</p> + +<p class='c017'><span class='pageno' id='Page_104'>104</span>(<i><span class='sc'>Miss Pritchard</span> crosses to <span class='sc'>Jervis</span>, shaking hands.</i>)</p> + +<p class='c016'><span class='sc'>Jervis.</span> This is a pleasure!</p> + +<p class='c005'><span class='sc'>Miss P.</span> You’re sure I won’t tire you?</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Sits <span class='fss'>R.</span></i>) Tire me—no—no! Here—sit +down! (<i>Crossing to armchair</i>) I’m already tired +to death of my own company. (<i>Swings armchair +around to face chair <span class='fss'>L.</span> of table</i>) Another week of +this and I’ll be strangling Walters, just for the sake +of a little excitement. (<i><span class='sc'>Miss Pritchard</span> crosses and +sits in armchair</i>) You don’t mind if I prowl about? +(<i>Crosses over to <span class='fss'>R.</span></i>) I’ve been shut up so long that I +feel like a caged hyena. (<i>Crosses up back to <span class='fss'>C.</span> behind +table.</i>)</p> + +<p class='c005'><span class='sc'>Miss P.</span> I hear that Julia’s engaged⸺</p> + +<p class='c005'><a id='tn-missing'></a><span class='sc'>Jervis.</span> And I thought he was interested in our +little Judy!</p> + +<p class='c005'><span class='sc'>Jervis.</span> The same idea crossed my mind.</p> + +<p class='c005'><span class='sc'>Miss P.</span> Jervis! (<i>He faces her. Crosses to her. +She rises</i>) I came to talk to you about Judy.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Yes?</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Crossing to him eagerly</i>) Are you sure +I won’t bore you?</p> + +<p class='c005'><span class='sc'>Jervis.</span> No, no! Sit down! Please go on! +(<i><span class='sc'>Miss Pritchard</span> sits <span class='fss'>L.</span> of table and <span class='sc'>Jervis</span> at fireplace.</i>)</p> + +<p class='c005'><span class='sc'>Miss P.</span> She’s not happy!</p> + +<p class='c005'><span class='sc'>Jervis.</span> What’s the matter?</p> + +<p class='c005'><span class='sc'>Miss P.</span> She is brooding over something.</p> + +<p class='c005'><span class='sc'>Jervis.</span> It’s that young McBride. If that confounded +young cub⸺ (<i>Rising.</i>)</p> + +<p class='c005'><span class='sc'>Miss P.</span> No. I’ve seen his sister and I know it’s +not that.</p> + +<p class='c005'><span class='sc'>Jervis.</span> What is it, then?</p> + +<p class='c005'><span class='sc'>Miss P.</span> Jervis, I’m going to talk to you quite +frankly.</p> + +<p class='c005'><span class='pageno' id='Page_105'>105</span><span class='sc'>Jervis.</span> (<i>Sits again</i>) Go on, say anything you +like!</p> + +<p class='c005'><span class='sc'>Miss P.</span> Well, then—I think you have been very +much in the wrong in your dealings with Judy.</p> + +<p class='c005'><span class='sc'>Jervis.</span> What more could I do?</p> + +<p class='c005'><span class='sc'>Miss P.</span> I don’t mean as her guardian—John +Smith—Daddy Long-Legs—whatever you wish to +call yourself—I am speaking of your behavior in +your own character, as Jervis Pendleton.</p> + +<p class='c005'><span class='sc'>Jervis.</span> What have I done?</p> + +<p class='c005'><span class='sc'>Miss P.</span> You have been playing a double part. +As Judy’s guardian you made her spend her vacation +on that farm. Then as Jervis Pendleton, you +went and visited her.</p> + +<p class='c005'><span class='sc'>Jervis.</span> You’re not insinuating⸺</p> + +<p class='c005'><span class='sc'>Miss P.</span> I’m not insinuating. I know that you +have been very unthoughtful of her happiness!</p> + +<p class='c005'><span class='sc'>Jervis.</span> I’ve thought of nothing else for four +years!</p> + +<p class='c005'><span class='sc'>Miss P.</span> Yes, to you it meant nothing, but you +were simply amused in watching the child’s development.</p> + +<p class='c005'><span class='sc'>Jervis.</span> My dear lady⸺</p> + +<p class='c005'><span class='sc'>Miss P.</span> But it was very unfair to Judy. She is +an abnormally inexperienced child. She has been +shut away from the world all her life, and then to +be thrown with a man like you⸺</p> + +<p class='c005'><span class='sc'>Jervis.</span> Like me?</p> + +<p class='c005'><span class='sc'>Miss P.</span> With your knowledge of the world—your +experience. It’s a type that is very fascinating +to a young girl!</p> + +<p class='c005'><span class='sc'>Jervis.</span> I? Fascinating? Why, I’m old and +world-weary and done for. Little Judy is standing +on the edge of life. What chance would I have of +interesting her?</p> + +<p class='c005'><a id='tn-impossible'></a><span class='sc'>Miss P.</span> Of course I know it’s impossible. A +girl of her antecedents⸺</p> + +<p class='c005'><span class='pageno' id='Page_106'>106</span><span class='sc'>Jervis.</span> That’s nothing to me and you know it. +I don’t care where she comes from—Judy is herself, +that’s all I care! But this is beside the point. +The girl is not interested in me, except as she is interested +in every human being.</p> + +<p class='c005'><span class='sc'>Miss P.</span> I am not sure!</p> + +<p class='c005'><span class='sc'>Jervis.</span> I am! You have let your imagination +run away with you.</p> + +<p class='c005'><span class='sc'>Miss P.</span> On one thing I am going to insist. She +must know the truth about Daddy Long-Legs!</p> + +<p class='c005'><span class='sc'>Jervis.</span> Why spoil her illusions? She looks upon +me as a nice, fatherly old man. I am neither quite +so nice, nor quite so fatherly as she thinks.</p> + +<p class='c005'><span class='sc'>Miss P.</span> This mystery has gone too far!</p> + +<p class='c005'><span class='sc'>Jervis.</span> Don’t you see the position you place me +in? She already knows me as a friend. I can’t +appear now as a benefactor, demanding gratitude +and a reward.</p> + +<p class='c005'><span class='sc'>Miss P.</span> I understand. (<i>Rises</i>) Jervis, last +week she sent her guardian a letter.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Why, she hasn’t sent a word in two +months.</p> + +<p class='c005'><span class='sc'>Miss P.</span> Begging him to advise her about something +important.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Are you sure?</p> + +<p class='c005'><span class='sc'>Miss P.</span> Yes.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Starts</i>) I’ve never received it. They’ve +been keeping my letters back. (<i>Rises, and starts to +cross <span class='fss'>R.</span> to ring for <span class='sc'>Griggs</span>. <span class='sc'>Miss Pritchard</span> places +restraining hand on his arm.</i>)</p> + +<p class='c005'><span class='sc'>Miss P.</span> It doesn’t matter, Jervis. She can tell +you what it was herself.</p> + +<p class='c005'><span class='sc'>Jervis.</span> What do you mean?</p> + +<p class='c005'><span class='sc'>Miss P.</span> After talking with Sallie McBride, I +determined to take matters into my own hands, and +yesterday I sent a telegram to Judy, asking her to +meet me here to-day.</p> + +<p class='c005'><span class='pageno' id='Page_107'>107</span><span class='sc'>Jervis.</span> Here!</p> + +<p class='c005'><span class='sc'>Miss P.</span> And now you must tell her the truth!</p> + +<p class='c005'><span class='sc'>Jervis.</span> No—not to-day!</p> + +<p class='c005'><a id='tn-beherenow'></a><span class='sc'>Miss P.</span> Yes—to-day. She should be here now +at any moment.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Alarmed, sits on table</i>) I’m a sick man.</p> + +<p class='c005'><span class='sc'>Miss P.</span> Jervis Pendleton! (<i><span class='sc'>Griggs</span> enters from +<span class='fss'>L.</span> and crosses down <span class='fss'>R.</span> to desk, for note-book on +table</i>)—you’re a coward!</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Sees <span class='sc'>Griggs</span> and turns</i>) Oh, Griggs, +did a letter come last week for John Smith? (<i>Crossing +to <span class='fss'>C.</span></i>)</p> + +<p class='c005'><span class='sc'>Griggs.</span> Why, yes, sir.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Crossing to <span class='fss'>R.</span> of table</i>) Why wasn’t it +given to me at once?</p> + +<p class='c005'><span class='sc'>Griggs.</span> (<i>Taking letter from drawer of desk</i>) +I’m sorry, sir. Doctor’s orders, and I forgot to call +your attention to it this morning.</p> + +<p class='c017'>(<i><span class='sc'>Jervis</span> snatches letter from him and hastily opens +it, crossing over <span class='fss'>L.</span> to <span class='sc'>Miss Pritchard</span>. <span class='sc'>Griggs</span> +to <span class='fss'>R.</span> of table, awaiting instructions.</i>)</p> + +<p class='c016'><span class='sc'>Miss P.</span> (<i>As <span class='sc'>Jervis</span> crosses to her</i>) Now, we +shall see—(<i><span class='sc'>Jervis</span> stops and <span class='sc'>Miss Pritchard</span> not +wishing to presume</i>)—unless⸺</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i><span class='fss'>L.</span> of table</i>) Oh, no, no! (<i>Motions +her to be seated. Turns and notes <span class='sc'>Griggs’</span> presence +and dismisses him</i>) That’s all, Griggs, that’s all! +(<i><span class='sc'>Griggs</span> goes up and off <span class='fss'>L.</span> <span class='sc'>Jervis</span> sits <span class='fss'>L.</span> of table. +He opens letter and reads aloud to <span class='sc'>Miss Pritchard</span>.</i>)</p> + +<p class='c020'>“Dearest Daddy Long-Legs,</p> + +<p class='c020'>“For four years you have stood in the background +brooding over my life, and I have loved you very +much, but I want to see you. I want to touch your +hand, I want to know that you are real.</p> + +<p class='c020'><span class='pageno' id='Page_108'>108</span>“Something has happened and I need your advice. +Maybe you know where I came from? Maybe you +know who I am? You must tell me the truth, even +if it’s dreadful. I’d rather know than imagine. It’s +very important that I should know; for perhaps it +will change my whole life. May I tell you a secret, +Daddy dear? I love another man besides you.”</p> + +<p class='c017'>(<i>A look between <span class='sc'>Jervis</span> and <span class='sc'>Miss Pritchard</span>. <span class='sc'>Jervis</span> +hastily continues.</i>)</p> + +<p class='c021'>“But he comes from a family all full of ancestors—and +I’ve never had the courage to tell him about the +John Grier Home….”</p> + +<p class='c017'>(<i><span class='sc'>Miss Pritchard</span> begins occasionally to dab her +eyes with handkerchief.</i>)</p> + +<p class='c021'>“I let him go away believing that I didn’t care. +And now I miss him and miss him and miss him! +The whole world seems empty and aching. I hate +the moonlight because it’s beautiful and he is not +here to see it with me.”</p> + +<p class='c017'>(<i><span class='sc'>Miss Pritchard</span> is affected by the reading, and +<span class='sc'>Jervis</span> tries to conceal his emotion.</i>)</p> + +<p class='c021'>“Yesterday I heard that he has had an accident”—</p> + +<p class='c017'>(<i>Pause. Looks at his hand, then to <span class='sc'>Miss Pritchard</span>.</i>)</p> + +<p class='c021'>—“and has been very ill….”</p> + +<p class='c017'>(<i>Looks at <span class='sc'>Miss Pritchard</span> and hastily continues.</i>)</p> + +<p class='c021'>“I know he is unhappy, and I have been thinking, +maybe—I ought not to let anything in the world +<span class='pageno' id='Page_109'>109</span>stand between us. But, of course, I may be wrong, +because I had a funny bringing up. May I come +and talk with you just once? I will never, never +bother you again.</p> + +<p class='c022'>“Yours always,</p> + +<div class='c023'>“<span class='sc'>Judy</span>.”</div> + +<p class='c017'>(<i><span class='sc'>Jervis</span> rises slowly and <span class='sc'>Miss Pritchard</span> also. <span class='sc'>Jervis</span> +looks at her. <span class='sc'>Miss Pritchard</span> is weeping. +<span class='sc'>Jervis</span>, feeling he must do something in his +joy, hugs <span class='sc'>Miss Pritchard</span>. <span class='sc'>Jervis</span> laughing—<span class='sc'>Miss +Pritchard</span> crying—and after a pause, +<span class='sc'>Jervis’s</span> eyes fall upon the postscript.</i>)</p> + +<p class='c016'>Hello! What’s this postscript?</p> + +<p class='c020'>“Have you a butler? I am afraid of butlers”—</p> + +<p class='c017'>(<i>Another look at <span class='sc'>Miss Pritchard</span>. <span class='sc'>Walters</span> enters +with tray, comes <span class='fss'>C.</span> above table.</i>)</p> + +<p class='c021'>“and I don’t know who to ask for at the door.”</p> + +<p class='c017'>(<i>He squares his shoulders as if throwing off a +weight. He is happy, excited and full of energy.</i>)</p> + +<p class='c016'><span class='sc'>Walters.</span> Your medicine, sir.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Turning to him</i>) What do I want with +medicine? (<i>Crosses over to <span class='fss'>R.</span> <span class='sc'>Walters</span>, looking at +him in blank amazement</i>) I’m tired of this invalid +business. (<i>To <span class='sc'>Miss P.</span></i>) Will you excuse me +while I get in some clothes suitable for a smart +young chap like me? Take it yourself! (<i>He runs +out and upstairs while <span class='sc'>Walters</span> stares after him in +horrified bewilderment.</i>)</p> + +<p class='c005'><span class='sc'>Walters.</span> Do you think—it’s dangerous?</p> + +<p class='c005'><span class='pageno' id='Page_110'>110</span><span class='sc'>Miss P.</span> (<i>Crossing up <span class='fss'>C.</span>, laughing</i>) Don’t worry, +Walters, he’ll recover. (<i>Exits <span class='fss'>L.</span></i>)</p> + +<p class='c017'>(<i>As <span class='sc'>Miss Pritchard</span> exits, <span class='sc'>Walters</span> crosses to <span class='fss'>L.</span> to +armchair. <span class='sc'>Griggs</span> enters to <span class='fss'>C.</span></i>)</p> + +<p class='c016'><span class='sc'>Griggs.</span> Oh, Walters! Where’s Mr. Pendleton?</p> + +<p class='c005'><span class='sc'>Walters.</span> He’s gone out⸺</p> + +<p class='c005'><span class='sc'>Griggs.</span> Gone out?</p> + +<div class='c018'><i>READY BELL</i></div> + +<p class='c016'><span class='sc'>Walters.</span> Of his mind, sir. (<i>Swings armchair +around to face the fire.</i>)</p> + +<p class='c005'><span class='sc'>Griggs.</span> (<i>Crosses to desk at <span class='fss'>R.</span> and places typed +letter to <span class='sc'>Judy</span> on the desk</i>) Oh, Walters, please call +Mr. Pendleton’s attention to this on his return.</p> + +<p class='c017'>(<i>Bell rings off <span class='fss'>R.</span> and <span class='sc'>Maid</span> crosses <span class='fss'>L.</span> to <span class='fss'>R.</span> at back.</i>)</p> + +<p class='c016'><span class='sc'>Walters.</span> Certainly, sir. (<i>Goes to mantel as +<span class='sc'>Griggs</span> exits off <span class='fss'>L.</span></i>)</p> + +<p class='c017'>(<i>A pause—and the <span class='sc'>Maid</span> returns, followed by <span class='sc'>Judy</span>.</i>)</p> + +<p class='c016'><span class='sc'>Maid.</span> (<i>Up <span class='fss'>C.</span>, motioning <span class='sc'>Judy</span> into the room</i>) +I’ll let Miss Pritchard know you’re here!</p> + +<p class='c017'>(<i>LIGHTS. Dim Foots. Take 5 minutes to end of +act.</i>)</p> + +<p class='c016'><span class='sc'>Judy.</span> Thank you. (<i><span class='sc'>Maid</span> exits off <span class='fss'>L.</span> and <span class='sc'>Judy</span> +comes down into room, looking around wonderingly. +<span class='sc'>Walters</span> is at mantel, back turned to <span class='sc'>Judy</span> and concealed +by the armchair. <span class='sc'>Judy</span> comes to <span class='fss'>R.</span> of table +and looks around to <span class='fss'>L.</span>, as <span class='sc'>Walters</span> turns towards +her. His head and shoulders are visible to <span class='sc'>Judy</span> +<span class='pageno' id='Page_111'>111</span>and she is startled, thinking it to be “Daddy Long-Legs”</i>) +You—you are⸺</p> + +<div class='figcenter id001'> +<img src='images/111-plate.jpg' alt='Walters stands in front of Judy, who leans nervously against the armchair' class='ig001'> +</div> + +<p class='c005'><span class='sc'>Walters.</span> (<i>Stepping below chair</i>) The butler, +Miss. (<i><span class='sc'>Judy</span>, frightened, turns to go up <span class='fss'>C.L.</span> and +<span class='sc'>Walters</span> crosses to chair <span class='fss'>L.</span> of table</i>) Who is it you +wish to see, please?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Coming down <span class='fss'>R.</span> of table</i>) Oh, I wish to +see Mr.—Mr.—er⸺ How is the old gentleman?</p> + +<p class='c005'><span class='sc'>Walters.</span> (<i>Startled</i>) The old—old—oh, yes, +Miss! He’s far from well.</p> + +<p class='c005'><span class='sc'>Judy.</span> Oh, I’m so sorry. I haven’t heard—I +hope it isn’t serious?</p> + +<p class='c005'><span class='sc'>Walters.</span> (<i>To <span class='fss'>L.C.</span>, above table</i>) He’s pretty +bad, Miss. He can’t seem to pick up.</p> + +<p class='c005'><span class='sc'>Judy.</span> Oh, and, of course, at his age he must be +very feeble?</p> + +<p class='c005'><span class='sc'>Walters.</span> Feeble, Miss? (<i>Turning and looking +upstairs, then turning back to <span class='sc'>Judy</span></i>) Well, not exactly +feeble, Miss—er—between ourselves, he’s a +little bit out of his head!</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Troubled, stepping back to <span class='fss'>R.</span></i>) Oh! I’m +so sorry! Why—who⸺</p> + +<p class='c017'>(<i><span class='sc'>Miss Pritchard</span> enters <span class='fss'>C.</span>, crosses down to <span class='sc'>Judy</span>, +as <span class='sc'>Walters</span> sees <span class='sc'>Miss Pritchard</span> and goes up +and off <span class='fss'>L.</span></i>)</p> + +<p class='c016'><span class='sc'>Miss P.</span> (<i>Embracing <span class='sc'>Judy</span></i>) Judy, dear! +(<i>Takes <span class='sc'>Judy’s</span> furs and puts them on desk and +turns to her</i>) You’re late! Did you have any +trouble finding the house? (<i>Sits at desk.</i>)</p> + +<p class='c005'><span class='sc'>Judy.</span> Oh, no, the taxicab brought me straight to +the door, but when I got here I was afraid to ring +the bell. I walked twice around the block to get up +my courage—but I needn’t have been afraid. The +butler is such a nice fatherly old man.</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i><span class='sc'>Judy</span> bus. Spotlight from lower <span class='fss'>R.</span> +<span class='pageno' id='Page_112'>112</span>through window—focussed before rise and thrown +up stage—covers <span class='sc'>Judy</span></i>) Did my telegram surprise +you?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Sits <span class='fss'>R.</span> of table</i>) If I live to be ninety-nine, +I shall never forget how surprised I was when +I read that message.—Yesterday, before it came, I +was feeling so discouraged and unhappy and down, +as though all the light had gone out of the world for +me—and then—when I learned that I was to see +Daddy Long-Legs! He has made things right for +me before—maybe he can do it again! Oh, I was +so excited that I couldn’t sleep last night—not a +single wink. Mrs. Semple called me this morning +at four o’clock. I ate breakfast in the kitchen by +candle light, and drove five miles to the station +through the most glorious October dawn. The sun +came up and all of the trees were crimson, and the +cornfields and stone walls covered with frost—the +air was so clear and keen and promising. I just +felt something was going to happen! And all the +way in the train, the rails kept singing: “You’re going +to see Daddy Long-Legs! You’re going to see +Daddy Long-Legs!” And all the time I had the +feeling that maybe before the journey ended, I +should see someone else—someone dearer—dearer +than Daddy…. (<i>She turns to hide her tears from +<span class='sc'>Miss Pritchard</span>, who rises and crosses to her.</i>)</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>Tenderly</i>) My dear!</p> + +<p class='c017'>(<i><span class='sc'>Judy</span> turns to her and observes portrait over the +mantel. Crosses over to <span class='fss'>L.</span> of table to get a better +look and observes a resemblance, slowly turns +around to <span class='sc'>Miss Pritchard</span>.</i>)</p> + +<p class='c016'><span class='sc'>Judy.</span> Why—whose portrait is that?</p> + +<p class='c005'><span class='sc'>Miss P.</span> (<i>To <span class='fss'>R.</span> of table</i>) That is his brother. +<span class='pageno' id='Page_113'>113</span>(<i><span class='sc'>Judy</span> turns back to picture</i>) His eldest brother +who is dead.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>To <span class='sc'>Miss Pritchard</span></i>) Daddy Long-Legs’ +brother?</p> + +<p class='c017'>(<i><span class='sc'>Jervis</span> starts to descend stairs.</i>)</p> + +<p class='c016'><span class='sc'>Miss P.</span> Yes.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Turning to picture again</i>) Strange!—(<i><span class='sc'>Jervis</span> +swings down into room to <span class='fss'>R.</span> without observing +<span class='sc'>Judy</span>. <span class='sc'>Miss Pritchard</span> crosses up to <span class='sc'>Jervis</span> +and meets him a little above <span class='fss'>R.</span> of table. Tenderly +indicates <span class='sc'>Judy’s</span> presence and quietly exits off <span class='fss'>L.</span> +<span class='sc'>Jervis</span> comes down to <span class='fss'>R.</span> of table, on line with <span class='sc'>Judy</span></i>)—it +looks so like—so very—so <em>very</em>—(<i>Turns to +<span class='sc'>Miss Pritchard</span></i>)—like—(<i>Sees <span class='sc'>Jervis</span></i>)—Jervis! +(<i>Drops her head.</i>)</p> + +<div class='c018'><i>DIM MORE</i></div> + +<p class='c016'><span class='sc'>Jervis.</span> Judy!</p> + +<p class='c005'><span class='sc'>Judy.</span> Why are you here?</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Playfully</i>) Why are you here?</p> + +<p class='c005'><span class='sc'>Judy.</span> I came to see Daddy Long-Legs.</p> + +<p class='c005'><span class='sc'>Jervis.</span> And have you seen him?</p> + +<div class='c018'><i>WARN CURTAIN</i></div> + +<p class='c016'><span class='sc'>Judy.</span> No. (<i>Raising her head and looking at +him and noticing his pallor, and taking a step to <span class='fss'>C.</span></i>) +Oh, you’ve been ill?</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Taking a step to <span class='fss'>R.</span> of <span class='sc'>Judy</span></i>) Yes, and +quite a little sad.</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Again with head drooping</i>) I’m sorry.</p> + +<p class='c005'><span class='sc'>Jervis.</span> (<i>Tenderly</i>) Oh, Judy! Judy! Why +did you send me away from you?</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Turning from him</i>) Please, please don’t +ask me why!</p> + +<p class='c005'><span class='sc'>Jervis.</span> May Daddy Long-Legs know?</p> + +<p class='c005'><span class='pageno' id='Page_114'>114</span><span class='sc'>Judy.</span> Yes—he knows.</p> + +<p class='c005'><span class='sc'>Jervis.</span> Oh, my dear, my dear, and did you think +my love for you so mean that a matter of your birth +could make me pause? You are you—that’s all I +ask, my great, my only need⸺</p> + +<p class='c005'><span class='sc'>Judy.</span> My birth—then—you know?</p> + +<p class='c005'><span class='sc'>Jervis.</span> I have known it always—always—since +I first heard a child’s voice crying out for freedom. +From the day a careless hand threw in her path a +grain of hope—a grain which lodged in the richness +of her soul and grew before his watchful eyes, into +a wondrous flower….</p> + +<p class='c005'><span class='sc'>Judy.</span> (<i>Turning to him</i>) Then—you are⸺</p> + +<p class='c005'><span class='sc'>Jervis.</span> Oh, Judy, couldn’t you have guessed that +<em>I was Daddy Long-Legs</em>?</p> + +<p class='c017'>(<i><span class='sc'>Judy</span> slowly raises her eyes to his and reads the +great meaning as <span class='sc'>Jervis</span> puts his arms around +her and gathers her in embrace—as the curtain +descends.</i>)</p> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div>CURTAIN</div> + </div> +</div> + +</div> + +<div class='pbb'> + <hr class='pb c003'> +</div> +<h2 class="hidden">Appendix</h2> + +<div class='nf-center-c0'> +<div class='nf-center c004'> + <div><span class='pageno' id='Page_115'>115</span><a id='scene-1'></a><span class='large'>ACT I</span></div> + </div> +</div> + +<p class='c024'><span class='sc'>Scene</span>: <i>The scene shows the dining-room of the +John Grier Home. A bare, dreary room with +plastered walls. Main entrance at <span class='fss'>C.</span> leading into +a bare hall outside. <span class='fss'>R.</span> of <span class='fss'>C.</span> is a large cupboard; +partly opened; shelves covered with +cheap fringed paper and filled with plates; +dishes and earthenware crocks. On the lowest +shelf is a black paste-board box containing +white muslin caps and aprons. <span class='fss'>R.</span> of cupboard +is an entrance leading into the pantry, at back +a low shelf on which are various kitchen pans. +At lower <span class='fss'>R.</span> is an entrance leading to children’s +department. Above it another entrance with +door leading to kitchen. Entrances lower <span class='fss'>R.</span>, +back <span class='fss'>R.</span> and <span class='fss'>C.</span> are open entrances. At <span class='fss'>L.</span> are +two large windows through which is seen the +porch outside and the yard beyond.</i></p> + +<p class='c015'><i>The room is furnished with four long tables, +two <span class='fss'>R.</span> of <span class='fss'>C.</span> are placed across stage <span class='fss'>R.</span> to <span class='fss'>L.</span> +Two <span class='fss'>L.</span> of <span class='fss'>C.</span> are placed up and down stage. +Table <span class='fss'>L.</span> of <span class='fss'>C.</span> is lower, for the smaller children. +Dimensions, 8 × 2, stand 22 inches high, other +tables 8 × 2 stand 28 inches high, benches on +each side of tables, and stools at end, 18 in. +high. Benches and stools for small table 14 in. +high. The tables are covered with white marble +oil-cloth and rest on horses. The tables are set +for the next meal. A large soup-plate, cup and +soup-spoon at each plate. 14 at a table. On +<span class='pageno' id='Page_116'>116</span>each table a large salt-cellar. Table <span class='fss'>L.</span> of <span class='fss'>C.</span> +down stage is cleared and a dish-pan with +polishing rags and soap placed there for the +orphans to clean the teaspoons for the Trustees’ +tea. On lower table <span class='fss'>R.</span> at <span class='fss'>L.</span> end is a tray containing +cups, saucers and sugar bowl to be sent +to the Trustees’ room. Salt-cellar on this table +filled with sugar, not salt.</i></p> + +<p class='c015'><i>The only decoration in the room is a large +lettered illumined text, painted over door at <span class='fss'>C.</span> +“The Lord will provide.”</i></p> + +<p class='c015'><a id='tn-lippett2'></a><i>The light at rise is of late afternoon dimmed +at cue to dark evening and coming up a little as +<span class='sc'>Mrs. Lippett</span> turns on bracket lights. Off stage +at <span class='fss'>R. 2 E.</span> is a table. On table a tray containing +two plates of bread sandwiches for Judy, also +napkins and dish of sliced lemons for <span class='sc'>Mrs. +Lippett</span>.</i></p> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div><a id='scene-2'></a><span class='large'>ACT II</span></div> + </div> +</div> + +<p class='c024'><i><span class='sc'>The Scene</span> shows a prettily furnished college study. +At <span class='fss'>C.</span> back is a large bay window flanked by +smaller windows <span class='fss'>R.</span> and <span class='fss'>L.</span>, through which is +seen the college campus and country beyond. +<span class='fss'>R.</span> of window at <span class='fss'>R.</span> is the entrance into the room, +the door opening on and down stage. A hall +at rear, leading off <span class='fss'>R.</span> At <span class='fss'>R.</span> middle of plot, a +door opening off into <span class='sc'>Judy’s</span> room and above it, +<span class='fss'>L.</span>, a door opening off into <span class='sc'>Sallie’s</span> room.</i></p> + +<p class='c015'><i>Between doors <span class='fss'>L.</span> is <span class='sc'>Judy’s</span> desk, with chair. +This desk is well arranged. Over it a small sign +stolen from some store by the girls, reading +“We study to please.” Above the sign a large +framed picture of Mona Lisa. On wall above +upper door <span class='fss'>L.</span> is tacked a college poster of the +<span class='pageno' id='Page_117'>117</span>Freshmen’s Tree ceremonies. Under window +<span class='fss'>L.</span> of <span class='fss'>C.</span> is a round table on which is a tea tray +containing cups, saucers, spoons, teapot, cream +pitcher and empty sugar bowl. Also a spirit +lamp, empty alcohol bottle and empty box of +matches. <span class='fss'>L.</span> of this table a couch and pillows +in disorder. Under <span class='fss'>R.</span> end of couch the kettle. +Over couch, tacked on wall, is a Princeton college +pennant. Above couch, fastened on wall, a +bookcase with books. On wall above case hangs +a large rabbit’s head (papier mache). At <span class='fss'>C.</span> a +large bureau with upholstered top sets in the +box window. Drawers to open like steps. On +top, pillow, books and a memorandum case are +scattered, later put in top drawer by <span class='sc'>Julia</span>. +A large, ornamental Japanese lantern hangs +above in <span class='fss'>C.</span> Shade curtains on windows, with +draperies in front on all windows. <span class='fss'>C.</span> draperies +hang to floor, side draperies to window length. +On side window sills, small vases filled with +spring field flowers. Before window <span class='fss'>R.</span> of <span class='fss'>C.</span>, +<span class='sc'>Sallie’s</span> desk, in wild disorder, with chair. <span class='fss'>R.</span> +of desk an oak armchair with one short leg, the +“wobbly” chair. Above chair a large picture of +Sir Galahad. Tacked on wall at window, a college +poster of “Field Day” with an illustration +of <span class='sc'>Judy</span> running <span class='fss'>C.</span>, copied from book (Daddy +Long-Legs). Above <span class='sc'>Sallie’s</span> desk a small +stolen sign, “No smoking allowed.” Over door +at back a larger stolen sign, “Our success is not +mere talk.” On door outside an old-fashioned +brass knocker. Below door at <span class='fss'>R.</span> is <span class='sc'>Julia’s</span> desk, +also in disorder, and chair. Another single +chair a little <span class='fss'>L.</span> and up from this desk. On door +<span class='fss'>R.</span> a poster of the Sophomore’s Cotillion. On +wall <span class='fss'>R.</span> and <span class='fss'>L.</span> of door <span class='fss'>R.</span> a large picture.</i></p> + +<p class='c015'><i>At <span class='fss'>C.</span> on floor a pretty medallion rug, about +<span class='pageno' id='Page_118'>118</span>12 × 15. At <span class='fss'>R.</span> of rug from <span class='fss'>C.</span> a large inkspot +about a foot in diameter. At <span class='fss'>C.</span> to left a combination +flat-topped desk with shelves at <span class='fss'>R.</span> and +<span class='fss'>L.</span> <span class='fss'>R.</span> of table a large rattan armchair with +hour-glass shaped bottom, caned to floor, concealing +inkspot later. An oak armchair <span class='fss'>L.</span> of +desk. On shelf <span class='fss'>L.</span> of desk, a tobacco jar, skull, +with two aged lemons. Also a pair of scissors. +On shelf <span class='fss'>R.</span> of table, a small book for <span class='sc'>Judy</span>. +Cover on desk and it is covered with a heterogeneous +mass of vases, books, ink bottles, tennis +balls and a pair of fencing foils. Chair <span class='fss'>R.</span> +of desk has a sweater and tennis racquet, and a +feather duster for <span class='sc'>Sallie</span>. On floor by inkspot +are a couple of girls’ out-of-door coats and +a note-book. On chair <span class='fss'>L.</span> of desk is a fencing +mask, a basket ball, a tennis racquet, a tam-o’-shanter, +also child’s sweeping broom for <span class='sc'>Julia</span>. +On chair by <span class='sc'>Judy’s</span> desk a golf bag with sticks.</i></p> + +<p class='c015'><i>Off <span class='fss'>L.I.E.</span> is a small crash and an extra cover +for <span class='fss'>C.</span> table, same material as one on stage +which <span class='sc'>Julia</span> takes on after crash avoiding +waste of time. Also a gown for <span class='sc'>Judy</span>. On +table off stage back <span class='fss'>R.</span> a table with box of candy +for <span class='sc'>Jervis</span>, card and tray for maid, plate of +buns for <span class='sc'>Mrs. Pendleton</span>, cup of sugar for +<span class='sc'>Jimmie</span>, cup of tea for <span class='sc'>Sallie</span> and kettle of hot +water and box of tea biscuits for <span class='sc'>Julia</span>.</i></p> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div><a id='scene-3'></a><span class='large'>ACT III</span></div> + </div> +</div> + +<p class='c024'><span class='sc'>Scene</span>: <i>The sitting room at Lock Willow Farm.</i></p> + +<p class='c015'><i>The room is that of an old-fashioned New +England farmhouse, flat ceiling to mid-stage, +and then sloping down at back. A large window +at center with cushioned seat, through +which is seen the garden outside, a stone wall +<span class='pageno' id='Page_119'>119</span>beyond, and in the distance, a rolling landscape +of Connecticut.</i></p> + +<p class='c015'><i>A jut at left extends on about one-quarter of +stage to <span class='fss'>L.</span> of <span class='fss'>C. L.</span> and down stage to about 7 +feet from curtain line. In front of jut at lower +<span class='fss'>L.</span> presenting a side view to audience a short +flight of stairs with white spindle posts and mahogany +rail lead to a door opening off stage to +the living rooms above. At upper <span class='fss'>L.</span> side of jut +is the main door leading into the yard. At the +lower <span class='fss'>R.</span> is a door opening of the kitchen.</i></p> + +<p class='c015'><i>A fireplace at middle right, filled with ferns +and goldenrod. An old-fashioned, three-cornered +colonial cupboard in upper <span class='fss'>R.</span> corner. +The walls are covered with a soft-shaded cretonne +of green and white stripes, blended with +a small rose pattern of flowers. The doors, +windows, fireplace and all woodwork are in +ivory white, and a mahogany baseboard extending +around the room.</i></p> + +<p class='c015'><a id='tn-sallie'></a><i>The furniture is all old colonial mahogany. +A mahogany drop-leaf table at <span class='fss'>C.</span>, a lacquered +single chair at <span class='fss'>R.</span> of table, an armchair at <span class='fss'>L.</span> +and a mahogany upholstered stool below table. +An old cashmere covering on table, and an old-fashioned +inlaid desk with writing materials on +table for <span class='sc'>Sallie</span>.</i></p> + +<p class='c015'><a id='tn-armchair'></a><i>At <span class='fss'>R.</span> in front of mantel, an upholstered mahogany +armchair with tidy. At <span class='fss'>R.</span> above mantel +a square work-table; a small work-basket +on table. At <span class='fss'>L.</span> of cupboard an armchair, <span class='fss'>L.</span> of +window a what-not filled with shells, vases, and +odds and ends of ornaments. At stage <span class='fss'>L.</span> a +small mahogany upright piano, with single mahogany +chair and cushioned seat for <span class='sc'>Judy</span>. +Music on piano. Below piano another single +chair. At lower <span class='fss'>L.</span> below stairs a small mahogany +<span class='pageno' id='Page_120'>120</span>card-table, leaf raised against wall. On +table an old clock and pair of old-fashioned silver +candlesticks with partly burned candles. +Over table, an old mahogany mirror.</i></p> + +<p class='c015'><i>In lower front side of jut—on wall, on a diagonal +line with staircase are hung some old +family silhouettes. Over piano (on side wall +of jut) hangs an oil painting of <span class='sc'>Jervis Pendleton</span> +at the age of four. Above piano near +door hangs an old framed engraving of George +Washington. Over what-not at <span class='fss'>L.</span> back hangs +a large engraving of Gen. Grant and family, +flanked by smaller old framed pictures of Lincoln +and Jackson. At <span class='fss'>L.</span> back between window +and cupboard hangs a colored Martha Washington +and below a small engraving of Washington +at Valley Forge. Over mantel at <span class='fss'>C.</span> +hangs an old-fashioned, oblong mirror, with top +picture panel. On either side of mirror hangs +old-fashioned life-size crayons in oval frames +of <span class='sc'>Mr.</span> and <span class='sc'>Mrs. Semple</span>. On either side of +fireplace, flanking the <span class='sc'>Semple</span> pictures, are +small characteristic pictures of colonial subjects. +An old copper warming pan hangs at lower end +of fireplace.</i></p> + +<p class='c015'><i>A large rag medallion on floor at <span class='fss'>C.</span> and +around the room some hand-braided rugs. +White shade curtains at <span class='fss'>C.</span> overhung with lace +curtains. A plaited valance across top of window +with side draperies, and cushioned seat in +window with hanging drape to match top of +valance—all of same material (green and mahogany +water stain) serve as a picture frame +to window and complete the room. Off stage to +<span class='fss'>R.</span> is a telephone bell. Off stage at lower <span class='fss'>L.</span> a +stamped envelope for <span class='sc'>Sallie</span>. Off stage <span class='fss'>L. U.</span> +<span class='pageno' id='Page_121'>121</span>the other properties for <span class='sc'>Carrie</span>, <span class='sc'>Judy</span> and <span class='sc'>Jimmie</span>.</i></p> + +<p class='c015'><i>The light outside is a soft September afternoon +of rich amber. Within the room the light +is full but not bright. Dimmed at end of act +into a mellow sunset.</i></p> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div><a id='scene-4'></a><span class='large'>ACT IV</span></div> + </div> +</div> + +<p class='c024'><span class='sc'>Scene</span>: <i>The scene shows <span class='sc'>Jervis Pendleton’s</span> library, +a dark, richly-furnished man’s room. +The room is panelled in Circassian walnut and +topped by a green and gold frieze. The entrance +<span class='fss'>C.</span> is a square arch, hung with curtains +partly open and topped with lambrequin. It +leads to the hall outside. The back wall in hall +is tapestry covered; stairs at <span class='fss'>C.</span> lead up and off +<span class='fss'>L.</span> A grandfather’s clock at <span class='fss'>R.</span> of stairway. In +room at <span class='fss'>R.</span>, a large window corresponding in +width to arch at <span class='fss'>C.</span>, hung with curtains and lambrequin +at <span class='fss'>C.</span> arch, and lace curtains. In front +of window a desk, and on desk, writing materials +and papers, a push button at <span class='fss'>L.</span> of desk and +a telephone at <span class='fss'>R.</span> of desk. A lower (<span class='fss'>L.</span>) drawer +of desk opens, and in it is a written letter addressed +“John Smith.” On desk papers for +<span class='sc'>Griggs</span>, a stenographer’s note-book and extra +note-book which <span class='sc'>Griggs</span> returns for in Act.</i></p> + +<p class='c015'><i>A long library table at <span class='fss'>C.</span>, running <span class='fss'>L.</span> and <span class='fss'>R.</span>, +a chair at each end. On table <span class='fss'>C.</span> a book rack +and books. At back of either side of entrance +are large bookcases filled with books and ornamented +on top with large vases. At <span class='fss'>R.</span>, above +desk, a teakwood table and large lamp. At <span class='fss'>L.</span> +a mantelpiece and open grate fire with steel +fender. Above the mantel a painted portrait +of <span class='sc'>Jervis Pendleton’s</span> brother. On mantel a +<span class='pageno' id='Page_122'>122</span>library clock and vases. Before fireplace a +large, upholstered armchair.</i></p> + +<p class='c015'><i>Off stage <span class='fss'>L.</span>, on table, a tray containing a +glass, bottle of medicine, with small quantity +of medicine for <span class='sc'>Jervis</span> to drink and the medicine +graduate. An additional bottle for <span class='sc'>Walters</span> +and second entrance with medicine change. +A doctor’s surgical bag, typewritten letter for +<span class='sc'>Griggs</span> (<span class='sc'>Judy’s</span> letter). Off stage <span class='fss'>R.</span>, a doorbell.</i></p> + +<p class='c015'><i>The time is late afternoon of an October day.</i></p> + +<p class='c015'><i>At <span class='fss'>R.</span>, through window, a spot-lamp spreads +over desk. Practical fire in grate at <span class='fss'>L.</span></i></p> + +<div class='pbb'> + <hr class='pb c003'> +</div> + +<div class='nf-center-c0'> +<div class='nf-center c004'> + <div><span class='pageno' id='Page_123'>123</span><span class='large'>PROPERTY PLOT</span></div> + <div class='c003'><span class='large'>ACT I</span></div> + </div> +</div> + +<p class='c016'>1 ground cloth; 1 large cupboard, with shelf; +cheap fringed shelf paper; plates, dishes and earthenware +crocks in cupboard; 1 black box, containing +2 white aprons and lace caps on shelf; in pantry, +low shelf, containing various kitchen pans; 7 +benches; 7 stools; 4 oilcloth covered tables; 4 horses +for same; tables 8 feet by 2 feet—28 inches high; 1 +table only 22 inches high; 2 benches 22 inches high; +4 tables as described; 4 benches same height; 4 +dozen plates—white enamel; 4 dozen mugs—white +enamel; 4 dozen tablespoons; 1 salt cellar filled with +sugar (not salt); 2 black Japan trays; 1 tea set +(6 cups, 6 saucers, 1 sugar bowl, 1 cream pitcher); +4 large salt cellars; 2 dishpans; 1 wash basin; +polishing cloths, soap and towels; extra cups to +break; 1 dozen teaspoons; 4 kitchen chairs; 1 shelf—in +pantry.</p> + +<p class='c005'>Properties Off Stage R. 1 E.—1 rag rug; on +property table, 1 tray containing 2 plates of bread +sandwiches, 1 dish of sliced lemon; 6 napkins.</p> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div><span class='large'>PROPERTY PLOT</span></div> + <div class='c003'><span class='large'>ACT II</span></div> + </div> +</div> + +<p class='c016'>Desk with chair; desk well arranged. (Judy’s +desk.) Over it, small sign reading: “We study to +please.” Above sign, large framed picture of Mona +<span class='pageno' id='Page_124'>124</span>Lisa; college poster of Freshman’s Tree ceremonies; +tacks to tack it on wall; round table; on table, a tea +tray containing cups, saucers, spoons, tea pot, cream +pitcher and empty sugar bowl; spirit lamp; empty +alcohol bottle; empty match box; couch and pillows +in disorder; kettle; Princeton college pennant tacked +on wall; bookcase, with books to hang on wall; +papier mache rabbit’s head tacked over bookcase; +large bureau with upholstered top and drawers to +open like steps; on top, pillows, books and memoranda +case are scattered; large ornamental Japanese +lantern hangs above in C. Shades on windows, with +draperies to window length; on side window sills, +small vases filled with spring field flowers; another +desk in wild disorder (<span class='sc'>Sallie’s</span> desk) with chair; +old oak armchair with one short leg—the “wobbly” +chair; large picture of Sir Galahad; college poster of +“Field Day” with illustration of <span class='sc'>Judy</span> running, copied +from book (Daddy Long-Legs). Small sign, +“No Smoking Allowed.” Another sign, “Our success +is not mere talk.” Old fashioned brass knocker +for door. Another desk, also in disorder (<span class='sc'>Julia’s</span> +desk) and chair; another single chair; poster of +Sophomore’s Cotillion; large pictures on wall; pretty +medallion rug, about 12 × 15; large inkspot on rug; +combination flat top desk with shelves at R. and L. +<a id='tn-inkspot'></a>Large rattan arm-chair with hour-glass shaped bottom, +caned to floor (to conceal inkspot). Oak +arm-chair; tobacco jar; skull; 2 aged lemons; pair +of scissors; small book; cover on desk; mass of +vases, books, ink bottles, tennis balls; 1 pair fencing +foils on desk; chair at desk; sweater; 2 tennis +racquets; feather duster; 2 (girls’) out-of-doors +coats; note-book; fencing mask; basket-ball, tam-o’-shanter; +child’s sweeping broom; golf bag with +sticks.</p> + +<p class='c005'><span class='pageno' id='Page_125'>125</span>Properties Off Stage L. 1 E.: small crash; extra +cover for C. table, same material as one on stage; +gown for <span class='sc'>Judy</span>; on table R. at back, a table with +box of candy, card and tray, plate of buns, cup of +sugar, cup of tea, kettle of hot water, box of tea +biscuits.</p> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div><span class='large'>PROPERTY PLOT</span></div> + <div class='c003'><span class='large'>ACT III</span></div> + </div> +</div> + +<p class='c016'>Fire-place (middle right) filled with ferns and +goldenrod; all furniture is old Colonial mahogany. +Old fashioned 3-cornered Colonial cupboard; drop +leaf table; lacquered single chair; arm-chair; upholstered +stool; old cashmere cover on table; old +fashioned inlaid desk; writing materials; upholstered +arm-chair; tidy; square work-table; small workbasket; +arm-chair; what-not with shells, vases, odds +and ends of ornaments; small mahogany upright +piano; cushioned seat; music on piano; another single +chair; small mahogany card table, leaf raised; +old clock; pair old fashioned silver candlesticks; +partly burned candles; old mahogany mirror; old +family silhouettes; oil painting of <span class='sc'>Jervis Pendleton</span> +at age of 4; old fashioned engraving of George +Washington; large engraving of General Grant and +family; old framed pictures of Lincoln and Jackson; +colored Martha Washington; small engraving of +Washington at Valley Forge; old fashioned oblong +mirror with top picture panel; old fashioned life-size +crayons in oval frames of <span class='sc'>Mr.</span> and <span class='sc'>Mrs. Semple</span>; +warming pan; large rag medallion; several hand +braided rugs; white shades; lace curtains; plaited +valance for top of window, with side draperies; +<span class='pageno' id='Page_126'>126</span>cushioned seat in window; hanging draperies to +match top of valance—all same material.</p> + +<p class='c005'>Properties Off Stage R.: telephone bell; off lower +L. stamped envelope. L.U. the other properties for +<span class='sc'>Carrie</span>, <span class='sc'>Judy</span> and <span class='sc'>Jimmie</span>.</p> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div><span class='large'>PROPERTY PLOT</span></div> + <div class='c003'><span class='large'>ACT IV</span></div> + </div> +</div> + +<p class='c016'>Grandfather’s clock; curtains, topped with lambrequin +for arch; curtains, lambrequin and lace curtains +for window; desk; writing materials and +papers; push button L. of desk; telephone R. of +desk; letter addressed “John Smith” (in lower L. +drawer of desk); papers; stenographers’ note book; +extra note book; long library table; 2 chairs; table; +book rack; books; bookcase filled with books (at +entrance) large vases (on top); teakwood table; +large lamp; mantelpiece; open fire grate; steel +fender; painted portrait of <span class='sc'>Jervis Pendleton’s</span> +brother; library clock and vases (on mantel); large +upholstered chair.</p> + +<p class='c005'>Properties Off Stage: L. on table, tray with glass, +bottle of medicine, small quantity of medicine for +Jervis to drink; medicine graduate; additional bottle; +doctor’s surgical bag; typewritten letter. Off R. +door-bell.</p> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div><span class='large'>ELECTRICAL PLOT</span></div> + <div class='c003'><span class='large'>ACT I</span></div> + </div> +</div> + +<p class='c016'>Foots, amber and white up one-half at rise.</p> + +<p class='c005'>Foots dimmed at cue to one-fourth up. (Bunch +lamps and strips dim on same cue.)</p> + +<p class='c005'><span class='pageno' id='Page_127'>127</span>At window L. and amber and white bunch lamp +above and below on each backing.</p> + +<p class='c005'>At windows L. a 7 blue light strip on each backing +up full through Act.</p> + +<p class='c005'>Over doors C. and R. of C. a three-lamp strip +dimmed at cue as above.</p> + +<p class='c005'>Over doors at R., R.1 E., R.2 E.—a two lamp strip.</p> + +<p class='c005'>Bracket lamps, one at R. between doors, one R. of +C. door, one L. of C. door, and one in C. of C. hallway +to be turned on by <span class='sc'>Miss Lippett</span> at cue.</p> + +<p class='c005'>Footlights come up a trifle when brackets are on.</p> + +<p class='c005'>A five-lamp strip (32 power lamps) in foots at +C. up full through Act.</p> + +<p class='c005'>A spot lamp off L. upper window, to swing on +pivot, into and around the room, indicating the +approach of a motor car, at near end of Act, cue +from <span class='sc'>Judy</span> “I can think about him. Please! Please!”</p> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div><span class='large'>ELECTRICAL PLOT</span></div> + <div class='c003'><span class='large'>ACT III</span></div> + </div> +</div> + +<p class='c016'>The light outside is a soft September afternoon, +of rich amber.</p> + +<p class='c005'>Within the room the light is full but not bright.</p> + +<p class='c005'>Dimmed at end of Act into a mellow sunset.</p> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div><span class='large'>ELECTRICAL PLOT</span></div> + <div class='c003'><span class='large'>ACT IV</span></div> + </div> +</div> + +<p class='c016'>The time is late afternoon on an October day. At +R. through window, a spot lamp spreads over desk. +Practical fire in grate over L.</p> + +<p class='c005'>LIGHTS. Placement. Fixtures NOT ON.</p> + +<p class='c005'>Floods outside window R.</p> + +<p class='c005'><span class='pageno' id='Page_128'>128</span>Bunches Amber in arch C.</p> + +<p class='c005'>Spot in window R.1 to hit R.C.</p> + +<p class='c005'>Proc. Spot to hit Briss, R.C.</p> + +<p class='c005'>Proc. Spot to hit chair L. of table.</p> + +<p class='c005'>RISE FULL UP. Briss ENT. DIM. FTS. to +1/2—5 min.</p> + +<p class='c005'>Rise door bell R.</p> + +<p class='c005'>Red 1 5.</p> + +<p class='c005'>Red—Foots.</p> + +<p class='c005'>Amber—Foots.</p> + +<p class='c005'>White—Foots.</p> +<div class='pbb'> + <hr class='pb c003'> +</div> +<div id='stage141' class='figcenter id001'> +<img src='images/141-stage.jpg' alt='Stage diagram of Act I: The Orphan Asylum' class='ig001'> +</div> +<div id='stage142' class='figcenter id001'> +<img src='images/142-stage.jpg' alt='Stage diagram of Act II: Judy’s Study at College' class='ig001'> +</div> +<div id='stage143' class='figcenter id001'> +<img src='images/143-stage.jpg' alt='Stage diagram of Act III: Sitting Room at Farm House' class='ig001'> +</div> +<div id='stage144' class='figcenter id001'> +<img src='images/144-stage.jpg' alt='Simplified stage diagram of Act III: Sitting Room of Farm House' class='ig001'> +</div> +<div id='stage145' class='figcenter id001'> +<img src='images/145-stage.jpg' alt='Stage diagram of Act IV: Pendleton’s Library' class='ig001'> +</div> + +<div class='pbb'> + <hr class='pb c003'> +</div> +<div class='admatter'> + +<div class='nf-center-c0'> +<div class='nf-center c004'> + <div><span class='large'>THE REJUVENATION OF AUNT MARY.</span></div> + </div> +</div> + +<p class='c005'>The famous comedy in three acts, by Anne Warner. 7 males, 6 +females. Three interior scenes. Costumes modern. Plays 2¼ hours.</p> + +<p class='c005'>This is a genuinely funny comedy with splendid parts for “Aunt +Mary,” “Jack,” her lively nephew; “Lucinda,” a New England ancient +maid of all work; “Jack’s” three chums; the Girl “Jack” loves; +“Joshua,” Aunt Mary’s hired man, etc.</p> + +<p class='c005'>“Aunt Mary” was played by May Robson in New York and on tour +for over two years and it is sure to be a big success wherever produced. +We +strongly recommend it. <span class="price"><span class='small'>Price, 60 Cents.</span></span></p> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div><span class='large'>MRS. BUMSTEAD-LEIGH.</span></div> + </div> +</div> + +<p class='c005'>A pleasing comedy, in three acts, by Harry James Smith, author of +“The Tailor-Made Man.” 6 males, 6 females. One interior scene. +Costumes modern. Plays 2¼ hours.</p> + +<p class='c005'>Mr. Smith chose for his initial comedy the complications arising +from the endeavors of a social climber to land herself in the altitude +peopled by hyphenated names—a theme permitting innumerable complications, +according to the spirit of the writer.</p> + +<p class='c005'>This most successful comedy was toured for several seasons by Mrs. +Fiske +with enormous success. <span class="price"><span class='small'>Price, 60 Cents.</span></span></p> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div><span class='large'>MRS. TEMPLE’S TELEGRAM.</span></div> + </div> +</div> + +<p class='c005'>A most successful farce in three acts, by Frank Wyatt and William +Morris. 5 males, 4 females. One interior scene stands throughout +the three acts. Costumes modern. Plays 2½ hours.</p> + +<p class='c005'>“Mrs. Temple’s Telegram” is a sprightly farce in which there is +an abundance of fun without any taint of impropriety or any element +of offence. As noticed by Sir Walter Scott, “Oh, what a +tangled web we weave when first we practice to deceive.”</p> + +<p class='c005'>There is not a dull moment in the entire farce, and from the time +the curtain rises until it makes the final drop the fun is fast and +furious. +A very exceptional farce. <span class="price"><span class='small'>Price, 60 Cents.</span></span></p> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div><span class='large'>THE NEW CO-ED.</span></div> + </div> +</div> + +<p class='c005'>A comedy in four acts, by Marie Doran, author of “Tempest and +Sunshine,” etc. Characters, 4 males, 7 females, though any number +of boys and girls can be introduced in the action of the play. One +interior and one exterior scene, but can be easily played in one interior +scene. Costumes modern. Time, about 2 hours.</p> + +<p class='c005'>The theme of this play is the coming of a new student to the college, +her reception by the scholars, her trials and final triumph.</p> + +<p class='c005'>There are three especially good girls’ parts, Letty, Madge and +Estelle, but the others have plenty to do. “Punch” Doolittle and +George Washington Watts, a gentleman of color, are two particularly +good comedy characters. We can strongly recommend “The New +Co-Ed” to high schools +and amateurs. <span class="price"><span class='small'>Price, 30 Cents.</span></span></p> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div>(The Above Are Subject to Royalty When Produced)</div> + </div> +</div> + +<hr class='c025'> + +<div class='nf-center-c0'> + <div class='nf-center'> + <div>SAMUEL FRENCH, 28-30 West 38th Street, New York City</div> + <div><b>New and Explicit Descriptive Catalogue Mailed Free on Request</b></div> + </div> +</div> + +</div> + +<div class='pbb'> + <hr class='pb c003'> +</div> +<div> + +<p class='c026'></p> + +</div> +<div class='transcribers-notes'> + +<div class='nf-center-c1'> + <div class='nf-center'> + <div><span class='xlarge'>Transcriber’s Notes</span></div> + </div> +</div> + +<p class='c001'>Stage directions are spaced inconsistently in the original printed text (e.g., “R. I. E.” vs. “R.I.E.”) and are reproduced here as they appear in print. On <a href='#tn-embraces'>p. 25</a>, a stage direction has an orphan embrace Judy before she has entered; on <a href='#tn-missing'>p. 104</a> there appears to be a missing or misattributed line, as Jervis is given two lines in a row (beginning “And I thought…” and “The same idea…”). As the correction is not clear in either case, the passages have been left as printed.</p> + +<p class='c027'><a href='#tn-codman-line'>One line</a> and <a href='#tn-codman-sd'>one stage direction</a> in Act 1 reference a character named “Codman,” who does not appear elsewhere in the play but appears to be one of the Trustees; this is possibly intended to be Wykoff.</p> + +<p class='c027'>Below is a list of itemized changes from the original text. Other minor inconsistencies, such as differences in hyphenation (e.g. “armchair” vs. “arm-chair”, “carefree” vs. “care-free”), have been left as printed.</p> + <ul class='ul_1'> + <li><a href='#tn-sayye'>p. 6</a>: Removed italics from mistakenly italicized line (Say ye knocked this + off…) + </li> + <li><a href='#tn-flamboyant'>p. 9</a>: Corrected “flambuoyant” to “flamboyant” (Examines a flamboyant + watch…) + </li> + <li><a href='#tn-today1'>p. 10</a>: Corrected “today” to “to-day” (…in this institution to-day) + </li> + <li><a href='#tn-rie'>p. 11</a>: Added missing period in “R. I. E.” (Exits R. I. E.) + </li> + <li><a href='#tn-today2'>p. 13</a>: Corrected “today” to “to-day” (…Jervis Pendleton with us to-day) + </li> + <li><a href='#tn-tres'>p. 23</a>: Corrected “tres” to “très” (Tu es enfant très bon…) + </li> + <li><a href='#tn-lippett1'>p. 26</a>: Corrected “Lippet” to “Lippett” (This won’t do, Mrs. Lippett!…) + </li> + <li><a href='#tn-bumping'>p. 26</a>: Supply missing period after “…upsetting the tea by bumping into + Jervis.” + </li> + <li><a href='#tn-msmrs'>p. 69</a>: Corrected “Mrs. Pritchard” to “Miss Pritchard” in stage direction. + </li> + <li><a href='#tn-impossible'>p. 105</a>: Corrected “imposisble” to “impossible” (Of course I know it’s + impossible…) + </li> + <li><a href='#tn-beherenow'>p. 105</a>: Corrected “he” to “be” (She should be here now…) + </li> + <li><a href='#tn-lippett2'>p. 116</a>: Corrected “Lippet” to “Lippett” (…as Mrs. Lippett turns on + bracket lights.) + </li> + <li><a href='#tn-armchair'>p. 119</a>: Supply missing comma after “At L. of cupboard an armchair,” + </li> + <li><a href='#tn-sallie'>p. 119</a>: Corrected “Sllie” to “Sallie” (…writing materials on table for + Sallie.) + </li> + <li><a href='#tn-inkspot'>p. 124</a>: Corrected “ink-spot” to “inkspot” (…to conceal inkspot) + </li> + </ul> + +<div class='nf-center-c1'> + <div class='nf-center'> + <div>New original cover art included with this eBook</div> + <div>is granted to the public domain.</div> + </div> +</div> + +</div> + +<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 75857 ***</div> + </body> + <!-- created with ppgen.py 3.57e (with regex) on 2025-02-01 14:04:26 GMT --> +</html> + diff --git a/75857-h/images/08-plate.jpg b/75857-h/images/08-plate.jpg Binary files differnew file mode 100644 index 0000000..e9221ce --- /dev/null +++ b/75857-h/images/08-plate.jpg diff --git a/75857-h/images/111-plate.jpg b/75857-h/images/111-plate.jpg Binary files differnew file mode 100644 index 0000000..ccfe820 --- /dev/null +++ b/75857-h/images/111-plate.jpg diff --git a/75857-h/images/141-stage.jpg b/75857-h/images/141-stage.jpg Binary files differnew file mode 100644 index 0000000..c5873e1 --- /dev/null +++ b/75857-h/images/141-stage.jpg diff --git a/75857-h/images/142-stage.jpg b/75857-h/images/142-stage.jpg Binary files differnew file mode 100644 index 0000000..5fc8457 --- /dev/null +++ b/75857-h/images/142-stage.jpg diff --git a/75857-h/images/143-stage.jpg b/75857-h/images/143-stage.jpg Binary files differnew file mode 100644 index 0000000..12fec93 --- /dev/null +++ b/75857-h/images/143-stage.jpg diff --git a/75857-h/images/144-stage.jpg b/75857-h/images/144-stage.jpg Binary files differnew file mode 100644 index 0000000..4820d89 --- /dev/null +++ b/75857-h/images/144-stage.jpg diff --git a/75857-h/images/145-stage.jpg b/75857-h/images/145-stage.jpg Binary files differnew file mode 100644 index 0000000..b0ede9d --- /dev/null +++ b/75857-h/images/145-stage.jpg diff --git a/75857-h/images/26-plate.jpg b/75857-h/images/26-plate.jpg Binary files differnew file mode 100644 index 0000000..ef8a32d --- /dev/null +++ b/75857-h/images/26-plate.jpg diff --git a/75857-h/images/32-plate.jpg b/75857-h/images/32-plate.jpg Binary files differnew file mode 100644 index 0000000..58f02c3 --- /dev/null +++ b/75857-h/images/32-plate.jpg diff --git a/75857-h/images/54-plate.jpg b/75857-h/images/54-plate.jpg Binary files differnew file mode 100644 index 0000000..9ef67ab --- /dev/null +++ b/75857-h/images/54-plate.jpg diff --git a/75857-h/images/bracket.jpg b/75857-h/images/bracket.jpg Binary files differnew file mode 100644 index 0000000..f5b6e15 --- /dev/null +++ b/75857-h/images/bracket.jpg diff --git a/75857-h/images/cover.jpg b/75857-h/images/cover.jpg Binary files differnew file mode 100644 index 0000000..c2feb2b --- /dev/null +++ b/75857-h/images/cover.jpg diff --git a/75857-h/images/title-page.jpg b/75857-h/images/title-page.jpg Binary files differnew file mode 100644 index 0000000..c68ceaa --- /dev/null +++ b/75857-h/images/title-page.jpg diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..b5dba15 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This book, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this book outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..822d748 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +book #75857 (https://www.gutenberg.org/ebooks/75857) |
