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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 *** |