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.