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,
(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?
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—
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.)
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?
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.)
Appendix
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.
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.
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.