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Part 1

DADDY LONG-LEGS

By JEAN WEBSTER

FRENCH’S STANDARD LIBRARY EDITION

SAMUEL FRENCH, 28-30 West 38th St., New York

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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)

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SAMUEL FRENCH, 28-30 West 38th Street, New York City New and Explicit Descriptive Catalogue Mailed Free on Request

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DADDY LONG-LEGS

A COMEDY IN FOUR ACTS

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

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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.

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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 }

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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.

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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?