Part 7
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
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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._