Daddy Long-Legs : a comedy in four acts

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DADDY LONG-LEGS

By JEAN WEBSTER

SAMUEL FRENCH, 28-30 West 98th St., New York

BILLETED.

A comedy !n i acta, by F. Tenniaon Jesse and H. Harwood. 4
males, S females. Otie easy interior scer^. A charmingr comedy,
constrocted with uocomraon skill, and abounds with clever lines.
Margaret Anglin's big success. Amateurs will find this comedy easy
to produce and popauir with all audiences. Fnce, 60 Cents.

NOTHING BUT THE TRUTH.

A comedy in' 3 acts. By James Montgomery. 5 males, 6 females.
Costumes, modern. Two mterior scenes. Flays 2}4 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,"
aocomplished the feat. The bet he made with his business partners,
and the trouble he got into— with his partners, his friends, and his
fiancee-^this is the subject of William Collier's tremendous comedy
hit. "ITothing But the Truth" ca^ be whole-heartedly recommended
as one of the most sprightly, amusing and' popular comedies that this
country cvi boast, i Price, 60 Cenis.

IN WALKED JIMMY.

A cofflfidy in 4 acts, by Minnie Z. Jaffa. 10 irialea, 2 females (al-
thbusrh any number of males and females may be used as clerks,
etc.). Two interior scenes. Costumes, modern. ^ Plays 2^ hours.
The thing into which Jimmy walked. Was a broken-^own shoe factory,
when the clerks had ^U been fired, and when the proprietor was in
serious contemplation of sUici^^ ^ ' .

Jimmy, nbthingr else but-plain Jimmyi would haveljeeii a. mysterious
figure had it not been fbr his matter-of-fact manner, his ^mtle 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. _

<^ean, /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 cf the most delightful of plays.
Jimmy is full of the reltgion of life, the religion of happiness, and ■
the religion of helpfulness, and he so permeates the atmosphere with
his "religion" that everybne 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 jcomedy in three acts, by Julie 'M. Lippmann, -author
of the Martha" stories. 5 males, S females. Three interior scenes.
Costumes modem. Flays 2^t hours.

It is, altogether a gentle thiGg, this play. It is full of quaint hu-
mor, pld-^ashioned, homely sentiment, the . kind that pec^le who see
the play ViH recall and chuckle . over to-morrow and the next day.

Af'ss Lippmann has herself adapted her Visry successful hook for
sta^e 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, $0 Cents.

' (The Above Are Subject to Royalty When Produced)
SAMUEL. FRBNCn, 38-30 WettSSth Street, New York Clt^

Haw and Eqilicit Dascript'na CatJigtu* Mailed Fraa on Raquatt

DADDY LONG-LEGS

A COMEDY IN FOUR ACTS

BY
JEAN WEBSTER

AH Rights Reserved

CAUTION. — Professionals and amateurs are hereby warned
that "DADDY LONG-LEGS," being fully protected
under the copyright laws of ths United States, Great
Britain and Canada, is subject to a royalty, and any-
one 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 act-
ing rights must be made to Samuel French, 38-30 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

SAMUEL FRENCH

Publisher

28-30 West 38th Street

London

SAMUEL FRENCH, Ltd.

26 Southampton Street

STRAND

Copyright, 1912 (in I^^ovel Form), by The Century Co.
Copyright, 1914, by Jean Webster
Copyright, 1933, by Samuel French

Especial notice should be taken that the possession of
this book without a valid contract for production first
having been obtained from the publisher, confers no right
or license to professionals or amateurs to produce the play
publicly or in private for gain or charity.

In its present form this play is dedicated to the reading
public only, and no performance, representation, produc-
tion, 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 perform-
ance, 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 rep-
resenting 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, m all cases to be assessed at such sum, not
less than one hundred dollars for the first and fifty dol-
lars 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 con-
viction shall be imprisoned for a period not exceeding one
year."— U. S. Revised Statutes: Title 60, Chap. 3.

CHARACTERS

Jervis Pendleton

James McBride

Cyrus Wykoff

Abner Parsons

Griggs

Walters

Judy

Miss Pritchaed

Mrs. Pendleton

Julia Pendleton

Sallie McBride

Mrs. Semple

Mrs. Lippett

Sadie Kate

Gladiola

Loretta I Orphan Children at the

Mamie f John Grier Home

Freddie Perkins

Carrie

SYNOPSIS OF SCENES

ACT I

The dining-room of the John Grier Home on
Trustees' Day.

ACT II

Judy's college study, an afternoon in May, one
year later.

ACT III

The sitting-room at Lock Willow farm, summer,
three years later.

ACT IV

Mr. Pendleton's library, two months later.

DADDY LONG-LEGS

ACT I

Scene: The dining-room of the John Grier Home
on Trustees' Day. A plan and full description
of the scene will be found at the end of the
play.

Discovered : At Rise, Two Orphans are seated
down stage at table l. of c. Sadie Kate e. of
table and Loretta on the stool below table, en-
gaged 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 sam^
striped blue gingham that the girls are wearing.
His hair is shaved close to his head.
5

6 DADDY LONG-LEGS

He carries a rolled-up rag rug over his
shoulders, and as he passes, he purposely knocks
againsi Sadie Kate. She hits hack 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 hacks against the table c. and stands
horrified, staring at the pieces.

Lights begin to dim shortly after rife.

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 !

Loeetta. 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 GladiolaJ 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, domin-
eering woman of about forty with an unpleasant
voice that grows shrill when she loses her temp-
er. She is wearing a polka-dotted silk dress,
very tight and rather fussily made with a pro-
fusion 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.^

DADDY LONG-LEGS 7

Gladiola. I knocked this oflf with my elbow,
ma'am.

Mrs. L. (Crossing to c.) I thought you'd broken
something ! Come, come. Sadie Kate ! Are you go-
ing to be all day at this? (Picks up spoons, exam-
ines them critically, hands one back) Polish that
again! (Crosses to table R., looking over prepara-
tions) 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. fSADiE 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 look-
ing over the dishes) Why, we're one cup short. I
thought I got down enough! f 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 ex-
its 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.

S iDADDY LONG-LEGS

Putting his hand in he pulls out a fist full and stuffs
it into his mouth. Puts his hand in again, gets an-
other 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 e. 0/
Freddie J

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 ! f Sadie Kate crosses
over L.j

Another Child. She'll say I did it. (Both
Gladiola and Sadie Kate push and shove Fred-

DIE.j

Freddie. All right, keep your hair on. I'll put
it back.

Gladiola. You'd better, you'd better, you fresh
thing !

CSadie 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.)

Freddie. I'm putting it back! (Continues to

DADDY LONG-LEGS 9

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 1

(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.j

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 flambuoyant 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.)

CJuDY 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

lo DADDY LONG-LEGS

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 specu-
latively at Mrs. Lippett's hack. 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 today.
(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-head-
ed 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.j 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

DADDY LONG-LEGS ii

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 hack to children at L.j

Judy. (At pantry u. r. c. with a gleam of mis-
chief) 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.J Quick! Get them
away before the trustees find them.

Judy. (Coming down r. j 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 cup-
board)

Mrs. L. (Turns back muttering angrily) Guinea
pigs ! f 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
ofjf 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

12 DADDY LONG-LEGS

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 e. 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 L-oretta 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.

fMiss Pritchard and Mr. Cyrus Wykoff enter c.
Miss ^P. is a charming, old-fashioned gentle-
woman 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. Lip-
pett crosses to :. to receive them.)

Miss Pritchard. ( ^oming down c.) Well, Mrs.
Lippett! We're here i-^ala!

Mrs. L. Miss Pritchard ! (They shake hands and
Miss Pritchard crosses to R. c. to children. She

DADDY LONG-LEGS 13

speaks to 1st child and each child in turn shake their
heads "Yes, ma'am," "No, ma'am," as ordered by
Mrs. LJ Mr. Wykoff!

Wykoff. (-l. of Mrs. Lippettj How de do,
ma'am. Thought we'd look about a httle 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 today.

Mrs. L. I believe we are indebted to you. Miss
Pritchard, for inducing him to serve.

Miss P. (Turns to ^rd child) Yes, he is an old
family friend.

Wykoff. Good thing to get some fancy philan-
thropists on the board of an institution like this.
Their ideas aren't always practical but their checks
are.

Miss P. (Crossing to Wykoffj Poor little dears !
They're not like children. So little spirit !

Wykoff. fL. of Miss F.) They are not a very
classy lot,

Mrs. L. (r. of Mis? 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 deny-
ing that. But impertinent ! ^

Miss P. She's a spirited riirl and needs tact.
(Crosses over to i..) ^-y

Mrs. L. (Momentarily fo%ftting herself) Tact !
She needs a good thorough'^^ whipping. And I'm
sorry she's grown too big to get it. (Crosses to R.c.)

14 DADDY LONG-LEGS

Wykoff. (Crosses to l. of Mrs. LJ 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 j
Mr. Pendleton ! (Crosses l. to children, Mrs. Lip-
PETT 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.)

CJervis 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 real-
ity covers a keen penetration. His manners
are courteously deferential, but with a sugges-
tion 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. Lip-
pett.

Jervis. (Shaking hands) Very happy to meet
you, madam. (Turns to Miss P. j

Mrs. L. (c. of table ^.) The asylum has a great
deal to thank you for. Your two dear boys are
doing so well.

DADDY LONG-LEGS 15

(The Orphans at r. begin to fuss and fidget. Lo-
RETTA 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 ?

fWYKOFF 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. CMiss Pritchard up
to back and joined by Wykoff j My secretary looks
after them. (Sits on bench, studies children in-
tently. 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. fjERVis crosses l. c.
in front of Lippett.J

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.

CLoretta 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.

i6 DADDY LONG-LEGS

Jervis (Rising, his arm about Gladiola, crossing
over L. c. to Miss P.j Happy, bubbling, laughing
childhood ! ('Mrs. Lippett shooes children up into
pantry and turns on lamp at R.) Nothing so beau-
tiful 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 cup 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 touch-
ing!

Mrs. L. ('r. c.) You wouldn't want us to bring
them up without religion?

Jervis. (Deprecating the idea) No, no. But
why not teach them the truth ? The Lord will pro-
vide for the rich. The poor must provide for them-
selves. (Turns to Miss P. and sets cup on table.)

Wykoff. (c. and r. of Jervisj Well, I'm a
practical man, Mr. Pendleton. I don't know as I
follow you in all your new-fangled philosophy, but
I Qervis turns and faces him.)

Jervis. Yes-

Wykoff. Er — I'm convinced

Jervis. Yes — ^yes

Wykoff. Er — er — I'm convinced! (Turns to
Mrs. L. j Here, here, Mrs. Lippett, this floor ought
to be scrubbed. ('Mrs. L. crosses to him and they go
up and out c, Wykoff complaining about conditions

DADDY LONG-LEGS 17

and Mrs. L. excusing them. Mrs. L. turns on lamp
in hall as she exits.)

(At cue "This floor ought to be scrubbed," the chil-
dren come down from pantry in single file, and
march off r.i.e. Jervis crosses to r. of c. watch-
ing them, and stirred to pity by their dejected
and whipped manner.)

Jervis. (r.) Poor little kiddies. (Turning to
Miss P.^ There's nothing in it.

Miss P. (l.) What do you mean, Jervis?

Jervis. Why, you can't bring them up like chick-
ens in batches of a hundred like chickens in an in-
cubator. It isn't natural — it won't work.

Miss P. (To l. c. Sits r.) Jervis ! (He turns)
I hate to be always begging. But there's one of
these children for whom I should so love to manage
a future.

Jervis. (Good-naturedly) Another promising
engineer ?

Miss P. No — this time — it's a girl.

Jervis. (In consternation) A girl! My dear
lady!

Miss P. And such a pretty one !

Jervis. (Amazed, crossing over l,.) Oh, no ! You
can't catch me with that bait !

Miss P. She's more than pretty. (Sits bench r.
of table h.)

Jervis. (Wearily. Hands in pocket, crosses down
n.) I know — she has a good record and de-
serves

Miss P. She has the worst record of any child
in this Home.

Jervis. (Interested) What !

Miss P. She doesn't lie out of her misdemeanors

1 8 DADDY LONG-LEGS

as the others do. She is disobedient and imperti-
nent but

Jervis. And just what is it you want me to do
for this pretty, disobedient, impertinent young per-
son? (Up around table rJ

Miss P. I want you — to send her to college.

Jervis. What? To college? From an orphan
asylum ? Impossible !

Miss P. She's eighteen. ("Jervis faces front)
And ready to graduate from the High School.

Jervis. (Facing Miss P.j So? I thought they
never kept them after fourteen?

Miss P. Judy Abbott was so unusually bright
that the Board of Trustees let her stay on and attend
the village school.

Jervis. Very generous !

Miss P. Of course it saved hiring someone to
take care of the younger children.

Jervis. Thrifty and generous.

Miss P. And she has done remarkable work in
English. Her teachers say that she would make an
author if she had the training.

Jervis. An author ? There are too many authors
in the world already. (Crosses to her.) I don't wish
to make any more.

Miss P. (Solemnly) Suppose she should be a
genius ? Have you any right to keep her down ?

Jervis. If she were a genius I couldn't keep her
down. Do you think she would placidly stand all
this? (With a comprehensive gesture about the
room) She would rise and mutiny if she had any
spirit.

Miss P. But she's only eighteen, and if you only
knew

Jervis. (Facing Miss P., stubbornly shaking his
head) We all have the right to a few prejudices.
You know yourself that you won't eat bananas.

DADDY LONG-LEGS 19

No reason in the world except that you don't like
bananas. Now I have an antipathy, too, I don't
like girls. Never did like 'em. Never will like 'em.

Miss P. (Rises. Jervis walks l. Miss Pritch-
ARD rises) You are a crabbed, ill-natured, hard-
shelled, old bachelor, and you don't know what you
are talking about! You've never known any girls.

Jervis. Never known any? That precious sis-
ter-in-law of mine has a daughter coming on exactly
like her.

Miss P. Baby Julia?

Jervis. (Turns away) Baby Julia enters col-
lege next September.

Miss P. Think of that !

Jervis. I might arrange for your impertinent
orphan to room with my aristocratic niece.
(Chuckles at the idea) That would be rather a neat
joke on the Pendleton family !

Miss P. (With asperity) My little Judy de-
serves a chance for her own sake.

Jervis. You damned her chance when you said
she was pretty.

Miss P. Why? Children READY

Jervis. Why? Why, I'd no sooner get her edu-
cated than some young whippersnapper would come
along and want to marry her. Education thrown
away. I'd rather put my money into a permanent
investment.

Miss P. Do you really mean it, or is it just one
of your stupid jokes?

Jervis. (Seriously) I really mean it. How
could one of these orphans compete with the class
of girls she would meet in college ? (Crosses R.)

Miss P. But you haven't seen my Judy.

Jervis. No. But I have seen this institution
and I know that no child that was ever born could

20 DADDY LONG-LEGS

live eighteen years in the John Grier Home and
have spirit enough left to fight the world. (Crossing
L. cj

Miss P. But my Judy's dififerent. Give her a
chance.

Jervis. My dear Miss Pritchard! In college
your little Judy wouldn't have a chance. Do you
think they'd take in an outsider — from an orphan
asylum ?

Miss P. It's not fair.

Jervis. (Bitterly) Nothing's fair. But it's a
fact. Don't you see that it would be no kindness to
the girl? We should just be showing her a glimpse
of a -bigger, more beautiful life, such as she has
never dreamed of, and then forbidding her to enter.
No, no. Society has thrown away your little Judy —
(Hands in pockets) — and it's too late now to pick
up the pieces.

Mifes P. ('l.c, crushed) Yes — ^but it's cruel.

Jervis. (To Miss P., drawing her hand through
his arm) Well ! Well ! Come and let's have a look
at that scandalous dark playroom. (Going up c.)
Maybe you can induce me to build a new one. (They
go out c. and l. j

(As Jervis and Miss P. exit both ad lib, Sadie
Kate pokes her head into room, r. i., then
crosses in front to R. c. and turns to beckon the
others on.)

Sadie Kate. Come on! (Coming r. c. Gladi-
OLA, Loretta and Mamie enter r.) Now's your
chance! ('Gladiola crosses in front and up to get
the broken cup. Sadie Kate over to c. and up a
little.) Take it and dump it back of the barn!

(Two other girls go on and in front of table to l..

DADDY LONG-LEGS 21

two little girls stop r., one takes up cup, other
stops. Littlest girl enters r. and gets on bench
and embraces Judy.j

Mamie, (r. at end of lower table. Loretta by
R. I. eJ Yes, hurry, before somebody comes and
catches you. (A sound is heard off r. in pantry.)

Sadie Kate. Somebody's coming!

fGLADiOLA jumps up and the orphans assume a
know-nothing attitude until they see it is Judy.
Judy enters c. and crosses between tables with
tray of sandwiches, stands between Mamie and
Loretta down stage and Gladiola up stage.
Sadie Kate is on line with Judy across at c.)

Judy. Well, Chicks, what's the matter?

READY Sammy

Orphans. (Laughing) Nothing.

Judy. (Cheerfully ) Well, run now, and wash
your hands and faces and make yourselves beauti-
ful, ready to pass the things.

(The children go up into pantry, Sadie Kate pass-
ing at back with Gladiola. Judy crosses to c.
and puts tray on lower end of table l. Then she
goes up to cupboard and gets black box and
comes down between tables at R., opens box on
bench behind first table and takes out caps and
aprons. During scene she is humming gaily to
herself, "Comin' through the Rye." Mrs. Lip-
pett enters.)

Mrs. L. (Coming down c.) I'm glad to see that

22 DADDY LONG-LEGS

somebody's carefree. CJudy stops her song) Is
everything ready?

Judy. (At work smoothing out aprons) Yes,
Mrs. Lippett.

Mrs. L. Seems though everything's gone wrong
to-day. And just when we've got a rich trustee up
from New York. (Turning to l. window R.J He's
out in the play-yard now, talking to Freddie Perk-
ins, with a hole in his pants that big. ('Judy laughs)
Well, what are you laughing at? It's no laughing
matter. Can't you keep that child mended?

Judy. I mend Freddie Perkins' trousers every
day of my life. There's no trousers left any more.
Nothing but patches.

Mrs. L. (^l. c, looking over at sandwiches ) Did
you make those sandwiches ?

Judy. Yes, Mrs. Lippett. I know they're pretty
thick. But the bread was so fresh I couldn't cut it.
I'm awfully sorry.

Mrs. L. (Going up c. Mollified) Well, maybe
they'll taste all right. Look sharp now. I don't
want any more hitches. (Exits c.)

Gladiola. (Poking her head into room) Judy,
has she gone?

Judy. Yes, and it's time for you to go ! Come,
fly into these. (Led by Gladiola the Orphans
come down R. Gladiola and Loretta to lower r.
and begin playing. Mamie and Sadie Kate to r.
of Judy, who gives to each of them cap and apron
she has been straightening out. They are regula-
tion waitress' aprons, about three inches longer than
the children's dresses. The caps are muslin bows
fastened to an elastic. Mamie and Sadie put on
the aprons, Judy buttoning Mamie's and Mamie
buttoning Sadie's apron. They fasten behind.
While they put on the caps Gladiola and Loretta
are down r. Judy crosses to l. c, gets tray and sand-

DADDY LONG-LEGS 23

wiches and gives them to Mamie. Mamie up c.
Judy takes tray of cups at r. c, gives them to Sadie
Kate. Sadie up to Mamie at c. Judy td r. c.)
Now please be careful, children, and don't make any
mistakes.

(The Orphans go out c. and l. Judy, zidth a tired
sigh, comes down front and sits on bench in
front of table r. Gladiola kneels on befich be-
side her and Loretta on floor, kneeling. She
caresses them in a manner that shows her lone-
liness and longing for love.)

Gladiola. Judy ! Tell us a story.

Loretta. Cinderella !

Gladiola. No! Tell us Noah's Ark. I'll be
the lion. (Growls and throws her arms around
Judy, pretending to devour her.)

Judy. Not now, dear. Some other time.

Both. Yes, now !

Judy. Poor Judy's so tired. This is the first
time I've sat down since S o'clock this morning.

Loretta. Tell it while you are sitting down.

Judy. I must learn my lesson for school to-
morrow.

Gladiola. What? 'Rifmatic?

Judy. No, not 'rifmatic. French.

Loretta. What's French?

Judy. Tu es enfant tres bon et je t'aime beau-
coup.

(The children laugh. Freddy Perkins enters c.
from L. A large three-cornered rent in the back
of his trousers.)

Freddie, (c.) When are we going to have sup-
per?

24 DADDY LONG-LEGS

Judy. (Good-naturedly, scolding) Freddie Per-
kins, turn around, sir! ('Freddie makes turn.)

Freddie. What's the matter? (Children laugh.
Freddie turns back to them.) What are you laugh-
ing at ? Cut it out ! Cut it out !

Judy. You bad, bad boy, to tear your clothes.
(Discovers a rent in the shoulder of his shirt) You
disgraceful little rag-a-muffin!

Freddie. (Sits l. of Judyj I don't care, I'm
hungry !

Gladiola. So'm I.

LoRETTA. Me, too.

Judy. You can't have supper till the trustees go.

Gladiola. I hate trustees.

LoRETTA.. So do I.

Freddie. What's to-day ? Beans ? (Pause) Or
corn meal mush?

LoRETTA. This is Wednesday.

Gladiola. It's corn meal mush.

(The children all join in the Orphan's yell while
Judy frantically tries to make each child be
quiet. The last line tapers off into a dying
wail.)

Orphans :

Mush ! Mush ! Corn meal mush !

Slush! Slush! Same old slush!

How I hate it.

Corn — meal — mush !
Judy. Hush, you naugnty children.

CFreddie sits on floor.)

Gladiola. Judy, tell us a story.
Jltdy. No, no, no!

DADDY LONG-LEGS 25

Gladiola and Loretta. (Imitating her) Yes,
yes, yes!

Judy. (Pleading) Children! I'm so tired!
Freddie. (Rising) Draw us a picture!
Judy. I've no paper !

(Children run around looking for paper. Loretta
goes around behind table and discovers box
cover. Gladiola takes the cover from Loretta
and brings it to Judy. J

Gladiola. Draw it on this.

fJuDY looks dubious. Sits as before and Loretta
R. of Gladiola to former position. Freddie l.
of Judy.;

Judy. But I haven't any pencil !

Freddie. (Turning away disgustedly) Oh, gee !

Judy. I can't draw with my finger, you know.

Freddie. (Discovering piece of chalk in his
pocket) Here's a piece of chalk.

Judy. Very well — Mercy! It's all over sugar.

Freddie. 'Did I give you sugar? (Grabs chalk
in an attempt to lick the sugar X)ff. Judy gets it
back.)

Judy. Oh, you bad, bad boy! ('Freddie to c.)
Well, what shall I draw?

Gladiola. Elephant !

Loretta. Circus !

Freddie. Cowboy chasing Indians ! (Gives imi-
tation of a wild Indian.)

Judy. Oh, something easy. I'll draw a bad little
boy who's torn his clothes.

(Children begin to laugh at Freddie and cry
"Shame, shame.")

26 DADDY LONG-LEGS

Freddie. (Coming down domineeringly) Cut it
out ! Cut it out !

Judy. Freddie! ^Freddie turns away shame-
facedly) What'll I draw?

Gladiola. Oh ! Draw a trustee !

LoRETTA. Yes, draw a trustee ! '

Freddie. Yes, one of those guys that goes around
like this. (Crosses over l. and gives imitation of
WykoffJ "This won't do, Mrs. Lippet ! This won't
do!" (Comes back to c.) "And this floor must be
scrubbed" . . . (Goes to c.) "1 tell you it won't
do, Mrs. Lippett" . . . (Comes down c. and stands
puffing himself out a la Wykoff. The children
watch him in ecstasy, laughing and applauding.)

Gladiola. Yes — and make him fat. With a gold
watch chain!

Freddie. And with a pair of searchlights !

Judy. (Drawing) There's his body. And
there's his head. (While drawing the eye-glasses,
Freddie begins to laugh. Judy turns to him) What
are you laughing at?

Freddie. Those searchlights.

Judy. And there's his searchlights. And those
are his arms and those are his legs.

Loretta. (c.) And where's his gold watch
chain ?

Judy. And that's his watch chain! (Holds the
picture front and they all laugh.)

Gladiola. (Takes picture from Judyj It looks
exactly like a June bug.

Judy. (Takes picture back from, Gladiola, writ-
ing at bottom) "This looks like a June bug, but is
meant to be a portrait of any trustee."

(The children laugh. Freddie takes the picture and
marches around with it, followed by Gladiola
and LoRETTA.j

DADDY LONG-LEGS 27

Chorus. Looks like a June bug! Looks like a
June bug !

(They go over l. as Sadie and Mamie return with
a half-emptied plate of sandwiches which they
place on table.)

Sadie Kate. Gee ! You ought to see them eat !

CJuDY goes up to Sadie Kate and Mamie. The
others stop singing and hungrily look at the
sandwiches. Freddie puts the picture on table
L. of c. and crosses over to Judy, followed by
LoRETTA and Gladiola.J

Freddie. Can I have a piece of bread?
Gladiola. Me, too!
LoRETTA. I'm hungry.

Judy. (After a moment's hesitation) Yes, you
may all have one piece.

(They help themselves, joyously . Freddie gets first
piece and biggest to the disgust of the others.
He goes triumphantly to loiver l. and sits on
bench. They keep up a chatter.)

Freddie. Say! (Children all stop noise to lis-
ten) I played a joke on those trustees! (Boast-
ing.)

Judy. (Coming down R.J Freddie Perkins!
(Suspiciously) What have you done?

Freddie. I ain't goin' to tell.

(Trustees are heard talking angrily at back off L.j

Gladiola. (Crosses up to door) Cheese it!
They're coming!

\

28 DADDY LONG-LEGS

Judy. (Surprised) Scamper out, children !

^Freddie at first sound has bolted l. Gladiola and
LoRETTA in front of lower table. Mamie and
Sadie Kate between tables R. Gladiola, Lo-
RETTA and Mamie exit lower r. Sadie exits
R. 2. E. Mrs. Lippett enters c, followed by a
group of trustees and visitors, Miss Pritchard
looking worried, Wykoff indignant, Jervis
amused. Judy is at table k. of c. Mrs. Lip-
pett r. of c. Parsons l. of c. Miss Pritch-
ard and Jervis stand at back. They have all
been talking outside and it has grown in volume
until they are well on and in place.)

Mrs. L. (With sugar bowl) Judy Abbott, what
is the meaning of this ?

Judy. (Bewildered r., about middle of table)
The sugar bowl ?

fMiss Pritchard crosses at back and down l.J

Mrs. L. fL. end of table) It's full of salt!
fJuDY turns and looks after Freddie.^
Wykoff. We put salt in our tea.

QuDY bursts into quick laugh. Jervis crosses r. and
down L. of tables, back turned to Judy and
amused by the scene.)

Mrs. L. When you have finished laughing, per-
haps you will tell us how it came there?

Judy. I don't know.

Mrs. L. Of course you don't know. You never
know anything.

Miss P. It was a mistake.

DADDY LONG-LEGS 29

Wykoff. (h. c.) Bad management. Bad man-
agement !

Judy. (Apologetically) I didn't know about it,
of course — I'm very sorry it happened!

("Mrs. Lippett sees the empty plate and crumbs on
table.)

Mrs. L. What's this ? (They all turn and look)
So, you've been stealing the refreshments that were
lefl;?

^Parsons goes up c.)

Judy. The children were hungry — it's after their
regular supper-time — and I gave them each a piece
of bread and butter.

("Parsons discovers the broken cup.)

Wykoff. Mrs. Lippett, does this young woman
run this institution?

Parsons. (Coming down c. with broken china)
Here ! Here ! What's this ? ("Judy stares in amaze-
ment.)

Mrs. L. (Turning upon her sharply) How did
that get broken? fJuDY is silent) Well — don't
stand there staring!

Wykoff. Another little joke?

Mrs. L. Answer me, Judy Abbott. Did you
break that cup ?

Judy. (With dignity) No, Mrs. Lippett, cer-
tainly not !

^Parsons puts broken cup' on tray at his r.J

Mrs. L. Who put it there ?

30 DADDY LONG-LEGS

Judy. I don't know.

Mrs. L. Seems as though you are old enough
to take a little responsibility.

Judy. (Miserably) I try to, Mrs. Lippett — ^but
I can't be in two places at once. And to-day while
the nurse was taking care of the sick babies

Mrs. L. I've heard that excuse before. (Turns
to trustees) You see, ladies and gentlemen, the
kind of stupidity I have to work against. This is
our prize orphan — the one we have educated — ^but
I can't trust her with a simple thing like sending in
tea.

Wykoff. (Turns up L. to table) Doesn't pay
to educate 'em out of their class. -^

Mrs. L. These children are the most deceitful
creatures I have ever known. It's enough to make
one lose one's faith in human nature.

Judy. (Facing Mrs. L. quietly) If you would
trust the children, they would not deceive you.

Mrs. L. So now, you are going to be imperti-
nent, are you?

('Wykoff discovers picture on table L.)

Miss Pritchard. (Pleasantly, tries to end the
discussion) Dishes will get broken — suppose we
join the others.

('Wykoff is examining the picture which he has
casually picked up.)

Wykoff. (Facing front explosively and showing
picture) Good heavens, Madam! What does this
mean? Do I look like a June bug? (Comes and
exhibits it c. to Mrs. L,.) And may I ask who is
the artist?

DADDY LONG-LEGS 31

^JuDY stands staring at the others zvith something of
the air of a hunted animal.)

Mrs. L. (With ominous quietness) Is that one
of your drawings?

CWykoff shozvs it to trustees at c.)

Judy. Yes, Mrs. Lippett.

Mrs. L. Have you anything to say ?

Judy. (Miserably) I can't draw. I just do it
to amuse the children.

Wykoff. To amuse the children? Madam, is
this the kind of respect that you teach?

('CoDMAN puts picture on table at his l.)

Mrs. L. (r.c.) How do you dare make fun of
a trustee of the John Grier Home?

Judy, (r., frightened) I — I didn't mean to make
fun of anybody.

Mrs. L. Oh ! I suppose you think that is a fit-
ting way to show gratitude for all that's been done
for you? This Home has given you every mouthful
you ever ate, and as a result, you ridicule your bene-
factors. I'll tell you this. Miss Judy Abbott — ^you'll
be finishing school next month and then you'll be
put to work. The kind of place you'll get will de-
pend on your record here.

Wykoff. (c.) And when you have to shift for
yourself, young woman — then maybe you won't
think life so funny.

(Other Trustees nod approval.)

READY Dim Foots

32 DADDY LONG-LEGS

Judy. (Wearily) I don't think it's so very funny
now.

Mrs. L. Oh, there's no use trying to make any-
thing decent of her. I shall send you to a boarding
house keeper who wants a little slavey to wash the
dishes.

Judy. I shall be very happy to go. Any place,
anywhere will be better than this.

Mrs. L. (Beside herself) You ungrateful little
— imp ! What do you mean ?

Judy. (Commencing in low, intense tone, gradu-
ally rising to a fever of rebellion) I mean — I don't
feel any gratitude because I have nothing to be
grateful for. There is no charity about it. I have
earned my living in the John Grier Home. I have
worked from the time I was a tiny child. For three
years straight I polished brass door knobs until
you discovered that I was clever enough to do other
things. And you haven't kept me all this extra time
just for rny own good. When I was eleven years
old that lady wanted to adopt me. But you made
her take another child instead, because I was useful.
I might have had a home, too — like other children
— and you stole it away from me. And you call me
ungrateful because I'm glad to go? I don't care
how hard it will be. I can make my own way in the
world. Just give me a chance. Anywhere — out of
the shadow of this asylum, and I will prove what I
am good for. I've lived eighteen years in prison.
I hate the John Grier Home! (As she hurls this
last defiance she turns and runs out s..) DIM

CJervis has turned his back to the scene and stands
down L. with folded arms and head bowed in
deep thought, for Judy has won his admiration
by her plucky stand. After a pause the trustees
recover from their astonishment.)

Vl

o

H
CI

2;
o

iJ

Q

O

Q

DADDY LONG-LEGS 33

Mrs. L. You see ! You see !

Wykoff. The quicker you pack her off the bet-
ter.

Miss P. The child didn't know what she was
saying !

CoDMAN. Insubordination !

Parsons. Bad example.

Wykoff. Demoralize the whole institution!

Parsons. She must be punished !

(They start to go, shaking their heads and talking
excitedly at once.)

Mrs. L. And punished severely. Oh, if you
knew what I have to put up with

(They go off c, the excitement and ttimult gradu-
ally dying down. Miss Pritchard follows
them up to c, frying to pacify them. Jervis
eases over to r. of c.)

Miss P. (Coming down c.) I am sorry this had
to happen before you, but really, really, we have no
right to be angry.

Jervis. Angry ? Oh, no, no ! (Crosses over r. of
c.) I was only hesitating because — well — I must
be sure I'm doing the best thing for the girl. But,
by jove! (Turns to Miss P.J It was great to see
that little thing rise up and demand her right to
live. She shall have it ! (Looks off R. i, e. and then
slaps his hand as having arrived at a decision.)

Miss P. (c.) What!

Jervis. (Turns to Miss P.j I'll send her to col-
lege !

Miss P. (Joyfully) That is generous !

Jervis. (Gruffly) Nonsense! I'm interested.
I'd like to see if the girl really can pull it off!

34 DADDY LONG-LEGS

Miss P. She will be so grateful.

Jervis. (Crossing l.) No, no. None of that. She's
never to know who does it.

Miss P. She will want to thank you.

Jervis. Well, she can't. I won't have it. Why !
She's had to give thanks for every mouthful she
ever ate! I wonder she didn't choke. This college
business comes as a free gift from Heaven.

Miss P. Don't you want to watch her progress ?

READY Sadie Kate

Jervis. From a distance. They can send me her
reports.

Miss P. A college doesn't send reports.

Jervis. (Sits. Thinking out loud) Well, let me
see. We're to make a writer of the girl? H'm —
there's no better practice in composition than good,
old-fashioned letter writing. She may write me a
letter on the first of every month, telling about her
studies and her daily life — just such a letter as she
would write to her parents — if — she had any.

Miss P. She will have to know your name.

Jervis. Tell her Smith. John Smith. She will
address her letters to Mr. John Smith — in care of
my secretary, just as the boys do their reports.
But she's never to expect any answer. (Rises) I
can't have Judy a nuisance.

Miss P. I will explain the best I can. (Rises.)

Jervis. And don't explain to anyone else. We
must keep it a secret (Looks off R. i. E.) for the
girl's sake. Let her forget the asylum. (Back of
Miss F.) Blot the word "orphan" out of her mind.
(Turns up.)

'C Sadie Kate enters from l.2E. and puts a spoon
on lower table.)

DADDY LONG-LEGS 35

Miss P. (Crosses to R. of Jervisj Sadie Kate, run
quick and call Judy Abbott.

('Sadie exits r., calling "Judy — Judy." )

Jervis. (Going up c.) And now I must run.
I don't want the child to see me. Get her some
pretty frocks — and all that sort of nonsense. Good-
bye. (Ad lib.)

DIM

Miss P. Good-bye! Thank you! Thank you!
(Follows him up stage and watches him off as Judy
dejectedly enters at R. She .comes to r. c. to Miss
P. Miss P. turns, sees Judy and goes to her.)

Judy. (With deqd voice) Well — ^what are they
going to do with me ?

Miss P. (Very kindly) Nothing dreadful.

Judy. (Sits on bench L.J I didn't mean to break
out that way — but when you think bitter thoughts
for years and years, some day — suddenly — ^they just
won't stay inside you any longer. (Turning away.)

Miss P. Judy — (Sits by Judyj — I have good
news for you. ('Judy faces front) Something won-
derful is going to happen to you.

Judy. (Slowly facing Miss V.) Wonderful?

Miss P. Judy — a gentleman — one of our trus-
tees — is going to send you to college.

Judy. (Rising. Miss P. also) To college?
Me? ('Miss P. nods affirmatively to her question)
Oh!

Miss P. With pretty new frocks and every-
thing.

Judy. (To Miss V.) You mean — I'm going just
like any other girl — who has a real father and
mother ?

Miss P. Yes, dear.

Judy. (Slowly grasping the situation and as

36 DADDY LONG-LEGS

though choking over her joy, crosses over l.) Oh, oh,
oh ! It sounds just like the fairy stories I make up
to tell the children.

Miss P. It's true, dear.

Judy. (Turning to Miss P. breathlessly) Who
is he?

Miss P. No one you know.

READY Light

Judy. He wasn't here? To-day? Not one of
those men ?

WARN CURTAIN

Miss P. Yes.

Judy. I didn't look at them. What's he like?
What's his name ?

Miss P. You are not to know his name — his
real name. You may call him Mr. Smith.

Judy. Smith ?

Miss P. Mr. John Smith. He will be your
guardian.

Judy. My guardian! I'll belong to him? And
I won't belong to the asylum any more ? I'll belong
just to him?

Miss P. Yes, dear!

Judy. (Turns — crying) Oh, I'm so happy! I'm
so happy! (Turns to Miss P.j Where is he? I
want to tell him. I want to see him.

Miss P. You cannot see him, dear.

Judy. But I want to know what he's like. I'll
never bother him — never — if I may see him just
once. So I can think about him. Oh, please, please,
just this once ? Please, please ! (Sobbing, she places
her head on Miss P.'s shoulder, who ,lays her arms
around Judy tenderly and mothers her. A spotlight
off L., swinging around on a pivot, throws a light
through upper window around the room, indicating
the approach of an automobile.)

DADDY LONG-LEGS 37

Miss P. Hush, dear. I promised to keep it a
secret. fJuDY sobs again) But, he's there — out-
side now ! (Horn) Waiting for his car. f Judy
turns quickly, but Miss P. holds her at arm's length)
No, no, dear — it's too dark to see his face, but there,
reflected on the wall, you can see his shadow ! (She
releases Judy, who crosses to table, looking off
through window L.j

Judy. Oh, if I could only see his face. At last
I have the shadow of a father. Oh, my daddy — my
daddy — — (Laughing) Look — what funny long
legs the shadow has. I never saw such long legs.

I know (Turning to Miss P.^ I'll call him my

dear, old Daddy Long-Legs.

CURTAIN

1st Curtain — Grown-ups and Judy — not Jervis.
2nd Curtain — All children. Jervis.
3rd Curtain — All children.
4th Curtain — ^Judy.

ACT II

Scene : Judy's college study, an afternoon in May,
one year later. A plan and full description of
the scene will he found at the end of the play.

At Rise : Julia and Sallie are discovered hastily
putting the room in order. Julia down l,., with
a child's broom, is sweeping and working up
stage to couch. Sweeps dust under rug. Sal-
lie, at E., is dusting picture r. of window, then
crosses down to chair l. of table c. and holds up
Tam-o'-shanter cap and tennis racquet.

Sallie. (u. up, comes down) What on earth
shall I do with these?

Julia, (i.. down. Crossing to r. of table) Dump
them under the couch. (Sallie goes up and throws
things under the couch. Julia picks up a coat and
a sweater from the floor c.) Isn't it just our
luck to Have the whole family come bursting in
without a word of warning ? (Crosses r. and throws
things into room R.2.^

Sallie. (Coming l. of table to chair — Crosses L.J
Your mother and Miss Pritchard did look shocked
when they saw this room. (Crosses l., throwing bas-
ket-ball and mask into room u.l. under couch.)

Julia. (Crossing to chair e. of fable, picking up
racquet and coat) They ought to let us know before
they surprise us. I invited them for the reception
this evening. I didn't ask them to spend the day.
(Crosses s.., throws things into Judy's room and
closes door.)

38

DADDY LONG-LEGS 39

Sallie. (To desk l. for golf bag at desk back r.)
If they had waited to come with the men on the five

o'clock train (Sets golf bag above desk in

corner.)

Julia, (h. of c.) We should have been ready.

Sallie. (Crossing c. behind table)Shut your desk,
Julia (Which is r. below door) It's a sight.

Julia. (Pointing to desk up stage r.c. and then
crossing down r. to close desk) No worse than yours.
(Crosses R.J

Sallie. (Crosses up, closes desk and then crosses
over L. by couch — getting duster from couch and
throwing it in room u.l., closing door) And look at
Judy's, in perfect order !

Julia. Are there chairs enough?

Sallie. (Coming down, counting chairs and
crossing over r.c.J Mrs. Pendleton, Miss Pritchard,
Judy, Julia, Sallie, brother Jimmie — (Turning to l.
of chair up stage by door) — and Mr. Jervis Pendle-
ton.

Julia. (Crossing up to r. of chair) That chair
won't do for Uncle Jervis.

Sallie. Why not ?

Julia. It wobbles on its back leg. (Rocking
chair. )

Sallie. (Coming down R.c.j Oh, I forgot.
(Cross R. Indicates chair down TH.)

Julia. (Crossing to table c.) I nearly dropped
when mother said Uncle Jervis was coming.

Sallie. (Picks up book from floor r.c. and crosses
to desk at R.) Why shouldn't he?

Julia. Oh, I bore him to death. This is the
first time in years he has taken the slightest notice
of me. (Crosses up and puts fencing foils behind
couch.)

Sallie. Men love to visit a girls' college. It's

40 DADDY LONG-LEGS

like going to the menagerie and watching the ani-
mals eat.

Julia. (Crossing c. back of table and looking de-
spondently at the table) What'll we ever do with
this mess?

Sallie. (Crossing to r. of table, seizing two cor-
ners of the cover) You take the other end and
we'll carry it into your room. (Moves toward the
door E., but Julia, holding the other end of cloth,
holds back.)

Julia. No! We'll put it in yours. (She starts
towards door u.l. and Sallie holds her back.)

Sallie. It's full up. You couldn't squeeze a
postage stamp into my room.

Julia. We'll take it into Judy's and dump it on
the bed.

Sallie. Poor Judy ! (Laughing, they go to room
down L. and exit. Series of slight crashes heard.
Sallie returns and crosses to table up stage and
picks up a teacup from tray. Julia returns with the
cover for table and crosses below table arranging
cover, and goes behind table. Sallie blows into the
cup.) My, these teacups are awfully dusty !

Julia. (Behind table c.) Oh! It won't show
when the tea is in.

Sallie. Where's the kettle? (Both girls look
around the room.)

Julia. (Cross th.) The kettle? The kettle? Oh,
under the couch. ('Sallie goes to couch, kneels
down and gets kettle. A knock is heard on the door)
Good gracious, who's that?

Sallie. (Crossing to table c. with kettle) Set that
chair over the inkspot.

CJulia sets chair r. of table, over the inkspot and
Sallie goes up with kettle to table above as
Mrs. Pendleton and Miss Pritchard enter.)

DADDY LONG-LEGS 41

Julia. Ah, Mother!

Mrs. Pendleton. (Coming down) Well, girls,
still at work ? (Crosses to L. of table c.) How quick-
ly you have put your room in order ! fMiss Pritch-
ARD closes door.)

Julia. (Behind c. table) Oh, there's nothing
like a college education for teaching one to be a
good housekeeper. (Goes up to window seat, put-
ting odds and ends on seat into the top drawer;
Miss Pritchard coming down to r. of c. table.)

Sallie. (Coming down l. of c. table) Did you
Hke the basket-ball game, Mrs. Pendleton?

Mrs. p. (Sifting l. of table) It was very un-
ladylike.

Julia. (Facing front) Where's Judy?

Miss P. (Sitting r. of table) She had to go to
a rehearsal. (Sits.)

Sallie. She has too many engagements. (Up to
couch, arranging pillow.)

Mrs. p. Julia, what sort of people does Judy
Abbott come from?

Julia. (Coming r. of Mrs. Pendletonj I
haven't the slightest idea, Mother.

Mrs. p. Doesn't she ever mention her family?

Julia. She told me that she was descended from
the first man ever hanged in the United States.
(After laugh — a knock sounds on the door at back.
Julia crosses to open it.)

Mrs. p. What an extraordinary thing to boast
of!

Julia. (Opens door and takes card from the
maid) Mr. James McBride. (Crosses r.c. Sallie
crosses to c.) Here's your brother, Sallie.

Sallie. (Above c. table) Ask him to come up.

Mrs. p. Have you permission?

Sallie. Just going to get it. The room's up-

42 DADDY LONG-LEGS

bolstered in chaperones. (Crosses to desk and ar-
ranging it.)

Mrs. p. (Turning to maid) There will be an-
other gentleman. Have the maid send him up when
he comes.

Maid. Yes, ma'am. (Closes door.)

Mrs. p. (To Miss PritchardJ Jervis is tak-
ing such an interest in Julia's college career.

Julia, ('r.c. Turning to them) Yes, I wonder
what struck him all of a sudden.

Mrs. p. He proposed coming of his own ac-
cord.

Miss P. That's very nice!

Julia. (Turning front) What are we going to
give them to eat?

Sallie. (Crosses to l. of JuliaJ Oh, I wonder !

Mrs. P. (Shocked) Haven't you prepared ?

Julia. We've been too busy.

Sallie. (Crosses to c. above table) Judy prom-
ised to make some fudge.

Julia. She forgot it. (Crosses l. of Judy's desk.)

Mrs. p. But you don't want candy for tea?

Julia. Oh, yes, you do. It takes away your
appetite so you don't mind what you get for din-
ner. (Knock on door. Sallie crosses to r. and opens
door. JiMMiE McBride enters.)

Sallie. Oh, hello, Jimmie. ("Mrs. Pendleton
and Miss Pritchard both rise.)

Jimmie. (Kissing Salliej Hello, sis. ('Sallie
and Jimmie come down stage.)

Sallie. Miss Pritchard, do you know my
brother ?

('Miss Pritchard rises — Sallie takes Jimmie's
hat and crosses to couch with it. Jimmie ex-
changes greetings with Miss Pritchard._)

DADDY LONG-LEGS 43

Miss P. Delighted to meet you !

Mrs. p. (Crossing to c. of table) How do you
do, Jimmie?

jiMMiE. (Crossing to Mrs. PendletonJ Mrs.
Pendleton! (Shaking hands with her.)

Julia. (At l.) Good afternoon, Jimmie!

CJiMMiE crosses to Julia as Mrs. Pendleton
crosses to Miss Pritchard r. of table by chair.)

Jimmie. (Crosses to r. of Juliaj Miss Julia Pen-
dleton. (Bowing elaborately) Yours to command!
Well, I never was invited up here before. Why am
I thus honored?

Sallie. (Coming down R. of Jimmiej We're
giving a tea.

Mrs. p. I wonder what's become of my brother-
in-law. He should have been on your train.

Jimmie. An opulent gentleman who takes a
taxi?

Julia. Yes.

Jimmie. My trolley passed him on the hill.

(A knock sounds on door. Julia crosses to open
door.)

Sallie. Ah — voila.

Qulia opens door and Jervis enters.)

Julia. Ah! Uncle Jervis. (Kisses him and
closes door, then takes box of candy he has brought
and with afh air of mock obsequiousness turns to
announce him in the manner of a butler) The Hon-
orable Mr. Jervis Pendleton, and five pounds of
candy !

44 DADDY LONG-LEGS

(Positions are Jervis at r., Julia l. of Jervis, Miss
Pritchard r. of table c, Mrs. Pendleton l.
of Miss Pritchard, Sallie l. of table, and
Jimmie l. by Judy's desk.)

Jervis. (Coming down to greet Miss Pritch-
ard, and then Mrs. Pendleton as Miss Pritchard
crosses to R., and sits at desk. Sallie gets a pair of
scissors from shelf underneath table and helps Julia
open box of candy. Jervis turns to Julia as Mrs.
Pendleton crosses to r., taking chair L. of Miss
Pritchardj Ah, ladies, I trust I'm not late!

Julia. Early. We haven't permission to have
you yet. This is Sallie McBride, my roommate.
Qervis crosses to r. of table, shakes hands with
Sallie, who then joins Julia above table.) And her
brother, Jimmie!

Jimmie. Oh! I say

Julia. Oh, pardon — Mr. James McBride of
Yale.

Jervis. (c. of table. Jimmie crosses to shake
hands with him) How do you do ?

Jimmie. How are you?

^Sallie drops down l. of Jimmie and Julia l. of
Sallie.j

Jervis. Is this your first visit, Mr. McBride?

Jimmie. No — fourth.

Jervis. Fourth? Well, well — very devoted
brother.

Sallie. Yes, isn't he? (Giving short burlesque

laugh) Ha I — Oh, by the way, Jimmie ('Jervis

starts to cross r. and up — back turned.) You won't
be able to see Judy Abbott this time. ("Jervis stops
to listen.)

Jimmie. Why not?

DADDY LONG-LEGS 45

Sallie. Why, because she

Julia. Has the mumps!

JiMMiE. Oh, I say! Why didn't you telegraph
me not to come?

Sallie. I thought you came to see me.

JiMMiE. Well, in a way, I did.

Sallie. And in a way you didn't.

Julia. Calm yourself. She hasn't the mumps.

Sallie. She'll be here in a few minutes. (Crosses
in front to R. Mrs. Pendleton and Miss Pritch-
ard.^

JiMMiE. (Crosses l. and sits at desk) Ah, I
breathe again.

Jervis. (r.c. Watches Jimmie, then turns to
Julia, politely interested) And — who is Miss Judy
Abbott?

Julia. Our other roommate. We three have
this study together.

Jervis. I see. A very pleasant arrangement.

Julia. Sit down. Uncle Jervis. Don't mind us.
We're getting the tea.

l' Jervis turns to the wobbly chair and is about to sit
when Sallie screams and hastily crosses, pre-
venting him also from occupying chair. As she
screams, Jervis starts back and Jimmie jumps
up.)

Sallie. Oh! This chair isn't comfortable.
(Takes Jervis's hat and gloves, goes down behind
c. table) Take that chair.^ (Indicating chair over
inkspot. Jervis comes down, and is about to move
chair over to Mrs. Pendleton. Sallie puts hat
and gloves on couch.)

Julia. (Hastily interposing, screams and again
Jervis starts back — Jimmie up l.c.J No, no. You
mustn't move it. Uncle Jervis.

46 DADDY LONG-LEGS

Jervis. (Puzzled) Why not?

Julia. Well, take that chair. (Indicates chair
L. of table.)

Jervis. Thanks! I'll stand! (Turns to l. of
Mrs. Pendleton. Sallie has gone to tea table and
Julia turns up and joins Sallie. She stands on
couch. Jimmie crosses over R. at back between Mrs.
Pendleton and Miss Pritchard.J

Sallie. (Holding up bottle) We're all out of
alcohol.

Julia. Maybe there's enough in the lamp.

Sallie. (Opening matchbox) Oh, we're all out
of matches.

Jervis. (Turns, takes match-safe from pocket
and crosses up to table) Allow me.

Sallie. ('l. of table) Thank you. Will you
please light that? (Indicates the spirit lamp.)

Julia. (Peering into sugar bowl) Only one
lump of sugar!

Mrs.^P. I don't take sugar.

Julia. Do you take sugar, Uncle Jervis?

Jervis. Four lumps! (With back to audience,
pretending to light lam^p.)

Julia. We'll borrow some. (Up to couch)
Where's the tea?

Sallie. In the bookcase. CJulia begins to look
at one end of bookcase) No, no. Back of Kipling!
('Julia goes to c. shelf as Sallie holds up cream
pitcher. Jervis saunters down r.c.^ We haven't
any cream.

Julia. We'll give them lemons.

Sallie. Lemons, lemons! Oh, here's one. ('l.
of c. table, and taking a tobacco skull from table;
takes out one decrepit lemon.)

Jervis. Is that a lemon?

CJulia comes down l. with tea-caddy.)

DADDY LONG-LEGS 47

Sallie. Yes.

Jervis. It looks it. (Sits r. of table. Sallie
returns lemon and skull to table.)

Julia. (Peering into the caddy) We're all out
of tea.

Mrs. p. Oh, my dear !

Miss P. I'm not in the least hungry.

JiMMiE. (Crossing to l. of Mrs. Pendleton^ I
am.

Julia. (Down l. Sallie l. of table) You all
came too early. This party hasn't commenced yet.

Sallie. (To JuliaJ Julia, you hunt around
and find something to eat while I get permission
from the Dean. (Crosses over r.c. and up, opening
the door.)

Mrs. P. (Rising) I should like to meet the
Dean. (Joins Sallie up stage.)

Julia. (Up to table with tea-caddy) Good
idea. Mother. She can see with her own eyes that
you are a perfectly capable chaperon. ('Mrs. Pen-
dleton and Sallie exit. Jervis drops behind table
c. Julia crosses over R.J Come along, Jimmie. ('Jim-
MiE crosses up to her as Jervis goes down l. of c.
table.) It's not proper to leave you here.

Jervis. Proper to leave me?

Julia. (Turning to him) Mercy, yes! When a
man's as old as you are

Jervis. Yes, I know. He ought to be chloro-
formed.

Julia. (Laughs) And don't let the kettle boil
over. (Exits with Jimmie, closing door.)

Jervis. (Crossing to r. of table c, and a little
eagerly) Have you seen her?

Miss P. Yes.

Jervis. Well ?

Miss P. (Crossing to JervisJ Oh, she's wonder-
ful ! I don't believe you'd recognize her.

48 DADDY LONG-LEGS

Jervis. I was trying to remember the other day
what she looked Hke. All I can recall is a mass of
light hair and a pug nose.

Miss P. You'll be surprised.

Jervis. (Cross l.) No. Nothing will surprise me
any more.

Miss P. What do you mean ?

Jervis. I've had nineteen letters from Judy this
winter.

Miss P. You answer them?

Jervis. No.' Of course I don't answer them.
I told you I wouldn't.

Miss P. But you read them ?

Jervis. Yes, certainly. Why not ?

Miss P. I was afraid — maybe you'd turn them
over to your secretary.

Jervis. (Down in front of table, hands in pock-
ets) Oh, no ! Little Judy's letters are not the sort
I could allow my secretary to read.

Miss P. (Anxiously) What are they like?

Jervis. (Teasing her) Disgraceful !

Miss P. (Horrified. Rises) What?

Jervis. Shocking !

Miss P. Jervis !

Jervis. Scandalous !

Miss P. Oh, no !

Jervis. She makes love to me.

Miss P. The child thinks you are her father.

Jervis. The child knows perfectly well that I am
not her father.

Miss P. She thinks you are an old man.

Jervis. (Rises. Indignantly) I'm not an old
man. I won't be treated like an old man.

Miss P. Please don't be angry

Jervis. She draws pictures of me. (Sits l. of
table.)

Miss P. Oh ! I'm sorry

DADDY LONG-LEGS 49

Jervis. She draws me bald-headed — without any
hair — and legs that are long.

Miss P. (Firmly) It's not right.

Jervis. She calls me "Daddy Long-Legs."

Miss P. I shall give her a good scolding. I
can't have her treating you with disrespect.

Jervis. I think I rather like being treated with
disrespect.

Miss P. (Reproachfully) You were joking?

Jervis. I think Daddy Long-Legs is a very nice
name.

Miss P. Then you don't regret taking charge of
her?

Jervis. Regret it? My dear lady! Her letters
alone have been worth the price of admission.

Miss P. You must see the child.

Jervis. See her? Well, rather. You didn't sup-
pose I came up here to look at my niece. (Cross to
c.L. to table.)

Miss P. (Sits R. of c.) Jervis (He stops

c. of table and turns to her) It was foolish putting
Judy in with those two girls.

Jervis. Why?

Miss P. You know how particular your sister-
in-law is about the people Julia meets and if she
ever discovers the truth

Jervis. (Hands up in mock horror and walks
back of table) There'll be the deuce to pay!

Miss P. (To r. of table) I don't know why you
insisted

Jervis. (Comes down) What else could I do?
I had to keep track of the girl somehow. Now,
under cover of visiting my niece, I can very con-
veniently keep an eye on my ward.

Miss P. But why all this secrecy? It would be
simpler if you would just come out openly and say
you were the child's guardian.

50 DADDY LONG-LEGS

Jeevis. Come out openly? My dear lady — ^you
don't know what a parcel of interfering women
I've got in my family. They talked enough about
the boys I am educating. Do you think they would
swallow a girl?

Miss P. It might be awkward.

Jervis. When five women, with nothing to do,
devote their energies to arranging one's life — a sim-
ple man might as well throw up his arms and sink.
(Sits L. of table r.)

Miss P. I don't blame you for being a woman-
hater. ('Jervis laughs) But — make an exception in
little Judy's case.

Jervis. (Rising and coming to l. of Miss P.^
Oh, Judy and I are going to be great friends.

Miss P. I hope so.

Jervis. Why, of course we are. I feel a pro-
prietary interest in the girl. She belongs to me.

Miss P. Yes, yes, but the future, Jervis.

Jervis. The future?

Miss P. It's all very well now, but — ^what are
we going to do with her when the vacations come?
We can't send her back to the Home!

Jervis. That's all settled. I'm going to send her
to a farm in Connecticut. Lock Willow's the name.

Miss P. Lock Willow?

Jervis. Mrs. Semple's place, you know, my old
nurse Lizzie Semple.

Miss P. Oh, yes.

Jervis. She wanted to spend the summer with
the McBrides', camping somewhere. I knew what
was best for her.

fMiss Pritchard is about to speak when they hear
someone at the door. Miss Pritchard says
"Hush" and turns to R. as Jervis crosses to l.
and up. Mrs. Pendleton entering.)

DADDY LONG-LEGS Sr

Miss P. (Crossing r., sits at desk) Hush! —
What a pretty room the girls have !

('Mrs. Pendleton brings down a plate of buns to
table.)

Jervis. Yes, isn't it charming. What have you
there? (Crosses over to l. to Mrs. Pendleton. j

Mrs. p. Oh, something Sallie stole from a sopho-
more's room. (Crosses to l. of table as Julia enters
— Jervis going up to tea table l. of c.) This is a
very messy way in which to live.

Julia. (With a package of crackers, places it
on table c.) Kettle boiled? '(Goes up to tea table.)

Miss P. (Looking into kettle, gives kettle to
JuLiA^ There's no water in it. CJulia starts to
exit with kettle.)

Mrs. p. (Sitting l. of table) Oh, daughter,
dear. Qulia comes down behind table. Jervis
crosses to l. of Miss Pritchard.J I've been speak-
ing to the Dean about having you and Sallie room
alone next year.

fjERVis has crossed and joined Miss Pritchard.
They exchange looks.)

Julia. Why ?

Mrs. P. There's something queer about Judy
Abbott.

Julia. That's what makes her popular. You
never know what she's going to say next.

Mrs. P. I prefer to know what people are going
to say next.

Julia. Now, Mother, don't you interfere. Here,
open these crackers — (Passes box to her) — ^and — ^be-
have. (Exits with kettle R.C.J

52 DADDY LONG-LEGS

Jervis. (u of Miss Pritchard, quietly) Julia
is coming on.

Mrs. p. I never did approve of college for girls.

Miss P. Her roommates are both charming.

Mrs. p. The McBrides are very good people.
The father owns a factory.

Miss P. (Turning to Jervis j Makes overalls!

Jervis. (Shuddering, crossing to armchair) Over-
alls ! My dear Florence !

Mrs. p. They are very wealthy.

Jervis. (Bowing to her) Oh, well, in that
case

Mrs. p. But I don't know where Judy Abbott
comes from.

Miss P. I told you that I knew her guardian.
Mr. Smith is a charming man, what more do you
want ? (Rising, crossing to Jervis, turning helplessly
to him) You know him,. Jervis, Mr. Smith— —

Jervis. Smith ?

Miss P. Mr. John Smith.

Jervis. Oh, John Smith (Crossing to r. of

table) Yes — ^yes, John Smith. Splendid chap. Be-
longs to my club. Thoroughly respectable.

Mrs. P. Yes, but Julia isn't rooming with him.
fjERVis turns from her to Miss Pritchard. Hope-
lessly Miss Pritchard sits in chair r.J Who's the
girl? (Rising) Who was her father?

Jervis. If this little Judy Abbott was fitted by
nature to appreciate the best, it belongs to her, no
matter who her father was. (Crosses over to r.)

Mrs. p. (Crosses over l. to desk) Oh, dear, it's
awful the way the different social classes are get-
ting all mixed up.

Jervis. Awful! Isn't it? (Crossing to Miss
Pritchard.^

Mrs. p. At least we old families can stick to-
gether. (Sits.)

DADDY LONG-LEGS S3

(Enter Sallie with tea, followed by Julia with
water and Jimmie with sugar. Jimmie closes
door after him. Their manner is mock jubi-
lant.)

Sallie. (Crossing to l. of tea table) Tea !
Julia. (Crossing to e. of Sallie.J Water!
Jimmie. (Crossing to r. of Julia j Sugar!

CSallie and Julia put the water and tea into tea-
pot. Jimmie stands with back to audience, tak-
ing his handkerchief, spreads it across his vest
front in imitation of a waiter.)

Julia. (Facing front) At last this function is
ready to begin.

Jimmie. (Facing front) The tango tea will
now begin. fMiss Pritchaed rises and Jervis puts
her chair at wall above desk. Jimmie does a tango
step down to Jervis and Miss Pritchard while
Sallie and Julia sing a tango tune. To Miss
Pritchardj Sugar or lemon?

Jervis and Miss Pritchard. CJervis crosses to l.
of Miss Pritchard^ Lemon! ^Jimmie tangoes
to L. of table.)

Jimmie. (To Mrs. Pendletonj Sugar or
lemon ?

Mrs. p. Lemon.

Jimmie. (Tangoing to R. and up above table)
Three lemons. I beg your pardon.

CSallie comes down with cup of tea to Jimmie,
Jervis and Miss Pritchard have eased over
to Jimmie, leaving stage free and clear up r.
for Judy's entrance. Jimmie takes teacup from
Sallie and turns, almost upsetting the tea by
bumping into Jervis Jervis takes teacup from

54 DADDY LONG-LEGS

JiMMiE, passes it to Miss Pritchard. Sallie
has gone hack to the table and Julia has taken
a cup of tea down to Mrs. Pendleton and re-
turns to Sallie at the tea table.)

Sallie. Jimmie, pass those buns !

JiMMiE. (Taking plate of buns off table c.) The
stolen buns? (Turns to Jervis and Miss Pritch-
ardJ Have a stolen bun? (Without waiting, crosses
over L. to Mrs. Pendleton. Jervis and Miss
Pritchard, laughing at him, ease up stage e. of c.)
Have a stolen bun ? Do have a stolen bun. (A vig-
orous knocking is heard. Mrs. Pendleton rises)
The police ! Caught with the goods ! (Does a funny
little dodge to l. of Mrs. PendletonJ

(The positions as Judy enters are: Miss Pritchard
R. and up. Jervis l. of Miss Pritchard, so
that Judy doesn't notice them at first. At the
knock Julia comes down to behind table and
Sallie down to l. of table c. Mrs. Pendle-
ton is over l. of Sallie and Jimmie l. of Mrs.
Pritchard. Enter Judy. As she opens the
door and stands in hall-way, she waves her
hand and says "Good-bye" to classmates who
laughingly respond. Judy swings into the room,
slamming the door behind her and leans against
the door.)

Judy. (With a laugh) Oh, I beg your pardon !
(Comes down a bit) I forgot we were giving a
ball.

Sallie. (Pointing accusing finger at her) Judy
Abbott, where's that candy?

Judy. (Crossing to r. of c.) Oh !

Julia. That you promised to make!

Judy. Oh, I'm awfully sorry. (Crosses to the table

■'i'''J4v'^»b.-=/'''^

DADDY LONG-LEGS 55

and her eye lights on box of candy. She raises it
amusedly and says solemnly) The Lord will pro-
vide! fjERVis turns away, smiling) I learned that
in my youth, and it's true. ^Mrs. Pendleton turns
up and Judy catches sight of Jimmie. Jervis turns
to Julia, motions for introduction) Jimmie Mc-
Bride! Are you here again?

fJiMMiE crosses l. of table as Julia drops down r.
of JudyJ

Julia. Oh, Judy, my uncle, Mr. Pendleton, my
roommate Miss Abbott ! f Julia crosses l., taking
teacup from Mrs. Pendleton up to table. Jervis
comes forward and hows witW some ceremony, hold-
ing out his hand to Judy. J

Jervis. This is a pleasure.

Judy. (Without paying much attention, shakes
hands) How do you do? (Without allowing him
to finish she turns quickly to Jimmie and shakes
hands with him very cordially. Julia takes Miss
Pritchard's cup to tea table as Miss Pritchard
goes down r. and sits at desk. Jervis drops down
and over to R. of armchair.) Jimmie, how do you
manage to get away from Yale so often?

('Mrs. Pendleton works up and across at back and
over R., takes chair above desk, placing it l. of
Miss Pritchard, sits. Jervis, nonplussed at
Judy's turning to the younger man, works over
R. of armchair. Julia and Sallie drop down
behind Jimmie.j

Jimmie. (His hand on his heart) There's a
magnet draws me.

Sallie. (Forces Jimmie down into chair) Jim-
mie, sit down and behave yourself.

56 DADDY LONG-LEGS

(JiMMiE rises and turns indignantly to Sallie, who
comes L. of Jimmie. Julia above chair. Judy
turns to L. of armchair.)

Jervis. (Is about to move armchair from over
ink spots to near table for Judy^ Will you

Judy. (Hastily pops into chair) Oh, no, thank
you. This is just where I like it.

Jervis. ('r. of JudyJ Is there anything the mat-
ter with that chair?

Judy. (Innocently looking it over) I don't see
anything the matter with it.

Jervis. Is it nailed to the floor?

Judy. (Looks at him and across at GirlsJ No,
it isn't — ^but that's a i^ry good idea. ('Sallie and
Julia laugh with her) Where'd all that candy come
from? Did you bring it, Jimmie?

Sallie. (With satirical laugh at Jimmie. Crosses
up and around R. back of table) Jimmie ! Huh !

Judy. You shouldn't be so reckless with your
allowance.

Jimmie. Well, I

Julia. (To above table at c.) A token of af-
fection from Uncle Jervis. (Crosses l. of Sallie.^

Judy. (Looking at Jervis^ Oh, really. Uncles
must be rather nice. I never saw an uncle before.
(They all look at her.)

Mrs. p. What?

Judy. But I've often read about them.

CJervis turns up stage, back turned to scene, en-
joying Judy's replies.)

Mrs. Pendleton. And haven't you any uncles
of your own?
Judy. Never had anything of the sort.

DADDY LONG-LEGS 57

Mrs. p. (Turning to Miss PeitchaedJ What
in the world does she mean ?

Judy. I never had any uncles nor aunts nor
fathers nor mothers nor brothers nor sisters nor
grandmothers — nothing !

Mrs. p. Mercy, child ! What happened to them ?

Judy. They were all swallowed up by an earth-
quake before I was born.

(Everybody laughs — Mrs. Pendleton crosses to
Miss Pritchard and sits, and Jervis comes r.

of JUDY.j

Jervis. You occupy a unique position, Miss
Judy. Allow me to congratulate you. (Holding out
his hand.)

Judy. (Regarding him with surprise) Do you
want me to shake hands with you again ? I just did
it. (Giving him her hand and rising) Oh, I'm will-
ing to, but I thought you mustn't shake hands with
the same man more than once in an afternoon. (Re-
leases hand) I read that in a book of etiquette.

Jervis. What's a book of etiquette between
friends ?

Judy. I thought it took a long time to be friends
with a man.

Jervis. (Playfully) One minute is sometimes
enough, with a man.

Judy. (Stepping back) Do you want to know
something — funny? ('Sallie goes up to couch.)

Jervis. I should love to know something — funny.

Judy. You're the first man I ever spoke to.

JiMMiE. (Crossing to l. of table, Sallie above
table R. of JuDYJ Oh, Judy Abbott !

Judy. I mean the first real man. ("Jervis sits
on rocking chair. Jimmie crosses over to Julia at l.
Judy to c. of table. Jervis over to Mrs. Pendle-

S8 DADDY LONG-LEGS

TON and Miss Pritchard, and above them) Oh,
you're not a man.

Sallie. (Coming down tt l. of Judyj How did
the rehearsals go ?

Judy. (c. in front of table) Awful. Bessie
Carter is the leading man and I'm the leading
woman. And in the middle of the most touching
scene — what do you think happened?

All. What?

Judy. Her mustache dropped right into my lap.

(General movement. Jimmie and Julia start up
stage, Jimmie to table for candy, Julia to sofa,
Sallie over to l., Judy up e. of table. Jimmy
offers candy — Judy declines. • Sallie shoves
chair l. of table in. Jimmie and Sally up to
couch—sit with Julia, Jimmie c, Sallie r.,
Julia l., Judy to c. of table as Mrs. Pendleton
crosses to armchair and sits. Jervis to L. of Miss
Pritchard. They all laugh. Jimmie takes box
of candy, Sallie joins Julia and Jimmie at l.
They go up and sit on couch. Judy follows
Sallie over L. and goes up behind table c.)

Mrs. p. (Crossing to chair r. of table at c. and
sitting) Oh, Miss Judy — to come back to that earth-
quake.

fjERVis shows by manner to Miss Pritchard his
apprehension of Mrs. Pendleton's attitude to

JUDY.j

Miss P. Florence ! f Jervis anxious for Judy.^
Mrs. p. You don't remember either of your

parents ?

Judy. (Behind table) I lost them both, before

I was born.

DADDY LONG-LEGS 59

Qervis relieved, smiles at Miss PritchardJ

Mrs. P. But who took care of you ?

Judy. Different people. I have a guardian — who
looks after me now. Daddy Long-Legs.

Mrs. p. Who?

Judy. (Quietly) Daddy Long-Legs.

Jervis. (Leaning over chair L.j That isn't his
real name.

Judy. Just the pet name I call him by.

Mrs. p. And what is the profession of this Mr.
— Mr.— er

Judy. Mr. Long-Legs. He is an educator.

CJervis sits L. of Miss Pritchard.J
JiMMiE. An educator? Sounds like a biscuit?
(A laugh from Judy and the Girls.^

Mrs. p. By the way, Miss Judy, do you come
from the New England Abbotts or the Virginia Ab-
botts ?

Judy. I believe — well, to tell the truth, I hardly
know. My father never took any interest in his
family.

Mrs. p. And don't you take an interest?

Judy. Very little. I have never even joined the
Daughters of the Revolution. (Crosses to Miss
Pritchard, who rises. Jervis is r. of Miss Pritch-
AED. j When will you see my guardian again ?

^Mrs. Pendleton rises and goes up to couch. Jim-
MiE and the Girls rise. Sallie helps Mrs.
Pritchard with her coat.)

Miss P. Very soon.

6o DADDY LONG-LEGS

Judy. Tell him I love him dearly. Then give
him a kiss for me.

Miss P. Judy, Judy, what dreadful things you
say. (Turns up stage.)

Jervis. I don't wonder it embarrasses you.
(Crossing to Judy. Jimmie comes down, putting
candy on table.) I think such messages should be
delivered in person.

fMiss Pritchard joins Mrs. Pendleton up c.)

Jimmie. (Coming r.c. l. of JudyJ Oh, Judy,
is it true you Freshmen aren't allowed to dance to-
night ?

Judy. . (A step to Jimmie^ No. The gym-
nasium is not big enough.

Jimmie. I can't dance with you at all?

Judy. (Soothingly) But you may have a nice
long promenade up and down the bowling alley and
all around the swimming tank.

Jimmie. (Grumbling) I don't want to walk all
evening. I want to dance.

Judy. Oh !

('Mrs. Pendleton leaves up stage group and drops
down tot,.)

Jervis. Then in that case you might bestow that
promenade upon me.

Judy. (To JervisJ Oh, thank you. (Turns and
looks Jimmie up and down) I'd hate not to have
any partners — (Turning to Jervis J — especially at
my first dance.

fJiMMiE turns up and over R.^

DADDY LONG-LEGS 6i

Mrs. p. (Down l.) Your first dance ?

Judy. (A step to c.) This will be my first
dance — (Indicates Jeevisj — my first man — and my
first evening gown.

(Miss Pritchard down to Mrs. Pendleton J

Mrs. p. Mercy, child, how were you brought up ?
Judy. Very simply. We didn't dress for din-
ner,

('Jervis feels the hurt in her voice and turns away r.)

Miss P. If we are going to see the campus-

('Miss Pritchard and Mrs. Pendleton go up stage
to Julia and Sallie.J

JiMMiE. (Comes down r. of Judy^ You prom-
ised to show me your running track.

('Mrs. Pendleton crosses to door u.r.J

Judy. Oh, no, indeed. You don't like to walk
with me. Run along and join the others. I'm going
to put the room in order. (Moves c.)

('Mrs. Pendleton opens door and exits.)

Julia. (Crossing to door) Come along, Jimmie.
fJiMMiE crosses to her.) She'll catch us.

CJimmie exits with Julia and Sallie crosses to
door.)

Jervis. (At r.) This doesn't seem fair.

Judy. It's my turn. Besides, I'd rather. Sallie
and Julia would just poke the dishes under the
couch.

62 DADDY LONG-LEGS

Sallie. Judy thinks we're shiftless.
Judy. You didn't have my training.

f'SALLiE exits, Miss Pritchard crosses to door as
Jervis goes up and waits for Miss Pritchard
to pass.)

Sallie. (Going out) Will you come along, Miss
Pritchard ?

Miss P. I'll follow with Judy. ('Jervis exits,
leaving door open. Miss Pritchard comes down
to Judy. They embrace) Judy — I wanted a chance
to see you alone, dear.

Judy. Isn't it wonderful that this is Judy Ab-
bott?

Miss P. Yes, yes ! But you must remember — it
is better not to mention the asylum. (Sits r. of
table.)

Judy. I haven't told a soul.

Miss P. But you say such very surprising things.

Judy. But how can I help it? You don't know
what it feels like to be shut up in the dark for eigh-
teen years and then suddenly be dumped right out
into the world.

Miss P. I know

Judy. The cat's out of the bag a dozen times a
day, but I grab it by its tail and pull it back.

Miss P. (Laughs) Yes, you must. People like
— like Mrs. Pendleton would never understand.

Judy. Do you know, she wanted to know my
mother's maiden name.

Miss P. Oh !

Judy. I never saw such an inquisitive old thing.
I'm going to put her in a book.

Miss P. That's the way to take it.

Judy. (Lightly) She doesn't bother me.

Miss P. You like the girls here?

DADDY LONG-LEGS 63

Judy. (Nods) Yes — they like me, too. But
it's only because I don't wear blue gingham. (Cross-
ing to R. of Miss Pritchard and turning) You can
accomplish anything you want to in this world — if
you only have the right clothes.

Miss P. My dear !

Judy. I'm wearing silk stockings. (Sticks out
foot and exhibits them) Isn't that a joke? Tell
Mrs. Lippett when you see her.

Miss P. (Embracing her) Judy Abbott!

Judy. (Sits on arm of chair) Jerusha Abbott
— wearing silk — I wonder where she got that name.
Jerusha Abbott.

Miss P. What do you mean ?

Judy. I suppose she took "Jerusha" off a tomb-
stone. But I don't know where she picked the "Ab-
bott." Unless, maybe, out of the first page of the
telephone book.

Miss P. (Distressed) Why, my dear child, what
an idea !

Judy. (Crosses in front of table) I'd — I'd sort of
like to know.

Miss P. (Rises anxiously — following her, turns
her round) You are happy, dear?

Judy. (Rising, facing Miss Pritchard and
throwing off her momentary soberness) Happy!
I'm so happy every moment that excited little thrills
chase up and down my back. I can't wait to see
everything and try everything. I want to live faster
and faster to make up for the time I've lost.

Miss P. (Rising and crossing to her) Child!
Child ! You must face life soberly. It holds many
disappointments for us all.

Judy. No ! No ! I've left all my troubles at the
John Grier Home! Wait! I want to show you
something.

64 DADDY LONG-LEGS

(Exits L. Jervis appears at open door of room,
comes down r., leaving door open.)

Jervis. I was sent to order you out to look at
the library.

Miss P. (Crossing to Jervis at r. j I'm just wait-
ing for Judy.

Jervis. You might leave me to do that and I'll
have a chat with her as we come along.

Miss P. Isn't she sweet?

Jervis. (About to express his delight, changes
his reply to a non-committal) Yes — er — er — she
does very well.

Miss P. Now, do you take back what you said?
Is it a bad investment to educate a girl?

Jervis. Doesn't it strike you that she's pretty
familiar with that young McBride?

Miss P. No!

Jervis. It's just what I told you. We'll no
sooner get her educated than some young whippfi--
snapper will come along and want to marry her.

Miss P. He isn't a whipper-snapper. He's a
nice boy.

Jervis. He'll be wanting to marry her.

Miss P. Well— when she's through college

Jervis. (Crossly) I don't care to have my ward
throwing herself away on an overall factory.

Miss P. (With a laugh) Nonsense !

('JtTOY is heard off stage saying "Just a moment.
Miss Pritchard." Jervis cautions Miss
Pritchard quietly and escorts her up to door l.
She exits and he closes door and comes down
R., as Judy comes from the room l., holding up
in front of her a white evening frock, so that it
completely shuts off^ a view of the room.)

DADDY LONG-LEGS 65

Judy. (By door) Look at my new gown that
I'm going to wear to-night. Daddy gave it to me.
Did you ever see anything so lovely ?

Jervis. (-r. of c.) Well — I'm not much

Judy. (Lowering gown and looking over top in
consternation) Oh, good gracious sakes alive!
How did you get here ?

Jervis. Through the door.

Judy. Where's Miss Pritchard?

Jervis. Library. I told her we'd come along.

Judy. (Laughing) Oh, I'm sorry. Just a sec-
ond. (She dives back into room, leaves the gown
and re-appears, crosses to c.) Ready ?

Jervis. ('r. by armchair) That library doesn't
appeal to me very much. Let's wait here.

Judy. (Dubiously) Without a chaperone?

Jervis. I'm an uncle.

Judy. And then, of course — you're old.

Jervis. Yes, exactly. I'm old. (Motions to arm-
chair) Suppose we sit down here and have a cozy,
elderly flirtation all by ourselves. fJuDY sits — Jer-
vis gets chair at r. and comes back and sits r. of

JUDY.J

Judy. (With a laugh) Oh, I'd love to have a
flirtation with a Pendleton ! That would be a beau-
tiful joke.

Jervis. Why a joke?

Judy. You wouldn't understand — you know be-
fore I came to college I never realized that anything
so superior ever existed as a Pendleton.

Jervis. Oh, I see. You've had quite a dose of
Julia.

Judy. She has mentioned her family. I feel that
it's a great honor to be seated in your presence.

Jervis. (Gruffly) You rub some sense into my
niece.

Judy. I'm trying to do my best — ^but Gee Whiz !

66 DADDY LONG-LEGS

Jervis. What ?

Judy. Oh ! Isn't it ladylike to say — Gee Whiz ?

Jervis. Never !

Judy. Don't you approve of slang?

Jervis. Not from you! (Turns away.)

Judy. Would you like to hear me swear?

Jervis. No !

Judy. I could. I've picked up quite a large
vocabulary from all the tough little Bowery boys
I've known.

Jervis. Where did you ever know any tough lit-
tle Bowery boys?

Judy. I used to be connected with a — charity.

Jervis. What sort of charity ?

Judy. Oh, for children. A lot of nice, kind,
benevolent old Johnnies used to come every month
and pat them on the head and murmur, "Poor, home-
less, little waifs !" And then find fault with the way
the floors were scrubbed and have refreshments,
and go home, and forget all about them for another
month. It was very sweet.

Jervis. And what part did you play in this little
comedy ?

Judy. I? Oh, I used to watch them, and smile
a little behind their backs. (She gets up in a sud-
den access of fierceness) I hate charitable people.
('Jervis rises. Judy turns and faces him contritely)
I didn't mean that ! The only man I love in all the
world is charitable. (She notices that he has risen
again, suddenly) Do you have to stand up every
time I do?

Jervis. (Takes chair back of table R.j It's a
polite thing for a gentleman to do.

Judy. It must be an awful nuisance to be a gen-
tleman.

Jervis. Eh ?

Judy. I'm glad I'm not one.

DADDY LONG-LEGS 67

Jervis. I'm glad, too.

Judy. You don't like my manners, do you?
Jervis. You have very — sudden manners.
Judy. I learned them out of a book. Cost a dol-
lar and fifteen cents.
Jervis. It pays to get a good quality.

(]vx>Y takes book from shelf under table, goes back
to armchair. Sits.)

Judy. Sit down. Qervis sits and Judy reads
from book) "A lady never accepts presents from
a man but flowers and candy."

Jervis. How about that new frock?

Judy. From Daddy Long-Legs? Oh, that's dif-
ferent. He belongs to me.

Jervis. (Leans forward interestedly) Oh!

Judy. (Turns another page) "When a lady
breaks her engagement to marry a man, she returns
all his presents." That's a very useful thing to
know. (Rises, Jervis also rises, laughing heartily.
Judy tosses book on table with a laugh) Isn't it
silly? (Crosses to c. in front of table.)

Jervis. (Crosses to armchair) You stay kind-
hearted and don't hurt people's feelings — and that's
all the manners you need.

Judy. (Turning to him) You know, Mr. Pen-
dleton, I like you. You are so sort of sensible, and
grown-up

Jervis. And old

Judy. I wish I had an uncle ! I wish I had a lot
of family.

Jervis. I am entirely at your disposal. Anything
you wish — ^by adoption.

Judy. Really?

Jervis. Yes.

Judy. I want a grandmother more than any-

68 DADDY LONG-LEGS

thing in the world. Will you be my grandmother,
Mr. Pendleton?

Jervis. No, I take that offer back. (To arm-
chair) We'll just be friends.

Judy. (With a sigh) It's sometimes awfully
lonely without a family.

Jervis. It's sometimes awfully lonely with a fam-
ily.

Judy. (Thoughtfully) But at least I've escaped
one thing. I never get homesick. (Turns away.)

Jervis. (Breaks situation) Where are you
spending your vacation this summer?

Judy. On a farm in Connecticut. But I wanted
to go to the McBrides' camp in the Adirondacks.

Jervis. Well, why don't you go?

Judy. Daddy Long-Legs wouldn't let me.

Jervis. (A step to c.) I see. Who owns this
farm? (Hands in pockets.)

Judy. Mrs. Semple.

Jervis. Mrs. Semple?

Judy. Lock Willow's the name.

Jervis. Lock Willow ! Well, well. Isn't that a
coincidence. Lizzie Semple was my nurse when I
was a little shaver.

Judy. (A step back) Your nurse?

Jervis. Yes.

Judy. Gee whiz ! (Turns away.)

Jervis. Take care.

Judy. (Turns to him) She must be awfully
old.

Jervis. Well, she's coming on. It's some time
since I sat on Lizzie's lap and had my face washed.

Judy. (Laughs) How funny!

Jervis. (Crossing to c. of table) I occasionally
motor through that country and stop for a little
fishing. Maybe I'll see you.

Judy. That will be very nice. (Suddenly crosses

DADDY LONG-LEGS 69

over to L. and %p as Jervis, stunned by his abrupt
dismissal, turns front) Thanks.

Jervis. (Crossing over r. and then turning to her)
And what are you doing in college? Have you
learned anything?

Judy. (Coming to l. of chair, reproachfully )
Have I learned anything? The area of the convex
surface of the frustum of a regular pyramid is half
the product of the sum of the perimeters of its bases
by the altitude of either of its trapezoids.

Jeevis. (Bowing) That is very impressive.

Judy. (Behind table) I've finished — physiology.
I know all about your insides..

Jervis. Um — ^yes

Judy. (Crossing to armchair) I hope you never
touch alcohol, Mr. Pendleton. It does dreadful
things to your liver.

Jervis. Thank you — I will remember.

Judy. (Sitting in armchair) Did you know that
we used to be monkeys ?

Jervis. (Sitting r. of Judy^ I've heard rumors.

Judy. You, just as much as me.

Jervis. And why not?

Judy. But, of course, the Pendletons are de-
scended from very superior monkeys — with beauti-
ful silky hair and extra long tails.

Jervis. Oh !

Judy. Did you ever read Hamlet?

Jervis. Yes.

Judy. Isn't it corking?

Jervis. Eh ?

Judy. Every night I put myself to sleep by pre-
tending that I'm the heroine of whatever book I'm
reading. Do you ever do that?

Jervis. I never have.

Judy. Just now I'm Ophelia !

Jervis. Ophelia ?

70 DADDY LONG-LEGS

Judy. Hamlet and I are married. The King
and Queen are dead. But Hamlet didn't kill them.
They just died of — pneumonia.

Jervis. Um — much more modern idea.

Judy. You know — Hamlet and I are having a
perfectly lovely time. I've entirely cured him of
being melancholy. He attends to the governing and
I look after the charities. We've just founded the
most remarkable orphan asylum. All of the chil-
dren are happy.

Jervis. And you. Miss Judy? Are you happy?

Judy. Happy? (Rises — Jervis, too) I'm the
happiest person in the whole wide world.

Jervis. Tell me the secret.

Judy. We have ice-cream twice a week — (Goes
to R. of table) — and we never have corn-meal mush.

Jervis. That's something.

Judy. (r. of table, facing him, hands on table)
And I've lots of friends, and I've passed my exami-
nations, and I've won a short story prize

Jervis. Good !

Judy. And I've made the basket-ball team —
(Stands up) — and I have eight new dresses — all of
them different colors, and not, not one blue ging-
ham. (Turning away.)

Jervis. You don't admire blue gingham ?

Judy. No ! I shudder at the thought ! (Crosses
over L.j Talk about something else quick. (Goes
up. Jervis glances about the room.)

Jervis. What shall we talk about? (Turning
up a little) Did you girls furnish this room your-
selves ?

Judy. (Coming to table c.) The expensive
things are Julia's. It's awful the way she wastes
money.

Jervis. (Over to R. of armchair — sternly) If
I had a girl who belonged to me I'd give her an al-

DADDY LONG-LEGS 71

lowance and I'd make her keep within it. I hope
your guardian makes you keep within your allow-
ance.

Judy. (Laughs and shakes her head) No, he
doesn't. He gives me lots of extra things.

Jeevis. That won't do. He'll spoil you.

Judy. (Facing him) Oh! But it's such fun to
be spoiled — (Facing front) — when you never have
been.

CJervis leans over armchair, looking at her ten-
derly. Judy reads the expression and turns
abruptly to L.J

Jervis. And which of all these things did you.
choose? (Turns up.)

JtTDY. (Behind table) This rug — do you like it?

Jervis. Yes — very pretty.

Judy. And that window seat. (Going up c.)
It used to be a bureau, but I took off the looking-
glass and upholstered the top. ^Jervis goes up a lit-
tle also) You pull the drawers out like steps and
just walk up. (She does it and sits on the top)
Wouldn't you like to try it, Mr. Pendleton? It's
very comfortable.

Jervis. (Coming down R. of chair and pulling it
up and off of ink spot) I think I'll stay on dry
land.

('Judy, in consternation, quickly descending from
bureau.)

Judy. (Hastily coming down) No, no, no!
Cl. of chair) Now, you've done it !
Jervis. (Staring at the spot) What's that ?
Judy. Family skeleton. We keep it under the

72 DADDY LONG-LEGS

chair. I bought the rug for half price because it had
an ink spot.

Jervis. a what?

Judy. Ink spot.

Jervis. You call that a spot ? (Cross Vi.) I'd call
it a pond.

Judy. (Sets chair down on spot with a slam)
If people would just leave our furniture alone, it
would never show. (To r. of table.)

Jervis. ('r. of chair) I'm sorry, Miss Judy. I
won't offend again. But tell me, what sort of a
man is your guardian?

Judy. Daddy Long-Legs?

Jervis. Yes.

Judy. Oh, he's sort of tall — and skinny. He's
getting a little shaky now, and has to walk with a
cane. He's bald up here — but he has a nice fringe
of white hair all around here.

Jervis. Oh, yes, quite a beauty.

Judy. He's a sweet lamb. And I love him more
than anything in the whole world.

Jervis. That must make him very happy.

Judy. (Facing him) He doesn't know it. I
wouldn't tell him to his face. It would spoil him.
(Turns away.)

Jervis. Maybe it would do him good. It would
give him a fresh interest in life to think that a nice
girl like you cared for him.

Judy. (Suddenly — turning to him. Sits on
table) When I get through college, I'm going to
live with him.

Jervis. (Startled) Are you really? Does he
want you?

Judy. Not now. But he will when he knows me
better.

Jervis. Maybe you'll change your mind when
you know him better.

DADDY LONG-LEGS Ti,

Judy. Oh, no, I sha'n't. I have it all planned.
I am going to read out loud to him, and plump up
his pillow, and warm his slippers, and wrap up his
throat in camphorated oil, and always make him
wear his rubbers when he goes out.

Jervis. (Dubiously) That's very touching.

Judy. I am going to be awfully firm with him.

Jervis. Oh, you are, are you? Qudy nods
head) Does he ever come to see you? (]vt>y
shakes her head) No? Why not?

Judy. He doesn't care anything about me, really.

Jervis. Nonsense, of course he does.

Judy. I just pretend. You must have some-
body to love, and he's all I have. So I make believe
that he cares.

Jervis. Maybe he does care — more than you
think.

Judy. (Facing him, with a flash of fire) No,
he doesn't ! He's a horrid, cross, old thing, with a
mouth that turns down like that, and a perfectly
dreadful temper.

Jervis. So ! And doesn't he ever write to you ?

Judy. No !

Jervis. And don't you write to him ?

Judy. Yes, I write to him all the time — when-
ever I get lonely. But he doesn't even read my
letters.

Jervis. How do you know?

Judy. He throws them in the waste basket.

Jervis. Oh, no, you're wrong. He keeps them
tied together with a piece of red tape, and locked in
a drawer of his desk, and winter evenings when he's
all alone in his dark library, he gets them out and
reads them over; and then he sits and looks in the
fire and wonders what little Judy is doing, and
wishes she were there to talk to him.

74 DADDY LONG-LEGS

('Judy listens with a pleased smile and faces him.)

Judy. I like to think he does (Turning

away) But it's only pretending. (Crosses l. and up
behind chair l. of table.)

WARN CURTAIN

Jervis. I wonder! I wonder!

fJuDY throws off her momentary sadness and faces
him with a sudden change of manner.)

Judy. Do you know that I am a genius ?

Jervis. Are you really ?

Judy. Yes. That's why my guardian is sending
me to college. I'm going to be a great author.

Jervis. That's very nice.

JxTOY. (With a quick laugh) Wouldn't it be a
joke on my guardian, if I turned out not to be a
genius at all — but just a plain girl? (Crossing to L.
of table.)

Jervis. What an idea! Of course you're a
genius.

Judy. (Down L.j Do you think it would be
fair to Daddy Long-Legs, if, after being educated
to be a writer, I should give it up and marry some-
body instead?

Jervis. (Coming to r. of table) No ! I do not !

Judy. I'll tell you what I'll do. I'll write a
wonderful novel and make an awful lot of money
and give it all to Daddy — and then I'll be free to
marry anybody I choose.

JiMMiE. (Entering suddenly and standing by
door) I say, Judy Abbott

Judy. (Crossing to him. They exit, laughing and
chatting) Oh, Jimmie! I forgot all about you.

DADDY LONG-LEGS 75

You want to see the running track — well, come
right along.

(As Judy crosses to Jimmie, Jervis turns and fol-
lows her movements. When she is off — he faces
front, puzzled and nonplussed, as the curtain
descends.)

CURTAIN

1st Call — Everybody.
2nd Call — ^Judy.

ACT III

Scene : The sitting-room at Lock Willow farm,
summer, three years later. A plan and full de-
scription of the scene mil he found at the end of
the play.

Discovered: At rise Sallie, seated L. of table,
looking more mature and womanly than in the
preceding act, is discovered at rise, interestedly
engaged in writing a letter. Jimmie enters u.l.,
wearing a slight mustache and dressed in flan-
nels. He enters, humming a song and carrying
a gun.

Jimmie. (Throws cap on piano) Well — got him !
(Places gun R. of what-not.)

Sallie. (Looking up) What?

Jimmie. (Crosses to L.) Woodchuck!

Sallie. (Resumes Tvriting) That's good!

Jimmie. (Crosses to door v.) Oh — Mrs. Semple !

Mrs. Semple. (Off stage r.^ Y-e-s

Jimmie. The deed is done. (Turns to Sallie,
who pays no attention, crosses R. of table) I've been
lying on my stomach for two hours, waiting for
that old cuss to stick out his head. Gee, I'm stiff.
(Goes through gymnastics.)

Sallie. (Looks up and laughs despairingly) My
dear Jimmie, won't you ever grow up ? You've been
out of college two years, and you act like a Fresh-
man.

Jimmie. (Turning to mirror over mantel up r.
76

DADDY LONG-LEGS ^J

and twirling his mustache) Freshman! Did you
ever see a Freshman with a mustache like that?
('Sallie resumes writing. To mantel) I say, where
is Judy? (Crosses to c. above table.)

Sallie. She drove to the village, to send off the
manuscript of her new book.

JiMMiE. Well, why didn't she ask me to go
along ?

Sallie. You were occupied.

JiMMiE. (Sits R.) I could have postponed that
woodchuck until to-morrow.

Sallie. To-morrow! Jimmie McBride, you
must go home to-day. You had no business stop-
ping off here at all.

JiMMiE. You visit Judy for two weeks. I
should think I might have two days.

Sallie. Father needs you in the factory.

Jimmie. Factory? Work — ^work — work! It's
awful the way we men have to work to keep you
women in idleness and luxury.

Sallie. You? Work! Ha! It's Judy who
knows how to work !

('Mrs. Semple enters R. and Jimmie rises.)

Mrs. S. (Crossing to e. of JimmieJ Well, did
you get the critter? (Crosses to r. of table.)

Jimmie. (Weeping into his handkerchief) It's
all over. (Crosses to piano — sits and picks out a one-
fingered tune.)

Mrs. S. I'm real glad. He et all the tops off
my young carrots. (Up R., looking around the room.
— to set things in order — but no halt in the lines)
Mr. Jervis usually keeps the woodchucks pretty well
shot-up ; but he ain't been here lately.

PHONE READY

78 DADDY LONG-LEGS

JiMMiE. (Turning interestedly) Is Mr. Pendle-
ton in the habit of coming?

Mrs. S. (Crosses down a little R.) Off and on.

JiMMiE. (Curiously) Off and on?

Mrs. S. (Continuing) for a little fishing.

JiMMiE. Fishing !

Mrs. S. I'm always glad to see him, it makes it
cheerful for Miss Judy.

JiMMiE. (Rising) Oh, fishing?

Mrs. S. (Crossing to piano, looking at picture of
Jervis over window) I can't realize that Mr. Jer-
vis ain't still the little boy in that picture. Seems
like he belonged to me. But of course I was only
his nurse and after he growed up, he sort of drifted
off. (Sitting r. of table. Jimmie at window.)

JiMMiE. (Comes down R.j Until Miss Judy
commenced coming — and then he sort of drifted
back, eh?

Mrs. S. Oh, he's awful fond of fishing. (Phone
rings, one long, followed by three short) Telephone !
(Crossing to R.}

Sallie. That's not our number!

Mrs. S. 13! The Weavers! Wonder who's
talking to 'em? I'll just find out. (She waddles
off R. Sallie resumes writing and Jimmie crosses
above table c.)

JiMMiE. (Crossing above table) Don't you think
it's darned queer for Jervis Pendleton to be visit-
ing up here?

Sallie. No! She's his old nurse!

JiMMiE. Nurse? Maggie Flannigan is my old
nurse, but I don't spend my summers with her.

Sallie. (Mocking Mrs. S.^ Mr. Pendleton's
awful fond of fishing.

Jimmie. Fishing! Rats! (Crosses to chair k. by
fireplace.)

Mrs. S. (Entering — crosses to up r.) That was

DADDY LONG-LEGS 79

Jim Weaver talking to their doctor. It's awful the
way Jim Weaver swears over the telephone. I
think every lady on the line ought to complain.
Miss Judy had the telephone put in. We never had
one till she came. Don't know what we'd do with-
out it now. (Sitting r. of table, crosses to e. for
workhasket on table and returns to R. of table
and sits and begins work on knitting) Miss
Judy does have more ideas ! The first summer
she was here she and Mr. Jervis knocked out the
whole wall side of the house and had that window
put in. Makes it look like all outdoors. It's fine
for the summer, but they ain't here in the winter.
(Grunt. Workbasket on table) And then she had
that piano put in tuther room. The last I heard,
they was planning a pergolley in the garden. But
he ain't been up here for a month or so and I guess
the pergolley notion has sort of dropped. I don't
know what she'll think of next.

JiMMiE. (Rises, twirling mustache with self-
satisfied air) She'll be getting married next, and
then

Mrs. S. (Looks across at Jimmie^ When she
does marry, I hope it will be to a man that amounts
to something, and not to some trifling, good-for-
nothing young fellow who's afraid of work.

JiMMiE. (Gives himself a burlesque punch and
turns up) Ooh!

Mrs. S. (Putting workbasket on table) Land
sakes ! (Looks at clock on mantel) What time
does your train go ? I mustn't let you miss it !

JiMMiE. (Sweetly) Thanks !

Mrs. S. Too bad you weren't here when Miss
Judy left; she could a-carried you to the station.

JiMMiE. Oh, I can postpone going until to-mor-
row, if it isn't convenient

, READY PHONE

8o DADDY LONG-LEGS

Mrs. S. Oh, it'll be convenient (Telephone

rings, one long and one short. Mrs. Semple rises)
The Widow Dowd ! I wonder who's talking to her ?
(Hurries off r. Jimmie turns to Sallie.^

READY PHONE

Jimmie. (Above table) Are you writing a book,
too? Is it catching?

Sallie. (Gathering up pages) I'm just writing
a note to Gordon.

Jimmie. A note? You've got it bad! I hope
when I get engaged, my girl won't write me notes
like that and expect an answer.

Sallie. (Having enclosed note in envelope,
rises) Jimmie, wait a second! (Crosses to v.) I'll
get a stamp. (Goes upstairs and off, as Mrs. Sem-
ple enters at r.^

Mrs. S. (To r. of table) That was Mrs. Iry
Hatch wantin' to borrow the Widow Dowd's ice-
cream freezer. — Now what do you s'pose she wants
to make ice-cream for in the middle of the week?
(Phone rings: two long and three short rings)
There it goes again! That's our number. I don't
get no rest I (Hurries off r. Sallie enters.)

Sallie. (Downstairs on landing to Jimmiej Oh,
Jimmie! The Postman is coming up the road.
Give him this and see if there is any mail for us.

("Carrie enters u.l. Crossing to c, carrying a broom
and dust cloth; as Jimmie turns to exit.)

Jimmie. (Going up and off l. Mrs. Semple
enters r. and crosses up to Carrie at R.c. Sallie to
L. of table, closing writing desk) I fly !

Mrs. S. Carrie! Carrie! Mr. Jervis has just
telephoned from the station. He's driving up and

DADDY LONG-LEGS 8i

he'll be here in half an hour. CCarrie crosses to door
rJ Ain't it lucky I made that jelly cake? (Calls
off rJ Carrie! Carrie! You go and clean the
best bedroom.

Carrie. But Mr. McBride's in it !

Mrs. S. ('r.c. above table) Just set his things
right out in the hall. He's going in a few minutes.

Carrie. (Upstairs) Yes'm! (Exits upstairs.)

Mrs. S. (Crossing to r. to foot of stairs door and
speaks to Carrie^ And Carrie — don't tell Miss
Judy. She ain't heard nothing from him in a long
time and we'll just fix up a little surprise.

Carrie. (Off stage) No'm.

('Mrs. Semple closes door, as Jimmie enters l.
with mail. Mrs. Semple crosses to r. of table
and sits.)

Jimmie. (Coming to c. above table) Hello, Sis!
Mail!

Sallie. (h. of table) Oh, did you get a letter
for me?

Jimmie. No! An advertisement for you.
(Gives her large music envelope) Gordon's tired
of writing. (Gives mail, wrapped magazine to Mrs.
Semple J For you, Mrs. Semple! All for Judy.
(Takes remaining letters up R. and lays them on
work-table.)

Sallie. (Taking sheet music from envelope)
This is from Gordon. Oh, it's a song he wants me
to sing. (Sits at piano.)

Jimmie. You! Sing a song! Ha! (To table
above Mrs. Semple.j

Mrs. S. (Sits r. of table looking over maga-
zine.) And here's instalment three of the remarkable
serial by that rising young author, Jerusha Abbott.

82 DADDY LONG-LEGS

JiMMiE. I say, look at the pictures. Aren't they
corkers ?

Mrs. S. I don't know how she does it — I couldn't
write a book, not if you was to pay me for it.

('JiMMiE turns up to window with a laugh.)

JiMMiE. Oh, by jove — here she is now ! (Crosses
and exits l., leaving door open as Judy is heard "hel-
loing" of stage. Jimmie and Judy carry on a chat-
ter outside as Mrs. Semple goes through her speech
with Sallie playing the air on piano with a gradual
crescendo, ending on the word "famous!" as Judy
steps inside.)

Mrs. S. Now, ain't that grand? To see her
name printed right out in letters half an inch high !
I always said that Judy was going to be famous.

fJuDY enters and comes to l.c, carrying hat in one
hand and millinery hag in other. Sallie rises
as Judy enters. Jimmie follows Judy, carry-
ing a smxill market basket, ladened with bun-
dles.)

Judy. Hello, everybody!

(^Jimmie crosses behind Judy and sets basket on
table c.)

Sallie. (At L.) Good gracious! What's all
that?

Judy. (Coming down l. of table, Sallie to l.
of Judy, Jimmie l. of Mrs. Semple j I am Sep-
tember Santa Glaus. I've brought you all a present
from the village store. fJuDY removes coat and puts
hat and coat on windowseat.)

DADDY LONG-LEGS 83

JiMMiE. (Crosses down r.J I like the way you set
me to catching woodchucks. fJuDY comes down l.
of table) And then go off on a pleasure drive.

Judy. When we take a tramp in for the night,
we expect him to work for his board.

Mrs. S. What kept you so long? We were
afraid old Grover had run away with you.

Judy. Oh, I stopped to give the money to old
Mrs. Barber. (Explaining to JimmieJ They're an
awfully poor family, who have had such bad luck.
I wrote to Daddy Long-Legs about them, and he
sent me a check for a hundred dollars for them.

Sallie. (Crossing to Judy, arms around her)
What did she say? Was she pleased?

Judy. (Laughs) She said, "Thank the Good
Lord," but I told her it wasn't the good Lord. It
was my Guardian.

Mrs. S. But it was the good Lord that put it
into his head.

Judy, (r.) Oh, no, it wasn't! I put it in his
head myself. (Takes two haying hats from bag
she had placed on the table, as Jimmie crosses to
table above Mrs. SempleJ Look ! The latest importa-
tions in fall millinery. One for Sallie and one for
Judy, to save the skin on our noses when we go
blackberrying. (Tries hat on Sallie, who turns
and crosses over l. to mirror, below staircase, to try
on hat herself as Judy turns and takes from bctsket a
flour sifter. Holding up sifter) A new flour sifter
for Mrs. Semple. ('Jimmie has unwrapped a pack-
age containing pink cambric, which Judy takes from
him) And last, but not least — here is some stuff
to make aprons for Carrie.

Mrs. S. (Examining the material) Landsakes !
What did you pay for that a yard ?

Judy. Fifty cents.

84 DADDY LONG-LEGS

Mrs. S. Fifty cents! Why didn't you get blue
checked gingham?
Judy. Oh !

(JiMMiE crosses to window, twirling mustache. Sits
on arm of chair.)

Mrs. S. You could of got that for 12 cents a
yard.

Judy. (Shuddering and turning up, as Sallie
crosses up to Judy and puts hat on piano) Oh !

JiMMiE. (At -R.) I never saw anything so silly,
as the way you women fuss over clothes.

Judy. (Facing Jimmie. Sallie behind Judyj
Silly, eh? I heard of another man who grumbled
about women's clothes being silly, until finally his
wife, to please him — adopted dress reform. And
then

Jimmie. Then what? (Twirling mustache.)

Judy. He eloped with a chorus girl. (Looks of
horror from Mrs. Semple.^

Mrs. S. Good grief.

Sallie. Oh, Jimmie, do let that mustache alone.
Kill it, but don't worry it to death.

('Jimmie crosses to Sallie and they exchange shots
in a light tone as Judy plays the prelude to the
song. Sallie cautions Jimmie to be quiet and
stands above Judy ready to turn pages for her.
Jimmie stands l. of table, leaning against chair
and watching Judy. Mrs. Semple sits back in
her chair r. of table, ready to listen with great
satisfaction.)

SONG "INFAMY"

Judy. Where did you get it?

Sallie. Gordon sent it.

Judy. (Crosses to l. of table) Oh, has the mail

DADDY LONG-LEGS 85

come? (JiMMiE quickly crosses to R. and returns
with letters) Any letters for me?

JiMMiE. (To table, sits on table, handing letters
to her) A million-dollar check from your publish-
ers. (Takes magazine from table) Instalment three
of the great American novel by jerusha Abbott.

Judy. (Having looked through letters) Is this
all?

JiMMiE. All! Were you expecting a love let-
ter, too?

Judy. (Sifting l. of table) Don't be silly, Jim-
mie! (Opening one letter, laying others on table)
I wonder what my publishers have to say of the idea
of my new book.

^Sallie sits at piano and softly plays the song.)

JiMMiE. (c. above table) What's the name of
your new book?

Judy. "The Rufus Gaunt Home."

('JiMMiE above table, Judy sits l., Mrs. Semple r.J

JiMMiE. "The Rufus Gaunt Home?" That is
a cheerful title! Is it an insane asylum or just a
poorhouse ?

^Sallie looking out window.)

Judy. It's — an orphan asylum.

JiMMiE. An orphan asylum ? Oh, I say, if you're
going to write a book, why don't you choose a sub-
ject you know something about?

Judy. (Looks up from letter then around to
Jimmie; then slowly faces front again) That's just
what my publisher asks.

86 DADDY LONG-LEGS

Sallie. But wait till he reads it! It's a beauti-
ful book — isn't it, Mrs. Semple ?

(During this scene, Jimmie devotes all his attention
to Judy J

Mrs. S. Of course it's beautiful. Everything
Miss Judy writes is beautiful — ^but I did think the
book you wrote that first summer was grand !

Judy. (Laughs) It was dreadful ! When I got
back to college I borrowed the engineer's furnace.
I felt as though I cremated my only child. The
next morning I started a new one. I am an awfully
optimistic person. I think if I lost a husband and
seven children I'd bob up the next day and hunt for
a new set.

Mrs. S. You can say what you please, but I like
hero-ines rich.

Judy. But my heroine can't be rich, she is in an
asylum.

Mrs. S. Are you plumb set on that asylum?

Judy. Yes, I'm plumb set !

Mrs. S. You see the trouble is, nobody will ever
want to marry her, if she's out of an orphan asylum.

Judy. Oh! — But she doesn't get married.

Mrs. S. Folks won't read it unless it's got a love
story.

Jimmie. You bet! We've got to have a love
story.

Judy. But she's just a little girl. She doesn't
grow up.

Mrs. S. I'll tell you how you can fix it. Miss
Judy; if you're set on having her an orphan. Get
over them troubles in the asylum as fast as possible,
and then discover that she ain't no orphan at all.
She got stolen out of her cradle when she was a
baby, and her father is a real millionaire, he spends

DADDY LONG-LEGS 87

fifteen years searching for his lost daughter, and
he recognizes her by a strawberry mark on her left
arm.

JiMMiE. (Crosses Vi.) What's a strawberry mark ?

Mrs. S. That's the way you tell lost children.

JiMMIE. Oh!

Judy. But things don't happen that way. It
wouldn't be true.

Mrs. S. Land sakes! Miss Judy, nobody cares
if a book's true, so long as it's comfortable — that's
the way I'd write it. Then you'd oughta make her
grow up, and marry someone real nice like

JiMMiE. (Down to R. of Mrs. SempleJ Like
me.

Mrs. S. (Turning to hitn) You — never. No —
like Mr. Jervis.

JiMMiE. (Goes R.) Ha! I think I see the proud
and haughty Mr. Pendleton marrying a grimy little
orphan out of an asylum. (Up c. above table)
No, Judy, I am sorry but I'm afraid we can't fall
in love with your hero-ine.

Carrie. (Enters r. to r. of Mrs. Semple j Mrs.
Semple, we are all out of molasses.

Mrs. S. (Rising) Oh, Miss Judy, did you for-
get the molasses ? (Takes market basket and hands
it to Carrie. NOTE: All the bundles were replaced
in basket as soon as used by Judy, j

Judy. (Rising) I left the jug in the buggy —
Jimmie, would you mind going down to the barn
and getting it?

f Carrie has made her exit with the basket; Mrs.
Semple has taken work basket from, table and
crosses to place it on work-table at r.)

Jimmie. (Going, mimicing Mrs. Semple^ Land
saices ! I don't get no rest !

88 DADDY LONG-LEGS

Mrs. S. (At r., comes back to r.cJ Oh, Miss
Judy, we're going to have a surprise to-night.

Judy. (Crossing to Mrs. SempleJ A surprise?

Mrs. S. (Crossing down to door r.) Something
you ain't expecting!

Judy. (To chair r. of table) What is it?

Mrs. S. (Shaking her head) I ain't going to
tell. (Goes out R.) I ain't going to tell.

(As Mrs. Semple exits, Judy sits r. of table, fac-
ing away from Sallie in a sad and dejected
mood. A brief pause — and Sallie turns — notes
Judy's attitude.)

Sallie. (Rising from piano. Standing above
table) What's the matter, Judy? (Crossing to l. of
table) Don't worry about what that old publisher
says. He hasn't even read the book. It's the best
thing you've ever written.

Judy. (Standing i..) Because it's true!

Sallie. It's wonderful, Judy — the imagination
you have! Why, the atmosphere of that asylum
seems as real as though you'd seen it with your
own eyes. I don't know how you do it ! I couldn't
picture the inside of an asylum and the way a little
orphan girl feels — not if my life depended on it.

Judy. (Slowly rising) It didn't require any
imagination. Those are the things that really do
happen.

Sallie. (To front of table) Yes, but how, how
do you know? (Sits on stool, facing Judy.^

(JxjDY turns away from Sallie and faces up stage,
then suddenly returns to Sallie, taking chair
and bringing it down and sits a little above
Sallie.j

DADDY LONG-LEGS 89

Judy. Oh, Sallie ! I want to tell you the truth.
I can't stand it any longer — this pretending and pre-
tending to be something I am not. I don't belong
with all you other girls, who have homes and fami-
lies. I try to be silly and laughing and care-free
like the rest of you ; but — I'm only an impostor.

Sallie. What do you mean?

Judy. You wondered that I knew so well how
the little orphan girl felt. I knew because — I my-
self was that little girl.

Sallie. You !

Judy. My childhood was one long, sullen stretch
of revolt. I was brought up in an asylum — in blue-
checked gingham. Oh, I feel sometimes — CSallie
sympathetically puts her arm on Judy's shoulder)
— as if those miserable checks had stamped them-
selves on my very soul. And then one day — ^sud-
denly — like a miracle, Daddy Long-Legs came and
lifted me out of all that misery — and gave me free-
dom and a chance to live. Oh, I was delirious with
joy. I thought every trouble in the world was
ended.

Sallie. I can imagine what it would mean to
lose one's parents.

Judy. I don't know what I am or where I came
from. Oh, I try to be sensible and courageous, but
I feel sometimes as though I could never escape from
the shadow of my childhood. I dream about it at
night, I wake up shivering in the dark, feeling as
though I must run faster and faster, because Mrs.
Lippett is after me with her arm outstretched to
grab me back.

Sallie. Why, Judy, you're growing morbid. All
this makes no difference.

JtTDY. Not with you, perhaps. But to others

Sallie. Who ?

Judy. Well, do you think Julia Pendleton's

90 DADDY LONG-LEGS

mother would have let her daughter associate with
me if she had known ? I know how much they think
of family.

Sallie. It doesn't matter what the Pendletons
think.

Judy. And perhaps they know already.

Sallie. Why ?

Judy. Well — Jervis — Mr. Pendleton used to
come here frequently for a few days' fishing and he
and I became very good friends. We went tramp-
ing and fished for trout, read books together and
had such good times. But for a long while now he
has stayed away and I wonder why. Unless — he
has learned the truth. (Rises.)

Sallie. (Rising also) It doesn't matter, Judy,
he doesn't count. Some day some other man will
come and ask you to be his wife.

Judy. And I would have to tell him about the
John Grier Home.

Sallie. (Putting her arm around Judy's waist)
He would marry you just the same.

Judy. Yes — through kindness perhaps — through
pity. But when I told him if I saw a look of doubt
on his face, if I saw the slightest shadow, oh, Sal-
lie — (Turning to Sallie j — I couldn't hear it! It
would kill me ! (Sobs and buries her head on Sal-
lie's shoulder. Sallie tenderly mothers her.)

Sallie. (After a pause; lifts Judy's head) Oh,
Judy ! You speak as though someone has already
come. ('Judy shakes her head, and slowly crosses to
L.j Has someone already come?

Judy. fL.c.j No, no! I was only pretending.

Sallie. (Following Judy a step) But he'll come
and be proud to do so. You are going to be a
famous author.

Judy. I don't want fame. (Crosses to staircase)
I just want — happiness.

DADDY LONG-LEGS 91

Sallie. (Crossing to piano) Poor Judy !

('Judy starts upstairs, halting, as Mrs. Semple en-
ters at R. and excitedly crosses up c. to window.)

Mrs. S. (Going up c.) He's coming!

JiMMiE. (Crosses down to r. and exits with jug)
Yes, here I am.

Mrs. S. (Coming down c. above table after
laugh) No, I don't mean you — I mean Master Jer-
vis.

fJuDY pauses on stairs as Jervis enters and comes
down L. of Mrs. Semple.^

Jervis. (Taking her in his arms) Well, Lizzie,
how are you ? Bless your heart.

Mrs. S. Bless yours, Master Jervis. The sight
of you does my old eyes good.

Jervis. (Taking her face between his hands and
kissing her eyes) Ah! Bless them — bless them!

Sallie. (Left by piano) How do you do?

Jervis. (Crossing to Salliej Ah, Miss McBride

^this is an unexpected pleasure (Sees Judy on

the stairs and advances to her. Judy comes to meet
him and Sallie crosses at back over to Mrs. Sem-
ple.^

Judy. And how are you, Mr. Pendleton?

Jervis. (Coming down c. and then front of
table) Mr. Pendleton — oh! Have I been away so
long that Jervis is forgotten?

Judy. Well, you must admit you're something of
a stranger to our gates. We began to fear we had
been forgotten.

Jervis. What ! May I hope then that I've been
missed ?

Mrs. S. (Up R. Coming doivn r. of table)

92 DADDY LONG-LEGS

Missed ! Why, Master Jervis, the five weeks you've
been away seems like an age

Jervis. (Crossing to l. of Mrs. Semplej Oh,

you flatterer (Jimmie enters and stands r. of

Mrs. Semple. A look passes between Jimmie and
Jervis; Oh ! And Mr. McBride !

Jimmie. (Coming down) How do you do, sir?

Jervis. (As they shake hands) And you . . .
(Crosses to Jimmie. j

Jimmie. Nicely, thanks.

Mrs. S. Oh, Master Jervis — Mr. McBride shot
that woodchuck you tried to get. You know that
one you tried to get — ^the one that ate up all my
young carrots.

Jervis. I congratulate Mr. McBride upon suc-
ceeding where I failed. (Turns and crosses over to
Judy; No, I shall not presume to hope that I had
been missed. ^Jervis and Judy turn up a step above
piano as Sallie crosses down to L. of Jimmie.j

Sallie. Come along, Jimmie — ^the time has come
for you to go (Crosses to L. and upstairs.)

Jimmie. (Following Salliej I was thinking
that myself.

Mrs. S. (Coming down r.; Oh, Mr. McBride-^
(^Jimmie stops at l.c. below Jervis and Judyj — I
told Carrie to put your things out in the hall.

Jimmie. Eh?

^Sallie waits at head of stairs.)

Mrs. S. You don't mind, do you?

Jimmie. Oh, no, no ! Not at all. (Crosses to foot
of stairs — then turns) You're sure you didn't put
them in the road?

Mrs. S. Oh, no ! (Exits off rJ

Sallie. Oh ! Come on, Jimmie !

DADDY LONG-LEGS 93

(Exits. JiMMiE on stairs starts to sing dolefully
as he goes up and of, his last line heard off
stage.)

JiMMiE. (Singing)

I'm coming — I'm coming —
For my head is bending low —
I hear those angel voices calling
(Off stage, closing door) Go! Go! Go!

Mrs. S. (Entering rJ Oh, where's your bag,
Master Jervis ? Yer old room is ready for you.

Jervis. (Crossing r. to Mrs. SempleJ No, no,
Lizzie, I haven't come to stay.

CJuDY looks at Jervis and then slowly turns hack
to piano.)

DIM LIGHTS—SUNSET

Mrs. S. Didn't come to stay?

Jervis. Well — not this time. ('Judy sits at
piano) The man who drove me here is waiting —
I must catch the 7 130 train.

('Judy plays softly the song she has sung.)

Mrs. S. Why, it hardly seems worth while yer
coming for so short a time.

Jervis. Oh, I hope not, Lizzie. (Looking over
his shoulder at Judyj I trust it will prove — oh, so
worth while

Mrs. S. (Looks from Jervis to Judy and under-
stands why) Oh! Well, ye'U have a cup of tea?

Jervis. Yes.

Mrs. S. And I've got some of that jelly cake
you used to like when you were a little boy, Master
Jervis. (Exits R.J

94 DADDY LONG-LEGS

('Jervis, closing door after her and turning slowly
at door, looking across to Judy. Judy has fin-
ished playing, rises and looks across at Jervis.
Jervis breaks the scene.)

Jervis. (Moves chair. Crossing up to r. of table,
Judy going to l. of table) Well, Judy, it seems to
me I've been away so long I'm sure there is much
to tell me. How are affairs at Lock Willow?
How's old Grover?

Judy. Well

Jervis. Cautious and sedate as ever?

Judy. (Sitting l. of table) The same.

Jervis. And how's the new book? How's that
progressing ?

Judy. Cautiously, too, like old Grover, under the
restraining influence of my publisher.

Jervis. Oh, that's not fair. Your imagination
should have free rein.

Judy. It's flattering to know that — ^you still take
interest in our small affairs.

Jervis. I shall never cease to do that, not for a
single moment.

Judy. That is difficult to believe.

Jervis. And why ?

Judy. Well — five weeks away and not a word or
sign or token.

Jervis. Yet every moment of those weeks you've
been in my thoughts. I went away, I stayed away
because of something I had learned.

Judy. (Apprehensively ) Albout me?

Jervis. Concerning both of us — the truth of
which has forced itself upon me, and it became a
problem I've been trying hard to solve.

Judy. A problem ? How

Jervis. (Sitting r. of table) A conflict of my
heart and mind in which I can find no peace. And

DADDY LONG-LEGS 95

so I've come back to ask that you decide. The free-
dom of our comradeship has gone and I am a de-
pendent now upon your answer. I love you, Judy.
Judy. Jervis !

WARN

Jervis. With a love so deep, so great that it over-
powers what the world would call my sense of right,
iDut how could I help it? You came into my gray
existence like a spirit of Spring and sunshine, bring-
ing to it an interest that I had never known. But
the difiference of our years forbade that I should
recognize the truth and so I deceived myself that
your friendship was my sole desire. And the play-
time of my life began. And then the thought thrust
itself upon me that I was deceiving you. My reason
mocked and ridiculed my love. That I, past youth,
should ofifer youth the remnant of a life . . . and
so I went away to fight it out alone. I feared per-
haps your sympathy might lead you into that great-
est sacrifice, a loveless marriage. Then hope trans-
formed me with the thought that in my great love,
you might find some measure of content. And so,
quite conquered, beaten in the struggle between my
reason and my love, I ask your aid, remembering
always that beyond all else your own happiness is at
stake. Have no thought of the hurt that might come
to me, and yet, if somewhere in your heart there is
a spark of feeling for me that my devotion might
warm into a glow of love, oh, give me the blessed
chance to try — and so, dear heart, I'm waiting —
fearing — hoping — will you be my wife? (Pause.)

Judy. (Shaking her head slowly) I cannot — I
cannot !

WARNING CURTAIN

96 DADDY LONG-LEGS

Jervis. (Rising) Oh, Judy, are you sure? Is
there something that I cannot hope to put aside?

Judy. (Rises, her back turned to him, slowly)
Yes.

Jervis. (Goes hack of table. Looks upstairs
ivith thought of Jimmie) I think I understand.
And so the sun of all my happiness has set.

Judy. (Crosses to piano — murmurs in suffering)
Oh, please — ^please !

Jervis. (Back of Judy) I know, I know, I'm
a coward. Forget my folly in speaking to you of
this. I should have known. (Takes hat from table
and crosses to l. of Judyj Tell them all I could not
stay. Make some excuse for me, and some day
when my reason reigns supreme let me come back
to you, dear comrade — till then, God bless and keep
you, Judy — always, always, always! (Turns and
slowly goes up and off vjl.)

('Judy is at piano and as Jervis goes off, sinks to
her knees and throws herself on chair below
piano, crying bitterly as curtain descends.)

CURTAIN

ACT IV

Scene; Mr. Pendleton's library, two months
later. A plan and full description of the scene
will be found at the end of the play.

At Rise: Griggs is discovered at the desk, en-
gaged 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 doivn 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 hunt-
ing trip in Canada. The gun exploded and he got
his hand poisoned.

Miss P. How dreadful ! Is he able to see peo-
ple?

Griggs. He'll be able to see you. Miss Pritch-
ard. You're such an old friend, but he's hardly
strong enough for relatives yet.

97

98 DADDY LONG-LEGS

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 shop-
ping all the afternoon, and I'm nearly famished.
(Rises) I think I'll beg a cup of tea from the house-
keeper. (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 writ-
ing. 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.)

fMiss 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 j 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 after-
noon, Griggs!

Griggs. (Crossing to r. of Jervisj Good after-
noon, Mr. Pendleton. I trust you are feeling bet-
ter.

("Walters crosses at back and goes upstairs off L.j

DADDY LONG-LEGS 99

Jervis. Yes, yes! Thanks! A good deal bet-
ter. (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 im-
mediately. And, Griggs, I want you to take
down a letter — f Griggs takes note-book from desk
and comes to c. above table, ready to receive notes)
— ^to Miss Abbott. Something to the eflfect that
Mr. Smith has been led to believe that she is con-
sidering 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 hus-
band in financial matters ; and that he has created a
little trust fund which he sends as a wedding pres-
ent. 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 — fW al-
ters comes downstairs with tray and medicine to L.
of table) — and bring it to me to look over. (Sinks

loo DADDY LONG-LEGS

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?

Jeevis. 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 grad-
uate.)

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.J Now, Mr. Jer-
vis, 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 drink-
ing 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 e. hand) Oh,
very well.

DADDY LONG-LEGS loi

Walters. (Starting to pour medicine) One
teaspoon, sir. Just one.

CJervis 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.J

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, Wal-
ters takes tray and crosses to l. of c. and exits L. as
Julia enters c. from l. of Jervis, and Walters ex-
its off L.^

Julia. (Behind Jervis, kissing him on cheek
over L. shoulder) Hello, Uncle Jervis ! (Crossing to
E. j 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 peo-
ple. 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

102 DADDY LONG-LEGS

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 im-
portant ! 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.j Uncle Jer-
vis! (Cross L.j

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.J

Julia. Yes, but won't you talk to mother?

Jervis. What's her objection?

DADDY LONG-LEGS

103

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 cjl.) I'll take a couut
try house-

Jervis.

Julia.

Jervis.

Julia.

Jervis.

Yes.

A pearl necklace

Yes, yes!
And a touring car !
Anything you want,

but for goodness'

sake elope!

fMiss Pritchard enters to r. of Julia at c.)

Julia. (Turning to Miss Pritchard^ Oh, Miss
Pritchard! Don't stay. He's in a dreadful tem-
per!

Jervis. Oh, yes — ^please stay !

Julia. Oh! — ^Well, good-bye, Mr. Bear — and
don't forget my presents. (She exits up and off &.)

I04 DADDY LONG-LEGS

fMiss Pritchard crosses to Jervis, shaking hands.)

Jervis. This is a pleasure!

Miss P. You're sure I won't tire you?

Jervis. (Sits R.j 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 ?
(Crosse's over to r.) I've been shut up so long that I
feel like a caged hyena. (Crosses up back to c. be-
hind 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 fire-
place.)

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 con-
founded 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.

DADDY LONG-LEGS 105

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 vaca-
tion 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 develop-
ment.

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 1

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 imposisble. A
girl of her antecedents

io6 DADDY LONG-LEGS

Jervis. That's nothing to me and you know it.
I don't care where she comes from — Judy is her-
self, that's all I care ! But this is beside the point.
The girl is not interested in me, except as she is in-
terested 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 some-
thing 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.

DADDY LONG-LEGS 107

Jervis. Here !

Miss P. And now you must tell her the truth !

Jervis. No — not to-day!

Miss P. Yes — to-day. She should he 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 ? (Cross-
ing 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.

fjERVis 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. (h. 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 Pritch-
ard. J
"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 kno\v that you are real,

io8 DADDY LONG-LEGS

"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. Jer-
vis 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. ..."

fMiss Pritchard begins occasionally to dab her
eyes with handkerchief.)

"1 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 Pritch-

ARD.j

— "and has been very ill. . . ."

(Looks at Miss Pritchard and hastily continues.)

"1 know he is unhappy, and I have been thinking,
maybe — I ought not to let anything in the world

DADDY LONG-LEGS 109

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. Jer-
vis 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 en-
ters 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 en-
ergy.)

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.J 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?

no DADDY LONG-LEGS

Miss P. (Crossing up c, laughing) Don't worry,
Walters, he'll recover. (Exits l.)

(As Miss Pritchaed 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 hack.)

Walters. Certainly, sir. (Goes to mantel as
Griggs exits off h.)

(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 Jxtoy
comes down into room, looking around wonderingly.
Walters is at mantel, hack turned to Judy and con-
cealed 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

DADDY LONG-LEGS iii

and she is startled, thinking it to he "Daddy Long-
Legs") You — ^you are

Walters. (Stepping below chair) The butler,
Miss. rjuDY, 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, y«s,
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 Judyj Well, not ex-
actly feeble. Miss — er — ^between ourselves, he's a
little bit out of his head !

Judy. (Troubled, stepping back to b..) Oh! I'm
so sorry! Why — who

fMiss Pritchard enters c, crosses down to Judy,
as Walters sees Miss Pritchard and goes up
and off L.j

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. fJuoY bus. Spotlight from lower r.

112 DADDY LONG-LEGS

through window — focussed before rise and thrown
up stage — covers Judyj 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 iq the train, the rails kept singing : "You're go-
ing 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!

CJuDY 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.J

Judy. Why — whose portrait is that?

Miss P. (To r. of table) That is his brother.

Daddy Long-Legs

See Page 111

DADDY LONG-LEGS 113

CJuDY turns back to picture) His eldest brother
who is dead.

Judy. (To Miss Pritchardj Daddy Long-
Legs' brother?

CJervis starts to descend stairs.)

Miss P. Yes.

Judy. (Turning to picture again) Strange! —
CJervis swings down into room to r. without ob-
serving Judy. Miss Pkitchard 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 JudyJ
— it looks so like — so very — so very — (Turns to
Miss Pritchard j — like — (Sees JervisJ — 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 Judyj 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?

114 DADDY LONG-LEGS

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
/ was Daddy Long-Legs?

fJuDY 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 hare, dreary room with
plastered walls. Main entrance at c. leading in-
to a bare hall outside, r. of c. is a large cup-
hoard; partly opened; shelves covered with
cheap fringed paper and filled with plates;
dishes and earthenware crocks. On the lowest
shelf is a hlack paste-hoard box containing
white muslin caps and aprons, r. of cupboard
is an entrance leading into the pantry, at hack
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.,
hack 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, 8x2, stand 22 inches high, other
tables 8x2 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
"5

ii6 DADDY LONG-LEGS

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 con-
taining 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. Lippet 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

DADDY LONG-LEGS 117

Freshmen's Tree ceremonies. Under imndow
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 e. end of couch the kettle.
Over couch, tacked on wall, is a Princeton col-
lege 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 zuindow 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 col-
lege 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 knocken 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
E. a poster of the Sophomore's Cotillion. On
wall E. and l. of door r. a large picture.

At c. on floor a pretty medallion rug, about

ii8 DADDY LONG-LEGS

12X1^. At R. of rug from c. a large inkspot
about a foot in diameter. At c. to left a com-
bination flat-topped desk with shelves at r. and
L. R. of table a large rattan armchair with,
hour-glass shaped bottom, caned to floor, con-
cealing 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 hetero-
geneous mass of vases, books, ink bottles, ten-
nis 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 ink-
spot 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 hack 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 hack. A large win-
dow at center with cushioned seat, through
which is seen the garden outside, a stone wall

DADDY LONG-LEGS 119

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 ma-
hogany 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 off the kitchen.

A fireplace at middle right, filled with ferns
and goldenrod. An old-fashioned, three-cor-
nered colonial cupboard in upper R. corner.
The walls are covered with a soft-shaded cre-
tonne 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 extend-
ing 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 Sllie.

At ^. in front of mantel, an upholstered ma-
hogany armchair with tidy. At ^. above man-
tel 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 ma-
hogany chair and cushioned seat for Judy.
Music on piano. Below piano another single
chair. At lower l. below stairs a small ma-

I20 DADDY LONG-LEGS

hogany card-table, leaf raised against wall. On
fable an old clock and pair of old-fashioned sil-
ver candlesticks with partly burned candles.
Over table, an old mahogany mirror.

In lower front side of jut — on wall, on a diag-
onal line with staircase are hung some old
family silhouettes. Over piano (on side wall
of jut) hangs an oil painting of Jervis Pen-
dleton 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 Lin-
coln and Jackson. At l. back between window
and cupboard hangs a colored Martha Wash-
ington and below a small engraving of Wash-
ington 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-sise 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 win-
dow zvith side draperies, and cushioned seat in
window with hanging drape to match top of
valance — all of same material (green and ma-
hogany 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.

DADDY LONG-LEGS 121

the other properties for Carrie, Judy and Jim-

MIE.

The light outside is a soft September after-
noon 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 li-
brary, a dark, richly-furnished man's room.
The room is panelled in Circassian walnut and
topped by a green and gold frieze. The en-
trance 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 lam-
brequin at c. arch, and lace curtains. In front
of window a desk, and on desk, writing mate-
rials 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 ad-
dressed "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 orna-
mented 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

J 22 DADDY LONG-LEGS

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 medi-
cine graduate. An additional bottle for Wal-
ters and second entrance with medicine change.
A doctor's surgical bag, typewritten letter for
Griggs fJuDv's letter). Off stage r., a door-
bell.

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

I ground cloth; i large cupboard, with shelf;
cheap fringed shelf paper; plates, dishes and earth-
enware crocks in cupboard; i 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 ; i
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 ; i salt cellar filled with
sugar (not salt); 2 black japan trays; i tea set
(6 cups, 6 saucers, i sugar bowl, i cream pitcher) ;
4 large salt cellars ; 2 dishpans ; i wash basin ;
polishing cloths, soap and towels; extra cups to
break ; i dozen teaspoons ; 4 kitchen chairs ; i shelf
— in pantry.

Properties Off Stage R. i E. — i rag rug; on
property table, I tray containing 2 plates of bread
sandwiches, I 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

123

124 DADDY LONG-LEGS

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 memo-
randa 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, cop-
ied from book (Daddy Long-Legs). Small sign,
"No Smoking Allowed." Another sign, "Our suc-
cess 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 12x15; large inkspot on rug;
combination flat top desk with shelves at R. and L.
Large rattan arm-chair with hour-glass shaped bot-
tom, caned to floor (to conceal ink-spot). 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 ; i 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.

DADDY LONG-LEGS 125

Properties Off Stage L. i 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; up-
holstered stool; old cashmere cover on table; old
fashioned inlaid desk ; writing materials ; upholstered
arm-chair; tidy; square work-table; small work-
basket ; arm-chair ; what-not with shells, vases, odds
and ends of ornaments ; small mahogany upright
piano ; cushioned seat ; music on piano ; another sin-
gle 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 Pendle-
ton 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;

126 DADDY LONG-LEGS

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 lambre-
quin for arch; curtains, lambrequin and lace cur-
tains 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 bot-
tle ; 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.)

DADDY LONG-LEGS 127

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 back-
ing 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.i 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. hall-
way 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 ofif 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.

128 DADDY LONG-LEGS

Bunches Amber in arch C.
Spot in window R.i 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
Yi — 5 min.

Rise door bell R.
Red I 5.
Red — Foots.
Amber — Foots.
White — Foots.

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THE REJUVENATION OF AUNT MARY.

The famous coined/ in throe apts, by Anne Warner, 7 mala. 6
females. Three interior scenes. Gostumes modern. Flays 2H hours.

This is a genuinely funny comedy with splendid parts for "Aunt
Mary," "Jack," her lively nephew; "Lucinda," a New England an-
cient maid of all work; "Jack's" three chums; the Girl "Jack" loves;
"Joshua," Aunt Mfiry'^ 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 pro-
duced. We strongly recommend it. Price, 60 Cents.

MRS. BUMSTEAD-LEIGH.

A pleasingr comedy, in three acts, by Harry James Smith, author of
"The Tailor-Made, Man." 6 males, 6 females. One interior scene.
Costumes modern. • Flays 2H 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 com-
plications, aecording to the spirit qf the writer.

This most successful comedy was toured for several Seasons by I^rs.
Fiske with enormous success. Price, 60 Cents.

MRS. TEMPLE'S TELEGRAM.

A most successful farce in three acts, by Frank Wyatt and Wil-
liam Morris. 5 males, 4 females. One interior scene stands through-
out the three acts. Costumes modern. Flays 2^ hours.

"Mrs. Temple's Telegram" is i Sprightly farce in which there is
an abundance of fun without any taint of impropriety or any ele-
ment 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 ftbmthe time
the curtain rises until it makes the final drop, the fun is fast and.
furious. J^ very exeeptioDiit farce. Price, 60 Cents.

THE NEW CO-ED.

A comedy in four acts, by Marie Doran, author at "Tempest and
Sunshine," etc. Characters, 4 maleS, 7 females, though any number
of boys and girls' dan be introduced in the action of the play. Oiie
interior a&d one exterior scene, but can.be easily played in one inte-
rior scene. Costumes modern. Time, about 2 hours.

The them> of this play is the coming of a new Student to the col-
lege, her reception by the scholars, her trials and final triumph.

There are thtee 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 diaracters. We can strongly recommend "The New
Co-Ed" to high schools and amateurs. Price, 30 Centfc

(The Above Are Subject to Royalt/ When Produced)
SAMUEL; PRBNCH, 28-30 West 38th Street. New York City

N«w and Explicit Detcripriw Cataloew Mallnl Fras oi RawsM

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