American Dramatists Series m^t Hittle ilotijer of ^nb otiier otu-att plapft €mil|> Jlerep Benton Copyright l^^._J_^ COPYRIGHT DEPOSrr American Dramastists Series THE LITTLE MOTHER OF THE SLUMS And other plays by EMILY HEREY DENISON BOSTON: THE GORHAM PRESS TORONTO: THE COPP CLARK CO,, LIMITED Copyright, 1915, by Emily Herey Denison All Rights Reserved T5 35'«'] ^ ] ^ The Gorham Pehss, Boston, XJ. S. A. •^ JUL I9jj|5 ©CI,D 41250 This little volume is dedicated with loving devotion to J. F. D. and J. H. D. CONTENTS The Little Mother of the Slums 1 1 The Yeggman 39 Duped 55 My Friend's in Town 75 The Mystery of Beacon Hill 89 Dolly Madison's Afternoon Tea 107 The Dawn of Music 127 THE LITTLE MOTHER OF THE SLUMS A PLAY IN ONE ACT SCENE — A caucus is being held comprising the chairman of the City Central Committee of The Fusion Party and its advisers. It is attended by the President of the Consolidated Aluminum Com- pany, The General Manager of The Street Rail- way Company, The President of The Redfern Dry Goods Company, and The Executive Com?nittee- man of the Fourth Ward City of Cheltenham. They are joined later by a committee of ladies. DRAMATIS PERSON AE John Garrison^ President of the Consolidated Aluminum Company. Marcus Shaw^ General Manager of the Street Railway Company. Philip O'Shea, Owner of the Redfern Dry Goods Company. Thomas McKee^ Chairman City Central Com- mittee, Fusion Party. Michael McGraw^ Executive Committee-man, Fourth Ward. "Davy^" Smith, Negro Porter. Mrs. John Garrison, Wife of President of Consolidated. Mrs. Marcus Shaw, Wife of the Manager of Street Railway. Mrs. Philip O'Shea, Mother of Owner of the Redfern Dry Goods Company. Miss Mildred Chandler, A Settlement Work- er. Factory Inspector. Patsy Campion, The Little Mother of the Slums. COSTUMES Gentlemen in evening dress, except McKee and McGraw who wear business dress. Mrs. Garrison and Mrs. Shaw and Mrs. O'Shea in evening costumes. Miss Chandler in street suit and The Little Mother of the Slums in the gray costume of a Visiting Nurse, wearing pearl gray bonnet and veil, and soft white muslin collar and cuffs. PLACE The palatial office of the Consolidated Aluminum Company. A handsome office furnished in mahogany, large table at center. TIME The evening of the dinner dance at the Silver Bow Club. The Little Mother of the Slums SETTING Garrison is seated at desk writing. {He presses a bell and the negro porter enters.) Davy Did you ring sah? Garrison Yes. Some gentlemen will call later. Let them in by card only. Here is the list. {Hands slip of paper to Davy.) Davy {Placing chairs around table.) Quite a com- pany Marse Garrison. Garrison {Looks up from work.) Yes, politics again and then more politics. Davy Dey was a lady heah to see you to-day. Had a hard time to make huh go away. Garrison What did she look like? Davy Oh, she was putty. She was — Oh you know dat little lady dat come heah two days ago. II 12 LITTLE MOTHER OF THE SLUMS Garrison {Looking a bit disturbed.) Umph! U — m Yes, Yes. There, go now. Davy {Starts for door^ just then bell rings. He goes out into hall, then enters and stands beside door.) Deh gemmen are heah suh! {Enter Tom McKee, Shaw, O'Shea and Mc- Graw.) McKee Hello Garrison, have we kept you waiting? {Shakes hands.) Garrison No, Oh no. Sit there. {Pointing to chair at head of table.) Here, Mr. Shaw. {Points out places for others.) Shaw Thanks. And now let us get down to business as soon as possible. Garrison Hello Philip. Glad to see you. {Goes to Philip.) Going to the dinner dance too? Philip Yes. I promised to take mother over after I left here. {Leans against desk.) Garrison Take this chair McGraw. McGraw All right. Glad to be near the big chief. {Sits next to McKee.) Garrison {Out in front.) Come and join us Philip? LITTLE MOTHER OF THE SLUMS 13 Philip No thanks, I want to smoke. McKee Well then the business before us, now that we have decided to run a Fusion ticket, is to devise ways and means to elect it. As you all know it takes money to run a campaign. I've got to see some pretty soon now. We need workers, printing, carriages and autos as well as clerical help and rent for headquarters. Garrison In your judgment, how much is needed to do the work of the campaign ? McKee {Carelessly.) About one hundred thousand. Shaw Oh ridiculous Tom, half of that should do. McGraw Well, campaigns come higher, Mr. Shaw, than franchises from the people. The only thing that is gotten for nothing in this town, is a franchise. Shaw {A little heated.) Look here McGraw. The City Railway pays more to each campaign and to the welfare of this city than any other concern here. McGraw But how much do you get back? Just about two hundred per cent, on every dollar invested here. You pay fifteen thousand dollars for the music in the parks for three months during warm weather and if your books were shown they would show a gross earning of three hundred thousand on the park car lines alone! Now the public are not 14 LITTLE MOTHER OF THE SLUMS wasting any more affection on you than you have ever showered on them. And if you expect to get any favors you had better come through, for this Fusion crowd are the only bunch that will give you a look in. McKee Oh no, not so bad as that is it Mike? McGraw Sure. Philip Well what you say is not true of all the wards, is it McGraw? Garrison Well you'll always find discontent among certain classes, and the thing to do is to elect this ticket and get confidence again in business circles. This agitation is bad and the less we have of it the bettei. McKee That's my idea! Cut the agitation short and get it over with by having a short campaign. But it must be a whirlwind one! But if I am to get re- sults, I must have the coin. So I'll just jot down what each of you fellows will put up. Let's have your amount, Philip. Philip Well business is slow with us now, and I don't know as I am prepared to say, perhaps a couple of thousands. McKee No, won't do. We expect the Redfern people to put up at least ten. McGraw Sure, that's reasonable. Why here, Tom has LITTLE MOTHER OF THE SLUMS 15 assessed our candidate for congress five thousand. Garrison Will he pay it? McGraw No, he has given notice that he will not pay one cent of it. His statement vii^ill appear in the Morn- ing NewSj defending his course against what he considers "squeezing by the big fellows." He will say "I'll go straight to the people. They must elect me by their votes, and they ought to have my con- fidence." {Winks significantly.) See! And they'll all vote for him too! Don't lose sight of his posi- tion as the yellow dog. His argument to be sure. But he believes he is being held up for the benefit of the Railway Company and the "big business" and if Philip here can only give two thousand to get clean government, why it does look like "make the little fellows pay the bills." Now don't mis- understand me. I haven't changed my position any. I am here to tell you as far as possible what the people think and I meet them every day, on the street corners, in the tenements and in the cafes. They are ready to follow any leader even if he is a yellow dog, and they know he is one, just so they can hit back at the "Interests." (Walking about.) McKee Mike is right. This is going to be a peculiar campaign and we must take the position of the trader not the dealer. But to the business at hand. How much will the Aluminum Consolidated give? Garrison (Cooly.) We will give fifty thousand. It is too much for our one company to stand, but we prefer i6 LITTLE MOTHER OF THE SLUMS {McKee writes) to get easy concessions and no kicks coming. McKee Well Philip — ten thousand for you? Philip Oh I suppose it goes. McKee No squealing you know. It's all in the game. {Writes.) Shaw what does the City Railway do? Shaw We — 11, I — {He begins slowly, then McGraw put in.) McGraw Fifty thousand, not a cent less. Those easy nickels from the widows and little working girls as our friend the congressman will tell the people. Shaw {Showing some temper.) And now Mike, what will your ward do, I mean The Row. {McGraw' s lips tighten and his brow wrinkles.) Ha! Ha! You don't talk so fast now, not so chesty, eh Mike? {All turn.) McGraw {Is at back center, folds arms, speaks cooly and slowly.) Not a cent, this time. {Very deliberate- ly.) There'll not be a dollar coming this time, only my personal donation! McKee Oh hold up McGraw! This is not a Sunday- school excursion we are planning. This is to help run a campaign and win an election. Those fellows down there, and women as well as men, know well, that they have had favors. It's up to them to come LITTLE MOTHER OF THE SLUMS 17 through. You should have little trouble in getting your assessments. Shaw Of course he won't. Those people ought to be made to understand a business proposition. McGraw They very well understand a business proposition ; but they don't understand what this city calls a square deal. They understand that it is the busi- ness of the District Attorney to pinch them and close up their business if they don't come through. But they don't quite see why he should do it for the benefit of the Consolidated, or the City Railway or the Redfern Dry Goods Company, when they only ask to sell their goods, the same as you fellows, and pay for the privilege besides. O'Shea But they are carrjang on a nefarious business. McGrazv (Carelessly.) Oh not much more than you do. The little girl who works in your store for five dollars a week finds it's impossible to do it and keep honest. So she steals and you have her arrested. She is disgraced and she can no longer mix with eminently respectible people like you. So she comes down and lives in my part of the town. No ques- tions are asked there, but there has been a good deal of talking and teaching going on there lately. McKee Well, have they flatly refused? (Roughly.) McGraw Yes! (Heatedly.) 1 8 LITTLE MOTHER OF THE SLUMS McKee Well, we'll just have the District Attorney send one of his special officers in the morning and give them a tip of what may happen, if they don't get in line. (Brings fist down.) McGraw {At end of table.) If you do I'll see to it myself, that he'll need both a surgeon and a beauty {strikes fist) doctor after he gives them your message! {This speech causes much intense surprise.) McKee Well, we'll throw the whole bunch in the Bull- pen! {Rises J shows anger.) Garrison Steady now. Just what has started this defiance to the custom that they pay for their protection. McGraw A sense of justice and a square deal. They have thrown off all fear and whether you jail them or let them alone, they won't vote your ticket any way! All What ! — ^Absurd ! — Tommy rot ! McGraw The women of the district will not register and the saloon keepers are going to vote as they please. They have been keeping well within the law and everything is orderly in the district. The factory girls will vote as Miss Chandler advises, and the fallen women will stay at home to please The Little Mother of the Slums, LITTLE MOTHER OF THE SLUMS 19 McKee This is madness! {Excitedly.) Something must be done! I knew that woman-factory inspector would do a world of mischief, and ought never to have been appointed. But who is this other woman ? McGraw A woman with brains and beauty. {Reverently.) With a message and a past! McKee Oh we can look into her case. Perhaps she has no visible means of support. I'll let the District Attorney investigate her case. McGraw But she has. (Coolly.) She has beat you to it. She is one of the Visiting District Nurses, and is paid a salary by the Visiting Nurses' Association. McKee I wonder how that organization is supported? Garrison By public subscription. My company pays $5,000 a year. Shaw The Street Railway Company pays $3,000 a year. McKee (Gives a low whistle. With fine scorn.) Well you fellows are mutts. You ought to be asked to run this campaign. Don't you realize that you are contributing to some of the biggest opposition we have to overcome in political campaigns! (Brings fist down with air of disgust.) Garrison (Showing much astonishment.) Why that is one of my wife's pet charities! 20 LITTLE MOTHER OF THE SLUMS Shaw {Crusty.) Mine, too. But they'll get no more from me! McGraw Oh I think they'll manage to worry along with- out either of your donations. But the women are in this campaign, and in it to stay! {Carelessly to McKee.) Better make note of that, Tom. McKee Well I don't believe in paying any attention to them. Philip . Neither do L Better put the steam-roller on them. {This brings a laugh.) Shaw Oh they're like the old cat. They'll come back. But I'm for denying them every plea they make. They are getting to be a nuisance! {Shakes him- self.) McKee Gentlemen that's easier said than done. Why I've given half of my time all this week hearing the petitions from the one hundred and one women's organizations. And they seem more persistent than ever before in all my experience as chairman. And they are the best women in this city too. McGraw Of course they are. They are well fortified, for they are well-organized. They know what they want this time, and while they are not threatening, they are confident. LITTLE MOTHER OF THE SLUMS 21 Philip Oh you fellows attach too much importance to these women. Brush them aside, tell them you are sympathetic, treat them courteously, and pitch their petitions in the waste basket. Shaw That's what I say. Don't receive them Tom. McKee {A little heated.) Oh you two talk like kinder- gartners! Why I have forgotten more about run- ning campaigns than you will ever know! And I know what I am talking about when I tell you that such tactics will never do! Garrison Well Tom, just what do they want? McKee (McGraw and Philip draw nearer.) They want a woman nominated for Commissioner of Social Welfare^ whose duties shall be to look after the schools, the poor, the city hospital and poor farm, the duties of Coroner, the library, playgrounds and public health. {All show astonishmentj then shake their heads "no.") Shaw Oh the fool women! They have too much time to think! McKee Next, — they want the restricted district closed and a hospital-home provided by the City to care for the sick and afflicted inmates, until cures are affected and normal living restored. Third — All Is there more!!!! a2 LITTLE MOTHER OF THE SLUMS McKee That a Vice Commission shall be appointed by the mayor as soon as he takes office, consisting of five members two of whom shall be women, whose duties it shall be to work for the social uplift of the city. The women members to look after the conditions and wages of working women, and to censor bill- boards, picture houses and dancehalls, and prepare various amusements in the parks. Also one half, the appointive positions under the Vice Commission to be given women, and women censors be ap- pointed for picture houses, theatres, billboards and public baths. All Never ! Never ! McGraw Ha! Ha! Hurrah for the women! McKee Well let's take a vote on this. It is well to remember that the women cast 46 per cent, of the vote in this city, so I hope you will all be as temper- ate in thought as possible. Register your vote by "aye" and "nay" as I call upon you: . . . . Garrison ! Garrison (Rising very pompously.) No. McKee Shaw! Shaw (Rises so mad he is stuttering.) I — I — I vote NO!!! McKee Philip? LITTLE MOTHER OF THE SLUMS 23 Philip {Hesitates, speaks thoughtfully.) N-0-0. McKee McGraw McGraw {Coming front, all are standing and turn as he hesitates. Then in clear voice.) I vote "aye!" Shaw This is treason to your best and oldest friends! McKee McGraw, your heart is voting now, better not let me record that till to-morrow, when your head will be more in evidence. McGraw No! No! Record my vote "aye" now! Garrison {Very easily.) Mr. McGraw, will you permit me to ask, why you entered this caucus? McGraw Sure ! I came on the invitation of the City Chair- man, and for the purpose of expressing my con- victions! {All sit except McGraw.) Shaw Don't you think McGraw, that this conference has the best interests of the City at heart as well as those emotional women? McGraw I do not. Lknow men and so do you. And I know a great many of those good women. I never could look into a good woman's face again, if I did not support their unselfish labor in the interest of humanity. {Bell rings.) {Enter Davy.) 24 LITTLE MOTHER OF THE SLUMS Davy Marse Garrison! Marse Garrison! {Eyes roll- ing.) Dey's ladies out dar! Oh Lawd, lots of dem! (All rise, jostle chairs in excitement. Garri- son motions silence.) Go back Davy and find out their business and bring in their cards, {Philip strolls up stage rubbing his hands over his hair to see if part is straight. Shaw rushes to mirror in hat rack and adjusts his tie. Garrison lounges in his armchair and adjusts his trousers over his shoe- tops. Takes out handkerchief and dusts his shoul- ders. McGraw takes a position of indifference with elbow on top of roll-top desk up left front, ivhile McKee who has kept his position at head of table has taken out a mirror and is combing his hair.) McGraw You're all out of sight! {Much amused.) Ha! Ha! Davy {Returns more frightened than before. He places cards on table before Garrison and backs away toward right entrance. Garrison takes up a card. Reads. Then puts it closer to eyes as if he had not read aright.) Mrs. Marcus Shaw! Shaw {Leaning with hands on end of table stammers breathlessly.) My Wife! Garrison {Reading another.) Mrs. Philip O'Shea. Philip Impossible. Why even now^, mother is at home waiting for me to take her to the ball! LITTLE MOTHER OF THE SLUMS 25 Garrison {Taking the other card, holds it out in his hand as if he can not believe his eyes.) Well here is, — and — and — my wife! {He sits back in chair.) What-t-t. (Gasps.) What is the conspiracy! Admit them Davy. ( They watch the door intently. Philip partly up stage. McGraw has strolled to Right back and Shaw, McKee and Garrison are at table. As the ladies enter they stand. Garrison has been at front of table so he meets Mrs. O'Shea, who comes in first. He shakes her hand. McKee goes to meet Mrs. Garrison leading her to head of table. Philip takes Mrs. Shaw to a chair, while McGraw remains up stage.) Philip Mother, you are getting giddy! {She passes up front.) McKee Ladies this is a great honor. Please make your- selves at home. Mrs. Garrison We learned that you gentlemen were in caucu^$ and we have come to make some requests and lay some of the women's plans before you, I am not speaking of my personal views alone, I speak for the thousands of women voters and citizens of this city, whom I am privileged to represent here. {Turning to McKee. He is all attention.) Mr. McKee, the women of Cheltenham want a woman nominated for Commissioner of Social Welfare and we have come to discuss a candidate whom we favor, with you. 26 LITTLE MOTHER OF THE SLUMS Mrs. Shaw We think we have selected one of the best-fitted women of all in our city to elect to so important a place, Mrs. William Wetmore, the banker's wife. (All exchange significant looks.) Mrs. O'Shea You all know her of course? McKee Oh yes, a splendid woman. Garrison Estimable woman. No better choice could be made. Philip Will her husband let her accept? All the Ladies Sir!!! Mrs. Garrison Her husband wants this Fusion ticket elected and he knows that he needs the women's vote to elect it. {The men shift positions nervously.) Shaw But isn't that a pretty big job for a woman to fill? Mrs. O'Shea The job is a big one, but remember it is a capable woman who will fill it. One of those persons who is much the same kind of a female that bred so splendid a man as you Mr. Shaw. Something like the woman perhaps who reared Mr. Garrison here to such a pinnacle of brains and energy. A woman something such as I am who can bring up a boy and train him as I have Philip. One perhaps like the woman who cuddled George Washington and cra- dled Abraham Lincoln. One of our own good LITTLE MOTHER OF THE SLUMS 27 women of Cheltenham who has ministered to the sick and helpless and has given the unfortunate man or woman a boost toward right living. McKee But ladies, {Very prompously.) Will you per- mit me to suggest that Commissioner of Social Wel- fare looks after the poor, the sick and dead, the schools and the amusements and morals of this city! Mrs. Garrison My dear Mr. McKee, who looks after the sick and poor and dying in every home in this city ! Who directs the education of the children. And who can be so well fitted as the experienced woman! Mrs. Shaw Women are in closer sympathy with all phases of life that make for the Social Welfare of any community. And if there are any duties that seem too hard for her, she can always call upon the men and appoint some of them as assistants. We look for no conditions that can possibly not be met by a woman. Philip That's all very true. But there is always a por- tion of life that is below the average in morals and in intelligence. And mother, this class is a vital force in this city and sad as it seems, they are not for the betterment of your class of women. McGraw That may all be. But we men have been ad- ministering and enforcing laws for those same peo- ple in infantile doses for several years past now, so the women can't possibly do worse. But the 28 LITTLE MOTHER OF THE SLUMS police department will be run by men, so where's the danger Philip? Mrs. Garrison He was no doubt thinking of the efficiency of the Washington police a short time ago. The only thing that the men had to do with the Suffrage parade in Washington was a failure, and that was policing the city. But for the present we will leave the police department in the hands of our men citizens. McGraw Ladies, if I were in your place, I would not ! The women of this country gathered at Washington have held up the government while the Committee was investigating the Suffrage parade. So why don't you go about this right! Take the whole works! You can run them! Davy {Bell ringSj Davy enters more excited than be- fore.) Oh Marse Garrison, dey's moah ladies out dar! Dis heah do look bad. . . Ahs— {Layi down cards.) Garrison {Reads cards.) Admit them at once. {Davy hurries out, and Garrison leisurely moves toward door. Davy pushes door open and holds it to allow the ladies to enter.) ENTER MISS CHANDLER AND THE LITTLE MOTHER OF THE SLUMS. {Philip starts violently. Garrison extends his hand first to Miss Chandler then to The Little Mother, whose hand he retains and leads her farther over, turns her around and with a sweep of hand.) You know all LITTLE MOTHER OF THE SLUMS 29 here, do you not? (She smiles and nods to all until her eyes meet Philip^s, a startled cry escapes her, and she staggers a little but Garrison slips his arm around to support her, hut she instantly straightens up shakes her whole body as if throwing off a fright- ful dream. As her eyes and Philip's meet he starts forward.) Philip Patsy ! Mrs. O'Shea {Innocently.) Ah, Little Mother, you know my son, Philip? The Little Mother (Passes hand over throat.) Yes, yes it was some time ago, I, — I have forgotten where. Miss Chandler (McGraw has been watching Philip closely, but comes up front as she speaks.) I thank you gentle- men, for this consideration, and as I notice you are going to the ball, I will hurry my errand. Mr. Mc- Kee, (She moves back of table.) we want the prom- ise of your candidate for mayor, that in case he is elected, he will create a Vice Commission for this city of both women and men. (Lays paper petition on table before him.) McKee Why Miss Chandler, we have laws to govern the vice and protect the virtues of this community. Why is there need for more officials and more salaries. Miss Chandler That is just the trouble. We have laws which are very explicit on social evils, but vice is rampant 30 LITTLE MOTHER OF THE SLUMS and the laws are not enforced. We have officials, yes with salaries, but this is to be different. These are to work with no salaries, and instead of shutting themselves up in elegantly appointed offices, their offices shall be their homes and their places of busi- ness. It will be their duty to walk in the streets and on the highway among God's forgotten creatures and stick out a helping hand. No checks or pocket- books need be flourished, just put out a glad hand ! The Little Mother And I have come. . . . Shaw {Interrupting.) Now just from vrhere do you come? (McGraw is at Right center-back, he moves front J his looks are ferocious.) The Little Mother I — {Very quietly.) I come from the streets of gay laughter and bright lights and heavy hearts. Where women do not sleep lest they might dream of home, and peace and childhood days, — and then wake up and find it all a horrid dream. {Heads are inclined toward her.) Shaw What is the number, madam? The Little Mother 20 1 Rainbow Avenue. {Shaw sneers.) Garrison {Very gently.) My dear young woman, had you printed that number on your card, I would not have received you. My wife and her friends are with me. {A tired little smile plays on the Litth Mother s lips.) LITTLE MOTHER OF THE SLUMS 31 Mrs. Garrison Husband! This is my — {The Little Mother ?notions silence.) The Little Mother I have not come to make a social call, I am here on very difEerent business. The work I am in, has no social distinction that I know of, and no card of introduction is needed to the houses next door to me. (Suppressed emotion.) But once men and women visit there, the way back and out is hard to find. One seems to grope awhile, then stumble and fall back! You understand me, do you not? Garrison I think I do. (The group of listeners are all agape with interest.) Shaw I must say, I find little pleasure in your remarks, and I object Mr. Chairman to giving this young woman permission to speak. Sir, I call it an in- trusion. {Philip and McGraw speak at same time. Gesticulate.) Philip and McGraw Mr, Chairman. McKee {To Little Mother.) Pardon me, madam. Pro- ceed Philip. Philip I desire to request that all here present, hear The Little Mother present her message. {McKee nods approval.) The Little Mother My message, which is a request, may seem as 32 LITTLE MOTHER OF THE SLUMS strange as my place of residence. But I am here to petition you to see that the police cease their activi- ties in forcing the unfortunate inmates of that clouded district to register for the coming election. (A stir and a whisper from the ladies. Miss Chand- ler and ladies smile approval, while McGraw and Philip show worry, and the other gentlemen show anger and disapproval.) Garrison I want to advise the Little Mother that such a request, properly belongs to the Fire and Police Board of this city. It does not belong in a gathering of private individuals. Shaw {Showing temper.) This request is offensive and out of place. The Little Mother I do not hold it to be so and I have made no mistake in coming here. I have been to the police and they are anxious to win this election at any cost. They are not personally or vitally interested, but the business men of this city are. It is now up to you and the party and candidates whom you will support, to stop this crime against helpless women. McKee Those women have a right to vote if they choose. The Little Mother But they do not choose, and therein lies the crime ! Garrison How do you happen to know what those people wish? The Little Mother I live among them and I know them. I have talked with them about voting and the issues in this LITTLE MOTHER OF THE SLUMS 33 campaign. — About the issues they know nothing and care less. They tell me they have always voted as the police ordered. McKee So you are the woman, who has advised those inmates not to register! The Little Mother I am trying to lead them to act as their con- science dictates. But with the police department ready to drag them into court on the charge of liv- ing disorderly lives, which they wink at the rest of the year, and my pleading not to vote until they know for what their ballot stands, — why, the poor things are in unnecessary distress. McKee I consider, my dear young woman, that you are a meddler and a mischief-maker, and you will suc- ceed, if you are not stopped, in driving supporters away from this ticket. I warn you that I shall take steps in the morning to have you removed to another section of the city. You admit you live in that sec- tion of the city, and it is against the law for any woman of leisure to be found there. I shall have you taken up as a vagrant! McGraw {McGraw plunges forward and with fist up- lifted over McKee, he is about to strike, when Mrs. Garrison steps between them, pushes them apart and holds on to McGraw. Philip rushes to the Little Mothers side and as Mrs. Garrison speaks, he places his hand on the Little Mothers arm. The Little Mother is not aware of his presence so near 34 LITTLE MOTHER OF THE SLUMS for she is too busy shaking warning hands at Mc- Graw. ) McGraw Stop ! I am this young woman's protector ! And I stand between her and your persecution. Shaw Then who and what are you! (Tauntingly to the Little Mother.) McGraw (Shaking his fist at Shaw.) She is a respectable woman who is living with her child down in the bottoms. She is giving her time and strength to help those unfortunate women, and every man who is a man, respects and loves her! McKee I wonder, the Juvenile Court does not take your child from you, when you persist in living in that section! (Intense feeling.) Mrs. Shaw The courts approve of the Little Mother's work! Miss Chandler She needs no protection except from the vultures in respectable political parties with about as much heart and soul as you leaders are showing now! Garrison May I ask, Little Mother, where your husband is, does he approve of your work, the father of your child, I mean? The Little Mother (Looking straight ahead, falls a little back so that she leans on edge of table, looking out and off.) I have no husband. I claim no ties only my boy! He is one year old, and it was his coming, that led LITTLE MOTHER OF THE SLUMS 35 me to be helpful to others. Oh, if the rest of the women down there, ever felt the touch of baby fingers and baby lips, there would be little need of reformers. A little unwelcome child leads me and I keep him near, so that I may help others. Mc- Graw vigilantly near the Little Mother.) Mrs Garrison Dear Heart, we knew you suffered, but we did not know the burden was so great. (Tries to pat and caress her.) Mrs. O'Shea Dear child, you are not alone. Every mother's heart beats in sympathy with yours. ( Wipes tear. ) The Little Mother But I must be alone, and I must work out my life alone. Good men like you, object to their wives knowing Avomen like me, who — {She falters, a slight struggle of breath then goes on.) Who, well, — God forgot me for a moment, .... and I transgressed the law! But I want to go on with my story, — it will do more to win my request from you than my pleading. I was once a simple storegirl and sold laces. I accepted sweet words and thoughtful little courtesies, believing they car- ried love and respect. I admit I liked my fair looks, .... then I crept away with my baby hugged close to my heart. {Turning to the ladies and trying to smile.) He is a dear, isn't he! {They nod and smile.) In the hospital I met another name- less woman who had just buried her child. She was nearly mad with grief and I let her cuddle my boy too. She came to live with us, my boy and me, and now she is nearly strong and well again. She 36 LITTLE MOTHER OF THE SLUMS takes care of my baby while I go and tell other women of the light and hope that is in the world. Light and hope for all of God's creatures if we but look for it. {Closes eyes and pants.) McKee Who is the man! I should like to have the pleasure of changing his features! Garrison I could walk half around the world to m.eet him. Philip (Steps forward.) He is here and before you! (Those near draw aiuay suddenly except Mrs. O'Shea.) (Philip turns to the Little Mother.) You are my wife, don't be stubborn, let me protect you and our boy. Patsy won't you come to me? The Little Mother I am not his wife! No, Philip, the truth is the only salvation for me and my boy! (Mrs O'Shea crowds nearer, the rest drop back.) Mrs. O'Shea Little Mother, won't you listen to me. Bring the baby. Come to our home and let me teach you to love his father and to forget! Let me help to make amends. His father's heart may yearn too. Let Philip protect his child. (Much affected.) The Little Mother I cam not if I would. The day ray boy was first laid in my arms, I consecrated him to the service of humanity. Our way is far ahead and there are many pitfalls, and we shall need each other. Mrs. O'Shea But will not the tears of a gray-haired mother LITTLE MOTHER OF THE SLUMS 37 touch your heart? {Breaks down.) The Little Mother No>, — No — , {Breathless and subdued.) My work is out there, in the world, where men and women walk in darkness and do not seek the light. {To Philip). You must live and grow to lead men to better and greater things than we have known. Philip Teach me how to do it ! Let your way be mine. The Little Mother {Drawing farther apart.) No, out there in the world of sin, my life and work lie in wait. Soon my boy and I and the nameless woman who is his nurse leave this city. — But gentlemen, you who have much, will you not sign our petition and help less fortunate humanity? Garrison Give me the pen. {Signs. The other men stand in line ready to sign. Philip alone does not move but at center J stretches hands to Patsy.) The Little Mother {Extends hand to Miss Chandler.) Come, let us go. Our work is finished here! {As she passes Philip he puts out his hands pleadingly.) Philip Won't you let me go with you? The Little Mother No, I can not. Perhaps in years to come, out there in the world of work, God's world, we shall meet. Shall my boy and I know you by your work? {She extends hand to him.) 38 LITTLE MOTHER OF THE SLUMS Philip ( Taking her hand in his he lifts it to his lips. Solemnly.) We shall meet out there and you will know me by my work. {She turns and goes out quickly followed by Miss Chandler . Mrs. O'Shea is weeping on Mrs. Garrison s shoulder while Mrs. Shaw is pushing Mr. Shaw up to sign. Philip watches Patsy go out then whirls and taking up pen is signing the petition when the curtain falls. McGraw down fronts face all smiles.) THE YEGGMAN A PLAY IN ONE ACT SCENE I A street called Via San Martino. Rome Italy. SCENE II London England. TIME Present. CHARACTERS Lady Montalto, English wife of Italian Ambas- sador. MoNSiGNOR Leone Montalto, Ambassador to England. Count Boni Casselbane, A Nobleman of France. Lucy, Lady Mantalto's maid. Professional burglar or "The Yeggman." COSTUMES Count Boni dressed in uniform of French officer. Montalto, Frock coat, gray trousers, silk hat. Lady Montalto, Decollette dinner-dress entrain. Lucy, conventional frock of lady's maid. Yeggman, dressed like a tramp. PROPERTIES BOUDOIR — Double window at right in rear. Dressing case at R. center with toilet articles and jewel case on it. Silver mirror and silver-cased bottles. At R. front a door, and a little to the rear and in center a long dressing mirror, with a table at right of it. A chair in front of mirror. At L. rear. Lady Montalto's bed. Left a mantel with statuary, nude cherubs and a Venus de Milo. Candle-sticks with the one nearest bed lighted as Lady Montalto retires. The Yeggman SCENE I ( Three o^clock on the Via San Martino. Drop represents the porch and steps of a nobleman s palace. Enter Count Boni Casselbane walking towards the steps. He is met by Monsignor Montalto.) Montalto Ah, good morning Count, I see you are none the worse for last night's revelry. Count Boni Oh no, but damn me, man, it is hard to under- stand the change which has come over you since you married an English wife. Zounds man, I believe you are in love! Montalto Believe me when I confess I am. Count Boni You will soon tell me that you believe her an angel of virtue and a sprite of wit. Montalto An angel of virtue? You put it too mildly. She is more fair, virtuous, wise and constant, and less susceptible to evil, than any of the rarest of your ladies of France. Count Boni Fie, Montalto, that lady whose virtues you de- scribe is not now living or this gentleman's opinions are worthless. 43 44 The yeggman Montalto You speak wildly, for a gentleman who wears the ribbon of honor. Count Boni Why Monsignor, you will soon prefer ours of Paris, ha, ha, and agree with me that your lonely wife is now seeking pleasure with the courtiers about St. James. Montalto Stop! You speak of my wife! Count Boni Yes, but you led the conversation. Now to be honest Montalto, I was astonished at your talk last evening. The very idea of your absolute faith in womankind. Let me enlighten you. We think we carry our wives' affections safely in our hearts, but you know, strange fowl light upon neighboring ponds. Montalto {Angry.) Your France contains no courtier who could tarnish the honor of my wife! Count Boni I wager you ten thousand pounds against my honor — charm, that, holding a letter from you to your bride in England, I can bring from there that honor of hers which you imagine so secure. Montalto {Heated.) Were I not so sure of her honor, I would command you to draw and defend your- self, — but I take your wager. You Frenchman think too lightly of your women. Yet to prove to you how secure I feel in the possession of my lady's virtues, I accept the terms and will give you a letter to her in London. THE YEGGMAN 45 Count Boni Good, I will meet you at the Plaza an hour hence. Fare thee well until then. (Count goes off.) Montalto Bah! Such business is offensive to me. How fine it must be to live in a country like America, where women are treated like goddesses and their virtues looked upon as part of their beauty, — to be admired, but never discussed. {Shrugs shoulders.) These Frenchmen! (Goes off.) SCENE II DROP is lifted and scene takes place in London in the boudoir of Lady Montalto. Her maid is waiting to prepare her for bed. (Lady Montalto in front of a desk holding a photograph in her hand, and maid is turning down bed-clothes and adjusting pillows.) Lady Montalto Six weeks to-day since his lordship sailed for Italy. It seems as if he were gone for ages. I wonder that the government should need his advice, and so suddenly. (Presses picture to lips, wipes away her tears.) Lucy Oh my lady, do not weep so, for great men are needed in the business of two big nations. Lady Montalto It was thoughtful of my husband to send a greet- ing through Count Casselbane. What a handsome courtier he is! Lucy Umph! I don't like him. 46 THE YEGGMAN Lady Montalto No? Why not? Lucy Oh he stared at you, until you blushed. {Lady Montalto shows some displeasure at her remark.) Oh I beg your pardon. {Bows low.) Lady Montalto Yes but he apologized profusely for his manner. Lucy Well, but do your English gentlemen say such pretty things to you? Lady Montalto No-o! Still he is a dear friend of your master and brought me such good news from him, that I feel that I must forget his manners, which are those of a Southern Court and not like ours, and receive him cordially for my lord's sake. Lucy What was that he asked you to keep for him? Lady Montalto He is here to purchase a gift for His Holiness, the Pope, which will be placed in the Vatican, and since it is a gift from Royalty, its value is very great. So I have promised to keep the chest here in my chamber for safety. By the way, this is the hour of its arrival. Order my men to carry it here at once. {Lucy goes out and Lady Montalto continues speak- ing.) I am glad to be able to show so small a favor to Pope Pius and the Vatican. Our beloved and lamented Queen, Victoria, held his holiness in high esteem. {Enter Lucy and two men carrying a chest made of carved wood.) Place it there near THE YEGGMAN 47 the dressing-case. ( The chest is set down in front of dresser.) Lucy Humph ! I wouldn't keep it ! Those Frenchmen have a bold way of demanding favors. One would think he was only asking an American father for his daughter and the spare millions of the family. Lady Montalto Ah, Lucy, you are truly unkind to the Americans. Lucy But my lady, what can those American girls see in a powdered and corseted prig like Count Boni Casselbane? Well! If they could only see my Samuel — Lady Montalto Hush girl ! Your tongue is wagging. But come, I will go to bed. {Lucy places chair before mirror and begins to take down Lady Montalto*s hair. Takes off string of puffs. Hojds them up, then lays them on table.) Lucy Will you have your book, my lady? Lady Montalto Thank you, yes. {Lucy brings book. She removes another string of puffs. Count Boni lifts lid of chest so that audience can recognize him. He tries to steal a look at Lady Montalto.) Lady Montalto You must get me another string of puffs to- morrow from the wig-maker's, for Lady Montague must not outshine me. She wore at the dinner this evening, three full strings, and a set of curls. 48 THE YEGGMAN Lucy Well you shall have four then. {Takes off a braided switch and places it with other hair on table.) Lady MontaltQ I do not like the style of hair that Is worn to-day, I think I look best when it is like this. {Her hair is falling over her shoulders loosely. Lucy unfastens her frock and she slips off gown and petticoats. Count Boni lifts lid of chest. Lady Montalto is now dressed only in muslin skirt and undervest, and she gets into negligee robe of muslin and lace, made with low neck and short sleeves. She sits down again and lifts her feet for Lucy to remove slippers and in bedroom pumps walks to trunk.) Lady Montalto I hope no burglar meddles the chest, for it would embarrass me before Count Casselbane. Lucy Oh nothing can possibly happen it here. Lady Montalto {Lady Montalto in bed sitting up while Lucy is tucking her in. The lights on stage lower.) Leave the candle burning. You may go now. Lucy Good night my lady. {Goes out.) Lady Montalto Good night Lucy. ( Tapers are burning near bed. Lady Montalto reclining on pillows, stretches her hands upward.) To your protection, Oh Heavenly Father, I commend myself, and pray you send my husband safely back to me. {She sleeps. The lid of trunk is raised cautiously and Count Boni sits THE YEGGMAN 49 up and shakes himself, looks about chamber a mo- ment then gets out.) Count Boni A pretty bower for so pure a maid. I could not reach her to-day with my prettiest speeches, but I can carry away enough proofs from here to con- vince Montalto that his bride is false to her mar- riage vows. And then I win ten thousand pounds. (Struts before mirror, pushes down corsets.) Aha! And now for a peep at my lady. {Goes to bed.) Ye Gods! She is a new blown rose in a bed of softest moss! But to my proofs: {He writes in note-book.) "Two groups of cherubs on the mantel, and above it a picture of a Madonna. A double window at rear, hung in pink satin. Pink draperies over her bed and a statue of the Madonna on her dressing-table." Ah, but the lady herself! And now for some marks about her person. {He goes to bed leans over Lady Montalto but steps away when he speaks so as not to awaken her.) A scar on her arm where the pox virus was buried. {Chuckles with joy. Goes to bed again.) Oh, that I might touch! One kiss! But one kiss! {Comes back to center.) One mole as large as a franc on her left breast. {Dances hilariously.) Hurrah! I have stolen the secret and will stake these proofs against her honor to her boastful lord. {ENTER A REAL BURGLAR, A REAL YEGGMAN THROUGH WINDOW AT REAR.) {He comes down center and drops his jimmy and sack on floor in front. Sees jewel box, stuffs it in sack. Goes to dressing table, picks up false hair, drops it through fright. All this time Count Boni is either at foot of bed gazing 50 THE YEGGMAN at sleeper or leaning at her head scribbling notes. THE YEGGMAN goes to bureau at right, picks up perfume, smells it and grins, does it again. Slicks down his rags before mirror and squirts per- fume over himself again. Takes powder-puff puts on some pou/der turns and sees Casselbane. The Yeggman cautiously moves toward center and dis- covers what Count Boni is doing.) Count Boni One kiss can't harm! Yeggm.an {Grabbing Boni by neck, drags him down front.) Why you damn scoundrel! My business is white to yours! I steals common junk, you steals de honoi from women. {Count jerks away and draws sword; loses his note-book.) Count Boni {Haughtily.) Defend yourself, you worm of society ! Yeggman Ha! Ha! Worm of society! Bromide! Say guy, your belfry's full of crystals. He! He! {Draws pistol and points it at Count.) Take off that toy! {Meaning Bonis sword.) Put it down there! {Points to floor.) Now spit on it. Spit on it, I say! {The Count charges Yeggman but burg- lar puts his pistol close to Bonis head. Boni again drops sword.) Count Boni You scum of the earth ! Do you not know I was decorated with that blade for an unusual act of courage ? THE YEGGMAN 51 Yeggman O-ho! You mean for doin' the Peeping-Tom act! Spit on it! {Kicks Count.) Or I'll decorate you some more. Now kiss my hand you backguard ! Kneel and kiss it! {Kicks Count again.) Take honor when it's offered you, you dog! {Yeggman in lofty pose.) I am the King of Midnight Prow- lers, and I permit you to touch my elegant gar- ments. O-he, O-ho! and to kiss my pink fingers. {Count scrambles on knees and kisses his fingers, Yeggman howls with laughter.) Now tell me, how'd you come here! {Yells.) Tell me how you came here! {Lady Montalto sits up and rubs eyes.) Chin up you damn skunk! Lady Montalto {Screaming wildly.) Lucy! Oh Lucy! {She springs out of bed. Lucy rushes in, dressed in night attire, braids of hair sticking up straight, and zv earing a short wide night-robe. Yeggman grins at her.) Yeggman Don't be skeered good lady, I won't harm you, but I can't speak for dis oder guy. {He sees Lucy and laughs uproaringly again.) Lady Montalto {Aghast.) Count Casselbane! Yeggm.an I came in here after junk, but I found this sneak- ing dog, bending over you in your nest there, and I was just going to trim him down to my size, when you rounded-to out of your trance. Lucy {Lady Montalto picture of horror.) There my 52 THE YEGGMAN lady, what did I tell yer! (She goes over to Cotmt and pushes him roughly.) Count Boni Your Ladyship, permit me to explain. I saw this thief enter your apartment through the rear window and I followed him to protect your highness. Yeggman (Shouts with laughter.) Him to protect you, Lady! (To Count.) You're snowy. Take an- other squirt, you've got 'em bad! (Goes to chest.) Umph ! You Devil's Son ! Came to protect a lady. Here's his coat in this chest, (Burglar puts on the Count's velvet cape. Lady Montalto picks up the Count's note-book.) Reads: Lady Montalto "A mole as large as a franc on her left — b-r- e-a-s-t. (She clasps her hands to her bosom j stifles a moan then looks at cover of book and screams.) His name! Oh you perfidious dog! Protect me, ragman, who ever you are. (Goes to side of bur- glar, he makes a comedy scene out of his preferment over the Count.) Lady Montalto Lucy, call the police. (Lucy rushes to open win- dow.) Help! Police! (The Count tries to rush past the Yeggman but is covered by Yeggman s gun.) ' Yeggman I sees where we bunk together to-night, old pal. Count Boni Old pal, how dare you! (Police are heard, bells and go?igs ring.) THE YEGGMAN 53 Lady Montalto (Rushes to window.) Police! Help! Help! (Loud noise outside^ police pound door. Lucy is trying to unlock it.) Here Yeggman, go. (Points to window and as he passes her she hands him her purse.) Here are twenty pounds, save yourself. (He grimaces at Lucy, shakes fist at Count.) Yeggman Dont' you ever attempt to intrude your mug into my society again! (Grand stride and pose.) (Police rush in at door. Lady Montalto points to Count and the sack and jimmy, the sack with her jewel-box. They hurry the Count off.) Count Boni (Fighting furiously.) I am a subject of France and of noble family. You shall pay dearly for this! (Yeggman is getting out of window at rear, throw- ing kisses at Lucy, who returns them, at the same time he rejoices at the Count's predicament. Lady Montalto has followed the police and Count to door at R. and stands with arms folded and throws haughty glances at the Count as he is dragged out. Yeggman gathering Lucy's kisses in.) Lady Montalto In an iron cell, officer, remember. CURTAIN DUPED A PLAY IN ONE ACT TIME Present, PLACE The palatial residence of Mrs. Ormsby Plunkett, New York City. SCENE Library of residence. Eight o'clock in the evening. CHARACTERS Mrs. Ormsby Plunkett, an arrived social lead- er in New York's "Four Hundred" but whose finances have suffered of late. Miss Geraldine Plunkett, the daughter, just out, and whose mother has placed her upon the matrimonial market. Tom Plunkett, brother to Geraldine and an up- per classman at Yale. Billy Nevins, a classmate of Tom's and an all around athlete, who is secretly engaged to Geraldine. Butler. AND Toby Barnett, the "funny man" from the Ameri- can Music Hall, who assists the young people out of a most distressing situation. PROPERTIES Furniture of a library. A whiskey decanter, box of cigarettes J a cloth covering for piano, a cut glass vase, Venetian vase, a statue of Flying Victory and American Beauty Roses. COSTUMES Geraldine is in a modish frock for a "bud." Mrs. Plunkett in elegant evening gown of white and blue. She wears rich jewels and carries a fan. Tom and Billy in evening clothes and Toby in a ridiculous costume from the theater. Duped DISCOVERED Tom and Geraldine. ( Geraldine speaks. ) Geraldine But Tom, mother is determined that I shall marry Lancelot Bergamo. Oh you must help me. What shall I do! {Sobs in her voice.) Tom Well it's a shame, sis. An outrage ! But haven't you told mother what a freak he is? Geraldine Everything. But Lancelot's mother is ace-high at Newport and Palm Beach and has fixed it all up with mother. And mother has found out that he receives millions on his wedding day, so that settled it. Tom But sis, have you told mother what villainous habits he has and how he was cut out by all our fel- lows at Yale for his dippy ways ? Geraldine She is immovable, for she claims we need his money, and that I ought to be willing to overlook his squint, his atrocious bow-legs and his abominable manners. Oh Tom, and to think how I love Billy Nevins! {Bursts into tears.) I can't endure the thought of it. I'll die a slow death. I'll — {Sobs anew.) I'll grow haggard and thin and ugly if I 59 6o DUPED have to marry that monkey Lancelot. Oh it's dread- ful to think about! {Throws herself on lounge and weeps violently.) Tom Well if mother could only meet him once, she'd change her mind. {He busies himself at left with bric-a-brac J then comes down front, thoughtfully.) Geraldine {Shakes her head disconsolately.) No, she wouldn't, she says she doesn't care if he has wooden- legs, a glass eye, a stammer in his speech, I have got to marry Lancelot Bergamo! Tom And Billy Nevins ! The finest chap in these dig- gings, head over ears in love with you, — to be pushed aside for this Lancelot Bergamo. But Geraldine, Billy has wealth too. In fact he is reputed to be heir to great riches, only he don't go around holler- ing about it, and doesn't change his clothes ten times a day. His dad is the millionaire copper king of Arizona, and Billy is the real stuff! Sis, we've got to win out in this. I wouldn't have Billy Nevins lose you for worlds. Let's see; you say mother has never met Lancelot. Geraldine No, she has taken his mother's recommendation and says, "looks may go to Dublin," it's money she is looking for. Tom I have it! Let's introduce a proxy as Lancelot to mother. It's a mean trick on Lancy, but all's fair in love and war. DUPED 6i Geraldine {Excited.) Oh Tom tell me. Hurry! What do you mean! {She is at center, all excitement.) Tom Well there's a fellow down at the American Music Hall who is a cracker-jack and I was struck by his likeness to Lancelot when I saw his act. I'll get him to come up here and meet mother. {8he looks confused.) Now wait. I'll instruct him to make an all-around fake and freak of himself, and mother will be so disgusted with the stunts I'll give him, that she'll order the butler to turn him out. Ha! Ha! Poor mother. But Billy Nevins is a prince of fellows and I must have him for a brother-in-law. Geraldine Oh you darling. {Gives Tom a hug.) Tom, here's mother. Go. Tom Now your instructions. — Fill the whiskey de- canter and leave it with plenty of cigarettes on the table here. I'll have Toby Barnett here in a jifify. Keep up courage sis, and smile. So long. {Exit Tom.) Geraldine {Rushes to door of book-case, takes out decanter of whiskey, places box of cigarettes on table by decanter.) There, you friends or foes! Do your worst or bestj {A voice is heard calling from without.) Mrs. Plunkett {From without.) Geraldine! Geraldine! {Enter Mrs. Plunkett.) Ah here you are. 62 DUPED Geraldtne Yes mother dear. Mrs. Plunkett {In lofty mood.) Have you quite composed yourself in making ready to meet Lancelot, your future husband? {Looks at her daughter thru lorgnette. ) Geraldine Oh mother, won't you listen to me? Lancelot Bergamo has not millions enough to make the name of Plunkett accept his eccentricities. Why, my ancestors will all turn in their graves should they ever learn of my perfidy in selling the name for paltry gold. And that, — the coin of a fisherman's son! Mrs. Plunkett My dear Geraldine, if this alliance were not a certainty, your father would be beggared to-morrow morning. Then too, your father was a well-dig- ger's son, and it was my natne and family that got us a foothold here in New York. Geraldine Well father has been able to float us here on a scandalously extravagant scale since then, hasn't he, mother ? Mrs. Plunkett Yes, but hush! I had to have a private ceremony when I married your father, because your father had only one suit of clothes and that a sack coat. Oh, don't remind me of those awful days. {She shudders.) Geraldine Well dad says those were his happiest days! DUPED 63 Mrs. Plunkett Hush child. Don't run on so. Your father never has thrown ofE his plebian tastes. It has been one of my greatest secret sorrows, his aversion to evening clothes and opera. {She sniffs.) Geraldine Hurray for father! His keenness sees thru most shams! And if he were consulted about my marriage he would quickly see the terrible dis- parity in worth, between Lancelot and Billy Nevins ! Why isn't father consulted? Mrs. Plunkett Because I intend to see you well settled, with plenty of money and I want this Nevins banished from your mind! Why he is a Westerner and no doubt his hardfisted father will insist on his begin- ning where he did, — digging in a mine! (Geraldine attempts to speak.) Listen. I should not be sur- prised if the Nevins Pere would expect you to live on a paltry fifteen thousand a year. Then what would run this place and Whitehall at Newport? Geraldine {Haughtily.) I still have faith in my father's ability. But mother, I do not love Lancelot, I — I — Mrs. Plunkett {Whirls up stage.) Oh, that doesn't count, love is old fashioned, and a thing that can be cultivated at any time, once you are married and your social position is secured. {Comes back.) No girl, with proper forbears, marries for love nowadays. It's too much drudgery. It means in the end a surren- der of social existence and encourages large families, which are terribly vulgar. I shall see to it that you 64 DUPED shall be no martyr to your abominable democratic views. (Sadly.) But you get those from your father. (Wipes tears angrily.) Get rid of them at once. By the way, while there are a few minutes left, let us discuss the trip to Paris for your trousseau. Geraldine (Bursting into tears.) But mother I love Billy Nevins better than my life. I can't marry Lancelot. Don't you understand? Mrs. Plunkett (In high rage and an expression of iron.) I want no scene. (Calmly.) I will not hear of your throwing yourself away on a young man with only a million to begin with! We need money, and we need it badly, I see no way to recoup our finances except this marriage of yours to Lancelot. I will not retrench. I have told your father, I would not give up the home here and the horses and motors and live in seclusion. I would die first. No! Lancelot gets six millions on his wedding day to use as he sees fit. Marrying a handsome girl like you, he no doubt, will give you unbridled entrance to his purse. In fact, I expect you to secure that comfort for yourself and me. Geraldine (Hands outstretched toward mother, imploring.) Mother, don't you remember how happy you were with father when he was poor? And I shall not be poor! Billy has everything to offer me, honor, health, good looks, courage and plenty of wealth for both of us, if you will only be reasonable. Mother, won't you consider my feelings a little. (She has DUPED 65 slipped off the sofa to the floor and is sobbing, her face hidden in her folded arms.) Mrs. Plunkett {In lofty pose.) I have made up my mind! Your sentimental scruples shall not be considered. I shall urge an early marriage too, and mind you do not oppose it. {The bell rings.) Kere is Lancelot now : I expect you to show your appreciation of the honor he does you. If you could only know how I have cuddled his disagreeable old mother. {Shud- ders.) She is as ugly as a horned toad. — But I prefer toads in mansions to graceful leopards in cottages. Get up, I say. Geraldine Mother, I — I — {Rises, sobbing and wiping her eyes. ) {Enter butler.) Butler Mr. Lancelot Bergamo. {Enter Toby Barnett. He has a speck of a cap on the back of his head which he forgets to remove. He is attired in loud plaid trousers, frock coat of ancient cut, red vest with white buttons and a loud cane. He advances on wobbly legs, wearing a broad grin. Makes a low bow.) Ah, my dear Mrs. Plunkett, how do you do ? Mrs. Plunkett My dear Mr. Bergamo, I am delighted to meet 5'^ou. Geraldine tell Mr. Bergamo of your pleasure too. ( Geraldine is convulsed at the funny sight zvhich Toby ?nakes and his jolly take-off. She re- covers herself and gives her hand coldly to Toby.) 66 DUPED Toby Yes, yes, my dear Mrs. Plunkett, I've been hav- ing a deucedly jolly time. {He giggles much.) I have called on so many nice girls to-day, I really can't decide which I like the best! {Mrs. Plunkett looks surprised.) But I tried to leave the best for the last. Mrs. Plunkett Yes, your mother advised me that you both had considered my daughter seriously, and I expected you to-day. Toby Quite right, — but you see it's not so hard to decide upon the one I want as it is to break away from all the other girls. {He giggles and grins foolishly, sees decanter of whiskey, slips over, empties two glasses, smacks lips.) Fine brand. Shall we keep King William in our home dearest? {Ad- dresses Geraldine. He begins to blink his eyes and takes another glass and goes close to Mrs. Plunkett, who can scarcely conceal her surprise. In fact is wide-eyed with astonishment.) "A little of the hair of the dog" as they say in the West. {Puts glass down shakingly, takes a cigarette, lights a match on his trouser-seat.) Permit me. {To Mrs. Plun- kett, who is almost breathless with chagrin.) Oh I've had such a good time to-day, — the girls {Snick- ers sillily.) the girls {Shakes himself and coyly chuckles.) were so good to me! {Hic-coughs.) {Sits.) I like Afternoon Tea hugely when served by a bewitching wench. {Chuckles again.) I certainly have a nice bunch of girl friends, Mrs. Plunkett, but your daughter — DUPED 67 Mrs. Plunkett Oh yes, let us do business. Now as I under- stand from your mother, you desire to marry my daughter Geraldine, Toby (Gets up, staggers toward Geraldine but the mother wishing to avoid farriiliarity steps between them. Toby staggers.) Yep. Just as soon that it be Geraldine as any of the girls. (Hic-coughs.) (Enter Tom.) To?n Hello Lancelot. Ah you heartbreaker, making more conquests. Toby Well you see, I get 'em coming and going. The girls can't resist my charms. (Laughs foolishly.) I'm just getting acquainted with the folks. Tom I am delighted to have you know my mother. Have you had a little of father's favorite brand? Toby Don't care if I do! (Tom pours out glasses. They toast and drink.) Tom To all fair women. God bless them. Toby To Virgie, — and Mamie, — and Tootsie! — The little heartbreakers I met to-day. Long life and happiness. Mrs. Plunkett (Not concealing her scorn and showing great distress.) And now Mr. Bergamo, how much money do you get on your wedding day? (Coughs.) 68 DUPED Of course you must realize my daughter has been accustomed to wealth and luxury and she must be assured all she has enjoyed in her father's home. Toby {Going nearer Mrs. Plunkett he slaps her famil- iarly on the arm.) Oh never mind old girl, I get enough, but we won't want much. You see I prefer the simple life and two thousand a year will cover that, won't it Gerry? {He makes ineffectual attempts to get his cigarette back into his mouth, and Mrs. Plunkett dashes in confusion to other side of room, wringing her hands wretchedly, Ger- aldine goes to her mothers side while Toby goes to Tom and in aside asks: Toby How far do I go? To?n {Aside also.) Go the limit. You're doing fine. It's having its effect. Mrs. Plunkett {Comes back center.) But my dear Mr. Ber- gamo, you don't for a moment think Mr. Plunkett or I could let Geraldine marry a man of small in- come. Your mother led me to believe that you re- ceived six millions on your wedding day, and five millions more at her death. Toby {Taking another drink.) Well 3^ou see I've come to the conclusion that the white race has more than is coming to it so I'm going to make John D. Rockefeller's charity look like petty larceny, and devote my millions, — not to the hookworm, but to my ancestors, the anthropoid ape. {Mrs. Plunkett DUPED 69 shows faintness and fans herself vigorously.) Now I am convinced that a little money and the milk of human kindness would do a world of good for our ancestors, the ape family. Mrs. Plunkett (Bursting with rage.) Our ancestors! (She sneers.) You mean yours! (Tom and Geraldine cant conceal their amusement.) Toby No! No, I don't! I mean ours. Now I see a great resemblance between you and me and the anthropoid ape. And I see a world of tenderness in Gerry {Mrs. Plunkett choking with rage.) which will assist me in my work among our brothers, the neglected race of apes. Mrs. Plunkett Sir! Yours plans are preposterous and I am not in sympathy with them, neither is my daughter Geraldine. {She is at center, furious.) Toby {Going toward Geraldine but the indignant moth- er intercepts him and she receives Toby's embrace in terror.) 'Scuse me. I meant to favor the young lady. ( Tom is convulsed but he and Geraldine keep up the play.) Mrs. Plunkett {Looking helpless at Tom.) Of course Geraldine has plenty of time. She is young and I'll take up the matter with you and your mother, perhaps in a few days agafn. We'll leave it now. {Significant smile of hope on Tom and Geraldine' s faces.) Toby No, must know now. You see I'm anxious to begin my work with the apes, poor things, they need 70 DUPED the attention of a pure creature like Geraldine. {He attempts to sit on piano stool, loses his balance, afid in his frantic endeavor to recover his equilibrium, he grasps the piano covering, which has upon it a cut-glass vase and a Venetian vase and a Winged Victory in White Carrara marble. By catching hold of cloth he brings the vase of flowers down on himself and dripping with water after balancing on stool, feet in air, he lands a sorry heap on the floor. Mrs. Plunkett and Geraldine scream and rush and seize the vase and statue, while Tom is bent with laughter up right front. Before Toby gets his feet, the Butler enters.) Butler Mr. Billy Nevins. Mrs. Plunkett {Effusively.) Show him in at once. {Tom is helping Toby to his feet and Geraldine goes for- ward with mother to greet Billy. Tom and Toby embrace.) My dear Mr. Nevins, I am so delighted to see you. Geraldine has unbosomed her secret and I ofEer you, my dear, a mother's blessing. {She plants a kiss on Billy's brow. Tom and Toby are all smiles.) Mrs. Plunkett Ah Mr. Bergamo, let me present Mr. Nevins. {Billy is about to give the whole thing away for he knows the real Lancelot, — when Tom attracts his attention from behind his mother, cautioning Billy to keep silence. Billy merely grins and ac- knowledges the introduction.) This is my daugh- ter's fiancee. He has tastes only for the humans, so I fear Mr. Bergamo, you must uplift the apes, your brothers, alone! Duped 71 Toby No indeed madam, I expect a whole bevy of girls to embrace the privilege. It's so awkward to love' money. Mrs. Phinkett Tom, show Mr. Bergamo to his car, and order my run-a-bout, for I want you to look in at the Metropolitan with me for the third act of Lohengrin. Toby {Radiant with smiles.) Good-night Miss Plun- kett, I wish you both much happiness. {He shakes hands with Billy, winks knowingly and goes up to Mrs. Plunkett who haughtily turns away and up stage. ) ( Tom and Toby go out arm. in arm U'hile the lovers are smiling and talking.) Billy {Goes to Mrs. Plunkett.) Really Mrs. Plunkett, I am almost speechless with joy. I came here de- spondent of success for I feared you did not favor my suit, but now I can only ask you to fill my cup of bliss and name an early wedding day. Mrs. Plunkett My dear boy, my only thought is my child's com- plete happiness, and now while Tom and I look in at the opera, I shall leave you and Geraldine to decide the matter for yourselves. {Exit Mrs. Plun- kett.) Geraldine Billy! {Rushes into Billy's outstretched arms.) Billy Make it next month. {Butler enters unseen, he 72 Duped coughs but cant attract them from their embrace, then in a loud tone he announces significantly.) Butler Mr. Lancelot Bergamo! Geraldine (Stops kissing Billy long enough to say.) Tell him Miss Plunkett is engaged! CURTAIN MY FRIEND'S IN TOWN A PLAY IN ONE ACT SCENE Library in fashionable apartment. Book shelves; in center a desk with books on it. Telephone on library table. Sofa down in front at right. A door in rear at left. Window in center at rear. Book-case on left. Chairs, cushions, etc. CHARACTERS Mortimer Harcourt. SusANNE Harcourt, {his wife.) TIME Evening. COSTUME Both dressed for opera. My Friend's in Town Curtain as Harcourt enters. Har court Well if this isn't a pretty mess ! To think my old friend Billy Farnham, should come back to town when I am tied up with an opera engagement with my wife. {Lights cigar.) Why, I was so glad to see the old chap, confound the luck, I forgot all about the opera and promised to make up a poker game with two more New Haven fellows at the Savoy to-night! Beastly mess! Farnham is one of the cleaverest chaps, but there's my wife! She'll cry her pretty eyes out, bless her heart, if I break my promise. Hang it all ! How shall I get out of this? Confound the luck. {Goes to table.) Hello, what's this she's reading? {Opens book and shows astonishment.) Umph! Underlined! "Vitality in a woman is a blind fury of pro-creation!" Well, this is interesting! {Looks at title of book. Reads:) "The Sense of the Beautiful." Well I like that! It scents something all right, — smells bad! {Seated on table sings.) "Whoever has married a minion wife. Has had a good chance and hap. Must love and cherish her all his life. And dandle her in his lap. If she will fare well, if she will go gay, A good husband ever still. Whatever she wishes to do or to say, Must let her have her own will, 77 78 MY FRIEND'S IN TOWN About what affairs, wherever you go, You must show her all your mind. More of your counsel she may not know Else as a man you're unkind!" (Picks up another book and reads.) "A self- sacrificing woman is so kind in little things. A man is nothing to her but an instrument of her purpose." Great Scott! Where did my wife get that book? {Looks at title, reads:) "Maxim Gorky." Why, she'll be interlining Mrs. War- ren's Profession next! {Picks up another book.) "A man in love walks straighter and dresses bet- ter." Well, who is she studying now? {Puts down book.) Is it me or the other fellow? {Struts about, looking at himself.) {Sings.) "I have a hunch, etc." Enter Mrs. Harcourt. I have it. {Puts on severe air.) Susanne Ah, there you are, sweetheart. Alar timer Am I the fellow {Savagely.) who walks straight- er because I'm in love? Susanne (Puzzled.) Why dearest — Mortimer (Yells.) Who is this man that dresses better because you're in love with him? Susanne ( Gasps. ) Mortimer ! Mortimer (Yelling louder.) Mrs. Harcourt!! MY FRIEND'S IN TOWN 79 (She gets on the other side of table as if afraid of him, he dashes after her, catches her by wrist and hauls her over to the table where he points to books.) Madame, explain your conduct by reading — tell me-e! Susanne {Breaks away, stammers under breath.) My God, he's crazy. {Takes refuge behind sofa.) Mor- timer dear, listen. I was studying the artistic, the — Mortimer {Dashes after her, she runs around table.) Study- ing how woman's vitality is more intense than man's ! Woman, this is shameful! {She is now weeping.) You're not fit to be near our child. {She screams.) I shall protect him against contamination with the reader of Maxim Gorky, et cetera! B-r-r-rh! {Points to book on table where he has seated him- self.) Susanne {Pleading, crying.) Mortimer, hear me. {Com- ing toward him gingerly, for she thinks he is out of his mind.) I — I — boo-hoo — I can explain — Mortimer Explain nothing, you are lost to me! {Grand pose.) Susanne {Crying hysterically.) {He is puzzled as to how his scheme is working.) Mortimer (Aside.) Works fine! 8o MY FRIEND'S IN TOWN Susanne (She springs up to dry her tears.) You are a cruel brute, and I shall go home to my mother and take Mortimer, Jr., with me! Mortimer {Realizing the jig is up, goes to her and at- tempts to embrace her.) Take me too. Forgive me darling. {She rushes into his arms, he wipes her tears away and fusses over her. She snuggles up coquet- tishly.) Great Scott! dear, you looked just like you did that night long ago when we had that quiet little supper at Mowbray's! {She looks surprised.) Don't say no, yes, yes you do. {Rubs his hands and chuckles in extreme delight as he recalls that evening.) What a bird and cold bottle that was and how gay and sweet you were! Susanne {Opens mouth as if to speak, thinks.) I? {Looks puzzled.) Mortimer Oh, yes, {Rushing on.) you were glorious! {She is wide-eyed, still waiting in amazement.) {He embraces her vigorously.) How you cavorted and capered about! {He dances a little bit of ballet to show her how she did on that night.) I took you like this: {Picks her up and puts her on the table, while she is dumb with amazement.) Give me the step again, sweet- heart ! MY FRIEND'S IN TOWN 8i Susanne {Jumps down and shrieks.) You deceiver! O Oh-o— h! Mortimer {Aside.) What a damnable break. 'Twas the girl Estelle! Susanne You brute, I hate — I hate you. {Stamps her foot and cries violently.) Mortimer {Very, very much confused. Gibbers and stam- mers , rubbing his hands in nervous fear.) Just a little joke Susanne, — a-yes, a josh — a — Susanne Don't speak to me {Falls into chair.) I am broken-hearted. {She springs up.) I shall go home to my father and he'll — Mortimer Darling, it was fun, — I — fun ! Oh see here, little one, you're all the world to me, my sun, comet and old Mars himself. Forgive my — {She still waves him. away from her.) Mortimer {Aside.) Worse and worse. How shall I get to that card game? Forgive me, Susanne! I'm a brute I know! {She rushes into his arms. While she is still in his arms, he groans in great agony.) Oh-o-oh! Oh my head! Susanne {Alarmed.) Why what is it? Oh, let me do something! {Both moaning.) 82 MY FRIEND'S IN TOWN Mortimer Oh! Oh, oh! my head. {She assists him to sofa.) Susanne Lie down dear until I see what I can do for you. {He falls on sofa and groans louder, his face awry.) Oh dearest what shall I do, what shall I do? {Gets smelling- salts and fans him.) Let me see; what is good for a pain in the head? I have it! Mamma used to say a mustard plaster. {He starts up in awful dread of the remedy.) Yes, I'm sure. There dear, lie quiet while I get a plaster from the kitchen. {She helps him out of his evening coat and fetches lounging robe from room at left.) {While she is out he attempts to phone Billy Farnham.) Mortimer Before the plaster gets in its work I had better phone Bill ! {Enter Susanne. He dives for sofa, she almost catches his deception.) Susanne Any better? Mortimer I — oh, yes, Oh I am terrible — terrible still. Susanne {Picks up his coat and box of poker chips fall out.) Mortimer,- where did these come from? Mortimer I took them from the baby in the yard. {In great pain.) MY FRIEND'S IN TOWN 83 Susanne {Puts them on the table and helps him into his robe.) I will get the mustard plaster, keep very quiet darling. {Exit L.) Mortimer {Rushes to telephone.) Hello, give me 172. Yes, hello, that you Farnham? Yes. Waiting! So am I. No, an opera stunt! Yes. — Excuse myself? — Oh shake down Billy — it's my wife. Come, now don't talk like a web-footed Rube! Hang it! Aw- fully cut up over it. Oh yes, ha! ha! You bet I'll be there in twenty minutes, {Hears Susanne outside.) Now for the plaster, {He dives for the sofa, showing terrible suffering.) Susanne {Enters with two great mustard plasters.) There now. {She ties one on his forehead.) Take off your collar. I must put one on your neck. {He looks in great terror, but tears off collar and loosens shirt and she ties the plaster on his neck. He settles into the cushions.) {She turns away to table.) Mortimer {Howling from real pain now.) Oh! Oh! {Tears off plaster from forehead, flings it away, tears around room. Then feels the other one burn- ing on his neck — attempts to get it off and it slips down on his back. He yells and kicks over chairs in his mad flight around the room.) {Susanne runs excitedly after him.) Reach it! Reach it Susanne! {Tears at plaster dowtt his back. Feels his leg fearing it will slip 84 MY FRIEND'S IN TOWN farther J, — all the time running and struggling. Finally rolls on the floor.) {Susanne catches him as he rolls around.) Susanne Let me darling. I can get the — the — brute ! (Both moaning. She assists him to sofa.) Mortimer {Turns fiercely.) Whoever said mustard was good for a pain in the head ? Susanne {Meekly.) My mother. Mortimer Well, she's a lemon! Why she could put Jim Jeffries in his corner with three like them! Why she ought to be strung up! {Feeling of his back.) D — m fool! Idiot. Susanne {Begins to cry.) Boo-hoo — to think you would say such things about my mother! OH! I can't endure it! Mortimer Come dear, I was rash, my head is so bad — forgive me. There's the sweetest little girl! {Kisses her — still keeps up the feigned sickness.) Susanne I presume I am cruel to you dear, — boo-hoo. And 5^ou suffer so. {Sobs.) Oh, I hope you'll be better soon ! ( Wipes tears. ) Can I do anything to make you feel more comfortable? Mortimer Yes, give me a step. Susanne {Does a fancy dance.) Oh Mortimer, you re- MY FRIEND'S IN TOWN 85 member we were to take Jane with us to-night. {He does more funny stunts in the feigned sick- ness. ) Mortimer Oh Susanne, I can't go, I feel awful! Susanne Well, I will call Jane up and — Mortimer — and tell her you will go. Susanne And you so ill ? I couldn't think of it a moment. Leave you — I — Mortimer (Excited J fearing she won't go.) Oh, I wouldn't think for a moment of letting you stay at home. Susanne But I can't feel right about going and — Mortimer Nonsense! I am all right (Capers, then recovers his role.) t-th-that is, or I — I am, better! Now don't be foolish. Don't let a little thing like that upset your plans. I will lie on the sofa quite com- fortable. (Aside.) I won't say how long! Susanne Well I will call Jane. (Goes to telephone.) (He shows great joy.) (She turns.) Do you think I ought to leave you? (He waves- aside her soliciation.) Hello! 4120 please. Yes. This you Jane? Yes, this is Susanne. Oh Jane, Mortimer is so sick — well I mean quite sick; I am sorry — (He starts.) 86 MY FRIEND'S IN TOWN — but he will stay at home and I will call for you. No, I think he's some better. Oh, I was so frightened yes, I nearly died, Oh sure — he is better, aren't you dear? {Nearly catches his by-play.) I will drive over for you at once. Mortimer Here, jump intO' your cloak, it is getting late. Susanne But my dear, you must not exert, — ^let me fix you on the sofa. Oh yes, you must. There. Here are the salts, the brandy, now do be very quiet. {Bids him good bye.) Mortimer Pleasant time little one. {She throws kisses, goes out and taking key from the inside of door, locks it from outside.) {He springs up, grabs box of dice and throws them chuckling and singing:) Seven, come eleven! Four, eleven, forty-four. SINGS! "LOVINGLY TO AGREE," ETC. "A thing very fit. For them that have wit And are fellows knit, Lovers in one house to be. Is fast for to sit. And not oft to flit. Nor vary a whit. But lovingly to agree. No man complaining. No other disdaining. For loss or for gaining, My FRIEND'S IN TOWN 87 But lovers or fellows to be. No grudge remaining, No work refraining, Nor help restraining But lovingly to agree. No man for despite, By word or by right, His fellows to write. But further in honesty. No good turns to fight, Nor old sores recite. But let all go quite, And lovingly to agree." Tee-e-de-de-tiddle de a dum! {Whistles glee- fullyj gets on overcoat and hat, tries door and finds it locked.) Well, this is hell! (Looks around confused a moment, then his face brightens. ) The Fire Alarm! {He rushes and turns in the alarm, and in a moment a fireman hoists a ladder up to the rear window and comes dashing in carry- ing a hose, while another breaks in the door.) Mortimer {Very excited.) There! There! {Pointing to the corner.) {Firemen rush there.) {Harcourt gets out of window and as he goes down the ladder he holds up a pack of cards, show- ing the ace and jack.) {Firemen still looking wildly for fire.) CURTAIN THE MYSTERY OF BEACON HILL A PLAY IN ONE ACT SCENE The living room of a log-house, the home of Mrs. Page. It is the typical log-cabin of the mountains. Big fire-place at center rear. Broad double windows on each side of fire-place, so that the snow-covered peaks of the mountains are seen. At R. rear a door. In corner a cupboard with dishes and farther front, R. a lounge covered with furs. At Right front a table, chair on left of table. Book-shelves filled with books on left and door at left rear with two steps leading up to door. Arm-chair at left front and at wall left front, old desk with photograph of a man resting on it. Front center a large skin rug. CHARACTERS Bill Gidbings, Owner Montezuma Mine. And a candidate for representative. Jack Putnam, Superintendent of Gold Coin Mine. Betty, Eigth-y ear-old daughter of Mrs. Virginia Page. Mammy, Betty's colored nurse. Mrs. Virginia Page, A Woman With a Past. The Teacher in the School, also candidate for representative. PLACE Beacon Hill Gold Camp. The Home of Mrs. Virginia Page. TIME Eight o'clock in the evening. The Mystery of Beacon Hill DISCOVERED Betty on rug down front, playing with a Teddy Bear on which she is trying to put a pair of jumpers. On the rug beside her is her violin and bow and a couple of old dolls and wagon. Mammy, the colored nurse is fussing with dishes at cupboard at Right. Mammy Gawd love you honey, ah'd like to let you play a little while longer, but yu ole mammy has got to mine wat missus says, as well as my lady Betty has. (Comes up front shaking finger at Betty.) Betty (Pettishly.) But Mammy, I want to put my Teddy's jumpers on, 'cause he'll get his white coat dirty. Mammy Yes, yes, lovey, but it's time to git yu music lesson (Betty drops Teddy and takes her violin and bow.) or else youse ole mammy neber will dance to dat ole Dixie song. Betty (Springs up.) Yes you will Mammy, Hurry. (She starts to play Dixie and after a bit of surprise from Mammy, the old nurse begins to jig. Betty shouts.) Now see Miss Mammy! Mammy (Out of breath.) Whew! Yu — h! Come 'long now, no more fun, jes your lesson. (Exit left. Enter Mrs. Page stack of books on her arm. Comes up center, puts them on table.) 93 94 THE MYSTERY OF BEACON HILL Mrs. Page Oh, such a trying day! It is an hour since the polls closed and I shall soon know my fate. If I hadn't wanted to get a Miner's Liability Law through, I should never have made the race for the Legislature. But something must be done to pro- tect the wives and children of miners who are killed or crippled in the mines, and through the fault of the mine owners. The little fatherless children must be cared for. (Music from Betty's violin.) A badly supported mine left my own darling father- less, and I shall use all my power if I am elected to get that law through. (Violin again heard.) Oh, my darling song-bird, you will never know what I have endured in this campaign. They say (Sits at table.) the election of this county is determined by the precincts of this camp, and with only a total of 1, 600 votes, the count must soon be over. (Rises, shuts fists hard.) And after all the whisperings I have heard behind my back! (Musing.) What if I am defeated — Bill Giddings will go to the Legis- lature! But that's impossible. (She stoops and picks up the Teddy Bear and play-wagon.) My darling baby, the secret is sacred and it is mine! What right has any one to intrude upon your past and mine! (Betty plays Spring Song.) Ah preci- ous baby-girl, the music of Spring and birds is in your heart and fingers, but they left my heart years ago. I defied Bill Giddings and the curious public in this campaign and faced the sorrow all over again, my darling child, for your sake and his! (Buries face in hands and stifles a sob. A knock is heard at door. She busies herself removing hat and does not THE MYSTERY OF BEACON HILL 95 turn.) Come in! Enter Bill Giddings. {He is dressed as a miner, his gait is slouching and has a. mean look in his face.) Mrs. Page You! How dare you. come here! I'll call Mammy. {She starts for door at left.) Giddings {Catches hold of her and swings her down in front again.) No you don't. {He stands in center front.) Now look here. I've had enough of youi fine talk and high airs, and I stands no more ! See ! Mrs. Page {Calmer.) We'll not discuss my airs now, — but the election first, — ^what does Beacon Hill do? Giddings It goes 600 Democratic, and that defeats me! Mrs. Page Then I'm elected a legislator for Colorado, Hurray! {Shows much delight over the news.) Giddings Not so fast! You may be elected, but I doubt that you'll ever serve. There are some things, that aint quite right. Mrs. Page {Comes closer to him.) Who or what's to pre- vent me! Now see here Bill Giddings, you never set foot under my roof before, and since I tolerate your presence, I'll refuse to be bullied. {Puts hand under plait of her skirt showing pocket and gun. She rests her hafid there.) Giddings Oh, I'll not harm you. Yes I knowed you did 96 THE MYSTERY OF BEACON HILL not know who it was when you piped up "come in;" but I came tO' talk to you and you've got to listen. I ain't so bad a sort, I have rough ways, p'rhaps, but I've got the dough and you haint, and all I lack in other things you've got. A couple of trips across the big pond will fix me all right. Say is it a go? {He comes closer ^ she waves him off, and moves backward, her hand all the time on gun showing she does not trust him.) Mrs. Page You're mad to even think of such a thing. Again I— I— Giddings But I loves you, I adores the ground you walks on, an I'll do well by the kid. Mrs. Page No more! (Sneeringly.) You do for his child! Oh the thought is maddening to me. Go! Giddings Not so fast. Suppose I'd tell the school board what I know, how long will you have your place in the school? Spose I'd tell them about her {Pointing toward left, strains of violin is heard.) how long will the women of this camp know you. Mrs. Page Tell them all you think you know. I've proven in the eight years that I've been here among them, that I am Avhat they believe me to be, a pure, good woman. But they would not believe you anyhow. Giddings Let me tell you something. I know your name is not Mrs. Page. {She shrinks and trembles.) You are not the wife of Dick Page ! ( Throws up hands THE MYSTERY OF BEACON HILL 97 and staggers.) Your name is MISS GRAY, and your child there is without a name! Mrs. Page (Recovering a little.) Stop! You do not know that the love of a noble, big-hearted man blessed my baby and me when he died. She was born of a love purer and nobler than the peaks of those great mountains. (Shouts.) Don't use the name of Dick Page, I loved him dearer than life and he is my child's father. (Drops into chair at table, sobs convulsively.) Giddings (Shrugs shoulders.) Bah, Child of love! Egad, and you boast of it! Ha! Ha! Why the women members of the house of representatives if they knew, would refuse to sit in the same room with you. But come, act sensible, don't turn me down, I don't want to peach on you, I mean well by you. Mrs. Page (Bursting with emotions which she choked down while he talked. She rises with both hands leaning on table, and looking him straight in the eye, she nearly screams her defiant answer.) Now listen, Bill Giddings. This is my answer. Go tell the people of this town and this state all you know, and more, — tell them all you insinuated in the past six weeks. Proclaim it from the house-tops, that I loved a man so well that I sacrificed my reputation for him; and I will shout louder, "y^s, and were he living I would do it again!" Tell them that my baby girl called him "Daddy," and I will bow my head in honor and in gratitude for that one sacred word! Tell them that I loved him better than life 98 THE MYSTERY OF BEACON HILL and I will answer, "yes, and I would give the rest of my life to hear his voice once more." He called me "Wife" and how dare you speak against me! He called me "his wife" and how dare you take exception to his choice. Leave me, and know that there is not a creature on the face of God's earth that I despise so much as you! {She drops back into chair, head falls on arms on table and her whole frame is shaken with sobs.) Giddings Ho ! Ho ! So you think to scorn me. Well I kin afford to be generous, but if I was you I'd take the name of some honest man {Dick Putnam enters room from, right rear and hears Giddings last speech) and not go 'round fakin' a dead man's you never owned. Mrs. Page {Rising furiously.) Leave me. Mercy, — spare his memory. {Sinks down in sobs again.) {As Giddings turns to go, he is caught up short by Jack Putnam's face close to his own.) Jack So, you scoundrel, you came here and for this. I heard your last remarks, and as I had the honor of Dick Page's friendship in life, I'll honor his memory and stand between his wife and harm. You'll answer to me! Giddings {Hand on gun.) Just let me enlighten you some before you play the Prince Charming part. This woman is not and never was Dick Page's wife! Mrs. Page {Rises -Walks to arm chair and hides her face on back of chair.) THE MYSTERY OF BEACON HILL 99 Jack You lie! He called her wife in my presence and with his dying breath. That was enough for me, now you damn dog, what do you want? {Steps closer to GiddingSj who backs away.) Giddings Easy, easy. I heard his dying confession, and I heard him tell you that no minister had tied the knot. Mrs. Page (To Jack.) And you heard that too? (Coming toward Jack.) Jack Yes, Mrs. Page, his word was as sacred to me as the word of a Prophet, and I ask you not to droop in shame for the love of Dick Page was great enough to honor any woman, and he certainly loved you. Giddings Well he had a rocky way of showing it. (Sneer- ing.) Jack Giddings I said a few moments ago that you would answer to me, and I only regret that the settlement must come now before Mrs. Page. But since her honor is at stake, she must know all! Giddings Stand aside. No man orders me! No man QUESTIONS me! And by Gawd, no man calls me!! Have a care, Jack Putnam, or you'll regret it. Putnam (Close to Giddings.) I don't order you but I intend to question you right now! loo THE MYSTERY OF BEACON HILL Giddings (Steps back and quickly draws gun.) O-ho! Jack {Makes move to draw his gun, astonished to realize he is not armed.) Mrs. Page {Stepping quickly toward Giddings and pressing her gun to his ternple.) He's not armed, but I am! Put your gun on the table or you'll never live to tell the tale! Giddings Well seein' it's a three cornered bizness, I'll do it. {Puts gun on table. Mrs. Page moves it to other side of table.) Jack Now Giddings tell us w^hat Dick Page's dying words were? {Mrs. Page turns away and walks to desk J picks up photograph and looks at it.) Giddings DAMN'D if I'll do it. Jack Then I propose to make you. {Giddings grabs for his gun, but Jack is too quick for him. A fight ensues and Jack has Giddings by the throat and has forced him to his knees.) Do you still refuse? Dog, speak or I'll kill you. Giddings I — I'll tell — yu — {Staggers to his feet.) He — he said he was sorry that he had not gotten over the range before the snow fell and had the knot tied, — for — he — said — Jack Go on I ; : ' , The Mystery of beacon hill mt Giddings Well he said — he said he loved her {Motions to Mrs, Page.) better than life, but he jes hung on working the claim thinking to strike the vein each day, when he would be rich and would then take her and the kid away, git married and set up a home in Denver. He axed you to be kind t,o her and the youngster, and some more stuff like that. (Starts to go.) Jack Hold on, that's not all. Giddings That's all I heered. Mrs. Page {Coming toward Jack.) Oh let him go. Jack, — Jack No! {Waving Giddings back as he steps in front of him.) He has lied he has not told half. Giddings Well, I've told all I remembered, (Dropping in chair front, right.) but might as well rest here as any place. ( Throws one leg over another in a careless way.) Jack Perhaps I had better help you. Eight years ago a cruel murder (Giddings' leg falls to floor, shows terror) was committed. The woman before us was left broken-hearted and the little girl in there was left fatherless. The superintendent, Dick Page and another miner were descending the shaft of the Gold Coin mine. On the way down Dick Page warned this miner to cease attentions toward the woman who of all others, was dearer than life to 102 THE MYSTERY OF BEACON HILL him; — there was a muttered oath from the miner, a swaying of the bucket and Dick Page was pushed off into the shaft 300 feet below. (Mrs. Page utters a cry of horror.) . You were the miner in that bucket. Giddings (Springs up.) It's a lie. Jack You remember now all right. I was in the second level and heard you both. Giddings It's a lie I tell yu! (Greatly excited.) Page fell over accidentally. I'll hear no more. Let me go. Jack At his request we let it appear as accidental for he said when dying that you knew of no marriage ceremony. The murder trial would lay bare his heart affairs, and he wished to protect the names of his wife and baby. Dick Page was pushed down that shaft 300 feet to his death and you did it. I am prepared to hand you over to the proper officers this minute, and you'll hang by the neck like a dog as sure as you stand there. Giddings (Fumbling his hat.) Well Page asked you to keep it from the world. (Leering.) But if I hang there'll be some nice bits of gossip go out (Nodding toward Mrs. Page.) from that trial before I do. Jack Yes, and she is the only thing that stands be- tween you and the gallows. Now take your choice, close your lips forever or face a murder charge in the morning. THE MYSTERY OF BEACON HILL 103 Giddings (Falls into chair much relieved.) Well I nevei intended to tell it, and I reckon I never will. Jack Now just to make sure of it. If you ever breathe a word about Dick Page's wife and baby, every miner in this camp will take pleasure in helping me pull the rope to which you are dangling from the other end. Now get out of here. Take your gun and don't forget about that knotted rope. (Gid' dings slinks out.) Mrs. Page Mr. Putnam, and you knew it all the time. Jack Say, call me Jack, just the same as usual, and forget this unpleasant scene. Of course, you know, you are elected. But my news, my new^s ; your claim and the baby's opened up a half million dollar vein to-day and it is liable to produce millions besides what's in sight now. Mrs. Page Oh glorious! Dick always said it would pan out into millions. (Turns goes toward door at left.) Oh Betty come, (Betty runs out, violin under arm.) Betty, we are rich. No more school-teaching dear, and mother and you will go to Europe where great teachers will teach my baby the music she needs. (They embrace each other.) Betty Really mother! Oh I'm so glad. (She sees Jack.) Will Mister Jack go too, mother? (Goes to Jack climbs into his lap.) Why don't you kiss me? 104 THE MYSTERY OF BEACON HILL Jack Well I must be growing old I guess to forget my gallantry to ladies. {Kisses her on the brow. Throws front of coat aside.) There is something in there for you. {She searches his pockets.) Betty Oh mother! {R.uns to mother who watches them with a sad face. Takes sticks of brightly colored candy out of bag. Then runs to rug picks up old shattered doll.) Baby dear, listen, we are rich, and we are going to Europe. {Picks up violin zuhile Mrs. Page strolls to fire-place. Jack watches Betty a moment.) Dolly, when I get to Europe the Music Master will say, — "Here's Betty Page, all the way from Colorado" and he will ask, — "Betty do you know your lesson?" and I'll say, "Yes-sir" and I'll play like this: {Plays a lively bit of music.) {Jack joins Mrs. Page and as Betty finishes Mamm.y comes in goes to Betty.) Mammy Come heah honey, time for chicks like you to go to bed. Betty But Mister Jack is here, I want to stay up longer, Mammy. Mrs. Page No dear, my little girl must go to bed now. {Betty takes Mammy's hand with violin under arm, goes off with Mammy. Turns on steps and throws kiss to Jack.) Betty Good-night Mr. Jack. The mystery of beacon hill 105 Jack Good night Betty dear. Come home from Europe to Mister Jack again. {Exit Betty and Mammy.) Mrs. Page It seems too good to be true. Bettj'- and I rich, the tongue of scandal hushed, and you are still my friend. {Stretches her hands to him.) Jack Won't you let me tell you again what my heart is bursting to say? Your reasons are nonsense. {Leads her down front.) I love you, Virginia, I love your child, let me be a protector to her and your devoted lover for the rest of your days. {He grasps her hands. ) Mrs. Page If I could only decide that it is right. You havt shown your love for me in so many beautiful ways, but I can't be certain of its justice to you. I only know I feel a longing for some kind arm to be stretched out to Betty and me. But I can't make myself believe that I shall mean anything in return for your great love. Jack Let me decide for you. Say yes, Virginia. Mrs. Page No, that would not be fair to you. I have had my romance as every woman should do, and my heart is still calling and pleading for those old days of bliss to come again. The kindness you have shown me all these years, deserves a love palpitating with passion, it deserves a heart bursting with a response as big as its own. My heart tells me that it can not give you enough to accept your great io6 THE MYSTERY OF BEACON HILL devotion, and in justice to you, I will not let you waste a love as grand as yours upon an altar whose fires have burned to the cinders and whose ashes speak of a love that knew no bounds. {Pleadingly.) Forgive me, if I seem ungrateful to the honor you do me, but I think I like you too much to let you sacrifice your splendid manhood upon one so un- worthy. Jack But give me some hope. Wait till you get across the waters, where new life beckons you both. Say you will let me hope? Mrs. Page Doesn't my past hold any fears for you? Jack It holds a picture of a woman who loved and was loved. Who rose above sorrow, with another and holier affection, a mother's love. I have all admira- tion for you, I love you with my whole being ! Mrs. Page I shall be gone two years. Jack, and if when I come back, — Jack And when you come back and land on the wharf in New York City, Jack Putnam will be there to meet Dick's wife and baby. {He stoops and kisses her hand. She partially turned away, he holds her hand while making the speech.) Mrs. Page {She turns suddenly.) You do love me! {Going toward him.) Come with Dick's wife and baby now! {Rushes into his arms.) CURTAIN ON CLINGING SCENE DOLLY MADISON'S AFTERNOON TEA STAGE SETTING The furniture of a lady's boudoir. At upper left a small table where card tray stands, also bouquet of flowers. Next a piano and in front of piano two chairs. Back of entrance at right back is a small lady's desk. Center back a small sofa and cushions. To left of sofa the tea-table. Side left a mantel and upper left a chair. The chairs and sofa form, a circle and there is room at back for Gretchen to pass to desk, tea-table and mantel without cross- ing in front of the afternoon callers. Characters Dolly Madison, Wife of the President of the United States. Pauline Doystofsy, a Russian Countess. Tal- ented and very gay. Mrs. John Mills, Wife of the Brigadier-Gen- eral of the U. S. Army. Mrs. John Garfield, Wife of Secretary of State U. S. A. Gretchen Peer, Private Secretary to Mrs. Madison. Jenny Green, a Maid in the White House. SCENE A private sitting room in the president's mansion. PROPERTIES Furniture of a drawing roomj with a tea-table in readiness. Cakes and bon-bons, etc. TIME When Dolly Madison was Mistress of the White House. PLACE Washington, District of Columbia. Scene opens in the afternoon with Gretchen Peer and Jenny talking. COSTUMES Powdered hair. Colonial frocks and large fans. Dolly Madison's Afternoon Tea DISCOVERED {Jenny is dusting the chairs and furniture, while Gretchen is adjusting the tea things.) Jenny Is this to be a big company, this afternoon, Miss Gretchen ? Gretchen No, just a few of Mrs. Madison's close friends. Jenny I see there is a bundle of music on the piano, does it belong to the Russian Countess? Gretchen (Goes to piano J opens the roll of music j glances it over then comes back front.^ Yes it is the countess'. (Looks troubled.) Jenny (Looking at Gretchen carefully.) What trou- bles you? Gretchen (Startled.) Oh nothing. (Rubs her hands and goes to tea-table and picks up several cards.) Jenny Yes there is, and it is all over this wonderful Russian lady which my mistress has taken such a fancy to. Gretchen Jenny, you must not prattle, I must forbid you. Jenny Oh you know I would not mention this to any III 112 DOLLY MADISON'S TEA one but you. And, Miss Gretchen, I heard the master ask the mistress this morning at breakfast, if she were going to be able to remove the prejudice which certain ladies have against her, and she said she was trying hard. Gretchen Dear Mrs. Madison, she is such a sweet friend to everyone. She could never hurt any body. Jenny Unless in fun, but she does like to laugh. I think that is why she likes the Russian countess, she makes my mistress laugh. Gretchen This countess is a most superior person and only a few old women say unkind things. Dear me, I hope Mrs. Madison won't hear them! Jenny {Down front, strikes a threatening attitude with duster. ) I hope she does. Then she will be so mad that she will cut out old Mrs. General Mills. Gretchen Jenny, how you talk! {Comes near Jenny.) Jenny I hate that old paint box. She asks me questions ! I like some cats but not her kind. ( Gretchen throws up hands in astonishment.) She was waiting for my mistress last week and came close to me and asked "does the President still kiss Mrs. Madison?" and I told her "Yes, he lets the wafHes get cold kissing her when she comes down to the breakfast table." And you know all Washington know how the Presi- dent do love his wafHes. {She strides and laughs.) Ha! ha! You should have seen her face. DOLLY MADISON'S TEA 113 Gretchen {Terribly amused but tries to conceal it.) Well what else has she asked you? Jenny She asked if my mistress ever scolded me, and I said "Law no, she's a thoroughbred, she isn't one of the Army," then I walked out. Gretchen Dear little Dolly Madison, with heart so big and light that gossip nor malice can reach it. Jenny Is the room all right Miss Gretchen? Gretchen {Looks around.) Yes I think everything is in readiness, I will ring for the tea when the ladies arrive. And Jenny {Puts fingers to lips.) remember. Jenny {Nods head J crosses heart.) Sure, anything for pretty Mistress Madison. But I can't help dis- liking Mrs. Mills. {Goes out.) Gretchen {Takes cards from table and puts them on piano.) What a number of cards for one day. {Goes out.) {Bell rings.) Jenny {Comes in fixing her bow before mirror, bell rings long again.) That sounds like Mrs. Mills ring. Well let her wait till I eat this cake. {Jenny eats a cake she takes from table. In her haste she chokes and struggles to get it down, finally swallows it and goes to door.) {Outside there is scolding and voices are shrill and loud. Jenny backs in holding the card case high before 114 DOLLY MADISON'S TEA her face and Mrs. Mills follows closely shaking her finger at Jenny.) Mrs. Mills I shall report your impudence to the President, girl, do you hear {Fanning herself very fast, looks ugly at Jenny.) Jenny {Bows low before Mrs. Garfield, who accom- panies Mrs. Mills.) I shall tell my mistress you are here. {Tosses head high as she passes Mrs. Mills, when at door turns and asks Mrs. Mills.) Are you present or angry? {Darts out.) Mrs. Mills {Closes fan and taps it angrily on the arm of her chair.) I tell you Mrs. Garfield, servants re- flect the manners of their mistress, — br-r-rh! Mrs. Garfield Oh no, my dear Mrs. Mills, Mrs. Madison is just a sweet child, she is imposed upon by strong willed servants. Dolly is a dear. Mrs. Mills Well I know she is a great burden to the Presi- dent. Mrs. Garfield Oh no, my dear, Mr. Garfield says she is the angel of the administration. Mrs. Mills Tut! Tut! my dear. These young men have lost their heads and will soon lose their hearts to this dashing mistress of the White House. Be care- ful my dear, watch your husband every moment. I keep a close guard on the General and he is no longer young or handsome either like yours. DOLLY MADISON'S TEA 115 Mrs. Garfield {Handkerchief to eyes.) Well it is not dear Dolly's fault because she is pretty and witty, and I am plain. But I'll take your advice and watch. Mrs. Mills It is this way, she needs a strong hand to guide her, and the President is so head-over-ears in love with her that he encourages her in her folly. Mrs. Garfield Oh dear, I wish I were handsome! But John does love our children. Mrs. Mills Yes, yes my dear, but these men should seek other diversion than dancing attendance on the President's wife. Mr. Madison merely pinches her ears and pats her cheeks and says "Now be good, my dear!" Think of it. And this Russian woman. Oh, they are all crazy about her. Mrs. Garfield But don't you think since Mrs. Madison has taken her in, that it is unwise for us not to be cordial ? Mrs. Mills {Aghast.) I should say not. Never shall I bring up the rear for a foreigner. She must be kept in the background and I intend to show my feeling in this matter. {Walks to piano and straightens up as she catches a glimpse of her husband's card and that of the Countess Doystofsy on the plate.) Oh! — O — h-Oh! {Mrs. Garfield reads the cards as Mrs. Mills flourishes thern in the air.) Mrs. Garfield {Reads them.) Your husband and the Countess! ii6 DOLLY MADISON'S TEA (Gretchen comes in. Both ladies are glaring in astonishment at the cards. She takes in situation then walks straight to table which gives Mrs. Mills a chance to throw cards back on plate.) Mrs. Mills {Coming forward.) Looking for anything, Miss Peer? {Very pointedly.) They are there! {Point- ing to cards with wave of fan.) Gretchen No, I was looking for something. Mrs. Madison dropped her thimble. {Looks at them both suspici- ously.) Mrs. Mills and Mrs. Garfield {Mockingly.) Too bad! {Miss Peer tosses head and goes out.) Mrs. Mills Shocking. Mrs. Garfield Awful. {A peal of laughter is heard outside.) (''Oh 1 FORGOT DEAR GrETCHEN. I PROMISE^ NEVER^ AGAIN.'"'') Mrs. Mills {Enter Dolly Madison.) How do you do Dolly. Dolly Oh my dear, {Places a kiss on Mrs. Mills cheek.) forgive me for being late. {Goes to Mrs. Gar- field, kisses her.) How sweet you look. {Turns to Mrs. Mills.) And Mrs. Mills, you wore my favorite color. Believe me dears, I love you both. Sit, and tell me what you are both doing these days. {To Mrs. Garfield.) How are the children? DOLLY MADISON'S TEA 117 Mrs. Garfield Very well indeed. And you, how are you stand- ing the season? Dolly I am rather tired, and, — Mrs. Mills Yes, yes — {Expectantly.) Dolly A little tanned and freckled. And do you know that I had quite an accident yesterday, — well nearly. Mrs. Garfield. Why, no. What was it? Dolly Well I turned my ankle a bit while out walking near here. Mrs. Mills How did you manage to get home? Were you alone or was the President with you? Dolly Oh, dear no, Mr. Madison can't leave the politi- cians. And they won't leave him alone unless I take them^ for a walk. So I capjtured one. {Hand to brow.) Let me see, — u-m — u-m, oh yes it was your husband Mrs. Mills, Gen. Mills. {Ladies exchange significant looks.) We were chatting and having a nice, sweet, quiet walk, when a dear little white kitten ran along the path. I started to run after the fluffy thing {Both ladies look horrified.) and my foot caught in my ruffles, and I tumbled in a heap on the green. The President saw it from the window and he told me this morning that he did not know which of us looked the most like a fleece of wool, myself or the kitten. Do you know, ii8 DOLLY MADISON'S TEA Gen. Mills never laughed! {Turns to Mrs. Mills.) Don't you ever let him, — er — um — I mean don't you ever laugh, — no, no, I mean, don't you ever do or say — Oh, don't you ever do a silly thing at your house? {Turns in distress to Mrs. Garfield.) Oh, say, of course you do foolish things at your house, you are young, — I — I mean you have children. Now there I've said it. Mrs. Garfield Oh indeed, yes we do. When John comes home from the office we often go to the nursery and he rides the children on his back, and once they insisted upon our playing fire and I climbed up a tall ladder and so did John. {Dolly claps her hands.) Dolly Bravo! Bravo! Oh Mrs. Garfield, do send for me the next time you play fire laddies. {Mrs. Mills coughs.) What do you play at your house? Mrs. Mills We are sensible people at my house. Yes, quite sensible. {Dolly all the time hows her head at the old woman's emphatic words.) There has got to be a sane center somewhere or this nation would go to the bow-wows with the Madisons steering the ship. I mean that your husband is a sensible far-seeing man and — Dolly Yes, yes. Now how much longer does your hus- band serve. How is he appointed? Mrs. Mills Why the President is commander-in-chief and my husband — is — is nominally under the President. DOLLY MADISON'S TEA ii^ Dolly {Pursing up lips.) I think I'll talk with Mr. Madison about the army. {Pointedly.) I'd like to take an interest in the army. Mrs. Garfield Of course, the President will try to interest you in it, because your best and oldest friends, the Gen. and Mrs. Mills are there. {Mrs. Garfield nods to Mrs. Mills.) Mrs. Mills Of course anything that the General or myself can do for you my dear, Dolly, we are always at your service. {She comes closer to Dolly.) I do hope the General was quick to relieve the pain of your ankle yesterday? Dolly Goodness no, he called my friend Countess Doy- stofsy who was coming down the street and she assisted me home. Isn't she charming? By the way she promised to drop in for a cup of tea on her way home from the Embassy. She is the rage of the season. You both like her of course, — Mrs. Garfield Yes, I think I will, I have met her but once and theft for only a moment. She is much discussed. The ladies do not seem to praise her so much as the gentlemen. Why? Dolly It's because the men have sense. That is, — I mean they appreciate wit and beauty and art — {She looks frightened as she turns from one lady to the other.) Well you know of course she plays the most beautiful music, she is talented, a real genius. 120 DOLLY MADISON'S TEA Mrs. Mills But my dear, are all the ladies in our circle receiving this extraordinary young lady? Mrs. Garfield Now, Dolly, do you think we ought to receive her? Dolly Ought to ? Why you must ; oh I say, what posi- tion does your husband hold? Mrs. Garfield Oh my dear, it makes no difference, I shall do as you wish. I believe you are right in standing for this young woman. Dolly Now that's right, be sensible. It's catty to be unkind. Why she needs no one to receive her or protect her. She is a genius. She can go anywhere, her world is bounded by the horizon and the zenith above. My, how I envy her. Mrs. Mills But my dear, she is so different, she Is — Dolly Yes exactly. That's why I like her. She has beauty, talent, fine manners, wit and joy within her. Oh! I quite love her, my dears. (Bell rings.) Here she Is now. {Enter Gretchen carrying violin and Countess Doystofsy.) Countess My dear Mrs. Madison, how are you to-day? How is the foot? (Kisses Dolly.) Dolly Oh, I'm ripping. You know the ladles, — DOLLY MADISON'S TEA 121 Countess Oh yes, indeed. How do you do Mrs. Mills. My what an excellent likeness that was of you on the Society page yesterday. Oh, Mrs. Garfield, how delighted I am to see you. {She shakes hands, high, with both ladies.) Wasn't Mrs. Mills picture splendid. Did you see it, Dolly? Dolly Yes it was a fine picture of some lady, was it you ? (To Mrs. Mills.) Countess Now Dolly, you have your teasing mood on, you shall not have any music if you're not good. {Mrs. Mills sits beside Mrs. Garfield.) Mrs. Garfield I thought it a most beautiful picture. Were you at Mrs. Thurlow's tea. Countess? Countess No, I was not invited, I do not know the wife of your Secretary of War. Mrs. Mills {Aside.) What did I tell you! Dolly Well, I'll have her call on you. {Mrs. Garfield and Mrs. Mills look at each other behind their fans.) {Dolly aside to the Countess.) Keep cool they'll come around all right. Gretchen Will you have tea now, Madam? {Addressing Dolly. She has been seated at the desk in the rear.) Dolly Yes ring for the tea things and make it Gretchen. {Gretchen rings and Jenny brings in kettle of wa- 122 DOLLY MADISON'S TEA ter. She purses up her lips at Mrs. Mills.) Come over here Countess and take this chair. {The Countess moves to Dolly's side.) Mrs. Mills to Mrs. Garfield as Dolly pretends to examine the Countess' fan.) Mrs. Mills Isn't it terrible the way Dolly favors this Countess. Mrs. Garfield Oh, let her, anything to amuse her. Do you think she w^ill ask for our husbands' resignations? {Tea is served.) Mrs. Mills Oh, Countess, I heard a nobleman praising your music at the dinner of the English Ambassador last evening. Mrs. Garfield Oh yes, he said it rivaled your beauty too. Dolly {Grimaces behind her fan addressing Mrs. Mills.) My dear, if there is anything in this city to rival your portrait I shall be astonished ! ! {Puts her foot on the Countess'.) Mrs. Mills Yes the General is quite delighted w^ith it. ( Takes sugar from table.) Countess {Aside.) Dolly, stop kicking me. I shall die. Mrs. Garfield {Askance at Dolly's feet.) Won't you play, Countess? {Mrs. Garfield returns tea-cup to table.) Countess What shall it be. {Rises.) Anything in par- ticular? DOLLY MADISON'S TEA 123 Mrs. Garfield What is your favorite, Mrs. Mills? Mrs. Mills Well nothing Polish or Russian. Let me think — Countess {Sneeringly.) Don't you — {Dolly grabs her and in an aside.) Dolly {Aside.) Not a word. Play something to melt the hearts of beasts. {Countess rises, goes for violin.) Mrs. Garfield Did you speak, Dolly? Dolly Yes, I just reminded the Countess, that it was the Greeks idea to have music tame wild beasts. {She looks innocently from Mrs. Garfield to Mrs. Mills.) Play, Countess. Countess Dolly, can you accompany me? {Dolly shakes head.) No, can you, Gretchen? {Gretchen goes to piano.) Oh, too bad. {Looks at Dolly.) Dolly No, I never could practice, so I can't play a bit. Mr. Madison thinks my "Beulah Land" quite thril- ling though. {Mrs. Garfield and Mrs. Mills look at Dolly and shake their heads in pity.) {Dolly mockingly.) Isn't it awful! Countess {Tuning up at piano, talks as she turns keys.) Oh, Dolly, do you remember the last time I played with you? {Both giggle.) Gracious, I never thought we would get home without being dis- covered. 124 DOLLY MADISON'S TEA Mrs. Mills Why, my dear Dolly, was there anything to con- ceal ? ( Breathless. ) Dolly Well, the Countess did not look very bad, but I was a sight! My dress was torn and muddy and my hair all rough and my temper was bursting. Mrs. Mills Shocking, Dolly, shocking. (Aside to Mrs. Gar- field.) And the President's wife. {Fans hard.) Countess Oh no one saw us after the carriage pitched over in the mud. Then we went into the cottage o^ an old negress who knows Dolly. She gave us clothes and we disguised as two old negresses, and drove right by the Capitol. We bowed to all the people we knew. They did not know us and it was so funny to see their cross faces when we saluted them. I think Gen. Mills cussed a little. {Dolly and Gretchen and Countess laugh.) Mrs. Mills Quite right, but Dolly, did you tell Mr. Madi- son? Dolly Of course. He said I made a good darkey. But Countess, do play. Countess I shall play the favorite of the First Lady In the Land. {Makes low bow.) "Love's Homage," to Mistress Dolly Madison. {She plays. The ladies applaud and cry "more" and she plays another selection.) DOLLY MADISON'S TEA 125 Mrs. Garfield Thank you, Countess. Your art is nothing short of genius. Countess Oh you quite overcome me. Mrs. Garfield And now Dolly, (Rises.) I would like to give a dinner for the Countess, how would two weeks from this evening do? Have you anything for thai time? Dolly Gretchen please, look up my engagements. ( Gret- chen takes small note book from reticule and rising comes to Dolly.) Gretchen No, madam, you have no dinner engagements. Dolly The day is suitable. Mrs. Garfield {Shakes hands, says "Good bye" to the three Indies, as she passes Mrs. Mills she speaks.) {Aside.) Remember your husband's job. {Stands near door.) Mrs. Mills And now Countess I have been thinking of giv- ing an afternoon soiree and I want you as my honor guest. How will three weeks from to-day suit you, Dolly ? Dolly ^ Quite well. I have no appointments, for that day. Will the gentlemen also be invited? Mrs. Mills Of course, they shall have the privilege to come. And now my dear Countess, good-bye, so glad to 126 DOLLY MADISON'S TEA have had this delightful hour. (Kisses her on the brow, which she wipes off as Mrs. Mills kisses Dolly.) Drop in soon, Dolly dear. Dolly and Countess Good-bye. Good-bye. {They call back "Good- bye.") Dolly Well either my threats or your music tamed them. But the way is clear now, {With a flourish of fan.) they are the worst and we've won them. Isn't it fun! Countess Jolly good fun. My, I was so anxious! Dolly I was too. Oh Gretchen, make another cup of tea. Strong, Gretchen, good for tired nerves. ( Gret- chen goes to tea-table.) And Countess, play while I recline, and I'll try to forget politics and what Mrs. Mills and Mrs. Garfield think of me. {Yawns, lies on sofa. Countess begins soft music. Prefer- ably "Wild Rose." Gretchen is fussing at tea- table and Dolly turns on sofa face to audience and closes eyes.) SLOW CURTAIN AS MUSIC CONTINUES THE DAWN OF MUSIC A MUSICAL ACT FOR THREE PEOPLE PREFACE This is a wordless drama but I have endeavored to have its story told with the aid of music, and upon the violin, — the instrument best suited to reach the subtle and varied feelings of the race. A word of explanation about the suggested com- positions to be used in the drama may be ncessary. In choosing pieces to express the emotions in the drama, the selection that would convey pathos, for instance, to one person, might mean sorrow to an- other. Or a selection might express fear to one individual and repentance to another. All the pieces will be modified by the attitude in which they are approached. Our beautiful Rocky Mountains im- press some who gaze upon them with a feeling of sublimity, and exclamations of joy follow. While to others they convey a feeling of loneliness and dread. It is due to the mood in which they are approached. It seems to me that music suggests emotions not easily analyzed and classified; moreover, few com- positions express one emotion only for any length of time. I am inclined to think of Music as Ruskin did of Art, — "Indeed, it is not easy to be accurate in an account of anything, however simple." The important thing in making the selections is not whether we choose pieces that arouse the same feel- 128 PREFACE ings in all people, rather, do they give to all people real pleasure. I wish to express my gratitude to the Denver violinists who have so kindly discussed the various pieces of music with me, while I was making my judgments. Denver, Colorado, July loth, 1912. THE DAWN OF MUSIC CHARACTERS The Divinity, the Goddess of Music. Ermillina, the discontented child of music. TIME Long, long ago, when the World was young and Music very old. PLACE In the World of Music, at the home of the Divinity of Music. COSTUMES Flowing, soft robes of white, and flowers in their flowing hair. PROPERTIES A piano behind screens of vines and flowers on left rear, where accompanist may be seen by the violinists as they come down the rocky mountain path from the Grotto or {Home of Music.) Colored lenses to give the various shades of sun- rise — {Pink, purple, yellow and all tones of a beau- tiful sunrise.) Autumn leaves. Back drop. Represents the side of a mountain covered with vines and climbitig shrubs and flowers. Opening or door to Grotto. Steps leading down to the left side of stage. Moss mats on floor of stage. The Dawn of Music PLOT Ermillina, a fairy violinist, who has tired of the world, withdraws to the home of the Divinity of Music. She has lived here for ages and has given her music to the world about her and has played for the fairy folk who have lived unseen in the World of Melody and Song. After ages with the Goddess of Music, discontent seizes her and she throws off the bondage and determines to return to the Material World and its frivolities. She rushes away but does not go far when darkness overtakes her and the Discords of the Material World frighten her. She expresses her fears of the strange world thru her trusty violin. Her wild appeals for aid attract the Goddess of Music who comes to meet the erring Ermillina with open arms. With heart burst- ing with joy the Child of Music returns to the Music World and vows never to leave it, — but live only to give Song and Joy to the Music World forever. Scene and story of the drama as interpreted by music. Rude vine covered grotto in the side of a moun- tain, where roses and sweet pea vines and jasmine flowers hang over the doorway. A rocky, mountain path, leads down gently to left rear. Moss covers the ground and stairway. It is not daybreak but the song and twitter of birds are heard and the rosy glow of sunrise floods the stage, which in turn is 131 132 THE DAWN OF MUSIC followed by shades of purple and pink and gold, lastly a fiery red. Strains of music are heard from the grotto telling of distress and violence. Sudden- ly the angry piece is finished with a master stroke of bows and a young girl rushes out of the grotto carrying a violin. She stops a moment outside the door then strikes up the music of {de Beriot's Con- certo No. VIIj First Movement, expressing Rebel- lion and Discontent.) She plays as she comes down the mountain stairway. At the same time the God- dess of Music appears at the doorway stretching her arms appealingly to the child and showing great sorrow at the breaking away of the Child of Music. P'rmillina reaches the center, where she stops and looks back, scornfully shaking her head. When she finishes, the Goddess of Music begins a thril- ling piece {Massenet's Meditation. She comes down sloivly to center stage.) then it rushes into the plead- ing, insistent bars {Sextette from Lucia.) and Er- millina joins in the playing all the time shaking her head "No." Then the Goddess plays another appeal {Bornsheins Love's Torment.) expressing fear but this does not change Ermillina who longs to stay in the Material World. Ermillina answers with a piece {Expressing freedom, Vieutemp's Gavotte.) and joyously skips about the stage, then off stage at right. Disconsolate the Goddess makes one more appeal {Walter's Prize Song from Die Meister- singer.) expressing Love and Solicitude. She plays while returning to Grotto and and finishes in front of Grotto. The last chords reach the erring Er- millina who comes on stage playing {Tschaiko- wski's Andate Cantabile for strings, meaning Re- pentance.) She starts up the stairway. When half- THE DAWN OF MUSIC 133 way turns and faces audience and the Goddess faces down stage, and stands in front of Grotto door. The Goddess joins in the piece of Tschaikowski. Both seem to play for the safety of Music for all ages, — for mankind. The erring Music Child rushes up to the side of the Goddess of Music, who embraces her and both begin {Arthur Goot's "Morn- ing Song.") meaning joy at the return of the erring child. A little before the piece is finished the purple shadows begin to loiwer, followed by pink and gold. Ermillina enters the Grotto {Her homej — the Home of Music) while playing and is followed by the Goddess. The closing strain of both players is heard from within. The soft rosy glow of sunrise enters and the curtain falls on {Mendelsohn s Finale from Concerto or Grieg's "To Sprmg" for voice and violin and the orchestra.) CURTAIN AMERICAN DRAMATISTS SERIES A series of plays by contemporary American flramatlsts; uniformly bound in antique boards, each, $1.00 net. THE FliOWER SHOP. By Marion Craig-Wentworth Play in three acts, dealing with woman's suffrage. THE MA^ TOU liOYE. By Robert A. Kasper A drama of to-day in four acts. PUPPETS OF FATE. By Alice Elizabeth I^avelle An historical drama of the time of Napoleon, in four acts and a prologue. THIRST. By Eugene G. O'Neill Five one-act plays: Thirst, The Webb, Warnings, Fog, Recklessness. THE GIRIi IN THE PICTURE. By Alexander W. Shaw A farce in two acts. SOME PEOPI