Class _?AA3_5_ Book.XiiliJl_i\S Copyrights?- CQ£XRIGHT DEPOSm m/Denition-i Royalty ^lay:i H ^or the ^ove of Johnny by "Harry Hamilton M^ T. S. T)enhon & Company Tublbhen- Chicago 'Price S$ CenU slgsf Plays for Schools and Colleges AARON BOGGS, FRESHMAN By Walter Ben Hare. Comedy in 3 acts; 8 males, 8 females. Time, 2% hours. Price, 25 Cents. AFTER THE GAME By Lindsey Barbee. Comedy in 2 acts; 1 male, 9 females. Time, ly^ hours. Price, 25 Cents. ALL A MISTAKE ~ By W. C. Parker. Farce-comedy in 3 acts; 4 males, 4 females. Time, 2 hours. , Price, 25 Cents. ALL ON ACCOUNT OF POLLY By Harry L. Newton. Comedy in 3 acts; 6 males, 10 females. Time, 2^/4 hours. Price, 25 Cents. AS A WOMAN THINKETH By Editli F. A. U. Palntorv Comedy in 3 acts; 9 males, 7 females. Time, 2^ hours. Price, 25 Cents, AT THE END OF THE RAINBOW By Lindsey Barbee. Comedy in 3 acts; 6 males, 14 fe- males. Time, 2^/4 hours. Price, 25 Cents. CIVIL SERVICE By Walter Ben Hare. Drama in 3 acts; 6 males, 5 fe- males. Time, ZV4, hours Price, 25 Cents. THE CLASS SHiP By Edith F. A. U. Palnton. Commencement play- let; 3 males, 8. females. Time, 35 minutes. Price, 15 Cents. CLUBBING A HUSBAND By Edith F. A. U. Palnton. males. Time, 2 hours. Comedy in 3 acts; 12 fe- Price, 25 Cents. A COLLEGE TOWN By Walter Ben Hare. Farce-comedy in 3 acts; 9 males, 8 females. Time, 2^4 hours. Price, 25 Cents. THE DEACON ENTANGLED By Harry Osborne. Comedy in 3 acts; 6 males, 4 fe- males. Time, 2 hours. Price, 25 Cents. THE FIFTEENTH OF JANUARY By Lindsey Barbee. Comedy in 3 acts; 11 males, 10 females. Time. 2Vi hours. Price, 25 Cents. THE GRADUATE'S CHOICE By Edith F. A. U. Palnton. females. Time, 35 minutes. Commencement playlet; 12 Price, 15 Cents. T. S. Denison & Company^ Publishers 154 West Randolph Street ' CHICAGO FOR THE LOVE OF JOHNNY MR. RALPH JUUL AS FATHER RYAN For the Love of Johnny A Play of Human Hearts in Three Acts BY Harry Hamilton CHICAGO T. S. DENISON & COMPANY Publishers 6 s^ ^ (Please Read Carefully^ HE PROFESSIONAL STAGE-RIGHTS in this play are stricftly reserved and all applications for its use should be ad- dressed to the publishers. Amateurs may obtain permission to produce it on payment o£ a fee of ten dollars ($10.00) for each performance, in advance. Correspondence on this subject should be addressed to T. S. Denison & Company, 154 W. Randolph St., Chicago, 111. <::> -<:> ^^> cv4ttention is called to the penalties provided by the Copyright Law of the United States of America in force July 1, 1909, for any infringe- ment of the owner's rights, as follows : Sec. 28. That any person who willfully and for profit shall infringe any copyrig,ht secured by this Act, or who shall knowingly and willfully aid or abet such infringement, shall be deemed guilty of a misdemeanor, and upon convic- tion thereof shall be punished by imprisonment for not exceeding one year or by a fine of not less than one hundred dollars nor more than one thousand dollars, or both, in the discretion of the court. <:> '^> <:> Copyright, 1916, by Hamilton Coleman under title "When a Girl Loves" COPYRIGHT, 1919, BY T. S. DENISON & COMPANY CALL RIGHTS RESERVED ©Ci.D 5 2788 OCT -4 I9IS GAYETY THEATRE "LOUISVILLE'S MOST BEAUTIFUL PLAY HOUSE" Commencing Sunday Matinee, Jan. 14,1917 HAMILTON COLEMAN Presents An Intensely Human Play, Entitled "FOR THE LOVE OF JOHNNY" BY HARRY HAMILTON With the following splendid cast of players (Given in the order of their appearance) Ethel Banks Miss Una Carpenter Harriet Banks Miss Carrie Weller Dorothy Banks Miss Florence Forbes Dick Wayburn Mr. Richard L. Walling Jerrymeyer Banks Mr. Wallie Ayers Phil Osborne Mr. Frank Jones John Turkey-Legs Mr. Howard Kemp Father Ryan Mr. Ralph Juul Johnny Banks Mr. Dave Campion Mr. Woods The Stranger SYNOPSIS OF SCENES Act One — In front of the Ranch-house. Afternoon. Act Two — The Living Room of the Ranch-house the follow- ing afternoon and evening. Act Three — The same as the first act — six months later. Time — Present. Place — New Mexico. Note — This play is produced and booked under the direc- tion of The Rocole Amusement Company. First produced January 14, 1917 (under the original title of "When a Girl Loves"), at the Gayety Theatre, Louisville, Kentucky, with the above cast and afterwards on tour of many cities of the United States. EXCERPTS FROM PRESS NOTICES For the Love of Johnny "As a melodrama it doesn't overlook anything. There is the lost brother, the poor orphan children who end up rich, the rich villain who tries to force the girl to marry him, the good Indian and all the rest. They are put together in a pleasing little three act play, acted by a good company which gives the audience its money's worth and more." — Nashville Tennessean and Nashville American. Jan. 23, 1917. "Originality of lines, extraordinary situations, character inter- pretation of an unusual sort and exceedingly clever acting by a very clever cast of players, all these things contribute to the interest of 'For the Love of Johnny,' the play that will un- doubtedly prove one of the notable successes of the season down at the Bijou. The author called it a 'play of human hearts' and a gripping, intense play of human hearts is what it is." — The Birmingham News. Feb. 6, 1917. " 'For the Love of Johnny,' is a drama of human interest with a liberal allotment of thrilling situations. A vein of comedy running through the piece is helpful. The plot is deep laid — an orphan girl has been defrauded of her inheritance and receives nothing but unkind treatment from those who derive the benefit of what should be hers. Incidentally the girl regains what is lawfully hers and the villain goes to an untimely end." — The Louisville Herald. Jan. 14, 1917. "The clean wholesome comedy with which the entire piece is filled kept the entire audience laughing from the time the curtain rose until its final drop." — The Biryningham Ledger. Feb. 6, 1917. "Just a picture from life, describes 'For the Love of Johnny' which opened a week's engagement yesterday at the Crescent Theatre. Its greatest recommendation is that the story is refresh- ing, the action quick and the scenery full of life and color. It brushes the memory with balmy breezes of long ago — a quiet age on the farm where peace and plenty reign." — The New Orleans American. Feb. 12, 1917. "There remains little doubt that when a girl loves things begin to happen. If anyone is skeptical, let him visit the Crescent Theatre this week and see what befalls in 'For the Love of Johnny,' a play in three acts. * * * Despite the inclemency of the weather, large crowds attended both of Sunday's perform- ances and the applause was frequent." — The Times-Picayune, New Orleans, La. Feb. 12, 1917. "For a popular priced attraction, 'For the Love of Johnny' excels many other plays which have commanded higher prices on the strength of past reputations, with the inevitable hero, heroine, and villain — for the villain must be foiled to supply the essentially necessary happy ending — Idie performance is replete with interest-compelling qualities that combine to make the play altogether pleasing." — The News, Lynchburg, Va., Feb. 24, 1917. FOR THE LOVE OF JOHNNY A PLAY IN THREE ACTS FOR SIX MEN AND THREE AVOMEN CHARACTERS. (In the order of their appearance.) Ethel Banks The Niece Harriet Banks The Aunt Dorothy Banks The Daughter Dick Wayburn The Coward Jerrymeyer Banks The Uncle Phil Osborne The Soldier John Turkey-Legs The Indian Father Ryan The Priest Johnny Banks The Nephew Mr. Woods The Stranger Scene: '''Travelers' Rest Ranch" in Northern New Mexico. Act I. Late afternoon in front of tlie ranch house. Act II. The Hving room of the rancli house the fol- lowmg afternoon and evening. Act III. Same as the first act, six months later. Time of Playing — About Two and One-quarter Hours. FOR THE LOVE OF JOHNNY THE STORY OF THE PLAY^ "For the Love of Johnny" is a comedy-drama of strong heart-interest which has moved many audiences to both tears and laughter. While its chief interest as a play is contained in its dramatic situations and the unusual story unfolded, it nevertheless abounds in clean and clever comedy. The character of the Aunt, and also Phil, are strong comedy parts and no audi- ence can resist their appeal. The action of the play opens in New Mexico in the ranch home of Jerrymeyer and Harriet Banks. Living with them is their daughter Dorothy and their niece Ethel, who is made the household drudge. Ethel finds her only happiness in her love for Johnny Banks, her supposed brother, who is a mill hand and lives in the same house. Dick Wayburn, an unscrup- ulous and wealthy mine owner, is in love with Etliel, but she does not return his affection, and with her Aunt he plans to win her by sending Johnny away on a supposed business mission and then getting him out of the way for good by having him shanghaied. Wayburn's scheme promises well, but he is recog- nized by the Indian Turkey-Legs as a bad man and the murderer of his squaw. Wayburn, fearful that the Indian will spoil his plans or murder him in re- venge, shoots the Indian with a revolver fitted with a Maxim silencer and thinks him dead. The Indian is only wounded, however, and still plans vengeance. Ethel finds a true friend in Father Ryan, a Cath- olic Priest who stops at the ranch on his way to the Mission and incidentally makes it known that he is searching for a long lost brother who was reared in an orphanage and later at an early age adopted into a wealthy family by the same name of Banks. FOR THE LOVE OF JOHNNY The following evening Dorothy and Phil, her sol- dier lover, go to a dance, and, like Cinderella, Ethel is left all alone in the ranch house. Wajburn sur- prises her there and when she .will not listen to his suit becomes violent and her safety is threatened when Father Ryan breaks in the locked door. Ethel has fainted and during the struggle between Father Ryan and Wayburn the lamp is overturned and the fight goes on in the darkness. Turkey-Legs, the Indian, unseen by anyone enters, and as Father Ryan is being overpowered stabs Wayburn and kills him. Jerry- meyer and the Aunt return at this moment and Father Ryan is as surprised as they are to find Wayburn dead. Father Ryan is accused of the murder and held for trial. Ethel has not heard from Johnny since he was sent away by Wayburn and after six months have passed gives him up for dead. The Aunt, with Johnny out of the way, as she thinks, and with Father Ryan being tried for murder, now schemes to send Ethel away for good and obtain possession of the ranch, which rightfully belongs to Ethel. Just as Ethel, heartbroken and alone in the world, is leaving, Johnny comes back disguised as a Mr. Woods. He has learned from Father R^^an that he is the Priest's younger brother who was adopted into the Banks family and brought up as Ethel's brother. Before disclosing his identity, he reveals to Ethel that the ranch belonged to her father and mother before they were killed in a railway accident and now is right- fully hers. Father Ryan is acquitted of the killing of Dick Wayburn — Turkey-Legs confesses the crime and es- capes and Ethel's property is restored to her. At 10 FOR THE LOVE OF JOHNNY the last moment of the play Ethel learns that Johnny is not her brother at all, and these two Children of Fate, after being reared as brother and sister, after enduring trials and sacrifices well nigh unbearable, are now brought into each others' arms by the same Power that fostered their true love and devotion all through childhood and now sanctions their holy union. This is a professional play and bears the stamp of approval of the Public, the Press and the Clergy. It is printed from the original Prompt Book or Man- uscript used at rehearsals. All the business and stage directions are fully indicated and if followed carefully the play cannot fail to thrill and entertain an audience. We call particular attention to the remarks on page 13 under the heading "Notes to the Producer." LIST OF PROPERTIES. First Act. Tin pail for Ethel. Flowers for Dorothy. Promissory note for Wayburn. Revolver for Wayburn fitted with Maxim silencer. Army rifle for Phil. Paper money, envelope and check for Wayburn. Telescope or suitcase for Johnny. Second Act. Two promissory notes for Wayburn. Pen and ink for Jerry. Box of candy for Wayburn. Matches for Wayburn and Father Ryan. Revolver for Wayburn. Crucifix for Father Ryan, FOR THE LOVE OF JOHNNY _11 Small dagger for Wayburn. Lighted lantern for Jerry. Hunting knife for Turkey-Legs. Third Act. \ small framed photograph for Dorothy. Legal papers for Phil. Hunting knife for Turkey-Legs. COSTUMES AND CHARACTERISTICS. Jerrymeyer — About forty-five years old, a ranch- man, rightly inclined but very weak morally, com- pletely under the dominance of his wife.- Cowhide boots, flannel shirt, sombrero hat. Harriet — Jerry's wife. She is tall and bony. A'ery mercenary and mean, cold and passionless. Her features should be sharp and she should have red .hair. She talks lots and talks fast. A very impor- tant part. Cheap gingham dress in Acts I and II, old-fashioned black dress in Act HI. Wayburn — Should be tall and fine looking. Man about forty years of age. A wealthy mine and mill owner in the neighborhood. He should be dressed according to the custom of the day in that locality. Corduroy trousers tucked in cowhide boots and flannel shirt in first act. In second act, a dark business suit with low vest and white shirt. A large sombrero hat all through. He is a gun toter. Ethel — Leading woman. She is the niece of the Banks. Should be exceptionally pretty, her clothes at all times are poor, ragged work dress and a cheap wash dress in Acts I and II. Black dress in Act III, She is the slavey. 12 FOR THE LOVE OF JOHNNY Johnny — Juvenile lead. Nephew of the Banks' and supposedly Ethel's brother. A fine looking man about twentj-two. He works in Wayburn's mill and should be dressed as a common laborer in first act. In last act he is well dressed. This part requires a good earnest actor with an appealing personality and lots of sympathy. As Mr. Woods he wears a business suit, gray pointed beard and gray hair, car- ries cane and wears glasses. Father Ryan — Leading man. A Catholic priest about twenty-seven years old. Hair on temples a little gray. He is tall and sturdy looking as though he were athletic. In the first act he wears no coat, using an Indian blanket over shoulders. In Acts II and HI, conventional garb. Dorothy — Ingenue. Daughter of Banks, a girl about eighteen, pretty and winsome, well-dressed. Phil — Boy about twenty-one. Fat, lively and good-natured. In love with Dorothy. Uniform, also civilian clothes. The Publishers advise that the military costumes have such variations as not to interfere in any way with the Government regulations regarding the wear- ing of uniforms. It is, of course, inferred that such costumes will be procured from a costumer who un- doubtedly will be able to supply something that will answer the purpose and avoid any criticism. Turkey-Legs — An Indian. Wears blanket in first and second acts. Third act, bare except for breech- cloth. A fine part and must be played by an actor with plenty of repose. Speaks in slow monotone. for the love of johnny 13 notp:s to the producer. The well in Acts I and III can be easily made by using a common dry goods box about four feet square and three or four feet deep. The bottom of it should be padded in order to break Turkey-Legs' fall. A frame about three feet high should be built over it from which to suspend the rope and pulley. Wayburn's revolver is supposed to be fitted with a Maxim silencer, an article difficult to obtain and not necessary. Fit a round extension to the barrel two or three inches long and have Wayburn merely click the hammer when he shoots. Use no oil in the lamp in Act II. Fit a short wax candle into the lamp which will be extinguished with- out danger during the struggle. When Phil's trousers rip in the second act, have uhe Property Man in the wings tear a piece of strong cloth at just the right moment. Rehearse this carefully. The character of Woods is, of course, played by the same actor who plays the character of Johnny. ^ While as Woods he wears a beard whicli can be quickly removed, he should use his own hair, pow- dered. 14 FOR THE LOVE OF JOHNNY SCENE PLOT. Act I AND Act III. Back or Cyclorama Drop Act II. Backing Window I - . I 1 I ■ 1 Archway \-\ D Chair ' ^ , ' A P—, Couch r\ -*- ^/'ach.ne Table \\ Door I 1 ^ 7- Chair D^ ^ D Chair \ Dooi STAGE DIRECTIONS. R. means right of stage; C, center; R. C, right center; L., left; 1 E., first entrance; U. E., upper entrance; R. S E., right entrance, up stage, etc.; D. F., door in flat, or scene running across the back of the stage ; up stage, away from foothghts ; down stage, near foothghts. The actor is supposed to be facing the audience. FOR THE LOVE OF JOHNNY The First Act. Scene : A view of the front yard at Travelers' Rest Ranch. At R. is a set house with small porch and practical door. At R. C. a tree with bench built around its base. There is a well at L. C. with a bench in front of it. This is the old-fashioned zvell with pulley, rope and bucket and is large enough so that a man can crouch down behind its walls and not be seen by the audience. Running across the back of scene and extending down L is a stone wall or fence with the gate or opening up L. The back drop suggests the rolling country with moun- tains in the distance. At rise Ethel is drawing a pail of water from the well. She pulls up the bucket with some effort and after getting the bucket on the edge of the well proceeds to pour the water iiito a tin pail on the bench when Mrs. Banks enters quickly from the house. Mrs. Harriet Banks. {On porch.) Ain't you got that water yet.? Ethel Banks. {At well.) I'm coming with it right away, Aunt. Mrs. Banks. You know very well I've been waitin' for it and — Ethel. Yes, Aunt, I went for it just as soon as you told me. 15 16 FOR THE LOVE OF JOHNNY Mrs. Banks. Well, I shouldn't have to tell you everything, (Crossing to R. C.) Why in thunder don't you do something without being told once in awhile .^^ I told you to put your uncle's overalls in the wash last week and you didn't do it. Ethel. Yes, I did. Aunt, but they were so dirty I couldn't get them clean. (Crossing to C.) I wore the skin off my knuckles trying to get them clean. Mrs. Banks. Now look here. Miss Pretty, don't you argue with me — I'm just about sick and tired of takin' care of you and your worthless brother for nothing. Ethel. For nothing! Mrs. Banks. (At C.) Yes, for nothing! Ethel. But I've been w^orking on this place as hard as any girl could work ever since — Mrs. Banks. (Sits on bench R. C.) Well, it hain't paid your board — and your lazy brotlier ain't give me a cent of his wages for over two weeks. Ethel. (Crossing back to well.) 1 know. Aunt, but he'll pay you — we have to have books— jy^j^g B^^j^g Hm! Books — books — that's all you two think about all the time — read, read, read! FOR THE LOVE OF JOHNNY 17 Ethel. You took us out of school. Mrs. Banks. Shut up! Take that water in the house. (Ethel picks up pail.) Wait! Set it down there; I want to talk to you. Ethel. Please, Aunt, don't be unkind. Mrs. Banks. {Crossing to well.) I suppose you know it's cost your uncle a small fortune to bring you up. If your folks had left you anything it would have been different. Ethel. ( With a far away look.) That's something I could never understand! Mrs. Banks. Don't talk in riddles to me. What is it you can't understand.? Ethel How it was that my father and mother left us, as you say, penniless. Mrs. Banks. Well, that's easy enough to understand if you'd jes' try to get it through your skull once. They was killed in an accident, both together. Your uncle heard about it and went on to straighten up his brother's affairs, and they were in a fine mess, too. Your uncle had to pay out of his own pocket a whole lot er bills that your father had run up and then he brought you two out here, raised yer and give you a good home. Hm ! You can't understand ! If it hadn't been for him you'd a been turned out in the streets. {Pause.) I think it's about time for you to git busy and try to pay us back some way. 18 FOR THE LOVE OF JOHNNY Ethel. I've tried hard to earn my board. Mrs. Banks. Well, you ain't done it. You don't guess you've done it, do you? Your uncle's gittin' mighty tired of having you around here without a thought for the future. ^T^^j.. {Almost in tears.) What more can I do? (Rises and crosses with pail towards house.) Mrs. Banks. The best thing you can do is pay a little attention to Mr. Wayburn! .^ •^ Ethel. Mr. Wayburn! ,^ „ •^ Mrs. Banks. Yes, Dick Wayburn. He's the richest man around here and he's mighty interested in you. Ethel. Oh, you're mistaken. Aunt ! Mrs. Banks. No, I ain't mistaken, either. Anybody could see it if they wasn't half blind. The trouble is with you, you can't see anything or anybody but Johnny. Hm ! Anybody would think you two was sweethearts instid of bein' brother and sister. Ethel. But, Aunt, Johnny is the only one in the world who really cares for me. Mrs. Banks. Nothin' of the sort. I tell you Mr. Wayburn will marry you and if you take my advice you will grab him quick. He's in shape to give yer everything FOR THE LOVE OF JOHNNY 19 you want and he can put Johnny in a good position in the mill. That's worth considerin', ain't it? Ethel. ^But I don't love Mr. Wayburn. Mrs. Banks. What's that got to do with it.? You can learn to love him, can't you.f^ If you had any honor about you, you'd think something of payin' us back for all this kindness we've been givin' you. Take that water in the house and put half of it on the stove in the boiler. Enter Dorothy Banks through gate with armful of wild flowers. Dorothy Banks. I'll help you, Ethel. {Coming down C.) Mrs. Banks. No you won't. Let her do it — that's what she's bein' paid fer. (Eojit Ethel into house.) Dorothy. Why are you so hard on her, ma ? Mrs. Banks. You mind your own business. Dorothy. After you struck her last night, ma, she went to her room and I heard her crying all night long, just like her heart was breaking. Mrs. Banks. Don't you woi;ry about her heart. (Crosses up C) If you had any sense you'd know somethin' yourself. She and her brother are the most worthless two I ever seen. Why, they've been livin' here over thirteen years. Don't you suppose it's cost me and your pa somethin' ? Why, you might have had a lot of things 20 FOR THE LOVE OF JOHNNY that we couldn't git fer you on account of havin' to feed and take care of them. Now she's got a chance to marry Dick Wayburn an' she says {imi- tating her) she don't love him. Hm, she could marry him an' pay us back some of this money we been spendin' on 'em. What are you doin' with them flowers.? (Coming down C.) Dorothy. Aren't they pretty, ma.? (Dorothy <:/^ L. C Mrs. Banks at C.) ,, ^^ ^ Mrs. Banks. Pretty nothin'. Lot o' weeds. I hate flowers. They always remind me of funerals. Throw 'em away. -r^ *^ Dorothy. But, ma — Mrs. Banks. I don't want 'em around the house. Dorothy. But, ma, Phil's coming home today and you can't give a returned soldier a real welcome without flowers. Mrs. Banks. Ain't 3^ou got over your puppy love for that fat baby yit.? ^^ ^ *^ Dorothy. Oh, ma, you're mean. Mrs. Banks. Here comes Mr. Wayburn now. There's a man — Dorothy. I hate him. {Crossing to steps.) Mrs. Banks. Well, you ought ter pick out a man like him, there'd be some sense to that — bring some money into your family. {Calling toward house,) Pa! FOR THE LOVE OF JOHNNY 21 Jerrymeyer Banks. (Offstage.) Yes, ma. ^^^^ Banks. Come out. Here comes Mr. Wajburn. (Business of immping. Dorothy exits into house.) As Dick Wayburn enters gate Mrs. Banks goes zip to meet him. y^^^_ ^^^^^ How do, Mr. Wayburn. (^STie is very effusive.) Dick Wayburn, Good afternoon, Mrs. Banks. Enter Jerrymeyer Banks R. Wayburn. Hello, Banks. j^^^^^. {Crosses over and shakes hands.) Glad to see you, Mr. Wayburn. Come in. Wayburn. No, I wajnt to have a little talk with you and I reckon we'd better talk out here. Jerry. Well, have a seat. (Offers bench and Wayburn sits R. C.) Ma, maybe you'd better go inside. Mr. Wayburn wants to talk over a little business. Mrs. Banks. You know mighty well if there's any business goin' on around this ranch I'm gonner be in on it, don't * y""^' Wayburn. (Laughing.) That's right, Mrs. Banks. I reckon you can hear it. It's about that note of yours for fifteen hundred dollars. (Hands Mrs. Banks a note.) It falls due tomorrow. 22 FOR THE LOVE OF JOHNNY Mrs. Banks. (Looking at note — amazed.) Jerrjmeyer, you ain't never told me about that — Jerry. I didn't want to worry you, ma. I borrowed it last year to plant with. Mrs. Banks. {To Wayburn.) You loaned him this money — all this money six months ago— Wayburn. Six months tomorrow. Mrs. Banks. (To Jerry.) Well of all things ! You weak-kneed rascal ! Why didn't you tell me about it? Well of all things.? He's been mopin' around here an awful lot lately an' I jes knowed there was something wrong. (To Jerry.) Why didn't you tell me about it.? Jerry. . Well what good would it do to tell you.? Mrs. Banks. {To Wayburn.) That's just the way he is, Mr. Wayburn. {T'o Jerry.) Y^ou — you'd make a devil out of a' angel, you would! j^^j^^. I suppose you're alludin' to j^ourself. Mrs. Banks. Well if I do say it myself, I had a pretty even temper before I married you. Jerry. Same as now — mad all the time.- FOR THE LOVE OF JOHNNY 23 Mrs. Banks. {To Wayburn.) Oh, dear! I don't know what to do, Mr. Wayburn. Wayburn. Well that's the question. I don't want to be hard on you folks, but I do think we'd better have an un- del-standing. j^^^,^. I jes' can't pay now — but if — you'll give me a little more time— Waybukn. Why didn't you tell me you would have to have an extension .f^ You can't expect me to wait much longer than the time limit of your note and {to Mrs. Banks) fifteen hundred dollars is a pile of money, Mrs. Banks— Mrs. Banks. Yes, I know it is, Mr. Wayburn. {To Jerry.) You scary coyote! Wayburn. What is your ranch worth here.'^ Jerry. It's worth about twelve or fourteen thousand, but Mr. Wayburn — ^^. -^ Wayburn. I'd hate like thunder to have to levy against it — Mrs. Banks. Oh! Yes sir! I hope you won't do that. We can pay you in a little while. Wayburn. But tlie idea is, you've fallen down on your con- tract, don't you see? Mrs. Banks. {To Jerry, who is looking at her mournfully.) Don't look at met 24 FOR THE LOVE OF JOHNNY Ways URN. Now there's just one way out of this. (Crossing to Mrs. Banks.) ^^^^ ^anks. Yes, Mr. Wa jburn ? Ways URN. I like you people and I want to do the square thing by you. Now I'm interested, very much interested, in your niece, Miss Ethel. Of course she doesn't know me very well — she's always seemed to try to avoid me— ^j^^^ ^^^^^^ Oh, that's jes' her way 5 Mr. Wayburn. Wayburn. Well if you would care to influence her a little in my behalf I'd -be inclined not to press this note till you're better able to pay. Jerry. (To Wayburn.) Y^ou mean you want to marry my niece .^^ Mrs. Banks. {Flarz7jg up.) Why of course that's what he means, you great big ninnie. {To Wayburn.) Ethel is a mighty fine girl, Mr. Wayburn. She'd make a good wife for you, too. She's jes' as pretty as a picture, works all the time and never complains. I surely would like to help her git a man like you, Mr. Wayburn. I was talkin' to her about you just a little while ago. Wayburn. Yes, and what did she say.? Mrs. Banks. Well, she seemed a little surprised — she — of course she don't know her own mind, but I can make her come round all right. You jes' leave her to me. FOR THE LOVE OF JOHNNY 25 Wayburn. How about her brother? Mrs. Banks. Hm ! I never thought of him — Wayburn. What about him? Mrs. Banks. I kinder think he'd be hard to handle. She and that brother of her'n stick to each other hke a puppy to a root. She can't do nothin' without tellin' him about it, and he's a worthless no account cuss, Mr. Wayburn. I wish you could git him out of the way somehow. Wayburn. What do you mean ''get him out of the way".'^ jMrs. Banks. I don't know how I could handle her with him around. Wayburn. He's a trouble maker all right. He's, been stir- ring up a lot of trouble with my men at the mill. Suppose I send him away, say, on business? Mrs. Banks. That's good ; then when you git him way off some- where — keep him there. I promise you it won't be no time before I have the girl fixed to marry you. Wayburn. You're a clever w^oman, Mrs. Banks. Jerry. Y^ou just bet your life she is. My wife — Mrs. Banks. Oh! shut your mouth. (To Way^burn.) You jes' tend to Johnny, Mr. Wayburn, and leave her to me. I'll have lier in your arms in no time. But I think we ouorht to work fast. 26 ^ FOR THE LOVE OF JOHNNY Wayburn. {Looking at watch.) I'll send him to Frisco tonight on that seven- fifty. Let's go inside and I'll write a letter intro- ducing him to a friend of mine there. Jerry. He'll be back from work pretty soon. Wayburn. Do you think he'll go? Jerry. Sure he'll go. He's pretty ambitious, Mr. — Mrs. Banks. Put it up to him like this: you're sending him there as your agent — that'll swell him up — (Way- burn laughs and chuckles) then after you git him there {she lowers her 'voice to a whisper thinking Jerry will not hear) as far as I'm concerned you can have somebody knock out his brains. Jerry. ( Overheaj'ing. ) Oh! Harriet! Mrs. Banks. (Crossing to Jerry R. C.) See here, Jerrymeyer, you ain't gittin' indignant at me, are you? Hm! Step inside, Mr. Wayburn, 3^ou'll find Ethel in there somewhere. Jes' make yourself at home a minute while I talk to this man o' mine. „^ Wayburn. (Crosses R. to porch. As he exits.) Don't be too hard on him, Mrs. Banks. (Exit Wayburn into house.) FOR THE LOVE OF JOHNNY 27 Mrs. Banks. (At 11. C.) Now look here, Jerry, no use posin' as a saint to me, 'cause I knoAV you ain't an' neither am I. You know it would be the very best thing that could hap- pen for us if he'd do away with Johnny for good. Jerry. {At C.) But lie's my own nephew, my brother's child. Mrs. Banks. Yes, but you didn't think nothin' of takin' this place away from 'em, did you? This ranch belongs to them, don't it? ., J ERRY. {Crosses to well and sits.) By rights it's all theirs. Mrs. Banks. {Following him.) Well when their folks was killed you wasn't too durned good to gobble up everything they had, and when you brought the children out here did you tell them this was their father's ranch and you was just livin' on it and when they came of age — Jerry. {Remorsefully^.) No, no, but I wish I had now. Mrs. Banks. No you don't neither. The only difference be- tAveen 3'ou and me is that I'm truthful and you lie to yourself. Jerry. I'm sorry I ever lied to them. 28 FOR THE LOVE OF JOHNNY Mrs. Banks. Well you lied to me, too. When I married you I thought this place was yours or you wouldn't a got me. -r Too bad! Too bad! Mrs. Banks. Too bad nothing. (Sitting on bench with him.) Here's the chance we've been waitin' fer. In the first place we gotter favor Mr. Wayburn and in the next place we'll get rid of Johnny and marry Ethel off. Then we're free of 'em both and we take no more chances. They're of age now and just as long as they're on this place we're not safe. If anybody was curious enough to look up the title of this property they'd find these two children was the real heirs and they'd put us out. You betcher your life they'd do it' t««- Jerry. I feel faint — I — Mrs. Banks. You're jes' lily livered, that's all. Come in the house and git some brandy. Keep your mouth shut now and leave things to me. (Exeunt into house.) Enter Ethel from rear of house. She comes in hurriedly as though avoiding someone. As she comes down with back to gate Phil enters through gate. He is dressed in khaki uniform, carries gun and his right coat sleeve is hanging empty at his side. Phil. (Ate.) Who ffoes there.? „ ^ Ethel. [Turning surprised and startled.) Oh! Phil, how you frightened me. ^ FOR THE LOVE OF JOHNNY 29 Phil. Howdy, Miss Ethel. Dorothy here? Ethel. "^'^s- Phil. Just got back with my regiment, going to be mus- tered out next week. Ethel. {In dismay.) What happened to your arm, Phil.'* Phil. ( Winking. ) Oh! that's all right, it's under my coat. Ethel. I thought you'd lost it. Phil. I'm just hankering after a little regular sympathy from Dorothy. (Ethel laughs. Phil accidentally drops Ills gun which startles Ethel.) It isn't loaded, Miss Ethel. Ethel. {Both coming down C.) I suppose you've killed hundreds of soldiers. Phil. Naw, I got in too late. All I did was to get up at five-forty-five every morning and march. Oh! I learned how to march all right. I learned how to charge too and could always beat the guy that was running after me. I'd a been promoted if I hadn't made a mistake. „ Ethel. How was that, Phil.? Phil. Oh! just a little mistake in direction, that was all. Here we were all lined up ready to charge. There 30 FOR THE LOVE OF JOHNNY was the enemy. Then the captain jelled out "Charge!" ^ Ethel. (Sitting R. C. on bench.) Oh! how exciting. Phil. You bet'your life it was exciting. I got so excited that I charged in the wrong direction. (Ethel laughs.) You know I could never understand why they got us up every morning at five-forty-five. No one would ever think of bothering us at that time of day. I don't like the army much. They make you do the funniest things. While we were all waiting to be disbanded, just because I was fat they made me climb the flagpole and take down the flag. Then when I came down they made me put on a mustard plaster. „ ^ ii,THEL. A mustard plaster.? Phil. Sure, so I wouldn't take cold when I was being mustered out. -^^ Ethel. (Laughing, going up to porch.) Wait just a minute and I'll call Dorothy. She's expecting you. p^^^ (Crosses R.) Honest, is she. Miss Ethel.? Did she say anything about me.? -r^ Ethel. Why she's been talking about you in her sleep, that's all. Now don't you tell her I told you. Phil. She's been dreamin' about me and I've sure been dreamin' about her. You know I was thinking I'd FOR THE LOVE OF JOHNNY 31 have it all arranged with the priest at the Mission to marry us the minute Dorothy said the word. Ethel. You have been dreaming some, haven't you, Phil.? Phil. But they told me as I passed the Mission — Ethel. Did you really stop at the Mission? Phil. Sure I did and they told me Father John had left two weeks ago. He was my friend. Ethel. He was everyone's friend. The new priest, Father Ryan, they call him, has been expected here for the past week but he hasn't come yet. Phil. Where is he coming from.? Ethel. San Francisco, I understand. Phil. Gee ! I'll have to get on the good side of him. You know. Miss Ethel, I think a priest can do an awful lot for a fellow, who's in love. Ethel. Here comes Dorothy. Dorothy enters and sees Phil from porch. Dorothy. Phil! Phil. (Extending his left arm.) Dorothy! (Dorothy sees the empty sleeve and stops thunderstruck L. C.) 32 FOR THE LOVE OF JOHNNY Dorothy. Phil, your arm! Oh! (She buries her face in her """•) Phil. (Winking at Ethel.) What? Oh! my arm. That's nothing, shot off, that's all. T^ Dorothy. (Weeping, her face still buried, she won't look at him. ) Oh! Phil! Phil. All in the life of a soldier! Ethel. (Out of sympathy for Dorothy.) Oh, Phil, don't— Phil. (Motions Ethel to keep quiet as she exits into house.) Well, aren't you going to shake hands .^ I've still got one. -r^ ^ Dorothy. (Taking his hand but not looking at him.) Wh}^ didn't you tell me in your letters.^ Phil. Now Dorothy, you know I can't write with my left hand. t^ Dorothy. But you wrote me every day. Phil. That's so — but you see — this just happened. Dorothy. (Letting out a wail.) Oh! does it hurt now.^ What did you do with it? FOR THE LOVE OF JOHNNY 33 Phil. {At C. enjoying it hut thinks it's gone fa?' enough now.) I just buried it for a few minutes and now I'm go- ing to dig it up again. (Unbuttons his coat.. He is right behind her now and takes her in his two arms.) Your sympathy is all I want, Dorothy. I just thought I'd see if you cared. (Dorothy is sur- prised at first and is inclined to laugh, then blubbers, pulls away and becomes angry.) Dorothy. Oh ! your arm hasn't been — oh ! go Avay from me, I hate you. (Dorothy goes up around well, Phil following.) Dorothy ! P^^^' Dorothy. I never want to see you again. Phil. {Intercepting her.) But, Dorothy, listen, please. Dorothy. You're perfectly heartless and I never want to see you again. I don't like you any more. {Sits on well bench.) Phil I was just fooling. Really I didn't mean it. I didn't mean to be heartless, Dorothy. You ought to be glad I didn't get killed. You don't seem to realize that I've been fighting for my country and you. (Phil sits beside her at R. end of bench.) A soldier's life is no child's play, I tell you. (Doro- thy is unmoved. Phil continues persuasively.) Think of the trenches and think of having to get up every morning at five-forty-five ! {He now takes her 34 FOR THE LOVE OF JOHNNY hand tenderly.) Dorothy, aren't you rather glad I'm not wounded? Dorothy. {Relaxing,) Of. course I'm glad, but I aon't thhik it was nice of you to fool me that way. Have you been home y^^- Phil. No, I wanted to say hello to you first, Dorothy. Mother thinks I won't be home till tomorrow and I'm going to surprise her anyway. Dorothy. I like you in your soldier suit, Phil! Phil. (Rises and struts proudly C. and back.) Do you? Gee, I'm glad! Oh, I'm a regular soldier now, Dorothy — no monkey business — I learned how to fight. During the following speech Turkey-Legs, the hidian, walks on through the gate and comes directly behind Phil at well. He is closely followed by Father Ryan. Phil As I was coming over from the station I saw a big band of Indians — and the minute they saw me you ought to have seen them run. I wouldn't hurt the poor devils but they were good and scared I tell you. I found out since I've been a soldier that all you have to do when an emergency arises is to be ready to fight. (He sees Turkey-Legs standing im- mediately back of him.) Oh! Lord! jj^jj j Turkey-Legs. (Phil at seeing Indian slides over and sits heavily on R. of bench as Dorothy, on L. of bench, herself FOR THE LOVE OF JOHNNY 35 surprised rises and the bench flops over on top of Phil, who lands on floor — dejected.) Dorothy. (Behind well.) What is it, please? p . (Crossing back of Dorothy extreme left.) Yes — (gf^lps) what is it — please. Don't be afraid, Dorothy, I'm right behind you! (Father Ryan is now C.) Turkey-Legs. (At L. C.) Good man, black robe, wants drink water. Father Ryan. (At C.) I hope we're not intruding — may we have a drink of water.? Dorothy. Certainly — I'll get you a' glass — (As she goes to house she calls.) Dad! (She exits.) Father Ryan. Thank you, this cup will do nicely. (Turkey-Legs serves him two cupfuls, then drinks from the cup himself — as Phie watches the proceed- ings dubiously.) In the meantime Dorothy returns with a glass. Dorothy. Here is a glass! (Crossing to Father Ryan C.) Father Ryan. Thank you — I've had some out of the cup — it was mighty good, too — and since you've been so kind — I shall have some out of your glass. (Dorothy serves him. Turkey-Legs walks down around well to get cup in order to take another drinks 36 FOR THE LOVE OF JOHNNY too — and as he does so, Phil, who hasn't taken his eyes off the Indian, side-steps very promptly around well as though he were playing tag.) Phil. Kings Ex — now I've got my fingers crossed! Jerry enters from house. Jerry. (^Surprised at seeing Phil.) Well Phil, how are you — Phil. Howdy — Mr. Banks ! Jerry. {At R. C.) So you're back alive, I see — are these folks with yo^' Phil. {Crosses to Jerry.) Oh, no — they're not with me — Dorothy. This must be the crowd of Indians you saw down the road, Phil. Pla, ha ! Positions. Father Ryan. Dorothy. Turkey-Legs. Phil. Turkey-Legs. Huh! Phil. Huh ! yourself — and see how you like it. Father Ryan. {Amused at side play.) Ha, ha! We just stopped for a drink of water. I'm on my way to the Mission — strange as it may FOR THE LOVE OF JOHNNY 37 geciii — I^m Father Ryan, and I'm going there to take the place left vacant by Father John. Phil. (Much relieved crosses over and shakes hands.) Father, I'm mighty glad to know you. Expect to do a little business with you before long. {Winking at Dorothy.) Father Ryan. Well I'm very glad to know you, too, my son. I hope to make the acquaintance of all you good people in these parts before long. You no doubt wonder at my appearance, but I had a very unfortunate occur- rence — I may say a very dangerous one. In crossing the State by auto, my chauffeur and I were held up by some Mexicans — who killed him. Dorothy. Oh, how terrible! Father Ryan. They were good enough to spare my life but they took our car and stripped me of some of my vest- ments. Had it not been for this good Indian, who passed me later on a burro, I should indeed have been in a sad predicament, but he guided me here. Jerry. Well you sure have had a time of it. Sit down a while and rest. Father — the Mission is four miles further on. We'll have some supper in a little while. Y^'our man can wait for you out in the back and we'll give him something to eat, too. Father Ryan. Thank you. You are very kind, and as I haven't tasted food for thirty-six hours, I'll gladly avail my- self of your generous hospitahty. (Turning to Tur- 38 FOR THE LOVE OF JOHNNY key-Legs.) Oh, John, wait for me out there, will y""^' Turkey-Legs. Huh. Phil. Now be a good little Indian. (Turkey-Legs crosses R. and exits behind house.) Do-ROTHY. (Crosses to porch.) Come on in, Phil, and see Ma — Phil. Oh, is Ma inside? Dorothy. Yes ! Phil. Well, wait till I get my gun. (He picks it up from off ground where it fell and exits into house with Dorothy.) Father Ryan. (At well.) May I know your name, sir.? Jerry. Sure, I'm pretty well known in these parts — been living here for sixteen years. Father Ryan. Indeed, that long? Then you were acquainted with Father John? Jerry. Oh yes, everybody around here knew him — he was mighty well liked, too. Father Ryan. Y^es — I have heard so. I have never been through this country before, but I fancy I am going to like it immensely. FOR THE LOVE OF JOHNNY 39 Jerry. How did you. happen to be traveling through bj automobile? Father Ryan. Well, I had to visit several inland missions on my way here, and they were not any ways near a rail- road. It was rather strange how I happened to be sent out here — it was really a matter of choice on my part — whether I should take this mission or one in the East, and I chose this one on account of a rather forlorn hope of possibly meeting up with a little brother of mine from whom I was separated nearly twenty ^^ears ago. , i) ERRY. Is that so.^ „ -^ Father Ryan. Yes — we were in an orphanage together in Denver. Jerry. So you're from Denver, eh? Father Ryan. I lived there as a boy. Jerry. I been there — quite a town, Denver. I used to have a brother there, too — he and his wife got killed years ago in a train wreck. Father Ryan. Is that so? ^ J ERRY. Yes — but you was saying? Father Ryan. Yes, yes — my little brother and I were in an or- phanage together in Denver. He was four years old at the time and I was nine — a fine little fellow. Oh, I was so fond of him. I sometimes think the great 40 FOR THE LOVE OF JOHNNY love which God has given me for humanity was started and developed through my devotion to my brother. He didn't seem to progress well at the orphanage — and it was a very great sacrifice on my part to let him go — but I fought it out with myself and decided it was best for him. I believe now I made a great mistake. Jerry. Well, what became of him? Father Ryan. That I don't know. Pardon me, what did you say rour name was? _ Jerry. Banks — Jerrymeyer Banks. Father Ryan. Now isn't that a coincidence? Jerry. What? Father Ryan. Johnny — that was my brother's name — was adopted into a family by the name of Banks — Denver people. They had a little girl, as I remember it — they called her Ethel. They were good Catholics and they wanted a little boy to rear with the little girl, as brother and sister, believing very naturally that both children would be benefited by this association. Unfortunately, after they took Johnny, they would not permit him to communicate in any way with me — and of course I could not go to see him. I know they did everything possible to make him forget that he was ever in an orphanage, which, after all, was quite natural, for I presume they wanted him to feel that he was in his own home and look upon them as his parents. FOR THE LOVE OF JOHNNY 41 Jerry. (During this speech the truth has been dawning upon him. ) Well, what happened — then what happened? Father Ryan. {Innocently.) That's about all there is to tell, excepting that I learned several years afterwards, upon my own in- vestigations, when I had left the orphanage, that both Mr. and Mrs. Banks had died together in some kind of an accident, and that the children had been sent to a ranch in the State of New Mexico, and — (Jerry is greatly agitated. Father Ryan notices that he is upset.) There, I have bored you, I fear, with my own troubles, but I thought perhaps that you living out here all these years — could give me some information. _ J ERRY. Because my name happens to be Banks — you Father Ryan. No, no, my friend, — please do not misunderstand me. I merel}^ remarked the coincidence. Enter Mrs. Banks on porch. Mrs. Banks. (Pulls himself together, rises.) Oh, 3^es, jNIa — this is Father Rj^an, Ma, come to take charge of the jMIssion. Father Ryan. I am very happy to meet 3'ou, INIrs. Banks. 42 FOR THE LOVE OF JOHNNY Mrs. Banks. (Crosses to C.) An' I'm pleased to meet you, Father — heard about 3^our accident — too bad. Them Mexicans are a fright. I fixed a httle bite for you 'cause I knowed you must be pretty nigh starved. Father Ryan. That's very kind of you. While fasting is good for the soul, too much is hard on the body. Mrs. Banks. Land sakes — step in. Father. Just make yourself comfortable. (Jerry motions for her to let Father Ryan go in — she does so.) ^ ^ Jerry. ( Whispering. ) If Johnny comes home before he goes, don't let him meet the Priest. ,^ ^^ Mrs. Banks. Why not.? •^ Jerry. Never mind why — I don't want 'em to talk to each other — keep 'em separated. Ethel comes on from behind house. She has changed her dress for the evening, and while she ap- pears to better advantage, it is still apparent that her clothes are old and shabby. She goes over and out of the bach gate, looking off down the road — as Wayburn comes on from front of house. Wayburn. Miss Ethel ! -r. Ethee. {Turning — at seeing him is surprised.) Oh, Mr. Wayburn — I was just looking for my brother — FOR THE LOVE OF JOHNNY 43 Wayburn. And I've been looking for you. Ethel. I have been in my room dressing. Johnny usually comes home from the mill about this time and I always try to meet him. Wayburn. He's a lucky boy to have a sister like you waiting to welcome him home every evening. (He has gone to her now and they come down C.) I reckon you think a great deal of Johnny, don't yo^? Ethel. Oh, I do, Mr. Wayburn — he's all I have — and — Wayburn. I've noticed him about the mill — he's a good worker, very conscientious — and very deserving. Ethel. . Oh, I'm so glad to hear you say that. He is a good boy, just as good as he can be — all the way through. I know he will feel mighty proud when I tell him that you said you had noticed his work, because he's ambi- tious, I think for my sake as much as for his own. He's up every night studying long after the others have gone to bed. Wayburn. What is he studying.'' Ethel. Electrical engineering. He's done a lot of wiring for you at the mill lately. Wayburn. Oh, that accounts for the new system of lighting there. Well, I didn't know he had done that. I'll have to see that he gets paid for it, and — - 44 FOR THE LOVE OF JOHNNY Ethel. Thank you, Mr. Wayburn. {She looks steadily at him as though afraid to speak her thoughts.) Wayburn. {Misunderstanding her steady gaze.) What are you thinking about now? Come on, con- fess. „ Ethel. You want me to be perfectly frank with you, sir.'^ Wayburn. Why yes, of course. Ethel. {Simply.) I don't think Johnny likes you very well. Wayburn. Why is that, I wonder .^^ Ethel. Of course he's just a laborer and I know he hasn't had an opportunity to meet you much personally. Wayburn. No, I never associate with my men — it's bad policy. Ethel. He has his own ideas of equity and fair play — and I don't think he's ever quite forgiven you for the way you treated old man Miller and his two boys. Wayburn. {Flaring up.) So he objects to the way I treat my men, does he? I suppose he will in time show me how to conduct my business. -^^ Ethel. Oh, no, Mr. Wayburn — there, I was afraid you would misunderstand me. {Crosses and sits at well.) FOR THE LOVE OF JOHNNY 45 Ways URN. (Who has been listening intently hut thinking all the while.) You need not worry about my misunderstanding you, Miss Ethel. Everything you do in my eyes is right. (Ethel loohs at him quickly.) I'll take care of your brother handsomely — because I know that you are fond of him — and — and — I want to do some- thing for you. Ethel. Oh, thank you, sir — we'll show you how we appre- ciate it, too. Wayburn. I was going to send my foreman to Frisco tonight to inspect some second-hand machinery for the mill — and I've decided to give Johnny a chance to go in- stead, and if he makes good, I'll double his salary and give him a respectable job. (Ethel greatly af- fected.) Well, what do you think of that? Ethel. {She has a hard time to restrain the tears of grati- tude.) Mr. Wayburn — you're the first — your kindness — (she breaks). Wayburn. There, there! (She is sitting at the ivell; he leans over her now.) That's all right. Now tell me, what have you thought of your own future .^^ Ethel. (Looking up and drying her tears.) I — I don't understand what you mean. Wayburn. I think you know what I mean. Miss Ethel. I've been interested in you from the very first — and I'm in a position to make you a very happy girl ! 46 FOR THE LOVE OF JOHNNY Ethel. You have made me very happy already, Mr. — Wayburn. Oh, I don't mean that — you know what I mean. I offer you the chance to get away from all this drudg- ery — and become free, wear beautiful clothes — drive your own horses — your own auto and be admired by everybody. Why, you don't have to do this slavey work around here. Ethel. But Johnny? Wayburn. Why, I've just told you — I'm going to take care of him, too. Now you think this over till tomorrow — you're the prettiest girl I've ever seen — (He tries to embrace her but she quickly eludes him.) Johnny is seen coming through the gate. Ethel runs to him, Ethel. Here he comes now — you're late this evening. Johnny. {Taking her in his arms. Wayburn remains at L. C.) Good evening, little sister, how's everything been today? {Kisses her.) Ethel. Johnny, here's Mr. Wayburn. Johnny. Good evening, sir! Wayburn. How are you, John? {The two are up by gate. Wayburn sits at well and waits.) FOR THE LOVE OF JOHiNNY 47 Johnny. (Holding her out at arm's length.) Well, I see you're all rigged up to welcome me home — just as if I'd been away a month — ah! {He again takes her in his arms. Wayburn grunts.) Pity I can't be as nice and slick and clean when I come home to you. {Quietly — suspiciously.) What has he been saying to you, sister? Ethel, Something wonderful — for you! Mr. Wayburn — {They come doxvn.) Positions. Johnny. ^ Wayburn. Ethel. Wayburn. John, my boy, give me your hand. (Johnny is amazed, thunderstruck , hut he wipes off his hand instinctively and offers it to Wayburn.) I've been Avaiting here this evening especially to see you and have a talk with you in the presence of Miss Ethel here. _ Johnny. Yes, sir! ,„ Wayburn. I've been noticing your work at the mill latelj^ and I think you're about ready for promotion. Johnny. Yes, sir. (Ethel looks on gleefully.) Wayburn. In the first place, I want to thank you for that wir- ing you did, and to tell you I appreciate the interest you've shown about the place — and I'm going to pay you for it. 48 FOR THE LOVE OF JOHNNY Johnny. Oh, that's all right, sir — I'm much obliged. Wayburn. That isn't all — you know. Gillis is — Mrs. Banks entering on porch. Mrs. Banks. Ethel, why ain't you put them potatoes — (sees Wayeurn). Oh, excuse me, Mr. Wayburn — I didn't know you was out here. Ethel, we never will git supper ready tonight. Ethel. (Crossing to porch.) I'll come right in. Aunt, but the potatoes are on the stove cooking. Excuse me, Mr. Wayburn. Mrs. Banks. (As Ethel and Mrs. Banks ea:it.) Well, why didn't you say they was on the stove.'' (They exit R.) Wayburn. (Crossing to bench R. C.) I was going to send Gillis to Frisco tonight to inspect a second-hand boiler for the mill — but I thought afterwards that it would be a great oppor- tunity for you — and I'm going to give you the chance. ^ Johnny. Have you enough confidence in me to trust to my judgment on it? Wayburn. Why certainly — I know you can give an accurate report — don't you think so? Johnny. Yes, sir, I'm sure I can, but — FOR THE LOVE OF JOHNNY 49 Wayburn. (Crossing to Johnny C.) Now I want to do something for you, John, and when you come back I'm going to put you on a regu- lar salary. t ^ Johnny. Haven't you been giving me a regular salary, sir? Wayburn. No, you've been working for wages — I said salary. I think Gillis is getting a little too old for his job — and I'm going to make you foreman. Johnny. Well, I'd like mighty well to be promoted, Mr. Wayburn — my sister and I have been wishing for something like that for a long time— but-^I wouldn't think of taking Mr. Gillis' job away from him. Wayburn. (Forgetting himself.) Oh, you're too damn honest ! Johnny. (Quicldy -flaring up.) No one can question a man's right to do the square thing as he sees it! I'm glad you've given me this chance to talk to you, Mr. Wayburn. I am going to be frank with you, sir, hoping that you will under- stand me and not take offense. (During this speech Wayburn grows restless.) Wayburn. We haven't any time to talk now, John — the ques- tion is, will you go to San Francisco for me tonight .^^ Johnny. No, sir, I will not. 50 FOR THE LOVE OF JOHNNY Wayburn. (At first he is decidedly/ piqued and inclined to 'be- come angry for he is used to having his own way — hut he now changes his tactics.) Do you know — I admire your nerve — your grit — I don't know what your reasons are for refusing this wonderful opportunity I've made for you — you must reahze, as your sister does, that it would be a splen- did thing for both of you. I've talked it over with your Aunt and Uncle — Johnny. I'm sorry to say that they're not interested in us — Wayburn. They're interested enough to want to see you make money and "better provide for yourself and sister. Of course I don't know what differences there may be between you. Johnny. Well, if you'll listen to me a minute, Mr. Wayburn, and after learning something of my ideas, still want to give me a chance — Wayburn. {Sits at R. C.) Why, of course, that's the way to talk. I'll listen to anything you've got to say. Johnny. You're a rich man, Mr. Wayburn, and I'm just a common laborer in your employ, but I know what other employers in the country are doing and you are behind the times. Wayburn. What do you mean by that.^ Johnny. We're all human beings — and in a larger sense we're all working to the same end — you and I and FOR THE LOVE OF JOHNNY Si- all of us; and that end is life and liberty and the pursuit of happiness. Now I'm speaking for each and every one of the men in your employ. You know they haven't got a chance in the world and it's be- cause you won't give it to them. Ways URN. {Amused.) Ha, ha ! I'm afraid you take this too seriously. Johnny. It is serious. Wayburn. Well, if my men don't like the way I treat them, why don't they go some place else; they don't have to work for me. Johnny. K (Picking him up quickly.) ^ Yes they do — because one day's lay-off means hun- ger for themselves and their loved ones. Because you keep them in debt — you own them body and soul. It's part of your plan — by selling them their supplies from your store on credit — supplies they can buy no place else — at exhorbitant prices — at the end of the week they're always just a little behind. And so they work from day to day, and hope from week to week — and month after month goes by — and then the end of the year comes around — still the lash of cruel necessity drives them on — on — on — day after day, month after month, year after year, always in debt, till finally years have come and gone. They have made you rich— ^they who have given everything to the last bitter drop — and what — what have you given them? Nothing? Wayburn. Johnny, you missed your vocation. You should have been an orator. Jqhnny. You say you want to give me a chance. All right 52 FOR THE LOVE OF JOHNNY — give me the opportunity to help my fellow work- ers — to make their living and working conditions endurable. Treat them fairly, like human beings, and let them share in the success of all the good they ac- complish in your business — then, instead of merely working for their bread and butter they will start to work for you, sir! They will take pride in what they do, for your interests and their interests will be the same, and inside of another year you will not only have made more money, but you will be at the head of an army of loyal and contented workmen. That is the opportunity I ask of you, Mr. Wayburn, and I ask it in behalf of your workmen. Wayburn. What you have said has made a profound impres- sion on me, my boy. I've never heard it put that way before. I promise you I'll think it over very seri- ously and carefully. , Johnny. Oh, will you, Mr. Wayburn.'^ {^He is all ablaze with eagerness.) Wayburn. It's a pretty big subject — but I think — I won't say positively — I think — since you've got your heart set on this proposition, that I'll co-operate with you. Johnny. Well, if you'll do that, Mr. Wayburn, I can't help but feel kindly towards you — and respect you — and of course I'll go to San Francisco for you, and wel- come the opportunity. Wayburn. (Crossing to C.) Good! I gave your Uncle a letter of introduction for you — now you'll have to hurry — to one of my FOR THE LOVE OF JOHNNY 53 old friends there. He'll show you around the town in fine style. {They start up toward house.) This boiler is a second-hand one, and I want you to buy it — provided you think it's in good condition. Here — {giving him an envelope) is the address — all you have to do is to look the boiler over carefully and then come on back home. Johnny. Yes, sir — thank you, sir! Wayburn. Oh, that's all right — I'm glad to do it for you. Just as soon as you get cleaned up you can walk down the road to my place and tell Mose I said to take you to the station in the machine. Here's some money. That'll pay your way there nicely, and here's a check for fifty — my friend there will cash it for you — buy your ticket back and spend the rest any way you like. -r ^ "^ Johnny. (Offering his hand.) Thank you, Mr. Wayburn. Wayburn. (Not taking his hand.) Now hurry, 'cause you haven't much time. Johnny exits into house. Wayburn now strolls over to well — he is fairly well satisfied with himself — lights a cigarette — thinks a moment, then starts back as though to enter the house. In the meantime Tur- key-Legs has come from back of the house. He is looking for Father Ryan. Wayburn sees Turkey- Legs and is greatly surprised. Wayburn. Well, what do you want.^^ 54 FOR THE LOVE OF JOHNNY Turkey-Legs. {Starts — amazed at seeing Wayburn — he recognizes him. ) Huh! „, Wayburn. {Ate.) What are jou hanging around here for.^* Turkey-Legs. Huh! Wayburn. I suppose, like all the rest of them, you don't un- derstand unless you want to, and then you under- stand too damn well. I hate Indians, and if you know what's good for you, you'll beat it, quick, and stop hanging around this place. (Turkey-Legs loohs him over quietly, very much to Wayburn's disgust — then slowly walks over and sits on edge of well, facing R.) Turkey-Legs. Me understand little. Wayburn. Well, then, what do you want.^ Turkey-Legs. White brother mean to Injun — Injun like white brother! Wayburn. Yes, you do ! Turkey-Legs. Why do white brother no like Injun.? Wayburn. Where did you come from? FOR THE LOVE OF JOHNNY 55 Turkey-Legs. Me guide good man, black robe, from San Pueblo. (Wayburn starts.) You been San Pueblo.? Wayeurn. No, me — why? Are jou from San Pueblo.'^ Turkey-Legs. (Watching him as a cat watches a mouse.) No, me no live there — they kill heap much Injuns in that place. Y^ou know white man named JefF Harding.? Wayburn. (Feigning little interest.) Can't say I ever heard of him — what about him.? Turkey-Legs. He live there four years ago — they name him man with silent gun — his pistol make no noise. He kill five Injuns and three white men there — then he run away and they no see him now no more. Wayburn. (Collecting himself.) Well — why are you telling all this to me.? Turkey-Legs. (Deadly quiet — earnestly.) Because my name's Turkey-Legs and yoMV name's JefF Harding! Wayburn. (He is alarmed for fear the folks in the house should come out.) See here, John. I put all that behind me — and I've come out here to start all over again. I've got a good name out here and I've made a lot of money. Now — (lookif»g slyly toward house) — all you've got to do is to keep quiet and I'll give you all the money you want. 56 FOR THE LOVE OF JOHNNY Turkey-Legs. But jou kill my brother and my squaw. Ways URN. Sh! I tell you I'll pay you — Turkey-Legs. {Slowly in deadly earnest.) You bet you pay me. I try four years to find you and now I catch you. Why you kill my squaw ? Wayburn. ^" • Turkey-Legs. No worry! I no hurt you while good Priest in there, Injun feel glad he catch you at las' — after many moons he catch you — huh! Wayburn. NoAv listen here, John — don't try to scare me. I've got a record you know — and if you don't keep quiet I might send you to your happy hunting ground — Turkey-Legs. I catch you first! Wayburn. You — why you couldn't catch a frog. Turkey-Legs. I no catch frogs — but I catch you — huh — I know— Wayburn. {A very quick move and Wayburn shoots him.) You know too damn much! (Turkey-Legs falls backward into zoell. Way- burn's gun is fitted with Maxim silencer and conse- quently only makes a slight hissing noise or click.) Now stay down there and rot. (He empties his gun of the discharged cartridge, which he throws away, reloads and puts his gun care- FOR THE LOVE OF JOHNNY 57 fulli/ away, starts for the porch, then there are voices heard and the others come out to tell Johnny good- bye,) Enter Johnny and Jerry from house, followed by Mrs. Banks, Father Ryan, Ethel, Phil and Dor- othy. Ethel goes directly to Wayburn, C. Johnny crosses over to them — he carries dilapidated grip. Phil and Dorothy remain on porch as Mrs. Banks and Jerry go dotvn R. Jerry. .{As they enter.) Well, Johnny's ready, Mr. Waj^burn, and I think he understands everything. Wayburn. Good. You haven't much time, John, now don't miss your train. (Shakes hands. Johnny and Ethel go up C. to gate.) Father Ryan. {On porch with Phil and Dorothy.) Where is the boy going. ^^ Phil. He's going west on business for Mr. Wayburn. Mrs. Banks. {To Johnny, who is up stage with sister.) No time for long farewells, Johnny! (Johnny ignores her.) Dorothy. : {On porch with Phil.) Now's your chance — ask him now. {She pushes him forward.) Phil {Crossing C. to Wayburn.) Say, Mr. Wayburn, I'd hke mighty well to work for you myself. I just got back with my regiment 58 FOR THE LOVE OF JOHNNY and I'm at liberty. (Dorothy of course is very much interested — all the while Father Ryan keeps his eyes glued on Johnny. Jerry steps from porch down R.) Wayburn. Is that so — well, what can you do.? Phil. (Taken unawares by this abrupt question.) Oh, I can march and climb — and get up at five forty-five ! (Dorothy, Mrs. Banks and Jerry laugh and Wayburn is disgusted. Mrs. Banks comes down to Jerry, R.) Jerry. (Who has been noticing Father Ryan looking at Johnny.) Did the Priest get a chance to talk with Johnny? Mrs. Banks. No — he didn't even meet him. Johnny. No — of course I won't forget little sister — I'll write — ^and I'll be back again inside of three days. Wayburn. (Aside.) Not if I can help it. Johnny. (Kissing Ethel again.) Goodbye, everybody ! Ethel. Goodbye, Johnny — I'll miss you so much. FOR THE LOVE OF JOHNNY 59 Omnes. So long, Johnny — goodbye — good luck — take care of yourself. ^^ ^ •^ Iather Ryan. {Who has ivorhed toward Johnny.) If you don't object, my lad, I'll walk down the road a ways with you. {He goes out gate.) {There is general consternation — Mrs. Banks, Jeruy, Wayburn.) Wayburn. Who is that man ? ^ Jerry. {Crossing to Wayburn, C.) He's the Priest come to take Father John's place at the Mission. He had an Indian guide. (Phil and Dorothy cross at back to well.) Wayburn. Are you sure he's a Priest .^^ (Ethel is looking down road at hack. Dorothy and. Phil have worked their way over to well.) Jerry. {Nervously.) I think, Ma — I'll walk along with them — {He starts out as Dorothy at well screams — seeing the head of Turkey-Legs emerge from well dripping with water — general amazement — Wayburn stands enrasred. ) Jerry. What are you doing in there .^ Mrs. Banks. .Well of all things ! Turkey-Legs. Huh ! Heap much water down there ! 60 FOR THE LOVE OF JOHNNY Wayburn. ( Who has not taken his eyes off Turkey-Legs. Wayburn is L. C.) What were you doing in that well ? Turkey-Legs. (With a sly look — full of meaning at Wayburn.) Me gonner catch a frog! Quick Curtain. "GOOD-BYE, JOHNNY— I'LL MISS YOU SO MUCH" FOR THE LOVE OF JOHNNY The Second Act. Scene: The scene is an interior. The living room of the ranch house. There is a door down R — which supposedly leads off to the rear rooms of the house. A practical door made of wood with a lock and key, which key is seen in the lock on the living room side. At the hack extreme left IS a large curtained archway which leads to entry way^ of front door, which is supposedly just out of sight off left of entry way. At the center of back flat is a window with curtains, and to one side, the R. side, is a hook-shelf, with a lot of odd 'volumes and magazines stuffed away in it. The room is not untidy in appearance, hut old-fashioned and countrified. There are a numher of charac- teristic chairs ahout the room,~a sofa, and on a table L. C. are a numher of magazines, also cata- logues of some mail order houses, —and an oil lamp. 1 his lamp has to he especially made—for it is upset in a fight and falls off table and goes out. Down U.isa sewing machine with chair behind it— the machine is facing up stage away from audience. A mirror on R. wall. As curtain goes up, Dorothy is picking up odds and ends of thread, small pieces of fabric, etc. Ethel IS seated at machine with hack to audience, just completing dress for Dorothy. That's mighty sweet of jou, Dorothy, to help me. 61 ^2 FOR THE LOVE^F_J21i^^^^iX Dorothy. Well, I'd help you a lot more if Ma wasn't so mern about it. Besides, aren't you makmg a new dress for me-aren't you always doing something for me? Ethel. Ah, that's part of my work. I like to sew for you, Dorothy. Dorothy. Why? Ethel. Because you always look so nice-and I always look so— {pause). Dorothy. You could look nice, too, if you had P-^^yJ-;-^ to wear-if Ma wasn't so durn stmgy, she d buy you some pretty stuff once in a while. Ethel. No, she doesn't like me— Dorothy. She doesn't like anybody-I think she hates her- self-she' the sari.e brand of step-mother tha you J X. + ;„ UWm tales— I never could imagine why where she gets o**-"^;f J^!\" vt.p— hm' (Ethel ~fj:ir?,:r:;;r< -..'■.7 ----■) Geel Is it finished? Ethel. Now try it .., .nd ... l" H l~l'- «»' "" '"' dress as dialogue continues.) FOR THE LOVE OF JOHNNY 63 Dorothy. Do you like Philip, Ethel? Ethel. Why of course I like him — I don't see how anybody could help but like him — he's so good-natured. I don't think he ever could get real angry. {During above speech Ethel places chair R. C. on which Dorothy stands as Ethel observes the hang of skirt.) Dorothy. Don't you know that all fat people are good- natured.^ We went to church last night and met the new Priest, Father Ryan. He's a grand man, Ethel, just as sweet and jolly as he can be — you'll like him I know. He asked all about everybody here, espe- cially you — he seemed awfully interested in j^ou — and asked if we all Avent to church regularly. I told him you and Johnny did, and I did — and I'd see that Phil did hereafter ; then he asked about Ma and Pa and said he was coming over today or tomorrow and have a talk with them. I didn't say boo — but I thought if he ever got Ma to come to church he'd be going some. (All during this speech Ethel has been busy put- ting the dress on Dorothy, fixing it up here and there and looking it over woman like — the dress is now on and she stands back.) Ethel. Now, how do you like that.? Dorothy. {Gets down and crosses up R. to mirror.) Oh, I like it — I think it's just as sweet as it can be — don't you.? 64 FOR THE LOVE OF JOHNNY Ethel. It looks mighty nice on you — I'm so glad you like it! Dorothy. (Coming down R. C.) Thank you, Ethel! (She kisses her.) You're just awful good to me — and you always have been. Ethel. (Takes Dorothy m her arms.) Because you're a dear sweet girl and I love you. Sometimes I think, Dorothy? that if it hadn't been for you I should have given up long ago. Dorothy. Oh, don't say that! Ethel. (Rolling sewing machine back against R. wall above R. door.) I mean it. With Johnny at the mill all day long, at times I have become so lonely, uncertain and dis- satisfied. They've made it so plain that we were not wanted here, and yet there seemed to be no possible chance of bettering our conditions, until Mr. Way- burn decided to give Johnny an opportunity- — and now I believe it has been for the best. And after all, Dorothy, you needed a mother as much as I did, and it was in mothering you that I was able to forget — the other things. Dorothy. (Thoughtful — at table.) Ethel — somehow I don't like that Dick Wayburn — I never did like him. He always reminded me of a — some kind of a frog — kind of slimy. FOR THE LOVE OF JOHNNY 65 Ethel. {Laughing.) Oh, I don't think he's as bad as that — it was mighty good of him to notice Johnny's work and to show his appreciation by sending him to San Fran- cisco. He promised to raise his salary, too, and give him a much better position. Dorothy. Yes, — but he's got something up his sleeve — I'll bet you. Ethel. Please don't take that away from me, dear — it's my only hope — my one great chance of becoming free. He asked me to marry him! Dorothy. The son-of-a-gun ! But surely you — Ethel. I don't know — I haven't had a chance to talk it over with anyone — I don't love him, if that's what you mean — but if I thought it would help Johnny — Phil bursts in archway at R. rear, . Phil. Hello, everybody! {Both girls start.) Positions. Phil. Ethel. (table) Dorothy. Dorothy. Oh, Phil, you like to scare people, don't you.? 66 FOR THE LOVE OF JOHNNY Phil. (Seeing Dorothy's new dress.) Gee ! You must a been expecting me — you sure do look great — doesn't she, Ethel? (Ethel 7iods and Dorothy is pleased that he has noticed her new dress, so she turns around to show it off, taking R. C.) Where's Ma? ^ Dorothy. Up stairs. p (Coming down C.) Then we're all safe for a little while — I came over to ask you to marry me. (Ethel laughs.) Dorothy. Oh, Phil, don't be silly ! Phil. Oh, go on, marry me, won't you? The last thing I told Father Ryan last night was that I'm going to engage his professional services in a very few days. Dorothy. Oh, you didn't? p I sure did, and he's strong for it, too. Dorothy. (Winking at Etitel.) Well, you'll have to get my mother's consent first. Phil. It's all off! (Both girls laugh.) Why do I have to get her consent? I don't want to marry your Ma. Dorothy. Anyway you'll have to get a job first. FOR THE LOVE OF JOHNNY 67 Phil. (Just below table.) Don't wcrry — I've got one all salted down waiting for nie— now I'm going to be serious a minute. (Ethel laughs.) You don't think it's possible, do you, Miss Ethel? Now listen— Pa's promised to stake me, and I'm going into the real estate business — honest— he says there's a fine field in that line for a fellow like me. ^ Ethel. Phil, I think that's splendid. Dorothy. When do you start? Phil. Right away. I'm going to have my office in the county seat— my own name on a shingle outside the door— then all I have to do is to rear back m^ my chair— put my feet on the desk— smoke a black cigar —and let 'em come to me. (Struts around the room.) Furthermore, if I make good there in six months. Dad promised to give me the httle home m Santa Fe. Dorothy. I'm glad that — Mrs. Banks. (Calling off stage R.) Ethel! Ethel. Yes! Dorothy. Here comes Ma! Phil. Here goes Phil! (Grabs for his hat and starts toward archway.) 68 FOR THE LO VE_OFJOHNMY Dorothy. Wait! (Phil comes down R.) Mrs. Banks enters R. door,~stops on threshold. There's a dead silence — she doesn't see Phil who is standing down left. Mrs. Banks. {Coming to C.) Why don't jou answer me? Ethel. I answered you, Aunt. Dorothy. She did answer. Mrs. Banks. (Shaking her finger at Ethel.) Don't you dare talk back to me, you lazy brat ! (Ethel stands immovable.) Dorothy. Oh, Ma! ,, ^ Mrs. Banks. You shut up! ^ ^ Phil. (Has been gulping, but finally musters up enough courage. ) See here, Mrs. Banks. Mrs. Banks. (Seeing him for the first time.) Well of all things — who let you in here.? Phil. (Boldly.) I know I'm in your home, Mrs. Banks— and with all due respect to you— I— I— (Mrs. Banks gives htm a quick fiery look. He withers under her gaze.) FOR THE LOVE OF JOHNNY 69 Mrs. Banks. What are you gabbering about? Phil. This poor girl didn't do anything. Mrs. Banks. That's jes' it — she never does anything — besides you mind your own business. {To Ethel.) Now don't you commence blubberin'. Go to BelPs farm and fetch two pails of drinkin' water — take them buckets on the back porch. Phil. Why that's half a mile down the road ! Mrs. Banks. Well, what if it is — we gotter have drinkin' water — and that's the nearest well to ours. Since that skulkin' Indian fell in our well the water's been so roily it ain't been fit to wash with much less to drink. {To Ethel.) Well go on, what are you standing there gawkin' at me fer.? (Ethel exits quickly out of door R.y p^^^ Well, I'm going to help her carry — {Starting to cross R. meets Mrs. Banks.) Mrs. Banks. No you ain't — she'll carry 'em herself. She does harder work than that around this place and she'll do lots more if she stays here. Are you goin' to take Dorothy to that dance this evenin'.? Dorothy. Sure, haven't you noticed my new dress ? Phil. That's why I came over — I'm going to take Doro- thy and Ethel both. 70 FOR THE LOVE OF JOHNNY Mrs. Banks. You ain't gonner take Ethel. Dorothy. Oh, why, Ma? j,^^^ jjanks. 'Cause she ain't a-goin' — she hasn't got nothin' decent to wear — and I wouldn't want you seen with Dorothy. But Ma, I'll lend her one of my dresses — and we have a dance so seldom. Mrs. Banks. You heard what I said, didn't you? (To Phii..) And if you're gonner take Dorothy dressed up in that — don't you think you oughter have on some decent clothes yourself? Phil. Well, my civilian clothes, I'm afraid, will fit me too soon — you know I've gained about twenty-five pounds since I joined the army. How about it, Dorothy — you want me to change? Mrs. Banks. Dorothy. Suit yourself, Phil. Phil. (Going up with Dorothy to archway.) Well, I'm going home and hang on some glad rags — just for you — if I can get into 'em — but I'll have to hurry — goodbye ! I'll call for you soon as I can get back. (Phil makes a face at Mrs. Banks, who turns at that moment toward him, whereupon he giggles and bows.) Ta-ta, mother! (Phil exits archway.) FOR THE LOVE OF JOHNNY 71 Dorothy. (Coming down R. C, to Mrs. Bakks.) Don't you think my dress is pretty, Ma? {Turns around to show it.) Mrs. Banks. The goods is all right, but I can't say much for the way it's made— looks like it was cut out with a meat axe. You goin' to your room.? Dorothy. ^^^' Mrs. Banks. Well, holler to your Pa to come in here. I want to talk to him. Dorothy. {Stopping at R. door.) Here's Pa now. j^^^^^ {Entering R. door.) Dressed so soon? Dorothy. {In a whisper.) Just wait — you're going to get it. Jerry. Where's Ethel? IMrs. Banks. I sent her to fetch some water. What do you want with her? j^^^^^. {Crossing to chair R. of table.) Ain't it time she was getting ready for the dance? Mrs. Banks. {At R. C.) Dance ? 72 FOR THE LOVE OF JOHNNY Jerry. Ain't she goin^ to the dance tonight? Poor kid, I don't think she's ever been to a dance in her hfe — and I can't help feehng sorry for her the way things are turning^ out. ^^ -r, ^ Mrs. Banks. (Crossing to chair back of table.) Well of all things ! What do you suppose Mr. Wayburn fixed to have that dance fer tonight.'^ Jerry. How do I know.f^ Mrs. Banks. That's jest it — you don't know nothin'. Well, it's just because he wants us all to go so as he can come over and see Ethel alone. Jerry. You think he's honorable in his feelings for her.^^ Mrs. Banks. What do you care if he's honorable or not so long as he takes her away from this ranch .f^ I tell you we got to get rid of her. Jerry. But Ma, you don't feel about her the same as I do — blood's thicker than water and she's my brother's ^^^^^' Mrs. Banks. I jest knowed your knees would begin to shake pretty soon — and you'd start whinin'. It ain't pity what's troublin' you — it's fright ! Just because you talked to that Priest yesterday — Jerry. (Rises and with hands clenched behind his backy walks up and down, greatly troubled.) Yes — and — I know something. FOR THE LOVE OF JOHNNY 73 Mrs. Banks. If you know anything — I wish you'd tell it. Jerry. Well, I can tell it, too. Mrs. Banks. Well, spit it out. Jerry. {Coming to table.) I know that Father Ryan is Johnny's brother. Mrs. Banks. He's what.^ -r Jerry. He's Johnny's brother. Mrs. Banks. Why, you're crazy; how can Johnny and Ethel and that Priest — ^ Jerry. Ethel is no relation to him — he's Johnny's brother. Mrs. Banks. {Looks at him a moment, then shakes her head.) Now I know you're crazy. You mean he ain't a Priest.^ You mean he knows about the ranch here? {During following speech at table, Mrs. Banks rises and paces back and forth back of table, greatly agitated.) ^ ^ ^ Jerry. He don't know nothing yet. He don't even know that Johnny's his brother — at least he didn't when he left here yesterday — but you heard him say he was going to walk down the road with him. Lord knows what happened when they got together. He told me he was out here looking for his brother — I always thought the boy and Ethel was real brother 74 FOR THE LOVE OF JOHNNY and sister — but according to his story, Johnny's no relation to Ethel at all and was adopted by my brother out of an Orphanage. Mrs. Banks. {Stopping back of table and pounding it.) I knew it! Ah ! I knew durn well. They was always too mushy — to be real brother and sister. They just been deceivin' us all the time. Jerry. (Crossing to chair R, and sitting remorsefully.) You're just talking foolish — why they don't know they ain't brother and sister. I wish I'd never started this thing. I got a good mind to go right to Father Ryan and confess the whole business. Mrs. Banks. (Crossing to him.) Now look here, Jerry, don't make a bigger fool of yourself than you jest naturally are. You'll do nothing of the kind. (Crossing and sitting L. of table.) When I married you, you told me this place be- longed to you. Now what do you suppose I spent all these years raisin' them youngsters fer.? They owe me something, don't they.? And they're too no- account, worthless to pay it — so I gotter git it in my own way, an' if you're a-scared to finish something that you started, I'm not. So you jest keep your mouth shut and leave things to me. Hm! You talk about goin' to confession ! Now that a new Priest has come out here and knows all about your crook- edness, you want to run to him and confess. If that ain't jest like you. You gittin' scared about your soul.f^ FOR THE LOVE OF JOHNNY 75 Jerry. I was a mighty good Catholic before I married ^ * Mrs. Banks. Did I make you quit goin' to church.? Jerry. Yes, you did — and you put me up to all this devil- Mrs. Banks. You know very well, Jerrymeyer Banks, that hell will never be full till you git there. {There is a knock on the front door.) Come in! Wayburn enters through archway, Wayburn. How are you, folks.? Mrs. Banks. Howdy-do, Mr. Wayburn — step right in! Jerry. {Going up and shaking hands.) Good afternoon, Mr. Wayburn, have a seat. {Of- fering chair R. of table.) It's been a fine day. Wayburn. {Sits.) Yes, pretty warm — how's Miss Ethel today.? Mrs. Banks. Oh, she's all right — she's gone down to Bell's to fetch some water. You know that dirty Indian roiled our well all up yesterday. Wayburn. By the way, have you seen that Indian since.? % FOR THE LOVE OF JOHNNY Jerry. (Standing C.) . No, I suspect he won't bother us any more after what Ma said to him yesterday. Ha, ha! You left in such a hurry you didn't hear the big row. Wayburn. (Suspiciously.) Did the Indian say anything? Jerry. Ha, ha! Ma didn't give him a chance — I tell you she did all the talking. Wayburn. Where do you suppose he came from.? Do you Mrs. Banks. Sure — he guided the Priest to the Mission — you Wayburn. Then he knows the Priest ? Jerry. Oh, yes — they're pretty friendly — why.? Mrs. Banks. I shouldn't wonder if he ain't campin' down there at the Mission — that is, if he's still here. Jerry. We can ask Father Ryan about him. What do you want with him, Mr. Wayburn.? Wayburn. Lord, I don't want him ! Is Dorothy going to the party tonight? j^rs. Banks. Yes, Phil's gone home now to dress. He's gonner to take her, and Jerry meyer and me are goin' down FOR THE LOVE OF JOHNNY 77 to Leavenworths to visit a while, so you and Ethel can have your understanding here all by yourself. (Jerry gives her a quick look and she responds with expression signifying "shut up.'') Now, how about the renewal of that note, Mr. Wayburn ! (Jerry crosses hack of table.) Wayburn. I have the new note all made out Mrs. Banks, just as we talked it over — due six months from now. (He gives it to her — she reads it and hands it over to Jerry to read.) You people have kept your agreement with me and I'm going to keep mine with you. If you'll just sign that I'll give you back your old note in place of it. Mrs. Banks. Jerry, go git a pen and ink. Jerrv. (At R. door.) I tell you what, Mr. Wayburn, that's a mighty big rehef to me. I'll bring a pen right away. (He exits door R.) Wayburn. (Low tone to Mrs. Banks.) How long will you folks be gone tonight? Mrs. Banks. W^l^- Wayburn. Don't hurry yourselves — you know we've never had a chance to talk matters over quietly alone. It may take some time to convince her. Mrs. Banks. You can take your own time. Nobody's gonner bother you. When you fixin' to marry her.? 78 FOR THE LOVE OF JOHNNY Wayburn. That's it — I've got to work so fast — and she may not be wilhne^. ,^ „ ^ Mrs. BANifs. Well, there's ways to make her willin'. If I was you and she got stubborn, I'd just pick her up and carry her away — she'd mighty soon come around when she found out who was boss. Wayburn. {Laughing.) No — ha, ha! I think I've got a better way than that — tell me, does she like candy .^^ Mrs. Banks. I guess she does — why.? Wayburn. Oh, nothing — except that I've got a little box put up for her. Enter Jerry with pen and ink, R. door. Jerry. STou never can find anything around this house when you're in a hurry. Wayburn. Oh, the note. Yes, just sign it here. Jerry. (Signs it.) There you are! ^^^ *^ Wayburn. Mrs. Banks! (She signs.) Mrs. Banks. (At L. of table.) Yes — there, that's all right! Wayburn. Yes, and here's the old note — thank you. FOR THE LOVE OF JOHNNY 79 Jerry. (Back of table.) Tell me, Mr. Wajburn — excuse me for asking — what did you do with Johnny? Wayburn. (Sitting R. of table.) Oh, he's all right. As I understand it, you wanted to get rid of him — so did I — so I sent him on a little trip I have sent others on before and they have never come back. Jerry. You don't mean — ? Wayburn. No, I don't mean that he's dead, or anything like that. I simply mean that that letter I gave him was addressed to a friend of mine who operates a Shang- hai Bureau — you know what that is.^^ Mrs. Banks. No. Jerry. I know what a Shanghai rooster is. (Wayburn laughs.) Wayburn. That's a little different. These Shanghai men make it a business of rounding up all the bums they can find, and they forcibly put them to work aboard ships sailing the high seas — so by this time tomorrow night our friend Johnny will be sailing his way over the great Pacific Ocean — and the chances are he'll never come back — ha, ha ! Y^ou see it's all in know- ing how to do it. Mrs. Banks. Y^ou're a wonderful man, Mr. Wayburn. 80 FOR THE LOVE OF JOHNNY Jerry. (Going up to window at back.) After all that might prove to be a good thing for Johnny, mightn't it? Ways URN. Oh, it will be a good thing for him all right. They'll keep him working, if that's what you mean — and he'll have no opportunity to write home and complain — or to practice his oratory. Mrs. Banks. • Now we've got some news to tell you. It's about this Priest. Jerry. {Who has been looking out of window.) That your new team out there, Mr. Wayburn? Wayburn. (Rising.) Ye's, I bought them last week. What do you think of them? Jerry. Let's go outside. Ma, and look at Mr. Wayburn's new horses. {Starts out archway.) Wayburn. {Following Jerry.) Come on, Mrs. Banks — we can talk out there. Mrs. Banks. {As they go out.) Well, it's about this Father Ryan and Johnny. Did you know they were real brothers? {Exit through archway.) FOR THE LOVE OF JOHNNY 81 Enter Ethel, R. door, folloived by Father Ryan. Ethel. {Coining to table — he remains standing.) Now sit down, Father — you must be tired. (^She pulls up a chair.) Father Ryan. Tired? I never get tired. That's just good exer- cise for me. ^ Ethel. (Sweetly.) It isn't often I have anyone to help me, and I'm not used to it. ^ ^ Father Ryan. But no man would let you carry those two heavy pails that distance — besides I was on my way over here especially to see your aunt and uncle. Ethel. They don't seem to be in. Just make yourself at home. I'll go and look for them. (Starting toward archway.) ^ ^ '^ ■ Father Ryan. No, please don't ! I regard it as a very happy oc- currence for me, because I'm glad to have the oppor- tunity to talk to you, and to get a little better acquainted. -r^ ^ Ethel. Then please sit down. Father Ryan. After you. (She looks surprised, then sits R. of table. Father Ryan then sits R.) Did I under- stand you to say you were fond of Father John.? Ethel. Oh, yes ! He was one of my few real friends. 82 FOR THE LOVE OF JOHNNY Father Ryan. I have a letter from him teUmg me of you and requesting me to advise and to help jou in any wiiy I can, which of course I am only too happy to do. Ethel. That's just like him — isn't it.? He was always thinking of others. Father Ryan. Are you happy, my child? Ethel. Fatlier, I have been happier since yesterday than ever before in my life. Father Ryan. Why since yesterday.'^ Ethel. Because of Mr. Wayburn's kindness. Oh, I have prayed so long for Johnny, and it seemed to be — at last — an answer to my prayers. Father Ryan. You know, last evening, I walked up the road with Johnny, as far as Mr. Wayburn's place. He told me something about himself and you — I was naturally very much interested in him. Ethel. You're interested in him.? Father Ryan. Why, yes — but hardly any more than I am in 3^^^— Ethel. Oh, Father, we'll both strive to deserve your friendship! Father Ryan. I was keenly touched by his devotion to you — his all absorbing love for his little sister — you are his sister, are you not.? FOR THE LOVE OF JOHNNY 83 Ethel. Oh, yes ! We are everything and all to each other — I suppose he told 3^011 that our parents died when we were both very young. Father Ryan. Yes. -^ Ethel. And how my Uncle brought us out here, for we had no other relatives, and reared us on this ranch. Father Ryan. Yes. -r^ Ethel. And how, after we had been here two or three years, I think it was, my Uncle married this — woman — we call her Aunt. Of course, she's no relation of ours, and that's the reason why — why — Father Ryan. {Rising and crossing to her.) Go on, my child, yofi may trust me — Ethel. Why she hates us so — Father Ryan. Are you quite sure she — dislikes you.^^ Ethel. We feel no bitterness toward her — if she would only let us alone. Oh, Father, I have never dared to speak to a living soul about this — Father Ryan. You may tell me — Ethel. I have borne the brunt of her unkind words — her cruelty, because she has centered them mostly on me 84 FOR THE LOVE OF JOHNNY — and I, not daring to tell Johnny, because I knew he would not have the patience to bear it, as I have borne it all these years. She wants us to leave this place — but we have never been able — she pays me nothing. I work for my board, and the little Johnny makes at the mill goes to pay his board, and to buy a few books. We've educated ourselves as far as we've gone. I think my Uncle would be kinder to us if it weren't for her^ — she is just as mean to him at times as she is to us. I am sure our parents must have left us something — but if they did — it has been taken away from us — and yet — oh, Father — these thoughts have been burning — burning in my breast so long, that now I feel as if my heart would break! (She stoops at his feet and cries.) Father Ryan. (Lifts her up.) There, there, my child! Peace and be still! Our Father who art in Heaven, hallowed be Thy name. Thy kingdom come — Thy will be done on earth as it is in Heaven. With the help of our Heavenly Father I shall strive to make her see you in a different light hereafter — and learn to love your goodness. (He goes around back of table.) Now tell me something about your- self. Do you remember when Johnny — do you re- member your parents at all.^ Ethel. Only slightly. You see we were very young. I remember the day my Uncle came to take us away — there was so much excitement in the house, and they wouldn't let us go upstairs — but I knew that FOR THE LOVE OF JOHNNY 85 something dreadful had happened to my mother. There was a nurse there at the time — a sweet young woman and very kind to me — it was she who told me that God had taken our parents away, and she lifted me up in her arms, and I remember the tears in her eyes as she kissed me — but of course we were too young to really understand. It was not till long afterwards that my Uncle told me they had been killed — so Johnny and I have hardly known a moth- er's love — but he has been father, mother, brother and all the Avorld to me. Father Ryax. Has Johnny ever thought of getting married.'' Ethel. (Startled.) Of marrying. Father? Why do you ask that.'' Father Ryax. Surely you have contemplated — you have thought that the time would some day come when you or he would fall in love with someone and marry — haven't y^^- Ethel. (She is troubled at the thought.) No, Father, I never thought of that. Father Ryax. Have you never thought of marrying, my child.'' Ethel. Mr. Waj^burn — wants to marry me — but I could never think of leaving Johnny. Father Ryax. But isn't it the history of every brother and sister that when they become of age — 86 FOR THE LOVE OF JOHNNY Ethel. Oh, Father, please — I'd rather not speak of that now— Father Ryan. (Crossing around L. of table.) My daughter, I do not wish to bring you anything but happiness. I am seeking only for the truth. Ethel. (Rising.) But, Father, I wouldn't tell j^ou anything but the ^^^^^' Father Ryan. (Crossing to her.) I know — indeed I am sure of that — but I suspect that you, poor child, along with your other burdens, have been fighting something — something — that you do not understand. ,^ Ethel. I don't know Avhat you mean. Father! Father Ryan. I know you don't — and I know your soul is as pure as a lily of the field — suppose that you and Johnny were not in any way related. ^^ Ethel. (Rather puzzled,) Father Ryan. Suppose that you and he had been reared together, just as you have" been — and you found out now — at this moment — that he were not your brother — would that change your love for him.? Ethel. (Still not understanding what he is driving at.) Why — I don't see how it could — I would love him just the same. FOR THE LOVE OF JOHNNY 87 Father Ryan. Then you think your love for him is something more than a sister's love? Ethel. I don't know, Father — ^I have never analyzed it — all I know is that we have been inseparable and de- voted to each other. Father Ryan. Listen, my child. God works in mysterious ways His wonders to perform. I, too, was an orphan — reared in an orphanage in Denver, with a small brother. About sixteen years ago my little brotlier was adopted, with my consent, into a lovely home. A little girl was there for him to grow up with aivJ to cherish as his sister. I, too, was devoted to my little brother — but from that day I never saw him again — until — until yesterday. Ethel. Yesterday .? „ .^ -^ JbATHER KyAN. For sixteen years I prayed to our Heavenly Father to bring us together, for, like 3^ou, he was all I had in the world. And never once did I lose faith in the belief that my prayers would be answered and we should some day meet again. I often pictured him — from year to year — as I thought he would look, and with a firm faith in his inherent goodness, I knew that wherever he was, he was straight and true and strong — this little brother of mine — he is — Johnny! Ethei,. {^Greatly affected.) My brother? Father Ryan. Your adopted brother. FOR THE LOVE OF JOHNNY Ethel. Why, it seems like a book story — so that's why you were asking me all of those questions — I think I understand! Oh, I am so happy! Father Ryan. I knew him — almost the moment I saw him. Ethel. Did you tell him. Father .^^ Father Ryan. No, I wanted to tell him — but — Enter Mrs. Banks at archway, Mrs. Banks. Well, of all things ! Father Ryan. How do you do, Mrs. Banks. Mrs. Banks. Father Ryan ! How in the world did you come in ? Ethel, why didn't you tell us Father Ryan was here? Ethel. ■ Well, I was — Positions. ^ ^ Mrs. Banks. JbATHER Ryan. Ethel. Father Ryan. She was going to tell you, Mrs. Banks, for I came over especially to see you and your husband — first of all I wanted to thank you for your very generous hospitality of yesterday. Mrs. Banks. How long have you been here. Father.'' Well, of all things ! FOR THE LOVE OF JOHNNY Father Ryan. Only a short while. As I was coining over I met your niece carrying some water, and I was glad of the opportunity to help her — that's why she brought me in the back way. Mrs. Banks. {She gives Ethel a black look.) Oh, I see ! Just a minute — I'll call Pa — Pa ! Jerry. (Outside.) Coming! ^^j-^^^ ^^^^^ Ethel, I think you'd better run back over to ^^^^^~ Father Ryan. If you don't object, Mrs. Banks, I would like to have her remain here just a little while — for I want very much to talk to you all together — Mrs. Banks. {Excitedly.) But she's got her work to do — Pa! As she calls Jerry enters through archway with Wayburn. j^^^y. Yes, I'm coming — I was just telling Mr. Wayburn — {sees Father Ryan). Well, this is a surprise — good-day. Father ! Father Ryan. Good-day, Mr. Banks! Positions. Mrs. Banks. Jerry. Wayburn. Father Ryan. Ethel. (Table.) 90 FOR THE LOVE OF JOHNNY Wayburn. (Coming down L.) And how are you feeling today. Miss Ethel? Ethel, (At extreme R.) Just fine, Mr. Wayburn, thank you. Jerry. (Coming down C. with Father Ryan.) You didn't meet Father Ryan yesterday, did you, Mr. Wayburn.? ^,, •^ Wayburn. Father Ryan, I'm right glad to meet you! Father Ryan. (Looks kindly hut steadily at him.) I wish I could say the same to you, sir. (There's a little embarrassment all around.) Jerry. When did you come. Father — I didn't see you. (Father Ryan starts to answer.) Mrs. Banks. Ethel and him come in the back way while we was out in the yard. , ^ Jerry. (Going up to Mrs. Banks back of table.) Oh, I see! Father Ryan. (Innocently.) Yes, I was just telling Miss Banks how she had lost her brother. (Consternation — Mrs. Banks, Jerry and Way- ^^^^•) Wayburn. What do you mean — lost her brother.? FOR THE LOVE OF JOHNNY 91 Father Ryan. She lias lost her brother Johnny — because I have discovered that he is my brother ! Jerry. {Greatly relieved.) Oh, I see — you think that he's the boy you've been looking for all these years .^ Father Ryan. I am very happy to say that I am sure of it, sir! Wayburn. (Crossing to below table.) Mr. and Mrs. Banks were telling me something about that. Father, and while we are all very much in sympathy with you in your search, we can't ex- actly figure out how this thing can be possible. Father Ryan. I'm not sure that I quite understand you, sir! Wayburn. Well, it seems to me that in your eagerness you're grasping at straws. Have you any proof that this ^ Father Ryan. Proof, sir ! I am a Catholic Priest — and I have dedicated my life to the truth! Mrs. Banks. You see. Father — Mr. Wayburn is a business man — and being the man v,'ho hires Johnny — Father Ryan. Still I cannot see why I should be obliged to offer proof to anyone but to Johnny and his adopted sister here. I am not claiming any reward. When the boy returns it will only be necessary for me to ask him a few questions and I am sure you will see — ^and 92 FOR THE LOVE OF JOHNNY understand. {Then very formally.) In the mean- time, Mr. Wayburn, as his brother I wish to thank you for giving him a chance. Wayburn. Oh, that's all right — I'm glad to do it ! Father Ryan. {With meaning.) I sincerely hope you are actuated in this by a gen- uine interest in the boy. Wayburn. Why, what do you mean? Father Ryan. Frankly — if I had been informed yester eve about certain things as I have been since, I think I should have tried to persuade my brother not to go. {Again there is consternation. Mrs. Banks cow^s down between Wayburn and Father Ryan.) Mrs. Banks. Mr. Wayburn has been awful nice to us here. Father, and we feel mighty friendly to him. Father Ryan. I want to feel the same, Mrs. Banks, it is just a matter of understanding. I should like to call upoik you tomorrow, sir, if you have no objections. I believe it would redound to our mutual interest to know each other better. Wayburn. {Surly — going up stage.) Because you're a Priest you think you can insult everybody — I don't want to see you. (Ethel crosses up to archway.) _ But, Mr. Wayburn — FOR THE LOVE OF JOHNNY 93 Father Ryan. I'm sorry. I must be going — it's getting late and I have a little mission to perform before going home. How. far is it to Mr. Gloyd's place from here.^^ Jerry. It's about — a little over a half mile west. Father Ryan. Toward Bells'.? Ethel. No, the other way, Father — I'll show you. (Eivit E^THEL through arch) (As Father Ryan goes to archway y Wayburn comes down L.) Father Ryan. (Stops in archway.) Mr. Harding, I mean Mr. Wayburn, before I go, I think I should tell you that Turkey-Legs was shot through the arm. I dressed his wound. Wayburn. ' What has that got to do with me? Father Ryan. I don't know, but I do know that he is bent on vengeance. Unfortunately, he is not a Christian and my arguments do not reach him. Wayburn. Well, why are you telling me all this.'' Father Ryan. I am not judging you, my friend, I have no means of knowing that what he says is true. But if it is true, and you escape the judgment of Society," do not forget that there is a Higher Judge and court before whom you must some day be tried. If it be true, I beseech you, repent while there is yet time ; confess 94 FOR THE LOVE OF JOHNNY your sins to God. {Then addressing all of them.) Come unto Him, all je who are heavy laden, and He will give you Peace. {He exits archway.) Mrs. Banks. What's he talking about.? Wayburn. Why, the man's half crazy — that Indian's noth- ing to me — I never saw him before in my life. Jerry. Things are going from bad to worse. Mrs. Banks. Oh, shut your mouth — don't you commence whin- in' again. What are we going to do about this Johnny affair, Mr. Wayburn.? He seemed to suspect something. Wayburn. How can he know anything — don't worry. If he bothers us any I'll find a way to get rid of him, too. Jerry. How do you mean.? As Ethel enters through archway. Mrs. Banks. « Sh! See here, what do you mean bringin' that Priest in here without tellin' us nothin' about it.? {She twists Ethee's wrist.) Ethel, (/ti pain.) Positions. Ethel. Mrs. Banks. Jerry. (Table.) Wayburn. FOR THE LOVE OF JOHNNY 95 Jerry. Quit it. Ma! {Takes Ethel.) Now you just let her alone ! (Jerry swings Ethel down B., protecting her.) Mrs. Banks. Well, I don't want him in this house again — you understand.^ He ain't nothin' but a trouble maker. (Ethel starts to leave room, mortified to he so treated in Wayburn's presence.) Git a match and light this lamp. Wayburn. I have a match, I'll light it for you, Miss Ethel. (Ethel sinks in chair down R. weeping.) Mrs. Banks. Pa, git your hat now, if we're goin' to the Leav- enworths this evening, we'll have to hurry. (Jerry takes hat off rack at back.) Wayburn. I'm going down that way, so you can go right along with me. You'll ride behind as fine a team of horses as there is in this country. (During above speech, Jerry and Wayburn have gone out through archway.) ^^^^ ^^^^^ Ethel, we're goin' over to Leavenworths fer a little Avhile, and Phil's coming over to take Dorothy to the party. That means you'll have to stay here and look after things. (Ethel doesn't answer.) Well, why don't you say something.? Ethel. I don't know anything to say. Aunt. 96 FOR THE LOVE OF JOHNNY Mrs. Banks. No, I guess there ain't nothin' to say. As she starts out door, Phil, who is entering hur- riedly, bumps into her. Mrs. Banks. Oh, I beg your pardon, Mrs. Banks ! Mrs. Banks. Nearly knocked me down! Well, of all thmgs — • it's a pity you can't look where ^^ou're goin' ! {She exits in a huff — Phil watches her.) Phil. It's a pity you can't go where you're looking! (Phil is now dressed in civilian clothes which are somewhat too small for him — not burlesqued — but the trousers, although the right length, are much too tight for him around the hips, and the vest doesn't quite meet the trous^ers when he is standing ^^^^^•) Ethel. {At R. C.) Well, Phil, ha, ha ! I never Tvould have known ycu ! W^hat did you do with your soldier clothes.'^ Phil. {At C.) Oh, her Nobs thought I ought to dude up a little for Dorothy's sake and I don't know but what she's right for once in her life. But believe me, I almost had to use a shoe horn to get into 'em. You know I gained some beef since I joined the army. Ethel. I'll go call Dorothy — ^just sit down a minute. FOR THE LOVE OF JOHNNY 97 Phil. (Mock serious,) You don't know what you're asking of me. Ethel. (Laughing.) Well, anyway, Dorothy will be glad to know that vou are here. ^ Phil. Tell me truly. Miss Ethel, does this suit look bad.'^ (Struts around carefully.) Ethel. No, I wouldn't say it looks bad — it's all right. (Laughs.) It does seem a little small for you. Phil. It doesn't seem to be, it is! But this is a fancy dress party, and I'm wearing a geographical dress. You see — (indicating with his finger) North Amer- ica — (pointing to vest) South America (pointing to trousers) and Panama Canal — (pointing to gap he- tween). Ethei,. (Laughing.) Just wait a moment and I'll call Dorothy. (She exits door R. Phil looks at himself in mirror, squirms around somewhat endeavoring to get com- fortable, and does whatever comedy business that may be suggested at rehearsals, according to his personality and the direction of producer. He looks at chair and wonders whether or not he had better take a chance and sit — tries it but realizes his trousers are too tight.) Well, I'll have to sit sometime this evening — so here goes now! (As he sits positively this time R. of table, a loud FOR THE LOVE OF JOHNNY rip is heard — aiid his ep^fn / changes to calm resignation.) Oh, Lord ! F ■■ rwi door R. i)i>i;,()THY. (Ai; C.) ^ Phil. ^ — end with a silly expression.) Dorothy. W you look right nice! Phil. I don't feel exactly comfortable in this suit, Dor- •^' " Dorothy. Oh, nonsense! That's all imagination — you look all right. p^^^_ I can't go, Dorothy. Dorothy. Can't go — why.? „ ; {Very serious.) Not in these pants ! Dorothy. Oh, Phil — don't be silly! I tell you, you look all "S'^*- Phii.. But you don't understand, Dorothy — I wish I were back in the trenches. Dorothy. Stand up and let me look at you. Phil. Oh, I don't want to get up! FOR THE LOVE OF JOHNNY 99 Dorothy. Phil! _, Phil. No, honest, I don't think we'd better go to that dance — ^ Dorothy. (Crossing L.) I think you're mean — to treat me this way — you haven't said one word about how I look, after I tried so liard to look nice for your sake — and — and — (Phil can't bear to see Dorothy cry and rises to go over to her, and as he walks across his pants fall three or four inches — just enough to register that they are ripped up the back.) Phil. Oh, Dorothy — I didn't — oh ! (He catches his pants and pulls them up, then holds them, having his back to the door as Ethel enters. He now turns his back on her very quickly and giggles.) He, he, hello. Miss Ethel! Ethel. (Seeing Dorothy in tears.) Why, what's the matter? Phil. (In desperation.) Well^ the matter is I cracked my pants — and that's why — you needn't laugh — it's serious ! I can't go to the party in these — I knew I never should have worn this suit. Haven't you got a pair of pants to lend me. Miss Ethel? No, I mean your Uncle's pants? (Ethel is embarrassed — Dorothy now laughs.) Dorothy. Did you really tear them, Phil? 100 FOR THE LOVE OF JOHNNY Positions. Phil. Ethel. Dorothy. Phil. Didn't you hear it? I thought the whole world heard them give way, Dorothy. (Crossing to door R.) I'll get you a pair of Dad's — come in here — (They exit R.) „ ^ Ethel. (Calling to them in next room — going up to window.) I think the grey ones, Dorothy, would be the best. Dorothy. (Off stage R.) Yes, I do, too — I have them. Now hurry, Phil, or we'll be late. 7^ , -n. n Enters Dorothy, R. Phil. (Off stage.) That^s fine — I won't be a minute. (As Dorothy enters she notices Ethel has gone over to window and is looking out pensively.) Dorothy. I'm real sorry to leave you here all alone tonight, Ethel. Ethel. Oh, that's all right, dear — don't let that thought enter your mind. I want you to have a good time, and you won't if you worry about me. I sha'n't get lonesome — there's plenty to do. FOR THE LOVE OF JOHNNY 1 01 Dorothy. I hope Ma and Pa won't be gone long. Phil enters wearing very light grey pants, almost white. They fit him fairly well but they are per- fectly round in the legs. Phil. How do I look? Dorothy. That's all right, Phil. Phil. Well, anyway, I feel safe — come on, w^e'll go ! Dorothy. Good-night, Ethel ! Ethel. Good-night, dear — have a good time. Sorry about your accident, Phil. Oh, that's all right — I'm kinder glad it happened now, 'cause if I get tired dancing I can sit down. Good-night! (They exit archway.) As Dorothy and Phil exit, Ethel follows them out into entryway — out of sight as though she had gone with them to open door. As soon as she is out of sight, the door R. opens quietly and Way- burn steals in. He locks it quietly after him and puts the key in his pocket. Then tht front door is heard closing and Ethel is heard bolting it — she then returris quietly. Wayburn has in the meantime placed an attractive box of candy on the table beside the lamp, and has gone over to L. and stands quietly as Ethel enters. She does not see him. She goes over to the xmndow and looks out, and as she is stand- ing there she sees the face of Turkey-Legs appear 102 FOR THE LOVE OF JOHNNY against the pane. Ethel, stifles a scream. Wayburn does not see Turkey-Legs and thinks it was he who frightened her. Ethel in turning sees Wayburn. Ethel. {Up R.) Oh, Mr. Wajburn. Wayburn. {At table.) Miss Ethel, I'm sorry I frightened you — as a mat- ter of fact, I had started to drive your Uncle over to Leavenworths, when he told me you were here all alone — and I let him take the team and hurried back to keep you company — Ethel. It wasn't you who frightened me, Mr. Wayburn. Didn't you see—? Wayburn. I probably should have come in the front way — but as I came back it was closer to come in the rear — and there was no one here, so I thought — come, don't be afraid — I can't bear to see my little sweetheart — {he tries to take her in his arms but she quickly pulls ci'way.) Ethel. {Crossing to L.) Please don't do that, Mr. Wayburn. Wayburn. Why not? Surely you have thought over what I told you yesterday — you must know I have loved you—! Ethel. {Opposite side of table.) Please! Wayburn. {Crossing over to her.) And why shouldn't I — you're the prettiest girl in the state- — I want you to be my wife. FOR THE LOVE OF JOHNNY 103 Ethel. Mr. Wayburn — (crossing right) — I'm afraid of that Indian. „, Wayburn. (Mistaking her meaning and following.) Don't worry about him — he'll not harm me — come, sit down! (He pulls her into a chair right of table, then gets candy.) Now see what I have brought you. I kneel at your feet — and present you with this little ffift of esteem. -r^ ^ Ethel. (She is greatly pleased by his attention and by this beautiful box of candy — such attentions are nexv to her. ) Oh, isn't that lovely ! I have never had such a beautiful box of candy! (Waybuhn remains hneel- ^'^ Wayburn. I thought you would like it — let me open it for you. (Ethel holding candy on her lap — ^Wayburn pro- ceeds to untie it.) ^ ^ Ethel. That was thoughtful of you, Mr. Wayburn! Wayburn. Why I'm thinking of you all the time — how can I help it — I wonder if you know how beautiful you are! (Still at her feet.) Ethel. Oh, Mr. Wayburn! (She blushes.) Wayburn. I had this candy put up especially for you. (The box is opened. Ethel is all eyes.) It's flavored with kisses. „ Ethel. Oh, isn't it pretty.? 104 FOR THE LOVE OF JOHNNY Wayburn. Have one. {He himself takes out chocolate with pincers.) This has a cordial in it. {He leans way over to her.) Have it! {He holds it to her lips.) Ethel. {Sweetly.) No one has ever given me a box of candj before ! {She now takes the tongs from hnn, hut instead of eating it then as he watches her like a hawk, her ex- pression changes, and she says:) Mr. Wayburn, when do you think Johnny v, ill re- turn.^ {He is greatly surprised and disappointed at this change. At first he flares up — then masters him- self — rises and crosses hack of table.) Wayburn. Oh ! — oh, he ought to be back in a couple of days ! But let's not think of him now! Ethel. But I'm thinking of him all the time. Wayburn. {Leaning over table.) I'm sorry you don't like your candy. Ethel. Oh, but I do ! I like the whole box — every piece — they're lovely! •.^ •^ -^ Wayburn. Wait tin you taste it — try that piece — it's fine — • •^ ' Ethel. Won't you have some.? Wayburn. Sure — but ladies always first I FOR THE LOVE OF JOHNNY 105 Ethel. (^Coquettishly.) No, I don't think I'll give you any — you know what I'm going to do? Wayburn. What? ^ Ethel. I'm not going to spoil it — I'm going to save it just as it is to show Johnny — when he comes back home. (Puts back candy and covers it.) Wayburn. (Sever ell/.) But I brought it for you — I want you to eat it. Ethel. I know, but I don't want to be selfish — I want to show it to Dorothy, too. (He goes hack of chair and puts his arms around her. She doesn't like it hut resigns because he can't get very close to her.) Wayburn. Besides when Johnny comes back — you will be my wife — you will invite liim to live with us — and think Avhat a surprise it will be for him to see you all dressed up and the mistress of your own home. Ethel. (Rises and crosses L. to cupboard where she places candy.) Mr. Wayburn, I can't do that! Wayburn. (Following her.) Why of course you can. I want to marry you right away. We'll leave this God-forsaken hole and go and live in a city, where you will be appreciated, looked up to and admired by all. We'll have a home, and servants, autos, horses and all the refinements 106 FOR THE LOVE OF JOHNNY of luxury that money can buy for you. I'm sick of this life out here anyway and want to begin all over again — somewhere far away where the streets are paved and the nights are brilliant with electric lights — theaters, cafes, dances and all the other happy social functions that you have dreamed about as being in a land akin to heaven — far away and unob- tainable except in rosy dreams. I tell you, that's the place for you, Ethel — and I want to take 3^ou there — well, what do you say.? Ethel. (Almost won over by his oily tongue.) Oh, that would be wonderful — but what about Johnny '^ „^ *^ Wayburn. {His temper getting the best of him.) To hell with Johnny ! Ethel. {Amazed and disappointed — but quietly.) So — that's the way you feel about him.^ Wayburn. I beg your pardon, Miss Ethel — I forgot myself. Ethel. I think you did, Mr. Wayburn. You have hurt me more than you realize — I am going to my room — good-night! {Starts for door R.) Wayburn. {Going after her.) Wait! (Ethel tries door and discovers it is locked — she tries it again — not understanding — then turns and sees Wayburn glaring at her triumphantly — then realizes she has been trapped.) •FOR THE LOVE OF JOHNN Y 107 Ethel. Why — why is this? Why have you locked this door ? (Wayburn grabs her and by sheer brute force holds her tightly in his arms — and kisses her. She of course struggles but is unable to get away till after he has related somewhat.) Wayburn. Because I love you — because I want you — and will have you — „ -^ Ethel. (Finally struggling away — she is terribly humiliated, wounded and almost frantic.) Oh ! You say you love me — I have always thought that love was kindness and consideration. (She is now on opposite side of table.) Wayburn. Ha, ha! Miss Banks — you will learn that I am ac- customed to having my own way — if I cannot get a thing I want by reason — I take it by force — I ask you once again — will you be my wife.'^ Ethel. (Quietly but determined.) Yes I will — if you will stop the beating of my Iieart ! ^„ Wayburn. You mean — „ Ethel. I mean I would rather be dead! Wayburn. (Determined and desperate.) Then let me tell you — (he grabs her wrist) that your brother Johnny is in a rather dangerous posi- tion — a word from me and he will never return. 108 FOR THE LOVE OF JOHNNY. Ethel. ^^' Wayburn. Consent to become my wife, and I'll promise to keep my agreement with him and with you — ^^but refuse, and you'll never — see — him — again. Ethel. Johnny! (Screaming.) Her head swims — she reels — and sinks to the floor fainting. Wayburn picks her up and lays her on sofa at hack — Wayburn looks at her, then looks around the room, uncertain how to proceed. There's a loud nervous pound on the front door. Wayburn registers chagrin — he is undecided what to do. The knock is repeated. He looks again at Ethel lying prone — hends over her — then goes over as though to blow out the light, when there is a terrific noise — cracking of wood as though the front door had been burst open — and — Father Ryan appears in the entryway. Wayburn is caught almost C. Father Ryan stands for a moment in archway — Ethel is on couch up stage and he does not see her. Father Ryan. Where are her people? Wayburn. What business is that of yours.? Father Ryan. It is my business to protect the innocent. Wayburn. What right have you to break into this house like a thief.? Father Ryan. No! A thief sneaks in the back way — quietly! I heard a ^irl scream — where is she? FOR THE LOVE OF JOHNNY 109 Wayburn. How do I know — let me out of here! (Wayburn rwns toivard archway — Father Ryan grabs him — a slight tussle and Fatpier Ryan hurls him hack into the room.) ^ -p, ^ Father Ryan. You will remain here with me — for the present. What were you doing to that girl? I tell you I was passing by — I heard her — {sees Ethel lying prone on couch.) Oh! Wayburn. {Drawing gun.) Stand back I tell you — or by God! Father Ryan. {Picking him up quickly — holding up crucijix.) By God 3^ou will be judged! {There- is a pause — Wayburn's hand trembles — as Father Ryan gradually closes his hand over the gun — then Wayburn realizes he is going to take it away from him — there is another slight tussle and Father Ryan wrests the gun out of his hand.) Now don't try to get away — confess what you have done! Wayburn. ( Cowardly — frightened. ) I didn't do anything to her — she fainted, that's all. I just asked her to be my wife, and she fainted. Father Ryan. {He has gone up to Ethel, felt her head and pulse to make sure she is alive — all the xvhile covering Wayburn.) Such a shock would no doubt cause her to faint. {He now goes to L. — blocking archway.) I look at you — and it almost makes me ashamed to be a man! So this is the revolver — fitted with a Maxim silencer no FOR THE LOVE OF JOHNNY — with which you shot my Indian guide — I cannot now but beheve his story — and beheving that I know you are in league with Satan himself. Ways URN. If it wasn't for your damned priestly robe I'd make you swallow those words. Father Ryan. Oh, I'm not afraid of you, and if you're afraid of my cloth I'll take it off! I have made a business of fighting the Devil all my life and so I shall fight you — but not with this. {He empties gun and throws it in the corner. Wayburn is much relieved when he throzcs gun away. He now feels in his poclict and takes out a dirk — opens it. During this time Father Ryan strips off his coat and collar.) Wayburn. Oh, if you want to fight — just try to stop me from getting out of here. (He makes for the door again — this time as he passes Father Ryan cutting wildly with his knife hand — Father Ryan grabs his wrist and pushes him hack as far as table, where they fight for a few moments — Wayburn apparently getting the best of it. But Father Ryan finally gets the knife away from him — then Wayburn gets Father Ryan over the table, back doivn, and grabs the knife hand of Father Ryan and tries to force tJie blade into his heart. During this scuffle the lamp is upset and the stage is in total darkness, except for a shaft of moon- light which comes in the archway, xvhere the front door is open.) After the fight has proceeded a little longer in the dark, with accompanying grunts and exclamations FOR THE LOVE OF JOHNNY 111 fro7n the two, Turkey-Legs is seen in the moonlight as he enters through entryway — he comes in cat- like and is lost in the darkness of the room. The voices of the two are separated now as if they were apart — then a terrific grunt and screech of pain from Wayburn — and all is suddenly quiet again — as Tur- key-Legs is seen stealing out through the moonlight as noiselessly as he entered — a pause — then Ethel's voice — xveak and uncertain, as she emerges from her j^«^^^- Ethel. {On couch — absolute darkness except for moonlight in archway.) Oh, Mr. Wayburn — ^please — please have mere}' — - mercy — he is all I have in the world ! Father Ryan. {On opposite side of room.) Is he over there ? Oh, my child ! {He scratches a match — he is now beside the table and in the flickering glow of the match Wayburn's form is seen lying over the table limp.) OM Ethei.. {Has risen — she sees it too.) Oh, Father, what have you done.^ Father Ryan. I don't know. {The voices of Mrs. Banks and Jerry are heard as they are returning — their feet are heard upon the porch.) Mrs. Banks. {Outside.) Well, of all things! Jerry. What's the matter here? {They carry a lantern xvhich now begins to light up the archxvay.) m FOR THE LOVE OF JOHNNY Mrs. Banks. I tell you it's been broken into — Father Ryan. Bring the light, Mrs. Banks, there's trouble here! Enter Mrs. Banks and Jerry. Jerry. (With lantern, coming down hack of table.) Well I guess there is — what's this — who is this? Mr. Wayhurn? ^^^^ -^^^^^ {At L. of Jerry. He's been stabbed! (As lights come up Wayburn is seen lying back- wards over table, his face to audience, a splotch of blood on his white shirt front. Father Ryan still clutches absent-mindedly the knife in his hand which he took away from Wayburn.) Jerry. Oh, gracious me ! Positions. Mrs. Banks. Jerry. Father Ryan. Ethel ( ) Wayburn on table. Mrs. Banks. (To Father Ryan. He's dead — why did. you kill him? Father Ryan. {At C.) No, no — you are mistaken, Mrs. Banks — I'm sure I didn't kill him ! Jerry. Oh, what a fright! FOR THE LOVE OF JOHNNY 1 13 Mrs. Banks. You're sure you didn't — he's been stabbed to death — and there's the knife in your hand! Father Ryan. But let me explain — I tell you — Mrs. Banks. You'll tell it to the sheriff — if you didn't do it — I'd like to know who did.^* Ethel. ( Stepping forward. ) 7/ Father Ryan. Sh! (Drawing her to him.) Curtain. WELL, OF ALL THINGS!" FOR THE LOVE OF JOHNNY The Third Act. Scene: The same as the First Act. Time — early afternoon, six months later. At rise, stage is empty. Door to house is closed. Phil, stylishly dressed and sporting an incipient mustache, enters at gate. He looks around and is surprised at seeing no one about. He comes down C. and calls. Phil. Hello ! Hello ! {He starts over to door of house arid is just step- ping onto the porch as the door opens and Dorothy steps out.) Dorothy! Dorothy. Phil! (They embrace and Phil holds her off at arm's length to look at her.) Phil. You've grown prettier and sweeter every day. (They take C.) Dorothy. And you, you — why didn't you write me you were coming.? Pjjj^^ Too busy to write. I wanted to surprise you any- ^^^y- Dorothy. You look different somehow\ You — why, Phil, you have a mustache! _, -^ Phil. (Stroking it proudly.) That's very kind of you, Dorothy. 115 116 FOR THE LOVE OF JOHNNY Dorothy. Kind, what do you mean? Phil. Lots of folks Avon't admit it. Dorothy. The idea. I felt it. {She looks away in embarrass- ment.) I mean I can see it just as plain. Phil. Do you — ah — think it improves my appearance.? Dorothy. Oh, Phil, I think you're the handsomest man in the world. Phil ( Takes her in his arms again. ) Oh, you're a darling ! Dorothy. Stop, Phil, you're mussing me terribly. Phil. (Leading her to bench.) Well, I can't help it, if I must — let's sit down. Dorothy. How's your real estate business? Phil. Booming ! I got more than I can do, money in the bank and — -^^ Dorothy. How much? „ Phil. Enough so that when you say the word we'll be married and go to live in our own little home in Santa Fe — I earned it. Dorothy. Oh, Phil! Phil. That's worth waiting six months for, isn't it? FOR THE LOVE OF JOHNNY in Dorothy. Oh, Phil, I'm so happy. (Phil whispers in Dor- othy's ^a?'.) (Amazed.) No! Phil. Yes — it's got rubber tires and everything. I bought it today. Won't it be great! Where's tlic rest of the family — let's tell them about it — including jMother, dear Mamma. Dorothy. They have all gone to the court house. Phil. Father Ryan's trial — I had forgotten about that. Dorothy. Yes. Isn't it terrible. Do you think he killed INIr. Wayburn ? It looks bad for him all right, but I don't believe he did it. -r^ Dorothy. He and Ethel were the only ones with Mr. Way- burn when he was killed. Ethel had fainted, so of course she doesn't know anything about it, and all Father Ryan will say is that he didn't do it. Phil. When he says he didn't do it, I believe him, but between you and me I think he knows who it was, and will not tell. -^ Dorothy. I think he ought to tell to save himself, if he knows who it was. -r, Phil. So do I, but he isn't that kind of a man. Dorothy. Oh, it's terrible, Phil, terrible! m FOR THE LOVE OF JOHNNY Phil. There's nothing we can do. Has Ethel heard from Johnny ? ^ "^ Dorothy. Not a word smce that night he went away over six months ago. She has given him up for dead and is wearing mourning. Phil. Worse and more of it. I always knew something terrible would happen here if I didn't stick around. Dorothy. Poor dear Ethel has been so unhappy. She feels sure that if Johnny were alive he would send her some word, and since he has gone my step-mother has treated her more cruelly than ever. Phil. (Going to well.) Well, I've got good news for her. Dorothy. ( Delighted — following. ) You have.^ ^ Phil. I'm only sorry Johnny is not here to share it. Dorothy. Tell me, Phil. Phil. (Down L.) Why, the other day a Mr. Woods walked into my office and wanted to buy a ranch in this section. I have always known that Ethel wasn't happy here and I thought of this ranch first thing. Now that Johnny has gone don't you think she'll be glad to sell it and leave this part of the country.? FOR THE LOVE OF JOHNNY n9 Dorothy. (At R of Phil.) But, Phil, I don't understand? Phil. I brouglit Mr. Woods along with me- — he is will- ing to pAj a good price and — Dorothy. {Interrupting.^ Wait, Phil — what has Ethel to do with the ranch? Phil. Well, if Johnny's gone, it's all hers. I think she'll be glad to sell it. Dorothy. The ranch belongs to Father. Phil. Not unless she sold it to him yesterday. Dorothy. You're mistaken, Phil — this ranch — Phil. Don't you believe it. I'm going to make fifteen hundred dollars commission on this deal. That will start us out in housekeeping, won't it? Dorothy. Are you sure this ranch belongs to Ethel? Phil. Sure? Y^ou can gamble I know who owns a piece of property before I start to sell it. The deeds are still in her father's name and she is now the only heir. Dorothy. What will become of Father and Mother? 120 FOR THE LOV E OF J OHNNY' Phil. I would be glad to have 3^our father come and live with us, but I draw the line on Ma. Turkey-Legs, wrapped in his blanket and very dignified, appears at the gate. U }^ I Turkey-Legs. (Phil and Dorothy startled, turn quickly.) Phil. Ugh, yourself! Fine day, but nobody home. Turkey-Legs. Indian wants find Good Man Black Robe. Phil. Who does he want — the undertaker.? Turkey-Legs. Injun been gone six moons. Wants Good Man Black Robe. -^ Dorothy. Oh, he means Father Ryan. Turkey-Legs. Ugh. Pale face daughter, she know. Dorothy. You. are the Indian, Turkey-Legs, who guided him here, aren't you? Turkey-Legs. (At C.) Injun, Good Man Black Robe's friend. Dorothy. (Goes up fearlessly but Phil keeps behind her.) Father Ryan is a prisoner at the Court House. He is being tried for the murder of Dick Wayburn. FOR THE LOVE OF JOHNNY 12] Turkey-Legs. Ugh! Court House — Injun go! (Turkey- Legs turns and exits in the same dignified manner.) DoROTHY\ {Turns to Phil.) Funny, isn't he.^ Phil. {Takes off his hat and smoothes down his hair.) Funny .f^ Every time I see that Redskin my hair feels like it had just been washed. Dorothy. {Thoughtfully.) Now I wonder what he wants of Father Ryan. Maybe he knows something about the murder. Phil. What if he does, it will take him a weeh to get to the Court House, the way he moves. Dorothy. {Runs up to gate and looks off.) I'nrgoing to tell him to hurry. {Comes to bench R. C.) Oh, Phil, come, look! Phil. {Not stirring.) What is it, Dorothy.? Dorothys {Excited.) He's thrown off his blanket — he's waj^ down the road — he's running like the wind! Phil. {Goes up to look — with a sigh of relief.) He's certainly doing a Marathon. If he'll just keep going that way. 1.22 FOR THE LOVE OF JOHNNY Dorothy. What way? p I mean away from me. Dorothy. (Clasping her hands.) Oh, I hope he knows something — I hope he gets there in time ! (Phil puts an arm around her and they start down R.) Woods enters at gate, looking back the way Tur- key-Legs has gone. Woods is somewhat grey, wears large glasses. Van Dyke heard. Dorothy. Oh, Phil, I don't know what I would do if 3^011 weren't here. ^^^ Woods. A-hem, in describing this ranch, young man, you forgot to tell me there were wild Indians running around loose. -r, Phil. Oh, hello, Mr. Woods ! Woods. Evidently I'm not the one he's after, anyway. Phil. Come in. I was afraid you had lost your way. Dorothy, may I present Mr. Woods, a client of mine.'^ Mr. Woods, Miss Dorothy Banks, my fiancee. Dorothy. How do you do, Mr. Woods ! Woods. So this is the young lady I've been hearing so much about ! Every time I got Mr. Osborne talking FOR THE LOVE OF JOHNNY 123 about the ranch, he switched off and talked about -^ ' Dorothy. How silly of you, Phil. Woods. Half the time I didn't know what he was trying to sell — you or the ranch. Dorothy. Phil, how could you? Woods. But I'll say this for him, everything he said about you is true. „ Dorothy. Then I hope he said nice things. Woods. He did. Phil. I'm glad you approve of my choice, Mr. Woods, and if you'll just take a look over the ranch with me, you'll find I told the truth about that, too. Woods. {To Dorothy.) Will you excuse us.^^ Dorothy. Certainly ! {Going up with Woods.) We won't be gone long, Dorothy. (Phil and Woods exit up R. After they have gone Dorothy runs up and watches them ojf.) Dorothy. I always knew Phil would make a. great business 124 FOR THE LOVE OF JOHNNY man. (Thinks and smiles.) I just think his little mustache is too cute for words. She goes slowly up to porch, is about to exit when voices — Mrs. Banks in particular — are heard off, DouoTHY goes hack to gate as Jerry and Mrs. Banks enter there, Mrs. Banks. I tell you, Jerry Banks, I won't have her around the place! She's disgraced us and given us enough trouble already. --^ •^ Dorothy. What has happened — where is Ethel .^ Jerry. {Coming down C. xvith Mrs. Banks.) The case is in the hands of the jury, Dorothy — they had been out half an hour when we left. Mrs. Banks. {At R. C.) It wouldn't take me a half hour to make up my mind. I knew he was guilty the minute I saw him with the knife in his hand. Dorothy. {AtR. o/Mrs. Banks.) You think he will be acquitted, don't 3^ou, Father.? Jerry. {At C.) It looks bad for him, but I think it's a good sign that the jury are taking their time. Mrs. Banks. {Sits R. C.) If he gets free it won't be my fault. Dorothy. Surely you want to see Father Ryan acquitted.? FOR THE LOVE OF JOHNNY 125 Mrs. Banks. I want the law to take its course. A good, fine man has been murdered and somebody's got to pay for it. (Starts into house hut turns on porch.) I did my duty. I told the jury what I saw with my own eyes. ^ ^ -^ Jerry. I'm afraid you told them a little more than you Mrs. Banks. Well, somebody had to speak out; you wouldn't. Dorothy. Where is Ethel.? Mrs. Banks. I don't want to hear you speak her name. If she comes back here she can't stay — ye understand.'^ Dorothy. What has she done.^^ Mrs. Banks. {Venomously — still on porch.) What has she done.? Ain't she brought all this trouble on us? Has she ever been any 'count.? She got up there on the witness stand and perjured her- self to save that Priest! Jerry. {Mildly.) There, now, w^e don't know that she did. Mrs. Banks. {Crossing to Jerry, C.) Didn't she testify that Mr. Wayburn sneaked in the back door that night and locked the door after him.? Didn't she say that he tried to get her to eat some poisoned candy? 126 FOR THE LOVE OF JOHNNY Jerry. Well, you ought to know if that candy was pois- oned — you tried it yourself. Mrs. Banks. Yes, and I like to died from it. Jerry. Well, we almost died laughing at you. Y^ou acted like an old maid trying to make people believe she was sweet sixteen. Mrs. Banks. {Interrupting.) That's enough for you, Jerry Banks. Come in the house and take off your Sunday clothes. (Jerry comes down meekly,) Dorothy. Where will Ethel go if she doesn't come home.^^ Mrs. Banks. {Going hack on porch.) Didn't I tell you not to say her name again.? We don't know where she'll go and what's more, we don't care. ^a Dorothy. Oh, I most forgot! I have some news for you — f^cuess who's here ! ^, -r, ^ Mrs. Banks. I ain't got no time to guess, who is it.^^ Dorothy. Phil! ,, ^ Mrs. Banks. Well, of all things ! Is that love-sick puppy hang- ing around here again .^^ He eats more than three ordinary farm hands. Why don't he marry you.? Dorothy. He's going to ! ^ FOR THE LOVE OF JOHNNY 127 Mrs. Banks. He ain't going to marry you and sponge off us — not by a iuefful! -p. •^ "^ ° Dorothy. (Going up R.) Oh, he has money in the bank and we're going to live in Santa Fe. ,^ ^ Mrs. Banks. Well, thank the Lord for that, but I won't believe it till I see you married. Jerry. That is good news, Dorothy — where is the boy? Dorothy. (Coming down C.) Oh, he brought a man along with him to look over the ranch— he wants to buy it. Mrs. Banks. Bu}^ it — buy what.^ Dorothy. They're out now looking it over. Jerry. You mean our ranch, Dorothy.^ Dorothy. Yes, and— ^^^ Banks. (Coming down R. C.) I always knew that Phil was crazy — the ranch ain't for sale. (She turns to go in the house but turns on Doro- thy's speech,) Dorothy. (At C.) That's what I told him, but Phil says the ranch belongs to Ethel and Johnny. (Dorothy goes up 128 FOR THE LOVE OF JOHNNY R. and looks off. Jerry and Mrs. Banks look at each other — thunderstruck. There is a pause.) Mrs. Banks. Jerry Banks, you hustle out and find that Phil before this foolishness goes any further. Jerry. I told you that some day — Mrs. Banks. (Interrupting.) You never told me nothing of any account. (Mrs. Banks slams into the house. Jerry goes up slowly and Dorothy puts her hand on his arm.) Dorothy. Who does this ranch belong to, Father.? Jerry. Don't ask me, Dorothy — I've always been a good father to you, haven't I.^^ Dorothy. (Surprised.) Why of course you have. Jerry. There, now, run in and help your mother. (Jerry eccits at side of house.) Dorothy watches him off and goes slowly to the porch. She is about to exit when Ethel, dressed in mourning, with a little white showing at her neck, appears at gate and calls faintly: Ethel. Dorothy ! ^^ •^ Dorothy. Ethel! (Turns.) (Dorothy starts to go to her impulsively y but FOR THE LOVE OF JOHNNY ^ looks towards the door, thinks of what Mrs. Banks said and hesitates.) Ethel. They told me not to come back — but I wanted to see you again — and — even you are not glad to see me. (DoEOTHY hesitates again and throws caution to the winds — and runs up to Ethel.) Dorothy. (With great emotion,) Of course I'm glad to see you, you poor dear girl. I — I've wonderful news for you, too. Ethel. (As they come down.) About Father Ryan.? Dorothy. Ethel. The jury was still out when I left. Oh, Dorothy, I'm afraid, I'm afraid! Dorothy. There, there, you mustn't give up hope. Listen, dear ! ^ Ethel. (Interrupting C.) I lost Johnny through that terrible Mr. Wayburn and now through him I'm afraid I'm going to lose the only friend I have. Dorothy. You'll always have me, Ethel — I'll never desert you. Phil and I are to be married right away, and you're going to live with us. 130 FOR THE LOVE OF JOHNNY Mrs. Banks enters from the house and surveys the scene with arms akimbo. Mrs. Banks. Well, of all things ! Dorothy. Please be kind to her, Ma. Mrs. Banks. {Going to C.) You, Dorothy, go into the house this minute! Dorothy. (Starts toward house but stops.) But,— Ma— jy^^g Banks. (At R. C.) You heard what I said! (Dorothy goes to porch and stands listening.) It was you who brought all this trouble and disgrace on this household — now git ! Ethel. Where shall I go? Mrs. Banks. Don't ask me. Go ask Father Ryan. You two will make a good pair. Ethei.. Father Ryan is innocent. If he is convicted his blood will be on your head. Mrs. Banks. Don't talk back to me — git out of here! Ethei.. I'll go. Aunt. I don't know where to go, but you'll never be bothered with me again. There's just one favor I want to ask of you. Mrs. Banks. You're a fine one to be asking favors, you are! FOR THE LOVE OF JOHNNY ^131 Ethel. There's just one thing I want to take with me. Mrs. Banks. (With sarcasm.) I suppose you want me to give you some money.? Ethel. No, it's not money — Mrs. Banks. Well, hurry up — I can't stand here and parley witli you all day. ^ 1 want Johnny's picture. It's in the top draAver of the bureau. ,^ ^ Mrs. Banks. You can have it and welcome. (Going towards house.) Good riddance to bad rubbish. Dorothy! Dorothy. Yes, Ma! ,, „ Mrs. Banks. Bring r;ie that Johnny's picture — in the top bu- reau drawer. -r^ Ethel. I'm glad to go away, Aunt — I've never been happy here, and since Johnny went away I've often wished I were dead. ,, ^ Mrs. Banks. That's just what I expected. You ain't got a spark of gratitude in you, and after all I've done for you, too. -r^ •^ Ethel. You have never done anything but make my life a burden, and I would have gone away long before this were it not that I have lived in the hope that Johnny were not dead ; that some day Johnny might come back! 132 FOR THE LOVE OF JOHNNY Mrs. Banks. I think you knew all the time that he wasn't your brother — that's the reason you were so crazy about each other. ^^ Ethel. (With spirit.) How dare you say that.^ Mrs. Banks. Don't put on any airs with me, young lady — I've taken all from you I'm going to. Dorothy enters from house with a small photo- graph of Johnny in a frame, about three hy four inches. She hands it to Mrs. Banks and exits into house, wiping away her tears and not trusting her- self to speah. Mrs. Banks. {Throwing picture on ground before Ethel.) Take it and git out! Ethel. Thank you. Please say goodbye to Uncle Jerry! ^., , Mrs. Banks. Lrlt ! (Ethel turns an appealing face to Mrs. Banks, who points down the road. Holding the picture against her bosom and looking straight ahead, Ethel turns and goes slowly up to gate. As she turns into the road Mrs. Banks exits into house.) Just before Ethel disappears from view, Phil, followed by Jerry and Woods, enter from side of house. Phil sees Ethel f.rst. Phil. Oh, Ethel! (^^^-^ FOR THE LOVE OF JOHNNY 133 (Ethel turns and hesitates — Woods starts visibly at the sight of her.) Wait a minute — you're just the one I'm looking for. (Ethel doesn't make any move to return and Phil goes to the gate.) I know I look different — this mustache, you know, but — (swelling up). I'm Phil! Ethel. I'm glad to see you, Phil, but I'm going away. Phil. Going away.^ I guess not. Not at least until we talk over an important business matter. Ethel. (With sudden hope.) You've heard from Johnny — tell me, you've heard from Johnny. p I'm sorry, Ethel. I haven't heard from Johnny, as much as I would like to. Jerry. (Very nervous.) Excuse me, Mr. Woods, I want to talk to my wife a minute. Phil (To Jerry.) That's impossible — she'll do all the talking. (Jerry exits into house. Phil takes Ethel by the hand and leads her through the gate, down C.) Miss Ethel, this is Mr. Woods, of San Francisco, Melbourne, New York and London. He has come here to talk to you about buying the ranch. Ethel. I don't know what you are talking about, Phil.? 134 FOR THE LOVE OF JOHNNY Phil. Didn't your Uncle ever tell you that this ranch belonged to you? Ethel. No, Phil, he didn't. Phil. Well, then, I'm telling you now. Your father left it to you and Johnny when he died. I've had my attorneys examine the title — it's all straight and now tliat Johnny — now that Johnny isn't here, it's all yours. I've asked Mr. Woods fifteen thousand dol- lars for it. ^^^ Woods. Mr. Osborne wasn't sure you wanted to sell. Miss Banks, but I thought it would do no harm to come out and look at it. Ethel. Phil — are you sure — Phil. . Now don't ask me if I'm sure — do you want to sell the ranch — that's the only thing I'm not sure about ! Ethel. I don't know what to say. Dorothy enters and catches Phil's eye. Phil. Well, you and Mr. Woods talk it over — I want to speak to Dorothy a minute. (Phil joins Dorothy and they exit above house — much interested in each other.') ^„ ^ - Woods. I have examined the title to the property myself, Miss Banks, and there is no question but that it be- longs to you. FOR THE LOVE OF JOHNNY 135 Ethel. Does my Aunt know about it? Woods, If she doesn't she soon will. Let's sit down and talk it over. Ethel. (Sits on well bench.) I always did think it strange that my father didn't leave us anything, but that is what Uncle and Aunt told me. Woods. (At C.) Where is your brother, Miss Banks? Ethel. He's not my — he — I don't know, Mr. Woods. Woods. Your brother's name is Johnny? I should say John. „ Ethel. Yes, but he is not really my brother — my father adapted him when Ave were both very small. Woods. (Starts at this but Ethel does not notice.) Not your real brother? Ethel. I always supposed he was until shortly before he went away, when Father Ryan told me the truth. Woods. (Sits bench R. C.) Naturally I am interested in all this. Miss Banks. It has some bearing on the ownership of the prop- erty. What is the truth about your so-called brother? Ethel. Johnny is Father Ryan's younger brother — you know Father Ryan? 136 FOR THE LOVE OF JOHxNNY Woods. I've heard of him. -r^ Ethel. Father Ryan and Johnny were reared in an Or- phanage in which my father was interested. He adopted Johnny and of course we always supposed we were brother and sister until Father Ryan told me differently. Father Ryan had searched for his younger brother for years. Woods. (Half to himself.) Father Ryan's brother ! Ethel. Of course you know of the great danger Father Ryan is now in? „, ^ Woods. Yes, yes ! Phil told me all about it. I mean Mr. Osborne. He also told me about a Mr. Wayburn, who sent your brother — I mean Johnny — away on a confidential mission and your never hearing from him since. -r^ Ethel. He's gone forever, Mr. Woods ! Woods. Why do you think that.? Ethel. Because if he were alive, I know that he would send me some word. .^ Perhaps he couldn't write — or maybe his letters miscarried. -r. Ethel. If Johnny were alive he would have returned long ^g^' Woods. (Crosses to L.) Do you wish to dispose of the ranch, Miss Banks.? FOR THE LOVE OF JOHNNY 137 Ethel. If the ranch belongs to Johnny and me I have no right to sell it without his consent. Woods. But you have just told me that you have given him up for dead, and in that case — Ethel. {Looking at Johnny's picture.) I know — I know — but I can't give up all hope. Oh, Jolmny, if you were only here to learn of this good fortune. Without him here to share it with me — it means very little to me, Mr. Woods. Woods. {Walks away affected, thinking deeply and then returns.) A month ago your brother — I mean your adopted brother Johnny — was alive and well. Ethel. {Springs to her feet and goes to him.) Ob, you don't know what you're saying — tell me — tell me — „^ Woods. I've traveled about a bit, and a month ago I met John Banks in Melbourne, Australia. Ethel. Australia.? But how did you know? Please do not deceive me, Mr. Woods. Woods. I know it is the same Johnny because I have seen the likeness you hold in your hand. Because the house and ranch are just as he described them — because you — you whom he supposed to be his sister, are just as he described you. We became good m FOR THE LOVE OF JOHNNY friends and he told me why he did not dare to write ; he told me how he missed his little sister ; how he prayed for her every hour — how he loved her. (Ethel breaks down and weeps.) I thought I was bringing you good news — not news to make you sad. Ethel. {Raising her tear-stained face.) They're tears of joy, Mr. Woods — tears of happi- ness ! I'll always bless you and remember you. Woods. He didn't write, he said, because he knew that Wayburn intended to make away with him when he had him shanghaied in San Francisco. He was a prisoner for months, when it was impossible for him to write. A month ago, when he was free to write, he feared that his Aunt might see the letter and tell Wayburn. _ ^ Ethel. Oh, tell me — how did he look — what was he doing.? Woods. He was looking well and preparing to leave for the States in a few days. Ethel. Then he is likely to arrive here almost any day? Woods. Yes, I think so. ^ Ethel. Oh, you have brought me the happiest day of my life. Forgive me for showing my feelings, Mr. Woods — ^but he means everything in the world to me. Everythinfif ! „^ •^ ^ Woods. Even though he is not your brother.? FOR THE LOVE OF JOHNNY 139 Ethel. If anything — that has only made him closer to me. Woods. (About to reveal himself.) Of course you still feel a sister's love for him. Ethel. No — Mr. Woods — a sister's love has changed to — I — can't tell you about it. I can't tell anyone but Johnny. Woods starts toward Ethel to reveal himself, wheii Mrs. Banks, followed hy Jerry, enter from house. ,, -r, Mrs. Banks. Haven't you gone yet.? Jerry. {To Mrs. Banks.) This is Mr. Woods, Harriet, who — Mrs. Banks. I can guess who he is and he ain't got any busi- ness around here neither. (Mrs. Banks starts L. toward Ethel.) For the last time, young lady, git off this place and stay off. Woods. (Stepping hetxiDeen her and Ethel.) You have no right to talk that way. Mrs. Banks. Well, of all things ! Positions. Jerry. Mrs. Banks. Ethel. Woods. 140 FOR THE LOVE OF JOHNNY Woods. The place doesn't belong to you — it belongs to her. Mrs. Banks. {In fighting attitude — going up on porch.) I know what you and that Phil have been talking. You can tell that to Jerry, but not to me. Phil and Dorothy enter from abo've house. Mrs. Banks. Right now I want you to understand you're deal- incf with a woman. ^^^ ^ Woods. I merely know the facts and there's nothing to arejue about. , ^ -r» ^ Mrs. Banks. You bet there ain't — what I want is proofs. Have you got proofs — tell me that ! Phil. (Conmig down to porch steps.) I have all the proofs you want, Mrs. Banks! Mrs. Banks. (Turning on him.) I alius knew I was harboring a snake with you around. ^ Phil. I'm sorry you feel that way about me, 'cause you're going to have a few of little grand snakes crawling around here one of these days. Do you really think this property belongs to you ? Mrs. Banks. I don't think it — I know it. Phil. Oh, no you don't, Mrs. Banks. You know as well as I do that it belongs to your niece, Miss Ethel. FOR THE LOVE OF JOHNNY 141 You only make matters worse by trying to keep up the deception. ^^^^ ^^^^^ (Losing her head completely.) Get out of here, all of you. Jerry Banks, if you was half a man you wouldn't stand there like a fool when your wife was being insulted. Get the rifle and drive these thieves away. Jerry. I told you it was no use. Mrs. Banks. (Crossing to Jerry.) No use — no use ! Haven't we raised them two chil- dren like our very own ; haven't we given them every advantage? I don't care what your old lawyers say — I'll never get off this place till they carry me off in my coffin. p (At R.) We can't wait for you to die, Mrs. Banks. But whether or not you leave the place depends entirely upon Miss Ethel. I don't know just what the offense is, but this I know, that you'll have to make an ac- counting to Miss Ethel here for every penny the ranch has produced since you've been on it, or go to jail — both of you! Mrs. Banks. (Collapses R. C. Jerry, C, supports and takes her up C.) Jerry— Jerry ! p^^^ What is your pleasure in this matter, Miss Ethel .^^ Ethel. For the present I would prefer that we all remain here, just as we are. 142 FOR THE LOVE OF JOHNNY Jerry. There, there, Harriet, you hear that! Ph From what I know about things, I think we had better have a thorough understanding on this point, Miss Ethel. Let's all go in the house and have it set- tled. I have some papers bene I want to lay before you. (Phil goes up on potch. Dorothy goes to Ethel. Jerry exits into house, supporting Mrs. Banks.) .^^ Dorothy. {To Ethel.) You're returning good for evil, dear Ethel; you'll never be sorry. ^ -^ Ethel. I have no bitterness in my heart toward anyone — I merely want to do what's right. (Dorothy and Ethel pass Phil and exit into house,) Phil. Come on in, Mr. Woods ! Woods. No, thank you, this is a family council — I'll wait out here. -r, Phil. Well, all right — we won't be long, even if the old girl does die hard! (Phil exits into house.) Woods goes to bench R. C. as Father Ryan en- ters at gate. The latter looks tired and worn hut has lost none of his cheerful good humor. Father Ryan. Good afternoon ! Do you know if the Banks family is home.? FOR THE LOVE OF JOHNNY 143 Woods. (Rising.) Yes, they're in the house. You are Father Ryan, are you not.? -^ .^^ -^ Father Ryan. Yes. You're a stranger here.? Woods. Not exactly a stranger, I — (He, during speech, steps behind tree R. C. and quickly removes heard and glasses.) Father Ryan, I'm Johnny Banks! Father Ryan. Johnny — you are Johnny — my brother Johnny ! Johnny. Ethel has told me everything. Father Ryan. (Puts an arm about him.) The Lord is good. I knew that my prayers would be answered. ^ Johnny. Father Ryan— Father Ryan. (Clasping his hand.) You once called me Paul — Johnny ! Johnny. Brother Paul — why didn't you tell me this the night we walked down the road together.? Father Ryan. Because, while I thought I was right, I was not sure. -_ Johnny. (At R, C.) And Ethel.? 144 FOR THE LOVE OF JOHNNY Father Ryan. I told her as soon as I ivas sure. Ah, Johnny, that dear girl has passed through much since you went away. , Johnny. I know — and my hair has turned grey from wor- rying about her. And now I'm almost afraid to tell Father Ryan. (At C.) Take her in your arms and tell her, my boy — take her in your arms and see her sad face light up with love and happiness. Turkey-Legs, clad only in moccasins and breech- cloth, enters at gate and comes down. Turkey-Legs. (At L. C.) Injun want to talk with Good Man Black Rpbe! Father Ryan. ( Turning. ) Ah, John Turkey-Legs, shame on you, shame on you. Where is your blanket .^^ Turkey-Legs. Good Man Black Robe free.? Father Ryan. Yes, John, I'm free! Turkey-Legs. Injun look for you at Court House. They tell Injun Good Man Black Robe gone free. Injun think maybe they lie and keep him in jail. He not sure, so he tell Judge — Injun kill Dick Way burn! Father Ryan. I feared it was you, John. FOR THE LOVE OF JOHNNY 145 Turkey-Legs. Ugh ! This knife. He kill my squaw and many of my brothers. Injun creep up to house that night and see Good Man Black Robe and Wayburn fight. He know Wayburn no fight fair, never fight fair — shoot Avith silent gun. Injun crawl in door to save Good Man Black Robe. Squaw's spirit now rest in ^ ' Father Ryan. You did save me, John. You were just in time, but that does not lessen the burden on your soul. Turkey-Legs. Wayburn heap bad man ! Father Ryan. The Great Father commandeth thou shalt not kill. He that giveth life shall take life and He only. Turkey-Legs. Judge he say make Injun prisoner. Injun say "Ugh" and he get to window — tell them all "Go to Hell" — Injun jump — they no catch Injun. Father Ryan. Now do something for me. Pray forgiveness for for your sin. Kneel, John. Turkey-Legs. No time pray now — Injun skidoo. Father Ryan. Kneel, John. {Indian kneels at Father Ryan's feet.) Merciful God, forgive me my sins. Say that, Turkey-Legs. {Repeating.) Merciful God, forgive me my sins ! 146 FOR THE LOVE OF JOHNNY Father Ryan. And give me strength — Turkey-Legs. And give me strength — Father Ryan. To sin no more. Amen. Turkey-Legs. Me sin no more. Amen. Father Ryan. Go and sin no more. (Turkey-Legs kisses the hem of Father Ryan's robe, rises — Father Ryan takes him by the hand with bowed head. Turkey-Legs goes sxmftly to gate and exits.) Ethel enters from house just in time to see him leave. Johnny goes up before Ethel enters^ so she doesn't notice him. ^ Ethel. Father Ryan! „ t, ^ Father Ryan. (Taking her in his arms.) My dear girl. -^ You are free — you are free! Father Ryan. Yes, yes — it took them a long time to make up their minds. „ Ethel. But until the man is found — won't some suspicion.? Father Ryan. The slayer has confessed to man and to his God. Ethel. That Indian, Turkey-Legs.? FOR THE LOVE OF JOHNNY 147 Father Ryan. Yes Johnny. {Up R., looking off R.) And what's more he has escaped — and the way that fellow can run they'll never catch him. Phil and Dorothy, followed by Mrs. Banks and Jerry, enter from house. Ethel. (At R. C.) If Johnny w^ere only here my happiness would be complete. p (Phil and Dorothy crossing C.) Hello, Father Ryan — congratulations on your ac- Father Ryan. (At L. C.) Oh, I was never in any real danger. Phil. Well, I'm glad it's all over and so is everybody else. T Jerry. (With Mrs. Banks on porch.) Yes, we're all glad. Father Ryan ! Phil. Father Ryan, Dorothy has consented to become my wife and we want to catch the night train for Santa Fe. Will you marry us.? Father Ryan. Marry you? Of course I will — bless your hearts, both of you! At what time.? 148 FOR THE LOVE OF JOHNNY Phil. Now is the .time — this is the place — and here is the girl! I've got the license, here's lots of witnesses — is there anything else we need? Dorothy. I need a bridesmaid — Ethel, dear, will you be my bridesmaid ? ^ liTHEL. Why, certainly, if you want me to, but I'll have to change my dress. Dorothy. Oh, no, you won't. Phil. My motto is — E — Pluribus — it's a long worm that has no turning ! Come on in everybody and see us married! Come on, Mr. Woods*! (All but Father Ryan and Woods eocit into house.) JOPINNY. I'll be in presently. (After they have gone he comes down C. to Father Ryan.) Suppose we make that a double wedding .^^ Father Ryan. It is a blessed day when a girl loves as she loves you — when a man loves as you love her — and the Father makes them one. Johnny. (Smiling.) Well, you tell Ethel that I want to see her out here just for a minute — and then we'll be right in ! FOR THE LOVE OF JOHNNY 149 Father Ryan. The same little joker you always were, Johnny. {He exits into house.) Johnny goes quietly over to well, so that Ethel entering cannot see his face. Ethel. ( Coming C. ) You wanted to see me, Mr. Woods .^ (Father Ryan returns and remains on porch.) Johnny. {Without turning.) Yes — Father Ryan says that when a girl loves — {He turns and stretches out his arms to her — she gives a quick start — stares and comes quietly into his arms with a stifled sob.) Curtain. {The music used for this finale was the chorus of ''Little Grey Home in the Wesf — played very softly on the strings as Ethel makes her entrance from house, and swelling as the curtain descends.) The Real Thin;^ After All BY LiNDSEY BaRBEE An after-the-war comedy-drama, in 3 acts; 7 males, 9 females (2 are children, boy and girl). Time, 2i/4 hours. Scenes: 1 exterior, 1 interior. CAST OF CHARACTERS. Bobby Winton A Youthful Soldier Ruth Meredith With the Gift of Understanding Anne Meredith Winton In Love with Her Husband Kate Mrs. Winton's Maid Robert Winton A Successful Lawyer Cecily Hargraves Richard's Fiancee Thomas Gregory. A Mystery Alison Page Who Is Clever Dennis Who Emulates Sherlock Holmes Doris Thorne A War Bride Edward Thorne ("Ted") A War Groom Captain Richard Winton. .. .Wlio Does the Unexpected Aimee "A Little Bit of France" Miss Ward RichaiTl's Aunt and Housekeeper Fifi A French Maid Roger Atlierton An American Aviator Sometimes it is pretty laard to find the real thing after all — and Dick Winton, fresh from service, with a Croix de Guerre all his own and a dear French orphan to claim his care and affection, searches in vain until the Christmas spirit touclies his eyes and gives him tlie magic vision. And while selfish Cecily, quiet Ruth and adoring Aimee unconsciously direct It is destiny, clever Alison tries to decide between the mysterious aviator and tlie equally mysterious Tom Greg'ory, and a fascinating- French maid plays havoc with hearts — and otlier things! The irrepressible Kate, in emulation of Dennis, assumes the role of detective and flourishes the stolen pearls at the crucial moment; the stranger, Atherton, proves a friend in need and establishes an identity, all by a packet of letters; and, as to the recovery of the missing twenty-five thousand — well, that is Bobby's story, and he tells it much better than anybody else can hope to do. Price, 35 Cents. T. S. Denison & Company, Publishers 154 West Randolph Street CHICAGO LBFe-ZO Plays for Schools and Colleges THE HIGH SCHOOL FRESHMAN By Charles Ulrlch. Comedy in 3 acts; 12 males. Time, 2 hours. Price, 25 Cents. THE KINGDOM OF HEARTS CONTENT By Lindsey Barbae. Comedy in 3 acts; 6 males, 12 fe- males. Time, 2^ hours. 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SING A SONG OF SENIORS By Lindsey Barbee. Comedietta; minutes. 7 females. Time, 30 Price, 15 Cents. STAR BRIGHT By Edith F. A. U. 6 males. 5 females. Palnton. Comedy-drama in 3 acts; Time. 2^^ hours. Price, 25 Cents. A TRIAL OF HEARTS By Lindsey Barbee. Comedy in 4 acts; 6 males, 18 fe- males. Time, 2i^ hours. Price, 25 Cents. T. S. Denison & Company, Publishers 154 West Randolph Street CHICAGO Standard and Amateur Plays Our list of plays comprises hundreds of titles, dramas, comedies, farces, vaudeville sketches, monologues, entertainments, etc. All shades of sentiment are represented, all varieties of talent, number of characters and time required in presentation are provided for in this list. Popular Entertainment Books Under this heading are found books touching every feature in the entertainment field, Dialogues, for all ages, Speakers, Recitations, Monologues, Drills, Entertain- ments, suitable for all occasions. Jokes, Min- strels, Hand Books, etc. Over sixty titles. 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