F>RICE 15 CENTS 
 
Successful Rural Plays 
 
 A Strong List From Which to Select Your 
 Next Play 
 
 FARM FOLKS. A Rural Play in Four Acts, by Arthur 
 J-EWis Tubes. For five male and six female characters. Time 
 of playing, two hours and a half. One simple exterior, two 
 easy interior scenes. Costumes, modern. Flora Goodwin, a 
 farmer's daughter, is engaged to Philip Burleigh, a young New 
 Yorker. Philip's mother wants him to marry a society woman, 
 and by falsehoods makes Flora believe Philip does not love her. 
 Dave Weston, who wants Flora himself, helps the deception by 
 intercepting a letter from Philip to Flora. She agrees to marry 
 Dave, but on the eve of their marriage Dave confesses, Philip 
 learns the truth, and he and Flora are reunited. It is a simple 
 plot, but full of speeches and situations that sway an audience 
 alternately to tears and to laughter. Price, 25 cents. 
 
 HOME TIES. A Rural Play in Four Acts, by Arthur 
 Lewis Tubes. Characters, four male, five female. Plays two 
 hours and a half. Scene, a simple interior — same for all four 
 acts. Costvimes, modern. One of the strongest plays Mr. Tubbs 
 has written. Martin Winn's wife left him when his daughter 
 Ruth was a baby. Harold Vincent, the nephew and adopted son 
 of the man who has wronged Martin, makes love to Ruth Winn. 
 She is also loved by Len Everett, a prosperous young farmer. 
 When Martin discovers who Harold is; he orders him to leave 
 Ruth. Harold, who does not love sincerely, yields. Ruth dis- 
 covers she loves Len, but thinks she has lost him also. Then 
 he comes back, and Ruth finds her happiness. Price 25 cents. 
 
 THE OLD NEIV HAMFSHIBE HOME. A New 
 
 England Drama in Three Acts, by Frank Dumont. For seven 
 males and four females. Time, two hours and a half. Costumes, 
 modern. A play with a strong heart interest and pathos, yet rich 
 in humor. Easy to act and very effective. A rural drama of 
 the "Old Homstead" and "Way Down East" type. Two ex- 
 terior scenes, one interior, all easy to set. Full of strong sit- 
 uations and delightfully humorous passages. The kind of a play 
 everybody understands and likes. Price, 25 cents. 
 
 THE OLD DAIRY HOMESTEAD. A Rural Comedy 
 in Three Acts, by Frank Dumont, For five males and four 
 females. Time, two hours. Rural costumes. Scenes rural ex- 
 terior and interior. An adventurer obtains a large sum of money 
 from a farm house through the intimidation of the farmer's 
 niece, whose husband he claims to be. Her escapes from the 
 wiles of the villain and his female accomplice are both starting 
 and novel. Price, 15 cents. 
 
 A WHITE MOUNTAIN BOY. A Strong Melodrama in 
 Five Acts, by Charles Townsend. For seven males and four 
 females, and three supers. Time, two hours and twenty minutes. 
 One exterior, three interiors. Costumes easy. The hero, a 
 country lad, twice saves the life of a banker's daughter, which 
 results in their betrothal. A scoundrelly clerk has the banker 
 in his power, but the White Mountain boy finds a way to check- 
 mate his schemes, saves the banker, and wins the girl. Price 
 15 cents. 
 
 THE PENN PUBLISHING COMPANY 
 
 PHILADELPHIA 
 
JERRY'S JOB 
 
 A Play for Boys in One Act 
 
 By 
 RAYMOND M. ROBINSON 
 
 PHILADELPHIA 
 THE PENN PUBLISHING COMPANY 
 

 Copyright 1917 by The Penn Publishing Company 
 
 J^ 
 
 Jerry's Job ©Cl.D 487 3 5 
 
 ■M 17 1918 
 
 . \u - / 
 
Jerry's Job 
 
 CHARACTERS 
 
 Mr. Morton . . head of the lutercolojiial Con- 
 
 strnctioii Company 
 Mk. Hamilton » . . . . his partner 
 
 Jknkins ....... dratightsman 
 
 '1 UMMY . . . . an office boy, but a poor one 
 
 Jerrv . . . . .a Boy Scout who needs a job 
 
 Time. — Thirty minutes. 
 
STORY OF THE PLAY 
 
 Tommy, the office boy of the Intercolonial Con- 
 struction Company, is careless. Jerry West, a Boy 
 Scout, calls and asks for a job. Tom is caught lying 
 and is discharged; Jerry, taking his place, is left in 
 charge of the office. While Jerry answers the tele- 
 phone, Tom takes vengeance by spilling ink on a draw- 
 ing and breaking the glass on a picture. Jerry is 
 accused and fired. He comes back to get his cap and 
 meets Tommy, who is making his escape. " It was 
 you. You've got ink on your hands now ! " Tommy 
 hits Jerry, Vn^Iio knocks him down and he cuts his hand 
 on the broken glass. Jerry, familiar with " First Aid," 
 binds it up and Tommy, overcome by Jerry's straight- 
 ness, confesses. " I guess I ain't got anything against 
 vou. I busted that picture." " Where'd you learn the 
 Red Cross stuff?" ''It's a part of the Boy Scout 
 training. They teach you lots of things, — First Aid and 
 athletics and wireless and — and how to live right, — 
 straight, I mean." Jerry helps Tommy join the 
 Scouts; he keeps his job and Tom is promised a job, 
 too, if he makes good. 
 
 COSTUMES AND MAKE-UPS 
 
 Morton. A tall man of about fifty, rather dignified 
 in appearance. Gray wig (or the hair may be pow- 
 dered), and a short gray moustache. Dark business 
 suit. 
 
 Hamilton. Tall, about thirty-five. Business suit. 
 
 Jenkins. About twenty-one or tv/o. Somewhat 
 sporty in appearance. Light-colored suit of the sort 
 that clothiers advertise as the latest cut for young men. 
 He wears a shirt of rather conspicuous design and a 
 brilliant tie. When he first appears he has no coat on, 
 and his shirt sleeves are rolled up to the elbows. He 
 wears tortoise-shell spectacles because he thinks they 
 are " stylish." 
 
 4 
 
PROPERTIES 5 
 
 ToiMMY. A small boy of about fifteen. Red- 
 headed, if possible. He wears knickerbockers. His 
 clothes are worn and not particularly neat and his 
 boots are dirty. Cap. 
 
 Jerry. About Tommy's age and size. His clothes 
 are old and show wear, but are clean. His hair is well 
 brushed, in contrast to Tommy's ruffled head, and he 
 gives the impression that he tries to appear as neat as 
 possible. He wears knickerbockers, and carries a cap. 
 
 PROPERTIES 
 
 This list is intended to cover only '' hand properties," 
 that is, small, articles used in the action of the play. 
 It does not include furniture, etc., which is described 
 elsewhere. 
 
 A large drawing — the plan of a building — fastened 
 to the table with thumb-tacks at the beginning of the 
 play. 
 
 A book on the desk. 
 
 Hamilton carries a watch. 
 
 A pencil on the table; a pencil and a few sheets of 
 note paper on the desk; Jenkins has a pencil in his 
 coat pocket — this should be a new one, long enough to 
 be used in tightening the bandage on Tommy's wrist. 
 
 A small package in Tommy's pocket. His pockets 
 are stuffed with numerous other articles : scraps of 
 paper, tobacco coupons, elastic bands, stubby pencils, 
 erasers, one shabby glove, a dirty handkerchief, 
 the remains of a cake of milk chocolate which is shed- 
 ding its skin of tin- foil, etc. 
 
 A picture, about twelve inches long, framed and 
 with a glass. When first brought on by Jenkins the 
 picture is neatly done up in wrapping paper and tied 
 with a cord. 
 
 A dust-cloth for Jerry. This should be placed just 
 outside the door, r. 
 
 A telephone bell outside the door, l. 
 
 A slip of paper' for Jerry, on which he is supposed 
 to write the telephone messages. 
 
^ SCENE PLOT 
 
 A drawing about two feet square, in the center of 
 which is a large ink stain. This drawing should be on 
 tracing cloth such as is used by architects and en- 
 gineers, if possible. If this cloth is not available, 
 white paper may be used. 
 
 A handkerchief for Morton. In the handkerchief 
 is concealed a small bottle — a two-ounce vial is suf- 
 ficient — containing beef juice to suggest blood from 
 Tommy's wound. 
 
 SCENE PLOT 
 
 fNT£nion BAC/<iNa 
 
 Scene. — The office of the Intercolonial Construc- 
 tion Company. A typical room in a modern office 
 building. The public entrance to the office is a door 
 up c. At L. is a door opening into Mr. Morton's 
 private office. At r. is a door to the draughting room. 
 Along the back wall, on either side of the entrance, 
 are rows of shelves filled with books, pamphlets and 
 catalogues. Below the shelves are cupboards or little 
 alcoves containing rolls of drawings and blue-prints, 
 samples of brick and stone, M'Ood finish, odd pieces of 
 hardware, plumbing and lighting fixtures, etc. These 
 things are not essential to the action of the play, how- 
 
SCENE PLOT 7 
 
 ever, and may be omitted if the stage manager finds it 
 difficult to obtain them. They are only intended to 
 " dress " the stage and to give it the appearance of the 
 headquarters of a large building concern. Down r. is 
 a large table on which is fastened the plan of a build- 
 ing, a drawing about the size of a newspaper page. 
 The table may be of plain, unpolished wood, or it may 
 be simply a big drawing board, supported by a pair of 
 wooden horses. There are stools each side of it. 
 Down L. is a flat-topped desk, littered with papers and 
 writing materials, also a book. Chair behind the desk. 
 A typewriter on the desk will add to the businesslike 
 appearance of the room, but is not necessary. On the 
 walls are pictures suggesting the nature of the busi- 
 ness — drawings or photographs of office buildings, 
 factories, bridges, etc. 
 
Jerry's Job 
 
 SCENE. — Office of the Intercolonial Company. At 
 rise of curtain Hamilton is seated on stool at table, 
 R. c. Morton is standing at his side. They are 
 examining the drawing. 
 
 Morton. H'm — pretty good. Is this drawing com- 
 pleted, Hamilton? 
 
 Hamilton. Practically. There are two or three 
 notes to be added. 
 
 Morton. I'd like to send the heating contractor a 
 blue-print of it to-day. 
 
 Hamilton. An hoiir's work will finish it. 
 
 Morton. By the way — who made this drawing? 
 
 Hamilton. Jenkins. 
 
 Morton. Tell him tha,t he will be of more value to 
 us when he learns to spell. Foundation is not spelled 
 with a w. Chimney is not spelled c-h-i-m-n-y. And 
 laboratory can get along with one r. 
 
 Hamilton. The boy knows better than that. He 
 is careless. 
 
 Morton. Exactly — he is careless. How much 
 education has he had? 
 
 Hamilton. High school graduate — two years in 
 college. 
 
 Morton. There you are. The average boy or girl 
 enters school at the age of six, spends anywhere from 
 eight to eighteen years getting educated and then, after 
 all that, can neither read, speak nor write the English 
 language. 
 
 Hamilton. Oh, you're a little severe on the young- 
 sters. 
 
 Morton. No, I'm not. Here's a boy who has 
 probably been going to school for fifteen years spell- 
 
 9 
 
10 jerry's job 
 
 ing chimney c-h-i-m-n-y. The same boy only yester- 
 day told me that he had received a set of blue-prints 
 from the art-shi-teck's office. 
 
 Hamilton {laughing). I'll bet he told you they 
 showed the location of certain col-yumes. 
 
 Morton. Right you are. He's like most of our 
 school graduates. We teach them a little French, a 
 little German, a little mathematics, a little music. They 
 recognize the air " America," but can't repeat the first 
 verse from memory. They read Shakespeare in school 
 but prefer the movies for entertainment. They are 
 told that Raphael painted the Sistine Madonna or 
 something of the sort, but are far more interested in 
 the so-called comic supplement of the Sunday news- 
 paper. And they almost invariably pronounce a final 
 i-n-g without the g. 
 
 Hamilton {laughing) . I guess that's so. And you 
 might mention handwriting. 
 
 Morton. I might mention many things that I 
 haven't. Just see that this drawing is in proper con- 
 dition before it leaves the office and send a print to 
 O'Connell and Company. 
 
 Hamilton. I will. 
 
 (Morton starts for his private office, l. At the door 
 he turns.) 
 
 Morton. Where is Tommy? 
 
 Hamilton. Tommy went to the post-office. 
 
 Morton. Anywhere else? 
 
 Hamilton. No. 
 
 M^ORTON. He has been gone a long time. 
 
 Hamilton {looking at his watch). Nearly an hour. 
 
 (Morton comes hack a few steps toward the center of 
 the stage.) 
 
 Morton. An hour for a fifteen-minute errand! 
 Hamilton, what are we going to do with that boy? 
 He's utterly useless to me. He's not interested in his 
 v/ork, he makes no attempt to keep things in order, he 
 disobeys instructions, he pays no attention to what I 
 tell him. 
 
JERRY S JOB TI 
 
 (Hamilton swings around on stool to face Morton.) 
 
 Hamilton. I know whrt I'd do. 
 
 Morton. You wotild 
 
 Hamilton. Can him. 
 
 Morton. Send him to me when he comes back. 
 I'm going to give him a lecture. If that has no effect 
 we'll look for another boy. 
 
 (Morton turns back l. Hamilton starts for the 
 draughting room, door, r. As each is about to go 
 out, the door at the back of the stage is flung open 
 and Tommy enters. Both men turn about and face 
 him. Tommy wears a cap over one ear and keeps it 
 there during the early part of the following scene. 
 Seeing Morton eyeing him sternly he starts at once 
 on a voluble monologue, as if to anticipate questions.) 
 
 To^iMY. Gee, there was a mob in the square in 
 front of the 
 
 Morton. Where have you been? 
 
 Tommy. Post-office. 
 
 Morton. Does it take you an hour to walk two 
 blocks to the post-office and back? 
 
 Tommy. No, of course not, but you see I went to 
 the post-office, an' I was comin' back in a hurry, an' I 
 put on so much speed I guess I kind o' lost control o' 
 the steerin' gear, an' first thing I knev/ I butted up 
 against an old duck in a silk kelley in the crowd an' 
 like to knocked the wind out of him, an' — an' he 
 grabbed me an' a cop come along, an' I ducked an' run, 
 an' — an' — well, I couldn't come straight here wit' a 
 cop after me, could I? So I beats it down Water 
 Street an' the cop chasin' along behind, an' into Con- 
 gress Street, an' from Congress to State, an' down 
 State to Merchants' Row 
 
 Morton {solemnly). H'm, yes. That will do. 
 
 Tommy. Yes, an' 
 
 Morton. Your story is highly interesting 
 
 (Tommy suddenly recollects another item.) 
 
12 JERRY S JOB 
 
 Tommy. Oh, yes, an' when I got to South Market 
 Street I cut through the Market, an' there was a whale 
 of a big turkey hangin' on a hook by the door, an' 
 when I was goin' through the blamed thing fell off the 
 hook an' 
 
 {He is telling the story with intense earnestness. His 
 imagination works rapidly and he is expert in the use 
 of it. Morton retains a severe expression, his eye 
 constantly on the boy's face. Hamilton, greatly 
 amused, turns away to conceal his desire to laugh. 
 Morton raises a finger warningly.) 
 
 Morton. Just a moment — just a moment, Tommy. 
 You understand, of course, that I don't question the 
 truth of your story. I merely want to remind you that 
 you spend three times as much time as necessary on 
 errands. You are careless. You pay no attention to 
 my directions. You show no interest in your work. 
 You're worse than useless. 
 
 Tommy (interrupting). Hey, lookut! I said 
 
 Morton (sharply). That's enough ! I'll do the 
 talking now. There's a good chance in this office for 
 a bright, energetic boy to work his way to success, but 
 if you keep on the way you're going now, in a mighty 
 short time you'll be looking for another job. Do you 
 understand? (Tommy pulls off his cap and studies 
 the button on it intently. He offers no answer.) Do 
 you hear me? 
 
 Tommy. I get you. 
 
 Morton. Very well. 
 
 Tommy. But say — if I 
 
 Morton. No reply or comment is necessary. Now 
 I have two errands for you to do, and I want you back 
 here by twelve o'clock. (He indicates the book on the 
 desk, down l.) Take that book to Mr. Rhoades, 
 whose office is in the Tremont Building, and tell him 
 that I thank him for the use of it. Get that? 
 
 Tommy. Sure. 
 
 Morton. Then, on the way back, stop at Wilson 
 and Black's store and get a package that will be ready 
 for me. 
 
JERRY S JOB 13 
 
 Tommy. That all ? 
 
 Morton. That's all. See if you can remember 
 that much. 
 
 (Morton goes into private office, l., closing the door 
 after him. Hamilton goes out through the oppo- 
 site door, R. Tommy loiters about the room a zvhile, 
 looking idly at things. Finally he wanders over to 
 the left side of the stage, pauses in front of the 
 closed door to Morton's office, makes up a hideous 
 face of derision, pulls his cap down on one ear, and 
 goes out the door, c. — without the hook. Hamilton 
 enters, r. He goes to the table, down r., seats him- 
 self on the stool and studies the drawing zvhich he 
 zvas discussing with Morton at the beginning of the 
 play. For a short time he works in silence, occa- 
 sionally making notes on the sheet with a pencil. 
 Finally he turns to the open door, r., and calls to a 
 draughtsman outside.) 
 
 Hamilton. Jenkins ! 
 
 {Enter Jenkins, r.) 
 
 Jenkins. Did 3^ou call me? 
 
 Hamilton. Fix up this plan and have two prints 
 made of it — one for the office and send one to O'Con- 
 nell. First of all correct the spelling of the words I 
 have marked. You'll find it easier to spell correctly 
 the first time than to rub out mistakes. Also put on 
 these dimensions. {He indicates with his pencil.) 
 
 Jenkins. What's the title of the drawing? 
 
 Hamilton. Power house for the National Clock 
 Company, Boston, Massachusetts. Intercolonial Con- 
 struction Company, Construction Engineers, and so 
 forth, and the date. 
 
 (Jenkins removes the thumb-tacks with zvhich the 
 drazving is fastened to the table. Enter Morton, l. 
 He sees the hook on the desk.) 
 
 Morton. Where is Tommy? 
 
 Hamilton. You sent him out, didn't vou? 
 
14 JERRY S JOB 
 
 Morton. Yes, but here is the book he was to take. 
 Hamilton. Apparently he has gone without it. 
 
 (Morton shows displeasure.) 
 
 Morton. Confound that boy ! After all I said to 
 him ! He is the worst specimen of an office boy I 
 ever saw! {He speaks io Jenkins.) See if he's in 
 the corridor. 
 
 {Exit Jenkins at door c.) 
 
 Hamilton. I don't think the kid pays the slightest 
 attention to what 3'OU tell him. 
 
 Morton. I don't want to fire him, but what can 
 I do? 
 
 Hamilton. A piece of seven-eighths board applied 
 in the right place might command his attention for a 
 while. 
 
 {Enter Jenkins, c.) 
 
 Jenkins No sign of him. 
 
 Morton. Then, Jenkins, you'll have to do this 
 errand for me. Get your hat and coat. 
 
 {Exit Jenkins, r.) 
 
 Hamilton. I'll finish this drawing myself and send 
 it out. {He rolls up the drawing and goes toward the 
 door, R. Morton picks up the hook from the desk 
 and stands near his office door, l., turning the pages 
 impatiently. The door at the hack is pushed open and 
 Jerry enters, cap in hand. Both men turn and face 
 him. The positions are similar to those at Tommy's 
 first entrance. Jerry closes the door quietly and waits 
 for some one to speak to him.) What can I do for 
 you? 
 
 Jerry. I'd like to speak to Mr. Morton. 
 
 (Hamilton makes a motion toward Morton.) 
 
 Morton. Just a moment, my boy. {Enter Jen- 
 kins, R., having put on his coat. He has his hat in his 
 hand. Morton hands him the hook.) You know 
 where Mr. Rhoades's office is? 
 
jerry's job 15 
 
 Jenkins. Yes, sir. 
 
 Morton. Please return this book to him with my 
 thanks for the use of it. He's leaving town this after- 
 noon, and I want him to have it before he goes. 
 (Jenkins takes the hook and goes out door at hack 
 exit. Hamilton goes r. Into the draughtmg room with 
 the drazving. Morton turns his attention to Jerry.) 
 Well? 
 
 Jerry. I came to see if you wanted to hire me, sir. 
 
 Morton. H'ni....As an expert on steel or as a 
 superintendent of construction? 
 
 Jerry. I'm afraid I couldn't do either — yet. 
 
 Morton. Yet — that signifies hope, at least. 
 
 Jerry. Yes, sir. I could learn. But I could do 
 errands and office work, and I think I could trace 
 plans. 
 
 Morton. I don't believe I can offer you anything 
 at present. You see, we have one office boy. 
 
 Jerry. And you don't want another? 
 
 Morton. Heaven forbid! 
 
 Jerry (uncomprehending) . What, sir? 
 
 Morton. I couldn't keep track of two. My nerves 
 aren't equal to the task. Have you ever worked be- 
 fore ? 
 
 Jerry. I've been going to school until two weeks 
 ago. I had to leave. I didn't want to, and my mother 
 kept me in school as long as she could, but — I guess 
 I've got to go to work now and earn some money. 
 She needs my help. 
 
 (Morton sits in chair near desk, l.) 
 
 Morton. And the past two weeks — have you been 
 Avorking ? 
 
 Jerry (coming dozvn c). I Avorked in a depart- 
 ment store for a week, but they fired me because they 
 thought I broke a glass bov/l, but I didn't. Another 
 boy broke it — I saw him. 
 
 Morton. And they wouldn't believe you Vv^hen you 
 told them he did it? 
 
 Jerry. I didn't tell them who did it. I just said 
 that I didn't. 
 
i6 jerry's job 
 
 Morton. Why didn't you tell? 
 Jerry. I'm not a tattle-tale. 
 
 (This straightforward declaration pleases Morton and 
 
 also amuses him.) 
 
 Morton. And you've been looking for work ever 
 
 since ? 
 
 Jerry. Yes, sir; it's hard to find. I have done a 
 little work for the Scout headquarters, but that's only 
 until I can find something better. 
 
 Morton. The Scout headquarters? 
 
 {He is puzzled.) 
 
 Jerry. The Boy Scouts of America. I'm a Scout. 
 
 Morton. Oh — er — yes H'm....(//^ pauses a 
 
 7noment, thinking. Then he turns again to the boy.) 
 1 may need a boy before long. If you'll give me your 
 name and address I'll send for you if I want you. (He 
 gives Jerry a sheet of paper and a pencil which he 
 takes from the desk. Jerry takes them to the table, 
 R., and zvrites, offering Morton the paper when he has 
 finished. Morton reads zvhat he has zvritien. ) Jerry 
 West, 26 Factory Street. 
 
 Jerry. If you should want me right off you could 
 reach me by telephone at the Scout headquarters. 
 This is the number. (He zvrites the telephone number 
 on the paper.) I could get here in five minutes. 
 
 Morton (amused). Very well 
 
 Jerry. Thank you, sir. 
 
 {E.rit Jerry, c.^ cap in hand. As he opens the door 
 Tommy is seen outside. He eyes Jerry suspiciously 
 as the latter disappears, then he comes in. He 
 offers Morton a small package which he fishes from 
 his pocket along with numerous other things — scraps 
 of paper, tobacco coupons, elastic bands, pencils, 
 erasers, one shabby glove, a dirty handkerchief 
 and the remains of a cake of milk chocolate. Most 
 of these articles fall to the floor.) 
 
 Tommy. Here's your package from Wilson's. 
 
JERRY S JOB 17 
 
 {Having given it to Morton, he stoops to gather up 
 his possessions.) 
 
 Morton. Did you see Mr. Rhoades? 
 
 (Without rising, Tommy pauses in his work long 
 enough to look at the desk. He sees that the book 
 is not there.' 
 
 Tommy. N-no — no, sir. 
 
 Morton. No ? 
 
 Tommy. No — he — he (He hesitates, then, 
 
 as if making up his mind to lie out of his predicament 
 if possible, he answers while stuffing the last of the 
 debris into his pockets.) He wasn't in. His stenog- 
 rapher was there. 
 
 Morton. But you left the book? 
 
 Tommy. Yes. 
 
 (He rises. Morton watches the boy sharply a mo- 
 ment, but Tommy's gaze in return is apparently 
 undisturbed. ) 
 
 Morton. Tommy, )^ou're lying to me. You went 
 off without the book, and I had to send Jenkins with it. 
 
 Tommy. Yes, but I remembered it when I got down 
 to the street, and came back for it and met Jenkins at 
 the door and took it an' 
 
 Morton. Then where's Jenkins ? 
 
 Tommy. Gone to lunch, I suppose. 
 
 Morton. Going to lunch early to-day, isn't he? 
 (He turns back to the desk.) That's all. 
 
 (Tommy goes out, r. He is troubled. He wonders 
 whether his lie is going to serve its purpose. He is 
 hardly gone zvhen Jenkins enters, c, with a pack- 
 age which he places on the desk.) 
 
 Jenkins. Mr. Rhoades asked me to give you this 
 package. He is going south this afternoon for the 
 winter and wanted you to have it before he left. He 
 said he intended to see you personally, but probably 
 won't have a chance. 
 
 Morton. Thank you. Did you see Tommy? 
 
i8 jerry's job 
 
 Jenkins. No. 
 
 (Jenkins pauses a moment as if expecting further 
 questioning, hut Morton turns his attention to the 
 package, which he proceeds to open. Exit Jenkins, 
 R. Enter Hamilton, r. He comes down c.) 
 
 Morton (downi..). I think it's about time we sent 
 Tommy on his way. 
 
 Hamilton. What now? 
 
 Morton. He came back and told me that he had 
 met Jenkins outside, took the book from him and de- 
 Uvered it himself. It seems that he was lying. 
 (Vehemently.) I won't have that sort of a boy 
 around! (Tommy appears at the door, r., as if to 
 enter, but drazvs hack out of sight when he discovers 
 that they are talking ahovit him.) I wish I had hired 
 the lad v/ho was here asking for a job. 
 
 Hamilton. He looked intelligent. 
 
 Morton. Yes, I was favorably impressed. 
 
 Hamilton. Why don't you hire him? 
 
 Morton {decisively). I'm going to. {He finds 
 the paper on which is written Jerry's name and gives 
 it to Hamilton.) Call up that number and have him 
 come over here. I'll attend to Thomas. 
 
 {Exit Hamilton, l. Morton removes the wrappers 
 from, his package and discovers a photograph, cov- 
 ered with glass and set in an attractive frame. The 
 picture, which need not he large, is a view in a 
 mountainous country. Morton, thrusting the papers 
 aside, examines his gift intently and with evident 
 admiration. Enter Hamilton, l. He comes down 
 c. Morton shows it to him. Hamilton shows 
 interest.) 
 
 Hamilton. Hello — that's a peach. V/here did it 
 come from? 
 
 Morton {dozvni..). Rhoades. Isn't that good? 
 
 Hamilton. It's a corker. 
 
 Morton. My favorite spot in the mountains. See 
 the little lake through the trees ? 
 
JERRY S JOB 19 
 
 Hamilton. Yes, it's a beautiful thing. 
 Morton. Mighty good of Charley Rhoades to send 
 it to me, I think. I must hang it in my office. 
 
 {He lays the picture on the desk, l. Hamilton hands 
 back the paper with Jerry's natne oit it.) 
 
 Hamilton. I called up the young man, and he is 
 on his way. 
 
 Morton. Then the die is cast. Well, he can't be 
 vvorse than the present incumbent. 
 
 Hamilton. The present encumbrance. 
 
 Morton. I accept the correction. Encumbrance is 
 nearer the truth. Send Tommy to me. 
 
 (Exit Hamilton, r. Morton walks slowly toward 
 the door, l. As he reaches it Tommy enters, r., and 
 stops near the door, half scared, half defiant. Mor- 
 ton turns.) 
 
 Tommy. Did — did you want me, Mr. Morton ? 
 
 Morton. Yes. Thomas, I have given you warning. 
 What I have said hasn't done the least good. You 
 have just lied to me in regard to the errand to Mr. 
 Rhoades's office. I will not have a liar in my employ. 
 I'm not going to waste any more words on you. 
 You're through. Mr. Hamilton will pay you your 
 salary for the week. That's all. 
 
 Tommy. Then I'm fired, am I? (Comes c.) 
 
 Morton. Quite right. You're fired. 
 
 Tommy. All right, but I'm goin' to say this 
 
 Morton. I don't care to hear any more from you. 
 
 (About to exit, l. ) 
 
 Tommy, I know you don't, but just the same 
 
 Morton (sharply). That's enough! Get your 
 money and leave ! 
 
 Tommy (angrily). I don't want your money ! 
 
 Morton. Then leave without it. 
 
 Tommy. I'm glad enough to leave! But just be- 
 
20 JERRY S JOB 
 
 cause you want to make room for a little pie- faced 
 mollycoddle of a 
 
 (Morton, thorovighly angry, takes a quick step toward 
 Tommy. Tommy dodges out the door, c, slamming 
 the door after him. Morton's face shows his dis- 
 ■ pleasure. He turns sharply and goes into his office, 
 L., closing the door after him. Hamilton and Jen- 
 kins enter, r., the latter with the drawing which 
 was on the table at the beginning of the play.) 
 
 Hamilton. All ready to go out? 
 Jenkins. Yes. 
 
 (Hamilton spreads the sheet on the table, down R., 
 and studies it a moment.) 
 
 Hamilton. You corrected the spelling of these 
 words ? 
 
 Jenkins. Yes. 
 
 Hamilton. Be careful of that sort of thing. Mr. 
 Morton is particular, you know. 
 
 Jenkins {lightly). I never could spell. 
 
 Hamilton {dryly). So I have noticed. All right; 
 have two blue-prints made. 
 
 {He goes to desk, l. Jenkins rolls up the drawing.) 
 
 Jenkins. Tommy got the can? 
 
 Hamilton. Yes. {Sits at desk.) 
 
 Jenkins. I thought it was coming when you told 
 him the boss wanted to see him. 
 
 Hamilton. He deserved it. 
 
 Jenkins. He expected it. He told me he thought 
 he was being fired to make room for some other kid. 
 Swore he'd get even, so you'd better watch out. 
 
 Hamilton. Do you think he'll try to wreck the 
 business, or merely follov/ one of us home some dark 
 night and sandbag us ? 
 
 Jenkins {laughing). Can't say. You may find a 
 bomb in the waste basket some morning. 
 
JERRY S JOB 21 
 
 Hamilton. That's a bad guess. It would mean 
 some work — and Tommy and work are strangers. 
 Jenkins. You never can tell. 
 
 (Exit Jenkins, r. Enter Jerry, c. He pulls ojf his 
 cap.) 
 
 Jerry (eagerly). Do you want me to go to work? 
 
 (Hamilton sniiles at his eagerness. He rises and 
 goes to door l., knocks, then pushes the door open. 
 He pronounces the boy's name with mock gravity, in 
 the manner of a solemn English butler.) 
 
 Hamilton. Mr. Jerry West. (To Jerry.) Walk 
 in, young man. 
 
 (Exit Jerry, l. Hamilton zvolks to the desk. Jen- 
 kins enters, r., zvith his hat on. He is still carrying 
 the drawing.) 
 
 Jenkins. I'm going down street with this. White 
 and Glover are both out. 
 
 Hamilton. No one in the draughting room? 
 
 Jenkins. No. But I'll be back soon. 
 
 Hamilton. Mr. M. doesn't like to have the place 
 deserted. 
 
 Jenkins (hesitating). Well 
 
 Hamilton. Go ahead. I'll stay until somebody 
 comes back. 
 
 Jenkins. Thanks awfully. 
 
 (Exit Jenkins; c. Hamilton crosses to door r., then, 
 OS if changing his mind, recrosses the stage and 
 enters Morton's office. A pause of a fezv seconds. 
 Then the door, c, is pushed open part way, slowly 
 and quietly, and Tommy peers in. He looks around 
 cautiously, then disappears and closes the door as 
 Morton, Hamilton and Jerry emerge from the 
 office, l.) 
 
 ]\'IoRTON. Jerry, I'm froing to give you the respon- 
 sibility of running the office for a while. Mr. Hamil- 
 ton and I are going to another office in this building for 
 
22 jerry's job 
 
 about five minutes. If the telephone rings take the 
 message. 
 
 Jerry. Yes, sir, 
 
 Morton. Don't leave the office. By the way, you'll 
 find a dust-rag in the draughting room behind the 
 door. (Points r.) You might clean off some of the 
 books. 
 
 Jerry. Yes, sir. 
 
 (Exit Jerry, r. Morton glances at the framed photo- 
 graph on the desk. He picks it up.) 
 
 Morton. The more I look at that thing die more I 
 like it. 
 
 Hamilton. It's certainly a corker. 
 
 (Morton replaces the picture on the desk and the tzvo 
 men go out, c. Jerry returns zvith the dust-cloth 
 and for a fezv moments busies himself cleaning the 
 furniture and books on the shelves up r. and l. The 
 telephone in Morton's private office rings. Jerry 
 enters the office, l. The door, c, is pushed open 
 again, and Tommy comes in quietly. His manner 
 of looking about furtively and of walking softly and 
 noiselessly gives the impression that he is bent on 
 mischief. He goes to the draughting room door, R., 
 and assures himself that there is no one in that room. 
 He crosses l. and looks through the door into Mor- 
 ton's offixe. For a moment he watches the boy 
 within, theri recrosses r., as if searching for some- 
 thing. He disappears through door R. Terry 
 reenters, u, and proceeds with his dusting. For a 
 while he works diligently, then the telephone rings 
 again and he again enters the private office. Tommy 
 conies out of the draughting room, hurriedly. He is 
 trying to wipe ink stains from his fingers. He ap- 
 pears to be a little frightened. He goes quickly to 
 door c, then, as if struck with a nezv idea, he runs 
 to the desk, down l., seises the framed picture, comes 
 down R. in front of table, places it on the floor, glass 
 up, and digs his heel into it viciously, smashing the 
 glass. Then, in great haste to escape, he dashes to 
 
jerry's job 23 
 
 door c, hut halts as Morton's voice is heard out- 
 side. He retreats in confusion as the door is opened 
 and leaps hack into the draughtijtg room, r., out of 
 sight. Morton and Hamilton enter, c.) 
 
 Morton. Well, that's settled. Very convenient, 
 having your lawyer in the same building. 
 Hamilton. It saves time. 
 
 (Jerry enters from the private office, l. He has a slip 
 of paper in his hand.) 
 
 Jerry. Two telephone messages. Mr. Jackson will 
 call again in half an hour, and Mr. Polar Bear will be 
 here at three o'clock. 
 
 Morton (in astonishment). Polar bear! 
 
 Jerry. It sounded like that. He repeated it, but I 
 couldn't hear him very well. 
 
 Morton (/o Hamilton). Have w^e any polar bears 
 on our calling list ? 
 
 Hamilton. Doesn't he mean Paul R. Thayer? 
 
 Morton. Oh, Paul R. Thayer! 
 
 Jerry. Yes, sir. I guess that's it. 
 
 Morton. All right. Let him come. Has any one 
 been here v/hile we were out ? 
 
 Jerry. No, sir ; nobody at all. 
 
 (Morton, still amused and repeating the words " polar 
 hear" to himself, exits l. Exit Hamilton, r. 
 Jerry resumes his dusting up l., taking down hooks 
 and papers and cleaning them carefully. Suddenly 
 Hamilton comes in, greatly agitated. He hears a 
 large drazving, in the center of which is a large 
 splash of hlack ink.) 
 
 Hamilton. How did that happen ? 
 
 Jerry (in surprise). I don't know. (Comes c.) 
 
 Hamilton (r.). You don't know ! That's strange. 
 
 (Morton comes from office, l. ) 
 
 Morton (l.). Why, what's that? 
 Ham-ilton. Front elevation of the Manufacturers' 
 Building ; nearly completed and probably ruined. 
 
24 jerry's job 
 
 Morton. AVho did that? 
 
 Hamilton. That's what I want to know. 
 
 Morton (to Jerry). Do you know anythhig about 
 it? 
 
 Jerry (c). No, sir. I haven't been in that room 
 except to get the dust-cloth right there behind the door. 
 
 Morton. Then it must have been done before the 
 boys went out. (Comes dozvn l.) 
 
 Hamilton. It has been done very recently. The 
 ink had hardly begun to sink in when I found it. You 
 can see for yourself that the edges aren't dry. 
 
 {Crosses l.) 
 
 (The two men examine the sheet carefully. Morton 
 turns to Jerry and looks at him a moment before 
 speaking. J he expression of his face indicates his 
 suspicion. Jerry comes dozvn r.) 
 
 Morton. You are sure that no one has been in the 
 draughting room while we were out ? 
 
 Jerry. Yes, sir. I was right here all the time ex- 
 cept when I answered the telephone. 
 
 Morton. Very strange. {He crosses r. in front of 
 table. His foot touches the broken glass. He looks 
 down, and with a cry of astonishment picks up the 
 picture, from which falls a shower of glass. Moves 
 
 to c. wiih picture.) Why, what in the world 
 
 (To Jerrys) Perhaps you can explain this. (Jerry 
 shakes his head nervously.) Can't you speak? 
 
 Jerry (dozvn r.). I don't know anything about it, 
 sir. 
 
 Morton (c). Nonsense! Don't tell me that! 
 
 Jerry. I don't know anything about it, sir. 
 
 Morton. Don't say that again ! That picture was 
 on the desk when I went out ten minutes ago. Now I 
 find it smashed on the floor. You have been here 
 alone. What am I to infer from that ? 
 
 Jerry. It looks as if I did it, but, honest, I didn't. 
 
 Morton. I have fired one boy to-day for lying 
 to me. 
 
 Jerry. But I'm not Iving. 
 
JERRY S JOB 25 
 
 (Morton i^irns away, up l., out of patience. Jenkins 
 enters breezily, c.) 
 
 Jenkins. The heating contractor says {He 
 
 catches sight of the mined drawing.) Hello ! 
 
 Hamilton. Have you any idea who is responsible 
 for this ? 
 
 Jenkins. I ? No. It's happened since I went out. 
 
 Morton. You're sure of that ? ( Conies down l. c. ) 
 
 Jenkins. Absolutely. I stopped to look at the 
 drawing as I left the room. 
 
 Hamilton. And there was no one else in the 
 draughting room ? 
 
 Jenkins. Not a soul. 
 
 Morton {to Jerry). Then, young man, if no one 
 else has been here you did these things yourself, and 
 you're lying to me ! 
 
 Jerry. I am not lying ! 
 
 Morton. Look here ! If you had done these things 
 by accident and had told me of them I could have 
 overlooked them, but to have done this damage — and 
 there has been nobody else to do it — and then to have 
 tried to lie out of it — I've got no further use for you ! 
 
 Jerry. Mr. Morton, I tell you 
 
 Morton. Don't you lie to me again ! Get out ! 
 
 Jerry. But won't you please 
 
 Morton. I told you to get out ! I mean it. 
 
 (Morton turns away in anger and enters his office, l. 
 Hamilton follows him, closing the door, l. Jen- 
 kins starts for draughting room, r. Hamilton 
 opens the door, l., and calls.) 
 
 Hamilton. Jenkins ! 
 Jenkins. Yes, sir. 
 
 (Hamilton zvithdrazvs into the office, l. Jenkins 
 crosses l., and exits. The door is closed. Jerry, 
 downcast, walks dejectedly to door c, opens it as if 
 to go out, then, remembering that he has left his hat, 
 closes the door and walks to the left side of the 
 stage. At this moment Tommy dashes out from the 
 
26 jerry's job 
 
 draughiing room, evidently thinking that Jerry has 
 departed. Jerry wheels about. The boys face each 
 other in surprise.) 
 
 Jerry (l.). Who 
 
 Tommy (r.). Shut up! You're the guy that did 
 me out o£ a job. A lot of good it did you, too. 
 
 Jerry. It was you who 
 
 Tommy. No, it wasn't, see ! If you open your head 
 I'll knock your block off ! 
 
 Jerry. No, you won't! You poured that ink 
 
 Tommy. I didn't ! Keep still ! 
 
 Jerry. I won't keep still. You've got ink on your 
 hands right now. 
 
 Tom m y ( frantically ) . Shut up ! 
 
 (Tommy dashes tozvard door c. in an attempt to escape 
 from the office. Jerry leaps in front of the door to 
 cut off his escape. Tommy strikes at him furiously. 
 They come down r. There is a brief, sharp struggle, 
 and Tommy falls back, losing his balance and crash- 
 ing to the floor among the pieces of glass, down r. 
 The fall stuns him, and for a motnent he lies motion- 
 less. Jerry takes a step toward him, a liitle fright- 
 ened, then runs to Morton's door, u, and raps.) 
 Jerry. Mr. Morton! 
 
 (Enter Hamilton, l.) 
 
 Hamilton. Well, what do you w^ant? (He catches 
 sight of Tommy.) What's this? (Morton and Jen- 
 kins enter, l.) Where did he come from, and what's 
 the matter with him? 
 
 Jerry (ttp c). Just as you went in there he came 
 running out of that door (pointing r.) and I tried to 
 keep him from going out and — and he hit at me and 
 
 fell 
 
 (Morton crosses r. to Tommy.) 
 
 Morton. Get up. (Tommy moves a little and says 
 something unintelligible, but does not rise. Morton 
 pokes him with his foot.) Come — get up. 
 
 Tommy. My wrist's cut. I can't. 
 
JERRY S JOB 27 
 
 '(Jenkins, zvho has come down r., back of Tommy, 
 suddenly stoops.) 
 Jenkins. He's bleeding. 
 
 (Hamilton crosses r. and kneels beside the boy.) 
 Hamilton. He's cut his wrist. 
 Jenkins. On the glass. 
 Hamilton. Why, he's bleeding badly ! 
 Jerry {pushing ^ forward). Let me see. 
 Morton {pushing him aside). Stand back. 
 Hamilton. Get a bandage. 
 Morton. Here, let me do it. 
 
 {He tries to bandage the wrist with his handkerchief, 
 but does it badly. The blood on Tommy'.? wrist and 
 on the bandage may be poured from a small bottle 
 of beef juice concealed in Morton's handkerchief.) 
 
 Hamilton. Fasten it this wa} 
 
 Morton. No, no — that won't stop it. 
 
 (They struggle frantically to stop the flow of blood. 
 Jerry is circling about them nervously.) 
 
 Hamilton. There, that's right 
 
 Morton. Tie that. 
 
 {Having wound the bandage about the zvounded wrist 
 they attempt to tie it fast.) 
 
 Hamilton. The blamed thing won't stay tied! 
 For heaven's sake send for a doctor. 
 
 (Jerky, who has been grozving more and more im- 
 patient, suddenly shoves Jenkins aside and drops 
 on his knees at To:\rMY's side. He pulls up the 
 arm. ) 
 
 Jerry {to Hamilton, aiifhoritatively). Field his 
 arm 'there. (Hamilton holds the boy's arm firmly.' 
 Jerry^ unknots the bandage and rebinds it above the 
 wrist.) Get me a long pencil, somebody. (Jenkins 
 produces a pencil. Jerry forms a tourniquet, tight- 
 ening it by means of the pencil and fastening the pencil 
 
28 
 
 JERRY S JOB 
 
 SO it cannot become loosened. Then he bandages the 
 cut.) There, that will hold all right until he can 
 get it dressed. 
 
 (They help Tommy onto his feet.) 
 
 Hamilton. How do you feel? 
 Tommy. All right. 
 
 (He says it tremidously , but still zvith a trace of the 
 characteristic bravado in his voice. He is rapidly 
 recovering his self-possession, but he is somewhat 
 weak and ''wobbly.") 
 
 Morton. You'd better go to a doctor's office. I'll 
 send for a taxicab. 
 
 Tommy (c). I don't want no taxi. I'm goin' 
 home. 
 
 (In addition to his unsteadiness, due to the accident, 
 he seems to be awkzvard and ill at ease. He makes 
 his zvay toward the hall door.) 
 
 Morton (dozvn l.). Don't you go home or any- 
 where else until you have had that w^ound properly 
 dressed. 
 
 Tommy. Aw — I ain't hurt much. 
 
 Morton. You came mighty near being badly hurt. 
 You have a cut on your wrist that may prove serious if 
 you don't have it attended to at once. 
 
 Tommy. It don't hurt. 
 
 Jenkins (down r.). Gosh! I should think it 
 would ! 
 
 Tommy. Not — not much. (It does pain him, but 
 he tries not to shozv his discomfort.) I — I'll take a 
 walk down to the Relief Hospital and have it fixed up. 
 One of the ambulance drivers is a friend of mine. 
 ^ Hamilton. You'd better ride. 
 
 (Goes lip c. to Tommy.) 
 
 Tommy. I will not. I'll walk. It ain't far. 
 Jenkins. I guess I'd better go with him. 
 Jerry (r.). No, I'll go. 
 
jerry's job 29 
 
 {He steps to Tommy's side. Tommy turns against 
 him fiercely. ) 
 
 •Tommy. No, you won't. I don't want no help 
 from you. 
 
 Morton. Look here, young man, do you know that 
 you may owe your Ufe to this boy ? 
 
 Tommy. I owe the loss of me job to him. 
 
 Morton. You get that idea out of your mind at 
 once. This fellow had nothing whatever to do with 
 the loss of your job. You know perfectly well why 
 you were tired. I gave you warning before I ever saw 
 Jerry. 
 
 Tommy. Well, if it hadn't been for him 
 
 Morton. If it hadn't been for him we would have 
 run the office without an office boy until we found 
 another. If it hadn't been for him you might have 
 bled to death there on the floor while the rest of us 
 were trying to tie up your wrist. Instead of this hos- 
 tility it would be better to thank him for saving your 
 life.' 
 
 (Tommy* is beginning to realize how things really 
 stand. He looks at Jerry a moment without speak- 
 ing, somewhat embarrassed. Then his gaze shifts 
 to the other faces questioningly.) 
 
 Jenkins. That's right, Tommy. You owe it to 
 him. 
 
 (Tommy looks at Jerry again.) 
 
 Tommy. Is that right, kid? 
 
 Jerry. Oh, I just tied it up. 
 
 Tommy. Straight goods, didn't you try to do me 
 out of me job? 
 
 Jerry. No. I wouldn't have come here if I'd 
 thought I was going to take your job away from you. 
 
 Tommy. Aw — I — I dunno 
 
 Jenkins. Be a sport, Tom. 
 
 Tommy (to Jerry). I guess I ain't got anything 
 against you. I — aw, say, I busted that picture. 
 
 Morton (l.). Oh, you did! 
 
30 jerry's job 
 
 Tommy. Sure. I own up to it. I thought I had 
 it in for him, so I sneaked in when he was at the tele- 
 phone an' smashed it. I did it to get even. I thought 
 he'd get the blame for it. Then youse come in an' I 
 couldn't make my get-away, so I hid in the draughtin' 
 room closet. I was tryin' to git out when he caught 
 me. 
 
 Morton. So you're the guilty party. 
 
 Tommy. Guilty, yer honor. 
 
 Morton. And you poured the ink on that drawing, 
 too? 
 
 Tommy. That drawing? No — no, I 
 
 Morton. What's that ink on your fingers? 
 
 Tommy. That's been there all the morning. {He 
 looks guiltily at Jerry.) I got that on there when I — 
 when I — aw, what's the use? {He is speaking chiefly 
 to Jerry.) I was tryin' to put that over on you, too. 
 I done it. 
 
 Jerry. I know it. 
 
 Tommy. How'd you know it? 
 
 Morton {to Jerry). You told me that you didn't 
 know who did it. 
 
 Jerry. I didn't then. I found out when I bandaged 
 his wrist. There's a funny scar on his thumb, where 
 the ink stain is. You'll see the mark of it on the 
 drawing. 
 
 (Morton examines the drazving, which is on the desk, 
 dozvn l.) 
 
 Morton. You're right ! 
 
 Tommy. If you knew why didn't you tell on me? 
 
 Jerry. I'm no tattle-tale. 
 
 Tommy. Say — you're — you're different from what 
 I thought you were. I wouldn't have tried — what I 
 did — if I'd known. 
 
 Jerry. Oh, that's all right. 
 
 Tommy. Where'd you learn the Red Cross stuff? 
 
 Jerry. It's part of the Boy Scout training. 
 
 Tommy. Are you a Boy Scout? 
 
 (Hamilton comes dozvn l.) 
 
JERRY S JOB 31 
 
 Jerry. Yes. I'm a Scout. They teach you lots of 
 things — first aid. and athletics and how to live in the 
 woods and wireless and — and how to live right — ■ 
 straight, I mean. 
 
 Tommy. Gee! I w4sh I'd had a chance like that. 
 I've had kinder hard luck. It's the gang I travel wdth, 
 I guess. They're a cheap crowd, but I w^as bi'ought 
 up with 'em. 
 
 Jerry. Why don't you join the Scouts? 
 
 Tom m y ( eagerly ) . Could I ? 
 
 Jerry. Sure. I'll get you in. Will you join? 
 
 Tommy. Would they take a — a roughneck like me? 
 
 Jerry. Of course they'd take you. 
 
 Tommy. I'd like to join. 
 
 Jerry. Good. 
 
 Tommy. Say — you're all right! 
 
 Morton. Tommy, I iired you because you weren't 
 worth a dollar a year to me. But if the Boy Scouts or 
 the Salvation Army or any other human agency can 
 make a decent sort of boy out of you I'll get you a 
 good job. What do you say ? 
 
 Tommy (up c). You're on ! 
 
 Morton (down l.). Consider yourself on proba- 
 tion for a few weeks and come around occasionally and 
 report to me. I'll help you if you mean business. 
 Now go dow^n to the Relief Hospital and have that arm 
 dressed. 
 
 Tommy. Yes, sir. 
 
 Jerry. I'll go with you. 
 
 Tommy. No. I'd rather go alone. That cut ain't 
 anything. I can stand on me own feet. (He goes to 
 door c. There he stops.) Don't forget about the 
 Scouts. 
 
 Jerry (r. c). No, I'll let you know. 
 
 (Tommy opens the door, then turns again. Hesitat- 
 ingiy he comes back and holds out his uninjured 
 hand to Jerry. The boys shake hands. Tommy 
 goes out. Jerry zvaits a second or two, then starts 
 to follow.) 
 
 Morton. Where are you going? 
 
^2 JERRY S JOB 
 
 Jerry. You said I v/as fired. 
 Morton. Fired ! No, I need you. 
 
 Jerry. I'm not 
 
 Morton. Not by a long shot. Sweep up that glass. 
 
 (Jerry starts to work with enthusiasm as the curtain 
 falls.) 
 
 Jerry Hamilton 
 
 Jenkins Morton 
 
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