PS 3503 .R53 B4 1917 Copy 1 3 PLAYS EXCHANGED. tHCR'5 Edition" of PL7\Y3 Behind the Scenes Price, 25 Cents B. UJ. Pinero's Plays Price, SO ecnts €acl> Till? A IVI A yniSI^ Farce in Three Acts. Seven males, five fe- iflCi AlYlA^v/lliJ males. Costumes, modern; scenery, not difficult. Plays a full evening. THE CABINET MINIISILK males, nine females! Cos tumes, modern society; scenery, three interiors. Plays a full evening. nAlSinV nir'ir Farce in Three Acts. Seven males, four fe- UAViUl L/iV/Iv males. Costumes, modern; scenery, two inte- riors. Plays two hours and a half. TUr P AV I A1?n niirY comedy in Four Acts. Fourmales, inCi UAI LiUlxU V^UEiA ten females. Costumes, modern; scenery, two interiors and an exterior. Plays a full evening. UIC UAfTCr IM nOnCD comedy in Four Acts. Nine males, niO niiUOlL 111 tiAUEiIV four females. Costumes, modern; scenery, three interiors. Plays a full evening. TUr UnDDV UADQIT Comedy in Three Acts. Ten males, iniL nUDDI niilVOE. nve females. Costumes, modern; scenery easy. Plays two hours and a half. IPTC Drama in Five Acts. Seven males, seven females. Costumes, lI^liJ modern ; scenery, three interiors. Plays a full evening. f AHY RniTNTIFTTI Play in Four Acts. Eight males, seven Id/ii/l DWUillirULi females. Costumes, modern; scen- ery, four interiors, not easy. Plays a full evening. I FTTY I^i'a™* ill Four Acts and an Epilogue. Ten males, five UIil 1 1 females. Costumes, modern; scenery complicated. Plays a full evening. mMAr'IQTRATI? Farce in Three Acts. Twelve males, iTlrlVIliJ 1 IV/\ 1 £• four females. Costumes, modern; floeuery, all interior. Plays two hours and a half. Sent prepaid on receipt of price by Matter ?|. pafeer & Company No. 5 Hamilton Place, Boston, Massachusetts Behind the Scenes A Comedy in Two Acts For Female Characters Only By GLADYS RUTH BRIDGHAM It Author of ''Leave it to Polly,'' ''A Regular Scream;' ''Not on the Programme;' "A Modern Cinderella;^ "On the Quiet;' "A Regular Rah I Rah! Boy;' "Sally Lunn;' "Six Times Nine;' "Cupid's Partner;' "Her First Assignment;' "A Case for Sher- lock Holmes;' " Ring- Around-a-Rosie;' "Three of a Kind;' "The Turn in the Road;' "The Queen of Hearts;' etc. BOSTON WALTER K. BAKER h CO. • 1917 ^i Behind the Scenes CHARACTERS Beryl Kennison Nancy Harraden Phyllis Moore J- Seniors. Virginia Calhoun Lucille Vernon Miranda Simpson, a sophomore. AlELEEN AlDRICH ] ^ , Daisy Kennison | Freshmen. Barbara Gray, an instructor. RosiE McNiEL, the lau7idress child. Mrs. Sherwood. Miss Darley. SYNOPSIS Act I. — Study of the Ethan Allen Club—Sherwood School for girls. Afternoon. Act II. — The same — evening of the same day. Time. — The Present. Note The seniors and Miranda should be represented as about seven- teen and eighteen; Daisy and Aieleen thirteen and fourteen; Rosie, aged nine, is blind ; Miss Gray is twenty-five, Miss Darley, thirty-five, and Mrs. Sherwood, middle aged. All wear school dresses for Act I, and evening dresses and fancy costumes for Act II. Copyright, 191 7, by Gladys Ruth Bridgham As author and proprietor All rights reserved ©CI.D 4 6235 # . -- FEB 24 1917 '' • "l^ ( Behind the Scenes ACT I SCENE. — Study of the Ethan Allen Club; exits r. and h. ] luindow C. ; fireplace L. Picture over ftiantel concealing a cupboard ifi the wall; tea table; study table; a piano if possible. Furnis/iitigs i?i Colofiial style sliould be used if convefiient. (As curtain rises Nancy Harraden sits by study table r. f. ; Virginia Calhoun and Phyllis Moore are hangmg out window sJiouting and waving their hands.) Phyl. Oh, you lucky juniors ! Vir. I wish we were going ! What ? Oh, we couldn't possibly. We have all our studying Phyl. And loads of things to do for to-night. Good-bye ! {They turn from th'e windoia and ivalk toward table.') Nan. Do shut the door, Phyl, before you sit down. We shall never get through at this rate. Every one we ever knew or ever thought of knowing has called within the last hour. Vir. (sitting by table and taking up a book). Yes, awful, isn't it? Put an engaged sign on the door, Phyllis. Nan. It might do some good. It will keep outsiders from coming in. Phyl. Well, I want the largest piece of paper I can find. Where, oh, where ? Here, let me have a piece of that ! (Takes apiece of paper from the table upsetting Nan.'s books and papers.) Now, then! (Writes.) '* E-n-g-a-g-e-d ! " Ex- clamation ! Underlined ! (Runs her hand over her luaist.) I thought I had a pin ! (Looks around the room and goes to tnantel.) Oh, of course there wouldn't by any chance be a pin in this den of intellectuality. (Knocks a picture from the mantel.) Oh, pardon me, Dr. Eldridge. (Picks up the pic- 4 BEHIND THE SCENES iure and replaces it. Stands booking at it for a second.') Girls, isn't the doctor the classiest looking man? ViR. He certainly is ! Phyl. Say, Jinny, I'm going over to your room for a pin. Viu, You will have your labor for your pains. Hilda Cook had a squelch party last night and she borrowed everyihing in my room but a hot water bottle and a bunch of toothpicks. Here's a pin ! Phyl. {taking it). Thanks, fair creature. 'How (^pinfiing sign to the door), to all whom it may concern — we are engaged ! (S/anis the door and goes to table.) Jinny, what's a squelch party .? Really now, that sounds hopeful ! Nan. {grabbing Phyl. by the shoulders and pushing her into a chair). Phyllis Moore, you and I will have a little squelch party of our own right now if you don't keep still for at least ten minutes. Sit down and see if you can improve your mind. Phyl. Improve my mind ? It's hardly worth while to try. I don't seem to have enough to improve. Nan. Virginia, can you imagine what 1 could have meant by "six mutton chops well peppered"? What does it re- fer to ? Phyl. {langhing). Sounds like a hot lunch. ViR. It would be more to the point if I could tell you what my own notes mean. I can't read them to save my life. Here's a quotation ! Just listen ! All I can make of it is : '' Louisa, in bed though it's morning. Is snoring like the deuce." Phyl. Did Shelley write that? Really now, I never sup- posed he was equal to anything so classy. Nan. Don't use slang. Shows a limited intellect and small vocabulary, Phyl. That's me ! Here's your quotation. Jinny : " Lo, where red morning through the wood Is burning o'er the dew." ViR. That's right ! So it is ! By the way, Nancy, how about that wonderful friend of yours who was going to help some of us in Political Economy? Nan. Miss Simpson ? She will be over this afternoon, I think. Vu^, Imagine any girl being able to tutor in Polly Con. I BEHIND THE SCENES 5 should think the heat from some of the arguments would make her brain sizzle. Nan. She is a wonder. (Lucille Vernon knocks on the door, l., and stops by the door looking at the sign.) Luc. Engaged ! Just look at that ! Well, if I couldn't find a more modest way of announcing it. May I come in and offer my congratulations ? ViR. Considering that you have as much right here as we, 1 suppose you may. Phyl. You'll have to sit down and fold your hands. We are endeavoring to grasp a few facts in regard to the poetical efforts of our dear friend Percy Shelley. Nan. Oh, it's no use. We are doomed ! I wish there was a cloister in Sherwood. I would seek it when 1 wanted to study. Enter Daisy Kennison and Aieleen Aldkich, l. Dai. Hello, girls ! All (ziJith a resigned air). Hello! Luc. And who is this little one thou bringest with thee ? Dai. Oh, haven't you met Aieleen? Miss Aldrich, Miss Vernon. Aieleen is my roommate. Shall we bother you, Nancy ? Nan. Oh, no, nothing ever disturbs us. AiE. Gracious ! I should think you would be so excited about to-night ! Luc. Dear child, by the time you have started on your fourth year here it will take something more than a party to ex- cite you. Phyl. That's right. We have certainly entertained until the novelty has somewhat worn off. Nan. Yes, if this wasn't for Student's Aid, I should have absolutely no patience with it. ViR. There isn't a girl in this club who isn't doing about three times the amount of outside work that she ought to do. Dai. Well, if you aren't the most doleful crowd. Beryl Kennison {outside). Where, oh, where are the grave old seniors ? Aie. {starting toward the door). They won't be doleful any longer. Ber. Here's your fresh roasted peanuts, five a bag ! 6 BEHIND THE SCENES [Enters L. and riius into Aie.) * Dear child, haven't you been told that you shouldn't stand in the middle of the gangplank? (^Hiigs Dai.) Daisy, darling, did you come up to see big sister? Phyl. Where are your books, Beryl ? Bek. Don't ask such embarrassing questions. ViR. Didn't you look up those references? Ber. Why, yes, I went over to the library the very first thing after lunch, but you don't need a note-book. So easy, you just couldn't help remembering them. Luc. 1 wish 1 might be affected the same way. Bek. Then, I went over to. the gym and vi^alched the soph- omore basket-ball, and then 1 went down-town and, girls, do draw around this festive basket {^pulling waste basket to the middle of fioor) and have some peanuts ! (^Displays a bag.") All (sitting on tJie floor arozmd the basket ). Oh-o-o-o ! Joy ! Hot ! Ber. Great, aren't they? And now I have a piece of news for you. Mary Austin is in the hospital ! Girls. What? ViR. Why, she can't be ! Phyl. Of course not ! She was in the class this morning. What's the joke, Beryl ? Ber. It's no joke, girls. She hasn't been feeling well for two or three days and she wouldn't give in on account of to- night. Just before lunch she had to admit that she was sick and Dr. Eldridge thinks she is going to have some kind of a fever. Nan. Horrors ! I hope it isn't a contagious one. ViR. Who on earth will be Molly Pitcher to-night? Phyl. Doesn't it beat all? She is the fifth girl who has had the part and had to give it up ! Dai. Oh, Beryl, couldn't I take the part ? No one would ever know me. Ber. Well, hardly. I guess you will stay right in the Freshman House where you belong. Dai. I don't care I It's too mean for anything the way the freshmen are treated. Aie. Utterly horrid ! Just think ! We can't leave our building after eight in the evening excepting one night in the month. Perfectly disgusting ! Phyl. We all lived through it. I guess you girls will manage to, BEHIND THE SCENES 7 ViR. Daisy, you are lucky to have a senior sister. You wouldn't be coining over here in the daytime only for that. Nan. You will learn twice as much this first year as in the next three put together. Luc. Yes, you won't have to call any one in to tutor you in Polly Con. Ber. (looking about'). By the way, where is Miss Simpson? Nan. Miss Gray is going to bring her over here this after- noon. Luc. It was really Barbara who discovered her. Bek. Discovered her? You would think she was an unex- plored country. Luc. (J??ipa tie /lily). You know what I mean. It was Bar- bara who first discovered how needy she is and how deserving of success. She is working her way through the school. You understand ? Working ! I repeat, working ! Ber. Yes, dear. We have digested that. Proceed ! Luc. She needs more work. More tutoring. ViR. I shouldn't think she would have to look far. Luc. {impressively). Miss Simpson came here determined to work her way through and to graduate with honors. Ber. How foolish ! I don't know what the school is com- ing to if so many girls come here to study. Nan. Beryl ! Luc. Never mind, Nancy ! Beryl doesn't disturb me in the least. I am quite used to her careless ways in regard to girls less fortunate than herself. There is quite a romance con- nected with Miss Simpson. She comes from a place on the Maine Coast. Pedunk Point. Ber. Mercy, Lucille. I thought you were giving an im- personation of a frog. Pedunk Point ! ViR. Does sound like it, doesn't it? Pedunk Point ! Phyl. How funny ! Pedunk ! All. Pedunk ! Nan. Girls, how perfectly ridiculous ! When Beryl starts anything you are just like the chorus in a play, saying — ''we do — we do — we will — we will ! " Ber. What class is Miss Simpson in? Nan. Sophomore, but she is as old as we are. Luc. Barbara says she has been prepared for school by her father who is a country minister, and she is way up in some things and doesn't know a thing about others. ViR. She isn't living in the school, is she? 8 BEHIND THE SCENES Nan. Oh, no, they can't aiiford it. She is the oldest of nine children and they are as poor as the mice in her father's ciiurch. She has a room down on Vine Street. Phyi-. Goodness! Way down there? She might as well be on ihe other side of the globe. Nan. Well, of course she doesn't get a bit of school fun. Enter Barbara Gray and Miranda Simpson, l. Barb. Girls, here is Miss Simpson. Some of you know her, 1 think. Ber. {cordially'). Of course we do. {The girls jump np from ihe floor.') Nan. We are glad to see you, Miranda. Luc. If I might suggest ViR. {Jnterriiptiiig). Do sit down ! Phyl. Have some peanuts ! Ber. That's right ! (/// an aside to Vir.) For goodness' sake, don't give Lucille any chance to do any suggesting ! (They all sit dotvn, Barb, near Mir., Aie. leaning over the back ^Barb.'s cJiair.) Aie. Oh, Miss Gray, if all faculty were like you, life here would be a jolly lark. Barb. Thank you, Aieleen, but don't be too hard on faculty. I was one of the girls here less than a year ago and I haven't forgotten how to be one still. Nan. And you never will, Barbara. Dai. {with a sigh). I'm in a mess with some teacher all the time, especially Miss Darley. Isn't she the limit? Vir. She certainly is ! Phyl. I guess you aren't the only one who is in a mess with her. She doesn't get along with any of the girls. She can't teach any more than Nan. Oh, Phyl, you shouldn't speak that way. If Mrs.. Sherwood is satisfied with her ability to teach, it doesn't con- cern us. Luc. Mrs. Sherwood hired her because old Dr. Darley was her uncle. That is plain to be seen. Vir. She imagines she is such a success. Barb. I don't agree with you. I think it is more than BEHIND THE SCENES 9 likely that she realizes that she is a failure, and feels mighty mean about it. Ber. 1 believe you are right, Barbara. 1 have suspected that Miss Darley is human. ViR. For goodness' sake why doesn't she show it then ? Barb. No one gives her a chance. Nan. You must admit, Barbara, that Miss Darley is hor- ribly touchy to say the least. Barb. She has enough to make her. I believe she could be as nice as any of us. Ber. And could have as much fun if any one would teach her how. ViR. {laughing). Well, excuse me ! Dai. Isn't she a sight ? Mir. 1 think it is the way she dresses her hair. Nan. Yes. If she wouldn't comb it back so plain she would look entirely different. Barb. I think she has a nice face. Luc. {from ivindow). Hush, girls i She is coming across the yard with Mrs. Sherwood. Looks as if they were coming here. (Barb, goes to wi?idoiiK She andl^ijc.. stand talking for a second and exeunt^ l.) ViR. Mercy ! Change the subject ! Phyl. Yes, do. Er — er — who in the world will we get to be Molly Pitcher ? Reenter Luc. , l. , laith a package and a handful of letters. Luc. Mail, girls ! All {rushing to het-). Any for me ? Ber. {palling Nan. to one side). Nancy, I have an idea ! We will have Miranda Simpson for Molly Pitcher. Nan. Miranda Simpson? Why, she never goes to parties or anything like that. Ber. It's time she did ! Nan. But her costume ? Ber. The costume is all ready. It may be a trifle large but we can alter it if we all get busy. Nan. Oh, Beryl, you do think of the nicest things. I shall tell Lucille Ber. {quickly). Tell Lucille nothing ! 10 BEHIND THE SCENES Nan. She ought to know. .Why do you quarrel with her all the time and give her the wrong impression of you? Ber. Because Lucille makes me horribly tired. There, never mind ! I'll be good. Call Miss Simpson. Nan. Miranda, Miss Kennison wishes to speak to you. Ber. (as Mir. cojnes forivard'). Miss Simpson, will you do me a favor? Mary Austin is sick and 1 want you to take her place in the pageant to-night. She was going to be Molly Pitcher. I am chairman of the committee, you know, and it will be a great favor if you will help me out. Mir. Why, Miss Kennison, I can't. You see Nan. Yes, you can, Miranda. Your costume is all ready, and you don't have to say a word. We can easily show you all that you have to do. She will do it. Beryl. Ber. {speaking rapidly and shaking ha fids ivith Mir. ivho looks surprised and confused'). Thank you ever so much ! It's awfully good of you. By the way. Miss Simpson, you are from the North, aren't you? You must join our quartet. {Points to ViR., Nan. and herself.') South, east and west. We have been looking for north. Mir. But I don't sing, Ber. That's why we want you. This is the "Never Could Quartet." There, Miss Simpson, don't look so horrified ! It really isn't polite ! Luc. {coining forward ivith a letter ivhich she gives to Ber.). Mail, Beryl ! {Hands a package to Nan.) Nancy! Nan. {opening the package^. This is from my brother. I wonder what Ber. {has opened letter). Oh, girls, dad has sent a check for a hundred dollars toward Student's Aid. All. Great ! Isn't that splendid of him ? What luck ! Phyi,. {to Nan., 7vho lifts a doll from the box). Why, Nancy Harraden, have you gone back to your childhood ? All {surrounding^k^^. Oh, isn't it sweet ? Nan. Jim has sent it to Rosie. Won't she be pleased ? Ber. 1 should say she would. Daisy, run down and get her, will you ? Dai. Sure ! [Starts for door folloived by Aie.) Oh, Beryl ! {Turns back.) There is something I want to ask you l)ef)re I forget. Is it true we are all forbidden to go to Rath- skill's any more ? Blr. Yes. Aie. Why? Behind the scenes ii Ber. I don't know. Do any of you girls? Nan. I don't believe any one knows exactly. Dai. It's too mean. The Dutch Tea-room is divine and about all the real fun we freshmen ever get is afternoons at Ralhskill's. Ber. {looking at her anxiously). Well, you mustn't go there, Daisy. Do you understand ? Mir. There is an unpleasant story in circulation about something which happened there one night last week, and 1 think that is why Mrs. Sherwood has forbidden her girls to go there. Dai. She will forbid us to breathe pretty soon. l^Exit, \.., followed by AiE. ViR. I don't believe your sister is going to be as happy here as you have been, Ber. Ber. Oh, she will get used to it and like it in time. We aren't very much alike, and it may take her longer than it did me. Enter Mrs. Sherwood, \.., folloived by Miss Darley. Mrs. S. And this is the study, Miss Darley {smiling at the girls'), although I am afraid it isn't always used as such. Girls. Good-afternoon, Mrs. Sherwood. Won't you sit down. Miss Darley ? (Miss D. is indifferent to the girls but very much interested in the room.) Mrs. S. Miss Darley is very much interested in your club. Ber. (cordially). You have never been over before, Miss Darley? Miss D. No. Mrs. S. You have missed a great deal, I assure you. All {appreciatively). Thank you, Mrs. Sherwood. Nan. {to Miss D.). You will surely come again. All who come once come a second time. Mrs. S. Phyllis, will you let Miss Darley take the notes her uncle made on the iiistory of this house ? Phyl. Why, certainly. I will get them at once. \_Exit, R. Miss D. {examining the fireplace with interest ). This is a very old house, isn't it ? Mrs. S. Yes, it dates back to Revolutionary days. At one 12 BEHIND THE SCENES time it was the property of a relative of Ethan Allen, the leader of the Green Mountain Boys. ViR. Do you believe the story of the movable panel, Mrs. Sherwood ? Mrs. S. I don't know whether I do or not. I certainly don't know any one that has ever seen it. Miss D. (^quickly). What is the story ? Mrs. S. Why, this house was once used as General Wasli- ington's headquarters. It is said that a British spy once made his escape from the general by means of a movable panel in the walls of this room, and a secret passage. It is also said that the general kept his plans of campaign in a secret cupboard in this room. Miss D. Is it possible ? Mrs. S. Possible but not very probable. Nan. I can assure you that we have searched a good many times, and many girls before us. RosiE McNiEL {outside). Nancy ! Beryl ! Ber. (^going io door). Yes, Rosie ! We are here. [Leads Rosie into room, l.) Mrs. S. How are you this afternoon, Rosie? Rosie. Oh, Mrs. Sherwood, are you here ? Mrs. S. Yes, dear. And this is Miss Darley. Miss D. How do you do ? Rosie (as Ber. guides her toivard Miss D.). How do you do ? 1 have heard the girls talking about you. Miss D. {dryly). I dare say. (Sudde?ily leans forward and looks intently into Rosie' s eyes.) Rosie. Daisy said you wanted to see me, Nancy. Nan. Yes, dear. {Takes doll from the box.) Jim has sent you a present. Rosie. Your brother? Oh, isn't that lovely of him ! What is it ? Nan. Guess ! Rosie. Candy? Nan. No. Rosie. A ribbon? Nan. No. Rosie. I can't guess. There are so many things. BEHIND THE SCENES 13 Nan. Wei], then, stretch your arms way — way out — and she is ■ {Fu/s the doll into Rosie's anus.) RosiE {cie lighted). A child ! {Hugs it close to her.) Oh, Nancy, tell me about her ! Nan. What do you want me to tell you, dear? RosiE {feeling of tJie doll's Jiai?). What kind of hair ? Ber. Yellow, and dyed at that. She is a blonde, Rosie, a strawberry blonde. Rosie. No joking. Eyes ? Nan. Blue as the skies. Rosie. Is she pretty ? Viu. You bet she is ! A regular maid of Troy. You had belter name her Helen. Rosie. No, I shall call her Nancy Beryl. Oh, Mrs. Sher- wood, wasn't Mr. Harraden kind? Mrs. S. Indeed he was ! Rosie. I'm going to show her to mother. {Holds the doll with one arm and feels the ivay to the door witJi the other Jiand.) And if you are very busy to-day. Beryl, I won't come back again. Ber. I'm never too busy for you, dear. Come just as you always do. Rosie. All right, then, just as I always do. \_Exit, l. Miss D. Who is that child, Mrs. Sherwood ? Mrs. S. The laundress' child, and the pet of the whole house. Miss D. I hope you do not look upon her case as hopeless. Mrs. S. Well, in a way we do. When she first came here last fall we were desperate to do something for her. That she must go through life this way seemed too dieadful to be true. Dr. Eldridge, the young man who took your uncle's place, says there is no help for her unless she could have a special treat- ment which in her case is impossible. Miss D. Not at all. Would her mother be willing that I should examine her eyes and operate if I thought there was a chance for her? Mrs. S. You mean you understand the treatment that Dr. Eldridge referred to? Miss D. Yes. All {looking at Miss D. ivith surprise and respect). Oh, really ? Think of it ! Ber. Why, Miss Darley, we didn't know that you were a doctor ! 14 BEHIND THE SCENES ViR. And you can operate on eyes ? Nan. Isn't it wonderful ? Miss D. {sJiortly). Nothing wonderful at all ! I came here directly from Germany where 1 had been studying. There is nothing wonderful about it. {She turns away. There is an awkward pause.') Ber. {suddenly). Oh, Mrs. Sherwood, I forgot to tell you that father sent me a check toward Student's Aid. (JShozus her the check.) Mrs. S. That is very generous of him. (Ber. throws the check on the desk and forgets about it. Miss D. regards her and the check thoughtfully.) I suppose everything is ready for to-night. Nan. Very nearly, but really we should be excused for there are some things to be done. Mrs. S. Certainly. Don't mind us at all. Luc. And we haven't talked a word of business to Miss Simpson. Ber. That's right, but we can do it while we try her cos- tume on. Come, girls ! All. We will see you to-night, Mrs. Sherwood. [They exeunt, r. Miss D. You mentioned a Dr. Eldridge who has taken my uncle's place. What is his full name? Mrs. S. John Spencer Eldridge. Miss D. He comes from Albany? Mrs. S. Yes. Do you know him ? Miss D. I have heard of him. Mrs. S. He is a very successful young physician and is gaining great popularity here. I shall have to go. Miss Darley. Do you care to remain here for a while ? Miss D. {glancing about). I think so. There is much to interest me here. Mrs. S. Very well. If you will talk with Miss Gray I am sure she will prove of assistance to you. Miss Darley, I fully appreciate your distaste of your position here, and I assure you that 1 do appreciate what you are doing for me. I only hope that some day I may be in a position to do something for you. Miss D. Don't speak of it, Mrs. Sherwood. I only hope that I may be successful in what 1 have undertaken, and your BEHIND THE SCENES I5 gain is mine, you know. (^She turns toward the 7nantel as Mrs. S. exits ^ l. Discovers Dr. Eldridge' s picture ; takes it tip 7vith a little cry.) Jack ! Jack ! {She stands looking at it. Phyl. enters with some note- books. She hastily replaces t/ie picture.) Phyl. Here are the notes, Miss Darley. {Hands them to her.) Miss D. Thank you very much. Are you in a hurry to have them returned ? Phyl. Oh, no, as long as we are sure of having them re- turned some time. We were very fond of your uncle and he took a great interest in this club. It is our idea to publish a little book on the history of this house and club, and of course your uncle's notes will be of great service to us. Miss D. I will be careful of them. (Phyl. starts to exit.) By the way, Miss Moore, whom do you consider the most popular member of this club ? Phyl. {turning back from the door and regarding her in surprise). The most popular member ? Beryl. Miss D. You feel sure of that? Phyl. Oh, yes, there's no question about it. Ask any of the girls. Miss D. I thank you. {She turns aivay. Phyl. regards her with surprise for a second ; finally sJirugs her shoulders and exits, R.) Enter Baub., l. Barb. Good-afternoon, Miss Darley. Mrs. Sherwood said you wished to talk with me. {Glances about.) What has be- come of tlie girls ? Miss D. I don't know where they went. I think probably some one discovered a new receipt for fudge. Barb, {smiling). Do you think that is all that interests the girls ? Miss D. The most of them, yes ! Fudge, false hair and a new way to dance the one-step. Miss Gray, how you can stand it to chaperone this house full of crazy heads is beyond me. If I cared for teaching or for the life here I might look at things from a different standpoint, I suppose. Barb. I am quite sure that you would. Miss Darley, I am l6 BEHIND THE SCENES afraid I don' I quite uiulci stand your position here. Mrs. Sher- wood said she thougiu 1 might be of sou>e assistance to you. If you care to explaiu {She hesitates?) Miss D. {^quickly^. Yes, I will explain. I believe I can trust you. Heretofore 1 have never trusted secrets to any one but men. You were acquainted with my uncle ? Barb. Yes, indeed. Miss D. And know, I suppose, that he was a wealthy man ? Barb. Yes. Miss D. At one time I was his heir. He didn't believe in women following his profession and when 1 took up the study of medicine he cut me off. When he died it was found that he had again changed his mind, and had left me about two- thirds of his fortune, providing 1 would come here and carry out his wishes as to the disposal of the other third, which in some way is to benefit this school. Barb. (Jjiterested'). Really? Miss D. Yes. He left me a letter in which he told me a romance of his life which 1 never even suspected. Jn his younger days he loved my mother. He never married and he wished the daughter of the woman he loved to stand in the place of a daughter of his own. He asked me for the sake of her memory to carry out his last wishes. What could 1 do? Barb. As he asked, of course. Miss D. Miss Gray, he was the strangest man, and my place here is the most absurd a woman was ever placed in. You know some of his peculiarities? Barb. Why, yes. He was interested in the detection of crime and was a handwriting expert and all that sort of thing. He seemed to imagine he was a Sherlock Holmes. Miss D. Exacny. Barb, {smiling). And you don't inherit any of his talents? Miss D. Only the handwiiting. I can do anything with a ])en. 1 am bound to secrecy until I have carried out his wishes and it is beginning to look to me as if I never could carry them out. 1 am up against a blank wall every way I turn. All 1 have to guide me is a cipher, something like this — 10-14-4-17-3. J have not even found the will which, if you will believe me, is hidden somewhere in — I am beginning to believe — this build- ing. The whole thing is idiotic. Jf you could only realize how distasteful this is to me. {IValks lip and dozvn the room.') BEHIND THE SCENES \J Barb. I think I do understand. I don't know in just what way 1 am going to be of service to you, but 1 hope 1 can help in some way. 1 sliall count it a great privilege. Miss Darley, if you will pardon my frankness, 1 don't believe you are look- ing at things from the right standpoint. You weren't in sym- paiiiy w^im your uncle's iileas, and this whole thiiig looks trivial lo you. When you first came here 1 looked at you in -wonder and tried to imagine how it would feel to have been related to such a man as Professor Darley. Your uncle was one of the greatest scientists this country has ever known. He has given to the world three books of inestimable value. He did have some peculiar ideas. He did do some peculiar things, but what right lias any one to say that what he was interested in was trivial? One of tlie greatest men this country has ever known has left you a task to fulfil and you do not appreciate the honor which has been bestowed U[)on you. Miss D. Miss Gray, I thank you. You have given me a view of the situation which I am ashamed to admit 1 am afraid 1 should never have taken. Bai^b. Jt is only the other point of view, and you will come to use it in regard to the girls when you know them better. Miss D. {doubtfully). Well — perhaps. Barb. The girls are having a pageant to-niglu fi)r the l)enefit of Student's Aid. 1 want you to see it. It is going to be very pretty. Will you come as my guest ? If you will excuse me a minute I will see about an extra ticket. {Exit, R. , liastily, before Miss D has a chance to reply.) Miss D. {following he/). But my dear Miss Gray ! \_Exif, R, {Slight pit use. RosiE enters L., her doll on Iter arm, book in iter- hand.) RosiE. Beryl! Beryl! Aren't you here? Isn't there an) body here? {Feels her way to a ciuiir by tlie fireplace and places the doll in the chair. Slie sits on t/ie floor beside her.) Sit there, Nancy Beryl, while I study some more. {Runs her iiand over the pa^es of the book.) 4 times 12 is 48. 5 limes 12 is 60. 6 times 12 is 72. Where's that awful nine? 9 limes 12 is 108 — 108 — 108 — 108 1 12 times 12 is 144. 1 guess I know that. {Feels of the doll.) Oh, Nancy Beryl, I wish I could see you as well as feel. Vol? have the advantage of me. l8 BEHIND THE SCENES You know liow I look but I don't.kiiovv liow you look. Beryl says every one in the world has something to bear. Sometimes you wouldn't think so but it's always there. Her mother died when she was just a little girl and {Suddenly sits up straight and listefis.) Who's coming? 1 don't know that step. (Miss D. enters, r. She glances at RosiE ; goes quickly to desk; hunts for check.') Who is there? Why don't you answer? {Sharply.) Who is there? [M.i'i^ T>. exits, h., with the check as Ber. enters, r.) Oh, Beryl ! Ber. (Jiurrying to Rusie). What is the matter, Rosie ? RosiE. Who is in the room, Beryl ? Ber. No one, dear. RosiE {poi?itifig to the desk). Right there ! Ber. No one, dear. {Laughs.) Not even a mouse. Rosie. But some one was there and they wouldn't answer me. Ber. Well, then, they have gone. Rosie. But I didn't hear them go. Ber. Probably you were frightened and didn't notice. Never mind. Let's hear the lesson. {Sits by the fire. Rosie sits on the floor at her feet.) Rosie. Well, anyway, I will know that step if I hear it again. {Repeats the table of twelves.) Is that right. Beryl ? Ber. Every bit. How well you do, Rosie ! You make me ashamed of myself. Rosie. And now read me *' Crossing the Bar." Ber. {with a sigh). That again, Rosie ? Rosie. But i love it so ! Please, Beryl ! Ber. ** Sunset and evening star And one clear call for me And may there be no moaning of the bar When I put out to sea. But such a tide as moving seems asleep Too full for sound and foam When that which drew from out the boundless deep Turns again home. Twilight and evening bell And after that the dark." Rosie. The dark. BEHIND THE SCENfE^ IQ Ber. " And may there be no sadness of farewell When I embark. For though from out our bourne of time and place The flood may bear me far I hope to see " RosiE. I hope to see. Ber. '' My pilot face to face " RosiE. Face to face. Ber. " When I have crossed the bar." RosiE. When I have crossed the bar. CURTAIN ACT II SCENE.— .S^?wd' as Act J. {As the curtain rises Bek., dressed as Jeanne D' Arc, sits by table zaritini^. Luc, dressed as Martha Washington, sits near with a book in Iter Jiands, but sJie is 7vatcJiin^ MiK., dressed as Molly Pitcher, who stands in tJie middle of the room surrounded by Nan. as Pocaiwntas, Phyl,. as Marie Antoinette andYiK. as Fr is cilia Alden. They are arranging Mik.'s costume.) Nan. That's right, Phyllis. Take it in just a little more. There! Isn't that great? Oh, Miranda, you look lovely!. Doesn't she, girls ? A[,L. Yes, splendid I Mir. I wish I felt splendid. I'm so scared. Viu. Nonsense! You'll be all right. If you had anything to say it would be different. Girls, 1 haven't the faintest idea, of one line I have to say, and I don't care. if I haven't. I'm so sick of being in things. Beryl, how can you sit there so calm and unconcerned and write on a theme? Ber. Because I have no theme to hand in to Miss Darley to-morrow, Phyl. {ivith a groan). Neither have I. Nan. Never mind. We will soon be blooming alumnae with nothing to bother us. ViR. Blooming alunmae is good. {Picks np a slip of paper ; looks at it; throws it onto the table.) Here's some- thing of yours, Beryl. Ber. {looking at the paper). What is it? Oh, that's not mine. Daisy left that here. ViR. Daisy? Why, it's your writing. Ber. No, it isn't. ViR. Do you mean to say that Daisy wrote this? [Picks np the paper.) Ber. Yes. ViR. Girls, look at this I {Girls gather around the table ^ 20 BEHIND THE SCENES 11 Nan. Wliy, Beryl, she writes exactly like you. ljb:u. {s/nu'i/ig). Ves, doesn't she ? Phvl. Why, s|ie could forge your name without making the slightest effort. It's positively dangerous. BiiR. {ligJitly). Well, 1 hardly think so, between sisters. Luc. (Jiirni/ii( over the pages of her booh). Girls, did Shelley ever write anything on the subject of love? Nan. Yes, of course. Luc. Well, I'd like to know what. {As tio one speaks.) Oh, don't all speak at once ! Phvl. We didn't say that we knew vvliat. ViR. Wait until we take up Shakespeare's Sonnets next week. It will be a regular love feast with Miss Darley. Luc. Don't you worry about that. There's no sentiment in Miss Darley. The way she will glide over love sonnets will be something to remember. Phyl. 1 don't blame her. It's a sickening subject. Love is like one of Aunt Jemimy's pancakes. So hot at first that it burns you, soon cools and is a flat, vapid, insipid thing forever after. All. Oh-o o-o ! Nan. Listen to the words of wisdom ! Mir. You don't really uiean that? Phyl. I'd like to know why not. Aren't my sentiments good ones, Ber ? Ber. {looking up). What? I haven't the least idea what you have been discussing. Luc. We would like your ideas of love. Ber. Why, certainly. {Rises.) Golden-haired girlie widi eyes of blue, A boy who swears that he'll e'er be true, A hammock belovV and the moon above, Is a combination that spells love 1 All. Oh ! Traitor ! Enter Barb., l., /// evening dress. Luc. Beryl, I wonder if you could be serious if you tried. Bb:R. I didn't know you were serious. Here's Barbara. Let her tell you her ideas. Or she might sing them to you. All. Oh, yes ! Come on, Barbara ! ViR. We have got to entertain you later, entertain us now. 11 BEHIND THE SCENES Mir. Do, so I can forget for a [gw minutes what is before me ! (Barb, swgs popular song, girls joining in tJie cJiorus. One of the girls plays for Barb.) Nan. Oil, girls, what a glorious time we are having. I don't believe you girls who are going to college will have any more fun than we have had here. Luc. We don't expect to, Nancy, but we ought to be bet- ter college girls for our four years in Sherwood. All. That's right ! Ber. Miranda, did you ever write anything for the Review ? Mir. No, I haven't. 1 have been too busy for outside work. I'd love to try. Oh, you can't realize how hard it is to never have time to do anything for the school. All 1 do is for Miranda Simpson. Barb. Well, 1 am sure you shouldn't feel badly about that. Nan. We would any of us be proud to be able to work our way through as you are doing. Mir. Don't think 1 am ungrateful. I'm not. I'm glad ! Glad as I can be that I am able to do it. But there isn't any one of you who thinks of self in a thing that you do. It is all for the glorious whole. Oh, girls, 1 would be almost willing to give a year out of my life here if 1 could just do something for Sherwood. Barb. True school spirit, Miranda ! Luc. Watch for your chance. You know opportunity knocks at least once at every door. Bakb. {looking out the window). Your audience is begin- ning to arrive. All. Really? Phyl. Goodness ! I didn't reahze it was getting late. Mir. I'm scared stiff. Nan. You aren't anything of the kind. Come on, girls ! Barbara, will you help make up some of the girls? Barb. Gladly. [Ah exeunt, r., but Ber., who goes to desk.) Ber. {calling after Nan.). Nancy, did you notice what I did with dad's check? I showed it to Mrs. Sherwood and it seemed to me that I put it on this desk. Nan, {looking back from door). You did. \_Exit. BEHIND THE SCENES 23 (Bek. looks over tJie papers on Ihe desk. Dai. enters^ L., in long coat and with no hat.) Dai. Oh, Beryl, I want to speak to you. Have you time? Bek. (^glancing out window). Well, the audience is arriv- ing pretty fast, but 1 always manage to make time for you, dear. What is it, little sister ? Dai. How perfectly lovely you look, Beryl ! Ber. (laughing). Is that what you wanted to say to me? Dai. No, of course not ! Maybe you will think it's queer, Beryl, but — can — can you let me have some money? Ber. Oh, that's it. Overstepped your allowance already ? If you have commenced that now, where do you think you'll land ? Dai. I haven't exactly done that, Beryl. I have money enough for my regular expenses. This is something special. Do you believe you can, Beryl ? Ber. Why, of course. How much do you want? Five dollars ? Ten ? Dai. Oh, no, more than that ! Fifty dollars at least. Ber. Why, Daisy, what do you want of so much ? Dai. Please don't ask me. Beryl. Do you mind very much if 1 don't tell you? Ber. Why, yes, I think 1 do. I would rather you told me what you are going to do with the money. Dai. Oh, Beryl, can't you trust me? Ber. I don't know, Daisy. 1 hope I can. Dai. (reproachfully). Why, Beryl ! Ber. Oh, well, if you feel that way about it, why, I will trust you. You needn't tell me, but I can't let you have that much money before to-morrow afternoon. Dai. (anxiously). You can't possibly to-night ? Ber. No, I haven't' it. Father gave me a bank account this year and I will draw that much for you to-morrow after- noon. Won't that be all right ? Dai. It will have to be, I suppose. Oh, dear, I think it is the meanest skin that we can't come over here to-night. I wouldn't have come to Sherwood if I had known how horrid everything was going to be. Ber. Daisy, I can't bear to hear you say that. (Throws her arms around her.) Oh, Daisy, if you don't make a suc- cess of your life here it will break my heart. Dai. (petulantly). Why, Beryl? Why? I'm not a bit 24 BEHIND THE SCENES like you, and it is so bard to live up to your ideas. Why do you care so much ? Ber. {taking a little chain and locket from her neck and opening the locket^. Do you know this picture ? Dai. Yes, it is our mother. Bek. a molher that 1 wibh you could remember as I do. When she was dying she put you into my arms and 1 promised her 1 would be both mother and sister to you as long as 1 live. She was hardly more than a girl when she died and you are just like her. Her eyes look at me from your face. Her voice speaks to me when you speak. She hves again in you. Prom- ise me that not by one act, one thought, will you bring disciedit to her memory. Dai. 1 will promise to try, Beryl, from this time forth, bui, oh, 1 wish you had said this to m,e before. Bek. (suddenly). You must go, Daisy. I'm afraid the girls will need me. Come this way ! 1 will let you out by the side door, illiey exeunt, \<. Miss D. enters, i,., /;/ evening dress and zvtth a large bunch <>f violets. Her hair is becom- ingly arranged and she wears some violets in her hair. She has one of the note-books whicii Phyl. gave her. She walks slowly about the room, referring to the book and examining things carefully. Sh^ finally goes to table and throws the book down toith a gesture of despair and picks up some papers on the table. Ber. enters, k., stops abruptly and looks at Miss D. in surprise. Ber. comes forward.) Does — does any one know you are here, Miss Darley ? Miss D. (sharply). Why should they know I am here? Do you think there's any imminent danger of my stealing your study clock ? Ber. (lightly). Oh, I wasn't thinking of the clock. It was my pocketbook. I left it here on the table. (Lano^hs.) Did yon wnnt to see any of the girls? Can I do anything for you ? Miss D. No. Whose work is this? Bei^. (looking at the paper). Nancy Harraden's. Miss D. Miss Harraden is a conscientious student and an excei)tionally bright young woman. Ber. Isn't she? She can give the best imitation of a scrambled egg you ever saw. Miss D. [astonished). A scrambled egg ? Ber. Oh, I l)eg your pardon. I wasn't thinking about what I was saying, but she really can, and that you know is a very difficult stunt. ^ BEHIND THE SCENES 15^ Miss D. So I should imagine, and a liighly intellect luil one for the presidfnt of this club. Hb:\i. (^/ooki/ig at Miss D. curiously'). InIIss Dailey, did you- evci- leach girls befoie you came liere? Miss D. Goodness, no ! 1 never did any teaching before J came here. Bku. Oh, that accounts for it, 1 suppose. Miss D. {sharply). What? Ber. The fact that you don't seem to take any interest in any of us. Miss D. Good gracious ! You can't expect me to take an interest in tlie rattle-headed, indifferent, irresponsible crowd of young women who make up my classes. Ber. (smi7i//g). 1 suppose we do seem like that to you. You must have spent a very — very — sensible sort of life. You must have studied just about all the time to know so much. I never realized how yoimg you were until to-night. 1 think you are very wonderful, Miss Darley, and J wish you wouldn't think that we girls are never going to do anything worth while. L can assure you that nearly all of us have some great ambition in life, and we are going to be shining hghts when we leave here. Miss D. Are you ? Be[i. Yes, 1 am going to be a shining light for one man. That's my father. I came here to please him and next year I am going home to keep house for him. I am the only one there is to do it and the only ambition I have in life is to make him feel that life is worth living. Miss D. In that case have the years you have spent here been worth while ? Ber. Oh, yes! It's worth while to pi epare yourself to give happiness to a man you love, isn't it? Miss D. {faintly). I suppose so. Miss Kennison, is Daisy Kennison of the freshman class your sister? Ber. Yes, she is. Miss D. You should speak to her. She is falling way, way behind. Ber. I'm sorry to hear that. I was afraid it might be so. Thank you for telling me. Miss Darley, are }Ou going to see our pageant ? Miss D. Yes. Where is the hall? Connected with this building, isn't it? Ber. Yes. You are behind the scenes now. We are using- 26 BEHIND THE SCENES some of the rooms to make up, as tlie dressing-rooms are so small. 1 can take you to the l»all this way if you like. {Turns to the right exit. ^ Jt is nearly time to begin. Miss D. Thank you; Miss Gray has the tickets and I think 1 will wait for her. Bek. You will be all right then. She has reserved seals. {Exit, R. Miss D. ivalks slowly to the mantel and takes up picture of Dr. Eldridge. ) Miss D. {looking at the picture). You, too, thought it was worth while to make happiness for just one man. ^/// ivu Ltia.Li li females. Costumes, picturesque ; scenery, va- ried. Plays a full evening. CAMII I F I^i'^'^^ i^ Five Acts. Nine males, five females. Cos- Viliflll^L/l^ tumes, modern ; scenery, varied. Plays a full evening. 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