nn oe een SAMUEL I FRENCH, 25 West 45th St, New York _ He Raa The person charging this material is re- sponsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for disciplinary action and may result in dismissal from the University. To renew call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN JUL 25 1983 FEB 1 7 1988 | L161—0O-1096 Brewster’s Millions A COMEDY IN FOUR AGTS BY WINCHELL SMITH ann BYRON ONGLEY Dramatized from the Novel, “Brewster’s Millions,” by George Barr McCutcheon, published and duly copyrighted by Dodd, Mead & Co., 1904 Duly copyrighted as a play, 1907 and 1925, in the United States of America, the Dominion of Canada, Great Britain, and all countries of the Copyright Union, by Winchell Smith ALL RIGHTS RESERVED CAUTION: Professionals and amateurs are hereby warned that “BREWSTER’S MILLIONS,” being fully protected under the copyright laws of the United States, the British Empire, and other countries of the Copyright Union, is subject to a royalty, and anyone presenting the play without the consent of the owners or their authorized agents will be liable to the penalties _by law provided. Applications for the amateur acting rights must be made to Samuel French, 23 West 45th Street, New York, N. Y. Applications. for the professional acting rights Po be made to Sanger & Jordan, Times Building, New York, New York: London: SAMUEL FRENCH SAMUEL FRENCH, Lt. Publisher 26 Southampton Street 25 West 45th Street | Strand “Brewster's Millions” All Righis Reserved —- Especial notice should be taken that the possession of this book without a valid contract for production first having been obtained from the publisher, confers no right or license to professionals or amateurs to produce the play — publicly or in private for gain or charity. In its present form this play is dedicated to the reading public only, and no performance, representation, produc- tion, recitation, or public reading, or radio broadcasting may be given except by special arrangement with Samuel French, 25 West 45th Street, New York. This play may be presented by amateurs upon payment! of a royalty of Twenty-Five Dollars tor each performance, payable to Samuel French, 25 West 45th Street, New York, one week before the date when the play is given. — Whenever the play is produced the following notice must appear on all programs, printing and advertising for the play: “Produced by special arrangement with Samuel French of New York.” Attention is called. to the penalty provided by law for any infringement of the author’s rights, as follows: “SECTION 4966:—Any person publicly performing or rep- resenting any dramatic or musical composition for which copyright has been obtained, without the consent of the proprietor of said dramatic or musical composition, or his heirs and assigns, shall be liable for damages thereof, such damages, in all cases to be assessed at such sum, not less than one hundred dollars for the first and fifty dollars for every subsequent performance, as to the court shall appear to be just. If the unlawful performance and representation be wilful and for profit, such person or persons shall be guilty of a misdemeanor, and upon conviction shall be im- prisoned for a period not exceeding one year.”—U. S. Revised Statutes: Title 60, Chap. 3. age nase rin a ee —* The play was produced at the New Amsterdam Theatre, New York, December 31, 1906, with the following cast: _ ARCHIBALD VANDERPOOL ........... seccceee Sumner Gard PRPOSEPH, MACCLOUD Yi... cae ce ec ccserns Josepn Woodburn FRANK BRAGDON ..... Res PORES cee Se Ruane He Willard Howe PRUINOPPER (HL ARRISON ub ciaied onus ess Cul ae George Probert PE MIRS DAN VOR U MINER Oks cise descent eae Emily Lytton HIORACE OP RETEMOHIE Oy iueddicits dielpie'as ¢ Shears .. Gaston Bell SUBWAY SMIPH OC) Utes. yc huts METRE Bia A Jack Devereaux RAWLES) tee 0's Sah ALTE eT RAST SRC aE CA. George Clare VARBARA MIRE Wea Wie 0d SEER acute Oe Olive Murray NEGEOT PERI FM Gd ciple no Mier ariel ..+. Nestor Lennon VARIOCE INEM STRONG. ah ON ee oactn's akan nee Josephine Park MARCAREE AsRAY UO PEGGY) lf) SU udals Gumus ey Mary Ryan MonTGOMERY Brewster (“MonrtTy’)...... Edward Abeles FRED GARDNER ........ PU eas Sa Che Sen AC Leshe Bassett ER ES RANT a Puig Gomes lode nealt ola uel g Sik a Albert Sackett PRRIOACA Sa inate we in. a ey eats .. Arthur Morris PREC IE OLAV POM Var Lew a a diare wey ynatorsiWigie Cecile Breton FIRST OFFICE BOY oi se LA OA de wa at ON Ph ARE . Roy Prosser SECOND OFfFIcE Boy .......... PR pena ate .... Willie Frank DIONSTEN a BARGE eo ag is als sbgnsa ea Eugene Redding VET SS MESON TIN CU id w dedk cha ala aeletoukies He Keele Edna Burns Pitta) PIO RLM AN tia tin oe enh aig a gia George Wright ROMTPUALIG AEB Wy, (NC uryie Whately hes: y Wee tN aye iil Wiliam Rawson STEWARD 058s 3 UEELICE GRAN Ga OSCAR Pah George Spelvin COG ARTER MASTER CUE a CU lat 2 ers i Darl MacBovyle Sattors—Walter Clifton, Joseph Turpin, Martin Hoag, Albert Sperry and John Hodge. Act I—Drawing Room in the Brewster Home. Act II—“Moniy” Brewster's Business Offices in the Man- hatian Bank Building. Act I1J—On Board the Auxiliary Yacht “Flitter’ in the Mediterranean Sea. Act 1V—“‘Monty” Brewster's Home, Just After the Auc- tion Sale, Sepiember 23, Twenty Minutes of Twelve, Noon. ES CHARACTERS ARCHIBALD V ANDERPOOL JosEpH MacCioup FRANK BRAGDON NoprEr HARRISON Mrs. Dan DE MILLE SuBpwAyY SMITH RAWLES BARBARA DREW CoLONEL DREW JANICE ARMSTRONG MarGARET GRAY (PEGGY) MontcomEry Brewster (Monty) Mr. GRANT THOMAS TRIXIE CLAYTON First Orrice Boy MONSIEUR BARGLE SECOND OrFice Boy Miss Boynton CAPTAIN PERRY i JUARTERMASTER SAILORS Brewster’s Muillions ACT I ScENE: Represents drawing room of the house left MontTGcoMERY Brewster by his grandfather. Large arch on the L. showing glimpse of hall v. and stairway L.U. of arch. Portieres. Scene is oblique so as to form a triangle. Arch entrance R. second to library. Table bunch bowl R. in arch off R.2. Large hanging lamp c., decora- tions with shields and spears on wall L.vU.£. table up R., settee down R.c. Large ottoman c. Step- ladder in front of portieres at arch L.2. Two large chairs side by side below arch u. and L.c. DISCOVERED: PETTINGILL on ladder arranging porti- eres; Harrison below him, holding curtain pins; Tuomas, footman, holding ladder; VAN- DERPOOL sitting L., MacCioup in library off R., mixing punch; BRAGDON, R.c., pulling cork from claret bottle. All in evening dress im this act except Monty. AT RisE: VANDERPOOL lazily watching PETTINGILL. VANDERPOOL. (Seated L.c.) Steady with the lad- der, Thomas, or the Little Sons of the Rich will suffer another loss. Mr. Pettingill is a valuable ad- junct to the world of art, and it would be disap- 5 6 BREWSTER’S MILLIONS pointing to bear him forth from the field of his labors on a shutter. Mack. (Turning to VANDERPOOL, R., mixing punch with coat off) Shut up, Van. You lawyers should save your eloquence for the jury room. (Ke- sumes making punch.) Noprer. (Offering curtain pin) Want another? PetTinciLy. No, thank you. Bracpon. (Crossing to Mack with claret bottle open) Don’t get the punch too heavy, Mack. Mack. Oh, I know enough not to make a long- shoreman’s drink. | VANDERPOOL. And remember, Sunshine, go light on the rum and strong on the claret, this isn’t a stag housewarming. We don’t want to stagger the ladies. (Bracpon, Mack and Nopper start for him. GILLy turns, and slips down a step on ladder—crash. This stops the others from mobbing Van for his aveful pun.) VANDERPOOL. (Turns a little at commotion. Calmly) Careful, Gillie. I don’t want to be a prophet in my own country. (GILLIE descends lad- der. Macx fills a punch glass and starts to Brac- pon to taste it L.) Bracpon. (c. Going a few steps toward VAN) See here, Mr. Much-Talk, cut out a little of this monologue and do something. Help Mack slice the oranges. (Exit Tuomas L. with ladder.) Mack. (R.c.) Don’t ask him to do anything. (Sees Mrs. DEMittEL.c.) I beg your pardon, Mrs. DeMille. (Runs off x.2 for his coat, setting punch glass back on tray as he passes.) | Bracpon, (u.c. Enter Mrs. DEMILLE from up- stairs going c.) Is everything in good shape, Mrs. DeMille? (VAN rises.) Mrs. DeMitie. (Crossing c. after a little laugh BREWSTER’S MILLIONS 4 at Mack) Yes, indeed! Monty has a beautiful home here. (Turns R.c.) Thanks to the efforts of the Little Sons of the Rich. (A little bow from all the boys in acknowledgment.) You have done mar- vels with the house, Mr. Pettingill. (Crossing to _ PETTINGILL.) PETTINGILL. (L.1. Turns from portieres) Thank you. Bracpon. (c.) Gilly never had a chance to spread himself before. Gitty. (L.) You see, when Monty was called South, he gave me carte blanche to do as I pleased. (Stussy starts bad ragtime on piano off R.) Mrs. DeMixie. And he does not know a thing of what you have done? (Mack enters R., stands up R.c.) VANDERPOOL. (Takes stage to c.) Not a thing, Mrs. Dan. Petty has practically rebuilt the house, Harrison has engaged the servants and Gardner is waiting at the station, ready to nab Monty and bring him here: then we will all cheer him and sing “Jolly Good Fellow” at him, and after that, if he is disap- pointed, he will never have the nerve to say so. Mrs. DeMitte. (Sits r. on sofa) He surely won't be disappointed. (Music from piano off R. Very loud.) VANDERPOOL. (Takes a step up and looks off x.) Say, can’t somebody wake Subby up? He’s having an awful dream in there. Mack. J'll wake him up. (Exit x.) Mrs. DeMitre. I suppose he picked out the piano and wants to see how much it will stand (Mu- sic suddenly stops and there is a crash off x.) Mack. (Entering x.) He’s stopped. (Goes to BraGpon and NoppeEr c.) ae SuBwaAy SmitH. (Enters R., limping slightly ond 8 BREWSTER’S MILLIONS rubbing his knee) Sunshine! I suppose chucking me on the floor and breaking the piano stool was a tip that you could get along without my ragtime. (Goes to setiee and sits beside Mrs, DEMILLE on her L. When there is no piano, SUBBY can do some vo- calizging and the line can be changed to “I suppose bowling me over and rough-housing the furniture,’ etc. Also Mrs. DeMitte’s line should be changed to “Are we adding music to the festivities?” ) Mrs. DEMitte. Did the tip hurt you? Suppy. No, I like it—my knee-cap is tickled to death. I was doping out the tempo of an opening chorus when Mack rang in the finale. Mrs. DEMitte. You should save your musical outbursts until your songstress arrives. She's com- ing, isn’t she? Supspy. Trixie? Oh, she'll be here, all right. You can’t lose Trixie, Gee, I hope you'll like her, — Mrs. Dan. I’m crazy about her voice. All she needs is a chance. Noprer. (Crosses down c.) Colonel Drew and his daughter are coming, are they not, Mrs. Dan? (VANDERPOOL crosses to MAcK.) Mrs. DeMitte. [ invited them, and Janice Arm- strong, too. She is visiting Barbara Drew, you know. (NOopPER rejoins Mack and VANDERPOOL.) SupBy. Oh! Is Miss Strong Arm coming? (Bus.) ; ! Mrs. Dan. You mustn’t make fun of Janice. I’m very fond of her. (Rises—crosses R.c.) iat Oh, very well. (Rises, crosses up R. to R.C. Noprer. (Zo Mrs. Dan, looking at watch— Mack crosses R.) I hope they’ll arrive soon. It’s nearly time for Monty now. He’ll be here promptly at ae (VANDERPOOL @ step to meet Sus- BY. Suppy. (Up Rr.c.—a step down) Why, Peggy— BREWSTER’S MILLIONS —g er—Miss Gray isn’t here yet, is she? (General buzz of conversation.) Mrs. DAn. (c.) Why, where is Peggy? Noprer. (1.c.) She should be here now. There wouldn’t be a housewarming without her. Bracpon. (uL.) She must be here. [Tm going over there and find out what’s wrong. How much time have I, Nopper? Nopprer. About twelve minutes. Bracpon. I can make it. (Exit x.) Noprer. I can’t see why she isn’t here—Peggy, of all people. (VANDERPOOL works down R.) Raw es. (Enters L., announcing) Colonel Drew, Miss Drew, Miss Armstrong. ' Mrs. Dan. Ah, Barbara! BarBara. (Enters L., nods to Mrs. DAN, cross- ing to VANDERPOOL) We are so sorry to be late. Papa was detained at the bank. We simply rushed through dinner. (NoppEerR meets Mack up R.c.) Mrs. Dan. Ah, Colonel! CoLoneL. (Enters—crosses R.) Ah, good eve- ning. Janice. (Enters L.—crosses L.c. and speaks) Hello! Hello!. Hello! Mrs. Dan. (Crosses down, meets JANICE, Cc.) I’m awfully glad you came, Janice. Janice. (c.) I’m glad to be here, but I don’t know the game. Tell a fellow about it. . Mrs. Dan. (c.) We're giving our young friend, Monty Brewster, a housewarming and_ surprise party. VANDERPOOL. (Quietly indicating JANICE by look R.) Subby, who zs that fellow? Suspy. (Turns rR.) That’s old chap Armstrong. She’s all right, only she has ideas and tries to be a good fellow, and that handicaps her some. ~VANDERPOOL. She looks good tome. (Crosses up rR. and to Mrs. DAN at ottoman.) 10 BREWSTER’S MILLIONS BarBaRA, (R.) It’s all too sweet for words. Why don’t you look about you, Janice? (Mrs. DAN goes up to ottoman—sits.) janice. (Crossing around chairs L.—looking the place all over as she goes tov...) Ihave looked, old girl. Seems all right to me—not insistently million- airish, naturally conceived, color scheme quite the thing, and, all considered, rings true. Suspsy. (Crosses c.) How’s everything in Bos- ton? JANicE. Wrong, as usual, Subby Smith. I’m from Chicago. (All laugh slightly at this—SupBpy crosses back to BARBARA.) Mrs. Dan. Why, Archie, you don’t mean to say you don’t know Miss Armstrong? VANDERPOOL. I know of Miss Armstrong. (They come down a step.) Mrs. Dan. Miss Armstrong, let me present one of our rising young attorneys, Mr. Archibald Van- derpool. (He beams—crosses to her to make the speech of his life. Her hearty grip takes it all out of him and he stammers his first line.) Janice. How are you? VANDERPOOL. Delighted to know you, Miss Arm- strong. The Little Sons of the Rich are proud and honored to have you participate in our housewarm ing. | Janice. Please tell me, like a good fellow, who are the Little Sons of the Rich? VANDERPOOL. (In his best style) Weare a band of eight. (All give attention.) We call ourselves the Little Sons of the Rich because although there is a fortune hanging somewhere about each of our family trees, no one of us is worth a dollar. Suppy. (Comes down c.) You mean was worth a dollar. Fortune to the extent of a million dollars has smiled upon our ringleader, Monty Brewster. BREWSTER’S MILLIONS _ It Behold us awaiting his return. (He pirouettes and crosses up C.) VaNDERPOOL. (Continues—-a disqusted look at Suppy) And now the Little Sons of the Rich are congregated for the last time. Mrs. Dan. (On ottoman c.) Why for the last time? : VANDERPOOL. The spell is broken. After tonight the Little Sons of the Rich will be but a memory. Supsy. (c., with Mrs. Dan) Well, we won't cry about it. (VANDERPOOL turns to JANICE.) CoLoNnEL. (Crossing down R.c. to c. with Nop- PER—MaAcx crosses to L. and sits) It’s a great pleas- ure to me to—ah—figure in Montgomery’s good for- tune. Noprer. (c.) Monty deserves all the luck that comes to him or ever may come. CoLtonet. (R. of c.) By the way—where is Miss Peggy? (Turns to BARBARA.) BarBara. (R.) Who is Miss Peggy? CotoneEL. Why, Miss Peggy Gray, my dear. BARBARA. Oh, of course. Mr. Brewster used to live in her mother’s boarding house, didn’t he? (Her inflection has just the slighiest possible disparaging insinuation. ) Noprer. (Quietly but very positively correcting her) Monty shared Mrs. Gray’s home from child- hood, Miss Drew. He’s all that a son could be to her. ) BarBaraA. (Stis) Is she going to be here to share in his surprise? Noprer. We believe so. Mack. (Enters u., u.c.) Nopper? Noprer. (c.) Yes?. Mack. Just a moment, please. Noprer. Will you excuse me, Colonel? (Mack and Noprer exit i.) 2 BREWSTER’S MILLIONS CoLonEL. Certainly. (To Supsy) Smith, I like that young man. Who is he? Sugsy. That, Colonel, is Nopper Harrison, the most gentle, sober-minded and withal business-like fellow in America. Mont’s his weakness. _ (Mrs. DAN rises and starts to cross R. BARBARA stops her.) BARBARA. (Rises, crosses R.c.) Don’t you think, Mrs. Dan, it’s rather too bad to have a great luxuri- ous home like this go to waste on a bachelor? (Mack and NopPer enter L. and hear this.) Mack. (t.c.) As bachelors, Miss Drew, the Little Sons of the Rich resent the word “waste.” THe LittLe Sons. Wedo! (Jn unison—extrav- agant bow—all but Mack.) ie BARBARA, I abjectly beg the poor bachelor’s par- don. (Laughs and curtseys.) VANDERPOOL. (L.) I think perhaps Monty has hopes, Miss Drew. (Sits on chair by JANICE.) Barpara. Oh, indeed! Papa! (Boys, except VANDERPOOL, gather around Mrs. DAN up L., one of them is telling a story im pan- tomime. ) CoLONEL. (R.) Yes, my dear—what is it? BARBARA. (Crosses to him) Don’t forget! CoLoneL. What, my dear? BARBARA. (Just enough meaning to have tt de- tected) Ask Mr. Brewster to dinner to-morrow night, CoLtoneL.. Of course—I intended to do that. (Unconscious of tt. General laugh from bunch up L. Mack crosses R. to punch-bowl.) JANIcE. (L., seated) I mean temperamental. BREWSTER’S MILLIONS 13 VANDERPOOL. (L.C., seated) You are quite tem- peramental, aren’t you? JANICE. Yes, but not sentimental. VANDERPOOL. I see. Janice. Yes, that’s the main argument in my new book, ‘The Higher Demonstration of Platonism.” VANDERPOOL. What do you demonstrate ? JAnicE. (Front) I bear the torch of friendship, which lights the way to a thorough understanding between the sexes. Good fellowship, without ul- terior motives: ‘‘Handshakes without a lingering caress—er ts VANDERPOOL. —Greetings on the eyebrow rather than on the lips. | Janice. (A pause) Your understanding is cap- tivating, dear boy. VANDERPOOL. I should say invigorating, accord- ing to Platonism. Janice. (Rising) I stand corrected. We shall be pals. (Offers her hand.) VANDERPOOL. (Rises and takes it) Thanks, old chap. (NoprerR starts down c. RAwtes’ line stops him L.c. Mrs. DAN crosses R. at back.) Janice. Let’s get away from the women where we can smoke. (Crosses around chair and up L. VANDERPOOL follows. NoppER starts to cross C.) Rawtes. (Enters it.) Mr. Harrison, Mr. Brew- ster just telephoned that he will arrive in three min- utes. Noprer. All right, Rawles. Let us know the mo- ment he drives up. RAWLES. Yes, sir. (Exit Lt. General buaz of talk and movement.) Mack. (R. with tray and punch-glasses filled) Make room for the punch! (General exclamation 14 BREWSTER’S MILLIONS from all. He crosses L. at back and DL. SuBBY gets his—then NopreR, VANDERPOOL, JANICE, then Mrs. DEMILLE, L.c. BARBARA, COLONEL, etc., R.C. and R. as dialogue continues.) BARBARA (Crosses down R.c.) Oh, I’m so ex- cited ! , Supsy. (Coming down to her) 1 don’t see why you're excited, Miss Drew. Millionaires are no nov- elty to you. Mrs. Dan. (Hears as she is crossing L. and stops c.) A nice boy falling heir to a million is always an excitement to everybody. (She meets Mack c. and takes punch.) BARBARA. (R.) Thank you, Mrs, Dan. Sussy. (Coming down c., “happy thought’) We ought to receive him with applause and speeches. Now, in my opera, when the tenor comes in Att. Oh, Subby, please don’t! Mack. (Crossing Rr.) Oh, cut it out, Sub! I’ve heard nothing but that opera of yours for two months. (CoLONEL takes punch and crosses to L.c. to NoppeEr.) Mrs. Dan. Subby, won’t you pose us? Susppy. (l/s just taking punch—replaces it on tray) With pleasure. (Crosses cc.) Mrs. Dan, will you stand by the staircase, please? And Mack. (She takes her place up tv.) Mack. (Replacing tray on table R.) Yes? Suspsy. You do the adoring at her feet. Macx. What? Suppy. (c.) Then I'll do it myself. (Goes to Mrs. Dan. Kneels at her feet—punch-glass, etc.) Mack. All right, stay there and keep quiet. SuBBy. Now, Colonel Drew, right over here, please, by the sofa. (SuBsy goes up R.c. for CoLo- NEL and escorts him to his place. CoLoNEeL takes place.) That’s it. CoLonEL. (R.) How are you going to pose me? BREWSTER’S MILLIONS 15 How does this look? (Puts his arm on BaRBaARA’sS shoulder.) Mack. (R.) No, no! This is not a daguerro- type, Colonel. It’s 1924. COLONEL, Oh! Susppy. (Turning) Nopper, Nopper right. You're all right. Noprer. (Up t.c.) Save a place for Peggy Gray. Heavens, we can’t do this surprise without her. Mack. (R.) Brag will get her here if she’s alive. Sussy. Now, Miss Armstrong, right up here, please. (Indicating up c. Miss ARMSTRONG goes upc.) And Van, you keep her company. (VAN- DERPOOL follows.) Mack, you and I by the punch. (c.) Now—fine! Now, everyone raise their glasses when Monty comes in. Supsy. (Up L.) Just a moment—I have an idea. (Runs down c. Everyone moves and speaks to him.) Aut. Oh, Subby! That your idea! (Etc., ete.) Mack. (Topping it) Hold your places. Oh, keep quiet. (Pushes Sussy back, trying to quiet him—gives it up and crosses R. to Mack and takes punch.) Supsy. (Takes place c. where Mack was. As Mack bus.) Just a moment, please! (Comes back down c.) What I wanted to say was, this is in my opera. When the tenor comes in, they all raise their glasses and say, “Hail to the King!’ Now, all to- gether, “Hail to the King!” Aut. (After a tick of silence) “Hail to the King!” (This is said badly, VANDERPOOL’S voice coming in a weak last. SuBsy goes up c. in dis- gust.) Janice. (Up Rc.) Rotten! Why not be natu- ral? Let’s just drink to him and say, “Welcome home!” Oh, all 16 BREWSTER’S MILLIONS Suppy. (Up c.) Oh, all right, just as you say. Now, all together, “Welcome home!” ALL, “Welcome home!” Peccy. (Enters L. just in time to get the benefit of this—she makes a curtsey and says) Thank you. (c.) Ati, Peggy at last! The late Miss Gray! (Eitc., etc.) Mrs, Dan. (Comes to her c.) Why, Peggy Gray, where have you been? Preccy. (Turns to her) Am 1 late? Mrs. Dan. No, but you are only just in time. (Enter BRAGDON L.) Bracpon. (L.) Pst! Monty has just driven up to the door! Suspy. (L.) Quick, Miss Gray—over here, and Brag, down by Miss Drew! (PEGGY crosses R.2. Mack gives her punch, BRAGDON crosses R.1.) Noprer. (Very distinctly—up t.c.) Now, quiet, everyone. Out go the lights, and when they go up we'll all raise our glasses and say, “Welcome home!” (Harrison turns off switch and lights go out. All lights must be cut out simulianeously—stage, house, orchestra, etc., leaving faint moonlight— blue strip on floor 0 ff L. window. Quiet pause.) Mrs. Dan. Careful, Subby—you'll make me spill my punch. (Pause.) Janice. Why, Mr. Vanderpool! (Laugh from BARBARA. ) ALL. oll Barsara. (Whispering) I’ve forgotten what to say. Aut. (In whisper) MWaleome home! (Slam of door outside.) Noprer. Sh! | Monty. (Off stage L.) Cheerful, ain’t it, Rawles? BREWSTER’S MILLIONS 17 Where are my servants? Can’t a millionaire have lights in his own house? Rawies. (Of i.) Go right in that way—IT’ll attend to the lights. Monty. It’s easy enough for you to say, “Go right in that way,’ Rawles, but you can’t see your hand be- fore you. (Enters tt.) It’s black as ink around here— (RAWLEs enters L.) I always hate to go into a dark room—it reminds me of that story about the girl im the Turkish bath. RAwLeEs. (L.) Shut up, old man. Monty. (c.) When they turned the lights o RAw.es. Shut up, I tell you. Monty. (Comes down L., stumbles over ottoman) Damn! (As if afraid of dark) Rawles, where are you? RAwLeEs. (Quietly) Im here. Monty. Let’s get out of this tomb and go home. RAWLES. You are home. Monty. I mean Peggy’s home. This infernal place gives me the shivers already. Noprer. (Loud voice) Lights! (Lights full up. RAwtes takes Monty’s hat and coat and crosses L.—a tick of pause. The first one “Welcome Home’ a bit backward, as there is no leader now.) Aut. (Rushing down and forming a half-circle about Monty) Welcome home! CoLoNEL. (t.c.) One moment, please. Here’s prosperity, health and happiness to Montgomery Brew- ster ! Att. Speech, Monty! Speech, Monty! (Ete. En- ter RAWLES.) Monty. I do believe in Fairies. I do—I do—lI do. (Peter Pan bus. Slight laugh from all.) If my heart doesn’t stop beating, [’ll try to tell you how much I 18 BREWSTER’S MILLIONS appreciate this. Ladies and gentlemen, I can’t make a speech Att. Oh, yes, you can! Go ahead! Try, any- how! (£tc.) Monty. But let me assure you that you will always be as welcome here as you made me feel to-night. Noprer. (Shaking hands with Monty) Good boy, Monty! (Monty shakes hands with all around the circle—first Noprer, CoLonet, Mrs. Dan, SuBBY, VANDER-- POOL, JANICE, Bracpon, Mack. General greetings, etc. Sees Preccy as he gets to BARBARA and for- gets he started to shake BARBARA’S hand. Crosses at once to PEGGY.) ALL. Fine—great! (THomaAs enters R. with tray to get glasses.) Mrs. Dan. You should see the decorations. Bracpon. Hello, Monty, old boy! BARBARA. Congratulations, Mr. Brewster! Monty. How do you do? (Sees Pecey.) Peggy, I’m so glad to see you again. : Preccy. (R.) It’s good to have you—home, Monty. (Tuomas, R.c., is collecting the punch-glasses during this as greetings are exchanged—each turns up and places glass on tray.) RAwLeEs. (c. Has entered L. and comes down L. of Monty) Beg pardon, sir. Monty. (Sees Raw tes for first time) Is that mine, too? Peccy. He’s your butler. Monty. Oh! (Crosses to him c.) Raw tes. I have a message for you, sir. BREWSTER’S MILLIONS 19 Monty. Would you mind telling me your name? RAWLEsS. Rawles, sir. Monty. Thank you. Isn’t this a rather peculiar time for a message, Rawles? RaAwLeEs. Beg pardon, sir. I fear it’s very urgent. Monty. Oh, very well. Let’s have it. Rawtes. Mr. Grant, of Grant & Ripley, has called repeatedly, sir. I informed him that you would arrive this evening. He will return at nine o’clock. He states that his business is of vital importance and will admit of no delay. Monty. Who the deuce are Grant and Ripley? RAwtes. (Handing Monty card) His card, sir! Monty. Attorneys-at-law. Well, Rawles, if you don’t mind, when Mr. Grant calls, say that I have guests to-night and I am busy. If it is very urgent I will see him to-night. Raw.es. Yes, sir. (Crosses L.) Monty. (c.) And Rawles Raw tes. (Stops and turns, .c.) Yes, sir. Monty. I’m very much obliged to you, I’m sure. (Suppy comes down c., watching this. RAWLES exits L. Monty watches him, then turns on SuUBBY’S laugh.) Susppy. (c.) Ha, ha! You seem afraid of your butler, Monty. Monty. lam, Subby. But I’m trying not to show | Mae sey Supsy. Oh, Monty! Monty. Hello! Suppy. I’ve invited a singer to do a little warbling for us to-night. Monty. (c.) One a your hidden geniuses? Fine or superfine? Suszpy. (c.) Super—Miss Trixie Clayton. Monty. Not the chorus girl! 28 BREWSTHR’S MILLIONS Supsy. Oh, it’s all right. She won’t mind. Monty. She wo Sugsy. She’s all right—I told Mrs. Dan about it and she said to have her come. ° . > Monty. All right, Sub. . Don’t let it worry you. I’m not objecting, you know. (Crosses R. to PEaey.) Supsy. I just wanted to tell you, that’s all. (He goes up c., MONTY joms PEGGY R.) Monty. Peggy, tell me BARBARA. (Going to Monty and taking his arm) Now we are going to show you over the house, Mr. Brewster. Monty. (About to refuse im favor of PEGGY— PEGGY goes up, and Monty, after noticing it) Why, certainly. Subby, Subby, lead the way, will you? Suppy. (R.) All right. This way, everybody! (General chatter from all. Exit omnes R., excepting Peccy. PrEccy goes down to chair L., sits.) Mrs. DAN. (Is lasi—ts about to exit—sees PEGGY; goes back to her) I think I'll stay with you, Peggy, if you don’t mind. Peccy. Of course! Mrs, Dan. (Sits) We've seen the house from top to bottom already. Monty certainly was surprised, wasn't he? (Pause. PrEacy stares straight ahead, lost in thought.) I hope he will be as pleased with the whole house as he seemed to be with these rooms. (Pause.) Don’t your Preccy. (Recovering herself) Of course. Mrs. Dan. I should be lonesome living in such a big house by myself. I do hope he will be happy here. Preccy. I hope everything good and beautiful will be Monty’s in this new life. Mrs. Dan. Just as it was in the old life. Precy. (Looking curiously at Mrs. Dan) What do you, mean? BREWSTER’S MILLIONS 21 Mrs. Dan. The good and beautiful influence he has had about him ever since he has lived in your mother’s home. Peccy. Monty doesn’t need any influence to keep him straight. Mrs. Dan. (Getting a little close to PeEccy) He needs you and your mother zow more than ever. Preccy. (Very conscious and trying to seem disin- terested) But his circumstances are so different now —with this fortune and a position to keep up. Why, even these two months he has been away everything seems changed. Mrs. Dan. Of course, and there will be another change soon—Peggy—soon—depend upon it. Precey. (Looks at Mrs. DAN questioningly—Mkrs. Dan looks archly at Peccy) Oh, I see. (Bravely) You mean he'll marry? (Hurriedly) Naturally, I hope he’ll find a nice girl. Mrs. Dan. So dol. (Pause; she looks at Prcey, then with change of tone) May I ask you a question, Peggy? Peccy. Why, of course. Mrs. Dan. Why didn’t you write to him while he was away? ; Pecey. I did. Mrs. Dan. How often? Peccy. (Slight laugh) Oiten enough. Mrs. Dan. He didn’t think so. _ Pecey. (Asking the question with difficulty) What —makes you think he didn’t? Mrs. Dan. (Smiling) You should have seen the letter I had from him. I had to make Dan read the beginning over twice before I could believe it was for me. It was all Peggy, Peggy, Peggy—criss-crossed, underscored and down the sides. Five pages of ques- tions about you, with two references to ourselves. First, how was Mr. Dan. Second, how was (Enter Monty r.—goes to Mrs. Dan.) 22 BREWSTER’S MILLIONS Monty. (c.) Mrs. Dan, Subby is looking for you. He has his genius in there and doesn’t seem to know what to do with her. May I take youto him? (PEcey remains seated.) Mrs. Dan. Thank you, no. (Looking from one to the other.) The call of genius is enough for me. I know where to find him. (E-its Rr.) (PEccy rises when Mrs. Dan indicates she is going to leave them alone. She and Monty exchange looks and she starts to run across to exit R—as she passes above Monty, c., he catches her.) Monty. Just a moment, please. I want about five years’ conversation with you, Miss (Indicates set- tee R.) You come here and sit down. You're getting a big girl now. You mustn’t run around the house like that. (He seats her in R. corner of settee.) Prccy. Five years’ conversation with you? (Rises immediately.) But you must look over the house first. You haven’t half seen it, I’m sure. Monty. (Reseats her gently) Oh, the house can wait. Tell me, how’s Mother—well? Peccy. Of course she is. Monty. (Looks Peccy over critically) Gee! You look pretty to-night, Peggy. When’d you get the new dress ? Preccy. (Sitting) It isn’t new. You've seen it twenty times. I did my best with it in honor of this momentous occasion. How did you like the welcome we gave the returning prodigal? Monty. (Sits) I felt more like the fatted calf. It was fine of the fellows, though, wasn’t it? I’ve heard a lot of nonsense lately about not needing friends when you have money, but I tell you, when I think of the friendship of Nopper and Brag and grouchy old Mack, it makes this old million of mine seem mighty small in comparison. BREWSTER’S MILLIONS 23 Peccy. (Speaking very simply) Wm glad that your money hasn't changed you, Monty. Monty. Changed me? (Looks at her searchingly a moment.) You seem to be the changed one. Peccy. (Looking at him quickly) How absurd! How could your money change me? Monty. I don’t know. (With sudden heat) But it mustn’t, Peggy; it mustn’t. Why, if I thought this blessed million could make a difference—come between us, I mean—I’d give it away so quick it would make your head swim! Peccy. (Very sincerely and eannecne touch his hand) It won’t make any difference with me, Monty, ever. Think of the splendid opportunity this fortune gives you to prove what a man you are! Your grand- father’s memory should always mean a great deal to ou. Monty. Oh, I’m not so very grateful. He couldn’t take his money with him. Oh, I appreciate it all, but I happen to remember that my mother didn’t have a very easy time of it while she lived. (Slight pause.) If some of these luxuries could have gone to her, I— Oh, what’s the good of talking about it? ( Pause—he sits.) Beautiful home, isn’t it? | Preey. | Yes, very beautiful. Monty. Something wrong with it. Precey. What? Monty. It isn’t home. You know what, Peggy— our home, your home and Mother’s home Now, I’m going to keep my room in the little house and every once in a while Pecey. (Rises suddenly) Monty, you must join your friends. You've been away too long now. They will notice it. SupsBy. (Running on to c.) Sorry to disturb you, old man, but we are ready for the singing. (Enter RAwLEs Lt.) Aren’t you coming? 24, BREWSTER’S MILLIONS Monty. All right, Subby—go ahead. We'll be there in a moment. Sussy. All right, but hurry. (E-zit Rr.) Raw tes. (c.) Beg pardon, sir. -But Mr. Grant would like to see you for a few moments if possible. Monty. (Crosses to RAw Les) Grant? Who’s Grant? Raw es. (Surprised) ‘The gentleman that called so often to see you, sir. Monty. Oh, that lawyer chap? RAWLEsS. Yes, sif. Monty. (Turning to Peccy) Tell him I’m busy. RAw Les. I beg your pardon. (Monty turns to RAWLES.) You told me to say that you would see him if his business could not wait. Monty. Did I? (Crosses back again.) Well, I apologize to you, Mr. Rawles. But I’ve changed my mind. (RAWLES crosses L.) Pecey. (Crossing Monty tor.c.) No, Monty, you must see him, if you’ve promised. Show Mr. Grant in, Rawles. RAw es. (Looks at Monty) Yes, Miss. (Exits L.) Monty. (c.) Peggy, this is ever so much more important. I want to tell you something that means everything in the world to me. Peccy. Oh, Monty, not now. Monty. Why, don’t you want to hear it? Preccy. How can I tell when I don’t know what you are going to say? Monty. But you do know. You must know. Why, Peggy, every moment since—— Preccy. (Crosses x.) I’m going to hear the singing. Monty. Well, Peggy, I want to see you for a mo- ment. (Crossing R.c.) Preccy. (At exit R. stops—turns) Oh, Monty, wait! Monty. (R.c.) How long? BREWSTER’S MILLIONS as Preacy. Until he’s gone. (Laughs and exits quick- ly.) Monty. (R.) But Peggy. Raw.es. (Entersu.) Mr. Grant! (E-it.) GRANT. (Entering ., crossing c.) Mr. Brewster? Monty. (Advancing—shaking hands) Yes, sir. Won’t you sit down? (Indicates settee r.—then looks off R. again.) GRANT. (Sitting R. and taking from his pocket a number of documents) I am Mr. Grant, of Grant & Ripley, Attorneys. I dislike bothering you with busi- ness to-night, exceedingly, but it is necessary to put a proposition before you and get your decision out to Montana to-morrow morning. Monty. (Bringing down chair) Montana—my de- cision has a long and rapid journey ahead of it. (Suits R.C. Hoek James T. Sedgwick died September 23rd in Butte, Montana. Monty. Died in Butte? I should think he would! How does his death concern me? (GRANT looks at Monty reprovingly.) Grant. He was your uncle, sir, your mother’s brother. Monty. (Tone and manner changing) My uncle? (Trying to recall him.) 1 think I remember—hearing something about an uncle when I was a boy. GRANT. We have just received a most astonishing communication from the executor of your uncle’s will —Mr. Swearengen Jones. Monty. Who? GRANT. Swearengen Jones. Monty. What does Swear Again say? Grant. You, Mr. Brewster, are your uncle’s sole heir! Monty. (Looking quickly at Grant) I? Grant. You! Monty. Much money? nei BREWSTER’S MILLIONS Grant. Seven millions. Monty. (Sits motionless, grasping the seat of his chair, and stares at GRANT—after a pause he swallows, speaks as if to himself, as if he had not grasped the meaning of the words) Seven millions? .. . Seven mil——-__ (Gets up suddenly and goes to bell. ys What will you have? Grant. Thank you, I don’t drink. Monty. Will you have a cigar? (Coming back, with sudden doubt) It was—did you say—-s—s—seven millions ? GRANT. It is nearly that amount. Yes Monty. It’s my mistake—my mistake. I just thought, perhaps, 1 might have misunderstood you. (Seated r.c.) My relatives seem to be dying just to make me money mad. GRANT. It may be like that. Monty. (Looking quickly at him i), What ? GRANT. There is a proviso. Monty. A proviso? (Sighs.) Now I’m going to wake up. GRANT. Before you can get this money you must spend every dollar of the fortune you now possess. Monty. (After a moment's pause) That’s easy! Grant. Iam not so certain. Monty. Why? Grant. (Holding up copy of will) There are re- strictions embraced herein. Monty. Oh! (Sits watching Grant intently, not im an easy attitude, but erect and alert.) GRANT. (Opening will and looking through it dur- ing speech) I will give you a brief outline of the will and if you decide to accept the conditions, we can go over it fully to-morrow in my office. (Puts on glasses and clears throat.) Your uncle bequeaths and devises all his property, real and personal, to you... (Pause and looks at Monty and continues) On September 23rd next, which is the twenty-sixth anniversary of BREWSTER’S MILLIONS 27 your birthday, you are to meet Swearengen Jones at any place you may name in the City of New York, at twelve o’clock noon. Said Jones will then turn over to you all interests mentioned in the inventory which accom- panies this will. If, to his full satisfaction, you have faithfully complied with the following supreme con- ditions: That you come into your twenty-sixth birth- day with a fair name and your habits temperate, that you have proved to the executor your ability to manage your affairs shrewdly and wisely, that you take no per- son or persons into your confidence regarding this will or its conditions, and that upon the date named you have completely and entirely dissipated your fortune and have kept an accurate and correct account of all your expenditures, and meet the executor absolutely pennt- less, with no worldly possessions other than the clothes which cover you, with no article of jewelry, furniture or finance which you may call your own or thereafter reclaim; in a word, with no visible or invisible asset. (Arranges papers—-Bus. Monty.) Well, what do you think of it? Monty. (Replaces chair upR.) I think it’s a joke— who wrote it? | Grant. (Rises) You will find it is no joke. (Hand- ing Monty a document, goes to c.) That statement enumerates your uncle’s holdings, and their value. You will find there’s not a bad penny in all those millions. (Monty crosses c.) Monty. (Looking over list) Has the will been pro- bated? GRANT. No. Monty. Why not? Grant. Your uncle requested that the will should not be probated or made public for one year. Oh—— (Sits. Bus. papers.) Here is a telegram from Jones with positive restrictions noted. (Hands Monty tele- gram.) Monty. (Reading) “Heir must under no circum- 23 BREWSTER’S MILLIONS stances take anyone into his confidence. Here are the rules I want him to work by: No indiscriminate giving away of funds. Don’t be stingy, though. I hate a stingy man. No more than ordinary dissipations, but I hate a saint. No excessive donations to charity, let him spend his money freely but get his money’s worth. Above everything else, no matrimonial entanglements. Damn sure this would disturb confidence and wife might prove invisible asset.” Um! (Thinks a moment, puts his hands in his pockets, walks slowly from table in thought, then comes back quickly, faces Grant.) lil accept, I must carry out these ridiculous conditions to the full satisfaction of Jones? GRANT. Yes. Monty. And if by September 23rd next I’ve spent all this money and Jones doesn’t happen to be full of satisfaction... (Looks at Grant. Puts telegram in pocket.) Just where would I—get off? GRANT. Get off? Monty. Yes—alight—arrive—be—come in? No article of jewelry—furniture or finance, visible or in- visible wife—er—asset. I’d be in a cute little position now, wouldn’t I? (Crosses c.) Grant. (Rises) You must be the judge of whether you wish to try for this money or not. Monty. (c.) I’m glad to hear that. GRANT. Swearengen Jones is himself a very rich man and we know him to be fair and honorable. He was your uncle’s closest friend and his desire is to carry out his wishes to the letter. Monty. (Turns) Why all this secrecy? GRANT. Probably because your uncle did not want your friends to either help or hinder you. Monty. (Crossing to him—giving paper back) Well please tell Swearengen Jones that I’ll hold onto what I have. (Crosses t. Stops t.c., turns.) Was Uncle James always crazy or did it come on him late in life? £1 2hvd aaF There’s°aman here wane a. pack age. Monty. (Going to RAWLES quickly) Don't let him in. Rawtes. But he ‘says it’s a birthday praseadl & sir. Monty.» I:don’t want/a birthday present. \'Have you got ‘that gun I gave you this morning? i RAWLES. Yes, sir. | ‘Monty. Ii anybody attempts’ to: buy \you’ with a package, you shoot him—-shoot him on sight. A Goes ito RAWLES. ) RAWLEs. Yes, sir, (RAWULES ‘exits x. ‘Moxy goes to ottoman. again. Enter) TRIXIE L.) © TRIXIE. (Lo. knew you were here, ‘So I just BREWSTER’S MILLIONS: 105 walked right in. (Offers her hand. Shaking hands.) I’ve been trying to'see you ever since you arrived. Monty. You're different from most people— they’re trying to avoid me. Won't you—(H esitates, then indicates box R.)—sit down? | Trixiz. Thank you. (Sits'on box Ri) Monty. You're looking well. Trixit. You've only seen’ me once before in your life, so ldon’t consider you avery good judge: Monty. (Sitting: beside her) 1 know it gs , look: well; even if I haven’t seen you! ~Trixie...Well, we won't fight about that.’ T came to:ask you'a question and | don't know how to sacl gms) | Monty. Why not ask it without thinking how to- begin ? | TRIXrm) I’ve been reading the papete jately. Monty. Indeed! | Trrxigz. And I have seenin them what! Mr. Smith | calls\some. very unfavorable ‘comments about you. Monty. Subby puts: it mildly. | TRIXIE: They say) you) have lost all your money. Monty. | They’re «mistaken.» I) haven’t? lost it. ’ I’ve spent it. a Trixie. Is everything gone? aici Monty: Everything—-except what I’ve ook on— and that reminds me—my hat and . overcoat (Goes to ottoman, brings hat and coat, places them on table, Pauses, looking for a moment at coat;'then sits\) | | TrixiE. (After he is\seated) (It doesn’ t surprise : me. I knew you'd doit. Monty..'That’s more than I did.’ La TRIXIE., [I haven’t been:so foolish. I’ve saved some. pa Monty.|: I congratulate you. ? ‘Trixie. And it’s coming faster than I can spend » it. PE AE NR ae 106 BREWSTER’S MILLIONS Monty. Gee, that’s an awful feeling, isn’t it? I know what that means. I’ve been through it. Trixie. Mr. Brewster, you did everything in the world that money could do for me. Why did you do it? Monty. Well, I didn’t do it to have you ask questions after I had done it. Trixie. Then I won’t ask any more. What I came to tell you was that I have about $15,000 lying in the bank and I want you to take it. Monty. (Jumping up quickly and backing away) I beg your pardon, I cannot take it. (L.c.) TRIXIE. Please don’t be foolish about it, Mr. Brewster. I don’t need it. Besides, it’s really yours, anyway. (Forcing paper upon him again.) Monty. Sh! Please don’t let anybody hear you say that it is mine. It’s yours. I can prove it. I have your receipts. I’ll see you in two weeks. (Monty exits R., running.) Trixic. Mr. Brewster entrance R. Enter RAWLES L.) Raw Les. Miss Gray. (Exits L. Enter Prcey. Precy looks at Trixie, then turns away.) TrixiE. Miss Gray. Prececy. Yes? (S anne L.) Trixiz. I’m Miss Clayton. (Standing Rr.) Preay, | Yes. i(u.) TRIXIE. (Coming c.) I want to speak to you a moment. (Cross c.) I think you can help me. I came to see Mr. Brewster and he ran out of the room and left me. Will you help me?. Peccy. (Crossing c.) What is it you wish? TRIxiE. I want you to induce Mr. Brewster to take back some of the money he has spent on me. Peccy. (L.) Why? TRIxIE. (c.) Because I’ve tried and failed. And I thought perhaps you would make him see that he ought to take it. Well! (Goes up to | « BREWSTER’S MILLIONS 107 Pecey. I don’t understand. Trixiz. (c.) Of course you know what he has done for me, but he has acted so strangely. The night of his house party, when I met him, he told me he thought I had a wonderful voice, and after- ward I found out he had not heard me sing at all. When he offered to make me a star I couldn’t be- lieve my ears; but when the company was engaged and rehearsals began and I was given a beautiful apartment and jewels and gowns and servants and everything on earth I could think of—and more—I thought, as the show girls say, that Mr. Brewster was “taken with me,” but he has never even called on me from that day to this. Why, he has given me the greatest chance a woman ever had and I have never been able to say “Thank you” to his face be- fore. (Ends speech down R.c.) Preccy. What do you mean? That you have never seen Mr. Brewster since—since ? (Taking step toward TRIXIE.) TrrxteE. Never since the house-warming. I ex- pected for months that I should see him and get some sort of an explanation, but none ever came. Precey. I don’t think it needs an explanation. TRIXIE. But some people have wrong ideas about it. Of course, his real friends—those who know him well, like you and your mother—would never believe anything wrong of him! ( r.c.) Peacy. (Approaching TrixtE) No, his real friends would never believe; but oh, Miss Clayton, I did believe—I did believe! TRIxIE. Miss Gray! Prccy. He told me it wasn’t true, but J—I—I’m so glad you came here. I'll help you in anything I can. I’m glad you’ve had your chance, and I hope you'll be the finest, finest actress in the world! (They embrace and Miss CLayTon cries. TRIXIE crosses to exit L., then stops.) 103! BREWSTER’S MILLIONS | Trixie, (L.) Well, I haven't returned the money, but P’ve : done something. | Free ea fe Exits” LL. Enter Monty ir. Bus:) - | | ‘Monty. Peggy! 8: : . Prccy.: (c.) Monty, can you ever foleivd me? > Monty. (Stepping back and looking at her): Hoe give you—-for what?) | Peccy. For believing—— . 1 mean, for not bel lieving: I’m so ashamed I’ll never doubt you aca Be Monty.” What do you mean? 8 Precey: | I’ve just heard i (: Crosses to him. py | Monty. . You've heard . Is Rabies here?a ei He crosses L. quickly, looking: off. rh “Precy: No, nol’ (A step down.) Monty: What do you Srp set heard? ¢ He crosses'to her.) Peccy. Miss Clayton has just been’ here’ and I don’t care what anyone says'now. Monty.) Ah, then-you do believe in me and you’ re going to stand by me and be the Peggy: of: the old days! Listen, Peggy—at this ‘moment’I haven’t a penny in the world, T’ve spent a million dollars in a year. Do you care enough’ ‘to stand ‘by a poor, miserable devibat whom the whole world is laughing ? \Precy.) I love you, Monty. ‘Begin again,’ forget this ‘terrible year+-we’ll build a new life together. ap ne And) you: won't ‘mind being’ poor dics me! Pecey. I can never be poor with you! ‘Monty.’ I’m: the: happiest (Starts to em- brace her. Enter Raw Les with ei on Aes box lid. Monty breaks away.)* RAWLES. »):(L:3) ) A» telegram for you, sir. ut wouldn't let the: boy in. Monty... Anddid:you shoot him? | RAWLES!; No, sir. f och ib OR Monty. » (Looking at telegram pe Sure ‘it’s s only a telegram? SNOITIIJ $,YaLSMaug,, ‘ (a3 e : d * ’ i BREWSTER’S MILLIONS 109 Rawtss.. Yes, sir. (Bus, opens oy abet ieigee suspiciously.) | aur} erm sles bil Monty. Well! Well! | RawLes. Beg.pardon, sir. Thirty cents’ de teees P MONTY: Certainly... (Bus.) ee cents?) What or? Rawues.. The telegram, sir. Monty. Yes—of course, the telegram, Tell the boy.:to take it back. (Puts telegram. on salven. yaa Peccy. (Opening purse) Monty, let mes iv) RaAwtes.. Beg pardon, sir—if, you'll, allow: anit Monty. Certainly, Rawles,and I'll give, it-back to, you, presently, RAWLES. (Goimg i.) Pray don’t mention it sir, Monty. I don’t, mention, it—I. haven’t:.said a word. (Crosses up L.) VIl hand——(Bxit) Raw es L.)—it back toyou at.one minute. after twelve,» Peccy. I hope it isn’t bad news-—l.hate ; tele- grams. . Monty. (Handing her telegram) Don’t worry dear—read it—read it! (Smuiling.) Pecey.... I ..think, it’s good, news. | ( Looking: at telegram.) Monty: Go on—go on! 7 Preccy. (Reads) It says, “Jones has pibaliloal (Looking at telegram.) Ive, always thoitght . this Jones, whoever he is, would be better, out of the way, He Why, Monty, is it bad news? . (Looking at Monty, putiing head on shoulder.) Monty. (Staring before him) 1 don’t know ex- actly. Preccy. Won’t you tell me what it means?, Monty. (Taking telegram, looking at it) Why, Peggy, if this telegram is right, it means that Iam a pauper. Do you realize that—a pauper? I can’t ask you to marry me now—it wouldn’t be fair. Preecry. Why not? Monty. Because I’m broke. 110 BREWSTER’S MILLIONS Peccy. What difference does that make? You did ask me just now and you were broke then. Monty. I know, dear, but that was a different kind of broke. (Crossing L. in front of settee.) Peccy. Whatever do you mean? (Enter RAWLES.) Raw es. Mr. Harrison. Monty. Mr. Harrison—Nopper? Not Mr. Nop- per Harrison? RAWLEs. Yes, sir. (Enter Harrison Lt. Exit RAWLES L.) Noprer. (c.) Monty, old man! Oh, but it’s good to see you! (Shaking hands c.) Monty. (c.) That goes double, Nopper; but you’ve come at a bad time. (Goes L 4 NoprEr. Peggy, how do you do? Why, what’s the trouble, Monty? Monty. (Going t.c.) Made a fool of myself. Spent all my money. Noprer. The papers told me that. Is the whole thing gone? Monty. Everything! (Enter Raw es.) Raw.es. Mr. Grant. (Mr. Grant enters L.) Grant. (Excited, out of breath) How do you do, Mr. Brewster? Did you get my wire? Monty. Yes, sir, just now. Grant. (Down t.c.) Sorry to have frightened you. We found him. Monty. (c.) Found him? (Prcey and Har- RISON down R.C.) Grant. There was a report that he’d disappeared, but he’s in New York and will be here at twelve o'clock. Monty. (Crossing quickly to Peccy) Do you hear that, Peggy? He’s here! It’s all right! Jones is here! Excuse me—Miss Gray, Mr. Grant, Mr. Harrison, Mr. Grant. (R.c.) Oh, this is good news. (c., going to GRANT.) | BREWSTER’S MILLIONS Ii Grant. (L.) Are your books ready for inspec- tion? Monty. (L.c.) Yes, sir. Grant. All your money gone? Monty. Every penny of it. GRANT. Absolutely penniless? Monty. Absolutely penniless—no article of jew- elry, finance, visible or invisible asset Noprer. Not quite penniless, thank Heaven! Monty, allow me to return to you the $35,000 I owe you. (Takes out money, hands tt to Monty.) Monty. You don’t owe me anything, Nopper. (Pushing Harrison back.) Nopprer. Oh, yes, I do. It’s been on my mind every moment since. Monty. Keep it on your mind a couple of min- utes longer. GRANT. What’s the meaning of this, Mr. Brew- ster? Monty. (c., trying to make light of it) Nothing at all. Grant. Mr. Brewster, what does this mean? Monty. (Slowly, with feeling) It means, Mr. Grant, that I’ve lost. | Grant. Lost? Haven’t you dissipated the for- tune? . Monty. No, sir. Here are thirty-five thousand dollars that refuse to dissipate. Now, look here, Mr. Grant. [ve made a hard fight to carry out this contract and I’ve got to do it. What time is it? What time is it? GRANT. Two minutes of twelve. (Taking out watch.) Monty. Two minutes—two minutes to spend thirty-five thousand dollars. Look here, Mr. Grant, you've given me advice—why won’t you accept this as counsel fees? (Cross L. to him.) 112 BREWSTER’S: MILLIONS Grant: I’m sorry; Mr..Brewster, I can’t. do that. I’m retained by Jones as executor’s counsel. | Monty. (Crossing ci) © Executor’s counsel | Executor-—executor.»: Why, executors get co don’t they ? Gdhien: (Down t.)-> Yes. Monty. (Down-c.) Isn’t Mr. Jones the execu- tor of my uncle's estate? GRANT. Yes: | Monty». (Excited) Whatiare executor’s fees? GRANT.’ Not Jess than: one-half of one per cenit’ onthe principal. Monty. One-half of one\per cenit: of Seven mil- lion: dollars— Why, that’s ceabave siete dollars, isn’t it? GRanr. Brewster, I follow you. Good Monty. Well, then, there you are. Hereate my’ books;’ my! papers and my receipts, faithfully and — honorably kept; and here, Mr. Grant, are thirty=! five thousand dollars-—Mr.: Jones’) fee-as executor of my uncle’s estate. Now, Mr. Grant, I haven’t'a penny ino the--— » (Places money in Grant's’ hand and’ backs-away vU.c.) Grant. My boy, I congratulate you— (RAWLES ts heard off, expostulating unth people cube want toventerL. They break by him and enter -Li with packages: Enter Aux: with: birthday.’ presents.) | | Att. (Murmuring) Happy returns of the, day,; Monty! . (Offering presents.) Monty. Wait—wait—not yet. (Chimes strike twelve o'clock.) Mr. Grant, let me introduce you to the finest lot of friends a mar was ever cursed with. _ They’ve been trying to ruin me with birthday pres- ents——=+ ‘Twelve o’clock! It’s’ all right. Peggy, dear, I can ask you now—I’m rich. h 3 BREWSTER’S:, MILLIONS 113 Preccy. What, do you-mean? | “Monty. I ‘mean I°madeée.a contract to spend a million dollars in a year in order to get seven” million left me by my. uncle. You'll know all about. itan a minute. He’s here-—— | (Enter RawLes.) Anat Rawtes. (ci) ‘Mr. Swearington Jones—— © Monty. Yes Raw es, Twouldn’t let him’ in! : ri Monty. Well, you Jetshim:in! (They runvoff Lind seodt CURTAIN Clarence Comedy in 4 acts by Booth Tarkington. 5 males, 5 females. Z% interiors. Costumes, modern. Plays 2% hoars. One of the “five million’, Clarence served where he was sent-— though it was no further than Texas. As an entomologist he feund—on this side of the ocean—no field for his specialty, so they set him to driving mules. Now, reduced to civil life and seeking a job, he finds a posi- tion in the home of one Wheeler, a wealthy man with a family. And because he’a “been in the army” he becomes guide, philes- opher and friend to the members of that distracted family group. Clarence’s position is an anomolous one. He mends the plumbing, tunes the piane, types—oif stage—-and plays. the saxe- phone. And around him revolves such a group of characters as only Booth Tarkington could offer. It is a real American comedy, at which the audience ripples with appreciative and delighted laughter. Those marvelous young people, Cora and Bobby, ere portrait sketches warranted to appeal to everyone. Royalty, $25.00. Price, 75 cents. The Charm School Comedy in $ acts by Alice Duer Miller and Robert Milton. 6 males, 10 females. (May be played by 5 males and § females). (Any number of school girls may be used in the ensembles). 2 interiors. Costumes, modern. Plays 2% hours. A young automobile salesman just out of his ’teens inherits a girl’s school and insists on running it himself, according to his own ideas, chief of which is that the dominant feature in the education of the young girl of today should be CHARM. In the end the young man gives up the school and promises to wait until the youngest of his pupils reaches a marriagable age. “The Charm School” has the freshness of youth, the inspir- ation of a novel idea, the charm of originality, and wholesome, amusing entertainment. We strongly recommend it for high school preduction. First produced in New York, then toured the country. Two companies now playing it in England. Royalty, $25.00. Price, 45 cents. A Full House Fareical comedy in 3 acts. By Fred Jackson. % males, 4% females. 1 interior. Modern costumes. Plays 21% hours. This newest and funniest farce was written by Fred Jackson, the well-known story writer, and is backed up by the prestige of an impressive New Work success and the promise of unlimi fun presented in the most attractive form. A cleverer farce has not been seen for many a leng day. “A Fall House’ is a house full of laughs. Royalty, $25. Price, 75 cents. SAMUEL FRENCH, 25 West 45th Street, New York City New and Explicit rapa ld Catalogue Mailed on quest Dulcy Comedy in 3 acts. By George S. Kaufman and Mare Con- nelly (with a bow to Franklin P. Adams), 8 males, 3 females. 1 interior. Costumes, modern. Plays 2% hours. In her determination to help her husband and friends Duley plans @ week-end party. They ere an ill-assorted group, such’ as only a Duicitnea could summon about her. Their brief asse- ciation becomes a series of hilaricus tragedies. It is Duicy’s final blunder which unexpectedly crowns her efforts with success. Meanwhile she has all but ruined her husband’s plans to put through a big merger with a rich capitalist. Among her gtests is a rapturous scenaric writer who conspires to elope with the daughter of the capitalist, who loathes motion pic-, tures. The rich young man from Newport, who Dulcy thinks may be useful in assisting the capitalist’s wife to write for the fibms, turns out to be an escaped lunatic. The ex-convict butler steals a necklace. Everything goes wrong. But the most ex- quisite torture she inflicts is when she imvites the scenario writer to recite one of his hectic plots to music played by the lunatic. It is with this that the play reaches its highest level of satirical fun. “Duley” ran for a season in New York, and is now on tour throughout the United States and Canada. Royalty, $25.00. Price, 75 cents. Come Out of the Kitchen Comedy in 8 acts, adapted by A. EH. Thomas from the story by Alice Duer Miller. 6 males, 5 females. 3 interiors. Cas- tumes, modern. Plays 242 hours. “OQome Out of the Kitchen,” with Ruth Chatterton in the leading role, made a notable success on its production by Henry Miller in New York. It was also a great success in Lendon. A most ingenious and entertaining comedy. We strongly recom- mend if for amateur production. Royalty, $25.00. Price, 75 cents. ‘ Kempy Comedy in 3 acts, by J. C. Nugent and Eiliott Nugent. 4 males, 4 females. 1 interior throughout. Costumes, modern. Plays 232 hours. The story is about a highfalutin daughter who in a fit of pique marries the young plumber-architect, who comes to fix the water pipe, just because he “understands” her, having yead her book and sworn to marry the authoress. But in that stery Hes all the humor that kept the audience laughing every second. The amateur acting rights are reserved for the present in ali cities and towns where there are stock companies. Royalty will be quoted on application for those cities and towns where it may be presented by amateurs. Price, 75 cents. SES ES Le LE TLD SAMUEL FRENCH, 25 West 45th Street, New York City New and Explicit Descriptive Catalogue Mailed Free on Request The Famous Mrs. Fair ‘A play In 4 acts. By James Forbes, author of “The Com- ‘muters’, “The Traveling Salesman’, etc. 3 males, 10 foniales, 2 interiors. Costumes modern. Plays 24% hours: _ CVEre. Pair was 2a major abreotd and won’ a medal for. bravery, ‘Her husband was displeased when Mire. Fair came home to a ‘fame which lifted her out of his life. The dissatisfaction grew as she became absorbed in public functions. Mr. Forbes traces the widening of the rift between husband and wife with great skill in the first two acts. These are light comedy. In the third the mood becomes serious and we find that Mrs. Fair’s absence from bome has set the husband to philandsering and the daugh- ter to intimacy with a’gay set. Indeed, only through the joint ““efforte of husband’ and wife to save the girl from danger, ‘is harmony again established. A true comedy, written with keen insight. Royalty, $35.00, Price, %5 ‘cents. ‘Nothing But the Truth Comedy in 8 acts. By James Montgomery. 5 males, 6 fe- amales. .Costumes, modern. % interiors. Plays 244 hours. Is i€ possible to tell the absolute truth—even for twenty- four hours? It is—at least Bob Bennett, hero of “Nothing But rirty the Truth”, accomplished the feat. The bet he made with his 3 business pSriners, and the trouble he got into‘is the subject of William Collier’s tremendous comédy hit. “Nothing But the ie iy Truth” can be whole-heartedly recommended as one of the “most sprightly, amusing and popular comedies. Royalty; $25.00. Price, 60 cents. Pent iy: On the Hiring Line “o> Comedy in 3 acts, by Harvey O’Higgins and Harriet: Ford. a ‘males, 4 females. .1 interior. «Costumes, modern. Plays 2% ours. Sherman Fessenden, unable te induce servants to remain ‘at a his Jersey home, hits upon the expedient of engaging detectives — 4 as domestics. His second wife, an actress, weary of the country, has suc- — eéeded in discouraging every other cook and butler against — ‘remaining long, believing that she will convince her hush md _ that country life is dead. So she is deeply disappointed’ w. en she finds she cannot discourage the néw servants. The sleuths, believing they. are called to report on those living _ with the Fessendens, warn Fessenden that his wife has been receiving love-notes from an actor friend, and that his” daughter ME igs planning to elope with a supposed thief. . One sleuth causes an uproar making a mess of the situations he. has witnessed. Fessenden, however, has learned a lesson and is willing to leave the servant problem to his wife. Enjoyed long runs in New York and Chicago. Royalty, $25. 00. Price, 35 cents. v ‘SAMUEL FRENCH, 25 West 45th Street, New York ber New and Explicit Descriptive Catalogue Mailed Free on Request a charming: ‘comely in 4 acts, by Jean Webster. males, g femal, and 6 a ae by ensy reap of: some ohare by small girls. hours. i By a The New) York Times nveoker the: flowing} oaeent “If you will take your pencil and write down, the other, the words delightful, charming, sweet, beaut entertaining, and. then draw 2 line and add them up, the nawer ‘will be ‘Daddy Long-Legs’ - To that result you: might even add en would be just what it wae before—the play which Miss Jean ‘Webster has made from her book, ‘Daddy Long-Legs’. To at- tempt to describe the simplicity | and: beauty of ‘Daddy Long- Legs’ bhi ad he like attempting | to describe the first. Le ee of for over " three ‘years. Herp tty, oe 00. Price, 20 genta, ya To the Ladies ny Haleelete comedy in $ acts, by George re Kagtinnn: and ; Mare. Connelly. 11. males, $ femmnton. 3. interiors, | Costumes maodern. Plays 21% hours: : ne The authors of ‘Duley’? have divulged. a secret” known. ot every woman-—and to some men, though the men don’t ‘admit it .- The central figures are young Leonard Beebe and: his wife Etsie, # little girl from Mobile. Leonard is the average young i Ameriean clerk, the kind who read all the “Success” stories ‘ the magazines and believe them. Elsie has determined to man him something more. She has her hands fall—even has make an after dinner speeph: for him—but she does it- and the 2 play shows how,, Sauna ick 4 Helen Hayes played ‘Elsie and Otto. Kroger impersonated ‘Leonard in New York, where it ran 3a whole season. Here’s a e¢lean and wholesome play, deliciously | funny and’ altogether a diverting Llane tar 5 entertainment, aunuenee nuit Price, 7 peenta. i batt ‘Three Live Ghosts a ‘Comedy in 3 acts by, ¥rederick Ysham and Max males, 4 females (2 policemen), | 1. interior ‘throughout. - Coa- ] pumes, modern. Plays 2% hours. “Tree Live Ghosts” ‘is brim full of fun and’ humor and is gure to keep audiences: im gales of laughter. The New York erities described it as the most ingenious and amusing comedy of the season, genuinely funny. It ered 2 full season in’ | New York, then toured the big oitles. { & Bvely comedy vies oso | Royalty, $25. 00, Price, wm Rents. | " | SAMUEL FRENCH, 25 West 46th Street, New York Ot New ees eget Deseriptive atalogue Mailed ; Free. on. Loney ui "Standard Library. sedis Clyde F ‘ech William Gillette Agia habe Thomas - George Broadhurst _ Edward E. Kidder _. » Percy MacKaye =. Sir Arthur Conan Doyle - Leuis N. Parker -R.C. Carton) Alfred Sutro Richard Harding Par 2 _| Sir Arthur W. Pinero | - Anthony Hope . - Oscar Wilde.» Haddon Chambers" “Jerome K. Jerome Cosmo Gordon Lennox 5! -H.V. Esmond - "Mark Swan. y Grace L. Furniss. CMareuctite Merrington ~ Hermann Sudermann © - Rida Johnson oma” Arthur Law © : Rachel Geshe at Martha Morton > HLA. Du Souchet ‘ WwW. W. Jacobs — ee es Madeleine Lucette ey ah ° “Includes «Play by Booth Tarkington _ eae Hartley Manners - James Forbes | James Mont yonapiy ‘Wm. C. de Mille - Roi Cooper Megrue © Edward E. ‘Rose - Israel Zangwill © 2 Benty. Bont” ‘ Harold Bighouss! ee hinuiae Pollock — . Harry. Durant - Winchell Smith — Margaret Mayo © Edward Peple _A. E..W. Mason © ‘Charles Klein — ; - Henry Arthur Jones. AL E.Thomas. Fred. Ballard ~ Cyril Mateseee d, - Carlisle Moore a ta Ernest Denny e . Laurence Housman — ~ Harry James Smith Edgar Selwyn - Augustin McHugh Robert Housum yee Charles Kenyon | Ce. ‘M. Ss. MeLellen - Beocch's international \CspyHahted Edition: contains plays, comedies and farces of international reputation; — also recent professional successes by famous Ameri- mal ct can and English’ Authors. on Road hee Send aLfour-cont stamp: For. our new. catalogue te fs describing. thousands of plays. ne “SAMUEL FRENCH. | Oldest Psd Publisher in the World * 3 0112 045513485