The girl from Missouri, a comedy drama in three acts

Front matter

H (Denijonis Royalty ^lay:i h^

The Qirl from X. Missouri J^

T, S, Denison & Company

Act One

Locality: A smart summer resort an the banks of a large lake.

Time: A summer morning.

Scene: A sumptuous living room in a wealthy summer home, the walls of which are bright; the hangings gay and colorful. French windows at Right Center back open onto a porch, behind the railing of which an expanse of summer sky may be glimpsed, A nice atmospheric note will be the use of gayly striped awning material behind the windows, and flowering vines will look attractive crawling around the posts of the porch railing. A large open archway at Left Center back opens into the reception hall, where a door leads onto the porch and a stairway leads off upstage Left to the second story of the house. Sufficient room must be left in front of the steps for characters to enter and exit offstage Left below the stairs when supposedly going to other parts of the downstairs. There is a door upstage on the Right, that opens into the master bedroom. Another arch in the middle of the Left wall leads to the dining room, kitchen and the servants' quarters. Both arches have curtains to match those hanging at the sides of the windows.

Furniture and Properties: A large carpet covers the floor. Several colorful throw rugs are scattered here and there. The stairs are carpeted and so is the floor of the "hall."' A number of nicely framed pictures of lake and forest regions adorn the walls. There are two comfortable-looking couches — one down Right, with the back to the wall, and the other placed on an oblique. Left Center. Gay sofa cushions make the couches look inviting. In front of each couch is a low coffee table with bowls of flowers, smoking equipment and late magazines and newspapers. There is a floor lamp at the left end of the couch. Left Center, and another on the upstage end of the other couch. Still a third floor lamp stands slightly behind the left side of the armchair. Center. The armchair faces the audience, and in front of it is a footstool, A small ornate telephone table stands in the upper Right corner of the room. On this is a telephone, a small vase of flowers, and an attractive desk lamp. The wall space between the French windows and large archway is taken up with a handsome cabinet or well-stocked bookcase, A radio stands upstage on the Left, On top of this is a fancy clock, the hands of which point to the hour of ten o^clock, and another bowl, or vase, of flowers. Everything about the room must suggest comfort and affluence. Where possible, the furniture should be handsome wicker ivork, upholstered in gay cretonne or chintz.

Lighting: The color of the globes in the footlights and borders is a combination of red, white and blue, with the red and white predominating to give the effect of diffused sunlight, A strong, straw-colored bunch light, or olivette, behind the windows gives the illusion of warm sunshine outside. The electrical fixtures on the stage are all practical, but are not lighted as the play begins.

At the Rise of the Curtain: Enid Endicott sits in the armchair, facing the audience and looking thoroughly miserable as her husband, Franklin Endicott, walks up and down the stage, Right Center, raging at her for something she has done that he considers unpardonable, Enid is a handsome, aristocratic-looking woman of forty-four or thereabouts, who wears a smart and exclusive model sports dress. Her graying hair is done up in the latest manner and her jewelry consists of small diamond earrings, a diamond-studded wristwatch, an expensive wedding ring and a large solitare. Naturally, for stage purposes, these do not have to be genuine. Good imitations will give the desired

Act I The Girl From Missouri 9

effect. In one hand she holds a crumpled telegram. In the other, a dainty handkerchiej, ivith which she occasionally dabs at her eyes, Franklin is a ruddy-faced, distinguishedlooking man of forty-five or so, tvith a dominating personality and a terrific ego. He is a snobbish individual whose superior air is sometimes disagreeable even to his friends. He is not too scrupulous in business, but genuinely fond of his own family. What Franklin needs is a good lesson in humility and a realization of what constitutes the really worthwhile things of life. His wavy hair and neatly trimmed mustache are iron gray, and, for the purposes of age, he may wear modern glasses. He is dressed in a white suit, white sport shoes, dark blue shirt and socks with a breast-pocket handkerchief to match, and a white tie. The play begins in the middle of his argument ivith his wife. He is speaking as the curtain rises.

Franklin (Starts this line as the curtain starts to go up, and while walking up and down the stage,) In all our twentytwo years of married life, I don't think I've ever been so angry with you, Enid. Why did you ever do such a thing — and without my knowledge, too? You must have been out of your head!

Enid (Sniffs tearfully,) I was afraid to tell you, Franklin, for fear you wouldn't approve. (Dabs at her eyes with her handkerchief.)

Franklin (Pauses downstage, on a line with the armchair. Practically shouts,) You knew very well I'd disapprove! The idea of deliberately inviting that girl here for the whole summer . . . !

Enid (Interrupting.) She's my only sister's child, Franklin. My own niece . . .

Franklin (Interrupting. Loudly,) How many times have I told you not to even mention that family in this house?

Enid (Continues, as though he hadn't interrupted her.) And I didn't invite her. Her mother wrote me, asking if she couldn't come.

Franklin (Angrily.) Well, you didn't have to answer the letter, did you? Let me see that wire! (Steps closer to her. Grabs the telegram out of her hand and scowls at it.)

Enid (Meekly apologetic) I wasn't going to at first. I know you don't like to have me correspond with Martha. But her letter was so pathetic, Franklin, and this is the first time since Grandma died that she's asked a favor of me. She has so little, and we have so much. (Sighs,)

Franklin (Reading the telegram aloud.) "Edithe is thrilled to accept your invitation ..." She would be!

Enid (Interrupting. Leans toward him.) To tell you the truth, Franklin, my conscience has been bothering me. When I think of the way they live on that shabby little farm, and us with our houses in town, at the beach, and all this lake property . . .

Franklin (Sharply.) Be quiet! (Reads the rest of the telegram.) "She has already started and will arrive almost as soon as this wire ..." (Frowns.)

Enid (Continues.) They could have had half of everything, you know . . .

Franklin (Sharply.) Enid!

Enid (Quickly. Anxious to pacify him.) If Martha's husband had been as smart as you were.

Franklin (With a grim smile. Looks into space.) I was pretty smart, wasn't I?

Enid. Yes, dear. We have you to thank for everything. (Watches him anxiously, while taking the telegram out of his hand. Continues talking.) You were the one who saw the possibilities of turning the lake into a resort . . .

Franklin (Looking straight front. Extremely pleased with his cleverness.) There wasn't a house within miles when you came into possession of the property. Now there are over five hundred summer residences. (Looks at her.) We've kept it exclusive, too.

Enid (Nods and smiles.) Only the best families. You've made a lot of money, dear. The children and I are very proud of you. (Rises and moves toward the couch down Left.)

Franklin (Boastfully.) Well, you ought to be. If it hadn't been for me you would have taken half your sister's rotten little farm and given her half the lake. Then where would we have been?

ACT I THE GIRL FROM MISSOURI 11

Enid (Pauses near the couch. With a little sigh.) We wouldn't have been quite so well off, of course. But, on the other hand, Martha and her children wouldn't have been quite so poor. Sometimes I think . . .

Franklin (Irritably.) Oh, forget it, will you? She didn't have to relinquish her half of the inlicritance, did she? The farm was a place to live and she and that lazy husband of her's were glad to get it. The lake was nothing but a wilderness. I was the one who developed it, and went into debt to do so. Is it my fault if the farm turned out to be no good? (Takes a few steps up Right Center. Calling toward the hallway.) Jasper!

Enid. What are you going to do, dear?

Franklin. Tell him to go find the children. (Moves swiftly toward the hall arch. Calling.) Jasper!

Jasper (Offstage up Left. Loudly. Negro dialect.) Ah's comin,' sah.

Enid. They went for a swim. (Moves toward the French windows, going by the left side of the armchair.)

Franklin (Pauses near the arch as Jasper enters from the hall, in front of the stairs. Jasper ^5 a colored butler of around thirty, ivith chocolate-colored skin and kinky black hair. He wears dark trousers and shoes, and a white starched coat. Franklin speaks on the cue, "They ivent for a swim.'^) Go down to the beach and tell Miss Royal and Mr. Barry I want to see them — at once. (Moves down Left Center. Frowns.)

Jasper. They tole me not to call 'em befoah lunch, sah.

Franklin. I said, tell them I want to see them! (Pauses at the right end of the Left couch, where he gets a pipe and tobacco off the coffee table during the following lines.)

Jasper (Shakes his head dubiously as he steps closer to the hall door. Enid has paused in front of the windows and is now looking offstage up Right with a worried frown.) Miss Royal'll bawl the debbil outta me! She's wid dat man whose ancestors come ovah on de Juneflower!

Franklin (Shortly.) Mayflower! Get going, will you?

Jasper (Opening the hall door.) Ah'm goin'.

Franklin (Sharply.) Then get !

J2 THE GIRL FROM MISSOURI ACT

Jasper. Ah's got! (Exits, closes the door behind him, and passes the windows to go off Right during the following lines.)

ENID. 1 don't think you ought to call her away from young Mr. Rowland when she's gone to so much trouble to get him off by herself alone, Franklin. She's trying to make him propose.

Franklin (Tamping down the tobacco in his pipe, Confidently.J He'll propose all right. His father will see to that

Enid (Moving quickly to down right of the armchair.) How do you know?

Franklin. I've talked to him. (Looks very wise all of a sudden.)

Enid. You mean, you've arranged things so that — ^that . . . f

Franklin (Nods.) So that Rowland, Senior, is indebted to me, yes. You see, I loaned him some money to invest a few months ago. The investment turned sour and he's unable to pay the money back. I told him he needn't bother to return it if young King married our Royal. Get the idea? (Gives her a broad wink.)

Enid (Widens her eyes and gasps slightly.) But, Franklin! That's sort of like blackmail

Franklin (Shrugs his shoulders. Finding excuses for his high'handed methods.) Royal's in love with the boy, isn't she? And this will get our names in the Blue Book. (Frown' That's one of the reasons why I was so put out when I found out about your inviting that ignorant niece of yours here^ She's bound to humiliate us. (Disgustedly.) Poor relatives; There ought to be a law against them. (Sits on the couch, fiddling with his pipe, which, by the way, he never gets a chance to light.)

Enid. They wouldn't have been poor if it hadn't been for ...

Franklin (Sharply.) Enid! , Enid (Sighs and moves toward the other couch over Right.) I'm sorry, dear.

Franklin (Frowns.) There's no reason for you to let your conscience bother you insofar as they're concerned. (Durinf^ the balance of this line Enid sits on the other couch, puts the telegram on the coffee table in front of it, and takes up a

ACT I THE GIRL FROM MISSOURI 13

magazine to cover up her nervousness. Franklin goes on speaking,) You've been good to them. I let you send them birthday and Christmas presents every year. They ought to be grateful for our thoughtfulness. I have nothing against them personally. It's just that people in our position can't afford to associate with their kind. (Quickly, as Enid gives him a rather resentful look,) Oh, I know — she's your sister. But you've climbed way above her — I've seen to that. And you're going to stay above her — for your children's sake if for no other reason. That's why I've kept you away from her all these years. Our friends would look down on us if they knew about the Elliot side of your family. They believe our ancestors came over on the Mayflower also. (Chuckles at the way he has deceived his associates,)

Enid (Sighs,) I wonder how big that boat really was? (At this moment, Royal comes through the French windows. She is a lovely-looking girl of twenty-one, but her manner is sophisticated and spoiled — a result of her father's teaching. She has been brought up with a misguided faith in the superficial things and looks down her nose at the ^Hower classes.^' Quite a snob is Royal — on the surface. Deep down underneath her skin, however, and buried so far that even she doesnt realize it. Royal has a human side that is only waiting to be brought to the surface by a sudden shock — which she gets later on. She wears a stunning bathing suit, beach sandals, a smart and expensive-looking beach robe, and carries a bathing cap.)

Royal (Speaks as she enters and moves downstage behind the armchair, angry at having been called away from her boy friend.) What's the hig idea of sending for me at a time like this — just when King was admiring my new bathing suit and teaching me the Australian Crawl? I was going to scream for help and sink in a few minutes, so he'd have to rescue me and . . . (Pauses behind the armchair,)

Franklin (Interrupting,) Where's your brother?

Royal (Who is the only member of the family courageous enough to talk back to her father,) Don't interrupt me, Father. Couldn't you have waited until I came home for lunch? I was going to cling to him with both arms around his neck, call him "My hero" and cry.

Enid. What for, dear?

Royal (Impatiently. She doesnt think her mother has too many brains.) To get him in a sympathetic mood, of course, with all barriers down, so he'd want to kiss me and maybe propose. /^Enid shakes her head, as much as to say, ^'It^s beyond me.'" Royal goes closer to where Franklin is sitting. Continues speaking without a pause.) And I thought you were diplomatic!

Franklin. Take him out in one of the canoes tonight. There's going to be a full moon. (Replaces his pipe on the coffee table as the telephone rings and Jasper comes in through the imndows.)

Jasper (Speaking as he enters.) Mistah Barry's comin' right behind me, sah. He hadda get rid ob Miss Moorehead. (Picks up the phone and talks into it during the following lines, saying, "De Endicott residence. Jaspah, de Endicott butler speakin. Whafd you say? . . . Yes, ma am, she's heah. Jest a minute an Ah' II call her.'")

Enid (Surprised. To Jasper, speaking on the cue, '' . . . to get rid of Miss Moorehead.'') Hazel? Was she with him?

Royal. Certainly, Mother. He's teaching her how to fish. (To Franklin. Smiles.) She loathes fishing.

Franklin (Smiles.) Then she must like Barry?

Royal. Or else she's bored with all the other boys.

Franklin. And do you think he likes her?

Royal. Why shouldn't he? The Mooreheads have been in "Who's Who" for the past hundred years, more or less.

Franklin (Frowns, worriedly.) Unfortunately, that doesn't matter to Barry. I'm afraid he takes after your mother's side of the family. (Looks at Enid accusingly. Royal grins. Jasper looks at Enid, holding out the receiver.)

Jasper. Foah you, Missus Endicott.

Enid (Rises.) Who is it, Jasper?

Jasper. Missus Moorehead.

Enid (Pleased.) Really? (Hurries up Right. During the following lines she takes the phone from Jasper and converses in pantomime — gushingly — as though talking to an

ACT I THE GIRL FROM MISSOURI 15

extremely important person. During this, Jasper moves toward the hall arch, listening to what RoYAL and Franklin say,)

Royal (To Franklin. Speaks on the cue, ''Really?'') Hazel said she intends to invite us all over this afternoon for tea. (^Franklin looks pleased.)

Barry (Comes through the French windows, swinging a string of fish in one hand and carrying an expensive-looking rod in the other. Barry is a breezy, natural-acting young fellow of twenty, who, in his heart, thoroughly disapproves of his father's and sister's snobbishness, but is ordinarily too dominated by them to have the courage to say so. He is agreeable, cheerful and energetic. Well-liked by people of all classes. He ivears shorts, tennis shoes, a pull-over sweater, which show off his athletic figure to good advantage. Speaks as he comes through the ivindows and down Right, Center. Jasper pauses near the hall arch.) Hi, Dad? What's cookin'? Jasper said . . .

Royal (Interrupting.) Barry! Did you catch all those? (Indicates the fish.)

Barry. Sure — with Hazel's help. Here, J asp — take 'em to the kitchen, will you? We can have 'em for lunch. (Holds out the string of fish. Jasper moves closer to him, takes the fish and exits during the following lines, going off up Left, in front of the stairs.)

Royal (Surprised. Speaks on the cue, "... can have 'em for lunch.") You mean to tell me that Hazel Moorhead actually caught a fish? (Looks as though she found this hard to believe as she rises off the arm of the couch and goes closer to the armchair.)

Barry. Sure. She's a good sport in spite of all the dough her mother has. (Moves closer to the couch over Right. Continues speaking.) Rather goofy though — like Sis.

Royal (Angrily.) What do you mean?

Barry (Shrugs his shoulders. Leans his rod against the floor lamp on the upstage side of the Right couch.) Affected. Thinks she's better'n she is. You know.

Royal (To Franklin, with a slight gasp.) Father!

Franklin. That'll do, Barry. (To Enid, as she hangs up the receiver and turns away from the phone table.) What did she say, Enid?

Enid (Moving down Right Center.) She was very gracious. Asked the four of us over to tea this afternoon. She's going to have the Rowlands also.

Franklin (Smiles. Barry makes a wry face. Royal looks pleased.) Splendid!

Royal. And I haven't a thing to wear!

Barry. What d'ye mean, nothing to wear? You have closets full of stuff you bought just before . . .

Royal (Coldly.) I wasn't speaking to you.

Barry (Grins.) My error. (Sits on the Right couch.)

Franklin (Rises and goes in front of Royal, moving toward Enid.J You accepted, of course?

Enid (Nervously.) No, Franklin. I refused.

Franklin (Surprised. Royal looks amazed. Barry looks pleased.) Refused?

Royal. Mother! One just doesn't ever refuse an invitation from Mrs. Moorehead. She's liable to be offended.

Enid. No, Royal. I told her we had a previous engagement.

Barry (Grins and lounges back on the couch.) Swell. (^RoYAL shoots him an angry glance.)

Franklin (To Enid. Frowningly.) What previous engagement ?

Enid (Simply.) Edithe. (^Franklin gives vent to a disgusted snort and walks up Left Center.)

Royal (Puzzledly.) Edithe?

Enid (Nods.) Your cousin, dear. My sister's daughter. (^RoYAL frowns.)

Barry (Leaning forward.) The one on that farm in Michigan?

Enid. She and her brother are the only cousins you have. (To RoYAL.J She's coming to visit us.

Royal (Gasps.) That little snip?

Enid (Quietly.) How do you know she's a — a "little snip"?

Royal (To Barry. As if a calamity had befallen them.) Our poor relative!

Barry (Rises. To Enid.^) When's she coming?

ACT I THE GIRL FROM MISSOURI 17

Enid. Today. I just received a wire from your aunt. (Indates the telegram on the Right coffee table, Barry quickly snatches it up and reads it,)

Franklin (Moves downstage, behind the Left couch. To Royal. Sarcastically,) Your mother wants to embarrass us before our friends, Royal. This is what I wanted to talk to you about.

Royal (To ENiD.y) Whatever possessed you to invite her? I thought we were supposed to ignore the very existence of the Elliots?

Franklin (Dryly,) We are.

Enid (To Royal. Apologetically,) Well, we've never done anything for them, and -Martha reminded me of that fact in a letter I had from her a week or so ago . • •

Royal. You mean, they're going to start asking favors of us? (Looks horrified,)

Franklin (Dryly,) Evidently.

Enid (Quickly,) Oh, no — just this one. In her letter, Martha told me how difficult it has been for them ever since her husband died. How she would have liked to send both Edithe and Jim to college, but couldn't afford it . . .

Franklin (Decidedly,) We're not going to send them to college.

Royal. I should say not! (Looks insulted at the very idea,)

Enid (To Royal, looking rather desperate as she ^'drywashes'' her hands together,) She doesn't expect that. All she wants is for us to give poor Edithe a taste of high life for the summer. You see, the girl has never been any place — never associated with people of position and influence, and — and — well, her mother thought the experience would do her a lot of good.

Barry (Looks up from the telegram. Rather excited at the prospect of meeting his cousin,) Say! If she started before this telegram was sent she'll be here today! (^RoYAL gives Franklin a horrified look, Franklin shrugs his shoulders as much as to say, ''We cant do anything about it now,")

Enid (To Barry.^) That's what / was thinking — on the morning train.

Barry. We'd better get ready to meet her. (Tosses the wire onto the coffee table and starts rapidly upstage toward the hall arch.)

Franklin (Sharply.) Stay right where you are, Barry! /"Barry pauses up Left Center. Franklin continues speaking. To Royal J We've got to nip this thing right in the bud.

Royal (Nods.) Before it becomes a habit with them. We don't owe them anything.

Enid (Meaningly. Looking at Franklin.^) Oh, no? (Moves toward the Right couch.)

Franklin (Decidedly.) No! (To Royal.^) I was wondering if I shouldn't write a letter of apology and have it delivered to her when she gets off the train? I could say we were terribly sorry, but we have no room for her — the house is full of guests from the city . . .

Royal. Father! You're a genius.

Barry (Moving quickly downstage, between them.) Aw, look here! That'd be heelish. Anyway, she might be fun.

Royal (Sarcastically.) Fun? Why, from what Father's told me, she's as green as grass. She'd have to be where she was raised — in a little farming community with no advantages and nothing to do but work all day long.

Enid. Martha says she's a very sweet girl.

Royal. Sweet and dumb, eh?

Enid (Meaningly.) And, after all, she is a relative. I want you to be nice to her.

Royal (Moving to the right side of the armchair.) Well, I shan't be nice to her. It's unreasonable to expect me to be. She'll do everything wrong. I hate to think of the way she'll dress. (Warningly.) I won't introduce her around.

Enid (Reproachfully.) Is that a nice attitude. Royal?

Barry. Not for my money, it isn't.

Franklin (Sharply.) Nobody asked for your opinion, Barry.

Barry (Dryly.) They never do around here. (Moves to the left end of the Left couch.)

Royal. That's because it usually isn't worth anything!

Barry. It's worth as much as yours.

Royal (Who always turns to Franklin to settle an argument.) Father!

ACT I THE GIRL FROM MISSOURI 19

Franklin. Oh, stop arguing, Barry. (Moves in front of Royal, going closer to EisidJ Well, Enid, you got us into this. Now how are you going to get us out?

Enid. I don't know what you mean?

Franklin. I mean, how are are you going to explain her presence to our friends?

Enid. Simply tell them the truth, of course. That she's my niece who's coming to spend the summer with us.

Royal. And have them laugh us out of the community? Don't be stupid. Mother. I'd be ashamed to acknowledge my relationship with a girl from the wrong side of the tracks. I'll simply make it so unpleasant for her that she'll want to go back home before any one even knows she's here, and if they do find out after she's gone I'll say she was suddenly called back home on account of sickness or something. Now I'm going to get dressed. (Starts to the hall arch,)

Barry (Dryly.) A regular chip off the old block, aren't you. Sis?

Royal (Pauses quickly, upstage near the arch, Franklin whirls to glare at Barry.^) What did you say?

Barry. Skip it. (Shrugs and sits on the left arm of the Left couch.)

Enid (Meaningly, as Royal turns to go through the arch to the stairs.) People who are genuine are never rude, Royal.

Royal (Pausing near the stars.) Oh, I don't intend to be outwardly rude. I'll merely let her know by my attitude that she isn't welcome, and if she has a grain of sense she'll take the hint and leave. (Exits up the stairs quickly.)

Barry (To Enid, jerking his thumb over his right shoulder in Royal's direction.) What that dame needs is a good, man-sized smack where it'll do the most good.

Franklin (Angrily.) And what you need is a refresher course in good English. (To Enid, indicating Barry.^ He can meet her, if he likes — in the small car. (Walks up Right Center. Enid looks relieved.)

Barry. What time is it. Mother? (Rises off the arm of the couch.

Enid (Looking at her wristwatch.) Almost train time.

Barry. Til go as is. (Moves upstage to Franklin, going via the back of the armchair J Give me the keys, Dad.

Franklin (Getting some car keys out of his pocket, but talking to ENiD.y) You'll have to get her alone first thing and warn her about talking too much.

Enid. I will, dear. The poor thing will probably need a bit of coaching in deportment also. (Hurries toivard the hall arch, Franklin is taking one of the keps off the ring.)

Franklin (To Barry.} I'm using the big car to go to the bank. Here. (Gives him the key.)

Barry. Thanks. Is she pretty, Moms? (Moves toward Enid, who pauses in front of the arch.)

Enid. Martha says she is.

Barry (Grins.) Then leave it to me to show her a good time. See you later. (Moves past her to the hall door and exits, closing the door behind him. He is then seen hurrying past the windows to exit off Right.)

Enid (To Franklin. Speaks on the cue, "See you laterJ^) I'm going upstairs now to arrange a room for her. Did you say you were going to the bank?

Franklin (Shortly.) Yes. I have an appointment with Mr. Bascomb. (Takes up his panama hat, which has been lying on the phone table,)

Enid. I do hope her clothes are right.

Franklin. What does it matter as long as we're going to keep her out of sight? Sometimes I'm glad all my relatives are dead. (Starts through the windows.)

Enid (She cannot resist getting back at him a bit.) The whiskey Baron, for instance?

Franklin (Pauses suddenly.) What did you say?

Enid (Smiles.) Or that tramp uncle of yours who slept in boxcars?

Franklin (Angrily, Taking a quick step toward her.) Now, you see here . . . !

Enid. I just thought I'd remind you that at least my relatives are respectable. (His mouth drops open and his eyes widen. He is too astonished by her sudden, unusual, though quiet show of spunk to be able to think of a good come-back. She exits up the stairs, calling offstage without a pause in

ACT I THE GIRL FROM MISSOURI 21

the dialogue,) Susie. Oh, Susie. I'd like you to vacuum the blue guest room. (Her voice fades away offstage.)

Franklin. Humph! (This is an exclamation of mingled disgust and defeat as he jams his hat on his head and exits quickly through the windows, going to the Right, The telephone rings as he disappears. As it rings the second time, Jasper comes through the arch, in front of the stairs, and moves toward the phone,)

Jasper (Mumbling to himself,) Ah'm comin'. Ah'm comin'. You don't hab to ring youah haid off. (Takes up the phone,) De Endicott residence. De Endicott butler speakin'. What'd you say? (Slight pause, during which King Rowland moves behind the windows, coming from up Right, and goes to the hall door. King is a handsome, likeable and welleducated young man of twenty-one, with a good sense of humor and a breezy sort of charm. The type who can get along with almost anybody, and who hasnt allowed himself to be spoiled by too much money. He wears beach slacks and a sweater, which he has evidently put on over his bathing suit. His feet are encased in beach sandals, Jasper fails to see him as he passes the windows, and continues talking in the phone without a break in the dialogue,) Mistah Rowland? No'm, he ain't heah. De last time Ah saw him he was on ouah private beach wid Miss Royal, but she done come up to de house widout him. (A doorbell rings, offstage up Left, This is King at the front door,) Yes'm, Ah'll tell him if Ah sees him. (Slight pause.) Dat's all right, Missus Rowland. Thank you. Good-bye. (Hangs up and replaces the phone on the table as the doorbell rings a second time. As he crosses to the hall arch he mutters to himself,) Moah doggone bells in dis house! (He pauses in the hallway to open the door, and steps back away from it with a broad grin as King moves into sight behind the arch,)