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THE DRAMA MAGAZINE FOR YOUNG PEOPL NOVEMBER 2018

UPPER GRADES PA Crack inlthe Caeiling . .y...... Chs ristina Hamlett 2

DRAMATIZED CLASSIC (F OR UPPER GRADES ) The Twelve-Pound Look...... James M. Barrie 15 Adapted by Jesse J. Martin

MIDDLE AND LOWER GRADES All in Favor...... M. K. Schwartz 23 Lewis Hine, Intrepid Photographer . . . . Carol D. Wise 29 Mexican Trio...... Linell Wohlers 36 Perambulating Pie...... Mary Thurman Pyle 41 Terms of Use • Vol. 78, No. 2

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PLAYS, The Drama Magazine for Young People (ISSN 0032-1540, USPS 473-810) is published seven times a year, monthly except June, July, August, and September, and bimonthly January/February, by STERLING PARTNERS, INC., 897 Washington St., #600160, Newton, MA 02460. Subscription rates: 1 year, $59.00; 2 years, $109.00. Canadian: Add $12 per year to cover postage. All other for - eign: Add $25 per year to cover postage. Canadian & other foreign sub - scriptions must be paid in U.S. funds drawn on a U.S. bank (or if in U.S. funds drawn on foreign bank, add $4 U.S.). Periodicals postage paid at Boston, MA, and additional offices. POSTMASTER: Send address changes to: Plays/Sterling Partners 897 Washington St. #600160 Newton, MA 02460 Printed in U.S.A. November 2018

The drama magazine for young people In this issue. . P. l ays Upper Grades A Crack in the Ceiling , by Christina Hamlett 10 actors: 6 female, 4 male; 30 minutes. The story of Edith Wilson’s secret role in running the country after her husband, President Woodrow Wilson, suffered a debilitating stroke in 1919. Some say that she served, in effect, over an 18-month period, as America’s first woman President. The Twelve-Pound Look , by James M. Barrie; adapted by Jesse J. Martin 4 actors: 2 male, 2 female; 25 minutes. A clever story: A women exerts her independence from her wealthy and overbearing husband in 1900s England as she learns a skill and sets out to make a life of her own. Will he recognize the error of his ways and treat his next wife with more respect? Middle and Lower Grades All in Favor , by M. K. Schwartz 7 actors: 4 male, 3 female (or any combination m/f); 25 minutes. Prospective member of a club finds out some “friends” are not to be trusted. Lewis Hine, Intrepid Photographer , by Carol D. Wise 7 actors: 4 male, 3 female; 25 minutes. Based on the story of the famed photo-journalist, who works his way into factories in 1900s America to expose child labor exploitation and unsafe working conditions. His pho - tographs helped to improve life for millions of people. Mexican Trio , by Linell Wohlers 5 male and/or female actors; 10 minutes. Mexican folk tale: It’s a battle of wits as the big coyote is outsmarted by three of his smaller neighbors. Perambulating Pie , by Mary Thurman Pyle 10 actors: 5 male and 5 female; 25 minutes. Re-gifting: Sharing on Thanksgiving makes this “pass-around” pie a special gift for those alone on Turkey Day.

NOVEMBER 2018 1 Upper Grades A Crack in the Ceiling is protected by U.S. copyright law. It is unlawful to use this play in any way unless you are a current subscriber to PLAYS Magazine (www.playsmagazine.com).

A Crack in the Ceiling After President Woodrow Wilson suffered a stroke in 1919, his wife Edith stepped in to run the country— secretly—for the next 18 months. . . . by Christina Hamlett

Characters TIME : 1919-1920 The White House. EDITH WILSON, First Lady and SETTING : The stage is divided into two second wife of Woodrow Wilson sections separated by a low, cutaway HELEN WOODROW BONES, wall. Stage right represents the Lincoln Bedroom at the White House. Stage left Woodrow’s cousin and former is a comfortable sitting room with an White House social secretary Edwardian dining table and four WOODROW WILSON, 28th chairs. The two “rooms” are respectively lit only when action is transpiring in President of the United States them, the other half of the stage being in ISABELLA HAGNER, former darkness. Several scenes are also played in the theatre’s center aisle. See detailed White House social secretary Production Notes at end of play. ALICE GERTRUDE GORDON, AT RISE : Stage left, EDITH WILSON is wife of Dr. Cary Grayson hosting tea and a game of cards with DR. CARY GRAYSON, Wilson’s HELEN WOODROW BONES, personal physician ISABELLA HAGNER and ALICE GERTRUDE GORDON. As lights IKE HOOVER, White House Chief come up, a tinny rendition of “Oh, You Usher Beautiful Doll” is heard playing on vit - rola. Throughout the scene, the ladies ROBERT LANSING, Secretary of will take turns refilling each other’s tea State cups and playing their card game.

NELL M CADOO, Wilson’s youngest EDITH (Inclining her head to the daughter music ): Goodness, but you’d think NURSE JOHNSON, Wilson’s that’s the only song Woodrow allows to be played in The White House. ( She attending nurse gets up to turn off the music. )

2 PLAYS • playsmagazine.com ALICE (Laughing ): It’s certainly the England someday. only song I’ve ever heard played. EDITH : Oh Alice, that’s just silly. I’m not HELEN (Calling after EDITH ): You only older than His Royal Highness but should be flattered, Edith. He says it why on earth would the Prince of Wales always makes him think of you. want to take up with an American woman—and one previously married— ISABELLA (To ALICE ): Helen would know. when he can have his pick of European She’s the one who introduced them. princesses! ( They all laugh at this. There is a rapid knock on double doors .) ALICE (As EDITH returns to table ): A Come in! ( DR. CARY GRAYSON enters, blessing or a curse? wearing a worried expression. ALICE smiles when she sees him .) EDITH : A bit of both, I think. But most - ly blessing. ALICE : At long last! My wonderful hus - band has come to rescue me from an HELEN : You didn’t say that when he absolutely pathetic game of cards. was writing all those love letters! (She starts to scoot back her chair .)

EDITH (Laughing ): How could I forget? CARY : I actually need to speak to Edith.

ISABELLA : Have I heard this story? EDITH : What is it, Cary? You look as if you’ve seen a ghost. ( He gently lifts her HELEN : It seems, Isabella, that my by the arm to speak privately. EDITH dear cousin was so besotted with our is anxious .) What’s happened? Is darling Edith that he wrote to her something wrong? every single day. CARY : It’s the President. You need to EDITH : More like every single hour! come at once. I’ve left my nurse and He’d send a messenger from the White the Chief Usher with him but there’s House and order the poor man to wait no time to lose. I’ll explain on the way. for me to write a reply. Well, if I was (CARY hustles her out. Her friends look busy or having a luncheon and sent at one another in stunned silence as him back empty-handed, Wood-row lights go down. Lights come up slowly was beside himself. right. WOODROW WILSON is in bed and appears to be sleeping. NURSE ISABELLA : What did he do? JOHNSON is holding his right wrist and taking his pulse. An anxious IKE EDITH : He’d furiously write out three HOOVER stands nearby. ) or four more and send those over. (Sighs ) I had to say to him, “Woodrow, IKE (To NURSE ): I don’t understand. my love, I’m quite fond of you but don’t One moment he seemed just fine—a you have a country you should be run - little tired, maybe—and then— ning?” To which he replied, “All right, I promise to focus on the country if NURSE : No one can ever predict when you’ll just say yes and marry me.” something like this will come on—or how long it’ll last. I think it depends a ALICE : You know, you could have held lot on the person’s spirit. out for the Prince of Wales. He’s rather a looker. Plus, he’ll be King of IKE : Well, nobody’s got more spirit than

NOVEMBER 2018 3 he does, that’s a fact. He and Mrs. with my life. ( IKE exits. EDITH cross - Wilson? They can handle anything es to CARY .) that comes their way. That’s how strong they are. ( She nods thoughtful - EDITH : When you told Ike just now ly .) Do you think he can hear us? there’s nothing they can do—

NURSE : I like to think he can, Mr. CARY : If I could speak candidly. . .? Hoover. EDITH : Absolutely. IKE (Clearing his throat ): You’re going to be right as rain, Mr. President. CARY : We both know your husband (Tentatively pats WOODROW’S hand ) has had cerebrovascular disorders Just you wait and see. ( EDITH and since long before he came to Capitol CARY rush in through downstage Hill and, more often than not, was in right door. NURSE moves toward denial about their severity. CARY as EDITH rushes to bed .) EDITH : There are also those inclined to CARY (To NURSE, in low voice ): Any think he should have spent his career change? at Princeton.

NURSE : No, Dr. Grayson. CARY : A plum job to be sure. . .and with lifetime benefits. EDITH : Woodrow darling. It’s me. Edith. I’m here now. Everything’s all right. EDITH : Except we also know he was determined to spend his lifetime doing CARY (To NURSE ): Thank you. I’ll let something much bigger. Nothing you know when I need you. could have stopped him.

NURSE : Yes, Doctor. ( She exits. ) CARY : Except a stroke of this magni - tude. I’m going to confer with a few of EDITH (To IKE ): Has he said anything, my colleagues but I honestly don’t Ike? Anything at all? expect their assessment of Woodrow’s condition to be any different from IKE (Sadly ): No, Mrs. Wilson. ( He mine. I’m sorry, Edith, but you need to crosses to CARY to speak confidential - be prepared for the possibility that he ly .) Should I be making arrange - will never recover. ( Beat ) Perhaps it ments—for an ambulance? would be best for him to resign and allow Vice President Marshall to fin - CARY : Thanks, but no. There’s nothing ish out the remainder of his term. they can do for him at the hospital that we can’t do here. . .by ourselves. EDITH : Do you have any idea how much that would crush his soul? No, I refuse IKE : Yes, Dr. Grayson. Do you need me to accept your suggestion, not when he to do anything else? still has so much to live for. You know how passionate he is about The League CARY : Just make sure the President of Nations going forward! doesn’t have any visitors unless it’s by my directive. CARY : And maybe it will. But for now, we can’t keep him out of the public eye IKE (Nodding ): I’ll guard that door indefinitely.

4 PLAYS • playsmagazine.com EDITH (Defiantly ): Then we’ll just have should go or we’ll miss our train. to keep him out of the public eye until (ALICE hugs both of them and escorts he’s well again. It really shouldn’t be them to the upstage doors .) more than a couple of weeks. . .( The lights go down right and come up soft - HELEN : You’ll promise to ring us up if ly left. ISABELLA and HELEN are anything happens? wearing coats and hats. ALICE wears a different dress from her first scene .) ALICE : You’ll be the first to know. ( They exit as lights go down. A spotlight comes ISABELLA (To ALICE ): You mean to up in center aisle where a confronta - say he’s told you nothing at all about tional scene is transpiring between what’s going on? You’re his own wife. CARY and ROBERT LANSING .)

ALICE : It’s that Hippocratic Oath all LANSING : You were blowing smoke in doctors swear to. The only thing I know there, Grayson. You know it. I know is that it’s serious enough our darling it. And they know it. Edith is sticking by Woodrow’s side. CARY : I told them the truth. That the HELEN : I’m surprised the newspapers President is resting comfortably. haven’t come snooping around. Can you imagine if she said the President LANSING : From what? A heart attack? coughed or had a sore throat? Why, A stroke? A hit on the head? they’d blow it out of proportion and say it was the Spanish flu! CARY : From exhaustion. He over- exerted himself on his last travels and ALICE : Secretary of State Lansing has it simply caught up with him. called a special Cabinet meeting this afternoon. He’s asked Cary to make a LANSING : Why hasn’t anyone seen report on the President’s condition. him in the Oval Office? Hopefully that will pacify everyone and put any rumors to rest. CARY : Because he’s working from his home office. I believe that’s his prerog - ISABELLA : Helen, you’re his own ative. cousin. Can’t you pop in to see him and confirm everything’s jake? LANSING : Why were you dismissive of the Cabinet’s inquiry about a transfer HELEN (Shaking her head ): Doctor’s of power to Vice President Marshall? orders. Woodrow needs his rest. Eight thousand miles in three weeks—who CARY : Because there’s no need for it. wouldn’t be dog tired? ( Beat ) Oh, how Marshall is a superfluous place-holder. I wish the two of us could stay a few days more and lend Edith a hand. LANSING : Your words or Mrs. Wilson’s? ALICE : I’m sure she knows that. For goodness sakes, she managed her own CARY : I believe Mrs. Wilson and I business for years. Managing her own speak the same language. Everyone husband shouldn’t be that much of a knows that it’s not as if being VP is a stretch. real job. He only has to go places and do things if the President doesn’t want ISABELLA (To HELEN ): We really to himself.

NOVEMBER 2018 5 LANSING : Or if the President’s dead. Maggie is folding her arms and saying, “Then how did it blow all the way into CARY : Which, in this happy circum - Dinty Moore’s Tavern?” ( She laughs .) stance, he’s not. Now if you’re through That was a good one, wasn’t it, sweet - beating this matter to death— heart? ( WOODROW is unresponsive. ) What shall we read next? Maybe the LANSING : There are a number of pend - business section? ( Knock on door is ing issues that require the President’s heard. EDITH sets aside newspaper to immediate attention. open door to IK E, who carries a t ray with some covered dishes .) CARY : Then I suggest you bundle them up and send them along so he can IKE : I thought you’d be wanting some start looking them over. lunch, Mrs. Wilson.

LANSING : And how do any of us know EDITH : That’s very kind, Ike. with any degree of certainty that con - (Indicates settee ) You can put it over fidential documents will be for his there. ( He puts tray on the settee. ) eyes only? It’s common knowledge, Grayson, that he hasn’t exactly been IKE : How’s he doing today? tight-lipped about keeping this coun - try’s secrets from his wife. EDITH : Oh, I think he’s looking much better, don’t you? I was reading to him CARY : What are you implying? earlier that one of the Luscombe girls—the one with the bad complex - LANSING : From the time he married ion?—finally got herself engaged and I her, he’s let her sit in on high-level swear I saw the start of a smirk on his meetings that are none of her business. face. That’s a good sign, isn’t it? She’s driven a wedge between him and his closest advisors just because she IKE : I’m sure it is, Mrs. Wilson. ( She didn’t like them. She tells him who he notices he’s not in a hurry to leave .) should and shouldn’t see— EDITH : Was there anything else? CARY : You don’t particularly care for Mrs. Wilson, do you? IKE : Mr. Lansing was here, but I told him the President was not to be inter - LANSING : Any woman who would rush rupted. the President of the United States to the altar when he hadn’t even had the EDITH : Thank you for keeping him at proper time to mourn the death of his bay. That man can be relentless. first wife is, frankly, capable of any - thing. ( Spotlight goes out in center IKE : He left some paperwork he wants aisle and comes up softly stage right. the President to look at. Shall I bring NURSE sits in the chair reading a it in or. . .? book. EDITH —in a different dress—is seated on the bed with a newspaper EDITH : Of course. Let’s see what it is. from which she reads aloud .) (IKE steps outside and a moment later reappears with a tall stack of black EDITH : . . .so Jiggs tells Maggie that the portfolios .) Oh, my! Why don’t you set wind blew away the new silk hat she them here at the end of the bed so bought him. And in the next frame, they’ll be close at hand?

6 PLAYS • playsmagazine.com IKE (Complying ): Where would you too, my dear Mr. President. But you like the rest of them? really do need to put more effort into getting well. I haven’t had a minute to EDITH (Astonished ): The rest of them? myself since—well, since much too (The lights go down right. Spotlight long. It’s not just that the country has - comes up in center aisle where NELL n’t seen anything of you. My friends McADOO is talking on the phone .) haven’t even seen much of me. Maybe they think I’ve run off with the Prince NELL : I tell you, Jessie, it’s just getting of Wales! ( Lights go down and come stranger and stranger. Margaret has - back up on center aisle, where NELL is n’t heard from him, either. William on the phone .) and I sent them an invitation to Sunday dinner a few months ago. I NELL : Oh, Jessie, if Daddy were to run even mentioned there’d be strawberry again, it would put the kibosh on ice cream for dessert—Daddy’s William’s career path and he’d be dev - absolute favorite—but Edith told me astated. . . .All right, but how can I even they had another commitment. . . .You ask him what his plans are if he and know what I’m thinking? And I really Edith keep turning down our invita - hate to say it, but I think Daddy may tions to dinner? . . .You mean just show be in a bit of a snit that his own son- up without telling them I’m coming? . . . in-law is thinking of running for Yes, I suppose you’re right. It’s not as if President. . . .Well, there’s no reason they’d slam the front door of the White Daddy couldn’t run for a third term— House on the President’s own daughter. and he’s not even that impossibly old. Let me talk it over with William and see A President can be President as long what he thinks. ( Spotlight goes out in as everyone keeps electing him back the aisle. Lights come up left. Stacks of into office. Isn’t that what the black portfolios are on the dining table. Constitution says? ( Spotlight goes EDITH stands, sipping a cup of tea, down in center aisle and comes up while a peeved LANSING paces, angrily right. EDITH is sitting on the bed with thwacking his hand against the contents WOODROW . He’s partially slumped of the open portfolio he’s carrying .) against the pillows, awake but very drowsy. EDITH has a portfolio open LANSING : All of these margin notes are and has been reading to him, a pen in jibberish. I can’t make out a word of it. hand. WOODROW emits a groan .) EDITH : You’ve said yourself time and EDITH : I know, darling. It is tedious but again that my husband has terrible let’s just do one more. ( She puts pen in handwriting. How long have you been his hand and guides him to write. It is Secretary of State? Shouldn’t you be obviously a great strain for him. When used to his scribbles by now? finished, she takes pen and portfolio, then with a laugh ) Do you think the LANSING (Pointing out example ): You’re Founding Fathers could have envi - trying to tell me these up and down sioned how much paperwork their new arrows are supposed to say something? country would set off? I’m surprised the paper mills haven’t run out of trees EDITH (Taking a look ): An upward by now! ( She starts to get up but with arrow means consent. A downward his good arm he reaches for her .) What arrow means veto. is it, my love? ( He draws her in to give her a kiss. EDITH smiles. ) I love you, LANSING : And this spiral one?

NOVEMBER 2018 7 EDITH (Indicating a spiral motion with cally seen the Easter Bunny, either, her hand ): He wants it sent back for and yet this past Spring, all of the eggs reconsideration. Honestly, Mr. Lansing, somehow continued to get delivered I find his whole system very efficient. without any breakage, didn’t they? Haven’t you heard of Mr. Issac Pitman’s (Knock on doors ) Come in! ( IKE enters. ) shorthand methods? It’s based on sounds, not letters. For people who IKE : Excuse me, Mrs. Wilson, but your think faster than they can write—and, daughter-in-law, Mrs. McAdoo, is here. of course, that trait has always applied to the President—it’s a marvelous con - EDITH : How lovely. Please show her in. venience, wouldn’t you say so? (IKE exits, leaving door open .) As you can see, Mr. Lansing. I have a very LANSING (Tossing portfolio on table ): full schedule. You’re telling me the President of the United States of America took the LANSING : And as I can see, Mrs. time to teach himself shorthand? Wilson, you and Grayson are engaged in an act of duplicity and complicity by EDITH : Of course not. He didn’t have perpetrating a scandalous lie to the time. He invented this version himself. American people.

LANSING : I’d like to see him. EDITH : Such big words. I wonder what they’d look like in shorthand. EDITH : He’s in the bath. LANSING : You’re playing a dangerous LANSING : I’ll wait. game and I intend to get to the bottom of it! ( NELL , in coat and hat, enters at EDITH : Did I mention he likes to take that moment. EDITH goes to greet her. ) very long baths? EDITH : Nell, dear. What a marvelous LANSING : As I said, I’ll wait. surprise! Can you stay for tea? Let me take your coat. ( She does so .) EDITH : Regretfully, Mr. Lansing. I don’t have the time or inclination to LANSING (Snidely, to NELL ): And keep you entertained. what’s your story, missy?

LANSING : Then answer me this: Who’s NELL (Firmly ): It’s Mrs. McAdoo. Mrs. really running this country, Mrs. William McAdoo. Wilson? The American people have the right to the truth. LANSING : Right, right. I didn’t recog - nize you without your being on the EDITH : The truth is that it’s the same arm of your husband. person who’s been running it since he was sworn into office in March of 1913 EDITH : Mr. Lansing was just leaving. and again four years later. My husband. LANSING : To repeat my question, Mrs. LANSING : Would this be the same hus - McAdoo, what’s your take on all this? band no one has physically seen since last year? NELL : Excuse me?

EDITH (Pleasantly ): No one has physi - LANSING : Have you seen your father?

8 PLAYS • playsmagazine.com NELL (Exchanging a look with EDITH vice versa. ( Lights go down in center before cheerfully replying ): What aisle, then come up left. EDITH is daughter hasn’t seen her father? standing and showing something in the What a silly question. ( Disgruntled, newspaper to IKE . The phone rings and LANSING strides out of the room. ) IKE goes to answer it .)

EDITH (To NELL ): You really didn’t IKE: Hello? . . .Just a moment. I’ll see if have to lie. she’s available. ( Hand over mouth- piece ) It’s a Mr. Brown from The NELL (Matter-of-factly ): In the first Washington Herald . ( Visibly vexed, place, I didn’t. He only asked if I’d EDITH crosses to take receiver. IKE seen him, not if I’d seen him in recent proceeds to collect items on a breakfast months. ( Beat ) Which I haven’t. tray but remains close by if needed .)

EDITH (Quietly ): I’m sorry. Circum- EDITH : Mr. Brown. I was just reading stances have been—difficult. ( NELL your very amusing story in the paper. I approaches and touches her arm .) hadn’t realized the Herald was publish - ing speculative fiction these days. . . . NELL : Whatever it is, Edith, I’d rather What do I mean by that? What did you know the light of the truth than to be mean by describing me as—( Reading kept scared and in the dark. ( EDITH from paper ) “The acting Commander in pats NELL ’s hand .) Chief.” “A calculating puppetmaster.” “Our petticoat president.” Is it a slow EDITH : You said just now “in the first news day, Mr. Brown, or do you take place.” Is there a second place? sadistic satisfaction in worrying your readers that the man they elected twice NELL : No one calls me “Missy.” ( Lights has pulled a disappearing act and left go down left. Spotlight up in center aisle, “the little woman” holding the keys to where ISABELLA is on the phone .) the executive office? . . .No, Mr. Brown, you listen to me. These stories, these lies ISABELLA : Hello? Yes, this is she. . . . are inexcusable and a reflection of shod - The New York Times ? Are you sure you dy and demeaning journalism. I have no have the right number? . . .Well, it’s intention of running the government, just that I can’t imagine why you’d be nor does my husband have any intention calling me. . .Yes, that’s correct but I’m of resigning. Good day, sir! ( She hangs hardly the person you should be ask - up, nearly on the verge of tears. ) ing. . . .Well, because I haven’t worked at the White House since the end of IKE : I wouldn’t let them get to you like President Wilson’s first term. . . .That’s that, Mrs. Wilson. You’ve seen for right. I was with the Roosevelts prior yourself he’s getting stronger every to that and then the first Mrs. Wilson day. Why, he’s going to have ’em all after. . . .No, no, I haven’t been there looking like the fools they are when he since—oh, when was it? Last autumn. steps out and— Yes, I believe it was October. . . .I’m sorry, but I really don’t understand. EDITH : Steps out and what, Ike? Does What do you mean by “the character” cartwheels on the front lawn? of the current First Lady? She’s an absolute gem. And certainly no one IKE : Begging your pardon, ma’am, but could love her husband as much as she I don’t recall him ever doing cart - does. She’d do anything for him and wheels before he took sick. ( This

NOVEMBER 2018 9 makes her smile. ) ALICE : Helen? . . .It’s Alice. How are things in the publishing world? . . .Oh, EDITH : You’re a good man, Ike. I don’t that’s wonderful. Listen, the reason know how we’d have been able to I’m calling is to let you know that your carry it off for this long without your cousin is doing much, much better. . . . help. No, I still have no idea what was wrong with him to begin with, but my IKE : Just doing my job. Shall I bring darling husband says that Woodrow is some more coffee? his usual self and ready to start tak - ing on the world again. And Edith? Oh EDITH : No, thank you. ( As he starts off ) dear girl, you can’t believe how well Ike? she’s held up. Such a model of efficien - cy and courage! I was saying just the IKE (Stopping ): Yes, ma’am. other day that she’d make a wonderful President herself—and do you know EDITH : Am I a. . .a bad person? what she said? She said the first thing she’d do is change the Constitution so IKE : I can’t imagine anyone putting women could get the right to vote and your name and “bad” in the same sen - then vote her into office! Isn’t that just tence. like her? . . .Yes, we must get togeth - er again soon. I mentioned it to EDITH : Unless they work for the press. Isabella and she’s all for it. ( The spot - Seriously, Ike. I never thought it light goes out. Before the lights have would go longer than a few weeks. I come fully up right, WOODROW and saw myself as nothing more than a NURSE are heard singing. Still wear - good steward until he could return to ing a bathrobe, he is now sitting up in his full duties. bed and wearing his trademark glass - es. Note: His left side is immobile .) IKE : No one could have done it better, ma’am. WOODROW and NURSE : Oh, you beau - tiful doll, you great big beautiful doll. EDITH : They’re saying Woodrow should have resigned, but that I wouldn’t let NURSE : If you ever leave me, how my him because I’d let the power go to my heart would ache. head. I haven’t done that, have I? You’d tell me honestly if you thought I had? WOODROW : I want to hug you, but I fear you’d break. IKE : As Chief Usher, it’s not really my place to pass judgment. WOODROW and NURSE (With gusto ): Oh, oh, oh, oh. Oh, you beautiful doll! EDITH : How about as a friend? How do (During the last part of duet, CARY you think history will define what I’ve enters room. Embarrassed, NURSE stops done this past year to keep our wobbly singing but WOODROW is oblivious. ) ship afloat? CARY : You know they can probably IKE (Shaking his head ): I really can’t hear that cacophony of yours all the say. ( Lights go down left. Spotlight way to Connecticut. comes up in center aisle, where ALICE is on the phone. ) WOODROW : “Cacophony.” I know that word. A harsh, discordant mixture of

10 PLAYS • playsmagazine.com sound. ( To NURSE ) I was the presi - WOODROW : Nonsense. If I’m going to dent of Princeton, you know. Words ace a third term, the voters need to see are my signature. me. If they don’t see me, they’ll start a whisper campaign that something’s NURSE : Yes, sir. ( CARY nods to her wrong. and she exits, but leaves door open. ) CARY : As your personal physician— WOODROW : I was teaching Nurse Johnson my favorite song. We thought WOODROW : As my personal physi - we’d surprise Edith with a duet. cian, you should be agreeing with me. (Beat ) Well, shouldn’t you? CARY : You seem to have put a lot of thought into this. CARY : Not if you’re asking me to agree to something that isn’t in your best WOODROW : I have. I have. And you interests—or the best interests of the know what else I’ve put thought into? country.

CARY : I’m all ears. WOODROW : What do you mean? I got us through the war, didn’t I? WOODROW : I’m throwing my hat into the ring for a third term. CARY : The world is changing, Wood- row. The seeds have already been CARY : Respectfully, Woodrow, you can’t planted for another war, perhaps one even throw a pebble into a puddle. much sooner than we can imagine and even more devastating. It will tax WOODROW : Maybe not with my left every fiber of being in the next person arm but my right arm’s fit as a fiddle. who takes the oath of office. You already know what it’s like. Why in CARY : You also need to be able to see heaven’s name would you want to put what you’re doing. Unless I’m mistak - yourself through it again? en, you only have sight in the right side of your right eye. WOODROW : It’s what I was born to do. Just ask Edith. ( At that moment, WOODROW : Pffft! You don’t need good EDITH steps into the room .) peepers if you’re a natural visionary. Just ask anyone. Would there be a EDITH : Just ask me what? League of Nations if I didn’t have the foresight to tell the world it could work? WOODROW : Grayson here has declared me fit and then turns around CARY : I didn’t come here to argue with and says I’m not. you. EDITH : He’s right. ( Beat ) You’re not. WOODROW : Because you know you’d lose? WOODROW : What sort of wifely loyal - ty is that? CARY : No. Because we need to talk about your health regimen moving EDITH : The one that runs deeply be- forward. Obviously, there will be lim - yond measure. I nearly lost you once, ited public appearances initially. . . . darling. I don’t intend to lose you again.

NOVEMBER 2018 11 WOODROW : Hrrmph! WOODROW : What would we do there?

CARY (To EDITH ): Perhaps I should EDITH : I rather fancy the idea of just leave the two of you to discuss it. being normal people.

EDITH : Thank you, Cary. For every - WOODROW : Pffft! thing. ( CARY exits and EDITH goes to sit beside her husband .) EDITH : You could at least try it. We could sit in a garden while we have our WOODROW : I knew you didn’t really morning tea and toast. I could read to mean it. you. We could hire someone and you could dictate your memoirs about the EDITH : Mean what? interesting life you’ve led.

WOODROW : That you didn’t think I’m WOODROW : I am an interesting per - up to the task of a third term. son.

EDITH : Oh I meant it. Mark my word. EDITH : Indeed you are. I’m also think - Being President is not an easy job. ing that we could travel. You’d like that, wouldn’t you? WOODROW : As if you’d know anything about it. WOODROW : But won’t people be con - fused when they see me and I’m not EDITH : Have you given any thought to President? what you want to do, sweetheart? EDITH : I’m sure they’ll figure it out, WOODROW : I told you. I want to stay dear. President. WOODROW (After a long moment ): Is EDITH : I meant after we leave the that what you want? White House. EDITH : I want a husband I can happily WOODROW : I can’t begin to imagine. grow old with. I want a husband I can (Looks around ) I’ve always felt this kiss good-night and wake up with a place suits us. reasonable assurance he’ll still be by my side. And I want a husband who EDITH : It was never meant to be a per - can be happy knowing that he’s done manent home, my love. We’re just the best possible job for the people stewards for the next family. ( He con - who elected him. siders this for a moment .) WOODROW : That’s a tall order, Mrs. WOODROW : Where would you want to Wilson. go? You gave up your own house when you married me. EDITH : I have every confidence in you. (Beat ) Shall I bring us up some lunch? EDITH : Well, there are some lovely homes off Millionaires’ Row. We could WOODROW : No. You know what I find a house that suits our wants and want to do instead? I want to go for a needs. Assuming, of course, you’d like motor car ride. Grayson said it would to stay in the District? do me good to get some fresh air.

12 PLAYS • playsmagazine.com EDITH : I can’t argue with that. WOODROW : Maybe I could have the Secret Service chase after them in a WOODROW : We can chase speeders. separate car.

EDITH : Speeders? EDITH : I’m sure the wrongdoers would be quite terrified. ( Gets up ) I’ll send WOODROW : As President, do I have someone to help you get dressed. ( He the authority to arrest people and give grabs her hand before she can leave. ) them tickets if they drive too fast? WOODROW : I could never do this with - EDITH : I’m pretty sure it’s not covered out you, you know. Have I told you in the Constitution. that?

WOODROW : Well, maybe it should be. EDITH : Not nearly often enough. ( She I could pencil it in before I leave office. leans in to kiss him as lights go down .)

EDITH : Whatever you say, darling. THE END

PRODUCTION NOTES A Crack in the Ceiling

CHARACTERS : 6 female, 4 male. footboard and a backless velvet settee PLAYING TIME : 30 minutes. being perpendicular to downstage. A COSTUMES : For the ladies, elegant high-backed chair and small table are Edwardian tea gowns, ankle-length alongside the bed. Up right is a fire - skirts, tailored jackets, coats and hats. place. The walls are decorated with (See http://fashionthroughtheyears. vintage portraits and the room is illu - weebly.com/1910-1919.html) Nurse minated by a chandelier. Down right is wears a white uniform and cap. Dr. a door. Stage left is a comfortable sit - Grayson, trousers, shirt and tie and a ting room with dining table and four white doctor’s jacket. Robert Lansing, chairs. Floor-to-ceiling windows with three-piece tweed suit. Ike Hoover, draperies yield a distant view of the trousers, starched white shirt and Washington Monument. Down left is a vest. Woodrow Wilson, bathrobe. small table with telephone. Double PROPERTIES : Tea service, playing doors are up left, flanked on one side by cards, book, newspaper, tray with cov - a vitrola. Antiques and wall art round ered dishes, stack of black portfolios, out the tasteful furnishings. The two phone receiver, pen, telephone. areas are respectively lit only when SETTING : The White house. Stage is action is transpiring in them, the other divided into two sections separated by half of the stage being in darkness. a low, cutaway wall that is of normal Several scenes are also played in the height at its upstage end so as not to center aisle of the theatre. obscure viewing. Stage right repre - LIGHTING : As indicated in text. sents the Lincoln Bedroom at the SOUND : Music to “Oh, You Beautiful White House. A dark wood bed with a Doll.” high headboard and generous bed - See Historical Notes for this play ding/pillows dominates the room, the on page 14

NOVEMBER 2018 13 HISTORICAL NOTES A Crack in the Ceiling N Woodrow Wilson was never a upon the death of her first husband, paragon of health, but the effects of Norman Galt. Edith also holds the dis - his devastating stroke in October of tinction of being the first woman in 1919 lasted throughout his second Washington, DC, to drive her own term of office, which concluded in motor car—speaking of which, the March 1921. speed limit in the District at the time N Upon their retirement from public was 22 mph. life in 1921, the Wilsons moved to a N The parallel to the Prince of Wales Georgian Revival style home in the and American divorcee Wallis War- Kalorama-Millionaires’ Row (renamed field Simpson speaks to the tireless Embassy Row) neighborhood. The pursuit of a woman for whom the home was purchased with a combina - future king was prepared to (and did) tion of generous donations from give up the throne. At one point dur - friends and Wilson’s Nobel Prize ing Woodrow’s feverish courtship of money. Woodrow lived in the house Edith, he hinted he would give up until his death in 1924. It was Edith’s everything (possibly including the residence until her own death in 1961, presidency) in order to prove the at which time she bequeathed the depth of his affection. house and all of its period furnishings N Contrary to Wilson’s desires for The to the National Trust for Historic League of Nations, the United States Preservation. never officially joined, nor was the N Prior to marrying Woodrow, Edith League’s objective successful in pre - was a successful businesswoman, hav - venting another war. ing inherited a silver and jewelry store

PRODUCTION NOTES The Twelve-Pound Look (Play on pages 15-22 ) CHARACTERS : 2 male, 2 female. Kate’s farewell letter, a framed pic - PLAYING TIME : 25 minutes. ture of Mrs. Sims at her marriage, and COSTUMES : Mrs. Sims wears a lovely the ceremonial sword. gown. Mr. Sims wears a formal set of SETTING : The well-furnished study of tails, perhaps adorned with ribbons Mr. Harry Sims in 1912 England. (The and medals. His second entrance he only items really needed are a couch, wears business attire of 1912. Kate an armchair or two, a small sturdy wears 1912 business attire with hat table and chair, and a desk) and gloves. Tombes wears butler out - LIGHTING and SOUND : No special fit. effects. If the typewriter is not a work - PROPERTIES : Paper knife, silver salver ing one have Kate sit with the type - with the business card of the Flora writer facing away from the audience Type-Writing Agency, portable type - and a soundtrack of typing may be writer (inside a case), typing paper, used.

14 PLAYS • playsmagazine.com This adaptation of The Twelve-Pound Look is Dramatized Classic protected by U.S. copyright law. It is unlaw - (Upper Grades) ful to use this play in any way unless you are a current subscriber to PLAYS Magazine (www.playsmagazine.com ). The Twelve-Pound Look A woman exerts her independence from an overbearing husband in 1900s England as she learns a skill and makes a life on her own. . . .

by James M. Barrie Adapted by Jesse J. Martin

Characters sits in a large armchair, wearing her presentation gown and adorned with HARRY SIMS jewels. She is impersonating the MRS. EMMY SIMS monarch who will dub her husband knight. She is very proud of her hus - TOMBES, the butler band, but yet there is something about KATE, from the Flora Typewriting her that seems to mask a sadness. MRS. SIMS claps her hands as a sig - Agency nal to MR. SIMS to begin, and he walks erect, gliding about the room and bowing to unseen people. He arrives in TIME : 1912 England. front of his wife, going down on one knee. She taps him on the shoulder SETTING : The study of Mr. Harry Sims. with the paper knife from his desk. In addition to the usual set pieces— couch, armchair or two, sturdy table MRS. SIMS : Rise, Sir Harry. ( MR. and chair and a desk—the room is dec - SIMS rises and bows. He continues to orated in the style of a man who prides glide around room, superbly dignified, himself on having the very best: a fine kneeling to various pieces of furniture mantle clock, a bar set up with spark- and rising from each a “knight.” ) ling decanters and glasses, the wall adorned with expensive artwork, etc. MR. SIMS : How did it look, Emmy?

AT RISE : HARRY SIMS stands stiffly MRS. SIMS : I think perfect. up center, dressed in formal attire, seemingly waiting to “enter.” He has MR. SIMS : But was it dignified? Of been practicing to receive the honor of course it will be better once I have the knighthood in a few days. MRS. SIMS sword.

NOVEMBER 2018 15 MRS. SIMS : Yes, I’m sure that will what she is wanted for. It will sound bet - lend an air. ter coming from you. As Tombes said, the women seem to like it even better MR. SIMS : There are really five than the men. And rightly so, for they moments ( Acting each ): the glide, the share in the distinction. Every woman dip, the kiss, the tap, and then back will see that gown and become sick with out you go as a knight. Quite a lovely envy, especially once you are Lady Sims. ceremony. Can you suggest anything? We must have all your friends in one evening. ( He exits, smugly happy with MRS. SIMS : No, no. . .perhaps. . .well, this reasoning. After a moment you don’t think that maybe you have TOMBES reenters with KATE, who is practiced too much, so you do it almost pleasantly cheerful and serene, and too well? dressed simply but in good taste. She carries portable typewriter in its case .) MR. SIMS : I do not. Don’t talk non - sense, Emmy. TOMBES : From the Flora Type- Writing Agency. ( Exits ) MRS. SIMS : I’m sorry, Harry. (TOMBES enters, carrying a silver KATE (Respectfully, though she should salver with a card .) Yes, Tombes? have waited to be spoken to first ): Good morning, madam. ( KATE places case TOMBES : A person from the Flora on a table, pulls out a chair for herself .) Typewriting Agency, Lady Sims. MRS. SIMS (A bit taken aback ): Good MR. SIMS (Picking up the card ): Ah, morning. Is that the type-writing yes. I telephoned them to send some - machine? one. A woman, I suppose? KATE : Yes. ( Removing her gloves ) I guess TOMBES : Yes, Sir Harry. I should remove these if I’m to work.

MR. SIMS : Show her in here. MRS. SIMS : Yes, please do. ( But the items are already off! ) I must apologize TOMBES : Yes, Sir Harry. for my gown this early in the day. I am to be presented this week and I was MR. SIMS (Ever the stickler for eti - trying it on at my husband’s request. quette ): And Tombes, actually I am not Sir Harry until Thursday. KATE (Sincerely ): It is beautiful, if I may presume to say so. TOMBES : Beg pardon, sir, but it is such a satisfaction to us. MRS. SIMS : Thank you. ( KATE takes off her hat and sits down .) MR. SIMS : You mean they like it downstairs. KATE : I suppose it is some copying you want done? They did not give me any TOMBES : Especially the females, Sir particulars at the agency. Harry. MRS. SIMS : Yes, but not for me. My MR. SIMS : Exactly, exactly. You can husband is to be knighted and he show her in. ( TOMBES exits. ) Emmy, would like the letters and telegrams of while I change, you can tell the woman congratulations to be answered.

16 PLAYS • playsmagazine.com KATE : I see. Oh course. ( She inserts a MRS. SIMS : Here is the lady you request - piece of paper into the machine and ed, Harry. I was just telling her— begins to type .) MR. SIMS : Yes, yes. Thank you, my MRS. SIMS : My husband is a remark - dear. ( KATE and MR. SIMS see each able man. He is receiving this honor other. There is a stunned shock. MRS. for his service to. . .well, for his serv - SIMS assumes that he has taken a dis - ice. ( As KATE continues to type ) But like to her but is unsure. ) Leave it to you can’t begin until you know what me, Emmy, I’ll attend to this. . .person. he wants to say. MRS. SIMS : Very well. I’ll leave you to KATE : Only a specimen letter, madam. discuss the matter. ( Exits ) Won’t it be the usual thing? ( She types with amazing speed. MRS. SIMS watch - MR. SIMS (With scorn ): You! es in amazement and admiration. ) KATE : Yes, it is funny, isn’t it. MRS. SIMS : How quickly you do it. It must be wonderful to be able to do MR. SIMS : The shamelessness of you something, and do it so well. But of daring to come here. course you will need to begin again once my husband arrives. You see, he KATE : It is a surprise to me as well. I wants to say that his was an excep - was sent here in the ordinary way of tional case and he did not try to get business. I was only given the number this honor in any way. of the house. And I see you’ve changed addresses since last we knew each KATE : Yes, that is what I have written. other.

MRS. SIMS (Surprised ): You have? I MR. SIMS : “Ordinary way of business.” should explain that my husband is not This is what you’ve become—a com - a man who cares for honors as long as mon typist. And probably after going he does his duty. And that he would through much worse straits, I’m sure. have declined a title were it not— KATE : Yes, Harry. KATE : Yes, madam, I have got that too. (Reading ) “Indeed I would have asked MR. SIMS : What is that you called me? to be allowed to decline had it not been My name is Sims to you, if you please. that I want to please my wife.” KATE : Yes, I had not forgotten that. It MRS. SIMS : Do they all accept for that was my name too at one time. reason? MR. SIMS : Until you forfeited the right KATE : That is what we are told to say to bear it. I am furious to find you in the letters. here, but it is grim justice after all. Do you know what you were brought here MRS. SIMS : It is as if you knew my to do? husband. KATE : Yes, your wife has been telling KATE : I assure you I don’t even know me. I am to answer the many letters his name. ( At that moment MR. SIMS you expect to receive. My congratula - enters .) tions, Harry.

NOVEMBER 2018 17 MR. SIMS : Do not call me that! You are MR. SIMS : Before you go, since you are here today as my servant. here, I would like to know something. Who was the man? It is obvious he KATE : I—who might have been Lady soon left you. Sims. KATE : Very soon. MR. SIMS : And you are her typist instead. She has four men-servants MR. SIMS : As I could have told you. It and two maids. I’m glad you saw her was over fourteen years ago and I can - in her presentation gown. not see that it matters. Tell me, Kate. Who was it? KATE : All that could have been mine. KATE : You never found out? MR. SIMS : You can go. The thought of you only a few flights of stairs from MR. SIMS : I could never be sure. It my children— may be someone who still comes to this house. Was it one of my pals? KATE : Children? Bernard Roche?

MR. SIMS : Two! KATE : I think not. So you found my let - ter? I propped it up against the KATE : Such a perfect number, Harry. decanters. I was sure that you would Are they like you? ( She begins to pack find it there. How did you take it? up her typewriter .) MR. SIMS : Never mind that, who was MR. SIMS : Exactly. Now, please go. it?

KATE : What should I say to my KATE : A fair exchange. You tell me employer? what happened and I’ll tell you who it was. MR. SIMS : That is no affair of mine. MR. SIMS : Very well. As you remember KATE : And what will you say to your I was dining out at my Club that night. wife? Jack Lamb and Mabbett Green were with me. I asked them in for a night - MR. SIMS : Whatever I tell her she will cap. . .( Suddenly ) Was it Mabbett? accept without comment. KATE : Who? KATE (Smiling ): Still the same Harry. You have the old confidence in your MR. SIMS : The man— knowledge of the sex. KATE : What man? Oh, no, of course not. MR. SIMS : I suppose I know my own And you said he came home with you. wife. MR. SIMS : It may have been a blind. KATE : I was only remembering that (Looking at her narrowly ) Anyway, you used to think you knew all about they came in to finish a talk we had me. Well, Sir Harry, goodbye. Perhaps been having at the Club. The papers you’d like to ring for one of the four had been full that evening of the men-servants to show me out? elopement of some countess with a fid -

18 PLAYS • playsmagazine.com dle player. We’d been discussing the the end I had to let them see the let - thing and I had been very warm on ter. the subject— KATE : I can see the smirk on Mabbett’s KATE : Oh, I see it all now. You had face. And you did attempt to find out been saying it served the husband who it was? right that the count could not look after his own wife. And that the man MR. SIMS : Yes, I searched high and deserved to lose her. It was one of your low, even private detectives, but they favorite subjects if I remember cor - could not find a trace of him. At last rectly. Oh, Harry, say it was that! the courts let me serve the papers by advertisement on a man unknown, MR. SIMS : It may have been some - and I got my freedom. thing like that. I don’t remember all the details! KATE : So I saw. It was the last I heard of you. KATE : And all that time the letter was sitting there waiting for you. I forgot MR. SIMS : And I married again soon what I wrote. after.

MR. SIMS : I haven’t. In fact I still have KATE : Showing the world that if one it locked away. ( He goes over to his woman was a fool, you still had the desk, unlocks a drawer, takes out a box pick of the lot to choose for a second with the letter and brings it over, wife. But yet you still wondered, didn’t handing it to her .) you, Harry?

KATE : Yes, that is it. I recognize the MR. SIMS : I thought it couldn’t be color of my stationery. Oh, Harry, how money so it must be looks. Some young you did crumple it. ( Reads letter aloud ) scamp who persuaded you to give up “Dear husband. I call you that for the all you had with me and run away. last time. I am leaving. I won’t try to make an excuse because you would KATE : And I had so much. Oh, poor never believe me nor understand. It Harry. will be a shock to your pride because you will never comprehend how a MR. SIMS : And I know women so well, woman could be such a fool as to leave it couldn’t have been going on for long such a man as you. I am taking nothing or I would have noticed. Who was it, with me that belongs to you. May you Kate? be happy. Kate. P.S. You need not try to find out who he KATE : You are determined to know? is. You may try, but you won’t succeed.” MR. SIMS : You gave your word. MR. SIMS : You may keep it. Now that I have seen you again it seems fruit - KATE : So I did. But you won’t like it. less to hold on to it. (Looking at him sadly ) There was no one, no one at all. KATE : Really? I may have it? Would you like a typed copy? MR. SIMS : If you think you can make a fool of me— MR. SIMS : None of your impudence. In

NOVEMBER 2018 19 KATE : I told you you wouldn’t like it. at the head of your table, laden down with jewelry and surrounded by all MR. SIMS : I can’t believe it. your business friends.

KATE : It’s true. MR. SIMS : It wasn’t only businessmen. There were politicians, artists, paint- MR. SIMS : But your letter itself gives ers, writers, musicians. We had all the you the lie. most interesting society of the day.

KATE : That was done on purpose. I KATE : But only the glorious, dazzling saw that if the truth were known you successes. And as we sat at those din - might have difficulty getting your ners we talked about who was on the freedom. Since I was getting mine it way up and those on the way down. seemed only fair, so I worded the let - What the vacation house and new motor ter that way. And I knew the law car cost, the new gold soup plates, what would back you up. For the law, like the jeweler was creating for me to wear you Harry, has a profound under - to the grand gala, and who was to get standing of women. the next knighthood.

MR. SIMS : I don’t believe you yet. MR. SIMS : Was anybody getting on better than me, and consequently KATE : You were the only one. You suf - you? You can’t tell me that you left me ficed. because of my success?

MR. SIMS : Then what mad impulse KATE : Yes, that was it. I couldn’t made you do it? endure it. If every once in a while you had a failure it would have made the KATE : It wasn’t a mad impulse. It took successes that much more bearable. me a full year. MR. SIMS : Ambition: it is the last infir - MR. SIMS : A year? One would think I mity of noble minds. was not a good husband to you. KATE : “Noble minds”! The passionate KATE : You were a good husband, craving you had for success. I longed according to your standards. A moral to be done with it and be around peo - man, a good conversationalist, and ple who had not “got on.” quite the philanthropist. MR. SIMS : There are plenty of them! MR. SIMS : Every woman envied you. KATE : But if we knew any they soon KATE : And how you loved me to be were gone from our lives. envied! MR. SIMS : I tell you I will be worth a MR. SIMS : I swaddled you in luxury. half a million yet.

KATE : You smothered me. That was it. KATE : I am sure you will. That is what you are worth to yourself. But to me MR. SIMS : What? you are worth exactly twelve pounds. When I made up my mind I could be KATE : How it pleased you to see me sit independent and launch myself on the

20 PLAYS • playsmagazine.com world, that I could earn my own in- ty everywhere. come, I saved the money and then left. KATE : It’s a spiritual face. All her life MR. SIMS : Twelve pounds? before her when this was taken. ( For the first time becoming angry ) Oh, KATE (Tapping the typewriter case ): Harry, you brute! The cost of this typewriter. It took me nearly six months, but I earned it fair - MR. SIMS : What? ly. I rented the machine, taught myself, found some work through a KATE : This lovely woman becoming a friend, and finally made enough to pay noble wife and mother was that spirit - for my machine. Then I considered I less woman I saw a few minutes ago? I was free to go and I left. escaped, but that poor soul. Oh, Harry!

MR. SIMS : All this going on in my home MR. SIMS : If there ever was a woman while you were living in the lap of lux - happily married and proud of her hus - ury. You must have been determined. band, it is she.

KATE : I was. KATE : I wonder.

MR. SIMS : How you must have hated MR. SIMS : You needn’t trouble yourself. me. KATE : If I was a husband, it is my KATE : Not a bit, Harry. Once I saw I advice to all of them, that I would had a way out I felt sorry for you, for I often watch my wife quietly to see saw that you couldn’t help yourself. whether the “twelve-pound look” was Success can be a fatal gift. I think coming into her eyes. Well, goodbye, some of your friends knew it. I saw it Sir Harry. in their eyes. MR. SIMS : First say that you are sorry. MR. SIMS : Will you please leave my house. KATE : I can’t say that, Harry.

KATE : Don’t let us part in anger, MR. SIMS : Say you regret it bitterly. Harry. How do you think I look? I You know you do! You have spoilt the mean, compared to that dull person day for me. that rolled around in your padded car - riages? KATE : I am sorry to hear that. But you’ll soon forget. And anyway, who MR. SIMS : I forgot what you looked cares what a typist thinks? like then. I am sure you can’t hold a candle to the present, soon-to-be Lady MR. SIMS : Nobody. At eighteen shill- Sims. ings a week! ( There is a timid knock at the door. MRS. SIMS puts her head in .) KATE (Going over and picking up a framed photo ): This is a picture of her MRS. SIMS : May I come in? in her wedding gown? She has a pret - ty face and bright eyes. KATE (Aside to MR. SIMS ): Poor thing, afraid to enter her own rooms. MR. SIMS : Acknowledged to be a beau -

NOVEMBER 2018 21 MR. SIMS (Ignoring KATE ): Come in, said I was to give you a rope of pearls. my dear. What is it? ( MRS. SIMS enters, carrying ceremonial sword .) MRS. SIMS : Did she? I didn’t notice. I suppose so. MRS. SIMS : Harry, the sword has come and I thought you were so eager MR. SIMS : “Suppose”! Surely I know to practice with it. enough about women to know.

MR. SIMS (Annoyed ): Put it down MRS. SIMS : Yes, oh yes. there. MR. SIMS : Emmy, I know you well, KATE : It is a beautiful sword, if I may don’t I? I mean, I can read you like a say so. book, right?

MR. SIMS : Emmy, looking at your MRS. SIMS : Yes, Harry. neck I think you need more jewels. MR. SIMS : What a different life you MRS. SIMS : More? have from that poor wretched creature.

MR. SIMS : Yes. . .some ropes of pearls. MRS. SIMS : Yes, but she has a very I’ll see to it right away. It is a mere happy face. bagatelle, a trifle to me. ( Turning to KATE ) I won’t detain you any longer. MR. SIMS (Angrily ): All pretend, to (He goes over to ring the bell pull to mask her unhappiness. One would summon TOMBES .) think you envied her.

KATE : Thank you. ( She puts on her hat MRS. SIMS : Envied? Oh, no. But I and gloves .) thought she looked so alive, especially as she worked on that type-writing MRS. SIMS : Going already? My, you machine. are quick. MR. SIMS : Alive? That’s no life. It is MR. SIMS : The person doesn’t suit, you who are alive, Emmy. ( Brusquely ) Emmy. I’m busy now. ( Going over to his desk )

MRS. SIMS : I’m sorry. MRS. SIMS : I’m sorry. I’ll go if you like. (She begins to leave .) Harry—are they KATE : So am I, madam, but it can’t be expensive? helped. Goodbye. ( TOMBES enters and escorts her out .) MR. SIMS : What?

MRS. SIMS : Oh, Harry, she seems such MRS. SIMS : Those machines? ( Exits. a capable woman. When she has gone he looks up for a moment, puzzled by her question. But he MR. SIMS : I did not like her style at all. soon returns to his work—after all, Harry Sims understands women. Curtain ) MRS. SIMS : Of course you know best, THE END dear. (Production Notes on page 14 )

MR. SIMS : Ha! How she winced when I

22 PLAYS • playsmagazine.com All in Favor is protected by U.S. copy - Middle & Lower Grades right law. It is unlawful to use this play in any way unless you are a current sub - scriber to PLAYS Magazine (www.playsmagazine.com ). All in Favor

Prospective member of a club finds that some “friends” can’t be trusted. . . . by M. K. Schwartz

Characters BECCA : We’re having a meeting.

EDDIE, around 10 EDDIE : Who’s having a meeting? BECCA, around 13 BECCA : We. . .our club. The Aces. It’s MADISON going on right now. EMILY EDDIE : Well, if it’s going on now, how JASON come you’re out here talking to me? ZOE BECCA : Because this is my first meet - ADAM ing, and I have to be voted in.

EDDIE : Then you’re not in the club yet? TIME : A summer afternoon. BECCA : Eddie, stop asking so many SETTING : Backyard clubhouse with a questions! door. Bench is next to the door. EDDIE : That wasn’t a question. I just AT RISE : BECCA is sitting on bench. said, “Then you’re not in the club yet.” EDDIE enters. BECCA : Well, you said it with a rising EDDIE : Hi, Becca. What are you doing? inflection. Now, go away.

BECCA (Annoyed ): What does it look EDDIE : What’s a rising inflection? like? I’m sitting here waiting. BECCA (Exasperated ): It’s a rising tone EDDIE : Oh. ( He sits next to her .) What in your voice when you ask a question. are you waiting for? But anyway, I said I wouldn’t answer

NOVEMBER 2018 23 any more questions, so I won’t tell you. BECCA : Great. Let’s go inside, then.

EDDIE : All right, then, I’ll just say it EMILY (Keeping BECCA back ): Um, plain—you’re not in the club yet. wait a sec, Becca. There’s. . .there’s something I have to tell you about. BECCA : That’s right. But I will be in about five minutes, because they’re BECCA (Puzzled ): What’s going on? voting right now. EMILY : Well, um—it’s about — EDDIE : Maybe they won’t let you in. BECCA (Noticing EDDIE is listening ): BECCA : Of course they will. I only need Go away, Eddie! Emily has to tell me a majority to vote for me. There are something about the club, and it’s none five kids in the club, so all I need is of your business. ( He moves a few steps three votes. away, but still within earshot .)

EDDIE : But maybe you won’t get three. EMILY : It’s about the vote.

BECCA : Emily, Madison, and Jason are BECCA (Expectantly ): Was I voted in my best friends. They’ll all vote for me. unanimously?

EDDIE : Then I guess you’ll get in. Can EMILY (Uncomfortably ): Ah, no. . .not I join the club too? exactly. See, Becca. . .you weren’t elect - ed at all. ( BECCA is dumbfounded .) BECCA (Impatiently ): No! BECCA : What? B-but that’s impossible! EDDIE : Why not? You must have counted wrong. . .or gotten them mixed up or something! BECCA : You’re too young. You have dif - ferent friends. And you’re such a pain! EMILY : We counted a few times. That’s the way it came out. I’m sorry. EDDIE : I know Madison, Emily, and Jason. . .and you. You’d vote for me, BECCA : But I only needed three votes wouldn’t you? to get in, right?

BECCA : Well—yes, I guess so. But you EMILY : Yes, that’s right. I guess—well, wouldn’t be voted in anyway, because you didn’t get the three, that’s all. the others wouldn’t. (Hastily ) Of course I voted for you; you know that. I tried to get you in. I spoke EDDIE : I think I would. When you get for you and everything, but—well— inside, tell them I want to join. ( Sound the others, I guess. . . ( Trails off ) of movement inside clubhouse is heard. In a few moments, EMILY BECCA (Still in disbelief ): But how opens door, steps out, and closes door .) many votes did I get?

BECCA (Eagerly ): Is the voting fin - EMILY (Quickly ): Oh, you almost made ished? it. You were one vote shy, that’s all. You needed three and got two. EMILY (Hesitantly ): Ah, yeah, it’s done. BECCA (With a catch in her voice ):

24 PLAYS • playsmagazine.com Couldn’t you do something? Make an shutting door behind her. ) Madison! exception or. . . MADISON : I’m really sorry, Becca. You EMILY : You know how those things just missed by one vote. Of course I are. It would be all right with me, of voted for you. You know that. course, but the others. . .( Shrugs ) BECCA : I know, but I don’t understand— BECCA : I can’t believe it. MADISON : It was the others, I guess. EMILY : I’m really sorry, Becca. (Awkwardly ) Well, I have to get back BECCA : It couldn’t have been a mis - inside. ( Starts for door ) take?

BECCA (Barely keeping back her tears ): MADISON : I thought it was at first—so Emily? ( EMILY turns .) Could you ask we recounted the votes. But it was cor - Madison to come out? rect the first time: You only had two votes. I really thought you were going EMILY : Sure, but the meeting is going to get many more than that, but—well, on. She’ll probably be able to come out I don’t know what happened. Of in a few minutes, if you want to wait. course, you know we only have a small clubhouse and everything, and maybe BECCA : All right. Tell her to try to some of the members figured. . .well, make it as soon as she can. And thanks you know. ( BECCA looks down .) Um— for voting for me and everything. are you O.K.?

EMILY : Oh. . .sure. I really wanted you BECCA (Quietly ): Sure. . .I’m fine. in the club. ( She exits into clubhouse. A moment or two later, BECCA puts her MADISON : We’re having a party at my hands to her face and bursts into tears .) house this Saturday and—

EDDIE (After a while ): I told you. BECCA : Your house?

BECCA (Sobbing ): Go away. MADISON (Hastily ): Well, it’s at my house, but it’s the club’s party. . .and EDDIE : Do you want to play a video unfortunately, only club members can game with me? come.

BECCA (Drying tears with tissue ): No. BECCA : Oh.

EDDIE : I guess they won’t even vote for MADISON : But how about coming over me, either. ( Pauses ) Are you going to to my house later to watch a movie? try to get in again next week? BECCA : No thanks. I’m going home. BECCA : No. MADISON : All right. Well, I’d better EDDIE : The week after? get back to the meeting. See you later. (She exits into clubhouse .) BECCA : No. ( Annoyed ) Eddie, will you please be quiet? ( After a few moments, EDDIE (After a pause ): Becca? ( She door opens, and MADISON comes out, doesn’t answer. ) Becca.

NOVEMBER 2018 25 BECCA (After a little while ): What? EDDIE : Well, let’s see –(Ponders ) I think I’ll have a meeting. ( Thinks another EDDIE : Why don’t we start a club? moment ) You’ll have to go away. Only members can attend meetings. BECCA : I don’t want to be in a club. I never want to be in one. BECCA : Go away yourself. ( EDDIE thinks again, and then moves a few EDDIE : You felt just the opposite five steps away and sits down to start his minutes ago. “meeting.” After a short silence, club - house door opens again, and JASON BECCA : Well, I changed my mind. emerges, shutting the door after him .)

EDDIE (After a silence ): How do you JASON : Hey, Becca. Did they tell you start a club? what happened?

BECCA : I don’t know exactly. You get a BECCA (Sulkily ): Yes. few people together and start one. JASON : Of course, I voted for you. I EDDIE : How many people? really thought you’d be elected.

BECCA (Wearily ): I don’t know, Eddie. BECCA : Thanks, Jason.

EDDIE : Is three enough? . . .Two? JASON : You only missed by one vote. I thought maybe we could make an BECCA (Impatiently ): Any number is exception, but you know how clubs are. enough! (BECCA shrugs .) So. . .we’re having a picnic Sunday. Would you like to— EDDIE : How about one? BECCA (Abruptly ): No. BECCA : Eddie, leave me alone. JASON : Well, all right. They probably EDDIE : I guess one is enough too, then. wouldn’t want anyone who wasn’t a I guess I could start a club myself. member to come along anyway. Well —( Awkwardly ) I’ll see you later. Have BECCA : Start anything you like. to get back to the meeting. ( He goes into clubhouse .) EDDIE (After thinking a moment ): I’m starting a club. Do you want to be in it? EDDIE (Getting up and coming over to BECCA ): I have good news for you. BECCA : No. You were just elected to my club.

EDDIE : Well, I’m in it. That makes one. BECCA : I don’t want to be in your club. Let’s see, I guess I’m the president. (After a pause ) Does the president EDDIE : You have to be. You were elect - decide when there are going to be ed. ( No answer ) You were barely elect - meetings? ( No answer ) Becca, does the ed by one vote. But it was a majority, president. . . and you’re a member.

BECCA (Angrily ): Yes, yes! Can’t you BECCA (Dryly ): That’s good. be quiet?

26 PLAYS • playsmagazine.com EDDIE : And you got in ( Has trouble with you’re not a member. A couple of the pronunciation ) unan. . .unanimously by other kids won’t be able to be there. one vote. ( BECCA says nothing .) Now, there are two members in my club. BECCA : Thanks, but I can’t make it. (After a pause ) Am I still the president? EMILY (To BECCA ): O.K., well, we’re BECCA : If you want to be. going out for pizza now. Want to come with us? EDDIE : All right. You’re the vice presi - dent. Should we have a treasurer? BECCA : No. . .I have to be getting home.

BECCA : You don’t need a treasurer. EMILY : All right. ( To others ) Are you guys ready? EDDIE : But my dad is in a club, and they have a treasurer. JASON : Yup. Let’s go.

BECCA : You don’t need a treasurer EMILY (To BECCA ): Well, bye. unless there’s some money. JASON and MADISON : Bye, Becca. EDDIE : What’s the treasurer’s job? To (EMILY, JASON, MADISON exit .) spend the money? EDDIE (After they have exited ): If they BECCA : The treasurer keeps track of don’t want you in the club, why do the money. they want you to get pizza with them?

EDDIE : Well, whose money is it? BECCA : But they do want me. They’re my friends. They all voted for me. BECCA : The club’s money. EDDIE : Didn’t you get only two votes? EDDIE : Where are we going to get money? BECCA : Yeah, so?

BECCA : We’re not going to get any. EDDIE : Then how could they all have voted for you? Emily, Jason, and EDDIE : Do you think we’ll need a treas - Madison makes three. urer, then? ( Their conversation is interrupted by sound of moving bench - BECCA : But you heard what they said, es, and then a pounding of gavel .) didn’t you? They all wanted me in the club. ( At this point ZOE and ADAM JASON (Offstage ): Meeting adjourned. come out of the clubhouse .) (More scraping of benches, door opens, and JASON emerges. A moment later ZOE : Oh. . .there she is. ( To BECCA ) EMILY and MADISON step out .) You’re Becca, right?

MADISON (Surprised ): Oh, hi. You’re BECCA (Turning ): Right. still here. ( BECCA nods .) We—um— we just finished our meeting. ZOE : I’ve seen you around the neigh - borhood. I’m Zoe, and this is Adam. EMILY : And we decided you can come to the party Saturday night, even though BECCA : Hi. Nice to meet you.

NOVEMBER 2018 27 ADAM : Are you going to the party ZOE : That was a crummy thing to do. Saturday night? ADAM : Yeah, that really stinks! How BECCA : No, it’s only for club members. mean can you get? ( After a pause ) You know, Zoe, I don’t think I want to be in ZOE : Well, Adam and I aren’t going. a club with people like that.

BECCA : You’re not? How come? ZOE : Yeah, me either. We should have a club with nice kids, like Becca. ADAM : We didn’t like that rule. We had a big argument about it during ADAM : That’s a good idea. ( To the meeting. BECCA ) What do you say? Want to start a club with us? ZOE (To BECCA ): I’m sorry you didn’t get into the club. BECCA (Shrugging ): Well, I guess. . .

BECCA : Well, thanks, but rules are EDDIE (Interrupting ): Wait a minute. rules, I guess, and I only got two votes. She can’t be in your club. She’s in my club! ZOE : Hm-m, that’s strange. Emily, Madison, and Jason are your friends, ZOE (To ADAM ): Well, why don’t we right? And you only needed three join their club? votes to get in. EDDIE : You just can’t “join.” We have BECCA : Well, Emily said she voted for to elect you at a meeting. me. And so did Madison and Jason. That’s three right there. ( Suddenly ) ADAM : When is your next meeting? But I only got two! EDDIE : Whenever I decide. I’m the pres - ZOE (Surprised ): But I voted for you. ident. Now, let me see. . .I think I’ll have one right now. Come on, Becca. BECCA (Puzzled ): I don’t understand. (He pulls BECCA toward clubhouse .)

ADAM : Look. I counted the votes. BECCA : But, Eddie! Here—see for yourself. ( He reaches into his pocket and pulls out small EDDIE : Hurry up. We have to vote. ( They wads of paper. ) go into clubhouse. ADAM and ZOE look on with interest. After a few moments, ZOE (Taking papers from ADAM ): We BECCA and EDDIE come out. ) put our initials on them. Here’s mine— Z.M.—and Adam’s—A.H. They both BECCA (Smiling ): You both got two say yes. votes.

ADAM : And these other three are EDDIE : It’s unanimous! Welcome to the “No’s.” Emily, Madison, and Jason. club! ( They all shake hands and come together to high-five, after which they BECCA (Shocked ): Then none of them start talking excitedly as curtain falls .) voted for me! And they all said they THE END did! I can’t believe I trusted them! (Production Notes on page 40 )

28 PLAYS • playsmagazine.com Lewis Hine, Intrepid Photographer is protect - Middle Grades ed by U.S. copyright law. It is unlawful to use this play in any way unless you are a current subscriber to PLAYS Magazine (www.playsmagazine.com ).

Lewis Hine, Intrepid Photographer

Photojournalist sneaks into factories in 1900s America to expose child labor exploitation and unsafe working conditions. . . .

by Carol D. Wise

Characters HENRY PATRICK child under bench. CLEMMIE MILLER LOTTIE PATRICK } laborers and ANNA BOATWRIGHT enter left. ANNA BOATWRIGHT CLEMMIE : Anna, I declare I don’t CLEMMIE MILLER know why you insist on taking these early-morning constitutionals. The CHARLES THOMPSON , factory whole town is still asleep. owner ANNA : I love this time of day. It’s so MAX LUTHER , factory manager quiet, and I can enjoy the sounds of nature—the birds chirping, the squir - LEWIS HINE/GEORGE PLOW - rels scurrying across the branches. . . MAN , photographer CLEMMIE : But why would you choose WORKERS, extras to walk by this cotton mill factory? Factories are so dirty and noisy. SCENE 1 They’re taking over the country.

TIME : Early morning. ANNA : Clemmie, this is the era of the industrial revolution! It was even SETTING : Front of 1900s factory. Bench more evident in New York City where is at one side. May be played before I grew up, but now our whole world is curtain. in an exciting period of new growth— petroleum refining, steel manufactur - AT RISE : HENRY and LOTTIE PAT- ing, widespread use of electrical RICK, in dirty, torn clothing, are asleep power! ( Sighs ) I find it invigorating!

NOVEMBER 2018 29 CLEMMIE : I do appreciate the electri - CLEMMIE : I’ve heard that whole fami - cal power. It’s such an improvement lies work in the factories—the chil - from those old gas lamps and wood dren too. They should be going to stoves. I don’t even mind all the wires! school. How else will they learn to read and write? ANNA : The nation is exploding with new industries. Have you noticed how ANNA : I can’t imagine sending small many more trains come into the city children to work in factories. Surely now? they don’t stay there very long. ( Sud- denly notices children under bench; CLEMMIE (Sadly ): Personally, I miss points to them ) Goodness, Clemmie. the quiet town we used to have. Look at that! Those poor children.

ANNA : Clemmie, it’s the future. My CLEMMIE (Alarmed ): Oh, Anna, sociology teacher Mr. Hine used to say they’re so dirty! Let’s cross the street. that population in the cities would They might have some contagious dis - triple during the industrial revolution. ease. It was obvious in New York, but I’ve seen that here as well. ANNA : Don’t be ridiculous! Such pathetic creatures. They look exhaust - CLEMMIE : I can’t believe the number ed. ( Children stir .) of new families that have moved here—some not so desirable. So many CLEMMIE (Grabbing ANNA ’s arm ): immigrants! Anna! They’re waking up.

ANNA : These new residents are our ANNA (To children ): Hello! ( Children future, Clemmie. Mr. Hine used to jump up, frightened .) Don’t be afraid. take our class to Ellis Island where we We won’t hurt you. What are your could watch the new immigrants names? arrive. They were so eager and full of promise. “Give me your tired, your HENRY (Cautiously ): I’m Henry, and poor, your huddled masses yearning this is my sister Lottie. to breathe free.” Emma Lazarus has said it all so well in her poem. Mr. CLEMMIE : What are you doing here so Hine’s photographs captured the glint early? Why aren’t you at home? of anticipation in their eyes. (Children look away .)

CLEMMIE : Your sociology teacher was ANNA : It’s all right. You can tell us. a photographer too? HENRY : We have the first shift at the ANNA : An excellent one. He used his factory. pictures to tell stories. I had a new appreciation for the people who were CLEMMIE : You work here? willing to change their lives for a fresh start in a new country. They’re help - LOTTIE : We don’t want to be late. We ing to make our factories become effi - would be docked. cient and successful, our country greater. Don’t forget that our own HENRY (Alarmed ): Lottie! Hush! ancestors were once immigrants too. ANNA : Docked?

30 PLAYS • playsmagazine.com LOTTIE : Lose our pay. LOTTIE : Mary’s little. She can get inside the machines and fix the jams. HENRY (Irritated ): Don’t listen to her. Lottie, if you don’t hush, we’ll lose CLEMMIE (Placing her hand on her more than our pay! heart ): Heaven forbid!

ANNA : How long do you work here? LOTTIE : That’s how she lost her finger. (HENRY doesn’t reply; looks down at his feet .) It’s all right, Henry. You can HENRY : My sister talks too much. tell us. You won’t get into any trouble. ANNA : Please, Henry. I’m sure your HENRY : Lottie works ten hours and I mother and father are good parents. work fourteen. How is it that you are all working at the factory? ANNA : Ten hours! Fourteen hours! How old are you? HENRY (Sighing ): We need the money for food and clothes and a place to live. LOTTIE : I’m eight and Henry’s ten. In the old country, Mam was taking in laundry for a pittance, and Pap kept los - CLEMMIE (Gasping ): But that’s much ing his job. When we moved here, Mam too young to be working those long and Pap thought they would work at hours. the factory and we would go to school, but the wages are so low that we all LOTTIE : Oh, our little sister Mary’s have to work just to make ends meet. three, and she works too. ANNA : How many children are in your HENRY (Angrily ): Lottie, cut it out! family?

ANNA (Horrified ): Three years old! HENRY : Six. Unbelievable! LOTTIE : Five, now. Jacob died last LOTTIE : She can’t work as long now— year. not since she lost her finger in the spinner. ANNA : Oh, I’m so sorry! What hap - pened? HENRY : Lottie, do you want us all to lose our jobs? LOTTIE : Mam said something about fumes. He coughed a lot, and we CLEMMIE : Your little sister lost her couldn’t afford a doctor. finger! That’s outrageous! How can your parents allow a three-year-old to HENRY : We shouldn’t be talking about work in a factory? ( HENRY looks this. Come on, Lottie. Mr. Thompson away .) will be opening up any minute.

HENRY : I can’t talk about it. ANNA (Taking money from her purse ): Here—take this. Give it to your mother. ANNA : Henry, we’re only concerned for your welfare. We aren’t going to HENRY : We can’t take it, but thank get you into any trouble. I promise. you, ma’am.

NOVEMBER 2018 31 LOTTIE : Mr. Thompson has us Hine will figure out a way to take the searched. pictures. Like Mr. Thompson, Mr. Hine is a very clever man, too. ( They CLEMMIE : Searched! Whatever for? exit. ) * * * LOTTIE : He just searches us. That’s all. SCENE 2 (Whistle sounds. WORKERS start SETTING : The same. arriving and enter factory .) AT RISE : CHARLES THOMPSON and HENRY : We have to go now. Come on, MAX LUTHER are talking outside Lottie. factory.

ANNA : Henry, Lottie, don’t lose heart. CHARLES : Keep your eyes open, Max. I We’re going to find a way to help you. don’t know how that photographer got the picture of Mary Patrick and the HENRY : Please don’t do anything. You spinner. Front page of the paper, too. could only make matters worse than Don’t allow any strangers in the facto - they already are. ( He and LOTTIE exit .) ry. Do you hear me?

CLEMMIE : Anna, can you believe this? MAX : Yes, Mr. Thompson. I don’t How terrible! Small children working know how he got past me. He must those long hours, being injured, dying. have been in a disguise—maybe as one of the workers. I would have ANNA : Fourteen-hour shifts should known if a photographer passed me. earn enough for each parent to sup - port the family. Someone is pocketing CHARLES : We can’t afford this bad considerable money. Mr. Thompson publicity. I’ve already received a hun - certainly lives very well. Have you dred angry calls about that picture. seen his palatial home on the hill? MAX : I wonder if that man—what’s his CLEMMIE : How could I miss it? It’s the name? ah, Lewis Hine—had something most pretentious monstrosity I’ve ever to do with it. He’s been taking pictures seen. Anna, the public needs to know all over the country. He’s a former about this. But who would believe it teacher who works now for some gov - when we tell them? Mr. Thompson is a ernment committee. clever man. We must have proof. CHARLES : The NCLC. I’ve heard of him. ANNA : You’re right. I have an idea. I bet Mr. Hine could help us. He’s used MAX : NCLC? his camera to document many news - worthy events, and I can’t think of CHARLES : National Child Labor anything more newsworthy than this. Committee. Yes, it certainly could be Mr. Hine always says, “A picture is Hine, although I don’t know who could worth a thousand words.” have sent him to our factory. Someone’s obviously been making waves about the CLEMMIE : But I doubt Mr. Thompson children. These so-called reformers are is going to allow Mr. Hine to just walk destroying our industries. into the factory and take pictures. MAX : Like that Jane Addams woman. ANNA : You’re right, he won’t, but Mr. She’s always preaching about work -

32 PLAYS • playsmagazine.com ers’ rights and stirring up trouble. sure that your factory is up to code. Better working hours, longer breaks, reasonable pay. She just started some MAX : Oh, well, I’m sure that you will agency to guard children. What’s the find everything in order. name? CHARLES : Didn’t you just send an CHARLES : The Juvenile Protection inspector out several months ago? Agency. Factory owners have been trying to shut it down. Waste of good HINE : Ah, you know how bureaucracy time and money, if you ask me. How goes, Mr. Thompson. They keep do they expect us to make a profit? changing the regulations, and we have to repeat the same inspections over MAX : Addams should have stayed and over again. So much red tape! home with a husband and children to look after. CHARLES : Ah, yes, I know that sce - nario. I deal with it all the time, but CHARLES : I don’t know what’s happen - you’re welcome to inspect the factory ing to women these days. Before you again. Last thing we need around here know it, they’ll be getting the vote. is a fire. We pride ourselves on main - And then, where will this country be? taining the strictest regulations to ensure fire safety. MAX : Aw, Mr. Thompson, I don’t think things will go that far! Women aren’t HINE : That’s exactly what I’ve heard. smart enough to vote. I’m sure this won’t take very long.

CHARLES : They sure are trying to CHARLES (Pointing at the case ): What’s change our laws. If they’re not careful, in your case? these do-gooders will close down industries. And then where will HINE : Oh! Just supplies and records. America be? ( LEWIS HINE enters. He For some factories, I must run elabo - is carrying a large case .) rate tests and write detailed reports. I’m sure that won’t be necessary here. HINE : Good day, gentlemen. Is one of I’m sure that you’re in tip-top shape. you, Mr. Thompson? MAX : Absolutely! Absolutely! CHARLES : I am. This is my manager, Max Luther. HINE (Laughing ): You can be sure that I won’t interfere with your workers. I HINE : Delighted to meet you both. don’t want to slow down progress. (Shakes their hands ) I’ve heard so much about your fine factory. You CHARLES : Not a problem. Take your must be a very far-sighted owner and time, Mr. Plowman. ( HINE exits. ) a conscientious manager. Don’t forget, Max. Keep your eyes peeled for that photographer. CHARLES : Why, thank you. And you are. . . ? MAX : Will do, sir. He won’t get past me. You can be sure of that. ( Lights ) HINE : Oh, excuse me. Plowman, George * * * Plowman. I’m an inspector from the SCENE 3 fire department. I’ve been sent to make TIME : Several years later.

NOVEMBER 2018 33 SETTING : The same. LOTTIE : He took hundreds of pictures of the workers, mostly us children. AT RISE : HENRY and LOTTIE are standing by the bench, holding school HENRY : His pictures showed how books. They are clean and neat. ANNA young the workers are, and how and CLEMMIE enter left. unhealthy they looked.

ANNA : Oh, Clemmie! Look who it is! LOTTIE : And he wrote articles about the Henry and Lottie, right? long hours and dangerous working con - ditions. He even wrote about our Jacob HENRY : Exactly. Lottie and I were dy ing and Mary losing her finger. hoping that you would be walking this way again. We’ve come every morning HENRY : He could never know the lives for several weeks just to see if we that he touched. would catch you. We didn’t even know your names. ANNA : His pictures and articles raised public outrage and demand for reform ANNA : I’m Anna Boatwright and this across our country. is Clemmie Miller. CLEMMIE : Most of us had no idea that CLEMMIE : It’s been a long time since such conditions existed until Mr. we’ve seen you. You have certainly Hine’s photographs brought it all to been in our thoughts. light. They were powerful pictures.

LOTTIE : We wanted to thank you for ANNA : Photographs don’t lie. I under - sending Mr. Hine to us. He took pic - stand that the factory is now under tures of what was going on in our facto - new ownership. ry and put them in the paper. You were the ones who sent him, weren’t you? HENRY : Yes, Mam and Pap say that Mr. Silas Moore is very nice and looks ANNA : Yes, we did. Lewis Hine was after his staff. my sociology teacher. He was excited about the opportunity to help such a LOTTIE : He believes that happy work - worthy cause. ers are better workers!

HENRY : We knew you were behind HENRY : Mr. Thompson had to move this! His photographs changed our away, and Mr. Moore’s first act as new lives. They made the front page of the owner was to fire the manager, Mr. paper. Luther.

ANNA : Oh, I’m so glad. Mr. Hine’s pic - CLEMMIE : I’m sure he wasn’t missed! tures have changed many lives. LOTTIE (Laughing ): Not at all! LOTTIE : Mr. Hine was able to sneak into the factory in disguise. HENRY : Thanks to Mr. Hine, Lottie and I are going to school now. ( Holds HENRY : We heard that he posed as a up his books ) worker, a vendor, and a fire inspector right under Mr. Thompson’s nose! ANNA (Happily ): So you don’t work at the factory anymore!

34 PLAYS • playsmagazine.com LOTTIE : No! LOTTIE : But’s she nice—and I can read now! I just started a new book called HENRY : Our older brothers Jamie and The Secret Garden by a lady named Samuel still work there with Mam Frances Hodgson Burnett. It’s amaz - and Pap, but they get decent wages ing! and have reasonable work hours. CLEMMIE : That’s wonderful! Reading LOTTIE : Jamie’s getting married next is the best treasure in the entire month. world.

ANNA : Oh, that’s good news! LOTTIE : Now that I can write, I’d like to write a thank-you letter to Mr. Hine. LOTTIE : He says he would never have Can you get me his address? been able to afford it if it hadn’t been for Mr. Hine. HENRY : Our whole family would like to write him. CLEMMIE : What about your sister Mary? ANNA : I think he would like that very much. HENRY : Mary goes to school now too. HENRY : What kind of person would ANNA : Oh, that’s wonderful! I could give up a successful career as a not be happier. teacher for one of turmoil so that he can change the world of others? LOTTIE : She wanted to come meet you too, but she’s kind of a lazy bird in the ANNA : A very special one. morning. LOTTIE : I want to be like Mr. Hine ANNA (Laughing ): That’s quite all when I grow up. I would like to know right. We’re just glad that she’s not more about him. He sounds like just working at the factory any more. the kind of leader our country needs.

HENRY : Well, we have to be getting to ANNA : Come on. Clemmie and I will school. Miss Crabtree is a little like walk you to school and I’ll tell you all Mr. Thompson about tardiness. about him. ( They exit .) THE END

PRODUCTION NOTES Lewis Hine, Intrepid Photographer CHARACTERS : 4 male, 3 female, as Men wear suits, or trousers and many male and female extras as shirts. desired for Workers.. PROPERTIES : Bench; large case for PLAYING TIME : 25 minutes. Hine; school books for Henry and COSTUMES : Early 20th century. Wom- Lottie. en wear blouses and skirts. Henry SETTING : Outside a factory. May be and Lottie wear dirty, torn clothing in played before curtain. Scene 1, then change to school clothes LIGHTING : No special effects. appropriate for the period in Scene 3. SOUND : Factory whistle.

NOVEMBER 2018 35 Middle & Lower Grades Mexican Trio is protected by U.S. copyright law. It is unlawful to use this play in any way unless you are a current subscriber to PLAYS Magazine (www.playsmagazine.com).

Mexican Trio South of the Border folk tale: It’s a battle of wits as the big coyote is outsmarted by some of his smaller neighbors. . . . by Linell Wohlers

Characters his magical powers that enemies were powerless under his spells. ( CONEJO NARRATOR exits .) Sometimes, however, other ani - mals were able to outsmart him. One SEÑOR CONEJO, coyote day, Señor Conejo was passing through the woods, and he saw SEÑORA TEJON, raccoon Señora Tejon, the raccoon mother, SEÑOR GALLO, rooster hurrying home to her children. Señora Tejon was not as wise as Conejo, but SEÑOR ZORRO, fox she was clever and quick-thinking when she had to be. ( NARRATOR exits. ) * * * SCENE 1 SETTING : The woods. Backdrop TIME : One day, long ago. shows trees and vegetation. At right there is a “hollow log” (See BEFORE RISE : NARRATOR stands left Production Notes), with an opening and speaks as SE ÑOR CONEJO facing audience. Rocks are scattered enters right and struts proudly back around stage. and forth. AT RISE : SEÑORA TEJON enters NARRATOR : In all of Mexico they will right and walks around, picking up tell you that Señor Conejo was the rocks. CONEJO sneaks on left and smartest of all creatures. So clever hides behind tree. After a moment, were his tricks that it was almost CONEJO springs out and grabs impossible to catch him. So great were TEJON as she passes.

36 PLAYS • playsmagazine.com CONEJO : Ah, Señora Tejon! Now you (Crawls out of log, but TEJON tiptoes will be my dinner to make up for all over and pantomimes “bopping” the times that you have tricked me! CONEJO on head. CONEJO howls in terror .) It is not over! ( Crawls back TEJON (Nervously ): How can you think into log, head first, with tail hanging of dinner at a time like this? You out. NARRATOR enters left as should not be thinking of food, but TEJON continues to throw stones at shelter! log and curtain closes .)

CONEJO (Puzzled ): Shelter? Why? NARRATOR : Señor Conejo stayed in the log until long after dark. He never TEJON (Shouting ): Because of the hail - suspected that Señora Tejon had storm, of course! ( Pointing to sky ) tricked him, and he never forgot those Haven’t you noticed the threatening hailstones the size of melons! That is sky? probably why, to this day, the coyote howls and runs for shelter when a CONEJO (Looking up ): But Señora hailstorm is approaching. ( Exits left ) Tejon, I see no clouds. * * * TEJON (Frantically ): The most danger - SCENE 2 ous kind of hailstorm comes with no TIME : A few days later. clouds! Why, some of those hailstones could be the size of melons! SETTING : Same as Scene 1.

CONEJO (Frightened; releasing AT RISE : NARRATOR stands left. TEJON ): Really? Where can I go? SEÑOR GALLO struts about, unaware that CONEJO is sneaking TEJON : If you have any sense at all, around behind him. Señor Conejo, you will crawl into that hollow log ( Points ) and wait for the NARRATOR : Señor Conejo was quite storm to pass. ( Hurries away ) As for vain about his singing voice. One day me, I must hurry back to my children! he met Señor Gallo, the rooster, who (TEJON exits. CONEJO, in panic, was equally vain about his singing. rushes over to log and wiggles in, tail What a musical contest those two fool - first .) ish creatures had! ( NARRATOR exits left. GALLO notices CONEJO and CONEJO (Relieved ): Just in time! squawks nervously. CONEJO backs (TEJON tiptoes back on, chuckling, off and tries to look uninterested .) and continues to pick up rocks. CONE - JO is very nervous .) Is that thunder I CONEJO (Coolly ): Buenas dias, Señor hear? ( TEJON takes aim and throws Gallo. rocks onto log. CONEJO howls. ) Oh, Señora Tejon was right! This is no GALLO (Nervously ): Buenas dias to ordinary hailstorm! I’m sure every one you, Señor Conejo. of these hailstones is the size of a melon! ( There is brief silence as CONEJO (Sighing ): How I would love TEJON hurries about, picking up to hear some fine singing on a day like rocks .) All is quiet. The storm is over! this. Thank goodness. This old log is get - ting quite damp and uncomfortable. GALLO (Surprised ): You would?

NOVEMBER 2018 37 CONEJO Si! ( Slyly ) Señor Gallo, I GALLO (More confidently ): I think you heard you have a beautiful singing are mistaken, Señor Conejo. I can hold voice! notes much longer than you can.

GALLO (Flattered ): Oh, si! ( Proudly ) CONEJO (Insulted ): Poppycock! My Some would say mine is the best notes are not only longer, but louder singing voice there is. than yours!

CONEJO (Aside, to audience ): Mine is GALLO (Disbelieving ): Such a claim really the best! ( Steps closer to must be proven to me. GALLO ) Do honor me with one of your songs, Señor Gallo! CONEJO (Shouting ): Say no more, foolish Gallo! ( Releasing GALLO, he GALLO (Moving away from CONEJO ): raises head and howls. GALLO hur - But, Señor Conejo, I am worn out from ries off right. CONEJO continues to singing all morning! ( Aside to audi - howl as curtain closes. NARRATOR ence ) Besides, Señor Conejo knows I enters left .) must close my eyes when I sing. Too risky! NARRATOR : Once again, Señor Conejo failed to see that other animals could CONEJO (Begging ): Please, Señor sometimes be as smart as he. Another Gallo! Such a magnificent voice as was Señor Zorro, the fox, who always yours must be shared! slept with one eye open for danger. . . (Exits left ) GALLO : Do you really think so? * * * SCENE 3 CONEJO : Certainly! ( Dramatically ) TIME : A few days later. Today, you sing for me in the woods. Tomorrow, perhaps for the world, on a SETTING : The woods. The trunk of a stage! towering tree stands at back left.

GALLO (Bursting with pride ): Well, if I AT RISE : SEÑOR ZORRO sleeps, snor - must, I must! ( As GALLO crows, with ing, at base of tree trunk, with one eye head up and eyes tightly shut, CONE - open. CONEJO creeps up on him. JO quickly grabs him. GALLO’s crow - ing turns to squawking as he struggles CONEJO (Slyly ): Well, well, if it isn’t to get away .) my little friend, Señor Zorro! What a delectable dinner he will make. ( As CONEJO (Roughly ): Fine singing, ha! CONEJO reaches out to grab him, Now you will be a fine dinner for me, ZORRO leaps up and stands against the best singer of all! tree .)

GALLO (Struggling ): You, Señor ZORRO : Just in time, Señor Conejo! Conejo? But you have a terrible voice! What an earthquake we just had! Surely you felt it. It has shaken loose CONEJO (Enraged ): What? For such an this huge tree, which is about to fall insult, I should eat you right here, on on us! the spot! ( With pride ) No one can hold a note as long as I can! CONEJO (Puzzled ): That’s strange. I felt nothing. ( Looking up ) And yet, you

38 PLAYS • playsmagazine.com may be right, Señor Zorro! ( Alarmed ) came along, Señor Zorro. And, of This tree does appear to be falling! course, I am much stronger than you. You are right. Go for help, but be ZORRO (Shouting ): Help me, Señor quick about it! Conejo! Pronto! This tree is much too big and heavy for one small fox to hold ZORRO (Backing away slowly ): Oh, I up! ( CONEJO rushes to ZORRO’s side will, Señor Conejo, I will! And remem - and pushes against tree trunk .) ber, push hard enough for the two of us! ( Exits right, chuckling ) CONEJO (Breathless ): Am I in time? CONEJO (Worriedly ): Oh, si! Señor ZORRO : Si! We are not crushed yet! Zorro is right, I must push harder. (Strains ) I wonder if this is hard CONEJO : How long must we stay in enough? ( Looks up and panics ) Oh, no! this position? It is falling again! ( Struggles harder, feet slipping ) What a terrible fate this ZORRO (Sighing ): Forever, I guess. is, holding up a tree that is about to fall! ( Pushing harder, and catching his CONEJO : That is true. Otherwise, breath ) But what a worse fate it would when we try to run, the tree will fall be, were that tree to fall! ( Shouting ) and crush us both before we escape! Señor Zorro! Where are you? Come back, pronto! ( Looking up again and ZORRO (Hopefully ): Unless. . . moaning with fear ) It will soon be dark, and I will be finished! Either CONEJO : Unless what, Señor? starved or crushed to death! I must make a run for it! ( With immense ZORRO : Unless I run to get help while effort, CONEJO pushes away from you hold up the tree. tree trunk and runs off right. In a moment, he reenters and stands at far CONEJO (Suspiciously ): Oh, no! You right, staring at tree .) What? Still will stay right here, Señor Zorro. If standing? ( Walks up, touches tree care - either of us leaves, the other will be fully, pushes it, kicks it, then becomes crushed by this huge tree as it falls! angry ) I have been tricked! ( CONEJO furiously stamps ground as curtain ZORRO : Why, Señor Conejo, as big and closes. NARRATOR enters left .) strong as you are, you could hold it long enough for me to get help. I will NARRATOR : Although Señor Conejo bring others who can help us get the was indeed very clever, he never tree safely to the ground. ( Slyly ) Then admitted that some of the other crea - you and I could round up some chick - tures could be as quick-witted as he. ens. . . (Exits left ) THE END CONEJO (Considering ): Well, you did (Production Notes on page 40 ) hold up this tree by yourself before I

NOVEMBER 2018 39 PRODUCTION NOTES Mexican Trio (Play on pages 36-39 ) CHARACTERS : 3 male; 1 female; 1 male Señor Zorro, sombrero with fox ears or female for Narrator. fastened to top, serape, and fox tail. PLAYING TIME : 10 minutes. PROPERTIES : Rocks. COSTUMES : Señor Conejo, sombrero SETTING : The woods. Backdrop shows with coyote ears fastened to top, color - trees and vegetation under blue sky. ful serape, and bushy tail. Señora In Scene 1, there is a large “log” (large Tejon, black mask over eyes, shawl trash can covered with brown paper) draped over head and shoulders, long and rocks scattered about. In Scene 3, skirt, and striped raccoon tail. Señor a ladder disguised as trunk of tall tree Gallo, paper beak, serape, sombrero is back left. resting on back, red “comb” on head, LIGHTING and SOUND : No special and brightly colored tail feathers. effects.

PRODUCTION NOTES All in Favor (Play on pages 23-28 )

CHARACTERS : 4 female; 3 male. SETTING : Backyard clubhouse with a PLAYING TIME : 15 minutes. door. Bench is next to the door. COSTUMES : Modern, everyday dress. LIGHTING : No special effects. Adam has wads of paper in pocket. SOUND : Sound of scraping benches, PROPERTIES : Tissue. gavel.

40 PLAYS • playsmagazine.com Perambulating Pie is protected by U.S. Middle Grades copyright law. It is unlawful to use this play in any way unless you are a current subscriber to PLAYS Magazine (www.playsmagazine.com ).

Perambulating Pie

“Regifting” takes on new meaning as a “pass-around” pie becomes a special gift for those alone on Thanksgiving. . . . by Mary Thurman Pyle

Characters are cartons, canned goods and other food, grocery bags, baskets, etc. Sign MS. NEWMAN, social worker reading, THE GOOD NEIGHBOR CLUB JAMIE SAYS , “T HANKSGIVING IS FOR EVERY - BODY !” is leaning against back wall. SCOTT high school students AT RISE : MS. NEWMAN is sorting out LANE groceries. JAMIE and SCOTT enter RORY right, carrying large bags of groceries. MRS. WELLS, elderly recluse SCOTT : Here’s a lot more stuff, Ms. Newman. It was left out front. MR. BENTON, elderly man MRS. HAGERTY MS. NEWMAN (Looking around, hands on hips ): Thanks, boys. For WILLIE only nine-thirty in the morning, we’re SAM HENNIKER doing pretty well, don’t you think? JAMIE : I’ll say. Looks like everyone in town is going to get a good Thanksgiv- TIME : Early on a Saturday morning, a ing dinner this year. few days before Thanksgiving. MS. NEWMAN : That’s what we’re aim - SETTING : A room in community center. ing for. But besides bringing food to There are several long tables, on which hungry people, we want to make sure

NOVEMBER 2018 41 no one feels lonely or neglected. There each box to have the makings of a good are plenty of people with enough to eat, Thanksgiving dinner. I’ll be back in a but no one to share the holiday with. few minutes.

SCOTT : Well, we’re here to help out. RORY : O.K. ( MS. NEWMAN exits left. What needs to be done? Girls start to work. After a moment or two, MRS. WELLS enters right. She MS. NEWMAN (Pulling slip of paper carries a large pie tin wrapped in foil .) from pocket ): Here are two addresses where food donations are needed. MRS. WELLS : Good morning. I’m (Hands paper to SCOTT ) And could Elizabeth Wells, and I’d like to speak you take this sign and put it up out - to whoever is in charge. side where everyone will see it? ( She picks up sign, hands it to JAMIE .) RORY (Surprised ): Oh! Mrs. Wells! I’ve heard of you! ( Flustered ) I mean— JAMIE : Sure! ( As they start to exit, LOLA and RORY enter right .) MRS. WELLS : You mean what you said— that you’ve heard of me. No doubt you’ve LOLA : Hi, guys. heard that I’m a recluse—I never go out, never see anybody. Well, you’ve heard JAMIE and SCOTT (Ad lib ): Hi, Lola. correctly. That’s the sort of life I prefer. Rory. ( Etc .) (MS. NEWMAN enters left, carrying more empty cartons .) RORY : You two are out pretty early for a Saturday morning, aren’t you? LOLA : Ms. Newman, there’s someone here to see you. ( She and RORY exit SCOTT : We promised Ms. Newman with filled boxes .) we’d be here first thing. MS. NEWMAN (Pleasantly ): Good JASON : So here we are—and here we morning. I’m Mary Newman. You’re. . . go. Catch you later. ( Boys exit right, carrying sign. Girls go over to table .) MRS. WELLS : Elizabeth Wells. I sup - pose you’ve heard of me, too. LOLA : Hi, Ms. Newman. How can we help? MS. NEWMAN (Graciously ): Of course I’ve heard of you, Mrs. Wells. Why, MS. NEWMAN (Smiling ): Good to see you and your husband have been such you, girls. Why don’t you grab some generous benefactors in this town. I’m empty cartons from the hall closet and very happy to meet you. Have you we’ll get started. brought us a donation?

LOLA and RORY (Ad lib, as they exit ): MRS. WELLS : I read in the paper about O.K. Be right back. ( Etc. MS. NEW - your project. . .how you want to see MAN sits at table and consults a list. that no one in town feels lonely or neg - Girls return with a few empty boxes .) lected this year. So I decided to bake an apple cranberry pie and bring it in. MS. NEWMAN : Thanks. Just put them It’s an old family recipe. Haven’t on this end of the table and start fill - baked one since my husband died. ing them with groceries. I’ll put this There won’t be a better one in town at list here for you to consult. You want Thanksgiving or any other time.

42 PLAYS • playsmagazine.com MS. NEWMAN (Gently ): I’m sure of it, LOLA : Beats me. Mrs. Wells. RORY : I hope Ms. Newman can think MRS. WELLS : I have a special request of a way to keep Mrs. Wells from being about who gets it, though. so—well, being by herself all the time. (SAM enters left, carrying huge carton MS. NEWMAN : Who’s that? of flowers .)

MRS. WELLS : I want you to give it to SAM : Hi. the loneliest person I know—Silas Benton. LOLA and RORY (Ad lib ): Hi. How are you doing? ( Etc .) MS. NEWMAN : Oh, yes. He lives over on Ash Street. I don’t know him personal - SAM : I’m Sam Henniker. My dad’s the ly, but I have heard he lives alone. caretaker here.

MRS. WELLS : Alone—and no relatives LOLA and RORY (Ad lib ): Oh! Nice to in the world. My husband and I knew meet you. We know Mr. Henniker! Silas well. He never was a man that He’s great. ( Etc .) mixed much. I’ve neglected him since my husband died, and I want him to SAM : My dad asked me to bring these have this pie. But he’s not to know I flowers to Ms. Newman. sent it, mind you! RORY : Thanks. Why don’t you put MS. NEWMAN (Smiling ): I’ll see that them down over there. ( Points to cor - he gets it, Mrs. Wells. ner ) Ms. Newman will be back in a minute. MRS. WELLS : Thank you for your time, Ms. Newman. ( She turns to exit .) SAM : I also thought I could help out here, if you need it. MS. NEWMAN : Won’t you come to our party on Thanksgiving Night, LOLA : That’d be great. There’s plenty Mrs. Wells? It’s right here, at six to do. o’clock. SAM : My friend Willie Martin’s wait - MRS. WELLS (Brusquely ): No, I’m sorry. ing for me outside. I’ll see if he wants I couldn’t do that. Well, goodbye. to stay and help, too. ( Exits left )

MS. NEWMAN : Goodbye, and thanks RORY (Suddenly ): I know Willie again. ( MRS. WELLS exits right. MS. Martin—or about him, anyway. He NEWMAN puts pie into empty basket works at Food Mart with my brother. on table and exits right with it. Girls His parents both died recently in a car reenter and continue their work .) accident.

LOLA : You know, I’ve heard about LOLA : Oh, no! How awful! Mrs. Wells, but I never expected to see her. She never goes anywhere. RORY : And now that I think about it, my brother told me that Sam’s family RORY : I know. She must be so lonely. I took Willie in to live with them. wonder who she made that pie for?

NOVEMBER 2018 43 LOLA : Wow! That’s really incredible. MR. BENTON (Genially ): So we (MS. NEWMAN reenters with SCOTT, exchanged, since he had a present for who carries large basket loaded with me. But I came anyway, to have a food .) word with you. ( MS. NEWMAN joins MR. BENTON at front of room. ) MS. NEWMAN : Why don’t you help in here, Scott, until Jamie gets back. I MS. NEWMAN : I hope you like your sent him on an errand. ( SCOTT present, Mr. Benton. begins to unpack the basket .) MR. BENTON : Oh, of course. I received RORY : Sam Henniker brought these it with a great deal of pleasure and flowers, Ms. Newman, and. . .( SAM appreciation, and I assure you the gift reenters left, with WILLIE .) Oh, here has warmed my heart. But one old he is. He can tell you himself. man shouldn’t cut into this pie. I know there are many people in town who SAM : Hi, Ms. Newman. My dad said could make better use of it than I can. he’d be over in a while. Willie and I I’d like to pass it on to someone who can help you today, if you like. can really do it justice.

MS. NEWMAN : That would be great, MS. NEWMAN (Smiling ): If you really Sam. ( To WILLIE ) Willie, it’s good to feel that way about it. see you. How are you getting along? MR. BENTON : There’s a nice young WILLIE : Fine, thanks. Sam’s family is man that I see at the supermarket terrific. when I do my shopping. He’s always so pleasant, and he works so hard. I SAM (Smiling at WILLIE ): And I’m have a feeling he might like this pie. happy because when my sisters bug me, I’ve got another guy to commiser - MS. NEWMAN : I think the boy you ate with! ( All laugh .) mean is right over there, helping with the baskets. ( Calls over ) Willie, could MS. NEWMAN : O.K., kids, let’s get you come over here a minute, please? started. ( All start unpacking boxes, (WILLIE joins them .) sorting food, etc. JAMIE enters right, followed by SILAS BENTON. JAMIE MR. BENTON : Well, for heaven’s sake! carries bag of groceries, and MR. I didn’t recognize you among all those BENTON carries basket with the pie .) young people. You remember me, don’t you? MR. BENTON (To MS. NEWMAN ): Excuse me, Ms. Newman? ( MS. NEW - WILLIE : Of course I do, Mr. Benton. It’s MAN nods, smiles .) I’m Silas Benton. good to see you. ( MS. NEWMAN goes back to table, leaving WILLIE alone MS. NEWMAN (Shaking his hand ): with MR. BENTON .) Mr. Benton! I’m delighted to meet you. Come in and join us. MR. BENTON : Willie, do you like apple cranberry pie? JAMIE : I was on my way to Mr. Benton’s to take him the basket, and I WILLIE : Sure! I love it! met him coming here—with this bag of groceries. MR. BENTON : Then accept this one,

44 PLAYS • playsmagazine.com with my compliments. ( Hands basket RORY : It’s great that Willie and Sam to WILLIE ) Share it with your new get along so well. They’re just like best family on Thanksgiving. friends.

WILLIE : Thank you, Mr. Benton. MS. NEWMAN : Willie’s lucky to be with the Hennikers. They’re a won - MR. BENTON : Thank you , Willie, for derful family. ( MRS. WELLS enters being so helpful to me over the past right, carrying a small covered jar. ) months. ( To others ) Goodbye, and Happy Thanksgiving. MRS. WELLS : I’ll bet you’re surprised to see me here again, Ms. Newman. MS. NEWMAN : Goodbye, Mr. Benton, and thank you for your donation. ( All MS. NEWMAN : I’m not surprised at ad lib goodbyes as MR. BENTON exits anything this morning, Mrs. Wells. right. MS. NEWMAN sees him to the door, then returns to join others .) MRS. WELLS : After I got home, I remembered the custard sauce. Had it WILLIE : It was really nice of Mr. all made and everything, and then I Benton to give me this pie, but— completely forgot about it. I’ll just put it with the pie. MS. NEWMAN : But you don’t really like apple cranberry pie? MS. NEWMAN : Well, ah. . .the pie is put away in a safe place, Mrs. Wells. WILLIE : Oh, no, I do. But there’s some - But I’ll see that the sauce goes with it. one I want to give a present to, and I (She takes jar .) Now, why don’t you sit didn’t have anything to give. Do you down and visit with us for a while? think it would be all right if I gave this? ( He holds out basket .) I wouldn’t MRS. WELLS (After a pause ): You want to hurt Mr. Benton’s feelings. know, I think I will. ( She sits near table, looking on with interest. SCOTT MS. NEWMAN (Kindly ): Mr. Benton and JAMIE exit with two more filled gave you the pie, Willie. You can do cartons. MS. NEWMAN exits and whatever you like with it. returns with two empty cartons. Girls continue sorting and packing .) WILLIE : I’d like to give it to Mrs. Hagerty. She was so nice to me after MS. NEWMAN : Let’s see. ( Checks my parents died, before I went to live items on table ) Celery, muffin mix, at Sam’s house. sugar, cranberry sauce. . .

MS. NEWMAN : Martha Hagerty has MRS. WELLS : Where are the turkeys? the biggest heart of anyone I know. By all means, give her the pie. Why don’t MS. NEWMAN : They’re being deliv - you take it over to her right now? ered directly from the grocer. They’re letting us have them at cost. ( WILLIE WILLIE (To SAM ): Sam, could you give and SAM reenter left .) That was quick! me a ride over there? Willie and Sam, I’d like you to meet Mrs. Wells. SAM : Sure, let’s go. ( SAM and WILLIE exit left .) MRS. WELLS : Are you brothers?

NOVEMBER 2018 45 MS. NEWMAN : Well, yes, they are, in MRS. HAGERTY : It’s wonderful to see a way. . . .Why don’t you two start put - you, too. ting those flowers into bouquets? (Boys begin to do so. MR. BENTON MS. NEWMAN : And this is Mr. reenters. He does not notice MRS. Benton. ( MR. BENTON and MRS. WELLS .) HAGERTY exchange greetings. MS. NEWMAN gestures .) These young MR. BENTON : Here I am again, Ms. people are my volunteers today. Newman. I came by to give Willie a (JAMIE enters right, carrying bag card to go with the— with another donation. ) I’m keeping them all very busy today. MS. NEWMAN (Quickly ): With the present you gave him. MRS. HAGERTY : It does my heart good to see them working so hard. Ms. MR. BENTON (Handing card in enve - Newman, I meant to have a word with lope to WILLIE ): I bought this card at you in private, but I’ll just say my the drugstore and put in my own mes - piece right out. It’s about this basket sage, which you can read later. and what’s in it.

WILLIE : Thank you, sir. ( A bit sheep - MS. NEWMAN : Go right ahead. ishly ) That’s really nice of you. (Smiling ) The situation is entirely out of my hands. MRS. WELLS : Well, Silas Benton! How are you? MRS. HAGERTY : A few minutes ago, Willie brought me a present—a fine MR. BENTON (Surprised ): Elizabeth! apple cranberry pie—given to him by This is a surprise, and a very happy a friend and customer, he said. one, indeed. ( He shakes hands with her .) It’s been a long time—too long. WILLIE (Embarrassed ): Mrs. Hagerty, (SCOTT enters with MRS. HAGER - maybe you’d better not— TY, who carries basket with pie in it .) MRS. HAGERTY (Continuing ): You meant it out of the kindness of your SCOTT : Ms. Newman, Mrs. Hagerty heart, Willie, and I’ll remember your wants to see you. present to my dying day. But it’s the thought that counts—so you won’t MS. NEWMAN (Cheerfully ): Mrs. Hag- mind if I keep that and pass the pie on erty! Nice to see you. Come right in. to someone else, will you? Do you know Mrs. Wells? WILLIE : That’s O.K. with me—if that’s MRS. HAGERTY : Do I know Mrs. Wells? what you’d like to do. Well, of course. I cleaned her house once a week for many years. MR. BENTON (Chuckling ): Now, where in the world did Willie get that pie, I MRS. WELLS : And believe me, Martha, wonder? I miss you. But with just one person, there doesn’t seem to be much to do MRS. WELLS (Amused ): An apple cran - around the house. ( Beaming ) It’s so berry pie, did you say? good to see you! MRS. HAGERTY : One of the prettiest I

46 PLAYS • playsmagazine.com ever saw. The minute I looked at it, I MRS. HAGERTY : I am. ( To WILLIE ) thought of the grand pies you used to You understand, don’t you, about the bake for the holidays, Mrs. Wells. And pie? right then and there, I made up my mind that pie would go right up to WILLIE (Grinning ): Sure, Mrs. that big lonely house on the hill—your Hagerty. I understand. ( MRS. house! WELLS and MRS. HAGERTY start out. MS. NEWMAN picks up jar of MRS. WELLS (Touched ): You thought custard sauce, stops them at door .) all that, Martha? MS. NEWMAN : Mrs. Wells, don’t for - MRS. HAGERTY : I did. So I came over get your custard sauce! ( Hands jar to to ask Ms. Newman if she thought it MRS. WELLS ) would be all right if I gave Willie's present to someone else, and who do I MRS. WELLS : Thank you, Ms. New- find here but you! man. Happy Thanksgiving, everyone! (They exit .) MRS. WELLS (Smiling ): So you want to give me that pie, Martha? Well, I’ll MS. NEWMAN : Well, this has been a take it with pleasure—provided you’ll very interesting morning, hasn’t it? join me for Thanksgiving dinner and help me eat it. And will you come, too, JAMIE : I’ll say! ( All get busy again. Silas? You used to come when Henry WILLIE stops for a moment and opens was living, and it’s my fault you his card. He looks at it, incredulous .) haven’t been since. WILLIE : Wow! Look at this! ( Hands MR. BENTON : It would be my greatest card and check to MS. NEWMAN ) pleasure, Elizabeth. MS. NEWMAN : Oh, my goodness! A MRS. HAGERTY : I’d be honored to check for a hundred dollars. Willie, come, Mrs. Wells. that’s wonderful.

MRS. WELLS : Now, why don’t you both GIRLS (Ad libbing excitedly ): That’s plan to be at my house at about one, great! Wow, really generous. ( Etc .) and then we can come back here for the party at six? ( MS. NEWMAN tries SAM : Super! You can buy those sneak - to hide a smile .) ers you’ve been wanting.

MR. BENTON and MRS. HAGERTY (Ad WILLIE : And have something left over. lib ): What a good idea! That sounds Do you think I should take it, Ms. like fun. ( Etc .) Newman? ( Girls answer before MS. NEWMAN can .) MR. BENTON : Well, I must be off. ( To all ) I’ll see everyone on Thanksgiving LOLA : Of course you should, Willie. Day. ( Others ad lib goodbyes .) RORY : If a person gives you a present, MRS. WELLS : And I’d better get home you’re supposed to accept it. and prepare my house for the holiday. Martha, are you walking my way? MS. NEWMAN : The girls are right, Willie. And remember that courage

NOVEMBER 2018 47 and a cheerful spirit often bring unex - MS. NEWMAN : Yes, that perambulat - pected rewards. ing pie must have been made from a very special recipe, indeed—it spread WILLIE : But it wouldn’t have happened the spirit of Thanksgiving throughout if it hadn’t been for the pie. the whole town! ( All ad lib agreement and return to their work as curtain SCOTT : It really got around, didn’t it? falls .) THE END

PRODUCTION NOTES The Perambulating Pie

CHARACTERS : 5 male; 5 female. which are cartons, canned goods and PLAYING TIME : 25 minutes. other food, grocery bags, baskets, etc. COSTUMES : Modern winter dress. Cardboard sign reading, THE GOOD PROPERTIES : Empty boxes; pie tin NEIGHBOR CLUB SAYS , “T HANKSGIVING wrapped in foil; huge carton of flow - IS FOR EVERYBODY ”! is leaning against ers; card with check inside; bags of back wall. groceries; jar. LIGHTING and SOUND : No special SETTING : A room in community center. effects. There are several long tables, on

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