The Trysting Place: A Farce in One Act
Part 1
Produced by Tim Lindell, David E. Brown, and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)
THE TRYSTING PLACE
THE TRYSTING PLACE
_A Farce in One Act_
_By_ BOOTH TARKINGTON
New York SAMUEL FRENCH Publisher 25 West 45th Street
London SAMUEL FRENCH, LTD. Publisher 26 Southampton St., Strand
COPYRIGHT, 1923 BY D. APPLETON AND COMPANY
_All rights reserved_
The professional stage rights of this play are reserved by the Author. The amateur stage rights are held by the Ladies Home Journal. For permission to produce the play application should be made by professional producers to Mr. Booth Tarkington, Indianapolis, Indiana, and by amateur producers to the Editor of the Ladies Home Journal.
Printed in the United States of America
THE PEOPLE AS THEY COME INTO THE PLAY
MRS. CURTIS, _The Young Woman, twenty-five or perhaps even a little older_.
LANCELOT BRIGGS, _The Boy, slim and obviously under twenty_.
MRS. BRIGGS, _his mother, a handsome woman of forty-five or fifty_.
JESSIE, _his sister, a pretty girl of about twenty_.
RUPERT SMITH, _The Young Man, about twenty-five_.
MR. INGOLDSBY, _a man of fifty-five or, possibly, sixty_.
THE MYSTERIOUS VOICE, _male and adult_.
THE TRYSTING PLACE
_The scene is a room just off the “lounge” of a hotel in the country. However, this is not a “country hotel;” but, on the contrary, one of those vast and elaborate houses of entertainment that affect an expensive simplicity in what is called the colonial manner, and ask to be visited--by those financially able to do so--in the general interest of health and the outdoor life. The wall at the back of the stage is broken only by symmetrically spaced pilasters of an ivory color; each of the side walls is broken in the same manner; but here the pilasters help to frame two rather broad entrances, one at the right and one at the left, and beyond these entrances, on both sides, we have glimpses of the two corridors that lead to them. There are a few old prints--or new prints from old plates--upon the walls; and there are flowering plants on stands in the corners. The furniture consists of some chintz-covered easy-chairs, a light wicker settee with a chintz cushion and a valance that reaches the floor; and there are two wicker tables with a vase of jonquils upon each of them. In the rear right-hand corner of the room, near the stand of plants, there is a tropical-looking chair, wicker, with a back of monstrous size--a Philippine Island chair--and in the opposite corner is its mate._
_Dance music is heard from a distant orchestra. Just after the rise of the curtain two people come in together from the left--a young woman of twenty-five, or perhaps she is even a little older, and a slim boy obviously under twenty. She is rather elaborate in her afternoon indoor dress, but none the less effectively pretty; he is of a scrubbed and sleeked youthfulness, in white trousers, a short black coat and dancing shoes; and from the moment of his first appearance he is seen to be in an extremity of love. He leans as near the young woman as he can; his eyes search her face yearningly and without intermission; he caroms into her slightly as they come in, and repeats the carom unwittingly. They have evidently just come from the dancing floor and are a little flushed; she fans herself with her handkerchief and he fans her with his. They are heard talking before they enter: “Oh, let’s do find some place to sit down!” she is saying; and he, simultaneously: “Oh, wasn’t that divine! You dance just simply divinely!” These speeches “bring them on.”_
THE YOUNG WOMAN
Here’s a place we can sit down! (_She immediately drops into a chair._)
THE BOY
Yes, this is a lovely place, where nobody is at all. It’s the only quiet place in the hotel: you never see more than two people here at a time, because it’s kind of off, like this. That’s why I wanted to walk this way. (_Sitting on a lounge and leaning toward her._) Isn’t it divine to be in a place where nobody is at _all_?
THE YOUNG WOMAN (_still fanning herself_)
Why, you and I are here.
THE BOY
Yes; but I mean nobody else at all. We’re practically all alone, practically.
THE YOUNG WOMAN (_laughing as she waves her hand to indicate the spacious corridors to the right and left_)
Alone? Why, there are at least three hundred people in this hotel.
THE BOY
Yes, but they’re all either outdoors, or dancin’, or havin’ tea, right now. It’s practically the same as being alone. It is--practically, I mean.
THE YOUNG WOMAN
Yes, I’ve noticed that it was a rather secluded spot myself. (_She glances about the room thoughtfully, then turns to him, smiling._) Don’t you want to run and dance with some of those pretty young girls your own age?
THE BOY (_with pained earnestness_)
Them? My goodness, no!
THE YOUNG WOMAN
Oh, but that isn’t normal, is it?
THE BOY
I’m not normal. I don’t want to be normal.
THE YOUNG WOMAN
Well, but it would only be natural for you to like those pretty young things, so-- Well, _do_ run and dance with one of ’em. Won’t you, please?
THE BOY (_interrupting_)
No. They haven’t got any experience of life. What I like is a woman that’s had some experience of life, like you.
THE YOUNG WOMAN
But at your age--
THE BOY
Age hasn’t got anything to do with it. The thing that brings a man and a woman together, it’s when they have about the same amount of experience of life.
THE YOUNG WOMAN (_absently_)
You think that’s it, Mr. Briggs? (_She looks about the room thoughtfully as she speaks._)
MR. BRIGGS (_with intense seriousness_)
I know it is. I had that feeling the minute I was introduced to you, night before last in the lobby--right by the third column beyond the office news stand, at a quarter after nine o’clock in the evening.
THE YOUNG WOMAN
You did?
MR. BRIGGS
It came over me, and I felt kind of-- (_he swallows_) kind of drawn to you, Missuz--Missuz--Missuz-- (_He seems to hesitate somewhat emotionally._)
THE YOUNG WOMAN
My name is Mrs. Curtis. You seem to have forgotten it.
MR. BRIGGS (_swallowing again_)
I haven’t. I know it’s Curtis. The trouble is, it kind of upsets me to call you _Missuz_ Curtis. I thought it was Miss Curtis when I was introduced to you. I didn’t know your name was Missuz--Missuz--Missuz Curtis till the clerk told me, early the next morning.
MRS. CURTIS (_frowning a little_)
The clerk told you?
MR. BRIGGS
Yes. I asked him if he’d noticed whether you’d gone in to breakfast yet. He said, “You mean Missuz--Missuz Curtis?” Then I knew you must be married. (_He shakes his head ruefully._)
MRS. CURTIS (_smiling_)
Well?
MR. BRIGGS (_thoughtfully_)
Well, it can’t be helped.
MRS. CURTIS
I suppose not.
MR. BRIGGS (_brightening a little_)
Well, anyhow, I had that--that sort of _drawn_ feeling toward you, the way I _would_ get toward a woman that’s had some experience of life; but a hotel like this is no place to explain feelings like that. You can’t when you’re dancing--not the way you want to--and all the rest of the time you had some o’ those _old_ men hangin’ around, or else my mother and sister wanted me for something; because a hotel like this--why, it’s terrible the way a young man’s mother and sister want him to do somep’n for ’em _all_ the time; so this is the first chance I’ve had.
MRS. CURTIS (_rather urgently_)
Don’t you really think you’d better be dancing with some of those young things yonder?
MR. BRIGGS (_puzzled_)
Think I’d _better_ be?
MRS. CURTIS
Yes; I do really wish you would. Wouldn’t it be a lot more fun than explaining something, as you said, to me?
MR. BRIGGS (_hurriedly_)
No. No, it wouldn’t. I want to explain how I feel about you.
MRS. CURTIS
Please go and dance, Mr. Briggs. I think it would be _much_ better if you--
MR. BRIGGS (_rapidly_)
No, it wouldn’t. I want to explain how I feel about you, so you’ll understand. It’s like this, Missuz (_swallowing again_) Missuz Curtis. I never used to think I’d ever get to feeling this way about--about somebody that was married, but it--it came over me before I knew you _were_ married. I already _was_ feeling this way before he said, “You mean--you mean Missuz Curtis?” It’d already--(_he swallows_) happened to me before I knew you were a--a married woman. (_Shaking his head._) I certainly never _did_ think I’d feel this way about a married woman.
MRS. CURTIS
But I’m not--not as you mean it. I’m a widow, Mr. Briggs.
MR. BRIGGS (_as in a dim perplexity_)
A wid-- You’re a widow? (_He jumps up suddenly, greatly amazed._) Oh, my!
MRS. CURTIS
What’s the matter?
MR. BRIGGS
Oh, my!
MRS. CURTIS
What is it?
MR. BRIGGS
I guess I’ve got to get used to the idea of it. First I thought you weren’t married, and then I was just gettin’ used to the idea that you _were_, and now--well, I s’pose it’s a good deal better, your bein’ a widow, though, except--except for--
MRS. CURTIS
Except for?
MR. BRIGGS (_hurriedly_)
Oh, I didn’t mean except for your _husband_! I didn’t mean your bein’ a widow was better for-- (_He checks himself and swallows._)
MRS. CURTIS
Oh!
MR. BRIGGS (_frowning with thought_)
No. I meant more on account of the way my family treats me. My mother and sister--well, to tell the truth, they always seem to think I’m about four years old. They can’t seem to _realize_; and when I go and tell ’em you’re a _widow_--
MRS. CURTIS
You think they’ll be interested in hearing it? I haven’t even met them.
MR. BRIGGS
No, but--but of course they’ve been _talkin’_ about you quite a good deal.
MRS. CURTIS
They have?
MR. BRIGGS
You know how people are in a hotel like this: wondering who everybody else _is_, and whether some woman’s some old man’s wife or his daughter or just a trained nurse, and all so on. Of course my family noticed _you_ right away and then after I _met_ you of course then they said a _lot_ more about you. Golly! (_He shakes his head, indicating that the comment has been unfavorable._)
MRS. CURTIS
Oh, indeed!
MR. BRIGGS (_ruefully_)
They watch me like a hawk, and I know what they’ll say now! When I tell ’em you’re a widow, I mean.
MRS. CURTIS
Do you?
MR. BRIGGS (_shaking his head_)
I certainly never thought myself I would ever get to feeling this way about a widow _either_!
MRS. CURTIS
Don’t you _really_ think you’d better run and dance with one of those--
MR. BRIGGS (_absently_)
No. (_Turning to her suddenly._) I was goin’ to ask you--well, of course, in a--a technical way, so to speak, I mean in a strickly technical way, so to speak, I’m not exactly of age yet, and I suppose I’d have to get my mother’s consent, because _she’s_ a widow, too, and got herself appointed my guardian besides; and the truth is, she’s a pretty cold-hearted, bossy kind of a woman, and it’s goin’ to be a big difficulty gettin’ her to see this thing right.
MRS. CURTIS
To see _what_ right?
MR. BRIGGS
The way I feel about you. I know it’s goin’ to be difficult, because I started to talk a little about it last night to my mother and my sister--her name’s Jessie--and they behaved--well, they behaved a good deal like two fiends.
MRS. CURTIS
They did?
MR. BRIGGS
I told ’em they didn’t know you, and they _haven’t_ even _met_ you, but they treated me like a--like a mere _jest_; and then they got so critical, the way they talked about you, it might be better if they didn’t see me with you again for a few days. I can’t stand the way they talk after they see me with you.
MRS. CURTIS
Indeed!
MR. BRIGGS
Well, what I was saying: I can’t touch my principal till I’m twenty-one on account of the way my father went and tied up his will; but of course my mother and sister think a good many’ll be after me on account of it; but, anyhow, I _have_ got to feeling this way, and I know I’ll _never_ get over it, so what I wanted to ask you--well, it’s--it’s--(_he swallows_) it’s just this: I know you _are_ a widow and everything like that, but would you be willing to--(_he swallows_) well, of course I don’t know how long since you lost your first husband--
MRS. CURTIS (_incredulously_)
What! (_She rises._)
MR. BRIGGS
I mean I--I don’t know how you _would_ feel about gettin’ married again yet, even if I didn’t have my own difficulties about it, but--but--
MRS. CURTIS (_with increased incredulity_)
Are you _proposing_ to me, Mr. Briggs?
MR. BRIGGS
Well--uh--yes. (_Then, looking beyond her down the corridor on the right._) Oh, goodness. They watch me like a hawk! Here comes my mother! (_Dismayed, he turns to the left._)
MRS. CURTIS (_as he turns_)
Perhaps it was time!
MR. BRIGGS (_dismally_)
There’s my sister Jessie!
MRS. CURTIS
What of it?
MR. BRIGGS (_hastily_)
I told you they behave like two fiends when they see me with you. (_Glancing right and left nervously._) Well, excuse me. (_With perfect gravity he kneels at one end of the settee, which is in the rear, a little left of “center.”_) It’ll be a good deal better if they don’t see me, I expect. (_He promptly crawls under the settee, and the valance conceals him entirely. From this invisibility he appeals with pathetic urgency in a hoarse whisper_): They’ll prob’ly go right on. _Please_ wait! Or--if you _haf_ to go, come _back_!
(_Mrs. Curtis stands dumbfounded for a moment; and then, controlling a tendency to laugh immoderately, she turns to examine a print on the left wall as Mr. Briggs’s mother enters from the right. Mrs. Briggs is a handsome woman of forty-five or fifty, not now in a gracious mood. She comes in decisively, halts, and stares at Mrs. Curtis’ back. Then she looks over the room in an annoyed and puzzled manner. Mr. Briggs’s sister Jessie comes in from the left. She is a pretty girl of about twenty, but her expression is now rather cross. Her dress and equipment show that she has just come in from the golf course._)
JESSIE (_calling as she comes in_)
Lancelot! (_She halts, puzzled, and looks inquiringly at her mother._) Mamma, where’s Lancelot? I was sure I saw him in here just a second ago.
MRS. BRIGGS (_grimly_)
So was I. (_After looking at each other, they turn their heads simultaneously and stare at Mrs. Curtis, who appears to be interested in the print._) It’s very odd!
JESSIE
Yes, very.
(_The two again look at each other, and at a little distance appear to consult telepathically, without any change of expression; then they turn once more to look at Mrs. Curtis._)
MRS. BRIGGS
I beg your pardon, but I’m under the impression that you have met my son.
MRS. CURTIS (_turning_)
Yes?
JESSIE
Wasn’t he here just now?
MRS. CURTIS
Yes, he was.
MRS. BRIGGS
Would you be good enough to tell me, did he leave here to go to his room?
MRS. CURTIS (_casually_)
I don’t think so; he didn’t say so. (_She gives them a little nod, smiling politely, and goes out at the left. They stare after her._)
JESSIE (_still staring after Mrs. Curtis_)
She’s a very bold type.
MRS. BRIGGS (_seating herself on the settee_)
Very.
JESSIE (_turning to her_)
I don’t see how that little goose got away. You were coming from that direction and I from just yonder. I suppose he thought we’d say something that would embarrass him before her.
MRS. BRIGGS
I suppose she’s thirty-five. I’ve heard of such people, but I never saw one before.
JESSIE
I regard her as distinctly the dangerous type of adventuress.
MRS. BRIGGS
Certainly. In the first place, her not having told the child frankly that she’s a widow. One of the clerks told _me_ she _was_.
JESSIE
Oh, she did that to flatter him into believing he’s a real grown-up “man of the world” having an “affair”!
MRS. BRIGGS
So that when he’s sufficiently entangled she can tell him she’s a widow--and by that time we don’t know _what_ he’d do! A country justice of the peace probably!
JESSIE
Last night, when we were trying to teach him a little common sense about strange people in hotels, what was it he said she was? “An angel!”--oh, yes!--“One of heaven’s highest angels.”
MRS. BRIGGS (_grimly_)
He said he wouldn’t “listen to one of heaven’s highest angels gettin’ talked against by a lot o’ women!” I’m sure they heard him in the next suite. (_She rises._) I suppose you’d better go and see where he slipped out to, Jessie. Of course, he’ll try to find _her_ again as soon as he can.
JESSIE (_dropping into a chair_)
I played three times round the course. Do you mind if I just sit here a while and rest?
MRS. BRIGGS
Then why don’t you go to your room?
JESSIE (_laughing feebly_)
I’m just too tired. I will in a minute. (_With a gesture toward the left entrance._) Hadn’t you better--
MRS. BRIGGS
Keep her in sight? Yes. That’s easier than trying to keep _him_ in sight. You’re going up to your room right away, aren’t you?
JESSIE
Yes, in only a minute. I really think you’d better go, Mamma. He might--
MRS. BRIGGS
No, I’ll see to that! (_She goes out._)
(_Jessie stares after her for a moment, glances at a wrist watch, then rises and looks down the corridor beyond the entrance at the right. She appears to derive some satisfaction from what she sees there, returns to her chair and sits in a carefully graceful attitude, her expression demure. A moment later a young man--he is about twenty-five--comes in rather nervously from the right. He pauses near the entrance._)
THE YOUNG MAN
You!
JESSIE (_softly_)
You!
THE YOUNG MAN
Is your mother--
JESSIE
She’s gone.
THE YOUNG MAN (_nervously advancing_)
I--I--
JESSIE
I was afraid maybe we couldn’t have this nook to ourselves, after all. My absurd little brother was in here, hanging about that dreadful Mrs. Curtis, and I was afraid they wouldn’t go away; but Mamma scared ’em both off providentially.
THE YOUNG MAN (_moving a chair close to hers and sitting_)
And so we’re alone! (_He speaks with a sentimental hushedness._) All alone!
JESSIE
All alone, Rupert! This is the only place in the hotel where you _can_ be by yourself a while. That’s why I said to meet here.
RUPERT (_nervously_)
You don’t think your mother’ll be back for a while?
JESSIE
No; she won’t.
RUPERT
She hasn’t found out I’ve come, has she?
JESSIE
She hasn’t the remotest idea, thank heaven! Nobody dreams you’re within hundreds of miles of here. That’s one advantage of a big hotel.
RUPERT
Darling--
JESSIE
Yes, darling?
(_The settee moves slightly at this, but it is behind them and they do not see it._)
RUPERT
I can’t understand why your mother dislikes me so.
JESSIE (_gravely_)
Well, I suppose her feeling about you is--well, she _says_ it’s because you’re rather poor and I’m--not.
RUPERT
But what makes her think I care about you because you’re not?
JESSIE
Well--
RUPERT (_leaning toward her and lowering his voice_)
Darling, there’s something I want to ask you--
JESSIE (_leaning toward him and almost whispering_)
Yes, dearest, what is it?
(_The settee slowly moves nearer them as their voices become more indistinct._)
RUPERT
I want to ask you--
JESSIE
Yes?
RUPERT (_with hushed tenderness_)
Do you _really_ love me, dearest?
JESSIE (_gazing upward, tranced_)
Oh, dearest, I do!
(_The settee goes back to where it came from._)
RUPERT
But you don’t think your mother’ll ever change her mind about me?
JESSIE
She never does change her mind.
RUPERT
Then what can we do?
JESSIE (_in a low voice_)
Darling, there’s something I wouldn’t say for anything in the world to anybody but you.
(_The settee again approaches slightly._)
RUPERT
Yes?
JESSIE
I think Mamma really knows you’re not mercenary, but the _real_ reason for her opposition to you is pretty selfish. I think it’s because she doesn’t want me to marry and go away and leave her alone in the world.
RUPERT
But she wouldn’t be. She’d still have the companionship of your young brother.
JESSIE (_shaking her head_)
That’d be the same as none. Lancelot seems to have scarcely _any_ sense, you see.
(_The settee once more retires._)
RUPERT
Then I don’t see what possible hope--
JESSIE (_warning him as she sees someone approaching in the corridor to the right_)
Sh-h-h!
RUPERT (_following her gaze_)
Who _is_ that old chap?
JESSIE
It’s old Mr. Ingoldsby. He’s some old friend of mamma’s that happened to turn up here.
RUPERT (_moving as if to withdraw_)
I’d better--
JESSIE (_quickly_)
No; he doesn’t know you. Sit still. (_She turns toward Mr. Ingoldsby with a smile as he enters._) Good afternoon, Mr. Ingoldsby. Did you do it in eighty-five again today?
(_Ingoldsby is a man of fifty-five or, possibly, sixty. He wears neat knickerbockers and is otherwise sprightly in his outdoor attire. He smiles rather absently as he replies._)
INGOLDSBY
Eighty-five? No, I--ah--no. I didn’t go round today. Ah--has Mrs. Briggs been here?
JESSIE
Here?
INGOLDSBY
Yes, I mean--ah--here.
JESSIE
I think she’s somewhere looking for Lancelot.
INGOLDSBY
Yes? Ah--I--
JESSIE
Is there something you’d like me to tell her when I see her?
INGOLDSBY (_going toward the left entrance_)
No; I--I-- (_He glances at his watch, and looks absently at Jessie._) No, I believe I-ah-- (_He departs._)
RUPERT
Well, I _do_ hope nobody else’ll come poking about like that, because I--
JESSIE
No, darling; we’re alone again now.
RUPERT
Darling--
JESSIE
Yes, darling?
RUPERT
We’ve had such difficulties in managing our little interviews; it does seem a precious thing to be near you again.
JESSIE
Oh, it does!
RUPERT
If we could only go away together, where it could _always_ be like this--
JESSIE (_dreamily_)
Yes, with the world shut out.
RUPERT
Why can’t we--
JESSIE
Hush, darling.
(_She sees someone approaching in the corridor on the left. He looks dolefully in that direction._)
JESSIE
It’s that dreadful woman.
RUPERT
I don’t know her.
JESSIE
She’s been trying to entangle Lancelot, and he’s completely lost what slight intelligence he _had_, the little ninny! She’s old enough to be his mother.
(_The settee makes a slight convulsive movement._)
RUPERT
Sh! She’ll hear you.
(_Mrs. Curtis enters from the left. She looks about, with a faint embarrassment. Jessie stares at her, then speaks coldly._)
JESSIE
I beg your pardon. Did you leave something when you were here with my little brother?
MRS. CURTIS (_smiling constrainedly_)
Did you happen to see a pair of white gloves?
(_Rupert rises and looks in his chair._)
JESSIE
No. There aren’t any here.
MRS. CURTIS
I _may_ have left them anywhere of course. (_To Rupert_) Don’t bother, please. I thought just possibly-- (_She stoops slightly and looks behind the settee, and her expression shows a considerable illumination._) If I _had_ left anything here I just wanted to see if it was still--
JESSIE
No; there aren’t any gloves here. (_She speaks in a sharp whisper to Rupert._) Sit down! (_He does so. Their backs are toward Mrs. Curtis._)
MRS. CURTIS
No. They don’t seem to be. I’m sorry to have disturbed you.
(_She moves toward the left entrance as she speaks. The settee follows her. She checks it with a sudden commanding push._)
JESSIE
I hardly think my little brother will come back _here_. My mother went to look for him.
MRS. CURTIS (_politely_)
No doubt she’s found him by this time.
(_She looks from the settee to Jessie and Rupert, and back again; and her eyes widen with an intense inward struggle._)
JESSIE (_turning to look at her coolly_)
Was there anything else?