UC-NRLF 
 
 13-54 
 
 I 
 
 1917 
 
 B 3 
 
The Other Girl 
 
 MJGUSTUS THOMAS 
 
 SAMUEL FRENCH, 28-30 West 38th St., New York 
 
THE OTHER GIRL 
 
 A COMEDY IN THREE ACTS 
 
 BY 
 
 AUGUSTUS THOMAS 
 
 REVISED, 1917, BY AUGUSTUS THOMAS 
 COPYRIGHT, 1917, BY AUGUSTUS THOMAS 
 
 ALL RIGHTS RESERVED 
 
 CAUTION: Professionals and amateurs are hereby warned 
 that " THE OTHER GIRL ", being fully protected under 
 the copyright laws of the United States, is subject to a 
 royalty, and anyone presenting the play without the 
 consent of the owner or his authorized agents will be 
 liable to the penalties by law provided. Application for 
 amateur acting rights must be made to SAMUEL FRENCH, 
 28-30 West 38th Street, New York. Application for the 
 professional acting rights must be made to the American 
 Play Company, 33 West 42nd Street, New York. 
 
 NEW YORK 
 SAMUEL FRENCH 
 
 PUBLISHES 
 
 28-30 WEST 38TH STREET 
 
 LONDON 
 
 SAMUEL FRENCH, LTD, 
 26 SOUTHAMPTON STREET 
 STRAND 
 
Especial notice should be taken that the possession 
 of this book without a valid contract for production 
 first having been obtained from tne publisher, confers 
 no right or license to professionals or amateurs to 
 produce the play publicly or in private for gain or 
 charity. 
 
 In its present form this play is dedicated to the 
 reading public only, and no performance of it may be 
 given, except by special arrangement with Samuel 
 French. 
 
 SECTION 28. That any person who v.ilfully or f^r 
 profit shall infringe any copyright secured by this act, 
 or who shall knowingly and wilfully aid or abet such 
 infringment, shall be deemed guilty of a misdemeanor, 
 and upon conviction thereof shall be punished by im 
 prisonment for not exceeding one year, or by a fine of 
 not less than one hundred dollars nor more than one 
 thousand dollars, or both, in the discretion of the 
 court. Act of March 4, 1909. 
 
T-4ST4 
 
 PREFACE 
 
 This is the sixth printed play to which I have 
 prefixed a rambling but intimate preface in the hope 
 that the lot might make a series which, when taken 
 with the plays themselves as illustrations would in 
 some way be of help to beginners, and maybe less 
 battered and less experienced playwrights. The 
 prefaces have been without much dogma or set rules 
 because the art of play writing is more flexible than 
 most of us, particularly playwrights and critics, im 
 agine ; and because in writing I felt more was to be 
 conveyed by implication than by proclamation; and 
 because the practice of the art is so amiable that 
 even a person who has been called a " Dean " has 
 no excuse for retaliating in fulminations. 
 
 The first preface was for " The Witching Hour " 
 and explained one way of constructing a play that 
 was built to carry a theory ; that for " In Mizzoura " 
 confessed how a star had been provided with a 
 vehicle ; the one for " Mrs. Lefrmgwell s Boots " 
 admitted the assembling of rag-bag material into a 
 very light comedy ; " Oliver Goldsmith s " showed a 
 short way of attacking the historical or dramatiza 
 tion task ; and the one with " The Earl of Paw- 
 tucket ". the way a comedy was constructed to fit 
 a man of amusing and peculiar manner. This pref 
 ace will relate the attempt to write for two men 
 already coupled in the attention of the public, and 
 to do so under pressure for time. 
 
 Mr. John Drew had been playing in " The 
 3 
 
4 PREFACE 
 
 Mummy and the Humming-Bird ". He was the 
 " Mummy " and Mr. Guy Standing was the " Hum- 
 mind-Bird " ; but the second hit of the performance 
 was made by the character part of an Italian organ- 
 grinder played by Lionel Barrymore. The manager, 
 Mr. Charles Frohman, liked the association of uncle 
 and nephew, and the two family names of Drew and 
 Barrymore, and was in search of a new play that 
 would permit its continuance. 
 
 In the Spring of 1902 I was about sailing with my 
 wife to take our two children to school in France, 
 and as " C. F." said good-bye he added " Write me 
 a play for John with a good part for Lionel ; I 
 need it early in the season ". That was an agreeable 
 assignment, and it filled such places in the sum 
 mer s prospect as amateur courier s duty left open. 
 
 In " The Mummy, etc.," Mr. Drew had been a 
 preoccupied and inferentially desiccated husband. 
 Mr. Barrymore had played an unwashed and al 
 most inarticulate Italian with no English speech but 
 much effective pantomime. A play with two parts 
 to follow these should obviously be as different as 
 possible. Mr. Drew should be young ; and Mr. 
 Barrymore should be American and have somewhat 
 to say. The playwright s obvious obligation was to 
 avoid suggesting even remotely the types the two 
 gentlemen had just portrayed. 
 
 In play-making the value of an objective, even a 
 fairly vague one, is that it acts like a magnetized 
 wire, selectively; sawdust and rubbish generally do 
 not stick to it, but steel filings do. Useful trifles, 
 of which without the objective you would make no 
 mental note, twang against it like head-on beetles at 
 a fly screen. In one of the newspapers I had carried 
 aboard the Ivernia was a half -stick item of a young 
 preacher who had resigned his pastorate because of 
 his sense of humor. He couldn t control his impulse 
 
PREFACE 5 
 
 to laugh during funerals and other solemn functions 
 if a provoking comicality invited. Mr. Drew him 
 self has some of this humorous lightness of trigger, 
 against which in his case sartorial exactness works 
 as a safety clutch ; and the laughing minister struck 
 me as a good Drew part. 
 
 Mr. Drew s appearance and conscious deportment 
 are Episcopalian. I thought of him as a Rector. 
 
 For the values of intimacy, varied connections, 
 brisk opportunity, rapid contrasts and the like, I put 
 him in charge of a New York congregation. After 
 a very hurried mental inspection, proper elimination 
 cut out all scenes in any wise suggesting the church 
 itself, and threw my inquiries altogether on his 
 social side. 
 
 Merely getting there made me feel easier and more 
 free. " The Mummy " had been married ; my 
 preacher should be single. That meant boarding- 
 house, hotel, or relative s home. I chose fashionable 
 relative, and by a logical process discovered his sister 
 and her husband, Henry Waterman. 
 
 Nature in her preservation of balances seems to 
 give clergymen s relatives a slightly sportive touch, 
 so I made sister thoroughly worldly and made hus 
 band a broker with a leaning to champagne and large 
 cigars. 
 
 I tried the broker s clothes on Lionel but they 
 didn t fit; besides I couldn t make him take broker 
 age seriously ; and the wine and cigars took on comic 
 values disproportionate to mere accessories. When 
 I tried to take them away from him he grew argu 
 mentative, and his attitude and gesture suddenly re 
 called what many persons had often noticed a 
 singular physical and facial resemblance to Kid 
 McCoy, the champion middle-weight pugilist. 
 
 It seemed valuable. Lionel was no mean boxer 
 
6 PREFACE 
 
 himself, and if cast to play a champion would have 
 nothing to learn and very little to assume. 
 
 I brought the two characters together in my mind, 
 the preacher and the pugilist. The central idea of 
 my play was found. 
 
 Charles Frohman at that time had a small farm 
 at White Plains immediately adjoining the health- 
 resort owned and conducted by William Muldoon, 
 the retired champion wrestler. " C. F." and I, who 
 had both known Muldoon for years, sometimes 
 walked over his place when I would be on a visit to 
 the farm. The finest men in the country, bankers, 
 lawyers, clergymen, went to Muldoon for recupera 
 tion; Grover Cleveland, Elihu Root, and men of 
 equal prominence were at times his clients. The 
 great athletes also went to him for help ; Kid McCoy 
 had trained there more than once. Nothing could be 
 simpler than that my minister, Dr. Bradford, and 
 my Kid Garvey, as I decided to call the characters, 
 should meet at Muldoon s. 
 
 I tell these ideas, considered and abandoned, be 
 cause plays are built that way. The mental work 
 room where a play is constructed is filled with the 
 lumber of discarded contrivance. 
 
 I dismissed the meeting at Muldoon s because I 
 saw greater comic possibilities in the preacher s as 
 sociation with the fighter if the fighter s profes 
 sionalism and pre-eminence were unknown. But if 
 they were not known the association would have to 
 be very private indeed, because nearly all the world 
 knows a champion. That led to the idea of home 
 training; and Kid Garvay under his proper name of 
 Sheldon. 
 
 Locations are important matters of choice in the 
 early stages of construction. For example : it would 
 enforce very widely different avenues and results 
 whether one chose Muldoon s gymnasium at White 
 
PREFACE 7 
 
 Plains or a private house in Xew York as training 
 quarters. A location must be a place to which your 
 characters may logically come, and in which they 
 shall meet without straining credulity. Even the 
 private gymnasium had unattractive features. The 
 introduction of the ladies would require managing. 
 
 About that time the Century Club, on its premises 
 on Forty-Third Street, had built a summer extension 
 of its second floor living-room out over the back 
 yard. This extension is open to the sky while the 
 flooring is slatted to let light and air through to the 
 windows below. Round tables are out there, and 
 easy chairs, and in that time between business and 
 dinner, which is known as " the butler s hour ", re 
 laxing gentlemen take mixtures of vermouth. There 
 are some clergymen among the members. I had 
 sometimes sat there resisting temptation or other 
 wise, and feeling how wonderful it would be to have 
 a private annex of that kind; and now that dream 
 drifted into my lazy, deck-chair musings, and I de 
 cided to show my stage as such a platform, built to 
 the rear of the Waterman dwelling on Fifth Avenue. 
 Half of the back drop should show the vine-covered 
 wall of the neighbors brick extension running 
 straight up. The other half should picture glimpses 
 of rear ends and courts to houses some distance 
 away, evidently fronting on the side street. To one 
 side of my slatted deck would be an iron rail, pre 
 sumably overlooking the remaining bit of back yard, 
 where my training should be predicated. The other 
 side would be doors to the dining-room, and above 
 those doors the windows of two other floors, 
 respectively library and sleeping rooms. 
 
 That scene decision was a gold mine. Relatives 
 and fine guests and servants came from the dining- 
 room doors ; the minister and others looked from the 
 library ; young ladies spoke from the windows above. 
 
8 PREFACE 
 
 My play began to be peopled and somewhat artic 
 ulated. These top windows overlooked the bit of 
 back yard where the minister and pugilist sparred. 
 The girls covertly watched them ; the pugilist in gym 
 costume was attractive. One of the girls fell in love 
 with him. That was wrong on Fifth Avenue, but 
 it was prolific in comic story. 
 
 This forbidden love suggested elopement ; and 
 elopement suggested automobile, then a newer factor 
 in stage stories than it now is. The automobile sug 
 gested costume mask and domino with modern ap 
 plication; and this disguise brought in its train the 
 chance for the substitution of one girl for another, 
 and the element of sacrifice so potent in all human 
 story. The two girls naturally contrasted as much 
 as the two men; and I paired off the wiser and 
 better and plainer one with the minister. 
 
 A mesalliance of Fifth Avenue and the prize-ring 
 would not have left a pleasant taste ; and as comedy 
 and riot tragedy was wanted, it also would have been 
 ineffective. That led to the elopement being de 
 feated. This would be easy to do by arresting the 
 Kid for speeding, and by having the elopement thus 
 exposed. 
 
 Having tentatively adopted that device, I looked 
 about for machinery to get the Kid back again to 
 the house. The detention by the police of the second 
 girl with the first girl s bag and jewels in her posses 
 sion sent the Kid rather chivalrously back for bail 
 and explanation, but it left the now disillusioned 
 first girl in a rather hard predicament. 
 
 At this stage I was obliged to devise for her con 
 solation, Mr. Lumley, the conventional suitor, rather 
 insipid, until in trying to bring him also into the 
 plexus, I hit upon the idea of having him be the 
 man the eloping automobile should run over. Lumley 
 and his torn dress-suit, his hospital bandages and 
 
PREFACE 9 
 
 his ether jag was, for this play, that clarifying 
 solvent whose advent I have so pressed upon your 
 notice in the earlier prefaces. 
 
 In the extrication and when all was to be made 
 known, I felt that Lumley s own sentimental vagaries 
 should have been numerous enough to make him 
 charitable to Catherine s one swerve, and in invent 
 ing his college-day chorus-girl irregularity I found 
 Mabel, the head-liner now engaged to the Kid, and 
 the dramatic circle was compact and complete. 
 
 Thus far I had not definitely planned a use of my 
 preacher s disposition to laugh at the wrong time. 
 Nothing in the story suggested its active employ 
 ment. In studying it into his record, I had him 
 reported as laughing at an important funeral. The 
 funeral occurring to me as possibly fraught with the 
 most enduring consequences if disturbed, would have 
 been that of a newspaper proprietor, and would 
 therefore involve the cherished resentment of his 
 editorial staff against the preacher who had taken it 
 lightly. That gave me added animus for the natural 
 reportorial criticisms of the preacher s association 
 with the pugilist. The libel suit against the paper 
 was a logical result and lent motive power to the 
 early part of the play. Closer knitting counselled 
 the use of the same attorney for the minister s 
 present libel suit, and for the legal phases of 
 Lumley s earlier chorus-girl troubles. 
 
 "\Yhen the play was done I sent the script from 
 France. Mr. Froham cabled me to come over and 
 put it on. 
 
 "When I arrived in Xew York however, I found 
 Mr. Drew was not to be in the company. The Kid 
 was much too showy a part, and while the informed 
 professional would know that the reason of his 
 greater success lay in the opportunities and the char 
 acter of the part, the paying public would only see 
 
io PREFACE 
 
 that in two consecutive plays Mr. Barrymore had 
 seemed to run away with the honors. That would 
 be bad management of an established star. Mr. 
 Frank Worthing was therefore substituted for Mr. 
 Drew as the minister. 
 
 It has nothing to do with play writing, but it is 
 pleasant to recall that much of the success of the 
 original production was due to the unsual cast. Old 
 play-bills take on lustre with time, because with time 
 these actors have often built up their reputations; 
 but " The Other Girl " company was quite a star 
 cast on its first night. The ladies were Elsie De- 
 Wolff; and her sister-in-law Drina of the same 
 name; Selina Fetter, in private life, Mrs. Milton 
 Royle ; Maggie Fielding ; and Ida Greeley Smith. 
 The men besides Lionel Barrymore and Frank 
 Worthing ; were Richard Bennett ; Joseph Wheelock 
 Jr. ; Ralph Delmore ; and Joseph Whiting. 
 
 An incident of the first night is instructive. In 
 the construction of the current part of the play, I 
 had found the minister s laugh valuable as a curtain 
 climax for the second act. His propensity for laugh 
 ing in wrong places had been elaborated, " planted ", 
 and an audience logically should be glad to see 
 some instance of it. I chose the pressure put upon 
 the finer girl in a circle of misapprehension and 
 hostile criticism resulting from her sacrificial as 
 sumption of Catherine s place in the motor; a circle 
 of much snobbishness and some hypocrisy through 
 which only the Kid and the minister saw. 
 
 The accused girl was to one side of the library in 
 which that act was laid, and her critics and accuser 
 were baiting her. The minister was at the other side 
 at the moment chosen for his laugh and the " cur 
 tain ". On our first night all went well excepting 
 this moment. The effect failed to function. In the 
 usual council of war held by manager and author 
 
PREFACE ii 
 
 after the first representation, we were unable to find 
 the cause for this failure. By all our logic and 
 technique the situation should have carried. We 
 thought perhaps our first nighters were too sophisti 
 cated, and had foreseen and discounted our effect ; 
 but a second night s audience was equally im 
 pervious. 
 
 I sailed on Wednesday, happy over general results 
 but troubled on that one point ; and on the quiet deck 
 of the steamer, for two days I went over and over it 
 mentally. In this review I saw again the aggressive 
 group around the girl ; the audience deeply inter 
 ested there; and then from the other side of the 
 stage picture the explosive laugh of the minister, 
 more surprising than mirth-provoking ; and I finally 
 reasoned that the trouble lay in the surprise. I be 
 came sure that if some action should first draw at 
 tention from the girl to the minister, the attempted 
 effect would work. This point had not been entirely 
 overlooked in rehearsals, for the Kid set the minister 
 off on his laugh by a very knowing wink as the snobs 
 on the other side were delivering their heaviest bat 
 teries. But a wink is a small demonstration to 
 counterpoint a family row. Some broader action 
 would be needed to command the attention of the 
 whole audience. With this decision I went to the 
 wireless room and telegraphed Mr. Frohman: 
 " Have Kid step down and toucJi preacher before 
 the wink ". The instruction was followed and the 
 effect was obtained as first hoped for. 
 
 In the theatre coincidence is so useful and is so 
 constantly resented by callow critics, that any ex 
 ample that may establish its legitimacy is valuable. 
 I therefore append this incident : A few weeks after 
 our opening, my brother-in-law Bainbridge Colby 
 was smoking his after-dinner cigar in our Paris 
 apartment after a business trip to London. " An 
 
12 
 
 PREFACE 
 
 amusing thing happened " he said " as I was coming 
 over from America. I had gone to the wireless 
 room on the steamer to send a message ; the operator 
 was Italian and uncertain of his English; a boat 
 further out had just sent him a message to relay 
 to New York. It was addressed to Charles Froh- 
 man and signed Thomas. The operator thought he 
 had muffed it because it read " Have Kid step down 
 and touch preacher before the wink ". I told him 
 the message was correct ". 
 
 Augustus Thomas. 
 
THE OTHER GIRL 
 
 CHARACTERS 
 IX THE ORDER OF APPEARANCE 
 
 MR. FULTON 
 
 HENRY WATERMAN 
 
 MRS. WATERMAN 
 
 DR. CLIFTON BRADFORD (The Parson) 
 
 CATHERINE FULTON 
 
 JAMES (Butler) 
 
 ESTELLE KlTTERIDGE 
 
 REGINALD LUMLEY 
 
 ANN (The Cook) 
 
 JUDGE NEWTON BATES 
 
 TAYLOR (Reporter) 
 
 " KID GARVEY " SHELDON (The pug) 
 
 MAGGIE (The Maid) 
 
 MYRTLE MORRISON 
 
 13 
 
THE OTHER GIRL 
 
 ACT I 
 
 SCENE : The stage is set to represent a deck built at 
 the rear of a city house as an extension to its 
 first floor. At the back, covering one-half the 
 flat (the right half) is the dead wall of the next 
 house. Vines, grow on this wall. The left half 
 at back is a high brick garden wall over which 
 appear the ends and intervening light shafts 
 of tall apartment houses. 
 
 To the stage R. is the rear of the dwelling 
 to which the deck is an addition. On the stage 
 level two French windows let into the dining- 
 room and one American window in 3 looking 
 into pantry. On the floor above, the octagonal 
 bay of the library protrudes some feet over the 
 stage. This bay is surmounted by a pretty 
 balcony which lets into the sleeping apartment 
 on the 4th floor. 
 
 To the stage left, from the foot lights to the 
 flat, an iron rail covered with foliage guards the 
 deck from the back-yard supposed to be below 
 except at the up-stage end, the railing has a 
 gate now open and giving upon a short flight 
 of stairs to the garden level below. Tree wings 
 are also L. and over the iron railings. 
 
 The stage, representing a deck, is apparently 
 slatted to let water through. (The lines indicat 
 ing opening should be draii.ni on the ground 
 
16 THE OTHER GIRL 
 
 cloth lip and down-stage in order to show.) 
 The center has a handsome rug on which is a 
 round dining table sir feet in diameter. A huge 
 Japanese umbrella 8 feet in diameter is fixed on 
 the middle of the table-top by a weighted foot, 
 or standard. The table has on it the coffee 
 cups, a champagne bottle, cigar lighter, cigars 
 and cigar etes. A champagne cooler is to the 
 left of the table and above the chair at that 
 place. Six chairs arc at the table. 
 
 TIME: The hour is eight of a June evening. 
 The sun has set to the stage R. Its last rays 
 still light the chimneys of the tall houses to the* 
 rear. Later the moonlight falls from the lefi 
 Lights show in the various windows in sight. 
 
 DISCOVERED : HARRY WATERMAN, a New York 
 business man of the " bluff and hearty " type, 
 aged about forty-five. He sits to the left of the 
 table. His guest, MR. FULTON, a Philadelphia 
 millionaire, aged sixty-two, stands looking over 
 the railing left. Both men have cigars half 
 smoked Both are in evening dress. 
 
 FULTON. (Turning and regarding stage) Of 
 course that shuts off the light a little from your 
 kitchen. 
 
 HENRY WATERMAN. (Easily) Some. But you 
 see those joints are open (He indicates floor) and 
 besides (Smiling) It isn t a good plan to turn 
 too much light on that particular department. 
 
 FULTON. (Also smiling) True. (Fixes his 
 glasses and looking left into yard) You Why you 
 haven t had any oppressively hot weather in New 
 York this spring have you? 
 
 HENRY. No why ? 
 
 FULTON. Those mattresses Thought some- 
 
THE OTHER GIRL 17 
 
 body d been sleeping out of doors. (Suddenly) 
 See here, the girls and I are not crowding you ? 
 
 HENRY. (Heartily) No indeed your rooms 
 are guest-rooms always. No ! Those two mat 
 tresses belong to the Reverend Cliff. 
 
 FULTON. (Rises) Who? 
 
 HENRY. The " Reverend Cliff ". 
 
 FULTON. Oh. Dr. Bradford? 
 
 HENRY. Yes, he wrestles on them. 
 
 FULTON. Wrestles? 
 
 HENRY. (Nods) Training for his constant 
 clerical struggle with temptation. 
 
 FULTON. But really? 
 
 HENRY. Oh. A matter of health. 
 
 FULTON. Dr. Bradford actually practices wrest 
 ling? 
 
 HENRY. (Nodding yes) And now and then the 
 chap that s training him gives Cliff a push with the 
 gloves that makes him real glad those mattresses 
 are there. 
 
 FULTON. Boxes too? 
 
 HENRY. Yes, indeed. If you ever go to the 
 Reverend Doctor Bradford s church and they pass 
 you the contribution box, you want to settle. 
 (Smiles) 
 
 FULTON. (Smiling) Oh! That s what the 
 Times meant by its allusions to muscular Christ 
 ianity. 
 
 HENRY. (Joining FULTON at rail) In a measure. 
 You see Cliff s always gone in for athletics. This 
 this backyard business was my idea. Once or twice 
 when I ve had a busy winter, too many dinners 
 too much of this. (Touching bottle) I ve gone up 
 to Muldoon s and got down to my proper weight 
 again. 
 
 FULTON. Muldoon s ? 
 
 HENRY. Billy Muldoon don t know him? Cer 
 tainly you do. Held the world s championship for 
 
ig THE OTHER GIRL 
 
 wrestling years and years ( FULTON nods) Re 
 tired unbeaten and opened a sanitarium up here in 
 Westchester County. Well, when Cliff got all run 
 down this winter nerves and everything you read 
 about it laughed right out at a funeral where he 
 was the officiating clergyman 
 
 FULTON. No ! 
 
 HENRY. Yes But then that s Cliff s weak point. 
 If it wasn t for his sense of humor Cliff d be the 
 banner clergyman of New York. Yes, sir Well, 
 as I tell you he " went back " so much 
 
 FULTON. "Went back?" 
 
 HENRY. Physically. 
 
 FULTON. Yes, yes. 
 
 HENRY. That I advised him to go to Bill Mul- 
 doon s. He did look it over but Billy said he d bet 
 ter not. Nice fellow Muldoon gentleman s in 
 stinctive feeling for the fitness of things He didn t 
 tell Cliff but he told me, you see, that a house full 
 of race track chaps and Wall Street men and so 
 on Oh, he gets the best He instinctively saw 
 they d rub Cliff s fur the wrong way; so he sent a 
 private instructor down here. 
 
 FULTON. A masseur, I suppose. 
 
 HENRY. Ha, ha. Well, hardly No, sir, a pro 
 fessional instructor wrestling, boxing, anything. 
 You know Cliff was quite a boy at College. Got a 
 hatful of medals for it. 
 
 FULTON. Indeed ? 
 
 HENRY. (Nodding) Runs in the family. 
 Mattie s just like him hard as a base ball. 
 
 FULTON. Mattie ? 
 
 HENRY. Mrs. Waterman his sister. 
 
 FULTLN. Oh, your wife ? 
 
 HENRY. Yes Golf swim take a five bar gate 
 on her hunter ! See her in the box at the opera you d 
 simply say " trim, well groomed woman ", but 
 
THE OTHER GIRL 19 
 
 (Closing f.st) got an arm like a stocking full of 
 ereen apples (Smoking) 
 
 FULTON. (Regarding the back yard) And Dr. 
 Bradford takes his exercise there? 
 
 HENRY. Two half hours every day. 
 
 FULTOX. (Looking about) And the neighbors? 
 
 HENRY. Can t see him Some Japanese screens 
 there Pull over make an awning ; notice ? 
 
 FULTOX. I see ; and the newspaper people object 
 to that, do they? 
 
 HENRY. Only the Times. It was one of their 
 proprietors that Cliff was burying at the funeral. 
 Cliff was saying all. the nice things he could about 
 him 
 
 FULTON. Naturally- 
 
 HENRY. man was dead and anyway Cliff s an 
 awfully liberal minded clergyman so he was being 
 decent, you understand when he happened to catch 
 the eye of one of the reporters that had been sent 
 up to " do " the funeral IV ell; the young fellow 
 half smiled and kind o shut one eye that way 
 (Winks; and then with explosive vigor dramatizing 
 the clergyman s predicament he throws up both 
 hands) Well, think of it and Cliff s sense of 
 humor! He made a struggle of course and he d 
 have pulled through if this little reporter d only 
 gone out but there he was with a half strangled 
 grin, getting more infectious every minute Well!! 
 Dr. Bradford covered his face with his handkerchief 
 and tried to pass the business off for tears, but dear 
 me you read about it; the assistant had to finish 
 and Cliff pretended to be ill and all that ; but 
 naturally the Times never forgave him for it. We 
 stood their criticisms of that affair but when they 
 began assailing Cliff s private character why, we sued 
 them for libel. (Smokes) 
 
 FULTOX. His private character? / didn t see 
 that. 
 
20 THE OTHER GIRL 
 
 HENRY. Didn t your daughter zvrite you about 
 it? 
 
 FULTON. No. 
 
 HENRY. Happened since she s been here. 
 
 FULTON. (Anxiously) It s nothing about Cath 
 erine herself? 
 
 HENRY. Oh, dear no. 
 
 FULTON. You re quite sure. 
 
 HENRY. Perfectly. 
 
 FULTON. Any woman involved? 
 
 HENRY. Oh, not that way Well here I ll read 
 it to you. (Calls to library) Mattie James Oh, 
 that you, Mattie? 
 
 MRS. WATERMAN. (In library) Yes, it s I. 
 
 HENRY. Won t you hand me the scrap book from 
 the big table there with Cliff s notice in it. 
 
 FULTON. Is Mrs. Waterman not sensitive about 
 it? 
 
 HENRY. Not a bit. 
 
 MRS. WATERMAN. (Appearing in window, 2nd 
 story) Here you are. (Handing book) Is there 
 anybody that hasn t read that interesting publica 
 tion? 
 
 HENRY. Mr. Fulton hasn t. Tell Cliff to come 
 down here, my dear. 
 
 (MRS. WATERMAN disappears.) 
 
 FULTON. I m not detaining you ? 
 
 HENRY. Oh, no. (With book) Here we are 
 Under religious notes mind you. (Reads) " The 
 Reverend Clifton Bradford is taking a more 
 muscular and, if possible, a more humorous view of 
 life during these days, than even that which he 
 formerly enjoyed. He had as companions to a suffi 
 ciently jolly little dinner last week, Kid Garvey, the 
 champion middle weight prize-fighter and Miss 
 Myrtle Morrison, the leading serio comic and short 
 
THE OTHER GIRL 21 
 
 skirt dancer from the Pleasure Palace " Whole 
 cloth, mind you whole cloth. 
 
 FULTON. But how dare they? Here comes Dr. 
 Bradford himself. (Tries to hide book) 
 
 HENRY. Oh, Cliff doesn t care. 
 
 (Enter BRADFORD from the house.) 
 
 BRADFORD. (Referring to book) Sufficiently 
 piquant, eh? 
 
 FULTON. But why? 
 
 BRADFORD. Oh an old enmity. 
 
 HENRY. I ve told him about that. 
 
 BRADFORD. We ve ignored the preceding publica 
 tion. 
 
 HENRY. Nothing like that however. 
 
 BRADFORD. Oh, no. 
 
 HENRY. (To FULTON) And it s always been a 
 question before as to whether the stuff was libellous 
 or not. You see they gave a humorous slant to 
 everything. 
 
 FULTON. Oh. I know them. 
 
 HENRY. (Closing the book) And that s such an 
 easy thing to do if you ve got a clergyman for your 
 target. 
 
 FULTON. Yes, yes. 
 
 HENRY. Our lawyer s Newton Bates. 
 
 FULTON. (In admiration) Newton Bates? 
 
 HENRY. Won t he make em squirm? 
 
 FULTON. Ah. 
 
 HENRY. You know they wanted him on the 
 Beecher trial only the other counsel thought him too 
 young at that time. 
 
 BRADFORD. Member of my congregation. 
 
 FULTON. (In appreciation) m. 
 
 BRADFORD. (To HENRY) Judge Bates says that s 
 actionable? (Indicates book] 
 
 HENRY. Unquestionably. 
 
 FULTON. No ground for it at all ? 
 
22 THE OTHER GIRL 
 
 BRADFORD. (At rail) None except that I m 
 doing a little gymnastic work here my sister s 
 private residence. 
 
 FULTON. And your instructor s not a prize 
 fighter ? 
 
 BRADFORD and HENRY. (Both exclaim) Oh! 
 
 BRADFORD. (Shaking his head) A mere boy 
 named Sheldon charming manners not an edu 
 cated man to be sure that is, not a college man, 
 but 
 
 FULTON. To be sure 
 
 HENRY. (Emphatically) But he knows his busi 
 ness. 
 
 BRADFORD. (With laugh) Ha! 
 
 HENRY. (With more enthusiasm to FULTON) 
 Why, I thought Dr. Bradford was falling down as a 
 joke This Sheldon mere boy you understand 
 doesn t seem to hit him any harder than that 
 (Taps FULTON S arm) Looks like a kitten playing 
 with the darning cotton. 
 
 BRADFORD. Feels different however. 
 
 HENRY. Cliff had him tap me just for fun, on 
 the shoulder now I m not an invalid, am I ? 
 
 FULTON. (Smiling) I shouldn t call you one. 
 
 HENRY. Well, he did that (Business of light 
 tap) Mattie and the girls were up at the window 
 she thought he was brushing a speck of dust off my 
 waistcoat. I stumbled clear across that furthest 
 mattress; and if that back fence hadn t been there, 
 I d have gone through to Madison avenue Mattie 
 thought I was " being funny " for the girls, but that 
 night I showed her a green and blue patch there 
 about the size of an alarm clock. 
 
 FULTON. Man must be a Hercules. 
 
 BRADFORD. Quite the contrary. 
 
 HENRY. Doesn t strip noticeably big. 
 
 (Enter CATHERINE from house.) 
 
THE OTHER GIRL 23 
 
 CATHERINE. You ready, father? 
 
 FULTON. Is it time? 
 
 CATHERINE. Almost. 
 
 FULTON. I shall be excuse me. (Exit to house} 
 
 (Telephone bell off.) 
 
 BRADFORD. Beautiful evening for your concert- 
 party, Miss Catherine. 
 
 CATHERINE. Oh, it isn t my party. 
 
 BRADFORD. No? 
 
 CATHERINE. (Shaking her head) It s Mr. 
 Lumley s. (She puts on gloves) 
 
 HENRY. You must see the difference Doctor 
 Lumley s party, not Catherine s. 
 
 BRADFORD. One of the weaknesses of my profes 
 sion always has been its impulse to prophecy. 
 
 CATHERINE. (Stupidly) What s he talking 
 about, Mr. Waterman? 
 
 HENRY. About you and Lumley. These minister 
 fellows, Catherine, watch the society columns like 
 your father and I watch the markets. Their in 
 comes depend on social futures. 
 
 CATHERINE. Oh, I don t know anything about 
 business. 
 
 HENRY. Well, you won t have to if you marry 
 Lumley. 
 
 CATHERINE. It isn t at all certain that I shall 
 marry Mr. Lumley. 
 
 HENRY. Isn t it? 
 
 CATHERINE. Xo I may not marry anybody. 
 
 (Enter JAMES, a butler.) 
 
 JAMES. Pardon, sir. There s a call at the tele 
 phone. 
 
 HENRY. Me? 
 
 JAMES. (Clearing table) Yes, sir. 
 
24 THE OTHER GIRL 
 
 HENRY. Excuse me. {Exit to house) 
 BRADFORD. I was going to ask you to excuse me 
 from the concert this evening Miss Catherine but if 
 the party s entirely Mr. Lumley s I ll ask him. 
 
 {Exit JAMES with coffee cups and napkins.) 
 
 CATHERINE. Can t you go? 
 
 BRADFORD. I have some writing that I shouldn t 
 neglect any longer and besides that, Mr. Sheldon s 
 coming to get his things this evening. 
 
 CATHERINE. (Interested and surprised) Mr. 
 Sheldon? 
 
 BRADFORD. Yes. 
 
 CATHERINE. His things? Why? 
 
 BRADFORD. He s through with me for the pres 
 ent I ve graduated. 
 
 CATHERINE. And he s not coming any more at 
 all. 
 
 (Enter JAMES.) 
 
 BRADFORD. No (At steps) James! 
 
 JAMES. (Going to BRADFORD) Yes, sir. 
 
 BRADFORD. Mr. Sheldon s coming to take the 
 gloves and shoes and some other things that belong 
 to him. I ll show you which ones they are and you 
 can help him do them up. 
 
 JAMES. (Sulkily) Yes, sir. 
 
 BRADFORD. (To CATERINE) You ll excuse me a 
 moment. 
 
 CATHERINE. Certainly. 
 
 BRADFORD. (Going down steps) And to-morrow 
 these mattresses can be put in the trunk room. 
 
 JAMES. (Following, with disapproval) Yes, sir. 
 
 CATHERINE. (Alone) He s not coming any more 
 at all. 
 
 ESTELLE. (From third story balcony) Shall we 
 need opera glasses, Catherine what do you think? 
 
THE OTHER GIRL 25 
 
 CATHERINE. I m not going. 
 ESTELLE. Not going why ? 
 CATERIXE. I ve changed my mind. 
 ESTELLE. Why ? 
 
 CATHERINE. (Quick glance to garden) I ll tell 
 you later. 
 
 (Enter MRS. MATTIE WATERMAN from house. She 
 is the athletic Nezv York woman of thirty-three.) 
 
 MRS. WATERMAN. Oh. All alone, Catherine? 
 
 CATHERINE. Dr. Bradford has just left me. 
 
 MRS. WATERMAN. My! what a pretty gown my 
 dear. 
 
 CATHERINE. You like it? 
 
 MRS. WATERMAN. Who wouldn t like it? Now 
 don t tell me that was made in Philadelphia, too. 
 
 CATHERINE. Yes, it was. 
 
 MRS. WATERMAN. Well, you certainly have found 
 a treasure in that woman. 
 
 ESTELLE. Do you think so, Mrs. Waterman? 
 
 MRS. WATERMAN. (Looking tip to balcony) 
 Oh, you there Estelle ? Why of course I think so. 
 I never saw anything like it. I ve two gowns that I 
 brought from Paris that I d give her for it this 
 minute if it would fit me. You must carry a long 
 wrap with that, my dear. Y r ou know the concert s 
 on the roof and the chairs are bound to have some 
 dust on them soot or something. 
 
 CATHERINE. You might bring my gray cloak, 
 Estelle. 
 
 ESTELLE. You ll go, then? Good. (Exit) 
 
 MRS. WATERMAN. What does she mean, Cath 
 erine? Did you think of not going? 
 
 CATHERINE. I m not sure that I shall. 
 
 MRS. WATERMAN. You re not ill, Catherine dear. 
 
 CATHERINE. Oh, half no, it isn t that but I 
 just can t go to-night. 
 
26 THE OTHER GIRL 
 
 MRS. WATERMAN. (Anxiously) My dear! 
 What is it? (CATHERINE shakes her head) You 
 must tell me, my dear. 
 
 CATHERINE. Since my engagement s been pub 
 lished, I ve felt half dazed all the time. 
 
 MRS. WATERMAN. (Comfortingly) And quite 
 excusably, my dear Catherine; Reggy Lumley s the 
 catch of the season. 
 
 CATHERINE. But, I want to think about it. I 
 don t want to be rushed, in this way. 
 
 MRS. WATERMAN. Rushed Why there s no day 
 set is there? 
 
 CATHERINE. No but the man himself Why 
 don t you tell me what to do? 
 
 MRS. WATERMAN. Why, I will, of course. What 
 is it? 
 
 CATHERINE. If I really loved him, I d want to 
 see him this evening, wouldn t I ? and I don t. 
 
 MRS. WATERMAN. You don t? 
 
 CATHERINE. No I don t. My hands are so 
 cold at the thought, that my gloves don t fit me. 
 
 MRS. WATERMAN. Why, you strange creature 
 and when you were here in October, you could 
 scarcely wait until the evening for him to call. 
 
 CATHERINE. I know it and I liked him in Phil 
 adelphia too. 
 
 MRS. WATERMAN. Well, of course, that doesn t 
 mean so much and now? 
 
 CATHERINE. (Explaining and extending her limp 
 arms) This way. 
 
 MRS. WATERMAN. And you think it s the an 
 nouncement that has caused the change in you, my 
 dear? 
 
 CATHERINE. Oh, no, it s more than that. 
 
 MRS. WATERMAN, (with match-making eager 
 ness) Catherine ! you ve met some one else 
 (CATHERINE turns away) My dear Catherine! 
 (Puts arm about her) Tell me. (CATHERINE 
 
THE OTHER GIRL 27 
 
 shakes her Jiead) But, my dear, you haven t seen 
 anybody else. Besides poor Lumley you haven t 
 seen anybody but in this house. (CATHERINE covers 
 her face) Catherine! It can t be that 
 
 CATHERINE. (Impulsively) Oh, don t ask me 
 
 MRS. WATERMAN. I won t I won t not a 
 word, my dear. (Pause) Does Estelle know? 
 (Looks up at balcony CATHERINE nods) What 
 does she say? (CATHERINE shakes her head) 
 Doesn t approve, eh? (CATHERINE shakes her 
 head) m Well, my dear, your aunt Mattie 
 
 CATHERINE. Please don t ask me? 
 
 MRS. WATERMAN. Not a word. dear, not a word. 
 (Pause) He s nice of course. (CATHERINE nods) 
 Money? (CATHERINE shakes her head) Business 
 man? (CATHERINE shakes her head) Profes 
 sional? (CATHERINE nods. MRS. WATERMAN em 
 braces her protecting! y) Well, if you love him, 
 my dear, a professional man makes a very good hus 
 band that is if (Pause) He s not a lawyer? 
 (CATHERINE shakes her head) Not a physician? 
 (CATHERINE shakes her head) Not a 
 
 CATHERINE. Oh, please don t ask me. 
 
 MRS. WATERMAN. Not a word, my dear not a 
 word. There there (Pause) Well, if he hasn t 
 money I hope he has youth and health. (CATHERINE 
 nods) He s a good physical specimen? (CATH 
 ERINE nods) Good! Good (Pause) But, dear 
 me, it s going to be a trifle hard on Reggie Lumley, 
 though Reggie really deserves it. 
 
 CATHERINE. Oh. Mrs. Waterman what shall I 
 do? 
 
 MRS. WATERMAN. You re quite sure vou love 
 him? 
 
 CATHERINE. Yes. 
 
 MRS. WATERMAN. Has he proposed to you? 
 
 CATHERINE. Oh, no. 
 
 MRS. WATERMAN. Of course he hasn t (Pause) 
 
28 THE OTHER GIRL 
 
 Do ? Well, the first thing to do my dear, is to make 
 him propose. 
 
 CATHERINE. But my father won t like it at all 
 he won t like the man s profession, and he won t like 
 his being poor. 
 
 MRS. WATERMAN. (With some hauteur} m. 
 The gentleman s profession supports him, doesn t it? 
 
 CATHERINE. Oh, yes. 
 
 MRS. WATERMAN. And it improves others? 
 
 CATHERINE. Oh, yes. 
 
 MRS. WATERMAN. Well, let me tell you, my 
 dear, that this getting married is a very personal 
 thing ; and if you love the man and you don t love 
 Reggie Lumley at all 
 
 CATHERINE. But I m not sure of that. I think 
 I love Mr. Lumley too Do you think a girl can 
 love two men, Mrs. Waterman? 
 
 MRS. WATERMAN. (A trifle behind the times) 
 Well, my dear. (Pauses) Hardly in the same way. 
 
 CATHERINE. Not in the same way at all. I m 
 proud of Mr. Lumley, and I feel so so safe and 
 protected and respectable when he s with me. But 
 the other one makes me almost forget Mr. Lumley. 
 I m not myself, I feel like running away from people 
 and hiding myself. I feel as though someone should 
 scold me very hard for something I haven t done at 
 all. I feel rebellious and lawless and not like my 
 self. Why sometimes I almost want to strike 
 Estelle. 
 
 MRS. WATERMAN. Strike Estelle. You mean 
 when she opposes you in this new affection? 
 
 CATHERINE. Yes. 
 
 (Enter BRADFORD.) 
 
 BRADFORD. I ve asked Miss Catherine to excuse 
 me to-night. I shall have to miss the concert and 
 CATHERINE. I m not going either. 
 
THE OTHER GIRL 29 
 
 (MRS. WATERMAN pleased.) 
 
 BRADFORD. Oh, you re not going? 
 
 MRS. WATERMAN. (With meaning) No, Cath 
 erine isn t feeling quite herself to-night and we ve 
 decided between us that the concert would bore her. 
 
 BRADFORD. Oh 
 
 CATHERINE. Do you mind, Mrs. Waterman, if I 
 pick one of those roses? (In garden L.) 
 
 MRS. WATERMAN. Take as many as you like, my 
 dear. 
 
 CATHERINE. Thank you. (Goes doivn steps L. 
 MRS. WATERMAN nods to BRADFORD to look at 
 CATHERINE, he does so and looks back inquiringly) 
 
 MRS. WATERMAN. Pretty? 
 
 BRADFORD. Very. 
 
 MRS. WATERMAN. She s about as stylish a girl 
 as we know. Cliff, dear. 
 
 BRADFORD. Yes, I think she is. 
 
 MRS. WATERMAN. Everything looks well on her. 
 There s an old fright of a gown done in Philadeiphia 
 and she makes it look as if it had been made in 
 Paris. 
 
 BRADFORD. A very misleading young woman, al 
 together. 
 
 MRS. WATERMAN. Misleading? (BRADFORD 
 nods) What do you mean by that? 
 
 BRADFORD. She looks wise enough to give Greek 
 lessons to Minerva and she hasn t the brains of a 
 wax doll. 
 
 MRS. WATERMAN. Why, Cliff, you re mistaken. 
 
 BRADFORD. (Amused) Am I, Mattie? 
 
 MRS. WATERMAN. You re very much mistaken. 
 I ve seen a pincushion that she painted just as hand 
 some as anything in the shops. 
 
 BRADFORD . Really? 
 
 MRS. WATERMAN. And I m sure she plays ver\ 
 well and while she doesn t talk glibly at all, all the 
 
30 THE OTHER GIRL 
 
 men, every one of them, are crazy about her, I m 
 sure, just crazy. 
 
 BRADFORD. She seems fairly popular when her 
 friend Miss Kitteridge is with her. 
 
 MRS. WATERMAN. They make a very good con 
 trast. 
 
 BRADFORD. Very. 
 
 MRS. WATERMAN. Estelle (Looks cautiously at 
 zvindozv) Estelle s as plain as a mud fence and 
 Catherine s a howling beauty. 
 
 BRADFORD. Yes? 
 
 MRS. WATERMAN. (Getting annoyed) Yes, and 
 you re very much mistaken, Cliff dear, if you think 
 the men are attracted by Estelle they come to see 
 Catherine. 
 
 BRADFORD. They come to look at Miss Fulton, I 
 dare say, but they remain to talk with Miss Kit 
 teridge. 
 
 MRS. WATERMAN. Oh, you over-estimate the 
 value of talk all ministers do. 
 
 BRADFORD. So I begin to fear. 
 
 MRS. WATERMAN. A man doesn t marry a woman 
 because she can talk. Men frequently quit them for 
 it. No indeed a man wants a wife that s stylish 
 and looks well one who as Henry would say 
 who " can make a front ". I m sorry to see you so 
 interested in the Kitteridge girl, Cliff. She s only a 
 companion, you know. It wouldn t surprise me if 
 she got a salary. 
 
 BRADFORD. My profession, Mattie, has no deep- 
 seated prejudice against salary. 
 
 MRS. WATERMAN. So I ve observed ; but her 
 salary would stop if she got married and her ability 
 to talk might even increase. 
 
 BRADFORD. It would naturally grow with her in 
 formation. 
 
 MRS. WATERMAN. So would Catherine s and it 
 might turn out that even Catherine d talk all you 
 
THE OTHER GIRL 3 1 
 
 wanted her to. There s a depth of feeling in the 
 girl that none of us has dreamed of and she s cer 
 tainly very bright at times. 
 
 BRADFORD. Indeed I ve failed to notice that. 
 
 MRS. WATERMAN. There are many things, my 
 dear brother, that you fail to notice. 
 
 BRADFORD. True. 
 
 MRS. WATERMAN. For one thing you fail to 
 notice that the poor girl s dead in love with you. 
 
 BRADFORD. (Astonished and annoyed) What? 
 
 MRS. WATERMAN. Sh yes, you I mean it. 
 You ve driven her almost frantic with it. 
 
 BRADFORD. Miss Fulton? 
 
 MRS. WATERMAN. Yes. 
 
 BRADFORD. Ridiculous, why she s engaged to 
 marr\ Reginald Lumley. 
 
 MRS. WATERMAN. That s a mere bit of finesse. 
 
 BRADFORD. A bit of what? 
 
 MRS. WATERMAN. Finesse she s trying to pique 
 you into saying something yourself. 
 
 BRADFORD. (Warningly) Now see here, Mattie 
 I said the poor girl didn t know anything, but 
 don t tell me she s immoral. 
 
 MRS. WATERMAN. Cliff dear you ministers 
 would do twice as much good in this world if you 
 didn t call things such dreadful names. Immoral 
 is a word we apply to a lady after the court decides 
 that she deserves it and gives the divorce to the 
 husband. A simple engagement in fact the very 
 first engagement; and as pretty a girl as Catherine 
 is mere vivacity. Now I won t talk to you, Cliff 
 7 won t. 
 
 BRADFORD. I shouldn t Mattie, if I were you. It 
 strikes me the burden of responsibility is in the 
 other direction. 
 
 MRS. WATERMAN. Never mind. The girl loves 
 you she s got money and you haven t even a cer 
 tainty in your profession. 
 
32 THE OTHER GIRL 
 
 BRADFORD. No? 
 
 MRS. WATERMAN. No with your ability to get 
 amusement out of the burial service. 
 
 BRADFORD. Now, see here, Mattie. We both 
 know all about that. I have unfortunately laughed 
 at critical moments when it would have been more 
 generally agreeable to have remained serious. I ad 
 mit it but my vestry understood the conditions 
 very well. They recognize that when I m amused 
 it is at some ridiculous pretence and not at any virtue 
 or at any laudable endeavor. It seems somewhat 
 incongruous that I should retain their confidence and 
 that my own sister 
 
 MRS. WATERMAN. (Going to him) Why, Cliff, 
 it isn t you. It s your profession. Some ministers 
 are born for it. They d rather be good but you re 
 a man who could enjoy life if you had money. 
 
 BRADFORD. My dear Mattie ! 
 
 MRS. WATERMAN. No, listen to me, Cliff. We 
 both know that your profession s a great struggle. 
 Now here s the richest girl in Philadelphia. I ve 
 suspected it all along when you re boxing or 
 wrestling out there she s at the window 
 
 BRADFORD. No no no why Mattie, I couldn t 
 marry a woman I didn t love, even if 
 
 MRS. WATERMAN. But Cliff, dear, you haven t 
 tried 
 
 BRADFORD. And I don t mean to try I m not 
 striving to get out of the ministry, Mattie. I m 
 working the hardest I know how to stay in it. And 
 if I can marry, the woman will be one of character 
 and 
 
 MRS. WATERMAN. (Mocking) And piety. 
 
 BRADFORD. I shan t insist on that but I shall 
 hope for some intelligence and spirituality. 
 
 (Enter HENRY and LUMLEY. LUMLEY is a young 
 man of more money than brains.) 
 
THE OTHER GIRL 33 
 
 HENRY. Mr. Lumley, my dear. 
 LUMLEY. (Following) I came a trifle early be 
 cause 
 
 (JAMES re-er.ters by steps L. and removes umbrella 
 from table closing it.) 
 
 MRS. WATERMAN. (leaking LUMLEY S hand) 
 That was very proper, I m sure. 
 
 BRADFORD. Good-evening; we were just discus 
 sing you, Mr. Lumley. 
 
 LUMLEY. (To MRS. WATERMAN) Pleasantly, I 
 hope. 
 
 MRS. WATERMAN. (Smiling) Oh, yes. 
 
 BRADFORD. (Insinuatingly) My sister was plan 
 ning a little surprise for you. 
 
 (JAMES removes table cloth and blanket pad.) 
 
 LUMLEY. Oh, I hope I haven t spoiled it, I love 
 a surprise. 
 
 MRS. WATERMAN. (IVarningly) Cliff! 
 
 (Exit JAMES to house.) 
 
 LUMLEY. At least tell me what it s about. A sur 
 prise is so much more enjoyable if one knows what 
 its about. (BRADFORD points off to CATHERINE) 
 Oh Ah, I hadn t seen Catherine. (Calling off left 
 to CATHERINE) Good-evening. (Impulsively starts 
 off. Pause to MRS. WATERMAN) I may? (In 
 dicates stairs) 
 
 MRS. WATERMAN. Why, of course. 
 
 LUMLEY. Thank you. (Exit by stairs) 
 
 HENRY. What surprise? 
 
 BRADFORD. \Vhy Mattie advises me to 
 
 MRS. WATERMAN. (Interrupting and looking 
 
34 THE OTHER GIRL 
 
 quickly tozvard garden) Cliff? (To HENRY) 
 Nothing at all. 
 
 HENRY. Oh (Turns away to rail) 
 
 BRADFORD. Can t we tell Henry? 
 
 MRS. WATERMAN. I ll tell him myself some other 
 time. 
 
 HENRY. Handsome couple aren t they? 
 
 MRS. WATERMAN. Very But don t stare at 
 them, Henry. Can t you see there s a little un 
 pleasantness ? 
 
 HENRY. Is there? Unpleasantness? 
 
 MRS. WATERMAN. Yes Some little disagree 
 ment probably. 
 
 BRADFORD. (Smiling and nodding tozvard yard) 
 Best place in the world for an argument. 
 
 HENRY. Two mattresses yes ha, ha ! 
 
 MRS. WATERMAN. (Chiding) Henry! 
 
 HENRY. (In mock obedience) What is it, 
 Mattie ? 
 
 MRS. WATERMAN. They ll think you re laughing 
 at them. 
 
 HENRY. Well I am. 
 
 (Enter ESTELLE from house zvith cloak for CATH 
 ERINE.) 
 
 ESTELLE. Everybody ready? 
 
 MRS. WATERMAN. I think so. 
 
 ESTELLE. Didn t I hear Mr. Lumley s voice? 
 
 BRADFORD. (Indicating garden) In the garden. 
 
 ESTELLE. (Seeing) Oh. 
 
 HENRY. But you mustn t look at them. 
 
 ESTELLE. No ? 
 
 MRS. WATERMAN. Catherine isn t going to the 
 concert, and she s telling him so. 
 
 ESTELLE. (To MRS. WATERMAN) Why not 
 Has she told you ? 
 
THE OTHER GIRL 35 
 
 BRADFORD. (With back to rail) Its a little sur 
 prise we re arranging for Reggie (Nods off) 
 
 MRS. WATERMAN. (To BRADFORD) Nonsense. 
 (To ESTELLE) But the rest of us will go, of course 
 I m really sorry for Reggie, but then 
 
 BRADFORD. But then finesse is finesse isn t it, 
 Mattie? 
 
 HEXRY. (Moving from rail) Time ! 
 
 MRS. WATERMAN. (To HENRY) What is it? 
 
 HENRY. First round s over they re coming. 
 (Nonchalantly tries empty bottle) 
 
 MRS. WATERMAN. (Turning with society man 
 ner) Oh! Did you find some pretty ones ? (Goes 
 to rail. HENRY winks to BRADFORD) 
 
 CATHERINE. (Off) All these You won t scold 
 me, will you? 
 
 MRS. WATERMAN. Not this time, my dear. 
 
 (BRADFORD goes to ESTELLE R.) 
 
 ESTELLE. Is the finesse Catherine s or your 
 sister s ? 
 
 BRADFORD. You know of it? 
 
 (Enter CATHERINE followed by LUMLEY.) 
 
 ESTELLE. (Shaking head) Only what you just 
 said but of course the ministry wouldn t use 
 finesse, and Wall Street (Nodding toward WATER 
 MAN) doesn t know how. So it must be finesse by 
 one of the ladies. 
 
 BRADFORD. But you think either Wall Street or 
 the Ministry might prove susceptible to it. 
 
 ESTELLE. Both ! 
 
 LUMLEY. (At top of steps) It s too bad, isn t 
 it, that Miss Catherine isn t feeling well? 
 
 HENRY. (With surprise) Not feeling well? 
 
36 THE OTHER GIRL 
 
 (CATHERINE shakes her head and looks at ESTELLE 
 who has a glance of enquiry.) 
 
 LUMLEY. But she heroically insists that the rest 
 of us shall go to the concert. 
 
 CATHERINE. (Demurely) I shan t mind being 
 alone at all. 
 
 MRS. WATERMAN. Oh, you won t be alone, my 
 dear all the servants here, and Doctor Bradford s 
 staying in 
 
 LUMLEY. (Disappointed) Oh! Doctor Brad 
 ford can t go either? 
 
 BRADFORD. (To MRS. WATERMAN) Yes, I ve 
 decided to go. 
 
 (CATHERINE half smiles, biting her under lip in 
 restraint.) 
 
 MRS. WATERMAN. (With disapproving surprise} 
 Oh you have ? 
 
 (BRADFORD nods with decision.) 
 
 HENRY. (To BRADFORD) It ll be a trifle late 
 however, Doctor. 
 
 BRADFORD. Will it? 
 
 HENRY. (Nods off) My telephone was Judge 
 Bates he s coming over to see you. 
 
 BRADFORD. Oh (To LUMLEY) Then I shall be 
 late of course. 
 
 LUMLEY. (Getting his tickets) Oh (Pause) 
 Well, I ll leave you a coupon anyway and give your 
 name to the man at the door. 
 
 MRS. WATERMAN. You might leave two. Cath 
 erine may feel better after a while. 
 
 CATHERINE. No, I m sure I sha n t. 
 
 ( LUMLEY gives two coupons to BRADFORD. Enter 
 FULTON.) 
 
THE OTHER GIRL 37 
 
 FULTON. I hope I haven t kept you waiting. 
 Good-evening, Reginald. 
 
 LUMLEY. Good-evening. Too bad Catherine isn t 
 feeling well. 
 
 FULTON. (Anxious) Why, my dear 
 
 CATHERINE. It s nothing, father. I m sure I 
 shall be all right as soon as you ve gone and I lie 
 down a few minutes. 
 
 FULTON. I ll stay home with you. 
 
 CATHERINE. Xo, no you mustn t. I want you 
 to hear the concert I want you all to hear it. 
 (Exit to house.) 
 
 FULTON. (Follows) My dear Catherine 
 
 LUMLEY. We can postpone it of course, Mrs. 
 Waterman. 
 
 MRS. WATERMAN. We should only lose our 
 evening; all of us. Catherine wishes to be alone, 
 you see. (Exit) 
 
 LUMLEY. Oh. (Follows) 
 
 ESTELLE. Do the " finesse " and the " surprise " 
 relate to the same subject? 
 
 BRADFORD. I believe they do. 
 
 ESTELLE. Mrs. Waterman evidently approved? 
 
 BRADFORD. (With a look to HENRY) So it 
 seems. 
 
 ESTELLE. (With some perplexity) Oh (Exit) 
 
 HENRY. What s she mean by that? 
 
 BRADFORD. She means that nobody in particular 
 is fooling her. 
 
 HENRY. Who is being fooled. (BRADFORD 
 shrugs his shoulders) What s the surprise Mattie s 
 arranging for Reggie? 
 
 ^ BRADFORD. Mattie s going to marry the Fulton 
 girl to me. 
 
 HENRY. Good! And is Barkis willing? 
 
 BRADFORD. Barkis is not willing. 
 ^ HENRY. ^ (Amused) I ll be sorry to lose you, 
 Cliff, but if Mattie s set her mind on it you ll either 
 
38 THE OTHER GIRL 
 
 have to marry the girl or move into an hotel. This 
 place ll get too warm for you. 
 
 BRADFORD. (Annoyed) Mattie s niy sister and 
 now that you ve been married as long as you have 
 there s no particular disloyalty in my criticising her 
 to you 
 
 HENRY. (Warningly) I shall be a very pre 
 judiced umpire. 
 
 BRADFORD. Be as partisan as you like ; don t 
 you think there s something heinously cold-blooded 
 in suggesting to steal another man s fiancee simply 
 for her money and 
 
 HENRY. (Laughing) My dear Cliff, with your 
 facilities for Divine asistance why do you appeal to 
 a weak and mundane broker 
 
 BRADFORD. Hang your assistance, Henry I only 
 wish to know if all my associates are as worldly 
 minded as that. 
 
 HENRY. I fear I m very commerical myself and 
 ten years evil communication has probably cor 
 rupted Mattie. 
 
 BRADFORD. (Pause) How much longer do they 
 visit here? 
 
 HENRY. Fulton s over only for the day. 
 
 BRADFORD. Of course. I mean the young ladies ? 
 
 HENRY. Oh, that s entirely in Mattie s hands. 
 (Suddenly) And and yours 
 
 BRADFORD. And mine? 
 
 HENRY. (Nodding) Yes, if you stubbornly 
 hold out you know it may take Mattie a year to 
 get you together. 
 
 BRADFORD. Oh 
 
 (Re-enter ESTELLE with cloak which she puts on a 
 chair. ) 
 
 ESTELLE. May I wait out here with you gentle 
 men? 
 
THE OTHER GIRL 39 
 
 BRADFORD. Delighted. 
 ESTELLE. Thank you. 
 
 BRADFORD. (Indicating house) Any further 
 complications ? 
 
 ESTELLE. (Smiling) Mr. Lumley wishes to wait 
 for Catherine to recover and Mrs. Waterman is ex 
 plaining the hopelessness of that plan. 
 
 HENRY. Mattie d better not manage too en 
 thusiastically. Maybe a slight cough on my part 
 eh? (To BRADFORD) 
 
 BRADFORD. At least a cough. (Exit HENRY) 
 (To ESTELLE) I feel very sorry for Miss Catherine. 
 ESTELLE. I feel sorry for her poor father. 
 BRADFORD. Do you why? 
 
 ESTELLE. Because he takes all her little whims 
 so very seriously. 
 
 BRADFORD. Has she many whims? 
 ESTELLE. Quite as many as the usual American 
 girl. My father and Mr. Fulton were dear friends. 
 My father had no chance to repay the great kindness 
 of Mr. Fulton and / may never have a chance, but 
 I can at least avoid adding to his cares. 
 
 BRADFORD. I m sure Mr. Fulton must feel very 
 grateful for your influence upon his daughter. 
 ESTELLE. (Shaking head) Catherine s fairly 
 
 self-willed in important matters and 
 
 BRADFORD. I meant your unconscious influence. 
 ESTELLE. Oh Thank you vou think it valu 
 able? 
 
 BRADFORD. Quite. 
 
 ESTELLE. I should feel more complimented if you 
 had had more opportunities to judge. 
 
 BRADFORD. They are limited as to Miss Cath 
 erine perhaps, but you must remember that I observe 
 your influence upon this entire house-hold here. 
 It is normal and womanly. Our plans for a day 
 drift into quite other channels when you are part of 
 the conference. 
 
40 THE OTHER GIRL 
 
 ESTELLE. Oh, don t say that I manage, Doctor. 
 I don t like a managing girl. 
 
 BRADFORD. I shan t. 
 
 ESTELLE. I never introduce a topic never. 
 
 BRADFORD. Perhaps not, but you bring sanity and 
 moderation to its discussion. You bring moderation 
 and temperance to our way of living if I may say so. 
 There there isn t as much wine drunk at this table 
 as there was before you came. 
 
 ESTELLE. I knew you were judging unfairly. 
 That s Catherine s influence, not mine. Catherine s 
 a blue ribbon girl a tee-totle crank. / like a little 
 wine, myself. 
 
 BRADFORD. So do I. Total Abstinence isn t tem 
 perance. It s total abstinence. I really believe that 
 the example of your drinking one glass of wine and 
 only one tones up the resolutions of a man like 
 (Starts to indicate table) well, any man, much more 
 than Miss Catherine s refusal. Yours is control. 
 Her s is prejudice. Or, at least, we argue that way. 
 
 ESTELLE. This is all very flattering, Doctor Brad 
 ford, and I m almost tempted to accept it, but I m 
 not as good as you think. To begin with, I m an 
 awfully stingy person I think I d drink a second 
 glass of beer sometimes, but I can t drink wine that 
 costs three or four dollars a bottle when there are so 
 many poor women, that I know of, working a whole 
 week for that money. I simply can t do it, that s all. 
 
 BRADFORD. I think you said as much to Mrs. 
 Waterman one morning? 
 
 ESTELLE. I know it wasn t it rude of me? 
 
 BRADFORD. She didn t consider it rude, I m sure. 
 
 (Enter ANN, the Cook Irish by stairs L.) 
 
 ANN. (With asperity) Phwere ll you have this 
 bundle, Doctor Bradford? 
 BRADFORD. What is it? 
 
THE OTHER GIRL 4 
 
 ANN. It s a fannel shirt and two towels and 
 some shoes and a horse s billy band and 
 
 BRADFORD. Oh Mr. Sheldon s things. 
 
 ANN. I blave they are, sor. 
 
 BRADFORD. Keep them until Mr. Sheldon comes 
 for them, please. 
 
 ANN. (Descending) James said you wanted 
 them. 
 
 BRADFORD. James was mistaken. 
 
 Axx. (Grunting as she goes) Ah o I ll put 
 em under the porch and Mr. Sheldon can (Groins 
 inaudible) 
 
 ESTELLE. (Smiling) Ann is plainly not a mem 
 ber of your denomination, Doctor. 
 
 BRADFORD. Why plainly? 
 
 ESTELLE. She wouldn t disapprove of her own 
 pastors taking exercise. 
 
 BRADFORD. Has she disapproved of m y doing so ? 
 
 ESTELLE. All the servants have. 
 
 BRADFORD. Oh, have they? Well, it Jias occa 
 sionally added to their duties. 
 
 ESTELLE. I think the unfriendliness is a question 
 of your prayerbook. We girls add very much to 
 their duties but they like us. 
 
 BRADFORD. (With some fervor) There again 
 you see your influence : and with me too May I say 
 that it exists, Miss Estelle? 
 
 ESTELLE. (Pause) If if it is true. 
 
 BRADFORD. It is very true. (Pause) Is this 
 knowledge unwelcome ? 
 
 ESTELLE. (Very serious and somewhat startled) 
 It is strange I don t know. 
 
 BRADFORD. Strange in what way? 
 
 ESTELLE. You ve seemed so right to me all the 
 time as you were, that I shouldn t have wished to 
 influence you. I ve tried to move towards the ideals 
 that you ve expressed. I ve listened as one who fol 
 lows, another listens. Why, of course, it s strange. 
 
42 THE OTHER GIRL 
 
 It couldn t be more strange if the morning paper 
 came out with an editorial saying I d influenced the 
 editor. (Laughs anxiously) 
 
 BRADFORD. (Smiling) Can t you forget the 
 preacher ? Can t you forget that I m one ? 
 
 ESTELLE. I have at times forgotten it. 
 
 BRADFORD. When ? 
 
 ESTELLE. When you ve been the athlete there 
 (Indicating garden) 
 
 BRADFORD. Won t you remember that under the 
 clergyman, however wide his clerical field, there is 
 always the man, human, susceptible, with every im 
 pulse to which a woman speaks (Pause) Will you 
 remember that? 
 
 ESTELLE. If you wish it yes. 
 
 BRADFORD. And you won t resent my remember 
 ing that I m a man when I can t forget for a mo 
 ment that you are a woman. 
 
 ESTELLE. But I ve never, never tried to make you 
 think of me that way. Have I ? 
 
 BRADFORD. I fear not. 
 
 (Enter HENRY.) 
 
 HENRY. This way, Judge (To BRADFORD) 
 Judge Bates Doctor. 
 
 (Enter JUDGE BATES. ESTELLE goes up.) 
 
 BRADFORD. Good-evening, Judge. 
 JUDGE. (They shake hands) Good-evening, 
 Doctor. 
 
 (ESTELLE quietly goes by 2nd door.) 
 
 JUDGE. Now we ve only a moment, Doctor. I ve 
 pushed this matter with the Times. Ordinarily 
 the watchword is " Delay " but in this case I ve made 
 
THE OTHER GIRL 43 
 
 it "Action, action." (Taking chair] Now to 
 Hecuba. My plan is an editorial retraction to 
 morrow*. 
 
 HENRY. But Judge, we can t rest on a mere 
 retraction. 
 
 JUDGE. Rest! Who said rest? My plan is action 
 action. 
 
 BRADFORD. Good. 
 
 (Enter MRS. WATERMAN.) 
 
 MRS. WATERMAN. You don t mind my hearing 
 it, do you? 
 
 (HENRY hushes her.) 
 
 JUDGE. (Quickly) Not at all the retraction is 
 only the beginning there must be damages. We ll 
 demand one hundred thousand dollars and settle out 
 of court for fifty thousand. 
 
 HENRY, (to BRADFORD) Cliff; I can put fifty 
 thousand into first mortgage bonds 
 
 BRADFORD. / couldn t take the money, Henry. 
 If some charitable institution 
 
 JUDGE. (Interrupting) All that can come later. 
 The paper is sending up the man who wrote the 
 article I ve phoned him to meet us here. 
 
 HENRY. Why not their lawyer? 
 
 JUDGE. I don t know. 
 
 HENRY. (Exaggerating) Oh, it s an appeal for 
 mercy, the fellow ll have a wife and four children 
 and his place on the paper ll be gone if we press 
 the suit 
 
 BRADFORD. Well 
 
 MRS. WATERMAN. Now there s Cliff weakening 
 already. (She goes to him) 
 
 BRADFORD. Well, he may have children. 
 
 HENRY. So may you some day Now you keep 
 still and leave the whole business to the Judge. 
 
44 THE OTHER GIRL 
 
 (Enter JAMES.) 
 
 JAMES. Card, sir. 
 
 HENRY. (With card, reads) "Morton Taylor, 
 New York Times ". 
 
 JUDGE. That s the man. 
 
 HENRY. Show him up? 
 
 MRS. WATERMAN. Wait ! Not through the house, 
 Henry. If he s the man who wrote that stuff about 
 Cliff, I won t have him come though my dining-room, 
 and I don t want to see him myself. (To JAMES) 
 Where is the person? 
 
 JAMES. In the reception room, ma am, below. 
 
 MRS. WATERMAN. Bring him through the trade- 
 men s entrance. (Indicates yard) 
 
 JAMES. Yes, ma am. (Exit) 
 
 MRS. WATERMAN. Come, Henry, we ll go before 
 he comes. 
 
 HENRY. (Protesting) But I want to hear the 
 interview. 
 
 MRS. WATERMAN. Isn t the Judge enough? 
 
 JUDGE. Quite. 
 
 MRS. WATERMAN. You must go, Henry. Cath 
 erine wants Estelle to stay home with her, and we 
 can t all desert poor Mr. Lumley. 
 
 HENRY. (Going) I ll hear a bit of the music, 
 Judge, and then come over to your house. 
 
 JUDGE. Make it the Bar Association. 
 
 HENRY. Very well. 
 
 MRS. WATERMAN. (In emotion) Remember, 
 Cliff. 
 
 JAMES. (In garden) This way, sir. 
 
 MRS. WATERMAN. There he is Oh. (Exit, fol 
 lowed by HENRY) 
 
 JUDGE. I d better conduct the interview, Doctor? 
 
 BRADFORD. By all means. 
 
 JAMES. (At stairs) Mr. Taylor. 
 
THE OTHER GIRL 45 
 
 TAYLOR. (Entering and regarding surroundings) 
 This is pretty. Kind of roof-garden effect. 
 
 (Exit JAMES to house. } 
 
 JUDGE. (At once to business) You re Mr. 
 Taylor ? 
 
 TAYLOR. Yes, sir. Good-evening, Doctor. 
 
 BRADFORD. Good-evening. 
 
 JUDGE. (Savagely) I m Judge Bates. 
 
 TAYLOR. (With irritating quiet) Oh, I know 
 you, Judge Bates. 
 
 JUDGE. Your chief telephoned me that he would 
 send up the young man who wrote the article accus 
 ing the Reverend Doctor Bradford of dining with a 
 prize fighter and a skirt-dancer. 
 
 TAYLOR. Yes, sir. 
 
 JUDGE. You the man? 
 
 TAYLOR. Yes, sir (To BRADFORD) I tried to 
 make it humorous, of course, but 
 
 JUDGE. Yes. But we don t take that view of it, 
 Mr. Taylor. 
 
 TAYLOR. (Smiling in conciliation) I m sorry. 
 It seems my luck to offend Doctor Bradford when I 
 want him to know that I admire him very much. 
 You know, Doctor, I didn t write any of that stuff 
 about the funeral not a line and I d never have 
 winked at you in the world if 
 
 JUDGE. We won t speak of that, sir. 
 
 TAYLOR. Pardon me, Judge Bates, I ll speak of it. 
 (To BRADFORD) I just want to say, Doctor, that I 
 had no intention of breaking you up at that funeral, 
 and I ve never roasted you in my life. Even this 
 story about Kid Garvey was touched up by the City 
 Editor. 
 
 JUDAE. You admit it was a story, do you? 
 
 TAYLOR. We call them " stories ". ^The news- 
 
46 THE OTHER GIRL 
 
 paper pays for them according to the space they 
 occupy, and 
 
 JUDGE. We won t take pay on the space basis. 
 Now hear me. To-morrow your paper must print 
 a retraction of that libel in its editorial columns 
 understand ? 
 
 TAYLOR. I understand but 
 
 JUDGE. (Commandingly) Listen to me- 
 
 TAYLOR. Why listen to you, I m up here to keep 
 Dr. Bradford from being put in a ridiculous posi 
 tion by going into court. We won t retract any 
 thing. He knows that the item was right. 
 
 BRADFORD. What ? 
 
 TAYLOR. See here, Doctor you don t mean to 
 make the usual clerical denial, do you, because the 
 Kid and Myrtle are both personal friends of mine 
 I m on the sporting page as well as on the religious 
 and they ll both of them make affidavits if I ask them 
 to. 
 
 JUDGE. Affidavit to what ? 
 
 TAYLOR. To having dined with Dr. Bradford as 
 I said they did. 
 
 JUDGE. What! You threaten subornation of 
 perjury to support 
 
 BRADFORD. Wait, Judge, there s manifestly some 
 misunderstanding. Mr. Taylor has evidently mis 
 taken some other person for me. 
 
 TAYLOR. (Smiling) Oh, no, Doctor. I wish 
 wouldn t do that with me. You re badly advised, 
 that s all 
 
 (An auto horn and machinery is heard off.) 
 
 JUDGE. Badly advised! 
 
 TAYLOR. Very badly advised. 
 
 JUDGE. I m advising Dr. Bradford in this action 
 
 TAYLOR. That probably explains it. 
 
THE OTHER GIRL 47 
 
 JUDGE. (With increasing intensity) I advise him 
 to get a retraction. I advise him to get the heaviest 
 possible damages a jury will give a verdict for I 
 advise him to get 
 
 TAYLOR. I advise him to get an attorney. 
 
 JUDGE. (Rising) You re an impertinent young 
 
 PUP- 
 TAYLOR. (Rising slowly through respect) See 
 
 here. Judge Bates, my paper doesn t ask me to stand 
 
 personal abuse. Now it s only your age that makes 
 
 " impertinent young pup " go with me. 
 JUDGE. My age! 
 TAYLOR. That s all. You re old enough to be my 
 
 father or I d (Pause) 
 
 JUDGE. You d what? What d you do, sir, what 
 
 would you do? 
 
 TAYLOR. (Very quietly) Why I d hit you on the 
 
 nose. 
 
 BRADFORD. (Interposing as the JUDGE blusters) 
 
 My friends one moment. 
 
 (Auto sound ceases.) 
 
 TAYLOR. (To BRADFORD) A man shouldn t pre 
 sume on his physical debility. 
 
 JUDGE. Have the man leave the house. Doctor, 
 or I can t answer for the consequences. 
 
 BRADFORD. I think, Mr. Taylor, your visit has 
 accomplished all that we can do at this time. 
 
 TAYLOR. But if this man is advising you to make 
 a denial and back it up with a lazv suit 
 
 JUDGE. You ve been asked to go, haven t you? 
 Do you want a servant to kick you out? 
 
 TAYLOR. Oh, there won t anybody kick me out, 
 Judge. 
 
 BRADFORD. (Disturbed) Of course not. 
 
 JUDGE. Go. 
 
 TAYLOR. This 
 
48 THE OTHER GIRL 
 
 (Enter JAMES from dining-room.) 
 
 BRADFORD. One moment, Judge. An automobile 
 just stopped at the house 
 
 JAMES. Mr. Sheldon s come, sir. 
 
 JUDGE. Sheldon? Ask him to come up here at 
 once. 
 
 JAMES. Yes, sir. (Exit by stairs) 
 
 JUDGE. Now remember, young man, you were 
 twice asked to leave this house and refused to do 
 so. 
 
 TAYLOR. Is Sheldon going to put me out ? 
 
 BRADFORD. I hope it won t be necessary, Mr. 
 Taylor, for anybody to use violence. 
 
 TAYLOR. I want only half a dozen words with 
 you alone, Doctor. 
 
 BRADFORD. (Refusing) My case is in my at 
 torney s hands. 
 
 (Enter KID from garden.) 
 
 KID. Good-evening, Doctor. 
 
 JUDGE. Mr. Sheldon, I want you to throw this 
 man out on the sidewalk. 
 
 TAYLOR. Hello, Kid! 
 
 KID. (Easily) Hello, Taylor, what s the row? 
 
 TAYLOR. How s Myrtle? 
 
 KID. Great; why? 
 
 TAYLOR. I thought she looked a little tired the 
 last time I saw her ; when you and she and Doctor 
 Bradford were at the table there, up at Rye Beach. 
 
 KID. Tired ? I thought she looked great. Didn t 
 you, Doctor ? That young lady I introduced you to ? 
 
 BRADFORD. You mean Miss MacCarthy? 
 
 KID. Yes. 
 
 TAYLOR. She s Miss Myrtle Morrison in the 
 theatres, you understand. She s the Kid s girl. 
 
THE OTHER GIRL 49 
 
 BRADFORD. You call Mr. Sheldon " Kid " is 
 that a nickname ? 
 
 TAYLOR. You didn t know that Mr. Sheldon s 
 professional name was " Kid Garvey f " 
 
 JUDGE. Kid Garvey? Are you Kid Garvey? 
 (Kio nods. Pause) The middle weight champion? 
 
 KID. (E-.isil\) Oh, yes, but I don t rub it in. 
 If people don t get on themselves, why I don t go 
 round puttin em wise but what s the trouble? 
 You don t need me to put anybody on the sidewalk 
 with the Doctor there Eh, Doc ! ha, ha. 
 
 (BRADFORD sits stunned after a look at the JUDGE ) 
 
 JUDGE. Mr. Taylor. One moment. (Exit, fol 
 lowed by TAYLOR) 
 
 KID. (Trying to divine the situation} The old 
 man go na try it. (Laughs) Say, I want to sec 
 that. (Following) 
 
 BRADFORD. Mr. Sheldon! (KiD stops and turns) 
 Sit down a moment. (KiD returns and sits. Pause. 
 BRADFORD slowly passes his hand over his face) 
 
 KID. Ain t you feeling well, Doctor? 
 
 BRADFORD. Not very, no. 
 
 KID. (Nodding to house) same trouble, eh? 
 
 BRADFORD. Trifling misunderstanding, yes. 
 
 KID. Well, that s a nice fellow all right, that 
 reporter 
 
 BRADFORD. Why didn t you tell me, Sheldon, that 
 you were Kid Garvey when I asked you last week? 
 
 KID. Well, you see, Doctor, I only took you on 
 to please Bill Muldoon that s all. Sheldon s my right 
 name, anyway, and Bill Bill said for me not to 
 say anything, see ? It was the preachers mostly that 
 backcapped the Horton law here in New York, and 
 you bein a preacher, Bill thought you might get 
 cold feet. 
 
50 THE OTHER GIRL 
 
 BRADFORD. I see. (Pause) So you considerately 
 said nothing to impair my circulation. 
 
 KID. No. Besides it s a rest for a fighter not to 
 have everybody on to what he is. Suppose they put 
 up a fat purse for the best preacher, and you held 
 the belt for America, England and Australia just 
 suppose why you wouldn t butt in with your medals 
 every time some guy dropped his guard now, would 
 you? 
 
 BRADFORD. I don t think I should, but in this case 
 it would have spared some trouble if you had been 
 frank with me. 
 
 KID. Then again, you re wanting to keep every 
 thing dark yourself, not wanting to go to a regular 
 gym. Or even, put on a sweater and take a run in 
 the Park why it all tipped me not to get too flossy. 
 
 BRADFORD. Naturally, naturally. 
 
 (Re-enter JUDGE and TAYLOR.) 
 
 JUDGE. Doctor, Mr. Taylor s going with me to 
 meet Harry at the Bar Association. I think the 
 whole matter will be dropped. 
 
 BRADFORD. Very well, Judge. 
 
 TAYLOR. And don t get any fixed idea, Doctor, 
 that I m unfriendly to you. 
 
 BRADFORD. Thank you. 
 
 TAYLOR. Or the paper either. There s only one 
 man on the entire staff that s got it in for you. 
 Good-night, Kid. (Exeunt JUDGE and TAYLOR) 
 
 KID. Good-night, Beau. (Pause) His paper 
 been turnin you over? 
 
 BRADFORD. One might call it that. 
 
 KID. Well, everything them fellows say, Doctor, 
 good or bad, helps your business as long as the 
 public don t think you re selling out. What is it 
 they say about you? 
 
THE OTHER GIRL 51 
 
 BRADFORD. Oh, there was a rather unkind account 
 of our little lunch at Rye Beach. You didn t see it? 
 
 (Km shakes his head.) 
 
 KID. (Taking a cigarette) Got a match, Doctor? 
 
 BRADFORD. (Passing scrap book) Read that 
 \vhile I get you one. (Exit) 
 
 KID. (Slowly because of darkness with book) 
 " The Reverend Clifton Bradford is taking a more 
 muscular, and if possible, a more humorous view of 
 life (A rose falls on iJie book from aboi c) 
 Hello. (Regards rose. Looks up his face !:gJi:s 
 up with recognition) Say (Looks after BRAD 
 FORD in whisper) I want to see you (Gives a 
 signal that BRADFORD returns) 
 
 (Re-enter BRADFORD, with alcohol light.) 
 
 BRADFORD. Read it? 
 
 KID. Not all. It s kind a dark. (Takes the lamp 
 and reads, also lighting his cigarette reads mum 
 bling:) " Jolly little dinner m m Kid Garvey 
 in m short skirt dancer pleasure palace ". 
 (Speaks) You know / ought to kick on that 
 Myrtle s at Kjgth s. She hasn t done a turn at the 
 Pleasure Palace in two years. You know they don t 
 care what they say, these newspaper guys. (Pause) 
 That sort of thing don t help a girl any. 
 
 BRADFORD. You can tell the young lady that I 
 sympathize with her. 
 
 KID. (Putting book on table) I will; and she ll 
 appreciate it. You made a hit with her. 
 
 BRADFORD. (Pause) I m very much obliged, Mr. 
 Sheldon, for the good you ve done me physically. I 
 think I still owe you twenty dollars. 
 
 KID. Oh, that s good any time. 
 
 BRADFORD. Better now. (Hands a bill) 
 
52 THE OTHER GIRL 
 
 KID. And you don t have to call me Sheldon any 
 more if you don t want to men that know me as 
 well as you do call me Kid. (Rises) 
 
 BRADFORD. Thank you. I had your things 
 wrapped up for you. The cook has them. (Crosses 
 toward rail) 
 
 KID. (Killing time, and watching window) 
 Thanks. Can t sell you that automobile, then? 
 
 BRADFORD. I don t think I could use it, really. 
 
 KID. We made that run to Rye Beach all right, 
 didn t we? 
 
 BRADFORD. Excellent speed almost too fast for 
 a clergyman, perhaps. 
 
 KID. (Reflectively) Rye Beach! (Pause) 
 What was the lawyer and that reporter scrappin 
 about ? 
 
 BRADFORD. Oh, the Judge had begun suit against 
 the paper. That is what I might have avoided if 
 you hadn t have been so modest. 
 
 KID. Suit? Why? 
 
 BRADFORD. Well you see, I didn t know that you 
 were the Kid Garvey, or that Miss McCarthy was 
 the dancer Miss Morrison, and the whole thing 
 seemed malicious it seemed invented. 
 
 KID. (Pause) Oh! (Getting sullen pause) 
 So you sued the paper? 
 
 BRADFORD. An action was contemplated, yes. 
 
 KID. I see. Havin a sandwich with me was bad 
 enough to sue about was it? 
 
 BRADFORD. Well, you read the item t wasn t so 
 much the fact as it was the spirit of it. 
 
 KID. Lemme see that. (Takes book and light 
 again. Reads) 
 
 BRADFORD. My vestry has asked some very an 
 noying questions about the item. 
 
 KID. Who? 
 
 BRADFORD. My vestry. 
 
 KID. Who s she? 
 
THE OTHER GIRL 53 
 
 BRADFORD. The vestry is the managing board of 
 my church a council of gentlemen. 
 
 KID. A silk-stocking bunch, I suppose. 
 
 BRADFORD. They might be more democratic, no 
 doubt. 
 
 KID. (Putting book on table) Well, say, Doctor, 
 you tell em from me that I draw just as much 
 water in ;;/v profession as any of them does in theirs. 
 I ve come out of the ring in nothing but a pair of 
 skates and and a " G " string and shook hands with 
 the best men in the country. 
 
 BRADFORD. Oh, it isn t a personal matter Sheldon. 
 It is an ethical one. It s a clergyman s duty to do 
 anything he can for every man ; and in your case it 
 would be a great pleasure besides, because you re a 
 most likeable chap but, don t you see, it s the 
 business. Clergymen don t dine with with Cham 
 pions because that would be as much as to say that 
 the cleryman approved of the of the champion s 
 business, and besides that, you own a liquor place, 
 don t you? 
 
 KID. I own a saloon, yes. Every fighter owns one 
 if he wins out. 
 
 BRADFORD. Well of course, a clergyman isn t ex 
 pected to approve of that. 
 
 KID. I suppose not. But on the Rye Beach trip, 
 I just wanted to show you my auto. I thought no** 
 body d pay any attention to us. Thousands of people 
 that know me in the ring don t know me at all with 
 my clot lies on and meeting Myrtle there was pure 
 accident. 
 
 BRADFORD. I m sure of it. 
 
 KID. Because I like you, Doctor. You re a sure 
 hit with me, and I don t need anybody s money. 
 My saloon s worth 500 a week and I can turn ten 
 thousand clear with a dub " knock out." I took 
 your money just to make you feel easy, that s all, 
 and you tell your vestry gazabos that I did this with 
 
54 THE OTHER GIRL 
 
 the last 20 you gave me. (Lights the bill by the 
 lamp and starts to light his cigarette) 
 
 (Enter ESTELLE.) 
 
 BRADFORD. (Catching the bill and putting out the 
 fire) Don t do that, Sheldon. It isn t like you. 
 That s the first vain thing I ve ever seen you do. 
 
 KID. Why not do it? Good-evening (To 
 ESTELLE, easily) 
 
 ESTELLE. Good-evening. 
 
 BRADFORD. Because it s burning a week s sus 
 tenance for some family. If you don t want it, Miss 
 Kitteridge would like it, I m sure, to send to needy 
 persons whom she knows, persons in distress, want 
 and misery. 
 
 KID. All right, give it to her. 
 
 ESTELLE. Why was Mr. Sheldon burning it ? 
 
 BRADFORD. (Going c. to ESTELLE) That I might 
 tell my vestrymen that the champion middle weight 
 fighter of the world, " Kid Garvey ", doesn t need 
 their patronage nor their approval. 
 
 ESTELLE. You mean ? 
 
 BRADFORD. That Mr. Sheldon is that popular 
 hero. 
 
 ESTELLE. Oh. 
 
 BRADFORD. Good-night, Sheldon. I must go over 
 to my church a moment, and I ve considerable work 
 at my table when I get back. 
 
 KID. Good-night. Don t forget to go at the bag, 
 Doctor, every day. 
 
 BRADFORD. I won t. (Going) 
 
 KID. And Doctor. 
 
 BRADFORD. (Stopping at door) Yes. 
 
 KID. (To ESTELLE) Excuse me a moment. 
 (Crosses and apart to BRADFORD) Now that you 
 know who I am you might feel like putting a little 
 something on a fight now and then on the quiet. 
 
THE OTHER GIRL 55 
 
 (Pause) Keep oil the next go of mine in Septem 
 ber. I ain t saying anything, only just keep off. 
 (Winks) 
 
 BRADFORD. % Thank you, Kid. I promise to keep 
 oil. Good-night. 
 
 KID. Good-night. 
 
 (E.vit BRADFORD.) 
 
 ESTELLE. Air. Sheldon. 
 
 KID. Miss Kitteridge. 
 
 ESTELLE. Do you think you ve acted the part of 
 a gentleman? 
 
 KID. When? 
 
 ESTELLE. Do you think Miss Fulton would have 
 given you her confidence as she has if she d known 
 you were Kid Garvey? 
 
 KID. Why not? It makes most women so easy 
 that I don t tell em. 
 
 ESTELLE. Well, you don t know Catherine. Kid 
 Garvey s a name that s been pretty thoroughly dis 
 cussed during the last few days in this house. "Why, 
 you own a saloon. 
 
 KID. (With pride) The finest in Xew York. 
 
 ESTELLE. Think of it. 
 
 KID. Do you ever drink anything. Miss Kit 
 teridge ? Lots of fine ladies do, you know. 
 
 ^ ESTELLE. Yes. I take a glass of wine with my 
 dinner yes. 
 
 KID. Well I don t not even with my dinner. 
 (Displays his cigarette) Four cigarettes a" day. 
 
 ESTELLE. But you don t know what you ve done. 
 Kiss Fulton s engaged to marry one of the most 
 fashionable and well-known men in Xew York, and 
 your attention, Air. Sheldon, attentions that I ve al 
 most felt it my duty to report to Air. Fulton, have 
 made her discontented with her engagement. She s 
 
56 THE OTHER GIRL 
 
 thinking seriously of saying " no " to the gentleman 
 and all on your account. 
 
 KID. Don t / take any chances. I m engaged my 
 self to marry, a girl that s got more reputation in a 
 minute than Miss Fulton s friend has got in a year. 
 She s a planet. 
 
 ESTELLE. So much the worse, then. All this has 
 been very disloyal to her. 
 
 KID. Well, (Pause) that s a long story too. 
 Everyone has to do the best he can. I m being 
 square with your little friend, though. 
 
 ESTELLE. Well, be square with yourself. Miss 
 Fulton s waiting for you in the reception room, 
 and 
 
 KID. (Starting to steps ) Oh. 
 
 ESTELLE. (Stopping him) But I want you to 
 promise me that this shall be the last time you try 
 to see her, the last time. 
 
 KID. Oh, no. 
 
 ESTELLE. Yes. You must know, Mr. Sheldon, 
 that Mr. Fulton s daughter cannot continue an 
 acquaintance with a man of your profession with 
 a man who keeps a saloon. 
 
 (Enter CATHERINE.) 
 
 CATHERINE. Oh! Excuse me. 
 
 KID. (Crossing) I was just coming to find you. 
 
 ESTELLE. Where is Dr. Bradford, Catherine? 
 
 CATHERINE. Gone out. 
 
 ESTELLE. He has just told me Mr. Sheldon s real 
 name and business 
 
 KID. (Interrupting) Not too sudden, pardner. 
 Let me do this, won t you? We re the principals 
 here, Miss Fulton and myself. 
 
 ESTELE. Very well you do it then. 
 
 KID. All right. Suppose you wait in there. 
 
 ESTELLE. (Pauses) Certainly. (Exit) 
 
THE OTHER GIRL 57 
 
 (KiD blows out the alcohol lamp which leaves the 
 moonlight from the left and the light from the 
 two doors with a shadow thrown by the wall be 
 tween the doors. He then looks quickly and 
 cautiously about and kisses CATHERINE, who is 
 timidly shrinking into the shadow 1 .) 
 
 CATHERINE. Don t! 
 
 Km. \Yhy, that light stops anybody from see 
 ing us in this shadow. 
 
 CATHERINE. What does Estelle mean? 
 
 KID. Oh. I ve got some money in a business that 
 she don t like. I ain t in the business myself. An 
 other man runs it for me and I take what it wins. 
 
 CATHERINE. Gambling? 
 
 KID. Not on your life, a fair and square business 
 with a license from the State. I ll tell you later. 
 You ve got some confidence in me, haven t you? 
 
 CATHERINE. Yes. 
 
 KID. (Eagerly) I m going to see how much. 
 This little friend of yours is too busy. I ve never 
 taken any trouble to " get next " with her and its 
 always that way with girls, when a " looker " like 
 you, and an " also ran " like Miss Kitteridge double 
 up, the girl that s just " good to her mother " tries 
 to foul the winner. Now we ll fool her, see ? 
 
 CATHERINE. I don t understand you. 
 
 KID. (With convincing earnestness) I m on the 
 level with you, little one, my real name is Sheldon. 
 That s the name I " arrive " at a hotel with and the 
 name I put on a contract. The girl that goes with 
 me will be Mrs. Sheldon. She ll get a man that 
 can do a day s work and that never drank a drop 
 in his life. 
 
 CATHERINE. I know it. 
 
 KID. Now it s up to you. My auto s outside and 
 if you ll pack a little kit that ll stand you over night 
 we ll drop all talking right now. 
 
58 THE OTHER GIRL 
 
 CATHERINE. Now ! Oh, dear, I don t know 1 
 
 KID. If you had any other lady friend but this 
 one 
 
 CATHERINE. I have I have another. Mrs. 
 Waterman told me to do what I thought best. 
 
 KID. Were you talking to her about me? 
 
 CATHERINE. Yes. 
 
 KID. And she said that, eh? Well, there you 
 are! 
 
 CATHERIN. I said you d never asked me to be 
 your wife, but 
 
 KID. Well, I ask you now see that? (Shows a 
 ring) There s two rubies and a sapphire that a 
 committee that was shy three thousand dollars put 
 up to me to cover it. Fit one of your fingers, I guess. 
 
 CATHERINE. I m wearing one ring. Of course 
 you know that. 
 
 KID. Yes, and I ll be just as open with you. I m 
 engaged myself so you see it goes double. Take 
 off that other one. 
 
 CATHERINE. To whom are you engaged? 
 
 KID. She s a star in an Opera Company. I don t 
 suppose the name matters. I don t ask you any 
 questions, do I ? 
 
 CATHERINE. No. 
 
 KID. Shake. (She gives him her hand. He 
 embraces her again and kisses her} It s just a fairy 
 story, my winning a queen like you. 
 
 CATHERINE. Is it? 
 
 KID. (With the girl in his arms) You bet it is. 
 
 CATHERINE. Am I a queen? 
 
 KID. You re my queen all right. (Gently releases 
 her) Now I ll go out and light up the coal oil 
 buggy* and when you hear two. toots on the horn 
 you step out yourself. (Crosses toward steps, stops 
 and turns ) Here s a mask to keep the wind out 
 of your eyes. We ll go to White Plains in half an 
 
THE OTHER GIRL 59 
 
 hour, and I ve got a friend there that ll dig up a 
 preacher and everything ll be as right as rain. 
 
 CATHERINE. Don t go yet not yet. 
 
 KID. Better not over-play our luck, Babe. Some 
 thing may queer us. 
 
 CATHERINE. Everybody s gone to the concert. 
 
 KID. (Pushes her toward door) No, no. Go on, 
 hurry up. 
 
 CATHERINE. (Shrinking) I ve got to go past 
 Estelle. 
 
 KID. Never mind her. 
 
 CATHERINE. I can t bring a bag down without 
 her seeing it. 
 
 KID. Drop it out the window to me. I ve got 
 some bundles of my own down stairs and nobody 11 
 see it, nobod\. Now we re losing good time every 
 second. 
 
 CATHERINE. I think I should like to tell Estelle. 
 
 KID. Not on your life. Just say we re going for 
 a spin in the bubble. 
 
 CATHERINE. But father 11 be so frightened when 
 I don t come home. 
 
 KID. Send him a note by an A. D. T. boy, now 
 don t be long. 
 
 CATHERINE. I won t Oh (Hesitates in door) 
 
 ESTELLE. (Off) What is it, Catherine? 
 
 KID. (Behind CATHERINE in the shadow) Don t 
 wait. Just side step her. 
 
 (Exit CATHERINE.) 
 
 ESTELLE. (Loudly) Catherine, Catherine! 
 KID. (Watching) Never touched her. (Starts 
 to steps) 
 
 (Enter ESTELLE.) 
 ESTELLE. Mr. Sheldon. 
 
60 THE OTHER GIRL 
 
 KID. (At steps) Hello ? 
 
 ESTELLE. Where s Catherine going? 
 
 KID. She went upstairs, didn t she? 
 
 ESTELLE. Yes, and she was carrying an automo 
 bile mask in her hand. Why? (Pause) You 
 haven t asked Catherine to go out with you, have 
 you? 
 
 KID. Why not? It s dark. Who ll see her? 
 
 ESTELLE. I shan t let her go. 
 
 KID. (Watching the window) Well, of course, 
 that s for her to say, not me. 
 
 ESTELLE. Have you told her who you are ? 
 
 KID. Oh, yes. She knows my real name now. 
 
 CATHERINE. (On balcony) Are you there? 
 
 KID. Yes. (CATHERINE drops small handbag) 
 Look out. 
 
 (Km catches bag.) 
 
 ESTELLE. (Startled and looking up) Who s 
 that? Mr. Sheldon (Takes hold of bag) What 
 does this mean? 
 
 KID. What? 
 
 ESTELLE. This is Catherine s. 
 
 KID. I m borrowing it to take some of my things 
 in, that s all. She can lend the bag, can t she? 
 
 ESTELLE. I don t believe you. 
 
 KID. Well, let go of it, and I ll show you. 
 
 ESTELLE. I won t let go of it. 
 
 KID. (Smiling) You don t think you can hold it, 
 do you, if I start to take it? 
 
 ESTELLE. I can hold it a while, and I will, and I 
 can call the servants. (Calls) Ann! Ann! 
 James 
 
 (Enter CATHERINE.) 
 CATHERINE. Estelle? what do you mean? 
 
THE OTHER GIRL 61 
 
 \ 
 
 ESTELLE. What do you mean, Catherine? This is 
 your bag. 
 
 CATHERINE. Give it to me. (Takes it) Go, Mr. 
 Sheldon, this way never mind your things. 
 
 KID. (Taking bag) When I blow the horn. 
 (Exit through house) 
 
 ESTELLE. Mr. Sheldon! (Then to CATHERINE 
 TV/ZO starts in) Catherine what does this mean? 
 (Takes hold of her) At least, tell me. 
 
 CATHERINE. You mustn t hold me, Estelle. 
 (Picks up cloak) 
 
 ESTELLE. This is a foolish infatuation, Catherine 
 clear. I told you you were going too far in it. 
 Think of your father, Catherine think of your posi 
 tion, dear. \Yhy it s like running away with the 
 coachman or with James. 
 
 CATHERINE. That isn t so, Estelle Kitteridge, 
 Mr. Sheldon s 
 
 ESTELLE. The man s a prize-fighter, my dear, 
 and a saloon keeper. 
 
 CATHERINE. I don t believe you. He never drank 
 a drop in his life, he told me so. Dr. Bradford and 
 Mr. Waterman both say he s the most wonderful 
 man they ever knew. 
 
 ESTELLE. Of course he is. He s the champion 
 of his class, but what is he socially? He may not 
 be even honorable in this night s venture. 
 
 CATHERINE. Honorable ! Why, there s his ring 
 a perfectly beautiful ring. 
 
 (A horn blows CATHERINE starts.) 
 
 ESTELLE. Catherine. (Holds her) 
 
 CATHERINE. You mustn t hold me, Estelle Kit 
 teridge. You re not my mother. 
 
 ESTELLE. But I don t believe the ring s in 
 earnest. Let me see it. Just let me see the ring, 
 Catherine. 
 
62 THE OTHER GIRL 
 
 CATHERINE. There. (Extending hand) 
 
 ESTELLE. Is anything written on it? (Takes it 
 quickly) Oh, I dropped it. Excuse me, dear, but 
 I see it right there. I ll keep my eye on it. 
 
 CATHERINE. You did that purposely because you 
 know I m superstitious. Where is it? (Hesitates) 
 
 ESTELLE. There I m watching. 
 
 CATHERINE. (Laying down mask and cloak and 
 going by steps) It s just too unkind of you for 
 anything, Estelle. (Exit speaking off) and it s per 
 fectly dark in this garden. (ESTELLE quickly puts 
 on mask and cloak and goes into the house) Now 
 where is it? Estelle, Estelle! (ESTELLE closes 
 second door and locks it) Estelle!! (ESTELLE 
 closes first door and locks it) Estelle!! (CATH 
 ERINE appears up-steps. Horn blows off) Why, 
 she s taken my things. Estelle. (Goes to door 
 ist) It s locked. (A light appears in library) 
 What do you mean? (Runs to second door) 
 Both locked ! (Sound of auto working. Shakes 
 door) Let me in, let me in why, she s tak 
 ing my place I could kill her. (Runs to ist door 
 and shakes it) Let me in (Kicks in small diamond 
 panes at foot of door; beats the frame of it with her 
 hands) Let me in Oh, open this door, somebody! 
 (Is now hysterical) Open it, open it quick. 
 
 (BRADFORD appears at window.) 
 
 BRADFORD. What s the matter. Who is it ? 
 
 CATHERINE. (Crying) Oh oh locked locked 
 out oh oh. 
 
 BRADFORD. Why, Miss Fulton. Locked out 
 what is it? (Drops from window) 
 
 CATHERINE. They re both locked both locked. 
 (Weeps) 
 
 BRADFORD. Well, come this way. There s an 
 other entrance. (Starts to steps) 
 
 (Enter ANN the cook, violently, upstairs.) 
 
THE OTHER GIRL 63 
 
 Axx. My lands, what s the matter who s killin 
 somebody? Why, my darlint, is it you? And Dr. 
 Bradford!!! (Takes CATHERINE in her arms) 
 
 JAMES. (Opening door) What s the matter? 
 (JAMES enters) Who is it? Why, what s hap 
 pened? 
 
 (CATHERINE is sobbing.) 
 
 ANN. Phwat s happened? Is it? And where 
 were you all along and this poor child locked up in 
 the dark with Dr. Bradford. 
 
 BRADFORD. I came to Miss Fulton s assistance. 
 
 ANN. (Leading CATHERINE off) Oh, you did, 
 did you? mind the door locked and the family all 
 gone to the opra. You re a foine Priest, you are ! 
 
 (Exit with CATHERINE.) 
 
 BRADFORD. Miss Fulton speak, tell this woman. 
 (Starts to follow} 
 
 JAMES. (Interposing) Indeed you ll not. 
 
 BRADFORD. What ! 
 
 JAMES. You ll say no more to the child. 
 
 BRADFORD. You speaking to me you stand 
 aside (He crosses JAMES towards house) 
 
 JAMES. Hold on! (Takes hold of BRADFORD by 
 one shoulder) 
 
 BRADFORD. Don t put your hands on me (Pause) 
 A second time, take your hands from my shoulders 
 (Pause. Then BRADFORD, puts one palm under 
 JAMES chin and shunts him over the table) 
 
 Curtain 
 
f) 4 THE OTHER GIRL 
 
 ACT II. 
 
 SCENE : The Library. Big door at back c. Beyond 
 it in small hall another single door. The ordi 
 nary winding stairs of a New York house as 
 cend from below to the stage level zvhcre there 
 is a landing and continue going up until out of 
 sight. The library is modern and luxuriously 
 furnished and supplied. There is a big table L. 
 c., a fire-place and mantel R. At R. is a big 
 couch. 
 
 DISCOVERED: BRADFORD at R. of table trying 
 to write. Pause. He goes to R. wall and rings 
 push button Returns to table. 
 
 BRADFORD. (Alone) It is useless. The thoughts 
 do not come. Much less the words ! A man who 
 has just laid violent hands upon a fellowman even 
 under justifying circumstances, as the world would 
 view them, can t utter words consonant with the 
 spirit to which we look for guidance. I shall repeat 
 my old sermon on " Let him cast the first stone." I 
 haven t given it in five years. (Pause. ANN passes 
 heavily up the stairs from below. BRADFORD hears 
 her and turns to regard her) Oh! (Pause. Rises) 
 The evening would have been much better spent at 
 the concert ; and the music would have made me 
 think productively as it always does. It is incon 
 gruous the amount of inspiration to sacred work 
 that I seem to get from secular music. (Regards 
 watch) Too late to go now. (Rings) I ll explain 
 to James how utterly unwarranted and how repre 
 hensible in a servant his physical interference was. 
 (To table R. Pause) 
 
 (Enter MAGGIE.) 
 
THE OTHER GIRL 65 
 
 M AGGIE. (IVith dignity) Did you ring, sir? 
 
 BRADFORD. Oh! That you, Maggie? Yes, I 
 rang. Tell James that I wish to see him here. 
 
 MAGGIE. (Without dialect) James can t come, 
 sir. 
 
 BRADFORD. Can t come? Why? 
 
 MAGGIE. He s that bad, sir, in the small of his 
 back and one hip. I m waitin up myself in James s 
 place, sir, to answer the bell. 
 
 BRADFORD. Oh ! 
 
 MAGGIE. (Pause) Is that all, sir? 
 
 BRADFORD. Yes, that s all, thank you. 
 
 MAGGIE. Twas my night, sir, to visit me cous 
 in s wife in Jersey City, but the cook said twas far 
 better for all the help to stay in the house together 
 this night, sir. 
 
 BRADFORD. The cook ! She just went upstairs, 
 didn t she? 
 
 MAGGIE. She was down a moment to get a bit of 
 cooking-sherry for James. She s on the top floor, 
 sir, with her door open where she can listen for 
 James and the young lady, sir. 
 
 BRADFORD. You mean Miss Fulton? 
 
 MAGGIE. I do. 
 
 BRADFORD. Isn t Miss Kitteridge with Miss Ful 
 ton? 
 
 MAGGIE. I don t know, sir. 
 
 BRADFORD. Do you know how Miss Fulton came 
 to be locked out on the back porch this evening? 
 
 MAGGIE. (Insinuatingly) I do not, sir. I only 
 know what the cook told me. Perhaps your rever 
 ence knows 
 
 BRADFORD. You may go, Maggie. 
 
 MAGGIE. Thank you, sir. (Exit) 
 
 BRADFORD. (Regarding watch) Ten o clock! 
 An hour yet even if they don t stop somewhere for 
 supper. Strange that Miss Kitteridge doesn t offer 
 some explanation of it. Probably disapproves of 
 
66 THE OTHER GIRL 
 
 my treatment of James. (Pause) Well, so do 
 
 (Enter HENRY from below. He takes cigar and 
 strikes match at mantel.) 
 
 BRADFORD. Oh! you re early, Henry. 
 
 HENRY. Yes I left Mattie with Mr. Fulton. 
 (Pause) Lumley been here? 
 
 BRADFORD. Reginald? Not that I know. 
 
 HENRY. (R. c.) He phoned? 
 
 BRADFORD. Not to my knowledge. 
 
 HENRY. Funny! I went over to the Bar Asso 
 ciation to meet Judge Bates and when I got back 
 to the concert the folks said Lumley had gone out 
 an hour before to telephone here about Miss Fulton. 
 
 BRADFORD. Haven t heard of it. Perhaps Mag 
 gie answered the phone. 
 
 HENRY. Probably an excuse. Poor Lumley 
 must have been dreadfully bored with just Mattie 
 and old Fulton when he d planned a box full of 
 young people . . . Well, I met the Judge 
 (Laughs) ha, ha, I haven t told Mattie I told Ful 
 ton, but not Mattie ha, ha! (Sits on the sofa) 
 
 BRADFORD. Absurd, wasn t it? 
 
 HENRY. No wonder he had a good punch with 
 that easy looking left of his. We re pretty " jay," 
 Cliff, not to have known all the time that he was a 
 professional fighter. 
 
 BRADFORD. You forget that I asked him directly 
 and that he denied it. I suspected him when we 
 dined together. When he reached for the biscuit 
 with one hand, he instinctively guarded with the 
 other. (Imitates him) 
 
 HENRY. You know I d give a hundred dollars 
 for a kodak of him and you at dinner together, ha, 
 ha Cliff you re the most up-to-date clergyman in 
 New York. Ha, ha. The next time I go to the 
 
THE OTHER GIRL 67 
 
 " Suburban " I want you in the betting ring with a 
 handful of checks and 
 
 BRADFORD. I ve a more edifying spectacle for 
 you than that. 
 
 HENRY. You have, eh? 
 
 BRADFORD. Yes. 
 
 HENRY. \Yhat is it? 
 
 BRADFORD. (Rises) James took hold of me by 
 the shoulders to-night to prevent my entering the 
 house. 
 
 HENRY. Who did? 
 
 BRADFORD. James the butier and 
 
 HENRY. Took hold of you? 
 
 BRADFORD. Yes, and I 
 
 HENRY. \Yith his hands? 
 
 BRADFORD. Yes, with his hands. 
 
 HENRY. Been drinking? 
 
 BRADFORD. \Yho ? 
 
 HENRY. James. 
 
 BRADFORD. I think not. 
 
 HENRY. (Rises) But this wasn t in earnest- 
 was it? 
 
 BRADFORD. Yes, in earnest Let me tell you of 
 it. 
 
 (Enter JAMES by the stairs from above, limping.) 
 
 HENRY. (Goes up R. To JAMES) See here. 
 
 JAMES. I beg pardon, Mr. Waterman, I ve come 
 to give notice and 
 
 HENRY. No, you haven t. You ve come to take 
 notice. I saw you first. You move in the morning. 
 
 JAMES. The cook goes too, sir. 
 
 HENRY. Quite right. The cook goes too. 
 
 JAMES. And I want to say, sir 
 
 HENRY. (Coming down) Not to me. That s all 
 (Turns) unless somebody else wants to go. (To 
 BRADFORD) Any more of em? 
 
 BRADFORD. (At table) I think not. But I m 
 
68 THE OTHER GIRL 
 
 very sorry, Mr. Waterman, that James is hurt. I m 
 sorry 
 
 HENRY. (Interrupting and to JAMES) Go. 
 You did perfectly right, Doctor. 
 
 JAMES. Very well, sir. (Goes down stairs) 
 
 HENRY. (To door. In a whisper) He s limp 
 ing. 
 
 BRADFORD. The small of his back and one 
 hip . . . 
 
 HENRY. (In a hungry smile) What d you do to 
 him? 
 
 BRADFORD. (Walking down-stage and up around 
 table) I used physical force when for years I ve 
 been counselling only passive resistance. I fear 
 that the time spent under Mr. Sheldon has been a 
 mistake in every way. I was sure of my self-con 
 trol, I thought, but when I felt James using his 
 strength on me everything that I d practiced with 
 Sheldon seemed to rush to my finger tips. I m 
 thankful that I didn t strike the poor fellow. 
 
 HENRY. What did you do ? 
 
 BRADFORD. (L. c.) I applied a chin and elbow 
 tackle that Mr. Sheldon favors very much. It was 
 astonishing to note the leverage it affords. 
 
 HENRY. Throw him? 
 
 BRADFORD. (Going down R.) I regret to say 
 nearly across the round table 0:1 the porch there. 
 (Nods towards audience) 
 
 HENRY. (In glee) Why, Cliff, shake ! I knew 
 that seminary couldn t spoil a good man. But what 
 was it about? 
 
 BRADFORD. I don t know. Miss Fulton found 
 herself locked out on the porch. She seemed in 
 such terror and difficulty that I didn t wait to go 
 downstairs but simply dropped from the window. 
 Just then the cook came up from the garden and 
 James unlocked the dining-room door. The cook 
 took charge of the young woman who was incoher- 
 
THE OTHER GIRL 69 
 
 ently hysterical and led her upstairs. When I at 
 tempted to follow, James took hold of me. 
 
 HENRY. (Slowly) Why, they must have 
 thought that (Pause) 
 
 BRADFORD. (D. c. Pause) They did. They still 
 think so. 
 
 HENRY. And the Fulton girl didn t say any 
 thing ? 
 
 BRADFORD. (Shaking head) She d gone with the 
 cook. 
 
 HENRY. The cook came up from below, you 
 say ? 
 
 BRADFORD. Yes. 
 
 HENRY. (Smiling) As James unlocked the 
 door. 
 
 BRADFORD. As he unlocked what was left of the 
 door. 
 
 HENRY. " Left of the door " what do you 
 mean? (The smile fades) 
 
 BRADFORD. The young lady had kicked in most 
 of the lower part of it. 
 
 HENRY. "Kicked in?" (BRADFORD nods) 
 Those back doors in the dining-room? 
 
 BRADFORD. With the diamond-shaped sash. 
 
 HENRY. Why, Mattie brought those doors from 
 Rome. 
 
 BRADFORD. Yes. 
 
 HENRY. Confound the little idiot, couldn t she 
 wait a minute. 
 
 BRADFORD. She gave a distinct impression of im 
 patience. Even after I d come to her assistance she 
 continued to kick in an occasional glass. 
 
 HENRY. Why didn t you stop her? 
 
 BRADFORD. I did finally. I think it was my ef 
 forts in that direction that misled the cook and 
 and James. 
 
 HENRY. Well, of course ; it must have looked as 
 if she was trying to get away from you. 
 
70 THE OTHER GIRL 
 
 BRADFORD. It did look that way. 
 
 HENRY. And then you tried to follow her? 
 
 BRADFORD. Yes, to make her dissipate that im 
 pression. (Walks L. ) 
 
 HENRY. And James said " No, no." 
 
 BRADFORD. Substantially " no, no." 
 
 HENRY. (Folloiving R. Pause and smiles) 
 Show me how you " took " him, Cliff. 
 
 BRADFORD. (Dozvn R. Reluctantly) Oh, I just 
 pressed his right elbow against his body with my 
 left hand this way then I half turned and put my 
 right foot behind his left toot so 
 
 HENRY. Yes. 
 
 (Enter MAGGIE.) 
 
 BRADFORD. Then the palm of my right hand un 
 der his chin so (Seeing MAGGIE, stops) 
 
 HENRY. (Holding the position) Yes (Pause) 
 And then? 
 
 MAGGIE. (In doorway) Pardon, sir There s a 
 man downstairs from the noosepaper. 
 
 HENRY. (Goes up R. c.) A reporter? What s 
 he want? 
 
 MAGGIE. He wants to see Dr. Bradford and 
 Miss Fulton s father, sir. (Pause. HENRY and 
 BRADFORD look at each other) What ll I tell him, 
 sir? 
 
 HENRY. Tell him Doctor Bradford s retired. 
 
 BRADFORD. (Crosses L. c.) No. Let s not make 
 another mistake. 
 
 HENRY. Doctor Bradford ll come down. (Looks 
 to BRADFORD, who nods) 
 
 MAGGIE. Yes, sir. (MAGGIE starts) 
 
 BRADFORD. Wait (MAGGIE stops) Better have 
 him come up here. The others will be passing 
 through the reception hall. 
 
THE OTHER GIRL 71 
 
 HENRY. Yes show him up here. (MAGGIE exit. 
 Pause. The men regard each other) Well? 
 
 BRADFORD. (At table) I expected it. 
 
 HENRY. You think it s about this busines ? 
 
 BRADFORD. What else? "To see Doctor Brad 
 ford or Miss Fulton s father." 
 
 HENRY, (c.) How does he know about it? 
 
 BRADFORD. Oh, the servants. The other items 
 probably went by the same channel. 
 
 (Enter MAGGIE and TAYLOR.) 
 
 TAYLOR. (Coming down c.) Good-evening. 
 
 BRADFORD. How do you do again ? 
 
 HENRY. (R. c.) Have a chair. 
 
 TAYLOR, (c. ) Thank you. We ve had a tele 
 phone from the police station saying that Miss Ful 
 ton had been 
 
 BRADFORD. (L. c. Interrupting) Not a word of 
 truth in it. Mr. Taylor. The young lady is of a 
 very nervous and excitable temperament. She 
 thought for the moment only that she had been 
 locked out of doors. It was dark, she was 
 ,1 
 
 alone 
 
 TAYLOR. And the Kid came to her assistance? 
 
 BRADFORD. (Cross R. c.) Who? 
 
 TAYLOR. (To table) The Kid. 
 
 HENRY. (Smiling) That was Doctor Bradford. 
 But don t say anything about that side of it now, 
 Mr. Taylor, for me. You say you re kindly dis 
 posed. Here s the time to show it. 
 
 TAYLOR. (Sits at table) Very- well. Only tell 
 me the story. Where does Dr. Bradford come in ? 
 
 HENRY. The man was impertinent he didn \ 
 mean to be, but that doesn t matter, I ve discharged 
 him. The Doctor took the man s right elbow 
 this way stand up a minute. (TAYLOR stands and 
 HENRY gladly illustrates the tackle) his right elbow 
 
72 THE OTHER GIRL 
 
 in the doctor s left hand and then the doctor s right 
 palm under the fellow s chin this way and heave ! 
 There you are. 
 
 TAYLOR. Then the machine didn t run over him 
 at all? 
 
 BRADFORD. (R. c.) How s that? 
 
 TAYLOR. Was this after the automobile struck 
 him? 
 
 HENRY. ( c. ) Automobile ? 
 
 TAYLOR. Yes, the police said the machine passed 
 completely over him and that the kid refused to 
 stop. A bycycle policeman chased the Kid and had 
 to fire two shots at him. 
 
 BRADFORD. I know nothing of any automobile in 
 cident. 
 
 TAYLOR. I only got it over the phone but my 
 information is that Kid Garvey and Miss Catherine 
 Fulton are in the police station now and that a 
 man whose identity is unknown is in the hospital 
 with injuries inflicted by the Kid s automobile. 
 
 BRADFORD. Miss Fulton and " The Kid," absurd ! 
 
 TAYLOR. It caught me all right, because I d seen 
 the Kid here with his machine this evening and I 
 knew Miss Fulton was visiting here. Two things 
 the police didn t know. Must be something in it. 
 But I don t want to write a line until I ve given the 
 young lady s friends a chance. 
 
 HENRY. (To BRADFORD) What do you make of 
 it? 
 
 BRADFORD. Some other Fulton or Sheldon may 
 have given that name instead of the real name of 
 some lady with him. 
 
 HENRY. (To TAYLOR) Miss Catherine Fulton? 
 
 TAYLOR. Miss Catherine Fulton of Philadelphia. 
 
 HENRY. (To BRADFORD) You sure she went 
 upstairs with the cook? 
 
 BRADFORD. Reasonably certain. 
 
THE OTHER GIRL 73 
 
 HENRY. (Crosses R.) Wait a minute and I ll 
 send up and see. (Rings) 
 
 TAYLOR. (To BRADFORD) But you were along, 
 you say ? 
 
 BRADFORD. I ? Along ? No, I didn t say that. 
 
 TAYLOR. Then what man was it you took by the 
 elbows and chin ? 
 
 BRADFORD. (Going up c.) Oh, that was a per 
 sonal matter. 
 
 TAYLOR. ( L. c. ) Don t you care to talk about it ? 
 
 BRADFORD. Xo, thank you. (Goes R.) 
 
 (Enter MAGGIE.) 
 
 MAGGIE. You rang, sir? 
 
 HENRY. Yes, go upstairs to Miss Fulton s 
 room and say that I wish to know how she s feel 
 ing now. 
 
 (Voice of MRS. WATERMAN below.) 
 
 MAGGIE. Yes, sir. (Gazes sternly at BRADFORD 
 and goes) 
 
 MRS. WATERMAN. (Heard below) Why, I 
 bought them in Rome. They were from one of the 
 Palaces of the Medici. 
 
 FULTOX. (Also outside) Deplorable incident. 
 
 HENRY. Here s Mr. Fulton now. (Goes into 
 hall) 
 
 MRS. WATERMAX. (Off, but approaching) 
 Why, Henry, have you seen those dining-room 
 doors ? 
 
 (BRADFORD walks with grim amusement to the 
 mantel.) 
 
 HENRY. Sh my dear one moment. There s a 
 call. 
 
74 THE OTHER GIRL 
 
 MRS. WATERMAN. Anything else in this house 
 rather than those Medici doors. (Appears) 
 
 ( FULTON follows and goes L.) 
 
 HENRY. (L. c.) Sh Sh Come in, my dear. 
 This is Mr. Taylor, Mrs. Waterman. Mr. Taylor 
 of the " Times." 
 
 (TAYLOR bows.) 
 
 MRS. WATERMAN, (c. Haughtily) Oh, indeed. 
 (Starts toward TAYLOR) 
 
 BRADFORD. (Interposing. Quickly) Mr. Tay 
 lor s been very kind, Mattie, in some little matters ; 
 and he s called again with a wish to help me still 
 further. Mr. Fulton Mr. Taylor (Introducing 
 them) Sit down, Mattie, there s something to con 
 sult about (Motions the others to sit) 
 
 (Enter MAGGIE from upstairs.) 
 
 MAGGIE. Miss Fulton says she s some better, 
 thank you. 
 
 (HENRY turns to TAYLOR at this testimony.) 
 
 TAYLOR. (Down L. c., and unconvinced) Did 
 you see her? 
 
 MAGGIE. No, sir she didn t open the door. 
 
 FULTON. (Up L. c. Anxiously) Catherine? 
 
 MRS. WATERMAN. (To BRADFORD R.) What s 
 the matter? 
 
 BRADFORD. One moment That will do, Maggie. 
 
 (MAGGIE bows and goes.) 
 
THE OTHER GIRL 75 
 
 MRS. WATERMAN. What is it, Henry? Speak! 
 Did they break in by the dining-room? 
 
 BRADFORD. My dear, Mattie (Pause) 
 
 FULTON. (An.rioitsly) Is Catherine hurt? 
 
 HENRY. (R. c. Soothingly) There s nothing 
 the matter anywhere with anybody. 
 
 MRS. WATERMAN. (Maintaining the pressure) 
 But those dining-room doors Mr. Fulton saw 
 those. (Appeals to FULTON) 
 
 BRADFORD. (Down R.) That was a little acci 
 dent, rather incident which I ll explain, Mattie. 
 The question before us now is a foolish report from 
 the police that Miss Catherine had been arrested for 
 fast driving in an automobile. 
 
 FULTON. (Up c. Easily, to TAYLOR) Oh no 
 no nothing in that. Our automobile is in Phila 
 delphia and my chauffeur has positive orders from 
 me regarding the speed at all times. 
 
 HENRY. As I understand it, it s this chap Shel 
 don who has been training Doctor Bradford 
 
 BRADFORD. Henry! Instructing! Instructing! 
 (Up*.) 
 
 HENRY. I meant instructing. He has an auto 
 mobile and he had some woman in it this evening. 
 They were both arrested and he gave her name as 
 Miss Fulton (To TAYLOR) Isn t that it? 
 
 (TAYLOR nods.) 
 
 FULTON. (Smiling) Fulton s a fairly common 
 name. 
 
 HENRY. (Tossing the matter off) To be sure. 
 
 TAYLOR. (With reportorial insistence) But this 
 girl is supposed to be Miss Catherine Fulton of 
 Philadelphia. 
 
 FULTON. You sure, sir. Why that supposition? 
 
 TAYLOR. Because she had a bag with her with 
 a set of silver toilet articles engraved " Catherine 
 
76 THE OTHER GIRL 
 
 Fulton "; and some jewelry and the bag had a tag 
 " C. R, Philadelphia." 
 
 FULTON. Catherine s bag is fitted with engraved 
 articles perhaps 
 
 (MRS. WATERMAN crosses to BRADFORD, who pan 
 tomimes silence.) 
 
 TAYLOR. If Miss Fulton is here why can t I 
 see her a minute 
 
 FULTON. She s retired, sir why should you see 
 her? 
 
 TAYLOR. That ll be the first question my chief 11 
 ask me " Why didn t you see the girl, herself." 
 Now, suppose I write about it and say we all " held 
 this convention " here in the library but that you 
 wouldn t produce the girl? 
 
 FULTON. Why should you write about it? 
 
 TAYLOR. Why does a chicken cross the street? 
 I ve got to write about it. That s my business. 
 
 MRS. WATERMAN. (Starting over L. at TAYLOR. 
 With crushing dignity) Are you the man that 
 wrote about my brother and said he was dining with 
 a prize fighter at 
 
 BRADFORD. (Catching her arm and returning R.) 
 Mattie one moment (Takes her aside and ex 
 plains she gradually becomes dazed with the 
 knowledge he imparts) 
 
 HENRY. (To FULTON) It can t do any harm. 
 (They hesitate) 
 
 (Enter ANN, the cook, by the stairs from above.) 
 
 ANN. (Boldly) Mrs. Waterman, can I see you 
 privately ? 
 
 HENRY. (Up R. c.) No. 
 
 ANN. Oh (Pause Dismisses HENRY with a 
 look and gives a parting shaft) Oh, Mr. Fulton, 
 
THE OTHER GIRL 77 
 
 you d better be with that poor child of yours up 
 stairs 
 
 FULTOX. What ! 
 
 ( FULTOX exit goes upstairs.) 
 
 HEXRY. You go to the kitchen. 
 
 Axx. I m through with your kitchen, and I m 
 through with your house. I ll have you know m am 
 that I leave in the morning. (Axx goes bclo^^) 
 
 (BRADFORD restrains MRS. WATERMAN.) 
 
 HEXRY. (Down c.) You a married man, Mr. 
 Taylor ? 
 
 TAYLOR. Xot for mine. (Goes L.) 
 
 HEXRY. (Also smiling) Then you know noth 
 ing of this problem (Nods towards Axx) 
 
 (Enter MAGGIE.) 
 
 MAGGIE. Pardon, sir. 
 
 HEXRY. (L. c. ) What is it, Maggie? 
 
 MAGGIE. The wrestling teacher for Doctor Brad 
 ford. 
 
 BRADFORD. (R. c.) Mr. Sheldon. 
 
 MAGGIE. Yes, sir. 
 
 TAYLOR. Can t / see him for you ? 
 
 HEXRY. Oh ! I guess we d better all see him to 
 gether. (TAYLOR acquiesces) 
 
 MAGGIE. What ll I say, sir? 
 
 (Enter FULTOX.) 
 
 BRADFORD. Ask Mr. Sheldon to come up here. 
 (Exit MAGGIE.) 
 
 FULTOX. (c. ) My daughter will join us as soon 
 as she arranges her hair. She s been lying down. I 
 said that we d excuse her appearing somewhat dis 
 hevelled? (To OMXES) 
 
 MRS. WATERMAN. (Down R. ) Why, of course. 
 
78 THE OTHER GIRL 
 
 I think it a great shame to make the poor girl come 
 down at all. 
 
 HENRY. (Crosses to MRS. WATERMAN) Now, 
 Mattie 
 
 BRADFORD. (R. c.) Come in, Mr. Sheldon. 
 
 (Enter KID, he pauses up-stag e.) 
 
 BRADFORD. Come in, Mr. Sheldon. 
 
 KID. (Seeing TAYLOR) Hello, Beau some 
 thing doing? 
 
 TAYLOR. Heard you ran over a man. 
 
 KID. (Smiling) That s right. 
 
 TAYLOR. Who was the girl with you? 
 
 KID. What girl? (Gives him the wink) 
 
 TAYLOR. Oh, I ve told these persons about it. 
 The police phoned her name down the line. 
 
 KID. (Seriously) Did eh? Well, say I m 
 sorry for that. 
 
 TAYLOR. (Suspiciously) What are you doing 
 here in this house? 
 
 KID. Well a fellow needs some help, don t he 
 when he s pinched. I I want to see Dr. Bradford. 
 
 BRADFORD. I m at your service, Mr. Sheldon, of 
 course. 
 
 KID. (Going to BRADFORD R. c.) I thought I 
 could count on you, Doctor. 
 
 (CATHERINE appears in loose gown.) 
 
 FULTON. (Meeting CATHERINE) Here is my 
 daughter, sir. Come in, Catherine. 
 
 MRS. WATERMAN. Why, Catherine, dear. (Goes 
 to her, meets her up c.) 
 
 FULTON. (Displaying CATHERINE. To KID) 
 This young lady was not in your automobile, was 
 she? 
 
THE OTHER GIRL 79 
 
 KID. (With significant emphasis) No, sir, she 
 wasn t. 
 
 FULTON. (To TAYLOR) This is my daughter, 
 sir Miss Catherine Fulton of Philadelphia. (To 
 KID) You never even saw the young lady before, 
 did you ? 
 
 KID. (Tactfully) Oh, I ve seen her ; yes up at 
 the windows and that way 
 
 FULTON. Did you tell the police that the young 
 lady with you was Miss Fulton of Philadelphia? 
 
 KID. (In disgust) Tell the Police! Tell noth 
 ing. 
 
 TAYLOR. Who was the girl with you, Kid 
 
 KID. (With meaning) Oh, a little friend of 
 mine and the Doctor s You know, Myrtle. 
 
 TAYLOR. Myrtle. 
 
 KID. Yes, Myrtle. 
 
 TAYLOR. The sergeant said she had some silver 
 v.-ith Miss Fulton s name on it 
 
 KID. (Eagerly, crossing to TAYLOR down L.) 
 Say! That was a funny throw too I took some 
 bundles of mine away from this house to-night 
 and I ve got a bag just like that one on the outside. 
 You see it was a mistake. 
 
 FULTON. Quite probably. (Smiles) 
 
 KID. The desk sergeant opened this bag. Every 
 thing in it had Miss Fulton s name on it and it was 
 the sergeant himself said Miss Fulton. The lady 
 with me was scared stiff because the fellow we ran 
 over they took away in the " hurry up." 
 
 FULTON. (To TAYLOR, in triumph) But the 
 young lady was not Miss Catherine Fulton of Phila 
 delphia. 
 
 TAYLOR. So I see. 
 
 FULTON. So you see. 
 
 HENRY. (Going L. c.) And Miss Fulton s name 
 needn t appear in the newspapers? 
 
So THE OTHER GIRL 
 
 TAYLOR. (Hesitating) Well (Pause. Crosses 
 the KID to meet HENRY) 
 
 MRS. WATERMAN. (To CATHERINE, still agi 
 tated. Brings her down R. ) There, my dear the 
 gentleman will arrange it, I m sure. (CAROLINE sits) 
 
 TAYLOR. (Answering HENRY) Perhaps not. 
 (To KID) Then I ll phone the sergeant to correct 
 his blotter give him Myrtle s full name Really 
 an ad. for her why not? 
 
 KID. (Down L.) Well, you see, it s it s this bag 
 business, with the silver in it. I phoned Muldoon 
 and he fixed bail for me -but the young lady had 
 the bag and she said right off the reel that she 
 wasn t Miss Fulton see 
 
 FULTON. I m very much indebted to her, I m 
 sure. 
 
 TAYLOR. But didn t want to give her own name t 
 
 KID. No so they said : " Oh, where d you get 
 the bag? " See? Caught with the goods, that s all. 
 (Crosses up c. to BRADFORD) Now if the Doctor ll 
 go with me and say he knows it s all right. A 
 preacher with his pull Or take a letter from the 
 from the owner of the bag (Slowly and signifi 
 cantly) This lady friend of mine won t have to 
 sleep on a bench. 
 
 BRADFORD. I know that Mr. Sheldon took some 
 parcels from this house to-night. I had them 
 wrapped up myself. 
 
 KID. And I ve got a bag just like this on the 
 outside but you see this bag happened to have 
 some jewelry in it. Diamonds and Emeralds. 
 
 FULTON. (In some excitement) Catherine s 
 jewels also ! 
 
 KID. (Down c.) Oh, they re all right in the 
 Captain s safe. And they d been all right with the 
 lady she don t have to lift anybody else s sparks, 
 she don t . . . (Significantly to BRADFORD, who is 
 up R. c. with FULTON) Why, she had a twenty- 
 
THE OTHER GIRL 81 
 
 dollar bill in her pocket with a corner burnt off . . . 
 
 BRADFORD. (Down to KID) What is that? 
 
 KID. (c. slewly gives his significant news to 
 BRADFORD) My lady friend that s up in the station 
 had a twenty-dollar bill with the corner burnt off. 
 It was a bill I was lighting a cigarette with and a 
 friend of mine snatched it and put it out. He said 
 That ain t like you, Kid, cause it s only showing 
 off and there s a lot of hungry folks could live on 
 that for a week so he hands it over to Myrtle and 
 she put it in her pocket and there it was when they 
 searched her see? 
 
 BRADFORD. Yes, yes ! 
 
 TAYLOR. (Going up c.) \Yell, I m glad to get 
 the story right. I think I can keep Miss Fulton s 
 name out of it, if I can get the other men in time 
 and you gentlemen better believe the Kid took the 
 bag by mistake because a charge of that kind won t 
 help his business. 
 
 BRADFORD. Thank you. 
 
 TAYLOR. Good-night. 
 
 BRADFORD. (Up c.) Good-night, Air. Taylor! 
 You you know your way out? 
 
 TAYLOR. Oh, yes ! (Exit) 
 
 BRADFORD. (Down c. Returning) I ll go with 
 you, Sheldon ! 
 
 KID. (c.) Good! 
 
 BRADFORD. (Meaningly, to CATHERINE) Write 
 me a line, Miss Catherine, saying that you lent the 
 goods to to this young lady and the bag also. 
 (Takes CATHERINE to table) 
 
 FULTON. That seems strange counsel from a 
 clergyman, Doctor Bradford. 
 
 BRADFORD. (At table with CATHERINE) True- 
 it might be better to put the note in the present 
 tense and say the young lady " has " Miss Cath 
 erine s permission to their use. 
 
 FULTON. (Up L. c.) But why that? 
 
82 THE OTHER GIRL 
 
 BRADFORD, (c.) We recover the jewels; and 
 with them out of the case entirely it keeps Miss 
 Catherine s name out of print. 
 
 FULTON. As the victim of a theft I m quite 
 willing that Catherine s name should appear in print 
 you stole those jewels, sir! (Crosses to KID) 
 
 KID. Go slow, governor go slow ! (HENRY in 
 terposes) 
 
 MRS. WATERMAN. He broke in through my din 
 ing-room door a door that I bought from 
 
 HENRY. (Returning to his wife) Now, 
 Mattie 
 
 KID. (Amused) I m no porch climber, you 
 know ! 
 
 FULTON. I don t know ! You re a saloon-keeper 
 and a professional pugilist, aren t you? 
 
 KID. Am I 
 
 FULTON. You re Kid Garvey, the prize fighter, 
 aren t you ? 
 
 KID. (c.) Oh, yes, I m called Kid Garvey on 
 the bills. (He watches CATHERINE for the effect of 
 his words) 
 
 CATHERINE. (Goes to MRS. WATERMAN) Mrs. 
 Waterman 
 
 MRS. WATERMAN. (As CATHERINE weeps in her 
 arms) Mr. Fulton, we re frightening Catherine 
 dreadfully ! 
 
 KID. R. c. To BRADFORD) You know this ain t 
 any holiday for me, Doctor. The reason I m here 
 now is to put it up to you to do the best we can for 
 everybody, especially the lady in the cooler. It s a 
 nine o clock call in the police court to-morrow, see? 
 So there s a whole lot to do to-night! 
 
 CATHERINE. (With resolution) I ll write the 
 letter, Doctor. 
 
 FULTON, (c.) Pardon me, my daughter, you 
 will not. 
 
THE OTHER GIRL 83 
 
 BRADFORD, (c. Positively) It is quite necessary 
 that she should, Mr. Fulton, and at once! Kid! 
 
 KID. Doctor ! 
 
 BRADFORD. (Comes c.) I want you to tell Mr. 
 Fulton the true name of that young lady now in the 
 station-house ! 
 
 KID. On the level ? 
 
 BRADFORD. On the level. 
 
 KID. (Pa-use) It s Miss Kittredge! 
 
 MRS. WATERMAN, HENRY and FULTON. (To 
 gether) What!! 
 
 BRADFORD. It is Miss Kittredge ! 
 
 FULTON. Did you kno\v this, Catherine? 
 
 (CATHERINE rests her hed on table, weeping vio 
 lently. ) 
 
 BRADFORD. (Pause) Yes, Miss Catherine knew 
 it. 
 
 (CATHERINE braces up and writes.) 
 
 HENRY. Why didn t you say so sooner, Cliff? 
 
 BRADFORD. (Going R. c.) I m as anxious to 
 keep Miss Kittredge s name out of print as I am to 
 keep Miss Fulton s. I couldn t say so with that 
 " Time s " man here 
 
 FULTON. Estelle! (Pause. BRADFORD nods) 
 with you? (Kio nods) At night, and arrested for 
 fast driving! (Kio nods) Where were you going? 
 
 KID. (" Sparring for wind") I wanted to sell 
 her an automobile, see? 
 
 FULTON. That is a lie! (Start from HENRY and 
 BRADFORD, who expect trouble) 
 
 KID. (Up c. Pause) You re right, governor 
 first guess ! 
 
 BRADFORD. But we only lose time by this. We 
 must go to her assistance ! Go not talk ! 
 
84 THE OTHER GIRL 
 
 KID. (Significantly) I thought you d feel that 
 way, Doctor. I ve got the bubble outside at the 
 door ! 
 
 HENRY. The telephone will be quicker than the 
 automobile ! 
 
 KID. (Easily) You can t give bail by telephone! 
 (Crosses up L. c.) 
 
 BRADFORD. True I must go. (Exit upstairs) 
 
 HENRY. (Going) Wait! I ll telephone Judge 
 Bates to meet us at the station a little legal advice 
 may come handy! (Exit downstairs) 
 
 FULTON. (R. c.) Why was Miss Kittredge in 
 your company, sir? (Pause) Why did she have 
 a bag with her, with toilet articles in it? Wliat is 
 the meaning of the whole affair, sir? 
 
 KID. (L. c.) You see I thought that bag was 
 empty. 
 
 FULTON, (c.) Why take it at all ? 
 
 KID. Well, you see, governor 
 
 FULTON. ( c. ) Don t address me as " gover 
 nor!" 
 
 KID. All right if you say so 
 
 (Re-enter BRADFORD with coat and hat.) 
 
 FULTON. Why take the bag at all ? 
 
 KID. Well you see I generally " show to pretty 
 good business " myself, and we wanted something 
 with handles on it to carry the gate receipts ! 
 
 FULTON. (Puzzled) What ! 
 
 BRADFORD. We are losing time, Mr. Fulton! 
 The first thing to do is to get the young lady under 
 our protection. Come, Kid! (Starts) 
 
 KID. (Following) With you, Doc? 
 ^ MRS. WATERMAN. (Calling to him in a tremble) 
 Cliff, dear, you mustn t go ! 
 
 BRADFORD. (Up c.) Why not? 
 
THE OTHER GIRL 85 
 
 MRS. WATERMAN. The newspapers ! A clergy 
 man a police station ! 
 
 BRADFORD. I m a man now, Mattie, a man! 
 
 MRS. WATERMAN. But you re dressed as a 
 clergyman. 
 
 KID. (Up R. c. Quickly) We ll change coats, 
 Doctor ! 
 
 BRADFORD. (Misled by the rush) Yes! (Starts 
 to change) 
 
 (Enter HENRY.) 
 
 MRS. WATERMAN. Let Henry go ! 
 
 HENRY. (Up c. Announcing) The Juldge ll be 
 there ! 
 
 MRS. WATERMAN. (Down R. c.) I tell Cliff he 
 can t go, Henry ! 
 
 HENRY. (Up R. c.) Of course not. Mr. Ful 
 ton and I ll be enough. Your automobile carries 
 three? (To KID) 
 
 KID. (Up c.) Seven. 
 
 FULTON. With him? (Indicating KID) //"/^au 
 tomobile? Why, sir, you could hardly have done 
 me a greater wrong if you had had my own daugh 
 ter arrested. You know, sir, / ought to thrash you 
 within an inch of your life. 
 
 KID. (With a joyous laugh) Oh (Prolonged) 
 
 HENRY. (To KID) Come we ll go alone! 
 
 CATHERINE. Here! (Hands letter to HENRY) 
 
 FULTON. What s that? 
 
 (Exeunt KID and HENRY, BRADFORD urging them 
 downstairs. ) 
 
 CATHERINE. The letter. 
 FULTON, (c.) You wrote it? 
 CATHERINE. (Crossing R.) Of course I wrote 
 it ! Think of Estelle arrested and in a station 
 
86 THE OTHER GIRL 
 
 house! Oh, how can I bear it all? (Sinks into big 
 chair, weeping) 
 
 MRS. WATERMAN. (Comforting) Sh-sh 
 There, there, my dear ! 
 
 FULTON. (Explaining to BRADFORD, who is re 
 turning) She loved Estelle like a sister! 
 
 BRADFORD. I see. (Goes below the table L.) 
 
 FULTON. (L. c. Confidentially) The older I 
 get, Doctor, the more I become converted to the 
 English idea that " blood will tell." 
 
 BRADFORD. I thought that was a Kentucky idea ! 
 
 FULTON. Perhaps but excellent notwithstand 
 ing ! Kitteridge Kitteridge was an old soldier 
 
 BRADFORD.. Miss Estelle s father? 
 
 FULTON. Yes had all the sturdy qualities but 
 lacked, if I may say so, just a trifle in in refine 
 ment. There was just that shade of difference be 
 tween a cultured cosmopolitan and Colonel Kitter 
 idge that I fancy I have observed between be 
 tween the two girls. Just enough difference to ex 
 plain this this unfortunate escapade. 
 
 BRADFORD. (With meaning) Yes you think 
 perhaps that the inherited difference accounts for 
 the whole affair? 
 
 FULTON. (Cautiously regarding CATHERINE) 
 Exactly. Catherine is engaged to Mr. Lumley- 
 Estelle goes away with this prize-fighter m? 
 There you are! 
 
 BRADFORD. (Annoyed) Yes, yes ! 
 
 FULTON. But perhaps Estelle didn t know he 
 was a prize fighter. 
 
 BRADFORD. Oh, yes, she knew I told her ! 
 
 FULTON. Indeed? Well, there you are! 
 
 (Enter MAGGIE.) 
 
 MAGGIE. Mr. Lumley, ma am. I told him you 
 were all in the library. He wants to come up! 
 
THE OTHER GIRL 87 
 
 MRS. WATERMAN. Very well, ask him ! 
 
 BRADFORD. (Cross L. c. Interrupting) Wait ! 
 Hadn t you better ask Mr. Lumley to excuse us, 
 Mattie? 
 
 MRS. WATERMAN. Why? 
 
 BRADFORD. (To MRS. WATERMAN) Henry will 
 probably bring Miss Kitteridge back in a few min 
 utes. 
 
 MRS. WATERMAN. Well? 
 
 BRADFORD. Isn t it advisable to say nothing of 
 this deplorable automobile business to anybody 
 even Lumley perhaps, especially Lumley? 
 
 CATHERINE. (Quickly) Yes! 
 
 MRS. WATERMAN. Then ask Mr. Lumley to ex 
 cuse us, Maggie say the ladies are not feeling very 
 well and that they will be glad to see Mr. Lumley 
 to-morrow, m ? 
 
 (CATHERINE nods.) 
 
 MAGGIE. Yes Ma am. (Exit) 
 
 FULTON. Don t you wish to go down alone for 
 a moment to see Mr. Lumley yourself, Catherine 
 dear? 
 
 CATHERINE. Oh no. 
 
 FULTON. He spoke of you so frequently nt the 
 concert. You know, my dear, a young lady can t 
 presume too much upon the devotion of a suitor 
 nowadays. 
 
 MRS. WATERMAN. Reggie s devotion will stand 
 the strain, Mr. Fulton, I m sure. Besides, I m a 
 little cross-patch with Reggie myself for running 
 away from us so long. 
 
 FULTON. (Bowing) Ah if it s your discipline, 
 M rs. Waterman I ve no more to say. 
 
 (Enter M AGGIE.) 
 
 MAGGIE. Beg pardon, Ma am, but he says he 
 must see you, just a minute. 
 
88 THE OTHER GIRL 
 
 MRS. WATERMAN. Must see us? 
 
 MAGGIE. Yes, ma am. Beg pardon, ma am, but 
 he does look to be drinking. 
 
 MRS. WATERMAN. Drinking to have been 
 drinking ? 
 
 FULTON. Impossible. 
 
 MRS. WATERMAN. (Crossing L. c.) He some 
 times did when he was younger drinking, Mag 
 gie? 
 
 MAGGIE. Yes ma am, and pardon, ma m, but 
 there s that smell of liquor to him besides that 
 fills the reception room. 
 
 MRS. WATERMAN. You said we wished to be ex 
 cused. 
 
 MAGGIE. Yes ma m. 
 
 FULTON. (Crosses to CATHERINE) Perhaps 
 Catherine and I had better go see his together. 
 
 CATHERINE. I can t see him, father. 
 
 FULTON. Why not, my dear? 
 
 CATHERINE. My gown! And and look at my 
 face. 
 
 FULTON. Your face is all right. 
 
 BRADFORD. I m sure that is all Mr. Lumley con 
 siders. 
 
 MRS. WATERMAN. But if Reggie Lumley s been 
 drinking 
 
 LUMLEY. (Appearing) Beg pardon, Mrs. Wat 
 erman he hasn t but (LUMLEY S dress-suit is 
 soiled and torn his shirt also. The left arm is in a 
 sling) 
 
 CATHERINE. Oh ! 
 
 MRS. WATERMAN. Mr. Lumley ! 
 
 FULTON. What has happened? 
 
 LUMLEY. Excuse my following your maid up 
 stairs. I feared my friends might be anxious about 
 me, so in spite of all the doctors could say 
 
 MRS. WATERMAN. (She goes sympathetically to 
 LUMLEY) Are you hurt? 
 
THE OTHER GIRL 89 
 
 LUMLEY. I left the hospital and took a four- 
 wheeler 
 
 FULTOX. Hospital ! 
 
 LUMLEY. (He has a greet pride in his experi 
 ence and talks in a post-ether falsetto_af-&xaltation) 
 
 CATHERINE. Oh ! "| 
 
 FULTOX. Ran over you? > (Together 
 
 MRS. WATERMAN. Did you ever ! J 
 Yes an automobile run over me, .Kear the theatre^/ 
 
 BRADFORD. (Assisting him) No injuries, I 
 hope ? 
 
 LUMLEY. (Touching^ arm in sling) Slight 
 sprain and contusion of the left radius and some 
 contusions and sprains elsewhere but of course I 
 feel the shock you see. 
 
 (BRADFORD puts him in easy chair.) 
 
 CATHERIXE. (Who has been very agitated in 
 a burst of contrition) Oh, Reginald Reginald 
 forgive me what a wicked girl I ve been. (Kneels 
 by him R. of chair) 
 
 LUMLEY. Nonsense how could you know I d 
 get in front of an automobile and it was the stu 
 pidest music we ve had all summer wasn t it? 
 (To MRS. WATERMAX) 
 
 CATHERIXE. Look at him, Mrs. Waterman. 
 Oh, Reginald, I never knew how much I really 
 loved you until this moment. 
 
 FULTOX. My dear Catherine. 
 
 BRADFORD. (R. c. Aside to MRS. WATERMAN). 
 Finesse ? 
 
 MRS. WATERMAN. Certainly not stupidity. 
 
 LUMLEY. Now don t do that, Catherine darling. 
 (To BRADFORD) Isn t it splendid? Wouldn t you 
 be run over a few times for this? 
 
 CATHERIXE. (Rising) Why did you leave the 
 hospital when you were so hurt? 
 
9 o THE OTHER GIRL 
 
 LUMLEY. I wanted to save you from any worry, 
 you see. I m all right. It s only the shock. 
 
 BRADFORD. (Down c.) There must be consid 
 erable pain. 
 
 CATHERINE. Dear Reginald. 
 
 LUMLEY. No I was unconscious most of the 
 time. All right now. But I didn t want Catherine 
 to worry. I knew she wouldn t understand my not 
 coming back to the concert. 
 
 MRS. WATERMAN. Of course not. 
 
 LUMLEY. (To CATHERINE) Why, you have 
 been crying haven t you? 
 
 CATHERINE. Yes I ve been crying, but 
 
 LUMLEY. Think of it. Well, don t any more, 
 please because I m all right in every way 
 (Sniffs) I smell dreadfully, don t I? (To MRS. 
 WATERMAN left of chair) 
 
 MRS. WATETMAN. (Qualifying it) Not dread 
 fully no, Reginald. 
 
 LUMLEY. They do put such weird stuff on you 
 while you re unconscious. (Sniffs) It was quite 
 noticeable in the four-wheeler. 
 
 CATHERINE. (To MRS. WATERMAN) He 
 doesn t think of himself at all. 
 
 BRADFORD. How did it happen? Where were 
 you? 
 
 LUMLEY. Near the theatre. I was crossing the 
 street to the telephone to telephone to you and this 
 automobile struck me. I remember only the lights 
 and the buildings mixing up together and then a 
 doctor saying in a very loud voice : " That will do. 
 He swallowed it." 
 
 CATHERINE. (To MRS. WATERMAN) Medicine, 
 I suppose. 
 
 LUMLEY. I suppose so. I thought at first that 
 he meant I d swallowed the building. But as soon 
 as I could catch my breath I knew he meant the 
 
THE OTHER GIRL 91 
 
 electric lights the hottest stuff! (Indicates throat 
 and chest) 
 
 CATHERINE. He can joke about it ! Think of it, 
 Mrs. Waterman. Oh, please forget everything I 
 said on the porch. (On MRS. WATERMAN S breast. 
 Up R. above chair) 
 
 BRADFORD. They arrested the man in the auto 
 mobile, no doubt? 
 
 LUMLEY. So I m told and a lady with him. I ve 
 got to go to the police court in the morning they 
 said. 
 
 BRADFORD. Do you intend to prosecute the per 
 sons? (Goes to LUMLEY) 
 
 LUMLEY. Rather ! I own an automobile myself 
 and I m decidedly against these careless fellows 
 that spoil the sport. Speed in the country if you 
 want to 
 
 BRADFORD. A farmer or two don t matter. (Re 
 turns L. c.) 
 
 LUMLEY. But a gentleman giving a box 
 party 
 
 BRADFORD. Of course. 
 
 CATHERINE. (To MRS. WATERMAN) Oh, why 
 didn t I go with you? 
 
 LUMLEY. If it isn t safe to go out of a theatre 
 between the acts 
 
 FULTON.. In horror to BRADFORD) And to think 
 that man was Reginald. 
 
 LUMLEY. Did you see it? 
 
 FULTON. No but 
 
 BRADFORD. We heard of it. 
 
 LUMLEY. (Anxiously) Didn t interrupt the 
 performance? 
 
 MRS. WATERMAN. Oh no! 
 
 CATHERINE. (Displaying him) Did it interrupt 
 the performance?" (Again to MRS. WATERMAN S 
 breast) 
 
 LUMLEY. Marvellous the way they do things in 
 
92 THE OTHER GIRL 
 
 these hospitals my first visit. One pretty girl in a 
 cap was at the foot of the couch another pretty 
 girl in another cap was at the side of the couch. 
 Two young doctors doing everything possible and 
 one old doctor telling them when they d done it too 
 much. It seemed almost as though I were enter 
 taining. 
 
 BRADFORD. It seems almost that way now. 
 
 LUMLEY. Well, the doctor s kept saying, " don t 
 talk," " don t talk," when I never wanted to talk 
 so much in my life. I don t talk much as a rule. 
 
 MRS. WATERMAN. I know you don t, Reggie. 
 
 CATHERINE. But don t talk if it s bad for you. 
 
 LUMLEY. But I ve wanted so much to talk all 
 the time since I " came to," that after I escaped 
 from the doctors I talked to myself in the four- 
 wheeler. 
 
 CATHERINE. (To LUMLEY) But don t talk now. 
 (To others) It s ether or something they must 
 have given him. 
 
 LUMLEY. " Ether " How happy I could be 
 with " ether! " 
 
 CATHERINE. (To LUMLEY) Don t talk, dear. 
 I won t let you talk. Shouldn t we send for a doc 
 tor, Mrs. Waterman? 
 
 LUMLEY. I ve had three doctors. Don t send 
 for them. Send for one of the girls in the ruffled 
 caps if you want to send for another bottle of the 
 stuff the fat one had in her left hand, but we don t 
 need the doctors. (To BRADFORD) I d have bitten 
 that little fellow with the black moustache if I 
 could have reached him (Turns to CATHERINE) 
 but the fat girl put her hand on my forehead 
 
 CATHERINE. Please don t talk, Reginald. 
 
 (Enter HENRY, with a bag.} 
 HENRY, (c.) Here we are, Mattie and don t 
 
THE OTHER GIRL 93 
 
 say anything to (Sees LUMLEY) Oh, Mr. Lum- 
 ley. (Sees his condition) Why, Lumley ! What s 
 the matter? 
 
 (Enter ESTELLE and KID. They stand up L. c.) 
 
 LUMLEY. I was run over by an automobile, Mr. 
 Waterman, just as I left the theatre. 
 
 ESTELLE. Oh! (ESTELLE turns anxiously to 
 MRS. WATERMAN, who purposely averts her gaze 
 she then looks at FULTON, who is very stern 
 BRADFORD advances and gives her his hand reas 
 suringly) 
 
 HENRY, (c.) What! 
 
 BRADFORD. (Coming down L. c.) He s been in 
 the hospital. 
 
 LUMLEY. Two pretty girls bringing me things 
 to drink three doctors. 
 
 KID. (Coming down R. c.) Who was it run 
 over you. D ye know 
 
 LUMLEY. A man and a woman (KiD glances at 
 ESTELLE) I don t know their names, but they ve 
 been arrested. (Regards the KID) 
 
 BRADFORD. (Introducing) Mr. Sheldon Mr. 
 Lumley. 
 
 LUMLEY. W T hat Sheldon? (Pleased) Not 
 "Kid Garvey" Sheldon? 
 
 KID. Yes. 
 
 LUMLEY. (Beaming) Shake! I saw you and 
 Ryan at Madison Square and (Faints) Oh 
 
 CATHERINE. Reginald ! 
 
 MRS. WATERMAN. He s fainted! 
 
 KID. Give him air. (Pushes the others back) 
 
 HENRY. Brandy. (Leaves the room and enters 
 back room) 
 
 ESTELLE. Here s water. (Takes a glass from 
 table. KID takes large napkin that was under the 
 glass) 
 
94 
 
 THE OTHER GIRL 
 
 CATHERINE. (Taking glass from ESTELLE) 
 Let me give it to him. (Tries) He won t drink. 
 
 BRADFORD. I ll lift his head. 
 
 KID. Give me that (Takes water) Stand back 
 a little, please. (Throws water full into LUMLEY S 
 face and gives empty glass to ESTELLE and begins 
 fanning LUMLEY with the napkin. The LADIES ex 
 claim LUMLEY gasps at the water recovers with 
 the fanning and sits up) 
 
 CATHERINE. (As water is thrown) How dare 
 you? 
 
 LUMLEY. Why why I fainted, didn t I? 
 
 BRADFORD. Yes. 
 
 KID. But you didn t take the full count. 
 
 LUMLEY. (Beaming and waving one hand in 
 display) " The Kid" really! Catherine where s 
 Catherine. 
 
 CATHERINE. (Coming to his side) Here I am, 
 Reginald. Please don t talk, you aren t strong 
 enough, dear. 
 
 ( ESTELLE is broken up at the idea that LUMLEY 
 was the man hurt.) 
 
 LUMLEY. This is Kid Garvey, Catherine, the 
 most wonderful man in the world. I doubt if the 
 famous Greek athletes excelled him although they 
 fought with an iron glove Miss Fulton s the young 
 lady, Kid, that is going to do me the honor of be 
 coming Mrs. Lumley. 
 
 (Enter HENRY with glass.) 
 
 HENRY. Here s some whisky. We seem to be 
 out of brandy. 
 
 KID. Whisky s just as good. Take a swallow of 
 this, Mr. Lumley, and don t talk your lady 
 friend s right about that. 
 
THE OTHER GIRL 95 
 
 LUMLEY. (Apologizing) When it s prescribed, 
 Catherine 
 
 CATHERINE. Of course, drink it. Drink it. 
 
 KID. And he ought to get to bed right away. 
 
 BRADFORD. At once, I m sure. 
 
 LUMLEY. (Starting to get up) Very well. I ll 
 go home, then. But I thought you d all worry. 
 
 CATHERINE. Oh no, he mustn t go home. 
 
 BRADFORD. You must stay here. 
 
 LUMLEY. Oh, my cab s at the door. 
 
 KID. My automobile s quicker than a cab, but if 
 your friends here ll give you a bed. 
 
 LUMLEY. You got an automobile, Kid? 
 
 KID. A bird. 
 
 BRADFORD. (}Vho has consulted MRS. WATER 
 MAN and HENRY) We shan t allow you even to go 
 downstairs, Reginald. Henry s room is on this 
 floor. 
 
 KID. Let me help the gentleman, won t you ? 
 
 LUMLEY. (Leaning on KID S shoulder) If 
 some one will dismiss my four-wheeler for 
 me 
 
 FULTON. I will. (Exit) 
 
 MRS. WATERMAN. (At mantel. Ringing) 
 James will help you get to bed. 
 
 BRADFORD. No I w r ill do that, Mattie. 
 
 KID. (With a wink to BRADFORD) I ve done a 
 good deal of this sort of thing myself and 
 
 LUMLEY. (Pleased and pleading) Yes Let the 
 Kid help me eh? 
 
 HENRY. (Leading the ivay to door at back) 
 This room. 
 
 LUMLEY. (Following and leaning on KID) 
 What is yours? A Peerless? 
 
 KID. A Panhard. 
 
 LUMLEY. (At door to KID) One moment. 
 (Turns) Good-night, then, everybody. 
 
96 THE OTHER GIRL 
 
 CATHERINE, ESTELLE, BRADFORD and MRS. 
 WATERMAN. (Answers in character) " Good-night, 
 night, good-night." 
 
 LUMLEY. (Hesitating, and tenderly) Good 
 night, Catherine. (Extends hand) 
 
 CATHERINE. Good-night. (Gives her hand) 
 
 ( LUMLEY kisses her hand. BRADFORD, MRS. WAT 
 ERMAN and ESTELLE turn away down-stage. 
 KID releases LUMLEY and considerately looks 
 over the bannisters. LUMLEY kisses CATH 
 ERINE on forehead. As he turns away she 
 turns to R. jamb of door and leans on it, weep 
 ing. KID resumes control of LUMLEY.) 
 
 LUMLEY. How many horse power? Thirty? 
 
 KID. Eighty-five. (Exit with LUMLEY) 
 
 ESTELLE. (At table) Oh, I m so grateful, so 
 grateful, that he isn t killed. There can never be 
 another moment in my life as dreadful as when we 
 struck that man in the street. I thought we d 
 killed him, and to think it was he Reginald Lum- 
 ley that we ran over. 
 
 BRADFORD. Don t think of it, Miss Kitteridge. 
 The escape has been miraculous and I m sure that 
 there is some hidden blessing in it. 
 
 (ESTELLE braces up.) 
 
 CATHERINE. I can t bear it. (Turns from door 
 jamb and sinks weeping on step next to LUMLEY S 
 room) 
 
 (Enter MAGGIE.) 
 
 MAGGIE. Did you ring, ma am? 
 MRS. WATERMAN. Yes who broke the glass 
 door in the dining-room? 
 
THE OTHER GIRL 97 
 
 BRADFORD. (U- ith authority) Never mind, 
 Maggie, you needn t answer that. I ll explain, 
 Mattie. (To MRS. WATERMAN) 
 
 MAGGIE. Is that all, ma am? 
 
 BRADFORD. Yes that s all. (MRS. WATERMAN 
 nods. Exit MAGGIE) Miss Catherine, (Standing 
 beside tier ct LUMLEY S door) it won t help Reg 
 inald if he should hear you come! (Lifts her) 
 
 ESTELLE. (Approaching from L. c.) Poor 
 Catherine. 
 
 CATHERINE, (c.) Estelle. 
 
 ESTELLE. (Up c.) Catherine. (They embrace 
 just inside the big doors. ESTELLE leads CATHER 
 INE down to c., MRS. WATERMAN is R. c., BRADFORD 
 stands at bannisters in hall) 
 
 CATHERINE. He won t die, will he? He won t 
 die, Estelle? 
 
 ESTELLE. Of course not, dear. He couldn t 
 have come this far if he were dangerously hurt. 
 (CATHERINE sobs on ESTELLE S breast) 
 
 (Re-enter HENRY, who is stopped by BRADFORD.) 
 
 ESTELLE. You forgive me, dear, don t you. 
 
 CATHERINE. Forgive you ! I never can be 
 grateful enough. (MRS. WATERMAN, talking with 
 HENRY, does not hear CATHERINE) 
 
 (Enter FULTON. The girls are down L. c.) 
 
 FULTON. (To HENRY) How is he? 
 
 HENRY. (Reassuringly) Getting to bed 
 slowly. 
 
 FULTON. The hospital had sent a man with him, 
 but I told them we d look after him. 
 
 HENRY. Quite right. 
 
 FULTON. (Seeing CATHERINE) My dear my 
 poor dear. (Takes her in his arms) What a night 
 of excitement this has been for you. (Sweeps an 
 accusing glance over ESTELLE) 
 
98 THE OTHER GIRL 
 
 MRS. WATERMAN. Hasn t it? 
 
 FULTON. And now go right up to your room. 
 There s considerable to be talked over here that 
 there is no necessity for your listening to. 
 
 CATHERINE. (Up L. c., with some resolution) 
 Yes, I must listen to it. 
 
 ESTELLE. (Up c., going to her) Why? Your 
 note is enough, my dear, saying that I took your bag 
 with your consent. 
 
 FULTON. (Up R. c.) I suppose you know why 
 that note was written, don t you, Estelle ? 
 
 CATHERINE. (Crossing to c.) Oh, father. 
 
 ESTELLE. I think I do, Mr. Fulton. 
 
 FULTON. Yes to keep Catherine s name from 
 the public prints that is all. That is all. Come, 
 my dear, to your room. 
 
 ESTELLE. (As CATHERINE refuses) Go, please 
 go. You can only grieve your father by remaining. 
 
 CATHERINE. But I must tell him that 
 
 ESTELLE. You can only grieve him by talking at 
 all. Think, my dear Catherine. Your first duty is 
 to him. 
 
 CATHERIN. Perhaps but my next duty is 
 
 ESTELLE. Is to Mr. Lumley. And you can t 
 help him a little bit by saying anything. 
 
 FULTON. Your sentiments, Estelle, would have 
 weight if your behavior accorded with them go, 
 my dear. 
 
 (Exit CATHERINE, upstairs.) 
 
 MRS. WATERMAN. (Down R. c. In a cast-iron 
 change of subject) What s to be done about Reg 
 gie Lumley, Henry? 
 
 HENRY. In what way? 
 
 MRS. WATERMAN. He needs a nurse, doesn t he? 
 
 HENRY. He wants our distinguished friend . . . 
 
 MRS. WATERMAN. But we can t permit that. 
 
 HENRY. Why not? 
 
THE OTHER GIRL 99 
 
 MRS WATERMAN. The man who ran over him: 
 ESTELLE. (Again ct the table. Shuddering) 
 Oh_It was terrible. The sensation as those awful 
 wheels went over (Covers her face) 
 FULTON. Why were you there, Estelle? 
 BRADFORD. If" I may suggest, Mr. Fulton? 
 FULTON. (Pause) Go on, Doctor. 
 BRADFORD. I think you were very wise to send 
 Miss Catherine to bed why not Miss Kittendge 
 also. (Goes L. of table facing ESTELLE) 
 
 FULTON, (c.j Estelle certainly must wish to 
 make some explanation, I should think 
 
 BRADFORD. Should we permit it? Next to poor 
 Lumley I think the incidents ci" the evening have 
 been most trying upon her. She certainly needs 
 rest and quiet herself. 
 
 FULTON. An explanation may contribute to that. 
 ESTELLE. I d rather wait until to-morrow, Mr. 
 Fulton. 
 
 BRADFORD. There ! 
 
 FULTON.. An Innocent girl, Estelle, would 
 scarcely be able to rest under the suspicions that 
 this situation suggests it seems to me. 
 
 BRADFORD. Perhaps we can be sufficiently chari 
 table to dismiss our suspicions if we have any. 
 
 FULTON. I can t rise to that standard, Doctor 
 -where did Estelle know this man? When did she 
 meet him? He has seen Catherine only at the 
 window. What opportunities did Estelle take for 
 a more intimate acquaintance ? She has been Cath 
 erine s companion. I must know the influence that 
 surround my daughter. 
 
 BRADFORD. True! Inform yourself by all 
 means, Mr. Fulton, but don t be unnecessarily cruel. 
 Miss Kitteridge has certain rights as an individual 
 that even the father of Miss Fulton should not 
 transgress. (Goes c.) 
 
 FULTON. (L. c.) I am measurably in the posi- 
 
ioo THE OTHER GIRL 
 
 tion of her own father and / have certain^ rights 
 that must not be transgressed even by Estelle s most 
 sympathetic friends. 
 
 MRS. WATERMAN. (R. c.) I think this isn t our 
 affair, Cliff dear. 
 
 BRADFORD. Pardon me, Mattie it is mine. 
 
 FULTON. Yours, Doctor? 
 
 BRADFORD. Mine. 
 
 FULTON. Indeed? 
 
 BRADFORD. I wish Miss Kitteridge to know that 
 my trust and confidence in her character is so great 
 that / need no explanations. 
 
 FULTON. (Down L. c.) Which must be very 
 gratifying to Estelle I m sure but I perceive that 
 your confidence, Doctor, is not shared by your sis 
 ter and I regret that I don t feel it myself to your 
 reassuring degree. Now, Estelle, I haven t been a 
 harsh guardian, have I ? 
 
 ESTELLE. (Turning at table} Harsh! Why, 
 Mr. Fulton, my own father could not have been 
 kinder to me. (Goes to him) I m awfully sorry to 
 grieve you awfully sorry. 
 
 FULTON. What is there between you and this 
 young man ? 
 
 ESTELLE. Nothing nothing whatever. 
 
 FULTON. Good we re getting along just as we 
 used to do when you were considerably younger. 
 Now, (Pauses) why were you in his automobile? 
 
 ESTELLE. (Pause) I I was merely deceiving 
 Mr. Sheldon. I meant to leave him as soon as he 
 stopped any where, and come home. 
 
 FULTON. (Not convinced) Yes? 
 
 ESTELLE. Yes. 
 
 FULTON. Was that your intention when you got 
 into his car? 
 
 ESTELLE. Yes. 
 
 HENRY. (At door) Mattie. (Pause) We 
 don t need to complicate this affair, do we? 
 
THE OTHER GIRL 101 
 
 MRS. WATERMAN. I think not. Good-night 
 everybody. (Goes up c.) 
 
 ESTELLE. (Coming to her) I want you to be 
 lieve me, Mrs. Waterman. 
 
 MRS. WATERMAN. (Up R. c. With insincerity) 
 My dear Estelle, I ll do anything I can for you and 
 so will Mr. Waterman, I m sure. (HENRY assents) 
 I didn t know the man was a prize fighter and I 
 don t suppose you did and perhaps the whole 
 thing, as Cliff says, is a blessing in disguise if we 
 can only keep it out of the newspapers. 
 
 ESTELLE. That s all I care about myself. My 
 personal conduct I m sure won t displease you when 
 you know all. 
 
 (MRS. WATERMAN moves to go.) 
 
 FULTON. (Consulting watch) Won t you stay a 
 moment longer. Mrs. Waterman, I don t wish to 
 disarrange your household too much, but I think 
 the girls and myself will go to the hotel to-night. 
 
 HENRY. The hotel. 
 
 BRADFORD. Why ? 
 
 MRS. WATERMAN. Oh ! Do you really think so. 
 
 FULTON. I wish to start very early for Phila 
 delphia with both the girls and 
 
 HENRY. But we ve an engagement at nine in the 
 morning Miss Miss Kitteridge and I. 
 
 MRS. WATERMAN. Where? 
 
 HENRY. (To FULTON) Police court. 
 
 ( ESTELLE goes to big chair R., and sits weeping and 
 partly overcome by the strain. BRADFORD goes 
 to her sympathetically and annoyed with the 
 others.) 
 
 MRS. WATERMAN. (Up R. c. To HENRY) 
 She s bewitched poor Cliff. I ve seen it all along. 
 
102 THE OTHER GIRL 
 
 FULTON. (c. ) In the police court. rn. 
 (Pause) m. 
 
 BRADFORD. That part of it we men can consult 
 about later. This girl must have what rest is still 
 possible to her to-night. Come, come, Estelle. 
 (Lifts ESTELLE from chair) 
 
 (Enter KID. He puts his finger to his lips as he 
 closes LUMLEY S door. ESTELLE stands at chair.) 
 
 KID. (c.) Sh He s asleep all right, but he 
 made me promise to stable my machine and then 
 come back, if you people don t mind. You see, if I 
 can square it with him and I ve got him a go in 
 all right, I can fix it with the copper, because he was 
 kickin himself all over the station after he found 
 out / was the man he d run in. Then we can spar 
 for wind in the Police Court. 
 
 BRADFORD. I ll go with you, Kid, and we ll walk 
 back together. 
 
 KID. Good. 
 
 MRS. WATERMAN. (Expostulating) Oh, Cliff 
 dear. 
 
 FULTON. There ll be twenty reporters waiting 
 for that man. There were half a dozen when I 
 dismissed the cab. 
 
 BRADFORD. My idea exactly. The Kid will re 
 turn here as the instructor of Doctor Bradford, not 
 as a person interested in either of the young ladies. 
 
 FULTON. Is his return necessary? 
 
 BRADFORD. Advisable ? 
 
 FULTON. (Down L. c.) I regret it. (Indig 
 nantly) Police Court! (To KID) Do you know, 
 sir, that I ve never been in such a place in my life. 
 
 KID. (c.) You ve played in great luck, Gover 
 nor. (Goes up R. and then down R.) 
 
 BRADFORD. But before I go, I must insist that 
 Miss Kitteridge retires. 
 
 ESTELLE. Good-night. 
 
THE OTHER GIRL 103 
 
 FULTON. One moment, Estelle. As matters 
 still stand, I think you had better not share the 
 room to-night with Catherine. 
 
 ESTELLE. Oh oh ! 
 
 (BRADFORD turns away in restraint.) 
 
 MRS. WATERMAN. (Aside to BRADFORD) The 
 man s right, Cliff dear. 
 
 FULTON. At the hotel we can have separate 
 apartments and 
 
 MRS. WATERMAN. No, no, Mr. Fulton, I ll take 
 Estelle to my room (To ESTELLE) But I shall, 
 my dear. I fear I ve been a very poor chaperone 
 as it is but it s never too late to mend, as Cliff is 
 always saying to his helpless parishioners. (Ex- 
 fends hand) 
 
 BRADFORD. My room will be unoccupied, Mattie. 
 I have some writing that will keep me here in the 
 library. 
 
 ESTELLE. (To FULTON) But please don t 
 keep me away from Catherine to-night. She s my 
 one girl friend I can explain to her, Mr. Fulton, 
 and if she understands me, you you ll take Cath 
 erine s word, won t you, and not ask we any more? 
 
 FULTON. Xo, no ! I must be firm, Estelle. I am 
 both father and mother to Catherine you must not 
 only not share her room but until every suspicion 
 of guilt is removed from your conduct of to-night 
 all companionship between you must cease. 
 
 ESTELLE. Mr. Fulton, you may believe me rash 
 or foolish but you can t think that I m a depraved 
 woman. (Pause) Oh do I seem that way to the 
 others? (Turns) Doctor Bradford (Pause) 
 
 (BRADFORD looks at KID, who has nudged him in his 
 amusement. KID slowly winks and grins. 
 BRADFORD bursts into uncontrollable laughter. 
 
104 THE OTHER GIRL 
 
 the others regard BRADFORD in amazement. 
 BRADFORD goes to ESTELLE, who is also amazed, 
 and takes her hand. He then pats her head in 
 a soothing manner as though she were a mis 
 understood child. MRS. WATERMAN has gone 
 to HENRY in pantomime fear that BRADFORD is 
 crazy. The KID stands still and grins. BRAD- 
 FOTD S laughter continues in bursts. He locks 
 arms with the KID they exeunt. The others 
 stand amazed.) 
 
 Curtain 
 
 ACT III 
 
 The dining-room. Glass doors R. and L. at 
 back. Left one broken, but both curtained at 
 beginning. Buffet L. Side table between 
 windows. Door to pantry 3 R. Door to house 
 ist R. Screen below pantry door. Big dining 
 table c. Handsome furniture generally. 
 
 DISCOVERED: Dark stage empty Long pause 
 An electric bell rings in pantry. Pause. Bell 
 repeats impatiently. A match flickers at I R. 
 and goes out. 
 
 KID. (Off) Wait a minute, I ve got another. 
 
 BRADFORD. Thank you. (Light of second match) 
 We re all right now. The button s just here. 
 (Turns electric button. Big lamp over table lights 
 up) Servants apparently not down yet. 
 
 KID. Did you tell him? 
 
 BRADFORD. Yes listen ! (Pause. Looks at ceil 
 ing) I thought I heard somebody overhead. 
 
 KID. (Also looking up) That his room? 
 
THE OTHER GIRL 105 
 
 BRADFORD. No that s the library. He s just 
 across the hall. 
 
 KID. What s he say? What d you tell him? 
 
 BRADFORD. I told him it was your automobile 
 that hurt him and that you d meant to tell him so 
 yourself. 
 
 KID. I started to half a dozen times. 
 
 BRADFORD. He understands your hesitation. He 
 wants to se you. 
 
 KID. Now? (BRADFORD nods. Bell rings) That 
 him? 
 
 BRADFORD. Yes, and he said he d like a cup of 
 coffee. 
 
 KID. I d like one myself. (E.rit BRADFORD 3 R. 
 The KID sits on chair R. 2 and doses as BRADFORD 
 looks about outside Bell rings. KID jumps to 
 center on guard as at the beginning of a round in a 
 fight Laughs foolishly at his mistake. BRADFORD 
 re-enters) Well would you go see him now if you 
 were me? 
 
 BRADFORD. I think I should. (Enter MAGGIE) 
 Where are the servants, Maggie ? 
 
 MAGGIE. They re discharged, sir. 
 
 BRADFORD. Oh, and the breakfast? 
 
 MAGGIE. I don t know, sir. 
 
 BRADFORD. I smell coffee. 
 
 MAGGIE. I made some myself, sir, on the little 
 gas stove. 
 
 BRADFORD. I d like a cup of it for Mr. Lumley. 
 (Bell rings) 
 
 MAGGIE. Yes, sir. I ll answer Mrs. Waterman! 
 (Exit i R.) 
 
 KID. (Anxiously) I ll wait and take his coffee 
 to him, eh? 
 
 BRADFORD. Yes, if you wish to. (Consults 
 watch) Seven o clock, we breakfast at eight. 
 (Draws curtain of window R. Strong sunlight 
 enters) 
 
106 THE OTHER GIRL 
 
 KID. Where d she break it? 
 
 BRADFORD. It wasn t that window, it was this. 
 (Draws curtain of L. window disclosing breaks of 
 lower panes} 
 
 KID. Gee whiz ! She mixed it up all right, didn t 
 she? 
 
 BRADFORD. James hasn t even swept up the pieces. 
 (Looks about for something to put the glass in 
 takes glass fruit bowl from buffet, with a little 
 fruit in it) 
 
 KID. (Down R. c.) Women are as bad as men 
 when they get started, I think. My barkeeper s girl 
 came in one morning after he d forgot to come home 
 and she broke all the glassware you could reach 
 with an umbrella, and then drummed tunes on the 
 cash register till his business for that day showed 
 forty thousand dollars. Here, let me do that, 
 Doctor! (Picks up glass) 
 
 BRADFORD. Thank you, if you will. 
 
 (Enter ESTELLE, R. i.) 
 
 ESTELLE. Oh! Why, am I so early? 
 BRADFORD. (Turning) Good-morning! 
 ESTELLE. Good-morning ! 
 
 KID. (Standing and nodding) How are you? 
 BRADFORD. I believe there s a strike this morning 
 in the kitchen and pantry? 
 
 (KiD resumes work.) 
 
 ESTELLE. (Indicating window) It seems to have 
 reached this room. 
 
 BRADFORD. It began in this room. 
 
 ESTELLE. Oh ! 
 
 BRADFORD. But Mr. Sheldon and I don t belong 
 to the union. (Comes down) 
 
 ESTELLE. You look tired, Doctor Bradford; it 
 
THE OTHER GIRL 107 
 
 was unspeakably selfish in me to take your room 
 from you. 
 
 BRADFORD. (Stroking his face and adjusting his 
 collar) This is not fatigue, Miss Kitteridge. It is 
 negligence. The couch in the library is most com 
 fortable, believe me ! 
 
 (Enter MAGGIE, R.) 
 
 MAGGIE. Will Mr. Lumley want anything else, 
 sir? 
 
 BRADFORD. I think not at first. (Pushes button, 
 turning out electrolier) 
 
 MAGGIE. Yes, sir! (E.rit L.) 
 
 ESTELLE. (Anxiously) How is he? 
 
 BRADFORD. All right I hope. He s able to turn 
 over and he wants coffee. 
 
 ESTELLE. (R. c.) You saw him this morning? 
 
 BRADFORD. Yes; Mr. Sheldon was with him all 
 night. 
 
 ESTELLE. Does he know it was who it was? 
 
 BRADFORD. He knows it was Mr. Sheldon and 
 in all my experience I have never seen anyone so 
 anxious to comply with the scriptural injunction: 
 " Do good to them that injure thee ". 
 
 ESTELLE. (Quizzically) Is that due to his ad 
 miration for your precepts, Doctor? 
 
 BRADFORD. (Pause) Mr. Sheldon s biceps! 
 
 ESTELLE. Oh ! 
 
 KID. (Rising with fruit bowl of broken glass) 
 Do you want to hide this bunch of stuff, or put it in 
 the show window? (Crosses down L.) 
 
 BRADFORD. Set it there (Buffet) the maid will 
 throw it away ! 
 
 KID. " Throw it aivay ! " Why, I know a fel 
 low in the vaudeville that eats broken glass. This 
 platefull d feed a poor man like him for a week. 
 (Glances from BRADFORD to ESTELLE. ESTELLE 
 gives BRADFORD a quick glance, bites her lips in 
 
io8 THE OTHER GIRL 
 
 restraint and exit at pantry door, R. 3. Both men 
 smile mutually, KID puts bowl on buffet) 
 
 BRADFORD. (Leaning on table, c.) That s an 
 example, Kid, of what I meant in our walk last 
 night. Life is too much of a joke with you. The 
 twenty dollar bill you were about to burn will re 
 lieve some suffering Miss Kitteridge will see that 
 it does. She s in earnest and the window and the 
 poor chap upstairs still jokes to you! 
 
 KID. Oh, no, it ain t! I m dead sorry for him. 
 Every time he woke up he commenced to gab about 
 " his Catherine ". 
 
 BRADFORD. As I told you and when the mere 
 physical influence that you exert is away, her entire 
 heart will be his also. 
 
 KID. You re right. I got onto that in the library. 
 (Pause) Women are that way! Out West one 
 time before I d fought as a professional there 
 was a girl playin about even between me and an 
 other boxer. 
 
 BRADFORD. A pugilist? 
 
 KID. (Nodding "yes") Pretty work but he 
 didn t like the gruel so we agreed to fight for the 
 girl see ? 
 
 BRADFORD. All unknown to her, of course? 
 
 KID. (Laughing (( not much") She held the 
 watch for us and called time. 
 
 BRADFORD. The girl? Is it possible? 
 
 KID. Oh, yes. Well, there bein a lady present, 
 you see I thought I d make it short. The other 
 fellow wanted to cut some " figure eights " and that 
 sort of " fancy work ", but I got to his gold fillings 
 in the middle of the second and it was " Sunday " 
 for him. 
 
 BRADFORD. (Assenting) Out! 
 
 KID. Clean ! I turned around to collect the girl, 
 and she wasn t there. Not her ! She was down on 
 
THE OTHER GIRL 109 
 
 the ground with the pretty boy s head in her lap and 
 I wasn t one two three! 
 
 BRADFORD. She was a more womanly girl than 
 you thought, wasn t she? 
 
 KID. A good deal. It was all I could do to get 
 back the watch. Well, when this Johnny upstairs 
 fainted in that big chair last night, I saw who owned 
 " his Catherine." 
 
 BRADFORD. Of course you did ! Her genuine 
 sympathy at that time commanded my respect also. 
 
 KID. My business teaches a fellow one thing, 
 Doctor If you can t win, be a good loser! 
 
 BRADFORD. And do be a good loser, Kid, in this 
 affair. Lumley s great admiration for you makes 
 any trifling with Miss Fulton all the more blame 
 worthy. You see that, don t you? 
 
 KID. Oh, I ve scratched that. I never fooled 
 with any fellow s girl in my life. (Pause) After 
 I d once shook hands with him. 
 
 BRADFORD. That s a good rule. Kid ; there s only 
 one better. Never fool with any fellow s girl, 
 whether you ve shook hands with him or not. 
 
 KID. It wasn t all fooling with this one. 
 
 BRADFORD. What was it? 
 
 KID. You see, everybody says a fighter ain t a 
 gentleman. 
 
 BRADFORD. (Controlling his wish to smile) I m 
 familiar with that prejudice. 
 
 KID. Well, here s a girl that has her picture in 
 the paper if she goes to the horse show ; and her 
 picture in the paper because she s goin to marry 
 one of the richest men in New York a society 
 queen. Now, anybody that catches her has got to 
 be a gentleman, ain t he? And when I saw it com 
 ing my way, I said : " I ll just steal this one and 
 they ll all have to sit up and stop talking. Jeffries 
 may be a shine and all the rest of them a chip 
 
i io THE OTHER GIRL 
 
 shy but Kid Garvey Sheldon will be a real gentle 
 man fighter, see? 
 
 BRADFORD. (Seriously, shaking his head) I don t 
 agree with you, Kid. It s the things a man does 
 in his conduct not whom he marries. Your be 
 havior since your auto run over Mr. Lumley has 
 been much more the work of a gentleman than 
 stealing even a society queen. Trying to protect 
 the young lady s name ; coming promptly to me with 
 the facts ; sitting up all night with Lumley that s 
 the gentlemanly behavior. 
 
 KID. Why, I did that just to be kind to you and 
 him. 
 
 BRADFORD. Well, kindness, my boy, is the chief 
 mark of the gentleman. 
 
 KID. Kindness? (BRADFORD nods) Then I 
 should think a preacher d be a gentleman. 
 
 BRADFORD. Many of them are. 
 
 KID. Well, you re one all right, Doc. Because a 
 man that was only a preacher d think he was due to 
 turn me down so hard on account of this girl busi 
 ness that he wouldn t speak to me now would he? 
 
 BRADFORD. I fear that is a mistake that the 
 man who was only a gentleman would be more likely 
 to make than the preacher. My business teaches a 
 fellow one thing also 
 
 KID. What is it? 
 
 BRADFORD. If you can t help a man, be very slow, 
 to condemn him. 
 
 (Enter ESTELLE, followed by MAGGIE with tray.) 
 ESTELLE. I ve put some melon on Mr. Lumley s 
 
 tray, Doctor. He probably has some fever and 
 BRADFORD. Good but, Maggie (MAGGIE 
 
 pauses) Mr. Sheldon wishes to take it to him. 
 MAGGIE. Yes, sir. (Gives tray and exit ) 
 KID. (With tray) You re sure he wants to see 
 
 me, Doctor? 
 
THE OTHER GIRL in 
 
 BRADFORD. Quite. 
 
 KID. I wish I was sure I want to see him. 
 (Exit) 
 
 (ESTELLE and BRADFORD regard each other a mo 
 ment. ESTELLE drops her eyes) 
 
 BRADFORD. You saved her, didn t you ? 
 
 ESTELLE. (Looking up) I hope so but have 
 I? 
 
 BRADFORD. Yes, you and the fortunate accident to 
 poor Lumley. You ve saved her from a great 
 scandal and a greater unhappiness. 
 
 ESTELLE. She couldn t have been happy with 
 him ? 
 
 BRADFORD. Impossible. It was his vanity not his 
 love that she appealed to. 
 
 ESTELLE. And it was her youth and well her 
 youth that made her like him and he really was 
 very attractive when you were wrestling out there 
 you both are. 
 
 BRADFORD. Thank you! 
 
 ESTELLE. Well, you knew it, didn t you? Men 
 wouldn t allow ladies to watch them in their athletics 
 if they thought they appeared to disadvantage. 
 
 BRADFORD. I suppose not! 
 
 ESTELLE. He won t try to take her away again, 
 will he? 
 
 BRADFORD. No, and if he did, Catherine wouldn t 
 go. She has discovered that her love for Reginald 
 is real. 
 
 ESTELLE. If the truth can be kept from Reginald 
 I shall feel repaid for any misfortune that may 
 come to me. 
 
 BRADFORD. No misfortune shall come to you. 
 
 ESTELLE. If we could only put some creditable 
 color on it to Mr. Fulton. I have valued his good 
 opinion so highly. 
 
H2 THE OTHER GIRL 
 
 BRADFORD. What creditable color did you place 
 on it for my sister? 
 
 ESTELLE. None. That s the reason I took your 
 room. If I d have shared hers I m sure I d have 
 told her everything. Mrs. Waterman s such a 
 masterful woman. 
 
 BRADFORD. And why not tell everything? 
 
 ESTELLE. I wanted to think it over. I wanted to 
 counsel with somebody. I didn t know \vhom. I 
 never dreamed that you knew until until it 
 amused you so much. 
 
 BRADFORD. (Smiling) You must remember that 
 I have a cultivated taste for amusement 
 
 ESTELLE. How did you know? 
 
 BRADFORD. (Pointing to door of balcony) I was 
 there. 
 
 ESTELLE. (Inhaling and shaking head ominously) 
 Catherine is all impulse at the first moment of any 
 emotion all impulse. 
 
 BRADFORD. Mattie fetched those doors from 
 Rome. 
 
 ESTELLE. Oh, I m so sorry. (Pause) She knew 
 Catherine did it? 
 
 BRADFORD. No. But she probably does by this 
 time. I told Mr. Waterman last night and Mattie s 
 a very masterful woman. 
 
 ESTELLE. Did you tell him why I went in the 
 automobile ? 
 
 BRADFORD. (First shaking his head) I shall tell 
 him this morning. 
 
 ESTELLE. Is it wise to do so? 
 
 BRADFORD. I don t know. But it s human. And 
 that s a luxury that I occasionally insist upon. 
 
 ESTELLE. But why should he know it ? 
 
 BRADFORD. / live with him. 
 
 ESTELLE. I don t understand you. 
 
 BRADFORD. There s one qualification for the 
 
THE OTHER GIRL 113 
 
 ministry that a clergyman must have and must per 
 mit no one to successfully challenge. 
 
 ESTELLE. What is that? 
 
 BRADFORD. His intelligence. (Pause. ESTELLE 
 shakes her head, not comprehending) I m going to 
 tell my sister and her husband this morning that 
 I ve asked Estelle Kitteridge to be my wife and I 
 don t want them to think that I d have done that if 
 her greater inclination was to elope with a pugilist. 
 (Takes her hand) 
 
 ESTELLE. (Looking down) But you haven t 
 asked her. 
 
 BRADFORD. I shall have done so by the time I tell 
 them I have. (Draws her to him) And she? She 
 will have probably answered? 
 
 ESTELLE. (Standing hint off) That depends. 
 You know, Doctor, in our talk last evening on the 
 porch 
 
 BRADFORD. Ves 
 
 ESTELLE. \Vhat I wanted to s?y wa^ that I d 
 kind a " loukcl ,// to you." 
 
 BRADFORD. [ understood you. 
 
 ESTELLE. \Yhat I did say was that " I d tried 
 to move toward the ideals you d expressed." 
 
 BRADFORD. I remember the phrase perfectly. 
 
 ESTELLE. So do I. "Move tow ard the ideals." 
 You know I don t talk that way as a general thing 
 and I couldn t promise to be your wife if I had to be 
 as as literar\ as that all the time I couldn t 
 stand the strain of it. 
 
 BRADFORD. (Laughing) \Yhy, you dear girl, 
 you shall be as natural as you wish. 
 
 ESTELLE. Thank you ! (He starts to embrace 
 her) No, wait one word about the charities. I 
 love all kinds of charitable work simply love it 
 as a pastime. I shouldn t like to look forward to a 
 life of it and a minister s wife runs that risk, 
 doesn t she? 
 
u 4 THE OTHER GIRL 
 
 BRADFORD. This minister s wife won t. Noiu 
 may I tell them? 
 
 ESTELLE. What? 
 
 BRADFORD. That you ve said "yes"? , 
 
 ESTELLE. No nothing, until everything between 
 Reggie and Catherine is fixed all right. 
 
 BRADFORD. But you do say " yes ", don t you ? 
 
 ESTELLE. Yes! (Embrace) 
 
 (Enter ANN.) 
 
 ANN. My lands ! He has the other one now ! 
 (Exit) 
 
 (Enter KID with hat, R. i.) 
 
 KID. Excuse me, but (Pause) 
 
 BRADFORD. (Releasing ESTELLE) How is he? 
 
 KID. (Perplexed) The old gent dropped in 
 
 BRADFORD. Who ? 
 
 KID. The girl s governor ! 
 
 BRADFORD. Mr. Fulton. 
 
 KID. Yes. 
 
 BRADFORD. To Mr. Lumley s room? 
 
 KID. Yes Mr. Lumley thought it was funny 
 to tell him that it was my machine that hit him and 
 all about it, but the old gent wouldn t shift a wrinkle 
 so Lumley ups and asks him why he was pullin 
 such a sour mug- 
 
 BRADFORD. (Prompting) Yes- 
 
 KID. (Half throwing up his hands) Well the 
 old gent blows everything. Your lady s name and 
 the bag and the whole business. 
 
 BRADFORD. (Indignantly) What! 
 
 KID. Just as I m tellin you and that Miss Kit- 
 teridge can t train with his girl any more so I 
 backed into my corner and ducked under the ropes. 
 (Consults watch) It s nearly eight now and I ve 
 
THE OTHER GIRL 115 
 
 gol: to pump round a good deal before nine so I ll 
 quit you. (Goes up) 
 
 BRADFORD. But you ve had no breakfast. 
 
 KID. That s all right. I ll catch a cup of coffee 
 and a sinker on the wing (Pause) What you 
 said last night, goes ; don t it ? 
 
 BRADFORD. It does indeed. 
 
 (Km extends hand and they shake.) 
 
 KID. (At door up-stage approvingly) Say 
 Miss Kitteridge! Anybody in your class You! 
 (E.vit) 
 
 ESTELLE. Y\ hat did he mean by that ? 
 
 BRADFORD. I took it to be your professional rat 
 ing. 
 
 (Re-enter MAGGIE from pantry.) 
 
 MAGGIE. Pardon me but Mrs. \Yaterman says 
 for me to set the table. (Goes to buffet drawer for 
 clothe) 
 
 BRADFORD. Very well, Maggie. 
 
 ESTELLE. I ll help you. 
 
 MAGGIE. Oh, no, miss. (MAGGIE removes center 
 piece from mahogany table) 
 
 BRADFORD. I have your permission, Miss Kit 
 teridge to invade my room a moment in order to 
 
 ESTELLE. You ll find it in order, doctor. 
 
 BRADFORD. And I take orders easily. (Exit) 
 
 MAGGIE. (As ESTELLE takes table cloth) This 
 pad goes first. Miss. 
 
 ESTELLE. (Taking table pad) Can t I do this 
 alone, Maggie, while you re getting the breakfast. 
 
 MAGGIE. (Assisting) Thank you. I ll help you 
 with the cloth and then I will go to the kitchen if 
 
ii6 THE OTHER GIRL 
 
 you don t mind. And its the blue china from the 
 pantry for breakfast. 
 
 ESTELLE. Oh, / know Maggie. 
 
 MAGGIE. And the egg cups, Miss boiled eggs 
 are the quickest and we re all that late already 
 
 ESTELLE. To be sure No, run right along and 
 leave me with these little things. 
 
 MAGGIE. (Going) Thank you, Miss Kitteridge. 
 
 (Enter CATHERINE L.) 
 
 MAGGIE. Oh, Miss Catherine I hope you re bet 
 ter. 
 
 CATHERINE. Much better thank you, Maggie. 
 (MAGGIE bows and goes) Estelle ! 
 
 ESTELLE. (Quickly to her) My poor Catherine. 
 (Embrace) Don t my dear, I m sure everything s 
 going to come out all right everything! 
 
 CATHERINE. What about Reginald. 
 
 ESTELLE. (Expansively) Why he s had break 
 fast and he can sit up. 
 
 CATHERINE. Who took it to him you? 
 
 ESTELLE. Mr. Sheldon. 
 
 CATHERINE. He s been here all night, hasn t he? 
 
 ESTELLE. (Tentatively) Yes 
 
 CATHERINE. Oh, Estelle, what made me behave 
 in that crazy manner. I crept down to their door 
 last night and could hear them talking. Reginald 
 and him talking, talking mechanical terms: 
 " Horse power " and " upper cuts " and " just saved 
 by the bell " and I wonder at myself ; Reggie s 
 words were so musical and genteel and that man s 
 seemed so common oh, why did I do it? 
 
 ESTELLE. It doesn t matter now why Compose 
 yourself Catherine and help me at the table. There s 
 some trouble wtih the servants. 
 
THE OTHER GIRL 117 
 
 CATHERINE. That s my fault too. Oh, I haven t 
 slept an hour all night Estelle. 
 
 ESTELLE. Never mind put some of those tum 
 blers about while I get the blue plates from the 
 pantry. (Exit) 
 
 CATHERINE. (At buffet L.) What s all this in 
 the fruit dish? (Enter MRS. WATERMAN. Turns 
 with plate) Why the fruit is full of broken glass. 
 
 MRS. WATERMAN. Is it? 
 
 CATHERINE. Yes (Extends plate) 
 
 MRS. WATERMAN. Don t you know where it 
 came from, my dear? That broken glass. 
 
 CATHERINE. (Really ignorant) Why no. 
 
 MRS. WATERMAN. (Points to door) From the 
 Palace of the Medicis. 
 
 CATHERINE. Why the door is broken. Did I 
 Oh, Mrs. Waterman. Did / do that? 
 
 MRS. WATERMAN. (Enter ESTELLE with plates) 
 You must have been vcr\ frightened not to have 
 known it my dear Who locked you out? 
 
 ESTELLE. I did, Mrs. Waterman. (Comes 
 down ) 
 
 MRS. WATERMAN. Oh, Miss Kitteridge. Just 
 before you you went for your drive, I suppose. 
 
 ESTELLE. Yes, but we will explain all that Mrs. 
 \Yaterman, we ll explain everything when the gentle 
 men are all gone. 
 
 MRS. WATERMAN. Dear me! (Pause) Is it 
 really so so piquant as that? (Goes to set dish 
 down) 
 
 CATHERINE. (Hurt by "piquant") Estelle! 
 
 ESTELLE. (Comforting) Cheer up, dear please. 
 (Arm about her) 
 
 (Enter FULTON.) 
 
 ^ FULTON. (Shocked at sight of CATHERINE in 
 ESTELLES arms) Catherine come here. (ESTELLE 
 
n8 THE OTHER GIRL 
 
 leaves CATHERINE. FULTON takes CATHERINE. To 
 ESTELLE) Did I hear you at Catherine s door this 
 morning, Estelle? 
 
 ESTELLE. (Busy at table) No I sent Maggie 
 for some of my things. You probably heard her. 
 
 FULTON. Oh (Apart to MRS. WALTERMAN) 
 There s a degree of composure that amounts to 
 callousness, isn t there. 
 
 MRS. WATERMAN. Isn t there? (Shrugging 
 shoulders askance at ESTELLE) We are without a 
 butler this morning, Mr. Fulton ; and a cook I be 
 lieve. 
 
 (CATHERINE turns to buffet and gets tumblers.} 
 
 FULTON. I readily understand it and sympathize 
 Mrs. Waterman did you learn which of them 
 broke your door. (ESTELLE and CATHERINE pause. 
 MRS. WATERMAN signals silence on that subject and 
 FULTON dissembles) Oh, believe me, I like it. 
 (Again, apart) I ve been utterly mistaken in that 
 girl. (To MRS. WATERMAN. Then to CATHERINE) 
 Now, Catherine darling, be as brave and as womanly 
 as you know how to be. (Turns to MRS. WATER 
 MAN) Mr. Lumley is coming down stairs, Mrs. 
 W aterman. 
 
 MRS. WATERMAN. (Apprehensively) Oh! 
 
 FULTON. He wishes to dispel the family s anxiety 
 by being with us. 
 
 MRS. WATERMAN. Why Catherine, dear, you 
 needn t do that. 
 
 CATHERINE. Yes please I wish to do it. (Ar 
 ranging table things with ESTELLE) 
 
 (Enter MAGGIE.) 
 
 MAGGIE. The breakfast is ready ma m shall we 
 wait for Mr. Waterman? 
 
THE OTHER GIRL 119 
 
 MRS. WATERMAN. Xo He said not to (Exit 
 MAGGIE) sit down please Mr. Fulton and young 
 ladies. We don t need so many things, I m sure. 
 (Sits) 
 
 ESTELLE. I will in a moment. 
 
 (E.vit to pantry. CATHERINE sits.) 
 
 FULTON. (Looking after ESTELLE then speaking 
 to CATHERINE) My dear a little more reserve 
 with Estelle (To MRS. WATERMAN) Do you 
 understand that assurance. (MRS. WATERMAN, 
 shrucjs. To CATHERINE) A little more reserve. 
 (Sits) 
 
 CATHERINE. Xo father I can t you don t 
 know 
 
 HENRY. (Outside i R.) Not too fast not too 
 fast (Appears I R.) Good-mornin everybody 
 Mr. Lumley my dear He wanted to send for his 
 own clothes, but I said " Why it s all in the family " 
 Come in, Reginald. 
 
 (Enter LUMLEY in a business suit and linen of 
 HENRY S arranged for comedy. FULTON rises. 
 CATHERINE pushes chair from table.) 
 
 LUMLEY. (Apologising) You know, a dress 
 suit at breakfast even a clean dress suit looks 
 dissipated so (Displays his wake-up) 
 
 MRS. WATERMAN. Why that s very good indeed 
 Reginald sit there. 
 
 LUMLEY. Xo, I ve had my breakfast. 
 
 CATHERINE. (Offering another chair) But sit 
 here by me won t you? 
 
 LUMLEY. (Indicating clothes) These don t dis 
 qualify me? (Sits near her) 
 
 CATHERINE. Of course they don t won t you 
 have a glass of water? 
 
120 THE OTHER GIRL 
 
 LUMLEY. Thank you. (CATHERINE pours out 
 the water) I ll take a mouthful and perhaps a 
 bite just a bite of fruit. 
 
 HENRY. Fruit! (Takes dish from buffet) Oh! 
 
 MRS. WATERMAN. Not that, Henry. 
 
 (HENRY crosses with it to R.) 
 
 LUMLEY. Glace isn t it? (Drinks) 
 
 MRS. WATERMAN. (Smiling through set teeth) 
 
 Yes quite. 
 
 HENRY. (Despairingly at LUMLEY) Glace! 
 
 Still very weak ha, ha ! 
 
 (Enter ESTELLE with melon and dishes.) 
 
 ESTELLE. Why, Mr. Lufcley! 
 
 LUMLEY. (Rising) Good-morning. 
 
 CATHERINE. Please keep your seat. 
 
 ESTELLE. I m so glad to see you able to do this 
 but are you strong enough really? 
 
 LUMLEY. Oh, yes. 
 
 FULTON. (To MRS. WATERMAN, and referring 
 to ESTELLE S composure) Incredible! 
 
 LUMLEY. Of course I look a trifle emaciated in 
 this outfit but How are you doctor. (Looking to 
 door i R.) 
 
 (Enter BRADFORD.) 
 
 BRADFORD. Hello Reggie! Isn t this rather 
 heroic. (They meet in front of table) 
 
 LUMLEY. The clothes are collossal but I 
 thought / should be at this breakfast at all hazards 
 
 (Enter MAGGIE with coffee pot.) 
 
 MRS. WATERMAN. Here s the coffee sit down 
 Cliff. 
 
THE OTHER GIRL 121 
 
 CATHERINE. (To LUMLEY) Please. (Leads 
 him to chair again. Bell rings) 
 
 (M AGGIE exit.) 
 
 rlEXRY. What s that? 
 
 MRS. WATERMAN. Front door probably Here 
 is some iced melon Catherine I m sure Reggie will 
 like that. 
 
 CATHERINE. Yes (Gets a piece for LUMLEY) 
 
 MRS. WATERMAN. (Insincerely and insinuat 
 ingly) Sit down, Estelle dear. 
 
 ESTELLE. Have you everything you need? 
 
 MRS. WATERMAN. Oh, yes, thank you! 
 
 LUMLEY. I had one piece of this before before 
 I made my toilet. 
 
 BRADFORD. Yes, Miss Kitteridge sent it to you. 
 
 LUMLEY. I knew it was some good friend. 
 
 ( FULTON looks at MRS. WATERMAN.) 
 CATHERINE. And it was. 
 
 ( FULTON looks at CATERINE, in surprise. Enter 
 MAGGIE i R.) 
 
 MAGGIE. Judge Bates, ma m! 
 HENRY. Ask the judge to step up here. 
 MAGGIE. Yes, sir. (Exit) 
 LUMLEY. Judge Newton Bates? 
 BRADFORD. Yes. 
 
 LUMLEY. I haven t seen Judge Bates since I was 
 at Yale. 
 
 BRADFORD. (Grunting) m. 
 
 (MRS. WATERMAN coughs.) 
 
 CATHERINE. Was Judge Bates at Yale? 
 LUMLEY. (With meaning) He was when I saw 
 him last. So was Doctor Bradford. 
 
122 THE OTHER GIRL 
 
 FULTON. Why I thought you were a Harvard 
 man, Doctor? 
 
 BRADFORD. (Nods) My dear Reginald, aren t we 
 on tender ground. 
 
 LUMLEY. Perhaps. (To CATHERINE) Didn t 
 you ever hear how Doctor Bradford and Judge 
 Bates went to New Haven to see me? 
 
 CATHERINE. No. 
 
 LUMLEY. Nor read it in the papers? . 
 
 CATHERINE. No. 
 
 (Enter JUDGE with morning papers.) 
 
 JUDGE. Good-morning. 
 
 OMNES. (In character) Good-morning, Judge! 
 
 JUDGE. (Full of his news) Do you know who 
 the man was that we run over last night? 
 
 BRADFORD. Yes, we ve got him here. 
 
 JUDGE. (Astonished} What! 
 
 LUMLEY. How are you, Judge Bates. Haven t 
 seen you since New Haven (Half rises) 
 
 JUDGE. Why, Mr. Lumley, this is astonishing. 
 You re in bed for several weeks according to the 
 papers. It didn t injure you? 
 
 LUMLEY. Thank you, no. 
 
 BRADFORD. Doesn t even hurt his feelings since 
 he learned who did it. 
 
 JUDGE. (Turning to ESTELLE slowly) Oh Oh! 
 
 ESTELLE. What do the papers do with me, 
 Judge ? 
 
 JUDGE. Not mentioned. 
 
 FULTON. Nor nor m\ family? 
 
 JUDGE. Not at all. 
 
 FULTON. Ah ! (In relief) 
 
 BRADFORD. You have all the papers? 
 
 JUDGE. All. That reporter fellow brought them 
 to me to show that he d done as he promised he 
 would. I offered him a check for his services but 
 
THE OTHER GIRL 123 
 
 hi 
 
 -" r~~L ~~ J 
 
 BRADFORD. Thank you. 
 
 (JUDGE puts papers on table.) 
 
 THE OTHER GIRL 123 
 
 he refused it His only request was that I should 
 show the papers to you. (To BRADFORD) 
 
 LUMLEV. Cheer up, doctor. 
 
 BRADFORD. I! Do I seem unhappy? 
 
 LUMLEY. Yes, you do, and the whole matter is 
 less serious than you think. You ll pardon me, Miss 
 Kitteridge but this seems a very opportune moment 
 for me to make certain statements. (To JUDGE) 
 The Kid sat up with me last night. 
 
 JUDGE. Sheldon. 
 
 LUMLEV. (Very seriously) Yes. He said a 
 great many things about his influence over women 
 that I didn t understand at all seemed mere boast 
 ing and vanity until Mr. Fulton told me this morn- 
 that well who the lady was that Sheldon had with 
 him. 
 
 JUDGE. The papers all agree Miss Morrison. 
 
 LUMLEY. (Smiling) I understand. Now all I 
 want to say is, and what he meant me to under 
 stand was, that a person man or woman can be 
 carried away temporarily by such an admiration 
 as the Kid would inspire why he s the best man 
 we ve got of his weight. \Yhy shouldn t that side 
 of him attract a girl? 
 
 ESTELLE. Thank you, Mr. Lumley. 
 
 CATHERINE. (Pained) Oh Estelle don t. 
 
 ( FULTON indignant.) 
 
 LUMLEY. What s the matter? 
 CATHERINE. (Rising) Excuse me, please. 
 (Starts off) 
 
 LUMLEY. (Pleading) Just a word, Catherine. 
 FULTON. (Arresting her) My dear! 
 
124 THE OTHER GIRL 
 
 LUMLEY. You know doctor, what men are under 
 similiar influences and you know what there worth 
 afterwards So does the Judge 
 
 ESTELLE. Mr. Lumley is tiring himself I can 
 
 LUMLEY. (Faintly) Perhaps 
 
 CATHERINE. (Returning) Then please don t, 
 Reginald. You don t understand the situation at 
 all. 
 
 LUMLEY. Maybe not but let us all be charitable. 
 (To BRADFORD) You did me a great service that 
 time at New Haven doctor and now I ll do you one 
 in spite of yourself. 
 
 BRADFORD. Thank you, Reginald I know you 
 mean it. 
 
 HENRY. But I m sure we shouldn t permit 
 Reginald to say any more just now. 
 
 LUMLEY. (Indicating BRADFORD) Then let him 
 tell it himself or the judge. I want Mr. Fulton 
 and his daughter to know it They should have 
 known it before. 
 
 CATHERINE. What is it? 
 
 LUMLEY. (Positively) Tell her! 
 
 BRADFORD. (Pause) Reginald at college was 
 quite the average college boy in many ways 
 especially the young man at college spoiled by too 
 much money. 
 
 LUMLEY. Oh, I was wilder than the average. 
 
 BRADFORD. He became involved in an affair (To 
 MRS. WATERMAN) I think we called them affairs? 
 (MRS. WATERMAN nods) with a girl in the chorus 
 (Pause, CATHERINE looks down) That s all isn t 
 it? 
 
 MRS. WATERMAN. Why of course, it isn t all, 
 Cliff or the affair would still be going on. Tell the 
 extent of it now that you ve started and what 
 stopped it. 
 
 BRADFORD. The Judge stopped it. 
 
THE OTHER GIRL 125 
 
 JUDGE. (Smiling) Oh, I think you stopped it, 
 Doctor I settled it. 
 
 BRADFORD. Yes the Judge "settled it"- He 
 paid the girl some money and got back Reggie s 
 letters and I went with Reggie s mother and per 
 suaded Reggie to quit following the opera company 
 around and go back and finish out his term at Col 
 lege. Now that s all of it, isn t it? 
 
 LUMLEY. (Pause) Yes and that was a good 
 deal worse than this little flyer last night. 
 
 BRADFORD. Of course, but men expect women to 
 forgive them they are seldom equal themselves to 
 forgiving women. 
 
 LUMLEY. They should be and a man of your 
 calling above all others. 
 
 BRADFORD. So you say my dear Reginald when 
 you re advising me. Suppose you were in my posi 
 tion You. 
 
 LUMLEY. (With heroism) I ! Why then 
 
 CATHERINE. (Standing up) Oh, stop stop. 
 It s cruel of you Doctor Bradford \ou, the only 
 one who knows, to make Mr. Lumlev commit him 
 self 
 
 LUMLEY. (Deprecatingly) My dear Catherine, 
 it was all in the newspapers at the time thinly dis 
 guised 
 
 CATHERINE. Not what I mean. It was / Cath 
 erine Fulton who was going with Mr. Sheldon last 
 night. Estelle locked me out there and took my 
 place see the door where I broke it. (In a burst) 
 and now I m going out of the room. 
 
 BRADFORD. (Stopping her) One moment 
 where are you going? 
 
 CATHERINE. Let me go please let me go. 
 
 BRADFORD. Yes, in a moment. I m learning, 
 Miss Catherine, that your first impulses are some 
 times unsafe. 
 
 FULTON. (Sternly) I ll take her, Doctor Brad- 
 
126 THE OTHER GIRL 
 
 ford. (Does so. BRADFORD, goes to LUMLEY) 
 Catherine ! Catherine ! I wish you to control your 
 self my daughter we have some apologies to 
 make here. 
 
 LUMLEY. (Rising) Rot! This isn t any time 
 for apologies. I ve been all through this myself 
 (Waves FULTON aside puts his arm about CATH 
 ERINE who still cries convulsively starts out at R., 
 she halts, looks at him an instant and buries her 
 face in his breast with an added burst. LUMLEY 
 gulps, looks back at the others, softly waves his left 
 hand twice as if fanning them back) 
 
 (E.vit zvith CATHERINE.) 
 
 FULTON. (Pause) You kneiv? (To BRADFORD. 
 BRADFORD, nods) m. (Looks about) Everybody 
 knew ? 
 
 BRADFORD. Only Miss Kitteridge. 
 
 FULTON. Oh. (Turns to ESTELLE) What did 
 she say " you took her place," Estelle ? 
 
 ESTELLE. Yes, Mr. Fulton. 
 
 JUDGE. (Slowly) Well well. 
 
 FULTON. She was really going away (ESTELLE 
 nods) with that prise fighter? (To BRADFORD) 
 
 BRADFORD. (Comfortingly) The best man in 
 the world in his class. 
 
 FULTON. (Mildly) And my God! (Pause) 
 what a class (To ESTELLE) is she in love with 
 him? 
 
 ESTELLE. Not now no. 
 
 FULTON. Has there been any any dreadfully 
 compromising thing 
 
 ESTELLE. No ! 
 
 FULTON, m. (Pause. Goes to ESTELLE) My 
 dear Estelle (Pause) My dear Estelle! (Turns 
 to others) What can I say to this noble girl? 
 
 JUDGE. (With watch) You might tell her it s 
 
THE OTHER GIRL 127 
 
 time to go to the police court That s what I came 
 to say to her. 
 
 BRADFORD. That s not necessary, now, is it? 
 There ll be no complaint. 
 
 JUDGE. We were released from the Poilce Station 
 last night under bond to appear this morning. 
 
 FULTON. We ll forfeit the bond forfeit it. 
 Pay anything what is it? 
 
 JUDGE. It is m\ word. The young lady was re 
 leased on my personal promise to produce her in 
 court this morning. It will only be an appearance, 
 my dear probably not have to say anything. 
 
 BRADFORD. I shall go with you. (Easily to 
 ESTELLE) It doesn t matter, my dear. 
 
 MRS. WATERMAN. Is Estelle s name in the police 
 record ? 
 
 JUDGE. No, we appear under an alias. 
 
 BRADFORD. An alias? 
 
 JUDGE. Yes. The Kid in the fulness of his ex 
 perience gave a fictitious name. 
 
 FULTON. Then why must Estelle go? A ficti 
 tious name? 
 
 JUDGE. The name is fictitious, but it calls for a 
 real girl. 
 
 FULTON. Ah well we can at least bear our 
 part of the consequences. If any girl will do 
 Catherine shall go. (To door} 
 
 ESTELLE. Oh, no, Mr. Fulton. 
 
 FULTON. (Firmly) Yes. (Exit) 
 
 BRADFORD. (To JUDGE) What will be the char 
 acter of the the exercises in the police court i 
 
 JUDGE. The proceeding? 
 
 BRADFORD. Yes. 
 
 JUDGE. They ll call out the case we appear 
 
 ESTELLE. Do I say " present " or just hold up 
 my hand ? 
 
 JUDGE. Neither. You come up to the bar or rail- 
 
128 THE OTHER GIRL 
 
 ing with me. I do the talking for our side unless 
 of course you should be put on the stand. 
 
 BRADFORD. Is that likely? 
 
 JUDGE. Not unless your pugilistic friend disputes 
 the testimony of the policeman who will be the 
 only complaining witness if Lumley stays away. 
 
 HENRY. Well, ask him not to dispute it. 
 
 JUDGE. I shall. But I believe that he s profes 
 sionally disposed to rebuttal isn t he? 
 
 BRADFORD. What is the punishment? 
 
 JUDGE. I haven t read the ordinance. Some fine 
 probably. 
 
 HENRY. I ll pay the fine if he ll keep still. 
 
 (KiD and MYRTLE appear at glass door KID 
 knocks.) 
 
 MRS. WATERMAN. This is the man now, isn t it? 
 BRADFORD. Yes. 
 
 (HENRY goes to door.) 
 
 MRS. WATERMAN. Why doesn t he ring the front 
 bell? 
 
 HENRY. He s always used the tradesman s 
 entrance, my dear. (Opens door) Come in, Mr. 
 Sheldon. 
 
 KID. (Entering) My friend Miss Myrtle Mor 
 rison Mr. Waterman. (Introducing) 
 
 HENRY. (Bowing) Miss Morrison. 
 
 KID. ( With pride ) The " head liner " at Keith s. 
 
 HENRY. Pleased to meet you. 
 
 KID. (Still introducing) Mrs. Waterman! the 
 minister s sister. 
 
 MYRTLE. Good-morning. 
 
 MRS. WATERMAN. Good-morning. 
 
 MYRTLE. I feel like a " Reuben " coming in the 
 
THE OTHER GIRL 129 
 
 back way, but Mr. Sheldon seemed so very much at 
 home I hope you ll excuse me. 
 
 BRADFORD. (Advancing} Quite right. Good- 
 morning. 
 
 MYRTLE. Good-morning, Doctor. 
 
 BRADFORD. May I present Miss Kitteridge? 
 
 MYRTLE. How are you? 
 
 BRADFORD. Miss Kitteridge is the lady who was 
 in Mr. Sheldon s automobile last night when 
 
 MYRTLE. (Freezing up. To BRADFORD) Yes, 
 I ve heard (To ESTELLE) Do you know Mr. 
 Sheldon pretty well? 
 
 ESTELLE. I can t say that I do ! I ve met him 
 only occasionally here when he has come to to 
 assist Doctor Bradford. 
 
 KID. (With an.viotts honesty) Just as I tell 
 you, Myrtle. (To others) We came in the back 
 way really, to see them two mattresses she thought 
 the whole story was a steer. You know that ring 
 I lost wrestling with you, Doctor? (Steady gaze 
 at BRADFORD) 
 
 BRADFORD. (Returning gaze) No, I don t re 
 member it. (Pause. KID smiles tolerantly) Do I ? 
 
 KID. Of course you do. Two rubies and a pale 
 sapphire. 
 
 BRADFORD. I remember the ring Oh, yes. 
 
 KID. Well I lost it wrestling out there with 
 you. 
 
 BRADFORD. Oh. 
 
 KID. And coming through the grass this morn 
 ing there it was Myrtle saw it herself. Show it to 
 them Myrtle. 
 
 MYRTLE. (To all) Oh, yes just there by the 
 railing but now really, would any girl swallow that 
 story at first (Then to KID) And you know your 
 self Kid you ve handed me a few with alfalfa on 
 em (Shirty to ESTELLE) Did you tell him 
 
1 30 THE OTHER GIRL 
 
 you wanted an automobile to take flowers to sick 
 people ? 
 
 KID. (Quickly) I didn t say she said so, Myrtle 
 that was just my guess at a minister s lady. (To 
 BRADFORD) Didn t you tell me, Doctor, that her 
 strong suit was givin things to the poor? 
 
 BRADFORD. Yes practically that. 
 
 KID. (Vindicated) I have to prove everything 
 I tell that girl. (To JUDGE) Didn t I say " Myrtle 
 Morrison" to the sergeant last night? 
 
 JUDGE. You did. 
 
 KID. (To MYRTLE plausibly) I don t want my 
 name in the papers with any woman s but yours. 
 (Sees that MYRTLE is regarding the JUDGE fixedly) 
 This is Judge Bates our lawyer (Pause) What s 
 the matter? 
 
 MYRTLE. Oh! Judge Bates! (Pause) I 
 thought I d seen him some place. Don t you remem 
 ber you collected some money that was due me at 
 New Haven? 
 
 JUDGE. Perfectly. 
 
 MYRTLE. (To KID) When I was with Rice. 
 (To JUDGE) I was Sissy Crevecoeur on the bills 
 at that time, but my friends thought that was kind 
 of " ten, twent and thirt " so I changed it. And 
 you re the lady that was with Kid in the choo choo ? 
 (Pause ESTELLE bows) He said you d have to 
 be in court this morning. 
 
 JUDGE. Yes, and it s time now. 
 
 MYRTLE. Just time? 
 
 JUDGE. Yes. 
 
 MYRTLE. Then wait awhile. It will only help 
 our entrance. (Pause) You know I m going in 
 your place. 
 
 ESTELLE. (Gladly) Oh, are you? 
 
 MYRTLE. Yes. 
 
 BRADFORD. (To JUDGE) Is that possible. 
 
 MYRTLE. Of course it s possible. Kid s seen the 
 
THE OTHER GIRL 131 
 
 policeman and squared it with him and who else 
 knows the the difference and I m to be interviewed 
 for the evening papers. I m going to get a doctor s 
 certificate for nerves and cut out to-day s matinee. 
 Don t you worry about me, Miss Kitteridge, I like it. 
 
 MRS. WATERMAN. It s very amiable of you, I m 
 sure, Miss Miss (Pause) 
 
 MYRTLE. (To MRS. WATERMAN) Morrison! 
 Not at all. 
 
 BRADFORD. (To JUDGE) But your personal 
 promise to produce the lady herself. 
 
 JUDGE. Miss Morrison on the books and as I 
 understand it, that is the lady s name. 
 
 KID. Certainly I was laying pipe for this last 
 night. 
 
 MYRTLE. (To ESTELLE) Did you see Henry 
 Miller in " The Only Way "? (ESTELLE shakes her 
 head) Did you? (To MRS. WATERMAN) 
 
 MRS. WATERMAN. No 
 
 MYRTLE. Lots of people missed it but it was 
 elegant. He takes another man s place that s goin 
 to be killed He looked so much like the other one 
 that the policeman didn t know him. Oh, I just 
 wished I was a man and could have one chance at 
 that part; and now if I take your place this morn 
 ing, it s the same business exactly. I m afraid it 
 sounds selfish and of course I don t mean it, but 
 we d have appeared in a much more important Court 
 room, if Kid killed the man. 
 
 (Enter LUMLEY.) 
 
 LUMLEY. (Seriously) Judge Bates are you 
 quite sure it s necessary to (Pauses seeing KID) 
 Oh! (With coldness and reserves) 
 
 KID. Why, you re downstairs, ain t you? 
 
 LUMLEY. (Slowly and with disapproval) Oh, 
 Sheldon, Miss Fulton has told me fullv that 
 
1 32 THE OTHER GIRL 
 
 BRADFORD. (Interrupting to KID) Miss Fulton 
 is the lady Mr. Lumley introduced to you last night 
 as his fiancee. (Then to LUMLEY) Mr. Sheldon 
 can now reciprocate, Reginald this young lady Miss 
 Crevecoeur (The name strikes LUMLEY) 
 
 MYRTLE. Morrison now. 
 
 ( LUMLEY recognises her.) 
 
 BRADFORD. Yes Morrison now this is Mr. 
 Sheldon s fiancee. 
 
 LUMLEY. (Slowly) Oh oh How are you? 
 
 MYRTLE. (A bit nastily) How are you? 
 
 BRADFORD. You ve probably seen Miss Morrison 
 frequently, being an old theatre goer. 
 
 LUMLEY. Yes the face is familiar. 
 
 BRADFORD. And perhaps the manner? Miss 
 Morrison is doing us all a great service, Reginald, 
 She is going to take the place of the lady in the 
 automobile with Mr. Sheldon (Pause) 
 
 JUDGE. (Pause explains) In court this morn 
 ing. 
 
 BRADFORD. Yes and elsewhere. 
 
 KID. (With meaning) I appreciate what you re 
 doing in keeping still, Mr. Lumley. 
 
 BRADFORD. (To MYRTLE who doesn t under 
 stand) This is the gentleman you ran over. 
 
 MYRTLE. Him! (BRADFORD nods. MYRTLE 
 gurgles in glee as that rather "evens up" things) 
 
 KID. (Extending hand) Shake? (Pause as 
 LUMLEY does not respond) 
 
 BRADFORD. (Persuading) Let s all have some 
 " charity," Reginald. 
 
 KID. You know I never even met you till last 
 night. 
 
 BRADFORD. And then informally come Reginald. 
 It isn t as if it were an ordinary scorcher : " The 
 best man in the world in his class ". 
 
THE OTHER GIRL 133 
 
 LUMLEY. (IVith impulse) You re right. (Takes 
 hand) And I don t blame her we re none of us 
 angels. (Exit) 
 
 JUDGE. Well, it s time now , isn t it? 
 
 MYRTLE. Yes. (Starts up) 
 
 KID. Will you have a seat in the automobile ? 
 
 JUDGE. Thank you, sir a cab. There are those 
 papers, Doctor. 
 
 (Km and MYRTLE to back door.) 
 
 BRADFORD. Thank you. 
 
 JUDGE. (To HENRY and MRS. WATERMAN) I ll 
 phone the decision, Henry. 
 
 HENRY. Here or the office? 
 
 JUDGE. Here. (Exit i R.) 
 
 MYRTLE. If the Kid don t win it ll be the first 
 decision he ever lost. 
 
 BRADFORD. Judge Bates is usually successful. 
 
 (MYRTLE shrugs doubtfully.) 
 
 KID. One of the biggest lawyers in New York. 
 MYRTLE. (Regretfully) I know; but if we only 
 had Abe Hummell. 
 
 (Exit with KID. As KID closes door more glass 
 falls MRS. WATERMAN winces.) 
 
 HENRY. Never mind, Mattie, I ll get you a new 
 one. 
 
 MRS. WATERMAN. A new one. That was three 
 hundred years old. 
 
 HENRY. (Sitting) Is the coffee cold? 
 
 MRS. WATERMAN. Yes. 
 
 ESTELLE. (Taking pot) I ll get some more. 
 
 MRS. WATERMAN. No, my dear why should 
 you? 
 
I 3 4 THE OTHER GIRL 
 
 ESTELLE. (With a look at BRADFORD) Why 
 shouldn t I ? 
 
 BRADFORD. (Taking the coffee pot from her) 
 May I tell them? 
 
 ESTELLE. If you wish. 
 
 BRADFORD. Estelle has promised to be my wife. 
 
 MRS. WATERMAN. (Half pleased and half as 
 tonished) Why, Cliff! 
 
 BRADFORD. Yes. (Puts arms about ESTELLE) 
 
 (ANN appears opening back door and dressed to 
 leave.) 
 
 ANN. My lands ! (Shuts the door Exit more 
 glass falls MR. and MRS. WATERMAN start at the 
 clash) 
 
 Curtain