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 TULLY. Oh!
MAMIE (enters and over to TULLY). I’ve got rid of the Rajah. Will
you take me out to supper?
TULLY. Certainly not!
MAMIE. Don’t be unkind.
TULLY. I couldn’t dream of such a thing.
MAMIE. Oh, Bertie, why not?
TULLY. I’ve promised to take Auntie down to the Mission.
MAMIE. Tell Auntie you’re going on a much nicer mission. You will
come—say yes—Bertie! Bertie!
TULLY (suddenly making up his mind to take the plunge). Oh,
Fluffie!!

(TULLY kisses MAMIE excitedly. He moves head quickly to and from

MAMIE’S cheek, more like pecks than kisses. URSULA enters from
door R. AUNT HANNAH from door L. PAMELA and JOHN from windows
R.C. All enter simultaneously and seeing TULLY kissing MAMIE they
exit simultaneously with varied exclamations and expressions.)

CURTAIN.
ACT I
 ACT I

EXPLANATORY
A. French windows. K. Standard lamp.
B. Door opening on and up. M. Pot with Marguerites.
C. Fireplace. N. Telephone.
D. Table. P. Fender.
E. Writing-desk. R. Book.
F. Settee. S. Newspaper.
G. Arm-chair. T. Magazines.
H. Small chair. U. Telephone Directory.
J. Small table.

ACT II
The small table (J.) down L. in Act I is moved to down C., the chair
from in front of the writing-table is moved to the left side of the
small table (now C.) and the arm-chair (G.) is moved to the right side
of the small table (now C.). Otherwise the furniture is not altered.
ACT III
 ACT III

EXPLANATORY
A. French windows. J. Small table.
B. Door opening on and up. K. Dinner-wagon or Sideboard.
C. Fireplace. M. Telegram.
D. Table. N. Letter.
E. Writing-desk. P. Fender.
F. Couch. R. Blotting-pad.
G. Arm-chair. S. Cushions.
H. Small chair.
 Transcriber’s Note
This transcription is based on images digitized by Google from a copy made
available by the University of Iowa. These images are posted at:
books.google.com/books?id=eelNAQAAMAAJ
In general, this transcription attempts to retain the formatting, punctuation
and spelling of the source text. Some changes were made to correct for minor
errors and inconsistencies, especially in formatting or punctuation. The following
changes were made to the text:
p. 5: Pamela. Must I remind you that—Changed “Pamela” to “PAMELA” for
consistency.
p. 10: JOHN (rising and crossing to Pamela). Hang it all—Changed
“Pamela” to “PAMELA” for consistency.
p. 18: “John stayed here, Kew.” (Reading.) John stayed here,
Bloomsbury.”—Inserted opening quotation mark before “John” after
“(Reading.)”.
p. 24: (Protests in action against the suggestion until John says
“BERTRAM,” when a broad smile comes across his face.)—Changed “John”
to “JOHN” for consistency.
p. 30: MAMIE (Very amused all the time). Ripping, isn’t it?—Changed
“Very” to all lower case for consistency.
p. 33: MAMIE assists him into arm-chair. JOHN groaning all the time.—
Changed the period after “arm-chair” to a comma.
p. 33: Now then, Mr—John Ayers, isn’t it?—Inserted a period after “Mr” for
consistency.
p. 40: MAMIE (turns her ring round to look like wedding ring and holds
hand up conspicuously).—For consistency, reformatted this line as a stage
direction.
p. 42: Two weeks have elapsed since the events—Inserted an opening
parenthesis for consistency.
p. 45: TULLY. No, John, you called last time—Inserted a period at the end
of the sentence.
p. 47: TULLY. You haven’t give me a chance yet!—Changed “give” to
“given”.
p. 50: (PAMELA rushes in dramatically, closing the door after her.) John!
John! The doctor—the doctor.—For consistency and clarity, the stage
direction part of this line has been formatted on a line separate from the
dialogue, and the character title “PAMELA” has been inserted before “John!
John!”
p. 54: DOCTOR (picks up hat and follows her.) Allow me.—Moved the
period after “her” to after the closing parenthesis for consistency.
p. 58: why her husband is in your bedroom!”—Deleted quotation mark at
end of sentence.
p. 61: MAMIE. But I dare not go home without it. (Throwing her arms
round JOHN’S neck,) Darling, do please!—Changed the comma after “neck”
to a period.
p. 69: JOHN (over to doctor). Surely, you’re not going to—Changed
“doctor” to “DOCTOR” for consistency.
p. 71: Do you think Mr Trippett—Inserted a period after “Mr” for
consistency.
p. 77: JOHN (thinks. He has a brilliant idea. Takes out his penknife and
goes to wall at back, feels along wall).—For clarity and consistency, this
section has been reformatted. The opening parentheses was moved to
before “JOHN” and whole stage direction has been formatted as a direction
separate from dialogue.
p. 82: Thank you, Ursula, thank you—Inserted a period at the end of the
sentence.
p. 95: makes movement with arms as if swimming.—Added a closing
parenthesis after “swimming.”
p. 96: Ha! Ha! I must give way (still dancing.)—Inserted a period after
“way” and capitalized “still”.
p. 101: The small table (J.) down L. in Act. I is moved to down C.—Deleted
the period after “Act”.
*** END OF THE PROJECT GUTENBERG EBOOK A LITTLE BIT OF
FLUFF: A FARCE IN THREE ACTS ***

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