PS 3505 0345 S4 1914 CORNELL UNIVERSITY LIBRARY GIFT OF Cornell University Department of Theatre Arts Cornell University Library PS 3505.O345S4 1914 Seven keys to Baldpate a mysterious melo 3 1924 022 326 114 Cornell University Library The original of tliis book is in tlie Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022326114 Seven Keys To Baldpate A MYSTERIOUS MELODRAMATIC FARCE In a Prologue, Two Acts and an Epilogue BY GEORGE M. COHAN Based on the Novel, "Seven Keys to Baldpate," by Earl Derr Biggers, published and duly copyrighted by The Bobbs-Merrill Company, 1913 Duly Copyrighted, 1913, 1914, in the United States of America, the Dominion of Canada, Great Britain, Australia and by International Copyright, BY Georgei M. Cohan All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that "SEVEN KEYS TO BALDPATE," being fully pro- tected under the copyright laws of the United States of America, Great Britain, the Dominion of Canada, and other countries of the world, is subject to a royalty, and anyone presenting the play without the consent of the author or his authorized agents will be liable to the pen- alties by law provided. Applications for the amateur acting rights must be made to Samuel French, 25 West 45th Street, New York, N. Y. New York SAMUEL FRENCH PtTBLISHER 25 West 4:5th Street London SAMUEL FRENCH, Ltd. 36 Southampton Street STRAND Based on the Novel, "Seven Keys to Baldpate" by Earl Derr Biggers, published and duly copyrighted by The Bobbs-Merrilt Company, 1913 Duly Copyrighted, 1913, 1914, in the United States of America, the Dominion of Canada, Great Britain, Australia and by International Copyright, by George M. Cohan All Rights Reserved "Seven Keys to Baldpate^' Especial notice should be taken that the possession of this book without a valid contract for production first having been obtained from the publisher, confers no right or license to professionals or amateurs to produce the play publicly or in private for gain or charity. Inits present form this play is dedicated to the reading public only, and no performance, representation, produc- tion, recitation, public reading or radio broadcasting may be given except by special arrangement with Samuel French, 35 West 45th Street, New York. Amateur royalty quoted on application. Whenever the play is produced by amateurs the following notice must appear on all programs, printing and advertis- ing for the play: "Produced by special arrangement with Samuel French of New York." Attention is called to the penalty provided by law for any infringement of the author's rights, as follows. "Section 4966 : — Any person publicly performing or rep- resenting any dramatic or musical composition for which copyright has been obtained, withv-ut the consent of the proprietor of said dramatic or musical composition, or his heirs and assigns, shall be liable for damages thereof, such damages, in all cases to be assessed at such sum, not less than one hundred dollars for the first and fifty dol- lars for every subsequent performance, as to the court shall appear to be just. If the unlawful performance and representation be wilful and for profit, such person or persons shall be guilty of a misdemeanor, and upon con- viction shall be imprisoned for a period not exceeding one year."— U. S. Revised Statutes: Title 60, Chap. 3. The following is a copy of the playbill of the first per- formance of "SEVEN KEYS TO BALDPATE," as pro- duced at the Astor Theatre, New York, September 22nd, 1913. COHAN & HARRIS Present SEVEN KEYS TO BALDPATE A Melodramatic Farce in A Prologiie, Two Acts, and An Epilogue BY GEORGE M. COHAN Based on the Novel, "Seven Keys to Baldpate," by Earl Derr Biggers, published by the Bobbs-Merrill Company. THE CAST (In the order of their appearance) Elijah Quimby Edgar Haistead Mrs. Quimby Jessie Grahame William Hallowell Magee. . . .Wallace Eddinger John Blajid Purnell B. Pratt Mary Norton Margaret Greene Mrs. Rhodes Lorena Atwood Peters, the hermit Joseph Allen Myra Thornhill Gail Kane Lou Max Roy Fairchitd Jim Cargan Martin Alsop Thomas Hayden Claude Brooke JiGGS Kennedy Carleton Macy The Owner of Baldpate John C. King The scene is laid in the office of Baldpate Inn. Time: The Present. CHARACTERS (In the order of their appearance) Elijah Quimby, the caretaker of Baldpaie Inn. Mrs. Quimby, the caretaker's wife. William Hallowell Magee^ the novelist. John Bland, the millionaire's right hand man. Mary Norton, the newspaper reporter. Mrs. Rhodes, the charming widow. Peters, the Hermit of Baldpate. Myra Thornhill, the blackmailer. Lou Max, the Mayor's man "Friday." Jim Cargan, the crooked mayor of Reuton. Thomas Hayden, the president of the R. and E. Suburban R.R. JiGGS Kennedy, Chief of Police of Asquewan Fails. The Owner of Baldpate. The scene is laid in the office of Baldpate Inn. Time: The Present. Produced for the first time on any stage at Par- sons^ Theatre, Hartford, Conn., September 15, 1913. Opened at the Astor Theatre, New York City, Sep- tember 22, 1913. Written, staged and produced by Geo. M. Cohan. No. Two Company opened at Cohan's Grand Opera House, Chicago, February 15, 1914, SEVEN KEYS TO BALDPATE ACT I Scene explained on diagrcum later. At Rise of curtain the stage is bare. No lights en the stage except the rays of the moon shiningi through gla^s door and the sky above. The wind is heard howling outside. The effect is that of a terrific storm taking place. Every- thing within the scene proves that it is a deserted, desolate spot; in fact, an inn, a summer resort on the mountains closed for the winter. After thirty seconds Elijah Quimby appears at glass door upstage and is seen swinging a lan- tern. He does this as if guiding sdrfieone who is following; a sort of signal to Mrs. Quimby^ who presently appears trudging behind him. He hands her the lantern while he fumbles with a bunch of keys he has taken from his pocket. She gives him a light from the lantern while he finds the right key and unlocks the door. As the door swings open the wind is heard howling unmerci- fully. He holds the door open for her to enter, then follows her in, closing the door. They both stamp their feet to get them warm. Mks. Quimby goes down e.g., holding up lantern and 5 6 SEVEN KEYS TO BALDPATE peering around room, then goes up r. and to c. ami down to table h.., on which she places the lantern. Quimby, after locking the door, goes slowly down L. to table, meanwhile stamping feet, removing ear-muffs and placing cap and mittens on table. Mrs. Quimby removes her mittens, and they both stand rubbing their hands cmd ears. All this business is done without a word being spoken. The reason for it is to prove to the audience that the night is bitterly cold and that the two people are half frozen after their climb up the mountain. Quimby. (At tctble v., right of Mrs. Quimby, shivering) You know, Mother, I think it's colder in here than it is outside. Mrs. Quimby. (Shivering) I was going to say the same thing, Elijah. Quimby. Maybe we'd better open the door and let in some warm air. Mrs. Quimby. You'd better not ; the snow'll blow all over the place. See if there's any logs over there and we'll build a fire. (Indicates fireplace with a nod of her head.) Quimby. (Starts r., stops and stamps his feet) You know, Mother, I think my feet are froze. I can't feel 'em when I walk. (Knocks hands to- gether.) (TOWN Clock Ready.) Mrs. Quimby. I don't wonder, after that climb up the mountain. Lord, I'll never forget this night ! rm_ about perished. (She stradghtens chairs, etc., while Quimby is looking for logs.) Any logs there ? Quimby. Yep, plenty of 'em. I got this thing all ready, anyway. I was goin' to build a fire when I was up here last week. I'll have 'em blazin' in a minute if I can find them darned matches. (Searches through his pockets.) I can swear I put a box of SEVEN KEYS TO BALDPATE f ''em in my pocket before I left the house ! (Finds them.) Yep, here they are ! Mrs. Quimby. You'd better light a lamp first, so's you can see what you're doin'. Quimby. That's a good idea. (Clock in distance strikes eleven while he is scratch- ing match and lighting lamp over fireplace e. Note. — Footlights up slightly when lamp is turned up.) Mrs. Quimby. (Standing at foot of stairs) Eleven o'clock. Quimby. Yep, that's what it is — eleven o'clock. (Goes upstage and looks through glass door.) That train's been in over twenty minutes already. I sup- pose it's the storm that delays him. 'Tain't over a ten-minute walk up the mountain from the depot. (Comes down R.c. j Mrs. Quimby. (Goes to r., near desk) Maybe the train's late on account of the storm. Quimby. No; I heard it signal the crossing at Asquewan Junction a half hour ago. That feller'll be here before we know it. (Hands her matches.) Light the other lamp, will you. Mother, while I get at this fire? (Mrs. Quimby takes matches and lights lamp up l., near stairway. He builds fire in fireplace. Both are busily engaged in fixing room, heating and f^'ghting it during following conversation:) Mrs. Quimby. Maybe we should have gone to Hie depot to meet him ? Quimby. (Going c.) No ; we shouldn't have done nothin' of the kind. The telegram just said to come here and to open up the place and have it ready for him. Them's the instructions, and them's the only a SEVEN KEYS TO BALDPATE things I foller — is instructions. (Starts toward R.j Mrs. QuiMBY. (Going c.) But what do you sup- pose anybody wants to be doin' in a summer hotel on the top of a mountain in the dead of winter? QuiMBY. Mother, you know I can't figger out nothin'. (Goes up to door, peers out, then comes down to Mks. Quimby.) If I could I'd 'a' been a multi-millionaire years ago, instead of an old fool caretaker. (Goes nearer to Mrs. Quimby.) Dust up a bit there, will you, Mother, and make the place look a little respectable? (Goes toward fireplace.) She'll be goin' all right in a minute now. Mrs. Quimby. (Dusting with cloth she has taken from foot of stairs) What's his name again ? Quimby. Magee, I think the telegram says. (M^ets Mrs. Quimby at c.) Mrs. Quimby. Magee? Quimby. Wait a minute, I'll make sure. (Takes telegram from his pocket.) Mrs. Quimby. (Takes telegram from him and goes t..) Give it to me; I want to read it myself. The whole thing's very mysterious to me. (Goes to table and sits, reading by light of lantern.) Quimby. (Goes toward Mrs. Quimby — fire be- gins to blaze up) Of course it's mysterious, but it's none of our business. Mr. Bentley is the owner of Baldpate Inn. If Mr. Bentley wants to permit some dam fool to come to this place to be froze to death by stale air and to be frightened to death by spooks, it's his concern and not ours. (Turns and looks at fire, which is biasing.) Ah, there she goes, she's blazing up fine. That'll warm it up a little. (Goes L.C. to Mrs. Quimby during next speech.) Mrs. Quimby. (Reading message slowly) "My friend, William Hallowell Magee, will arrive in As- quewan Falls to-night on the ten-forty. He will occupy Baldpate Inn, so be prepared to receive him there, and turn the key over to him and do whatever SEVEN KEYS TO BALDPATE 9 you can to make him comfortable. He has impor- tant work to do, and has chosen Baldpate for his workshop. Follow instructions. Ask no questions. Hal Bentley." QuiMBY. (Has been listening attentively) Sounds like them Black Hand notes they send to rich men, don't it? Mrs. QuiMBY. I can't understand it for the life of me. (Hands telegrams back to Quimby.) QuiMBY. Mother ! Mrs. Quimby. (Over to Qvivlby c.) Yes? Quimby. Cr. of c.) Maybe the feller's committed some crime and is comin' here to hide. Mrs. Quimby. Do you think so, EHjah ? Quimby. I don't know ; I say — ^mebbe. Mrs. Quimby. Well, if that's so, why should Mr. Bentley be interested in such a man? Quimby. (Thinks) I never thought of that. (Thinks.) Well, whatever it is, it's none of our business, and we mustn't mix in other people's af- fairs. (Goes Vi.) Mrs. Quimby. (Thinks a moment, then comes down near Quimby) Elijah! Quimby. (Looks up) What? Mrs. Quimby. Do you think I'd better fix up one of them rooms? Quimby. Sure ; he'll have to have a place to sleep. Here — (Gives her key) — that opens the linen closet. You'd better fix up that first room to the left. (Points to room on balcony R.J That's the one Mr. Bentley always takes when he comes. Mrs. Quimby. (As she goes toward stairs, taking lantern from table) And you'd better put another log on the fire. (Quimby goes toward fireplace.) He'll probably be chilled to the bone by the time he climbs that mountain. Do you think he'll find his way alone? (Goes upstairs during speech.) Quimby. Oh, he'll find hi^ -sfr&y all right The 10 SEVEN KEYS TO BALDPATE station agent will most likely direct him. (Puts log on fire, which blazes up.) Mrs. Ouimby. (Going up the stairs) Occupying a summer hotel in the dead of winter ! It beats all what some people will do ! (Exits door L., leaving door open.) QuiMBY. (Takes out his pipe and sits thinking near fire) Humph ! It's pretty darned mysterious, all right. (Lights pipe and smokes.) I'll be jig- gered if I can figger it out. (Mrs. Quimby remains inside room four counts after cue, then comes from room carrying linen and bed coverings in her arms. She crosses bal- cony to room R. of balcony and exits, closing door. Quimby sits smoking and thinking. Magee appears at door upstage and peers through. He is carrying a suit and typewriter case. He puts them down and knocks on win- dow. Quimby doesn't move at first, but sits listening, to make sure he has heard a sound. Magee repeats the knocking. Quimby shifts around in his chair, looks up toward the win- dow, sees a form there, then gets up and sneaks along down stage until he gets to foot of stairs, then calls in suppressed tones to Mrs. Qutmby.) Quimby. Mother, Mother! (No answer from Mrs. Quimby. He runs half-way upstairs and calls a bit louder) Mother ! Mrs. Quimby. (Appears on balcony, peers over and sees Quimby) Did you call me, Elijah ? Quimby. Hush! Don't talk so loud! (Warns her to he quiet.) Mrs. Quimby. (Lowering her voice) What's the matter? (They both listen for a second. Magee's third rap comes.) Good Lord, what's that? SEVEN KEYS TO BALDPATE ii QuiMBY. (On stairs) It's him — ^he's here ! (Ht points to door upstage.) Mrs. Quimby. Who? Qui M BY. The telegram — I mean the man. Mrs. Quimby. (Starts down the stairs) Where? Quimby. At the door. (Magee again raps impatiently.) Mrs. Quimby. (Urging Quimby down the stairs) Why don't you let him in ? Quimby. (Both come downstairs) Do you think I'd better? Mrs. Quimby. Well, ain't that what the telegram said? Quimby. Why, yes, of course, but Mrs. Quimby. (Shoving Quimby toward door) You got your instructions. Go on and do as you're told. (Magee knocks again and rattles the door-knob.) Quimby. (In a loud voice as he goes up toward door) Yes, yes ; jest a minute, jest a minute! (As Quimby goes up to door, Mrs. Quimby comes down L. Quimby unlocks door and swings it open. The wind howls. Magee, carrying the two cases, enters and comes to c. and standA bowing, first to Mrs. Quimby and then to Quimby, then drops the cases in the middle of the stage. Looks around the room for a mo- ment, wild-eyed, then sees fire burning and goes over to it as fast as his half-frozen legs will al- low him. He pulls chair in front of fire and sits warming himself. Quimbys stand c, watch- ing him in amazement. As soon as Magee has entered Quimby has locked the door and coma 12 SEVEN KEYS TO BALDPATE etfOwn R. As Magee sits, Quimby gaes to Mrs. QUIMBY at uc.) Mrs. Quimby. (Aside to Quimby) The poor thiiig's half froze. Quimby. (Approaches Magee, Mrs. Quimby following him to fireplace) What's the matter, young fellow,, are you cold? Magee. (Smiles a sickly smile, shakes his head, laughs halfrheartedly, then replies) Humph! Am I cold ! I feel pretty rocky, but I've got to laugh at that one. Mrs. Quimby. (Aside to Quimby) Better give him a drink of whiskey. Quimby. Yes, I guess so. (Takes flask from his pocket and hands it to Magee) Here, young fellow, try a little of this. Magee. (Looks up, sees flask, and grabs it) Thanks ! (Takes a long drink. Quimby goes c. to Mrs. Quimby.) Mrs. Quimby. (Aside to Quimby) Do you sup- pose it's him? Quimby. (Aside) How do I know ? Mrs. Quimby. (Aside) Well, ask him and find out. Magee. (Offers flask to Quimby) Thanks again, a t^i.ousand thanks. Quimby. Oh, you just put that in your pocket; ypu might need it later on. Magee. Thanks. (Mrs. Quimby picks up cases from floor and takes them to table v.) Quimby. You're Mr. Magee, ain't you? Magee. Right ! What's left of me is still M^ee. You expected me, of course. SEVEN KEYS TO BALDPATE 13 QuiMBY. Oh, yes ; we got Mr. Bentley's telegram all right. My name's Quimby. Magee. So I surmised. Quimby. This lady is my wife, Mrs. Quiiiiby. (Points to Mrs. Quimby, who crosses to Magee at fireplace.) Magee. I thought as much. Delighted, Mrs. Quimby. (Bows to Mrs. Quimby without rising.) Mrs. Quimby. Glad to meet you, Mr. Migee.' Magee. You'll pardon me for not rising, but really I'm terribly cold. Mrs. Quimby. (Goes to Quimby during follow- ing speech) That's all right. You sit there and get het up. We've been living here in the mountains so long we don't mind the cold as much as strangers do, but even we felt it to-night, didn't we, EHjah? Quimby. That's right. Mother; this is an uncom- mon cold night. Magee. (Rises, removes overcoat, mufflef and hat, and places them on chair) That little trip from the railroad station to the top of the mountain has taught me to firmly believe everything Jack London ever wrote about and everything old Dr. Cook ever lied about. (Crosses to l.c, looking at everything, very much interested, and rubbing his hands.) So this is Baldpate, is it ? Well, well, well ! Mrs. Quimby. ('r.c, aside to Quimby) Don't he talk funny ? Quimby. (v. of Mrs. Quimby — aside) Yes. Acts funny, too. Something's the matter with him, sure. (Both watch Magee closely.) j Magee. (Coming c.) You say you received Mr. Bentley's telegram saying I would be here ? Quimby. Yes; it only came about an hour ago, so we didn't have much time to prepare. Magee. I didn't decide to come here until' four o'clock this afternoon. 14 SEVEN KEYS TO BALDPATE Mrs. Quimby. We was scared most to death get- tin' a telegram in the middle of the night. Magee. I'm very sorry to have taken you out on a night like this, but it was altogether necessary in order that I accomplish what I've set out to do. Let me see — ^the rooms above are equipped with fire- places, I believe ? (Looks up at rooms on balcony.) Mrs. Quimby. (Crosses c. to Magee) Yes ; I'm just fixin' up one of the rooms. I'll start the fire, too. I'll have it all ready for you inside of five minutes. (Crosses to r., gets wood from box, and comes to r. of Quimby.) (LIGHTS Ready.) Magee. I wish you would. (Looks around room.) Yes; this would be too big a barn to work in. (Quimbys look at each other.) I'll no doubt be more comfortable up there. (Continues to take in surroundings.) ^ Quimby. (Aside to Mrs. Quimby) He says he's goin' to work. I wonder what he means. Mrs. Quimby. (Aside, crossing to l. of Quimby) Pump him. Try to find out. (Aloud) Give me the matches. Quimby. Here you are. (He hands her a box of matches. Mrs. Quimby, with wood in her arms, starts for stairs and goes up on balcony.) Magee. This, I presume, is the hotel office. Quimby. That's right. Magee. (Strolls around stage looking at every- thing carefully. Quimby watching him closely) Well, well ! This certainly is old John H. Seclusion himself. (Lights go up.) Mr. andMRS. Quimby. (Together) Good Lord, where did those lights come from? Good Lord, what's happened? (As lights go up, Quimby darts SEVEN KEYS TO BALDPATE 15 behind desk r. Mrs. Quimby is leaning over bal- cony c. Both are frightened.) Magee. (Laughs) Don't be alarmed, Mrs. Quim- by; it's all right. I think I can explain this thing. Mr. Bentley has probably had the power turned on. He knew I'd have to have some real light for this kind of work. (Mrs. Quimby exits into room r. on balcony, closing the door. Magee goes to Quimby up R.j I suppose you're wondering what the devil I'm doing here. Quimby. That's just what I was wondering, young fellow. Magee. Well, I'll try to explain, although I'm not sure you'll understand. Sit down, Mr. Quimby. (Quimby hesitates.) It's all right, sit down. (Quimby gets chair and places it r.c, then sits.) Now, you are not, I take it, the sort of man to follow closely the light and frivolous literature of the day. Quimby. How's that ? Magee. You don't read the sort of novels that are sold by the pound in the department stores. Quimby. Nope. Magee. Well, I write those novels. Quimby. The dickens you do! Magee. Wild, thrilling tales for the tired busi- ness man's tired wife ; shots in the night ; chases after fortunes ; Cupid busy with his arrows all over the place. It's good fun — I like to do it, and — there's money in it. Quimby. You don't mean to tell me! Magee. Oh, yes, considerable. Of course, they say I'm a cheap melodramatic ranter. They say my thinking process is a scream. Perhaps they're right. (Moves chair out and sits l.c.J Quimby. Perhaps. Magee. Did you ever read "The Scar^f t Satchel" ? Quimby. Never. Magee. That's one of mine. i6 SEVEN KEYS TO BALDPATE QUIMBY. Is it ? Magee. I've come here to Baldpate to think; to get away from melodrama, if possible; to do a novel so fine and literary that Henry Cabot Lodge will come to me with tears in his eyes and beg me to join his bunch of self-made immortals. And I'm going to do all this right here in this inn, sitting on this mountain, looking down on this little old world as Jove looked down from Olympus. What do you think of that? QuiMBY. (Shakes his head, affecting an air of understanding) Maybe it's all for the best. Magee. Of late I've been running short of ma- terial. (Rises, moves chair to r. of table and goes to QuiMBY.) I've needed inspiration. A title gave me that — "The lonesomest spot on earth," suggested by my very dear friend and your employer, Mr. Hal Bentley. "What and where is the lonesomest spot on earth?" I asked. "A summer resort in winter," said he. He told me of Baldpate — dared me to come. I took the dare — and here I am. QuiMBY. (Rising and going to Magee at c.) You mean you're goin' to write a book? Magee. That's just exactly what I'm going to do. I'm going to noveltee Baldpate. I'm here to get at- mosphere. QuiMBY. (Laughs) Lord, you'll get plenty of that, all right ! When are you goin' to start in ? Magee. Just as soon as I absorb my surround- ings and make a few mental notes. You see, I do most of my work in the dead of night. I find I concentrate more readily from midnight on. But I must have absolute solitude. The cradde of the fire, the roar of the wind, and the ticking of my watch will alone bear me company at Baldpate Inn. This all souncJs very strange and weird to you, I suppose. QuiMBY. How's that? Magee. I say, you can't quite fathom me. SEVEN KEYS TO BALDPATE 17 QuiMBY. Well, you're here of your own accord, I take it. Magee. My dear Mr. Quimby, I'm here on a bet. QuiMBY. On a bet ! Magee. Exactly. I have here an explanation of the thing in Bentley's handwriting. (Takes paper from his pocket.) Do you care to look it over your- self, or would you rather I'd read it to you ? Quimby. Yes, go on and read it — I like to hear you talk, (Sits r.c.) Magee. (Smiles) Ah, then my personality has wormed its way into your good graces. Quimby. How's that? Magee. I mean to say, I evidently appeal to you. Quimby. Well, I don't know as you particularly a,ppeal to me, but Magee. But what? Quimby. (Laughs, confused) Oh, I guess I better not say it. Magee. Come on, what's on your mind? Tell me. Quimby. Well, to be honest with you, I can't figger out whether you're a smart man or a damn fool. Magee. (Laughs) Would you believe it, my dear sir, I've been stalled between those two opinions of myself for years? My publishers say I'm a smart man; my critics call me a damn fool. However, that's neither here nor there. This — (Indicating paper) — ^will perhaps clear away the cloud of mys- tery to some extent. Oh, perhaps Mrs. Quimby would be interested enough to hear this also. Will you call her, please ? Quimby. Sure! (Rises and calls) Mother! Oh, Mother! Mrs. Quimby. (Appears at door e. on balcony and comes to c. of it) Yes, I'm all through. Every- thing's ready up here. (Leans over balcony c.) i8 SEVEN KEYS TO BALDPATE You'd better come up, Mister, and see if it satisfies you before we go. Magee. It's all right, Mrs. Quimby. I'll take your word for it that everything's all right. Quimby. Come on down here, Mother; Mr. Magee wants to read something to you. (Places chair for her R.C., next his own.) Mrs. Quimby. Is that so? (Starts downstairs.) I started the fire, so I guess the room'll be comfort- able enough to sleep in by the time you get ready to go to bed. (Is downstairs by now.) Quimby. Sit down, Mother. Mrs. Quimby. What! Quimby. Go on. See, I'm sittin'. (Mrs. Quim- by goes toward Quimby.) Mr. Magee's goin' to tell us why he's here. Mrs. Quimby. (Sits l. of Quimby) Is that so? Lord, I'd love to know! Magee. I have just explained to your husband that I am an author. I do popular novels, and I'm here to write a story — ^a story of Baldpate Mountain, laid in this very hotel, perhaps in this identical room. I am to complete thisltask within twenty-four hours, starting at midnight to-night. Quimby. Understand, Mother? He's goin' to write a book. Mrs. Quimby. (To Magee) Goin' to write a book in twenty- four hours ! Magee. That is the wager that has been made between Mr. Bentley and myself. He claimed it couldn't be done. I claimed it could. Five thou- sand dollars' worth of his sporting blood boiled, and he dug for his fountain pen and check book. I cov- ered the bet, and we posted the checks at the Forty- fourth street club. He was to choose the godfor- saken spot. (Looks around room.) He succeeded. I ran to my apartments, placed some manuscript paper, a dozen sandwiches and my slippers in a suit- SEVEN KEYS TO BALDPATE 19 case, grabbed my faithful typewriting machine, just made the train, and here you see me, ready to win or lose the wager, as the case may be. QuiMBY. What do you think of that, Mother? Mrs. Quimby. (To Magee) I never heard of such a thing ! Magee. Here is a copy of the agreement, in which you will notice your name is mentioned, Mr. Quim- by. Listen. (Reads) "You are to leave New York City on the four-fifty-five for Asquewan Falls, ar- riving at ten- forty, and go direct to Baldpate Inn, a-top the Baldpate Mountain, where you will be met by my caretaker, Mr. Elijah Quimby, who, after making you comfortable, will turn over to you the key to the inn, the only key in existence." (To Quimby) Is that correct? Quimby. It's the only key I know of. Mrs. Quimby. There ain't no other key; I can swear to that. Magee. Good ! (Continues reading) "This will insure you against interruption, and give you the solitude necessary for concentration. You are to begin work at twelve o'clock Tuesday night, and turn over to Mr. Elijah Quimby the completed manu- script of a ten-thousand-word story of Baldpate no later than twelve o'clock Wednesday night." (To Quimby) You understand? Quimby. You're to turn it over to me ? Magee. Precisely. Quimby. What do you think of that. Mother? Mrs. Quimby. I never heard of such a thing ! Magee. You know Bentley's handwriting ; there's his signature — see for yourself. (Hands paper to Mrs. Quimby. Quimbys get up and read it to- gether. Magee takes stage.) Quimby. It's his writin', ain't it, Mother? Mrs. Quimby. (Doubtfully) Looks like it, but — (Looks at Magee suspiciously.) 20 SEVEN KEYS TO BALDPATE QuiMBY. (Aside) But what? Mrs. Quimby. (Aside) The whole thing don't sound right to me. Quimby. (Aside) Me neither. We'd better watch this cuss. Mrs. Quimby. (Aside) I think so, too. (Quimby puts chair up r. Mrs. Quimby goes toward table l. 'Phone rings. Mrs. Quimby runs to foot of stairs, screaming. Quimby hugs the desk, frightened.) Mrs. Quimby. Good Lord! Quimby. (Over to Magee, up c.) Did you hear that? Magee. You mean the telephone? Mrs. Quimby. (Runs to Magee — Quimby grabs Magee by the arms) Spooks ! Quimby. Why, that thing's been out of ccanmis- sion all winter ! ('Phone continues ringing. Magee laughs.) Mrs. Quimby. Let's get out of here, Lije. Magee. (LoMghs) Don't be alarmed, Mrs. Quimby; I think I can explain. Bentley has just about had the service renewed. He probably wants to find out if I've arrived. Excuse me just a mo- ment. (Goes to 'phone and stops buzzer. Quim- BYS stand c, watching.) Hello, hello! . . . Yes. Yes, right on time. . . . Almost twenty minutes ago. . . . Half frozen, thank you Yes, he's here now, also Mrs. Quimby. . . . Oh, we under- stand each other perfectly well. . . . It's everything you said it was. . . . The lonesomest spot on earth is right. (Laughs.) You still feel that way about it, eh ? Well, your opinion is going to cost you five thou- sand, old man. (Laughs.) All right, we'll see. . , . Seven keys to baldpate 21 You want to talk to hin?, . . . Just a second. (To Quimby) He wants to talk to you, Mr. Quimby. QuiMBY. (Goes over to 'phone) Is it Mr. Bent- ley? Magee. Yes, here you are. Sit right down. (He hands Quimby receiver and goes l.c., taking notes. Mrs. Quimby goes up r. and listens to 'phone con- versation while watching Magee.) Quimby. (In 'phonef) Hello! (Smiles as he recognizes Bentley's voice.) Hello, Mr. Bentley. . . . Yes-, sir ; yes, sir. ... I understand, sir. . . . At twelve o'clock? . . . Yes, sir. . . . Oh, I'll be right here waiting. . . . Fine, thank you, sir ; we're both fine. . . , All right, sir Wait a min- ute. I'll ask him. (To Magee, who is on first land- ing of stairs.) He wants to know if there's anything more you want to say? Magee. (On stairs, taking notes) No ; just give him my regards, and tell him I'm spending his money already. Quimby. (In 'phone) He says there's nothing else, sir. . . . Yes, sir, I understand. . . . Good- bye, sir. (Hangs up receiver and crosses to Ma- gee.) He wants me to be here at twelve o'clock to- morrow night to talk to him on the telephone again. Magee. (Laughs as he goes to 'phone and severs connection) And it's very sad news you'll impart to him, Mr. Quimby. I'm going to win this wager ! (vi., below 'phone.) You know this whole thing wouldn't make a bad story in itself. (Crossing to L.) I'm thinking seriously of using it for the ground plot. (Points to door h.) Oh, this leads to where? (Goes to door of dining-room l. and opens it.) Mrs. Quimby. (Going over toward door) That's the dining-room — ^leads through to the kitchen. That door to the left goes to the cellar. (Goes back to table L. Quimby looks at his watch.) 22 SEVEN KEYS TO BALDPATE Magee. Ah, ha, I see! (Goes toward Quimby, R.C.) Have you the exact time, Mr. Quimby? Quimby. Mine says half-past eleven. Magee. Thirty minutes to get my bearings and frame up a character or two for a start. (Crosses c. to R.C.J Mrs. Quimby. (Picks up suitcase and machine case from table l.^ Will I put these in your room ? Magee. No, no; you needn't bother. Mrs. Quimby. Oh, it's no bother at all. (Starts for the stairs.) I'm only too glad to do anything for any friend of Mr. Bentley. (Climbs stairs with cases and exits into room R.j Magee. (Up to Quimby, l.c.) Now you're quite sure I won't be disturbed while I am writing? Quimby. (uc.) Who's goin' to disturb you here ? No one ever comes within a mile of this place till around the first of April, except myself, and I only come up about once a week this kind of weather. Magee. You don't suppose any of Bentley's As- quewan friends, hearing of the wager, would take it upon thepiselves to interrupt the progress of my work? Quimby. Nobody knows you're here except me and the Missus, and we ain't goin' to tell no one. Magee. I have your word for that ? (Offers his hand to Quimby.) Quimby. (Takes Magee's hand) I never broke my word in my life. Guess that's why I'm a poor man. (Magee crosses to R.c.j The only other time I remember of anybody comin' here in the winter was the time of the reform wave at Reuton. The reformers got after a lot of crooked politicians, and they broke in here in the middle of the night and hid a lot of graft money in that safe over there. (Points to safe. Magee goes up to safe, opens the door, then comes down to Quimby, after closing safe door.) SEVEN KEYS TO BALDPATE 23 Magee. You mean to tell me the reformers hid money in that safe? QuiMBY. No, the politicians. Reformers never have any money. Magee. (Laughs as he goes 'r.) Splendid! QuiMBY. What are you laughing at? Magee. (Turning back to Quimby) Nothing; it's all right. Go on, tell me about the hidden graft. Quimby. (Mrs. Quimby starts downstairs, bring- ing lantern and placing it on table l.) Oh, there's nothing much to tell. Some fellers up and gave 'em away, and the police come the next morning and found it here. Nobody claimed it, so of course they never got the gang. They threw a lot of fellers out of office, I believe. I didn't read much about it. But that's over four years ago. You needn't be: afraid, you won't be disturbed here. (Goes L. to table and gets his ndttens and cap. Mrs. Quimby is at table putting on mittens, etc.) Magee. (Going slightly R.J Grafting politicians — reformers — hidden money! Sounds like a good seller. Mrs. Quimby. (Goes to Magee at c. — Quimby takes lantern and goes back of table) Is there any- thing more we can do for you, Mr. Magee ? Magee. No, nothing I can think of, thank you. I'll be quite (Crossing to Quimby at table — Mrs. Quimby to R.c.j Oh, yes, of course. You've forgotten something, Mr. Quimby. Quimby. Forgot what? Magee. The key. Quimby. Oh, Lord ! Yes, the key ! Here it is. (Hands Magee the key.) Magee. You're positively certain that this key is the only key to Baldpate in existence ? Quimby. Yes, sir ; I'm sure. Mrs. Quimby. I can swear to it, Magee. Good ! 24 SEVEN KEYS TO BALDPATE Mrs. Quimby. What are you going to do, lock yourself in? Magee. Precisely. Quimby. I don't mind staying here and keepin' watch for you if you want me to. Magee. No, tiianks ; I much prefer to be alone. Mrs. Quimby. I'd rather it would be you than me. Lord, I should think you'd be afraid of ghosts. Quimby. (Crosses to Mrs. Quimby) Mother, I've told you twenty times there ain't no such a thing. (Magee goes up i..) Mrs. Quimby. Well, they've been seen here, just the same. Magee. (Goes l.c. to Quimbys) Ghosts! Quimby. Oh, don't mind her, Mr. Magee. We think we know what the ghost is. There's an old feller up here in the mountain by the name of Peters — ^he's a hermit. Magee. A hermit ! Quimby. Yes ; he's one of them fellers that's been disappointed in love. His wife run off with a travel- ing man. He come here about ten years ago — ^lives in a little shack about a mile and a half north of here ; calls it the Hermit's Cave. All the summer boarders buy picture postcards from him. We figger he's the feller that's been frightening the people down in the valley by wavin' a lantern from the mountainside with a white sheet wrapped around him. Mrs. Quimby. But no one ever proved it was him. Quimby. Well, who else could it be? There ain't no such a thing as ghosts, is there, Mr. Magee ? Magee. Well, I hope not. (Muses. By-play be- tween the Quimbys.) Ghosts — ^hermits — ^not bad at all! Quimby. Well, come along. Mother; I guess maybe Mr. Magee is anxious to get to work. I'll say good-night, sir. (Offers hoMd to Magee.) SEVEN KEYS TO BALDPATE 25 Magee. (Shakes Quimby's hand) Good night. And remember, twelve o'clock sharp for Mr. Bent- ley's 'phone call to-morrow night. QuiMBY. I'll be here on the minute. (Goes up c.) Mrs. Quimby. (Shaking hands with Magee) And I'm comin' to see i£ you're still alive. Lord, I should think you'd be scared to death. Quimby. (Comes down l. of Magee) Mother, he will be if you keep on like that. Well, good night, sir, and good luck. (Goes up toward door, followed by Mrs. Quimby.) Magee. (Goes up to door and unlocks it) Good night. I don't envy you your trip down the moun- tain on a night like this. (Opens door. Wind ef- fect.) Mrs. Quimby. Good night, sir. (Starts through door, followed by Quimby, carrying lantern.) Magee. Good night, Mrs. Quimby. Keep a sharp lookout for ghosts and hermits. (Laughs.) Mrs. Quimby. (Outside) Lord, don't remind me, please! Magee. (Slams door quickly, locks it, waves his hand to the Quimbys, then stands looking at key in his hand) The only one, eh? Humph, we'll see! (Puts key in his pocket, looks around room, thinks, then claps his hands as if decided on something; grabs his coat and hat from chair near fire, extin- guishes lamps and bracket lights, takes a last look around room, and then exits upstairs into room r. on balcony.) (Black Drop down for ten seconds. End of Pro- logue. Drop up for Act I. The clock strikes twelve. The sound of a typewriter is heard clicking from the room occupied by Magee. A short pause of absolute silence, then Bland ap- pears at door, peering into room.) 26 SEVEN KEYS TO BALDPATE Bland. (Opens door, enters, locks door, (hen comes down to c. and looks about, rubbing his hands and blowing on them to warm them. Sees safe, goes up to it, tries the door, opens it, and goes down r. As he starts for 'phone he sees fire burning, and stops dead.) A log fire! Who the devil built that? (Thinks, snaps fingers, goes to 'phone and puts in plugs.) 287s West. Hurry it along, sister. (Ma- gee enters from room and stands on balcony listen- ing, leaving door of room open. In 'phone) Hello, is that you, Andy? .... This is Bland. . . . Yes, Baldpate. . . . Yes, damn near frozen. . . . Oh, awful! It's like Napoleon's tomb. ... I thought you said Mayor Cargan would meet me here? . . . No, no, I can't stay here all night ; I'd go mad. . . . Listen, I'll hide the money here in the safe, and meet him at nine o'clock in the morning and turn it over to him then. . . . There isn't a chance in the world of anything happening. . . . The money's safer here than any spot on earth. . . . I'll lock the safe as soon as I put the package in. . . . Mayor Cargan knows the comMnation. . . . My advice is to let it lay here a week. It's the last place they'll look for it. Besides, how could they get in ? My key to Baldpate is the only one in existence. (Magee, on balcony, takes out his key and looks at it.) They don't figure we'd take the chance after the other ex- posure. I tell you I know best. . . . I'll be back in town by one o'clock. . . . I've got the president's machine waiting at the foot of the mountain. . . . All right; good-bye. (Hangs up receiver, goes c, takes package of money from his pocket, looks at it and around room, then goes to safe and deposits the money therein. Magee starts slowly and stealthily downstairs. Bland closes door of safe, turns the handle, tries doors to sec if they are locked securely, then comes down to fireplace and warms himself. As he turns his back to the fire, he cames face to face SEVEN KEYS TO BALDPATE 27 with Magee, who by this time is standing e. Bland's hand goes to his pocket for his gun as he comes slowly c. to Magee.) Magee. (Cool and collected) Good evening — or perhaps I should say, good morning. Bland. (Keeping his hand on gun as he advances toward Magee) Who are you ? Magee. I was just about to put that question to you. Bland. What are you doing here? Magee. I rather think I'm the one entitled to an explanation. Bland. Did you follow me up that mountain? Magee. Oh, no; I was here an hour ahead of you. Bland. How'd you get in here? Magee. (Points) Through that door. Bland. You lie! There's only one key to that door, and I have it right here in my pocket. Magee. My dear sir, I was laboring under that same impression until a moment ago; but as your key fits the lock, and my key fits the lock, there are evidently two keys to Baldpate instead of one. (He shows Bland his key.) See? Bland. You mean to tell me that's a key to Bald- pate? Magee. Yes. That's why I became so interested in your ari-ival here. I heard you telephone your friend just now and declare that your key was the only one in existence. (Laughs.) It sort of handed me a laugh. Bland. You heard what I said over the tele- phone ? Magee. Every word. Bland. (Pulls pistol) You don't think you're going to live to tell it, do you ? Magee. Have no fear on that score. I'm not a tattle-tale, nor do I intend to pry into affairs that do 28 SEVEN KEYS TO BALDPATE not concern me. But I should like your answering me one question. Where did you get your key to Baldpate? Bland. None of your damned business ! I didn't come here to tell you the story of my life ! Magee. Well, you might at least relate that por- tion of it that has led you to trespassing on a gentle- man seeking seclusion. Bland. Trespassing, eh? Who's trespassing, you or I? Magee. My right here is indisputable. Bland. Who gave you that key ? Magee. None of your damned business! If I remember rightly, that's the answer you gave me. Bland. (Goes slightly nearer Magee) You've got a pretty good nerve to talk like that with a gun in front of your face. Magee. Oh, that doesn't disturb me in the least. While I have never experienced this sort of thing in real life before, I've written so much of this melo- dramatic stuff and collected such splendid royalties from it all, that it rather amuses me to discover that the so-called literary trash is the real thing, after all. You may not believe it, but, really, old chap, I've written you over and over again ! (Laughs heartily and slaps Bland on the shoulder. The latter backs away after second slap. Magee sits at table, still laughing heartily.) Bland. (Up close to Magee) Say, I killed a man once for laughing at me. Magee. That's my line — I used it in "The Lost Limousine." Four hundred thousand copies. I'll bet you've read it. Bland. (Pointing gun) If you don't tell me who you are and what you're doing here, I'll kill you as dead as a door-nail. Come on, I mean business — who are you? SEVEN KEYS TO BALDPATE 29 Mage;e. Well, a name doesn't mean so much, so you may call me Mr. Smith. Bland. What are you? Magee. a writer of popular novels. Bland. What are you doing here? Magee. Trying to win a bet by completing a story of Baldpate in twenty-four hours. (Gets up.) A few more interruptions of this sort, however, and it's plain to be seen I'll pay the winner. (Up close to Bland.) You can do me a big favor, old man, by leaving me this place to myself for the night. I give you my word of honor that whatever I've seen or hpard shall remain absolutely sacred. Bland. (Sneeringly) You must think I'm an awful fool to swallow that kind of talk ! Magee. Very well, if you don't believe I'm who I say I am, and you doubt that I'm here for the reason I gave, go upstairs into that room with the open door — (Points to room R. on balcony. Bland looks up and hacks away) — and you'll find a t3rpe- writing machine, several pages of manuscript scat- tered about the floor, and a letter on the dresser from the owner of this inn to the caretaker, proving conclusively that all I've told you is the truth and nothing but the truth, and there you are. Bland. (Up close to Magee) And you're not in with the police? Magee. No. I wish I were, if the graft is as good as they say it is. Bland. You say you have a letter from the owner of the inn? Mi>kGEE. Yes. Wait a minute, and I'll get it for you. (Starts upstairs, but is stopped by Bland as he is about halfway up.) Bland. (Shouts) Come back ! Magee. (Comes down and goes to l.c.J What's the matter? Bland. (Going l-C. to Magee) I'yte been double- 30 SEVEN KEYS TO BALDPATE crossed before, young fellow. I'll find it if it's there. Magee. Oh, very well. If you prefer to get it yourself, why, go right along. (He turns from Bland. As he does so, Bland fans him for a gun. Magee turns, surprised; then, as he understands, he laughs.) You needn't be alarmed ; I never carried a gun in my life. Bland. But you keep one in your room, eh? Magee. If you think so, search the room. Bland. That's just what I'm going to do. I guess I'll keep you in sight, though. Go on ; I'll let you show me the way. Magee. All right. (Starts toward stairs.) If that's the way you feel about it, why, certainly. (Goes upstairs leisurely, followed by Bland, whcf keeps him covered. Magee starts to exit into room. Bland stops him.) Bland, (c. of balcony) Wait a minute ; I'll peek around that room alone first. You don't look good to me ; you're too damned willing. (Goes to door of room R. Magee steps out to r. of door.) You wait out here. I'll call you when I've satisfied myself you're not trying to spring something. Magee. Very well. If you don't trust me, go ahead. (Bland exits into room, keeping his eyes fixed on P Magee. The latter stands thinking for a mo- ment, then turns and slams door quickly, locks it, and runs downstairs to 'phone. When he is halfway down Bland starts hammering on door.) Bland. (Yelling and hammering on door) Open this door! (Hammers.) Damn you, I'll get you for this ! Magee. (At 'phone) Hello, I want to talk to the SEVEN KEYS TO BALDPATE 31 Asquewan police headquarters. . . . That's what I said, police headquarters. (Bland pounds on door. As Magee sits waiting for connection, Mary Norton appears at door. She unlocks it and enters, closing door. The cold blast of wind attracts Magee, who jumps up and yells:) Magee. Who's there ? What do you want ? Mary. Don't shoot ; it's all right. I'm harmless. Magee. How did you open that door? Mary. (Slightly down toward Magee) Un- locked it with a key, of course. Magee. (Half aside) My God ! Mary. (Comes toward Magee) If you will al- low me to bring my chaperon inside, I will explain in a moment who I am and why we're here. Magee. Your chaperon ! Mary. (Going up to door) Yes ; another per- fectly harmless female who has been kind enough to accompany me on this wild adventure. (Turns to Magee) I have your permission? Magee. (Looks up at room, r., then back at Mary, puzzled) Say, what the deuce is this all about ? Mary. You'll soon know. (Opens door and calls) All right, Mrs. Rhodes. (Mrs. Rhodes screams off stage, then enters and runs past Mary to above table l., terribly fright- ened.) Magee. What's the matter? What's happened? Mrs. Rhodes. (Shouting to Mary) Lock the door! Lock the door! ' (Mary hutjriedly locks door.) 32 SEVEN KE;yS TO BALDPATE Magee. (Crosses to Mrs. Rhodes, speaking hur- riedly) Tell me, please, what is it? Mary. (Runs down l. ta Mrs. Rhodes) What frightened you, Mrs. Rhodes? Mrs. Rhodes. (Almost hysterical) A man! Magee. A man? Mary. What man? Mrs. Rhodes. I don't know. He appeared at the window above, flourishing a revolver, and then he jumped to the ground and started running down the mountain-side. Magee. Are you sure? Mrs. Rhodes. Of course I'm sure. Magee. Just a moment. (Turns and darts up- stairs, taking key from his pocket as he goes.) Mary. (Going r.c. with Mrs. Rhodes) Is there anything wrong? Magee. I'm beginning to think I am. (Opens door R. on balcony and exits.) Mrs. Rhodes. (Still hysterical) Why did you ever come here? Mary. (Coolly) It's all right. Don't get ex- cited. Magee. (Enters from room r. cmd comes to c. of balcony) The bird has flown, but he forgot this when he took the jump. (Points gun at women!. Mrs. Rhodes runs r., screaming; Mary screams and runs L.) Don't be alarmed ; I'm not going to shoot — at least, not yet. (Is on landing of stairs as he speaks next lines.) Now might I ask why I'm so honored by this midnight visit? (Snaps on bracket lights and comes down c.) Mary. (Goes l.c. to Magee) I can explain in a very few words. Magee. That will suit me immensely. My time is valuable. I'm losing thousands of dollars, per- haps, througli even tlms waste of tinie. (Looks^ gi SEVEN KEYS TO BALDPATE 33 Mary intently.) Be as brief as possible, please. I — (Stares at her.) Mary. Why do you stare at me so ? Magee. Do you believe in love at first sight ? (Mrs. Rhodes takes a step toward them, surprised.) Mary. What do you mean? Magee. You know, I've written about it a great many times, but I never believed in it before. It's really remarkable! (Looks from Mary to Mrs. Rhodes, pussled; then laughs in an embarrassed manner.) Oh, pardon me, you were about to ex- plain your visit here. Mary. Well, to begin with, I ('Phone rings. All turn and look at it.) Magee. (Goes to 'phone, stops buzzer, then backs upstage c. Mrs. Rhodes is r.c. To Mary) Will you be kind enough to answer that 'phone? I don't care to turn my back on anything but a bolted door to-night. (As Mary looks surprised.) If you please. Mary. Certainly. (Goes to 'phone. Mrs. Rhodes goes R.c, above Ma^y.) Hello! . . . What's that? . . . Hold the wire, please, I'll see. (Turns to Ma- gee.) Did you wish to talk to police headquarters? Mrs. Rhodes. (Goes to Magee c, frightened) Police headquarters! Magee. (Crossing Mrs. Rhodes, who goes over to R. of table l.) Yes. (Starts, then stops and looks up at room R. on balcony.) But, no ; just say they must have made a mistake. (Backs upstage c.) Mary. (In 'phone) Hello! . . . No, no such call put in from here. Must be some mistake. That's all right. (Stamds up receiver and goes l. Magee goes to 'phone, severs connection, then comes down c. Mary up to him.) Then you did call poUoe headquarters ? 34 SEVEN KEYS TO BALDPATE Magee. I did. Mrs. Rhodes. (Goes to c.) Why did you call police headquarters ? Mary. Yes, why did you call police headquar- ters? Magee. (Looks at both, puzzled, then laughs) You know, these are the most remarkable lot of hap- penings. No sooner do I get rid of one best seller, than along comes another dyed-in-the-wool "to-be- continued-in-our-next." (To Mary) You know there's no particular reason for my saying this, but I really believe I'd do anything in the world for you. Mary. I don't understand. Magee. But you promised to explain your pres- ence here. Mary. Which I fully intend to do ; but first of all I should like to ask you one question. Magee. Proceed. Mary. How did you get in here without this key ? (Shows him her key.) Magee. (Laughs) Oh, no, no! (Laughs.) You know, I'm beginning to think this whole thing is a frame-up. Mary. What do you mean? Magee. (Points to her key) You have the only key to Baldpate in existence, I suppose ? Mary. So I understood. Magee. Well, if it's any news to you, ladies, be- lieve me, there are more keys to Baldpate than you'll find in a Steinway piano. Mary. Then he lied ! Magee. Who lied? Mrs. Rhodes. (Quickly) Remember your prom- ise, Mary ! (Crosses to chair in front of fire and sits.) Magee. (Follows Mrs. Rhodes -mth his eyes, making complete turn.) Well? Mary. I can't tell you his name. SEVEN KEYS TO BALDPATE 35 Magee. Well, at least tell me your name. Mary. My name is Mary Norton. I do special stories for the "Reuton Star." Magee. (Surprised) In the newspaper game ? Mary. That's it. And this lady (Pointing to Mrs. Rhodes^ who is now removing her rubbers.) — is Mrs. Rhodes, with whom I live in Reuton, and who is the only other person who knows I'm here to do this story. Magee. What story? Mary. The story of the five-thousand-dollar wager you have made with a certain gentleman that you would write a complete novel inside of twenty- four hours. Magee. Who told you this? Mrs. Rhodes. Remember your promise, Mary. Magee. (Crosses to r.c. Mary goes l.c. Ma- gee looks at Mrs. Rhodes and then at Mary) You've made many a promise, haven't you, Mary ? I should certainly like to know who gave you this informa- tion. Mary. (Goes to Magee r.c.) I can tell you only that when the wager was made at the Forty-fourth street club this afternoon, a certain someone dis- patched the news to me at once. Believing that I had the only key to Baldpate, I hurried here to let you in, and lo and behold (Takes stage l., Ma- gee following her.) — I find you already at work, and as snug and cozy as you would be in a New York apartment. (Comes down r. of table, Magee follozving her.) Now that you know my story, I am going to throw myself on your mercy and ask you i to allow me to stay here and get the beat. I prom- ise you we shall not disturb you in the least. Have you any obections? ' Magee. And you won't tell me who gave you the stbry? Mary. I can't. 36 SEVEN KEYS TO BALDPATE Magee. Nor where you got the key? Mrs. Rhodes. Remember your promise, Mary. Magee. (Turns and looks at Mrs. Rhodes anc then at Mary) You know, I wish you hadn'i brought her with you. Mrs. Rhodes. What! (Gets up and starts l toward Magee.) Magee. (Goes toward her as she starts up) N{ offense, Mrs. Rhodes. Of course I understand tha Mary is a very promising young woman, but wh) continually remind her of the fact. (Laughs apalo- getically.) That's just my little joke. Excuse me (Goes to Mary c. Mrs. Rhodes goes to window looking out.) Let me get this clear. Your idea ii to stop here and write the story of my twenty-foui hour task? Mary. With your permission. Magee. Well, I'll tell you. Had you put such i proposition up to me — (Mrs. Rhodes comes dowt stage to r.c. j — ^half an hour ago, I should have saic emphatically, no ; but since my little experience witt the gun-flourishing, window- jumping gentleman, I'n inclined to entertain the idea of a companion or two Mrs. Rhodes, ("r. of Magee) Who was the man with the gun? Mary. Why did he jump from the window? Magee. You might as well ask me why he placed a package of money in that safe. (Mary and Mrs Rhodes go up toivard safe.) Or why he telephoned the fact to someone else, who was to pass the word along to Mayor Cargan. Mrs. Rhodes. (Turns to Magee, amazed) Mayoi Cargan ! Magee. What seems to be the trouble? Mary. (To Magee, c.) Mrs. Rhodes is i widow; Mayor Cargan a widower. Perhaps yot jvUl understand why the name startled her when ] SEVEN KEYS TO BALDPATE 37 tell you that Mrs. Rhodes is to become Mrs. Cargan next Sunday morning. Magee. Oh, indeed! (Mary goes up c, then doum again during next speech. Magee crosses to Mrs. Rhodes.) Well, congratulations, Mrs. Rhodes. And again I say I did not mean to offend. I am not accusing Mayor Cargan of any transaction, dis- honest or otherwise. I was merely trying to point out to you ladies that it has been a night of wild oc- currences up to now. However, if you care to take the risk, stay here. It won't disturb me in the least, and may possibly benefit this young lady in her busi- ness. (Goes toward Mary. Looks at his watch and whistles.) I've lost half an hour already, and as every minute means money to me right now, I'll have to work fast to make up for the time I've lost. (To Mrs. Rhodes — Mary comes down L.c.j Again I apologize for any mistake I may have made, Mrs. Rhodes. Mrs. Rhodes. I assure you a more honest man than Jim Cargan never lived. Magee. I sincerdy trust you're right, especially for your own sake. (Mrs. Rhodes sits in front of fire. Magee goes to Mary and takes her hand.) I hope the story proves a whale. I wish Mary. What do you wish? Magee. Oh, nothing — I was just thinking of Sunday morning. Good-night. Mary. Good-night. Magee. (As he goes up the stairs) I'd gladly offer you ladies my room, but it's the only one cleaned and heated, and I must have some comfort for this kind of work. (On balcony r.^ Cood-night, ladies. Mary and Mrs. Rhodes. Good-night. Magee. (Leaning over balcony) Mary — ^that's the sweetest name in the world. Mary. (Looking up at him) Thank you. Magee. Good-night, 38 SEVEN KEYS TO BALDPATE Mary. Good-night. Magee. (A long look at Mary and then at Mrs. Rhodes) I still wish you hadn't brought her with you. Good-night. Mary. Good-night. (Magee exits into room r. on balcony, closing door.) Mrs. Rhodes. (Over to Mary, r.c.) You don't believe Jim Cargan guilty of any treachery? Tell me you don't, Mary. Mary. I don't know, Mrs. Rhodes. I told you of the Suburban bribe story we got last night, but I certainly hope the name of Cargan is kept clean, for both your sakes. Mrs. Rhodes. I can't believe he's wrong! I won't believe it! (Crosses to l.c.^ Mary. (Following Mrs. Rhodes) But if he is wrong, it's best you should know it now. The fates may have brought us here to-night to protect you; who knows? Mrs. Rhodes. (Going toward safe) Money hid- den in that safe, he said. Mary. Yes, and that dovetails with the Subur- ban bribe story. (Both come down stage a trifle.) I came down here to do a special. I may get two sweeps with the one broom. Wouldn't that be won- derful? I'd be made! Mrs. Rhodes. (Turns upstage, looks toward door, and sees Peters) Great Heavens, Mary, look ! Mary. What is it? (Looks up at door, sees Peters, screams, and runs l. behind banister. Mrs. Rhodes screams and runs r. and hides behind chair. Magee enters on balcony after second scream.) Magee. (Looking down at women) What's wrong down there ? Mrs. Rhodes. A ghost ! Magee. What ! Seven keys to baldpate 39 Mary. A ghost! A ghost! Magee. (Laughing) I'll bet you four dollars that's the fellow whose wife ran away with a travel- ing man! (Starts to come downstairs.) Mary and Mrs. Rhodes. (They wave Magee back) Ssh! (Magee snaps out lights. Peters unlocks the door, enters, locks door, then throws the sheet over his arm cmd comes down stage, looking from Mary to Mrs. Rhodes, who both come forward a trifle. Magee comes to l. of Peters at c.) Magee. I beg your pardon; but have you any idea just how many keys there are to this flat? Peters. (Ignores question) What are these wo- men doing here? Magee. How's that ? Peters. I don't like women. (Mrs. Rhodes and Mary scream and run to foot of stairs.) Magee. It's all right, ladies ; he's not a regular ghost. I know all about him. He's in the picture- postcard business. Peters. (Gruffly) What ! Magee. (To Peters) Just a minute, Bosco. (To ladies) If you ladies will kindly step upstairs into my room, I'll either kill it or cure it. (Ladies go up and stand on balcony.) Peters. (Gruffly) What? Magee. (To Peters) See here, that's the sec- ond time you've barked at me. Now don't do it again, do you hear? (To ladies) Go right in, ladies. (They exit into room R., closing door. Ma- gee down to Peters.) So you're the ghost of Bald- pate, are you ? 4Q SEVEN KEYS TO BALDPATE Peters. How'd you people get in here? Magee. (Laughs) You're not going to pull that "only key in existence" speech on me, are you? Peters. What ? Magee, You know there are other keys besides yours. Peters. They're all imitations. Mine's the real key. The old man gave it to me the day before he died. Magee. What old man? Peters. The father of that young scamp who wastes his time around those New York clubs. You know who I mean. Magee. Then you're not particularly fond of the present owner of Baldpate? Peters. I hate him and all his men friends. Magee. You don't like women either, you say. Peters. I despise them! Magee. How do little girls and boys strike you? Peters. Bah ! Magee. (Laughs) I can understand your wife now — anything in preference to you, even a traveling man! Peters. Don't mention my wife's name, or I'll — (Raises lantern to strike Magee.) Magee. (Pulls lantern out of Peters' hand) Now, see here, old man, if you make any more bluffs at me I'll take that white sheet away from you and put you right out of the ghost business. Haven|t you any better sense than to go about frightening little children this way? Why don't you stick to your own line of work? You're a hermit by trade, if I'm rightly informed. Peters. Yes, I'm a hermit, and proud of it. Magee. Then why don't you cut out this ghost stuff and be a regular hermit? Peters. I play the ghost because I love to see the cowards run. SEVEN KEYS TO BALDPATE 41 MagEe. Oh, they're all cowards — ^is that it ? Peters. Cowards, yes ! (Laughs gruffly.) Magee. And you're a brave man, I suppose ? Peters. A cave man is always a brave man. (Pistol shots heard outside, then a woman's scream. Peters laughs and dances up to door and peers through.) Peters. Ha, ha ! They're shooting again ! They're shooting again! (Mary and Mrs. Rhodes have come out on balcony at shots.) Magee. (Up to door and peers through) What's that? Mary. What's happened? Mrs. Rhodes. Is someone hurt? (Both lean over balcony, looking down.) Magee. Did you hear a wofpan scream? Mary. (Frightened) Distinctly. Mrs. Rhodes. (Frightened) And a pistol shot! Peters. (Dramatically, as he goes toward door l. slowly) A woman in white — a woman in white! They shot at her as they shoot at me when I play the ghost. (Laughs.) They thought it was the ghost. (Almost whispers.) Thought it was the ghost. (Laughs viciously and exits door L.J (Myra Thornhill appears at door c. and is seen unlocking it.) Magee. (Runs to foot of stairs and calls up to women) My God, another key ! Mary and Mrs. Rhodes. What? Magee. Ssh! It's a woman! (He waves tkem bafk.) Ssh ! 42 SEVEN KEYS TO BALDPATE (Mary and Mrs. Rhodes go back into room R. Ma- gee crouches behind banister, unseen by Myra until he speaks. Myra enters, locks doors, then tiptoes cautiously to dead c. She takes a sweep- ing glance around, then goes to fire and warms herself; comes to c. again, and on making sure that no one is in the room, she goes to safe and starts working combination, first picking up lan- tern from desk and holding it in her left hand, while working combination with her right.) Magee. (Snapping on bracket lights) I thought I'd give you a little more light so you could work faster. (Myra puts lantern on desk and throws up her hands.) You needn't throw up your hands; I'll take a chance on that quick stuff. Come on out here, please. (Laughs as Myra com,es around desk r. to c. slowly.) I didn't think they did that sort of thing outside of melodrama and popular novels, but I see I was wrong, or I should say right, when I wrote it. (Myra continues to advance to him slowly.) Really, you're the most attractive burglar I've ever seen. That is, if you are a burglar. Are you? Myra. (Coolly) Are you one of the Cargan crowd, or do you represent the Reuton Suburban people ? (Mary and Mrs. Rhodes enter, on balcony and listen.) Magee. No, I'm just an ordinary man trying to win a bet ; but up to now the chances have been dead against me. Perhaps you'd like to tell me who you are. Myra. I will, if you'll answer me one question. Magee. (Laughs) Of course, of course. I'll an- SEVEN KEYS TO BALDPATE 43 swer that one before you ask it. A friend of mine gave it to me. Of course you thought you had the only one in existence, but he lied to you. I have a cute little key of my own. Oh, there are keys and keys, but I love my little key best of all. (Shows her his key, kissing it.) See? Myra. I can't understand it at all. Magee. You haven't anything on me. And just about two more keys, and I'll pack up my parapher- nalia, go back to New York, and never make another bet as long as I live ! Myra. (Up close to him) Will you please tell me your name ? Magee. Well, a name doesn't mean so much, so you may call me Mr. Jones. And yours? Myra. My name is (Hesitates. Mary and Mrs. Rhodes lean over balcony, listening.) Listen ! (Brings Magee downstage.) My husband is the president of the Asquewan-Reuton Suburban Rail- way Company. He has agreed to pay a vast amount of money for a certain city franchise; a franchise that the political crowd at Reuton has no power to grant. They are going to cheat him out of this money and use it for campaign funds to fight ■tiie opposition party at the next election. If he sues for his money back, they are going to expose him for entering into an agreement he knows to be nothing short of brib- ery. The present mayor is at the bottom of it all. (Mary and Mrs. Rhodes start at mention of mayor's name.) I ran to my husband to-night and begged him not to enter into this deal. I warned him that he was being cheated. He wouldn't believe me, but I know it's true. He's being cheated, and will be charged with bribery besides. That's why I risked the mountain on a night like this. I must have been followed, for I was shot at as I reached the top of Baldpate. Oh, I don't know who you are, but you're 44 SEVEN KEYS TO BALDPATE a man and you can help me. (Puts her hands on his shoulders, pleadingly.) You will help me, won't you? Magee. (Interested) Yes. What do you want me to do? Myra. (Looks at Magee for a moment without speaking, then goes up to safe and back to Magee) In that safe there is a package containing two hun- dred thousand dollars. Magee. (Goes up toward safe) Two himdred thousand dollars! (Mary omc? Mrs. Rhodes start dovmstairs very slowly.) Myra. (Following Magee up R.) That's the amount. It must be there. A man named Bland was to bring it here and deposit it at midnight. Car- gan was to follow later, and was to find it here. Magee. (Coming down stage) Cargan coming here! Myra. So they've planned it. I must have that money out of there before he arrives. You'll help me, won't you? Don't you understand? My hus- band is being cheated, tricked, robbed, probably ruined. Magee. But I don't know the combination. Myra. (Wrinping her hands) Oh, there must be something we can do ! Please, please (She kneels at his feet and puts up her hands imploringly.) For the sake of my children, help me, please! (Ma- gee sees -women on stairs, and warns Myra with a look as he helps her to her feet. She turns and faces Mary and Mrs. Rhodes, then turns abruptly to Magee.) Who are these women? What are they doing here? (She has changed from hysteria to dig- nified coldness.) Magee. Oh, of course, pardon me! (Goes to SEVEN KEYS TO BALDPATE 45 women at foot of stairs. Myra crosses to Vi.) May I introduce Miss Myra. (Cuts him off sharply) Please don't! (Turns to women.) Will you pardon me for a mo- ment, ladies? Mary and Mrs. Rhodes. Certainly. (They step off stairs and remain "l., keeping their eyes fixed on Myra and Magee. Magee goes r. to Myra.) Myra. (Aside to Magee) For God's sake, don't tell them who I am. My husband will kill me if he ever learns that I've been here on such an errand. Magee. (Aside) I understand; you may trust me. I sympathize with you very deeply, Madam, and I promise you that no one shall take that money away from here to-night unless it be yourself. And I'll get it out of that safe if I have to blow the thing to smithereens! Myra. You give me your word as a gentleman? Magee. (Offers his hand) My word as a gentle- man. Myra. (Takes his hand) Thank you. Magee. (Pulls down his vest and goes up to Mary and Mrs. Rhodes) Ladies, I wish to present a girl schoolmate of mine. Miss Brown, who has be- come interested enough in my career to find her way to Baldpate to witness my endeavor to break all rec- ords as a speedy story-writer. Mary md Mrs. Rhodes. Miss Brown, (Both bow. Myra returns the how.) Magee. (Takes out his watch and looks at it) Up to now I'm almost an hour behind myself. How- ever, I expect to catch up with myself before the night is over. That is, of course, provided there aren't over three hundred more keys to the old front door. Mary. (Goes up to Magee c.) Now, might I have a word with you alone ? 46 SEVEN KEYS TO BALDPATE Magee. I'd be delighted. I'd like to be alone with you forever. Mary. (To Myea) Will you pardon me for a moment ? Myra. Certainly. Magee. Go right upstairs. Miss Brown, and make yourself quite at home. (Starts toward stairs with Myra.) Oh, Mrs. Rhodes, will you be good enough to show her to the room? (Mary crosses c. to R.) I'm sure she needs a little drop of something after that bitter cold trip up the mountain. You'll find a flask on the table. Mrs. Rhodes. (Starts up the stairs) Come right along, Miss. I know where it is ; I've already tried it. (Exits room R.j Myra. (Following Mrs. Rhodes upstairs) Well, really, I don't know what to say to all this kindness. I (Stops c. on balcony, looks down and warns Magee to silence with finger on ker lips. He reas- sures her, then goes c.) Mrs. Rhodes. (Appearing at door) Right in here. Miss. Myra. Thanks, awfully. (Exits into room, fol- lowed by Mrs. Rhodes, who closes door.) Mary. (Goes quickly to Magee at c.) Who did that woman clain^^to be? Magee. That's a secret I've promised never to reveal. Mary. But I overheard everything she said. Magee. Then you know. Mary. I know she lied. Magee. She lied ! Mary. She claimed to be the wife of Thomas Hayden, president of the Suburban Railway. She lied, I tell you. Why, I've known Mrs. Hayden all my life ; was brought up and went to school with her daughters. Mrs. Hayden is a woman in her fifties. You can see for yourself that she is nothing more SEVEN KEYS TO BALDPATE 47 than a slip of a girl. There's a mystery here of some kind — someone's playing a desperate game. (Goes upstage excitedly, looking up at door R.j Magee. Yes, and it's costing me five thousand dollars. I'll never get my work done to-night, I can see that right now. (Looks at watch. Mary comes down c.) But what do I care ? I've met you ! Mary. You're going to give this money over to that woman ? (Peters enters from l. and hides behind banisters.) Magee. Not if she lied. Mary. Well, you believe me, don t you ? Magee. (Takes her hand) Believe you ! Let me tell you something, little girl. I've written a lot of those Romeo speeches in my novels, though I never really felt this way before, but here goes : The mo- ment yooi walked through that door to-night and I laid eyes on you, I made up my mind that you were the one woman in the world for me. Why, there's nothing I wouldn't do for you. Try me. Mary. Very well, I shall. Get me that package of money out of that safe before Cargan comes to steal it. Help me to reach Reuton without being molested, and I'll annihilate the graft machine with to-morrow's edition of the "Star." With that money to turn over to the proper authorities as proof of the deal, I'll wipe out the street car trust and the Cargan crowd with one swing of the pen. And just think, I'll save Mrs. Rhodes from an alliance with a thief! I know Cargan's crooked, always has been; but I must prove it before she'll break off the engagement. Great Scott ! what a story I'll write ! Think what it will mean to me and to the city of Reuton itself! (Puts her hands on his shoulders pleadingly.) You will do this for me, won't you ? Please, please ! Magee. Yes. What do you want me to do ? 48 SEVEN KEYS TO BALDPATE Mary. Come, we must hurry ! Can't you think of some way to open that safe? (Goes up toward safe, Magee following. He comes down c.) ^ Magee. What are we going to do? We don t know the combination, and I haven't any dynamite. But we must have that $2CX),ooo. ' (Peters moves chair just enough to betray his pres- ence.) Mary. (Comes down to Magee, frightened, plac- ing her hand on his arm) What was that ? Magee. Oh, that was nothing. It was just the wind creeping through the cracks, I fancy. (Aside) Go upstairs; there's someone hiding in this room. (Aloud) Good-night, Miss Norton. Mary. Good-night. (She hurries upstairs and exits into room, r.) (Magee looks around room for a moment, reaches over banisters and snaps out lights; starts whistling, and then goes upstairs to l. room on balcony, opens door, slams it loudly, and then comes out and sits behind banisters, watching Peters. Peters m^akes sure no one is in sight, then goes quickly over to safe and starts work- ing combination quietly, but hurriedly, Magee watching him from stairs. Cargan and Max appear outside, peering through into room,. As the safe door flies open, they enter quickly, Car- gan opening the door. Max enters and goes quickly up c. and covers Peters with gun. Cargan closes door and goes quickly to Peters.^ i Max. Get away from that safe ! (Peters /«»«/>.? o away.) Put up your hands! (Peters' hands go up.) Cargan. (Recognizes him as he goes toward safe) SEVEN KEYS TO BALDPATE 49 Oh, it's you, is it? (To Max) The ghost came near walking that time for fair! (To Peters) Come out of there! (Peters comes in front of desk.) How did you know the combination of that safe? (No reply from Peters.) Who told you there was money in there ? (No reply from Peters.) Get out of here, you vagabond! (Throws Peters toward i,.) What do you mean by breaking into a man's safe in the middle of the night? Throw him in the cellar. Max. Max. Come on, hurry up! Get out! (Throws Peters l,.) Peters. (At door i,.) Damn you, Cargan, I hate you! Cargan. Get out ! (Goes up and locks door.) Max. Go on, get out! (Peters exits l. door. Max follows him off and returns almost immediately.) Cargan. (Goes to safe and gets package of maney. Max enters.) By gad, we weren't any too soon ! (Goes to table l. j Another moment, and he'd have had it sure. It would be good-bye to the hermit if he ever got hold of a roll like this ! (Flips bills in his hands.) Two hundred one thousand dollar bills. Max. Is it all there? Cargan. I don't know; I'll see. (Magee comes downstairs and goes behind desk while Max and Cargan are counting money.) You seem surprised that I found the money here. Max. What do you mean — surprised? Cargan. (Rises, puts money in his pocket, then comes in front of table. Max comes forward and stands l. of Cargan, below table.) I'm going to tell you something. Max. I didn't trust you all day, and I didn't trust you to-night. so SEVEN KEYS TO BALDPATE Max. What do you mean — ^you didn't trust me? Cargan. I'll be truthful with you. I thought you were going to double cross me. I thought you were going to beat me to the bankroll through this woman Thornhill. Max. Myra Thornhill? Cargan. Yes, Myra Thornhill. Oh, don't play dead ; you knew she was around. You've had secret meetings with her during the last forty-eight hours. I know every move you've made — I've had you watched. You've worked with her before. (As Max makes a motion of protest.) You've told me so. I had my mind made up to kill you. Max, if this money had been gone, and that's just what I'm going to do if you ever double cross me, do you un- derstand ? Max. (In a hangdog tone) Yes, I vmderstand. (Magee, who has been crouching between safe and desk, now stands up, takes aim, and fires at l. wall, then rushes over and turns on bracket lights. At the sound of the shot the womeri, come out on balcony, frightened, and stand look- ing down at men.) Cargan. (As Magee shoots) My God, I'm shot ! (Reels against table. Max draws hack l.) Magee. (Comes down r.c.J No, you're not. I just put a bullet into the wall, and I'll put one in you if you don't toss that package of money over here! Come on, hurry up! I mean business! (Cargan hesitates, then throws money to Magee R.C. The latter picks it up and puts it in his pocket.) You see, being a writer of sensational novels, I'm well up in this melodramatic stuf5f. Mrs. Rhodes. (On balcony, watching Cargan) Jim Cargan! SEVEN KEYS TO BALDPATE 51 Cargan. (He and Max look up and see women on balcony) What are you doing here? (Mrs. Rhodes doesn't reply, but continues staring at him.) Myra, (Looking down at Max) Max, Max, are you hurt? Max. No ; I'm all right. Cargan. (Turning slowly to Max) Myra Thornhill, eh? So you were trying to cross me, you snake! (Chokes Max. Women scream.) Magee. I must insist upon orderly conduct, gen- tlemen. No roughhouse, please. (To Max) Young man, be good enough to put that gun of yours on the table. (Max hesitates.) Hurry now. (Max does as directed.) Now kindly remove that gun from Mr. Cargan's pocket — I'm sure he has one — and put it on the table also. He might want to take a shot at you, and I'm giving you the necessary protection. Hurry, please. (Max taJies Cargan's gun and places it on table.) \ Magee. Now, Mrs. Rhodes, will you kindly ask i the street car president's wife to step back into that \ room, then lock the door and remove the key? \ \ (Myra goes slowly to room r. Mrs. Rhodes fol- lows her, locks the door, then comes to c. of bal- cony.) Thank you. And now, Miss Norton, will you kindly step down here — (Mary starts down- stairs and hangs muff on chair L.) — ^and take those two revolvers from the table and place them in the hotel safe, and then close the safe and turn the com- bination? (Mary places guns in safe, turns combi- nation, and remains up near desk.) Thank you very much. (To men) Now, gentlemen, I must insist that you step upstairs to the room on the right of the balcony. And, Mrs. Rhodes, will you please step over there and lock the door when these gentlemen are on the other side? (Mrs. Rhodes crosses bal- 52 SEVEN KEYS TO BALDPATE cony, goes to room l., unlocks door, and stands aside for the men to pass in.) I shan't keep you there long, gentlemen; I'll release you as soon as I've transacted some important business with this young lady. Lively, now, gentlemen! Lively! (As m£n start upstairs slowly.) That's it! Now to your right. Correct! Now straight ahead. (Max exits into room. Cargan stops as he gets to door, and turns and looks appealingly at Mrs. Rhodes, who ignores his outstretched hands.) Now right in. (Cargan exits into room i..) Lock the door, Mrs. Rhodes, and bring the keys down to me. (Mrs. Rhodes locks door and brings keys to Magee at c.) That's the ticket! Thanks, very much. (Mary comes to c.) Well, how's my work? Some round- up, wasn't it? (To Mrs. Rhodes) I'm awfully sorry about this, for your sake, Mrs. Rhodes. Mary. (To Magee, r. of him) It's best she should know. (To Mrs. Rhodes, extending her hand.) Isn't it, dear? Mrs. Rhodes. (Going r.c., after taking Mary's hand) I suppose so, dear, I suppose so. Magee. Well, come on, little girl! You've got to work fast. Here's the graft money. (Takes money from his pocket and gives it to Mary.) Now what? Mary. I've everything planned. I know just what I'm going to do. What's the time? Magee. (Looking at watch) One-thirty. But you can't get a train out of Asquewan until five. (Mary crosses to L., gets muff, and places m,oney in it.) Mrs. Rhodes. We can't sit around the station for three hours, dear. (Mary returns l.c. to Magee.) Magee. Try to get a taxi, or whatever sort of conveyance they have in the darned town ; but what- SEVEN KEYS TO BALDPATE 53 ever you do, get out of Asquewan as soon as yor can. Mary. You leave it to me ; I'll find a way. Are you going to stay here ? Magee. (Looks up at room r. and l.) Ill have to. I want to keep guard on this crowd of lady and gentleman bandits until I'm sure you're well on your way. I'll keep them here until you 'phone and tell me you're out of danger, even though it's all night to-night and all day to-morrow. Mary. But your work ? Magee. Never mind the work ; I can write a novel any old time. So far as the bet is concerned, I can lose that and still be repaid a million times over — I've met you. (Takes her hand, then crosses to Mrs. Rhodes. Mary goes up c.) Good-night, Mrs. Rhodes, and God bless you both ! Mrs. Rhodes. Good-night. (Shakes hands with MageEj then starts for door and stands looking up at door l. on balcony.) Magee. (To Mary, near door) I wonder if we'll ever meet again ? Mary. I live in Reuton — ^good-night. (Turns up near foot of stairs and looks up at door l. Mrs. Rhodes exits.) Magee. Good-night. (Mary comes to door Ma- gee is holding open. She pauses for a moment, looks at him intently, then down at floor, then exits quickly. Magee locks door, stands peering out at them for a moment, looks up at door L., then comes down stage and stands thinking.) Crooked politicians — adven- turess — safe robbed— love at first sight ! (Points to different rooms and at safe.) And I wanted to get away from melodrama! (Hears Hayden at door, and backs away to foot of stairs.) And still they come! (Hayden enters, locks doors, puts key in his pocket, 54 SEVEN KEYS TO BALDPATE takes off gloves, rubs his hands and nose trying to warm them, then comes down to fireplace and stands with his back to the fire. As he turns he comes face to face with Magee, who has come to c. He goes to Magee slowly.) Hayden. I beg pardon, but who are you? Magee. (c.) I'm Mayor Cargan's butler. Hayden. Mayor Cargan! Magee. Yes, he's here. Do you wish to see him ? Hayden. (Importantly) Yes. Say to him that Mr. Hayden of the Reuton-Asquewan Suburban Road, is calling. Magee. Oh, I see! Are you the president of that road, sir ? Hayden. (Pompously) I most certainly am, sir. Magee. (Looks at Hayden, and then up at room R. and laughs) Your wife's here. Hayden. What ! Magee. Yes ; locked in that room up there. (Ma- gee points to room r. on balcony. Hayden turns< and looks up. As he turns, Magee fans him for gun. Hayden turns to Magee quickly, sputtering.) Pardon me, I just wanted to see if you had a gun on you. Just a minute ; I'll tell the mayor the president has arrived. (Starts upstairs, laughing.) Hayden. (When Magee is on first landing) Are you a crazy man, sir? Magee. That's what the critics say, but I'm be- ginning to think they are all wrong. Sit down, Mr. Hayden. I'll tell the boys you're here. (Unlocks door L. and steps aside.) ^^ Hayden. The boys! Magee. Come on, boys; everything's all right; the president's here. (As men come down, Hayden steps forward toward stairs.) Watch your step. Easy, that's it ; one at a time, please. Lead on, boys. I'll walk a little behind. SEVEN KEYS TO BALDPATE 55 (Cargan and Max come downstairs, followed by Magee^ who covers them with gun. As men get to foot of stairs, Hayden backs away, thun- derstruck. Max goes to table l. Magee goes over R. Cargan comes down to Hayden c.) Cargan. (Gruffly) Hello, Hayden. Hayden. What is the meaning of this, Cargan? Cargan. I don't know. Ask him. (Nods toward Magee.) Hayden. (To Cargan) Who is he? Cargan. I don't know, and I don't care a damn ! I'm disgusted with the whole works. We're nailed, that's all I know. (Sits r. of table L. Peters en- ters from door l. On seeing crowd of men, he starts to back out, but is stopped by Magee.) Magee. No, you don't! Come back here. I'll keep my eye on you, too. You'd better sit down and join the boys, Hermy. (Peters sits L. of table.) Hayden. (Up to Magee, who is R.c.j I'd very much like to know the reason for such strange ac- tions, young man? Magee. Your wife will be down in a minute; s'he'll probably tell you all about it. Hayden. Confound it, sir, my wife is home in bed! Magee. That's what you think. (Laughs.) You're not the first fellow that's been fooled, you know. (Hayden backs away from, Magee. Ma- gee throws key to Peters.) Here, Hermy; take that key and open the first door to the left on the balcony, and tell Mr^ Hayden that her husband wants to see her downstairs right away. (As Peters hesitates) Hurry along, that's a good ghost — go on. (Peters, mad all through, does as he is told, picking up the key from floor and going upstairs.) Better sit down, boys, and make yourselves comfortable. JVe're liable to have quite a wait. S6: SEVEN KEYS TO BALDPATE (Max sits l. of table. Magee goes up rJ Hayden. Well, I'll be running along. Magee. (Stops Hayden as he starts for door) Better stay a while, Mr. Hayden ; I'd like to have your wife meet you. I don't think she's ever had the pleasure. (Myra awj Petees enter on balcony and start down- stairs.) ■Hayden. (Down to Cargan, r. of table) What the devil sort of a man is this? (Bland knocks on door. All jump and look up- stage.) Magee. Well, here's a novelty at last — a man with- out a key. Hayden. It's Bland. I have his key ; I'll let him in. (Starts for door.) Magee. Don't bother. I have a dandy little key of my own ; I'll let him in. (Opens door, keeping all (overed. Hayden goes over R.j Bland. (Enters as Magee unlocks door, the lat- ter keeping him covered. Bland comes down r. to Hayden. Men all sit as Bland enters. Bland to Hayden) What's the matter, Guv'nor? Hayden. I don't know. Bland. (Goes to Magee, l.c, as he recognises him) That's him, the man I told you about. He locked me in ! Magee. Oh, hello! Are you back again? I thought you jumped out of town. Bland. (Over to Cargan at fable — Magee goes over R.C.J Did you get it all right? Cargan. No ; he's got it. SEVEN KEYS TO BALDPATE 57 Bland. What? (Rushes over to Magee.) Give me that money! _ Magee. (Covering Bland with gun) Say, I killed a man once for hollering at me. (Bland backs away to l. Peters comes downstairs to l. above table. To Myra, as she advances slowly to c.) Ah, here we are! Mr. Hayden, although I think you are getting a shade the best of it, this young lady claims to be your wife. Hayden. What! ('Owr fo Myra, c.) You claim what? Myra. Go on, holler your head off, grandpa ! (As she strolls languidly over r. to fireplace.) It's music to my ears to hear an old guy squawk. (Sits in chair in front of fire. Hayden goes to Bland, l.c.) Bland. (Waves Hayden away. Hayden goes upstage. Bland crosses to Magee, r.c.) What are you going to do with that money ? Magee. (Goes up around Bland and up r.c, keep- ing all covered) I haven't got the money. (All turn and look at him in dmuzement.) It's on its way to Reuton. Miss Norton will see that it is placed in safe and proper hands directly she arrives at the office of the "Reuton Daily Star." Cargan. The "Daily Star !" We're gone ! (To Magee) Where did Mrs. Rhodes go? Magee. Out of your life forever, Cargan; she's got your number. (Cargan lowers his head with- out speaking. Pause, then Magee gets chair for Bland and places it r.c.) Sit down there. (Bland pays no attention.) Did you hear me ? Sit ! (Bland sits slowly and sulkily.) Sit down, Hermy. Come on, that's a nice ghost, go on. (Peters sits above table. Magee places chair for Hayden.) Sit down, Hayden. Hayden. I don't care to sit down, sir. Magee. Do as you're told; sit down. Hayden. Confound it, sir, do you know that I'm S8 SEVEN KEYS TO BALDPATE the president of the Reuton-Asquewan Railway- Company ? Magke. I wouldn't care if you were president of the National League. Sit down! (Kaydkn sits, in- dignant. Magee sits in chair, front of smtchboard, facing all and covering them with gun.) Now we're all going to stay right here till that 'phone bell rings and I get word that Miss Norton is safe and sound in Reuton. That may mean three hours or it may mean six hours; but we're all going to stay right here together, no matter how long it takes; so get comfortable and sit as easy as you can. (All move uneasily.) Cargan. (To Max, after a pause) So you tried to cross me, eh? The chances are I'll kill you for this. Bland. (After a pause, looking at Hayden) I'm afraid I made a mistake in bringing you up here, Guv'nor. Hayden. (After a slight pause) You're always making mistakes, you damned blockheaded fool! Max. (After a pause) I'm sorry I got you into this, Myra. (No reply from her.) Oh, Myra, I say I'm sorry I got you into this. Myra. (Turns and looks at Max) Oh, go to hell! Peters. (After a slight pause) I hope to God you're all sent to prison for life ! Magee. (After a pause) This is going to be a nice, pleasant little party; I can see that right now. (After three counts, ring curtain.) SLOW CURTAIN ACT II The curtain rises on the same situation. After curtain is up, there is silence for about six sec- onds, then the clock is heard striking Two. Hayden takes out his watch and looks at it. All| squirm and look at each other impatiently. Magee. Two o'clock. We've been sitting here over twenty minutes already. Say, Hermy, you'd better put another log on the fire. (Peters crosses to fireplace, puts a log on the fire, looks closely at Myra in front qf fireplace, then goes back to for- mer position and sits.) I think someone ought to say something. Come on, let's start a conversation. Things are getting awfully dull. Hayden. (Gets up after a short pause and goes toward Magee) This is all damned nonsense! I refuse to stay here another minute. Magee. (Coolly, and without moving) Sit down, Hayden. I'm very sorry to inconvenience you in this way, but it's necessary that you should stay .here and keep us company; so sit down before I shoot you down! That's a good little president. (Hay- den sits sulkily.) That's it. Now, let me see, what can we talk about to kill the monotony and keep things sort of lively ? I have it ! Let's all tell each other where we got our keys to Baldpate. (All move uneasily.) What do you think of the idea? (No reply.) No? Well, I'll start the ball rolling, then perhaps we'll all 'fess up. I brought a letter from the man who owns the inn to the caretaker, giving him instructions to turn the key over to me. That's 59 6o SEVEN KEYS TO BALDPATE how I got mine. Next? (Pause. No one speaks.) No? Big secrets, eh? (Laughs.) By George! that's funny. Let's see, how many keys are there? I had the first, Bland the second. Miss Norton the third, our friend the ghost the fourth, this young lady had the fifth, and, if I'm not mistaken, you had the sixth key, Mr. Cargan. Hayden doesn't count — he had Bland's key. Six keys to Baldpate so far. I wonder if there are any more. Peters. (After a pause) There are seven keys to Baldpate. (All turn and look at Peters in sur- prise.) Magee. Seven ! How do you know ? Peters. The old man told me the day before he died. Mine's the original — all the others are imita- tions. (All turn from him in disgust.) Magee. Seven keys, eh? More company ex- pected. More melodrama, I suppose. Where did you get your key. Bland? Bland and Magee. (Together) None of your damned business! Magee. (Laughs) I knew you were going to say that. How about you, Mr. Cargan? Perhaps you'U be good enough to throw some light on the key sub- ject. Where did you get yours ? Cargan. I wouldn't tell you if my life was at stake. Magee. Well, perhaps the young lady will be good enough to inform me where her key came from? (All turn and look at Myra.) ^ Myra. (Turns and faces men) I've no objec- tions. Max. (Pleadingly) Myra, please ! Myra. (Pointing to Max) He gave the key to me. (All turn and look at Max.) Cargan. (To Max) Where did you get a key to Baldpate? SEVEN KEYS TO BALDPATE 6i Max. I can't tell you, Mr. Mayor; I've sworn never to tell. Caegan. (To Myea) I suppose he also gave you the combination to the safe. Myra. He did. Max. (Pleadingly) Myra ! Myea. Oh, shut up! You never were anything but a cry baby ! You've got me into a pretty mess ! Do you think I'm going to sit here like a fool and not pay you back when I've got the chance to do it? (Gets up and faces men. They ail stare at her.) I'll tell you the whole scheme. I was to come here and make off with the package, and Cargan was to fol- low and find it gone. We were to meet to-morrow jmd divide the money equally. Caegan. (Turns on Max) You rat! (Max turns from Caegan in hangdog fashion.) Myra. His excuse to Cargan for the disappear- ance of the money was going to be to accuse Bland of never having put it there. (Points to Bland at mention of his name.) Bland. What ! (Starts toward h.) Magee. Sit down, Bland. (Bland hesitates, then sits.) Bland. (Turning to Hayden) Do you hear that, Guv'nor ? He was going to accuse me of steal- ing the money. Caegan. (To Max) You mark my words, I'm going to kill you for this ! Bland. (To Cargan) Where did you get a key to Baldpate, Cargan ? You told me you couldn't get in here unless I met you and unlocked the door. (Caegan looks embarrassed, but does not reply.) Myea. I can explain that. (All look toward her.) He was to meet you here to-morrow morning at nine o'clock. Am I right? 62 SEVEN KEYS TO BALDPATE Bland. That's right; I made the appointment over the 'phone. Myra. Well, the plan was to steal in here in the dead of night and take the money. He fully in- tended to keep his appointment here to-morrow morning, however, and appear just as much sur- prised as you would have been when you discovered the safe empty and the package gone. In other words, he was going to cross not only you, but Hay- den and everyone else connected with the bribe. He tried to cross you — (Points to Bland.) — ^and Lou Max tried to double cross him. (Points to Car- GAN. Laughs and sits.) If I hadn't been inter- rupted by our friend here — (Nods her head in Ma- ; gee's direction) — I'd have gotten the money and^ triple crossed the whole outfit! Bland and Hayden. What ! Myra. Yes, that was my intention. Scruples are a joke when one is dealing with crooks ? Cargan. (Starts up) Who's a crook? Magee. Sit down, Cargan. Cargan. (Infuriated) Do you think I'll stand to be Magee. (Sternly) Sit down, I tell you! I'm the school-teacher here. Be a good little mayor and sit down. (Cargan sits.) Myra. (Sneeringly, after a slight pause) Why, you're not even clever crooks. You trusted Max, and Max trusted me. (Laughs.) A fine chance either one of you had if ever I had gotten hold of that money! Hayden. (To Bland, after thinking a moment) Who is this woman? Bland. I don't know. Cargan. (Turns to Hayden) Her name is Thornhill. Don't believe a word she says, Hayden; her oath isn't worth a nickel. She's a professional blackmailer, pure and sinqjle. SEVEN KEYS TO BALDPATE 63 Hayden. (To Myra) Is this true? Myra. I never heard of a pure and simple black- mailer, did you ? (Laughs.) So far as my word is concerned, I fancy it will carry as much weight as the word of a crooked politician or the word of his man "Friday," whom he knows to be an ex-convict. Max. (Starts up) What ! Magee. Sit down, Maxy; it's just getting good. (Max slinks into his chair.) Hayden. (To Bland, who looks at him) Fine people you've introduced me to, you lunk-headed idiot ! Bland. Well, what are you blaming me for? You wanted the deal put through, didn't you ? After this you can do your own crooked work. I'm not anxious to get mixed up in a thing of this kind. You've got a fine nerve to go after me. Hayden. (Gets up) How dare you talk to your employer in such a manner ! Bland. Oh, sit down! (Hayden sits.) What do you think I care for this job? I told you to stay out of the deal — that it w&s wrong. You know well enough that it's only cheating the city of Reuton out of its rights. If this thing ever comes to light, we're all lucky if we don't spend five or six years in a stone yard! I tell you right now, if it comes to a show-down, I'm going to make a clean breast of the whole affair. I don't care who I send away, so long as I can save myself. You needn't think you can get me in a fix like this and have me keep my mouth shut. No, sir; I'm going to tell the truth, and I don't care a damn who suffers, so long as I get away. Myra. (Laughs) One of our best little squeal- ers! Bland. (To Myra) Well, you squealed, didn't you? Myra. Sure^, I'm with you, Cutey ! I'm going to 64 SEVEN KEYS TO BALDPATE scream my head off all over the place. (All show alarm.) Cargan. (To Max, after a pause) So you tried to cross me, eh ? Max. Certainly I tried to cross you. Why shouldn't I ? You're around crossing everybody, ain't you? (Rises.) I've stood for your loud talk long enough, Cargan. I've been wanting to call you for the last two years. You're a great big bluff, that's all you are, and I'm going to get even for that punch you took at me, do you hear? Now you shoot any more of that killing stuff at me, and I'll go after you like a wild bear! You're never going to kill any- body, you haven't got the nerve ; but I have, and the next bluff you make at me will be your last ! (Sits.) It's your fault I'm mixed up in this affair, and the best thing you can do is to get me away clean, do you understand? (Smashes table with fist. Pause, then looks at Hayden.) You didn't think you were going to get that franchise for two hundred thou- sand, did you, Hayden? Why, this man would have bled you for half a million before the bill went through, and then held you up for hush money be- sides. I know what I'm talking about. He was going to rob you, Hayden, and I dare him to call me a liar ! (All look at Cargan, who swallows the insult in fear of Max's attitude.) Hayden. (After a pause) Cargan, is it true that you were going to rob me of this money? Cargan. (Turns to Hayden, after a slight pause) Well, if you want to know — yes, that's what I was going to do, rob you ; just what you deserve. You were trying to rob the city, weren't you ? You're just as much a thief as I am. If I'm a crook, it's your kind that has made me so — ^you, with your rot- ten money, tempting men to lie and steal! (Settles back in his chair.) Big corporations such as yours are the cause of corrupt politics in this counfay, and SEVEN KEYS TO BALDPATE 6$ you're just the kind of a sneak that helps build pris- ons that are filled with the poor devils that do your dirty work. You're worse than a crook — ^you're a maker of crooks. (Turns to Hayden, leans forward and points at him.) But I promise you, Hayden, that if I go up for this, you'll go with me ! It's your fault that I entered into this thing, and, by Gad ! I'll get even if I have to lie over a Bible and swear your life away! (Turns, facing audience.) Rob you! Humph! You've got a hdl of a gall to yell about being robbed, you have ! Peters. (After slight pause) I hope the prison catches fire and you're all burned to a crisp ! Magee. (Laughs) You know, my suggestion was to start a conversation, not a rough house. Hayden. (After a slight pause) This woman who took the money — who is she? Myra. a newspaper reporter. Bland. On the "Daily Star." Cargan. The sheet that has fought me ever since I've been in office. They've got me this time, sure ! Max. (After a pause, looking nervously at Ma- gee) How much longer are you going to keep us here? Magee. That's for the telephone to say. I'll re- lease you as soon as I'm sure Miss Norton is safe and sound in Reuton. (All turn toward Magee, surprised.) Bland. Then you're not going to turn uS over to the police ? Magee. Certainly not. Why should I ? (Move- ment of relief from ail.) Peters. (Gets up) Because they're a lot of crooks. (Alt turn towaird Peters.) Oh, how I'd love to be on the jury! Magee. Sit down, Hermy. I need a little target practise, and remember, th^ere's no law against kill- mg gfeMtet t^^flfBas arte./ 66 SEVEN KEYS TO BALDPATE Hayden. There's no train to Reuton till five o'clock. That means we must stay here till six, eh? Magee. I'm afraid so, unless they make it by automobile from Asquewan. It means several hours at the best, so you might as well be patient ; you've got a long wait. (All move uneasily.) Myra. (Cuddling up in her chair) Me for my -beauty sleep ! Good-night. (Short pause, then 'phone rings. All start and stare at it. Magee gets up and stops buzzer.) Max. She couldn't have made it as quick as that. It's over an hour by automobile. Magee. (Keeps them all covered with gun) An- swer that 'phone, please. Miss Thornhill. (Myra gets up and goes to 'phone. Magee hacks upstage.) I'm going to keep looking straight ahead of me to- night. Hurry, please. Give me the message as you gtt it. I'll tell you what to say if it requires an answer. Myra. (At 'phone, in a bored tone) Hello ! . . . Yes, Baldpate Inn. . . . Yes, I know who you mean. Just a moment. (To Magee) Someone wants to talk to you. Magee. Get the name. Myra. (In 'phone) Hello! who is this, please? ... Oh, yes. . . . Very well, I'll tell him. (Turns to Magee.) Miss Norton. Magee. Say that it is impossible for me to turn my back long enough to come to the 'phone, and that you will take the message and repeat it to me as you get it. Myra. (In 'phone. Magee backs up r.c.^ It is impossible for him to turn his back long enough to come to the 'phone. You are to give me the message and I am to repeat it to him as I get it. . . . You're talking from the Commercial House in Asquewan. . . . You missed the package of money five minutes ago. . . (All turn.) You either dropped it in the SEVEN KEYS TO BALDPATE 67 inn before you left, or else lost it while hurrying down the mountain. . . . Search the inn thorough- ly. (Pause, while all look around room.) Ask him whether or not you should notify the police. (All show fear.) You're nearly crazy, and don't know which way to turn. . . . Just a moment. (Turns and looks at Magee.) Well, what shall I say? Magee. (Looks around at all, then answers, after a pause) Say to hold the wire. Myra. (In 'phone) Hold the wire, please. (Gets .up and goes toward chair r. j Hayden. The money lost ! Cargan. Thank God, there goes their evidence! Max. Who ever heard of losing two hundred thousand dollars! Bland. Can't be done outside of Wall Street. Surest thing you know, she's holding out. Magee. (Smiles) You're a quick thinker, Miss Thomhill. Myra. (Turns to Magee) What do you mean ? Magee. That I don't believe you got that mes- sage at all. Myra. (Shrugs her shoulders indifferently) Very well ; she's on the wire — see for yourself. (Sits in chair in front of fire.) Magee. Come here, Hermy. Peters. My name's not Henry; my name's Peters. Magee. Well, whatever it is, come here. (Peters goes up to Magee, up r.) I know you don't like anybody in this room any better than I do, so I'm going to take a chance on you. Take this gun and guard that door until I get this message, and you) kill the first man or woman that makes a move, do you understand? Peters. (Vindictively) I'd like to kill them all ! Magee. Don't shoot unless you have to. (He hands Peters the gun and goes to 'phone.) Hello ! 68 SEVEN KEYS TO BALDPATE Peters. Damn you, Cargan, I've got you at last ! (Peters goes toward Cargan and is grabbed by, Hayden. Myra screams and jumps up. Bland springs on Magee and struggles with him. Max rushes over to r., amd the two overpower Ma- gee at 'phone. When Hayden grabs Peters, Cargan rushes over and struggles with Peters, wrestling gun from him.) Max. (To Magee) Take it easy, young fellow ; you haven't got a chance. Bland. We've got him ! Cargan. (After wrenching gun from Peters, he hits him a blow, knocking him down) What do you think of that? (Bland and Max are r., each hold- ing Magee by the arm^. Peters is on the floor c, Cargan standing over him, with gun. Hayden is L., looking on. Cargan to Peters) So you wanted to take a shot at me, eh ? (Kicks Peters.) Get up ! (Peters gets up in fear. Cargan bcLcks upstage slightly.) Put them both up in the room where he put us, and lock the door. Bland. They can make a getaway from the win- dow, Cargan ; I did it myself. Cargan. There's no window in that room ; it's a linen closet. Put them up there. (He backs up- stage, gun in hand. Peters starts upstairs.) Magee. (To Cargan, as he comes to c. on way to stairs) What's the idea, Cargan? Cargan. (Backing up c. and pointing gun) Go on, I'm the school-teacher now—do as you're told. (Hayden goes to extreme l. as Peters and Magee go upstairs, followed by Max. Bland goes r., be- low 'phone. Cargan speaks next lines to Myra with his back to her.) Get on that 'phone. Miss Thorn- hill, and tell that woman not to notify the p6lice. Say SEVEN KEYS TO BALDPATE 69 that she is to return here at once, and see what she says. (Myea goes to 'phone. Magee and Max are now on landing. Peters is standing at door of room L. on balcony.) Myra. (In 'phone) Hello ! . . . Yes. . . . Why, the message is that you are not to notify the police of the loss. Say nothing to anyone, but return here at once. . . . That is the message. . . . Yes, good- bye. (Hangs up receiver.) Cargan. (To Myra, still watching Magee) All right. Myra. (Rising from switchboard) As quick as she can get here, she says. (Goes down r. to chair.) Magee. (Stops on landing as he hears 'phone con- versation) What are you going to do, Cargan ? Cargan. Never mind ; I'm running things now. Get in there! (Peters exits into room L. on bal- cony.) Magee. You harm that girl, and I'll get you if it's the last act of my life ! Cargan. I've read that kind of talk in books. Magee. I write books of that kind, but I'm talk- ing real talk now ! Max. (To Magee) Go on, get in there. (Magee goes upstairs and exits into room. l. Max locks door and comes to foot of stairs. Bland has gone l. Cargan puts gun in his pocket and comes down c.) Hayden. (Over to Cargan at c.) Now what's the move, Cargan? Cargan. We're going to get that money if she's got it on her. Bland. You don't think she's fool enough to 70 SEVEN KEYS TO BALDPATE bring it back with her if she's trying to get away with it, do you? Hayden. What are you going to do with it if you find it on her, Cargan? Caegan. Keep it, of course. Hayden. It's my money. Cargan. Our agreement holds good. You people will get the franchise. Don't worry. Hayden. Why, you've just openly declared that you were ^oing to rob me of the money. Cargai4. Oh, because I was mad clean through. Wasn't I being accused right and left? I didn't mean a word I said, Hayden. I don't even know now what I said. (Pats Hayden ingratiatingly on the shoulders, then goes up c, looking up at room L.) Hayden. (Goes to Bland, who is below table L.J What do you think, Bland? (Cargan and Max come downstage to c.) Bland. Don't ask me; you bawled me out once to-night; that's enough! Cargan. I haven't forgotten what you said to me, Mr. Max. Max. I don't want you to forget it. I want you to remember it all your life.^ (As Cargan reaches for gun.) I wouldn't care if you had six guns on you. Cut out that wild talk ; I ain't going to listen to it any more. Why, you're nothing but a cheap coward, Cargan! (Cargan looks at Max a mo- ment, then turns upstage, cowed. Max crosses to Myra, r.) So you tried to double cross me, eh? Myra. (Turns and faces Max) Why, certainly! Who are you? Max. Why, damn you, I (Raises his hand to strike Myra, who shrinks away.) SEVEN KEYS TO BALDPATE 71 Bland. (Crossing quickly to c.) Here, wait a minute, Max ; nothing like that while I'm around. Max. (Turns to Bland) Maybe you want some of it? Why, I (Raises his hand to strike Bland.) Bland. (Grabs Max's arm and throws it back) Now behave yourself. The same speech you just made to Cargan goes for me. I want you to cut out this wild talk. I'm not going to listen to any more of it. I'll put you on your back if you make another bluff at me ! Hayden. (Goes toward Max and Bland, c ) Gentlemen, gentlemen, please! (Max and Bland look each other in the eye for a moment, then Max goes up R., near safe.) Bland. (Turns to Hayden after Max has gone up R.) You keep out of this, Hayden; you'll get all you're looking for if you don't. (Raises his hand to Hayden as if to strike.) Hayden. Put it down! Put it down, do you hear me ? What do you mean by raising your hand to me? Why, damn me, for two pins I'd take and wipe up the floor with you! I can whip a whole army of cowards like you ! Now get away from me ! Get away from me before I knock you down! (Bland, surprised at Hayden's attitude, goes up to c. door, after staring at Hayden a moment. Hay- den goes to Myra r. Max goes to safe and begins working combination.) Now, Madam, what do you mean by claiming to be my wife? I demand an ex- planation. Myra. (Turns quickly and angrily on Hayden) Now let me tell you something, old man. You can scare these three little boys, but I don't want you to annoy me, because I've got a nasty temper; so go on, get away before I lose it ! (Hayden stares at Myra, dumbfounded, then goeg 72 SEVEN KEYS TO BALDPATE quickly to l. Myra seats herself in chair afters Hayden turns from her. Max, by this time, has worked combination of safe, and at this point the door flies open. He grabs a gun from safe and slams door shut. Cargan, who has been standing at foot of stairs looking up a* room L.j tvirns quickly as he hears the door slam and crosses quickly to r.c, catching Max at safe door. Bland crosses Cargan to l.c.) Cargan. (Pulling his gun) Get away from that safe! What are you doing there? Max. (Flashes revolver. Myra rises and stands L. of chair and below it) Oh, you needn't be afraid. I ain't going to do anything, only I (Max has cotne in front of desk while speaking above lines, and now takes deliberate aim at Myra and shoots. She screams and drops into chair.) Bland. (Runs to Myra) God ! Cargan. (Crosses to l. of Max) What's the matter. Max? Have you gone crazy? (Puts gun in his pocket.) Hayden. (Over to r. of Max, looking toward Myra) Now we're in for it. Is she hurt? Max. (Down l. of Hayden ) I couldn't help it ; it was an accident ! I didn't mean it, I tell you ! (Magee raps on *door upstairs. All look up.) Magee. (From upstairs) What's wrong down there? (Raps again.) What's liappened? (All stand rigid, staring.) Bland. (In a low voice) Put out the lights. (Cargan tiptoes upstage and turns out bracket lights, leaving only the reflection of burning logs on Myra's face, then tiptoes back to c. ) SEVEN KEYS TO BALDPATE 73 Hayden. Anything serious, Bland ? Bland. You're a damn good shot, Max ; you got her, all right ! (Is feeling Myra's pulse.) Cargan. Don't say that ! (Backs away to l..c.) Hayden. It can't be possible! Bland. It's all over — she's gone! (Drops her hand, then turns her chair around to '&..) Max. (■&.€., wUd-eyed) But I didn't mean it, I tell you — it was an accident! Bland. You lie ! Cargan. I saw you take aim. Hayden. So did I. Max. (Pleadingly) No, no, don't say that! It isn't so! Before Heaven, I swear it was an acci- dent! (Magee pounds on door upstairs.) Hayden, Cargan and Bland. (To Max. Hay- den is L. of Max) Ssh ! (All look up in direction of door.) Magee. (From room r.) Tell me what the mat' ter is down there. Cargan. (Goes to foot of stairs and coils up) Everything's all right — nothing wrong. Magee. I know better ! Open this door ! (Pounds on door.) Bland. Give me a hand, Cargan, and we'll get her out of here. (Max and Hayden go up c.) Cargan. (Over to Bland) Where do you mean? Bland. (Pointing to room r. on balcony) Up in that room. Come on, hurry up! (Cargan assists Bland in lifting Myra to the tatter's shoulders. Bland starts for stairs, carrying Myra; Cargan following with her wraps, etc.) Max. Cr.c. as Bland passes with Myra) I didn't 74 SEVEN KEYS TO BALDPATE mean it, I tell you ! I'm innocent ! Why, I wouldn't harm a fly ! Hayden. (Goes r.c. to Max and silences him roughly) Keep quiet, you damn fool ! Do you want the world to hear you ? (Magee resumes pounding on the door. _ Just as Bland and Cargan get to first landing, Ma- gee kicks the door open from the inside, and in the breakaway the lock falls to the floor. Ma- gee enters on balcony as the door flies open, Peters following him out. Magee comes to first landing and follows Bland and Cargan up opposite stairs a few steps. Peters remains outside door r. Bland and Cargan stop only a second on first landing, and then continue on up the stairs during following lines.) Magee. What's happened ? Cargan. She's fainted, that's all. Magee. Where are you taking her? Cargan. You'll keep out of this, young fellow, if you know what's good for you! (Bland and Cargan exit into room r., Cargan closing door.) Magee. (Has followed them on balcony. Watches them exit with Myra, then rushes downstairs to Hayden c.) Who fired that pistol shot? Max. (h. — blurts out) It was an accident! Hayden. (Quickly to Max, r.c.) Shut up ! Magee. See here, Hayden, if there's anything wrong here, you can't afford to mix up in it ; you're too big a man. Max. (Hysterically) I didn't mean to kill her. I'm not responsible ! It was an accident. Magee. (k.c.) Oh, we have a murder case on our hands — is that the idea? Hayden. (r. of Magee) I don't know ; but what- SEVEN KEYS TO BALDPATE 75 ever it is, we're all in this thing together. We must frame a story and stick to it, do you understand ? Magee. No, I don't understand. Hayden. We must claim suicide. Max. (Going toward c. — Hayden goes up c.) That's it ! She killed herself ! I was an eye-witness — she killed herself ! Magee. Do you think I'd enter into such a das- tardly scheme? (Bland and Caegan enter and stand on balcony c, listening.) No ! If it's murder, there's the murderer — (Points to Max^ crosses to him R., then back to L.c.j — self-confessed. But you're all as guilty as this man — every one of you. It's the outcome and result of rotten politics and greed. I'll swear to every word that's been uttered here to- night. I've had my ear against the crack of that door for the last five minutes. I overheard every word that passed between you. I'll tell the story straight from the shoulder. You can't crawl out of it, gentlemen, with your suicide alibi. It's murder in the first degree, and I'm going to help make you pay the penalty! (Hayden and Max stand staring at him. Hayden goes up R.J near desk. Cargan and Bland,, after a bit of pantomime, com,e downstairs, Car- gan goes to L. of Magee and Bland to r. of him. Max is R.J Cargan. (After a pause — -l. of Magee) I'm afraid you're in wrong here, young fellow. (Peters sneaks across balcony to r. of it and stands listening to next few speeches, hidden behind post R.) Cargan. I'm sorry for you. From the bottom of my heart I pity you. (Takes stage a little l. Ma- 76 SEVEN KEYS TO BALDPATE GEE does not reply; simply looks at Cargan, then at Bland.) Bland. (After a pause) She's dead— you killed her, all right! (Magee looks Bland in the eye, then at Cargan. The latter turns upstage after a paitse, then crosses down to back of chair l. Magee crosses to Hayden, who comes down c.) Hayden. (Comes doTum c. to r. of Magee) Bet- ter plead insanity, old man; it's the only chance you've got. (Magee stares at Hayden, then crosses over to e. and looks Max straight in the eye. Max stares back at him.) Max. (After a pause) Bad business, this carry- ing guns. Who was the woman — ^your wife? (Peters exits into room on balcony r., closing door. Bland is l.c.) Magee. (Turns, sees the three staring at him, smiles and comes c.) No, no, gentlemen 1 You can't get away with it ! It's good melodrama, but it's old stuff. I know every trick of the trade. I've writ- ten it by the yard. You can't intimidate me. I won't be third-degreed. You work very well to- gether, but it's rough work, and it isn't going to get you anything. Besides, you forget I have a witness in Peters, the hermit. (All turn and look up at room L.; Cargan. (Front of table l. — looks up at room, then says to Bland) Get him. Bring him down. (Goes to foot of stairs as Bland goes upstairs.) SEVEN KEYS TO BALDPATE ^^ Bland. (Runs up and looks into room. L., thei/i comes out on balcony) He's gone! (Hayden looks at Max, then back to Bland.) Cargan. Gone! Where? Bland. (Comes quickly down the stairs) He probably found a way; he knows the place better than we do. (Goes r. of Magee.) Cargan. (Comes down to Magee, r.c.) I saw you when you fired ; you shot to kill. Bland, ^r. of Magee) I tried to knock the gun from your hand, but I was too late. (Goes up- stage.) Hayden. ^r. of Bland) I didn't witness the shooting myself, but I turned just in time to grab you before you got away. Max. (■&..) But you shouldn't have choked her ; that was the brutal part of it. Magee. (Starts for Max, who backs away to fireplace, frightened) Why, you dog, I (Chief EIennedy appears outside door and pounds on it three tim^s. All on stage stop abruptly and look toward door, holding the picture for a repeat of the pounding.) Cargan. (Loudly) Who's there? Kennedy. (Yells through door from outside) Open this door in the name of the law ! (WARN Lights.) Max. The police! Hayden. (Quickly to Max) Keep quiet ! (Gets behind desk.) Bland. (To Cargan) You'd better let them in, Cargan. Magee. (Starts for door) I'll unlock the door. Cargan. No, you don't; I'll attend to it! 78 SEVEN KEYS TO BALDPATE (Crosses Magee^ goes up to door and unlocks it. Kennedy steps in, watching Cargan as the latter locks the door. As Cargan is about to put key in his pocket, Kennedy speaks. Bland has gone l., above table, when Cargan goes up to door.) Kennedy. (Up l.c., just inside door) Here, wait a minute! I'll take that key. I'll take that _gyui I saw you stick in your gpck^ too. Bland. (Takes a coupTe of steps toward Ken- nedy up L.) What authority have you? Kennedy. (Comes down l.c. to Bland) Close your trap! I'm Chief Kennedy of the Asquewaij Falls Police Headquarters — that's my authority ! Cargan. (Down to Kennedy, pointing to Bland) It's all right, Chief ; he's all right. Kennedy. Where's the light switch? Magee. Up there to your left. Kennedy. (Goes up l. of door and turns on lights, then comes downstage L. of Cargan, recog- nizing him) Hello, Mr. Mayor ! What are you do- ing here? Cargan. I can explain all that. Magee. (Pointing to Max) That man has a gun on him also. (Hayden moves over toward L. slowly.) Kennedy. (Goes over r.c. and looks Magee over carefully) Who are you? (Cargan crosses to l.c. J Magee. I'll tell you who I am at the proper time and place. You'd better get on your job quick here, Chief ; there's something doing. Two of these men are carrying weapons, and two of them also have keys to that door. I'm telling you this to prevent a getaway. Kennedy. What are you trying to do, run the police department? "SiAGEE." This is an important case. Chief. Thou- sands of dollars are involved, and a crime commit- SEVEN KEYS TO BALDPATE 79 ted besides. I advise placing every man in this room under arrest immediately. Kennedy. (To Cargan) What's this all about, Mr. Mayor? (All appear anxious.) Cargan. He's four-flushing, Chief. He's stalling for a chance to break away. Kennedy. Don't be afraid ; I've got men outside ; nobody'll get away. (Crosses Magee to Max r., and looks at him closely.) Lou Max, eh? Quite a crowd of celebrities. (To Max) You got a gun? (Max hands him his gun.) What are you totin' this for ? (No reply from Max. Chief turns and fans Magee.) He's clean. (Turns Magee upstage and crosses to Cargan.) I'm sorry to trouble you, Mr. Mayor, but I'll have to relieve you of that hard- ware. (Cargan hands Chief his gun.) And the key, too, please. (Cargan hands Chief his key.) I've come here to investigate, and I've got to do my duty. (Crosses Cargan over to Bland l.c.) Bland. (Holding up his hands as Chief ap- proaches him) There's nothing on me. Kennedy. (Fans Bland) Who's got the other key ? He said there were two. Bland. (Points to Hayden) This gentleman. Kennedy. (Goes to Hayden l., who hands the Chief his key) Hello ! Mr. Hayden. Humph ! This is a real highbrow' affair, isn't it? Well (Smiles, goes up c. to R. of Cargan and looks them, all over.) Come on, somebody open up. What's the big gathering all about? Max. (Pointing to Magee) He's got a key. Make him give it up. Kennedy. (To Magee) Come on. (Magee hands Chief his key.) You got anything more to say? Magee. I prefer to tell my story in the presence of witnesses. I insist upon the immediate arrest of everyone here, myself included. 8o SEVEN KEYS TO BALDPATE Hayden. Don't mind him, Chief; he's a mad- man. Kennedy. Well, somebody telephoned police headquarters from here about two hours ago, and when we got on the wire Central said they'd hung up. We got a new connection, and asked if they'd called, and some woman said, "No, it was a mis- take." We got to thinking it over at headquarters, and it didn't listen good, so we looked it up and found out that the call had been put in from Bald- pate Inn; so I made up my mind to come here and investigate. Now, when I started up the mountain ten minutes ago the lights were on full blast, and all of a sudden they went out, and there was a pistol shot, too. Every one of my men heard the report, and we all agree it came from this direction. Now, what's it all about? Magee. 'Twas I who called up police headquar- ters. (All look at Magee.) Kennedy. You! The Sergeant said it was a woman's voice on the wire. Magee. That was the second time when you called up, but I tried to get you first. Kennedy. What for? Magee. I don't intend to tell my story until I'm under oath. I want every word I say to go on the court records. I charge these men with conspiracy and murder ! Kennedy. What is thisj Cargan? Cargan. The poor devil's gone mad, I guess. He shot and killed a woman a few minutes ago, and he's accused every man here of the crime. Kennedy. Murder, eh? Hayden. Yes, cold-blooded murder. Kennedy. (To Magee) Who was the woman you shot? Magee. Don't let these men get away with this, Chief. I can prove my innocence. (Pointing to SEVEN KEYS TO BALDPATE 8i Max.) There's the real murderer. These men know it as well as I do. They're accusing me in an attempt to save their own necks. They're afraid to tell the truth because this man is a squealer, and they know that a confession from him of a scheme to steal the right of way for a street car franchise in Reuton will send them all to the State peniten- tiary. I can prove why I'm here to-night. Ask these men their reason for being here, and let's hear what they have to say. (Kennedy looks from one to the other withovi speaking.) Cargan. He's been raving like that for the last ten minutes, Chief. Kennedy. (To Magee) What is your reason for being here? Magee. I came here to write a book. Kennedy. (To Cargan) You're right; he's a lunatic, sure. (To Cargan) Who was the woman that telephoned to headquarters ? Magee. Miss Norton, of the "Reuton Star." Kennedy. The "Reuton Star," eh? (To Car- gan) Is she the woman that was killed? Cargan. No; her name is Thornhill, Kennedy. Where is she? Cargan. In one of the rooms upstairs. Kennedy. Was there anybody else here besides you people? Magee. Yes; Peters, the hermit. Kennedy. Another crazy man.jeh? Bland. But he's disappeared. ~ Kennedy. Well, he won't go far. (Goes upstage and looks out of door.) I've got the house sur- rounded. (Coming downstage.) I'll look the ground over before I send for the coroner. He won't be here till seven or eight o'clock. You people will 82 SEVEN KEYS TO BALDPATE have to stay here till he comes. (Cargan, Bland and Hayden sit near table L. Max sits rJ What room is she in? (Looking up at balcony.) Cargan. (Gets up from table) I'll show you, Chief. (Starts toward stairs, leading the way, fol- lowed by the Chief, Hayden, Bland and Max in order named. All look back at Magee as they go upstairs.) Kennedy. (To Magee, when he gets on balcony) Take myjiip and don't try to get away, young fel- low. One of those cops outside will blow your head off if you do. Magee. (Goes l. near foot of stairs as men go up) You needn't be afraid. I'm going to stay right here, and I'm going to make sure these other men do until we're all taken into custody. Hayden. It's a sad case, Chief. Kennedy. We're used to that. They generally go out of their minds after they shoot. Where is she? Cargan. (Goes to door of room R.j In here, Chief. (Chief exits into room, followed by Hayden, Bland, Max and Cargan, the latter closing the door. During the last few speeches Peters has been peering through glass in dining-room door L. He now enters and goes quickly to Magee c.) Peters. I carried the body from that room through the secret passage to the cellar. Magee. (Amazed) What ! Peters. I heard them accuse you of the crime. (Backs toward door l. slowly.) They'll never find the secret passage — ( Laughs )-^a.ry6. they'll never find the body! (Laughs viciously.) SEVEN KEYS TO BALDPATE 83 Magee. What did you do that for, you damn fool? (Door opens on balcony rJ Peters. Hist ! (He points up at door r. on bal- cony. Magee looks up. Peters exits hwrriedly through door l,.) (Cargan enters, wild-eyed, from room, runs down- stairs and comes to l.c. Max follows him down and goes to R. Hayden follows Max, and comes down to l.c. Bland follows Hayden, and comes to R. All the men show extreme fear. Magee, standing c, watches them. Ken- nedy comes out on balcony, looks at people downstairs, then back at room, for a moment, then out again at cue.) Hayden. (To Cargan, who is front of table u) What do you make of this, Cargan ? Cargan. The damn place is haunted! Max. She must have escaped by the window. Bland. How could a dead woman jump from the window? Besides, the windows are closed. (They all stand staring up at balcony. Kennedy appears from room r. and closes door.) Kennedy. (Com,es to c. of balcony and stands looking down at men) Say, what are you fellows trying to do, string me? (Starts downstairs.) You know I was born and brought up in New York City, even if I do live in Asquew^n Falls. (Comes down to c. and looks theni all over.) Hayden. I can't understand it at all. Cargan. She was in that room ten minutes ago. Chief. Bland. I'll take a solemn oath on that. Max. My God, I'm going insane ! (Grabs chair to steady himself.) 84 SEVEN KEYS TO BALDPATE Kennedy. Say, what the devil is this all about? (Looks from one to the other.) If you people think you can make a joke out of me, you're mistaken. I won't stand for it. Now come on, what's the an- swer? Magee. It's no joke. Chief; there has been a murder committed here. Kennedy. Then where's the victim? Magee. In the cellar. Bland, Cargan, Hayden and Max. What! Kennedy. In the cellar? Magee. If I'm not mistaken, that's where she was taken after the murder. Hayden. You lie ! Cargan. You know she was taken to that room. (Points to room r. on balcony.) Bland. You saw us carry her there. Max. Of course he did. Kennedy. (To Magee) What are you trying to do, trap me in the cellar? Magee. I tell you. Chief, you'll find the victim in the cellar. Then you can judge for yourself if I'm as crazy as these men claim me to be, or whether they've suddenly gone mad themselves. Kennedy. (Blows his whistle) I'll get at tiie bottom of this thing pretty quick! (Rushes up to door, unlocks and opens it. Two Cops enter, come to L. of stage up c. and await orders. Kennedy locks door and goes to Cops.) Search the cellar of this place, and report to me here what you find — every nook and corner. And don't leave a thing un- turned, understand? (Cops sklute. Mary appears outside door.) Hurry up, then ! (Cops exit through door L. Kennedy comes down c.) If this thing is a practical joke, you'll all land in jail for it. I'm not going to be made the laughing stock of Asque- wan Falls, I'll tell you that right now. (Mary, who has been peering through door, opens it dwjng this SEVEN KEYS TO BALDPATE 85 speech and enters. Kennedy turns as door opens and goes upstage.) Hello! Who's this? Magee. (Goes l. as Mary enters) Miss Nor- ton! (Mary locks door and starts down l.cJ Kennedy. (To Mary) I'll take that key, please. Mary. (Hands Chief the key and goes to Ma- gee L.c.) Why are the police here ? (Kennedy goes down r.c. to Bland.) Magee. (Reassuring Mary) It's all right. Kennedy. (To Bland) Who is this woman? Bland. She claims to be a newspaper reporter. Max. She's a thief; she stole a package of money! Kennedy. Whose money ? Hayden. My money. Cargan. (u, in front of table) No, my money. Magee. It's bribe money, Chief. Kennedy. Where is the money? Mary. (Turns and faces Chief) The money's been lost. Bland, Hayden, Max and Cargan. What! Kennedy. Say, what the hell are you people try- ing to do to me, anyway? Magee. (To Mary) Where did you lose it? Mary. (To Magee — Kennedy goes over, listen- ing) I don't know — somewhere between here and Asquewan. I searched every inch of the way from the bottom of the mountain to the top. It's gone, I'm afraid. Magee. Where is Mrs. Rhodes? Mary. She became too hysterical to return. I left her at the Commercial House in Asquewan. Kennedy. How much money was it? Magee. Two hundred thousand dollars. Kennedy. (Looks from one to the other) Come on, cut out the kidding stuff ! How much was it ? 86 SEVEN KEYS TO BALDPATE Hayden. (h., near table) That's the exact amount the package contained, Chief — ^two hundred thou- sand dollars. Kennedy. (To Mary) Where'd you get this money ? Magee. I gave it to her. Kennedy. Where did you get it? Magee. From Mayor Cargan. Kennedy. Where did you get the money, Car- gan? (No reply from Cargan.) Magee. (After a pause) He took the money from that safe. Kennedy. (Goes upstage a couple of steps, looks at safe, then comes back to c.) How'd you open the safe, Cargan? Cargan. I didn't open the safe. Kennedy. Who did? Magee. Peters, the hermit. Kennedy. Who put the money in the safe? Magee. Bland. (Points to Bland.) That man to your right. Kennedy. (Over to Bland, r.c.) Where'd you get the money to put in the safe? Bland. From Mr. Hayden. Kennedy. (Looks at Hayden, l.) Is this true, Mr. Hayden? Hayden. I refuse to answer for fear of incrimi- nating myself. Kennedy. (Over to Max, r.) What do you know about this. Max? Max. Don't ask me ; I don't know. My brain's on fire — I'm going mad ! (Tugs at his collar, breath- ing hard.) Kennedy. (Comes to c. and looks them all over) Huh ! Hayden gave the money to Bland ; Bland put the money in the safe ; Peters ppened the safe ; Car- gan took the money from Peters; this fellow took the money from Cargan and gave it to the news- SEVEN KEYS TO BALDPATE 87 paper reporter; she loses the money in the moun- tains ; then somebody killed a woman and the corpse got up and walked away, — and you expect me to believe this bunk, do you? Mary. (To Magee) What does he mean by say- ing that somebody killed a woman? Magee. Don't worry ; it's all right. (JAa&y and Magee g^ up l., near foot of stairs.) Cop. (Off stage) Come on, come on! Go on, get in there ! (He opens door l. and throws Peters to c. of stage. The other Cop follows them on.) That's all we could find in the cellar, Chief. Kennedy. No dead bodies or packages of money? Cop. Nothing else, Chief. (Goes up l. near door.) Kennedy. (Looks at Peters and laughs) Oh, it's you, is it, Peters ? So that's where you hide, eh? In the cellar of Baldpate? Well, you'll have a nice room in the county jail to-morrow. Peters. Damn the police ; I hate them ! Kennedy. (Throws Peters to r.) Go on, get over there! (To Cops as he goes u,p to door) Guard the outside. (As he goes up to door, Mary and Magee come down to l.c. Chief unlocks door. To Cops) And question anybody who passes up or down the mountain. (Opens door. Cops exit. Chief locks door and comes down stage to Mary.) You'll have to step upstairs. Miss. I've got a lot to say to these men here, and I'm not particular about my language when I'm on a case ; so come on, step up- stairs. Hayden. (Extreme l., near table) I don't be- lieve this girl lost the money. Chief. Kennedy. Well, I'll get the matron of the jail here and have her searched. If she's got anything on her we'll get it. (Mary starts for stairs, Chief following her up.) Go in one of those rooms till I call you. (Mary is now on balcony c. Chief comes 88 SEVEN KEYS TO BALDPATE downstage to c.) Who is the woman this girl says she left at the Commercial House? Cargan. Mrs. Rhodes. She's all right. Bland. (Goes slightly toward Cargan) How do we know? Maybe they're working together. Cargan. That's enough, Bland. Kennedy. (As he goes toward 'phone all back up and watch him) I'll call up the Commercial House and see if she's there. (In 'phone) Hello! Get me 35, Central, quick. (Mary exits into room R. on balcony.) Ring me when you get it. (Hangs up receiver and comes down to c.) What's her name again ? Magee. Mrs. Rhodes. (Mary screams off stage and rushes from room to balcony.) What's the mat- ter? Mary. (Screaming) She's dead! Someone's killed her I All. Who? Mary. (Hysterically) That woman there in that room 1 This is terrible ! (Kennedy looks at Magee. Magee looks at Car- gan. All stand rigid, staring at each other for a moment; then Kennedy, Cargan, Bland, Hayden and Max rush upstairs on balcony and cross to room h. As they pass in front of Mary, she backs up against windows and stands with arms outstretched against them. Peters is standing r., laughing.) Magee. (Goes over r. to Peters quickly) What did you do, bring her back to that room? Peters. Isn't that what you wanted me to do? Magee. No, you blithering idiot! (Turns and takes Mary in his arms as she runs to him.) Mary. Tell me who did this? How did it hap- pen? SEVEN KEYS TO BALDPATE % Magee. It's all right ; take it easy. (MaXj Bland, Cargan and Hayden enter from room R. in this rotation, all wild-eyed. They\ line up on balcony and keep their eyes glued to door of room. Kennedy enters on balcony, also keeping his eyes fixed on room,. He looks at men on balcony and then down at Magee and Mary, who stare up at him; then at Peters, who is over R.) Kennedy. Say, what are you people trying to do to me ? (To men on balcony, who are still staring at door.) Go on, get downstairs where you belong. (Four men come downstairs and go to former po- sitions. Telephone rings. Kennedy runs down- stairs.) Don't touch that 'phone! I'll answer it! (Looks from one to the other suspiciously.) Is this dump haunted, or is the joke on me? (No one re- plies. The 'phone still rings.) I'll soon find out! (Goes to 'phone. All back up and watch him.) Hello ! . . . Yes, I called you. Say, listen, Charlie. This is Chief Kennedy talking. Is there a woman there by the name of Rhodes ? She was. . . . She did, eh? How long ago? ... I see. . . . What's that ? . . . She asked you to mind a package for her till she got back? (All look at each other, startled.) Where have you got it ? ... In the safe ? . . . Say, listen, Charlie. Call headquarters right away and get a man over there. Give him that package, and tell him to bring it up to Baldpate Inn as quick as he can. Understand? . . . Never mind, you do as I tell you. And listen. Tell them to guard the gar- age and the depot, and put all strangers under ar- rest, men and women. ... I know what I'm doing, Charlie. You take orders from me. And listen. Get the coroner on the 'phone and tell him to get up here to Baldpate Inn in a rush. This is a case 90 SEVEN KEYS TO BALDPATE for him. . . . Don't lose any time now. Keep your mouth shut and get busy. (Hangs up receiver and comes to c. All come fonvard.J She left the hotel a quarter of an hour ago. She put the package in the hotel safe before she went. (He looks them all over. They stand staring at each other.) Humph! Somebody kills a woman — the victim disappears and then comes back ! That's pretty good stuff ! Magee. (Aside to Mary^ r.c.) How do you ac- count for this? Mary. (Aside to Magee) She must have stolen the money from me as we were running down the mountain. (Whistle is heard outside door. All turn and look toward door.) Kennedy. They've got somebody! (Rushes up to door and unlocks it. Cop enters. Chief locks door.) What is it? Cop. a woman. Kennedy. Shoot her in. (Unlocks door, opens it, and closes it as Cop exits.) Here comes the bird, I guess, that tried to fly away with the coin. (Opens the door as Mrs. Rhodes appears. She enters and zvatches Kennedy as he locks door.) Mrs. Rhodes. (Turns, takes in situation, then to Chief) What is the meaning of this ? Kennedy. (Up near door) That's what I'm try- ing to find out. Mrs. Rhodes. (Goes to Mary, r.c.) Is there any trace of the money? (Mary turns from her without replying. Mrs. Rhodes then turns and looks at men, who all give her a contemptuous look. Kennedy com.es downstage c, standing back of her.) Hayden. (Crosses to l.c, between Cargan and Kennedy) Are you going to have these women searched. Chief? SEVEN KEYS TO BALDPATE 91 Kennedy. (Down l. of Mrs. Rhodes) Maybe it won't be necessary. (Looks intently at Mrs. Rhodes over her l. shoulder.) We'll wait until we see what's in the package she left at the Commercial House. (Mrs. Rhodes starts, regains her compos- ure, then seeing all watching her, she turns and makes a dash for the door. Chief speaks as he fol- lows her up. Hayden crosses back to l.) No, you don't! Nobody leaves here until this whole thing has been cleared up and I find out who killed that woman. Mrs. Rhodes. (Turns, startled) Killed a woman ! (Over to Cargan.) What does he mean? (Car- GAN turns from her without speaking. She goes to Mary.) Mary. (To Mrs. Rhodes) You stole the money from me, didn't you? (Mrs. Rhodes goes to Car- gan without replying to Mary.) Cargan. (Looks Mrs. Rhodes straight in the eye) I'll never trust another woman as long as I live ! Peters, (r.) They're no good — ^they never were. Kennedy. (To Peters) Shut up! (Comes to Mrs. Rhodes at c.) Well, what have you got to say. Missus? Mrs. Rhodes. (After a pause) Yes, I did steal the money. (Mary looks at Magee; others look at Mrs, Rhodes.) Mrs. Rhodes. (Over to Cargan, l.) But I did it for you, Jim Cargan. I knew that if the story was ever made public you would be a ruined man. I knew the package of money was the evidence that would convict you. I intended to return it to Mr. Hayden and try to kill off the bribe and save you from disgrace. I did all this because I thought you 92 SEVEN KEYS TO BALDPATE cared, and what is my reward? You stand there ready to turn against me — ^to condemn me. Very veil, now I'll turn ! (Turns to Kennedy.) Officer, these men have bargained to cheat the city of Reu- ton. I demand their arrest on the charge of con- spiracy ! Hayden. It's a lie! Magee. It's the truth, Chief, the absolute truth. This young lady and I will testify against these men and prove them guilty of conspiracy and murder. Mrs. Rhodes. Murder! Kennedy. What have you got to say to this, Mr, Cargan ? Cargan. Nothing at all — I'm through. (Sits at table L. Bland goes upstage, then crosses to above table u) Max. So am I. I can't stand this any loiter; I'm going mad! (Goes to Chief. Peters takes chair Max vacates. During following speech Ma- gee takes Mary up jl.) I want you to know the real truth. 'Twas I who killed that woman upstairs. I shot her down like a dog. I know that I haven't got a chance, but I don't want to be sent to the chair. I'll confess, I'll tell the truth, I'll turn State's evi- dence, anything — ^but, for God's sake, don't let them kill me ! (Kneels at Kennedy's feet.) Kennedy. (To Max) Get up. (Max rises. Chief takes handcuffs from his pocket.) Come on. You'll have to wear these, young fellow. (Puts handcuffs on Max. Mrs. Rhodes goes to foot of stairs.) Bland. (Throwing up hands) There we go! Hayden. (To Cargan) What are we going to do, Cargan? Cargan. No less than ten years, I'm afraid. Kennedy. (To Max) Go on, get over there. (Pushes Max over r., then goes upstage r. and down in circle. Max takes Peters' chair.). SEVEN KEYS TO BALDPATE 93 Mrs. Rhodes. (Goes to Mary, e.c.) Can you ever forgive me? Mary. (Giving Mrs. Rhodes her hand) I didn't understand — I do now. (Both go to foot of stairs, crossing in front of Chief.) Kennedy. (Down to Magee, r.c.) And you came here to write a book, eh ? Magee. That was the original idea. Kennedy. You know, I don't know yet whether you people are kidding me or not. (All turn toward door as police whistle is heard.) They've got somebody. (Rushes up to door and unlocks it. Cop enters. He closes door.) Well, what now? Cop. (Hands package to Chief) A package brought to you by the police messenger. He says it's from' the Commercial House. (All start.) Kennedy. Tell the messenger to hurry back and to tell the coroner to hurry up. (Opens door. Cop exits. Chief locks door and comes downstage a hit, a sickly smile on his face.) Say, before I open this thing, I want to tell you something. If this turns out to be a bunch of cigar coupons, I'm going to smash somebody, sure. I won't stand to be strung, even if I am a small town cop. (Opens package and sees bills.) Great Scott, it's the real thing! How much did you say was here ? Magee. Two hundred thousand dollars. Hayden. (Goes to Kennedy, c.) I'll take that money, please ; it belongs to me. Cargan. CGo^j to Kennedy c.) No, it doesn't ; it belongs to me. Magee. You hold that money. Chief ; it's the only real evidence of bribery we've got. Kennedy. Go away! (Hayden goes upstage; Cargan goes r. of chmr at table; Magee goes c.) You needn't tell me what to do ; I know my business. (Hayden crosses to l. of table. Kennedy put^ money in his pocket and goes to 'phdne. As he dees 94 SEVEN KEYS TO BALDPATE so, all on stage back up and watch him. In 'phone) Hello ! Get me 13, Central. (Wait.) Hello ! Is that you, Jane ? . . . This is the Chief. I want to talk to my wife. (Wait.) Hello! Hello! Betty? . . . Listen, Betty ; get this clear. Get some things together and get the children ready and take that five o'clock train to New York. . . . Never mind now, listen. When you get there, look up the rail- roads, and get on the first and quickest train that goes to Montreal. . . . Montreal. I'll be there waiting for you Thursday morning. . . . Don't ask a lot of questions ; do as I tell you. . . . What are we going to do there? We're going to live there. . . . Montreal. ... I don't know. (Turns to Ma- gee.) How the hell do you spell Montreal? (No one replies.) Listen; go to Canada — ^any part of it. I'll find you. . . . What? . . . Never mind the furniture; we're going to live in a palace. . . . Can- ada, that's all. . . . You do as I tell you. (Gets up from 'phone and goes c, looking at the money. As he sees everyone staring at him,, he puts it in his pocket.) Magee. What do you think you're going to do ? Kennedy. You heard me, didn't you ? I'm going to Canada. Peters. Canada! I hope to God you freeze to death! Magee. You mean you're going to steal that money ? Kennedy. Why shouldn't I steal it from a gang of crooks like this? It's one chance in a lifetime to get this much money. You don't suppose I'm going to pass it up when I've got it right here in my kick, do you? Not me I I'm going to have one hell of a time for the rest of my life and send my two boys to college! Bland. (Over to Kennedy) Do you imagine we're going to stand by and let you get away with it? SEVEN KEYS TO BALDPATE 95 Kennedy. (Whips out his gun and backs upstage a trifle. All but Bland and Magee back away from him.) That's just what you're going to do, and I'm going to have my men keep you here all night until I get a damn good start! (Bland knocks the gun from the Chief's hand. Magee grabs his curms and pins them behind him. Bland gets a hold on his legs. Women scream, and run halfway upstairs.) Magee. I've got him ! Get that money ! Peters. (Rushes toward Kennedy, yelling) I'll get it ! I'll get it ! Kennedy. (Yelling from the time he is grabbed) Let me go, do you hear ! Let me go ! Peters. (Grabs money from. Chief's pocket) I've got it ! Cargan. (Starts for Peters) Give me that money ! Hayden. (Starts for Cargan and grabs him by the arm when the latter is c.) No, you don't, Car- gan ; that's my money. Magee. Don't let them get it, Peters ! Peters. Let them try to get it! (Bland and Magee release the Chief.) Now let me see you get it! (Throws money in fire, laughing viciously. All stare into fire, watching the money burn.) Watch the rotten stuff burn ! Magee. (Comes down c.) What have you done ! Bland. He's burned the money ! Cargan. A fortune ! Hayden. Good God! Kennedy. I'll have my men here and shoot you down like a pack of hounds ! (Starts up c. as two pistol shots are heard outside. Bland goes v., near women. Magee goes up r. ; Cargan to table l. Max goes r. Kennedy goes up toward door.) 96 SEVEN KEYS TO BALDPATE Magee. What's that? (All turn and start toward door.) Max. (Looks up on balcony and yells) Look, look ! (All look up on balcony as he points to Myra, who is walking from room to room eJ Peters. A ghost ! A real ghost ! (Mary screams and grabs Magee; Mrs. Rhodes screams and grabs Cargan ; Hayden crouches L. ; Bland jumps behind desk; Max huddles up in chair near fire; Peters is on his knees.) Max. Take her away ! I didn't mean to kill her ! Take her away ! Kennedy. (Yells) Let me out of this place ! It's a graveyard! (Starts for door. Door flies open and the Owner enters. All stare at him.) Hayden. (After a pause) The seventh key ! Bland. The seventh key ! (Mary runs to Mrs. Rhodes, r. Magee goes up center.) Kennedy. (To Owner) Who are you? Owner. (Standing at door) I'm the owner of Baldpate Inn. Two policemen refused to allow me to pass, and I shot them dead. (Magee comes down to c.) All. What! Magee. This isn't true ! It can't be true ! I'm a raving maniac ! Owner. (Comes downstage to s. of Magee) I just arrived, Billy. I motored from New York. I expected to find you alone. (Looks around at peo- ple, circles up R. and back to c.) Who are thesei pteoplfe? Htfwa*d they get in here? HaVett%ais- SEVEN KEYS TO BALDPATE 97 turbed you in your work? How are you getting on with the story ? Magee. How am I getting on? Great heavens! man, to what sort of a place did you send me? Noth- ing but crooks, murderers, ghosts^ pistol shots, po- licemen, and dead people walking about the halls. Hundreds of thousands of dollars, and keys and keys and keys! You win — I lose. Twenty-four hours ! Why, I couldn't write a book in twenty-four years in a place like this! My God, what a night this has been! (Owner starts laughing, then all join in, laughing and talking ad lib. Magee stands looking at them in utter amazement.) Owner. I'm not going to hold you to the wager, Billy. I just want you to know it isn't real. Magee. What isn't real? Mrs. Rhodes. (Steps toward Magee^ smiling) I'm not a real widow. (Crosses to foot of stairs. Mary comes down c. The Owner goes up to desk, laughing.) Caegan. (Comes to Magee) I'm not a real poli- tician. (Goes upstage.) Kennedy. (Down to Magee) I'm not a real policeman. (Backs upstage.) Peters. (Comes downstage to Magee) This isn't real hair. (Takes off wig and goes upstage s.) Hayden. (Goes to Magee c.) These are not real whiskers. (Takes off whiskers and goes up- stage L.j Bland. That wasn't real money that was burned. (Goes upstage R.j Max. (Over to Magee c.) These are not real handcuffs — see? (Breaks handcuffs and goes up' '98 SEVEN KEYS TO BALDPATE Myra. (Appears' on balcony k.) I'm not a real dead one. (Hearty laugh from all.) Magee. (To Mary, after looking around in amazement. Goes to her, -l.c.) Are you real? (Owner comes downstage to c.) Mary. Not a real newspaper reporter. Magee. I mean a real girl. Mary. (Smiles) That's for you to say. Magee. (Turns to Owner) Well, for heaven's sake, don't keep me in the dark. Explain, tell me what it all means. Owner. It means, old boy, that I wanted to prove to you how perfectly improbable and terrible those awful stories you've been writing would seem if such things really and truly happened. I left New York an hour ahead of you to-day. I got to Reu- ton at nine o'clock to-night ; went directly to the Em- pire Theatre; told the manager of our bet; framed the whole plan; engaged the entire stock company; hired half a dozen autos; shot over to Asquewan after the performance, and we arrived at the top of the mountain at exactly twelve o'clock. Since then you know what's happened. I've been watching the proceedings from the outside, and if it were not for the fact that I'm nearly frozen stiff, I'd call it a wonderful night. (All laugh heartily.) Magee. You did this to me? Owner. (Laughs) You're not mad, are you? Of course, if you want to go through with the bet, why Magee. No, thanks; the bet's off. I've had enough of Baldpate. Me for the Commercial House until the train is ready to start. (Over to Mary, L.c.) Is your real name Mary ? (She nods affirma- tively.) Well, Mary, the shots in the night, the chases after fortunes, and all the rest of the melo- SEVEN KEYS TO BALDPATE 99 drama may be all wrong, but will you help me prove to this man that there is really such a thing as love at first sight? (All show interest.) Mary. How can I do that? Magee. Don't you know? Mary. Well, you don't want me to say it, do you ? Magee. (Whispers in her ear — she nods affirma- tion) Now remember your promise, Mary. (Hearty laugh from all as he kisses her.) (Lights go out and black drop fails for about thirty seconds. End of Act II.) Epilogue (Curtain goes up again. Fire is out and lock re- placed on door. The stage is bare. Type- writer is heard clicking from room r. on bal- cony. The clock strikes twelve. Elijah Quim- BY is seen outside waving a lantern as he did in the first act. Mrs. Quimby appears, etc. Same business, except that instead of unlocking the door, he raps on it. When Magee enters from room R. and gets to c. of balcony, Quimby raps again. Magee comes out on balcony with hat and coat on, and carrying the suit and typewriter case and a manuscript under his arm. He stops on stairs, and as he hears Quimby's rap he comes down the stairs, puts the cases on the table L. and then goes up to door and unlocks it.) Magee. (As he opens door) Come right in, folks. You're right on time, I see. (Closes door and locks it.) Quimby. (Comes down R.c.J We've been out there ten minutes waiting for the clock to strike. Mrs. Quimby. (Comes down r.c.) Lord, I didn't think we'd find you alive ! 100 SEVEN KEYS TO BALDPATE Magee. (Comes down c.) The only difference between me and a real live one is that I'm tired, hungry and half dead. QuiMBY. (u of Mrs. Quimby) How'd you come out? Mrs. Quimby. Did you finish your book? Magee. (Handing Mrs. Quimby the manuscript) Allow me. Quimby. What do you think of that, Mother? Mrs. Quimby. Lord ! Wrote all that in twenty- four hours ! Magee. Just made it. Finished work a couple of minutes ago. Quimby. Were ytiu disturbed at all ? Magee. Never heard a sound. (Sits at table u) Mrs. Quimby. No ghosts? Magee. Nary a ghost, Mrs. Quimby, except those concealed in the manuscript. (Rises.) How about the Asquewan hotels? I'd like to get a bath and a bite to eat before I take that train. Quimby. There's the Commercial House. Magee. The Commercial House ! That's strange ! I guessed the name. Mrs. Quimby. How? Magee. I've got it in the story. Mrs. Quimby. (Aside to Quimby) What's he mean, Lije? Quimby. (Aside) Darned if I know. (To Ma- gee) The Missus has got a fine breakfast waiting for you up at our house. Mrs. Quimby. And a nice feather bed for you to take a nap in. The train don't go till five. Quimby. And the drummers all say the hotel's rotten. Magee. Lord, I'm tired ! (Sits at table u) Me for the breakfast and the feather bed. Some wild and woolly scenes have been enacted in this room sihtfe ybli Ifeft la;^ might, Mrs. Qftrtii%. SEVEN KEYS TO BALDPATE loi Mrs. Quimby. What happened? Magee. Nothing; realty— ^just in the story. Mrs. Quimby. What's he mean, Lije? Quimby. How do I know ? (Telephone rings. QuiMBYS start and look toward it.) Magee. (Goes to 'phone, stops busser, and then goes h.) There's Bentley — he's pretty near on time. Quimby. Will I talk to him? Magee. Of course. That's the idea, isn't it? Quimby. (Goes to 'phone — -Mrs. Quimby stands c, watching him) Hello 1 hello 1 Mr. Bentley. . . . Yes, sir, I've got it right here, sir. Two minutes ago, sir. . . . I'll have to find that out. Wait a minute. (To Magee) What's the name of the story? Magee. It's typewritten on the cover. Mrs. Quimby. (Holds up script and reads by light of lantern) "Seven Keys to Baldpate." Quimby. (In 'phone) "Seven Keys to Bald- pate." (To Magee) He's laughin'. (Pause, then to Magee) He says there's only one. (In 'phone) Hello! . . . What, sir? . . . Wait, I'll see. (To Magee) You want to talk to him? Magee. No. Yes, just a minute. (Goes to 'phone. QuiMBYS goes r.c. and stand listening.) Hello! hello! Hal. I'm going to collect that five thousand from you, old pal. . . . Yes, some title, isn't it? And, say, some story. Wild, terrible, hor- rible melodrama as usual, the kind of stufif you al- ways roast me about. Treated as a joke, however, this time. And say, Hal, listen ; I've got you in the story. . . . Yes, really. . . . Oh, I didn't mention your name or anything. . . . And, say, I'm in the story, too. . . . Oh, I'm the hero. . . . Say, Hal, this thing's going to sell over a million copies. . . . The what ? The critics ? (Lau^s.) I don't care a 102 SEVEN KEYS TO BALDPATE dam about the critics. This is tiie stuff the public wants. . . . Yes, I'll meet you at the Forty-fourth street club at two-thirty to-morrow. (Ad lib. as the curiam falls.) SLOW CURTAIN SET PROPERTIES (All Wicker Furmture.) 1. Hotel counter up r.c. to r. 2. Large practical safe back [of cownter, r. of c. 3. Register, ledger, etc., inside safe. 4. Practical telephone switchboard s. at end of coun- ter. 5- White sheet thrown over switchboard. 6. Letter and key boxes on scene back of counter. 7. Large armchair front of fireplace, r. 8. Wood-box with fire wood and three asbestos logs above fireplace, R. 9. Low stool above ipood-box, r. 10. Rack, with poker, tongs and shovel, below fire- place. 11. Gas firelog, andirons and fender. 12. Two chairs, stacked, front of counter, s.c. 13. Armchair r. of center door. 14. Armchair and plain chair, stacked, l. of c. door. 15. Round table, with chair on top of it, down l.c. 16. Two chairs, stacked, above and to l. of table. 17. Armchair below swinging doors, L.2. 18. Dust ■cloth on stair banister l. 19. Practical bracket lamp on pillar above fireplace, R. 20. Same above swinging doors, L.2. 21. Coils of fire hose, axes and extinguishers on scene R. and l. on balcony. 22. Keys in doors leading off balcony. 23. Practical typewriting machine off R.3E. above fireplace. 103 104 SEVEN KEYS TO BALDPATE 24. Small table and two plain chairs in room off bal- cony R. 25. Manuscript of story in room off balcony r. 26. Plain chair and bed linen in room off balcony L. 27. Wind machine off stage up l.c. 28. Blower off stage l. of c, near center door, ■z^. Bell chime off stage up l. 30. Table for hand props off stage L. HAND PROPERTIES Seven keys for center door for characters. One suitcase; one typewriting case; copy of agree- ment (long hand) and watch for Magee. One sure-fire revolver (under counter) for Magee. One package of money and one revolver for Bland. One revolver for Cargan. One sure-fire revolver for Max. One police whistle and one pai/r breah-aiway hand- cuffs for Kennedy. Pipe and tobacco; box of matches; flask of whiskey; key to linen closet; telegram; watch and lantern for QUIMBY. Lantern and sheet for Peters. Package of money in envelope for First Officer. Police whistle; two small swre-fre revolvers and blank cartridges for property man. Electric Calcium Plot Requirements Four blue floods, two r. and two l., on ceiling from fly gallery. One blue Olivette on back drop from L.4E. One red Olivette in fireplace, r.2E. Electric Light Plot Requirements One row vJhite fobtHghts on dimmer. SEVEN KEYS TO BALDPATE loS One white strip light on ceiling in one — on dimmer. Six bracket lights on pillars on dimmer, switch l. of c. door. One white bunch light on transparency — back drop L.SE. One single incandescent lamp in room on balcony up R. — Out. One single red incandescent lamp in fireplace. One single red incandescent lamp in fireplace flashed when money burns. Working Plot, Act I, Scene I At Rise: Blue floods on ceiling — stand through. Blue Olivette on back drop — stand through. White bunch light on transparency, back drop. Cues: I. When QuiMBY lights lamp — foots slightly up with lamp. 3. When QuiMBY puts log on fire, red glow from incandescent lamp in fireplace. 4. "Old John H. Seclusion himself (Magee), brackets and footlights full up together. 5. Magee snaps off brackets, foots down about one-half. Working Light Plot, Act I, Scene II At Rise: Floods, blue Olivette on drop and foots same as at fall. Bunch lights back of drop — Out. Red box light in fireplace. Cues: I. Magee snaps on brackets after ladies' en- trance. Foots full up with brackets. SEVEN KEYS TO BALDPATE 2. Magee snaps off brackets before Peters' en- trance. Foots one-half down with brack- ets. 3. Magee snaps on brackets after Myra's en- trance. Foots full up "with brackets. 4. Magee snaps off brackets after ladies go up- stairs. Foots one-half down with brack- ets. 5. Magee snaps on brackets after Magee shoots. Foots full up with brackets. N.B. — Lights stand until curtain. Act II At Rise: Lights sanme as at fall of curtain. Cues: 1. Cargan snaps off brackets after Myra is shot. Foots down one-half with brack- ets. 2. Kennedy snaps on brackets after his en- trance. Foots up full with brackets. 3. Magee kisses Mary. All lights out. N.B. — As soon as curtain is closed, put on white ceiling strip and put on foots one-third , up. Put on floods and box light and strip on back drop. At cue from stage man- ager, put out ceiling strip — stands through.