•352.1 
 
 L53/VB 
 13/6 r 
 
 ' i,n;;;Ai'T 
 
T5 
 
 CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 THB 
 
 ANNA S. GURLEY 
 
 MEMORIAL BOOK FUND 
 
 FOR THE PURCHASE OF BOOKS 
 IN THE FIELD OF THE DRAMA 
 
 THE GIFT OF 
 
 William F. E. Gurley 
 
 CLASS OF 1877 
 1935 
 
Cornell University Library 
 PS 3521.LS3M3 1916 
 
 Maggie Pepper.a play in tliree acts by Ch 
 
 3 1924 021 752 203 
 
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/cu31924021752203 
 
MAGGIE PEPPER 
 
 CHARLES KLEIN 
 
 FRENCHS STANDARD UBRARY EDITION 
 
 SAMUEL FRENCH, 28-30 West 38th St., Niw Ycrk 
 
MAGGIE PEPPER 
 
 A Play in Three AcU 
 
 CHARLES KLEIN 
 
 It 
 
 Oop;rIebt. 1916. by SAMOEL FBEMOH 
 
 ALL RIGHTS RESERVED, 
 
 CAUTION. — All persons are hereby warned that "Magoib 
 Pepper," being fully protected under the copyright 
 laws of the United States, is subject to royalty, and 
 anyone presenting the play -without the consent of the 
 owners or their authorized agents will be liable to the 
 penalties by law provided. Application for amateur 
 acting rights must be made to Samuel French, 28-30 
 West 38th Street, New York. Application for the 
 professional acting rights must be made to the Auebi- 
 OAN Plat Company, 33 West 42nd Street, New York. 
 
 NEW YORK 
 
 SAMUEL FRENCH 
 
 PUBLISHER 
 
 1.30 WEST 38TH STREET 
 
 LONDON 
 
 SAMUEL FRENCH. Ltd.. 
 
 26 SOUTHAMPTON STKEET 
 
 STRAND 
 

 '-^ 
 ■^•V 
 
 AUj'^-d^ 
 
 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. 
 
 In its present form this play is dedicated to the reading 
 public only, and no performance of it may be given except 
 by special arrangement with Samuel French, 28-30 West 38th 
 Street, New York. 
 
 Section 28— That any person who wilfully or for profit 
 shall infringe any copyright secured by this act, or who shall 
 knowingly and wilfully aid Or abet such infringement shall 
 be deemed guilty of a, misdemeanor, and upon conviction 
 thereof shall be punished by imprisonment for not exceeding 
 one year, or by a fine of not less than one hundred nor more 
 than one thousand dollars, or both, in the discretion of the 
 court. 
 
 Act of March 4, 1909, 
 
MAGGIE PEPPER 
 
 CHARACTERS. 
 
 ORIGINAL cast: 
 
 Maggie Pepper Rose Stahl 
 
 Zaza Beatrice Prentice 
 
 Mrs. Thatcher Eleanor Lawson 
 
 Miss Hattie Murphy Agnes Mark 
 
 Model A. and Saleslady Jeanette Norton 
 
 Model B. and Stockgirl May Moloney 
 
 Ethel Hargen Grace Carlyle 
 
 Ada Darkin Beverly Sit greaves 
 
 Johanna, a cook Marie Hudson 
 
 John Hargen Grant Stewart 
 
 Joe Holbrook Frederic Truesdale 
 
 Murchison Herbert Ayling 
 
 Johnson Lawrence Eddinger 
 
 Jake Rothschilds Lee Kohlmar 
 
 Detective Bailey Harry McLain 
 
 Elevator Boy Stewart Robson 
 
 Expressman Alfred Goldberg 
 
 Jim Darkin J. H. Benrimo 
 
MAGGIE PEPPER 
 
 Act I : — Setting according to diagram. 
 
 Scene : — -As curtain rises, a girl enters r. 2, bringing 
 in a number of garments to long table e. where 
 Miss Murphy is behind long table. She oc- 
 casionally places them in cases. After a few 
 moments, enter Jake Rothschilds from 
 elevator l., carrying a jobber's case. 
 
 Miss Murphy. Is this the new stock? {Busi- 
 ness zvith one of the dresses') 
 
 Girl. Yes 
 
 Miss Murphy. This stuff is as new as a cold- 
 storage egg 
 
 Girl. Just about. {Exits d. r. 2) 
 
 Jake. Good-morning. — Miss Pepper ? 
 
 Miss Murphy. Busy 
 
 Jake. I wait. (About to sit on table, e. of desk) 
 
 Miss Murphy. Not here — (He rises) no drum- 
 mers allowed in the stock-room after ten o'clock — — 
 
 Jake. Don't you know the difference between a 
 drummer, and a jobber and importer? 
 
 Miss Murphy. Yes — a drummer has nerve, but 
 a jobber has the gall of a mule. 
 
 Jake. That's a very unpleasant similarity — 
 (Crosses to table with case) I hear the suit-buyer 
 has left — (She writes in book — Pause — no answer) 
 Does Miss Pepper get the vacancy? 
 
 Miss Murphy. That's Miss Pepper's business. 
 
 Jake. Can you use a couple of tickets for thg 
 theater? (He offers her tickets) 
 
 3 
 
4 MAGGIE PEPPER. 
 
 (Business — she looks at them without changing her 
 position.) 
 
 Miss Murphy. Fade away with those passes, 
 will you ? — I had six of 'em last week — and the 
 show was rotten. 
 
 Jake. Veil, don't get huffy '— 
 
 Miss Murphy. Sir! (Puts skirt in upper case) 
 
 Jake. (Business — looks at stock-cases) No 
 wonder Holbrook & Company loses money here — 
 they buy the most rubbishiest stock — (Business look- 
 ing at coat on table) I don't want to knock any- 
 body else's goods, but who sold you this truck? — 
 It looks like Hermann Shimka 
 
 Miss Murphy. (Coming back to table) You'd 
 better not let Mr. Hargen see you here — or you'll 
 go downstairs by the window route 
 
 Jak3. Hargen? (Business examining collar) 
 Dot's Shimka all right — look at the collar, ha ! 
 
 (Enter a cloak model through elevator door. She 
 is a fine, handsome girl, and wears cloak.) 
 
 Model. (Crosses r. to upper end of table) This 
 goes to the repairing-room — It ripped in the back 
 when I was trying it on — The jobber ought to be 
 arrested. 
 
 Jake. (Sotto voce) Arrested — That sounds like 
 Shimka — (Looks at cloak collar) By golly, it is 
 Shimka — ha-ha^ 
 
 Model. (Haughtily) I beg your pardon? 
 
 Jake, Oh, it's all right — I'm a friend of Miss 
 Murphy 
 
 Miss Murphy. Friend? — Two passes for a 
 bum show don't constitute friendship, Mr. Roths- 
 childs 
 
 Jake. I'll bring a box for the opera next time — 
 (He takes jobber's case, and retires up c.) 
 
MAGGIE PEPPER. 5 
 
 (Business — They take no further notice of him.) 
 
 Model. Say, did you hear that young Mr. Hol- 
 brook had come back from Europe ? 
 
 Miss Murphy. Is that so! 
 
 Model. He's a bit of a sport, I hear — (Elevator- 
 door opens) 
 
 Jake. A bit ! — By golly, he ran through a million 
 in less than a year 
 
 (Enter Mrs. Thatcher, through elevator-door. 
 She is a sharp, clever-looking woman about 
 thirty -five years of age.) 
 
 Mrs. Thatcher. Where is Miss Pepper? 
 (Model starts to go up c. To Model) Miss, 
 whenever that woman you waited on Just now 
 comes in again let me know. Wait a moment, 
 elevator — (Hattie beckons to girl in room L. She 
 comes to Hattie, who gives her cloak. She exits 
 with it into room, L.) 
 
 Model. Why ? 
 
 Mrs. Thatcher. Well — ^let me know 
 
 Model. Don't say she isn't all right ? 
 
 Mrs. Thatcher, (r. c.) Miss Kelby, I'm paid 
 to know who's all right, and who isn't. I know the 
 woman — ^that's enough. Go over your stock and 
 see if anything is missing — (Passes Model and goes 
 to L. of her) if there is — report to me r- 
 
 MoDEL. For heaven's sake! Why, she looked 
 like an — an uptown swell — ^a clergyman's daugh- 
 ter 
 
 Mrs. Thatcher. Well, I caught her with the 
 goods twice when I was at Altman's. If she turns 
 up again, let me know — (Goes to desk L., and sits on 
 back of it) 
 
 Model. Well, for the love of — ^heaven — with 
 them baby eyes — ! (Exits through elevator-door — : 
 
6 MAGGIE PEPPER. 
 
 Comes from room l. with two skirts, hangs them 
 in upper case, exits in room v., comes out with cloak, 
 exits c.) 
 
 Jake. Mrs. Thatcher— this is a pleasure— ( 
 {Down R. of desk) 
 
 Mrs. Thatcher. Indeed! 
 
 Jake. Don't you remember me? — I'm a friend 
 of Miss Pepper's — Jake Rothschilds — of Roths- 
 childs, Doblin & Company — Importers, Jobbers 
 and — and — {Offers his card) 
 
 Mrs. Thatcher. And chronic bankrupts 
 
 Jake. Excuse me — we got our discharge — we're 
 now as solvent as Pierpont Morgan & Company. 
 Say — ^here's two tickets for the — (Business — Mrs. 
 Thatcher gives him a freezing glance) No — don't 
 like the theater, eh? — Well, how is the greatest 
 lady-detective in the United States? — Say — is Miss 
 Pepper going to get the suit department? 
 
 Mrs. Thatcher. I though she was a friend of 
 yours ? 
 
 Jake. Certainly 
 
 Mrs. Thatcher. Then ask her 
 
 Jake. Say, Mrs. Thatcher — this is confidential. 
 Is it true that Holbrook & Company is on the blink ? 
 
 Mrs. Thatcher. On the what? {Gives him a 
 sharp glance) 
 
 Jake. There is some talk about insolvency — I 
 hear that business is something awful — It ain't 
 true — no — of course not — eh ? Only rumor — what ? 
 
 Mrs. Thatcher. Good-morning, Mr. Roths- 
 childs — {Crosses to table) 
 
 Jake. {Follows her) I've got a line of real 
 French Parisian goods what won't wear out '- 
 
 Mrs. Thatcher. You've got a line of talk that 
 won't wear out. {To Miss Murphy) Tell Miss 
 Pepper to see me before she goes to-night 
 
 Miss Murphy, Yes, ma'am. 
 
MAGGIE PEPPER. 7 
 
 (Mrs. Thatcher goes out, up c.) 
 
 Jake. A smart woman — By golly, what a 
 brain — It ain't natural so much brains in a wo- 
 man — {Elevator-door opens) 
 
 (Enter John Hargen by elevator door, followed 
 by Ethel. Hargen goes to l. of desk — Puts 
 papers on desk. Ethel stands up l. c.) 
 
 Jake. Good-morning, Mr.' Hargen — (Comes 
 down l. c.) 
 
 Hargen. Whfit are you doing in the stock-room ? 
 
 Jake. I'm a friend of Mrs. Thatcher — I heard 
 that the old buyer left, and I — I called to see the 
 new buyer about some goods. 
 
 Hargen. Well ? 
 
 Jake. Miss Pepper is a friend of mine — I 
 thought perhaps she — she 
 
 Hargen. Miss Pepper is not the new buyer. 
 Good-mojrning, sir ' 
 
 Jake. (In elevator — Is about to speak, when 
 Hargen frowns at him. Jake gets into elevator. 
 Hargen goes to r.) I've got a complete line of im- 
 ported goods — a tremendous bargain — no discards — 
 all A I — none of your Shimka seconds 
 
 Hargen. Good-morning, sir — (Up-stage) 
 
 Jake. This is a wonderful opportunity — some- 
 thing simply wonderful — Wait a minute — (Boy 
 closes door. Business — the elevator starts and 
 carries him away while he is talking) 
 
 Hargen. Where's Miss Pepper? 
 
 Miss Murphy. In the suit department, I think, 
 sir 
 
 Hargen. Tell her I want to see her— < 
 
 Miss Murphy. Yes sir — {Exits c.) 
 
 Hargen. Where's Joseph ? Tell him I am wait- 
 ing. (Goes up r., and looks at cases) 
 
8 MAGGIE PEf PER. 
 
 Ethel. I left him talking to one of the sales- 
 ladies in the jewelry department. He seems to have 
 a positive mania for making an impression on every 
 girl in the establishment. {Goes down to desk) 
 He says he wants to learn the business from the 
 ground up, but that form of education will cease- 
 after our marriage. I'm so tired! (Business — sits 
 L. c. at desk) We've been walking around the place 
 for over an hour — ^Joseph Holbrook hasn't seen his 
 store for five years ! I suppose he'll make a great 
 many changes in the place ? 
 
 Hargen. (r., lower end of table, then up r.) 
 He will have absolutely nothing to say here — ^After 
 the death of his father, I managed this business for 
 his mother — and now she is dead, I'll manage it for 
 him — and it needs a great deal of management. His 
 extravagance has nearly ruined us — (Crosses from 
 upper end of table) 
 
 Ethel. Extravagant — selfish — lazy — fine pros- 
 pect for a happy marriage 
 
 Hargen. Well, he was your own choice 
 
 Ethel. Oh, I like him well enough — He's good- 
 looking, generous — and very interesting — and I 
 think he's beginning to be ambitious. He says he 
 has taken so much money out of the concern — it's 
 time he put some brains into it — ^by way of restoring 
 the balance. 
 
 (Elevator-door opens.) 
 
 Hargen. We have a surplus of brains now—* 
 (Crosses c.) 
 
 (Enter Murchison from elevator. He is an old 
 man, dressed like a young one; crosses l. c. 
 with bank-book and three notes in hand.) 
 
 Ethel. (Rises and goes to elevator) I'm going 
 to the suit department— If he comes, tell him where 
 
MAGGIE PEPPER. 9 
 
 I am — (Business — exits into elevator, door closes) 
 
 Hargen. Well 
 
 MuRCHisoN. It's no mistake, sir — ^the bank re- 
 fuses to discount any more of our paper. Thp 
 Second National's Vice-President told me person- 
 ally they can't advance any more money to Hol- 
 brook & Company until the old notes are paid 
 
 Hargen. The Second National? 
 
 MuRCHisoN. Yes, sir 
 
 Hargen. I told you distinctly the Third National 
 Bank. Mr. Murchison, you're getting more stupid 
 every day 
 
 Murchison. I beg your pardon, I — the Third — 
 I thought you said the Second — Very sorry, sir 
 
 Hargen. Is it true that you've engaged yourself 
 to marry one of the young women in this establish- 
 ment ? 
 
 Murchison. Yes, sir — I've been a bachelor for 
 sixty-three years, and I thought it time to — to 
 
 Hargen. To make a fool of yourself. 
 
 Murchison. No, sir — She — she's a very prac- 
 tical girl. I'm all alone in the world — and — I've 
 some money saved — besides it's a man's duty to get 
 married — his duty — to posterity 
 
 Hargen. Well — don't neglect your duties here — 
 Go to the Third National at once and see the Presi- 
 dent himself — not the Cashier, you understand 
 
 Murchison. Yes, sir. 
 
 Hargen. Another mistake like that and I'll ask 
 you for your resignation. You're getting untrust- 
 worthy 
 
 Murchison. Not untrustworthy, sir — just a 
 little remiss. My wedding takes place to-morrow, 
 and — it's quite a new undertaking for me — The 
 Third National — I won't forget, sir — (Starts for 
 elevator-^-Elevator door opens and enter Joe) 
 
 Joe. Hullo, Murchison — (Business) How are 
 you? 
 
10 MAGGIE PEPPER. 
 
 MuRCHisoN. {Shakes his head) How do you do, 
 sir? {Tries to go) 
 
 Joe. I'm Joe, Junior — don't you remember ? 
 
 MuRCHisoN. (Joe passes him and goes to eleva- 
 tor) Oh — Mr. Holbrook — Welcome back from 
 Europe, sir — You look so — so foreign-like, I — didn't 
 recognize you — Excuse me, sir — to-morrow, to- 
 morrow! {Business — bows and exits into elevator, 
 the door of which shuts) 
 
 Joe. (l. c.) What department is this? You've 
 made so many alterations since I've been away 
 
 Hargen. (r. c.) This is the stock-room. Ethel 
 is waiting for you in the suit department 
 
 Joe. Yes 
 
 Hargen. She wanted the pleasure of showing 
 you around. 
 
 Joe. {Going down to desk) Don't want to be 
 shown around, Hargen. Want to find my own 
 way— investigate for myself— learn all the details 
 from the very basement. {Sits on desk.) The man 
 of pleasure is now the man of business. Hence- 
 forth I make money instead of spending it — Joe 
 Holbrook of Paris is now Joseph Holbrook of New 
 York, and he attends strictly to business. By the 
 way, what a homely lot of women you have in this 
 place — with the exception of one little girl in the 
 jewelry department. There isn't a face 
 
 Hargen. (c.) You must remember your en- 
 gagement to my niece, Mr. Holbrook 
 
 Joe. Well? 
 
 Hargen. Well, you shouldn't notice 
 
 Joe. Oh, nonsense — can't help noticing. The ab- 
 sence of beauty creates a vacuum for me, and my 
 aesthetic sense is offended. 
 
 Hargen. Your business sense will be offended 
 when you find that Holbrook & Company's stock 
 won't fetch a dollar in the market. 
 
 Joe. Don't want to sell it 
 
MAGGIE PEPPER. n 
 
 Hargen. Business is very bad — very bad in- 
 deed — and we may be compelled 
 
 Joe. It will get better. I'll restore the business 
 to its former flourishing condition — ^you'll see — 
 (Rises) 
 
 Hargen. How ? 
 
 Joe. I haven't the remotest idea yet — but I know 
 this — if I put the same energy into work that I did 
 into pleasure — something ought to come of it 
 
 (Elevator-door opens. Enter Murchison from 
 elevator. The door closes.) 
 
 Hargen. I hope so — In the meantime the busi- 
 ness will continue under my direction 
 
 Joe. Of course — of course — to a certain extent — 
 I'll go and find Ethel — In the suit department, you 
 said? — That's on the fourth floor? (Goes up c.) 
 
 Hargen. Yes 
 
 Joe. I'm learning the business 
 
 (Exit Joe door c. — Hattie enters r. 2 e. and stands 
 behind table.) 
 
 Murchison. (Coming down c.) The Secretary 
 of the Third National will come and see you him- 
 self 
 
 Hargen. The Secretary! He knows noth- 
 ing about our credits — I told you the President. 
 
 (Elevator-door opens.) 
 Murchison. You said Secretary, sir, I'm posi- 
 tive. (Retires up l. c.) 
 
 (Enter Ethel, from elevator.) 
 
 Ethel. Uncle, Uncle, — this woman ought to be 
 dismissed for stupidity and impertinence. Not only 
 
12 MAGGIE PEPPER. 
 
 does she fail to carry out my instructions, but she is 
 impertinent into the bargain. 
 
 (Enter Maggie Pepper with two gowns on her 
 arm. She is worn out, tired, and angry — 
 though she controls her anger. She goes down 
 to L. of desk.) 
 
 Maggie. I'm not impertinent, Miss, What you 
 ask is impossible. It's the buyer's fault. 
 
 Ethel, (l. c.) It isn't her stupidity I object to 
 so much as her manner — so — so — (Business) 
 
 Maggie. Well, Miss, trying to sell old goods for 
 new — isn't calculated to improve anyone's manners ! 
 The public is on to it, and I know it and I feel un- 
 comfortable. 
 
 Hargen. It is your business to sell goods — not 
 to criticize them — (Business of referring to letter 
 in his hand) And, Miss Pepper, please do not send 
 me any more letters suggestin'g how these stores 
 should be run. As to your application for the posi- 
 tion of buyer — recently vacated by Mrs. Taylor — 
 I may say the position is already taken — (Turns 
 away) 
 
 Maggie. I've worked fifteen years for Holbrook 
 & Company — and I thought I was entitled to — 
 to 
 
 Hargen. Entitled ? 
 
 Maggie. I've worked my way up from cash- 
 girl — stock-girl — ^been sales-woman in every dapart- 
 ment — ^been at it since I was that high — (Business. 
 Ethel gives her a look of contempt) and I thought 
 that being Mrs. Taylor's assistant so long 
 
 Ethel. Is that the position my dressmaker is 
 considering ? 
 
 Hargen. Yes 
 
 Maggie. It's no place for a dressmaker. Miss. 
 They don't understand the game — It's as tricky as 
 horse-trading — I know all the jobbers — and I'm 
 
MAGGIE PEPPER. 13 
 
 dead on to their little ways — straight or crooked. 
 Give me a chance, Mr. Hargen, — I'll make good — 
 Give me the chance, sir, will you ? 
 Hargen. It's impossible- 
 
 Maggie. Thank you, sir- 
 
 Haegen. If you're not satisfied with your posi- 
 tion, Miss Pepper, we're prepared to receive your 
 resignation 
 
 Maggie. Perfectly satisfied, sir — delighted. 
 (Ethel goes to elevator. To Ethel) I'll go over 
 the stock again. Miss, and see if I can find what 
 you want , 
 
 Ethel. Thank you — I shan't trouble you 
 again — {Exits into elevator) 
 
 Hargen. {Crosses to elevator) You will attend 
 to Mrs. Taylor's work until the new buyer comes 
 in 
 
 (Ethel and Hargen exit into elevator. The door 
 closes.) 
 
 Miss Murphy. It's too bad, old girl. (Maggie 
 puts gown's on chair, up l. c.) I'm awfully sorry. 
 
 Maggie. Sorry? What for? {Comes down to 
 desk) 
 
 Murchison. That you didn't get the — vacancy — • 
 {Rings elevator bell and comes down l. of desk) 
 
 Maggie. Didn't want it 
 
 Miss Murphy. Never mind — the less responsi- 
 bility — the less worry 
 
 Maggie. And the less pay 
 
 Murchison. You've worked hard for fifteen 
 years, and you deserve 
 
 Maggie. Now stop this sympathy-meeting, will 
 you? — I've got work to do — {Sits behind desk. 
 Business of writing numbers on tags) 
 
 Murchison.' Good-bye — {Takes her hand) 
 You're a sport, my dear — ^ 
 
14 MAGGIE PEPPER. 
 
 Maggie. So are you — ^You're taking a long 
 chance on that marriage of yours 
 
 MuRCHisoN. Who told you? 
 
 Maggie. She did — Imogene 
 
 MuRCHisoN. What do you think? 
 
 Maggie. You're going to marry her, aren't you ? 
 (MuRCHisoN nods) Then what's the use of think- 
 ing? That name of Imogene doesn't inspire me 
 with coniidence 
 
 MuRCHisoN. Will you wish me luck ? 
 
 Maggie. Yes, and lots of it. 
 
 MuRCHisoN. Thank you, my dear, thank you. 
 {Elevator-door opens, Murchison gets into eleva- 
 tor and exits') 
 
 Maggie. God knows he needs it — (Business 
 — sits as if thoroughly disheartened) We all need 
 it — ^your humble servant, in particular. {Bangs on 
 desk) All the swelling's gone out of my head — It's 
 back to the counter for mine — for the rest of my 
 days. Hattie, you helped me move into my new 
 flat 
 
 Miss Murphy. Yes- 
 
 Maggie. Well — ^now you can help me move 
 back 
 
 Miss Murphy. Why — don't you like it ? 
 
 Maggie. Can't afford it — (Writes at desk) 
 
 Miss Murphy. Why don't you get married? 
 
 Maggie. No, thank you ; the privilege of handing 
 my envelope to some fellow every Saturday night 
 doesn't appeal to me — I want to make my own way 
 without being hampered with a masculine expense- 
 account. (Pensively) Make my own way but 
 
 where to? I lack education, Hattie, that's what's 
 the matter with me — and that's what's the matter 
 with you — with most of us 
 
 Miss Murphy. Education? What is there I 
 don't know that them pin-head women who comes 
 here to buy, do know? 
 
 Maggie. Almost everything — We're jokes and 
 
MAGGIE PEPPER. 15 
 
 we don't know it, Hattie. (Laughs) The clock 
 has struck twelve for me ; it's drudgery for mine for 
 the rest of my life — drudgery — drudgery — drudgery 
 — and with these few remarks we'll consider the 
 incident closed. (Bangs desk shut. Enter Joe from 
 stock-room c, smoking a cigar. The two women 
 work in silence for a moment — then Maggie be- 
 comes conscious that someone is watching her. 
 She turns and sees Joe puffing) No drummers 
 allowed in the stock-room after 11 o'clock — and 
 kindly escort that cigar out to the sidewalk, will you ? 
 
 Joe. Why ? Don't you like smoke ? 
 
 Maggie. It isn't what I like — it's against the 
 fire-department rules — and we can't sell goods that 
 reek of tobacco smoke 
 
 Joe. Oh! {Puts cigar in fire-bucket, up L. c.) 
 Are you the head of this department ? 
 
 Maggie. This isn't a department. 
 
 Joe. Oh — ^you see, I'm trying to learn the dry- 
 goods business 
 
 Maggie. Well, the first thing you learn is not to 
 talk to people who have work to do 
 
 Joe. Oh! (Pause) Do you like your work? 
 
 Maggie. (Goes on writing) Love it 
 
 Joe. You're what they call a buyer, aren't you ? 
 
 Maggie. (Turns round — looks at him and 
 smiles) Are you a reporter? 
 
 Joe. No 
 
 Maggie. Well, what's your line? 
 
 Joe. I haven't one — I'm looking around 
 
 Maggie. For a position ? 
 
 Joe. Not exactly — (Laughs) Why, would you 
 give me one? (Enters into the spirit of the situa- 
 tion) I ought to make a good floor-walker — don't 
 you think so ? 
 
 Maggie. Perhaps. 
 
 Joe. What do you think I'm good for? 
 
 Maggie. Conversation. 
 
 Joe. I mean here — in this house — t-t 
 
i6 MAGGIE PEPPER. 
 
 Maggie. {Looks him over) Tie and glove de- 
 partment — agents' furnishings 
 
 Joe. How much a week will you give me? 
 (^Puts foot on stool, E. of desk) 
 
 Maggie. You'll have to see Mr. Hargen — ^this 
 isn't the place to apply — and let me give you a piece 
 of advice, young man, drop that conversation habit 
 during business hours — or you won't even get a 
 chance to sweep out the place. (Looks at him a 
 few moments, then shakes her, head) What a pity 
 — what a pity 
 
 Joe. What's a pity? 
 
 Maggie. Oh, never mind ! 
 
 Joe. Yes — tell me 
 
 Maggie. Why waste your life in this business? 
 You slave from morning to night — you put your 
 whole heart and soul into your work and some fine 
 day — after years of drudgery — you find yourself al- 
 most where you started — you've been going round in 
 a circle. No progress — no future — you're just the 
 rank and file. If you've got any brains, don't stay 
 here ; go somewhere where you'll have a chance to 
 use them 
 
 Joe. I don't think I'm over-burdened with 
 brains 
 
 Maggie. Well — ^perhaps this business will suit 
 you, all right. 
 
 Joe. Can't you get any higher than you are now ? 
 
 Maggie. It seems not — Good-bye — I've got 
 work to do. 
 
 Joe. It's very good of you to honor me with your 
 
 confidence — and I appreciate it very much 
 
 {Crosses c.) 
 
 Maggie. It's very foolish of me to talk to a 
 stranger— I'm not myself at all — it's taken the heart 
 out of me — (Sighs) Well — let me know if you get 
 the job — Good-bye. 
 
 Joe. (^Crosses to her) What takes the heart out 
 of you ? 
 
MAGGIE PEPPER. 17 
 
 Maggie. Disappointment- 
 
 JoE. What disappointment? • 
 
 Maggie. Oh, it's nothing — nothing — it's all in the 
 day's work. Now you see it and now you don't — 
 You're up one day and down the next — I'm down 
 
 to-day — that's all 
 
 Jqe. Won't you tell me what takes the heart out 
 of you? {Sits on stool, e. of desk) 
 Maggie. No — why should I ? 
 Joe. I'm interested. 
 
 Maggie. Are you ? Well — our buyer here left this 
 morning — I've been her assistant. I think I ought 
 to get the vacancy — and the manager thinks other- 
 wise. It seems a little hard after fifteen years to be 
 told, " Here's where you stop the rest of your life ! " 
 Joe. Fifteen years! 
 
 Maggie. Yep — I started as cash-girl. I'm 
 twenty-seven — Respectable middle-age, eh? That's 
 why I can talk to you like a mother. 
 
 Joe. Twenty-seven is a sensible age — {Puts his 
 hand on her arm) 
 
 Maggie. {Takes his hand away) It may be 
 
 sensible, but it's not romantic. Good-morning- 
 
 Joe. Fifteen years ? 
 
 Maggie. {Looking at him) I'd like to help 
 you. Cut out that cane — {Business) That hat 
 won't do at all. That's an awful thing to go round 
 looking for work in. {Shakes head) Had any ex- 
 perience ? 
 
 Joe. No 
 
 Maggie. Well, don't tell 'em so — You've bought 
 ties and socks, haven't you? {Business) Well — 
 now — sell them — ^it's just the other side of the 
 counter, that's all; drop in here now and then — 
 Praise the goods instead of knocking them, and 
 drop in and I'll give you a few tips. (Joe laughs) 
 And for heaven's sake dispose of that laugh. Check 
 
 it somewhere — get rid of it 
 
 Joe. You know, you're frightfully interesting — 
 
i8 MAGGIE PEPPER. 
 
 Maggie. Frightfully interesting! Say, don't 
 spring any of that London stuff on Hargen. It 
 will queer you 
 
 Joe. You don't like Mr. Hargen ; 
 
 Maggie. I'm not madly infatuated with him — oh 
 — he's all right, but he's surrounded with a yes- 
 yes chorus, that make him believe everything he 
 says and does is right. 
 
 Joe. (Laughs) What's your name? 
 
 Maggie. Maggie Pepper — now don't say that's a 
 hot name — everybody does that. When I first came 
 here they called me Green Pepper — The day after I 
 sassed Hargen it was Red Pepper, from that out — 
 
 Joe. Miss Pepper — if you got this — er — vacancy 
 ■ — what would you do — ? 
 
 Maggie. What would I do ? I'd turn things up- 
 side down — ^We're overstocked — we sell old goods — 
 and we don't advertise as we ought — We're behind 
 the times — It's old mildewed methods that are ruin- 
 ing Holbrook & Company — Why it's like a morgue 
 here — We ought to have music — life — ^gayety — I've 
 got an idea for an escalator to go all round the store 
 — ^you know how tired fat women get, chasing dif- 
 ferent departments — Well, I'd — but what's the use 
 of talking — ? 
 
 Joe. Go on — What else would you do? 
 
 Maggie. I'd sell all these old goods at auction — 
 give 'em away if necessary — re-stock — latest and 
 best from Paris — get a bunch of beautiful girls to 
 show 'em off — I'd advertise like a circus — Why, our 
 announcements are a joke — ^the girls at McCreery's 
 call us The Old Curiosity Shop 
 
 Joe. I'd like to have a long talk with you. Miss 
 Pepper — What time do you go to lunch ? 
 
 Maggie. I don't go— I eat here 
 
 Joe. Well, try and 
 
 Maggie. Cut out that lunch racket — ^they all try 
 it, but it doesn't work 
 
MAGGIE PEPPER. 19 
 
 Joe. But I want to talk to you again — and I want 
 yoii to talk to me 
 
 Maggie. A dressmaker — ^ha-ha! Well, you'll 
 find me here till the new buyer comes — Then I go 
 (Elevator door opens) back to the suit department 
 — What's your name ? 
 
 Ethel. Oh — {At elevator) this is where you've 
 been all this time — (Pause) and I've been waiting — 
 
 Joe. I'm sorry, Ethel, but I — I've been very well 
 occupied — very well occupied 
 
 Ethel. Yes — I've no doubt — (Gets into eleva- 
 tor with a rather forced laugh) 
 
 Joe. (Handing Maggie card) I'll see you again, 
 Miss Pepper — Good-bye for the present, and thank 
 you very much — ( Ushers Ethel into elevator — they 
 exit and door closes) 
 
 Maggie. (Reads card) Joseph Holbrook — Well 
 — what do you think of that ! (To Miss Murphy) 
 Joseph Holbrook — (Miss Murphy gives long 
 whistle) Did I say anything that — ? 
 
 Miss Murphy. Did you say anything — ^My 
 Gawd, Maggie Pepper, I thought } ou'd never stop ! 
 
 Maggie. Did I — ? Let me see — I knocked 
 Hargen — I knocked Holbrook & Company — ^their 
 methods — their stock — ^^I — didn't leave a button on 
 their vest — You know, he held me — simply made me 
 talk — There was something about him that — Well, 
 that's my finish — He'll just about go down and tell 
 Hargen, and I — I can hear them making out my 
 absence papers 
 
 Miss Murphy. No — he won't give you away — 
 he's a sport ! (Hangs up skirt) 
 
 Maggie. Joseph Holbrook — I knew he wasn't a 
 floor-walker — Time and money may make a gentle- 
 man, but floor-walkers are to the manner born — 
 (Suddenly, with a little anger) What do you sup- 
 pose he meant when he spoke about lunch ? 
 
 Miss Murphy. Oh — just stringing you along — ■ 
 It's time to eat anyhow ; 
 
20 MAGGIE PEPPER. 
 
 {Gong strikes off-stage; girls enter R. 2 and exit 6.)' 
 
 Maggie. {Takes out lunch, and says, vacantly, 
 from desk) Stringing me along 
 
 Miss Murphy. That's it — {Takes apple and 
 sandwich out of bag) 
 
 Maggie. I guess so — {Her manner is pre- 
 occupied) 
 
 Maggie. I knew Joseph Holbrook wasn't a floor- 
 walker 
 
 Miss Murphy. {Gulping down food and cross- 
 ing to Maggie) What have you got against floor- 
 walkers ? Billy Jackson is a kind of a nice fellow — 
 
 Maggie. Yes — a kind of a nice fellow to look at 
 but — ^not the kind — {Pause) I nearly fired him out 
 of the place, didn't I ? 
 
 Miss Murphy. Who ? Billy ? {Sits on stool, r. 
 of desk) 
 
 Maggie. No — Mr. Holbrook — I can't eat any 
 lunch — it's no use — My appetite has flew 
 
 Miss Murphy. {Edges over — looks into lunch 
 box) What you got? 
 
 Maggie. {Listlessly) Don't know 
 
 Miss Murphy. I'll take a chance — {Business — 
 takes cream-puff out of box and eats it hwngrily) 
 
 Maggie. He must have thought I was — Do you 
 suppose he took me seriously ? {Business) I think 
 he might have let me know, though — don't you — ? 
 {Business) What's the matter with me? I'm all 
 up in the air — can't get down — {Elevator-door 
 opens) 
 
 {Enter Jake from elevator.) 
 
 Miss Murphy. See who has arrived ! 
 
 Jake. {Comes h. of desk) Well — Show's the new 
 buyer ? 
 
 Maggie. Talk to him, Hattie — I haven't the 
 heart — {Business with papers) 
 
MAGGIE PEPPER. 21 
 
 Miss Murphy. Get out — (Points to elevator — 
 Then erases r. and gets behind table) 
 
 Jake. She said, talk to me-r-not insult me — 
 "Vassist los?" 
 
 Maggie. You'll have to see the new buyer, Mr. 
 Rothschilds. She's a dressmaker. 
 
 Jake. {Whistles) Oh — I see — ^you wasn't 
 elected 
 
 Maggie. No, I lost by one vote — the manager's — 
 
 Jake. (Coming close to her) Never mind, we 
 can always do a little business on the side — You can 
 make a few hundred in commissions 
 
 Maggie. Jake— I'll take my commission from the 
 house I work for — I want to give them a chance to 
 make a little profit, too 
 
 Jake. That's the trouble with women — ^they mix 
 business up with sentiments — ^then they cut the busi- 
 ness out, and there's nothing but sentiment left — 
 consequence : nothing doing — Hush ! Listen ! This 
 is all profit — the chance of a life-time — (Takes out 
 pocketbook) 100 real Paquin models 
 
 Maggie. Mr. Rothschilds — ^you're on a busy 
 wire — will you please hang up the receiver — ? 
 
 Jake. I'd like to hang up all the receivers by their 
 toes — especially the one who was appointed to our 
 last failure — he didn't leave enough to buy an even- 
 ing paper — -(Elevator door opens) 
 
 (Enter Mrs. Thatcher from elevator.) 
 
 Mrs. Thatcher. Maggie, I want to see you a 
 moment 
 
 Maggie. Certainly 
 
 Mrs. Thatcher. Alone — (Looks at Jake, and 
 turns up c.) 
 
 Maggie. Alone— (Mo^'omj Miss Murphy to 
 
 leave. Miss Murphy exits c. Maggie looks at 
 
 IJake) Alone — You mean without anyone being 
 
22 MAGGIE PEPPER. 
 
 present— (Pause) Good-bye, Mr. Rothschilds — 
 sorry you have to go 
 
 Jake. Is that a hint ? 
 
 Maggie. No— it's an invitation to sit down and 
 join in the conversation 
 
 Jake. Oh— {Business) I'm sorry, I haven't the 
 time — Good-morning, ladies 
 
 Maggie. Good-morning 
 
 (Jake bows and exits into elevator, the door of 
 which closes.) 
 
 Maggie. What's the matter? 
 
 Mrs. Thatcher. {Coming down to Maggie) I 
 saw Ada Darkin looking at Holbrook's window- 
 display a little while ago 
 
 Maggie. I thought she was out West — ? 
 
 Mrs. Thatcher. She's suspected by the police 
 of several little odd jobs — since her marriage to 
 James Darkin — and I'd have ordered her away if 
 she hadn't been your sister-in-law 
 
 Maggie. Don't spare her on my account. When 
 my brother Frank died, after living two miserable 
 years of married life with her, I did what I could 
 for her — ^but I'm through. When she took Frank's 
 little girl away from tne — the girl I brought up from 
 a baby — and went West with Darkin, I broke off 
 all association with her. I get a heartache when I 
 think of that poor little baby — why, I was her 
 mother — I had her for five years — I brought her up, 
 and she belonged to me — God, I hate to think of 
 what's become of her — with such a mother and Jim 
 Darkin ! A fine father ! No one to guide her — ^no 
 one who cares what becomes of her — She must be 
 nearly fourteen. Mrs. Thatcher, I was just wrapped 
 up in that child — it was something to go home to — 
 something to live for 
 
 Mrs. Thatcher. Yes — I know — {Pats her arm) 
 
MAGGIE PEPPER. 23 
 
 well — if you see Ada, I want you to warn her to 
 
 keep away from here 
 
 Maggie. I don't know where she lives — Frank 
 was only a boy when he married her — and it just 
 killed him. She's our family Jonah, all right — I get 
 a cold shiver down my back every time I hear her 
 name mentioned — and that baby — {Elevator-door 
 opens) the cutest little, — Let me tell you what she 
 did when she was only two years old 
 
 {Enter Murchison through elevator-door, letter in 
 hand.) 
 
 Murchison. Mrs. Thatcher — ^You're wanted in 
 the fur department — at once — (Business — hands 
 letter to Maggie) For you, Miss Pepper. 
 
 Mrs. Thatcher. {Crosses l.) Of course, some- 
 thing is bound to happen if I'm not there 
 
 Maggie. What's this ? {Business with letter^ 
 
 Murchison. I don't know — I think I 
 
 Mrs. Thatcher. {In elevator) Come, Mr. 
 
 Murchison, the elevator is waiting 
 
 Murchison. All right — Mrs. Thatcher — I'll be 
 right there — {To Maggie) It's — I'm afraid it's — 
 {Sighs) 
 
 Mrs. Thatcher. Mr. Murchison 
 
 Murchison. All right — all right — {Pats Maggie 
 on shoulder and gets into elevator) 
 
 {Business — Mrs. Thatcher and Murchison exit 
 into elevator. Maggie looks at letter as if afraid 
 to open it — finally she does so. Just as she is 
 about to read it her hands drop on desk, and en- 
 ter Ada Darkin, c. She is a handsome flashy- 
 looking woman of about thirty-five. She wears 
 a long cloak that almost completely envelops 
 her. — Maggie turns and sees her.) 
 
 Ada. Hello, Maggie! 
 
24 MAGGIE PEPPER. 
 
 Maggie. Ada— ! 
 
 Ada. (Down c.) Hush! Now, don't make a 
 fuss! 
 
 Maggie. What are you doing here ? 
 
 Ada. Oh — I happened to be downstairs looking 
 around, and I thought I'd just drop in and see you — 
 
 Maggie. You promised you'd- never come here 
 again 
 
 Ada. Well — we can't always keep promises — I 
 want you to help me out — I came up the back way. 
 If they should come here, I want you to say that I 
 came at your invitation and that I've been here all 
 the time — never out of your sight — Understand? 
 
 Maggie. Mrs. Thatcher was here a moment ago 
 and she knows you were not here then 
 
 Ada. Thatcher — ^that damned old cat — I want to 
 get out without her seeing me. 
 
 Maggie. Ada — where's Margie? 
 
 Ada. She's all right 
 
 Maggie. How is she ? Where is she ? 
 
 Ada. She's all right, I tell you 
 
 Maggie. She needs a mother's care, and if you 
 find you can't 
 
 Ada. She gets all the care she needs — Jim ,looks 
 after her as if he was her own father 
 
 Maggie. Jim ! 
 
 Ada. My husband 
 
 Maggie. {Business — looks around) Why are 
 you so afraid? Ada, have you — have you — taken 
 anything? {Business — Ada crosses to r. c.) You 
 have — You can't go till you tell me 
 
 Ada. Hush — don't raise your voice 
 
 Maggie. What have you stolen ? 
 
 Ada. Are you going to keep me here till someone 
 comes, and — ? 
 
 Maggie. I'll help you all I can, if you give me 
 back Frank's little girl — she's mine by right. Give 
 her to me, will you ? What future can she have with 
 
MAGGIE PEPPER. 25 
 
 such surroundings? How can she grow up a good 
 girl? 
 
 Ada. I'll thiijik it over 
 
 Maggie. Give her to me, will you ? It isn't as if 
 you wanted her 
 
 Ada. Jim would never consent — he's fond of the 
 girl — oh, yes, he is — so am I — (Business — Maggie 
 crosses to l. and sits) in my way — That's the trouble 
 with you good women ; you think because we're bad 
 
 in one way — that we're bad every way 
 
 ' Maggie. Think of her — not of me 
 
 Ada. I am thinking of her, and if 1 can get Jim's 
 consent, you can have her — I don't care 
 
 Maggie. Ada — (Takes Ada's hand) 
 
 Ada. (Snatches her hand away) Never mind 
 that Blessings-on-your-head stuff — just get me out 
 of this place as soon as you can 
 
 Maggie. Wait a minute. (Crosses to door e., 
 when elevator door opens) This way 
 
 (Enter Mrs. Tatcher from elevator.) 
 
 Mrs. Thatcher. I had an idea you'd come up 
 here when you couldn't get through the front 
 doors — (Comes c. Ada creeps up c. and starts to 
 run. To elevator-hoy) Tell 'em I'm in the stock- 
 room — (Elevator-door closes) You can't get out 
 that way — the doors down-stairs are locked — Now, 
 Mrs. Darkin, a child's ermine set and a sable collar 
 from the fur-department, and whatever else you 
 may have gathered in during your little trip through 
 Holbrook's store — (To Maggie, who is behind table) 
 I'm sorry, Maggie, but — Come on 
 
 Ada. I don't know what you're talking about 
 
 Mrs. Thatcher. Oh— you're not satisfied with 
 a quiet arrest — you want to be dragged through the 
 streets by the Police — you want public disgrace, do 
 you ? Come now — ^produce 
 
 Maggie, Tell the truth, Ada — (At lower end of 
 
26 MAGGIE PEPPER. 
 
 table) 
 
 Ada. (l. of table. To Maggie) Oh, shut up — 
 {To Mrs. Thatcher) I haven't been near the fur 
 department — (To Maggie) have I? 
 
 Mrs. Thatcher. Of course, you haven't — ^the 
 furs just jumped out and hid themselves on you. 
 Let's see this ■ 
 
 (Maggie crosses to desk. Elevator door opens. 
 Enter from elevator, Johnson, a uniformed 
 policeman, bringing with him Xp^zk, crying — a 
 young girl about fourteen, but looking seventeen 
 years, old. She injears a large picture hat and is 
 made up to look dashing and attractive. She is 
 frightened, and acts as if stunned.) 
 
 Saleslady. (Crosses c. Then as soon as she sees 
 Ada) That's her — that's the woman 
 
 Johnson, (l. c.) This is the young one who 
 was talking to her 
 
 Mrs. Thatcher, (r. c, searching) Quite sure? 
 
 Saleslady, (c.) Yes — she — she's the one 
 
 Mrs. Thatcher. Have you searched her? 
 
 Johnson. Not yet 
 
 Mrs. Thatcher. (Searches Ada's muff) Well 
 — see what she has on her 
 
 (Johnson turns Zaza to him and starts to unbutton 
 her coat.) 
 
 Maggie. (To Zaza) Here, Mr. Johnson, you 
 leave her to me — I'll search her — (Takes Zaza. down 
 to desk. Johnson retires up-stage) 
 
 (Mrs. Thatcher calls Saleslady.) 
 
 Maggie. You've made some mistake — (Business 
 of searching Zaza) I don't think this girl was it^ 
 the fur department at all 
 
MAGGIE PEPPER. 2.7 
 
 Saleslady. Yes — I'm positive — she was look- 
 ing around with that woman 
 
 Maggie. Are you sure? There's so many 
 people- 
 
 Saleslady. I'll swear to it- 
 
 Mrs. Thatcher. Here we are — {Produces two 
 muffs, collar, some lace, etc., etc., from Ada's 
 muff) Get a cab, Johnson, and take her over to the 
 station. (Johnson starts up c. To Saleslady) 
 You go over with her and identify the goods. 
 
 Saleslady. Yes, ma'am 
 
 Johnson. {Coming down a step next to Mrs. 
 Thatcher) What about the young one? 
 
 Mrs. Thatcher. Anything on her ? 
 
 Maggie. Nothing — absolutely nothing 
 
 Johnson. I suppose not — she's the look-out 
 
 Saleslady. I'm sure they were together- 
 
 Maggie. There must be some mistake — the girl 
 is too young 
 
 (Johnson laughs.) 
 
 Johnson. Too young! Why, she's an old 
 timer 
 
 Mrs. Thatcher. Do you know this woman, 
 you? 
 
 (Zaza shakes her head.) 
 
 Maggie. Of course not ! 
 
 Mrs. Thatcher. {To Ada) Do you know this 
 girl? 
 
 Ada. Never saw her before in my life 
 
 Saleslady. Oh, what a — a — an untruth — ! 
 I saw them talking together, Miss Pepper, and 
 
 Maggie. You are all right — no one is blaming 
 you 
 
 (Johnson goes to door, c.) 
 
zS MAGGIE PEPPER. 
 
 Mrs. Thathcer. Go ahead, Johnson — ( To Ada) 
 Go on — (To girl) You, too. Miss. (Ada exits c. 
 followed by Johnson and Salesgirl) Now, young 
 one — (Zaza is l. c. and Maggie l.) 
 
 Maggie. What has this child done? 
 
 Mrs. Thatcher, (c.) You don't suppose she's 
 going to tell you, do you ? (To Zaza) What's your 
 name? (The girl won't speak) You see, she's too 
 well trained to talk, the little crook ! I know that 
 brand of goods— Keeps watch while the other one 
 steals — eh — I know you. Little Miss Innocence — 
 Come on 
 
 Maggie. (Crosses to Mrs. Thatcher) Don't 
 take her away, Mrs. Thatcher, don't — I'll be re- 
 sponsible for her 
 
 Mrs. Thatcher. Don't be a fool, Maggie 
 Pepper 
 
 Maggie. Give her a chance — Mrs. Thatcher — 
 dear old Thatch — won't you trust me — 
 
 Mrs. Thatcher. Now, don't " Old Thatch " me 
 — ^you know I always liked you, Maggie — and I'd 
 do anything you asked me, but this is a matter of 
 business. (Maggie crosses to l. of Zaza, takes her 
 hand, then gets behind desk and weeps) I'm re- 
 sponsible for what goes on in this store. I — I tell 
 you what I'll do — I won't take her to the station — 
 I'll send over an officer of the Society for her 
 
 Zaza. (Crosses to Mrs. Thatcher. Crying) 
 The Society — ^no — ^no — please — Not the Society — 
 Not the Society — anything but that 
 
 Mrs. Thatcher. You see — she knows — My 
 dear, she's an old-timer — Come on — (Starts up c.) 
 
 Maggie. Mrs. Thatcher — I've got nearly a thou- 
 sand dollars — in the savings bank — I'll give it to you 
 gladly — if you'll let me have this child. (Goes up 
 to Zaza. (Speaks quietly but earnestly to Mrs. 
 Thatcher) It's my brother Frank's little girl — 
 Let me have her, will you? 
 
 Mrs. Thatcher. Is that the — the baby? Dear, 
 
MAGGIE PEPPER. 29 
 
 dear — (^Shakes her head) That's hard luck, isn't 
 it-r-poor little devil ! Well, I'll take a chance — keep 
 her if you want to — ^you may be able to do some- 
 thing with her, but don't you dare to offer me money 
 again — or I'll arrest you for attempting to bribe an 
 officer ! 
 
 Maggie. {Crosses to her) Good old Thatch — 
 (Maggie kisses Mrs. Thatcher) 
 
 Mrs. Thatcher. Good old nothing — I've got to 
 go to the police station — (Maggie crosses to Zaza. 
 Mrs. Thatcher laughs) I'm very much afraid that 
 this detective work is no job for a soft-hearted old 
 fool like me — {Exits c.) 
 
 Maggie. (Looks at Zaza) Do you know who I 
 am? 
 
 Zaza. No 
 
 Maggie. Did you ever hear of your Aunt 
 Margaret ? 
 
 Zaza. Yes — I heard she was no good 
 
 Maggie. Who told you that? 
 
 Zaza. Mother — She said she'd beat the life out 
 of me if I ever spoke to her — They've taken her 
 avray^iWringing her hands) Poor mother — I 
 knew it would happen — I knew it would — They'll 
 send her up and I'll be alone again. Well — I won't 
 go back to him — I won't — I'd rather go to the 
 Society than go back to him 
 
 Maggie. Go back to him ? 
 
 Zaza. Father 
 
 Maggie. Your father has been dead since you 
 were two years old 
 
 Zaza. Dead — my father! — Dead! — Isn't tny 
 name Darkin ? 
 
 Maggie. Your name is the same as mine — 
 Margaret Pepper 
 
 Zaza. Same as yours — ^then you're my Aunt 
 Margaret — If he ain't my father what right has he 
 to beat me ? 
 
 Maggie. Does Mr. Darkin beat you? 
 
30 MAGGIE PEPPER. 
 
 Zaza. He beats us both— if he feels like it — 
 (Business) Gee, I hate him — ^he's a cheap sport 
 and 
 
 Maggie. Hush — (Business) Don't think of him 
 again — You're going home with me, Margie — God, 
 I can see brother Frank looking out of your eyes. 
 Margie — little Margie — (Kisses her) 
 
 Zaza. Margie ? 
 
 Maggie. Isn't that your name ? 
 
 Zaza. No — my name is Zaza. 
 
 Maggie. Zaza — Why that's a French name — ^a 
 stage name. 
 
 Zaza. Well, that's what they all call me 
 
 Maggie. They'll never call you that again — and 
 that hat — it's old enough for a girl of seventeen — 
 (Puts Zaza on stool R. of desk. Takes off large 
 picture hat). 
 
 Zaza. Well, I am seventeen. 
 
 Maggie. You're fourteen, Margie 
 
 Zaza. Is that all? (Business — 'MlAggie arranges 
 Zaza's hair — takes out big front piece, etc., until she 
 looks like the child she is supposed to he) Only — 
 fourteen — me! Gee, what a liar my father — Mr. 
 Darkin, is ! One of his friends has it all doped out 
 to marry me in the fall 
 
 (Maggie is angry.) 
 
 Zaza. Mother doesn't want me to marry — ^When 
 I do marry it's going to be a rich young fellow I met 
 at the Moving-Picture Show — (Remembers that her 
 mother has been taken away) Say, are you going to 
 try and get mother off ? 
 
 Maggie. I'll do what I can. 
 
 Zaza. Can't you get the salesgirl to say that 
 mother didn't — didn't do it — ? 
 
 Maggie. (Looks at her — shakes her head) I've 
 got a fine job on my hands — (Crosses to desk. Busi- 
 ness — sees letter that Murchison gave her — opens 
 
MAGGIE PEPPER. 31 
 
 it and reads — ) " Miss Pepper — As you are dissat- 
 isfied with the manner in which Holbrook & Co.'s 
 business is being conducted, we think it desirable to 
 fill your place with someone less critical than you 
 appear to be. Herewith your salary to Saturday 
 night — Yours, Holbrook & Co. — per Joseph Hol- 
 brook " — I didn't think he was that sort of a fel- 
 low — I'm fired, Margie— (Miss Murphy enters c. 
 goes behind table) Well — we'll start life over again 
 — I didn't like this job, anyhow 
 
 (Enter Joe from elevator.) 
 
 Joe. (Down l.) Well, Miss Pepper — (Maggie 
 looks at him angrily) I've been thinking over what 
 you said to me 
 
 Maggie. (Looks at letter) Yes — I — see you 
 have 
 
 Joe. I've cut out the London stuff — discarded 
 the laugh — changed, my hat — thrown away my cane 
 and stopped smoking during office hours — ^pretty 
 good for one day, eh? 
 
 Maggie. Yes 
 
 Joe. Oh, I'm a full-fledged business man — ^Why, 
 I've dictated a half a dozen business letters 
 
 Maggie. (Dryly) Yes — I got one of them — 
 thanks — (Business — gathering things together, gets 
 valine from up l. c, then goes down to desk, puts 
 them in valise) The next fellow that blows in here 
 and looks as if he'd just made his escape from college 
 will get no advice from me 
 
 Joe. Why — ^you're not sorry you gave me your 
 confidence, are you ? 
 
 Maggie. I'm not laughing myself to death over 
 it 
 
 Joe. I don't understand — ? 
 
 Maggie. The net result of our little conversation 
 is that I am fired 
 
 Joe. Fired ? 
 
32 MAGGIE PEPPER. 
 
 Maggie. Sacked — I forgot you'd been living in 
 London. Isn't this one of the six little business 
 letters you dictated ? {Hands him letter. Business 
 of putting on hat and coat as if ready to go) 
 
 Joe. (Reads letter — goes to elevator — rings bell — 
 then looks at Maggie and shakes his head) You 
 must think me a pretty small potato ! 
 
 Maggie. (Elevator door opens) Potato! — ^A 
 Boston bean is about your calibre 1 
 
 (Enter elevator-hoy.) 
 
 Joe. Tell Mr. Hargen I want to see him at once — 
 (Business — elevator boy exits) 
 
 Margie. (Up l. c., gets hat and coat, then down 
 to desk) Don't send for him on my account — I 
 don't need to bid him good-bye — I've seen just about 
 all I want of that gentleman 
 
 Joe. Do you really believe I sent that letter? 
 (Business — hands it back to her) 
 
 Maggie. What else can I believe? I certainly 
 did talk some pretty free talking, but how was I to 
 guess you were the new boss — after this I won't 
 open my mouth even to eat my meals — (Putting on 
 things) 
 
 Joe. I'm sorry you think that I 
 
 Maggie. Oh — you told Mr. Hargen what I said 
 and he 
 
 Joe. I never mentioned your name to him. Miss 
 Pepper 
 
 Maggie. (Elevator door opens) You didn't? 
 
 Joe. On my word of honor 
 
 (Enter Mr. Hargen, from elevator.) 
 
 Joe. Mr. Hargen — I've decided to give Miss 
 Pepper the position vacated by Miss — Parker 
 
 Hasigen. (Up L. c.) But I — really — Mr. Hol- 
 brook 
 
MAGGIE PEPPER. 33 
 
 Joe. She is now the buyer- 
 
 Hargen. I'm afraid I have made other arrange- 
 ments — Ethel's dressmaker 
 
 Joe. We must re-arrange the matter, Mr. Hargen. 
 (Hargen trys to speak) It's my first business move 
 for Holbrook & Co. and I have quite decided. Come 
 down in the office and I'll give you my reasons — 
 Good-day, Miss Pepper, I hope you will like your 
 new position. {Business — he steps into elevator fol- 
 lowed by Hargen. They exit. Elevator door 
 closes) 
 
 Maggie. {Stands a moment as if stunned) 
 Hattie, I knew he wasn't a floor-walker ! 
 
 CURTAIN. 
 
 MAGGIE PEPPER. 
 
 ACT II. 
 
 Scene: — Miss Pepper's office. Setting according 
 to diagram. As curtain rises, discovered behind 
 office railing, evidently waiting for Miss Pepper 
 to come in, are: Miss Murphy with some 
 samples, drinking at cooler; Jake reading a 
 newspaper, seated on rail; Mrs. Thatcher 
 seated l. c, talking to Miss Murphy. Enter 
 Elevator Boy, dressed as attendant, with large 
 hatch of mail, which he places on desk c, then 
 exits L., then — after curtain has been up a few 
 seconds — enter Joe Holbrook from r. He 
 has some specifications in his hand. Joe looks 
 at desk, is evidently disappointed, gives way to 
 an expression of annoyance, and exits.) 
 
 Miss Murphy. {Aside to Mrs. Thatcher) 
 He's in here all day long — can't keep him out of her 
 office — Funny, isn't it — ? 
 
 Mrs. Thatcher. No — ^it isn't funny, isn't it — 
 
34 MAGGIE PEPPER. 
 
 There's quite enough cackle and gossip without your 
 spreading the gospel of scandal 
 
 Miss Murphy. Gee — ain't the success of this 
 place simply marvelous? That Mr. Holbrook's a 
 wonder — He put new brains into 
 
 Mrs. Thatcher. I wish he'd put brains into 
 some of the people he employs 
 
 Miss Murphy. Meaning yours very truly, I sup- 
 pose — ? 
 
 (Enter Murchison, d. c, with a bundle of 
 accounts.) 
 
 Murchison. (Above desk) Miss Pepper 
 
 Miss Murphy. They're opening a new depart- 
 ment — and she's just starting it off right — she won't 
 
 be long 
 
 Murchison. Oh — I wanted to see her — I wanted 
 to see if these O. K's are O. K. 
 
 (Enter Maggie, c. She goes to her desk without 
 loking at anyone. She has changed considerably 
 since Act I. Looks handsome, dignified, re- 
 fined young woman of twenty-five — showing 
 the effect of education and responsibility. Miss 
 Murphy walks through gate to other side of 
 railing.) 
 Murchison. Just look over these, please, Miss — 
 (Hands her bills, which she looks at) Mr. Hargen 
 
 wouldn't sign the check for a thousand ' 
 
 Maggie. (Seated at desk) Then I'll do without 
 
 it 
 
 Murchison. Why not let me ask Mr. Holbrook ? 
 He'll sign it in a moment — — 
 
 Maggie. Certainly not — These are all right 
 
 (Gives him papers) Tell those two models I want 
 
 Maggie. Certainly not. These are all right 
 
 to see them at once. (Dismisses him — He exits c ) 
 I got your note, Mrs. Thatcher, and I'll see you in 
 
MAGGIE PEPPER. 35 
 
 just a moment. Mr. Rothschilds — call again — about 
 
 lunch time 
 
 Jake. Please, I want- 
 
 Maggie. Come — come — ^you're an economical 
 man — ^time is money — don't waste it 
 
 Jake. All right, I'll come in at lunch time. 
 
 Maggie. Hattie, drop in a little later with those 
 samples, will you? (Miss Murphy ^;rfij c. Enter 
 two models. They come down c.) See here — ^you — 
 Miss — er 
 
 Miss Kelly. (Above desk) Kelly- 
 
 M AGGIE. Yes — Miss Kelly — If I catch you wear- 
 ing one of our dresses at the theater again — ^you'll 
 lose your position — understand? 
 
 Miss Kelly. It was so late — I didh't have time 
 Jto change 
 
 Maggie. No excuses — those dresses are to make 
 a hit with the public — not with your friends 
 
 Miss Kelly. I 
 
 Maggie. That will do — please — Don't wear that 
 gown again — the pink kills your eyes. (Model tries 
 to speak) Good-morning, Miss Kelly — (Miss 
 Kelly exits c. Business — to the other model, who 
 has been standing l. c.) Come here. (She comes 
 c.) This is the last warning you get — another re- 
 port and out you go. We lost one of our best 
 customers on your account 
 
 Model. On my account ! 
 
 Maggie. Yes — when a lady comes here to buy a 
 dress' and brings her husband with her — I want you 
 to show the gown off to the lady — ^not your figure 
 to the gentleman 
 
 Model. Why — it's an outrage 
 
 Maggie. That's exactly what the gentleman's 
 wife said, Imogene. And you a young married 
 woman ! Why don't you live up to your name ? 
 
 Model. The gentleman smiled. Miss — I couldn't 
 help it — ^Whenever anyone smiles at me^I smile 
 back — I'm only human r 
 
36 MAGGIE PEPPER. 
 
 Maggie. Well, please reserve your humanity for 
 your husband. That'll do. 
 
 Model. Very well, Miss — (Exits c.) 
 Maggie. Poor Mr. Murchison — (Business open- 
 ing mail) Well, Thatch old girl, how goes it? 
 
 (Mrs. Thatcher comes to desk, sitting l. of it.) 
 
 Mrs. Thatcher. The place is packed — jammed 
 as usual — What a success we are — ! 
 
 Maggie. Glorious ! 
 
 Mrs. Thatcher. Mr. Holbrook is a business 
 genius — No wonder they call him the " Dry Goods 
 Napoleon " 
 
 Maggie. I wish they didn't — That Napoleon 
 model is getting to be a cheap design — Every suc- 
 cessful man is a Napoleon — The Financial Napoleon 
 — The Railroad Napoleon — and now it's the Dry 
 Goods_ Napoleon — pretty soon it will be a Corset- 
 and-Lingerie Napoleon 
 
 (Enter Joe, r.) 
 
 Joe. You're always busy. 
 
 Maggie. Yes — I am— rather — (Mrs. Thatcher 
 is about to go) Don't go 
 
 Joe. I want to see you about these plans for the 
 annex 
 
 Maggie. Leave them here, please, Mr. Holbrook, 
 and I'll look them over 
 
 (Joe places blue-prints on her desk.) 
 
 Joe. Shall I accept Fox's offer ? 
 
 Maggie. You'd better consult Mr. Hargen 
 
 Joe. He knows nothing about it 
 
 Maggie. I'm very busy just at this moment— — 
 
 (Joe sees that he is not wanted.) 
 
MAGGIE PEPPER. 37 
 
 Joe. Very well — I'll come in later — {Exits &., 
 reluctantly) 
 
 Mrs. Thatcher. I came in to see you, my dear, 
 about Ada Darkin — She's been out of prison a 
 week — and she's watching Margie. It's wonderful 
 what you've done with that child. Maggie — you 
 don't seem like the same woman yourself. What a 
 wonderful change has come over you 
 
 Maggie. It's study and education that's helped 
 me so much — For the last year Margie and me — I 
 mean Margie and I — have sat up half the night 
 working at some old grammar or other — Myl 
 What a lot there is to learn ! 
 
 Mrs. Thatcher. You've done it yourself, 
 Maggie Pepper, and I just love you for it — that's 
 why I'm going to speak plainly to you. Mr. Hol- 
 brook has got to stop queering your reputation — 
 You know what a sport he was before he came over 
 from Europe 
 
 Maggie. What of it? 
 
 Mrs. Thatcher. Everybody is speaking about 
 the attention he pays you — When any of the buyers 
 or wholesale men asks him a question he refers them 
 to Miss Pepper — They call our establishment the 
 Pepper-pot 
 
 Maggie. He has — great confidence, in my judg- 
 ment 
 
 Mrs. Thatcher. So much that Miss Ethel is — 
 I hate to betray her confidence — ^but I'm your friend, 
 and — (Hesitates) Ethel Hargen is having you 
 watched 
 
 Maggie. Watched — ? 
 
 Mrs. Thatcher. She asked me to take the job — 
 but I refused — My dear, she's so jealous you could 
 scrape the green off her — She wants their wedding 
 to take place at once — but he keeps putting it off — 
 says he's too busy to go on a honeymoon — ^and I 
 guess she blames you for the delay 
 
 Maggie. Me ? Ridiculous ! 
 
38 MAGGIE PEPPER. 
 
 Mrs. Thatcher. Certainly it is— but once a 
 scandal like that starts — it's like a forest fire— 
 (Maggie laughs heartily) Haven't you noticed his 
 attentions ? 
 
 Maggie. Oh, just a — mere — ^business — {Pause — 
 Joe sticks his head in at door. Both see him) I'm 
 yery busy, Mr. Holbrook 
 
 (Joe exits.) 
 
 Mrs. Thatcher. Did you notice that ? 
 
 Maggie. Now you've called my attention to it — 
 yesr r 
 
 Mrs. Thatcher. And you have been seen in a 
 restaurant together 
 
 Maggie. Yes — that was a mistake. {Thought- 
 fully) You leave the matter to me — I'll settle it — 
 It's nothing — nothing — believe me — {Enter Zaza c. 
 She looks like a high-school girl of fifteen — She 
 carries a bundle of books, and is bright, fresh and 
 pretty. Goes to Maggie) Well, Margie? {Looks 
 at her closely) What's the matter? 
 
 Zaza. Mr. Darkin stopped me — as I came in — 
 He snid something about going away with him and 
 mother — but I wouldn't listen to him 
 
 Mrs. Thatcher. I wonder if he's down there 
 now? I'll just warn that gentleman to keep away 
 from her, or I'll take him over to the police-station. 
 
 Maggie. You're not afraid, are you, dear? 
 
 Zaza. No, but — Yes — I am — a little. {Crosses 
 below Maggie) The thought of going back to that 
 old life with them again — ogives me the cold shivers — 
 I've been so happy with you — and the girls at the 
 school are so nice — Oh, dear, I thought my luck had 
 changed after I came to live with you — oh — dear — 
 I hope nothing will come of it. 
 
 Maggie. My dear Margie — there's as much 
 
MAGGIE PEPPER. 39 
 
 chance of your going back with them as there is of 
 my owning these stores 
 
 Zaza. One of the salesgirls said you do own 
 them — (Twirls the books) 
 
 Maggie. What's that? 
 
 Zaza. She said you were Holbrook & Company, 
 and I was a lucky little devil 
 
 Maggie. Who said that? (Zaza looks away, 
 surprised) Which one of the girls said that? 
 Come, Margie — Tell me 
 
 Zaza. I — ^promised not to — ^but I will, if — if 
 you want me 
 
 Maggie. Keep your promise — ^but in the 
 future 
 
 Zaza. (Goes up and kisses her) I — I didn't 
 mean any harm 
 
 Maggie. No — ^no — Margie — ^You're all right, 
 little girl — What work do we do to-night ? 
 
 Zaza. French — ^Lindley Murray — and Eti- 
 quette ■ 
 
 Maggie. Etiquette — I can eat that stuff up — it's 
 great ! That first book we bought on " How to be 
 a Lady on $500 a Year," got us twisted — ^but I must 
 get to work — ^go home and — ^no-:-don't wait for me 
 to-night — ^go home. 
 
 (Enter Jake c, with silk hat, very stylishly dressed. 
 He goes down c.) 
 
 Maggie. Can't go to limch with you to-day — too 
 busy 
 
 Zaza. I'll go and listen to the music — (Kisses 
 hey aunt and exits c.) 
 
 Maggie. What are you made-up for, Jake ? 
 
 Jake. When a gentleman takes a lady to lunch — 
 he wants to look like something 
 
 Maggie. Well, you do look like something — ■. — 
 
 Jake. Like what ? 
 
40 MAGGIE PEPPER. 
 
 Maggie. {With dignity) It wouldn't be good 
 Lindley Murray to tell you, Jake. 
 
 Jake. Lindley Morris— what's his line? So you 
 won't go 
 
 Maggie. I can't. 
 
 Jake. {Looks at gloves) A dollar and a quarter ! 
 I didn't want to give it to you here (Comes to her 
 desk) Hush — listen! {Takes out broach) hnt — ^you 
 wouldn't take any commission — so I put it into a 
 pin — Hush — put it in your pocket 
 
 Maggie. A bribe, eh ? 
 
 Jake. Bribe ! What for, bribe ? 
 
 Maggie. What's the value of this pin? 
 
 Jake. It cost four hundred 
 
 Maggie. Well, make out a check for $400 and 
 send it to Holbrook & Co. as conscience money — 
 {Offers broach to Jake) 
 
 Jake. Conscience, what's conscience? 
 
 Maggie. It's Mr. Holbrook's money^nbt 
 yours— — 
 
 Jake. I said it cost four hundred — ^but I only 
 paid two for it — it's worth six 
 
 Maggie. Jake, you are the most prolific liar I 
 ever met 
 
 Jake. I don't mind you calling me a liar — ^that's 
 business — ^but I object to that "prolific" — it's no 
 expression for a lady to use — sounds awful — Some- 
 times you forget I'm a married man 
 
 Maggie. You forget it yourself — the night you 
 kissed Miss Murphy, for instance 
 
 Jake. Ach — a new year greetings — a business 
 kiss — a father's chaste salute 
 
 Maggie. Yes — some of you fathers — ^get too 
 busy — with your chaste salutes 
 
 {Enter Hargen, r.) 
 
 Hargen. Are you very busy, Miss Pepper? 
 Maggie. No, Mr. Hargen— Mr. Rothschilds is 
 
MAGGIE PEPPER. 41 
 
 just making out a check for four hundred dollars — 
 to the firm — he finds he has overcharged us that 
 amount 
 
 (Hargen, above desk, crosses l.) 
 
 Jake. Four — ? Two- 
 
 Maggie. Four — and if you don't hurry, I'll 
 charge interest. 
 
 Jake. I think your name should be Pepperlinsky. 
 (Business with check book. Writes) Two-fifty — 
 
 Maggie. Four hundred! 
 
 Jake. Three hundred 
 
 Maggie. Four 
 
 Jake. Three-fifty- 
 
 Maggie. Four — this isn't auction pinochle, Mr. 
 Rothschilds 
 
 Jake. I wish it was — I might have some change 
 left. (Business — writes out check) Vot a business 
 woman — what a wife ! (Sighs) What a pity she's 
 got to be wasted on a Christian — ^here — (Gives her 
 check) 
 
 Maggie. Thank you, here — (Offers to return 
 brooch) 
 
 Jake. No — ^keep it as a memorial. (Lays it on 
 desk) You're entitled to it — Good-morning, Mr. 
 Hargen, sir — Good-morning, Miss Pepper — that 
 was an expensive lunch, and not a bite to eat. 
 (Exits c.) 
 
 Hargen. (Crosses to desk, and looks at brooch) 
 No wonder our margin of profit is so small, when 
 jobbers make buyers such expensive presents 
 
 Maggie. Will you take his check, sir? (Hands 
 him check) 
 
 Hargen. (Crosses to c.) Mr. Murchison tells 
 me you asked for a thousand dollars' advance 
 salary. This is not a bank, and we don't lend 
 money. You're getting a very large salary as it is — 
 very, very large. JSTow, Miss Pepper, I distinctly 
 
42 MAGGIE PEPPER. 
 
 disapprove of this vulgar display of living women, 
 exhibiting gowns to customers 
 
 Maggie. Our sales have doubled in the last three 
 months 
 
 Hargen. Restaurants — music-and-vaudeville 
 entertainments in a business house — it — it's most 
 unbusinesslike 
 
 Maggie. The store is crowded — ^business is sim- 
 ply enormous 
 
 Hargen. A vulgar catchpenny show is not legiti- 
 mate business 
 
 Maggie. It's what the public wants — If they 
 want vulgar catchpenny shows we have to give them 
 vulgar catchpenny shows. They want a lot for their 
 money, and if we don't give it to them, they'll go to 
 the store where they can get it 
 
 Hargen. I don't want to argue the matter with 
 you 
 
 Maggie. If you wish, I'll consult with Mr. Hol- 
 brook 
 
 Hargen. I'd rather you consulted less with Mr. 
 Holbrook 
 
 Maggie. I don't understand 
 
 Hargen. Perhaps not — ^but let me remind you of 
 his impending marriage to my niece. In your very 
 busy life here — the fact may have escaped you 
 
 (Enter Joe, r. Goes below desk.) 
 
 Joe. The place is packed — jammed full — ^We 
 need more salesmen, Mr. Hargen. 
 
 Hargen. I'm afraid people are attracted more 
 by our flamboyant methods of advertising, than by 
 our wares. They only come to amuse themselves — 
 
 Joe. They're spending lots of money, just the 
 same 
 
 Hargen. It won't last 
 
 Joe. Well, let's make hay while the sun shines— 
 
MAGGIE PEPPER. 43 
 
 Harge'N. Just as you say^'ust as you say — er — 
 {Up c. — Business) Do you want to see me? 
 
 Joe. No — I, wish to speak to Miss Pepper. 
 
 Hargen. Oh, I see — (Waits for Joe to speak 
 to Miss Pepper. There is a slight pause, as if Joe 
 did not want to speak before him. Maggie is look- 
 ing out into space — she is preoccupied. After a 
 moment, Hargen goes out) 
 
 Joe. (Goes above desk) It's marvellous — per- 
 fectly marvellous how the people climb over each 
 other to buy bargains ! That Monday morning bar- 
 gain-counter idea of yours was a great institution — 
 Ah — it's the gentle art of making them believe you 
 give them something for nothing that does the 
 trick — and of that art, Miss Pepper, I acknowledge 
 you to be the past grand mistress. I wish you'd let 
 me tell everybody that it is you to whom I am in- 
 debted for all my ideas — I don't know a blessed 
 thing about business, I follow your instructions like 
 a child 
 
 Maggie. Mr. Holbrook! 
 
 Joe. {Sits on upper end of desk) The Dry- 
 Goods Napoleon is a puppet — the strings are pulled 
 by Miss Margaret Pepper — When anyone con- 
 gratulates me I feel as though I'd stolen some- 
 thing — and so I have — I've stolen your laurels. My 
 friends ask me : Where do you get your ideas ? You 
 never used to have any? Why, you're a positive 
 business genius 
 
 Maggie. So you are — when an idea is any good, 
 you see it — ^that's one form of genius. 
 
 Joe. I'm a sham— a fraud— a pretence— If they 
 knew it was you how it would surprise everybody 
 to think that a woman — a young womaa ! 
 
 Maggie. Spare me 
 
 Joe. I won't spare you — \ — 
 
 Maggie. After all — it's very little — - 
 
 Joe. Very little — Why it's everything — it's the 
 difference between success and failure. We're beat- 
 
44 MAGGIE PEPPER. 
 
 ing our competitors — I must co'me out with the 
 
 truth — Please; why shouldn't you enjoy ? 
 
 . Maggie. I enjoy the happiness of your success, 
 Mr. Holbrook — but — {Stops suddenly — he under- 
 stands) 
 
 Joe. What's t'he matter ? 
 
 Maggie. Just now, Mr. Hargen thought fit to 
 remind me that you were engaged to his niece-: 
 
 Joe. Why should he do that? 
 
 Maggie. People are beginning to talk, Mr. Hol- 
 brook — oh, I know — people must talk something — 
 but I don't like them to talk about you — and me — I 
 don't mind for myself — ^but you — you — mustn't — 
 ask me to lunch with you — again — and you must 
 really keep out of this office 
 
 Joe. You don't mean to say ? 
 
 Maggie. Two of our people saw us in the res- 
 taurant — in an hour, twenty of them knew it — the 
 next morning two hundred tongues began wagging, 
 and by noon I don't think I had a shred of reputa- 
 tion left 
 
 Joe. But why should people put a bad^construc- 
 tion on my actions ? I must see you — ^you're neces- 
 sary to me — a business necessity — and — Upon my 
 word, can't I speak to a woman without ? 
 
 Maggie. No — you're known as the Continental 
 cut-up all over the dry-good district — besides, every 
 time anyone wants to see you — you're in here. 
 You came back from Europe with an awful reputa- 
 tion, and they're not going to let you lose it if they 
 ,can help it. And you have raised my salary so often 
 that— well — they're talking — ^that's all 
 
 Joe. Let them talk — I had to raise your salary — 
 You refused to take any money from me person- 
 ally 
 
 Maggie. Naturally 
 
 Joe. Mr. Hargen tells me you want to borrow a 
 thousand dollars on your salary — and that he re- 
 fused — Why didn't you come to me ? 
 
MAGGIE PEPPER. 45 
 
 Maggie. I— I didn't like— to- 
 
 JoE. What do you do with all your money? — 
 Little spec — on the side? (Leans on desk) 
 
 Maggie. (After a momentary pause) Yes — I — 
 I'm sorry — he spoke to you about it 
 
 Joe. I'm very glad — (Pause — She turns away — 
 Business- — there is an awkward silence) I'm not 
 going to lose your friendship because of a few 
 scandal-mongers ! — You've been a real friend to me, 
 Miss Pepper — a real friend — and I 
 
 {Enter Darkin c. He is a typical sharp gambler. 
 Maggie rises.) 
 
 Joe. What do you want? (Straightens up) 
 Darkin. (Above desk — Looks at him and grins) 
 Excuse me — didn't know I was interrupting — 
 
 thought it was a business office 
 
 Maggie. It's all right, Mr. Holbrook, it's — some- 
 one — I know 
 
 (Joe goes to lower end of desk, then crosses r.) 
 
 Joe. (Looks Darkin over) I'll see you again 
 about the estimates — and I'll get you that check — 
 (Business with papers — exits d. r.) 
 
 Maggie. I told you not to come here, Mr. 
 Darkin 
 
 Darkin. You weren't in when I called at your 
 home 
 
 Maggie. Not to you. What do you want ? 
 
 Darkin. Oh — ^you know what I want. You 
 didn't send the money 
 
 Maggie. I didn't have it — and I won't have it till 
 the end of the month — perhaps not then 
 
 Darkin. Now, I've got a proposition to make — 
 Ada's out of jail, and we're going West — I need a 
 little money to start a game. Give me five thousand 
 dollars and we'll never bother you nor Zaza again — 
 
46 MAGGIE PEPPER. 
 
 never — ^give you a clear bill of sale — ^never see or 
 speak to her again — so help me — on the level 
 
 Maggie. You've no claim on the girl 
 
 DarkiN. Her mother has — and the mother be- 
 longs to me 
 
 Maggie. You've been blackmailing me now for 
 a year 
 
 Darkin. Blackmail nothing — If you want the 
 girl, you've got to pay for her. Why shouldn't you ? 
 She's ours 
 
 Maggie. I've given you all I can afiford — I 
 haven't the money, and I can't get it 
 
 Darkin. Oh, come now, don't give me any of 
 that stuff — I don't want to go into your private 
 affairs — ^you've got a pretty strong pull here — and 
 you're as smart as they make 'em — I guess you can 
 get all you want 
 
 Maggie. What do you mean? 
 
 Darkin. (^Shrugs his shoulders') If you're so 
 fond of the girl, surely you don't object to helping 
 her parents along- 
 
 Maggie. Her parents ! You neither of you care 
 for the child or are you fit to live with her— No, I 
 won't do it, I can't do it, Mr. Darkin, I can't 
 
 Darkin. Oh, yes, you can 
 
 Maggie. I've given you half the money I earn 
 now — I've got to live. 
 
 Darkin. Ask him 
 
 Maggie. Who ? 
 
 Darkin. The guy that was in here ! You know 
 who I mean 
 
 Maggie. Is that the kind of woman you think I 
 
 am ? 
 
 sonalities 
 
 Maggie, ^fo— you came here to blackmail me 
 a little fire — but I didn't come here to discuss per- 
 
 Darkin. Oh, well— It's the kind of women most 
 women are — and I take it you're nothing excep- 
 tional. There's a lot of smoke and I guess there's 
 
MAGGIE PEPPER. 4^ 
 
 out of every, dollar I can rake, scrape or borrow — 
 How do I know that when that's gone — ^you won't 
 come for more ? 
 
 Darkin. Say, I don't want to take your money 
 for nothing — I'll give you my note — (Crosses to c.) 
 
 Maggie. {To herself) She's doing so well — 
 she's so happy — she's studying hard — and — oh—it's 
 cruel — cruel 
 
 Darkin. If I didn't need the money, I give you 
 my word of honor, I 
 
 Maggie. Please don't apologize — When must 
 you have it? 
 
 Darkin. To-night. She's worth it — honestly, 
 she's a fine girl, is Zaza 
 
 (Enter Joe with check d. k. — goes below desk.) 
 
 Joe. Here, Miss Pepper — I'll tell Murchison to 
 debit your account 
 
 Maggie. Thank you — {Takes check — Darkin 
 crosses to desk) Thank you more than I can 
 say 
 
 Joe. Please don't mention it 
 
 Darkin. Oh, I knew you'd get it — {Looks over 
 her shoulder and takes check from her) One 
 thousand — that's no good— I'll tell you how we can 
 fix it ; get your friend to make it two thousand and 
 guarantee the balance in — one month. Oh, he'll do 
 it if you ask him in the right way — {Crosses to 
 desk) 
 
 Joe. If I can be of any service, I 
 
 Maggie. Yes— {Takes check from Darkin and 
 destroys it) you can tell this man that if he ever 
 comes here again he will be arrested for blackmail— ' 
 Not one dollar do you get. Now, go, go before I for- 
 get myself 
 
 Darkin. Oh, very well — |ust as you say — ^talk 
 it over together — I'll give you till to-night to make 
 
48 MAGGIE PEPPER. • 
 
 up your minds whether Zaza goes with us or not — 
 It's up to you — Maggie — (Exits d. c.) 
 
 Joe. (Crosses to c. below desk) You haven't a 
 soul in the world to protect you from this sort of 
 thing, have you? 
 
 Maggie. I don't want protection — I want them 
 to give that girl a chance. Oh, Mr. Holbrook — I — 
 I'm so sorry that you — that you had to be here when 
 he came. You know Margie's history. That's the 
 man who has the claim to her and that's where my 
 money has gone — But my fighting-blood is up now— • 
 he'li get neither girl nor money 
 
 Joe. Let me help you — How much does he want ? 
 {Crosses to desk) 
 
 Maggie. (Laughs) Five thousand dollars 
 
 Joe. Let me 
 
 Maggie. No, not one penny. The man is a 
 professional gambler — crooked to the core, like the 
 rest of his kind — and now that he thinks you will 
 come to the rescue, his demands will grow and grow 
 until there'll be no end to them 
 
 Joe. Can't we have him arrested ? 
 
 Maggie. No — I don't want to disgrace Margie — 
 I don't want to spare him, it's the money I'm think- 
 ing of — ^but I don't want to bother you with my 
 affairs 
 
 Joe. Heaven knows I bother you enough with 
 mine! (Goes above desk) You're a pretty good 
 fellow, Miss Pepper — the real sort of good fellow — 
 I want to be more than a mere friend to you — 
 (Comes close to her) 
 
 Maggie. Do you want to give people the right to 
 talk of us as they do? You heard what that man 
 said — He has no respect for me — You know what 
 these gossips are saying — do you want to justify 
 them? 
 
 Joe. Why, no — no 
 
 Maggie. Then never speak to me like that 
 again — There's only one thing for you to do, Mv- 
 
MAGGIE PEPPER. 49 
 
 Holbrook — Forgive me for speaking plainly — You're 
 engaged to be married to Miss Hargen — Your wed- 
 ding must take place as soon as possible — and you 
 must not come into this office again — until it has 
 taken place 
 
 Joe. You mean — we are to meet secretly ? 
 
 Maggie. I mean — we are not to meet at all — 
 (Her tone is so decided that Joe weakens) 
 
 Joe. I suppose you're right — that will be the best 
 move to make, but — (Indicates a lack of enthusiasm) 
 It will at least head oS this babel of gossip — 
 (Crosses L.) 
 
 Maggie. Gossip ? Dry-goods and scandal seem to 
 go together — don't they ? I don't care what they say 
 about me, I'm afraid Jim Darkin means mischief to 
 Margie — She's somewhere about in the store — I'd 
 better get her, and 
 
 (Maggie is on the point of breaking down. Enter 
 Ethel, c, and comes down c. There is a 
 pause, during which they all take in the situa- 
 tion. Finally, in order to conceal the fact that 
 she is agitated, Maggie exits hastily d. c.) 
 
 Ethel. Uncle said he expected I might find you 
 here — You've forgotten 'our appointment, Joe 
 
 Joe. No — no — I'm just going over some very 
 important business details with Miss Pepper — I 
 wanted her judgment — er — the plans in reference to 
 er — an extension of — er — (Pause) 
 
 Ethel, (c.) That's just a trifle indefinite, Joe — 
 I can't help congratulating Miss Pepper on the 
 enormous amount of praise you give her for carry- 
 ing out your ideas — At the same time, a man who 
 commands the envy and admiration of the entire 
 business world, surely doesn't need to have his judg- 
 ment endorsed by a common, ordinary person like 
 Miss Pepper. 
 
 Joe. She is not a common, ordinary person, 
 
50 MAGGIE PEPPER. 
 
 Ethel— She— She is the most extraordinary woman 
 I have ever met 
 
 Ethel. Isn't that rather extravagant? 
 
 Joe. Not a bit— She is the cleverest— Some day 
 I'll explain more fully what she is— (Crosses r.) 
 and you'll admit that I'm quite justified in holding 
 her in such high 
 
 Ethel. Oh, please don't justify yourself, Joe— 
 That's a confession of weakness — it's like apologiz- 
 ing for something you never did. 
 
 (Enter Hargen, d. r. — goes above desk.) 
 
 Hargen. Oh, Joseph, I've just engaged 
 
 Joe. Will you wait here, Ethel, while I put on my 
 hat and coat — ? (Exits d. r.) 
 
 Hargen. Well? (Drops to lower end of desk) 
 
 Ethel. Just as you said — they were here to- 
 gether — Uncle, that woman must go — her presence 
 here is a disgrace 
 
 Hargen. I know it — But after you are married — 
 she 
 
 Ethel. Do you think I'll allow that woman to 
 remain here another day ? No wonder the girls smile 
 pityingly at me when I come into the place — It's 
 your fault, Uncle — You shouldn't have allowed her 
 to remain here 
 
 Hargen. (Back of desk) He won't hear to her 
 dismissal — he'd re-engage her as fast as I discharge 
 her. Lately he's developed an obstinate streak, and 
 I can do nothing with him — Nothing succeeds like 
 success, he says — and he has a ridiculous notion that 
 this woman is essential to his success. My advice is, 
 get married as soon a possible and then you can take 
 the matter into your own hands — It would be ex- 
 ceedingly undignified to speak now — and you have 
 no evidence 
 
 Ethel. Evidence enough — for me — Why, she 
 couldn't remain in the room where I was ■ 
 
MAGGIE PEPPER. 51 
 
 Hargen. Probably ashamed 
 
 Ethel. A woman of that type has no shame — it 
 was contempt — No, Uncle, I insist that you tell Joe 
 to send her oS at once 
 
 Hargen. I — really 
 
 Ethel. If you don't, I will. I don't mind a man 
 with a past — ^but a present, perhaps a future — ^no 
 thank you — I'd rather break off our engagement 
 
 Hargen. Be advised by me — Don't do that 
 
 Ethel. I won't if I can help it — I don't want to 
 be laughed at — Besides, I'm rather fond of Joe — 
 but the situation as it is, is impossible — Of one thing 
 I'm quite sure — she can't stay here. 
 
 (^Enter Joe d. r., dressed to go out. He goes to 
 upper end of desk.) 
 
 Joe. Are you ready, Ethel ? 
 
 Ethel. Joe, Uncle wishes to speak to yott — in 
 reference to — he will explain 
 
 Hargen. No, I — I'd much rather — It's rather 
 a — a. 
 
 Ethel. I think, Uncle, if Joe knew my earnest 
 desire — that Miss Pepper be asked to hand in her 
 resignation- 
 
 Hargen. He does know- 
 
 Ethel. Yes, but if he realizes that my — our — 
 whole happiness depends 
 
 Joe. Now, come, Ethel, and you too, Mr. Hargen, 
 put an end to this nonsense — Your happiness is not 
 dependent on the question of Miss Pepper's remain- 
 ing here — but my business success is — r- 
 
 Hargen. Ridiculous 
 
 (Ethel laughs.) 
 
 Joe. I know it's ridiculous — ^but nevertheless it 
 is a fact that Miss Pepper and no one else is re- 
 sponsible for every one of the changes that have 
 
52 MAGGIE PEPPER. 
 
 taken place in this concern since my return from 
 Europe. Hers has been the mind that conceived 
 and carried out the plans that have resulted in a 
 success so tremendous that it has put me at the top 
 of the heap — (Hargen tries to speak) Oh, I know 
 what has been said about us — but it's a lie — z 
 wicked, malicious lie — Will you believe that, Ethel ? 
 
 Ethel. Certainly, Joe — if you say so 
 
 Joe. It would be the height of ingratitude to 
 turn her out after she has done all she has to make 
 our success — My feeling towards her is gratitude — • 
 You believe that, Ethel ? 
 
 Ethel. Certainly, Joe — ^but — I think it better 
 for her to — ^go 
 
 Joe. (To Hargen) And you? 
 
 Hargen. I'm inclined to lean towards Ethel's 
 view 
 
 Joe. You've always been prejudiced against her, 
 Mr. Hargen — Her modem ideas have conflicted 
 with your archaic business methods 
 
 Hargen. Archaic ? 
 
 Ethel. Really, Joe, the most unprejudiced ob- 
 server couldn't help seeing that you are so wrapt up 
 in this woman that you insult anyone who disagrees 
 with you as to her — remarkable qualities — (Turns 
 away) 
 
 Joe. She has remarkable qualities. Not one 
 word of — of — a personal nature has ever passed be- 
 tween us — on my honor. Do you believe that ? 
 
 Ethel. Yes, Joe — I will — and so will Uncle — 
 but you must put my happiness above a mere ques- 
 tion of gratitude for past services — Surely she can 
 be paid — and dismissed ? 
 
 Joe. I suppose so — She has slaved day and night, 
 devoted all her thoughts, all her energy, all her 
 genius, to our success, and she must be sacrificed be- 
 cause I am supposed to be a gay dog and can't live 
 down a rotten past. It's not fair — to punish her for 
 
MAGGIE PEPPER. 53 
 
 my shortcomings — No, I can't do it— and I won't — 
 
 and there's an end of the matter 
 
 Hargen. My dear Holbrook 
 
 (Enter Maggie, c. They all look at her and stop 
 speaking instanter. There is a pause, as 
 Maggie looks at them. Ethel looks at Maggie 
 scornfully — walks off D. r. Joe hesitates a 
 moment, then follows her off r.) 
 
 Joe. Ethel, listen 
 
 (Maggie sits at desk.) 
 
 Hargen. (Crosses below desk c.) Miss Pep- 
 per — Mr. Holbrook and I have definitely decided to 
 dispense with your services from this moment 
 
 Maggie. Indeed ! 
 
 Hargen. Hear me out, please — As long as it was 
 merely a question of business methods — I was in- 
 clined to overlook your shortcomings — ^but when the 
 happiness of — my niece 
 
 Maggie. Your niece's happiness 
 
 Hargen. Precisely — She will shortly become Mr. 
 Holbrook's wife. In justice to yourself — ^to us — I 
 ask your resignation 
 
 Maggie. My resignation ? 
 
 Hargen. Your presence here makes the situa- 
 tion intolerable for Mr. Holbrook and myself. If 
 you have one particle of regard for him you will 
 put an- end to a scandal that outrages all sense of 
 decency and propriety 
 
 Maggie. There's no use my saying that he is 
 perfectly innocent of even the slightest intention 
 
 Hargen. I can quite understand that — In fact, 
 I'm sure that the whole affair is a— a — imaginary — 
 on our parts — a. perfectly innocent business asso- 
 ciation distorted into a vulgar scandal by evil 
 minds 
 
54 MAGGIE PEPPER. 
 
 Maggie. Yes— by evil minds — you've just hit it 
 right 
 
 Hargen. You are at liberty to blame whorli you 
 please — But you will have Qnly yourself to blame 
 for the action my niece will be compelled to take — 
 unless you go 
 
 Maggie. What have her actions to do with me? 
 
 Hargen. She will break oil the engagement. 
 
 Maggie. Oh — and you put it up to me, eh ? 
 
 Hargen. Vulgarly speaking — yes 
 
 Maggie. Vulgarly speaking — Can anything be 
 more vulgar than your attitude towards me ! Am 
 I the only one that sipeaks vulgarly — Can anything 
 be more vulgar, more brutal, than these suspicions ? 
 
 Hargen. You are impertinent. 
 
 Maggie. Yours is the evil mind that has twisted 
 and distorted a simple business association into the 
 scandal, that outrages your sense of decency and 
 propriety. You're perfectly horrified, aren't you? 
 
 Hargen. Indeed, I am 
 
 Maggie. Well, it's too bad. Has it ever occurred 
 to you that sneaking sanctimonious hypocrisy can't 
 see anything but the rotten side of human nature? 
 Has it ever occurred to you that a man and a wo- 
 man can possibly associate together without leading 
 an immoral life? No, it hasn't, and I won't waste 
 time trying to convince you ! 
 
 {Enter Zaza c.) 
 
 Zaza. Mrs. Thatcher told me to come up- 
 
 M aggie. (Tearfully) That's right, dearie — 
 that's right — Sit over here — (Business — Comes to 
 c. and puts Zaza in chair) 
 
 Hargen. You will receive three months' salary,' 
 Miss Pepper 
 
 Maggie. I'll receive what is due me and not one 
 cent more — ■ — 
 
MAGGIE PEPPER. 55 
 
 (Enter Joe, d. r. Goes below desk.) 
 
 Joe. Ethel wants to go home — please go. I wish 
 to see Miss P6pper alone 
 
 Maggie. Well — Miss Pepper doesn't wish to see 
 you alone 
 
 Joe. What have you said to her, Mr. Hargen ? 
 
 Hargen. (Down c.) What everyone is saying : 
 that you and 
 
 Maggie. Don't you dare to repeat it in the pres- 
 ence of this child — or your sense of decency and 
 propriety will receive a shock it won't recover from 
 in a hurry 
 
 Joe. What has he said, Miss Pepper? 
 
 Maggie. Ask him — and now get out — both of 
 you — (Goes behind desk) till I pack up and go 
 
 Joe. Go? You're not going 
 
 Maggie. I am going — I couldn't stay here any 
 longer — I couldn't 
 
 Joe. I'm not going to let you go 
 
 Maggie. Do you want to justify them in every- 
 thing they've said ? 
 
 Joe. Margaret 
 
 Maggie. What right have you to call me by that 
 name ? What right have you to care whether I go 
 or not ? You're engaged to another woman — trans- 
 fer your attention to her — (Crosses to c.) You've 
 been as careless of my reputation as you have of 
 your own. What effort have you made to put an 
 end to this scandal? None — ^but neither you nor 
 Mr. Hargen or any of you shall rob me of the little 
 self-respect I have left! (Joe turns to interrupt) 
 Go and marry the woman you love and leave me to 
 my own affairs 
 
 Joe. Margeret ! 
 
 Maggie. It's useless to say any more — I won't 
 hear it — Now — ^go — (To Hargen) Do you hear? 
 
 (Hargen exits r. 2 e., followed by Joe.) 
 
56 MAGGIE PEPPER. 
 
 Joe. What have you said to her ? 
 
 (They exit excitedly. Maggie shuts the door on 
 them with a bang. Comes down-stage, sits at 
 desk.) 
 
 Maggie. Margie ! 
 
 CURTAIN. 
 
 ACT III, SCENE I. 
 
 Scene: — As curtain rises, Zaza is discovered at 
 piano, playing. The table R. c. is laid for 
 dinner. After a few seconds' pause, enter 
 Johanna d. r., a stolid German type of wo- 
 man, with two plates of soup — She looks enquir- 
 ingly at Zaza. 
 
 Time: — 8 o'clock in the evening. 
 
 Zaza. She hasn't come in yet, Johanna — 
 (Pause — business) I'm sorry. Do you think any- 
 thing has happened to her? (Johanna shrugs 
 her shoulders) An hour late — {Starts to play. 
 (Johanna nods, and exits d. r. Door bell rings. 
 Zaza shouts — ) It's Auntie — she's forgotten her 
 key — (Zaza starts, hesitates, then goes quickly to 
 door — Opens it as if afraid to let anyone enter — 
 
 {Business — Enter Miss Murphy with two dress- 
 cases.) 
 
 Miss Murphy. Hello, Margie — I brought some 
 things that Miss Pepper left in the office — She was 
 in such a hurry to get away, I s'pose she forgot 
 them. I'm all broke up, kiddy — {Sits c. of table) 
 She went away without saying good-bye or anything 
 ,— Where is she? 
 
MAGGIE PEPPER. 57 
 
 Zaza. {Has dropped down c.) Not come home 
 yet 
 
 {Enter Johanna with two plates of soup — as soon 
 as she sees Miss Murphy, her face assumes a 
 sour expression of disappointment; she turns 
 and exits into kitchen ) 
 
 Miss Murphy. (Turns to Zaza in surprise) 
 What's she got against me? 
 
 Zaza. It's not you — ^Auntie's late and it's her 
 night out 
 
 Miss Murphy. Oh — {Business — looks around) 
 I can't get over it — {Puts boxes up to desk) Mag- 
 gie Pepper gone — What a time there was after she 
 left! Mr. Holbrook and Mr. Hargen had a scrap 
 and Mr. Holbrook's best fiance threw a fit, and 
 they had to get a doctor and send her home 
 
 {Business — Zaza locks hall door.) 
 
 Miss Murphy. What are you locking the door 
 for? 
 
 Zaza. We must be careful 
 
 Miss Murphy. Silver — ? {Points to table) 
 
 Zaza. {Down c. shakes head) That's electro — 
 No Auntie's afraid that Mr. Darkin — it's me — 
 
 Miss Murphy. Oh ! 
 
 Zaza. We keep it locked all the time 
 
 {Bell rings.) 
 
 Zaza. There she is — {Business — rushes to door 
 
 opens it. Enter an expressman with two new 
 
 steamer trunks) For us? There must be some 
 mistake 
 
 Expressman. Pepper ? 
 
 Zaza. That's right 
 
 Expressman. Sign here — (Zaza starts to sign 
 
S8 MAGGIE PEPPER. 
 
 on the wrong line. Expessman says "No, here!" 
 Enter Johanna with soup-plate as before — As soon 
 as she sees who is present, she shows a discontented 
 sow expression, and exits into kitchen. Express- 
 man exits L. c. Zaza signs in book. Exits L. c.) 
 
 Miss Murphy. Going to move ? 
 
 Zaza. Don't know 
 
 {Enter Maggie, her arms full of bundles. She 
 dumps bundles on sofa.) 
 
 Maggie. I know I'm late — don't tell me — and 
 I'll bet Johanna is having three kinds of fits — ^but 
 I can't help it : I had to buy some things — We sail 
 for Europe to-morrow morning — {Crosses to c.) 
 
 Miss Murphy. Europe! {Down c, l. of 
 Maggie) 
 
 Zaza. We? Me, too? Oh, Auntie 
 
 Maggie. Not 'me to' — I also! What's the use 
 of sitting up nights studying if you don't im- 
 prove ? {Puts hat and coat in bed-room) Yes — ^you 
 too 
 
 (Zaza crosses to sideboard, gets caster, puts it on 
 table and sits R.) 
 
 Miss Murphy. My Gawd — shall I ever git to 
 Europe ! {Sighs) I guess Coney Island is my limit 
 — I brought your things up from the store — {Rises 
 and crosses c.) 
 
 Maggie. {From the bed-room) Thank you, 
 Hattie 
 
 Miss Murphy. You never said Good-bye — and 
 it's upset me 
 
 Maggie. {Returning, takes chair from desk and 
 puts it behind table) I'm upset, myself — {To 
 Zaza) Anyone been — ? 
 
 Zaza. No 
 
MAGGIE PEPPER. 59 
 
 Maggie. Well, let's have dinner — Sit down, 
 Hattie — {She sits, then looks off into kitchen) 
 
 Miss Murphy. No, I've got to go — ^my sister's 
 waiting — (Goes up to dresser, gets powder-puff and 
 looking glass, up k. c, powdering her face) 
 
 (Enter Johanna r., dressed to go out — She ignores 
 everyone, and exits d. l. without a word.) 
 
 Maggie. Well, what do you think of that? She 
 must belong to the union ! 
 
 Zaza. Everything's ready — I'll get it — (Busi- 
 ness — Zaza exits into kitchen) 
 
 Miss Murphy. Doesn't she ever say anything? 
 (Down c. powdering her face) 
 
 Maggie. She can't — She's dumb 
 
 Miss Murphy. Oh ! 
 
 (Enter Zaza with two plates on tray, arranges 
 plates.) 
 
 Maggie. That's why I hired her — her cooking 
 isn't much, but she can't talk — that's something — 
 (Miss Murphy puts glass and puff back on dresser) 
 I've so much to think of, I can't eat 
 
 Zaza. I don't want any dinner. No, I don't — 
 really — I'm too excited — Europe — oh — the steamer 
 — the beautiful ocean 
 
 Miss Murphy. Pleasure or business? (Comes 
 behind table, R. of Maggie) 
 
 Maggie. Business — Met Greenbaum — (Zaza 
 exits into kitchen) manager for Greenwald's Fifth 
 Avenue Fashion-plate Emporium — told him I was 
 through with Holbrook & Company and he engaged 
 me on the spot. (Zaza comes from kitchen with 
 plate of bread) Going to Paris to-morrow to select 
 Fall models — Do sit down 
 
 Miss Murphy. Can't — ^got to go. Good-bye, 
 Maggie. 
 
6o MAGGIE PEPPER. 
 
 Zaza. (Kisses her) Good-bye. 
 
 Miss Murphy. Good-bye, and good-luck to you. 
 Don't forget us. 
 
 Maggie. Good-bye, Hattie. 
 
 Miss Murphy. Holbrook's will never be the 
 same to me — Gee — I must do something— I think 
 I'll get married. 
 
 Maggie. Who to ? 
 
 Miss Murphy. Don't know and don't care — I've 
 got chances to burn — they're all alike — one's a little 
 worse than the other — that's all — I s'pose I'll pick 
 a prize lemon — Well, he won't get it any too soft — 
 Good-bye 
 
 (Maggie goes up to door l., locks it, and then sits 
 back of table, she thinks a moment, then looks 
 at Zaza with a loving smile — they don't speak 
 for a moment.) 
 
 Maggie. Are you happy ? 
 
 Zaza. {Seated r. of table) So happy, I — I can't 
 even speak— Oh, Auntie, isn't it glorious — ! 
 
 Maggie. I'm sorry to break up your education. 
 (Zaza passes bread to Maggie) No — I'm through — 
 (Business) It's no use now — I shall miss Holbrook 
 & Company, too — (Business) Let's clear away, 
 Margie — We're neither of us hungry. 
 
 Zaza. No, my heart's so full, I want to cry and I 
 want to laugh, and — (She can't go on) 
 
 Maggie. I may leave you over in France, 
 Margie. (Puts sugar-bowl on sideboard) I shan't 
 feel secure till you're out of the country — away from 
 these people. But we'll talk it over on the steamer. 
 We must get to work — our trunks must be ready 
 to-night 
 
 Zaza. I'll wash the dishes. (Takes tray into 
 kitchen, comes back, gets table-cover from side- 
 board, and puts it on table in place of white one) 
 
 M.AGGIE. (Goes to dresser, brings drawer full 
 
MAGGIE PEPPER. 6i 
 
 of clothes over to trunk, and puts it down above 
 trunk) Margie, go in tnere. {Points to kitchen. 
 Bell rings. Margie exits into kitchen with table- 
 cloth. Maggie stops a moment and listens — then 
 goes to door) Who's there? 
 
 Jake. Me. 
 
 Maggie. {Unlocks door) Oh, Mr. Rothschilds 
 — Come in 
 
 Jake. {Down c. ) Packing up, eh ? 
 
 Maggie. Yes — off to Paris to-morrow — {Down 
 
 L.) 
 
 Jake. Who for? 
 
 Maggie. Greenwald & Co. 
 
 Jake. Don't do it — I got something better ; hush, 
 listen 
 
 Maggie. Now, Jake, they're coming for these 
 trunks early to-morrow morning — and I haven't 
 started to pack 
 
 Jake. When you hear me you won't want to. 
 Hush — listen 
 
 Maggie. Well — ^talk if you want to, but I won't 
 promise to listen 
 
 Jake. Wait — wait — Pve got a partnership to 
 propose 
 
 Maggie. A partnership? I haven't any money — 
 
 Jake. Ah — money — what's money — Is money 
 everything ? — Hush — now listen — wait — I've got 
 money 
 
 Maggie. {Opens trunk) I know you have — the 
 first dollar you ever earned. {Business — putting 
 things in from time to time) 
 
 Jake. We open a store ; I put up the money ; 
 you're the manager, and I'm the treasurer 
 
 Maggie. Now, Jake, it's quite warm enough with- 
 out you puffing a lot of hot air into the room 
 
 Jake. Hush — listen — say — wait — wait — The 
 minute you left Holbrook I said — Hah! — Now — 
 now I can make a business — Miss Pepper, I've had 
 my eye on you for five years — Holbrook — ^bah— r-h? 
 
62 MAGGIE PEPPER. 
 
 don't know a shirt-waist from a necktie 
 
 Maggie. I don't want you to mention his name — 
 never speak of him again — do you understand? 
 {Goes to bed-room, gets armful of dresses and 
 comes down to trunk) 
 
 Jake. Aha — ^that's it — that's just it — revenge is 
 sweet — show him that you're independent 
 
 Maggie. Perhaps-^when I come back from this 
 trip 
 
 Jake. No — now — I've got a great location — 
 option in my pocket — everything ready for a grand 
 Fall opening 
 
 Maggie. It isn't business alone — I must take that 
 girl away from here 
 
 Jake. Oh — ^and while we're talking, Maggie, it 
 isn't business alone with me — I ain't all business — 
 I've got a heart as big as a rock — and — (Business — 
 braces up) Miss Pepper, you think I'm a married 
 man, eh? 
 
 Maggie. You said so; I'd no reason to think 
 otherwise 
 
 Jake. Well, I ain't — I was — but I ain't — I'm as 
 single as the day I was born — I said I was married, 
 it isn't true. 
 
 Maggie. Well, what of it? 
 
 Jake. Hush — ^listen — (Business) Wait — here's 
 where we come to the difficult part. Miss Pepper — 
 You don't dislike my religion — no 
 
 Maggie. Some of the best friends I have in the 
 world are of your persuasion. 
 
 Jake. Quite so — well, why don't you try it? 
 
 Maggie. Try what? 
 
 Jake. My religion — change over — it's easy — then 
 We get married — Ain't that business ? 
 
 Maggie. What's the matter with your changing 
 over? I should think if a gentleman loved a lady, 
 he'd do the changing ' 
 
 Jake. What's the difference ? 
 
MAGGIE PEPPER. 63 
 
 Maggie. I think it's more polite for the gentle- 
 man to change — it looks better 
 
 Jake. No — I don't think I'd look so well in any 
 religion but my own. It suits me — ^and — and I'm so 
 used to it 
 
 Maggie. Do you really love me? (Business — 
 trying to force tray in trunk) Bother this tray — 
 (Business) Do you really love me ? 
 
 Jake. Say, dot's a question that borders on the 
 personal; of course I do — Do you suppose I'd be 
 wiUing to sacrifice myself if I didn't 
 
 Maggie. Sacrifice ? 
 
 Jake. Well — I've been single for forty years — 
 
 Maggie. What ? 
 
 Jake. Forty-two 
 
 Maggie. Come again. 
 
 Jake. Forty-five — Oh, don't be so business- 
 like — when people talk love they ain't particular 
 about exact figures — Come — what do you say? 
 (Maggie trying to close lid of trunk) Please, please 
 stop that trunk packing — I can't make love to any- 
 body that's so busy about something else 
 
 Maggie. (Shakes her head) You're a good fel- 
 low, Jake — ^but — (Looks at him — laughs) 
 
 Jake. Is it something to laugh at — ? 
 
 Maggie. No — it isn't — ^but I can't help it 
 
 Jake. Marriage is nothing to joke with — Come, 
 I want a serious answer — right from the heart- 
 
 Maggie. I'll give it you right from the shoulder : 
 No — (Sits on trunk) 
 
 Jake. No ? 
 
 Maggie. No 
 
 Jake. I won't accept it — I'll give you sixty— ^ 
 ninety days, to think it over — (Bdl rings) 
 
 Maggie. See who it is, Jake? (Puts empty 
 drawer in dresser in bed-room) 
 
 Jake. We ain't married yet, and right away I'm 
 the bell-boy. (Business — goes to door, opens it — i 
 Enter Ada hurriedly — She then goes down l.) 
 
64 MAGGIE PEPPER. 
 
 Maggie. (Up r. c.) Go home, Jake 
 
 Jake. Yes, I go — I see you to-morrow. What 
 steamer ? 
 
 Maggie. Cedric — ten A. M. — Good-bye, Jake. 
 Good-bye. {Exits l. c. door, locks it, then goes 
 down c. Business — goes to kitchen — closes door 
 carefully. To Ada) When I got your pardon 
 through Mrs. Thatcher, you promised faithfully 
 you'd never come here again, and since then you 
 and your husband have hounded me for every dollar 
 I can rake and scrape together 
 
 Ada. It isn't me — so help me God it isn't — Don't 
 say anything till you hear what I have to say — I've 
 come to warn you — Darkin is determined to take 
 Zaza with us to Denver — He says he won't take the 
 money now — even if you offered it — — 
 
 Maggie. What's at the bottom of that Denver 
 trip? 
 
 Ada. {Crosses r. c.) That's the hellish part of 
 it ; there's a friend of his out there — one of his own 
 kind — 2L gambler crook — and he — he's alvirays been 
 sweet on Zaza — he wants to marry 
 
 Maggie. To marry Margie ? — Bad as you af e, I 
 should think you'd be ashamed — ^to 
 
 Ada. I am ashamed — and that's why I've come to 
 beg you to get her away somewhere as soon as you 
 can. I promised him I'd bring her back with me — 
 Ashamed — I'm more than ashamed — I'm tired — 
 tired of him — ^tired of the whole business — if I 
 wasn't afraid, I'd never go back to him again — 
 Maggie, you don't know what it is to be afraid of a 
 man — ^and yet be compelled to live with him — It's 
 horrible — ^horrible — I've stolen — I've — I've done 
 everything for that man, and yet if I cross him in 
 the smallest thing, he threatens to tell the police 
 something he knows about me — but he shan't have 
 Zaza — I'm determined 
 
 Maggie. He shan't — I'll give you a written 
 guarantee on that point myself^ — I'm going to take 
 
MAGGIE PEPPER. 65 
 
 her out of this country — ^We sail early to-morrow 
 morning 
 
 Ada. Good, good, I wish to God I was going with 
 you, Maggie ! Let me see her a minute just to say 
 good-bye — will you? 
 
 Maggie. No — I hate to refuse you, but she's be- 
 ginning to forget — I don't want to bring up the 
 old 
 
 Ada. You're right — oh, I know what you've done 
 for her — and that's what's changed me towards you, 
 Maggie. When I saw that girl — my girl — carrying 
 her lesson books to school— just like other girls — 
 it made me feel almost proud of her — I saw the 
 difference in the way she walked — she carries her- 
 self like the rest of them. She has character — one 
 can see that — and that's what I never had: char- 
 acter. 
 
 Maggie. When did you see her? 
 
 Ada. Often and often — ^but I never spoke to 
 her — ^not once. No, I kept my word. Maggie — I 
 never saw anyone change as you two have — ^you're 
 neither of you the same — She mustn't come to any 
 harm out West 
 
 Maggie. She's not going out West 
 
 Ada. I wish I was sure — I tell you, he's a devil, 
 and when he sets his mind on anything — I'll tell 
 him you've moved from here, and that I can't find 
 you-^Oh, Maggie, I've never treated you right; 
 that kid brother of yours spoiled me ; if he'd only 
 acted like a man and beaten me or something — I 
 might have gone straight — I hate to weaken, but — 
 {Business — crosses c.) I'm wrong and I've always 
 been wrong 
 
 Maggie. (Crosses to her, puts her hand on Ada's 
 arm) Never mind — it's over and done with now — 
 Would you really like to say good-bye to her? 
 {Ada. nods. Maggie goes to door e., and unlocks 
 it) Margie — {Pause) 
 
66 MAGGIE PEPPER. 
 
 {Enter Zaza. As soon as she sees Ada, she 
 hesitates — looks at her Aunt as if not knowing 
 what to do.) 
 
 Ada. Hallo, Zaza — (Maggie sends Zaza over 
 toward Ada. An awkward pause) Aren't you 
 glad to see me ? Well — Won't you speak to me — ? 
 (Crosses to Zaza, and kisses her) 
 
 Zaza. (r. c.) I — I don't know what to say — 
 it's— How's— how's Mr. Darkin ? 
 
 Ada. Very well, thank you — Doesn't she look 
 fine ? — doesn't she ! 
 
 Zaza. Aunt Margaret has done so much for 
 me 
 
 Ada. I'm not looking for any credit, my dear. 
 It was up to me to do it, and I didn't — When I look 
 at you I feel so hopeless — so helpless — If someone 
 like her had taken me in hand at your age I'd a been 
 a different woman, Zaza, I bet you. Oh, if I didn't 
 have to go back to him — I hate the very thought 
 
 Maggie. Well, why do you go back — to him — ? 
 
 Ada. I must — he — ^he expects me 
 
 Maggie, (r. of table) That's the trouble with 
 you: someone expects you to do a thing and you 
 feel you've got to do it. You obey anyone but your- 
 self — You have no will, Ada — Now, listen — leave 
 this man Darkin — if you're really in earnest — I'll 
 help you — so will Mrs. Thatcher— and so will 
 Margie. We'll all stand by you 
 
 Zaza (Above table) Yes 
 
 Ada. Will you ; 
 
 Maggie. Why, of course we will- 
 
 Ada Very well— I'll do it— I'll do it— I'll do it. 
 
 Maggie. You'll weaken before you get to the 
 street corner 
 
 Ada. No, I won't — you'll see — Maggie, I'm going 
 to do it if it's the last act of my life — I'm going to 
 try and make myself worthy of you both — ^you'll 
 
MAGGIE PEPPER. 67 
 
 see — I'm so low-down, anything will be an improve- 
 ment 
 
 Zaza. Can't we take her with us. Aunt Margaret ? 
 Can't we ? 
 
 Maggie. Take her with us ? {Looks at Ada and 
 shakes her head) 
 
 Zaza. On the steamer — to Europe 
 
 Ada. I'll go to Europe in the steerage — I'll go 
 as your maid — let me wait on you — anything to — to 
 make good, and to get away from him — ^anything, 
 Maggie — it's my one chance. If I stay in this 
 country, he'll find me and make me go back to him. 
 I know hirh — it's up to you now, Maggie, whether 
 I'm to go back to him or not 
 
 Zaza. She means it, Auntie — I know she does — 
 
 Maggie. I must think it over — It's an experi- 
 ment — ^but it's an awful long shot, Ada — You can 
 get a good position, but — if you ever make any — 
 mistakes, it's up the river, sure — influence don't go 
 over there 
 
 Ada. Another chance — another chance — Maggie, 
 it seems too good to be true — another chance — I 
 never hoped for it — never expected it 
 
 Maggie. (Bell rings — To Zaza) Go in there 
 and stay till I come. (Zaza exits into kitchen. 
 Maggie looks at clock) Nine o'clock — Do you sup- 
 pose it — it's Darkin? 
 
 Ada. He said he'd wait home for me — If he's 
 found out anything he'll kill me — Oh, I'd hate any- 
 thing to happen now 
 
 Maggie. Don't be a fool! (Business— goes to 
 door L. c.) 
 
 Ada. (Crosses r. c. and goes upstage) Don't 
 let him in if 
 
 Maggie. (At door) Hush! Who's there? 
 
 Joe. (Off-stage) Mr. Holbrook! 
 
 Maggie. Mr. Holbrook— (O/'^w.y door) well- 
 Mr. Holbrook 
 
68 MAGGIE PEPPER. 
 
 Joe. So glad you're in — ^had an awful time find- 
 ing this place. 
 
 Maggie. Come in, Mr. Holbrook. 
 
 (Joe enters and goes to table r.) 
 
 Ada. I must be going. (^Crosses to door l.) 
 
 (Joe sits l. of table.) 
 
 Maggie. {Business — to Ada) Come back at 
 once — If you can't get back to-night — ^be here early 
 to-morrow morning — {Up at door l. c.) You won't 
 weaken ? 
 
 Ada. I'll be back to-night — if I'm alive. God 
 bless you, Maggie, old girl. {They embrace. 
 Looks at Holbrook, and exits l. c.) 
 
 Maggie. {Up l. c.) Ada — My sister-in-law — 
 Margie's mother 
 
 Joe. Oh, yes 
 
 Maggie. Yes — {Looks shatply at him. Notices 
 that he has been drinking a little. Shuts double 
 door, crosses to kitchen, and calls off-stage) Margie 
 — rshut the window to the fire-escape and be sure that 
 it's locked 
 
 Joe. Are you afraid I shall jump out of the 
 windows ? 
 
 Maggie. {Up r.) No — there have been several 
 burglaries in the neighborhood lately — Do please ex- 
 cuse the upset appearance of the place — {Down to 
 side-board) I look a sight 
 
 Joe. You look all right to me — all right — all 
 right — May I take off my coat ? ( Takes off coat — 
 puts hat and coat on trunk up l.) And won't you 
 sit down. Miss Pepper? (Maggie sits behind table) 
 I might as well tell you now as later — {He sits left 
 of table) It's all ofif 
 
 Maggie. All off ? 
 
MAGGIE PEPPER. 69 
 
 Joe. My engagement — is — ^broken — off. Mar- 
 riage postponed indefinitely 
 
 Maggie. You've broken off your engagement 
 with Miss Hargen ? 
 
 Joe. Yes- 
 
 Maggie. Oh, Mr. Holbrook- 
 
 JoE. And what's more, I'm glad of it 
 
 Maggie. Oh, no, you're not — She loves you — 
 and you love her — 
 
 Joe. Do I ? — that's the question ! 
 
 Maggie. Of course, you do — you've told me so 
 dozens of times — Oh, dear, and it's all about noth- 
 ing — nothing 
 
 Joe. On the contrary, it's about you! 
 
 Maggie. That's what I said: about nothing. 
 You write her an apology — beg her forgiveness — 
 and send it to her immediately 
 
 Joe. I don't want to be forgiven — ^besides, I'm 
 the offended party 
 
 Maggie. I know — ^but you're a man. Don't make 
 a lot of excuses, now ; just do as I tell you 
 
 Joe. Is that the way you talk to your boss ? 
 
 Maggie. You're not my boss 
 
 Joe. That's so — ^you've left — And that's why I 
 did it — ^because you left. . Now, if you come back — 
 
 Maggie. No — no — I can't — I've taken another 
 position. Come — ^go home and write that letter 
 
 Joe. No — it took courage to break it off — ^but it — 
 it would take more than courage to put it together 
 again. She'd have to take back all the insults she 
 heaped on^ou 
 
 Maggie. Oh, never mind about me 
 
 Joe. But I do mind about you, Margaret — Do 
 you know what she says she'll do? Sue me — ^bring 
 an action in the courts for breach of promise — just 
 for the express purpose of bringing you into the suit 
 as — as — ^the chief cause. She wants to brand you 
 openly before the whole world — she told me so — and 
 that's what has turned me aga;inst her. Margaret, 
 
70 MAGGIE PEPPER. 
 
 I'm ashamed of myself — it was my fault from the 
 beginning — and — I'm going to do the right thing by 
 you 
 
 Maggie. You have done the right thing by me. 
 Mr. Holbrook — I'm of age and I can take care of 
 myself — and when people don't do the right thing 
 by me — it's my fault — (Goes to side-board) 
 
 Joe. But do you realize what an awful scandal 
 there will be? And I'm to blame — Yes, I am — If 
 I'd told them from the start that you were my — my 
 confid — my — ^my adviser — it would have been dif- 
 ferent — ^but you insisted on my leaving your name 
 out and taking all the credit myself, and what's the 
 result? I'm the celebrated Dry-Goods Napoleon — 
 and you're — the notorious — (Looks at her) 
 
 Maggie. Why don't you say it ? 
 
 Joe. If she sues — ^there'll be a fine scandal — 
 Hargen says he has a hundred witnesses — and she 
 says her lawyer told her my reputation's so bad, he 
 could win the suit without any witnesses at all. She 
 wants vindication 
 
 Maggie. In one way she's right- 
 
 Joe. I didn't think you'd side aginst me- 
 
 Maggie. Don't you think it was a great mistake 
 for you to come here ? 
 
 Joe. No — I wanted to see you — I'm going to do 
 the right thing, Margaret 
 
 Maggie. You must make it all right with her 
 first 
 
 Joe. I think more of your little finger than I do 
 of her whole hand! Won't you sit down, please? 
 (Maggie sits r. of table) There's only one thing 
 to do — She's going to sue me — I'll give her some- 
 thing to sue for — (He sits back of table, puts his 
 hand on Maggie's arm) 
 
 Maggie. Will you, indeed? 
 
 Joe. Yes — Do you realize that you — ^that you've 
 become a part of my life ? — ^We've been together for 
 months — day after day — in the bonds of friendship 
 
MAGGIE PEPPER. 71 
 
 and sympathy — ^trust each other — know each other 
 — love each other 
 
 Maggie. Now, Mr. Holbrook — ^you've been 
 drinking — ^but not enough to prevent your knowing 
 what you're talking about. Please don't — say any 
 more 
 
 Joe. a bottle of wine at dinner, that's all — I'm 
 excited, I acknowledge — ^but only one bottle, Mar- 
 garet — a. large one 
 
 Maggie. Kindly call me Miss Pepper — just as a 
 mark of respect — even if you don't feel it 
 
 Joe. But I do feel it — I more — more than respect 
 you, I — ^you know — in spite of my reputation, I'm 
 not a great hand at love-making — that is — ^not the 
 mushy sort — ^you know what I mean-r — 
 
 Maggie. I don't know — I've had very — ^very 
 little love made to me, of the mushy or any other 
 sort 
 
 Joe. Am I the first? 
 
 Maggie. The first? 
 
 Joe. Yes — ^Am I — ^the first to offer you — my — 
 my — ? 
 
 Maggie. Mr. Holbrook — suppose you go home 
 and go to bed — then get up early to-morrow and 
 dictate all these pretty speeches to your stenographer. 
 Then put the letter in your desk and read it over 
 carefully about six months from now. Then if 
 you approve of it — ^you can send it to me — {Crosses 
 to side-board) 
 
 Joe. You won't take me seriously, eh?_ Don't 
 you understand? You're going to be publicly ac- 
 cused of the very worst — Can you see your name in 
 the big type and your picture in the evening papers — 
 I want to save your good name, Margaret 
 
 Maggie. Well— how do you propose to do it? 
 
 Joe. Make you my wife 
 
 Maggie. Your wife — ! 
 
 Joe. Of course — ^What did you think I meant? 
 
 Maggie. I didn't know— I didn't think you meant 
 
72 MAGGIE PEPPER. 
 
 anything — You said so many things that— I thought 
 you were just talking— just talking— and you want 
 to marry me— because— ? You're willing to sacrifice 
 yourself— just to save me ! Mr. Holbrook, I always 
 did — like you — I don't dare tell you how much — 
 and now I — ^Well, I just love you too much to let 
 you throw yourself away and ruin your happiness 
 because you've quarrelled with the woman you 
 love 
 
 Joe. I'm quarrelling with the woman I love — 
 now 
 
 Maggie. (Laughs hysterically) Well — I— I 
 can't get over it — oh — this moment is worth having 
 lived for 
 
 Joe. Well, what do you say, Margaret? {He 
 rises) 
 
 Maggie. No. (Business) Do you suppose I'm 
 going to take advantage of your generosity ? 
 
 Joe. Generosity — it isn't generosity — I love you ! 
 I've tested myself in a dozen different ways — ^besides, 
 it's my duty — I want to do the right thing and I 
 will—! 
 
 Maggie. You see — it's your duty — and I suppose 
 it's my duty to marry you — whether I love you or 
 not— because a lot of scandal-mongers suspect the 
 .very worst of us- 
 
 Joe. To save your good name 
 
 Maggie. I haven't any good name, and what 
 there is left of it will take care of itself — I know 
 what I am — and those that know me, know what 
 I am — the others don't matter. You've done your 
 duty, Mr. Holbrook — you've done more. There isn't 
 one man in a thousand would have done it, and I — 
 (Wants to say " love") I respect you for it, but — 
 (Shakes her head) , 
 
 Joe. But you decline — (Sits -l.) 
 
 Maggie. Most respectfully — ^and when you sober 
 up, you'll thank me, too 
 
 Joe. I am sober — You know, Margaret, you'ye 
 
MAGGIE PEPPER. 73 
 
 deceived me — you led me to believe you loved 
 me 
 
 Maggie. I — how ? 
 
 Joe. Why, you've said dozens of times — Oh, how 
 I love to work ! — meaning, for me. How I love to 
 be here ! — meaning, with me — Oh, I — ^how I love this 
 place ! — my place — It was love — love — ^love — all the 
 time — and neither of us knew it — (Maggie goes up 
 R. c.) It's the first time I've ever been most re- 
 spectfully declined — ^and the sensation is not pleas- 
 ant 
 
 Maggie. Now listen to me, Joe — {Comes behind 
 table) — I'm going to call you Joe because — you're a 
 bully good fellow at heart, and — I love you to pieces, 
 but — I've got to set that girl in there an example, 
 and if I took you away from another woman she'd 
 have no faith in me-^Go back to Miss Hargen ^ 
 
 Joe. (Shakes his head violently) No- 
 
 Maggie. Go home and go to bed, then 
 
 Joe. No 
 
 Maggie. (Laughs) Why, you can't even decide 
 whether to go home or not — let alone decide whom 
 you want to marry 
 
 Joe. That's an old trick of yours, Margaret — 
 pretending to ridicule the things about which you 
 feel most deeply 
 
 (Bell rings, followed by knock on door. Maggie 
 looks at Joe — then rushes to door.) 
 
 Ada. (Off-stage) Margaret! Margaret! (En- 
 ter Ada quickly) Jim's following me — lock it — 
 Don't let him in! (She locks door) 
 
 Maggie, (l. c.) What's the matter ? 
 
 Ada. (l.) He's following me — He knows I'm 
 going away — and he's crazy — just crazy 
 
 Maggie. Why did you tell him ? 
 
 Ada. I don't know; — He got it out of me — ^he 
 struck me — He threatens awful things unless we 
 both go West with him to-night 
 
74 MAGGIE PEPPER. 
 
 Maggie. Don't be afraid — ^he's only trying to 
 frighten you — Now, let me see — ^What are we to do ? 
 (To Joe) You must go right away, Mr. Hol- 
 brook. If there's any trouble here I don't want you 
 to be mixed up in it 
 
 Joe. I shall stay — If I can be of the slightest ser- 
 vice 
 
 Maggie. You can't — ^you're only in the way 
 
 {Bell rings again. This scene is played in under- 
 tones.) 
 
 Ada. There he is — don't let him in — I'm afraid — 
 (Business — feels her throat) 
 
 Maggie. Well, I'm not — Now, please go, Mr. 
 Holbrook 
 
 Ada. He's a dangerous man, sir, and- 
 
 JoE. Oh, is he? — Then I shall certainly stay — 
 I'm a dangerous man myself. (Bell rings again) 
 An old half-back likes a little danger now and then — 
 I've fought two women to-day and been beaten 
 badly, now give me a man to fight, the more danger- 
 ous the better 
 
 Maggie. I want you to go, Mr. Holbrook — No 
 nonsense, now — ^there must be no trouble. Don't 
 you know what it means if you're mixed up in any 
 squabble in these rooms ? 
 
 (Two bells, followed by knocks.) 
 
 JoE. If you won't let me stay — send for an 
 officer, and 
 
 Ada. No — no! the police — don't do that — don't 
 get the police mixed up in it 
 
 Maggie. Go in the kitchen and — (Ada exits into 
 kitchen. Knock — Maggie goes up to door l.) 
 Just a moment. 
 
 Jim. Hurry up. 
 
 Maggie. Now, when I open the door you'll go 
 
MAGGIE PEPPER. 75 
 
 without speaking to him, tvon't you? — Promise 
 me 
 
 Joe. And leave you two helpless women here at 
 the mercy of a black-mailing scoundrel — Oh — no — 
 no — I couldn't 
 
 Maggie. You can't stay here — He'll say some- 
 thing unpleasant, and — {Business — looks around) 
 Will you go in there ? {Sends Joe to double doors) 
 Don't come out, please — {Business^puts him in 
 room upstage) No matter what he says or does — 
 Promise me 
 
 Joe. I won't promise anything — {Exits into bed- 
 room) 
 
 Maggie. {Closes door — locks ^oe. in. Crosses to 
 door L. and unlocks it) What do you want? 
 
 (Darkin enters.) 
 
 Darkin. Where is she ? 
 
 Maggie, (l. c.) She — who? 
 
 Darkin. (l.) You know who I mean: my 
 wife 
 
 Maggie. Where you can't get her — ^now. You 
 get out of here at once, Mr. Darkin, or I'll have you 
 arrested for breaking into this apartment 
 
 Darkin. You will — will you — ? {Backs her 
 into a corner, r.) Where's my wife? She came 
 in here, and she's here now — ^Damn you — You've 
 broken up our home and — smashed it up pretty 
 thoroughly, haven't you? First you take my 
 daughter — and now you've influenced my wife to 
 quit me 
 
 Maggie. I took my niece from you because 
 you're unfit to have charge of her. As for your wife, 
 she's 
 
 Darkin. {Forces her to R. of table) She's as 
 good as you are — and she's no good at all — You're 
 a fine one to talk, you are — A fine example you set 
 this girl — living openly with this man Holbrook 
 
76 MAGGIE PEPPER. 
 
 Maggie. {Above and r. of table) That is not 
 true — ! That's not true and you know it ! 
 
 Darkin. (Above and l. of table) He might do 
 a little better than this for you — I always thought 
 he was a piker — The Dry-Goods Napoleon — ha! — 
 Where's Zaza ? 
 
 Maggie. Out of your reach! 
 
 Darkin. And my wife ? 
 
 Maggie. I refuse to answer any more ques- 
 tions 
 
 Darkin. (Starts towards her) Now, don't you 
 get me riled up ! (Pause. Business — bangs on table. 
 At the same moment, double-door rattles as if some- 
 one was trying to get out. Business — Darkin 
 turns — looks at c. d.) Who's in there? 
 
 Maggie. No one 
 
 (Moves toward door c. Darkin intercepts her.) 
 
 Darkin. Who's in there ? 
 
 Maggie. No one — ^ 
 
 Darkin. She's there 
 
 Maggie. No 
 
 Darkin. You've got those women in there, and, 
 by God ! 
 
 Maggie. No — no — for your own sake, Darkin — 
 don't go in there 
 
 Darkin. For my, own sake- 
 
 Maggie. Yes — There's someone in there who'll 
 break you in pieces. 
 
 Darkin. You can't throw me off. (Starts for 
 door) 
 
 Maggie. For God's sake, don't go into that 
 room — (Business — a slight shriek) 
 
 (Business — pushes her away and opens door c. The 
 noise of a struggle follows— Darkin shouts— 
 "Let me go, will you?" — Noise of blows, 
 shouts, etc. " Say, don't hit me, or — " etc., etc. 
 
MAGGIE PEPPER. -jf 
 
 An elbow is pushed through one of the glass 
 partitions, followed by struggles, as if a terrible 
 fight were taking place — then a shot, followed 
 by the thud of a heavy fall. Pause. Maggie 
 above table, tries not to faint. Darkin rushes 
 out of double-doors l. c. Ada enters and 
 stands at kitchen door.) 
 
 Maggie. {Goes up to double-doors) Ada, Ada, 
 Mr. Holbrook is wounded, go for a doctor ! Quick, 
 quick ! 
 
 CURTAIN. 
 
 ' ACT III, SCENE 11. 
 
 Diagram of Act III, Scene 2d : — Same as Scene 
 1st, excepting that armchair is left of table; 
 small chair below sofa. 
 
 Scene: — Same as Act III, Scene I. 
 
 (Zaza discovered, looking out of window l. Ada 
 enters r. 2 with coffee-pot, puts it on side- 
 board; arranges things on side-board, and 
 exits into kitchen, r. 2.) 
 
 Zaza. (At window) Mother — {Crosses to 
 
 kitchen) Mother 
 
 Ada. {Off-stage) Yes, dear — {Appears at 
 
 door) 
 Zaza. Sit down, mother, I want to talk to you — 
 Ada. I haven't time, I've got the silver to clean — 
 Zaza. Silver ! Why, we only have a few plated 
 
 ?iieces that — How is it you never like to talk to me? 
 t's work, work, work— day and night. Why, 
 
 mother, you do as much as three servants 
 
 Ada. {Sadly) I want to be a servant — it's the 
 only way I can show how grateful I am to you-^ 
 
78 MAGGIE PEPPER. 
 
 and, Margaret,-^! want to work until I get back a 
 little self-respect 
 
 Zaza. Well, but be happy about it — smile now 
 and then — (Ada smiles) That's right, cheer up. 
 
 Ada. Yes, but when I think of the past 
 
 Zaza. Never mind the past, it isn't what you 
 were, it's what you are — we are getting fond of you. 
 
 Ada. Are you ? 
 
 Zaza. (Back of table) Of course we are — and 
 Auntie doesn't like to see you eat your meals alone 
 in the kitchen and wait on us like a servant, any 
 more than I do! 
 
 Ada. I must — I must ! 
 
 Zaza. I suppose you must have your own way — 
 
 (Maggie enters from kitchen.) 
 
 Maggie. Mail these — (Hands letters to Zaza) 
 Zaza. (Seated on arm of chair) Yes, Auntie — 
 Maggie. If I don't get a position out of that 
 
 batch, I'm going to give up trying 
 
 Zaza. I don't understand it 
 
 Maggie. Just as soon as they find out I'm the 
 
 notorious Maggie Pepper, they don't want me — and 
 
 they always do find out — thanks to Mr. Hargen. 
 
 Don't be long. 
 
 (Zaza kisses Maggie.) 
 
 Zaza. Yes, Auntie 
 
 (Rushes off d. l. f., with letters. Maggie puts away 
 writing-material in desk up c. — After a few 
 moments, enter Ada d. r. c. with a tray of 
 food.) 
 
 Ada. (At door) He wants a cigar 
 
 Maggie. He can't have it — he's had three to- 
 day 
 
MAGGIE PEPPER. 79 
 
 Ada. (Down r.) I told him you said smoking 
 was bad for a convalescent — (Puts tray in kitchen) 
 
 Maggie. (At back table) Ada, how is he? 
 
 Ada. (At door of kitchen) Well enough to go 
 home — ^and I told him so 
 
 Maggie. What did he say ? 
 
 Ada. (e. of table) Told me very politely to 
 mind my own business 
 
 (Ada exits through double-door. Enter Joe Hol- 
 BROOK D. R. c. He wears a dressing-gown.) 
 
 Joe. I didn't get that cigar, nurse 
 
 Ada. No — I — (Business^exits into kitchen) 
 Joe. (Down l. of table) I suppose the head 
 nurse wouldn't let you — Ah, be generous — just 
 one — (Sits in armchair) 
 
 Maggie, (r. of table) Mr. Holbrook, when are 
 you going home? (Joe looks at her) You've been 
 here ten days — ^and— you're almost well now — you 
 must go — There's no excuse for your staying here 
 any longer — (Waits for him to answer) Mr. Hol- 
 brook — - 
 
 Joe. I won't talk till I get a cigar — (Maggie goes 
 to drawer of side-board — takes out box of Perfecto 
 cigars — Joe says joyfully — "Ah!" — She puts it 
 back and takes out small box of Portella cigars)' 
 Oh! — (Maggie puts cigars and ashtray on table. 
 Business) You know I'm having a perfectly 
 glorious time — dead to the world — no one knows 
 where I am — the newspapers full of my sudden 
 disappearance — that thousand dollars' reward 
 Hargen offered for the recovery of my body was 
 a masterpiece of meanness. Why, didn't he make it 
 ten? Don't you think I'm worth it? (Lights 
 cigar) 
 
 Maggie. You seem to enjoy being dead 
 
 Joe. Can you imagine any greater fun than read- 
 ing your own obituary notices ? 
 
8o MAGGIE PEPPER. 
 
 Maggie. Well, you must come to life — ^ypu 
 must 
 
 Joe. Not until you consent to be my wife 
 
 Maggie. Then you'll stay dead till you die 
 
 Joe. What will people say when they find out 
 that I've been here all this time and that you have 
 been buying my clothes ? 
 
 Maggie, (r. of table) I ought to have sent you 
 to the hospital — but I was afraid of police interfer- 
 ence. Your being mixed up in a shooting affair in 
 my flat wouldn't have made half the scandal that 
 this will make— Can you see it? — ^big scare-head- 
 lines — " Dead man returns to life — Discovery of the 
 body in Miss Pepper's apartment" — Oh Lord, the 
 more I think of it the worse it gets ! 
 
 Joe. Never mind, Margaret, you did what you 
 thought best-— — 
 
 Maggie. Yes — ^but the best has turned out to be 
 about the worst thing I could have done. I was so 
 upset that night 
 
 Joe. I'll think a way out of it — I suppose noth- 
 ing has been heard from Mr. Darkin ? 
 
 Maggie. No — Come, now— you must go at 
 once 
 
 Joe. I'll go to-night— take a train to New 
 Orleans— a steamer from there to Europe— then 
 come back under my own name and let them fight it 
 out among themselves as to the whys and where- 
 fpres— that's the program. (Pause) Margaret-^I 
 want you to answer me one question, and I want 
 you to tell me the truth— Why won't you marry me? 
 
 Maggie. Mr. Holbrook, you once told me you 
 would do the right thing by me, which means you 
 thought you were in duty bound to make me your 
 wife, because people had linked our names to- 
 gether — do you remember ? 
 
 Joe. Yes, but 
 
 Maggie. Well--the idea of reparation— or duty 
 or moral compulsion of any sort as a motive fpr 
 
MAGGIE PEPPER. 8i 
 
 marriage is horrible to me. It means a sacrifice, 
 and — I don't want you to sacrifice yourself for me, 
 Joe — and I won't let you 
 
 Joe.. It's no sacrifice 
 
 Maggie. You've asked me — I answered you — 
 Now, please don't speak of it again 
 
 Joe. Margaret, you're wrong 
 
 Maggie. I know, but — it's better to be wrong on 
 the right side, than right on the wrong side. The 
 idea of your insisting on staying here and refusing 
 to let your folks know — Do you know, Joe, your life 
 has been one long succession of generous soft- 
 hearted mistakes — ^You're just a great big impulsive 
 boy with an infinite capacity for doing the wrong 
 thing — your present impulse is to marry me — but I 
 love you so much I won't take a chance of your get- 
 ting another impulse in the other direction — If I 
 don't marry you it won't break your heart — if I do — 
 it might 
 
 Joe. That's the worst roast I ever had in my 
 life 
 
 Maggie. Well, that's the trouble with the truth — 
 you can't touch it without its biting you 
 
 Joe. No character at all, eh? Just an inverte- 
 brate human jelly — wobbling in every direction — 
 and if I'm that bad I need a keeper — and it's up to 
 you to prevent my flopping aimlessly around for the 
 rest of my life — Ethel can't do it 
 
 Maggie. No, she can't — {Looks at him with a 
 longing, intense look) I never thought of that — 
 (A look of hope comes iiito her face. Above side- 
 hoard) Now, stop smoking, do you hear? {Lov- 
 ingly) You know it's bad for your heart, Joe. 
 
 Joe. {Puts cigar on ash-tray) I know, if you 
 say anything, I do it ; if that isn't love, what is it ? 
 
 {Enter;. Zaza l- d., letter in hand. She comes to 
 R. of Joe.) 
 
82 MAGGIE PEPPER. 
 
 Zaza. How do you do, Mr. Holbrook? 
 
 Joe. You're to call me Uncle Joe, now — (Puts 
 his arm around her) 
 
 Maggie. No 
 
 Joe. Is that so? 
 
 Maggie. That's so — (Zaza has business with let- 
 ter. Starts for kitchen) Is that for me? 
 
 Zaza. No — it's for mother — A man downstairs 
 gave it to me — He asked a lot of questions about 
 Mr. Darkin — Wanted to know if he wasn't up 
 here — asked me the name of the man who was 
 
 Maggie. You didn't tell him ? 
 
 Zaza. Oh, no — (Exits r. with letter) 
 
 Maggie. (To Joe) You see? You must go — : — 
 
 Joe. Yes — I'll get ready — It will be dark in an 
 hour, and then 
 
 (Bell rings — Maggie goes to door — Joe exits 
 quickly c. D.) 
 
 Maggie. Mrs. Thatcher — come in. 
 
 (Enter Mrs. Thatcher d. l.) 
 
 Mrs. Thatcher. I want to see you, my dear, on 
 a very important matter 
 
 Maggie, (r. c.) Can I get you some coffee ? 
 
 Mrs. Thatcher. No, thanks, Maggie — I'm 
 going to betray professional secrets to help you 
 out 
 
 Maggie. Is it anything serious ? 
 
 Mrs. Thatcher. I don't know — it may be — I 
 was at Police Headquarters this morning — on an- 
 other case, and one of the Central office men told 
 me that — this woman's husband — Jihi Darkin — he's 
 here in New York — killed a man last week in 
 Denver, and they suspect that you are hiding him — 
 
 Maggik. Suspect — me — of hiding Jim Darkin? 
 
 Mrs. Tuatcher. His wife is here, and he's 
 
MAGGIE PEPPER. 83 
 
 wanted for murder — and they've found out that you 
 have some one concealed in your apartments. 
 (Maggie turns away) Now, I don't know anything 
 about it, Maggie — I'm only warning you — If you 
 attempt to conceal this man — it will mark you for the 
 rest of your life 
 
 Maggie. Mark me ? Great heavens, I'm tatooed 
 all over now — {Crosses to table) 
 
 Mrs. Thatcher. (Crosses to Maggie) Get 
 him away — ^have nothing to do with hini 
 
 Maggie. But he isn't here — This is the last place 
 he'd come — — 
 
 Mrs. Thatcher. So much the better — well — 
 I've warned you 
 
 (Enter Ada r. 2 e. — letter in hand.) 
 
 Ada. Here's a letter from — (Sees Mrs. 
 Thatcher — stops) 
 
 Maggie. You can speak before Mrs. Thatcher. 
 
 Ada. It's from a friend of Jim's — asks if he can 
 come here and see him 
 
 Maggie. Who gave it to you? — (Back of table) 
 
 Ada. a man down-stairs, Zaza said 
 
 Mrs. Thatcher. It's probably a detective who 
 wants to find out if he is here — Don't answer it. 
 (Ada exits into kitchen) Well — I must be off. 
 (Starts to go) Oh, by the way, they've found Mr. 
 Holbrook 
 
 Maggie. Have they? 
 
 Mrs. Thatcher, (c.) Yes — ^that is, they've 
 found his body in the river 
 
 Maggie. No — ^you don't say so ! 
 
 Mrs. Thatcher. It hasn't been identified yet — 
 but they're claiming the reward. 
 
 Maggie. I hope they get it. 
 
 Mrs. Thatcher. I don't understand about him, 
 Maggie — ^Why should he commit suicide ? 
 
 Maggie. Why indeed! (Up R. c.) 
 
84 MAGGIE PEPPER. 
 
 Mrs. Jhatcher. According to reports, you 
 ought to know — it's too bad, just as the business was 
 flourishing — ^things are all topsy-turvy down at the 
 store. Hargen has lost his head — discharged all his 
 best help. Holbrook's suicide will finish the business 
 altogether. Haven't you ever seen him since — ^he 
 quarrelled with the woman he was going to marry ? 
 (Pause — Maggie makes no reply) Well — I won't 
 ask yoU any questions. Good-bye, dear. (^Starts 
 up to doorL.) 
 
 Maggie. {Crosses c.) Tell me, Mrs. Thatcher, 
 is — how does she bear it? — Is it true that Miss 
 Hargen is suffering? This — this woman he was 
 going to marry ? 
 
 Mrs. Thatcher. She's about as unhappy as she 
 can be — hates yoii like poison — but blames herself — 
 for Mr. Holbrook's death. 
 
 Maggie. Do you think she really — she's really 
 fond of him ? 
 
 Mrs. Thatcher. Oh, yes — ^as fond as that kind 
 of woman can be 
 
 Maggie. Will you take a message to her from 
 me? 
 
 Mrs. Thatcher. Why, yes — You want me to — ? 
 
 Maggie. Tell her I can give her some news that 
 will — make her happy 
 
 Mrs. Thatcher. Then he isn't — dead ? 
 
 Maggie. No — (Mrs. Thatcher gives her a 
 meaning look) that's all I can tell you now — You'll 
 give my message at once, won't you? 
 
 Mrs. Thatcher. Just as soon as a taxi will take 
 me there 
 
 Maggie. Don't delay 
 
 Mrs. Thatcher. Delay! — Why there's a thou- 
 sand dollars in it for me — I had it in my mind that 
 you knew all the time — {As she starts to go and 
 opens door, she sees Jake off-stage) Mr. Roths- 
 childs- 
 
 Jake, {Coming in) Mrs. Thatcher — well—? 
 
MAGGIE PEPPER. 85 
 
 well — How is the great little lady — Shylock 
 Holmes — ? {Shakes both hir hands) 
 
 Mrs. Thatcher. Splendid — Excuse me — I'm in 
 a hurry^ 
 
 Maggie. Take him with you — (Down behind 
 table) 
 
 Mrs. Thatcher. Good-hyt~- {Exits hastily) 
 
 Jake. Take me with you! I only want two 
 seconds of your time 
 
 Maggie. You won't get one — sit down — {Sits 
 back of table) 
 
 jAkE. {Sits L. of table) I just want 
 
 Maggie. Stop talking, I'm not going to give you 
 a chance to tell more lies 
 
 Jake. Yes, but- 
 
 Maggie. There's no excuse — The moment you 
 found that I'd been black-listed and I couldn't get a 
 position in a first-class house, you — deserted me 
 
 Jake. Can I speak ? 
 
 Maggie. No ! You, with your offer of partner- 
 ship — ^your offer of marriage — the capital you were 
 going to invest — ^the stores you were going to open^ — 
 the stock you were going to put in them — the — 
 the — Oh, the more I think of it the worse it gets! 
 What's the use — you're like the rest of the world — 
 
 Jake. Is it for me to talk yet ? 
 
 Maggie. No 
 
 Jake. Well, go on- 
 
 Maggie. I've nothing more to say ! Now — what 
 do you want here? 
 
 Jake. I was going to explain 
 
 Maggie. Don't want any explanation — What do 
 you want? 
 
 Jake. I saw how things were — and I thought 
 you'd like to leave New York — I've been in 
 Chicago 
 
 Maggie. Chicago ? 
 
 Jake. Got the location and here are the contracts 
 for you to sign — {Puts contracts on table) 
 
86 MAGGIE PEPPER. 
 
 Maggie. Oh, Jake 
 
 Jake. Ha— Now it's ' Oh, Jake '— ' Oh, Jake '— 
 yes — aber nit — It's my turn — I shall get mad now — 
 (Maggie smiles at him — picks up contracts — after 
 a pause Jake smiles back, and looks them over) 
 Maggie — (Rises) I've been thinking it over — you 
 don't want to change persuasions. Your religion's 
 good enough for you — mine's good enough for 
 me — let's keep them apart. Say, what's the use? 
 Marriage interferes too much with business 
 
 Maggie. {Still reading contract, hears the word 
 " marriage " ) Marriage ! 
 
 Jake. Yes — ^you and me 
 
 Maggie. Don't talk nonsense 
 
 Jake. That's what I say — it's nonsense — we call 
 it off 
 
 Maggie. I don't care what you call it — don't talk 
 about it — ^the salary is satisfactory, but the percent- 
 age is not quite what you said — I'll go through them 
 with my lawyer 
 
 Jake. A lawyer — ^between you and me ? 
 
 Maggie. Yes — ^you might be giving yourself the 
 worst of it and I don't want to take advantage of 
 you — ({The window l. opens, and Detective Bailey 
 comes in from the fire escape — He walks to d. l. f. 
 Enter Johnson) What do you want here — ^What 
 do you want ? 
 
 (Johnson crosses through to kitchen.) 
 
 Bailey. I've a warrant for the arrest of James 
 Darkin 
 
 Maggie. Well, arrest him. Is there any reason 
 why you should c6me in through the fire-escape — 
 What's the matter with the door ? 
 
 Bailey, If we came in that way — (Johnson en- 
 ters from kitchen, beckons Ada and Zaza to come 
 in) He might get out that way— ^r^ 
 
MAGGIE PEPPER. 8^ 
 
 Maggie. He might if he were here — ^but he 
 isn't 
 
 Johnson. Come here, you two. (j-vda and 
 Zaza enter) He isn't there. {Comes L. c.) 
 
 Bailey. He's here somewhere 
 
 Maggie. Will you come in to-morrow, Mr. 
 Rothschilds ? 
 
 Jake. I'll come up some other time — ^when it's 
 more convenient 
 
 Bailey. Oh, how do you do, Mrs. Darkin ? — and 
 Zaza, too ? — ^All we need is Papa Darkin to complete 
 the family circle 
 
 Maggie. He's not here 
 
 Zaza. Indeed he is not 
 
 (Maggie goes up to Ada and sends them both off — ' 
 they exit r. 2 e.) 
 
 Bailey. Well — Can I see the gentleman who is 
 hiding in these apartments ? — (Pause) I mean the 
 one the letter-carrier saw yesterday morning ? And 
 the milk-boy, too ? 
 
 (Maggie unconsciously looks around at door, up- 
 stage.) 
 
 Jake. Is there anything I can do? 
 
 Maggie. Nothing. 
 
 Bailey. Not a man in the house, eh ? 
 
 Maggie. I repeat — Mr. Darkin is not here 
 
 (Johnson goes down to Bailey, whispers, then 
 goes up L.) 
 
 Jake. I guess — I go — I leave these contracts 
 with you. Miss Pepper— if you need me for any- 
 thing, call on me — don't fail 
 
 Maggie. Fail? That word— If you are going 
 into partnership, don't you dare to mention that 
 word. 
 
88 MAGGIE PEPPER. 
 
 Bailey. Won't you take your cigars with you, 
 sir? — {Business with cigars on table) 
 
 Jake. Thank you — I don't smoke — ^good-bye — 
 Partner 
 
 Maggie. Good-bye 
 
 (Business — Jake exits l. c.) 
 
 Bailey. Not a man in the house, eh? Do you 
 smoke these yourself ? 
 
 Maggie. Now don't get fresh, please 
 
 Bailey. {Looks at her, smiles, shakes his head) 
 Some — come, now — Miss — won't you save me the 
 trouble of searching? 
 
 Maggie. Do you suppose I'd hide a murderer in 
 my apartment? You'll have to get busy on some 
 other clue — (Bailey starts up to double-doors. 
 Pause. Joe appears at the door. Bailey looks at 
 him, then at her, then back at Joe Holbrook, 
 who has his hat, coat and dress-suit case, as if all 
 ready to go. Business) Well ? 
 
 Bailey. It's certainly not Mr. Darkin 
 
 Maggie. No 
 
 Bailey. (Pause) No — it's not Mr. Darkin, but 
 he does look very much like a certain missing gentle- 
 man whose picture has been in the papers lately — 
 and whose description is posted in every police 
 station for the instruction of police officials 
 
 Maggie. Ridiculous! (Crosses to i..) 
 
 Bailey. With a thousand dollars' reward offered 
 for information of his whereabouts 
 
 Joe. The missing gentleman will give twice that 
 amount if the police official who discovered him will 
 delay giving the desired information for an hour. 
 
 Bailey. No, sir 
 
 (Bailey is up r. c. Bell rings. Joe exits through 
 double-doors. Maggie goes to door l. Enter 
 Mrs. Thatcher.) 
 
MAGGIE r*EPPER. 89 
 
 Mrs. Thatcher. I've told her and they are com- 
 ing right away. Well, Mr. Johnson? (Johnson, 
 exits L.) Why, Mr. Bailey! 
 
 (Maggie crosses to table and sits.) 
 
 Bailey, (r. c.) Mrs. Thatcher 
 
 Mrs. Thatcher, (l. c.) You're not here on 
 business, are you ? 
 
 Bailey. Indeed, I am 
 
 Mrs. Thatcher. The Holbrook case? 
 
 Bailey. Yes — the Holbrook case, and the reward 
 is not going to be divided 
 
 Mrs. Thatcher. Divided — I should say not — 
 It's mine and I want it all 
 
 Bailey. All — you don't mean to say you've 
 butted into my business^ ? 
 
 Mrs. Thatcher. On the contrary — ^you've 
 butted into mine — ^but you'll not get that thousand, 
 Mr. Bailey 
 
 Bailey. (Crosses to door l.) We'll see — I'll 
 send in the information at once 
 
 Mrs. Thatcher. (Down r. c.) It's all attended 
 to, thank you, Mr. Bailey — You can't be of the 
 slightest assistance to me in this matter — ^not the 
 slightest — (Crpsses to Maggie) 
 
 Bailey. You women are simply ruining our busi- 
 ness — ^you seem to have no sense of professional 
 honor — (Exits d. l.) 
 
 Maggie. You told her ? 
 
 Mrs. Thatcher. Yes, and they are on their way 
 here — Good-bye, dear, and good luck to you — (She 
 opens door l. Enter Hargen. She exits l.) 
 
 Hargen. (up L. c.) My niece's anxiety to hear 
 news of Mr. Holbrook's whereabouts is our only 
 excuse for coming to this place — Where is he? 
 
 Maggie, (i.. of table) Will you sit down ? 
 
 Hargen. Where is he? 
 
 Maggie. He is here. 
 
90 MAGGIE PEPPER. 
 
 Hargen. How long has he been here? 
 
 Maggie. Since the night of his disappearance. 
 
 Hargen. He has been living with you since that 
 time — living here with you 
 
 Joe. {Enters from r. c.) Mr. Hargen! 
 
 Hargen. Joseph ! 
 
 Joe. I'll see you downtown in the morning, Mr. 
 Hargen — at the office 
 
 Hargen. Ethel is waiting for you downstairs — 
 
 Joe. I shall feel more than obliged to you if you 
 will see her home 
 
 Hargen. What do you intend to do ? 
 
 Joe. I intend to make Margaret Pepper my 
 wife — That is my firm intention. 
 
 Hargen. I have nothing more to say^-except 
 tO'— to — congratulate you 
 
 {Exit Hargen d. l.)' 
 
 Joe. {Repeats) My firm intention — Do you 
 hear that, Margaret? 
 
 Maggie. Yes, I hear you — {Rises) 
 
 Joe. No — this is the one point on which I am de- 
 termined to be guidad by my own judgment — Will 
 you share the responsibility ? {Puts his arm around 
 her) 
 
 Maggie. I just can't help myself ' 
 
 CURTAIN. 
 
MAGGIE PEPPER. 
 
 GROUND PLANS AND PLOTS. 
 
 CAST. 
 
 \The characters are named in the order of their 
 appearance.) 
 
 Hattie Murphy 
 Stock Girl 
 Jake Rothschild 
 Elevator Boy 
 
 Imogene Rogers A model 
 
 Mrs. Thatcher 
 John Hargen 
 
 Ethel Hargen His niece 
 
 William Murchison 
 Joseph Holbrook 
 Maggie Pepper 
 Ada Darkin 
 
 Johnson .-.^.-r. ....A dettctive 
 
 Zaza 
 Salesgirl 
 
 Clara Kelly ' A model 
 
 Jim Darkin 
 
 Johanna A cook 
 
 Bailey A detective 
 
 91 
 
MAGGIE PEPPER. 
 
 SYNOPSIS. 
 
 Act I. Stock room in the dry goods store of 
 
 Holbropk & Co. 
 Act II. Office of the chief buyer of Holbrook 
 
 & Co. (A year later) 
 Act III, Scene I. Maggie's flat. (The same 
 
 evening) 
 Act III, Scene II. Maggie's flat. (Ten days 
 
 later) 
 
 Place: — New York City. 
 
 'fiME : — The present. 
 92 
 
MAGGIE PEPPER. 
 
 93 
 
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 I 
 
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94 
 
 MAGGIE PEPPER. 
 
MAPGIE PEPPER. 
 
 95 
 
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 a. 
 
 liSS I irJ , "" plT 
 
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MAGGIE PEPPER. 
 
 LIGHT PLOT. 
 
 ACT I. 
 
 Strip over double doors c. 
 Strip ( I -lamp) back of door R. 
 Strip ( I -lamp) back of door L. 
 Elevator-light back of door l. 
 Four single-lights, with white glass reflectors sus- 
 pended from ceiling. (NOT practical) 
 Bell-button above door l., to ring buzzer in dis- 
 
 FOOTS and ist Border FULL UP. 
 
 ACT 11. 
 
 Strip (i-lamp) back of door r., door c. and door c. 
 
 Desk light on desk r. c. 
 
 Desk-light qn typewriter-desk R. 
 
 Four plain brackets. 
 
 (NO fixtures are practical) 
 
 FOOTS and ist Border FULL UP. 
 
 ACT III, SCENE L 
 (A neat flat) 
 
 BLUE bunch of window L. 
 BLUE strip back of window up R. C. 
 Strip ( I -lamp) back of door r. and door C c. 
 Strip (i-lamp) back of double doors c. 
 Lamp on piano r. (LIGHTED) 
 Plain chandelier c. (LIGHTED) 
 Door bell l. u. e. 
 FOOTS and ist Border % UP. 
 96 
 
MAGGIE PEPPER. 97 
 
 ACT III, SCENE II. 
 
 Same set as Act III. 
 
 RED and WHITE strip back of window up r. c. 
 
 RED and WHITE bunch back of window l. 
 
 Strip (i-lamp) back of door r. and door l. c. 
 
 Strip (3-lamp) back of double doors r. c. 
 
 LAMP and CHANDELIER OUT. 
 
 Door bell l. u. e. 
 
 FOOTS and ist Border ^ UP. 
 
 RED FOOTS and ist Border FULL UP. 
 
 PROPERTY PLOT. 
 
 Place: — New York City. Period: — The present. 
 
 ACTL 
 
 \The Stock-room of a large but somewhat behind- 
 the-times dry-goods store.) 
 
 Ground cloth. 
 
 Large clothes-closet, with glass doors and curtains 
 
 (drawn back) up r. against flat. 
 Large clothes-closet, with glass doors and curtains 
 
 (closed), up R., against r. wall. 
 Stock table (8 feet long) r., with drawers on r. side. 
 Table down r. 
 Table down l. 
 Dress-form r. of doors c. 
 Dress-form l. of doors c. 
 Three dress-forms up l. c, against partition. 
 Small desk, with flap-top, down L. c. 
 Stool (2 feet high) back of desk. 
 Chair L. upper end of stock table r. 
 Chair up L. c. 
 Chair above table down t. 
 
cloaks, dresses, suits, 
 with price tags, ad lib. 
 
 98 MAGGIE PEPPER. 
 
 Fashion-plates of women's and children's suits, 
 coats, etc., framed and unframed on walls. 
 
 Row of clothes-hooks on partition up l. c. 
 
 Roller-curtain on elevator door for elevator effect. 
 
 Packing-cases, hand truck, and shipping-room para- 
 phernalia back of doors c. 
 
 On Stock Table — 
 On Table r. — Women's and children's 
 
 On Table l. — 
 In Clothes-closet 
 up R. against flat— 1^ 
 
 Suit-boxes, shirtwaist-boxes, bundles of goods, etc., 
 etc., on floor under tables, on top of closets, etc., 
 etc. 
 
 On Stock Table — Large pile of price tags and box, 
 with strings on tags to tie. 
 
 Chiffon-scarf in drawer of table. 
 
 On Desk l. c. — Old inkstand, pens, pencils, writing 
 pad, scratch pad. Account-books. Long writ- 
 ten stock list. Pile of price tags. Written 
 letters. 
 
 Parcel of written and typewritten letters in paper- 
 clip hanging on r. side of desk. 
 
 In compartment under flap of desk — ^Two sand- 
 wiches, wi"apped in napkin, in lunch-box. Ac- 
 count-books, letters, etc. 
 
 On Clothes Hook up l. c. — Miss Markststn's 
 coat and hat (inside of hat is a sandwich 
 wrapped in tissue paper). Maggie's hat and 
 coat. 
 
 SIDE 
 
 L. 2 E. — Electric-motor for Elevator-effect. 
 Letter on business paper, and envelope. (MuRCHl- 
 son) 
 
 HAND 
 
 Miss Markstein — Pencil and note-book. 
 
MAGGIE PEPPER. 99 
 
 Rothschild — Two theatre tickets. 
 
 Model No. i— Two ladies' cloaks. 
 
 Hargen — Written letter. 
 
 HoLBROOK — Cigar ; matches. 
 
 Maggie — Three gowns (of astyle of two years ago) 
 
 Ada— Seal-skin muff; Astrachan muff; Ermine 
 
 collar; card of fine lace. 
 Zaza— Gold bracelet ; gold necklace. 
 
 ACT II. 
 
 (^Handsome office — Mahogany furniture.') 
 
 Ground cloth. Medallion. 
 
 Large flat-top desk r. c. 
 
 Filing-cabinet up l. 
 
 Type-writer desk up r. below railing. 
 
 Water-bottle in stand, with glass, in l. upper comer 
 of railing. 
 
 Armchair up l. c. 
 
 Large swivel-chair r. of desk. 
 
 Small swivel-chair l. of type-writer desk. 
 
 Chair down r. 
 
 Chair down l. 
 
 Four chairs l. of door c. against flat. 
 
 Costumer up l. c, l. of railing. 
 
 On Typewriter desk — Typewriter. Paper. Ste- 
 nographer's note-book. Pencil. 
 
 On Filing Cabinet — Large dry goods sample- 
 box. Large dry goods price-book. 
 
 On Desk r. c. — Handsome blotter-pad. Inkstand. 
 Paper and envelopes in rack. Paper weight. 
 Paper knife. Blotters. Scratch-pad. Pencils. 
 Pens. Written letters in desk-tray. Calendar 
 in stand. Leters and documents ad lib., in piles. 
 Small dry goods sample-books and cards. 
 Desk light. 
 
loo MAGGIE PEPPER. 
 
 On Costumer up l. c. — Maggie's hat and coat. 
 
 SIDE 
 
 R. 2 E. — Two written letters. (Holbrook) 
 Written check. (Holbrook) 
 
 HAND 
 
 Rothschild — New York morning newspaper; 
 handsome brooch in leather case ; pocket check- 
 book ; fountain pen. 
 
 Miss Markstein — Package of samples of dress 
 materials. 
 
 Elevator Boy — Large package of mail. 
 
 Holbrook — Several architect's blue-prints. 
 
 MuRCHisoNT-Eight sheets of written account-paper, 
 fastened together with clip. 
 
 Zaza — Three school books ; copy book, etc. 
 
 ACT III, SCENE I. 
 
 (A neat flat.) 
 
 Ground cloth. Medallion. Rugs. 
 
 Chintz portieres and valance at window-arch t. 
 
 Chintz portieres at double-doors r. c. 
 
 Scrim curtains at bay window l. 
 
 Scrim curtains at sash-window in room r. c. 
 
 Roller-shade at sash-window in room R, c. 
 
 Bureau r. of window in room r. c. 
 
 Chair r. of bureau. 
 
 Sofa L. of window in room R. c. 
 
 Piano up r. 
 
 Bookcase up l. 
 
 Music-rack l. of piano, with music. 
 
 What-not in corner r. of door l. c. 
 
 Desk, with book-shelves above, up c. 
 
 Dining table down r. c. 
 
 Table below door r. 
 
 Table below bookcase l. 
 
Maggie pepper. loi 
 
 Tabaret down l. 
 
 Sofa, with chintz cover, r. of window L. 
 
 Chair, with chintz cover, below desk c. 
 
 Chair, with chintz cover, r. of dining table. 
 
 Chair, with chintz cover, l. of dining table. 
 
 Chair, with chintz cover, l. of door t. c. 
 
 Chair, with chintz cover, r. of piano. 
 
 Pictures, prints, photos in rack, plaques, etc., on 
 
 walls. 
 On Bureau — White scarf. Woman's toilet articles 
 
 ad lib. 
 On Piano — Scarf. Clock. Ornaments. Photos in 
 
 frames. Music-book. Lamp. (Electrician). 
 
 Easel-mirror. 
 On Bookcase up l. — Ornaments. Books. Photos 
 
 in frames. Small bowl with flowers. Books 
 
 on shelves. Chintz curtains. 
 On Desk — Inkstand. Pens. Paper and envelopes. 
 
 Pencil, etc. Books on shelves. Bronze bust. 
 
 Vase with flowers. Photo in frame. Matches, 
 
 on combination ash tray. 
 On What-not — Ornaments. Curios. Shells. 
 
 Photos, etc. 
 On Table down r. — Tea-set. 
 On Table up l. — Books, magazines, etc. 
 On Dining Table — Silent cloth. Table cloth. 2 
 
 Napkins, knives, forks, spoons, soup-spoons and 
 
 tumblers. Salt and pepper shakes. Platter, 
 
 with sliced bread. Books and copy-book used 
 
 by Zaza in Act II. Pencil. 
 
 SIDE 
 
 L. u. E. — Door-bell. (Electrician) 
 
 K. 3 E. — Glass crash. Wood crash. Three dresses ; 
 3 petticoats; 2 coats; and other woman's ap- 
 parel. (Maggie) 
 
 s. I E. — Tray with two plates of hot soup. 
 (Johanna) 
 
 Dish with four chops. (Zaza) 
 Cover for dining table. (Zaza) 
 
102 MAGGIE PEPPER. 
 
 HAND 
 
 Miss Markstein — Two suit-boxes, filled and tied. 
 Expressman — Two small new steamer-trunks, with 
 
 keys tied to lock ; order book ; pencil. 
 Maggie — Three large paper bundles; steamer-rug 
 
 in shawl-strap. 
 Stage Manager — Sure-fire revolver. 
 Darkin — Revolver. 
 
 ACT III, SCENE II. 
 {Same as Act III, Scene I — lo days later.) 
 
 On Dining Table r. c. — Inkstand. Pens. Blotter. 
 Paper and envelopes. New York Evening 
 Telegram opened at " Want " page. Six two- 
 cent postage stamps. 8 letters, stamped and 
 addressed, ready for mailing, i letter, ad- 
 dressed, but NOT stamped. (All the letters 
 are alike). 
 
 In Drawer of Desk up c. — Box of cigars. 
 
 SIDE 
 
 L. u. e. — Door bell. Written note (Zaza) 
 
 R. I E. — Open note. (Ada) 
 
 HAND 
 
 Ada — ^Tray with napkin, cup, saucer and spoon, 
 plate, knife and fork ; piece of toast. 
 
 Rothschild — Three documents (contracts) 
 
 DRESS PLOT. 
 
 Place : — New York City. Period : — The present. 
 Act I. Winter. Morning. 
 Act II. Winter. Morning, (one year later) 
 
MAGGIE PEPPER. 103 
 
 Act III, Scene I. Same night. 
 Act III, Scene II. Ten days later. Late after- 
 noon. 
 Joseph Holbrook — (age 30) 
 Act I. Light suit, hat, cane, gloves, etc. 
 
 (Ultra-stylish) 
 Act II. Dark sack suit. 
 Act III, Scene I. Tuxedo suit, overcoat, hat, 
 
 etc. 
 Act III, Scene II. 1 — Black trousers, dressing- 
 gown, slippers, etc. 2 — Same as Act 
 III, Scene I. 
 John Hargen — (age 55) 
 Act I. Frock coat, striped trousers, etc. 
 Act II. Frock coat, striped trousers (Different 
 
 from those of Act I), etc. 
 Act III, Scene II. Dark trousers, overcoat, silk 
 hat, etc. 
 James Darkin — (age 40) 
 Act II and III, Scene I. Flashy suit, overcoat, 
 hat, etc. 
 Jake Rothschild — (age 48) 
 Act I. Flashy business suit, overcoat, hat, etc. 
 Act II. Similar to Act I. 
 Act III,- Scene I. Same as Act II. 
 Act III, Sccne II. Same as Act II. 
 Murchison — (age 68) 
 Act I. Sack or cutaway feuit. (Very youthful 
 
 in cut) 
 Act II. Dark sack suit, a bit shabby. 
 Bailey — (age 40) 
 
 Sack suit, overcoat, hat, etc. 
 Johnson — (age 50) 
 Act I. Sack suit, hat. 
 Act II. Sack suit, hat, overcoat. 
 Elevator Boy — (age 17) 
 Act I. Shabby sack suit. 
 Act II. Neat "buttons" uniform. 
 Maggie Pepper — (age 27) 
 
104 MAGGIE PEPPER. 
 
 Act I. Black skirt and waist, black apron, with 
 pockets. (Rather shabbily dressed, 
 hair unbecomingly arranged and look- 
 ing much older than her years. 
 Hat, coat, etc., are hanging on hooks 
 up L. c.) 
 
 Act II. Neat, dark walking dress. (Hat and 
 coat are on costumer up l. c.) 
 
 Act III, Scene I. Same as Act II, gloves. 
 
 Act III, Scene II. Simple afternoon house- 
 dress. 
 Mrs. Thatcher — (age 33) 
 
 Act I. Light, rather mannish walking-suit, 
 hat, gloves, etc. 
 
 Act II. Dark walking-suit, hat, gloves, etc. 
 
 Act III, Scene I and II. Same as Act II. 
 Ada Darkin — (age 35) 
 
 Act I. Dark dress, long coat, hat, gloves, etc. 
 
 Act III, Scene I. Same as Act I. 
 
 Act III, Scene II. Dark dress, with large bib- 
 apron. 
 Zaza — (age 14) 
 
 Act I. Dark dress, flashy coat, ultra-stylish 
 hat, furs, muff, gloves, long earrings, 
 etc. Looks about 17 or 18 years old 
 in this act.) 
 
 Act II. Neat, dark frock, coat, hat, etc. 
 
 Act III, Scene I. Simple white dress. 
 
 etc. (Looks about 17 or 18 years old 
 son" suit. 
 
 (The II— III, Scenes I and II Act 
 dresses are short ankle-length and suit- 
 able to age of actress.) 
 Ethel Hargen — (age 22) 
 
 Act I. Elaborate walking-costiune, furs, hat, 
 gloves, etc. 
 
 Act II. Handsome walking-suit, furs, hat, 
 gloves, etc. — — — 
 
MAGGIE PEPPER. 105 
 
 Act III, Scene I. Handsome afternoon dress, 
 long coat, hat, etc. 
 Miss Murphy — (age 25) 
 Act I. Black skirt and waist, black apron, 
 with pockets (The coat and hat are 
 on hooks up l. c.) 
 Act II. Neat dark dress, with white collar, etc. 
 Act III, Scene I. Same as Act II, with coat, 
 hat, gloves, etc. 
 Kate Falls, a model — (age 22) 
 Act I. Dark dress. 
 Act II. Handsome evening gown. 
 Clara Kelly — (age 23) 
 
 Handsome evening gown. 
 Salesgirl — (age 20) 
 
 Black dress (uniform) with white 
 collar and cuffs. 
 Stock Girl — (age 17) 
 
 Dark dress. 
 Johanna — (age 45) 
 
 Act III, Scene I. i — Print dress, large bib- 
 apron. 2 — Badly fitting and cheap 
 walking-suit, " freak " hat, etc. 
 
 COSTUME PLOT. 
 Elevator Boy — " Buttons " uniform. 
 
 CURTAIN CALLS. 
 
 ACT I. 
 
 1st CALL — Maggie, Zaza, Holbrook, Hargbn. 
 
 2nd call — ^AU in Act. 
 
 3rd call — Maggie, Holbrook, Jake. 
 
io6 MAGGIE PEPPER. 
 
 ACT II. 
 
 2nd Picture. 
 1st CALL — Maggie. 
 3rd CALL — ^All in Act. 
 2nd CALL — Maggie, Holbrook. 
 4th CALL — Maggie, Holbrook. 
 
 ACT III, SCENE I. 
 
 2nd Picture. 
 1st CALL — Maggie. 
 
 2nd CALL — All in Act except Holbrook. 
 3rd call — Same as 2. 
 
 ACT III, SCENE II. 
 
 Maggie and Holbrook.