Book^£jglW£ Mil cspsmam DEPosm ITHIN THE L AYARD VEILLER M:'^'&^ WITHIN THE LAW A Melodrama in Four Acts BY BAYARD VEILLER Copyright, 1912, hy Bayard Veiller Copyright, 1917, by Samuel French' All Rights Reserved CAUTION. — Amateurs nnd professionals are hereby warned that "WITHIN THE LAW," being fully pro- tected under the copyright laws of the Xinited 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 pro- vided. Applications for amateur acting rights must be made to SAMUEL FRENCH, 28-30 We.st 38th Street, New York. Applications for professional acting rights must be made to the AMERICAN PLAY COMPANY, 33 West 42n(i Street, New York. New York SAMUEL FRENCH Piiblislier 28-30 West 38th Street London SAMUEL FRENCH, Ltd. 26 Southampton Street STRAND Especial notice should be taken that the pos- session of this book without a valid contract for production first having been obtained from the publisher, confers no right or license to profes- sionals or amateurs to produce the play publicly or in private for gain or charity. In its present form this play is dedicated to the reading public only, and no performance of it may be given, except by special arrangement with Samuel French. SECTION 28.— That any person who wil- fully 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 con- viction thereof shall be punished by imprisonment for not exceeding one year, or by a fine of not less than one hundred dollars nor more than one thousand dollars, or both, in the discretion of the court. Act of March 4, 1909. OCI.D 488 J 1 ■JAN 31 1918 The follomng is a copy of the play bill of the first per- formance of "Within the Law," as produced at the Eltinge Theatre, New York, September llthj, 1912 : MESSES. SELWYN & COMPANY PRESENT WITHIN THE LAW A MELODRAMA IN Four Acts BY < Bayard Veillee The characters are named in the order of their appearance THE CAST Sarah, Edward Gilder's private secretary Georgia Lawrence Smithson, floorwallcer at "The Emporium" S. V. Phillips EiCHARD Gilder, Edward Gil- der's son Orme Caldara Edward Gilder, proprietor of "The Emporium" .... Dodson Mitchell George Demarest, Edward Gil- der's lawyer Brandon Hurst Helen Morris, a salesgirl in "The Emporium" .... Catherine Tower Detective Sergeant Cassidy of the New York police . . . John Willard 1 Maey Turner, a saleswoman in "The Emporium" . . . .' Jane Cowl Agnes Lynch, a confidence woman Florence Nash Joe Garson, a forger . . . . William B. Mack Fannie, a maid . . . . . Martha White William Irwin, a lawyer . . \Yilliam A. Norton Eddie Griggs, a crooTc Icnown as "English Eddie" .... Kenneth Hill Police Inspector Burke of the New York police .... Wilton Taylor Thomas, a hutler Arthur Moore Chicago Eed, a crooJc . . . Arthur Spaulding Tom Dacey^ a crooh .... John Camp WiLLiA]\is, a stenographer at po- lice headquarters .... Joseph Nickson. Thompson, a detective of the New York police .... Edward Bolton Dan, doorman at police headquar- ters Frederick Howe ACT I Time: — About noon. Early Spring. Scene -.—Office of Edward Gilder, proprietor of The Emporium. There is a door down left leading into the store and another door up center lead- ing into the hall. The door down left opens off and upstage, and the~door up center opens up and to the left. Doivn right, almost to the cur- tain-line, is Mr. Gilder's desk, set at an angle so that anyone coming in the door center or the door left can he observed by anyone sitting at the desJc, without moving. The angle of the desh is from down right to up right center. Up right, set obliquely, is a large table covered iviih de- partment store samples. The angle of this desTd is fi'om doivn left to up center. A hat-tree is jv^t left of center door. There is an office chair in upper right co7-ner and a large leather rocher right of center door, and above Gilder's desh; another leather chair is down left just below door left. There is an office chair just below sample table and facing up stage. Another office chair is tight of Gilder's desTc.' There is a plain, green carpet on the floor. All of this fur- niture, with the exception of the two leather chairs, is mahogany. The leather chairs are green leather. The walls of the office are pan- elled in mahogany half-way up and the upper half is plain green. Lights : — The foots and first border are up full lohite and stand during the entire ad. Bade of the two doors are w'hite bunches. 3 4 WITHIN THE LAW At Eise: — Sarah is discovered seated at Gilder's desh opening mail. When the curtain is well up Smithson enters left and crosses to left center. Sarah just holes up and then goes on with her worh. Smithson. Has Mr. Gilder come down yet ? Sarah. He's down at the Court of General Ses- sions. Smithson. (as he crosses to l. of desh) Ah! Yes, I remember now. Well, I hope the girl gets off. She's a nice little thing. Sarah. Oh, did you know her ? Smithson. Naturally one doesn't know salespeo- ple; but they put her in my department when she first came to work here. She's a good saleswoman, as saleswomen go; in fact, I thought her a very worthy person. She's the last girl in the world I'd take for a thief, {going toward door l.) Will you please let me know when Mr. Gilder arrives ? I have several little matters I want to discuss with him. (Smithson exits l. Door at c. is thrown open and Dick Gilder rushes in and down c, with a suit- case in his hand, as he speaks.) Dick. Hello, Dad ! (Sarah looJcs up, and as she sees Dick, quichly rises and goes around loiver end of desh to meet Dick at G., as she speahs.) Sarah. Why, Mr. Dick ! Dick. (Dick stops at c. as he shows his displeas- ure at not finding his father in. He drops his suit- case and extends both his hands to Sadie, who tahes them) Oh, hello, Sadie. I'm home. Where's dad? Sarah. In court. WITHIN THE LAW 5 Dick, (as he drops Sarah's hands) In court? (laughingly) What's he done this time? (Sarah laughs and, going to lower end of desk, sits and con- tinues her work as Dick removes his hat and, crossing to the opposite side of the desk, half sits on it) Ee- member the time that fresh cop arrested him for speeding ? I thought he'd have the whole police force discharged. Sarah. We didn't expect you for two or three months yet. Dick, (crossing to desk and half sitting on it) Sadie, don't ever let the old man know it, he'd be all swelled up, and we can't afford to let our parents swell up. It's bad for them, but I got Tfind of home- sick for dad. Sarah, (looking up at Bick with a laugh) Oh! Dick. That's the truth. I went broke, too. (Sarah laughs) Dick. What's father doing in court ? Sarah. One of the girls was arrested for stealing. Dick. And dad went down to court to get her out of the scrape. Isn't that just like the old man. Sarah. She was tried last week and convicted. The judge sent for Mr. Gilder to come down this morning and have a talk with him about the sen- tence. Dick. Oh, well, it'll be all right. Dad's heart is as big as a barrel. He'll get her off. (Dick gives a sudden start, jumps off desk and, as he goes hur- riedly towards door at c.) Oh, Lord! I forgot all 'about it. Sarah. About what, Mr. Dick? 6 _ WITHIN" THE LAW Dick, (as he turns to Sarah) My taxi's been M'aiting all this time. (Saraii goes on ivith her work, not noticing Dick. Dick goes all through his pockets, when looking at Saeah with some hesita- tion) Sadie— Sadie, have you got five dollars? Saeah. {looking at Dick wiili a laugh) Five dollars ? Dick. Yes. rm broke. Saeah. Wait a minute. (Saeah turns up stage and starts for her stocking. Dick, as he realizes what Sarah ts aloui to do, turns away towards sam- ple tahle and puts his hand over his eyes. Sarah gets the money from her stocking and, as she offers one hill across the desk to Dick) Here you are. Dick, (as he quickly crosses to Sarah and takes the money) Thanks. Say, Sadie, remember when I used to borrow nickels from you to buy candy? Sarah. Yes, and you're not much older now than you were ten years ago. ^ Dick, (as he crosses over and picks iiphis suit- case) I'll be right back, but I won't come until I know dad's here. I want to give him the surprise of his young life, (starts toward door at c, hut stops and looks at his suitcase, then turns to Sarah) Where can I put this so he won't see it ? Sarah, (as she goes omvithher ivork) Oh, any- where. Dick, (looks around, then) Oh, I know. (crosses and puts suitcase under sample tahle and starts to door c.) Don't give him a hint, will you, Sadie ? Saeah. ISTo, indeed ! Dick, (in the doorway at c.) That's an old fear. I'm tickled to death to see you again, Sadie, really I am. WITHIN THE LAW 7 Saeah. Me, too, Mr. Dick. (Dick exits at c. Phone hell rings. Sarah rises, and, going around to ■upper end of desTc so that she faces front, pic'ks vp '])]ione) Hello — hello? No, ?ir, ho hasn't reached the oflfice yet. (pause) At four this afternoon. Wait till I see. (Sarah leans across the ,desh and looks at memo 'pad, then bach into 'phone) Yes, he'll be free at four, but he has another engagement at foiir-thirty — (Mr. Gilder enters at c, and as Sarah continues, hangs his hat on hat tree and crosses to 'phone) Just a minute, Mr. Hastings. Here's Mr. Gilder now. (to Gilder, as she sets the 'phone down and steps hack) Mr. Hastings of the Empire wants to know if you can see him at four this afternoon. (Mr. Gilder picl^s up 'phone as Sarah crosses to sample table and examines samples.) Mr. Gilder, (into 'phone) Oh,' good morning. (pause) Yes, certainly, four will suit me admirably. (pause) Sunday? Why, yes, if you like. We can stop at the Claremont for a highball and have a lunch at the Country Club ; yes, we can go out right after church, (pause) My dear fellow, you couldn't beat me in a thousand years. Why, I made the eighteen holes in ninety-two last week, (pause) For fifty, all right, you're on! (With a laugh he • bangs up receiver and goes to his chair at desk, sits and starts to work at his mail) Sarah, (as Gilder sits) What did they do to the Turner girl? Mr. Gilder, (impatiently and going on sorting the mail) I don't know. I couldn't wait. I don't see why Judge Lawler bothered me about the matter. He's the one to impose sentence, not me. . I'm hours behind with my work now, and I had to stop on my way and talk for nearly an hour with old Gushing. 8 WITHIN THE LAW Sarah, he's getting more fussy every year. Sarah! (Sarah crosses quicMy to l. of desk, Gilder handing her a pile of opened letters) Give these to Smith to attend to. {handing her another pile of mail) These go to Osgood. (Gilder picks up another pile of letters and looking through them hurriedly) I'll reply to this lot myself this afternoon, (drops the letters into letter basket. Sarah starts door l. and Gilder takes hack one letter from the basket) Oh, Sarah. (Sarah stops) Take this before I forget it. (Sarah comes hack to the desk, seats herself in chair L. and picks up her notebook and pencil, taking Mr. Gilder's dictation) "Mr. Gilden, Editor New York Herald — Dear Sir: Enclosed please find my check for one thousand dollars for your Free Ice Fund. It's going to be a very hard summer for the poor and I hope hj starting the contributions to your noble charity at this early date, that you will be able to accomplish even more good than ever before. Very truly yours." (to Sarah) That's what I usually give, isn't it, Sarah? Sarah, (without looking up) That's what you've given every year for the last ten years. Mr. Gilder, (settling back in his chair with a self -satis fied air) Ten thousand to this one charity alone. Ah, it's splendid to be able to help those less ' fortunate than ourselves ! Sarah, (without looking away from her note- hook) Yes, sir, especially when we make so much we don't miss it. Gilder, (looking at Sarah rather sternly) The profits from my store are large, I admit, but I neither smuggle my goods, take rebates from railroads, con- spire against small competitors or do any of the dis- honest things that disgrace other lines of business. As long as I make my profits honestly, I'm honestly entitled to them, no matter how large they are. WITHIN" THE LAW 9 Sarah, {rising and starting ioivards door l.) Yes, sir. GiLDEE. Have the cashier send my usual five hundred to the Charity Organization Society. (Sarah starts toward door l.) And, Sarah — {^A.B.A.11 stops and turns. She is just at c.) I don't like your remark about my not missing the money I give. What difference does that make? Sarah, (at c.) Oh, I didn't mean anything wrong, Mr. Gilder. Gilder. Just the same, I don't like it. (Sarah crosses to door L. Demarest enters at c.) Well, Demarest? (as Sarah reaches door l., she stops and turns) Demarest. (at door c.) Judge Lawler gave her three years. Gilder. Three years? Good. Take this, Sarah. (during Gilder's next speech. Sarah crosses to l. of desk and stands ivith notehooJc open. Demarest goes to hat tree and hangs his hat up) Have Smith- son post a copy of it conspicuously in all the girls' dressing rooms, and in the reading room, lunch room and assembly room, (dictating. Sarah takes the dictation, while Demarest comes down c. on a level with Sarah) "Mary Turner, formerly employed in this store, was today sent to prison for three years, having been convicted of the theft of goods valued at over four hundred dollars. The management wishes again to draw tlie attention of its employees to the fact that honesty is always the best policy." Got that? Sarah. Yes, sir. Gilder. Take it to Smithson and tell him I want it attended to immediately. Sarah. Yes, sir. 10 WITIII^T THE LAW (Saeaii crosses to door l. and exits. Gilder- opens right top dratver of his desk and lalces out a box of cigars, which he offers to Demaeest.) Gilder. Smoke, Dcmarest? Deaiarest. {cru.ysing lo Inch of chair l. of Gil- dbr's desJc) No, tbaii'Ks. Gilder, (as he takes a cigar from the hoc,-, returns the hox to tJie chau'er and lighls the ciga". Thoh'ght- fulhj) Three year? — three years. Well, that ought to be a -warning to the rest of the girls. . Deaiarest. (over the hack of tlie chair of Gil- der's desk) Funny thing, this ca^e. One of the nK)?t nnnsnal I have seen since I began practicing law. Gilder, (sitting doion i)i Jtis cliair and smoking ciqar) Ycry — {[nrff) Sad — (puff) case — (puff) I call it. '■ / Demarest. Tory sad cape ! The girl persist? in declaring that she's innocent. Gilder. But the stolen goods were found in her locker — some of tliem even in the pocket of her coat. Demarest. She says some one must have put them there. Gilder. Who, and for what reason? It's too ab- surd to talk about. Deaiarest. She says, as vrell, that her record of five years in your employ ought to count. Gilder, (with finality) A court of justice lias declared her guilty. Demarest. Nowadays we don't call them courts of justice, we call them courts of law. Gilder. Anyway, it's out of our hands. There's nothinf^ we can do. WITHIN THE LAW 11 DemaPvEpt. (as he comes around from the hack of the chair, and sits in the chair l. of Gilder's desk) Although I helped to prosecute the case, I am not proud of the verdict. GiLDEE. Why? DE]\rAEE,sT. Because, in spite of the evidence, I'm not sure she's giiilty. Gilder. But the goods were found — DeMxVrest. (interrupting him ) I admit it. Gilder, {triumphanthj) Tlicn there you are. Demarest. {slowly and seriously) Gilder, she wants to see you. Gilder. What's the use? I can't have a woman crying all over the place and begging for mercy. Demarest. The girl isn't begging for mercy. She's a very unusual girl — very unusual — much above the average saleswoman, both in lyain and education. Just before the judge imposed sentence he asked her if she had anything to say — you know, the usual form — and she surprised us all by sayin;^ tha,t she had. You should have waited, Gilder ; she made a damn fine speech. Gilder, (ivith some eagerness) Did she say any- thing against me or the store? Demarest. I^ot a word; she told how her father died v.dien she was in high school and how she had to earn her own living since she was sixteen, and liow she worked for you for five years without there being a thing against her; she said she'd never even seen the goods found in her locker, and then asked the judge if he knew Vvdiat it meant for a girl to be sent to prison for three years for something she hadn't done. It took brains and courage" to do it, and it all rang true. I believe Lawler would have sus- pended the sentence if it hadn't been for your talk with him. 12 WITHIN THE LAW Gilder, (rising) I simply did my duty — (crossing around in front of desk up to sample table) I didn'l seek the interview — (turning and coming down c.) Judge Lawler sent for me and asked me what I thought about the ease; whether I thought it would be right to let the girl go oh suspended sen- tence, (turning to Demaeest) I told him frankly I thought an example should be made of her, for the sake of the others who might be tempted to steal. (takes stage down l., then, turning to Demarest) Property has some rights, Demarest, although it's getting so nowadays that nobody seems to think so. (a pause, as Gilder smokes a puff or two and crosses to c.) I can't understand why the girl wants to see me. Demarest. (as lie rises and crosses to Gilder, c.) She said if you'd see her for ten minutes, she'd tell you how to stop the thefts in this store. Gilder, (triumph) There you are. She wants to confess. It's the first sign of decent feeling she has shown. There may have been others mixed up in this thing. Demarest. Pernaps. Anyway, it can do no harm. I've seen the district attorney and he's given orders to have her brought here on her way to Grand Cen- tral. They are taking her up to Auburn. Better have a little talk with her. (as Demarest goes up to hat tree and gets his hat. Gilder takes a step or tiuo down l.) Let me know what the girl tells you. I'm curious about it. (Door at c. is thrown violently open and Dick rushes in.) Dick. Hello, Dad ! (Dick rushes down to Gil- der, dropping his hat on sample table at l. c. as he passes. They embrace) WITHIN THE LAW 13 Gilder. Dick! (after the embrace, as Dick draws hack) What brought you back? Dick, {as he steps hack from Gilder) Oh, I just wanted to come home. Say, Dad, I'm broke. (Demarest comes slowly down c. with his hat in his hand) Gilder. Poker on the ship? Dick. Nope. They hired Captain Kidd and a bunch of his pirates as stewards, and what they did to little Eichard — (Dick turns away from Gilder as if to cross to desk, and sees Demarest. Dick puts out his hand and they shake hands as Dick con- tinues) Why, hello, Mr. Demarest. You're looking fine. How's business ? Demarest. Pretty good, Dick, pretty good. Dick. Glad to hear it. Demarest. (Demarest starts for the door up c. Dick crosses to upper end of desk at r. c. and Gilder crosses helow the desk to his chair hack of it, and sits, as he lays his cigar in the ash tray. As Dema- rest goes) I'll get along now. Gilder. (Demarest, ahout to go out, turns in the doorway) Oh, come down and see me, Dick, any time you need legal advice. Dick, {at the upper end of the desk at r. c. and facing Demarest) I'm not going to need any legal advice. Demarest. I hope not. Good-bye. {Exits through door c.) Dick, (comes around to the side of desk and sits on it, facing Gilder, and pats his shoulder) Well, Dad, how goes it? Gilder. Pretty well, son. I'm glad to see you home again, my boy. Dick. And I'm glad to be home — to see you. 14 WITHIN THE LAW GiLDEK. Have a good time ? Dick. I had the time of my young life. I nearly broke the hank at Monte Carlo. GiLDEE. (ivitJi a laugh) Oh! oh! Dick. I'd have done it, too — if my money had lasted. Gilder. ~ {with mode seriousness) So that's where it went? Dick. Yes, sir. Gilder. Why didn't yon cable me? (Saeaii li- ters door L. and crosses to l. c.) Dick, (sincerely, and leaning across and placing his hand on his jaiher's shoulder) Because it gave me a good excuse for coming home. Sarah, {at l. c, with notehoolc and pencil) I see you found him. GiLDEE. Yes. Dick, {ojf the deslc, passes around upper end of it to c, facing Sarah) Sadie, you're looking finer than ever ; and how thin you've grown ! Sarah, {sincerely) Eeally! {as she talrs stage, down l.) How much do you think I've lost? Dick, {eyeing her, ivith a laugh) Let me see. I should say about — two — ounces. Sarah. {a>s she turns and faces him ivitli a laugh) Oh, you! Dick. You're not angry with me, are you ? Sarah. Why, no. Of course not. Then — Dick. Then give me a little kiss. (Dick stari' towards Sarah. Sarah crosses irf front of Dick and up towards door c. As Sarah passes Dick, he catches her left arm and she Jceeps him protesting and drawing closer to door c. toith Dick trying to draio her to him) Oh, come on, Sadie. (Gilder rises and comes up above his deslc towards Dick and Sarah) Sarah. No, no, please, Mr. Dick. WITHIN THE LAW 15 Dick. Just to show there's no ill-feeling. Sarah. Oh, please stop, Mr. Dick. Gilder, (as he takes Dick's right arm and starts him walking down stage. Dick releases Sarah, who exits at c.) Now, Dick. That will do. Why, you're making Sarah blush ! Dick. A little kiss never hurts anyone. Here, I'll show you. (Dick suddenly throws his right arm around Gilder's necTc, who is facing down stage and hisses his left cheeh and then quicJcly takes a step from. Gilder) Gilder, {in surprise, as he ruhs his cheek. Quickly) God bless my soul! (thoughtfully) Why, I don't believe you've kissed me since you were a little boy ! God bless my soul. Dick, (going to Gilder a7id putting his right arm around Gilder's shoulder, with his right hand on Gilder's right shoulder) I'm awfully glad to see you again. Dad. Gilder, (affectionately, and as he reaches up his left hand and puts it on Dick's right) Are you, son? (then quickly changes his manner, pushes Dick away from him in mock seriousness) You chase out of here ! (as Gilder starts to go around to his desk and Dick starts up for his suitcase) I'm a hard-working man. (as Gilder stops and puts his hand in his pocket) Wait a minute. Here it is. (Dick stops and turns at center) Here's some car- fare for you. (Gilder takes out a roll of hills, takes off a couple and with his left hand offers them to Dick. Dick comes down stage to his father's side, reaches aaross Gilder, and takes the hig roll of money out of Gilder's right hand) Dick. Thanks. (Gilder laughs and passes around the loiver end of his desk and sits. Dick takes a step or two up c. and ivatches Gilder and as Gilder sits) You can always get rid of me on the 2 16 WITHIN THE LAW same terms. ( Gildee starts to work on his ma/il, and Dick goes quickly up and gets his suit-case from under sample table and, as he is going to the door c.) See you later. (Dick, about to go out, stops and turns to Gilder) Oh, Dad, for the love of heaven, give Sadie five dollars. I just borrowed it from, her to pay for the taxi. (Dick exits quickly through c. Gilder chuckles at his desk and goes back to his luork.) Gilder, {to himself) Finest boy in the world — that's all. {picks up his cigar. As Smithson en- ters L. and quickly crosses to the l. of Gilder's desk. Gilder ju^t looks up and sees who it is and goes on with his ivork as he speaks) Well, Smithson, what is it? Smithson. McCracken, the store detective, has detained a lady, sir. She's been searched and we have found about a hundred dollars' worth of lace on her. Gilder, {without looking up) Well? Smithson. I thought it better to bring the mat- ter to your attention, sir. Gilder. Not at all necessary, Smithson. You know my views on the subject of property. Tell Mc- Cracken to have the thief arrested. Smithson. She's not exactly a thief, Mr. Gilder. Gilder, {looking up in surprise) Not a thief? In heaven's name, what would you call her? Smithson. I'd call her a kleptomaniac, sir. You see, the lady happens to be the wife of J. W. Gas- kell. Gilder. Gaskell? Gaskell? President of the Central National Bank? Smithson. Yes, sir. WITHIN THE LAW 17 GiLDEE. That's very awkward, (pause) You were quite right in coming to me. {pause, as Gildek slops and thiiils) Of course, there's nothing we can do. Put the stuff back on the counter and let her go. (returns to his ivorh) Smithson. She's very angry, sir, she demands an apology. GiLDEE. (irritable and without raising his head) Well, apologize to her. Smithson. (coming to door l.) Yes, sir. GiLDEE. (pause, until Smithson gets to door l.) And — er — Smithson — (Smithson stops at door and turns to Gilder. Gilder presses button as he loohs at Smithson and continues) I'll take it as a personal favor, if you will tactfully advise the lady that the goods at Stern's and Altman's are even finer than ours. Smithson. (with a Jcnoiving smile) Yes, sir. I'll see what I can do, Mr. Gilder. (Exits l. Sarah e?iters up c. door with notebook and pencil.) Gilder, (as Sarah enters, up c. door) Now then, Sarah. (Sarah comes down quickly to chair l. of Gilder's desk and takes Gilder's dictation in shorthand notes. Gilder dictating) "J. W. Gas- kell, Central National Bank, New York. My dear Mr. Gaskell. I feel that I shall be doing less than my duty as a man if I did not let you know that Mrs. Gaskell is in urgent need of medical attention. She came into our store today and — " No, wait a minute, put it this way: (Sarah scratches out a mark or tivo) "We found her wandering about our store today in a very nervous condition. In her ex- citement she carried away about a hundred dollars' worth of lace. Not recognizing her, our store de- tective arrested her." No — no — make^that "detained 18 WITHIN THE LAW her for a short time/' (Sarah scratches out a note or two in her- hook) "Fortunately for us all, Mrs. Gaskell was able to explain who she was, and she has just gone to her home. Hoping for your wife's speedy recovery and with all good wishes, I remain, Yours very truly, — " (to Sarah) Sarah, I can't understand the theft — it's entirely beyond my com- prehension. (Smithson enters door l. and advances a few steps inside the door and above it) Now, Smithson, what is it? Smithson. Mrs. Gaskell wants you to apologize to her. Gilder, (rising and stepping to loiver end of his desk) What? Smithson. And she wants the store detective dis- charged. Gilder, (crossing to g.) Discharge McCracken ? Smithson. She seems slightly hysterical, sir. Gilder, (crossing to door l.) Well, I'll apolo- gize to her; but I'll be damned if I discharge Mc- Cracken. (Gilder exits l., followed hy Smithson, who closes the door, Sarah laughingly rises and crosses to upper right corner of sample table, fixing up a sample and examining it. As Sarah picks up sample the door at l. opens and Helen enters quietly. She glances at Sarah, and as she turns to' close the door, looks off stage and speaks.) Helen. Sadie ! (Helen, receiving no answer, turns and crosses quickly up to l. of table and ap- pears nervous) Sadie ! ! Sarah, (as she sees who it is) Now what do you want ? Helen, (with forced calm) I just saw the boss go out. (anxiously) What did they do to Mary Turner ? WITHIN" THE LAW 19 Sarah, (as she crosses to l. of Gilder's desh, ivith her bach to Helen) You'll know soon enough. Helen, (as she starts to cross to Sarah and gets as far as the chair in front of sample table) Tell me now. Sarah, {without turning) They sent her to prison for three years. Helen. Three years? Sarah. Yes. Helen. (05 she turns a step bacTcwards, and turn- ing so that she faces front) Good God! Sarah, (as she turns and crosses to Helen) See here, what are you so anxious ahout it for? This is the third tirqe you've asked me about Mary Turner today. What is it to you? ('during Sarah's speech Helen shows she is trying to recover her self-con- trol) Helen, (without looking at Sarah) Nothing — nothing at all — only she's a friend of mine, a great friend. — Three years! (turning and taking a step toward door l.) I didn't understand — (another step toward door) It's awful, (another step) It's awful. (Exits through door l. As Helen goes out, Sarah watches her with a puzzled look, then turning crosses to Gilder's desk, she pushes the chair L. of the desk doivn stage to the lower end of desk. Just as Sarah reaches desk, several firm, hard knocks are heard at the door up c.) Saeah. (as she picks up a letter from the desk and, ivithout turning, says) Come in. (The door is opened by Cassidy, and Mary Turner is discovered in the doorway, head hanging and handcujfs attached to her left wrist. On her left hand, and holding the other end of the hand- cuff, is Cassidy. They slowly enter Mary, 20 WITHIN THE LAW slightly in front. Cassidy closes door after- ward. Then they slowly come down c. and are on a line with the middle of Gildee's desk. At Cassidy's first word, Sarah turns and faces them. Cassidy speaJcs as they come to a stop, c.) Cassidy. The district attorney told me to bring this girl here on my way to Grand Central. Saeah. (to Cassidy) Mr. Gilder will be right back, (crossing to Maey, and talcing her right hand impulsively) I'm terribly sorry, Mary, terribly sorry. Maey. (dully) Are you? Nobody's been near me the whole time I've been in the Tombs. No- body's been near me. Saeah. (as she drops Maey's hand) Helen Mor- ris was just asking about you. She's all broke up. Maey. Who's Helen Morris? I don't know her. Why should she care? Saeah. Why, she said she was a friend of yours, and — (Gildee enters, l., smohing his cigar and starts to cross to his desJc. As he sees the group, he pauses, takes the cigar from his mouth, then to Saeah.) Gildee. You may go, Sarah. Saeah. Yes, sir ! (Up to door c. and exits. Gildee looTcs at Maey a minute, and as she returns the looh, Gildee crosses over to the loiver e. corner of his desk, stops and turns to Maey^ speaking. Maey has followed him with her eyes.) Gildee. I am very sorry about this, my girl. Maey. You should be. Gildee. Come, come, that's no tone to take! WITHIN THE LAW 21 Maet. What did you expect? Gilder. A decent amount of humility from one in your position. Maey. Would you be humble if you were being sent to prison for three years for something you didn't do? Cassidy. Don't mind her, Mr. Gilder, they all talk like that — it don't do them no good, but they all swear their innocence to the very last — no matter how right we got 'em. Not guilty? Huh! Why, she tried to make a get-away comin' uptown this mornin'. Sure. That's why she's wearing these. {just indicating handcuffs) Maey. I tell you, I didn't do it. GiLDEE. What's the use of all this pretence ? You were given a fair trial. Maey. Oh, no, I wasn't. If it had been fair, I shouldn't be here. Cassidy. That's another thing they all say. Maey. Do you call it fair when the only lawyer I had was a boy the court told me to take, — a boy trying his first case — getting experience, they call it — yes, getting it at my expense ! GiLDEE. The jury found you guilty. Maey. Because they had been out for three hours and the judge threatened to lock them up all night ! The men were tired and wanted to get home, and the easy thing to do was to find me guilty and let it go at that. Was that fair ? Was it fair for you to come down to the court this morning and tell the judge that I ought to be sent to prison as a warning to the others? ■' GiLDEE. You mean — Maey. Oh ! I heard you. It wasn't, did I do it, or didn't I do it? It was to be a warning to the others, {a pause. Maey sobs softly) Mr. Gilder — 22 WITHIN THE LAW (crossing half-way totvard Gilder) As God is my judge, you are sending me to prison for three years for something I didn't do. (a pause, plaintively) Why did you ask the judge to send me to prison ? GiLDEE. The thieving that has been going on in this store for over a year has got to stop. Maey. Sending me to prison won't stop it. GiLDEE. Perhaps not ; but the discovery and pun- ishment of the other guilty ones will ! Now, you sent me word that you could tell me how to stop the thefts here. Do this, and while I can make you no definite promises, I will see what can be done about getting you out of your present difficulty. (Gildee moves around the cortner of his desk as he continues) Come now, tell me, who were your accomplices ? Mary, {losing control of herself) I have no ac- complices ! I never stole anything in my life ! Must I go on telling you over and over again ? Why won't anyone believe me ? Gildee. {pause, as Gildee moves to hach corner of desk; then sternly and shariply) Unless you con- trol yourself you must go. (softening) Why did you send me that message if you have nothing to tell me? Maey. {pause, as she regains her self-control) I have some things to tell you, only I — sort of lost my grip, walking through the streets with this man by my side. Cassidy. Most of them do — the first time. Gilder. Well? Mary. Well, when you sit in a cell for three months waiting trial like I did, and then for another month wondering what your sentence is going to be, you think a lot, so I got the idea if I could talk to you, I might be able to make you understand what's WITHIN" THE LAW 23 really wrong. And if I could do that and so help out the other girls, what's happened to me wouldn't be quite so awful, {pleadingly and slowly crossing to Gilder's desh, Cassidy following) Mr. Gilder, do you really ^vant to stop the girls from stealing? Gilder. Most certainly I do. Mary. Then give them a fair chance. Gilder. What do you mean? Mary. , Give them a living chance to be honest. Gilder. A living chance ? Mary. A living chance to get enough food to eat and a decent room to sleep in, and shoes that will keep their feet off the sidewalks on winter mornings. Do you think any girl wants to steal ? Do you think she wants to risk — ? Gilder. So, this is what you're taking my time up for? To make a maudlin plea for a lot of dishonest girls when I thought you were bringing me facts ! Mary, {pause, as Mary straightens up and takes a step hack from the desk, then in a low clear tone) We work nine hours a day for six dollars a week. That's a fact, isn't it? And an honest girl can't live decently on six dollars a week — and buy food and clothes and pay room-rent and car-fare, that's another fact, isn't it ? Gilder, {as he sits at his desk and starts to at- tend to his mail) I don't care to discuss these things. Mary, {moving up close to the desk, — plead- ingly) And I don't want to discuss anything, I only want to give you what you ask for — facts. {pav^e) When they first locked me up I just sat and hated you. Gilder. Of course. 24 WITHIN THE LAW Maky. And then I thought perhaps yon didn't understand, and if I told you how things really are, maybe you'd change them somehow. Gilder, {looking up at Mart in amazement) Change my business policy because you ask me? Mary, (pleadingly) Do you know how we girls live? Of course, you don't. (Gilder stops worh and sits hack in his chair showing his annoyance) Three of us in one room doing our owti cooking over a two-burner gas stove, and our own washing and ironing evenings — after ■ being on our feet for nine hours. Gilder. I have provided chairs behind the counters. Mary. But have you ever seeil a girl sit on one of them? (Gilder turns away) Well, have you? Of course not, because she knows the manager of the department would think he could get along without her, and she'd be discharged. And so, after being on her feet for nine hours, the girl walks home, to save car-fare — walks whether she's sick or whether she's well — and you're generally so tired that it don't make much difference which you are. Gilder. What has that got to do with — ? Mary. And when you're real sick and have to stop work, what are you going to do then? {pause) Do you know that the first time an honest girl steals, it's often because she needs a doctor or some luxury like that? And some of them do worse than steal; and they started straight, too, and wanted to stay that way. Some get so tired of the whole grind that — Gilder, {rising and interrupting her sharply) I'm not their guardian. I can't watch over them after they leave the store. They are paid the current rate of wages, as much as any other store pays. WITHIN THE LAW 2S f Mary. Yes, I know that, Mr. Gilder, but — Gilder, {virtuously indignant) No man living does more for liis employees than I do ! Who gave the girls the fine rest-room upstairs? I did. Who gave them the cheap lunch-room? I did. Mary. But you won't pay them enough to live on. Gilder. I pay the same as other stores. Mary, {slower and with more weight than the first time) But you won't pay them enough to live on. Gilder. So that's the plea you make for yourself and your friends, that you are forced to steal ! Mary, {leaning across Gilder's desh) I wasn't forced to steal and I didn't steal ! But that's the plea, as you call it, that I'm making for the other girls. There are hundreds of them stealing or going on the streets because they don't get enough to eat. You asked me to tell you how to stop the thefts ; well I've done it. Give the girls a living chance to be honest. You asked me for names — there's only one name I know of to put the blame for the whole busi- ness on — Edward Gilder ! Gilder, {indignantly) What! Mary, {pleadingly) Now won't you do some- thing about it ? Gilder. How dare you talk to me like this? Mary. Won't you do something about it? Gilder. How dare you? Mary, {as she hacJcs to center) Why not? You've done all the harm you can to me. I'm try- ing to give you a chance to be — to do better by the others. You ask me how I dare ? I've been straight all my life. I've wanted decent food and warm clothes, and a little happiness, all the time I've 26 WITHIN" THE LAW worked for you, and I've gone without them to stay- straight, and now you're sending me to prison for three years for something I didn't do ! GiLDEE. Take her away, officer. Mary. That's why I dare ! Gilder. Take her away. (Cassidy draivs Mary two or three steps toward center) Mary. Oh, he can take me now. Three years isn't forever and when I come out you're going to pay me for every minute of them. There won't be a day or an hour that I won't remember that it was your word at the last that sent me to prison, and you're going to pay me for that, you're going to pay me for the five years I've starved making money for you — you're going to pay me for everything I'm losing today — (Cassidy shakes the handcuffs and starts toward door center. Mary tahes a step or tivo down center, sticTving her hand out and dragging that of Cassidy ivith it, shoiving the handcuffs) — and you're going to pay me for this — you're going to pay — you're going to — ! C U E T A I N" ACT II Time : — Four years later — Spring. Scene: — Boom in Maey Turner's apartment in Gramercy Square. It is a well furnished room with a door doivn left, leading into Mary's hed- room. Another door up left center leading into a hall, and a door up right leading into another hall. Up left is a hay-window, and up right is a fireplace. Lights: — The sunlight is coming in through the hay window, and the stage is hright. There is plenty of light coming in at all of the doors as they are opened. At Rise: — Agnes enters through the door at up- right-center with a vase of huttercups in her hand. She closes the doors and as she comes down stage glances oPer towards Mart's room at left, the door of which is open. She comes down stage to the right of the trick tahle and places the vase of huttercups on the tahle, picJcs up a magazine from the tahle, passes around the tahle to the chair left of it, and as she sits, she spealcs. Agnes. What are you doin' Mary, dolling up? Mary, (off stage left, in room, the door of which is opened) I've an important engagement. Agnes, (as she reads her magazine) Are you goin' out again with that young Gilder? .^ 27 28 WITHIN THE LAW Mary. Yes. Agnes. Nice boy, isn't he? (starts to read magazine) Mary. I suppose so. Agnes, {looking up towards Mary's door. Sharply.) Suppose so? He's here so much we ought to be charging him for his meals — and you don't know whether he's the goods or not. {Returns to reading magazine) Mary, {as she enters from room left, dressed for^ the street, crosses hack of table left to right of it and continues putting on her gloves) I know he's the son of Edward Gilder and that's enough for me. Agnes, {turning in her chair toward Mary) I can't get you, Mary. You never looked at a man — why, from the way you acted when I first ran into you after we left Auburn prison, I thought you'd become a suffragette, and then you meet young Gilder, — and — good-night, nurse ! {returns to read- ing magazine) Mary. Well ? Agnes, {turning to Mary, sharply) His old man sends you up for a stretch for something you didn't do and you take up with his son like — Mary. Yes, perhaps that's the reason. Agnes. Gee, I'm getting wise, {looking hack to her magazine) Mary. Agnes, whatever there is between young Gilder and me is my affair. I don't want to talk about it but — I do want to know what you were doing with that pickpocket yesterday. (Agnes turns to Mary as if about to speak) Oh, I saw you. (Agnes sheepishly returns to reading her magazine) Joe Garson told me who he was. A common pickpocket. WITHIN THE LAW 29 Agnes, {loolcvng up quickly) Common? {ilien turning to Mart) He's the best dip in the business. I guess I've got a right to speak to my own brother if I want to. {turning hack again to read her magazine) Maey. Oh, your brother. What did he want, money ? Agnes. {turning to Mary) Nix. Business is immense. This has been a great year for crooks. {hack to reading magazine) Mary. How can it* be? With the dead line at John Street and Agnes, {turning to Mary) Dead line? Wake up, my dear. Why, Jim takes lunch every day at the Wall Street Delmonico's. Yes, and he went down to Police Headquarters yesterday. {laugh) Say, they've got a mat at the front door with "Welcome" on it in letters three feet high, {pauses as Agnes laughs) He lifted a leather from a bull that was standing in the hallway, {hack to reading magazine) Mary. It's no use, Agnes. I can't remember your slang. What did he do? Agnes, {still reading magazine) He copped the copper's kale. Mary. He what? Agnes, {turning to Mary and with a great deal of emphasis and in her ladylike manner) He gently removed a leather wallet containing a large sum of money from the coat pocket of a member of the de- tective force, {naturally) Say, he says Inspector Burke got a gold watch that weighs a ton, all set with diamonds. It was gave to him by admiring friends, {goes, hack to reading) Mary. Given, now, Agnes, please: given. Agnes, {looking up in surprise) What differ- ence does that make, he's got it. {turning to Mary) 30 WITHIN THE LAW When I get time I'm going after that watch, (hach to reading magazine) Maky. Oh, no, you're not. (Agnes looTcs up) As long as you're working with ns you'll break no laws. Agnes, (turning to Maet) But I can't see — ? Maey. Now Agnes, when you worked alone, did you have a home like this ? Agnes, (as she looJcs around the room) No. Maey. Or good clothes, or proper food, or safety from the police? Agnes. No, but I can't see Maey. (crossing to center) Agnes, the richest men in this country have made their fortunes not because of the law, but in spite of it. They made up their minds what they wanted to do and they engaged lawyers clever enough to show them how they could do it and still stay inside the law. Any- one with brains can get rich in this country if he'll engage the right lawyer. I have the brains, and my attorney, Harris, is showing me the law — the won- derful twisted law that was made for the rich. As long as we keep inside the law we're safe. Agnes, (taking her magazine with her, rising and crossing to Maey) Gee, that's funny, you and me and Joe Garson handin' it to 'em right and left and the bulls can't touch us. The next you know Harris will be havin' us incorporated as the American Legal Crime Co. Mary, (with her arm around Agnes' shoulder) I shouldn't be in the least surprised, (phone rings. Both look toward phone, then Maey crosses to phone to answer it and Agnes crosses down right ivith her magazine and sits and starts reading. Maey at the upper side of table, down left, answers the phone as she stands facing the front) Hello, (tenderly) WITHIN THE LAW 31 Oh, Dick, (pause) Yes, I'm ready, (pause) I understand, — why it's just around the corner from liere. I won't be five minutes. By the way, I read the papers very carefully this morning. I didn't see anything about our going down there together, did you? (pause) I thought of course, when you mentioned your father^s name it was bound to come out. (pause. Strong and hard) Oh, I see. It's wonderful what money will do, isn't it? (pause. Lovingly) Do you suppose, if I didn't care for you I'd be coming to you now? (pause) No, please, stay where you are. I really won't be five minutes. (Mary hangs up receiver) Agnes, (looking up from magazine) Say, what's all this? Mary. Secrets, Agnes, secrets, (starting toward door up left center) I shan't be gone over — (Gar- son enters up left center and steps in, to Mary's right, and removes his hat) Oh, good-morning, Joe. Garson. Good-morning. Mary. You're around early? Garson. Oh, a little bit. Going out? Agnes. No, she's putting in a ton of coal. (Mary and Joe hoth laugh) Mary. Wait for me, Joe. I shan't be gone more than ten or fifteen minutes. (Mary exits up left center. Garson turns and drops his hat on couch up center, and crosses down right toward Agnes as far as the trick table. Agnes is seated in the chair down right reading her magazine) ((Ifft-RSON. Where's she going ? Agnes, (without looking up) Had a date with young Gilder. Garson. M'm. She's been with him a good deal lately. Agnes. That's what. 3 32 WITHIN THE LAW Gaeson. Think she's stuck on him ? Agnes. {looMng up at Gaeson) Why not? Bet your life I'd be if I had the chance. (Gaeson turns and crosses to cliair right of table at left center, sits and piclcs up magazine from table) He's one swell boy and entirely surrounded by money, {pause. Gaeson^s manner shows that he's uneasTj) Say, Joe, if there's anything on your mind, shoot it. Gaeson. It's Mary and young Gilder. Agnes. Well ? Gaeson. Well, I can't see any good in it for her. Agnes. Why ? Gaeson. Old man Gilder's got a big pull and if he gets wise to his son going around with Mary he'll send the bulls down after us strong. Believe me, I ain't looking for any trip up the rdver. Agnes. We ain't done anything they can touch us for — Mary says so. Gaeson. Whether you done anything or you ain't, once the bulls set out to get yer, they'll get yer. Why, Russia ain't in it with some o' the things I've seen pulled off in this town, {door-bell rings off left center) Agnes. Yes, but they can't touch us; we got our fingers crossed. Gaeson. {with a laugh) Can't, eh? Cassidy. (Cassidt starts speaking outside, opens the door and comes just inside during his line. Pannie is following closely and comes to a stand- still at Cassidy's left. At the first sound of Cas- sidy's voice Gaeson rises and turns and faces the door and takes the stage a little to the left. Cassidy does not remove his hat during the following scene) Never mind that announcing thing. Fannie, {angrily) You get out of here. What do you mean by pushing your way in here like this ? WITHIN THE LAW 33 Cassidy. (watching Gaeson) Beat it ! Gaesoist. It's all right, Fannie. (Fannie turns and exits up left center closing the door after her) Cassidy. (without moving and in a familiar tone) Hello — Joe — Hello, Aggie 1 Gaeson. Well? Cassidy. (coming down center) Oh just a friendly little call. Where's the lady of the house ? Gaeson. (as he turns with his bach against the front of the table at left center) Why, she's out. Cassidy. (in a little sharper tone) Well, when she gets back, Joe, you tell her it's up to her to make her getaway and make it quick. Agnes. Say, you can't throw a scare into us. You haven't got anything on us. (at first word from Agnes, Cassidy turns to her) Gaeson. Eight. Cassidy. (^o Agnes) Nothing on you, eh ? (to Gaeson) You're Joe Garson, ain't yer? Gaeson. Well, what of it ? Cassidy. (feels his pochets quichly and takes out a note hooh from his vest pocket and opens it and reads) Joe Garson, forger. First arrested in '91, for forging the name of Edwin Goodsell for a check for ten thousand dollars; again arrested in '98, for forging the signature of Oscar Hemmingway to a series of counterfeit bonds ; arrested as the man back of the Eeilly gang in '03 ; arrested in '08 for forgery. (Cassidy returns hook to his pocket) Gaeson. (quietly) Haven't got any records of convictions, have you? Cassidy. No but we got the right dope on you. (turning to Agnes with sarcasm) And you're little Aggie Lynch, posin' as Mary Turner's cousin. Did two years for blackmail. Was arrested in Buffalo 34 WITHIN THE LAW and served yer time in Auburn. Nothin' on yer? (looJcing at Gaeson) Well? (loohinq at Aggie) Well? Agnes. My Gawd, it looks as tho' you'd actually been working, {during the laugh, Cassidy looks "mad" turns to Gaeson and quickly turns and gives Agnes another look — th\en turns to Gaeson) Cassidy. And the head of the gang is Mary Turner. Arrested four years ago for robbin' "The Emporium." Done a stretch of three years, Gaeson. {quietly crossing to Cassidy) That all you got about her? Cassidy. That's enough, ain't it? Gaeson. Got anything in your record about her coming out of the stir without a friend in the world and tryin' to go straight? {pause. As Cassidy does not answer) I suppose you forgot about going to that millinery store where she finally got a job and tippin' them oS to where she came from? Cassidy. Sure they were tipped off. We got to protect the city. Gaeson. Yes. Got anything in that record of yours about her gettin' another job an' you folio win' up again, and havin' her thrown out? Got any- thing in that record about the letter you had old Gilder write tellin' the next people she was workin' for, what she's done to him, or what he thought she'd done? Cassidy. Oh, we had her right the first time. Gaeson. Yes, you did — not. She was railroaded for a job she'd never done. She went in honest and came out honest. Cassidy. And now she's here with a gang of crooks. WITHIN THE LAW 35 Garson. Where else should she be? You got anything in that record about us jumpin' into the river after her? That^s where I found her — a girl that never done any harm to anyone — starving be- cause you bulls wouldn't give her a chance to work — in the river, because she wouldn't take the only other way left her to make a livin'. Have you got any of that in your little book? Cassidy. Guess you must be kinder stuck on her, eh? Gaeson. {turning away from Cassidy; quietly) Cut that. Cassidy. (sJiarply) What? Garson. (turning to Cassidy^ and stronger) Cut it! Cassidy. (stronger) Why, you don't mean ? Garson. (quicJcly up to Cassidy and looking him straight in the eye and speaking savagely) I mean, cut it. (pause. Then slowly and quietly) Do you get me? (pause. Then Cassidy sinks lack a step. Garson holds his position ivithout moving. Just as Cassidy shows the first sign of sinking, Agnes speaks) Agnes. He's got yer. Cassidy. (looking at Garson in admiration) Gee, you'd been a big man, Joe, if it hadn't been for that temper of yours. It's got you into trouble a lot of times, some day it'll get you in so wrong you'll never get out. Garson. (quietly hut firmly) That's my bus- iness, (pause, as Garson crosses left to front of table) Cassidy. (after pause) Well anyway, you've got to clear out — the whole gang of you — and do it quick. 36 WITHIN" THE LAW Agnes, (rising, dropping magazine in chair and crossing- to Cassidy) Say, listen, we don't, scare worth a cent — ^you can't do anything to us. (as she turns away) We ain't broke the law. Cassidy. {in amazement) What? Agnes, (stopping suddenly and as she smiles over her shoulder at Cassidy) Well, maybe we've bent it. Cassidy. It don't make any difference what you've done. Agnes, (freshly) No? Cassidy. (positively) No. (loolcing from Agnes to Carson) Gee, things are comin' to a pretty pass when a couple of crooks gets to arguing about their rights. Gaeson. Yes. Cassidy. That's funny. Agnes. Then laugh, Ha ! Ha ! Cassidy. (sharply) Well, you've got the tip and it's up to you to take it. If you don't, one of you will make a long visit with some people out of town, (to Gakson) and it'll probably be — Mary. Eemember Joe, I'm givin' it to you straight, (starts up center toward door. Only gets a couple of steps when Agnes' voice stops him and he turns to Agnes) Agnes, (as she follows Cassidy up stage and stops at his right side — then in her ladylike man- ner) Do come again soon, won't you, little one? I've enjoyed your visit so much. Good afternoon. (Agnes kisses the tips of her fingers and quickly puts them on Cassidy's lips. Cassidy turns quickly away in disgust and exits up left center. Agnes standing still and looking after Cassidy) The truck-horse detective. An 18-inch collar, a 6I/2 hat. (crossing down toward Gakson" as far as chair right at table. WITHIN THE LAW 37 at left center. Seriously) He was right about one thing, too. Gaeson. (as he starts across to chair left of trick table) 1 know — my temper. Agnes. Yes. Gaeson. I can't help it. (sitting in chair left of trick table and picking up newspaper from floor) I know I shouldn't let it break out, but I can't help it. Agnes. He had his nerve ; tryin' to bluff us. Gaeson. Perhaps it wasn't a bluff. Agnes, (as she takes a step toward Garson) What have we done? Gaeson. It ain't what you've done — it's what they can make the jury think you've done; and once they set out to get you, how they can frame things. If they ever set out after Mary Agnes, (crossing a little nearer Gaeson) Joe, you're a grand little forger, but Mary's got the brains and I'll string along with her as far as she wants to go. She's educated me. She talks like a lady and she acts like a lady, (as she does an exaggerated ladylike walk up to hack of chair right of table at left center — Gaeson watching hep — in her ladylike manner) She's trying to make a lady out of me. Gaeson. (as he continues to read his paper) She's got a swell cli^nce. Agnes. Is that so ? Pipe the tea-stuff ! (in rather exaggerated society manner at the back of table at left center. Gaeson watches her. As she pretends to shake hands) How do, you do, Mrs. Jones? So good of you to call! (turning to the other side) Oh, my dear Miss Smith, this is a pleasure ! (pre- tending to put sugar in a cup of tea) One lump or two? (as if she had cream in her hand) No cream? Oh, dear, and it's so expensive this year! (as she 38 WITHIN THE LAW pretends to hand cup of tea to someone) Yes, I just love bridge. No, I don't play it, biit just the same I love it. {as she crosses toivard Gaeson just beyond chair right of table, talking naturally) That's the kind of stuff she's been havin' me do. {turning and crossing to table at left centre and below chair at its right) And, believe me, it's pretty damn near killed me ! {pichs up magazine from table) Gahson. {as he returns to reading) Mary's re- fined all right. Agnes, {turning to Gaeson quickly) Sure she is, but she does some things that certainly get me. {as she looks around room) Look at this room. {to Gaeson) It's supposed to be swell. Well, I can't see it {as she sits in chair right of table at left center and faces front) — why, she ain't got one gold chair in the whole place ! Gaeson. I'll bet it's the goods just the same. {door bell rings) Agnes, {as she turns in her chair so as to face Gaeson) Sure — I'm for Mary strong. Stick to her and you'll wear diamonds, {regretfully) I wish to God she'd let me wear mine — but she won't — she says they're vulgar. Now how can anything be vulgar that costs two hundred and fifty a carat? (Fannie opens door and closes it after her and stands just inside the door) Gaeson. Search me ! I don't know. Fannie. There's a girl wants to see Miss Turner. Agnes, {in her society manner) Has she a card? Fannie. No, but she says it's very important. Gaeson. {to Agnes^ dropping his paper to the floor between his chair and trick table) Better have her come in and wait. WITHIN THE LAW 39 Agnes, {in her society manner) Fannie, tell the young lady to come in. (Agnes holes at Gaeson and Garson watches Agnes, smiles as she gets up and does her society wall: down to the front of the table at left center. Agnes then turns to Gaeson with a knowing smile) Gaeson. (after Agnes looJcs at him, rises and as he goes up to door at up right center) 1 wonder who it is? Agnes, (naturally) ISFo idea — but it can't do no harm to have her in and pipe her off. Gaeson. Eight. (Fannie opens door at up left center and Helen, pale and shabbily dressed, enters and stops just inside the door and Fannie closes the door) Agnes (as Helen stops. In her society man- ner) Won't you come in, please? Helen. (Helen tvdlks down center in silence until she faces Agnes) Are you Miss Turner? Agnes, (in her society manner) Oh, I'm awful- ly sorry, I'm only her cousin Agnes Lynch. Helen, (as she slightly drops her head in dis- appointment) Oh ! Agnes, (quickly and in her society manner) Miss Turner will be back almost any moment now. Helen, (a little anxiously) Could I wait? Agnes, (as she indicates chair left of trick table, then in her society 'manner) Oh, yes. Won't you sit down, please? (Helen crosses to chair indicated. Agnes crosses to chair right of table at left centre and Gaeson quietly comes doivn to back of trick table. Helen does not notice Gaeson. As Helen sits in the chair Agnes sits and Gaeson speaks to Helen a little sharply) 40 WITHIN THE LAW Garson. You don't know Miss Turner? {at Gaeson's first word, Helen slightly turns to Gar- son and shrinJcs a little) Helen. No, sir. Garson. What do you want to see her for? Helen. She once helped a girl friend of mine and I thought Garson. She might help you ! Helen, (as she hows her head) Yes. Agnes, {quickly rising and starting toitmrd Helen and naturally) Then you've been in stir — {a quick look of warning from Garson and a look of surpj'ise stops Agnes shortly at center and then in her ladylike tone) — prison, I mean? Helen, {dropping her head with shame) Yes, Miss. Agnes, {in her affected manner and taking the stage to the front of table at left center) How sad, how very very sad ! (Fannie opens the door at up left for Mart, who stops in the doorway and gives her hat, parasol and gloves to Fannie, then "steps into the room and sees Helen as Fannie closes the door) Mary, {coming down c. To Agnes) A visitor, Agnes? (Agnes nods as Mary takes a step or two toward Helen, On Mary's first word Helen turns in her chair toivard Mary and slowly recognizes her) Helen, {rising and turning toward Mary) You — you are Miss Turner? - Mary. Yes. Helen, {as she faces front) Mary Turner ! {as she sinks into chair) Oh, my God! (Mary crosses quickly to Helen, then to Garson, who is still hack of trick table) WITHIN THE LAW 41 Mart. Joe, have Fannie bring a glass of milk with an egg in it, quick, please. (Gaeson crosses quickly to up left center and exits) Helen. I didn't know. Mary, {with her arms around Helen's shoul- ders) Don't try to talk until you've had something to eat. Agnes, (crossing part way toward Helen) She's hungry and I never even thought of it. Ain't I the simp? Helen. I'm starving. Mary, (helping Helen to rise) I understand. (to Agnes^ quickly crossing to Helen's right and putting her arms around Helen and helping her) Take her to my room, (all three start across stage left, and as they get to table at left center Mary drops hack and follows) Have her drink the egg and milk slowly, then lie down for a while. Agnes. Sure. You come along with me. We'll fix you up, all right. Come along with me. (Helen and Agnes exit through door at left. Mary stops at door watching them. Garson enters at up left center door, coming down to back of table at left center as he speaks) Garson. Mary. Mary, (turning away from door and crossing to back of chair left of table at left center) Yes. Garson. There's a man named Ir^vin out there — Mary. Oh ! General Hastings' lawyer. Garson. Yes. He says he wants to see you. Mary, (after a moment's thought) Would you mind asking him to come in, Joe? (Garson starts toward door at up left center) Fannie's busy get- ting something for that poor girl in there. (Garson exits, closing door) Agnes, oh Aggie, just a minute please. (Agnes enters and crosses to Mary. Mary 42 WITHIN THE LAW puts her arms around Agnes' shoulders) Mr. Irwin, General Hastings' lawyer is here. He wants to see you. When I call, come in please, but you'd better leave everything to me. Just follow my lead — (Agnes smiles and starts toward door left. Mary stops her) And Agnes, be very ingenue. Agnes. I'm wise, (crosses to door left and turns) I'll be a squab. (Agnes exits and Garson opens door, and Irwin^ dropping his hat on table, steps into the room and stops just at the head of the couch. Irwin is followed hy Fannie, who carries a glass of milk on a tray and stops just above table at left centre. Garson closes door and Mary passes around to the front of chair, left of table at left center) Mary, (to Irwin) You wanted to see me? Irwin. Yes. (Irwin comes slowly down center) Mary, (to Fannie) Take it to my room, please. (Fannie crosses and exits through door left)' Irwin. I hope no one is ill? Mary. No. Just a poor girl half starved — that's all. (to Irwin) Won't you sit down, (pause as Irwin sits in chair right of table and Mary sits on chair left of table. Each ivatching the other) Irwin. I called in reference to the suit which Miss Agnes Lynch threatens to bring against my client. General Hastings. Mary. It isn't a threat, Mr, Irwin. The suit will be brought. Irwin. Of course you realize that it's blackmail. (Fannie enters at door left and crosses up toward door at up left center) Mary. If it's blackmail, Mr. Irwin, why don't you consult the pol — ? Oh, Fannie — (Fannie stops and turns to Mary) Will you ask Miss Lynch to WITHIN THE LAW 43 come in, please? (Fannie crosses to door left and exits) Eeally, Mr. Irwin, I think you'd better take this matter to the police. Iewin. You know perfectly well that General Hastings cannot afford such publicity. Mart. I'm quite sure the police would keep your complaint a secret. Eeally, Mr. Irwin, why don't you tell your troubles to a policeman ? Irwin. Very well, then, (rising and crossing quickly up toward door at up left center) I will. Mary, {rising and pushing phone toward Irwin) 3100 Spring will bring an officer almost immediately. (Irwin comes down quicldy, picJcs up 'phone and is about to lift off receiver when Mary lau-fhs. He quickly sets it down, and crosses down center) Irwin. Kevertheless General Hastings did not promise to marry that girl. Agnes. (Agnes appears in doorway followed by Fannie who quickly crosses to door up left center and exits. Shyly and slowly coming toward Mary) Did you want me, deai>? Mary, (putting her arm around Agnes^ shoulder and bringing her forward toward Irwin) Yes, Agnes, this is Mr. Irwin, who has come to see us in behalf of General Hastings. Agnes, (shrinkingly and burying her face in Mary's shoulder) Oh, I'm frightened. Mary, (petting her) Nonsense, 'dear, there's nothing to be frightened about — (Mary takes Agnes by the shoulders and looking her in the eye with an occasional side glance at Irwin) Of course, you know, my dear, that under no circumstances must you say anything that isn't true, and if General Hast- ings did not promise to marry you, you have no case. (pause, as Mary backs Agnes up and sits in chair 44 WITHIN THE LAW left of table at left center and Agnes kneels at Mary's left, and a little below her facing Irwin) Now, tell me, did the General promise to marry you ? Agnes. Oh yes, Oh yes, and I wish he would ; he's such a delightful old gentleman. Irwin. Was that promise made in writing ? Agnes. No {pause, as Irwin turns away with a smile) But all his letters were in writing, {pause as Irwin turns back to look sharply at Agnes and the smile leaves his face) Oh, such wonderful let- ters — so tender and — er — interesting. (Agnes buries her face in Mary's lap) Irwin. Yes. I dare say, I dare say. Mary, {as Agnes raises her head and looks at Mary) But you are quite sure the General did promise to marry you? Agnes. Oh, yes, I'd swear to that. Mary, {to Irwin) You see, sir? She'd swear to that. Irwin, {pause, as he thinks) Well, we're beaten. {a quick look between Mary and Agnes. As Irwin crosses to right of table at left centef and Mary watches him warily) I'm going to be quite frank with you. Miss Turner, quite frank, (Irwin during the following speech takes a wallet from his inside pocket, extracts a package of money, returns wallet to his pocket) We can't afford any scandal, so we're going to settle at your own terms. (Irwin rifles the package of yellow-backs and Agnes leans forward eagerly. Mary watches Ik win) We can't fight where ladies are involved, so if you just hand over General Hastings' letters, why here's your ten thousand dollars, {drops package of money on table and turns away taking stage center. As his back turns Agnes makes a grab for the money and Mary quickly grabs her wrist and pushes her back to her WITHIN THE LAW 45 forme?- position as Irwin turns to them again) You have the letters, haven't you ? Agnes, (putting her hand over her heart) They never leave me. Iewin. (crossing toward Agnes as far as the table at left center and with hand outstretched) They can now. (Agnes about to reach into her dress and take them out when Mary lays a restraining hand on Agnes^ hand and rises at the same time fac- ing Irwin. Agnes rises and stands hack of Mary) Mary. Not quite yet, I'm afraid. Irwin, (as he turns and takes stage center) But there's your money, waiting for you. Mary, (as she crosses part way over to Irwin, and in a doubtful tone) I think you'd better see our lawyer, Mr. Harris, first. Irwin. Oh, there's no need of all that formality. Just a friendly little arrangement between ourselves. Mary, (all doubt gone — with a smile, as she crosses up to Irwin and Agnes moves to the center of the table at left center) Now I'm quite certain you'd better see Mr. Harris first. ^ Irwin, (seeing he has been tricked) Oh, I see. Mary, (with meaning) Yes, I thought you would. If you'll take your money to Mr. Harris, Miss Lynch (Mary turns to Agnes, then hack to Irwin) will meet you in his office at four o'clock, and when her suit for breach of promise is legally settled out of court, you will get those letters, Mr. Irwin. Good afternoon. (Irwin bows gravely and starts to door at up left center. Mary crosses to chair at left of trick table. Just as Irwin is about to go out the door, Mary speaks) ■ Oh — (Irwin stops) — ^you forgot your marked money. 46 WITHIN THE LAW (Mart sits in chair. Ikwin crosses doivn helow chair right of table at left cetiter, picl's up money then crosses quicMy up to door, up left center, then turns to Mary) Irwin, (sharply) Young woman, you should have been a lawyer! (Irwin exits and Mary laughs) Mary, (laughingly) Thank you. Agnes, (crossing quiclcly to Mary) Say, you darned near broke my heart lettin' all that money get out of the house. How'd you know it was marked? Mary. I didn't, but it was a pretty good guess, wasn't it? Couldn't you see that all he wanted was to have us take the money, get the letters, and then we'd havfe been arrested for blackmail. • Agnes. Where do we get off now ? Mary. Now he'll go to our lawyer — hand him over the same marked bills, get the letters he wants so much, and because it's a transaction between two lawyers with everything done according to legal ethics — Agnes. W^hat are legal ethics? Mary. Get it legally and get twice as much. Agnes. But it's the same game. Mary. Agnes, a shameless old roue makes love to you and writes you silly letters — Agnes. He might ha\^ ruined my life — ! Mary. If you'd asked him for ten thousand dol- lars for the return of his letters, it would have been blackmail and we'd have gone to jail; but a lawyer threatens a suit for breach of promise for ten thousand dollars — his lawyer steps in; they have con- ferences, they run up bills of expenses and in the end WITHIN THE LAW 47 we get our ten thousand, he gets his letters and we're safely within the law and there you are. (Maey rises and crosses down right to armchair) Agnes. All too much for me. (goes up to chair in front of desh'at light) Gaeson. (enters up left center and as he crosses down center. To Maey) Is it all right? Mary. Certainly. Gaeson. (at center) Did you get ten thousand ? (Helen enters at door left, talces a quick look and as no one is looking her luay, starts quickly for door up left center) Maey. (turning to Gaeson) Yes. Gaeson. Fine ! (starts to cross l. and just gets as far as front of table at left center as Maey dis- covers Helen. Helen is about to put her hand on the knob of door at up left center. As Mary speaks Gaeson stops and watches Helen witJt his back doivn stage and Agnes who is about to sit at desk right, stops and watches) Mary, (quickly, crossing up to Helen) Why, you ought to rest. (Helen stops) Helen, (without looking up) I'm all right. Maey. Quite sure ? Helen. Yes, Maey. (putting her arm around Helen's shoul- der and bringing her to chair left of trick table Garson crosses around to chair left of table at left center and Agnes brings the desk chair down to the right of trick table and slightly above it) Then come over and sit down and tell us all about it. (Helen sits left of trick table. Garson sits left of table at left center, watching the whole scene and never taking his eyes off Mary. Agnes sits in chair she has brought down to right of trick table. Maey 4 48 WITHIN THE LAW crosses over and takes chair from right of table at left center, brings chair bach to center and sets it a little above Helen and half facing her, and stands back of it. As Maey gets the chair she gives Gaeson a look) 'Now then, what's your name ? Helen", (facing down stage and half huddled in chair) Helen — Helen Morris. Mary, There's no need my asking if you've been in prison. Your face shows that. Helen. I came out three months ago. Mary. And you've made up your mind to go straight ? Helen. Yes. Mary. You are going to do what the chaplain told you — start all over again — begin a new life? (Helen nods "Yes") It doesn't work very well, does it? (comes around chair and sits so that she is half facing Helen) Helen. No, I'm beaten. Mary, (first giving Garson a look) Well, how would you like to work with us? Helen, (as she turns toward Mary in surprise) You are — Mary. Certainly, it pays to when you know how. Look at us. Agnes. (Helen turns and looks at Agnes on her first word) Hats from Joseph's, gowns from Lu- cille's, and cracked ice from Tiffany's. (Helen con- tinues to look at Agnes until Mary's first word, then she looks straight front and shows during Mary's following speech that it is not to her liking) Mary, (watching Helen closely) Suppose I stake you for the present and put you in with the right people ? All you'll have to do is answer ads for servant girls — I'll see that you have the best of WITHIN THE LAW 49 references, and then when you get in with the right people, you'll open the front door some night, and let in the gang. Of course you'll make your getaway when they do and get your bit as well. (Helen half turns to Maey as if about to speak then turns away. Mary gives Gaeson a smile) Doesn't suit you — • (Helen nods her head — no. Maey rises and crosses to Helen) Good! I hoped you wouldn't. Now here's my real plan. (Helen is all attention and at first suspicious, gradually shoivs that Maey's fol- lowing speech is to her liTcing. Maey steps a little hack from Helen) Suppose you go West — where you'd have a fair chance — with money enough to live like a human being until you get a start. (Helen looks up at Maey) I'll give you that chance if you really want it. Helen, {rising and turning to Mary) Oh, I do — I do. Maey. {taking Helen's hands) Then I've just one thing to say to you iirst. If you're going to start fresh, go through with it. Do you know what that means ? Helen, {turing away from Maey and looking out front) You mean, keep straight? Maey. I mean forget that you've ever been in prison. I don't know what you've done, but what- ever it was you've paid for it — a pretty big price, too. Helen. I have, I have! Maey. Well, then, stand up for your rights ; don't let them make you pay again and don't tell the first people who are kind to you that you've been crooked. If they think you're straight — be it ; will you promise me that ? Helen, {very seriously and turning to Maey) Yes, I promise. 50 WITHIN THE LAW Mary. Good. Then wait a minute. (Mart takes Tier chair, returns it to its place at right of table left center, crosses behind table around to other side. To Garson) Excuse me, Joe. (Gar- son draws his chair bach and Mary opens drawer., takes out purse from which she takes a roll of money, returns purse to drawer and closes it; and as she speaks, crosses stage to Helen counting money and reaching Helen on her last word. Helen has been watching Mary.) Take this — it will pay your fare West and keep you quite a while if you're care- ful. Helen, (about to take it, looks up at Mary and shrinks away a step and turns front) I can't take it — I can't. Mary. Why, didn't you come here for help ? Helen. Yes, but I didn't know it was you. (Helen realizes she has made a mistake in admit- ting she knows Mary.) Mary. Oh, then you've met me before? Helen. No. Agnes, {rising quickly and stepping down on a level with Helen at the side of trick table) Garson. {as he rises and crosses to center) Yes. Helen. No. Mary, {after a quick look at Garson) You'v^e met me before. Where? Helen. I can't tell you. Mary. You must. Helen. I can't. Mary. Why not? Helen. Because — ^because — Mary. Well? Helen. Oh, I can't. WITHIN" THE LAW 51 Mary, (pause) What were you sent up for? (pause) Tell me. (pause and harder) Tell me. Helen. (Helen turns her eyes to Mary, then front again, then answers slowly) For stealing, Mary. Stealing, what? Helen, (another looTc, then front before answer- ing) Goods! Mary. Where from? Helen, (another glance from Helen, then as she turns front, she swallows, her lips tremhle and finally she answers) The Emporium. Mary, (noio convinced of what she suspects) Then you are the girl who — ! Helen, (turning to Mary) I'm not, I'm not! Mary. You are, you are ! (turning to Garson) She did it. (Garson starts quichly forward to Helen. Mary just stops him before he crosses her) Joe ! (Garson stops and steps bach with his face up stage. At Garson's first move Helen shrinks into chair left of trick table and buries her head in her hands on the trick table. To Helen) Why did you throw the blame on me? Helen, (taking her hands from her face and facing front) I found out they were watching me and I was afraid they'd catch me, so I took 'em and ran into the cloak room and put 'em in a locker that wasn't close to mine and some in the pocket of a coat that was hangin' there, (turning to Mary pleadingly) I didn't know whose it was, I just put them there — (turning front) — I was frightened. Mary. And you let me go to prison for three years ! Helen, (turning to Mary) I was scared — (turning front) 1 didn't dare tell. Mary. But they caught you later. Why didn't you tell then? 52 WITHIN THE LAW Helen. I was afraid. I told 'em it was the first I took and they let me off with a year, {on the last word she cries and luries her face in her hands) Mabt. (turning up stage) You cried and lied and they let you off with a year ! I wouldn't cry and told the truth and — (Maey starts to break down) Gaeson. Mary, don't! Helen, {turning half to Maky) I'll never for- give myself — never. Maey. Oh yes, you will. (Helen again buries her face in her hands. Maey turns and looks at Helen^ having controlled herself) People forgive themselves pretty easily. (Helen cries aloud) Oh stop crying, no one's going to hurt you. (Helen continues to cry softly with her hands up to her face. Maey offers the money) Here take it and get out. Helen. I can't take it. Maey. {forcing it into her hand; and crossing to armchair down right with her back to center) Take it before I change my mind, and get out. (Helen rises with her hands over her face, crosses left until she almost runs into Gaeson at center then looks and sees an awful look on his face and quickly slinks up to door up left with her hands over her face and sobbing softly, exits. At Helen's exit Agnes turns to look at Maey) Maey. {kneeling in arm chair at the closing of the door and crying) A girl I didn't know — to smash my life like that — if it wasn't so awful, it would be funny^it is funny, {slipping down into chair with her head on the down stage arm, and, hysterically) It is funny. WITHIN THE LAW 53 (Agnes and Gakson both cross quickly to Maey, Agnes above Mary and puts her hands on her shoulders. Gaeson goes over to Mart as he speaJcs) Gaeson. Mary, don't do that. That's no good. {pause as Mart regains her self-control and Gaeson crosses to front of trich table quietly and faces up stage) Maet. (through her tears and sobs) You're right. It's done and it can't be undone; but the sight of that girl you understand. Garson. (crossing as far as chair left of trick table with his face still up stage) Sure we do. Agnes, (bending over Mart, with her right cheek close to Mart's left, quietly) Yes, but if a dame sent me up for three years and then wanted money from me, do you think she'd get it? Not much. (Mart pats Agnes' cheek then slowly rises and crosses to chair left of table at left center and sits facing doiun stage. Agnes sits on chair down right vacated by Mart. As Mart passes Garson, he turns and follows her across stage to the upper end of the table at l. c.) Garson. (as Mart passes him) Mary, I've got something to tell you. Cassidy was up here from headquarters. He didn't put a name to it — but I'm on. I guess you'll have to quit seeing young Gilder. The bulls are wise, (as Garson crosses doivn center) His father's made a holler. Mart, (pause, then quietly) Don't let that trouble you. I was married to Dick less than an hour ago. Garson. (turning to Mart.) Married? 54 WITHIN THE LAW Mary. Yes. Agnes. Well I'm glad you landed him. Garson. {to Agnes) Wait a minute, {then crossing to right of table at left center) Do you love him? Mart. No. Gaeson. (persistently) Do you love him? Maey. (pause) No, NO ! Agnes. Then why did you marry him? Maey. I married him to get even with his father. I've been working and scheming for nearly a year to do this and now it's done. It's only beginning, too. Gaeson. (crosses up hacJc of chair at right of table at left center) Then everything's goin' on as before — you won't leave us ? Maey. Leave ? Certainly not ! Agnes. You'll live here in this house with me? Maey. Yes ! Agnes. Well, where will hubby live? Maey. Anywhere but here. Gaeson. Does he understand the arrangement? Maey, No, not yet. Agnes. Well, when you tell him — break it to him gently. Gaeson, (coming down center. To Agnes) Pretty tough on him. He's a fine young fellow. (goes up bach of chair right of table at left center) He must think a lot of you ! Don't he ? Maey. Yes, I suppose so. Agnes. Only enough to marry her. (pause) And when a man thinks enough of you to marry you — believe me, that's some thinkin'. Gaeson, (crossing up back of table at left center) Well, I'd say chuck up the whole game and go to him if you cared — and you don't, do you ? WITHIN THE LAW 55 Mart. I married him to get even with his father. That's all there is to it. I expect he'll be here in a minute or two and when he comes — (door hell rings and Gaeson crosses to door up right center and with his left hand on the Jcnoh) Mary, (rising) If that's he, Agnes, don't for- get all I've tried to teach you. Agnes, (rising and crossing up center) Don't worry about me. Whenever it's really wanted I'm always there with a full line of lady stuff. Fannie, (enters at up left center door and closes it after her) Mr. Gilder, Miss. Mary, (eagerly) Anyone with him? Fannie. No, Miss. Mary, (showing disappointment) Have Mr. Gilder come in. (Fannie exits left center and closes door after her) Garson. I guess you can excuse me. I'll see you when I'm wanted, (exits at up right door) Mary, (as she starts across stage right, stops and turns to meet Dick in front of chair left of trick table. Agnes starts crossing left at the same time and does not stop until she is standing in front of chair left of table at left center) Don't forget, Agnes. Agnes, (as she is crossing) I'm there — I'm there. Dick. (Dick enters at up left door and dropping his hat on the head of couch rushes down to Mart. Mary receives him with one hand extended which he takes and attempts to draw to him and kiss her) Hello, dear. Mary, (holding him off) Don't, don't — please, Agnes. (Dick releases Mary and turns to Agnes. Mary goes across right below armchair down right and to the back of it) 56 WITHIN THE LAW Dick. I beg your pardon, Miss Lynch. But you could hardly expect me to see anyone but Mary under the circumstances, could you ? Agnes, {in her society manner) Under what circumstances, Mr. Gilder? Dick. Why, hasn't Mary told you? We were married this morning. Agnes. Goodness gracious! How perfectly lovely! (s-its in chair left of table at left center) Dick. You bet, it's lovely, (crosses to Maky and kneels in chair down right with his arm around Maey's shoulder) Now listen, dear, I've got the honeymoon trip all arranged. The Mauretania sails at five in the morning, so we'll — Maey. (interrupting) Where's your father? Dick. Oh Lord, I'd forgotten all about Dad. I'm awfully sorry — I'll tell you what we'll do ; we'll send him a wireless and write him from Paris. Maey. What was your promise? I told you I wouldn't go away with you until you brought your father to me and he'd wished us happiness. Dick. You're going to be stubborn and hold me to my promise? Maey. (with meaning) I'm going to hold you to that promise. Dick, (off chair and talcing a step hacJc toward center and looking at his watch) All right, Mrs. Gilder — (with a laugh) Sounds fine, doesn't it? Maey. (with meaning) Yes. Dick, (returning to his former position at chair) You pack up what things you need — not much, be- cause they sell clothes in Paris — and I'll run over to Dad's office and have him back here in half an hour.^ You'll be all ready, won't you ? Maey. Yes — I'll be ready. Go and bring your father. WITHIN THE LAW 57 Dick, (as he tightens his arms about Mary and attempts to draw her to him) You bet I will. (Mary holding away from him) V/hat's the mat- ter? Mary. Nothing. Dick. But, Mary, just one. Mary. No — NO. Please. Dick, (releasing her) For a married woman you are certainly shy. (then off chair quickly, speak- ing to Agnes as he goes up center and gets his hat) You'll excuse me, won't you, Miss Lynch ? . (turning to Mary with his hand on door knob) Good bye, Mrs. Gilder — Mrs. Gilder, doesn't that sound im- mense? (exits at left center door, closing it after him. As the door closes Mary leans against the back of the chair down right and then crosses up and picks up small mirror from top of desk at right and ar- ranges her hair) Agnes. Oh gee, the poor simp. (Garson enters at up right door, closes it after him and looks around room quickly, then, as he crosses down to chair left of trick table) Garson. Where's he gone? Mary. To bring his father. Agnes. I suppose I'll miss that — I've got to be at that lawyer's at four, (a look of amusement passes between Garson and Mary) Mary, (as she starts across stage left and below trick table toward Agnes) Yes, and you'd better be getting ready, too. Agnes, (rising) I know it. (crossing up to door at left) That's what I'm kicking about. Mary, (as she sits in chair left of table at left center and Garson sits in chair left of trick table, 58 WITHIN THE LAW picTcs up newspaper and starts reading it) Have you that release for me to look over? Agnes, {as she turns in doorway at left) Yes, but I don't see the use of it, all I want is the coin. (Agnes exits through door left) Gaeson. It's a good thing for her she met you. Maey. (as she tahes a memo took from drawer and makes memos in it) Why? Gaeson. She hasn't got the brains of a knot. Maey. Brains are useful, even in our business. Gaeson. I should say they were. You've proved that. (Ag]^es re-enters from door left with her hat on and gloves ?Md purse and legal paper in her hand. She crosses hack of Maey''s chair and stands at the hack of the tahle at left center) Agnes. Here it is. {hands Maey legal paper) Maey. {opens legal paper and reads it a moment) Tell Harris it's splendid, {hands legal paper to Agnes) Just what we wanted. Agnes. Seems to me we're goin' through a lot of red tape? . Maey. Agnes — the last time you tried to separate an old gentleman from part of his money you got two years. Agnes. But that way was so exciting. Maey. And this way is so safe. Your way didn't get the money. Mine will — your way was blackmail, mine isn't. Understand? Agnes. .Sure, {turns and as she goes toward door up left center) It's as clear as Pittsburgh, (Agnes exits at up left center door. Gaeson and Maey hoth laugh) Gaeson. Solid ivory, {door-hell rings) WITHIN THE LAW 59 Maey. (making notes in note-hoolc) She's a dear, anyway. You don't half appreciate her, Joe. Gaeson Why sure she is. Did you pipe that lid ? (Fannie enters up left center door and closes it after her) \ Fannie, (smiling) Mr. Griggs, Miss. Maey. Well, have Mr. Griggs come in. (Fannie exits up left center door closing it after her) Gaeson. English Eddie? Maey. (laying note look on the table in front of her) 1 wonder what he wants. Gaeson. Probably got a trick for me. We used to work together. Maey. Joe, nothing without my consent ! Gaeson. Oh, no, sure not. (Fannie goes up left center door and Geiggs enters coming just over the door sill. Fannie is smiling hroadly and closes door after him) Geiggs. (to Maey) How do you do? (as he crosses to center) Hello Joe. Gaeson. (drops newspaper to the floor between chair and trick table, rises smiling)- Hello, English. (Gaeson moves a few steps up stage) Maey. (looking at Geiggs' swagger clothes, he standing center for her to admire him. Maey is laughing) Eeally, you overcome me. Geiggs. Well, I think it rather neat myself. Maey. Even for you. Geiggs. Yes. (turning and laying his silk hat on couch and returning to his former position) Even for me. Maey. Is this a social call? 60 WITHIN THE LAW Griggs. Well, no, not exactly. Mary. That's what I thought. Sit down, please. Griggs. Thanks. (Griggs takes the chair from right of table at left center and turns it with his left hand so that it is just opposite Mary and points slightly down stage and a little away from table and with the chair back to Mary. He then straddles the chair with his left arm across the lack) Mart, (after Griggs is settled) What's the game Griggs. The greatest game in the world, {half turns his head toward Garson) Get in on this, Joe. (Garson" crosses to the back of the table at left cen- ter as Griggs continues) Griggs. Two years ago a set of Gothic tapestry worth three hundred thousand dollars and some Fragonard panels, worth nearly as much, were plucked from a chateau in France and smuggled into this country. Mary. I've never heard of that. Griggs. Why, no, certainly not — it's been kept on the dead quiet. Garson. {to Mary) Are them things worth that much ? Mary. Sometimes more. The Metropolitan has a set of Gothic tapestries worth half a million, Garson. Half a million for a set of rugs to hang on its wall, {starting toward chair at down left) and they wonder at crime ! {sits in chair down left, facing Griggs) Griggs. Now about a month ago the things I was telling you about were hung in the library of a WITHIN THE LAW 61 millionaire in this city, {to Gaeson) Let's go after them. They were smuggled, mind you, and he can't squeal no matter what happens, (pame) Well what do you say? Gaeson. It's up to Mary. Gkiggs. (to Maey) Well? Mary. It's out of our line. Griggs. Well I don't know any easier way to get half a million. Mary, (rising) It wouldn't make any difference if it were fifty million. It's against the law. Griggs. I know, but if we can Mary. My friends and I never do anything that's illegal ! (with a smile) Thanks for coming to us, Mr. Griggs, but we can't go in. (picks up note-booh and starts down left. Griggs rises and turns chair around so that he is standing at the hack of chair without changing his position) Griggs. Now wait a minute, this chap Gilder is — (as Mary turns to Griggs and Garson rises from his chair) Mary and Garson. Gilder? Griggs. Yes, you know, that linen-draper chap. Garson. There's a chance for you, Mary. Mary, (facing Garson) No, I won't be mixed up in anything that's outside the law. (Griggs during the following couple of speeches steps hack up stage watching Mary and Garson and drawing the chair he was standing hehind with him) Garson. But it's Gilder, the man you — -Mary. I know, but it's illegal and I won't touch it, and that's all there is to it. (Garson with a growl starts up stage and just as he is alongside of Mary 62 WITHIN THE LAW she puts her right hand on his arm as she speahs) Joe! Gaeson. (pauses) Yes. (Garson goes up to lack window with his hack down stage. Mary turns and looks at Griggs a moment, then drops the notebook on the table and crossing to the door left, exits closing the door after her. At the close of the door, Garson starts down stage slowly and does not stop until he is in front of table at left center) Griggs, (who is watching Garson closely, speaks on Garson's first move. Insinuatingly) Half a million ! Garson. (while walking, half to himself) Half a million. Griggs, (temptingly) There's a stake worth playing for. (Griggs down to Garson's right a little above him dunng the following line) Think of it, Joe, a half a million ! Garson. (half to himself, and walking front) Half a million. Griggs. And it's the softest money you ever saw. (as he takes paper from his pocket and unfolds it) Here's a plan of the house. (Griggs looks at Gar- son, Garson slowly turns and looks at Griggs. As Garson looks at Griggs he slowly offers the paper to Gakson, Garson slowly takes it then as he turns front toJook at it Griggs backs a step or two up stage, watching Garson) Garson. (slowly) It looks easy. Griggs, (eagerly) It is easy. What do you say ? Garson, (as he crosses in front of Griggs to right center and handing Griggs the paper) No, I promised Mary WITHIN" THE LAW 63 Griggs, (following Garson to center, a little above him, and returning the paper to his pocket. Persuasively) But a chance like this — a chance with one play to get all you'll ever want. Gaeson. (with his back to Griggs) It sounds good. Griggs. Why this is so big that if it comes off we can quit, (pause) All of us. Garson. (turning to Griggs) By God, that's right. We can quit, (pau^e. With a quick glance at door left and turning his back to Griggs) All of us. Griggs. What do you say? Garson". (crossing left to front of table at left center, pause) How'll we split it ? Griggs, (with relief in his tone) I think three ways would be right, one to me, one to you, and one to the bunch we'll have to take in. (pause) Garson. (as he offers his hand) You're on. Griggs, (as he takes Garson^s hand) Fine, now I'll get-- Garson. (as he drops Griggs' hand) You'll get nothing. I'll get my own men. Chicago Eed's in town. So is Dacey. They'll do. Griggs. Yes. Garson. I'll get them to meet you at — Scan- lan's at — two tomorrow afternoon, and if it looks right, we'll turn the trick tomorrow night. (Griggs with a snap of his fingers and a half turn away to the right as Garson stops him) Garson. Eh! (GmoGS turns back to him) She mustn't know. Griggs. She'll never know — Joe, I give you my word of honor as a gentleman, I'll never tell — (Mary enters at door left and comes to the front of <5 64 WITHIN THE LAW left center table. At the sound of the door opening, Garson stands at center and Griggs taTces stage right. In a changed tone) I tell you after all it's the only way to do. Mary, {at front of left center tahle) What is? Griggs, {turning and pretending he didn't know Mary was there) I was just saying that when there's a leader, the only way is to follow the leader. {A look passes between Garson and Griggs as Gar- son answers and goes up stage to the foot of couch, watching Griggs) Garson. Yes. Sure. Griggs. And since you're against it, why that's all there is to it. Mary, {as she picks magazine up from table) Well, I am against it. Griggs. I'm sorry, but we must all play the game as we see it. Well, that was the business I was after, and, as it's finished — {starting up stage for his hat) so good afternoon. Mary. Won't you stay and have tea? . Griggs, {at the head of couch) No thanks. Mary. Then good afternoon. Griggs, {in doorway at up left center) So long, Joe. {A look between Garson and Griggs. Griggs nods to MarYj and as he puts on his hat slowly exits at up left door closing it after him) {Pause as Mary and Garson catch each other's eye and Gaeson crosses, and, picking up chair that Griggs has left up stage replaces it left of left center tahle, then speaks) Garson. That's a big stake he's playing for, ain't it? WITHIN THE LAW 65 Maey. Yes, and a big chance he's taking, too. (as she starts to cross right to the front of the trick table and looking through the magazine) No, Joe, we'll play the game that's safe and sure. Gaeson. {coming down center) It's sure enough, but is it safe ? Maey. {looking at Gaeson) What do you mean? Gaeson. {crossing to Maey) Suppose the bulls got tired of you putting it over on ^em and tried some rough work ? Maey. {with a laugh, returning to her magazine) Don't worry. I know a way to stop it. Gaeson. {as he takes revolver from his pocket) Yes, and so do I. Maey. {in alarm and taking hold of Gaeson's right arm) No, Joe, no, none of that — ever. Gaeson. Even if I used it, they'd never get on to me. Maey. {as she removes her hand from his arm) What do you mean? Gaeson. {with revolver in his right hand hang- ing straight down by his side, and with his left hand taking "Silencer" from his left coat pocket) See this? {hands Maey silencer which she looks at and turns over) Maey. I've never seen anything like that before. Gaeson. {as he takes the silencer and adjusts it to the revolver) No I'll bet you didn't. I'm the first man in the business to get one and I'll bet on it. I'm a scientific guy. That's what they call a "Maxim Silencer," With smokeless powder and the silencer I can fire a shot from my coat pocket and you'd never know it had been done, {drops his gun hand down straight by his side) Maey. {with a laugh) Impossible. 66 WITHIN' THE LAW Gaeson". No it ain't; here, I'll show you. {turns toward hay window and is about to raise his arm to fire as Mary grabs his arm) Makt. Joe, you'd have the whole place down on us. Gaeson. (turning to Maey with a laugh and' transferring revolver to left hand) No I won't. You stand over there, {indicating down left) Maey. NO ! NO ! Gaeson. Go ahead, it's all right. (Maey -crosses left around table at left center tvith Gaeson following as far as the front of the table at left cen- ter, and talking. As Mary is half way over she turns around and gives the gun a final scared looJc. As Gaeson follows he again takes revolver in his right hand) If you can tell when I fire I'll eat the gun. Maey, {as she goes up toward bay window up left) Nonsense. Gaeson. No it ain't nonsense, {turning toward vase on trick table and taking aim at vase of flowers) You turn your back and you won't hear, {snaps re- volver. Vase of floivers breaks. Mary drops maga- zine looks at Gaeson and crosses to vase of flowers. As Maey crosses, Gaeson follows to center and up to Maey) * Maey. {after a pause) I wouldn't have believed it. Gaeson. {as he removes silencer) Neat little thing, ain't it? Maey. {crossing around right of trick table and down stage) Where did you get it? Gaeson. {replacing revolver in his pocket and crossing down left center) Oh I got it — over in Boston last week, {door bell. At the sound of the door bell Gaeson turns and faces the door) WITHIN THE LAW 67 Mary. That can't be Agnes back already. Fannie, (ojf stage left center) I'll see if Miss Turner's at home. Burke, {ojf stage left center) That's all right. We'll see for ourselves. Gaeson. (turning to Mary) That's Burke. Mary, (standing in front of chair down right) Don't worry: he can't touch us. (Burke opens up left center door and just hesitates on door sill as Mary sits in chair down right) An Inspector! Burke, (as he quicTcly crosses doivn toward Mary as far as chair to the left of trich table with- out removing his hat. Demarest follows Burke in closing the door after him, removes his hat and quietly comes down to the iach of the chair right of left center table} Oh! here you are. Mary. Yes, Inspector. To what do I owe the pleasure ? Burke. I've come for a few quiet words with you. Mary. Then you don't want Joe ? Burke, (pause as he turns and loolcs at Garson) Not yet. Garson. (as he quietly advances a step or two and with a sneer) I'm much obliged. Mary. Will you excuse us, Joe ? Garson. (as he crosses to Burke with menace hath in his action and words, Burke looking him in the eye and just a slight movement of straighten- ing up) But suppose they — ? Mary. Please! Garson. (quietly) All right. (crossing to door up left center then as he turns in doorway) But if you want me, just call. (Garson exits up left center door. Burke has just turned his head and watches Garson out. At the closing of the door 68 WITHIN THE LAW Burke crosses left helow table at left center, then up stage as far as the doorway left, and during the fol- lowing scene hack down stage again as far as the front of the table at left center. At the closing of the door by Gaeson, Demarest crosses over to Mary as far as the front of the chair left of trick table) Mary. (As Demarest comes toward her) Ah, Mr. Demarest, it's four years since I saw you last and they've made you District Attorney since then. Allow me to congratulate you. Demarest. (a little puzzled) There is a — where have I seen you? Mary, (rising) Can't you guess? (crossing to Demarest and looking into his face) Try. Demarest. (pause) Why you're the girl — why you're the Mary Turner that — Oh, I know you now. Mary. I'm the girl you mean, Mr. Demarest, but you don't know me at all. (turns away from Dem- arest with her back to trick table) Burke, (interrupting. During Burke's speech Demarest quietly turns away and crosses up center) Young woman, the Twentieth Century leaves the Grand Central at four o'clock. It arrives in Chicago at eight fifty-five tomorrow morning, (looks at his wutch) You'll just have time to catch that train. Mary. Working for the Few York Central now? Burke, (sternly) I'm working for the good of Few York City. Mary, (with a laugh) Since when? Demarest. (quietly) I think a different tone will serve you better. Burke. Oh let her talk — she's only got a few minutes anyway. Mary, (as she indicates a chair right of table at WITHIN THE LAW 69 left center and sits in chmr left of trick table) Let's be comfortable then. BuEKE. You'd better be packing your trunk. Maey. Why ? I'm not going away ! BuEKE. {as he crosses to Maey) On the Twen- tieth Century this afternoon. ' Maey. {ivith a smile) Oh! dear no! (Demae- EST quietly drops doivn to the position Bueke has just left) Bueke. (a little louder than usual) 1 say, yes. Maey. I thought you wanted quiet words. Bueke. (in his natural tone) Now, look here, Mollie — Maey. (sharply) Miss Turner, if you please — (with a laugh) — for the present anyway. Bueke. (sternly) I'm givin' you your orders. You'll go to Chicago, or you'll go up the river. Maey. If you can convict me — notice that little word, if. Demaeest. (suavely) I did it once, remember. Maey. But you can't do it again. Bueke. How do you know he can't? Maey. Because if he could, you'd have had me in prison some time ago. Bueke. (with a look at Demaeest and a cynical smile) I've seen 'em go up pretty easy. Maey. (seriously) The poor ones, yes — but not those who have money, and I have money now. Bueke. Money you stole. Maey. (in mock seriousness) Oh, dear, no — Bueke. What about that thirty thousand you got in that partnership swindle? (sarcastically) I sup- pose you didn't steal that ? Maey. (with a laugh) Certainly not! (seri- ously) A man advertised for a partner in a busi- ness sure to bring large and safe returns. I answered • 70 WITHIN THE LAW the advertisement. What the business man pro- posed was to buy a tract of land- and sub-divide it. The deeds to the land were all forged and the sup- posed seller was his confederate with whom he was to divide my money. We formed a partnership with a capital of sixty thousand dollars — he put the money in the bank and I promptly drew it out. He wanted to get my money illegally, instead of which I man- aged to get his legally, for it was legal, {turning to Me. Demaeest) Wasn't it, Mr. Demarest? Demaeest. Yes, unfortunately ! A partner has the right to draw out any or all of the partnership funds. Maey. And I was his partner. So you see you wrong me, Inspector. I'm not a swindler, {ivith a laugh) I'm a financier. Bueke. (sarcastically) Yes. Well you'll never pull another one on me, you can gamble on that. Maey. Won't I? Miss Lynch, at the present moment, is painlessly extracting ten thousand dollars from General Hastings, in a perfectly legal manner. Inspector Burke. Bueke. (with a sneer) Oh, she is, eh? (sternly) Well you may stay within the law but you've got to get outside the city, (coaxingly) On the level now, did you think you could get away with that young Gilder scheme you're planning? Maey. (innocently) What young Gilder scheme ? Bueke. That's all right — I'm wise — I'm wise. Maey. (with a laugh) Yes you are. Bueke. (sternly) Once for all, you leave town this afternoon or you'll be in the Tombs in the morn- ing. Maey. (as she rises and crosses to center, Demae- est steps hack out of the way) It can't be done, Inspector, (turns and looks lack over her shoulder WITHIN THE LAW 71 at Buekb) It can't be done. {then crosses to drawer in left side of table at left center and opens the drawer) Burke, (following Mary as far as the loiver left corner. As soon as Burke is in position Demarest drops quietly down to Burke's right) Who says it can't ? Mary, {as she is getting paper from drawer) This. Burke. And what's — this? Mary, {handing Burke legal papers and coming down to the lower end of table. While he proceeds to open the paper and glances at it) A temporary- restraining order from the Supreme Court instruct- ing you to let me alone until you have legal proof that I have broken the law. Burke. Another new one. (folding up paper) But you can't do it. Mary, (seriously and earnestly) Oh can't I? A gambling house can get one and go on breaking the law, a race track can get one and laugh at the law, a railroad can restrain their employees from striking. Why shouldn't I get one too? I have money, I can buy all the LAW I want; and there's nothing you can't do with the law if you have money. (with a laugh) Ask Mr, Demarest, he knows. (Mary crosses up to the side of the chair left of table at left center with her face up stage) Burke, (looking at Demarest) Can you tie that? (hands Demarest legal paper which Demarest opens and looks at and then folds up. Then .as Burke crosses up to hack of chair right of table at left cen- ter) A crook appealing to the law. Mary. And getting justice — that's the remark- able part of it! (turning so that she faces both Burke and Demarest and with a challenge in her 72 WITHIN THE LAW voice) Well, gentlemen, what are you going to do about it? .Burke, (sternly) This is what I'm going to do, one way or the other, I'm going to get you. Demarest. (crossing to table and laying paper on it then stepping hack. Gently and persuasively) I'm going to appeal to your sense of fair play. Mary, (as she turns away) That was killed four years ago. Demarest. Let young Gilder alone. Mary, (turning to Demarest, strong) His father sent me away for three years, and he's got to pay me. Burke, (quietly) Don't fool yourself, my girl, you can't go through with it. There's always a weak link in the chain somewhere and I'm going to find it. Mary, (turning and looking at Burke. Seri- ously) Now you sound really dangerous. (Garson enters up left door, closing it after him and speaks as he is crossing down to Burke's left just above Mary) Garson. Mary, I want to see you a minute. Mary, (to Burke) Excuse me, please. Burke, (to Mary) Nothing doin'. (to Garson) What is it? Garson. Something private. Burke. Private things don't go. (sternly) Out with it. Mary. Tell then, Joe. There's nothing we need be afraid of. Garson. Old man Gilder's here. Burke, (as he crosses hack of Demarest to down right in front of trick table. Surprised) Gilder! Demarest. (surprised) Here? Garson. That's what I said. Mary, (as she shows pleasure) Have Mr. Gilder WITHIN" THE LAW 73 come in, Joe. (Gaeson crosses to door up left center, holds it open and nods to Mr. Gilder. Mary taking stage down left) It seems I am having quite a num- ber of distinguished callers today. Demaeest. (to Burke) He shouldn't have come. (starting to door up left center and gets as far as the head of the couch) Burke and I will attend to this Mr. Gilder. (Mr, Gilder enters and drops his hat on the table in the hall, passes Demaeest and comes down before table at left center and to the right of it facing Maey who has her bach half to him. Demaeest comes down to upper end of table at left center as soon as Me. Gildee pass him) GiLDEE. (in a hard mechanical tone) So you are the woman. Maey. I am the woman. What do you want ? Gildee. My son. Mary. Have you seen him lately ? Gilder. No. Mary. Then why do you come ? Gilder. Because I intend to save my boy from a great folly. I am informed that he is infatuated with you and Inspector Burke tells me — tells me — BuEKE. (starting a step or two forward) 1 tell you she's an ex-convict. Gildee. Is this true ? Maey. (positively) It is. BuEKE. You'd better leave her to me. (crosses toward Maey but just as he reaches Me. Gilder on his last word Mr. Gilder checks him with a slight movement of his arm without taking his eyes off Mary) Now see here, you — ! Gilder, (stopping him) If you please, inspector — Of course you don't really care for my son — (Burke turns in disgust and crosses right to his former post- 74 WITHIN THE LAW tion) so how much will you take to go away — how much? Mary. I don't want money. Inspector Burke can tell you how easy- it is for me to get it. Demaeest. If you'll permit me^ Mr. Gilder — Gilder, (calmly and without taking hi$ eyes off Mary) I think this matter can be settled between this woman and me. (Demarest crosses right to hack of chair left of trick tahle~as Gilder continues) Do you want my son to learn what you are? Mary. Why not? I'll tell him myself. Gilder. I don't want him to know. I've spared the boy all his life. If he really loves you — Dick, {speaking outside and entering up left center door during the line, closes door after him and puts his hat on the couch. At the sound of Dick's voice Mr. Gilder takes a step or two back and half turns toward door) I didn't see father but I left him— (turns and sees his father and comes down stage and as he passes chair right of table at left cen- ter draws it ivith him by the back until he stands fac- ing his father with his back leaning against the chair. This business is done as he is speaking his next line) Hello, dad, you got my note ? Gilder. No, I've had no note. Dick. Then why — ? (Dick looks over his father's shoulder and sees Burke and Demarest) what are they doing here ? Mary. Never mind them. Tell your father your news. Dick, (as he crosses down to Mary and puts his hands on her shoulders and looks over her shoulders into her face) Dad, we're married. Mary and I were married this morning. Gilder. What ! WITHIN THE LAW 75 Maky. (in exultation) I married your son this morning. Do you understand, Mr, Gilder, I married him. BuKKE. {tempestuously) It's a frame up ! Tell your father it ain't true. Why, do you know what she is? She's done time and by God she'll do it again. Dick, {turning to them) That's a lie. {to Mary) Mary, say it's a lie. Mary, {as she turns to Dick and takes a step hack) It's the truth. Burke. What did I tell you? Dick. You have — Mary, {looking squarely at Dick) I have served three years. Gilder, {to Dick) I wanted to save you from this. Dick, {facing front) But there's a mistake. Demarest. There isn't. Dick. I say there is. {pleading) Mary, say there's a mistake — say there's a mistake. Mary. It's all quite true, {pause a$ Dick stag- gers hack, with his hand oPer his eyes, against left side of table at left center and sinks into a sitting position with bowed head on the table) Gilder. Do you see what you've done to my boy ? Mary, {controlling her emotion and starting to- ward Gilder) And what is that compared to what you have done to me ? Gilder. What I have done to you ? Mary, {up to Gilder; Gilder Irealcs ground a step or two during the speech) Yes, do you re- member what I said to you the day you had me sent away? Gilder, {as he starts to cross in front of her to Dick) I don't remember you at all. '^e WITHIN THE LAW Mary, (stepping in front of him and hlocTcing Mm) Don't you remember Mary Turner, who was arrested four years ago for robbing your store? (Gilder shows he begins to remember and breaks ground a step or two and a little up stage) who swore she was innocent, and who would have got off if you hadn't asked the judge to make an example of her? Gilder. You are that girl? Mary. I am that girl. (Dick starts to take notice of what is being said and slowly rises and turns and drops to lower side of table at left center) You helped smash my life, you put me behind the bars, you owe me for all that and I have just begun to collect. Gilder. And that is why you married my boy? Mary. It is. Dick. It's not. « Burke, {as he takes a step toward Mary) Now see here — Dick. You keep out of this. (Burke turns and takes his former position) Demarest. But Dick — Dick. And you. (as he puts his hands on Mary's shoulders. She is standing facing GiJjBEu) This is my affair, (to Mary as he turns her slightly down stage speaking over her shoulder. Mary keeps her eyes on Gilder) You married me because you loved me. Mary. I didn't. Dick. And you love me now. Mary. No ! NO ! Dick. You love me now. Mary. I don't. Dick. Look me in the face and say that. (Dick WITHIN THE LAW 77 turns Mary so that she~faces him and holding both her arms) Look me in tlie face and say that. Mary. I don't love you. Dick, (as his hands slip down to both her wrists and he tries to draw her to him) Just the same you're my wife and I'm going to make you love me. Mary. You can't. You're his son. Dick. I'm going to make you love me. I don't care what you've done. Burke. She's a crook ! Dick, (to Burke) I don't give a damn what she's been, (to Mary) Do you hear, I don't care what you've been ? From now on you'll go straight. You'll walk the straightest line a woman ever walked. (Mary who has had her head turned aivay from him during this speech now starts to draw Dick up stage until they reach the chair that Dick placed on his entrance^ then Dick puts his right hnee on the chair and as Mary continues to draw away she gets around the chair and alcove Dick and on the last few words of his speech he draws her around in front of him again and on his last word forces her hands to the bach of the chair, thus forcing her to look at him) You'll put all thoughts of revenge out of your heart — (Dick knees on chair) because I'm going to make (Dick draws Mary around to face him) you love me. {a pau^e as Mary gives Dick one look of wonder when Burke breaks in sharply) Burke. She's no good, I tell you, she's a crook. Mary. (Mary turning quickly to face Burke and forcing her wrists away from Dick. Dick off chair and back against table at left cent9r) And if I am, who made me one? You can't send a decent girl to prison and have her come out anything else. 78 WITHIN THE LAW Burke, (sarcastically) She didn't even get her time off for good behavior. Maey. And I'm proud of it. (to Gilder) Do you know what goes on behind those stone walls? (to Demarest as she takes a couple of steps up stage) Do you, Mr, District Attorney, whose busi- ness it is to send girls there? Do you know what a girl is expected to do so that she can get time off for good behavior ? If you don't, (starts down stage and with horror in her voice) ask the keepers. Gilder. And you ? Mart, (as she turns to face Gilder and with her hack to the chair Dick placed on his entrance) I served every minute of my time: three full, whole years. Do you wonder I want to get even — that someone has got to pay? (a step to Gilder) Four years ago you took away my name and gave me a number. Now I've given up — (ring curtain down) that number and I've got your name. CURTAIN ACT III SCENE I Time : — The next night at half-past ten. Scene: — Library in Edwakd Gildee's house. At right is a practical hay window with tapestry portieres. Across the hack at center is a fire- place. Bight of the fire-place is a door leading into another room. Left of the fireplace is a bookcase. The walls over the door up right, fireplace, and both bookcases are covered with tapestry. At the left second entrance is a door which leads into the hall. Below this door is another bookcase. To the left of the fireplace and between it and the bookcase is a chair and another chair is in front of the fireplace. Down right is a library table with a practical lamp on the right middle side and a 'phone on the right upper end. On the surbase just below the hay window is the practical bell box of the 'phone. Down left is a couch set diagonally. Back of the couch is a small square table with a practical lamp, box of cigarettes and box of matches on it. On the wall left between the door and the book- case is a push-button switch which is supposed to control chandelier, hut does not. Lights : — Foots up, amber, no borders. Both table lamps lit, with amber shades and globes. Chan- deliers not on in Scene i hut on and off with foots on cues in Scene it. Chandelier has amber shades and amber globes. Moonlight in bay 79 80 WITHIN THE LAW window to he flashed on and off on cue, once in Scene i and once in Scene ii. At Eise: — Me. Gildee, wearing dinner clothes, is discovered seated at the table at right center reading a hook. After a short pause, the door at left opens and Dick enters, closing the door after him and coming to hade of couch above table. He is in dinner clothes. As he enters Me. Gilder looTcs up, then goes on with his reading, Dick, (as Dick speaJcs he comes around to the front of couch) I'm awfully sorry I'm so late, Dad. GiLDEE. (without raising his eyes) Where have you been? With that woman again? Dick, (coming around upper end of couch to front of it) She won't see me. GiLDEE. Naturally. She's got all she wants from you: my name! Dick, (to lower end of couch and sits) It's mine, too, you know, sir. GiLDEE. (turning to Dick) Dick, you're all I have, my boy. You'll have to free yourself from this woman somehow. You owe me that much. Dick. Dear old dad, I owe you everything in the world, but I owe something to her, too — GiLDEE. What can you owe her? She tricked you into this marriage — it's not even that, she's sim- ply fooled you into a wedding ceremony. Now it's for us to get you out of this scrape — Dick. I'm not certain that I want to get out of it. Gilder. You want to stay married to this jail- bird? WITHIN THE LAW 81 Dick, {rising sharply) I'm very fond of her, dad. Gilder. Now that you know? Dick. Now that I know, (as Dick crosses to Gilder at the table) Don't you see she's justified in a way, in her own mind, I mean ? She was inno- cent when she was sent to prison. She feels that society owes her something — Gilder. Don't talk nonsense. I suppose you'll argue next that because she's clever enough to keep within the law since she got out of State's Prison that she's not a criminal. (Dick crosses to center) A crime's a crime whether the law touches it or not. There's only one course open to you, my boy: you must give this girl up. Dick, (crossing to left center) I've told you, dad, that I can't. Gilder, (rising and crossing to Dick) You must, I tell you. (pause then softly) If you don't what are you going to do the day your wife is thrown into a patrol wagon and carried down to police- headquarters? (Dick turns to Gilder as if about to speak) for it's sure to happen. The cleverest people make mistakes and some day she'll make one ! Dick. But she isn't going to - — Gilder. (Dick turns away) They'll stand her in a line and the detectives will walk past her with masks on their faces; her picture is already in the Eogues' Gallery, but they'll take another— yes, and the im- prints of her fingers, and the measurements of her body. Dick, (turning quickly to Gilder) Father! Gilder. That's what they'll do to your wife, the woman who bears your name and mine ; now what are you going to do about it ? 82 WITHIN" THE LAW Dick. It will never happen. She'll go straight. You don't know her as I do. (sits on lower end of couch) GiLDEK. (crossing to DicJc) Be sensible, my boy, be sensible. Dick. Why Dad, she's young — she's just like a child in a hundred ways. She loves everything that's simple and real ! And as for her heart, dad — I've seen her pick up a baby that had fallen in the street and mother it in a way that — well no one could do it as she did unless her soul was clean. Gilder. After what you heard her say yesterday, you still think that ? Dick. I don't think — I know. GiLDEE. Do you realize what you are doing? Don't go to smash just at the beginning of your life. Put this woman out of your thoughts and start afresh. Dick. I can't. Gilder, (putting Ms left hand on Dick's right shoulder) You're all I have, my boy. Dick, (rising) Dad, I know, I'm sorry — if I could avoid it, I wouldn't hurt you for anything in the world — ^but I've got to fight this out in my own way. (crossing in front of Gilder and above the table at right to bay window) And I'm going to. (Mr. Gilder starts toward Dick. Thomas enters 'rigid door and Mr. Gilder stops as Thomas stands with card tray and card just inside the door, which he closes after him) Gilder, (at center) Well, Thomas? Thomas. A man to see you, sir. Gilder. I can't see anyone tonight. (starts to cross to Dick at first word of Thomas) WITHIN THE LAW 83 Thomas, (as he crosses down to Gildep's left) He says it's very important, sir. {offers Gilder a card on a tray) Gilder, {takes card and reads) Inspector Burke. {to Thomas) Show him in. (Thomas crosses to door left and exits leaving door open) Dick. Burke ! {starts toward door up right) Gilder. Better wait a minute. You m,ay as well get used to visits from the police. (Dick comes down to right upper corner of table at right. Enter Thomas, stands ahope door facing down stage. Burke follows Thomas in and crosses to table at bach of couch and puts his hat on it, then goes around upper end of couch to Gilder. Thomas exits left closing door after him) Gilder, {at Burke's entrance) Good evening Inspector — you wish to see me? Burke. Yes. {Dick starts for door up right) I want to see you, too, young man. (Dick stops and turning comes down to right side of table at right center) Gilder. Well, Burke? Burke. Well, she's skipped. Dick. I don't believe it. Burke, {to Gilder) She left this afternoon for Chicago. I told you she'd go. Now all we have to do is to get this boy out of this scrape and we're all right. Gilder. If we only could. Burke. Oh, I guess we can find some way to have the marriage annulled — (Dick gives Burke a look of anger) or whatever they do to marriages that don't take. Dick, (angrily) Don't you interfere in this. Burke. Interfere? {as he crosses to the left of table at right center) Huh ! That's what I'm paid 84 WITHIN THE LAW to do. (quietly, with meaning) Listen to me, son: the minute you begin mixing up with crooks you ain't in a position to give orders to anyone. A crook's got no rights in the eyes of the police. Just remember that. Dick, (all anger gone) So she's going to Chicago. Burke. Yes. Dick. Where's she going in Chicago? Burke. I'm no mind reader, but she's a swell little girl; I've got to hand it to her for that any- way — she'll probably stop at the Blackstone — that is until the Chicago police are tipped off that she's in town. Dick. Burke, give me a chance — I'll leave for Chicago in the morning. Give me twenty-four hours start before you begin hounding her. Burke. That sounds reasonable. Gilder, (as he quietly comes down to Burke's left) You shan't go, Dick. You shan't go. Burke, (to Gilder) Why not? It's a fair gamble and I like the boy's nerve. Dick, (to Burke) And you'll agree? Burke. Yes. Dick. (as he starts for door up right) Thank you. Gilder, (turning toward Dick) You shan't go. Burke, (aside to Gilder as he crosses to down right corner of table at right and then turns to face Gilder) Keep still, it's all right. Dick, (turns at door up right and then crosses down to lower left corner of table at right and faces Burke) You give me your word that you won't notify the police in Chicago until I've been there twenty-four hours ? WITHIN THE LAW 85 BuEKE. You're on. They won't get a whisper out of me until the time's up. Dick, (as he starts to door up right) Thank you GiLDEE. But Dick — (Dick is just on a level with his father and turns to him with his hacJc to the audience) I'm sorry Dad, but I've got to do what I think is the right thing, (up to door up right and exit closing door after him) BuEKE. (as he starts across stage left to the lower end of couch) Sure you have. (Dick exits) That's the best any of us can do. (pause as Gildee goes to armchair bach of table at right and sits. BuEKE turns at lower end of couch and looks at him) BuEKE. (as he crosses up center) He'll go to Chicago in the morning? GiLDEE. Certainly. BuEKE. Best thing that could happen, (pause) He won't find her there. Gildee. (in surprise) What makes you think that? Bueke. (with a chucTcle) Because she didn't go there. Gildee. Where did she go then? Bueke. Nowhere — yet. But just about the time he's starting for the west, I'll have her down to Police Headquarters, Demarest will have her indicted be- fore noon, she'll get on trial in the afternoon, and tomorrow night she'll be sleeping up the river. That's where she's going. Gildee. (rising) But how can you do that? Bueke. (as he crosses to Gildee) Maybe I can't — but I will. Think I'm going to let this girl make a joke of the Police Department? Listen-^- this is where I'll get her — her gang is going to break into your house tonight. 86 WITHIN THE LAW Gilder. She's — (stepping toward window at right) coming here, {looking out window, then lack to right side of table facing Burke) A thief ? Burke. Not if I know her she won't. She's too clever for that. Why if she even knew what Garson was up to tonight, there isn't anything in the worki she wouldn't do to stop him. — (pause as Burke shows that he has thought of something) By God, I've got her. (as he drops quickly into chair hack of table right and pulls the 'phone toward him) Can I use your 'phone? Gilder. Certainly. Burke, (into 'phone) Give me thirty-one hun- dred Spring, (to Gilder) Maybe it isn't too late. I must have been out of my head not to have thought of it before. (into 'phone) Headquarters? In- spector Burke speaking. Who's in my office? (short pause) I want him quick. (to Gilder) Smith's the best man I've got. We're in some luck anyhow. (into 'phone) Oh Ed, send someone up to the Turn6r woman's flat — tip her off that Joe Garson, Chicago Eed and Tom Dacey are going to break into Edward Gilder's house tonight. Get some stool to hand her the information, and you've got to work quick. Hold on — (pause as Burke looks at his watch) It's ten thirty now. She went to the Eltinge Theatre with some woman. Try to get her as she's leaving there, you'll have to hustle. If you miss her at the theatre, have the man go to the house for her. That's all. (hangs up receiver) Gilder. What good will all that do? Burke. She'll come here to stop them and we'll grab her when we get the rest of the gang, (as he slaps the table and rises and crosses to center) God, I'll be glad to get Garson. (turning to Gilder) Mr. Gilder, I've tried for twenty years to land that / WITHIN" THE LAW 87 crook; but he managed to slip throiigli my fingers every time. Just ring for your man, will you please, Mr. Gilder? (Gilder presses call button under table edge and flashliglit from Metropolitan tower floods the room luith a white light for a feio minutes. Burke with some surprise) What's that? Gilder. That's the flashlight from the Metro- politan Tower. (Burke turns and crosses up center facing door left. Mr. Gilder goes to the portieres, and during the remainder of the speech draios them over the bay windoiv) The servants forgot to draw the curtains. It won't bother us again. (Thomas enters door left closing the door after him. Me. Gilder turns, facing Thomas and Bueke^ and stand- ing at the 'portieres) Burke. My man, I want you to go up on the roof and open the scuttle. You'll find three men up there. Bring them down here, {a frightened start from Thomas) Oh, they won't hurt you. They're police officers. Then, you go to bed and stay there till morning, understand? (Thomas loolcs at Gilder) Gilder. Do as the Inspector tells you, Thomas. Thomas. {as he starts across the stage right) Very good sir. (Burke ivatches Thomas as he crosses and exits at right upper door, closing door after him) Gilder, {as Burke comes down center and he crosses to Burke at center) How do you know they are going to break into this house, or do you only think they are ? BuEKE. I know they are. I fixed it. Gilder. You did? Burke. Sure ! Through a stool pigeon. Gilder. Oh, an informer. Burke. Sure. The stool-pigeon in this trick is a swell English crook named Griggs who went to 88 WITHIN THE LAW Garson yesterday morning with a scheme to rob your house. Garscn fell for it and Griggs got word to me at once that it was coming off tonight — and that's how I know. Gilder. But why have your men come down over the roof? Burke. It wasn't safe to bring them in the front way. It's a cinch this house is being watched. Just let me have your latch-key. (Gilder hesitates) Oh come on. Gilder. (as he starts to take ring of Jceys from pocket) What for? Burke. I want to come back and make this col- lar myself. Gilder, (as he hands Burke the hey) Why not stay now that you're here? Burke. Suppose some one saw me coming in? There'd be nothing doing until they saw me go out. Gilder. I see. (Burke tahes the stage doivn right. Gilder goes up center; door up right opens and Thomas enters and stands to the right of the door facing Gilder. Cassidy enters after Thomas, fol- Joived by TiioMPSOisr and Williams ivhoin Cassidy motions to each side of the door up right and then Cassidy comes to left end of table at right) Go to bed. (Thomas exits door up right and closes it after him) Burke. Where can these men stay until they're needed ? Gilder. There's an empty room on the next floor that — Burke, (interrupting him) Won't do. (crosses up to door up right opens it and steps into next room and looks off left) What's that door leading from this room here ? WITHIN" THE LAW 89 Gilder. (taJcing a step down stage so that he can see Burke) That leads to the third floor -— Burke, No I don't mean that one. The one on the other side of the room. Gilder. Oh that ? That opens into a hall which leads to a store-room. Burke, (as he enters to lower end of couch) Take a look at that room, Cassidy. (Cassidy exits through door up right and disappears off left. To Gilder) These men came through number twenty- six on the other street, then round the block on the roof. Gilder. I see. To avoid suspicion. (Gilder crosses up stage just above upper end of couch) Burke. Sure. You can't be too careful in a case like this. (Cassidy enters at door up right and comes down left end of table at tight. As Cassidy enters) Well, Cassidy? Cassidy. It'll do. Now if the light is out in that room, we can leave the door of the room where we are, open. Will that be all right. Inspector ? Burke. How about it, Mr. Gilder? Anyone likely to be using that room? Gilder. No one. Burke. That'll do then, (up to Gilder) Now, I'm going to give you the same tip I gave your man. Go to bed and stay there. Gilder. I'm doing this because there seems to be no other way; but I don't like it. Burke. Believe me, it's the easiest and quickest for us all. (coming down center) Cassidy! Cassidy. (stepping forward to meet Burke) Yes, sir? Burke. You're in charge here and I hold you responsible. Cassidy. Yes, chief. 90 WITHIN" THE LAW BtTEKE. Now listen to this and get it ! I'm com- ing back to get this bunch myself and I'll call you when I want you. You'll wait in that store room out there and not make a move until you hear from me, unless by any chance things go wrong and you get a call from Griggs — you know who he is ? Cassidy. Yes, sir. Burke. He's got a whistle and he'll use it if necessary. Got that straight ? Cassidy. Yes, sir. BuEKE. On your way then. (Cassidy starts toward door up right) Just a minute. (Cassidy stops and comes down to Bueke) The minute you get in the room, jump for that window, {indicating window right) Understand? Cassidy. Yes, sir. Burke. That's all. (Cassidy goes up toivard door right, motions Thompson" and Williams of and follows them, closing door after him. As Bueke crosses up above couch to table, gets his hat and turns to Gilder) Now then, Mr. Gilder, I'll have to ask a little help from you to delay things a little to give that Turner girl time to get here. Keep your lights burning until about half past eleven. They won't try anything as long as a light can be seen. Then go to bed and stay there. (Gilder sighs) Don't worry about the boy. We'll get him out all right. Gilder. I hope so. Burke. Nothing to it. Good night. (Burke exits left door closing it after him. Gilder pauses a moment, holes around then crosses to portieres and parts them and looks out) (EING CUETAIN DOWN) (As the curtain touches the stage all lights out except the moonlight. Chimes as a distant town-cloch starts striking twelve o'clock) ACT III SCENE II Time. — Same night — Twelve o'clock. Scene — The same. Lights. — Everything out hut the moonlight. In this scene every time the chandeliers go up and down the amher foots work with them. At Eise: — On the eleventh stroke of the chime the curtain rises on a dark stage. On the twelfth stroke, the portieres part and Garson steps into the room and closes them. All his move- ments are made luithout a sound hut are not stealthy. On the contrary he works in an ex- tremely husiness-like manner. He takes care however, to walk on the halls of his feet with a peculiar catlike tread. He then lights a pocket flash and flashes it around the room. He crosses to door at up right center and listens, then crosses to door left and quietly opens it and listens, then quietly closes it and flashes his lamp on the switch on the wall ju^t helow the door left. Then he crosses to the tahle down , right, flashes his lamp up through the shade, then lights the tahle lamp. As soon as the tahle lamp is lit, he puts out his flash lamp, puts it in his pocket and looks around the room. He then crosses up, takes the chair from in front of fire- place and places it against the up right center 91 92 WITHIN THE LAW door in such a way that anyone entering would stumble over it. Then, coming doivn to the bach of the table at right center he takes up the 'phone in both hands and calls 999 Bryant. As he is waiting he again looks around the room as if watching the door, and then, setting down the 'phone with the receiver at his ear picks up a penholder and turns to the 'phone as if he had an answer from his^number. Then he taps out a message in Morse code on the mouthpiece with the penholder. A reply is heard in the Morse code and then he hangs up receiver. Looking around he finds the bell-box of the 'phone on the surbase beloiu the bay window. He kneels down facing front and imscrews one bell and lays it on the floor then removes the other one. Then picking up both bells he rises and sets them on the table under the lamp. Then as he stands at the right end of the table, he takes out liis re- volver and "silencer." He is watching the doors all the time. Then putting the revolver in his right side trouser pocket he takes out his pocket flash from his inside coat pocket, turns out the table lamp, and, with his flash lamp shoiving ahead of him, crosses to door left and exits, leav- ing the door open. The stage remains dark for a few moments then the light from the pocket flash is seen on the ceiling and gradually comes down until it is shining directly across the stage on the door up right center. Then enter at door left, Dacet^ who crosses to the right upper cor- ner of the table at right center. Dacey is fol- lowed by Griggs who crosses around the upper end of the couch then down center and stands facing up stage. Griggs is foUoived by Chicago Red who crosses over to upper end of bay win- WITHIN THE LAW 93 dow. Each of the men passes in front of the light of the flash lamp as they enter. Gaeson then enters, putting out his flash lamp and closing the door quietly. Then he turns to stvitch on the wall helow the door. All talking from here until ^ Maey orders to turn up lights is carried on in monotone) Gaeson. All right so far. Wait till I turn up the lights, {presses switch for chandelier lights. As chandelier lights, Dacey and Chicago Eed turn to portieres. Geiggs starts up toward portieres and Gaeson, as he speahs, crosses down helow couch and over to portieres and is ju^t at up right center as the telephone buzzes) Is that what we want? Geiggs. Yes. Gaeson. We got to hurry and — (phone buzzes. Gaeson jumps quickly and picks up the 'phone and removes the receiver. The 'phone then stops buzzing. Geiggs comes quickly down to Gaeson's left shoulder. Chicago Eed tur7is and leans over up right corner of table and Dacey over back of Gaeson's chair) We got to take a chance, (then puts the receiver to his ear and a telegraph message is heard coming over the 'phone and after it stops Gaeson speaks) That's Mary's call. Geiggs, Eed and Dacey. Mary's? (telegraph message starts again) Gaeson. Yes, she's on. (he holds receiver a few inches away from his ear and as the message comes over the 'phone he translates) Am — at — corner- drug — store ! Have — some — one — open — door — for — me — immediately, (during the translation Geiggs draws aivay up center watching Gaeson) Geiggs. She's coming over ? 94 WITHIN THE LAW Gaeson. I'll stop her. (sets down 'phone and 'picks up penholder) Eed. Eight! stop her. Gaeson. (Gaeson taps out a message on the mouthpiece — pause hut gets no answer) She don't answer! (tries again, gets no ansiver and then as he quickly hangs up receiver) She's gone. Geiggs. Probably on her way. Gaeson, (at the upper left corner of the table) What's she coming here for? This is no place for her! If anything should go wrong noAv — Geiggs. Nothing can. (as he quickly crosses to door left) I'll let her in. Gaeson. (as he advances to center and sharply to Geiggs) Griggs! (Geiggs stops at door left and turns to Gaeson) Got a lamp ? Geiggs. Sure, (exits at door left leaving it open) Gaeson. (after a look at Geiggs then coming down left corner of table at right) If anything should go wrong now ! Oh ! Why did she have to come? (Maey enters hurriedly at left door and crosses above couch and down to Gaeson. As Maey enters) What do you want here? (Geiggs enters, removes his hat quietly, closes door, and drops down to table back of couch) Mart. You lied to me. (amber light back of door up right, on) Gaeson. That can be settled later. Maey, (turning up stage) You're fools, all of you. This is burglary. How can I protect you if you're caught? Come, we must get away at once. (turning to Gaeson) Joe, make them go. Gaeson. We're here now and we can't leave. Maey. Joe, for my sake. Gaeson. I can't leave till we've got what we're after. WITHIN THE LAW 95 Mary. But there are reasons — I can't have you rob this house! {turning up stage) Boys, let's get away — please — -please, {to Gaeson) Joe, for God's sake. Gaeson. {as he crosses left in front of Maey and to the middle of the front of the couch and facing up stage) I'm going to see this thing through. Maey. Joe ! Gaeson. It's settled. Maey. Then — (Maey starts to go toward door left) Gaeson. {as he takes a step up stage) You can't go. Maey. Why ? Gaeson. You might be caught. Mary. And if I were — do you think I'd tell? Gaeson. Of course not. You'd go for a lifer first. Maey. Eather than — Gaeson. Just the same we can't take any chances. We'll all get away in a minute and you'll come with us. Tom, get to that light switch. (Dacey crosses to switch left, and places his left hand on it as Gae- son continues) If you hear me snap my fingers turn 'em off. Understand ? Maey. Joe, don't do this. Gaeson. You can't stop it now, and you're only making it dangerous for us all. {to Eed) Eed, you get to that door. (Eed, who is at right goes quickly up, takes chair away from door up right puis it at the right side of the fireplace and returns to the door as Gaeson continues) If anyone comes in, get him and get him quick — don't give a chance to cry out. Eed. {as he holds up his right hand) Not a chance with dis to cover his mug. (Eed turns then with his ear to the jamh of the door, listening) 7 96 WITHIN THE LAW Garson. (with his face still up stage. To Griggs) Now let's get to work. (Griggs quickly goes up, puts his hat on the chair left of the fire- place, returns and stands at the up stage side of the table bach of the couch) Mart. Listen to me, Joe: if you do this, I'm through with you — I quit. Garson. If this goes through we'll all quit. That's why I'm doing it. (to the others) Come boys, push that table, (indicating table bach of the couch) Against the wall so I can stand on it — (Griggs bends down as if to picTc up table, Garson starts up stage and over toward portieres. Mary tries to stop Garson as he passes her, then crosses around lower end of couch as if to hold table) Mary. No Joe! NO! NO! NO! Eed. (makes a hissing sound and everybody stops just where he is. Garson is up center, facing Red. Mary is at the lower end of the table back of couch. Dacey is at the light switch left. Griggs is above the table back of the couch in the act of lifting it and Red has his ear at the door up right. There is a short pause and Red again gives the warning hiss) I hear something, (pause) It's comin' this way! Garson. (as he snaps his fingers) Lights! (the ligfits go out and in the pause of darkness before Dick enters at up right door, Garson first crosses back of couch to left side of table just above Mary ivith his pocket flash ready. Griggs theti crosses up center, Dacey follows Griggs and stands at his left and Chi- cago Red steps well back into the corner between the door up right and the bay window. Dick opens up right door, stands for a moment in the light and then steps into the room drawing the door closed after him. Just before the door closes Red's right WITHIN THE LAW 97 hand grabs Dick's wrist and forces Dick's hand over his own mouth. The door then closes and in the darkness Eed grabs Dick's other wrist and they struggle down to the lower end of the front of the couch; Dick is then forced down on his knee. As Dick goes to his knee Eed speaks) Eed. I've got him. (Gaeson flashes pocket flash on Dick's face. As Dick's face is seen Mart speaks) Maey. It's Dick. Gaeson". (as he takes flash off Dick's face and re- turns it to his pocket and crosses up around the upper end of the couch and to the front of it) Get away Eed. (Eed lets go of Dick and goes up stage quickly between Geiggs and Dacey. As soon as Dick is re- leased he rises and kneeling on couch leans over and lights the lamp on the table back of the couch. As he lights the lamp both baby spots come on, trained on Dick's and Maey's face. Dick is kneeling on the couch and Maey is back of it and then they are face to face. Maey's hand is on the back of the couch) Dick, (as he places his hand over Maey's) Good God! You. Mary, (warningly) Hush! You don't under- stand. Dick. I understand this — whether you ever did before or not, this time you have broken the law. You're in my hands now, and these men as well, — and unless you do as I say, I'll jail every one of them. Maey. You can't. I'm the only one you've seen. Dick. That's soon remedied, (starts to turn away) Maey. (as she grabs Dick's left arm with her left hand) Don't turn, Dick. It isn't safe. Dick. I'm not afraid. Eed. Who is this ? Dick. Her husband. Who are you ? 98 WITHIN" THE LAW Mary. Don't speak, any of you. Don't let him hear your voices. Dick, (to Mary) You're fighting me like a coward. You're taking advantage of my love — you think because of it I can't make a move against these men. Now you listen to. me. Mart. I won't. There's nothing to listen about. There never can be anything between you and me. (turns away to the left and attempts to go up stage) Dick, (as lie draivs Mary hach to him) There can be and there will be. (to the men and half turn- ing to them) You men back there, if I give you my word to let everyone of you go free and pledge myself never to recognize one of you again, will you make Mary listen to me ? Give me a few moments to state my case and whether I win or lose you men go free and I forget everything that has happened here to- night. (Eed laughs derisively. To M.iry) Tell them I can be trusted. Garson. I know that. Dick, (/o Mary) You must listen ! Your very safety depends on me. Suppose I call for help. Garson. (as he comes quickly down to Dick's side, Griggs comes quicTcly doivn to center and Dacey and Eed each step forward) You'd only call once. Dick, (as he turns and looks at Garson) Per- haps once would be enough. Garsok. (short pause) You win. (Garson turns and faces up stage then to Red) Eed, you go into that hall, (indivating door left. Red crosses quickly to the door, Griggs goes up stage, and Dacey returns to his former position. Red pauMS at the door left as Garson continues) Don't take any chances with a whistle — come in and tell us if you hear anything. If we're rushed and have to make a guick getaway, see that Mary has the first chance. WITHIN THE LAW 99 Eed. Eight. (Eed exits at left door dosing it after him) G ARSON, (to Dick) Make it quick, remember. (then Garson goes up stage to the others) Dick, (turning to Mary and putting his left arm around her waist) Don't you care for me at all? Mart. No, no. Dick. I know you do, a little anyway — if you'll only give me half a chance. Oh, Mary, can't you see you're throwing away everything that makes life worth while? (pause) Why don't you answer me? Mart. That wasn't in our bargain. Dick. Mary, Mary, you've got to change — don't be so hard — give the woman in you a chance. Mart. (sharply — to hide her feelings) I am what I am and I can't change — keep your promise now and let's get out of this. (Mary tries to get away and turns up stage to her right) Dick. (Dick draws her 'back and around the cor- ner of the couch) You can change. After all, you've married me, and it's up to you to give me a chance to make good. I need you and you need me — come away with me. Mart, (as she turns to Dick and puts her hands on his shoulders) No. No. I married you, not because I loved you, but to repay your father, I wouldn't even let myself think of you — then suddenly I realized I had spoiled your life, Dick, Spoiled it? Mart. Absolutely. If I understood I really cared I wouldn't have married you for anything in the world, Dick, But now, dear ? Mart. Can't you see, I'm a jail-bird? Nothing can alter that. 100 WITHIN THE LAW Dick, {putting both his arms around Mart and drawing her close to him) But you do love me and nothing else matters. Don't you know you can't beat the law ? Suppose you were caught here tonight with a gang of burglars, where would you get Qff ? Why didn't you protect yourself? Why didn't you go to Chicago as you had planned ? Masy. (quietly as if she didn't understand) What? Dick. Why didn't you go to Chicago as you had planned? (Griggs starts quietly to draw away from the others at up cejiter and crosses down to left end of table at right center, listening intently) Mary, (a little more interested and disengaging herself) Arranged with whom? Dick. With Burke. Mary, (suspiciously) Burke? Dick. Yes. Mary. Who told you I had arranged it? Dick. Burke did. Mary, (now thoroughly alert) When? Dick. Less than an hour ago. Mary. Where ? Dick. In this room. Mary. Burke was here? Dick. Yes. Mary. What was he doing ? Dick. Talking to my father. (Griggs turns and rushes up to hay window, par.ts the portieres and loohs out) Mary, (to Garson" as she crosses helow the couch to center facing up stage) Joe ! Turn up those lights. (Garson crosses to switch on the wall left) I want to see the face of every man in this room. (chandelier lights up and Garson quietly comes down back to the couch and to the front lower end WITHIK THE LAW 101 of it. Griggs on the chandelier lighting jumps away from the portieres and hacks up into the corner be- tween the door up right and the hay window, breath- ing heavily and scared, with his eyes on Mary. Mary Jceeps her eyes on Griggs as she speaks. Dick gets off couch and crosses to the upper front corner of it, ivatching Mary) Dick, how much are those tapestries worth ? Dick. Oh, two or three hundred dollars. Why ? Mary. Never mind that. How long have you had them? Dick. Ever since I can remember. Mary. Then they're not the famous masterpieces your father bought recently ? Dick. I should say not. Mary. It's a trick, {turning to Garson, and as Mary takes her eyes of Griggs to turn to Garson, Griggs jumps for the up right door) Burke's done it. {the noise of the lock turns Mary's attention hack to Griggs) Griggs! Griggs, {turning and facing Mary and coming a little to center and with fear in his voice) He's l3dng to you. They're worth half a million. Mary. You stool-pigeon, you did this for Burke. Griggs. I swear I didn't. Mary. You came to me yesterday with this plan from him. Griggs. I swear I was on the level. Garson". {at the front lower end of couch) It's a frame-up. Griggs, {defiantly) Well, what of it? Garson. {as he draws his revolver) I'll get you for this — (Griggs puts police whistle to his mouth) Drop that whistle. (Garson rushes up center as he fires at Griggs. No sound is heard. As Griggs drops straight down stage so that his head is at the 103 WITHIN THE LAW end of the table and his feet up stage, Mary gives a little scream, and with her eyes on GeiggS;, hacks qiiicMy to the couch. Dick steps down, puts his left hand under Gaeson's wrist and then his right over Gaeson's wrist and turns Gaeson's arm over. This forces Gaeson around in front of and to Dick's right side, and facing front with his arm turned over so that it forces him to drop the revolver) Gaeson. (as he drops the revolver) Give me that gun. Red. {as he enters door left hurriedly and stands at it and closes it after him) Somebody's opening the front door! {there is a pause, then Gaeson and Dick break. Gaeson quickly steps over Geiggs' body, crosses to bay vjindow, throws the down stage portiere back and looks out. As Gaeson starts for the bay window, Dacey, who is up left center, and Eed, who is at the door left, quickly follow Gaeson across right to bay-window and stand aboi^e him; and as he turns back into the room, Dacey, who is front, throws the up stage portiere back and they both hurriedly exit through bay-window. As Gaeson leaves Dick, he bends down and picks up the revolver and puts it in his pocket then quickly runs to door left, and looks out, then closes it and stands listening at the door jamb) Gaeson. {ut the bay-window) The street's empty. We've got to Jump for it. {turns and crosses quickly back toward Maey passing between the chair and the table at right as far as the body of Geiggs; then, as he leans over the body of Geiggs ivith his hand out to Maey) Come on, Mary. Dick, {at door left) She can't make it. Gaeson. But if she's caught ? Dick. She won't be. WITHIN THE LAW 103 Gaeson. If she is, I'll get you, so look out. (Dick is urging in dumb motion from the door left to get out as he is luatching through the crack of the door. Garson looks down into Griggs' face. To Griggs) You stool-pigeon, now tell that to Burke. (Garson turns and quickly exits through hay-win- dow. Mary, who has been perfectly still, her eyes riveted on Griggs, noiv starts slowly to move the body) {The spot from the Metropolitan toiver light is lit with the blinder on) Dick, (moving quickly toward Mart with his eyes on the door left and speaking as he comes) Mary! (then as he grabs Mary by both shoulders) Mary!! (Mary gives a start) - Mary, (in a semi-hysterical way) I never saw a man killed before. (Dick now half carries Mary and half pushes her down toivard lower end of couch ivhere he throws her at the end of her line and she falls with her face buried in the down-stage arm) He was standing there a moment ago and now — (as Mary falls on the couch Dick hurries up around the upper end of couch to the switch below the door left and presses it. The chandelier goes out and as Dick ivatches the door left he quickly comes to the back of the couch above the table and takes a cigarette and match from the table, then sits on the back of the couch, leans over gently shaking Mary by the shoul- der'^ speaks in a whisper) Dick. Talk to me! Talk to me! And above everything keep your head, (turns to the door and in his natural voice) It was bully of you to come and see me. (in a ivhisper to Mary) Talk to me ! Talk to me ! Pretend you've come to see me. (nat- urally) I've been trying to see you all day. (pre- 104 WITHIK THE LAW pares to light cigarette) I know that my father will eventually — {strikes match and about to light cigar- ette) BuEKE. (as he quichly opens door with revolver in his right hand aimed into the room and quichly steps half way into the room) Hands up! All of you! (Mary comes up quickly to a sitting position facing down stage) Dick, (with lighted match in his hand showing his nervousness) Why, what are you doing in this house at this time of night? Don't you know there are limits even to what you can do ? Burke, (sharply and indicating Mary with the revolver) What's she doing here? Dick. You forget yourself, Inspector : this is my wife. Mary, (in a semi-hysterical way) Why shouldn't I be here ? Burke. (sharply) Where's your father? Dick. In bed, I suppose, (shakes out watch) Again I ask you what you are doing here at this time of night? Burke, (as he puts revolver in his pocket — im- patiently) Oh call your father. (Mary starts to turn toward the body, and slides up to the middle of the couch) Dick. It's too late and I'd rather not disturb him. Oh I see Inspector, I'll have to tell you the truth. My wife has decided to give up. (Dick puts his right hand hack and puts it on Mary's right shoulder and draws her hack so that her face is directly under the lamp. He then lets go of her as he continues, and Mary starts again moving toward the hody and slid- ing up stage on the couch) We're going away to- gether, but you see we had to talk things over. Now if you could come back in the morning? WITHIN THE LAW 105 Burke. Oh, so that's it? Dick. Why yes, what did you think ? Burke. I didn't know. You see I had some bus- iness here and — (Metropolitan tower light flashes around and lights up the room disclosing the hody of Griggs. Mary screams and half rises, Dick quickly gets off the hack of the couch and paces around the upper end of it and takes Mary in his arms and seats her again on the couch, as the white light discloses the hody of Griggs) What's that? (presses switch on the wall which lights the chan- delier and calls) Cassidy! (as he runs across the stage towards door up right. At center) Cassidy!! (as he throws open door up right) Cassidy ! ! ! (quick- ly turns as he is crossing the hody) Eight where you are, both of you. (kneels at the left of the hody and feels the hreast) Cassidy. (as he rushes in door up right and down to the left of the hody followed hy Williams and Thompson who stand one each side of the door up right) What is it chief? Burke. They've got Griggs. Cassidy. Got Griggs? Burke. Yes, I'll break you for this. Why did'nt you come in when you heard the shot? Cassidy. There wasn't any shot. We didn't hear a sound. Burke, (as he rises and faces Dick and Mary) Why you could drive a hearse through the hole they've made in him. (to Dick and Mary. Quietly) So now it's murder? Where's the gun? Hand it over. (pau^e) Search him. Cassidy. (as he just crosses hody toward Dick) Yes, Sir. (Mr. Gilder enters up right door and comes down to tahle at the right of the hody) 106 WITHIN" THE LAW Dick, (as he takes revolver from his pocket and offers it to Burke) Here it is. Gilder. What's this ? Burke, (to Gilder) You wait, (as he crosses down right in front of table examining revolver) So you did it eh ? Cassidy, you and Thompson take 'em both down town. (Cassidy motions with his hand and Thompson crosses from left of door up right to upper corner of the couch) Dick. Not her, you don't want her. It's all wrong. Mart, (as she takes Dick's hand in both hers and lays her cheek against it and facing front) Don't talk, Dick — don't talk. Burke, (turns facing Dick) What did you ex- pect ? Either you killed Griggs or she did. Did she kill him ? Dick. Good God, no! Burke. Then it's you. Mary. It isn't. It isn't. Burke. Now one of you killed Griggs. Did she do it? Dick. I told you no. Burke. Did he kill him ? (stepping to center and indicating Mary with the revolver which is in his right hand) You, I'm talking to you. Did he kill him? Mary, (showing that she has an idea) Yes. Dick, (as he dratvs back from Mary) Mary ! Gilder. So that's your revenge? Mary. I don't want revenge. Gilder. But they'll try my boy for murder. Mary. They can't. They can't. Burke. What's the reason we can't? Mary, (turning to Burke) Because you can't xjonviet him. WITHIK THE LAW 107 Burke, Can't, eh? (indicating body with re- volver) There's the body, (showing the revolver) The gun was found on him. And you'll swear he killed him? Mary, (as she rises) Quite true, (stepping for- ward to Burke) But that man was a burglar, and he shot him in defence of his hoihe. (Mary starts to sink. Dick steps down to her quickly and they are in each other's arms as the curtain falls) CUETAIN ACT IV Time: — The next morning. Scene: — Office of Inspector Burke. The interior part of the set runs bach to two. There is u door left which leads to the hall leading to the stand. At right a door leading into the interior of the building. At right center is a fiat top desk set so that Inspector Burke who sits at it, faces the audience and there is just passage- way between his chair and the windows back of it. At each side of the desk is an office chair each placed so that there is walking space between them and the desk. There is an office chair down left, below door left. At the back of the office are four large windows with practical shades. Through the windows can be seen four cells. There is a passage-way between the cells and the windoivs. At the opening of the act the shades are up and the doors of the cells are open except the one at the extreme left which is closed. Lights: — The office is well lighted with white foots and white first border. There is no light behind the windows. At Rise : — Burke is in dress uniform, standing back of his desk. Williams is standing above door right which is open. Chicago Red is at lower right corner of desk and facing Burke. Dacey is at left side of desk facing Burke. Door is closed. 109 110 WITHIN THE LAW Burke. Come across now Eed. • Eed. I don't know nothin'. Ain't I been tellin* you that for over an hour ? (as Bueke turns and looTcs to Dacey^ Red takes stage right) Buhke, (talcing hold of Dacey's coat lapels, pushes him around to the front of the desk, and, as he comes to a standstill at the lower left corner of the desk gives Dacey a final push and lets go of him) Dacey, how long you been out ? Dacey. (facing Burke) 'Bout a week. Burke. Want to go back for another stretch ? Dacey. God, no. Burke. Who shot Griggs? Dacey. (as he advances to Burke) I don't know, honest I don't. (Burke suddenly hits Dacey along- side the jaw and Dacey goes to the floor. Dacey scrambles to his feet and hacks away from Burke as far as the door right) Burke, (as Dacey goes down) Kow get up and talk. Cassidy. (entering door left and closing it after him and standing at the door) The District Attor- ney's here. Burke, (with his eyes on Dacey) Oh, he is eh? Well, send him in. (Cassidy exits door left, closing it after him) Burke, (as he goes up to his chair hack of desk) I'll attend to you two later. Williams, take 'em back. (Red and Dacey exit right, Williams ahout to fol- low) And, Williams ! Williams, (stopping and turning to Burke) Yes, sir. Burke. Don't be rough with them. (Williams exits atid Burke sits) Dan! (Dan enters right) Just pull down those shades will you please? (Dan crosses first to the far shades and pulls them all down WITHIN THE LAW 111 and exits right. Demakest enters left) Thanks for coining so soon. Demaeest. (as he crosses brings chair left of desk close to the desk and sits facing Burke) I came as soon as I got your message. I've sent for Mr. Gil- der Bukke. Yes, he 'phoned me he was on his way. Demaeest {taking cigar from his pocket and lighting it) Now then Burke, let me have it quickly. Burke. Well, Joe Garson, Chicago Eed, Tom Dacey and Eddie Griggs broke into Edward Gilder's house last night. I knew it was coming off and planted Cassidy and a couple of men Just outside the room, and went away, coming back in about an hour to make the arrests myself. When I broke into the room I found young Gilder and the Turner woman talking together, Demaeest. No trace of the others ? Burke. I found Griggs lying dead on the floor. The Turner girl says young Gilder shot Griggs be- cause he broke into the house. Demaeest. What does the boy say? BuEKE. Nothin' — (pause) She told him not to talk. Demaeest. What does she say? BuEKE. Eefuses to talk until she sees a lawyer. Demaeest. Anything else ? BuEKE. We've got Chicago Eed and Dacey. And we'll hare Garson before the day is over. Oh yes, they've Just picked up a young girl at the Turner woman's flat. I don't know who she is but I'm going to talk to her in a minute. Demaeest. What else have you got ? BuRKE. Well for once luck's with the police. We've got a real clue. Never saw a gun like that s 112 WITHIN THE LAW before, did you? (tahes revolver with silencer out from under newspaper at right end of desk and hands it to Demaeest) Demarest. (as he tahes revolver and examines it) No, not exactly like that. Burke. I'll bet you didn't. That thing on the end is a Maxim Silencer There are thousands of them in use on rifles but — Demarest. {as he hands revolver to Burke) But what? Burke. But the3r've never been able to use one on a revolver before. That's a specially made gun, that's absolutely noiseless, (puts revolver in his pocket) It'll be the easiest thing in the world to trace it, (Cassidy enters at door left, closes it after him and comes a few steps into the room) Well, Cassidy, did you get anything? (Demarest turns in his chair so that he can see Cassidy) Cassidy. Yes, I had the factory at Hartford on the 'phone and they gave me Mr. Maxim. Burke, Good ! Now we're getting to it. Well, what did he say ? Cassidy. He said it was a specially constructed gun made for the use of Henry Sylvester, one of the professors at Yale, They've never been put on the market and never will be, Burke, Get hold of this man Sylvester. Cassidy. I just had him on the 'phone. He says his house was robbed about eight weeks ago and the silencer was stolen among other things. He adds the startling information that the New Haven police have not been able to recover any of his property — (as he crosses to door right) Gee, them rube cops are immense. WITHIN THE LAW 113 Demarest. {on his first move, Cassidy stops at door right. With a laugh) The New York Police always recovers stolen property. Cassidy. (as he exits hurriedly at door right) Good night. Demarest. (to Burke) Is there any chance that young Gilder did shoot Griggs ? Burke. You can search me. My men who were just outside the door of that room didn't hear a sound. Of course I know that all the gang were in the house. Demarest. How do you know ? Did you see them go in? Burke. No. But Griggs said — Demarest. Griggs is dead. Burke, you're up against it, you can't prove that Garson or Chicago Eed or Dacey ever entered that house. f Burke. But Griggs said they were going to — Demarest. I know, but Griggs is dead, (pause as Burke turns away) You can't repeat what he told you. It isn't evidence. Burke. Then I'll charge young Gilder with that murder and call the Turner woman as a witness. Demarest. You can't call her; you can't make a wife testify against her husband. And you can't arrest her and put him on the witness stand. Burke, your only chance of getting the murderer of Griggs is by a confession. ^ (Demarest rises hut still faces Burke) Burke, {as he rises, facing Demarest) Then I'll charge 'em both with that murder and by God they'll both go to trial unless someone comes through. If it's my last act on earth, I'm going to land the man who shot Eddie Griggs. 114 WITHIN THE LAW Demaeest. Burke, I don't believe for a minute that young Gilder killed this pet stool of yours and understand I want him to go free. BuEKE. He'll go free when he tells me what he knows, and not before, {pause as Bueke turns away from Demaeest and prepares to sit) Perhaps the old gentleman can make him talk. I can't, (sits) On account of his being his father's son, when it comes to young Gilder, I'm a little cramped in my style. Demaeest. Then you think that young Gilder knows — Bueke. I don't think anything — ^yet. I know that Eddie Griggs, the most valuable crook that ever worked for me has been murdered. And someone — man or woman, has got to pay for it. Demaeest. Woman ? Bueke. Mary Turner. Demaeest. (as he taJces stage left) But she's not that sort! {turns to Bueke.) Bueke. Oh ! She ain't ? She's made a monkey out of the police department: and first, last and all the time, I'm a copper. Now, if you'll wait for Mr. Gilder, in the room outside, I'll get busy with the girl they've just brought in. (Bueke presses huzzer button on the right end of his desk) Demaeest. Very well, {as he crosses to door left) I'll wait for him. {exits door left, closing it after him) (Bueke turns around so that he is facing door right. Door opens right and Dan enters and stands above door. Aggie follows. She is beautifully dressed and iises her best and most lady-lihe manner. She is making the bluff of her young life and pre- tends to be very indignant. She comes slowly in- WITHIIT THE LAW 115 side the door and crosses to the hack of the chair which is right of Bueke's desk) BuEKE. (after Aggie gets hack of chair.) (Very bluff) ISTow then my girl, I want to know — Agnes, (hlazing with wrath) How dare you? BuEKE. What? Agnes. What do you mean by this outrage? I demand my instant release. BuEKE. Wait a minute — wait a minute. Sit down, (motions to chair right of desk) Agnes. I shall do nothing of the kind. I have been arrested, and by a common policeman ! BuEKE. Excuse me — a detective sergeant. Agnes. You wait — just wait till my papa hears of this. BuEKE. (puzzled) Who is your papa ? Agnes. I shan't tell you. You'd probably give my name to the reporters and if it ever got into the newspapers, my family would die of shame. BuEKE, Now the easiest way out for both of us is for you to tell me just who you are. You see you were found in the house of a notorious crook. Agnes. How perfectly absurd. I was calling on Miss Mary Turner ! BuEKE. (quick and sharp) How'd you meet her? Agnes. I was introduced by Mr. Eichard Gilder. He's the son of the owner of th^ Emporium. BuEKE. I know all about hira. Agnes. Then you must see at once that you are entirely mistaken in this whole matter, (a pause as Agnes crosses to Bueke and leaning a little toivard him) Don't you see it? Bueke. Well, no, not exactly. 116 WITHIN THE LAW Agnes, (as she turns sharply aivay and crosses down between the chair and the desk to the front of the chair, looking front) Sir! BuBKE. Not yet ! Not yet ! The fact is, even if you were introduced by Mr. Gilder, Mary Turner is an ex-convict who has just been arrested for {'pause) murder. Agnes, (shows start of surprise on her face then with a srriile as she turns to Burke) Murder? Burke. Yes, and if there's a mistake about you, we don't want it to go any further; that's one of the reasons I must know who you are. You se6 that don't you? Agnes. Oh yes. You should have told me that in the first place, (with an air) My name is Helen — Travers — West, (sits in chair) Burke, (in surprise) Not the daughter of the railway president? Agnes. Yes. (as she turns in her chair) Oh, please don't tell anyone. Surely you must see now why it musn't be known that I have been brought to this dreadful place. Please let me go home, (turns front and starts to sob) Burke. That's all right little lady. Don't you be worried. Just tell me all you know about this Turner woman — did you see her yesterday? Agnes, (as she turns to Bubke) Will you let me go home as soon as I've told you what little I know? Burke. Yes, no ones goin' to hurt you. Agnes, (turns front) Well, you see — it was this way — Mr. Gilder was calling on me one afternoon, and he said he knew a charming young woman, who — who (apparently breaks down and takes out handkerchief and starts wiping her eyes) Oh, this is dreadful. WITHIN THE LAW 117 Burke, (soothingly) That's all right, little lady — that's all right — no one's goin' to hurt you ! Agnes, (through her tears) Oh dear! Oh dear! Burke. Isn't there something else you can tell me about this woman? Agnes. I'm so frightened. Burke. Now there's nothing for you to be fright- ened about. Agnes I'm afraid you'll put me in a c-c-cell. Burke. No one could think of a cell and you, at the same time. Agnes, (as she dries her tears and turns and gives Burke a smile) Oh, thank you, sir. Burke, (as he leans forward in his chair) Are you sure you've told me all you know about this wo- man? Agnes, (turning to Burke) Oh, yes, I've only seen her two or three times. Oh, please won't you let me go home — commissioner? Burke, (shows he is flattered by swelling up and leaning way bach in his chair — graciously) If I let you go now will you promise to let me know if you can think of anything else about this woman ? Agnes, (as she rises aiid pushes the chair close to the desk) I will, indeed I will. Burke. Now you see, no one's hurt you. You can run right home to your mother. Agnes, (as she crosses quicMy toward door left) I'll go just as fast as I can. (stops and turns to Burke on his first word) Burke. Give my compliments to your father, and tell him I'm sorry I frightened you. Agnes. I will, commissioner, (starts toivard Burke) Father will be so grateful to you — (Agnes is just below chair left of deslc and has just put out 118 WITHIN THE LAW her hand and Burke is about to shake hands an Cassidy enters) Cassidt. (entering door right and as he steps in and drops a little below door closing the door after him) Helio, Aggie. Agnes. (Agnes stops short, gives Cassidt a looJc then Burke a look then as she sits in chair with her back front) Ain't that the damndest luck? (ivatches Burke out of the corner of her eye) Burke. (Burke gives Cassidy a quick look, then while watching Agnes, slowly rises and crosses to Cassidy. To Cassidy) Do you know this girl? Cassidy. Sure. She's little Aggie Lynch — con woman from Buffalo — two years for blackmail. Burke, (as he puts his hand to his chair) Oh ! {he then crosses the stage to left of Agnes^ watching her all the time, then with a laugh) I certainly got to hand it to you, kid — you're a beaut. Agnes, (to Cassidy) Just as I had him goin' too. Burke. Have we a picture of this young woman ? Cassidy. (as he crosses to lower right corner of desk) Not in our gallery. Burke, (in society manner) I'd dearly love to have a photograph of you. Miss Helen — Travels — West. Cassidy. Helen — Travers — West ? Burke. That's what she pulled ! Cassidy. No ? Burke. Had me winging, too. (Cassidy laughs) Oh, I admit it. (to Agnes) You're immense, little one, immense, (in society manner as he takes the stage down left) When may I have the pleasure of escorting you to our gallery ? WITHIN THE LAW 119 Agnes, (rising and crossing to Burke and in Aggie's natural way) Oh can that stuff. Let's you and me get down to cases. BuiiKE. Now you're talkin'. Agnes. You can't do anything to me. AVhy I'll be sprung inside an hour. Why, habeas corpus is my lawyer's middle name. BuEKE. On the level now, when did you see Mary Turner last? Agnes, (with an air of perfect truth) Early this morning. We slept together last night because I had the willies — she blew the joint about half-past eight. Burke. Now what's the good of you lyin' to me ? Agnes. What, me? Oh, I wouldn't do a thing like that. On the level, what'd be the use, I couldn't fool you. (Burke puts his right hand to his jaw as if he had been hit as he talvcs the stage a liiile to left. Agnes follows him) So help me Inspector, Mary never left the house all night. I'd swear that's the truth on a pile of bibles a mile high. Burke. Have to be higher than that. She was arrested just after midnight— (s/iarp?//) Young woman you better tell all you know. Agnes, (as she faces front) I don't know a thing. Burke, (as he quickly produces revolver from his pocket, leans forward and holds it in front of Agnes — sharply) How long has she owned this gun? Agnes, (glancing at revolver) She didn't own it. Burke. Then it's Garson's, eh? Agnes. I don't know whose it is. I never laid eyes on it till now. Burke. English Eddie was killed with this last night. Now, who did it ? Come on, now, who did it ? 120 WITHIN THE LAW Agnes. How should I know? Say, what do you think I am, a mind-reader? Burke, (straightening up and dropping revolver to Jiis side. Quietly) You'd better come through and if you're the wise kid I think you are, you will. Agnes. I tell you I don't know anything, (about to cry) Say, what are you trying to hand me any- way? Burke, (as he puts revolver bach in his pocket and in a quiet coaxing tone) Now, it won't do I tell you. I'm wise. Now listen to me— you tell me what you know and I'll see that you make a clean get-away and slip you a nice little piece of money, too. Agnes, (turning to Burke) Say, let me get this straight. Burke. Sure. Agnes. If I tell you what I know about Mary Turner and Joe Garson, I get away? Burke. Clean. Agnes. And you'll slip me some money, too ? Burke. That's it! Now what do you say? Agnes. I say, you're a great big stiff. Burke. What ? Agnes. What do you think I am ? (as she crosses to lower left corner of desTc. To Cassidy) Say, take me out and lock me up. I'd rather be in the cooler than here with him. Burke, (threateningly) You'll tell or you'll go up the Eiver for a stretch. Agnes, (to Burke) I don't know anything and if I did I wouldn't tell in a million years. Now then, send me up if you can. Burke, (to Cassidy. Hard and sharp) Take her away. (Cassidy goes up to door right, throws it open and stands above it) WITHIN THE LAW 131 Agnes, (as she crosses to right lower corner of desk) Do, Cassidy, and do it in a hurry. Bein' in the room with him makes me sick, (a start toward door right, stops and turns to Bueke) Thought I'd squeal, did yer? Yes I would, (as she crosses to door right) like hell! (exits door right followed by Cassidy who closes door) (Burke appears nonplussed. Kisses his hand and blows it after Agnes, then crosses to his desk and ^sits and puts revolver under newspaper at right end of desk. As he sits Gilder and Demarest enter left) Burke. How do you do, Mr. Gilder? (presses call huzzer on his desk) Gilder, (as he crosses in front of Burke's desk turns chair at the right of it and sits placing his hat ,on the desk, and Demarest stands left of Burke's desk) Inspector — (Dan enters left) Burke. Dan, have Mr. Gilder's son brought up. (Dan exits right closing door. To Gilder) Bad business, sir — very bad business. Gilder. What does he say? Burke. Nothing. That's why I sent for you. Mr. Demarest has made the situation plain ? Gilder. Perfectly. It's a terrible position for my boy. You'll release him at once, won't you? Burke. I can't. You oughtn't to expect it. Gilder. But you know very well he didn't — Burke. I don't know anything about it — yet. Gilder. Inspector, you don't mean — Burke. I mean we've got to make him talk. (Dan enters door right and stands above door. The sound of the door opening causes Gilder to turn and rise) That's what I want you to do for all our sakes. 122 WITHIN THE LAW (Dick enters door right. Dan exits door right, clos- ing door after him) Gilder. Dick, my boy — (crossing to Dick and putting his right hand on Dick's left shoulder and talcing Dick's left hand in his left hand and leads Dick down stage) The inspector tells me you have refused to answer his questions. (Dick is looking straight ahead of him and nods) Gilder. That wasn't wise under the circum- stances. However, Demarest and I are here now to protect your interests and you can talk freely. Burke. He's got to talk freely. Gilder. Now, who killed that man? We must know. Tell me! Burke, {as he half rises) Where did you get — Demarest. {interrupting him) Wait, please wait, {as he crosses to Dick and Gilder steps back, he comes down to Dick's right) Give the boy a chance, (as he places his hand on Dick's shoulder) Dick, I don't want to frighten you, but your position is really a dangerous one. Your only chance is to speak with perfect frankness. I pledge you my word 1 am speaking the truth. Dick, let me forget that I'm the District Attorney and remember only that I'm an old friend of yours and your father's who is trying very hard to help you. Surely you can trust me? {hand off shoulder) Tell me — who shot Griggs ? Dick, {after a pau^e) I did. Demarest. Why ? Dick. Because I thought he was a burglar. Demarest. Oh, I see. Now, let's go back a little. Burke says you told him last night that you had persuaded your wife to come over to the house and join you. Is that true? WITHIN THE LAW 123 Dick. Yes. Demaeest. And while you were talking — tell me, Dick, just what did happen? (a pause, as Dick does not answer) Did this burglar come into the room? Dick. Yes. Demaeest. And he attacked you ? Dick. Yes ! Demaeest. And there was a struggle? Dick. Yes. Demaeest. And you shot him ? Dick. Yes. Demaeest. (very quietly) Then where did you get the revolver? Dick, (as he turns to Demaeest) Why, I grabbed — (suddenly realizing that he was about to tell the truth) So you're trying to trap me, too? (as he crosses to left center and stands facing left) You and your talk of friendship Demaeest. (crossing up to right corner of desTc) I am your friend. BuEKE. (rising) Yes and you don't want to take us for fools either. If you shot Griggs in mis- take for a burglar why did you try to hide the fact? Why did you pretend that you and your wife were alone in the room? Why didn't you call for help — for the police as any honest man would under the circumstances ? GiLDEE. (crossing to chair right of desTc) We are trying to save you. BuEKE. (as he gets revolver and holds it out toward Dick) Where did you get this gun? Dick, (crosses to desk and throws chair left of it up out of his way and looJcs squarely into Bueke's face) I won't talk any more until I've seen my wife. I want to know what you've done to her. 121 WITHIN THE LAW BuEKE. Did she kill Griggs ? Dick. No, no! BuEKE. Then who did? Who did? Dick. I won't speak again until I've seen a law- yer I can trust. GiLDEE. Dick, if you know who killed this man you must speak t6 protect yourself. BuEKE. The gun was found in your pocket. Don't forget that. GiLDEE. You don't seem to realize the position you are in — nor the position I am in. (pleadingly) If you won't speak for your own sake, do it for mine. Dick. I'm sorry dad, but I can't, (a look of despair between Gildee and Demaeest) BuEKE. (with sudden change to his quiet manner and putting revolver under newspaper again) I'm going to give him time to think things over, (sits) Perhaps he'll understand the importance of what we've been saying. Now young man you want to do a lot of quick thinking and honest thinking — (presses call buzzer) — and when you get ready to tell me the truth let me know. (Dan enters right, leaves the door open and stands above the door) Dan, have one of the other men take him back. You wait out- side. Dick. I want to know about my wife. Where is she? Bueke. (to Dan) He's not to speak to anyone. (to Dick) You'll know all about your wife, young man, when you've made up your mind to tell me the truth. (Dick gives Bueke a look of defiance then crosses in front of desk and is going to go right on out between the chairs and Gildee when Gildee speaks) Gildee. (as Dick is about to pass him) Dick! WITHIN THE LAW 125 Dick. I'm sorry dad. (Dick then goes up to door right and exits followed by Dan who closes the door) Burke, (who has been watching Dick, speaks at the closing of the door) Well, you see what we're up against. I can't let him go. Gilder, (as he picks up his hat from the desk and crosses to left center) He's thinking of that woman — he's trying to shield her. Burke. He's a loyal kid, I'll say that much for him. (as he presses call buzzer) And now I'll show you the difference. (Dan enters right leaving door open) Dan, have that Turner woman brought up. (Dan exits and closes door) I'll have to try a dif- ferent game with her. She's a clever little dame. Gilder, (crossing to Burke's desk) Do you think she could have done it? Burke. If she didn't she knows who did. Some- one has got to pay for killing Griggs. I don't have to explain to Mr. Demarest. (Demarest slowly walks around back of Burke's chair and over to window at up left center) But Mr. Gilder, the very foundation of the work done by this department rests on the use of crooks who are willing to betray their pals for coin. If the murderer of Griggs goes unpunished, it will put the fear of God into the hearts of every stool pigeon we employ. Gilder. I see. Burke. * If we'd only caught Garson it wouldn't be such hard sleddin'. (Gilder up to the left of Demarest. Burke rises and going up to the left of extreme right window, raises shade and calls) Wil- liams ! Williams, (off stage right) Yes sir. Burke. Bring your note book and pencil. (pause) And hurry up. (Williams enters from 126 WITHIN THE LAW right bach of window with note hooh and pencil) Now I waJit you to take down everything that's said in here, until I give you the notice to stop. Under- stand ? Williams. Yes sir. Burke, {as he pulls down shade) Now don't make any mistake. (Williams gets chair and sits hack of shade. As Burke crosses down below desk and to the back of the chair left and faces the door right) Now this time, I'll do the talking. No mat- ter what you hear me say don't be surprised. Ee- member when you deal with crooks you have to use crooked ways. (Enter Dan at right, step above the door and Mary folloivs dressed as in Act III. She pauses in door- way a moment then slowly crosses down to lower right corner of desk. As soon as she passes Dan he exits and closes the door after him) Burke, (as Mary comes to a stand-still) I just sent for you to tell you that you're free. Mary. Then I can go ? Burke, (as he goes up to Gilder and Demarest and stands facing up stage) Sure you can go. (Mary looks at them a moment, then looks back of her, then at Burke and then starts toward door left slowly — then makes up her mind to go and starts quickly toward door left. Ju^t as she is about back of chair left, Burke crosses to the lower end of his desk quickly, and as he watches Mary, speaks) Burke. Garson has confessed. Mary, (stops short and answers quickly) Oh no, he hasn't. Burke. What's the reason he hasn't? WITHIN THE LAW 127 Maey. (turning to B-b^ke) Because he didn't do it. BuEKE. Well, he says that he did. Mary. But how could he when he went to BuKKE. (eagerly) Where did he go? Maey. (as she comes down to hack of chair at left) You ought to know that if you've arrested him. Burke, (quietly) Who shot Griggs? Maey. My husband shot a burglar — was his name Griggs? Burke. Oh, we know better than that. You see, we've traced that Maxim Silencer. Garson bought it himself at Hartford. Mary, (interrupting him, and nearly trapped) But he told me — Burke, (eagerly) What did he tell you? Mary, (recovering herself) He told me that he'd never seen one. We were talking about one the other day. Surely if he had anything of the sort he'd have shown it to me then. Burke, (coaxingly) Now see here, I can make it a lot easier for you if you'll talk. Come on now, who shot Griggs? Mary. That's for you to find out. (Burke shows he's mad; crosses up to his desk as he calls) Burke. Dan — (Dan enters right — leaves door open and stands above door. As Burke sits at his desk lookitig straight front) Take her back. Mary, (pause — as Mary crosses right and just as she gets to right corner of the desk she stops and turns to Burke) I suppose it's no use for me to stand on my constitutional rights and demand to see a lawyer? Burke. You guessed it right the first time. 9 128 WITHIN" THE LAW Mary. That is my constitutional right, isn't it Mr. Demarest? Demaeest. It is. Mary. Well, Inspector? Burke, The Constitution don't go here, (a look between Demaeest and Gildee. Mary turns and starts for door right) Cassidy. {entering in a hurry, door left) Say Chief, we've got Garson. (Mary turns quickly and stands at door right, leaning against the jam) Burke, (rising) Pine. Cassidy. (as he crosses quickly to Bueke) And here's a letter that's just been delivered at that woman's flat, (hands letter to Bueke and returns to door left and stands above it. There is a pau^e as Bueke opens letter — reads it, then gives Maey a look, and turns to Cassidy) Bueke, Cassidy you go stay with Garson. I'll send for him when I want him. Cassidy. (as he exits left closing door after him) Yes, sir. Burke. Mr. Demarest, I'll have to ask you to take Mr. Gilder outside for a little while. I'll send word later, (indicating letter) I'm going to get action on this right now. (Mary starts to exit) Don't go, young woman, I want you. Gilder, (crossing to Burke) But Inspector — Demarest. Better let Burke have his way, Mr. Gilder. (Gilder crosses to door left and exits and Demerest follows as he speaks) I'll expect a report from you Inspector. Burke. You'll get it all right. (Demarest exits left closing door after him) That's all, Dan. (Dan exits right closing door after him) Sit down. (Mary crosses to chair right of Burke's desk and sits facing directly front, Burke sits at the same time as Mary) WITHIN THE LAW 129 I want to talk to you. (on the right end of Burke's desJc is a paper weight ivith a loohing glass hack and during the following scene she fixes her hair in it and also exposes the looking glass side to the audience) BuEKE. Now I'm going to be your friend. Mary. Are you? Burke. Yes. Give up the truth about young Gilder. I know he shot Griggs but I'm not tak- ing any stock in that burglar story and no court would either. What was back of the killing? Was he jealous of Griggs? He was always a worthless young cub — a rotten trick like this would be just about his gait. Why did he shoot Eddie Griggs? Mary, (with an outburst of feeling) He didn't kill him — he didn't kill him. He's the most won- derful man in the world. I'll fight you today and tomorrow and to the end of my life for Dick Gilder. Burke. That's just what I thought. Who did shoot Griggs? We've got everyone of that gang! They're all crooks. Why don't you start afresh — I'll give you every chance in the world. I'm on the dead level with you this time. Mary, (scornfully) Hah. (picks up paper- iveight and during the following speech exposes the looking glass side to audience) Burke. Oh, I'll prove it. (picks up letter from desk) Here's a letter that came for you. (Mary reaches for letter — Burke draws it away) No, I'll read it. (he reads) "1 can't go away without tellin* you how sorry I am. There won't never be a time I won't remember that it was me that got you sent up ; that you done time in my place. I don't know how you could have gave me all that money after I told you what I done. Please don't hate me. I ain't goin' to forgive myself ever. And I swear I'm goin' straight always. Your true friend — Helen Morris." 130 WITHIN THE LAW"i (pause. Burke looTcs at Mary) You knew this? Mary. Two days ago. Burke, (eagerly) Did you tell old Gilder? Mary. What would be the use ? I had no proof — no one would believe me. Burke. (Jwlding out letter) They'd believe this. This letter sets you square. Why this wipes out everything. If old Gilder saw this letter there's nothing he wouldn't do to make amends, (there is a pause as Mary fixes her hair in the paper weight) Say, I'll tell you what I'll do. (Mary is all atten- tion) You tell me who shot Griggs and I'll see that old Gilder gets the letter. (Mary returns to fixing hair) Now listen, I give you my word of honor. (Burke, while continuing speech, leans hacTc in his chair pulls the shade aside to look for Williams and Mary gets the reflection of what he is doing in the paper weight) That anything you say in here is just between you and me. Just tip me off to the truth and I'll get the evidence in my own way. There's nobody here but just you and me. Mary, (laying down paper weight and in a low tone after a quich glance around the office) Are you sure no one will ever know? Burke. No one but you and me. Mary, (with a laugh Mary rises quickly, crosses up to right side of shade on extreme right window, pulls it up disclosing Williams, who quickly picks up his chair and exits right. Mary then crosses down to Burke) Did you get it all ? Williams, (from hack of shade) No ma'am, not quite. Burke, (looking straight ahead) Oh hell ! Mary. Eight on the level with me aren't you, Burke ? WITHIN THE LAW 131 Burke. Dan ! (Dan enters right; stands above door leaving it open) Take her back. (Mary turns and exits right followed by Dan who closes door) BuEKE. (BuEKE sits a moment then gets a new idea) Cassidy! (rises, crosses to Cassidy, as he enters from left, closing door after him and crosses to left center, eagerly) Docs G arson know that we've arrested the Turner woman and young Gilder? Cassidy. No, sir. BuEKE. Or that we've got Chicago Eed or Dacey here? Cassidy. No. He hasn't been spoken to since we made the collar. He seems worried. BuEKE. Well he'll be more worried before I get through with him. Eemember the third degree Inspector Rymes worked on McGloin? (Cassidy nods) That's what I'm going to do to Garson. Cassidy. Great ! BuEKE. He's got imagination, that crook. The things he don't know are the things he's afraid of. After he gets in here. I want you to take his pals one after the other and lock them up there, {indicating the cells back of windows) Then when you get the buzzer from me, have Young Gilder and the Turner woman sent in. The last time you get the buzzer come in yourself and tell me that the gang has squealed. I'll do the rest. Now don't bring in Garson till you get the signal. Cassidy. Yes, sir. (crosses and exits left, closing door after him) BuEKE. Dan ! (Dan enters light, leaving door open) Just take those chairs out of here for a few minutes, (as Bueke goes up and pidls up the shade at extreme left, Dan crosses the stage to chair down left and is about to piclc it up) No don't touch that one. (Dan then pichs up chair each side of 133 WITHIN THE LAW desTc and exits left closing door after him as Bueke pulls up the remaining shades. Bueke then starts humming "Every little movement has a meaning all its own," looks around the office, crosses down to chair down left takes it by the hack turns it so that a person sitting in it is half facing desk and half fac- ing the cells. He then tvalks around the chair, sits in it looks around the office then* rises and quickly crosses to his desk and sits. He then opens the right-hand top drawer of desk, takes out cigar, bites the end off', lights it, then stops humming. Picking up a pad of paper from left end of the desk puts it on top of the ledger in front of him, picks up the special quill pen, gives a glance at the door left as he presses the buzzer on his desk and starts to write. There is a pause and only the scratching of the pen is heard) Cassidy. (enters door left and steps above it) Here's Garson, chief. (Gaeson follows Cassidy and crosses to left center) Bueke. (without looking up) Hello, Joe. Gaeson. Hello, (turns and looks at Cassidy. Cassidy then exits left closing the door after him and passes around to left entrance of passage hack of the windows then crosses to the right side of the stage) Bueke. (very quiet and affable) Sit down a minute, won't you? Gaeson. (after a quick look around the office crosses over to Burke''s desk. Bueke goes on with his ivriting) Say, what am I arrested for? I haven't done anything. Bueke. (carelessly) Who told you, you were arrested ? WITHIN THE LAW 133 Garson. I don't have to be told ; but when a cop grabs me and brings me down here, I've got sense enough to know I'm pinched. Burke, (without looking up) Is that what they did to you Joe? I'll have to speak to Cassidy about that. (Burke reaches over and presses dead buzz button on his desk) Sit down, won't you Joe? I just want to talk to you. I'll be through here in a second. Garson. {there is a silence as Garson looks around the office then to Burke) Say, I'd like to send for a lawyer. Burke, (as if calming a nervous child) What's the matter- with you Joe ? There's no use your hollerin' till you're hurt. You know you're not arrested — maybe you never will be. Now for the love of Mike keep still and let me finish this letter. (Burke goes on with his writing. Garson looks a moment at Burke then makes up his mind to do as Burke says and crosses to chair down left and sits in chair facing cells and Burke. As he is seated Cassidy enters from right end of passage back of windows with Dacey on his right and marches to third cell from right, motions to Dacey to go in, closes the door, locks it from a bunch of keys he car- ries and then turns and exits right end of passage. At their first appearance Garson gets a start then watches the whole business intently until Cassidy's exit then turning to Burke) Garson. Say, Inspector, if you've got any charge against me, I'd like to know what it is? Burke, (assuming a puzzled manner) What's the matter with you Joe? I told you I wanted to ask you a few questions, that's all. (Garson half rises) Now, sit down (Garson sits) — and keep still and let me get through with this job. 134 WITHIN THE LAW Gakson. Say, Inspector — {he stops suddenly and leans forward in his chair as Cassidy enters. Cas- siDY does same business as before, this time with Chicago Red and puts him into the next cell to the right) Gaeson". (showing more nervousness at Cassidy^s exit, rises and crossing rapidly to desk as he speaks) Say, Inspector if you have anything against me why — BuEKE. {sharply) Who said there was? {quietly) What's the matter with you today Joe? You seem nervous. Gaeson". {stepping bach from the desk. Eagerly) No, I ain't nervous. Why ? What made you think that? This ain't exactly what I'd pick out as a pleasant place to spend the morning. {pause then Gaeson crosses to left side of desk and leans over it) Could I ask you a question ? BuEKE. {sharply) What is it? Gaeson. I was going to say if — BuEKE. {sharply) If, what? Gaeson. I was goin' to say — that is — well, if it's anything about Mary Turner — (Bueke without another move stops writing) I don't know a thing. {as he turns from Bueke) Not a thing. Bueke, {resumes writing) What made you think I wanted to know anything about her? {presses dead buzzer) Gaeson. {hastily) I don't know, you were up to her house. {crosses to Bueke's desk and leans over it to Bueke) Don't you see? (Cassidy brings in another man, Gaeson sees the business over Bueke's shoulder, Cassidy after locking door crosses left and exits. Gaeson watches him as long as he can without moving his body then turns and as %e backs up stage gives Bueke a quick look, then WITHIN THE LAW 135 crosses to chair down left and sits with his hack to cells) Gaeson. (as he sits) God ! BcJKKE. (quietly) I did want to see her, that's a fact, but she wasn't at her flat. I guess she must have taken my advice and skipped out. Clever girl that, Joe. Gaeson. Yes. I was thinkin' of goin' west myself. BuBKE. Were you? (he quietly lays down his pen, takes revolver in his right hand from under newspaper, folds his arms so that revolver is under his left arm, turns in his chair so that he is facing Gaeson" and leans toward him then speaks quietly) Why did you kill Eddie Griggs ? Gaeson. (pause then quietly through a nervous laugh) I didn't kill him. (turning in Ms chair to face Bueke) I didn't kill him. BuEKE, (quietly but hard and sharp) You did — you killed him last night with this — (points revol- ver at Gaeson) Why, come on now, why? Gaeson. (slowly rising with persistence) I didn't, I tell you. (slowly crossing to center dur- ing Bueke's speech) Bueke. (sharp and quick and louder) You did I tell you — you did. Gaeson. (as he rushes over to Bueke and stares him straight in the eye and as Bueke has not moved the revolver is against Gaeson's chest. Strong) I tell you I didn't, (there is a pause without a move, then Bueke sees his trick has failed, with his eye on Gab- son drops the revolver hack on the right end of desk and sits in his chair and speaks quietly) Bueke. Well, I didn't think you did. (picks up his pen and starts writing again) But I wasn't sure 60 I had to take a chance, (turns quickly and looks 136 WITHIN THE LAW at Gaeson) You understand don't you? (Burke starts writing again) Gaeson. (straightening up and moving a little to left) Yes, sure. Burke, (lightly) We've got the right party all safe enough. Gaeson. (a quick looJc at Burke) You have? Burke. You can bet we have. Garson. (as he starts toward door left) If you don't want me — (stops short at Burke''s first word) Burke, (lightly) What's that? Garson. (as he starts again toward door left and just reaches door with his hand on the Jcnoh as Burke speaks which makes him stop short again) I say if you don't want me I'll get along. Burke, (stops writing and lays cigar on ash tray — lightly) What's your hurry? (Bueke lays down pen presses dead buzzer and as he rises and crosses to left center, speaks casually) Where did you say Mary Turner was last night? Gaeson. (as he turns and with almost a scream) I don't know where she was, I — (realizes he has made a mistake and correcting himself and controlling his. voice) She was home. She never left the house last night. Burke, (looking sharply at Gaeson and crossing to him and speaking sharply) Know anything about where young Gilder is? Gaeson. (looking right at Bueke and with an air of truth) Not a thing. (Bueke watches Gar- son closely. Door left opens. Dan enters, stands above it and Maey follows, sees Gaeson^ and a look passes between them and Maey quickly crosses to- ward Gaeson below desk. Bueke turns, crosses down and meets Maey at lower left corner of desk, takes her right arm in his left hand places her at the WITHIN THE LAW 137 upper left corner of desk; then, without taking his eyes off Mary, steps up against the windows just mid- way between Maey and Gaeson. As Mary comes to a standstill at the upper end of the desk — Dick enters and quickly crosses to down right center. As Dick is well on Cassidy enters quickly door left and speaks sharply from just below door) Cassidy. (all give a start and look at Cassidy. Burke turns and watches Gaeson". There is a pause then in a tone of apology) Oh, I beg your pardon I didn't know you were busy, (looks straight at Gar- son. Garson is looking at Cassidy and feels Burke watching him. He slowly turns and looks Burke in the eye, then slowly draws himself up and throws his shoulders back defiantly) Burke, (after Garson's business and looking at Garson) Squealed, eh? (pause as he turns and looks at Dick) They tell the same story? Cassidy. Yes sir. Burke, (looking at Cassidy) I was right then all the time ? Cassidy. Sure. Burke. Good enough, (turns quickly to Mary and speaking hard and rapidly) Mary Turner, I want you for the murder of — Garson. (as he springs to Burke) That's a damn lie. (coming down center) 1 did it. Mary, (crossing quickly to Gaeson's right) NO, JOE, NO. Don't— talk— don't talk. Bueke. (as he crosses to his chair back of desk) Joe has talked. Maey. He did it to protect me. Bueke. Dan ! Send Williams here to take Gab- son's confession! (Dan exits right and closes door) Mary. He's not going to confess. 138 WITHIN THE LAW Burke. Oh yes, he is. {perfunctorily) You are all cautioned that anything you say will be used against you. {as he sits) Come, Joe. {picks up cigar and starts smoTcing. Williams enters door right with note hook and pencil, closes door and crosses to Burke^s right and stands ready to take dictation. Cassidy moves up above door left and stands) Mary, {to Garson) Don't speak until we can get a lawyer for you. Burke, {impatiently) It's no use, my girl. I told you I'd get you. I'm going to try you and Garson and the whole gang for murder — everyone of you. Gilder, you'll go to the house of detention as a witness. Come on, Joe. Garson. {pause as Garson starts to cross to Burke, Mary attempts to stop him and he in action tells her to leave it to him. He then crosses in front of Mary to Burke) If I come through, will you let them two go ? {indicating Mary and Dick) Mary, {crossing up to Garson) We'll spend every dollar we can raise. Burke, {impatiently) Now, it's no use. He said he did it. Now that we're sure he's our man he hasn't got a chance in the world. Garson. Well, how about them? Do they go clear ? Mary. We'll get the best lawyers in the country. We'll save you, Joe, we'll save you. Garson. You can't. They've got it on me. My time's come Mary and I can save you a lot of trouble. Burke. He's right. We've got him cold. What's the use of dragging you two into it? Garson. They go clear? They ain't even called as witnesses? WITHIN THE LAW 139 BuEKE, You're on. (sits back in his chcir smoking) Garson. {as lie sti-aightens up) Then here goes. Maey. (backing away from Gaeson and starting for chair down left. Dick crosses to Maey and helps her to chair) Gaeson. There's no other way. (after Dick passes him) I'm going through with it. (Maky tvatches by Gaeson. Pause until Maey is seated in chair facing front ivith her head bowed and rest- ing on the back of the chair and Dick standing above her with his hands on her shoulders. Williams takes the confession in shorthand notes in his note book) Gai^son. (facing front in mechanical tone) My name's Joe Garson. BuEKE. Alias ? Garson. (to Burke) Alias nothin'. Garson's ray monaker. (to the front) I shot English Eddie Griggs because he was a skunk and a stool pigeon and he got just what's comin' to him. Burke. Oh, we can't take a confession like that. Gaeson. (to Burke, doggedly) Because he was a skunk and a stool pigeon. (to Williams) Have you got it? (Williams nods — facing front) I croaked him just as he was goin' to call the bulls with a police whistle. I used a gun with smokeless powder and a Maxim Silencer, so it didn't make any noise, (to Burke) Say, I'll bet it's the first time a guy was ever croaked with one of them things — ain't it ? Burke. That's right, Joe. Garson. (to Burke — proudly) Some class to that, eh? (facing front) 1 got the gun and the Maxim thing from a fence in Boston, (to Burke) 140 WITHIN THE LAW Say, them things cost sixty dollars and they're worth the money, too. They'll remember me as the first to spring one of them, won't they? Burke. They sure will, Joe, Gaeson. {facing front) Nobody knew I had it. (Maey starts to speaJc. With meaning) Nobody knew I had it. Nobody. And nobody had any- thing to do with the killin' but me — (Mary again hows her head on the hack of the chair) Burke. Was there any bad feeling between you and Griggs? Gaeson. (facing front) He was a stool pigeon and I hated his guts — that all. BuEKE. Have you anything else to say? Gaeson. NO, NOTHIN'. I croaked him and I'm glad I done it. He was a skunk. And this is all true, so help me God. BuEKE. That's all, Williams. He'll sign it just as soon as you've transcribed the notes. (Williams exits right closing door after him. To Maey) Young woman, it's just like I told you, you can't beat the law. Garson thought he could and now — Gaeson. (interrupting and crossing to Maey) That's right Mary, you can't beat the law. And this same old law says "A frail must stick to her man." (Maey doesn't answer) It's the best thing to do. (with real sincerity) And say, you want to cut out that worryin' about me. I ain't worrin'. Why it's somethin' new I've pulled off. I'll bet there'll be a lot of stuff in the newspapers and my pictures in most of them. (turns and crossing to Bueke eagerly) Say, if the reporters want any pictures of me could I have s(5me new ones taken — the one you've got of me in the gallery's over ten years old — I've took off my beard since then — could I have some new ones ? WITHIN THE LAW 141 Burke. Sure you can, Joe, I'll send you right up to the gallery now. Gabson. (to Burke) Immense. (crosses down and gives Dick^s right shoulder a slap and Dick turns and ojfers his hand — as Garson takes Dick's hand to shake hands) Well, so long, young feller, (looks at Mary, anad starts to cross right as he speaks) Good-bye Mary. Mary, (as she rises and follows Garson) Joe, Joe! Garson". (he turns and Garson takes Mary in his arms) That's all right. That's all right. He'll look after you. Gee, I'd like to see you two with three or four kids playin' around the house, (to Dick) Take good care of her, won't yer? (Dick comes down stage hack of Mary and Garson turns Mary over to him and Dick puts his arms around Mary and she buries her face on his left shoulder) Well — (as he crosses stage right) So long. (exits door right. There is a pause. Burke rises with cigar in his mouth, looks at Mary and Dick, picks up the Helen Morris letter) Burke, (quietly) Cassidy — (Cassidy crosses to Burke) Mr. Gilder out there? Cassidy. Yes, sir. Burke, (handing letter to Cassidy) Give him this letter and tell him to read it at once. (Cassidy nods, smiles, crosses to door left and exits as Burke crosses to door right. Burke stops in doorway right and comes a little down right. To Dick and Mary — removing cigar from his mouth. 'Sternly) Just one thing more. When I get back I don't want to find anyone here, not anyone, (lightly with a smile) Get me? (up to door right, and exits smoking. Mary disengages herself from Dick's arms and cry- ing crosses to the right end of Burke's desk looking U2 WITHIN THE LAW off toward where Gaeson made his exit. Dick waits until she is standing stilly then starts for door left, changes his mind and, crossing over after Mary, puts his right hand on her left shoulder and turns her around to face him and steps hack. She holes up and with a cry of gladness comes to Dick with her arms outstretched. They embrace) CURTAIN MEMOS FOR STAGE MANAGER ACT I E. 1 E. {phone hell) Sakah. "Me, too, Mr. Dick." {Rings until Sarah removes receiver) Curtain Warning: Gilder. "Take her away, officer." Ring: Mary. "For all I'm losing to-day." ACT II L. 2. E. {phone hell) Mary. "I shouldn't be in the least surprised." {rings until Mary removes receiver) u. L. c. {door hell) Garson. "I've seen pulled off in this town." u. L. c. {door hell) Garson. "I'll bet it's the goods, just the same." Mary. "I expect him any minute, and when he comes" — u. L. c. {door hell) Garson. "Solid Ivory!" R. 1 E, {hreak vase) Garson. "No it ain't. Now you just turn your back and you won't hear — " 10 143 144 WITHIK THE LAW u. L. c. (door hell) Gaeson. "Oh, I got it over in Boston last week." Curtain Warning: Maey. "And if I am, who made me one?" Eing : Maey. "My name, and gave me a number. 'Now I've given up — " ACT III SCENE I Bay Window e. (Warning to light the lamp with mash over it) BuEKE. "He'll go to Chicago." Bay Window e. (Revolving white light effect) BuEKE. "Just ring for your man, will you, please?" (Blinder with circular hole in middle, same size as lens of lamp, is slowly passed in front of lamp) Curtain Warning: BuEKE. "Now, Mr. Gilder, I'll have to ask a little help from you." Eing: (Gildee starts toward hay-ivindow. Cur- tain down, all lights out except moonlight. Chime starts, turn out both practical lamps on stage) ACT III SCENE II Curtain Warning: {Fifth strohe of chime) Curtain up: {Eleventh stroke of chime) It. 1 E. {Telegraph effect. Gaeson taps message on phone mouth-piece with pen. Then answer with about a dozen elides of telegraph effect) Switchboard. {Chandelier on) Gaeson. "Wait till I turn on the lights." E. 1 E. {Buzzer) Gaeson. "We've got to hurry and" — {Buzzing stops as Gaeson removes receiver) E. 1 E. {Telegraph effect) Gaeson. "Well, we've got to take a chance." {About 6 clicks) EIGHT 1 E. {Telegraph effect) Gaeson. "Yes, she's on," {Telegraph message as Gaeson translates it and stop clicking on words "front door") UPPEE E. E. {Amler light to he lit when Maey enters at left 3 entrance.) Switchboard: {Chandelier out) Gaeson. "Lights." {And he snaps his fingers) E. 1 E. and L. 1 E. {Amber baby-spots on as click lights lamp on table back of couch; blinder on both lamps removed and lights trained on Maey's and Dick's faces) Switchboard: {Chandelier on) Maey. "I want to see the face of every man in this room." 145 146 WITHIN THE LAW L. 1 E. (Amher lahy-spot. This one hdby-spot off as Geiggs is shot, so that ivhen chandelier is again turned off, the body of Geiggs does not show in the darkness) Switchboard: {Chandelier out. Dick rushes up and touches switch on wall left) Bay Window e. {Light revolving white light with masJc on) Bay Window e. {Revolving white light effect) BuEKE. 'TTou see, I had some business here — ^ Switchboard: {Chandelier on) BuEKE. 'that's that?" E. 1 E. (Amher baby-spot off after Bueke lights chandelier) Curtain Warning: Bueke. "Cassidy, you and Thompson take them both downtown." Ring: Maey. "But that man was a burglar — " ACT IV Curtain Warning: Gaeson. "Well, so long." Ring: {As Maky throws her arms around Dick's nech) PEOPERTY PLOT — * ACT I Office of Edward Gilder. Furniture in this act — ^mahogany and green leather. Green carpet. 1 Flat top magonany desk (down right) 1 5x3 mahogany table (up left) 1 Mahogany desk chair (right of desk) 1 Mahogany office chair (left of desk) 1 Mahogany office chair (below table up left) 1 Mahogany office chair (in the upper right corner of the office) 1 Green leather arm chair (down left below door) 1 Green leather rocker (above desk and to the right of the center door) 1 Mahogany hat tree (left of center door) Department store samples (on table up left) 'Phone (on upper 'end of desk doivn right) Desk blotter, memo pad, pens, pencils, ink-stand, desk calendar, 2 letter baskets, 3 piles of opened letters, several unopened letters, letter opener, sten. note-book and pencil. 1 Box of cigars (in upper right desk drawer) 1 Box of safety matches and ash tray (on desk) 1 Old suit case covered with foreign labels (of stage at center door for Dick) Money for stenographer (2 five dollar bills) Money for Edward Gilder (a dozen yellow backs) 1 Pair of handcuffs for Mary (off stage at center door) 1 Phone bell off stage (r. 1 e. works on cue) Cigar in box on top right drawer of Gilder's desk. Match holder and matches on desk. Ash tray on desk. 147 PEOPEETY PLOT ACT II Mary Turner's Apartment. Furniture in this act — Chippendale, bay-window draperies, covering of couch, arm chair down right and chair left of trick table, all of cretonne, of lavender, purple and white combination. Blue carpet. 1 Five foot round table {at left center with drawer turned to left) 1 Arm chair (left of table) 1 Armless chair {right of table) 1 Arm chair {down left below door) 1 Tea table {above door left) 1 Silver tea set {on tea table) 1 Window seat {in bay window) 1 Cushion on window seat {fitted to suit shape of window seat) 2 Lavender and purple pillows {on windoiu seat) 1 Set of Draperies {on bay window) 1 Muffin stand {up left center betiveen door and bay window) 3 Plates {on muffin stand) 1 Lounge {up center between the two doors with the head towards door up left) 2 Lavender and purple pillows {on lounge) 1 English serving table {down right center. This is the triclc table) 1 Low back padded arm chair {left of trich table) 1 Pillow in chair {left of trich table) 1 High back padded arm chair {down right and fac- ing center) 1 Pillow {in arm chair down right) 1 Ladies desk {against wall right below fire place) 1 Small desk chair {in front of desJc) 148 WITHIN THE LAW 149 1 Brass fender {in front of fire-place) 1 Set brass fire-irons (right of fire-place) 1 Ladies' writing desk set (on desk) 1 Vase of lilacs (on top of desk) 1 Standing vase containing 3 long stemmed Ameri- can-Beauty Roses (between fire place and ladies desk) 1 Small square table (between fire-place and up right center door) 1 Small case of buttercups (on small square table) 2 Books on trick table (set at right angles to each other and in such a way as to hide hole in table from audience) 1 Magazine (on trick table) 1 Vase of Buttercups to be broken (off stage up right center) 1 Sunday newspaper (on floor between trick table and arm chair left of it) One round table down left — phone, ladies desk set, and 3 or 4 magazines. In drawer of round table, down left — legal paper, mesh pocket book with 5 or 6 yellow back bills in it, small note book and pencil. 1 Small picture on wall (down left between door and bay window) 1 Small placque on wall (between bay window and door up left center) 1 Large picture (on wall up center between the two doors) 1 Small round picture (on wall over fire place) 1 Picture (on wall down right over desk) 1 Small chair (in hall back of door up right center) 1 Picture (on wall in hall up right center) 1 Table in hall (back of door in hall up left center) 1 Large fancy vase (on table in hall) 1 Picture (on wall in hall up left center) 150 WITHIN THE LAW 1 Door bell {off stage up left center. Rung on sev- eral cues) 1 Tray with glass of milk and napkin on it {off stage up left center for Fannie) 1 Revolver with "Maxim Silencer." {off stage up right center for Garson) 1 'Phone bell {off stage down left. Rung on cue) 1 Large package of money in wallet {off stage up left center for Iewin) 1 Small note book {off stage up left center for Cassidy) 1 Legal paper {off stage down left for Agnes) 1 Drawing on white paper {plan of house. Off stage up left center for Geiggs) PROPEETY PLOT act III Edward Gilder's library. Furniture in this act — walnut. Brown carpet. 1 Couch {hdgh back and ends. 8ets curtains line at left center diagonally to up center) 1 24 inch square table back of couch {on square table back of couch) fancy cigarette box, cigar- ettes in it, matches and match safe and ash- tray. 1 Taberette {up left above door) 1 Plant {on taberette) 1 Fireplace mantle {up center) 2 Candle-sticks {on mantle) 1 Set dark brass fire-dogs {in fireplace) 1 Set dark brass fire-irons {right of fireplace) 1 Dark brass, leather top club fender {around fire- place) WITHIN THE LAW 151 1 Chair (in front of fireplace) 1 Chair (left of fireplace) 1 Bookcase (up left center between fireplace and door) 1 Bookcase (left below door) 1 Statue (in the center of the top of up left center booiccase) 2 Blue and white vases (one on each end of up left center booiccase) 2 Blue and white vases (one on each end of top of down left bookcase) 1 Pair Practical Tapestry Portieres (on pole over bay-window at right) 1 Large Library Table (down right facing audience just above curtain line) 1 Arm chair (back of library table) 1 Thone (on right upper end of library table) 1 Rack of books (on left lower endof library table) 1 Desk blotter (on library table) 1 Ink stand also pens and pencils (on library table) 1 Chime (right first entrances) 1 Padded mallet (to ring chime) 1 Revolver (of stage left for Bueke) 1 Ring of house keys (for Mr. Gilder) 1 Revolver with "Maxim Silencer" (for G arson) 1 Electric pocket flash-lamp (for Garson) 1 Card on card tray (left second entrance for butler) PROPERTY PLOT ACT IV Inspector Burke's Office. Furniture in this act — yellow oak; dark brown ground cloth. 152 WITHIN THE LAW 4 Practical yellow shades (on window) with guide wire on sides and cord in the center and cord tied at the bottom so as to allow the shades to go but % way up. 1 Yellow oak flat-top desk just three feet back of curtain line and left end at center. 1 Yellow oak swivel chair (back of desk) 1 Yellow oak office chair (right of desk) 1 Yellow oak office chair (left of desk) 1 Yellow oak office chair (down left, right of and below door) On desk, desk pad, large ledger, inkstand, pad of writing paper, pen-holder and quill pen in it, so that it scratches when writing, 'phone, glass paper weight with looking-glass back at right end, revolver with "Maxim Silencer" on, newspaper to cover revolver, match safe with matches and ash tray. In upper right drawer of desk — box of cigars 1 Stenographer's note book, pencil and chair (off- stage right at entrance to passage back of. win- dows for Williams) 1 Bunch of keys (ofE stage right at entrance to passage back of windows for Cassidy) 1 Addressed sealed and stamped letter (off stage left for Cassidy) 1 Uniform coat (for Bueke) 1 Inspector's shield (for Bueke) 1 Uniform coat (for Williams) 1 Policeman's shield (for Williams) 1 Uniform coat and trousers (for Dan) 1 Policeman's shield (for Dan) 1 Buzzer in desk drawer with cord running to a two-button board (on right end of Burke's desk) One button alive and one dead. 1 Cigar (off stage for Demaeest) ELECTEIC PLOT ACT I Foots and first border, full up, white. 1 Bunch at door down left. 1 White bunch at door up center. 1 Magneto box, gives buzz sound hangs on upper end of desk out of sight ; cord with push button on it on Gilder's desk. ACT II Foots and first border, full up, white. 1 White bunch at door down left. 1 White bunch at door up left center 1 White bunch at door up right center. 1 Open air amber medium back of bay window. 1 Standing reading lamp witii pink shade (up cen- ter, back of couch head, not lighted) 2 Brackets (one on each side of fireplace) ACT III Foots only full up, amber one, circuit, chandelier, amber lamp, amber shades, {not lighted in Scene i hut works on and off at switchhoard with foots in Scene ii) Practical lamp — amber lamps — amber shades {on right end of down right table. This lamp turns on and off by chain pull) Practical lamp — amber lamp — amber shades {on table back of couch. This lamp turns on and off by chain pull.) 153 154 WITHIN THE LAW 1 Two button press wall switch (on wall left, helow door. Not practical hut supposed to control chandelier) 1 Amber light (bach of door left. Off after Scene i) 1 Amber light (hack of door up right center. Off after Scene i — on again at cue in Scene ii) 1 Carbon spot lens lamp back of bay window (sup- posed to he revolving light of Metropolitan tower. On and off on cue, once in Scene i, and once in Scene ii) 1 Special blinder for white spot (long piece of asbestos with round hole in center, size of lens. On cue this being slowly drawn across the lighted lamp gives effect of revolving light.) 1 Bunch light — blue medium (set helow hay window and faces up stage for moonlight effect) 2 Baby spots amber medium (one in right first entrance and one in left first entrance. On at cue of Dick lighting lamp bach of couch in Scene ii. Left first entrance lamp off as Griggs is shot. Right first entrance lamp off when Burke turns on chandelier.) 1 Magneto box, fixed so that the bells are removable and cord with press button run ofE to right first entrance. On cue when button is pressed it gives a buzzing sound. Sets on baseward down and* below bay window. 1 'Phone with electric telegraph effect in receiver with cord running to right first entrance. When worked off stage on cue it sounds like a telegraph key. ACT IV !Foots and first border, full up, white. \ WITHIN THE LAW 155 1 Bunch white (hacic of door left) 1 White bunch {hach of door right) 1 Two button board with one button alive with the buzz in the drawer of Burke's desk. It sets on right end of Burke's desk and has one dead button. 1 Magneto box with practical buzz inside and re- movable bells on outside. (It sets on base hoard just below hay window. The cord to ring the huzz on cue runs off to right first entrance) CURTAIN CALLS ACT I 1 Picture (Mary's exit) 2 Mary and Gilder. 3 Mary and Cassidy. 4 Mary. 5 Mary, Gilder and Cassidy. ACT II 1 Picture. 2 Gilder, Griggs, Cassidy and Agnes. 3 Garson, Burke, Mary and Dick. 4 Mary and Dick. 5 Mary and Garson. 6 Mary. 7 Garson. 8 Dick. 9 Mary, Dick and Garson. 156 WITHIN THE LAW; ACT III 1 Picture. 2 Mary, Garson, Dick, Burke, Cassidy and Gilder. 3 Cassidy, Burke and Gilder. 4 Dick, Mary and Garson. 5 Garson. 6 Dick. 7 Mary. 8 Same as No. 2. ACT rv 1 Picture. 2 Garson, Burke, Mary and Dick. KUNNING TIME Act I 21 minutes. Act II 43 minutes. Act III 20 minutes. Act IV 33 minutes. ) J J "V ^i: ^ D o o ?. V .