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"The House of Glass " 
 
 A Drama in Four Acts 
 
 BY 
 
 It 
 
 and 
 
 Duly copyrighted in 1916, 
 
 in the United States of America, Dominion of Canada, 
 
 Great Britain, Australia, New Zealand and South Africa, 
 
 and by International Copyright 
 
 by Max Marcin and George M. Cohan 
 
 COHAN & HARRIS 
 
 PROPRIETORS 
 

 ^ 
 
 S^. 
 
 APR 29 1916 
 
 ©CI.0 43806 
 
"The House of Glass 
 
 ^9 
 
 ACT I. 
 
 SCENE: A room in Mrs. Brandt's New York boarding house. 
 
 At rise of curtain the stage is bare. After a few seconds Nellie 
 enters, carrying a coiiple of bundles. 
 
 NELUE 
 
 (Goes over to table L. aytd starts counting the bundles scattered 
 around the room . ) 
 
 One, two, three, four, five, six, seven, eight, nine, ten, eleven, 
 twelve, thirteen, fourteen, fifteen, sixteen. Gosh! I didn't think 
 they was that many bundles in the world. 
 
 ^She sees a hat in box on chair R. C, takes it out , goes to dresser R. 
 and tries it on. She sta?ids admiring herself in mirror as Margaret 
 Case enters.) 
 
 MARGARET 
 {Enters from R., sees NelliE and laughs.) 
 It looks very pretty. Nellie. 
 
 NELLIE 
 {Hurriedly removes the hat.) 
 Oh, excuse me, Miss Case. 
 
 MARGARET 
 
 ( Crosses to L.) 
 
 That's all right, Nellie; I don'tblame you for liking pretty things. 
 You're forgiven. 
 
 NELLIE 
 Thanks, Miss Case. 
 
 MARGARET 
 
 {Takes the hat from NelliE.) 
 
 I'll take it. You run down and tell Mrs. Brandt I want to see 
 her. 
 
 NELLIE 
 Yes, Miss Case. 
 ( Exists R. ) 
 
2 THE HOUSE OF GLASS 
 
 MARGARET 
 [Goes Z-., changing her waist to a kimona^ theii busying herself with 
 the hmdles, singing light-heartedly during bzisiness.) 
 {A knock comes on door R. ) 
 Who is it? 
 
 MRS. BRANDT 
 {Enters from R. ) 
 It's me, dearie. 
 
 MARGARET 
 Oh, come in, Mrs. Brandt. 
 
 MRS. BRANDT 
 {As she comes toward C. ) 
 Nellie said you told her you wanted to see me. 
 
 MARGARET 
 
 ( Over L. . ) 
 
 Yes, I want to know if you'll have that trunk of mine brought up 
 from the cellar. 
 
 MRS. BRANDT 
 (R. C.) 
 A trunk? 
 
 MARGARET 
 Yes, you remember ; the trunk 1 had put down there when I first 
 came here last August. 
 
 MRS. BRANDT 
 Oh, yes. 
 {A slight patise.) 
 You're not going away, dearie? 
 ( Crosses to bed over L . ) 
 
 MARGARET 
 
 {Busying herself around rooyn. ) 
 
 Yes, tomorrow, and I've such a frightful lot of packing to do, I 
 don't really know where to begin. 
 
 MRS. BRANDT 
 And why are you moving, dearie? Did somebodj^ say something 
 to hurt your feelings or something? 
 
THE HOUSE OE GLASS 3 
 
 MARGARET 
 
 Oh no, Mrs. Brandt, it's nothing like that. Everyone has been 
 more than kind to me in this house, and you especially. 
 {Goes L. to Mrs. Brandt.) 
 I'm really sorry to leave. 
 
 MRS. BRANDT 
 ( Sits on foot of bed. ) 
 But you must have some reason for going. 
 
 MARGARET 
 I have — the best reason in the world — but I can't tell you what it 
 is because I've promised not to. 
 {Crosses to C.) 
 
 MRS. BRANDT 
 And do you think that fair to me, dearie? 
 
 MARGARET 
 What? 
 
 MRS. BRANDT 
 Giving up your room without telling me why? What'll the other 
 boarders think? They'll ask me why you moved, and what'll I say? 
 
 MARGARET 
 I'm not what you call "moving." I'm leaving the city. 
 
 MRS. BRANDT 
 You mean you're going away from New York? 
 
 MARGARET 
 Yes, I'm going way out West ; way off to San Francisco. 
 
 MRS. BRANDT 
 San Francisco ! Why have you got some folks out there ? 
 
 MARGARET 
 {R. C.) 
 
 No, I don't know a soul in the town. 
 {All during this she is bnsy opening bundles, etc.) 
 
 MRS. BRANDT 
 Well, there must be some attraction to take you so far away. 
 
4 THE HOUSE OF GLASS 
 
 MARGARET 
 
 {Laughs. ) 
 
 Oh, there are attractions all right. I told you I had a very good 
 reason for going. Now, don't ask me any more questions, Mrs. 
 Brandt, because I really can't tell you anything about it. 
 
 ( Facetiously . ) 
 
 It's a dark secret. 
 
 ( Chayighig tone. ) 
 
 You will see about the trunk, won't you? 
 
 MRS. BRANDT 
 Oh, the trunk! Yes, yes, I forgot. 
 {Goes to door R. and calls.) 
 Nellie! 
 . {Calls again, as she gets no reply.) 
 Nellie ! 
 
 NEIvLIE 
 {From downstairs off R.) 
 Yes, Mrs. Brandt. 
 
 MRS. BRANDT 
 Tell Frank to go down in the cellar and get that trunk that 
 belongs to Miss Case. Tell him to fetch it up here to her room. Do 
 you understand? 
 
 NELLIE 
 [Off stage R.) 
 Miss Case's trunk? 
 
 MRS. BRANDT 
 Yes, up here to her room. Tell Frank. 
 
 NELLIE 
 ( Off stage R.) 
 All right. 
 
 MRS. BRANDT 
 {Closes the door and crosses toward L. ) 
 They'll all be wondering why you're leaving. 
 
 MARGARET 
 ( Comes downstage with money in her hand. ) 
 Hold out your hand. 
 
THE HOUSE OF GLASS 5 
 
 MRS. BRANDT 
 Eh? 
 
 MARGARET 
 I'm going to give you something. 
 
 MRS. BRANDT 
 
 Me? 
 
 MARGARET 
 
 Yes. Come on, your hand. 
 
 (Margaret counts bills into Mrs. Brandt's outstretched hand. 
 
 Five, ten, fifteen, twenty. There! 
 
 MRS. BRANDT 
 
 ( Wondering ly.) 
 
 What's all this for, dearie? 
 
 MARGARET 
 
 That's for you. 
 
 MRS. BRANDT 
 
 (C) 
 
 Why, you only owe me for one week, and that ain't due till 
 Saturday. 
 
 MARGARET 
 
 (C.) 
 
 But I want you to buy a little present for yourself ; something to 
 remember me by when I'm gone. 
 
 MRS. BRANDT 
 Oh dearie, this is too much. 
 
 MARGARET 
 
 {Goes R. C.) 
 
 Now you're convinced that I'm not leaving here because I'm in 
 any way dissatisfied, aren't you? 
 
 MRS. BRANDT 
 
 {L. C.) 
 
 But, dearie, how can you afford to do all this? 
 
 MARGARET 
 That's part of the dark secret I've promised not to divulge. 
 
6 THE HOUSE OF GLASS 
 
 MRS. BRANDT 
 Well, honest, dearie, I don't know what to say. 
 
 MARGARET 
 I'm glad you don't. I don't want to hear another word about it. 
 ( Looks around room . ) 
 
 (Mrs. Brandt picks up a lace shawl from foot ot bed and stands 
 examining it. ) 
 
 ( Margaret turns and sees her. ) 
 That's real lace, Mrs. Brandt. 
 
 MRS. BRANDT 
 I thought so. A present from someone? 
 
 MARGARET 
 No, I bought it myself. Pretty, isn't it? 
 
 MRS. BRANDT 
 I should say so. 
 
 MARGARET 
 Oh, I have heaps of pretty things if I had the time to undo all the 
 bundles and show them to you. 
 
 ( Goes L. , gets coat and puts it on. ) 
 
 How do you like my little suit? 
 
 ( Turns arou?id for Mrs. Brandt's inspection. ) 
 
 MRS. BRANDT 
 It's very becoming, dearie. 
 
 MARGARET 
 Ready-made. I thought it would be rather nice to travel in. 
 Fits well, doesn't it? 
 
 MRS. BRANDT 
 Perfect. 
 
 MARGARET 
 
 {Goes R., gets a box, takes it to bed and opens it.) 
 
 Here's a little dress I bought yesterday. I'm just mad about it. 
 
 Awfully good taste, don't you think? 
 
 {Brings the dress down to R. of bed and holds it out for Mrs. 
 
 Brandt to see. ) 
 
THE HOUSE OF GLASS 7 
 
 MRS. BRANDT 
 {Admiringly .) 
 
 Beautiful! All those things must have cost you an awful lot of 
 money, dearie. 
 
 MARGARET 
 
 {R. C.) 
 All I had. 
 
 MRS. BRANDT 
 
 All you had ! 
 
 MARGARET 
 
 (C) 
 
 Every penny. It took me years to save it and just two days to 
 spend it. The twenty dollars I gave you was the last of my little 
 fortune. I didn't do so bad, though. I saved over seven hundred 
 dollars in less than three years, and that's pretty good for an eighteen 
 dollar a week stenographer. Don't you think so? 
 
 MRS. BRANDT 
 {Crosses to C.) 
 
 Margaret Case, do you mean to tell me that all the money you've 
 saved you've spent in the last two days? 
 
 MARGARET 
 But money is a thing I'll never need again; don't you under- 
 stand ? 
 
 {Crosses toward C.) 
 
 MRS. BRANDT 
 (C) 
 No, I don't understand. 
 
 MARGARET 
 {Laughs.^ 
 
 Of course you don't, because that's part of my secret. Now don't 
 try to guess, because you couldn't in a hundred years. 
 ( Comes downstage L. C.) 
 
 MRS. BRANDT 
 Well, of course, I don't know what it's all about, dearie, but I 
 hope that wherever you go, or whatever you do, that you'll be happy. 
 ( lakes Margaret's hands. ) 
 
8 THE HOUSE OF GLASS 
 
 MARGARET 
 
 Thanks, Mrs. Brandt. 
 
 ( Warv Bell R. ) 
 
 MRS. BRANDT 
 
 {As she touches her lips to Margaret's hands she sees an 
 engagement ring on her left hand. ) 
 What's this, dearie, a diamond? 
 
 MARGARET 
 Yes; it's a beauty, isn't it? 
 
 MRS. BRANDT 
 I should say so. And did you huy this, too, dearie. 
 
 MARGARET 
 ( Smiles. ) 
 No, I won't tell you a story — that's a present. 
 
 MRS. BRANDT 
 A present? Well, well! A present, eh? 
 {Holds Margaret's hand, admiring the ring.) 
 
 MARGARET 
 Yes. Now don't ask me, because I won't tell you. 
 
 MRS. BRANDT 
 Tell me what, dearie? 
 
 MARGARET 
 Who gave it to me. 
 
 MRS. BRANDT 
 I wasn't going to ask that. 
 
 MARGARET 
 
 Now, Mrs. Brandt! 
 
 {Both laugh.) 
 
 {Door-bell doivnstairs rings on business of laugh. ) 
 
 MRS. BRANDT 
 ( Crosses to R.) 
 There's someone at the front door. 
 
THE HOUSE OF GLASS 9 
 
 MARGARET 
 More packages for me, I dare say. I bought some things this 
 morning. 
 
 ( Goes upstage C. ) 
 
 MRS. BRANDT 
 What time do 5'oit leave tomorrow, dearie? 
 
 MARGARET 
 On the 20th Century. We're going to stop over in Chicago for a 
 few days before we start for the Coast. 
 
 MRS. BRANDT 
 Oh, then j'ou're not going alone? 
 
 MARGARET 
 
 What? 
 
 MRS. BRANDT 
 You said " we," so I suppose someone's going with you. 
 
 MARGARET 
 
 Oh, yes. 
 
 ( Cojifused. ) 
 
 Yes, a friend of mine. 
 
 MRS. BRANDT 
 
 {Knowingly .) 
 
 Oh, I see! 
 
 {As knock comes on door R. ) 
 
 Come in. 
 
 {Knock R.) 
 
 FRANK 
 {Enters., dragging a trunk.) 
 Did you say you wanted this trunk here in this room here? 
 
 MRS. BRANDT 
 Yes, bring it right in, Frank. 
 
 FRANK 
 
 {Drags the trunk in. ) 
 Where '11 I put it? 
 
10 THE HOUSE OF GLASS 
 
 MARGARET 
 
 Leave it right there, rm going to send it to the station as soon 
 as I've packed. 
 
 CFrank places trunk down R. C. and unstraps it.) 
 
 {Knock.) 
 
 NELLIE 
 {Knocks on door R.) 
 ( The door is open. ) 
 Oh, Miss Case. 
 
 MARGARET 
 Yes, come in. 
 
 NELLIE 
 {Enters and stands inside door. ) 
 
 MRS. BRANDT 
 What do you want, Nellie? 
 
 NELLIE 
 There's someone downstairs to see Miss Case. 
 
 MARGARET 
 Some one to see me? 
 
 NELLIE 
 Yes, Mr. Burke. 
 
 MRS. BRANDT 
 Mr. Burke? 
 
 MARGARET 
 {7o Mrs. Brandt.) 
 
 Yes, you remember; I introduced him to you on the steps the 
 night before last. 
 
 MRS. BRANDT 
 Oh, you mean the young man that called for you in a taxi-cab? 
 
 MARGARET 
 He's the one. 
 
 {Has taken money horn dresser^ and comes downstage and hands it 
 to Frank.) 
 
 Here j'ou are, Frank. 
 
 {Hands money to Frank, then turns to Nkli^ie.) 
 
 Tell him I'll be right down, Nellie, 
 
THE HOUSE OF GLASS 11 
 
 NELLIE 
 Yes, ma'am. 
 {Exits R., followed by Frank.) 
 
 MARGARET 
 {Runs vp to mirror in dresser R., and starts arranging her hair. ) 
 My, I look a sight! If I'd known I was going to have company 
 I wouldn't have changed to this kimona. 
 
 MRS. BRANDT 
 Why do you bother about going downstairs, dearie? Why don't 
 you have him come up here? 
 
 MARGARET 
 Oh, that wouldn't look very nice, would it? 
 
 MRS. BRANDT 
 ( Over R. , near door. ) 
 Why, he's a respectable young man, isn't he? 
 
 MARGARET 
 {L.) 
 He surely is. 
 
 MRS. BRANDT 
 Then don't be silly. I'll tell Nellie to bring him up. 
 
 MARGARET 
 Do you think it will look all right? 
 
 MRS. BRANDT 
 Why, of course, dearie. The idea! 
 {Goes to door R. and calls.) 
 Nellie ! Nellie I 
 
 NELLIE 
 {Of/stage R.) 
 Yes, Mrs. Brandt. 
 
 MRS. BRANDT 
 Show Mr. Burke upstairs here to Miss Case's room, do you 
 understand? 
 
 NELLIE 
 Up to Miss Case's room? 
 
12 THE HOUSE OF GLASS 
 
 MRS. BRANDT 
 Yes. Show Mr. Burke right up. 
 
 NELLIE 
 All right. Yes ma'am. 
 
 MRS. BRANDT 
 
 {Closes the door and iuryis to Margaret.) 
 
 Now, if I can help you pack these things I'd love to do it, 
 dearie. 
 
 MARGARET 
 
 ( Over L., changing her kiviona for a zvaist. ) 
 
 You'll find the key in the top drawer, left hand side. 
 
 {Poirjts to dresser R.) 
 
 MRS. BRANDT 
 {Opens drawer in dresser, finds the key, then comes down R.) 
 Who is this Mr. Burke, dearie? One of your old friends, I 
 suppose. 
 
 ( Unlocks the trunk. ) 
 
 MARGARET 
 
 iL.) 
 
 Well, no, not exactly an old friend, but a very dear friend. 
 
 MRS. BRANDT 
 Oh, I see. I was going to say I don't remember of having seen 
 him till you introduced him to me on the steps. In fact, I don't know 
 as I remember of any young man ever calling on you before. I 
 remarked that to Nellie right after you drove away in the taxi the 
 other night. 
 
 MARGARET 
 
 {Comes to C.) 
 
 That's strange. You know, I was wondering what you thought. 
 
 MRS. BRANDT 
 Were you really, dearie? 
 
 MARGARET 
 
 Honestly. 
 
 ( Knocks comes on door R. ) 
 
 {Knock. ) 
 
 Come in. 
 
THE HOUSE OF GLASS 13 
 
 NELLIE 
 
 {Enters from R. ) 
 
 Here's Mr. Burke. 
 
 (Burke enters, following Nellie.) 
 
 MARGARET 
 Oh, come right in, Jimmy. 
 
 BURKE 
 {Enters and stands below door, lookhig a bit embarrassed as he sees 
 Mrs. Brandt.) 
 
 MARGARET 
 
 Klo Burke.) 
 
 You've met Mrs. Brandt. 
 
 MRS. BRANDT 
 How do you do, Mr. Burke. 
 
 BURKE 
 {Smiles?) 
 
 Oh, how do you do, Mrs. Brandt. I think I had the pleasure the 
 other evening. 
 
 {Crosses to C. Nellie exits R.) 
 
 MRS. BRANDT 
 {Smiles.) 
 That's right. 
 
 BURKE 
 
 {As he goes up C, looking arotind the room.) 
 Great Scott! What a busy young lady you are. 
 
 MARGARET 
 
 a.) 
 
 Now no remarks about the room. I know it looks terrible, but 
 don't remind me, please. 
 
 MRS. BRANDT 
 
 Well, I suppose Mr. Burke wants to talk to you privately, dearie, 
 so I'll run downstairs. 
 
 MARGARET 
 
 {Crosses Burke to R.) 
 
 Oh no, don't go, Mrs, Brandt. 
 
14 THE HOUSE OF GLASS 
 
 BURKE 
 
 (C. as Margaret crosses him, he ^ives her' a warning tap on the 
 shoulder, intimating that he wants to be left alone with her. ) 
 No, don't hurry away on my account, please. 
 
 MRS. BRANDT 
 Oh, I must go, really, I've got so much to do before dinner. 
 ( To Margaret. ) 
 
 Now, if you think Nellie and I can help any with the packing, 
 dearie, just call and we'll both come up. 
 
 MARGARET 
 
 WpC.) 
 
 Thank you so much, Mrs. Brandt. 
 
 MRS. BRANDT 
 Thank you, dearie, for the present. Goodbye, Mr. Burke. 
 
 BURKE 
 Goodbye, Mrs. Brandt. 
 
 MRS. BRANDT 
 She's a fine girl, Mr. Burke. You're certainly not making any 
 mistake; and from the looks of you, I don't think she is either. 
 
 MARGARET 
 
 What! 
 
 (Burke and Margaret look at each other, astonished.) 
 MRS. BRANDT 
 
 ( Itirns to door.) 
 
 Oh, she didn't tell me anything — I guessed it. I can see it in 
 your eyes — both of you. Oh, you can't fool me. 
 {Exits R., laughing.) 
 
 BURKE 
 {Turns to Margaret, who comes down C. to hiin.) 
 What's all that about? 
 
 MARGARET 
 I don't know. You heard what she said. 
 
 BURKE 
 You didn't tell her? 
 
THE HOUSE OF GI.ASS 15 
 
 MARGARET 
 {R. C.) 
 
 Not a word. She drew her own conclusions, that's all. 
 {Over to Burke.) 
 Don't you believe me? 
 
 BURKE 
 You know 1 do. 
 
 ( lakes her in his arms and kisses her. ) 
 You sweet kid. 
 
 MARGARET 
 Don't, Jimmy, please. 
 {Moves away from him.) 
 Some one might come in. 
 
 BURKE 
 Well, what of it? You belong to me, don't you? 
 
 MARGARET 
 Not yet. 
 
 BURKE 
 But you will in a few days. When you get on that train in 
 Chicago next Saturday you'll be Mrs. James Burke. How does that 
 sound, eh? Mrs. James Burke. 
 ( Kisses her. ) 
 
 MARGARET 
 Oh, Jimmy, I don't see why we can't be married here. Why do 
 we have to wait until we get to Chicago? 
 
 BURKE 
 {L. C.) 
 
 Now don't make me go over that again. I told you that on account 
 
 of family reasons I don't want our marriage to become public right 
 
 now. And that's just what will happen if we're married here in New 
 
 York. Now don't be unreasonable, Margaret. I wouldn't ask you to 
 
 wait if I didn't think it was for the best. Don't you suppose I'm as 
 
 anxious as you are? 
 
 MARGARET 
 
 Of course. I'm just silly, that's all. There, I shant mention it 
 again — cross my heart. 
 
 {Siiits action to last words, then goes up to dresser, takes things trom 
 it and comes down to trunk with them . ) 
 
16 THE HOUSE OF GLASS 
 
 BURKE 
 
 {Goes up C, ihe?i doivnstage L.) 
 
 I suppose the old lady asked you a million questions about where 
 you were going and why you were going, etcetera, and so on. 
 {Down L. ) 
 
 MARGARET 
 {Brings hat down to trunk.) 
 
 Yes, Lord, you should have heard her. And, my dear, you should 
 have seen her face when she spied my engagement ring. 
 
 BURKE 
 ( Over to her R. of trunk. ) 
 Have you got it on? 
 
 MARGARET 
 
 { Holds out her hand. ) 
 Yes. See, here it is. 
 
 BURKE 
 You promised me you wouldn't wear that until we were married. 
 
 MARGARET 
 
 I know, Jimmy, but that's such a childish idea. Why shouldn't 
 I wear my engagement ring when I'm engaged. 
 
 BIJRKE 
 
 (C) 
 
 Because I asked yon not to. I told you I was superstitious about 
 engagement rings, didn't I? 
 
 MARGARET 
 
 ( Crosses to C. ) 
 
 Oh, I know, but that's all so foolish. Now, what harm can 
 
 BURKE 
 {Interrupting her.) 
 
 Margaret, you promised me you wouldn't wear it, and I want you 
 to take it off. 
 
 MARGARET 
 
 {R. C.) 
 
 Oh, VQ.\y well, have your own way. But honestly, Jimmy, I think 
 such superstitions are perfectly absurd. 
 
THE HOUSE OF GLASS 17 
 
 ( Takes the ring from her finger. ) 
 There, it's off. 
 
 {Puts the ring in pocket of her blouse. ) 
 I shant wear it again until we're married. 
 
 BURKE 
 Cross your heart? 
 {She crosses her heart.) 
 Now kiss me. 
 {Throws his arms about her.) 
 
 MARGARET 
 
 {Draws axvay from him.) 
 No, sir, not till we're married. 
 
 BURKE 
 MARGARET 
 
 BURKE 
 
 What! 
 
 I'm superstitious. 
 
 {Pulls her to him. ) 
 Come here. 
 ( Kisses her. ) 
 
 MARGARET 
 Please, Jimmy, let me go. I've a week's work to do before these 
 things are packed. 
 
 [Draws away from him and goes ^ip to dresser.) 
 
 Take that tray out of the trunk, Jimmy, and keep out of mischief. 
 
 BURKE 
 {Goes to ttunk and lifts top tray off.) 
 Where shall I put it? 
 
 MARGARET 
 On the bed. 
 
 BURKE 
 
 {Puts the tray on the bed, then comes C. , looking about the room.) 
 I'll bet you'll be mighty glad to get out of this dingy two by four, 
 won't you? 
 
18 THE HOUSE OF GI.ASS 
 
 MARGARET 
 
 (^.9 she comes doztm to trtink ivith an armhd of clothes.) 
 This isn't dingy, and don't you dare say anything of the kind. 
 I've been very happy in this two by four, as you call it. You 
 needn't come around here finding fault and showing off. You know 
 you weren't always rich. 
 
 BURKE 
 No, that's right, a lot can happen in a short time. 
 {Sits on table L.) 
 
 Gee! Just think! Two weeks ago I was driving a car— a 
 chauffeur — thirty a week. 
 
 MARGARET 
 And I was pounding a typewriter for eighteen, and we hadn't 
 even met — hadn't even heard of each other. 
 
 BURKE 
 ( As he goes toward C. ) 
 It's a funny old world. 
 
 MARGARET 
 {Kneeling in front of trunk. ) 
 
 Isn't it? You know, Jimmy, our affair is just like a story in a 
 book. 
 
 BURKE 
 
 {Sits on edge of trtoik. ) 
 
 That's right, it's a real romance. Poor boy — poor girl — meet — 
 fall in love — uncle dies and leaves poor boy a hundred thousand 
 dollars — boy and girl become engaged and start for the West to be 
 married — and live happy ever after. It is like a story book, isn't it? 
 
 MARGARET 
 And just think, the whole thing's happened inside of two weeks. 
 Isn't it wonderful? 
 
 BURKE 
 Wonderful ! 
 ( Takes her i?i his arms a7id kisses her. ) 
 
 MARGARET 
 
 {Breaks away from him, latighing.) 
 
 Oh, get away from here, Jimmy, I'll never get my packing done, 
 
 {Continues packing things i7i trunk.) 
 
T'HE HOUSE OF GLASS 19 
 
 BURKE 
 
 {Goes over L., stands watching Margaret a moment, then taking 
 a jewel case from his pocket. He looks at it, the?i over at MARGARET, 
 xvho is btisy at trunk. He replofes the case in his pocket before he speaks.^ 
 
 Margaret. 
 
 MARGARET 
 What? 
 
 BURKE 
 Is that door locked? 
 {Indicates R. door with a nod of his head. ) 
 
 MARGARET 
 
 No. 
 
 Lock it, will yoit? 
 
 Why? 
 
 BURKE 
 MARGARET 
 
 BURKE 
 I want to show you something. 
 
 {Goes upstage and looks out of windo7v R., then comes dotvn stage to 
 C.) 
 
 MARGARET 
 
 {Rises, goes R. and locks the door, then comes C.) 
 What is it? 
 
 BURKE 
 
 ( Opeiis the jewel case and ^hozvs if to her. ) 
 What do you think of that? 
 
 MARGARET 
 Oh, Jimmy, that's gorgeous! Where on earth did you ever get 
 such marvelous jewels? 
 
 BURKE 
 'Sh.' Not so loud. 
 {R. C.) 
 
 MARGARET 
 {L. C.) 
 What's the matter? 
 
20 THE HOUSE OF GLASS 
 
 BURKE 
 
 Nothing. It's all right, only don't talk so loud. I bought this 
 at a real bargain from one of the biggest jewelers in town. He's 
 afraid to handle it. There's over fifty thousand dollars' worth of 
 stuff in that necklace. I got it for ten. I bought it for you. Isn't it 
 a dream? 
 
 (Margaret places it around her neck. As she starts to fasten the 
 clasp, he takes it fro^n her.) 
 
 Of course, it's got to be broken up before any of it's worn, on 
 account of being smuggled in here. 
 
 MARGARET 
 
 Smuggled ! 
 
 BURKE 
 Yes; just one of the ways of avoiding duty at this port. It's 
 nothing to worry about. It's perfectly legitimate — done every day. 
 Some stuff there, eh, kid? 
 
 MARGARET 
 Hut smuggled! I don't like that idea, Jimmy. 
 
 BURKE 
 
 Well, don't blame me, I didn't smuggle them. Neither did the 
 fellow that sold them to me. He isn't even sure they were smuggled, 
 but he advises that in case of such a thing, it's just as well not to flash 
 them in this setting, so just hide it away and when we're West a few 
 days we'll have the stuff loosened and re-set. 
 
 {As Margaret still looks unconvinced.) 
 
 It's all right. You don't suppose I'd take a chance if I wasn't 
 sure, do you? 
 
 i^He hands her the necklace. She starts up tojvard the dresser 
 with it.) 
 
 Put it awaj'^ — in the trunk. 
 
 ( She comes down to trunk with it. ) 
 
 ( Burke gets lace shawl from foot of bed. ) 
 
 Here, let's wrap it in this. 
 
 MARGARET 
 Wait, Jimmy, that's real lace. That cost a lot of money. 
 
THE HOUSE OF GLASS 21 
 
 BURKE 
 
 Well, it's ill good company. 
 
 (As he wraps the case in the shazal.) 
 
 Here you are — family jewels for your children when they grow up. 
 
 {Ha?ids the case to her.) 
 
 MARGARET 
 Jimmy! 
 {She puts the package in the trunk.) 
 
 BURKE 
 Here— in the trunk — way at the bottom. That's the idea. 
 {He tries to kiss her. She dra7vs aivay laughingly.) 
 {Kyiock cofnes 07i door R.) 
 
 MARGARET 
 {Busy packing.) 
 Come in. 
 
 BURKE 
 {Has gone C. at knock.) 
 The door's locked. 
 
 MARGARET 
 That's so. 
 {Calls.) 
 
 All right, just a minute. 
 {Goes to door, imlocks it and opens it.) 
 
 NEELIE 
 
 {Enters from R.) 
 
 There's two men down.stairs to see you, Miss Case. 
 
 MARGARET 
 
 Two men to see me? 
 
 BURKE 
 Who are thej^? 
 
 NELIJE 
 
 They didn't say what their names was. They said they was friends 
 of Mr, Burke. 
 
 (Margaret looks at Burke.) 
 
22 The house of glass 
 
 BURKE 
 
 Friends of mine? That's funnj'. 
 
 MARGARET 
 Shall we have them come up? 
 
 BURKE 
 No, no. 
 
 ( Nervously . ) 
 
 I'll go down and see who they are. 
 
 {Starts for door as Carrot.i. ajid CrowlEy e7ttef from R. ) 
 
 CARROLL 
 
 {As he enters from R. ) 
 
 Don't trouble yourself, sweetheart. We came up to save you the 
 trouble of coming down. 
 
 {Comes to R. C, followed by Nellie. Crowley is R. of her.) 
 
 (Carroll /m^w^ i'^ Nellie.) 
 
 That's all, kid. Run downstairs and wash your face, and I'll kiss 
 you good-bye as I'm going out. 
 
 NELLIE 
 Say, who do you think you're talking to? 
 
 CARROLL 
 ( Inrns to CrowlEy. ) 
 Say something sweet to the little child, Crowley. 
 
 CROWLEY 
 Get out of here before I murder you. 
 
 ( Takes her by the arm and shoves her out of room, then locks the door 
 and puts the key in his pocket and comes downstage R.) 
 
 CARROLL 
 
 ( Has gone upstage R. above trunk.) 
 
 Hello, Burke, that was a damn good job you did at the Whitney 
 home a week ago last Thursday. You must have hauled down about 
 eighty or ninety thousand dollars, didn't you? 
 
 {A pause of several seconds, while Burke looks at Carroll, and 
 Margaret looks at Burke. Carroll stands staring at Burke.) 
 
 MARGARET 
 
 {After a pause.) 
 
 Who are these men, Jimmy? 
 
THE HOUSE OF GIvASS 23 
 
 BURKE 
 
 {Dazed.) 
 
 I don't know. 
 
 MARGARET 
 
 {Goes to Carroll.) 
 What does this mean? 
 
 CARROLL 
 
 Now, now, nix on the melodramatic stuff. If you start to Leslie 
 Carter yourself with me I'll have Crowley hiss you. Show her how 
 you can hiss, Crowley. 
 
 (Crowley /im^.f.) 
 
 See, we're a hard audience. Can the acting. 
 
 (Burke has turned fro>n Carroll duriyig this dialogue and is nozo 
 reaching into his hip pocket for his gun.) 
 
 Crowley, see what that guy's got on his hip. 
 
 CROWLEY 
 
 {Pulls his gun and levels it at Burke.) 
 Get away from there. 
 {Crosses to Burke over L.) 
 
 BURKE 
 {Draws gun slowly {rout his Pocket and hands it to CrowlEY.) 
 I was only going to hand it to you. 
 
 CROWLEY 
 
 {As he takes the gun and puts it in his pocket.) 
 Gee, you're polite. 
 
 CARROLL 
 
 See if he's got another one, Crowle}^ ; he's liable to take an 
 encore. 
 
 CROWLEY 
 {Searches Burke's pockets. ) 
 Clean as Childs' Restaurant. 
 
 CARROLL 
 Put the Houdini's on him. 
 (Crowley handcutfs Burke.) 
 See what kind of literature be carries. 
 
 (Crowley searches Burke's pockets and finds transportation 
 tickets. ) 
 
24 THE HOUSE OF GLASS 
 
 MARGARET 
 
 [Has been standing C. She noiv turns to Carroi^u. 
 This is an outrage. I demand an explanation. 
 
 CARROLL 
 
 (Crowley t^ims to^vord her and hisses.) 
 
 No, no; small town coppers might fall for that stuff, but it won't 
 get you anything in the big cities. 
 
 CROWLEY 
 ( Coming C. ) 
 
 Transportation lo Chicago, and two lower berths on the 20th Cen- 
 tury tomorrow. 
 
 {Puts the tickets in his pockets.) 
 ( Warn patrol wagon bell. ) 
 
 CARROLL 
 20th Century, eh? He's a piker. A regular crook would have a 
 special train if he made a haul like that guy. 
 
 MARGARET 
 
 {Makes a dash lor door R. and finds it locked) 
 
 CROWLEY 
 
 {As he sees Margaret running to door. ) 
 Pipe the bust-away. 
 
 MARGARET 
 Who locked this door? 
 
 CARROLL 
 {To Margaret.) 
 I don't know. 
 ( Turns to Crowley. ) 
 Who locked that door? 
 
 CROWLEY 
 I don't know who locked that door? 
 
 MARGARET 
 
 {Crosses to R. <;/ BuRKE.) 
 
 Jimmy, what does this all mean? Why don't you tell me what 
 all means? 
 
THE HOUSE OF GLASS 25 
 
 BURKE 
 {Stands below L. table.) 
 
 You can guess, can't you? They've got me, that's all. There's 
 nothing I can saj' except that I'm sort}', not for myself, but for you. 
 {Bo'ws his head while reading above lines.) 
 ( Patrol bell is heard off stage. ) 
 
 MARGARET 
 
 (As she fiears the patrol 7vagon bell she rushes up to the ivindow R., 
 looks out, tui7is, comes dozcnstage a ferv steps, then, as a full realization of 
 the thing comes to her, she thro7vs out her arms and falls in a dead faint 
 up C. ) 
 
 [As she falls Burke starts totvard her, but is stopped by CrowlEY. ) 
 
 CROWLEY 
 
 ( Waves Burke back. ) 
 
 Just a minute, just a minute. 
 
 ( To Margaret, as he stands L. of her. ) 
 
 Come along now, kid — come on, cut out the comedj'. We can't 
 stay here all day. 
 
 {Kneels down and looks closely at her, then looks up at Carroll, 
 who is R. of Margaret.) 
 
 She acts to me like she's on the square. 
 
 CARROLL 
 
 Behave yourself. Take a peek around. 
 
 (Cfowlev saunters around stage looking at thitigs and watching 
 Burke.) 
 
 ( To Margaret. ) 
 
 Come on, act like a regular and get up on your feet. That kind 
 of stuff isn't going to get you anything with me. 
 
 BURKE 
 
 {Blurts Old.) 
 
 For God's sake be human. Can't you see the girl has fainted? 
 
 CARROLL 
 
 {Kneels do7vn and looks closely at her. ) 
 
 V>y God, you're right. I'm damned if she didn't fool me. I 
 thought she was acting. 
 {Rises.) 
 
 CROWLEY 
 I told j'^ou she was on the square. 
 
26 THE HOUSE OF GLASS 
 
 CARROLL 
 
 Call one of the women. 
 (Crowley exits R,) 
 (Burke kneels L. of Margaret. ) 
 Who is this girl, Burke? 
 
 BURKE 
 Her name is Case. 
 
 CARROLL 
 
 I know that, but where is she from? 
 
 BURKE 
 You've [looked her up, haven't you. You must have been 
 trailing us? 
 
 CARROLL 
 
 I can't find any record of her at headquarters. 
 
 BURKE 
 She's not a crook. 
 
 CARROLL 
 She travels with you. 
 
 BURKE 
 She didn't know I was a crook. 
 
 CARROLL 
 How long have you known her. 
 
 BURKE 
 
 {Rises.) 
 
 Two weeks. I was going to marry this girl and go straight, so 
 help me God, Carroll. 
 
 CARROLL 
 
 {R. C.) 
 
 You could afford to go straight with the haul you made. It's the 
 best house-breaking job that's been pulled in five years. We'd never 
 got you if you hadn't blown your chauffeur's job the same day she 
 blew her job and started to pal together and do the town. At that, we 
 weren't sure till today. What'd you get, on the level? 
 
 BURKE 
 About seventy thousand. 
 
THE HOUSE OF GLASS 27 
 
 CARROLL 
 And about twenty thousand in cash. 
 
 BURKE 
 That's right. 
 
 CARROLL 
 Did you think you'd make it clean? 
 
 BURKE 
 Up to the minute you walked in that door. 
 
 CARROLL 
 We've had you for four days. I'm sorry, Burke. 
 (Burke rises.) 
 
 . BURKE 
 {Comes down to R. at table L.) 
 
 Oh, I don't care a damn now, but for God's sake don't hang 
 anything on her. 
 
 CARROLL 
 Not""a chance, if she's on the level. If you make a clean slate 
 I'll go the limit for her. 
 
 BURKE 
 Thanks. 
 
 CROWLEY 
 {Enters from R. carrying a flask of brandy. He is followed by a 
 Policeman, who stands near door R.) 
 {As he goes up stage C. ) 
 
 The old dame fainted, too, when she saw those brass buttons. 
 {As he and Carroll kneel beside Margaret. ) 
 Can you beat that! There wasn't a drop of booze in the house. 
 
 CARROLL 
 
 Where 'd you get the flask? 
 
 CROWLEY 
 
 From the copper. Here we are. Take a drop of this ; it will do 
 you good. 
 
 {He and Carroll try to force some of the liquor down Margaret's 
 mouth. After several unsuccessful efforts.) 
 
 This is something worse than a faint, Carroll. Better get this 
 girl to a hospital in a hurry. 
 
 (Crowley and Carroll rise.) 
 
28 THE HOUSE OF GLASS 
 
 CARROLL 
 Tell Bailey to pull up at the Polyclinic on the way. 
 {Turns to the Policeynan at R. door.) 
 Mac, take her downstairs and put her in the wagon. 
 (CARROI.L a?id Crowley lift Margaret into the Policeman's 
 arms. The latter carries her off stage R. ) 
 (After a Pause.) 
 Come on, Burke. 
 
 BURKE 
 Are you going to be on the level with the girl? 
 
 CARROLL 
 If she's clean and doesn't try to cross me. I'll go thro' for her. 
 
 BURKE 
 
 {A slight pause.) 
 
 There's a plant in that trunk. 
 
 CARROLL 
 
 {Looks at the trunk, then turns to CROWI.EV.) 
 
 You take him and lock him up, Crowley. I'll stay here and keep 
 an eye on this trunk. Send the wagon back in ten minutes to have it 
 brought to headquarters, understand? 
 
 CROWLEY 
 
 I got you. Come on, Burke. 
 {Exit R., following BuRKE.) 
 
 CARROLL 
 
 {Searches in the trunk and finds the jewel case. He opens it, takes 
 out the necklace, and stands looking at it. ) 
 
 Fifty thousand ! And there's a lot of poor g\iys dying for the 
 want of a ham sandwich. 
 
 {Patrol wagon bell heard off stage as curtain falls.) 
 
 CURTAIN 
 
THE HOUSE OF GLASS 29 
 
 '*The House of Glass" 
 
 ACT II. 
 
 SCENE: At rise of curtain the stage is bare. 
 
 {Bell rings off stage left. ) 
 
 (Watson, the bidler, enters from R., crosses stage and exits A.) 
 
 (Harvey Lake enters at head of stairs and comes slowly down. As 
 he gets to C. tcpstage, Watson enters fiom Z.., followed by McClellan 
 and Atwood.) 
 
 WATSON 
 
 {As he enters.) 
 
 The two gentlemen you said you expected, Mr. Lake. 
 
 LAKE 
 {Extending hand to Mac. ) 
 Oh, how do you do, Mr. McClellan? 
 
 McCLELLAN 
 
 {Shakes hands with Lake.) 
 How are you, Lake? 
 {Introduces Atwood. ) 
 Mr. Judson Atwood, Mr. Lake. 
 
 LAKE 
 {Crosses Mac to Atwood.) 
 This is indeed an honor, Mr. Atwood. 
 ( The tzvo men shake hands. ) 
 
 ATWOOD 
 Mr. Lake, I've been very anxious to meet you, and am glad of 
 this opportunity. 
 
 LAKE 
 {Smiles.) 
 
 Won't you sit down? 
 {Indicates chairs to both men.) 
 
 ATWOOD 
 Thank you. 
 
 {Sits below table L. and a little to the left.) 
 (McClellan sits R. of desk.) 
 
30 THE HOUSE OF GLASS 
 
 LAKE 
 Oh, Watson, let's have a little more light. 
 
 WATSON 
 
 Yes, sir. 
 
 ( Tu7'ns on lights.) 
 
 LAKE 
 {To Mac and At wood. ) 
 How about a little cocktail before dinner? 
 
 ATWOOD 
 ( Good- natvredly. ) 
 I don't mind. 
 
 McCLELLAN 
 I'd be very glad to get it. 
 
 LAKE 
 Any preference? 
 
 McCLELLAN 
 Watson's cocktails are all right. 
 
 LAKE 
 Serve them in here, Watson. 
 
 WATSON 
 Very good, sir. 
 {Exits R.) 
 
 LAKE 
 
 ( To Atwood, as he sits abov^ his desk.) 
 
 Mr. McClellan tells me you're on your way back East from the 
 Coast. 
 
 ATWOOD 
 
 Yes. I fully intended to stop over on my way West, but my 
 business out there was rather urgent, so I wired McClellan to come on 
 and see you and that I'd join him on my way back. 
 
 LAKE 
 I see. 
 
THE HOUSE OF GLASS 31 
 
 McCLELLAN 
 [To Lake.) 
 
 I've told Mr, Atwood about the several little talks we had on the 
 subiect. 
 
 ATWOOD 
 
 {To Lake.) 
 
 I understand you're not very keen about going to New York. 
 
 LAKE 
 New York? Oh, there's magic in the name; but of course, there's 
 a great deal for me to consider before entertaining the proposition, Mr. 
 Atwood. It isn't that I don't realize what a wonderful advancement 
 it would mean to me to go over to the New York and Great Western, 
 but there is a certain sentiment attached to xwy present position here 
 with the Missouri Central. You see, I've sort of grown up with this 
 railroad. I began as assistant freight agent when I was 19 years old. 
 That's twenty years ago. 
 
 McCLELLAN 
 It wasn't much of a railroad then, was it? 
 
 LAKE 
 No. It isn't now. for that matter ; but what there is of it I helped 
 to develop, and the directors have x^xy generously allowed me to 
 advance along with it. 
 
 ATWOOD 
 How long hav^e you been general manager of this road? 
 
 LAKE 
 Five years. 
 
 McCLELLAN 
 It never paid a dividend up to then, did it? 
 
 LAKE 
 No; I'm proud to say that in my first year we paid our first 
 dividend — two per cent, on the common. 
 
 ATWOOD 
 
 Yes, I know all that. You paid seven per cent, last year. I 
 understand. 
 
 LAKE 
 
 Yes, sir, besides putting a million into improvements without 
 increasing the bonded indebtedness a single dollar. 
 
32 THE HOUSE OF GLASS 
 
 McCLELLAN 
 Quite a record for a small railroad. 
 
 LAKE 
 Well, yes; but I had no idea that we were attracting any 
 particular attention in the East. 
 
 ATWOOD 
 
 I'll be ver}' frank with you, Lake. It isn't the road itself that 
 has attracted our attention. We have no idea of attempting to absorb 
 the Missouri Central. The New York and Great W^estern is our only 
 concern right now. Mr. McClellan, I presume, has told you that 
 since Mr. Coleman's retirement, I have taken over the burden of the 
 entire organization. 
 
 McCLELLAN 
 
 Yes, I explained all that. 
 
 ATWOOD 
 
 The responsibility is a bit too heavy to shoulder at m^^ age, and 
 so we're after a man — a big man. The biggest railroad man in the 
 United States is the man we want at the head of our system. That's 
 why I came here to Kansas City to talk to you. 
 
 LAKE 
 
 (Modestly.) 
 
 Well, I'm afraid you over-estimate my ability. What do you 
 think, McClellan? 
 
 McCLELLAN 
 All I'm thinking about is that cocktail you promised me. Where 
 does the butler get them from, St. Joe? 
 
 LAKE 
 {Lajighs. ) 
 
 By Jove, he is a bit slow, isn't he? 
 {Rises, j^oes upstage ajid touches buzzer in wall up C.) 
 
 ATWOOD 
 
 ( Good -naturedly.) 
 
 I've often told McClellan that if he'd give as much thought to law 
 as he does to his toddies and cocktails, he'd probably turn out to be a 
 fairly good attorney. 
 
THE HOUSE OF GLASS 33 
 
 McCLELLAN 
 I care not what my master says. 
 
 LAKE 
 
 {Latighs as he comes down to above desk. ) 
 
 Well, I don't know; I read his brief in that Illinois rate case, and 
 if I'm not mistaken, it came pretty near saving the life of every 
 railroad in the country. 
 
 (Watson enters from R. 7vith cocktails.) 
 
 McCLELLAN 
 
 {Bowing extravagantly. ) 
 
 Thank you for them kind words, Mr. Lake. 
 
 (Atwood and Lake laugh.) 
 
 LAKE 
 {As Watson places the tray of cocktails on the table.) 
 Ah, here we are. 
 (Watson stands above Lake.) 
 
 There's one thing I will say for Watson, he does know how to 
 mix cocktails. 
 
 WATSON 
 
 Thank you, sir. 
 {Exits up R. C.) 
 
 McCLELLAN 
 ( As he takes his cocktail. ) 
 
 Here's hoping you accept Atwood's proposition and bring 
 Watson back East with you. 
 
 ATWOOD 
 
 {As he takes cocktail from tray.) 
 Yes, I'll drink to that myself. 
 
 LAKE 
 
 {Lifting his glass. ) 
 
 Well, gentlemen, here's to the greatest railroad lawyer and to the 
 President of the greatest railroad in America. 
 
 ATWOOD 
 
 And to you, Mr. Lake, the biggest man the railroad business has 
 developed in the past twenty years. 
 
34 THE HOUSE OF GLASS 
 
 McCLELLAN 
 We're certainly fond of ourselves, aren't we? 
 ( The three laugh.) 
 
 MRS. LAKE 
 {Enters from upstage C.) 
 {As she sees the men.) 
 Oh, I beg your pardon. 
 (The three men rise.) 
 
 McCLELLAN 
 
 {Rises, and bows.) 
 
 How do you do, Mrs. Lake? 
 
 MRS. LAKE 
 (Smiles and bows.) 
 Mr. McClellan. 
 
 LAKEi 
 May I present my wife, Mr. Atwood? 
 
 ATWOOD 
 {Bows.) 
 A great pleasure, Mrs. Lake. 
 
 MRS. LAKE 
 
 The pleasure is mine, I assure you, Mr. Atwood. Harvey told 
 me this morning that you were to dine with us this evening. 
 
 ( To Lake.) 
 
 I must apologize for being so terribly late, dear. 
 
 {To Atwood.) 
 
 I'm helping to promote a bazaar for charitable purposes, and you 
 know what women are when they get in a conference. 
 
 (Ai,L laugh.) 
 
 ATWOOD 
 
 ( Offers her his cocktail. ) 
 May I ? 
 
 MRS. LAKE 
 No, thank you, I never indulge. 
 
 McCLELLAN 
 
 Mrs. Lake is at the head of a big movement here in the West for 
 the uplift of the criminal, 
 
THE HOUSE OF GLASS 35 
 
 ATWOOD 
 Indeed ! A very worthy movement— a splendid work. 
 
 LAKE. 
 The only trouble is that uplifting gets to be a form of dissipation 
 with some people; they become intoxicated with the idea. 
 
 McCLELLAN 
 
 Well, it takes more than an idea to get me intoxicated. I'm 
 going to drink mine. 
 {Lifts his glass.) 
 Here's to Mrs. Lake. 
 
 ATWOOD 
 
 {Raisi?ig his glass. ) 
 
 And to the uplift of the criminal. 
 
 ( The three men drink their cocktails.) 
 
 MRS. LAKE 
 
 If you gentlemen will excuse me just a few minutes I'll run 
 upstairs and make myself a little more presentable for dinner. 
 {Starts up C.) 
 
 McCLELLAN 
 Please don't dress. 
 
 MRS. LAKE 
 
 (As she goes up the stairs. ) 
 
 Oh, I'm not going to, really. Harve}^ told me it was to be 
 informal, otherwise I should have been home an hour ago. 
 {Exits at head of stairs. ) 
 
 ATWOOD 
 
 (T^Lake.) 
 
 A very delightful woman. 
 
 LAKE 
 Thank you. 
 
 McCLELLAN 
 Oh, she's sweet as a peach. I'm crazy about her. 
 
36 THE HOUSE OF GLASS 
 
 LAKE 
 So am I. 
 
 ( The three vien sit. ) 
 
 She's been a wonderful little wife, Mr. Atwood. I owe a great 
 deal to her. I call her my inspiration. Just makes me succeed in 
 everything I undertake. I'm not altogether strong for this uplifting 
 of the criminal proposition, but I wouldn't interfere with her for the 
 world. 
 
 McCLELLAN 
 
 [To Atwood.) 
 
 She offers an argument again.st iron bars that makes a man want 
 to help tear down all the prisons in the country. She's got more real 
 information on crime, and more angles on the correction of criminals, 
 than the entire American police force, the gum shoe detectives, and 
 the wardens all put together. I discussed the subject with her for an 
 hour the other day, and before she quit, I give you my word of honor, 
 she had me thinking there wasn't a crook in the country — if they'd 
 give a crook the chance to prove it — that didn't deserve a seat in 
 heaven, and that wasn't as good, if not better, than the best living 
 minister of the gospel that ever breathed the breath of life. She had 
 me going absolutely. Of course, when I got out in the open air and 
 got back to my own line of thought, I felt entirely different about the 
 matter, but for the time being I must admit that she had me convinced. 
 She's some uplifter, believe me, that little lady is. 
 
 LAKE 
 Well, I hardly think it's worth while taking seriousl3^ They'll 
 never get anywhere with the movement. A criminal is a criminal, and 
 wrong-doing will never be suppressed through tolerating it. Unless 
 crime is followed by some punishment, what is to become of society 
 and law and order? 
 
 ATWOOD 
 But don't you really think that people are more and more inclined 
 toward the doctrine of forgiveness. 
 
 McCLELLAN 
 We're getting nearer to it everyday. 
 
 LAKE 
 Well, toleration is prudence or timidit}' with most people. They 
 probably have skeletons in their family closets to frighten them ; in 
 
THE HOUSE OF GLASS 37 
 
 other words, they live in houses of glass. That's my way of figuring 
 out men who look at crime from the sentimental standpoint. I've 
 absolutely no patience with criminals of any class. 
 
 MRS. LAKE 
 {Has entered on stairs at the amclusion of the above speech, and now 
 comes down the stairs. ) 
 
 Harvey Lake, what was that I just heard you say? 
 (Mac and Atwood rise as Mrs. Lake enters.) 
 {After bowing — Atwood sits. ) 
 
 LAKE 
 {To Mrs. Lake.) 
 Oh, we were just discussing the railroad situation. 
 
 MRS. LAKE 
 Now, don't fib. I distinctly heard you say that you had no 
 patience with criminals of any class. Isn't that what he said, Mr. 
 McClellan? 
 
 McCLELLAN 
 {R. C.) 
 
 Yes; he was referring to the directors ot some of the Eastern 
 roads. 
 
 ATWOOD 
 
 What ! 
 
 (McClellan rtwa' Lake /az<:^//.) 
 
 MRS. LAKE 
 It was nothing of the kind. You were criticising me and mj' 
 work, and I think it is verj- unkind of you to do such a thing. 
 
 LAKE 
 Well now, I'll leave it to Mr. Atwood. Didn't I pay her a 
 beautiful compliment only a few minutes ago? 
 
 ATWOOD 
 
 He said he owed his entire success to you. 
 
 McCLELLAN 
 And that you were his inspiration. 
 
 LAKE 
 
 {Smiling. ) 
 Now, you see! 
 
S8 THE HOUSE OF GLASS 
 
 MRS. LAKE 
 
 Oh, I've heard him poke fun at the idea of criminal uplifting be- 
 fore, but just the same, we're getting results. 
 (McClellan sits R. C.) 
 
 ATWOOD 
 That's splendid. I have always insisted that there are a great 
 many victims of circumstances. 
 
 MRS. LAKE 
 ( Crosses to C. ) 
 
 Mr. McClellan can tell you my views on the subject. We went 
 all over that the other day. 
 
 McCLELLAN 
 Yes ; I guess we covered the ground pretty thoroughly. 
 
 MRS. LAKE 
 
 {Goes up to R. of Lake — over.) 
 
 You know I'm sure I would win this great big boy of mine if he'd 
 only have the spunk to argue the question with me, but he won't even 
 do that. I've threatened to scold him about it time and time again. 
 
 ( This is delivered good naturedly. ) 
 
 LAKE 
 Now listen, dear; I've invited these gentlemen here to dine with 
 us, and not to listen to a sermon on " Why we should abolish prison 
 rules?" 
 
 MRS. LAKE 
 
 {Sits R. of table.) 
 
 There now, you hear? Isn't he perfectly horrid? He positively 
 refuses to give employment to any man who has served a prison sen- 
 tence. Now, I ask you, Mr. Atwood, do you think that is fair? The 
 man has, at some time or other, failed to live within the law, but has 
 paid his debt to society. He has served his sentence, and is repentant 
 and anxious for a place in the world to live down the mistakes of his 
 past. Don't you believe that it is only right that such a man should 
 be given a chance and encouraged to go the straight road? 
 
 LAKE 
 But why give the preference over the man with the clean record? 
 There are hundreds of honest men in search of employment. 
 
THE HOUSE OF GI.ASS 39 
 
 MRS. IvAKE 
 That's the only argument he ever advances. 
 
 McCLELLAN 
 Well, it's a pretty logical way of looking at it. 
 
 MRS. LAKE 
 
 (Crosses to L. of McCleli^an.) 
 
 Is it? Well, it's an accepted fact that we've never sinned until 
 we're found out ; just as we're never convicted until we're found guilty. 
 So how are we to know that the man with the clean record, as Mr. 
 Lake puts it, hasn't sinned to a far greater extent than the man who 
 has served a term in prison? The only difference I can see is that one 
 man has been found out and the other man hasn't. 
 
 ('Lake and McClellan laugh.) 
 
 ATWOOD 
 
 I don't see anything to laugh at. It all sounds reasonable enough 
 to me. 
 
 MRS. LAKE 
 Thank you, Mr. Atwood. You appearto be the only friend Ihave 
 here. 
 
 (Sits R. of desk.) 
 
 (Atwood rises and bows, then sits.) 
 
 McCLELLAN 
 (Rises.) 
 
 Pardon me, Mrs. Lake. I was laughing at the clever way 3^ou 
 have of winning all arguments on the subject, and not at your theory 
 
 LAKE 
 Well, I've managed to build up a wonderfully efficient organiza- 
 tion by giving the benefit of the doubt to the man who hasn't been 
 found out. Mr. Atwood seems to think so, at any rate, and he's the 
 financial genius of the railroad business. 
 
 ATWOOD 
 You flatter me, Lake. 
 
 LAKE 
 {Smiles.) 
 You flattered me a while ago. 
 
40 THE HOUSE OF GLASS 
 
 McCLELLAN 
 Yes, we were all fiattering one another, if I remember rightly. 
 
 MRS. LAKE 
 
 Well, for goodness sake, let's change the subject before I become 
 wild with rage. 
 
 (Rises and goes up to R. of Lake. ) 
 
 Mr. Atwood, my husband tells me that you are trying to entice 
 him away from our beautiful little home here and take him to that 
 terrible old New York. 
 
 ATWOOD 
 
 That's exactly what we are endeavoring to do. Mrs. Lake, and we 
 trust you will prevail on him to accept what is undoubtedly the oppor 
 tunity of his life. 
 
 MRS. LAKE 
 (Smiles. ) 
 •Oh, don't look for any assistance from me; I loathe New York, 
 
 ATWOOD 
 
 But think how much wider a field you will have for the work 
 you've taken up, when you settle in the East. 
 
 MRS. LAKE 
 That's very thoughtful, but the work is being very well handled 
 back there by extremely competent people. 
 
 ( War7i hell left. ) 
 
 McCLELLAN 
 Well, Atwood, it seems that we have a greater obstacle to over- 
 come than we anticipated. 
 
 MRS. LAKE 
 
 ( To McClell.'\n. ) 
 
 You just ask Harvey to repeat that speech I made when he told 
 me of the proposition you offered him the other daj-. 
 ( Goes upstage and Presses buzzer. ) 
 
 McCLELLAN 
 Well, don't blame me. I'm not in the railroad business — I'm a 
 lawyer. 
 
THE HOUSE OF GLASS 41 
 
 ATWOOD 
 
 Oh, I don't know ; I've seen some lawyers who were capable of 
 railroading a few things through the courts. How about it, Lake? 
 (Watson e7iters from R.) 
 
 LAKE 
 {Laughs. ) 
 
 Well, present company always suspected, of course. 
 (All laugh.) 
 
 WATSON 
 
 ( To Mrs. Lake.) 
 Did you ring? 
 
 MRS. LAKE 
 How about dinner, Watson? What's the delay? 
 
 McCLELLAN 
 
 Yes, Watson, what's the delay? 
 
 WATSON 
 
 Be served in a very few minutes, ma'am. 
 ( Bell rings off L . ) 
 (Watson crosses and exits L.) 
 
 (Mrs. hKK-E goes to piano, sits on bench; McChV^hhA'S stands above 
 piano, lookijig through music, etc.) 
 
 LAKE 
 ( To At WOOD. ) 
 
 You probably see now one of the reasons for my reluctance in 
 leaving Kansas City. 
 
 ATWOOD 
 
 I don't believe Mrs. Lake fully realizes what a big thing the 
 change would mean to your future career. 
 
 LAKE 
 Oh, well, it isn't altogether her attitude that stops me. Mr. 
 Atwood. I'm sure that if it became necessary I could have her 
 perfectly agreeable to the deal in five minutes' talk. As I said before, 
 I have sentimental reasons for not wanting to leaVe the Missouri 
 Central road. 
 
42 THE HOUSE OF GI.ASS 
 
 ATWOOD 
 Now let me show you this proposition in round figures. 
 [Feels 171 coat for a piece of paper. ) 
 Have you a pad about? 
 
 IvAKE 
 [Rises.) 
 
 Come right up to my den; that is, if you don't mind a flight of 
 stairs. 
 
 [Starts up C, followed by Atwood.) 
 
 ATWOOD 
 
 [Following Lake.) 
 Not at all. 
 
 LAKE 
 [To McClklLtAN, who is standing above piano, listening to Mrs. 
 Lake playing. ) 
 
 Want to see my den, McClellan? 
 
 McCLELLAN 
 Eh? 
 
 [Turns to Lake.) 
 No, thanks, I've seen it. 
 
 LAKE 
 Oh, that's so, I forgot. 
 
 WATSON 
 [Enters from upstage C.) 
 Mr. Atwood's automobile at the door. 
 
 ATWOOD 
 
 Already? 
 
 [Looks at his watch.) 
 
 I told him seven -thirty. 
 
 McCLELLAN 
 [Looks at his watch.) 
 It's only six-thirty. 
 [Start for door upstage C. ) 
 I'll tell him to be back in an hour, governor. 
 
 ATWOOD 
 
 No, let him wait; it's his own mistake. 
 
THE HOUSE OF GLASS 43 
 
 McCLELLAN 
 All right, let him wait. 
 (Watson exits R.) 
 
 IvAKE 
 ( To Atwood as they ascend stairs. ) 
 
 Did you take your machine along all the way to the Coast, Mr. 
 Atwood ? 
 
 ATWOOD 
 {Following I/AKE. ) 
 
 Three of them. What's the good of a man owning control of a 
 railroad if he can't have special trains and automobile cars? 
 
 LAKE 
 {Laughs.) 
 
 Well, that's so, too. 
 ( They exit at head of stairs toward L. ) 
 
 MRS. LAKE 
 
 {Rises and goes to hot of stai?s as the 7nen exit.) 
 I know what he's going to do up there; try to talk my hubby 
 into accepting that horrid old position. 
 
 McCLELLAN 
 Well, you can't blame him for trying. He feels he's the one man 
 in the country to take charge of the system, and Mr. Atwood is the 
 sort of man that usually gets what he goes after. 
 
 MRS. LAKE 
 
 Well, for once the great financial genius of the railroad business 
 is not going to get his wish. 
 
 [Comes doivnstage to belotv couch R.) 
 
 Harvey is not going to leave the Missouri Central if I can 
 prevent it. 
 
 McCLELLAN 
 {Comes downstage L. of Mrs. Lake.) 
 
 I can't understand why you don't like New York, Mrs. Lake. 
 Have you spent much time there? 
 
 MRS. LAKE 
 Not during the last ten years. 
 {Sits on R. side of couch.) 
 
I! 
 
 44 THE HOUSE OF GI.ASS 
 
 McCLEIvIvAN 
 Kansas City your home town ? 
 
 MRS. LAKE 
 Oh, dear no. I came here the year before I was married. 
 {Slight pause. ) • 
 
 Seven years ago. 
 
 McCLELLAN 
 Oh, you met your husband here in town, then? 
 
 MRS. LAKE 
 Yes, indeed. Worked in his office. 
 
 McCLELLAN 
 What! 
 
 MRS. LAKE 
 Truly. 
 
 McCLELLAN 
 Doing what? 
 {Sits L. of Mrs. Lake.) 
 
 MRS. LAKE 
 Stenographer. 
 
 McCLELLAN 
 
 No! 
 
 {Laughs. ) 
 
 MRS. LAKE 
 
 Harvey was general passenger agent at that time. We'd only been 
 married a year when his promotion came and he was given the man- 
 agement of the road. We were very fortunate, weren't we? 
 
 McCLELLAN 
 I should say so. Stenographer, eh? 
 {Smiles.) 
 Well, well! A case of love at first sight, I suppose? 
 
 MRS. LAKE 
 
 Well, not quite that. I guess he took a second look; I know I 
 did. 
 
 {Both laugh.) 
 
 We've been happy here. That's my real reason for not wanting 
 to leave. 
 
THE HOUSE OF GLASS 45 
 
 McCLEIvLAN 
 I can appreciate that. Tell me, when did you first become so 
 interested in this uplift movement? You've gone into the work rather 
 deeply, haven't you? 
 
 MRS. LAKE 
 Yes, I've made quite a study of it, Mr. McClellan. I don't 
 remember just what it was that first attracted me toward the work. I 
 think perhaps it was a case I heard of a young girl who was convicted 
 of a crime she did not commit. 
 
 McCLELLAN 
 Here in Kansas City? 
 
 MRS. LAKE 
 No, back in New York. She was sentenced to prison for three 
 years — degraded — labeled a convict. At the end of a year and a half 
 they rtflt-ased her on parole, but with the condition thai she report to 
 the police once a month. She broke her parole — left the state, and went 
 far away to forget. 
 
 McCLELLAN 
 And what became of her? 
 
 MRS. LAKE 
 No one knows. She just disappeared — just ran away and went 
 into hiding. 
 
 McCLELLAN 
 What was the case? Who was the girl? 
 
 MRS. LAKE 
 I don't remember her name. 
 
 McCLELLAN 
 Oh, then you didn't know her personally? 
 
 MRS. LAKE 
 Why, no, I only know her story. 
 
 McCLELLAN 
 Then how do yon know this girl was innocent? 
 {She looks at him as if not Jinderstanding the question.) 
 I say, what proof have j^ou that the girl did not commit the crime 
 for which she was convicted. 
 
46 THE HOUSE OF GI.ASS 
 
 MRS. LAKE 
 She had no proof of her innocence. 
 
 McCLELIvAN 
 And the circumstances pointed toward her guilt? 
 
 MRS. LAKE 
 Yes, she was found guilty on circumstantial evidence. 
 
 McCIvEIvIvAN 
 
 Well, I wouldn't put too much importance on stories of that kind, 
 Mrs. Lake. I spent three years in the district attorney's office and I 
 don't remember of any girl ever being sentenced without a fair and 
 impartial trial. The State of New York doesn't make a business of 
 sending innocent girls to prison. On the contrary, it's a mighty hard 
 job to get a conviction against those who are guilty beyond a doubt. 
 Of course, mistakes have been made. Circumstantial evidence has 
 often led us wron.^, but ninety times out of a hundred it leads us abso- 
 lutely right. 
 
 (Mrs. Lake s?fs slar/ng before her.) 
 
 What are you thinking of? 
 
 {As she makes no reply.) 
 
 I know you think I'm a hard-hearted old villain, don't you? 
 
 MRS. LAKE 
 
 {Forces a smile. ) 
 
 No, I understand your legal point of view. 
 (Watson enters S. and goes to table L. C.) 
 At least I think I do. 
 
 JAP 
 
 {Enters from R., follo^ving Watson. ) 
 Dinner is served, madam. 
 {Exits R.) 
 
 McCLELLAN 
 {Rises quickly.) 
 Good! I'm glad to hear that. 
 {Goes to piayto and seats himself. ) 
 
 MRS. LAKE 
 {As she rises and crosses to C. ) 
 Tell Mr. Lake, Watson. 
 
THE HOUSE OF GLASS 4^v 
 
 WATSON 
 
 {Bows and exits up the stairs. ) 
 
 (McCleli,an sits at piano and hejs^ius a song- as Mrs. Lake strolls 
 over to wiyidozv L. ) 
 
 {As she looks out of zvindozv she apparently sees someone in the street, 
 screams, and comes downstage to below table L.) 
 
 (McClRLLAN jumps up from piano bench and goes to her quickly. ) 
 
 McCLELLAN 
 
 ( Over to her quickly . ) 
 
 Why, Mrs. Lake* what's wrong? 
 
 {She makes no reply , staring wild-eyed into space, facing front.) 
 
 What's wrong? Tell me? 
 
 MRS. LAKE 
 {As if unco?iscious of M.qQi.'E'L\,k^'s Presence.) 
 My God ! 
 
 {At this point. Lake and Atwood come hurriedly dozen the stairs, 
 follozved by Edith and Watson.) 
 
 (Watson remains upstage a moment, then exits R.) 
 
 LAKE 
 {^R. of Mrs. Lake.) 
 What's happened? 
 
 McCLELLAN 
 Hysterical, I think. She screamed without any apparent reason, 
 then started to sway, but suddenly steadied herself. 
 
 LAKE 
 Listen to me, dear, what was it? 
 
 MRS. LAKE 
 {I^oesnH reply, but forces a smile and breathlessly pantomimes the 
 fact that she is recovering. ) 
 
 ATWOOD 
 {After assuring" himself that it is nothing serious,) 
 Nerved, most likely. Too much excitement. 
 
 \ McCX^ELLAN 
 
 That's jusd: ahout^liat it ii>. 
 
48. THE HOUSE OF GLASS 
 
 EDITH 
 {Has been standing L. ^/ Mrs. Lake holding her hands from the 
 time she entered from upstairs.^ 
 
 Her hands are cold as ice, Mr. Lake. 
 
 MRS. LAKE 
 {^Slowly.) 
 ■ I'm all right. 
 {Patises.^ 
 
 I'm all right now, Harvey. 
 {Forces a smile.) 
 
 LAKE 
 How did it happen, dear? What was it? 
 
 MRS. LAKE 
 All went black for a moment. I can't explain. I'd like to go to 
 my room, dear. 
 
 LAKE 
 {To Maid.) 
 You go with her, Edith. 
 
 EDITH 
 Yes, sir. 
 
 MRS. LAKE 
 
 {As she goes slozvly upstage C, supported by Edith and Lake.) 
 I must apologize, Mr. McClellan. 
 
 McCLELLAN 
 Not at all. I'm so glad you've recovered so quickly. 
 
 MRS. LAKE 
 Mr. Atwood's right — too much excitement. 
 
 ATWOOD 
 
 {Following them upstage C.) 
 
 The nerves will stand just so much, you know, and then — 
 
 {Pantotnimes breaking a stick in two.) 
 
 : LAKE 
 I couldn't imagine what in the world had happened. ■' . _ ■ 
 
THE HOUSE OF GLASS 49 
 
 MRS. LAKE 
 
 ( To Lake, standing on first step of stairs. ) 
 
 I'm awfully sorry, dear. I fear I'll have to be excused from 
 dinner. 
 
 LAKE 
 I think it's best, dear. Mr. Atwood and Mr. McClellan 
 understand. 
 
 McCLELLAN 
 Why, of course, don't mind us. 
 
 LAKE 
 
 I'll see that she's made comfortable. 
 
 ( To Atwood and McClellan.) 
 
 You'll excuse me. 
 
 MRS. LAKE 
 
 { To Lake.) 
 
 Don't trouble coming upstairs, dear. Dinner is served, and 
 besides, I'm quite myself again. 
 
 ( To Edith, as Lake releases her.) 
 
 I'm much stronger now, Edith. I'd much rather be left alone, 
 thank j'ou just the^'same. 
 
 ( Turns to the men . ) 
 
 I'll say good-night, Mr. McClellan— Mr. Atwood. 
 
 ATWOOD 
 
 Good night. 
 
 McCLELLAN 
 Good night. 
 
 MRS. LAKE 
 {Goes slowly up the stairs and exits toward L.) 
 {The four people on stas[c hold the picture until she is out of sight, 
 then all come downstage. ) 
 
 (Edith comes downstage, straightens chairs L., then goes R. of 
 piano and busies herself with scattered sheets of music, glasses, etc. ) 
 
 LAKE 
 
 ( As he comes downstage C ) 
 
 By George, that gave me a start. 
 
 ( Bell rings off L.) 
 
 (Watson enters from R., leaving the door open, and exits upstage 
 
50 THE HOUSE OF GLASS 
 
 McCLELLAN 
 Came on her like that. 
 {Snaps his ft7igers.) 
 
 atwood; 
 
 Nothing to worry about, Lake, she'll be right as rain in an hour. 
 
 LAKE 
 Well, I hope this excitement won't take away your appetites en- 
 tirely. I think we deserve another cocktail to sort of brace up after 
 that. 
 
 McCLELLAN 
 One of the best things you've said this evening. 
 
 ATWOOD 
 
 I don't, as a rule, take two cocktails before dinner, but on this 
 occasion I'm afraid I'll have to be weak and keep you company. 
 
 ( These last three speeches are read while Lake is leadiyig the ivay 
 into di?iing room R. ) 
 
 {As soon as they are offstage, Edith folloivs them and closes the door, 
 then goes to piano and picks up a cocktail glass as Watson enters.) 
 
 WATSON 
 
 {Enters from up L., comes to C, and calls to Edith.) 
 Edith ! 
 
 EDITH 
 {Over C. to Watson.) 
 Yes? 
 
 WATSON 
 Do you know any one of the name of Burke? 
 
 EDITH 
 Burke? 
 
 ( Slight pause. ) 
 Yes, I know two or three families by the name of Burke. 
 
 WATSON 
 Well, this man drives Mr. Atwood's car. He says his name is 
 Burke. He's at the front door and saj'^s he wants to see you. 
 
 EDITH .... 
 
 Wants to see me? 
 
f 
 
 THE HOUSE OF GIvASS 51 
 
 WATSON 
 
 He said the maid. He asked for Miss Case at first. I told him 
 that wasn't your name. He said it didn't make any difference, that he 
 wanted to see you. 
 
 EDITH 
 
 That's funny. At the front door? Why don't he go 'round to 
 the servant's entrance? 
 
 WATSON 
 I told him to, but he said he didn't like to leave his car. 
 
 EDITH 
 I don't believe I know him. 
 
 WATSON 
 Well, you better see what he wants, anyway. 
 (Edith exits upstage L. ) 
 (Watson takes tray of empty glasses from table L. and exits R.) 
 
 m 
 
 MRS. LAKE 
 {Enters from upstairs C, comes dotvii and goes softly to door of din- 
 ing room R. and listens, then goes over to zvindow and stands looking out 
 until she hedrs Watson e?iteriti^ from R. , 7vhen she turns quickly away 
 toward C. ) 
 
 WATSON 
 {Enters from R., goes above piano, picks iip the humidor and is about 
 to exit when Mrs. Lake speaks.) 
 
 MRS. LAKE 
 Where is Edith ? 
 
 WATSON 
 
 {Comes irom behind pia7W and goes R . C. as Mrs. Lake speaks.) 
 At the front door. Is there anything I can get for you, ma'am? 
 
 MRS. LAKE 
 No. 
 
 WATSON 
 
 You're feeling better, ma'am? 
 
52 THE HOUSE OF GLASS 
 
 MRS. LAKE 
 Yes, thank you. 
 {As Watson sta7'is to exit R. ) 
 
 Don't bother telling Mr. Lake that I'm downstairs, Watson. 
 He'd probably ask me to join them at dinner, and I don't feel strong 
 enough for that. I prefer to dine later in the evening, you under- 
 stand ? 
 
 WATSON 
 
 Yes, ma'am. 
 {Exits R.) 
 
 MRS. LAKE 
 {As Watson exits, she turns again to window.) 
 
 EDITH 
 
 {Enters from upstage L., and is about to ascend the stairs as Mrs. 
 Lake calls, tvhen she comes doivnstage C.) 
 
 MRS. LAKE 
 
 {Calls to Edith, as the latter turiis to ascend the stairs.) 
 Edith ! 
 
 EDITH 
 ( Turns, sees Mrs. Lake, shozus surprise and comes dotvn C.) 
 Oh, you startled me, Mrs. Lake. I thought you were upstairs. 
 
 MRS. LAKE 
 I've quite recovered. Tell me, who rang? 
 
 EDITH 
 
 Mr. Atwood's chauffeur. It seems someone told him that a 
 young woman friend of his was employed in this house. He says the 
 name is Case. 
 
 MRS. LAKE 
 Case? 
 
 EDITH 
 Margaret Case. I told him there had been no one of that name 
 in my two years here, and he thought probably it might have been 
 before I came. He wants to know if you would mind telling him if 
 you ever did have such a person in service, and whether you would 
 object to writing her present address on this card. He says he has 
 some very important news for her. 
 
 i 
 
THE HOUSE OF GLASS 53 
 
 MRS. LAKE 
 
 {Steadies herself.) 
 
 Why, no, I don't remember of any such girl working here. 
 
 EDITH 
 I told him I didn't think so. He seems very anxious, and wanted 
 to know if he could inquire of the other female servants in the house. 
 
 MRS. LAKE 
 The other female servants? 
 
 EDITH 
 
 {Smiles. ) 
 
 Yes. I told him I was the only one, and then he asked to speak 
 with you for a moment, and I explained that you were ill. 
 
 MRS. LAKE 
 (Points to card Edith has in her hand.) 
 What's that? 
 
 EDITH 
 The card he gave me for the girl's address in case you knew 
 where she was. He wrote his name on the back. 
 (, Turns card over and reads. ) 
 James Burke. 
 {Hands card to Mrs, Lake.) 
 
 MRS. LAKE 
 {Takes the card and reads the name. She is no7v wider a ^reat 
 strain, she thin/cs hard and /as/, and at the same time rei^ains her control. ) 
 Why no, tell him I've never heard of such a woman. 
 
 EDITH 
 
 Yes, ma'am. 
 
 (Starts for door npstajie A., tlien turns back to Mrs. Lake.) 
 
 Oh, he asked as a special favor not to mention to Mr. Atwood 
 
 that he bad the impertinence to make such an inquiry. He said it 
 
 might cost him his position. 
 
 MRS. LAKE 
 Case? Case, did j-on say? 
 
 EDITH 
 Case ; yes, ma'am. 
 
54 THE HOUSE OF GI.ASS 
 
 MRS. LAKE 
 There was a girl who worked for me before you came. That may 
 have been the name. I'll see him, anyhow. 
 
 EDITH 
 Very well, ma'am. 
 ( Exits upstage L . ) 
 
 MRS. LAKE 
 {As Edith exits, Mrs. Lake ^^^5 slowly over to R. C.) 
 (Edith enters from 7cpstage L., tollowed by Burke.) 
 (Burke and Mrs. Lake stand staring at each other without a 
 word for several seconds. After a patise, with dignity and forced 
 coldness. ) 
 
 You wish to see me? 
 
 BURKE 
 {Standing L. <?/ Mrs. Lake.) 
 Why, yes — please. 
 
 MRS. LAKE 
 You may go, Edith. 
 
 EDITH 
 Yes, ma'am. 
 {Exits up the stairs C. ) 
 
 MRS. LAKE 
 {After Edith exits.) 
 
 Now, Mr. - {Warn Ciirtain.) 
 
 {Looks at card.) 
 Burke, is it? 
 
 BURKE 
 {After a pause. ) 
 Yes, Madam, James Burke is my name. 
 
 MRS. LAKE 
 
 {She is cool now, and has herself well in hand.) 
 
 I see. Well, Mr. Burke, the maid told me of your inquiry. I 
 did have a maid about two years ago whose name I've quite forgotten. 
 Rather an elderly woman — she — 
 
 BURKE 
 
 No, Margaret Case is a woman not over twenty-eight. She was 
 about nineteen when I knew her back East. 
 {Continues staring at her.) 
 
THE HOUSE OF GLASS 55 
 
 MRS. LAKE 
 You say you were informed that this girl was in my employ? 
 
 BURKE 
 
 {After a slight pause.) 
 
 No. I'll be truthful with you, Mrs. Lake. She's a girl I've been 
 trying to find for five years. There isn't any part of this country, 
 East or West, that I haven't searched for her. She's a girl I wronged, 
 Mrs. Lake. God only knows what she suffered, and all through me. 
 You will probably understand why I had the courage to ring that door 
 bell when I tell you I could have sworn I saw her looking down from 
 that window five minutes ago. 
 
 '\Points to window L.) 
 
 MRS. LAKE 
 {Has never lost control of herself for a moment. ) 
 That window, you say? 
 {Asstcmes a7i intense interest.) 
 
 BURKE 
 
 {Eyeing her closely.) 
 
 Yes, and I could have taken an oath that she ^aw me and 
 recognized me, too. 
 
 MRS. LAKE 
 - That's strange. Why, I was looking out of that wiidow only a 
 few minutes ago. Perhaps you saw me. 
 ( Crosses to R. of L. table. ) 
 
 BURKE 
 
 ( Turns with her. ) 
 
 I'm sure I did. 
 
 {After a pause. ) 
 
 Why did you scream, Mrs. Lake? 
 
 ( This — quietly . ) 
 
 MRS. LAKE 
 What ! 
 
 BURKE 
 When you saw me sitting in the car. 
 {Pause.) 
 I saw you turn away and I. thought liieard yau scream. 
 
56 THE HOUSE OF GLASS 
 
 MRS. LAKE 
 [Coldly.) 
 Why, what do you mean? 
 
 BURKE 
 iShozvs embarrassment.) 
 
 I beg your pardon. I guess I — I've made a mistake. 
 {Stares at her.) 
 
 MRS. LAKE 
 [Coldly.) 
 ■ Mistake? What mistake? 
 (Burke makes ?w reply, just stares at her.) 
 Well? 
 
 BURKE 
 {Speaks sloiL'ly, but firmly, and zvithojit takmg his eyes from her 
 face. ) 
 
 Why did you break your parole? 
 
 MRS. LAKE 
 {Looks him in the eye 7vitliout moving a muscle.) 
 What are you going to do? 
 ( This, after realising that he recognizes her.) 
 
 BURKE 
 
 Nothing; just warn you never to go back. They'll get you if 
 you do. 
 
 [She drops limply into chair R. of table.) 
 
 I knew I'd find you some day — I felt it in my heart. When I 
 saw you looking through that window I got the first thrill of happiness 
 I've known since the day of the arrest. 
 
 [Looks around the room.) 
 
 You're happy, ain't you? 
 
 [Warn bell L.) 
 
 MRS. LAKE 
 [Dazed, and without looking at him.) 
 I was — up to five minutes ago. 
 
 BURKE 
 [After a slight pause.) 
 
 You'll never see me again. I just wanted to find you in case — 
 in hopes— well, I didn't know Gad. had been so good to you. He owes 
 
THE HOUSE OF GLASS 57 
 
 it to you, though, after all he made j^ou suffer on my account. There's 
 just one thing I've had in my mind since I came out five years ago, 
 and that has been to find you and ask you to forgive me. 
 
 {He shows in the reading of the above speech that this is the biggest 
 thing in his life.) 
 
 MRS. LAKE 
 {Rises, and slou'ly crosses hint to R. C, then turns to him.) 
 {After a long pause.) 
 Can I help you in any way? 
 
 BURKE 
 Onlj^ b}' thinking kindly of me. Just make me one promise, and 
 I'll leave here the happiest man on earth. Promise me you'll never 
 set foot in the State of New York. Carroll told me the day of my 
 release that he'd get you if it was the last act of his life— and he will, 
 if you ever go back. 
 
 MRS. LAKE 
 I'm never going back. 
 
 BURKE 
 
 Goodbye, Margaret. 
 
 {Extends his hand to her.) 
 
 Margaret. 
 
 MRS. LAKE 
 
 ( Takes his hand after a pause.) 
 
 Goodbye , — Jimmy. 
 
 BURKE 
 
 Thanks. 
 
 {Presses her hand, then turns and exits quickly upstaqc C A.) 
 
 (Mrs. Lake stands laatching him as he exits, looking at the door 
 for several seconds after he has disappeared. She filially itirns front, 
 breathing hard and shoiving signs of the struggle through which she has 
 Passed. ) 
 
 {At this point the door bell rings.) 
 
 { She crosses to above desk L . ) 
 
 (Watson enters from dininq, room R., crosses and exits up L. C. 
 He re-enters after a lew seconds, carrying a telegram, and is about to 
 exit R., when Mrs. Lake calls.) 
 
 MRS. LAKE 
 Who rang, Watson? 
 
58 THE HOUSE OF GLASS 
 
 WATSON 
 A messenger, Ma'am. Telegram for Mr. Lake. 
 
 {He exits R. , leaving the door open. ) 
 
 ( The voices of the three men are heard offstage R. ) 
 
 McCLELLAN 
 Well, after that I'm going to drink mine. Here's to the new 
 general manager of the New York and Great Western Railroad. 
 
 ATWOOD 
 And let me add that our only hope will be that you will 
 accomplish, in a bigger way, of course, the same success with our 
 system that you have with the Missouri Central during the past five 
 years. Here's to Mr. Harvey Lake, general manager of the New 
 York and Great Western Railroad. 
 
 McCLELLAN 
 Hear ! Hear ! 
 
 LAKE 
 That's very nice, gentlemen. 
 
 MRS. LAKE 
 {Has been standing above desk during above dialogue, and at the tag, 
 falls in chair above desk.) 
 
 CURTAIN 
 
 %l 
 
THE HOUSE OF GLASS 59 
 
 ''The House of Glass'* 
 
 ACT III. 
 
 SCENE: Libfary m Lake's ho77te m New York. 
 
 {At rise of curtain the stage is bare. ) 
 
 ( W/ien curtain is hill 7cp, telephone bell on desk down R. ri^igs.) 
 
 {Phone rings R. ) 
 
 JAP 
 
 {Enters from upstage C, and comes down R. to phone.) 
 
 Hello Yes No No, Mr. Lake not home yet. 
 
 {Pauses.) 
 
 Oh, in about ten minutes perhaps Tell him'what 
 
 What? Hello, please, who is this? I can't understand the name 
 
 Mr. What ? Mackerel ? Mr. Mackerel ? . . . . No ? . . . . 
 
 Will you spell it, please? M-c 
 
 MRS. LAKE 
 {Has e7ttered at head of stairs C. as Jap goes to phone. ) 
 {She news comes downstage to C. and interrupts.) 
 Who is it? 
 
 JAP 
 {In phone as lie sees Mrs. Lake. ) 
 
 Hello, just a minute, please. You hold the wire just a minute. 
 {To Mrs. Lake, as he smothers the plione.) 
 
 Someone want to speak to Mr. Lake. I can't undertand name. 
 Mr. Mackerel, I think. 
 
 MRS. LAKE 
 Let me take it. 
 
 ( Takes receiver from Jap and seats herself at table. ) 
 { The Jap exits R. ) 
 
 MRS. LAKE 
 {In phone.) 
 
 Hello, who is this, please? Oh, Mr. McClellan ! 
 
 {Laughs.) 
 
60 THE HOUSE OF GLASS 
 
 The Jap said Mr. Mackerel was on the wire. 
 
 {Pause. ) 
 
 No, not 3'et, but I expect him any minute now. . . .All right, I'll 
 tell him you're coming over here, then, shall I?. . ..You mean about 
 the Jackson boy?. . . .My dear Mr. McClellan, I've talked and talked 
 to him. . . .No, he says the boy is guilty and deserves to be prosecuted 
 . , . .I'd much rather you'd do it. He won't listen to me. . . .He was 
 coming home early to-day to take me for a motor ride .... What? . . . . 
 No, don't you do an^^thing of the kind. You come right over and see 
 him. It's a great deal more necessary to save a poor devil from going 
 to jail than it is that I go speeding through the park in a limousine 
 . . . .All right, we'll be looking lor you. Goodbye. 
 
 {Hangs up receiver.) 
 
 LAKE 
 {Enters from R. as Mrs. Lake says ''Good-bye.'" The Jap 
 {ollo7vs him on and stands upstage R.) 
 
 To whom is my wife saying good-bye? 
 
 MRS. LAKE 
 
 {Rises.) 
 
 Oh, isn't it a shame I hung up? It was Mr. McClellan on the 
 wire. He's coming over to see you right away. 
 
 LAKE 
 
 {Good-naturedly ., as he goes C.) 
 
 Well, he's not going to see me right away. I've got the car 
 downstairs and we're going to take a nice little trip in the country, and 
 stop at Claremont for dinner on the way back; so come on now, put 
 on your things. 
 
 MRS. LAKE 
 But, Harvey, I told him you'd surely see him. I imagine it's 
 something very important he wants to talk to you about. 
 
 LAKE 
 The Jackson boy again, I suppose. 
 
 MRS. LAKE 
 I don't know. 
 
 LAKE 
 Ah, ah, now you do know. 
 
THE HOUSE OF GLASS 61 
 
 MRS. LAKE 
 
 Oh, Harvey, whj' are you so stubborn in the matter? I can't 
 possibly see what good is going to come of sending a boy of twenty 
 5^ears to the penitentiary. If you'll only stop to consider what — 
 
 LAKE 
 
 Well, there you go. 
 
 {Crosses to L., taking off his coat, cap and gloves, and giving them 
 to Jap, ivho is stayiding above sofa L.) 
 
 There goes my outing that I've been looking forward to. The 
 first chance in the two years that we've been in New York for you and 
 I to spend an afternoon together, and you go and spoil the whole 
 thing by making appointments over my head. 
 
 (Mrs. LAKE^^^.y to L. of hitn.) 
 
 And now I'm doomed to sit here in the house and listen to a plea 
 for the liberation of a common thief. 
 
 ( Sits on conch L . ) 
 
 MRS. LAKE 
 
 {Pnts her hand on his shoulders pleadingly . ) 
 Now, Harvey, please! 
 {Sits R. t?/ Lake on conch.) 
 
 LAKE 
 
 All right, have it your own way. 
 
 ( To the Jap npstage L . ) 
 
 Tell the driver not to wait ; to call me up at seven o'clock. 
 
 JAP 
 
 Yes, sir. 
 
 {Exits up the stairs ivith Lake's hat and coat , then comes do7vnstdirs 
 and exits through hallway through R. ) 
 
 LAKE 
 
 You know, dear, we went all over this Jackson matter the other 
 night, and I thought I'd convinced you that it was an utter impossi- 
 bility for me to back down from the stand I've taken in the case. 
 The boy stole the company's money. I can't understand McClellan's 
 attitude in this affair at all, unless you've urged him to plead for the 
 boy. 
 
62 THE HOUSE OF GLASS 
 
 MRS. LAKE 
 
 You know better than that, Harvey. Mr. McClellan probably 
 thinks the boy deserves another chance. Besides, you know very 
 well that he isn't the sort of man who could be influenced by anything 
 I might say in the matter, and I think you're perfectly horrid to 
 intimate such a thing — now there ! 
 
 {S/ie sfarfs upstage C. ) 
 
 LAKE 
 
 {Rises.) 
 
 Where are you going? 
 
 MRS. LAKE 
 
 {Stops.) 
 
 To my room. And you needn't speak to me for the rest of the 
 evening. 
 
 {Starts for stairs.) 
 
 LAKE 
 
 {Ster?ily.) 
 
 Mrs. Harvey Lake! 
 
 MRS. LAKE 
 Well? 
 
 LAKE 
 
 {Points to place beside him.) 
 Come here. 
 {She makes no reply.) 
 Come here ! 
 
 MRS. LAKE 
 
 {Comes dotvn slowly to him.) 
 What do you want? 
 
 LAKE 
 {Smiles.) 
 Kiss me. 
 
 MRS. LAKE 
 I won't. 
 
 LAKE 
 
 ( 7 urns her around to him y coaxingly .) 
 Please ! 
 
THE HOUSE OF GLASS 63 
 
 MRS. LAKE 
 Ob, you mean, horrid old thing. 
 {Skc throii's herself into his arms and kisses him.) 
 You know, Harvey, I thought for a moment you were really 
 cross. 
 
 LAKE 
 {Laughs.^ 
 
 Now I'll tell you what I'll do if you'll promise to stop talking 
 about the Jackson boy. I'll tell you some good news. 
 
 MRS. LAKE 
 All right, I promise. 
 
 LAKE 
 
 Would j'ou like to hear some terribly good news? 
 
 MRS. LAKE 
 Yes. Is it about the Jackson boy? 
 
 LAKE 
 Now, you see? There you go again. 
 ( Turns from her and sits on do'wnstage side of couch.) 
 
 MRS. LAKE 
 {Sits on couch to R. of him. ) 
 
 Oh, I didn't mean that, Harvey, honestly. Go on, tell me. 
 What's the good news? What's it about? 
 
 LAKE 
 It's only about me, so I don't suppose it would interest you very 
 much. 
 
 MRS. LAKE 
 Now, don't say such things, please. Go on and tell me; I'm 
 just dying to know. What is it? 
 
 LAKE 
 
 Well, the directors of the road held their annual meeting to-day, 
 and they voted me an increase in salary and an extra bonus of fifty 
 thousand dollars. 
 
 MRS. LAKE 
 Harvey, isn't that wonderful ! 
 
64 THE HOUSE OF GLASS 
 
 LAKE 
 Yes. 
 
 ( Thinks. ) 
 
 Success is always wonderful. 
 
 MRS. LAKE 
 That's because it brings happiness. 
 
 LAKE 
 And sometimes happiness brings success. You're my success ; 
 you're my happiness. 
 {Kisses her.) 
 
 MRS. LAKE 
 Oh, Harvey, Lm so proud of you. I'm so happy. 
 
 LAKE 
 
 {Looks at her closely.) 
 Are you really? 
 
 MRS. LAKE 
 Why do you say that? 
 {Rises.) 
 
 LAKE 
 
 I don't know; but I often wonder if you are really happy. We 
 see so little of each other. 
 
 MRS. LAKE 
 
 {Smiles.) 
 
 Oh, of course, dear, I am lonely at times, but I know what your 
 work means to us both. Some day perhaps, when you've realized 
 your ambitions, and we're rich enough for you to sit back and let this 
 busy old world take care of itself, we can go back to our little home 
 in the West and be together always, just as we used to be. 
 
 LAKE 
 I've worried a great deal during the past two years, dear. 
 
 MRS. LAKE 
 About what? 
 
 LAKE 
 You, and the change in you since we've been here. 
 
 MRS. LAKE 
 {Nervously.) 
 Why, I'm not conscious of any change. 
 
THE HOUSE OF GLASS 65 
 
 LAKE 
 
 Oh, 3ou're different than when you were out there. You had so 
 many friends ; so much to occupy you ; while here you refuse to meet 
 people, to entertain, or be entertained. You seem to have lost interest 
 in most everything. What is it? Why don't you tell me? 
 
 MRS. LAKE 
 Why, there's nothing to tell, dear. You know Lni not socially 
 ambitious. Lni just interested in my home and you — that's all. 
 
 LAKE 
 
 i/^7ses. ) 
 
 But what about this great uplift movement you were so 
 enthusiastic about back home. 
 
 MRS. LAKE 
 Well, you really never approved of it. 
 
 LAKE 
 Of the thing itself, no. But the pleasure year found in doing it 
 was a source of gratification to me. You know, dear, you're the most 
 sacred' thing I possess, and I want you to be happy. 
 
 {Warn Be//.) 
 
 MRS. LAKE 
 
 LAKE 
 MRS. LAKE 
 
 I am happy. 
 Are you sure? 
 
 (Goes to'a'ard C.) 
 
 Sure. 
 
 ( Goes to be/ow desk C. ) 
 
 LAKE 
 ^He icatc/ies li^r c/ose/y {or a moment, and t/ien moves to her, C .) 
 But you were happier back home, weren't you? 
 [Slie /ooks at him but does not rep/y . ) 
 Tell me the truth. 
 
 MRS. LAKE 
 {After a pause.) 
 Yes. 
 
66 THE HOUSE OF GLASS 
 
 LAKE 
 Why don't j-ou like New York? 
 
 MRS. LAKE 
 {Blurts Old.) 
 
 Oh, I don't know. I'm afraid — I'm afraid! 
 {She clings to him hysterically.) 
 
 LAKE 
 Afraid of what, dear. 
 
 MRS. LAKE 
 
 Of everyone here — of everything here. I'm afraid of New York. 
 
 {At this point hell rings off R. ) 
 
 (Mrs. Lake has taken stage on her last line. When the bell rings 
 they both hold their positions, she looking toivard the door, and LAKE 
 looking at her wondering ly. ) 
 
 LAKE 
 I don't understand what you mean, dear. 
 
 MRS. LAKE 
 Oh, I don't understand myself sometimes. It's nothing — I didn't 
 mean what I said. 
 
 LAKE 
 Yes, you did. 
 {Moves closer to her. ) 
 Why haven't you told me this before? 
 
 MRS. LAKE 
 Please forgive me for what I've said, Harvey. I'm nervous, I'm 
 just terribly nervous, that's all. 
 ( Exits up stairs C. ) 
 (Lake stands buried in deep thojight.) 
 
 JAP 
 {Enters from R. after ten counts, and anttounces.) 
 Mr. McClellan. 
 
 McCLELLAN 
 ( 'Jo Jap as he enters from R . ) 
 Good boy, you made it that time. 
 {To Lake.) 
 
 He called me Mackerel over the phone. 
 ( The Jap smiles and exits R. ) 
 
THE HOUSE OF GI.ASS 67 
 
 LAKE 
 
 ( Without a smile. ) 
 
 Hello, McClellan. 
 
 McCLELLAN 
 
 {Downstage C. to R. of Lake.) 
 
 Hello! How do y oil do ! Greetings and hearty congratulations, 
 and everything else that goes with it. Atwood just phoned me about 
 the nice thing the directors did for you this afternoon. If there was 
 any doubt about you making good with the New York and Great 
 Western it's past. They confirmed your success with that little 
 present they slipped you, old boy. I'm tickled to death. I bet the 
 Misses is, too. Did j'ou tell her? 
 
 LAKE 
 {Goes up L. of table to above it.) 
 Yes. It was a pretty nice thing for them to do. 
 
 McCLELLAN 
 
 {As he goes up to R. of table. ) 
 
 Well, it was and it wasn't. Any time a railroad calls a board of 
 directors' meeting, and that gang of highwaymen sit around a table 
 and agree to part with a five cent nickel of the dividends, you can take 
 it from me that the fellow that gets the aforesaid nickel is entitled to a 
 dime. It's coming to you. You deserve it. You've earned it. And 
 now that that's all over and you thoroughly understand how glad I 
 am of your good fortune, we'll get down to cases and switch over to 
 the subject I came here to see you about. 
 
 ( Gets chair oier R. and brings it to R. of Lake. ) 
 
 LAKE 
 {Sits above desk.) 
 The Jackson boy. 
 
 McCLELLAN 
 Why, yes. 
 {Sits.) 
 For heaven's sake let up on that kid, will you? 
 
 LAKE 
 No, my mind is made up. I'm going to set an example with that 
 young man. I've decided to prosecute, and that's all there is to it. 
 
 McCLELLAN 
 Now, see here, Lake, what's the good of sending this boy away? 
 
^68 THE HOUSE OF GLASS 
 
 LAKE 
 He stole the company's money, didn't he? 
 
 McCLELLAN 
 Oh, I know all that, but he'll make restitution. 
 
 LAKE 
 How? 
 
 McCIvELLAN 
 He has a lot of friends, and I'll lend him the money myself, if 
 necessary. 
 
 LAKE 
 It isn't the money, Mac, you know that— it's the principle 
 of the thing. It makes no difference how much influence is brought 
 to bear. I'm going to stand pat on a prosecution. 
 
 McCLELLAN 
 You know there are a lot of innocent people being made to suffer 
 in this case. 
 
 LAKE 
 Who, for instance? 
 
 McCLELLAN 
 ' I, for instance — little me. That desk phone of mine never stops 
 ringing from one end of the day to the othei. Between that kid's 
 family and friends, and their friends' friends, they've made my life a 
 burden hard to bear. Every time I leave the office there's a weeping 
 sister in the hallway. When I get to the house there's a wailing 
 mother holding down the steps. It's got so now thit I'm afraid to go 
 home. All I dream about is crying uncles and screaming aunts. 
 Pleasant, joyful little things to dream about, aren't they? 
 
 LAKE 
 
 I never knew it to fail. Where an honest man would look in 
 vain for a friend, a rogue never fails to find a dozen. 
 
 McCLELLAN 
 Well, I honestly do feel sorry for this kid. Lake. You know it's 
 his first offense. 
 
THE HOUSK OF GtASS 69 
 
 LAKE 
 And do you ask me to establish a precedent that all men in the 
 employ of this road will be forgiven for the first offense. 
 
 McCLELLAN 
 Oh, of course I understand your position in the matter. But I'm 
 sure I can get the district attorney's office to pigeon-hole the 
 indictment if you'll agree not to press the charge. You know this is 
 really a very exceptional case. 
 
 I.AKK 
 
 And that's the big reason I have for insisting upon a prosecution 
 — because it is an exceptional case — -because influence from every 
 angle is being brought to save him. I'm going to show the people 
 under me that a thief has no place with the New York and Great 
 Western, no matter how many friends he may have or no matter how 
 many strings he ma^' pull. 
 
 McCLELLAN 
 
 I understand that all the employees of the road are signing a pe- 
 tition to be brought before you. 
 
 LAKE 
 That will onl5' further my determination to see the thing through. 
 
 McCLELLAN 
 
 {Rises and places chair over R. C.) 
 
 Well, then, I guess that's all there is to it. I've done all I can do. 
 
 {Paces i(p and do7vnstage R. ) 
 
 LAKE 
 {After a pause. ) 
 Where does all this influence come from? 
 
 McCLELLAN 
 How do I know? 
 
 LAKE . 
 
 Well, who got to you? 
 
 McCLELLAN 
 Nobody can get to me. 
 
 LAKE 
 Don't misunderstand me, Mac. I mean, who asked you to go to 
 .the front for the boy. Now, come on, tell me the facts. Who's back 
 of the bov? There is some one — some one big, isn't there? 
 
70 THE HOUSE OF GLASS 
 
 McCLELLAN 
 
 {After a pause.) 
 Well yes, there is. 
 
 LAKE 
 Who is it? 
 
 McCLELLAN 
 
 That would be a breach of confidence. 
 
 LAKE 
 Never a word of it from me. You can trust me — on my honor. 
 
 McCLELLAN 
 I probably shouldn't do this, but at that I think you ought to 
 know. But remember, you've given me your word. 
 
 LAKE 
 Absolutel5\ 
 
 McCLELLAN 
 The man behind the Jackson boy is his Excellency, the Governor 
 of the State. 
 
 LAKE 
 
 {Slight pause. ) 
 
 Governor Patterson ! 
 
 McCLELLAN 
 
 He's the gentleman stretching the wires. Of course, he doesn't 
 want to be known personally in this matter, and that's the reason none 
 of his lieutenants have got to you. But he did send for Atwood, and 
 I'm pretty sure he got to some of the other directors of the road. 
 Atwood immediately sent for me and instructed me to advise you to 
 let the boy down eas)\ Of course, they don't want to go over your 
 head and put it to you cold, but I'll tip you, old boy, that during the 
 next forty -eight hours you're going to be called before the directors 
 and told to drop the case entirely. 
 
 LAKE 
 
 That is something that I will positively refuse to do. 
 
 {Rises and goes down L. C.) 
 
 When I came here it was with the thorough understanding that I 
 have full control of the employees of this road, and that no other man 
 or men connected with the system could go over my head or vote down 
 any of my ideas of management. 
 
THE HOUSE OF GLASS 71 
 
 McCLELLAN 
 
 {Comes down belotv table to R. of Lake.) 
 
 I know all that; didn't I draw up the agreement? They know 
 exactly how you feel about the case, and they also know the stand 
 you'll take when the show-down comes. They're all scared to death ; 
 can't you see it? That's one of the reasons for the big donation this 
 afternoon. They want to have you feel good and make you like you're 
 job, and get you in a good humor before they put the thing up to you. 
 
 LAKE 
 You mean that the $hO,000 bonus voted to nie this afternoon is 
 nothing more than a bribe? 
 
 McCLELLAN 
 Well, you can call it anything you like, but Ld say it was proof 
 conclusive that you've made so good at the head of the road that 
 they're worried sick for fear they're going to lose you. You see, it 
 isn't a matter of their going over your head, it's just a matter of their 
 asking you not to go over theirs. They can't very well refuse to do 
 this thing; they might have to ask a favor themselves before the year 
 is out. I mean up in Albany. Do you get me? 
 
 LAKE 
 
 {After a slight pause.) 
 I think so. 
 
 McCLELLAN 
 Well, come on, let's drop the case and that will be the end of it. 
 What do you say? 
 
 LAKE 
 
 {Crossess lo2vly to R.C.Jhen, after a pause, lie turns to McClELLAN. ) 
 I say no. The railroad will prosecute this case or get a new man 
 to manage its affairs. 
 
 McCLELLAN 
 Well, of course, that's up to you. 
 ( Goes over L . ) 
 
 LAKE 
 {Stands thinking.) 
 This will probably be a good excuse for getting out. 
 
 McCLELLAN 
 Why, you weren't thinking of getting out, were you? 
 
72 THE HOUSE OF GLASS 
 
 LAKE 
 ( Ttirns partly and looks upstage C. ) 
 \^es I'm thinking seriously of going back. 
 
 McCLELLAN 
 
 Back to Kansas Citj- ! Good (iod ! How can a man think of such 
 a thing. 
 
 ( Over to L. of Lake. ) 
 
 New York's the place for you — the place for all big men. Look 
 what you've accomplished in the two years you've been here. Why 
 I'll bet that in another two years you'll be 
 
 LAKE 
 { Inter ruptijig.) 
 
 I'm not thinking of myself Mac; she isn't happy here. 
 ( Points upstage C. ) 
 
 ( Warn bell . ^ 
 
 McCLELLAN 
 The Missus? 
 
 LAKE 
 Yes. 
 
 McCLELLAN 
 Oh, I think you imagine that. 
 
 LAKE 
 No, I'm sure. That's why I'm going back. 
 
 McCLELLAN 
 When did you make up your mind to this? 
 
 LAKE 
 Jiist a few minutes ago — before you came. 
 
 McCLELLAN 
 You've really decided to go? 
 
 LAKE 
 I think so. 
 
 McCLELLAN 
 Well, it's hard to believe, but if it's so, I'm damned sorry. I'm 
 afraid it's going to make a big difference in your career. 
 
THE HOUSE OF GLASS 73 
 
 LAKE 
 Perhaps. But if it makes her happy, what's the difference? 
 
 McCLELLAN 
 You know, it I were a girl I'd give you a kiss for that speech. 
 That's the nicest thing I ever heard a man say about a woman. 
 
 LAKE 
 That's the way I feel about it. 
 Door hell rhi^s off R. ) 
 
 McCLELLAN 
 
 {Siaris up R .) 
 
 More visitors. Well, I'xe got to run along and report. It will be 
 a body blow when I tell them you. refuse to drop the charge against 
 the hoy. Heaven only knows what they'll say when they find you've 
 decided to give up the management of the road. I'm mighty thankful 
 I'm not delegated to tell them that one. 
 
 {Gets up to door R., then comes doioi R. on ?iext line.) 
 
 Remember that was entre nous about the Governor being interested 
 in this case. 
 
 LAKE 
 {L. C.) 
 I understand. 
 
 McCLELLAN 
 
 {R. of L.\KK /;/ front of table.) 
 
 And if you should change your mind and decide to stay here I'll 
 be tickled to death. You know that, don't you? 
 
 LAKE 
 I know how you feel about it, Mac. I'm verv proud of your 
 friendship. 
 
 {Extends his hand to McClELLAN. They shake hands heattily.) 
 (McClei.LAN starts for door as Jap enters.) 
 
 JAP 
 
 {Enters from R. and annonnces.) 
 
 Mr. Atwood. 
 
 {Exits R. as Atwood cotnes downstage.) 
 
 McCLELLAN 
 ( la Atwood. ) 
 That's funny ; 1 was just going to the Club to see you. 
 
74 THE HOUSE OF GLASS 
 
 ATWOOD 
 
 ( To McClellan, as he crosses him dow?i to Lake.) 
 I thought I'd catch you here. 
 ( 71? Lake, as he shakes hands with hitn. ) 
 
 Congratulations, my boy. That was a fine compliment the 
 directors paid you to-daj'. 
 
 LAKE 
 
 (C) 
 
 I appreciate it, Mr. Atwood. It was very generous, very 
 encouraging. 
 
 ATWOOD 
 
 Ah, you should have heard them. I never listened to so many 
 complimentary things said about a man in all my life. You're a 
 fixture with the road; we all agreed to that this afternoon. 
 
 {Turns to McClellan, who is up R.) 
 
 Tell him what I said to you over the phone, McClellan. 
 
 McCLELLAN 
 Tell him yourself, it'll sound just as well. I'll see you over to 
 the Club. 
 
 (Starts upstage R.) 
 
 ATWOOD 
 
 {To McClellan.) 
 
 Wait a moment, I'll be right with you. 
 ( To Lake.) 
 
 Where's the little lady? I must pay my respects and congratulate 
 her also. That's what drove me in here. 
 
 LAKE 
 Just a second, I'll see if she's dressed. 
 ( Starts upstage C. ) 
 
 McCLELLAN 
 {Impatiently. ) 
 Oh, don't bother, Lake. 
 ( To Atwood. ) 
 
 See here, Atwood, these people have an appointment with them- 
 selves. We're keeping them from a motor ride. 
 
 ATWOOD 
 Oh, I'm sorry. Then we'll go along. 
 
 i 
 
THE HOUSE OF GLASS 75 
 
 LAKE 
 
 No, please don't. Mrs. Lake doesn't know either of you' are 
 here. She'll be vexed if yon run away without saying hello. Please 
 wait ; I'll go and fetch her. 
 
 ( Exit upstairs C. ) 
 
 ATWOOD 
 
 {Comes downstage L. to in front of table.) 
 Well, yes or no? 
 
 McCLELLAN 
 {Comes doumstage R. of table.) 
 No. 
 
 ATWOOD 
 That's his final decision. 
 
 McCLELLAN 
 So he says. 
 
 ATWOOD 
 But he must realize that influence is being brought to bear. 
 
 McCLELLAN 
 That doesn't make any difference to him. 
 
 ATWOOD 
 
 ( Goes to couch L. and sits. ) 
 
 I'm afraid it will mean his position. 
 
 McCLELLAN 
 That won't make any difference either. He's going through 
 with the thing for the purpose of finding out just where he stands. 
 He feels that he is being interfered with. Heaven and earth can't 
 change him, I'm sure of it. 
 
 ATWOOD 
 
 You mean he'd give up his future with the road rather than 
 withdraw the charge. 
 
 McCLELLAN 
 That's my opinion. 
 
76 THE HOUSE OF GLASS 
 
 ATWOOD 
 
 (Rises, and paces up and downstage R.) 
 
 Oh, there must be some way to settle this thing. We can't afford 
 to lose a man like Lake. Why don't you talk to him? 
 
 McCLELLAN 
 Talk to him! Great Scott! I've talked myself black and blue. 
 It's no use, I tell you. You know it's no easy matter convincing a 
 man he's wrong when you know and he knows that he's absolutely 
 right. The Jackson boy was indicted by the grand jury and goes to 
 trial the day after tomorrow, so you'd better make up your mind what 
 to do. You've got to offend the men higher up by allowing Lake to 
 have his own way, or else go over his head and refuse to allow him to 
 press the charge as a representative of the railroad. It's one thing o^ 
 the other, so you'd better decide in a hurry. 
 
 ATWOOD 
 
 You know that's Lake's one great fault: he's so damned set in 
 his opinions. 
 
 McCLELLAN 
 
 You knew that before he came East. 
 
 (Sits in chair R. afid flips pages of a magazine he has picked up 
 from the table. ) 
 
 ATWOOD 
 
 [Comes to L. of table.) 
 Why hound this boy? 
 
 McCLELLAN 
 
 You can't blame a man for not wanting a thief around him. I 
 notice you got rid of that driver of yours when you found out he wasn't 
 all he represented himself to be. 
 
 ATWOOD 
 
 {Sits on edge of table facing front. ) 
 You mean that fellow Burke? 
 
 McCLELLAN 
 Yes, the chauffeur. 
 
 ATWOOD 
 
 A different kind of case entirely. The man had a prison record. 
 They showed it to me at Headquarters. That's why I dismissed him. 
 
THE HOUSE OF GLASS 77 
 
 McCLELLAN 
 
 (Laughs.) 
 
 Well, there you are! Why hound the man? 
 
 ATWOOD 
 Please don't try to be flippant. 
 {Rises up toward window L ) 
 This is no time for that. 
 
 McCLELLAN 
 Well, it's a poor rule that doesn't work both ways. 
 
 ATWOOD 
 Rats! 
 
 McCLELLAN 
 
 Are you going to talk to him yourself about this thing? 
 
 ATWOOD 
 
 ( Comes downstage L.) 
 
 Do you think it will do any good ? 
 
 McCIvELLAN 
 
 r don't know ; you might take a try at it. 
 
 ATWOOD 
 
 All right, 1 will. 
 
 LAKE 
 {Enters from C, with his arm around Mrs. Lake.) 
 Here we are. Here's the little lady. 
 
 ATWOOD 
 
 ( Goes to her, extending his hands. ) 
 
 Well, well, how do you do, little stranger? 
 
 MRS. LAKE 
 [Smiles as she takes his hands.) 
 Mr. Atwood. 
 
 ATWOOD 
 My, but you do hide away. I haven't seen you in ages. 
 
 MRS. LAKE 
 
 ( Smiles and crosses to R. C , to McClellan.) 
 Mr. McClellan. 
 {Extends her hand.) 
 
78 THE HOUSE OF GLASS 
 
 McCLELLAN 
 
 (As he takes her hand. ) 
 
 Well, how is the little hermit to-da^'? 
 
 MRS. LAKE 
 Quite well, thank 5'ou. 
 
 ATWOOD 
 
 ( To Lake.) 
 
 Have you told the good news? 
 
 LAKE 
 {Above desk.) 
 Yes, she knows. 
 
 MRS. LAKE 
 {Goes up to R. of Lake above desk.) 
 
 Oh, it's wonderful, Mr. Atwood. It's so splendid that Harvey 
 has been so successful in the management of the road. I'm terribly 
 proud of him; and we're both very thankful for all the directors have 
 done. 
 
 ATWOOD 
 
 He deserves it; ten times as much. 
 
 McCLELLAN 
 That's a pretty little speech ; but it doesn't go if you try to get it, 
 Lake. 
 
 (All laugh.) 
 
 LAKE 
 ( Laughing. ) 
 I understand that. 
 
 ATWOOD 
 I wish you were as funny as you think you are, McClellan ; I 
 might get a free laugh once in a while. 
 
 McCLELLAN 
 If I were funny enough to get a laugh out of you I'd charge 
 admission. 
 
 ATWOOD 
 
 {Laughs.) 
 
 That's the funniest thing you've said in a year. 
 
 (All laugh.) 
 
 (Atwood and Lakk^o upstage L.) 
 
THE HOUSE OF GLASS 79 
 
 McCLELLAN 
 'lo Mrs. Lake, as they stroll over R. C) 
 I'm afraid we've cheated you out of your automobile ride. 
 
 MRS. LAKE 
 Oh, I wasn't a bit anxious to go, really. 
 
 Aside. ) 
 Any better luck about the Jackson boy? 
 
 McCLELLAN 
 
 Aside. ) 
 No ; he seems more determined than ever. 
 
 MRS. LAKE 
 What a pity. 
 
 McCLELLAN 
 
 ( 7o Lake and Atwood. ) 
 
 Well, these two men want to talk, so I'll get along. 
 
 LAKE 
 What's your hurry, Mac? 
 
 McCLELLAN 
 {Looks at his 7vatch.) 
 
 Oh, I'm going over to the club. I'll meet you there in half an 
 hour, Atwood. 
 
 ( Goes to door R.) 
 
 ATWOOD 
 Wh)- don't you wait and I'll drive you over. 
 
 McCLELLAN 
 Well, I thought maybe you fellows wanted to get together. Be- 
 sides, I haven't had a cocktail to-da}'. 
 {All laugh.) 
 
 MRS. LAKE 
 Then you come with me, and I'll mix one for you mysell. 
 ( Crosses to7vard L. ) 
 
 McCLELLAN 
 Really? 
 
 MRS. LAKE 
 Honestly. 
 (McClellan follows Mrs. Lake over L.) 
 
80 THE HOUSE OF GLASS 
 
 LAKE 
 [Laughs.) 
 That's right, Mac; Watson taught her before we came East. 
 
 McCLELLAN 
 You mean that butler you had in Kansas Cityi* 
 
 MRS. LAKE 
 He's the one. 
 
 McCLELLAN 
 Lead me to the bar. 
 
 MRS. LAKE 
 ( Turns to At WOOD.) 
 Can I entice 5'ou, Mr. Atwood? 
 
 ATWOOD 
 
 {As he crosses Hpstagc and comes dozen to R. of phone desk R. and 
 seats himself. ) 
 
 No, thanks; I'm not celebrating to-day. 
 
 McCLELLAN 
 
 He said something. Any time that gentleman takes a drink it's 
 a real celebration. 
 
 (Exits, preceded by Mrs. Lakk.) 
 [Exit L.) 
 
 LAKE 
 {Laughs as he comes downstage to L. of phone desk. ) 
 He has a lot of fun with you, Mr. Atwood. 
 (.5//.^ A. of Atwood, above desk.) 
 
 ATWOOD 
 
 {Laughs. ) 
 
 Yes. and he's great fun for me. I don't know what I'd do with- 
 out him, Lake. He's a great big man. In his oflFice he's a linn in his 
 den. After business hours, he's a boy at play. 
 
 LAKE 
 Big men are like that as a rule. 
 
 {BeU R.) 
 
 ATWOOD 
 Yes, I think so. 
 
 {Pauses, changing to seriousness.) 
 I want to talk to you about this Jackson case. Lake. 
 
 I 
 
 I 
 
 I 
 
THE HOUSE OF GLASS 81 
 
 LAKE 
 I'll turn a lion if you do. 
 
 ATWOOD 
 The great trouble is. you don't understand the situation. This 
 boy comes from one of the oldest families in town. We put him in the 
 office to learn the business, that's all. 
 
 LAKE 
 
 Now, Mr. Atvvood, I want to settle this matter for once and for all. 
 If the President of the United States came to me to intercede for this 
 boy, my answer would still be "no." A thief has no business place 
 in the world— that's my platform. 
 
 {Slams drazver of table shut, rises and ^oes C. delozc desk.) 
 
 JAP 
 {Enters from R., with card on fray.) 
 
 LAKE 
 (7"^ Jap.) 
 Some one to see me? 
 
 JAP 
 
 Yes, sir. 
 
 {Goes to Lake and extends tray.) 
 
 LAKE 
 ( Takes the card and reads. ) 
 "David H. Carroll, Police Headquarters." 
 ( Thinks, trying to recall the name. ) 
 Carroll. 
 
 ATWOOD 
 He's the man that made the arrest in the Jackson case, don't you 
 remember? 
 
 LAKE 
 Why, yes, that's so. 
 ( To the Jap.) 
 Show him in. 
 
 JAP 
 
 {Bows, exits R. , leaving door open.) 
 
82 ^ ;THE HOUSE OF GLASS 
 
 ATWOOD 
 
 Well, I suppose that j^ou want to talk to him privately. 
 
 LAKE 
 No, I hardly think so. I don't imagine it's anything of great 
 importance. 
 
 (Atwood resumes his seal R. of phone desk ) 
 (Lakr goes above desk C.) 
 
 CARROLL 
 
 {Enters from R., follozved by Jap, ivho closes the door, then exits 
 upstage C.y towards R., in ha/ /way.) 
 (CA-RROhL goes C. to Lake.) 
 How do yon do, Mr. Lake. 
 
 LAKE 
 How are you, Carroll. 
 
 ATWOOD 
 Hello, Carroll. 
 
 CARROLL 
 
 ( Turns toward Atwood. ) 
 
 Oh, how do you do, Mr. Atwood. 
 
 ( Turns to Lake.) 
 
 CARROLL 
 
 I want to apologize for coming to your house, Mr. Lake. I tried 
 to get you at the office but they said you'd gone. I'd have got you on 
 the phone, but I don't trust the operators with anything that sounds 
 like a newspaper story, so I took a chance and came here myself. 
 
 LAKE 
 That's all right, Carroll. Sit down. 
 
 CARROLL 
 {Sits R. C.) 
 Thank you. 
 
 ATWOOD 
 {Rises and goes upstage C.) 
 Now I know it's private, so I'll go. 
 {As he gets up to R. of Lake. ) 
 I'll see you at your office in the morning, Lake. 
 
THE HOUSE OF GLASS 83 
 
 LAKE 
 All right. 
 
 ATWOOD 
 
 {Starts for R. door, the^i turns.) 
 
 Oh, I wonder if that attorney of mine has finished his cocktail yet. 
 
 LAKE 
 {Laughs.) 
 I'll see. 
 
 ATWOOD 
 
 Oh, how have you been, Carroll? 
 
 CARROLL 
 Very well, thank you. 
 
 LAKE 
 
 {Goes to door R,, opens it and calls.) 
 Oh, Mac! McClellan! 
 
 {As 'Lak-e. goes L., Atwood stands scowling at Carroll.) 
 {He strolls upstage, turns and stands gla?i?2g at Carroll until 
 McClellan enters.) 
 
 McCLELLAN 
 {Offstage L.) 
 Hello ! 
 
 LAKE 
 Mr. Atwood's waiting for you ; he's ready to go. 
 
 McCLELLAN 
 {Offstage L.) 
 All right; just a minute. 
 
 LAKE 
 {Laughs as he returns to above desk.) 
 I hear the billiard balls ; T guess they're playing a game. 
 
 ATWOOD 
 
 ( Turns to Lake.) 
 
 Billiards ! 
 
 {Laughs.) 
 
 He can't run ten points in three hours. I'm going. 
 
 {Starts for R. door.) 
 
84 THE HOUSE OF GLASS 
 
 McCLELLAN 
 {Appears at door L., with billiard cue in his hand.) 
 Say, Atwood, come in here and see this little girl play billiards. 
 ( Atwood starts for L . door. ) 
 She's a wizard. 
 
 LAKE 
 That's right. 
 
 (Atwood txims toward Lake.) 
 We play every night. She beats me too. 
 
 ATWOOD 
 Well, we'll have to see how she does it. 
 {Crosses to door L. and exits, leaving door ope?!. ) 
 
 McCLELLAN 
 {As he sees Carroll. ) 
 Hello, Carroll! 
 
 {Goes upstage back of settee L. and comes down to L. of Lake's 
 desk. ) 
 
 CARROLL 
 [Rises and bows. ) 
 Mr. McClellan. 
 
 McCLELLAN 
 What's the idea? More crooks discovered in railroad office? 
 
 LAKE 
 {Looking at Carrol,!,.) 
 I hope it's nothing like that. 
 
 CARROLL 
 
 {Smiles. ) 
 Well, hardly. 
 
 McCLELLAN 
 
 Well, whatever it is, I'm in on it. The Police Department is the 
 best friend we lawyers have. If there wasn't someone to put them 
 in, there wouldn't be anyone for us to get out. Ha! ha! Good 
 joke, isn't it? I must tell that to Atwood — he'll laugh himself sick. 
 
 {Exits L., closing door. ) 
 
 LAKE 
 {As he sits above desk.) 
 You've met McClellan before? 
 
THE HOUSE OF GLASS 85 
 
 CARROLL 
 
 {Si is R. C.) 
 Yes; I knew him when he was in the district attorney's office. 
 
 LAKE 
 I see. 
 
 CARROLL 
 I didn't want to spill in front of Atwood what I came here to see 
 you about, because I know he's been pulling strings to go over your 
 head and have this Jackson case pigeon-holed. I suppose you know 
 that too. 
 
 LAKE 
 That doesn't matter, Carroll. I'm dictator in the New York and 
 Great Western offices. My word is law, and as I told you the day of 
 the arrest, I'm positively going to press the charge. 
 
 LAKE 
 
 {Looks at memo. ) 
 
 Let me see, the trial is set for this week, isn't it? 
 
 CARROLL 
 
 Day after tomorrow. But the trouble is, Mr. Lake, that the boy 
 has jumped his bond. 
 
 LAKE 
 Jackson ! 
 
 CARROLL 
 Looks that way. We located him in Vancoux'er by telegraph 
 this morning. I was always leary of this kid jumping away ever since 
 the influence started to work for him, so I began to snoop around and 
 get a line on what he was doing, and sure enough I discovered that 
 be left New York a week ago. It's five days to Vancouver, so it's a 
 cinch he won't be here to stand trial. 
 
 LAKE 
 Are you sure about this? 
 
 CARROLL 
 Sure as shooting. He's in Vancouver, I tell you, 
 
 LAKE 
 ( Thinks.) 
 Have you notified the surety company that went his bond? 
 
86 THE HOUSE OF GLASS 
 
 CARROLL 
 Humph! You don't suppose they care, do you? They're always 
 protected . 
 
 LAKE 
 It will take some time to extradite him. 
 
 CARROLL 
 
 Yes, and a lot of red tape with the pull he's got; but. in the 
 meantime, if his foot slips on anything that belongs to Uncle Sam, 
 we'll get him before he knows it. 
 
 LAKE 
 That's too bad. This is one case where I want prosecution. 
 
 CARROLL 
 
 So do L 
 
 {jRises.) 
 
 I just want to show some of these high-falutin' monkeys that go 
 around pulling strings for a lot of crooks that it takes more than 
 political influence to make a joke out of the laws of this vState. 
 
 (Up to Lake.) 
 
 I want to thank you for the stand you've taken in this case, Mr. 
 Lake. I've been getting inside dope on it, and I know how you've 
 gone through. If we had a few more men like you in this burg the 
 police wouldn't have half as much to worry about, and the community 
 would be a whole lot better off. 
 
 LAKE 
 
 You're sure you'll get him later on? 
 
 CARROLL 
 
 You can bank on it. There isn't a headquarters in this countrj- 
 that won't have an accurate description of that bird tomorrow 
 morning. 
 
 {Sits in chair down R ) 
 
 LAKE 
 Vancouver, eh? 
 
 CARROLL ; 
 
 Yes. Have you ever been there? 
 
 LAKE 
 
•THE HOUSE QF GLASS j^7 
 
 CARROLL 
 
 Well, no regular guy can stay there very long. ■ It's one of those 
 •minor league cities where they hang around drug stores. But, 
 extradition or no extradition, he'll come back into the States — they 
 always do. I've had twenty -two years' experience with bond jumpers 
 and parole breakers, Mr. Lake, and I never knew it to fail that they 
 didn't take the chance sooner or later and get nailed. 
 
 LAKE 
 Well, I want you to get this man if it's the last thing you ever do. 
 
 CARROLL 
 
 It may take a little time, but you can go to sleep on the bet that 
 I'm trying all the time. 
 
 {Rises and goes upstage a bit.) 
 
 And there's another thing I want to impress on you, Mr. Lake, 
 and that is that there ain't any money proposition from the influence 
 behind this kid that will ever make me forget my duty. I'm no 
 grafter. I could have been a rich man ten years ago if I wanted to 
 double-cross the department and stand for a little rough work, but 
 that isn't my way of going along. There's one thing that I'm proud 
 of, and that is that I'm on the level. The crooks call me a rat and a 
 dog, and a Sunda}-- School copper, and a. few other pet names, but 
 they'll tell you that I'm honest. 
 
 /' ' LAKE 
 
 I don't doubt that in the least, Carroll. 
 
 CARROLL 
 
 {R. C.) 
 
 Well, I thought maybe you might think I was in on this kid's 
 getawa5^ so I niade up my mind to get to you quick and let you know 
 what kind of a guy I am. 
 
 LAKE 
 You're a man after my own heart, Carroll. 
 
 CARROLL 
 Thanks. 
 
 LAKE 
 I wish you'd keep in touch with me and let me know if anything 
 develops in the case during the next few days. 
 
■«8 THE HOUSE OF GLASS 
 
 CARROLL 
 
 {Looks at his watch.) 
 
 Sure. As fast as we get any information at headquarters we'll 
 whip it right over to you. 
 
 LAKE 
 That's the idea. 
 
 CARROLL 
 
 I wish you'd give me a note to Thompson, head of your detective 
 force. 
 
 LAKE 
 
 Certainly. 
 
 {Starts to write when phone rings. He rises and goes doivn R. and 
 sits at phone table. ) 
 
 ( The Jap enters from R. io a7is'uer phone, and stands doivnstage L. 
 of Lake.) 
 
 (Carroll strolls over R. and doivnstage to R. of phone.) 
 
 LAKE 
 ( In phone. ) 
 
 Yes.... Mr. Atwood? . . . . Yes, he's here. Who wants him?.... 
 The what club? . . . .Just hold the wire ; I'll send for him. 
 {Lays down receiver and turns to Jap. ) 
 
 Go in the billiard room and tell Mr. Atwood he's wanted on the 
 wire. 
 
 JAP 
 Yes, sir. 
 {Exits L. quickly.) 
 
 LAKE 
 ( To Carroll, as he smothers the phone.) 
 
 Do you think I should tell Atwood and McClellan that the boy 
 has jumped his bond? 
 
 CARROLL 
 {X. to R. in from fireplace. ) 
 
 Oh, I suppose you might as well. They'll probably find it out 
 to-morrow, anyway. 
 
 ATWOOD 
 {Enters from L.) 
 Someone for me? 
 {Crosses.) 
 
THE HOUSE OF GI.ASS 89 
 
 LAKE 
 iJ^tses.) 
 Yes, the Republican Club. 
 
 {(roes u/)sl(Xge C. and irorks to abovi' his desk. ) 
 
 ATWOOD 
 
 {Scats himself at desk and picks up I'ccciver.) 
 
 Hello ! Yes, this is Mr. Atwood All right, put him on. 
 
 ( Waits for connection. ) 
 
 McCLELLAN 
 
 {Enters from L.. ) 
 Who is it? 
 
 ATWOOD 
 
 ( 'lo McClkllan. ) 
 The Republican Club. 
 {In phone. ) 
 Yes, I'm waiting. 
 
 McCLKELAN 
 How did they locate yon? 
 {Goes upstage L. a bit.) 
 
 ATWOOD 
 
 I left word that I was coming here. 
 
 {In phone. ) 
 
 Hello! 
 
 {Pause.) 
 
 MRS. LAKE 
 {Enters hurriedly from L., and goes to'anird McCleLLAN.) 
 
 Oh, Mr. McClellan. why 
 
 (McClellan silences her, pointing toward Atwoou at phone.) 
 {As she looks at Atwood she sees Carroll, who is standing dozen- 
 stage R. ) 
 
 ( The two stand and stare at each other from this moment.) 
 
 ATWOOD 
 
 (/;/ phone. ) 
 
 Yes .... Hello, Maddox . . . .What makes you think he did? .... 
 Are you sure about it? ... . Where did you get that information? . . . . 
 Oh, you did, eh? Well, wait, hold the wire a second. 
 
 ( To Carroll, as he smothers mouth of phone.) 
 
 Have you heard anything about young Jackson jumping his bonds? 
 
 {Qkr'RO'lx, makes no reply.) 
 
90 THE HOUSE OF GLASS 
 
 LAKE 
 
 {Standing above desk C. ) 
 
 Yes, that's what Carroll came to see me about. 
 
 McCLELLAN 
 {UP L. C.) 
 Jumped it, eh? What do you think of that! 
 
 ATWOOD 
 
 (In phone. ) 
 
 Where'd he get to, did 5'ou hear? Way out there, eh? 
 
 They are, eh? That's too bad.. ..Yes, I'm coming over there now. 
 You wait there for me All right, good-bye. 
 
 (Note. — During this phone conversation, in fact from the time 
 Carroll and Mrs. Lake have seen each other, they have never taken 
 their eyes from each other. ) 
 
 ATWOOD 
 
 {Rises and goes up K. C.) 
 
 Well, the young man is in British Columbia. 
 
 McCLELLAN 
 
 {Whistles.) 
 Some jump ! 
 
 ATWOOD 
 
 {Looks at Carroll.) 
 
 When did you learn this, Carroll? 
 
 CARROLL 
 
 This morning. 
 
 McCLELLAN 
 
 {L. C.) 
 
 Who was that just phoned you? 
 
 ATWOOD 
 Young Maddox. He got it from a police reporter. 
 
 LAKE 
 ( 'Jo Carroll.) 
 He must have got the story from headquarters, Carroll. 
 
 CARROLL 
 Then there's a leak in the department. I told them not to give it 
 out. 
 
THE HOUSE OF GLASS 91 
 
 McCLELLAN 
 
 Well, Lake, it looks as though this boy were liable to slip away 
 from yoit after all. 
 
 CARROLL 
 
 {Doivn R.) 
 
 {Stares at Mrs. Lake duriiig speech .) 
 
 Oh, he'll come back; they all come back. It's one case in a hun- 
 dred when they don't. Some play it safer than others, and stay away 
 a long time until they think it's forgotten, outlawed, and thrown in the 
 discard. But such a thing never happens in the New York police de- 
 partment. We never forget. We have ways of remembering — a 
 system of identification that's the most perfect in the world. They can 
 stay away a year or two, or ten 
 
 {Emphasizes the word ten.) 
 but we get them if they ever come back. 
 
 {Looks at his ivatrh and goes upstage to R. of Lake.) 
 
 I've got to get down to the Central office. I've got some pretty 
 important work to do on one of my old cases. 
 
 (Lake hands note to Carroi^l.) 
 
 Thank you. 
 
 ( Tur7is to Atwood a7td McClellan.) 
 
 Good-bye, Mr. Atwood — Mr. McClellan. 
 
 ATWOOD 
 - {Sits R.) 
 
 Good-bye Carroll. 
 
 McCLELLAN 
 So long. 
 {At this poi7it Mrs. Lake moves vp to L. i^/ Lake.) 
 
 CARROLL 
 
 {Starts for door R.) 
 
 Don't you worry about this thing, Mr. Lake. The case is in ni}' 
 hands — ^• 
 
 ( Turyis back to R. of l^XK'B..) 
 
 And if I do say so myself, I've been exceptionally lucky with most 
 
 of my cases. 
 
 {Looks at Mrs. Lake.) 
 
 {Botes.) 
 
 Mrs. Lake? 
 
 ( To Lake.) 
 
 Your wife? 
 
92 THE HOUSE OF GLASS 
 
 LAKE 
 Oh, yes. 
 
 ( To Mrs. Lake.) 
 This is Mr. Carroll, dear. 
 (Mrs. Lake bows to Carroll.) 
 
 CARROLL 
 
 ( Signi{ica7itly . ) 
 
 I'm very pleased to meet yon, Mrs. Lake. 
 
 MRS. LAKE 
 Thank you. 
 
 CARROLL 
 
 {Starts for door R., stops and turns to Atwood down R.) 
 Oh, I knew there was something I wanted to speak to you about, 
 Mr. Atwood. 
 
 ATWOOD 
 What's that. 
 
 CARROLL 
 I'm glad you took my tip and got rid of that chauffeur you had 
 two years ago. I gave orders at headquarters to put you wise to him. 
 
 ATWOOD 
 
 Oh, then it was through you that I got the word? 
 (McClKLLAN sits on sola L.) 
 
 CARROLL 
 
 Sure. I sent Crowley to you with his whole record. It's a good 
 thing you let him go — he was a bad bird. 
 
 {Tnrns to Lake and McClkllan.) 
 
 Mr. Atwood had an ex -convict driving his car and didn't know 
 it. A fellow named Burke, James Burke. Served two or three terms 
 in prison. The last time he was sent up was about ten years ago. He 
 and a girl pal of his did a house-breaking job, and come pretty near 
 getting away with it, but we nabbed them and sent them away for 
 three years. He served his time ; but the girl, after being released on 
 probation, broke her parole; so we've been after him ever since, 
 hounding him out of every job he gets, trying to make him confess to 
 the girl's whereabouts. 
 
THE HOUSE OE GLASS 93 
 
 ATWOOD 
 
 Oh, so that was the idea. 
 
 CARROLL 
 Certainly, You can't blame us for trying to get the girl, can you? 
 
 McCLELLAN 
 
 ( To Mrs. Lake.) 
 
 That's what they call playing one crook against the other. 
 
 CARROLL 
 It's an interesting story, isn't it, Mrs. Lake? 
 
 MRS. LAKE 
 Yes, but rather severe methods, I should say. 
 
 CARROLL 
 How do you mean? 
 
 MRS. LAKE 
 Wh5^ making it impossible for the man to earn a living. 
 
 LAKE 
 Don't mind Mrs. Lake, Carroll. She's been doing a lot of prison 
 reform work in the West. 
 
 CARROLL 
 
 [Interested. ) 
 Oh, is that so? 
 
 McCLELLAN 
 
 ( To Mrs. Lake.) 
 
 This is something like the story you told me in Kansas City, Mrs. 
 Lake. 
 
 MRS. LAKE 
 {Nervously .) 
 What was that? 
 
 McCLELLAN 
 Don't 3'ou remember about the girl breaking her parole and going 
 into hiding? 
 
94 THE HOUSE OF GLASS 
 
 CARROLL 
 
 {Slight pmise. ) 
 
 Well, maybe it was the same girl. 
 
 ( To Mrs. Lake.) 
 
 Was her name Case — Margaret Case? 
 
 MRS. LAKE 
 
 \AHer a slight pause.) 
 
 I didn't know the girl's name. 
 
 LAKE 
 Someone you heard of, dear? 
 
 MRS. LAKE 
 Yes. 
 
 CARROLL 
 ( To Mrs. Lake.) 
 Did it happen here in New York? 
 
 MRS. LAKE 
 No, in the West. 
 
 McCLELLAN 
 I thought you told me it was here in New York. 
 
 MRS. LAKE 
 
 {Nervously .) 
 
 Did I? Why, no, you must be mistaken, Mr. McClellan. I'm 
 sure it happened in the West. 
 
 (Margaret looks at Carroli..) 
 
 CARROLL 
 
 Oh, then it can't be the same girl. I think we've finally landed 
 the one we've been after. 
 
 (Margaret looks at Carroll.) 
 
 It's taken us a long time, but I'm pretty sure we've got her at 
 last. 
 
 MRS. LAKE 
 
 {Keeping herself under control . ) 
 
 You mean she's been placed under arrest? 
 
 CARROLL 
 Not yet, but she will be as soon as we're convinced that it's not 
 a case of mistaken identit5^ 
 
THE HOUSE OF GLASS 95 
 
 LAKE 
 Oh then she came back, did she? 
 
 CARROLL 
 Sure Didn't I just tell Vou that thej- all come back? She's 
 right here in New York this minute, or else no two people were ever 
 born so near alike before. 
 
 MRS. LAKE 
 Then you're not sure she's the one you're after? 
 
 CARROLL 
 
 Sure enough to stake my reputation on it. Of course if it were 
 an ordinary case we'd make the arrest without giving it second 
 thought, but it happens that the woman is married to a very prominent 
 man, so we've got to go slow until we're satisfied beyond the shadow 
 of a doubt. 
 
 {Sh's^ht pause.) 
 
 It looks like it's going to be a very sensational affair all around, 
 and Lm going to have the satisfaction of cleaning up my record, 
 because she's the only one that ever got away from me in twenty-two 
 years of service. 
 
 ATWOOD 
 And this girl was Burke's pal? 
 
 CARROLL 
 Yes. It's a small world, isn't it? 
 
 McCLELLAN 
 
 She's married to a prominent man, eh? 
 
 CARROLL 
 Yes, you'd be staggered if I told you who he was. It's a cinch 
 that he doesn't know he's married to a parole-breaker. He's the only 
 one I feel .sorry for in the whole affair. If anything new happens in 
 the Jackson case I'll call you up, Mr. Lake. 
 
 LAKE 
 I wish you would, Carroll. 
 
 CARROLL 
 Good-bye, Mrs. Lake. I hope to have the pleasure of meeting 
 you again. 
 
96 THE HOUSE OF GLASS 
 
 MRS. LAKE 
 {Forcing a smile.) 
 Thank you, Mr. Carroll. 
 
 CARROLL 
 
 ( 1 urns to Atwood and McClellan.) 
 Good-bye, gentlemen. 
 
 McCLELLAN AND ATWOOD 
 Good-bye. 
 (Carroll starts tor door A\) 
 
 LAKE 
 
 (As he follozcs CarrolX.) 
 
 I'll see you to the door, Carroll. 
 
 {Exits R., foUozving Carroll.) 
 
 ATWOOD 
 {la McClellan, as he rises.) 
 We'd better get along, too. 
 
 McCLELLAN 
 {Rises.) 
 I think so. 
 
 ATWOOD 
 
 {As he goes upstage R. ) 
 
 I'll come around some evening and play you thirty -four points of 
 billiards, Mrs. Lake. 
 {Opens door R.) 
 
 MRS. LAKE 
 All right, Mr. Atwood. 
 
 McCLELLAN 
 {As he goes upstage L., and to above Mrs. Lake.) 
 And I'll come around with him and give him a few points. He'll 
 need them if he's going to try to get thirty- four. 
 
 ATWOOD 
 
 {Laughs.) 
 
 Bye, bye. Come along Mac. 
 
 {Exits R., leaving door open. ^ 
 
THE HOUSE OF GLASS 97 
 
 McCLELLAN 
 iS^ar/s A'., and then innis back to Mrs. Lakk.) 
 \A^hat do Nou think of the boy jumping his bond? 
 
 MRS. LAKE 
 I'm not surprised. 
 
 McCLELLAN 
 Neither am L To tell you the truth, I rather expected it. Well, 
 au revoir. 
 
 {Starts for door R.) 
 
 MRS. LAKE 
 
 Good-bye, Mr. McClellan. 
 
 (McClellan <'.i77,s- A'., closing the door.) 
 
 (Mrs. Lake sta)ids staring towa/d the door. After four or five 
 counts she turns and stares into space, facing front. .She finally loses 
 control of her linihs, falls into chair above table C, breaks doicn and 
 weeps bitterly . .liter a pause, L,.\ke enters.) 
 
 LAKE 
 {Enters froni A*., sees her sobbing, a)id rushes quickly to her.) 
 Why, what's happened? What's the matter? 
 
 MRS. LAKE 
 {Between sobs. ) 
 It's nothing, Harve\", nothing at all. 
 
 LAKE 
 
 But something's wrong. Tell me what it is, dear. 
 
 MRS. LAKE 
 {Makes no reply, but rises and moves over to sola L.) 
 (She shoivs that the struggle she has just passed through has had its 
 effect, and is aln/ost lin/p as she falls on the settee.) 
 
 LAKI<: 
 {Has been standing icatching her.) 
 I know what it is. 
 {J\doves over to her. ) 
 The story Carroll just told has affected you, hasn't it. 
 
 MRS. LAKE 
 Yes. 
 
98 THE HOUSE OF GLASS 
 
 LAKE 
 
 {Kindly tone.) 
 
 Well, you can't afford to take other people's troubles to heart iti 
 this way, dear. You know you always do that, and it always has the 
 same effect; makes you miserable. Of course your sympathies are 
 with the woman, but after all, dear, it isn't going to do her any good 
 nor you any good to make yourself unhappy over an affair in which 
 you are entirely disinterested. It's a matter between her and the 
 police. Come now, forget all about it. 
 
 {He leans over and pats her shoulder lovingly ^ then sits her on settee. ) 
 
 {She dries her eyes and sits staring in front of her. ) 
 
 {After a short silence, while he ivatches her face. ) 
 
 What are you thinking of now, dear^ 
 
 MRS. LAKE 
 
 { Without changing her expression. ) 
 
 Of that woman's husband, and what it will mean to him when the 
 blow is struck. 
 
 LAKE 
 Well, if he's a big man he'll find a way to meet the situation. If 
 he's been harboring a criminal, the sooner be finds it out the better. 
 
 MRS. LAKE 
 {After a pause. ^ 
 You mean he'll be glad to learn the truth? 
 
 LAKE 
 
 If he's been ignorant of the fact that his wife is an ex-convict whj- 
 shouldn't he be glad to learn the truth? 
 
 KShe makes no reply.) 
 
 There, come now, let's not discuss the matter any further. It 
 means absolutely nothing in our lives, and it's making you terriblj' 
 unhappy. Now please. 
 
 ( Mrs. Lake rises and crosses to7vard C. .Is she reaches the edge of 
 the table she S7vays.) 
 
 (Lakk ^oes quickly to her and steadies her.) 
 
 What's the matter, dear? 
 
 MRS. LAKE 
 SEvades him and goes to right hand corner of table and faces him.) 
 Oh, I wish to God you could guess, so I wouldn't have to tell you. 
 
THE HOUSE OF GLASS 99 
 
 LAKE 
 Tell me what, dear? 
 
 MRS. LAKE 
 ( Steadies herself. ) 
 
 That's why I led a hermit's life here in New York. That's why 
 I've been afraid of everything, of everyone here. That's why Carroll 
 told the story. 
 
 ( Wa rn Cu rta hi . ) 
 
 LAKE 
 Why, what do you mean, dear? 
 
 MRS. LAKE 
 
 {After a lotig pause.) 
 
 I am that woman. 
 
 {Pause.) 
 
 I am Margaret Case. 
 
 ( The only visible effect this has oti Lake is that he statu/s perfectly 
 rigid, looking before him without the movement of a muscle or change of 
 expression . It seems to stun him. Mrs. Lake waits for some reply. As 
 none comes, she looks up, sees the expressio7i 07i his face and ivrings her 
 hands in a^o?iy, realizing that his silence is proof ot his suffering.) 
 
 I served one year and a half, and then was put on parole. I broke 
 my parole because I was innocent. Do you hear me, Harvey, I was 
 innocent. As God is my judge, I was innocent. I went away to for- 
 get, and I met you. 
 
 {Pause.) 
 
 I hoped and prayed never to see this city again. 
 
 {Pause.) 
 
 But when you decided to come here, what could I do? No human 
 mind can realize the sufferings I've endured. I've fought my fight and 
 no one has seen the struggle. I was selfish to allow you to marry me 
 in ignorance. I've assailed myself and defended myself a thousand 
 times. I loved you, Harvey, and the thought of losing you made a 
 coward of me. I couldn't tell you. If I'd lost you there would have 
 been nothing left for me in the world. I thought I was away from it 
 all; that it was all far behind me. And now, after ten years of silent, 
 dogged pursuit, the law is knocking at the door again. God forgive 
 me, I've ruined your life. 
 
 {She turns R., with a bitter cry a?id falls in chair /?., above the 
 phone desk, sobbing.) 
 
100 THE HOUSE OF GLASS 
 
 LAKE 
 {During the above speech he has stood stone still. He turns and 
 looks at her ivithoict any sign of emotion. After staring at her for several 
 seconds, he looks front as if studying or rather summing up the entire 
 situation. His manner shozvs he is utterly dazed by the suddenness of the 
 confession and has not brought himself to believe that tvhat he has just 
 heard is the truth. He tUriis and goes to settee Z,., sits and reads the 
 carpet for a few moments. He runs his hand dazedly through his hair, 
 then rises and moves over to /.. of Mrs. Lakr.) 
 
 LAKE 
 What of this man Burke? What were 5^011 to him? 
 
 MRS. LAKE 
 We were engaged to be married. 
 ( Pause. ) 
 We had never met nntil two weeks before the arrest. 
 
 LAKE 
 He was a crook. Did you know that at the time? 
 
 MRS. LAKE 
 {Shakes her head negatively .) 
 
 No. What he had stolen was supposed to have been left to him 
 by some member of his famil}'^. 
 
 LAKE 
 
 ( Pause. ) 
 
 Your name is Margaret Case? 
 
 {She bows affirmatively .) 
 
 You married me under an assumed name? 
 
 {She 7iods.) 
 
 Then it was no marriage. 
 
 {A long pause, rvhile he sta?ids looking at her. She keeps her head 
 bowed on her arms for several seconds. Then, as the full realization of 
 his words penetrates, she looks up at hitn startled. ) 
 
 {He crosses slowly to the left hand edge of table and stands with his 
 back to the audience. ) 
 
 I can't believe this is true. 
 
 MRS. LAKE 
 {She sits watching' him as he goes over L., then finally forces enough 
 strength into her body to rise and move upstage to R. of table.). 
 
THE HOUSE OF GLASS 101 
 
 I'm going away, Harvey. 
 {Pause. ) 
 
 If I don't they'll come and take me, and I could never stand that. 
 ( Pause. ) 
 
 Won't you say something to me before I go? I know I don't 
 deserve any consideration at all — 
 
 MRS. LAKE 
 (Stretches her arms out to him.) 
 — but won't you please say something to me? 
 
 LAKE 
 
 {Stands looking coldly at her tor several seconds, then deliberately 
 goes up the stairs C. , and exits at head of same. ) 
 
 (Mrs. Lake stands looking after him, then rushes over to Left 
 Portiere on C. door, and stands rcatching Lake as he romes down the 
 stairs. ) 
 
 {As Lake enters at head of stairs, he is dressed in overcoat and hat. 
 He comes doivn and goes to door R., paying no attention to Mrs. Lake.) 
 
 MRS. LAKE 
 
 [As Lakh gets to R. door, she takes a few steps toivard hi>n 
 shrieking. ) 
 
 Harvey, where are you going? 
 
 LAKE 
 Police Headquarters, to find Carroll and learn the truth. 
 {Exits R.) 
 
 MRS. LAKE 
 . Police Headquarters. No, no, I can't go back. 
 ( Turns front. ) 
 I can't go back ! 
 
 {She falls on floor R. of table, sobbing hysterically.) 
 {Ad lib. as the curtain falls.) 
 
 CURTAIN 
 
102 THE HOUSE OF GLASS 
 
 *'The House of Glass" 
 
 ACT IV. 
 
 SCENE: Same as Act III. 
 
 {Bare stage at rise of curtain.^ 
 
 [After curtain is up a few seconds, Lake and McCi,EL,LAN enter 
 from R., followed by the Jap, who closes the doot and goes C.) 
 
 LAKE 
 Oh, Wada. 
 
 JAP 
 Yes, sir. 
 
 LAKE 
 Tell Mrs. Lake I'm here. Say that I wish to see her. 
 
 JAP 
 
 Yes, sir. 
 
 {Takes the n/en's coats and hats, puts them in the hall, then goes 
 upstairs. ) 
 
 LAKE 
 Sit down, Mac. 
 {Sits above table: McClellan sits on sofa L.) 
 
 McCLELLAN 
 {After a pause.) 
 You say you couldn't find Carroll at Police Headquarters. 
 
 LAKE 
 No ; they said he hadn't been there since morning. 
 
 McCLELLAN 
 What were you going to talk to him about if you had found him. 
 
 LAKE 
 Ask him point blank if my wife was the woman he suspected. 
 
 McCLELLAN 
 Well, that would have been a fine fool thing to do. You migbt 
 as well have gone to him with a full confession. 
 
THE HOUSE OF GLASS 103 
 
 LAKE 
 
 I didn't know what nij- intentions were, Mac; I don't know yet. 
 I can't realize that such a thing can be. 
 
 (Jap enters from stairs up C, conies down, and exits through 
 hall^vay toivard R. ) 
 
 McCLELLAN 
 
 {Rises, goes upstage, and crosses back of fable to R. ) 
 
 Did yon tell Mrs. Lake that you were coming to see me? 
 
 LAKE 
 
 No. 
 
 McCLELLAN 
 
 {After a pause.) 
 
 What are you going to do, Lake? 
 
 LAKE 
 What do you mean? 
 
 McCLELLAN 
 I mean, what stand are 3^on going to take? 
 
 LAKE 
 
 I don't know, Mac. Lm dazed, stunned. 
 
 {Rises and comes dotvn R. of table to C.) 
 
 Of course, the first thing I'll do will be to resign my position 
 with the road. It's the only way I can avert bringing disgrace upon 
 the men who have befriended me. 
 
 {Moves over toward L., his face half tiirned front.) 
 
 McCLELLAN 
 Well, now, don't go rushing headlong into things until we know 
 just where we're at. There's a lot of thinking to do, so take it easy. 
 
 MRS. LAKE 
 
 {Enters on stairs and comes slotvly doivn to C. above table. The 
 torture she has suffered in the last hour shoivs plainly in her movements. 
 She demonstrates this by leaninii and resting after every step until she 
 reaches C.) 
 
 {After a pause, she speaks almost in a tvhisper, as she leans against 
 the table to support herself. ) 
 
 You — you sent for me? 
 
 {Both men turn and look at her.) 
 
104 THE HOUSE OF GLASS 
 
 LAKE 
 Yes. Mr. McClellaii has agreed to act as 3'our attorney. I have 
 told him all you told me. He has come to liear the facts of the case 
 from your own lips. 
 
 MRS. LAKE 
 {Shakes her head despairingly . ) 
 There is nothing more to tell. 
 {Turns to xVIcClellan. ) 
 You will find a full record of the case at Police Headquarters. 
 
 McCLELLAN 
 ( lakes a step iozuards her. ) 
 
 Now, come, Mrs. Lake, you must help me if you expect me to 
 help you. 
 
 MRS. LAKE 
 {Hopelessly. ) 
 It's no use. 
 iPa?/.^es /or hreaih.) 
 I give up the fight. I'm tired. 
 
 ( Warn phone R.) 
 
 McCLELLAN 
 
 {R. of table.) 
 
 You can't give up the fight. You were innocenf^. 
 
 MRS. LAKE 
 The State said I was guilty. 
 
 McCLELLAN 
 But you ivere innocent. 
 
 MRS. LAKE 
 {After a pause. ) 
 Yes. 
 
 {Looks at Lake over L.) 
 
 I don't expect my husband to believe me. M\ life with him has 
 been a lie from the start — a terrible lie. 
 
THE HOUSE OF GLASS 105 
 
 McCLELLAN 
 
 {Photu- rings. ) 
 
 {Crosses above table to L. C, above Lakp:.) 
 
 Come on, Lake, it's np to you; she can't make the fight alone. 
 
 {Pause.) 
 
 {The telephone rings — no one moves — the phone rings again.) 
 
 {L,AK\\ goes to pho7ie—M.Q.ChVA,h^'^ remains L.) 
 
 LAKE 
 {Comes dozen to phone and takes receiver off hook. ) 
 
 Hello! Mrs. Lake? Who wants Mrs. Lake? She's 
 
 here, yes. Who is this? Yes, I'll have Mrs. Lake come to the 
 
 phone if you'll tell me who wishes to talk to her Just say a friend 
 
 of hers? Very well, hold the wire. 
 
 {Turns to Mrs. Lake.) 
 Some one for you. 
 
 MRS. LAKE 
 
 {Frightened. 
 Who is it? 
 
 LAKE 
 
 He wouldn't say. 
 
 (Mrs. Lake looks at McClellan without making any move 
 toward the phone. ) 
 
 McCLELLAN 
 See who it is. 
 {Motions to her to s.o to phone.) 
 
 MRS. LAKE 
 {Goes down to phone table and sits; Lake stands R.) 
 
 Hello Yes. 
 
 {She expresses surprise and fright as she takes the message. ) 
 
 Why, no . . . . No Why, there's — there's a mistake 
 
 No No, of course not Why, just a moment. 
 
 {She looks up at Lake alter smothering phone. ) 
 
 LAKE 
 Who is it? 
 (Mrs. Lake makes no reply.) 
 
106 THE HOUSE OF GLASS 
 
 McCLELLAN 
 \^Tio is it, Mrs. Lake? 
 
 MRS. LAKE 
 
 Burke. 
 Burke ! 
 
 ( Comes downstage. ) 
 What does he want? 
 
 LAKE 
 McCLELLAN 
 
 MRS. LAKE 
 He received a message a few minutes ago stating that I wished to 
 see him here. 
 
 LAKE 
 What does this mean, McClellan? 
 
 McCLELLAN 
 
 It means that Carroll's at work, and that's the way he's working. 
 He'll probably trail Burke here and force him to identify her. It's a 
 police trick — a trap — that's all. 
 
 {To Mrs. Lake.) 
 
 Tell him to come. 
 
 LAKE 
 No, not to this house. 
 
 McCLELLAN 
 I know what I'm doing, Lake. I want to get hold of Burke before 
 Carroll does. Let me manage this, please. 
 {To Mrs. Lake.) 
 Go on, tell him to come. 
 
 MRS. LAKE 
 
 {Looks toward Lake, who after a momeuV s hesitation^ ^ives consent 
 by nodding his head. In phone.) 
 
 Hello ... Yes .... Yes. I wish you would come here immediately. 
 I'll explain when you get here. Do you know where to come? . . .Oh, 
 
 that's so, the address was in the message Yes, I forgot. . . .Yes, 
 
 thank you. 
 
 {Hangs up receiver.) 
 
 
THE HOUSE OF GLASS 107 
 
 LAKE 
 Does this man know who you are? 
 
 MRS. LAKE 
 Yes. 
 
 LAKE 
 Then you've seen him since we've been here? 
 
 MRS. LAKE 
 No. I saw him in Kansas City when he came there with Mr. 
 Atwood. He recognized me and asked to see me. 
 
 LAKE 
 And you talked to him? 
 
 MRS. LAKE 
 Yes, I thought it best. 
 
 McCLELLAN 
 He made a demand for money, I suppose? 
 
 MRS. LAKE 
 i/^ues.) 
 
 No. He warned me never to come back to New York ; that 
 Carroll would get me if I did. 
 
 (J^ises, and ^oes to above table C.) 
 He was right — they've got me. 
 {Siti 171 chair above table.) 
 
 McCLELLAN 
 
 [Up to L. of Mrs. h^KU.) 
 
 No, they haven't — not yet, Mrs. Lake. I know enough about the 
 Probation Law to know that it was never meant as a weapon of 
 oppression. If Mr. Carroll, or anyone else, imagines he's going to 
 drag you out of your home and flaunt you as a criminal for the sake of 
 advertising the Department he'll find he has a cute little rough and 
 tumble legal battle on his hands. I haven't taken a crack at the 
 police heads of this town in four or five years, and something seems to 
 tell me that I'm just about due. 
 
 {Paces up and down L. angrily on the latter part of above speech.) 
 
 (Lake is over R., watching Mrs. Lake.) 
 
 (Mrs. Lake is sitting at table with her head buried in her arms.) 
 
 {Has been pacing up and down stage L. He now stops L. of Mrs. 
 Lake, a7id leans over the table towards her. ) 
 
108 THE HOUSE OF GLAS^ 
 
 The story you told me in Kansas City that evening was your own. 
 (She raises her head and nods ) 
 {After a pause. ) 
 
 {Warn bell L.) 
 
 Mrs. Lake, we have a problem before us, and you must not lose 
 the courage you've shown through it all until we've fought it out 
 every inch of the way. 
 
 MRS. LAKE 
 
 I don't care what happens; my life means nothing to me now. 
 
 {Looks towards Lake.) 
 
 He could never forgive me — now that he knows. 
 
 McCLELLAN 
 What does he know? He knows that you are innocent — that you 
 are not the sort of woman who could have pursued a life of crime. 
 He knows that you are good — that your heart and hands are clean ; 
 that w^herever j^ou've been you've inspired respect, and that your one 
 chance to replenish your empty life was with a husband's love, and 
 that one word might have spoiled it all. He knows why you never 
 told him the story until to-day; because he knows the remorseless 
 prejudice of the world toward anyone who has served a prison 
 sentence. He knows that though your lips were silent, your 
 conscience never was. He knows that the home he has given you 
 has been kept beautiful and lovely through all the years of your 
 married life. He knows that it was to satisfy his ambitions and to 
 further his success that you sacrificed your safety in the West and 
 came here where the past and future were inseparably linked. There 
 
 is nothing for him to forgive. He 
 
 {Directs rest of speech right at Lake.) 
 
 He should thank God for the chance to stand by and protect such 
 
 a wonderful little woman. 
 
 {After a pause, he crosses over to R. above Lake.) 
 Lake, the Jackson boy's mother is very ill. The shock of his 
 running awaj- might kill her. If you'll agree not to press the charge 
 against him, his friends will bring him back. It might be the means 
 of saving the woman's life — 
 
 {A long look passes between Lake and McClellan.) 
 There's another angle to it now. Do you get my meaning? 
 
 LAKE 
 {A long pause, ivhile he looks at McClellan, until seemingly 
 convinced. ) 
 Yes. 
 
THE HOUSE OF GLASS U)9 
 
 McCLELLAN 
 
 ( Goes to phone. ) 
 
 The Biltomore, please. 
 
 ( Waits for comiection. ) 
 
 I want to speak to Mr. Judsoii Atwood, please. . . .Mr. McClellan 
 
 Hello, Atwood? This is Mac. I've just had another talk 
 
 with Lake on that matter Yes, I finally told him about the party 
 
 interceding for the boy Yes Oh, in strict confidence, of 
 
 course. Tell me, is he in town? Here in New York now, I mean 
 
 He is, eh? Now, listen ; I'm pretty sure that if that party will 
 
 get to Lake personall5^ the whole matter will be arranged very easily 
 
 Well, I dare say he feels that he shouldn't have gone over his 
 
 head That's it exactly. But, listen. I've got Lake in a pretty 
 
 good frame of mind regarding tlie matter, so urge that party to get to 
 
 him as quickly as possible, understand? Yes, that's the idea. 
 
 Goodbye. 
 
 {Hangs up the receiver and rises. ) 
 
 The old boy would rather have got that news than a couple of 
 million dollars. 
 
 {The doot bell rings oft R.) 
 
 {After a monienV s thought . ) 
 
 If that should be Burke I'd like to see him alone for a few 
 minutes. 
 
 (Mrs. Lake rises and exits upstairs C.) 
 
 (Lake crosses to L.) 
 
 (McClellan ,^oes to door R., then crosses above table and dow?i L. 
 to above Lake. ) 
 
 LAKE 
 
 {As he crosses to A. ) 
 
 I don't know what you think of me, McClellan, but I can't seem 
 to find myself. My mind won't work, that's all. 
 
 McCLELLAN 
 Don't bother about your mind; just get that old heart of yours 
 working. 
 
 JAP 
 
 {Enters from R .) 
 
 A gentleman to see Mrs. Lake. 
 
 McCLELLAN 
 Show him in. 
 
110 THE HOUSE OF GLAvSS 
 
 JAP 
 Yes, sir. 
 {Exits R.) 
 
 McCLELIvAN 
 It's Burke all right. 
 (Eake exits L.) 
 
 JAP 
 
 {Enters after a pause, foUoived by Burke, to Burke.) 
 You wait, please, I'll tell Mrs. Lake you're here. 
 
 McCLELLAN 
 
 Never mind, Maddy, I'll talk to the gentleman. 
 
 JAP 
 
 Yes, sir. 
 
 [Exits in hallivay up C. tmvard R.) 
 
 BURKK 
 
 (S/tozi's surprise and nervousyiess as he sees McClellan.) 
 Oh, how do you do, Mr. McClellan? 
 
 McCLELLAN 
 {Crosses belozc table to Burke. ) 
 Hello, Burke, what are you doing here? 
 
 BURKE 
 
 {Nervously.) 
 
 Why — I — I heard these people were looking for a chauffeur, so I 
 — I called to see about the job. 
 
 McCLELLAN 
 
 Oh, that's it, eh? 
 
 BURKE 
 Yes. sir. 
 
 McCLELLAN 
 
 {Moves close to Burke and looks him squarely in the eyes.) 
 
 You don't say it right, Burke. 
 
 (Burke makes no teply.) 
 
 (McClellan shoots the iollowing question at him poiiit -blank.) 
 
 Why did you squeal? 
 
THE HOUSE OF GLASS 111 
 
 BURKE 
 
 {Pauses and thinks.) 
 What do yon mean? 
 
 McCLELLAN 
 You know what I mean. You've turned stool pigeon, have you? 
 
 BURKE 
 
 {After a pause. ) 
 I don't gjet yoti. 
 
 McCLELLAN 
 Yes, you do. Carroll sent you here, didn't he? 
 
 BURKE 
 {Pause.) 
 Why should Carroll send me here? 
 
 McCLELLAN 
 
 For identification purposes. Oh, don't play dead : he told me you 
 were working for him. 
 
 BURKE 
 He's a liar. 
 
 McCLELLAN 
 Well, some one's tipped him. Who else besides you knew? 
 
 BURKE 
 {After a pause. ) 
 Carroll's been here? 
 
 McCLELLAN 
 Yes. 
 
 BURKE 
 
 {After a pau.^e. ) 
 Who is he after? 
 
 McCLELLAN 
 You know who he's after? 
 
 BURKE 
 How should I know? 
 
112 THE HOUSE OF GLASS 
 
 McCLELLAN 
 Let me see the message jou received. • 
 
 (Burke looks at McClellan, but niakrs NO n'ply.) 
 Tlie message asking you to come here. 
 
 BURKE 
 
 I don't get you. 
 
 McCLELLAN 
 Well then, get this. Carroll has stumbled on to the fact that Mrs. 
 Lake is Margaret Case, but he's trying to prove it before he makes the 
 arrest. That's why he fooled you into coming here. He laid a trap 
 for you, and you fell foi it like a school boy. Do you get nie now? 
 
 BURKE 
 No, I don't know what yot: mean. I don't know who Mrs. Lake 
 is. I've never seen the lady. As for Margaret Case, she died five 
 years ago. Carroll knows that — I told him all about it. 
 
 McCLELLAN 
 You still imagine I'm trying to double-cross yon. Well, Ull prove 
 to you that Em not. 
 
 ( Goes upstage C . , and touches buzzer. ) 
 You think I'm in with Carroll, don't you? 
 ( Crosses above table and comes dotvnstage L . ) 
 
 BURKE 
 In with Carroll ! 
 ( Pause. ) 
 No, I wouldn't accuse a cur of that. 
 
 JAP 
 
 {Enters from halhvay up C.) 
 Vou ring, sir? 
 
 McCLELLAN 
 Yes. Ask Mrs. Lake to step here, please. 
 
 JAP 
 
 Yes, sir. 
 
 {Exits upstairs C.) 
 
 BURKE 
 
 {At first is undecided, then shozvs ex t rone nervotisness , and tinally 
 starts for the door. ) 
 
 Well, I'll go along. 
 
 { 
 
THE HOUSE OF GLASS ll"3 
 
 McCLELLAN ■ r"- :■; 
 
 NTo, wait, Bnrke, you might be of some little help. I wouldn't 
 run away if I were you. 
 
 (Burke siops short; McClellan crosses below table to R.) 
 
 Besides, you'll only bump into Carroll when you hit the sidewalk. 
 It's a cinch he's trailed yoii, or had yon trailed. You know how they 
 work as well as I do. 
 
 (Burke looks searchingly at McClellan; then crosses stage and 
 peers out of window upstage L., then cojnes to L. of table as Mrs. Lake 
 enters.) 
 
 (Mrs. Lake enters from upstairs, a?id comes slowly down to above 
 fable C. ) 
 
 ( The Jap follows her downstairs and exits through hallway toward 
 
 k.) 
 
 McCLELLAN 
 
 {Up R.) 
 
 Mrs. Lake, Mr. Burke is evidently under the impression that I'm, 
 in league with the police. Will you please assure him that I'm not. 
 
 MRS. LAKE 
 {Without looki?ig at BuEKE.) 
 Mr. McClellan is doing all he can to assist me. 
 
 BURKE 
 
 {After a long Pause.) v.: : ". 
 
 You don't mean that they've — they've really got you? • '-. 
 
 (Mrs. Lake ?iods.) 
 
 {'BxjB.K'E sways, then steadies himself.) 
 
 Oh, I'm sorr5\ 
 
 ( PVith a real tear in his voice.) 
 
 God, how sorry 1 am ! 
 
 (Lake enters from /..) 
 
 Mr. McClellan, isn't there some way to stop this persecution? 
 She was no more guilty than you are. They found a ring on her — 
 part of the loot I stole — that's why they sent her away. Why, she' 
 thought I was the soul of honor. The blow of the arrest left her 
 without strength enough to tell her own story. She sat like a marble 
 statue all through the trial and never uttered a word in her own 
 defense. She refused to be represented by counsel of any kind, never 
 asked a question or answered one during the whole proceedings — just 
 sat and stared without the wink of an eye. I begged her to take the 
 stand and tell the truth, but she didn't even seem to hear me, just sat 
 
114 
 
 THE HOUSE OF GLASS 
 
 and stared. It's God's truth. 1 thought she'd gone mad. No mart 
 ever made a more bitter fight for a human being than I did, trying to 
 save that girl. I pleaded, and got down on my knees and swore on 
 my mother's soul that she was innocent, but they dragged me from the 
 court and threw me back into the Tombs and told me my word was no 
 good. I was a crook. That's one thing the police will never let a 
 man live down. They've hounded me out of ever5- chance I've had 
 to earn an honest dollar for the last seven years. But I've been 
 straight as a die, because I made up my mind that they'd never take 
 me again, unless it was for murder — and that's what they'll take me 
 for, if Carroll tries to take her. 
 
 {Points to Mrs. Lake on the last live, then whirls L. and sees 
 Lake, who, throughout the speech, has been standing downstage L. The 
 two stand stari7ig at each other for a few moments, Mrs. Lake and 
 McClellan also holding the picture.) 
 
 {After a long pause, the door bell rings off R.) 
 
 (Jap enters from hallway 7ip R. Is about to exit, when McClellan 
 calls to him.) 
 
 McCLELLAN 
 {To the 5kv.) 
 If that is Mr. Carroll show him right in. 
 
 JAP 
 
 Yes, sir. 
 {Exits R. 
 
 McCLELLAN 
 {Goes upstage to C. door and calls to BuRKE.) 
 Wait in here, Burke, in case it's he. I want to hear what he has 
 
 to say before he sees you. 
 
 (Burke ^(7^.y upstage, and exits C. toward R.) 
 (McClel^.an turns to Mrs. Lake, who is still above table.) 
 Keep your nerves together, little woman ! He can't arrest you in 
 
 your own home ; that's one point of law in our favor. 
 
 CARROLL 
 {Enters from R., stops short as he sees McClELLAN, and bows.) 
 Mr. McClellan. 
 
 Hello, Carroll. 
 
 McCLELLAN 
 
THE HOUSE OF GLASS 115 
 
 CARROLL 
 
 (Crosses above fable to Lake, 7vho is L. ) 
 
 I didn't mean to intrude, Mr. Lake. I thought maybe I'd catch 
 you alone. There are one or two things in the Jackson case I forgot 
 to take up with you when I was liere today. I thought I'd better get 
 to you quick, so I could go to work on it tomorrow morning. 
 
 LAKE 
 
 ( Coldly. ) 
 
 All right, Carroll. 
 
 CARROLL 
 
 {Hesitates as he looks towards Mrs. Lake and McClehan.) 
 If Mrs. Lake and Mr. McClellan will excuse us for a few minutes, 
 why 
 
 McCLELLAN 
 
 [Interrupts. ) 
 
 Come on, Carroll, say what's in your mind ; we're all waiting to 
 hear it. It wasn't the Jackson case that brought you back. Come on, 
 what was it? 
 
 CARROLL 
 {Pajises.) 
 I'd much rather talk to you alone, Mr. Lake. 
 
 LAKE 
 I've no objections to their hearing whatever you have to say. 
 
 CARROLL 
 
 {After a pause. ) 
 
 All right, if that's the way you feel about it, but I'm afraid it's 
 going to be a little embarrassing for all concerned. 
 
 {Paiises.) 
 
 Mr. Lake, I've a duty to perform. I'm hunting for an escaped 
 criminal. I've good reason to believe that she's in this house. I 
 needn't remind you of the importance of upholding the law. This 
 being your home, it becomes your duty to help me. If you refuse, 
 there is only one alternative — that is, to place this person under arrest 
 the first time she appears on the street. 
 
 LAKE 
 A criminal in this house, you say? 
 
116 THE HOUSE OF GLASS 
 
 CARROLL 
 I think so. 
 
 LAKE 
 Whom do yoii accuse? 
 
 CARROLL 
 {Hesitaies.) 
 
 That's rather a delicate question to answer, Mr. Lake. That's 
 why I asked to see you alone. 
 
 LAKE 
 
 ^ After a slight pause.) 
 
 Go on; I see no necessity for a private interview. 
 
 CARROLL 
 All right, that's up to you. I haven't any right in this house, and 
 if you order me out I'll go without a word of protest, but I thought 
 you'd prefer to have things happen right heie rather than at Police 
 Headquarters. 
 
 McCLELLAN 
 Who is it you're after, Carroll? Come on, let's have it. 
 
 CARROLL 
 Margaret Case. 
 
 McCLELLAN 
 The woman you told us of lo- day? 
 
 CARROLL 
 Yes. 
 
 McCLELLAN 
 Why should j'ou associate her with anyone here? 
 
 CARROLL 
 I have several reasons, Mr. McClellan. One of them is that this 
 •man Burke, that she was convicted with, is hidden somewhere in this 
 house, right now'. . - - . 
 
 McCLELLAN . . . .; 
 
 {Pause.) 
 
 I dare say you know what a" mistake of this kind will mean to the 
 man who makes it. ■'-- ■ - -— - ~ ■ ■:-::::.":-- ■' 
 
 
THE HOUSE OF GLASS 117 
 
 CARROLL 
 
 I'll take the chance. If I have made a mistake it's the last one 
 I'll ever make. I'll stand ready to apolog^ize and resign from the 
 department — that's how snre I am. 
 
 ( Turns to Lake, after a slight pause.) 
 
 Have I 5'our permission to ask your wife one or two questions? 
 
 LAKE 
 
 {Pause.) 
 Go on. 
 
 CARROLL 
 
 {Goes up to Mrs. Lake.) 
 
 Mrs. Lake, what was your occupation before you were married? 
 
 MRS. LAKE 
 
 {After a pause, slowly, and with evident effort.) 
 I was a stenographer. 
 
 CARROLL 
 Thank you. 
 
 ( Takes a photograph from his pocket and goes to Lake. ) 
 This is a gallery portrait of Margaret Case taken ten years ago. I 
 think you'll see a striking resemblance. 
 {Extends the photo to Lake.) 
 Do you care to look at it, Mr. Lake? 
 
 LAKE 
 
 {Coldly.) 
 
 No, . 
 
 CARROLL 
 
 {After a slight pause, he turns to Mrs. Lake a7id extends the photo 
 
 to her.)- 
 
 Mrs. Lake? 
 
 {She shakes her head negatively .) 
 , Well, then, perhaps Mr. McClellan would like to— 
 {Starts aiound table toward McClELLAN. ) 
 
 ; •• -■ McCLELLAN 
 
 \ cloti't care to see it, Carroll; I'm not interested. - - . - 
 
118 THE HOUSE OF GLASvS 
 
 CARROIX 
 
 (Sta7ids looking ni the three, theyi crosses ohove fable and conies doivv 
 L. to above Lake. ) 
 
 The description is on the back; perhaps that will interest you. 
 
 ( Turns photo over and reads. ) 
 
 " Name, Margaret Case. Age, nineteen. Height, five feet four 
 and a half inches. Hair, brown. Eyes, blue. Complexion, fair. 
 Occupation, stenographer." 
 
 (Stands looking from one to the other.) 
 
 McCLELLAN 
 A description of that kind might fit a million women. 
 
 CARROLL 
 That's true, Mr. McClellan ; but I think you'll bear me out when 
 I say that there is one form of identification that never misses fire — 
 finger prints. Mrs. Lake, merely to settle this question one way or 
 the other, would you object if I asked for an impression of your finger 
 tips? 
 
 McCLELLAN 
 
 {Coldly.) 
 
 See here, Carroll, do you mean to accuse Mrs. Lake of being the 
 woman you're after? 
 
 CARROLL 
 
 {Takes McClellan's cold tone.) 
 No; I want her to prove she's not. 
 {Pause.) 
 
 I have a set of Margaret Case's finger prints in my pocket. We 
 can take an impression of Mrs. Lake's in two minutes if she agrees. 
 
 McCLELLAN 
 Well, she's not going to agree to such a humiliating thing. 
 
 CARROLL 
 I want to avoid publicity in this case if it's a possible thing to do. 
 I'm as sorry for the whole affair as any man in my position has a 
 right to be. The arrest of Mrs. Harvey Lake will probably back the 
 war news off the front page, but that's not what I want. Margaret 
 Case is the woman I'm after, and I'm willing to do the thing nice and 
 
THE HOUSE OF GLASS 119 
 
 (^uiet, without anj' sensationalism at all, and unless you make it too 
 hard for me, that's the way it's going to be done. 
 
 {^Slight pause.) 
 
 Mr. Lake, I'm going to ask you a fair question. Is Burke in this 
 house or not? 
 
 (Lake makes 710 reply. ) 
 
 (Carroll looks from one to the other., then goes upstage C, slowly 
 slips his revolver from his hip pocket afid shoots toward the floor.) 
 
 (Lake and McClellan start at the explosion. Mrs. Lake 
 screams and rises from her chair terrified. ) 
 
 (.4.y Carroll fires, Burke rushes out from up C. to upstage L.; 
 as he looks R. and sees Carroll, he realizes that the shot 7&/as a trick, 
 and stands dead still. ) 
 
 (Carroll p7its his gun in his pocket and stands smiling at 
 Burke.) 
 
 I thought that would fetch you. 
 
 McCLELLAN 
 ihidignantly.) 
 Carroll, this is an outrage! 
 
 CARROLL 
 
 (Ignores McClELLAN atid directs line at LAKE. ) 
 I apologize. Mr. Lake. It went off by mistake.. 
 {As he crosses to above Burke, L. C.) 
 Well, this is a surprise. What brings you here? 
 (Burke makes no reply.) 
 
 Burke, I'd advise you to answer my questions, and answer them 
 truthfully. 
 
 {Points to Mrs. Lake J 
 Who is this lady? 
 
 BURKE 
 
 I don't know. 
 
 CARROLL 
 You've never seen her before? 
 
 BURKE 
 
 Never. 
 
 CARROLL 
 
 ( lakes photo from pocket and holds it out to Burke. 
 Then perhaps you'll tell me who this is? 
 
t20 THE HOUSE OF GLASS 
 
 BURKE 
 ( Jakes photo and looks at it.) 
 r don't know. 
 
 CARROLL 
 
 The name and descriptions are on the back. 
 
 BURKE 
 Well, then read it yourself and find out who it is. 
 (Hands photo back to CarroLL-) 
 
 CARROLL 
 
 [As he takes the photo and puts it in his pocket. ) 
 That kind of stuff won't get you anything with me, Burke. You 
 better keep a civil tongue in your head. 
 
 BURKE 
 Why? You've got no right to grill me. You haven't got 
 anything on me. You haven't been able to get anything on me for 
 the last seven years, though God knows you've tried hard enough. 
 
 CARROLL 
 
 [Smiles.) 
 
 Well, I've got something on you now that will send you away for 
 a longer term than you served the last time. 
 
 BURKE 
 What do you mean? 
 
 CARROLL 
 
 Blackmail. I've got you dead to rights, Burke. You've been 
 blackmailing Mrs. Lake ever since you found out who she was. 
 
 {Uses third decree speed 7vith this to bring a qjiick anstver from 
 Burke.) 
 
 BURKE 
 ( 7 urns iurioiisly on CARROLL.) 
 You lie! You dirt}', yellow dog, you lie! 
 {As Carroll smiles, Burke realizes the trick.) 
 
 CARROLL 
 {Backs azvay , smili7ig.) 
 I thought I'd get a rise out of you, 
 
THE HOUSE OF GLASS 121 
 
 LAKE 
 
 (Sternly. ) 
 
 I must ask you two men to leave vay house. 
 
 (Burke slinks away and starts for door R. , passing -below table C. ) 
 
 (Carroll stands looking down at Lake.) 
 
 McCLELLAN 
 
 Wait a minute, Burke. 
 (Burke stops short, over R. ) 
 
 CARROLL 
 
 Yes, I wouldn't act hastily if I were you, Mr. Lake. The press 
 isn't represented here — it is at headquarters. 
 
 LAKE 
 It makes no difference. I won't submit to such outrageous methods 
 in my own home. It's got to stop right now. 
 
 CARROLL 
 
 All right, you can hand it to the public if you want to; I was 
 only trying to make it easy for you. 
 
 MRS. LAKE 
 
 ( Rises y and cries out despairingly . ) 
 
 Oh, I can't, I won't stand it any longer! I'm the woman you're 
 after, Carroll. I'm Margaret Case. For God's sake, take me away 
 and end it all. 
 
 BURKE 
 
 [Crosses quickly above table and conies dojcn to L. ot Mrs. Lake 
 and just above CARROLL.) 
 
 Don't believe her, Carroll. She doesn't know what she's saying. 
 I tell you Margaret Case died five years ago. 
 
 CARROLL 
 ( With a sn/ile, shoiring that he admires the mail's loyalty.) 
 All right, Burke. I've got to hand it to you— you certainly do 
 go through. You won't believe it, but I'm going to tell you just the 
 same; you're all right with me, even though you did call me a yellow 
 dog. 
 
 {X. up Burke up C.) 
 
XZi TUt HOUSE OF GLASS 
 
 McCLELLAN 
 
 {To Carroll.) 
 
 Carroll, I suppose 5^011 know this means ruin and disgrace for 
 them both. 
 
 CARROLL 
 
 (Moves above table to R., and above McClellAN.) 
 
 I'm sorr3^ Mr. McClellan. It's a rotten job I've got, but I must 
 do my duty. Between the satisfaction of cleaning up my record and 
 a lump in my throat, I've been battling with myself for the past two 
 hours. I didn't even make a report on it, not even to the Chief 
 himself. That's how the whole thing has affected me. I'm not trying 
 to grandstand b}' telling you this stuff, but now that it's all over I do 
 want you to know that I'm human, even if I am a copper. I'm not 
 going to make any spectacular arrest. Mrs. Harvey Lake need never 
 be known in the affair at all. I only ask that Margaret Case report to 
 me at headquarters within the next twenty-four hours, but I want 
 your word on it. Is that fair enough? 
 
 McCLELLAN 
 Twenty -four hours. 
 {Crosses L. to Burke.) 
 
 Burke, come in here for a few minutes, will you. I want to talk 
 to you. 
 
 {He and Burke exit L.) 
 
 {'Lh.K.n goes upstage to L. of Mrs. Lake.) 
 
 (Carroll stands looking at the Lakes a moment, then starts R.) 
 
 LAKE 
 Just a minute, Carroll. 
 
 (Carroll comes to R. of table, opposite Lake.) 
 Carroll, what's your price? 
 
 CARROLL 
 My price? 
 
 LAKE 
 Yes, the price of j^our silence. I'll give you a check for whatever 
 amount you name. 
 
 CARROLL 
 They don't write them big enough to buy me, Mr. Lake. As a 
 rule it makes me sore when a man tries to bribe me. but somehow or 
 other I'm sort of glad you made the proposition. It just kind of 
 satisfies me that you feel the way you ought to feel. 
 
THE HOUSE OF GLASS 123 
 
 MRS. LAKE 
 It's useless to try an}' further. Margaret Case will report at 
 Police Headquarters in twenty -four hours. 
 
 LAKE 
 No, no, no ! 
 
 MRS. LAKE 
 
 Yes. 
 
 (Rises and exits upstage C. toward L. ) 
 
 LAKE 
 Good God ! Carroll, there must be some way. 
 
 CARROLL 
 
 {R. of table; Lake L. of table.) 
 
 I'm sorry, Mr. Lake. I've got to stick on my job and be a real 
 cop until the arrest is made. After that you can call on me to go 
 through any way you want. 
 
 JAP 
 
 {Enters from R. and annot/nces.) 
 
 Mr. Atwood. 
 
 {He doses the door and exits upstage C, after Atwood and the 
 Governor have entered. ) 
 
 ATWOOD 
 {Enters from R., followed by the Governor.) 
 Hello, Lake. 
 
 LAKE 
 {Comes downstage L. to belotv table C.) 
 Hello, Mr. Atwood. 
 
 ATWOOD 
 Governor Patterson, Mr. Harvey Lake. 
 
 LAKE 
 
 {Moves C, to the Governor, and shakes hands with him.) 
 This is an honor, Governor. 
 
 GOVERNOR 
 Thank you. It's a great pleasure, Mr. Lake. 
 
 LAKE 
 Won't you be seated? 
 
124 THE HOUSE OF GLASS 
 
 GOVERNOR 
 
 Yes, thanks. 
 
 {Moves up R. of table to above it. ^ 
 
 (Lake moves up L. of table to L. of Governor.) 
 
 ATWOOD 
 
 {Sees Carroh.) 
 
 Hello, Carroll. I'm glad you're here. 
 
 CARROLL 
 
 Mr. Atwood. 
 
 ATWOOD 
 
 {R.) 
 
 This is Detective Carroll, Governor, the man who made the 
 arrest. 
 
 GOVERNOR 
 
 Oh, how do you do, Carroll? 
 {Seats himself above table.) 
 
 CARROLL 
 
 {Embarrassed. ) 
 Governor. 
 
 LAKE 
 Sit down, Carroll. 
 
 (Carroll sits on sofa L., downstage e?id.) 
 (Lake sits L. of the Governor up L.) 
 (Atwood sits over R., above phone desk.) 
 
 GOVERNOR 
 
 Mr. Lake, Mr. Carroll, I must ask you both to treat in strictest 
 confidence the fact that I have interested myself in this case. For 
 reasons, political and otherwise, I prefer not to be known in the matter 
 at all. Suffice it to say that this boy's parents are very decent people 
 and have been intimate friends of mine for years. For this reason, 
 more than any other, I don't wish to be mentioned in connection with 
 any influence that is brought forward in the boy's favor. 
 
 LAKE 
 ( 7o Carroll. ) 
 The Governor refers to the Jackson case. 
 
THE HOUSE OF GLASS 125 
 
 CARROLL 
 I knew there was big influence somewhere, Governor, but I 
 didn't know it was up so high. 
 
 GOVERNOR 
 It'-s a first offense. He's a mere boy, and his mother must be 
 considered. I have come to you to ask you as a personal favor tome, 
 Mr. Lake, to agree not to press the charge, so that the lad may return 
 to his home and his people. 
 
 LAKE 
 
 All right. Governor, you have my word for it. 1 will not press 
 the charge. 
 
 GOVERNOR 
 Thank yovi. 
 
 ATWOOD 
 
 I said that a word from you would end it all, Governor. 
 
 McCLELLAN 
 
 {Enters from L.) 
 
 Oh, I beg your pardon. 
 
 {Bows to the Governor.) 
 
 Governor. 
 
 (McClELLAN moves up back of sofa to head of it. ) 
 
 GOVERNOR 
 
 Mr. McClellan. 
 {Bows.) 
 
 LAKE 
 
 {Rises.) 
 
 I am going to ask a favor of you, Governor. There is another 
 case which has come to my notice during the past few hours which I 
 am sure is worthy of consideration; the case of a girl convicted, 
 sentenced, and released on probation. She broke her parole, and now, 
 after eight years, she is back here in the State of New York and ready 
 to surrender herself to the authorities. I won't bore you with a 
 detailed account of the case, but I happen to know that she has led an 
 absolutely good life, and that while the circumstances were against her 
 -in the trial of ten years ago, there is no doubt in my mind that the 
 girl was absolutely innocent. 
 
126 THE HOUSE OF GLASS 
 
 GOVERNOR 
 
 What was the girl's name? 
 
 LAKE 
 Margaret Case. 
 
 GOVERNOR 
 She has never applied for executive clemency? 
 
 LAKE 
 
 Never. 
 
 GOVERNOR 
 
 Any other conviction besides the one you speak of? 
 
 LAKE 
 No, a first offense. 
 
 GOVERNOR 
 Who recommends the pardon? 
 
 LAKE 
 I do. 
 
 GOVERNOR 
 Bring this girl to me to-morrow morning, along with the facts of 
 the case, and T will see that the application is favorably acted upon. 
 (J^ises. ) 
 
 LAKE 
 Thank you, Governor. 
 
 McCLELLAN 
 
 {Moves slightly towards the Governor.) 
 
 It will be the biggest thing you ever did, Governor. If there eve 
 was a deserving case, this is it. 
 
 GOVERNOR 
 
 I'm only too happy to return the favor to Mr. Lake, and 
 especially glad that the case is one so well recommended. 
 
 ATWOOD 
 
 (Rises.) 
 
 Well, I don't know the girl, but I'd like to sign that application 
 myself. . . -. ..: " .':.:_ 
 
THE HOUSE OF GtASS 127 
 
 ( Goes C. ) 
 
 Lake, I want the Governor to meet your wife. 
 
 LAKE 
 Why, yes, of course; just a moment. 
 iSiaris up C) 
 
 McCLELLAN 
 iSiops Lake.) 
 
 Oh, Lake, Mrs. Lake is resting, 5'ou know. She asked not to be 
 disturbed. 
 
 ( Warns Lake -icith a look.) 
 
 LAKE 
 Oh, of course, I forgot. Some other time. Governor. 
 
 ATWOOD 
 Oh, I'm so sorr\-. 
 
 GOVERNOR 
 We must hurry along, Atwood. Goodbj^e, Lake. 
 {h.TVfOOTt ^oes upstage R.) 
 
 LAKE 
 {Shakes kauals ici'th the Governor.) 
 Governor. To-morrow morning — at what time? 
 
 GOVERNOR 
 
 Say, nine o'clock. 
 
 LAKE 
 Right. 
 
 GOVERNOR 
 
 ( To the others. ) 
 Goodbye, gentlemen. 
 [Starts R.) 
 
 McCLELLAN AND CARROLL 
 Goodbye, Governor. 
 
 ATWOOD 
 {up R. C.) 
 I'm dining with the Governor, xMac. 
 
 McCLELLAN 
 {Over L.) 
 I'm going to stay here. 
 
iU THE HOUSE OF GLASS 
 
 CARROLL 
 Goodbye, Mr. Atwood. 
 (Atwood, the Governor and Lake exit /?.) 
 
 McCLELLAN 
 Carroll, we've still got twenty-four hours. 
 
 CARROLL 
 
 I'm clean. I did my duty. 
 (Points to room L.) 
 Is Burke in there? 
 
 McCLELLAN 
 Yes. 
 
 CARROLL 
 
 I want to talk to that bird. 
 {Exits L.) 
 
 (Mrs. Lake enters from upstage C. She stops and looks at 
 McClELLAN, then comes down to him with otUstj'etched hands.) 
 
 McCLELLAN 
 
 ( lakes her hands. ) 
 You heard ? 
 
 MRS. LAKE 
 Everything. You've been so wonderful— so big. 
 
 McCLELLAN 
 Big! Now don't get personal ; I'm exercising ever}' morning. 
 {Laughs.) 
 
 (Lake enters and comes to C, holding out his arms to Mrs. Lake. 
 She goes to hijn .) 
 
 McCLELLAN 
 {As Lake enters he comes dotvn L., opens L. door and laughs.) 
 Can you beat that? Carroll and Burke are plaj'ing a game of 
 billiards. 
 
 {Laughs.) 
 
 (Mr. and Mrs. Lake are upstage C, clasped in each other' s arms.) 
 
 CURTAIN 
 
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