Sunshine in Mariposa
A Play in Four Acts
Author of “Sunshine Sketches of a Small Toten,” etc.
SYNOPSIS. - Jefferson Thorpe, /»trier, of Mariposa, dabbles in Co ;»ilt mining stocks in order to raise enough money to build-a Home for Orphans as a memorial to his late wife. The possession of four hundred shares of Corona Jewel Mining Co. e> rtificcrtes nets him, over one hundred thousand dollars'and he then decides t;> go into speculation in Cuban lands ot the instigation of two Xew York men, Harstone and Slyde. He opens a real estate office in Mariposa and announces that he is to be a director in the Cuban Land ('o., if the jealousy of Morgan and Rockefeller can In overcome.
MYRA.—Rockefeller and Morgan! JEFF—No less.
MYRA.—But why should they object? I don't understand.
JEFF.—Jealous. That’s why it’s to be kept quiet. Harstone says not to tell anybody here about it just yet By the way Mr. Harstone and Mr. Slyde haven’t been in yet have they?
Myra.—No father, not yet JEFF (looking at his watch).—They ought to be here soon.
ANDY.(puts his head in at the door) —The jiainters got the sign all ready. Will I bring it down?
Jeff.—Yes, go and bring it, Andy. [Exit ANDY.]
Jeff.—Was anybody else in?
Myra.—Mr. Macartney. He’s coming back.
Jeff.—Yes, I know
Myra.—And there was a man came in asking to get shaved; he wanted to know if you still did shaving.
Jeff.—If I still did shaving! What does he think? Does he think I’m too proud to shave him? He little knows me.
Myra.—I told him to come back in a few minutes. Shall I get your white coat father, so that you’ll be ready?
[MYRA gets JEFF’S little white coat out of the drawer. JEFF takes off his good coat and goes to put on the barber's jacket.]
Jeff.—Certainly I’ll put it on ! Do you think I’m too proud to wear a white coat just because I’ve made $100,000? Certainly I—11—put—the—(getting into it with difficulty and disgust)—dam thing on. (Squaring it in front of the glass) — MYRA, I don’t believe this coat fits. I’ve outgrown it.
Myra.—Oh father, you’ve worn it for
JEFF (tearing it off)—It’s damp I won’t wear it. A damp coat is simply death.
Give me my other—Ah !
That fits better. Anyway, I’ll have to write my letters first. If anybody comes in he must wait. Now, let’s see (pulls open a letter and reads it to himself in a couple of seconds and s tarts to answer it as he walks up and dovm,
MYRA seating herself at the typewriter).
JEFF (dictating like blue lightning).—Dear Sir,—In answer to your esteem favor of the 28 proximo, I beg to state-
Myra.—Oh, too fast, father, too fast
JEFF. — Too fast!
That machine can do 200 words a minute.
They said so when I got it.
MYRA. — Yes, but I can’t—You see, father, it takes time to learn this wretched thing.
It’s awfully nice of you
to pay me two hundred
dollars a month to be your secretary, but
really it’s far more than I’m worth. But
then you pay everybody too much.
MYRA (consulting a little account book) —Look, father, last month. Andy for helping in shop, $100, Mrs. Gillis for cleaning $100. But I don’t mind that. Poor thing, she’ll need it. Is It true father that Mr. Mullins has dismissed Gillis.
JEFF. — I’m afraid so Myra. He couldn’t do anything else. Ben’s not fit to be a caretaker. He’s drinking too much. Perhaps I can do something for him. I might get him on the board of a company, or something where his drinking won’t matter.
MYRA, (still looking at the accounts).— That money for Mrs. Gillis was all right I suppose. Then look at this. You sent Mr. Macartney, all the way to New York but two weeks ago. Hundreds and hundreds, that cost.
Jeff.—That was merely business. Macartney went as my lawyer to look into the Cuban Land Company, I wanted te know it was all right, but before I put $50,000 into it
Myra.—But father, Mr. Macartney’s expenses without his fee were over two hundred dollars for two days. Could Mr. Macartney really eat and drink two hundred dollars in two days? ''
JEFF (shaking his head).—In New York you can.
Myra.—Look at this (pointing to an item) midnight supper, 20 dollars.
Jeff.—Exactly—that shows. There was Macartney working away till mid-
night—in my interest Think t)f man, Myra, slaving away, and to break off and get supper till n It touches me.
Myra.—Then I won’t say an] father. But have we really got money?
Jeff.—It’s not what we hay that counts. It’s what we’re have. Do you know how much I on the Corona Jewel Mine?
Jeff.—A hundred and twelve dollars!
Myra.—A hundred and twelve | sand dollars!
Jeff.—Sixty thousand is being to the Home. Maçartney has tile nearly ready. And fifty thousand sent two days ago to New Y Cuban Land Company. Hai Slyde will be in here this morning me if they’ve taken it (Impatiently]
ing Up and down.) By-, I hoi
Myra:—Why shouldn’t they take
Jeff.—Harstone says it all def General Perrico, the head of the pany. He’s a Cuban, and you proud the Cubans are. He might take it But Harstone is using all fluence. He has great hopes—hell | this morning. And, Myra, if I fifty thousand dollars worth of one year, or less, it will be worth fii dred . thousand dollars !
Myra.—Oh, father, is that possihl
Jeff.—It’s not only possible—il fact. It’s in the prospectus (puUit
of his pocket a printed sheet and reading), “It is confidently expected that in one year or less the stock of the company will advance to ten times its par value,
Myra.—It seems too wonderful.
Jeff.—You all said that about the Corona Jewel—and wasn’t I right? But this time I want all my friends to share in it. Harstone is asking the General to allot another ten thousand of stock for my friends. All they have to do is to give me their money—much or little, he says— just what they have. He says the company is prepared to treat any friends of mine as they’d treat me! This time I want everybody in Mariposa to be rich! I want the whole town to be rich—all of us! But stop, I must get these letters. (Opening one.) Ha, didn’t I say so? (Opening a great fat letter from which falls a big roll of bills.) There vou are, first thing!
Myra.—What is it, father?
JEFF (looking at the letter).—From Bill Evans. (Reading.) “I enclose two hundred and fifty dollars; please give me the worth of it in your new Cuban Land Company. I may be able to raise her to two hundred and fifty-five next month.” The worth of it? I’ll give him ten times the worth of it. I’ll write to Bill at once. Put this down. “Dear Friend Bill”— no, no — “William Evans, Esqre., Constable of Mariposa, Mariposa Street, Mariposa.” That’s better—“Yours of the 29th proximo received-”
Myra.—Proximo, father? Shouldn't it be ultimo?
JEFF (thinking it orer).—Proximo—ultimo—proximo. I think proximo sounds neater, more business-like.
But proximo means next
Jeff.—Then it’s quite right. Bill sai next month. That’s all right. (Gain on dictating.) “With enclosure as statec Very truly, J. Thon>e.” Now, I’ll pa the money in the safe with the rest. (Goe to safe with the bundle and starts fumb ling with the combination.) . . . Thi two hundred and fifty from Biil—fiv hundred from Johnson — four hundre from Jim Elliot—Peter's money will b here to-day—that will be nearly six thou sand.
MYRA -IS it safe there, father?
JEFF.-Safe? Safe as a good tight combination lock can make it. (Fumbling at the clock. ) Three, one—no’ three, four—what is the number of this thing?
—I don’t remember, father.
[A splash of water at the window reminds him of MRS. GILLIS.]
•T“T—Ah! Mrs. Gillis, she’ll know. (Raising his voice.) Mrs. Gillis, what’s the number of the safe?
MRS. GILLIS (putting her head in, a wet mop cloth in her hand).—Eh?
Jeff.—What’s the number of the safe?
MRS. GILLIS (calling from the door-, way).—Three, two, four, three, turn two.
[Shuts door and exit.
Jeff.—Ah, yes—three, two, four, three —great thing a safe. (As he opens the door and puts the money in.) I always wanted a safe. Gives one a sense of security. Three, two, four, three, turn two — I'll just write that down. (He writes it on the white wall beside the safe in big figures.) There!
[NOMS outside. As the door opens, voice of ANDY, “Steady, there, look out, Biss. GILUS.”]
Jeff.—Ah, here’s Andy with the sign.
[Door opens, and the long end of a big sign board wrapped in paper, is stuck in, moving inward.]
ANDY’S (voice).—Steady with that end there . . . get hold of it, Mrs. Gillis. .
MRS GILLIS’ (raicé).—. . . Lands
sake! You’ve got me jammed agin the telegraph pole. . . .
Jeff.—Hold on now—don’t get excited! (The long end of the sign sways to and fro continuously; JEFF grabs it and is pulling and hauling at it as he speaks.) Now then—bring her to me—Yo!—here she comes.
MRS. GILLIS’ (voice).—. . . You’re getting me agin a buggy wheel!
Jeff.—Now then—bring her to you, Andy—take hold, Myra-
[Business of struggling with the long sign as it sweeps this way and that in their trying to get it through the DOOR-JEFF at the end, ANDY in the doorway — MRS. GILLIS exclaiming and howling but not seen until—with a burst in they come, sign and all, MRS GILLIS dragged in tn a heap.]
MRS. GILLIS (picking herself up—puffed and red—exclaims),—My lands, Andy, if you ain’t almost ruined this gown!
Jeff.—Never mind that. There (giving her money) go get a new gown. Get a dozen. [Exit MRS. GILLIS.] Now, get the paper off it . . . break the strings, Andy . . . don’t get excited . . .
wait, turn it clear over . . . that’s it. ha!
[S/pn is stood up on its side on the floor all along one side of the shop.]
JEFFERSON THORPE. MINING AND LAND EXCHANGE.
JEFF (standing back and admiring it.) — Looks good, doesn’t it? “Jefferson Thorpe, Land and Mining Exchange,” pretty good, eh? . . . But, stop a minute, Andy, that’s not all of it. Didn’t you tell him I wanted “Barber Shop” on it, too?
Andy.—It’s all right—it’s there—he says there’s a piece in the middle that you let down.
[He stoops and fumbles—a little hinged bit of wood opens out thus.]
JEFFERSON THORPE. MINING AND LAND EXCHANGE.
I An 1 Rgrbyr Shop I
Jeff.—That’s better. I don’t want anyone to think I’m too proud for my trade. . . . That’s much better. .... Now fold it up again, Andy, like it was.
[At this moment enters, somewhat timidly—a customer—stands in the doorway; takes his hat off ; very rustic; a greqt mop of hair.]
THE CUSTOMER (in a heavy yokel voice with a drawl.)—Mr. Thorpe here?
THE Customer.—Still doing barben n’, ain’t yer? Well, I need a hair cut Jeff.—I should say you did. Sit right down there . . . er . . . Andy —
comb out his hair till I’m ready. . * . Now, Myra, give me the rest of the mail while I do his hair . . . scissors? [MYRA gets a pair out cf a closed drawer.]
[JEFF with the scissors goes to the costomer. ANDY to the window, MYRA to her desk,]
Jeff.—Now let’s see. Yes, Myra, write down this: “Answering your letter of the third instant . . . (click, dick of the typewriter—and snip, snip, snip of the scissors—all the sounds together.) I beg leave to state (click—snip) that I am authorized to offer you shares in the Cuban Land Company ... etc., etc.” [.4s JEFF dictates uHth his eye on the letter, he clips wildly and rapidly into the customer’s hair without looking at it. MYRA writing full speed^and the scissors flying.]
ANDY (who has been looking out of the window.)—I think I see Mr. Harstone and Mr. Slyde coming down street, Mr Thorpe.
Jeff.—Is that so? Mr. Harstoae and Mr. Slyde—here—— (taking customer bp the arm and leading him out of the chair to the side door). You see down there where that sign is—well, that s another barber shop—Hillis’s—here—here’s a dollar—go and get your hair cut—and get a shave—get a shampoo—get anything— Andy, take him out and show him.
[Exit ANDY and customer through the side door.]
Myra.—If they’re coming, III take my work in here, father.
[Then through the front door, enter
HARSTONE and SLYDE.]
HARSTONE (well dressed, smooth shaven, face hard as flint, a gentleman criminal, suggestive of recklessness and nerve).— Good morning, Mr. Thorpe.
Jeff.—Good morning, gentlemen.
[Shaking hands with JEFF ]
HARSTONE.-A fine day, Mr. Thorpe— another glorious day—a lot of sunshine you get in Mariposa.
JEFF. Lots of it—no place like Mariposa for sunshine.
Harstone.—That’s right Bat we’ve gotto get you out of it all the same. We want you in New York. Metí like you are all too scarce in New York. Aren’t thev. Slyde?
Slyde.—That’s right. They’re looking for men like you in New York, Mr. Thorpe.
JEFF (rubbing his hands).—Well, well some day, perhaps, but I like this place. Harstone.—Well, I’ve got some good news here that’ll make you like New York. [Taking out a letter ]
Jeff.—Good news. From General Perneo?
t Harstone.—No less. Listen to this: “We have received and cashed Mr. Thorpe’s draft for fifty thousand dollars. Pray convey to Mr. Thorpe my appreciation, not for the money itself”—Perrico is worth millions—“but of his sympathy and co-operation in the cause of renovating and reorganizing my beloved Cuba. Pray say to Mr. Thorpe that we are prepared to take on his behalf for stock at par the further sum of money, the sixty thousand of which you speak. This stock
it is understood will be held as a trust in favor of the Martha Thorpe Home for Destitute Children. This generous endowment of Mr. Thorpe has our warmest sympathy arîlf we are prepared to receive in its behalf for stock at par any and whatever sums Mr. Thorpe may send. Please say to Mr. Thorpe that we are prepared also to£ake at par the money which we understand he is collecting from his Mariposa friends. We will treat them all as we are treating him. Accept, dear Mr. Harstone, the expression of my most ?ordial sentiments, Ximenes Blanco Perrico.”
JEFF (with a great breath of relief)..— Splendid. This will endow the Home as I never could have hoped to. Gentlemen, my best thanks. (Shaking hands with them with some feeling.) Why, this will mean, what, half a million, won’t it?
Slyde.—Can’t fail to.
Harstone.—Absolutely certain. You see, Mr. Thorpe, our Company is a sure thing; here you have Cuba.
[Gotnflr to the map and pointing.]
JEFF (nodding).—I see.
Slyde.—Full of waste lands.
Harstone.—Well, in we come with our noney, our northern energy, the brains of men like you, your driving power—your rrit—why, Mr. Thorpe—it’s millions, milions—
Jf.ff.—Splendid. It’s not for myself [’m so pleased, gentlemen. It’s for the dome I’m founding—in my wife’s mem-
ory—it means a lot to me(much
HARSTONE (with a great show of being touched, comes over and takes JEFF’S hand).—Thorpe, you’re a good man.
JEFF (recovering himself).—Well, I’ll go and get Macartney at once and have the papers made out to transfer the sixty thousand—I’ll find you gentlemen here later.
Harstone.—Here or at the hotel.
[Exit JEFF ]
HARSTONE and SLYDE ( they look at one another and laugh).
Slyde.—Isn’t he too easy?
Harstone.—Easy. It’s so easy it— almost spoils the fun of it.
Slyde.—Didn’t I tell you!
Harstone.—Yes, you were right to bring me here! It’s the easiest thing— and to think of his sending old man Macartney to New York to look into the company!
Slyde.—I can just see Olson acting as General Perrico and taking Macartney round New York—entertaining him—got him full and kept him full-rand stuffed him up till Macartney thought the “General” was worth millions—it’s too easy.
Harstone.—And they’re all as bad— all gone clean crazy over it—that young ass Pupkin is gone clean daft Got “big money” on the brain. They can’t get over Thorpe making a hundred thousand in a mine. Pupkin is to bring in two thousand to-day.
Harstone.—Yes, if Thorpe would only give it into our hands—but he sticks all his friends’ money in that damned old safe—says he’s waiting till he gets it all.
Slyde.—Well, well get it presently-
HARSTONE (shaking his head)\—Yes, but we need to hurry. There are (things I don’t like—I don’t like that manlSmith (pointing over his shoulder touA his thumb) at the hotel—nor Mullins—they— Slyde.—Well, they’ve nothing to go on —it looks all straight—Macartney’s report and the rest of it.
Harstone.—Yes, but the other the other end—what’s happening ii York? Listen to this. This came mail this morning—from Olson (r^ “Better put things through as fi you can. We have cashed the draf fifty thousand. Get the further thousand and quit—there’s a leak where” — and listen here (confiai Pinkerton man was in here prying around —Olson recognized (him; but there s something wrong. We are all ready to clear if you send word, wards thinks they are getting wai for you and Slyde in Toronto.”
SLYDE ( visibly scared as he lieft I don’t like that. I’d rather—i it be better to get?
Harstone.—What! With sixty sand dollars almost in our hands, anf thousand right in there (pointing safe) and I want it all. I’m damn« quit till I get it all.
Slyde.—Yes, but in this damn country, a warrant is . . . I . . .
Harstone.—Here, man! Where’s Four nerve? Did you think it was play! You’re white as that soap—come out in the air—we’ll walk down street and | you can pull yourself together—
[Exit HARSTONE and SLYDE by kide door.]
[Enter JEFF and MACARTNEY-MAC!
NEY carrying a bundle of documents under his arm.]
Jeff.—Everything’s ready, is it, Macartney?
MACARTNEY. — Everything, my dear Thorpe, everything. (Spreading out his documents.) Now, let us see, “Endowment deed of the Martha Thorpe Home for Destitute Children”—good; needs only the, signature of two witnesses and a notary. (Indicating with his finger). . . (Picks up the papers one by one). Hum —yes—“J. Thorpe in account with W. Macartney for drawing deed-”
Jeff.—Your bill, eh?
Macartney.—Exactly. . . . Yes.
“Accepted plan of architect”
Jeff.—Let me see. ( Turning it round and round.) North elevation—south elevation—east elevation—here, Macartney, is it elevated every way at once?
MACARTNEY. — Har! har! You will have your joke, Mr. Thorpe. Now, let us see, “accepted plan of architect”—andres—MJ. Thorpe in account with W. Macartney re accepting plan-”
Jeff.—Your bill, eh?
Macartney.—Yes. Fee for acceptance of contract Now, let’s see, “Rejected plan of architect”—another architect. . . “J. Thorpe in account with W. Macartney re rejection.”
Jeff.—One fee for accepting and another for refusing?
Macartney.—Oh, we lawyers have to be quite impartial, you know. That safeguards you.
JEFF —Well, I begin to feel pretty safe, Macartney.
Macartney.—. . . And here—fee
and expenses of W. Macartney to New York re investigation of Cuban Land Development Company—fee, so much—expenses, so much—contingent expenses, so much—non-contingent expenses, so much —other expenses, so much—additional expenses, so and so—all clear, is it not?
JEFF (laughing).—Oh, clear as day.
. . . and quite right. I didn’t expect you to go for nothing, and you brought back the information I wanted.
Macartney.—A splendid company, my dear Thorpe — splendid — your money’s safe with them; and the head—General Perrico—a delightful man—I’d no idea Cubans were so white—spoke excellent English, too, and entertained me in my spare time like a prince—such little rags of spare time, that is, as a lawyer finds— dinner, theatres, everything-
Jeff.—Theatres, ah, yes, I saw Shakespere once—long ago in London—A Winter’s Tale.
Macartney.—Winter’s Tale—that was. it—or no—nearly that—Winter Garden, that’s it. But, come, tell me what it is that you want me to add to this ( tapping the endowment document) before we sign? Tell me just as clearly and singly
as possible, in a few words what you want —and I'll go and run it into legal terminology in half an hour.
Jeff.—I want to say I’ll give to the Home sixty thousand dollars’ worth of stock in the Land Company instead of cash.
MACARTNEY. — Excellent. Couldn’t b e plainer. I’ll just make a. note of it (scribble* at table) say—“I, Jefferson Thorpe, of the town and township of Mariposa, d o hereby give, bequeath, transfer, devise and assign” —oh, yes, I can rush
that off in--
[Gathers documents to go.]
Jeff.—And don’t forget an account for it, Mac!
MACARTNEY. — Har! har! you will have your joke!
side door Enter JOSH SMITH, grea tly dressed up, colore d w a i st c o a t. flower, valise i » hand.]
SMITH. — Well, Jeff. I’m off.
Jeff.—Go ng to the city, are you?
SMITH. — Yep! next train. Hotelmen’s meeting—to fight the temperance movement.
Jeff.—What are you going to do?
SMITH. — Why, get together about it I says to the other boys—boys, we’ve got to get together shoulder to shoulder and fight this thing or it will beat us. So we got a meeting down in the city to-night— private—I says to the boys, the way is for a few of us to get together round a table, over a glass of whiskey—and fight it—yes, sir—and beat it. But say, Jeff (Sinking his voice.) I want a word with you—alone, Jeff—them friends of yours —this here Harstone and this Slyde—I don’t like ’em-
Smith.—I know they’re your friends— but they ain’t mine—I wouldn’t have them in my hotel if I could help it—Jeff, they’re crooks-
Jeff.—Josh, you’re an old friend and a good friend-
Smith.—I tell you they’re crooks—the two of them—and I’ll tell you more, Jeff, though I oughtn’t to. (Looking around to be sure.) The police is after them. I’ve had the word to watch them. They’re after them from Toronto and from Noo York—there’s a man Olson in Noo York, the head of the concern, that they want first—and the minute they get him-
JEFF. — Stop, Smith, stop. I won’t listen, I-
Smith.—Well, Jeff, I can’t persuade you. But I warned you. Well, I can’t wait. I’ll be back to-morrow early—so long.
Continued on page 83
Sunshine in Mariposa
Continued from page 26
Jeff.—So long, Josh. Take care of yourself.
[Exit SMITH by front door. Enter NORAH, by side door—tip toe, she has a bag in her hand and is laughing.]
Norah.—Is Mr. Smith gone?
Norah.—I watched him go. I didn’t want him to catch me. I’ve got my money, Mr. Thorpe, all the savings I brought from Ireland, to put into the new company.
JeFf.—That’s right, Norah, that’s right.
Norah.—It’s a sight of money, Mr. Thorpe, seven pounds, ten shillings and four pence, Irish. ... I’d given it all to Mr. Smith to keep—he’d put it in his room—and I knew he was dead set against the company—so I stepped in and stole it back, Mr. Thorpe. (She laughs.) Isn’t it a lot of money? (She pours it on the table.) Seven pounds, ten shillings and four pence ! What would that be in Canadian money, Mr. Thorpe? # Would it be more or less?
JEFF. — More, Norah, ever so much more. That’ll be—I tell you—that shall be a hundred dollars, Norah.
Norah.—And, oh, Mr. Thorpe, Andy says to put his money in along with mine, and it’s to be just one share for the two of us.
JEFF (laughing).—Yes, I’ve been hearing something about that—so it’s just one share for the two of you, already, Norah, is it?
NORAH (clapping her hands).—Oh, Mr. Thorpe! And is it true what they say that we’ll make a lot more with it?
Jeff.—Norah. you can’t fail to. Here’s the way it is. Here’s Cuba.
[Pointing to the map.]
Norah.—Yes, Mr. Thorpe.
Norah.—Yes, Mr. Thorpe.
J EFF.—U ndeveloped.
Norah.—Is there no capital to the place, Mr. Thorpe, like Dublin in Ireland?
Jeff.—They say not. No capital. Then in you come, Norah, do you see, with your northern energy, and your brains, and there you are—millions!
^ÍORAH (laughing).—Well, I’ll have to run back, Mr. Thorpe, for I must keep on working at the hotel till I get my millions, musn’t I?
[Erit NORAH. Enter PUPKIN.]
Pupkin.—Here it is, Mr. Thorpe, I’ve brought it all in cash, that’s the way you wanted it, isn’t it?
[He takes a roll of bills from a wallet and lays them on the table.]
Jeff..—Right. Peter, right—now let me count it—nothing like being business-like. (Counting the bills.) Fifty, a hundred, a hundred and fifty, a hundred and sixty— one of the first things to learn in business, big business, Peter, is to count your money —a hundred and sixty, two hundred and ten-#-stop, no—fifty, a hundred—if you can’t be exact, you may as well—two hundred—did I say two hundred and twenty —no—well, I guess it’s all right—how much is there, Peter?
Pupkin—Two thousand, that’s all I
can realize just now. Mother has ten
Jeff.—Get the rest, Peter, get all she has—you’re her trustee, aren’t you? Well, put it all into the Land Company—ten thousand! She'll make quite a fortune with it I was telling Mr. Harstone and Mr. Slyde about your mother and they were quite affected — quite affected. They’re not such hard men as some people think.
Pupkin.—Oh, I know! They’re splendid fellows, really.
Jeff.—Quite affected—get all she has, they said, take everything she’s got There were tears in their eyes,
Jeff.—There! I’ll put it in the safe here for to-day. It can stay there till night That’s my system, you know. At night you take it and put it with the rest up at the bank.
[JEFF opens safe and puts money tn.] Pupkin.—In the cellar vault in your tin box, I know. By the way, Mullins doesn’t like it He says it’s irregular; says you ought to deposit it properly with the rest of your money.
Jeff.—I don’t want to. I want this money by itself till I get it all collected.
Pupkin.—And Mr. Mullins said that I ’was to tell you (as a matter of business— he said) that the bank isn’t responsible for this money that you are putting in the cellar vault Jeff.—Eh?
Pupkin.—Not for money put down in the cellar vault. You see, all the bank’s cash is kept upstairs. The cellar place is only used for old papers and things that don’t matter. He says if you put it there it’s at your own risk.
Jeff.—Tut, tut! Poor Mullins, he’s fussy—jealous, Peter, jealous.
[Re-enter HARSTONE and SLYDE.]
Jeff.—Well, géntlemen, here you are (pointing to the safe). Two thousand more in there now.
HARSTONE (cheerily). — Well done! (Turning to PUPKIN.) So we’re to have you too among our shareholders, eh! That’s good. Congratulations (claps him on the shoulder). We need some bright young fellows like you to keep us going.
Jeff.—Fine—isn’t it? I was reckoning, that makes six thousand now.
Harstone.—Good! Gather it in, Mr. Thorpe. Your friends are our friends, don’t forget
Jeff.—Well, now, I’m off to get Macartney with his papers—come along with me, Peter. You wait here, Mr. Harstone and Mr. Slyde. We’re going to sign up the trust deed of the Children’s Home. I want you all here, everybody—and I”ve got a little surprise for you, too ( rubbing his hands) a little treat (Going to door) Myra, come along with me (she comes out pinning on her hat and nodding to MR. HARSTONE and MR. SLYDE as she comes), come up stret with me and see-if you can find Andy and Mrs. Gillis. . . . Come along. . . . Wait here.
[Exit JEFF, PUPKIN, MYRA.]
SLYDE (nervously).—A little surprise? What’s his damn surprise? Nothing wrong, eh? Don’t like it!
HARSTONE (laughing).—Pah! You’re nervous. Only some little foolery, I suppose, over signing up his damned deeds— [Enter GILLIS, evidently drunk.] Gillis.—Are you Mr. Harstone? Harstone.—Yes. That’s my name. Gillis.—Well, this is for you.
[Hands him a telegram.]
Harstone.—Who gave it to you?
Gillis.—Up street—at the office. They gave me the price of a drink to bring it.
HARSTONE (looking at him 'narrowly as he opens the telegram).—You’d do a good deal for the price of a drink, wouldn’t you? You’re the man they dismissed this morning from tl\e bank?
Gillis.—Dismissed! Yes, and wait till I-
HARSTONE (with the telegram open).— By God, see this!
Slyde.—What is it? What is it?
HARSTONE ( to Gillis).—You get outside. Wait there. I may want you.
[Exit GILLIS ]
Harstone.—Look at this. (Spreads out the telegram in front of them.)
SLYDE (looking at it).—What does it say? I can’t read that damn cipher. What is it?
HARSTONE (absolutely calm). — It’s from Olson. That is what it says. Listen,
and keep quiet can’t you, you damn--
“All up. Warrants out here. Edwards has cleared with money. Warrants out Toronto you and Slyde to-morrow.”
SLYDE (in a panic, reaching for the telegram).—Harstone, by God, does it say that?
Harstone.—You can work it out for yourself — there it is — warrants out. (Striding up and down.)
Slyde.—They’ll arrest us. They’ll be here any time ... we must get out .
. . get out this minute.
Harstone.—GET OUT? You fool! Get out with what? . . . The money . . . the money.
Slyde.—Edwards has cleared with it ... all we can do now is to get out before they arrest us.
HARSTONE (pausing in his stride).—I’m da mned if I’ll get out. Not empty handed. There are six thousand dollars in there.
. . . I’ll take that with me anyway.
I’m damned if I’ll go without that.
Slyde.—But you can’t . . . right
here in daylight. You can’t-
Harstone.—Shut up and let me think.
. . . Stop clutching that, for God’s sake ! (SLYDE’S hands have been scratching convulsively at the table.) Let me think it out. . . . We’ve got twenty-four hours yet if this is true (picking up the telegram) “warrants to-morrow." (With determ ina tion. ) Slyde, we stay right where we are till to-night. When we go, we take that six thousand dollars with us. , Tomorrow we’ll be safe across the border with it. Let them find us if they can.
Slyde.—But how? You can’t-
Harstone.—Yes, I can. . . . I’ve a plan. . . . That money is put at night into the cellars of the bank. I’ve heard that young fool say . . . Hell, the
SLYDE (getting calmer and thinking). —But that place is locked. I looked it over. The street door leading down is iron—I don’t see—you’ve no key.
Harstone.—No. But I know where to get one. He’s either got it still, or he can get it easy enough. (He goes to the door and calls.) Here, you, I want you.
Harstone.—You’re a man who would do a good deal for the price of a drink, eh?
GILLIS (scowling and suspicious).—Ay.
Harstone.—You see that? Tint's fifty dollars. You’d do still more for that, wouldn’t you?
Gillis.—What is it you’re after? Say it out
Harstone.—And you’d like a chance to get even with the man that fired you, too.
Gillis.—Ay—now you talk-show me
that-What is it you want, boss? Say
it out. If it’s for that, I’m your man.
Harstone.—I want nothing now. But I want you for a certain job to-night, see.
Harstone.—Yes. When’s the last train down to the city?
Harston.—Nothing after that?
Gillis.—Nothing that stops.
Harstone.—Well, what I want of you is this, and listen you to me . . . stop.
. . . They’re coming back. . . . You come to me later, at the hotel. . . .
This afternoon. . . . Say, nothing to anybody. . . . . I’ll give you all the
chance you want to get even. . . Here, out this way . . . quick, before they come. Shoves GILLIS out.) Now, then, Slyde, keep your nerve. Give me twentyfour hours—give me till to-morrow, tomorrow—and we’ll be safe out of this with six thousand dollars to the good. Then they can bring on their warrants if they like.
[Voices and laughing and talking at the door. In they COME-JEFF, MACARTNEY, MYRA, PUPKIN, ANDY, MRS. GILLIS, NORAH. JEFF and MACARTNEY are lugging a big basket tvith a napkin over if.]
Jeff.—Here we are. In with it. Macartney.
Harstone.—W’hat have you got there?
Jeff.—Champagne! And plenty of it. We’ll have a toast all round on the signing. You didn’t think we had champagne in Mariposa, eh, Mr. Harstone?
Andy.—The last time I seen champagne—
Myra.—Run, Peter, help get the glasses out
MACARTNEY (laughing his rasping— Har! Har!).—Steady, Thorpe, or you’ll be all drunk whe^f you sign! By George, I don’t know if \t’s going to be legal. Har! Har! ] .
Jeff.—Come on\then, we’ll sign first and have the to&st after. Where’s your deed, man? Spread it out.
Macartney.—Here you are.
Jeff.—Get the ink, Myra.
[BILL appears in the door.]
JEFF, MACARTNEY, MYRA, ETC. (speaking all together).—Come in, Bill—just in time. , . . Here you are. . . .
MACARTNEY (rapping). — Now, then, quiet a minute. . . . Gentlemen, I have here a deed of trust establishing The Martha Thorpe Home for Destitute Children. . . . Mr. Thorpe will sign, and two other witnesses. Mr. Thorpe!
JEFF (writing).—Jeff-er-son Thorpe!
Macartney.—Now, . . . here, Mr. Pupkin, . . . you witness first . . . there . . . below that seal.
Bill.—I ain’t much of a writer (signs).
Macartney.—There! My dear Thorpe, I hereby hand, transmit and deliver to you the deed establishing the Martha Thorpe Home for Destitute Children, endowed with sixty thousand dollars worth of stock in The Cuban Renovated Lands Company. Take witness, all, of this delivery!
All.—Hoorah ! ,
Jeff.—This is the proudest tiay of iny life. . . . Now, then, I want to give
you all a toast. Now’, Peter, out with the bottles.
[JEFF, PETER and BILL start pulling ont the bottles.]
BILL (utterly disappointed).—Gosh!
Jeff.—It’s wired up!
Andy.—Gol darn it!
[They look at the bottles.]
Jeff.—It’s wired up. . . . No way to open it! Yes, sir, fixed up with wires. . . . You can’t open it!
BILL (yaums).—Needs some sort of key, or something, I guess. . .
JEFF (very formal).—Gentlemen, I am sorry. I had wanted you to drink a toast but the champagne is wired. Smith has gone away, and I presume wired it up. . .
HARSTONE —Perhaps I can help you.
. . . Here, that’s how’ it goes . . .
open them up . . . give them their
glasses. . . . Now, Mr. Thorpe, give us your toast.
Jeff.—I’ll ask you all to drink to the future of the Martha Thorpe Home for Destitute Children, the future of the Land Company, and our friends here who put their money in it. To-day, gentlemen, is bright, but to-morrow will be brighter still-
HARSTONE (Interrupting). — I’ll put your whole toast into one word—“Tomorrow”—«h? Mr. Slyde. . . Gentlemen, “To-morrow!”
SCENE—The back bar-parlor of Smith's Hotel Time—Five minutes to eleven the same evening. A door at the side standing open leads into the bar which is lighted. One can see through it a bit of the bar, with glasses, lemons, beer pumps, etc , and one can hear BILLY, the bartender, as he moves about mixing drinks, but cannot see him. Doors lead into the corridor of the Hotel, etc. At a table, lighted by a lamp, HARSTONE, SLYDE, JEFF, BILL, MACARTNEY and PUPKIN are playing poker with matches. There are glasses beside* them. A hot nighty they're sitting in their shirt sleeves. JEFF is dealing.
JEFF (flip, flip, flip—finishes dealing). —Now, then, Macartney, can you open it? Macartney.—No.
JEFF (to Pupkin).—Peter?
Peter.—No! but, Gee, I nearly could. I had a seven and eight and a jack—I only needed a hiñe and a ten and I’d have a straight.
Jeff.—Open it, Mr. Slyde?
Slyde.—Not I. Whoof! it’s hot!
Jeff.—Storm coming. I can feel it. Hark! wasn’t that thunder?
Harstone.—Sounds like it. No, I can’t open it.
Jeff.—Nor I. Your deal, Macartney. Pupkin.—By Jove! Three times round! Takes aces now’, doesn’t it? Gad, there's a lot in the pot now. Eighteen matches! What are they? Ten for a cent.
JEFF (as MACARTNEY deals).—Five for a cent. Ten for a cent is too slow. Five puts some zip in it—huh ! Bill, you’ve got an ace. (The card is turned face up.)
Bill—S’il right. I’ll keep it. Might get another.
SLYDE (he is evidently nervous, his face is drawn, and his fingers restless).—
What’s that? Is that some one at the door?
Macartney.—No — just the thunder. Now’, can you open it?
Andy.—Just eleven o’clock, gentlemen. Billy says do you want another drink before he closes up?
Jeff.—Yes, certainly. Gentlemen, it’s on me. Andy, see what they’ll have. Andy.—What’s yours, Mr. Macartney. Macartney.—Give me a rye whiskey with lemon and a bit of chopped ice.
ANDY (calling to BILLY). — One rye with lemon, soda and chopped ice in it. [Zug, zug, zug—whizz—bang! . . .
Noise of BILLY mixing the drink.] Andy.—Yours. Mr. Pupkin?
Pupkin.—Giv# me rye and seltzer with a dash of sarsaparilla.
Andy.—One rye and seltzer with sarsaparilla!
[IF/iizf whiff! POPP! . . . Noise
Andy.—Yours, Mr. Slyde?
Slyde.—I’ll take a Collins.
Andy.—One Collins, Billy.
[Terrific roar of soda with a perfect cascade of chopped ice — whiz: — rattle—bang.]
Harstone.—LH>take a pony of brandy. Andy.—One^ponv of brandy.
[Plop, one ^hortjsingle sound.]
What’s yours, Bill?
Bill.—I’ll take the same with a piece of ice in it.
Andy.—Pony of brandy with a chunk of ice.
Jeff.—I’ll take a beer—make it a long one, Andy.
Andy.—One long beer!
[Purr-r-r-r-r-r-r—the sound of the long beer goes on interminably.]
[Exit ANDY to the bar.]
Macartney—Now, then, can you open it, Pupkin?
Pupkin.—What does it take—pair of aces or better? No! . r . Hang it. I awfully nearly had a flush. I had three clubs !
[ANDY re-enters, puts the drinks on the table, saying as he puts them round.] Andy.—Yours, Mr. Pupkin; yours, Mr. Macartney, etc. (Last of all to Jeff). Your’s Mr. Thorpe; one long beer. (JEFF’S long drink turns out to be only about three inches high in a very narrow glass.)
H ARSTONE.— No.
Bill.—Aces or better (yawns), yes, I'll open it—for fifteen matches.
PUPKIN.-I say, that’s pretty swift!
I m going to stay (piling in his matches). [All begin counting and piling in matches and talking together.]
ALL Speaking.—I’m in that. . . Not going to let that go. . . Here’s a go. . . Count me in . . . etc., etc.
Andy.—Billy says he’s just going to close the bar and wants to know if you want another drink. He don’t like to be •too late with Mr. Smith away.
Jeff.—All right — give us the same again, eh?
ALL Speaking.—All right . . . suits me . . . etc., etc., . . . same for me.
(All drinking and draining glasses.)
[The speeches that follow are punctuated with BILLY’S furious mixing. J
JEFF (putting in hi» matches).—We'll all go in this. This’ll be our last game for a while if you’re off to-night. (This to Harstone) (to Macartney). One card! Whew! it’s hot. There’s a big storm somewhere.
[Sound* of thunder.]
Harstone.—Yes—two cards—we re off on the eleven-thirty.
Macartney.—You’ve none teo much time to get to the depot—one card. (Looks j at it ) Damn it! Where’s your baggage?
(MACARTNEY throwns down his cards).
Harstone.—Two cards, thanks. All j gone except this valise. Gillis is coming i to carry it dowrn.'
JEFF (a* he finishes his beer).—Well, here’s luck to you and safe back. I didn’t j know you had to go so soon. You didn’t say so to-day.
HARSTONE. — Didn’t know it myself. We’re wanted suddenly in New York. They want us there badly, eh, Slyde?
SLYDE (forcing a laugh).—Éh? Oh, J yes, yes—damn this heat.
[By this time all have drawn their cards, either as above, or silently.]
Macartney.—Now, then, Bill-—
BILL.-I bet five.
JEFF (throwing down his cards).—All yours.
PIPKIN (eagerly). — All right, raise you ten.
Slyde.—I’m out. j.
Bill.—Ten— and ten more.
Flpkin.—Ten more and twenty more, i
BILL (after thinking—puts in twenty). I —I’ll see you—what have you got?
PUPKIN (triumphant, planting down his cards, face up, and starting to pull in the. chips).—Three aces!
Bill.—Hold on. (Yawns.) I’ve got three aces, too!
Pupkin.—By Jove! What’s your best ace?
BILL —Ace of—let me look at her— Hearts.
Pupkin.—By Gee! You win. Isn’t it 1 funny the way cards fall?
[Enter ANDY, with the drinks.]
Andy.—Bill says if you want anything more to drink before he closes up, to say so right now.
JEFF (laughing). — No, no, I guess this’ll do. W’ell! I’ve gotto be off.
[All rise to drink.]
I’ll say good-night to you, gentlemen, see you back in a day or tw’o.
Harstone.—Oh, yes, good night.
SLYDE (shaking hands).—Good night.
Pupkin.—Well, good night.
Harstone.—You’re off, too?
Pupkin.—I’ve got to be. I sleep over the bank, you know’. Have to be there at half-past ten every night. For protecj tion. . . .
Harstone.—Protect what? You or the bank?
Pupkin.—The bank — by G.ee — didn’t you notice that loaded revolver in my room when you came up to see me this afternoon.
HARSTONE (with a laugh).—I noticed it • . . Well, good night . . . see you in ! a day or two. . . . ^Oh, no, thanks.Gillis has taken most of our things down—it’s j just a step—you hurry home or you’ll be caught in the storm.
[All shaking hands and saying "Goodnight."]
ANDY. — I’ll let you gentlemen out
through the bar, Mr. Thorpe; front door’s shut.
[Exit ANDY, JEFF, MACARTNEY, PUPKIN, Bill—one hears them saying good-night to the invisible BILLY.] SLYDE (uneasily ).—You hear what that young fool says?
H arstone.—What ?
Slyde.—A revolver in his room ! I don’t like it—he’ll hear us—I don’t like it Harstone.—A revolver in his room! Yes, so there was . . . loaded, too . . but it’s not there now, I took it (Lays it on the table with a grim laugh )
SLYDE (handling it timorously).—It’s loaded !
Harstone.—What else should it be?
. . . Here! . . . There’s Gillis. . . Shove it in your pocket
[Sounds of GILUS blundering in through the ride door and corridor.] HARSTONE (calling).—Here! . . .
[Enter GILUS, evidently drunk, he staggers in the doorway.]
Steady there—here—sit down . . .
Gilus.—I done all you said. Your things is checked for the eleven-thirty— she’s on time they said . . . and here’s your (he lurches as he feels in his pocket and gets out an envelope) tickets, and sleepers and baggage checks. It’s all there. . . .
Harstone—Right . . and now . . [Enter ANDY from the bar; he yawns heavily and is evidently very sleepy ; he carries a bottle of brandy in his hand and puts it on the table with two glasses.]
Andy.—You said-a bottle of brandy,
! didn’t you, Mr. Harstone? . . • for the I train — with the cork drawn — did you ! want to take glasses? (Puts bottle and j glasses on the table.) And Billy says he’s
closing up and if-
Harstone.—That’s all right. Nothing j more—put the bottle here—cork drawn? i (Feeling it ivith his fingers.) Right!
ANDY (calling).—Nothing more, Billy,
! you can close up. ...
! [Sounds of BILLY closing; lights in bar go out first one and then another.] Take the front key of the bar with you, Billy. I’ll lock up this door, good-night / [Voice, “Good-night’’—sound of closing door '■— darkness in the bar — ANDY closes and locks bar door.]
Harstone.—Well, good-night, Andy, we ' won’t keep you any longer ; Gillis will take ! us out. You get to bed . • • and here.
; (He gives him a five-dollar bill.)
ANDY. — Thank you, Mr. Harstone. Nothing more you want? I’ll turn down
this light low.
[Steps into the hall, out of sight, voice still heard.]
!... And will you turn it right out when ^yotTfcp. (Hall light goes dim.) Goodnight ƒ Mr. Harstone . . • goôd-night, i Mr. Slyde.
j [HARSTONE and SLYDE grunt a “goodj night”; the room is now in half darkness; there is only the light of a lamp on the table; sound of. ANDY going upstair s; sound of low thunder and sudden rain on the roof.]
• SLYDE (starting at the sound).—What’s that?
i Gillis.—Rain ... a storm . . .
a big storm. (He speaks in a strange abstracted way.)
Harstone.—A bad night, is it?
Gilus.—Ay storm . . .
thunder and a big gale . . . like I’ve
seen it many a time down home on the Nova Scotia coast. . . . Hear it ! Hear it sweeping over the lake! A bad night. . . (Shambling to a seat on a
Harstone.—So much the4fetter. Here, are you drunk?
Gillis—Drunk! Me drunk! No-
Harstone.—Then drink that (pouring out brandy). Here, thên—have you done all I said?
Gillis.—Yes, I told you. The things is all on the train.
Harstone.—Then listen to me.
Gillis.—Ay, I’m hearing you. HARSTONE (slowly and impressively).— —Mr. Slyde and I are not going on that train.
Gillis.—Not going? You told the folks here you was going on the eleven-thirty!
Harstone.—Well, we’re not They think you’re taking us down to the train, see? And when they ásk you in the morning if we went, you’ll say you saw us go, do you understand?
Gillis.—What’s that for?
Harstone—Because I say so, and I’m going to make it worth your while.
Gilus.—I’m to say you went on the eleven-thirty, well?
Slyde.—And that you saw us leave on
Harstone.—Now—you told me there was another train later.
Gillis.—I did, half after one — the night express from the north—but she don’t stop. I told you that this afternoon —she don’t stop. I hear her nights, when I don’t sleep, howling and shrieking
’ through, like the storm-
HARSTONE. — You said she stops for water-
Gillis.—Yes, mostly, but not here at the depot
Gillis.—On the trestle bridge over the marsh, where the ,tank is—three miles from the town.
Slyde.—She stops there. . . .
Gilus.—Yes, most nights, not always. Harstone.—The bridge is long?
Gillis.—A quarter of a mile, mebbe more-
Harstone.—And how wide?
Harstone.—Room to stand when the train passes?
Gilus.—Yes, about that, no more—say, what is it you want of me? What’s all this for?
Harstone.—Don’t raise your voice that way. They’ll hear you—here drink this.
GILLIS (holding the glass and not drinking).—And why not be heard? What is it you’re after?
Harstone.—Drink your drink. Now, I asked you about a key. Have you got it?
GILLIS (stubbornly).—Ay. I’ve got it (Puts his hand to his waistcoat pocket ) What of it?
Harstone.—The key of the door leading to the cellar vault?
Gillis.—Ay, the door to the cellar vault. I kept it back when I gave in my keys to Mr. Pupkin. Say, what is it you want with that key arryway?
[Slam.? his glass on the table, spilling the brandy and staggering.] Hardstone.—Not so loud, I told you. Gillis.—You said you wanted that key , for to go in this afternoon to get something of yours, something you’d left there. Harstone.—Yes.
Gilus.—Then you lied! (He strikes
his fist on the table and rises.) You gave me money to get and bring you that key. You gave me fifty dollars ,to bripg you that key. . . . f
HARSTONE —I did, yes, fifty dollars. Sit down, you fool, and he quiet f GILLIS (With rising neieo-aftd anger). —But you didn’t say you wanted\h*t key to break into the vaults at midnigptAyou didn’t tell me that—at midnight. yvhen they thought you’d gone—I seeTRrough you robbers, you damn bank robbers— with your money to bribe a drunken man ! Take it. (Flings roll of money on the table.) You thought you could buy me, buy Ben Gillis for fifty dollars to help you rob the bank I worked for—I know you-
HARSTONE (to Slyde).—Close that door quick!
[SLYDE closes the door.]
[HARSTONE continues—he is quite calm and hard.]
Well? What of it? Do you feel so grateful to the bank as all that?
Gillis.—You think you can bribe me
with your money-
Harstone—To help us against the bank that fired you—that put you on the street.
Gillis.—¡Fired me! And done right to fire me—I’m drunk and I’m low, and I’m on the street—but I’m honest. I’m Ben Gillis, I am—Nova Scotia fisher folk —poor folk but never a robber among
them—God! for six cents-
[GILLIS has seized a chair; h* swings it with giant strength over his head.] Harstone.—Back, you scoundrel—keep
back or(One sees in Harstone's
hand a sheath knife that he has drawn from his hip pocket—the blade glitters in the light.)
GILLIS (furious).—A knife! Would you—a knife, you hound—I’ll brain you. [The chair is swung over his head, he rushes at HARSTONE and strikes him down. HARSTONE calls to SLYDE, “The gun! The gun!" SLYDE has drawn the revolver; stands jabbering, “Keep back or I’ll SHOOT”-GILLIS uñth the chair raised to strike HARSTONE again turns towards SLYDE.]
Gillis.—You’d shoot, you dog—I’ll kill you both!
SLYDE (retreating, crying in panic).— Keep off me!
[There is the loud report of the revolver. GILLIS reels, /alls against the wall with a groan.]
HARSTONE (rising).—Curse him—he’s broken my arm.
SLYDE (in horror).—I’ve shot him. I’ve killed him.
[Voices and noise above ANDY calls," “What's that down there! IF/to fired that shot!'']
Harstone.—Quick, out of this.
SLYDE (paralyzed).—I-ve killed him, I’ve shot him.
Harstone.—Don’t jabber—the key— quick—the key !
[Voices.—“What’s that down there? Who's thereV' HARSTONE quickly kneels over Gillis—takes the key from his pocket—grabs his valise, drags SLYDE by the arm.]
Hurry—the side door.
Slyde.—I’ve killed him—I’ve killed him. [HARSTONE blows out the light. Exit HARSTONE and SLYDE, stumbling in the dark.]
To be continued.