Under cover IB lalifornia gional cility THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES GIFT OF WILLIAM P. WEEDEN Cover PER MEGRUE UNDER COVER A MELODRAMA IN FOUR ACTS BY ROI COOPER MEGRUE COPYRIGHT, UNITED STATES OP AMERICA, JANUARY AND APRIL, 1914, BY ROI COOPEB MEGRUE COPYRIGHT, DOMINION OP CANADA, APBIL, 1914 COPYBIGHT, GREAT BRITAIN, APRIL, 1914 COPYRIGHT, 1918, BY SAMUEL FRENCH ALL RIGHTS RESERVED CAUTION: Professionals and amateurs are hereby warned that "UNDER COVER", being fully protected under the copyright laws of the United States, is subject to royalty, and anyone presenting the play without the consent of the author or his authorized agents will be liable to the penalties by law provided. Applications for the amateur acting rights must be made to SAMUEL FRENCH, 28-30 West 38th Street, New York. Applications for the professional acting rights must be made to the AMERICAN PLAY COMPANY, 33 West 42nd Street, New York. NEW YORK SAMUEL FRENCH PUBLISHXB 2&-30 WIST 38TH STREET SAMUEL FRENCH, LTD. 26 SOUTHAMPTON STBXR STRAND Especial notice should be taken that the possession f this book without a valid contract for production first having been obtained from the publisher confers no right or license to professionals or amateurs produce the play publicly or in private for gam . charity. In its present form this play is dedicated to the reading public only, and no performance of it may be given, except by special arrangement with Samuel French. SECTION 28. That any person who wilfully or for profit shall infringe any copyright secured by this act, or who shall knowingly and wilfully aid or abet such infringment, shall be deemed guilty of a misdemeanor, and upon conviction thereof shall be punished by im prisonment for not exceeding one year, or by a fine of not less than one hundred dollars nor more than one thousand dollars, or both, in the discretion of the court. Act of March 4, 1909. ps .u CHARACTERS (In the order of their first appearance) JAMES DUNCAN Assistant to Daniel Taylor HARRY GIBBS A Customs Inspector PETER A door-keeper at the Customs DANIEL TAYLOR, A deputy surveyor in the Customs SARAH PEABODY ETHEL CART WRIGHT AMY CARTWRIGHT MICHAEL HARRINGTON LAMBERT Butler at the Harringtons* NORA RUTLEDGE ALICE HARRINGTON MONTY VAUGHN STEVEN DENBY 762544 UNDER COVER SYNOPSIS OF SCENES ACT I. The office of a Deputy Surveyor of the Port of New York in the Customs House, New York City. ACT II. At the Harringtons', Long Island. (During ACT II the curtain will be lowered for thirty seconds to in dicate the lapse of two hours) ACT III. Denby's room at the Harringtons'. ACT IV. Same as Act II. (The action of the fourth act is supposed to begin at a time five minutes before the curtain falls on the third act) The play takes place during the afternoon and even ing of a day in August. UNDER COVER ACT I SCENE: Office of a Deputy Surveyor of the Port of Nezv York in the Customs House, New York City. It is a plain business-like interior. There is a door left center, one down right and another down left. There is a desk at up right, behind zvhich is a large bay window, showing a view of tall buildings and the distant river. There is another desk at left center. TIME : It is four o'clock on a Friday afternoon in August. DISCOVERED: At rise, DUNCAN is seated at his desk L. He is a miniature DANIEL TAYLOR and as an actor, must have authority and ability to get lines over as the telling of most of the early plot depends on him. He is dressed in the uniform of a customs inspector. As the cur tain rises, DUNCAN is in the middle of a tele phone conversation. DUNCAN. (Continuing speech impressively) Yes! Yes! Yes! And say, be right on the job. The minute the Mauretania gets to quarantine, go through the declarations and 'phone me here whether Steven Denby declares a necklace or not. No D-e-n-b-y it's valued at two hundred thousand dollars. You bet it's a big case. No; I can't tell 5 6 UNDER COVER you who's handling it. Never mind whether R. J. 'is at work on it or not; your job is to telephone me as soon as you get a peek at those declarations. Bye-bye. (GIBBS enters c. door as DUNCAN hangs up receiver. GIBBS is a fat man, full of interest in any gossip that comes his way. He is dressed in the uniform of a customs inspector.) GIBBS. Hello, Jim. DUNCAN. Hello, Harry, thought you were searching tourists over on the Olympic this after noon. GIBBS. Oh, I was with two thousand crazy women, all of 'em swearing they hadn't brought in a thing. Gosh, women is liars. DUNCAN. What're you doing here? GIBBS. I brought along a dame they want your boss Taylor to look over. It needs a smart guy like him to land her. (Comes down right to R. of desk) DUNCAN. The old man is down with the sur veyor now he'll be back soon. GIBBS. I'll be tickled to death to wait here all day. I'm sick of searching trunks that's got nothin' in 'em but clothes. It ain't like the good old days. In them days if you treated a tourist right he'd hand you his business card and when you showed up at his office the next day he'd come across with out a squeal. DUNCAN. That's true. Why, when I was in spector, if you had any luck picking out your pas senger you'd find twenty dollars lyin' right on the top tray of the first trunk he opened for you. GIBBS. And believe me, when that happened I never opened any more of his trunks. (Taking stage to center) I just labelled the whole bunch. But now why, since the new administration got in, I'm so honest it's pitiful. UNDER COVER 7 DUNCAN. It's a hell of a thing when a govern ment official has to live on his salary. GIBBS. (Reflectively) Ain't it funny why it's always women who smuggle? They'll look you right in the eye and lie like the very devil and if you do land 'em they ain't ashamed, they're only sore. DUNCAN. I guess men are honester than women. GIBBS. They are above smuggling. Why, we grabbed one of these here rich society women this morning and we pulled out about forty yards of old lace and say, where do you think she had it stowed ? DUNCAN. (Grinning) In a petticoat? GIBBS. No, in a hot water bottle. That was a new one on me. Well, when we'd pinched her she just turned to me and said, cool as you 'please, " You've got me now, but damn you, I've fooled you lots of times before." DUNCAN. (Who has been glancing over some papers) Say, here's another new one. Declaration from a college professor who paid duty on spending seventy-five cents to have his shoes half soled in Paris. GIBBS. That's nothing. A gink this morning de clared a gold tooth. I didn't know how to classify it so I just told him nobody'd know if he'd keep his mouth shut. He did slip me a cigar, but women who are smugglin' seem to think it ain't honest to give an inspector any kind of a tip. DUNCAN. Say, you'd better keep your own eyes peeled. Old man Taylor's been raising the deuce around here about reports that some of you fellows still take tips. GIBBS. (Airily) Oh, that's just the annual August holler. DUNCAN. No, it isn't. It's because the collector and the Secretary of the Treasury have started an 8 UNDER COVER investigation about who's getting the rake-off for allowing stuff to slip through. I heard the Secretary was coming over here to-day. GIBBS. Well, if times don't change, I'm goin' into the police department. (Crosses up to bay window and looks out) (PETERS enters center. He is a uniformed attendant at the Customs.) PETER. Mr. Duncan, Miss Ethel Cartwright just telephoned that she was on her way and would be here in fifteen minutes. DUNCAN. (A bit excited) She did, eh? All right. (PETER exits up center. In 'phone) Hello, give me the Surveyor's office. Hello I'd like to speak to the Deputy Surveyor, Mr. Taylor. It's Duncan in his office. (He holds the wire) GIBBS. Got a cigar, Jim? (Coming down to center) DUNCAN. (Taking cigar from pocket) Yes. GIBBS. (Crossing to DUNCAN and reaching for it) Thanks. DUNCAN. And I'm going to smoke it myself. (Puts cigar in his pocket) GIBBS. (Taking cigar from his own pocket) All right, then. I'll smoke one of my own. (Goes over to desk R. and, getting match, lights cigar) DUNCAN. (In 'phone) Hello, hello, chief. Miss Ethel Cartwright just 'phoned she'd be here in fif teen minutes Yes, sir I'll have her wait. (He hangs up receiver) Well, what do you think of her falling for a bum stall like that? GIBBS. Who? What? Which stall? DUNCAN. Why, Miss Cartwright did. GIBBS. (Crossing to DUNCAN) What is she? A smuggler? DUNCAN. No, she's a swell society girl. UNDER COVER 9 GIBBS. (Crossing to center) If she ain't a smuggler, what's she down here for? DUNCAN. The chief wants to use her in the Denby case, so he had me write her a letter saying we'd received a package from Paris containing dutiable goods, a diamond ring and would she kindly call here this afternoon to straighten out the matter and she fell for a fake like that GIBBS. I get you but what does he want her for? DUNCAN. For the Denby case. GIBBS. What's that? DUNCAN. The biggest smuggling job Taylor has ever handled. GIBBS. You don't say so? Why, nobody's told me anything about it. DUNCAN. Can you keep your mouth shut? GIBBS. Sure. I ain't married. (Sits on stool R. of desk L.) Now, what is all this about? DUNCAN. (Very confidential) Last week the chief got a cable from Harlow, a salesman in Cartier's. GIBBS. Cartier's what's that? DUNCAN. The biggest jewelry shop in Paris. Harlow's our secret agent there. His cable said that an American named Steven Denby has bought a pearl necklace there for two hundred thousand dollars. GIBBS. (Greatly impressed) Two hundred thousand dollars? Gee! But who's Steven Denby? A millionaire? I never heard of him. DUNCAN. Neither did I, and what's more, we can't find out a thing about him. That's what makes it so suspicious. You ought to be able to get the dope on a man who can throw away two hundred thousand dollars on a bunch of pearls. GIBBS. Did he slip the necklace by the customs'? io UNDER COVER DUNCAN. No, he hasn't landed yet. He's on the Mauretania. GIBBS. On the Mauretania? Why, she gets in this afternoon. DUNCAN. (More confidential than ever} Yes. He and a fellow named Monty Vaughn are travel ing with Mrs. Michael Harrington. GIBBS. You mean the Mrs. Michael Harrington ? DUNCAN. Sure. There's only one. GIBBS. (Rising, crossing to c.) Well, if he's a friend of Mrs. Harrington', he's no smuggler. He'll declare the necklace. DUNCAN. The chief has a hunch that he won't. (Rises and crosses to GIBBS L.) He thinks that Denby may be a slick confidence guy who has wormed his way into the Harringtons' friendship so he won't be suspected. GIBBS. But maybe he ain't traveling in their party at all, but just picked 'em up on the boat? DUNCAN. No, he's a friend, all right. Mrs. Harrington's taking Denby and Vaughn down to her country place on Long Island direct from the dock. The head steward, he's our agent on the Mauretania, sent us a copy of her wireless to old man Harrington. GIBBS. He sounds like a sort of a smart-set Raffles, doesn't he? DUNCAN. (As he crosses to desk at left center} That's just the idea. GIBBS. What's Taylor going to do? DUNCAN. I don't know ; he's kind of up against it. If Denby's on the level and he's pinched on the dock and searched and nothing's found on him (Crossing GIBBS at c.) think of the roar that Michael Harrington worth ninety billion dollars will put up at Washington because we bothered his friends! Why, he'd go and kick to his pals down UNDER COVER 11 there and we'd all get fired. (Crosses to down corner of desk right and picks up papers) GIBBS. But where does this girl out there Miss Cartwright come in on this job? DUNCAN. I don't know, except that she's going down to the Harringtons' this afternoon, too, and Taylor's got some scheme. He's a pretty smart boy. GIBBS. You bet he is, and maybe he's smarter than you know. Ever hear of R. J.? DUNCAN. R. J.? (Crosses to GIBBS with papers) You mean that secret service agent? GIBBS. Yes they say he's a pal of the president's. DUNCAN. Well, what's he got to do with this? GIBBS. Don't you know who he is? DUNCAN. No (Crosses to desk L.) and neither does anybody else. No one but the president and the secretary of the treasury know who he really is. GIBBS. Well, I know, too. DUNCAN. (Contemptuously) Yes, you do, just the same as I do that he's the biggest man in the secret service, that's all. GIBBS. (Crosses to desk L.) Ain't it funny that you, right here in the office, don't know? DUNCAN. Don't know what? GIBBS. Why, your boss Taylor is R. J. DUNCAN. (Laughing) Taylor? You're crazy (Sits) GIBBS. (Chestily) Am I? Do you remember the Stuyvesant case? DUNCAN. (Impressed) By George, that's so. GIBBS. Why, all the boys are on. DUNCAN. Say, I wouldn't be surprised if you were right. GIBBS. I know I am. (Door slams and TAYLOR'S voice is heard off R.) DUNCAN. That's the boss now. 12 UNDER COVER ( GIBBS nervously fumbles with his cigar and goes up-stage to left of door u. c. DUNCAN also gets busy with papers. TAYLOR enters door R. hurriedly and crosses to chair at desk R. Pie is an incisive, smart, bull-doggy sort of man, typical of the surliness of a certain well-known kind of government official. He is a bully, catering to his superiors and ragging his in feriors. He must have much authority, force __ and menace.) TAYLOR. (To DUNCAN) Has Miss Cartwright got here yet? DUNCAN. No, sir. (TAYLOR pushes buzzer on desk. There is a brief pause.) TAYLOR. (Looking up} Want to see me, Gibbs? GIBBS. Yes, sir (PETER enters door up center end stands at the right of open door.) TAYLOR. Well, wait outside come back in five minutes. GIBBS. Five minutes. Yes, sir. (He exits door up center) TAYLOR. (As he presses butzer) Peter, let me know the instant Miss Cartwright arrives PETER. Yes, sir. (Starts to exit at door up center) TAYLOR. Now don't forget it's very important. That's all (PETER exits door up c. TAYLOR crosses below desk at E. to DUNCAN) Duncan, did Bron- son from the New York Burglar Insurance Com pany send over some papers to me relating to the theft of Miss Cartwright's jewels? UNDER COVER 13 DUNCAN. Yes, sir; they're here. (Gives them to TAYLOR) TAYLOR. Good. (He reads them) Ah! By George, I was right. I knew it was a cinch there was something queer about her diamonds being stolen. DUNCAN. (Puzzled) What diamonds do you mean? The case wasn't in our office, was it? TAYLOR. (Still reading papers) No, this is a little outside job my friend Bronson's mixed up in, but it may help us. (He is still reading the papers) I'm sure it was a frame-up, that she wasn't robbed, that she collected from the company on a false claim. DUNCAN. But I can't see TAYLOR. No, if you could, you'd have my job. (As he crosses to desk right, puts his hat dozvn on hat tree and sits, starts looking through papers) Has the Mauretania got to quarantine yet? DUNCAN. No, sir. TAYLOR. Telephone Brown to notify you the minute she does tell him we've got to know as soon as possible whether Denby declares that neck lace everything depends on that ! DUNCAN. And if he does declare it? TAYLOR. Then, of course, we haven't a case ; but, somehow, I don't think there's going to be a declaration. DUNCAN. (Nodding his head and crossing to center) Well, I'm holding Ford and Hammet to search Denby at the dock. TAYLOR. Well, keep them here until I let you know. I'm not sure whether I want Denby searched. DUNCAN. (As he crosses to upper end of desk R.) But, Chief, if he doesn't declare the necklace, it'll prove he's smuggling it. TAYLOR. I know, I know, but we've got to be i 4 UNDER COVER pretty careful about offending any friend of Michael Harrington's. He's mighty rich and very in fluential. We've got to be absolutely sure we have the goods on Denby. DUNCAN. (Watching TAYLOR and feeling his way) Well, I guess it won't take R. J. long to land him. TAYLOR. R. J.? (Pauses as he looks at DUN CAN) What's he got to do with this? DUNCAN. (Insinuatingly} I thought you might be able to get him interested in the case. TAYLOR. (After another pause, as he returns to his zvork) I don't know anything about him. DUNCAN. (Skeptically, and looking to -where GIBBS has wade his exit) Oh, don't you? (Chang ing the subject) Well, if we don't search him at the dock, what are we going to do? TAYLOR. (Looking up at DUNCAN and leaning back in his chair} If we let him slide through and think he's fooled us, it might be easier to get him after he's down at the Harringtons' and is off his guard. DUNCAN. (Eagerly} Have you got one of the Harrington servants to spy for us? TAYLOR. No, but don't you know that Miss Ethel Cartwright is leaving this afternoon to spend the week-end with the Harringtons'? (Presses buzzer) DUNCAN. You mean you're going to get her to work for us down there? TAYLOR. Well, that wouldn't be a bad idea, would it, Jim? DUNCAN. But how can you? TAYLOR. That's what I am going to find out as soon as Miss Cartwright comes. (GIBBS pokes his head in at door center.) GIBBS. Can I see you now, Chief? UNDER COVER 15 TAYLOR. What is it? GIBBS. (Coming in) There's a deaf-and-dumb chicken out here. TAYLOR. A what? GIBBS. A girl that can't hear or speak or write. They say she's smuggled in a bracelet, but they've searched her eight times and can't get a trace of it, so they sent her to you. TAYLOR. Well, they don't expect me to se;irch her? GIBBS. No, but they thought you might want to hand her the third degree. TAYLOR. Well, bring her in. GIBBS Yes, sir. (He exits at door up center} TAYLOR. (Significantly) She's probably bluff ing. Put that chair over there. (Indicates down R. of c. DUNCAN moves chair from L. of desk and returns to upper end of desk) We'll try the gun gag on her. There's a revolver in this drawer. (Indicating upper left drawer of his desk) When I say " go, " you shoot. Got it ? DUNCAN. (By drawer) Yes, sir. ( GIBBS enters c. bringing SARAH PEABODY after him by her left hand. He puts her in front of chair. SARAH PEABODY, if she were not deaf and dumb, would be a slangy young zvoman with a temper. Anyhow, she ought to be pretty. GIBBS steps to L. c.) TAYLOR. Well, where's the rest of her? GIBBS. That's enough. TAYLOR. (Sizes her up in a second) Well, tell her to sit down. GIBBS. (Crosses to her and motions} Sit down (She pays no attention to him) Hay, squattez vous (Same business) Setzen Sie (Turns away from her to L. c.) I'm done. That's all the 1 6 UNDER COVER languages I know. I used to think it was a terrible thing that women could talk, but I guess the Almighty knowed more than I did. DUNCAN. Hey you, sit down there. (He grabs her roughly from behind and pushes her in chair. He then returns to upper end of desk R. and gets revolver from drawer and holds it behind his back) TAYLOR. (Rises and comes around in front of desk) She's not shamming? GIBBS. She ain't spoke all day, and no woman could keep from talking that long. TAYLOR. Women do a lot for diamonds. GIBBS. None of 'em ever do me for none. TAYLOR. (Crosses to her quickly and talks roughly) If you're acting, you'd better give it up now, because I'm sure to find out, and if I do, I'll send you up to jail. (Stands back to R. regarding her keenly. SARAH stares straight ahead) So you won't answer me, eh? Going to force my hand, are you? (Raises hand and signals DUNCAN by snapping his fingers) Go. (DUNCAN fires pistol. SARAH does not wince or move. TAYLOR and GIBBS bend over and look her in the eye) She's deaf all right, that's a cinch. Now, Gibbs, what is all this? (TAYLOR at lower end of desk R. GIBBS crosses to her. DUNCAN crosses down L. of GIBBS, after replacing revolver in drawer.) GIBBS. She's got a bracelet chuck-full of diamonds, and we can't find it. TAYLOR. (Sits on edge of desk) How do you know she's got it? GIBBS. She showed it to the woman who was in the same cabin with her. (Turns to DUNCAN) She was the one who tipped us off. SARAH. (Rises suddenly and speaking at the same time) Why, the dirty hussy. UNDER COVER 17 GIBBS. (Looks at her, then at DUNCAN, then at TAYLOR in great amazement) For the love of Mike ! (All three men in great surprise TAYLOR quickly off desk.) SARAH. You know why she told about me ? (To GIBBS) She wanted to alibi herself, make you think she was an honest, God-fearing lady that would never smuggle and she had four times what I had. TAYLOR. Ah, ha! (Quickly crosses to SARAH. SARAH turns to TAYLOR) Why, it was her who put me up to smuggling she even taught me to be deaf and dumb Gee, I'd like to meet her again some time. TAYLOR. Well, when we arrest her we'll need you to testify against her. SARAH. You can bet your life I won't be dumb then. TAYLOR. Now, where's your bracelet? SARAH. Wait a minute what's going to happen to me ? TAYLOR. Produce the bracelet, pay duty on it, and we'll let you go free for the tip. SARAH. You're on. (Parasol in R. hand) This is it (Showing it to TAYLOR) The ring handle of my parasol. (Turns to GIBBS) I just painted it, that's all. GIBBS. (Grabbing it from her) Well, can you approach that? (Takes bracelet over and shoivs it to DUNCAN. SARAH takes out powder-puff and glass, starts poivdering) PETER. (Enters c.) Miss Ethel Cartwright is here, sir. TAYLOR. Bring her in in just a minute. (PETER exits c. TAYLOR calls the attention of GIBBS and DUNCAN to SARAH, as he goes up to his desk) Send 18 UNDER COVER this girl down to Ford, Gibbs. He can handle her from now on. GIBBS. All right. (Crosses to SARAH and takes her left arm} SARAH. (Crosses up to desk R.) I'll be glad to have someone else on the job. I've been trottin' around with this fat guy till I'm sick of the sight of him. GIBBS. (Injured) Say now TAYLOR. Take her along. (Crosses up to window) SARAH. (To TAYLOR) Ta-ta, old sport. I cer tainly fooled you when you shot that gun off. (To GIBBS as they go toward door L.) And I could have kept it up if it hadn't made me sore GIBBS. Ah, come on. SARAH. her putting one over on me like that. And she was so blamed nice to me. But when one woman's nice to another you can bet your B. V. D's she means mischief. (They exit L.) DUNCAN. (A bit excited, crosses and replaces chair at left of desk R. and stands above desk) You really think you can get Miss Cartwright to help us on the Denby case? TAYLOR. (Crosses to lower end of desk) I shouldn't be a bit surprised. (PETER opens door center.) PETER. Miss Ethel Cartwright. (Miss CARTWRIGHT enters and comes down c. PETER exits. ETHEL CARTWRIGHT is a tall, very pretty woman of twenty-seven, and while her manner is one of extreme pose that comes from perfect breeding, and the almost uncon scious knowledge that she is what she is, none the less she is, underneath, very much of a girl. UNDER COVER 19 She has a great deal of charm and a decided sense of humor; she is loyal and plucky. Physically she is the sort of woman who, when she enters a room, other people say " Who is that"? and mentally she is the kind that men love and women criticise; and the one's love and the other's critisisrn, are alike a matter of indifference to her.} TAYLOR. (Rises, stands behind desk) Sorry if I have kept you waiting, Miss Cartwright. ETHEL. It doesn't matter in the least. I've never been down at the customs before. I've found it quite interesting. TAYLOR. Won't you sit down, Miss Cartwright? My name is Taylor I'm a deputy surveyor. (ETHEL crosses and sits front of desk.) ETHEL. I believe, Mr. Taylor, you wanted to see me about a ring. TAYLOR. Yes, the intention evidently was to smuggle it through the customs. ETHEL. Do you really think so? Of course I haven't the least idea who could have sent it to me. TAYLOR. Of course you haven't. It's probably some mistake. Perhaps, however, the record will shed some light on the matter. Duncan, go and get those papers relating to Miss Cartwright. DUNCAN. (Blankly) What papers? TAYLOR. (Significantly^ About the package that was sent to her from Paris. DUNCAN. Oh, those papers. Yes, sir (Crosses back of ETHEL to door left and exits) ETHEL. You know, I feel quite excited at being here. Almost like a smuggler myself. TAYLOR. (Sits) Speaking of smuggling, Miss Cartwright, while we're waiting I'd like to have a little business chat with you if I may. 20 UNDER COVER ETHEL. With me? TAYLOR. Yes. As perhaps you may know, there has lately been a great deal of smuggling by those prominent in New York society. It is often difficult to detect because of the influence and position of the participants. They move in a world where neither I nor any of my operatives could enter frankly, we couldn't pass muster for a moment. You follow me? (Looks at her sharply} ETHEL. (Doubtfully} Yes, but TAYLOR. We are looking for someone who be longs in society, someone who is clever enough to provide us with information and yet never be sus pected. We would prefer that someone to be a woman above suspicion like you, for instance. ETHEL. Really, Mr. Taylor (Turning away} TAYLOR. Miss Cartwright, I have reason to know that you and your family have been in financial difficulties (A look from ETHEL. He breaks in} since your father died. The position I describe could be made very profitable. (Pauses and looks at her} How would you like to enter the secret service of the United States Customs? ETHEL. Really, that's quite too preposterous. You must be joking. TAYLOR. No, I'm quite in earnest. ETHEL. The whole idea is too absurd. I must ask you for the papers regarding the ring. TAYLOR. They'll be here any moment. I'm sorry you don't care to entertain my proposition, but that, of course, is up to you (Rises} Miss Cartwright, as it happens there's another little matter I'd like to discuss with you. Do you recall a George Bron- son, the claim agent of the New York Burglar In surance Company the company which insured your jewels that were stolen? (Looks at papers} ETHEL. I think I do but TAYLOR. Well, that company has had a great deal UNDER COVER 21 of trouble with society women who have got money by pawning their jewels, then putting in a claim that they had been stolen, and then recovering from the company on the alleged loss. ETHEL. Are you trying to insinuate that ? (Rises) TAYLOR. Certainly not. . I'm merely explaining that that was Bronson's first idea but of course, on investigation he realized as I do now how ab:>urd that was. ETHEL. Naturally. (Faces front) TAYLOR. And yet there were certain things that he could not quite understand. ETHEL. (Turning to TAYLOR) May I ask what Mr. Bronson's inability to understand has to do with you? TAYLOR. Simply that he happens to be a very good friend of mine. He often consults me about cases that puzzle him. The theft of your jewels puzzled him greatly. ETHEL. Puzzled him? It was perfectly simple. TAYLOR. Perhaps you will be good enough to tell me the circumstances of the case. ETHEL. I really don't see how this concerns the customs. TAYLOR. It doesn't, except that I am acting as Bronscn's friend, and if you will answer my ques tions, I may be able to recover your jewels for you. ETHEL. Oh, I see. (Sits) That would be splendid. Of course, I'll tell you anything I know. TAYLOR. (Sits) Well, the first feature that im pressed Bronson and me was that the theft seemed to be an inside job. ETHEL. I don't believe I quite understand. TAYLOR. Well, there was no evidence to indicate that a thief had broken into your home. ETHEL. But, that could be the only explanation TAYLOR. Why ? 22 UNDER COVER ETHEL. Our family consists of just my mother, my sister and myself, and two old servants who've lived with us for years. And, of course, it wasn't any of us. TAYLOR. Naturally not, but how did you come to discover the loss of your diamonds? ETHEL. Oh, I didn't discover it. I was at Bar Harbor. TAYLOR. Oh, you were away I didn't know that. Who did find out your jewels were gone? ETHEL. My sister. She missed them TAYLOR. (Significantly) Oh, your sister? I see. Your sister missed them. (Writes on paper) ETHEL. So, naturally it must have been some thief from the outside. TAYLOR. (Thoughtfully) Of course, of course I wonder if you'd mind telephoning your sister to come down here now ETHEL. (Rises) Why, she came with me she's outside. TAYLOR. (Pleased) Oh, that makes it much easier. (Pushing buzzer) Perhaps we can have a little chat with her. ETHEL. Of course if you wish, but I'm sure she knows even less about the matter than I do. TAYLOR. (Smoothly) Undoubtedly, but pos sibly there may be certain facts that she could tell us that, while unimportant to you, would be sig nificant to me. (PETER enters up center.) ETHEL. I'm sure Amy will tell you all she can. TAYLOR. Ask Miss Amy Cartwright she's in the waiting-room to step in a moment. Just say her sister wants to speak to her. PETER. Yes, sir. (He exits up center and leaves door open) UNDER COVER 23 ETHEL. It must be quite wonderful to be a detective and piece together little unimportant facts into an important whole. TAYLOR. (Drily) Oh, quite wonderful. (DUNCAN enters, stands at door L. He is followed by AMY CARTWRIGHT. She is a pretty young girl of eighteen, vjeak, sweet and dependent. She is the opposite of her sister ETHEL, upon whom sJie relies absolutely.) PETER. Miss Amy Cartwright. AMY. You wanted me, Ethel? ETHEL. (Rises, meets AMY and hugs her) Yes, dear (Crosses over to TAYLOR'S desk, pass ing AMY in front of her. AMY sits) Amy, this is Mr. Taylor my sister. TAYLOR. (Rising) How do you do? ETHEL. Mr. Taylor seems to think he may be able to help me recover my diamonds. AMY. (Startled ETHEL is standing at her side) Your diamonds! TAYLOR. Your sister has been kind enough to give me some information in reference to the theft 1 thought you might be able to add to the facts we have. AMY. I ? ETHEL. Yes, so you must answer Mr. Taylor's questions. AMY. Of course. TAYLOR. (To AMY) How did you discover your sister's jewels were stolen? AMY. (Nervoiisly) Why, I I went to her dressing-table one morning and they weren't there. TAYLOR. (Meaningly) Oh, they weren't there then what did you do ? AMY. Why I telephoned the company. TAYLOR. Without consulting your sister? 24 UNDER COVER ETHEL. But she couldn't do that. I told you I was out of town. AMY. (Relieved) Yes, she was out of town TAYLOR. (To AMY) But how did you know your sister hadn't taken her diamonds with her? AMY. (Plesitating) Why, I think she must have told me before she left. TAYLOR. Oh, you think so ! AMY. (To ETHEL) Didn't you tell me, Ethel? ETHEL. (Reflecting) Perhaps I did TAYLOR. (To AMY) But you didn't telegraph your sister to make sure? AMY. (Frightened and confused) Why, no no. TAYLOR. (With complete change to genial manner) Well, as it happens, that didn't make any real difference (Sits) as long as the jewels were stolen and not just mislaid. AMY. Yes ! TAYLOR. (To ETHEL) Now, one other point regarding the money you recovered from the com pany please don't think me impertinent but you still have it of course? ETHEL. Only part I gave half of it to Amy. TAYLOR. I rather thought perhaps you'd done that. Of course you realize that if I do find your diamonds the money in full must be returned to the company (Looking at AMY) from yon both AMY. (Quickly) But, I couldn't do that ETHEL. (Surprised) But, Amy, why not? AMY. I haven't got all of it now ETHEL. But what did you do with it? TAYLOR. (Leaning back in chair) Yes, that's quite an interesting question, Miss Cartwright. What did you do with the money? AMY. I I paid a lot of bills ETHEL. (Amazed) You paid a lot of bills? But, Amy, you told me UNDER COVER 25 TAYLOR. (Interrupting ETHEL) Just a moment, Miss Cartwright (Sharply to AMY) What sort of bills ? AMY. Why, dressmakers, and hats and things. TAYLOR. Of course you have receipts for the money ? A.MY. Why, why, I don't remember. TAYLOR. Oh you don't remember! But you do remember whom you paid the money to? ETHEL. Of course you do. Think Amy. AMY. Why, yes. (DUNCAN enters door left.} TAYLOR. Who was it? DUNCAN. The collector and the secretary want to see you right away, chief. TAYLOR. (Annoyed) I can't leave now. DUNCAN. (Apologetic) I explained you were busy, but they said they must see you immediately about those Amsterdam diamond frauds. The secretary's got to go right back to Washington. TAYLOR. (Annoyed rises and crosses back of desk, to DUNCAN) Oh, very well. (To AMY and ETHEL) I shall have to ask you ladies to wait five minutes for me. ETHEL. Certainly. TAYLOR. (Speaks in pantomime to DUNCAN at L.) Understand? (DUNCAN nods his head. TAYLOR exits left and DUNCAN up center. ETHEL turns and looks after TAYLOR as he exits.) AMY. (Hysterically as she turns to ETHEL, ris- ing) Oh, Ethel they know they know! ETHEL. Know what? AMY. That man suspects I know he does the way he spoke to me. 26 UNDER COVER (NOTE: This scene must be played in undertones to indicate the fear of being overheard.) ETHEL. What are you talking about suspects what ? AMY. Oh, Ethel, don't let them take me away oh, don't don't ETHEL. (Sharply draws a step a-way from her in amazement} What are you saying? AMY. Your jewels weren't stolen (Pauses) I took them I pawned them. ETHEL. Amy ! AMY. I took them. I had to have money. A woman told me I could get it by pretending to the company the things were stolen and they'd pay ; and I did I did it. ETHEL. (Stunned, horrified not believing) Amy, you swindled the company! AMY. Yes, but I couldn't help it. I didn't mean to I didn't ETHEL. Why why why please, tell me, why? AMY. (Turns her head away} Oh, I lost a lot of money gambling playing bridge. ETHEL. Playing with whom? AMY. (Avoiding ETHEL'S gaze; turns, faces R.) Oh, they're people you don't know and one night we'd all had dinner together at Claremont and they wanted to play bridge I said no at first, but they insisted I got excited I didn't realize how much I was losing I kept on trying to get even but I couldn't I lost a thousand dollars. ETHEL. (Looking around frightened) Ssh Ssh AMY. Oh, I didn't mean to (Turns to ETHEL) Ethel, believe me, I didn't I didn't ETHEL. What happened then? AMY. I couldn't pay, of course, and the other UNDER COVER 27 women said they'd expose me and tell you and mother and put me in jail. {Turns azvay to R.) I didn't know what to do. I went out of my head, I think ; a man there, Philip Sloane, offered to lend me the money. ETHEL. (Horrified') You didn't borrow from that man? AMY. I did what else could I do? You weren't here and I had to do something right away. ETHEL. But what about the jewels? AMY. Then he loaned me the money (A step away to R.) Oh, I can't tell even you, Ethel, what he said I never knew there could be men like that. When I wouldn't wouldn't go away with him and do as he wanted, oh, he threatened all sorts of things. I had only one idea then, to pay him back, no matter what happened. I got half the money from the pawn-shop and the rest from you, when the company settled. I paid him then I knew he couldn't say anything do anything Oh, Ethel. (She sinks into chair left of desk, crying) ETHEL. (Crosses to AMY slowly, puts her arms around her) My poor sister my little Amy I'm so so sorry for you. Why why didn't you tell me so I could help you? AMY. (Looking up into her face) I was afraid to. I meant to tell you next month, when we got the money from father's estate. I thought we could pay the company then, so I wouldn't be a thief any more. Oh, I'm glad I've told you. I've been so frightened. ETHEL. (Soothing her) There there there AMY. And this man knows. Can't you see he suspects can't you? ETHEL. (Looking toward door L.) Yes, yes, that's what he's been leading up to. (Turns to AMY) But, he can't be sure or he'd have accused you direct. Oh, thank God, you've told me ! 28 UNDER COVER AMY. (Quickly} Oh, Ethel, don't let them take me away don't let them put me in prison! I'd die. Don't, please don't let them. ETHEL. (Comforting her) Ssh ssh you've got to keep control of yourself. He doesn't know anything. If you'll just do as I say, I'll save you I promise you believe me, don't you? AMY. Yes, Ethel, I believe you. ETHEL. (Standing up) Now, talk of something else anything AMY. Oh, I'm afraid I'll break down. Can't I go home now? (Rises) ETHEL. (Turns up c., AMY with her) Yes, that'd be best; quick, before he comes back. (Opens door. DUNCAN is standing there) DUNCAN. Sorry, Miss, but you can't leave. ETHEL. I'm not leaving it's my sister she's not well she must go home. DUNCAN. Neither of you can go (He shuts door. They come down center) AMY. You see, they're going to keep me here. ETHEL. When he comes back let me do all the talking. If we can just get home, now, to-day, we'll think of something. There must be a way out. AMY. Oh, Ethel, I didn't mean to steal I didn't I didn't. ETHEL. Ssh. I'll invent a story to fool him. He won't be able to find out now if it's true or not so he'll have to let us go. Then I'm sure everything will be all right. AMY. Oh, Ethel, you're wonderful. ETHEL. Now, sit there. (AMY sits in chair L. of desk at R. ETHEL hears click of the door-knob L. She quickly crosses to down center and stands facing AMY) Yes, Amy, just think, I read some where that they often take in a million dollars a day at the Customs House. UNDER COVER 29 TAYLOR. (Entering, coming over to R. of desk at L. and below it) Sorry I had to leave, just as matters were getting rather interesting ETHEL. (Crosses to c.) Nevertheless, I fail to see what all that cross-questioning of my sister has to do with TAYLOR. You will see, Miss Cartwright, very soon. ETHEL. Meanwhile, I'm afraid I can't wait any longer for the papers about the ring. TAYLOR. There isn't any ring. ETHEL. What ? TAYLOR. That was merely a pretext I was afraid the truth would not serve to bring you. ETHEL. You asked me to come here because you thought I'd swindled the company. TAYLOR. Well, we all make mistakes. ETHEL. Oh, you admit it's a mistake? TAYLOR. I'm quite sure of your innocence, be cause (Looking at AMY) well, I have the thief now. AMY. (Startled rises) You have the thief? TAYLOR. Yes, I've arrested the man who robbed your sister! AMY. The man? TAYLOR. Yes. Poor devil, he has a wife and children. He swears they'll starve; but he's guilty and he's got to go to jail. AMY. Are you sure he's guilty? TAYLOR. (Leaning forzvard) Yes, why? Have you any reason to think he's not? AMY. No, no ETHEL.' But I have every reason to believe he is innocent (AMY gasps.) TAYLOR. You have ? 30 UNDER COVER ETHEL. Yes. I know who stole my jewels it was my maid TAYLOR. (Genuinely surprised) Your maid? Why didn't you tell the company that? ETHEL. Well, it was not till after the claim had been paid that she disappeared. Then I got a note from her from Canada, confessing. TAYLOR. Whereabouts in Canada? ETHEL. I don't quite recall. TAYLOR. Oh, what was your maid's name? ETHEL. Marie Gamier. TAYLOR. (Crosses to desk L. and sits. Writing) Marie Gamier. (He pushes buzzer) Why didn't you say all this before? ETHEL. What was the good? I was fond of Marie she was really almost one of the family I didn't want to brand her as a thief and when I learned she'd got away to Canada where the law couldn't reach her DUNCAN. (Entering at center) Yes, sir. TAYLOR. (Handing him paper) Attend to this at once and telephone me the answer. DUNCAN. Yes, sir. (He exits left) TAYLOR. (Rises and crosses to ETHEL) May I ask why you make this admission about your maid to me now? ETHEL. (Promptly) Because I don't want to see an innocent man go to prison. TAYLOR. Oh did your sister know all this, too? ETHEL. (Quickly) No TAYLOR. Why hadn't you told her? ETHEL. (Innocently) I didn't think it made any difference. TAYLOR. (Annoyed) Your behavior is most extraordinary. ETHEL. (Apologetically) I know so little about the law and insurance and those things. TAYLOR. Well, you must know you owed it to UNDER COVER 31 the company to give them all the information in your possession. ETHEL. I really never thought of it in that way. TAYLOR. There seems to be a lot you young ladies haven't thought of and don't remember. ETHEL. I suppose there's no use our waiting any longer. (AMY crosses to ETHEL'S left as they go to door up c.) Come, Amy. (The 'phone rings.} TAYLOR. Just a moment, Miss Cartwright. (They pause and turn. In 'phone} Hello oh, she hasn't Good-bye. (He rings off and crosses to AMY and ETHEL) Miss Cartwright when you didn't know what town in Canada your maid's note came from I felt you were lying. Now, I know you were. I just had my assistant telephone your mother. You haven't had a maid for over a year and your last maid's name was Susan. You put the blame on a woman who doesn't exist because it was your sister who stole your jewels. ETHEL. She didn't she didn't TAYLOR. (To AMY) You swindled that com pany. AMY. {Weakly} No, no (Crosses around in front of ETHEL and to her R.) ETHEL. How dare you make such an accusation, when neither you nor the company has any proof? TAYLOR. Quite true now but when we get the proof- ETHEL. You can't, because there isn't any- TAYLOR. (To ETHEL) Now, see here, you're just trying to protect your sister; that's very natural, but it'll go easier with you both if you'll tell the truth. (AMY starts to speak ETHEL stops her} You won't answer, either of you? Well, of course the stuff's pawned some place. That's what 32 UNDER COVER they all do Bronson only searched the pawnshops in New York. He didn't give you credit for pawn ing 'em out of town, but I do. Now we'll see where your sister did go (Going to 'phone at desk left. AMY slowly to desk R.) Hello, give me Ford that you, Bill? Go over to Bronson at the New York, get a description of the jewels reported stolen from a Miss Ethel Cartwright and have all the pawn shops searched in (ETHEL gives AMY a quick look. He pauses after naming each town, eye ing AMY) Trenton Boston Washington Provi dence Baltimore Albany Philadelphia (AMY gives a gasp. To AMY, triumphantly, as he hangs up receiver and crosses to ETHEL) So you pawned them in Philadelphia. ETHEL. (Frantic') No, no, I did it TAYLOR. No, you didn't. You're only trying to shield your sister. (To AMY) You're the thief. AMY. (Breaking in) Yes, yes, I did it I did it. ETHEL. Amy, don't speak, don't don't. AMY. But, I didn't mean to I didn't Oh, don't put me in prison. TAYLOR. (To AMY) Young woman, you're under arrest. ETHEL. (Turning to TAYLOR) No, no, don't take her take me. She's only a child ; don't spoil her life. I'll go. I'll do whatever you like; it doesn't matter about me. For God's sake, don't do anything to my sister. TAYLOR. She's guilty, and the law ETHEL. Please don't send her to prison. If some one pays, what difference does it make to you? If you'll just let her go, I'll do anything. Isn't there anything I can do? TAYLOR. (After a pause) Yes, there is. You can accept my proposition to enter the secret service of the United States Customs. ETHEL. Oh, yes, yes, anything. UNDER COVER 33 TAYLOR. Now, you're talking. Then we won't send your sister to prison. AMY. Oh! (She breaks down, sobbing) ETHEL. You won't tell Bronson? TAYLOR. No. ETHEL. Ah ! TAYLOR. Now that I realize the situation, I am very sorry for you both, so suppose we leave that little episode of the jewels as between your sister and her conscience, so long as you do what I ask. I'll let you know when I need you. It may be to night, it may be in a month, but when I v/ant you ETHEL. I shall be ready. (AMY crosses up to door center, and stands quietly crying. ) DUNCAN. (Entering L., crosses to lower end of desk) Say, chief TAYLOR. Get out. I'm busy DUNCAN. I thought you'd want to know the Mauretania's coming up the bay now. TAYLOR. She is ! Wait a minute. Now good- afternoon, Miss Cartwright. Remember what's at stake your future your sister's happiness, my silence, depend on your not failing me. ETHEL. (With a break in her voice) I shall not fail you. (She takes AMY out c.) (TAYLOR goes up and closes door.) TAYLOR. (Crosses D. R. c.) Did Brown 'phone you from quarantine? DUNCAN. Yes, sir, Steven Denby did not declare the necklace. TAYLOR. Ah, then I was right Denby is trying to smuggle it 34 UNDER COVER DUNCAN. I've got Ford and Hammet all ready to meet him at the dock. TAYLOR. Don't send 'em there's to be no search. DUNCAN. No search? TAYLOR. Let 'em slide through with the ordinary examination. Trail 'em to Long Island, to be sure they don't slip it to someone on the way but no fuss, no arrests. Meanwhile get up a warrant, a fake warrant, for the arrest of Miss Amy Cart- wright. It may come in handy. DUNCAN. Yes, sir. TAYLOR. (Crosses tip to hat-tree) Now change your clothes. Bring Gibbs with you; meet me at the Pennsylvania station at six o'clock. DUNCAN. Where are we going? TAYLOR. (Turning at door c.) To Long Island to call on Miss Ethel Cartwright. DUNCAN. (Excited starts up a step) Then you can use her to land Denby? TAYLOR. Use her? (With grim humor) Say, Jim, she doesn't know it, but she's going to get that necklace for me to-night! (He exits hurriedly center door as Curtain UNDER COVER 35 ACT II SCENE I SCENE : The scene is the large hall or living-room of the HARRINGTON country home on Long Island. The furnishings and atmosphere should be charming, and while simple, indicate the good taste and the wealth of the owners. There are two French windozv right center, leading out to the lawn and double doors right, to the dining- room, and one at up left to the library ; an alcove at up left center are in which are the first half dozen steps and the landing of a flight of stairs leading to the floor above. There is a table at left center, chairs around it, and a fireplace at left zvith a club fender and a half-folded screen. The back drop indicates a lawn and distant trees. AT RISE : MICHAEL HARRINGTON in armchair L. of table L., reading a paper and sipping a Scotch high-ball. On the table is a bottle of Scotch, a syphon and also a pint bottle of champagne HARRINGTON is a man of fifty-five or sixty, genial, charming and with a sense of humor. He is in love with his zvife, although he is always by way of poking fun at her and she at him. His desire for highballs is more of a hobby because his wife forbids his drinking rather than a real keenness for alcohol. He is conscious of his own frailty. There is a toot of a motor-horn heard in the distance. LAMBERT. (Enters R. and crossing to center. LAMBERT is a smart English butler) Please, sir, 36 UNDER COVER the car is just coming up the drive. Mrs. Harring ton is in it. MICHAEL. (Rising hastily and crossing to up center} Good my wife ! The boat must have docked early (Crosses R. toward door R.) LAMBERT. Yes, sir. MICHAEL. Get rid of these. (Indicating bottles. LAMBERT crosses to table and gathers up bottles, glasses, etc.) And not a word, Lambert, not a word. LAMBERT. (As he backs to L. 2) Certainly not, sir I quite understand. I was valet to an English lord for seven years. You can rely on me, sir. (He exits u. L. with the tray. The motor-horn is heard full blast off R. NORA RUTLEDGE is heard calling off R.) (NORA is a clever young ingenue of twenty-tivo or twenty-three, with a tendency toward pert re marks, zvhose pertness must be removed by the charm of her own personality.) NORA. (Excitedly off-stage} Mr. Harrington! Mr. Harrington! Alice is here (Enters door R., comes R. of table c.) Alice is here, and Monty Vaughn is with her. MICHAEL. Fine, fine. How is she have they had a good voyage? (ALICE HARRINGTON enters door R. and rushes into MICHAEL'S arms} By George, I'm glad to see you. (He leads her down to front of table down left} (ALICE HARRINGTON is a delightful woman of thirty-four, in love with her husband, aware of his foibles, humoring them and yet maintaining a maternal watchfulness over him. She is very smart. She has an ingenuous rcalizaton of her own sarcasm and irony that takes the sting UNDER COVER 37 out of her remarks. She is never bitter, merely humorous.) ALICE. (In his arms, patting him on back) You dear old thing. NORA. (R. of table as MONTY VAUGHN enters. MONTY is a good looking young man of twenty-five or twenty-six years, with a slight mustache which he is continually fussing with. He is DENBY'S op posite timid, high strung, nervous, but basically not really a coward) Hello, Monty. MONTY. (Shaking her hand enthusiastically) It's bully to find you here, I nearly hugged you. NORA. Well, why didn't you? MONTY. (Stretching out arms) I've half a mind to. NORA. No, not now. It's cold. Hugs must be spontaneous. ALICE. (To NORA) Where's Ethel? NORA. We didn't expect you for another half hour she's upstairs, changing, she'll be down in a minute. MONTY. (Over to c.) I say, old man, why weren't you down at the dock ? MICHAEL. Wife's orders. ALICE. (Crosses to MICHAEL) I should say so. I know of no greater nuisance than having people meet you at the pier. (To MICHAEL) You were very obedient. MONTY. The perfect husband. ALICE. (Smiling) Well, I shouldn't say that. MONTY. (To ALICE as he looks at his hands) If you don't mind, I'll go up and wash up (Crosses to door right, to NORA) I've got almost all of Long Island in my eyes. (ALICE and HARRINGTON move L. so that ALICE can sit in armchair.) 38 UNDER COVER NORA. Go ahead perhaps you'll be able to see me better then. MONTY. I couldn't see you better if I tried. I'll meet you in the pagoda in five minutes. (As he goes) It's mighty nice to see a pretty girl again, who talks American. NORA. As if men cared what girls say it's the way they look that counts. ( MONTY exits door R.) MICHAEL. (To ALICE) Did you have a good trip? ALICE. (Sits in chair L. of table) Bully Steven Denby's most attractive and mysterious. (NORA goes slowly to chair L. table, and kneels on it.) MICHAEL. (L. to ALICE back to fire) Denby? Oh, yes, I'd quite forgotten he was coming. Where is he? ALICE. The limousine was so full of Monty and me and bags and things, we put him in the big car. They had a blow out five miles from here but he'll be along presently. NORA. What Mr. Denby is he? MICHAEL. Yes. I never heard of him. Who is he? ALICE. Perhaps that's what makes him so mysterious. I haven't the least idea. MICHAEL. Then why on earth have him down here? ALICE. Because Monty suggested it. They went to school or college or something together and be cause even if I am married (Smiling at MICHAEL) love has not made me blind to other charming men. (Light laugh) UNDER COVER 39 NORA. Will I like him? ALICE. I did the minute I met him. He has a sort of " come hither " in his eyes and the kind of hair I always want to run my hand through. You will too, Nora. NORA. But you see I'm not a married woman, so I haven't your privileges. ALICE. Don't be absurd. I haven't done it but I may. MICHAEL. I don't in the least doubt it. ALICE. He has such an air sort of secret and wicked. He might be a murderer or something fascinating. MICHAEL. Splendid fellow for a week-end. ALICE. (Looks at her watch. Rises and is going toward stairs} Heavens! I ought to dress. NORA. (Conies round R. of table and up L. to stairs) Come on, I can't imagine what's keeping Ethel. MICHAEL. (As ALICE moves toward stairs) Oh, just a minute, Alice. ALICE. Run along, Nora, I'll be right up. NORA. I'll go wait for Monty I think you're going to be lectured. (She exits at French window to right} ALICE. What is it? MICHAEL. (Brings her down to L. of table she is on his R.) I just wanted to tell you how mighyt glad I am to see you. ALICE. And Mikey dear I'm mighty glad to see you. MICHAEL. Are you really? You're not missing Paris. ALICE. Oh, Paris be hanged ! I'm in love with a man not a town. MICHAEL. It's still me? ALICE. Always you ! One big reason I like to go abroad is because it makes me so darned glad to get 40 UNDER COVER back to you. (She sits on arm of chair left of table} MICHAEL. (Playfully reproving) See here, now, every time I want a little trot around the country and suggest leaving you, you begin ALICE. Oh, that's very different. When we do separate I always want to be the one to leave, not to be left. MICHAEL. (Nodding his head) It is much easier to go than to stay. I've been pretty lonely here these last six weeks. ALICE. Even with all the Scotch you wanted? MICHAEL. (Crossing to ALICE) 'Tisn't nearly as much fun to drink when you're away. It takes the sport out of it not to be stopped. ALICE. Fibber ! MICHAEL. (Crossing to left) Well, most of the sport. Do you know I sometimes wonder whatever made you marry me. ALICE. Sometimes I wonder, too. (Rises, crosses to HARRINGTON) But, not often. I really think we're the ideal married couple. MICHAEL. Do you honestly? (Holding her off at arm's length) ALICE. Yes. We're sentimental when we're alone and critical when we've guests. MICHAEL. That's true most people hate each other in private and love each other in public. (He takes hold of her hand) ALICE. You're a dear old thing. MICHAEL. Do you know, I don't feel a bit married? I just feel in love. ALICE. That's the nicest thing you ever said to me. (She kisses him) But I must find Ethel. (Crosses up to stairs) MICHAEL. You know you've made me fairly dizzy. I need a drink to sober up. UNDER COVER 41 ALICE. (Crossing to him) I believe you've been trying to get around me just for that. MICHAEL. Oh, no, you don't. ALICE. No, I don't, Mikey. (Crosses up on first platform) (MONTY and NORA enter at French window.) NORA. (L. of MONTY by window) Heavens, still lecturing, you two? MONTY. (As MONTY and NORA cross down center) You do look rather henpecked, Mr. Harrington. MICHAEL. Yes, we've been having a dreadful row. ALICE. Now, I am going upstairs to see Ethel. (She exits. MICHAEL waits till she has gone up stairs then crosses to table) MICHAEL. I'll think I'll go for my one solitary cocktail (Crosses back of them and turns. NORA crosses to table) in my own private bar, but keep that confidential. (He exits R. There is a slight pause) MONTY. (Going toward French windows) I wonder where the deuce Steve is? A blowout oughtn't to keep him all this time. NORA. (In front of table) What's the matter with you, Monty? MONTY. Me? (Turns to her) Nothing. (Sud denly) What's that? NORA. What? MONTY. Oh, nothing. NORA. (Crosses tozvard couch) You never used to have a nerve in your body now you jump at everything. MONTY. (Coming down to her L.) Why, I guess I'm a bit nervous. Steve and I are in a big deal together and it's got me sort of anxious. 42 UNDER COVER NORA. You don't mean to say you've gone into business ? MONTY. Well, it's not exactly business -it's something secret. NORA. Well, if it frightens you so, why go in it? MONTY. Well, everything was sort of tepid in Paris. NORA. Tepid in Paris? MONTY. Well, even Paris can get like that when you live there. I wanted excitement, and when Steve told me about the scheme NORA. (She kneels at L. end) Oh, if it's exciting, tell me about it. MONTY. (Sits on left arm) I wish I could but I promised Steve. We're pretty old friends. NORA. I know, know. You and he went to college together and sang a " stein on the table " and went on sprees together and made love to -the same girls, and played on the same teams. I know all that college stuff. MONTY. But we didn't go to college together. NORA. But Alice said you did. MONTY. (Anxiously) Oh, did she? NORA. Well, anyhow, don't be reminiscent, Monty. I hate reminiscences. They make me so darned envious. I wish I'd been a man. MONTY. (Smiling) I don't. NORA. Don't try to flirt with me. MONTY. Why not? NORA. You don't know how. MONTY. Teach me. NORA. It can't be taught. It's got to be born in you. (Sits on couch. Pauses, looks down) Well, go on. MONTY. (Rises, crosses dozvn left center. Re flectively) I wonder where Steve is. NORA. (Exasperated) You're hopeless. I don't know where Steve is and frankly I don't care. I UNDER COVER 43 hope he's under the car with gasolene dripping in his eyes. MONTY. (Coming to her, suddenly) Do you know, Nora {Kneeling on couch) for the last year there's been something trembling on my lips. NORA. (Ecstatically) Oh, Monty, don't shave it off I love it. ( MONTY down center, then up to French window) (ALICE and ETHEL come downstairs in order named. MICHAEL enters from right at the same time, wiping mustache works back to L. of ETHEL.) NORA. (Rising) Here's Ethel. ALICE. Monty, I want you to know my very best friend, Miss Cartwright, Mr. Vaughn. (MONTY goes to ETHEL at back of table.) ETHEL. (Offering hand) How do you do. MONTY. (At back of table. Shakes her hand. ALICE to stool R. of table, sits) How do you do? MICHAEL. (At fireplace) Be kind to him, Ethel ; he's a nice boy. NORA. (Sitting on couch) And an awful flirt. MONTY. Oh, I say. ALICE. (Sitting on stool) Are you a flirt? MONTY. No. ALICE. Of course, he never flirts with me. That's the penalty of age. I've known him a disgracefully long time ever since the Palisades were that high. (NORA sits on couch. MONTY to couch back.) ETHEL. (Down to armchair L. of table) I'm sorry I couldn't get down to the dock to meet you, Alice. ALICE. Thank heaven you didn't. 44 UNDER COVER ETHEL. But I had some business MICHAEL. Business in August I say, you do look a bit fagged no bad news I hope. ETHEL. (Nervously) I was afraid it might be but it came out better than I hoped. ALICE. How's Amy? ETHEL. (Nervously) Oh, she's all right. MICHAEL. We ought to have had her down here. ALICE. No, we shouldn't. I didn't intend it to be a big party, and anyhow young men are scarce in August. MONTY. I wonder where the deuce Steve is? ALICE. I hope he hasn't gone over the cliff. MICHAEL. So do I. It was a mighty good car, almost new. ETHEL. Is someone else coming? ( MONTY crosses to back of couch.) ALICE. A perfectly charming man Steven Denby. ETHEL. (Her face lighting up) Steven Denby? ALICE. Yes, do you know him? ETHEL. Indeed, I do. (NORA rises.) MONTY. (Surprised) You know Steve? (Crosses to table) NORA. (Crosses to ALICE. Over beside ALICE) Tell us about him. MICHAEL. Who is he? ( MONTY drops down R.) ALICE. Isn't he fascinating? ETHEL. I know him, and that's really all I can tell you. I met him in Paris a year ago. UNDER COVER 45 ALICE. Didn't you like him? ETHEL. Yes, I did, very much. NORA. Well, he's evidently yours for the week end. ETHEL. Oh, I daresay he won't even remember me. NORA. Oh, I bet he will and I'll just have to stick around with Monty. (Turns to him, and crosses to him) MONTY. (Crosses to NORA and grandly) Oh, I don't particularly mind. (Dressing-bell rings off-stage.) MICHAEL. Time to dress, good people. ALICE. (Turning at stairs) Come, Nora; come, Monty. ( MONTY quickly to stairs and up) You'll have to amuse yourself, Ethel ; you can't depend on Michael. ( MONTY exits upstairs.) MICHAEL. Quite right, my dear. NORA. I think I'll strum a bit. (She exits door right) MICHAEL. (Crosses door R.) I'm going for my one solitary cocktail. ALICE. (At stairs) And only one ! MICHAEL. (At c.) My dear, you know me. ALICE. That's why I said only one. And wait for Mr. Denby. Tell him we'll be down in a minute. MICHAEL. I'll send him in to Ethel. (ALICE exits upstairs.) ETHEL. Yes, do. (MICHAEL exits door R., motor-horn is heard in distance. ETHEL crosses in front of table, goes up and looks out of French window. 46 UNDER COVER Motor-horn is heard in short, full blasts. ETHEL goes down to back of couch and ar ranges herself in anticipation of DENBY'S arrival. Confused murmur heard off, of MICHAEL welcoming DENBY. STEVEN DENBY enters R. DENBY is a young man of thirty or thirty-one, charming, good looking, with, as MRS. HARRINGTON says, a " come hither " in his eye. He is cool, self-possessed, quiet. Noth ing ruffles him. He takes adventures as they come, and lets them come often. He is the kind that women pursue and yet men respect. He is a mart's man and yet a woman's lover. He crosses toward stairs.) DENBY. (Most enthusiastically, crosses to her at c. offering his hand) Why, how do you do, Miss Cartwright ? ETHEL. (At c., graciously shaking hands) How do you do, Mr. Denby? DENBY. Mr. Harrington said there was a sur prise in here for me, but I had no idea it would be so delightful how are you? ETHEL. (Gaily) Splendid and you? DENBY. Grateful to be here ETHEL. I didn't think you'd remember me- DENBY. Remember you? Why, it was only the day before yesterday we were in Paris. ETHEL. (Crosses to couch) What are you doing in America? DENBY. (Crosses to center) Oh, I thought I needed a run over to see if New York was finished yet. (Piano off-stage starts playing: "I loved you a thousand years ago.") ETHEL. Are you still doing nothing? UNDER COVER 47 DENBY. Still nothing. ETHEL. And I did have hopes of you. (Sits on right end of couch} DENBY. (Meaningly) And I of you. ETHEL. (Changing the subject) I'm afraid I don't admire idlers. Why don't you do something? DENBY. It's so difficult to get a thrill out of business. ETHEL. And you must have thrills? DENBY. (Sits on left arm of couch) Yes, it's such a dull old world nowadays. ETHEL. Why don't you take to crime? DENBY. (Mockingly) Ah, the stake's too high a thrill against prison. , ETHEL. Oh, you want little thrills? DENBY. No, a big one life or death but not prison (Piano stops) And you? You are still doing nothing, too? ETHEL. Nothing. DENBY. Still Miss Cartwright? ETHEL. Only Miss Cartwright. DENBY. (Rises, leaning towards her) Good! (Embarrassed as she looks quickly at him) By George, it doesn't seem a week since that week in Paris. (Backs away to center) ETHEL. No, it doesn't. DENBY. What made you disappear just as we were having such bully times? ETHEL. I had to come back to America sud denly; I had only an hour to catch that boat didn't you get my note? DENBY. Of course I didn't. I thought you'd dropped me. I tell you I hit with an awful crash. ETHEL. (Encouragingly) No, I hadn't dropped you. (DENBY crosses to left end of couch) In fact I thought it was just the other way. DENBY. I should say not ! I did try to see you when I was over here six months ago, but you were 48 UNDER COVER at Palm Beach. (Whimsically) I can't tell you how often I've sent you telepathic messages ever get any of 'em ? ETHEL. Some of them, I think. And now we meet on Long Island. It's a far cry to Paris. DENBY. Oh, it's people who makes places. (Crosses to end of couch) The places themselves don't matter you and I are here. ETHEL. (Sighing) Still Paris is Paris. DENBY. (Sighing) Rather ! Do you remember that afternoon in front of the Cafe de la Paix ? We had Vin Gris and watched the Frenchman with the funny dog and the boys calling La Presse (Piano starts " Un Pen D' Amour") and the old woman with her news-stand. ETHEL. (Romantically) And there was a hole in the tablecloth. DENBY. (Smiling) And wasn't it a dirty table cloth. (Romantic) And we had tea in the Bois at the Cascade, and the Hungarian Band played " Un Peu (He hears piano playing " Un Peu d' Amour" and marks the coincidence) " Un Peu D'Amour ". (They listen to it for a second, she hums. When piano finishes chorus, it stops.) ETHEL. (Romantically) And the poor skinny horse in our fiacre fell down and we walked all the way home out of pity. DENBY. You were tender hearted. ETHEL. Do you remember dinner at Vian's that night (Pauses) Wasn't the soup awful? DENBY. (Smiling) Ah, but the string beans ! ETHEL. The string beans were an event. DENBY. (Around to back of couch, leaning over) And afterwards I can remember a moon over the Bois as we sat under the trees, can you? ETHEL. (Softly) Yes. UNDER COVER 49 (Piano finishes chorus about here.} DENBY. (Leaning over her) And the day we went through the whole Louvre, (Pauses) in an hour and the loveliest picture I saw was you (Pause. He sighs. She sighs. Pause. LAMBART interrupts the picture. He comes from L. u. and crosses.) LAMBART. Pardon me. (DENBY coughs f embar rassed, and walks away down left) There is a gentleman to see you, Miss Cartwright (He hands her card on tray. Crosses to c.) ETHEL. (Rises, crosses to LAMBART) To see me? (She takes card, looks at it, startled) Ask him to come in. (Turns to DENBY) Will you for give me? DENBY. (Going and removing auto coat) Surely I must dress anyhow. LAMBART. Your room is at the head of the stairs, sir (LAMBART exits L.) DENBY. (Crosses to stairs) Till dinner? ETHEL. Till dinner. (DENBY e.vits upstairs. ETHEL shows great anxiety. In a moment TAYLOR enters.) TAYLOR. (Crosses D. L. then to ETHEL. Enter door L. genially) Good-evening, Miss Cartwright. ETHEL. (Trembling) My sister? Nothing's happened ? TAYLOR. Sure, sure I haven't bothered her the little lady's all right. ETHEL. (Alarmed) What are you doing here? TAYLOR. I thought I'd drop in in reference to our little chat this afternoon. (He crosses R. 50 UNDER COVER ETHEL up to stair looking off. He looks about} Ah, nice place here. ETHEL. Yes, but TAYLOR. I suppose you remember our conversa tion? ETHEL. (Coming down center} Of course, of course. TAYLOR. You said when I needed you, you would be ready. (During this scene he glances around apprehensively) Well, I need you now. ETHEL. But I don't understand. TAYLOR. A man smuggled a two hundred thou sand dollar necklace through the customs to-day. For various reasons we allowed him to slip through thinking he'd fooled us. Now that he believes him self safe, it ought to be easy to get that necklace. In fact, we've got to get it through you. ETHEL. Through me? But I wouldn't know how to act what to do. TAYLOR. You're too modest, Miss Cartwright. I'm quite sure you'll be very successful. ETHEL. But, I'm spending Sunday here I couldn't very well make an excuse to leave now. TAYLOR. You don't have to leave. ETHEL. What? TAYLOR. The man who smuggled that necklace is staying here his name is Steven Denby. ETHEL. (Startled) Steven Denby? You must be mad he isn't a smuggler. TAYLOR. W T hy isn't he ? ETHEL. I know him. TAYLOR. You do? Where did you meet him? ETHEL. In Paris. TAYLOR. How long have you known him? ETHEL. A year. TAYLOR. What do you know about him ? What's his business? What does he do? ETHEL. Why nothing. UNDER COVER 51 TAYLOR. Nothing, eh? Well, that hardly proves he's not a smuggler. ETHEL. I m sure you're wrong. He's my friend. TAYLOR. Your friend! (Change to insinuating tone) Well, that ought to make it much easier for you to get him. ETHEL. I'm certain he's absolutely innocent. TAYLOR. This is your chance to prove it. ETHEL. But, I couldn't spy on a friend. TAYLOR. If he's innocent it can't make any dif ference, he'd never know if he's guilty he de serves punishment you've no right to try and pro tect him. You would merely be doing your duty in helping to detect a criminal. ETHEL. No, no, I can't do it. (Crosses to front of table at left) TAYLOR. You're going back on your agreement, eh? Suppose I go back on mine? ETHEL. You wouldn't do that? TAYLOR. It's give and take in this world. ETHEL. But, I couldn't be so contemptible. TAYLOR. (Meaningly) Now, you'd better think it over, Miss Cartwright; I would if I were you. ETHEL. But, suppose you're wrong suppose Mr. Denby has no necklace then TAYLOR. Don't you worry about that. Our in formation is positive. We got a telegram late this afternoon from a pal of his who's squealed giving its the tip about the necklace. Well, what do you say? ETHEL. Oh, I can't I can't. TAYLOR. (With menace) It's Steven Denby or your sister. Which are you going to choose? ETHEL. (Pauses, then quietly turns away) Then I have no choice. (To TAYLOR) What do you want me to do? TAYLOR. Good! (Crosses up center, looks up- 52 UNDER COVER stairs, then crosses to ETHEL) Denby has that necklace concealed in a tobacco-pouch, a brown leather tobacco-pouch which he always carries in his pocket. You must get that pouch. ETHEL. Sssh ! How can I ? TAYLOR. I'll leave that to you. ETHEL. (Pleadingly) But, why ask me can't you do it? TAYLOR. It may be a bluff, some clever scheme to throw me off the track. I'm not going to risk a mix-up with the Harringtons, or tip my hand until I'm absolutely sure. Denby's your friend you can easily find out. If you discover the necklace is in that tobacco-pouch, get Denby to go for a walk in the garden, say you want to look at the moon, say anything, but get him in the garden and we'll grab him there. ETHEL. But, he might go there alone. TAYLOR. If he comes along we won't touch him. But if he comes with you we'll know. ETHEL. But, if I can't get him to go into the garden ? TAYLOR. If you're sure he has it on him or if you make certain just where he has concealed it (Looks around thinking for a second or two) pull down one of those window shades. My men and I can see those windows from the pagoda. When we get that signal we'll come in and arrest him you understand ? ETHEL. Pull down the curtain shade. TAYLOR. Yes, but be careful. Don't bring him out in the garden, and don't signal, unless you are absolutely positive. ETHEL. Yes, yes. TAYLOR. And under no circumstances must you mention my name. ETHEL. But TAYLOR. There's no " but " about it. It is most UNDER COVER 53 important to the United States Government and to me that my identity be in no way disclosed. ETHEL. But it may be necessary. TAYLOR. It cannot be necessary. If you tell Denby I'm after him if it comes to a show down I'll not only swear I never saw you before but I'll put your sister in prison. DENBY. (Heard off-stage) Thanks very much, Lambert. TAYLOR. (Hurriedly going up to French window) Good-evening, Miss Cartwright. Don't forget to get Denby to-night. (She collapses R. of table L. He exits. ETHEL is left wretched and miserable. Dinner chimes ring off-stage. DENBY comes downstairs) DENBY. (Crosses down center) Ah, dinner. (ETHEL rises) Come, I wish it were Paris, with the hole in the tablecloth, and the eventful string beans, and the gay old moon, but, after all, what do they matter? It's a great world you're here, and I'm hungry. Are you hungry? (They are walking off R. as the curtain falls.) Curtain (Curtain remains down thirty seconds to indicate a lapse of two hours until after dinner.) SCENE II SCENE: Curtain rises on a dark stage. LAMBERT enters from R. turns up lights and exits L. u. During this, NORA, ALICE and ETHEL are heard talking. At LAMBERT'S exit they enter and ETHEL enters last, crosses around table and sits in front. 54 UNDER COVER NORA. (Crosses dozvn center. To couch) What I can't see is why we didn't stay and have our cigarettes with the men. ALICE. (Crosses to right of table) Oh, I always leave the men together. That's the way I always get all the newest naughty stories. Michael tells 'em to me later. NORA. Alice ! ALICE. (At R. of table c.) Oh, I like 'em when they're really funny; so does everybody else. Be sides nowadays, it's improper to be proper. Cigar ette, Ethel? ETHEL. (Who has crossed to mantel nozv crosses to table and sits in front of it) You know I don't smoke. NORA. That's so old fashioned. I'd rather die than be that (She coughs slightly) I do wish, though, I enjoyed smoking. ALICE. (Sits stool R. of table) Nora, what do you think of our new friend, Mr. Denby? NORA. I like him in spite of the fact that he didn't notice me. He couldn't take his eyes off Ethel. ALICE. I saw that myself. You know, Ethel, I meant him to take you into dinner, but Nora insisted that she sit next to him. She's such a man hunter. NORA. You bet I am that's the only way you can get 'em. (Crosses down R.) ALICE. Didn't you and Mr. Denby have a tiny, tiny row? You hardly spoke to him all through dinner ? ETHEL. Didn't I? I've a bit of a headache. NORA. (Crosses to R. center) I'll bet they had a lover's quarrel before dinner. ALICE. (Smilingly interested) A lover's quarrel ? _NORA. Certainly, I'm sure Ethel's in love with him. ETHEL. (Embarrassed) How perfectly ridic- UNDER COVER 55 ulous. Nora, don't be silly. I met him for a week in Paris. That's all. I did find him interesting. He had big talk as well as small, but as for love, please don't be idiotic. (Crosses to fender seat and stands) ALICE. Methinks the lady doth protest too much. NORA. (Crosses to ALICE) Well, I don't blame you. If he'd give me a chance I'd fall in for him in a minute, but attractive men never bother about me. The best I can draw is Monty, I'm beginning to dislike the whole sex. (Steps to R. ETHEL sits on lozver end of club fender, facing front) ALICE. Theoretically you are quite right, my dear. Men are awful things God bless 'em but practically well some day you'll explode like a bottle of champagne and bubble out all over some man. NORA. (Steps to ALICE) I wish I had another of Michael's purple drinks. ALICE. Do tell him that. The surest way to Michael's heart is through his buffet. He's taken to mixing cocktails now in a graduated chemist's glass. He should have been a bartender. NORA. Is he drinking as much as ever? ALICE. When I'm at home? I should say not. Nothing after one A. M. If he goes to bed, then he's all right. If he doesn't he sits up till five going the pace that fills. (Laughs) I wouldn't mind if it made him amusing but it doesn't it merely makes him sleepy. For Heaven's sake, Nora, do sit down. NORA. (Crosses to front of table) I can't. I always stand up for twenty minutes after each meal. It keeps you thin. ALICE. (Crosses down-stage and to R. c. Eagerly) Does it? (Rising) Does it, really? (Comfortably) Still I lost nine pounds abroad. NORA. Goodness ! How ? 56 UNDER COVER ALICE. Buttermilk. NORA. I walked four miles this morning in a rubber suit and three sweaters and gained half a pound. (Crosses to L. c. and up around table to back} ALICE. I do wish hips would come in again. (ALICE to right end of couch. MICHAEL crosses to right, up. MONTY to back of couch and DENBY to_left of center, to NORA at back of table) (Heard speaking off. Enter R.) DENBY. It's a delicious liqueur. (ALICE has crossed over to couch and NORA behind table meets DENBY.) MICHAEL. I used to think so too before my wife stopped my drinking. (DENBY comes to ETHEL.) MONTY. (Back of couch R.) Fine stuff. I could still feel it warming up all the little nooks and crannies. DENBY. Purple, but pleasing. ALICE. Michael did they tell you any stories purple stories? DENBY. (Standing behind table c.) We don*t know any new stories, we've been in England. (All laugh.) ALICE. (To couch and sits) Do sit down, all of you. We've been standing up to get thin. MICHAEL. Come on. If they're going to discuss getting thin let's get out. MONTY. Woman's favorite topic. NORA. (Coming round front of table to L. of table. HARRINGTON comes to right, and DENBY to UNDER COVER 57 L. belozv table and between ETHEL and chair L. of table} But you mustn't sit down yet, it isn't twenty minutes. ALICE. Well I think it's twenty minutes, and if it isn't I don't give a damn. (DENBY crosses to upper end of fender.} MICHAEL. Women are so self-denying ! (Crosses and sits R. of table) ALICE. By the way, Nora, there was a girl on the boat who lost twelve pounds. MICHAEL. Twelve pounds ! Why, that's sixty dollars. How women gamble. ALICE. Pounds of flesh. She was on a diet. She didn't eat for four days. (DENBY crosses to chair left of table.) NORA. Oh, that's a fine idea. I must try it sometime when I'm not hungry. (NoRA sits front of table c.) ETHEL. (Suddenly coming into the conversation) Speaking of the boat, Alice, what did you smuggle in? (During this talk about smuggling, MONTY looks anxiously at DENBY and foot by foot, watch ing him, moves till he is behind table c.) ALICE. Not a thing this time. I declared every solitary stitch MICHAEL. I'd like to believe you but knowing you as I do ALICE. I paid seven hundred dollars duty NORA. Disgusting. MICHAEL. What mental revolution was re sponsible for your deciding that smugging is wrong. 58 UNDER COVER ALICE. I don't think it's wrong you men seem to but I'd swindle the government any day. NORA. Then, for Heaven sakes why ALICE. Behold my reformer, Mr. Denby. ETHEL. (Suspicious and nervous. Speaks quickly) Mr. Denby? NORA. (Turns to DENBY) What did he have to do with it? (ETHEL has little part in the follozving conversa tion, but is most keen, alert and ^vatchfld.) ALICE. He frightened me. MICHAEL. I want to have a good look at the man who can do that. DENBY. I'm afraid Mrs. Harrington is exag gerating. I merely explained that things lately had been in rather a muddle at the customs. ALICE. They didn't give us the least bother at the dock. DENBY. That sometimes means the greatest pos sible trouble afterwards. NORA. How can it? DENBY. Well, according to some articles in McClures a few months ago by Burns {Turn ing to EDITH) NORA. Oh, was it in dialect? I love Scotch stories. DENBY. (To NORA) I'm afraid you're think ing of the wrong Burns, this wasn't Bobby, the poet. It was Bill, the detective. ETHEL. What did he have to say about it? DENBY. It seems that very often a dishonest official will let a prominent woman, like Mrs. Har rington slip through the lines without the least difficulty even if she is smuggling only afterward to come to her home, threaten exposure and a heavy fine. Usually the woman or her husband. (Look UNDER COVER 59 between HARRINGTON and ALICE) will pay largely to hush things up. That's why I advised Mrs. Harrington to declare everything. ALICE. Even so, I'd never had listened to it if you hadn't scared me half to death with that talk about R. J. ETHEL. What's R. J. MICHAEL. Sounds like a collar, or a corset. ALICE. He's one of those frightfully clever de tectives who get you " if you don't watch out." NORA. Oh, I'll bet he's fun. I adore detectives. Do tell us about him, Mr. Denby. DENBY. I know very little. Just that he's sup posed to be one of those impossible secret service agents, traveling incognito, all over the place. He's known only by his initials R. J. The stormy petrel some people call him always in the wake of trouble. Where there is intrigue, diplomatic tangles if the Japs steal a fortification plan or send a cross-country aeroplane to drop a bomb on the Singer Building, R. J's supposed to be there and catch the bomb. NORA. What an awfully unpleasant position? DENBY. You see I thought I ought to tell Mrs. Harrington about him, because we heard in Paris that he was busy over here now with the customs. MICHAEL. But, what I can't see is suppose Alice had smuggled and she came through without any fuss, as she did, how on earth, without a search, could they know she had anything dutiable, and if they didn't know, how could they blackmail her? DENBY. Oh, that's the simplest part of it. The clerk in Paris who sells you a set of sables or some rare bit of lace, is most of the time a government spy, unofficially and directly after he has assured you : " It is simple to smuggle, one can hide things 60 UNDER COVER so easily," he is cabling the customs here of your purchase. MICHAEL. They do that? I never did trust foreigners. ETHEL. (Rises, crosses to DENBY, leaning for ward coquettishly to DENBY) Tell me truly, Mr. Denby, didn't you smuggle something just one tiny little scarf pin? ( MONTY to center, then slowly to back of table.} DENBY. (Turning to her} Truly, nothing. Not even one tiny little scarf. What makes you think I did? ETHEL. It seemed to me that your protection of Mrs. Harrington was so very insistent you must have been afraid that she less clever than you would be caught. DENBY. But how could that affect me? ETHEL. If she were found out, that might direct suspicion to you. MICHAEL. That sounds plausible come on, Denby, 'fess up, what did you bring? DENBY. Only myself and Monty but you see he isn't dutiable. ( MONTY goes up to window, and in a moment strolls back to table.} ETHEL. Well, I'm not convinced, Mr. Denby, that it wasn't one thought for Alice and two for yourself. MICHAEL. (Rising} Come on, Denby tell us. NORA. (Rising and coming to DENBY) Oh, do it'd be so nice if your picture was in the Rogues' Gallery. ALICE. (Rises, crosses to c.) Yes, do tell us, Mr. Denby. t UNDER COVER 61 MICHAEL. We'll keep mum, we won't turn you over to the Police. (MONTY to table. Crosses to ALICE at c.) ETHEL. You're safe with us. DENBY. Oh, I'm sure of that so sure that if I had anything to tell, I'd tell it. NORA. That's always the way everytime I meet a man who seems exciting, he turns out to be just a nice man I hate nice men. (Goes and stands by MONTY beliind table) ETHEL. Yes, you are a disappointment. Couldn't you think of any new way to smuggle? DENBY. Oh, it wasn't lack of ingenuity just respect for the law. MICHAEL. I didn't know we had that in America any more. ETHEL. (Takes cigarette-box from mantel, crossing left to MONTY, then to MICHAEL) Cigar ettes, gentlemen ? MONTY. (Taking cigarette) Thank you very much, Miss Cartwright. MICHAEL. No, I want something I can get my teeth in. (Turns to ALICE at c.) ETHEL. (Crossing back to L. of DENBY) You, Mr. Denby? DENBY. Thanks no, I'll roll my own if you don't mind. (He has taken pouch from pocket and puts pouch on table. ETHEL starts as she sees the pouch, and shuts the cigarette box with a click. Crosses to mantel and puts cigarette box on mantel) NORA. Oh, can't you do it with one hand like the cowboys do in books? DENBY. (Smiling) I'm sorry to disappoint you again, but I find two hands barely enough. ETHEL. (Crosses to DENBY) Sometime you must roll me one, will you? 62 UNDER COVER DENBY. With pleasure. (He finishes the rolling and lights the cigarette) ALICE. But, you don't smoke. ETHEL. Ah, but I've been tempted. NORA. The only thing that makes my life worth living is yielding to temptation. MICHAEL. Well, I'm thirsty who'll split a pint? ALICE. That's your last drink to-night. MICHAEL. I'm not likely to forget it. You know my wife thinks I'm a restaurant. She closes me up at one sharp. ALICE. Shall we have some bridge, Ethel? ETHEL. Thanks, no, I've given it up. NORA. (Surprised) Why, you used to love it. ETHEL. I've come to think that all gambling is horrible. MICHAEL. Me too, unless stocks go up or the Democratic party goes down I'll be broke soon. (Crosses to back of couch) How about a game of pool? (Crosses to door R.) NORA. (Enthusiastically) I've never played, but I'd like to learn. MONTY. That'll make it a nice game. (Steps back as ALICE crosses to NORA at c.) ALICE. (Up to French window) I suppose there's nothing else to do but turkey trot. (Down to NORA) Come, Nora. MICHAEL. Well, I'll play pool or bridge or poker I'll sit or talk and sing but I'll be hanged if I turkey trot. ALICE. Oh, if you were only light footed instead of light headed. (ALICE and MICHAEL exit R.) NORA. Coming, Monty? (She follows MICHAEL and ALICE off R.) MONTY. Sure, but I'd much rather tango. (He starts to go off R.) UNDER COVER 63 DENBY. (Crosses to back of table at L. c. De taining him) Oh, Monty. ETHEL. Aren't you playing, Mr. Denby? DENBY. In just a moment. There's something I want to say to you, Monty. ETHEL. (Crossing up between the men toward door R. to u. R. c.) I know, man's god business. MONTY. We have rather a big deal on. DENBY. Yes, a two hundred thousand dollar proposition so we're a bit anxious. ETHEL. (A look on the mention of the amount) I should think anyone would be in your place but don't be too long, I shall want that cigarette presently. (She goes out door R. DENBY looking after her) DENBY. Bully, bully girl. MONTY. (Anxiously at left of couch R.) Any thing wrong, Steve ? DENBY. (Coming out of his trance and down to MONTY at left end of couch) I don't understand why they haven't done anything. I'm certain we were followed from the dock. MONTY. Why, you're crazy. If they'd had the least idea about the necklace, they'd have pinched you at the pier. DENBY. That's just what makes me suspicious they let us slide through too easily. MONTY. They were mighty casual. DENBY. And Cartiers must have tipped off some of the customs crowd that I got the necklace there. It all looks too fishy. They're up to some dodge. MONTY. You're too fidgety. (Crosses down rig Jit) DENBY. You don't know the game as I do. (He goes around table to left of light switch up on center zvall by window) Get over by that window. ( MONTY starts hurriedly for the window) Easy, easy. (DENBY has got to light switch and quickly 64 UNDER COVER turns it the lights go out leaving stage in dark ness except for the moonlight coming through the French window) MONTY. (Excitedly} What the dev DENBY. Is any one there on the lawn? MONTY. No (Quick and mysterious looks to L.) By Jove, yes, there is. There's a man over by the big oak. DENBY. What's he doing? MONTY. Just standing, looking over this way. DENBY. He's watching the house. Anybody with him? MONTY. No. DENBY. Come away, Monty. (MONTY crosses back of table and do^vn left. He switches light on) Now, do you believe they've followed us? (DENBY comes down center.) MONTY. The chills are running up and down my spine. Gee, I hope we don't have a fight. DENBY. Don't be nervous, old man, they won't touch you. They're after me. MONTY. Huh those fellows are likely to shoot first and then ask which is you? DENBY. (Quoting MONTY'S previous speech) Nonsense, you're too fidgety. MONTY. Why the deuce don't they come in? DENBY. I think they'll stay out to keep us in. MONTY. I hope they do. DENBY. They must have someone here on the inside working under cover to try and get the necklace. (Crosses up to French windows, look out to left using door as screen} MONTY. Who can it be? (Crosses to table) DENBY. (Up at window) That's what we've got to find out, and then, Monty, then we'll have some sport. UNDER COVER 65 MONTY. (Disgustedly) Then we'll have some shooting. Say, where's the necklace now ? DENBY. ( Up at French window looking out to L. MONTY back to audience) Still in my tobacco- pouch. (ETHEL opens R. door very quietly and stands listening. Turns away to L.) I know they mean business. This is going to be a fight, Monty, a fight to the finish. ( MONTY turns and seeing ETHEL interrupts DENBY, sharply.) MONTY. Will you have a cigarette, Dick? (DENBY wheels about quickly. Picture. ETHEL seeing she is discovered, comes down smiling to R. of table.) ETHEL. (As she crosses down center) Still talking business? I left my fan here somewhere. DENBY. Girls are always doing that, aren't they? (As he crosses down left) We'll help you find it, eh, Monty. MONTY. (Nervously crosses to sofa) Sure, Steve, sure. ETHEL. Steve? (Turns to MONTY) But as I came in I thought I heard you call him Dick. MONTY. (Embarrassed) Who? Me? Why? DENBY. (Promptly crossing to ETHEL at table) Oh, that was a signal in our private code. ETHEL. It sounds mysterious. DENBY. It's only commonplace. My favorite parlor trick is making breaks, and good old Monty has invented a signal to warn me when I'm on dangerous ground. " Will you have a cigarette, Dick," he says. (ETHEL turns to MONTY.) MONTY. (Relieved) Yes, that's it. 66 UNDER COVER ETHEL. (To MONTY) But why, Dick? DENBY. (ETHEL turns to STEVE) Oh, that's the signal if he said Steve I mightn't notice it so he always says Dick, don't you, Monty? MONTY. Always, Steve. ETHEL. (Gaily) Were you about to make a break when I came in? DENBY. I'm afraid I was. ETHEL. (Crosses to DENBY) What was it? Do tell me. DENBY. Ah, if I told you, then it would indeed be a break. ETHEL. Discreet man ! You must have been talking about me. DENBY. You are imaginative (As he takes stage left, looking around on the ceiling} even about your fan there doesn't seem to be a sign of it here. ETHEL. (Going towards stairs) I dare say it must be in my room. May I have that promised cigarette now to cheer me on my way? (Crosses to DENBY) DENBY. Surely. (He takes pouch from pocket and rolls cigarette) MONTY. (Crossing to center) Can't I get your fan for you? ETHEL. No ; you'd have to rummage, and that's a privilege I reserve only for myself. ( MONTY crosses to D. R. c. slowly.) ETHEL. (Taking cigarette, licks it and puts it in mouth) You are expert. Thanks. DENBY. Thanks. (He lights her cigarette. She takes one puff amateurishly, gives slight cough) ETHEL. What a delicious cigarette! (DENBY turns away up-stage to toss away match at fireplace and smiles, with pouch in left hand. She holds out hand and touches pouch showing she ivishes to get hold of it) What sort of tobacco is it? UNDER COVER 67 DENBY. (Turning to ETHEL and not giving her the pouch and returning it to his pocket} Without fire. ETHEL. Without fire? DENBY. Yes. You see no smoke without fire. (He puts pouch in his pocket) ETHEL. You don't believe in that old phrase? DENBY. Not a bit Do you? ETHEL. (As she goes backing up the stage) Do make another break sometime. (On first platform and leaning over balustrade) Won't you, Dick? DENBY. (Crossing to table and center and right of stairs) I probably will unless Monty or you warn me? ETHEL. (On first landing of stairs, leaning over balustrade) I'd never do that I'd rather like to see you put your foot in it. You seem so very sure of yourself Steve! (She laughs and exits up stairs) MONTY. (Crosses to center) Say, who is that girl? DENBY. (Looking after her) Ethel Cartwright. MONTY. Yes, yes, but what do you know about her? DENBY. (He crosses toward MONTY down stage) Nothing, except that she's a corker. MONTY. You met her in Paris, didn't you? DENBY. Yes. MONTY. What was she doing there? DENBY. (Turning and coming to him) What on earth are you driving at? MONTY. She was behind that door trying to listen to us. DENBY. (Quickly) You thought that, too? MONTY. (Triumphantly) Ah! Then you do suspect her of being the one they've got on the inside ? 68 UNDER COVER DENEY. It can't be possible that girl (Looks upstairs) No, I won't believe it. MONTY. (Suddenly) Say, Steve, you're not sweet on her? DENBY. (Overdoing his denial. Looks at MONTY) No, (Looks upstairs) no, no, no, I know you're wrong it's impossible. MONTY. But you have the same idea I have. DENBY. (Slowly to front) I know, I know. (Reluctantly) She did seem mighty interested in my tobacco-pouch. MONTY. But how could she know the necklace was there? DENBY. (Faces front) They've had a tip, and if she's one of 'em she'd know. Wouldn't it be just my rotten luck to have that girl of all girls I've ever known, mixed up in this? (Looks upstairs) MONTY. I believe you're in love with her. DENBY. (Looks tozvard stairs, speaks slowly) I know I am. MONTY. (Coming back to DENBY) Oughtn't we to find out if she is the one who's after you or not? DENBY. No, we oughtn't. I'm sure now. I won't insult her by trying to trap her. MONTY. Flub dub. I suspect her. Isn't it only fair to her to clear her of that suspicion? If she's all right, I'll be darned glad of it, if she isn't, wouldn't you rather know? DENBY. But old man, I don't want to fight her. MONTY. I understand, but you can't quit now you've got to get through. DENBY. I suppose you're right. MONTY. Of course I am. DENBY. Understand, Monty, I'm only doing this to prove how absolutely wrong you are. MONTY. Sure, Steve, sure. DENBY. Go in there and keep the rest of the UNDER COVER 69 people from coming back. (Crossing left in front of table and facing up-stage) MONTY. How can I do that? DENBY. Oh, recite, make faces, do imitations, piny Going to Jerusalem. MONTY. (Goes to door R., turns) And say, old man, whatever turns up don't take it too hard. Just remember what happened to Sampson and Antony and Adam. (MONTY exits R. As soon as he has done so, DENBY looks around drops pouch in front of chair, looks upstairs; sees door L., crosses to door, looks off L. leaves door open, stands in doorway; determines to change position of pouch. Crosses to pouch, looks around room, picks up pouch, places it on table ; pushes plant away, moves chair a little, looks around, crosses to door L. e\'its, draining door to until almost closed but audience can see him. After a second's pause, ETHEL speaks, coming down-stairs) ETHEL. Oh, Mr. Denby, my fan was in my room. (She pauses at foot of the long flight of stairs, as she sees he isn't there. She looks around the room and comes down to above table and sees the pouch. She starts for it, pauses, suspecting a trap. Steps back, goes over to French window, looks out, comes back, goes for pouch and sees that door L. is slightly ajar, then pauses. She is now absolutely aware of his trap. She moves nervously toward servant's bell, down left, passing back of the table at left center. Then, as she gets within range of the door, changes to a determined walk, goes to bell over mantel and rings for servant zvithout ever looking at the door. She stands facing the audience. LAM BERT enters R. to c.) Lambert, please find Air. Denby, and say that I am here. LAMBAKT. Yes, miss. (Starts right) LAMBERT. Yes, miss. (Starts right) ETHEL. (Coming toward table) Oh, here's Mr. Denby's tobacco-pouch he must have forgotten it 70 UNDER COVER ( LAMBERT comes and picks up pouch with his left hand) No, I'll give it to him. LAMBERT. Yes, madam. (She pretends to try to take it from his hand and pulls it open. It falls to the floor scattering the tobacco.) ETHEL. How careless of you, Lambert. (She looks keenly at spilt tobacco and sees no necklace has dropped from it) LAMBERT. I beg pardon, Miss. (He picks up pouch) ETHEL. Did you spill all the tobacco? LAMBERT. (Opens pouch) Yes, miss, the pouch is quite empty. (He hands it to her. She gives sigh of relief. He starts R.) ETHEL. (Nodding her head to L. door) No, I think Mr. Denby went to the library. LAMBERT. Yes, miss. (He goes to door; but DENBY, realising he must not be seen there, has gone. LAMBERT opens door) No, Miss, Mr. Denby is not in the library. (LAMBERT exits L. u. E-) ETHEL. (Under her breath) Thank God. (ETHEL first making sure no one is watching or listening, goes quickly to French ivindow and loivers the curtain as a signal. Crosses to stage center and stands breathlessly happy that there is no neck lace. She has pouch in her hand standing at center. In a moment TAYLOR enters) TAYLOR. Well, you've got him? Where is he? Where is the necklace? ETHEL. You were wrong there is no necklace. TAYLOR. You're crazy. ETHEL. You said it was in the tobacco-pouch I've searched, it isn't there. TAYLOR. You're trying to protect him you're stuck on him you can't lie to me. UNDER COVER 71 ETHEL. No, no, no look, here's the pouch. There's no necklace in it. TAYLOR. How did you get hold of it? (As he takes pouch .and looks in it) ETHEL. He left it lying there on the table. TAYLOR. He did, eh? Well, of course the neck lace isn't in it. He suspects you. He's trying to bluff you. (Hands pouch to ETHEL) ETHEL. No, no, he hasn't got it. TAYLOR. I know he has and you've got to find out to-night where it is. You may have to search his room. ETHEL. (Steps dozvn) I couldn't. I couldn't. TAYLOR. Yes you could, and you will. If you land him, use the same signal pull down the shade in his room we'll be watching. I can get in through the balcony. ETHEL. I can't! I've done what you asked. I won't try to trap an innocent man. TAYLOR. (Snarling) Oh, you won't, eh? Well, you will, I've been pretty nice to you, but I'm sick of it. You'll go through for me and you'll go through right. I've had your sister followed see, look at this (He opens paper) It's a warrant for her arrest unless you land that necklace to-night, she'll be in the Tombs in the morning. ETHEL. (Turning azvay, crosses to side of table. Covering her face) Oh, not that not that. (Comes down a few steps) TAYLOR. It's up to you. ETHEL. (Piteously) But what can I do ? What can I do? TAYLOR. (Crossing to ETHEL) I'll tell you what you can do. You're a good looking girl, make use of your good looks, get around him, jolly him, get him stuck on you make him take you into his confidence he'll fall for you those guys always do. 72 UNDER COVER ETHEL. (Bracing up} I know he's innocent so I I will get around him; I will get his con fidence. I'll prove it to you and I'll save him. TAYLOR. Yes, but don't give him your confidence. Don't give him the least tip off understand? If you can get him out in the garden, I'll take a chance he has the necklace on him. We'll nail him there. And don't forget I've got that warrant. (He exits and puts pouch on table. She comes down to front of table and stands there, thinking. He exits through French window and to left) DENBY. (Entering from stairs and going to R. of ETHEL) Oh, hello ! (ETHEL bracing up. ETHEL'S note during this scene is "I must get his confidence and prove his innocence. ) ETHEL. Oh, hello, I've been looking for you. DENBY. (Starting R.) Shall we join the others? ETHEL. (Sharply) No. No. (DENBY turns quickly, looks at her, as she goes on covering her em barrassment) I want to talk to you. (She sits L. of table) DENBY. (Crosses to R. of table) I am flattered ETHEL. (Sits) Curious, isn't it? When you like people you may not see them for a year? DENBY. Exactly. But when you do, you begin where you left off. ETHEL. (Flirting) Where did we leave off? DENBY. Why, in Paris ETHEL. But you've changed a lot since Paris. DENBY. For better? ETHEL. For worse. DENBY. Oh, come now. ETHEL. In Paris, you used to trust me. DENBY. And you think I don't now. ETHEL. I'm sure you don't. DENBY. Why? (Sits right at table) UNDER COVER 73 ETHEL. (Lightly) When I asked you why you were in America you put me off with some playful excuse that you were just an idler. Tell me, didn't you come over on some important mission? DENBY. (Slozvly, beginning to suspect her) And if 1 did, why do you want to know? ETHEL. Shall we say, feminine curiosity? DENBY. (Seriously) I think not. You must have some more vital reason for asking than a mere whim. ETHEL. (Leaning forzvard) I have I want to be friends, good friends I regard frankness as a test of friendship why won't you tell me? DENBY. Shall we say man's intuition? (A move from ETHEL) Oh, I know it's not supposed to be as good as woman's but sometimes it's much more accurate. ETHEL. So you won't trust me after all? (Serious) DENBY. Can I? ETHEL. Don't you think you can? DENBY. (Meaningly) If you do ETHEL. But aren't we friends? (Faces front) Pledged that night under the moon in the Bois (Turns to DENBY) You see, I have memories of Paris, too. DENBY. You put it as a test of friendship? ETHEL. Yes. DENBY. (Suddenly about to put her to the test. Rises) Then so do I. Miss Cartwright, you were right. I did not come to America idly. I came to smuggle a necklace through the customs. I did it to-day. ETHEL. (Rising horror-stricken) You didn't you didn't. DENBY. (A quick look around) Sh, sh, I did. ETHEL. (Turning toward fireplace) Oh, I'm sorry, I'm sorry. 74 UNDER COVER DENBY. (Eyeing her keenly and crossing in front of table to ETHEL) But I fooled 'em. ETHEL. (Afraid for him} Oh, but perhaps you didn't. DENBY. What makes you think that? ETHEL. (Nervously) How can you be sure they didn't suspect? DENBY. Here I am and there are no detectives after me. And if there were, they'd never guess I carry the necklace in my tobacco-pouch. ETHEL. (Quickly) But your pouch was empty. DENBY. (Keenly) How did you know that? ETHEL. (Hastily) I I was here when Lambert spilt it. DENBY. (Looks at spot where pouch was dropped) Oh, to be sure. But I have another pouch (Takes it from his pocket) ETHEL. (Aghast) Two pouches? DENBY. One would have done. They never suspected me at all. ETHEL. But you can't be certain. If they found out they'd put you in prison. DENBY. Would you care? ETHEL. (Turning to front) Of course I would aren't we friends? DENBY. (Pauses) Are we? ETHEL. (Not looking at him) Of course, of course. (Turns to DENBY) But what are you going to do? DENBY. (Straight to her) I've made my plans I shan't be caught. Whoever is after me, I won't give in. No matter what it costs or whom it hurts I've got to win. ETHEL. (Crosses to club fender, distressed and frightened) Oh ! DENBY. What is it? ETHEL. (Nervously and looking at DENBY) Oh, nothing. (Pauses, crossing to above table) Isn't UNDER COVER 75 it warm in here? (Pauses') Won't you take me in the garden and show me the moon? (Not looking at moon) It's gorgeous. DENEY. (Turns to ETHEL) Surely, come. (ETHEL steps back, waits for DENBY. They start for French window, get half way there.) ETHEL. (DENBY up to ETHEL) No, no, after all don't let's go. (Turning back to R. of table. DENBY at window watching out in garden) DENBY. Why not? ETHEL. (Shaking) I don't know, but let's stay here. I'm just nervous. DENBY. Nonsense, The moon will take your nerves away he's so soothing that old chap (Pauses, ETHEL is R. of table. He takes step to her. ETHEL sighs facing front) What is it? You're miles away. ETHEL. (Slowly) I'm thinking of my sister. DENBY. Eh? Come, let's go. (They start up toivard French window) Surely there are many things I can tell you. (NORA enters. A shrill scream off R. ETHEL backs to R. back of table, then slowly to club fender and faces front. A slight pause and MONTY rushes on through French window from right.) MONTY. (Sharply) Look out, Steve. (Enters R. to step at window) Don't go out there ! DENBY. What's the matter? ETHEL. (Nervously) What is it? MONTY. (Crossing to right center) Nora and I went for a walk in the garden and suddenly two men jumped from behind the pagoda (DENBY gives ETHEL a look. Frightened, she stares straight ahead at the silence and crosses to fireplace) They 7 6 UNDER COVER started for us and one man said : " No, we're wrong ! " and Nora screamed and they turned and ran like the very devil. (DENBY "watches ETHEL and crosses slowly to R. table at left center. NORA, ALICE and MICHAEL enter R. NORA at c., ALICE back of R. end of couch, and MICHAEL left end of couch, talking excitedly and so they play the following.) NORA. Wasn't it awful has Monty told you? ALICE. What's happened? MICHAEL. Won't somebody explain? NORA. Oh, it was perfectly frightful. MONTY. Let me tell it. NORA. You'll get it all wrong I wasn't half as scared as you were. MONTY. I was talking to Nora and suddenly from the bushes NORA. Somebody stepped right out- MICHAEL. Wait wait, one at a time. NORA. Why, you see, Monty and I went for a walk in the garden MONTY. And the two men jumped out and started for us. MICHAEL. Great Scott! ALICE. What did you do? NORA. I screamed and they ran away. Wasn't it exciting? (Taking a deep breath) Just like a book. ALICE. They might have killed you. MICHAEL. You want a drink I'll ring for some brandy. (NORA beckons MR. and MRS. HARRINGTON to French window.) MONTY. I'd be all right if I could just get one long, deep breath UNDER COVER 77 (MICHAEL in the middle, ALICE to R., and NORA L. of MICHAEL go tip to window.) DENBY. You do look a bit shaken, old man. What you need is a comforting smoke there's a pipe in my suitcase. MONTY. But DENBY. Here's my tobacco (Hands pouch to MONTY) MONTY. Gee, I don't want that. DENBY. (Looking at ETHEL) That's all right, I've smoked enough for to-night, anyhow. Only when you're through with it just drop it in the drawer in the desk in my room, so I'll have it for coffee in the morning. MONTY. Sure, Steve, sure. I'll leave the pouch in the drawer. (Exit upstairs) ALICE. (ALICE first, then MICHAEL and NORA coming down R. c.) But suppose those men are robbers and try to break in here to-night? DENBY. I'm sure they were only a couple of tramps. ALICE. Oughtn't we to do something? MICHAEL. (Weakly) Do you want me to look for them? ALICE. Certainly not. I can imagine nothing more useless than a dead husband. MICHAEL. I absolutely agree with you. ALICE. Go, telephone for the police. (ETHEL turns to MRS. HARRINGTON.) MICHAEL. I'll do that with great pleasure. (He exits R. ) NORA. (Going toicards stair) Goodness! I left my rings on my dressing-table. ALICE. Heavens ! Let's get them. (She crosses towards stair. NORA runs upstairs and off) Ethel, 78 UNDER COVER you look frightened to death. (Goes to upper end of fireplace} ETHEL. (On fender seat) Oh, no, no. ALICE. You needn't worry after all. We've two men here and Michael. (ALICE exits upstairs) (ETHEL turns away.) DENBY. (Crosses down to table) Now, shall we look at the moon? ETHEL. But, those men out there DENBY. I'm sure they weren't after me. They wouldn't wait in the garden. And even if they are detectives, the necklace is safe. Now come. (Moves to go) ETHEL. No, no, I'm nervous. I'm afraid. It's been rather an upsetting evening I'd prefer to stay here. MONTY. (Coming downstairs nervously to back of table) I thought I'd rather be down here with you, Steve. DENBY. (Smiling) All right, old man. Did you leave the pouch in my desk? MONTY. Yes. To make sure you'd find it in the morning I locked it up. Here's the key. DENBY. (Taking key) Good! ETHEL. (Registering this talk of pouch) Good night, Mr. Denby. (Goes to stair) ( MONTY crosses to D. n. c.) DENBY. (Following her to stairs) You're not leaving. ? ETHEL. Yes, I'm quite tired. I think I'll go to my room. (Going up the stairs) MONTY. Oh, I guess everything's all right now. DENBY. Let's hope so. Still, the night isn't over yet. Pleasant dreams. UNDER COVER 79 ETHEL. (On stair, halfzvay to top landing) I'm afraid they won't be quite that. {Exits, upstairs, DENBY at bottom of stairs looking after her) MONTY. (Crossing to DENBY) Say, Steve, she's gone now to get into your room. DENBY. No, no, she hasn't. MONTY. Why, she never made a move to leave till she knew I'd put the pouch in the drawer. DENBY. I tell you you're wrong. MONTY. I tell you I'm right if she gets that necklace it's all up with us. DENBY. But she won't get it. MONTY. What's going to stop her? DENBY. The necklace isn't up there. MONTY. What! (DENBY draws the necklace front a false pocket under the right lapel of his coat. Relieved) Gee, then everything's all right. DEXBY. But everything's all wrong. MONTY. But, Steve, the necklace. DENBY. Oh, damn the necklace ! (He turns and looks after the girl) Curtain So UNDER COVER ACT III SCENE: The scene is DENBY'S room at the HAR RINGTONS'. An attractive, daintily furnished guest chamber. There is an entrance door up left center; a door at left to another room; an alcove up right center with a bed and ap-* propriate furniture in it. A French window down right with a balcony off. A table desk at right center; a couch down left with a small table above it. Other furnishings as neces sary. AT RISE: When the curtain rises the stage is in complete darkness, save for the moonlight which streams through the window. There is a slight pause. A key is heard rattling in lock of door left. ETHEL opens door and goes cautiously across stage to the table. She turns on lamp on table. After a quick survey of table, she takes paper knife and tries to open drazver. She hears footsteps in hall; stops, listens, and runs up to center door and listens; runs back to table and turns off lamp, and in doing so accidentally brushes paper knife on the floor. She runs off-stage at door left. After a slight pause DENBY enters at door center with noisy assurance. He stops fust inside the door and utters a stifled yawn as he switches on lights. He goes over to table, looks out at window, then takes necklace from lapel and looks at it and puts it on the table. Then he goes to alcove and changes his evening coat for a dinner jacket. He comes out, takes cigarette from pocket and is in the act of light ing it at c. when he spies paper knife on floor. UNDER COVER 81 He throws cigarette and match away and hur ries to pick up knife, strikes match and ex amines desk drawer, then goes to door at left and stands listening. Steps are heard in hall up left. He hurriedly goes to table and gets necklace, puts it in his pocket, comes back to couch. A knock at u. L. c. door. Pause as he takes book from small table and sits on couch, reading. DENBY. Who is it? MONTY. (Outside) Me. DENBY. Come in, Monty. MONTY. (Enters up left center, comes down quickly to DENBY, nervously) Is everything all right ?" DENBY. (Laughing) Yes, yes. MONTY. (Crossing to center) Thank the Lord. That's the first time I've been able to swallow com fortably in an hour. I thought my heart was per manently dislocated. DENBY. What's happening downstairs? MONTY. Nothing. And it's the limit to have nothing happen. DENBY. Did you search the garden again? MONTY. Yes, they haven't come back. DENBY. That's queer You're sure? MONTY. Lambert and I've been over the whole place garden shrubbery, even the cornfield not a trace of 'em. DENBY. Well, they will be back MONTY. I'll bet they will with the militia! DENBY. (Rises and crosses to MONTY) Don't lose your nerve, Monty. MONTY. I wish I would. This certainly is fetting on it and all the time I've got that creepy eeling that they're coming closer to us. DENBY. But that's real sport, Monty. 82 UNDER COVER MONTY. Sport be damned. You don't think the fox enjoys the hunt, do you? And, at that, he's got it on us. He knows who's chasing him. DENBY. We'll find out to-night. MONTY. Yes, when they shoot us full of holes. (Crosses to table R.) DENBY. You're not afraid? MONTY. I'm scared to death. I thought I wanted excitement but hereafter give me life on a farm. (Crosses to window) DENBY. You can always clear out I'll under stand. MONTY. (As he crosses to DENBY) And leave you to face it alone you ought to know me better than that, Steve. (Crosses to R. c. in front of * chair L. of table) But oughtn't we do something before they come back and search this room? DENBY. Somebody's done that already. MONTY. Who was it the girl? DENBY. I think not. Her room is in the other wing She'd hardly dare risk being seen over here till everybody'd gone to bed. MONTY. Then who could it be? (Knock at c. door by HARRINGTON. DENBY to couch, sits, takes cigarette. MONTY dropping in chair L. of table and putting hand over mouth) Pinched! DENBY. Come in. (HARRINGTON, carrying two highballs, enters smil ingly.) HARRINGTON. Hello, boys. MONTY. (Relieved, laughs) Oh, it's you. (He jumps up and crosses to window) (DENBY lights cigarette.) DENBY. Come in, Harrington. HARRINGTON. (Crosses to table, puts tray with UNDER COVER 83 highball glasses on it) Brought up a couple of highballs you said after dinner you might want a Scotch later. DENBY. Thanks I don't believe I do, after all. HARRINGTON. Good! Luck's with me. (He drains the entire glass with great satisfaction') Ah-h! How about you, Monty? MONTY. (Laughing) No, thanks. HARRINGTON. Splendid fellow. I'll take the encore in a minute. You know now that my wife's home she allows me one light one for dinner mostly Vermouth and one drink afterward Tain't fair. MONTY. Aren't you master in your own house? MICHAEL. You bet your life I'm not. DENBY. In union there is strength. Have the other. MICHAEL. I'm about to. (Slowly crosses to c. MONTY to table and sits on it) Say, by the way, if you should change your mind and want a drink any time during the night, just ring for Lambert. He's used to it. DENBY. (Smiling) Thanks. MICHAEL. I hope you will want one. I hate to think of Lambert's having a good night's rest for the first time in six weeks (He turns up) But, mind you, don't get up half asleep and push that red thing over there. (He points to alarm on the wall right of left center door) MONTY. (Off table) What on earth is that? It looks like a hotel fire alarm " Break the glass in case of fire ". MICHAEL. It's a burglar alarm that rouses the whole house. MONTY. What ! DENBY. (Laughing) In spite of our visitors of this evening, you don't really fear burglars ? MICHAEL. (Sitting left of table R.) I know it's 84 UNDER COVER funny, but I'm vice-president of the New York Burglar Insurance Company and I've got to have one of all of their beastly patents in my house to show they're good. DENBY. I'll keep away from it. MICHAEL. The last guest who had this room accidentally knocked against it at four A. M. The blamed thing went off and Mrs. Harrington made me get up and search the whole house. At that I was glad it was a false alarm (He takes up second highball and is drinking ivhen voices are heard off stage} Good Lord, my wife here, quick. (Hands MONTY empty glass, then crosses to DENBY with half -filled one. ALICE knocks on door c.) Boys, I count on you. (DENBY rises and crosses to lower end of couch. MONTY smiles and nods. HARRINGTON crosses to back of table.) DENBY. Come in. (ALICE and NORA enter. ALICE to c. NORA to left center.) ALICE. (Pauses till she gets to c.) Do we intrude ? DENBY. Rather no. Delightfully welcome. NORA. We thought you'd still be up Michael said he was bringing you some highballs. MONTY. Great stuff, too best whiskey I ever tasted. (ALICE glances at MICHAEL, who is innocently looking at the ceiling.) DENBY. Your husband is a noble abstainer with temptation right before him. ALICE. Is he? How unusual put temptation before Michael and he's just like old Adam only UNDER COVER 85 Michael's weakness is for grapes, (Crosses to chair L. of table and sits) not apples. NORA. (To DENBY) Alice and I aren't the least bit sleepy we thought perhaps one of you'd make a fourth at bridge. DENBY. (At lovver end of couch) Among my other deficiencies I don't play. ALICE. You, Monty? MONTY. (Nervously) Surely (DENBY shakes his head at him MONTY continues awkwardly) That is if you don't mind waiting fifteen or twenty minutes. Steve and I are talking over a deal about a a gold mine. ALICE. Are you interested in a mine? DENBY. (Smiling) Something like that. NORA. (Half turkey trotting) I'd rather dance than bridge it. (She hums a late turkey trot, and as she dances, DENBY goes to small table head of couch L. and places highball on it) ALICE. (Rises) Heavens, be quiet you'll dis turb Ethel. DENBY. (Quickly) Has Miss Cartwright gone to bed? (He crosses back of couch down left) ALICE. Yes, she felt rather tired. NORA. (Humming and dancing at c.) It's wrong to go to bed so early. It can't be much after two. (Singing) Oh, this is the life. ALICE. (Crossing to NORA) Hush, hush, hush Nora Ethel has the next room. (DENBY at bookcase L. drops cigarette in vase and turns quickly.) NORA. I thought you weren't using it this sum mer? ALICE. Ethel insisted on it MICHAEL. (DENBY crosses to door L. listening) And why the devil she was so persistent about it I can't see. 86 UNDER COVER ALICE. Oh, Michael, I told you those tramps scared her and she wanted to be down here near the men. MICHAEL. I know, I know, but ,why make me look through forty-seven bunches of keys to get one to fit that door? ( MONTY and DENBY exchange looks) Seemed positively afraid of you, Denby, thought you were a tough customer. ALICE. You're not drinking your highball, Mr. Denby. DENBY. (Crosses up, picks up drink and stands at table} I'm saving it. NORA. That's a hint. DENBY. No, really NORA. Come on, Alice. (She goes to door humming, and exits} ALICE. Coming, Michael? MICHAEL. In just a moment. I've got one more old wheeze I want to spring on Denby he's a great audience for old ones ALICE. When you've told it, you come directly downstairs and play bridge. MICHAEL. Certainly, my dear. ALICE. And, Michael don't think you've fooled me. MICHAEL. (Innocently) Fooled you? Why, my dear I'd never dream of even trying to. ALICE. (Looks at MICHAEL, then goes over and takes highball from DENBY'S hand and returning, hands it to MICHAEL) Here's the rest of your drink. (She exits L. c. door. MICHAEL drinks and goes up to door) (DENBY to D. L.) MICHAEL. My wife's a damned clever woman. (He obediently trots out) DENBY. (Quickly goes to door to make sure UNDER COVER 87 MICHAEL has gone then turns to MONTY) By George, it was that girl. MONTY. (Crosses to DENBY) Are you sure? DENBY. (Coining down center} She tried to pry open that drawer with this paper-knife. You can see the marks. (MONTY goes to drawer} I found the knife on the floor where she dropped it, when she heard me coming down the hall, and hurried back to her own room. MONTY. Gee ! That's pretty tough, old man. DENBY. It's hard to believe she's the sort of woman who'd try to take advantage of my friend ship to turn me over to the police, but that's just what she tried to do. MONTY. (Crosses to DENBY) I'm sorry, old man mighty sorry. DENBY. But I don't want to fight her. MONTY. What are you going to do? DENBY. I dont know. (Pauses. Crosses to front of table) If she'll tell me who it is that sent her here the man who's after me I'll fight him and leave her out of it. MONTY. But, if she won't tell you? DENBY. Then, I'll play her own game only this time she follows mv rules. (Crosses to R. end of table) (Both suddenly start and then turn towards door left, with their backs to audience.) MONTY. (In a whisper) What's that? DENBY. Ssh (He tiptoes to door left back of table and listens) MONTY. (Crosses to c.) Is she there? DENBY. (Puts fingers over lip and then crosses to small table) Yes. MONTY. Has she heard us ? DENBY. (Coining to MONTY, center, quietly) 88 UNDER COVER No. I heard her close the window and then she came over to the door. She's listening now (He crosses to desk quickly and starts writing) (MONTY at center scared to death. Pauses.} MONTY. What are you doing? DENBY. (Writes and hands paper to MONTY) Sh, sh. Here's my plan. Read it. (As MONTY reads, DENBY goes up to door c., reaches out in hall turns off light switch, leaving hall in darkness. He comes back as MONTY looks up from paper. During the reading of the paper MONTY has slowly crossed to back of table at right) MONTY. (In whisper, reading) Jumping Jupiter ! DENBY. (Low} Do you understand? MONTY. Perfectly. DENBY. (Goes over to ETHEL'S door, speaks loudly for her benefit} It's a pity Miss Cartwright's gone to bed. I might have risked trying to learn bridge if she'd been a player. She's a bully girl. (DENBY beckons MONTY to come nearer and speak louder} MONTY. (Crossing up center speaking loud) Don't talk so loud in these dictagraph days the walls have ears. We can't tell who may be listen ing. Let's go out on the lawn where we're surely safe. DENBY. Good idea. (He leaves ETHEL'S door and goes to door c. beside zvhich is light switch. DENBY switches out light as he speaks loudly} Well, Monty What's your scheme? (The door closes, the room is in darkness. Audience thinks DENBY has left room but he hasn't. He is standing with his face to the door up left center. The footsteps fade away. MONTY'S voice is heard as he goes down the hall. There is silence for five UNDER COVER 89 seconds, then the sound of a key turning in lock of ETHEL'S door. ETHEL enters, she hurries to desk, and gives one pull at drawer. DENBY pushes ivall- switch and the lights go up. ETHEL gives exclama tion and turns. DENBY is standing inside door center. Coming down center) So, you've come for the necklace ! Why do you want it ? ETHEL. (Crosses to back of chair left of table) I am employed by the government. I was sent here to get it. DENBY. What? The charming Miss Cartwright a secret service agent? Why, it's incredible. ETHEL. But, it's true. DENBY. Who employed you? ETHEL. I can't tell you. DENBY. Then I must refuse to believe you. ETHEL. But, it's the truth. DENBY. Was it John H. Bangs of the secret service who engaged you? ETHEL. Yes yes DENBY. (Bitingly) You lie, Miss Cartwright, you lie. ETHEL. Mr. Denby. DENBY. I've no time for politeness now There is no Bangs in the secret service. ETHEL. How do you know ? DENBY. It's my business to know my op ponents. ETHEL. I can't tell you who it was, (Crosses to DENBY) but, if you'll just give me the necklace DENBY. And if I refuse, you'll call those men out there and have me arrested. ETHEL. I don't know what else can I do? I can't fail. DENBY. Nor can I. Do you know what this means to me? Prison (ETHEL looks front) gray walls and iron bars solitude to be caged like some beast. Do you know what that means? I 90 UNDER COVER do I've seen it I've feared it I've gone sick at the thought of it. No, Miss Cartwright, you are not going to send me to prison. ETHEL. (Turns to DENBY) But, I don't want to. I don't want to do that to any man DENBY. Then there is a way out of it for both of us. ETHEL. (Eagerly) What? DENBY. Tell them you've failed that you couldn't get the necklace and I'll give you ten thou sand dollars. ETHEL. No no DENBY. Twenty thousand no one but you and me would know ETHEL. No DENBY. Twenty thousand's all I can afford. ETHEL. I can't accept. I've got to get that neck lace It means more than any money to me. DENBY. Ah, they have some hold on you. ETHEL. No, no (Crosses to chair left of table) DENBY. Then why should you be in the secret service, unless it's for money, or you've been forced into it? ETHEL. I can't explain what difference does it make to you who sent me here ? DENBY. Because I don't want to fight a woman any woman I'll fight the man behind you I'll trick him I'll beat him (DENBY crosses to ETHEL) Will you tell me who he is? ETHEL. No. DENBY. You're going to make me fight you? ETHEL. (Turns to DENBY) I've got to fight DENBY. Very well (Going to door L. he opens it takes key from other side, closes door and locks it and puts key in his pocket) ETHEL. What do you mean? DENBY. I'm going to keep you here. (ETHEL tries to open up center door but it is locked; then UNDER COVER 91 she turns and faces DENBY) I feared we might be interrupted ETHEL. (Turning to him, and crossing to back of small table above couch) Open that door DENBY. (Crosses to ETHEL) You don't leave until I am ready to let you go. ETHEL. You wouldn't do that DENBY. (Crosses to her) I regret the neces sity of using such methods on you of all people but you leave me no choice ETHEL. But, I don't understand DENBY. (To R. c.) Only that you are a beauti ful woman and I am a man. (She shrinks away) It's nearly three you are in my room after asking that your apartment adjoin mine your insistence that a key be found is only incriminating you are frankly en negligee and very charming. Inevitably you must be found here I'm afraid there can be only one construction put upon it. (ETHEL at R. c.) ETHEL. (With bitter contempt) I thought at least you were a man ! DENBY. I am and you are a woman that's the point. ETHEL. I thought you were my friend. DENBY. You dare talk of friendship ! You knew I liked you liked you very much, and because you knew it you tried to wheedle me into betraying my self. You smiled, and lied, and pledged our friend ship, until I'd told you the truth and all the time you were only trying to trap me hunt me down send me to prison. ETHEL. I wasn't I wasn't DENBY. And when I'd told you the truth, you asked me to go in the garden, knowing that those men out there were waiting for me. ETHEL. I couldn't help it. 92 UNDER COVER DENBY. When you thought I was sending the necklace here you trumped up a flimsy excuse to leave so you might sneak in here to get it is that friendship ? ETHEL. (Turns to him) I wasn't trying to trap you I thought you were innocent I wanted to make sure so I could convince them DENBY. Yes, you proved that. When you found out I was guilty you still tried to save me, I suppose, by asking me to walk into their trap? ETHEL. (Faces him, trying to defend herself) After all, you had broken the law you were guilty DENBY. (Comes to her) If you had only played fair, but you didn't you used a woman's last weapon her sex. Well, I can play your game, too I can use your methods and I will. You stay here until morning. ETHEL. (Frightened) You don't dare DENBY. (Easily) Oh, yes, I do. ETHEL. (Turns and crosses to front of table R., then turns back. After a pause with bravado) And you think the possible loss of my reputation is going to frighten me into letting you go? DENBY. I do. ETHEL. Well, you're wrong. I have only to tell them the truth about the necklace and what I'm doing here DENBY. But the truth is so seldom believed especially when there is no evidence to support it. ETHEL. All the evidence I need is there, in that locked drawer. (Turning and pointing to drawer) DENBY. Quite so. I'd forgottten (He goes around to back of desk, ETHEL crosses to c. keep ing her eyes on DENBY) only it's not in the drawer! (He takes it from his pocket and shows it. ETHEL gasps) It's a beauty, isn't it? (He writes quickly) ETHEL. (At center) What are you doing? UNDER COVER 93 DENBY. Manufacturing evidence. ETHEL. Meanwhile I propose to leave this room. DENBY. How, may I ask? ETHEL. If you believe you've frightened me, you're quite mistaken (She moves towards bell, on wall, left of center door) DENBY. And what are you going to do ? ETHEL. (Pushes bell violently) I've rung for the servants. (Triumphantly) Now, Mr. Denby. (DENBY looks up.) DENBY. What a pity you did that you'll regret it so very soon. ETHEL. Oh, shall I ? When the servants come I shall send for Mr. and Mrs. Harrington and tell them exactly who you are and I shall take tbat necklace from the room with me. (DENBY wraps necklace in note he has written; crosses to window, signals with curtain; whistle is heard off-stage.) DENBY. (Throws necklace wrapped in note he has just written out of window) But, you see, the necklace won't be here. ETHEL. (Runs dozvn by desk, as if almost to stop him, but the necklace is gone. She stops at L. side of desk and above it) I shall tell them it's on the lawn where you just threw it. DENBY. Wrong again. If you'll stand here, you may see that my friend Monty was waiting below he has it. ETHEL. But, your friend Monty can't get away from those men out there. DENBY. Perhaps you heard a whistle. That was Monty's signal telling me the coast was clear. For 94 UNDER COVER the moment your friends of the secret service have gone. ETHEL. But I'll tell the Harringtons about Monty, too ; that he's your accomplice. DENBY. (Crosses to ETHEL) And who would believe Monty Vaughn, of the Washington Vaughns, the accomplice of a smuggler? ETHEL. (Beaten) Oh! (Backs to center) DENBY. You see ? And since you forced me I've had to play my last card, and a very low one (Crosses to ETHEL) I'm sorry to say. That note I wrote that I threw to Monty he'll leave on the floor of the living-room it was a note to you. ETHEL. (Amazed) To me? DENBY. It contained the suggestion that you try to get the room next to mine that you come to me here to-night it was the invitation of a lover! ETHEL. (Flaming. Backs away to L. c.) You beast ! You coward ! DENBY. (At c.) It's certain to be found where you apparently dropped it its evidence is con clusive. They all know we are not new friends. If you are still in this room in the morning as you will be what other explanation can you offer? (She doesn't answer) I think the episode of the necklace remains as between just you and me. (DENBY crosses to back of table-desk, looking out the window) ETHEL. (Turning away) You cad! DENBY. (Pauses DENBY crosses R. behind desk) The servants seem to be sleeping soundly I fear they are not coming. ETHEL. (A step dozvn-stage) But, they will they will. DENBY. If they don't, may I suggest that you ring that burglar-alarm? (Crosses to ETHEL) It will serve your purpose even better it will wake up everybody. (He speaks urgingly. She faces UNDER COVER 95 front; he is close beside her) Why don't you ring it? I dare you! (Knock on door c. she shudders, and looks out front. He whispers to her) Well, why don't you answer? (ETHEL pauses. Shrinks) Ah (Backs up to door up left center and watching ETHEL. Aloud) \Vho is it? LAMBERT. (Off-stage) You rang, sir? DENBY. Yes, I forgot to tell you that Miss Cartwright wishes to be called at seven. LAMBERT. Very good. Anything else, sir? DENBY. Call me at the same time. That's all. Good-night. LAMBERT. Good-night, sir. (He is heard depart ing dozvn the hall DENBY listening at door) DENBY. (Mockingly; he comes down to her) So you didn't dare denounce me, after all? ETHEL. (Turning to DENBY, trying to laugh) Oh, I knew it was all a joke that you couldn't be so contemptible. DENBY. (Grimly) A joke, eh? ETHEL. Yes, if you'd meant what you said you'd have called in Lambert just then. That would have answered your purpose I knew you wouldn't that you couldn't. DENBY. I'm not ready yet. ETHEL. (Hardly daring to believe him) You really mean to keep me here? DENBY. I've no other course. ETHEL. But you can't do it. (Clock off-stage strikes three. DENBY looks at zvatch) DENBY. (Crosses to back of table desk. Serenely) It's for four hours till the maid goes to call you and finds the room empty, so meanwhile won't you sit down, Miss Cartwright? (Indicat ing chair left of table desk. DENBY looks out of zvindozv) ETHEL. (Crosses to desk and as she sinks into chair, speaks hysterically; dropping her head on 96 UNDER COVER her arm on the table) Oh, I can't face it I can't I learned that just now, the disgrace the humilia tion I can't face it ! DENBY. (Turns up-stage. Grimly) You've got to face it. ETHEL. I tell you I can't it's unfair it's horrible if you'll just let me go I'll promise I won't betray you. DENBY. You don't dare keep silent about me how can I let you go? ETHEL. I'm telling you the truth. DENBY. (Leaning over table to her) Then tell me who sent you here. (ETHEL turns head away) If you don't, it means prison for me and dishonor for you if you do tell, it means your safety per haps mine now choose. (DENBY crosses quickly around to her right, then she rises) ETHEL. (Pauses, sobbing) I can't I can't oh, please, please (She turns face front) DENBY. (He takes her by both wrists, grasps her in his arms) I'll make you tell. ETHEL. Don't touch me let me go don't don't DENBY. Who sent you here ? (He fairly shakes her) ETHEL. I'm afraid I'm afraid. DENBY. Who sent you here? ETHEL. I hate you ; I hate you ! Let me go, let me go don't DENBY. (Takes her in his arms) Who sent you here? ETHEL. Oh, I'll tell. Oh, I'll tell (Backing away from him as he releases her. She sinks into chair pathetic broken) I can't go through with it you've beaten me (Looking at DENBY) Oh, I've tried so hard, so hard, but you've won. I can't go on oh, it's too unfair when it's not my fault it's not Oh, you don't understand you can't or UNDER COVER 97 you wouldn't spoil my whole life like this you wouldn't ! It is not only me it's my mother my sister Amy (She pauses. Looks up) Amy! (She rises) No, I won't quit no matter what happens to me I'll expose you I'll tell them every thing I'll let them decide between us whether they'll believe you or me it's you or my sister. I'll save her. DENBY. (Amazed) Your sister? ETHEL. They shan't send her to prison. DENBY. (Hoping against hope) You're doing all this to keep your sister from prison? ETHEL. Yes, yes, I love her they shan't take her. DENBY. Then you haven't done it because you wanted to? ETHEL. No, no what else could I do ? She's my sister she comes first. DENBY. Then you weren't just lying to me try ing to trick me for money? ETHEL. No, no. (DENBY backs away to c.) Don't you see, I wanted to save you, too I wanted you to get away I told them you were innocent but they wouldn't believe me they said I had to go on (Slowly crosses to DENBY) if I didn't, they'd send Amy to prison. That's why I'm here. (Pathetically) Oh, let me go let me go! DENBY. (Looking her squarely in the eyes) Are you telling me the truth? ETHEL. Oh, yes, yes can't you see I am please, please believe me. DENBY. (Looking straight in her eyes, takes her by her arms. After a moment he is convinced, as he goes to door left and unlocks it) It may spoil everything I've built on, but I've got to take the chance. You can go, Miss Cartwright. (Goes to small table by couch) 98 UNDER COVER ETHEL. (Coming to him with her hands to gether} Oh, you are a man after all. (DENBY has her hands and is about to put arm around her Police whistle off R. They both pause staring front with their heads together.) DENBY. (Hurriedly crosses to window R. pulls chair in up right corner out of his way and half hiding behind up-stage curtain, looks out) The devil ! ETHEL. What is it? DENBY. Your friends of the secret service have come back they mustn't see us together (He loivers shade on window R.) ETHEL. (With a scream) What have you done? That was the signal that I'd trapped you that was the signal to bring Taylor here DENBY. (Triumphantly, crossing to lower end of table-desk) Ah, then it's Taylor who's after me? ETHEL. (Frightened at having told) Oh, I didn't mean to tell I didn't I didn't. DENBY. (Crossing to her in front of table) Now, it'll be a fight to a finish! ETHEL. Go, go, before he comes ! DENBY. And leave you to face him alone? (A pause he bends his head, and touches his lips to her hand) No I love you. ETHEL. Please please while there's time he mustn't take you he mustn't Oh, I couldn't bear it I couldn't DENBY. (Realising) Ethel! ETHEL. (In his arms, tenderly) I love you Oh, my dear I love you. DENBY. (Triumphantly) I can fight the whole world now, and win. ETHEL. No, no, for my sake go let me see him first let me try to get you out of it. UNDER COVER 99 DENBY. No, I stay here. When he comes, say that you've caught me. ETHEL. No, no, I can't send you to prison, either. DENBY. I won't go to prison. I'm not done for yet, but Taylor mustn't think you've failed him; do you understand? ETHEL. But then he'll take you away. DENBY. Do as I say; tell him the necklace is here somewhere. ETHEL. No, no DENBY. It's for your sister. We're going to save her. (Sounds of TAYLOR'S approach off stage) He's coming. (DENBY starts to door c. Turning L.) TAYLOR. (Coming in at windozv with revolver in hand, crosses to u. R. c.) Hands up, Denby! (DENBY'S hands go up at u. c.) Well, congratula tions, Miss Cartwright, you landed him I thought you would. DENBY. What's the meaning of this ! Who are you? TAYLOR. Oh, can that bunk (To ETHEL) Where's the necklace? ETHEL. I don't know. TAYLOR. You don't know? ETHEL. I haven't been able to find it, but it's here somewhere. TAYLOR. He's probably got it on him. DENBY. All this is preposterous. TAYLOR. Hand it over. DENBY. I have no necklace. TAYLOR. I'll have to search you. (Comes to DENBY, gun in hand and searches him) DENBY. I'll make you pay for this. TAYLOR. Will you give it to me or have I got to search this place? ioo UNDER COVER DENBY. Oh, well, if you'll let me take my hands down I'll get it for you. TAYLOR. Well, you haven't got a gun on you take 'em down. DENBY. It's right here. (He grabs match safe from bookcase and smashes burglar-alarm, alarm starts switches off lights, stage is entirely dark. Voices start off-stage. TAYLOR utters an ejacula tion there is a steady murmur of a deep gong off stage; they struggle in the dark. ETHEL in dark goes up to light switch R. of c. door. The revolver is fired in struggle. ETHEL screams) Turn on the lights. (ETHEL switches on lights and comes down to lozver end of couch. DENBY is seen in posses sion of revolver, just thrusting TAYLOR a^vay from him and covering him with the revolver.) TAYLOR. Damn you ! DENBY. (To TAYLOR) Sit down! Sit down! (TAYLOR sits chair L. of desk, as knocking and clamor of voices at door c. begin. DENBY keep ing TAYLOR covered, backs up to door, fishing in his pocket for key, reaches behind him and unlocks and opens it. Alarm stops. MICHAEL, to c. ALICE, to L. c., and LAMBERT enters, crosses to back of desk.) MICHAEL. What's the matter?"] ALICE. Good Heavens, what's ^Together. happened ? DENBY. That man tried to break in here he's a burglar I caught him. MICHAEL. Good Lord ! ) ALICE. How splendid of you. [Together. (MICHAEL and ALICE are left of DENBY. As they UNDER COVER 101 enter they come down center. LAMBERT has gone behind desk.) TAYLOR. The man's crazy don't believe him he's a crook. I'm an. agent of the United States Customs I came here to get Denby. DENCY. That's a pretty poor bluff. This is one of the men who were in the garden to-night. ALICE. I told you they'd break in. MICHAEL. Good work, Denby. TAYLOR. I tell you I came to arrest him. ALICE. Arrest that charming man? Why, that's absurd. TAYLOR. Absurd, eh? You won't think so when you learn who T am. That girl 'can tell you. ALICE. Ethel can tell us? (They all turn to look at her.) MICHAEL. Ethel ! ETHEL. (Facing front, after a second) I never saw the man before. TAYLOR. You didn't, eh? I guess you'll remem ber me when I serve a warrant for your sister's arrest. (ETHEL sits on couch) I've got it in my pocket and papers proving that I'm working for the United States Government. (He readies hand to wards inside coat pocket to get them) DENBY. (Poking gun under his nose) No, you don't ! (DENBY moves his hand torvard TAYLOR'S pocket to get them} TAYLOR. (Snarling) Here, don't you touch 'em ! DENBY. (Smoothly) Certainly not Mr. Har rington will get them. (MICHAEL crosses to TAYLOR; starts to look at them.) DEXBY. (Grabbing papers -from HARRINGTON'S hc.nd) Keep out of range, Harrington. (HAR- 102 UNDER COVER RINGTON backs up above TAYLOR. DENBY backs to door c., hastily glancing at papers} It's all right, Miss Cartwright it's all right. (Exits door c.) (ETHEL rises and up to c. door last.) TAYLOR. Grab him. I tell you! He's a crook! (Ad lib. He blows whistle) Don't let him get away. (He runs off c. MICHAEL, ALICE and LAMBERT after him screaming dozvn hall. ETHEL goes up to door c. and looks anxiously dozvn hall. DENBY, having fooled them and disappeared, runs on from door left, locks it and motions ETHEL to follow others. ETHEL exits center as the voices and whistle keep up off-stage as The curtain falls (Picture: DENBY, gun in hand at door c. slightly open, looking off. Pandemonium reigns in hallway.) UNDER COVER 103 ACT IV SCENE : The scene is the same as that of ACT II. The action is supposed to begin five minutes be fore the conclusion of ACT III. When the cur tain rises, ALICE, R. of table, NORA, lower side of table with her back to audience, and MICHAEL, sits at upper side of table, are dis covered playing bridge. MICHAEL is fast asleep. ALICE is counting on score sheet. ALICE. (Seated R. of table. Looking up) What on earth is keeping Monty? NORA. (Seated at table) Oh, I don't know. ALICE. He must have an awful headache to stay out in the garden all this time. NORA. Goodness, he's been gone twenty minutes. (Rising and going to windows at up R. c.) ALICE. And look at Michael, fast asleep NORA. It's those highballs he just had upstairs in Mr. Denby's room. ALICE. I told you they always made him sleepy. Michael! (She leans over as if to wake him) NORA. (Coming back of ALICE to R.) Before you wake him, do tell me what happened in Jane's divorce case. ALICE. Although the judge was a man she won it. NORA. I wonder why she married him. ALICE. My dear, don't go into that. Why any body ever marries anybody is never apparent to anybody else. NORA. Marriage is funny. (MONTY'S whistle heard off-stage.) 104 UNDER COVER ALICE. If there weren't so many awful things against it, I'd be tremendously in favor of trial marriage. NORA. Wouldn't it be wonderful I get so bored going around with one man. ALICE. That's the difficulty so does every other woman. NORA. Still, I do like Monty but he's such a coward about proposing. ALICE. Why don't you make him? NORA. Oh, I will yet. ( MONTY enters from garden from left, nervously stuffing into his breast pocket the package containing the necklace that DENBY threw him from the window in ACT III) Oh, hello! (To seat) MONTY. (Nervously) How do you do. Hope I haven't delayed the game too long. NORA. We never missed you. ALICE. How's your headache? MONTY. My headache? What headache? (Re membering) Oh, it's all gone. Well, shall we play ? (He picks up cards as he sits at left of table) NORA. Yes, let's Michael dealt, before he went to sleep. ALICE. (Tapping MICHAEL) Michael! You're not at the opera you're playing cards. MICHAEL. (After a pause drowsily) Who opened it? ALICE. We're playing bridge, dear bridge, bridge, bridge. (The clock strikes three. In ACT III, five minutes before the curtain a clock also struck the same hour.) NORA. I make it no trumps. ALICE. It isn't your bid. What do you say, Michafel ? UNDER COVER 105 MICHAEL. What'd the dealer draw? ALICE. We're not playing poker. MICHAEL. Oh, yes, sure, what's trumps? ALICE. Oh, stop it ! It's your bid. MICHAEL. I go one spade. MONTY. One no trump. NORA. Two royals. ALICE. Pass. MICHAEL. Give me three cards. (Everybody disgusted.) ALICE. Michael, if you're so sleepy, you'd better go to bed. MICHAEL. I never broke up a poker game in my life. It's only the shank of the evening. (To NORA) What's happened, partner? NORA. I went two royals. MICHAEL. (Looking at his hand) Three aces I'd like to open it for two dollars as it is, I pass. MONTY. Two no trump. NORA. Pass. ALICE. Pass. MICHAEL. It's by me. MONTY. Your lead, Nora (ALICE lays down dummy.) MONTY. Fine little partner, just what I wanted ! NORA. Wish I had luck like that. (NoRA plays, then MONTY plays from dummy) MICHAEL. (Playing) There NORA. (To MICHAEL) What did you play that for? MICHAEL. (Withdrawing card) I do beg your pardon. W T hat's trumps? ALICE. No trumps ! MICHAEL. Well, I haven't got one. (He plays another card) 106 UNDER COVER NORA. Oh, Michael, can't you see the king is in the dummy? MICHAEL. Well, why put it there? This game makes me sick. Nothing but reproaches. NORA. I wish Mr. Denby were playing, instead of poor Michael. MONTY. Steve's got the right idea he's in bed asleep. MICHAEL. Great man, Denby he knows you can't sit up all night unless you drink. ALICE. Oh, let's play one more rubber and stop. Remember, Michael, it's not poker. MICHAEL. I wish it were no partners no re proaches in poker. If you make a fool of yourself you lose your own money and everybody else is glad of it. ALICE. After this, one round of jacks then, to please Michael. MONTY. And then quit. MICHAEL. I'm for that. (Yawning} But don't think it's because I'm sleepy. I'm not. I'm thirsty. (The burglar alarm rings. All rise. NORA dozvn right, MONTY down left, ALICE and MICHAEL over to bay window. Amazed look at each other and then toward stairs.) NORA. Good Heavens ! ALICE. What'll we do? MONTY. Nonsense the alarm's probably gone off by accident. (Sound of shot off-stage) ALICE. Somebody's killed. (Crossing to R.) NORA. (Crossing to ALICE R. c.) Isn't it awful? ( MONTY has gone to L. of table.) MICHAEL. (ALICE and MICHAEL down center. UNDER COVER 107 In front of table) Go on, Monty, find out what's the matter. (MONTY turns away to fender with scared expres sion. Sound of alarm stops.) ALICE. (Crossing to MICHAEL) You go, Michael. Are you afraid? MICHAEL. Certainly not, but of course the beggar's armed. LAMBERT. (Entering L. u.) The burglar alarm, sir! The indicator shows it's Mr. Denby's room. MICHAEL. Good old Lambert. Go ahead we'll follow. LAMBERT. I brought a revolver for you, sir. (Proffers pistol ALICE and NORA shriek and back azvay ) MICHAEL. Keep it, keep it you may need it yourself. (LAMBERT starts, folloived by MICHAEL. As MICHAEL gets to stairs, ALICE crosses to him) ALICE. Mikey ! (He stops, se is at his left) Michael, if you're going to be killed, I want to be killed, too. (The three exit upstairs.) NORA. (Center, blankly) I don't want to be killed. MONTY. (Crossing to L. of her) Neither do I. Great Scott ! I wish I'd never gone into this. NORA. Gone into what? MONTY. (Crosses to center. Teeth almost chat tering) Nora, I may get shot any minute. NORA. What ? MONTY. This may be my last five minutes on earth. NORA. Monty, what have you done? (Then ecstatically crossing to him) Murder? 108 UNDER COVER MONTY. If I come out of this alive will you marry me? NORA. Oh, Monty (She goes limply into is arms) Why didn't you ask me last year? MONTY. I didn't need to be protected then and, anyhow, it takes a crisis like this to make me say what I really feel. NORA. I love you, anyway. MONTY. Gee, if I don't get shot, I'm the happiest man in the world. NORA. (Backs away from him and taps the package in his breast pocket) What on earth have you got in your pocket? MONTY. That's my heart. NORA. On that side ? MONTY. Oh, that? I've almost forgotten it belongs to Steve. (There is a sound of a police whistle off R.) The police ! NORA. Don't let them arrest you ! MONTY. Here, quick, hide behind this door. (They exit R. taking ad lib. DUNCAN and GIBBS enter R. u.) DUNCAN. (Hastily surveys room and crosses to stairs') Come on, Harry. He's upstairs. GIBBS. The chief's got him, sure. (They exit upstairs. MONTY and NORA come on R., cross as far as French zvindow, then to back of sofa.) MONTY. This is awful. Nora, in case of trouble you'd better go into the next room. NORA. What are you going to do? MONTY. I'll just wait for Steve please go NORA. I'm not afraid. MONTY. But I am. UNDER COVER 109 NORA. What ? MONTY. For you! For you! I'd rather face them alone. NORA. Don't get shot, Monty dear. MONTY. Believe me, I'll try not to. (Kiss. Pause NORA keeps hold of him and keeps looking at him) Now, please go. Please - NORA. (Backing to door) All right, but I hate to miss anything. (She (MONTY attempts to hide necklace first over R. on mantel, then under pillozv on couch at L. He gives up in disgust as he can't find a satisfactory place; sees bottle on table up c., pours drink and is in the act of drinking it when voices are heard off L. u. He puts drink down and exits R. with annoyance. DUNCAN, GIBBS, TAYLOR, to c. ; MICHAEL, ALICE at MICHAEL L., come trooping dozvnstairs followed by ETHEL D. L., a silent nervous figure. GIBBS and DUNCAN go to windows, TAYLOR at center, MICHAEL and ALICE L. center.) TAYLOR. Ford and Hammet are outside? DUNCAN. Yes, sir. TAYLOR. It's moonlight Denby can't have gotten away they'd have seen him - GIBBS. Maybe he's somewhere in the bushes. TAYLOR. Get out and search there both of you I'll whistle if I need you. (GiBBS and DUNCAN exit through French window.) MICHAEL. (Coming to TAYLOR, nervously) I want to beg your pardon, Mr. Taylor, it was a very natural mistake to think you were a burglar. TAYLOR. I suppose so lucky for me I had my men here to prove my identity. i io UNDER COVER MICHAEL. (Nervously) Surely, surely. ALICE. We had no idea Mr. Denby was a smuggler. TAYLOR. No, of course you hadn't. MICHAEL. He seemed a mighty nice chap. ALICE. But I always did say he might be a murderer. MONTY. (Coming in from library followed by NORA, ivho goes doivn R. Airily) Hello, did you get the burglar? ALICE. Why, you see there wasn't any burglar. MICHAEL. It's your friend who caused all the trouble. TAYLOR. Don't explain. (To MONTY) Have you seen Steven Denby in the last ten minutes? (NoRA to front of couch.) MONTY. (Coolly) No, isn't he in bed? TAYLOR. No ! You know he isn't maybe you're his pal in on the job with him come here (MONTY crosses to him at c.) ALICE. Why, that's too absurd I've known Monty for years. MONTY. Who is this man? TAYLOR. Never mind who I am. (Starts to search MONTY) NORA. (Rushing to MONTY, and taking him in her arms) Oh, Monty, don't strike him! MONTY. It's all right, Nora. (TAYLOR is search ing him. He finishes and finds nothing. MONTY continues with bravado) My room's three doors down from the landing, if you want to search there. TAYLOR. That'll be enough from you. I guess you're not smart enough to be Denby's pal clear out! UNDER COVER in (NORA makes a face at TAYLOR.) MICHAEL. Do you want us any longer? TAYLOR. No, leave me alone to talk with this girl. (Indicating ETHEL) ALICE. But MICHAEL. Please keep her out of it. I'm quite sure she's absolutely innocent in the matter. TAYLOR. Are you? Well, I'd like to talk with her alone. ETHEL. (Crosses to table facing up-stage) It's all right. There's just some misunderstanding. Please go. MICHAEL. You really want us to? ETHEL. Yes, yes. (LAMBERT enters dozvnstairs right, coming to MICHAEL.) MICHAEL. Come, Alice. (As they go) I really need a drink. ALICE. My dear, under these circumstances you may have an all-night license. (LAMBERT moves towards MICHAEL.) LAMBERT. Beg pardon, Mr. Harrington, can I speak to you privately? MICHAEL. (He stops. Crosses to SAM at c. ALICE goes and waits by door R.) What is it? (LAMBERT whispers to him) What! TAYLOR. Say, what is all this? MICHAEL. A long distance from my partner mighty important excuse me. Alice, I'll use the upstairs 'phone. (He hurries upstairs. LAMBERT exits right) MONTY. Do you want me any longer? TAYLOR. I told you to get out. ii2 UNDER COVER MONTY. With pleasure. Come, Nora. (NoRA and MONTY go with ALICE.) NORA. (Crosses to MONTY) Oh, you are per fectly splendid. I had no idea you could be so brave. (Crosses to ALICE above couch) MONTY. Neither had I ! ALICE. Don't you think we all need some champagne? I do. MONTY. Sure. But on a night like this, what's a quart among three? (All three exit right. All laugh.) TAYLOR. (Turning to ETHEL vindictively) What did you mean by telling them upstairs you'd never seen me before? ETHEL. (Beside the table) You said under no circumstances must I mention your name. TAYLOR. (Center discomfited) Yes, but ETHEL. That it was imperative your identity should not be disclosed. Didn't you? TAYLOR. I suppose that's true, but when you saw me wanting to prove who I was ETHEL. I didn't understand. I was afraid to do anything but follow your instructions. TAYLOR. Um How did you find Denby had the necklace ? ETHEL. I got into his room and caught him he had it in his hand. TAYLOR. Yes, yes. ETHEL. Then he suddenly turned out the lights and in the dark he hid it. I couldn't see where. TAYLOR. Do you realize what all this means to you to your sister if you're lying? ETHEL. Oh, yes, yes, that's why you can believe me. UNDER COVER 113 DUNCAN. (Coming hurriedly through French window} Say, chief, Denby's back in his room. (ETHEL gasps. TAYLOR turns a step from table.) TAYLOR. What how do you know? DUNCAN. Gibbs got up on the pagoda he can see into the room from there. TAYLOR. (Starting towards windows) Now, we've got him. DUNCAN. And Mr. Harrington's with him. TAYLOR. What! DUNCAN. Yes, Gibbs said they were talking to gether. TAYLOR. I was right then, Denby is smuggling the necklace for the Harringtons Harrington didn't go to the 'phone he got a message from Denby. Jim this is a big job get out there to make sure he don't escape by the balcony. DUNCAN. Yes, sir. (Starts to go) TAYLOR. Wait a minute. Give me your gun. (DUNCAN hands him gun and exits through French windows and to R. with a grin) Now, he's done for sure. ETHEL. (Advances to R. lower end of table) No, no, you mustn't you mustn't. TAYLOR. (Suddenly) You knew all the time that he'd got back to his room; you've been trying to fool me. ETHEL. No, no, you're wrong. TAYLOR. Am I ? I'll give you a chance to prove it. Send for Denby, ask him what he did with the necklace where it is now, tell him that I suspect you that he's got to tell you the truth that you won't turn him over to me talk to him as if you two were alone but I'll be there (Look around. Pointing) behind that screen watching and listening, and if you tip him off, give him the slightest warn- ii4 UNDER COVER ing, or signal I'll arrest you both anyhow. (ETHEL'S hands touch cigarette box on table} Wrong, am I? We'll see and if you try to fool me again you and your sister will have plenty of time to think it over in Auburn. (Pauses as TAYLOR crosses to screen) Now send for him. (He gets screen and places it up in corner above door and gets behind it. During foregoing speech ETHEL had been very frightened, breathing fast, but as she talks her hand nervously touches box of cigarettes on table. She sees a way out. She musters up all her bravado and courage) ETHEL. Of course I'll send for him. You'll see you've been all wrong about me. (She goes tip-stage and rings bell, and returns to front of table and picks up cigarette box) TAYLOR. (Snarling) I guess not. (He adjusts screen so as to see better betzveen the folds) LAMBERT. (Enters) Yes, Miss ETHEL. Mr. Denby's in his room, say that I'm here alone and must speak to him at once. LAMBERT. Yes, Miss. (He exits upstairs and is heard knocking at a door. Coming downstairs) Mr. Denby is coming now, Miss. (He exits R. After a two second's pause DENBY enters quickly and comes down to foot of stairs) DENBY. Yes, what's happened? Where is (Crosses to French zvindozv and looks out) ETHEL. (Quickly interrupting) Will you have a cigarette, Dick? DENBY. (Realising her signal, eyes her keenly) Thanks, yes, Miss Cartwright. (He takes cigarette from box she holds out to him. He shows to audience he suspects someone is listening, by look ing around the room sharply. He spots screen, sus pects that TAYLOR is there. He does this as he lights cigarette) ETHEL. Now, that we're alone and you've beaten UNDER COVER 115 me, I want you to tell me the truth about the neck lace. What did you do with it? DENBY. (Calmly] Are you still persisting in that strange delusion? I never had a necklace. ETHEL. But I know you did. DENBY. Really this is most extraordinary. We went over all that in my room I thought I'd con vinced you. ETHEL. That agent of the secret service has been here he suspects that I am defending you for some reason he won't believe what I say. If you tell me the truth, I'll make him let you go. DENBY. Are you quite mad? (Crosses to ETHEL) I haven't any necklace. Really, Miss Cartwright, I don't care to prolong this absurd con versation. (LAMBERT enters R. crosses to DENBY at c.) LAMBERT. Pardon me, sir, but Mr. Vaughn asked me to take this to your room. DENBY. What is it? LAMBERT. Mr. Vaughn didn't say except that it was very important that you get it at once. (LAMBERT hands DENBY a package and exits left} DENBY. Curious ! What on earth can Monty be sending me at this time of night it must be important forgive me if I open it? (He does so and lets necklace fall to floor apparently uninten tionally he gives exclamation hastily picks it it up and puts it back in his left-hand coat pocket. He is in front of lounge at right} (ETHEL sinks on stool R. of table, sobbing. TAYLOR knocks down screen, blows whistle and comes down left of table with leveled gun.) TAYLOR. Hands up, Denby ! I don't know how you tipped him off but you two are damned smart, n6 UNDER COVER ain't you? (GIBBS and DUNCAN rush in from French windows) But I've got you both you're under arrest. Boys, take her into that room they can talk without speaking. (DUNCAN comes dozvn and gets her. GIBBS crosses to door L. and holds it open) I'll question 'em separately I'll call you when I want you. ( DUNCAN, ETHEL, and GIBBS exit left. ETHEL is 'sobbing) Well, this time I've got you. (He comes over with leveled gun) Where's the necklace? (DENBY starts to drop hand to his right-hand pocket) No, you don't ! (He puts hand in DENBY'S right pocket and takes out gun; he smiles at DENBY; then DENBY lowers hand and produces necklace from left hand pocket. As he looks at it) It's a pippin, all right $200,000 for that ? How much did you pay the girl to square yourself? DENBY. Not a cent, you're all wrong there. TAYLOR. Then why did she top you off just now? DENBY. She didn't tip me off. TAYLOR. Can it can it why did she? DENBY. Well, I guess she didn't want to see me go to prison. TAYLOR. Oh, you pulled the soft stuff, eh? Well, she tried to double cross me, and that don't pay, Denby, it don't pay. She'll find it out all right. DENBY. As long as she did the decent thing by me, I'd like to see her out of it. You've got me let her go. TAYLOR. No, you'll both have a nice little trip South to Atlanta for about five years. (Necklace in L. pocket) DENBY. I guess we're up against it. TAYLOR. You are, son right up against it. DENBY. Take it out on me ease up on her she's a woman. After all t isn't as if she were a grafter why I offered her twenty thousand dollars to square it. UNDER COVER 117 TAYLOR. Tried to bribe a government official, eh ? That don't make it any better for you. DENBY. Well, you can't prove it against me. TAYLOR. (Curiously) Twenty thousand? So you were trying to smuggle it for the Harringtons, eh? DENBY. Suppose we don't mention any names. TAYLOR. They'll come out in the court twenty thousand ! It meant a lot to you or somebody to get this through. DENBY. Yes, but I'd rather pay than go to jail see? TAYLOR. Say, what the hell are you trying to do bribe me? DENBY. What an imagination you have you couldn't be bribed. TAYLOR. Not on your life. DENBY. (Meaningly) What a pity I didn't meet a business man instead of you. TAYLOR. You couldn't square it even with a business man, for twenty thousand dollars. DENBY. (Slowly) But I'd give thirty thousand dollars. TAYLOR. You would, eh? DENBY. (Slowly) I would cash. (He fishes down behind his collar and produces three bills) Three ten thousand dollars bills beauties, aren't they? TAYLOR. (Hypnotised as he looks at them) I didn't know they made 'em so big ! DENBY. Taylor, this talk about my having bought a necklace in Paris, is absurd I haven't been in Paris for two years. TAYLOR. (Slowly) You haven't! DENBY. In case of a come back I have witnesses to prove an alibi. TAYLOR. (Shzvly) You have ! u8 UNDER COVER How much does the government pay you , TAYLOR. (Looking at money fascinated} Three thousand a year. DENBY. Ten years' salary ! And these witnesses of mine they're reliable witnesses. TAYLOR. (Slowly) They are? DENBY. (Eye to eye) Well? TAYLOR. (Slowly) Well? DENBY. Ten years' salary. (Pie crackles bills. A look of understanding bctzveen them) TAYLOR. (Removes his hat and his whole manner changes to one of great geniality, as he backs to c.) Too bad a mistake like this should happen. DENBY. Just a little inconvenient, sometimes. TAYLOR. Sorry to have bothered you, Mr. Denby but you're all right. I figured from the first that you'd be a business man that's why I let you slide through. DENBY. You're pretty smart, Mr. Taylor. (Hold ing out money) I think these belong to you. TAYLOR. (Crosses quickly to DENBY, reaching for money) Yes, I think they do. . DENBY. (Holding money away) Wait a minute. How do I know you won't take the money and then double cross me? TAYLOR. (Eagerly) I'll give you my word. DENBY. Your -word! That security isn't good enough those two men of yours are they in on it ? TAYLOR. Not on your life. I haven't split with anybody for five years. This is a one man job, Mr. Denby. DENBY. How can you square them? They saw you pinch me? TAYLOR. I'll say it's all a mistake that I've got to call it off. DENBY. You're sure you can get away with it? UNDER COVER 119 DENBY. Now see here. This R. J. of the secret service isn't on to you, is he? TAYLOR. (Quickly) R. J.? What you know about him? DENBY. Nothing, only we heard in Paris he was busy over here, investigating this brbery business in the customs. TAYLOR. Well, don't you worry about him I'm the guy on this job. DENBY. But I don't want to give up thirty thousand, lose the necklace and get pinched as well. TAYLOR. (Eagerly) Say, if you're afraid I'm going to ball things up, I don't mind admitting to you who R. J. really is in confidence. DENBY. Who is he? TAYLOR. Well, he isn't a thousand miles from here. DENBY. What ? TAYLOR. Get me? DENBY. (Laughing) That's funny. TAYLOR. What's funny about it? DENBY. Why R. J.'s supposed to be after the grafters, isn't he, and you're a grafter yourself. TAYLOR. I'm not a grafter I'm a business man. DENBY. Well, I guess I'll take the chance. TAYLOR. (Reaching for money) That's the idea. DENBY. (Withholding it again) Provided, you'll let me talk to your men. They've got to understand I'm innocent They've got to back you up in squaring me with the Harringtons. I'm in rather an awkward fix here just now. TAYLOR. Why, sure talk your head oft" to 'em. DENBY. You'll leave the girl out of it? TAYLOR. (Grinning) 111 do more than that I'll leave the girl to you. DENEY. Well, here's your money. TAYLOR. (As he takes money and puts it in his pocket) Much obliged and anyhow, I've got no 120 UNDER COVER evidence that you ever had a necklace. (He returns necklace. TAYLOR holds out his hand which DENBY shakes} Have a cigar, Mr. Denby DENBY. (Taking it) Thanks ; now call 'em in TAYLOR. Certainly. (Going to center then re turning) And say, glad to have met you. Next time you're landing in New York and I can be of use you know (Calling) Duncan! Gibbs! ( GIBBS, to above table, enters. ETHEL enters crosses to left of table. DUNCAN enters, crosses to above table TAYLOR to c.) Say boys, it's all a mistake. DUNCAN and GIBBS. (Together) What! ETHEL. (Under her breath) Thank God. TAYLOR. Our dope was phony we were in all wrong, but he's been very nice about it very nice indeed. It's just a case of mistaken identity but he's all right let the lady go, boys. (ETHEL goes down L. to fender, GIBBS crosses to right upper, and DUNCAN to upper left of table.) DENBY. (Crossing up c.) Now, I don't want any come back to all this I want you all to under stand the facts, if you don't mind waiting, Miss Cartwright. ETHEL. Of course I'll wait. (Sits on fender) TAYLOR. Listen to him, boys you see he's anxious to straighten things out. So tell him any thing he wants to know (To DENBY) Fire ahead. (Behind lounge R.) DENBY. (To DUNCAN) Well, you got a tip from Harlow that a Steven Denby had brought a necklace at Carders' DUNCAN. Yes, sir. DENBY. (To GIBBS) Then you got a wireless that Denby had sailed with a Mrs. Harrington, UNDER COVER 121 which threw suspicion on her as a possible smuggler. GIBBS. That's right, too. DENBY. And yet you fellows let Denby slip through the lines at the pier to-day without a search why was that? TAYLOR. (Worried) We didn't have any absolute evidence to arrest him on. DENBY. But after he got through you received an anonymous telegram late this afternoon that Denby carried the necklace in a tobacco pouch, didn't you? TAYLOR. (Crossing to DENBY quickly) How did you know that? DENBY. Oh, I found it out to-night. TAYLOR. (Coming to him) What is all this, anyhow ? DENBY. You don't object to your men answering my questions? (Meaningly) I was pretty nice to you, Mr. Taylor. TAYLOR. (Embarrassed, remembering the money) No, that's all right go ahead. (He returns behind couch) DENBY. (To GIBBS) You knew about that tip in the telegram? GIBBS. No, this is the first we've heard of it. DENBY. (To TAYLOR) Oh, you didn't tell them ? TAYLOR. That was my own business. DENBY. Did it ever occur to you boys that it was rather peculiar that this supposed smuggler wasn't searched that he got through without the slightest trouble. GIBBS. Why the chief didn't want to get in any mix-up with the Harringtons, in case he was wrong about Denby. DENBY. Oh, that's what he told you. DUNCAN. It sure was. DENBY. Don't you boys know the whole job looks very much as if the scheme was to let Denby slip through and then blackmail him? 122 UNDER COVER DUNCAN. I never thought of that. GIBBS. Me neither. TAYLOR. (Nervously, crossing to DENBY) What's all this got to do with you? I admit it was a mis take and we're sorry about it. That's all come on, you fellows. (Starts toward door R.) DENBY. Just a moment. (To DUNCAN and GIBBS. TAYLOR slowly drops down right) Don't you realize that it's rather a dangerous thing to monkey with the United States Government? GIBBS. I haven't been monkeyin' with the government ! DUNCAN. Neither have I. TAYLOR. But, it's all settled, now that we know you never had a necklace. DENBY. That's clearly understood? TAYLOR. What I say is right. DENBY. But you see, boys, he's wrong. I did smuggle a necklace through the customs to-day. (He shows it. ETHEL rises) DUNCAN, GIBBS and TAYLOR. W 7 hat? TAYLOR. (Quickly crossing to DENBY) Then you're under arrest. DENBY. No, I'm not. (To others) He caught me with the goods and I paid him thirty thousand dollars to square it. TAYLOR. (Threateningly, with upraised fist) Why you, I'll- DENBY. (Pulling down his hand) You won't do anything you're only a bully you couldn't graft on your own you had to drag a girl into it you made me do some pretty rotten things to-night to land you. I've had to make that girl suffer, but now you're going to pay for it. I've got you you're under arrest. TAYLOR. Aw, quit your bluffin' you can't arrest me, Denby. DENBY. I'm not Denby my name is Jones. UNDER COVER 123 TAYLOR. Well, who the hell is he? DENBY. Oh, yes, you and the boys don't know who I am here's my commission (Handing GIBBS parchment) That's my photograph a fairly good likeness, isn't it? DUNCAN. (Who has crossed to GIBBS L., leans over his shoulder} Yes. GIBBS. (Lookng at paper) Sure. Why, this thing's made out to Richard Jones. DENBY. Well, do you get the initials, boys? DUNCAN. (Reading initials without realising their significance) R. J. DENBY. That's me R. J. of the United States Secret Service. (Turns and looks at TAYLOR smil ingly. TAYLOR gives an amazed gasp and backs a step or two azvay. ETHEL crosses part way to table and stands facing up-stage) GIBBS. (Shaking hands zvith DENBY) Are you really R. J. ? DENBY. (Smiling and shaking hands) I'm afraid I am. TAYLOR. It's a lie. DENBY. (Pointing to paper) You can't get away from that signature it's signed by the President of the United States. TAYLOR. I tell you it's a fake. DENBY. They don't seem to think so. DUNCAN. This is on the level all right. ( GIBBS looking at it and him, takes it.) DENBY. Taylor, for three years the government has been trying to land the big blackmailer in the customs we set a trap for him with a necklace as bait. The whole thing was a plant from Harlow's tip to my dropping the necklace here just now and you walked into it. TAYLOR. (Coming to him threateningly) Say, you- can't get away with this. 124 UNDER COVER DENBY. Wait a minute. You've been in the service long enough to know that the rough stuff won't go you'll only get the worst of it so take it easy. (To DUNCAN and GIBBS and taking com mission from GIBBS) Take him along boys I was mighty glad to find out just now that you fellows weren't in on it keep the necklace for me. Exhibit A it's a fake (Comes down to front of table) GIBBS. And I've been working for a crook for two years and never knew it! ( GIBBS and DUNCAN cross over near windows) TAYLOR. (Goes down to DENBY furiously} Damn you, you've got me all right, but I'll send that girl and her sister up the river. I'll get even you're stuck on her and she goes with me. DENBY. Oh, I think not. You forget that Mr. Harrington's vice president of the New York Burglar Insurance Company and a very good friend of Miss Cartwright's. I saw him upstairs. ETHEL. (Under her breath} Thank God. TAYLOR. Oh, get me out of this. (As he goes up to French windows) DENBY. Oh, just a minute, I'll trouble you for that thirty thousand. TAYLOR. (Turning to him} You think of every thing, don't you? DENBY. (To ETHEL) You see, I borrowed it from Monty he's been a great help as an amateur partner. (Crosses to TAYLOR) He'll be glad you're out of the way, Taylor. You quite frightened him. TAYLOR. (Going to him) There's your thirty thousand. DENBY. Thanks. There's your cigar. TAYLOR. (Sticking cigar in his pocket then with bravado} Well, it took the biggest man in the secret service to land me, Mr. R. J. But I've got some mighty good pals in some mighty good places who'll come across for me. After all, you're not UNDER COVER 125 the jury and all the smart lawyers aren't dead yet. GIBBS. Aw, come on, you dirty grafter. (The three exit at French windows.) DENBY. (To ETHEL) I'm sorry I had to leave you alone as I did, but I wanted to arrange matters with Mr. Harrington about your sister, so Taylor would have no come back. ETHEL. (Crosses to R. end of table) And you are really R. J. ! DENBY. I really am. I did want to tell you be fore, but I couldn't be sure you weren't Taylor's accomplice until you told me about your sister. I had my job to do for the United States I'm only a soldier I was under orders, but I wish I hadn't had to make you suffer. ETHEL. (Crosses toward DENBY a step) And everything's all right now? (DENBY backs toward doors R. as far as center. ETHEL crosses to DENBY and above him) DENBY. Yes, and I'll tell you all about R. J. ETHEL. How silly of me to think that you were a criminal. DENBY. But you see you've caught me ! ETHEL. But have I really (Pauses) got you, Steve? (She goes in his amis as Curtain falls 126 UNDER COVER ACT I Ring Curtain up. Come, Amy. (AMY and ETHEL start for door, up left.) Phone rings. I shall not fail you. Warning for curtain. Necklace for me to-night. Ring curtain down. ACT II Ring curtain up. (At rise) Auto horn is heard in distance. You can rely on me. Auto horn heard in two short, full blasts. Oh, I don't particularly mind. Dinner chime. Yes, do. After Michael and Alice exit. Auto and auto horn in distance. (ETHEL comes up to French windows.) Auto stops and auto horn heard in one short full blast, -to see if N. Y. was finished vet. Piano off-stage right, playing chorus of " I Loved you a Thousand Years Ago." a thrill against prison. Piano stops. the boys calling La Presse. UNDER COVER 127 Piano off-stage right plays chorus of " Un Peu d'Amour." -All the way home out of pity. Piano stops. You get Denby to-night. (TAYLOR exits) Dinner chime. We'll grab him there. Warning for curtain. You're here and I'm hungry. Ring down curtain. SCENE II After the curtain is down thirty seconds Ring curtain up. (Curtain rises on dark stage with moonlight at French windows.) Lambart goes to light switch and pushes it. All lights on. Easy Easy!" (DENBY pushes light switch ) Lights off. " Come away, Monty." (DENBY pushes light switch') All lights on. " Good-night, Mr. Denby." Warning for curtain. -" Oh, damn the necklace." Ring curtain down. ACT III Ring curtain up. Curtain rises on dark stage. Ethel turns on lamp. Amber and pink foots l /% up. Ethel turns off lamp. Foots out. 128 UNDER COVER Aah ! " Denby sighs and pushes switch. Foots and border full up. Denby reaches hand out in hall as if turning switch. Operator pulls strip in hall. Well, Monty." (DENBY pushes switch) All lights out, except moonlight. (After MONTY'S exit see that center door is securely buttoned from the outside, so it won't come open when ETHEL is pushing it) Ethel crosses stage and gets to table, pulling drawer as Denby turns switch. Lights up. Light back of door up center on. -" But you can't do it ! " Clock strikes three. " Oh, you are a man after all." Police whistle off right. Taylor's entrance through window R. Lens lamp down right, off. When Denby's strikes burglar alarm. Switch on alarm gong and all lights out. After pistol shot. Turn off alarm gong. Turn on the lights." All lights up. " He's a burglar, I caught him." Warning for curtain. " It's all right Miss Cartwright, it's all right." Ring curtain down. ACT IV Ring curtain up. "We're playing bridge." Clock chimes three off L. " I'm not, I'm thirsty." Switch on burglar alarm gong. UNDER COVER 129 " The alarm's probably gone off by accident." Pistol shot off L. " Go on, Monty, find out what's the matter." Stop sound of burglar alarm. " It belongs to Steve." Police whistle off R. -" Aw, come on, you dirty grafter." Warning for curtain. " Have I really got you, Steve." Ring curtain down. PROPERTY PLOT ACT I Office of a Deputy Surveyor of the Port of New York in the Customs House, New York City. i Green carpet to cover stage. 4 Yellow shades on bay window up right. I Arm office chair, down right below door. i Single office chair up right in bay window. 13x5 flat top desk, up right. I Swivel chair, back of desk up right. i Arm office chair, left of desk up right. i Trash basket, below desk up right. On desk up right 'phone book desk blotter plain pad white paper 2 letter baskets paper in letter baskets safety matches in match holder daily desk calender double ink well pens pencils. I Loaded revolver in upper right drawer of desk up right. 130 UNDER COVER i 2,y 2 ft. bulletin board on wall R. of door. Bulletins on board. i Hat tree, up center R. of center door. i Water bottle and stand and drinking glass, up c. L. of bay window. i Postal call box on wall up L. c. left of door. I Western Union call box on wall, up L. c. left of door. 1 Arm office chair, up L. c. left of door. 2 Filing cabinets, up L. Corner, 5 feet high, 4 feet wide. Electric fan on filing cabinet. I Small flat top desk, down L. c. i 1 8 in. stool, R. of desk down left center. i Arm office chair, back of desk down left center. I Arm office chair, down left. i Framed steamship picture on wall up L. c. left of door at c. i Framed steamship picture on wall down left be low left door. On desk down L. c. phone phone book 2 letter baskets, letters and papers in baskets desk blotter letter clip letters double ink well pens pencils pad safety match safe safety matches four or five papers clipped together, on right end of desk. i Trash basket, left of desk down left center. OFF-STAGE. For SARAH Off L. c. Parasol with stone studded large ring handle, painted. For GIBBS Off-stage right cigar, matches. For DUNCAN Off-stage left cigar. For TAYLOR Off-stage right cigar. Off-stage right door slam. UNDER COVER 131 AT THE HARRINGTONS'. ACT II I Gray carpet to cover stage. Gray carpet on step and platform up left, i Consul table down right. 1 Small brass fern dish and fern on consul table. 2 Small silver framed pictures on consul table. I Single chair in front of consul table. i Small round table, down right, R. of settee. i Vase of flowers on table. i Ash tray on table. i Safety match safe and matches on table. 1 Settee, down R. c. 2 Pillows on settee. i Small square table, up right. 1 Vase of flowers on square table, up right. 2 Small silver framed pictures on square table, up R. i Armchair, up right. i Single chair, up center, i Oval table, up center. 1 Vase of flowers on table, up center. 2 Small silver framed pictures on table, up c. i 5 foot, 3 fold screen, up left. i Tapestry Top Club fender in front of fireplace, left. i Set of fire irons at fireplace left, i Pair of fire dogs at fireplace L. i Gold clock on mantel, left. 3 Small silver framed pictures on mantle, left. i Silver cigarette box with cigarettes in on lower end of mantel, left. I Four foot table, down L. c. i Small low pot of flowers in the center of table, down L. c. 132 UNDER COVER 3 Ash trays on table, down L. c. i Safety match holder and matches on table, down L. c. Silver tray with champagne bottle, glass and a bottle of clysmic on it, on table down L. c. i Newspaper on table down L. c. Cigarettes box on table at L. c. i Single chair L. of table, down L. c. i Low seat stool in front of table down L. c. i Low seat stool right of table down L. c. I Armchair left of table down L. c. On 2 doors right lace curtains yellow silk cur tains. On 4 French windows up right lace curtains yellow silk French drop curtains. Silk curtains practical. A bouquet of palms and roses in fireplace. A fern box filled with ferns the length of the window, under transparent window on stair case at up L. c. A tub on flowers and palms, one each side of up R. c. arch. On arch up right silk portieres tied back reach from top of arch to floor. On arch up left, silk portieres tied back reach from top of arch to platform. i Arm Garden chair up right at garden drop. OFF-STAGE. For butler Card on tray off L. on lower platform. For ladies Cigarettes off-stage right. For ETHEL Fan up on platform. For DENBY Two tobacco pouches (alike) with cigarette tobacco, cigarette papers, match safe and matches. Necklace of pearls off-stage right. For ALICE Piano and stool off-stage right and UNDER COVER 133 two pieces of music namely : " I Loved you a Thousand Years Ago." For TAYLOR Legal papers up right, i Auto horn with mute and vacum cleaner for auto effect, off-stage R. i Dinner gong and striker off-stage right. Vines on pillars of porch. Grass mats along bottom of garden drop back of arbor. ACT III i Brown carpet to cover floor. i Single walnut chair down right. i Yellow silk French curtain practical on French window R. with hook on up-stage side of window frame to hold curtain up. I Pair curtains and Valence on French window right. I Single walnut chair up right. 15x3 walnut table with drawer in it at down R. c. drawer up-stage. i Single walnut chair back of table down R. c. i Arm walnut chair left of table down R. c. On table down right center 2 books desk pad ink well blotter, pens pencils pad of white paper large metal paper knife. i Pair curtains and valence on arch to bedroom up right. i Brown hat tree in bedroom right side of arch. Denby's lounging coat on hat tree, i Brass bed in bedroom just inside of arch with head to left. i Spring on brass bed. I White counterpane on brass bed. i Green armchair up right corner of bedroom. 134 UNDER COVER 1 Walnut stand up center of bedroom under window. 2 Books on stand in bedroom. I Pair curtains on window in bedroom. i Bookcase up center. i Heavy match safe and matches on left end of bookcase up c. i Tobacco jar on right end of bookcase up c. i Silver framed photo in center of bookcase up c. i Bookcase up L. c. left of door, i Blue vase on right end of bookcase up L. c. i Small silver framed photo on center of bookcase up L. c. i Glass vase of flowers on the left end of book case up L. c. i Bookcase up left above door. i Small blue vase on lower end of bookcase up left above door. I Small silver framed photo on center of bookcase L. above door. i Bookcase down left below door, i Small blue vase on upper end of bookcase left below door. I Match safe and matches on center of bookcase L. below door. 1 4 foot brown couch at L. c. 2 Brown pillows on couch. 1 Small square table on upper end of couch. 2 Books on table. I Small vase of flowers on table. i Small silver framed photo on table. i Key in lock off-stage side of door at left. I Key in lock of door u. c. OFF-STAGE. For DENBY Cigarette case and cigarettes. UNDER COVER 135 For HARRINGTON Small silver tray with two high balls off-stage center. For TAYLOR Loaded revolver papers- -police whistle off-stage right. Chimes and hammer off-stage up left. Practical locks with keys to fit on door up c. and down L. ACT IV Same as Act II. Fern dish removed from table at L. c. Round table at L. c. is moved part to the right and i foot down-stage for this act only. Single chair left of table at L. c. i Stool right of table at L. c. 1 Stool below table at L. c. Armchair at upper side of table at L. c. 2 Packs of playing cards. 2 Bridge score cards. Silver cigarette case from mantle to table. Clock chimes as in Act III. i Silver tray decanter of whiskey and 2 whiskey glasses on table up c. OFF-STAGE. For LAMBERT Revolver loaded necklace in white paper off R. For TAYLOR Police whistle cigar papers in his pocket. For DUNCAN Revolver. For MONTY White package supposed to contain pearl necklace. For DENBY 3 Ten thousand dollar bills parchment commission with photo on it. Revolver. 136 UNDER COVER ELECTRICAL PLOT ACT I Foots white and amber full up for entire act. Concert border white and amber full up for entire act. i 6 Lamp strip amber and white over door down right. 2 Olivettes straw medium down right below bay window to light drop. 3 10 Lamp strips white between bay window sections to light drop. 2 Olivettes straw medium up right center above bay window to light drop, i 6 Lamp strip amber and white over door up L. c. i 6 Lamp strip amber and white over door down left. I 3 Button board practical buzz on desk up right buzz in drawer of desk, i 2 Button board practical buzz on desk down L. buzz in drawer of desk. 2 Phones one on each desk. i Phone bell off-stage to work on cue. I Indirect chandelier in center of stage not practical. i 2 Way flush switch on wall right of center door. ACT II Foots straw and pink full up for SCENE I off at end of SCENE I on and off on cues during SCENE II. Concert border straw and pink full up for SCENE UNDER COVER 137 I off at end of SCENE I on and off on cues durinp SCENE II. I Bell push button on wall below fireplace not practical, i 2 Way push switch not practical on wall up c. 1 Bell push button on wall up c. not practical. 2 Olivettes straw medium up right on garden drop change to blue medium for SCENE II. I Lens amber medium up right on garden drop change to blue medium for SCENE II. I Olivette amber medium up left back of trans parent window change to blue medium for SCENE II. i Bunch white above French doors right. i 2 Light bracket yellow shade on wall below fire place practical on and off at cue. I 2 Light bracket yellow shade on wall above fire place practical on and off at cues. I 2 Light bracket yellow shade on wall up right R. of arch, practical on and off at cues. i 2 Light bracket yellow shade on wall up center between 2 arches practical on and off at cues. A standing electric lamp with pink shade stands to right of French windows up right. NOTE: Brackets standing lamp border and foots work on one switch at switch board. ACT III Foots Concert Border Amber, white and pink 2/3 up. i 2 Way push switch on wall up center R. of door not practical. I Burglar alarm box up center on wall R. of door not practical. 138 UNDER COVER 3 2 Lamp brackets on wall practical on and off at cues. i Set of alarm bells different sizes distributed around the stage. Practical worked from one switch in first entrance. i Olivette Blue medium down right to light backing. i Lens blue medium down right to light table right. This light off after Taylor's entrance through French window right. i Olivette blue medium back of bedroom window up right, i 2 Lamp strip amber and white over door up left. Out when Denby reaches out in hall to turn off hall light, on again when Denby switches on brackets and discovers Ethel at his desk. i Bell push button on wall up center right of door not practical, i 2 Lamp bracket yellow shade on wall down L. below door, i 2 Lamp bracket yellow shade on wall up center between door and arch, i 2 Lamp bracket yellow shade on wall up left to the left of arch. I Lamp on table center practical. NOTE: Wall brackets, foots and border work on one switch from switch board. ACT IV Stage lit as in SCENE II ACT II. Burglar alarm as in ACT III. Foots Amber and pink. Concert border Amber and pink. UNDER COVER 139 ELECTRIC EQUIPMENT 3 6 Lamp strip. i 2 Lamp strip. 4 Olivettes. 4 10 Lamp strip. i 3 Button board and buzz. i 2 Button board and buzz. 2 Phones. 3 Bell push buttons. 2 2 Way push switch. 1 Lens lamp. 2 Bunches. 4 2 Light brackets Act II. 8 Yellow shades Act III. 3 2 Light brackets, i Burglar alarm box. i Set of 3 electric alarm bells. i Table lamp practical, i Phone bell" i Doz. color frames blue straw amber gelatine. CURTAIN CALLS ACT I i Everybody in the act for all calls. ACT II i Everybody on all calls. ACT III I Picture. i 4 o UNDER COVER 2 Everybody. 3 Denby, Ethel and Taylor. 4 Ethel. 5 Denby. 6 Denby, Ethel, Taylor. 7 Denby Ethel. ACT IV I Picture. RUNNING TIME OF ACT ACT I. 33-34- ACT II. 48. ACT III. 29-30. ACT IV. 26. UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles This book is DUE on the last date stamped below. JUN 06 200 Form L9-100m-9,'52(A3105)444 3525 Under cover, M) 1 PS 3525 Ml;73u A 000 qp