Theft: A Play In Four Acts

(During the following scene, which takes place around Starkweather, Margaret is saying good-bye to her departing guests.)

(Mrs. Starkweather and Connie make exit.)

(Dowsett and Mrs. Dowsett make exit.)

(The instant Mrs. Dowsett's remark puts a complete end to Mrs. Starkweather's speech, Starkweather, without answer or noticing his wife, turns and interrogates Servant with a glance.)

Servant

Mr. Dobleman has already left some time to come here, sir.

Starkweather

Show him in as soon as he comes.

Servant

Yes, sir.

(Servant makes exit.)

(Margaret, Dolores Ortega, and Rutland are left in a group together, this time around tea-table, where Margaret serves Rutland another cup of tea. From time to time Margaret glances curiously at the serious group of men across the stage.)

(Starkweather is thinking hard with knitted brows. Hubbard is likewise pondering.)

Chalmers

If I were certain Knox had those papers I would take him by the throat and shake them out of him.

Starkweather

No foolish talk like that, Tom. This is a serious matter.

Hubbard

But Knox has no money. A Starkweather stenographer comes high.

Starkweather

There is more than Knox behind this. (Enter Dobleman, walking quickly and in a state of controlled excitement.)

Dobleman

(To Starkweather.) You received that telegram, sir?

(Starkweather nods.) I got the New York office – Martinaw – right along afterward, by long distance. I thought best to follow and tell you.

Starkweather

What did Martinaw say?

Dobleman

The files seem in perfect order.

Starkweather

Thank God!

(During the following speech of Dobleman, Rutland says good-bye to Margaret and Dolores Ortega and makes exit.)

(Margaret and Dolores Ortega rise a minute afterward and go toward exit, throwing curious glances at the men but not disturbing them.)

(Dolores Ortega makes exit.)

(Margaret pauses in doorway a moment, giving a final anxious glance at the men, and makes exit.)

Dobleman

But they are not. The stenographer, Miss Standish, has confessed. For a long time she has followed the practice of taking two or three letters and documents at a time away from the office. Many have been photographed and returned. But the more important ones were retained and clever copies returned. Martinaw says that Miss Standish herself does not know and cannot tell which of the ones she returned are genuine and which are copies.

Hubbard

Knox never did this.

Starkweather

Did Martinaw say whom Miss Standish was acting for?

Dobleman

Gherst.

(The alarm on the three men's faces is patent.)

Starkweather

Gherst!

(Pauses to think.)

Hubbard

Then it is not so grave after all. A yellow journal sensation is the best Gherst can make of it. And, documents or not, the very medium by which it is made public discredits it.

Starkweather

Trust Gherst for more ability than that. He will certainly exploit them in his newspapers, but not until after Knox has used them in his speech. Oh, the cunning dog! Never could he have chosen a better mode and moment to strike at me, at the Administration, at everything. That is Gherst all over. Playing to the gallery. Inducing Knox to make this spectacular exposure on the floor of the House just at the critical time when so many important bills are pending.

(To Dobleman.)

Did Martinaw give you any idea of the nature of the stolen documents?

Dobleman

(Referring to notes he has brought.) Of course I don't know anything about it, but he spoke of the Goodyear letters —

(Starkweather betrays by his face the gravity of the information.)

the Caledonian letters, all the Black Rider correspondence. He mentioned, too, (Referring to notes.) the Astonbury and Glutz letters. And there were others, many others, not designated.

Starkweather

This is terrible!

(Recollecting himself.)

Thank you, Dobleman. Will you please return to the house at once. Get New York again, and fullest details. I'll follow you shortly. Have you a machine?

Dobleman

A taxi, sir.

Starkweather

All right, and be careful.

(Dobleman makes exit)

Chalmers

I don't know the import of all these letters, but I can guess, and it does seem serious.

Starkweather

(Furiously.) Serious! Let me tell you that there has been no exposure like this in the history of the country. It means hundreds of millions of dollars. It means more – the loss of power. And still more, it means the mob, the great mass of the child-minded people rising up and destroying all that I have labored to do for them. Oh, the fools! The fools!

Hubbard

(Shaking his head ominously.) There is no telling what may happen if Knox makes that speech and delivers the proofs.

Chalmers

It is unfortunate. The people are restless and excited as it is. They are being constantly prodded on by the mouthings of the radical press, of the muck-raking magazines and of the demagogues. The people are like powder awaiting the spark.

Starkweather

This man Knox is no fool, if he is a dreamer. He is a shrewd knave. He is a fighter. He comes from the West – the old pioneer stock. His father drove an ox-team across the Plains to Oregon. He knows how to play his cards, and never could circumstances have placed more advantageous cards in his hands.

Chalmers

And nothing like this has ever touched you before.

Starkweather

I have always stood above the muck and ruck – clear and clean and unassailable. But this – this is too much! It is the spark. There is no forecasting what it may develop into.

Chalmers

A political turnover.

Starkweather

(Nodding savagely.) A new party, a party of demagogues, in power. Government ownership of the railways and telegraphs. A graduated income tax that will mean no less than the confiscation of private capital.

Chalmers

And all that mass of radical legislation – the Child Labor Bill, the new Employers' Liability Act, the government control of the Alaskan coal fields, that interference with Mexico. And that big power corporation you have worked so hard to form.

Starkweather

It must not be. It is an unthinkable calamity. It means that the very process of capitalistic development is hindered, stopped. It means a setback of ten years in the process. It means work, endless work, to overcome the setback. It means not alone the passage of all this radical legislation with the consequent disadvantages, but it means the fingers of the mob clutching at our grip of control. It means anarchy. It means ruin and misery for all the blind fools and led-cattle of the mass who will strike at the very sources of their own existence and comfort.

(Tommy enters from left, evidently playing a game, in the course of which he is running away. By his actions he shows that he is pursued. He intends to cross stage, but is stopped by sight of the men. Unobserved by them, he retraces his steps and crawls under the tea-table.)

Chalmers

Without doubt, Knox is in possession of the letters right now.

Starkweather

There is but one thing to do, and that is – get them back.

(He looks questioningly at the two men.)

(Margaret enters from left, in flushed and happy pursuit of Tommy – for it is a game she is playing with him. She startles at sight of the three men, whom she first sees as she gains the side of the tea-table, where she pauses abruptly, resting one hand on the table.)

Hubbard

I'll undertake it.

Starkweather

There is little time to waste. In twenty hours from now he will be on the floor making his speech. Try mild measures first. Offer him inducements – any inducement. I empower you to act for me. You will find he has a price.

Hubbard

And if not?

Starkweather

Then you must get them at any cost.

Hubbard

(Tentatively.) You mean – ?

Starkweather

I mean just that. But no matter what happens, I must never be brought in. Do you understand?

Hubbard

Thoroughly.

Margaret

(Acting her part, and speaking with assumed gayety.) What are you three conspiring about? (All three men are startled.)

Chalmers

We are arranging to boost prices a little higher.

Hubbard

And so be able to accumulate more motorcars.

Starkweather

(Taking no notice of Margaret and starting toward exit to rear.) I must be going. Hubbard, you have your work cut out for you. Tom, I want you to come with me.

Chalmers

(As the three men move toward exit.) Home?

Starkweather

Yes, we have much to do.

Chalmers

Then I'll dress first and follow you.

(Turning to Margaret.) Pick me up on the way to that dinner.

(Margaret nods. Starkweather makes exit without speaking. Hub-bard says good-bye to Margaret and makes exit, followed by Chalmers.)

(Margaret remains standing, one hand resting on table, the other hand to her breast. She is thinking, establishing in her mind the connection between Knox and what she has overheard, and in process of reaching the conclusion that Knox is in danger.)

(Tommy, having vainly waited to be discovered, crawls out dispiritedly, and takes Margaret by the hand. She scarcely notices him.)

Tommy

(Dolefully.) Don't you want to play any more? (Margaret does not reply). I was a good Indian.

Margaret

(Suddenly becoming aware of herself and breaking down. She stoops and clasps Tommy in her arms, crying out, in anxiety and fear, and from love of her boy.) Oh, Tommy! Tommy!

Curtain

ACT II

Scene. Sitting room of Howard Knox – dimly lighted. Time, eight o'clock in the evening.

Entrance from hallway at side to right. At right rear is locked door leading to a room which dees not belong to Knox's suite. At rear center is fireplace. At left rear door leading to Knox's bedroom. At left are windows facing on street. Near these windows is a large library table littered with books, magazines, government reports, etc. To the right of center, midway forward, is a Hat-top desk. On it is a desk telephone. Behind it, so that one sitting in it faces audience, is revolving desk-chair. Also, on desk, are letters in their envelopes, etc. Against clear wall-spaces are bookcases and filing cabinets. Of special note is bookcase, containing large books, and not more than five feet high, which is against wall between fireplace and door to bedroom.

Curtain discloses empty stage.

(After a slight interval, door at right rear is shaken and agitated. After slight further interval, door is opened inward upon stage. A Man's head appears, cautiously looking around).

(Man enters, turns up lights, is followed by second Man. Both are clad decently, in knock-about business suits and starched collars, cuffs, etc. They are trim, deft, determined men).

(Following upon them, enters Hubbard. He looks about room, crosses to desk, picks up a letter, and reads address).

Hubbard

This is Knox's room all right

First Man

Trust us for that.

Second Man

We were lucky the guy with the whiskers moved out of that other room only this afternoon.

First Man

His key hadn't come down yet when I engaged it.

Hubbard

Well, get to work. That must be his bedroom.

(He goes to door of bedroom, opens, and peers in, turns on electric lights of bedroom, turns them out, then turns back to men.) You know what it is – a bunch of documents and letters. If we find it there is a clean five hundred each for you, in addition to your regular pay.

(While the conversation goes on, all three engage in a careful search of desk, drawers, filing cabinets, bookcases, etc.)

Second Man

Old Starkweather must want them bad.

Hubbard

Sh-h. Don't even breathe his name.

Second Man

His nibs is damned exclusive, ain't he?

First Man

I've never got a direct instruction from him, and I've worked for him longer than you.

Second Man

Yes, and you worked for him for over two years before you knew who was hiring you.

Hubbard

(To First Man.) You'd better go out in the hall and keep a watch for Knox. He may come in any time.

(First Man produces skeleton keys and goes to door at right. The first key opens it. Leaving door slightly ajar, he makes exit.)

(Desk telephone rings and startles Hubbard.)

Second Man

(Grinning at Hubbard's alarm.)

It's only the phone.

Hubbard

(Proceeding with search.) I suppose you've done lots of work for Stark —

Second Man

(Mimicking him.) Sh-h. Don't breathe his name.

(Telephone rings again and again, insistently, urgently.)

Hubbard

(Disguising his voice.) Hello – Yes.

(Shows surprise, seems to recognize the voice, and smiles knowingly.)

No, this is not Knox. Some mistake. Wrong number —

(Hanging up receiver and speaking to Second Man in natural voice.) She did hang up quick.

Second Man

You seemed to recognize her.

Hubbard

No, I only thought I did.

(A pause, while they search.)

Second Man

I've never spoken a word to his nibs in my life. And I've drawn his pay for years too.

Hubbard

What of it?

Second Man

(Complainingly.) He don't know I exist.

Hubbard

(Pulling open a desk drawer and examining contents.)

The pay's all right, isn't it?

Second Man

It sure is, but I guess I earn every cent of it. (First Man enters through door at right He moves hurriedly but cautiously. Shuts door behind him, but neglects to re-lock it.)

First Man

Somebody just left the elevator and is coming down the hall.

(Hubbard, First Man, and Second Man, all start for door at right rear.)

(First Man pauses and looks around to see if room is in order. Sees desk-drawer which Hubbard has neglected to close, goes back and closes it.)

(Hubbard and Second Man make exit.)

(First Man turns lights low and makes exit.)

(Sound of locking door is heard.)

(A pause.)

(A knocking at door to right. A pause. Then door opens and Gilford enters. He turns up lights, strolls about room, looks at watch, and sits down in chair near right of fireplace.) (Sound of key in lock of door to right.) (Door opens, and Knox enters, key in hand. Sees Gifford.)

Knox

(Advancing to meet him at fireplace and shaking hands.) How did you get in?

Gifford

I let myself in. The door was unlocked.

Knox

I must have forgotten it.

Gifford

(Drawing bundle of documents from inside breast pocket and handing them to Knox.) Well, there they are.

Knox

(Fingering them curiously.) You are sure they are originals? (Gifford nods.)

I can't take any chances, you know. If Gherst changed his mind after I gave my speech and refused to show the originals – such things have happened.

Gifford

That's what I told him. He was firm on giving duplicates, and for awhile it looked as if my trip to New York was wasted. But I stuck to my guns. It was originals or nothing with you, I said, and he finally gave in.

Knox

(Holding up documents.) I can't tell you what they mean to me, nor how grateful —

Gifford

(Interrupting.) That's all right. Don't mention it. Gherst is wild for the chance. It will do organized labor a heap of good. And you are able to say your own say at the same time. How's that compensation act coming on?

Knox

(Wearily.) The same old story. It will never come before the House. It is dying in committee. What can you expect of the Committee of Judiciary? – composed as it is of ex-railroad judges and ex-railroad lawyers.

Gifford

The railroad brotherhoods are keen on getting that bill through.

Knox

Well, they won't, and they never will until they learn to vote right. When will your labor leaders quit the strike and boycott and lead your men to political action?

Gifford

(Holding out hand.) Well, so long. I've got to trot, and I haven't time to tell you why I think political action would destroy the trade union movement.

(Knox tosses documents on top of low bookcase between fireplace and bedroom door, and starts to shake hands.) You're damn careless with those papers. You wouldn't be if you knew how much Gherst paid for them.

Gifford

You don't appreciate that other crowd. It stops at nothing.

Knox

I won't take my eyes off of them. And I'll take them to bed with me to-night for safety. Besides, there is no danger. Nobody but you knows I have them.

Gifford

(Proceeding toward door to right.) I'd hate to be in Starkweather's office when he discovers what's happened. There'll be some bad half hours for somebody. (Pausing at door.) Give them hell to-morrow, good and plenty. I'm going to be in a gallery. So long. (Makes exit.)

(Knox crosses to windows, which he opens, returns to desk, seats himself in revolving chair, and begins opening his correspondence.) (A knock at door to right.)

Knox

Come in.

(Hubbard enters, advances to desk, but does not shake hands. They greet each other, and Hubbard sits down in chair to left of desk.) (Knox, still holding an open letter, re-volves chair so as to face his visitor. He waits for Hubbabd to speak.)

Hubbard

There is no use beating about the bush with a man like you. I know that. You are direct, and so am I. You know my position well enough to be assured that I am empowered to treat with you.

Knox

Oh, yes; I know.

Hubbard

What we want is to have you friendly.

Knox

That is easy enough. When the Interests become upright and honest —

Hubbard

Save that for your speech. We are talking privately. We can make it well worth your while —

Knox

(Angrily.) If you think you can bribe me —

Hubbard

(Suavely.) Not at all. Not the slightest suspicion of it. The point is this. You are a congressman. A congressman's career depends on his membership in good committees. At the present you are buried in the dead Committee on Coinage, Weights, and Measures. If you say the word you can be appointed to the livest committee —

Knox

(Interrupting.) You have these appointments to give?

Hubbard

Surely. Else why should I be here? It can be managed.

Knox

(Meditatively.) I thought our government was rotten enough, but I never dreamed that House appointments were hawked around by the Interests in this fashion.

Hubbard

You have not given your answer.

Knox

You should have known my answer in advance.

Hubbard

There is an alternative. You are interested in social problems. You are a student of sociology. Those whom I represent are genuinely interested in you. We are prepared, so that you may pursue your researches more deeply – we are prepared to send you to Europe. There, in that vast sociological laboratory, far from the jangling strife of politics, you will have every opportunity to study. We are prepared to send you for a period of ten years. You will receive ten thousand dollars a year, and, in addition, the day your steamer leaves New York, you will receive a lump sum of one hundred thousand dollars.

Knox

And this is the way men are bought

Hubbard

It is purely an educational matter.

Knox

Now it is you who are beating about the bush.

Hubbard

(Decisively.) Very well then. What price do you set on yourself?

Knox

You want me to quit – to leave politics, everything? You want to buy my soul?

Hubbard

More than that. We want to buy those documents and letters.

Knox

(Showing a slight start.) What documents and letters?

Hubbard

You are beating around the bush in turn. There is no need for an honest man to lie even —

Knox

(Interrupting.) To you.

Hubbard

(Smiling.) Even to me. I watched you closely when I mentioned the letters. You gave yourself away. You knew I meant the letters stolen by Gherst from Starkweather's private files – the letters you intended using to-morrow.

Knox

Intend using to-morrow.

Hubbard

Precisely. It is the same thing. What is the price? Set it.

Knox

I have nothing to sell. I am not on the market.

Hubbard

One moment. Don't make up your mind hastily. You don't know with whom you have to deal. Those letters will not appear in your speech to-morrow. Take that from me. It would be far wiser to sell for a fortune than to get nothing for them and at the same time not use them.

(A knock at door to right startles Hubbard.)

Knox

(Intending to say, "Come in") Come —

Hubbard

(Interrupting.) Hush. Don't. I cannot be seen here.

Knox

(Laughing.) You fear the contamination of my company. (The knock is repeated.)

Hubbard

(In alarm, rising, as Knox purses his lips to bid them enter.) Don't let anybody in. I don't want to be seen here – with you. Besides, my presence will not put you in a good light.

Knox

(Also rising, starting toward door.) What I do is always open to the world. I see no one whom I should not permit the world to know I saw.

(Knox starts toward door to open it.) (Hubbabd, looking about him in alarm, flees across stage and into bedroom, closing the door. During all the following scene, Hubbard, from time to time, opens door, and peers out at what is going on.)