The Project Gutenberg eBook of Criminals This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: Criminals A one-act play about marriage Author: George Middleton Release date: July 29, 2026 [eBook #79216] Language: English Original publication: New York: B. W. Huebsch, 1914 Other information and formats: www.gutenberg.org/ebooks/79216 Credits: Tim Miller, Sam Lamb and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) *** START OF THE PROJECT GUTENBERG EBOOK CRIMINALS *** CRIMINALS _BY THE SAME AUTHOR_ EMBERS AND OTHER ONE-ACT PLAYS TRADITION AND OTHER ONE-ACT PLAYS POSSESSION AND OTHER ONE-ACT PLAYS NOWADAYS A THREE-ACT CONTEMPORANEOUS COMEDY CRIMINALS A ONE-ACT PLAY ABOUT MARRIAGE BY GEORGE MIDDLETON [Illustration] NEW YORK B. W. HUEBSCH MCMXV COPYRIGHT BY GEORGE MIDDLETON, 1914, 1915 This play in its printed form is designed for the reading public only. All dramatic rights in it are fully protected by copyright, and no performance--professional or amateur--or public reading may be given without the written permission of the author and the payment of royalty. Communication should be sent to the author, care of the publisher, 225 Fifth avenue, New York City. INTRODUCTION Truth to life does not necessarily imply truth in art. Though all human nature is material for the author and there is no immorality in art save insincerity in its treatment, I should be the first to admit the danger of deducing a generality from an isolated instance. Therefore, the fact that this play was founded on an actual occurrence would not alone have prompted my using so intimate a theme of life in the art form. And since the dramatist must inevitably select the high lights so that he may suggest the larger problems radiating beyond the mere episode, the arrangement of events in “Criminals” may seem exceptional. Nevertheless, in spite of the compression, necessitated by the one-act form, the human reactions in this play and its basic situation are by no means so uncommon as one might casually assume. It would be easy for the incredulous to deny and for the cynical to scoff at its premise of complete virginal ignorance; but that would not erase the records of medical literature. Psychologists and neurologists, who have related divorce to something more than legal causes, have also given abundant testimony to the part which initial sex experience has ultimately played in the wreckage of marriage. And I have myself been greatly surprised at the large number of collateral cases which have been brought to my attention since this was written and produced--cases of women whose experiences have, in essence, been similar to Janet’s, though their reactions have been translated into a less radical course of conduct. I have not sought to dramatize a particular pathological phenomenon: I have written this play because I believe it intimates the human drama which, with varying degrees of intensity, may lurk in this phase of marriage. The resolution arrived at is not a playwright’s conclusion intended to preach a moral: it is legitimately achieved, I hope, through the shock of juxtaposed characters finding a new point of view under stress of circumstance, tragic to them. The advantage of play publication, as I have indicated in my other volumes, is that the dramatist has a written record of his endeavor, accessible to those who may be interested in his work where wide production, for obvious reasons, is denied it. I should be ungrateful did I not here express my appreciation to Miss Aline Barnsdall, for her courage in producing this play, as well as my thanks to the little company who interpreted, with rare tact and delicacy, the very difficult rôles which were intrusted to them. G. M. September tenth, 1915. CRIMINALS FIRST PERFORMANCE at the Fine Arts Theatre, Chicago, February third, 1915, under the management of The Players Producing Company. THE CAST ALFRED YORK FRED PERMAINE ANN, _his wife_ FLORENCE LE CLERCQ JANET, _their daughter_ BERNICE GOLDEN CARTER MERWIN FRANK STIRLING SCENE: _The York home: about ten o’clock, one Spring evening_. Produced by the Author. CRIMINALS _A cozy sitting room on the second floor of a small house is disclosed, as the curtain slowly lifts. It is conventional in furnishing, with a family portrait or two looking down complacently upon the methodically placed chairs, sofa and large mahogany table. The two windows at the right are draped with light curtains which are similar to those neatly hung across the opening in back. This leads to the hall-way and stairs beyond. At the left is a door opening into_ JANET’S _room. Except for the telephone, with a switch attachment, which rests on the table, there is nothing modern in the room; all the details, in fact, indicate the settled nature of the occupants who have apparently lived there for many years. The hall-way is dark, but the room itself is softly lighted by the tall red-shaded lamp which stands back of the sofa. The moonlight, too, faintly trickles in at the windows._ MR. _and_ MRS. YORK _are alone. The door into_ JANET’S _room is open and_ MRS. YORK _is silently gazing at it. She is seated on the sofa and has ceased sewing. He is in a deep chair, by the table, trying to read the evening paper. But he cannot seem to concentrate on it; he looks toward his wife now and then as though both were dwelling on the same thought_. YORK, _in his late forties, is a rather obvious kindly man with a quiet voice and gentle manner. He wears a frock coat_. MRS. YORK, _somewhat younger, is also a lovable personality who has expended all her energies within the concentrated limits of her home life. She still wears her formal gray afternoon gown_. _They are, in fact, a harmoniously happy couple, reticent with regard to their inner feelings, and instinctively submissive to certain conventions which, until now, the easy habit of life has never made them question_. MRS. YORK [_With a sigh_] I can’t help thinking we shan’t see Janet come from that room again. YORK No. MRS. YORK Now she’s gone we’ll leave everything in there just as it is. YORK Yes. MRS. YORK [_With contented recollection_] She was so happy here. YORK She had a good mother. MRS. YORK [_Lovingly eyeing him_] And father, Fred. YORK I’m just an ordinary sort of person. MRS. YORK But she appreciated all that you did for her. YORK A father isn’t much guidance to a daughter. It’s the mother who counts there. MRS. YORK I did everything I could to bring her up properly. [_Sighing again_] But times have changed since _I_ was a girl. One has to be so careful. YORK It’s the mothers who have changed--letting their girls go about just as if they were boys. There wouldn’t be so much trouble, Ann, if all mothers were companionable like you. MRS. YORK I was glad I _could_ devote all my time to Janet. I can almost be happy now that I’m alone--thinking of that. YORK It was the greatest joy in my life to see you two so inseparable. Why, Janet hardly left your side, did she? MRS. YORK No. When I was with her I always felt as though I were walking in a garden of lilies. YORK Yes, pure white. MRS. YORK I often wondered why she liked white furniture. YORK It was like herself somehow, I suppose. MRS. YORK [_She goes to him_] And to-night will be the first time she’s ever been away from me. [_Shuddering_] To-night! YORK There, dear, don’t worry. MRS. YORK [_With instinctive reserve as she takes his hand_] You know what I’m thinking? YORK Yes. MRS. YORK I hate to think of such things. YORK [_Trying to be cheerful_] Then don’t let’s talk of them. Carter is her husband now. MRS. YORK I know. It’s strange how girls grow up in a place and then leave when the first man.... YORK [_With consoling assurance_] He’s a good chap and early marriages are best. MRS. YORK Yes. And she seemed so sure of herself. [_There is a pause as she thoughtfully goes to window and gazes out_] What time is it? YORK Just ten. MRS. YORK I’m so glad they told us where they were going. YORK But didn’t you feel as though it spoiled their little romance for us to know? MRS. YORK [_Smiling_] Nothing could spoil their romance; it was like a story-book. But Janet really wanted us to go down to the boat to-morrow and see her off. [_Wistfully_] It must be nice to have a honeymoon in Italy. YORK [_Trying to be cheerful throughout_] Carter’s got more money than _I_ had when you and I were married. MRS. YORK [_Affectionately_] But they won’t have a happier time over there than we did in Washington, will they? [_After another silence_] I--I thought perhaps she’d ’phone us to let us know she reached the hotel safely. YORK [_Playfully_] _We_ didn’t think of ’phoning. MRS. YORK Mother didn’t have a ’phone then. [_In recollection_] But I thought of her. [_They smile; then she puts her arm on his shoulder, as she stands behind his chair_] Oh, Fred, I.... YORK [_Understandingly_] You mustn’t feel like this about Janet, dear. Everything will be as it should be--just as it was between us. Carter’s a fine fellow and.... MRS. YORK She’s only a little girl. YORK So were you, Ann, when I took you away from your mother. MRS. YORK It’s foolish of me I know, but.... [_As though wishing to change the subject_] The room and hall-way are full of fragrance. YORK Suppose we send her wedding flowers to the hospital to-morrow. MRS. YORK You are always so thoughtful, Fred. I’ll tell Mary in the morning. YORK Shall we go down and look at them again before we go to bed? MRS. YORK Yes; I’m tired though. It’s been such a long day. [_She goes to him tenderly and puts her arms on his shoulders as he now stands facing her_] Fred, it takes me back. YORK Some twenty years, eh? MRS. YORK We only have each other now. YORK Yes; the way it was when we started. MRS. YORK It was hard for me to see my little girl go. [_She kisses him_] I’ve been so happy here with you and Janet. [_The telephone rings. She goes to it_] I knew she’d ’phone. Let me go, Fred. I want to hear her voice. [_Taking off the receiver eagerly_] Yes, hello! Is that you, Janet? No?... You wish to speak to _Mr._ York? Is that you, Carter? Yes; he’s here. [_She slowly hands the receiver to_ YORK _as she stands half trembling with sudden premonition_] Carter wants to speak to you. [YORK _slowly takes the receiver_] Oh, I’m afraid. YORK [_At ’phone_] Yes, Carter. [_Startled_] What’s that? Coming back _here_? To-night? [_After a pause_] Yes, of course: you’d better come around yourself right away. Wait. The front door will be unlatched. Come right up to the sitting room. [_He hangs up the receiver and looks at_ MRS. YORK, _who is dumbly questioning him_] Janet’s on her way here. MRS. YORK Here! YORK She left the hotel fifteen minutes ago--alone. MRS. YORK [_Terrified_] Alone? YORK She has her own key? MRS. YORK Yes. I wanted her always to keep it. But you told Carter to come also? YORK Yes. Has Mary gone upstairs yet? MRS. YORK No! [_As_ YORK _goes to telephone and switches it_] What are you doing? YORK [_Into telephone_] Is that you, Mary? I’ve just had a ’phone. We are expecting somebody. Put the front door latch back so he can come right up to us. No, I don’t want to keep you up: then go to bed. Understand? Good-night. [_He hangs up the receiver_. MRS. YORK _has gazed before her during this, as though bewildered. There is a long pause before either speaks: then it is in broken tones, full of an implication that is hardly phrased_] MRS. YORK Fred; something terrible’s happened. YORK There’s no reason to think that. MRS. YORK The tone of his voice. YORK Now don’t give way: it’s all right. [_Slowly_] Perhaps.... MRS. YORK [_Slowly_] Perhaps what? YORK [_Hesitating_] Well, sometimes.... MRS. YORK But Carter must have known she.... YORK [_Half to himself_] It may be.... MRS. YORK [_Hysterical_] Why don’t you say what you think? YORK I remember men telling me.... MRS. YORK Do men ever talk of such things? YORK Yes: afterwards. [_He apparently hears the maid going upstairs. He goes back to be sure, then turns to his wife_] Mary has gone up to bed. MRS. YORK Do you think Janet will tell us? YORK If not, why is she coming back here? MRS. YORK Where else could she go?.... Oh, Fred, this is more than I can stand. Suppose--suppose she doesn’t come? YORK Nonsense. Shall we go downstairs? MRS. YORK No; not where their flowers are. [_She tries to control her growing agitation_] Why doesn’t she come?--She ought to be here by now.--Are you _sure_ Carter said she was coming here? YORK Maybe she walked. MRS. YORK [_Murmuring_] Alone in the street this time of night? YORK There’s no danger. [_The curtains are pushed open and_ JANET _enters_. _She goes hysterically to_ MRS. YORK _and buries her face in her mother’s lap, sobbing_. YORK _comes over beside them, anxiously_. JANET YORK, _about nineteen, is the personification of sensitive delicacy and fragile grace. Her present agitation is such that, when words fail, she conveys her meaning through groping, broken tones and suggestion. She is wearing her smart “going away” tailor-made gown and hat_] JANET Mother! Mother! MRS. YORK My girl! What is it? YORK Wait, Ann. JANET Oh, I.... I.... MRS. YORK Don’t cry so. YORK [_Patting her shoulder_] Janet, dear! JANET [_Looking up at him_] Father! YORK Tell us. JANET I’ll.... I’ll tell mother. MRS. YORK [_Looking at_ YORK] Leave us together, Fred. Maybe she’ll.... YORK You’d better tell me, too, in case.... MRS. YORK Your father’s right, Janet. JANET I.... I can’t _tell_ it. YORK But your mother’s frightened. JANET So ... so ... was I--_frightened_. YORK But, dear...? JANET It was different from.... I didn’t know.... Why didn’t you tell me? MRS. YORK [_Astonished_] Tell you? JANET Yes: what marriage means.... He said _that_ was marriage. [MR. _and_ MRS. YORK _exchange looks, slowly realizing the situation_] MRS. YORK Didn’t your heart tell you? JANET [_Phrasing her feeling with great difficulty throughout_] Not that. How could it? My heart couldn’t know _that_? It stopped. It seemed to snap. It felt ashamed. I’m ashamed now. MRS. YORK [_Perplexed_] But all the time when Carter was with you here, didn’t you--didn’t your heart...? JANET I tell you I never knew there were such things in the world. But _you_ knew. You _both_ knew! [_Reproachfully_] You should have told me and then I wouldn’t have.... Oh, why didn’t you tell me? MRS. YORK [_Helplessly_] Fred? YORK [_At a loss_] Don’t--don’t be harsh at your mother, Janet. JANET [_Looking up_] Then why didn’t _you_ tell me? MRS. YORK How could your father...? JANET [_Interrupting abruptly_] Why not? He let me marry Carter when I came and asked him. My father let me go away with Carter. And you both knew; Carter said you both knew. And neither of you told me. [YORK _shakes his head slowly as though overcome by it all; they try, however, to console_ JANET] MRS. YORK Dear, you--you mustn’t feel like this about Carter. YORK [_Tenderly_] No--no. JANET I can’t help how I feel. YORK But, Janet; he’s your husband. JANET Yes. My husband! I know that. But I didn’t know what it meant having a husband. [_Quickly_] Does that give him the right if I...? YORK Yes, Janet. JANET [_More deeply hurt at the thought_] Then if neither of you would tell me, why didn’t _he_ tell me before...? MRS. YORK [_Shocked_] Why people don’t talk of such things _before_ they’re married, dear. JANET They don’t? MRS. YORK How could they be so immodest? JANET Immodest? Immodest to _talk_? Yet he could...? Oh...! YORK What did you think marriage was, dear? JANET [_Simply_] I--I thought it was just being together, like you and father. MRS. YORK [_Involuntarily_] But your father and I.... JANET [_Retreating from them in realization and astonishment_] You and father! Oh! MRS. YORK Janet. YORK Janet! JANET Don’t touch me, father. [_She moves quickly away from him_] I don’t want anybody to put their hands on me again. I--I have to think. I want to _understand_ what you said.--I always knew there was _something_ I didn’t understand.... [_Incredulously_] How could any girl grow up and not...? [_Quickly turning to her mother_] Mother, did you know what--what...? Did you know _this_, when you and Father first...? MRS. YORK [_Hardly able to speak_] No! JANET [_Incredulously_] You didn’t know _either_, when you were married? MRS. YORK [_Emphatically_] A good girl shouldn’t. JANET [_Vehemently_] A good girl! Then I wish I weren’t a good girl! YORK Janet! JANET [_Persistently_] Mother. Didn’t you even feel for father as I did to-night when Carter...? MRS. YORK [_Horrified throughout_] No. No. I loved your father. YORK And don’t you love Carter? JANET [_Incredulously_] Is that love? MRS. YORK It’s part of love. JANET [_Introspectively_] Then--don’t I love Carter? YORK [_Trying to quiet her_] Of course, you do. JANET [_Speaking as though overcome with a new revelation_] I don’t. I don’t. How could I love him if I couldn’t let--? Oh!--If you, mother, loved father and ... and yet _I_ couldn’t.... YORK Janet, you’re all nerves. Are you different from other girls? JANET [_Gazing before her_] I don’t know. I can’t understand myself--[_Impulsively_] Mother, mother; I hated him! MRS. YORK Janet! JANET [_Shuddering in recollection_] Yes--yes. His face changed ... his eyes ... oh!... And then he--he was sorry. There were tears in his eyes. But I was frightened and ... oh, I thought I belonged to myself. YORK [_Kindly_] You belong to Carter, and he’s coming here for you. JANET [_Startled_] Coming here? MRS. YORK Yes. He ’phoned. JANET I thought I was safe here in my home. YORK Your home is with him now. You’re his wife, Janet. And you promised him.... JANET [_Indignantly_] How could I promise something I didn’t know about? But you knew what I was promising and you didn’t tell me. You didn’t tell me! How could you do such a thing? It was a _crime_! MRS. YORK [_Deeply wounded_] A crime? YORK Janet, you’re talking to your mother. JANET My mother; yes; my dear little mother whom I trusted so. MRS. YORK You’re breaking my heart. I did everything in the world for you. JANET [_With great reproach_] Except tell me the one thing I should have known! MRS. YORK Janet! JANET And now I understand the strange look you gave me, mother, when you said good-by. You knew you should have told me. [MRS. YORK _lowers her head. The outer door downstairs is heard opening and then closing_] YORK There’s Carter. JANET I won’t see him now. YORK Now, Janet: don’t be a foolish girl. JANET [_With a certain calm_] I’m going to my own room. YORK You must listen to reason. JANET I don’t know what you mean by reason. YORK [_Taking hold of her arms_] Janet, was he...? JANET Let me go, father. YORK [_Forcefully_] Answer me. Was Carter unkind or bru...? JANET How should I know? He tried to kiss me--differently. And he didn’t tell me before.... I won’t see him. I won’t. I won’t. MRS. YORK Janet! Janet! [JANET _goes into her room slamming the door_. MRS. YORK _holds her hands out after her_. YORK _seems thoroughly aroused to anger_] MRS. YORK [_Turning helplessly to her husband_] You don’t think it was because...? YORK [_Determined_] That’s what I mean to find out. Go to her. MRS. YORK And she called me a criminal! [MRS. YORK _almost timidly goes into the room, closing the door_. CARTER _is heard coming up the stairs_. YORK _turns and waits with suppressed excitement_. _After a moment_ CARTER MERWIN _enters. There is a look of anxiety upon his strongly modeled face. In appearance he is immediately ingratiating since his whole manner suggests great sincerity of character. He is in his early thirties._ _He stands there looking at_ YORK _and throughout the following seems deeply moved with pity for_ JANET. _They speak with subdued intensity, never raising their voice for fear the others will hear_] CARTER Janet’s here? YORK Yes. With her mother. CARTER [_Relieved_] I’m glad. [_He starts towards door_] Poor little girl. YORK [_Stopping him_] Where are you going? CARTER To tell her not to worry. YORK You can’t see her now. CARTER Why do you stop me? YORK She’s my daughter and-- CARTER [_Quietly_] My wife. YORK [_Halted somewhat by his tone_] What kind of a man are you? CARTER What do you mean? YORK You know what I mean. CARTER I don’t understand. YORK She’s come here seeking my protection. CARTER Protection? Her greatest protection would have been a little knowledge. YORK [_Controlling himself with difficulty_] We kept for you a girl’s greatest gift to her husband: her innocence. CARTER She brought me only ignorance. YORK I tell you, you shan’t go to her now. CARTER But she must see how I care for her. She mustn’t think I don’t understand. She must let me help her--be kind to her. You don’t think I have come to take her away unwillingly? YORK Then why are you here? CARTER Because I don’t want her to be afraid. YORK Damn you! CARTER Mr. York! YORK Why did you frighten her? CARTER _I_ didn’t frighten her. YORK What did? CARTER A fact. The commonest fact in life. YORK Which a man who knows life should have learned how to tell a.... CARTER Most men don’t have to tell women. Twice you’ve insinuated.... YORK She left you; didn’t she? CARTER Yes. She said nothing. She cried and she struck me. YORK [_Astonished_] Struck you? CARTER Yes. YORK [_Coming closer to him_] Then you _did_ give her cause? CARTER I came to her with a man’s love. YORK And acted like a-- CARTER Say it. YORK Like a brute! CARTER [_He rushes at him, clutching his arms, but trying to control himself_] Mr. York! I love her. Do you hear? I love her. YORK But forgot what kind of a girl she was. CARTER [_Hardly believing_] What are you saying? YORK Isn’t it the truth? CARTER [_Still holding him and speaking tensely_] Do you think because the language men have to use is the same to all women, that the feeling back of it can’t be different? Don’t you know I felt differently? I tell you I love her. No, no, it wasn’t as you think. I was kind. I understood she had never ... I understood. But I thought she knew what marriage was; thought she was happy coming to me; thought she was willingly coming to me. But she made me feel as though I weren’t her husband. I was only a thief in her room. Not the man she loved; but a criminal! YORK [_Staring at him_] A criminal! You, _too_! CARTER Yes. And don’t _you_ feel like a criminal? Didn’t you give her to me? YORK [_With indignant sarcasm_] I thought I gave her to a man of honor. CARTER Yet you never asked me one question. I never thought of it myself till she struck me. Then the crime we had done her stunned me--before I could talk to her. I didn’t blame her. I blamed myself and you: for you gave her to me, as the service says; but you didn’t tell her a single thing about what was to happen. And I took her from your hands--I who had talked of everything our life was to hold together--everything but _that_. YORK Carter! CARTER We’ve made the fact of marriage seem horrible. Oh, I’m ashamed to my soul of my part in this crime. YORK How dare you speak like this! CARTER But isn’t it the truth? Did you or I do anything to make her see the beauty of this? Did you or I tell her the simplest fact? Did you or I do anything else to protect her? YORK Do you realize-- CARTER Oh, if you’d seen the look in her eyes--the helpless shocked expression. Instead of the man’s pure love _I_ brought her, she might have had to face anything, anything. Think of it: _anything_! Good God! It’s terrible. She was helpless and she knew nothing--nothing. [_Going to him_] But you and I knew: you knew life, knew men. Yet neither you nor the minister ever asked me one question. You never asked me what was also her right to know before she came to me. You never asked me what my life had been or whether I was _fit_ to be her husband. [YORK _tries to protest_] Oh, you must listen to me; for you stand there judging me and forgetting what you, her father, had done to her. I’m ashamed of myself and so should you be. You asked me about my bank-account but you never asked me about my body. YORK [_Fundamentally offended_] Do you think I would have insulted you with such a question? CARTER But you were willing to take a chance on your daughter. YORK No man who wasn’t decent would have married a sweet pure girl like Janet. CARTER Wouldn’t he? I know hundreds!! [_As they stand there tense, facing each other, the door opens; they turn toward it. There is a pause and_ MRS. YORK, _almost a changed woman, slowly comes into the room_. _She closes the door. No word is spoken_. CARTER _stands there looking at her in question. Her eyes are on the ground_. YORK _moves as one dazed to the deep chair and later sinks into it, staring fixedly before him_] CARTER [_Very quietly_] She knows I am here? MRS. YORK Yes. CARTER She’ll see me? MRS. YORK She sent me away. CARTER [_Understanding_] She wants to be alone. MRS. YORK Yes. CARTER [_After some hesitation he goes slowly to_ JANET’S _door and knocks, speaking with ill-controlled emotion_] Janet! Janet! It’s Carter. I shan’t see you till you wish me. But don’t be afraid, little girl. Don’t be afraid any more. We’ll go away together and everything will be as you wish, everything as you wish-- [_He waits but there is no answer. He sits upon the sofa unable to speak_] MRS. YORK [_She crosses to him, placing her hand on his shoulder_] Don’t, Carter. CARTER [_With deep conviction_] It can never be the same. MRS. YORK In time. CARTER No. She’ll never forget the shock--that first shock. MRS. YORK Women do. CARTER How could they? MRS. YORK She loves you. She broke down and cried. She sees now it wasn’t your fault. CARTER But it was. MRS. YORK [_As she sits down slowly on the sofa beside him_] I never knew there could be girls like Janet. CARTER She must see there are other things in marriage than this. She must. [_He knocks at the door again_] Janet! Janet! Let me be your friend! I’ll protect you. It’s my right now. I love you, little girl. I’ll wait till--[_But there is no answer. He sits down again, murmuring_] It could all have been spared if one of us had had a little courage. MRS. YORK [_Staring before her_] Yes; it takes courage. CARTER Why should it? MRS. YORK She knows now. CARTER And it all could have been so simple. YORK [_Still staring guiltily before him_] Criminals! [MRS. YORK _looks slowly at him, but_ CARTER’S _eyes lift to the door, hoping it will open again. There is a long silence. Then the curtain slowly closes them from view_] Transcriber’s Note: - Text that was in italics is enclosed in underscores (_italics_). - Text that was in small caps is in all caps (SMALL CAPS). - Inconsistencies in hyphenation have been standardized. *** END OF THE PROJECT GUTENBERG EBOOK CRIMINALS *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG™ LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg electronic works 1.A. By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg™ License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg Project Gutenberg is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate. While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg electronic works Professor Michael S. Hart was the originator of the Project Gutenberg concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg eBooks with only a loose network of volunteer support. Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.