looking for information about the kidnapping. Beamis is suspicious of Cartwright, who looks familiar to him. Since the Girl is gone, Emily claims the baby is hers, which causes amusement to Beamis, on account of her age and unmarried state. The troopers depart, and soon neighbors start dropping in to try and see if the rumors about Emily's baby are true. Mrs. Canby comes calling to borrow corn starch, but really to snoop. May eventually pushes her out, but not before she sees a baby bottle. George, tuning in another police radio call, hears the body of a young woman who was beaten to death has been found on the Post Road. By now, Emily, George, and May realize they are captive in their own home. Emily outwits the kidnappers by hiding the real baby in the washbasket with the dirty laundry with a note for the police. Jeeby takes the basket away, while Emily and May fool the kidnappers by using their own decoy baby doll to make them think its still in its room. The police arrive and arrest the crooks, and the real baby is restored to its parents. Original production Background Husband and wife Steele and Mitchell had collaborated on two plays in 1934, Any Woman and Post Road. The former, a marital farce on divorce, was given a week-long tryout at the Castle Theatre on the Boardwalk at Long Beach, New York during August 1934, but doesn't appear to have subsequently been produced for Broadway. During late October 1934, H. C. Potter and George Haight announced that Post Road would be their first production of the season, and that casting was in progress. The New York Daily News said that Lucile Watson would likely star. Rehearsals began November 7, 1934, using a setting created by Raymond Sovey. The costumes were designed and made by Mary Merrill. Further members of the cast were identified on November 14, 1934, as Edward Fielding, Percy Kilbride, Romaine Callender, Edna Holland, Henry Norell, Wendy Atkin, Virginia Tracy, and Caroline Newcombe. Cast Premiere Potter and Haight were evidently confident about their production, for the play premiered at the Theatre Masque on December 4, 1934, without previews or tryouts. Reception Edgar Price in the Brooklyn Citizen was almost gushing in his praise of Lucille Watson. Rowland Field in the Times-Union spread his praise over all the principal players as well as the