“I was as much surprised as I was delighted,” said Belasco, “by the popular success of ‘The Case of Becky,’--which was entirely unexpected.” His delight was considerably moderated by the prompt appearance of a couple of discontented playwrighting amateurs, alleging plagiarism. Their names were Amelia Bachman and George L. McKay; they asserted that “The Case of Becky” was taken from a drama which they had written, called “Etelle”; their suit was brought in June, 1912; it was tried, May 13 and 14, 1913, before Judge Julius M. Mayer, in the United States Circuit Court, and it was decided against them, “upon the merits,” on July 9. That decision was appealed, the appeal was argued before the United States Circuit Court of Appeals, April 6, 1914, and decision in favor of Belasco was affirmed. In rendering the original decision Judge Mayer said: “...The writing of the play by Mr. Locke was the natural outcome of his interest in themes dealing with hypnotic influence and multiple personality, and when he was attracted by ‘How One Girl Lived Four Lives,’ by John Corbin, and [by] Dr. Prince’s book, he was at work on ‘The Climax,’ a play in which hypnotism or mental suggestion is the predominant feature. “I am also satisfied, beyond any doubt, that Mr. Belasco never saw, read or heard of ‘Etelle’ prior to his acceptance of Locke’s play and Miss Bachman testified that her play had its foundation in the idea suggested by John Corbin’s article. That being so, and the facts found by me being as stated, it follows that complainants have no case. ‘The Case of Becky’ is, in substantial respects, different from ‘Etelle.’... It is to be expected that two playwrights, working independently from a common source, may develop similarities in their plots, but ‘The Case of Becky’ displays the skill of the experienced playwright in a number of important particulars and details not found in ‘Etelle.’” “A GOOD LITTLE DEVIL.” “_Children of an idle brain,_ _Begot of nothing but vain fantasy._”