A MELODRAMA OF THE SOCIAL EVIL in Six Acts and Nineteen Scenes BY gmpcroit CHARLES K. HELD Author of "The Man in the Forest," "The Owl and Care," "The Cave Man," Etc., Etc.. Etc, AND PORTER GARNETT Author of "Mazuma, or Bored by the Board" ; "The Conquest c* the Philistines" ; ''The Triumph of Love." a Pantomime; "The Green Knight," a Vision; Etc., Etc., Etc. San THE BOHEMIAN CLUB 1914 vg. ACT III, Scene 3. EXTER MME. NECESSITY. "So this is Bohemia? Well, well, well, well, well!" A MELODRAMA OF THE SOCIAL EVIL In Six Acts and Nineteen Scenes BY CHARLES K. HELD Author of "The Man in the Forest," "The Owl and Care," "The Cave Man," Etc., Etc.. Etc. AND PORTER GARNETT Author of "Mazum'a, or Bored by the Board"; "The Conquest of the Philistines"; ''The Triumph of Love," a Pantomime; "The Green Knight," a Vis4on; Etc., Etc.. Etc. THE BOHEMIAN CLUB 1914 This play has been copyrighted under the laws of the Ununited States of Bohemia. All acting rights, both professional and amateur, are reserved in the Ununited States of Bohemia, the United States of America, Great Britain, Massachusetts, and all other civilized and semi-civilized countries, and in Los Angeles. Performances forbidden and right of rep- resentation reserved. Piracy and infringement will be prosecuted in accordance with penalties provided by the Bohemian Statutes: Sec. 4966, Bohemian Revised Stat- utes, Title 60, Chap. 3. Permission to perform this play must be obtained from St. John of Nepomuk. Persons desiring to read this play professionally in public, in saloons, cafes, restaurants, dives, schools or colleges, hotels, or on the street corners, must first apply to the Chairman of the Committee of Publicity and Promotion of the Owl Theatre Company, Ltd. The Peangelus and phonograph rights are the . ex- clusive property of the Maginnity Penny Arcade and Novelty Company of New Zealand. The Motion Picture privileges have been acquired by the Associated Villainies. All rights reserved, including that of translation into foreign languaees, including the Scandinavian and English. Bancroft Library TO OF THE REAL BOHEMIA WHOSE PATHETIC HISTORY IS HERE FEEBLY RECORDED THIS PLAY IS TENDERLY DEDICATED The management of the Owl Theatre takes this opportunity to express its gratitude to Mr. Frank L. Mathieu for his able direction of the performance, to Mr. W. H. Smith, Jr. for his indispensable assistance in the management of the stage and for his distin- guished services as a member of the cast, to Messrs. Frank Maroney, George Bell, Clarence Ward, Charles Trowbridge, Richard M. Hotaling, Ralph L. Phelps, Frank P. Deering, Bernard Miller, Harris Allen, A. G. Heunisch, Austin Sperry, Oscar Frank, Herbert Schmidt, Robert Bentley, Mark Daniels, Charles Dillon, Leroy Ryone, Amedee Joullin, and Charles J. Dickman for admirably sustaining their various roles, to Messrs. Harry L. Fonda, J. J. Mora, and W. A. Bryant for preparing the superb scenic investiture of the production, to Messrs. Edward J. and Vincent DufTey for devising- and operating the magnificent light effects, to Mr. G. Saldierna for ar- ranging and conducting the glorious music, to Mr. Harry P. Carlton for taking charge of the multifar- ious properties, to Mr. John de P. Teller for direct- ing the grand choruses, and to Messrs. Fred Hart, William Nodder, David Matheson, Thomas Powell, Andrew Tersck, and Henry Delves for managing the multiform mechanics of the stage and without whose efficient services the efforts of all the others, includ- ing the authors, would have been in vain. iv. Note. ESPONSIBILITY for the plot of this play rests with Mr. Field; the text is Mr. Garnett's. Each, however, has of course made suggestions as to the work of the other. The fact that every character and every incident in this remarkable drama is taken from actual life should invest it with peculiar interest for those who are familiar with the social history of San Francisco. Only such alterations have been made as were rendered necessary by the exigencies of dramatic structure. "The Lure of the Traffic" was performed for the first time in the famous Owl Theatre on the night of January 3, 1914. It was received with the greatest enthusiasm by a large and unrepresentative audience. Many of the city's wealthiest and least intelligent citizens were among those present. The following thoughtful criticism, which appeared in one of the leading newspapers the next morning, bears witness to the profound impression which the great moral lesson of this vivid and sensational uplift drama made upon the public mind and conscience: This horrid but necessary play mu.*>t have come to those Bohemians who witnessed the first produc- tion with an appeal as powerful as it must have been unwelcome. The course of the drama runs inexorably down the ominous history of Bohemia from its start in the simple, care-free home by the Sacramento river, through the slightly elaborated life on Pine street, through the complicated changes at Post and Grant avenue, through the artificial simplicity amid the ruins at Post and Leavenworth, into the ornate luxury of Post and Taylor. Every- where through the scenes of the play, like the winding slime which marks the serpent's trail, glistens malevolently the track of that intruder who plots to cast out Music, Art, Letters and the Drama and to substitute for them the essentially modern device of the motion picture. Not even the thrilling denouement which discloses the whole thing as a gregarious [sic] blunder, serves to wholly or in part rem-ove the depression created for the thoughtful witness by "The Lure of the Traffic." None should miss it though many are sure to. At a time when the uses and abuses of white slavery are being made the subject of so many ser- mons, novels, and plays, it is inevitable that this drama by Messrs. Field and Garnett should be com- pared with such moralistic works as ''Tiger," by Witter Bynner; "The Chaser and the Chaste, or Why Don't Girls Go Wrong," by C. Beach; "The Necessary Evil," by Charles Rann Kennedy; "Manners and Customs of College Cadets at the Beginning of the Twentieth Century," by Una Versity; and "The Inside of the Coop," by Winston 1 Churchill. It seems hardly necessary to state, however, that "The Lure of vi. the Traffic," by reason of its high seriousness, its literary charm, and its scrupulous adherence to truth, is at once the most pertinent and the most dis- tinguished contribution that has yet been made to a subject in which every healthy person should be more or less interested. Let this great maxim be my virtue's guide; In part she is to blame that has been tried He comes too near that comes to be denied. LADY MARY WORTLEY MONTAGU, The Lady's Resolve. BOHEMIA, a charming, innocent girl, devoted to Music, Art, Letters and the Drama, a little thoughtless and self-willed, but with true instincts in the midst of constant peril. SAM Sisco, her father, ivho is proud of his daughter as far as he\ understands her nature. CALLIE, his ivife, mother of Bohemia, still shoiving traces of early beauty and greatly interested in the activities of the Ladies' Improvement Club of the village. PHILIP GOODFELLOW, a simple rustic, but one of Nature's noblemen and accepted sweetheart of Bohemia. WYNOTT OTHURS, a successful business man from, the city whose ethical slogan is "All the traffic will bear.' 1 MME. NECESSITY, a procuress, proprietress of a notorious Motion Picture establishment, or house of shame. LORELEY MONTRIO, a fascinating rag, afterward a street-walker. GROVER, a wood-cutter. MUSET, \ LETTY / com P anions f Bohemia. DRAM M AH, TOM, \ DICK, friends of Wynott Othurs. HARRY, j GENTLEMAN FRANK, president of the Doorkeepers' Union. BILLY, a doorkeeper. MATTHEW, another doorkeeper. OFFICER TOOLE, a fly cop. JUDGE SMITH, a Justice of the Peace. MONSIEUR JAY, an art instructor. A RESPECTABLE CITIZEN. A FIREMAN. MEMBERS of the DOORKEEPERS' UNION, Creatures of the Night Life, Choir boys. Art students, and all the other flotsam and jetsam that goes to make a world of which the average poor girl knows next to nothing. ishe fjjJ2?affi& it L SCENE 1. Sitting room of the Sisco home on the old farm by the Sacramento. The furnishings are simple. There is a table near center, covered with a red and white cloth. On the table are an oil lamp, a water pitcher and glass, a work basket and some books and magazines. A few chairs are arranged around the room. In one corner stands a parlor organ, in the other a book-case full of books. There are doors at left and right and a door and window at the back. Through the latter, which is open, a rural vista may be seen in bright sun- light. There are many paintings on the walls; they are bright in color and amateurish in manner. A variegated piece of crewel work is prominently displayed. It bears the motto "BOHEMIA'S HOME IS HERE." CALLIE is dis- covered sitting in a rocking-chair near the table, rocking and knitting. She wears the simple dress of a farmer's wife, with ivhite apron and cap. Her hair is grey and she wears spectacles. After THE LURE OF THE TRAFFIC the curtain rises there is silence for an appreci- able time for the purpose of suggesting an atmosphere of peace. SAM Sisco appears at the window and looks in. He wears a large straw hat, a checked cotton shirt and overalls with straps over the shoulders. He carries a hoe. SAM (Wiping his brow ivith a bandana} You look cool in thar, Callie. CALLIE My! Samuel, how you startled me! You made me drap a stitch. [SAM Sisco laughs and leaving window, comes in through door at back. He leans the hoe against the outside of the house. SAM (Continuing to mop brow) It's powerful hot down in the field, Callie. I'm all het up. Seems as though ther wuz always a heep o' work ter be did 'round this 'ere farm, though I 'low faint so bad as t'wuz fore we begun t' irrigate. Si Spink told me as how he believes thet in a year from now land right 'round here'll fetch twelve or fourteen dollars an acre. [Sits down and pours drink of water from pitcher on table. CALLIE Gracious me, Samuel! D' you s'pose thet's a fact? Why, if 'tis, we might sell a ten-acre piece an' go THE LURE OP THE TRAFFIC down city for a year an' give little Bohemia a edgication. Ever since I heerd Mrs. Cultington talk before the Ladies' Improvement Club 'pon Speeritual Emancipation Through Art, I been dreamin' thet some day we might be able t' give thet child th' opportunities she's entitled ter. Why, Samuel, when I seen her a-drarin' out them pi'chers specially th' one over thar of the heifer standin' by th' hay-rick an' when I hear her a-playin' of "The Maiden's Prayer" on th' autoharp or th' organ, an' when she read me her composition on Th' Old Mill, it makes me think that mebbe she's one o' them wonderful geniuses thet don't hev t' work, an' I sez t' myself, "If only Samuel an' me could tek her down city an' git somebody for t' learn her how t' mek beautiful pi'chers like th' man in th' booth at th' county fair, an' t' play th' pianny an' mebbe t' write a book like E. P. Roe!" Don't you think, Samuel, we could do it for th' child somehow? SAM 'Pears t' me as how you're right, Callie. Bohemia oughter have a chance to mek something of herself. But I don't know as how th' city's a good place for a young gal. Not that Bohemia's liable to stray from th' path o' virtue, but they do say as how young gals is stolen in the city every day an' me4 to live a life o' shame. Thar's a hul army o' villians a-lyin' in wait fer pure innocent gals like our Bohemia. I've THE LURE OF THE TRAFFIC heard how they call the members of th' army cadets sorter soldiers o' fortune, I reckon. They're on th' streets an' in th' hotels an' shops an' th' clubs is plum full of 'em. CALLIE Yes, Samuel, I do hear of them things thet go on down city. But Mrs. Carrie Waite who spoke before th' Uplift Circle of the Ladies' Improvement Club last week sez thet the women f ol k of the city has organized a crusade agin vice and is agoin' t' reform all the cadets an' make 'em over inter law-abidin' n' God-fearin' citizens. She sez thet this awful traffic in the maidenhood of America must stop! I believe, Samuel, thet since th' women folk has took hold of public morals there aint no danger of anything happenin' to Bohemia. She oughter see th' world an' hev a chance to improve herself, an' then she could come back here an' marry Philip. SAM Yes, Callie, Philip J d mek a good husband for our gal, and thar aint no mistake 'bout their lovin' one nother. It wuz his idee to git up this 'ere moonlight picnic tonight down in the little grove 'long side th' irrigatin' ditch fer to celibrate her birthday. Sixteen years, Callie! ^Why it don't seem no time since you wuz washin' Bohemia's didies. (Knock on door) Come in . THE LURE OF THE TRAFFIC Enter PHILIP GOODFELLOW. [He has a ruddy, boyish face and crisp, curly blonde hair. He wears a blue flannel shirt, open very wide at the neck, and trousers tucked into high boots. His manner is a combination of youthful embarrassment and manliness. As he enters he plucks his hat from his head and fumbles with it as he grins and boivs jerkily several times. PHIL. How 'do folks. SAM Hello, Philip, come in. We were jest a-talkin' about yer. CALLIE How do you do, Philip, we're very glad to see you. Won't you sit down? PHIL. Thank you. Thank you, mum. I just came in to ... to ... is ... is ... is Bohemia at ... at home? CALLIE No, Philip, but we be expectin' of her any minit. 'Pears to me as how y're powerful interested in our little gal these days, Philip. (Laughs tauntingly but good naturedly.) THE LURE OF THE TRAFFIC PHIL. Why . . . why ... I .... I ... we ... SAM (Rising and putting his hand on PHILIP'S shoulder) Never mind, my boy, some day some day perhaps you will be our son. [PHILIP stiffens his shoulders with a proud gaze upward. SAM Sisco raises his hand aloft, speaking solemnly. If God is to give to our little Bohemia the happiness of a good, a true, a noble husband, we can wish for none better, for none more worthy, for none of whom we will be more proud than Philip Goodfellow. [SAM Sisco proffers his hand which PHILIP grasps with ooth of his, striking attitude. The two men look into one another's eyes. CALLIE (Fervently as she rises with clasped hands) Oh, Samuel! (To PHILIP placing her hands on his shoulders and resting her head upon his expanded rliest) Oh, Philip! [PHILIP, who has released SAM Sisco's hand, stands erect with one arm around CALLIE and the other held stiffly by his side in soldierly fashion. Again the proud upward look. 6 THE LURE OF THE TRAFFIC SAM Tell us about the picnic, Philip. And what's the news ? PHIL. There is some news. There's a private car side- tracked down at the station. It belongs to a man from the city who has come here, so they say, for the purpose of investing in land. SAM Huh? What's that? Why Gallic an' me wuz jest talkin' about land. I wuz a-tellin' her thet I'd be willin' to sell th' farm fer fifty dollars an acre an' go down city fer to give Bohemia an' edgication in paintin' an' music an' sich. PHIL. (With alarm) Bohemia going? [BOHEMIA heard singing without: "Weaving Spiders Come Not Here" etc. SAM Bohemia's comin'. Do you get me? Bohemia's goin' an' Bohemia's comin'. (Laughs.) PHIL. Yes, I get Bohemia coming and going. SAM Good. Shshsh! Not a word! (They shake hands.) Enter BOHEMIA. [She wears a gingham frock and sunbonnet, THE LURE OF THE TRAFFIC and carries a bundle of books on the end of a long strap. She bursts joyously through the door and skips gaily across the room to kiss CALLIE. She tosses her books to one side as she runs. After embracing CALLIE she takes her two hands and stretches them wide apart, drawing them together again playfully. BOHEMIA Oh, mother, I'm so happy! [Suddenly seeing PHILIP, she puts her hands on each skirt of her sunbonnet and, pressing them against her face, blushes furiously. (Shyly) How do you do? [She takes off sunbonnet and picking up books deposits them on chair in corner. SAM Sisco observing BOHEMIA'S embar- rassment looks knowingly at PHILIP. CALLIE What is it, my lamb! What is it that makes my lamb so happy today? BOHEMIA Oh, mother, I know my birthday picnic in the little grove is going to be perfectly wonderful! Muset, Artie, Letty and Drammah have got a surprise for me. (Clasps her hands and jumps up and down) Oh, I'm so happy. All the girls are going to be here in a THE LURE OF THE TRAFFIC minute to help to make sandwiches. Won't it be fun? PHIL. (In easy attitude with head on one side and in deep rich tones) May I help too, Bohemia? BOHEMIA Why, yes, Phil, if you wish to. PHIL. I always wish to help you, Bohemia. [Bound of laughter without. BOHEMIA Here come the girls now. [BOHEMIA runs to door and throws it open. Standing just outside the door she jumps up and down and waves her hand to those who approach. Enter, skipping, MUSET, ARTIE and LETTY, and after them, but more sedately, DRAMMAH. [BOHEMIA goes from one to another and kisses each. There is a general chatter- ing of "Howdy do, howdy do." SAM Sisco throws up his hands at the hubbub and retires to one side of the room. PHILIP also moves aside. MUSET, im- mediately after kissing BOHEMIA, runs to organ and begins to play. ARTIE makes a caricature of SAM Sisco. LETTY sits down in front of bookcase and begins THE LURE OF THE TRAFFIC pulling down and examining books. DRAM M AH greets CALLIE, SAM Sisco, and PHILIP with extravagant theatricalism. DRAM M AH Ah, dear Bohemia's mother, dear to all her com- pany-yons, and most dear to muh. (Aside) I wonder does she wot the business of the night. (To SAM Sisco) Good morrow, sir, this is inverideed felicity. Ah, Philip, 'tis long since last we met. I greet you. ( Courtesies ) . [DRAMMAH and PHILIP converse. She stands very close to him and coquettishly plays with his hair. BOHEMIA observes this and is seen to bite her lips and clench her hands in rage. MUSET (From the organ) Oh, girls, let's have a song. BOHEMIA Oh yes. Do, do! [SAM Sisco throws up his hands and goes out. ARTIE, LETTY, DRAMMAH and BOHEMIA standing round MUSET at the organ sing "Jingle Bells" CALLIE Now, girls, remember thet there's work ter be done. Come inter th' kitchen with me an' we'll mek th' sandwiches. [Cries from the girls of "All right, all right. 10 THE LURE OP THE TRAFFIC Come on, come on," etc. CALLIE goes out left, followed by the girls crowding through the door noisily. BOHEMIA starts after them. The door is closed before she reaches it, shutting out the noise. Silence for an appreciable period. PHIL. (Leaning over back of chair at table) Heemie. BOHEMIA (Proudly) Yes? PHIL. Won't you stay here a little while? I have some- thing 1 to say to you. BOHEMfA Oh, indeed? And may I ask what it is? PHIL. Sit down here, Heemie, and let me tell you. [BOHEMIA goes to chair and sits down stiffly with her hands in her lap. She 'frowns and taps her foot with evident irritation. Heemie. This is your birthday. You are happy today. (Coming round in front of BOHEMIA) Won't you make me happy too? I love you, Heemie. (PHILIP makes to take BOHEMIA'S hand but she flings his hand from her. PHILIP recoils.) Why, Heemie, dear, I don't understand. ( Throwing himself on his knees before her.) Listen, sweetheart! You must listen to me! I love you! 11 THE LURE OF THE TRAFFIC BOHEMIA (Rising) Stop! How dare you speak of love to muh? You who but a moment ago, in this very room, before my very eyes, showed only too plainly that you love another! PHIL. But, Heemie, I ... I ... you know . . .you must know! . . . BOHEMIA Not another word! I know you now, Philip Good- fellow, for what you really are. You have trifled with my innocent affections. (She sobs) You have broken my heart! [BOHEMIA walks up and down stage front wringing her hands above her head and placing the backs of them upon her upturned brow. Ah, God! Is there no one who I can trust I mean, whom I can trust? Ah, God! God! God! [PHILIP approaches BOHEMIA and tries to take her in his arms. BOHEMIA (With what is almost a screech) Don't touch me! I hate you! I hate you! I hate you! (Pointing to door) Go! (Stamps her foot) Go, I say! PHIL. (Coldly) Very well. I will go. (Picking up hat 12 THE LURE OF THE TRAFFIC and going to door) I go, and I shall not return. (Putting on his hat) Farewell. [.Goes out slamming door behind him. [BOHEMIA stands staring at the door. Her clenched hand trembles at her mouth. There is a wild look in her eyes. BOHEMIA Oh, what have I done! What have I DONE! [She turns around three times with her eyes closed and falls in a swoon. SCENE 2. The truck garden of the Sisco home. A low fence runs across the stage at back. BOHEMIA is dis- covered picking lettuce. She has a basket beside her. Her eyes are red with weeping. Enter WYNOTT OTHURS. He has a black mustache and dark circles under his eyes. He wears a Norfolk jacket, knickerbockers and puttee leggings, a white stock, heavy light- colored gloves with the skirts turned back and a velvet hat on the side of which is a small red feather. He carries a very thin flexible cane and 13 THE LURE OF THE TRAFFIC smokes a cigarette in a long amber holder. OTHURS sees BOHEMIA, ivJiose back is turned toward him. He pauses, emits a puff of smoke and nods wisely, then, approaching the fence, he leans gracefully upon it and coughs, at the same time taking a handkerchief from his cuff and touching his lips lightly with it. As BOHEMIA turns ivithout rising OTHURS lifts his hat showing his black hair brushed straight back without a part. OTHURS I beg your pardon, but can you direct me to the residence of Mr. Sam Sisco? BOHEMIA (Rising and straightening her apron} Why, this is it. He is m' father. OTHURS (Tapping flowers with cane} Ah! And may I ask your name? BOHEMIA My name is Bohemia. OTHURS The name is no less charming than its owner. May I come in? I have some business to talk over with your father. [OTHURS vaults the fence lightly. BOHEMIA drops a head of lettuce. OTHURS picks it 14 THE LURE OF THE TRAFFIC up and dropping on one knee hands it to her with his head uncovered. As he rises BOHEMIA plays with the head of lettuce and casts shy side-long glances at OTHURS. Pardon me if I presume on such a slight acquaintance to remark that the serenity of your countenance is disturbed as if by some trouble some sorrow per- chance which you are bravely trying to conceal. Surely I have found beauty, but beauty in distress. I wish that I might say the word that would lift this burden from your heart. You are too young to be unhappy. (Aside, showing teeth) The Movie House for her. It must be so! BOHEMIA Alas, kind sir, what you suspect is but too true. One whom I thought a paragon among men has cruelly deceived me, and at this moment I am the most miserable girl in the world! (She weeps). OTHURS Ah, dry those tears, Bohemia. Can you not trust me? Do so and all will yet be well. BOHEMIA (Drying her eyes with hem of apron) Thank you, sir, for' those kind words. I am only a poor country girl, untutored in the ways of the world, but some- thing tells me something here tells me that you are good and noble. 15 THE LURE OP THE TRAFFIC OTHURS (With deprecating gesture) You flatter me. Thai which you call goodness and nobility consists of not forgetting that one is a gentleman. I never forget that, and I never shall. My mother taught me to be honest and upright and I have always remembered the lesson I learned at her knee. [BOHEMIA looks at OTHURS rapturously. Enter SAM Sisco. BOHEMIA Oh, father, here's a gentleman to see you on busi- ness. Mr. ... by the way, you haven't told me your name. OTHURS My name is Othurs, Wynott Othurs, at your service. BOHEMIA Mr. Othurs, this is m' father. SAM I'm proud ter meet yer. OTHURS I am here, Mr. Sisco, for the purpose of buying land. This farm of yours has attracted me and I should like to acquire it. SAM Come right inter th' house, mister, an' let's talk business. [SAM Sisco and OTHURS enter the house. As 16 THE LURE OF THE TRAFFIC he exits OTHUBS lifts His hat with a splendid gesture and smiles at BOHEMIA, who smiles l)ack, coyly twisting the strings of her apron. When she is alone she picks up a cabbage and begins pluck- ing the leaves from it, saying as she does so, "He loves me, he loves me not" etc. Finally she tears the cabbage in handfuls and with a last hysterical "HE LOVES ME!" she flings the remainder of it in the air and falls on her knees with clasped hands. BOHEMIA (Wildly happy) Thank God! Thank God! SCENE 3. In the woods. At one side there is a log lying on the ground. The song of birds is heard. Enter PHILIP GOODFELLOW. He walks slowly and dejectedly to the log and sits down upon it listlessly, his hands hanging limply over his knees. He nods his head contemplatively as he speaks. 17 THE LURE OF THE TRAFFIC PHIL. There's nothing left for me to do but to die. [He buries his face in his hands and sobs convulsively. O, Heemie, Heemie, I cannot live without you. [He continues to weep for a while, then put- ting his hand in the breast of his shirt he draws forth a tintype in a slip-case of pink paper. He holds it in front of him with one hand and with the other wipes his eyes with a blue and white polka-dot handkerchief. You made me love you. ... I didn't want to do it. .... You made me want you . . . And all the time you knew it. ... You made me happy. . . . Some- times you made me sad . . . And now, Bohemia, you've made me feel so bad. (He weeps.) [This speech is delivered with an entire absence of rhythm and is accompanied by an interrupted violin obligato in the orchestra. (With sudden resolution) But why should I care? (Standing up quickly) I am nothing to her. Hard as it is I must pluck her memory from m' heart. (He makes as if to throw away tintype, but checks himself) But no! It shall never be said that Philip Goodfellow acted the cad. (Looking at picture) Some day you may repent your harsh words, Bohemia. Until that 18 THE LURE OP THE TRAFFIC time comes it is m' duty to watch over you. Some- thing tells me that I should be near your side tonight, but after what has passed between us, how can I join the festal throng? And yet this horrible presenti- ment will not down. Bohemia needs muh. I'll go! I'll GO! [.Runs off. SCENE 4. The sitting room of the Sisco farmhouse. Enter SAM Sisco and WYNOTT OTHURS. SAM Waal, stranger, so you've tuk a shine ter this 'ere farm, eh? OTHURS Yes, Mr. Sisco, so much so that I wish to purchase it. What is your price? SAM Waal, seein' as how land here'bouts is on th' rise, 'pears ter me thet something long 'bout hundred dollars an acre er four thousand dollars fer th' hul forty 'd be 'bout right. 19 THE LURE OP THE TRAFFIC OTHURS (Taking roll of Mils from pocket} I'll give you two thousand and take a mortgage. SAM (Scratching head) Let's see: You tek th' mortgage for the other two thousand? OTHURS Yes. I am perfectly willing to do so. The mortgage can stand as long as you wish and I'll let you off with only ten per cent interest. It isn't strictly business, but there's sentiment in this. I love the country! SAM Gee, whiz! I call thet a pretty good deal. But the old place's wuth it! OTHURS (Counting Mils while SAM Sisco suppresses a con- vulsion} There you are, Mr. Sisco. SAM Much obleeged, stranger, thet suits me. Excuse me while I go an' fetch Callie. OTHURS May I smoke? (Takes out gold cigarette case.} SAM Y'kin spit on th' new carpit if y' hev a mind ter. OTHURS (Lighting cigarette with patent lighter.} Thanks. [SAM goes out, THE LURE OF THE TRAFFIC Ah ha! The old fool's in m' clutches. The first step is already won. Now to persuade him to take his daughter to the city. Once there and the rest will be easy. (Rubs hands and shows teeth) Mother Neces- sity must be notified at once that I have found a recruit for her Movie House. Ah ha, m' little beauty, y' little know the fate in store for you. The Movie House! Ah ha! . . . But here they come. I must dissemble. [Takes position in front of the picture of a heifer; enter SAM Sisco and CALLIE. The latter smoothes her hair and her apron. SAM Callie, shake hands with Mr. Othurs. [CALLIE shakes hands with OTHURS, bobbing as she does so. OTHURS This is a great honor, madame. CALLIE So you've tuk a mortgage on th' farm, eh? Well I'm so flusterated I don't know what ter do. Samuel jest told me as how you'd given him a thousand dol- lars. It's a blessin' to us an' to our little Bohemia. Seems as though Heaven must a' heard my prayers. SAM We're agoin' to tek that thousand dollars (Winks at OTHURS) an' tek our little Bohemia down city whar 21 THE LURE OF THE TRAFFIC she kin git edgicated in art. I seen you lookin' at one of her pi'chers thar, aint it a hum-dinger? OTHURS (Aside) To the city. Ha! Fortune favors us. (To SAM Sisco and CALLIE) It is a charming bit. Your daughter evidently has exceptional talent. (Aside) What luck! Bohemia in a Movie House will make our fortune. (To SAM and CALLIE) I have influential friends among artistic circles in the city. You see I buy a great many pictures. 'Tis m' fahncy to collect such trifles. I will see to it that your daughter has an advantageous introduction. CALLIE I will call her an' tell her the good news. (Going to door and opening it) Bohe-e-eem-ya! Bohe-e-e-eem-ya! Bohe-e-eem-ya! Enter BOHEMIA with basket. BOHEMIA (At door) Here I am, mother. CALLIE Mr. Othurs here has got a mortgage on th' farm. BOHEMIA (With pathos. Dropping basket) The old farm gone! [BOHEMIA walks slowly fonvard with bowed head. SAM Yes, Bohemia, I mortgaged th' farm so you cud go 22 THE LURE OF THE TRAFFIC down city an' larn how ter paint and play the pianny an' write stories an' pomes. BOHEMIA Oh, father, is it really true? SAM . Yes, it's true, an' what's more, Mr. Othurs is a-goin' ter fix it fer you ter git th' best entry inter artistic an' litry sassiety. BOHEMIA (Going to OTHUBS and taking his hand in both of hers, effusively) Oh, Mr. Othurs, how can I ever thank you? OTHURS (Deprecatingly) It is nothing nothing at all. BOHEMIA Oh, but it is, it is! I want to do something for you something to show my appreciation. (With sudden inspiration) Oh, I have it! Come to my picnic. Oh, you must come, you must come! Today is my birth- day and they're going to have a moonlight picnic for me down in the little grove by the irrigation ditch. The girls have got a surprise for me and it's going to be perfectly glorious! OTHURS Nothing would give me greater pleasure. BOHEMIA (Jumping up and down and clapping her hands) Oh, goody, goody, goody! 23 THE LURE OF THE TRAFFIC OTHURS Would it be presuming if I should ask -you to invite some friends of mine. I'm sure you'll like Tom, Dick, and Harry. BOHEMIA Oh, yes, indeed, the more the merrier. [The heads of MUSET, ARTIE, LETTY and DRAMMAH are seen peeping in at the window. Oh, there are the girls now. [The heads disappear. BOHEMIA goes out at door and comes back herding the girls into the room. MUSET, ARTIE and LETTY hang back exhibiting diffidence, DRAM- MAH is bolder than the rest and stepping forward eyes OTHURS smilingly from head to foot. BOHEMIA These are my little school friends, the Humanities, Muset, Artie, Letty and Drammah. We have all the talent of the school right here. [As they are introduced, MUSET, ARTIE and LETTY bob a courtesy. BOHEMIA gives her head a disdainful toss when she introduces DRAMMAH, who steps up to OTHURS and shakes hands with him, their hands on a level with their eyes. 24 THE LURE OP THE TRAFFIC Mr. Othurs is coming to the picnic tonight and he's going to bring some of his friends. MUSET, ARTIE AND LETTY How fine! That'll be jolly. Oh, lovely! DRAM M AH Your promised presence fills muh with delight-ah. BOHEMIA And girls! What do you suppose? Papa has sold the farm to Mr. Othurs and I'm going to the city to study art and music and everything. [Chorus of Oh! Oh! Oh! from the girls. OTHURS (Aside) More chickens to be dressed. (Taking out roll of bills and tapping his hand with it) Well, I can dress 'em. (To CALLIE) Madame, I must take m' leave. Good-by, Mr. Sisco. And to you, ladies, au revoir. I shall see you all tonight. (Goes to door accompanied by BOHEMIA) Till tonight then? BOHEMIA Good-by Mr. . . . Othurs. OTHURS Why not Wynott? BOHEMIA Yes, why not? OTHURS Say it, Bohemia. 25 ACT I, Scene 4. PHILIP TO THE RESCUE. "Thank God, I arrived in time!' THE LURE OP THE TRAFFIC BOHEMIA Wynott, good-by Wynott. [OTHURS goes out. [The girls who have gathered around MUSET at the organ begin to sing. BOHEMIA goes to window and looks out, craning her neck in an effort to follow OTHURS with her eyes. She leans farther and farther out of the window, until it becomes possible for the leader of the orchestra, if he wishes, to see her garters. In her eagerness she finally loses her balance and with a piercing scream falls out of the window with an undecorous display of hosiery, lingerie, etc. CALLIE (With alarm) What has happened, Sam? Bohemia must have let her foot slip. [PHILIP GOODFELLOW suddenly appears at the window and is seen to stoop down and pick BOHEMIA up in his arms. He carries her into the house and laying her on the floor kneels beside her. CALLIE also kneels and chafes BOHEMIA'S hands. SAM Sisco and the girls hover helplessly about. PHIL. Thank God, I arrived in time! 27 THE LURE OF THE TRAFFIC BOHEMIA (Opening her eyes, wonderingly) I ... will . . . be ... yours . . . Wynott . . , tonight . . . Wynott. ( Swoons ) . PHIL. Mine! Tonight! Why not tonight! Ah, Heaven be praised! She loves me! I am forgiven! CURTAIN A. grove, at night. At the back of the scene a hill- side covered with trees. At the foot of the hill there is a slight elevation forming a natural stage. This is screened at the sides with foliage. On one side a rude seat made from a great log. A fire is burning at center. [Enter GROVER followed by PHILIP. They carry firewood which they place on fire. GROVER lights gasoline flambeau hanging on tree. GROVER These damn picnics make me tired! Any one'd suppose the grove was made for picnics. PHIL. Oh, quit your kicking, Grover! You're an old grouch, that's what you are! (He turns on water faucet at left, but no water comes.) Look here, what's the matter with the water? We've spent a lot of money putting in this pipe on your assurance that we'd always have water for our picnics. Now it's up 29 THE LURE OP THE TRAFFIC to you to see that we get it. If this sort of thing keeps up I'll have you fired, understand? GROVER What, no water again? It must have seeped through at the spring. Just wait a minute. I can dig it out. (Goes to one side, picking up shovel and begins to dig viciously.) Hell! (Digs) No water! (digs) Nothing but kick, kick, kick! (digs) Can't seem to satisfy some people! [A muddy stream flows from faucet. PHILIP catches it in a glass. There! There's your water. Now maybe you'll quit kicking for a while. PHIL. Water? Why this is nothing but blue mud. GROVER There you go! There you go! Say, sonny, if you don't like the way I do things, why don't you get somebody else? PHIL. That's the most sensible thing you've said yet. Enter SAM Sisco, CALLIE, BOHEMIA, MUSET, ARTIE, LETTY and DRAMMAH, carrying baskets which they deposit on ground. CALLIE Howdy do, Philip. Howdy do, Mr. Grover. [GROVER grunts. 30 THE LURE OP THE TRAFFIC SAM Howdy, howdy. PHIL. Howdy do. (To BOHEMIA) Good evening. [BOHEMIA tosses head and turns her back on PHILIP. Sound of locomotive whistle and bell, and rattle of car. Enter WY.NOTT OTHUES, TOM, DICK and HARRY. [They carry flowers and candy and are fol- lowed by six servants in livery carrying many elaborate pieces of luggage and a small striped tent which they proceed to erect and deck with electric lights of various colors. OTHURS Ah, there you are! (Presents floivers and candy to BOHEMIA) Permit me to introduce my friends. Miss Sisco, this is Mr. Tom Policy, this, is Mr. Dick Ticker and this is Mr. Harry Rolingstock. BOHEMIA I am delighted to meet friends of Mr. Othurs. Let me in turn present my friends, the Humanities, Miss Muset, Miss Artie, Miss Letty, Mr. Policy, Mr. Ticker, Mr. Rolingstock. DRAMMAH (Stepping forward) (Aside, in direction of BOHEMIA) Minx! (To the others) Gentlemen, allow 31 THE LURE OF THE TRAFFIC me to introduce myself. I also am one of the Huma- nities, although Miss Sisco seems to have forgotten it. I am Miss Drammah. TOM (To all. Presenting flowers to DRAMMAH) Charmed, I'm sure. (He takes DRAMMAH aside). DICK (To all. Presenting flowers to MUSET) Delighted! (He takes MUSET). HARRY (To all. Presenting flowers to ARTIE) Jolly glad! Jolly glad! (He takes ARTIE aside). LETTY (Ready to cry) Nobody's nice to me. I do all I can to make people have a good time, and the other girls get all the attention. GROVER That's what you get for being a highbrow. LETTY Highbrow or no highbrow, if it wasn't for me there wouldn't be any picnic or any play. (Interrupts Tier- self. Aside) I almost let the secret out. [During this SAM Sisco, CALLIE and BOHEMIA have been laying a tablecloth on the ground and preparing the meal. PHIL goes out and returns with wood. OTHURS superintends the erection of the tent. He is joined presently by TOM, DICK and 32 THE LURE OF THE TRAFFIC HARRY. The girls join the rest of the party. GROVER sits on a bench moodily. TOM Say, Wynott, what sort of a rummy bunch have you steered us up against? These squabs have no pep. DICK Well I should say not. Why I can pick up a floozie down at Skate's any time that can run circles around 'em. HARRY Rotten crowd, old top, simply rotten. Rotten place, anyhow. Thank God we don't have to mix with them! TOM Come on. Let's get out of this. Let's go where we can be comfortable. DICK You're on. HARRY Aw yes, by Jove! [They enter tent, accompanied by OTHURS BOHEMIA There. Everything's ready. Father, blow the horn. \_They all sit around spread. SAM Sisco blows horn three times. A pause. I wonder why Mr. Othurs and the others don't come. (Rising and going to tent.) (Shyly) Gentlemen, supper is ready. 35 THE LURE OF THE TRAFFIC VOICE (From tent) Can you open it? BOHEMIA (Returning to group and sitting down) They must be getting some sardines ready. [The party round the spread attacks the food and eats silently. The sound of poker chips is heard from tent, and voices are heard to say* at intervals "How many?" "Give me three" "Two" "What do you do?' 1 "Twenty." "Twenty more" "1 pass" "And twenty" "Forty raised." "And fifty." "I see you" "What y'got?" "Four ladies" "Too good." [A servant enters tent with bucket of champagne. Presently the sound of a cork is heard. VOICE (From tent) Throw that into your neck. 2ND VOICE (From tent) Here's to Bohemia. SRD VOICE (From tent) Oh, to hell with Bohemia. Here's to Madame Necessity. (Cries of "Hear! Hear!") 4TH VOICE (From tent) And here's to Loreley Montrio. (Loud cries of "Hear! Hear!") 34 THE LURE OF THE TRAFFIC SAM (Standing up) Ladies. This 'ere night is the greatest night in all th' year fer Bohemia. [MUSET, ARTIE, DRAM M AH and PHILIP get up and leave the stage. BOHEMIA and LETTY hold an animated conversation in dumb show. CALLIE listens to SAM Sisco with rapt admiration. Five thousand years ago, before the earth was dry behind the ears, these monarchs of the forest, thet points like finger posts toward the starry firmimeni above, stood like mighty sentinels rearin' their lofty pinacles . . . [PHILIP enters carrying a headlight and places it so that it illumines the natural stage at the foot of the hill. PHIL. (To GROVER ivho has fallen asleep on the bench) Here, you! Put out that light! [GROVER puts out gasoline lamp and returns to bench. BOHEMIA Oh, what's going to happen? LETTY That's the surprise. BOHEMIA Oh, what is it, Letty? 35 THE LURE OP THE TRAFFIC LETTY Wait and see. It's a little surprise that Muset and I got up for you. BOHEMIA Oh, you dear, sweet girls! You're always doing something for me. [Enter MUSET with a violin. Taking her place in the center, near to and facing the stage she begins to play. OTHURS, TOM, DICK and HARRY emerge from the tent and take places in front of the stage. They keep on their hats and light cigars using many matches. Enter on the stage a young Shepherd with a crook. He sits down dejectedly. The parts of the Shep- herd and Shepherdess in the following scene are taken by DBA MM AH and ARTIE respectively. MUSET plays a violin accompaniment during the action. SHEPHERD Ah, woe is me that I should find Fair Phyllis is no longer kind. Of sorrow I have drunk my fill; She loves me not I love her still. Ah, woe is me! 36 THE LURE OF THE TRAFFIC [A Shepherdess enters unseen by the Shep- herd and stealing up behind him listens smilingly to his lament. SHEPHERD Oh, Phyllis, sweet, did you but know What anguish 'tis to love you so, You'd pity find within your heart For one who would this life depart! Ah, woe is me! If I were made of other clay Than this which at your feet I lay Could you love me as I love you? SHEPHERDESS (Stepping forward} You silly boy, of course I do. SHEPHERD Am I awake or do I dream? My eyes are dazzled by the gleam Of hope! O Phyllis, dear, my own! SHEPHERDESS I'm glad that you have ceased to moan. Remember, Strephon, maidens oft Are harsh to swains who prove too soft. 37 ACT II. THE PICNIC IN THE LITTLE GllOVE. 'This is no place for you, little girl.' THE LURE OF THE TRAFFIC You've learned your lesson. Come, be gay And let us sing a roundelay. SONG ( DRAM M AH and ARTIE.) [As the song ends the hillside is illuminated with red and green fire. [During the little play TOM, DICK and HARRY fall asleep and snore. OTHURS fixes a sinister gaze upon BOHEMIA, who is engrossed by what is going on on the stage. When the play is ended OTHURS takes BOHEMIA to one side. SAM Sisco, CALLIE, PHILIP and LETTY begin to gather up the dishes. TOM, DICK and HARRY remain asleep, snoring loudly. MUSET, ARTIE and DRAMMAH come in and help the others with the dishes. OTHURS (To Bohemia) This is no place for you, little girl. Wait until you go down to the city. There your beauty and your talent will conquer all as they have conquered me. There, among the bright lights of the cafes brighter than yonder stars there, amid the delirious whirl of revelry you will be the queen of every heart as you are queen of mine. 39 THE LURE OF THE TRAFFIC [BOHEMIA breathes hard under the devilish hypnotism of his refined yet thrilling speech. PHILIP watches them narrowly and suspiciously. MUSET takes LETTY to one side. MUSET What did they think of it, Letty? LETTY Oh, Mr. and Mrs. Sisco and Philip said the picnic was the best ever. The same old bull. MUSET Didn't Bohemia say anything? LETTY Not a word. I'm never going to do anything for her again. MUSET No more shall I. CALLIE Come along folks, it's time ter go home. [TOM, DICK and HARRY wake up and stretch themselves. They join OTHURS, BOHEMIA having gone to help CALLIE with the basket. HARRY Rotten show, rotten place, rotten crowd! TOM Isn't it the limit! Why didn't they have an illumi- nation? 40 THE LURE OF THE TRAFFIC DICK Yes. You can see a better show at the Orpheum any day. OTHUBS Shshsh! I have a purpose in coming here. We must capture the works. (To the others) It will give me great pleasure if you will all return to the station in m' private car. This young man (indicating Philip) can drive the wagon home. BOHEMIA Oh, lovely, lovely, lovely! Come along girls! Come along everybody! [BOHEMIA takes OTHURS' arm and they go out in close communion. TOM, DICK and HARRY escort MUSET, ARTIE and DRAMMAH off respectively. SAM Sisco, CALLIE and LETTY follow, carrying baskets. The servants who have been busy striking the tent also go off carrying luggage. PHILIP is left alone except for GROVER, who is asleep on the bench. PHIL. (Shaking his fist in the direction taken by OTHURS) Have a care, you! When she needs protection, she can count on me! CURTAIN 41 SCENE 1. The sitting room of the Sisco lodgings on Pine Street in San Francisco. The furnishings are of the simplest sort. A table near the center and sev- eral chairs. A number of academic drawings and paintings of the nude adorn the walls, and the motto, "BOHEMIA'S HOME IS HERE," is again prominently displayed. Through a window at the back the chimney pots of the city may be seen. Doors at left and right. Enter BOHEMIA She is dressed atrociously in the manner of an art student and carries a paint box. She is peevish and throws paint box on chair, then removing hat and coat throws them carelessly to one side and sits down sulkily in chair which stands by the table. BOHEMIA I simply can't endure this life! The girls at the Art School are going to have a jinks tonight and I've 43 THE LURE OF THE TRAFFIC got to stay at home and wash the dishes. I'm not going to stand it! Enter CALLIE CALLIE Oh, there you are. Go up on the roof this minit an' tek in th' washin'. BOHEMIA I won't do it! I'm tired of doing housework. All the other girls have good times, and I have nothing but work, work, work! I tell you I'm tired of it! CALLIE (Irritably) Don't you give me none o' that sort c' talk. You oughter appreciate what Samuel and me is a-doin' fer yer. There he is a slavin' away in th' chicken stall downstairs in the market, tryin' ter make enough ter give ye an' edgication and pay th' interest on the mortgage he tuk out so's you could come down here and larn how ter paint them thar scand'lous pi'chers. I'll go down this minit an' tell him t' tek yer back ter the! farm, that's what I'll do. [CALLIE flounces out of room. BOHEMIA bursts into tears, then jumps up and begins to pace back and forth across the room. BOHEMIA (Petulantly) I don't care! Anyone would think I 44 THE LURE OF THE TRAFFIC was a nigger instead of a white girl. I won't be a slave! [There is a knock at the door. BOHEMIA goes to door and opens it. Enter WYNOTT OTHURS. [He is dressed in immaculate afternoon costume. BOHEMIA stifles a glad cry of welcome. BOHEMIA Oh, Mr. Othurs, I'm so glad to see you. OTHURS (With ingratiating smile) You called me Wynott once why not now? BOHEMIA Yes, Wynott, now and always. Why not? OTHURS You have been crying, Bohemia, what distresses you? BOHEMIA Oh, Wynott, I suppose I'm foolish, but the girls in the Art School are having a jinks tonight and mamma won't let me go. (She weeps) OTHURS Oh, is that all, Bohemia? Leave your mother to me. (Aside) Ah-ha, the interest on the mortgage's overdue! (To BOHEMIA) I think she'll do what I wish. But instead of going to the jinks suppose you 45 THE LURE OF THE TRAFFIC come with me and have a bite at the cafe where Muset is singing. I got her a job as an entertainer, you know. You will be properly chaperoned for I shall ask my friend Mme. Necessity, a dear old lady. She is devoted to young girls. Aren't there some other girls you can ask to come along? BOHEMIA Why yes, Muset's sisters are in town. I'll ring them up. I'm crazy to hear her. OTHURS Good! I'll ask Tom Policy and the other chaps. (Aside, shoiving teeth} Ah-ha, m' little duckling, Fate plays into m' hands! {During this conversation the head of PHILIP GOODFELLOW is raised cautiously above the window ledge. He hears all, then drops noiselessly from sight. BOHEMIA Mother is downstairs in the market with father. Come down and ask her if I can go. [There is a knock at door. BOHEMIA opens it and a bearded stranger enters STRANGER Can you tell me where I will find the Art School? BOHEMIA Why yes. We are just going out. It is right on this floor. I will show you. [BOHEMIA goes to chair at back and picks up hat. 46 THE LURE OF THE TRAFFIC STRANGER (Aside. Slightly removing false beard and reveal- ing face of PHILIP GOODFELLOW) I'll foil him yet! Ha-ha! [BOHEMIA holds the door for the stranger to pass out. OTHUKS left alone snatches the framed motto ''BOHEMIA'S HOME IS HERE" from the wall and, holding it behind him, goes out quickly. SCENE 2. A "street at night. Enter OTIIURS. [He wears a black Inverness cape and a stovepipe hat. OTHURS (Looking at watch on wrist) It lacks but a minute of the appointed time. (Looking off, first one iv ay and then the other) Ah, here is Loreley now. Enter LORELEY MONTRIO. \_She wears a long sealskin coat and a large black hat. Her face is pale but there are 47 THE LURE OF THE TRAFFIC spots of rouge on her cheeks and her lip? are painted a bright carmine. Her eyes are heavily penciled. LORELEY What's doin', Wynott? The madame says you're on the trail of something. She said you'd give me the dope. What is it? Have yer got a line on a kid for us? (With a sudden show of affection} Oh, Wynott, why don't you come to see me any more. I'm making good money an' everything I've got is yours. OTHURS (Throwing off the hand that LORELEY has put on his arm) Oh, chuck that, Lorey. I've got another game now. You do what I tell you, understand? Go back to the house and tell the old girl thai I'll expect her at Skate's at 9 o'clock. Tell her I'll be there with a flock of fan-tail pigeons. One of the squabs is a loo-loo. I've got her going, but I need help, see. The rest of the bunch are easy. Just like picking cherries. But the queen-bee'll take some handling. If the madame plays her cards right we'll have the kid in her Movie House before she knows what's happened to her. I'll fix it for the old girl to be alone with the chicken, the rest is up to her. Th' kid's name's Bohemia, and she's a prize package. Do you get me? LORELEY (Humbly) Yes. OTHURS Good! [They go out in opposite directions. 48 THE LURE OF THE TRAFFIC SCENE 3. A cafe. At one side a platform on which there are a number of musicians. BOHEMIA, ARTIE, LETTY, DRAMMAH, OTHURS, TOM. DICK and HARRY form a gay party at three of the tables. All except BOHEMIA are hilarious and laugh immoderately, clinking glasses and drink- ing. There are several persons at other tables and among them, sitting alone, is the bearded stranger who appeared in the sitting room on Pine Street, and who is none other than PHILIP GOODFELLOW. As the curtain rises, MUSET, on the platform is just finishing a popular song which is greeted by applause from everyone except BOHEMIA and the stranger. The former sits with her hands in her lap and the latter, apparently indifferent to what is going on about him, keeps his eye on the merry group at the center tables. MUSET joins the group. OTHURS (Leaning over BOHEMIA and addressing her) Why so pensive, little girl? Come now, cheer up. Take a sip of wine. It will do you good. BOHEMIA I thought you told me there would be a chaperone for the party. 49 THE LURE OF THE TRAFFIC OTHUES So I did, and so there will. Mme. Necessity should be here any minute. [As OTHURS speaks MME. NECESSITY appears at the entrance. She wears a magnificent cloak which she lets fall from her shoulders into the hands of a boy in but- tons, revealing a gorgeous evening costume. Her blonde hair has the appearance of being a wig and is pro- fusely studded with diamonds. OTHUKS hastens forward to meet her and escorts her to the table. Just as MME. NECESSITY appears the cafe orchestra strikes up "Oh You Beautiful Doll." This continues while the introductions are being made. Finally MME. NECESSITY sits down beside BOHEMIA and the music stops. MME. N. Gracious goodness, Wynott, I thought I should never get here. We had two punctures on the way down. (Removes gloves displaying many diamond rings) *Do give me something to drink, I'm perishing of thirst. (OTHURS fills her glass) That's a good boy. Thank you. Here's my best to you all. (Drinks) So this is Bohemia? Well, well, well, well, well, well! Wynott has told me lots about you. But he didn't tell me the most important thing of all. No indeed 50 THE LURE OF THE TRAFFIC lie didn't. He didn't tell me that you were beautiful. OTHURS Oh, I protest. MME. N. No, Wynott, no. You did not say that Bohemia was beautiful. You said she was very pretty, but you did not say she was beautiful. You positively did not say it. You left me entirely unprepared. I shall never forgive you Wynott, never! Why she is per- fectly ravishing. (Observing BOHEMIA'S embar- rassment} Qh, don't mind me, my child. I'm an old woman and I can say what I think. You are beautiful and you might as well make the most of it. That's what every beautiful woman should do. Look at me. I was beautiful once. Was I not, Wynott? OTHURS You are beautiful still, madame. [Cries of "Yes, yes" from TOM, DICK and HARRY. All the girls except BOHEMIA gaze transfixed at MME. NECESSITY. MME. N. You haven't changed a bit, Wynott. Once a flat- terer, always a flatterer. (As he fills her glass) Thank you. And now permit me to propose a toast: To beautiful Bohemia. May her name and her fame fly on the wings of her accomplishments to the ends of the earth. May she be loved and admired in the capitals of the world as she is adored and respected in her native state California. 51 THE LURE OF THE TRAFFIC [All drink with cries of "Hear, hear!" "Here's to BOHEMIA." MUSET (Rising and holding her glass aloft) Here's to fame and publicity. LETTY (Pulling her down) Muset, I'm ashamed of you. [By this time everyone has left the cafe except the mysterious stranger, who, dur- ing the foregoing, clutches the table with marked signs of perturbation. OTHUBS (Calling waiter) I'd better order a couple of taxis to take the girls home. MME. N. One will do for the other girls. I'll take Bohemia home in my car. OTHURS All right. (To TOM, DICK and HARRY) You fellows come with me to the club and have a good-night drink. (To waiter) Order* a taxi and call Mme. Necessity's car. [The mysterious stranger gets up and goes out quickly after the waiter. The party rises and puts on coats and wraps. All go out except MME. N., who also detains BOHEMIA by laying her hand upon her arm. OTHURS glances back at BOHEMIA 52 THE LURE OP THE TRAFFIC and MME. N. and nods with a satisfied smile. MME. N. My dear, I am going to talk very frankly to you because you remind me of my little girl who died, and I feel I must just mother you. BOHEMIA (Tenderly) What was your little girl's name? MME. N. Her name was Invention. Poor little Ventie. (Sniffling) I have been a changed woman since she passed into the beyond. Now, my child, let me tell you something. Wynott Othurs is madly in love with you. I haven't lived all these years for nothing. I know a man in love when I see one. But I want you to take your time about marrying him, or any man; be sure you love him, and don't let marriage come too soon between you and your art. There's time enough for marriage, my dear. Believe me! [A chauffeur in livery appears and whispers to a waiter who approaches MME. NECESSITY. WAITER Madame, the car waits. MME. N. Come Bohemia we must be going. I shall take you to your home, Bohemia to your home. 53 THE LURE OB" THE TRAFFIC [They pass out. The chauffeur takes off his cap and removes his mustache. It is PHILIP GOODFELLOW. PHIL. I have driven her home before now and I'll see that she gets home tonight! [Replaces cap and mustache and goes out. SCENE 4. A dark street before a house over the door of which there is a rosy light and an inscription, "The Wenban." Enter WYNOTT OTHURS stealthily creeping close to buildings. He carries the framed motto. OTHURS Ha! Once within yon rosy portal and Bohemia's ruin is assured! Now to place this motto where it belongs. Ha! Bohemia's home is HERE. [He starts 1 to enter the house. The sound of an approaching motor vehicle is heard. It stops. Enter MME. NECESSITY. She walks rapidly as if greatly agitated. 14 THE LURE OF THE TRAFFIC OTHURS (Leaping forward and hissing) Where is she? MME. N. (Angrily) Home. Damn her! OTHURS How's that? Home? [Enter LORELEY MONTRIO unsteadily, unseen by the others. MME. N. Yes. A guy took the place of my chauffeur and drove us to Pine Street before I knew where we were going. He left me there and I had to come home in a taxi. OTHURS Goodfellow again! Damn!! LORELEY (Laughing a drunken, metallic laugh) Gave ye th* slip, eh? More trouble than you had with me! But 1 don't hold it against yer. Not I. I'm havin' a good time! Plenty of suckers and plenty of booze! Whee! (She giggles mirthlessly). OTHURS (Seizing LORELEY by the wrist) Not so much noise unless you want your gullet squeezed! (Making threatening gesture as if to throttle her) Listen, girl! You loved muh once, God help you! Now you must help us. Tomorrow you shall take a position as model 55 THE LURE OF THE TRAFFIC at the Art School. I'll fix it. Become the friend of the girl and deliver her to us. Here's a hundred to show that I mean business. There's a thousand in it for you when you succeed. (Threateningly) And if you don't succeed well there'll be a body found float- ing in the bay. Understand? [LOBELEY stands unsteadily for a moment looking stupidly at the money in her hand. Then throws herself upon OTHURS. LOBELEY Wynott, Wynott, I love you still! My God! I'd do anything for you! OTHURS (With deep meaning) I know that already, girlie! [A derisive laugh is heard off stage. OTHURS (In alarm) What was that? An eavesdropper. [He hurries off. MME. N. Come on in, dear, I want to see how much you owe the house. 56 til SCENE 1. The Art School. The room is filled with chairs and easels with drawing boards. There are many drawings and paintings on the walls. The students, among whom are BOHEMIA and PHILIP GOODFELLOW, are idling. LOBELEY MONTBIO, wear- ing a scarlet cloak, is seated on the edge of the model throne eating hei* lunch from a paper bag. PHIL. Cheese it! Here comes the professor! [The students scurry to their places and begin to work. LOBELEY gets up hurriedly and letting the cloak fall is revealed in a state of nudity. She assumes a pose. Enter MONSIEUB JAY. [He goes about from easel to easel criticising in pantomime the work of the students. After a little, LOBELEY moves her position slightly. 57 ACT IV, Scene 1. AT THE ART SCHOOL. "Thank you, Miss Montrio, it is an inspiration to work with you." THE LURE OF THE TRAFFIC BOHEMIA Excuse me, Miss Montrio, but we can't go on unle'ss you keep the pose. [MONSIEUR JAY. much agitated, goes to LORELEY and tries to readjust her In position. He has a great deal of ditfi culty. PHIL. (Leaving his place and approaching the throne) I beg your pardon, but I think I can get the pose. MONS. JAY shrugs his shoulders and steps aside. PHILIP tries to adjust LORELEY in the pose, handling her ivith the greatest freedom in doing so. LORELEY smiles graciously upon him. BOHEMIA picks up two or three pieces of charcoal, breaks them angrily and throws them on the floor. PHIL. (To LORELEY) Perhaps you are too tired to pose any longer? LORELEY (With tenderness) Yes, I'm awfully tired. PHIL. (Turning round) The model is tired. We should not ask her to pose any longer. (To LORELEY) Thank you, Miss Montrio, it is an inspiration to work with you. 591 THE LURE OF THE TRAFFIC [PHILIP and LORELEY talk together for a moment. The students pick up their belongings and prepare to leave. BOHEMIA does likewise, showing irritation. All leave except BOHEMIA and LORELEY. LORELEY (Descending from the throne and picking up her clothes) You mustn't be provoked with me for get- ting tired. Some people can pose without getting tired at all, but I can't. Come, let's be friends. I like you and I'm so happy here. Don't tell anybody, but that young fellow, Philip Goodfellow, has a case on me. He asked me just now to meet him tonight at half-past ten at Post and Grant Avenue. [BOHEMIA is stung to the quick, but she dis- sembles her agony. BOHEMIA (Freezingly) Oh, I should say you were most fortunate. I wish you good day. (Goes out). [LORELEY flings her garments in the air and dances about waving her pantalons above her head. LORELEY (Ecstatically) A thousand plunks! A thousand plunks! 60 THE LURE OF THE TRAFFIC SCENE 2. The corner of Post Street and Grant Avenue at night. Enter BOHEMIA, heavily veiled. She stands motionless, waiting. Enter LORELEY, carrying music roll. BOHEMIA springs forward and seizes LORELEY oy the arm. BOHEMIA You shall not have him; he is mine, I tell you, mine! LORELEY Oh, I'm so glad you're here. I thought you'd come. That's why I told you what I did this afternoon. Calm yourself and listen. I am not in love with Philip Goodfellow. My heart belongs to another. When he comes I intend to tell him so. I shall reproach him for being untrue, even in thought, to the pure girl who loves him. BOHEMIA Oh, Miss Montrio, how can you ever forgive me for suspecting you of a base motive; you who have shown by your noble actions that you are so good and sweet! (She weeps). LORELET (Kissing BOHEMIA) There, there, my dear, don't cry. Do what I say and all will yet be well. I was to meet Philip Goodfellow in a room in that building 61 THE LURE OF THE TRAFFIC there over Schonwasser's. Come there with me, and you shall have your heart's desire. Come! BOHEMIA (Hesitating) But . . . but. LORELEY Come! Your happiness and his depend upon it. Come! [They go out. SCENE 3. A red room. Sumptuously furnished and containing many pictures. A table and two chairs at center. Enter BOHEMIA and LORELEY LORELEY Now, dearie, the battle is half won. You must trust me implicitly and do what 1 tell you. Philip Goodfellow will be here in a few minutes. He expects to find me here, but he will recognize your cloches and he will not commit himself so that you may give him, first the severe rebuke he deserves and, after- wards, your forgiveness. BOHEMIA Oh, Miss Montrio, I'm so frightened. What do you want me to do? 61 THE LURE OP THE TRAFFIC LORELEY (With finality) Undress! [BOHEMIA quails. BOHEMIA Oh, no, no, no. I can't, I can't! LORELEY (Gently) You must. Here here's a nighty 1 brought in this music roll. Philip Goodfellow must not recognize you until he has given evidence of his intention in coming here. [LORELEY begins to undress BOHEMIA, who yields protestingly. LORELEY (Soothingly during the process of disrobing) Now, now there, there there's a dear. (When the dis- robing is completed) There! Now sit down here. Now let your hair fall over your face a little. That's right. Now you should have something to read. Let me see. (Looking over books on table) Yes. Here's "Great Expectations." (Hands book to BOHEMIA, who takes it and begins to read) Now, dearie, I'm going to leave you, but I shall be near at hand when you need me. All you have to do is to call and) I shall come instantly. [LORELEY goes stealthily to where a picture is leaning against the wainscoting of the room. She picks it up and hangs it on 63 THE LURE OP THE TRAFFIC the wall Then going to the door, opens it very slowly and goes out. SLOW CURTAIN SCENE 4. A street at night. Enter PHILIP GOODFELLOW. He is suffering extreme fatigue and can hardly drag one foot after the other. PHIL. No use! No use! I have walked the streets for hours but have found no trace of poor Heemie. Where can she be? How and why did she disappear in this mysterious way? What will her distracted parents say when I tell them that the quest they have sent me upon has been in vain? 64 THE LURE OF THE TRAFFIC Enter OFFICER TOOLE. PHIL. (Desperately) A last chance! A last chance! (To officer) Officer, I'm in search of a lost girl. Can you give me any advice or assistance? OFFICER T. Sure an' I can. Hev ye 'bin down to the Harbor station yit? PHIL. No. OFFICER T. Well, bate it down there. Like as not they know somethin' about her. Four blocks straight ahid and wan to yer lift. A busted lamp-post, two stips down and there you are. The dour's locked now, but they'll let ye in if y' knock. Say Toole sint ye. PHIL. Oh thank you, thank you! [Runs off. OFFICER T. That's wan on him, all right. Harbor station! (Chuckles) He'll have a hard time findin' that from 65 THE LURE OF THE TRAFFIC where I sint him. The Doorkeepers' Union is a lot o' good lads. They come through with a bit right along an' the least I kin do is to pass 'em a sucker now and thin. (Singing) "There's a purty schpat in Ire- land I always claim it my land," etc. SCENE 5. The retreat of the Doorkeepers' Union under* the docks. The vaulted chamber is feebly lighted by a candle stuck in a bottle on a low improvised table, around which are huddled the figures of the Doorkeepers in executive session. All are eating busily. The rays of the candle play upon the saturnine but not unhandsome features of the leader, GENTLEMAN FRANK. All but he wear black gowns and hoods with holes cut for the eyes and mouth. On the breast of each is a white disc within which are three black discs. This is the sign of the three black-balls. GENTLEMAN FRANK'S gown is red and bears on the breast the sign of a double cross. The only covering on his face is skin and a pair of spectacles. Through a square opening at the back of the chamber the rays of 66 THE LURE OF THE TRAFFIC the moon may be seen in scintillating reflection upon the dark blue waters of the bay. As the curtain rises, a peculiar, long, low whistle is heard from without. It is given three times. GENT. F. There's the secretary. Let him in, Billy, and we will proceed 1 , to business. [One of the Doorkeepers goes to the door, loosens a number of chains and bolts and admits a person garbed like the others. He takes his position with the rest. GENTLEMAN FRANK raps for order. GENT. F. What business is there before the meeting? BILLY (With acerbity) I'd like to call attention to the fact that the food they're giving us is not fit to eat. It's getting worse and worse. [A loud knocking is heard at the door., GEN- TLEMAN FRANK blows out the candle, leaving the room in complete darkness. PHIL. (Off stage} Hello there, let me in! (Knocks again) Hello! Hello, I say! I was sent here by Officer Toole. GENT. F. (In a, whisper) Let him in Billy. Boys, keep your weapons handy. 67 THE LURE OF THE TRAFFIC [GENTLEMAN FRANK strikes a match and lights the candle. The Doorkeepers gather around the door and each holds a hatchet in readiness. The one addressed as "BILLY" opens the door. PHILIP enters. He is seized and rushed across the chamber, where he is held by two of the Doorkeepers while a third goes through his pockets, taking his watch and other valuables and placing them on the table. GENT. F. Well, sir, what do you want? PHIL. (Defiantly} I want Bohemia. GENT. F. Ah, you have indeed come to the right place. We know all about Bohemia here. PHIL. (Overjoyed) Oh, do you? Where is she? GENT. F. She? Bohemia is not a she. PHIL. (Hotly) You're a damn liar! GENT. F. (In a voice that would freeze a blast furnace) Before you die, you will be asked to answer a few questions. Who are your sponsors? 68 THE LURE OP THE TRAFFIC PHIL. (Defiantly) I have no sponsors. GENT. F. You can not find Bohemia without sponsors. Here, Billy, Matt, act as sponsors for this gentleman. (Two of the Doorkeepers step forward) How long have you known this man? BILLY About five minutes. GENT. F. (To the other Doorkeeper) And you? MATTHEW About four minutes and a half. GENT. F. Is he married? BILLY I don't know. MATTHEW Nor I. GENT. F. Is he connected professionally with literature, art, music or the drama, or has he love or appreciation of these objects? BILLY We believe that his profession is insurance or automobiles but he possesses exceptional talent as an artist, musician and writer. In fact, he can do any- 'thing, and he is always willing to help. 69 THE LURE OP THE TRAFFIC GENT. F. How long did you say you had been acquainted with him. BILLY About six minutes now. GENT. F. Um-m-m. Have you lent him any money? BILLY No, but as his sponsor and in consideration of the business he may bring! in I am willing to put up his initiation fee and pay his dues. GENT. F. Would you invite him to -your house to meet your family? BILLY Most assuredly. GENT. F. Have you ever done so? BILLY No. GENT. F. Um-m. Let the accused speak for himself. (PHILIP is rudely dragged forward.} What is your name? PHIL. Philip Goodfellow. GENT. F. Ah, I thought so. We have positive evidence in our possession that you have been convicted at various times of murder, rape, burglary, mayhem, 70 THE LURE OF THE TRAFFIC simony and barratry; also that you are an escape from San Quentin where you were confined under sentence of death for murdering a Chinaman with a claw hammer in Siskiyou County in 1889; also that in escaping you killed two of the guards; also that you belong to a sect which practices ritual murder; also . . . PHIL. (Interrupting with spirit) It is false! GENT. F. Gag him! [One of the Doorkeepers places a gag over PHILIP'S mouth. GENT. F. Do not deny it. Evasion is useless. What have you to say for yourself? (Pause) He does not speak. It remains for us only to pass judgment upon him. Billy, as his sponsor can you tell me whether or not this monster plays the piano? BILLY Yes, he commits that crime beautifully and con- stantly. THE DOORKEEPERS (Together) Gr-r-r-r-r! GENT. F. Enough! Administer the pills! [PHILIP is thrown upon the low table and bound hand and foot. Two of the Door- keepers fetch three large black pills. The 71 THE LURE OP THE TRAFFIC Doorkeepers close around the table a/id there are evidences of a struggle. BILLY I can't get his jaws open. GENT. F. Here fetch me a cold chisel and hammer. [One of the Doorkeepers hands the tools to GENTLEMAN FRANK, who takes them and drives the chisel between PHILIP'S jaws with heavy blows of the hammer. GENT. F. There! Now in with it! Good! THE DOORKEEPERS ( Together ) Gr-r-r-r-r ! GENT. F. Now the other! Good! THE DOORKEEPERS (Together) Gr-r-r-r-r! GENT. F. Now the third and last. Good! . THE DOORKEEPERS ( Together ) Gr-r-r-r-r ! GENT. F. Now douse the glim and give him the third degree. (The light is put out and the voice of GENTLEMAN FRANK is heard to say:) "Do you kick like a steer nt everything?" [There is the sound of a blow and PHILIP groans. 72 THE LURE OF THE TRAFFIC "Do you knock your neighbors?" [A succession of blows and groans. "Do you raise hell when you're drunk?" [More blows and groans. "Do you cheat at cards?" [Still more blows and groans. PHILIP makes a sound indicating assent. GENT. F. That fixed him. Billy, give us a light. (BILLY lights candle) Now into the bay with him boys, the old stern-wheeler, "General Riley Hardin" is about to pass. When she strikes him it will be "Good night!" [Several Doorkeepers pick up PHILIP and carry him to the back of the chamber. They chant a stave of "Yo-ho! throw a man down," and throw PHILIP through the square opening into the moonlit waters beyond. The sound of the body striking the water is heard and a jet of spray is flung high in the air. At the same moment an enormous stern-wheel steamer is seen to lumber by, coughing and rattling horribly. The Doorkeep- ers again gather around the table and begin to eat. GENT. F. And now gentlemen, what was the business before the meeting when we were rudely interrupted? 73 THE LURE OF THE TRAFFIC BILLY I had laid before the meeting a complaint regarding the quality of food that is being served to us. GENT. F. That is in the hands of the chairman of the dining room committee of the parent body. (Significantly} I suppose he will have to be seen. BILLY How much will it take to fix him? GENT. F. I don't know. You might try him with five. But, hold on! There's a friend of his up for admission to membership. Ah-ha, we have him on the hip! THE DOORKEEPERS (Together) Gr-r-r-r-r-r! Gr-r-r-r-r-r! Gr-r-r-r-r-r! SCENE 6. The Red Room. BOHEMIA is seated reading "Great Expectations." There is a knock on the door. BOHEMIA (To herself, with timorous fervor) Philip! (The knock is repeated.) (Timidly) Come. Enter WYNOTT OTHURS 74 THE LURE OF THE TRAFFIC He is arrayed in full evening dress, white waistcoat and white gloves. He gazes with a leer of satin- faction at BOHEMIA, who does not look up but sits trembling ivith her hair falling over her face and concealing it. WYNOTT, still standing near the door, begins to take off his gloves, one finger at a time. He continues to leer horribly and slowly to nod his head with satisfaction. Silence. Very slowly, BOHEMIA raises her eyes. Then she sees OTHURS and utters a piercing scream. BOHEMIA (Frantically) Loreley! Loreley! Come to me! [OTHUKS removes one glove, blows into it gently and begins to remove the other. He continues to leer. BOHEMIA runs to the door at the opposite side of the room through which, in the preceding scene LORELEY went out, and tries frantically to open it. The door, however, does not yield. BOHEMIA (Desperately) Locked! [OTHURS continues to remove glove and to leer. BOHEMIA (Precipitately) What have you come here for? . . . You are here for no good! ... I see it in your face! ... I don't trust you! ... I can trust no 75 ACT IV, Scene 6. IN TIIj: RED ROOM. "I have done my thinking; now I'm going to act." THE LURE OF THE TRAFFIC man with a face like that! Ah, God! Why did I not know this before! . . . You must let me go! I must go; do you hear! . . . [BOHEMIA tries to pass OTHURS and reach door behind him. He flings her back then, turning around locks the door and puts the key in his pocket. Oh, sir! . . . Wynott! . . . Haven't you any pity? Let me go! Wynott, let me go! (Throws herself at his feet) Think of what you are doing, Wynott, or what you are going to do. You had a mother, Wynott. Think what she would say if she could see you now! Think, Wynott! I beg of you! I implore you. (Be- coming exhausted and slowly sinking toward the floor) Think! . . . Wynott! . . . Wynott! [BOHEMIA sinks into a limp sobbing mass at feet of OTHURS. OTHURS (Stooping over her) I have done my thinking. Now I am going to act! [BOHEMIA gradually assumes a sitting posture leaning on one hand, the other is at her cheek and there is a frightened look in her eyes. I'm too old a hand at this game to be bluffed out by any of that mother stuff. I have wasted enough time on you. Before this night is over you will be 77 THE LURE OP THE TRAFFIC in a Movie House. For months that has been my clearest wish. Why was it, do you suppose, that I went to your picnic in the little grove? Because 1 wished to get you in my clutches so that I could put you in a Movie House! What was it that prompted me to advance money to your father? The Movie House! Why did I have you meet Mme. Necessity? Ha! because the Movie House is hers! Bohemia in a Movie House! That has been m' dream ever since I first saw you in the garden at the old farm. [BOHEMIA again sinks to the floor convulsed with sobs. OTHUBS looks at her with a half-mocking, half -satisfied smile. Her pitiful plight touches some chord in his hardened nature which responds faintly. Stooping he places his hand upon her brow and throwing back her head looks intently into her eyes. OTHUBS (Tensely} It shall not be said that Wynott Othurs is not a dead-game sport. I shall give you one chance. You and I will play one hand of casino. The stake is to be yourself. Come! [OTHURS goes to table and sits down on the side aivay from the place where BOHEMIA still remains on the floor. (Pointing at chair opposite to him) Come! [BOHEMIA rises. OTHURS continues to point. Come! 78 THE LURE OF THE TRAFFIC [BOHEMIA comes forward tremblingly and takes her place opposite OTHURS. The latter deals with a long, low gesture, his eyes riveted upon those of BOHEMIA. BOHEMIA hides a card in her stocking, but OTHURS sees it and like a flash reaches across the table and seizes her wrist. No, no, little one, none of that Belasco business here! [OTHURS gathers up the cards and laughs mockingly. After shuffling expertly he deals again, and again he looks BOHEMIA steadily in the eye. OTHURS takes one trick after another, gathering them in with a snake-like gesture. BOHEMIA takes only a feiv tricks. She counts her cards. You lose, babe. (He laughs.) [BOHEMIA throws her arms across the table and buries her face between them. OTHURS goes to inner door, unlocks and opens it, he then picks BOHEMIA up in his arms and starts toward the adjoining room. As he does so, the sound of fire bells is heard and a cloud of smoke pours through the open door. OTHURS recoils holding his arm before his face. The sound of heavy blows on the other door are heard. It is finally broken open and 79 THE LURE OF THE TRAFFIC a fireman enters in a cloud of smoke and flames. BOHEMIA has evaded OTHURS and runs into the fireman's arms. At the same moment LOKELEY runs out of the inner room, screaming and dashes out the other door. The fireman, holding BOHEMIA'S fainting form, makes his way to where the motto hangs and pulling it down from the wall carries it and BOHEMIA out triumphantly. OTHURS, who has been groping about blindly in the smoke, starts to follow, then stops and turning round, gropes his way back toward the table. He feels about for the cards. Gathering them up he staggers toward the door. The cards! The cards! I have saved the cards! CURTAIN 80 SCENE 1. Among the ruins. At one side a temporary shade made of packing cases and rusty sheet iron. On the side of the shack is a "Proclamation" signed "Eugene Schmitz, mayor." In front of the hovel is an improvised stove made of old bricks. BOHEMIA is discovered cooking. Her garments are made of gunny sacking. She has a furtive, hunted look in her face. Steps sound on the sidewalk with- out and she darts toward the shack to hide. The sound of a tin horn is heard and a voice ^patently that of a foreigner, probably an Italian calling "Fresh fish." BOHEMIA, reassured, comes out of shack. Enter an Italian fish peddler. PEDDLER Fresha feesh! Fresha feesh! Fresha makarell! Who want da beega da salm? BOHEMIA Oh, what wouldn't I give tor a piece of salmon! 81 THE LURE OP THE TRAFFIC PEDDLER (Taking off his hat) Hello, mees. You lika da feesh? BOHEMIA Alas, yes; but I have no money. PEDDLER No speeka da mon. Everybody have too mucha da trub. Here taka da feesh. (Handing BOHEMIA a large salmon). BOHEMIA (Talcing fish and hugging it) Oh, God bless you! God bless you! You are so kind. I hope no trouble has come to you during these awful days. PEDDLER Trub? Me? No. Da blessta Madon have watch over Giuseppe Palladini. All my-a famalee eskep excep ma wifa mud. But you, mees, you have much trub. I can see eet een your fass. BOHEMIA Yes. I am all alone in the world. Even the man I was going to marry has been swallowed up in the great catastrophe. I have prayed every day and every night to St. John of Nepomuk that he should be returned to me; that I might see those ruddy cheeks, those blue eyes, that curly yellow hair again. PEDDLER (Excitedly) Da redda cheek? Occhi azzurri? Da curia da hair? Conte Monte Cristo! I have found heem! Deed he hev da dirta feenger nail? 82 THE LURE OF THE TRAFFIC BOHEMIA (Greatly moved) Yes, his finger nails were always filthy. Oh, my lover, my lover! It is he! PEDDLER I catena da young fel lika dat in my feesha net da night when da bigga fire come. I bring heem to you. 1 bring heem to you. [The PEDDLER runs off and BOHEMIA falls on her knees. BOHEMIA Oh, good St. John of Nepomuk, bring Philip back! Save me from Othurs and from myself. Enter MUSET, ARTIE, LETTY and DRAMMAH. [They are sumptuously dressed. BOHEMIA returns to her cooking. MUSET Isn't it perfectly dreadful! What these poor people must have suffered. (Seeing BOHEMIA) Here's one of them now. Er, my good woman, I am curious to know if the bread-line is being properly conducted. They say that too much food is being given out to undeserving cases people who won't work. (BOHEMIA looks up) Why, bless my life, if it isn't Bohemia! BOHEMIA Oh, Muset! Oh, girls! I'm so glad you found me. My! don't you look fine! Where did you get such clothes? 83 ACT V, Scene I. THE RUINS. r 'Do not turn from muh, Bohemia." THE LURE OP THE TRAFFIC ARTIE Oh, we got these from the Relief Committee. (Winks at other girls) But what are you doing here? BOHEMIA I'm waiting for Philip. He's been found and he'll be here in a minute. LETTY Don't let us keep you. We must be going. DRAMMAH Do look us up some time, Bohemia, we'll be so glad to see you. OTHER GIRLS Yes, do, do. [They go out. BOHEMIA Ruins everywhere! Enter WYNOTT OTHURS [He is dressed entirely in brand new khaki and ivears a small sombrero and high- laced boots outside his trousers. The usual diamond pin sparkles in his neck- tie. BOHEMIA seeing him shrinks back with a low, gutteral cry of horror. OTHURS Do not turn from muh, Bohemia. I have sought you out to tell you that I repent m' behavior on that dreadful night. I must have been mad mad for love of you. Forgive muh! Since then I have been think- 85 THE LURE OF THE TRAFFIC ing constantly of you. You must forgive muh! I want you to be m' wife, Bohemia. I have built a beautiful Class E residence for you just two blocks down the street at Post and Taylor. Won't you for- give and forget? BOHEMIA (Proudly) Not while the breath of life is in m' body! Mr. Goodfellow will be here in a moment. You will have to answer to him for your unseemly behavior toward me. [OTHURS lunges toivard BOHEMIA with a savage look in his face and seizes her by the wrist. Just as he does so the Italian fish peddler enters accompanied by another Italian. BOHEMIA Ah signor, you are just in time! (She sees the young Italian and stops petrified.) PEDDLER Ees dees-a heem? BOHEMIA (Wildly) No-no-no-no-no! NO! (She shrieks and faints in OTHURS' arms, murmuring) Take me with you. I can resist no longer. [OTHURS leads BOHEMIA off. The young Italian tears off his disguise. It is PHILIL* GOODFELLOW. PHIL. The villain still pursues her. (Picking up a piece 86 THE LURE OF THE TRAFFIC of the ruins and brandishing it) Bohemia must be saved! [PHILIP starts to run in the direction taken by OTHURS. As he does so, however, the Italian peddler Hows a police whistle at the same time taking off his disguise. It is GENTLEMAN FRANK. Just as PHILIP is about to run off, his passage is blocked by OFFICER TOOLE, who pokes his night- stick in the pit of PHILIP'S stomach. OFFICER T. Not so fast, me bucko. GENT. F. Officer, arrest that man for digging in the ruins. [OFFICER TOOLE puts handcuffs on PHILIP. GENT. F. (Aside to officer) See that he goes up where he won't peach. OFFICER T. Lave it t' me an' me friend, Judge Venal. We know how t' look afther a job like this. (He taps the Proc- lamation with his night stick.) GENT. F. Whom do you mean by "we?" OFFICER T. Why me an' th' higher-ups. (Singing as he leads PHILIP away) There's a purty schpat in Ireland, I always claim it my land, etc. 87 THE LURE OP THE TRAFFIC SCENE 2, The Church of St. John of Nepomuk. It is Christ- mas Eve. Snow covers the ground and falls con- tinuously. The church is warmly lighted and a rosy light streams from door and windows upon the snow. Enter LORELEY MONTRIO. She is in rags and has a shabby shawl over her head. She shivers miserably. LORELEY Gee! aint it cold! I'm all in. I'd give my right hand for a glass of gin. Not a pickup all night. Everybody complaining about the big frost! Enter respectable citizen, ivalking rapidly. LORELEY (Leering and accosting him) Hello, sonny! Say what's your hurry? (Taking his arm) Come along with me, sonny. I've got a room round the corner. [LOKELEY tries to drag him with her, but the young man disengages himself gently. Opening his coat he takes out a pocket- book and from it a card which he gives to LORELEY. YOUNG MAN Here, take that. They will be glad to be of THE LURE OP THE TRAFFIC assistance to you. The office opens at 9 in the looming. (Goes out.) LORELEY (Reading card) Organized Charities! 9 in the morning! Hell! [Tears up card and throws the pieces away. Enter WYNOTT OTIIURS and BOHEMIA. [OTHUES wears an overcoat with fur collar and a silk hat. LORELEY stepping up puts her hands on OTHURS' arm. He stops and looks at her. BOHEMIA passes on and kneels in the snow in front of the church. OTHUBS (To LORELEY) Has it come to this? LORELEY Yes, to this. You threw me down, Wynott, and I've had to do the best I could for myself. This is it. OTHURS Well, what do you want from me? LORELEY Nothing but a kind word, Wynott. OTHURS We're all out. There's a quarter. (Proffering a coin) Go and drink yourself to death. LORELEY (Proudly) . I may be cnly a street-walker, but it was you, Wynott Othurs, who made me so. I may 89 THE LURE OP THE TRAFFIC take money for what I have to sell, but I shall not accept charity from a dirty hound like you! [LORELEY goes out arid OTHURS shrugs his shoulders and laughs. BOHEMIA, who has been kneeling before the church, stretches her arms toward it as if for comfort. OTHURS (Assisting her to her feet) You and I will be married in there some day, Bohemia. See, here come the choristers. [They step to one side and a band of choristers enters, singing and passes into the church. OTHURS Come let us enter. It is the feast of Christmas. Come! [BOHEMIA approaches door of church hesi- tantly. OTHURS stands at the threshold holding out his hand to her. BOHEMIA (Faltering at the portal) No! No! I cannot go inside. I know not why. OTHURS (Fiercely) Stay out then, damn you! [OTHURS seizes BOHEMIA and flinging her in the snoiv, rushes into the church. The music continues within. After a little BOHEMIA rises slowly with moans and 90 THE LURE OF THE TRAFFIC drags herself to a window through which she looks eagerly. The music continues, but disturbing noises are heard. These increase gradually until it sounds as if pandemonium had broken loose within the church. Suddenly the roof of the edifice falls in and red fire and Roman candles are seen to issue from it. The din of singing and howling continues and OTHURS finally appears at the door. He has a wreath upon his head. In one hand he holds a champagne bottle and in the oilier a glass. OTHURS Wheel Christmas comes but once a year. Three cheers for Bohemia! Come along, dear! [OTHURS seizes BOHEMIA and drags her into the church. There is a great burst of red fire, Roman candles and noise as the curtain falls. CURTAIN 91 fit Yi. One year later. The central court of a gilded palace on the corner of Post and Taylor Streets, San Francisco. The room is handsomely finished in Mississippi gum, chewed into shape by contract prison labor among the dismal swamps. It is luxuriously furnished and there are many paint- ings and pieces of statuary. The crewel-work motto "BOHEMIA'S HOME IS HERE" hangs on the wall in a richly carved and gilded frame. Suspended in the center of the apartment is a large golden cage containing an owl. A voice off stage is heard singing: SONG. ( Solo, with humming accompaniment) She's only a bird in a gilded cage A beautiful sight to see. You may think she is happy and free from care She's not tho' she seems to be; Once she was playmates with Music and Art, Litera- ture and the Stage, But her freedom she sold for a businessman's gold She's a bird in a gilded cage. 93 THE LURE OF THE TRAFFIC BOHEMIA is discovered reclining languidly upon a large leather couch. She is clad in cloth of gold and wears a profusion of jewelry. She is smoking a cigarette and is as lovely as ever, but looks wiser. WYNOTT OTHUKS is sitting near her in a handsome carved chair. His hair is slightly silvered at the temples. Near l>y is a small table on which stand tivo half-tasted drinks. The click of dominoes is heard from an adjoining room. OTHURS How much longer must I wait, O fairest of all women? Last Christmas you told me that when Christmas came again . . . (Shaking finger at her teasingly) Now don't you remember saying that? BOHEMIA (Greatly bored) Oh, I suppose I did say it. OTHURS Yes, and what have I be^n doing ever since? Spending money on you like water and giving you everything your little heart desired. Why, do you know that one al fresco entertainment alone last August cost me a full $10,000. And when you com- plained that you were stifled by the atmosphere in this house did I not throw financial discretion to the winds and change the ventilating system? BOHEMIA Well am I worth it or not? OTHURS Of course you're worth it, but you see I'm just a 94 THE LURE OF THE TRAFFIC plain businessman, and as a business proposition these entertainments of yours are overdone. BOHEMIA Well, I notice that unless I give some sort of an entertainment nobody comes to see me any more except a few of father's friends who like to drop in for a quiet game of dominoes now and then. Oh, it is such an exciting life! (She yawns) I think I'll go and watch the sport. [She goes out. [OTHURS paces the floor, biting his lip and slapping the palm of one hand with the fist of the other, behind his back. fc Enter MUSET, ARTIE, LETTY and DRAM M AH. [They are gorgeously gowned, but appear lackadaisical. OTHURS sees them and stops. OTHURS Look here, you. I'm tired of you hanging around here all the time. This is no home for fallen women. You all fell for the game like dogs for a bone, ^and I've been keeping the whole bunch of you in clothes for over a year. Now unless you help me put over this job on Bohemia you'll never get another cent out of me, see? You'll have to go on the street like Loreley Montrio. And you're not the popular kind, you know; you're too damned refined. Now, listen. When Bohemia comes in I'll order a drink. I've got some 95 THE LURE OF THE TRAFFIC knock-out drops here. Distract her attention and I'll put 'em in her glass, see? If she refuses to drink, why then it's the bottle. Two of you grab her arms and the other two her feet. When I say "Won't you change your mind?" grab, see? Shshsh! Here she comes. Enter BOHEMIA. [OTHURS touches bell and a waiter appears. OTHURS What'll you have? [The waiter stoops over each one successively and receives the orders. BOHEMIA Nothing for me, thank you. OTHURS Give me a Number 9. (To BOHEMIA as waiter departs) Won't you change your mind? [With one accord the four girls leap upon BOHEMIA and pinion her hand and foot. OTHURS attempts to force the contents of a phial down her throat. BOHEMIA struggles madly. OTHURS Here, Muset, don't pull Bohemia's leg so much. [The waiter returning with the drinks, sees what is going on and pulls off his dis- guise. It is PHILIP GOODFELLOW. He pulls a revolver and strikes OTHURS a 96 THE LURE OF THE TRAFFIC violent blow on the head with the butt, felling him to the ground, then seizing BOHEMIA around the waist as she swoons, stands ready to defend her. At the same moment SAM Sisco and CALLIE appear from behind two statues of a Cave Man and Diana and point revolvers at the group. PHIL. I desire no man's life. If this creature is in need of professional aid ring up the clinic and get Dr. Mosenhead.,. (Looking at his watch) No, it is almost midnight, Dr. Mosenhead must be in the library. Enter DR. MOSENHEAD. Ah, Doctor, you are just in time. Be so good as to attend to that man. He has received a severe blow upon the head and is unconscious. DR. M. (Kneeling and supporting OTHURS) I see it! I see it! an operation! OTHURS (Reviving) Where am I? DR. M. You are among friends, my friend. (Recognizing OTHURS) What is it I see, Wynott Othurs! Oh you loafer! I know you! Yes! You are the vermin that recruit the moving picture houses of this fair city! 97 THE LURE OF THE TRAFFIC You have ruined the Tivoli girl, and now oh, you loal'er! you are trying to debauch this beautiful maiden! No! I will have nothing to do with you. [Gets up and stands with hands behind back shaking head stubbornly. I refuse t' operate! OTHUBS What has happened? My head feels so strange and yet so clear, so clear. PHIL. But, Doctor, I insist you must care for this man. [DR. M. continues to shake his head stubbornly. You will be paid, well paid. DR. M. Well, if you insist. (Examines OTHURS' head) Ah, I see it. Something strange has happened very strange. A clot on the brain. It has been removed. An operation is not necessary, but I shall operate just the same. OTHURS It is all like a horrible dream. I have done wrong. It was the clot on my brain that did it. I am not a bad man! Won't you believe me? BOHEMIA (Stepping forward) Yes. We believe you and for- give you. DR. M. I want t' operate. 98 THE LURE OP THE TRAFFIC OTHURS As bad as I have been, I, at least, have done some good. I have kept these girls from starvation. Some- thing impelled me to take care of them some impulse that I did not understand. It must have been because they were friends of yours, Bohemia. BOHEMIA You were good to them for my sake. How good of you how noble! (Gives OTHURS her hand.) Enter MME. NECESSITY sobbing. MME. N. Oh, forgive me, forgive me! I sought to do you wrong, Bohemia. I did everything I could to put you in a Movie House. I know it was wicked, but I was under the influence of Wynott. He was like my own brother the wayward boy. But I have been struck by the wave of reform. Those dear ladies of the Calpurnia Club have been talking to me. CALLIE What did I tell yer v Samuel? It teks th' wimmin folk ter set things right! MME. N. It is -not too late. 1 must tell you what I know. Mrs. Sisco, you had a brother once. He left home in his early youth. (CALLIE nods with suppressed excite- ment) Tattooed upon a part of his anatomy which would be rarely seen by casual acquaintances, that brother bore a mark the mark of an owl is it not 99 ACT VI. THE MARK OF THE OWL. "Every lady in this room except Bohemia has seen that mark on HIM!" THE LURE OP THE TRAFFIC so? (CALLIE nods again) Every lady in this room except Bohemia has seen that mark on HIM. (MME. N. points dramatically at OTHURS.) CALLIE (Hysterically) Oh, my long lost brother! BOHEMIA Me prophetic soul! me UNCLE! DR. M. I want t' operate! CALLIE You are found at last. For twenty-five years the estate our father left has bin tied up. We kin now git th' money and lift th' mortgage offen th' old farm by thd irrigatin' ditch. BOHEMIA Yes, and the encumbrances on this house, too. PHIL. Is Judge Smith in the house? Enter JUDGE SMITH. JUDGE S. Here I am. What can I do for you? PHIL. Oh, not much. I want you to marry us. JUDGE S. That's one of the best things I do. DR. M. I want t' operate! I want t' operate! 101 THE LURE OF THE TRAFFIC SAM Sisco By heck! I aint had much ter say in these 'ere doins, but I'm a-goin' ter say somethin' now. (Rolls up sleeves and confronts DR. MOSENHEAD. ) You shut up! [The bride and groom take positions at center surrounded by the rest of the party. Singing is heard and choristers enter singing "Here we come a-was sailing." A wedding cake is brought in. JUDGE SMITH stands before the couple and extends his arms in blessing. The choristers and the rest of the company join the song "Love and joy come tc you." CURTAIN