BarbaryCoast2.xml

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            <title>Barbary Coast Treatment</title>
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               Front: CamilleLopez
               Sequence1: Delaney
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               Sequence4: Amanda Law
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            <p>Publication Information</p>
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         <sourceDesc>
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               <msIdentifier>
                  <repository ref="org:WERFonds">Winnifred Eaton Reeve Fonds</repository>
                  <idno>5.2</idno>
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               <msContents>
                  <msItem>
                     <bibl xml:id="bibl32"><author><name ref="pers:WE1">Reeve, Winnifred</name></author>
                        and <author>Charles Logue</author>. <title level="m">Barbary Coast
                           [treatment]</title>. <publisher ref="org:Universal">Universal
                              Studios</publisher>, <date when="1929">1929</date>. <distributor ref="org:WERFonds">Winnifred Eaton Reeve Fonds</distributor>
                        <idno>5.2</idno>.</bibl>
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                        <p>Original in University of Calgary at Winnifred Eaton Reeve Fonds</p>
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                     <!-- ENGL501A: 
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                        <bibl><distributor/>, <idno/></bibl>
                     -->
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         <abstract resp="pers:DA1 pers:AL1 pers:MC2 pers:CL1">
            <p>Written by Winnifred Eaton and Charles Logue, the treatment for <title level="m">Barbary Coast</title> follows Roger Storm’s attempt to sanitize the red light district in San Francisco and the conflict that arises through his infatuation for Lily, a proud resident of the district. Building on Eaton’s earlier outline, the <title level="m">Barbary Coast</title> treatment makes changes to character names and various elements of the plot while giving a clearer voice to her characters through extended sections of dialogue, developing themes of race, class, and female companionship. Many of these revisions reflect the heavy film censorship of the Hays Code era, and despite the treatment being over sixty pages long, little of it, if any, survived the script’s editing and eventual production at MGM studios in 1935. </p>
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         <change who="pers:MC1" status="empty" when="2020-07-31">Identified as treatment.</change>
         <change who="pers:MC1" status="empty" when="2020-06-30">Added note about source.</change>
         <change who="pers:JT1" status="empty" when="2019-04-11">Created file from bibliography entry bibl32 using XSLT.</change>
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   <text facs="facs:BarbaryCoast2">
      <pb n="1"/>
      <front>
         <head>BARBARY COAST</head>
         <byline>Title by: <lb/><name>CARL LAEMMLE, JR</name>. </byline>
         <head>TREATMENT</head>
         <docTitle>
            <titlePart type="main">BARBARY COAST</titlePart>
         </docTitle>
         <byline>By <lb/><name ref="pers:WE1">WINNIFRED REEVE</name>
            <lb/>And <lb/><name>CHARLES LOGUE</name>
         </byline>
         <div>
            <castList>
               <head>MAIN CHARACTERS</head>
               <castItem xml:id="BullBrandon">
                  <role>BULL BRANDON</role>
                  <roleDesc>Vice King of Barbary Coast</roleDesc>
               </castItem>
               <castItem xml:id="CaptainOleJohnson">
                  <role>CAPTAIN OLE JOHNSON</role>
               </castItem>
               <castItem xml:id="SlippyDunn">
                  <role>SLIPPY DUNN</role>
               </castItem>
               <castItem xml:id="Louis">
                  <role>LOUIS</role>
                  <roleDesc>Bartender</roleDesc>
               </castItem>
               <castItem xml:id="Minette">
                  <role>MINETTE</role>
                  <roleDesc>A Prostitute</roleDesc>
               </castItem>
               <castItem xml:id="DanAvery">
                  <role>DAN AVERY</role>
                  <roleDesc>Deputy District Attorney</roleDesc>
               </castItem>
               <castItem xml:id="Sylvia">
                  <role>SYLVIA</role>
                  <roleDesc>His sister</roleDesc>
               </castItem>
               <castItem xml:id="JosiahMorton">
                  <role>JOSIAH MORTON</role>
                  <roleDesc>Chairman of the Purity League</roleDesc>
               </castItem>
               <castItem xml:id="MrsTibbett">
                  <role>MRS. TIBBETT</role>
               </castItem>
               <castItem xml:id="Lily">
                  <role>LILY</role>
               </castItem>
            </castList>
         </div>
      </front>
      <body>
         <div type="sequence" n="1">
            <head>Sequence I.</head>
            <view>FADE IN:</view>
            <p>Great Mass Meeting in big auditorium. The hall is packed to overflowing. The meeting,
               as posters will show, is held under the auspices of certain Civic and social clubs of
               San Francisco and all classes of people are reprepresented.</p>
            <!-- ENGL501A: we're trying to figure out how to identify these paragraphs that set the scene at the start of sequences-->
            <p>Sprinkled throughout the hall are groups of people from the Red Light District. --
               They have been planted there for a special purpose. Prize fighter types, and
               underworld types.</p>
            <p>On the platform, waiting their turn to speak, and sitting on stiff uncomfortable
               chairs are people prominent in political and civic and social life of the city. A
               table with a bottle of water and glass, etc. Upright piano. Platform draped with
               bunting and American flags.</p>
            <p>A glib tongued, opulent personage is introducing the next speaker:</p>
            <q>
               <p>Our newly appointed Chairman of the Vice Committee -- our fighting Deputy District
                  Attorney -- ROGER AVERY STORM.</p>
            </q>
            <p>Storm is a young, athletic, fiery tongued type. He takes his work with deadly
               seriousness -- almost fanatic zeal. We get portions of his eloquent address -- it is
               of an inflammatory nature. As he steps to the fore, with his hand raised, he is given
               an ovation.</p>
            <sp>
               <speaker>ROGER</speaker>
               <p>Ladies and Gentlemen, I gave you my solemn promise that if appointed to my present
                  office my first act would be the wiping out of that infamous cesspool of iniquity,
                  which is a blot upon our fair and noble city -----</p>
            </sp>
            <pb n="2"/>
            <fw type="pageNum">2</fw>
            <p>Deafening applause. Roger waits till it subsides and takes a drink of water.
                  <supplied>We</supplied> see those on the platform joining in the applause.</p>
            <sp>
               <!-- JT: Check on whether this is the best way to encoded interrupted speech patterns-->
               <speaker>ROGER</speaker>
               <p>When there is a cancerous growth, the surgeon cuts to the root -----</p>
               <sound>(applause)</sound>
               <p>-- and that, my friends, is what we, of the City of San Francisco must do. Barbary
                  Coast is a cancerous growth -----</p>
               <sound>(cheers and wild clapping)</sound>
               <p>I know that I need not ask for your aid and cooperation. I know that I will have
                  behind me in my righteous campaign, the whole of the City of San Francisco.</p>
               <sound>(deafening applause)</sound>
               <p>--and with such help -- and with the help of God Almighty -- Ladies and Gentlemen,
                  I will go farther than my first promise. I will pledge you my word that within a
                  month from this date Barbary Coast will cease to exist.</p>
            </sp>
            <p>Frantic cheering greets this statement, but now, with the cheering we gradually hear
               the sound of hissing -- booing. As the cheering and applause dies down, this hissing
               grows louder. We see the alarm spreading on all sides. Glances are exchanged. An
               hysterical woman starts to scream. Tense excitement is evidenced. Suddenly at the
               back of the hall, from a group of <choice>
                  <sic>unmistakeable</sic>
                  <corr>unmistakable</corr>
               </choice>
               <!-- ENGL501A: I didn't correct all of the mispellings since I'm not sure what the consensus is on making corrections-->
               underworld types, a huge figure heaves itself aloft. Shaking his great fist at people
               on the platform Dan Mooney bellows his defiance.</p>
            <sp>
               <speaker>BIG DAN</speaker>
               <p>What do yez know of the Barbary coast, ye white handed, white collared dude?</p>
            </sp>
            <p>As Big Dan speaks, a blonde haired girl springs up on a chair at the back of him --
               or she might be at his side. She is Lily.</p>
            <pb n="3"/>
            <fw type="pageNum">3</fw>
            <sp>
               <speaker>LILY</speaker>
               <p>Yes! What do you know about Barbary Coast?</p>
            </sp>
            <p>Catcalls and boos and whistles are now coming from all sides. Roger puts up his hand
               to stem the impending panic. He is greeted by the roars and jeers of Big Dan’s
               followers from the Barbary coast. We get the effect upon the audience. They are
               terrified as they realize that the hall is packed with Barbary Coast people. We hear
               voices: <q>Put him out!</q>
               <q>Where are the police!</q>
               <q>The hall’s full of gangsters!</q>
               <q>Lets get out!</q>
               <q>We’ll all be killed!</q> etc. </p>
            <p>Big Dan’s one concern is the girl at the back of him. He turns an enraged look upon
               her.</p>
            <sp>
               <speaker>DAN</speaker>
               <stage>(In big whisper)</stage>
               <!-- ENGL501A: is it ok that the parentheses appear beside the speaker name instead of below it?-->
               <p>What are yez doin’ here? This ain’t no place for you.</p>
            </sp>
            <p>The girl gets out of the reach of his threatening fist. She is at the back of the
               hall where Dan’s followers are. We see her moving along the wall and then we see her
               eyes looking intently at something. It is the electric switch. The place is in an
               uproar. Above the uproar the Chairman of the meeting arising importantly demands to
               know:</p>
            <sp>
               <speaker>CHAIRMAN</speaker>
               <p>Who is this man?</p>
            </sp>
            <p>One of the men on the platform speaks to the chairman in a lowered voice. Storm is
               also listening and stepping to the fore of the platform he shouts:</p>
            <sp>
               <speaker>STORM</speaker>
               <p>I’ll tell you who that man is! He’s known as Dan Mooney, keeper of one of the
                  worst brothels in the Barbary Coast.</p>
            </sp>
            <pb n="4"/>
            <fw type="pageNum">4</fw>
            <sp>
               <speaker>DAN</speaker>
               <p>Ye lie! Tis a <sic>dacent</sic> place and my liquor and my women are cleaner than
                  the likes of you.</p>
            </sp>
            <p>The police are appearing in the aisles.</p>
            <sp>
               <speaker>STORM</speaker>
               <p>Officers -- put that man out! I demand that this hall be cleared of all rowdy
                  elements.</p>
            </sp>
            <sp>
               <speaker>DAN</speaker>
               <p>Put me out, heh? There’s not a copper in all of Frisco’ll lay his hand on Big Dan
                  Mooney.</p>
            </sp>
            <p>The swells and the reformers are now on their feet. There is the ugly snarling sounds
               of the underworld
               people.<!-- ENGL501A: this paragraph is circled in pencil and captioned 'class conflict'--></p>
            <p>We cut back to Lily, her eyes still on the switch. We see her hand as she
               deliberately pulls down the handle. Instantly the room is plunged into darkness.
               Pandemonium breaks loose in the hall. There are outcries on all sides. <q>Who turned
                  off the light?</q>
               <q>Turn on the light!</q>
               <q>Open those doors!</q> Women’s screams. Men’s curses and imprecations. In the
               darkness the panic-stricken mob stampede madly toward the doors. Somehow, some way
               they are thrown open and the disordered terrified crowd pours out. The police cannot
               control the mob. Women are knocked over. People are trampled over.</p>
            <p>Cut back to the hall. It is still in darkness, but on the platform we see a match
               struck. Then another. During the little scene that follows, Roger Storm strikes
               matches. In the light of one of these matches, just as he is about to step down from
               the platform, he sees the girl standing below him. He strikes another match.</p>
            <!-- ENGL501A:  is this the best way to mark the purpose of this short technical paragraph? -->
            <!-- JT: Originally, this was tagged with a <note type="authorial">, but I don't think that's really the same thing here; tagging it just as a standard paragraph for now, but worth revisiting-->
            <p>If it would be more effective, perhaps we could have a candle on the table or a
               kerosene lamp. Maybe the candles have been lighted <pb n="5"/>
               <fw type="pageNum">5</fw> from the first.</p>
            <p>Roger looks down at the girl. She is standing with her hands on her hips, surveying
               him with vast defiance and scorn.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>Why didn’t you answer Dan Mooney like a man?</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>I’m not here to bandy words with his kind. My actions will speak for me.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>What do you mean by his kind?</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>The man is notorious ---</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>You ain’t good enough to wipe his feet on.</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>And you are a living example of his evil work.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Me? What’s the matter with me?</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>You appear to be one of his women.</p>
            </sp>
            <p>Lily bursts into harsh laughter.</p>
            <sp>
               <speaker>ROGER</speaker>
               <p>-- from Barbary Coast, no doubt.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Yes -- from Barbary Coast -- and proud of it.</p>
            </sp>
            <p>He steps down from the platform. He is holding the candle and the girl’s face seen in
               the dim light seems almost ethereal in its beauty. He feels a sense of intense wrath
               against <choice>
                  <sic>who ever</sic>
                  <corr>whoever</corr>
               </choice> is responsible for the degradation of this girl. His voice is husky.</p>
            <pb n="6"/>
            <fw type="pageNum">6</fw>
            <sp>
               <speaker>ROGER</speaker>
               <p>My poor child -- I would be last to condemn you. The first to try to save you from
                  that unspeakable wretch who ---</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <stage>(Fiercely)</stage>
               <p>What wretch?</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>Mooney.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <stage>(Flaming)</stage>
               <p>Careful how you talk about him! He’s the whitest man in Frisco. --</p>
            </sp>
            <p>She casts about for words to describe Dan.</p>
            <sp>
               <p>-- he gives me everything I want -- everything -- anything.</p>
            </sp>
            <!-- ENGL501A:  does this make it clear enough that Lily is the continued speaker? -->
            <!--JT: This is an interesting case. I think the TEI might say:
               
               1) Encode "She casts about for words" as it is currently (a separate paragraph without a speech prefix)
               and possiblity link the two speeches using @part or @next/@prev
               2) Encode "She casts about" as a <stage> and distinguish using an @rend[ition]-->
            <p>She twists the gaudy bangles at her wrist and tosses the long string of beads -- they
               are genuine at that -- hanging from her neck. Her fingers are loaded with flashy
               rings. Roger sees them like sparks of fire in the darkness of the hall.</p>
            <sp>
               <speaker>ROGER</speaker>
               <p>Do you realize that you are selling your birthright for a mess of pottage?</p>
            </sp>
            <p>Electrician has been fixing the light at back. A number of the people are still in
               the hall. Some of them, when the light is turned on, hurry to the front.</p>
            <sp>
               <speaker>MAN</speaker>
               <p>Are you all right Mr. Storm?</p>
            </sp>
            <sp>
               <speaker>WOMAN</speaker>
               <stage>(Suffrage type)
                  <!-- ENGL501A: is the stage tag the best choice here?--></stage>
               <!--Excellent question: It is more a description of this anonymous woman; more like a <roleDesc>-->
               <p>Did you ever hear of such an outrage?</p>
            </sp>
            <p>A group of reform types all talking excitedly at once. One of the women suddenly
               notices Lily. Lily has been standing back, <pb n="7"/>
               <fw type="pageNum">7</fw> sardonically surveying them. <!-- ENGL501A:  I formatted this the same as the earlier authorial note -->
               <!-- JT: Undid the authorial note, but should be flagged still for investigation-->
               Unlike the other women, Lily is bareheaded, or I would have hear wear one of the
                  <q>Tams</q>-- knitted or velvet, that were quite popular around that time with
               girls, but not worn for dress occasions.</p>

            <sp>
               <speaker>WOMAN</speaker>
               <p>Why that’s the girl who -- Mr. Storm -- you weren’t speaking to <emph>her</emph>,
                  were you?</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <stage>(Gravely)</stage>
               <p>We were -- er -- discussing Barbary Coast.</p>
            </sp>
            <p>Lily laughs derisively.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>That’s right -- havin’ a nice little friendly chat.</p>
            </sp>
            <p>She laughs mockingly. She has properly startled and shocked them all, and swaggers
               down the aisle toward the door. Just as she gets to the door, she turns back, and
               putting one hand <choice>
                  <sic>tooher</sic>
                  <corr>to her</corr>
               </choice> mouth, she calls:</p>
            <sp>
               <speaker>LILY</speaker>
               <p>Goodnight everybody. See <emph>you</emph> later -- Roger -- dear!</p>
            </sp>
         </div>
         <pb n="8"/>
         <div type="sequence" n="2">
            <head>Sequence II.</head>
            <view>FADE IN:</view>
            <p>Residence street of lodging house type. San Francisco. Row of one at houses of middle
               class, respectable sort. In parlor windows <q>Room for Rent</q> signs are prominently
               or discreetly displayed.</p>
            <p>This is a quiet side street <sic>lighted</sic> by gas lamps. It is about ten o’clock
               at night.</p>
            <p>At opening the street is quiet. Then we hear the clip clop of horses <sic>hoofs</sic> on the pavement,
               and a hack comes up the street. It stops before
               Mrs. Tibbett’s Lodging House. Roger Storm jumps out of hack, pays the cabby, and with
               a couple of bags in his hand he goes up steps of the house.</p>
            <p>Barely has he rung the front bell when the door is opened. Mrs. Tibbett, in her best
               black alpaca is awaiting him. She is all a--twitter and gushy – a middle-aged woman
               of the nosey variety, painfully respectable, like her house. A large woman, who when
               angry seems to become larger. She is not angry now. She is all smiles and
               ingratiating ways.</p>

            <sp>
               <speaker>MRS. TIBBETT</speaker>
               <p>Mr. Storm -- ain’t it?</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>Yes. My secretary told me he had taken rooms for me in your house.</p>
            </sp>
            <sp>
               <speaker>MRS. TIBBET</speaker>
               <p>Come right inside.</p>
            </sp>

            <p>They step into the hall. Mrs. Tibbett is rubbing her hands. A stairway looms to
               darker regions above. To the right is a typical 
               <pb n="9"/>
               <fw type="pageNum">2-2</fw>
               parlor of that period – portieres partly opened, Victorian period
               furniture, somewhat the worse for wear, an upright piano, at which Emily Hagen is
               seated in a dreamy pose, her hands softly caressing the keyboard as she plays and
               sings that sentimental old song, <q>In the Gloaming Oh My Darling</q>. The piano has
               the usual crazy patchwork hanging. Lace doilies and antimacassars adorn the backs of
               the horse-hair chairs. The curtains at the window are lace, starched and draped on
               the floor like the train of a woman’s dress. Framed family monstrosities are on the
               wall, which also is hung with framed dead leaves and flowers, a wedding certificate,
               and embroidered legends above the door such as <q>God Bless Our Home</q>,--
                  <q>Welcome</q>, <q>Let Not our Heart Be Troubled</q>, etc.<note type="editorial">Last song name 
                     appears between two standard lines in the script.</note> There is
               the whatnot stand, and on a marble topped table under glass, a waxed wreath of
               flowers that once adorned a grave.</p>
            <p>As Mrs. Tibbett and Roger come into hall, we see Emily turn her face. She has been
               waiting up for this moment and hopes Mrs. Tibbett will not forget to introduce
               her.</p>
            <sp>
               <speaker>MRS. TIBBETT</speaker>
               <p>It’s such an honor to have you with us, Mr. Storm. I do hope you will stay with
                  us a long time.</p>
            </sp>
            <p>They are at the bottom of the stairs. Inside the parlor, Emily arises and moves as
               far as the portieres, where she pauses and poses.</p>
            <sp>
               <speaker>ROGER</speaker>
               <p>As perhaps my secretary told you, I am taking the rooms temporarily, in order to
                  be nearer my work.</p>
            </sp>
            <sp>
               <speaker>MRS. TIBBETT</speaker>
               <p>Your work is so wonderful!</p>
               <stage>(Emily coughs)</stage>
               <p>Oh excuse me. his is Miss Hagen-- our star roomer--</p>
            </sp>
            <pb n="10"/>
            <fw type="pageNum">2-3</fw>
            <sp>
               <speaker>EMILY</speaker>
               <stage>(Gushing)</stage>
               <p>But I must make way for a greater star -- now!</p>
            </sp>
            <p>Roger, impatient to go to his room, but is polite. He has one foot on stair.</p>
            <sp>
               <speaker>EMILY</speaker>
               <p>Do let me congratulate you on the marvelous work you are doing. </p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p><stage>(Embarrassed)</stage>
               </p>
               <p>But I’ve done nothing -- yet.</p>
            </sp>
            <sp>
               <speaker>EMILY</speaker>
               <p>The papers are just full about you. They say you will clean up the whole city.
                  Ooo! It’s just thrilling!</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p><stage>(Rather shortly)</stage>
               </p>
               <p>My activities will be confined merely to Barbary Coast.</p>
            </sp>
            <sp>
               <speaker>EMILY</speaker>
               <p>What a wonderful thing it will be if you are instrumental in ridding the city of
                  that plague spot! Not that it’s the only place where vice flourishes. Right in our
                  own neighborhood -- right in this very house. </p>
            </sp>
            <sp>
               <speaker>MRS. TIBBETT</speaker>
               <p><choice>
                     <sic>WHATT!</sic>
                     <corr>WHAT!</corr>
                  </choice></p>
            </sp>
            <sp>
               <speaker>EMILY</speaker>
               <p>Dear Mrs. Tibbett, that was a slip of the tongue. I was merely referring to that
                  girl -- the one I told you about.</p>
            </sp>
            <sp>
               <speaker>MRS. TIBBETT</speaker>
               <p>Absolutely only respectable and exclusive lodgers are in my house.</p>
            </sp>
            <p>She throws a withering glance at Emily, who though crestfallen <pb n="11"/><fw type="pageNum">2-4</fw> a bit, is glad that she’s given Storm a hint in regard to a certain person.</p>
            <p>They have reached the top of the stairs. Mrs. Tibbett opens the door with a key. She
               looks with pride at the little suite reserved for Storm. Storm also casts a glance
               about him.</p>
            <sp>
               <speaker>STORM</speaker>
               <p>This will do very nicely, and thank you. --Mrs.--er--Todburt.</p>
            </sp>
            <sp>
               <speaker>MRS. TIBBETT</speaker>
               <p>Tibbett, sir. And would you like a latch-key?</p>
            </sp>
            <sp>
               <speaker>STORM</speaker>
               <p>Oh yes -- certainly. Most of my work will be at night.</p>
            </sp>
            <!--JT: Another interesting moment here-->
            <p>Takes latch-key.</p>
            <sp>
               <speaker>MRS. TIBBETT</speaker>
               <p>I give latchkeys to all the GENTLEMEN in my house, but of course not to the
                  ladies. Being a respectable house, I naturally require them to be in the house at
                  a seemly hour and I stay up myself to answer the bell till nine or nine thirty,
                  even</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <stage>(Anxious to be rid of her)</stage>
               <p>Yes – yes – Goodnight Mrs. Tallert.</p>
            </sp>
            <sp>
               <speaker>MRS. TIBBETT</speaker>
               <p>Tibbett.</p>
            </sp>
            <p>She goes out.</p>
            <p>We are still in the hall. Emily’s door slightly opens. We see her ears pricked up,
               her face into clearer view. Her eyes are wide, her mouth gapes. She sees someone
               coming up the stairs. As he reached her landing, Emily withdraws behind her door, but
               thrusts head out and with mingled emotions she watches as a youth 
               <pb n="12"/>
               <fw type="pageNum">2-5</fw>
               goes up the stairs. Emily comes out into hall, goes half way up the stairs and marks the
               door of the room into which the youth has gone. She now stands debating the matter
               with herself. What will she do?</p>
            <!--JT: An excellent moment here, somewhat metatextually dramatizing
               the genre of the screenplay:
               "so there intervenes between him and the written page" -->
            <p>Roger’s room. He is at a table, laying down papers taken from a brief case. We see
               him glancing somewhat absently at the paper on the table before him and as he does so
               their intervenes between him and the written page, the face of a girl-- the girl who
               had flouted him in the Auditorium. His mind revolves the circumstances. His face
               softens with pity and an element of tenderness. How young -- how lovely she was --
               that strange girl!</p>
            <p>His thoughts are broken by a burst of laughter, which seems to come from directly
               above his head. He sits up startled. There is something strange about that laughter
               -- mocking, full of a girl’s mischief.</p>
            <p>He goes to his open window. There’s a light in the room above. He hears a girl’s
               voice. His <choice>
                  <sic>onw</sic>
                  <corr>own</corr>
               </choice> speech comes floating down to him -- interspersed with bursts of
               laughter.</p>
            <p>We intercut here. Showing Roger, puzzled and mortified, listening to the mocking
               take-off of his own speech -- and show the room above.</p>
            <view>LILY’S ROOM</view>
            <p>Lily has an audience of two. A youth of twenty or twenty-one, named Sam and a girl
               named Bella. Lily is assuming the oratorical pose of Roger Storm. In an imitation of
               a man’s voice, she is giving forth his speech: </p>
            <sp>
               <speaker>LILY</speaker>
               <p><q>I promised you that if appointed, my first act would be the wiping out of that
                     infamous cesspool of iniquity --</q></p>
            </sp>
            <p>A burst of laughter.</p>
            <pb n="13"/>
            <fw type="pageNum">2-6</fw>
            <sp>
               <speaker>LILY</speaker>
               <stage>(Shaking her fist)</stage>
               <p><q>--I will keep that promise! Ladies and gentlemen --- I solemnly pledge you that
                     within a month from this date Barbary Coast will cease to exist</q>.</p>
            </sp>
            <view>ROGER’S ROOM</view>
            <p>Roger is puzzled and angry. Who is it who dares to <choice>
                  <sic>immitate</sic>
                  <corr>imitate</corr>
               </choice> and make fun of his serious mission. He strides to the door and jerks it
               open. There in the hall is Emily.</p>
            <sp>
               <speaker>EMILY</speaker>
               <p>Oh, Mr. Storm, I’m so glad you came out. I want to tell you that with my own eyes
                  I saw a man go up those stairs.</p>
            </sp>
            <p>Roger is rude, and brushes by herm with a muttered word <q>What of it?</q></p>
            <sp>
               <speaker>EMILY</speaker>
               <p>-- but he went into that girl’s room.</p>
            </sp>
            <p>Roger pays no heed to her. With gaping mouth, Emily watches as he tramps up the
               stairs and knocks upon Lily’s door. Only a moment Emily hesitates, and then she goes
               flying down the stairs making deadly headway for Mrs. Tibbett’s place in the
               basement.</p>
            <view>LILY’S ROOM</view>
            <p>Lily’s speech is interrupted by the knocking on the door. The knock sends Bella
               scurrying into the clothes closet, while Sam dives under the bed. Lily goes to the
               door and opens it. Roger and Lily stare at each other, startled. Then a diabolical
               expression comes to Lily’s face.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>We-cl! If it isn’t the savior of Barbary Coast himself.</p>
            </sp>
            <pb n="14"/>
            <fw type="pageNum">2-7</fw>
            <p>Roger steps into the room. His face is a study. The girl’s mockery inflames him. And
               at the same time he is affected by her extraordinary beauty.</p>
            <sp>
               <speaker>ROGER</speaker>
               <p>You! What are you doing <emph>here</emph>?</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Just happen to live here – same as you maybe --</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>But -- you told me -- I thought -- you belonged to -- to</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Barbary Coast. I do -- but Big Dan sent me up here to live among you swells --</p>
               <stage rendition="rnd:block">(snorts)</stage>
               <p>thought he’d make a lady out of me --</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>I see --</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>We-cl! -- what do you want of me?</p>
            </sp>
            <p>After a moment, during which he looks at her very intently, he replies:</p>
            <sp>
               <speaker>ROGER</speaker>
               <p>I want to <emph>save</emph> you!</p>
            </sp>
            <p>Lily’s first impulse is to burst into laughter; then suddenly she claps her hand to
               her mouth. Above the hand her eyes become suddenly full of appeal. She is now acting
               the innocent, hurt child.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>But think who I am.</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>It is never too late --</p>
            </sp>
            <pb n="15"/>
            <fw type="pageNum">2-8</fw>
            <sp>
               <speaker>LILY</speaker>
               <p>Even when a girl’s been as bad as me?</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>I don’t believe you are bad. You are the victim of circumstances.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Sit down -- won’t you.</p>
            </sp>
            <p>She herself sits, very demurely, and looks like an angelic child. Roger takes the
               chair opposite her. He reaches out and lays his hand on top of hers. At that moment,
               from under Lily’s bed, there is a queer sound heard. Sam is trying to suppress a
               sneeze.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>Oh those mice! The place is overrun with them. I’ll fix that one. </p>
            </sp>
            <p>She seizes a broom and prods under the bed. But Roger’s eyes are fixed on a
               protruding foot -- a man’s. He strides across to the bed and pulls Sam out literally
               by his heels. The youth squirms under his hand. Roger swings him around. Roger feels
               not only an intense loathing for this girl. Lily herself is in no mean rage.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>Is it any of your business who’s under my bed?</p>
            </sp>
            <!--This is really meant to be part of the preceding speech, with this interrupting-->
            <p>He does not answer.</p>
            <sp>
               <p>Who invited you up here anyway? I suppose we can’t even have a bit of innocent
                  fun without a pious prig like you butting in.</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>I should have known that you can’t make a silk purse out of a sow’s ear.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
                 <stage>(Flaming)</stage>
               <p>Who’s a sow’s ear?</p>
            </sp>
            <pb n="16"/>
            <fw type="pageNum">2-9</fw>
            <p>For answer he jerks the door open. Lily, enraged, pulls her slipper off and flings
               it after him. It goes hurtling through the door and down the stairs, smiting the
               cheek of Mrs. Tibbett ascending the stairs. Lily sees her and bangs the door closed,
               locking it.</p>
            <p>In the hall Roger brushes by the women roughly. Inside Lily, in a stage whisper says
               to her friends:</p>
            <sp>
               <speaker>LILY</speaker>
               <p>Mrs. Tibbett’s out there.</p>
            </sp>
            <!--Not indented-->
            <p>Bella is panic stricken.</p>
            <sp>
               <speaker>BELLA</speaker>
               <p>What’ll I do? Where’ll I go?</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>What’ve you got to be afraid of? There ain’t any crime in your being in my room
                  is there?</p>
            </sp>
            <sp>
               <speaker>BELLA</speaker>
               <p>But -- I’m not allowed to have anything to do with you. You know what they say of
                  you Lily, and my mother said if she caught me speaking to you she’d pack me off to
                  a convent.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Is that so. I’m only good enough to see on the <choice>
                     <sic>sneek</sic>
                     <corr>sneak</corr>
                  </choice>, eh? Well, here’s where you -- get!</p>
            </sp>
            <p>She pushes Bella to the door, opens it and thrusts her out. Bella, the little <choice>
                  <sic>sneek</sic>
                  <corr>sneak</corr>
               </choice>, throws her coat over her head and races down the stairs.</p>
            <p>Mrs. Tibbett and Emily are still in hall.</p>
            <sp>
               <speaker>MRS. TIBBETT</speaker>
               <p>-- You said she had a man in her room. That was a girl.</p>
            </sp>
            <sp>
               <speaker>EMILY</speaker>
               <p>I could take my oath on a dozen bibles that I saw a man go in there.</p>
            </sp>
            <pb n="16"/>
            <fw type="pageNum">2-10</fw>
            <view>INSIDE THE ROOM</view>
            <sp>
               <speaker>SAM</speaker>
               <stage>(Whispering)</stage>
               <p>Gee! How’m I goin’ to get out of here?</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Easy as spitting.</p>
            </sp>
            <p>Indicates window giving upon extension roof.</p>
            <sp>
               <speaker>SAM</speaker>
               <p>But it’s two stories to the ground.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>That’s nothin’. I’d like a dollar for every time I’ve shinnied down that rain
                  pipe.</p>
            </sp>
            <p>Mrs. Tibbett is hammering upon the door. Lily gives a shove to Sam and the youth
               gets over the sill and on to the roof. Then taking her time, Lily goes to the door --
               opens it.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>Why good evening, Mrs. Tibbett. Is it you?</p>
            </sp>
            <p>For answer, Mrs. Tibbett pushes her way into the room. Emily is about to follow, when
               Lily closes the door in her face. She is all sweetness.</p>
            <sp>
               <speaker>MRS. TIBBETT</speaker>
               <p>You don’t fool me, you hussy. You got a man hidden in this room!</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Well -- of all --</p>
            </sp>
            <p>Mrs. Tibbett is looking about her, behind the furniture, under the bed --
               everywhere.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>You can see for yourself. There isn’t a living soul here.</p>
            </sp>
            <pb n="18"/>
            <fw type="pageNum">2-11</fw>
            <sp>
               <speaker>MRS.TIBBETT</speaker>
               <p>No? Well, a man was seen going in.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Let me think. Oh yes -- so a man did come in. He was just -- er -- you know --
                  that reform deputy. Came up to pay a little friendly call -- that’s all.</p>
            </sp>
            <p>Mrs. Tibbett is looking out of the window. She climbs out, on to the roof. At the
               same time, a pair of hands clinging to the roof relax their grip and the unfortunate
               Sam slides down the rain pipe. Not however, before Mrs. Tibbett has seen him. Back
               into the room she comes.</p>
            <sp>
               <speaker>MRS. TIBBETT</speaker>
               <p>Now, you brazen hussy -- out you go -- out -- into the <emph>streets</emph> --
                  where the likes of you belong.</p>
            </sp>
            <p>Lily starts to remonstrate, but the woman seems to be swelling to a terrifying
               height.</p>
            <sp>
               <speaker>MRS. TIBBETT</speaker>
               <p>This is a house for respectable people only. I ought’ve known better to take a
                  chance on gutter stuff like you.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Gutter, yourself!</p>
            </sp>
            <sp>
               <speaker>MRS. TIBBETT</speaker>
               <p>There’s the door! Get out before you’re thrown out.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Lay your hands on me and I’ll skin you alive. I’m <emph>going</emph> -- I wouldn’t
                  spend another night in a dirty hole like this for a million dollars.</p>
            </sp>
            <p>She pulls down a cape, savagely wraps it about her and rushes through the door. Lily
               goes hurtling down through the hall, wrenches front door open and bangs it behind
               her.</p>
            <pb n="19"/>
            <fw type="pageNum">2-12</fw>
            <p>Cut to the street. The angry girl comes flying down the front step. She pauses a
               moment. Then realizing that Roger Storm is mainly responsible, she picks up a stone
               and hurls it violently at his window. It crashes through.</p>
            <view>ROGER’S ROOM</view>
            <p>He is sitting in a morris chair, looking at a little shoe -- the one Lily had hurled
               at him. As the stone breaks through window, Roger starts up. He cannot imagine what
               is the matter. At his door Mrs. Tibbett is knocking. He opens the door. She comes in.
               She is flurried and excited.</p>
            <sp>
               <speaker>MRS. TIBBETT</speaker>
               <p>Oh, Mr. Storm! You can’t imagine how I feel to think that you should have been
                  insulted and disturbed in this way.</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>What is it all about? Look at that!</p>
            </sp>
            <sp>
               <speaker>MRS. TIBBETT</speaker>
               <stage>(Gasping)</stage>
               <p>The shameless hussy! Well -- we’ve seen the last of her, thank heavin! I threw
                  her out of my house!</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>You what?</p>
            </sp>
            <sp>
               <speaker>MRS. TIBBETT</speaker>
               <p>Turned that baggage out into the streets -- the place for the likes of her as I
                  told her.</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>Good God! But this is monstrous --</p>
            </sp>
            <sp>
               <speaker>MRS. TIBBETT</speaker>
               <p>Insulting a fine gentleman like you! That was the last straw. Why, if you know
                  how I’ve been imposed upon. SHe comes to my house with a smooth, blarney tongued
                  man and I take her in thinkin’ she’s just a harmless young girl.</p>
            </sp>
            <pb n="20"/>

            <p>Roger is slipping his arms into his coat and putting on his hat. He is deaf to
               anything Mrs. Tibbett has to say, but she stands before him at the door.</p>
            <sp>
               <speaker>MRS. TIBBETT</speaker>
               <p>Everyone in the house warned me against her. Why the girl herself bragged that
                  she came from the Barbary Coast.</p>
            </sp>
            <!--Not indented-->
            <p>Roger pushes the woman aside.</p>
            <sp>
               <speaker>ROGER</speaker>
               <p>Let me pass. I don’t want to hear anything more from you.</p>
            </sp>
            <sp>
               <speaker>MRS. TIBBETT</speaker>
               <p>But Mr Storm --</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>You’ve done a - a monstrous thing! You’ve turned a young girl out into the vile
                  streets!</p>
            </sp>
            <p>He pushes aside, goes out and takes the stairs in a few bounds.</p>
            <view>SHOW A STREET</view>
            <p>It is a dark night. Vague figures appear at intervals. A street walker paces her
               beat. A policeman, swinging his billy goes by.</p>
            <p>We pick up Lily. She is moving bewilderedly. Pauses hesitantly. She does not know
               what to do – where to go.</p>
            <p>A half drunken man accosts her. Lily shakes him off, slinks toward doorway. She has
               no hat on. Her fair hair is like an aureole above her face. Another man blocks her
               way.</p>
            <sp>
               <speaker>MAN</speaker>
               <p>Hello sweetness. Give’s us a kiss.</p>
            </sp>
            <p>He seizes her. Lily fights him off. He gets ugly -- is about to strike her, but she
               breaks away and runs blindly down the street. As she turns a corner, the man at her
               heels, she runs full <pb n="21"/><fw type="pageNum">2-14</fw> into Roger Storm, who has been coming along
               swiftly, looking about him excitedly. At first she does not recognize him in the
               darkness, and she thinks it’s just another man. Roger’s two hands are on her arms. He
               holds her back, and looks down at her upraised face. Lily is breathless, gasping with
               enraged sobs. As she recognizes Roger her anger grows.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>Let go my arms. How dare you put your hands on me you -- you pious --
                  hypocrite.</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>I only want to help you.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Help!</p>
               <stage>(She laughs hysterically)</stage>
               <p>Have a girl thrown out into the streets heh?</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>I had nothing to do with that.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Oh no -- of course not! You just only put that old tabby cat up to it.</p>
            </sp>
            <p>Sge us regaining gradually her composure. Tries to smooth her hair. Her eyes are
               flashing defiance and scorn at Roger. She has even regained some of her swagger. She
               starts to move along.</p>
            <sp>
               <speaker>ROGER</speaker>
               <p>Where are you going -- Lily?</p>
            </sp>
            <p>Lily throws back at him a smile of scorn.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>Where do you suppose? I’m going back to where I belong -- that’s where I’m
                  going.</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>Where?</p>
            </sp>
            <pb n="22"/>
            <fw type="pageNum">2-15</fw>
            <sp>
               <speaker>LILY</speaker>
               <p>Barbary Coast!</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <stage>(Agitated)</stage>
               <p>No! No! -- you don’t mean that.</p>
            </sp>
            <p>He grasps her arm, forces her to look at him.</p>
            <p>They are under a street lamp. Roger is terrifically moved by the girl’s beauty and
               youth. Lily is up in arms. She wants to show her hatred and loathing of him. Her face
               twists in a sneer. She wrenches her arm free.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>I’ll show you whether I mean it or not. Come along -- and see for yourself.</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>You are only saying that to torment me. In spite of everything I believe in
                  you.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <stage>(Sharply)</stage>
               <p>Well you’vll believe in me more when we reach the Barbary.</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>You’re not going there, you don’t belong there. </p>
               <stage>(Lily laughs angrily.)</stage>
               <p>It’s an infamous place!</p>
            </sp>
            <p>They are moving along.</p>
            <!--Note that here there is some sort of scene break denoted
               with whitespace-->
            <p>We dissolve into a Barbary Coast street. Lily and Roger come into the scene from the
               upper city. Lily is a bit ahead of Roger. As she goes down the street, she is greeted
               by the denizens of the Barbary -- Chinamen, sailors, dopes, prostitutes. <q>Hello
                  Lil!</q> <q>Heh Lil-- you back?</q> <q>Where’re you goin’ to hang
                  out?</q> <q>Say, Big Dan’ll have a fit when he sees you</q>. etc., etc.</p>
            <pb n="23"/>
            <fw type="pageNum">2-16</fw>
            <p>To all the greetings, Lily, now in her element, returns gay greetings. <q>Hello
                  Em</q>.--<q>Ho! Dutchy</q>.--<q>Hello Tottie</q>--<q>how’s business?</q>--<q>Hello
                  Dandy --</q> --etc. As she goes along, her face is alive with wicked satisfaction
               in the thought that she is properly shocking Roger Storm. His step becomes slower and
               heavier. More and more he realizes that this girl is actually one of the outcasts of
               the Barbary. He has been swept off his feet by a gust of almost passionate
               infatuation for this wild and beautiful girl, and now a realism sets in a fury
               against the forces that have dragged a girl like this down into the gutter. He stops
               short suddenly. Lily turns and looks back at him defiantly.</p>

            <sp>
               <speaker>LILY</speaker>
               <p>Now -- Mr. Deputy!</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <stage>(hoarsely)</stage>
               <p>I ask you to go back with me. I offer you a new chance in life.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <stage>(Laughing with scorn)</stage>
               <p>I don’t want any other kind of life. I’m on my way --</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>To perdition.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <stage>(Shrugging)</stage>
               <p>Big Dan’s Shanty is more like heaven to me than the other place.</p>
            </sp>
            <!--Is this deleted?-->
            <sp>
               <speaker>ROGER</speaker>
               <stage>(Hoarsely)</stage>
               <p>It’ll be wiped out with every other will on the Barbary coast within the next
                  month.</p>
            </sp>
            <pb n="24"/>
            <p>She snaps her fingers in his face and turning her back on him swaggers along down the
               street. He stands still looking after her. Onlookers in the doorways laugh and jeer
               at him.</p>
         </div>
         <pb n="25"/>
         <fw type="pageNum"><!-- <add hand="pencil-thin">25</add> --></fw>
         <div type="sequence" n="3">
            <head>Sequence III.</head>
            <camera type="transition">Short time lapse.</camera>
            <view>THE BARBARY COAST</view>
            <!-- ENGL501A:  cannot use <set> element (belongs to front or back)... but "Barbary Coast" seems too specific for a slugline. <stage> element seems too vague for this... -->
            <p><!--<view>-->We should get a kaleidoscopic panoramic survey of the entire Coast.<!--</view>--></p>
            <p><!--<view>-->Show first the lower, more sordid streets: Lurking shadows, pimps in doorways,
               hop heads, drunks, Chinamen,<note type="editorial">Now considered a racial slur,
                  iterations of this descriptor have been retained in keeping with the original
                  work.</note> scurrying or dragging along through the streets. All the queer
               types of the Red Light district. Street walkers, Madams, fairies;<note
                  type="editorial">See previous note.</note> as well as the visitors to Barbary
                  Coast -- slummers and others. Sailors go rolling along, women calling to them from
                  the window or trailing after them.<!--</view>--></p>
            <p><!--<view>-->Then show the prosperous part of the Barbary. Gambling halls, saloons, dance
                  hall resorts, houses with kept women, etc. Everything is wide open.<!--</view>--></p>
            <p><!--<view>-->We come finally to the brilliantly lighted front of Big Dan Moony’s saloon and
                  dance hall.<!--</view>--> A great electric sign blinks out the name of the place:</p>
            <view>THE SHANTY</view>
            <p>A Chinaman -- Chum Lee sits on a step at side, smoking a pipe. A couple of men come
               into the scene and pause at the swinging door. Under the door we see the feet of the
               people inside, and we hear the sound of the dance music --</p>
            <sp>
               <speaker>FIRST MAN</speaker>
               <p>Looks as if the Shanty were runnin’ full blast.</p>
            </sp>
            <sp>
               <speaker>SECOND MAN</speaker>
               <p>Sure thing.</p>
            </sp>
            <pb n="26"/>
            <fw type="pageNum">3-2<!-- <add hand="pencil-thin">26</add> --></fw>
            <sp>
               <speaker>FIRST MAN</speaker>
               <p>Big Dan’s takin’ a chance all right. Them reformers is out to get him.</p>
            </sp>
            <sp>
               <speaker>SECOND MAN</speaker>
               <p>Aw, they can’t do a thing to him. He’s got perlice protection and --</p>
               <stage>(Winks)</stage>
               <p>-- he’s got friends higher up still. They say the Big Boss is back of him.</p>
            </sp>
            <sp>
               <speaker>FIRST MAN</speaker>
               <p>Tweedy?</p>
            </sp>
            <sp>
               <speaker>SECOND MAN</speaker>
               <p>Yeh -- Tweedy.</p>
            </sp>
            <sp>
               <speaker>FIRST MAN</speaker>
               <p>I had it from someone close to the top, that there’s to be one big explosion down
                  here -- . What’s more, I heard it was due to break tonight. Ye-ch -- that’s what I
                  heard.</p>
            </sp>
            <p>As the men have been talking, Chum Lee has edged along from the side. Very quietly
               and unnoticed. As they go in, we see Chum Lee scuttling from the place and down the
               street.
               <!-- ENGL501A:  There is a kind of camera perspective that is specifically a direction, but here the "we see Chum Lee" seems to refer to a narratorial gaze, unrelated to camera focus. --></p>
            <!--<wea:slugline>--><view>INTERIOR OF THE SHANTY.</view><!--</wea:slugline>-->
            <p>We establish the clientele. Ladies of easy virtue and pronounced types of members of
               the oldest profession in the world are <choice>
                  <sic>siting</sic>
                  <corr cert="high">sitting</corr>
               </choice> around. Others bringing in customers from street -- through the action of
               the scene. Dance hall girls, waiters, gangsters -- the usual types. Men lined up
               along the bar. A party of slummers and a few swells from the city above. Drunks and
               hop heads lurk in the booths.</p>
            <p>In a corner of the room a one eyed, skinny young man bangs at the keys of a rattle
               trap upright piano. He plays like a madman and a wizard, his fingers dancing wildly
               across the key board, and forcing
               <pb n="27"/>
               <fw type="pageNum">3-3<!-- <add hand="pencil-thin">27</add> --></fw>
               the instrument to give forth exciting music.</p>
            <p>All about the room are sea faring gentlemen audibly enjoying themselves; some are
               snoring over empty bottles; some are in quarrelsome mood; others make amorous
               overtures to the scantily clad girls, feeling their legs, necks, breasts; others
               resist brutally the wiles and whines of the girls.</p>
            <p>Smoke makes a murky haze above all.</p>
            <p>The room reeks with the sultry odor of sweating bodies and stale booze.</p>
            <p>A dark, painted girl, by name of Magda, appallingly thin, has her eye on an ugly
               looking customer who has slumped into an empty chair at a table. He is her man, and
               as she advances, with her hand to her mouth to keep back a cough, she watches him
               anxiously to appraise his mood. He scowls at her as she takes the seat opposite
               him.</p>
            <p><!--<view>-->We cut to the bar. Serving drinks like an old timer, we discover
               Lily.<!--</view>--></p>
            <sp>
               <speaker>MAGDA</speaker>
               <p>Hello Bill dearie.</p>
            </sp>
            <sp>
               <speaker>BILL</speaker>
               <p>Aw shut your mouth.</p>
            </sp>
            <sp>
               <speaker>MAGDA</speaker>
               <p>What’s the matter Bill -- are you mad at me? I ain’t done nothin’.</p>
            </sp>
            <sp>
               <speaker>BILL</speaker>
               <p>Has a fellow got to keep his face cracked up in a smile all the time? For Gawd’s
                  sakes. I suppose I ought to be laughin’ cause business is dead, heh?</p>
            </sp>
            <sp>
               <speaker>MAGDA</speaker>
               <p>Well everything’s wide open still.</p>
            </sp>
            <pb n="28"/>
            <fw type="pageNum">3-4<!-- <add hand="pencil-thin">28</add> --></fw>
            <sp>
               <speaker>BILL</speaker>
               <stage>(Glumly)</stage>
               <p>It’d be better if they made a raid or two. They’re sayin’ on the street that
                  they’s a plan on to sweep the whole of the Barbary clear off the map.</p>
            </sp>
            <sp>
               <speaker>MAGDA</speaker>
               <p>They can’t do it. Big Dan’s too powerful. The politicians are feedin’ on his
                  money.</p>
            </sp>
            <p>A bit of coughing seizes her. A few couples are dancing on the strip of floor
               reserved for dancing.</p>
            <sp>
               <speaker>BILL</speaker>
               <p>Can’t you cut out that damned barking!</p>
            </sp>
            <p>With great effort Magda stops her coughing. She stands up.</p>
            <sp>
               <speaker>BILL</speaker>
               <p>Where you goin’ now?</p>
            </sp>
            <p>Magda has snapped into an animated mood. She swallows her glass of liquor.</p>
            <sp>
               <speaker>MAGDA</speaker>
               <p>‘m goin’ to show them people how to dance. This ain’t no morgue. I’ll show ‘em how
                  to dance the hoochy coochy.</p>
            </sp>
            <p>Magda springs on to the floor. Lily stops serving drinks and watches her. She frowns
               as Magda dances. The other dancers get out of the way of the girl.</p>
            <p>A party of slummers coming in are exquisitely thrilled and shocked, for Magda has
               slipped off her skirt and is going through all the wriggles and contortions of a
               belly dance.</p>
            <p>A Carrie Nation type of woman says aloud:</p>
            <sp>
               <speaker>WOMAN</speaker>
               <p>Let her dance. Nero fiddled when Rome burned!</p>
            </sp>
            <sp>
               <speaker>PROSTITUTE</speaker>
               <p>Who in the hell was Nero? Nero’s the name of a dog. The hell! I never seen a dog
                  dance except in a circus.</p>
            </sp>
            <pb n="29"/>
            <fw type="pageNum">3-5<!-- <add hand="pencil-thin">29</add> --></fw>
            <p>Magda’s dance is wild but brief. She is seized with a fit of spasmodic coughing and
               staggers toward the back. Lily comes from behind the bar, takes the girl by the arm,
               pulls out a stool with her foot and forces her upon it.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>Didn’t I tell you not to dance tonight!</p>
            </sp>
            <sp>
               <speaker>MAGDA</speaker>
               <stage>(Breathless)</stage>
               <p>Everything -- was -- so -- dead -- like a morgue.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>So you thought you’d liven things up by killing yourself off, heh?</p>
            </sp>
            <p>Magda tries to stop coughing.</p>
            <sp>
               <speaker>MAGDA</speaker>
               <p>Since Big Dan went ---</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Never you mind about Big Dan. He can take care of himself -- and others too. Here
                  -- you <emph>sit down</emph> I say. Another hemorrhage like last night and you
                  won’t be <emph>sitting</emph> -- you’ll be lying down.</p>
            </sp>
            <p>A man is hammering on the bar to attract attention. Lily swings around savagely.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>Heh! What’s the matter with you?</p>
            </sp>
            <p>The man stares at her with leering admiration, stuffing his thumbs in his belt. He is
               half drunk. Lily goes behind the bar.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>What’ll you have?</p>
            </sp>
            <p>The man leans on bar, trying to flirt with her. She glares at him.</p>
            <sp>
               <speaker>MAN</speaker>
               <p>‘s all right little one. Didn’t expect to see a pretty like you back there. I was
                  lookin’ for Big Dan --</p>
            </sp>
            <pb n="30"/>
            <fw type="pageNum">3-6<!-- <add hand="pencil-thin">30</add> --></fw>
            <sp>
               <speaker>LILY</speaker>
               <p>Big Dan’s not here. I’m runnin’ this joint -- what’ll you have?</p>
            </sp>
            <p>The man orders a drink. He is grinning wide mouthed. As Lily slaps the drink down, he
               holds it up and leers at her, still leaning elbow on bar.</p>
            <sp>
               <speaker>MAN</speaker>
               <p>Where’d you come from, sweetie? I never seen you before.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>My name’s -- not Sweetie.</p>
            </sp>
            <sp>
               <speaker>MAN</speaker>
               <p>Haw haw! What is it cuteness?</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>None of your damn business. Move along!</p>
            </sp>
            <sp>
               <speaker>MAN</speaker>
               <p>Have a drink on me -- yeh?</p>
            </sp>
            <sp>
               <speaker>MAN NEXT TO HIM</speaker>
               <p>Aw -- move on.</p>
            </sp>
            <p>Lily slaps his change down. The man shoves it across to her.</p>
            <sp>
               <speaker>MAN</speaker>
               <stage>(leering)</stage>
               <p>Keep it. I’ll see you later.</p>
            </sp>
            <p>She slings his money across counter. The line of men push the bum along. The next man
               in line gets his drink and goes on. The next stares at Lily and she recgonizes
               him.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>Hello Joe.</p>
            </sp>
            <sp>
               <speaker>JOE</speaker>
               <p>Well I’ll be damned. If it ain’t Lil.</p>
               <stage>(Speaks to man next to him)</stage>
               <p>You know Lil--</p>
            </sp>
            <pb n="31"/>
            <fw type="pageNum">3-7<!-- <add hand="pencil-thin">31</add> --></fw>
            <sp>
               <speaker>TED</speaker>
               <p>Why surest thing. Didn’t we all go to school together.</p>
            </sp>
            <sp>
               <speaker>JOE</speaker>
               <p>Well, well, just fancy seein’ you down here. How long you been back?</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Two weeks.</p>
            </sp>
            <sp>
               <speaker>TED</speaker>
               <p>You look grown up, Lil.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>I’m gettin’ along in years. What’ll you have?</p>
            </sp>
            <sp>
               <speaker>JOE</speaker>
               <p>Gin and -- What was Big Dan thinkin’ of lettin’ you come back?</p>
            </sp>
            <p>Lily hands him his drink.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>He couldn’t help himself --</p>
            </sp>
            <sp>
               <speaker>JOE</speaker>
               <p>I heard he was keepin’ you in a exclusive part of Frisco -- makin’ a lady out of
                  you.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <stage>(fiercely)</stage>
               <p>I don’t want to be a lady!</p>
            </sp>
            <sp>
               <speaker>JOE</speaker>
               <p>No? Should’ve thought you’d jump at the chance.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Not me. I wouldn’t take the swellest Mansion in Frisco Heights for the poorest
                  little joint on the Barbary. I’m Barbary born and Barbary bred.</p>
            </sp>
            <pb n="32"/>
            <fw type="pageNum">3-8<!-- <add hand="pencil-thin">32</add> --></fw>
            <sp>
               <speaker>Man</speaker>
               <p>Hurray! There’s patriotism for you! Let’s drink to it.</p>
            </sp>
            <p>Boys lift glasses. Lil does not drink.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>Now move along boys -- there’s a line formin’.</p>
            </sp>
            <sp>
               <speaker>FELLOW NEXT IN LINE</speaker>
               <p>Business booming since you came on, Lil.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Thought Big Dan did a pretty rushing business.</p>
            </sp>
            <sp>
               <speaker>ANOTHER FELLOW</speaker>
               <stage>(crushing his way to notice)</stage>
               <p>So he did. Say, where’s Big Dan anyway?</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <stage>(curtly)</stage>
               <p>Away on business.</p>
            </sp>
            <sp>
               <speaker>Fellow</speaker>
               <p>Bet it’s something connecting with all this hullabaloo them reform crowd is
                  roarin’ about.</p>
            </sp>
            <p>Lily puts his drink down.</p>
            <sp>
               <speaker>ANOTHER MAN</speaker>
               <p>They’re out for our hides this time. The papers are full about that fellow
                  Storm.</p>
            </sp>
            <p>Lily puts glass down hard. She snorts angrily.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>Storm! Storm! You mean that lousy Deputy. Sa-ay, he’s playin’ with fire when he
                  tries to buck a man like Big Dan Mooney.</p>
            </sp>
            <p>The men agree with her, some of them shouting: <q>You bet you</q>. <q>Sure he is</q>.
                  <q>Haw, haw</q>. <q>Wait’ll Big Dan gets through with him</q>. <q>Someone’s goin’
                  to drill that fellow one of these dark nights</q>.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>Aw move along. This isn’t a cat club.</p>
            </sp>
            <pb n="33"/>
            <fw type="pageNum">3-9<!-- <add hand="pencil-thin">33</add> --></fw>
            <p>Luxurious rooms in San Francisco Hotel.</p>
            <p>At a big mahoghany desk sits Al Tweedy, Political Boss. He is a stout, important
               looking personage, flashy and bediamoned, with a bulldog face, into which is stuck a
               fat cigar which he twists to one side of mouth as he talks into telephone.</p>
            <!--Return to: Probably <camera>, if we want to do that?-->
            <view>We intercut back and forth between Tweedy and some political
               henchman.</view>
            <sp>
               <speaker>TWEEDY</speaker>
               <p>Well? How about it.</p>
            </sp>
            <sp>
               <speaker>MAN</speaker>
               <p>I been at Police headquarters talking for an hour ---</p>
            </sp>
            <sp>
               <speaker>TWEEDY</speaker>
               <p>I don’t give a damn about your talking. What’s doing?</p>
            </sp>
            <sp>
               <speaker>MAN</speaker>
               <p>Can’t do a thing. There’s no way of stopping it. The Chief says the whole of
                  Frisco is behind him --</p>
            </sp>
            <sp>
               <speaker>TWEEDY</speaker>
               <p>Behind who? What the hell are you talkin’ about?</p>
            </sp>
            <sp>
               <speaker>MAN</speaker>
               <p>Behind that Deputy fellow Roger Storm. He’s got the city stirred up. You can’t
                  stop ‘em I tell you. They’re pullin’ off the biggest raid tonight ever been known
                  in Frisco.</p>
            </sp>
            <sp>
               <speaker>TWEEDY</speaker>
               <p>What about Dan Mooney?</p>
            </sp>
            <sp>
               <speaker>MAN</speaker>
               <p>His money won’t buy him off this time. I seen ‘im just a while ago. He’s on the
                  way up to your place.</p>
            </sp>
            <pb n="34"/>
            <fw type="pageNum">3-10<!-- <add hand="pencil-thin">34</add> --></fw>
            <sp>
               <speaker>TWEEDY</speaker>
               <p>Does he know anything about the raid?</p>
            </sp>
            <sp>
               <speaker>MAN</speaker>
               <p>Not a thing. I got the lowdown from headquarters.</p>
            </sp>
            <p>Tweedy hangs up. From behind portiere the skinny face of a little undersized dip of
               the underworld shows. Behind him looms the brutal face of a gangster.</p>
            <sp>
               <speaker>TWEEDY</speaker>
               <stage>(enraged)</stage>
               <p>Keep back in there till I call you!</p>
            </sp>
            <p>The buzzer is ringing in the room. Tweedy picks up the house phone.</p>
            <sp>
               <speaker>TWEEDY</speaker>
               <p>Yeh? All right. Send him up.</p>
            </sp>
            <p>After a moment there is a knock at the door and Tweedy roars:</p>
            <sp>
               <speaker>TWEEDY</speaker>
               <p>Come in.</p>
            </sp>
            <p>Big Dan Mooney enters. He comes to the other side of Tweedy’s desk. The politician
               leans back in his swivel chair and switches his cigar.</p>
            <sp>
               <speaker>TWEEDY</speaker>
               <stage>(Shoving cigars across to Dan)</stage>
               <p>How are you? Have one.</p>
            </sp>
            <sp>
               <speaker>DAN</speaker>
               <p>I’m fine. No -- I’ll not smoke.</p>
            </sp>
            <sp>
               <speaker>TWEEDY</speaker>
               <p>What’s on your mind?</p>
            </sp>
            <sp>
               <speaker>DAN</speaker>
               <p>I don’t like the complexion of things.</p>
            </sp>
            <pb n="35"/>
            <fw type="pageNum">3-11<!-- <add hand="pencil-thin">35</add> --></fw>
            <sp>
               <speaker>TWEEDY</speaker>
               <stage>(Thumping on desk)</stage>
               <p>You ain’t got a thing in the world to worry about. If you got the money along --
                  you’re safe as if you was in your little bed.</p>
            </sp>
            <sp>
               <speaker>DAN</speaker>
               <p>Well -- I got the money all right -- every dollar in the world I own.</p>
            </sp>
            <p>We see the greedy face of Tweedy as his eyes go to the package under Dan’s arms.</p>
            <sp>
               <speaker>TWEEDY</speaker>
               <p>I can’t use no checks.</p>
            </sp>
            <sp>
               <speaker>DAN</speaker>
               <p>All in currency. Thirty Thousand Dollars, by God.</p>
            </sp>
            <p>Tweedy reaches across and takes the money.</p>
            <sp>
               <speaker>TWEEDY</speaker>
               <stage>(Thickly)</stage>
               <p>It takes a lot of money to buy off a swell like this deputy Storm.</p>
            </sp>
            <sp>
               <speaker>DAN</speaker>
               <p>Suppose he can’t be bought off. Suppose he goes through with what he’s
                  threatenin’.</p>
            </sp>
            <sp>
               <speaker>TWEEDY</speaker>
               <p>He ain’t a fool. If things don’t break as I’m tellin’ you -- why <choice><sic>heres</sic><corr>here’s</corr></choice> your money
                  safe as if it were in the bank -- you know me.</p>
            </sp>
            <sp>
               <speaker>DAN</speaker>
               <p>Ye-eh.</p>
            </sp>
            <sp>
               <speaker>TWEEDY</speaker>
               <p>You know who I am.</p>
            </sp>
            <sp>
               <speaker>DAN</speaker>
               <p>You’re political boss of this town, all right Jim -- but just supposin’ ---</p>
            </sp>
            <pb n="36"/>
            <fw type="pageNum">3-12<!-- <add hand="pencil-thin">36</add> --></fw>
            <sp>
               <speaker>TWEEDY</speaker>
               <p>Leave it to me. I ain’t found no one in this town yet that <emph>that</emph> won’t
                  buy.</p>
            </sp>
            <p>Thumps package of money.</p>
            <sp>
               <speaker>DAN</speaker>
               <p>I suppose you’re right and it’s worth the price. I’ll make more -- at the same
                  place where this come from.</p>
            </sp>
            <sp>
               <speaker>TWEEDY</speaker>
               <p>Sure you will. The Shanty’ll be runnin’ wide open years from now.</p>
            </sp>
            <sp>
               <speaker>DAN</speaker>
               <p>It ain’ the Shanty I’m worryin’ about. A gal of mine ---</p>
            </sp>
            <sp>
               <speaker>TWEEDY</speaker>
               <stage>(Jocosely)</stage>
               <p>Hear you got a regular harem of girls down at the Shanty.</p>
            </sp>
            <sp>
               <speaker>DAN</speaker>
               <p>Not me. I’m a one-woman man. And the gal I’m speakin’ of -- ain’t that kind.</p>
            </sp>
            <sp>
               <speaker>TWEEDY</speaker>
               <p>No?</p>
            </sp>
            <sp>
               <speaker>DAN</speaker>
               <p>No. I’ll be goin’ along.</p>
            </sp>
            <p>He exits. Instantly Tweedy is on his feet. He darts to the portiers, rolls them aside
               and speaks in a hoarse whisper.</p>
            <sp>
               <speaker>TWEEDY</speaker>
               <p>After him! -- And -- you <choice>
                     <sic>underatand</sic>
                     <corr cert="high">understand</corr>
                  </choice> -- <emph>get</emph> him!</p>
            </sp>
         </div>
         <pb n="38"/>
         <div type="sequence" n="4">
            <head>Sequence IV.</head>
            <view>POLICE HEADQUARTERS</view>
            <p><!--<stage type="setting">-->Everything is very active here. Some big matter is under way.
               <!--</stage>-->
            </p>
            <p><!--<stage type="business">-->The Chief is giving forceful orders to a large group of
                  officers, and telephoning to stations throughout San Francisco.<!--</stage>-->
               <!--<stage type="novelistic">-->All the power of the Police force is to be thrown into the
                  greatest raid in the history of the City.<!--</stage>-->
            </p>
            <p><!--stage type="novelistic">-->Barbary Coast is literally to be cleaned out from one end to
                  the other. No favoritism or leniency to be shown. Every gambling and drinking
                  resort and fast house is to be swept clean, and the inmates driven either to the
                  jail or out of the country.<!--</stage>--></p>
            <sp>
               <speaker>CHIEF</speaker>
               <p>They’ve had ample time to prepare. We gave ‘em warning two weeks ago. Now we are
                  going to act -- and act swiftly.</p>
            </sp>
            <sp>
               <speaker>AN OFFICER</speaker>
               <p>What’ll we do with the women?</p>
            </sp>
            <sp>
               <speaker>CHIEF</speaker>
               <p>Give ‘em five minutes to pack and drive ‘em out.</p>
            </sp>
            <sp>
               <speaker>OFFICER</speaker>
               <p>Where’ll we drive ‘em to?</p>
            </sp>
            <sp>
               <speaker>CHIEF</speaker>
               <p>Anywhere -- everywhere. Herd ‘em along to the docks. Pack ‘em aboard the ships
                  there. Get ‘em out of Frisco. I don’t care how you do it or where you send ‘em, so
                  long as you get rid of ‘em. Clear ‘em out of the country. Three quarters of the
                  women ain’t Americans anyway. As for the rest -- give ‘em the choice between
                  prison or a trip abroad.</p>
            </sp>
            <p><!--<stage type="entrance">-->A reporter comes in.<!--</stage>-->
            </p>
            <pb n="39"/>
            <fw type="pageNum">4-1</fw>
            <sp>
               <speaker>REPORTER</speaker>
               <p>Chief, can you tell me just where the Barbary women are going?</p>
            </sp>
            <sp>
               <speaker>CHIEF</speaker>
               <p>Hell no. How should I know. Some of ‘em will be arraigned and sent down to the
                  prison -- others deported as undesirables.</p>
               <stage type="delivery">(scowling at reporter)</stage>
               <p>The Reform administration and that fellow Storm is runnin’ things in Frisco.
                  They’re bellowing to clean ‘em all out and that’s what I’m goin’ to do.</p>
            </sp>
            <!--<stage type="exit">--><p>The Police and reporters leave.</p><!--</stage>-->
            <p><!--<view>-->If can be done, show the squads of police forming from various stations and
                  starting for the Barbary Coast. Show every Black Maria (old patrol wagons) pressed
                  into service, and with sirens blowing, racing through the streets. (These were
                  horse drawn, by the way.)<!--</view>-->
            </p>
            <!--<wea:slugline>--><view>THE SHANTY</view><!--</wea:slugline>-->
            <p><!--<stage type="business">-->Lily has turned from the bar to spread a blanket over Magda,
                  who is lying on a cot back of the bar. Magda looks at her gratefully.<!--</stage>-->
            </p>
            <sp>
               <speaker>MAGDA</speaker>
               <p>You’re awful good to me, Lil.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>I’m just tryin’ to get you well before Big Dan gets back.</p>
            </sp>
            <sp>
               <speaker>MAGDA</speaker>
               <stage type="delivery">(Wistfully)</stage>
               <p>Most girls like you wouldn’t touch a girl like me. </p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>I’d like to know why not. Guess <note><choice>
                        <sic>You’re</sic>
                        <corr>you’re</corr>
                     </choice></note> as good as I am.</p>
            </sp>
            <sp>
               <speaker>MAGDA</speaker>
               <p>Oh no I’m not -- Lil. You oughtn’t to be here. You’re a good girl and you know
                  what we all are down here. </p>
            </sp>
            <pb n="40"/>
            <fw type="pageNum">4-2</fw>
            <sp>
               <speaker>LILY</speaker>
               <stage type="delivery">(Fiercely)</stage>
               <p>I hate <emph>good</emph> people. There!</p>
            </sp>
            <p><!--<stage type="business">-->She bends down and kisses Magda, drawing up the cover and
                  patting her shoulder at the same time.<!--</stage>-->
            </p>
            <p><!--<stage type="novelistic">-->As she turns back to the bar and looks through the murky
                  smoke, beyond where the dancers are moving to the music she sees the man who has
                  come in unnoticed, and is looking about him, as though searching for someone. Lily
                  recognizes him at once. Roger Storm. Her whole manner, which has been tender and
                  gentle but a moment before when she ministered to Magda, becomes stiff and <note><choice>
                        <sic>beligerant</sic>
                        <corr>belligerent</corr>
                     </choice></note>.<!--</stage>-->
               <!--<stage type="business">-->Roger sees her, and comes up before the bar.<!--</stage>-->
            </p>
            <p><!--<stage type="business">-->Lily bursts out laughing, almost in his face. Then her hands
                  on her hips, she says:<!--</stage>-->
            </p>
            <sp>
               <speaker>LILY</speaker>
               <p>Here we are again! What will our angel child have?</p>
            </sp>
            <p><!--<stage type="business">-->Roger does not answer and Lily dips down under the bar and
                  brings up a bottle of milk. She solemnly pours a glass and proffers it to him. He
                  ignores it. His somewhat stern, somewhat sad glance is pinned intently upon the
                  girl.<!--</stage>-->
            </p>
            <sp>
               <speaker>ROGER</speaker>
               <p>I have come here on a special mission.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Is that so?</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>To give you an opportunity to leave this place -- before it is too late. I will
                  take you with me.</p>
            </sp>
            <pb n="41"/>
            <fw type="pageNum">4-3</fw>
            <sp>
               <speaker>LILY</speaker>
               <p>Do you hear that now? This swell gent -- invites me to go away with him. Ha, ha --
                  That’s a good joke!</p>
            </sp>
            <p><!--<stage type="business">-->Magda raises herself from cot, and clinging to edge of bar
                  stands beside Lily, trying to join in laugh, but breathless with asthma and
                  impending hemorrhage.<!--</stage>-->
            </p>
            <sp>
               <speaker>MAGDA</speaker>
               <p>Who is he? Who’s your swell friend, Lil. I never seen him before.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>You’d be surprised who he is. Sure you never saw him before. <emph>He</emph> don’t
                  belong to Barbary. He’s from Mrs. Tibbett’s exclusive home for refined gents and
                  ladies.</p>
               <p><stage type="business">She laughs with angry scorn.</stage>
               </p>
            </sp>
            <view>CUT TO THE STREET.</view> 
            <p>Show the outsides of a row of houses with red lights above
                  the doors. The police come into the scene.</p>
               <p>Show in dissolve shots -- or whatever kind of shots are right -- things like this:
                  A Policeman’s heavy fist, hammering upon a door -- At another house: A Policeman’s
                  shoulder pushing against door. The rat rat tat and thump of a pounding cop’s
                  billy. A scream from within one house. A smashed down door. A shot. Loud voices
                  raised in scream and protest. The heavy snarl of others. The police shouting
                  orders. The sound of a Black Maria siren.</p>
<!--            </view>-->
            <!--<wea:slugline>--><view>BACK TO THE SHANTY</view><!--</wea:slugline>-->
            <p><!--<stage type="setting">-->Lily is still at the bar. She is addressing the man <note><choice>
                        <sic>nextin</sic>
                        <corr>next in</corr>
                     </choice></note> line to Roger, but Roger has not stirred an inch nor made room
                  for the other man.<!--</stage>-->
            </p>
            <pb n="42"/>
            <fw type="pageNum">4-4</fw>
            <sp>
               <speaker>LILY</speaker>
               <p>What’ll you have? Gin?</p>
            </sp>
            <p><!--<stage type="business">-->She reaches for bottle.<!--</stage>--></p>
            <sp>
               <speaker>ROGER</speaker>
               <p>I think if you realized how serious this thing was you would not hesitate.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>What? Are you still here! What’re you waitin’ for.</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>I’m waiting for you.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Why should you bother your little head about <emph>me</emph>?</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>Because -- you are so young -- and because I am to blame for <note><choice>
                        <sic>you’re</sic>
                        <corr>your</corr>
                     </choice></note> being here.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Guilty conscience, huh?</p>
               <p><stage type="business">Her eyes flash. Then she laughs scornfully.</stage></p>
            </sp>
            <p><!--<stage type="entrance">-->The big doors of the place are thrust open and a breathless
                  Chinaman -- Chum Lee -- scuttles in. He darts between the tables directly to the
                  bar. He is so excited that he lapses into almost unintelligible Chinese.<!--</stage>-->
            </p>
            <sp>
               <speaker>LILY</speaker>
               <p>What’s all the excitement, Chum Lee. Spracken see English. Me no understandee
                  Chinee --</p>
            </sp>
            <sp>
               <speaker>CHUM LEE</speaker>
               <p>Missee Lily, allee samee copper he take all white girliee -- comee down stleet
                  side damn click. Chum Lee hear him takee all ladies on boat side.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>I don’t know what you’re talkin’ about.</p>
            </sp>
            <pb n="43"/>
            <fw type="pageNum">4-5</fw>
            <sp>
               <speaker>MAGDA</speaker>
               <p>Oh Lily -- I’m terribly afraid.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>What of?</p>
            </sp>
            <sp>
               <speaker>MAGDA</speaker>
               <p>I don’t know. Everything. Just look at Chum Lee. I never seen him excited like
                  that before.</p>
            </sp>
            <p><!--<stage type="business">-->Lily stares hard at Chum Lee. She leans across the bar
                  thinking a moment.<!--</stage>--></p>
            <sp>
               <speaker>ROGER</speaker>
               <p>I tried to warn you --</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Say -- I’m busy -- thinking.</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>This place is doomed. I want to help you to get away. I --</p>
            </sp>
            <p><!--<stage type="setting">-->The dancing has stopped. Even the pianist is playing only in
                  jerks. Chum Lee is running from group to group. His excitement and terror has
                  become infectious.<!--</stage>-->
               <!--<stage type="business">-->One of the toughs opens the door and looks out.<!--</stage>-->
               <sound>We hear the sirens.</sound>
            </p>

            <!--<wea:slugline>--><view>THE STREET</view><!--</wea:slugline>-->
            <!--<stage type="setting">-->
               <p>A scene beggaring description.</p>
               <p>Herded along like cattle a tumbling parade of the Barbary coast prostitutes. They
                  are all manner and kind -- some dressed -- other in undress -- some half naked.
                  Some go screaming shrilly. Some go tamely; some fight and dispute every inch of
                  the way with the police. Terrified Madams are hustled along with their women.</p>
               <!--hand="#WE-pencil1" -->
               <note type="annotation" place="margin right">No ramping of police - this is no longer
                  a comedy</note>
               <p>Some are hustled into the Black Maria, but most of the women are herded along
                  afoot.</p>
               <pb n="44"/>
               <fw type="pageNum">4-6</fw>
               <p>Crowds of people surge around them, but the police clear a passage in the centre
                  of the street, and hold back the crowds behind the lines of ropes.</p>
            <!--</stage>-->
           <!-- <view>--><p>Another part of street. Near the entrance to Barbary.</p><!--</view>-->
            <!--<stage type="business">--><p>Dan Mooney stands bewilderedly listening to the sounds of the
                  Police alarms and the shouts in the streets. A policeman hurries by, swinging his
                  club. Dan calls to him.</p><!--</stage>-->
            <sp>
               <speaker>DAN</speaker>
               <p>Heh! Jim! What’s it all about?</p>
            </sp>
            <sp>
               <speaker>JIM</speaker>
               <p>Don’t you know? It’s the break. The word’s come from the high-ups and we’re
                  cleanin’ up the whole of the Barbary. There won’t be a dive left by the time we
                  get through.</p>
            </sp>
            <!--<stage type="business">--><p>Dan takes this big. He makes a dive forward, with the enraged
                  roar of a baited bull.</p><!--</stage>-->
            <sp>
               <speaker>JIM</speaker>
               <p>Better keep out of this. Your place is slated to be wiped out.</p>
            </sp>
            <sp>
               <speaker>DAN</speaker>
               <p>To hell with my place! I’ve got a gal there -- Lemme by -- I got to get my gal --
                  my Lil -- She don’t belong there.</p>
            </sp>
          <!--  <view>-->
               <p>We see him beating his way through the dense crowds. He gets into the very thick
                  of the mob but is unmindful of anything and anyone. His one thought is to reach
                  his place, and his arms sweep out on either side, like a great swimmer.</p>
               <p>Show, pressing in through the mob, and getting nearer and nearer to the frantic
                  Dan, the two gunmen we had seen at Tweedy’s.</p>
               <p>We are now in the street where the Shanty shows at the end -- with its new winking
                  electric lights. Dan is muttering and shouting <pb n="45"/>
                  <fw type="pageNum">4-7</fw> now, beside himself with frenzy.</p>
            <!--</view>-->
            <sp>
               <speaker>DAN</speaker>
               <p>Lil! Lil! My gal! My gal!</p>
            </sp>
            <!--<stage type="business">-->
               <p>The big gunman makes a violent push ahead of him. He holds Dan’s progress while
                  the little dip slips up alongside him. We see the flash of a knife and a moment
                  later, the point of the knife, just before it is stuck into Dan Mooney’s side. We
                  see Dan sway from side to side. The man who has stabbed him drops behind in the
                  mol mob and the big gangster disappears too.</p>
               <p>Dan, pressing his hand <note><choice>
                        <sic>toohis</sic>
                        <corr>to his</corr>
                     </choice></note> side, goes blindly staggering on.</p>
            <!--</stage>-->
            <!--<wea:slugline>--><view>BACK TO THE SHANTY</view><!--</wea:slugline>-->
            <p><!--<stage type="setting">-->A state of panic exists here. The people are scurrying in every
                  direction. They rush toward the bar or shrink back against the wall.<!--</stage>-->
               <!--<stage type="business">-->Lily leaps upon the bar.<!--</stage>-->
            </p>
            <sp>
               <speaker>LILY</speaker>
               <p>What’s the matter with you all? What’re you all afraid of?</p>
            </sp>
            <sp>
               <speaker>A GIRL</speaker>
               <p>Don’t you hear the police comin’?</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Well what of it? Probably raidin’ some place. They won’t touch us. We’re
                  protected.</p>
            </sp>
            <p><!--<stage type="entrance">-->The doors are burst open and through them Big Dan
                  staggers.<!--</stage>-->
               <!--<stage type="business">-->His arms are still moving automatically like those of a
                  swimmer as he makes his way through the people in his place. He is roaring as he
                  comes:<!--</stage>-->
            </p>
            <sp>
               <speaker>DAN</speaker>
               <p>Lil! Lil! The coppers are on the way! Don’t let ‘em in! Don’t let em in!</p>
            </sp>
            <pb n="46"/>
            <fw type="pageNum">4-8</fw>
            <p><!--<stage type="business">-->He collapses against the bar, holding himself erect. There is
                  a rush upon the doors. Chairs and tables are piled before them as a barricade.
                  Lily does not realize yet that Dan is hurt. All she knows is that they have been
                  betrayed. She whirls around toward Roger and screams as she points to him:<!--</stage>-->
            </p>
            <sp>
               <speaker>LILY</speaker>
               <stage type="delivery">(still standing on bar)</stage>
               <p>It’s his dirty work! Look -- look -- look! Look at him! He’s the skunk who’s been
                  raisin’ hell with the Barbary. Do you know who he is? He’s Mr. Roger Avery Storm,
                  our noble Deputy District Attorney who got his job of Vice Commissioner by
                  promisin’ to wipe us all out.</p>
            </sp>
            <p><!--<stage type="business">-->Her words are inflammatory. Her father is trying to speak --
                  to hold himself up. Magda runs around to his side. We see her snatch a scarf to
                  staunch the blood but Lily is still intent on denouncing Roger.<!--</stage>-->
            </p>
            <sp>
               <speaker>LILY</speaker>
               <p>Show him what we do to squeelers on Barbary Coast. Heh -- Chum Lee -- where’s your
                  knife? Tie him up!</p>
            </sp>
            <p><!--<stage type="business">-->With a squeel, Chum Lee leaps at the back of Roger and catches
                  him in a strangle hold. With a handy rope he binds him hand and foot to the rail
                  of the bar.<!--</stage>-->
            </p>
            <sp>
               <speaker>MAGDA</speaker>
               <p>Lily -- Lily -- Dan’s hurt.</p>
            </sp>
            <p><!--<stage type="business">-->Lily turns -- sees her father. She leaps down from the bar.
                  Her eyes are enlarged with horror as she sees the blood.<!--</stage>-->
            </p>
            <sp>
               <speaker>LILY</speaker>
               <stage type="delivery">(Distractedly)</stage>
               <p>Dan! FATHER!</p>
            </sp>
            <!--<stage type="business">-->
               <p>As she speaks the word -- <q>Father</q>, we see the bound Roger’s reaction. He is
                  straining against his bonds. He realizes the relationship <pb n="47"/>
                  <fw type="pageNum">4-9</fw> between Lily and Dan.</p>
               <p>As Dan collapses to floor, Lily kneels frantically beside him lifting his head in
                  her arms, calling to him.</p>
            <!--</stage>-->
            <sp>
               <speaker>DAN</speaker>
               <stage type="delivery">(Dying)</stage>
               <p>It was -- Tweedy -- double-crossed -- -- his men --- they --- got me.</p>
            </sp>
            <!--<stage type="business">-->
            <p>His head rolls back. Dies.</p>
            <p>Some of the people in the place try
                  to drag Lily from his body. Magda vainly tries to comfort her -- to lead her away.
                  A couple of men lift Dan -- lay him on the cot behind the bar.</p>
               <p>Sobbing, breathlessly, Lily follows. Roger, tied to the bar drags himself around
                  till he is around the side of the bar. Lily sees him.</p>
            <!--</stage>-->
            <sp>
               <speaker>LILY</speaker>
               <p>He was the finest man in the world -- the best father a girl ever had.</p>
            </sp>
            <!--<stage type="business">-->
               <p>Magda draws a cloth over Dan’s face. Lily staggers to her feet. She is leaning
                  against the bar.</p>
            <!--</stage>-->
            <sp>
               <speaker>ROGER</speaker>
               <stage type="delivery">(Hoarsely)</stage>
               <p>I would give my life to undo this night’s work.</p>
            </sp>
            <!--<stage type="business">-->
               <p>The police are pounding upon the door, demanding entrance.</p>
            <!--</stage>-->
            <sp>
               <speaker>LILY</speaker>
               <p>Oh what did we ever do to you that you should persecute us like this? Why do you
                  hate me?</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>Hate you! Lily -- I <emph>love you</emph>!</p>
            </sp>
            <!--<stage type="business">-->
               <p>Lily looks at him like a dazed child.</p>
               <p>The hammering is becoming heavier on the doors.</p>
            <!--</stage>-->
            <pb n="48"/>
            <fw type="pageNum">4-10</fw>
            <sp>
               <speaker>CHUM LEE</speaker>
               <p>Police bleak down doors, Missee Lily.</p>
            </sp>
            <!--<stage type="business">-->
               <p>Lily comes to life with a start. She turns to her people and shouts:</p>
            <!--</stage>-->
            <sp>
               <speaker>LILY</speaker>
               <p>Didn’t you hear Big Dan’s last order? Don’t let the coppers in!</p>
            </sp>
            <!--<stage type="business">-->
               <p>There is a rush to push and seize all manner of articles. Women and men fling
                  their bodies against the doors. Girls flee behind the bars as the doors are
                  crashed down and the police pour through doors and shattered windows.</p>
            <!--</stage>-->
            <p><view>Show the line up of the people caught in the Shanty. All hands are up at the
                  command of the police with their levelled revolvers. Girls are dragged from behind
                  doors and the bar.</view>
               <!--<stage type="business">-->As a policeman seizes Lily, Roger protests.<!--</stage>-->
            </p>
            <sp>
               <speaker>ROGER</speaker>
               <p>Let that girl go.</p>
            </sp>
            <sp>
               <speaker>POLICE</speaker>
               <p>Who the <note><choice>
                        <sic>hell(s</sic>
                        <corr>hell’s</corr>
                     </choice></note> givin’ orders round here?</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>I’m Roger Storm -- deputy District Attorney.</p>
            </sp>
            <sp>
               <speaker>POLICE</speaker>
               <p>And I’m Governor of the State.</p>
            </sp>
            <!--<stage type="business">-->
               <p>He drags Lily off.</p>
               <p>Roger tries vainly to free himself. Chum Lee comes up at the back of him with a
                  raised knife. We get a moment of suspense and then:</p>
            <!--</stage>-->
            <sp>
               <speaker>CHUM LEE</speaker>
               <p>All-light. Me cut im.</p>
            </sp>
            <pb n="49"/>
            <fw type="pageNum">4-11</fw>
            <sp>
               <speaker>CHUM LEE</speaker>
               <p>All light. Me cut ‘im.</p>
            </sp>
            <note type="editorial">Chum Lee’s dialogue is printed twice with slightly different punctuation.</note>
            <!--<stage type="business">-->
               <p>He begins to cut the ropes that bind Roger to bar.</p>
            <!--</stage>-->
            <sp>
               <speaker>CHUM LEE</speaker>
               <stage type="delivery">(Cutting rope)</stage>
               <p>You allee samee likee Missee Lily. You go find her click, heh? All light. Chum Lee
                  go too. She vellee good girl. Big Dan vellee good man. He savee Chum Lee get ‘im
                  head chip chop off. Me glate-ful man.</p>
            </sp>
     <p>Roger almost free. Chum Lee is cutting with maddening slowness.</p>
            <sp>
               <p>Missee Lily fine Lady. Her papa send her Flisco when she little girl. She no sabe
                  what bad girl do.</p>
            </sp>
            <!--<stage type="business">-->
               <p>Roger is free. He makes a bound for the shattered door and is out and into the
                  street. Chum Lee looks after him, he is chuckling, then he looks back, picks up a
                  couple of wraps, and goes slipsloppering along to door and out into street.</p>
            <!--</stage>-->
       <!--     <view>-->
               <p>Cut back to the parade of women.</p>
               <p>They are now under control, and go plodding along. Several Black Marias loaded
                  with the keepers of the dives, the Madams and certain of the women and men.</p>
               <p>We <note><choice>
                        <sic>moving</sic>
                        <corr>move</corr>
                     </choice></note> along the edge of the parade to Chum Lee. No one pays any
                  attention to the Chinamen.</p>
               <p>We pick up Lily. She is walking with Magda. Magda is at the point of exhaustion.
                  She stops to cough. She crouches, and Lily leans above her.</p>
            <!--</view>-->
            <sp>
               <speaker>POLICEMAN</speaker>
               <p>Move on! None of that sob stuff. Move on!</p>
            </sp>
            <pb n="50"/>
            <fw type="pageNum">4-12</fw>
            <sp>
               <speaker>LILY</speaker>
               <p>Can’t you see she’s sick?</p>
            </sp>
            <sp>
               <speaker>POLICEMAN</speaker>
               <p>They’re all playin’ sick. Move on!</p>
            </sp>
            <!--<stage type="business">--><p>Swings his Billy.</p><!--</stage>-->
            <sp>
               <speaker>LILY</speaker>
               <p>You keep your dirty stick off her -- or I’ll brain you -- I will.</p>
            </sp>
            <!--<stage type="business">-->
               <p>Chum Lee sauntering alongside.</p>
               <p>Magda staggers to her feet. The policeman diverted by some other disorder and
                  roaring to the crowds:</p>
            <!--</stage>-->
            <sp>
               <speaker>POLICEMAN</speaker>
               <p>Keep back there! Here youse -- get back!</p>
            </sp>
            <sp>
               <speaker>CHUM LEE</speaker>
               <p>Missee Lily ---</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Chum Lee! Where’re they takin’ us Chum Lee?</p>
            </sp>
            <!--<stage type="business">-->
               <p>Chum Lee wraps cape over Lily’s shoulder. He makes a wry face of distaste as Lily
                  takes it off and puts it around Magda.</p>
            <!--</stage>-->
            <sp>
               <speaker>CHUM LEE</speaker>
               <p>All light.</p>
            </sp>
              <!-- <stage type="business">-->
               <p>He unwraps from under his coat a woolen knitted scarf or another wrap and puts
                  it on Lily.</p>
               <!--</stage>-->
            <sp>
               <p>You ketchee cold if you no wear coat.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Where are we goin’? What are they going to do with us?</p>
            </sp>
            <sp>
               <speaker>CHUM LEE</speaker>
               <p>All samee go on boatside.</p>
            </sp>
            <pb n="51"/>
            <fw type="pageNum">4-13</fw>
            <sp>
               <speaker>LILY</speaker>
               <p>They can’t -- they can’t send us away! We’ve got rights! I’m an American!</p>
            </sp>
            <sp>
               <speaker>CHUM LEE</speaker>
               <stage type="delivery">(Shrugging)</stage>
               <p>All light. No go on boat -- go plison. All samee velly bad.</p>
            </sp>
          <!--  <view>-->
               <p>Cut to Roger. He is going up and down the lines of women, vainly trying to look
                  into their faces. It is quite dark in the street. Some of the women are muffled in
                  capes. He is jostled and hustled here and there. No one seems to recognize him. He
                  comes up alongside Lily. He starts to run toward her, calling her name.</p>
            <!--</view>-->
            <sp>
               <speaker>ROGER</speaker>
               <p>Lily! Lily!</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Guess I’m hearin’ things. Thought I heard someone calling my name.</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>Lily!</p>
            </sp>
<!--            <view>-->
               <p>He is beside her now. The flare from a gas lamp illuminates her face for a single
                  moment and as they move along, they pass through alternate shadow and light.</p>
            <!--</view>-->
            <sp>
               <speaker>LILY</speaker>
               <p>Oh, what do you want now?</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>I want <emph>you</emph>, Lily.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Don’t make me laugh, I’m too tired.</p>
            </sp>
            <!--<stage type="business">-->
               <p>He takes her arm, walks with her.</p>
            <!--</stage>-->
            <pb n="52"/>
            <fw type="pageNum">4-14</fw>
            <sp>
               <speaker>ROGER</speaker>
               <p>I love you.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <stage type="delivery">(Wrestling her arm free)</stage>
               <p>I suppose that’s your idea of a joke.</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>It’s God’s truth.</p>
            </sp>
            <!--<stage type="business">-->
               <p>A policeman interposes.</p>
            <!--</stage>-->
            <sp>
               <speaker>POLICEMAN</speaker>
               <p>We can’t allow you to walk with them women.</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>But there’s been a mistake. This girl doesn’t belong here.</p>
            </sp>
            <sp>
               <speaker>POLICEMAN</speaker>
               <p>Tell it to the marines.</p>
            </sp>
            <!--<stage type="business">-->
               <p>He pushes Roger away from the girls.</p>
            <!--</stage>-->
          <!--  <view>-->
               <p>We show at intervals Roger coming up to them, and driven back. Each time we hear
                  him imploringly:</p>
               <sp>
                  <speaker>ROGER</speaker>
                  <p>I love you! I love you!</p>
               </sp>
               <p>Lily’s reaction is at first scornful, stony, but very gradually we see she is
                  beginning to break.</p>
               <p>Roger is again at her side. She is almost ready to drop with exhaustion. He puts
                  his arm about her -- walks with her. Lily allows this only for a moment, and we
                  see her face, etched like a cameo, with its suffering, exalted look. Then:</p>
            <!--</view>-->
            <sp>
               <speaker>LILY</speaker>
               <p>I can walk alone. I don’t need your help.</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>But I want to help you. I want to atone -- <pb n="53"/>
                  <fw type="pageNum">4-15</fw> to show in some way what is in my heart.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Then help Magda. She needs help more <note><choice>
                        <sic>then</sic>
                        <corr>than</corr>
                     </choice></note> I do.</p>
            </sp>
            <!--<stage type="business">-->
               <p>Roger puts his arm around Magda, leads her along. Magda’s head rolls against his
                  breast. He tries to put out his hand to reach Lily too. He finds her hand.</p>
               <p>A voice, bellowing in the darkness:</p>
            <!--</stage>-->
            <sp>
               <speaker>POLICEMAN</speaker>
               <p>Heh you! What are you doin’ with them women. Break away -- break away --</p>
            </sp>
            <!--<stage type="business">-->
               <p>He pulls Lily from Roger and shoves Magda along.</p>
               <p>The crowd surges on. The girls are lost from sight.</p>
            <!--</stage>-->
            <!--<wea:slugline>--><view>POLICE HEADQUARTERS</view><!--</wea:slugline>-->
            <!--<stage type="entrance">-->
               <p>Roger comes in -- hurries to the desk.</p>
            <!--</stage>-->
            <sp>
               <speaker>CHIEF</speaker>
               <p>How do Mr. Storm. Well -- now I hope <note><choice>
                        <sic>yu’re</sic>
                        <corr>you’re</corr>
                     </choice></note> damned pleased with this night’s work, as we are.</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>Chief -- how can I get a woman released?</p>
            </sp>
            <sp>
               <speaker>CHIEF</speaker>
               <p>You mean one of them Barbary women?</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>No. She didn’t belong there. She was taken along by mistake.</p>
            </sp>
            <sp>
               <speaker>CHIEF</speaker>
               <stage type="delivery">(Scratching chin)</stage>
               <p>Well that’s damn funny. The police orders were to confine all arrests to the
                  Barbary.</p>
            </sp>
            <pb n="54"/>
            <fw type="pageNum">4-16</fw>
            <sp>
               <speaker>ROGER</speaker>
               <p>Her father kept a place there -- the Shanty.</p>
            </sp>
            <sp>
               <speaker>CHIEF</speaker>
               <p>Big Dan! You’re talkin’ of his gell?</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>Yes. They’re <note><choice>
                        <sic>drivin’her</sic>
                        <corr>drivin’ her</corr>
                     </choice></note> along -- an innocent girl -- drivin’ her along with that herd
                  of prostitutes.</p>
            </sp>
            <sp>
               <speaker>CHIEF</speaker>
               <p>Thought she was livin’ safe up in Frisco.</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>So she was ‘till I -- it doesn’t matter. How can I get her free?</p>
            </sp>
            <!--<stage type="business">-->
               <p>The Police writes an order, hands it to him.</p>
            <!--</stage>-->
            <sp>
               <speaker>CHIEF</speaker>
               <p>Take that to the <q>C</q> wharfs. Most of ‘em are bein’ held there.</p>
            </sp>
            <!--<stage type="business">-->
               <p>Storm seizes the pass, as he is going out the Chief calls after him.</p>
            <!--</stage>-->
            <sp>
               <speaker>CHIEF</speaker>
               <p>Hear about Big Dan? They got him. He was a bad egg, and the world’s well rid of
                  him.</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <stage type="delivery">(stopping)</stage>
            </sp>
<!--            <stage type="business">-->
               <p>Repeats Lily’s words:</p>
            <!--</stage>-->
            <sp>
               <p>He was a fine man -- the best father a girl ever had.</p>
            </sp>
         </div>
         <div type="sequence" n="5">
            <head>Sequence V.</head>
            <p>This is to be at dawn. It is at the docks. In the misty, foggy, grey San Francisco
               atmosphere. We see dimly the huge hulks of the shipping in the harbor. As the scene
               proceeds, very gradually we get the effect of the rising sun.</p>
            <p>In the fog and mist we see the dim forms of the milling throng of prostitutes. They
               are now completely subdued. No screams or cursings or protests. Like dumb, driven
               cattle they are held in a sort of wharf that projects out to the ship ways.</p>
            <p>The iron gates hold a few friends on the other side. We see faces pressed against the
               bars. Gifts and packages are thrust through the bars. Someone asks one of the guards:
                  <q>Where are they sending these women?</q> The reply comes roughly: <q>China,
                  Australia, New Zealand and South America -- sending them all over the
               world!</q></p>
            <p>Cut to one side of the wharf. Sitting on a bench is Magda. She is doubled over,
               leaning with her head on her arms upon her knee. Kneeling beside her is Lily.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>Feelin’ any better now, Magda?</p>
            </sp>
            <sp>
               <speaker>MAGDA</speaker>
               <stage>(raising her head with effort)</stage>
               <p>Sure, I’m fellin’ fine. It’s great -- to be able to sit down after that long
                  walk.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Once we get aboard ship things’ll be easier.</p>
            </sp>
            <p>Cut to the outside of the wharf. It is still quite dark and the San Francisco mist
               hangs heavily over the huddled figures against the grilled gates. We can hear the
               depressing moan of fog sirens. --<pb n="55"/>
               <fw type="pageNum">55</fw> The long distant moan of a <choice><sic>buouy</sic><corr>buoy</corr></choice> is heard.</p>
            <p>Into this scene comes Roger. He makes his way through the crowds. He goes to the
               bars.</p>
            <p><view>BACK</view> to Lily and Magda. Magda grasps Lily’s hand tightly:</p>
            <sp>
               <speaker>MAGDA</speaker>
               <p>Lily -- look! See that man’s face? He looks like ---</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Where?</p>
            </sp>
            <sp>
               <speaker>MAGDA</speaker>
               <stage>(pointing)</stage>
               <p>Over there.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>I’ll be right back. Maybe he can do something for you.</p>
            </sp>
            <p>We intercut to Roger and Lily. Lily comes within a few paces of where he is at the
               bars and then she stops short, drawing her shawl closer about her. Through the Mist
               they look at each other.</p>
            <sp>
               <speaker>ROGER</speaker>
               <stage>(with a note of questioning joy in voice)</stage>
               <p>Lily? -- Lily! --</p>
            </sp>
            <p>Step by step she goes nearer to him.</p>
            <sp>
               <speaker>ROGER</speaker>
               <p>Look -- I’ve the pass for you. You’ll be free in a minute!</p>
            </sp>
            <p>Lily says nothing but her face is ethereal and wistful. Roger calls to a guard. The
               latter comes to the gates and peers through.</p>
            <sp>
               <speaker>ROGER</speaker>
               <p>I’m Storm, Deputy District Attorney. Here’s an order from headquarters.</p>
            </sp>
            <pb n="56"/>
            <fw type="pageNum">56</fw>
            <sp>
               <speaker>GUARD</speaker>
               <p>I can’t let you in but I’ll get the girl.</p>
            </sp>
            <p>Roger gives him the pass. It is becoming gradually lighter and the mist is
               lifting.</p>
            <p><view>Cut Back</view>
               <!-- ENGL501A:  not capitalized in the copytext like in the next instance -->to Magda
               and Lily. Magda has had a fit of coughing and Lily is looking at her very
               strangely.</p>
            <sp>
               <speaker>MAGDA</speaker>
               <p>I think I’m going to die, Lil.</p>
               <stage>(coughs)</stage>
               <!-- ENGL501A:  should this be a stage direction, a sound, or something different? -->
               <p>Oh, if <emph>only</emph>I could see my mother once again.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Have you a mother, Magda?</p>
            </sp>
            <sp>
               <speaker>MAGDA</speaker>
               <p>Yes -- she lives outside of Sacramento</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>I never had a mother. She died when I was born. -- It must be grand to have one
                  --</p>
            </sp>
            <sp>
               <speaker>MAGDA</speaker>
               <p>Not when you’re one of my kind. <stage>(she sighs heavily)</stage></p>
            </sp>
            <p>Her eyes have a long, bright look as though she were recalling well remembered dear
               ones.</p>
            <sp>
               <speaker>MAGDA</speaker>
               <p>You know, Lil -- my folks thought I had a swell job in Frisco. I was puttin’
                  through school my little brother and I sent home nearly every dollar I earned.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Mebbe you’ll see them again soon.</p>
            </sp>
            <sp>
               <speaker>MAGDA</speaker>
               <p>No -- they’re sending us all off to the other end of the world. They don’t want
                  our kind in Frisco.</p>
            </sp>
            <pb n="57"/>
            <fw type="pageNum">57</fw>
            <p>In a loud, sing-song voice, the guard is calling: <q>LILY MOONEY</q>.</p>
            <sp>
               <speaker>LILY</speaker>
               <stage>(Gently)</stage>
               <p>Someone’s calling me, Magda.</p>
            </sp>
            <p>She puts her arms around Magda as if to bid her ‘goodbye’. And then stands up. We see
               that she is crying. She dashes the tears away -- puts up her hand and calls to the
               Guard:</p>
            <sp>
               <speaker>LILY</speaker>
               <p>What -- what’s the name?</p>
            </sp>
            <p>The guard comes up.</p>
            <p><view>CUT BACK</view> to Roger waiting in eager impatience by the gate and then
               immediately back to the Guard as he says to Lily:</p>
            <sp>
               <speaker>GUARD</speaker>
               <p>An order for Lily Mooney to be released.</p>
            </sp>
            <p>Lily looks at the order then her glance wavers back toward Magda, crouching on the
               floor, her head upon her arms on the box. Lily smiles radiantly:</p>
            <sp>
               <speaker>LILY</speaker>
               <p>She’s all ready -- and say, mister -- be gentle with her, will you?</p>
            </sp>
            <p>She shoves some money into his hand --</p>
            <sp>
               <p>She’s <!-- ENGL501A: fixed a capital H in the word, does this need to be noted?-->
                  a sick girl.</p>
            </sp>
            <p>She comes back to Magda and, kneeling beside her, whispers:</p>
            <sp>
               <speaker>LILY</speaker>
               <p>Magda -- they’re goin’ to take you away.</p>
            </sp>
            <p>Magda starts up:</p>
            <sp>
               <speaker>MAGDA</speaker>
               <p>Where -- what do you mean, Lil!?</p>
            </sp>
            <pb n="58"/>
            <fw type="pageNum">58</fw>
            <sp>
               <speaker>LILY</speaker>
               <p>Don’t ask any questions -- just go. I guess one of Big Dan’s friends has pulled
                  some wires to get you free.</p>
            </sp>
            <p>The guard has taken Magda by the arm and is leading her along. Magda turns her head
               back. The women come around her. We hear them exclaiming: <q>Where you goin’? -- How
                  did you get out? -</q>, etc.</p>
            <sp>
               <speaker>MAGDA</speaker>
               <stage>(To Lily who stands still like one in a trance)</stage>
               <p>Oh -- I don’t want to go without you!</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Don’t worry about me -- I’ll be along soon --</p>
            </sp>
            <p><view>CUT NOW TO ROGER</view> and show the guard coming out of the gate. Magda is
               wrapped about in the wrap. Roger goes eagerly to her, saying:</p>
            <sp>
               <speaker>ROGER</speaker>
               <p>Lily!</p>
            </sp>
            <p>Magda staggers a few paces, Roger grasps her, puts back the shawl and in the misty
               light he sees the girl’s face. The effect on him is electrical. He lets go of Magda
               and bounds toward the gates shaking them and shouting:</p>
            <sp>
               <speaker>ROGER</speaker>
               <p>Guard! Hi there -- Guard! There’s a mistake -- you’ve sent out the wrong girl!</p>
            </sp>
            <p>But the Guard is busy now and with others, is driving the women along toward the
               gang-plank. Roger’s outcries make no impression upon them for there are a score of
               other people calling to their women.</p>
            <p>The scene is now clear light and the great hulk of a vessel is silhouetted against
               the gradually sun-lighted sky.</p>
            <p>The glory of an immense sun-rise shows across the horizon<pb n="59"/>
               <fw type="pageNum">59</fw> above the golden gate. In the gilded mist the shadowy
               figures of the women go one by one (in line) up the gang-plank aboard the ships.</p>
            <p><view>CUT BACK</view>to the frantic Roger. He is ready to tear the gates down. We
               hear the boom of the ship and we <view>FADE OUT</view> on the moving ships as they
               disappear across the bay.</p>
         </div>
         <div type="sequence" n="6">
            <pb n="60"/>
            <fw type="pageNum">60</fw>
            <head>Sequence VI</head>
            <p>A semi-tropical country.<!-- ENGL501A: tag this as a slugline--> We show a resort of
               the sort not unsimilar to the SHANGHAI LADY but on a much smaller scale. A murky,
               sultry, dopy atmosphere.</p>
            <p>All the <sic>flotsaam</sic> and <sic>jetsaam</sic> from the four corners of the world
               have drifted upon this distant shore. A party of tourists are at a table on the
               veranda. A man in white duck comes on quietly and takes a seat at a table. He looks
               about the place and motions away a girl who comes to serve him. At the tourists’
               table they are whispering snatches of his history. He is Roger Storm, once a very
               famous official of San Francisco who threw up his whole career to wander around the
               world to try and find a girl who had been sent away with the women of the Barbary
               Coast. The remark is passed that he might as well try to find a needle in a
               hay-stack. A Chinaman comes out. He shuffles across to Roger’s table and in a
               sing-song voice names a number of the drinks. Roger looks up. He stares at Chum
               Lee.</p>
            <sp>
               <speaker>ROGER</speaker>
               <p>I’ve seen you before -- where?</p>
            </sp>
            <sp>
               <speaker>CHUM LEE</speaker>
               <p>Allight --</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>The Barbary Coast! -- Big Dan’s place! You were the Chinaman who set me free!</p>
            </sp>
            <sp>
               <speaker>CHUM LEE</speaker>
               <p>Allight --</p>
            </sp>
            <p>Roger is prey to a deep emotion. He continues to stare at the Chinaman who shuffles
               back into the house. Roger looks after him<pb n="61"/>
               <fw type="pageNum">61</fw> then stands up and moves toward door.</p>
            <view><emph>INSIDE</emph></view>
            <p>Chum Lee is hurrying across the room, scurrying between tables. Show the back of a
               girl standing by a latticed window. She is gazing out listlessly. She turns her head.
               Chum Lee hurries up to her and as she turns her head we see she is Lily.</p>
            <sp>
               <speaker>CHUM LEE</speaker>
               <p>Misee Lily -- him come! Him come! Mr. Loga Sloam. Him outside!</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <stage>(hoarsely)</stage>
               <p>He mustn’t see me!</p>
            </sp>
            <sp>
               <speaker>CHUM LEE</speaker>
               <p>Allight.</p>
            </sp>
            <p>Roger is coming in at the door.</p>
            <sp>
               <speaker>LILY</speaker>
               <stage>(to Chum Lee)</stage>
               <p>Get me a bottle of something, quick!</p>
            </sp>
            <p>She slouches into a seat and assumes the pose of a woman in the last stages of
               demoralization. As soon as Chum Lee sets bottle and glass before her, she starts to
               drink. She lights cheroot and puffs upon it slowly. Roger moves through the place
               looking at the women -- searching vainly for that well remembered face. He comes up
               at the back of Lily and we see him stand stock still. Despite her pose there is no
               mistaking -- that blonde head. With a swift movement he comes directly around in
               front of her. Lily’s half closed eyes lift drowsily. They sweep him without the
               slightest light of recognition. She pours herself another drink. He pulls<pb n="62"/>
               <fw type="pageNum">62</fw> out the chair in front of her and sits. He cannot speak
               because of emotion but continues to look at her as he grips the side of the table
               with his clinched hand. Lily’s mouth twitches sideways in a half-drunken laugh.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>‘Hello, dearie --</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>Lily!</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>Hello!</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>Don’t you remember me?</p>
            </sp>
            <p>Lily looks at him drowsily and shakes her head. She says irritably:</p>
            <sp>
               <speaker>LILY</speaker>
               <p>How’d oo expect a girl remember -- so -- many men -- men -- notin’ but -- men --
                  men --</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>But Lily -- look at me dear -- surely you have not forgotten -- Barbary Coast.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <stage>(violently)</stage>
               <p>The hell with Barbary Coast --</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>I’ve gone up and down the world looking for you everywhere --</p>
            </sp>
            <p>Lily goes on drinking -- her head is nodding drowsily.</p>
            <sp>
               <speaker>ROGER</speaker>
               <p>Lily -- Lily -- ! Look at me -- look - look!</p>
            </sp>
            <p>Lily’s head goes lower as though she were too drunk to raise it.</p>
            <pb n="63"/>
            <fw type="pageNum">63</fw>
            <sp>
               <speaker>LILY</speaker>
               <p>Want another drink --</p>
            </sp>
            <p>Her hand shakes as she pours it.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>Go on away -- don’t bosher me --</p>
            </sp>
            <p>Roger reaches across, tries to take her hand. Lily opens her hand, palm up --</p>
            <sp>
               <speaker>LILY</speaker>
               <p>Payin’ me in advansh?</p>
            </sp>
            <p>Roger is revolted. He stands up. His heart is breaking. Lily seems oblivious of
                  his<sic>exictance</sic>. He moves to the door. He goes out. A pause and then we
               see Lily raise her head and we get a flash of the girl’s anguished face. Chum Lee is
               right beside her.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>Chum Lee --</p>
            </sp>
            <sp>
               <speaker>CHUM LEE</speaker>
               <p>Allight --</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>We must get away from here right away.</p>
            </sp>
            <sp>
               <speaker>CHUM LEE</speaker>
               <p>Allight --</p>
            </sp>
            <p>He patters across the floor. Lily’s head drops upon her arms at the table.</p>
            <p><view>Cut</view> to the veranda and show Chum Lee coming out. He goes to Roger who is
               just about to leave.</p>
            <sp>
               <speaker>CHUM LEE</speaker>
               <p>Missee Lily, she cly inside, mebbee she like see you face -- allight.</p>
            </sp>
            <p>Roger takes this in. He turns back and in a flash is at the door.</p>
            <pb n="64"/>
            <fw type="pageNum">64</fw>
            <p>He strides across to Lily’s table and stands for a moment looking down at that bowed
               head, then, forcibly, he lifts her to her feet, holding her back from him with his
               hands on her shoulders. She makes an effort to release herself but Roger is too
               strong and masterful for her.</p>
            <sp>
               <speaker>LILY</speaker>
               <p>Let me go --</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>Never -- again.</p>
            </sp>
            <sp>
               <speaker>LILY</speaker>
               <p>The likes of you -- and the likes of me --</p>
            </sp>
            <sp>
               <speaker>ROGER</speaker>
               <p>--Were meant for each other. -- I love you.</p>
            </sp>
         </div>
         <trailer>-- The end --</trailer>
      </body>
   </text>
</TEI>