Barbary Coast Treatment

Charles Logue
Identification Number
Document Type

Barbary Coast Treatment



Title by:




Vice King of Barbary Coast
A Prostitute
Deputy District Attorney
His sister
Chairman of the Purity League

Sequence I.

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.
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.
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.
A glib tongued, opulent personage is introducing the next speaker:
Our newly appointed Chairman of the Vice Committee -- our fighting Deputy District Attorney -- ROGER AVERY STORM.
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.
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 -----
2 2
Deafening applause. Roger waits till it subsides and takes a drink of water. We see those on the platform joining in the applause.
When there is a cancerous growth, the surgeon cuts to the root -----
-- and that, my friends, is what we, of the City of San Francisco must do. Barbary Coast is a cancerous growth -----
(cheers and wild clapping)
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.
(deafening applause)
--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.
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 unmistakable underworld types, a huge figure heaves itself aloft. Shaking his great fist at people on the platform Dan Mooney bellows his defiance.
What do yez know of the Barbary coast, ye white handed, white collared dude?
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.
3 3
Yes! What do you know about Barbary Coast?
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: “Put him out!” “Where are the police!” “The hall’s full of gangsters!” “Lets get out!” “We’ll all be killed!” etc.
Big Dan’s one concern is the girl at the back of him. He turns an enraged look upon her.
DAN (In big whisper)
What are yez doin’ here? This ain’t no place for you.
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:
Who is this man?
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:
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.
4 4
Ye lie! Tis a dacent place and my liquor and my women are cleaner than the likes of you.
The police are appearing in the aisles.
Officers -- put that man out! I demand that this hall be cleared of all rowdy elements.
Put me out, heh? There’s not a copper in all of Frisco’ll lay his hand on Big Dan Mooney.
The swells and the reformers are now on their feet. There is the ugly snarling sounds of the underworld people.
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. “Who turned off the light?” “Turn on the light!” “Open those doors!” 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.
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.
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 5 5 from the first.
Roger looks down at the girl. She is standing with her hands on her hips, surveying him with vast defiance and scorn.
Why didn’t you answer Dan Mooney like a man?
I’m not here to bandy words with his kind. My actions will speak for me.
What do you mean by his kind?
The man is notorious ---
You ain’t good enough to wipe his feet on.
And you are a living example of his evil work.
Me? What’s the matter with me?
You appear to be one of his women.
Lily bursts into harsh laughter.
-- from Barbary Coast, no doubt.
Yes -- from Barbary Coast -- and proud of it.
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 whoever is responsible for the degradation of this girl. His voice is husky.
6 6
My poor child -- I would be last to condemn you. The first to try to save you from that unspeakable wretch who ---
LILY (Fiercely)
What wretch?
LILY (Flaming)
Careful how you talk about him! He’s the whitest man in Frisco. --
She casts about for words to describe Dan.
-- he gives me everything I want -- everything -- anything.
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.
Do you realize that you are selling your birthright for a mess of pottage?
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.
Are you all right Mr. Storm?
WOMAN (Suffrage type)
Did you ever hear of such an outrage?
A group of reform types all talking excitedly at once. One of the women suddenly notices Lily. Lily has been standing back, 7 7 sardonically surveying them. Unlike the other women, Lily is bareheaded, or I would have hear wear one of the “Tams”-- knitted or velvet, that were quite popular around that time with girls, but not worn for dress occasions.
Why that’s the girl who -- Mr. Storm -- you weren’t speaking to her, were you?
ROGER (Gravely)
We were -- er -- discussing Barbary Coast.
Lily laughs derisively.
That’s right -- havin’ a nice little friendly chat.
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 to her mouth, she calls:
Goodnight everybody. See you later -- Roger -- dear!

Sequence II.

Residence street of lodging house type. San Francisco. Row of one at houses of middle class, respectable sort. In parlor windows “Room for Rent” signs are prominently or discreetly displayed.
This is a quiet side street lighted by gas lamps. It is about ten o’clock at night.
At opening the street is quiet. Then we hear the clip clop of horses hoofs 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.
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.
Mr. Storm -- ain’t it?
Yes. My secretary told me he had taken rooms for me in your house.
Come right inside.
They step into the hall. Mrs. Tibbett is rubbing her hands. A stairway looms to darker regions above. To the right is a typical 9 2-2 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, “In the Gloaming Oh My Darling.” 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 “God Bless Our Home,”-- “Welcome,” “Let Not our Heart Be Troubled,” etc.1 There is the whatnot stand, and on a marble topped table under glass, a waxed wreath of flowers that once adorned a grave.
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.
It’s such an honor to have you with us, Mr. Storm. I do hope you will stay with us a long time.
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.
As perhaps my secretary told you, I am taking the rooms temporarily, in order to be nearer my work.
Your work is so wonderful!
(Emily coughs)
Oh excuse me. his is Miss Hagen-- our star roomer--
10 2-3
EMILY (Gushing)
But I must make way for a greater star -- now!
Roger, impatient to go to his room, but is polite. He has one foot on stair.
Do let me congratulate you on the marvelous work you are doing.
But I’ve done nothing -- yet.
The papers are just full about you. They say you will clean up the whole city. Ooo! It’s just thrilling!
(Rather shortly)
My activities will be confined merely to Barbary Coast.
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.
Dear Mrs. Tibbett, that was a slip of the tongue. I was merely referring to that girl -- the one I told you about.
Absolutely only respectable and exclusive lodgers are in my house.
She throws a withering glance at Emily, who though crestfallen 112-4 a bit, is glad that she’s given Storm a hint in regard to a certain person.
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.
This will do very nicely, and thank you. --Mrs.--er--Todburt.
Tibbett, sir. And would you like a latch-key?
Oh yes -- certainly. Most of my work will be at night.
Takes latch-key.
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
ROGER (Anxious to be rid of her)
Yes – yes – Goodnight Mrs. Tallert.
She goes out.
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 12 2-5 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?
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!
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.
He goes to his open window. There’s a light in the room above. He hears a girl’s voice. His own speech comes floating down to him -- interspersed with bursts of laughter.
We intercut here. Showing Roger, puzzled and mortified, listening to the mocking take-off of his own speech -- and show the room above.
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:
“I promised you that if appointed, my first act would be the wiping out of that infamous cesspool of iniquity --”
A burst of laughter.
13 2-6
LILY (Shaking her fist)
“--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.”
Roger is puzzled and angry. Who is it who dares to imitate and make fun of his serious mission. He strides to the door and jerks it open. There in the hall is Emily.
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.
Roger is rude, and brushes by herm with a muttered word “What of it?”
-- but he went into that girl’s room.
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.
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.
We-cl! If it isn’t the savior of Barbary Coast himself.
14 2-7
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.
You! What are you doing here?
Just happen to live here – same as you maybe --
But -- you told me -- I thought -- you belonged to -- to
Barbary Coast. I do -- but Big Dan sent me up here to live among you swells --
thought he’d make a lady out of me --
I see --
We-cl! -- what do you want of me?
After a moment, during which he looks at her very intently, he replies:
I want to save you!
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.
But think who I am.
It is never too late --
15 2-8
Even when a girl’s been as bad as me?
I don’t believe you are bad. You are the victim of circumstances.
Sit down -- won’t you.
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.
Oh those mice! The place is overrun with them. I’ll fix that one.
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.
Is it any of your business who’s under my bed?
He does not answer.
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.
I should have known that you can’t make a silk purse out of a sow’s ear.
LILY (Flaming)
Who’s a sow’s ear?
16 2-9
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.
In the hall Roger brushes by the women roughly. Inside Lily, in a stage whisper says to her friends:
Mrs. Tibbett’s out there.
Bella is panic stricken.
What’ll I do? Where’ll I go?
What’ve you got to be afraid of? There ain’t any crime in your being in my room is there?
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.
Is that so. I’m only good enough to see on the sneak , eh? Well, here’s where you -- get!
She pushes Bella to the door, opens it and thrusts her out. Bella, the little sneak , throws her coat over her head and races down the stairs.
Mrs. Tibbett and Emily are still in hall.
-- You said she had a man in her room. That was a girl.
I could take my oath on a dozen bibles that I saw a man go in there.
SAM (Whispering)
Gee! How’m I goin’ to get out of here?
Easy as spitting.
Indicates window giving upon extension roof.
But it’s two stories to the ground.
That’s nothin’. I’d like a dollar for every time I’ve shinnied down that rain pipe.
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.
Why good evening, Mrs. Tibbett. Is it you?
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.
You don’t fool me, you hussy. You got a man hidden in this room!
Well -- of all --
Mrs. Tibbett is looking about her, behind the furniture, under the bed -- everywhere.
You can see for yourself. There isn’t a living soul here.
18 2-11
No? Well, a man was seen going in.
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.
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.
Now, you brazen hussy -- out you go -- out -- into the streets -- where the likes of you belong.
Lily starts to remonstrate, but the woman seems to be swelling to a terrifying height.
This is a house for respectable people only. I ought’ve known better to take a chance on gutter stuff like you.
Gutter, yourself!
There’s the door! Get out before you’re thrown out.
Lay your hands on me and I’ll skin you alive. I’m going -- I wouldn’t spend another night in a dirty hole like this for a million dollars.
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.
19 2-12
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.
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.
Oh, Mr. Storm! You can’t imagine how I feel to think that you should have been insulted and disturbed in this way.
What is it all about? Look at that!
MRS. TIBBETT (Gasping)
The shameless hussy! Well -- we’ve seen the last of her, thank heavin! I threw her out of my house!
You what?
Turned that baggage out into the streets -- the place for the likes of her as I told her.
Good God! But this is monstrous --
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.
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.
Everyone in the house warned me against her. Why the girl herself bragged that she came from the Barbary Coast.
Roger pushes the woman aside.
Let me pass. I don’t want to hear anything more from you.
But Mr Storm --
You’ve done a - a monstrous thing! You’ve turned a young girl out into the vile streets!
He pushes aside, goes out and takes the stairs in a few bounds.
It is a dark night. Vague figures appear at intervals. A street walker paces her beat. A policeman, swinging his billy goes by.
We pick up Lily. She is moving bewilderedly. Pauses hesitantly. She does not know what to do – where to go.
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.
Hello sweetness. Give’s us a kiss.
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 212-14 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.
Let go my arms. How dare you put your hands on me you -- you pious -- hypocrite.
I only want to help you.
(She laughs hysterically)
Have a girl thrown out into the streets heh?
I had nothing to do with that.
Oh no -- of course not! You just only put that old tabby cat up to it.
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.
Where are you going -- Lily?
Lily throws back at him a smile of scorn.
Where do you suppose? I’m going back to where I belong -- that’s where I’m going.
22 2-15
Barbary Coast!
ROGER (Agitated)
No! No! -- you don’t mean that.
He grasps her arm, forces her to look at him.
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.
I’ll show you whether I mean it or not. Come along -- and see for yourself.
You are only saying that to torment me. In spite of everything I believe in you.
LILY (Sharply)
Well you’vll believe in me more when we reach the Barbary.
You’re not going there, you don’t belong there.
(Lily laughs angrily.)
It’s an infamous place!
They are moving along.
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. “Hello Lil!” “Heh Lil-- you back?” “Where’re you goin’ to hang out?” “Say, Big Dan’ll have a fit when he sees you.” etc., etc.
23 2-16
To all the greetings, Lily, now in her element, returns gay greetings. “Hello Em.”--“Ho! Dutchy.”--“Hello Tottie”--“how’s business?”--“Hello Dandy --” --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.
Now -- Mr. Deputy!
ROGER (hoarsely)
I ask you to go back with me. I offer you a new chance in life.
LILY (Laughing with scorn)
I don’t want any other kind of life. I’m on my way --
To perdition.
LILY (Shrugging)
Big Dan’s Shanty is more like heaven to me than the other place.
ROGER (Hoarsely)
It’ll be wiped out with every other will on the Barbary coast within the next month.
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.

Sequence III.

Short time lapse. THE BARBARY COAST
We should get a kaleidoscopic panoramic survey of the entire Coast.
Show first the lower, more sordid streets: Lurking shadows, pimps in doorways, hop heads, drunks, Chinamen,2 scurrying or dragging along through the streets. All the queer types of the Red Light district. Street walkers, Madams, fairies;3 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.
Then show the prosperous part of the Barbary. Gambling halls, saloons, dance hall resorts, houses with kept women, etc. Everything is wide open.
We come finally to the brilliantly lighted front of Big Dan Moony’s saloon and dance hall. A great electric sign blinks out the name of the place:
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 --
Looks as if the Shanty were runnin’ full blast.
Sure thing.
26 3-2
Big Dan’s takin’ a chance all right. Them reformers is out to get him.
Aw, they can’t do a thing to him. He’s got perlice protection and --
-- he’s got friends higher up still. They say the Big Boss is back of him.
Yeh -- Tweedy.
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.
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.
We establish the clientele. Ladies of easy virtue and pronounced types of members of the oldest profession in the world are sitting 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.
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 27 3-3 the instrument to give forth exciting music.
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.
Smoke makes a murky haze above all.
The room reeks with the sultry odor of sweating bodies and stale booze.
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.
We cut to the bar. Serving drinks like an old timer, we discover Lily.
Hello Bill dearie.
Aw shut your mouth.
What’s the matter Bill -- are you mad at me? I ain’t done nothin’.
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?
Well everything’s wide open still.
28 3-4
BILL (Glumly)
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.
They can’t do it. Big Dan’s too powerful. The politicians are feedin’ on his money.
A bit of coughing seizes her. A few couples are dancing on the strip of floor reserved for dancing.
Can’t you cut out that damned barking!
With great effort Magda stops her coughing. She stands up.
Where you goin’ now?
Magda has snapped into an animated mood. She swallows her glass of liquor.
‘m goin’ to show them people how to dance. This ain’t no morgue. I’ll show ‘em how to dance the hoochy coochy.
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.
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.
A Carrie Nation type of woman says aloud:
Let her dance. Nero fiddled when Rome burned!
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.
29 3-5
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.
Didn’t I tell you not to dance tonight!
MAGDA (Breathless)
Everything -- was -- so -- dead -- like a morgue.
So you thought you’d liven things up by killing yourself off, heh?
Magda tries to stop coughing.
Since Big Dan went ---
Never you mind about Big Dan. He can take care of himself -- and others too. Here -- you sit down I say. Another hemorrhage like last night and you won’t be sitting -- you’ll be lying down.
A man is hammering on the bar to attract attention. Lily swings around savagely.
Heh! What’s the matter with you?
The man stares at her with leering admiration, stuffing his thumbs in his belt. He is half drunk. Lily goes behind the bar.
What’ll you have?
The man leans on bar, trying to flirt with her. She glares at him.
‘s all right little one. Didn’t expect to see a pretty like you back there. I was lookin’ for Big Dan --
30 3-6
Big Dan’s not here. I’m runnin’ this joint -- what’ll you have?
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.
Where’d you come from, sweetie? I never seen you before.
My name’s -- not Sweetie.
Haw haw! What is it cuteness?
None of your damn business. Move along!
Have a drink on me -- yeh?
Aw -- move on.
Lily slaps his change down. The man shoves it across to her.
MAN (leering)
Keep it. I’ll see you later.
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.
Hello Joe.
Well I’ll be damned. If it ain’t Lil.
(Speaks to man next to him)
You know Lil--
31 3-7
Why surest thing. Didn’t we all go to school together.
Well, well, just fancy seein’ you down here. How long you been back?
Two weeks.
You look grown up, Lil.
I’m gettin’ along in years. What’ll you have?
Gin and -- What was Big Dan thinkin’ of lettin’ you come back?
Lily hands him his drink.
He couldn’t help himself --
I heard he was keepin’ you in a exclusive part of Frisco -- makin’ a lady out of you.
LILY (fiercely)
I don’t want to be a lady!
No? Should’ve thought you’d jump at the chance.
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.
32 3-8
Hurray! There’s patriotism for you! Let’s drink to it.
Boys lift glasses. Lil does not drink.
Now move along boys -- there’s a line formin’.
Business booming since you came on, Lil.
Thought Big Dan did a pretty rushing business.
ANOTHER FELLOW (crushing his way to notice)
So he did. Say, where’s Big Dan anyway?
LILY (curtly)
Away on business.
Bet it’s something connecting with all this hullabaloo them reform crowd is roarin’ about.
Lily puts his drink down.
They’re out for our hides this time. The papers are full about that fellow Storm.
Lily puts glass down hard. She snorts angrily.
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.
The men agree with her, some of them shouting: “You bet you.” “Sure he is.” “Haw, haw.” “Wait’ll Big Dan gets through with him.” “Someone’s goin’ to drill that fellow one of these dark nights.”
Aw move along. This isn’t a cat club.
33 3-9
Luxurious rooms in San Francisco Hotel.
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.
We intercut back and forth between Tweedy and some political henchman.
Well? How about it.
I been at Police headquarters talking for an hour ---
I don’t give a damn about your talking. What’s doing?
Can’t do a thing. There’s no way of stopping it. The Chief says the whole of Frisco is behind him --
Behind who? What the hell are you talkin’ about?
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.
What about Dan Mooney?
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.
34 3-10
Does he know anything about the raid?
Not a thing. I got the lowdown from headquarters.
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.
TWEEDY (enraged)
Keep back in there till I call you!
The buzzer is ringing in the room. Tweedy picks up the house phone.
Yeh? All right. Send him up.
After a moment there is a knock at the door and Tweedy roars:
Come in.
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.
TWEEDY (Shoving cigars across to Dan)
How are you? Have one.
I’m fine. No -- I’ll not smoke.
What’s on your mind?
I don’t like the complexion of things.
35 3-11
TWEEDY (Thumping on desk)
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.
Well -- I got the money all right -- every dollar in the world I own.
We see the greedy face of Tweedy as his eyes go to the package under Dan’s arms.
I can’t use no checks.
All in currency. Thirty Thousand Dollars, by God.
Tweedy reaches across and takes the money.
TWEEDY (Thickly)
It takes a lot of money to buy off a swell like this deputy Storm.
Suppose he can’t be bought off. Suppose he goes through with what he’s threatenin’.
He ain’t a fool. If things don’t break as I’m tellin’ you -- why here’s your money safe as if it were in the bank -- you know me.
You know who I am.
You’re political boss of this town, all right Jim -- but just supposin’ ---
36 3-12
Leave it to me. I ain’t found no one in this town yet that that won’t buy.
Thumps package of money.
I suppose you’re right and it’s worth the price. I’ll make more -- at the same place where this come from.
Sure you will. The Shanty’ll be runnin’ wide open years from now.
It ain’ the Shanty I’m worryin’ about. A gal of mine ---
TWEEDY (Jocosely)
Hear you got a regular harem of girls down at the Shanty.
Not me. I’m a one-woman man. And the gal I’m speakin’ of -- ain’t that kind.
No. I’ll be goin’ along.
He exits. Instantly Tweedy is on his feet. He darts to the portiers, rolls them aside and speaks in a hoarse whisper.
After him! -- And -- you understand -- get him!

Sequence IV.

Everything is very active here. Some big matter is under way.
The Chief is giving forceful orders to a large group of officers, and telephoning to stations throughout San Francisco. All the power of the Police force is to be thrown into the greatest raid in the history of the City.
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.
They’ve had ample time to prepare. We gave ‘em warning two weeks ago. Now we are going to act -- and act swiftly.
What’ll we do with the women?
Give ‘em five minutes to pack and drive ‘em out.
Where’ll we drive ‘em to?
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.
A reporter comes in.
39 4-1
Chief, can you tell me just where the Barbary women are going?
Hell no. How should I know. Some of ‘em will be arraigned and sent down to the prison -- others deported as undesirables.
(scowling at reporter)
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.
The Police and reporters leave.
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.)
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.
You’re awful good to me, Lil.
I’m just tryin’ to get you well before Big Dan gets back.
MAGDA (Wistfully)
Most girls like you wouldn’t touch a girl like me.
I’d like to know why not. Guess you’re as good as I am.
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.
40 4-2
LILY (Fiercely)
I hate good people. There!
She bends down and kisses Magda, drawing up the cover and patting her shoulder at the same time.
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 belligerent . Roger sees her, and comes up before the bar.
Lily bursts out laughing, almost in his face. Then her hands on her hips, she says:
Here we are again! What will our angel child have?
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.
I have come here on a special mission.
Is that so?
To give you an opportunity to leave this place -- before it is too late. I will take you with me.
41 4-3
Do you hear that now? This swell gent -- invites me to go away with him. Ha, ha -- That’s a good joke!
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.
Who is he? Who’s your swell friend, Lil. I never seen him before.
You’d be surprised who he is. Sure you never saw him before. He don’t belong to Barbary. He’s from Mrs. Tibbett’s exclusive home for refined gents and ladies.
She laughs with angry scorn.
Show the outsides of a row of houses with red lights above the doors. The police come into the scene.
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.
Lily is still at the bar. She is addressing the man next in line to Roger, but Roger has not stirred an inch nor made room for the other man.
42 4-4
What’ll you have? Gin?
She reaches for bottle.
I think if you realized how serious this thing was you would not hesitate.
What? Are you still here! What’re you waitin’ for.
I’m waiting for you.
Why should you bother your little head about me?
Because -- you are so young -- and because I am to blame for your being here.
Guilty conscience, huh?
Her eyes flash. Then she laughs scornfully.
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.
What’s all the excitement, Chum Lee. Spracken see English. Me no understandee Chinee --
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.
I don’t know what you’re talkin’ about.
43 4-5
Oh Lily -- I’m terribly afraid.
What of?
I don’t know. Everything. Just look at Chum Lee. I never seen him excited like that before.
Lily stares hard at Chum Lee. She leans across the bar thinking a moment.
I tried to warn you --
Say -- I’m busy -- thinking.
This place is doomed. I want to help you to get away. I --
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. One of the toughs opens the door and looks out. We hear the sirens.
A scene beggaring description.
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.
No ramping of police - this is no longer a comedy
Some are hustled into the Black Maria, but most of the women are herded along afoot.
44 4-6
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.
Another part of street. Near the entrance to Barbary.
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.
Heh! Jim! What’s it all about?
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.
Dan takes this big. He makes a dive forward, with the enraged roar of a baited bull.
Better keep out of this. Your place is slated to be wiped out.
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.
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.
Show, pressing in through the mob, and getting nearer and nearer to the frantic Dan, the two gunmen we had seen at Tweedy’s.
We are now in the street where the Shanty shows at the end -- with its new winking electric lights. Dan is muttering and shouting 45 4-7 now, beside himself with frenzy.
Lil! Lil! My gal! My gal!
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.
Dan, pressing his hand to his side, goes blindly staggering on.
A state of panic exists here. The people are scurrying in every direction. They rush toward the bar or shrink back against the wall. Lily leaps upon the bar.
What’s the matter with you all? What’re you all afraid of?
Don’t you hear the police comin’?
Well what of it? Probably raidin’ some place. They won’t touch us. We’re protected.
The doors are burst open and through them Big Dan staggers. 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:
Lil! Lil! The coppers are on the way! Don’t let ‘em in! Don’t let em in!
46 4-8
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:
LILY (still standing on bar)
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.
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.
Show him what we do to squeelers on Barbary Coast. Heh -- Chum Lee -- where’s your knife? Tie him up!
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.
Lily -- Lily -- Dan’s hurt.
Lily turns -- sees her father. She leaps down from the bar. Her eyes are enlarged with horror as she sees the blood.
LILY (Distractedly)
As she speaks the word -- “Father,” we see the bound Roger’s reaction. He is straining against his bonds. He realizes the relationship 47 4-9 between Lily and Dan.
As Dan collapses to floor, Lily kneels frantically beside him lifting his head in her arms, calling to him.
DAN (Dying)
It was -- Tweedy -- double-crossed -- -- his men --- they --- got me.
His head rolls back. Dies.
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.
Sobbing, breathlessly, Lily follows. Roger, tied to the bar drags himself around till he is around the side of the bar. Lily sees him.
He was the finest man in the world -- the best father a girl ever had.
Magda draws a cloth over Dan’s face. Lily staggers to her feet. She is leaning against the bar.
ROGER (Hoarsely)
I would give my life to undo this night’s work.
The police are pounding upon the door, demanding entrance.
Oh what did we ever do to you that you should persecute us like this? Why do you hate me?
Hate you! Lily -- I love you!
Lily looks at him like a dazed child.
The hammering is becoming heavier on the doors.
48 4-10
Police bleak down doors, Missee Lily.
Lily comes to life with a start. She turns to her people and shouts:
Didn’t you hear Big Dan’s last order? Don’t let the coppers in!
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.
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. As a policeman seizes Lily, Roger protests.
Let that girl go.
Who the hell’s givin’ orders round here?
I’m Roger Storm -- deputy District Attorney.
And I’m Governor of the State.
He drags Lily off.
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:
All-light. Me cut im.
49 4-11
All light. Me cut ‘im.
He begins to cut the ropes that bind Roger to bar.
CHUM LEE (Cutting rope)
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.
Roger almost free. Chum Lee is cutting with maddening slowness.
Missee Lily fine Lady. Her papa send her Flisco when she little girl. She no sabe what bad girl do.
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.
Cut back to the parade of women.
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.
We move along the edge of the parade to Chum Lee. No one pays any attention to the Chinamen.
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.
Move on! None of that sob stuff. Move on!
50 4-12
Can’t you see she’s sick?
They’re all playin’ sick. Move on!
Swings his Billy.
You keep your dirty stick off her -- or I’ll brain you -- I will.
Chum Lee sauntering alongside.
Magda staggers to her feet. The policeman diverted by some other disorder and roaring to the crowds:
Keep back there! Here youse -- get back!
Missee Lily ---
Chum Lee! Where’re they takin’ us Chum Lee?
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.
All light.
He unwraps from under his coat a woolen knitted scarf or another wrap and puts it on Lily.
You ketchee cold if you no wear coat.
Where are we goin’? What are they going to do with us?
All samee go on boatside.
51 4-13
They can’t -- they can’t send us away! We’ve got rights! I’m an American!
CHUM LEE (Shrugging)
All light. No go on boat -- go plison. All samee velly bad.
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.
Lily! Lily!
Guess I’m hearin’ things. Thought I heard someone calling my name.
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.
Oh, what do you want now?
I want you, Lily.
Don’t make me laugh, I’m too tired.
He takes her arm, walks with her.
52 4-14
I love you.
LILY (Wrestling her arm free)
I suppose that’s your idea of a joke.
It’s God’s truth.
A policeman interposes.
We can’t allow you to walk with them women.
But there’s been a mistake. This girl doesn’t belong here.
Tell it to the marines.
He pushes Roger away from the girls.
We show at intervals Roger coming up to them, and driven back. Each time we hear him imploringly:
I love you! I love you!
Lily’s reaction is at first scornful, stony, but very gradually we see she is beginning to break.
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:
I can walk alone. I don’t need your help.
But I want to help you. I want to atone -- 53 4-15 to show in some way what is in my heart.
Then help Magda. She needs help more than I do.
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.
A voice, bellowing in the darkness:
Heh you! What are you doin’ with them women. Break away -- break away --
He pulls Lily from Roger and shoves Magda along.
The crowd surges on. The girls are lost from sight.
Roger comes in -- hurries to the desk.
How do Mr. Storm. Well -- now I hope you’re damned pleased with this night’s work, as we are.
Chief -- how can I get a woman released?
You mean one of them Barbary women?
No. She didn’t belong there. She was taken along by mistake.
CHIEF (Scratching chin)
Well that’s damn funny. The police orders were to confine all arrests to the Barbary.
54 4-16
Her father kept a place there -- the Shanty.
Big Dan! You’re talkin’ of his gell?
Yes. They’re drivin’ her along -- an innocent girl -- drivin’ her along with that herd of prostitutes.
Thought she was livin’ safe up in Frisco.
So she was ‘till I -- it doesn’t matter. How can I get her free?
The Police writes an order, hands it to him.
Take that to the “C” wharfs. Most of ‘em are bein’ held there.
Storm seizes the pass, as he is going out the Chief calls after him.
Hear about Big Dan? They got him. He was a bad egg, and the world’s well rid of him.
ROGER (stopping)
Repeats Lily’s words:
He was a fine man -- the best father a girl ever had.

Sequence V.

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.
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.
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: “Where are they sending these women?” The reply comes roughly: “China, Australia, New Zealand and South America -- sending them all over the world!”
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.
Feelin’ any better now, Magda?
MAGDA (raising her head with effort)
Sure, I’m fellin’ fine. It’s great -- to be able to sit down after that long walk.
Once we get aboard ship things’ll be easier.
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. --55 55 The long distant moan of a buoy is heard.
Into this scene comes Roger. He makes his way through the crowds. He goes to the bars.
BACK to Lily and Magda. Magda grasps Lily’s hand tightly:
Lily -- look! See that man’s face? He looks like ---
MAGDA (pointing)
Over there.
I’ll be right back. Maybe he can do something for you.
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.
ROGER (with a note of questioning joy in voice)
Lily? -- Lily! --
Step by step she goes nearer to him.
Look -- I’ve the pass for you. You’ll be free in a minute!
Lily says nothing but her face is ethereal and wistful. Roger calls to a guard. The latter comes to the gates and peers through.
I’m Storm, Deputy District Attorney. Here’s an order from headquarters.
56 56
I can’t let you in but I’ll get the girl.
Roger gives him the pass. It is becoming gradually lighter and the mist is lifting.
Cut Back to Magda and Lily. Magda has had a fit of coughing and Lily is looking at her very strangely.
I think I’m going to die, Lil.
Oh, if onlyI could see my mother once again.
Have you a mother, Magda?
Yes -- she lives outside of Sacramento
I never had a mother. She died when I was born. -- It must be grand to have one --
Not when you’re one of my kind. (she sighs heavily)
Her eyes have a long, bright look as though she were recalling well remembered dear ones.
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.
Mebbe you’ll see them again soon.
No -- they’re sending us all off to the other end of the world. They don’t want our kind in Frisco.
57 57
In a loud, sing-song voice, the guard is calling: “LILY MOONEY.”
LILY (Gently)
Someone’s calling me, Magda.
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:
What -- what’s the name?
The guard comes up.
CUT BACK to Roger waiting in eager impatience by the gate and then immediately back to the Guard as he says to Lily:
An order for Lily Mooney to be released.
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:
She’s all ready -- and say, mister -- be gentle with her, will you?
She shoves some money into his hand --
She’s a sick girl.
She comes back to Magda and, kneeling beside her, whispers:
Magda -- they’re goin’ to take you away.
Magda starts up:
Where -- what do you mean, Lil!?
58 58
Don’t ask any questions -- just go. I guess one of Big Dan’s friends has pulled some wires to get you free.
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: “Where you goin’? -- How did you get out? -,” etc.
MAGDA (To Lily who stands still like one in a trance)
Oh -- I don’t want to go without you!
Don’t worry about me -- I’ll be along soon --
CUT NOW TO ROGER and show the guard coming out of the gate. Magda is wrapped about in the wrap. Roger goes eagerly to her, saying:
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:
Guard! Hi there -- Guard! There’s a mistake -- you’ve sent out the wrong girl!
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.
The scene is now clear light and the great hulk of a vessel is silhouetted against the gradually sun-lighted sky.
The glory of an immense sun-rise shows across the horizon59 59 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.
CUT BACKto the frantic Roger. He is ready to tear the gates down. We hear the boom of the ship and we FADE OUT on the moving ships as they disappear across the bay.
60 60

Sequence VI

A semi-tropical country. We show a resort of the sort not unsimilar to the SHANGHAI LADY but on a much smaller scale. A murky, sultry, dopy atmosphere.
All the flotsaam and jetsaam 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.
I’ve seen you before -- where?
Allight --
The Barbary Coast! -- Big Dan’s place! You were the Chinaman who set me free!
Allight --
Roger is prey to a deep emotion. He continues to stare at the Chinaman who shuffles back into the house. Roger looks after him61 61 then stands up and moves toward door.
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.
Misee Lily -- him come! Him come! Mr. Loga Sloam. Him outside!
LILY (hoarsely)
He mustn’t see me!
Roger is coming in at the door.
LILY (to Chum Lee)
Get me a bottle of something, quick!
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 pulls62 62 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.
‘Hello, dearie --
Don’t you remember me?
Lily looks at him drowsily and shakes her head. She says irritably:
How’d oo expect a girl remember -- so -- many men -- men -- notin’ but -- men -- men --
But Lily -- look at me dear -- surely you have not forgotten -- Barbary Coast.
LILY (violently)
The hell with Barbary Coast --
I’ve gone up and down the world looking for you everywhere --
Lily goes on drinking -- her head is nodding drowsily.
Lily -- Lily -- ! Look at me -- look - look!
Lily’s head goes lower as though she were too drunk to raise it.
63 63
Want another drink --
Her hand shakes as she pours it.
Go on away -- don’t bosher me --
Roger reaches across, tries to take her hand. Lily opens her hand, palm up --
Payin’ me in advansh?
Roger is revolted. He stands up. His heart is breaking. Lily seems oblivious of hisexictance. 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.
Chum Lee --
Allight --
We must get away from here right away.
Allight --
He patters across the floor. Lily’s head drops upon her arms at the table.
Cut to the veranda and show Chum Lee coming out. He goes to Roger who is just about to leave.
Missee Lily, she cly inside, mebbee she like see you face -- allight.
Roger takes this in. He turns back and in a flash is at the door.
64 64
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.
Let me go --
Never -- again.
The likes of you -- and the likes of me --
--Were meant for each other. -- I love you.
-- The end --


Last song name appears between two standard lines in the script.
Now considered a racial slur, iterations of this descriptor have been retained in keeping with the original work.
See previous note.
Chum Lee’s dialogue is printed twice with slightly different punctuation.

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People Mentioned

Camille Lopez

Camille Lopez completed an M.A. in English Literature at University of British Columbia. Her research interests lie primarily in critical race studies and the early modern English theatre.

Delaney Anderson

Delaney Anderson is a current Masters student studying English Literature at the University of British Columbia.

Ethan Eu

Ethan Xi Hao Eu is a PhD student in the Department of English Language and Literatures at the University of British Columbia.

Amanda Law

Amanda Law is a Master’s student in the department of English Language and Literatures at the University of British Columbia.

Meghna Chatterjee

Meghna is an MA English student at the University of British Columbia. Her research interests lie in graphic literatures, queer studies and diaspora studies.

Joey Takeda

Joey Takeda is the Technical Director of The Winnifred Eaton Archive and a Developer at Simon Fraser University’s Digital Humanities Innovation Lab (DHIL). He is a graduate of the M.A. program in English at the University of British Columbia where he specialized in Indigenous and diasporic literature, science and technology studies, and the digital humanities.

Winnifred Eaton

  • Born: August 21, 1875
  • Died: April 08, 1954
See the Biographical Timeline for biographical information on Winnifred Eaton.

Mary Chapman

Mary Chapman is the Director of The Winnifred Eaton Archive, a Professor of English, and Academic Director of the Public Humanities Hub at University of British Columbia. She is the author of the award-winning monograph Making Noise, Making News: Suffrage Print Culture and US Modernism (Oxford UP) and of numerous articles about American literature and women writers. She has also edited Becoming Sui Sin Far: Early Fiction, Journalism and Travel Writing by Edith Maude Eaton (McGill-Queen’s UP) and published essays on the Eaton sisters in American Quarterly, MELUS, Legacy, Canadian Literature, and American Periodicals. Her current research project is a microhistory of the Eaton family. For more information, see

Organizations Mentioned

Winnifred Eaton Reeve Fonds

Collection of Winnifred Eaton’s papers and unpublished manuscripts, which were transferred to the University of Calgary in 1982. The finding aid for this material is located here:
Written by Joey Takeda



American film studio founded in 1912. Initially located in Chicago, later moved to New York and Hollywood. Eaton assisted with scriptwriting and adaptation on select films.
Written by Samantha Bowen


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