Class 
 Book 
 
 $ajia 
 
 <na% 
 
THE TRAVELING SALESMAN 
 
 ■by 
 
 JAMES FORBES 
 
 SAMUEL FRENCH, 28-30 West 38th St., New York 
 
THE TRAVELING SALESMAN 
 
 A COMEDY IN FOUR ACTS 
 
 BY 
 
 JAMES FORBES 
 
 Copyright, 1908, by JAMES FORBES 
 
 ALL RIGHTS RESERVED. 
 
 CAUTION.— All persons are hereby warned that "The 
 Traveling Salesman," being fully protected tinder the 
 copyright laws of the United States, is subject to 
 royalty, and anyone presenting the play without the 
 consent of the owner or his authorized agents will 
 be liable to the penalties by law provided. Application 
 for amateur rights must be made to Samuel French, 
 28-30 West 38th Street, New York. Application for 
 the professional rights must be made to the American 
 Play Company, 33 West 42nd Street, New York. 
 
 NEW YORK 
 
 SAMUEL FRENCH 
 
 PUBLISHER 
 
 28-30 WEST 38TH ST. 
 
 LONDON 
 
 SAMUEL FRENCH, Ltd. 
 
 26 SOUTHAMPTON STREET 
 
 STRAND 
 
 
Especial notice should be taken that the possession of this 
 book without a valid contract for production first having 
 been obtained from the publisher, confers no right or license 
 to professionals or amateurs to produce the play publicly or 
 in private for gain or charity. 
 
 In its present form this play is dedicated to the reading 
 public only, and no performance of it may be given except 
 by special arrangement with Samuel French, 28-30 West 38th 
 Street, New York. 
 
 Section 28— That any person who wilfully or for profit 
 shall infringe any copyright secured by this act, or who shall 
 knowingly and wilfully aid or abet such infringement shall 
 be deemed guilty of a misdemeanor, and upon conviction 
 thereof shall be punished by imprisonment for not exceeding 
 one year, or by a fine of not less than one hundred nor more 
 than one thousand dollars, or both, in the discretion of the 
 court. 
 
 Act of March 4, 1909. 
 
THE TRAVELING SALESMAN. 
 
 Produced at the Liberty Theatre, New York, 
 August lo, 1908. 
 
 NOTE: — The characters arranged in the order in 
 which they first speak. 
 
 Mrs. Babbit Sarah McVicker 
 
 Mrs. William Henry Dawson. . .Maud B. Sinclair 
 
 Bill Crabb R. C. Turner 
 
 William Henry Dawson Edward Ellis 
 
 Luella Ann Dawson Frances Golden Fuller 
 
 William Henry Dawson, Jr Martin Fuller 
 
 Perce Gill Edward M. Dresser 
 
 Beth Elliott Gertrude Coghlan 
 
 Franklin Royce Percival T, Moore 
 
 Martin Drury William Beach 
 
 A Conductor /. Lozventhal 
 
 Bob Blake Frank Mclntyre 
 
 Ted Watts Arthur Shaw 
 
 Julius H. D. Blakemore 
 
 John Kimball Edward Ellis 
 
 Ben Cobb Nicholas Burnham 
 
 SYNOPSIS OF SCENES. 
 
 Act I. The Depot at Grand Crossing, Christ- 
 mas Day. 
 
 Act II. Blake's rooms at the Elite Hotel. 
 Christmas Night. 
 
 Act hi. Office of Franklin Royce. Two 
 o'clock of the next day. 
 
 Act IV. Same as Act II. One hour later. 
 3 
 
THE TRAVELING SALESMAN 
 
 ACT I. 
 
 Scene : — The depot at Grand Crossing, 
 
 Time: — Christmas Day. 
 
 It is the typical waiting-room of a village 
 depot. The whitewashed walls are discolored 
 by time and smoke. The zvoodwork is painted 
 a dingy brozvn. At center hack the ticket-office 
 projects onto the stage. The window of the 
 office is practical and on it are the letters 
 " Ticket Window ". There is a shelf in front 
 of the window and when the windozv is raised 
 there can he seen another shelf on the inside 
 of the office. Beneath this shelf is a money 
 drazver. On the shelf at right is a rack filled 
 zvith railroad tickets. On the shelf left a ticket 
 stamp, a telegraph blank-hook with pencil at- 
 tached to it hy string, and an express book. 
 At the rear of the ticket-office is a window, 
 underneath it a shelf on zvhich stands the tele- 
 graph instrument. In this zvindow hangs a 
 zvreath of holly zmth red ribbon how. On the 
 right sash of this window is a small mirror. 
 " Beth's " hat and coat are hanging on a hook 
 on the right wall inside the ticket-office. 
 
 In the fiat at r. and l. of the ticket-office are 
 
 doors, the upper halves of them painted to 
 
 represent glass. On the outside of the glass are 
 
 the words " Waiting Room ". AtL. of the door 
 
 5 
 
6 THE TRAVELING SALESMAN. 
 
 in the hack flat and at l. 2 e. are large windows. 
 All the windows in the set are covered with 
 tracing paper to suggest heavy frost and to 
 screen the supposed arrival and departure of 
 trains. The hack drop shozvs a snow-covered 
 landscape with telegraph poles and nnres. The 
 ground cloth is painted in imitation of a railroad 
 platform and two lines of railroad tracks. At 
 R. I E. is a door to the hag gage room, the upper 
 half of the glass with the lettering '* Baggage 
 Room " . 
 
 At L. of center and at r. of center are wooden 
 benches in pairs placed hack to hack and like 
 those that surround the room are divided hy 
 iron arms into three seats. Ahove the benches 
 at R. of c. about r. 2 e. is a rusted iron stove 
 with practical door and fire effect. The stove- 
 pipe leads off-stage r. through the wall of the 
 set. On the up-stag e side of the stove, stands 
 a scuttle of coal with shovel and poker. Above 
 the door, at r. i e. stands a penny-in-the-slot 
 weighing machine. On the wall below this door 
 is a penny-in-the-slot gum machine and another 
 of a similar character stands on the shelf left of 
 ticket windozv. l. of the door r. in hack flat is 
 a water cooler with tin cup. On the R. wall 
 of the ticket-office is a blackboard announcing 
 the arrival of trains. Below the blackboard is 
 suspended a flre axe. On the shelf of the ticket- 
 office R. is a rack with time tables. Two 
 fire pails stand on shelves at the upper angles 
 of the set. On the wall over the window 
 L. 2 E. is a large clock and on the wall 
 above the window hangs a large railroad map. 
 On the wall below the window is an Express 
 Company sign. Under the shelf of the ticket 
 window is a Money Order sign. Over this 
 window a " No Smoking " sign, and affixed to 
 the right face of this window is a " Tax Sale " 
 
THE TRAVELING SALESMAN. 7 
 
 notice. On the r. wall back of the stove is a 
 '' No Loafing " sign and over the door to the 
 Baggage Room a sign reading "Baggage 
 Checked 15 Minutes Before Train Time.'' 
 
 Before the rise of the curtain is heard the 
 noise of a departing train. 
 
 As curtain rises, through the closed window 
 of the ticket-office can be heard the sound of 
 the telegraph instrument. 
 
 DISCOVERED :— Mrs. Babbit seated on the ex- 
 treme edge of the behch r. c. Beside her a 
 handbag, a valise and several bundles. Her 
 attitude denotes extreme nervous tension. She 
 looks anxiously at the clock. Enter Mrs. 
 Dawson, Luella Ann Dawson and William 
 Henry Dawson, Jr. At the sound of the clos- 
 ing door, Mrs. Babbit turns quickly. 
 
 Mrs. Babbit. Did you see a train coming? 
 
 Mrs. Dawson. No'm. (Mrs. Dawson and 
 William Henry cross to bench at l. Mrs. Dawson 
 sits. Luella Ann stands c, staring at Mrs. Babbit. 
 Mrs. Dawson sees her) Luella Ann, what you 
 gawpin' at. Come over here and sit down. (Luella 
 Ann crosses back of bench l. sits left end of bench. 
 Mrs. Dawson is unwinding William Henry's 
 scarf. William Henry whispers to her) Ain't I 
 ever goin' to have a minit's peace ? Whatcha want ? 
 (William Henry whispers again) Another drink ! 
 You children's regular sponges. (Mrs. Dawson 
 takes William Henry up to water cooler followed 
 by Luella Ann, who stares at Mrs. Babbit) 
 
 (Enter Bill Crabb door l. in flat.) 
 
 Mrs. Babbit. Say Mr. Crabb, when's the train 
 due? 
 
 Crabb. (c.) What train? Think I'm a mind 
 reader? 
 
8 THE TRAVELING SALESMAN. 
 
 Mrs. Babbit. (Rising) Train for Bird-in-Hand ! 
 
 Crabb. (Crossing Mrs. Babbit to R-J Bird-in- 
 Hand ? 'Leven fifty-three. 
 
 Mrs. Babbit. When's it due? 
 
 Crabb. Seven minits afore twelve. 
 
 Mrs. Babbit. Ain't you the cute little smart 
 Aleck? That joke was old when my grandfather 
 wuz alive. 
 
 Crabb. Your ^rawrff ather ? Must be a darned 
 old joke! 
 
 Mrs. Babbit. Jest becuz the train is due at 'leven 
 fifty-three ain't no sign it'll arrive then, on your old 
 one-horse railroad. 
 
 Crabb. It ain't my railroad. 
 
 Mrs. Babbit. You don't say! Why, from the 
 airs you giv yerself, thought you wuz its president. 
 
 Crabb. Not yit ! Ef I wuz I wouldn't allow old 
 wimmin to loaf 'round the depot worryin' baggage 
 men to death. (Exits r. i e. Mrs. Babbit follows 
 him furiously) 
 
 (Mrs. Dawson who has been listening to the discus- 
 sion smiles and crosses l., followed by the chil- 
 dren, to hack of bench L. Enter William 
 Henry Dawson carrying a crock of apple 
 butter. Mrs. Babbit turns quickly.) 
 
 Mrs. Babbit. Land sakes, that the leven fifty- 
 three? Oh, good-morning', Mr. Dawson, merry 
 Christmas. 
 
 Dawson. Same to you Mrs. Babbit, and many 
 of 'em. (He places the crock on the bench l. c.) 
 Maw, keep the kids out o' this apple-butter. (Mov- 
 ing c. towards Mrs. Babbit) You know the wife 
 don't you ? 
 
 Mrs. Babbit. I haven't had that pleasure. 
 
 Dawson. No? Wife, I thought you know'd 
 Tom Babbit's widow. 
 
THE TRAVELING SALESMAN. 9 
 
 Mrs. Babbit. Pleased to make your acquaintance 
 Mrs. Dawson. 
 
 Mrs. Dawson. (Coming down l. of Dawson) 
 Pleased to meet you Mrs. Babbit. 
 
 Dawson. You folks kin chin f er awhile, I've got 
 to 'rastle that trunk off that sleigh. (Dawson starts 
 to exit door l. in flat. The children run to Dawson, 
 crying: *' I want to go with Paw ".) 
 
 Dawson. Here, go to your Maw. 
 
 LuELLA Ann. No, no ! 
 
 William Henry. No, no ! 
 
 (Dawson exits, Luella Ann and William Henry 
 follow him up to door.) 
 
 Mrs. Dawson. William Henry! Lueller Ann 
 come here this instant minit! 
 
 {The children stamp their feet and cry.) 
 
 Luella Ann. I want to go with Paw. 
 
 William Henry. I want to go with Paw. 
 
 Mrs. Dawson. {Rushing up, grabs children, 
 brings them c.) Lueller Ann go sit down. {She 
 pushes Luella Ann who goes over to l. end of 
 bench) William Henry, come here. Behave. {She 
 goes over sits on bench l., William Henry stands 
 R. of her. Mrs. Babbit indicates her horror of the 
 children* s actions. A slight pause) Lovely weather ? 
 
 Mrs. Babbit. Glad it's fine for Christmas. 
 
 Luella Ann. Merry Kistmas ! Merry Kistmas ! 
 
 Mrs. Dawson. Lueller Ann hesh yer mouth ! 
 
 Mrs. Babbit. {Pointing to William Henry) 
 Is this the baby? 
 
 Luella Ann. Yes, he's the baby. 
 
 William Henry. {Furiously) I ain't the baby ! 
 
 Luella Ann. {Crossing towards him) You are 
 so! 
 
 ^William Henry. {Approaching Luella) I 
 
10 THE TRAVELING SALESMAN. 
 
 ain't not a baby. I'll slap your face. 
 
 Mrs. Dawson. (Separating them) Luella Ann, 
 behave! (William Henry goes up to penny-in- 
 the-slot machine at l. of ticket window. Prods at it, 
 Mrs. Dawson rises takes Luella c.) Shake hands 
 with Mrs. Babbit. There's a nice little girl. 
 (Luella Ann refuses) Shake hands I say, or I'll 
 shake you good. 
 
 Luella Ann. {Crossing in front of her mother 
 puts out her hand to Mrs. Babbit. Mrs. Babbit 
 rises) Hello. 
 
 Mrs. Babbit. {Shaking Luella's hand) How 
 de do, Luella Ann! {To Mrs. Dawson) Favors 
 you about the eyes. She's got her father's nose but 
 she'll outgrow it. 
 
 LuETXA Ann. {In bewildered manner to Mrs. 
 Dawson) Maw, what's the matter with paw's 
 nose? 
 
 Mrs. Dawson. I never noticed nothin' the matter 
 with Mr. Dawson's nose. It may be a trifle large, 
 but he keeps it out of other folks affairs. Come 
 here, you. {She yanks Luella Ann over to the 
 bench. They sit. Luella Ann l. of her. William 
 Henry, Jr., comes dozvn center from slot machine) 
 
 Mrs. Babbit. What's your name, little boy? 
 {Ske takes his hands in hers) 
 
 (William Henry tries to kick her.) 
 
 William Henry. I won't tell yer ! 
 Mrs. Babbit. If you were my little boy- 
 
 WiLLiAM Henry. {Interrupting) I ain't your 
 little boy. {lerks hands away) I don't want to be 
 your little boy. {Runs to Mrs. Dawson) 
 
 Luella Ann. {Rising) Maw, I don't like her. 
 (Sticks out her tongue at Mrs. Babbit. William 
 Henry sees this, does likewise) 
 
 Mrs. Dawson. Hesh ! I say hesh up. It's tur- 
 rible. I can't do nuthin' with 'em. 
 
THE TRAVELING SALESMAN. ii 
 
 Mrs. Babbit. Ever try a bed slat? (Enter 
 Dawson carrying tin tnink on his shoulder) It's 
 their father's fault, their f ather'll be the ruination of 
 'em. 
 
 Dawson. That's right. Soak it to me. (He 
 starts to baggage room, bumps into Mrs. Babbit) 
 
 Mrs. Babbit. Might as well kill a person as 
 scare 'em to death. 
 
 Dawson. Huh! (Crosses toward door into 
 baggage room) 
 
 William Henry. (Following Dawson) Paw! 
 What's the matter with your nose ? 
 
 LuELLA Ann. (Following William Henry) 
 She — (Pointing to Mrs. Babbit) don't like your 
 nose! 
 
 Dawson. Well, she don't have to live with it. 
 
 Mrs. Babbit. No, thank my lucky stars! 
 (Dawson, Luella Ann, and William Henry exit 
 to baggage room. Luella sticks her tongue out at 
 Mrs. Babbit as she goes) 
 
 Mrs. Babbit. Going fer? 
 
 Mrs. Dawson. Over to mother's. It's about an 
 hour's ride. We always go over every Christmas. 
 An' occasionally on Thanksgiving Day. (Drawing 
 herself up proudly) Since I've married I've got to 
 be quite a traveler. (Pityingly) You don't go 
 round much do yer ? 
 
 Mrs. Babbit. Thank God I never was one to gad. 
 
 Mrs. Dawson. Yer're livin' at the Elite Hotel I 
 b'lieve. 
 
 Mrs. Babbit. Don't know as you'd call it livin*. 
 Cook can't boil water without burnin' it. 
 
 Mrs. Dawson. Too bad you had to give up house- 
 keepin', sacrifice yer home. 
 
 Mrs. Babbit. Oh, it wasn't such a sacrifice. I 
 kep' boarders fer twelve years. (Crossing to Mrs. 
 Dawson) Then help's such a care (Sarcastically) 
 'Course you wouldn't understand you don't keep 
 none. 
 
12 THE TRAVELING SALESMAN. 
 
 Mrs. Dawson. (Indignantly) T*ain't that I 
 couldn't if Dawson'd sell his land. 
 
 Mrs. Babbit. (Crossing to Mrs. Dawson, sitting 
 R. of her) Ain't he got rid of that Junction prop- 
 erty yet ? He's as stubborn as Beth Elliott, 
 
 Mrs. Dawson. I'm no hand to gossip, but they 
 do say that Franklin Royce that's down here for 
 Martin Drury, lookin' after Mrs. Stratton's store 
 since she failed, is very attentive to Beth. Wonder 
 if that won't be a match one of these days. (She 
 giggles) 
 
 Mrs. Babbitt. (Indignantly) Nuthin' in it at 
 all. 
 
 Mrs. Dawson. (Resentfidly) You don't say! 
 
 Mrs. Babbitt. Well, I'd ought to know, bein' 
 Beth's most intimate friend. 
 
 Mrs. Dawson. (Inquisitively) She's workin' 
 here at the depot ain't she ? 
 
 Mrs. Babbit. Yes, jest as smart as a steel trap. 
 You ought to see her work that telegraph thing, 
 wonderful technick. Easy as you'd do a day's wash. 
 
 Mrs. Dawson. (Afigrily) Really! You don't 
 say. 
 
 (Enter from baggage room, Dawson, Luella Ann, 
 William Henry and Crabb.) 
 
 Dawson. Say, what about my check? 
 
 Crabb. (Pointing to sign over door) All bag- 
 gage checked fifteen minutes before train time. You 
 kin spell can't yer? It's plain as the nose on your 
 face. 
 
 Dawson. (Furiously, threatening Crabb) You 
 leave my nose alone. 
 
 Crabb. I ain't techin' it. (Crosses Dawson, 
 glares at Luella Ann and William Henry) 
 Well! 
 
 (Luella Ann and William Henry run to their 
 mother at left screaming "Maw! Maw!") 
 
THE TRAVELING SALESMAN. 13 
 
 Mrs. Babbit. (Rising) Ain't you ashamed ? A 
 grown-up man pickin' on children. You outer be re- 
 ported. 
 
 Crabb. Go on, do it. You ain't much else to do. 
 (Crosses up to door l. in flat. Mrs. Babbit follow- 
 ing him) 
 
 Mrs. Babbit. Mind you let me know when the 
 'leven fifty-three arrives or I'll have you fired. 
 (Crabb exits slamming door in her face) Ain't he 
 ornery little shrimp 
 
 (Automobile heard off l.) 
 Dawson. That's Perce Gill in his atmobeel. 
 
 (Mrs. Dawson followed by Luella Ann and 
 William Henry rush to window l.) 
 
 William Henry. Maw I want to see. 
 
 Luella Ann. I want to see what's tootin', Paw ! 
 (Climbs on bench. Mrs. Dawson lifts William 
 Henry up on bench) He ain't tootin Paw make 
 him toot it. 
 
 Mrs. Dawson. (Looking out window) Which 
 of the wimmin is Mrs. Gill ? 
 
 Mrs. Babbit. (Looking out window over Mrs. 
 Dawson's shoulder) The one Mr. Gill's payin' no 
 attention to. 
 
 Mrs. Dawson. Ain't they dressed to madness? 
 What's them things on their eyes. 
 
 Dawson. Blinders! All women ought to wear 
 'em. 
 
 Mrs. Babbit. Guess most married wimmin'd be 
 easier in their minds if they did. (Enter Perce 
 Gill door l. in flat. Mrs. Babbit turning quickly 
 from window) Is that the 'leven fifty-three? Oh, 
 how de do, Mr. Gill. Merry Christmas. 
 
 Gill. Same to you, widder. (Joins Dawson at 
 c.) Hello, Dawson, Merry Christmas. 
 
14 THE TRAVELING SALESMAN. 
 
 Dawson. Same to you Perce ! 
 
 Gill. {To Mrs. Dawson who has come down l. 
 to L. of bench) Why how de do, Mrs. Dawson. 
 
 Mrs. Dawson. How de do, Mr. Gill. Merry 
 Christmas. 
 
 LuELLA Ann. {Running to Gill at c.) Merry 
 Kistmas ! Merry Kistmas ! 
 
 Gill. {Picking her up in his arms and swinging 
 her around to his right) Same to you Luella Ann. 
 Got a kiss for me to-day ? 
 
 LuELLA Ann. {Kissing him) One frum me, 
 {Kissing him again) and one frum Santa Qaus. 
 
 Gill. Well, Santa Glaus didn't bring me nothin' 
 better 'n that. {He turns to William Henry, Jr., 
 who has followed Luella Ann to c.) How's 
 William Henry, Jr.? 
 
 William Henry. {Frightened at goggles and 
 fur coat, runs to Mrs. Dawson) Oh, Maw, I'll be 
 good, I'll be good ! 
 
 Luella Ann. {Following William Henry) 
 Cry baby! Scardey cat! {Turning hack to Gill) 
 I ain't afraid o' you. {Laughs loudly) Oh, Maw, 
 don't he look like a Teddy Bear? 
 
 Mrs. Dawson. Don't be forward Lueller Ann. 
 
 Dawson. {Moving to front of bench r.) Ain't 
 that kid the caution ? 
 
 Gill. {Moving over totvard bench r.) Chip o' 
 the old block! Takin' a trip Dawson? 
 
 Dawson. Not very f er ! 
 
 Luella Ann. {At c.) We're goin' over to 
 granmas. To show her what Santa Claus brought 
 me. I got a dolly. 
 
 William Henry. {Coming to r. end of bench l.) 
 I got a sled. 
 
 Luella Ann. And new pants. They used to be 
 Paw's. {Raising her skirts) I got new pants too! 
 
 William Henry. They used to be maw's. 
 
 (Gill and Dawson laugh loudly. Mrs. Babbit is 
 horrified and Mrs. Dawson much embarrassed,) 
 
THE TRAVELING SALESMAN. 15 
 
 Mrs. Dawson. (Running to Luella) Lueller 
 Ann put down your clothes this instant minit. 
 You're much too big a girl. (She takes Luella 
 Ann over to bench under window l. 2 e. William 
 Henry joins them) 
 
 Mrs. Babbit. How's folks, Mr. Gill? 
 
 Gill. Oh, prosperous — (Laughs) 
 
 Dawson. (Going up back of bench r.) I should 
 think so — that atombeel must a set you back a 
 few 
 
 Gill. (Moving r. above bench) Oh, a few 
 hundreds — (Gives Dawson cigarette) 
 
 Mrs. Babbit. A fool and his money soon parted 
 — (Goes up to slot machine l. of ticket window) 
 
 Gill. We*re here only onct 
 
 Mrs. Babbit. Lucky for you. At the rate you're 
 goin*, if you had to come back you'd be eatin' 
 cobble-stones — ( Working slo t-machine ) 
 
 Gill. Look a here, widder, I ain't spendin' your 
 money 
 
 Mrs. Babbit. You bet you ain't — you nor no 
 other man 
 
 (Crabb enters r. door in fiat with tire.) 
 
 Crabb. Here's your tire — (Leans tire tip against 
 L. bench r.) 
 
 Mrs. Babbit. Say, you, my penny's in that 
 box — (Coming to c.) 
 
 Crabb. Well, what about it? 
 
 Mrs. Babbit. There's this about it — I put my 
 money in there — (Moving dozvn c.) and got nothin' 
 for my pains. That machine's a lying snare 
 
 Crabb. It ain't workin' — (Winks at Gill and 
 Dawson) 
 
 Mrs. Babbit. There ain't much about this depot 
 as is workin' 
 
 Crabb. Well, you've been workin' your jaw con- 
 siderable 
 
i6 THE TRAVELING SALESMAN. 
 
 Mrs. Babbit. I'm not the woman to stand by 
 and left you or anybody else rob me! {Goes to 
 window and pounds on it; it is raised to disclose 
 Beth Elliott) 
 
 (Crabb moves across front of bench r., near his 
 exit R. I E.) 
 
 Mrs. Babbit. Why, Beth Elliott, youVe been 
 here all this time 
 
 Beth, {Leaning out of window) What's the 
 matter ? 
 
 Mrs. Babbit. My penny's in the box 
 
 Dawson. Oh, quit fussin', it's only a penny. 
 {Crossing to R. of ticket-window) 
 
 Beth. The penny sometimes sticks. {Going 
 out of ticket office to slot machine. As she starts 
 Crabb looks as though tired of it all) 
 
 Mrs. Babbit. Very likely, I'm not castin' any 
 insinuations, but I'd find out where it sticks — 
 {Looks at Crabb) 
 
 (Crabb exits r. i e. shaking his fist at Mrs. Babbit. 
 Beth gives Mrs. Babbit chewing gum.) 
 
 Mrs. Babbit. How are you, dear? 
 
 Beth. Fine — how are you? 
 
 Mrs. Babbit. {Proceeds to eat chewing gum) 
 My dispepsy's killing me — {Crossing to bench L. 
 Beth back in office) 
 
 Gill. Too much riotous livin', widder 
 
 Mrs. Babbit. {Moving down to upper bench 
 L.) Guess you never took your meals steady at the 
 Elite — {Sits with back to audience) 
 
 Dawson. Well, how is business, Beth? 
 
 Beth. Very slow to-day — who cares to leave 
 home on Christmas Day — where to? 
 
 Dawson. Over to Mother's — {Getting money) 
 
THE TRAVELING SALESMAN. 17 
 
 (Beth gets two tickets, stamps them, etc. Royce 
 enters l. door in fiat.) 
 
 Dawson. {At r. of ticket window) Hello, 
 Royce 
 
 Royce. {Comes down. Accosts everyone) 
 Hello, Dawson— Mrs. BdJohiX.—- {Crosses to ticket 
 window) How do you do. Miss Elliott? 
 
 Beth. How do you do, Mr. Royce? Did you 
 receive the telegram I delivered this morning ? 
 
 RoYCE. To meet Mr. Drury here— yes. Have 
 you received orders to flag that through train for 
 him? 
 
 Beth. Yes, Tve attended to it 
 
 Gill. {Moving over l. end of bench r.) Thought 
 that was your boss, old Martin Drury, I passed just 
 outside the town. {Getting tire and carrying it over 
 L. she aider) He goin' to take a train to-day ? 
 
 Royce. Yes. 
 
 Gill. Well, I hope he gets here— he's riding in 
 one of them Junction hacks — {All laugh. Moving 
 to L. of window — Royce crosses to stove) See 
 your land's up for sale again, Beth? 
 
 Beth. Yes, to-morrow — the taxes haven't been 
 paid for years. 
 
 Gill. Well, if the township ain't been able to 
 find a buyer in all these years I guess you needn't 
 worry — anyway it ain't worth nothin'. 
 
 Beth. Father was sure it would be valuable 
 some day. 
 
 Gill. Well, what your paw didn't know about 
 
 land would fill a book 
 
 Mrs. Babbit. {Turning zvhere she sits) What 
 do you know about it, shiftless critter, careerin* 
 around the country lettin' your land go to the dogs ! 
 Gill. Maybe — but my women-folks don't punch 
 tickets for a livin' — (Mrs. Babbit sits around and 
 subsides) Seems a pity to see a nice girl like Beth 
 wastin' herself in a railroad office when there's so 
 
i8 THE TRAVELING SALESMAN. 
 
 many men that'd like to take her out of it, eh, Daw- 
 son ? Ane giiess if rumor's true she wouldn't have 
 s® ail nreo far to go, eh, Royce ? (Beth puts down 
 windotv in ticket office. Gill laughs loudly at his 
 own thrust) Come out and see me shoe my nag — 
 {Exits followed by Dawson) 
 
 Mrs. Dawson. Comin', Mrs. Babbit. {Exits, 
 followed by Luella Ann and William Henry) 
 
 (Beth comes out of ticket-office, carrying express 
 book, crosses to baggage room and exits. Enter 
 Drury l. door in flat.) 
 
 Mrs. Babbit. {Rises — to Drury) Excuse me 
 — did you see my train comin'? 
 
 Drury. I wasn't looking for it. Madam. 
 
 {Enter Crabb with flag. Comes to c.) 
 
 Mrs. Babbit. Would you let me know when 
 it's eleven fifty-three? {Looks at Crabb) Can't 
 trust that loafer of a baggageman 
 
 Crabb. Nobody ast you to. {Shakes flag at her) 
 
 Mrs. Babbit. Speak when you're spoken to — 
 (Crabb and Mrs. Babbit exit. Crabb exits door 
 R., back. Mrs. Babbit door l. back) 
 
 Royce. {Coming to r.) Your wire was a sur- 
 prise, Mr. Drury: thought you'd been spending 
 Christmas with your family 
 
 Drury. {Down to Royce) Can't let holidays 
 interfere with business. 
 
 Royce. Coming over to the store. 
 
 Drury. {Taking out zvatch) Haven't time — 
 my train will be here in a minute I've been over 
 to the Junction, picking up a little something from 
 Santa Claus 
 
 Royce. Oh, you don't want to see me about the 
 store ? 
 
 Drury., {Moving to bench l., sits) I've got 
 
THE TRAVELING SALESMAN. 19 
 
 another job for you, something in the real estate 
 line . 
 
 RoYCE. (Crosses to bench and sits) Anything 
 you say, Mr. Drury. 
 
 Drury. Now Hsten to me. (Both sit on 
 bench) Then keep a close mouth about it; the 
 railroad's got a deal on foot. I've been tipped oi¥ 
 that they're going to put another spur of tracks 
 through at the Junction. 
 
 RoYCE. They don't know that down here. 
 
 Drury. Don't interrupt me with fool remarks! 
 Of course they don't. Think the railroad is adver- 
 tising what they're going to do? I've a man at 
 headquarters, and he and I are going to milk that 
 railroad dry. I hustled down here this morning to 
 look the ground over, found that the piece they 
 need is to be sold to-morrow by the township, for 
 accumulated taxes. 
 
 RoYCE. Who's the owner? 
 
 Drury. I was told it's known as Elliott's Stone 
 Pile. 
 
 RoYCE. Elliott— why, that must be Beth Elliott's 
 land. 
 
 Drury. Who's she? Where is she? 
 
 RoYCE. Here. 
 
 Drury. What? 
 
 RoYCE. She's the operator at this depot. 
 
 Drury. We must have that land before the 
 railroad can reach her. 
 
 RoYCE. Why don't you make her an offer for 
 it here, now? 
 
 Drury. Why ? You can go over to-morrow and 
 buy it in; all you've got to do is to pay the taxes. 
 They can't amount to more than a few hundred 
 dollars. 
 
 RoYCE. (Rises and crosses c.) I don't like the 
 job. 
 
 Drury. Oh, I see, a little bit taken with the girl ! 
 Don't be a chump, Royce. Women are strewed 
 
20 THE TRAVELING SALESMAN. 
 
 around for the asking ; but in this world it's money ; 
 cold, hard money, that talks. 
 
 RoYCE. (Sitting again) What do I get out of 
 it? 
 
 Drury. I can't appear in the deal, it might 
 get too warm for my friend at headquarters; I'll 
 declare you in on it. 
 
 RoYCE. I may queer myself with her. 
 
 Drury. Not if I know anything about women. 
 Man's more attractive backed up by a little money, 
 and I've never found them inquisitive as to where 
 you get it. Well, are you with us. (Whistle) 
 It's you or some other man. 
 
 RoYCE. I don't know 
 
 Drury. Guess that's my train. (Crosses to c.) 
 
 RoYCE. (Rises and Crosses to Drury) I'll take 
 it on. 
 
 Drury. That's good. (Beth enters r., comes 
 quickly back of Drury and Royce and exits to ticket 
 office. Royce points to Beth. Drury looks at her) 
 Now you pump that girl ; I'll be down in the after- 
 noon on the 2: 15. 
 
 (Train effect louder. Beth opens ticket zvindow, 
 Mrs. Babbit enters door l. in hack flat.) 
 
 Mrs. Babbit. That my train ? 
 
 (Royce and Drury look at her, laugh, and exit 
 quickly, door r. in hack flat.) 
 
 Mrs. Babbit. (Rushes to hench — picks up 
 hundles, drops one on way to door, etc., looks 
 out door) THAT MY TRAIN? 
 
 Outside Voice. Yes, if you're going to Indian- 
 apolis. 
 
 Mrs. Babbit. You keep a civil tongue in your 
 head. (Train pulls out. Mrs. Babbit goes to 
 bench and drops bundles. Enter Gill) 
 
THE TRAVELING SALESMAN. 21 
 
 Gill. Say, Miss Beth, got a crowbar handy ? 
 Beth. No — what's the matter? 
 Gill. Machine's out a wack. Kin I borrow thin 
 poker ? 
 
 Beth. Certainly. 
 
 (Gill gets poker at stove r.) 
 
 Mrs. Babbit. {Moving up hack of bench r.) 
 Better take the axe. 
 
 Gill. Good idea. {Gets axe at r. of railroad 
 ticket window) When an atmobeel gets balky you 
 never kin tell what will come in handy. {Crossing 
 to L.) 
 
 Mrs. Babbit. {Coming l., front of ticket win- 
 dow) Well, if I owned one of them pesky con- 
 trapshuns seems to me I'd know enough to doctor 
 it. 
 
 Gill. {At door l. in fiat) Oh, you would, 
 w^ould you? Well, if you know so all-fired much, 
 maybe, you'll come out and give us the benefit of 
 your valuable advice. 
 
 Mrs. Babbit. I will. (Coining close to Gill) 
 Fm no mechanic, but I ain't run a sewing machine 
 for twelve years without knowin' somethin' about 
 machinery ! (Mrs. Babbit exits, follozved by Gill) 
 
 (Beth crosses to window over l. from ticket of- 
 fice. RoYCE enters from door r. in flat; stops 
 in front of ticket window, looks in, then sees 
 Beth.) 
 
 Beth. Oh, I do hope they'll be careful. {Look- 
 ing out windozv) 
 
 RoYCE. Careful? Of what? 
 
 Beth. Mrs. Babbit's pokin' around that automo- 
 bile — {Looking at Royce) and I'm afraid it will go 
 off, or something. {Looking out window) 
 
 RoYCE. Oh, I wouldn't worry. 
 
2Z THE TRAVELING SALESMAN. 
 
 Beth. I don't want to lose the only friend I 
 have. 
 
 RoYCE. Only friend? What about me? 
 
 Beth. Oh, you! 
 
 RoYCE. Don't I count for anything ? Gill seemed 
 to think so with his obvious hints that I wished to 
 marry you. 
 
 Beth. That's country humor. (Coming c.) 
 
 Royce. Suppose I considered it a serious sugges- 
 tion? 
 
 Beth. What good would that do — if I consider it 
 a humorous one ? 
 
 Royce. It goes against the grain to see you 
 work. 
 
 Beth. Why shouldn't I work? I'm well, strong 
 (Moving to R. bench l.) and moderately happy. 
 
 Royce. Moderately ! 
 
 Beth. Well, if a placard (Pointing to placard) 
 advertising the sale of all you possess in the world 
 was staring you out of countenance, you wouldn't be 
 exactly joyful, would you? 
 
 Royce. Oh, is your land to be sold ? (Going up 
 to placard) 
 
 Beth. The township will offer it for sale again 
 to-morrow. 
 
 Royce. Can't you pay your taxes? (Reading 
 placard) 
 
 Beth. I haven't enough money. 
 
 Royce. (Meaningly) Much due on it i* (Moving 
 down c.) 
 
 Beth. That depends on what '* much " signifies ; 
 four hundred dollars is a fortune to me 
 
 Royce. (Meaningly) Do you think anyone^s 
 likely to go over to the Junction to-morrow and 
 bid it in? 
 
 Beth. My friends know how much it means to 
 me, and they wouldn't take advantage of me. Be- 
 sides, if anyone did, I should be furiously angry. 
 
 Royce. (Moving toward her) I don't believe 
 
THE TRAVELING SALESMAN. 23 
 
 you could ; you're so invariably charming that I 
 can't imagine you different. 
 
 Beth. I'd be different, all right! (Moving up- 
 stage) 
 
 RoYCE. (Moving up to her) Would you really 
 put up a fight ? 
 
 Beth. Would I ? I'd give the person who tricked 
 me out of my land the surprise of his life. 
 
 RoYCE. I think that's a bluff. I'm sure you'd be 
 like every other woman: admire the man who de- 
 feated you. 
 
 Beth. That shows how little you know Beth 
 Elliott. (Going into office. Enter Mrs. Babbit 
 L. door in flat) 
 
 Mrs. Babbit. (To Royce) I can't stay out 
 there catching chillblains just to see Perce Gill 
 break his neck, (Moving dozvn to bench r. Royce 
 crossing l. by bench ) though it'd be a good riddance 
 to the community and at the same time a real plea- 
 sure to me. 
 
 Beth. Did you fix the machine ? 
 
 Mrs. Babbit. Certainly: after they all got 
 through with their crowbars, I just jabbed some- 
 thing with a hairpin. (Sits down on bench r.) 
 
 Beth. (To Royce) Did you want to see me 
 about anything in particular? 
 
 Royce. No — just to say Merry Christmas. 
 (Coming to ticket-window) 
 
 Beth. (Indifferently) Merry Christmas. 
 
 Royce. Now that I've said it, I'll be going along. 
 When do you shut up shop ? 
 
 Beth. (Indifferently, fixing change in drawer) 
 Crabb comes on duty in the afternoon. 
 
 Royce. May I come back to walk home with you ? 
 
 Beth. If you care to. (Fixing tickets in rack) 
 
 Royce. That means? 
 
 Beth. (Carelessly, not looking at him) Just 
 what it says. Good-bye. 
 
24 THE TRAVELING SALESMAN. 
 (Mrs. Babbit laughs to herself.) 
 
 RoYCE. (Staggered) Good-bye. Good-morn- 
 ing, Mrs. Babbit, pleased to have seen you. (Exit 
 door L. in flat) 
 
 Mrs. Babbit. I can't abide that man. 
 
 Beth. (Coming out of office, down to Mms. 
 Babbit) Oh, he's very agreeable. 
 
 Mrs. Babbit. So is Satan; I hope you ain't 
 goin' to take up with him. 
 
 Beth. (Back of bench) Oh, dear, no. 
 
 Mrs. Babbit. It ain't his fault; he's wore a 
 beaten track ever since he's been here, from this 
 depot to the store, and I notice you go to his 
 office considerable. 
 
 Beth. That's business: Mr. Royce receives a 
 great many telegrams, and it's part of my work to 
 deliver them. 
 
 Mrs. Babbit. Of course I've no right to in- 
 terfere. 
 
 Beth. (Putting arm around her) You couldn't 
 interfere. 
 
 Mrs. Babbit. I s'pose I'm an old busybody? 
 
 Beth. (Putting her cheek against Mrs. Babbit's) 
 You're an old dear. 
 
 Mrs. Babbit. (Looks more pleasant) Glad 
 somebody thinks so. Tom Babbit aluz said I 
 had the disposition of a crab-apple, (Turning to 
 Beth, taking her hand) but you mean a lot to 
 me, dearie, and I don't want you to throw your- 
 self away. 
 
 Beth. On Mr. Royce! (Crossing towards c.) 
 
 Mrs. Babbit. I never could trust a man so 
 all-fired polite — 'tain't natural! I'm not one to 
 gossip, but they do say him and Martin Drury beat 
 Mrs. Stratton out of the store. 
 
 Beth. Why did she let herself be robbed? I 
 wouldn't ! 
 
 Mrs. Babbit. (Rising) But you got spmk 
 
THE TRAVELING SALESMAN. 25 
 
 — that's why I alius Hked you. (Crossing to Beth) 
 When your Paw died you didn't set around and 
 cry, you got out and hustled, though you know 
 I alius teU you my foldin' bed's big enough for 
 both of us. 
 
 Beth. Yes, I know; bless your heart, but you 
 liked me because I've a home of my own. 
 
 Mrs. Babbit. Home — hm! It seems like 
 slanderin* the word to apply it to Mrs. Tompkins* 
 boardin-house. Where's your dinner? 
 
 Beth. In here. (Going into office, picks up 
 dinner basket, shows it to Mrs. Babbit) 
 
 Mrs. Babbit. (Following Beth up to ticket 
 window) Lands' sakes, it ain't right, you'd 
 oughter be eatin' side a some good man ! Why don't 
 you take up with some nice fellers around here? 
 It ain't for want of a chance, for I never seed in 
 all my life so many men shoppin' for railroad 
 tickets. (Crosses r. back of bench r.) 
 
 {Enter Gill with the axe which he returns to its 
 place. He is followed by Mrs. Dawson, 
 Luella Ann and William Henry who carries 
 the poker and exits unobserved, into baggage 
 room, Mrs. Dawson comes dozvn and sits on- 
 bench l., Luella Ann beside her. Gill crosses 
 back to ticket window.) 
 
 Gill. By gosh, Miss Beth I clean forgot to pay 
 the charges on them tires. How much ? 
 
 Beth. A dollar ten. 
 
 Gill. Them machines do certainly burn up 
 money. (Gives her bill) Must take a spin with me 
 some day. 
 
 Beth. (Giving him change) I'd like to, Mr. 
 Gill. 
 
 Mrs. Babbit. Want to kill her ? Well, when yer 
 dead and gone, remember I warned yer. (Gill 
 exits, whistle blows off l., distant noise of approach- 
 ing train, Dawson enters excitedly) 
 
26 THE TRAVELING SALESMAN. 
 
 Dawson. Come on, Maw. (Mrs. Dawson starts 
 for the door) Bring the bundles— the bundles! 
 (Exits) 
 
 Mrs. Dawson. (Rushing back to bench, grabbing 
 bundles) I'm so excited I don't know where I'm at. 
 (Looking around) I can't find my little grip. Mrs. 
 Babbit, Mrs. Babbit give me a hand! (Mrs. 
 Dawson rushes up to door l, in flat. Calling off) 
 Paw, Paw, my little grip! 
 
 (Mrs. Babbit drops her bundle on bench r., crosses 
 to c. Mrs. Dawson comes down l. of bench l. 
 LuELLA Ann runs up to door l. in flat. Exits.) 
 
 Crabb. (Off-stage) All aboard! All aboard! 
 Eleven fifty-three. (Enters door r. in fiat) 
 
 Mrs. Babbit. Someone hold that train! 
 
 Crabb. (Coming down to Mrs. Babbit c.) All 
 aboard, 'leven fifty-three. 
 
 Mrs. Babbit. (Turning on him furiously) Don't 
 stand there, you big lummix, give us a hand ! 
 
 (Exit Crabb r. door in flat.) 
 
 Mrs. Dawson. (Runnijig up to door l. in flat) 
 Paw, Paw, my little grip. I can't find my little grip. 
 
 (Enter Dawson door l. in flat, comes down by 
 bench center, followed by Luella Ann.) 
 
 Dawson. What's the matter with you? What 
 have you lost ? 
 
 Mrs. Dawson. My little grip ! 
 
 (Mrs. Babbit picks up valise r. of bench l., turning 
 quickly jams it into Dawson's stomach.) 
 
 Dawson. (Grabbing it from her) Is this the 
 one? 
 
THE TRAVELING SALESMAN. 27 
 
 Mrs. Dawson. No, my little grip. 
 
 (Enter Conductor l. door in flat. Stands left of 
 door.) 
 
 Conductor. All aboard ! 
 
 Mrs. Babbit. Hold that train. It's life or death. 
 
 Dawson. {Picking up small grip underneath 
 bench l.) Here it is right in fiont of yer eyes. 
 You wimmin can't find nuthin'. 
 
 Mrs. Dawson. Of course, I'm to blame. 
 
 Dawson. Come on here. (He starts for door L. 
 in flat, followed by Mrs. Dawson and Luella Ann) 
 
 Conductor. Get a move on 1 
 
 Dawson. Don't give me none of your lip. 
 
 Mrs. Dawson. {Separating them) That's right, 
 pick a fuss. (Dawson exits. 'Mrs. Dawson grabs 
 Luella's hand, puts out other hafid for William 
 Henry. He is not there) My Gawd ! Where's the 
 baby? 
 
 (Enter Crabb, r. door in flat. Mrs. Dawson and 
 Mrs. Babbit rush to him. Both crying: 
 " Where's the baby? " Crabb stands be- 
 wildered. Conductor keeps calling "All 
 aboard " . Presently from door to baggage room 
 enter William Henry, carrying a red flag over 
 his shoulder. ) 
 
 William Henry. All aboard! All aboard! 
 
 (Mrs. Babbit grabs William Henry spanks him. 
 Crabb jerks the flag from William Henry's 
 hand, Mrs. Dawson grabs him and shakes him. 
 Dawson appears at door yelling " Come on '\ 
 Conductor continues to yell "All aboard", 
 William Henry cries loudly, the Dawson 
 family clamber on train.) 
 
2S JHE TRAVELING SALESMAN 
 
 Crabb. (To Mrs. Babbit) All aboard, *Leven 
 fifty-three. 
 
 Mrs. Babbit. (Catching sight of crock of apple 
 butter forgotten in the excitement) Don't bother 
 me. (Picks up crock, rushes to door) Mrs. Daw- 
 son! Mrs. Dawson! Here's your apple butter! 
 (Conductor grabs the crock from her) Good-bye 
 — Good-bye! (The Conductor slams the door in 
 her face. Mrs. Babbit comes down wearily, sits 
 bench l. Effect of departing train. Mrs. Babbit 
 looks up at clock. To Crabb) Say, when does that 
 'Leven fifty-three go? 
 
 Crabb. (Shrieking with laughter) It's jest gone ! 
 
 Mrs. Babbit. (Rising quickly) What? (Chases 
 Crabb off through door to Baggage Room) 
 
 Beth. (Coming out of office) Why, Mrs. 
 Babbit, aren't you going! 
 
 Mrs. Babbit. (Furiously) Oh, no, I'm not 
 going, just loafin' around the depot. (Picks up 
 bundles one after the other) 
 
 Beth. Oh, I'm so sorry. 
 
 Mrs. Babbit. That's your reward for a health- 
 ful, self-sacrificing nature ! Drat that Dawson wo- 
 man; I wish I had her here for five minutes! 
 
 Beth. There is a later train. (Going back to 
 ticket-office) 
 
 Mrs. Babbit. (Putting cape on and getting 
 bundles) I'll get even with this road: give me 
 back my dollar thirty-three; just for spite I won't 
 go. (Gets ticket out of bag, slams it en shelf of 
 window. Crossing to ticket office) 
 
 Beth. (At window of ticket-office) It's too 
 bad. (Takes ticket) 
 
 Mrs. Babbit. (Crying) I'm a poor unfor- 
 tunate, spendin' Christmas in a hotel room! Not 
 a soul to pass me a kind word, 
 
 Beth. (Giving Mrs. Babbit money for ticket) 
 Never mind, I'll come over to-night and v/ell cheer 
 up together. 
 
THE TRAVELING SALESMAN. 29 
 
 Mrs. Babbit. (Taking money) Do. 
 
 Beth. Good-bye for the present. 
 
 Mrs. Babbit. (Crossing to door" l. in flat) 
 Good-bye— good-bye. (Stops) Say — say — my 
 trunk's on that train. (Walking toward office) 
 You telegraph for it; I ain't got a clean night- 
 gown to my back! (Exits door l. in flat) 
 
 (Beth lays her head on the counter and laughs 
 heartily. Enter Blake u. l., a typical city 
 drummer. He has a dress-suit case and um- 
 brella. He comes to window. Beth has her 
 head buried in her arms laughing; she doesn't 
 hear him; there is a pause. Blake looks at 
 her for a moment, then the contagion of her 
 laugh strikes him and he joins in. Beth 
 raises her head; they look at each other.) 
 
 Blake. (Standing l. of window. Facing front 
 in the entire scene) Go on, enjoy yourself, don't 
 mind me. (Putting grip down) 
 
 Beth. What can I do for you? 
 
 Blake. Put me close to that joke— it must be 
 good 
 
 Beth. Sir? 
 
 Blake. I beg yonY'-(Bowing to her) pardon. 
 When does the next train go ? 
 
 Beth. North or South? 
 
 Blake. Search me ! 
 
 Beth. Sir? 
 
 Blake. (Turning) l—(Bowing) beg your 
 pardon— but, I don't know which is which: my 
 bump of locality's a dimple. 
 
 Beth. Where did you come from? 
 
 Blake. I got off that train just as it pulled 
 out. 
 
 Beth. Where do you wish to go? 
 
 Blake. (Strong) Back. 
 
 Beth. How far? 
 
30 THE TRAVELING SALESMAN. 
 
 Blake. Search me. 
 
 Beth. This is a depot, not a customs-house. 
 (She turns away to telegraph instrument on shelf 
 at back of ticket office) 
 
 Blake. (To himself. Moving dozvn stage to r., 
 bus. hand to jaw, etc.) That rang the bell — 
 (Turning up) See here, Miss, I beg your par- 
 don, (Beth comes to window) but I must have 
 come from somewhere. (Going up to window at r. 
 of window, and facing audience) 
 
 Beth. (Freezingly) Presumably — ^you're a 
 stranger to me. 
 
 Blake. I can remedy that. See here, my good 
 girl. 
 
 Beth. I am not your good girl ! 
 
 Blake. Fm not to blame for that. (Beth is in- 
 dignant) I beg your pardon, but I'm lost. 
 
 Beth. How careless! (Blake gets in front of 
 window. Crabb enters R. i e. from baggage- 
 room) Oh, Mr. Crabb (To Blake) stand to one 
 side, please. (Blake goes R. a little, to stove) Now, 
 don't hurry over your dinner, Mr. Crabb, I have 
 mine here. Have a good time with the kiddies. 
 (Crabb passing window to door l. in flat) Wait, I 
 have something for them. (Crabb stops, looks at 
 clock. Beth takes out a package wrapped in tissue- 
 paper and decorated with holly and red ribbon) 
 Give them my love and a Merry Christmas ! 
 
 Crabb. (Coming to windozv, wipes hands on 
 trousers) Thank you, Miss — thank you. (Exits 
 door L. in fiat) 
 
 Blake. She's a nice little party. (Sings) 
 ** Gee I wish I had a girl." (He crosses to win- 
 dow; as he reaches it, Beth closes it) Going 
 down! Blake, you're in wrong — (Blake goes to 
 the R. window and taps meekly, then he taps again; 
 Beth opens it quickly) 
 
 Beth. This office is closed except for the trans- 
 
THE TRAVELING SALESMAN. 31 
 
 mission of telegrams. {She starts to close the win- 
 dow; Blake stops her with left hand) 
 
 Blake. All light, me for transmitting! {Lays 
 umbrella on ledge of window. Beth pidls a pad of 
 telegraph blanks and a pencil tied with a string ; 
 shoves them tozvard him indifferently, looks over his 
 head. Blake smiles and looks at her. Beth turns 
 azvay, frowning) Cold, to-day. {Looks at her 
 again, smiling and turns azvay) Colder with occa- 
 sional snow. {Fishes for pencil which dangles at 
 end of string) What's the date? {Starts to write) 
 
 Beth. I believe Christmas usually falls on De- 
 cember 25th. 
 
 Blake. {Lays down pencil) You must think 
 me foolish. 
 
 Beth. You weren't in my thoughts. 
 
 Blake. {Quickly bends over to write) What's 
 this place ? 
 
 Beth. Grand Crossing. 
 
 Blake. Why, that's where I want to go. {Push- 
 ing telegraph pad) 
 
 Beth. Don't let me detain you. {Turns up to 
 telegraph instrument) 
 
 Blake. {Turning and stepping down a bit, 
 then directly to window) I was out last night 
 but I wasn't bad. Now wait a minute. I woke 
 up as we left the last stop an' I distinctly heard 
 some yap articulate. Grand Crossing. 
 
 Beth. {Comes back to window) That was 
 Grand Crossing Junction. 
 
 Blake. You must think me stupid. 
 
 Beth. {Wither ingly) How could I? (Blake 
 looks front. The instrument begins to tick loudly. 
 Beth turns to it. Blake looks at her) That is 
 the Junction calling now? (Blake crosses to L. of 
 window) Is your name Blake? 
 
 Blake. Yes. 
 
 Beth. What's your first name? 
 
32 THE TRAVELING SALESMAN. 
 
 Blake. Are we going to tell real names? 
 (Looking through window) 
 
 Beth. A Mr. Watts, Ted Watts, wants to 
 know if you are Bob Blake? 
 
 Blake. That's my number. (Looking front — 
 loud laugh from Beth) What does he say? 
 
 Beth. (Coming to window) He was describ- 
 ing you. It*s so funny. 
 
 Blake. Do I fit it? 
 
 Beth. Yes, that's why it is so funny. 
 
 Blake. Don't you dare identify me! Ill punch 
 his fat head. I wired him to meet me here. 
 What'd he go over to the Junction for? 
 
 Beth. I'm not in Mr. Watts' confidence. I 
 suppose you gave him Junction time and some 
 trains stop there that go through here. 
 
 Blake. Isn't that a hit? It's a wonder that he 
 wouldn't have looked it up and found out if I were 
 right! Isn't it funny how stupid some people 
 are? 
 
 Beth. What shall I wire? 
 
 Blake. Just say, Hello, Wattsie ! (Betu smiles, 
 turns up to ticker. Pause) Tell him to bring over 
 my trunks and meet me at the hotel. What's he say 
 now? 
 
 Beth. (Coming to windozv) The Junction says 
 he can't repeat it to a lady. (Look at each other 
 seriously, then both laugh, Blake loudly) 
 
 Blake. There is a hotel? 
 
 Beth. The Elite. 
 
 Blake. Oh, say not so! The Elite! Can't 
 you see it? (Beth starts to close the window) 
 Just a minute, is the lunch counter transmitting? 
 
 Beth. We haven't such a luxury. 
 
 Blake. Where is the nearest coaling station? 
 
 Beth. You can have a lovely Christmas dinner 
 at the Elite. 
 
 Blake. Elite doesn't listen well. Watts won't 
 
THE TRAVELING SALESMAN. 33 
 
 get back in time. Isn't it awful to eat your Qirist- 
 mas dinner alone? 
 
 Beth. Oh, I don't know. I am obliged to eat 
 mine alone. 
 
 Blake. Oh, no, you're not: I'll eat with you. 
 {Swinging round, looking in window) 
 
 Beth. You're what I might call 
 
 Blake. Fresh, sure I am. You don't like stale 
 men, do you? Come on, what's the use of being 
 lonesome apart ? Let's be miserable together. {FaC" 
 ing window) 
 
 Beth. You're not very flattering. 
 
 Blake. {Walks round, down-stage to J..) I 
 don't dare be — you'll jump on me. 
 
 Beth. {Laughing in spite of herself) You 
 funny man! 
 
 Blake. What, funny to you, or funny to look 
 at? {Facing her) 
 
 Beth. Fishing. I'm going to take pity on you: 
 Miss Beth Elliott requests the pleasure of Mr. 
 Blake 
 
 Blake. {Bowing to her with hat in hand) 
 Bob to you, Bob to you! {Comes to windonsj) 
 
 Beth. Mr. " Bob " Blake's company to luncheon 
 immediately. 
 
 Blake. {Bowing hat off) Mr. Bob Blake ac- 
 cepts Miss Beth — short for Elizabeth? {Turn- 
 ing front) Sweet name, " Beth " 
 
 Beth. {Getting basket) I just escaped being 
 Lizzie. {Takes cover off basket) It looks awfully 
 good. 
 
 Blake. {Meaningly) Looks good to me. 
 
 Beth. You like turkey? 
 
 Blake. {Looking at her) I wasn't looking at the 
 turkey. 
 
 Beth. That's just where you'd better look, 
 young man. 
 
 Blake. Will I come in there? 
 
 Beth. No, against the rules. 
 
34 THE TRAVELING SALESMAN. 
 
 Blake. (Crossing to r. of window, taking off 
 hat) Let me get in the bread-line. 
 
 Beth. What are you doing? 
 
 Blake. {Interrupting) Oh, this isn't a hand 
 out, it's to be a buffet lunch. 
 
 Beth. {Interrupting) We'll eat over there. 
 {Pointing to bench r.) 
 
 Blake. {Putting hat on) Oh, going to be a 
 regular party ! Can I help you ? {Reaching for 
 basket, she takes it away) 
 
 Beth. Yes, put some coals on the fire. 
 
 Blake. Well, I'm the cutest little fireman! 
 (Beth crosses in to R. with lunch during stove busi- 
 ness. Blake takes handle of stove door — fingers 
 burned — then looks at her, catching her laughing 
 at him. Picks up coal scuttle) Ain't I the handiest 
 little thing around the house? {He empties scuttle, 
 but as he is looking at Beth the coal falls on the 
 floor) 
 
 Beth. {Holding up glass which she has taken 
 from basket) Oh, there's only one glass. 
 
 Blake. That's all right, I'll drink out of the 
 bottle. 
 
 Beth. Oh, you can't drink anything out of a 
 bottle. 
 
 Blake, I don't know. {Taking off coat) 
 
 Beth. Possibly you've had more experience? 
 
 Blake. My dear young — operator, I had you 
 there! {Putting down hat and coat on upstage 
 bench r. Coming down to L. of bench) I'm not so 
 crazy about bottled goods. 
 
 Beth. {Sitting extreme r. of bench R. Basket 
 on bench l. of her) That's good. 
 
 Blake. I'm glad you feel that v^ay. {Standing 
 by bench l. end) 
 
 Beth. Why should I care? 
 
 Blake. No reason, but I wish you did. 
 
 Beth. {Oblivious) Have some turkey? 
 
 Bi^ake. Gimme the neck. {Sitting) Thanks. 
 
THE TRAVELING SALESMAN. 35 
 
 Beth. (Hands bread and butter) Bread and 
 butter ? 
 
 Blake. Thank you. ( Takes a bite; smiles at her. 
 She smiles at him. Slight pause. They repeat busi- 
 ness) Homemade bread ! Gee, I'm crazy about 
 homemade bread ! Why don't they have Christmas 
 picnics ? 
 
 Beth. Rather chilly. Taste good ? 
 
 Blake. Did you cook it? 
 
 Beth. Oh, you can be honest about it. 
 
 Blake. Best ever. (She gives him another 
 small sandwich, which he looks at) Aren't they 
 wearin' the bread thin in sandwiches this year? 
 (She laughs. He looks into basket; she does same 
 after him, twice) Is that pie in there? (Looking 
 in together and raising head at same time) 
 
 Beth. Yes. 
 
 Blake. What kind? 
 
 Beth. Mince. 
 
 Blake. Like Mother used to make? 
 
 Beth. Yes, have some? 
 
 Blake. No, I don't carry any life insurance. 
 
 Beth. Stupid not to have another glass, but I 
 wasn't expecting company. 
 
 Blake. (Getting bottle and glass out of bas- 
 ket, replacing untouched sandwich in basket) Let's 
 make it a loving cup. ( Cork is on a string, he flicks 
 it with his fingers) Say, isn't this clubby? (He 
 pours into glass, imitating soda-fountain clerk. He 
 gives glass to Beth, she drinks, offers it to him; he 
 twists glass around and drinks out of same spot) 
 
 Beth. Have some celery? (She gives htm a 
 very small piece) 
 
 Blake. Hope Fm not robbing you? (He picks 
 the leaves off the stalk) She loves me, she loves me 
 not. (Seeing wishbone in basket) You gave me the 
 wishbone. Will you wish with me? (Wipes wish- 
 bone on napkin) 
 Beth. I'm ready, 
 
36 THE TRAVELING SALESMAN. 
 
 Blake. I wish I could eat this lunch every day. 
 
 Beth. Oh, you mustn't tell your wish. 
 
 Blake. Now ycu must not cheat, and you must 
 
 pull as hard as I do. Now, when I say go — {They 
 
 break bone) IVe lost. (Throzvs bone in basket) 
 
 Beth. You didn't want to get it, did you? 
 
 You'd hate to eat turkey every day. 
 
 Blake. I wouldn't if you gave it to me. 
 Beth. (Looking at him) See here, young man, 
 are you trying to flirt with me? Nice return for 
 
 charity to a 
 
 Blake. (Takes out card and cigarette case) 
 A drummer. 
 
 Beth. Oh, are you a drummer? 
 Blake. Don't I look the part? (Taking out 
 card) What did you think I was? A tourist? 
 Permit me. (Hands card to her) Do you mind if 
 I smoke? (Taking out cigarette and match. Beth 
 points to *' No ^noking" sign; he looks at it) Oh, 
 I don't believe in signs. 
 
 Beth. You travel for Martin Drury. That's 
 Mr. Royce's firm? 
 
 Blake. Yes, I've come down to sell Royce. 
 
 Beth. Oh, you're a friend of Mr. Royce's? 
 
 Blake. (Lighting match) Not exactly. Do 
 
 you know him? Of course, that goes without 
 
 saying. (Puffs cigarette) I suppose you meet 
 
 everybody? (Lighting cigarette and looking front) 
 
 Beth. Because I am doing an unconventional 
 
 thing now, doesn't mean that I " meet everybody " ! 
 
 (He looks at her) When I began to work here I 
 
 felt that every man who asked me the price of a 
 
 ticket should first be properly introduced. (He 
 
 smiles and leans forward) But I've gotten over 
 
 all that. A friend of mine — Mrs. Babbit, a dear 
 
 sensible soul — called my attention to it; she didn't 
 
 mince matters, she simply said, " Beth, any time 
 
 you're better than your job, quit it." I came right 
 
 down off my high horse. And do you know. I've 
 
THE TRAVELING SALESMAN. 37 
 
 made some of my best friends right at that little 
 window? {Looking zvist fully at windozv) 
 
 Blake. (Looking toward her) What's a girl 
 like you working for? 
 
 Beth. (Lightly, turning front) A living. 
 
 Blake. (Sitting up straight) Then the men in 
 this town must be a lot of chumps. 
 
 Beth. Marriage, you mean ? I've a better object 
 than that in view. 
 
 Blake. Can a woman have a better object ? 
 
 Beth. That depends on the object. (Blake 
 moving from her) Personally, I prefer my inde- 
 pendence and my property. 
 
 Blake. Your property? 
 
 Beth. (Putting hand on chest) You are lunch- 
 ing with a land proprietor. 
 
 Blake. (Rising and bowing to her with a 
 grandiloquent bow) I appreciate the honor. 
 
 Beth. You don't believe me. See, I'm going 
 to be sold up for taxes to-morrow. (Points to 
 placard) 
 
 Blake. Sold up? 
 
 Beth. (Arranging basket, putting in basket, 
 etc. ) Um — um 
 
 Blake. (Going up to read notice of sale and 
 puts out cigarette which he drops on floor) It 
 doesn't seem to worry you ? 
 
 Beth. What do you want me to do, pull a long 
 face and cry over it? I'd hoped to have paid the 
 taxes by this time, but I was ill and was docked. 
 
 Blake. (Turning to her) Docked — the railroad 
 company docked you? Cheap pikers! Will you 
 lose your land ? Tell me about it ; where is it ? 
 (Coming down to c. rear of bench r.) 
 
 Beth. You've passed it on the way. 
 
 Blake. Oh, did I? I wasn't noticing very 
 much. 
 
 Beth. (Blake sits on upstage bench, leans on 
 back of it) It isn't anything to look at; it lies 
 
38 THE TRAVELING SALESMAN. 
 
 right along side of the railroad just outside of 
 the Junction. It's always been called Elliott's 
 Stone Pile. People around here think it isn't good 
 for much, but my father struggled all his life to 
 keep it for me. It meant days of work and nights 
 of worry for him, and for me, self-denial, the 
 sacrifice of all the little pleasure that other girls 
 have had, all that makes a happy girlhood. It's all 
 I have in the world. Isn't it funny my sitting here 
 telling you my troubles, when I've no doubt you've 
 loads of your own? How's trade? What's your 
 line? 
 
 Blake. Women. 
 
 Beth. What? 
 
 Blake. Women's suits. (Jumps up, goes to 
 ticket-window facing front) Say, I've some peachy 
 samples — (Coming to l. of bench r.) some almost 
 Paris styles. Come on over to the hotel and look 
 them over. 
 
 Beth. (Slowly) I don't understand you, Mr. 
 Blake? I wouldn't think you the kind of man to 
 misjudge a woman. I'm not so unconventional as 
 to visit you. 
 
 Blake. (Turning to front) In wrong again — 
 and I never tried harder in my life to get in right. 
 
 Beth. It isn't the return I expected for a 
 hospitable impulse. T don't really know why I did 
 offer to share my lunch with you to day, except that 
 I've had so many lonely Christmas's myself. 
 
 Blake. (To Beth) Do you think I would 
 meaningly be careless of your feelings? That 
 would be a snide return for a hospitality so kind 
 that the recollection of it will be with me every 
 Christmas of mv life. May I call on you? 
 
 Beth. (To Blake) You see, I live in a board- 
 ing-house and — (Looking front) I don't know 
 what Mrs. Tompkins would say if she knew how 
 I met you. (To Blake) I'd have to tell her and 
 
THE TRAVELING SALESMAN. 39 
 
 I'm afraid she wouldn't understand. You see 
 there's such a prejudice against 
 
 Blake. (Interrupting) Against drummers! 
 {Moving away to c.) Give a dog a bad name. 
 
 Beth. {Taking basket) But I don't share that 
 prejudice; I know lots of nice drummers. Why, I 
 think you — {Crossing to c.) 
 
 Blake. {Turning to her) Yes? {She turns 
 front) 
 
 Beth. Oh, nothing. {Looking down) 
 
 Blake. I'd like to know just what you think. 
 {Telegraph) 
 
 Beth. {Moving to office) Oh, there's the 
 key! 
 
 Blake. (Stands still) Say, that's a funny feel- 
 ing — (Hand to heart) is it the turkey? (Looks at 
 bench r., then turns, sees Beth at windoiv, she 
 smiles) Then I suppose I won't see you again? 
 (Going up to window l., facing Beth) 
 
 Beth. Possibly — I*m going over to the Elite to- 
 night to call- on my friend Mrs. Babbit. ' 
 
 (Enter Crabb r. door in fiat.) 
 
 Blake. But I don't know Mrs. Babbit. 
 Crabb. Young man, you're in luck. 
 
 (Blake laughs loudly. Crabb exits to r. i e.) 
 
 Blake. Where is the Elite? 
 
 Beth. I'm going that way; I'll show you, if 
 I'm not taking up too much of your time — — 
 
 Blake, Go on, take as much as you like. 
 (Beth puts on hat, looks at Blake. Blake going 
 to bench puts on hat, looks at Beth. Puts on coat, 
 singing; Beth puts on coat, closes zvindoiv) Blake, 
 you've got it good ! (Crossing, picking up dress-suit 
 case) 
 
 Beth. (Re-enters) I'm ready. Heavy? 
 
40 THE TRAVELING SALESMAN. 
 
 Blake. I feel so good I could carry the stove. 
 
 Beth. Here, let me show you. (Puts his 
 umbrella through handle of suit case) 
 
 Blake. Oh, no! 
 
 Beth. Just to the corner. 
 
 Blake. Oh, well, I don't care. I could do this 
 all day. (Laughs. Beth laughs. Royce enters r. 
 door flat, comes down to c. Beth stops. Blake 
 turns) Hello, Royce, Merry Christmas! {Lifts 
 hat to Royce) 
 
 (Beth and Blake exit, laughing, door l. in flat.) 
 
 CURTAIN. 
 
 ACT II. 
 
 Scene: — Blake's room in the Elite Hotel, 
 
 Time : — Christmas Night. 
 
 It is the typical bedroom of a village hotel, 
 ^ walls are covered with a cheap and very 
 J^ly striped 7vall paper. The woodwork — • 
 originally white — is now dirty and discolored. 
 Blake has had all the furniture, with the ex- 
 ception of a large round table and half a dozen 
 chairs, removed, and is using it as a sample 
 room. At the rear of the stage, against the wall, 
 and on either side of the door c. in back flat, and 
 against the wall at l., are sample tables covered 
 with unbleached muslin on which are placed in 
 neat piles, women's coats and skirts of varied 
 color and design. To them are affixed price tags. 
 A woman's jacket hangs on a chair l., a second 
 is suspended from the telephone receiver, a third 
 from the electric button r. of door c, and a 
 
THE TRAVELING SALESMAN. 41 
 
 fourth from the electric light bracket on wall r. 
 A skirt is thrown carelessly over the upper end 
 of the table l. On the lower end of this table are 
 two books of samples. On the l. end of table 
 of door c. is another skirt, and on the lid of the 
 opened trunk at r., is a woman's ulster. At r. 1 
 E. and at r. 3 e. are windozvs at which are hung 
 cheap lace curtains. On window at r. i e. is a 
 rope attachment for use as in the event of fire, 
 A steam radiator stands between the tzvo win- 
 dows. At u ^ is a door to Blake's bedroom. 
 The door at c. gives on to the main hall. The 
 backing is covered with a faded red wall paper. 
 In this backing and exactly opposite the door 
 c. to Blake's room is a door to Mrs. Babbit's 
 room. The backing for this door represents 
 the wall of another bedroom, covered zvith 
 wall paper. From the ceiling hangs an old 
 fashioned gas chandelier now wired for 
 electricity. On the walls are landscape 
 ** chromos " in tawdry gilt frames. On the 
 back of the door is tacked a card printed " Rules 
 of the HoteV*. On the floor is a cheap 
 Ingrain carpet. 
 
 At rise: — Blake discovered in his shirt-sleeves. 
 He is smoking a cigar, his arms full of clothing, 
 which has evidently been taken out of a trunk in 
 bedroom. 
 
 {Sings: " Nothing half so sweet in life as Love's 
 young dream.'') 
 
 Blake. Sweet name, Beth! (Goes l. whistling. 
 There is a knock at the door) Come in. (Throws 
 skirt on table l. Goes to sample table l.) 
 
 (Enter Ted Watts, a drum.mer, several years 
 younger than Blake; he is Blake's best pal. 
 
42 THE TRAVELING SALESMAN. 
 
 He has his hat tilted over his eyes, a cigar 
 stuck in his mouth at an angle of fifty-fiue de- 
 grees; overcoat collar is turned up; his hand 
 deep in his pocket. He is a picture of cold 
 grouchiness. ) 
 
 Blake. (Down l.) Hello, Wattsie, Merry 
 Christmas! 
 
 Watts. Merry Hell! (He crosses to radiator, 
 stands warming his back, Blake crossing a- little 
 to c.) 
 
 Blake. Why the grouch? 
 
 Watts. Why not the grouch ? How'd you like to 
 push on the reins for five miles behind a frost- 
 bitten skate with everything from creeping paralysis 
 to housemaid's knee. Then all the way back hold- 
 ing a couple of those cute little trunks — (Points to 
 sample trunks) in your lap. What do you expect 
 me to do — kiss you? (Blake laughs) Go on — 
 laugh — ha — ha — (Laughs sarcastically) 
 
 Blake. I'm mighty sorry, old man. I got my 
 trains mixed. 
 
 Watts. (Coming toward l. of table r. c.) That's 
 a nice little ingenue excuse. They ought to send 
 you out with a guide. Where Ve you been ? ( Com- 
 ing down) 
 
 Blake, (c.) Fve — I've been — ^been delayed. 
 I've been looking over the town. 
 
 Watts. Cut that, you've been buzzin* a girl! 
 (Watts sits r.) 
 
 Blake, (c.) No, Watts, not a girl — the girl. 
 (Turning front) 
 
 Watts. (Seated) The girl? Now don't hand 
 me that. 
 
 Blake. This one's different. 
 
 Watts. Same old wheeze: they're all different 
 at the beginning, but they're pretty much alike at 
 the finish. 
 
THE TRAVELING SALESMAN. 43 
 
 Blake. Who's tossed you? {At chair l. of 
 table) 
 
 Watts. Now, don't you lay awake nights over 
 any skirt giving me the toss. 
 
 Blake. I won't — I've got nightmares of my 
 own. (Crosses to l. then to c.) Won't you lay 
 off your wraps and stay a while? (c.) 
 
 Watts. And freeze to death. I'm not all 
 warmed up by love's young dream, I'm still driv- 
 ing ! (He shivers and goes back to radiator. Blake 
 crosses with samples to l. There is a knock at the 
 door) 
 
 Blake. Come in. 
 
 (Enter Julius, a colored porter. He is carrying 
 a pitcher of ice-water. The ice clinks against 
 the pitcher.) 
 
 Julius. Ice water, sir. (Offering to Blake; 
 Blake points to Watts. Julius offers water to 
 Watts. Watts picks up chair, and starts for 
 Julius. Julius exits keeping eye on Watts, clos- 
 ing the door softly) 
 
 (Blake crossing to l. — laughing — throws skirt on 
 table L.) 
 
 Blake. I see to that Jasper's house trouble. 
 Had your supper ? 
 
 Watts. (Facing radiator) Everything was out 
 when I struck the dining-room. Had yours? 
 
 Blake. Wasn't very hungry. Had the lunch of 
 my life to-day. 
 
 Watts. In Grand Crossing? Who staked you? 
 (Looking at Blake) 
 
 Blake. Sh — sh — little boys shouldn't ask ques- 
 tions ! I was mighty glad to get your wire saying 
 you'd meet me here. 
 
44 THE TRAVELING SALESMAN 
 
 Watts. Like you to pick out this God-forsaken 
 hole. {Moves dozvn l.) 
 
 Blake. Oh, it isn't so forsaken. (Song ''Oh, 
 there's nothing half so sweet in life as love's young 
 dream") Say, Watts, do you beHeve in love? 
 
 Watts. Love ! {Laughing) Change your 
 dope. 
 
 Blake. Love at first sight. 
 
 Watts. {Imitating Blake) Love at first 
 sight ! 
 
 Blake. You're a natural born echo. 
 
 Watts. You've been reading fairy tales ! Love 
 at first sight! {Laughs) 
 
 Blake. Don't encore yourself. (Watts laugh- 
 ing, crosses to r. to table) No, and I'm not batty. 
 
 Watts. That girl's got you going. 
 
 B.ake. Going — I'm gone! {Looking front) 
 
 Watts. What, Blake, the prize con? 
 
 Blake. The kidder from Kiddersville. Go on, 
 say it. 
 
 Watts. This is immense ; this is too good to 
 keep! {Starting across to phone l.) I've got to 
 put the boys wise to this. 
 
 Blake. Any of the boys in town? {As Watts 
 goes to phone, takes down receiver) 
 
 Watts. {At phone) Yes, Kimball and old 
 Cobb are here doing penance for their crimes. Is 
 this the office? Ask Mr. Kimball and Mr. Cobb to 
 join Mr. Blake and Mr. Watts. {Louder) Yes — 
 this room. {Comes to l. of Blake) 
 
 Blake. See here, Watts, I'm strong for a joke 
 even when I'm the goat, but this isn't a joke. I'll 
 stand for your kidding but I don't care to be joshed 
 by Kimball and old Cobb. {Turns front) 
 
 Watts. Oh, as bad as that, eh? 
 
 Blake. {Looking front) She's the only thought 
 in my head. 
 
 Watts. Oh, well, if that's the way you feel 
 about it. 
 
THE TRAVELING SALESMAN. 45 
 
 Blake. That's the way I feel about it. (Watts 
 starts to door) Oh, come 'on, Watts, now don't get 
 huffy. Stick around, the boys will be here in a 
 minute, and we'll get up a little game. 
 
 Watts. {Coming dozun l.) Not on your ex- 
 istence. I'm not going to sit here an' play freeze 
 out. You've induced a yearning for a little feminine 
 society. Wonder if that little milliner's here? (He 
 takes out a little red pocket memorandum book) 
 G. G. — Grand Crossing — Here it is — Minnie Conway 
 — Main Street — Telephone 43. Suppose I call her 
 up an' see if she hasn't a friend? 
 
 Blake. (Crosses r.) Nix with Minnie ! (Mov- 
 ing across to fable r.) I'm not going to cheapen 
 my recollections of Beth Elliott with any of your 
 village Salomes ! Watts, for the first time in many 
 moons I'm jerry to myself. (Leaning against front 
 of table) 
 
 Watts. How ? 
 
 Blake. (Leaning back against table) She 
 didn't want me to call on her. I felt just a little bit 
 ashamed. She thought her landlady might want to 
 sidestep a drummer. 
 
 Watts, (l. of c.) I like her nerve and yours, 
 too! Ashamed of being a drummer! 
 
 Blake. No, ashamed of myself — of the way 
 I've helped to make the name " drummer " stand 
 for dallying by the wayside. It's an awful thing, 
 Wattsie, to think that if a drummer heaves in sight 
 all the old ladies yell, " Run, daughter, the Indians 
 are upon us." 
 
 Watts. (Breaking in) Oh, I guess we're no 
 worse than any other men. What in blazes are we 
 going to do? Look at the life we lead — no home — 
 no women-folks ! (Looking dozvn, with cigar in R. 
 hand) 
 
 Blake. (At table) I know, Wattsie, it's pretty 
 hard keepin* a strangle-hold on home-ties when you 
 only see your home about twice a year. 
 
46 THE TRAVELING SALESMAN. 
 
 Watts, (l. c.) That's right. You don't think 
 I'm stuck on this red book, do you? But — (Putting 
 it back in pocket) I wasn't brought up to be lone- 
 some. 
 
 Blake. I'm strong for company, too, (Moving 
 R. to chair) but if I thought I had half a chance with 
 that girl — all the others to the discard ! (Sis r. of 
 table) 
 
 Watts. (Crossing, sits l. of table, astride of 
 chair) Say, she must be a peach. 
 
 Blake. Peach ? She's the whole orchard, but no 
 goo-goo eyes about her. Just a sweet, brave little 
 girl, not holding down a job to get a few glad rags. 
 Isn't on the lookout to make a few flash acquaint- 
 ances. Just working like you and I to keep the pot 
 boiling. (Looking front) She has some land that's 
 to be sold up, and she's working to pay off the 
 taxes. (Looking at Watts) Can't you understand ? 
 I respect her. 
 
 Watts. Why don't you put up a talk to her? 
 
 Blake. (Back in chair) I wonder if she'd be- 
 lieve me? 
 
 Watts. That's the devil of having a reputation. 
 
 Blake. Yes, Wattsie, us and the soubrettes — 
 when we are on the level who believes us ? 
 
 Watts. Oh, what's the use ! Let's have a drink — 
 
 Blake. Sure, I'm so dry my hoops are falling 
 off. (Rise) Tell them to send up a boy. 
 
 (Watts goes to telephone. Blake crosses l., 
 whistling.) 
 
 Watts. (At phone) This the office? Send up 
 the boy. (Going down L.) 
 
 (A knock at the door. Enter Kimball, a man of 
 about thirty- five; also Cobb, a man about fifty, 
 gray hair. They are very gloomy,) 
 
THE TRAVELING SALESMAN. 47 
 
 Blake. (Shaking hands cordially) Hello, Kim- 
 ball! (Kimball goes to r. above table, throws hat 
 on it) Hello, Cobb, you old sight for sore eyes! 
 How goes it? Merry Xmas. 
 
 Kimball. (Irritably) Merry Xmas; what in 
 blazes is the matter with you? (Goes down r. of 
 table and sits) 
 
 Watts. (Drops down l.) He's full of glad 
 tidings. 
 
 Cobb. I don't know the brand, but me for it ! I 
 don't care what I'm full of, so I'm full. (Sitting 
 L. of table) 
 
 (A knock at the door.) 
 
 Blake. Come in. (Enter Julius c, comes c. 
 
 Blake c. ) I don't want the porter, I want the bell- 
 boy. 
 
 Julius. I'se the bell-boy. 
 
 Blake. Then send up a waiter. 
 
 Julius. Fse dat, too. 
 
 Blake. I guess you're the whole works? 
 
 Julius. Fse the staff of the Elite. 
 
 Blake. Drinks for a large party ! 
 
 Julius. Can't serve no drinks, boss. 
 
 (Kimball, Watts and Cobb look at Julius.) 
 
 Blake. What kind of a stall are you giving me ? 
 
 Julius. 'Tain't no stall, it's a solemn fac': 
 clerk downstairs won't allow it. 
 
 Blake. You go down and tell that harp in the 
 office that the gentleman in 25 has a chill ; make it 
 four chills. 
 
 Julius. The bar done shut down last night. 
 
 Cobb. Julius, haven't you a private stock ? 
 
 Julius. No, sir, I never drinks durin' office 
 hours. 
 
48 THE TRAVELING SALESMAN. 
 
 Blake. {Taking a half dollar) Julius, what 
 could you do for that ? 
 
 Julius. (Grinning) Most anything, sir. 
 Watts. Think — (Holding up half dollar) 
 
 (Blake takes Watt's coin.) 
 
 Kimball. (Holding up half a dollar) Think 
 hard! 
 
 (Cobb takes Kimball's coin l. table.) 
 
 Cobb. (Holding up half dollar) Think quickly. 
 (Shaking coins, etc.) 
 
 Blake. (Shaking it in his hands) Listen. 
 
 Julius. Well, gentlemen, you're all mighty 
 persuasive. (Blake gives Julius money; Cobb 
 does same) I might get you something. 
 
 All. Ahf 
 
 Julius. I might get you some tea. 
 
 Cobb. (Turns quickly to Julius) Tea! 
 
 (Watts jumping forward to c. Blake holds him, 
 Julius, frightened, runs up-stag e.) 
 
 Julius. (Coming down) I think you might all 
 be partial to this brand of tea. Guess you never 
 drunk none a my Scotch breakfast tea. (They all 
 laugh) 
 
 Kimball. Now. you're shouting ! 
 
 Blake. Vamp! (Making exit door l., gets 
 coat) 
 
 Watts. And vamp quick. 
 
 Cobb. Bring me a double portion. 
 
 (Julius exits. Kimball sits r. of table.) 
 
 Watts. (Gloomily) Of all the holes to spend 
 Christmas in ! 
 
THE TRAVELING SALESMAN. 49 
 
 (Crossing up R. to back of card-table; takes off coat 
 and hat, leaving them on sample tables; going 
 up for chair up R.) 
 
 Kimball. Of all the hotels to make you think of 
 a misspent life ! 
 
 Cobb. The suicides' rest ! 
 
 Kimball. It's the rottenest-run place! Why, 
 there's even no mail delivery. 
 
 Cobb I can put up with that. {Enter Blake 
 from room l.) It's no drink delivery that worries 
 
 Watts. {Bringing chair to back of table, and 
 standing by it) Now, Kimball, cut out that rave 
 about mail ; Cobb and I have had it all day 
 
 Blake. What's the matter, Kimball? Short of 
 money ? I've a few loose rags here I can loan you. 
 {Getting out money) 
 
 Watts. No, he's short of sentiment: he hasnt 
 heard froim home. Oh, these married men ! {Back 
 of table and sits) . 
 
 Blake. Sorry, Kimball, couldn't you make it? 
 (By chair at back of table) 
 
 Kimball. No, got snowed in up the road ; met 
 up with Cobb and came here. 
 
 Cobb. Wait until I see that man who recom- 
 mended this one-eyed town. 
 
 Kimball. It's the first Christmas I've been away 
 from the little woman. 
 
 Watts. Then what are you kicking about .'' it s 
 so long since I've been home on Christmas. 
 
 Blake. {After a pause) Oh, well, boys, they're 
 thinking about us! {Pokes Cobb in back. To 
 Cobb) Well, old boots and shoes, how goes it? 
 
 (Sits) , , 1 J- n 
 
 Cobb. Oh, not so worse; how are the ladies? 
 Blake. Styles still changing, thank God. {Sits) 
 Cobb. {Loudly) Say, where's that boy? 
 Julius. {Off-stage) Here comes de boy, here 
 
50 THE TRAVELING SALESMAN. 
 
 comes de boy ! (Enter with tray and cups, seltser 
 bottle and whiskey in teapot) 
 
 Blake. Julius, get the cigars. 
 
 Julius. Yes, sir, yes, sir. (Exits l.) 
 
 Kimball. {To Blake) Going to sell this town? 
 
 Blake. Hardly. (Business looking in teapot, 
 etc.; all laiigh) Drury has a man down here. 
 (Pouring tea) I've really brought down a bunch of 
 truck for him to look over. Say, you must know 
 our man here: Royce. 
 
 Kimball. Royce ? Franklin Royce ? There must 
 he has the meal-ticket privilege here. 
 
 Watts. Let's have him in. I don't like him, but 
 we're a man shy. Call him up, Blake, it's your 
 party. You're friends, aren't you? 
 
 Blake. Just as chummy as a pair of panthers. 
 (To Julius, who enters l. zvith box of cigars and 
 ash-tray, putting them on table) Julius! 
 
 Julius. Yes, sir? 
 
 Blake. Does Mr. Royce live here? 
 
 Julius. (Coming c.) He doesn't exactly live 
 here : he has a room over Mrs. Stratton's store, but 
 he has the meal-ticket privilege here. 
 
 All. Poor Royce! 
 
 Blake. Well, you run across and tell him Mr. 
 Blake and some friends would like to have him come 
 over here. (Throws Julius a coin) 
 
 Julius. (At door, bites coin, Blake catches him. 
 Quick exit) Yes, sir, yes, sir. 
 
 (The men draw up to table.) 
 
 Blake. (Ladylike manner. With cup in his 
 hand — to Watts) Two lumps, Clara. 
 
 Watts. (Same manner) No thanks, Maud. 
 
 (Blake fills out cup with seltser.) 
 
 Blake. (Same manner. To Cobb) How will 
 you have yours, dearest? 
 
THE TRAVELING SALESMAN. 51 
 Cobb. (Same manner) Strong, damn you! 
 (Blake fills up a cup for Cobb.) 
 
 Blake. (Fills up cup for Kimball: Watts 
 takes it. To Watts) Pass this to the chaperone. 
 
 Watts. (To Kimball) Here, you old hen. 
 (Putting cup beside Kimball) 
 
 Cobb. Drink it, Kimball; it's good for what ails 
 you. 
 
 Blake. If you haven't got it, it will give it to 
 y(su. 
 
 Watts. To us, God help us ! 
 
 Blake. To us, who's like us — damn few ! 
 
 All. To us! (All drink) 
 
 Kimball. To the absent, God Bless 'em! 
 
 All. (All drink) To the absent! 
 
 (Blake j^//.s cup.) 
 
 Kimball, Mighty funny I didn't hear from 
 home ! 
 
 Cobb. He's off again. 
 
 Blake. (Filling up cups again with tea) 
 
 Here's to the man who loves his wife. 
 And loves his wife alone. 
 For many a man loves another man's wife. 
 When he ought to be loving his own. 
 
 (All drink to Kimball.) 
 
 Kimball. Here, you're getting one in on me. 
 (Taking his cup) 
 
 Here's to good old whiskey. 
 
 So amber and so clear. 
 
 It's not so sweet as a woman's lips. 
 
 But a blamed sight more sincere. 
 
52 THE TRAVELING SALESMAN. 
 
 Cobb. You old reprobate 1 
 Blake. Trying to square yourself ! 
 Watts. Oh, that's one of those good husbands' 
 bluffs. Blake, this is for you. 
 
 Here's to the man who stops to pause. 
 Before he takes a wife. 
 In fact I see no earthly cause. 
 Why he shouldn't pause for life. 
 
 Blake. (Rising) Coming right back at you. 
 
 Here's to the girl I love, 
 
 I wish that she were nigh ! 
 
 If drinking this would bring her here, 
 
 I'd drink the whole place dry. 
 
 Cobb. You're getting mushy ! 
 
 Here's to all good fellows, 
 
 We go out of this world, we know not where. 
 
 But if we're good fellows here. 
 
 We'll be thoroughbreds there. 
 
 (Starts to sing.) 
 
 We're all such jolly good fellows 
 
 (They all join in. The song began in a loud jolly 
 key, gradually dying out. They all sit staring 
 in front of them gloomily. A pause.) 
 
 Mrs. Babbit. (Off) Is this the office? Has a 
 respectable woman to be kept awake all night by a 
 pack of drunken rowdies ! 
 
 (All laugh.) 
 
 Blake. All right, sister, we'll be good. 
 
THE TRAVELING SALESMAN. 53 
 
 (There is a knock heard off -stage center.) 
 
 Kimball. This is no place for a minister's son ! 
 {Crosses to r.) 
 
 (Cobb places cup on tray; crosses to R. of table. 
 Watts crossing to l. by c. door. Knock. 
 Blake goes to door and throws it open. Beth 
 Elliott is standing knocking at Mrs. Babbit's 
 door across the hall. Beth turns.) 
 
 Blake. Oh, good-evening, Miss Elliott. 
 
 Beth. Good-evening, Mr. Blake. (They shake 
 hands) 
 
 Watts. It's the girl at the depot; hes bug- 
 house about her. 
 
 Blake. Fm afraid we've disturbed your fnend, 
 Mrs. Babbit. 
 
 (Beth knocks again. Mrs. Babbit appears.) 
 
 Mrs. Babbit. Oh, it's you, deary. 
 
 (Blake points to tray on table.) 
 
 Watts. (Pointing) Cobb, the tray. 
 
 (Cobb snatches coat from trunk, covers tray with it.) 
 
 Beth. (Outside) Mrs. Babbit, let me present 
 Mr. Blake. 
 
 Blake. I'm sorry we annoyed you. Won't you 
 come in and let my friends apologize. (Blake and 
 Mrs. Babbit enter. Beth stays in door) Boys, 
 this is Mrs. Babbit— Mrs. Babbit, Mr. Watts, Mr. 
 Kimball, Mr. Cobb. 
 
 (Cobb, who has grabbed the seltser siphon, hides it 
 
54 THE TRAVELING SALESMAN. 
 
 behind his back as he makes deep bow, then 
 hides it behind trunk. ) 
 
 Mrs. Babbit. {Coming dozvn a little) Pleased 
 to meet you. 
 
 Kimball. Afraid our Christmas carols annoyed 
 you. 
 
 Mrs. Babbit. That's all right, gentlemen. 
 
 Blake. (To Beth in c. door) Won't you come 
 in? (Beth enters) Miss Elhott, the boys 
 
 Beth. Pleased to meet the boys. (Sees coat over 
 tray) Oh, what lovely clothes ! 
 
 (Watts grabs skirt off table back l., holds it up, 
 atfracfifig Mrs. Babbit's attention. Kimball 
 picks up coat on back of chair l. Brushes it, 
 Cobb rushes up back of table, grabs skirt, comes 
 down L. of table, intercepts Beth and displays 
 skirt to her.) 
 
 Blake. Guess it's a pretty good line. 
 Beth. (Turning to Blake) Don't yoti know? 
 Cobb. You don't have to know anything about 
 goods to sell 'em. 
 
 (Blake bows to Cobb.) 
 
 Blake. Mrs. Babbit, it was very rude of me to 
 call you sister, but now that I've seen you, I wish I 
 had that privilege. 
 
 Mrs. Babbit. Ain't you awful ? (Makes playful 
 slap at Blake, Blake imitates her) 
 
 Watts. (To Kimball) He could talk a duck 
 of¥ the water. 
 
 Beth. Oh, isn't this a dear? (Starts for coat 
 on table again) 
 
 Blake. (Getting blue skirt from sample t-abie 
 back, coming down c.) Now, I like blue. 
 
THE TRAVELING SALESMAN. 55 
 (Watts showing skirt on himself.) 
 
 Mrs. Babbit. (To Blake) Are you wearing 
 hobble skirts in New York ? 
 
 Blake. Yes, and we look great in *em. 
 
 Mrs. Babbit. You're a terrible cut-up. 
 
 Blake. Now, sister — (Throwing blue skirt up 
 back on sample table) 
 
 Mrs. Babbit. I'm having a three-piece suit 
 made. I always design my own clothes. (Going 
 down-stage c. Kimball laughs loudly. Mrs. 
 Babbit gives him a look and he stops) 
 
 Blake. Is that one of your creations? 
 
 Mrs. Babbit. Oh, it's just a little thing I run 
 up. (Walks up and down stage displaying gown) 
 
 Watts. You're certainly a grand little designer. 
 
 Mrs. Babbit. Oh, Mr. Watts ! 
 
 Beth. It isn't really anything to what she can 
 do. 
 
 Mrs. Babbit. Now, Beth. 
 
 Blake. I'd like to see her when she gets going. 
 
 Mrs. Babbit. Oh, Mr. Blake ! 
 
 Julius. (Enters) Here is your tea, gentlemen. 
 
 (Mrs. Babbit and Beth turn to look at Julius. 
 Cobb stiatches a coat ojf sample table attracts 
 Beth's attention. Watts grasps Mrs. Babbit's 
 arm rushes her down to l., grabs coat from, 
 Kimball, then using Kimball as model; Kim- 
 ball puts right arm through coat, Mrs. Babbit 
 admires it.) 
 
 Blake. Tea — who ordered tea ? Take it away ! 
 
 (Throwing Julius out. Whispers) Bring it back 
 
 later. 
 
 Julius. Yes, sir, — yes, sir. (Exits) 
 
 Mrs. Babbit. Mr. Blake, you haven't anything 
 
 in a middle-aged Flu€y Ru^es. 
 
36 THE TRAVELING SALESMAN. 
 
 (Blake nearly falls backward.) 
 
 Blake. Why, yes, in the other room. Watts, 
 show Mrs. Babbit my Hne of Fluffy Ruffles. There 
 are several that would just suit your ready-to-wear 
 figure. 
 
 (Watts, furious, throws skirt on table l. Kimball 
 amused. ) 
 
 Mrs. Babbit. I'd certainly like to inspect them, 
 Mr. Blake, but I don't know that it would be hardly 
 proper. 
 
 Watts. Oh, quit your kidding, sister, (Mrs. 
 Babbit exits door r.) 
 
 Blake. Kimball, go in and chaperone Mrs. 
 Babbit. (Kimball, furious, throws coat on table l. 
 Cobb laughs loudly) Cobb, you chaperone them, 
 too. 
 
 (Watts laughs. Cobb and Kimball exit door l., 
 glaring at Blake.) 
 
 Watts. Say, what are you giving me ? 
 
 (Blake pushes Watts off. All exit.) 
 
 Blake. {Coming c.) You're on, eh? 
 Beth. I'm not blind. 
 
 Blake. I've simply got to have a half a minute 
 alone with you. 
 
 Beth. Then time's up. 
 
 Blake. I was afraid you weren't coming. 
 
 Beth. Were you really ? 
 
 Blake. No, I knew you would. 
 
 Beth. {Coming down a little) Oh, did you? 
 
 Blake. I'm clean foolish about you. 
 
 Beth. {She moves coat from over tray, crossing 
 
THE TRAVELING SALESMAN 57 
 
 to R. front of table) Oh, isn't this a love ! {Crossing 
 to table) I adore red. {Turning round right) 
 
 Blake. So do L 
 
 Beth. But you said you liked blue? {Picking 
 up coat sees cups) 
 
 Blake. (Well, it makes a difference who's wear- 
 ing blue ! (Beth picks up the cup and looks over the 
 brim at him, laughing) We were having a cup of 
 tea. 
 
 Beth. {Smelling cup) Tea? 
 
 Blake. Oh, well, the boys were blue and I 
 wanted to cheer them up with a dash of red. Away 
 from home, you know. 
 
 Beth. {Putting dozvn cup) I don't blame them. 
 {Turing front) 
 
 Blake. Do you know you're an awful under- 
 standing kind of a girl. {Going over towards her) 
 I guess I never woke up until to-day to what it means 
 to have a home and somebody you liked pretty well 
 — passing things across the table to you. It must be 
 great as a steady diet ! 
 
 Beth. Do you mind if I try on this coat? 
 
 Blake. Do I mind? Try on the bunch; can I 
 help you? {He hands her the coat) 
 
 Beth. Thanks. It is lovely, isn't it? {Picking 
 up sample coat, holding it betzveen them) 
 
 Blake. It isn't a marker to what it will be on! 
 Allow me! {Helping her on zvith coat) 
 
 Beth. Thanks. Oh, I do love pretty things. 
 {Looking at Blake) 
 
 Blake. So do I. 
 
 Beth. Do you? {Looks down — she turns away 
 
 R.) 
 
 Blake. Crazy about them. It's mighty becoming 
 to you. 
 
 Beth. Do you think so? {Turns) Why, if it 
 weren't for those old taxes, I might buy it. Get 
 thee behind me, Satan ! {Moving towards Blake, 
 taking off coat; Blake helps her) 
 
58 THE TRAVELING SALESMAN. 
 
 Blake. {Laying coat on table, hack to audience) 
 You're mighty plucky to resist all the temptations of 
 pretty clothes and make a fight for your land. How 
 much do you owe on it ? 
 
 Beth. You're the second man who's asked me 
 that to-day. Mr. Royce 
 
 Blake. (Interrupting) Royce, what has he got 
 to do with it? 
 
 Beth. Oh, nothing. 
 
 Blake. You aren't going to let him help you? 
 
 Beth. I don't need anyone's help. 
 
 Blake. Aren't you afraid someone might buy it 
 in to-morrow ? 
 
 Beth. I won't lose my beauty-sleep over that. 
 
 Blake. I've been thinking an awful lot about 
 you, have you? 
 
 Beth. Thinking about myself. I'm not a bit con- 
 ceited. (Moving away, right) 
 
 Blake. I meant about me. 
 
 Beth. About you? 
 
 Blake. Well, what have you been doing since I 
 saw you last ? 
 
 Beth. (Over near table r.) As that was only 
 a few hours ago 
 
 Blake. Is it ? It seems longer. That was a great 
 walk we had to-day. What are you going to do to- 
 morrow ? 
 
 Beth. Work. 
 
 Blake. I don't suppose we could have another 
 cozy little chat. I'm not very gabby as a riile — 
 (^She gives him a look as if contradicting him) — ^but 
 I like to talk to you. Did you ever feel you had 
 known somebody, you had just met, for years and 
 years and years ? 
 
 Beth. Yes, once 
 
 Blake. (Anxiously turning to her) Wh( 
 Royce ? 
 
 Beth. No: Mrs. Babbit. (Blake leans against 
 table in relief) 1 liked her the minute I saw her. 
 
THE TRAVELING SALESMAN. 59 
 
 Blake. {Walks up to l. c.) It never happened 
 to me before. ( Turning front) Say, do you believe 
 in love at first sight ? 
 
 Beth. Yes, my mother fell in love with father 
 that way. {Comes to table) 
 
 Blake. {Going quickly to table, only part way} 
 I'd have liked your mother. 
 
 Beth. They were married in a week's time. 
 
 Blake. I'd have liked your father, too. {Land- 
 ing by her at table) He's just my kind of man. I 
 always knew it would strike me this way. How do 
 you feel about it ? 
 
 Beth. About what ? 
 
 Blake. What we were talking about? 
 
 Beth. Oh, the coat. {Picking it up) 
 
 Blake. The coat ? No. ( Taking coat from her L. 
 of table — throwing it on chair) I mean love. 
 
 Beth. Were we talking about love? 
 
 Blake. I've been doing my level best. 
 
 Beth. Why, are you in love? 
 
 Blake. Aren't you ? 
 
 Beth. With whom? 
 
 Blake. His name begins with B. 
 
 Beth. Why, Mr. Blake! {Turning away fo R.) 
 
 Blake. {Coming to her) You've guessed it. 
 Make it Bob, won't you? 
 
 Beth. I think I should be going home 
 
 Blake. Oh, what's your hurry ? 
 
 Beth. Won't you give me my coat, please? 
 
 (Blake takes coat from table. Assists her to put 
 it on.) 
 
 Blake. Why, you aren't mad, are you? 
 
 (Beth looks down shyly. A knock at the door, 
 RoYCE enters on knock.) 
 
 RoYCE. Oh, I'm afraid I'm in the way? 
 
6o THE TRAVELING SALESMAN. 
 
 Blake. (Turning sharply on him) You— 
 (Beth stops Blake. Pause.) 
 
 Beth. Mrs. Babbit — Mrs. Babbit — {Coming 
 to c.) 
 
 Mrs. Babbit. (Off) Yes, dearie? 
 
 Beth. (Going up r. to sample table) I think 
 we had better go. 
 
 (Enter Mrs. Babbit, followed by Watts, Cobb and 
 Kimball. Blake takes coat from chair l. of 
 table. ) 
 
 Mrs. Babbit. Oh, they've the grandest clothes — 
 (Crossing to r., snubbing Royce) 
 
 Watts. Hello, Royce — you've met Kimball? 
 You know Cobb — (Going down l. Kimball and 
 Cobb shake hands with Royce) Glad we got you : 
 we needed another hand for 
 
 Blake. (Interruptiyig r. of table; snapping 
 fingers) Old maid ! 
 
 Royce. Fm afraid I can't join you. 
 
 Watts. Sure you can, eh, Blake? 
 
 (Blake turns as though to say *' No ". Beth looks 
 
 at him.) 
 
 Blake. I hope Royce will give us the pleasure of 
 his company. (Crossing to r. putting coat on trunk) 
 
 Beth. (To Blake) Good-night. (Going to 
 door c. — to others) Good-night, gentlemen. 
 
 Cobb. No : " boys " to us 
 
 Beth. Well, good-night, boys — (Exits c. door 
 and into Mrs. Babbit's room — snubbing Royce) 
 
 Mrs. Babbit. (Starting to go c. door) Good- 
 night, boys. 
 
 All. Good-night, sister. 
 
THE TRAVELING SALESMAN. 6i 
 
 Mrs. Babbit (Stops) Oh, I've something you 
 might use in that game of Old Maid. 
 
 Blake. Yes ? 
 
 Mrs. Babbit. Mr. Babbit left me a real nice lot 
 of poker chips. (Exits c. door — all laugh) 
 
 (RoYCE is taking off overcoat.) 
 
 Blake. Kimball, will you get the cards? You'll 
 find chips on the dresser. 
 
 (Exit Kimball door l.) 
 
 Cobb. Let's get comfortable. (Takes off coat and 
 Cliffs, putting them on sample table l.) 
 
 Watts. Comfortable, got any ear muffs? (Wip- 
 ing off table) Where will I put this booze? 
 
 Blake. Put it handy. (Brings table down — 
 Watts puts tray on small table, back) 
 
 Cobb. (Going to phone) Anything left, Watts? 
 
 Watts. If I squeeze it a little. (Looking in tea- 
 pot) Have a drink, Royce? 
 
 RoYCE. I've had a few, but still I don't mind 
 another one. (Staggers, Coming down and round 
 R of table, he sits) 
 
 (Blake and Watts watch him.) 
 
 Watts. (To Blake) Quite a bun- 
 
 Blake. Bun, he's carrying the whole bakery! 
 (Lighting cigar. During Cobb's phone, Watts pours 
 out drink for Royce) 
 
 Cobb. Is this the office? Oh, that you, Julius? 
 Tea for five. (Crossing to card-table) 
 
 Watts. If you don't mind my cup. (Crossing 
 round to R. of card-table, putting cup at Royce's 
 place) 
 
 Blake. What's it going to be, all Jacks ? 
 
62 THE TRAVELING SALESMAN. 
 
 (Kimball enters, bringing chips and cards; gets 
 chair and carries if to table.) 
 
 Cobb. No, make it straight poker, ten cent ante. 
 (Lights cigar) 
 
 Watts. Fifty cent limit. 
 
 RoYCE. Suits me. 
 
 Kimball. (Sits) I'm on. Who's banker? 
 (Gives Blake chips) 
 
 Blake. (Begins to take out chips) I'll bank. 
 
 RoYCE. Got any new stories, Watts ? 
 
 Watts. (Taking cards out of case) Heard the 
 one about the chorus girl and the million dollar 
 legacy ? 
 
 RoYCE. New to me. 
 
 Blake. Nix, they might hear you across the 
 hall. (Gives chips to Kimball) 
 
 Watts. (Looks at transom, etc.) All right. 
 (Lowering his voice) Some chorus girls talking in 
 a dressing room 
 
 Blake. (Interrupting) Cut it out, I haven't got 
 a laugh left in me for one of your funny stories. 
 (Gives chips to Cobb) 
 
 Watts. Oh, very well ! Cobb, will you lead us 
 in prayer. 
 
 (Blake gives chips to Royce — all laugh.) 
 
 RoYCE. This is like old times. Haven't played in 
 so long. (Chip to Watts) 
 
 Cobb. Kind of hanker for the road, eh? (Count- 
 ing chips) 
 
 RoYCE. (Counting chips) Occasionally. 
 
 Watts. (Counting chips) Oh, it's a glad bad 
 career ! 
 
 Blake. This leading the sample life. (Puts chip 
 box on floor. Others groan at the pun) 
 
 (Kimball counts chips.) 
 
THE TRAVELING SALESMAN. 63 
 
 Cobb. {Sitting hack in chair) Still working for 
 that old pirate Drury? 
 
 Blake. {Making record of chips on envelope) 
 See here, Cobb, Drury hardly runs in the pirate class ; 
 he makes money but he does a lot of good. 
 
 Cobb. Yes, he does a lot and does 'em good. 
 
 Blake. He's always been on the level with me. 
 
 Cobb. It's to his interest, then. Martin and I 
 sold goods together and, well— I wouldn't bank on 
 him— it's money first, last and always with Martin. 
 
 RoYCE. Mr Drury will be here to-morrovvr. Why 
 don't you stay over and reminisce together ? {Makes 
 bad pronunciation ) 
 
 Cobb. No, Martin and I have gone different ways, 
 and some of the recollections might be painful. 
 
 Blake. ( Throwing cards around face up. Three 
 queens should come up in the deal) First Jack 
 deals. 
 
 ^ Watts. {After first five cards are dealt) Who 
 pinched the Jacks ? 
 
 Blake. Don't seem to be anything in this deck 
 but typewriters ! {Deals to Royce. Jack appears) 
 Your cards, Royce ; let's open with a Jack anyway. 
 
 All. All right. {All ante one white chip, except 
 Kimball) 
 
 Cobb. Everybody up. 
 
 Watts. Oh, put up, Kimball, put up. 
 
 Blake. Come on, Kimball, decorate the mahog- 
 any. 
 
 Kimball. Excuse me. {Puts in one white chip) 
 
 Cobb. Yes, siree. Martin's a wise old owl— used 
 to play a bully game. (Royce puts cards over for 
 Cobb to cut them) Royce, did you start with Drury ? 
 (Cutting cards) 
 
 Royce. Yes, Blake and T started with him about 
 the same time. {Starts to deal) 
 
 Blake. Oh, he's Martin's white-haired boy. 
 
 ,Watts. Why didn't you cuddle up to him? 
 
64 THE TRAVELING SALESMAN. 
 
 Blake. When it comes to cuddlin' up to the boss 
 I'm a few chips shy. 
 
 RoYCE. Drury thinks a great deal of Blake. 
 
 Blake. That's real sweet of Drury. 
 
 RoYCE. Blake wasn't handed as good a territory 
 as me. 
 
 Blake. And my business methods didn't make 
 as much of a hit with the firm as yours. (Puts cigar 
 on tray. Royce finishes deal) 
 
 RoYCE. The firm think very well of you, Blake. 
 (Turns, facing audience) 
 
 Watts. Why don't you have that little testimonial 
 framed ? 
 
 Blake. (Looking at cards) Good idea. " To 
 whom it may concern: The bearer, Robert Blake, 
 has always been sober, industrious, neat in appear- 
 ance, and (Looking over cards at Royce) kept his 
 hands clean." 
 
 (All have cards up. Looking at them they exchange 
 glances. Royce, noticing it, looks at Blake. 
 Blake is oblivious.) 
 
 W^ATTS. ( I red) Me for it. 
 
 Blake, (i red) I'll trail. 
 
 Cobb. (Noticing Kimball who does not come 
 in) Well 
 
 Blake. (Softly) Sh — don't wake him — (Yells 
 in his ear) Oh, Kimball! 
 
 Kimball, (i i-ed) I'll come in. 
 
 Cobb, (i red) I'm there. 
 
 Royce. (i red) I'm with you. How many? 
 (Dealing again) 
 
 Watts. Three. 
 
 Blake. To my house a dark man with a bundle— 
 (All laugh) An ace, please. 
 
 Kimball. Two. 
 
 Cobb. (In rerniniscint vein) The last game I sat 
 in, was in Tacoma 
 
THE TRAVELING SALESMAN. 65 
 
 Blake, (interrupting) But we're in Grand 
 Crossing. Git ap. 
 
 Cobb. (Angrily) Three. 
 
 RoYCE. Three to the dealer ! 
 
 Watts, (i red) This looks good to muh. 
 
 Blake. I don't mind contributing a little bird 
 seed, (i red. Pause — all notice Kimball) Oh, 
 Kimball, do you want to play poker, or sleep? 
 Make up your mind. 
 
 Kimball. That's what I'm doing. 
 
 Watts. Don't annoy him, Blake, he's got such 
 a lot of mind to make up. (Laugh from others) 
 
 Kimball. (2 reds) Just for that, buck this. 
 
 Cobb. Since you urge me, gentlemen. (3 
 reds) 
 
 RoYCE, I'm out. ( Throws down hand) 
 
 Watts. Oh, crullers! (Throws down hand) 
 
 Blake. Oh, this is as easy as stealing a dog 
 license from a pup! Once again, please. (2 blue 
 chips. Pause — all impatient. To Kimball) Oh, 
 come on, Philadelphia. 
 
 Kimball. I'll raise. Got any more of that bird 
 seed? (3 blues) 
 
 Cobb. Oh, if you want a sprint for your money, 
 I'll go you all one better. (4 blues) 
 
 Blake. You've got my tag. (Throws down 
 cards) 
 
 Kimball. I've got the habit. I'll tilt you once 
 more. (2 blues) 
 
 Cobb. Let's see your picture-book. What've you 
 got? (i blue) 
 
 Kimball. Kings up. 
 
 Cobb. Kings up here. What's next. 
 
 Kimball. Sevens. 
 
 Cobb. Fours. (Throws cards on table — all laugh 
 ^tc.) 
 
 Blake. Suckers. 
 
 Watts. My card. Let's make 'em ail Jacks^ 
 (Shuffling) 
 
66 THE TRAVELING SALESMAN. 
 
 ' All, All right. (All chip i white except Knj- 
 ball) 
 
 RoYCE. Kimball, going to sell this town ? 
 
 (Blake picks up cigar.) 
 
 Kimball. Don't believe they'd be interested in 
 rubber goods. 
 
 Watts. {Shuffling cards) I think some of those 
 London checks might just hit Grand Crossing's 
 nattv dressers. 
 
 Blake. Grand Crossing's getting natty, eh ? 
 
 Watts. Natty! You should have seen the line 
 of fancy hosiery and neckwear I planted. 
 
 Cobb. Lots of loose change, eh ? 
 
 Watts. Worse than that. Steinberg laid in a 
 line of pyjamas. {Places cards for Royce) 
 
 Cobb. (Royce cuts cards) Rubes in pyjaiK»s! 
 {All laugh) 
 
 Kimball. You ought to be selling gold bricks. 
 
 Blake. Where do they get it ? 
 
 (Watts begins to deal,) 
 
 Cobb. Grand Crossing. Isn't there a boom o« 
 down here ? I heard the railway was going to p«t in 
 a spur or something. 
 
 Watts. These yaps don't know that. 
 
 Royce. {Turning towards Cobb) Where'd yott 
 hear that, Cobb? 
 
 Cobb. One of the road surveyors was telling me 
 the other day. Looks good for you, Royce. 
 
 (Watts finishes deal) 
 
 Royce. {Anxiously) What do you mean, C^M^} 
 Cobb. Ought to help trade. 
 Royce. {Smiles) Oh — {Sitting back m ehmr) 
 Blake. Kimball, hand m« a match. 
 
THE TRAVELING SALESMAN. (ij 
 
 Kimball. Move, and change my luck. 
 
 Cobb. {Throws down cards) No wonder I'm 
 up against it: I got my left shoe- laced. {Unties 
 lace) 
 
 Watts. Well, my luck can't be worse, still — 
 {Getting up and walking around chair) every little 
 bit helps. {He looks at cards) Oh, Lord! {He 
 gets up and runs rapidly around the chair several 
 times in the other direction) 
 
 Blake. Sit down — sit down — ^you make me 
 dizzy \ (i blue) I'll bust this for fifty cents. 
 {Rises to turn for drinks on table) 
 
 Cobb. Who's shy? 
 
 Blake. {Takes one white chip from Kimball's 
 pile) Kimball, would you like to leave a call? 
 
 {All laugh.) 
 
 Cobb. Lucky you aren't playing in Tacoma! 
 
 {All chip I blue as they draw.) 
 
 Kimball, (i blue) Two. 
 
 Cobb, (i blue) Three. 
 
 RoYCE. (i blue) Same here. 
 
 Blake. How many did the dealer take ? 
 
 Watts, (i blue). Three. 
 
 Blake. It's as good as it was before. I'll bet 
 fifty cents, (i blue) 
 
 Kimball. {Quickly) I'll stick and then some. 
 (2 blues) 
 
 Blake. Bully for Kimball! That was nice and 
 quick. 
 
 Cobb. {Reminiscing again) Now, that's funny 
 — I sat in a game 
 
 Blake. {Interrupting) We know, in Tacoma. 
 
 Cobb. {Angrily. 2 blues) Oh, well, I'm there. 
 
 RoYCE. Well, I guess it's worth another dollar. 
 (3 hlues) 
 
68 THE TRAVELING SALESMAN. 
 
 '(Watts comes in. Julius enters with tray and five 
 cups — one to break.) 
 
 Cobb. {To Julius) Well, it's about time. 
 
 Blake. Julius, speed that booze around. Boys, 
 I'll just raise that five hundred dollars. (Winks at 
 hoys, etc. — all amused) How are you, Julius? 
 
 (Julius astounded, puts cup down. Blake i 
 white. ) 
 
 Kimball. Cobb, if you want any of this it will 
 cost you two of those five-hundred dollars boys. (2 
 whites) Good-evening, Julius. 
 
 (Julius puts dozvn cup — more amazed; goes round 
 to R. of card-table with cup for Royce.) 
 
 Cobb. Oh, don't be a piker. Why don't you bet 
 something? We'll make it an even two thousand. 
 How de do, Julius? (4 whites — Julius confused 
 starts out window, then goes up back of table to R.) 
 
 (RoYCE and Watts lay down cards.) 
 
 Blake, (i blue) I hate this playing with chil- 
 dren. This chip means five thousand nine hundred 
 and ninety-nine. 
 
 V 
 
 (Julius starts to give cup to Cobb. It falls from 
 his hand, breaks; picks it up and places it on 
 tray, then comes c.) 
 
 Kimball. Now you're begining to play. That 
 and another thousand. (2 blues) 
 
 Cobb„ How much is there ? What a stingy little 
 pot ! Not worth taking. 
 
 (Julius staggers, almost falsi, and starts to door.) 
 
THE TRAVELING SALESMAN. 69 
 
 Blakel Julius, come here, if you had this hand 
 what would you do ? 
 
 (Julius looks at Blake's hand and then Kim- 
 ball's.) 
 
 Julius. I certainly would hesitate. (Exits. At 
 door he points to Kimball's hand. Kimball 
 catches him; quick exit) 
 
 (All laugh.) 
 
 Blake. Kimball, what you got? 
 
 Kimball. All blue. 
 
 Blake. You win. Losers push. (Pushing chips 
 to Kimball) 
 
 Beth. (Off -stage) Good-night, Mrs. Babbit. 
 
 Mrs. Babbit. (Off -stage) Good-night, dearie. 
 
 Blake. (Notes the "good-night'' smiles) My 
 cards. (Sighs loudly) 
 
 Cobb. Royce, what are you hanging around here 
 for? (Puts in white chip) 
 
 RoYCE. (Putting in white chip) Ym in on a 
 pretty good thing. 
 
 Cobb. So? 
 
 (All put white chips in.) 
 
 RoYCE. I've got some inside information. 
 
 Watts. Look out: I had some inside informa- 
 tion about some stock that was going to make me a 
 Captain of Industry, and I am still selling neckties. 
 (Watts cuts cards. Blake begins to deal) 
 
 RoYCE. Well, any time Franklyn Royce is played 
 for a sucker! Cobb just confirmed my tip; I'm go- 
 ing to milk that railroad dry. (Blake gives him 
 2nd card twice around in deal) 
 
 Blake. What do you mean ? 
 
 RoYCE. There is a piece of property here to be 
 
70 THE TRAVELING SALESMAN. 
 
 sold for taxes — (Blake pauses in deal in front of 
 Cobb, holding cards till finish of speech) and Willie 
 is going to be on the job. The fact is I can't play 
 much longer. I'm leaving to-night. Early bird, 
 you know. 
 
 Blake. (Significantly) Something you're going 
 to buy right away ? 
 
 RoYCE. To-morrow morning. I've ordered my 
 sleigh to meet me here later. 
 
 Cobb. Well, you are a hustler ! 
 
 (Blake accidentally turns card face-up to Royce.) 
 
 RoYCE. I won't take that card. 
 
 Blake. You'll have to take it. 
 
 RoYCE. I won't take it, it's no good, it*s faced. 
 
 Blake. You can't refuse it ; you've got to stick 
 to the rules. 
 
 RoYCE. I won't. 
 
 Blake. Oh, well, we won't quarrel about it. I'll 
 give you another card. 
 
 Cobb. He can't have another card; he can look 
 at his hand and if he wants to stay out he can, but 
 he's got to play the cards he's got. 
 
 RoYCE. (Leaning across table towards Cobb) I 
 won't do either ; you can't make me play this hand — 
 it's a misdeal. 
 
 Watts. Pick up your cards. 
 
 RoYCE. I won't! 
 
 Cobb. You ass, why don't you look at the cards ? 
 That may be the very one you want. I'll look at 
 them for you. (Rises, putting cards to c. of table) 
 And stay out this hand. 
 
 RoYCE. You leave my cards alone, do you hear ? 
 (Strikes at Cobb's arm) 
 
 Blake. (Rises) Here, it's a misdeal. 
 
 ComR. No, siree. Bob. The rule's as old as the 
 
 Blaiei:, That will do, Cobb. (Cobb sits) Your 
 
THE TRAVELING SALESMAN. 71 
 
 cards, Kimball. (Giving Kimball cards. Turning 
 to get teapot) Royce, have another drink. 
 
 Cobb. I think he's had enough. 
 
 Watts. He's just had enough to make him 
 peevish. 
 
 (Blake fills Royce's cup, leaving tea-pot on big 
 table, standing at his place. Kimball begins 
 to shuffle.) 
 
 Blake. Royce, expect to make a good thing out 
 of that land? 
 
 Royce. Surest thing you know. 
 
 Blake. Good farming property ? 
 
 Royce. No, regular stone pile; the railroad's 
 got to have it; lays right alongside of the Junc- 
 tion. 
 
 Blake. Got to pay high for it? 
 
 Royce. Watch little Willie. 
 
 Blake. But suppose someone bids it in? 
 
 Royce. Ain't going to be anybody there to bid it 
 in : nobody wants it. 
 
 Cobb. How did you get on to it ? 
 
 Royce. Regular Sherlock Holmes: tipped off 
 railroad wanted it, see ? Found out owner. That's 
 where Franklyn old boy comes in. 
 
 (Royce looks to his cup.) 
 
 Blake. (Taking tea-pot up from table) Have 
 another drink, Royce. 
 
 Cobb. No, what are you trying to do? 
 
 (Blake shakes head at Cobb.) 
 
 Royce. Say, what are you buttin' in for? I 
 guess I know when I have had enough. 
 
 Blake. Cobb, this is my party, I know what I 
 am doM^. 
 
^2 THE TRAVELING SALESMAN, 
 
 RovcE. Sure, fill her up again, Blake. {Holding 
 up cup, laughing) Here is to little Franklyn! 
 
 Cobb. (After Royce has finished drink) Come 
 on, let's play the game! 
 
 (Kimball begins to deal.) 
 
 Royce. Play the game? You bet I played the 
 game. Owner's a little country girl. 
 
 (Blake sets tea-pot down forcibly, turning t-o watch 
 Royce. Kimball stops dealiftg.) 
 
 Cobb. So there's a girl in the case^ 
 Royce. Surest thing you know. Yaps around 
 here wouldn't take advantage of a good thing — 
 little Franklyn's long suit, taking advantage of any 
 good thing. Nice little girl. (Blake takes cigar) 
 Very fond of her, goin' to make it all right for her. 
 Cobb. I should think she'd be sore to be done out 
 of her land. 
 
 (Blake lays down cigar.) 
 
 Royce. Oh, that's all right — sell her land to the 
 railroad — pot of money — come back and say you 
 want a little of this coin — marry little Franklyn and 
 then we live happy forevermore — (Head siiiks on 
 chest) 
 
 Blake. But suppose the little village maiden 
 doesn't see it that way and tells you you're a thief ? 
 
 Royce. Tells me I'm a thief. Blake, you're 
 foolish — pour a lot of money in her lap — she isn't 
 goin' to call me a thief. Blake, as a man of the 
 world to a man of the world, you know fchat every 
 woman's got her price. (Sleigh bells heard off. 
 Blake starts to hit him — then pours him another 
 drink. Cobb touches Blake's arm — Royce takes 
 cup, drinks. All watch Blake) Thank you, Blake, 
 
THE TRAVELING SALESMAN. 73 
 
 hooray for little Franklyn. (Drinks) Come on 
 with your game. (He shoves the cup across the 
 table, his head drops forward on his arm. Sleigh 
 bells sound off R. Blake rushes quickly to the 
 window R., then comes dozvn to Royce — shakes him 
 — RoYCE does not move. The rest of this scene 
 played very quickly) 
 
 Blake. Out — down and out — Watts, after I'm 
 gone. (Going for coat and hat on sample table by 
 door c.) 
 
 Watts. After you're gone ? (Rising) 
 
 Cobb. (Turning up to Blake — Kimball rises) 
 Where are you going? 
 
 Blake. I'm going to the Junction in his sleigh. 
 
 Kimball. What ? 
 
 Blake. Boys, aren't you on? It's her land he's 
 going to steal. 
 
 Ki M b ALL. Whose ? 
 
 Blake. Beth Elliott's. She's a dear plucky little 
 girl, and I — I like her. (Coming down c.) I'm 
 going to block his game, that's why I got him 
 drunk. I'm going to beat it to that sale while he's 
 sleeping this off. I'm going to save her land. 
 
 Cobb. How ? 
 
 Blake. I'm going to pay her taxes. She hasn't 
 the money ; it's up to me. 
 
 Cobb. (Pointing to Royce) Whatll we do with 
 him? 
 
 Blake. That's up to you. Put a rose in your 
 hair and go as far as you like. (Exit quickly c. 
 door) 
 
 CURTAIN. 
 
74 THE TRAVELING SALESMAN. 
 ACT IIL 
 
 Scene : — The office of Franklyn Royce. 
 Time: — Tzvo o'clock of the following day. 
 
 It is a square room, zvith yellow plaster tvalls 
 and brown zvoodwork. At r. i e. is a window 
 with green shade, which is drazvn down at the 
 rise of the curtain. Above this zvindow is a 
 letter press. Above r. 2 e. is a fireplace. On 
 the mantel stand letter and bill files. In the 
 fiat L. of c. is a door leading to the hall — with a 
 backing representing plastered wall. Over the 
 door is a transom which is practical; at l. i e. 
 is a door. Against l. zvall above this door is a 
 bookcase. At l. of door in back flat is a hat- 
 rack and L. of hatrack a small table. At h. of 
 c. is a table zvith chairs R. and l. of it. At r. of 
 c. a roll-top desk; on top of desk stand the 
 letter files. In front of desk is a swivel arm- 
 chair. At rear of stage and r. of c. is a leather 
 couch. On the floor of stage is a large rug. 
 
 Before the rise of the curtain can be heard a 
 vigorous pounding on the door and rattling of 
 the knob. 
 
 As curtain rises, Julius* voice off: "Mr. 
 Royce — Mr, Royce" 
 
 (At rise. Discovered: Royce asleep on the couch. 
 The room is in semi-darkness, the blinds at the 
 window are drawn; the daylight shows through 
 the transom. Royce is in his shirt sleeves. His 
 coat is thrown over him. His hair is dishevelled, 
 his collar unfastened. There is a slight pause 
 — Julius' head appears back of the transom. 
 
THE TRAVELING SALESMAN. 75 
 
 He lifts up the transom, pokes his head thresh . 
 and discovers Royce.) 
 
 Julius. Mr. Royce, Mr. Royce. 
 
 Royce. Who is it? 
 
 Julius. Julius. 
 
 Royce. Go away and leave me alone ! 
 
 Julius. Lawd, man, you'd better rouse your- 
 self up. 
 
 Royce. What in blazes do you mean, waking 
 me up iij the middle of the night ? 
 
 Julius. Midle of de night ? It am de middle of 
 de day. 
 
 Royce. What ! 
 
 Julius, Now you see — ^you see — ^yes, sir, de 
 clock done struck two o'clock. 
 
 Royce. {Jumps up, rises, goes down r.) Two 
 o'clock! Holy smoke, I've missed that sale — and 
 Drury due here on the 2:15. What will I tell him? 
 
 Julius. Would you mind openin* the door? 
 
 Royce. Open it yourself. 
 
 Julius. Say, man, you think I'd climb up in this 
 perilous position for fun. De door am locked. 
 
 Royce. Locked? {Turns, looks up-stage) Where 
 is the key ? 
 
 Julius. Mr. Watts done throw it over the tran- 
 som last night. 
 
 Royce. What'd you lock me in for? {Going up 
 c. to door — finding key on floor) 
 
 Julius. Don't go pickin' on me. Mr. Watts 
 done it. {Disappears) 
 
 Royce. I like his nerve? {Unlocks door and 
 throws it open — crosses to table l. holding his head) 
 
 {Effect of ladder falling to the floor.) 
 
 Julius. {Enters — standing in door) Lawd 
 man, be careful! You done broke my leg in three 
 pieces. (Julius enters carrying pitcher) He cer- 
 
T(i THE TRAVELING SALESMAN. 
 
 tainly do look bad. {Offering pitcher) Thought 
 this might come in handy. (Royce reaches for it) 
 
 Julius, {Turns r.) Wait a minute, Til get you 
 a glass. 
 
 Royce. {Crossing to Julius) Never mind, this 
 thirst isn't fussy. {Grabs pitcher and drains it) 
 
 Julius. {Standing to r. of Royce) I can hear 
 that sizzlin' all de way down. 
 
 Royce: {Handing Julius the pitcher — who puts 
 it upon table up l. — crosses to table up l.) Why 
 didn't you call me ? What do I pay you for ? 
 
 Julius. {Coming c. from table) Mr. Watts 
 done left positive instructions you wasn't to be 
 roused before eleven o'clock. 
 
 Royce. {Sitting r. of table l.) That's queer! 
 Why didn't you rouse me at eleven ? 
 
 Julius. I done pound on de door at eleven 
 o'clock, and then I done pound on de door at twelve 
 — then I done pound on de door at one. 
 
 Royce. {Interrupting) Where was the cashier? 
 {Tying necktie) She knew that I was supposed to 
 be at the Junction this morning, and she knew that 
 Drury was coming. Why didn't she call me? I'll 
 see about this. {Starts to rise) 
 
 Julius. Say, man, hold your horses; she done 
 pound with me — regular duet — and you scare her 
 away. You gave most p'inted instructions where we 
 was all to go to — and most terrifying illusions as to 
 what would happen if we didn't go there, and after 
 all, you is de boss. {Crosses to desk, leaning on 
 corner of it) 
 
 Royce. You might have put me to bed properly 
 while you were about it. {Looking at couch) 
 
 Julius. Lawd man, you desisted our efforts. 
 That spot was your personal selection. {Pointing to 
 couch) 
 
 Royce. Was I very much under the weather 
 last night? 
 
 Julius. You was utterly submerged. Mr. Watts 
 
THE TRAVELING SALESMAN. -jy 
 
 and I done had our troubles pilotin* you here from 
 the Elite. 
 
 RoYCE. Were the others all right ? 
 
 Julius. They were slightly hilarious, but puf- 
 fectly navigable. Of course, you held your own. 
 But no ordinary drinker can hope to cope with drum- 
 mers. 
 
 RoYCE. (Slapping table) Oh, shut up ! (Julius 
 falls off desk) Pull up that blind. 
 
 Julius, {Going over to shade of window) Yes, 
 sah. {Lets it go up with a slam) 
 
 RoYCE. {Holding head) I didn't tell you to 
 break it. 
 
 Julius. It ain't my fault ; it's one of them quick 
 action blinds. 
 
 RoYCE. {Coming c.) See if you can't get a quick 
 move on and get this office fixed up. Drury will be 
 here in a minute. (Going back l.) 
 ^ Julius. Drury? Mr. Martin Drury? The Mil- 
 lionaire Drury of Indiamanopolis ? 
 
 RoYCE. Don't stand gassing there. Get me a 
 bracer. 
 
 Julius, (Starting to c.) Yes, sah. How'd you 
 like a single portion o' the hair that Scotch dog what 
 bit you last night? 
 
 RoYCE. Go out and get me a Bromo Seltzer. 
 
 Julius. Yes, sah. Oh, Lawdy, I mos' forgot — 
 (vith Mr. Blake's compliments. (Puts Bromo Seltser 
 on the table l.) 
 
 RoYCE. What is it? 
 
 JuLiuSo (Coming little c. to R.) Bromo Seltzer. 
 
 RoYCE. Tel! Mr. Blake I'm much obliged. 
 (About to go out l.) 
 
 Julius. Mr. Blake done left town. 
 
 RoYCE. (Stopping) What? 
 
 Julius. He done left town last night. Went over 
 to the Junction in your sleigh. 
 
 RoYCE. To the Junction in my sleigh? Did he 
 leave any word? 
 
78 THE TRAVELING SALESMAN. 
 
 Julius. (Moving right) Left his trunks. 
 
 RoYCE. Did he give you any message for me? 
 
 Julius. (Jumps) No, sah. Oh, most forgot: 
 Mr. Watts done give me de bottle. Mr. Watts said 
 you take that to Mr. Royce with Mr. Blake^s com- 
 pliments. Mr. Watts certainly seemed powerful 
 amused about somethin\ (Laughs) 
 
 Royce. Shut up! (Hits fable) I don't see the 
 joke. Fix me a dose. (Starting to door l.) 
 
 Julius. (Going to end of desk) Yes, sah. 
 Don't you think you'd better brush up your hair a 
 little bit before the millionaire arrives from Indiam- 
 anopolis ? 
 
 Royce. Yes, I don't want Drury to see me like 
 this. I suppose he'll raise merry hell as it is ; but I 
 can go over to-morrow. 
 
 Julius. Will you have a single or a double por- 
 tion? (Stepping out a little) 
 
 Royce. Double, and be quick about it. (Exits 
 door l.) 
 
 Julius. Double and be quick about it — (Re- 
 peating. Taking up bottle with him) I certainly 
 feel sorry for that poor man. (Going to the 
 small table up l. Mixes Br onto Seltzer — puts in all 
 the contents of the bottle) I know just how he feels 
 — cause I've been there myself many's the time. Oh, 
 yes, indeedy. 
 
 \A knock at the door. Julius opens it and dis- 
 closes Beth Elliott standing outside with a 
 telegram in her hand.) 
 
 Beth. I have a telegram for Mr. Royce. 
 
 (Julius takes telegram and looks it over.) 
 
 Beth. I said, for Mr. Royce. 
 Julius. I heard you. Miss Elliott, I heard you 
 the first time ; but you hadn't better bother him with 
 
THE TRAVELING SALESMAN. 79 
 
 nothing trifling now. You just leave it, honey— and 
 I'll give it to him when he's more ca'm-like. I'm 
 soothin' him now. (Referring to Bromo Seltzer) 
 Beth. I can't leave it, Julius. It's a collect mes- 
 sage. (Beth starts toward desk r. Royce's voice 
 stops her — Julius gives hack telegram. In doing so 
 he screens her from view of door l.) 
 
 (RoYCE enters door l.) 
 
 RoYCE. Julius, Where's that drink? (Julius 
 rushes to the table. Royce sees Miss Elliott) 
 
 RoYCE. Oh, good-morning, Miss Elliott. 
 
 Julius. {Up to door) Morning! Lawd man — 
 it's the middle of the afternoon. (Royce glares at 
 Julius and Julius exits slowly, stooping and going 
 around the door) 
 
 Beth. (Crosses to l., meets Royce c.) I have 
 a telegram for you, Mr. Royce. Collect charges — 
 the cashier said I must have your O. K. before she 
 could pay them. 
 
 Royce. (He signs the envelope) She's quite a 
 stickler for routine. (As Beth offers the telegram, 
 tries to take her hand) Are you going to forgive me 
 for what I said last night? I've no excuse, except 
 that I was jealous. 
 
 Beth. Jealous ? What has given you the right to 
 be jealous? 
 
 Royce. Jealousy isn't a matter of right. You 
 promised to walk home with me yesterday afternoon 
 and you went with Blake. I'm ashamed to say, I 
 tried to console myself, and I wasn't quite myself 
 last night. Won't you understand and overlook it? 
 
 Beth. I suppose I must. 
 
 Royce. And we are friends again? 
 
 Beth. Friends ? I can't rush into friendship, Mr. 
 Royce. (Turning from him, going little to R.) 
 
 Royce. You wern't so reserved with Blake. 
 {Turning, tearing open envelope, moving to left end 
 
8o THE TRAVELING SALESMAN. 
 
 crushing envelope in hand) At least not to hear 
 him tell it. 
 
 Beth. The envelope, please. (Royce hands the 
 envelope to her) Thank you. (Beth turns to go, 
 Royce is reading the telegram) 
 
 Royce. Damn ! {Crumpling the telegram fiercely 
 in his hand. Beth turns, startled) Miss Elliott— 
 (She turns) this telegram concerns yoti. 
 
 Beth. Me? (Up c. by door) 
 
 Royce. Your land has been sold. 
 
 Beth. (Stunned) My land sold! My land 
 sold? 
 
 Royce. Yes, bid in this morning at the tax sale. 
 
 Beth. (Coming dozvn to chair r. of table) Who 
 could have done this thing? 
 
 Royce. Blake. 
 
 Beth. Mr. Blake! I don*t believe you. (Royce 
 hands her the telegram. Reading) " Sorry you 
 missed the sale." 
 
 Royce. You don't question this? 
 
 Beth. No, it's my own handwriting. I took it 
 over the wire this morning ? I thought the sale re- 
 fered to merchandise. Why should he want my 
 land? 
 
 Royce. Why? (He points to the words on the 
 telegram and reads) " Tm going to milk that rail- 
 road dry " — That's why. 
 
 Beth. What does it mean ? 
 
 Royce. That your land's worth a lot of money, 
 and that Blake has it — (Putting telegram on table) 
 that's what it means, damn him! (Going l.) 
 
 Beth. (Sitting in chair r. of table) A lot of 
 money — my land — how ? 
 
 Royce. (Facing front) The railroad wants to 
 put in another spur of track at the Junction, and 
 they have got to have your land to do it. 
 
 Beth. Why should Mr. Blake think the land the 
 railroad wanted was mine ? You see, there must be 
 some mistake. He could know nothing — (Pause) 
 
THE TRAVELING SALESMAN. 8i 
 
 Why, yes, he did! I told him myself. (Royce 
 turns) I described its exact location. 
 
 Royce, You told Blake? (Up to table) A man 
 you never saw until yesterday? {Going down l.) 
 Blake has a great way with women — {She notes this) 
 but I didn*t think he was as quick as all that. You, 
 of all women ! (Up to table l.) How did you hap- 
 pen to talk to him at all ? 
 
 Beth, He made some inquiries at the window. 
 
 Royce. A scheme to get in conversation with 
 you! 
 
 Beth. Oh, no, Mr. Royce, he had been carried 
 beyond his destination, he had intended to get off 
 at the Junction. 
 
 Royce. A fake, a fake pure and simple. {Up- 
 stage) 
 
 Beth. What I have told you is true. He was 
 very amusing; we had lunch together. {Tarns. 
 Royce makes movement) I told him of the land and 
 all it meant to me ; but why should he send this wire 
 to you ? ( Turning round) 
 
 Royce. {Down to table back) To rub it in. He 
 knew that I was in love with you. {She turns away) 
 Oh, every one has seen it but you. He knew that I 
 had intended going over to bid it in. That's why he 
 got me drunk — drugged me — had me locked in this 
 room— so that he could sneak over to the Junction 
 and do us both. 
 
 Beth. But you intended to bid it in ! Why ? 
 
 RoYCE> {Disconcerted at first) You hadn't the 
 money to pay your taxes, you wouldn't accept it 
 from me ; I was going to resell it to the railroad for 
 you through Mr. Drury, who was coming here to- 
 day to close the deal. 
 
 Beth. Why didn't you tell me all this? 
 Royce. I wanted to surprise you. I thought 
 gratitude might win you where other means had 
 failed. Then last night, when I discovered that the 
 
82 THE TRAVELING SALESMAN. 
 
 rumor was out, I decided to go at once before anyone 
 here could get ahead of us. 
 
 Beth. Everybody here knows that a tax title is 
 worthless — (Royce starts — turning to him) Why 
 — for the moment I'd forgotten it myself. 
 
 RoYCE. Worthless! (Steps back) 
 
 Beth. Yes, I have six months in which to buy 
 the land back. 
 
 RoYCE. You have ? Then Blake wasn't so smart. 
 (Coming round to l. of table and to front) There's 
 a trick he's overlooked. We'll beat him yet. (To 
 table) If you won't take the money from me, see 
 Mr. Drury. I only want to help you to be rid of 
 Blake at once and for all time. 
 
 Beth. (After pause) To be rid of him at once 
 and for all time. (There is a pause. Beth sits star- 
 ing in front of her, Royce watching her narrozvly) 
 
 (Mrs. Babbit rushes in. Royce goes to l.) 
 
 Mrs. Babbit. (Down to Beth) Why, Beth, 
 you poor dear, I've just heard the news ; ain't it 
 awful? Met Mrs. Dawson — she Just got back from 
 the Junction and says your land's been bought in. 
 She talked so much I couldn't get a word out of her. 
 Who did it? 
 
 Royce. Blake. 
 
 Mrs. Babbit. Blake — that drummer feller ? And 
 him so well spoken — such genteel manners — so 
 plump and pleasing. 
 
 Royce. And so slick. (Moving left and facing 
 them) 
 
 Mrs. Babbit. The minute I heard it I rushed 
 right over to the depot. (Moving toward Beth) 
 "gimlet. Well — who ever would look for such deceit] 
 I knew you'd want me near you in such a crisis. 1 
 finally wormed where you were out of Crabb — 
 rlCrosses to c.) though I thought I'd have to use a. 
 in a fat man ? (Moving round back of Beth) You 
 
THE TRAVELING SALESMAN. 83 
 
 poor dear — come right to me ! We'll go over to the 
 hotel and have a cup of tea. Things have a way of 
 looking brighter after a good cup of tea. (Beth at 
 the first word of womanly sympathy begins to break 
 down) Nov^, dearie — (Beth begins to cry, Mrs. 
 Babbit consoles her; looks at Royce over Beth's 
 hozved head, and motions for him to leave the room. 
 She forms the words with her mouth, but does not 
 articidate audibly " Go away and let her have a good 
 cry " — Royce does not at first comprehend. Mrs. 
 Babbit repeats it — Royce exits c. door) There, 
 there, dearie — don't you worry — there's some way 
 out of this — I don't see it yet — (Putting hand to her 
 forehead) but I'll get my brain to working presently ! 
 (Moving c.) 
 
 Beth. Oh, it isn't the land. I can buy it back. 
 
 Mrs. Babbit, Then what on earth are you cry- 
 ing about? 
 
 Beth. (Turning to front) The humiliation — 
 the humiliation — when I think of last night ! 
 
 Mrs. Babbit. (Interrupting) Last night? 
 
 Beth. When you were in the other room, let- 
 ting him make love to me — believing his story of 
 love at first sight — wanting to believe it — he seemed 
 so honest — and all a trick to help him cheat me — 
 how he must have laughed at me for a little simple- 
 ton — and those other men — I suppose they laughed 
 with him — made a joke of me — as everyone else in 
 this place will — when they hear the news — and will 
 gossip and wonder at me — me! Oh, to be tricked 
 and humiliated — and to care ! How can I care ? I 
 haven't a scrap of pride left. 
 
 Mrs. Babbit. (Moving toward her) Care? 
 You don't mean — ^you 
 
 Beth. (Interrupting) Oh, yes, he swept me off 
 my feet. (Pause. Rising and going l. to end of 
 table) To think I might have loved him! Now I 
 despise — I hate him ! 
 
 Mrs. Babbit. (Moving nearer) That's right. 
 
84 THE TRAVELING SALESMAN. 
 
 there ain't any man that stands in shoe leather tliat*s 
 worth a woman's tears. 
 
 Beth. {Partly facing Mrs. Babbit and up- 
 stage) I'll be even with him. I'll teach Mr. Blake 
 there's one woman who can't be tricked, humiliated 
 and laughed at. Oh, what must you think of me? 
 {Bowing head) 
 
 Mrs. Babbit. I can't find it in my heart to 
 blame you, dearie. He was an attractive devil. Old 
 as I am and suspicious by nature — well, he cer- 
 tainly had a way with him. {Turning to Beth) 
 What are you going to do ? 
 
 Beth. Mr. Royce has asked me to see Mr. 
 Drury. 
 
 Mrs. Babbit. Be careful — let this be a les- 
 son to you — and him so fat and genial — men are 
 deceivers ever — ^but what's a woman to do? You 
 can't live with 'em or without 'em. {Crosses s. to 
 desk) 
 
 {Enter Royce, followed by Drury. Royce to l. c. 
 Drury c.) 
 
 Royce. Miss Elliott, let me present my em- 
 ployer, Mr. Drury. 
 
 {Before Beth can acknowledge the introduc- 
 ton, Drury advances cordially. Mrs, Babbit 
 primps, fixing tie, etc.) 
 
 Drury. I'm glad to meet you. Miss Elliott. I'd 
 like to have a talk with you a few minutes — 
 alone. {The last he says pointedly at Mrs. Bab- 
 Bit who, at first, pleased at the idea of meeting 
 Drury, is now furious) 
 
 Beth. I have no secrets from Mrs. Babbit. 
 
 Royce. Mrs. Babbit, let me 
 
 Mrs. Babbit. {Interrupting) Don't waste your 
 breath, Mr. Royce. {Crossing to door c. between 
 
THE TRAVELING SALESMAN. 85 
 
 Drury and Royce. Drury crossing to R. of desk) 
 I don't have to have a house fall on me to take a 
 hint. Good-bye, dearie. 
 
 (Drury is annoyed, but proceeds to make the best 
 of it.) 
 
 Drury. I meant no offense, Madam. I did not 
 intend to be rude. ^ 
 
 Mrs. Babbit. No, it's just your way. You re 
 one of those rough diamonds. Well, I'll have mine 
 polished, thank you. {Exits, slamming the door 
 
 c.) 
 
 Drury. (Coming toward c.) Blake's been up 
 to his old tricks again. I'm sorry you're the vic- 
 tim this time, Miss Elliott. 
 
 Beth. So Mr. Blake has done this before? 
 Drury. He's always been a bit unscrupulous in 
 his methods. He's a great chap with the women, 
 you can't sell ladies' suits without the gift^ of gab ; 
 but, although anything's fair to-day in business, an 
 offense of this kind can't go unpunished. 
 
 Beth. I've no desire to punish Mr. Blake. ^ I 
 don't care to have any further dealings with him 
 — (Going up c. — Royce drops dozvn hack of table) 
 Drury. You'll have to. Miss Elliott, if you want 
 to recover that land. (She stops) You don't 
 strike me as the sort of young woman to sacrifice 
 your future through any sense ot false pride. 
 
 Beth. But must I sink my pride to beg humbly 
 for what he took from me ? 
 
 Royce. (Quickly) You don't have to beg. You 
 have only to demand. (Coming down to chair R. 
 of table) 
 
 Beth. But I haven't the money to make such a 
 demand. (Looking at Royce) 
 
 Drury. That's where I come in. Royce tells 
 me that you can buy back your land from Blake. 
 I'll give you the money. 
 
86 THE TRAVELING SALESMAN. 
 
 Beth. Oh, no, thank you, Mr. Drury, you see I 
 have six months — (Starts to door c.) 
 
 Drury. (Interrupting) One moment, you can't 
 afford to wait six months. We must stop this here 
 and now. We must get to that railroad before Blake 
 has time to make another move. 
 
 Beth. But the land is mine. 
 
 Drury. If Blake sells to the railroad they'll rush 
 in improvements and you would have to pay them 
 for the land and the improvements. 
 
 RoYCE. Would she be obliged to do that? 
 
 Drury. That is the law. (Crossing to l.) 
 
 Beth. Oh, this leaves me helpless. 
 
 Drury. Not at all. You couldn't fight a corpora- 
 tion. (Moving down r.) But I can. How much 
 will you owe Blake ? 
 
 Beth. About four hundred dollars. 
 
 Drury. (Going to chair at desk) Here, I'll 
 give you the check to pay off Blake, and I'll buy 
 your land. (Pause — turning in chair) Let me see 
 — does five thousand dollars strike you as a fair 
 price? (Then turns hack and writes check) 
 
 Beth. (Delighted) Five thousand dollars ! 
 
 Royce. Why, it's a fortune. This is very gener- 
 ous of you, Mr. Drury. 
 
 Beth. It's too generous. I can't be under such 
 obligations. (Coming nearer desk) 
 
 Drury. No obligations. It's business. I'll resell 
 to the railroad, possibly at a small profit. (Rising) 
 But even if I lose by the contract, I am ready and 
 willing to do this for you. I couldn't have it said 
 that an employee of Martin Drury 's would cheat a 
 woman. It would reflect on the firm. 
 
 Royce. (Eagerly) You'll accept this oflfer? 
 
 Beth. (After a pause) I don't know what to 
 do. (Moving to c.) 
 
 Drury. Oh, you're not going to let Blake cheat 
 you. 
 
 Royce. And laugh at you. 
 
THE TRAVELING SALESMAN. 87 
 
 Drury. Why not laugh at him? He's a smart 
 boy, but you're a clever woman. (Taking her by 
 her L. arm, leading her to his desk) Why not beat 
 him at his own game? Punish him in his pocket- 
 book; that's the worst punishment you can inflict 
 on any man. Come, here is the check for four hun- 
 dred dollars for Blake; you'll have to endorse it 
 over to him. 
 
 (Beth goes to desk, sits, takes the pen from 
 Drury, and is about to endorse it; then hesi- 
 tates.) 
 
 Beth. {Turning to Drury) I'm so bewildered 
 — I'm so alone — I've no experience of business or 
 men. It's my ignorance against your knowledge. I 
 know you have little to gain, but everything I have 
 is at stake. Forgive my doubt, Mr. Drury, but why 
 do you wish to do this for me ? 
 
 (Drury is confused, Royce anxious. They are 
 watching Beth, when the door opens and 
 Blake appears.) 
 
 Blake. Hello, Franklin, old top ! 
 
 Royce. Blake! (By table l.) 
 
 (Beth starts to rise, but Drury lays a restraining 
 hand on her shoulder and advances so that he 
 screens her from Blake.) 
 
 Blake. Well, I beat you to it? Get my wire? 
 Sorry I had to send it collect, but those taxes and 
 my long-distance chat with the president of the 
 railroad took all my loose change. Sorry I was late, 
 Mr. Drury. (Taking off gloves, coat, and hanging 
 coat on rack) 
 
86 THE TRAVELING SALESMAN. 
 
 Drury. So you bought Miss Elliott's land to- 
 day? (At end of desk) 
 
 Blake. Aren't peeved, are you? (In c. near 
 door) 
 
 Drury. I'm disgusted at your dishonorable deal- 
 ings. 
 
 Blake. You're there strong with Bible-class 
 talk, but it doesn't listen well coming from you, and 
 this isn't your scrap, Mr. Drury. (Looking at 
 Royce) 
 
 Drury. I'm going to make it my scrap. 
 
 Blake. Just hungry for trouble ! But you can't 
 get any rise out of me. I'm wearing that original 
 smile that won't wipe off. (Smiles) For I've just 
 turned a neat little trick in real estate. (Beth turns 
 to desk) Had some inside information. (Putting 
 hat on rack. Beth endorses check) Kind of tough 
 on my old pal, Frank. 
 
 Drury. (Going down l.) You see. Miss Elliott. 
 (Goes around Beth to R.) 
 
 (Blake, who has been putting his hat on rack, stops 
 an instant and pauses.) 
 
 Blake. Miss EUiott! (He looks at Drury and 
 Royce, then comes easily towards Beth, offer- 
 ing to shake hands) This is a surprise ! I've been 
 wearing out my congress gaiters looking for you. 
 
 (Drury gets check.) ' 
 
 Beth. I'm glad you've found me, Mr. Blake. 
 (Crossing to l. in front of table) It saves me the 
 trouble of looking for you. 
 
 Blake. Why, what's little Bobbie done now? 
 (Following Beth to l. Drury moves up to 
 desk) Won't you come across with a few kind 
 words that will elucidate this greeting frapp^? 
 (She looks at him, then silently hands him the tele* 
 
THE TRAVELING SALESMAN. 89 
 
 gram. Blake reads it. Slight pause) Don't let this 
 keep you awake nights. Come out on the back porch 
 and ril explain. (Moving towards her, he goes to 
 take her arm. Beth resents it) 
 
 Beth. Explain? You're found out, and you 
 think to escape the consequences by making a joke 
 of it all Explain? You bought my land to-day, 
 didn't you ? 
 
 Blake, (Pause) I was at the sale. (Crossing 
 to c.) 
 
 Beth. I want my land ! 
 
 Blake, Why? (He puts his hand in his pocket, 
 from which he half draws a paper, then stops) 
 
 Drury. {Interrupting) Why? Because I've 
 made her an offer and she has accepted it. (Royce 
 and Drury watch Beth eagerly. Slight pause) 
 
 Beth. Yes, I've accepted it. 
 
 (Drury takes check from desk, looking at endorse^ 
 ment. Blake puts the paper hack in his pocket 
 and slaps his pocket significantly. ) 
 
 BlAjKE. Now, wait a minute : this thing's got me 
 going « You don't mean to say that you've sold your 
 land to them ? 
 
 Beth. Yes. 
 
 (Royce and Drury smile with relief.) 
 
 Blake. You can't do that. Don't you see they're 
 a couple of sharks, conning you with a few hun- 
 dreds ? 
 
 Beth. Hundreds? How little you know, then. 
 They've given me thousands ! You, after what 
 you've done, dare to stand there defaming them ? 
 
 Blake. Defaming them? This pair of second 
 story workers? You're in the wrong. They've 
 never l^een in business for their health. Anything 
 
90 THE TRAVELING SALESMAN. 
 
 they may have handed you, no matter what it looks 
 like, is a lemon. 
 
 Beth. How dare you trick and cheat me, and 
 then laugh ? 
 
 Blake. Laugh? Me? I'm an endless chain of 
 misery. You'll be sorry you've spoken to me like 
 this ; you have it framed up all wrong. 
 
 Beth. Mr. Royce has disclosed your treachery 
 to me. 
 
 Blake. He's a healthy one to talk about treach- 
 ery ! He's handed out a lot of information. Did he 
 happen to tip it off that he intended to go over and 
 buy in your property ? 
 
 Beth. Yes — to protect me from you. (She goes 
 upstage) 
 
 Blake. Royce, you're immense. (Bowing mock- 
 ingly to Royce) But you don't believe him? (Going 
 up c. to Beth) 
 
 Beth. And did you think I'd believe you? Be- 
 lieve the word of a man that I never saw until yester- 
 day, against the word of this man who has proven 
 himself my friend? 
 
 Blake. Your friend? Somebody's been string- 
 ing you. He's trying to cheat you and has called in 
 our friend on my right to help him. (Looking at 
 Drury) 
 
 Drury. (Moving over to Blake) Be careful, 
 Blake, I don't like these references to me and I may 
 not overlook them. 
 
 Beth. It's too bad about you, but you never did 
 have a sincere regard for the truth ! (Looking to- 
 ward Royce) 
 
 Drury. (Moving nearer to Blake) The truth? 
 You! 
 
 Blake. (Turning on Drury — interrupting) 
 Don't say it — ^your age protects you — ^but don't get 
 reckless. 
 
 Drury. (Looking at check in his hand) Come 
 now, Blake, I'm old, but I'm not — foolish. You 
 
THE TRAVELING SALESMAN. 91 
 
 thought you had a good thing ! I Hke you, but I'm 
 disappointed in you. (Moving down R.) Do the 
 right thing by this girl. 
 
 Blake. Just keep cases on Httle Bobbie. He's 
 going to do the right thing by this girl ; you pikers 
 won't steal her land and get away with it — not with 
 me on the job ! 
 
 RoYCE. (Coming to front of table) If you 
 thought I wanted to rob her, why didn't you go to 
 her last night? She was just across the hall with 
 Mrs. Babbit. 
 
 Beth. (Coming down a step) Why didn't you 
 come to me ? 
 
 Blake. There was no time to lose. (Moving 
 nearer Beth) I did what seemed best for you. 
 
 Beth. (She moves away from him to front of 
 table L.) Lies — lies — all lies ! (Turning to Blake) 
 You did what seemed best for me. You thought 
 only of cheating me; you knew my land was of 
 value. Oh, yes, you knew the railroad's plans made 
 it of value. You had inside information. You 
 turned a neat little trick in real estate ; you schemed 
 to outwit me, to steal my land, to sell it to the 
 
 railroad • 
 
 Blake. (Interrupting) No — no — that is not 
 true. I did it solely for you. (Coming to table L.) 
 Beth. Then if you did this all solely for me, 
 why don't you give me my land? 
 
 Blake. Give you your land — to sell it for a song 
 to them ? No, I'll save you in spite of yourself. 
 
 Beth. You'll save me? (Moving across r. to 
 Drury) I'll save myself. Mr. Drury, the check, 
 please. (Drury gives her the check. She crosses 
 to the table, placing check on it) There — I buy 
 it back. (Starting to go upstage) If the price 
 were more I'd pay it to you. 
 
 Blake. No, I refuse to sell it to you. I refuse 
 to kt you ruin yourself. 
 
92 THE TRAVELING SALESMAN, 
 
 Beth. You must take this check. (Turning) 
 
 Blake. No ! 
 
 Beth. You will have to take this check. You 
 were very clever, Mr. Blake, but you weren^t clever 
 enough: you forget that the law protects women 
 from cheats like you ; you didn't know that I could 
 refund you the money you paid for my land, that I 
 had six months in which to reclaim it. That you 
 overlooked, didn't you ? 
 
 Blake. Miss Elliott ! Beth ! 
 
 Beth. (She goes up to the door) You thought 
 me a silly little country girl, flattered by the shop- 
 worn attentions of a drummer ; you thought to cheat 
 a woman — insult her with your love, while you 
 robbed her, win her heart, perhaps — and then pass on 
 and laugh. But it's the silly little country girl who 
 laughs and laughs and laughs! (She bursts into a 
 hysterical fit of laughter and exits in a furious rage, 
 her laughter dying away in the distance) 
 
 Blake. (Against table — back of it — turning to 
 audience) Well, I've a hoodoo that's twins. 
 
 Drury. Blake, I'm sorry for you. (Going to 
 chair at desk. Blake looks at Drury) 
 
 Blake. Then if you're sorry for me, take your 
 money out of this deal. Let Royce and I fight it out 
 alone. If he has spunk enough to fight fair — (Look- 
 ing hard at Royce) 
 
 Royce. (Interrupting) You're a fine one to 
 talk about fighting fair! You forget, you got me 
 drunk, (Coming a little to r.) 
 
 Blake. I fight a crook with a crook's weapons. 
 
 Drury. We've got you, Blake — (Sitting) 
 
 Blake. (Over to desk) Give me a chance, 
 Drury. I've always worked for your best interests. 
 I've never asked a favor — I do so now. I don't 
 give a hoot about myself — ^but — she's the whole 
 thing to me. I'm begging for the girl I love. Give 
 her a square deal. 
 
THE TRAVELING SALESMAN. 93 
 
 Drury. IVe given her a square deal ; I'm giving 
 her more than she can get out of the railroad. 
 
 Blake. What are you giving her? {Leaning on 
 desk) 
 
 Drury. Five thousand dollars. 
 
 Blake. Five thousand dollars ! Aren't you afraid 
 you'll sprain your bank account? Why, you know 
 that right of way's worth anything she asks for it. 
 I won't believe that this is your scheme — ^Royce has 
 doped this trick out for you. 
 
 Drury. There's no trick about it, I've made her 
 an offer and she's accepted it. That's business. 
 
 Blake. Business isn't stealing candy from in- 
 fants. 
 
 Drury. Business is business. 
 
 Blake. Then you won't back out of this deal? 
 
 Drury. Did you ever know me to back out ? 
 
 Blake. Then we go to the mat. 
 
 Drury. (Laughingly) No, the fight's over. 
 
 Blake. You think you've got that girl hipped, 
 but you haven't; you've only got her dazzled by a 
 few thousand that aren't a flea bite to what she's 
 going to get. 
 
 Drury. Oh, is she? 
 
 Blake. Yott bet she is! You'll take your money 
 out of this deal or I'll show you up as you are. 
 (Drury smiles) I know a few things about your 
 business methods that wouldn't look dressy in print. 
 (Drury shows that he's alarmed) You keep 
 your hands off that land of Beth Elliott's, for if this 
 is to be a scrap, you'll take the count. (Turning 
 back to Drury) 
 
 Drury. After all, why should she come between 
 old friends? (Blake turns away) Maybe we can 
 boost that offer a couple of thousand. We haven't 
 closed with Miss Elliott yet. 
 
 Blake. You haven't closed with her yet? 
 
 Drury. No, we haven't given her that check 
 for $5,000, 
 
94 
 
 THE TRAVELING SALESMAN. 
 
 Blake. You haven't ? Oh, this is a pipe ! ( Going 
 up c.) 
 
 RoYCE. (Turning quickly — smashing fist on 
 table) This deal is closed. 
 
 Blake. Closed. Oh, make a noise like a hoop 
 and roll away ! You haven't gotten to her with your 
 money yet. (Coming down c.) 
 
 RoYCE. What's that's to you? This check put 
 you out of it. 
 
 Blake. (Slowly and quietly) You can't rush 
 me. I'm going to take my time ; all I need is time 
 to find Beth Elliott — (Royce and Drury laugh. To 
 Royce) Oh, you can laugh, but Fm going to hand 
 you the longest, largest laugh of your existence. But 
 I'll be doing the smiling. (To Drury) You had 
 me whipped for a minute or two, but I've got my 
 second wind. I'm going to Beth Elliott, for now I 
 can tell her the truth. The land's never been mine. 
 She's always owned it. She owns it now. I only 
 paid the taxes. 
 
 Royce. Why didn't you tell her here? 
 
 Blake. Because I thought you had her cinched 
 — that she had sold it to you and taken the coin. 
 But you've given the snap away. Oh, this is like 
 getting money from home ! ( Turning up c. ) 
 
 Drury. Don't be foolish, Blake. I'll make it 
 worth your while. I'll give you a bit of it. 
 
 Royce. No, I'm damned if you do ! 
 
 Drury. You'll do what I say. Come, Blake, 
 can't we compromise? 
 
 Blake. (Coming to desk) No. Compromise 
 with you and rob her ! Do you think you can buy me 
 to do up the woman I love? I'm not one of your 
 tools that you can get to do your dirty work-^line 
 their pockets while they fill yours! You've made 
 me sell a few goods that weren't all wool and a 
 yard wide, but you can't make me a common thief ! 
 Compromise, voii damned old bandit ? To hell with 
 
 your compromise ! 
 
 CURTAIN. 
 
JHE TRAVELING SALESMAN, 95 
 
 ACT IV. 
 
 Scene : — Same as Act II . One hour later. Rise of 
 
 curtain discloses Blake's room with the sample 
 tables stripped of their contents. 
 
 DISCOVERED: Blake closing and locking a 
 sample trunk. 
 
 Julius enters, wheeling a small porter's truck. 
 Blake helps him put trunk on the truck. 
 Gives him a tip. 
 
 Blake. Now, you understand, you take all these 
 sample trunks to the Widow Stratton's store; tell 
 the cashier that Mr. Royce will take charge of 
 them. {Giving coin) 
 
 Julius. {Wheeling around towards door) How 
 about yo* personal baggage ? 
 
 (Blake crossing to r. table.) 
 
 Blake. {By table) Let you know about that 
 later. {He looks at his watch nervously, then 
 crosses to window, front of table) 
 
 (Julius is wheeling out the truck.) 
 
 Blake. Julius. 
 
 Julius. Yes, sah? 
 
 Blake. Bring me a bottle of beer and a sand- 
 wich. 
 
 Julius. Yes, sah. {Putting down trunk) What 
 sorta sandwich you prefer? (Julius is c.) 
 
 Blake. Any old thing. 
 
 Julius. Yes, sah, that's what we make sand- 
 
96 THE TRAVELING SALESMAN. 
 
 vviches outa. What's yo' preference as to the 
 fillin'? 
 
 Blake. (Looking out window R.) Wonder 
 where Watts is ? 
 
 Julius. How'd you like a nice cannibal? You 
 know, raw meat chopped up fine ? 
 
 Blake. No — no 
 
 Julius. Lemme suggest a Sapho. 
 
 Blake. (Coming to r. c. of table) A what? 
 
 Julius. Mighty temptin' is a Sapho. Its con- 
 sistency is a young aig, fried, mos' tenderly re- 
 posin' on a juicy slice a onion of Spanish birth. 
 Very hot stuff is a Sapho. 
 
 Blake. (Furiously) Say, you get me a sand- 
 wich. 
 
 Julius. (Starts) Yes, sir. (Exits with trunk) 
 
 (Blake goes over to window, then turns toward 
 window. Julius is at door. Watts enters. 
 They each try to get out of the other's way.) 
 
 Watts. What's the idea? (Coming down l.) 
 
 Blake. (Coming over to Watts) Did you 
 find her? 
 
 Watts. No. 
 
 Blake, (r.) I might have known you'd fall 
 down. (He zvalks away disgustedly up-stage) 
 
 Watts, (l.) I like that! Me burning up the 
 boardwalk to oblige you ! Lots of thanks I get. 
 
 Blake, (r. turning to him) Where did you 
 go? (Coming down) 
 
 Watts. Depot — ^boarding-house — depot 
 
 Blake. (Going up-stage) I told you Td been 
 there. (Tozvards Watts and then up c.) 
 
 Watts. Well, I thought she might have doubled 
 on the trail. Nothing doing. 
 
 Blake. Where can she be? (Coming down- 
 stage to him) Where have you been all this time? 
 
 Watts. Standin* round street comers rubberin* 
 
THE TRAVELING SALESMAN. 97 
 
 at every woman in sight. Within an ace of being 
 shoved in the lockup by the village constable for 
 flirtin'. Even went over to the store, thinking, she- 
 might have gone there again. Not on the prem- 
 ises. 
 
 Blake. Were Royce and Drury there? 
 
 Watts. No. 
 
 Blake. How did you get the information? 
 
 Watts. Made love to that vinegary old dame, 
 Royce's cashier. 
 
 Blake. Is that the way you fool around? Is 
 that all you think about? Even in a time like this, 
 isn't any skirt immune ? ( Crosses to front of table 
 
 R.) 
 
 Watts. You bet she is! (Blake turns) Only 
 did it to further your interests. You forget that I 
 took my life in my hands. (Blake moves away 
 to R. ) She was a tight- wad as far as news was con- 
 cerned, but after a few broad-guage compliments she 
 loosened up. 
 
 Blake. Suppose they may have found her? 
 (Crossing to R. front of table) 
 
 Watts. Do you think Miss Elliott was at the 
 boarding-house when you called? 
 
 Blake. {Turning to Watts) Crabb thought 
 she had gone there, but it wasn't her day at home 
 — at least she wasn't receiving Bob Blake. Suppose 
 she's sitting there having a talk with them now. 
 
 Watts. What difference would that make? 
 You said she had accepted their offer. 
 
 Blake. Yes, but when I left home to locate 
 her, she hadn't committed herself for keeps. 
 (Pause) She hadn't received the check for the 
 five thousand. 
 
 W^ATTS. (Slowly) Oh, I see. (W^atts looks 
 at Blake) 
 
 Blake. Drury let that cat out of the bag. 
 (Front of table) If she could only be found, only 
 persuaded to hang on — now that I've saved her 
 
98 THE TRAVELING SALESMAN. 
 
 property. When I made that bluff I didn't suppose 
 for a moment that anyone could disappear off the 
 face of the earth in a jerkwater town of this size. 
 
 Watts. It looks as though they had you beat. 
 {Sympathetically) 
 
 Blake. (At table, turning) Not on your life! 
 I've still a chance if I can find her, and I'd give a 
 year's salary to do it. 
 
 Watts. That's good — when you haven't a job 
 in sight. 
 
 Blake. That doesn't worry me ; I haven't thought 
 about it. (Pause) I can't think of anything but 
 her. 
 
 Watts. Well, you're certainly there with the 
 love-at-first-sight gag, strong. 
 
 Blake. Love at first sight ? Watts, I was hit by 
 a cyclone. 
 
 Watts. If this is the best it does for you, and I 
 see it coming my way, me for the cellar ! 
 
 Blake. (Moving over to window) Talk's cheap. 
 Where can she be ? 
 
 Watts. (Coming across to table r.) If any 
 woman told me I wasn't on the level it would detain 
 me for a moment. (Sits chair back of fable) 
 
 Blake. (Over at window) She .did put the 
 knife in and turn it around. (Turning from 
 window) 
 
 Watts. She jumped to conclusions mighty 
 quickly. 
 
 Blake. (Comes to chair r. of table) You can't 
 blame her. When you frame it up in cold blood, 
 their arguments did seem reasonable. She didn't 
 know me ; I was only a chance acquaintance. 
 
 Watts. It seemed to me last night from the point 
 of an unprejudiced observer, that for a chance 
 acquaintance you were going some. 
 
 Blake. You should have heard her to-day ; talk 
 about reading the riot act! But I wouldn't care 
 a continental about that if I could only find her-*; 
 
THE TRAVELING SALESMAN. 99 
 
 {Moves across stage and crosses to chair l.) — see 
 her — save her! To think she's going to lose by a 
 brace game — it's fierce. 
 
 Watts. {Is seated) Well, youVe done all you 
 can ; no use letting this get on your digestion. Come 
 on, Blake, there are others. 
 
 Blake, (c.) Oh, don't Wattsie, don^t. {Turn- 
 ing to Watts) 
 
 Watts. I only meant to cheer you up. I hate to 
 see you like this. 
 
 Blake. {Toward chair l. of table) You don't 
 think I'm stuck on feeling like this? I'm having a 
 devil of a lovely time ! {Sitting l. of table) 
 
 Watts. Last night you were at concert pitch. 
 
 Blake. This minute I'm down somewhere below 
 the G string. {Pause) Oh, blow the happy holiday 
 season ! A man gets feeling so blue and lonely, he's 
 liable to catch anything, with the pores of his heart 
 all open. 
 
 Watts. And you don't deserve it. Bob; you've 
 always been on the square with women. 
 
 Blake. Maybe I haven't. Maybe I'm getting 
 paid for something I've done somewhere, somehow. 
 Gee, but it's an awful price; it's so hopeless — I 
 can't see daylight ahead — all I can see is her, look- 
 ing at me with hate in her eyes. Wattsie, several 
 times in my life I've seemed to hit the jumping off 
 place. Once when I was broke with others depend- 
 ing on me, and me the only thing between them and 
 misery — I stood on the brink and looked over. 
 Then, when my mother died — I thought I'd gone 
 the limit. But this — this being in love — is Simon- 
 pure hell. 
 
 Watts. {After pause) I know, old man, I 
 know. 
 
 Blake. {Looks at Watts — pointedly) What do 
 you think of me sitting here drooling like a love- 
 sick idiot, while those thieves may be sitting in the 
 
lOO THE TRAVELING SALESMAN. 
 
 boarding-house robbing her? (Blake goes for hat 
 and coat on table by c. door) 
 
 Watts. (Rising, putting chair up and moving to 
 R.) Where are you going? What are you going 
 to do? 
 
 Blake. (Stopping) Vm going back to that 
 boarding-house and I'm going to see Beth Elliott, 
 if I have to break in the door to do it. 
 
 Watts. Keep your clothes on. You can't do that. 
 It would be a lovely finish to this mess — you 
 pinched for house-breaking. 
 
 (Julius knocks and enters with tray.) 
 
 Julius. Heah yo' refreshment, sah. 
 Blake. (Up c.) Take it away — I don't want it. 
 I haven't time — (Moving down l. a little) 
 
 Watts. Hold on, now ; eat something before you 
 
 go- 
 
 Blake. No, no, I couldn't. 
 
 Watts. Oh, be sensible. 
 
 (Julius brings tray, etc., to table r., standing above 
 chair l. of table.) 
 
 Blake. Eat? The way I feel? (Coming down- 
 stage to l. c.) 
 
 Watts. An empty heart will fit a lot more com- 
 fortably over a full stomach. Julius, do this again 
 for me. (Coming down r. c.) 
 
 Julius. (Over his shoulder) Yes, sah— (Paw^^) 
 Bring it right up soon as I serve some moh tea to 
 Mrs. Babbit an' her lady f ren'. 
 
 Blake. What lady friend? 
 
 Julius. Miss Elliott : 
 
 (Blake and Watts start} 
 Blake. Is she here? 
 
THE TRAVELING SALESMAN. loi 
 
 Julius. Yes, sah—(Paw^^)— right across the 
 hall with Mrs. Babbit. . 
 
 Blake. (Starting for Watts) Why in H-— ^ 
 Why didn't you think that she might be with Mrs. 
 
 Babbit? , , iirt. j-j »*. 
 
 Watts. Look here, Tm not the goat ! Whydidnt 
 
 ^^Blake. {Moving to l.) My brain hasn't been 
 working overtime the last twenty-four hours. 
 
 Watts. No, your heart's kept you busy. 
 
 Blake. {Starting for door c.) I'm going m 
 
 there! , . „ 
 
 Watts. Back up, Blake, you've got it all your 
 own way. (Blake turns) Now, let's see how the 
 land lays. {To Julius) How long's Miss Elhott 
 been with Mrs. Babbit? . 
 
 Julius. {At table, pouring beer into glass) 
 About an hour. 
 
 Blake. {Coming down l. c.) Then she came 
 straight here! 
 
 Watts. Have you seen Miss Elhott f 
 
 Julius. Yes, sah. 
 
 Blake. How does sh^ seem? 
 
 Julius. Seems mighty po'rly. (Pause) Pears 
 to me they's havin' troublous times 'cross the hall. 
 (Coming to L. side of table, in front of chair) 
 
 Blake. What do you mean ? How do you know ? 
 
 Julius. I knows I'se served one portion a tea an' 
 now they's ordered moh. . , . ^ 
 
 Watts. What's that got to do with it? 
 
 Julius. Guess you ain't acquainted with the ways 
 of females? . 
 
 Watts. (Smiling) No, were in the amateur 
 
 class. 
 
 Blake. Cut out that comedy. Go on, Julius. 
 
 Julius. (Turns to Blake) One order a tea's 
 usually enough for a woman's ordinary cryin' spell, 
 but when they jes' naturally wallows in it, you want 
 to look out for hysterics. 
 
102 THE TRAVELING SALESMAN. 
 
 Watts. Is Mrs. Babbit crying? 
 
 Julius. Mrs. Babbit cryin'? I'd certainly like 
 to get a glimpse of the person who could make that 
 woman cry! She's fightin' mad, she jest sits there 
 a rockin' herself to death an' ejaculatin' " I told you 
 so — I warnt you against these drummers — " 
 (Blake and Watts annoyed. Turns to Blake) 
 Miss Elliott jes' moan an' wail, like to cry her haid 
 plumb off. Mrs. Babbit say Miss Elliott sufferin* 
 from a misery in the haid. Looks to Julius like 
 it was a misery in de heart ! (Juliu exits) 
 
 Watts. Poor kid! (Blake starts to follow 
 Julius to c. door) Are you clean batty? 
 
 Blake. I tell you I'm going in there. 
 
 Watts. Do you want to crab everything ? 
 
 Blake. How ? 
 
 Watts. Don't be a chump. You can't force 
 your way into that room. You haven't any warrant 
 to serve. You're no sheriff ; Miss Elliott has refused 
 to have anything to do with you ; you wouldn't have 
 any better luck with Mrs. Babbit ; she's heard Beth's 
 story; she wouldn't even allow you to come in, let 
 alone listen to you. 
 
 Blake. (Comng down toward Watts) If 
 that's the best you can do in the way of advice — on 
 your way. She'll have to listen to me. (Going up c. 
 a little) I've a card up my sleeve. (Starting up to 
 door) 
 
 Watts, (r. c.) Don't play it too soon. Let me 
 go and persuade her to see you. 
 
 Blake. (Coming toward him) No, do you 
 think I've lost my nerve? I know what I'm doing. 
 (Pause) I may not know all about women, but 
 that crying spell looks to me as though a thaw had 
 set in and the ice was moving. (Moving l.) 
 
 Watts. (After laugh) For Heaven's sake, sit 
 tight — (Going little to l. by chair l. of table) just 
 a moment, and let me go. (He goes down to table) 
 Tm not exactly pining for the job. Blessed are the 
 
THE TRAVELING SALESMAN. 103 
 
 peacemakers — but for you, Bob, I'm willing to get 
 mine. 
 
 (Blake stops Watts who has started upstage. 
 Julius enters.) 
 
 Julius. {Coming to c.) Excuse me, Mistah 
 Blake, but I wants to ask you about them trunks. 
 
 Blake. What about them? 
 
 Julius. Mr. Royce says he don't want them over 
 to the store ; he wants 'em sent to the depot. Whose 
 orders is I am to obey ? 
 
 Blake. Royce ? Where is he ? ( Turning toward 
 Julius) 
 
 Julius. He's downstairs. 
 
 Blake and Watts. Downstairs? Watts sits 
 chair l. of table) 
 
 Julius, (c.) Yes, sah, with that millionaire 
 gentleman from Indiamanopolis. 
 
 Blake. How long have they been here? 
 
 Julius. Just come. I'm takin' their cards up to 
 Miss Elliott. {He shows cards on tray in right 
 hand) 
 
 Blake. What luck ! {He takes them off the tray, 
 goes into his pocket) Julius, there's a ten-dollar 
 note for you if you'll forget to deliver those cards. 
 
 Julius. What ? 
 
 Blake. You give me those cards ; you take this 
 ten-dollar bill and chase yourself! 
 
 Julius. {Starts to door c, then turns) Where 
 am I to go to ? 
 
 Blake. Oh, I don't care. {After laugh) Go up 
 in the attic and play dead. 
 
 Julius. {Turning from Blake to go up) But 
 they may suspect collision between us. 
 
 Blake. How ? 
 
 Julius. They asked me if you was here ? 
 
 Blake. Wliat did you say ? 
 
 Julius. I say yes, sah. 
 
104 THE TRAVELING SALESMAN. 
 (Watts shakes head.) 
 
 Blake. That's bad. {Pause) Oh, Watts, you 
 go downstairs 
 
 Watts. ( Rising ) What'll I do ? 
 
 -Blake. Fall over them accidentally, tell them 
 IVe gone out, button-hole 'em. I don't care what 
 you do, but keep them there. 
 
 Watts. Don't you worry ; it's great I'm in train- 
 ing! Come on, you. {He makes a few passes at 
 Julius, who ducks. Watts rushes out, Blake 
 pushing Julius out after him) 
 
 Blake. The attic for yours! (Julius exits, 
 Blake pulls himself together) 
 
 Blake. It's up to you, Bob, now, for a little 
 quick stuff. (Blake goes across the hall and he 
 knocks at the door. Pause. He knocks again 
 violently. Mrs. Babbit comes to the door. Blake 
 grasps her wrist and pulls her across the hall into his 
 room well down-stage) 
 
 Mrs. Babbit. Are you trying to kidnap me ? 
 
 Blake. {Closes the door) I want to see you. 
 
 Mrs. Babbit. Looks like you wanted to kill me. 
 Open that door. 
 
 Blake. I've got to talk to you. {Coming to her) 
 and talk hard. {She looks at him) Oh, not about 
 myself : about her — Beth ! 
 
 Mrs. Babbit. You dare to take her name in 
 vain after what you've done to my poor lamb? 
 Traitor! {Going down r. front of table) 
 
 Blake. {Interrupting) Go slow. 
 
 Mrs. Babbit. Don't hector me, young fellow! 
 Let me outa this. {Moving little towards Blake) 
 
 Blake. You've got to hear me: you'd do any- 
 thing for Beth, wouldn't you? 
 
 Mrs. Babbit. Yes, but my God, I draw the line 
 at bein' compromised ! Open that door. 
 
 Blake. Don't worry, you're old enough to be my 
 mother! {Coming down l.) 
 
THE TRAVELING SALESMAN. 105 
 
 Mrs. Babbit. (Going over to Blake) How 
 dare you insult my gray hairs ? 
 
 Blake. Keep your shirt — ! 
 
 Mrs. Babbit. (Looks shocked — starts for him) 
 Sir! 
 
 Blake. (Coming over to table l.) Your shirt- 
 waist on. 
 
 Mfts. Babbit. You're endangering my good 
 name ! The least you can do is respect my apparel. 
 '(Going r. in front of table) 
 
 Blake. (Coming c.) We mustn't quarrel. 
 
 Mrs. Babbit. (Turning on him) Who began 
 it? Do you suppose for one moment any man kin 
 drag me in by the hair a my head willy-nilly and 
 expect me to smile and look pleasant ! 
 
 Blake. My work may be a little rough but I mean 
 well. Listen to me — (Phone rings) 
 
 Mrs. Babbit. I've heard all I want to. 
 
 Blake. But not all you're going to. (Going to 
 phone) Hello! What? yes, Watts— (Paw^^) No, 
 it isn't settled yet. (Pause) You can't hold them 
 much longer. (Pause) Royce seems suspicious. 
 (Pause) He's talking to the hotel clerk. Don't let 
 him get by with anything. Keep on the job — (At 
 phone) You see Royce and Drury are getting rest- 
 less. I'm desperate. (Coming over quickly to Mrs. 
 Babbit) 
 
 Mrs. Babbit. Gracious powers and I'm alone! 
 (She falls back against table) 
 
 Blake. I don't want to frighten you, but I must 
 see Beth Elliott before they do. 
 
 Mrs. Babbit. And you think to use me as a go- 
 between ! (Going up to him) Young man, you've 
 picked the wrong party : I'll have nothing to do with 
 you. I've heard Beth's story and I believe it. 
 (Turning away) 
 
 Blake. You mean you've heard Royce's yam? 
 ,Well, it's a lie from beginning to end. Now you're 
 ^oing to hear the truth. 
 
io6 THE TRAVELING SALESMAN. 
 
 Mrs. Babbit. The truth ? You expect me to be- 
 lieve you, a drummer ? (Moving r.) 
 
 Blake. There you go with that drummer thing 
 again ! We may sandbag people into buying goods, 
 but we're not gold brick boys. I didn't expect that 
 line of talk from you; I thought a woman of the 
 world like you — would want to hear both sides of 
 the case, not let yourself be hurried into a snap 
 judgment. 
 
 Mrs. Babbit. Well? (Sitting down chair l. of 
 table R.) What you gotta say for yourself ? 
 
 Blake. Put anything you may think of me out 
 of your mind. Leave it free to consider without 
 prejudice several points in the deal I know youVe 
 overlooked ; for a woman with your brains wouldn't 
 take stock in the first story she heard; your judg- 
 ments have been switched by your love for Beth. 
 You say you believe her story. (She turns) 
 You must admit she's telling you — (She turns on 
 him) oh, in all good faith — Royce's side of the case. 
 Have you always thought Ro} ^ was on the level ? 
 
 Mrs. Babbit, (Pausing) Well, no, I haven't. 
 
 Blake. Do you think Roy.e the kind of man 
 likely to do anything for nothing ? 
 
 Mrs. Babbit. You bet he isn t. Why, he's stole 
 the Widow Stratton blind. 
 
 Blake. Exactly, that's what he's trying to do 
 with Beth. If he's giving her $5,000 for her land, 
 don't you know that it's worth more than that to 
 him? 
 
 Mrs. Babbit. (Pause) I never thought o' that. 
 
 Blake. Stop and think a minute. (Pause) How 
 would I, a stranger to Grand Crossing, who heard 
 for the first time yesterday about Miss Elliott's 
 property, have known what to do and how to get it, 
 if someone hadn't given the snap away? 
 
 Mrs. Babbit. (Turning) You mean? 
 
 Blake. I mean that Royce sat in our poker game 
 last night and began hitting it up until he got to the 
 
THE TRAVELING SALESMAN. 107 
 
 stage where a drunken man sees big and talks large. 
 He bragged about his inside information that Cobb 
 had verified, and blew to us his little scheme to rob 
 Beth. 
 
 Mrs. Babbit. I wish't I'd been there; I'd a 
 massacreed him. 
 
 Blake. I did better than that. (Moving l.) 
 I got him drunk, jumped into his sleigh 
 
 Mrs. Babbit. (Interrupting) His sleigh? 
 
 Blake. (Gets deed from pocket) Why, yes — 
 he had it waiting outside, and I hiked to the sale. 
 
 Mrs. Babbit. (Pause) Ah, but you did what 
 he was trying to do. 
 
 Blake. I didn't buy her land — (Moving over to 
 her. Pause) I only paid her taxes. (He shows her 
 the receipt) There is the receipt. 
 
 Mrs. Babbit. (Pause — after looking at receipt) 
 Good heavens, man, why didn't you tell her? 
 
 Blake. I didn't have the chance — I didn't dare. 
 Don't you understand when I dropped to the fact 
 that she had accepted their offer I couldn't tell her 
 before them that I had only paid her taxes. If they 
 had known she owned the land, they would have 
 given her the check for $5,000 then and there, and 
 the deal would have been closed. 
 
 Mrs. Babbit. I see it all now. 
 
 Blake. I was running a bluff — couldn't tip my 
 hand — I didn't figure that she wouldn't believe that 
 I was fair and square. 
 
 Mrs. Babbit. I might a knowned there was a 
 nigger in the wood-pile! (Rising) What's to be 
 done now ? (Facing him) 
 
 Blake. There's still a chance. She hasn't that 
 check and she must be prevented from taking it. 
 You'll help me ? 
 
 Mrs. Babbit. Help you, young man, my blood's 
 boilin' ! What do you want me to do ? (Comes over 
 to him) 
 
io8 THE TRAVELING SALESMAN. 
 
 Blake. Go to her, give her this receipt, and tell 
 her to hang on Hke grim death. 
 
 Mrs. Babbit. Why don't you give it to her 
 yourself. {Giving Blake deed) 
 
 Blake. She'll listen to you ; she might put up an 
 argument with me. Royce and Drury will be de- 
 livering those cards in person if we don't hurry. We 
 mustn't waste time making gallery plays. Now, 
 hustle ! (Julius knocks on door. Blake takes Mrs. 
 Babbit to door c.) 
 
 Mrs. Babbit. Heavens — my reputation's ruint! 
 {She exits quickly) 
 
 (Julius enters.) 
 
 Blake. (Goes dozvn l.) What do you want? 
 Didn't I tell you to stay dead ? 
 
 Julius. Yes, boss, but ain't it time for me to be 
 resurrected ? 
 
 Blake. No — ^back to the attic. 
 
 Julius. Why, they's gone. 
 
 Blake. What? 
 
 Julius. Sure; I seed from a window upstairs. 
 
 Blake. Where's Watts? 
 
 Julius. Mr. Watts went with 'em ! 
 
 Blake. Good boy, Watts. {Going over to 
 window) He's steered them off. That's all right. 
 You're resurrected. 
 
 Julius. What about that clerk in the office? 
 
 Blake. I'll fix him. (Julius goes. Blake 
 crosses to window, looks out, shakes his fist. After 
 ]viA\3S>' exit) I've beaten you ! 
 
 ^Beth enters hurriedly, holding receipt in hand, 
 followed by Mrs. Babbit, who crosses down 
 hack of table r.) 
 
 Beth, (c.) Oh, Mr. Blake, why didn't you tell 
 me what you had done ? Why did you let me accuse 
 
THE TRAVELING SALESMAN. 109 
 
 you? Why did you let me say those things to you? 
 Things I can never forget. 
 
 Blake. They had you rattled. (Crossing to 
 Beth) You didn't know what you were saying. 
 You thought I had robbed you of your land. 
 
 Beth. Ah, no, it wasn't that I thought you had 
 robbed me of my land, but of my faith in you. How 
 can you forgive me? 
 
 Blake. (Starts to embrace her) That's easy. 
 
 Mrs. Babbit. (From back of table) You 
 people got lots a time for that — there's twenty-four 
 hours to every day, but these few minutes are 
 precious. How's she goin' to get out a this ? 
 
 Blake. That's all right. 
 
 Beth. But I've said I'll sell. I've given my word 
 of honor. 
 
 Blake. You're not going to split hairs about 
 your word of honor in dealing with a couple of 
 sharps who have no honor. 
 
 Beth. But must I stoop to their level and give 
 them the right to despise me as I despise them ? 
 
 Mrs. Babbit. You gotta fight trickery with 
 trickery. (From back of table) 
 
 Blake. There is no dishonor in that. 
 
 Beth. (Taking a step to Blake) Well, I place 
 myself in your hands. What do you want me to do? 
 
 Blake. Refuse to take that check. 
 
 Beth. But I've accepted it. 
 
 Mrs. Babbit and Blake. (Together) Wha-at! 
 
 Beth. Yes. Mr. Royce — just a few moments 
 ago — while Mrs. Babbit was in here, sent me the 
 check by the clerk. I took it and signed a receipt. 
 
 Blake. That's why they went away! (Pause) 
 They've beaten us. (Blake sits l. of table) 
 
 Beth. Oh, what does it matter ? Money doesn't 
 count. (Beth goes back of Blake, then drops to 
 R. of table above chair) 
 
 Mrs. Babbit. (Coming down l. and c.) That's 
 what happens to an unprotected female ! If you'd 
 
no THE TRAVELING SALESMAN. 
 
 had some man to take care of you — a husband—* 
 they could a whistled for their land. 
 
 Blake. What do you mean ? 
 
 Mrs. Babbit. (Coming over to Blake and 
 Beth) Check or no check, no married woman in 
 this State can execute a deed without her husband's 
 signature. 
 
 Blake. {To Beth) You haven't given them a 
 deed yet? 
 
 Beth. {Crossing to front of table) No — {Look- 
 ing out of window) 
 
 Blake. Bully for you, sister ! {He jumps up and 
 kisses Mrs. Babbit — takes her up to door. She 
 exits) Well, it*s all right. {Coming down l.) 
 
 Beth. {Moving towards c.) But I don't see. 
 
 Blake, (c. and down) You heard Sister Babbit? 
 All you have to have is a husband. 
 
 Beth. But I haven't one. 
 
 Blake. We can soon fix that. Are you game? 
 {Coming to her) 
 
 Beth. {Going towards Blake) Oh, yes, I'm 
 game. 
 
 (Blake goes toward her, is about to take her in his 
 arms, when he stops and rushes to telephone.) 
 
 Blake. Hello — ^hello — send up one minister and 
 two witnesses, quick ! {Takes Beth in his arms) 
 
 CURTAIN. 
 
THE TRAVELING SALESMAN. in 
 
 THE CHARACTERS AND SUGGESTIONS AS 
 TO CLOTHES. 
 
 Mrs. Babbit. — About 50 years of age. 
 
 1st Act — Wears coat and skirt of a dark 
 heavy material, trimmed inappropriately with 
 a lighter shade of braid — should suggest the 
 effort of the village dressmaker. A silk shirt- 
 waist in dark tone with ruching at collar and 
 cuffs. Old-fashioned fur cape or set of mink 
 furs. Woolen gloves, overshoes, white stock- 
 ings. Small bonnet with rose and feather. 
 Old-fashioned earrings and large brooch. At- 
 tached to the belt of her dress is a shabby 
 chatelaine bag of leather. 
 
 2nd Act — A pink cashmere wrapper made 
 with a Watteau pleat, and elaborately trimmed 
 with white cotton lace. A different set of old- 
 fashioned jewelry. 
 
 3rd Act — Same as first act. 
 
 4th Act — Skirt and silk shirt-waist worn in 
 1st Act. 
 Mrs. Dawson — A country woman of about thirty, 
 pallid, a typical worn-out farm drudge. 
 
 Wears a checked woolen dress with a gath- 
 ered flounce at bottom, to be very much 
 " home made " in appearance — a dark blue or 
 tan coat, very old style, large puffed sleeves, 
 etc., a stiff round hat with a wing sticking up 
 in front and a nondescript veil wound around 
 the hat. A woolen muffler, woolen mits and 
 overshoes. Hair done tightly back into a knot 
 at back of her head. 
 Mr. Dawson. — A lanky " rube " about forty, full 
 unkempt beard and scratch wig. Wears musty 
 overcoat, nondescript trousers, top boots, cloth 
 
112 THE TRAVELING SALESMAN. 
 
 cap and ear tails, woolen scarf and leather 
 mitts. 
 
 Crabb. — Drooping grizzled moustache, grizzled 
 wig, old trousers and old double-breasted blue 
 coat, blue cap, red mittens and small woolen 
 muffler inside coat, ends showing underneath. 
 Spectacles. 
 
 Gill. — Jovial farmer about forty-five. Gray wig 
 and gray chin whiskers, trousers in long top 
 bots. Very heavy fancy vest and big shabby 
 bear-or pony-skin coat, fur cap. 
 
 LuELLA Ann Dawson. — About eight years old. 
 Wears short home-made coat of woolen material 
 over a skirt of plaid flannel. White woolen 
 gaiters, white cotton drawers, white knitted 
 leggings, white Tarn o'Shanter pulled down 
 over her ears, a tippet and small muff of imita- 
 tion fur, red woolen mittens. 
 
 William Henry Dawson, Jr. — About six years 
 old. Wears coat and knee pants, evidently made 
 from a discarded suit of his father's. Top- 
 boots with " copper " toes, plush cap with ear- 
 tabs, woolen scarf and pair of woolen mittens 
 attached to a cord. At his first appearance, his 
 ears are covered with the tabs of his cap, and 
 his head is so wrapped in the scarf that only 
 his eyes are visible. 
 
 Beth Elliott. — 
 
 1st Act. — Wears coat and skirt, white shirt- 
 waist, black shoes, red sailor-hat with quill. 
 
 2nd Act. — One-piece dress, coat, velvet hat 
 with feather. 
 
 3rd Act. — Same as first act. 
 4th Act. — Skirt and shirt-waist same as ist 
 Act. 
 
 NOTE. — Beth should be dressed becomingly, but 
 her clothes must not be too modish and must 
 not indicate lavish expenditure. 
 
 Bob Blake. — ^Wears brown sack suit — contrasting 
 
THE TRAVELING SALESMAN. 113 
 
 ulster Brown coat, brown shoes. He must 
 suggest the well-dressed drummer. Nothmg 
 flashy in jewelry, ties or waistcoats. Same 
 suit throughout the play. 
 Ted WATTS.-About thirty. Ordinary busmess 
 suit dark overcoat and black derby. Same suit 
 
 K.M?rSout^S-five. Gloomy dru-mer 
 Dark blue sack suit, white shirt, old-fashioned 
 turn-down collar and black tie. Stetson soft 
 
 COBB^-Jovial drummer, about fifty White haired 
 ruddy cheeks, loud black-and-white checked 
 suit, white shirt and detachable cuffs; does not 
 
 FRANKLYN^^RoYCE.-About thirty-fivc. Business 
 
 suit, black derby and overcoat. 
 Conductor.— Regulation uniform. 
 MARTiN.-About fifty. .Oxford gray old style 
 
 "Prince Albert" suit— dark overcoat, derby. 
 JuLius.-Fresh Uvely coon. Wears trousers and 
 
 vest of old evening suit and blue and white 
 
 NOTe"^— If desired, Dawson can double Kimball, 
 Gill can double Cobb, and Crabb can double 
 Julius. If this is done, Dawson, Gill and 
 Crabb should wear whiskers and wigs. 
 
 NOTE-— If desired, the parts of Luella ANN 
 Dawson and William Henry Dawson, Jr., 
 may be eliminated. The rearrangement of 
 dialogue of the first act, permitting this, will be 
 found on the following pages 
 
 >jOTE-— Rearrangement of Act I if Luella Ann 
 Dawson and William Henry Dawson, Jr., 
 are eliminated 
 
 DISCOVERED :— Mrs. Babbit, middle-aged coun- 
 try woman in typical Sunday best seated on the 
 extreme edge of bench R. c. She has a hand- 
 
114 THE TRAVELING SALESMAN. 
 
 hag, a valise, and several bundles. Her attitude 
 denotes extreme nervous tension. She looks at 
 the clock. 
 
 At immediate rise of curtain, enter Mrs, Daw- 
 son, left door, in flat. 
 
 Mrs. Babbit. Did you see a train coming? 
 
 Mrs. Dawson. {Coming down to bench l., 
 putting packages R. on bench, back) No'm — {Sits 
 on bench, front) 
 
 {Enter Bill Crabb from door l. in flat.) 
 
 Mrs. Babbit. {Rising, crosses to c.) Say, Mr. 
 Crabb, when's the train due ? 
 
 Crabb. {Standing l. of Mrs. Babbit) What 
 train, think I'm a mind-reader? 
 
 Mrs. Babbit. Train for Bird-in-hand 
 
 Crabb. {Crossing Mrs. Babbit to r.) Bird- 
 in-hand — 'Levin' fifty-three 
 
 Mrs. Babbit. When's it due? 
 
 Crabb. Seven minutes afore twelve 
 
 Mrs. Babbit. Ain't you the cute little smart 
 Alec? That joke was old when my grandfather wuz 
 alive ! 
 
 Crabb. Your grandfather — it must be a darned 
 old joke 
 
 Mrs. Babbit. Just becuz the train is due at 
 'leven fifty- three ain't no sign it'll arrive then on 
 your old one-horse railroad 
 
 Crabb. {Crossing a little to r., limving hand) 
 It ain't my railroad 
 
 Mrs. Babbit. You don't say! Why, from the 
 airs you give yourself, thought you wuz its Presi- 
 dent 
 
 Crabb. Not yit — if I was, I wouldn't allow old 
 women — (Mrs. Babbit turns on him quickly) to 
 loaf around the depot worryin' baggage men to 
 death — {Exits r. i e.) 
 
THE TRAVELING SALESMAN. 115 
 
 {Mrs. Babbit crosses to r. after Crabb. Enter 
 William Henry Dawson, carrying crock of 
 apple-butter.) 
 
 Mrs. Babbit. Lands' sake, that the 'leven fifty- 
 three! (Turning) Oh, good-morning, Mr. Daw- 
 son, Merry Christmas 
 
 Dawson. Same to you, Mrs. Babbit — and many 
 of 'em! Maw, keep an eye on this apple-butter — 
 (Putting jar of apple-butter on back of bench and 
 grip on floor by bench l. Bus. of moving to c. to- 
 wards Mrs. Babbit) You know the wife, don't 
 you? 
 
 Mrs. Babbit. I haven't had that pleasure. 
 
 (Mrs. Dawson rises, moves to r. of bench l.) 
 
 Dawson. No. Wife, I thought you'd know'd 
 Tom Babbit's widow 
 
 Mrs. Babbit. Pleased to make your acquaint- 
 ance, Mrs. Dawson. 
 
 Mrs. Dawson. Pleased to meet you, Mrs. Bab- 
 bit. 
 
 Dawson. You folks kin chin a while, I gotta 
 rastle that trunk off that sleigh. (Exit to baggage- 
 room back of bench R.) 
 
 Mrs. Babbit. (Crossing to bench l.) Going 
 fer? 
 
 Mrs. Dawson. Over to mother's. (Sitting 
 bench l.) It's about an hour's ride. We always 
 go over every Christmas — an' occasionally Thanks- 
 giving Day, Since I've married, I've got to be 
 quite a traveler. You don't go round much, do 
 you? 
 
 Mrs. Babbit. Thank God I never was one to 
 gad. 
 
 Mrs. Dawson. You're livin' at the Elite Hotel, 
 I believe? 
 
Ii6 THE TRAVELING SALESMAN. 
 
 Mrs. Babbit. (Turning to l.) Don't know 
 as you call it livin' — cook can't boil water without 
 burning it. 
 
 Mrs. Dawson. Too bad you had to give up 
 housekeeping, sacrifice your home ! 
 
 Mrs. Babbit. Oh, it wasn't such a sacrifice. I'd 
 kept boarders for twelve years. (Moving nearer 
 Mrs. Dawson) Then help's such a care. Of course 
 you wouldn't understand — ^you don't keep none 
 
 Mrs. Dawson. 'Tain't that — I couldn't. If Daw- 
 son'd sell his land 
 
 Mrs. Babbit. (Moving to bench, l., sitting) 
 Ain't he got rid of that Junction property yet ? He's 
 as stubborn as Beth EUiott. 
 
 Mrs. Dawson. I'm no hand to gossip, but they 
 do say — (Moving close to Mrs. Babbit, very 
 gossipy) that Franklyn Royce that's down here for 
 Martin^ Drury, looking after Mrs. Stratton's store 
 since she failed, is very attentive to Beth. Wonder 
 if that won't be a match one of these days? 
 (Laughs) 
 
 Mrs. Babbit. Nothin' in it at all. 
 
 Mrs. Dawson. (Indignantly) You don't say? 
 
 Mrs. Babbit. Guess I'd ought to know, bein* 
 Beth's most intimate friend 
 
 Mrs. Dawson. She's working here at the depot, 
 ain't she? 
 
 Mrs. Babbit. Yes, and just as smart as a steel 
 trap. You ought to see her work that telegraph thing 
 — wonderful technick — easy as you'd do a day's 
 wash 
 
 Mrs. Dawson. Really, you don't say ? 
 
 (Enter Dawson and Crabb from baggage room 
 
 R. I E.) 
 
 Dawson. Say, what about my check? 
 Crabb. All baggage checked fifteen minutes 
 afore train time. (Pointing to sign on door) You 
 
THE TRAVELING SALESMAN. 117 
 
 can spell, can't yer? It's plain as the nose on yowr 
 
 face. 
 
 Dawson. You leave my nose alone ! (Threaim- 
 
 ing Crabb) . ,^ • . 
 
 Crabb. I ain't teechin' it— (Crossmg to c, gomg 
 to door L. upper) 
 
 Mrs. Babbit. (Rising, crosses to Crabb c.} 
 Say you're too fresh, you ought to be reported • 
 
 Crabb. Go on, do it, you ain't much else to 
 do (Starting up to door l. in flat, then exits) 
 
 Mrs Babbit. (Follozving Crabb) Mmd you 
 let me know when the 'leven fifty-three arrives or 
 I'll have you fired. (Crabb slams door m Mrs. 
 Babbit's face) Ain't he the omey little shrimp? 
 
 (^Automobile effect outside, Mrs. Dawson rwi^ 
 to window L.) 
 
 Dawson. {Crosses to center) That's Perce Gill 
 
 in his atmobeel. ^ -Kyr 
 
 Mrs. Dawson. {Looking out window. ^ 1 o M»s. 
 
 Babbit) Which of the women is Mrs. Gill? 
 Mrs. Babbit. The one Mr. Gill's payin' no 
 
 attention to . , , , . j 1 
 
 Mrs Dawson. Am't they dressed to madness! 
 {To Mrs. Babbit) What's them things on thejr 
 eyes? 
 
 (Mrs. Babbit moves toward window.) 
 
 Dawson. ( c.) Blinders— all women had ougbter 
 wear 'em! {Chuckles) 
 
 Mrs Babbit. Guess most married women d be 
 easier in their minds if they did. (Dawson moves 
 R Enter Perce Gill. Mrs. Babbit turns aivay 
 fromzvindow) Is that the 'leven fifty-three? Oh, 
 how de do, Mr. Gill ! Merry Christmas ! 
 
 Gill, (c.) Same to you, widder. Hello, DftW- 
 son— Merry Christmas 
 
ii8 THE TRAVELING SALESMAN. 
 
 Dawson. Same to you, Perce. (Moves to front 
 of bench r.) 
 
 (Mrs. Dawson moves to front of bench l. Mrs. 
 Babbit comes doDjn l. c.) 
 
 Gill. Why, how de do, Mrs. Dawson? Merry 
 Christmas ! 
 
 Mrs. Dawson. How de do, Mr. Gill, Merry 
 Christmas 
 
 Gill. Takin' a trip, Dawson ? 
 
 Dawson. Not very far. 
 
 Mrs. Babbit. How*s folks, Mr. Gill? 
 
 NOTE: — Dialogue and stage business unchanged 
 until Gill's last entrance — followed by Mrs. 
 Dawson who has accompanied Gill on his first 
 exit. 
 
 {Enter Gill with axe, which he returns to place. 
 Enter Mrs. Dawson, comes down and sits on 
 bench l.) 
 
 Gill. By Gosh, Miss Beth, I clean forgot to pay 
 the charges on them tires ! How much ? 
 
 Beth. A dollar ten. 
 
 Gill. Them machines does certainly burn up 
 money — ^must take a spin with me some day — 
 {Giving money) 
 
 Beth. I'd like to, Mr. Gill, 
 
 Mrs. Babbit. Want to kill her? Well, when 
 you're dead and gone remember I warned yer. 
 
 (Gill exits. Whistle. Noise of train. Dawson 
 enters.) 
 
 Dawson. Come on, Maw, bring me the bundles 
 — the bundles — (Exits) 
 
 Mrs. Dawson. (Bustling about) I'm so ex- 
 
THE TRAVELING SALESMAN. 119 
 
 cited I don't know where Vm at! I can't find my 
 little grip! Mrs. Babbit, Mrs. Babbit, give me a 
 hand. (Going up to door in flat. Mrs. Babbit 
 crosses to c.) Pa — Pa — my little grip — {Comes 
 down L. of bench l.) 
 
 Crabb. {Outside — enters r. door in flat) All 
 aboard — all aboard — 1 1 : 53 
 
 Mrs. Babbit. Someone hold that train. 
 
 Crabb. All aboard — eleven fifty-three — {Down 
 by Mrs. Babbit) 
 
 Mrs. Babbit. Don't stand there, you big lun- 
 mix, give me a hand 
 
 (Exit Crabb r. door in flat.) 
 
 Mrs. Dawson. (Running up to door) Paw — 
 Paw — my little grip — I can't find my little grip 
 
 Dawson. (Enters and comes down by bench c.) 
 What's the matter with you — what have you lost? 
 
 Mrs. Babbit. (Picks up big grip l. of bench 
 L., jams valise in Dawson's stomach) 
 
 Mrs. Dawson. My little grip. 
 
 Dawson. Is this the one? (Grabbing valise) 
 
 Mrs. Dawson. No, my little grip ! 
 
 Conductor. (Enters l. door in flat — stands l. 
 of door) All aboard ! 
 
 Mrs. Babbit. Hold that train — it's life or 
 death ! 
 
 Dawson. (Drags himself across on hands and 
 knees in front of bench l.) Here it is — right in 
 front of your eyes! You women can't find 
 nothin' 
 
 Mrs. Dawson, Of course, Fm to blame ! 
 
 Dawson. Come on here — (Starting for door 
 L. in flat) 
 
 Conductor. Get a move on ! 
 
 Dawson. Don't give me none of your lip — 
 {Enter Crabb r. door in flat, carrying flag} 
 
 Mrs. Dawson. That's right — pick a fuss — 
 
120 THE TRAVELING SALESMAN. 
 
 (Exit Dawson, Conductor, and Mrs. Dawson) 
 
 Mrs. Babbit. (Calling) Mrs. Dawson, Mrs. 
 
 Dawson — (Getting jar of apple butter from bench 
 
 L.) 
 
 Crabb. (c.) All aboard — 'leven fifty-three — 
 three 
 
 Mrs. Babbit. Don't bother me — (Going to 
 door L.) Here's your apple butter — (Conductor, 
 outside, grabs jar) Good-bye — ^good-bye — (Bus. 
 looking at clock, etc., sitting bench L.) Say, when 
 does that 'leven fifty-three go? 
 
 Crabb. It's jest gone 
 
 Mrs. Babbit. What! (Chases Crabb. Crabb 
 waving flag at Mrs. Babbit, exits r. i e.) 
 
 NOTE :— The rest of Act I is unchanged. 
 
THE TRAVELING SALESMAN. 121 
 PROPERTY PLOT. 
 
 ACT I. 
 
 9 benches — i, 2, 3, and 4 divided by iron arms into 
 three seats, i and 2 placed back to back. 3 and 
 4 the same, 5, 6, 7, 8 and 9 made to fit angles 
 in set. 
 
 Stove— door practical, piping leading off-stage 
 through set. 
 
 Coal scuttle with coal, poker and shovel. 
 
 Water cooler with cup. 
 
 2 gum machines, stick of gum in machine at ticket 
 office. 
 
 1 weighing machine. 
 
 " No Smoking " sign over ticket-office. 
 " No loafing " sign on set near stove. 
 Railway map on wall over bench 8. 
 Express Company sign on wall over bench 9. 
 Money-order sign under shelf of ticket-office front. 
 Notice of " For Sale " right of ticket window. 
 
 2 Fire pails on shelves at upper angles of set. 
 
 Fire axe on ticket-office at up r., near water cooler. 
 
 Clock on wall over window l. 2. 
 
 Blackboard at r. side ticket-office announcing arrival 
 
 of trains, — " No. 23 — 15 minutes late " is badly 
 
 printed with chalk on it. 
 Time tables in rack near blackboard. 
 
 IN TICKET OFFICE 
 Rack for tickets R. of window ; tickets. 
 Ticket stamp. 
 Express book. 
 
 Telegraph blank-book with pencil attached to it by 
 string. 
 
122 THE TRAVELING SALESMAN, 
 
 Money drawer with paper money and coins. 
 Small box wrapped up in tissue paper with blue 
 
 baby ribbon tied about it. (This is handed to 
 
 Crabb.) 
 Basket covered with napkin l. of ticket window. 
 
 IN BASKET 
 
 Small napkin, 6 small pieces of bread, 2 slices very 
 small, some chicken sliced, one slice has wish- 
 bone attached to it. Celery, one large piece, 
 one small piece, glass, white flask with coitee in 
 it. Cork is attached to bottle by a string. 
 
 Small mirror at back of office. 
 
 Peg on wall to hang coat and hat on. 
 
 3 large bundles and cane telescope grip are dis- 
 covered on bench l. 
 
 Table off-stage l. 
 
 Automobile horn off l. 
 
 2 large bundles off-stage L. for Mrs. Dawson. 
 
 Small hand grip. 
 
 3 small packages in cord hand bag for Mrs. Dawson. 
 Old-fashioned valise off-stage for Dawson. 
 
 TRAIN EFFECT 
 Rumble cast with bell. 
 Large sheet of heavy tin. 
 Wire brush to beat on tin with. 
 Whistle. 
 
 Auto tire wrapped for Gill. 
 Cigarette in box for Gill. 
 Railroad signal flag for Crabb. 
 Suit-case for Blake. 
 Umbrella for Blake. 
 
 Cigarette case containing cigarettes for Blake. 
 Visiting card for Blake. 
 
 Telegraph sounder and key in ticket-ofece and 
 practical key and button oft'-stage L. of table. 
 
THE TRAVELING SALESMAN. 123 
 
 ACT II. 
 
 Round poker table. 
 
 5 chairs. 
 
 Small table. 
 
 Ladies* jacket hung over chair (used by Kimball). 
 
 3 sample tables placed as per drawing. These 
 
 are covered with sheets reaching to floor. 
 
 Tables are dressed and have ladies' skirts, 
 
 waists, etc. 
 Red skirt on table i near door, placed in prominent 
 
 place so that it can be easily reached. 
 Hobble-skirt on upper end of table 3 (used by 
 
 Watts) 
 Two sample books at lower end of table 3. 
 Steam radiators. 
 Ladies* jacket hanging from light bracket over 
 
 radiator. 
 Ladies* jacket hanging from electric button r. of 
 
 door c. 
 Ladies' jacket hanging from telephone L. 3. 
 Hotel Rules on card on door c. 
 3 Flashy chromos to dress walls. 
 Large sample trunk opened r. 3, dressed with skirts 
 
 and waists. 
 Blue jacket hanging on lid of trunk (used by Crabb) 
 Fire escape rope. 
 
 Sample trunk off-stage by door l. 3. 
 3 Skirts placed over trunk at l. 3. 
 
 (Props off L. 3 for Kimball.) 
 
 Cigars, box of poker chips ; box is prepared with 5 
 grooves and chips are arranged so that they can 
 be easily taken out. 10 white, 8 blue and 5 reds 
 in back groove. 
 
 Pack of cardte. 
 
124 iTHE TRAVELING SALESMAN. 
 
 Box cigars for Julius. 
 
 Ash try for Julius. , 
 
 Fifty-cent pieces for Blake, Watts, Cobb, Kim- { 
 
 BALL. 
 
 (Off-stage by door c. on table.) 
 
 I tray with teapot and cold tea,* syphon, 4 cups and ; 
 napkin for Julius. ^ 
 
 I tray with teapot and cold tea, 5 cups, one cup to 
 break each performance. ' 
 
 I enamel ice- water jug with ice to rattle. 
 
 Sleigh-bells off-stage R. 
 
 Cheap curtains on window with roller shades. 
 
 HAND PROPS. 
 
 Cigar for Blake and Watts. 
 
 Coins for Blake, Watts, Kimball and Cobb. 
 
 Pencil and envelope for Blake. 
 
 Red carpet covers floor of act with fancy red piece 
 sewed on to fill space between set and flat, an- 
 other piece of different pattern is also sewed on 
 back of this to cover stage when door in flat 
 opens. ': 
 
 ACT IIL 
 
 Roll-top desk, dressed with papers, pen and ink, etc. 
 
 On top of desk are placed six or seven letter-files. 
 
 Desk chair. 
 
 Couch. 
 
 Table, oblong and not too faacy. 
 
 2 chairs. 
 
 Hat rack. , 
 
 Small table up-stage l. with glass and spoon on it] 
 
 Book-case with books, etc. ? 
 
 Speaking tube L. of door l. i. 
 
 Carpet rug. 
 
THE TRAVELING SALESMAN. 125 
 
 Fashion plates in frames to dress walls. 
 
 Railway map on wall over mantel. 
 
 Mantel. 
 
 Calendar over deck with month of December. 
 
 Christmas Day must not fall on Saturday. 
 Window shade (roller), strong spring so that at cue 
 
 it flies and keeps on rolling. 
 
 ON STAGE 
 
 Ice-water pitcher with ice and water for Julius. 
 
 Bottle of Bromo Seltzer for Julius. 
 
 Telegram in envelope for Beth Elliott. 
 
 Pencil for Royce. 
 
 Check-book for Drury. 
 
 ACT IV. 
 
 Furniture same as Act II. 
 
 Sample tables all stripped of suits, leaving sheets 
 
 on. 
 Sample trunk closed and placed c. l. at rise. 
 
 OFF-STAGE c. 
 
 Tray with bottle of beer, plate, sandwich, knife and 
 fork and napkin, also cork opener for Julius. 
 Small tray with visiting cards for Jjjlius. 
 Truck for moving tnmk. 
 Tax receipt for Blake. 
 Coins for Blake. 
 
'.RD25 
 
FRENCH'S 
 
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 Arthur Law 
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