iiii '!'i<| llilli 'Northrop MoREK Class £ilA2j:i I / J ^ COPYRIGHT DEPOSm PEACH BLOOM PEACH BLOOM AN ORIGINAL PLAY IN FOUR ACTS BY NORTHROP MORSE 1913 SOCIOLOGICAL FUND MEDICAL REVIEW OF REVIEWS NEW YORK T6 'i^^l 11 « 3 Dnil'^'' Copyright, 1913, By Northrop Morse All rights of republication, translation or production reserved by the Author. Application for the right of performing this play, whether professional or amateur, must be made to the . Author, Northrop Morse, Gray Rocks, Amherst, Massa- chusetts. DEC 24 1913 „, Dedicated v'^ TO THE UNNUMBERED THOUSANDS OF GIRLS WHO HAVE SUFFERED THROUGH IGNORANCE CAST OF CHARACTERS Eric Hamilton. Professor Miles Morris. " GussiE Flint." Edwards, a Butler. JuRGEN, a Footman. Peter, a '' DoormanJ^ Francis, a Footman. A Policeman. HiLDEGARDE MORRIS. Mrs. Morris, " Jinny." RosiE. " Madame." Mrs. Oakes. Mrs. Walter Prescott, " Laura." Dolly. Kitty. Eva, a Maid. SYNOPSIS OF SCENES Act One Scene I: — The Library of the Prescotts' city home. Mid-afternoon in April. Scene II : — The street outside '' Madame's " house. Immediately following the preced- ing scene. Act Two Scene: — The sitting-room of a suite in Ma- dame's house. Two minutes have elapsed. Act Three Scene: — The same room as in Act Two. Mid- night of the following day. Act Four Scene: — Living-room of the Morrises at Clar- endon, a country college town. Four o'clock in the afternoon of a mid-May day, almost a month later. The play opens in a typical large American city. Time: — Today. ACT I Scene I The library of the Prescotts' ; a large luxurious room of a city home, revealing owners of wealth and cultivated taste, who use it as a living-room. Fine books, etchings, rugs, a great carved mantel, beautiful doors and wood- work give it distinction. An open fire is burn- ing. Opposite are two entrance doors, and a large window at the right looks towards the street. Mrs. Morris comes in in handsome street cos- tume. She is about forty, sweet-faced and ma- ternal. She is of assured social class and edu- cation, but has just that air of one who has left the city many years ago. She lays aside her coat. (Edwards, the Butler, comes in bringing a newspaper.^ Edwards The afternoon paper, Madame. 2 PEACH BLOOM Mrs. Morris ( Taking it) Thank you, Edwards. Have Mrs. Prescott and my daughter got back yet? Edwards No, Madame, but there's the bell now. Mrs. Morris takes up the paper and begins to read the front page eagerly, Mrs. Pres- cott enters in a moment; she is a year or so Mrs. Morris's senior, of the same assured social class and upbringing , but is metropol- itan to her finger tips. She is in street cos- tume, but has already removed her hat, etc., before coming in. Mrs. Prescott Well Jinny, had a fine time with the rest of your shopping? Mrs. Morris I certainly did revel in the shops again! . . . Laura, here are two columns more about that young girl who disappeared a month ago. I don't see how a girl out of such a family, so carefully brought up and guarded, can vanish! ... I suppose Hildegarde went upstairs just now? ACT I 3 Mrs. Prescott Hlldegarde ? I didn't see her. Mrs. Morris But she came back with you, Laura. Mrs. Prescott {Showing great surprise) With me, Jinny? I left your daughter with you at that silk counter. Mrs. Morris What ! Then she hasn't been with either of us since we separated to finish our errands! I looked up after you left and she was gone; I thought of course with you. What has become of her? Mrs. Prescott You're not going to be the nervous mother? Mrs. Morris I've some reason to be. Mrs. Prescott Yes, dear cousin, If she were a Pekinese lap dog ! But you can't stuff your Hlldegarde into a handbag and run off with her! 4 PEACH BLOOM Mrs. Morris {Rising) Laura Prescott! . . . But Hllde- garde is a young girl, entirely unused to the city, — and ignorant. Mrs. Prescott Ignorant? Mrs. Morris Innocent then. Mrs. Prescott I'm glad, — a girl like that is safe in her inno- cence. Mrs. Morris I'll go right over to the store now. Mrs. Prescott I'll telephone too, — just to reassure you — Mrs. Morris {Taking tip her coat) And when I come back there's something I want to talk to you about, Laura, — whether it's best to keep Hildegarde so very innocent. The door opens and HiLDEGARDE comes run- ning in, radiant. She is seventeen years old, a very pretty, rose-complexioned girl, just budding into beauty; high-spirited, with a gal- lant carriage; affectionate; girlish; healthy. ACT I 5 Her hair is in a long braid, and she has on a tasteful spring street costume. She runs gaily to her mother, shaking her finger at her, and laughing. Mrs. Morris Hlldegarde, you naughty child! HiLDEGARDE You naughty runaway mother! I'll write to Father how you deserted me ! Mrs. Morris Daughter, you frightened me so ! HiLDEGARDE (hnpulsively runs over and kisses her mother fondly) I didn't really frighten you, you dear, darling, funny little Motherkins, did I? Why, I wouldn't for the world! When you know I'm perfectly able to take care of myself! Why I wanted to save your time, so I skipped off to buy Maggie's shawl; and when I came back to the silk counter, there I was a poor, friendless girl whose mother had left her just like an umbrella ! Mrs. Morris Never leave me like that again, dear! 6 PEACH BLOOM Mrs. Prescott How'd you get home so soon? HiLDEGARDE {Her eyes shining) Oh, such an adventure, Cousin Laura ! In popped little I into a taxi- cab, — and wasn't it exciting out in the big city, — all alone! Mrs. Morris Hilda, never, never go alone in a taxi! HiLDEGARDE But as we turned the corner just now, I saw Cousin Laura get out of one I Mrs. Morris When will you learn, dear, that grown up peo- ple can do a great many things young girls can't? HiLDEGARDE I have learned it, but I don't know why it should be so. Haven't I got lots more muscle than you have, Muzzer dear? Just feel my biceps. Cousin Laura ! If anybody tried to steal my purse, — he'd get this, — smash! Strikes her palm with her small clenched fist. ACT I 7 Mrs. Morris You must believe things, dear, because your mother says them. Mrs. Prescott Now weVe got a little time, let's get those fa- vors ready for Hildegarde's dance. HiLDEGARDE jumps lip and gets out of the table drawer a mass of lovely paper garlands, — soft delicate colors made into ropes, — the Hawaiian ^' leis.^* HiLDEGARDE Let me help too, — for that lovely party you're giving tomorrow on my birthday night, — you dear Cousin Laura ! She works deftly, and waits on the others, get- ting scissors, etc., as they fashion the '^ leisJ* Mrs. Prescott What was this shawl you ran away and dis- tracted your mother so for, Missy? HiLDEGARDE A beauty I got for Maggie Flannagan, my dear old nurse. {Lifts her handbag and shakes it gaily at her mother) Half the money I'd saved so 8 PEACH BLOOM hard for three months, — gone in a whiff ! . . . I made them send out for a spandy fresh one, and now I'm dreadfully afraid it won't get here in time! Mrs. Prescott In time, — for what? HiLDEGARDE (Js she works; speaking with the strong con- victions of youth) You see, Cousin Laura, Mag- gie's got just the horridest, contemptiblest — that's a hard word to say, but it's just what I mean — ' contemptiblest sister-in-law, Leonora O'Halli- gan, who looks down on her, because Maggie was born nothing but a Flannagan! Did you hear that ' O ' in front of O'Halligan? Well, that one little letter makes all the difference between your being high-toned and just — dirt! And she's coming day after tomorrow to visit Maggie, and make remarks about Maggie's low birth! Mrs. Prescott {Laughing) Why even an old-clothes man has to have somebody to be snobby to ! HiLDEGARDE I just despise snobs! {Taking a letter out of ACT I 9 her handbag and reading it) I got this letter from Maggie this noon : — ' Plaze Miss Hlldergarde, sind the shawl right off ter me thot yer promised me fer next Christ- mas; an thin I kin be sated In me parlur-r, this Sunday, wit' me figgure swathed up in its gor-geous an' illgant folds, — not mindin' how war-rm th' day should turn, an' just bedazzle the gaze of thot vain, dishdalnful Leonora O'Halllgan ! ' . . . And after that suppose she had to wear her faded old gray shawl ! Mrs. Morris Tomorrow's Saturday, — can you get it to her way out in the country? HiLDEGARDE I must I I think by parcel post, — she's on the R. F. D. Mrs. Prescott There's a substation only a block and a half away, — ■ I'll have someone take It out. HiLDEGARDE I wouldn't bother you for anything. Cousin Laura ! Mrs. Morris Hilda and I'll take it when it does come, — we lo PEACH BLOOM must do some walking here, or we'll forget we have limbs ! The telephone on table rings. Mrs. Prescott answers it. Mrs. Prescott Hello, Brother . . . Yes, Hildegarde's here now. HiLDEGARDE Eric! Oh, please let me talk to him! {Runs to the telephone) Eric! Yes, Mother and I are down here for three whole weeks! For a coun- try mouse like me this city life is one continuous thrill! Went out riding in a taxi today, — all alone! And my little mother strayed away from me, and got lost, — but / found her! . . . Com- ing in ten minutes? Goody! Goody! Try and make it eight, — goodbye! {She dances lightly and airily about the room) Oh, won't It be en- trancing to see Eric again! Mrs. Morris {Laughing) Laura, can your younger brother possibly be Hildegarde's hero still? HiLDEGARDE {In warm defence) Wouldn't It be a funny girl who didn't adore a big cousin who taught her ACT I II to ride and play tennis, and hit the bullseye at twenty paces with a revolver! Don't you hon- estly think, Cousin Laura, Eric's about the most perfect man in the world, — next to Father, of course ! Mrs. Prescott To be sure ; — and nowadays perfect men are needles in haystacks I HiLDEGARDE (Excitedly) Mother, I want to look my best, and I've thought up a way to surprise Eric. Do come up soon and help me, — there's a ducky lambkin! (She takes her mother's coat and hers with her) I'll take yours up with me. And just wait till you see that shawl! It'll freeze the * O ' right off the O'Halligan! Goes out light-heartedly. Mrs. Prescott {They sit opposite each other, as they fashion the ^^leis") Well, Jinny, you have some excuse for being a flustered old hen with your one chick ! Mrs. Morris I'm really concerned about her, — what's best to do. Her father has been after me for six 12 PEACH BLOOM months, Laura, to inform her fully, — about life. He says it's my duty as a mother of a really pretty girl, though there's no such desperate hurry for the Mammas of the plain ones! But then every girl is pretty to her mother. Mrs. Pre SCOTT Ridiculous of Miles : — her life is so sheltered. Mrs. Morris I know: — and I couldn't bear to tell her, — she's so innocently happy. Mrs. Pre SCOTT She's too young. Mrs. Morris Seventeen tomorrow. Mrs. Prescott Just at the dawn. And knows nothing of — life? Mrs. Morris Only a little ; IVe told her some facts about par- enthood. Mrs. Prescott Parenthood; — telling her only where there's been a marriage, I hope? ACT I 13 Mrs. Morris {Scandalized by the mere idea) Of course, Laura I Mrs. Prescott Is that all youVe told her? Mrs. Morris {Hesitating) No, I've told her a little about the relationship of husband and wife, explaining just as my mother did to me, — a kind of sacra- ment to bring children Into families. Mrs. Prescott Quite right, — and it's even more than she needs at her age. Mrs. Morris Of course she doesn't relate this to anything — er — outside of marriage, or dream there's any danger anywhere. Now Miles wants me to ex- plain further, and that there are bad men in the world, and all that; he says I must put her on her guard. Do you think there's any special need? Mrs. Prescott Not with a girl sheltered like Hildegarde. . . . You've told her a great deal now ! I'm sure it's much more than your mother had told you when 14 PEACH BLOOM you were Hildegarde's age, — if Aunt Jane felt the way my mother did. Mrs. Morris Yes, until my engagement Mother had told me absolutely nothing. Mrs. Prescott See, Jinny! You're a frightfully advanced woman for your mother's generation! And she probably was for our grandmother's! Pve no doubt Grandma let our mothers marry in utter ig- norance. Go slow. Knowledge of evil would come as a terrible shock to Hildegarde now. She's so radiant in her innocence ! It's been only two days that you've been down on this visit, but already your child has filled my home with a new atmosphere. She's like a perfect flower opening in the early sunlight. And do you know what it is? It's the power of her youth, undimmed be- cause she doesn't know too much about life. Mrs. Morris Still when she disappeared today, and then re- turned so independent and without fear, — I al- most wished she knew. ACT I 15 Mrs. Prescott She'll never run away again since youVe just told her not to get separated like that. And could you pick out a more unfortunate time to tell her than just at the beginning of her visit 1 How painfully self-conscious she'd be meeting all the young people down here ! And at her birth- day dance tomorrow! Mrs. Morris But before long — Mrs. Prescott Oh, preserve the peach bloom while you can. It never comes again! Mrs. Morris When we get quietly at home though I'll talk it all over with Miles. Mrs. Prescott You've told her more than most mothers I know, and I should rest satisfied. Mrs. Morris (Rising) Well, I must run up now and see what Hilda's concocting to surprise Eric. She cer- tainly thinks he's the cream of creation ! 1 6 PEACH BLOOM Mrs. Morris ffoes out by further door, — to left, Eric enters in a moment by the door at the right. He is a tall, active, well-bred man of thirty, alert, and buoyant; a man of much personal charm. Eric Hello, Sister! Mrs. Prescott So nice to see you, Eric. Men gone back to our ships yet? Eric No : I'm starting South to corrall more of these coy strike-breakers. Mrs. Prescott No more threats against your life lately, I hope? Eric A few, but I go armed now. . . . Where's Hildegarde? ... I got over here in seven min- utes — to please her. Mrs. Prescott She's on tiptoe to see you. . . . How the years have swept by since Jinny married the good col- lege professor and turned her back on the city. ACT I 17 And to think her child is almost a young woman now! Eric Isn't little Hilda wonderful? My visits up at Clarendon and my whole relationship with her has been the sweetest part of my whole life. Mrs. Prescott You should have married and had sweeter, — why don't you? Eric Suppose I've already somebody in mind? Mrs. Prescott No!— Tell me! Eric Suppose Cousin Jinny's daughter? Mrs. Prescott {Startled, and dropping the '^ lei ^' she is work- ing on) Hildegarde 1 Why she's a mere child! Eric Children have one extraordinary habit, — they grow up, — in time. Mrs. Prescott You're not serious? 1 8 PEACH BLOOM Eric But I am. . . . Hasn't it been this one little girl sprite who has kept any other love away from me? Haven't I, first as a shy boy, watched her develop from a rose petal of a baby to a merry little grig of a child, and now see her beginning to bloom, a sweet challenge to me to woo and win her? And I'll take my first chance! Mrs. Prescott She's ridiculously young; you shan't put any such notions into her head now ! Eric Want to bet I can't? Mrs. Prescott I'll sit here with you, and I'm sure you'll be- have. But there's another reason why you shan't make love to her now. I've learned lately of an obstacle — Eric Don't tell me there's some old family skeleton of ours I've never been properly introduced to ! Mrs. Prescott No family skeleton; I've learned lately that you^ve been — ACT I 19 The door opens, and Hildegarde's voice is heard hesitatingly. HiLDEGARDE Cousin Laura? Mrs. Prescott Just Eric and I are here, dear. HiLDEGARDE comes tripping in, wearing a very charming, girlish party dress, with light dainty slippers, etc., to match. The dress is cut out prettily at the throat. Her hair is put up youthfully. She flies over to Eric, and kisses him with childish joy. HiLDEGARDE Oh ! Oh ! Oh ! You dear darling Cousin Eric! It's a whole long five months since youVe been up to see Father and Mother and me ! Eric (Admiring her) Why, little bird, flying off to a party today? HiLDEGARDE No, but I put my new pair of wings on just to show you, Eric, because you can't be at my birth- day dance tomorrow. 20 PEACH BLOOM Eric Charming of you ! HiLDEGARDE {Clapping her hands) My very first low-neck gown ! Mrs. Prescott having finished the favors, takes up a hook, hut keeps an eye on Eric. Eric What wouldn't I give to see you wear It to- morrow evening! HiLDEGARDE I did want you so, but Cousin Laura said you'd just delight In putting all the boys' noses out of joint! Mrs. Prescott I thought I'd Invite only the girls and boys of Hlldegarde's own age, Eric. Eric Why, Laura, when I'm a boy myself! HiLDEGARDE gets one of the garlands from the tahle, throws it over her neck, and dances ahoiit room, humming a waltz tune. ACT I 21 HiLDEGARDE This Is one of the dances we're to have tomor- row, — like It? {She gaily flings another lei of a dif event color over Eric's head) Come, Eric, have one dance with me ! ( They dance grace- fully, while HiLDEGARDE hums the tune) It would be lots more fun If you were coming. Eric {At the close of the dance) Why your braid's up ! — What a young lady you're getting to be ! Mrs. Prescott {Looking up from her hook) Yes, and young ladles should be very chary of their kisses, Hilda ! HiLDEGARDE I'll never be too grown up to want to kiss Eric! Eric {With a triumphant glance at his sister) That's the resolve every girl should make, — for just one man! Mrs. Prescott See here, Eric,— you both are too old for non- sense. 22 PEACH BLOOM Eric But not for birthdays, — ^ are we, Hilda? D'you suppose by any chance there might be a present somewhere round here for you, little *un? HiLDEGARDE If there is, — I'll find it! She puts her hand into his coat pocket and draws out a .^8 caliber revolver, Eric I'd forgotten that for the moment. HiLDEGARDE (Looking at it in dismay) Another revolver this birthday? Eric Don't cloud up so, — it's mine. What's your opinion as an expert? HiLDEGARDE {Handles it skillfully, and opens it) A beauty ! And all loaded! Why, — in the city? Eric {With mock grandeur) I'm of such conse- quence I've received a permit ! ACT I 23 HiLDEGARDE But there aren't any targets. Eric {Laughs heartily as he takes it hack) Why the joke Is, — that Fm the target ! Mrs. Prescott His business keeps him very late in a rough part of town. HiLDEGARDE {Anxious for him) What dangers there must be here we don't have in the country! Eric You'd never guess what I've got Hilda dear, for someone. Tell me, if anything could be more exciting than this for the seventeenth anniversary of a very dear young lady? Takes a jewelry box out of his other coat pocket. Edwards comes in. Edwards The caterer, Madame, some questions about to- morrow night. 24 PEACH BLOOM Mrs. Pre SCOTT Excuse me; but {meaningly to Eric) Til be back in a minute, Eric. Edwards, tell Mrs. Mor- ris that Mr. Hamilton's here. HiLDEGARDE Mother knows, Cousin Laura, but she's just lost to the world, — she's writing her daily letter to Father ! Mrs. Prescott Tell Mrs. Morris, Edwards, that Mr. Hamil- ton is very anxious to see her just as soon as she can come down. Edwards goes out. Eric {Calls goodnaturedly as Mrs. Prescott goes out) Checkmate ! {He holds the box tantaliz- ingly over her head; HiLDEGARDE reaches for it prettily) The golden apple hangs high! HiLDEGARDE Please ! Please don't be so dreadfully poky ! Eric lets down the box within reach, hut re- tains his hold for a few seconds, when after a little childlike struggle he lets her take it. ACT I 25 HiLDEGARDE {Losing no time in opening it) Oh-h! Oh! A string of pearls ! ( Throws her arms about Eric's neck and gives him an enthusiastic kiss) You darling ! You always think of just the thing I want most! Eric {Controlling himself with difficulty) I wish I dared whisper the thing / want most ! HiLDEGARDE What is it? Eric Haven't you guessed that it's your, — love? HiLDEGARDE You funny man ! Haven't I always loved you ever since I was a little chit, — right next to my father and mother? Eric I want more ! HiLDEGARDE More than that! — youVe greedy ! Eric Promote me to the head of the list, Hilda ! Mrs. Morris comes in as Eric takes Hilde- 26 PEACH BLOOM garde's hand and kisses it in most loverlike fashion. HiLDEGARDE {Not comprehending, hut loyally) Above my father and mother? — Not a bit of it! Mrs. Morris Eric! Eric {Shaking hands warmly with her, hut embar- rassed) How are you, Jinny, — I'm terribly glad to see you. HiLDEGARDE (Runs over with the pearl necklace to show her mother) Aren't they simply enchanting! And to think they're really all my own, my very, very own! You dearest Cousin Eric! Mrs. Morris {Returning necklace to HiLDEGARDE, which she puts on) Very beautiful, darling; — too beauti- ful, Eric. HiLDEGARDE ni wear them tomorrow evening at the dance, and think of you, Eric, all the time. ACT I 27 Eric Do! I'd love to have you; — " all the time " — don't forget ! Mrs. Morris Darling, I wish to have a word with Eric alone. HiLDEGARDE {Starting out) Yes, mother. And perhaps I'll find Maggie's shawl has come. Oh, it must have! Eric I'm leaving town, Hilda, but remember you're all going with me to that box party at Peter Pan Monday. I don't want to miss being on the spot when you lose your heart to Maude Adams! HiLDEGARDE {Claps her hands, and dances happily about the room) Heavenly! The party tomorrow night, — and my hair will be way up then, and all the other happy times Cousin Laura's planning for us, and seeing you again, dear Eric, — oh, isn't the world the most glo-o-rious place to live in! Goodbye, — just for today. {She runs out, mer- rily, and blowing a kiss to Eric) Catch it! — if you can ! 2 8 PEACH BLOOM Eric {Eying Mrs. Morris, uncertain what she's go- ing to say) I'm ready, Jinny; but do you mind if I tell you I'm already booked for some kind of a scolding from Laura, — ^ later on? Mrs. Morris (Quivering with indignation) Eric! How could you make love to Hildegarde ! Eric Because, Jinny, — I want to marry Hildegarde. Mrs. Morris And so you took advantage of her childish af- fection for you? Eric Honestly, Jinny, I didn't mean to, — today; but she was irresistible. Mrs. Morris A girl who hasn't even finished school yet! Eric Now, Jinny, — my criminal record? Crime Number One, — ^ I'm thirty; Crime Number Two, — I'm a bachelor! ACT I 29 Mrs. Morris Plenty of bachelors of thirty I'd never con- ,sider for my daughter. Eric {With sincerity) Jinny, little Hilda has been absolutely the only woman in my whole life for me, and our affection has helped me struggle along till now. Mrs. Morris I'm so glad, Eric, — for the other kind of man shall never have Hildegarde ! And frankly, I know only one objection, — Hildegarde's own youth; and that I shall safeguard in every way! Eric But — later? Mrs. Morris Later you may enter the lists, — if no objec- tions come up; but for the present — (Mrs. Prescott returns) I was just going to ask Eric, Laura, not to try to see Hildegarde while we're staying here. Mrs. Prescott Eric ! You didn't make love to Hildegarde ! Eric Frost-nipped, right in the bud! 30 PEACH BLOOM Mrs. Prescott Jinny's right then. You mustn't come here till Hildegarde goes. Eric What! Not see Hildegarde all the three weeks she's here ! Mrs. Morris Fm sorry, but I'm sure it's for the best, Eric, — for Hildegarde's own sake ; goodbye. She goes out. Mrs. Prescott Eric, you've no right to get Hildegarde inter- ested in you, — or any other girl so sweet and young until you reform, — in one line. Eric Some little sparrow been telling fibs about me? Wring its neck! Mrs. Prescott Your recent acquaintance with that man LIp- pley degrades you, — knowing what his vocation is. Eric Has he got any? — That is, besides joining all the clubs his Daddy's pickle money gets him Into? ACT I 31 Mrs. Prescott / hear his vocation's drinking, — like a sponge. Eric Never saw him turn a hair ! Mrs. Prescott Walter says — Eric 0-ho! Your husband's the little sparrow! Mrs. Prescott Says his dinners are seas of champagne, and unfortunate guests carried out to their taxis sing- ing and speechmaking, — how can you ? Eric Sing or speechify? — Why Laura, you know I can't do either ! Mrs. Prescott Eric Hamilton, are you going to a dinner of Lippley's tomorrow night? Eric Your husband, Walter Prescott, got the story partly right. I'm going to try to go. His din- ners are marvelous, — I don't mean for the cham- 32 PEACH BLOOM pagne, — but the rare things he gets hold of I And he gathers together a mighty interesting crowd of men, — which is the main attraction for me. Mrs. Prescott So you don't mind being one of the '' unfortu- nate guests " I Eric Laura ! YouVe never heard of me being, — • not myself? Mrs. Prescott Twice lately you've even come into my home, badly under the influence. Eric I humbly beg your pardon, Laura. I'll never let that happen again. You see I can manage three glasses of champagne, but the fourth, — and it's ridiculous ! — always makes the floor rise ! Mrs. Prescott I realize you've been working terribly hard, but that's why you must not go where you'll be tempted. Eric I've promised Lippley I'll go, if I can get back from the South on time. ACT I 33 Mrs. Prescott Jinny and Hlldegarde, — what If they should learn of your having been — drunk 1 Eric Hildegarde ! — She must never know I Mrs. Prescott There's only one way for her never to know, — stay on the safe side : — since it's three glasses, — respect your limitations, and be thankful you've got them! It's only been within the last month you've been going too far, Walter says. You can stop I Eric ( Thinking it over) After this I'll cut out Lip- pley altogether, — for Hildegarde's sake, and if necessary I'll move over to another club. Mrs. Prescott Fine! And you mean you'll begin tomorrow night ? Eric (Taking out his watch) Nearly train time, — no, I didn't. Mrs. Prescott But why not begin tomorrow night? 34 PEACH BLOOM Eric Oh, If I should possibly get there, I'll wave off the seductive fourth glass, — in fact I'll never take too much again. The chances are tomorrow night that I'll be perched at some remote little railroad lunch counter, sharing my supper with a swarm of "busy curious flies," — ugh! Edwards comes in with box done up in dis- tinctive green paper, Edv^ards Mrs. Oakes, asking for you and Mrs. Morris, Madame. Mrs. Prescott Show Mrs. Oakes up. Edwards And this package Miss Morris has been down to ask me about has just come. Mrs. Prescott Take It up when you tell Mrs. Morris, and then bring tea. Edwards goes out with box, Eric {Pausing as he starts out) How's this for a square bargain, Laura? If you'll lower the pro- ACT I 35 hibltlve tariff on Hlldegarde, and permit a little reciprocity, — say let me see her every two days, — I'll cut down the total consumption of alcohol for the United States this year, by not going to Lippley's dinner! Mrs. Prescott (Laughs) You are a boy, after all, Eric! But that's not a fair offer, — when you think you'll be at that remote little lunch counter anyway! Seriously you must not see Hildegarde, — since you forgot yourself and made love to the child. ... By the way, where can we reach you if any- thing turns up about the business? Eric (A little piqued) Going South: anywhere I can get strike breakers; — haven't any address. Adios, Laurita. Tell Hilda how sorry I am I can't go to Peter Pan. But I'll send you over the tickets Monday. Goes out, bowing courteously to Mrs. Morris as she comes in. Mrs. Morris Edwards has just brought up that shawl, and It's far too beautiful for Maggie! Hildegarde's 36 PEACH BLOOM a ridiculous child sometimes ! Spent twenty-three dollars for it! Mrs. Prescott I'll have Edwards mail it later. Mrs. Morris You're too kind. Do you think Martha Oakes would like to see Hildegarde? Mrs. Prescott Yes, but you mightn't like to have Hildegarde meet Martha ; — for if she gets started to talk- ing about her work, she'll say things that are im- proper for young girls to hear. Mrs. Oakes comes in, shown in by Edwards: she^s a handsome city woman, quietly dressed; of same age and social birth as the other two; the best type of city woman who is going into social service today. They all greet each other warmly, Mrs. Prescott Just delighted to see you, Martha I Mrs. Morris Martha! Martha! We three old school- mates! ACT I 37 Mrs. Oakes I couldn't resist getting a peep at you, Jinny, on the way to my office. Mrs. Morris Your husband's bank? Mrs. Oakes No, the society I'm working in. I've a room of my own there now, and oh, I'm so deeply in- terested In the work! Mrs. Morris Just what sort is it, Martha? Mrs. Oakes Cases connected with the social evil. Edwards comes in with tea, and soon retires, Mrs. Pre SCOTT {Pouring tea) Her work. Jinny, is among girls who are depraved. Mrs. Oakes Among the unfortunate, dear Jinny. Hildegarde looks through the open door. She has the large green package with the shawl in it, and her hat and jacket on to go out; 38 PEACH BLOOM she carries an umbrella and her handbag. The others are busy about the tea table and do not notice her, Mrs. Prescott Oh, come, come, Martha, there's always an in- stinct for evil in girls who go into the — er — gay life. HiLDEGARDE takes a step as if to come in, then hesitates as she sees they are busy, with Mrs. Oakes,^ a stranger to her. She decides not to interrupt her mother and steals quietly out with the box, without having been observed, Mrs. Oakes Many a girl, Laura, has taken her first step down because her mother had an instinct for si- lence. It is heartbreaking to think of it, — for the lack of just one word of warning ! Why from fifteen years of work I know that an ignorant at- tractive young girl is not safe alone on the streets of our great cities. Mrs. Prescott {Impatiently) No young girl of our class does go out on our streets alone. Mrs. Oakes has finished her cup of tea, and has risen and is standing by the window. ACT I 39 Mrs. Oakes Don't imagine it's only the daughters of the poor who get caught. (Looks out of the win- dow) Why there's a very nicely dressed young girl, just crossing the street now, carrying a pack- age; she's evidently of '* our class." I hope that girl knows ! . . . What I mean. Jinny, Is that there are countless snares for the ignorant. . . . She's turned the corner now. Mrs. Morris (Uneasily) Snares? What kind, Martha? Mrs. Oakes A hundred kinds of snares to catch the ignorant. Many are appeals to the natural feelings or quick sympathies of girls. All kinds of friendly ad- vances made by nice looking young men, or even women of apparently good class, — and fake lov- ers who later sell their victims like cattle. Why we even have cases where the bait is flowers or candies that have been drugged ! Mrs. Prescott Terrible; but what can we do about It? 40 PEACH BLOOM Mrs. Oakes Every one of us is responsible who is afraid to speak boldly on the great sex prpblems, — just think of the fathers and mothers we know our- selves, who are afraid to tell their children! We build a great wall of silence about our boys and girls, but they climb right over it, and learn else- where, somehow, sometime. Mrs. Morris Then, you'd advise every mother to tell her daughters all of this, — and the evil too? Mrs. Oakes Jinny, you wouldn't ask if you knew of the end- less procession of girls who get caught by this life, who really had no notion of what was in store for them. And when they learned, it was too late! That's why we've got to save the girls before, — and not just rescue them after. Mrs. Morris I think you're right, Martha, — you're convinc- ing me. Mrs. Oakes {Impassioned) If only the mothers who are so loving but blind would understand the dangers ACT I 41 which are lurking for their own flesh and blood! . . . Dangers from men of their own class, and from this consuming plague of white slavery! Every parent must tell the children frankly the whole truth about sex, — what a precious gift it is, to be kept sweet and pure and holy. And I believe we're standing at the dawn of a new day of truth, — it's coming soon, that day when we shall no longer be cowards before our own chil- dren! . . . Please do forgive me for talking so much about my work, — I've been dreadfully rude. Didn't Hildegarde come down with you? Plow she must have changed since I saw her here eight years ago ! Tell me how she is. Jinny. Mrs. Morris Almost grown up now. She's upstairs, — I'll go and get her. Mrs. Oakes {Looking at her watch and rising) I'm so sorry, but I must hurry off now, — I've an appoint- ment at the court. But I'll be In again soon to see Hildegarde and both of you. Mrs. Prescott rings the hell. Mutual good- byes. Edwards appears and takes Mrs. Oakes down. 42 PEACH BLOOM Mrs. Morris (Moving restlessly about) If she'd been tell- ing all this while Hilda was out on her taxi ad- venture, I should have been distracted. Mrs. Prescott This time you can't worry, since you know Hildegarde's safely upstairs. . . . Have another cup, Jinny? Mrs. Morris No, thank you. Mrs. Prescott Martha's a fine woman ! — but — such cases ! Imagine Hildegarde taking candy from a stranger ! Or letting herself be approached by one of these men of the street corners ! Mrs. Morris No, I can't, but Martha must know what she's talking about; and I'm convinced I ought to tell Hildegarde ; — did you hear her say there were a hundred ways to catch the ignorant? Mrs. Prescott Not yet! Leave the peach bloom on for a little while longer. ACT I 43 Mrs. Morris Now! I shall take the time, Laura, there is before dinner. Mrs. Prescott Oh, very well ; she's not my child. How dark it's become! {Going to the window) Why, it's raining ! Steps hack and turns on electric lights. Mrs. Morris {At the door) I won't be one of those moth- ers Martha spoke about a single minute longer! She goes out. Edwards comes in by other door; starts to take tea things; stops with tray in his hands. Edwards Excuse me, Madame, but I can't help being a bit concerned about the young lady. Mrs. Prescott Who? — ^Not Miss Morris? Edwards Yes, she said she'd be back in no time, and it's turning dark now. 44 PEACH BLOOM Mrs. Prescott Back; — from where? Edwards Miss Morris stepped out some while ago to mail that box she was so anxious about. I said I'd be glad to do the service for her later on when I was free, but she said 'twould have to go at once, or the person wouldn't get it on time. Mrs. Morris comes in hastily with her hat and coat in her hands. She is almost tragically worried. Mrs. Morris I can't find Hildegarde ! Mrs. Prescott She went out, Edwards says, to mail that wretched shawl ! Edwards She came to me at the door, and asked the way. I told her 'twasn't a minute's walk. That was quite a while back, Madame. Mrs. Morris She went alone? ACT I 45 Edwards Yes, Madame, she said you were busy, and she wouldn't trouble anybody; that she'd like the walk and she was used to going to the post-office at home alone. Mrs. Morris {Putting on her things) You don't suppose something's happened to her ! In her nervousness she drops her umbrella with a clatter. Mrs. Prescott Oh, she'll be back in a minute, and come run- ning in just as she did half an hour ago, laughing and shaking her finger at you ! Mrs. Morris I'm not sure she will, — I'm going out to look for her. Mrs. Prescott Hildegarde's probably just taken a wrong turn; but we'll all get ready and go out; and we'll find her, — never fear! Mrs. Morris {Starting out the door frightened) I can't wait! I'm going now, and I'll find my child! Curtain 46 PEACH BLOOM Scene II A paved, asphalt city residential street, with a block of substantial, luxurious houses opposite; at the left a side street runs at right angles back out of view. A sharp shower has made every- thing wet. It is still drizzling now. It is about fifteen minutes since Hildegarde left the Prescotts' home. The storm clouds have made it unnaturally dark. It is a little before the city lights are turned on. Hildegarde comes walking dozvn the main street from the right, in company with a gray-haired, well-gowned woman in her early fifties. Hilde- garde is holding her umbrella carefully over the stranger^s head. In a moment Hilde- garde stops. Hildegarde I'm very sorry, but I'm afraid I must turn back. My mother might be anxious if I were out much longer. Stranger My home's only a step further, — the third house there, — and it's still raining. ACT I 47 HiLDEGARDE Oh, — I'll gladly take you that far. They start again. Stranger You've certainly saved me a wetting, and been very kind to an older woman, — and a stranger to you ; — that makes it all the kinder of you ! HiLDEGARDE I'm only too glad I could help you. Stranger I hope your mother won't be disturbed at the little extra time I've taken. HiLDEGARDE She would be soon; you see I left word I'd be back in no time at all. A Policeman comes walking down the side street, in rubber coat, etc., turns the corner, and walks toward them. He looks hard at the two, especially when he hears Hildegarde speak. HiLDEGARDE Let me see; I've come one block over and one up ; so I can get back to the Avenue by going less than two blocks from here? 48 PEACH BLOOM Stranger That's exactly right, my dear. Policeman meets the Stranger's eyes, and goes straight past; then stops and turns to look as they stand at the foot of the entrance steps. The Stranger with her eye on the Policeman drops her handbag, which takes a moment for HiLDEGARDE to pick up and return to her. The Policeman shrugs his shoulders and disappears down his heat with- out turning about again. Stranger If you'll be so very good as to see me up to the door. Hildegarde Certainly ! They go up the steps together. Stranger You said, — " Your mother? " You live in the city then ? Hildegarde Oh dear no, we've just come down from up the state for a visit, — for the first time in years ! I love the city! ACT I 49 Stranger {At the door) Do stop a moment and have a cup of tea to warm you. She pushes the hell three times sharply, HiLDEGARDE Oh no, thank you, just as much. The door is half opened hy Peter, a huge, swarthy man in livery. The Stranger takes Hildegarde hy the hand and shakes it warmly. Stranger Goodbye, and thank you again, my dear. Still holding Hildegarde's hand as she glances up and down the street, Hildegarde I must hurry. Goodnight. Politely tries to take her hand from the Stran- ger's. Stranger {Who still retains Hildegarde's hand) Goodnight! {Casually gets in between her and the steps. Nods backward to the man in the door- way. Says in a very ordinary tone of voice) Peter, — quick, — take her ! so PEACH BLOOM Peter reaches out a powerful arm about HlLDE- GARDe's waist, and claps his other hand over her mouth; while the Stranger instantly seizes Hildegarde's open umbrella, cutting off the view by holding it between herself and the street. Hildegarde can just be glimpsed as she is pulled back into the house. The Stranger quietly and leisurely lowers the umbrella as if nothing had happened. She gives another quick look up and down the vacant street, then goes in and shuts the door. There is silence. A minute afterward the in- frequent lights of a quiet residential district flash on, and the wet pavements gleam. Curtain ACT II The handsome sitting-room of a suite. A door opening into an inner room, and a main, mas- sive entrance door. The windows have an orna- mental grill-work inside, and tht glass is not transparent, hut ornamental also. The room is furnished with every appeal in the way of the material comforts of life: luxurious easy chairs, warm sensuous coloring throughout, even to the vari-colored electric light shades. Sofa and tables, fine paintings, and a curious cabinet with drawers. A fire is laid. Two minutes have elapsed. The room is in the gloaming. The Stranger, " Madame," comes in, turns on lights, followed at once by Peter hearing Hildegarde in his arms, assisted by JuRGEN, a tall footman in liv- ery, who carries her feet. Hildegarde is struggling desperately but vainly. Madame {In soft voice) Put her down, — easy now — on that chair. 51 52 PEACH BLOOM They put her in large, low easy chair, Peter, with his hand still over her mouth, stands be- hind HiLDEGARDE. Madame Now be quiet, dearie, and he'll take his hand away. Nods to Peter, who lifts his hand. Hilde- GARDE gets out a good scream, HiLDEGARDE Help ! Help ! Peter smothers the next cry into a gurgle. Madame Humph! Hurry and get some cord, Jurgen, and a clean handkerchief. JuRGEN goes out. Madame Fm so sorry you make this necessary, my dear, but ours is a quiet street. I hate to have to do what I'm going to, but you're such a lively little piece. Jurgen returns with cord. ACT II 53 Madame Feet! JuRGEN swiftly crosses Hildegarde's feet and ties them, Madame Hands! They tie Hildegarde's hands behind her hack, Madame The handkerchief? Jurgen hands it to her, and Madame delib- erately makes a large knot in it, then signs to Peter, who lifts his hand, and she dex- terously slips knot into Hildegarde's mouth. Takes her own scarf of and hands it to Peter. Peter swathes it across Hildegarde's mouth, and ties it behind her head. HiLDEGARDE makes muffled cries. Madame Tighter. Tighter. There : — very good, Peter. Now get back to the door. Peter hurries out. Madame {Very quietly) I'll be back later when you come to your senses. {She starts out, followed 54 PEACH BLOOM hy JuRGEN. At the door she stops, fussing with the lock) See here, Jurgen, this key won't catch. JURGEN ( Trying it) Lock's worn smooth, I guess, Madame. Madame Well, the bolt'll have to do for tonight, then; first thing tomorrow we'll have a new lock on. They go out, and the holt is shot. HiLDEGARDE, left alone, for some minutes struggles in vain with her bonds, but at last works one hand free; then the other; she frees her mouth from its gag, then unties her feet. She starts up panting, and begins a desperate search for escape. The main door bolted, the inner door at right locked, the grill work at the windows all bar her way. At last she begins pounding on the main door with her two fists. HiLDEGARDE Let me out ! Let me out I Help ! Help ! Help I The bolt is withdrawn, and Madame enters; her coat and hat are off, and her gown is seen to be very rich. Her hair is elaborately coif- ACT II 55 fured. She wears a silver chatelaine at her side. She looks like a person of good class, and is almost distinguished in her appearance. Madame (Gripping the girl's arm, but speaking softly and with the repression of power) Please/ No noise ! Who took these off? HiLDEGARDE / did. Madame Quite athletic! HiLDEGARDE How dared you put them on me! Madame Highty, tighty, my girlie. A little more re- spect if you please I HiLDEGARDE Tell me why I'm here ! Madame Here? Because you chose to come here, dearie. HiLDEGARDE That's a lie, and you know it! S6 PEACH BLOOM Madame {Soft voiced, hut taking hold of Hildegarde's wrist firmly) Now we want to be good friends, but you must never forget that I'm mistress here, — as you saw. HiLDEGARDE What are you locking me up for, — I suppose for ransom? Madame {Quickly accepting the idea) Of course, — for ransom. HiLDEGARDE How much do you expect for me? Madame You're worth, — a great deal. HiLDEGARDE My family aren't millionaires, — why did you think they were? Because of my necklace? Madame Perhaps I did. {Fingering it. Says a bit con- descendingly) It is genuine, and very pretty. HiLDEGARDE It's a birthday present today that I'd put on and forgotten to take off. ACT II 57 Madame Your nineteenth birthday, you said. HiLDEGARDE Why, I'm not seventeen till tomorrow, and any- way I never mentioned It to you. Madame You've forgotten, but / never forget anything. HiLDEGARDE You haven't told me how much you're going to ask Father and Mother for me ; — I must write at once. Madame No hurry. A little anxiety helps. HiLDEGARDE But It'll be tomorrow morning before a letter can possibly reach either of them unless you let me telephone my Mother now. Madame {Laughs) Phone! Why, my dear, we won't even write for a fortnight or so, and the sooner you make up your mind to that — 58 PEACH BLOOM HiLDEGARDE Oh, Mother would be nearly crazy not know- ing I was really safe; — she might think I'd been run over! Please, please, PU give you my neck- lace extra, if you let me send word tonight. Unclasps her necklace and proffers it. Madame It looks very girlish on you, — so keep it. And your father and mother are quite a long distance from the city? HiLDEGARDE Father is — it's six whole hours by train, but Mother came down with me, — oh, don't make me wait! Madame We must have time to arrange the proper terms. HiLDEGARDE All the terms can be arranged now right here in the city through our cousins. . . . Oh, what will Mother and Cousin Laura think if I don't come back tonight! Madame Now get calm. Your friends will hear just as soon as I think best, and not before. Meanwhile you'll be very comfortable here with me. ACT II 59 HiLDEGARDE But — Madame I've explained, and I'd rather not have any more talk! Have you taken a look 'round? . . . An elegant bedroom. ( Takes a key from chatelaine, and unlocks inner door) This Is the one door in, — and out. And a window just like these others, notice. And a private dressing- room. {Opening a door within the inner bed- room) Take a look at those mirrors; do you know they cost me a cool six hundred dollars! HiLDEGARDE I don't care about your rooms, — you're a wicked bad woman ! What have my parents ever done to you? You ought to be sent to jail for kidnapping ! Madame {Laughs, not ill-naturedly) Your ginger is re- freshing; only remember my appetite for it has a limit. Guess you haven't had anything to eat since lunch? HiLDEGARDE No, and I won't touch anything. 6o PEACH BLOOM Madame I've ordered some tea for you. Later on the man will bring up dinner; — ^better than you ever ate. Our chef is straight French imported goods I There is a knock at the door, which Madame answers. Jurgen comes in with tea tray, dainty china, attractive sandwiches, tea serv- ice, etc., and a decanter of rum. Jurgen Dolly says a gentleman wants you on the tele- phone, Madame. Madame {To Hildegarde) Excuse me, my dear. Light the young lady's fire, Jurgen, and make it cheery. {She goes out.) Jurgen sets tray down on large table, draws up a small low tea table before the fire, sets the tray conveniently on that, and lights the fire, Hildegarde {Hesitating) Do you know why I'm here? Jurgen {Laughs) I wouldn't lose if I made a bet on it! ACT II 6 1 HiLDEGARDE Then won't you help me get away? My father and mother will be terribly — JURGEN Nothin' doin'. HiLDEGARDE Think how your mother would feel, if your sister were held for ransom, — for weeks ! JURGEN Don't hand me any line of soft talk! HiLDEGARDE Oh-h ! {Growing older in experience) Per- haps, — money? JURGEN Didn't you hear me say, — ''Nothin' doin'"? {Goes to hall door, opens it, looks up and down the passage way. Comes hack, and over to HiL- DEGARDE ) Well, — what's your proposition? HiLDEGARDE You get me out of here right away, and I'm sure my parents will give you a whole five hun- dred dollars instead of that bad woman getting any! 62 PEACH BLOOM JURGEN {Contemptuously) Five hundred ! — You stay and fix it up with her ! HiLDEGARDE That's just the point. She won't let my par- ents know a word about me for two weeks any- way. Of course I'm not afraid here for myself, but meanwhile my mother will — Choking down a sob, JURGEN If your folks feel that bad, they won't stop at no mean little five hundred! HiLDEGARDE Well, I think they might pay a thousand to get me back. JURGEN (Pausing) Naw; — that's nearer, but not worth getting Madame and her friends sore on me; — I've got ambitions ! HiLDEGARDE Then fifteen hundred, but I can't promise more, — I don't know so very much about money — ACT II 63 JURGEN Fifteen hundred, — hum'm'm'm, — it's not half enough, but I'll consider. And when your par- ents find you really safe, they'll be glad to hand the man who got you out of here an extra five hundred. Mind, when you're out, don't never say I had nothing to do with getting you in, but remember I was just the soft-hearted feller that saved yer, — promise ! HiLDEGARDE Oh yes, yes, — anything, and please, please, how soon can you get me out, — now? JURGEN My only chance'd be tonight. You heard what she said about the new key? HiLDEGARDE nods. JURGEN Well, tomorrow morning there'll be a new lock put on, and she always carries the key to this room herself, or else Dolly, — you couldn't touch her heart whatever you'd offer ! HiLDEGARDE {Excitedly) Tonight is fine! Oh, thank you so — so much ! 64 PEACH BLOOM JURGEN There's only a bolt tonight — HiLDEGARDE And you can slip it when no one sees? JURGEN 'Tain't all so easy's it sounds. I go on the door for a short stretch at four A. M., when things are quiet. Now then's the time when the bolt has got to be slipped. HiLDEGARDE ril be ready. JURGEN But I daresn't come up. My feet are too heavy. Madame's got ears like a cat, — and Dolly's just as sharp. HiLDEGARDE What can we do then? JURGEN Get somebody in with us. There's only one who would, — that's Rosie. She was soft once before, but Lord knows if she'll want to go in for it again. No harm asking, for she'd never peach on me. ACT II 6s HiLDEGARDE Then I shall be free tomorrow! If this kind Miss Rosle will help. JURGEN Free termorrer? — ^ Not much; then we two'll get into a cab — for I'll have to quit my job right then and there — and we'll go to a flat of friends of mine, and you'll be free, young Miss, if your friends come across all right with the cash/ . HiLDEGARDE {Draws back doiihtingly) I don't know about going among any more strangers. JURGEN Losing your nerve? HiLDEGARDE No, — ' but — JURGEN It's your one chance, — believe me. Take it or leave it. HiLDEGARDE {Desperately) I'll take it. 66 PEACH BLOOM JURGEN That's business. Now what's the party's name? HiLDEGARDE My father is John Miles Morris, Professor of Greek at the college in Clarendon. JURGEN Where's that? HiLDEGARDE Why don't you know ! — And it's in this state ! JURGEN Well, I guess I can remember. {Warningly) Now as you vally your skin, don't make no slips or noises! HiLDEGARDE How shall I know just what to do? JURGEN You'll hear either from Rosie or me, — if Ma- dame's out of the way. (Starts to go outy hut turns hack. Points to her handhag) Got any coin there? HiLDEGARDE Yes, — some. ACT II 67 JURGEN How much? HiLDEGARDE {Looking into the hag) A little over twenty dollars. JURGEN Madame knows? HiLDEGARDE No, but she did see my necklace. JURGEN Hand it over. JuRGEN takes the hag from her, and empties it; turns it upside down; an envelope falls out; he pinches it to see if there^s any hill in it; then puts envelope hack, and returns hag to HiLDEGARDE. JURGEN I'll keep this, just to show I b'lieve youVe on the square ; — I'll count it off as first payment on the fifteen hundred. He goes out. HiLDEGARDE shakes and examines empty hag thoroughly, then looks at the door in which 68 PEACH BLOOM JuRGEN has shot the holt, and says with tightened lips. HiLDEGARDE Harpy ! She takes of her necklace and hides it in the cabinet. The door is softly unbolted; JuRGEN comes in, followed very quietly by RosiE. She is a very pretty girl of twenty, whose looks are just beginning to lose their freshness; she is gentle, rather weary in manner; her dress is handsome, and decollete; she is elaborately coloured and manicured, yet she has dignity, refinement and spirituality. She is wearing a large and noticeably pretty locket. JURGEN {Pointing to HiLDEGARDE) This is the new young lady I spoke about. I'll be back, Rosle, to let you out; now be awful quiet. Goes out and slips bolt on them. RosiE Tm glad to make your acquaintance. HiLDEGARDE Thank you. . . . Are you "Rosie"? ACT II 69 ROSIE They call me that here. HiLDEGARDE i\re you that woman's daughter? ROSIE The Madame? No, I'm one of her girls. HiLDEGARDE One of them? How many are there? RosiE Seven, — eight now that the house is full. HiLDEGARDE Eight! Does she conduct a business of ran- som? RosiE She conducts, — a business. Tell me how you got Into this house? HiLDEGARDE I brought that woman to the door under my umbrella and they caught me. RosiE What were you doing out alone anyway? 70 PEACH BLOOM HiLDEGARDE I'd just run out for a moment to mail a par- ticular package off to my old nurse. I was start- ing back when " Madame " as you call her, asked so pleasantly to walk with me. She'd been in the store buying stamps just before me, and was stand- ing in the doorway when I came out. RosiE Of all the mean tricks! HiLDEGARDE {Almost sohhing) And now you see. Miss Rosie, I can't get out of here for ever so long unless someone helps me. ROSIE I know ; — / was in these rooms once. HiLDEGARDE And she won't even send word to Mother and Father for two whole weeks! RosiE I'm going to try to help you, little girl, because I needed help once, just like you. ACT II 71 HiLDEGARDE And wasn't there anyone who would? RosiE No one . . . Now Hsten; I'll slip back the bolt on your door as soon after four o'clock as all is clear. This suite is two flights up at the very back; the next room forward belongs to Madame's right hand helper, between you and the stairs, and Ma- dame's own room is right beneath yours. Carry your shoes and keep away from the banisters, — that side creaks. HiLDEGARDE I'll take care; is there anything else? RosiE Yes; don't let anybody carry off your street clothes under any excuse ! You can't get away in the clothes they'll give you. HiLDEGARDE Will they try that? RosiE Sure to ; maybe not before tomorrow, but watch out. HiLDEGARDE I'll Stay up all night. 72 PEACH BLOOM ROSIE Luckily, I don't think you'll be disturbed to- night. Madame was telephoning In her room, as I passed by a little while ago, and something she said made me stop and listen at her door. But don't let her guess why you stay up, — or Dolly I HiLDEGARDE Who Is Dolly? RosiE Madame's right hand girl, the one next door; she's a " trusty," and It's her particular business to snoop around and snitch. HiLDEGARDE I never heard of such a terrible place. Can't you send a message to my mother tonight? RosiE Impossible. Anyway by the time your friends got their way In here they might not find you. . . . Now listen; one slip before Madame or this Dolly, and we two will have a reckoning you'll never forget! And remember. If either of them gets the scent, that Jurgen will throw us over like a flash! ACT II 73 HiLDEGARDE rm afraid to trust him at all. RosiE There's no other way; tomorrow night will be too late, — for more reasons than just the new key! But Jurgen will try it for enough money; he's got ambitions, — for a saloon license. HiLDEGARDE Oh, to think I'm going to see Mother tomor- row morning! I can never thank you enough, Miss Rosie. How long were you kept in these rooms if nobody helped you out? Rosie Three weeks, till my will was broken, and I stopped caring much. I hadn't any money to in- terest Jurgen. HiLDEGARDE Did you do a kindness for Madame too? Rosie No; I was a green little stenographer come to the city to earn my living. HiLDEGARDE All alone? 74 PEACH BLOOM ROSIE Yes, — like thousands of others. I quit my first place when I saw what the kindness of the head of the office was leading up to ; — I hadn't found another place by the end of the next week, and my boarding-house keeper turned me out. She suggested housework to fill in the time, and the employment agency sent me straight here. HiLDEGARDE Your hands look so pretty; — ^ how long have you been doing housework here? RosiE IVe been working here twelve months next August. S'sh! Till Vm sure it's Jurgen. . . . Skirts! (Slips into inner room, saying) Don't say you've seen me ! Shuts the inner door, except for a little crack, Dolly comes in, looking about sharply ; a hand- some, luxuriant young woman of twenty- three, out of a lower class than RosiE; shrewd, capable, strong in makeup, without delicacy. Handsomely and very sensuously dressed in clothes more exaggerated than Rosie's, though neifher^s gown is flagrant^ ACT II 75 Dolly All alone, eh? I'm looking for one of the girls, — of course she's not in here? HiLDEGARDE {Lying bravely) No, I'm all alone. Dolly Because you see that's strictly against the rules of the house. {Looks at tea things) Didn't your tea go to the right spot? Madame wanted me to find out. HiLDEGARDE I didn't feel like it, thank you. Dolly / could still eat if I knew I was to die tomor- row! {Goes to tea table and eats little sand- wiches and cakes with gusto) U'm'm'm, you lose! HiLDEGARDE What's your name, please? Dolly I'm Dolly; what are you going to call yourself? HiLDEGARDE My name's Hildegarde. 76 PEACH BLOOM Dolly Drop It quick, and take something cozy. They always do in these ransom cases. (Laughs, then having finished sandwiches, etc., feels teapot) I'll have a cup if you don't object. You could be Kitty, — that's an attractive name, and we had a girl once who chose that; — or — {Looking her over appreciatively) Babe would fit you fine. Now which will you have? HiLDEGARDE Thank you just as much. I like my own name best. Dolly {Lifting a decanter from the tray) I'm glad they didn't forget the rum. {She sniffs it, then pours a little out in the spoon and tastes it sus- piciously) It's all right: — and half the fun of tea is the rum. {Fills up her cup liberally with the liquor) Your name? Why, 'twould never do. Madame allows no publicity in a ransom case. Babe or Kitty? Kitty or Babe? Both sound cute. Which do you think is prettiest? HiLDEGARDE Well, I think Babe is worse. But I won't have either ! ACT II 77 Dolly Then you'll be our little Kitty. The other one was pretty too like you, — same color eyes and hair. She got to be real popular. And I'm tak- ing a fancy to you right off. And I think you'll get to be mighty popular too. HiLDEGARDE (Faintly) I'm much obliged. Dolly Don't mention it. Have a cigarette on me? HiLDEGARDE No, thank you. Dolly (Amused) Perhaps you haven't seen a lady smoke before? HiLDEGARDE They don't, — where I come from. Dolly (Seats herself leisurely on table, and crosses her knees) Well, — watch me! (Takes a ciga- rette from silver case, and smokes) You cer- tainly are comfortable here, — uh? — Got the A- 1 suite! 78 PEACH BLOOM HiLDEGARDE That woman's already told me how much she paid for the mirrors. Dolly Yes, these are rooms one doesn't want to leave, — or in fact can't, — ^eh? Been taking a look 'round? Like the windows? HiLDEGARDE It's a prison ! Dolly Sure ; — and you need it for some of these ran- som cases, — when they first come. {Laughs to herself) But take it from me, it's no earthly use to try and get out. It's never been done from this house ! HiLDEGARDE Never? Dolly Never. Madame's a keen one; she keeps no traitors in her house. So just accommodate your- self, and don't fuss. And it'll seem like home after a while. HiLDEGARDE Yes, but in my case there won't be any " after a while " ; that woman's promised to let me go home in about two weeks. ACT II 79 Dolly Don't I understand all about it! — And two weeks will be gone in no time, and you'll have a jolly good time here if you obey the Madame, — but she's hard as nails on them that give her trouble. There was a girl like that — right here in this identical room — only three months ago. HiLDEGARDE What happened to her? Dolly She wouldn't listen to any advice, but kept on fussing, — did the baby act till it most broke up my appetite, and then one night, with one of the girls helping her, — a softie ! — she actually got down to the front hall, but u'm'm'm, — oh my ! HiLDEGARDE {Fascinated, like a little bird before a snake) But — what ? Dolly But — no further! And both she and the other girl got what was coming to them all right. {Makes a motion like sminging a whip) Z-zip ! — Peter's got some arm ! 8o PEACH BLOOM HiLDEGARDE {Recoiling as if struck herself) Oh-h-h! Dolly And since that no other girl has wanted to get out. And that girl's father and mother haven't seen her yet. But you won't make any fuss, so nothing like that will happen to you. HiLDEGARDE Where is she now? Dolly Oh, don't ask me: a week later she somehow managed to get some poison, cyanide, smuggled in to her ; and then, — goodbye, little girl, good- bye! HiLDEGARDE How horrible ! But do all the girls who don't cause trouble get home as soon as their ransoms come? Dolly {Laughs heartily) Sure they do, and their folks are just so glad to see them, and tell the whole town the little strayed lamb has got back! But d'you know, lots of the girls get so struck on ACT II 8 1 Madame and the gay life In our little burgh that you have to put 'em out when you want 'em to go ! HiLDEGARDE They don't even want to go home? Dolly Pooh! How many girls who got the chance to stay here, would want to leave all this ! There are only one or two ransom houses in the city up to our style, — some day you'll see our drawing- room downstairs, and meet Madame's swell friends; you'll have clothes from the best shops in town, servants to wait on you, and elegant food and champagne that's good enough for million- aires ! Tough luck for you that you're going to leave us in two weeks ! Any girl ought to be happy here if she isn't a fool and lets everybody get away with her money. That was the trouble with the other Kitty, — though she wasn't quite strong here {tapping her forehead)^ but then that's nothing uncommon in girls like her. Well, the other Kitty never could seem to get more'n a few dollars out of debt, — and ended dead broke — HiLDEGARDE Ended? 82 PEACH BLOOM Dolly Last we heard she was in a hospital, — sick in the charity ward! How's that for a comedown I HiLDEGARDE I'm sorry, but I don't understand a quarter of what you've been saying; does that woman give the girls pocket money while she holds them till their ransom comes? Dolly {Shrieks with laughter) You're the biggest little greenie I've met in months! Sure, — ten cents a day, and an extra nickel for Sunday school ! But I must stop chinning and go tell the Madame how nicely you're getting on. You look lots more chipper. And you said that other girl, — her name's Rosie by the way, — wasn't here? — No use my looking into the other room? HiLDEGARDE shakes her head. Dolly I believe you. You wouldn't hand me a He, would you? {She starts out. Turns warningly at door) But don't forget the girl who fussed and never saw her parents again I She goes out and slides the holt. ACT II 83 RosiE comes in from bedroom. HiLDEGARDE hurries to her. HiLDEGARDE Did you hear her, Miss Rosle? RosiE Some of it, — all I could through the door! She thinks I'm here ! HiLDEGARDE I'm going to wait the two weeks. RosiE Two weeks ! My God, child, you can't ! You can't wait till tomorrow night ! HiLDEGARDE She says the girl who helps will suffer — ter- ribly. RosiE I know it. HiLDEGARDE Oh-h-h, Rosie, — you were that other girl! You shan't do it again! 84 PEACH BLOOM ROSIE I'll risk It, because I know if you don't get out tonight you'll wish you'd never been born. HiLDEGARDE Why? ROSIE Get up your courage now and say you'll take your one chance. {Nervously) Jurgen's got to come soon, or we'll be caught together! HiLDEGARDE I can't. It isn't only for myself now, but for you — RosiE Listen hard, for I've got to tell you what I wasn't going to, and hoped you'd get out before you had to learn here. All this ransom talk is a lie, — It's just a blind to lead you quietly up to the slaughter, — you've been stolen for something else! HiLDEGARDE Something else! For what? ROSIE For slavery! ACT II 85 HiLDEGARDE {Incredulously) Slavery! You're joking, Miss Rosie, there isn't any slavery in our coun- try nowadays! Rosie Yes there is, and be quiet while I tell you. It's slavery that ruins you body and soul. The kind from which you can never raise your head, never go home. HiLDEGARDE There isn't anything my father and mother wouldn't take me home after! Rosie Lucky girl, — if you're right! Most parents won't have a girl back. But you might be too ashamed ever to go. Tonight's your only chance. If you stay you can never get back to the girl you were before ! HiLDEGARDE What do you mean? Rosie They'll sell you to men, — to man after man ! HiLDEGARDE Sell me to men? 86 PEACH BLOOM ROSIE Yes; each man in turn owns you absolutely. Anyone that woman sends up has bought you for so many dollars. HiLDEGARDE {Thoroughly frightened) Bought me, — for what? You're driving me wild! RosiE Don't you understand yet? — Oh, I hate to tell you ! It's to make you his slave to his worst na- ture, — here with you alone. And there is no help for you, no matter how you suffer, and loathe him, and nearly die of shame ! HiLDEGARDE I can only guess, — but it can^t be that! RosiE {Lowering her voice) Little one, — do you understand what being a wife means? HiLDEGARDE Yes, my mother has told me that, but you can't, — you can't mean — ! RosiE It's like that which you and I are here for, — for man after man, — hundreds of 'em! ACT II 87 HiLDEGARDE {Aroused and terrified, hut only half believ- ing) No! No! Men can't be so horrible! RosiE Oh, yes they can, — and more than you'd be- lieve. HiLDEGARDE (Stricken) I never dreamed there was any- thing like that in the world. RosiE It's one of the great Instincts of life; beautiful in happy homes I suppose, where It means love and children, but brutal here; and In the places lower down the scale, — just beast-like ! HiLDEGARDE I can't believe it, I can't! — My mother never told me anything about such an evil. ROSIE True with thousands of girls who get caught by It! HiLDEGARDE (Sobbing) Why didn't my mother tell me! Mother, Mother, why didn't you tell me? 88 PEACH BLOOM ROSIE So now you will go ? HiLDEGARDE Yes, yes. And you come too, come home with me ! RosiE (Pleased) I, dear child! I can't, — it would more than double the risk. HiLDEGARDE You must. It's your one chance too. RosiE My life's broken now; — it can't be mended. I'm too old to begin. HiLDEGARDE Why, you can't be much more than thirty? RosiE (Smiles faintly) Not quite twenty, child. One loses youth fast here, — especially if one never yields her real consent. HiLDEGARDE But are all the girls for this wicked business caught like you and me? ACT II 89 ROSIE Oh no, some are willing enough, like Dolly, and I've heard Madame began that way; one kind of pressure or another brings lots of others, — feeble-mindedness, and hunger, and getting be- trayed by the man you love, — and oh, lots of ways ; but even that doesn't supply enough for the demand, so there's a regular business of hunting girls down! And to some of the hunters it's a kind of a game! {Goes to door to listen) That man isn't back yet ! HiLDEGARDE I'll never rest when I'm safe till I get you out too, dear kind Miss Rosie. I can't see why you'd risk so much for me? Rosie What made me first want to help you was that telephone call I listened to. There's a reason for your being undisturbed tonight — you're be- ing saved, as I was. HiLDEGARDE Saved? 90 PEACH BLOOM ROSIE Saved for a Mr. Flint, '' Gussie Flint," as we know him, Madame's star caller. He likes new girls, and will pay for them ! HiLDEGARDE cries out in terror. RosiE Bull-necked, stout, mean eyes; I thought as I listened; *' He'll have no mercy on that new girl, — he had none on me." And after him you'd be anybody's, — whom Madame would receive. HiLDEGARDE {Outraged) But where are the police, that such things can happen? ROSIE Yes, — where are they? HiLDEGARDE Wouldn't it make any difference that a police- man saw me walking with this woman? He looked hard at me, and ought to recognize any description of me. RosiE He could forget it. He knows he'd be broken if he mixed up in the concerns of a house of this ACT II 91 class. But It's not him that I hate so much, — it's the higher-ups who grow fat off the blood money of us girls ! It's a system that's got its chains on us, and behind the system are the mil- lions and millions of good people who don't know, and don't want to know why or how we live, — and die. HiLDEGARDE Not a single nice person can have the slightest idea of all this, or he'd be fighting it. RosiE Why most of the men who come here are from very nice families, — that way we're far luckier now than later; and all have to be rich. These luxuries you see here, — d'you suppose they're for you and me? They're for the guests who are ac- customed to them at home and in their clubs. . . . What is that Jurgen doing? Oh, if we should get caught! HiLDEGARDE But a man from a nice family would help a girl out who'd been trapped? RosiE I begged about twenty, — in the first few weeks, — and did I get out? Even If Madame's system 92 PEACH BLOOM here wasn't too strong for that kind of an escape, every last one of her friends is afraid of publicity, — how he would enjoy having his relatives learn of his coming here, — or his wife, — or perhaps his children? The very last whom I begged to help me — and wasn't he a sympathetic young man ! — was a ringer ! HiLDEGARDE A ringer! What's a ringer? RosiE A ringer's a man whom Madame sends up to pose as a caller, but really to find out if you're hoping to get away, and are distressing her friends with your pleading. {Passing her hand across her forehead) I don't want to remember what happened after he told Madame, — May God damn his soul! . . . Forgive me, child! I just forgot you were here as I felt it again! HiLDEGARDE {Running to her and taking her hand) Oh, poor, poor Rosie ! Was it after a ringer that the girl you tried to help get away, took the poison? ACT II 93 ROSIE No, it was after she'd waited week on week for her friends to find her. Then she slipped the druggist's boy a hundred dollars to steal some cyanide for her, and she divided with me. . . . We planned to take it together, but I lost my nerve and she went alone. Here's the half she gave me, safe in here, — {fingering her locket) enough to kill me two or three times over in- stantly, — it's my greatest treasure ! HiLDEGARDE Do you still plan to use it? RosiE If things get too hard, or when I have to leave. HiLDEGARDE Have to leave ? — Just what that Dolly said. RosiE Madame prides herself on her fresh, attractive girls. Your time comes, and the door opens out for you. Then it's down, and down, and down! But I'll take this, and not wait for the county hos- pital or the river. HiLDEGARDE {Broken down) Suppose we fail tomorrow! 94 PEACH BLOOM ROSIE Stop that! Keep cool, and don't let on to Madame or Dolly. HiLDEGARDE I never was afraid all through before ! RosiE Stop crying, Honey, — we'll get you out on time. And then when I do pass along, I can feel I've helped at least some one. HiLDEGARDE {Taking a resolution) Miss Rosle, if we can't get out, will you give me half what you've got in your locket? RosiE (Taken aback) Are you sure, dear, you want It? HiLDEGARDE Please, please. If you pity me ! And before to- morrow night! RosiE If anything should go wrong, I mightn't be able to get It to you. It would have to be now. ACT II 95 HiLDEGARDE Oh, give it to me, Miss Rosle, — give me half I Won't you please? RosiE {After a pause) Yes, I will. {She opens her locket and divides with HiLDEGARDE) Here then, for God knows I wish somebody had given it to me when I stood in your place! {Steps sound outside, and the holt is withdrawn) Hide It quick ! HiLDEGARDE puts it into her jacket pocket. RosiE slips into the bedroom again, and closes the door tight, just before Madame opens the main door and comes in. She is carry- ing a beautiful, sensuously colored kimono, and satin slippers and stockings to match. Madame {Gives a sharp glance about the room) Been crying? {Looks at empty tray and smiles) Fm glad It hasn't spoiled your appetite, — that's al- ways a good sign. {Lifts the decanter, almost empty) Why you're quite a little toper, my dear, — who'd have thought it to look at you ! And here's something to bring the smiles back. Look at this beauty, and cunning little low slip- pers to match! I've just been choosing them 96 PEACH BLOOM from a salesman, or I'd have been up before. Did you ever see anything so lovely and rich looking? HiLDEGARDE {Remembering Rosie's caution not to betray herself) The colors are gorgeous. Madame I'm glad you like them, — they're for you, my dear. Well, take off the coat now and try the kimono on. HiLDEGARDE {Retreating and putting her hand in jacket pocket to keep poison safe) Oh no, thank you. Madame Don't be so coy, — a kimono won't bite ! HiLDEGARDE I don't want any presents of clothes. Madame {Laughs) Don't worry, dearie, — you'll pay me for them later. Come, I want to see how my girlie will look. HiLDEGARDE Thank you ; — I like my own clothes best. ACT II 97 Madame I'll hang your suit up in my own cedar closet, so it'll be nice when the ransom comes. Please: — take it off, my dear. HiLDEGARDE I'd rather keep it on. Madame All night? How I would feel, if I thought you were so uncomfortable ! HiLDEGARDE I'm sure I wouldn't be comfortable in those, thank you, so please take them back. Madame {Starts toward bedroom) Fll just lay them on a chair for you in the other room. HiLDEGARDE {Quickly going to her) Oh, please don't trouble, I will keep them since you think it's best. Madame No trouble at all. Besides I want to see that everything — {Goes into inner room) I thought so ! Dolly's not often on the wrong trail I 98 PEACH BLOOM {Leads Rosie firmly by the arm, hack into main room) Now, Rosie, why did you come into this room? Rosie It was early, and there wasn't any work for me, and I thought the new girl might like a little cheering up. Madame Dolly and I can do all the cheering of her she'll need. Hildegarde {Trying to help) Wasn't it kind of Miss Rosie to come? Madame Too kind. ... By the way, Rosie, how'd you get through a pretty solid door, and leave it still bolted on the outside! I'll have to hire you out as a spirit to a clairvoyant! Rosie {Affecting carelessness) Oh, someone came along and saw it unbolted and fastened it. Madame I'll inquire. Of course you weren't putting up any game on me? ACT II 99 ROSIE No, Madame. Madame It's not healthy, you know. Dolly comes in, Dolly What ! Our good, dependable Rosie In here ! And our sweet-faced new little girl told me, " Tm all alone ! " Dear me, where will you end, Kitty, If you start telling lies so soon? Madame (In a purring voice) Rosle, a few more little affairs like this, and I really can't keep you! I don't want trouble makers in my house, espe- cially when the bloom, you know, isn't quite what it was. Tell me, what have you been talking about In here? ROSIE About the ransom, and how I hadn't any money when I came, and so I couldn't get my ransom. Madame H'm'm'm, — that sounds smooth as velvet ! There is an uncertain knock at the door. loo PEACH BLOOM Madame Please see who's there, Dolly. Dolly {Opening the door part way and peering out) Lord! Is that you, Kitty! Kitty {Her voice heard through the open door) Yes, I must see Madame, Dolly. Dolly She's too busy. Give me your message, Kit. Kitty {Despairingly) I've got to see Madame! She pushes in quickly. KiTTY, though only twenty -five is a total wreck; faded hair and eyes; hollow-faced; emaciated; looks con- sumptive; a feeble form of a woman, hardly conceivable to have once been unusually fresh and pretty. Her finery hangs loose now on her shrunken figure, looks tawdry and of ex- tremest mode of previous year. She has rouged liberally, trying to look healthy and fresh and young. On the verge of a mental breakdown. Has a bad cough. ACT II loi Madame (Staring at he?') How'd you ever get In! Kitty I told Peter you'd sent to see me. Madame That was cool ! Kitty Take me back! Madame You? — here/ Kitty ril work for nothing but my board! Madame You couldn't earn It; did you expect us to wel- come you back? Kitty I was welcome enough for three years till work- ing for you brought me to the hospital and swal- lowed up my last dollar. Have some pity on what you've done I Madame PIty'd land me In the poorhouse. You'd better run along, Kitty. I02 PEACH BLOOM Kitty I'm half starved and awful weak still. Won't you even help me? Madame {Taking a hill out of her chatelaine hag) I never was mean, — here's five dollars to give you a lift; — ^but don't ever come back begging for more! Kitty Five dollars ! You hand me this rag when I've earned hundreds of dollars for you week after week, and was the biggest money getter you ever had! Madame {Quietly) Dolly, take her out. Dolly {Going over to her) Did you find 'em real attentive when you'd been transferred down to the charity ward? Like their brand of champagne? Kitty Laugh away now, curse you ! But your turn will come, like me, hustling in the dives and streets, supporting a low-down cur who beats you up when your earnings fall low! Ha! Ha! ACT II 103 Ha! I'll meet you some day, Dolly, on the street! Dolly Shut up ! Kitty I'm sorry for you, Rosie, you always were nice, but your looks aren't what they were, so save your money, If you can keep any from these buz- zards I {Waving her arms at Madame) If there's any justice, you she-devil, you'll rot in hell along with the men back of you ! Madam goes quickly toward her, but Kitty slips by and gets before Hildegarde. Kitty {Shrieking) You're a new one, are you? Well, just remember me while you're enjoying the good things, — it won't be long! Dolly pulls her toward door. Madame {In soft voice) Dolly, — call Peter! Kitty {Suddenly subdued) Don't, don't call Peter! I'm sorry, — I'll go out quiet. I04 PEACH BLOOM HiLDEGARDE (Who has looked on speechless runs and gets out her necklace from the cabinet, and rushes to Kitty) Here, take this, poor girl, and sell It, so you won't be hungry ! Kitty reaches out her hand, but Madame takes hold of HiLDEGARDE, restraining her. Madame {Taking necklace from Hildegarde) I'll keep this till you need it. Kitty Oh-h-h ! Dolly {Pulling Kitty along, till she disappears through the door, her hand still outstretched for help) Ugh! Suppose a caller should catch sight of you ! Madame {Ignoring HiLDEGARDE) Rosie, your room's the best place for you ! And I'll ask you once more what you really came in here for ! Madame and Rosie go out, and the bolt is shot. HiLDEGARDE left alone, covers her face with her hands; then raises it, thinks, takes the poison out of her pocket, puts it in the envelope ACT II 105 from her hag^ then listening^ hides it far down the crease of a puffy easy chair. The door opens very softly and JuRGEN comes in, with his fingers on his lips, looking about. JURGEN Where's Rosle, Miss? HiLDEGARDE Oh, she was nearly distracted because you didn't come. JURGEN Madame sent me out on an errand. It wasn't safe for me to come before; anyway I knew Rosle'd never snitch on me, even if anything should go bad. Where is Rosie? HiLDEGARDE She's been taken by that woman to her room. JURGEN H-u-u-u-h! Madame caught her here ! {With quick suspicion) Did anybody say anything about me? HiLDEGARDE No. Will she do anything to hurt Miss Rosie? io6 PEACH BLOOM JURGEN How do I know? She'll lock her up for a few days sure, anyway. HiLDEGARDE {Startled) Lock Rosie up for a few days! Then you'll come up at four o'clock and slip the bolt for me? Oh, you will! Entreatingly. JURGEN {Astounded) Me? . . . Think I'd touch the job without Rosie managing this end of it up here ! — Nix I HiLDEGARDE Oh, don't fail me ! I know what kind of place this is now ! And I'm sure my father and mother will give you anything you ask, — anything. JURGEN It's in the afternoon paper what they did to a feller I knew who helped a girl make a getaway. The Government needed him for a witness . . . Shudders. HiLDEGARDE What happened? ACT II 107 JURGEN When the gang got wind of it, one of 'em fol- lowed him all the way to the Coast, and — ( Crosses his throat significantly) And what good did the money he got for helping that girl out do hint? JuRGEN Starts for the tea table and begins to gather up. HiLDEGARDE Do help me ! You'll never regret it 1 JuRGEN shrugs his shoulders, and turns his back on her, as he puts things on tray, making a clatter. HiLDEGARDE runs tO JURGEN, just as MaDAME stealthily comes in. HiLDEGARDE clutches Jurgen's arm beseechingly. HiLDEGARDE For money you will help me out of this hell? Madame (HiLDEGARDE turns and sees her, as Madame glides over to her. Madame boxes Hildegarde's ears) I'll make it hell for you if you try any games on me ! Do you want me to call Peter for you, my dear, — now? io8 PEACH BLOOM HiLDEGARDE N 0-0-0 ! Madame But I will, — if you're not good. ( To JuR- gen) What are you doing? JURGEN Come to get the tray, Madame. Madame What was it I heard Kitty saying just now about getting out? JURGEN I hate to snitch, but I ought to tell you she was beggin' me to do something which I was informin' her was against your rules. Madame But you — hinted — that money came before rules ? JURGEN I was just tellin' her no amount o' money could make me forget the duty I owe you. Madame Noble, — if true. ACT II 109 JURGEN {Subserviently, trying to win hack favor) An* that I couldn't be no party to help her make a get- away ! Madame So it was that! ( To Hildegarde, in a soft voice) And now, what have yoii got to say about all this, dearie? Hildegarde Nothing. Madame What about the locksmith, Jurgen ? JURGEN Said he'd be here first thing tomorrow morn- ing. Madame I thought I sent you out to hurry him up ! You may go now. (Jurgen starts out. Madame calls after him) Why, don't forget the tray you came for! {She waits in grivi silence for him to take it out) Now you won't see your kind friend, ^* Miss Rosie " for some while. And there'll be a new lock here tonight, — if I know my business; — I'll telephone myself! But don't think this means a no PEACH BLOOM new chance to work somebody. When the lock- smith comes, you'll be safe in there {pointing to the inner room), with the key turned. And you may talk all you want to through the keyhole, for I'll be right here on the other side to answer you, dearie. . . . I've a feeling that these high spirits of yours won't last through tomorrow I She goes out and holts the door, HiLDEGARDE goes over to the main door and listens; comes hack in despair. She gets out the envelope of poison, falls on her knees he- fore the big chair, clasps her hands over her head, HiLDEGARDE Oh Father, oh Mother, oh God, I will take this in time ! Curtain i ACT III A little before midnight of the following day; a clock on the mantel showing the time. The same room of Madame's house. Electric lights lighted y with curious colorings and shadows. HiLDEGARDE in the richly colored kimono Ma- dame had brought her the day before^ is crouch- ing with her head against the back of a chair. Her hair has been elaborately dressed in the latest mode J and is ^' way up." Madame, exquisitely gowned, comes in with a lovely evening dress over her arm. HiLDE- GARDE jumps as she hears the door open. Madame Don't start so, girlie, — it's only me. Who'd you think It was? HiLDEGARDE I didn't know. Everyone seems to have the right to come In and out of here except me. izz 112 PEACH BLOOM Madame Oh, come out of the dumps! {Opens door. Voluptuous dance music comes from below) Doesn't that elegant music get into your blood at all? Well, if you behave yourself, you'll be al- lowed downstairs with the others some day soon. {Shuts the door; coming close as Hildegarde shrinks away) How pretty Dolly fixed your hair. She's a clever one, — most as good as our pro- fessional. Some day you'll have her. And there's the manicure girl besides. Oh, you'll live in fine style here with me. Hildegarde So Kitty said last night. Madame {In her soft voice) You make it hard for me to treat you nicely! But you'll be learning what good manners are before you're much older. In fact you'll begin tonight. Hildegarde Tonight 1 Madame Now. There's someone just come in who's crazy to meet you. ACT III 113 HiLDEGARDE {Retreating^ and with hands flung out in pro- test) No! No! No! Give me one more day ! Madame Why, a little company will do you good, and make you forget how lonesome you've been all today. HiLDEGARDE For God's sake telegraph my father, and get money for me, since it's money you want from me I Madame Who said, — money? I spoke of a caller, and have brought you a beauty of a dress. And by the way, I can't quite make out what Rosie told you here yesterday. But listen to me : — if you think you know more than you do, — just forget it! My friend who's coming expects to find a little girl who understands nothing. . . . But you wouldn't make trouble. We'll be good friends yet, my dear. Now go in and put on the dress. HiLDEGARDE {Sobbing) I can't! I can't! 114 PEACH BLOOM Madame {In gentle voice, hut raising her hand as if to strike her again) I don't want to give you some- thing that will make you cry! Now have this dress on before we come back. Take it in there, and do please have a smile on your face when you come out, my dear. She forces the dress on Hildegarde, pushes her in, and shuts the door. Madame starts toward main door, when there comes a knock, followed zvithout waiting by " Flint," en- tering in evening dress. He's stout, bull- necked, overfed, mean-eyed, a certain type of nouveau riche. Madame Oh, Mr. Flint, I was just coming to get you. Flint Thought I'd drift up, — can find my way round here pretty well, — eh, old girl ? Madame {Laughs subserviently) You've such an unus- ual sense of humor, Mr. Flint. ACT III 115 Flint Want to hear a secret? — I wasn't born with my humor, — it's an accomplishment! {Looks about the room) You're certainly a clever one for keeping the tone up. Room all redecorated I see . . . that's the way to make It pay. Madame I call that a real compliment, Mr. Gussle. Flint One almost feels as if it was his own place. Madame That's what makes all you gentlemen want to come again. Flint Yes, that and the kind of girls you have, always young and healthy, and refined looking and speak- ing. Where Is she? Madame Prinking. She'll be ready In a moment. Flint You said she was young? ii6 PEACH BLOOM Madame Wait till you see her! Flint And uncommonly pretty? Madame Daint}^'s a rosebud, — the minute I laid eyes on her I thought, — '' There's a girl to satisfy even our Mr. Gussie." It was one of those lucky chances, — meeting her, — that you can't help tak- ing! Flint And she walked right along with you, you said, innocent as anybody could want! Madame {Laughs) And holding her umbrella so care- fully all the time over my head I Flint You're a wonder! Madame That sum I spoke of over the phone yesterday was all right? Flint Seven hundred's a trifle steep, — for an old ac- quaintance. ACT III 117 Madame Remember what a quiet house you're in. Flint I'm not likely to forget, — when I help pay for the quiet. Madame Well, if you had to pay the wages of all the men I have to keep here, and double rent, and double everything, you'd know it took a good head to keep in front of the game. Flint Not to mention the cost of maintaining a highly protected industry! Madame (Grimaces) The collector was around this afternoon, — they've raised on me again! It's cost a fortune these twenty years to be able to guarantee no interference with my concerns, or publicity to my guests. Flint What do you care? — The fortune hasn't come out of your pocket. Madame Oh, I know the men who come here aren't afraid of spending. ii8 PEACH BLOOM Flint Well, I won't be, if she's all you said she was. Madame You'll think you never saw such a peach. Flint With the bloom all on yet, — eh? Madame She's the most bewitching little innocent you ever saw. She knows pretty nearly nothing, — doesn't imagine what she was brought here for! Flint My style ! Telephone me again whenever you get one like that! Madame opens door into bedroom and goes in. Madame I thought I told you to put that dress on I Flint {Soothingly) Oh, never mind the dress! HiLDEGARDE comes rushing in in kimono, throw- ing of Madame's grip, determined to get the poison. Flint is in the chair in which it is concealed. HiLDEGARDE stops, baffled, ACT III 119 then suddenly resolving, throws herself he- fore him on her knees. HiLDEGARDE Have mercy ! Have mercy ! Help me ! Help me out of here ! She stole me ! She said It was for ransom, but I know now for what loathsome, degrading things ! Madame You don't know what you're talking about I HiLDEGARDE {Ignoring her) No, no, you can't be so low and vile ! Flint (Sneering) What? So this Is the peach bloom all on? She doesn't know anything? HiLDEGARDE If you have a sister, a mother, you can't, oh you won't, touch me I Madame Be quiet! HiLDEGARDE For your mother's sake say you'll help me! I20 PEACH BLOOM Flint Damn your impudence, — I won't stand any more of that kind of talk I What you need's a good breaking in ! HiLDEGARDE If you try to touch me, I'll kill myself, and you'll have to answer for my death. I'll find a way before you can get out of the room, you coward. Flint (Sneering to Madame) Things like this won't improve your business ! Madame {White with anger, and jerking HiLDEGARDE to her feet) I never expected this, but I know who we have to reckon with ! Flint Ughl She disgusts me! {Waving HiLDE- GARDE away) I simply don't want to see her again. Madame ( To HiLDEGARDE) Go into that room, — and wait for me. She pushes Hildegarde in and shuts the door. ACT III 121 Flint {Furious) I don't suppose she really meant that suicide talk, — but I'm not taking any chances of getting mixed up in a thing of that kind. Madame She's got nothing to kill herself with, — she was just scared. And I swear I didn't think she'd caught on to anything, — Flint One more such entertainment as I've had to- night would mean goodbye from me ! That sui- cide talk and — {Mimicking Hildegarde) " If you have a sister, a mother! " Starts to go. Madame Oh, Mr. Flint, you won't go like this ! We've always pleased you before. Why not see Dolly? Flint No; I'll go to the Baths instead. Madame Do stay and see Dolly! You're such good friends. She'll make you forget this ungrateful girl's whining. 122 PEACH BLOOM Flint H'm'm'm, a ride with Dolly mightn't be so rot- ten. Drove my car over myself. Madame {Rings hell) Splendid. Dolly loves to ride. Flint All right, — I'll take her. JuRGEN knocks on door, and comes in. Madame Tell Miss Dolly to come here right away. JuRGEN goes out. Flint {Vindictively) Why don't you bring Mr. Jones up here? Her yarns {nodding toward in- ner room) wouldn't bother him, you know. Madame I'm not keen for it, but — {with tightened lips) it might be the best way to bring her to terms. And when she's tamed down she'll be a great money getter! She's got those womanly looks the men care more about than any other kind. By the way, your friend's able to pay what we agreed on for you? ACT III 123 Flint He's able enough. A tip now for past services. He's well worth catching for a regular guest, though he hasn't been around in the past. Madame What? Not been round at all? Flint No : so I'm initiating him as a good fellow to- night. It'll be a great joke to tell on him, — to the men. Madame {Laughs) Your sense of humor is a lively one, — and no mistake. Flint My humor gives you a good business chance if you're clever. Dolly comes in in a rich evening gown. Flint Hel-lo Doll! Feel like a good long ride to- night? Dolly No thanks, Gussie, not in the rain. 124 PEACH BLOOM Flint The storm's over, and the moon's out, — it'll be great. Madame Do go, Dolly, — it'll be lovely, — light on the river and all that — Dolly Got your chauffeur waiting? Flint Driving myself, — can let the speed out that way, my girl. Dolly I know, but I'm a bit leery of speeding, Gussie. You know last time I said never again without your chauffeur. He never goes over sixty! Flint {Exasperated) Very well, if you can't trust me. ... It won't be my loss. Starts to go. Madame {Quickly and low to Dolly) Make up to him! {Nodding toward other room) She^s made him mad! {Aloud) Dolly, think how pleasant 'twill be, — real romantic ! ACT III 125 Dolly runs over and catches Flint's arm as he is going out, Dolly (Coaxingly) I'll go anywhere you like, dear old Gussie ! Flint (Still sulky) Don't know if I care about it now. Dolly Yes, you do too! (Gives him a kiss) Wait a jiff till I get my things. Runs out. Flint (Stirred by the kiss, — calling after her) I'll help you on with your cloak, — and better take your furs ! He follows her out. Madame rings the hell, which Jurgen answers immediately. Madame You or Francis assist the gentleman who's rest- ing in the dining-room up here. Jurgen goes out. Madame with firm tread crosses to Hilde- garde's door and opens it. 126 PEACH BLOOM Madame Put on that dress this minute, and if you should ever feel like making another scene, take this to remember. Madame goes in. There is a piercing scream from HiLDEGARDE. There comes a knock; Madame hastens out, shutting inner door, as Flint returns. Flint Say, but weVe hatched up a ripping plan! Dolly 'nd Pre going to motor down the coast for a few days; I don't know just where, but wher- ever it is, 'twon't be any Quaker meeting! Madame Pm more than anxious to oblige you, Mr. Flint, but really I need Dolly especially, — this new girl's a kind of hard proposition for me to manage without her. Flint Dolly's crazy to go now, and of course PU make it worth your while all right; but if you aren't willing — Madame {Pacifyingly, as she sees him turning sulky again) Very well. And you're making it worth ACT III 127 Mistress Dolly's while too, I warrant, if she has turned so eager. 'Twon't be many years before she's able to start a tidy little establishment of her own. Flint She's such good company and enjoys things so, — you don't mind it if she is a smart business woman. Madame I won't stand in her way when the time comes, though of course the less competition, — Dolly comes in, with a suitcase pasted with hotel posters. Has handsome furs and mo- toring clothes; looks elated. Dolly Approve of our daisy little spree? Babes at the seashore stunt! Madame You were right to please Mr. Flint, and I can trust you both absolutely. Dolly Sure you can, — he brought me back alive last time, didn't he? And he's promised to make it a whole week again I My! won't the girls be green tomorrow when they hear! 128 PEACH BLOOM Madame I'll tell them it's a reward for being good. You've been a comfort to me, Dolly, ever since you came to me. Eric comes in, in evening dress and overcoat; hat a little on one side; he is intoxicated, he- wildered, unsteady, Francis, a footman in livery, is supporting him. He takes of Eric's hat and coat and lays them on the sofa. Madame Here, Francis, take this suitcase and put it in Mr. Flint's motor. Dolly And there's another grip just inside my door. Francis goes out. Eric sinks into a chair, and looks about dizzily. Flint Now, Jones, — Eric {In thick, unrecognizable voice) Jonesh? — Oh, yesh, — Jonesh here, I 'member, — ha I ha I ACT III 129 Flint We two are going out of town for a little vaca- tion for a week or so, Dolly and I. Look you up when I get back. Eric AVIght. Flint You'll be taken care of here in good shape, as comfortable as your club. Eric I c-can look after myself; an' tha' dinner of yoursh wash not t-too much for me, L-lippley, my boy. Flint (Sharply) You've got my name wrong, — it's Flint. Madame We never think of taking advantage of little things we may overhear about our callers, Mr. Flint. Eric (Gazing at him) Wonderfu' man to shtart out l-like thish, L-lippley, — F-flint, — when you g-got 'way with moren' any two of the resht of ush. 130 PEACH BLOOM Flint {To Dolly, taking her by the arm) Hurry, we've got to run around for my stuff before we can start, you know. {To Eric) Good luck, old man. Dolly Ta! Ta! Mr. Jones. Goodbye, Madame. And don't be too soft on our new Kitty I Madame Trust me! Au revoir! You and Dolly have a lovely trip, Mr. Gussie. But take good care of my girl! Flint and Dolly go out gaily laughing. Eric F-flint, eh? Tha' man's name used to be Lipp- ley. D'you s'posesh his father knows it's F-flint now? Madame {Laughs) No, I suppose he doesn't. Eric Wh-wha'd you think! I've never b-been in a p-place of thish ch-character before, — k-kind of funny for a man of thirty, — d-don't you think so yourself? ACT III 131 The thought seems almost to sober him for the moment. Madame It is a bit unusual. Eric {Suspiciously) Thish not 'nother new g-girl like Lippleysh one? Never w-would do that low-down mean t-trick! Madame Oh no, indeed, Mr. Jones, but she's our pretti- est, — not quite twenty yet ; and sometimes the lit- tle witch does like to pretend it's her first experi- ence; some men like that, but I hope she won't bother you with it! Don't pay any attention if she tries that story on you I Or any other ! . . . She must be ready now {She turns of the main lights, leaving only the lights on the table, soft and curiously colored shades. Room in scarcely half light. Madame opens the door of bedroom, and goes in. Her voice is heard within) Come on, dearie! . . . What! . . . Still some spirit left? . . . There's simply no use resisting. . . . I'll hook it, — and here's your jewelry. (Ma- dame returns, firmly holding HiLDEGARDE by the wrist. As she lets go, the wrist shows white, and 132 PEACH BLOOM then red from the grip with which MADAME has held it. HiLDEGARDE is in the evening gown, lovely, but very low cut and clinging to her; she has her pearl necklace on. HiLDEGARDE cannot raise her eyes from the floor for shame) Mr. Jones, this is our Kitty. Now if you want any- thing, please ring. There are always men serv- ants at hand. I'll send you up some extra choice champagne, and you two can get acquainted over it. Eric Had all I want, b-but send it up for K-kitty, — if she likesh it. Madame Kitty dear, — remember ! Gives her a meaning look, then, after a careful scrutiny of Eric, she purses her lips as if to say '^ Drunk! '^ goes out, and turns the new key in main door on them. Eric Aren't you c-coming over to t-talk to me, li'l d-darling? HiLDEGARDE {Making her last appeal, hut too much ashamed to look up) Mr. Jones, I was stolen by that ACT III 133 wicked woman, and am a prisoner here. Help me to go home! Eric Funny, — jusht wha' she t-tol' me you'd say. C-come give me one kiss ! HiLDEGARDE This is true, help me out, or V\\ kill myself right now ! She takes her resolution, and goes past him quickly to the large chair. Gets envelope of poison out. Eric has risen uncertainly from his chair as she passes him, and holds out his arms to clasp her. But she eludes him. Eric You remin' me of shomebody, — c-can't think now who 'tis, — an' your v- voice t-too. HiLDEGARDE Opens the envelope, and takes the poison out. She has the table between her and Eric. HiLDEGARDE {Firmly and without looking at Eric) Listen to me! You and the men like you who come here are murderers! But I won't wait for a slow death, and if my father and mother ever know, they'll be glad I didn't wait — 134 PEACH BLOOM Eric Shtop ! Shtop ! Theresh some mishtake ! HiLDEGARDE What else can I do? {She lifts the poison to her lips, and raises her eyes defiantly to look at the man) Eric! You! You! Sinks into a chair, and covers her face with her hands. Eric Itsh not Hildegardef HiLDEGARDE Yes, It's Hlldegarde. Eric {Coming unsteadily over) Hil'egarde, my li'l one, — wha'sh this? {Gently takes the cyanide out of her hand, looks at it) Not p-polson? HiLDEGARDE Yes, I couldn't see any other way out. Eric {Gradually sobering up through shock, hut still badly confused) I mus' think. I thought you were at your b-birthday party t-tonight. ACT III 135 HiLDEGARDE I was Stolen yesterday, and kept here for a ter- rible Mr. Flint. Eric (Beside himself) F-flint, — oh, my God! HiLDEGARDE I begged him on my knees to help me, and all he did was to curse me and turn away in disgust. Eric Thank God ! Thank God for that ! I d-didn't know you were missing. I g-got back t-to the city late tonight, an' w-went out to the end of a d-din- ner. They must have kep' thish out of the p-pa- pers. HiLDEGARDE Take me home now! Eric I mus' think, — I mus' think how. HiLDEGARDE Why just tell her who you and I are. Eric I'd never g-get you out that way. 136 PEACH BLOOM HiLDEGARDE What! Eric {Walks unsteadily to door, and tries it) D-did that woman lock us in? HiLDEGARDE Yes, and there's no other way out, — Fm in prison. Eric {Desperately) If my head were only c-clear! . . . Running water in there? Nods toward inner room. HiLDEGARDE Yes. Eric Then sVuse me, — I'll dowse my head clear. {Goes out for a moment, to return with clear eyes, and gradually pulls himself together) Now for our plans; — you're right — {Examining win- dows) Everything secured fast. You'd better sit there in case we're interrupted. Pointing to chair across table. ACT III 137 HiLDEGARDE Why can't you tell her who I am and take me out? Eric I'm a total stranger to her, and the man who introduced me has gone on a spree, — no reaching him. And then I came here, — not myself — as you know. HiLDEGARDE If I hadn't looked up in time I ^ Eric Don't! Don't! Little girl! HiLDEGARDE But if you promised a great big ransom? Eric No; if I started on that line, she'd take you from me at once. It's not only losing you, but publicity; there's nothing she'd be afraid to do to avoid that, and she'd be shielded. . . . The po- lice I HiLDEGARDE Oh, a girl has told me! 138 PEACH BLOOM Eric Yes, if I tried them, they'd first deny there was such a place as this one. By the time I could get back and in here with a search party, a rumor would have reached this woman, — and you'd be gone, — who knows where f And against the word of one man who came here drunk, there'd be half a dozen witnesses to swear there'd never been such a girl here at all! HiLDEGARDE {In terror) Don't leave me! Eric I wouldn't dare go out of this room for a min- ute without you ! A knock at the door, and the key is turned. Eric Take care! Pretend you never saw me be- fore ! Madame comes in, followed by Francis with a small table, and Jurgen with a tray and champagne. Madame Set the table there, closer, — Francis, and put the lights over on it. i ACT III 139 Francis arranges things comfortably^ draws the chairs up, and Hildegarde and Eric sit opposite. Francis goes out. Madame Getting on all snug and cosy, Mr. Jones? Eric Yesh . . . didn' t-take ush long to g-get 'cqualnted. {To Hildegarde) Have a glash with me, Kitty! {To Jurgen) Push th' young lady'sh chair closer. Madame That's enough, Jurgen. Jurgen goes out. Madame ( To Hildegarde, who is huddled in her chair) Thaw out, my dear, — it's a spring night! Eric pretends to make love across the table, Madame, satisfied, starts to go. Madame Well, Kitty's certainly a sweet little one, isn't she, Mr. Jones? I40 PEACH BLOOM Eric You're all jush lofely angels! Madame goes out and locks the door. Eric Ugh-h ! — Poor little girl, — forgive me ! HiLDEGARDE Oh, how can we get out? There's an awful man named Peter at the door, and I don't know how many others. Eric Here's our one chance. {Draws out his re- volver) Lucky for us I was going down to the docks right after the dinner, and see how things had been getting on. Then I — forgot all about going. . . . We've got to figure out a way of making this good. {Counting up on his fingers) Doorman, one; two footmen here, three; I've an impression of at least one other; that makes four besides Madame, and whomever else she can call on. And most surely there are firearms In this house ready for just such an emergency. HiLDEGARDE What chance have we against such odds? ACT III 141 Eric Only one chance; to take them by surprise and each of us to keep our nerve. HiLDEGARDE I'll try to. Eric We've got to get this door open, and if pos- sible reduce their number by one. Let's see how this plan would work; I'll ring for the footman, then sit here at the table, and you stand with the revolver against the wall there. {Points to left of door) When the man comes, cover him from the first second he gets in. I'll call to him, so he'll look my way and not see you. . When he's well into the room slip over, close the door, and say, " Hands up ! " Then we'll go out together, — when the real struggle will come ! HiLDEGARDE And then you'll take the revolver? Eric No, it's as powerful with you as with me. You're a fine shot, and I know you'll keep cool. Without the revolver you'd be helpless, and my strength must be made to count for us. Now go 142 PEACH BLOOM in, dear, and get your own things on, — quick please. HiLDEGARDE They took them away from me this morning. Eric Devils ! Never mind, slip on my coat, dear. ( Takes it from sofa and holds it for her) And the little necklace. . . . {His voice breaks, then he looks her in the eyes) Hilda, let no one get near you, or you might lose the revolver. Keep close to me, covering our rear. How many flights, — I forget? HiLDEGARDE Two, — and we're at the back. Eric If we get safely to the outside door, hand me the revolver, and you go out first. {Giving her money) Here's half; if I'm stopped, don't wait a second, but fly to Cousin Laura's, — know the way? HiLDEGARDE nods. Eric On no account a cab, and don't stop anywhere ! Take a street car if one comes along, and hurry I ACT III 143 HiLDEGARDE Yes! Eric Don't shoot unless you must, but if you have to, — shoot straight ! And be sure to save the last shot ... to use if you don't get past the door, — for yourself! HiLDEGARDE Yes, yes, I won't be afraid to do that! Eric (Handing her back the poison, which she puts into the overcoat pocket) Here's the poison, — if anything happens to the revolver. HiLDEGARDE They won't take me alive again. But you, Eric? Eric If you must use it, I'll be already past both- ering about, darling child, — just one of the men who disappear. {He tests the chairs, and wrenches a good club out of the leg of one) This'll do finely . . . ready? HiLDEGARDE {Taking station at door) Yes, Eric. 144 PEACH BLOOM Eric Then here goes ! Rings the bell, gets into chair, with club hid- den across his knees, raises glass in left hand and assumes expression of drunken dis- gust. The key is turned, and Madame stands in the doorway. Madame Anything wrong, Mr. Jones? The footman's waiting in the room across, and may be delayed a moment. Eric Noshinks wrong 'cept your champagne, — it's fiercesh ! Holds glass shakingly out toward her. Madame {Suspiciously, and not coming in) Where's Kitty? ... I thought I heard a crashing noise. Eric K-kittysh — K-ittysh a'right. {Waves glass toward inner room) Fixshin' her hair. But this ish not my bran' ! C-come t-tashte cheap shtuff yourself! ACT III 145 Madame {Displeased and coming in) Why, Mr. Jones, we serve nothing but the highest priced on the mark — what's happened to that chair! HiLDEGARDE Steals noiselessly across on the heavy rug, and closes the door. Madame turns quickly at the sound. HiLDEGARDE covers her with the revolver. HiLDEGARDE Hands up ! Madame {Glaring into the revolver) Oh, so this is — ? HiLDEGARDE Not a sound, or I'll shoot. Eric? Eric Quick now! He goes over, and opens door, and goes out, partly followed by Hildegarde, who keeps the revolver pointed at Madame. A door is heard to open across the hall and one hears the sound of laughter and clinking glasses. Eric pushes Hildegarde in again, and closes the door. 146 PEACH BLOOM Eric Narrow escape! A breathless silence for a minute^ as the three stand motionless. Then Eric cautiously opens the door again. All seems quiet. Eric Now! Eric, followed by Hildegarde, who keeps Madame covered to the last second, goes out, Hildegarde speaking as the door closes. Hildegarde The key*s in, — turn it! Madame, the moment the door is closed, springs to the wall and rings furiously. Rushes to door, pounds, and calls. Madame Jurgen ! Quick ! Let me out ! Jurgen {Outside, and shaking the door) Whereas the key? Madame Catch them, — Kitty's getting off ! ACT III 147 JURGEN {Calling) Francis! Peter I Giovanni I There's a getaway! Madame Do for the man, nab the girl ! The drunk's stealing Kitty for himself! There are two almost simultaneous shots. The steps are heard of someone running up- stairs. JURGEN {Outside) Madame? Madame {Remembering the quiet of her house, she whispers sharply through the keyhole) I must see to things. JURGEN The key's gone . . . and Peter's wounded. Madame {Furious) But the girl and the drunk? JURGEN Peter landed one shot in him. 148 PEACH BLOOM Madame You fool! — Have you got 'em both? JURGEN Naw, they both made a getaway I Curtain ACT IV A month later, mid-afternoon in May. A spacious, charming living-room in the Mor- rises' home at Clarendon, a small college town. Opposite at the left a broad open door- way gives a view of the main hall and stair- way from the first turn, where there is a win- dow. Opposite at the right, French windows open on a loggia and a lovely garden in the colors of spring. Beyond there is a glimpse of college towers and a low range of blue hills in the distance. On the right side of the room a door leads into the Professor's study. One hears the outside door opened. PROFESSOR Miles Morris hurries into the hall, carrying a newspaper. He is a tall man of forty-six, with a sensitive, intellectual face. He looks quickly into the living-room, goes out, and calls up the stairway. Miles Jinny, Jinny, I want you ! Goes into the living-room and walks up and down. 149 I50 PEACH BLOOM HiLDEGARDE covies into sight down the hall, wearing a dainty spring house dress. Her hair is up. Miles {Before seeing who it is) Jinny, for heaven's sake, what do you think has happened? HiLDEGARDE {Flies to him) Daddy, dear, what has hap- pened? Miles Oh, it's you, Honey; why — er — nothing's the matter. HiLDEGARDE {Leaning over) Oh — in the paper? {A thought suddenly comes to her; she asks anx- iously) It's nothing bad about Rosief Miles {Putting the paper away in his pocket) That girl Rosie? No, why should there be? She's — er — she's doing finely. HiLDEGARDE I keep thinking about her, and of how beauti- fully you carried out your promise to me, dearest Father, and had her rescued from that terrible i ACT IV 151 place. Though it makes me shudder to think how that rescue society when they did break in, al- most failed to find Rosie! {She wipes his face off carefully with her handkerchief, and kisses him) How you've hurried. Miles I want to see your mother right away ! HiLDEGARDE {Turning to go) I'll find her. Miles And alone, please, Hildegarde. HiLDEGARDE {At the door making a little face at him, and laughing) And nothing's happened, — eh, Mr. Papa? She goes out and is seen running lightly up the stairs. Miles sits, takes the newspaper out of his pocket, and studies it eagerly and with con- cern. Mrs. Morris is seen hurrying down the stairs. She comes in hastily. 152 PEACH BLOOM Mrs. Morris Miles, dear, — what is it? Hildegarde says '' nothing's happened, but poor Daddy's all up- set " ! Miles Jinny, — see this, — it's all out in the papers ! Gives her the newspaper. Mrs. Morris {Breathless) What — what's all out? Miles Look there, — yesterday Rosie told on the wit- ness stand all about Hildegarde's capture, impris- onment and escape ! Mrs. Morris {Reading) Not all? Not her name? Sinking down in chair, and hurriedly reading over the front page. Miles No, Rosie testified that none of them had learned it. Mrs. Morris Thank God for that! I've lived in terror ever since the trial of that creature, that Madame, be- ACT IV 153 gan. (She has been looking through the paper. Says jubilantly) But, Miles, there Isn't a single clue to who the girl is! Miles If there had been, the newspapers would be tracking Hildegarde down now, and publishing her name to the world. Mrs. Morris Put the paper with the others, dear, where Hilda can't see it. We must do everything to make her forget. Miles puts paper in drawer, locks it, and puts the key in his pocket. Mrs. Morris It's enough for her to know that Rosie is out, and being cared for by us, — she mustn't learn about this trial, — or that her story has become known. Miles If they should learn her name, they'd bring out the whole story, — to the last detail — and think how it would be twisted ! 1^4 PEACH BLOOM Mrs. Morris It would blight Hlldegarde's life ! Oh, I can never forgive myself for not having told her in time to save her from her frightful experience. And as I think it over, it was only one of jifty things that might have happened to her through the ignorance I kept her in. Miles If we only had other children, we'd not fail again. But don't worry: this story won't get out now, Beloved Wife, — think how few know it: only Walter and Laura Prescott, and we three here. For that unknown man who pitied her and helped her out will never betray her. Mrs. Morris He had some good in him, depraved though he was. . . . And not even Eric knows! — I'm thankful. Miles Why do you suppose Hilda has changed to- ward Eric so? Mrs. Morris It is strange, — she never speaks of him, does she? J ACT IV 155 Miles And you caught the rascal at Laura's only a month ago trying to make love to her! Do you suppose our little girl fears he has learned her story? Mrs. Morris No, IVe told her how Laura promised never to tell him. The doorbell rings. Miles We certainly are wonderfully fortunate, not to have had this secret escape. Eva, a trim maid, comes in with cards on a salver. Eva A lady asking for you, Ma'am, and the Pro- fessor and Miss Hildegarde. Mrs. Morris (Looking at cards) Show her in, — but never mind about speaking to Miss Hildegarde. Eva goes out. Mrs. Morris Martha Oakes ! What can she have come way up from the city for? It makes me uneasy. 156 PEACH BLOOM Mrs. Morris goes to the door to greet Mrs. Oakes, who comes in, in traveling clothes. Mrs. Morris Martha, dear ! What a delightful surprise ! Your first visit ! All three greet each other warmly. Mrs. Oakes I'm awfully sorry to say, Jinny, that it's a legal matter I've come up here for, and to get your help about, — a case which Laura's husband put into the hands of our society, — the " Rosie Case." You see we decided after rescuing the girl and hearing her story that her case was so clear a one of white slavery that no jury could refuse conviction of this infamous Madame, — even under our lenient state laws. Mrs. Morris {Controlling herself, and speaking with polite interest) And — now ? Mrs. Oakes We're having the fight of our lives! The Ma- dame has amassed over three hundred thou- sand from the earnings of a long succession of ACT IV 157 girls, which explains the brilliant lawyer who's defending her; but does not explain all the tricks and difficulties which have arisen from the very start. Powerful men from far in the background are protecting this keeper! Miles Hideous ! Mrs. Oakes The case is going to pieces, and we must have new testimony, or there'll be either a disagree- ment of the jury or acquittal : — but this morn- ing I got a clue which I hope will save the whole case! Miles A clue, — I congratulate you ! Mrs. Oakes You must have read in the morning's paper how this Rosie told a thrilling story of another girl who had escaped? Miles {Flustered) Why, — er — yes, I did glance at it. 158 PEACH BLOOM Mrs. Oakes Early today a servant came to me, a footman named Jurgen, — whom the Madame had turned out of her house, accusing him of aiding this girl to escape ! He's after revenge. And in the hope it will help to convict the Madame, he has given me the name of the girl's father. Miles His motives would kill the story. Mrs. Oakes No, he told me the truth; oh, you don't know how badly I feel to tell you that I know that the other girl who escaped was — Hilde- garde ! Mrs. Morris Hildegarde! Miles {At the same time) Impossible! Mrs. Oakes Unfortunately I know the whole story. Mrs. Morris No ! No ! No ! ACT IV 159 Mrs. Oakes Yes, Jinny, dear, I've got all the facts, how one dark, rainy Friday afternoon, — the very day I saw you at Laura's — the unsuspecting child was seized at the Madame's door, carried to an apart- ment, and locked in. Miles And you really credit this fabrication of a dis- charged servant from a place like that! Mrs. Oakes Please! Shall I tell you more? How Hilde- garde promised a ransom, — fifteen hundred dol- lars, and gave Jurgen her father's name and address, — your name, Professor Morris, and / knew the address, which had slipped his memory. Miles {Wildly) He might have got hold of my name, — I've written some books ! Mrs. Oakes Yes, Jurgen looks like a man who reads trea- tises on Greek Art! . . . The case is simply be- yond doubt. Miles Beyond doubt It's absurd ! i6o PEACH BLOOM Mrs. Oakes I have many other facts, if you must have them. How she was rescued unharmed the next day at midnight, by an unknown man. And then Jurgen gave me an excellent description of the girl ; — she wore a lovely pearl necklace, and — Mrs. Morris {Tearfully giving in) You haven't told this story to anyone, Martha? Mrs. Oakes No, Jinny. Miles Suppose this story were true, — why did you come here today? Mrs. Oakes We must have a witness to prove that Madame is an actual white slaver — Mrs. Morris You can't mean that you want to — ? Mrs. Oakes Yes, I've come to ask Hildegarde to go back with me, and to testify tomorrow morning. ACT IV i6i Mrs. Morris Put Hildegarde on the witness stand ! Mrs. Oakes {Strongly moved) Look how the matter stands today. Public interest is centered on this trial, and public opinion is waiting to be formed. If the case fails, all the slavers will receive di- rect encouragement to go on, and even honest people will say, *' That Rosie was just after black- mail, — such things don't happen ! " To lose now on such a clear typical case of white slavery, means to cripple the cause in this state for years to come. But with Hildegarde's striking testi- mony, this Madame would be sentenced. And more than that, public opinion would be so fired that it might force through our bill in this legis- lature. And then we'd have a penalty that would deter, — ten to thirty years behind the bars. Miles Hildegarde shall not go and ruin her life ! Mrs. Oakes But think how few girls we can ask to testify, — how few like Hildegarde come out unscathed! 1 62 PEACH BLOOM Miles {Heatedly) Unscathed? Then you don'^t know the full story: how she knew almost noth- ing, and learned everything there, how she was reserved for a brute, who turned away disgusted when he found she was no longer ignorant, how she tried to escape, and was betrayed, her clothes dragged from her, and garbed in a most offensive dress, was struck and threatened, and then by mere chance was rescued by the next man, a drunken fellow, sobered by her story, just as our precious child was trying to end her life with cyanide. And it's that story you want her to re- hearse so it will be on everybody's tongue ! Mrs. Oakes But remember her escape in time is one case in a thousand ! You were marvellously fortunate, Jinny, marvellously. That very dress would bring the matter home to the jury. Mrs. Morris That dress went into the Prescotts' furnace! Miles Have you got a daughter, Mrs. Oakes? ACT IV ■ 1631 Mrs. Oakes No, — but — Miles If you had, you'd fight as we will to keep her young life from getting into the mire, — again ! Mrs. Oakes If I could help these girls more than now in this warfare by laying down my own life, I'd do it gladly. Mrs. Morris I'm sure you would, Martha. . . . And I'd give up my life for my daughter I Mrs. Oakes Won't you even let me see Hildegarde, to put the case before her? Mrs. Morris Why, Martha, how could we ? When weVe do- ing our best to help her forget it all ! And it wouldn't do any good, — she would never do what her parents didn't wish her to. Mrs. Oakes {Defeated. Rising) And you'd rather see this she-wolf freed, and no new law come, — you'd 1 64 PEACH BLOOM rather see these pitiless men and women — these fiends — flourish — HiLDEGARDE appears, coming up the garden path; she is wearing a pretty garden hat, car- rying a basket of dainty spring flowers. Mrs. Morris We do sympathize with you and anything else — HiLDEGARDE comes to the French windows. Mrs. Oakes — and see them consume other girls like Hilde- garde and Rosie ! HiLDEGARDE {Coming in) Why, Mother, are you getting news from Rosie? Mrs, Oakes {Quickly) Your daughter Hildegarde? HiLDEGARDE Yes, — I'm Hildegarde. Mrs. Oakes Fm Martha Oakes. . . . I'm so glad to see you, my dear. ACT IV 165 HiLDEGARDE Tell me about Rosie, Mrs. Oakes, tell me everything ! Mrs. Morris Hilda, dear, — please ! Mrs. Oakes is dis- cussing a matter of business just with your father and me. HiLDEGARDE tums obediently to go. Mrs. Oakes But, Hlldegarde, I want your advice too, and Rosle needs your help ! HiLDEGARDE Rosle? Help? I thought she was doing finely. Father! Miles {Pointedly) If we need you, dear, we'll let you know. HiLDEGARDE {Remaining, and sitting down) Father! . . . And now, Mrs. Oakes? Tell me, — everything! Mrs. Oakes The woman who kept Rosie in slavery has been arrested, and Is on trial ! 1 66 PEACH BLOOM HiLDEGARDE Oh-h-h! That woman on trial! Mother, — did you know about it? Mrs. Morris {Reluctantly) Yes, but we didn't want you to get wrought up. Mrs. Oakes Now we fear she will get off scot free ! HiLDEGARDE How can she go free, when they've caught her ! Mrs. Oakes All our witnesses except Rosie have been bought or terrified into silence, and poor Rosie Is breaking down. We must prove this woman has held girls against their will for such a life, or she'll gtt off and begin the same business over again ! HiLDEGARDE {Springing to her feet) She shan't begin again. Fll be your witness! Mrs. Morris You're excited, — don't say such a thing, dar- ling! ACT IV 167 Mrs. Oakes Splendid ! You can accomplish more good in this cause than any other young girl I've ever known. Miles Hildegarde, you shan't think of it! Mrs. Morris Daughter, you haven't any idea of what it is you're asking, — something no loving parents could ever permit ! Miles Hilda, dearest, you simply can't realize what it means to go before a courtroom crowded mostly with curious men, and be questioned and cross- questioned on such unspeakable things, to have your name and face and story spread wide in every newspaper. See this ! {He unlocks drawer, and gets out paper) . Look at today's paper; headlines half across the sheet, and three pictures of that unfortunate girl Rosie, — one sobbing on the witness stand, — broken down un- der cross examination! Hildegarde {After looking at it) Awful ! — Poor Rosle ! i68 PEACH BLOOM Mrs. Oakes The other witnesses are swearing that Rosie came there vokintarily! You are all we have, Hildegarde, between us and defeat. Miles Darling, there'd be false witnesses to swear that you too came there voluntarily! And that lawyer would do his worst to blacken your char- acter ! Mrs. Morris Yes, and, Hilda, many people, even right here in Clarendon, would never believe you had es- caped in time, and you could never, never live down the shame of it. If you married and had children of your own, the shame would still cling to you ! Hildegarde {After a moment's pause. Exalted) All right. Let people think what they please; — Mrs. Oakes, I'll go with you. Mrs. Morris Hilda, if you go down there, it will be some- thing your father and I can never get over; can never forget! ACT IV 169 HiLDEGARDE Mother ! Mrs. Morris We'll bear the sorrow of this to our graves; — you're young, — you don't know what it means to you, and you can't guess what it is going to mean to us! HiLDEGARDE Oh, what shall I do? Mother, I can't hurt you ! I thought it was mostly myself who would get injured by testifying — Miles Don't go, Hilda ! — Stay with us ! Mrs. Morris {On her knees, with her arms out toward HiLDEGARDE) You're the only child I'll ever have; Hilda, I beg you, — I implore you! HiLDEGARDE {Running to her mother and putting her arms about her) I can't hurt my mother and my fa- ther! You see, Mrs. Oakes, I — I can^t go! She clasps her father's and mother^s hands, and the three stand together. I70 PEACH BLOOM Mrs. Oakes Rosle has stood up with her terrible testimony; but she's getting confused under this brilliant but vicious cross-examination, and her health has been utterly crushed, — partly, Hildegarde, because the Madame punished her the day after you got out, because Rosie warned you of your peril ! Hildegarde Oh-h, Mother, — think of it? Think of what I owe her ! — If she hadn't told me, I never could have escaped ! And now without me, all she has suffered will go for nothing! Mrs. Morris Think how your parents will suffer, daughter! Mrs. Oakes It isn't for Rosie or for the two or three peo- ple of us here that we must decide, it's for the multitude of girls who are being kept in igno- rance, who are calling to you to testify and to save them in time — to tell what you know ; to cry out from this witness stand and arouse their blind fathers and mothers! And the thousands of lost girls lying in unnamed graves in our own country, — if they had their voices they would cry ACT IV 171 out to you to save the others in time! If you stay here, Hildegarde, some young souls will drop into the pit that you might have saved! Hildegarde Father, Mother, it's a bigger thing than any of us, — how can I stay here? I'll never be happy again unless I go and tell what happens to girls, — tell everything I know; — I won't be afraid to speak out! Oh, if you had seen that poor girl, that Kitty, her thin hand out for help ! Nothing can stop me now! I will go and help! Mrs. Oakes Time's everything. We can make the 4.57 ex- press and get down to the city tonight. Miles Hildegarde, I absolutely forbid It! Mrs. Morris (Beseechingly) Hilda/ Hildegarde It breaks my heart to disobey you. But I know it's right. Forgive me for the pain Vm causing you ! . . . I'll get my things, Mrs. Oakes, and be ready In less than ten minutes. She goes out and runs upstairs. 172 PEACH BLOOM Mrs. Oakes Oh, rm sorry, sorry, this is necessary. Miles Can't we prevent this? Mrs. Oakes Not since she's determined to go. Oh, Jinny, there's no way out of this but the hard one of duty. Though I can never tell you how badly I feel. Mrs. Morris (Rises) Small comfort, Martha. I must get our things ready then, for her father and mother shall go with her. Sound of an auto coming racing up the drive- way. The doorbell rings. EvA appears at living- room door, Eva Mr. Hamilton, Ma'am, and he says it's most urgent. Mrs. Morris {Running to door and calling to him) Eric! ACT IV 173 Eric Eric comes in; a had scar extends from his right cheek toward his forehead. Mrs. Morris {Greeting him with hands flung out entreat- ingly) Eric, Eric, come and help us! Sound of the auto going off. Miles {Shaking his hand warmly) Why, — have you been wounded? Eric A little accident, — some time ago. Eric advances into room, bowing without sur- prise to Mrs. Oakes. You, Mrs. Oakes, are up here to — ? Mrs. Oakes To get Miss Morris's help in this case. Mrs. Morris Eric, you don't know the ghastly story; — how Hildegarde — Eric Didn't you know I knew? 174 PEACH BLOOM Mrs. Morris So Laura told you after all! . . . Help us now ! Martha is taking away our child and will use her as a witness in this Rosie case, — tomor- row! Eric I feared that, when I learned at the society this morning how Mrs. Oakes had started for Claren- don on a clue. Mrs. Oakes Surely you're in sympathy with my purpose, Mr. Hamilton, after all the splendid interest youVe shown in your visits to the Society in this case! Eric I caught the limited and motored forty miles back to prevent it if possible. But you're right, Mrs. Oakes. You've got to find another witness, or have this case end in a wretched failure. Mrs. Oakes Yes, and Hildegarde is the only one who'll dare to testify ! Eric But suppose I run down another, who could prove this woman a slaver, wouldn't you let Hilde- garde off? ACT IV lis Mrs. Oakes Another? Eric One of the men who visited there? Mrs. Oakes Persuade one of the men to ofer to testify to having gone there! — You can't mean it! Eric But I do. Mrs. Oakes IVe never met a man yet who'd willingly tes- tify to the kind of thing brave Hildegarde is eager to. Eric I know he will. Mrs. Oakes Who is the man ? Eric One of the men who saw her there. Mrs. Morris {Shrinking) That Flint? 176 PEACH BLOOM Eric No, Flint went out on a wild ride with one of the girls that same night, — they crashed over a seventy-foot cliff, — a quick death. Mrs. Oakes You're sure this man saw Miss Morris there? Eric {In a husky voiced Yes, — the very drunken fellow who helped her out. Mrs. Oakes You're a born detective, Mr. Hamilton! And a man admitted to that exclusive house must have had standing, — wealth or social position. His story would make a sensation! Eric It would : — he comes from one of the older families. Mrs. Oakes I feel so sorry for my friends here that I'll con- sider deeply, Mr. Hamilton; — who Is the man? Eric He's before you. ACT IV 177 Mrs. Morris (Recoiling) Eric, you can't mean — Miles (Hoarsely) Do you mean that you — f Eric Say what you please ; — nothing could be worse than what I think of myself. Mrs. Morris Oh,— Hilde garde! Mrs. Oakes It's very loyal of you, Mr. Hamilton, to offer to shield your cousin from appearing, but have you any proofs? Eric {Producing key) The key to the very room. Mrs. Oakes You might have received that from the man in question. Eric {Passing his hand across his scar) But I got this by being the man in question, — in the strug- gle at the door. . . . You see now, Mrs. Oakes, what I'm offering for her protection? 178 PEACH BLOOM Mrs. Oakes (Slowly) I see: — the scarring of your good name and social standing, — a great price. ( Turning to the Morrises, who are aghast) After all, Jinny; after all. Professor Morris, we mustn't forget you owe your daughter's life to Mr. Hamilton. Eric So you will take me, Mrs. Oakes, instead of Hildegarde ? Mrs. Oakes I can't tell, — I must think it over. Miles Virginia, we must talk this all over with Mrs. Oakes in my study as affecting Hildegarde, if — {Bowing to Eric) You will excuse us. {With a sudden impulse he puts his hand on Eric's shoulder) We appreciate this offer, Eric, — it's a manly thing. The three go out, into the study at right. Eric, who has risen with mechanically good manners as they depart, sinks into a chair with hands over his face. Hildegarde is seen coming down the stairs; then she looks through the doorway hesitat- ACT IV 179 ingly. Has her suitcase , and is in traveling costume, with her hat on. HiLDEGARDE Mother? I'm going now. HiLDEGARDE comes in. She stops short as she sees Eric, who rises. HiLDEGARDE {Says in suppressed excitement) Eric! Eric Hildegarde ! . . . How IVe longed to see you 1 I've written so many letters to you which have never gone; — I was too much ashamed. HiLDEGARDE I thought perhaps — perhaps — you'd write about why — about how — Eric I had no excuse to offer. HiLDEGARDE {As he turns his head, she sees his scar) That scar! On the way to Cousin Laura's that night you said the shot had only made a " scratch " ! i8o PEACH BLOOM Eric But for your nerve, that Peter's bullet would have gone through my brain! HiLDEGARDE I tried for his arm. Eric And hit like a sharpshooter, and spoiled his aim. HiLDEGARDE Isn't the world strange, — and terrible! I had never touched reality before. Eric Beautiful things can be real too, my child. HiLDEGARDE Child? I'm no longer a child. Why I'm old enough to help on this problem, — tomorrow ! Eric No! HiLDEGARDE And I want to work at this for a lifetime. ACT IV i8i Eric But don't crowd out the blessedly sweet things, — home and children, — and be left alone, — as I am. HiLDEGARDE Are you so lonely? Eric Yes, and I must grow lonelier, — parted from you. HiLDEGARDE You saved me, Eric, and I'm grateful to you for that down to the very bottom of my heart, but your going to such places cast my faith in you into the flames. Eric I will tell you something, — though it's poor, — it was the only time. HiLDEGARDE (Gladly) The only time! Oh, Eric, keep that true! For the sake of the years that have been! Eric I never dreamed you wouldn't tell your parents. 1 82 PEACH BLOOM HiLDEGARDE I couldn't tell even them. You'd always meant so much to me. Eric {Deeply moved. Kissing her hands) Hllde- garde, my darling! Can you forgive? HiLDEGARDE Oh yes, — now. Eric And, — forget? HiLDEGARDE I wish I could ! But I don't see how I can — forget. Eric You're the very core of my life. The only sweet thing in it. HiLDEGARDE Don't, don't! I can't bear it. Eric Can't you try, — for the sake of the years that have been? HiLDEGARDE If only my faith would come back again! Ah, Eric, how I did worship you! ACT IV 183 Mrs. Morris and Mrs. Oakes come in from the study. Mrs. Oakes Mr. Hamilton, I accept you as witness; Til tele- phone at once, and you'll appear tomorrow morn- ing. Eric Good! — Then Hildegarde does not go? HiLDEGARDE What's all this? — / not go? Mrs. Oakes My dear, Mr. Hamilton offers to testify in your stead, and what he'll swear to is just the testimony we need to convict that " Madame " of white slavery. Hildegarde Eric! {Turning to look gratefully at him) And can^t I help if I go too? Mrs. Oakes It wouldn't be worth the cost to yourself and your parents. Mrs. Morris Let me help take off your things, daughter. Eric, I thank you for saving my child's name . . . 1 84 PEACH BLOOM Mrs. Oakes wants to start at once, and I've or- dered the car. Eric I'm ready. Good-bye, Jinny. Try not to think too hardly of me. Mrs. Oakes {Looking at her watch) I've just time to tele- phone my lawyer, — if I may? Mrs. Morris Yes, — let me show you, Martha. She takes Mrs. Oakes out through the hall. Eric Good-bye, Hildegarde. HiLDEGARDE {Runs to him, holding out both her hands) Oh, Eric! Dear Eric! I'm sure now my faith will come back! {Half laughs, half sobs) And I reckon it's just round the corner now! Curtain