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The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, February 09, 1913, Image 7

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Persistent link: https://chroniclingamerica.loc.gov/lccn/sn85066387/1913-02-09/ed-1/seq-7/

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The Play Told
in Story •Form
by the Au
thor, Eugene
Walter S s
808 REYNOLDS, a chemist in the i
testing department of a New !
York construction company, is j
living as well as he may on $25 a week, J
supporting a wife and paying instal
ments on a Staten Island bungalow.
lift. Reynolds is tiring of the petty
economies necessitated by their scanty
income, when along comes John Brand,
a college friend of Bob's, who has
grown richer more than honest in* the
world of "big business." Brand shows
Reynolds how to make $40,000 by per- j
mitting an Inferior grade of cement
to go into a great dam for which Brand
has the contract.
This proposition is branded by Rey
nolds as an invitation to become a
grafter and a thief, but the wife over
hears Brand's plausible and subtle ar
guments that no harm would be done
to any one by accepting the money and
that the dam, with the inferior grade
of cement, will last one hundred years.
Gradually, under the pressure of Mrs.
Reynolds, Bob sacrifices his ideals and
sells his honesty and the trust placed
in him. Brand is making $200,000 on
the deal. Reynolds receives $40,000 of
it and rises from Staten Island to a
fashionable New York suburb. Bob
falls to the stock market and brandy, |
loses his money and makes an over-,
draft of $10,000 on his bank.
Believing Brand responsible for his
losses, Bob demands that he call at
his home, where during a stormy inter
view, Bob demands his half of the
$200,000 cleared by Brand on the
cement deal. Unless the money is paid
Bob says be will confess and take
Brand along with him to prism. Brand
refuses to pay more than $16*000. me
amount of the overdraft at the bank,
and reminds Reynolds that his wife is
an accessory to the deal. At this point
they are interrupted by Mrs. Reynolds, j
who has returned from the theatre.
Reynolds leaves the room so that bis
wife may talk to Brand.
Mrs. Reynolds-Something's wrong
something's happened.
Brand— Nothing that can't be fixed,
Mrs. Reynolds —What has Bob done?
Rrand —Mrs. Re\uolds, your husband
is m a name of mind. I might say a
mental condition, that makes it impos
sible for me to appeni to him either by
argument or a straight statement of
facts. He has broken his contract. He's
in a bad hole. And now that he is
driven Into a center by his own asinine
blundeiing be is nJt only turning qu:t
tf.r to you and ma, but he's a drunkard
Mrs. Reynolds—l don't believe it!
i Brand—Oh, I don't mean liquor
alone; I mean ideas. No matter in
what direction he turns it intoxicates j
him. He loses perspective—his sense j
of proportion. He messes up everything!
he gtes after. Now he's messed up
this opportunity I gave him. He won't
isten to me—maybe he will to you. But
whatever happens, you understand, I
don't want to see him take you with
Mrs. Reynolds—Take me with him?
Brand—This is no time to mince
words. Your husband is broke.
Mrs. Reynolds—Broke?
Brand —Flat. He's been gambling on
the Street, and more than that, h<*'s
been drinking heavily. I'm surprised
j you haven't noticed it.
Mrs. Reynolds—Tha'.'s impossible,
«Ir. Brand. I tell you that's impossible.
He's been away of nights frequently in
town, but he told me that was business.
Brand —Never mind what he told
you. It's what he didn't tell you. 1
paid him forty thousand dollars cash
to join me in that cement deal. He
fitted out here for fifteen and with the
other twenty-five and my advice ne
I doubled his money. Not satisfied with
J that, he got a swelled head and went
lit alone. Like most men of his kind,
jhe couldn't stand the gaff. He lost i
j that and overdrew his &ank account
I /ith a check for $10,0uu —after the bank
; had notified him his account was
closed. Don't misunderstand that —a
felony, you understand, a FELONY!
; And now, with jail staring him in the
face, he's trying to blackmail me into
giving him sixty thousand or he'll get
me in trouble, take me along with him.
j Now he can't do that, but If he doesn't ,
; get some common sense in his head j
!o r you don't stop hira he'll get there I
i himself. Now my position Is this: For |
j your sake, and yours alone, and be-1
;cause of Mrs. Brand's fondness for you. I
' I'll settle this matter at the bank; but j
i I stop right there. If he isn't tltHtJetl J
i with that I wash my hands of the whole:
j business. That's your job. Mrs. Rey- j
jnolds; it's up to you. I'm losing good
j sleep.
Mrs. Reynolds — Then, Mr. Brand
I won't keep you any longer. The firs*
thing I must do is to get the truth
from Bob. He's not the sort of man
to do this sort of thing without some
thing back of 't. Good night, sir.
Brand—lt that's the way you wish
to take it. i'ood night. But my advice
to you is to make him take this money
and behave himself. It's enough to
make a sane mall sick.
Bob (entering)— Through with your
Bob—l'll see ycu in the morning,
There are two alternatives.
One is to go on, the other is
to give up.
Brand—Yes, you can see me in the
morning if you want to, and your wife
I will tell you for just how much. (Exit.)
Mrs. Reynolds repeats to her husband
j her conversation with Brand, intimat
ing that he expected her to influence
her husband to accept the $lu,ooo and
to stop drinking and gambling.
Bob—He asked you to influence me?
Mrs. Reynolds—Yes.
Bob—Well, then, my answer is this:
If you interfere with this thing again,
Jane, this business between Brand and
me, you can stop trying to influence
me. and see what you can do with your
influence with bim.
Mrs. Reynolds—What?
Bob—lf you take this thing in your
own hands, if you start to demand or
dictate what I shall do or not do, then
you'll have to finish the job yourself.
You and I don't seem to do team work
when it comes to thieving.
Mrs. Reynolds—Don't talk to me
that way, Bob; you're not yourself. You
don't know what you're saying. You
don't mean-
Bob—l mean that he's been using me,
and when he thought the right time
had come he wanted to throw me aside.
But just as he misunderstood me once,
he misunderstood me again. I couldn't
be thrown. Then he came to you. He
figured you the responsible party, and
be wanted to eliminate me by holding
ten thousand dollars in one hand and
my conviction in the other before you
Mrs. Reynolds—Bob—dearest—(Over
J whelmed by his frenzied talk.)
Bob (with increasing hysteria)—He
J got away with that in Staten Island
JHe found you blind then and he's found
ou blind now. He thinks he can
wriggle into your confidence and make
a fool and a weakling out of me as he
did before. But he'll use you, Jane,
he'll use you to the very limit, and
then he'll throw you down just as hard
as he's trying to throw me.
i Mrs. Reynolds—Have you lost your
| head? Do you mean to insinuate
Bob —No; I don't think he wants you
I yourself, or anything like that. If I
j thought that ilea lurked in his brain
I'd kill him.
Mrs. Reynolds—lt's hard for me to
j .hink the man I married can say such
; things to me, and I tell you I won't
j listen.
Bob—But I am the man you married
and you will listen. He didn't tell you
| that he tricked us out of all the money
Ihe ever gave us. did he? He knew that
j when you fixed it up with him for us
!to take that cement money that was a
felony, too, but he didn't tell you that.
He didn't tell you that if I said any
; thing that'll put him where he be
longs—where he said I'm going—that
he'd take you right along with him,
did he? He didn't tell you that we're
ail responsible for that graft—every
[ solitary one of us. No! But, by G
I m beginning to think that he's al
most made you b lieve that he's right
and I'm wrong.
Mrs. Reynolds—What right have you
to abuse me? t tried to find a heme. I
Words by Henry blossom.
Music by Alfred C.Robya
tried to find a way for you to neip ,
yourself, to give us a decent position
and a decent living. I opened the way
for you
Bob—You opened the way, eh?
Mrs. Reynolds—Yes. I gave you the
opportunity; you can't deny that
Bob—Opportunity for what? Plain,
ordinary thieving, that's what it was.
i There are two kinds of crime in the
| v/orld, Jane. Some of it is legal and
j some of it is not. This wasn't legal.
I Both are repugnant and obnoxious to
I me, but I did it because I loved you.
I Now it's come to a showdown. There
are two alternatives. One Is to go on,
the other is to give up. If you want
to go on I'm going to harve my say in
this or else I'm through.
Reynolds is deterred by his friend,
I Dick Meade, from leaving the house
I that night in an attempt to "get" Brand
In Sunny Spain
Sung in
i\l_W_o I •■.-.;
MMHte; ■~ k* .j ci pa j TDMFDV
\gt the* Lyric Theatre.
Copyright MCMXII by M.Witmark & Sons
International Copyright Secured.
lai his home, in me struggle boo Ml
overpowered and, weakened from the
strain of his position, he consents to
retii-e. The next day, too ill to fight
any more and encouraged by his wife's
remorse and willingness to return to
their former position, they decide to
give up the fashionable suburban home
and return to Staten Island.
Dick Meade rushes In with a copy of
the evening paper. THE DAM HAS
Both Dick and Brand plead with Bob
o flee the country. They offer passage
on the Lusitania, money and safety.
But Bob cannot fight his conscience any
longer. Slowly he moves to the tele
phone. Calls for Police Headquar
ters and calmly notifies them to call at
street to report on the suicide of
Bob Reynolds.
AiaKe your nens sign their auto
graph every time they lay an egg. \
This is the very latest wrinkle in i
poultry farming. Two Staten Islander 3 |
devised it.. These two farmers put |
their wits togetner and aevised an ap- }
paratus so simple that even the sil- |
liest of hens can work it, for she works j
it all unbeknown to herself. The first j
thing they did was to attach a piece j
of crayon by a rrlip to the leg of each j
hen, just as a steel spur is fastened j
to the leg of a fighting cock. This is
foi her to write her autograph with.
Each hen has a different colored cray
on, or even if there are not enough
colors to go. around two crayons can
be attached.
Now for the nest. When the hen
San Francisco Svnda Call.
leeis liKe iv,> an sue must
walk up a short inclined plane to
reach the nest Her weight releases
a trigger which makes two wire gates
drop. These will open outward at a
touch from her head: but not even a
big Cochin China rooster could open
them from the outside. So no other
hen can enter and cause contusion b«.
laying another egg in the nest. When
the hen has done her duty she walks
down the inclined plane to get out.
Reaching the gate, she has to crouch
a little in order to swing it open. This
brings the crayon on her leg into con
tact with the surface of the inclined
plane. The streak It draws thereon is
the hen's autograph and proof that the
egg in the nest is hers and not that
lof any other bird.

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