Two tramps find a cigar butt and two box tickets for the performance of Salome. While watching the famous dance an idea strikes them. "If we had such costumes, couldn't we make money!" They procure some costumes and then sail forth to do the "Saloon dance," as they call it, whereby they take everything from a box of cigars to the cash register and a barrel of Wienertzberger. The only thing they did not steal was the saloon.

Source: Moving Picture World

The Lubin Studios' 1908 burlesque The Saloon Dance also figures Salomania as a disease, albeit of a different sort: in it two tramps attend Strauss's Salome and are so impressed that they steal female costumes and begin imitating what they dub "The Saloon Dance" to earn money. Gently poking fun at Salome, Salome performers, and the women so eager to attend their performances, the narrative simultaneously exudes contemporary anxieties about proper displays of "masculinity" and the threat of emasculation that accompanied women's calls for expanded roles and rights. In both of these films the unyielding, exploitative authorial voice that Kramer and McClary lament in their analyses of Salome reappears in a comedic guise. The American Salome-as-danced is effectively repositioned within a new sort of masculine narrative frame, one that attempts to control not only the character Salome but, more importantly, her American cultural status and meaning.

Source: The Free Library

Two tramps find a cigar butt and two box tickets for the performance of Salome. While watching the famous dance an idea strikes them. "If we had such costumes, couldn’t we make money!" They procure some costumes and then sail forth to do the "Saloon dance" as they call it, whereby they take everything from a box of cigars to the cash register and a barrel of Wuertzberger. The only thing they did not steal was the saloon.

Source: The Film Index